[{"data":1,"prerenderedAt":110},["ShallowReactive",2],{"subject-xing-le":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},2493,"xing-le","行乐","行乐画高清赏析","精选中国历代行乐题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b6a5eb040ef3dabef1d227a5cf739a2.jpg",0,5,[14,44,67,80,97],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":36,"material":37,"size":38,"collection":39,"collections":40,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":43},222758,"shi-er-yue-ling-tu-10-yue-lang-shi-ning-222758","十二月令图（10月）","清","郎世宁","台北故宫博物院","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",[23,24,25,26,27,28,29,30,31,32,33,34,7,35],"高清","国画","工笔","设色","山水","楼阁","流水","山石","树木","竹林","人物","庭院","聚会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9ed4b72d321f7343f422af6480b67f2.jpg","绢本设色","188.2*102.2cm","山水画精选",[39,41],"设色画精选",130,"795548",{"id":45,"slug":46,"title":47,"dynasty":18,"author":48,"museum":49,"description":50,"tags":51,"thumbUrl":61,"material":62,"size":63,"collection":62,"collections":64,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":66},234388,"hong-li-sui-chao-xing-le-tu-zhou-yi-ming-234388","弘历岁朝行乐图轴","佚名","北京故宫博物院","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。",[24,26,25,52,53,27,33,28,54,31,55,34,56,57,30,58,59,7,60],"界画","立轴","亭","雪景","石阶","栏杆","建筑","积雪","宫室","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85f954ae56eb1839f49ca658db575e98.jpg","","纵305厘米，横向206厘米",[],58,"BDBDBD",{"id":68,"slug":69,"title":70,"dynasty":18,"author":19,"museum":20,"description":21,"tags":71,"thumbUrl":77,"material":37,"size":38,"collection":39,"collections":78,"showCount":79,"zanCount":11,"manualWeight":11,"mainColor":66},222765,"shi-er-yue-ling-tu-6-yue-lang-shi-ning-222765","十二月令图（6月）",[23,24,25,26,28,72,73,74,31,33,75,76,7],"水面","荷花","孤舟","纳凉","消夏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6718ccffcb0e01f60920e1c7a8481499.jpg",[39,41],48,{"id":81,"slug":82,"title":83,"dynasty":18,"author":84,"museum":85,"description":86,"tags":87,"thumbUrl":92,"material":93,"size":94,"collection":62,"collections":95,"showCount":96,"zanCount":11,"manualWeight":11,"mainColor":66},290213,"xing-le-tu-jing-xin-ding-guan-peng-290213","行乐图镜心","丁观鹏","藏地不详","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。\n丁观鹏擅长画道释人物，也善画山水。曾与弟弟观鹤同供奉于南熏殿。他的画作清宫收藏很多。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有：《摹宋人雪渔图》和《仿韩 七子过关图》，均辑入《中国历代名画集》。",[23,88,24,89,90,26,25,33,28,54,7,91],"扇面","名画","书画","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F451ce0b24dce09204b5c80da6d033aaa.jpg","未知","Xcm*Xcm",[],21,{"id":98,"slug":99,"title":100,"dynasty":101,"author":102,"museum":85,"description":103,"tags":104,"thumbUrl":107,"material":93,"size":94,"collection":62,"collections":108,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":66},290009,"gong-zhong-hang-le-tu-guo-zhong-shu-290009","宫中行乐图","宋","郭忠恕","郭忠恕(？-977)五代末期至宋代初期的画家，〔北宋〕字恕先，又字国宝，洛阳(今属河南)人 。\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。",[89,24,90,52,88,26,28,105,106,91,7],"宫殿","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe45931e226c5cd5dd7d12c12b91275f1.jpg",[],13,1777535751312]