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Harmensz.van Rijn - 028","不详","伦勃朗","藏地不详","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。",[51,52,53,25,27,54,55,7,56,57,58,59,60],"油画","巴洛克风格","明暗对比","桌子","书籍","织物","宽边帽","黑衣","男性群体","写实主义","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e87816d76a215056188f561f11b93ff.jpg","未知","Xcm*Xcm","油画精选",[64],67,"37474F",{"id":69,"slug":70,"title":71,"dynasty":46,"author":72,"museum":48,"description":73,"tags":74,"thumbUrl":88,"material":62,"size":63,"collection":64,"collections":89,"showCount":90,"zanCount":91,"manualWeight":11,"mainColor":92},225736,"de-slaapkamer-fan-gao-225736","De slaapkamer","梵高","文森特·威廉·梵高（Vincent Willem van Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[75,51,76,77,78,79,80,81,82,7,54,83,29,84,85,86,87,27],"名画","厚涂","笔触奔放","色彩鲜明","色彩对比强烈","表现主义","卧室","床","窗户","木地板","墙壁","枕头","被子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41b9903979093dab1417ced8def24ffa.jpg",[64],47,1,"795548",{"id":94,"slug":95,"title":96,"dynasty":97,"author":98,"museum":48,"description":99,"tags":100,"thumbUrl":111,"material":62,"size":63,"collection":38,"collections":112,"showCount":113,"zanCount":91,"manualWeight":11,"mainColor":92},228015,"ting-qin-tu-ye-qian-xuan-228015","听琴图页","元","钱选","钱选（1239—1299），宋末元初著名画家，与赵孟頫等合称为“吴兴八俊”。字舜举，号玉潭，又号巽峰，霅川翁，别号清癯老人、川翁、习懒翁等，湖州（今浙江吴兴）人。\n南宋景定三年乡贡进士，入元不仕。工诗，善书画。画学极杂：山水师从赵令穰；人物师从李公麟；花鸟师赵昌；青绿山水师赵伯驹。人品及画品皆称誉当时。继承苏轼等人的文人画理论，提倡士气说，倡导戾家画。他提倡绘画中的“士气”，在画上题写诗文或跋语，萌芽了诗、书、画紧密结合的文人画的鲜明特色。",[101,102,103,104,105,106,25,107,108,7,109,110],"高清","国画","书画","册","工笔","设色","乐器","树木","小桌","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41e714910dac008049fcf377a1fc2387.jpg",[],33,{"id":115,"slug":116,"title":117,"dynasty":118,"author":119,"museum":120,"description":121,"tags":122,"thumbUrl":136,"material":137,"size":138,"collection":38,"collections":139,"showCount":140,"zanCount":11,"manualWeight":11,"mainColor":92},223046,"hong-lou-meng-171-sun-wen-223046","红楼梦171","清","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",[101,105,106,25,123,54,7,124,125,126,127,128,129,130,131,132,133,134,135],"楼阁","花瓶","香炉","对联","典籍","衣帽","笔","墨","纸","砚","陶瓷","木质","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84d40f24129146a3cb7acd32054a038f.jpg","绢本","纵43.3厘米、横76.5厘米",[],27,{"id":142,"slug":143,"title":144,"dynasty":18,"author":19,"museum":20,"description":145,"tags":146,"thumbUrl":150,"material":151,"size":38,"collection":38,"collections":152,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":41},220563,"mu-nv-tu-xu-bei-hong-220563","母女图","这幅画以细腻写实的笔触，晕染出东方家庭的静好日常。身着旗袍的女子沉静温婉，圆框眼镜衬出淡淡的书卷气，水蓝布料层层晕开，将身形勾勒得熨帖雅致，带着旧时代女性的娴静气度。身侧的小女孩身着碎花粉裙，眼神怯生生带着娇憨，被轻握的小手牵起融融暖意。\n\n整体色调克制柔和，灰调背景衬出人物的温润质感，没有浓烈的情绪外放，将母女间内敛的亲昵藏在抬手相触的细节中，让东方家庭的脉脉温情流淌在画面的方寸之间，写实技法揉合含蓄的东方美学，复刻了旧时光里的温柔瞬间。",[101,51,24,106,25,147,148,149,7],"母女","旗袍","连衣裙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49b3dbedc11a8e38a9882c7b4eaffaa3.jpg","油彩",[],22,{"id":155,"slug":156,"title":157,"dynasty":46,"author":72,"museum":48,"description":73,"tags":158,"thumbUrl":167,"material":62,"size":63,"collection":64,"collections":168,"showCount":169,"zanCount":11,"manualWeight":11,"mainColor":67},225770,"la-berceuse-woman-rocking-a-cradle-augustine-alix-pellicot-roulin-fan-gao-225770","La 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Monet，1840年11月14日-1926年12月5日），法国画家，被誉为“印象派领导者”，是印象派代表人物和创始人之一。\n莫奈是法国最重要的画家之一，印象派的理论和实践大部分都有他的推广。莫奈擅长光与影的实验与表现技法。他最重要的风格是改变了阴影和轮廓线的画法，在莫奈的画作中看不到非常明确的阴影，也看不到突显或平涂式的轮廓线。光和影的色彩描绘是莫奈绘画的最大特色。\n2019年5月14日，法国印象派画家克劳德·莫奈的作品《干草堆》在纽约苏富比拍卖行以破纪录的1.107亿美元（当时1美元约合人民币6.87元）高价拍出。这是莫奈作品拍卖价格的最高纪录，也是印象派画作拍卖最高纪录。",[190,51,191,192,193,194,195,196,25,161,197,198,7,199,200,201,202,203,204],"印象派","光影捕捉","色彩并置","快速笔触","海滩","海洋","沙滩","条纹服饰","帽子","遮阳伞","人群","海岸线","海浪","天空","阴天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb008c8b0d4109e04c819fccee284e7e.jpg",[64],11,{"id":209,"slug":210,"title":211,"dynasty":46,"author":72,"museum":48,"description":73,"tags":212,"thumbUrl":217,"material":62,"size":63,"collection":64,"collections":218,"showCount":207,"zanCount":11,"manualWeight":11,"mainColor":92},225872,"weaver-1884-fan-gao-225872","Weaver 1884",[51,24,25,213,214,215,216,7],"织布机","纺车","室内","红色织物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99b7a1ac022669dfeea1085459d74627.jpg",[64],{"id":220,"slug":221,"title":222,"dynasty":46,"author":72,"museum":48,"description":73,"tags":223,"thumbUrl":225,"material":62,"size":63,"collection":64,"collections":226,"showCount":207,"zanCount":11,"manualWeight":11,"mainColor":92},225830,"the-italian-woman-1887-fan-gao-225830","The Italian Woman 1887",[51,25,175,7,159,106,224],"笔触","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58955527f52f655fe8733790faa22c40.jpg",[64],{"id":228,"slug":229,"title":230,"dynasty":46,"author":187,"museum":48,"description":188,"tags":231,"thumbUrl":240,"material":62,"size":63,"collection":64,"collections":241,"showCount":242,"zanCount":11,"manualWeight":11,"mainColor":67},226068,"the-dinner-an-interior-after-1868-69-mo-nai-226068","The Dinner, An Interior after, 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1870",[51,190,248,249,250,251,194,252,253,7,196,254,203,195,255,256,257],"外光写生","色彩明快","笔触松散","光影变化","女性人物","雨伞","遮阳棚","户外场景","人物服饰","自然光线","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F269667193b42db8f78aed771dfbc390d.jpg",[64],{"id":261,"slug":262,"title":263,"dynasty":46,"author":72,"museum":48,"description":73,"tags":264,"thumbUrl":273,"material":62,"size":63,"collection":64,"collections":274,"showCount":242,"zanCount":11,"manualWeight":11,"mainColor":92},225782,"night-after-millet-october-fan-gao-225782","Night (after Millet) (October - )",[51,265,76,25,266,215,267,7,268,269,85,270,271,272],"临摹","猫","凳子","桶","灯","地面","夜晚","劳作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38b37849b04ddc3e6268e893287ee75f.jpg",[64],{"id":276,"slug":277,"title":278,"dynasty":46,"author":72,"museum":48,"description":73,"tags":279,"thumbUrl":288,"material":62,"size":63,"collection":64,"collections":289,"showCount":242,"zanCount":11,"manualWeight":11,"mainColor":92},225753,"gauguin-s-chair-december-fan-gao-225753","Gauguin's chair (December - )",[51,159,76,280,281,106,7,282,283,284,285,85,286,287],"笔触粗犷","色彩对比","蜡烛","烛火","书本","地板","软垫","木质结构","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28ee5c888fce8440c344cc499a51bd8b.jpg",[64],{"id":291,"slug":292,"title":293,"dynasty":294,"author":295,"museum":296,"description":297,"tags":298,"thumbUrl":308,"material":309,"size":310,"collection":38,"collections":311,"showCount":312,"zanCount":11,"manualWeight":11,"mainColor":41},221929,"za-hua-ce-guo-xu-221929","杂画册","明","郭诩","上海博物馆","郭诩（1456—1532），字仁弘，号清狂道人，江西泰和人。工书画，善山水，尝遍历名山，曰“岂必谱也，画在是矣。”同时江夏吴伟、北海杜堇、姑苏沈周俱以画名，莫不延颈原交，天下竟传清狂画，风之百金。有贵人欲多得诩画，诩瞠目数屋梁不对。固索，辄跮跖狂趋，叫奡跳号去。弘治（一四八八至一五零五）中徵天中善画者，应诏京师。宸濠召与语，辄辞谢之。往依王守仁献画题诗所见志。又善杂画，信手作人物，辄有奇趣。七十三岁尚作磨镜图。他的作品传世不多，八开《杂画册》现藏上海博物馆，《琵琶行》图轴藏北京故宫博物院。\n山水、人物，风格豪放，笔法师略，清细柔和，墨气轠然，尤是绘古人清士。题署简逸，缙绅无不重之。与吴伟齐名，为吴伟、沈周、杜堇所推重。 花鸟杂画，信手拈来，颇有奇趣。草虫书法工写兼备，其画风在明中期 别成一格。",[101,75,102,103,104,299,300,301,25,302,303,7,304,129,305,128,306,307],"水墨","白描","写意","竹子","孤石","篮子","砚台","文人","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7423d7c114d37fd72b377fa1ddb06057.jpg","纸本","纵28.5 厘米横46.5 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Harmensz.van Rijn - 091",[51,330,25,331,332,333,7,106,24,53],"肖像画","美人","服饰","饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0cdc69775f7438902ad55f5e8afd4b7.jpg",[64],8,{"id":338,"slug":339,"title":340,"dynasty":341,"author":342,"museum":343,"description":344,"tags":345,"thumbUrl":348,"material":137,"size":349,"collection":38,"collections":350,"showCount":336,"zanCount":11,"manualWeight":11,"mainColor":92},223512,"liu-yin-qun-mang-tu-yi-ming-223512","柳荫群盲图","宋","佚名","北京故宫博物院","此幅为年俗画，描绘盲人打架的场面。画中柳树下，三三两两的盲人抓在一起，抱团打架，抓衣服不放的，抱胳膊死拽的，揪着耳朵拼命的，打架招势表现的淋漓尽致；人物面部扭曲变形，姿势夸张，展示出打架过程中拼命的样子。",[101,102,106,105,346,25,347,54,7],"宋画","柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed64abbdddd46112eb2761d5b97d634f.jpg","78.5×82cm",[],{"id":352,"slug":353,"title":354,"dynasty":118,"author":342,"museum":48,"description":355,"tags":356,"thumbUrl":364,"material":323,"size":38,"collection":38,"collections":365,"showCount":366,"zanCount":11,"manualWeight":11,"mainColor":41},215883,"qing-dai-xing-fa-ji-lu-tu-ce-2-yi-ming-215883","清代刑罚记录图册-2","画面铺展清代刑罚的具象切片：或缚于木架垂足悬空，或倒悬梁下衣衫凌乱，或被按于地受制于人。左侧端坐者袖笼“勇”字，衔烟管似监刑，旁立者持签待命。桌案清供的雅致与刑罚的粗粝形成刺目反差，灯笼题字更添肃杀。色彩明丽却难掩压抑，人物神态或痛苦扭曲或漠然旁观，将权力与惩戒的张力悄然铺展。笔触虽简，却精准捕捉了彼时社会治理的一角，是研究清代刑罚文化与基层秩序的直观图像注脚。",[105,106,104,25,357,54,7,358,359,360,128,361,362,363],"刑罚场景","灯笼","荷花","器","烟具","捆绑","吊刑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F891d9994cae48716672a91279d9b5ac8.jpg",[],5,{"id":368,"slug":369,"title":370,"dynasty":118,"author":371,"museum":343,"description":372,"tags":373,"thumbUrl":377,"material":378,"size":379,"collection":38,"collections":380,"showCount":381,"zanCount":11,"manualWeight":11,"mainColor":41},233750,"tu-wan-zhen-xiang-sha-fu-233750","屠婉贞像","沙馥","屠婉贞出身名门，是清代画家屠倬的孙女，嫁给清宗室毓本为妻。题跋中称赞她可媲美赵孟頫的夫人管道昇，刺绣技艺高超，又善丹青，同时还是一位慈母，训导子课。屠婉贞的脸部由民间画工绘制，衣纹和古玩器具由海派画家沙馥补画，并有吴昌硕、杨岘等题跋。\n虽然社会对女子的限制仍然非常多，但赵琰哲认为，明清女子的活动空间在不断拓展，如蹴鞠、投壶、舞剑、音律、看戏听曲等用以深闺消遣，或者节日游园、逛庙会，或者结社唱和，饮酒赋诗，写字作画。因此，明末清初江南地区出现了很多擅长诗文书画的才女，才与德变得同样重要。在这种氛围中，绘画与女子的关系变得更为紧密：一方面江南地区女性独幅肖像出现，意味着女性拥有了独立成像的权利，画中女子不再是作为艳俗的仕女画供男子赏玩，而是体现出女性的自我独立与自我肯定；另一方面，女性也亲身参与到绘画活动中。",[102,103,106,105,25,124,374,7,54,375,376],"水仙","行书","题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc00a43a0b7d9438f3a47839e5dd81676.jpg","纸本设色","133.3×32.8厘米",[],4,{"id":383,"slug":384,"title":385,"dynasty":46,"author":386,"museum":48,"description":387,"tags":388,"thumbUrl":396,"material":62,"size":63,"collection":38,"collections":397,"showCount":381,"zanCount":11,"manualWeight":11,"mainColor":67},232285,"a-er-ma-12-lao-lun-si-a-er-ma-ta-de-ma-232285","阿尔玛12","劳伦斯·阿尔玛-塔德玛","劳伦斯·阿尔玛-塔德玛（Lawrence Alma-Tadema, 1836年1月8日—1912年6月25日）是英国维多利亚时代的知名画家，他的作品以豪华描绘古代世界（中世纪前）而闻名。\n生于荷兰的德龙赖普（Dronrijp），他的父亲彼得·塔德玛（Pieter Tadema）是一名公证人，在他4岁时便去世了。阿尔玛是他教父的名字，他的生母是他父亲的第二名妻子，家庭人口相当众多。家里原准备让他继承父业，但他表现出了对艺术的强烈偏好，因此将他送至安特卫普，在1852年进入了那里的艺术学院，并在亨德利克·利思（Hendrik Leys）的画室学习。",[51,24,25,389,56,390,391,333,27,31,392,393,394,395,270,7],"古典服饰","大理石","家具","凉鞋","珍珠","窗帘","墙面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a38c189cf5cd4e316f5512b79dd0ab5.jpg",[],{"id":399,"slug":400,"title":401,"dynasty":46,"author":47,"museum":48,"description":49,"tags":402,"thumbUrl":409,"material":62,"size":63,"collection":64,"collections":410,"showCount":381,"zanCount":11,"manualWeight":11,"mainColor":67},225684,"rembrandt-harmensz-van-rijn-094-lun-bo-lang-225684","Rembrandt Harmensz.van Rijn - 094",[51,24,53,25,403,198,404,405,7,406,407,408],"男性","蕾丝领","纸张","暗背景","肖像","衣物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F181598acc3f3621eacb0fb109a2b4e60.jpg",[64],{"id":412,"slug":413,"title":414,"dynasty":46,"author":342,"museum":48,"description":415,"tags":416,"thumbUrl":424,"material":62,"size":63,"collection":38,"collections":425,"showCount":381,"zanCount":11,"manualWeight":11,"mainColor":41},225523,"fu-shi-hui-281-yi-ming-225523","浮世绘281","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[417,418,106,25,331,419,420,54,7,107,421,422,83,423,320,394],"浮世绘","木刻","洋装","和服","托盘","酒瓶","船只","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe79218199b0754aee056f18535257749.jpg",[],{"id":427,"slug":428,"title":429,"dynasty":118,"author":430,"museum":343,"description":431,"tags":432,"thumbUrl":442,"material":38,"size":443,"collection":38,"collections":444,"showCount":381,"zanCount":11,"manualWeight":11,"mainColor":41},223203,"geng-zhi-tu-ce-jiao-bing-zhen-223203","耕织图册","焦秉贞","《御制耕织图》又名《佩文斋耕织图》，不分卷，清圣祖玄烨题诗，焦秉贞绘图，朱圭、梅玉凤镌刻，清康熙三十五年（1696年）内府刊本。耕图、织图各23幅，共计46幅图。每页34.7cm×27.7cm。图框24.4cm×24.4cm。四周单边。册页装。\n《耕织图》以江南农村生产为题材，系统地描绘了粮食生产从浸种到入仓，蚕桑生产从浴蚕到剪帛的具体操作过程，每图配有康熙皇帝御题七言诗一首，以表述其对农夫织女寒苦生活的感念。\n《耕织图》是中国农桑生产最早的成套图像资料，它的绘写渊源可上溯至南宋，绘者为楼璹。楼璹在宋高宗时期任於潜（今浙江省临安市）县令时，深感农夫、蚕妇之辛苦，即作耕、织二图诗来描绘农桑生产的各个环节。《耕织图》成为后人研究宋代农业生产技术最珍贵的形象资料。南宋嘉定三年（1210年），楼璹之孙楼洪、楼深等以石刻之传于后世，南宋理熙元年（1237年）有汪纲木刻复制本。宋以后关于本书的记载已不多见，较著名的有南宋刘松年编绘的《耕织图》，元代程棨的《耕织图》45幅。明代初年编辑的《永乐大典》曾收《耕织图》，已失传。明天顺六年（1462年）有仿刻宋刻之摹本，虽失传，但日本延宝四年（1676年）京都狩野永纳曾据此版翻刻，今均以狩野永纳本《耕织图》作楼璹本《耕织图》之代表。\n清康熙二十八年（1689年）康熙帝南巡时，江南士子进献藏书甚丰，其中有“宋公重加考订，诸梓以传”的《耕织图》。康熙帝即命焦秉贞据原意另绘耕图、织图各23幅，并附有皇帝本人的七言绝句及序文。绘画内容略有变动，耕图增加“初秧”、“祭神”二图，织图删去“下蚕”、“喂蚕”、“一眠”三图，增加“染色”、“成衣”二图，图序亦有变换。宋、清《耕织图》的布景与人物活动大同小异，但焦图画中的风俗易为清代，所绘更为工细纤丽，在技法上还参用了西洋焦点透视法。\n《耕织图》初印于康熙三十五年（1696年），后又出现了很多不同版本，木刻本、绘本、石刻本、墨本、石印本均行于世。如康熙年间的康熙三十八年（1699年）张鹏翮刻本，康熙五十一年（1712年）内府刻本，雍亲王胤禛绢底彩绘本，康熙五十三年（1714年）歙县汪希古恭摹刻48块墨板，宫廷绘白描本等，乾隆年间的康熙、雍正、乾隆三帝题诗刊本，清内府刻《授时通考》本，袖珍彩绘本，乾隆四年（1739年）清内府图为木刻、诗为石刻的经折装本，乾隆三十四年（1769年）北京刻朱墨套印本，杨大章彩绘本，乾隆三十四年（1769年）高宗命画院据元代程棨本临摹之《耕织图》，石刻嵌在皇家清漪园延赏斋左右廊壁的拓本，乾隆三十五年（1770年）徽州守臣摹刻的墨版。此外，还有嘉庆十三年（1808年）《耕织图诗》补刊本，同治十一年（1872年）刊本，光绪五年（1879年）上海点石斋《御制耕织图》石印本，光绪十一年（1885年）上海文瑞楼本，光绪十二年（1886年）上海点石斋石印本。民国时期也有多种版本，较著名的为武进陶兰泉刊本；日本、朝鲜、琉球等国亦有《耕织图》的摹本、翻刻本。\n《耕织图》不但版本众多，版式等也不尽相同，如上文下图本，左图右文本，版框带有龙纹的装饰本，袖珍刻本，木刻填色本，书中序文、诗文前后玺印朱色钤印本，前后玺印为刊版墨印本等。",[75,102,105,106,104,25,433,108,434,435,436,437,54,7,438,439,440,441],"房屋","植物","山水","田地","工具","劳作场景","日常劳作","农耕","纺织","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec7be90100c899cc1bf3bb0f9d2b18bc.jpg","34.7cm×27.7cm",[],{"id":446,"slug":447,"title":448,"dynasty":118,"author":449,"museum":48,"description":450,"tags":451,"thumbUrl":456,"material":62,"size":63,"collection":38,"collections":457,"showCount":458,"zanCount":11,"manualWeight":11,"mainColor":41},235535,"xi-xiang-tu-ce-ye-bu-235535","西廂图册","叶逋","《西厢记》故事，最早起源于唐代元稹的传奇小说《莺莺传》，叙述书生张珙与同时寓居在普救寺的已故相国之女崔莺莺相爱，在婢女红娘的帮助下，两人在西厢约会，莺莺终于以身相许。后来张珙赴京应试，得了高官，却抛弃了莺莺，酿成爱情悲剧。亦相传为元稹假借张生的自传体小说或故事。这个故事到宋金时代流传更广，一些文人、民间艺人纷纷改编成说唱和戏剧，王实甫编写的多本杂剧《西厢记》就是在这样丰富的艺术积累上进行加工创作而成的。",[102,103,104,106,105,375,25,452,108,453,454,7,455,434],"庭院","芭蕉","建筑","栏杆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a49e7812a4e7c7e6e9e2907740b9b9a.jpg",[],3,{"id":460,"slug":461,"title":462,"dynasty":46,"author":463,"museum":48,"description":464,"tags":465,"thumbUrl":468,"material":62,"size":63,"collection":38,"collections":469,"showCount":458,"zanCount":11,"manualWeight":11,"mainColor":92},231157,"su-miao-411-xi-fang-231157","素描411","西方","使用单一色彩表现明度变化的绘画。绘画工具而在画面载体上按照一定的绘制原则而有意塑造物体形态的美术活动。速写是素描的一种变式。素描水平是反映绘画者空间造型能力的重要指标之一。\n素描是绘画的基础，绘画的骨骼；也是最节制、最需要理智来协助的艺术。初学绘画的人一定要先学素描，素描画得好的人，油画自然画得好。素描的起源，普遍都是以文艺复兴开始，事实上希腊的瓶绘、雕塑都有良好的素描基础。初期的素描是视为绘画的底稿，例如作壁画先要有构想的草稿，然后有素描的底稿，同时也要有手、脸部分精密素描图。作壁画习惯上是不看模特儿写生的，完全要靠事先准备的习作素描和画家的记忆。近代素描，已脱离了原来的底稿和习作的地位，可以成为艺术品来欣赏。画素描的态度不只培养描写力，同时也培养造型的能力，最后仅仅是素描也可视为作品来欣赏。相反的单看油画作品就可知道作者在素描上的造诣如何。因此，素描是绘画的基础，也是绘画的骨骼，是初学画的人无论如何要先认真学素描。素描在严格的解释上，只有单色的黑与白，但如加上淡彩或颜色，仍可认作素描。素描的表现方法分成：一、以描画材料来看可分成木炭素描、铅笔素描、炭精素描、钢笔素描、银笔素描、毛笔素描等。二、以所画的题材可分成石膏像素描，风景素描，静物素描、人体素描、幻想素描。三、依素描的目的又可分成作为构想的素描、用作画稿的素描、速写、作品、习作。\n由木炭，铅笔，钢笔等，以线条来画出物象明暗的单色画，称作素描。单色水彩和单色油画也可以算作素描；中国传统的白描和水墨画也可以称之为素描。通常讲的素描多元化指铅笔画和炭笔画。素描是一切绘画的基础，这是研究绘画艺术所必须经过的一个阶段。　素描通常采用可于平面留下痕迹的方法：如，炭笔，钢笔，画笔，墨水，及纸张等。轮廓和线条是素描的一般称谓。素描具备了自然律动感。不同的笔触营造出不同的线条及横切关系和节奏、主动与被动的周围环境、平面、体积、色调、及质感。\n素描是一种正式的艺术创作，以单色线条来表现直观世界中的事物，亦可以表达思想、概念、态度、感情、幻想、象征甚至抽象形式。它不像带色彩的绘画那样重视总体和彩色，而是着重结构和形式。",[23,24,25,7,54,466,467,215],"台灯","瓶子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbec361f6280ac78dac058fcee057f41f.jpg",[],{"id":471,"slug":472,"title":473,"dynasty":341,"author":474,"museum":475,"description":476,"tags":477,"thumbUrl":481,"material":482,"size":483,"collection":38,"collections":484,"showCount":458,"zanCount":11,"manualWeight":11,"mainColor":41},217973,"shi-liu-ying-zhen-tu-14-fan-long-217973","十六应真图-14","梵隆","美国弗利尔美术馆","本卷采用李公麟的白描风格，描写了16罗汉的境界，每一种境界都通过他所达到的三昧而表现出不同的奇异境界。",[101,75,102,103,346,300,299,478,25,479,480,7],"宗教","树","竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F935327e3da1d77c10c7cb59d0d93971f.jpg","纸本,水墨","30.5x1062.5",[],{"id":486,"slug":487,"title":488,"dynasty":118,"author":342,"museum":48,"description":489,"tags":490,"thumbUrl":493,"material":62,"size":63,"collection":38,"collections":494,"showCount":495,"zanCount":11,"manualWeight":11,"mainColor":41},272729,"zi-tan-mu-miao-jin-yi-yi-ming-272729","紫檀木描金椅","敦煌285窟壁画就有两人分坐在椅子上的图像；257窟壁画中有坐方凳和交叉腿长凳的妇女；龙门莲花洞石雕中有坐圆凳妇女。这些图像生动地再现了南北朝时期椅、凳在仕宦贵族家庭中的使用情况。尽管当时的坐具已具备了椅子、凳子的形状，但因其时没有椅、凳的称谓，人们还习惯称之为“胡床”，在寺庙内，常用于坐禅，故又称禅床。唐代以后，椅子的使用逐渐增多，椅子的名称也被广泛使用，才从床的品类中分离出来。因此，论及椅、凳的起源，必须从汉魏时经印度传入的胡床谈起。\n唐代以前的“椅”字还有一种解释，作“车旁”讲，即车的围栏。其作用是人乘车时有所依靠。后来的椅子，其形式是在四足支撑的平台上安装围栏，其制当是受车旁围栏的启发，并沿用其名而称这种坐具为“椅子”了。从现存资料看，唐代已有相当讲究的椅子了。\n五代至宋，高型坐具空前普及，椅子的形式也多了起来，出现靠背椅、扶手椅、圈椅等。同时根据尊卑等级的不同，椅子的形制、质料和功能也有所区别。\n五代至两宋时期的家具大体保留着唐代遗风，只是高型家具较前更加普及了。\n椅子非常古老和简单，虽然许多世纪以来，是一个普通使用状态。在早王朝时期，他们用布或皮革、木雕覆盖椅背和椅面，但是覆盖面积均远低于21世纪的椅子，椅面有时仅离地25厘米。在古埃及时代的椅子似乎已经被极大的丰富，老式乌木、象牙雕刻、镀金的木材等都会被使用。它们被覆盖着昂贵的材料，华丽的图案和猎杀的野兽或雕刻着的俘虏数字。一般来说，地位越高的个人，他的椅子就越高越华丽，这是种荣誉的象征。",[134,491,7,492,391],"描金","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6be83d4a601e081433bb4560b717fb40.jpg",[],2,{"id":497,"slug":498,"title":499,"dynasty":46,"author":500,"museum":48,"description":501,"tags":502,"thumbUrl":509,"material":62,"size":63,"collection":38,"collections":510,"showCount":495,"zanCount":11,"manualWeight":11,"mainColor":67},232565,"mi-lai-si-109-yue-han-ai-fu-li-te-mi-lai-si-232565","米莱斯109","约翰·埃弗里特米莱斯","John 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canvas",[190,51,25,768,590,7,27,776,777,778],"动态感","笔触灵动","色彩温润","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe13420f277aa2f574861b59ff3747863.jpg",[],{"id":782,"slug":783,"title":784,"dynasty":46,"author":543,"museum":48,"description":544,"tags":785,"thumbUrl":789,"material":62,"size":63,"collection":38,"collections":790,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":92},232186,"dancers-in-a-studio-circa-1900-1905-private-collection-oil-on-canvas-de-jia-232186","Dancers in a Studio - circa 1900-1905 - Private collection - oil on canvas",[190,51,768,786,787,7,788,232],"芭蕾裙","舞蹈室","人物动态","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef60aa234b6c11015bf70253d8fc31af.jpg",[],{"id":792,"slug":793,"title":794,"dynasty":46,"author":543,"museum":48,"description":544,"tags":795,"thumbUrl":798,"material":62,"size":63,"collection":38,"collections":799,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":92},232175,"diego-martelli-national-galleries-of-scotland-scotland-de-jia-232175","Diego Martelli - - National Galleries of Scotland 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