[{"data":1,"prerenderedAt":108},["ShallowReactive",2],{"subject-you-shang":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},3887,"you-shang","游赏","游赏画高清赏析","精选中国历代游赏题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a452b4eda86eac0e610effee7ff9a62.jpg",0,4,[14,48,72,88],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":40,"size":41,"collection":42,"collections":43,"showCount":45,"zanCount":46,"manualWeight":11,"mainColor":47},222764,"shi-er-yue-ling-tu-5-yue-lang-shi-ning-222764","十二月令图（5月）","清","郎世宁","台北故宫博物院","清院本版的“赏花”图是清佚名版《行乐图》中没有的，显然是新增的时令图，替换清佚名版的《三月赏桃图》。笔者将其命名为“赏花”，是根据其主景（近景）确定的。其文字介绍也说：“画中描绘了树木渐茂，百花竞放，人们在连绵的细雨中执伞顶笠，赏花、消遣的景象。”如果将其命名为“赏桃”，显然名不符实。其余时令图与《雍正十二月行乐图》的十一种图基本相同。说“基本相同”是因为也有不同之处，下面分别说明。\n1、在《行乐图》之《正月观灯图》中，雍正站在廊式围墙的大门间。在《月令图》之《正月观灯图》中，雍正站在围墙大门右边的廊下。\n2、在《月令图》之《二月踏青图》中，雍正前后的栏杆、围墙与《行乐图》之《二月踏青图》的不同。\n3、在《月令图》之《三月流觞图》中，其溪流右边的楼阁与《行乐图》之《四月流觞图》的不同。\n4、在《月令图》之《五月竞舟图》中，主要是雍正位于的高台凉亭与《行乐图》之《五月竞舟图》的不同。\n5、在《月令图》之《六月纳凉图》中，主要是雍正位于的高台楼阁与《行乐图》之《六月纳凉图》的不同。\n6、在《月令图》之《七月乞巧图》中，主要是雍正所处的房屋后面的树木、雾霭与《行乐图》之《七月乞巧图》的不同。\n7、在《月令图》之《八月赏月图》中，主要是雍正位于的高台楼阁的四周树木、山石与《行乐图》之《八月赏月图》的不同。\n8、在《行乐图》之《九月赏菊图》中，雍正所处房屋的月亮门前是石墙填土的高台院子。在《月令图》的《九月赏菊图》中，雍正所处房屋的月亮门前不是高台，而是山石低岸。\n9、在《行乐图》之《十月画像图》中，雍正所处房屋与对面房屋的通道没有栏杆。在《月令图》的《十月画像图》中，则有红色栏杆。\n10、在《行乐图》之《十一月参禅图》中，雍正所处房屋中有一排字画，靠墙的花几上有一件插了花的青铜觚，门口有一只雌孔雀。这些内容在《月令图》的《十一月参禅图》中都没有。\n11、在《行乐图》之《腊月赏雪图》中，鹿场左侧有九曲桥与对面相通。在《月令图》的《腊月赏雪图》中则没有",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,37,38,39,7],"高清","国画","书画","立轴","工笔","设色","界画","人物","楼阁","山水","船","树木","流水","小桥","亭台","山石","花草","绢本设色","188.2*102.2cm","山水画精选",[42,44],"设色画精选",101,1,"F48FB1",{"id":49,"slug":50,"title":51,"dynasty":18,"author":52,"museum":53,"description":54,"tags":55,"thumbUrl":65,"material":66,"size":67,"collection":68,"collections":69,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":71},234262,"si-xu-tu-juan-yao-wen-han-234262","四序图卷","姚文瀚","北京故宫博物院","此图卷描绘宫廷仕女春游、纳凉、游湖、赏雪四季不同的享乐生活。布局巧妙，境界幽曲，将人物、山水、楼台亭阁、春夏秋冬的不同树木花卉及其景色容于一卷。精心刻划，形象生动，笔墨工细，赋彩随类，颇为自然。人物虽小，然曲尽各种姿态，形神俱备，景物虽繁，然疏密有度，为烘托人物的各种游乐活动而恰到好处。确是精心经营的佳作。\n姚文瀚，号濯亭，顺天（今北京）人，生卒年不详。乾隆时供奉内廷，工道释、人物、山水、界画，《石渠宝笈》著录其曾作《仿清明上河图》卷，文瀚于群工角艺之时，胸具别裁，画成缩本，乾隆喜而题诗并注：“此卷较择端原本尺幅纵横倍减，而临摹毕肖，人物益小，尤见精能。”尝画《梧阴清暇图》轴、《春朝婴戏图》轴、《岁朝欢喜图》轴、《观音像》轴、《文殊像》轴等。乾隆十七年（1752）尝作《仿宋人文会图》卷，二十六年（1761）作《紫光阁锡宴图》卷。\n传世作品有《四序图》卷，绢本，设色，描绘宫廷仕女春游、纳凉、游湖、赏雪四季不同之悠闲生活、构思巧妙，意境幽曲，刻画细腻，形象生动，笔墨工整，设色典雅。此作人物虽小，然曲尽姿态，形神兼备，现藏故宫博物院。",[23,24,56,28,27,29,30,31,32,34,57,58,59,38,37,60,61,62,63,64,7],"长卷","荷花","舟楫","庭院","池塘","路径","建筑","园林","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F932487c9f43ccf74b8dc4bf3654f4db3.jpg","绢本，设色","纵31．5厘米，横318厘米","",[],55,"795548",{"id":73,"slug":74,"title":75,"dynasty":76,"author":77,"museum":53,"description":78,"tags":79,"thumbUrl":83,"material":66,"size":84,"collection":68,"collections":85,"showCount":86,"zanCount":46,"manualWeight":11,"mainColor":87},234032,"san-gao-you-shang-tu-liang-kai-234032","三高游赏图","宋","梁楷","梁楷南宋画家。祖上为东平(今属山东省)人，居钱塘(今浙江杭州)。工画人物、佛道、鬼神，兼善山水、花鸟。曾为画院待诏，并赐佩金带。但其性格豪放不羁，不耐画院规矩，将金带悬壁而去，人称“梁疯子”。画法有“细笔”、“减笔”两种，而概括飘逸的减笔画对后世影响极大。",[76,24,80,81,82,30,32,7],"水墨","白描","减笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65e1e51bf1b9c8f7cd1b7981873329e6.jpg","纵25.3厘米，横26厘米",[],21,"BDBDBD",{"id":89,"slug":90,"title":91,"dynasty":18,"author":92,"museum":93,"description":94,"tags":95,"thumbUrl":104,"material":105,"size":106,"collection":68,"collections":107,"showCount":46,"zanCount":11,"manualWeight":11,"mainColor":71},269104,"xiang-ya-diao-yue-man-qing-you-liu-yue-jing-ce-yi-ming-269104","象牙雕月曼清游六月景册","佚名","藏地不详","此帧以牙雕复刻消暑闲景，牙丝细摹岸柳，柔条垂拂如烟似雾，将溽夏暑气揉作清幽凉意。凌波亭台蜿蜒，仕女或登舟闲泛，或执扇凭栏，衣袂翩跹间尽显闺中雅意，持竿拨水、执荷消暑的细节灵动鲜活，将六月消暑的悠然闲情定格。\n\n右侧行书题字墨色沉润，笔势舒展潇洒，与牙雕图景呼应相融，将游赏意趣诉诸笔墨与刀工。刀下有诗意，笔间见清怀，一雕一书合为雅帧，尽显旧时消夏的闲散诗意，雅致脱俗，尽显清人工巧与文心。",[96,97,98,99,31,100,101,102,103,7],"册","雕刻","象牙","美人","舟船","行书","书法","仕女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f438295671c2de8c08800a4653688ab.jpg","未知","Xcm*Xcm",[],1777535758157]