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July )","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。",[94,95,96,7,97,98],"油画","后印象派","城市风景","多云","都市景观","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe03cbd307a8ef793f6064f39e4616f0b.jpg","未知","Xcm*Xcm","油画精选",[102],24,{"id":106,"slug":107,"title":108,"dynasty":53,"author":109,"museum":91,"description":110,"tags":111,"thumbUrl":117,"material":69,"size":69,"collection":69,"collections":118,"showCount":119,"zanCount":120,"manualWeight":11,"mainColor":48},230326,"tai-ping-fan-hua-ba-tu-ping-yi-ming-230326","太平繁华八图屏","佚名","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。",[58,23,25,24,26,27,60,29,61,112,113,28,114,115,35,7,116],"街市","商铺","马","人群","市井","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb583024cbd59bd0b85fd149695ea82d1.jpg",[],22,2,{"id":122,"slug":123,"title":124,"dynasty":53,"author":54,"museum":55,"description":56,"tags":125,"thumbUrl":130,"material":67,"size":68,"collection":69,"collections":131,"showCount":119,"zanCount":11,"manualWeight":11,"mainColor":72},222926,"hong-lou-meng-51-sun-wen-222926","红楼梦51",[58,24,25,26,27,60,126,114,29,28,127,7,128,129],"龙","车","壁画","桃花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd7467e4bee40568e154c15ea74b0e48.jpg",[],{"id":133,"slug":134,"title":135,"dynasty":53,"author":54,"museum":55,"description":56,"tags":136,"thumbUrl":141,"material":67,"size":68,"collection":69,"collections":142,"showCount":143,"zanCount":11,"manualWeight":11,"mainColor":48},222989,"hong-lou-meng-114-sun-wen-222989","红楼梦114",[58,24,25,26,27,60,28,31,137,138,7,139,140,115],"灯笼","戏台","柱子","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9ef6afe805dc068b6715c161a207e3a.jpg",[],16,{"id":145,"slug":146,"title":147,"dynasty":89,"author":109,"museum":91,"description":148,"tags":149,"thumbUrl":152,"material":100,"size":101,"collection":69,"collections":153,"showCount":154,"zanCount":11,"manualWeight":11,"mainColor":48},231733,"jiang-hu-shi-dai-luo-zhong-luo-wai-tu-ping-feng-yi-ping-yi-ming-231733","江户时代 洛中洛外图屏风-一屏","以泥金为底晕染华贵底色，亭台楼阁错落隐于苍松翠色间，朱黛屋宇精致工丽，尽显雅致格调。整卷铺陈城邑百态：贩夫牵车穿梭街巷，雅客围坐厅堂宴饮，车马往来络绎，将市井烟火与士族闲趣交织一处。界画严整写实，屋宇建制分毫毕现，小人物亦形神兼具，把彼时城邑的鲜活世态揉入疏密错落的构图中，是复刻往昔日常、窥见旧时人情的绝佳风物长卷。",[58,25,26,24,150,27,60,29,114,28,7,151,35],"屏风","松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5c69ce062142cb26af04ff392936794.jpg",[],7,{"id":156,"slug":157,"title":158,"dynasty":89,"author":159,"museum":91,"description":160,"tags":161,"thumbUrl":173,"material":100,"size":101,"collection":102,"collections":174,"showCount":175,"zanCount":11,"manualWeight":11,"mainColor":72},225966,"la-rue-de-lepicerie-a-rouen-1892-mo-nai-225966","La Rue de lEpicerie à Rouen, 1892","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。",[162,94,163,164,165,166,167,168,169,7,170,171,172],"印象派","光影表现","笔触自由","色彩晕染","教堂塔楼","哥特式尖顶","城市建筑","街道","建筑群","城市景观","朦胧感","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd53bbf65a06785fff85100728ef14c9c.jpg",[102],6,{"id":177,"slug":178,"title":179,"dynasty":53,"author":109,"museum":180,"description":181,"tags":182,"thumbUrl":188,"material":41,"size":69,"collection":69,"collections":189,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":48},215988,"di-jian-tu-shuo-cai-hui-ben-18-yi-ming-215988","帝鉴图说彩绘本-18","法国国家图书馆","红柱支起青瓦飞檐，朱墙围合的庭院层次错落。阶前众人或躬身揖让，或垂首静候，衣袂飘飘间尽显古礼之序；门侧卫士执戟肃立，身姿挺拔，守着朝堂的威严。左下角推车人躬身前行，木轮轻转，似把尘世烟火悄悄揉进这庄重画面。画中藏“隐迹待时”之典，贤士韬光的沉静与君臣相期的期许交织，每处细节皆含深意：既有礼制的肃穆之美，亦显贤才处世的智慧，色彩明丽却不失雅致，线条细腻又藏风骨，静静铺展着古代贤士与朝堂间的微妙联结。",[23,79,25,24,26,27,60,28,183,29,127,184,185,7,186,187],"门","台阶","柱","天空","云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f6a6117e9c0933e7fd172079ffee785.jpg",[],{"id":191,"slug":192,"title":193,"dynasty":89,"author":194,"museum":91,"description":195,"tags":196,"thumbUrl":200,"material":100,"size":101,"collection":69,"collections":201,"showCount":202,"zanCount":11,"manualWeight":11,"mainColor":48},232142,"houses-at-the-foot-of-a-cliff-also-known-as-saint-valery-sur-somme-columbus-museu-de-jia-232142","Houses at the Foot of a Cliff (also known as Saint-Valery-sur-Somme) - - - Columbus Museu","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。",[94,162,25,197,7,198,199,29,186],"房屋","烟囱","山坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F680d61bbcd6c544ef36ba3d5427c03eb.jpg",[],1,{"id":204,"slug":205,"title":206,"dynasty":89,"author":109,"museum":91,"description":207,"tags":208,"thumbUrl":213,"material":100,"size":101,"collection":69,"collections":214,"showCount":202,"zanCount":11,"manualWeight":11,"mainColor":72},225492,"fu-shi-hui-250-yi-ming-225492","浮世绘250","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。",[209,25,210,27,60,151,211,212,7],"浮世绘","木刻","平台","远景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76778b4af551d3b43c6a13124673cca1.jpg",[],{"id":216,"slug":217,"title":218,"dynasty":53,"author":109,"museum":180,"description":219,"tags":220,"thumbUrl":224,"material":41,"size":69,"collection":69,"collections":225,"showCount":202,"zanCount":11,"manualWeight":11,"mainColor":48},215959,"di-jian-tu-shuo-cai-hui-ben-45-yi-ming-215959","帝鉴图说彩绘本-45","画面分境铺陈，上层殿宇朱楹碧瓦，帘幕轻垂处，人物或坐或立，似有政事相商的沉静；下层庭院青槐倚墙，稚子携犬逐戏于阶前，井栏边人影绰绰，烟火气暗浮。青绿瓦当、朱红廊柱与碧蓝檐角相映成趣，每一处窗棂的纹路、檐下的斗拱皆细致入微，工笔重彩的精致扑面而来。既见帝王生活的仪范，亦藏市井般的鲜活，浓淡之间，晕开一段生动的往昔图景。",[78,23,79,221,25,24,26,27,60,151,28,222,183,223,184,31,7],"册","犬","窗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6256aced4bf6af0cc813c92dcfa62149.jpg",[],{"id":227,"slug":228,"title":229,"dynasty":53,"author":109,"museum":180,"description":230,"tags":231,"thumbUrl":10,"material":41,"size":69,"collection":69,"collections":234,"showCount":202,"zanCount":11,"manualWeight":11,"mainColor":48},215938,"di-jian-tu-shuo-cai-hui-ben-71-yi-ming-215938","帝鉴图说彩绘本-71","庭院深几许？朱红廊柱与青绿瓦檐相映，飞檐翘角勾连天际，雕栏玉砌的石阶延伸出庄重雅致。仕女衣袂飘飘，或立廊下低语，或行阶前顾盼，侍从垂手侍立，姿态间藏着宫廷仪轨。左侧苍松倚石，绿意浸润红墙，添了几分园林清趣。色彩浓淡相宜：天蓝铺顶，朱红描柱，青绿点瓦，如铺开一卷旧梦。工笔细描处，建筑的斗拱、门窗的纹样，人物的衣褶皆清晰可辨。画面宁静典雅，既展古代宫廷女性的生活场景，又映当时的礼仪风貌，每一抹色彩都晕染着时光的风华，每一根线条都藏着岁月的温度。",[23,25,26,24,27,60,232,151,28,184,31,7,233],"亭","廊",[],{"id":236,"slug":237,"title":238,"dynasty":239,"author":109,"museum":91,"description":240,"tags":241,"thumbUrl":248,"material":100,"size":101,"collection":69,"collections":249,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":250},254704,"tao-wu-yi-ming-254704","陶屋","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。",[242,243,244,245,197,60,246,247,7],"汉代","陶塑","陶制","雕刻","建筑模型","梯子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa17de5c8dbb9665e8aa47a993de84b4b.jpg",[],"37474F",1777535724764]