[{"data":1,"prerenderedAt":785},["ShallowReactive",2],{"subject-xing-ren":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},320,"xing-ren","行人","行人画高清赏析","精选中国历代行人题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8770ff435089eedba57d653d34214eab.jpg",3,50,[14,56,86,97,118,131,150,168,192,209,218,233,247,263,281,293,318,329,338,355,369,387,404,415,428,442,459,470,490,507,518,532,546,567,580,600,611,628,636,648,657,664,675,684,693,706,723,733,746,767],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":46,"material":47,"size":48,"collection":49,"collections":50,"showCount":52,"zanCount":53,"manualWeight":54,"mainColor":55},217887,"qing-ming-shang-he-tu-chou-ying-217887","清明上河图","明","仇英","美国大都会艺术博物馆","此卷《清明上河图》参照了张择端《清明上河图》的构图形式，采用青绿重设色方式，描绘明代苏州城的社会生活情景，画中人物超过两千，且都神态各异，栩栩如生。整个画面工整细腻，色彩鲜艳，典雅清丽，工而不板，细而不繁，妍而不媚。",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,37,38,39,40,7,41,42,43,44,45],"高清","国画","长卷","工笔","设色","界画","临摹","人物","楼阁","小桥","流水","树木","商铺","船只","街市","车马","建筑","庭院","市集","舟楫","道路","市井","宅院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102b4f88d7b2d81f25208305d2123fef.jpg","绢本,设色","29.2x645.2cm","人物画精选",[49,51],"设色画精选",11185,132,0,"795548",{"id":57,"slug":58,"title":17,"dynasty":59,"author":60,"museum":61,"description":62,"tags":63,"thumbUrl":78,"material":79,"size":80,"collection":81,"collections":82,"showCount":84,"zanCount":85,"manualWeight":54,"mainColor":55},221320,"qing-ming-shang-he-tu-zhang-ze-duan-221320","宋","张择端","北京故宫博物院","《清明上河图》描绘的是清明时节北宋都城汴京（今河南开封）东角子门内外和汴河两岸的繁华热闹景象。全画可分为三段：\n首段写市郊景色，茅檐低伏，阡陌纵横，其间人物往来。\n中段以“上土桥”为中心，另画汴河及两岸风光。中间那座规模宏敞、状如飞虹的木结构桥梁，概称“虹桥”，正名“上土桥”，为水陆交通的汇合点。桥上车马来往如梭，商贩密集，行人熙攘。桥下一艘漕船正放倒桅杆欲穿过桥孔，艄工们的紧张工作吸引了许多群众围观。\n后段描写的是市区街道，城内商店鳞次栉比，大店门首还扎结着彩楼欢门，小店铺只是一个敞棚。此外还有公廨寺观等。街上行人摩肩接踵，车马轿驼络绎不绝。行人中有绅士、官吏、仆役、贩夫、走卒、车轿夫、作坊工人、说书艺人、理发匠、医生、看相算命者、贵家妇女、行脚僧人、顽皮儿童，甚至还有乞丐。他们的身份不同，衣冠各异，同在街上，而忙闲不一，苦乐不均。城中交通运载工具，有轿子、驼队、牛、马、驴车、人力车等。 车辆有串车、太平车、平头车等诸种，再现了汴京城街市的繁荣景象。高大的城门楼名东角子门，位于汴京内城东南。\n全卷画面内容丰富生动，集中概括地再现了12世纪北宋全盛时期都城汴京的生活面貌。\n此画用笔兼工带写，设色淡雅，不同一般的界画，即所谓“别成家数”。构图采用鸟瞰式全景法，真实而又集中概括地描绘了当时汴京东南城角这一典型的区域。作者用传统的手卷形式，采取“散点透视法”组织画面。画面长而不冗，繁而不乱，严密紧凑，如一气呵成。画中所摄取的景物，大至寂静的原野，浩瀚的河流，高耸的城郭；小到舟车里的人物，摊贩上的陈设货物，市招上的文字，丝毫不失。在多达500余人物的画面中，穿插着各种情节，组织得有条不紊，同时又具有情趣。",[23,24,64,25,28,26,27,30,31,32,33,65,66,67,34,37,68,69,70,71,72,73,74,7,75,76,43,77],"书画","船","马","牛","店铺","桥梁","城墙","车","河流","码头","货船","商贩","房屋","城门","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4ecd57523f904bcb1af9f65a29b2cb.jpg","绢本，淡设色","纵24.8厘米，横528厘米","宋画精选",[81,83],"水墨画精选",8462,106,{"id":87,"slug":88,"title":17,"dynasty":59,"author":60,"museum":61,"description":62,"tags":89,"thumbUrl":91,"material":92,"size":93,"collection":81,"collections":94,"showCount":95,"zanCount":96,"manualWeight":54,"mainColor":55},221324,"qing-ming-shang-he-tu-zhang-ze-duan-221324",[23,24,25,28,27,90,26,30,31,32,33,36,37,35,34,38,67,66,39,44,43,40,75,7],"风俗画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91a17c67bacba9c0488789090e01e03c.jpg","绢本设色","宽24.8厘米、长528.7厘米",[81,49,51],858,6,{"id":98,"slug":99,"title":100,"dynasty":101,"author":102,"museum":103,"description":104,"tags":105,"thumbUrl":112,"material":113,"size":114,"collection":49,"collections":115,"showCount":116,"zanCount":117,"manualWeight":54,"mainColor":55},222820,"gu-su-fan-hua-tu-xu-yang-222820","姑苏繁华图","清","徐扬","辽宁省博物馆","画面自灵岩山起，由山下的木渎镇东行，过横山，渡石湖，入姑苏城。再自荮门出阊门外，转入山塘街，至虎丘山止。作者自西向东，由乡入城，重点描绘了一村（山前）、一镇（苏州）、一街（山塘）的景物，画笔所至，连锦数十里内的湖光山色、水乡田园、村镇城池、社会风情跃然纸上。明清时期的苏州是江南著名的大都会，但可能是由于城区内的狭小和管理问题，当时苏州最发达的商贸中心并不在城内，而是阊门城外至枫桥镇的那一段地区。\n《姑苏繁华图》将阊门作为重点加以描绘，并将这部分景致安排于图卷接近尾声的高潮位置。粗略计算，全幅画有各色人物1.2万余人，各色房屋建筑约2140余栋，各种桥梁50余座，大小官船、货船、客船、杂货船、画舫以及竹筏等近400多条，各种商号招牌200余块，涵盖了珠宝、鞋帽、凉席、乐器、盆景和丝绸等50多个手工行业。除了经营本地土产，店铺里所经营的更多是来自外地的名产，有些甚至来自国外，真是“山海所产之珍奇，国外所通之货贝，四方往来，千里之商贾，骈肩辐辏”。完整地表现了古城苏州市井风貌。",[23,106,24,64,25,27,26,28,30,31,32,33,36,37,35,107,34,44,39,73,7,74,108,109,110,111],"名画","河道","民居","车船","茶馆","酒肆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc61ae38c127eaa89b842ad3f8d842d7a.jpg","设色 纸本","全长1225厘米，宽35.8厘米",[49,51],696,10,{"id":119,"slug":120,"title":121,"dynasty":59,"author":60,"museum":122,"description":123,"tags":124,"thumbUrl":127,"material":128,"size":128,"collection":128,"collections":129,"showCount":130,"zanCount":11,"manualWeight":54,"mainColor":55},227585,"qing-ming-shang-he-tu-quan-juan-te-zhan-zhang-ze-duan-227585","清明上河图全卷(特展)","藏地不详","丝织长卷《清明上河图》，创下多项“吉尼斯”世界纪录的世界第一丝织长卷《清明上河图》，采用当今世界最先进的工艺技术特制而成，全图由2。\n88亿经纬组织点构成，以真丝纤维织就，气势宏大，制作精良。\n此卷长约1.28米，宽约25厘米，与宋代名画家张择端《清明上河图》原作的比例为1：1，现已被 等多家国家博物馆展藏，创造了多项“吉尼斯”世界纪录，具有独特的艺术魅力和收藏价值。\n创下多项“吉尼斯”世界纪录的世界第一丝织长卷《清明上河图》，采用当今世界最先进的工艺技术特制而成，全图由2。\n88亿经纬组织点构成，以真丝纤维织就，气势宏大，制作精良。\n此卷长约1.28米，宽约25厘米，与宋代名画家张择端《清明上河图》原作的比例为1：1，现已被 等多家国家博物馆展藏，创造了多项“吉尼斯”世界纪录，具有独特的艺术魅力和收藏价值。",[23,24,64,25,28,26,125,30,31,32,33,65,66,67,34,37,35,71,126,72,76,73,7],"白描","轿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5edb1b2ed4d4bbbdb910d8c0180382a.jpg","",[],368,{"id":132,"slug":133,"title":17,"dynasty":101,"author":134,"museum":135,"description":136,"tags":137,"thumbUrl":144,"material":145,"size":146,"collection":49,"collections":147,"showCount":148,"zanCount":149,"manualWeight":54,"mainColor":55},222686,"qing-ming-shang-he-tu-sun-hu-222686","孙祜","台北故宫博物院","此卷用色鲜丽明亮，用笔圆熟细致，界画桥梁、屋宇、人物皆细腻严谨，是院画中极精之作。\n“清院本”《清明上河图》开卷是远山、宽阔河面，柳林田畦、童手挑夫，比“明本”娶亲队伍，人数更多，色彩更鲜艳，场面也更热闹。“清院本”戏台上下也比“明本”规模大，用木柱基座搭建的席棚戏台上，演员表演认真，观众在蒙蒙细雨中翘首欣赏，观众身份不同，神态也各异。一片早春田园欢乐景象。离席台稍远处：文人模样男子站在高凳上，拈须而观，仆人高举雨伞为他遮雨；河畔船夫坐在船头船顶观看；女子足不出户却携子爬到屋顶远看；树上、戏台支架杆上及台后都有观众，凝神而视。河面拉船纤夫、赶猪牵牛放羊倌、骑驴抬轿推车赶车者，挑夫贩夫、打铁卖茶，好个热闹。\n在去“虹桥”的河两岸，人流不息。河北侧的禁军演武场，旌旗招展，骑兵飞奔，比“明本”更壮观。“清院本”的“虹桥”是一座石材拱桥，桥上和桥头的地面有明显的石料接缝。河面大船行驶，“虹桥”右侧停泊着正装卸的商船，左侧有高悬龙旗的官船。桥上两边排列着四十多个前后带沿边的店铺，比“明本”数量更多更整齐有序。桥头，吃喝的、说书的、看相的、修脚的、议价的，形象生动。临近城门，还有女子在走索表演。\n接下来是城楼，“清院本”的城楼，和“明本”城楼格局相似，都绘有长长城墙，不似“宋本”只有城楼没有城墙。“清院本”城楼为重檐歇山，加腰檐和擎檐柱，红柱、绿沿、黑瓦，雕梁画栋，城墙也比“明本”更宽。“清院本”“明本”的入城门比较相似，陆门和水门并列，均有瓮城。\n“清院本”的城内，有成片房屋建筑，路北首处房屋和“明本”相同，都是公所衙门。“清院本”和“明本”画面在城内“U”字形处，都有显赫的府邸，“明本”是“学士”“世登两府”，“清院本”则是“圣书”“状元及第”。“清院本”府邸，牌楼后是三进宅院，还有一座观波楼和一座桥亭，长堤横跨湖塘。庭院中楼台、亭桥、水榭环湖而建，园内假山、湖石藤萝架、绿树、桃花融合相配，别具一格。比“明本”更显富贵。\n“明本”和“清院本”与染坊相邻处，都绘有一座富丽堂皇的院落建筑，“明本”是高大粉墙、楼阁长廊、雕梁画栋。“清院本”是“虎皮”石墙、庭院深处有灰砖高楼、顶部塔形装饰物，似乎带有阿拉伯风格；湖水碧波荡漾、卷棚歇山顶楼阁、各色亭阁、游廊环绕、假山耸立、嘉木成林、桃花盛开、仕女荡秋千；院墙东门外有马夫、轿夫等待主顾。如此豪华之建筑，尽显主人地位不凡。\n城内街道上人声鼎沸，多种车辆络绎不绝。各行商贩神态各异。另外，出现“宋本”和“明本”只有药店诊所，“清院本”出现古医科的分支的咒禁科诊所。“清院本”还增添了踏青、表演、戏剧、猴戏、特技、擂台等明清时代的特殊风俗，画面较“宋本”和“明本”更加丰富多彩。\n画作至接近皇家御苑处是一码头，这是“宋本”“明本”所没有的。\n清院本清明上河图是按照各朝的仿本、集各家所长之作品，再加上明清时代特殊风俗，如踏青、表演等等娱乐活动，因此增加了许多丰富的情节，如戏剧、猴戏、特技、擂台等等，画的事物繁多，虽然失去了宋代古制，却是研究明清之际社会风俗不可缺的材料。\n由于西洋画风的影响，街道房舍，均以透视原理作画，并有西式建筑列置其中。此卷用色鲜丽明亮，用笔圆熟细致，界画桥梁、屋宇、人物皆细腻严谨，是院画中极精之作。\n作品以长卷形式，采用散点透视构图法，生动记录了清初中国城市生活的面貌。虽然并不是宋朝原作，但一定程度上也反映了明清时期人们的生活，具有很高的历史价值和艺术价值。\n全画使用了除花鸟画以外的许多画科的技法，如人物马用工笔设色、山水树石系用青绿曲法、建筑舟船用界田法、浮云流水用白描曲法，总的来看，该图属于工笔画。画家们用局部近似焦点透视、整体属于散点透视的取景方法展现了18世纪的以苏州城为主要特色的城市风貌该图的总体布局系陈枚的思路，十分紧凑，全无拖沓之嫌，画中高潮送起，将动态的高潮与静态的高潮巧妙地结合起来，一浪高过一浪，即充满节奏感、又戒除单调重复，富有戏剧性的艺术变化。如最早的动态小高潮是前段的娶亲活动，之后的静态小高湖是看戏活动。画中最热闹的大高潮是中段虹桥上下的人物与车船的活动，最清幽的静态大高潮是最后一段的皇家御苑。各高潮之间的过渡段均起到了视觉衔接、防止审美疲劳的作用。全卷宛如一曲交响乐，从曲调悠扬到渐渐亢奋，最后进入庄重和优雅的境界。\n全卷设色独具风格，色彩在柔和中显得主富而统用色较为简明，用笔颜具特色，润在天水，浓在林木，重在山石，红在木柱，鲜在佳丽，明在人物，艳在春色，稳在建筑。这是清宫院体高头大卷人物画风的基本特性。\n此画卷布局疏密、近远、简繁相间。全图对复杂的生活作了集中、生动的概括、以简练的笔法动静结合，再现了当时的汴京风貌，是艺术性与真实性的高度融合，为建筑、交通、车船制造、商业、饮食、医药、服饰、民俗等学科研究提供了可靠依据。在艺术手法上，画面以俯视角度摄取景物，场面宏伟，而众多人物、建筑等的安排有条不紊，结构严谨，人物形象生动传神。它有界画工整准确的优点，又充分发挥了半工半写人物画生动活泼的长处。此画卷用笔熟练，界画桥梁屋宇以及人物，无不精妙。设色用赭笔微加匀梁，自创新法而有雅澹之韵，为清院画中之佳作。",[23,26,27,28,25,138,30,31,32,33,36,34,76,41,38,139,140,35,7,72,69,40,39,141,142,143],"风俗","城郭","街道","自然景观","交通工具","市集场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba48e0062ff6d8804c1adc57bd629c2b.jpg","绢本","纵35．6厘米，横1152．8厘米",[49,51],333,5,{"id":151,"slug":152,"title":153,"dynasty":18,"author":19,"museum":122,"description":154,"tags":155,"thumbUrl":164,"material":128,"size":128,"collection":128,"collections":165,"showCount":166,"zanCount":167,"manualWeight":54,"mainColor":55},228453,"qing-ming-shang-he-tu-shou-juan-han-yin-shou-ti-ba-chou-ying-228453","清明上河图手卷含引首题跋","此作以精工院笔重绘旧题，将晚明江南的升平烟火铺陈于长卷之内。青绿设色妍雅清丽，线条秀劲灵动，亭台楼阁层叠错落，商铺酒肆鳞次栉比，行人车马往来穿梭，贩夫走卒、文人仕女神态各异，鲜活复刻出南都的富庶风华。它既承袭古本骨架，又暗合明代世情，把市肆喧闹、舟桥津渡的俗世温情藏进每一处细节，工致的笔触晕染出江南独有的雅致与鲜活，让观者如穿行旧巷，尽览晚明的人间盛景。",[23,106,24,25,156,26,157,28,31,158,35,111,159,160,7,38,30,161,162,163],"手卷","青绿设色","亭台","舟桥","津渡","市井生活","富庶风华","俗世温情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bc788a28a455ea93496704656398401.jpg",[],240,4,{"id":169,"slug":170,"title":171,"dynasty":18,"author":172,"museum":122,"description":173,"tags":174,"thumbUrl":186,"material":187,"size":188,"collection":128,"collections":189,"showCount":190,"zanCount":191,"manualWeight":54,"mainColor":55},287522,"shu-shan-qin-shu-tu-juan-shen-zhou-287522","蜀山秦树图卷","沈周","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文， 青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[23,106,24,25,64,175,176,27,177,178,179,180,181,32,33,182,7,183,184,185],"山水画","水墨","皴法","山峦","林木","竹林","山居","亭舍","行书","书法","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F092ad35e202a88d58b87a0f168f8fe23.jpg","未知","Xcm*Xcm",[],211,1,{"id":193,"slug":194,"title":195,"dynasty":196,"author":197,"museum":122,"description":198,"tags":199,"thumbUrl":204,"material":205,"size":128,"collection":49,"collections":206,"showCount":207,"zanCount":167,"manualWeight":54,"mainColor":208},215033,"ri-ben-jie-tou-sheng-huo-tu-juan-yi-ming-215033","日本· 街头生活图卷","不详","佚名","长卷铺展，市井烟火缓缓流淌。画面中，人物百态跃然绢上：挑担商贩步履匆匆，执伞行人衣袂轻扬，孩童追蝶跑过街巷，工匠俯身专注劳作。半掩的店门后，掌柜笑脸依稀；巷口茶摊边，老者围坐闲谈。伞的弧线、担的轮廓、车的轱辘，交织成动态的生活图景。每一处细节都藏着鲜活故事，仿佛能听见吆喝声、欢笑声、器物碰撞声，在时光里轻轻回响。这是对日常的温柔描摹，将平凡岁月里的热闹与鲜活，永远定格在素净的绢帛之上，让观者瞬间跌入那充满烟火气的旧时光。",[23,200,106,25,27,26,125,30,108,140,75,7,201,44,68,202,203],"日本画","动物","摊位","日常","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32e3a1210052e7e7d88509d4781dd6f9.jpg","纸本,设色",[49],200,"BDBDBD",{"id":210,"slug":211,"title":212,"dynasty":59,"author":60,"museum":61,"description":62,"tags":213,"thumbUrl":215,"material":79,"size":80,"collection":128,"collections":216,"showCount":217,"zanCount":54,"manualWeight":54,"mainColor":55},232940,"qing-ming-shang-he-tu-juan-zhang-ze-duan-232940","清明上河图卷",[23,106,24,64,25,26,28,27,30,31,32,33,65,66,67,214,37,35,76,72,69,42,7,38,39,70],"树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f05d58052a2ead98a4c56702572a1ed.jpg",[],181,{"id":219,"slug":220,"title":221,"dynasty":59,"author":222,"museum":103,"description":223,"tags":224,"thumbUrl":228,"material":92,"size":229,"collection":81,"collections":230,"showCount":232,"zanCount":11,"manualWeight":54,"mainColor":55},221188,"he-xiang-qing-xia-quan-juan-ma-lin-221188","荷香清夏全卷","马麟","图中描绘了一平湖柳堤、荷香清夏的山水景物。\n画中以宽阔的湖面为主体，林中云雾萦绕，茅庵空落。\n左岸上乱石嶙峋，柳荫蔽日，树上群鸟翔集。\n在广阔的湖面上，微波轻荡，碧叶莲莲。\n湖的对岸，远山逶迤，柳林如烟，小桥曲折，云雾飘动如练。\n画中构景，平远开阔，布置简洁。\n画中笔法细秀，描物具体，尤其柳树变化多姿，树叶丝丝勾出，又如烟动。\n其用墨以淡为宗，又浓淡相间，着色亦淡雅，更加烘托出了其境界的祥和安静。",[23,106,24,64,25,27,26,177,225,226,32,36,30,72,227,42,7,34],"山水","柳树","岸边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F388ee26ac7add4d84507f634c3f23b85.jpg","纵41.7、横323厘米",[81,231,51],"山水画精选",130,{"id":234,"slug":235,"title":236,"dynasty":237,"author":238,"museum":135,"description":239,"tags":240,"thumbUrl":242,"material":47,"size":243,"collection":231,"collections":244,"showCount":245,"zanCount":246,"manualWeight":54,"mainColor":55},218927,"dai-du-tu-guan-tong-218927","待渡图","五代十国","关仝","这幅画描绘了一个高高士在野外穿越时等待船只的情景，笔触和墨迹高度变化，并有一个边缘的场景。",[23,24,64,225,177,176,241,34,72,7,227],"山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0234b4c0ad967411b9cb6bfbe40aadfa.jpg","21.9x24",[231],123,2,{"id":248,"slug":249,"title":250,"dynasty":59,"author":197,"museum":20,"description":251,"tags":252,"thumbUrl":260,"material":47,"size":128,"collection":231,"collections":261,"showCount":262,"zanCount":246,"manualWeight":54,"mainColor":55},219171,"si-ji-shan-shui-tu-yi-ming-219171","四季山水图","长卷铺展，四季流转于笔墨间。山石以斧劈皴勾勒，棱角分明如剑戟森立；树木或葱郁或萧疏，枯荣交替藏时序更迭。江波浩渺，帆影点点，山间屋舍隐现，行人穿梭林泉，尽显天人合一之趣。墨色浓淡相宜，虚实相生：远处山峦笼薄雾，近处景物纤毫毕现，层次深远如临其境。整幅画作兼具北派雄健风骨与南派秀逸雅致，于咫尺间纳千里江山，既见宋代山水画的精湛技法，更藏文人对自然时序的细腻感知与哲思。",[23,24,25,175,176,253,241,34,254,255,256,7,257,258,259],"斧劈皴","江河","帆船","屋舍","四季","天人合一","虚实相生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9610bad6f53abc741aa292bb661c52c4.jpg",[231],118,{"id":264,"slug":265,"title":212,"dynasty":59,"author":60,"museum":122,"description":266,"tags":267,"thumbUrl":278,"material":128,"size":128,"collection":128,"collections":279,"showCount":280,"zanCount":54,"manualWeight":54,"mainColor":55},227394,"qing-ming-shang-he-tu-juan-zhang-ze-duan-227394","《清明上河图》卷，北宋，张择端作，绢本，淡设色，纵24.8厘米，横528厘米。\n《清明上河图》描绘的是清明时节北宋都城汴京（今河南开封）东角子门内外和汴河两岸的繁华热闹景象。全画可分为三段：\n首段写市郊景色，茅檐低伏，阡陌纵横，其间人物往来。\n中段以“上土桥”为中心，另画汴河及两岸风光。中间那座规模宏敞、状如飞虹的木结构桥梁，概称“虹桥”，正名“上土桥”，为水陆交通的汇合点。桥上车马来往如梭，商贩密集，行人熙攘。桥下一艘漕船正放倒桅杆欲穿过桥孔，艄工们的紧张工作吸引了许多群众围观。\n后段描写的是市区街道，城内商店鳞次栉比，大店门首还扎结着彩楼欢门，小店铺只是一个敞棚。此外还有公廨寺观等。街上行人摩肩接踵，车马轿驼络绎不绝。行人中有绅士、官吏、仆役、贩夫、走卒、车轿夫、作坊工人、说书艺人、理发匠、医生、看相算命者、贵家妇女、行脚僧人、顽皮儿童，甚至还有乞丐。他们的身份不同，衣冠各异，同在街上，而忙闲不一，苦乐不均。城中交通运载工具，有轿子、驼队、牛、马、驴车、人力车等。 车辆有串车、太平车、平头车等诸种，再现了汴京城街市的繁荣景象。高大的城门楼名东角子门，位于汴京内城东南。\n全卷画面内容丰富生动，集中概括地再现了12世纪北宋全盛时期都城汴京的生活面貌。\n此画用笔兼工带写，设色淡雅，不同一般的界画，即所谓“别成家数”。构图采用鸟瞰式全景法，真实而又集中概括地描绘了当时汴京东南城角这一典型的区域。作者用传统的手卷形式，采取“散点透视法”组织画面。画面长而不冗，繁而不乱，严密紧凑，如一气呵成。画中所摄取的景物，大至寂静的原野，浩瀚的河流，高耸的城郭；小到舟车里的人物，摊贩上的陈设货物，市招上的文字，丝毫不失。在多达500余人物的画面中，穿插着各种情节，组织得有条不紊，同时又具有情趣。\n后幅有金张著、明吴宽等13家题记，钤96方印。\n《清河书画舫》、《庚子销夏记》、《式古堂书画记》等书著录。",[106,24,64,25,268,269,270,271,272,273,37,68,274,38,67,275,276,41,277,7,75],"淡设色","兼工带写","散点透视","汴河","虹桥","郊野","漕船","骆驼","市井人物","城市生活","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e6d5b509133b871c36ef9d9b4df3ba5.jpg",[],116,{"id":282,"slug":283,"title":284,"dynasty":101,"author":285,"museum":135,"description":286,"tags":287,"thumbUrl":288,"material":47,"size":289,"collection":49,"collections":290,"showCount":291,"zanCount":191,"manualWeight":54,"mainColor":292},220408,"fang-song-yuan-ben-jin-ling-tu-yang-da-zhang-220408","仿宋院本金陵图","杨大章","杨大章，乾隆时供奉内廷，工人物、花鸟画。本卷记录古代城市生活的形形色色，自右开始映入眼帘是恬静的郊区农村，过护城河后进入金陵城，城里人车杂沓，各类店铺林立，贩夫走卒、男女老少穿梭于热闹喧嚣的市井中，全卷用色鲜明清亮，人物表情姿态生动，细节讲究，根据幅上作者款识，画成于乾隆五十六年（西元一七九一年）。与院藏〈清院本清明上河图〉皆为长卷式写实风俗画的代表。",[23,24,64,25,27,26,29,28,30,31,32,33,34,66,67,76,140,41,36,158,70,7,68,72,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51112ceba73713c1fa168c8c09ad47c.jpg","34.1x1088.3",[49,51],93,"37474F",{"id":294,"slug":295,"title":296,"dynasty":196,"author":297,"museum":122,"description":298,"tags":299,"thumbUrl":314,"material":187,"size":188,"collection":315,"collections":316,"showCount":317,"zanCount":54,"manualWeight":54,"mainColor":55},225728,"cafe-terrace-at-night-fan-gao-225728","Cafe Terrace at Night","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。",[106,300,301,27,302,303,304,305,7,39,306,307,308,34,309,310,311,30,312,313,140],"油画","后印象派","夜晚","咖啡馆","露台","桌椅","星空","鹅卵石街道","灯光","遮阳篷","窗户","门","天空","星星","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc99b9b8fa41b5faffd98b459fbff668a.jpg","油画精选",[315],84,{"id":319,"slug":320,"title":321,"dynasty":101,"author":322,"museum":135,"description":323,"tags":324,"thumbUrl":326,"material":187,"size":188,"collection":128,"collections":327,"showCount":328,"zanCount":54,"manualWeight":54,"mainColor":55},287872,"qing-yuan-ben-qing-ming-shang-he-tu-juan-chen-mei-287872","清院本清明上河图卷","陈枚","《清明上河图》是北宋相当流行的题材，其中以张择端《清明上河图》最为有名，他以清明时节作为引子，展开对汴京的精描细绘，是写实风俗画的杰作，受到历代喜爱。明末清初，苏州大量仿制《清明上河图》散落民间，后来纷纷进入清内府，一时间鱼龙莫辩。清宫不得不组织画工，另起炉灶，并于乾隆元年（1736年），由清宫画院的五位画家——陈牧、孙祜、金昆、戴洪、程志道参照各朝的仿本协作又画了一张《清明上河图》，故今人称之为清院本。\n清院本是集各家所长之作品，加之受西洋画风影响，街道房舍均以透视原理作画，并有西式建筑行置其中。从画面细节来看，结婚、戏台、船上生活、耍猴戏、虹桥、校场、饭馆、走索、小儿科、荡秋千、书画摊、画家、学堂、比武和鹿苑等等活动情节非常丰富，特别是虹桥市景已由张本木桥上的几个草棚凉亭和仇本石桥上的几个木售货亭，演进为石桥上两排统一规范且固定的商店，形成了整齐而繁华的桥上商业街区，画中人物也增加到超过4000人，尺寸较“仇本”及“张本”长许多，进而更加充分地展现了清初民俗风情，实为院画中的精品之作。",[23,106,24,25,26,27,30,31,37,69,38,34,90,161,35,7,66,325,28],"驴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd49ed9bc2260582398ec60fe7c2077bb.jpg",[],73,{"id":330,"slug":331,"title":332,"dynasty":101,"author":102,"museum":103,"description":104,"tags":333,"thumbUrl":335,"material":113,"size":114,"collection":128,"collections":336,"showCount":337,"zanCount":54,"manualWeight":54,"mainColor":55},222818,"gu-su-fan-hua-tu-di-er-duan-xu-yang-222818","姑苏繁华图第二段",[23,24,64,25,26,27,28,30,31,32,33,334,34,76,70,37,7,107,36,35,73],"亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa13854b780c9cb3ed4dddfbf1c538ccc.jpg",[],49,{"id":339,"slug":340,"title":341,"dynasty":59,"author":342,"museum":122,"description":343,"tags":344,"thumbUrl":351,"material":145,"size":352,"collection":128,"collections":353,"showCount":354,"zanCount":54,"manualWeight":54,"mainColor":55},232875,"guan-shan-xing-lv-tu-juan-liu-song-nian-232875","关山行旅图卷","刘松年","刘松年（约1155-1218）〔南宋〕钱塘人，淳熙间画院学生，绍熙间升画院待诏。宁宗时进《耕织图》被朝廷看重，赐金带，为“南宋四大家”之一。",[23,106,24,64,25,225,177,27,178,31,34,334,345,7,346,241,347,348,349,350,39],"古道","枯树","松树","溪流","悬崖","寺庙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac782a163ae7808c98a9f752060c3b4.jpg","34.3x307厘米",[],41,{"id":356,"slug":357,"title":358,"dynasty":101,"author":102,"museum":122,"description":359,"tags":360,"thumbUrl":366,"material":128,"size":128,"collection":128,"collections":367,"showCount":368,"zanCount":191,"manualWeight":54,"mainColor":208},230246,"jing-shi-sheng-chun-shi-yi-tu-xu-yang-230246","京师生春诗意图","《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。",[23,24,64,25,28,27,26,30,31,225,34,44,361,139,362,363,364,7,40,365],"春日","街巷","宫殿","塔","远山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8eb681c07e027eab1ee136073f39d74.jpg",[],35,{"id":370,"slug":371,"title":372,"dynasty":59,"author":373,"museum":135,"description":374,"tags":375,"thumbUrl":384,"material":145,"size":385,"collection":81,"collections":386,"showCount":368,"zanCount":54,"manualWeight":54,"mainColor":55},221661,"shan-yao-lou-guan-tu-zhou-xiao-zhao-221661","山腰楼观图轴","萧照","此图右侧，仅画江水、浅滩、远渚、烟树，山间一条小路迂回盘旋，经前峰山腰渡口直抵后峰山巅，临近山巅处有一片楼台亭阁，一登山行人已走近。右下临水山岩上两人指看远方美景；左侧最高峰画得半壁实半壁虚，虚处乃为江上水气所迷，上升成岚，后面还添上几座淡淡峭峰，启人高远不可测的“仰止”之叹。山际径路盘曲，有两人策杖而上，而楼观却深深埋藏在山坳幽谷中。该图近山浓重，远山清淡，又形成虚实对比。",[23,24,106,376,225,27,31,377,33,378,379,380,381,7,382,383,177],"立轴","孤舟","浅滩","远渚","山岩","峭壁","烟岚","径路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea4c55e52a1cb2248ca13b56096d3fa.jpg","纵179.3cm，横112.7cm",[81,231,51],{"id":388,"slug":389,"title":390,"dynasty":101,"author":391,"museum":122,"description":392,"tags":393,"thumbUrl":401,"material":128,"size":128,"collection":231,"collections":402,"showCount":403,"zanCount":54,"manualWeight":54,"mainColor":208},239415,"fang-gu-shan-shui-ping-qin-zu-yong-239415","仿古山水屏","秦祖永","此作为浅绛山水，取高远、深远构图，层峦叠嶂渐次推展。山石以干笔皴擦，兼施淡赭花青晕染，松苍枫艳，满溢秋意。林麓间山居隐现，山道上行旅往来，山口茅亭有人闲坐，处处缀出悠然的山居烟火气。\n画作师法前贤，笔致松秀温润，设色清雅柔和，题诗呼应画意，将宋元山水的苍浑气象，揉入文人画的秀逸雅致中，尽显静穆淡远的林下雅趣，是晚清仿古山水中极具意韵的佳构。",[24,27,225,177,394,395,214,334,30,396,241,347,397,185,32,345,76,7,398,399,400,176,376],"仿古","山","路径","枫树","秋景","笔墨","青绿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa922d4fea8744735b2bda1b5ca2a1160.jpg",[231,51],31,{"id":405,"slug":406,"title":407,"dynasty":101,"author":408,"museum":122,"description":409,"tags":410,"thumbUrl":412,"material":128,"size":128,"collection":231,"collections":413,"showCount":414,"zanCount":54,"manualWeight":54,"mainColor":208},237466,"shan-shui-zhou-jiang-yun-237466","山水轴","姜筠","姜筠（1847－1919），字颖生，别号大雄山民，安徽省怀宁人。光绪十七年（1891）举人，官礼部主事。1913年梁启超在北京雅集词人诗友于万牲园，举行癸丑上巳修禊，颖生曾作图纪念。\n姜筠工书画，书法学苏轼，兼善篆刻。山水专学王翚，笔墨浓重，苍润古秀，殊乏清疏之气，间作花卉。工写兼至，别有韵味。《深山白云图》画大山、坡岸、房屋、渔舟，一派生机勃勃的景象。山中白云飘浮，更衬托了远山的深远，山上密密杂树寓意着新的生命处在潜伏的酝酿 期。姜筠作画以古法入，在借鉴古人笔意上又力图摆脱古人，从而寻找自己的绘画道路。图中的山石树木借鉴古法，重视造化，而点缀其中的 房屋、渔舟、云气正是表现了人的伟大和大自然的永恒",[24,376,225,176,177,334,411,241,34,7,64,185],"瀑布","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379f525512d15f8340c282baf34191bd.jpg",[231,83],29,{"id":416,"slug":417,"title":418,"dynasty":18,"author":419,"museum":122,"description":420,"tags":421,"thumbUrl":425,"material":128,"size":128,"collection":128,"collections":426,"showCount":427,"zanCount":54,"manualWeight":54,"mainColor":208},236103,"sui-chao-cun-qing-tu-zhou-li-shi-da-236103","岁朝村庆图轴","李士达","《岁朝村庆图》是明代画家 创作的一幅纸本设色画，现藏于北京故宫博物院。\n图画水村山郭，松屋柳溪，村中人家，长者访友宴饮，儿童燃放鞭炮，敲锣打鼓，辞旧迎新，欢庆佳节。\n所画山水、松柏笔墨苍劲滋润；所画人物用笔圆熟，无论老少，身姿各异，神态生动，每个人物形象皆具动感，全无刻板之姿。\n画面充满岁朝繁忙、喜庆的升平景象。\n画法严谨，笔法流畅娴熟。\n此画是一幅风俗画。\n此画以山水为背景，画面绘有山石、树木、屋宇房舍，溪水板桥，坡石堤岸、鸡鸭杂豚。\n诸多人物布置其间：有的在屋内端坐，向外眺望；有的在屋内相面而坐，正在交谈；有的在林中穿梭，游览水村山乡；有的正在滑梯；有的正捕鸡斩鸭；有的长者或士人正在观赏画卷；诸多的童子正在捉迷，表现了一派热闹非凡的山乡景象。\n画上落款：“戊午腊月写于石湖，李士达。\n”下钤“李士达”白文、“通甫”白文、“石湖渔隐”白文 。\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。",[24,64,376,27,26,177,30,422,32,33,346,76,40,7,423,241,34,72,39,424],"村舍","孩童","民俗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd146e163637aca3ee1e49a693feef20b.jpg",[],28,{"id":429,"slug":430,"title":431,"dynasty":196,"author":297,"museum":122,"description":298,"tags":432,"thumbUrl":440,"material":187,"size":188,"collection":315,"collections":441,"showCount":427,"zanCount":54,"manualWeight":54,"mainColor":208},225723,"boulevard-de-clichy-march-april-fan-gao-225723","Boulevard de Clichy (March - April )",[300,301,433,434,140,39,7,34,312,435,436,437,438,439],"厚涂","笔触","路灯","城市街景","马车","楼房","冬日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c33cd5cc8e029f0ab4e4770fe74a78d.jpg",[315],{"id":443,"slug":444,"title":445,"dynasty":446,"author":447,"museum":135,"description":448,"tags":449,"thumbUrl":454,"material":455,"size":456,"collection":128,"collections":457,"showCount":458,"zanCount":54,"manualWeight":54,"mainColor":208},221803,"jiang-xiang-qiu-wan-juan-li-shi-xing-221803","江乡秋晚卷","元","李士行","此卷画江村平远景色，近处树石掩映，矮屋傍崖。远处行人骑马渡桥，汀渚处处，渔舟往还。石用长皴，山头石间苔点繁密。画幅透视呈现前后高低不同的两个水面，至为奇特。",[23,24,106,25,175,176,225,450,451,32,7,66,452,453,33,177,184,185,398],"树石","矮屋","渔舟","汀渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F941d89f7717939388ed4acf286c77356.jpg","册","该幅31x117.4公分",[],24,{"id":460,"slug":461,"title":462,"dynasty":101,"author":463,"museum":122,"description":464,"tags":465,"thumbUrl":467,"material":187,"size":188,"collection":128,"collections":468,"showCount":469,"zanCount":54,"manualWeight":54,"mainColor":55},290426,"shan-shui-shi-er-ce-yi-pin-wang-shi-min-290426","山水十二册逸品","王时敏","王时敏（1592年－1680年），本名王赞虞，字逊之，号烟客，又号偶谐道人，晚号西庐老人，南直隶苏州府太仓人，明末清初画家，大学士王锡爵之孙，翰林编修王衡之子，“四王”第一代人。\n系出高门，文采早著，以祖荫，官至太常寺少卿。明清鼎革后，家居不出，奖掖后进，名德为时所重。明季画学董其昌，少时亲炙，得其真传。于黄公望墨法，尤有深契，暮年益臻神化。爱才若渴，四方工画者踵接于门，得其指授，无不知名於时，为一代画苑领袖。康熙十九年卒，年八十九岁。\n王时敏主张摹古，笔墨含蓄，苍润松秀，浑厚清逸，构图较少变化。其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。王时敏开创了山水画的“娄东派”，与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。\n晚清娄东画派代表画家与评论家秦祖永之《桐阴论画》评王时敏：运腕虚灵，布墨神逸，随意点刷，丘壑浑成。",[24,106,455,225,176,27,177,178,34,7,466],"隐逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F497049b2eefde5bef866470ad8582216.jpg",[],22,{"id":471,"slug":472,"title":473,"dynasty":196,"author":474,"museum":122,"description":475,"tags":476,"thumbUrl":487,"material":187,"size":188,"collection":315,"collections":488,"showCount":489,"zanCount":54,"manualWeight":54,"mainColor":208},225944,"hotel-des-roches-noires-trouville-1870-mo-nai-225944","Hotel des Roches Noires, Trouville, 1870","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。",[477,300,478,479,480,31,140,7,481,312,482,435,309,483,39,484,485,486,30,43],"印象派","光影表现","笔触轻快","色彩明快","旗帜","云朵","花草","海滨","阳光","阴影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a2076575fd4f3bb9a56637384d389da.jpg",[315],19,{"id":491,"slug":492,"title":493,"dynasty":196,"author":474,"museum":122,"description":475,"tags":494,"thumbUrl":504,"material":187,"size":188,"collection":315,"collections":505,"showCount":506,"zanCount":191,"manualWeight":54,"mainColor":208},226008,"quai-du-louvre-1867-mo-nai-226008","Quai du Louvre, 1867",[477,300,495,496,436,72,39,497,34,498,437,140,312,7,499,435,500,501,502,503],"光影","色彩","穹顶","人群","河岸","遮阳伞","马匹","户外场景","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4b26b87b4f48bbad6a3073d8c90ffb8.jpg",[315],18,{"id":508,"slug":509,"title":510,"dynasty":18,"author":511,"museum":61,"description":512,"tags":513,"thumbUrl":514,"material":515,"size":128,"collection":128,"collections":516,"showCount":517,"zanCount":54,"manualWeight":54,"mainColor":55},234182,"song-mao-jin-xi-shan-chun-xin-tu-juan-song-mao-234182","宋懋晋溪山春信图卷","宋懋","宋懋晋（？—1620年后）明代画家。字明之，松江（今属上海市）人。\n幼见牧童躯牛，从壁上图之辄神似。既长，不乐为经生言，去而学画。穷日夜临摹古迹，从宋旭受业，参以宋、元遗法，富有丘壑，与赵左抗衡。其气韵间与刘珏相埒。仙山楼阁，位置得当，为时所称，深受董其昌、邹迪光等推重，为“松江派”名家之一。兼善写松，题跋尤奕奕有风韵。万历十三年（1585）作山水扇，泰昌元年（1620）作山水图。其《金陵廿四景》图册，现藏南京博物院。作于万历四十四年（1616）的《汉宫春晓图》扇面（藏上海博物馆）等。",[23,106,24,64,25,27,225,177,241,347,31,32,33,76,7,501,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ba1a74833b25ec1416d17e54393026e.jpg","纸本，设色",[],16,{"id":519,"slug":520,"title":521,"dynasty":196,"author":474,"museum":122,"description":475,"tags":522,"thumbUrl":529,"material":187,"size":188,"collection":315,"collections":530,"showCount":531,"zanCount":54,"manualWeight":54,"mainColor":55},225975,"les-tuileries-1876-mo-nai-225975","Les Tuileries, 1876",[300,477,523,524,525,526,7,527,528],"花园","树林","池塘","石桥","古建筑","城市远景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5b5ae3a45729694565553e17dcf627b.jpg",[315],15,{"id":533,"slug":534,"title":535,"dynasty":196,"author":297,"museum":122,"description":298,"tags":536,"thumbUrl":544,"material":187,"size":188,"collection":315,"collections":545,"showCount":531,"zanCount":54,"manualWeight":54,"mainColor":292},225827,"the-church-in-auvers-sur-oise-view-from-the-chevet-1890-fan-gao-225827","The Church in Auvers-sur-Oise, View from the Chevet 1890",[106,300,301,537,538,539,540,541,7,542,543,312],"厚涂法","色彩对比","笔触奔放","教堂","哥特式建筑","乡间小路","草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feda6fc7de76665df1bd32b8d2baa96ff.jpg",[315],{"id":547,"slug":548,"title":549,"dynasty":196,"author":197,"museum":122,"description":550,"tags":551,"thumbUrl":565,"material":128,"size":128,"collection":128,"collections":566,"showCount":531,"zanCount":54,"manualWeight":54,"mainColor":208},225328,"fu-shi-hui-78-yi-ming-225328","浮世绘78","寒波之上，浮桥蜿蜒铺陈，驮马随旅人踏桥缓行，蓑笠行人点缀其上，将冬日常态揉入冷寂雪景里。右侧茅庐覆雪，孤松孑立，枝桠凝雪愈显清瘦。浅绛远山留白晕出积雪，靛蓝水面细浪轻翻，冷色调里暖棕柔化了冬日萧寒。\n\n线条勾勒出积雪蓬松质感，平涂设色带着雅致装饰意趣，虚实相生间铺展郊野冬旅的幽闲况味，静穆清寂中藏着行路的烟火暖意，把冬日清冽与日常行旅绘成一卷诗意冬景。",[552,553,554,27,555,66,30,556,395,557,76,347,558,72,559,7,560,561,34,562,563,564],"浮世绘","木刻","版画","桥","雪","水","雪地","冬季","骑马","积雪","小屋","雪景","河面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82d61bddb52bce801bd97e3d6de86d0c.jpg",[],{"id":568,"slug":569,"title":570,"dynasty":196,"author":474,"museum":122,"description":475,"tags":571,"thumbUrl":577,"material":187,"size":188,"collection":315,"collections":578,"showCount":579,"zanCount":54,"manualWeight":54,"mainColor":55},226138,"train-in-the-snow-the-locomotive-1875-mo-nai-226138","Train in the Snow, the Locomotive, 1875",[106,300,477,572,556,573,574,575,576,7,559,495,496,434],"火车","铁轨","枯枝","栅栏","烟雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1167a04b69ca418c712593b0c4755b0a.jpg",[315],13,{"id":581,"slug":582,"title":583,"dynasty":196,"author":474,"museum":122,"description":475,"tags":584,"thumbUrl":597,"material":187,"size":188,"collection":315,"collections":598,"showCount":599,"zanCount":54,"manualWeight":54,"mainColor":55},226019,"saint-lazare-station-1877-mo-nai-226019","Saint-Lazare Station, 1877",[106,300,477,478,585,586,587,588,573,589,590,7,591,39,576,592,593,594,595,596],"色彩交融","笔触灵动","空气感","火车站","蒸汽","火车头","玻璃顶棚","站台","金属架构","城市背景","光线","地面反光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81f8ca4936edf0abb4d653b288162048.jpg",[315],12,{"id":601,"slug":602,"title":603,"dynasty":101,"author":604,"museum":122,"description":605,"tags":606,"thumbUrl":609,"material":187,"size":188,"collection":128,"collections":610,"showCount":117,"zanCount":54,"manualWeight":54,"mainColor":208},288501,"fang-fan-kuan-bu-meng-hao-ran-shi-yi-wang-hui-288501","仿范宽补孟浩然诗意","王翚","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[24,176,175,29,177,376,225,31,32,33,334,607,608,7,185],"古树","云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74c90cd07debb1bad00510702ae5c1bd.jpg",[],{"id":612,"slug":613,"title":614,"dynasty":101,"author":604,"museum":122,"description":615,"tags":616,"thumbUrl":625,"material":128,"size":128,"collection":128,"collections":626,"showCount":627,"zanCount":54,"manualWeight":54,"mainColor":208},235777,"qing-chu-liu-da-jia-ji-ce-she-se-shan-shui-ye-wang-hui-235777","清初六大家集册-设色山水页","此作以淡设色晕染出郊野冬末的闲静图景。近处村居错落，枯木虬枝苍劲秀逸，行人缓行、归牛徐步，将乡居日常的松弛意趣藏在萧疏林木间。远景汀洲浅渚横陈，留白铺就空濛水色，淡墨晕出山峦轮廓，晕染出水天相融的清旷悠远。\n\n笔墨秀雅温润，枯笔写寒林兼具苍劲与灵秀，布景疏密相宜，师法宋元山水的悠远意境，又揉进清逸文人意趣，将质朴村居晕染出安恬诗意，把晚冬将醒的温软氛围藏在尺幅间，尽显幽宁淡远的田园雅韵，让观者沉浸在松弛舒缓的乡野意趣里。",[24,27,225,455,617,618,67,7,178,619,620,621,622,623,624],"枯木","村居","汀洲","枯笔","田园","乡野","幽宁淡远","松弛意趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cbcd207b115ac6aba7c462930f45e56.jpg",[],9,{"id":629,"slug":630,"title":631,"dynasty":196,"author":474,"museum":122,"description":475,"tags":632,"thumbUrl":634,"material":187,"size":188,"collection":315,"collections":635,"showCount":627,"zanCount":54,"manualWeight":54,"mainColor":208},226032,"snow-scene-at-argenteuil-mo-nai-226032","Snow Scene at Argenteuil",[300,477,563,633,7,34,439,43,76],"乡村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48c34060bfbba2b69e37d17e6d51e9ab.jpg",[315],{"id":637,"slug":638,"title":639,"dynasty":101,"author":640,"museum":641,"description":642,"tags":643,"thumbUrl":645,"material":128,"size":128,"collection":231,"collections":646,"showCount":627,"zanCount":54,"manualWeight":54,"mainColor":647},203226,"shi-jia-shan-shui-tu-ce-zhao-shen-203226","十家山水图册","赵绅","上海博物馆","淡墨晕染的远山如笼轻烟，层叠隐现间透着空灵。近景孤石嶙峋，以简练皴笔勾勒纹理，质感厚重苍劲。蜿蜒小径穿林而过，几株树木枝桠疏朗，浅红点缀似含秋意。小径上两行人缓步，身影悠然，衬得山野愈显静谧。笔墨清润雅致，设色浅淡自然，将山水之幽寂与人文之闲趣相融，尽显传统山水的悠远韵味。",[225,176,27,177,644,345,34,7,455,23],"孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e0e8ec4336ae36d51206ce7899479be.jpg",[231],"c2ab87",{"id":649,"slug":650,"title":651,"dynasty":196,"author":474,"museum":122,"description":475,"tags":652,"thumbUrl":654,"material":187,"size":188,"collection":315,"collections":655,"showCount":656,"zanCount":54,"manualWeight":54,"mainColor":208},226110,"the-road-to-the-farm-saint-simeon-in-winter-1867-mo-nai-226110","The Road to the Farm Saint-Simeon in Winter, 1867",[300,477,558,43,34,653,7,559,563,574,312,495,434],"飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72b8829824dbfa4e3c96b6d7c9a370dd.jpg",[315],8,{"id":658,"slug":659,"title":660,"dynasty":196,"author":474,"museum":122,"description":475,"tags":661,"thumbUrl":662,"material":187,"size":188,"collection":315,"collections":663,"showCount":656,"zanCount":54,"manualWeight":54,"mainColor":208},226108,"the-riverbank-at-lavacourt-snow-1879-mo-nai-226108","The Riverbank at Lavacourt, Snow, 1879",[477,300,563,499,346,7,365,72,43,39,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c01a42ecdc836eccc81841cf39acb80.jpg",[315],{"id":665,"slug":666,"title":667,"dynasty":196,"author":297,"museum":122,"description":298,"tags":668,"thumbUrl":673,"material":187,"size":188,"collection":315,"collections":674,"showCount":656,"zanCount":54,"manualWeight":54,"mainColor":55},225741,"entrance-to-the-public-gardens-in-arle-1888-fan-gao-225741","Entrance to the Public Gardens in Arle 1888",[300,301,539,34,669,30,575,311,312,502,480,7,670,671,672],"小径","土路","枝叶","入口","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfa9b183d2c550d89d3b4901e4295d14.jpg",[315],{"id":676,"slug":677,"title":678,"dynasty":196,"author":474,"museum":122,"description":475,"tags":679,"thumbUrl":681,"material":187,"size":188,"collection":315,"collections":682,"showCount":683,"zanCount":54,"manualWeight":54,"mainColor":55},226034,"st-germain-lauxerrois-a-paris-mo-nai-226034","St. Germain lAuxerrois a Paris",[300,477,436,540,680,7,34],"欧式建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe80e0713d3bd45771d74a4dd0285da3a.jpg",[315],7,{"id":685,"slug":686,"title":687,"dynasty":196,"author":297,"museum":122,"description":298,"tags":688,"thumbUrl":691,"material":187,"size":188,"collection":315,"collections":692,"showCount":683,"zanCount":54,"manualWeight":54,"mainColor":55},225856,"the-yellow-house-the-street-september-fan-gao-225856","The yellow house (The street) (September - )",[300,301,140,108,7,34,69,689,690],"城镇街景","户外","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb7f2c3a0db6cae4782be25f4bcbfcbf.jpg",[315],{"id":694,"slug":695,"title":696,"dynasty":196,"author":297,"museum":122,"description":298,"tags":697,"thumbUrl":704,"material":187,"size":188,"collection":315,"collections":705,"showCount":683,"zanCount":54,"manualWeight":54,"mainColor":55},225765,"houses-in-auvers-fan-gao-225765","Houses in Auvers",[106,300,301,433,539,698,76,699,700,701,34,312,482,7,702,703],"色彩鲜明","草顶","红顶","小路","绿植","田野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfef57e96049a9ee0182a14132868945.jpg",[315],{"id":707,"slug":708,"title":709,"dynasty":18,"author":197,"museum":122,"description":710,"tags":711,"thumbUrl":721,"material":187,"size":188,"collection":128,"collections":722,"showCount":167,"zanCount":54,"manualWeight":54,"mainColor":55},234834,"wei-zhi-huang-qiu-shan-xing-lv-shan-yi-ming-234834","魏之璜秋山行旅扇","金笺之上铺展秋日郊野之景，近岸老树丹黄错落，篱舍隐于林樾，溪桥边商旅驱骡徐行，三两策杖行人悠然随行，鲜活晕开行旅意趣。中远景陂陀逶迤，村舍藏于林麓之间，孤松卓立岗阜之巅。浅赭淡墨晕染秋山，明净萧疏的氛围漫开全幅。笔触秀润简淡，构图舒展雅致，将乡野闲寂与行路意趣相融，铺就出秋日山居的悠远兴味，尽显清和温婉的山水意韵。",[712,24,64,27,225,713,714,32,7,715,716,422,717,718,719,720,181],"扇面","老树","篱舍","骡","孤松","秋山","萧疏","闲寂","行旅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c323c56c5482cc0c622ba35940ab492.jpg",[],{"id":724,"slug":725,"title":726,"dynasty":196,"author":197,"museum":122,"description":727,"tags":728,"thumbUrl":731,"material":187,"size":188,"collection":128,"collections":732,"showCount":167,"zanCount":54,"manualWeight":54,"mainColor":208},225360,"fu-shi-hui-116-yi-ming-225360","浮世绘116","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。",[552,553,27,30,32,225,34,729,365,7,730],"芦苇","木构","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F470dc3e2bc58aa88dfd1322fabf0c464.jpg",[],{"id":734,"slug":735,"title":736,"dynasty":101,"author":737,"museum":641,"description":738,"tags":739,"thumbUrl":743,"material":128,"size":128,"collection":128,"collections":744,"showCount":246,"zanCount":54,"manualWeight":54,"mainColor":745},202345,"yan-yu-gui-cun-tu-zhou-wu-qing-yun-202345","烟雨归村图轴","吴庆云","画面烟雨濛濛，远山隐于淡墨晕染的霭气间，若隐若现。山间屋舍错落，林木以浓淡墨色点染，层次分明。溪面薄雾轻笼，渔舟泛波，舟子身影悠然。近岸古木虬枝，墨色沉郁，桥下行人撑伞徐行，衣袂带露，尽显归程的闲适。笔墨兼融中西，水墨渲染出烟雨的湿润朦胧，皴擦技法勾勒山石林木的质感，动静相宜间，铺展一幅诗意盎然的水乡烟雨图。",[24,176,225,740,741,452,32,7,177,742],"烟雨","村落","渲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F641cff4c4cbdfc044f29da7e762eecc5.jpg",[],"a09588",{"id":747,"slug":748,"title":749,"dynasty":196,"author":197,"museum":122,"description":750,"tags":751,"thumbUrl":765,"material":128,"size":128,"collection":128,"collections":766,"showCount":191,"zanCount":54,"manualWeight":54,"mainColor":208},225359,"fu-shi-hui-115-yi-ming-225359","浮世绘115","这幅版画以明媚春景入画，岛屿错落于澄澈水色间，漫山樱花如云似雪，苍松点缀翠色，晕染出融融春意。回环山径上踏青游人缓步徐行，渡头与岸畔人影攒动，乌篷船静泊水面，波痕轻漾晕开清浅蓝调。屋舍错落花林间，木桥勾连水岸，将春日郊野的鲜活烟火铺陈开来。\n\n用色明快柔婉，石青铺就水天，砂黄晕染坡岸，粉白樱枝与深松翠影相映成趣，带着日式版画独有的装饰意趣。构图疏密得宜，将踏青的闲雅盛景定格，把市井闲情与春日诗意揉为一处，尽显雅致悠然的和风美学。",[552,553,27,225,32,33,36,76,34,30,752,753,396,227,754,755,756,256,757,758,702,7,42,759,760,761,762,763,764],"岛屿","湖泊","开花植物","海湾","行船","步道","水域","堤岸","林间小路","水岸人家","花树","远岛","近岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa89971454455ccd323ecef04635e7d4f.jpg",[],{"id":768,"slug":769,"title":770,"dynasty":196,"author":771,"museum":122,"description":772,"tags":773,"thumbUrl":783,"material":187,"size":188,"collection":128,"collections":784,"showCount":54,"zanCount":54,"manualWeight":54,"mainColor":55},231318,"su-miao-572-xi-fang-231318","素描572","西方","使用单一色彩表现明度变化的绘画。绘画工具而在画面载体上按照一定的绘制原则而有意塑造物体形态的美术活动。速写是素描的一种变式。素描水平是反映绘画者空间造型能力的重要指标之一。\n素描是绘画的基础，绘画的骨骼；也是最节制、最需要理智来协助的艺术。初学绘画的人一定要先学素描，素描画得好的人，油画自然画得好。素描的起源，普遍都是以文艺复兴开始，事实上希腊的瓶绘、雕塑都有良好的素描基础。初期的素描是视为绘画的底稿，例如作壁画先要有构想的草稿，然后有素描的底稿，同时也要有手、脸部分精密素描图。作壁画习惯上是不看模特儿写生的，完全要靠事先准备的习作素描和画家的记忆。近代素描，已脱离了原来的底稿和习作的地位，可以成为艺术品来欣赏。画素描的态度不只培养描写力，同时也培养造型的能力，最后仅仅是素描也可视为作品来欣赏。相反的单看油画作品就可知道作者在素描上的造诣如何。因此，素描是绘画的基础，也是绘画的骨骼，是初学画的人无论如何要先认真学素描。素描在严格的解释上，只有单色的黑与白，但如加上淡彩或颜色，仍可认作素描。素描的表现方法分成：一、以描画材料来看可分成木炭素描、铅笔素描、炭精素描、钢笔素描、银笔素描、毛笔素描等。二、以所画的题材可分成石膏像素描，风景素描，静物素描、人体素描、幻想素描。三、依素描的目的又可分成作为构想的素描、用作画稿的素描、速写、作品、习作。\n由木炭，铅笔，钢笔等，以线条来画出物象明暗的单色画，称作素描。单色水彩和单色油画也可以算作素描；中国传统的白描和水墨画也可以称之为素描。通常讲的素描多元化指铅笔画和炭笔画。素描是一切绘画的基础，这是研究绘画艺术所必须经过的一个阶段。　素描通常采用可于平面留下痕迹的方法：如，炭笔，钢笔，画笔，墨水，及纸张等。轮廓和线条是素描的一般称谓。素描具备了自然律动感。不同的笔触营造出不同的线条及横切关系和节奏、主动与被动的周围环境、平面、体积、色调、及质感。\n素描是一种正式的艺术创作，以单色线条来表现直观世界中的事物，亦可以表达思想、概念、态度、感情、幻想、象征甚至抽象形式。它不像带色彩的绘画那样重视总体和彩色，而是着重结构和形式。",[774,775,776,777,778,779,7,780,781,782],"素描","黑白","眼睛","睫毛","眼泪","小巷","雨景","水滴","地面反射","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd387434792b8f8fa77dc08e83cb878d8.jpg",[],1777535709301]