[{"data":1,"prerenderedAt":620},["ShallowReactive",2],{"subject-wei-lan":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},1139,"wei-lan","围栏","围栏画高清赏析","精选中国历代围栏题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08ff8f8e018c9a44c5bbef0c200dec69.jpg",0,41,[14,45,65,88,98,116,143,154,188,210,226,237,252,267,283,293,306,321,333,351,366,385,400,415,427,437,447,458,470,484,496,504,510,523,532,543,556,566,578,588,598],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":35,"material":36,"size":37,"collection":38,"collections":39,"showCount":42,"zanCount":43,"manualWeight":11,"mainColor":44},221175,"ba-da-you-chun-tu-zhao-nie-221175","八达游春图","五代十国","赵喦","台北故宫博物院","《八达游春图》是五代·后梁画家赵喦创作的国画，此画绘有八骑人马欢呼游玩的景象，用色考究，笔墨精到，人物神态栩栩如生，可谓作者画作之精品。",[23,24,25,26,18,27,28,29,30,31,32,7,33,34],"高清","国画","工笔","设色","人物","马","树木","柳树","孤石","草地","鞍马","游春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4d033fc39e58455d7dde55b9f5c0f61.jpg","绢本","纵161厘米，横103厘米","山水画精选",[38,40,41],"人物画精选","设色画精选",904,5,"795548",{"id":46,"slug":47,"title":48,"dynasty":49,"author":50,"museum":51,"description":52,"tags":53,"thumbUrl":59,"material":60,"size":61,"collection":41,"collections":62,"showCount":63,"zanCount":64,"manualWeight":11,"mainColor":44},219054,"ying-xi-tu-yi-ming-219054","婴戏图","宋","佚名","藏地不详","苍树虬枝荫蔽下，一架斜搭的棚架成了稚子的欢闹场。红衣孩童伏在架面，似要顺着木纹滑下，姿态憨拙可爱；旁侧小儿伸手引伴，另一个正手脚并用地向上攀爬，顶端的孩子扬臂欢笑，满是得意。笔墨细腻处，衣纹的褶皱、孩童的发髻皆清晰可见，质朴的色调晕染出温润的氛围。画面无繁复修饰，却将童年的天真烂漫描摹得淋漓尽致，仿佛能听见稚子的嬉笑声穿透时光，让观者也不禁被这份纯粹的欢愉所感染，沉醉在那片无忧的童趣里。",[54,24,55,25,26,27,56,57,7,58],"名画","书画","婴孩","树","婴戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cdaf16c7bbadec7066e3e97e58d9b97.jpg","绢本,设色","22.3x20.7",[41],105,2,{"id":66,"slug":67,"title":68,"dynasty":69,"author":70,"museum":71,"description":72,"tags":73,"thumbUrl":83,"material":60,"size":84,"collection":40,"collections":85,"showCount":86,"zanCount":87,"manualWeight":11,"mainColor":44},219618,"bai-chi-wu-tong-tu-zhao-meng-fu-219618","百尺梧桐图","元","赵孟頫","上海博物馆","此作以淡逸青绿晕染出林下幽居之景，古木荫蔽临水轩馆，主人凭案静坐，似在沉湎遐思，侧室侍童悄然研墨，檐下光影清和。篱桥婉转接引溪岸，携琴小童缓步入园，将访友雅事暗藏画中。\n笔致清简柔润，设色浅淡雅致，无浓艳堆砌，只以平和色调晕染出草木山石的温润质感，将文人幽居的恬然意趣尽数铺展。画面不见喧嚣，只余林下静穆闲雅，把文人心中的隐逸栖居，定格成一段安然自持的慢时光，淡韵悠长，余味清远。",[24,26,25,74,75,27,76,29,7,77,32,78,79,80,81,82],"文人画","梧桐","亭","山石","栏杆","建筑","地面","栅栏","远人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b0d2d1313c377cfccc6bd8b50026170.jpg","29.5x59.7厘米",[40],101,1,{"id":89,"slug":90,"title":91,"dynasty":18,"author":19,"museum":20,"description":92,"tags":93,"thumbUrl":94,"material":60,"size":95,"collection":40,"collections":96,"showCount":97,"zanCount":64,"manualWeight":11,"mainColor":44},218923,"ba-da-chun-you-tu-zhao-nie-218923","八达春游图","画中有八位骑马的贵族，园中的草木都呈现出新绿，马儿轻盈地踏着，显示出春日郊游的愉快气氛。马匹、树木和岩石的笔触细腻精致，超越了唐朝和五代，与北宋的风格相似。",[23,54,24,55,25,26,27,28,29,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07199252c59d7bfa0a3af33b99ab6823.jpg","161.9x102",[40],87,{"id":99,"slug":100,"title":48,"dynasty":69,"author":101,"museum":102,"description":103,"tags":104,"thumbUrl":112,"material":60,"size":113,"collection":40,"collections":114,"showCount":115,"zanCount":11,"manualWeight":11,"mainColor":44},218312,"ying-xi-tu-han-cheng-218312","韩晟","美国大都会艺术博物馆","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。",[24,55,26,25,105,27,106,107,76,108,29,109,110,111,7],"界画","孩童","楼阁","庭院","盆栽","桌椅","玩具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3189fe2b51b76e3feedecd63c68921ed.jpg","139.4x76.2",[40],83,{"id":117,"slug":118,"title":119,"dynasty":120,"author":121,"museum":51,"description":122,"tags":123,"thumbUrl":137,"material":138,"size":139,"collection":140,"collections":141,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":44},225700,"sha-mo-zhong-de-sheng-fang-ji-ge-qiao-fan-ni-bei-li-ni-225700","沙漠中的圣方济各","不详","乔凡尼·贝利尼","乔凡尼·贝利尼，（Giovanni Bellini， 1430—1516）意大利威尼斯画派画家。代表作品有《在花园里苦恼》，《小树与圣母像》，《诸神之宴》等。",[124,125,126,26,27,127,29,79,128,129,130,7,32,131,132,133,134,135,136],"油画","宗教","写实","岩石","牛","天空","洞穴","远山","峭壁","枯木","绿植","村庄","城堡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26cc60d2e59375840eec3fddb295d915.jpg","未知","Xcm*Xcm","油画精选",[140],67,{"id":144,"slug":145,"title":146,"dynasty":69,"author":147,"museum":20,"description":148,"tags":149,"thumbUrl":150,"material":60,"size":151,"collection":40,"collections":152,"showCount":153,"zanCount":87,"manualWeight":11,"mainColor":44},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。",[23,24,55,25,26,27,106,57,7,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2316fbe648f0293f1ca11463ab959048.jpg","111.4x62.8厘米",[40],49,{"id":155,"slug":156,"title":157,"dynasty":158,"author":159,"museum":20,"description":160,"tags":161,"thumbUrl":180,"material":181,"size":182,"collection":183,"collections":184,"showCount":185,"zanCount":186,"manualWeight":11,"mainColor":187},223096,"zi-guang-ge-ci-yan-tu-juan-yao-wen-han-223096","紫光阁赐宴图卷","清","姚文瀚","乾隆二十五年（1761年），紫光阁修缮完成，乾隆下旨将平定准部、回部的100名功臣画像张悬于四壁。次年正月，乾隆皇帝又在此设庆功宴，王公贵族、文武大臣、蒙古族首领以及西征将士百余人出席。此幅描绘了当时宴庆的宏大场面。图中建筑借助西洋绘画手法而沿用中国画传统的手卷形式来表现。位于中南海内的紫光阁始建于明代，到清代成为皇帝阅射和殿试武举之所，乾隆时重修，至今依然保持着当年盛世的形貌，图画中之建筑与紫光阁实景两相对照，饶有情趣。",[23,25,26,105,27,107,162,29,163,164,165,108,166,167,168,169,170,171,172,173,174,175,176,177,178,179,7],"飞鸟","旗帜","帐篷","队列","宫殿式建筑","仪仗","人群","冬季树木","建筑群","台阶","红色服饰","蓝色服饰","黄色帐篷","落叶树","常绿树","旗帜飘扬","飞鸟群","平台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb785c231aa7f19856cb11465734c15e7.jpg","绢本，设色","纵45.7厘米，横486.5厘米","",[],45,4,"BDBDBD",{"id":189,"slug":190,"title":191,"dynasty":120,"author":192,"museum":51,"description":193,"tags":194,"thumbUrl":207,"material":138,"size":139,"collection":140,"collections":208,"showCount":209,"zanCount":11,"manualWeight":11,"mainColor":44},225819,"small-pear-tree-in-blossom-april-fan-gao-225819","Small pear tree in blossom (April - )","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。",[124,195,196,197,198,26,199,200,201,202,7,203,79,204,205,206],"后印象派","厚涂技法","色彩明快","笔触奔放","开花的梨树","枝干","白色花朵","小径","背景树木","土地","木桩","春季景象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe25f0c7734775190e16aca4cfd79954c.jpg",[140],36,{"id":211,"slug":212,"title":213,"dynasty":158,"author":214,"museum":215,"description":216,"tags":217,"thumbUrl":223,"material":36,"size":224,"collection":183,"collections":225,"showCount":209,"zanCount":11,"manualWeight":11,"mainColor":187},223077,"hong-lou-meng-63-sun-wen-223077","红楼梦63","孙温","旅顺博物馆","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[23,25,26,105,27,107,77,29,218,108,219,7,220,221,222],"芭蕉","马匹","流水","山水","古建","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6287c52639c4ee11c3285d5cf2df0f6d.jpg","纵43.3厘米、横76.5厘米",[],{"id":227,"slug":228,"title":229,"dynasty":158,"author":214,"museum":215,"description":216,"tags":230,"thumbUrl":233,"material":36,"size":224,"collection":183,"collections":234,"showCount":235,"zanCount":87,"manualWeight":11,"mainColor":236},222946,"hong-lou-meng-71-sun-wen-222946","红楼梦71",[23,231,24,55,25,26,27,107,108,29,167,232,7,54],"清代","车驾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ecb36ad56431b384b69b7fe4089a44e.jpg",[],28,"F48FB1",{"id":238,"slug":239,"title":240,"dynasty":158,"author":214,"museum":215,"description":216,"tags":241,"thumbUrl":249,"material":36,"size":224,"collection":183,"collections":250,"showCount":251,"zanCount":11,"manualWeight":11,"mainColor":187},222956,"hong-lou-meng-81-sun-wen-222956","红楼梦81",[23,54,24,55,25,26,242,107,27,243,244,245,246,29,78,131,79,108,247,30,77,7,179,248],"亭台","水","荷花","荷叶","湖面","水榭","工笔重彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feac0e81cb3119ae54f2e3390d79b514f.jpg",[],26,{"id":253,"slug":254,"title":255,"dynasty":49,"author":256,"museum":20,"description":257,"tags":258,"thumbUrl":262,"material":263,"size":264,"collection":183,"collections":265,"showCount":266,"zanCount":11,"manualWeight":11,"mainColor":187},218502,"gui-qu-lai-ci-juan-3-li-gong-lin-218502","归去来辞卷3","李公麟","疏篱围起一方清雅天地，茅棚依栏而立，老松虬枝盘曲如篆，太湖石皱透玲珑。妇人身着素衣缓行，孩童携犬嬉逐，门边人影悠然，日常烟火里藏着隐者的闲逸。线条以铁线勾勒，劲挺中含婉转，衣袂飘举、草木摇曳、石之肌理皆由简笔传神。无浓墨重彩，却将“归去来”的田园意趣融于方寸：松风轻拂，篱边菊影隐约，每一笔都似在诉说归隐的自在，让人心生向往，暂忘尘劳。",[54,24,55,259,260,261,27,31,57,76,7],"长卷","白描","水墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F310ccca3ea5f557f9aff9658855db2aa.jpg","纸本,水墨","34x898.8",[],22,{"id":268,"slug":269,"title":270,"dynasty":120,"author":192,"museum":51,"description":193,"tags":271,"thumbUrl":280,"material":138,"size":139,"collection":140,"collections":281,"showCount":282,"zanCount":11,"manualWeight":11,"mainColor":187},225735,"de-heuvel-van-montmartre-met-steengroeve-fan-gao-225735","De heuvel van Montmartre met steengroeve",[124,195,272,273,274,275,27,7,276,32,129,277,278,279,204,29],"厚涂","山坡","风车","房屋","采石场","小路","木栅栏","石块","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F774e03ff0fe13bdf430a25b8a0496e9a.jpg",[140],20,{"id":284,"slug":285,"title":286,"dynasty":120,"author":50,"museum":51,"description":287,"tags":288,"thumbUrl":290,"material":138,"size":139,"collection":183,"collections":291,"showCount":292,"zanCount":11,"manualWeight":11,"mainColor":44},231709,"lian-cang-shi-dai-tian-gou-cao-zhi-hua-juan-dong-si-ti-hu-si-juan-yi-ming-231709","镰仓时代 天狗草纸画卷-东寺醍醐寺卷","这幅淡彩界画长卷以平远视角铺展古寺全景，工致勾勒出朱红深褐的殿宇院墙，与青绿浅赭的丘林水色相融，古雅清寂。苍松错落点缀寺畔林麓，桥宇台阁排布严整，尽显伽蓝规制的肃穆雅致。配题书法端稳沉静，与界画的工细营造呼应，将古寺的清幽禅意与山林水景织为一卷，还原出古寺隐于林泉的澹然风貌，晕染出沉静古朴的宗教绘卷质感。",[23,24,55,259,26,105,25,125,107,289,220,76,221,29,77,7,79],"小桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86233f6d563f2506979f6ec094ee2458.jpg",[],19,{"id":294,"slug":295,"title":296,"dynasty":49,"author":50,"museum":71,"description":297,"tags":298,"thumbUrl":303,"material":60,"size":183,"collection":304,"collections":305,"showCount":292,"zanCount":11,"manualWeight":11,"mainColor":44},219262,"xie-sheng-si-duan-tu-yi-ming-219262","写生四段图","四段景致各蕴生机。首段猫卧石边，茸毛细腻如绒，石肌理古拙苍然，静中藏韵；中段数兽嬉游郊野，或低啮青草，或昂首顾盼，姿态鲜活，野趣盎然；末段枯槎疏竹旁，禽鸟栖止，枝干虬曲见骨，笔墨简淡却传物之神；最末猫踞笼畔，犬趋前欲动，笼栅细劲入微，猫狗情态宛然，尽得生活意趣。全卷以写生之笔摹万物，线条精准，墨色层次有致，于细节处显匠心，足见写实功力之深。",[23,24,54,55,25,26,299,128,28,300,301,31,57,302,7],"写生","猫","兽","竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F901bd7646e4d18c3736a30353ef0db54.jpg","花鸟画精选",[304],{"id":307,"slug":308,"title":309,"dynasty":120,"author":50,"museum":51,"description":310,"tags":311,"thumbUrl":318,"material":138,"size":139,"collection":183,"collections":319,"showCount":320,"zanCount":11,"manualWeight":11,"mainColor":44},231643,"shi-ting-shi-dai-jiu-tu-ping-feng-di-1-ping-yi-ming-231643","室町时代 厩图屏风第1屏","左侧林园寒梅绽雪，仙鹤临水伫立，石畔流泉衬出幽寂古雅的闲趣。右侧厩房内，仕女团坐低语，栏中骏马昂首腾跃，仆从正打理鞍辔，将宅邸日常的烟火气静静铺展。\n\n古旧柔和的色调晕开岁月的质感，细腻线条勾勒出骏马的矫健昂扬与仕女的温婉神态，将林泉雅致与俗世日常相融，动静交织，晕染出旧日宅邸里平和悠然的浮生图景，藏着沉缓静谧的古韵意趣。",[24,26,25,312,28,27,313,314,220,289,79,108,29,315,316,301,317,7,32],"屏风","鹤","梅","云","鸟","小孩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bdcb98befae1e2d016d8577385a6c21.jpg",[],17,{"id":322,"slug":323,"title":324,"dynasty":120,"author":192,"museum":51,"description":193,"tags":325,"thumbUrl":330,"material":138,"size":139,"collection":140,"collections":331,"showCount":332,"zanCount":11,"manualWeight":11,"mainColor":187},225780,"montmartre-behind-the-moulin-de-la-galette-july-fan-gao-225780","Montmartre behind the Moulin de la Galette (July - )",[124,195,326,327,273,7,328,329,129],"风景画","郊外","民居","城市景观","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8424aabc659af15ecff51851a873f79f.jpg",[140],15,{"id":334,"slug":335,"title":336,"dynasty":120,"author":337,"museum":51,"description":338,"tags":339,"thumbUrl":348,"material":36,"size":139,"collection":183,"collections":349,"showCount":350,"zanCount":11,"manualWeight":11,"mainColor":44},230562,"shi-liu-luo-han-xiang-02-jia-nuo-jia-fa-cuo-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230562","十六罗汉像02迦诺迦伐磋尊者","平安时代 十六罗汉像","罗汉乃阿罗汉一词之略称，是指断除一切烦恼、证得修行最高果位，堪受世间大众供养的佛弟子或证见正理之圣者。释迦的十六位高徒，亦即罗汉，据说在释迦决意入涅盘之际，承佛命永住世间、普渡众生，并于各地护持弘扬佛法",[23,24,55,340,125,26,25,27,341,342,7,77,343,344,345,346,347],"立轴","荷","池塘","供桌","香炉","罗汉","信徒","传统服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff739efe7b9fa05345c1d6d721ac69f85.jpg",[],10,{"id":352,"slug":353,"title":354,"dynasty":158,"author":355,"museum":51,"description":356,"tags":357,"thumbUrl":363,"material":183,"size":183,"collection":183,"collections":364,"showCount":365,"zanCount":11,"manualWeight":11,"mainColor":187},238236,"shan-jing-ri-zhang-tu-ce-zhang-yu-sen-238236","山静日长图册","张雨森","张雨霖，初名雨，字作霖，一字紫琅，号苍野，安徽当涂人，经子，工山水，得文家风韵。善泼墨，惜用墨皆渗以胶。亦善画花鸟。乾隆时曾供奉内廷。乾隆时供奉内廷，乾隆帝题其《山水图》有“悬之高堂六月凉，助我清兴生吟席”句，又题其《仿沈周山水图》“吴中沈周清狂客，雨森笔似人亦肖”句。画迹有摹燕文贵《江干雪霁图》卷，著录于《石渠宝笈初编》。",[24,26,25,358,359,221,27,29,77,360,361,362,7],"皴法","册","云雾","屋舍","水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f187a6ca9912a53c11940667530eaea.jpg",[],8,{"id":367,"slug":368,"title":369,"dynasty":120,"author":192,"museum":51,"description":193,"tags":370,"thumbUrl":383,"material":138,"size":139,"collection":140,"collections":384,"showCount":365,"zanCount":11,"manualWeight":11,"mainColor":44},225850,"the-sheep-shearer-after-millet-september-fan-gao-225850","The sheep-shearer (after Millet) (September - )",[124,195,272,371,27,372,373,374,7,375,204,376,377,378,379,380,381,382,198],"临摹","羊","木桶","茅草屋顶","乡村场景","劳作场景","色彩浓郁","笔触粗旷","户外场景","茅草屋","乡村劳作","色彩鲜明","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71dd3a106d36dd0604250557c66fc685.jpg",[140],{"id":386,"slug":387,"title":388,"dynasty":158,"author":50,"museum":389,"description":390,"tags":391,"thumbUrl":395,"material":396,"size":397,"collection":183,"collections":398,"showCount":399,"zanCount":11,"manualWeight":11,"mainColor":44},234900,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234900","唐岱小园闲咏图册","北京故宫博物院","唐岱（1673—1752后），字毓东，号静岩，又号默庄，满洲正蓝旗人。康熙中以荫官参领。从王原祁学画，丘壑似王原祁，远宗宋人，“泼墨淋漓，气韵生动”。康熙后期常将其召入宫中作画，品题其画为当时第一手，赐称“画状元”。\n第一开：曲径通幽。对开题：“为隔尘氛远，应怜曲径长。迂回山势抱，逦迤竹垣藏。鹤歩苔痕合，春归花气香。板桥流水外，别有读书堂。”\n第二开：芳屿围棋。对开题：“乘兴步芳屿，逍遥任所之。已看苔作席，最爱柳成帷。漫煮蒙溪茗，闲抛赌墅棋。东山称盛事，吟望寄遐思。”\n第三开：桃溪步履。对开题：“山桃开也未，杖策试探寻。好景春来遍，芳溪曲处深。明霞千树叠，傍水一枝临。何必武陵路，随缘物外心。”\n第四开：竹坞春深。对开题：“闲过山坞里，粉脱见新篁。劲节当春绿，踈竿泛籁长。萧骚寒雨夜，彷佛辋川庄。不肯裁为管，无劳引凤凰。”\n第五开：芳港闻莺。对开题：“春色堂堂去，莺声恰恰来。缗蛮听处涩，风景暗中催。长日慵摊饭，新缸喜拨醅。笙簧随分有，何必舞三台。”\n第六开：春湖涵碧。对开题：“碧水漾平湖，空明一镜铺。须眉应可鉴，尘壤杳然无。点点浮青荇，双双下白鳬。春风浴沂水，视此意何殊。”\n第七开：石坂烹云。对开题：“敲火乌卿炽，烹云玉液清。龙团曾未点，鱼目已旋生。漫说肠堪润，应知眼倍眀。披襟成小啜，孤鹤一声鸣。”\n第八开：广厦冰壶。对开题：“天伏三庚永，堂开六月凉。深深屏隔暑，叠叠簟含霜。底事挥纨扇，无劳问蔗浆。冰壶供坐卧，乐意自相忘。”\n第九开：镜水荷香。对开题：“半夜芙蓉雨，三间水月楼。清香随处度，风景一时收。干密妨鱼跃，花深隐鹭游。诗情频入座，不必问渔舟。”\n第十开：月楼夕幌。对开题：“雨洗尘氛静，天空花鸟闲。月楼开一面，夕幌卷千山。牧笛耳边过，征鸿眼里还。桂香依旧发，付与阿谁攀。”\n第十一开：兰桡独钓。对开题：“秋湖鱼怯饵，把钓事如何。绿水一竿竹，清风几领簑。蒹葭尘外老，星月个中多。夜静独归去，清光挂女萝。”\n第十二开：竹篱鹤歩。对开题：“结社松为宅，看家鹤守门。偏知人客至，不负稻粱恩。宿月精神古，梳风毛羽繁。由来好僮仆，不必贵乘轩。”\n第十三开：芦岸秋晴。对开题：“秋色知多少，芦花尽白头。战风摇夕浦，饮露亚寒洲。生意知将谢，随时未肯休。苍茫烟水里，好去弄扁舟。”\n第十四开：板桥霜迹。对开题：“隔溪亭子迥，为架板桥通。秋老碧天白，寒流枫叶红。卷帘吟夜月，着屐歩霜风。爱此双双迹，扶笻过水东。”\n第十五开：雪径梅姿。画心左下款署“唐岱恭画”。对开题：“四时花木足，最喜是园梅。傲雪三冬里，因风几朵开。清香流玉骨，冷润滴氷腮。独有幽人赏，巡檐杖策来。右《小园闲咏》十五首，雍正乙卯夏五月，宝亲王长春居士著”。梁诗正谨书。",[24,55,359,26,221,392,393,77,29,27,275,7,394],"行书","印章","路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b1a7a2b025cd86472bf7005b6c04389.jpg","绢本设色","25.7×33厘米",[],7,{"id":401,"slug":402,"title":403,"dynasty":120,"author":404,"museum":51,"description":405,"tags":406,"thumbUrl":413,"material":138,"size":139,"collection":183,"collections":414,"showCount":399,"zanCount":11,"manualWeight":11,"mainColor":44},231968,"the-curtain-de-jia-231968","The Curtain","德加","埃德加·德加（Edgar Degas，1834年7月19日—1917年9月27日），印象派重要画家。他出身于金融资本家的家庭，他的祖父是个画家，因此他从小就生长在一个非常关心艺术的家庭中。\n中学毕业后，德加报考了美术学校，他在意大利学习意大利的艺术，特别是文艺复兴时期的艺术。与此同时，他又在让-奥古斯特·多米尼克·安格尔（Jean-Suguste Dominique Ingres，1780-1867）的一位得意门生路易·拉莫特（Louis Lamott）的画室里学画。\n1917年9月27日，埃德加·德加逝世于巴黎，享年83岁。",[407,124,408,409,27,410,127,411,7,412],"印象派","光影","笔触","大树","沙地","户外","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aa81b46c94df965779f5e0f770efdd6.jpg",[],{"id":416,"slug":417,"title":418,"dynasty":158,"author":50,"museum":51,"description":419,"tags":420,"thumbUrl":424,"material":138,"size":139,"collection":183,"collections":425,"showCount":426,"zanCount":11,"manualWeight":11,"mainColor":187},258742,"jia-qing-kuan-fen-cai-ying-xi-tu-shuang-er-pie-kou-ping-yi-ming-258742","嘉庆款粉彩婴戏图双耳撇口瓶","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[421,422,26,27,58,29,7,423],"陶瓷","粉彩","双耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61218404f311366492a9e8bb6a1cf70e.jpg",[],6,{"id":428,"slug":429,"title":430,"dynasty":158,"author":431,"museum":51,"description":432,"tags":433,"thumbUrl":435,"material":183,"size":183,"collection":183,"collections":436,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":187},235079,"shan-shui-tu-ce-hua-yan-235079","山水图册","华嵒","此作取平远小景，几株清松瘦劲挺拔，荫蔽茅舍矮篱，空庭静立，浅坡覆着细草，淡墨晕染出幽寂的秋日郊野。笔致松秀简淡，以干笔轻皴，略施淡墨晕染，全然舍去浓丽设色，只以素净笔墨勾勒出萧散清旷的意境。左侧题诗与画境相合，诗画共生，将幽居的闲静隐逸融入山水之间。整体无繁复铺陈，于极简布景中尽显文人画淡泊清远的意趣，淡而有味，简中见深，把寄情丘壑的隐逸心境铺陈在尺幅之中，是意韵悠长的山水小品佳作。",[24,55,359,261,260,221,29,434,77,7],"小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e8b2b5a55526836adfcf20b9553f596.jpg",[],{"id":438,"slug":439,"title":440,"dynasty":120,"author":50,"museum":51,"description":441,"tags":442,"thumbUrl":445,"material":138,"size":139,"collection":183,"collections":446,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":187},225459,"fu-shi-hui-217-yi-ming-225459","浮世绘217","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[443,26,25,444,314,31,29,7,32],"浮世绘","美人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029ea63e601dc52690012371a9edbaa5.jpg",[],{"id":448,"slug":449,"title":450,"dynasty":49,"author":50,"museum":51,"description":451,"tags":452,"thumbUrl":456,"material":183,"size":183,"collection":183,"collections":457,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":187},223601,"qiu-tang-ke-hua-tu-yi-ming-223601","秋堂客话图","此作用笔苍秀，以浓淡晕染铺就秋意萧疏的林泉之境。深翳林木环绕茅堂，两位雅客对坐晤谈，神态悠然自在，尽显林下清谈的幽闲意趣。\n\n画作以水墨写就，林木层叠错落，墨色浓淡交织，将秋日林野的沉静空寂烘托尽致，以景衬情，把文人寄情丘壑、畅叙襟怀的雅兴融于尺幅间，尽显内敛雅致的韵味，幽静淡远的氛围扑面而来，恍若能聆听到堂中清谈，踏入这方隐逸闲雅的林下天地。",[23,24,55,261,25,358,27,29,77,108,434,453,454,455,7],"书法","题跋","老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb273ed093f60030063c809dadd5b9fc3.jpg",[],{"id":459,"slug":460,"title":461,"dynasty":158,"author":462,"museum":389,"description":463,"tags":464,"thumbUrl":467,"material":183,"size":468,"collection":183,"collections":469,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":187},223193,"geng-zhi-tu-ce-jiao-bing-zhen-223193","耕织图册","焦秉贞","《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。",[25,26,105,27,275,29,108,7,465,466],"坡地","田园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca084f29b8dd14d8d72bab984dcd4762.jpg","34.7cm×27.7cm",[],{"id":471,"slug":472,"title":473,"dynasty":158,"author":50,"museum":51,"description":474,"tags":475,"thumbUrl":482,"material":138,"size":139,"collection":183,"collections":483,"showCount":186,"zanCount":11,"manualWeight":11,"mainColor":187},272875,"zi-tan-mu-bian-xiu-shan-shui-ren-wu-tu-gua-ping-yi-ming-272875","紫檀木边绣山水人物图挂屏","此件绣屏以米黄素绫为地，构图疏朗清寂。左侧奇石叠翠，苍树繁叶以细密针脚绣就，晕染出深浅绿意。凭栏雅士衣袂翩然，静静远眺烟水汀洲，水鹤轻掠平湖，尽绘幽居林下的淡远闲情。\n绣法精妙写实，山石以渐变蓝调施针皴染出层叠肌理，人物衣褶灵动自然。右上绣题诗文，与画意呼应，点明隐逸林下的雅趣。木框錾刻回纹吉饰，烘托古雅沉静氛围。将文人山水的清冷意韵，以丝绒针线晕染勾勒，尽显清代绣画融诗入景的雅致格调，把幽居闲情藏进一针一线之中。",[476,477,55,26,221,27,29,77,162,478,7,479,480,453,481],"挂屏","刺绣","水面","木质","布料","宁静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48537f1ffe69a9839d89a88c0e05966e.jpg",[],{"id":485,"slug":486,"title":487,"dynasty":158,"author":50,"museum":51,"description":488,"tags":489,"thumbUrl":493,"material":138,"size":139,"collection":183,"collections":494,"showCount":186,"zanCount":11,"manualWeight":11,"mainColor":495},262026,"fen-cai-ren-wu-hong-fu-wen-ling-dang-bei-yi-ming-262026","粉彩人物红蝠纹铃铛杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[421,490,422,26,27,491,492,29,7],"饮酒器","红蝠","假山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb79dd187699c09aa6715082a08ea96c.jpg",[],"37474F",{"id":497,"slug":498,"title":461,"dynasty":158,"author":462,"museum":389,"description":463,"tags":499,"thumbUrl":502,"material":183,"size":468,"collection":183,"collections":503,"showCount":186,"zanCount":11,"manualWeight":11,"mainColor":187},223196,"geng-zhi-tu-ce-jiao-bing-zhen-223196",[24,54,25,26,27,500,108,79,29,7,77,202,501],"仕女","生活场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F523f86336723184b4479d2e271f18ad5.jpg",[],{"id":505,"slug":506,"title":461,"dynasty":158,"author":462,"museum":389,"description":463,"tags":507,"thumbUrl":508,"material":183,"size":468,"collection":183,"collections":509,"showCount":186,"zanCount":11,"manualWeight":11,"mainColor":44},223192,"geng-zhi-tu-ce-jiao-bing-zhen-223192",[24,54,25,26,359,27,107,162,29,7,221],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f0bd9b57a22b589baf9dfc5ec8d4ecd.jpg",[],{"id":511,"slug":512,"title":513,"dynasty":158,"author":50,"museum":51,"description":514,"tags":515,"thumbUrl":520,"material":138,"size":139,"collection":183,"collections":521,"showCount":522,"zanCount":11,"manualWeight":11,"mainColor":187},270195,"juan-hua-shi-zi-tu-mian-gu-bing-tuan-shan-yi-ming-270195","绢画狮子图面骨柄团扇","这柄团扇绘作雅致温婉，画面主角小犬憨态可掬，白棕毛发工细入微，丝丝蓬松柔润，将绒软质感表现得淋漓尽致。它驻足茵茸草地，昂首侧目，娇憨灵动的神态跃然绢上。远景晕染出淡渺天色，低矮蓝围栏旁点缀粉花柔枝，柔妍清雅，衬得庭院小景愈发悠然闲适。扇骨雕花镂空，垂系朱红绳坠，更添雅致工艺美感。\n整体设色柔和明润，工笔写实间带着日常闲趣，将深闺庭院里的悠然瞬间定格，把宠物娇憨情态描摹入微，是兼具赏用之美的小品佳物，藏着旧时庭院的松弛意趣。",[516,517,25,26,301,518,519,32,7],"扇面","绢画","犬","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9289f193823a490b0bfd55db843768ba.jpg",[],3,{"id":524,"slug":525,"title":526,"dynasty":120,"author":50,"museum":51,"description":527,"tags":528,"thumbUrl":530,"material":138,"size":139,"collection":183,"collections":531,"showCount":522,"zanCount":11,"manualWeight":11,"mainColor":187},231777,"fu-fu-cao-zi-hui-juan-wei-shan-zheng-zhen-mo-yi-ming-231777","福富草子绘卷 维山正祯模","此作是典型日式草子绘卷，以长卷铺陈起承转合的场景。开篇朱红栏畔，老僧与席地老者对坐，栏外禽鸟栖于枯梅枝，静穆禅意扑面而来。转而向右便踏入鲜活市井：赤膊挑担的役夫疾步赶路、戴斗笠的行旅悄然独行、稚童嬉闹玩趣，将江户世情百态藏于笔底。\n\n整体线条简逸灵动，淡彩平涂尽显克制雅致，将出世禅意与入世烟火巧妙并置，既有大和绘的古朴质感，又以草子绘的叙事性，在浅墨柔色间晕开日式侘寂之美，藏着旧时东瀛的日常意趣。",[23,26,371,453,259,27,57,7,529],"鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4fe5a2b1ce5d8b91da2b169f5106f98.jpg",[],{"id":533,"slug":534,"title":461,"dynasty":158,"author":535,"museum":51,"description":536,"tags":537,"thumbUrl":541,"material":138,"size":139,"collection":183,"collections":542,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":187},238443,"geng-zhi-tu-ce-mian-yi-238443","绵亿","绵亿（1764年9月10日－1815年4月14日），直隶省顺天府大兴县（今北京市）人，清高宗弘历之孙，荣纯亲王永琪第五子，母侧福晋索绰罗氏，左都御使观保之女。",[24,55,54,359,26,25,105,27,107,76,29,108,538,539,540,7],"纺车","鼓","石阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F542cf41f415157a3561c8340f07c95a7.jpg",[],{"id":544,"slug":545,"title":546,"dynasty":120,"author":50,"museum":51,"description":547,"tags":548,"thumbUrl":554,"material":138,"size":139,"collection":183,"collections":555,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":44},289102,"jean-de-mosthe-ne-dugourc-figures-in-a-garden-yi-ming-289102","Jean Démosthène Dugourc--Figures in a Garden","澄澈云空晕开柔淡天光，将这片乡野园林晕染成松弛的闲雅梦境。左侧半木构小屋朴拙可爱，园丁推着独轮车与廊下绅士低语，将劳作揉进日常松弛里。\n\n围栏分隔出两处天地，露台淑女们凭栏慵坐，衣袂舒展如同揉碎的月光，把贵族式闲散融在花木清芬之间。草木枝叶晕染出深浅层次，风穿过树梢，将烟火气与优雅温柔衔接，把旧日乡居的悠然日常，定格成一首舒缓的田园小诗，处处漫溢出松弛慵懒的旧时光气息。",[124,549,27,550,29,7,551,552,553,79,412],"花园","木屋","家犬","晴空","闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3def321d26b1c2e1bf8d13c4dade06a.jpg",[],{"id":557,"slug":558,"title":559,"dynasty":120,"author":50,"museum":51,"description":560,"tags":561,"thumbUrl":564,"material":138,"size":139,"collection":183,"collections":565,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":187},288598,"attributed-to-francesco-allegrini-landscape-with-a-fortified-building-yi-ming-288598","attributed to Francesco Allegrini--Landscape with a Fortified Building","枯涩的墨线勾画出塔楼粗粝的轮廓，冷峻的防御感跃然纸面。白墙建筑依偎着塔楼，在晕染的墨色植被中半隐半现。作者以酣畅的晕染铺陈阴影，随性的笔触扫过郊野植被，明暗错落间，郊野的荒疏静谧扑面而来。\n\n没有精雕细琢的描摹，只以写意的笔调定格旅途偶遇的片刻，浓淡变幻的墨色在纸面晕开松弛的氛围感，将建筑的厚重质感与郊野的野趣柔和相融，仿佛能窥见古堡沉眠的慵懒午后，质朴的写生笔触里藏着鲜活的临场感。",[326,562,275,7,29,563,261],"塔楼","速写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddba33016c30440a337b36e3b3e6f71e.jpg",[],{"id":567,"slug":568,"title":569,"dynasty":570,"author":50,"museum":51,"description":571,"tags":572,"thumbUrl":576,"material":138,"size":139,"collection":183,"collections":577,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":44},253076,"tao-zhu-quan-yi-ming-253076","陶猪圈","汉","汉代陶器的工艺水平很高,造型优美,质地精良。品种、装饰则因地区不同而不同。陕西关中地区常见的日用陶器有豆、 盆、筒杯、勺、盘、缸、甑、 釜、小壶、扁壶、茧形壶、钵、罐、钟、碗等。明器包括礼器鼎和模型明器仓、陶囤以及各种动物形象。纹饰多为变形回纹、三角纹和窝纹。陕西潼关以东地区人们的日常用陶，以灰陶为主，有罐、 壶、碗、勺、筒杯、 瓮、盒、洗、甑、釜、杯、盘、尊等。在汉代流行起来的生活用具模型，如仓、 炉、 灶、井等。大都作为明器供随葬之用。盒、盘、案、杯等，逐渐成组出现，为适应人们厚葬之需也成为祭器。猪、羊、狗、鸡等家畜家禽及圈舍、住宅等明器模型也大量流行。装饰则有弦纹、刻划的三角纹、连环纹、栉齿纹和动物纹，还有绳纹、拍印纹、模印、浮雕、涂色和彩绘等。南方的长沙地区，制陶工艺自成体系，陶盒使用普遍，陶壶无盖，鼎的三足成矮胖的兽蹄形，其他实用器皿还有壶、罐、碗、钫、、盆、釜、甑、长方炉、博山炉等。特点是坚硬厚重。殉葬明器有灶、仓、井、屋、猪圈模型等。广东地区秦汉时属南海郡，常用陶器有瓮、双耳罐、提、四联罐和五联罐、瓿、小瓿、壶、匏壶、温壶、钫、 盒、敦、 小盒、三足盒、三足罐、三足瓿、四联盒、 碗、盆、 甑、釜、鼎、豆、三足格盒等。生活用具中灰白色的印纹硬陶占多数， 有的还戳上印记，多为容器，炊器只有釜、 鼎、甑 3种。造型特别的三足器、温壶、匏壶有着明显的地方特点。印纹硬陶很讲究装饰，单是几何图案就达70多种，此外还有弦纹、 陶纹、 镂孔、篦纹及文字记号等。明器上多施彩绘。四川云南等也有自己的制陶业，不少作品和中原地区相似，如圆底釜、侈口束颈、鼓腹的壶等。关中地区流行的茧形壶虽不生产，确有发现。舞蹈俑、说书俑、抚琴俑、听琴俑、侍立俑和各类家禽形象，生动优美，自然写实。",[573,421,574,275,171,7,575],"汉代","雕刻","圈舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17596f26dfb016240c19885f24318f79.jpg",[],{"id":579,"slug":580,"title":581,"dynasty":158,"author":535,"museum":51,"description":536,"tags":582,"thumbUrl":586,"material":138,"size":139,"collection":183,"collections":587,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":187},238457,"mian-yi-mian-hua-tu-ce-mian-yi-238457","绵亿棉花图册",[24,55,359,26,25,27,275,7,108,289,220,76,583,584,466,376,585],"竹子","农具","织物加工","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9039c794c6789c404ba79bc666ba360a.jpg",[],{"id":589,"slug":590,"title":591,"dynasty":158,"author":592,"museum":51,"description":593,"tags":594,"thumbUrl":596,"material":138,"size":139,"collection":183,"collections":597,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":187},236947,"jiu-ru-zhi-ji-ce-wang-gai-236947","九如治迹册","王概","王概，又作王槩。初名匄，一作改，亦名丐，字东郭，又字安节，后改今名，秀水（今浙江嘉兴）人，久居江苏金陵（今南京）。兄王蓍，初名尸，字宓草。以花鸟擅名，兼善诗文、治印。",[24,55,359,26,25,27,107,108,29,171,7,453,595],"楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd098e1b0c8f23343c72a75e29f3ea28b.jpg",[],{"id":599,"slug":600,"title":601,"dynasty":158,"author":50,"museum":51,"description":602,"tags":603,"thumbUrl":618,"material":183,"size":183,"collection":183,"collections":619,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":187},238610,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238610","平定两金川得胜图册","这幅全景铜版画以环形营寨为核心，细密线条铺展出排布规整的帐幕，兵卒往来各司其职，操练值守、打理营务的细节清晰分明。连绵山峦环抱着战地营盘，将整座驻点框入苍茫山野间，零星驻点散落远景，呼应主寨的宏大格局。笔触冷峻写实，既复刻出征讨大军的整肃军容，也以开阔构图烘托出战事之下的雄浑气场，如实定格了平叛战事里的军营实景，兼具纪实的严谨质感与战地的厚重氛围感。",[604,605,606,164,607,29,27,163,608,77,609,610,611,612,613,614,168,615,7,616,617],"木刻","线描","军队","山峦","河流","营寨","士兵","战马","战场","山谷","植被","营帐","武器","动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60f3a3a919d8a5194982b18d8572bfca.jpg",[],1777535711428]