[{"data":1,"prerenderedAt":424},["ShallowReactive",2],{"subject-yan-yin":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},2209,"yan-yin","宴饮","宴饮画高清赏析","精选中国历代宴饮题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0af32a2e74a6e7efb5e5d6c59642167.jpg",0,27,[14,46,75,97,113,129,142,157,173,187,199,209,234,250,262,271,283,297,309,320,334,352,362,372,387,401,412],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":38,"material":39,"size":40,"collection":41,"collections":42,"showCount":43,"zanCount":44,"manualWeight":11,"mainColor":45},290847,"han-xi-zai-ye-yan-tu-zhou-tang-yin-290847","韩熙载夜宴图轴","明","唐寅","台北故宫博物院","作品如实地再现了南唐大臣韩熙载夜宴宾客的历史情景，细致地描绘了宴会上弹丝吹竹、清歌艳舞、主客揉杂、调笑欢乐的热闹场面，又深入地刻划了主人公超脱不羁、沉郁寡欢的复杂性格。全图共分为五个段落，首段“听乐”，韩熙载与状元郎粲坐床榻上，正倾听教坊副使李家明之妹弹琵琶，旁坐其兄，在场听乐宾客还有紫微朱铣、太常博士陈致雍、门生舒雅、家伎王屋山诸人；二段“观舞”，众人正在观看王屋山跳“六幺舞”，韩熙载亲擂“羯鼓”助兴，好友德明和尚不期而遇此景，尴尬地拱手背立；三段“暂歇”，韩熙载与家伎们坐床上休息，韩正在净手；四段“清吹”，韩熙载解衣盘坐椅上，欣赏着五个歌女合奏；五段“散宴”，韩氏手持鼓槌送别，尚有客人在与女伎调笑。全卷以连环画的形式表现各个情节，每段以屏风隔扇加以分隔，又巧妙地相互联结，场景显得统一完整。布局有起有伏，情节有张有弛，尤其人物神态刻画栩栩如生，如“听乐”段状元郎粲的倾身细听动姿、李家明关注其妹的亲切目光、他人不由自主的合手和拍；“观舞”段王屋山娇小玲珑的身姿、德明和尚背身合掌低首而立的尴尬状等等，传尽心曲，入木三分。最出色的还是主人公韩熙载的刻画，长髯、高帽的外形与文献记载均相吻合，举止、表情更显露出他复杂的内心。一方面，他在宴会上与宾客觥筹交错，不拘小节，如亲自击鼓为王屋山伴奏，敞胸露怀听女乐合奏，送别时任客人与家伎厮混，充分反映了他狂放不羁、纵情声色的处世态度和生活追求；另一方面又心不在焉、满怀忧郁，如擂鼓时双目凝视、面不露笑，听清吹时漫不经心，与对面侍女闲谈，这些情绪都揭示了他晚年失意、以酒色自汙的心态。画家塑造的韩熙载，不仅形象逼肖，具肖像画性质，而且对其内心挖掘深刻，性格立体化，可以说真实再现了这位历史人物的原貌。\n作品的艺术水平也相当高超。造型准确精微，线条工细流畅，色彩绚丽清雅。不同物象的笔墨运用又富有变化，尤其敷色更见丰富、和谐，仕女的素妆艳服与男宾的青黑色衣衫形成鲜明对照。几案坐榻等深黑色家具沉厚古雅，仕女裙衫、帘幕、帐幔、枕席上的图案又绚烂多采。不同色彩对比参差，交相辉映，使整体色调艳而不俗，绚中出素，呈现出高雅、素馨的格调。",[23,24,25,26,27,28,7,29,30,31,32,33,34,35,36,37],"国画","名画","立轴","设色","工笔","人物","夜宴","仕女","文人","乐器","庭院","飞鸟","树木","印章","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f5764fa2f3d6a90547aede86322e61e.jpg","未知","Xcm*Xcm","人物画精选",[41],691,5,"795548",{"id":47,"slug":48,"title":49,"dynasty":50,"author":51,"museum":52,"description":53,"tags":54,"thumbUrl":70,"material":39,"size":40,"collection":71,"collections":72,"showCount":73,"zanCount":74,"manualWeight":11,"mainColor":45},288321,"xi-yuan-ya-ji-tu-ma-yuan-288321","西园雅集图","宋","马远","藏地不详","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。\n出身绘画世家，南宋宋光宗、宋宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[55,24,23,56,57,28,58,59,60,61,62,63,64,65,66,67,68,69,7],"高清","长卷","水墨","山水","松树","枯树","瀑布","山石","楼阁","小桥","流水","竹丛","舟船","马匹","文人雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef6165e95977efed01ca7108e9daefd.jpg","",[],150,1,{"id":76,"slug":77,"title":78,"dynasty":79,"author":80,"museum":81,"description":82,"tags":83,"thumbUrl":92,"material":93,"size":94,"collection":71,"collections":95,"showCount":96,"zanCount":11,"manualWeight":11,"mainColor":45},236169,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236169","雍正十二月行乐图轴","清","佚名","北京故宫博物院","这是一组表现雍正皇帝日常生活的作品，按春、夏、秋、冬四季十二个月的顺序排列，分别为“正月观灯”、“二月踏青”、“三月赏桃”、“四月流觞”、“五月竞舟”、“六月纳凉”、“七月乞巧”、“八月赏月”、“九月赏菊”、“十月画像”、“十一月参禅”和“腊月赏雪”。每幅图轴纵188.2厘米，横102.2厘米。从描绘的景物判断，表现的对象应为圆明园。\n画面以山水楼阁为主，建筑描绘细腻，其中既有中式园林建筑，又有西式亭台楼阁，更有中西合璧者，画面的景观可能是画家以圆明园的建筑结合自己的想象而创作的。圆明园是雍正作皇子时的封赐，他解释说“圆明园”的赐名大有深意：“圆而入神，君子之时中；明而普照，达人之睿智也。” 雍正三年（1725年）八月圆明园兴修一新之后，雍正皇帝经常在园中居住并在此办理公务，他明谕百官“每日办理政事与宫中无异”。这十二幅行乐图展现了其在圆明园生活的各个场景，也表现了十二个月的不同节令风俗。",[23,26,27,84,58,63,85,28,86,62,35,87,88,89,90,91,7],"界画","园林","亭台","行乐图","宫廷生活","节令风俗","中式建筑","西式建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff841a07266c24ab45bc115c2dd2f7821.jpg","绢本，设色","纵188.2厘米，横102.2厘米",[],135,{"id":98,"slug":99,"title":100,"dynasty":101,"author":102,"museum":52,"description":103,"tags":104,"thumbUrl":110,"material":39,"size":40,"collection":71,"collections":111,"showCount":112,"zanCount":11,"manualWeight":11,"mainColor":45},287395,"ye-yan-tu-ye-zhou-wen-ju-287395","夜宴图页","五代十国","周文矩","周文矩（约907年－975年），五代十国时南唐的宫廷画家，句容（今江苏句容县）人。南唐李昪异元年间（937—943），已在宫中作画。后主李煜（961—975年）朝任翰林待诏，擅人物仕女，多以宫廷贵族或文士生活为题材，兼画山水、屋木、佛道。绘画风格接近唐代画家周昉而更纤丽，多用颤动的“颤笔”画衣纹，线条挺健又略带抖动和顿挫。宋人称其“用笔深远，于繁富则尤工”。",[55,23,24,105,27,26,28,106,7,107,108,37,109,29],"册页","美人","饮酒器","桃花","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55dccd52718d026c6ccf8e9eb9557d7d.jpg",[],70,{"id":114,"slug":115,"title":49,"dynasty":50,"author":116,"museum":52,"description":117,"tags":118,"thumbUrl":125,"material":39,"size":40,"collection":71,"collections":126,"showCount":127,"zanCount":128,"manualWeight":11,"mainColor":45},288324,"xi-yuan-ya-ji-tu-liu-song-nian-288324","刘松年","刘松年 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Simon","椭圆形构图收拢画面张力，宴饮众人姿态鲜活各异，卧躺的宾客慵懒松弛，侍立女眷沉静端庄，动静相映。以明暗浓淡的炭笔笔触铺陈氛围，帷幔褶皱厚重苍劲，器物细节写实精巧。画面留存转印网格，带着创作底本的严谨质感，在简约素描层次里藏住宴饮喧嚣叙事，明暗晕染烘托出古典场景的庄重氛围感，将宗教宴饮的鲜活场面凝于笔端，尽显古典叙事画的沉稳张力。",[393,243,7,394,395,396,397,398],"宗教","素描","西方绘画","室内场景","圣经题材","稿本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2de53b456f02f9d26f9b4c24226c1a05.jpg",[],{"id":402,"slug":403,"title":404,"dynasty":338,"author":80,"museum":52,"description":405,"tags":406,"thumbUrl":410,"material":39,"size":40,"collection":71,"collections":411,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":233},288616,"johan-carl-loth-solomon-yi-ming-288616","Johan Carl 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[2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[418,327,419,7,28,420,328,421],"漆器","剔红","菱花式","明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9afd9f57333159f8b905d5a4013502d.jpg",[],1777535716397]