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。\n画中描写了六位衣着艳丽的贵族妇女及其侍女于春夏之交赏花游园。\n画作不设背景，以工笔重彩绘仕女五人，女侍一人，另有小狗、白鹤及辛夷花点缀其间。\n全图六个人物的主次、远近安排巧妙，景物衬托少而精。\n两只小狗、一只白鹤、一株辛黄花使原本显得孤立的人物产生了左右呼应、前后联系的关系。\n半罩半露的透明织衫，使人物形象显得丰腴而华贵。\n而用笔和线条却细劲有神，流动多姿。\n浓丽的设色，头发的钩染、面部的晕色、衣着的装饰，都极尽工巧之能事，较好地表现了贵族妇女的细腻柔嫩的肌肤和丝织物的纹饰。\n《簪花仕女图》是 贵族人物画风格的代表。\n同时也体现出贵族仕女养尊处优、无所事事、游戏于花蝶鹤犬之间的生活情态。\n画面左端开始婷婷而立的髻插芍药花的贵族仕女，浅紫色的纱衫上，有以四个斜角田宇为一组的菱纹。\n白地帔子绘有彩色云鹤，从肩后身向前胸下垂。\n她右手举着刚捕捉的蝴蝶，左手提起帔子，使它成为垂直。\n她上身往前微倾，以迎接向她跑来的小狗。\n画面左起第二位妇女身材娇小，神情庄重，身着朱红披风，外套紫色纱罩，从远处巧移莲步而来。\n发髻上插海棠花，脖子饰金质云纹项圈。\n白裙上的紫色团花，从纱衫的下面透出，显得十分艳丽。\n破子从后肩向两臂平分下垂，双手抓紧薄纱，掩着帔子，同时也紧束了宽大的衣服。\n画面左起第三位贵族女人髻插荷花，身披白花格子纱衫，胸前束朱色斜格长裙曳于地而，紫色帔子上有粉和青花枝纹样。\n她右手略向上举，反掌拈红花一枝，左手髻上取下金钗朝着右边移去，目光注视新折下来的花枝，凝神遐思，准备将它插上发髻最显眼的地方。\n在她的面前有一只举足欲行的丹顶鹤，似乎引不起她一点兴趣。\n画面左起第四位侧立着的侍女执长柄团扇，团扇上绘着盛开的牡丹，红花绿叶相衬托，格外亮丽。\n她的妆扮，有异于卷中的其他贵族仕女。\n她也有一头浓密的黑发，梳成两个十字相合的发髻，中间用红缎带把那个髻子束在一起。\n她穿的朱色菱角纹的斜领处露出一部分，白色圈花的纱带，绕过纱衫一圈之后，在腹前打了个结子。\n白色的软底鞋尖，从彩色的衬裙下露出，它的形制不同于其他几位贵族妇女所穿的重台履。\n她的表情安祥却又若有所思，在当时嬉戏场合形成鲜明的对比。\n画面左起第五位仕女，发髻上插的红瓣花枝，纱衫上有深白色的菱形纹样。\n胸下的夹撷长裙曳于地而，紫绿色的团花平均分布在鲜明的朱红的地子之上，显得典雅、富丽；经纱衫掩盖过的部分，颜色相应减退。\n紫色的帔子上，彩绘着云风纹样，往后垂了下去，她轻举右手，用纤细的食指和拇指提起贴在脖肩上的纱衫领子，似有不胜初夏闷热气候的样子。\n她左手从纱衫的侧面伸出，手指向背而嬉戏的小狗打招呼，希望小狗也来给她逗趣。\n画面左侧起最后一位是一个贵族妇女，体态丰硕，发髻高大，上插牡丹花一枝，髻前饰玉步摇，那珍珠在不停地摇晃。\n她头上的髻发和短鬓，茸茸地分披在丰满的额前和耳边，显得青春焕发。\n她圆润的而庞，浮起了淡薄的红晕；瓜子形的黛画短眉，浓淡适宜地斜峙在粉额之前，眉间金色花子的点饰如豆般大小，朱唇小到恰好与整个而庞隐隐相称，她侧身作向右倾斜的姿势，外披紫色纱罩衫，衫上的龟背纹尚隐约可辨。\n朱色的长裙上，画有斜格纹样。\n紫绿色花纹的洁白丝绸衬裙，长过纱衫，拖曳到地而上。\n右手摆向前侧，靠着纱衫；左手执纬子前伸，纬穗的摆动，逗引着小狗作戏，而小狗深通人意，它朝纬穗不停地张嘴摆尾，作出扑跳的姿态。\n在贵族仕女们嬉游处的尽头，树立着一而玲珑石。\n石后有盛开的辛夷花，紫色的花朵，陪衬着少许的绿叶。\n石头下的地上有一丛绿油油的杂草，一起点缀着视野广阔的空间。\n卷无作者款印，亦无历代题跋及观款。\n以后，当代统治阶级为了粉饰太平，提倡所谓“文治”，也正好吻合了当时人民历经战乱、渴望安宁社会的生活的心情，宴游的风气从此大开，奢侈之风成为天宝以后统治者崇尚的对象，到了贞元年间，这种风气就更为突出。\n杜牧当时这样描述：至于贞元末，风流悠绮靡。\n周昉的《簪花仕女图》正是这个时期的典型代表，画家如实的描绘了在奢靡风气支配下的唐代宫廷仕女嬉游生活的典型环境。\n最早著录此卷的是清安岐《 》，认为是唐周昉所绘，其后《石渠宝笈·续编》及《 》皆沿用该观点，俱著录为《周昉仕女图》，然近代研究亦有持异议者。\n1972年，对此图进行重新装裱时，有人发现此图系后拼接而成，较明显者为左数第二个比例较小的仕女为后嵌入，而白鹤与画左小狗亦为剪裁而来，有研究者据此认为其原为屏风画。\n作品创作的时代问题也存在争议。\n学术界主要有三种观点：唐代说、五代南唐说和宋代说。\n唐代说：唐玄宗先天二年（公元71年）八月，太平公主谋反被诛杀，其在积善坊的府邸被没收。\n寿王李瑁与杨玉环大婚前，唐玄宗将太平公主的这处宅园赐给李瑁，成为寿王府。\n上巳节后的一天，长宁公主、咸宜公主等四位贵夫人前来寿王府，杨玉环领她们到花园赏花。\n这时，年轻的宫廷画家周昉奉诏为杨玉环画像，他来到寿王府。\n李瑁将周昉引至花园中，周昉见这五位贵妇人正游玩簪花，就静静地在旁边观察。\n几日后，周昉根据当日的场景，画出了《簪花仕女图》。\n作品从当时社会的现实生活出发，将现实生活中的贵族妇女，画得雍容华贵，画出一种闲适无聊的生活本质，表现出娇、奢、雅、逸的气息和女性柔软、温腻、动人的姿态，赋予作品鲜明的时代感。\n作品渲染的快乐而又略带懒散的情绪和气氛，正是恰当地层示了属于那个时代整个贵族有闲阶级的时代气氛；在表面华丽雍容的物质繁华背后，隐藏着人物内心深深的凄寂和幽怨。\n《簪花仕女图》中作者对人物神态抓得较好，注重挖掘仕女精神上的苦闷和空虚，反映了贵族奢侈生活后面的精神困境。\n其中，有别于其他五位的那个执扇侍女，表情相当安详，默默中若有所思的神情，与其他五位仕女的神态构成了鲜明的对比，这在反映现实的同时，在一定程度上也预示出唐代后期审美意趣由宏丽转向婉约的变化。\n另外，体态动势也是表达人物内心精神的重要因素，如果把动态处理得宜，也可以加强人物精神性格的表现。\n就画中人物的姿态而高，各不相同。\n左起第一位仕女因为有摇头摆尾、深通人意的小狗在其右侧，作为逗引小狗作戏的她，侧身玉立，上身向右倾斜，右手无意识地摆向前侧，左手执拂子向前伸向小狗，接养右侧的是一位婷婷玉立披白色纱衣的仕女，她漫不经心地举养右手，用纤细的食指和拇指提起贴在脖子上的纱衫领子，似有不胜闷热气候的沉重之感。\n她左手从纱衫的侧而伸出，似乎在向背着她作戏的小狗打着招呼。\n接着就是右后方侧立着执长柄团扇的侍女，她闲静自然。\n侍女的右前方也相当于她的左侧之处，是一位持花的仕女，她右手略向上举，反掌拈红花一枝，左手从发髻上取下金钗朝右边移去，似乎要把它插在最引人注意的地方，从远处姗姗而来的是一位身材小巧的仕女，她双手紧操着薄纱，掩着帔子，紧束着宽大的衣服，作向前迈步的姿势。\n最后一位仕女右手举着一只蝴蝶，左手提着帔子，要迎接从后而向她跑过来的小狗，她上身往前微倾，头往右微侧，在丰韵之中又平添了窈窕婀娜之态。\n由此可见，作者在人物姿态的处理上，为避免相同，又不失统一，颇费心思。\n画家在全幅构图中以相等的间隔安排了几位贵族妇女，一段一段地看去，仿佛每个妇女形象从眼前一幕一幕地移动，这种构图的规律，看完了整个场景，仿佛同画面人物一起游完了庭园。\n人物之间似有联系，又似独自悠闲。\n所以《簪花仕女图》的画而完整性并不是依靠空间、时间上的一致性诉诸观者的，它是依靠人与人之间的呼应和所营造的整个闲适和谐的气氛，这样一个独特的形式传达给观者的。\n在画而中，横列的散点视线之内，多半用静穆的姿态分战了适当的位置；又把她们之中的两位妇女安置在距离较远的后方，因之增大了广阔的视野，也就扩展了空间，不至于把观者的视线囿于狭小的画而之中。\n庭园里不藉更多什物作为衬托，但它的趣味并不因此而显得单调和贫乏，反而觉得愈益接近事物的真相。\n这种构图上的独特风格，具有强烈的时代气息。\n除了画面的并序排列外，《簪花仕女图》在人物比例的处理上也出现了一种有趣的现象，观者可以发现画面左起第二个妇女的比例是按照近大远小的原则安排的。\n从她的服饰和仪态来看，她是画家为了扩展观者的视野、开拓空间，而刻意安排在较远的地方，并不是因为身份的关系“近大远小”与按身份安排人物比例两种构图方法同时出现在一张画面上的。\n《簪花仕女图》画面上独到之处是精致细腻的画笔，作者以线造型，成功地描绘了妇女身上轻柔透亮的薄纱披肩，以及薄纱下隐约可见的手臂，并自始至终毫无变化地使用定型的线描，对仕女面部和手的描制，下笔稳重准确，力求匀称，衣裙图案花纹的用笔，信笔而成，转折处若断若续，似规整但又非常流动，使通常流于对称刻版的图案，重新赋予了灵巧而生动的活力。\n至于仕女的髻发和鬓丝，精细过于毫毛，根根可数，笔笔有飞动之感。\n对人物画的手部刻画，甚是到位。\n《簪花仕女图》中的贵族仕女袒胸露臂，双手毫无遮蔽，描绘起来，实非易事。\n作者用简洁遒劲的线条，准确地表现了各种不同的手势，骨法用笔的线条对作品产生了决定性的意义。\n《簪花仕女图》的线条达到了“骨法用笔”的高度统一，使之成为独立的存在，支配着整幅画的灵魂。\n《簪花仕女图》在赋彩的技巧上，恰当地运用了复杂的色调，重复中不觉得单调。\n紫色纱衫的一再出现，即是一个突出的例子。\n紫色与花青一并涂施，历有“青间紫，不如死”之说，而此图作者对其运用，似乎不受限制和约束。\n在紫色桩上有两处用花青勾画纹样，反而觉得十分典雅，正是作者在克服色彩运用矛盾的独到之处。\n从色彩的搭配到赋彩的层次，画家用纯净透明的白色穿插在各种色彩之中，使黑、白和许多明丽的色彩相互衬托又相互制约，形成了沉着和明快相结合的矛盾统一。\n赋彩上的层次清晰，分开丝绸间的叠压关系，使之有空气流动之感。\n纱衫笼罩下的肌肤和衣裙就如一层薄雾所掩盖，因而原来的肌肤和衣裙随之改变了颜色，但它却不因此而使人离开肌肤和衣裙原有色调的联想力。\n如此，各种颜色所涂成纱衫的质感，更深刻地映入观者的脑海里。\n《簪花仕女图》是全世界范围内唯一认定的唐代仕女画传世孤本。\n除了唯一性之外，其作品的艺术价值也很高，是典型的唐代仕女画标本型作品，是能代表唐代 风格的绘画作品。\n《簪花仕女图》这种仕女画风格在当时画坛上颇为流行，极大地影响了唐末乃至以后各朝代的仕女画坛和佛教艺术 。\n该作展现了极为浓郁的时代特色和民族气息，是中国传统绘画史上非常重要的一部作品。\n1984年月，中国邮电部特别发行《簪花仕女图》特种邮票和小型张。\n此卷曾经南宋内府收藏，南宋末归 所有，元、明间流传无考，清初为梁清标、安岐收藏，后入清内府。\n1924年，末代皇帝溥仪出宫，但在此前，他用了一年时间整理了1余件举世罕见的书画作品。\n在溥仪逊位前，溥仪便以“恩赐”名义，将内府所藏珍贵字画赏赐给其弟 、溥佳，让他们利用每日下学出宫机会，用黄绫包袱将书画带出，《簪花仕女图》就在其中。\n盗运出宫的书画起初存放在醇王府内。\n1925年，在 人协助下，这批书画被运抵天津，随溥仪先后在日租界内的张园、静园收藏。\n194年，溥仪到长春做了 皇帝，这批书画被运至当时的长春伪皇宫小白楼内。\n“小白楼”是一幢二层日式钢筋水泥楼，是日本人为溥仪修的保存善本图书及古玩字画的库房，内存藏品总数约1件，对外名曰“图书馆”。\n1945年8月，日本宣布战败投降前，日本关东军准备将伪满洲国迁到通化。\n8月17日，溥仪乘飞机企图逃往日本时，被 俘获，其携带的一部分书画和珠宝由苏联红军查扣，并转交 ，几经辗转后，《簪花仕女图》藏于辽宁省博物馆。\n217年7月，辽宁省博物馆举办《艺术·生活——辽宁省博物馆研发文创作品展》，展出镇馆之宝《簪花仕女图》。\n219年1月7日至22年1月5日，该作品在辽宁省博物馆将举办大型文物特色展览“又见大唐”中展出。\n22年9月28日，厦门海丝艺术品中心推出“复现——荣宝斋木版水印中秋特展非遗交互体验展”，展出木版水印作品《簪花仕女图》。\n周昉，生卒年不详，唐代画家，字仲朗，一字景玄，京兆（今陕西省西安市）人。\n出身于仕宦之家，曾官越州长史、宣州长史别驾。\n好属文，穷丹青之妙，擅画肖像、尤工仕女，初学张萱而加以写生变化，多写贵族妇女，所作悠游闲适，容貌丰腴，衣着华丽，用笔劲简，色彩柔艳，为当时宫廷、士大夫所重，称绝一时。",[23,24,25,26,27,28,29,30,7,31,32],"高清","国画","工笔","设色","美人","鹤","狗","花","饰品","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94df61ee873fdda8506e777d2dd87070.jpg","绢本","纵46厘米，横180厘米","人物画精选",[36,38],"设色画精选",15398,116,0,"795548",{"id":44,"slug":45,"title":46,"dynasty":47,"author":48,"museum":49,"description":50,"tags":51,"thumbUrl":57,"material":58,"size":59,"collection":36,"collections":60,"showCount":61,"zanCount":62,"manualWeight":41,"mainColor":63},216930,"han-xi-zai-ye-yan-tu-gu-hong-zhong-216930","韩熙载夜宴图","五代十国","顾闳中","台北故宫博物院","他出生于江南，在南唐时担任元宗父子的御史，与周文儒同时。据传说，韩熙载是一个很好的声乐表演者，他是夜里喝酒的特殊客人。后者想看看台阶灯、台阶蜡烛和摇曳的筹码，所以他命令马德在晚上监视他，上面画的就是这幅画。这是人物画的最后一部分，只有八个人物，没有任何痕迹，这幅画非常古老，虽然不是顾雏军的原作，但可能是很早的一个大师的摹本。",[23,24,52,53,25,26,54,27,7,55,56],"名画","长卷","人物","乐器","饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c3e16a6989ea7dc1166ef8b9300366.jpg","绢本,设色","27.9x69",[36],6027,25,"BDBDBD",{"id":65,"slug":66,"title":67,"dynasty":68,"author":69,"museum":70,"description":71,"tags":72,"thumbUrl":79,"material":58,"size":80,"collection":36,"collections":81,"showCount":82,"zanCount":83,"manualWeight":41,"mainColor":42},214875,"gui-fei-chu-yu-tu-gu-jian-long-214875","贵妃出浴图","清","顾见龙","美国克利夫兰艺术博物馆","该图描绘了杨贵妃沐浴的情景，她赤身裸体，身披绣花红纱，身体半遮半掩，有古画人体的失落感，腿长，三寸金莲。戒指上有湖泊、石头和竹子以及红色的窗帘等奢侈的装饰，表示皇室和财富。画笔和颜料很重但不浑浊，金泥的中间轮廓很独特。",[23,52,24,73,74,25,26,54,27,75,76,77,7,78],"书画","立轴","竹","荷","器","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39bc5a717a934b272fce5bd0a4f3c219.jpg","96.5x44.1",[36],5763,38,{"id":85,"slug":86,"title":87,"dynasty":88,"author":89,"museum":90,"description":91,"tags":92,"thumbUrl":94,"material":95,"size":96,"collection":97,"collections":98,"showCount":99,"zanCount":100,"manualWeight":41,"mainColor":42},221330,"mo-zhang-xuan-dao-lian-tu-zhao-ji-221330","摹张萱捣练图","宋","赵佶","美国波士顿博物馆","卷中绘唐装仕女、女仆、女童十二人，依次为捣练、圈线、缝衣、熨练的情景。人物姿态雍容，线描挺劲，赋色浓丽。画中无款识，前隔水细花黄绫上有金章宗完颜璟仿徽宗瘦金体书题「天水摹张萱捣练图」。\n卷后有明初张绅、清高士奇、近人罗文彬题跋。画卷上分钤金章宗明昌七玺，清高士奇、金望乔等鉴藏印。《江村书画目》《大观录》《墨缘汇观续录》著录。\n「天水」为赵氏郡望，历来将此作系于宋徽宗赵佶名下，但丛用笔赋色的细腻精巧等特征来看，应出自宣和画院画家之手，不是徽宗亲笔。此图虽系摹本，但结合传世的如《挥扇仕女图》等唐人作品考察，可推知应为比较忠实的摹古之作，保留了十分珍贵的唐代绘画资料。特别是在张萱原作不存的情况下，我们据此可以探究张萱的绘画风貌。",[23,24,73,53,25,26,54,27,93,32,7,77],"临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff64ccfee95d303f5ca82b607f6c92ef6.jpg","扇面画","纵：37厘米，横：145.3厘米","宋画精选",[97,36,38],2907,23,{"id":102,"slug":103,"title":104,"dynasty":88,"author":105,"museum":106,"description":107,"tags":108,"thumbUrl":110,"material":111,"size":112,"collection":113,"collections":114,"showCount":115,"zanCount":116,"manualWeight":41,"mainColor":42},232933,"han-xi-zai-ye-yan-tu-juan-song-mo-ben-song-gong-ting-hua-jia-232933","韩熙载夜宴图卷(宋摹本)","宋宫廷画家","北京故宫博物院","原作为南唐画家顾闳中的绘画作品。此卷据各方面考证，当属南宋孝宗至宁宗朝（1163—1224年）摹本，其风格基本反映出原作面貌，且达到相当高水平，堪称流传有绪的古代绘画珍品。\n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。",[52,24,73,53,93,25,26,54,27,55,56,7,109,77],"印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f01749acfaf6449c0e92a8477239224.jpg","绢本，设色","纵28.7厘米，横335.5厘米。","",[],2675,16,{"id":118,"slug":119,"title":120,"dynasty":18,"author":121,"museum":122,"description":123,"tags":124,"thumbUrl":126,"material":58,"size":127,"collection":36,"collections":128,"showCount":129,"zanCount":130,"manualWeight":41,"mainColor":63},214574,"li-dai-di-wang-tu-yan-li-ben-214574","历代帝王图","阎立本","波士顿美术馆","本卷绘十三位帝王：前汉昭帝、汉光武帝、魏文帝曹丕、吴主孙权、蜀主刘备、晋武帝司马炎、陈宣帝陈顼、陈文帝陈蒨、陈废帝陈伯宗、陈后主陈叔宝、北周武帝宇文邕、隋文帝杨坚、隋炀帝杨广。整个卷轴共有四十六个人物。\n线条强而有力，色彩厚重，具有很高的艺术水准。通过细节，画家表达了皇帝们的内心世界和经历，用画笔表达了有爱有恨的故事。这幅画在色彩的使用和人物服装的处理上受到了佛教艺术的影响。",[23,24,73,53,26,54,25,109,125,7],"书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb3ca2dbf330c36c9516b2bb0dec8242.jpg","51.3 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531",[36],2607,27,{"id":132,"slug":133,"title":134,"dynasty":68,"author":135,"museum":136,"description":137,"tags":138,"thumbUrl":141,"material":58,"size":142,"collection":36,"collections":143,"showCount":144,"zanCount":145,"manualWeight":41,"mainColor":42},219988,"chun-gui-juan-du-tu-leng-mei-219988","春闺倦读图","冷枚","天津博物馆","美人卷珠帘，深坐颦蛾眉。《春闺倦读图》图绘一身着长裙的仕女，发髻高挽，一手支颐，一手持书，侧身倚桌案而立。其神态文静闲适中略带倦意，大家闺秀清闲寂寞的生活，刻画得细致入微。",[23,24,73,25,26,27,29,139,77,7,140],"牡丹","卷轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F182d912c8259e91009a6158bea4db358.jpg","80*50",[36],2317,20,{"id":147,"slug":148,"title":149,"dynasty":88,"author":105,"museum":150,"description":107,"tags":151,"thumbUrl":158,"material":113,"size":113,"collection":113,"collections":159,"showCount":160,"zanCount":161,"manualWeight":41,"mainColor":42},226698,"han-xi-zai-ye-yan-tu-song-mo-ben-song-gong-ting-hua-jia-226698","韩熙载夜宴图(宋摹本)","藏地不详",[23,93,25,26,53,125,109,54,27,152,55,56,153,154,155,7,156,157],"文人","床榻","屏风","桌案","墨","纸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8df2423c850e2ffa06c685670994844.jpg",[],1302,14,{"id":163,"slug":164,"title":165,"dynasty":18,"author":19,"museum":106,"description":166,"tags":167,"thumbUrl":169,"material":170,"size":171,"collection":113,"collections":172,"showCount":173,"zanCount":174,"manualWeight":41,"mainColor":42},227085,"hui-shan-shi-nv-tu-juan-zhou-fang-227085","挥扇仕女图卷","《挥扇仕女图》卷，传为唐周昉绘，绢本，设色，纵33.7厘米，横204.8厘米。\n无作者款印。引首清高宗弘历题“猗兰清画”四字。钤明韩世能 “韩世能印”、“韩仲子氏”、“世能”，清梁清标“蕉林书屋”、“蕉林居士”、“蕉林考藏”，清高宗弘历“古希天子”、“乾隆御览之宝”、“石渠宝笈”、“乾隆鉴赏”等鉴藏印，共31方。\n此图描绘了13位头挽高髻、细目圆面、长裙曳地的妃嫔和宫女形象。全幅以横向排列的形式展示了人物的各种活动：执扇慵坐、解囊抽琴、对镜理妆、绣案做工、挥扇闲憩等。作者注意画面横向疏密、松紧的韵律变化，纵向高低错落的层次变化，从而使得画面结构井然有序，并避免了构图上的单调呆板。图中色彩丰富，以红色为主，兼有青、灰、紫、绿等各色。冷暖色调相互映衬，显现出人物肌肤的细嫩和衣料的华贵。衣纹线条近铁线描，圆润秀劲，富有力度和柔韧性，较准确地勾画出了人物的种种体态。\n画家周昉出身于豪门显宦，因此，他对于贵族阶层绮靡奢华的生活非常熟悉。其仕女画不以烈女、贤妇、仙女等为表现对象，而是取材于现实生活中贵族妇女的行乐活动，具有强烈的时代感，从而迎合了中晚唐时期大官僚贵族们的审美意趣。其作品在张扬唐王朝繁华兴盛的物质生活的同时，亦揭示了贵妇们极度贫乏的精神世界。此图中嫔妃们体貌丰腴，衣饰华丽，但她们面含幽怨，举止慵倦，毫无生气。\n明张丑《清河书画舫》，清内府《石渠宝笈续编》，清阮元《石渠随笔》著录。",[23,24,73,53,25,26,54,168,27,109,7,77],"仕女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d64d42508b0dd39153cc6c8554c273c.jpg","纸本 ，设色","纵33.7cm，横204.8cm",[],1203,11,{"id":176,"slug":177,"title":178,"dynasty":179,"author":180,"museum":106,"description":181,"tags":182,"thumbUrl":185,"material":186,"size":187,"collection":36,"collections":188,"showCount":189,"zanCount":190,"manualWeight":41,"mainColor":42},221042,"nv-shi-zhen-tu-quan-juan-gu-kai-zhi-221042","女史箴图全卷","晋","顾恺之","《女史箴》是西晋广武侯张华所写，文字内容是关于女子的德行操守，以教化训诫为目的。顾恺之将文中故事以图画的形式加以描绘，使之通俗易懂。现存《女史箴图》最早的画本是唐代摹本，原为清宫旧藏，现藏于大英博物馆。此卷为宋人摹本，全图有画11段，分别为“樊姬感庄”、“卫女矫桓”、“冯婕妤挡熊”、“班婕妤辞辇”、“防微虑远”、“知饰其性”、“出其言善”、“灵监无象”、“欢不可以渎”、“静恭自思”、“女史司箴”。本卷为白描人物，笔法流利，线条细劲连绵，比高古游丝描又多了几份挺健，更接近李公麟一派。人物形象有古意，此卷宋摹本较唐摹本画面内容多两段，对了解《女史箴图》母本及其流传，以及早期人物画法的演变具有重要的参考价值。",[23,24,53,183,26,25,54,27,7,125,109,75,184],"白描","山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28e16c9ec9cf1b988dbcda811f3ae11a.jpg","纸本，墨笔","横601厘米，纵27.9厘米",[36,38],944,15,{"id":192,"slug":193,"title":194,"dynasty":195,"author":196,"museum":106,"description":197,"tags":198,"thumbUrl":206,"material":111,"size":207,"collection":36,"collections":208,"showCount":209,"zanCount":210,"manualWeight":41,"mainColor":63},222194,"ren-wu-gu-shi-tu-gui-fei-xiao-zhuang-chou-ying-222194","人物故事图-贵妃晓妆","明","仇英","全册共十开，内容取材于历史故事、寓言传说、文人轶事和诗文寓意，具体为子路问津、明妃出塞、贵妃晓妆、南华秋水、吹箫引凤、高山流水、竹院品古、松林六逸、浔阳琵琶、捉柳花图等。这些题材历史上常被画家描绘，但仇英在作品立意、形象塑造和笔墨表现等方面，都注入了自己的才思和技巧，显示出鲜明的个性风格。\n作品主题明确，构思巧妙，不仅人物活动的细节刻画具体明晓，而且注意环境气氛的烘托，使每幅画页都有很强的观赏性。如“贵妃晓妆”页，以杨贵妃清晨在华清宫端正楼对镜理髻为中心，将宫女奏乐、采花和携琵琶等情节同现于一个画面，集中表现了贵妃爱牡丹、喜簪花、善声乐、好打扮的习性，也概括反映了贵妃奢华纵乐的生活内容。又如“高山流水”页，取材于伯牙鼓琴的故事，在描绘俞伯牙草亭弹琴，钟子期拾阶而上，知音相遇的具体情节同时，布置了高山飞瀑、松林流水的静谧清幽环境，形象地表达了高山流水的音乐内容，也衬托出人物的高雅情操，以象征性手法营造出了一个情景交融的臻境。\n此图册运用工笔重彩法。人物情态描绘得细腻精微，文人举止高雅潇洒，仕女容貌端庄娟美。建筑器皿工整精细，山石树木形态各具。笔致工细而不板滞，流畅自然，刚柔相济。敷色艳丽，又多和色，整体色调和谐、清雅。作品具有雅俗共赏的艺术效果，是仇英对唐宋工笔重彩法的创新和发展。",[23,24,52,73,25,26,54,27,199,200,201,202,203,204,205,7],"楼阁","树木","栏杆","台阶","飞鸟","花卉","器具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6305566e747339ff404852138f61f051.jpg","每开纵41.4厘米，横33.8厘米",[36,38],808,6,{"id":212,"slug":213,"title":214,"dynasty":18,"author":121,"museum":106,"description":215,"tags":216,"thumbUrl":217,"material":34,"size":218,"collection":219,"collections":220,"showCount":222,"zanCount":223,"manualWeight":41,"mainColor":63},221064,"bu-nian-tu-quan-juan-yan-li-ben-221064","步辇图全卷","此卷为其贞观廿二年（648年）十二月十日手抄小乘佛教律部重要经典《善见律》。\n字作典型的唐代“经生体”，结构谨严优美，笔画挺拔腴润，使转灵活生动。\n全文二百六十余行，四千四百多字，一笔不苟，整齐匀净，表现了书者虔诚的心境与深湛的功力，实为唐人小楷上乘之作。\n今日所见唐人写经主要为百年前敦煌藏经洞发现，多出民间写手，且断烂残破。\n此卷则为千年传世之本，首尾俱全。\n卷末题名中有“赵模监”、“阎立本总监”字样，赵氏为宫廷“搨书人”，曾摹《兰亭序》；阎氏后官至右相，曾绘《步辇图》。\n研究者据此认定此卷是当时奉敕所作的皇家珍品。\n同样难得的是此卷的传承过程。\n它曾入南宋内府，钤有高宗“绍兴”、理宗“缉熙殿宝”二玺；元代曾归赵孟頫、皇姊祥哥剌吉两大藏家；明代华夏、董其昌及清初王鸿绪曾藏；入清宫后著录于《秘殿珠林续编》。\n卷后赵孟頫、冯子振、赵岩、邢侗、董其昌等大家的题跋相互辉映，为之增重不少。",[23,24,73,53,25,26,54,7,109,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F795330e305e920af26685bf0960da803.jpg","纵38.5厘米，横129厘米。","书法精选",[219,221],"碑帖精选",564,9,{"id":225,"slug":226,"title":227,"dynasty":68,"author":228,"museum":106,"description":229,"tags":230,"thumbUrl":231,"material":34,"size":113,"collection":36,"collections":232,"showCount":233,"zanCount":11,"manualWeight":41,"mainColor":63},236173,"yin-zhen-ban-shen-xiang-zhou-yi-ming-236173","胤禛半身像轴","佚名","清朝人画的胤禛像。爱新觉罗·胤禛（1678—1735） 雍正，满族，是清朝第五位皇帝，入关后第三位皇帝，清圣祖康熙第四子，母为孝恭仁皇后，即德妃乌雅氏，1722—1735年在位，年号雍正，庙号清世宗，谥号敬天昌运建中表正文武英明宽仁信毅睿圣大孝至诚宪皇帝，葬清西陵之清泰陵。",[24,54,25,26,74,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f705ee2f9ff7c893abe608f40192e4d.jpg",[36,38],553,{"id":235,"slug":236,"title":237,"dynasty":68,"author":238,"museum":106,"description":239,"tags":240,"thumbUrl":243,"material":111,"size":244,"collection":36,"collections":245,"showCount":246,"zanCount":11,"manualWeight":41,"mainColor":63},222723,"qian-long-huang-di-da-yue-tu-zhou-lang-shi-ning-222723","乾隆皇帝大阅图轴","郎世宁","本幅无作者款印，据作品画风，无疑系郎世宁真笔。\n乾隆四年（1739年），皇帝弘历亲临南苑检阅八旗军的队列及各种兵器、火器的操练活动，乾隆每3年大阅一次，以壮军威，鼓士气。\n本幅系弘历29岁时的戎装像，精神焕发，亦系郎世宁的盛年佳作。但此时画家对传统中国绘画尚处在学习阶段，图中的表现技法基本上是采用中国传统的绘画工具和材料而取得了西方细笔油画的艺术效果。作者减弱了对景物、人马的素描手法，以平光处理明暗，线条在起到轮廓线的作用后几乎被色彩隐去，天空中云彩的画法全出自西法，近景的草叶近乎西方的静物写生，只有远山的结构保留了清宫写实山水的一些程序。",[23,74,25,26,54,241,184,7,242],"马","兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21ee2f5e76e9f30efbdf7e15fcadde66.jpg","纵332.5厘米，横232厘米",[36],548,{"id":248,"slug":249,"title":250,"dynasty":251,"author":252,"museum":49,"description":253,"tags":254,"thumbUrl":256,"material":58,"size":257,"collection":36,"collections":258,"showCount":259,"zanCount":260,"manualWeight":41,"mainColor":42},214839,"yuan-ming-gui-qu-lai-ci-tu-zhao-meng-fu-214839","渊明归去来辞图","元","赵孟頫","现在的画没有标记，据说是赵孟𫖯的作品，不过画风不一样。这幅画表现的是陶渊明在两个仆人的陪同下，带着他的法杖回来，一个人拿着琴和卷轴，另一个人拿着酒坛。门前的五棵柳树清楚地表明，画中的人是五柳先生。人物的衣着是快速、流畅和有力的笔触。柳树的树干被仔细地描绘出来，线条清晰可见。这幅画还用淡墨给水和天空轻轻上色，但很明显，暮色已经退去，秋天的空气铺天盖地。",[23,24,73,53,183,26,54,255,184,7],"老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d284481c01c8ff3b02e261ebb31a78f.jpg","27x72.5",[36],533,5,{"id":262,"slug":263,"title":264,"dynasty":68,"author":135,"museum":265,"description":266,"tags":267,"thumbUrl":268,"material":269,"size":270,"collection":36,"collections":271,"showCount":272,"zanCount":273,"manualWeight":41,"mainColor":63},219543,"mei-ren-tu-leng-mei-219543","美人图","大英博物馆","这幅画被称为美人画（“美人画”），传统可以追溯到唐代（618-906）周放（约730-800）的画作。 这位女士坐在质朴的座位上，手里拿着一本书。 她随意的姿势、精致的外表和透明的衣着表明冷梅可能一直在描绘一个妓女。 艺术家的技巧可以从纺织品设计的细腻渲染和帷幔的流畅线条中看出。",[23,24,25,26,54,27,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35c1e3b4f1eb980004fca2e6dfb0e546.jpg","纸本,设色","纵90 厘米横31 厘米",[36],489,3,{"id":275,"slug":276,"title":277,"dynasty":195,"author":278,"museum":265,"description":279,"tags":280,"thumbUrl":281,"material":269,"size":282,"collection":36,"collections":283,"showCount":284,"zanCount":285,"manualWeight":41,"mainColor":42},219532,"ma-gu-xian-shou-tu-chen-hong-shou-219532","麻姑献寿图","陈洪绶","“麻姑献寿”是传统绘画特别是民间年画的常见题材。传说三月三日西王母寿辰，麻姑在绛珠河畔以灵芝酿酒，为王母祝寿。麻姑是神话人物，晋代葛洪《神仙传》说她是建昌人，修道于牟州东南姑余山。此画描写麻姑和侍女二人，均面相端庄美丽。麻姑一手执仙杖，杖端系有盛灵芝酒的宝葫芦，另一手执玉盘。衣纹用线钩勒粗简方折，而衣上带图案的银白色花纹却描绘得极工细匀整，既素雅又华丽，显示出人物的非凡身份和在祝寿的特定情境中对寿者(西王母)的尊敬和虔诚。麻姑身后的侍女双手捧花瓶，瓶插雪白的梅花和红艳的山茶花，与麻姑面向一致，目视前方，神情专注。",[23,24,73,74,25,26,54,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe811cb5aa985accd1f172e8ea3508614.jpg","190.2x104.6厘米",[36,38],478,2,{"id":287,"slug":288,"title":289,"dynasty":195,"author":196,"museum":265,"description":290,"tags":291,"thumbUrl":296,"material":58,"size":113,"collection":36,"collections":297,"showCount":298,"zanCount":210,"manualWeight":41,"mainColor":42},219568,"yan-le-tu-chou-ying-219568","宴乐图","仇实父画楼观人物，大都远宗顾陆，近接鸥波，此卷用意精深，造景超妙，又得之天真，使我敛手敬服，当以瓣香赠之。今为石川银台所藏，深得其主，后世未尝不与顾陆并传也。嘉靖丁亥（1527年）二月，徵明识。",[23,24,73,53,25,26,292,54,199,200,293,241,294,295,203,7],"界画","山石","亭","庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb093140a79abe931a475190696310633.jpg",[36,38],384,{"id":300,"slug":301,"title":302,"dynasty":68,"author":303,"museum":106,"description":304,"tags":305,"thumbUrl":307,"material":58,"size":308,"collection":36,"collections":309,"showCount":310,"zanCount":311,"manualWeight":41,"mainColor":42},220398,"shi-nv-zan-hua-tu-jin-ting-biao-220398","仕女簪花图","金廷标","图中精致的家具、富丽的陈设所构筑出的典雅高贵的环境，表明此图表现的是宫廷女子日常生活的景象。梳妆打扮是贵族妇女每日生活中的重要内容之一，对此，她们不敢有丝毫的怠慢。图绘晨起的女子对镜理妆的情景。她为了取得良好的照镜角度，不禁起身而立，双目注视着桌上的铜镜，同时，左手缓缓地往云鬓上插玉簪。情节生动，人物举止自然，显示出作者细致入微的观察力和准确传神的艺术表现力。\n图中女子杏脸桃腮，皓齿朱唇，身段婀娜多姿，富于曲线变化，体虚力弱中显现出娇柔典雅的娟秀气，体现出清代仕女画清新俊秀的时代特征。人物衣纹用笔顿挫转折，线条遒劲刚健，与以界画方式表现的家具及室内装饰物所采用的守规守矩、见棱见角的线条相互呼应，笔墨格调于统一中显现出所绘物象不同的质感。此幅构图颇具机巧，近景为全身像的簮花女子，中景系若隐若现的理书侍女，远景是含烟带雾的翠竹一隅。繁复的画面，既未掩簪花的创作主题，又通过近、中、远三景的自然展现加强了画幅的立体、纵深效果，从而在有限的画面上扩展出无限的空间。",[23,25,26,54,27,77,7,31,204,201,306],"室内陈设","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F836624fe83b39d31a2d2db2d60908583.jpg","纵223厘米，横130.5厘米",[36,38],360,7,{"id":313,"slug":314,"title":315,"dynasty":195,"author":316,"museum":106,"description":317,"tags":318,"thumbUrl":319,"material":111,"size":320,"collection":36,"collections":321,"showCount":322,"zanCount":210,"manualWeight":41,"mainColor":42},222351,"wang-shu-gong-ji-tu-zheng-ben-tang-yin-222351","王蜀宫妓图正本","唐寅","此图原名《孟蜀宫妓图》，俗称《四美图》，由明末汪砢玉《珊瑚網·画录》最早定名，沿用至今。近经专文考证，当改为《王蜀宫妓图》，描绘的是五代前蜀后主王衍的后宫故事。画面四个歌舞宫女正在整妆待君王召唤侍奉。她们头戴金莲花冠，身着云霞彩饰的道衣，面施胭脂，体貌丰润中不失娟秀，情态端庄而又娇媚。蜀后主王衍曾自制“甘州曲”歌，形容著道衣的宫妓妩媚之态：“画罗裙，能结束，称腰身。柳眉桃脸不胜春，薄媚足精神。可惜许，沦落在风尘。”唐寅创作此画，则旨主揭示前蜀后主王衍荒淫腐败的生活，寓有鲜明的讽喻之意。\n此图为唐寅人物画中工笔重彩一路画风的代表作品，显示出他在造型、用笔、设色等方面的高超技艺。仕女体态匀称优美，削肩狭背，柳眉樱髻，额、鼻、颔施以“三白”，既吸收了张萱、周昉创造的“唐妆”仕女造型特色，又体现出明代追求清秀娟美的审美风尚。四人交错而立，平稳有序，并通过微倾的头部、略弯的立姿和攀连的手臂，形成动态的多样变化和相互的紧密联系，加强了形象的丰富性和生动感。笔墨技巧近法杜堇，远宗唐人，衣纹作琴弦描，细劲流畅，富有弹性和质感，冠服纹饰描画尤见精工，细致入微。设色鲜明，既有浓淡、冷暖色彩的强烈对比，又有相近色泽的巧妙过渡和搭配，使整体色调丰富而又和谐，浓艳中兼具清雅。作品画风带有雅俗共赏的艺术特色。",[23,24,73,74,26,25,54,27,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf6a69f4c7f9bc4763217d4951ac15c8.jpg","纵124.7厘米，横63.6厘米",[36,38],332,{"id":324,"slug":325,"title":326,"dynasty":68,"author":238,"museum":106,"description":327,"tags":328,"thumbUrl":334,"material":335,"size":336,"collection":36,"collections":337,"showCount":338,"zanCount":11,"manualWeight":41,"mainColor":42},222724,"qian-long-huang-di-chao-fu-xiang-lang-shi-ning-222724","乾隆皇帝朝服像","画中的乾隆皇帝慈眉善目，端庄大方，透露着一国之君的威严。郎世宁所画的肖像画，都有着造型准确，并富有立体感的特点;同时为了适合东方民族的欣赏习惯与审美心理，在画面光线的运用上，一律取正面光照，从而使人物面部五官都处在明亮部位，观之非常清晰。\n该作品是根据清代宫廷礼制的需要，每位皇帝、皇后以及主要的嫔妃都画有穿戴整齐的朝服像，这些作品华丽工细，格式相似。此幅即是郎世宁为乾隆皇帝所画的朝服像。",[23,26,329,25,54,330,331,156,157,332,7,333],"油画","龙","笔","砚","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ea3a27eb07c0608d6f69acd2f551812.jpg","绢本 设色","52cmx35cm",[36],318,{"id":340,"slug":341,"title":342,"dynasty":18,"author":19,"museum":343,"description":344,"tags":345,"thumbUrl":347,"material":58,"size":348,"collection":36,"collections":349,"showCount":350,"zanCount":351,"manualWeight":41,"mainColor":42},219044,"nei-ren-shuang-lu-tu-zhou-fang-219044","内人双陆图","美国弗利尔美术馆","该画描绘了唐装贵族妇女以棋戏消遣的生活。图中间为二盛装贵族妇女对坐行棋，左右有亲近观棋，侍婢应候。",[23,24,73,53,25,26,54,27,7,346],"博弈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc354550c4476e6ac7c7f894f8e14d12.jpg","纵30.7厘米，横64.4厘米",[36],300,8,{"id":353,"slug":354,"title":355,"dynasty":195,"author":228,"museum":356,"description":357,"tags":358,"thumbUrl":359,"material":58,"size":360,"collection":36,"collections":361,"showCount":362,"zanCount":285,"manualWeight":41,"mainColor":42},218278,"ba-xian-tu-dui-fu-yi-ming-218278","八仙图对幅","美国大都会艺术博物馆","这幅画的主角是吕洞宾、韩湘子、张果老和何仙姑。其中，张果老倒骑毛驴，而南极则骑着仙鹤漂浮在空中。",[52,24,73,74,26,25,54,203,333,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4836b19ce99b951c2196e0bdabb8b82a.jpg","139.7x78.7",[36],258,{"id":364,"slug":365,"title":366,"dynasty":195,"author":278,"museum":106,"description":367,"tags":368,"thumbUrl":370,"material":58,"size":371,"collection":36,"collections":372,"showCount":373,"zanCount":285,"manualWeight":41,"mainColor":42},219628,"shi-nv-tu-chen-hong-shou-219628","仕女图","陈洪绶（1599~1652），明末清初著名书画家、诗人。字章侯，幼名莲子，一名胥岸，号老莲，晚号老迟、悔迟，又号悔僧、云门僧。\n他的作品荒诞而深情，鲁迅先生对之极为推崇，认为“老莲的画，一代绝作”。\n陈洪绶是明代著名的人物画家，他在人物画中对女性形象有着独特的关注视点，在造型方面追 求高古奇骇的古拙之美，在色墨运用上崇尚淡彩的雅丽之美。\n他笔下的女性人物形象既具备了明清 时期女性纤弱清秀的时代气质，又通过“诗画相生”的艺术表达体现出中国文人画家的精神特质， 对后世女性人物形象塑造，乃至人物画的发展都产生了深刻影响。",[23,24,25,26,54,27,78,369,7,32,31],"梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ebe8c0fcec8f056598c9426139fbf89.jpg","纵173.5横95.3厘米",[36,38],249,{"id":375,"slug":376,"title":377,"dynasty":195,"author":316,"museum":265,"description":378,"tags":379,"thumbUrl":381,"material":58,"size":382,"collection":36,"collections":383,"showCount":384,"zanCount":210,"manualWeight":41,"mainColor":42},219530,"tao-gu-zeng-ci-tu-tang-yin-219530","陶穀赠词图","唐寅（1470—1523年），字伯虎，一字子畏，号六如居士，吴县（今江苏苏州）人。出身商人家庭，自幼聪明伶俐。20余岁时家中连遭不幸，父母、妻子、妹妹相继去世，家境衰败，在好友祝允明的规劝下收心读书，29岁参加应天府公试，得中第一名“解元”，30岁赴京会试，却受考场舞弊案牵连被斥为吏。此后遂绝意进取，以卖画为生。正德九年（1514年）曾应宁王朱宸濠之请赴南昌半年余，后察觉宁王有图谋不轨，遂佯狂得以脱身而归。晚年生活困顿，54岁即病卒。他玩世不恭而又才气横溢，诗文擅名，与祝允明、文徵明、徐祯卿并称“江南四才子”，画名更著，与沈周、文徵明、仇英并称“吴门四家”。 其绘画擅长山水、人物、花鸟各科。画法早年受沈周、文徵明影响，多“吴派”痕迹，30余岁时拜周臣为师，主宗南宗“院体”一路，后泛学宋元诸家，自成一体。山水画有粗、细两种风格：粗笔一路源自周臣，仿学南宋“院体”，然于刚劲雄健中别具清俊秀逸之韵；细笔画属其本色，更多文人画笔意，景色简约清朗，用笔纤细有力，皴法灵活多变，墨色淋漓多变，风格奇峭而又秀润。人物画造诣也很深，兼善工笔重彩、工笔淡彩、白描、水墨写意诸法，形神俱备。",[23,24,52,74,26,25,54,27,380,204,77,7,55],"树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4160d60f87f2087cb65dd4c2c4d435.jpg","纵171横103.8厘米",[36],231,{"id":386,"slug":387,"title":388,"dynasty":18,"author":389,"museum":390,"description":391,"tags":392,"thumbUrl":394,"material":26,"size":113,"collection":36,"collections":395,"showCount":396,"zanCount":285,"manualWeight":41,"mainColor":42},219167,"fu-sheng-shou-jing-tu-wang-wei-219167","伏生授经图","王维","日本大阪市立美术馆","图中的伏生席地而坐，手持书卷，形象清矍苍老，似正在认真讲授。其神情专注而和蔼。从画中清晰可见伏生额头的皱纹与身体上极为松弛的皮肤，非常生动而且真实的描绘出了当时伏生的身体状况。通过画面中对伏生神态的描绘，可以想象，年老的伏生讲授《尚书》时的吃力。此图线描手法高超，敷色清雅。",[23,24,73,54,25,183,26,109,393,7],"典籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8701c647bf80d991a6ae005e685af840.jpg",[36],210,{"id":398,"slug":399,"title":400,"dynasty":68,"author":238,"museum":106,"description":401,"tags":402,"thumbUrl":403,"material":111,"size":404,"collection":36,"collections":405,"showCount":406,"zanCount":11,"manualWeight":41,"mainColor":407},222796,"yong-zheng-chao-fu-xiang-zhou-lang-shi-ning-222796","雍正朝服像轴","此幅画面上雍正皇帝身着明黄色彩云金龙夏朝服，头戴夏朝冠，顶贯珠三重，冠前饰金佛。胸前佩戴东珠朝珠，其上间系绿松石纪念三串，腰系朝带，足蹬石青色朝靴，这是雍正皇帝参加盛大典礼时的服饰。此图用笔工整精致，色彩华丽鲜艳，人物神态端庄威严，是宫廷画家精心创作的皇帝肖像画。从“冠上无梁”（“梁”为清帝朝冠顶座左右两侧的n形装饰，雍正晚期出现）的装饰风格看，当属雍正早期的绘画作品。\n一代冠服自有一代之制。清代满族统治者传承中国古代传统文化的精髓，把“衣作绣，锦为缘”、“续衽钩边”和“朝服祭服，襞积（朝袍腰部叠褶处称襞积）无数”这些中国古代服饰的传统形制与带有满民族风格的“披肩领”和“马蹄袖”巧妙地结合起来，不仅彰显了其“马上得天下”的辉煌历史，同时亦注重到实用性，并最终使其制度化，成为中国古代服饰制度改革中的典型范例。\n清代冠服制度规定：朝服分蓝、红、月白、明黄四种颜色，根据不同的礼仪功能和场合穿用不同颜色的朝服。祭天穿蓝色，祭日穿红色，祭月穿月白色，而明黄色朝服一般用于典礼（登基、元旦、万寿、金殿传胪、颁诏受贺等）和祭祀（祭太庙、先农坛、社稷坛、先师孔子、历代帝王等）活动。典礼和祭祀穿着的明黄色朝服又有区别，典礼朝服衣袖为石青色，而祭祀朝服衣袖为明黄色。",[23,26,25,54,330,7,32,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f084389b4a5403ca87fac736d099533.jpg","纵277厘米，横143厘米",[36,38],207,"FDD835",{"id":409,"slug":410,"title":411,"dynasty":195,"author":278,"museum":412,"description":413,"tags":414,"thumbUrl":415,"material":58,"size":416,"collection":36,"collections":417,"showCount":406,"zanCount":11,"manualWeight":41,"mainColor":418},218407,"yin-cha-tu-chen-hong-shou-218407","饮茶图","香港艺术馆","该场景画在一个开放的空间里，用石头、木桌、茶具和荷花装饰。两个高卓人相对而坐，最近的一个已经弹完了古筝，而对面的人则坐在一张大香蕉叶上，一起喝香茶。",[23,24,73,25,26,54,78,76,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe38a7bfcb0587783355bda0d2f3e792b.jpg","86x47",[36],"37474F",{"id":420,"slug":421,"title":422,"dynasty":68,"author":423,"museum":150,"description":424,"tags":425,"thumbUrl":426,"material":113,"size":113,"collection":36,"collections":427,"showCount":428,"zanCount":41,"manualWeight":41,"mainColor":63},223079,"shui-hu-ren-wu-ren-xun-223079","水浒人物","任薰","任薰(1835-1893)，字 舜琴 ，又字阜长，其父任椿，兄 任熊 都是画家。少丧父，从兄学画，青年时在 宁波 卖画为生，1868年与任颐去苏州，后寓居苏州、上海。任颐、 任预 均从其习画。人物与其兄同师 陈洪绶 ，常用高古游丝、铁线、行云流水、兰叶几种描法。\n任薰治学严谨，在写生、临摹上均下了苦功夫。任薰兼工人物、花鸟、山水、肖像、仕女，画法博采众长，面貌多样，富有新意。 与 顾文彬 子顾承相友善，曾为设计怡园。 1888年54岁时双目失明，后病卒于苏州。 与任熊、任颐时称"三任"，合任预为"四任"，并为 海上画派 代表画家之一。\n任薰作画题材广泛，对人物、山水、花卉、翎毛、走兽(马、羊等)无所不能，更擅长花鸟、人物。粗写意、细双勾。技法初学其兄谓长，后吸取陈老莲的传统技法。用笔沉着力。\n在构图上有其特长，在大小不同的画面上，创作出许多新颖、宽广、意境深远的作品，尤其适应扇面上的表现技法，能笔随意转，在极小的团扇、折扇画面上，开拓出广阔、妙趣盎然的意境。\n任薰作品在结构上比较严谨，很重视疏密虚实的主从关系，无论一人、一花、一鸟的主从关系都能巧心安排得体。平淡中亦能出奇，宁静中又能生动。画面上给人一种空灵明快之感。\n他的另一特点是工于着色，浓淡相宜，清新可爱，绝无柔媚习气。他尤长于使用重彩着色，能把对比鲜明的色彩调和统一起来，使画面上的景色更显壮丽，又能从鲜艳色彩中透出古朴的意趣。任薰人物画，线条遒劲圆韧。尤其晚年人物衣褶，运笔如同书法中行草，似有行云流水之感，形态多奇伟的身躯，出乎 寻常容貌，带有性格的神态，别出心匠。",[23,52,24,73,74,26,25,54,7,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc87cbb4b2700dc7566d2985222762f7.jpg",[36],195,{"id":430,"slug":431,"title":366,"dynasty":68,"author":228,"museum":432,"description":433,"tags":434,"thumbUrl":435,"material":58,"size":436,"collection":36,"collections":437,"showCount":438,"zanCount":11,"manualWeight":41,"mainColor":42},218422,"shi-nv-tu-yi-ming-218422","费城艺术博物馆","画面中仕女身姿窈窕，衣袂轻垂如流云。左侧二人发髻簪饰精致，神态温婉相依，似低语絮谈；右侧小鬟恭立，身形纤弱，尽显娴静恭谨之态。线条细腻婉转，勾勒衣纹柔缓褶皱；设色古朴淡雅，棕褐基调晕染时光沉淀的温润质感。背景素净无华，更衬人物清雅气韵。虽佚名之作，细节处见匠心：发间金饰隐现微光，腰间丝带垂坠有致，衣料纹理细腻传神。笔墨间传递传统仕女画的含蓄之美，尽显闺阁女子温婉情致与古典韵致，如一缕旧时光里的清风，拂过观者心田。",[24,73,26,25,54,27,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd5a96fcffa4d742d6230cf50a67fe0a.jpg","115x60.4",[36],192,{"id":440,"slug":441,"title":442,"dynasty":195,"author":278,"museum":265,"description":443,"tags":444,"thumbUrl":445,"material":58,"size":446,"collection":36,"collections":447,"showCount":448,"zanCount":285,"manualWeight":41,"mainColor":42},219531,"bu-gun-tu-chen-hong-shou-219531","补衮图","衮是古代君王的礼服，补衮有补救规谏帝王过失的寓意。图中绘有四人，发髻高耸，雍容华贵。",[23,24,73,25,26,54,27,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d0bcfbcf40168efa236701b517fe221.jpg","纵109横78.5cm",[36,38],188,{"id":450,"slug":451,"title":452,"dynasty":179,"author":180,"museum":150,"description":453,"tags":454,"thumbUrl":456,"material":113,"size":113,"collection":113,"collections":457,"showCount":458,"zanCount":459,"manualWeight":41,"mainColor":42},227037,"song-mo-ben-chuan-lie-nv-ren-zhi-tu-juan-gu-kai-zhi-227037","宋摹本 传 列女仁智图卷","《列女仁智图》卷，绢本，墨笔淡着色，纵25.8厘米，横417.8厘米。\n《列女仁智图》卷旧传东晋顾恺之作，此为南宋人摹本。\n汉成帝沉湎于酒色，宠信赵飞燕姐妹，朝政大权旁落于外戚手中，危及刘氏政权。楚元王四世孙光禄大夫刘向（前77－前6年）针对这一情况，采摘自古以来诗书上所记载的贤妃、贞妇、宠姬等资料，编辑成《列女传》一书呈送汉成帝，希望他从中吸取经验教训，以维护刘氏政权。全书按妇女的封建行为道德准则和给国家带来的治、乱后果，分为母仪、贤明、仁智、贞顺、节义、辩通、孽嬖七卷，此即其中“仁智卷”部分。\n仁智卷共收集15个列女故事。此卷为残本，其中“楚武邓曼”、“许穆夫人”、“曹僖氏妻”、“孙叔敖母”、“晋伯宗妻”、“灵公夫人”、“晋羊叔姬”7个故事保存完整。“齐灵仲子”、“晋范氏母”、“鲁漆室女”3个故事只存一半，其余5个故事则全丢失，又错将“鲁漆室女”之右半与“晋范氏母”之左半拼接在一起，使人误以为是一个故事。\n此卷多处保存了汉代的衣冠制度，如男子头戴进贤冠，身着曲线大袖袍，腰结绶带并配挂长剑；女子梳着垂髾髻，身着深衣，特别是眉毛涂以朱色，是模仿赵昭仪的新妆，这些都表现了特定时期的风俗和时尚。又蘧伯玉所乘坐的马车称“轺车”，亦为汉代形制，描绘得非常细致而无错误，这些都可以从大量出土的汉代画像石、砖和壁画中找到与之相应的图象。\n在北魏司马金龙墓出土的漆屏风画《列女古贤图》中，表现卫灵公与夫人夜坐闻马车声的一段，与此卷所表现的同一内容相比较，无论是构图布局还是人物的姿态手势都非常近似，可以证实其与《列女仁智图》同出自一个古本。而在传摩过程中，后者更为忠实于古本原作。\n据《汉书》记载，刘向在向汉成帝呈送《列女传》的同时，还呈送了《列女颂图》，并画为屏风。汉成帝的班婕妤失宠后，在她的诗中曾谈到在宫内看到《列女图》，并以此来鉴戒自己。这些都载在班固所著的《汉书》中。东汉时代的画像石、砖中，有不少表现列女故事的题材。画史并载蔡邕曾创作有《小列女图》。这一时期《列女图》的大量出现，既是出于宫廷政治斗争的需要，同时也是为了在社会上广泛推行妇女的道德教育，借以维护封建秩序。\n根据《列女仁智图》中保存有较多的汉代风俗，以及其构图形式的古朴，推测此卷的原本应当出自于东汉时代，而祖本则为刘向所创。剔除后世在反复传摹中所附加的痕迹，仍然能透视二千年前汉代宫廷绘画的艺术光辉。其人物线条粗犷流畅，造型准确。特别是对妇女的描绘，体态轻盈，婀娜多姿，尤为绝妙。构图布局则与汉画像石一脉相承。《列女传》及《列女仁智图》在宋代有多本，此是被保留下来的惟一的一本，尤为珍贵。",[23,52,24,73,53,183,93,54,241,455,109,125,7],"车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60eb1ec8833db63938ad3a1ecbc21f2e.jpg",[],175,4,{"id":461,"slug":462,"title":463,"dynasty":47,"author":464,"museum":150,"description":465,"tags":466,"thumbUrl":467,"material":113,"size":113,"collection":113,"collections":468,"showCount":469,"zanCount":351,"manualWeight":41,"mainColor":42},228384,"guan-wu-shi-nv-tu-zhou-wen-ju-228384","观舞仕女图","周文矩","松奇石秀的庭院中，仕女们各尽其态，晕开一段闲雅深闺意趣。前景舞女立在红毡之上，扬袖振腕，身姿柔婉灵动，将舞蹈的曼妙尽致展现。侧旁侍女跪坐调鼓，应和节拍，另有仕女相携私语，目光流连。远景榻上仕女斜偎观舞，侍女垂手侍立身侧，尽显松弛慵闲。\n\n画作以铁线描勾勒衣袂裙裾，线条细劲流畅，设色古雅沉静，晕染柔和雅致，将仕女温婉娟秀的仪态，贵族深闺宴乐的慵懒柔靡尽数铺陈，把闺中日常的悠然意趣定格在古绢之上，尽显精工雅致的笔情墨韵。",[23,24,73,74,26,25,54,27,168,55,200,293,295,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeba11e752bd59ac0714e9fc60eac044.jpg",[],171,{"id":471,"slug":472,"title":473,"dynasty":195,"author":278,"museum":106,"description":474,"tags":475,"thumbUrl":477,"material":58,"size":478,"collection":36,"collections":479,"showCount":480,"zanCount":285,"manualWeight":41,"mainColor":42},215041,"sheng-an-zan-hua-tu-chen-hong-shou-215041","升庵簪花图","这幅画是艺术家的艺术杰作。人物夸张的造型，活泼的神态，圆润有力的线条，以及背景中老树的虬枝，进一步强调了主人公不羁的个性，显示了陈洪绶成熟期人物画的典型面貌。",[23,24,52,73,74,25,26,54,476,78,255,7],"枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc04b11c9f447e25c6cc519aa5697678e.jpg","143.5x64.5",[36],165,{"id":482,"slug":483,"title":484,"dynasty":68,"author":238,"museum":150,"description":485,"tags":486,"thumbUrl":488,"material":489,"size":490,"collection":113,"collections":491,"showCount":492,"zanCount":285,"manualWeight":41,"mainColor":42},234708,"hua-guo-qin-wang-xiang-zhou-lang-shi-ning-234708","画果亲王像轴","郎世宁（Giuseppe Castiglione，1688.7.19-1766.7.16），原名朱塞佩·伽斯底里奥内，圣名若瑟，天主教耶稣会修士、画家，意大利米兰人。\n1715年（清康熙五十四年）来中国传教，随即入皇宫任宫廷画家，历经康熙、雍正、乾隆三朝，在中国从事绘画50多年，并参加了圆明园西洋楼的设计工作，为清代宫廷十大画家之一。 郎世宁擅绘骏马、人物肖像、花卉走兽，风格上强调将西方绘画手法与传统中国笔墨相融合，受到皇帝的喜爱，也极大地影响了康熙之后的清代宫廷绘画和审美趣味。\n其主要作品有《十骏犬图》《百骏图》《乾隆大阅图》《瑞谷图》《花鸟图》《百子图》《聚瑞图》《仙萼长春图册》《心写治平图》（《乾隆帝后妃嫔图卷》）等。",[24,73,74,25,26,54,241,7,242,487],"弓箭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7698ac22bf24965860eb90abe749727.jpg","未知","Xcm*Xcm",[],158,{"id":494,"slug":495,"title":496,"dynasty":251,"author":497,"museum":150,"description":498,"tags":499,"thumbUrl":502,"material":113,"size":113,"collection":113,"collections":503,"showCount":504,"zanCount":459,"manualWeight":41,"mainColor":42},228054,"bai-mei-tu-shou-juan-wang-zhen-peng-228054","百美图手卷","王振鹏","此作以长卷舒展，仕女群像错落排布，或展卷挥毫、调弦抚琴，或拈花私语、临案观画，尽现闺中清趣。线条细劲如春蚕吐丝，将云鬓花钗、襦裙飘带勾勒得柔婉细腻，仕女顾盼间尽显温婉秀逸之态。设色古雅淡和，赭黄绢底衬得朱蓝粉白衣袂清雅脱俗，与满卷题字错落呼应，诗画相映成趣，将深闺日常的娴静雅意缓缓铺陈，晕染出女子的幽微心绪与雅致韵致，宛如一卷鲜活的闺中清欢图，余韵悠长。",[23,24,73,53,25,26,54,27,7,55,500,501],"案几","笔墨纸砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff76a94e092ff1a1c143055113ceff3b.jpg",[],152,{"id":506,"slug":507,"title":508,"dynasty":509,"author":510,"museum":150,"description":511,"tags":512,"thumbUrl":517,"material":489,"size":490,"collection":518,"collections":519,"showCount":504,"zanCount":41,"manualWeight":41,"mainColor":418},225615,"rembrandt-harmensz-van-rijn-0197-lun-bo-lang-225615","Rembrandt Harmensz.van Rijn - 0197","不详","伦勃朗","伦勃朗·哈尔曼松·凡·莱因（Rembrandt Harmenszoon van Rijn，1606年7月15日～1669年10月4日）是欧洲17世纪最伟大的画家之一，也是荷兰历史上最伟大的画家。\n伦勃朗早年从师P.拉斯特曼，1625年在家乡开设画室。画作体裁广泛，擅长肖像画、风景画、风俗画、宗教画、历史画等领域。",[329,513,514,54,515,7,516],"写实","明暗对比","鸟类","肖像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd6af52e2b4bac5a46bf2d140aea52df.jpg","油画精选",[518],{"id":521,"slug":522,"title":523,"dynasty":88,"author":524,"museum":122,"description":525,"tags":526,"thumbUrl":529,"material":530,"size":531,"collection":97,"collections":532,"showCount":504,"zanCount":285,"manualWeight":41,"mainColor":42},221658,"wu-bai-luo-han-tu-zhi-ying-shen-guan-yin-zhou-ji-chang-221658","《五百罗汉图》之《应身观音》","周季常","画五百罗汉故事，包含佛教诸多教义僧人生活情境。有罗汉结集论事故事，有佛道斗法情境，有僧人日常生活状貌，也有长途跋涉稍作休憩游行僧形象。",[23,24,73,52,25,26,527,54,75,528,7],"宗教","云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57048aa20a5009792aff06e951ee2386.jpg","绢本设色","111.5x53.1cm",[97,36,38],{"id":534,"slug":535,"title":536,"dynasty":18,"author":121,"museum":106,"description":537,"tags":538,"thumbUrl":540,"material":186,"size":541,"collection":36,"collections":542,"showCount":543,"zanCount":273,"manualWeight":41,"mainColor":42},222242,"suo-jian-tu-juan-yan-li-ben-222242","锁谏图卷","此画最成功之处在于针对人物的神情进行了细致入微的刻画：只见陈元达双手持笏，紧抱大树，嘶喊着进谏之言，尽忠、尽职的焦急心情溢于言表；两名侍卫拉住陈氏的腰带与上衣奋力外扯，他们虽然胡须飞扬，双眼圆睁，亦不能将其奈何；穿着便服的刘聪横眉相向，目露凶光，放在膝上的左手紧握，显然十分激动，余怒未消的神态跃然纸上；合手伫立的刘皇后眼见事端因己而起，心神不宁，急派侍女送交君王密柬以缓解急迫的形势。\n画面对紧张氛围的渲染及对人物形神的描绘吸引了观者的视线，显示出画家独具一格的精妙构思。就画法来看，人物容颜用细笔描绘轮廓，须发纤毫毕现，面部略施淡墨表现起伏，服饰穿戴的线条勾写顿挫转折自具章法，有拙涩古朴之趣，观者能从中感受到罗聘娴熟地驾驭笔墨的高妙功力。\n以此图与现藏美国弗利尔艺术馆、相传为唐代阎立本所绘的《锁谏图》相比照，人物的位置、动作基本没有太多变化，罗氏之作只是省略了皇后一侧的假山石与树丛，添加了陈元达右侧的几名侍卫。另外，罗聘还将原本用设色之法图写的表现形式改作白描，使画作平添了些许雅致。",[23,24,73,53,25,26,54,539,200,293,7,242,109],"犬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41980eacf357c3e6917c0ffd1915bdef.jpg","纵32厘米，横208厘米",[36,38],150,{"id":545,"slug":546,"title":547,"dynasty":88,"author":548,"museum":150,"description":549,"tags":550,"thumbUrl":551,"material":113,"size":113,"collection":113,"collections":552,"showCount":553,"zanCount":273,"manualWeight":41,"mainColor":42},227537,"chao-yuan-xian-zhang-tu-quan-tu-wu-zong-yuan-227537","朝元仙仗图全图","武宗元","《朝元仙仗图》为北宋宗教画家武宗元所绘制的一幅绢本白描长卷，曾收藏于美国华人收藏家王季迁手中，在其去世后失窃下落不明。\n\n该画作描绘了五方帝君中的三个帝君，去往朝谒天上的最高统治者时的队仗行列。画家以流利的长线条描绘此图，画中人物栩栩如生，表情生动，描画出了不同的人物的不同的身份与形态特征，成功地表现出帝君的庄严、神将的威武和仙女的丰姿，是白描人物画的代表作。",[23,24,527,183,53,54,199,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff20def5f9abc833a0d5a4c488f47d5ad.jpg",[],147,{"id":555,"slug":556,"title":557,"dynasty":18,"author":121,"museum":106,"description":558,"tags":559,"thumbUrl":560,"material":34,"size":561,"collection":36,"collections":562,"showCount":553,"zanCount":285,"manualWeight":41,"mainColor":63},221065,"kong-zi-di-zi-xiang-yan-li-ben-221065","孔子弟子像","《孔子弟子像》全图采取平列式构图，无背景，墨笔勾勒，着色，人物形象各异，须眉生动。绘孔子弟子立像五十九人，无名款。从体貌上对照，第三人即为孔子，以后诸人亦形态相仿，顺序一致，惟个别处有遗漏或增补，如子迟和子贡之间缺子夏，孔子前多出两人。但根据北京故宫博物院藏的宋无款《七十二贤相》卷进行对比，本幅画所绘为孔子及弟子像内容是确凿无疑的。",[23,24,52,73,53,25,26,183,54,109,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc62b0109df8752c442e8801281dc33fb.jpg","纵32.3厘米，横870厘米",[36,38],{"id":564,"slug":565,"title":566,"dynasty":195,"author":228,"museum":567,"description":568,"tags":569,"thumbUrl":572,"material":570,"size":573,"collection":113,"collections":574,"showCount":575,"zanCount":273,"manualWeight":41,"mainColor":418},222147,"san-da-shi-tu-wen-shu-yi-ming-222147","三大士图-文殊","法海寺","文殊菩萨图位于水月观音图之西。文殊全称文殊师利，又作曼殊室利，意为妙德、吉祥，又译作妙吉祥，是众菩萨之首，通常作释迦佛的左胁侍，专司“智慧”，表“大智”。此菩萨顶髻，以五字五髻文殊为本体最为常见，五髻表示内证五智，以表大日之五智五佛，手持剑，以表智慧之利剑，能斩断一切无明烦恼，有时手持如意，似表吉祥如意，坐骑青狮，以表智慧之威猛。佛经对文殊的顶髻、宝冠、肤色、手持法器、坐骑等，都有种种模式要求。法海寺壁画对佛像的塑造，既继承佛典的模式要求，又有新的突破，突出了写实手法，使文殊菩萨的形象与水月观音形象大体相似。\n文殊菩萨的左下侧，绘坐骑青狮与驯狮人。驯狮人身披甲胄，威武森严，拱手而立，佩带鱼形宝刀，刀鞘沥粉贴金，鳞甲闪闪，凹凸画面，豪化富丽，格外醒目。文殊的右下侧绘有一信士，一说是古印度的月盖长者，他常入维摩方长，听不二法门。长者身着黄袍，右手持杖，左手遮荫，嘴略张开，似笑非笑。满面苍须，随风飘动，虔诚地仰望着天空，好像在祈请西方三尊拯救国内恶疫。颜面肌肤，眼角鱼尾，手指关节，其神态风韵，每一个细部，都精确地表现出老人的生理和心理特征，充分体现了壁画现实性的特征。",[23,570,527,25,26,54,571,184,528,7,31],"壁画","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3c5d9d23ca7de5aae9bb98569f7acd7.jpg","450x450厘米",[],145,{"id":577,"slug":578,"title":579,"dynasty":195,"author":228,"museum":49,"description":580,"tags":581,"thumbUrl":582,"material":58,"size":583,"collection":36,"collections":584,"showCount":585,"zanCount":285,"manualWeight":41,"mainColor":63},216959,"ming-tai-zu-ban-shen-xiang-yi-ming-216959","明太祖半身像","这幅画表现了朱元璋的壮年时期，他的脸几乎是正面的。他的脸是红色和紫色的，留着短胡须，眼睛有光泽，采取坐姿，双手自然放在膝盖上，暗示着一种权力和力量的感觉。他头上戴着头巾，穿着带有龙纹图案的明黄色御用长袍，腰间系着蟒蛇腰带，脚穿皂靴，看起来就像一个统治世界的国王。",[24,25,26,54,330,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23e1c716274a71c68d6b068424ee8dfa.jpg","270x163.6",[36],144,{"id":587,"slug":588,"title":589,"dynasty":590,"author":591,"museum":150,"description":592,"tags":593,"thumbUrl":596,"material":113,"size":113,"collection":113,"collections":597,"showCount":598,"zanCount":285,"manualWeight":41,"mainColor":63},226557,"bei-qi-xiao-shu-tu-yang-zi-hua-226557","北齐校书图","南北朝","杨子华","杨子华，北齐画家，生卒年不详。是北齐世祖高湛的爱臣，北齐世祖时（561年－565年）任直阁将军、员外散骑常侍。善画贵族人物、宫苑、车马，所画马尤其生动逼真，据传他在壁上所画马甚至引起观者夜间听到马索水草而嘶鸣的幻觉。时有“画圣”之称。北齐世祖使其供职宫廷，非有诏不得与外人画，成为专门的御用画家。他所画人物形象丰满圆润，有别于顾恺之的“秀滑清丽”，他的画风影响到唐代，具有承前启后的历史地位。\n\n现存《北齐校书图》（美国波士顿美术馆，系宋代摹本），纵29.3厘米，横122.7厘米，这图卷所画的是北齐天保七年（556年）文宣帝高洋命樊逊和文士高乾和等11人负责刊定国家收藏的《五经》诸史的情景。画中人物其神情均极生动。此图用笔细劲流动，细节描写神情精微。设色简易标美。",[23,52,24,73,53,25,26,54,241,594,109,125,595,331,156,157,332,7],"书","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a01f2f22b879846072f997f9ed81611.jpg",[],143,{"id":600,"slug":601,"title":411,"dynasty":88,"author":228,"museum":150,"description":602,"tags":603,"thumbUrl":606,"material":113,"size":113,"collection":113,"collections":607,"showCount":598,"zanCount":11,"manualWeight":41,"mainColor":42},223683,"yin-cha-tu-yi-ming-223683","《宋饮茶图》是宋代佚名创作的绢本设色画，现藏于美国弗利尔美术馆。\n图中画一侍女双手捧茶盘，一妇人伸手盘中拿茶具。\n右边一贵夕面向她们而立，仪态端庄娴静。\n后随侍女双手捧一锦盒。\n画风承唐代周吩，典雅浓丽。\n旧题南唐 画，然观其时代气息，应为宋人所作。",[23,24,52,604,25,26,54,27,605,109,7],"扇面","茶具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6783b061be5eddc485e3cd90b44470fd.jpg",[],{"id":609,"slug":610,"title":611,"dynasty":88,"author":612,"museum":49,"description":613,"tags":614,"thumbUrl":619,"material":58,"size":620,"collection":36,"collections":621,"showCount":622,"zanCount":11,"manualWeight":41,"mainColor":42},219975,"ting-ruan-tu-li-song-219975","听阮图","李嵩","此图园中高木奇石，枝叶掩映翁郁，树下士人持拂闲坐于榻上，左腿盘起，聆听拨阮演乐并赏古玩。旁有仪态娇美仕女，焚香、拈花、持扇随侍。人物线条流畅，绘法近似明代画家杜蓳、唐寅。",[24,52,73,74,25,26,54,152,168,615,55,380,616,204,155,617,7,618],"侍女","芭蕉","家具","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f429ae99228b49a6346c6be40873864.jpg","177.5x104.5公分",[36],142,{"id":624,"slug":625,"title":326,"dynasty":68,"author":228,"museum":106,"description":626,"tags":627,"thumbUrl":629,"material":58,"size":630,"collection":36,"collections":631,"showCount":632,"zanCount":273,"manualWeight":41,"mainColor":42},219633,"qian-long-huang-di-chao-fu-xiang-yi-ming-219633","此作工笔细腻，写实传神。画中帝王面容俊朗，神色端凝沉稳，自带不怒自威的从容气度。明黄朝服遍绣祥龙，十二章纹错落排布，金线勾勒下瑞兽纹样鲜活灵动，珠玉朝珠垂坠于前，礼制森严间尽显极致华贵。髹金龙椅雕刻繁复精妙，卷云虬龙层层环绕，衬出帝王的独尊地位。\n\n画面底色素净克制，将视觉重心全然倾注于人物之上，设色富丽却不俗艳，工整细致的笔触，将盛世帝王的威仪气度凝于绢素，尽显宫廷肖像画的典雅规整，让观者仿佛能窥见当年紫禁城中的肃穆华贵。",[23,52,24,73,74,25,26,54,7,628],"清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0605e9fa04d93aeb448927849ebb7b94.jpg","纵271厘米，横142厘米",[36],140,{"id":634,"slug":635,"title":636,"dynasty":68,"author":637,"museum":265,"description":638,"tags":639,"thumbUrl":640,"material":269,"size":113,"collection":36,"collections":641,"showCount":642,"zanCount":311,"manualWeight":41,"mainColor":63},219550,"xie-yi-xun-long-tu-yu-zhi-ding-219550","斜倚薰笼图","禹之鼎","此作用笔秀雅匀净，线条挺括柔婉，浅淡敷色晕染精妙。斜倚薰笼的仕女软红覆身，执卷似读非读，眉眼含着慵懒倦怠，将深闺女子百无聊赖的娇柔之态尽显无余。立侍女子佩剑负囊，神色温婉恭谨，静穆疏离的情态与坐者形成微妙呼应。画面氛围幽柔沉静，把闺中静谧松弛的氛围烘托尽致，将仕女柔婉闲淡的幽微心绪刻画入微，尽显传统仕女画雅致隽秀的审美意韵。",[23,24,73,25,26,183,54,27,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F886625e8924a96d8b20fbfff9e4f4569.jpg",[36,38],138,{"id":644,"slug":645,"title":646,"dynasty":195,"author":278,"museum":647,"description":648,"tags":649,"thumbUrl":650,"material":58,"size":651,"collection":36,"collections":652,"showCount":642,"zanCount":11,"manualWeight":41,"mainColor":42},219416,"yin-jiu-du-shu-tu-zhou-chen-hong-shou-219416","饮酒读书图轴","上海博物馆","图绘一位文士头戴乌帽身穿朱衣，手持把杯，坐对书卷。长几上瓶插梅花竹叶，\n笔墨皆清劲。画面取斜向构图，布局大胆新奇。此图作于崇祯十六年癸未（1643），作者时年46岁。本年，明王朝已经处于风雨飘摇之际，陈洪绶只好南归。此图即作于舟泊天津杨柳青之时。图中有孔尚任题跋四则，不仅谈到购藏此图的经历，同时对于补充孔氏生平经历具有重要的史料价值。",[24,74,26,54,369,77,125,109,157,156,7,393],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd899a507a555b78db6a6bc70bf72310f.jpg","纵100.8厘米，横49.4厘米",[36],{"id":654,"slug":655,"title":656,"dynasty":195,"author":196,"museum":49,"description":657,"tags":658,"thumbUrl":659,"material":660,"size":661,"collection":36,"collections":662,"showCount":663,"zanCount":273,"manualWeight":41,"mainColor":63},219534,"qi-qiao-tu-chou-ying-219534","乞巧图","七夕又称为「乞巧节」、「女儿节」，最重要的习俗是妇女的乞巧活动。到七夕晚上，妇女们用彩线穿七孔针，在庭院中摆设香案，上有瓜果、鲜花、酒、针线等，向织女乞巧，在宋代还会摆上一种手捏的小泥人儿「磨喝乐」作为供奉神灵。这幅画的便是妇女乞巧的活动，星星高挂于天空，妇女群聚在庭院中，对着星空祭拜，衷心祈望自已能像织女般工巧，其中还有妇女对着星空穿针，\n全幅以白描为主，人物清雅，但用笔较为软弱无力，与仇英精致细腻的笔法大不相同，应非其所作。\n仇英（约一四九四－一五五二），江苏太仓人。字实父，号十洲。年轻时为漆工，后遇周臣赏识其才华，给予指导，而后成名。精工山水人物画，又善于临摹古画，几可乱真，作品具有院画之精丽而有士气。是明代四大画家之一。",[23,24,73,53,25,26,595,125,54,27,199,295,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecd953712315a9e475c8de8c4fb11fdb.jpg","纸本,水墨","27.9x388.3厘米",[36],136,{"id":665,"slug":666,"title":667,"dynasty":88,"author":228,"museum":49,"description":668,"tags":669,"thumbUrl":670,"material":58,"size":113,"collection":36,"collections":671,"showCount":663,"zanCount":285,"manualWeight":41,"mainColor":63},216947,"tai-zu-zuo-xiang-zhou-yi-ming-216947","太祖坐像轴","太祖坐像轴是宋朝佚名的一件作品，是宋朝绘画中的重要代表作之一。这幅画以太祖爷爷——宋太祖赵匡胤为主人公，描绘了他坐在宝座上的情景。太祖坐像轴是一幅官方肖像画，用来表彰太祖的功绩和威严。\n\n画中，太祖坐在宝座上，身着皇帝的正装，头戴皇冠。他神态庄严，目光坚定，散发着强大的权威气息。\n\n太祖坐像轴的画风浓烈，笔画粗犷，色彩明快，体现了宋朝绘画中的特色。画中的人物肖像生动，细节丰富，反映了宋朝社会的文化和生活。这幅画是宋朝绘画史上的重要珍品，对于了解宋朝历史和文化具有重要意义。",[24,52,74,25,26,54,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d65ab6762e2ececdae6bd4811806e79.jpg",[36],{"id":673,"slug":674,"title":675,"dynasty":68,"author":676,"museum":106,"description":677,"tags":678,"thumbUrl":680,"material":111,"size":681,"collection":36,"collections":682,"showCount":683,"zanCount":459,"manualWeight":41,"mainColor":42},234307,"li-chao-xian-hou-gu-shi-tu-ce-jiao-bing-zhen-234307","历朝贤后故事图册","焦秉贞","历史故事是清代宫廷绘画中的重要题材之一。此套图册题材取自历代有良好德行的皇后、太后的故事，人物包括西周文王之母太任、西周武王之母太姒、东汉明帝明德马皇后、东汉和帝和熹邓皇后、北宋仁宗慈圣曹皇后、北宋英宗宣仁高皇后、明仁宗诚孝张皇后。她们在身为皇后或太后期间，有的勤俭仁厚、贤淑孝顺，有的不问政事、不佞外戚。画家绘此画册就是借她们的懿德来宣传封建的伦理纲常，给宫廷里的妃嫔们树立行为楷模。在12开的册页中，所绘仕女形象柔弱，设色浓艳，富有装饰性。图上建筑物的绘制采用欧洲焦点透视的方法，有别于中国的传统界画。每开对题是由梁诗正书写的弘历在皇子时期所作的诗句，记录了这些皇后、太后的事迹和对她们的评价。",[52,24,73,679,25,26,292,54,27,199,294,200,202,184,295,77,7],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c34017010e0ed0cafb36850368bb3c4.jpg","纵30.8厘米，横37.4厘米",[36,38],134,{"id":685,"slug":686,"title":687,"dynasty":68,"author":228,"museum":106,"description":688,"tags":689,"thumbUrl":691,"material":34,"size":692,"collection":36,"collections":693,"showCount":694,"zanCount":459,"manualWeight":41,"mainColor":42},236174,"yin-zhen-mei-ren-tu-yi-ming-236174","胤禛美人图","仕女于圆窗前端坐，轻倚桌案，一手闲雅地捻着念珠，正观赏两只嬉戏顽皮的猫咪。此图的取景面很小，仅透过二分之一的圆窗来刻画繁复的景致，但由于画家参用了西洋画的焦点透视法，将远、中、近三景安排得有条不紊，从而扩展了画面空间的纵深感，显得意韵悠长。窗下钟声滴答，近处猫咪玩闹，时光便在这似有似无中悄悄流逝。",[24,73,25,26,54,27,690,77,7],"猫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd53a373485a1fc514f0f01339644f52.jpg","纵184厘米，横98厘米",[36,38],132,{"id":696,"slug":697,"title":698,"dynasty":195,"author":228,"museum":567,"description":699,"tags":700,"thumbUrl":702,"material":570,"size":703,"collection":113,"collections":704,"showCount":705,"zanCount":273,"manualWeight":41,"mainColor":418},222142,"san-da-shi-tu-pu-xian-yi-ming-222142","三大士图-普贤","普賢菩薩圖位於水月觀音圖之東。普賢菩薩梵文為“三曼多跋羅”，即普遍賢善之意，通常作釋迦佛的右脅侍，專司“理德”，表“大行”。普賢的特徵是頭戴五佛寶冠，乘騎六牙白象，一般手執蓮花，上有利劍”。同一菩薩，不同經書，對手持法物有不同解釋。法海寺壁畫普賢是右手持蓮花，蓮花上置一寶卷。\n普賢的坐騎六牙白象，並不是自然界中真實動物，六牙白像是一種象徵，表示到達彼岸的六種方法。六牙白象雖非真實動物，但壁畫中的六牙白象，捲曲蹲坐的姿態，具有大威力感。再細看白象眼睛是淚汪汪的，具有情感，強化了它的性善柔順，“佛眼淚眼”，突出了普賢的“大慈”形象。感染力很強，沒有高超的繪畫技巧，是不會引起觀眾共鳴的。\n普賢菩薩的左下部繪一信士，稱最勝老人。最勝老人是古印度念佛行者、施主、供養人的尊稱。老人身著綠袍，兩腳分開，雙手胸前相合，目視前方，長髯自然下垂，在沉思，在默禱，像在祝願十方世界救出眾生、脫離苦海。壁畫上這一信士和文殊右下部那一信士，東西對稱，他們同是老人，信仰一致，願望相同，而一仰望一沉思，一扶杖抬手一雙合十，一動一靜，神態各異，反映了現實生活的多樣性，也反映了壁畫構思的巧秒。",[23,570,26,25,527,54,701,7],"象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbe8d5a14d19329266f0933f5ed0a3b3.jpg","摹本的尺寸規格分別是壁畫約四分之一和二分之一；",[],126,{"id":707,"slug":708,"title":709,"dynasty":68,"author":238,"museum":150,"description":710,"tags":711,"thumbUrl":712,"material":113,"size":113,"collection":113,"collections":713,"showCount":714,"zanCount":285,"manualWeight":41,"mainColor":42},230202,"qian-long-di-hou-fei-xiang-juan-lang-shi-ning-230202","乾隆帝后妃像卷","郎世宁绘制的《乾隆肖像》是圆明园 珍品，是乾隆皇帝41岁时的坐像，乾隆身旁站立两位大臣，人物极具神韵，为中国与欧洲绘画技艺相结合的佳作。\n原属圆明园收藏 【名称】：乾隆肖像 【类别】：字画 【年代】：清 【文物原属】：原属 收藏 【文物现状】： 【简介】： 绘制的《乾隆肖像》是 艺术品珍品，是 皇帝41岁时的坐像，乾隆身旁站立两位大臣，人物极具神韵，为中国与欧洲绘画技艺相结合的佳作。\n乾隆皇帝主政的六十年中，甚为重视学术文化的整理和弘扬。\n其中以乾隆叁十八年（177）开始的 编纂工作最为令人称道。\n他聚集 、 、 、 等著名学者，将中国历代重要典籍整理并钞录下来，分隶于四部四十四类之下。\n全书卷帙浩繁、包罗万千，可谓中国传统学术文化的一次总整理，也是十八世纪当时学风的充分呈现。\n郎世宁（Giuseppe Castiglione‎,1688—1766）是意大利人，生于米兰，清康熙帝五十四年（1715）到中国，随即入宫，曾参加圆明园西洋楼的设计工作，历任康、雍、乾三朝，在中国从事绘画达5多年。\n由于郎世宁带来了西洋绘画技法，向皇帝和其他宫廷画家展示了欧洲明暗画法的魅力，他先后受到了康熙帝、雍正帝、乾隆帝的重用。\n他是一位艺术上的全面手，人物、肖像、走兽、花鸟、山水无所不涉、无所不精，成为雍正帝、乾隆帝时 的代表人物。\n他的代表作品有《聚瑞图》、《嵩献英芝图》、《百骏图》（见插图）、《弘历及后妃像》、《 》等。",[23,24,73,628,25,26,53,54,7,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d20cbf88f26d2d9ea6382115ba01bed.jpg",[],125,{"id":716,"slug":717,"title":718,"dynasty":195,"author":719,"museum":356,"description":720,"tags":721,"thumbUrl":724,"material":58,"size":113,"collection":36,"collections":725,"showCount":726,"zanCount":210,"manualWeight":41,"mainColor":63},219451,"xing-yuan-ya-ji-tu-xie-huan-219451","杏园雅集图","谢环","描绘了明正统二年（1437年）三月初一，时值阁臣们的沐休假期，杨士奇、杨荣、王直、杨溥、王英、钱习礼、周述、李时勉、陈循9位朝中大臣以及画家谢环雅集于杨荣在京师城东的府邸——杏园聚会之情景。其中，杨士奇、杨荣、杨溥时人合称“三杨”，三人均历事永乐、洪熙、宣德、正统四朝，先后位至台阁重臣，正统时以大学士辅政，权倾一时。“三杨”还是当时“台阁体”诗文的代表人物。时人称杨士奇有学行，杨荣有才识，杨溥有雅操。又以居第所处，称杨士奇为西杨，杨荣为东杨，杨溥为南杨。按照当时《翰林记》的记载，当时谢环作画，与会者人手一画，也就是说至少有九幅（画家不算）《杏园雅集图》存世（现存世两幅）。",[23,24,73,53,26,25,595,722,109,125,54,200,294,723,55,501,7,618],"楷书","桌椅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff366cd140ea847bfbf260d622bdcd92a.jpg",[36,219],123,{"id":728,"slug":729,"title":579,"dynasty":195,"author":228,"museum":49,"description":730,"tags":731,"thumbUrl":733,"material":269,"size":734,"collection":36,"collections":735,"showCount":736,"zanCount":41,"manualWeight":41,"mainColor":63},216958,"ming-tai-zu-ban-shen-xiang-yi-ming-216958","这幅画描绘了朱元璋的长脸，气势非凡，眼睛深邃，脸颊修长。",[24,73,25,26,54,7,330,732],"明代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f24401c5275f2f31ff091e08817cfd6.jpg","101.6x65.4",[36],121,{"id":738,"slug":739,"title":740,"dynasty":195,"author":228,"museum":741,"description":742,"tags":743,"thumbUrl":745,"material":530,"size":746,"collection":113,"collections":747,"showCount":748,"zanCount":260,"manualWeight":41,"mainColor":42},223381,"qian-qiu-jue-yan-tu-yi-ming-223381","千秋绝艳图","中国国家博物馆","此卷在六米多长的画面上，绘写了近七十位古代仕女形象，画中女子采用工笔重彩，多用铁线描钩勒衣纹。服饰敷彩妍丽鲜明。每个人物都手持或配有最能代表和体现她们身份的配物，并在右上方，各题有七言绝句一首。",[23,24,73,53,25,26,54,27,55,501,31,7,617,204,744],"珊瑚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ca25007acf93fb2441506aa6e02095e.jpg","29.5x667.5厘米",[],120,{"id":750,"slug":751,"title":752,"dynasty":195,"author":228,"museum":49,"description":753,"tags":754,"thumbUrl":756,"material":269,"size":113,"collection":36,"collections":757,"showCount":748,"zanCount":273,"manualWeight":41,"mainColor":42},217063,"ming-dai-di-hou-ban-shen-xiang-yi-ming-217063","明代帝后半身像","宪宗纯皇帝与孝贞纯皇后",[24,73,25,26,54,516,330,7,31,755],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcae4dd485eb0cd4eaa47ae7a14e2407c.jpg",[36],{"id":759,"slug":760,"title":761,"dynasty":195,"author":228,"museum":106,"description":762,"tags":763,"thumbUrl":764,"material":530,"size":113,"collection":36,"collections":765,"showCount":766,"zanCount":11,"manualWeight":41,"mainColor":63},236158,"han-xin-xiang-zhou-yi-ming-236158","韩信像轴","原清宫内务府广储司茶库旧藏。茶库旧藏历代功臣像为轴二十有一",[52,24,73,74,25,26,54,242,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1956b8da97887c124abf6a3d65a946c6.jpg",[36,38],118,{"id":768,"slug":769,"title":770,"dynasty":47,"author":464,"museum":771,"description":772,"tags":773,"thumbUrl":775,"material":58,"size":113,"collection":36,"collections":776,"showCount":766,"zanCount":285,"manualWeight":41,"mainColor":42},219495,"ming-huang-hui-qi-tu-zhou-wen-ju-219495","明皇会棋图","私人收藏","南唐画家周文矩的《明皇会棋图》。 画面上有八个人物，明皇坐位前置一棋局，官员一人、和尚二人、道士二人、 优人一人、侍从内官一人。关于画面上的八个人物有各种不同说法，至今未 有定论。有人认为，跟唐明皇下棋的是日本留学僧辨正；有人说，在是棋待 诏郑观音。不论画中的人物是谁，这幅作品都真实地反映了唐代宫廷中的围棋活动",[25,26,53,54,774,7,109,125],"棋盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F004c58d3b635335bb0e20419635d93d8.jpg",[36],{"id":778,"slug":779,"title":780,"dynasty":68,"author":228,"museum":265,"description":781,"tags":782,"thumbUrl":783,"material":58,"size":784,"collection":36,"collections":785,"showCount":786,"zanCount":11,"manualWeight":41,"mainColor":42},219549,"nv-wang-wei-duo-lie-xiao-zhao-tu-yi-ming-219549","女王威多烈小照图","道光壬寅（1842年）英军围困南京，清廷被迫签订辱国丧权的《南京条约》。此图绘的正是当时的英国女王（威多烈）维多利亚，跋文称“其主人极英明，年仅廿一岁（实则二十三岁），择国人子雅那博为婿。”对照1843年英国本国留存的其油画像，此画颇有几分神似，身材短小，微胖，是以中国画方式绘制的写实肖像画。",[23,25,26,54,27,7,31,516],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2dba6020a464e8e7d9e9dcf6ae41be7.jpg","71x43厘米",[36,38],115,{"id":788,"slug":789,"title":790,"dynasty":68,"author":228,"museum":150,"description":791,"tags":792,"thumbUrl":798,"material":489,"size":490,"collection":113,"collections":799,"showCount":800,"zanCount":41,"manualWeight":41,"mainColor":63},234412,"qing-ren-lv-cai-shen-xiang-zhou-yi-ming-234412","清人绿财神像轴","画面核心的绿财神身覆翠色，忿怒面容暗含慈悲，踞坐白狮宝座，宝冠披帛华丽庄严，尽显护法尊神的威仪。虚空云海间环布诸位化现圣尊，层次分明；下方雪域山林间，信众牵驼持礼，列队朝奉，烟火供品俱全，融肃穆神性与鲜活世情于一体。\n\n以矿物彩料敷色，青蓝底色衬得诸像明丽厚重，铁线描流畅勾勒衣袂飘逸、瑞兽雄健，精准恪守藏传造像仪轨，又以细腻笔触铺陈出佛国盛景，尽显清代藏式唐卡富丽庄严的独特风韵。",[24,74,793,26,25,527,54,571,794,241,795,203,796,184,797,7],"青绿","大象","狮子","云","供品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51485349796cab9064d6a260e9da4fb8.jpg",[],114,{"id":802,"slug":803,"title":804,"dynasty":88,"author":805,"museum":806,"description":807,"tags":808,"thumbUrl":810,"material":530,"size":811,"collection":97,"collections":812,"showCount":813,"zanCount":285,"manualWeight":41,"mainColor":42},221678,"wen-ji-gui-han-tu-zhang-yu-221678","文姬归汉图","张瑀","吉林省博物院","全卷共画十二人，前有胡服官员执旗骑马引道，中间是头戴貂冠、身着华丽胡装、骑着骏马的蔡文姬，马前有两人挽缰，后面还有官员护送，并有猎犬、小驹、鹰相随。画面上风沙漫天、人骑错落有致，互相呼应，神情逼真，塞北风光尽现纸上。\n此图所绘是文姬归汉途中的情景。前端一汉人骑老马引路，肩扛圆月旗，躬背缩首，迎风沙而行，侧后方有一马驹紧紧相随。稍后数步便是画卷中心人物蔡文姬，头戴貂冠，身着华丽胡装， 脚蹬皮靴，骑在马上，手扶鞍桥，双目凝视前方。文姬身后，是骑在马上护送的马夫和侍从， 前面汉胡两官员并骑，左侧汉朝官员，头戴帻巾，左手持一把用毛皮镶边的团扇遮面， 以避风沙。右侧胡人官员，头戴皮帽。身穿紧袖长袍，腰系佩饰， 面现愁容，正在勒马， 马亦踢蹄踟蹰。其后有侍从五骑相随， 有的怀抱包裹，有的身背行囊，有的手架猎鹰，有的马上驮着毡毯。画面最后，是一头戴皮帽、身潸窄袖长袍、腰携箭饩、右手架鹰、左手执缰，骑于马上的武士，正驱马追赶行进的队伍，马旁还紧跟一猎犬。",[23,52,24,53,183,25,54,241,29,7,109,809],"题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3649796ffeb0f1854f87bb5103aa850a.jpg","纵29cm，横129cm",[97,36,38],109,{"id":815,"slug":816,"title":817,"dynasty":88,"author":818,"museum":150,"description":819,"tags":820,"thumbUrl":824,"material":58,"size":113,"collection":36,"collections":825,"showCount":826,"zanCount":41,"manualWeight":41,"mainColor":418},218273,"ying-xi-tu-su-han-chen-218273","婴戏图","苏汉臣","孩童发髻疏朗，衣袂轻垂，坐于鼓形座上。小手拢着衣角，似藏着几分娇憨。鼓身镶边缀点，旁侧鼓槌斜倚，小鞋散落，细节里尽是日常的鲜活。绢本的棕褐晕染出时光的温软，线条简淡却藏着细腻——衣纹褶皱随姿态舒展，孩童眼神澄澈如溪，悄然勾连起宋人对稚子生活的珍视。没有繁复布景，天真却漫溢开来，仿佛能触到柔软布料，听见孩童细碎笑语。画中藏不住的生动与温情，将寻常童趣凝作永恒的画面，让时光在此刻慢了下来。",[24,52,73,25,26,54,821,822,823,7],"婴孩","鼓","鼓槌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38f3549cbb86ed88cd0157c95e237591.jpg",[36],107,{"id":828,"slug":829,"title":830,"dynasty":88,"author":831,"museum":150,"description":832,"tags":833,"thumbUrl":836,"material":113,"size":113,"collection":113,"collections":837,"showCount":838,"zanCount":260,"manualWeight":41,"mainColor":42},227801,"gong-nv-tu-liu-song-nian-227801","宫女图","刘松年","桐荫覆满深院，围栏外花木萦回，三位宫女消磨着悠长白日。红衣女子斜身倚过小杌，抬手遥遥指向前方，似唤榻上友人共赏景致，罗裙纹饰随抬手动作柔婉舒展。榻上宫女支颐托腮，目光追着前者指尖，眉眼浸着慵懒娇柔。立在侧旁的侍女垂眸静立，敛着恭谨自持。\n\n全幅设色古雅妍丽，衣物质感纤毫毕现，花木围栏皆以细笔晕染，棕褐绢底衬得满幅宁和。画中无宫闱沉郁，只将深宫日常里松弛闲散的片刻定格，把少女间的娇憨意趣藏在细腻笔触中，晕开宋时独有的雅致闲淡。",[23,24,52,73,604,25,26,54,27,380,834,835,32,7],"桌子","凳子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febc5296a5a36c0ab6eb8605bdcbdefd0.jpg",[],105,{"id":840,"slug":841,"title":842,"dynasty":68,"author":843,"museum":150,"description":844,"tags":845,"thumbUrl":847,"material":113,"size":113,"collection":113,"collections":848,"showCount":849,"zanCount":41,"manualWeight":41,"mainColor":63},230120,"ping-lan-shang-he-tu-ren-yi-230120","凭栏赏荷图","任颐","《任伯年绘画作品图录》是 27年5月1日出版的图书，由任伯年编著。\n出版社: ; 第1版 (27年5月1日) ISBN: 755441 条形码: 尺寸: 22.2 7.5 cm 重量: .9 Kg 《任伯年绘画作品图录(套装上下卷)》内容简介：任伯年的艺术像海派诸家一样，以个性鲜明的艺术风貌反映了怫郁昂藏而又充满生机的时代气息，一变晚清文人画家笔下的雅人高致、陈陈相因与不食人间烟火，作品立意由出世而入世，艺术趣味由雅转“俗”，艺术形式由千篇一律而化为多姿多彩。\n他的艺术风格生动雅丽，明快清新，既不同于赵之谦的朴茂道艳，虚谷的冷隽超逸，也有别于吴昌硕的苍浑醇厚，加以多能兼善，题材广泛，意趣盎然，技艺超妙，诗情洋溢，某些人物画更是寄托深远，所以生前身后，声誉极高，一直被认为是海派的重要代表之一。\n《任伯年绘画作品图录(套装上下卷)(上卷)》目录： 1865年 乙丑 1.仕女图 1866年 丙寅 2.小浃江话别图 .悔花仕女图 1867年 丁卯 4.松下问道图 5.孔雀牡丹图 6. 7.范湖居士六十八岁小像 8.授书图 9.四李人物屏之一 1.四季人物屏之二 11.四季人物屏之三 12.四季人物屏之四 1868年 戊辰 1.斗梅图 14.沙馥三十九岁小像 15.佩秋夫人小像(合作) 16.横云山民行乞图 17.陈允升像 18.榴生像 19.任阜长像 2.水草金鱼图 21. 22.悟生出尘图 2.梅柏白鹏图 1869年 己巳 24.任淞云像(合作) 187年 庚午 25.新秋鹅浴图 26.松鹤图 27.吹箫引凤图 28.访友图 29.人物图 1871年 辛未 .孔雀芭蕉图 1872年 壬申 1.钟馗图 2.凤凰牡丹图 .献瑞图 4.钟馗图 5.礼佛图 6.花蝶图 7.南瓜三鸡图 8.水仙飞禽图 9.芭蕉燕子图 4.夜荷栖鸭图 41.蕉花母鸡图 42.牡丹猫石图 4.山雨欲来风满楼 44.花鸟册(合作) 45.游艇吟箫图 46.凭栏赏荷图 187年 癸酉 47.爱莲图 48.葵花双鸡图 49.残荷鹭鸶图 5.茂叔爱莲图 51.葛仲华二十七岁小像 52.松鹤寿柏图 5.三思图 54.牵牛菖蒲图 1874年 甲戌 55.钟馗图 56.二老并坐图 57.苏武牧羊图 58.女仙图 59.红薇飞禽图 6.苏武牧羊图 61.富贵长寿 62.三羊开泰 6.芍药幽禽图 64.花鸟扇 1875年 乙亥 65.牡丹图 …… 《任伯年绘画作品图录(套装上下卷)(下卷)》目录： 1886年 丙戌 76.三仙图 77.东坡玩砚图 78.东坡玩砚图 79.桃花八哥 8.深山观泉图 81.牧羊图 82.仙鹤 8.听溪图 84.承天夜游图 85. 86.芦鸭图 87.幽鸟鸣春图 88.隔帘规梅图 89.松鹤竹石图 9.桃石群鸟图 91.桃源问津图 92.苍松紫藤图 9.枇杷栖禽图 94.临八人山人八哥图 95.仿高克恭云山图 96.山水阁页 97.玉兰四禽图 98.花鸟册 99.桃花小鸟图 4.仿石田山水图 41.银河秋浅图 1887年 丁亥 42.村居立锄图 4.钟馗图 44.高邕之像 45.松下论诗图 46.童子斗蟋蟀图 47.寒林高士 48.苏长公石钟辨讹图 49.策马图 41.牧羊图 411.岁朝图 412.松鸠图 41.桃鹅图 414.花鸟册 415.封侯图 416.萍花八哥图 417.江上秋痕图 418.天竹白猫图 419.焦叶题书图 42.秋江渔父图 421.紫微鸳鸯图 422.桃石图 1888年 戊子 42. 424.女娲炼石图 425.归牧图 426. 427.寒林牧马图 428.玉局参禅图 429.金谷园图 4.芭蕉狸猫图 41.苏武牧羊图 42.羲之爱鹅图 4.仕女图册之一 44.仕女图册之二 45.仕女图册之三 46.仕女图册之四 47.仕女图册之五 48.仕女图册之六 49.仕女图册之七 44.仕女图册之八 441.仕女图册之九 442.仕女图册之十 44.仕女图册之十一 444.仕女图册之十二 445.午瑞图 446.白猫双雀图 447.岁朝清供图 448.雀声藤影 449.猫鸟图 45.柳塘清趣图 451.红松仙鹤图 ……",[23,52,24,73,74,26,25,54,76,846,201,7],"荷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd66ee07d43326e2168f004fc64dd0a95.jpg",[],104,{"id":851,"slug":852,"title":853,"dynasty":88,"author":854,"museum":122,"description":855,"tags":856,"thumbUrl":861,"material":58,"size":862,"collection":36,"collections":863,"showCount":864,"zanCount":11,"manualWeight":41,"mainColor":63},214920,"jiu-ge-tu-zhang-dun-li-214920","九歌图","张敦礼","由屈原创作的九歌具有很强的宗教性，是献给当时楚国存在的九种自然神的，由11首歌曲和韵文组成。本卷中缺少的是第二首《云中君》和第三首《湘君》。据说它是由张敦礼创作的，但张敦礼的作品没有现存的例子，所以无法确认它是由他创作的。",[23,52,24,73,53,26,25,857,54,184,200,858,859,125,860,722,7,109],"皴法","云气","神仙","篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F147d00ca234fc4e4d8490dbae4e29906.jpg","24.7x608.5",[36],103,{"id":866,"slug":867,"title":868,"dynasty":47,"author":869,"museum":49,"description":870,"tags":871,"thumbUrl":873,"material":58,"size":874,"collection":36,"collections":875,"showCount":876,"zanCount":285,"manualWeight":41,"mainColor":42},218616,"cai-zhi-xian-tu-wang-qi-han-218616","采芝仙图","王齐翰","传说中仙人的生活,「食则翠芝朱英」。求长生不死的灵药,芝是最为重要的一种。采芝的题材也就相当常见。本幅画仙人手捧大桃，肩荷锄挂筠篮，篮中有紫芝，一鹤后隋。画之质地为绢，绢之经纬疏如纱布，就墨底所见，是先托底而后画。明代浙派画家喜作民间题材，本幅即是。五代无此风格，题名误。",[24,73,74,26,25,54,28,872,7,109],"灵芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9ae3571f69dc7ccc9cd9ff70c419cc7.jpg","99.7x54cm",[36],102,{"id":878,"slug":879,"title":880,"dynasty":88,"author":228,"museum":49,"description":881,"tags":882,"thumbUrl":883,"material":58,"size":884,"collection":36,"collections":885,"showCount":876,"zanCount":273,"manualWeight":41,"mainColor":42},218392,"hua-ping-ren-wu-tu-yi-ming-218392","画屏人物图","画面铺展宋代文人闲居的日常图景。端坐的雅士衣袂宽博，神情淡然，侧立侍从执壶倾注，似将茶汤温煦融入此刻静谧。背景画屏叠映山水与人物，虚实相生间，把室内清居与屏中丘壑连为一体，更添雅致意趣。案上茶器莹润，架上典籍罗列，瓶中花枝疏朗，每一处陈设皆藏宋人的审美格调——不刻意雕琢，却见处处用心。古朴绢色晕染时光质感，细腻线条勾勒人物从容，仿佛能听见茶烟轻散时的喟叹，窥见那个时代文人内心的澄澈与自在。这帧小景，恰是宋代文人精神世界的生动缩影，于细微处见天地。",[23,24,73,26,25,54,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9acb38e674bcaf962f75e9151169ea4e.jpg","29x27.8",[36],{"id":887,"slug":888,"title":889,"dynasty":68,"author":890,"museum":106,"description":891,"tags":892,"thumbUrl":893,"material":894,"size":895,"collection":36,"collections":896,"showCount":897,"zanCount":285,"manualWeight":41,"mainColor":63},238287,"yu-lan-shi-nv-qing-yu-tu-ce-yu-lan-238287","喻兰仕女清娱图册","喻兰","此图册共八幅。从精美的器皿、工巧的家具、华丽的服饰可知作者表现的是富贵人家女子，通过女子在室内品茗、吹箫、梳妆、投壶等行乐活动，说明了优越的生活环境不仅保障了她们衣食无忧，亦为她们提供了种种休闲条件，从而令她们具有多方面的修养。",[52,24,73,679,26,25,54,27,203,55,77,7,616],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f754f2a14cd591c9ca80e5a781de197.jpg","纸本、设色","每开纵17厘米，横22.7厘米",[36,38],101,{"id":899,"slug":900,"title":901,"dynasty":88,"author":228,"museum":150,"description":902,"tags":903,"thumbUrl":904,"material":489,"size":490,"collection":113,"collections":905,"showCount":906,"zanCount":41,"manualWeight":41,"mainColor":42},290369,"song-hui-zong-hou-zuo-xiang-zhou-yi-ming-290369","宋徽宗后坐像轴","北宋时期发达的社会经济，为宋代绘画 提供了许多前无古人的新的绘画题材。风 俗画是宋代人物画的一个特色，以表现村 童闹学、耕织、货郎、七夕夜市等题材的作 品，生动记录了宋代社会生活中的平民生 活，拓宽了以帝王、圣贤、贵妃为主的人物 画格局，并被后世固化为中国人物画的永 恒题材。同时，宋代画院为宋代绘画的发展 聚集了人才，一大批画院画家将用于表现 山水的水墨画法用于人物画的创作中。题材的扩大、形式的增多，为这时期人物画的发展开阔了前景。",[24,74,26,25,54,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff33f44ef518a5b4bdfbc81b56937762d.jpg",[],100,{"id":908,"slug":909,"title":910,"dynasty":68,"author":911,"museum":150,"description":912,"tags":913,"thumbUrl":914,"material":58,"size":113,"collection":36,"collections":915,"showCount":906,"zanCount":11,"manualWeight":41,"mainColor":916},217227,"li-dai-di-wang-zhen-xiang-yao-wen-han-217227","历代帝王真像","姚文瀚","姚文瀚的《历代帝王真像图》是一部巨著，包含了从秦始皇到清朝乾隆帝的220位帝王的真像。这幅画卷以宫廷内务府的资料为基础，经过姚文瀚的精心研究和描绘，每一位帝王的真像都非常逼真，与当时的实际相差无几。\n\n姚文瀚在制作《历代帝王真像图》时，花了超过20年的时间，并且聘请了许多著名的艺术家协助他的工作。最终，他完成了这部传世的巨著，使得我们能够通过这幅画卷了解到中国历史上许多伟大的帝王的长相。",[24,73,25,26,54,330,7,722],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaf5715b9cb0f6635601027daac360af.jpg",[36],"FF9800",{"id":918,"slug":919,"title":920,"dynasty":68,"author":238,"museum":106,"description":921,"tags":922,"thumbUrl":927,"material":111,"size":928,"collection":929,"collections":930,"showCount":932,"zanCount":285,"manualWeight":41,"mainColor":63},236270,"qian-long-huang-di-luo-yan-tu-lang-shi-ning-236270","乾隆皇帝落雁图","此图是乾隆皇帝谕令宫廷画家绘制的巡狩题材系列作品之一。图绘乾隆皇帝在悬崖石壁处，弯弓射雁的情景，表现了乾隆皇帝极强的反应能力和精准的骑射功力。\n根据图中所运用的绘画技法分析，此幅是件中西画家合璧之作。图中乾隆皇帝的肖像及坐骑白马、大雁由西洋画家郎世宁所绘，其笔法细腻，造型准确，尤其将大雁中箭后向下滑行时的动感，及乾隆皇帝箭发后，手由动到静的瞬间都表现得恰到好处，显示出作者具有较强的观察力和表现力。图中点景的山石、树木及溪流当出自中国画家之手，笔墨法度严谨，点染娴熟，得宋元人古意，高大的石壁与树木、曲水共同营造出一个清幽的狩猎环境，将本是伤残的行猎活动点缀得惬意而温馨。",[24,52,73,74,25,26,923,54,241,203,184,476,924,925,926,7],"中西合璧","岩石","草地","河流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe798b081b98ec064f1de8deddba91ab5.jpg","纵259厘米，横171.6厘米","花鸟画精选",[929,931,36,38],"山水画精选",97,{"id":934,"slug":935,"title":936,"dynasty":195,"author":228,"museum":106,"description":762,"tags":937,"thumbUrl":938,"material":530,"size":113,"collection":36,"collections":939,"showCount":932,"zanCount":285,"manualWeight":41,"mainColor":42},236160,"zhang-fei-xiang-zhou-yi-ming-236160","张飞像轴",[24,74,26,54,25,242,7,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc798faf4f2e36c88656db7ea294b9113.jpg",[36,38],{"id":941,"slug":942,"title":943,"dynasty":68,"author":238,"museum":106,"description":944,"tags":945,"thumbUrl":948,"material":34,"size":949,"collection":36,"collections":950,"showCount":932,"zanCount":41,"manualWeight":41,"mainColor":63},222791,"dao-guang-di-chao-fu-xiang-zhou-lang-shi-ning-222791","道光帝朝服像轴","郎世宁（1688-1766），意大利米兰人，原名朱塞佩·伽斯底里奥内。清康熙五十四年（1715）作为天主教耶稣会的修道士来中国传教，到京后约于雍正元年（1723）进入如意馆，成为宫廷画家。他很好地融合了中西绘画技法，在中国传统绘画技法中融合了讲究立体效果，注意透视和明暗，重视写实和结构准确的合理性。擅画肖像、走兽、花果、翎毛，尤善画马。他是将欧洲的绘画品种和方法传授给中国的宫廷画家，为中西文化艺术的交流作出了积极贡献，颇得皇家青睐。",[23,24,73,74,25,26,54,946,7,330,947],"帝王","朝服","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0ebc1b16c1a24a78979bfc2d02b1314.jpg","35x57",[36,38],{"id":952,"slug":953,"title":954,"dynasty":68,"author":955,"museum":49,"description":956,"tags":957,"thumbUrl":958,"material":959,"size":960,"collection":36,"collections":961,"showCount":962,"zanCount":459,"manualWeight":41,"mainColor":63},218363,"fang-li-gong-lin-ming-huang-ji-qiu-tu-ding-guan-peng-218363","仿李公麟明皇击球图","丁观鹏","场景中画有16个人物，10个人聚集在场景中间，争夺一个小球。场景中央的人是唐朝的明朝皇帝李隆基。皇帝用臀部骑着一匹骏马，看起来专注而敏捷。他周围的人，有的戴着官帽，有的头上戴着发卡，也都骑在马背上，手持球棒，与皇帝争夺地上的球。他们是皇帝身边的官员、同伴和嫔妃，有两个人在头顶，两个人在卷尾看守目标。画中的人物姿态各异，静中有动，动中有变。这幅画画得很稀疏，线条流畅。",[23,24,73,53,183,93,54,241,109,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1b3926ed3aac8697de219bc21a49828.jpg","纸本","32.1x523.2",[36],93,{"id":964,"slug":965,"title":966,"dynasty":18,"author":228,"museum":150,"description":967,"tags":968,"thumbUrl":969,"material":113,"size":113,"collection":36,"collections":970,"showCount":971,"zanCount":285,"manualWeight":41,"mainColor":63},221132,"duan-jian-bi-mu-bi-hua-lin-ben-yi-ming-221132","“段简壁”墓壁画临本","此作人物排布错落有致，仕女丰腴端雅，挽高髻、着交领襦裙，披帛垂曳间尽显柔婉雍容。两位侍从装束干练，神态恭谨肃穆。全作用铁线描勾勒，劲挺流畅，精准刻画出人物体态与衣物褶皱起伏。设色古雅清隽，红褐、石紫配色沉稳厚重，岁月浸蚀留下斑驳痕迹，却更衬出盛唐的独特审美意韵。画作写实细腻，还原了彼时的妆束仪制，将墓主人出行仪卫的从容气度凝于壁间，尽显大唐的雍容风华。",[23,24,73,52,570,93,183,26,25,54,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c7bdf5ea3b57dfd093ec32a74891c16.jpg",[36,38],89,{"id":973,"slug":974,"title":975,"dynasty":195,"author":976,"museum":647,"description":977,"tags":978,"thumbUrl":980,"material":58,"size":113,"collection":36,"collections":981,"showCount":971,"zanCount":41,"manualWeight":41,"mainColor":42},219696,"li-heng-xiang-ceng-jing-219696","李亨像","曾鲸","此作以精微写实的笔触塑造人物，先以淡墨勾定轮廓，再层层晕染面部，将人物鬓发纹理、眉目间沉静内敛的神态全然铺展，尽显儒雅清隽的文人风骨。\n服饰设色调和雅致，石青镶边与米衣料相映，线条清劲凝练，将衣料垂坠质感细腻呈现，朴拙中带着雅致气度。画面舍去繁复布景，以素净底色烘托人物，形神兼备，将肖像画写实传神的特质发挥到极致，是兼具笔墨意趣与写真功力的佳作。",[24,73,26,54,516,979,25,755,7],"墨骨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a419af8e6a79113dda1540d232af906.jpg",[36],{"id":983,"slug":984,"title":985,"dynasty":68,"author":955,"museum":49,"description":986,"tags":987,"thumbUrl":991,"material":660,"size":113,"collection":36,"collections":992,"showCount":971,"zanCount":11,"manualWeight":41,"mainColor":63},217923,"tang-ming-huang-ji-ju-tu-ding-guan-peng-217923","唐明皇击鞠图","丁观鹏是清朝时期的画家，他最著名的作品之一是《唐明皇击鞠图》。这幅画描绘了唐朝第一位皇帝唐太宗（又称唐明皇）打鞠的场景。\n\n唐太宗是唐朝的建立者，他在位时实行了许多改革措施，使唐朝成为中国历史上最繁荣的朝代之一。他非常喜欢鞠球运动，常常在宫中练习打鞠。丁观鹏的这幅画中，唐明皇正在向前跑步，身体做出打鞠的姿势，表现出他对这项运动的热爱。\n\n丁观鹏的《唐明皇击鞠图》是一幅工笔画，他细致地描绘了唐明皇的衣服和鞠球的细节，并使用了深浅不一的色彩来表现光线的变化。这幅画被认为是丁观鹏作品中最出色的一幅，也是清朝时期最著名的画作之一。它现在被收藏在北京故宫博物院的藏品之中。",[52,24,73,25,183,26,292,54,241,988,109,7,989,990],"建筑","古代人物","马球场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde3def1caee6bc241053a237d8871f10.jpg",[36],{"id":994,"slug":995,"title":996,"dynasty":195,"author":228,"museum":106,"description":762,"tags":997,"thumbUrl":998,"material":530,"size":113,"collection":36,"collections":999,"showCount":1000,"zanCount":11,"manualWeight":41,"mainColor":63},236159,"zhang-liang-xiang-zhou-yi-ming-236159","张良像轴",[24,73,74,26,25,54,7,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3ea3055380793c01b2c8b24c4717441.jpg",[36,38],88,{"id":1002,"slug":1003,"title":1004,"dynasty":195,"author":228,"museum":150,"description":1005,"tags":1006,"thumbUrl":1007,"material":489,"size":490,"collection":113,"collections":1008,"showCount":1009,"zanCount":41,"manualWeight":41,"mainColor":42},228405,"da-pu-xian-pu-sa-zuo-xiang-yi-ming-228405","大普贤菩萨坐像","中国雕塑是指具有中国特色且原产于中国的雕塑艺术品。中国雕塑（Chinese sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[24,527,54,25,26,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F879769e52d7eb2be5f8935ae85a068a2.jpg",[],86,{"id":1011,"slug":1012,"title":1013,"dynasty":18,"author":121,"museum":150,"description":1014,"tags":1015,"thumbUrl":1016,"material":113,"size":113,"collection":113,"collections":1017,"showCount":1018,"zanCount":11,"manualWeight":41,"mainColor":42},231005,"shi-nv-xiao-xiang-li-zhou-yan-li-ben-231005","仕女肖像立轴","此作工致写实，仕女端然危坐，神态恬然沉静，尽显闺秀端凝气度。豆绿团衫温婉雅致，衣缘绣纹清丽柔润，发丝轻挽簪花素净，衣纹线条匀细凝练，晕染柔和自然，将仕女娴静温婉的风姿尽数铺展。身侧条案陈置清供法器，古雅沉静，暗合文人雅致意趣。整体设色柔澹沉稳，古绢晕开旧时光晕，笔意朴拙不失精细，将东方古典仕女内敛静穆的风华凝于绢素之上，静谧耐看，带着醇厚古雅的质感。",[23,52,24,74,26,25,54,27,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11b73f886d81289c69433793116e980d.jpg",[],85,{"id":1020,"slug":1021,"title":1022,"dynasty":68,"author":228,"museum":106,"description":1023,"tags":1024,"thumbUrl":1025,"material":530,"size":1026,"collection":113,"collections":1027,"showCount":1028,"zanCount":285,"manualWeight":41,"mainColor":42},223473,"zhi-ping-shi-nv-tu-yi-ming-223473","执瓶仕女图","画中少女立于画中，长袍长裙飘扬，高举丝绸高瓶，丝绒修长，露出的右手指甲细长，这姑娘应为高官达人家眷或宫廷内女子",[24,73,74,26,25,54,27,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10c7df1b022f11cc8235ca9a2a3f80c2.jpg","92x56厘米",[],84,{"id":1030,"slug":1031,"title":1032,"dynasty":18,"author":121,"museum":150,"description":1033,"tags":1034,"thumbUrl":1036,"material":113,"size":113,"collection":113,"collections":1037,"showCount":1038,"zanCount":11,"manualWeight":41,"mainColor":42},231021,"gu-di-wang-tu-juan-li-dai-di-wang-tu-juan-yan-li-ben-231021","古帝王图卷.历代帝王图卷","《国宝在线历代帝王》是2年 出版的图书。\n第1版 (2年12月1日) ISBN: 786726519 条形码: 978786726518 尺寸: 29.8 22.4 1 cm 重量: 259 g 历代帝王，是中国人物画历史上一个重要的题材。\n古代没有照片，千古一帝的仪容，全仗绘画来保存。\n最早的帝王画，可以追溯到种种遥远而缺乏实证的文字记载，如《孔子家语·观周》中，记载孔子参观周朝的明堂，见四周的墙壁上画有圣主尧、舜和暴君夏桀、商纣的肖像。\n他认为这些帝王图『各有善恶之状，兴废之诫焉』。\n孔子的这番评价， 一语道明了古代帝王画的功能，乃是出于礼教的宣传目的。\n当孔子把『兴废之诫』作为绘画艺术的基本任务时，他或许没想到，这样的思想在很长一段时期竟主宰了中国人物画的创作功能，甚至建国后盛行一时的伟人像、英雄像，与这一见解其实也异曲同工。\n唐代张彦远在《历代名画记》中引用了三国时曹植与孔子相类似的见解：『观画者，见三皇五帝，莫不仰戴；见三季暴主，莫不悲惋……是知存乎鉴戒者，图画也。\n』早期的帝王画大都是以屏画、壁画的形式出现，通过形象上的『善恶对比』，达到『成教化，助人伦』的目的，正所谓『见善足以戒恶，见恶足以思贤』。\n自汉代以后，宫廷壁画及卷轴画中的帝王图已成为委婉地向统治者进谏的政治性作品，不但臣僚们利用它来推行政见，而且帝王也用它来美化自己，表现能接受历史的经验，是趋贤去恶的明主。\n然而，『不见五陵豪杰墓，无花无酒锄作田』，随着大量绘有大批壁画的建筑物的损毁，后人却只能通过文字记载来想像这些作品的风采了。\n千秋功过画帝王 流传至今的帝王卷丑画中，以传为唐代阎立本所绘的《历代帝王图》和《步辇图》最早。\n尤其是《历代帝王图》，是一件典型的礼教绘画作品。\n画中共刻画了汉魏以来十三个帝王的形象。\n帝王的服饰、仪仗、起居、侍从等都表现着统治者共同的特征和气势，而一画家又通过入微地表现不同帝王的不同个性，象征并反映了这些帝王的千秋功过。\n相传同是阎立本所画反映唐太宗接见吐蕃使者的《步辇图》，则向我们传达了另一个信息——帝王的肖像常常同时也是一种记录重要事件的方法，很有些像今天的记录影片。\n这样的情况在西方甚至更为普遍，比如我们对大卫的《拿破伦加冕》和《马拉之死》大概不会陌生。\n正是通过这些作品，使我们对久远的历史场景在头脑中产生了一定的直观印象。\n依靠类似于《步辇图》这样的作品，使今人仍能较确切地了解盛唐帝王的威仪和处理重大事件的方式。\n在中国，类似的作品还有不少，如传宋徽宗所作的《听琴图》和清郎世宁所作的《 》等。\n古代，大多数的帝王肖像出于宫廷画家的手笔，特别是当朝帝王的画往往由专职的宫廷画家完成。\n不过民间也流传着一些以帝王为题材的绘画作品，且主要以远古的传说故事为内容。\n尽管同样具有礼教的功能，但正所谓[生后是非谁管得，满村争说蔡中郎]，这些作品，其实不过是人们凭想像的[演义]，而并不具备真实可靠的史料价值了。\n唐 阎立本 历代帝王图 唐 阎立本 历代帝王图 卷 之一 唐 阎立本 历代帝王图 卷 之二 唐 阎立本 历代帝王图 卷 之三 唐 阎立本 历代帝王图 卷 之四 唐 阎立本 历代帝王图 卷 之五 唐 阎立本 历代帝王图 卷 之六 唐 阎立本 历代帝王图 卷 之七 唐 阎立本 历代帝王图 卷 局部 唐 阎立本 步辇图 卷 绢本",[23,52,24,73,53,25,26,54,946,1035,7,109],"侍从","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc99416fb53247fd7f686c65bbf85a9c.jpg",[],80,{"id":1040,"slug":1041,"title":817,"dynasty":195,"author":228,"museum":1042,"description":1043,"tags":1044,"thumbUrl":1046,"material":58,"size":1047,"collection":36,"collections":1048,"showCount":1038,"zanCount":11,"manualWeight":41,"mainColor":42},218410,"ying-xi-tu-yi-ming-218410","圣路易斯艺术博物馆","花木扶疏的庭院里，石影横斜，稚童们的身影灵动鲜活。围坐小几的孩童或俯身凝眸，或执物细玩，憨态可掬；旁侧的孩子相互追逐，衣袂轻扬间满是天真烂漫。案上器物精巧，阶前小凳古朴，衬得画中世界雅致又充满烟火气。设色古雅温润，线条婉转细腻，将孩童的无忧时光定格成帧，仿佛能听见稚子的嬉闹声穿过岁月，漫溢着恬淡的生活意趣与对童真的脉脉咏叹。画面以细腻笔触勾勒出童真百态，古雅的色调与婉转的线条交织，将无忧岁月凝练成帧，让观者在古朴的氛围里，触摸到那份穿越时空的天真暖意。",[23,24,26,25,74,54,1045,78,203,139,77,7],"孩童","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F875a332dd57d21a2a5dbe31d190af59f.jpg","182.2x98.1",[36],{"id":1050,"slug":1051,"title":1052,"dynasty":68,"author":1053,"museum":106,"description":1054,"tags":1055,"thumbUrl":1056,"material":1057,"size":1058,"collection":36,"collections":1059,"showCount":1060,"zanCount":41,"manualWeight":41,"mainColor":63},237744,"bai-miao-shi-nv-hua-zhou-hua-yan-237744","白描仕女画轴","华嵒","此图绘一端庄文弱的女子，低头垂目，双手笼袖，侧身坐于藤木秀榻上。侍女手捧书函正急步送上前来。此幅属小景致人物画，没有繁复的情节和深刻的创作思想，只是侧重于展示女性的外在形象美。构图奇巧，画幅的上半部没有一笔字画涂抹，人物及款题均置于下半部。大面积的空白位于人物的上方，扩展了人物上部的空间，同时又以“此时无声胜有声”的暇想意境充实了画面。此外，上半部无笔墨的空旷亦与细笔白描人物简洁的笔风相吻合，有助于突出主体人物。图中女子尖下颚，瓜子脸，面貌秀美俊俏，细眉长目间暗含凄婉惆怅之情。颈部修长，双肩下溜，呈现出“弱不禁风”的体态，体现了清中期文人画家于仕女画上追求“美女一根钉”的“病态美”的审美取向。\n华嵒的人物画大体有三种风貌，早期宗法宋李公麟，画风严谨，造型准确写实。中年以后效法明陈洪绶及其传派，人物有所变形，注重画面的装饰效果。晚年博取众家所长，形成自己形神兼备、既写实又具韵味的笔墨风格。此图当属其早期仕女画的代表作。",[24,73,74,183,54,27,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e8f10a6089ea06b787ca52b83785359.jpg","绢本，墨笔","纵82厘米，横32.2厘米",[36],79,{"id":1062,"slug":1063,"title":1064,"dynasty":251,"author":1065,"museum":49,"description":1066,"tags":1067,"thumbUrl":1069,"material":58,"size":1070,"collection":36,"collections":1071,"showCount":1072,"zanCount":41,"manualWeight":41,"mainColor":42},216971,"da-shi-xiang-zhou-zhao-yi-216971","大士像轴","赵奕","观音大士像轴是赵奕在元朝时期创作的一幅绘画，描绘了观音大士的形象。观音是佛教中的一位菩萨，被认为是慈悲和智慧的化身。在这幅画中，观音大士身着传统的中国服装，手持佛珠，脸上带着慈祥的微笑。观音大士像轴通常用来装饰寺庙或供奉在佛教场所。",[24,73,74,26,25,527,54,75,78,203,1068,7,109,125],"水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca16ca2a1f4f371f973d05319d870cd9.jpg","108x54.8",[36],77,{"id":1074,"slug":1075,"title":1076,"dynasty":68,"author":1077,"museum":1078,"description":1079,"tags":1080,"thumbUrl":1082,"material":34,"size":1083,"collection":113,"collections":1084,"showCount":1085,"zanCount":41,"manualWeight":41,"mainColor":63},230109,"hong-lou-meng-190-sun-wen-230109","红楼梦190","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",[24,25,26,628,54,241,1081,199,476,295,292,7],"马车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F371fd944c59868ac77daf0417c1ff2a6.jpg","纵43.3厘米、横76.5厘米",[],75,{"id":1087,"slug":1088,"title":1089,"dynasty":195,"author":278,"museum":412,"description":413,"tags":1090,"thumbUrl":415,"material":58,"size":113,"collection":36,"collections":1091,"showCount":1085,"zanCount":41,"manualWeight":41,"mainColor":418},219592,"pin-cha-tu-chen-hong-shou-219592","品茶图",[24,52,73,74,25,26,109,54,78,846,605,7],[36],{"id":1093,"slug":1094,"title":1095,"dynasty":88,"author":228,"museum":150,"description":1096,"tags":1097,"thumbUrl":1099,"material":113,"size":113,"collection":113,"collections":1100,"showCount":1101,"zanCount":11,"manualWeight":41,"mainColor":63},227372,"yu-ying-shi-nv-tu-yi-ming-227372","浴婴仕女图","《浴婴图》南宋，佚名，绢本设色，纵35.8厘米，横35.9厘米，美国弗瑞尔美术馆藏。\n\n画面中共三个妇人，四个小孩，当中摆一长形浴盆。画面设色淡雅明快，气氛温馨和谐，妇人的神情慈祥、婴儿的天真无邪，无不充满了浓郁的人情和现实意义。",[23,52,24,73,25,26,54,27,1098,109,7],"婴儿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a808fa71ca6fd850c6dafb4642ee508.jpg",[],73,{"id":1103,"slug":1104,"title":1105,"dynasty":195,"author":196,"museum":49,"description":1106,"tags":1107,"thumbUrl":1110,"material":1111,"size":1112,"collection":36,"collections":1113,"showCount":1114,"zanCount":273,"manualWeight":41,"mainColor":63},228445,"di-wang-dao-tong-wan-nian-tu-ce-chou-ying-228445","帝王道统万年图册","绘伏羲、神农、黄帝、少昊、舜、后稷、大禹、夏启、商汤、商高宗武丁、周文王、周武王、周成王、汉高祖、汉文帝、汉武帝、汉明帝、宋孝宗、宋太祖、宋仁宗等20为中国历史名主的画像和事迹",[52,24,73,679,25,26,54,77,1108,1109,7],"铜制","屋宇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63189a24bb1d7c00253398001e840c12.jpg","绢","共20开，每开32.5＊32.6ＣＭ",[36],72,{"id":1116,"slug":1117,"title":1118,"dynasty":88,"author":228,"museum":49,"description":344,"tags":1119,"thumbUrl":1121,"material":1111,"size":348,"collection":113,"collections":1122,"showCount":1114,"zanCount":11,"manualWeight":41,"mainColor":42},227553,"nei-ren-shuang-lu-tu-gao-qing-chang-juan-yi-ming-227553","内人双陆图（高清长卷）",[23,52,24,73,53,25,26,54,168,77,7,1120],"游戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa27a712d7149fa45d5a57a0744f2417c.jpg",[],{"id":1124,"slug":1125,"title":1126,"dynasty":68,"author":228,"museum":150,"description":1127,"tags":1128,"thumbUrl":1135,"material":489,"size":490,"collection":113,"collections":1136,"showCount":1137,"zanCount":285,"manualWeight":41,"mainColor":42},281507,"dong-yang-duan-xiu-song-he-bi-yi-yi-ming-281507","东洋缎绣松鹤壁衣","清王朝时段推行剃发易服，顺治九年（1652），钦定《服色肩舆条例》颁行，从此废除了明朝的冠冕、礼服以及汉族的一切服饰，但满族服饰同时吸收了明朝服饰的纹理图案。明代男子一律蓄发挽髻，着宽松衣，穿长统袜、浅面鞋；清时则剃发留辫，辫垂脑后，穿瘦削的马蹄袖箭衣、紧袜、深统靴。但官民服饰一律泾渭分明。 清朝是以满族统治者为主的政权机构，满族八旗服饰随朝代的变更冲进关内。旗人的风俗习惯影响着广大的中原地区。从公服开始逐渐推向常服。",[1129,1130,28,1131,1132,1133,7,1134],"刺绣","缎绣","鸢尾花","松树","花鸟","织物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7f04495b67bba5e42cdac956fecd321.jpg",[],71,{"id":1139,"slug":1140,"title":1141,"dynasty":68,"author":238,"museum":150,"description":1142,"tags":1143,"thumbUrl":1144,"material":113,"size":113,"collection":113,"collections":1145,"showCount":1137,"zanCount":11,"manualWeight":41,"mainColor":42},230203,"qian-long-huang-di-da-yue-tu-lang-shi-ning-230203","乾隆皇帝大阅图","《乾隆皇帝大阅图》是清代画家 创作的一幅绢本设色画，现收藏于 。\n此图画的是乾隆皇帝于他即位后的第四年（179年）首次去南苑检阅八旗官兵时的雄姿。\n乾隆全副武装，佩带弓箭，威风凛凛，气度不凡。\n全图以鲜艳明丽的色泽，细密工致的笔触描绘这位29岁青年君主的形象，人物及马匹富有立体感，明显看出是采用了欧洲的明暗画法；衣服、头盔、皮毛等质感很强；背景中天空的云霭，色彩丰富多变。\n《乾隆皇帝大阅图》所画为乾隆皇帝骑马的形象。\n他头戴金盔，身穿铠甲，骑在骏马上，全副武装，佩带弓箭检阅八旗官兵时的雄姿。\n清高宗乾隆作为清入关后的第四任皇帝，始终认为“骑射乃满洲之根本”，为此，极其重视军队的建设，通过南苑阅兵、木兰秋狝、南海冰嬉等种种活动，来促使八旗兵保持强大的战斗力。\n依照本图的御制诗可知，该图描绘的是乾隆亲临南苑（今北京南）检阅八旗将士时的英武之姿。\n此次大阅正值清军与西域的霍集占兄弟激烈交战之际，所以，高宗乾隆除按惯例巡视八旗军的队列及各种兵器、火器的操练活动外，还暗含有向叛军炫耀清王朝的实力与军威之意。\n在南苑第一次大阅后，便命令宫廷画家朗世宁画此画。\n画中乾隆帝和马，西洋画风浓厚，十分细腻，运用中国的毛笔、纸绡和色彩，却能以欧洲的绘画方法注重对象的解剖结构和立体感的表达。\n在光线的运用上则与欧洲面法有所不同，欧洲商家喜欢表现人物脸部在特定的光线照射下分明的凹凸感，而传统的中国“写真”技艺，则要求被画者是不受光线变化常态下的相貌。\n因此，郎世宁适当地吸取了传统中国“写真”技艺的表现手法，所画人物均取正面光照，使人面面部五官清晰，画得相当精致笔触细腻柔和，又注意体面结构和立体效果，衣服的质感也很强。\n以细密的短线，按照素描的画法来描绘马匹的外形、皮毛的皱褶和皮毛下凸起的血管、筋腱，或者利用色泽的深浅来表现马匹的立体感和厚重感来画马。\n人物乾隆，则在造型上比较严谨，注重解剖机构，非常的写实符合解剖学的比例。\n画作体现中西绘画相互渗透并趋向相融合，融合的结果是绘画的审美追求朝着“写实”的方向发展。\n教授刘伟宏：郎世宁用中西融合的画法所画的《乾隆皇帝大阅图》，描绘了乾隆皇帝举行盛大阅礼的场面，具有独特的艺术魅力。\n明末清初，传教士的进入促进了西方古典主义写实绘画技法与中国传统绘画技法的融合与发展，一改传统中国画的笔墨及线描风格。\n这个时期绘画的主要特点集中在记实性，其中发展较为瞩目的题材包括装饰性壁画、人物风俗、人物肖像、战功图及祭祀等。\n《乾隆皇帝大阅图》从造型、明暗、构图及透视等方面详细阐述西方绘画技法对中国画的影响，体现了西方绘画技法促进了中国画对光影元素的运用、明暗和透视法的兴起以及色彩的广泛使用。\n郎世宁（1688—1766），原名朱塞佩·伽斯底里奥内，生于米兰。\n清康熙帝五十四年作为天主教耶稣会的修道士来中国传教。\n随即入宫进入如意馆，成为宫廷画家，曾参加圆明园西洋楼的设计工作，历任康、雍、乾三朝，在中国从事绘画达5多年。\n他是一位艺术上的全面手，人物、肖像、走兽、花鸟、山水无所不涉、无所不精，成为雍正帝、乾峰帝时 的代表人物。\n他的代表作品有《 》《 》《 》《弘历及后妃像》等。",[23,52,24,73,25,26,54,241,242,184,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febb27b0558240e575c4f488632ba8c11.jpg",[],{"id":1147,"slug":1148,"title":1149,"dynasty":1150,"author":1151,"museum":1152,"description":1153,"tags":1154,"thumbUrl":1161,"material":1162,"size":113,"collection":113,"collections":1163,"showCount":1137,"zanCount":41,"manualWeight":41,"mainColor":63},220556,"sun-duo-ci-xiang-xu-bei-hong-220556","孙多慈像","民国","徐悲鸿","中央美术学院美术馆","以明暗铺陈氛围感，少女慵懒斜倚摇椅，月白素旗袍勾勒出柔婉身形，湖蓝领结点亮素雅色调。温婉沉静的神态被细腻笔触精准捕捉，发丝晕染蓬松柔和，白袜高跟衬出少女青涩娇柔。\n\n画室的雕塑陈设铺展出雅致的创作氛围，暖棕底色晕开静谧温柔。以西画光影技法勾勒衣物柔润质感与面部细腻肌理，又揉进东方审美里的含蓄气韵，将少女灵动又沉静的独特气质定格，让画室的沉静创作氛围与少女的柔美融为一体，写实功力与抒情色彩兼具，尽显温柔雅致的隽永美感。",[329,513,54,27,1155,1156,1157,1158,1159,7,1160,516,26],"摇椅","雕塑","画笔","容器","室内","民国风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ca0855ccefd5119e84146509fa7ef5e.jpg","布面油彩",[],{"id":1165,"slug":1166,"title":1167,"dynasty":68,"author":135,"museum":49,"description":1168,"tags":1169,"thumbUrl":1170,"material":58,"size":1171,"collection":36,"collections":1172,"showCount":1173,"zanCount":285,"manualWeight":41,"mainColor":63},219379,"ren-wu-tu-leng-mei-219379","人物图","在这幅画中，高石在雪地里探寻梅花，冷画大师焦秉祯经常使用透视和凹凸阴影。 色彩鲜艳明快，笔墨工整。",[24,52,73,74,25,26,54,184,369,77,7,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe16ec146f1085c0dfe8356014a6f5971.jpg","纵119.7横61.5厘米",[36],68,{"id":1175,"slug":1176,"title":1177,"dynasty":88,"author":228,"museum":49,"description":1178,"tags":1179,"thumbUrl":1181,"material":113,"size":113,"collection":97,"collections":1182,"showCount":1183,"zanCount":11,"manualWeight":41,"mainColor":42},231056,"dong-ri-ying-xi-tu-yi-ming-231056","冬日婴戏图","深冬庭院里，梅枝缀满玉蕊，竹影清疏横斜，山茶燃着点点艳红，揉化了凛冬寒意。\n\n梳着双丫髻的女娃牵着小同伴，两人的目光齐齐追着脚边扑跃的花狸猫，小男娃手里的兔形花灯险些坠地，稚拙娇憨的神态被刻画得活灵活现。\n\n整幅设色柔润雅致，工笔写实细腻，孩童软绵的衣料褶皱，狸猫蓬松的皮毛，花木的鲜活情态都一一晕染真切，将冬日里稚童嬉游的融融温情铺陈开来，把萧索寒冬晕成了满纸天真暖意，恰似一帧鲜活的冬日闲趣剪影。",[23,24,52,25,26,54,369,75,690,7,77,1180],"婴戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F758a8c0d4776f0fd17509254b24ed5ae.jpg",[97],67,{"id":1185,"slug":1186,"title":1187,"dynasty":251,"author":1188,"museum":150,"description":1189,"tags":1190,"thumbUrl":1191,"material":113,"size":113,"collection":113,"collections":1192,"showCount":1183,"zanCount":41,"manualWeight":41,"mainColor":42},228019,"yang-fei-shang-ma-tu-chang-juan-qian-xuan-228019","杨妃上马图（长卷）","钱选","《题杨妃上马图》是宋朝著名文学家钱选的代表作品之一。\n宋 唐室开元致太平，年年十月幸华清。\n当时马上多娇态，不相驱驰蜀道行。",[23,24,73,52,53,26,25,54,241,109,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3b28078355dcd9084429ae23f044604.jpg",[],{"id":1194,"slug":1195,"title":1196,"dynasty":68,"author":1197,"museum":49,"description":1198,"tags":1199,"thumbUrl":1200,"material":58,"size":1201,"collection":36,"collections":1202,"showCount":1183,"zanCount":41,"manualWeight":41,"mainColor":63},216968,"li-zhu-cui-xiu-ce-liang-mu-lan-he-da-zi-216968","丽珠萃秀册-梁木兰","赫达资","梁木兰是清朝著名的艺术家，她是在《丽珠萃秀册》中被介绍的。《丽珠萃秀册》是一部清朝时期的艺术名录，其中记录了当时著名的艺术家、书画家、雕塑家、音乐家和舞蹈家的作品和生平经历。梁木兰是其中的一位艺术家，她出身于辽宁省大连市，在清朝时期以其精湛的书法和绘画技艺而闻名。",[24,73,679,26,25,54,78,184,242,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F607e3ef4147ab6d830a434d5bcc7fcb8.jpg","30.1x22.5",[36],{"id":1204,"slug":1205,"title":1206,"dynasty":88,"author":1207,"museum":150,"description":1208,"tags":1209,"thumbUrl":1211,"material":113,"size":113,"collection":113,"collections":1212,"showCount":1213,"zanCount":41,"manualWeight":41,"mainColor":42},227296,"gui-xiu-shi-ping-tu-zhou-sheng-shi-yan-227296","闺秀诗评图轴","盛师颜","古时大家闺秀“大门不出，二门不迈”，待在家里的时间长，因此也有闲暇读诗书。一来可以打发时光，二来可以排解幽思。\n\n在这幅画中，一名女子端坐在案几之上，手持一本诗文书卷，神态娴静，正在专心致志地读书。",[23,1210,24,73,74,25,26,27,393,7],"宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0333452de9ecd696360b84a95fb6751a.jpg",[],65,{"id":1215,"slug":1216,"title":1217,"dynasty":195,"author":196,"museum":1218,"description":1219,"tags":1220,"thumbUrl":1221,"material":1222,"size":1223,"collection":113,"collections":1224,"showCount":1213,"zanCount":11,"manualWeight":41,"mainColor":63},222197,"jia-fu-ren-li-tu-chou-ying-222197","佳妇人例图","日本早稻田大学图书馆","《佳妇人例图》落款为“实父仇英制”，共绘人物60位，构图、内容、人数与《千秋绝艳图》均雷同，所以有专家言《佳妇人例图》属《千秋绝艳图》的母图或白描草图。\n仇英 ，名英，字实父，一作实甫，号十洲，又号十洲仙史，太仓（今江苏太仓）人，移家吴县(今江苏苏州)。约生于明弘治十一年左右（1498年）（注：也有人认为是1509年），卒于明世宗嘉靖三十年（1552年）。存世画迹有《赤壁图》、《玉洞仙源图》、《桃村草堂图》、《剑阁图》、《松溪论画图》等。 \u2028 明代表性的画家之一。与沈周，文征明和唐寅被后世并称为“明四家”，亦称“天门四杰”。早年为漆工，兼为人彩绘栋宇，后拜周臣门下学画。仇以善画为文征明、唐寅所器重。又在著名鉴藏家项元汴、周六观家中见识了大量古代名作。擅人物画，尤工仕女，特擅临摹。吸收南宋马和之及元人技法，笔力刚健，粉图黄纸，落笔乱真。至于发翠豪金，综丹缕素，精丽绝逸，无愧古人。善用粗细不同的笔法表现不同的对象，或圆转流畅，或顿挫劲利，既长设色，又善白描。人物造型准确，概括力强，形象秀美，线条流畅，对后来的尤求、禹之鼎以及清宫仕女画都有很大影响。山水多学赵伯驹、刘松年，常见的是细润而风骨劲俏的青绿之作。有时作界画楼阁，尤为细密。常作上林图，人物、鸟兽、山林、台观、旗辇、军容，皆忆写古贤名笔。张丑在《清河书画舫》中评说：仇英画“山石师王维，林木师李成，人物师吴元瑜，设色师赵伯驹，资诸家之长而浑合之，种种臻妙”。董其昌题其《仙弈图》谓：“仇实父是赵伯驹后身，即文、沈亦未尽其法”。",[23,24,73,53,183,25,54,27,7,331,156,157,332],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4e82c8009fef999707062820078b6da.jpg","长卷，纸本水墨白描","纵27厘米，横677.8厘米",[],{"id":1226,"slug":1227,"title":1228,"dynasty":88,"author":1229,"museum":70,"description":1230,"tags":1231,"thumbUrl":1233,"material":111,"size":1234,"collection":113,"collections":1235,"showCount":1213,"zanCount":41,"manualWeight":41,"mainColor":63},221352,"fan-wang-li-fo-tu-juan-zhao-guang-fu-221352","番王礼佛图卷","赵光辅","此图画中国周边少数民族酋长、番王朝拜佛祖的形象。佛祖高坐莲台，诸番王作礼拜、贡献之状，服饰皆异域装束。画面气势宏大，人物安排疏密有致，表情各异，生动自然，是宋代人物画的一幅杰作。",[52,24,73,53,527,25,26,54,109,1232,7],"服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F979126ec026d2d53f7d8ef93beef224e.jpg","纵28.6厘米，横103.5厘米",[],{"id":1237,"slug":1238,"title":1239,"dynasty":88,"author":1240,"museum":1241,"description":1242,"tags":1243,"thumbUrl":1246,"material":58,"size":1247,"collection":36,"collections":1248,"showCount":1213,"zanCount":273,"manualWeight":41,"mainColor":42},219027,"shi-wang-tu-ce-lu-xin-zhong-219027","十王图册","陆信忠","奈良国立博物馆","此十王图即十殿阎罗各一幅的每一个都被描绘成魔王带领着一群来自阴间的官员，他们坐在椅子上审查罪行，狱卒、待审的死者和被判处死刑的人在他们面前接受各种惩罚。精确的具象形式和生动的色彩使其具有强烈而敏感的表现力，是卢新中画派的杰作。",[23,527,25,26,54,199,1244,7,77,1245],"鬼神","文书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09d532ab5c900a8a678b7aae912853ec.jpg","85.9x50.8",[36],{"id":1250,"slug":1251,"title":1252,"dynasty":1150,"author":1253,"museum":1254,"description":1255,"tags":1256,"thumbUrl":1259,"material":1260,"size":113,"collection":113,"collections":1261,"showCount":1262,"zanCount":41,"manualWeight":41,"mainColor":63},220603,"zhong-kui-sao-bei-tu-qi-bai-shi-220603","钟馗搔背图","齐白石","中国现当代美术文献研究中心","此作一改钟馗惯常的凶煞驱邪形象，将其化作略带疲态的凡俗长者。小鬼褪去狞恶之气，俯身替钟馗搔背，俨然日常相伴的侍者，满是市井烟火意趣。\n\n笔意朴拙简练，衣袍以大写意晕染，寥寥数笔尽显松弛质感，人物神态刻画细腻，钟馗眯眼松弛的模样，消解了神威戾气。搭配题画诗呼应画面谐趣，将神祗拉下神坛，以家常互动传递出冲淡幽默的文人意趣，让传统题材跳出刻板框架，尽显鲜活的世俗温情。",[24,1257,26,1258,54,78,7],"水墨","写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1656255cbf0464045a89337af6e2511.jpg","纸本水墨设色",[],64,{"id":1264,"slug":1265,"title":1266,"dynasty":68,"author":1267,"museum":647,"description":1268,"tags":1269,"thumbUrl":1270,"material":58,"size":113,"collection":36,"collections":1271,"showCount":1262,"zanCount":285,"manualWeight":41,"mainColor":63},218387,"xie-liu-ru-shi-fu-jin-xiao-xiang-tu-gu-shao-218387","写柳如是幅巾小象图","顾韶","顾韶，字螺峰，钱塘(今杭州)人。清代画家顾洛女。其父擅人物、山水、花卉、翎毛，尤长仕女。写古衣冠，渊雅静穆。顾韶得父真传，人物、花卉臻妙，尤妙婴戏图。\n这幅肖像所画人物为明末清初名妓柳如是。上书小篆“柳如是幅巾小象”，落款“螺峰女史顾韶学画”，钤“螺峰”朱白文印。\n柳如是（1618—1664）本姓杨，名爱，字蘼芜，又有影怜、云娟等别名，改姓柳，名是，又名隐，字如是，号我闻室主人，人称河东君。嘉兴人。明末名妓，秦淮八艳之一。幼年为盛泽徐氏养女，后入吴江故相周道登家为侍婢。继为盛泽归家院妓，能诗善画，曾结交陈子龙，欲托身而未能。后嫁钱谦益为妾，南明亡，劝谦益殉国，不能从。谦益卒，族人争产，自经死。有《戊寅草》、《湖上草》等。\n史载柳如是喜男装。这幅小象中，她幅巾广袖，风姿如玉，眉目间自有清逸之气，可谓传神。",[24,73,74,183,26,54,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9021ddbd10d5a9fe53dfbc4a7171900.jpg",[36],{"id":1273,"slug":1274,"title":1275,"dynasty":88,"author":89,"museum":150,"description":1276,"tags":1277,"thumbUrl":1282,"material":113,"size":113,"collection":113,"collections":1283,"showCount":1284,"zanCount":41,"manualWeight":41,"mainColor":42},227489,"ting-qin-tu-li-zhou-zhao-ji-227489","听琴图立轴","徽宗一朝，在中国绘画发展历史上具有重要意义。熟悉徽宗宫中艺事的邓椿在《画继》中载徽宗之言：“朕万几余暇，别无他好，惟好画耳。”赵佶以皇帝之尊提倡绘画，广招天下贤士进翰林图画院，提高院画家地位，并将“画学”前所未有地纳入科举的轨道，中国绘画的职业化至此达至极盛。",[23,24,73,74,26,25,54,1278,75,55,109,152,1279,1280,7,1281],"松","琴桌","盆栽","石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F305792b178f52b137d5657051444750f.jpg",[],63,{"id":1286,"slug":1287,"title":1288,"dynasty":68,"author":228,"museum":150,"description":1289,"tags":1290,"thumbUrl":1295,"material":489,"size":490,"collection":113,"collections":1296,"showCount":1297,"zanCount":285,"manualWeight":41,"mainColor":42},267492,"lv-se-duan-xiu-gui-hua-yu-tu-jin-pi-qiu-hua-wen-ba-yue-hua-shen-yi-yi-ming-267492","绿色缎绣桂花玉兔金皮球花纹八月花神衣","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[7,1232,1291,32,1129,1292,1293,1294],"花神衣","兔","桂花","皮球花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74a97d0349633aa053d67a02c01703f5.jpg",[],62,{"id":1299,"slug":1300,"title":1301,"dynasty":47,"author":1302,"museum":49,"description":1303,"tags":1304,"thumbUrl":1305,"material":58,"size":1306,"collection":36,"collections":1307,"showCount":1297,"zanCount":11,"manualWeight":41,"mainColor":42},220250,"she-qi-tu-li-zan-hua-220250","射骑图","李赞华","《射骑图》画在一匹装饰得很华丽的骏马面前，站立着一位中年的契丹贵族，服饰上有着“髡发左衽”的特点。所谓髡发，就是剃光了头顶，四周蓄着一圈头发，额前较短，两鬓较长，后面还梳了两根细辫子，辫梢绕着一个小圆圈。画中人物还着左衽的中衣，外罩圆领窄袖的长袍，袍长过膝，腰里裹着一块白色的皮筒卷，即田猎时所穿的“杆腰”，上束金银装饰的皮带。左边腰间挎着一个弓瞍（囊），右边胁下很显著的地方挂着一个长袋子，中间缝一块虎皮，周围装饰着很深的黑色毛皮，袋子上部有球状圆顶，看来这个袋子大约是一个箭筒。",[23,24,52,25,26,54,241,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946c627e579c074623886c010c525eb1.jpg","纵27.1厘米，横49.5厘米",[36],{"id":1309,"slug":1310,"title":1311,"dynasty":68,"author":1077,"museum":1078,"description":1079,"tags":1312,"thumbUrl":1314,"material":34,"size":1083,"collection":113,"collections":1315,"showCount":1316,"zanCount":11,"manualWeight":41,"mainColor":42},230108,"hong-lou-meng-189-sun-wen-230108","红楼梦189",[24,25,26,292,54,27,199,200,295,1313,7],"门窗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F756da37c1938489cc2f2aab0645c8766.jpg",[],61,{"id":1318,"slug":1319,"title":1320,"dynasty":18,"author":228,"museum":1321,"description":1322,"tags":1323,"thumbUrl":1324,"material":489,"size":490,"collection":113,"collections":1325,"showCount":1316,"zanCount":11,"manualWeight":41,"mainColor":42},226175,"ku-yong-dao-bei-bi-yi-ming-226175","窟甬道北壁","敦煌","莫高窟，俗称千佛洞，坐落在河西走廊西端的敦煌。它始建于前秦宣昭帝苻坚时期，后历经北朝、隋朝、唐朝、五代十国、西夏、元朝等历代的兴建，形成巨大的规模，有洞窟735个，壁画4.5万平方米、泥质彩塑2415尊，是世界上现存规模最大、内容最丰富的佛教艺术地。\n1961年，莫高窟被中华人民共和国国务院公布为第一批全国重点文物保护单位之一。1987年，莫高窟被列为世界文化遗产。\n莫高窟与河南洛阳龙门石窟、山西大同云冈石窟并称中国三大石窟，后加麦积山石窟称四大石窟。 2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[570,26,54,7,527,292,183],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c07dac132f05fefabb70d0f8300e753.jpg",[],{"id":1327,"slug":1328,"title":1329,"dynasty":1150,"author":1330,"museum":1331,"description":1332,"tags":1333,"thumbUrl":1335,"material":113,"size":113,"collection":113,"collections":1336,"showCount":1337,"zanCount":11,"manualWeight":41,"mainColor":63},220485,"du-shu-shi-nv-lin-feng-mian-220485","读书仕女","林风眠","龙美术馆西岸馆","林风眠（1900年11月22日—1991年8月12日），家名绍琼，字凤鸣，后改风眠，画家、艺术教育家、国立艺术院（现更名为中国美术学院）首任院长。自幼喜爱绘画。代表作品有《春晴》、《江畔》、《仕女》等。林风眠从法国巴黎国立高等美术学院毕业后，出任国立北平艺术专科学校（现中央美术学院）校长兼教授，后受蔡元培之邀赴杭州主持筹办国立艺术学院（现中国美术学院）并任院长。",[23,24,26,1257,54,27,77,1334,7,32,393],"水仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff110702a58344acdddb690c44d20b44c.jpg",[],60,{"id":1339,"slug":1340,"title":1341,"dynasty":195,"author":228,"museum":49,"description":1342,"tags":1343,"thumbUrl":1344,"material":530,"size":1345,"collection":113,"collections":1346,"showCount":1347,"zanCount":41,"manualWeight":41,"mainColor":42},223490,"ming-tai-zu-zhu-yuan-zhang-zuo-xiang-tu-zhou-yi-ming-223490","明太祖朱元璋坐像图轴","明太祖（1368－1398在位），明朝開國皇帝，姓朱，名元璋，年號洪武，濠州 (今安徽鳳陽)人。幼孤，入皇覺寺為僧，元末群雄並起，有雄才，以布衣成帝業。\n絹地彩繪太祖坐像，筆筆工整，風格嚴謹，幅面巨大，氣派堂皇。畫中皇帝頭戴烏紗折角向上巾，身著圓領織金盤龍皇袍，端坐金扶手椅，容貌豐偉，鬚短而黑，當值盛年。",[23,24,73,74,755,25,26,54,330,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa200f5ca4dc4d864c1d4c5a8a568a941.jpg","137x84",[],59,{"id":1349,"slug":1350,"title":1351,"dynasty":88,"author":1352,"museum":1353,"description":1354,"tags":1355,"thumbUrl":1357,"material":959,"size":1358,"collection":97,"collections":1359,"showCount":1347,"zanCount":41,"manualWeight":41,"mainColor":63},221449,"zhong-shan-chu-you-tu-juan-gong-kai-221449","中山出游图卷","龚开","美国弗瑞尔美术馆","《中山出游图》绘钟馗及小妹乘舆出游的情景，鬼卒们形状诡异，修短不齐，趋前走后，或抬轿肩壶，或挑行李、持包裹。钟馗环目虬须，回首视妹，目光中流露出无限爱怜之态。小妹端坐舆中，与使女皆以墨代脂粉涂于脸颈，奇趣横生，令人哑然失笑。\n《中山出游图》用笔粗放，不绘背景，不敷色彩，只以水墨勾染，风格浑朴，别开生面",[23,24,53,183,1257,54,1356,241,242,7],"鬼怪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8280b5c0f8df796c30604681cc79ff9.jpg","纵32.8厘米，横169.5厘米",[97,931,38],{"id":1361,"slug":1362,"title":1363,"dynasty":88,"author":228,"museum":390,"description":1364,"tags":1365,"thumbUrl":1367,"material":660,"size":113,"collection":36,"collections":1368,"showCount":1347,"zanCount":11,"manualWeight":41,"mainColor":42},219587,"hu-fa-tian-wang-tu-yi-ming-219587","护法天王图","全作以长卷铺陈浩荡群像，排布疏密有致。左侧雅士云集，宽袍博带，神态或清隽沉凝，或温雅端方，铁线游丝般的线条勾勒出出尘风神。右侧融世俗百态，驯虎、舆车错落，仆役走卒情态鲜活，雅俗相映，消解了仙圣绘的疏离感。\n\n绢面虽经岁月晕染，浅淡古雅的设色依旧耐看，劲挺流转的线描尽显白描功底。衣袂飘举间将清贵气度与市井意趣揉为一体，在庄严仪轨之中藏着鲜活烟火，尽显中古人物画的叙事张力与笔墨意韵。",[23,24,73,53,527,183,26,25,54,1366,571,7],"虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac3273b94acfdc6de56954e04e0abfb.jpg",[36],{"id":1370,"slug":1371,"title":1372,"dynasty":195,"author":228,"museum":265,"description":1373,"tags":1374,"thumbUrl":1375,"material":58,"size":1376,"collection":36,"collections":1377,"showCount":1347,"zanCount":11,"manualWeight":41,"mainColor":42},218521,"guan-yuan-xiang-tu-yi-ming-218521","官员像图","图中画有一个官员手持笏板。这幅画的服装应该是宋代官员的服装",[24,73,25,26,54,7,755],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1592dd4e87d3a2396d5fedf8e80764c2.jpg","34.5x21.5",[36],{"id":1379,"slug":1380,"title":1381,"dynasty":251,"author":228,"museum":1382,"description":1383,"tags":1384,"thumbUrl":1385,"material":58,"size":1386,"collection":36,"collections":1387,"showCount":1347,"zanCount":11,"manualWeight":41,"mainColor":42},218465,"fa-du-luo-zun-zhe-xiang-yi-ming-218465","伐阇罗尊者像","南京大学艺术博物馆","绢色晕染着时光的痕迹，伐阇罗尊者安坐其间。光头圆融，头光隐现，神态沉静中藏着悲悯。衣袂流转间，蓝粉色块交错，黑纹如墨线勾勒出衣褶层次，线条流畅似流水舒展。右手轻握法器，左手自然垂落，指节间似含对世间的观照。坐姿随性却不失庄严，鞋履细节亦见匠心。整幅画以传神之笔，将尊者的慈悲与智慧凝于绢上，岁月摩挲更添古朴厚重，仿佛能窥见千年前画者的虔诚与技艺，每一处线条都藏着对信仰的敬畏。",[24,527,54,26,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F033322db375b770e377224792228fd04.jpg","128x63.1",[36],{"id":1389,"slug":1390,"title":1391,"dynasty":68,"author":228,"museum":150,"description":1392,"tags":1393,"thumbUrl":1395,"material":269,"size":113,"collection":113,"collections":1396,"showCount":1347,"zanCount":41,"manualWeight":41,"mainColor":63},215862,"qing-dai-gong-ting-ren-wu-hua-ce-10-yi-ming-215862","清代宫廷人物画册-10","侧身而立的身影，凝着清代宫廷的庄重气韵。深蓝常服裹住挺拔身形，胸前补子上仙鹤振翅欲飞，羽纹纤毫毕现；袍脚缠枝花卉晕染柔丽色泽，袖口绣纹层叠如浪。顶戴红缨与翠羽相映，添几分贵气。旧纸泛黄斑驳，似载时光低语，将百年前宫廷风貌凝于笔端。每处纹饰藏着规制与匠心，人物神态沉静，仿佛能窥见当年朝堂之外的片刻从容，岁月的痕迹更衬得这幅画古韵悠长，每一笔都藏着对往昔风貌的细腻描摹。",[628,1394,26,25,54,7],"宫廷画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57f8f8e7c98cdeb0905f31ec4bc95153.jpg",[],{"id":1398,"slug":1399,"title":1400,"dynasty":195,"author":228,"museum":265,"description":1401,"tags":1402,"thumbUrl":1404,"material":58,"size":1405,"collection":36,"collections":1406,"showCount":1407,"zanCount":41,"manualWeight":41,"mainColor":42},218516,"fang-li-tang-cai-wei-tu-yi-ming-218516","仿李唐采薇图","这一页是模仿李唐画的伯夷和叔齐在首阳山上爬行的故事，以浙派画家的风格画出服装图案，并加上项元汴的募捐图案。",[24,26,93,857,54,1403,255,293,77,7,184,925],"枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48fcd4411154c6a9a5705445bf616bd6.jpg","30.7x28.6",[36],58,{"id":1409,"slug":1410,"title":1411,"dynasty":251,"author":228,"museum":49,"description":1412,"tags":1413,"thumbUrl":1415,"material":679,"size":1416,"collection":113,"collections":1417,"showCount":1418,"zanCount":11,"manualWeight":41,"mainColor":63},223477,"zhao-liang-shi-nv-tu-yi-ming-223477","招涼仕女图","在这幅钱选的《招凉仕女图》中，以瘦为美的审美品味依旧可以被观众窥得。侍女身穿低胸衣、下身窄长裙，外套长褙子，修长了整个身形。右侧仕女头戴“重楼子”花冠。这种花冠据考证甚至高至两尺。它以漆纱制成的冠还能隐约透露出里面的发髻，让人感觉到轻盈精巧。左侧仕女头戴“玉兰花苞”花冠，像极了《瑶台步月图》中带团冠的贵妇，均由于装束打扮显现出修长而文弱的姿态。手中的圆扇子，把微风吹起，更突显了女子“犹抱琵琶半遮面”的含蓄娇柔之美。",[23,24,26,25,54,27,7,1414],"扇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23d01f5d1870e7232b8d79ac68c4fc55.jpg","22.4 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本幅人物线条刚劲如铁丝，转折犀利。树干苍老，柳叶繁复，笔力稳健挺拔，多层皴染，使得画面蕴藉厚润。全作绘制精谨，是一幅宋代佳作。",[23,24,73,74,26,25,857,54,1698,255,56,7],"柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8dde6b37837daa0488ca428fd6cae5e.jpg","65.4x40.2cm",[97,36],{"id":1703,"slug":1704,"title":1705,"dynasty":88,"author":228,"museum":1706,"description":1707,"tags":1708,"thumbUrl":1709,"material":58,"size":1710,"collection":36,"collections":1711,"showCount":1675,"zanCount":285,"manualWeight":41,"mainColor":42},218483,"sui-yang-wu-lao-tu-du-yan-xiang-yi-ming-218483","睢阳五老图 杜衍像","耶鲁大学艺术博物馆","杜衍是继唐朝名臣杜佑之后的北宋名臣，精通诗词和书法。",[23,24,25,26,54,74,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfc8d554101f924583694f0001ec727a.jpg","40.3x31.4",[36],{"id":1713,"slug":1714,"title":1715,"dynasty":68,"author":1575,"museum":265,"description":1576,"tags":1716,"thumbUrl":1717,"material":58,"size":1579,"collection":113,"collections":1718,"showCount":1675,"zanCount":41,"manualWeight":41,"mainColor":63},218353,"shi-nv-tu-ce-2-li-ting-xun-218353","仕女图册-2",[24,73,26,25,54,27,7,31,125,109,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29b94ddb9dca2a24390e96ab7141eea0.jpg",[],{"id":1720,"slug":1721,"title":1722,"dynasty":68,"author":135,"museum":265,"description":1723,"tags":1724,"thumbUrl":1725,"material":58,"size":1726,"collection":113,"collections":1727,"showCount":1675,"zanCount":41,"manualWeight":41,"mainColor":63},218326,"shen-xian-gu-shi-tu-ce-10-leng-mei-218326","神仙故事图册-10","这一卷是一幅关于神仙故事的画。笔触做得非常好，人物也很自然，比例匀称。虽然色彩强烈，但并没有压倒性的效果，而且景观、动植物和工具都被描绘得非常巧妙。",[23,52,24,73,679,25,26,54,293,528,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8c59c4eabdad812463812ac127f8c66.jpg","38x42",[],{"id":1729,"slug":1730,"title":1469,"dynasty":68,"author":1731,"museum":356,"description":1732,"tags":1733,"thumbUrl":1734,"material":269,"size":1735,"collection":36,"collections":1736,"showCount":1675,"zanCount":41,"manualWeight":41,"mainColor":42},218317,"ri-ben-du-tang-tian-shen-tu-zhang-ze-lu-xue-218317","长泽芦雪","儒雅身影立于画间，素袍朱带，青蓝镶边衬出几分清逸。手中梅枝疏朗，白花点点，似凝着唐风的幽韵。面容温和，眉眼间藏着跨越沧海的求知热忱——渡唐之行，是对文明的奔赴。线条细腻婉转，衣袂流动如行云；设色淡雅层次分明，尽显古典雅致。整幅画将文化交流的往昔身影定格，梅枝的高洁与远行的执着相融，似在诉说一段山海间的文化情缘，让跨越时空的向往成为永恒的艺术图景。笔端流转间，东方文人的风骨与文化传续的热忱跃然纸上，每一处细节都藏着对文明对话的深情致意。",[52,24,74,26,54,369,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26cb9c616b9849d1ad3ea628fc3da026.jpg","89.2x33",[36],{"id":1738,"slug":1739,"title":1740,"dynasty":509,"author":1741,"museum":150,"description":1742,"tags":1743,"thumbUrl":1748,"material":489,"size":490,"collection":113,"collections":1749,"showCount":1750,"zanCount":41,"manualWeight":41,"mainColor":418},230648,"bao-nan-gua-de-shao-nv-fu-shi-tuo-zuo-na-luo-230648","抱南瓜的少女","浮士托·佐那罗","浮士托·佐那罗fausto zonaro(1854年9月18日- 1929年7月19日)，他是一名意大利画家，以他的现实主义风格的生活和奥斯曼帝国的历史绘画而闻名。",[329,513,26,54,1744,1745,618,1746,1747,7],"少女","南瓜","草丛","绿叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae1afabc5e032ac22c4fa0cb818add4b.jpg",[],43,{"id":1752,"slug":1753,"title":1754,"dynasty":88,"author":1755,"museum":150,"description":1756,"tags":1757,"thumbUrl":1758,"material":113,"size":113,"collection":113,"collections":1759,"showCount":1750,"zanCount":41,"manualWeight":41,"mainColor":42},226559,"zhuo-xie-tu-juan-hu-gui-226559","卓歇图卷","胡瓌","《卓歇图》是五代 创作的一幅绢本设色画，现收藏于北京故宫博物院。\n纵观整幅图，前半段为立歇部分，马背上的猎物点缀了人马刚从追逐和喧闹中转入静态，在马群的尽头是走向乐舞场地的捧花女，把歇息和乐舞两段有机地结合起来。\n舞蹈者在音乐的伴奏下跳跃，构成全图的高潮，充分显示了画家处理大场面中人马动静、聚散的艺术能力，充满了浓厚的北方草原民族的生活气息。\n全画可分为三大段，第一、第二段，一大群密密匝匝的人马占据了画面的大半部分。\n主要是画狩猎归来，人马嘈杂的场面及骑士们滚马下鞍牵马准备休息时互相交谈的场面。\n他们有的席地而坐，静静地休息。\n有的整理马鞍，马鞍上驮着鹅雁等猎物还未曾卸下，也有的伫立交谈，形态各异。\n整幅画面中的骑士虽然众多，他们或聚或散地占据了大半画面，但并不是画中的主角。\n画卷最后一段描述宴饮的场面才是真正的主角，画幅中的契丹大汗正端坐在豪华地毯上饮酒观舞，大汗服饰华丽，神态悠闲，看面容似乎被舞者美妙的舞姿所吸引，正凝神观望，颇为陶醉。\n他的妻子阏氏着汉装于右侧相陪，二人面前有一侍者跪立奉盏，还有一侍者挥动衣袖，翩翩起舞，以助酒兴。\n佩戴弓矢的彪悍侍卫和纤纤玉立的侍女站立在汗王与阏氏的周围，全神戒备，细心侍候。\n该图引首有清代张照书“番部卓歇图”五字和乾隆皇帝题写的“卓歇歌”三字，后幅有元代王时，清代高士奇、张照的跋文。\n本幅及前后隔水有“忠孝之家”“吴龙之印”“石阊”“简静斋”“高士奇图书记”“江村秘藏”“竹窗堂章”（半印）等多枚鉴藏印记。\n南宋初期，宋廷为绥靖和善或刺探情报，大量派使团出使金国。\n入金后，按女真风习，必然将汉族儒士的右衽服改为左衽，并且要先随女真头领出猎数日后，方可商议政事。\n这是一件有史实性的人马画，惜无题记，难知其具体的历史故实。\n从画面上看，作者表现了南宋使臣随金朝官僚出猎时小歇的情景。\n《卓歇图》中“卓歇”一词的汉语含义并不是十分明晰。\n《辽史》中偶有“卓枪”、“卓帐”等与“卓”有关的词语。\n其“卓”带有“立”或“暂立”的意思。\n关于“卓歇”，可以理解为“搭起帐篷临时休息”的意思。\n此作中虽然没有帐篷。\n但是由于胡壤的同类题材作品多以“卓歇图”命名，所以，后人也将其作为这件作品的名字。\n也有学者认为，该图虽然传为辽代胡瓌的画迹，但据画中所绘的少数民族族别系金代女真人，其不可能是胡壤的真品，系金初（12世纪上半叶）汉族画家的手笔。\n在画卷的左侧，两个主要人物盘腿坐于毯上，身着契丹服装的男子即为契丹可汗，他的阏氏则穿着白色汉服，看起来彬彬有礼的样子。\n男女侍从分列二人身后恭敬以待，前面有侍者跪地敬酒，可汗接酒豪饮，还有一男子在乐队的伴奏下跳起舞蹈助兴，献花者向可汗和阏氏缓缓走来。\n画面再向远处是骑兵休息的地方，这些骑士或坐或立，面露倦容，有的打着哈欠，有的伸腰展背，有的安顿马匹，有的相互交谈，等待着支起帐篷。\n马匹上的猎物还未曾卸下，鞍鞯上缚着大雁等飞禽，显然在刚才的围猎中收获颇丰。\n图中人物各异的姿态和服饰，显示着他们的等级地位，具有一定的写实性。\n《卓歇网》的构图匠心独运，图中人物有7人，马约24匹，但画家处理得错落有致，疏密跌宕，又有条不紊。\n浑然一体。\n胡瓌所描画的线条准确有力，“虽繁复细巧，而用笔清劲”，不仅将人物的各异形神传达得恰到好处，而且也表现出不同衣服的质感。\n这种笔法与唐代中原地区的绘画存在许多近似之处，体现着各民族在文化艺术方面的相互影响和交流。\n看此卷的表现手法，展现了画家娴熟的创作技巧，画面背景荒凉寂静，笔法古健雄劲，线条繁密多变而流畅，色彩沉着，人物、鞍马的造型，既简洁凝重又准确自然，具有很高的艺术水平，画家通过长、短、粗、细等不同的线条把物象刻画得极为生动，无论是勾勒鞍马、衣服的长线，还是表现人物发须的短线，用笔皆沉稳扎实，体现了当时北方画派的特色和契丹画师的独特画风。\n另外，作品中的一些细节之处（像悬挂在鞍鞯之上的猎物），画家也描绘得细致入微、一丝不苟。\n中国艺术研究院研究员 ：这是一幅北方游牧民族生活场景的风俗画面，很富于地方色彩和情趣。\n笔法古劲，精密，色彩沉着，具有很高的艺术水平。\n《卓歇图》卷奠定了金代人马画的发展走向，即线条凝练、造型生动、画风淳朴，着意于表现女真族勇悍和粗犷的民族个性及浪漫不羁的草原生活，并一直影响了元初的人马画艺术。\n这件《卓歇图》被冠以胡壤之名后，更增添了对后世人马画的范本作用，尤其是画中的人物发式和服饰，几乎成了表现北方少数民族人物形象的定式。\n这幅作品为了解中国少数民族历史提供了实录，具有很大的史料价值。\n清代阮元《石渠随笔》、高士奇《江村书画目》、清内府《石渠宝笈·续编》对该图有著录。\n《宣和画谱》曾载有胡瓌《卓歇图》九幅，但现存的这一幅没有宜和的印章和题跋，不知是否曾为宣和所收藏。\n南宋杨王体《中兴馆阁储藏》和元周密《云烟过眼录》中都提到胡《卓歇图》，但也无从考证是否就是这幅画。\n现存的《卓歇图》曾经《石果宝笈续编》著录，上最早的题跋是元代的王时，据清代高上奇的考证，说他是元代皇帝的侍御之臣。\n到了明代，当时鉴藏家张丑，在《清河书画舫》里说：“绢本胡番部卓歇图，尘垢破裂，神彩如生，明昌秘物也，今在韩氏。\n”的确，清初画卷落到高十士奇手里的时候，绢素已经碎裂得很厉害，经过了一次重装，后来为清宫所收藏，乾隆在画上题了“神完景肖”四个大字，还做了一首《卓歇歌》写在引首。\n解放后藏故宫博物院。\n胡瓌，五代后唐画家。\n山后契丹乌索固部落人。\n随李克用（856—98）入中原，居范阳（今河北涿州）。\n善画契丹人马．写北方游牧民族生活，举凡帐篷毡幕、旗帜、弓箭以及人马装饰等，曲尽塞外景色。\n笔调清劲爽利，构图繁富细巧。\n传世作品有《卓歇图》、《蕃马图》等。",[23,25,26,53,54,241,109,125,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ea4336c19ab1c123b73479d19a84a80.jpg",[],{"id":1761,"slug":1762,"title":1763,"dynasty":88,"author":228,"museum":150,"description":1005,"tags":1764,"thumbUrl":1765,"material":489,"size":490,"collection":113,"collections":1766,"showCount":1767,"zanCount":11,"manualWeight":41,"mainColor":42},287583,"song-gao-zong-hou-zuo-xiang-yi-ming-287583","宋高宗后坐像",[24,26,54,25,7,31,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29a247cbff4a0db4ecc41e44d39e1330.jpg",[],42,{"id":1769,"slug":1770,"title":1771,"dynasty":88,"author":228,"museum":150,"description":1772,"tags":1773,"thumbUrl":1774,"material":113,"size":113,"collection":113,"collections":1775,"showCount":1767,"zanCount":11,"manualWeight":41,"mainColor":42},227348,"song-zhe-zong-zuo-xiang-yi-ming-227348","宋哲宗坐像","赵佶，即宋徽宗宋神宗赵顼第十一子、宋哲宗赵煦之弟，宋朝第八位皇帝（在位25年，在太上皇位1年零2个月）。元符三年（1100年）正月，宋哲宗病逝，向太后立赵佶为帝。1101年，改年号为“建中靖国”。宋徽宗启用新法，在位初期颇有明君之气，后经蔡京等大臣诱导，政治形势一落千丈，后金国兵临城下，受李纲之言，匆匆禅让给太子赵桓，靖康之变后与长子钦宗赵桓被金人俘虏北去。金天会十三年（1135年），宋徽宗赵佶驾崩于五国城，时年54岁。绍兴十二年（1142年）三月，徽宗棺椁被迎回南宋，葬于都城绍兴永祐陵（今浙江省绍兴市柯桥区东南35里处）。宋徽宗在位时信任蔡京、童贯、王黼等奸臣，败坏朝纲，使得北宋滑向灭亡的深渊。宋徽宗在政治上历来被视为荒淫昏聩皇帝的典型。但是他是我国古代帝王中富有艺术气质而且才华横溢的皇帝，他涉猎广泛，琴棋书画，诗词歌赋无一不精，书画方面的造诣更是精妙绝伦，独树一帜。宋徽宗赵佶绘画风格师承前朝名家之精髓，又能够将自身的艺术修养发挥到淋漓尽致，引导着宋画坛之风形成了富丽却不俗套、严谨却不失灵性的“宣和体”。并赋予了北宋院体画以更深的含义——即政教作用。",[24,52,26,25,54,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc705d9a43aac8feb6f12c247fcca4a73.jpg",[],{"id":1777,"slug":1778,"title":1779,"dynasty":195,"author":1780,"museum":106,"description":1781,"tags":1782,"thumbUrl":1783,"material":113,"size":113,"collection":113,"collections":1784,"showCount":1785,"zanCount":11,"manualWeight":41,"mainColor":63},234208,"yin-zhong-ba-xian-tu-juan-li-shi-da-234208","饮中八仙图卷","李士达","李士达的生活年代大约是十六世纪中叶到十七世纪初。在万历二年（公元1574年）考中进士，泰昌元年（公元1620年）还画过一幅《关山风雨图》，活了八十多岁。\n[明]号仰槐，一作仰怀，陕西省三原县人。万历元年（一五七三）癸酉乡试中举 [1] ，入雁塔题名碑，万历二年（一五七四） [2] 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[1] 。团扇起源于中国。扇子最早出现在商代，用五光十色的野鸡毛制成，称之为“障扇”。\n当时，扇子不是用来扇风取凉，而是作为帝王外出巡视时遮阳挡风避沙之用。西汉以后，扇子开始用来取凉。三国时诸葛亮轻摇鹅毛扇，妙计横生，运筹帷幄。羽扇出风缓软，不入腠理。东汉时，大都改羽扇为丝、绢、绫罗之类织品，以便点缀绣画。一轮明月形的扇子称之为“纨扇”或“团扇”，也叫“合欢扇”。当时扇子有长圆、葵花、梅花、六角、匾圆之形；亦有木、竹、骨等材之柄；还有扇坠、流苏、玉器之饰。\n宋以前称扇子，都指团扇。王昌龄《长信愁》诗：“奉帚平明秋殿开，且将团扇共徘徊”。《杖扇新录》载：近世通用素绢，两面绷之，或泥金、瓷青、湖色，有月圆、腰圆、六角诸式，皆倩名人书画，柄用梅烙、湘妃、棕竹，亦有洋漆、象牙之类。名为“团扇”。圆形或近似圆形扇面，扇柄不长。现在的团扇扇柄较长，越来越符合大众审美。",[23,52,24,73,604,26,54,25,27,77,7,31,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3a0f76cfffbd1d013df65fbdf7e9d6f.jpg",[],{"id":1967,"slug":1968,"title":1969,"dynasty":68,"author":423,"museum":647,"description":1970,"tags":1971,"thumbUrl":1976,"material":269,"size":1977,"collection":36,"collections":1978,"showCount":1948,"zanCount":41,"manualWeight":41,"mainColor":63},219417,"cai-zhi-tu-zhou-ren-xun-219417","采芝图轴","此轴纸本设色画一人物幅巾广袖拄杖而行，手提装满灵芝的竹篮，相貌奇古。右下书题“朵峰仁兄大人属即教正 永兴弟任薰舜琴写”，钤“任薰”白文方印。",[24,74,26,25,54,1972,380,1281,1557,1973,1974,925,1975,7],"芝","拐杖","柳叶","苔藓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F660fdaf34b7e404657c4f40b3ede7755.jpg","纵137.5厘米，横39.5厘米",[36],{"id":1980,"slug":1981,"title":1982,"dynasty":68,"author":1575,"museum":265,"description":1983,"tags":1984,"thumbUrl":1985,"material":58,"size":1579,"collection":113,"collections":1986,"showCount":1948,"zanCount":41,"manualWeight":41,"mainColor":63},218351,"shi-nv-tu-ce-4-li-ting-xun-218351","仕女图册-4","本卷描绘了四位美女，其风格与蔡奇和费丹旭相似。李廷勋，被称为 秦贤 和 花痴，是一位罕见的艺术家，或者说是广东人。",[52,24,73,679,25,26,54,27,7,125,595,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1081e21d3c249e083f177f2d4add8157.jpg",[],{"id":1988,"slug":1989,"title":1990,"dynasty":68,"author":228,"museum":150,"description":1991,"tags":1992,"thumbUrl":1994,"material":58,"size":1995,"collection":36,"collections":1996,"showCount":1948,"zanCount":41,"manualWeight":41,"mainColor":42},218289,"xuan-zong-lin-jing-tu-yi-ming-218289","玄宗临镜图","绢色泛黄如浸旧时光，朱红栏杆圈定宫室一角，竹影斜映窗棂，案上瓶花静立。玄宗红衣临镜，眉宇间似凝沉思，侍从持物侍立，姿态恭谨；侧室仕女闲坐，衣袂轻扬，添几分柔婉。旁题“韩休为相”语，暗牵盛唐典故——玄宗因韩休直言自省，临镜之态恰与纳谏之心呼应。\n\n画作以细腻笔触摹写人物神态，场景疏密得宜，于日常起居间藏史事隐意。既见宫廷生活的雍容，亦含对为政自省的隐括，方寸绢素间，绘就一段被时光凝定的盛唐记忆，笔端流转的不仅是形色，更是史韵与哲思的交融。",[24,73,25,26,292,54,199,1993,7,333],"竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70abb2788b3569eccbc73c8780a21f36.jpg","30x31",[36],{"id":1998,"slug":1999,"title":2000,"dynasty":68,"author":228,"museum":150,"description":2001,"tags":2002,"thumbUrl":2003,"material":58,"size":113,"collection":36,"collections":2004,"showCount":1948,"zanCount":41,"manualWeight":41,"mainColor":42},216116,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-yi-ming-216116","职贡图巨幅彩绘册页第2册","画面绘两位人物，衣饰各具地域风貌。左侧人物着蓝紫条纹长袍，衣襟微敞露橘色内衬，腰间垂黄绒饰带，神态温婉；右侧人物头戴红顶软帽，身披绿纹长褂，内搭红衣，双手拢于袖中，面容憨厚。人物线条流畅细腻，衣料纹理清晰可触，设色古朴雅致，尽显织物质感与人物情态。旁附文字注解，似载族群风俗。整幅作品生动还原清代边疆或外域族群的服饰与神态，既是笔墨精妙的艺术佳作，亦是研究当时民族交流、文化风貌的珍贵图像凭证，尽显职贡图类作品的历史厚重与艺术灵光。",[23,24,73,679,26,25,54,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1896e597091b8c11ab1ab56e5e2dcb9a.jpg",[36],{"id":2006,"slug":2007,"title":2008,"dynasty":68,"author":228,"museum":150,"description":2009,"tags":2010,"thumbUrl":2012,"material":58,"size":2013,"collection":36,"collections":2014,"showCount":1948,"zanCount":41,"manualWeight":41,"mainColor":63},215915,"qing-ren-xiao-xiang-tu-ce-yi-ming-215915","清人肖像图册","绢本泛黄的底色里，端坐的身影裹着靛蓝长袍，红顶小帽衬得面容温润沉静。案几上器物默然伫立，似凝住一室清寂时光。左侧圆窗裁取山石花木之景，墨色浅淡间晕染出中式居停的雅致意趣。衣纹线条简洁却见功底，面部晕染细腻，将人物温婉神态悄然托出。整幅画无繁复铺陈，却以简淡笔触勾勒出清代人家的日常片段——那份浸润在时光里的从容娴静，仿佛能透过画面漫溢开来，引人沉浸于岁月沉淀的悠然。",[24,26,54,25,679,7,77,78,2011],"菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F283674bde9cfd07398bfe9ae23ea3a59.jpg","44x40",[36],{"id":2016,"slug":2017,"title":2018,"dynasty":68,"author":228,"museum":150,"description":2019,"tags":2020,"thumbUrl":2022,"material":269,"size":113,"collection":113,"collections":2023,"showCount":1948,"zanCount":11,"manualWeight":41,"mainColor":63},215868,"qing-dai-gong-ting-ren-wu-hua-ce-1-yi-ming-215868","清代宫廷人物画册-1","端坐的身影裹着一身流光溢彩的华服，蓝紫底色上，龙纹与祥云交织成流动的星河，青绿点缀其间，似将春日生机锁进衣袂。朱红椅幔垂落，衬得人物眉眼沉静，唇边淡笑藏着宫廷深处的威仪与从容。脚踏青绿如苔痕，椅脚线条简洁却不失庄重，每一处纹饰都低语着旧时规矩与精致。泛黄纸页晕开时光痕迹，而画中锦绣、那份气度仍鲜活如昨，仿佛伸手便能触到当年宫廷里的暖光与静穆。这不仅是一幅肖像，更是一段凝固的旧梦，在色彩与线条间，窥见清代宫廷的庄重与华美。",[24,52,628,25,26,54,2021,7],"宫廷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa04af866bb80c765e6868aec967aa5a9.jpg",[],{"id":2025,"slug":2026,"title":2027,"dynasty":68,"author":228,"museum":150,"description":2028,"tags":2029,"thumbUrl":2032,"material":489,"size":490,"collection":113,"collections":2033,"showCount":2034,"zanCount":41,"manualWeight":41,"mainColor":2035},264380,"xue-hui-se-chou-xiu-gui-hua-wen-chang-yi-liao-yi-ming-264380","雪灰色绸绣桂花纹氅衣料","绸缎，泛指丝织物。古时多是有钱人家作为衣物，其颜色光滑亮丽，五彩缤纷。《儿女英雄传》第二回：“大凡到工的官儿们送礼，谁不是缂绣、呢羽、绸缎、皮张，还有玉玩、金器、朝珠、洋表的？” 老舍《四世同堂》四九：“他看不起绸缎的衣服，与文雅的态度，可又有点自惭形秽。”",[7,32,1129,2030,2031],"桂花纹","氅衣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F276292c253ec7ea6220c5069fabb2eb3.jpg",[],36,"9C27B0",{"id":2037,"slug":2038,"title":277,"dynasty":68,"author":2039,"museum":150,"description":2040,"tags":2041,"thumbUrl":2042,"material":113,"size":113,"collection":113,"collections":2043,"showCount":2034,"zanCount":41,"manualWeight":41,"mainColor":42},229004,"ma-gu-xian-shou-tu-huang-shan-shou-229004","黄山寿","画面里仕女温婉端柔，手捧仙瓶静立，衣纹舒展灵动，衣饰纹饰细密雅致，尽显秀润华美感。身旁老者苍颜皓首，拄蟠桃树杖，神态矍铄安然。此作用笔工写相融，线条清劲流畅，设色调和古雅，将二人仙逸气质烘托恰到好处。整体画面祥和悠然，把福寿吉庆的美好意蕴藏于笔墨之间，尽显传统吉祥题材画作的精妙意趣，以细腻的人物塑造传递出雅致祥瑞的贺寿主题，尽显古典人物画的匠心之美。",[24,73,74,26,25,54,27,77,7,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57f630caf622323c7378dd7917517fa5.jpg",[],{"id":2045,"slug":2046,"title":2047,"dynasty":251,"author":228,"museum":150,"description":2048,"tags":2049,"thumbUrl":2050,"material":489,"size":490,"collection":113,"collections":2051,"showCount":2034,"zanCount":11,"manualWeight":41,"mainColor":42},228201,"bi-hua-tu-ye-yi-ming-228201","壁画图页","壁画，墙壁上的艺术，即人们直接画在墙面上的画。作为建筑物的附属部分，壁画的装饰和美化功能使它成为环境艺术的一个重要方面。壁画为人类历史上最早的绘画形式之一。\n早在汉朝就有在墙壁上作画的记载，多是在石窟、墓室或是寺观的墙壁，到了现在结合了现代工艺和文化气息，墙壁作画越来越多元、个性地发展，更多地被人们在装修时应用。",[23,570,24,73,26,25,54,27,380,184,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7378d93b9a62ea1e98536887833518d0.jpg",[],{"id":2053,"slug":2054,"title":2055,"dynasty":18,"author":228,"museum":1321,"description":1322,"tags":2056,"thumbUrl":2058,"material":489,"size":490,"collection":113,"collections":2059,"showCount":2034,"zanCount":11,"manualWeight":41,"mainColor":418},226208,"ku-zhu-shi-dong-bi-yi-ming-226208","窟主室东壁",[570,527,26,25,54,199,7,2057,988,1643,1232],"唐代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ca7ce3df90bf739387683632798ad93.jpg",[],{"id":2061,"slug":2062,"title":2063,"dynasty":195,"author":228,"museum":265,"description":2064,"tags":2065,"thumbUrl":2067,"material":58,"size":113,"collection":36,"collections":2068,"showCount":2034,"zanCount":11,"manualWeight":41,"mainColor":42},219571,"tang-gao-shi-lu-lu-wang-xiang-yi-ming-219571","唐高士陆鲁望像","长髯垂胸，面容沉静端方，眉眼敛着淡然神色，尽显林下高士的清雅从容。服饰层次分明，苔青色外袍晕染出沉稳古雅的质感，玄色缘边勾勒出规整形制，系带细节写实雅致，衬出人物简淡出尘的气度。\n\n画作设色古厚沉静，绢本底色晕染出岁月沉淀的温润质感，线条凝练含蓄，形神兼备地呈现出人物温雅疏旷的气质，尽显传统肖像画的写实功力，带着古雅端严的审美意趣，将这位高士超然世俗的风骨缓缓铺陈开来。",[23,24,73,54,74,25,26,7,2066],"高士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F558c5168241beb3eccf8710b5db2e2ac.jpg",[36],{"id":2070,"slug":2071,"title":2072,"dynasty":68,"author":228,"museum":49,"description":2073,"tags":2074,"thumbUrl":2076,"material":269,"size":113,"collection":36,"collections":2077,"showCount":2034,"zanCount":11,"manualWeight":41,"mainColor":63},217029,"li-dai-ming-ren-tu-xiang-ce-yi-ming-217029","历代名人图像册","《历代名人图像册》是清朝时期的一部著名图书。它记录了中国历史上许多著名人物的生平事迹和照片。这本书是由佚名编著的，出版于清朝末年。\n\n《历代名人图像册》共分为五卷，每卷都以一个主题为线索，按时间顺序记录了许多著名人物的生平事迹和照片。其中，第一卷记录了中国古代的著名人物，第二卷记录了中国近代的著名人物，第三卷记录了中国现代的著名人物，第四卷记录了世界各国的著名人物，第五卷记录了清朝时期的著名人物。\n\n《历代名人图像册》是一部非常有价值的参考书，对于了解中国历史和文化有着重要的意义。这本书在当时是非常受欢迎的，并且至今仍被广泛使用。",[24,26,679,54,2075,77,7,109],"蓑笠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32e42f4a5701f36ca6e9dd38e25d06d7.jpg",[36],{"id":2079,"slug":2080,"title":2081,"dynasty":68,"author":228,"museum":150,"description":2082,"tags":2083,"thumbUrl":2088,"material":489,"size":490,"collection":113,"collections":2089,"showCount":2090,"zanCount":41,"manualWeight":41,"mainColor":63},266475,"xue-qing-se-ke-si-ju-die-wen-hui-shu-pi-pi-pa-jin-ma-gua-yi-ming-266475","雪青色缂丝菊蝶纹灰鼠皮琵琶襟马褂","缂（kè，同：刻）丝（英文：K’o-ssu 、Kesi 或 Chinese silk tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[7,2084,2011,2085,32,2086,2087],"缂丝","蝶","马褂","灰鼠皮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe68a40534b10af494cd15ffe4a9dea12.jpg",[],35,{"id":2092,"slug":2093,"title":2094,"dynasty":68,"author":228,"museum":150,"description":2095,"tags":2096,"thumbUrl":2097,"material":113,"size":113,"collection":36,"collections":2098,"showCount":2090,"zanCount":41,"manualWeight":41,"mainColor":418},230310,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-san-a-ge-yin-zhi-yi-ming-230310","历代帝王贵妃大臣朝服像(三阿哥胤祉)","此帧坐像工稳端严，画中男子正襟危坐，神色沉敛肃穆，尽显贵胄威仪气度。石青朝服遍饰精繁彩绣团龙补纹，针脚细密灵动，衬出礼制华贵，领间朝珠莹润垂坠，细节考究合度。髹漆宝座雕纹磅礴大气，龙纹栩栩生动，搭配铺陈的地锦纹样，烘托出庄重肃穆的庙堂氛围。\n\n整体设色典雅厚重，晕染细腻写实，将官方肖像画纪实工致的特质尽显无疑，装裱配色沉稳古雅，晕开旧时光的沉静质感，精准描摹出人物身份礼制与肖像写实的精妙融合，是庙堂肖像画的典型佳作。",[23,24,26,25,54,7,330,74,628],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff830a08fd4c826073b69a616c453c1b.jpg",[36],{"id":2100,"slug":2101,"title":2102,"dynasty":88,"author":2103,"museum":49,"description":2104,"tags":2105,"thumbUrl":2106,"material":186,"size":2107,"collection":97,"collections":2108,"showCount":2090,"zanCount":41,"manualWeight":41,"mainColor":63},221258,"dao-yi-juan-mou-yi-221258","捣衣卷","牟益","牟益（1178-？），四川人。活動於理宗、度宗兩朝，工畫人物，兼善古文與篆書。 〈擣衣圖〉作於1240年，創作原型取自南朝詩人謝惠連（397-433）〈擣衣詩〉。純以白描輕墨，畫婦女卅二人，在將寒時節，循序進行搗練、剪裁、製衣、裝箱、封寄的過程。畫中諸女皆面容圓潤，衣裙寬大，猶保有唐人餘韻。人物儀態，舉止優雅，惟在眉宇間多有愁思之意，傳透出對良人從軍未歸的掛念情愫。足稱是南宋繪畫中，描寫夫妻兩地相思，最含蓄、也最成功的作品。",[52,24,73,53,183,54,7,109,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa52f0b5c8e369f08c112946b110d3131.jpg","纵27.1厘米，横266.4厘米",[97,36,38],{"id":2110,"slug":2111,"title":2112,"dynasty":68,"author":2113,"museum":150,"description":2114,"tags":2115,"thumbUrl":2116,"material":269,"size":2117,"collection":36,"collections":2118,"showCount":2090,"zanCount":41,"manualWeight":41,"mainColor":63},219176,"ma-gu-xian-xiang-tu-huang-shen-219176","麻姑仙像图","黄慎","画面中麻姑面容温婉，眉宇间透着仙逸之气。宽袍大袖随风轻扬，赤足踏地，姿态闲适自在。肩扛阔大芭蕉叶，叶间点缀红蕊，生机暗涌；叶下枝茎修长，握于手中似有轻摇之态。腰间悬橙黄葫芦，系蓝绦，旁缀花草，野趣盎然。笔墨简括洒脱，线条灵动，衣纹用折芦描，流畅中见顿挫，尽显人物飘逸之姿。右侧题跋笔墨纵横，与人物形象相映成趣，融书法与绘画于一体，文人画意趣浓郁。整幅作品仙气与生活气息交织，既见仙家超脱，又含人间鲜活，是写意人物画中的精妙之作。",[23,24,73,1258,26,54,7,618,333,125,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F387ab015edbbb395537ee9821345d6c1.jpg","纵176厘米，横105.3厘米",[36],{"id":2120,"slug":2121,"title":2122,"dynasty":68,"author":135,"museum":647,"description":2123,"tags":2124,"thumbUrl":10,"material":113,"size":113,"collection":931,"collections":2126,"showCount":2090,"zanCount":11,"manualWeight":41,"mainColor":2127},203429,"ming-fei-chu-sai-tu-zhou-leng-mei-203429","明妃出塞图轴","画面以明妃出塞为核心，人物排布错落有致。昭君端坐白马之上，衣袂轻扬；侍女持团扇紧随，神情温婉；两侧随从或牵马缓行，或捧物侍立，动态鲜活。背景山峦绵延，枯树疏枝点缀其间，萧瑟的边塞景致与人物的离愁相呼应。画家以工笔细描人物衣纹，线条流畅婉转；设色雅致沉稳，既显华贵又不失苍凉。山水部分运用皴法，勾勒出山石肌理，增添了画面的厚重感。整体作品将叙事性与抒情性融合，在细腻的笔触中传递出历史故事的深沉意蕴。",[23,74,25,26,54,27,241,184,2125,200,7],"古道",[931],"8a6741",{"id":2129,"slug":2130,"title":1618,"dynasty":68,"author":1619,"museum":106,"description":1620,"tags":2131,"thumbUrl":2132,"material":113,"size":113,"collection":113,"collections":2133,"showCount":2134,"zanCount":41,"manualWeight":41,"mainColor":63},237114,"shi-nv-ce-cui-wei-237114",[24,73,679,25,26,54,27,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11fd8115051c0a82e8d6fd6c4f369c94.jpg",[],33,{"id":2136,"slug":2137,"title":2138,"dynasty":68,"author":843,"museum":106,"description":2139,"tags":2140,"thumbUrl":2143,"material":2144,"size":2145,"collection":113,"collections":2146,"showCount":2134,"zanCount":41,"manualWeight":41,"mainColor":63},233739,"xue-zhong-song-tan-tu-zhou-ren-yi-233739","雪中送炭图轴","任颐（1840—1895，或1896），原名润，字小楼；更名颐，字伯年，生于山阴（今浙江绍兴），卒于上海。其父鹤声（字淞云），是民间肖像画工。任颐天资聪颖，幼时随父学画肖像，在人物的传神写照和默写方面打下了扎实的基础；后又受任熊的影响，学宋人的双勾花鸟画和陈洪绶一路的人物画。他还到宁波随任薰学过画，后来，又离开宁波到苏州、上海，并寓居上海近30年，成为“海上画派”的代表。\n任颐的绘画题材全面，人物、花鸟、走兽、山水无所不精。他的人物画题材广泛，既有历史故事、神话故事、民间传说，也有直接反映现实生活的作品。他善于写实，能够捕捉人物瞬间的神情动态进行描绘，被誉为“曾波臣后第一手”。",[24,74,26,1257,1258,54,2141,2142,1557,7],"雪","炭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a8064378a94b762d15e9c365d0daf9.jpg","纸本 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　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[24,74,26,25,54,7,31,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff175e18f3b9ce2cab643e7ecf4a69d60.jpg",[],32,{"id":2187,"slug":2188,"title":2189,"dynasty":68,"author":843,"museum":106,"description":2190,"tags":2191,"thumbUrl":2192,"material":1446,"size":113,"collection":113,"collections":2193,"showCount":2185,"zanCount":41,"manualWeight":41,"mainColor":63},233726,"jiu-ri-deng-gao-tu-ping-ren-yi-233726","九日登高图屏","任颐（1840-1896），初名润，字小楼，后字伯年，浙江山阴（今绍兴）人。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，均是名声显赫的画家。任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。任伯年精于写像，是一位杰出的肖像画家。人物画早年师法萧云从、陈洪绶、费晓楼、任熊等人。工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任董，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意，更加简逸灵活。",[24,74,26,54,293,25,857,7,1973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea0e76bf5e8ac1625574fca1e12385ab.jpg",[],{"id":2195,"slug":2196,"title":2197,"dynasty":88,"author":228,"museum":49,"description":1808,"tags":2198,"thumbUrl":2199,"material":1811,"size":2200,"collection":113,"collections":2201,"showCount":2185,"zanCount":41,"manualWeight":41,"mainColor":42},223430,"song-ren-zong-hou-zuo-xiang-yi-ming-223430","宋仁宗后坐像",[23,52,24,25,26,54,330,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b487550e6d9f27df0d5a85f280c7691.jpg","172.1x 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丝描表现高古，成为中国传统人物画法的丰盛宝库。陈洪绶一生秉性孤傲倔强，吞恨而终。他是一位擅长人物、精工花鸟、兼能山水的绘画大师，与北方崔子忠齐名，号称“南陈北崔”。当代国际学者推为“代表十七世纪出现许多有彻底的个人独特风格艺术家之中的第一人”。",[23,52,24,73,74,26,25,183,54,27,77,7,500,2484,2434,109,125],"烛台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb41f69a47f37ac516a406b8b50194ed5.jpg","95×44厘米",[],{"id":2489,"slug":2490,"title":2491,"dynasty":195,"author":228,"museum":150,"description":2492,"tags":2493,"thumbUrl":2495,"material":489,"size":490,"collection":113,"collections":2496,"showCount":2477,"zanCount":11,"manualWeight":41,"mainColor":42},228407,"di-shi-tian-dong-quan-tu-yi-ming-228407","帝释天东全图","位于法海寺大殿内的壁画 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题：“孝诚恭肃正惠安 和淑懿恪敏俪天襄圣仁 皇后，左。” 孝诚仁皇后御容一 轴，朝服冠，恭 悬， 西大柜尊藏。",[24,73,74,25,26,54,330,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F467367c4c931b73109773bf077cb8a22.jpg","纵256.1厘米， 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“短褂” 或 “马墩子”，流行于清代及民国时期\n清代初期，马褂为一般士兵穿着，至康熙时期富贵之家也有穿者。雍正后，马褂已甚为流行 。并发展成单、夹、纱、皮、棉等服装，成为男式便衣，士庶都可穿着。之后更逐渐演变为一种礼仪性的服装，不论身份，都以马褂套在长袍之外，显得文雅大方 。民国年间曾被列为礼服之一。新中国成立后，马褂逐步被摈弃，后经改良又以“唐装”的名称重新回到人们的视野中 。",[7,32,2652,2653,2654,2655,2656,2086],"缎面","平金绣","蝙蝠","团寿纹","琵琶襟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1681d91b3bffd1613f03820c00162ff.jpg",[],{"id":2660,"slug":2661,"title":2662,"dynasty":68,"author":228,"museum":150,"description":2663,"tags":2664,"thumbUrl":2669,"material":489,"size":490,"collection":113,"collections":2670,"showCount":100,"zanCount":11,"manualWeight":41,"mainColor":63},264445,"lan-se-chou-xiu-ba-tuan-you-shui-ba-xian-si-he-ru-yi-wen-pao-liao-yi-ming-264445","蓝色绸绣八团有水八仙四合如意纹袍料","如意为木胎，其上采用八成金质累丝工艺。如意头的正面为累丝古钱纹，中心嵌绿松石“乙酉”二字，背面为镂空的古钱纹并露出木胎。柄的正面亦为累丝古钱纹，镶嵌绿松石“万年如意”四字，背面为累丝六角锦纹。如意的侧边以卷草纹为饰。",[32,7,1129,2665,2666,2667,2668],"四合如意纹","八仙纹","海水江崖纹","团花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76eda36cf8b1c4de082ba3248caccf60.jpg",[],{"id":2672,"slug":2673,"title":2674,"dynasty":68,"author":955,"museum":106,"description":2675,"tags":2676,"thumbUrl":2677,"material":2678,"size":113,"collection":113,"collections":2679,"showCount":100,"zanCount":11,"manualWeight":41,"mainColor":63},234331,"zhao-pen-ying-xi-tu-zhou-ding-guan-peng-234331","照盆婴戏图轴","丁观鹏(1736-1795),顺天(今北京市)人,精绘画,擅画释道、人物、山水,画风工细三传神。雍正四年(1726年)以画艺精湛入宫供奉,备受雍正、乾隆皇帝的赏识,作晶为清宫著录者达83件之多。",[24,74,25,26,54,1180,75,77,1545,32,109,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39d63170dd62ddc7588f241ea4ab57f3.jpg","纸本，设色",[],{"id":2681,"slug":2682,"title":2683,"dynasty":88,"author":228,"museum":150,"description":2684,"tags":2685,"thumbUrl":2686,"material":113,"size":113,"collection":113,"collections":2687,"showCount":100,"zanCount":11,"manualWeight":41,"mainColor":42},227339,"ren-zong-hou-zuo-xiang-yi-ming-227339","仁宗后坐像","宋宋仁宗后坐像 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按宋史，宋仁宗先后有两位皇后，一为郭皇后，一为慈圣光献曹皇后，闲郭皂后被废，故可以断定，此幅所绘应是曹皇后肖像",[52,24,25,26,54,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc09a26d5229c2e82fec2c77644de85c6.jpg",[],{"id":2689,"slug":2690,"title":589,"dynasty":88,"author":228,"museum":122,"description":2691,"tags":2692,"thumbUrl":2693,"material":111,"size":2694,"collection":113,"collections":2695,"showCount":100,"zanCount":41,"manualWeight":41,"mainColor":63},223377,"bei-qi-xiao-shu-tu-yi-ming-223377","《北齐校书图》所绘内容为天宝七年（556年）文宣帝高洋命樊逊等人校勘内府所藏图书的事件。旧传此卷为唐阎立本所作，现多将其归于北齐画家杨子华名下。\n图中三组人物。第一段共七人，其中胡服文士持书卷踞胡床（三国时传入中国的坐具，形制近似于今天使用的马扎），为此段中心；第二段共十人，四文士坐于榻上，婢女、小童伺立榻周，文士中二人校勘书卷，另二人似乎正因意见相左而有所争执；第三段为侍从和牵马的奚奴。\n画中的家具器用、人物服饰皆胡汉杂糅，符合北齐的实际情况。人物面庞呈椭圆形是此卷的鲜明特点，联系到近年来的考古发现，似乎与北齐时期的墓室壁画中人物有同样的特征，因此《北齐校书图》也屡屡为学界引用以论证北齐画风。尽管北齐是一个极短命的王朝，但是越来越多的考古发现证明，在这一时期，艺术呈现出极鲜明的面貌，并很可能影响到唐代的审美趣味。",[23,52,24,73,53,25,26,54,241,7,109,125,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5da306b34154b0d7c31d14521fdcc73.jpg","27.6*114CM",[],{"id":2697,"slug":2698,"title":2699,"dynasty":68,"author":1077,"museum":1078,"description":1079,"tags":2700,"thumbUrl":2701,"material":34,"size":1083,"collection":113,"collections":2702,"showCount":100,"zanCount":41,"manualWeight":41,"mainColor":63},222933,"hong-lou-meng-58-sun-wen-222933","红楼梦58",[23,24,73,25,26,54,154,1280,77,331,156,157,332,7,32,679],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a7fb05d8c632be2dfa4c21f8193d437.jpg",[],{"id":2704,"slug":2705,"title":2706,"dynasty":68,"author":228,"museum":150,"description":2707,"tags":2708,"thumbUrl":2709,"material":58,"size":113,"collection":113,"collections":2710,"showCount":100,"zanCount":41,"manualWeight":41,"mainColor":42},216682,"hong-lou-meng-fu-tu-ce-45-yi-ming-216682","红楼梦赋图册-45","画中铺展一方雅致闺阁，暖粉帷幔轻垂，雕花屏风半掩，将内室与外间悄然区隔。榻上二人或对坐清谈，或执物凝思，衣袂间流转着世家闺秀的娴静。阶下侍女环立，或捧器侍立，或低首敛眉，身姿窈窕间藏着恭谨与灵动。案上瓶花、几间茶具，皆以细笔勾勒，衬出屋宇的精巧与生活的精致。整幅画以柔婉设色晕染，人物情态鲜活，似将红楼梦中那些细腻的闺中日常凝于绢素之上，让观者仿佛能听见帐内的低语，触到空气中流转的温婉意绪。",[23,24,26,25,679,54,27,7,77,306,154,1936,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7714f56ea205bd42ee647bc6464918e5.jpg",[],{"id":2712,"slug":2713,"title":2714,"dynasty":68,"author":228,"museum":150,"description":2715,"tags":2716,"thumbUrl":2718,"material":58,"size":113,"collection":36,"collections":2719,"showCount":100,"zanCount":41,"manualWeight":41,"mainColor":63},216159,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-1-ce-yi-ming-216159","职贡图巨幅彩绘册页第1册","画面分左右两帧，各绘异域人物。左者蓝巾覆首，橙红罩衫叠翠纹裙，朱红裙摆曳地，足踏浅履，姿态娴雅；右者冠饰尖耸，橙衣绿带，锦纹战裙配蓝裤红履，双手交握腹前，神情肃穆。笔触细腻勾勒服饰纹理，设色明丽和谐，写实中含装饰意趣。人物形象鲜活，既展边地民族独特风貌，亦载清代对域外文化的记录认知，为研究当时民族交流与服饰史，提供生动视觉佐证。",[23,24,73,679,26,54,25,7,2717],"彩绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22ac88c6add9403acec5455e5581b8c8.jpg",[36],{"id":2721,"slug":2722,"title":2723,"dynasty":68,"author":228,"museum":150,"description":1127,"tags":2724,"thumbUrl":2726,"material":489,"size":490,"collection":113,"collections":2727,"showCount":2728,"zanCount":41,"manualWeight":41,"mainColor":63},266434,"yue-bai-se-ke-si-shui-mo-mei-hua-wen-hui-shu-pi-chen-yi-yi-ming-266434","月白色缂丝水墨梅花纹灰鼠皮衬衣",[7,32,2084,2725,2087],"梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ec52382bfb10cb4df85e589ca6c6487.jpg",[],22,{"id":2730,"slug":2731,"title":2732,"dynasty":68,"author":955,"museum":150,"description":2733,"tags":2734,"thumbUrl":2735,"material":489,"size":490,"collection":113,"collections":2736,"showCount":2728,"zanCount":11,"manualWeight":41,"mainColor":63},239356,"fu-mu-tu-juan-ding-guan-peng-239356","佛母图卷","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》。",[24,53,26,25,527,54,200,55,109,7,31,204],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb242f76bc753a276143e3750ffe2503f.jpg",[],{"id":2738,"slug":2739,"title":2740,"dynasty":68,"author":228,"museum":150,"description":2741,"tags":2742,"thumbUrl":2743,"material":489,"size":490,"collection":113,"collections":2744,"showCount":2728,"zanCount":41,"manualWeight":41,"mainColor":63},234404,"xiao-quan-cheng-huang-hou-yu-you-nv-xiang-zhou-yi-ming-234404","孝全成皇后与幼女像轴","此作设色雅致柔和，工笔描摹细腻入微。女主人宝蓝旗装遍缀碎花，领衣绣纹层叠精巧，珠花点翠头饰配碧玉耳坠，倚桌而立，温婉端静尽显闺仪气度。桌案鲜果清供，器物勾勒写实逼真。身侧幼女粉衫绿裤，攀着青瓷绣墩探头张望，稚憨灵动，与女主人的沉静娴雅相映成趣，揉合了宫廷肖像的肃穆工整与日常温情，将深宫内院难得的天伦之景定格，是兼具纪实性与审美意趣的晚清肖像佳作。",[24,74,628,25,26,54,1835,1045,7,31,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14e44910949eb8fe56e6a1bfd3de0902.jpg",[],{"id":2746,"slug":2747,"title":2748,"dynasty":68,"author":135,"museum":150,"description":2749,"tags":2750,"thumbUrl":2751,"material":113,"size":113,"collection":113,"collections":2752,"showCount":2728,"zanCount":41,"manualWeight":41,"mainColor":42},230872,"tan-mei-tu-leng-mei-230872","探梅图","此作以冬日寻梅铺陈景致，主仕女身着宝蓝团花长袄，容色温婉端凝，侍童撑伞随侍身侧，另有侍女捧炉趋前，暗递融融暖意。寒梅虬枝缀满繁花，淡赭远山衬着素朴亭台，苍劲皴石古拙静立，设色雅致沉稳，勾勒细腻写实。将深闺仕女探春寻幽的闲情逸趣，融于萧寒冬景，冷暖色调交织，既绘就隆冬清寂况味，又晕染出闺中雅游的温婉意韵，写实工细间尽显雅致情致，把仕女矜贵闲适的情态，与冬日园林的清寒雅致完美糅合，静穆中暗藏鲜活的闺中闲趣。",[23,24,26,25,54,27,1045,369,184,293,199,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaafd8ade9438d3959f176e539370fad.jpg",[],{"id":2754,"slug":2755,"title":2756,"dynasty":88,"author":228,"museum":106,"description":2757,"tags":2758,"thumbUrl":2760,"material":111,"size":2761,"collection":113,"collections":2762,"showCount":2728,"zanCount":41,"manualWeight":41,"mainColor":42},223404,"da-nuo-tu-zhou-yi-ming-223404","大傩图轴","此画面上共画有十二个人。他们都穿着奇异的服装，戴着各式的帽子和插着花枝。帽子的式样毫不重复，除了斗笠、巾和冠之外，有的是戴着粗角的兽头，有的是农家场院器具斗、箩、箕之属。他们的手中或身上携拿着鼓、铃、檀板等乐器，或为扇、篓、帚等用具，或为花枝、瓜之属。所有人的面部都化了妆，可能戴的是假面具。十二个人团团围住，手舞足蹈，充满着欢乐的气氛。旧题《大傩图》。\n描写民间风俗习惯的绘画，宋代特别发展，《大傩图》轴即是一幅风俗画。傩(音挪)，是一种古老的驱除疠疫的民间习俗。《论语》中就有“乡人傩”的记载。《后汉书》记载：“先腊一日，大傩，选中黄门子弟，十岁以上十二岁以下百二十人为侲子。”唐代《乐府杂录》中描写说：“用四方相，戴冠及面具，黄金为四目，衣熊裘，持戈扬盾，口作傩傩之声，似除也。侲子五百，小儿为之，朱褶青襦，戴面具，晦日于紫宸殿前傩，张宫悬乐。”这些描述与画上的情况基本相似。当然到了宋代，傩时的具体情形和细节，又会有许多的发展变化。从画面情形来看，其中增加了许多农具，可见这种古老的习俗，到了宋代除了驱除邪祟之外，还有祈求丰收的意味，同时也是一种民间娱乐活动。所以此幅画，从艺术到内容，都值得珍视。",[23,24,73,74,26,54,25,2759,55,7],"傩戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08e5418070175d68d1c99232bd7e3c3c.jpg","67.4x59.2",[],{"id":2764,"slug":2765,"title":2766,"dynasty":68,"author":1077,"museum":1078,"description":1079,"tags":2767,"thumbUrl":2768,"material":34,"size":1083,"collection":113,"collections":2769,"showCount":2728,"zanCount":41,"manualWeight":41,"mainColor":63},222897,"hong-lou-meng-22-sun-wen-222897","红楼梦22",[23,24,25,26,54,27,294,796,56,7,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef217ec87d521d082d3099f352f8cf8e.jpg",[],{"id":2771,"slug":2772,"title":2773,"dynasty":68,"author":135,"museum":106,"description":2774,"tags":2775,"thumbUrl":2776,"material":111,"size":2777,"collection":113,"collections":2778,"showCount":2728,"zanCount":41,"manualWeight":41,"mainColor":42},222869,"shi-gong-ci-tu-ce-08-leng-mei-222869","十宫词图册08","此套图册共10开，描绘历代贤德后妃或贵族女子的故事，和《养正图》册具有同样鲜明的教育意义。对题有梁诗正书写的弘历承继帝位前于雍正十三年（1735年）所作的诗句，与图画互为辉映。\n由于图册以历代宫廷生活为题，故每幅画面均有对宫廷建筑的描绘，但因为作者只是宫廷画工，并不具备对前代建筑的了解与认知，同时历史人物画“成教化，助人伦”的政治功用也淡化了这些作为人物故事背景的历代宫廷建筑，使其更多地带有装饰性与程式化色彩，并没有呈现出不同时代的建筑风貌。值得注意的是，册中建筑的描绘均采用“海西画法”，冷枚作品中体现的这种画风特性，是在中国传统界画的基础上运用透视法增强画面的空间深度感并以明暗关系区分阴阳向背，说明曾为康熙皇帝所赏识的“海西法”在雍正、乾隆朝的宫廷建筑绘画中已被日渐欣赏和接受。",[23,24,73,679,26,25,292,595,125,54,199,295,200,56,7,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7348f8fa73a5adb30a79c2bd01d24a6d.jpg","纵33.1厘米，横29.3厘米",[],{"id":2780,"slug":2781,"title":2782,"dynasty":195,"author":2783,"museum":647,"description":2784,"tags":2785,"thumbUrl":2786,"material":113,"size":113,"collection":113,"collections":2787,"showCount":2728,"zanCount":11,"manualWeight":41,"mainColor":63},222514,"shen-xian-tu-ce-3-zhang-lu-222514","神仙图册3","张路","张路（1464—1538 ，一作1464—1537）明代画家。字天驰，号平山，汴梁（今河南省开封）人，明代画家。绘人物，师法吴伟，山水学戴进“狂态”，用笔豪放纵逸，水墨酣畅淋漓，与朱端、蒋嵩、汪肇等同为“浙派”名家 。亦工鸟兽、花卉。\n早年画学戴进，临摹能肖其神，画法工细。至南京后，又宗法吴伟，变为粗笔写意。他善画人物，多绘神仙、士子、渔夫，形象质朴，神态清朗，具高昂向上的气质。景致简略，笔墨遒劲，风格豪放，然少秀逸和蕴藉之致；为浙派健将，亦开后来学者粗率之风。他具有典型风貌的水墨写意作品较多，人物多用顿折的重墨线条勾勒，山石以粗犷的笔触作大斧劈皴，运笔迅捷，水墨淋漓，具有豪放动荡的气势。亦能画写意花鸟。",[23,24,73,679,1257,26,183,54,796,527,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F550e7d0b37b6943a07ff6d20c23d1aa2.jpg",[],{"id":2789,"slug":2790,"title":2791,"dynasty":68,"author":1267,"museum":647,"description":1268,"tags":2792,"thumbUrl":1270,"material":26,"size":113,"collection":36,"collections":2793,"showCount":2728,"zanCount":41,"manualWeight":41,"mainColor":63},219752,"xie-liu-ru-shi-fu-zhong-xiao-xiang-zhou-gu-shao-219752","写柳如是幅中小象轴",[24,73,74,26,54,27,25,7,1257],[36],{"id":2795,"slug":2796,"title":2797,"dynasty":68,"author":228,"museum":432,"description":2798,"tags":2799,"thumbUrl":2800,"material":58,"size":113,"collection":36,"collections":2801,"showCount":2728,"zanCount":41,"manualWeight":41,"mainColor":42},219586,"fang-dong-dan-wang-chu-xing-tu-yi-ming-219586","仿东丹王出行图","画中主人头戴华冠，长髯垂胸，端坐奔马之上，神态雍容沉稳，自带华贵从容的世家气度。黑马雄健剽悍，四蹄奔腾却行姿稳健，鬃尾随风飘逸，鞍鞯纹饰精细繁复，朱红配鎏金纹样，极尽富丽雅致。\n整作工笔精细，设色古雅厚重，线条劲挺流畅。将人物的贵胄威仪与骏马的矫健灵动融为一体，虽为仿作却神完意足，精准复刻旧制鞍马人物画的典雅大气，尽显传统鞍马人物画的精妙笔法与古典审美意趣，仿佛可窥见昔日出巡仪仗的恢宏一角。",[24,73,26,54,241,109,7,93,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f77e3d06cf05b85aabf7a4566622f56.jpg",[36],{"id":2803,"slug":2804,"title":2805,"dynasty":88,"author":2806,"museum":150,"description":2807,"tags":2808,"thumbUrl":2809,"material":660,"size":113,"collection":113,"collections":2810,"showCount":2728,"zanCount":11,"manualWeight":41,"mainColor":63},218101,"bai-miao-ren-wu-tu-ce-8-li-gong-lin-218101","白描人物图册-8","李公麟","李公麟的生平信息相对较少，但是他在宋朝的政治、文化和经济发展中发挥了重要作用。他曾任国子监太傅，是宋朝的最高学府。他还是一位著名的诗人，他的诗歌风格优美流畅，富有哲理性。\n\n李公麟还是一位杰出的政治家。他在宋朝的统治过程中，提出了许多有益的政策建议。他倡导改革，推动了宋朝经济的发展。他还是一位慈善家，常常为穷人提供帮助。\n\n总的来说，李公麟是宋朝时期一位著名的人物，他在政治、文化和经济发展中发挥了重要作用。他的诗歌风格优美流畅，富有哲理性，是宋朝的著名诗人。他还是一位杰出的政治家，在宋朝的统治过程中，提出了许多有益的政策建议。他还是一位慈善家，常常为穷人提供帮助。",[23,52,24,73,679,183,54,2153,333,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4af935af38c9b2bdd095c82793f25822.jpg",[],{"id":2812,"slug":2813,"title":2814,"dynasty":195,"author":196,"museum":150,"description":1934,"tags":2815,"thumbUrl":2816,"material":58,"size":113,"collection":113,"collections":2817,"showCount":2728,"zanCount":41,"manualWeight":41,"mainColor":42},216282,"er-shi-si-xiao-tu-12-chou-ying-216282","二十四孝图-12",[24,73,25,26,54,1993,2628,153,617,7,333],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa67e11eccdac8138ab59c198a4c00546.jpg",[],{"id":2819,"slug":2820,"title":2821,"dynasty":195,"author":196,"museum":150,"description":1934,"tags":2822,"thumbUrl":2823,"material":58,"size":113,"collection":113,"collections":2824,"showCount":2728,"zanCount":41,"manualWeight":41,"mainColor":42},216271,"er-shi-si-xiao-tu-21-chou-ying-216271","二十四孝图-21",[25,26,54,292,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2efbab3d106dbbfca29319b81967bfda.jpg",[],{"id":2826,"slug":2827,"title":2828,"dynasty":88,"author":228,"museum":150,"description":2829,"tags":2830,"thumbUrl":2832,"material":489,"size":490,"collection":113,"collections":2833,"showCount":2834,"zanCount":41,"manualWeight":41,"mainColor":42},287720,"song-di-hou-quan-shen-xiang-song-ren-zong-hou-yi-ming-287720","宋帝后全身像-宋仁宗后","画面中心的皇后凤冠巍峨，珠翠攒簇尽显皇家贵气，石青朝服遍饰团纹华彩，朱红镶边衬得仪态端严雍容。两侧侍女低眉恭立，素净襦裙配朱绦，执器躬身，衬出帝后威仪。\n\n此作用色古雅沉静，矿物石色经岁仍鲜亮匀净，线条清劲凝练，衣褶流转间尽显宋人写实功力。凤冠珠饰、衣纹织绣肌理均精细入微，恪守院体肖像的工整法度。整幅作品肃穆庄重，将北宋宫廷礼制下的仪范与雅致审美凝于绢素，是宋代肖像画写实彰礼的典型之作。",[24,26,25,54,2831,1035,2021,7],"后妃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcacf4ba4c7a6dba02d712a7b4973918e.jpg",[],21,{"id":2836,"slug":2837,"title":1167,"dynasty":68,"author":843,"museum":150,"description":2181,"tags":2838,"thumbUrl":2839,"material":186,"size":113,"collection":113,"collections":2840,"showCount":2834,"zanCount":41,"manualWeight":41,"mainColor":63},223224,"ren-wu-tu-ren-yi-223224",[23,24,73,74,26,25,1258,54,28,241,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17c3e45ff9f24ce1bd3ad16f2db5cf27.jpg",[],{"id":2842,"slug":2843,"title":2844,"dynasty":68,"author":1077,"museum":1078,"description":1079,"tags":2845,"thumbUrl":2853,"material":34,"size":1083,"collection":113,"collections":2854,"showCount":2834,"zanCount":41,"manualWeight":41,"mainColor":42},223049,"hong-lou-meng-174-sun-wen-223049","红楼梦174",[23,24,73,25,26,54,199,295,200,333,2436,7,168,1825,2846,1642,306,2847,2848,2587,2849,2582,2850,2851,2852],"花木","植物景观","人物活动","中式庭院","建筑细节","器物陈列","花木点缀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88fad2c2f3af8a63a17937234540e5be.jpg",[],{"id":2856,"slug":2857,"title":2858,"dynasty":68,"author":1077,"museum":1078,"description":1079,"tags":2859,"thumbUrl":2871,"material":34,"size":1083,"collection":113,"collections":2872,"showCount":2834,"zanCount":11,"manualWeight":41,"mainColor":42},222992,"hong-lou-meng-117-sun-wen-222992","红楼梦117",[23,25,26,1601,54,1547,617,154,723,2436,7,2860,2861,2862,2863,2864,2865,2866,2867,333,2868,2869,2870]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东汉末年，中原战乱，被董卓的部将所虏，在南匈奴居住了12年。在万般无奈的情况下当了匈奴左贤王的妻子，生了2个儿子。曹操与蔡邕友善且情意相投，惜文姬的才华，故造使以金壁赎回，接到中原。 文姬于公元208年4月4日（汉建安十三年三月初一日）重返家园，后再嫁屯田都尉董祀。奉命补蔡邕的散佚典籍，忆写400多篇，文无遗漏。有五言及骚体《悲愤诗》各一首传世，倾吐乱离之苦及归汉时母子别情，哀怨激愤，是东汉末年战乱生活的真实写照。 相传琴曲歌辞《胡茄十八拍》是她的杰作。",[24,26,25,54,241,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F879e28d07b405ac407546f0f98bfe9bb.jpg","26.4X24.2cm",[],{"id":3034,"slug":3035,"title":3036,"dynasty":68,"author":1077,"museum":1078,"description":1079,"tags":3037,"thumbUrl":3038,"material":34,"size":1083,"collection":113,"collections":3039,"showCount":2948,"zanCount":41,"manualWeight":41,"mainColor":42},222936,"hong-lou-meng-61-sun-wen-222936","红楼梦61",[23,24,73,25,26,54,199,369,7,295,988,1280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61f9f5d1f9d8abd6b252eb500cc97c3d.jpg",[],{"id":3041,"slug":3042,"title":3043,"dynasty":68,"author":1077,"museum":1078,"description":1079,"tags":3044,"thumbUrl":3049,"material":34,"size":1083,"collection":113,"collections":3050,"showCount":2948,"zanCount":41,"manualWeight":41,"mainColor":42},222934,"hong-lou-meng-59-sun-wen-222934","红楼梦59",[23,24,73,25,26,53,54,199,295,200,3045,3046,723,7,3047,3048],"灯笼","红毡","囍字","建筑装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aa40ea55077a83e675754b5870e9bb8.jpg",[],{"id":3052,"slug":3053,"title":3054,"dynasty":88,"author":228,"museum":49,"description":3055,"tags":3056,"thumbUrl":3057,"material":58,"size":3058,"collection":36,"collections":3059,"showCount":2948,"zanCount":41,"manualWeight":41,"mainColor":42},219602,"liang-wu-di-ban-shen-xiang-yi-ming-219602","梁武帝半身像","此作设色古雅沉厚，绢面的岁月晕染反倒晕开旧朝古意。画师以清劲线条勾勒轮廓，梁武帝阔额朗目，虬髯垂胸，面容既有儒者的温雅沉静，亦不失君主的端凝威严。头戴冕冠，朝服的层叠质感通过简淡晕染尽显礼制气度，细节处见功力。\n\n左手执朝笏，右手虚抬似垂询议事，动态自然生动，将帝王临朝理政的肃穆情态精准定格。画风古朴写实，精准捕捉萧衍兼具文才与君威的独特气质，于尺幅间凝住中古帝王的庄重风范，岁时流转却气韵饱满不减。",[23,24,52,25,26,54,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb9eca75cbf98ce0a4ad45b6dfe49b14.jpg","76.8x56.4公分",[36],{"id":3061,"slug":3062,"title":3063,"dynasty":195,"author":228,"museum":150,"description":3064,"tags":3065,"thumbUrl":3067,"material":489,"size":490,"collection":113,"collections":3068,"showCount":3069,"zanCount":41,"manualWeight":41,"mainColor":42},287408,"guan-yuan-zuo-xiang-yi-ming-287408","官员座像","此作为典型明代官宦写真，画师以工整写实的笔触，定格官员威仪情态。画中官员面庞丰腴，短髯虬结，目光平和却自含沉凝气度，乌纱冠端正齐整，尽显朝堂端方仪范。\n\n绯色官服色调沉穆古雅，胸前补子尤为精工：灵禽纹章穿梭于层叠云气之间，晕染勾勒细致入微，既标识品阶，也铺展出华贵质感。衣袍褶皱以淡墨晕染，虚实相衬，将锦缎垂坠之态摹画传神。官员按膝端坐，身形稳重，无多余修饰，却将明代士大夫的雍容风骨刻画入木三分，是肖像画中循制传神的佳作。",[23,24,25,26,3066,2293,7],"人物肖像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc386ff435003133460e8938b88ba100d.jpg",[],18,{"id":3071,"slug":3072,"title":3073,"dynasty":68,"author":228,"museum":150,"description":3074,"tags":3075,"thumbUrl":3077,"material":489,"size":490,"collection":113,"collections":3078,"showCount":3069,"zanCount":11,"manualWeight":41,"mainColor":42},267396,"hong-qing-se-an-hua-sha-xiu-shi-er-tuan-he-wen-nan-pei-yi-ming-267396","红青色暗花纱绣十二团鹤纹男帔","是传统刺绣形式之一。它是在方格纱的底料上严格按格数眼进行刺绣的。不仅图案美丽，而且随 着线条横、直、斜的不同排列作丰富的变化，但花纹间的空眼必须对齐。\n以素纱为绣底，绣时须按格或数眼绣制。绣法垂直进行，以大套小的几何图案，绣满全幅，用色一般以每一几何形为单位。刺绣步骤：以波浪纹为例。从纹样边缘第一眼起针，跨过六个眼，在第七个眼下针，以后每针均往下移一个眼，绣到第十针后，每针均向上移一个眼，直至与第一眼相并列时，再往下移，如此循环往复，即成波浪形。第二皮波浪纹绣法相同，落针的针迹要在第一皮原针眼中，以后类推，直至绣满。",[7,32,1129,28,3076],"团鹤纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f30839a0d300991ecbba6c4cb61a152.jpg",[],{"id":3080,"slug":3081,"title":3011,"dynasty":68,"author":228,"museum":106,"description":3082,"tags":3083,"thumbUrl":3084,"material":530,"size":3085,"collection":36,"collections":3086,"showCount":3069,"zanCount":41,"manualWeight":41,"mainColor":63},236175,"hong-li-chao-fu-xiang-zhou-yi-ming-236175","爱新觉罗·弘历（1711年9月25日—1799年2月7日），清朝第六位皇帝，定都北京之后的第四位皇帝。年号“乾隆”，寓意“天道昌隆”。在位六十年，禅位后又继续训政，实际行使最高权力长达六十三年零四个月，是中国历史上实际执掌国家最高权力时间最长的皇帝，也是最长寿的皇帝。\n乾隆帝是中国封建社会一位赫赫有名的皇帝。乾隆帝在位期间清朝达到了康乾盛世以来的最高峰，他在康熙、雍正两朝文治武功的基础上，进一步完成了多民族国家的统一，社会经济文化有了进一步发展。乾隆重视社会的稳定，关心百姓，五次普免天下钱粮，三免八省漕粮，减轻了农民的负担，起到了保护农业生产的作用，使得清朝国库日渐充实。乾隆时期武功繁盛，在平定边疆地区叛乱方面做出了巨大成绩，并且完善了对西藏的统治，再次将新疆纳入中国版图，清朝的版图由此达到最大化，近代中国的版图也由此正式奠定。乾隆帝在位期间，实行“因俗而治”的民族政策。汉学得到了很大的发展，开博学鸿词科，修《四库全书》； [1] 同时民间艺术有很大发展，如京剧就开始形成于乾隆年间。但是后期吏治有所败坏，多地爆发起义。 [2] 严格抵制英国、俄国的侵略性行为，但闭关锁国政策拉大了和西方的差距，中国正处于近代的前夜。\n乾隆六十年（1795年），乾隆帝禅位于第十五子颙琰。嘉庆四年正月初三（1799年2月7日）去世于养心殿，享年89岁。 [3] 庙号高宗，谥号法天隆运至诚先觉体元立极敷文奋武钦明孝慈神圣纯皇帝，葬于清东陵之裕陵。",[24,73,74,26,25,54,330,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d4f2b6e8a832241ce4b40e49f9a5ea3.jpg","257.3×151.0 厘米",[36,38],{"id":3088,"slug":3089,"title":3090,"dynasty":68,"author":228,"museum":150,"description":3091,"tags":3092,"thumbUrl":3093,"material":489,"size":490,"collection":113,"collections":3094,"showCount":3069,"zanCount":41,"manualWeight":41,"mainColor":42},230345,"xi-xiang-ji-yi-ming-230345","西厢记","画中截取缱绻一幕，青衣公子悠然倚坐，左侧仕女亲手递食，二人目光相接，暗传情愫。右侧侍女斜立，以袖掩唇，偷觑间流露少女的羞怯与好奇。\n\n室内陈设雅致考究，格架罗列清供雅玩，案头瓶花素静、茶点精致，将深闺私密的暧昧氛围晕染尽致。衣纹勾勒细腻妥帖，人物神态拿捏入微，把儿女间的缱绻情态描摹得鲜活动人，尽显传统工笔人物画的雅致意趣。",[23,24,73,26,25,54,27,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f6011a05083633edfbf7e4b35f5a88.jpg",[],{"id":3096,"slug":3097,"title":3098,"dynasty":251,"author":252,"museum":150,"description":3099,"tags":3100,"thumbUrl":3101,"material":113,"size":113,"collection":113,"collections":3102,"showCount":3069,"zanCount":11,"manualWeight":41,"mainColor":42},228057,"fan-qi-tu-ye-zhao-meng-fu-228057","番骑图页","此画以淡赭素绢为底，将目光凝于草原行旅的片刻日常。两位骑手颇具游牧风情，红衣戴笠者控黑花马稳步前行，青衫跨坐者抬手牵住随行白马，神态松弛安然，衣褶线条清劲简练，寥寥数笔便勾勒出策马闲行的悠然情态。\n\n三匹马造型写实灵动，黑花马昂首健硕，白马温顺舒展，墨色晕染柔和雅致，以极简笔墨描摹出马匹肌理毛发，不见多余背景铺陈，却将塞外行旅的松弛鲜活定格绢素，尽显简淡萧散的鞍马画意趣，于朴拙雅致间藏着游牧日常的鲜活烟火。",[23,52,24,73,679,26,25,54,241,571,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5191d62260f7f79f9b22aeb48e388305.jpg",[],{"id":3104,"slug":3105,"title":3106,"dynasty":88,"author":1229,"museum":150,"description":3107,"tags":3108,"thumbUrl":3109,"material":113,"size":113,"collection":113,"collections":3110,"showCount":3069,"zanCount":41,"manualWeight":41,"mainColor":63},227539,"fan-wang-li-fo-tu-zhao-guang-fu-227539","藩王礼佛图","《番王礼佛图》，宋代赵光辅作，卷绢本，设色，纵28.6厘米，横103.5厘米。现藏美国克里夫兰艺术博物馆。\n\n此图画中国周边少数民族酋长、番王朝拜佛祖的形象。佛祖高坐莲台，诸番王作礼拜、贡献之状，服饰皆异域装束。画面气势宏大，人物安排疏密有致，表情各异，生动自然，是宋代人物画的一幅杰作。",[23,52,24,73,53,527,26,25,54,109,125,7,722,595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40c003e5ab7391900ab1a6e34dd38cf6.jpg",[],{"id":3112,"slug":3113,"title":3114,"dynasty":509,"author":510,"museum":150,"description":511,"tags":3115,"thumbUrl":3116,"material":489,"size":490,"collection":518,"collections":3117,"showCount":3069,"zanCount":41,"manualWeight":41,"mainColor":418},225650,"rembrandt-harmensz-van-rijn-060-lun-bo-lang-225650","Rembrandt Harmensz.van Rijn - 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经济需要，建立八旗制度。设议政王大臣，与八旗旗主共议朝政。创制满文。随着军事力量的日益强大，万历四十四年（1616年），于赫图阿拉建立“大金”（后金），自立为汗，建元天命。天命三年（1618年）起兵反明。在萨尔浒之战中，采取集中兵力、各个击破的作战原则，大败明军，势力进入辽河流域。在相继攻克沈阳、辽阳和辽河以东七十余城后，于天命六年（1621年）迁都辽阳。天命十年（1625年）迁都沈阳，占领了辽东大部地区。\n天命十一年（1626年），挥军进攻宁远（今辽宁兴城）。袁崇焕誓守孤城。努尔哈赤劝降不果，命奋力攻城。激战中，努尔哈赤被明军炮火击伤。在撤围败退沈阳途中，患痛疽病死于叆鸡堡，年68岁。卒后初谥承天广运圣德神功肇纪立极仁孝武皇帝，后累次加谥为承天广运圣德神功肇纪立极仁孝睿武端毅钦安弘文定业高皇帝。庙号太祖。葬沈阳福陵。",[24,73,74,25,26,54,7,3630],"坐具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdfc6dbe0298db1e9b8154acab15cb88.jpg",[],{"id":3634,"slug":3635,"title":3636,"dynasty":509,"author":510,"museum":150,"description":511,"tags":3637,"thumbUrl":3642,"material":489,"size":490,"collection":518,"collections":3643,"showCount":3588,"zanCount":41,"manualWeight":41,"mainColor":418},225693,"rembrandt-van-rijn-self-portrait-in-fur-coat-with-gold-chain-and-earring-lun-bo-lang-225693","Rembrandt 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内壮 。\n为 的一种,能凭借柔软之物在水上等场所前进。\n相传达摩在南方传道已毕，返回时路遇一江无船可渡，折江边芦苇，抛入江中，踏苇过江。\n故后以此命名此功。\n少林七十二绝技之一,又名一线穿,一苇渡江、又名水上 ，俗名踩软绳，即说部中 所谓蹬萍渡水、踏雪无痕之功夫也。\n乃轻身功夫之一种，为软功内壮 。\n为轻功的一种,能凭借柔软之物在水上等场所前进。\n之一，又名 、 、又名水上飞行术，俗名踩软绳，即说部中所谓蹬萍渡水、 之功夫也。\n乃轻身功夫之一种，为软功内壮 。\n为轻功的一种,能凭借柔软之物在水上等场所前进。\n相传 在南方 已毕，返回时 一江无船可渡，折江边芦苇，抛入江中，踏苇过江。\n故后以此命名此功。\n凭借此功可借竹苇等在水面横行自如，属上乘轻功，非十年苦功不可得。\n其练法殊 非易易，然苟能坚心意志练习，不难成功。\n其法分数步， 入手之初，与飞行功、轻身术相同。\n即先带铅砂，在平地上练习飞驰 ，然后在山路上练习跳跃，更放石块于簸箩中，在其边上行走，逐渐 取去石块，至能在空簸箩边上行走后，即走沙道。\n以上各法，已详见 飞行功、轻身术练法中。\n惟两腿所束之铅砂，亦须按前法以猪血浸炼 ，使成死铅，始可应用。\n带铅以每腿四两起，至五斤为度，平时宜以 药水洗腿，以防损害。\n沙道走过之后，则走棉纸，用厚约三四寸之棉 纸，铺于沙道之中，人行其上，至足印不下陷时，此第一步功夫成。\n然后更以细长之木，系其两端，悬空际，约高二三尺，人即于木上往 来飞行。\n初时木心因承重之故，宕动不已，直要练得人行其上，丝毫 不动为上，至此更易木为巨绳，其法竖竹架，以巨绳横扣于架之两端 ，人于绳上行走，即如现在江湖卖解场中，即俗所谓跑马戏者，所常 见之走绳索是也。\n绳质较软，一着足必向下陷，尤易左右摇摆，不如 木之来往荡动，故练此步功夫亦较为难，直练至人行绳上，绳能不荡 不摇，则第二步功夫成。\n从此将逐渐减细，至粗不盈指之绳，亦能任 意往来于绳上，亦不荡不摇，则第三步功夫成。\n然后以最细之连绳行 之，亦能行走自如者；再将其绳两端系于河之两岸，将绳横拦于河之 水面上，仍按前法行之，能行走自如，则全功成矣。\n功成之后，可在 水面飞行，所谓水面飞行者，亦须略有假借，须用一质地轻浮之物， 如竹片木杆芦苇等物，掷于水面，人即可身立其上，推之前进也。\n余 如浮萍薄草密集之处，菱角荷叶丛生之所，亦可在上行走。\n昔日达摩老祖，传道已毕，只身西去，即以一苇渡江，即系此种功夫。\n然习此种功夫，非十余年苦功，则无以成，且须静心虚气以习之。\n洗腿药水，即以地骨皮、食盐各等量入，煎水乘汤热洗之，则血气融和，皮肤舒畅，上下交感体气究实矣。\n达摩－中国禅宗初祖。\n南天竺婆罗门人，原名菩提多罗，是南天竺香玉王的第三子，禅宗二十七至祖般若多罗到该国传法，菩提多罗从他学法，很得般若多罗的赏识，就给他改名为达摩，意译为道法，是达摩已通达到法的意思。\n梁武帝普通年到达广州，梁武帝闻其名，迎入金陵，但观念不相契合，达摩悄然北上。\n途经北江，没有渡江的工具，遂将一束苇草置于江面，踏蹑而渡。\n「达摩一苇渡江，栾巴噀酒灭火。\n」后至北魏，所到之处，以禅法教人。\n达摩的事迹，随着禅宗的发展，渐趋神异，并成为中国画家、瓷艺家所爱的题材。\n“一苇渡江”明清德化窑达摩瓷塑上常常以此为题材。\n此图为明 的“达摩渡江图”，现藏宁波“天一阁”。\n这件“达摩渡江图”正是道释人物，画的很细腻，宗梁楷“细笔”一类画风。\n人物回首顾盼，两目突出，神采毕现。\n衣纹线条虽简，但非常概括，转折有力。\n此画虽是细写，却有意笔效果。\n孙克弘（15－1611）一作克宏，字允执，号雪居， 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朝服的纹样主要为龙纹及十二章纹样。一般在正前、背后及两臂绣正龙各一条；腰帷绣行龙五条襞积（折裥处）前后各绣团龙九条；裳绣正龙两条、行龙四条；披肩绣行龙两条；袖端绣正龙各一条。十二章纹样为日、月、星辰、山、龙、华虫、黼、黻八章在衣上；其余四种藻、火、宗彝、米粉在裳上，并配用五色云纹。 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世宗，宪宗孙，父兴献王。世宗前期颇有一些作为，诛杀宦官，节用宽民，但后期多次爆发农民起义世宗常年服丹药，死于1567年，享年60岁",[24,74,26,25,4887,5265,330,7,2021],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd03e9ad69ebf5868b91c08b36d37b685.jpg",[],{"id":6253,"slug":6254,"title":6255,"dynasty":68,"author":228,"museum":150,"description":6256,"tags":6257,"thumbUrl":6258,"material":489,"size":490,"collection":113,"collections":6259,"showCount":459,"zanCount":41,"manualWeight":41,"mainColor":63},290172,"qing-dai-gong-ting-ren-wu-hua-ce-yi-ming-290172","清代宫廷人物画册","这幅通草纸画以细腻笔触勾勒出清代高阶文官的仪范。侧颜硬朗的官员髭须利落、神态端凝，头戴顶戴花翎，身着石青素缎常服袍。胸前补子精细绘就白鹤立于海水江崖之上，尽显文一品官员的身份规制，衣缘、马蹄袖以宝相花、缠枝纹晕染点缀，色彩明丽柔润。\n\n通草纸晕染的独特质感，让衣料光泽与刺绣层次尽显分明。纸面虽带着岁月留下的残损褶皱，却依旧能窥见画工写实入微的匠意，将清代官服的典制细节与官员的威仪风貌，静静定格在百年之前。",[24,679,26,25,54,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0678780a9fef7629a48bbbdf0034547b.jpg",[],{"id":6261,"slug":6262,"title":6263,"dynasty":68,"author":228,"museum":150,"description":6264,"tags":6265,"thumbUrl":6266,"material":489,"size":490,"collection":113,"collections":6267,"showCount":459,"zanCount":41,"manualWeight":41,"mainColor":42},288317,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-xiao-zhuang-wen-huang-hou-yi-ming-288317","历代帝王贵妃大臣朝服像(孝庄文皇后)","此作为工笔肖像，笔致凝练精细。画中人物端然正坐，宝蓝色朝服沉稳华贵，衣纹勾勒匀整流畅，边缘镶边更添庄重。红顶暖帽规制严整，衬出人物沉静端雅的气度。手中哈达轻柔垂落，暗合其出身的草原印记。坐具织锦纹样繁丽精巧，配色浓丽古雅，晕染细腻写实，层层烘托出人物尊崇的身份地位。整体画面气韵沉静肃穆，尽显清代宫廷肖像画的工整写实风格，精准定格了人物威仪温婉兼具的独特气质。",[23,24,25,26,54,2400,947,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5ba2ccd4e010ce5cf0f4f413a4dab7f.jpg",[],{"id":6269,"slug":6270,"title":6271,"dynasty":68,"author":228,"museum":150,"description":6272,"tags":6273,"thumbUrl":6274,"material":489,"size":490,"collection":113,"collections":6275,"showCount":459,"zanCount":41,"manualWeight":41,"mainColor":42},288309,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-cheng-ze-qin-wang-shuo-sai-yi-ming-288309","历代帝王贵妃大臣朝服像(承泽亲王硕塞)","此作为工笔肖像上乘之作，画中老者面容清癯，神态沉凝威严，自带宗室亲贵的从容威仪。画师以精细笔触描摹朝服，正龙纹鳞爪分明、气势雄健，海水江崖层次细腻，石青、明黄、朱红诸色交叠，富丽庄重又不失章法，精准贴合宗室品级仪制。\n\n领口貂裘、腰间饰件与项下朝珠皆写实入微，毛发丝缕毕现，珠串光泽莹润，将服饰材质肌理尽数展现。整作沉稳端凝，既恪守宫廷肖像的规制法度，又生动刻画出老者的耆年风骨，兼具纪实价值与艺术审美价值。",[23,24,25,26,3066,330,7,947,2400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39be9a97f2fd5ca86c4d0f2b70f38163.jpg",[],{"id":6277,"slug":6278,"title":6279,"dynasty":68,"author":228,"museum":150,"description":6280,"tags":6281,"thumbUrl":6282,"material":489,"size":490,"collection":113,"collections":6283,"showCount":459,"zanCount":41,"manualWeight":41,"mainColor":63},288257,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-ai-xin-jue-luo-xuan-ye-yi-ming-288257","历代帝王贵妃大臣朝服像(爱新觉罗 玄烨)","此作工笔写实，笔触精细入微。画中人物身着华贵朝服，宝蓝底衬明黄龙纹，绣工繁复精密，纹样威严庄重，朝珠、顶戴细节分毫毕现，尽显至尊威仪，人物神态沉稳肃穆，眉眼间自有君王持重气场。\n\n周遭陈设亦处处考究，文房器具规整雅致，孔雀翎摆件彰显礼制规格，桌椅与地毯纹饰华美庄重，细节间烘托出宫廷礼制的森严华贵。整幅设色厚重鲜明，将纪实性与艺术性相融，精准诠释清代宫廷肖像画的典型风貌，把帝王气度与宫廷规制氛围完美融合，是清代肖像画中的上乘之作。",[23,24,26,25,54,946,330,1366,7,3892,516],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72337d4f0c0e300e38800a8591c5baa1.jpg",[],{"id":6285,"slug":6286,"title":6287,"dynasty":68,"author":228,"museum":150,"description":6288,"tags":6289,"thumbUrl":6291,"material":489,"size":490,"collection":113,"collections":6292,"showCount":459,"zanCount":41,"manualWeight":41,"mainColor":63},288247,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-su-ma-la-gu-chao-fu-yi-ming-288247","历代帝王贵妃大臣朝服像(苏麻喇姑)朝服","此作以工笔写实，刻画出女主人端雅沉静的气度。冠帽朱红顶戴规整持重，吉服袍以石青为地，满绣五彩升龙，间缀宝相缠枝、江崖海水，绣纹细密饱满，设色浓丽沉稳，晕染匀称自然，分毫毕现清代宫廷冠服礼制的华美繁复。\n\n画师捕捉人物眉眼舒展平和的神态，褪去宫廷仪轨的疏离感，尽显其历经三朝的温润从容。项间朝珠层叠错落，更衬身份尊崇。整幅构图中正端严，融纪实性与审美性为一体，既恪守宫廷肖像的礼制要求，又生动传递出人物沉静温婉的独特风骨。",[23,24,26,54,25,74,7,330,6290,4354],"苏麻喇姑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F771cdd4aa3a4879bb58e24b518f6fb0e.jpg",[],{"id":6294,"slug":6295,"title":6296,"dynasty":68,"author":228,"museum":150,"description":6297,"tags":6298,"thumbUrl":6300,"material":489,"size":490,"collection":113,"collections":6301,"showCount":459,"zanCount":41,"manualWeight":41,"mainColor":42},288246,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-fan-wen-cheng-yi-ming-288246","历代帝王贵妃大臣朝服像(范文程)","此作工笔精细，将这位勋贵重臣的威严沉凝尽显无遗。画师落笔细致入微，人物面容苍劲有神，沉稳内敛的气度呼之欲出。朝服上的金线龙纹盘绕腾挪，绣工精巧华贵，宝蓝底色衬出明黄龙纹，配色端庄肃穆。朝珠制式严谨，串饰排布规整，与服饰相得益彰，精准还原清代重臣的朝仪规制。整体画面静穆庄重，遵循清代肖像画的写实传统，既细致还原服饰器用的典制细节，又生动刻画出人物历经世事的老成持重，尽显庙堂重臣的威仪风范。",[23,24,74,26,25,54,330,7,6299],"大臣肖像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88251542c3490542685b4a7b66856d36.jpg",[],{"id":6303,"slug":6304,"title":6305,"dynasty":68,"author":228,"museum":150,"description":6306,"tags":6307,"thumbUrl":6308,"material":489,"size":490,"collection":113,"collections":6309,"showCount":459,"zanCount":41,"manualWeight":41,"mainColor":63},288208,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-huang-tai-ji-bian-fu-xiang-yi-ming-288208","历代帝王贵妃大臣朝服像(皇太极便服像)","此作工笔精谨，设色调和沉静。画中主人面膛方正饱满，虬须苍劲，神色威穆内敛，自带九五之尊的沉凝气度。石青便服挺括厚重，明色冠帽点缀其间，双手握朝珠静置于膝头，端坐在髹木嵌理石宝座之上。座椅蓝地缠枝围屏纹样舒展富丽，座垫织锦华而不艳，衬出主人的尊崇地位。画师写实功力深厚，衣纹晕染还原了面料的垂坠质感，面部晕染贴合骨相，将这位帝王的雄毅沉稳刻画入微，是清代肖像画里兼具纪实性与审美价值的精品。",[23,24,74,26,54,25,946,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7412ef2ccdb72b371ecbeef1997f5eb.jpg",[],{"id":6311,"slug":6312,"title":6313,"dynasty":68,"author":228,"museum":150,"description":6314,"tags":6315,"thumbUrl":6316,"material":489,"size":490,"collection":113,"collections":6317,"showCount":459,"zanCount":41,"manualWeight":41,"mainColor":42},288207,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-yin-ti-fu-fu-yi-ming-288207","历代帝王贵妃大臣朝服像(胤禵夫妇)","此作为工笔重彩肖像，构图规整肃穆，二人正襟端坐，尽显世家眷侣的端方气度。画师以精细笔触还原服饰细节：藏青素缎朝服之上，补子、云肩、江崖海水纹饰华美繁复，金彩勾边搭配朱红、宝绿晕染，将清代宗室服饰的华贵礼制铺陈尽致，朝珠垂挂错落合仪，细节处处恪守典制。\n\n人物刻画写实传神，老者苍髯垂胸，神色平和自带威仪，女子妆容秀雅温婉，旗装头面一丝不苟，精准还原清代宗室贵眷的容仪风貌。整作配色沉稳雍容，以写实技法记录清代贵族日常仪范，兼具纪实价值与工笔美学质感。",[23,24,73,25,26,54,2400,7,947],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fb05210a13c131ae3272ef2b02e1b87.jpg",[],{"id":6319,"slug":6320,"title":6321,"dynasty":68,"author":228,"museum":150,"description":6322,"tags":6323,"thumbUrl":6326,"material":489,"size":490,"collection":113,"collections":6327,"showCount":459,"zanCount":41,"manualWeight":41,"mainColor":4171},275617,"zhi-jin-duan-wan-zi-wen-tong-ding-mian-jia-yi-ming-275617","织金缎万字纹铜钉棉甲","此甲以织金缎为地，万字暗纹婉转连绵，暗藏万福赓续的美好祈愿。通体密布铜钉，在强化防护性能的同时，化作细碎星芒，铺陈出规整大气的视觉效果。玄色绒边勾勒轮廓，中和金棕色调的张扬，尽显沉稳华贵。\n\n分体式形制兼顾战场机动与仪礼威仪，鎏金饰件点缀肩胸，刚劲武备糅合雅致匠艺，将实用功能与吉祥审美精妙相融，尽显清代甲胄工艺的精湛水准，是武备与美学交织的典型之作。",[242,7,32,1108,6013,3275,6324,6325],"铜钉","棉甲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb330f7d0f65f56a85c11f9a0a2c58d5.jpg",[],{"id":6329,"slug":6330,"title":6331,"dynasty":68,"author":228,"museum":150,"description":6332,"tags":6333,"thumbUrl":6336,"material":489,"size":490,"collection":113,"collections":6337,"showCount":459,"zanCount":41,"manualWeight":41,"mainColor":63},268860,"chuan-bo-li-zhu-long-hua-wen-dai-fen-hong-rong-qiu-er-shi-ba-xing-xiu-kui-yi-ming-268860","串玻璃珠龙花纹带粉红绒球二十八星宿盔","盔身以鎏金铜片打造成型，镂空錾刻缠枝龙纹，纹路细腻威严，古旧的蓝绿锈色晕染鎏金底色，晕开时光沉淀的华贵古韵。对称排布的纹饰暗含二十八星宿的礼制意象，承载护佑祈福的寄寓。\n\n明艳的粉红绒球错落点缀，柔化金属的冷硬质感，冷暖配色跳脱醒目，适配戏台之上的视觉张力。红绳束腰更添鲜活民俗意趣，斑驳包浆晕开百年戏台上的声色记忆，是清代戏服工艺与民间审美相融的精巧之作。",[7,31,3816,2472,2584,6334,6335],"绒球","二十八星宿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e5faa01380963c40422013587be45f0.jpg",[],{"id":6339,"slug":6340,"title":6341,"dynasty":68,"author":228,"museum":150,"description":6342,"tags":6343,"thumbUrl":6346,"material":489,"size":490,"collection":113,"collections":6347,"showCount":459,"zanCount":41,"manualWeight":41,"mainColor":63},268854,"fen-hong-se-su-ling-chuan-bo-li-zhu-ding-guang-pian-lian-hua-guan-yi-ming-268854","粉红色素绫串玻璃珠钉广片莲花冠","此冠以莲为骨，粉绫晕染出花瓣柔润肌理，玻璃珠与广片缀于花身，流转间漾开细碎莹光。主莲饱满舒展，侧花娇俏环立，青绿衬叶托举花容，层次雅致分明。朱红流苏明艳热烈，如焰似霞，与如墨垂绦撞色相映，既带着器物的庄肃静雅，又晕开灵动仙气。\n\n它以钉缀、绣制技法融于一体，将莲的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0193",[329,516,513,2354,54,3638,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30abd9fdb798000b4e6802e2ba9f766a.jpg",[],{"id":9491,"slug":9492,"title":9493,"dynasty":509,"author":7862,"museum":150,"description":7863,"tags":9494,"thumbUrl":9495,"material":34,"size":490,"collection":113,"collections":9496,"showCount":285,"zanCount":41,"manualWeight":41,"mainColor":42},230569,"rong-bo-jia-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230569","戎博迦尊者",[23,24,73,527,26,25,54,77,7,393,1545,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5006c8c232178791f79f2c9e9e797e63.jpg",[],{"id":9498,"slug":9499,"title":9500,"dynasty":68,"author":228,"museum":150,"description":9501,"tags":9502,"thumbUrl":9503,"material":113,"size":113,"collection":113,"collections":9504,"showCount":285,"zanCount":41,"manualWeight":41,"mainColor":63},230321,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-bo-guo-duo-yi-ming-230321","历代帝王贵妃大臣朝服像(博果铎)","此作写实工笔尽显匠心，画中人物面庞方正，虬髯垂胸，神色沉凝威严，自带世家勋贵的端肃威仪。石青朝服上团龙纹绣制精妙，金线勾勒的龙身矫健灵动，云纹晕染细腻萦绕四周，朝珠匀润光洁，与衣上刺绣交相辉映，寸缕之间皆见工艺精湛。人物安坐于锦缎扶手椅中，身下宝相花纹地毯繁复规整，色彩厚重沉稳，烘托出庄重仪礼氛围。整幅画作笔法细腻入微，设色典雅华贵，精准定格了旗人勋贵的雍容气度，是兼具纪实性与艺术性的上乘肖像之作。",[23,628,25,26,54,516,7,330,4638,1589,1543],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F200cbdd6adf4e792b40f7ff2550d0101.jpg",[],{"id":9506,"slug":9507,"title":9508,"dynasty":68,"author":228,"museum":150,"description":9509,"tags":9510,"thumbUrl":9511,"material":113,"size":113,"collection":113,"collections":9512,"showCount":285,"zanCount":41,"manualWeight":41,"mainColor":42},230320,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-shi-ba-huang-zi-yi-ming-230320","历代帝王贵妃大臣朝服像(十八皇子)","这幅画铺展开世家闲居的松弛意趣：虬枝梨花在庭院侧畔盛放，湖石苍古雅致。男子斜倚榻上，宝蓝常服沉稳端方，神态悠然松弛。侍女分执茶盏、捧来春卉，幼童探首嬉闹，满室漫着融融暖意。案头书卷错落，瓷瓶供花清雅妥帖，室外栏杆精巧别致，衬出宅院精致格调。\n\n工笔细致入微，设色明丽柔和，跳脱出制式画像的拘谨，以细腻笔触定格仕宦之家的日常温情，将清中期世家生活的雅致闲逸藏于方寸，笔底皆是烟火温情与静谧松弛的氛围感。",[23,25,26,54,139,333,200,7,1547,204,1825],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2c33448e42b17343c1735b1f412006e.jpg",[],{"id":9514,"slug":9515,"title":9516,"dynasty":68,"author":228,"museum":150,"description":9517,"tags":9518,"thumbUrl":9519,"material":113,"size":113,"collection":113,"collections":9520,"showCount":285,"zanCount":41,"manualWeight":41,"mainColor":1957},230308,"li-dai-ming-ren-tu-xiang-yi-ming-230308","历代名人图像","此作朴拙灵动，是典型的民间工笔设色风貌。画面中主人宽袍斗笠，虬髯乍起，怒目挑眉，神情倨傲疏狂，右手摊开似在高声斥骂。两名仆从神态迥异，红衣童子负弓背篓，满脸不耐不屑，侧头顶撞主人；另一名童子探身附耳，神色狡黠。\n\n设色浓淡相宜，红蓝撞色醒目亮眼，将主仆间的张力烘托得淋漓尽致。构图留白恰到好处，以简练线条勾勒人物轮廓，舍去背景衬托，把所有目光聚焦在人物互动之上，带着浓厚的市井民俗意趣，以直白鲜活的造型，将古人鲜活情态定格纸面，拙中藏巧，尽显民间画师对人情世态的敏锐体察。",[24,73,26,25,54,7,109,2075,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd56a3230b1326aaaf1ac770b0ecfe659.jpg",[],{"id":9522,"slug":9523,"title":9524,"dynasty":68,"author":228,"museum":150,"description":9525,"tags":9526,"thumbUrl":9528,"material":489,"size":490,"collection":113,"collections":9529,"showCount":285,"zanCount":41,"manualWeight":41,"mainColor":42},229117,"jin-xiang-shan-hu-ji-fu-guan-ding-yi-ming-229117","金镶珊瑚吉服冠顶","这枚冠顶以饱满匀润的珊瑚圆珠为主体，暖橙色泽莹润内敛，静穆雅致。顶部银质花蒂宛若凝露新绽，精巧逼真，为素净的珊瑚添了几分灵动生机。\n\n圆珠下承金质双层莲瓣座，瓣叶舒展灵动，线条婉转柔美，底托錾刻缠枝团花，镂空工艺细致入微，金水厚重亮泽，尽显华贵精巧。整体造型主次分明，将天然珊瑚的质朴温润与累金工艺的华丽雅致相融，尽显庄重典雅的宫廷气度，是清代配饰工艺匠心与审美的绝佳缩影。",[3816,744,9527,2472,31,7,628],"镶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F606d4227dc55f1783d73b15102328b43.jpg",[],{"id":9531,"slug":9532,"title":9533,"dynasty":68,"author":228,"museum":150,"description":5297,"tags":9534,"thumbUrl":9537,"material":489,"size":490,"collection":113,"collections":9538,"showCount":285,"zanCount":41,"manualWeight":41,"mainColor":42},229059,"qian-zhu-shi-nv-pi-mao-yi-ming-229059","嵌珠石女皮帽",[628,2471,5722,9535,7,9536,1232,31,5523],"皮制","女帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30ad6ea3ad03419887f77355e0e86650.jpg",[],{"id":9540,"slug":9541,"title":9542,"dynasty":88,"author":228,"museum":150,"description":2320,"tags":9543,"thumbUrl":9544,"material":489,"size":490,"collection":113,"collections":9545,"showCount":285,"zanCount":41,"manualWeight":41,"mainColor":63},226679,"nan-shi-zhe-yi-ming-226679","男侍者",[6862,2437,54,26,2472,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9471ee484c89584312a403d6d6f6e030.jpg",[],{"id":9547,"slug":9548,"title":9549,"dynasty":509,"author":510,"museum":150,"description":511,"tags":9550,"thumbUrl":9553,"material":489,"size":490,"collection":113,"collections":9554,"showCount":285,"zanCount":41,"manualWeight":41,"mainColor":63},225599,"rp-p-1961-972-lun-bo-lang-225599","RP-P-1961-972",[9551,6081,516,54,203,7,9552],"蚀刻","黑白","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc8f92277166dcdd08e144cfb7e31208.jpg",[],{"id":9556,"slug":9557,"title":9558,"dynasty":509,"author":228,"museum":150,"description":4830,"tags":9559,"thumbUrl":9560,"material":489,"size":490,"collection":113,"collections":9561,"showCount":285,"zanCount":41,"manualWeight":41,"mainColor":63},225542,"fu-shi-hui-7-yi-ming-225542","浮世绘7",[3180,1945,26,54,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65e5ce6d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Smoking a Pipe (recto); Standing Man and Two Studies","利落的棕褐线条精准捕捉住抽烟男子的松弛神态，简练笔意勾勒出敦实憨厚的体态。画家以随性朴拙的笔法铺陈服饰细节，领口袖口的排扣、腰间垂饰都带着市井日常的鲜活质感，男子垂手叼烟的姿态闲适自然，仿佛正沉浸在片刻休憩之中。寥寥数笔便将人物形神尽数拿捏，带着写生速写独有的灵动意趣，以极简的笔触定格下平凡日常的鲜活氛围，质朴却满溢着烟火生活的生动温度，尽显速写作画捕捉瞬间情态的独特魅力。",[54,183,4259,10064,3197,7,10065],"烟斗","西洋画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08d4e8018650a43fa9094dbcd14e3a9b.jpg",[],{"id":10069,"slug":10070,"title":10071,"dynasty":509,"author":228,"museum":150,"description":10072,"tags":10073,"thumbUrl":10075,"material":489,"size":490,"collection":113,"collections":10076,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":63},289308,"melchior-lorck-a-woman-from-altmark-yi-ming-289308","Melchior Lorck--A Woman from 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衬得画面暖融融的。他眉眼低垂，专注的神态似要把周遭的喧嚣都揉进乐声里——那是市井巷陌常闻的调子，混着叫卖声、孩童笑闹，成了烟火气里最生动的注脚。笔锋虽简，却把民间艺人的从容与乐声的婉转凝在绢上。铜器的冷光与衣料的暖色调撞出鲜活的张力，仿佛轻轻一触，就能听见穿越百年的旋律：带着糖炒栗子的焦香，裹着巷口茶馆的喧闹，是寻常日子里最动人的余韵。这帧小画，藏着民间生活的热乎气，把街头巷尾的热闹底色，都织进了绢丝的纹理里。",[628,26,25,54,55,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff00ca6ba24478697a288cb9102aecdab.jpg","27x 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mbUrl":17544,"material":489,"size":490,"collection":113,"collections":17545,"showCount":41,"zanCount":41,"manualWeight":41,"mainColor":63},266700,"shi-qing-se-duan-da-zi-xiu-hua-hui-wen-jian-di-xie-yi-ming-266700","石青色缎打籽绣花卉纹尖底鞋","以石青缎为地，打籽绣攒出柔婉花枝，晕开春日生机，盘金绣勾勒螭龙婉转身形，暗纳祥瑞意趣。翠色绒线匝出鞋边，晕开一抹鲜亮，中和底色沉郁。粗麻厚底带着朴拙的烟火质感，将闺中巧思藏于方寸鞋履之上。\n\n细密针脚里，藏着旧时女眷的审美意趣，把雅致绮思纳在步步生花之间，沉雅配色跳脱出鲜亮点缀，让日常穿戴也晕染着东方雅致的温婉诗意。",[8657,7,32,3284,5412,2614,1232],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0365350796b5f54106c1b7f6685d46f.jpg",[],{"id":17547,"slug":17548,"title":17549,"dynasty":68,"author":228,"museum":150,"description":17550,"tags":17551,"thumbUrl":17552,"material":489,"size":490,"collection":113,"collections":17553,"showCount":41,"zanCount":41,"manualWeight":41,"mainColor":42},266699,"shi-qing-se-duan-da-zi-xiu-jian-di-xie-yi-ming-266699","石青色缎打籽绣尖底鞋","石青缎色沉静肃穆，恰衬打籽绣纹鲜活灵动，粒粒绣籽饱满匀整，勾勒出灵动蝠纹，暗合纳福祈祥的美好意涵。暖调镶边提亮视觉层次，与底色形成温润撞色，消解了沉郁感。\n\n厚底形制贴合旧时行走需求，绒面素朴内敛，与鞋面华美的绣纹形成虚实对比。整鞋将女红绝技与日常实用相融，针脚细密可见匠人心力，配色雅致妥帖，尽显旧时服饰的审美意趣，把吉祥意涵藏于方寸鞋履，是传统服饰工艺的精巧缩影。",[7,32,3284,1129,8657,2652,10620],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7cc055aa9b2a9eb14af18f5b84b94e4.jpg",[],{"id":17555,"slug":17556,"title":17557,"dynasty":68,"author":228,"museum":150,"description":17558,"tags":17559,"thumbUrl":17561,"material":489,"size":490,"collection":113,"collections":17562,"showCount":41,"zanCount":41,"manualWeight":41,"mainColor":63},266698,"qing-se-duan-rong-yun-wen-tou-jian-di-xue-yi-ming-266698","青色缎绒云纹头尖底靴","这双高筒尖靴带着游牧风物的独特意趣，青色缎绒沉敛雅致，靴头绣制的云纹舒展灵动，暗合祥瑞寓意，为硬朗的靴型晕开柔婉气韵。靴筒拼接异色织物，层次错落间藏着手作的巧思，既适配骑马时护裹腿部的实用需求，又凭配色打破暗色的沉闷。\n\n时光晕染缎面，带着旧岁的温润质感，一针一线里揉合了实用与审美，将北疆鞍马生涯的日常，凝练成服饰里的别致风华，静静承载着旧时边疆服饰的独特风貌。",[7,32,2573,17560],"靴履","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5819d3fea308e4bcd6781b5dd77033c1.jpg",[],{"id":17564,"slug":17565,"title":17566,"dynasty":68,"author":228,"museum":150,"description":17567,"tags":17568,"thumbUrl":17569,"material":489,"size":490,"collection":113,"collections":17570,"showCount":41,"zanCount":41,"manualWeight":41,"mainColor":42},266697,"huang-tai-ji-zao-xue-yi-ming-266697","皇太极皂靴","这双皂靴晕着时光沉淀的哑光色泽，高筒挺括服帖，靴尖微翘带着旧日礼制的端方质感。皮革肌理间的褶皱藏着曾伴主人驰骋跋涉的风尘，边缘的绿饰如一抹幽色悄然点缀，中和了皮革的沉敛厚重。靴底耐磨胎料带着经年磨损的痕迹，可见它兼顾骑射实用与礼制威仪，将庄重规制融入日常随行。它不只是一件履具，更是凝着旧时风貌的载体，静静舒展着旧时光里沉敛厚重的质感，将曾经的威仪与奔波日常封存在皮革褶皱之中。",[7,32,5373,1232],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda2986d34be39bf0060164495617a863.jpg",[],{"id":17572,"slug":17573,"title":17574,"dynasty":68,"author":228,"museum":150,"description":17575,"tags":17576,"thumbUrl":17577,"material":489,"size":490,"collection":113,"collections":17578,"showCount":41,"zanCount":41,"manualWeight":41,"mainColor":1957},266696,"shi-qing-se-duan-ding-mi-zhu-zao-xue-yi-ming-266696","石青色缎钉米珠皂靴","此靴选料沉稳雅致，石青色缎面自带内敛质感，靴口镶饰墨色绒边，柔润与挺括相映成趣。通身以金、蓝双色线绲边，线条流畅利落，勾勒出修长靴型，层次韵致尽显。\n\n靴头以米珠攒钉团纹，精巧雅致，于低调间晕开华贵气度。厚底以木胎裱布制成，浅米色调中和深色靴身，兼顾礼制要求与日常行走实用性。\n\n整体配色沉敛大气，细节处镶绣工艺尽显匠心，将服制规矩与工艺美学相融，静诉着旧时服制的庄重雅致，是清代服饰工艺的典型缩影。",[7,5373,2652,16901,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1397d7f2b39dc2ab8a14c924baed4ad.jpg",[],{"id":17580,"slug":17581,"title":17582,"dynasty":68,"author":228,"museum":150,"description":17583,"tags":17584,"thumbUrl":17585,"material":489,"size":490,"collection":113,"collections":17586,"showCount":41,"zanCount":41,"manualWeight":41,"mainColor":42},266695,"huang-se-duan-bu-rong-yun-wen-tou-jian-di-xue-yi-ming-266695","黄色缎补绒云纹头尖底靴","明黄缎面澄澈华贵，石青绒料沉稳内敛，二者撞色鲜明却和谐相宜。补绒云纹盘绕靴身，卷草柔婉流转，既有祈福纳祥的美好寓意，又以立体绒面衬出雅致层次。靴头尖俏利落，靴筒挺括修长，贴合骑射实用需求，又暗合礼制考究。针线细密工整，每一处纹饰走线尽显匠心，将游牧审美与宫廷礼制精妙融合，是兼具实用与收藏价值的服饰佳制，尽显旧时服饰工艺的精湛水准。",[7,32,2573,5373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4a6757b8d61653cf22c7f65186b7b49.jpg",[],{"id":17588,"slug":17589,"title":10726,"dynasty":68,"author":228,"museum":150,"description":17590,"tags":17591,"thumbUrl":17592,"material":489,"size":490,"collection":113,"collections":17593,"showCount":41,"zanCount":41,"manualWeight":41,"mainColor":63},266694,"shi-qing-se-duan-rong-yun-wen-tou-jian-di-xue-yi-ming-266694","整体色调沉稳端雅，靴身暗织云团纹样，低调间尽显华贵质感。靴头錾刻缠枝卷叶，线条柔婉精致，浅木厚底配翠绿镶边，为厚重配色提亮添趣。\n\n靴筒拼接墨色立绒，织就吉庆字样，勾勒出庄重的礼制氛围感，上部辅以彩绣龙纹饰边，金线勾边，彩丝晕染出腾龙身姿，威严又带着祥瑞意蕴。\n\n一针一线尽显旧时制靴工艺的极致考究，将礼制规制与匠人手艺相融，藏着传统服饰中含蓄内敛的审美意趣，是清代制靴工艺的精巧缩影。",[7,10712,10619,32,2573],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36a0023884c817b67f7bce9ae949bbf0.jpg",[],{"id":17595,"slug":17596,"title":17597,"dynasty":68,"author":228,"museum":150,"description":17598,"tags":17599,"thumbUrl":17600,"material":489,"size":490,"collection":113,"collections":17601,"showCount":41,"zanCount":41,"manualWeight":41,"mainColor":42},266693,"xiang-se-duan-bang-xiu-lian-hua-feng-wen-tou-jian-di-xue-yi-ming-266693","香色缎帮绣莲花凤纹头尖底靴","靴身挺拔修长，厚底衬出端庄威仪。缎面上绣纹细密生动，缠枝莲花柔婉舒展，凤纹隐于花蔓之间，翎羽纹路丝丝分明。绒线晕染出层次渐变，金线锁边勾勒轮廓，将明艳配色调和得华贵不俗。绣工精巧细腻，针脚匀整密实，织绣光泽柔润莹亮，纹样疏密有致，兼具灵秀雅致与端重气场，尽显旧时织绣工艺的巅峰水准，匠心巧思藏于每一处针脚之中。",[7,32,1129,6103,3789,5373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dd4314f3989c08d44db97892c5f500d.jpg",[],{"id":17603,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美好祈愿，将吉祥意趣藏于暗纹肌理之中。它兼顾御寒实用于审美意趣，沉稳配色暗合旧时服饰的雅致风骨，于质朴中晕染中式服饰的含蓄美学，是日常御寒之物，亦是旧时审美意趣的具象缩影。",[7,32,2899,21190,18213],"缠枝莲纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6bcdec95ede23661792f68956c972fb.jpg",[],{"id":21194,"slug":21195,"title":21196,"dynasty":68,"author":228,"museum":150,"description":21197,"tags":21198,"thumbUrl":21199,"material":489,"size":490,"collection":113,"collections":21200,"showCount":41,"zanCount":41,"manualWeight":41,"mainColor":42},265959,"gu-tong-se-an-hua-chou-hui-shu-pi-dou-peng-yi-ming-265959","古铜色暗花绸灰鼠皮斗蓬","整体形制舒展大气，垂坠感十足，古铜色暗花绸为面，暗纹若隐若现，晕开内敛古韵。门襟以素色滚边勾勒利落轮廓，盘扣排布规整雅致，晕染出中式服饰独有的含蓄章法。内里以灰鼠皮铺陈，兼顾美观与冬日暖意，将御寒需求融于温婉雅致的中式审美中。它褪去张扬繁复，以沉静色调与简约形制，尽显旧时穿着的考究质感，是实用与美学交融的服饰佳作。",[7,6461,32,4137,4971],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c32382e93583b478f3dea4c4db03018.jpg",[],{"id":21202,"slug":21203,"title":20245,"dynasty":68,"author":228,"museum":150,"description":2650,"tags":21204,"thumbUrl":21205,"material":489,"size":490,"collection":113,"collections":21206,"showCount":41,"zanCount":41,"manualWeight":41,"mainColor":63},265958,"ming-huang-se-tuan-long-wen-an-hua-jiang-chou-diao-pi-ma-gua-yi-ming-265958",[7,32,4961,4970,4971,2086],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7531bf0522c91a3bafe84fe93d45b57c.jpg",[],{"id":21208,"slug":21209,"title":21210,"dynasty":68,"author":228,"museum":150,"description":21211,"tags":21212,"thumbUrl":21213,"material":489,"size":490,"collection":113,"collections":21214,"showCount":41,"zanCount":41,"manualWeight":41,"mainColor":63},265957,"shi-qing-se-si-tuan-cai-yun-jin-long-wen-zhuang-hua-duan-yin-shu-pi-gun-fu-yi-ming-265957","石青色四团彩云金龙纹妆花缎银鼠皮衮服","石青色缎地沉穆端雅，四团妆花金龙游走于彩云之间，金彩焕焕，龙姿矫健威严，鳞爪鬃须分毫毕现，尽显皇家威仪。妆花织法精妙绝伦，祥云婉转灵动，配色富丽却章法有度，将繁复纹样排布得疏密相宜。\n\n素色衣缘点缀其间，于浓丽中晕开一丝清雅，平衡视觉张力。内里银鼠皮暗藏实用巧思，兼顾礼制排场与冬日暖意。整体形制规整肃穆，一针一线皆凝聚顶尖丝织造诣，将皇权的庄重威严融于织造之中，是传统织绣美学与封建礼制文化的绝佳缩影。",[7,32,330,6684,5345,5396,6452],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75caa53f37e3ecd0ce6813adc44fc21d.jpg",[],{"id":21216,"slug":21217,"title":20754,"dynasty":68,"author":228,"museum":150,"description":2953,"tags":21218,"thumbUrl":21219,"material":489,"size":490,"collection":113,"collections":21220,"showCount":41,"zanCount":41,"manualWeight":41,"mainColor":63},265956,"shi-qing-se-duan-xiu-si-tuan-cai-yun-jin-long-wen-diao-pi-gun-fu-yi-ming-265956",[7,32,1129,330,4961,4970,6684],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeadb9b32c5c78530ef8edd135fa8054.jpg",[],{"id":21222,"slug":21223,"title":21003,"dynasty":68,"author":228,"museum":150,"description":2953,"tags":21224,"thumbUrl":21225,"material":489,"size":490,"collection":113,"collections":21226,"showCount":41,"zanCount":41,"manualWeight":41,"mainColor":63},265955,"shi-qing-se-duan-xiu-si-tuan-cai-yun-jin-long-wen-qing-bai-qian-pi-gun-fu-yi-ming-265955",[7,32,1129,330,2955,10860],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0418d81f2bc279bb037667eca62af485.jpg",[],{"id":21228,"slug":21229,"title":19845,"dynasty":68,"author":228,"museum":150,"description":2953,"tags":21230,"thumbUrl":21231,"material":489,"size":490,"collection":113,"collections":21232,"showCount":41,"zanCount":41,"manualWeight":41,"mainColor":63},265954,"shi-qing-se-duan-xiu-si-tuan-cai-yun-jin-long-wen-tian-ma-pi-gun-fu-yi-ming-265954",[7,32,1129,2584,2955,4137,6684],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4080e8f7d191ae93f313e80e5f8d77e6.jpg",[],{"id":21234,"slug":21235,"title":21236,"dynasty":68,"author":228,"museum":150,"description":21237,"tags":21238,"thumbUrl":21239,"material":489,"size":490,"collection":113,"collections":21240,"showCount":41,"zanCount":41,"manualWeight":41,"mainColor":63},265952,"yue-bai-se-san-duo-wen-an-hua-chou-she-li-pi-gua-yi-ming-265952","月白色三多纹暗花绸猞猁皮褂","浅月素色绸面隐着三多暗纹，雅致中藏纳祥瑞祈愿。利落的对襟铜扣顺排而下，衬得版型舒展端方。周身镶覆蓬松猞猁皮毛，暖绒柔白晕开浅蓝清韵，在凛冽冬日裹住暖意，亦将清雅风骨悄然晕染。暗花若有似无，于简约间藏着精巧工思，实用御寒与东方雅致审美相融，把日常冬衣化作含蓄温婉的美学载体，尽显旧时服饰内敛又华贵的质感。",[7,32,10789,8770,8505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2e3c06699f6de89467f357383d93fc4.jpg",[],{"id":21242,"slug":21243,"title":21244,"dynasty":68,"author":228,"museum":150,"description":21245,"tags":21246,"thumbUrl":21247,"material":489,"size":490,"collection":113,"collections":21248,"showCount":41,"zanCount":41,"manualWeight":41,"mainColor":63},265951,"yue-bai-se-an-hua-lu-chou-yin-shu-pi-kan-jian-yi-ming-265951","月白色暗花潞绸银鼠皮坎肩","月白绸面清润柔光浮动，暗纹隐于肌理，将中式含蓄意蕴藏于面料之中。莹白银鼠毛镶缀周身，柔润绒感中和了绸面的清冷，让这件坎肩兼顾冬日暖意与雅致格调。\n\n直襟舒展利落，黑绒配铜色盘扣错落排布，在素净底色晕开精巧细节。挺括潞绸与柔糯皮草相映，将御寒实用融于古典服饰美学中，尽显旧时日常穿搭的内敛考究，是晚清便服里温婉雅致的佳品。",[7,5859,32,5396,4971],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5a96b9bd5c84853f47082129df7f6ab.jpg",[],{"id":21250,"slug":21251,"title":21252,"dynasty":68,"author":228,"museum":150,"description":21253,"tags":21254,"thumbUrl":21256,"material":489,"size":490,"collection":113,"collections":21257,"showCount":41,"zanCount":41,"manualWeight":41,"mainColor":63},265950,"shi-qing-se-su-duan-yin-shu-pi-xing-fu-gua-yi-ming-265950","石青色素缎银鼠皮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