[{"data":1,"prerenderedAt":171},["ShallowReactive",2],{"subject-yi-shi":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},3486,"yi-shi","仪式","仪式画高清赏析","精选中国历代仪式题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92b5c13a0c7187c1b20f99c124365b18.jpg",0,9,[14,48,68,83,100,116,130,143,159],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":39,"material":40,"size":41,"collection":42,"collections":43,"showCount":45,"zanCount":46,"manualWeight":11,"mainColor":47},220348,"yong-zheng-di-ji-xian-nong-tan-tu-yi-ming-220348","雍正帝祭先农坛图","清","佚名","北京故宫博物院","先农坛位于北京外城永定门内，始建于明永乐十八年（1420年），嘉靖年间扩建，是明清两代皇帝祭祀农神、祈求丰收的地方。根据史料记载，雍正皇帝在位期间十分重视农业生产，曾多次前往先农坛参加祭祀典礼。《雍正帝祭先农坛图》卷就是这样一件描绘他在先农坛祭祀农神活动的纪实性绘画作品。 　　画卷起始为一片松林，一条御道由右向左延伸。画幅上端有一处殿宇，只画出了台基和部分门窗、墙面，此处应是具服殿。画面再向左出现了众多身着朝服的官员，几十名侍卫围成半圆形，簇拥着缓缓前行的雍正皇帝。乐队队员 身穿红袍静候着皇帝的到来，钟罄鼓瑟齐备。御道拐弯通向一处高台，台上安置桌案、香炉，黄色帐篷里设供案，上置祭器。据《清史稿》记载，祭先农坛“祭品礼数，如社稷礼”，即“羊一，豕一，帛一，豆四，铏、簠、簋各二。”画卷结尾是一片茂密的松柏林和一座坛门。整幅作品构图严谨精确，人物描绘细致生动，敷色明快华丽，堪称清代宫廷绘画的上乘之作。画卷的作者不详。 　　《雍正帝祭先农坛图》卷分上、下两卷，此为上卷，下卷现藏法国巴黎吉美博物馆。上、下两卷分别表现皇帝祭农神和扶犁耕耤田，由此构成皇帝祭祀农神活动的全部内容。",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,7,37,38],"高清","工笔","设色","界画","长卷","人物","宫殿","仪仗","祭祀","树木","草地","台阶","灯笼","队伍","旗帜","道路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a092cf9f7664e9f3ae86d57249b632e.jpg","绢本,设色","纵61.8厘米，横467.8厘米","人物画精选",[42,44],"设色画精选",85,2,"795548",{"id":49,"slug":50,"title":51,"dynasty":18,"author":52,"museum":53,"description":54,"tags":55,"thumbUrl":63,"material":64,"size":65,"collection":65,"collections":66,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":47},234184,"lin-yong-tu-xiang-di-er-juan-yin-zhen-234184","临雍图像第二卷","胤禛","藏地不详","清世宗爱新觉罗·胤禛（1678年12月13日 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、“朝乾夕惕”。\n雍正帝的一系列社会改革对于康乾盛世的连续具有关键性作用。雍正十三年（1735年）农历八月二十三日驾崩，终年58岁。庙号世宗，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，葬清西陵之泰陵，传位于第四子弘历。",[23,56,57,27,25,24,28,58,32,59,60,61,7,62],"国画","书画","楼阁","庭院","古代建筑","人群","清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76703745414aaf3c5171983bea62096c.jpg","纸本，设色","",[],14,{"id":69,"slug":70,"title":71,"dynasty":72,"author":19,"museum":20,"description":73,"tags":74,"thumbUrl":78,"material":79,"size":80,"collection":65,"collections":81,"showCount":82,"zanCount":11,"manualWeight":11,"mainColor":47},233022,"da-nuo-tu-zhou-yi-ming-233022","大傩图轴","宋","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。",[56,57,75,25,24,28,76,77,7],"立轴","乐器","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F811f5eb801a8357cdf3c7a7af199fa5a.jpg","绢本，设色","纵67.4厘米，横59.2厘米",[],12,{"id":84,"slug":85,"title":86,"dynasty":87,"author":88,"museum":53,"description":89,"tags":90,"thumbUrl":94,"material":95,"size":96,"collection":65,"collections":97,"showCount":98,"zanCount":11,"manualWeight":11,"mainColor":99},231803,"shan-wang-ji-tu-juan-ge-chuan-guo-fang-231803","山王祭图卷","不详","歌川国芳","此卷以明艳浮世绘笔调铺陈祭典盛景，抬舆之上，山王安坐古木之下，丹枫缀枝晕染神性肃穆。下方数百役人着齐整仪服，合力抬舆缓行，朱蓝配色鲜亮夺目，将祭典庄重又喧腾的氛围尽数铺展。左侧配文详录祭仪规制，将民俗细节与绘事相融。\n\n它定格了江户祭典鲜活热络的瞬间，既烘托出信仰的厚重庄严，也尽显庶民参与祭典时的虔诚热望，是兼具纪实性与艺术性的民俗绘卷典范。",[23,91,27,25,28,92,93,7,24],"浮世绘","老树","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0375123c0717bdd1a514b64fd5ea7505.jpg","未知","Xcm*Xcm",[],6,"BDBDBD",{"id":101,"slug":102,"title":103,"dynasty":18,"author":19,"museum":53,"description":104,"tags":105,"thumbUrl":113,"material":65,"size":114,"collection":65,"collections":115,"showCount":46,"zanCount":11,"manualWeight":11,"mainColor":99},233103,"ping-ding-xi-yu-zhan-tu-ye-yi-ming-233103","平定西域战图页","《平定西域战图》又称《平定准噶尔回部得胜图》、《平定伊犁回部战图》等。册页装，一函。图版十六幅，法国铜板制印，图版下署画家、刻工姓名。本馆藏有两部，一部首为乾隆御制序，乾隆诗文墨题画上，末有大学士傅恒、尚书舒赫德、于敏中等跋；另一部前为御制序，每图后附御题诗文，后为傅恒等跋，清内府造办处木版刷印。\n清廷在入主中原后，康、雍、乾三朝屡屡用兵西北，以肃清厄鲁特蒙古噶尔部割据势力。乾隆二十年至二十六年间（公元1755-1761年），两次平定准噶尔部叛乱的战役，对于维护国家稳定起到重要作用。 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