[{"data":1,"prerenderedAt":199},["ShallowReactive",2],{"subject-yue-liang":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},1112,"yue-liang","月亮","月亮画高清赏析","精选中国历代月亮题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa21ae3c845865b89fbaece9bf37cf949.jpg",0,10,[14,42,65,84,100,117,144,157,174,189],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":33,"material":34,"size":35,"collection":36,"collections":37,"showCount":39,"zanCount":40,"manualWeight":11,"mainColor":41},219012,"bai-he-tu-yi-mi-fei-219012","白鹤图(一)","宋","米芾","大英博物馆","画中仙鹤身姿卓然，长颈引向云端，喙尖轻启似欲鸣。白羽如霜，纹理细若鳞次；黑尾如墨，羽梢微扬带风致。修长鹤腿立于浅草间，与几丛翠竹叶相映成趣。右上角圆月朦胧，棕褐绢底衬得画面清寂雅致。笔墨间藏着文人的疏淡意趣，每一处细节都透着对自然生灵的细腻体察，仿佛能闻见竹林间的清风，看见月光下仙鹤独立的悠然之态，尽显古典绘画的空灵韵致。",[23,24,25,26,27,28,29,30,31,32,7],"高清","名画","国画","书画","立轴","工笔","设色","花鸟","鹤","竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75d2711fede74296897913b73c08612b.jpg","绢本,设色","132.5x61.5cm","花鸟画精选",[36,38],"设色画精选",1575,17,"795548",{"id":43,"slug":44,"title":45,"dynasty":46,"author":47,"museum":48,"description":49,"tags":50,"thumbUrl":58,"material":59,"size":60,"collection":61,"collections":62,"showCount":63,"zanCount":11,"manualWeight":11,"mainColor":64},225888,"xing-ye-fan-gao-225888","星夜","不详","梵高","藏地不详","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。",[24,51,52,53,7,54,55,56,57],"油画","后印象派","星空","柏树","小镇","夜晚","夜空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d3fba38ba790ea4b66156bf8641b2cb.jpg","未知","Xcm*Xcm","油画精选",[61],70,"37474F",{"id":66,"slug":67,"title":68,"dynasty":69,"author":70,"museum":48,"description":71,"tags":72,"thumbUrl":79,"material":80,"size":80,"collection":80,"collections":81,"showCount":82,"zanCount":11,"manualWeight":11,"mainColor":83},224545,"yue-zhong-gui-tu-tu-jiang-pu-224545","月中桂兔图","清","蒋溥","《月中桂兔图》是清乾隆时期蒋溥创作的一幅画。\n本幅自识：“臣蒋溥恭绘。\n”下钤：“臣”、“溥”朱文方印。\n下裱工钤有古物陈列所藏印：“宝蕴楼书画续录”朱文方印。\n按乾隆皇帝御题可知，该作品绘于 二十三年（1758年）中秋。\n上、下诗堂有乾隆皇帝、刘统勋、董邦达、刘纶、介福五家题诗，以及蒋溥自题诗。\n蒋溥自题：“宸襟拈句发清芳，惭愧濡毫数点黄。\n恰遇山庄开寿宴，兔轮初上碧天凉。\n臣蒋溥恭和。\n”下钤：“臣”、“溥”朱文方印。\n乾隆皇帝御题：“秋暖无端迟桂芳，缀枝初折几苞黄。\n玉㕙静守冰轮朗，画出人间满意凉。\n戊寅中秋御题。\n”下钤“乾”朱文方印、“隆”白文方印。\n刘统勋题：“蕊珠颗颗领秋芳，风露连宵色染黄。\n驻景不烦寻玉杵，冰轮影现永清凉。\n臣刘统勋恭和。\n”下钤“歌咏太平”白文长方印。\n董邦达题：“广寒高处落秾芳，颖暎金枝浥露黄。\n正是敷天开寿域，重轮无际一天凉。\n臣董邦达恭和。\n”下钤“邦”白文方印、“达”朱文方印。\n刘纶题：“一株玉宇领巌芳，顾腹祥占抱珥黄。\n天咏题成广寒谱，云璈合与奏新凉。\n臣刘纶恭和。\n”下钤“臣”、“纶”白文方印。\n介福题：“玉兔爰爰守桂芳，金波湛湛着花黄。\n普天恰祝如恒寿，风露先披上苑凉。\n臣介福恭和。\n”下钤“介福”白文方印。\n此图以墨笔绘圆月，月中玉兔以干笔写皮毛，焦墨点睛，形象生动可爱。\n桂树以墨笔绘枝、叶，笔法细腻老道。\n桂花以桔黄色点染，其温暖的色调为冷月寒宫增添了几许暖意。\n全图布局紧凑，色墨运用巧妙，极富情趣。\n画作题诗中“冰轮”、“兔轮”、“广寒”、“重轮”等语，皆为月亮与玉兔的隐喻，以诗歌的形式烘托画面主题，从而巧妙的将诗、书、画三者紧密结合，把月中玉兔、桂树的优美传说演绎的美轮美奂，实为一件精美的风俗画作品。\n此幅上除了蒋溥的画及自题诗外，还有乾隆皇帝的御制诗和刘统勋、董邦达等大臣的应和诗，从中可见乾隆皇帝对汉民族传统习俗的承袭，和他与臣僚之间以诗画共度中秋的雅集场景。",[23,25,26,27,28,73,29,74,75,7,76,77,78],"水墨","兔","桂","树枝","草","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac6f474eb82248126deb2f54e04d38a2.jpg","",[],45,"BDBDBD",{"id":85,"slug":86,"title":87,"dynasty":18,"author":88,"museum":48,"description":89,"tags":90,"thumbUrl":98,"material":80,"size":80,"collection":80,"collections":99,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":83},227838,"xian-nv-cheng-luan-tu-yi-ming-227838","仙女乘鸾图","佚名","《五代周文矩仙女乘鸾图》是五代南唐画家 所创作的一幅 。\n此图原载《历代名笔集胜册》第一册。\n此图线条工谨精细，如春蚕吐丝，柔中见刚。\n《五代周文矩仙女乘鸾图》，图画明月一轮，一仙女乘鸾飞翔。\n笔墨精妙飞动，设色艳丽，构图简洁，为宋画中精品。\n无款，旧题周文矩作。\n画中钤有「黔宁王子子孙孙永保之」、「都尉耿信公书画之章」、「信公珍赏」、「珍秘」、「会侯珍藏」、「明安国玩」、「宜尔子孙」等印多方。\n对幅有耿昭忠题，经《虚斋名画录》著录。\n耿昭忠题云：“风格高妙，飘飘然有凌霞绝尘之姿，是盖周文矩胸中迥出天机，故落笔超乎物表。\n张、吴、顾、陆、何难继踵。\n”襄平耿昭忠题。\n”本幅及裱边、对幅钤耿昭忠“真赏”、“黔宁王子孙永保之”、“丹诚”、“都尉耿信公书画之章”、“信公珍藏”、“珍秘”、“宜尔子孙”、“公”等鉴藏印，共17方。\n《圣朝名画评》云：“周文矩，建康句容人。\n美风度，学丹青，颇有精思。\n仕李煜，为待诏，能画冕服车器人物仕女。\n”又云：“周文矩用意深远，于繁富则尤工。\n”按此图虽无款，而作风飞动精丽，允为北宋早期的作品。\n旧题 作，今从之。\n《五代周文矩仙女乘鸾图》图绘一鸾凤于薄云淡雾中振翅飞鸣，其背上一仙女正茫然回首目视身后的一轮圆月。\n画家将仙女回眸之一刹那所显露出的怅惘之情刻画的生动传神，使本来单调的景物变得极富情趣并给人以想像力。\n仙女的眼神原无形，然作者却利用它使圆月和鸾凤之间产生一种内在的呼应关系，使画面具有气脉贯通的完整性。\n画家通过描绘仙女的衣带向后飘举暗示出无形的风力，并以此表明鸾凤疾翔时的速度与强烈的动感，与圆月之间形成动与静的对比。\n在人物形象的塑造上，仙女的造型越出了隋唐时期仕女画丰腴健壮的体态，表现出女性身材比例合理，造型匀称的特点。\n此图旧签题以及对幅耿昭忠的题记均言作者是五代周文矩。\n周文矩受南唐后主李煜颤笔书法的影响，喜以瘦挺颤掣的笔法入画，线条多转折顿挫，刚中有柔。\n与周文矩的用笔特点不符，因此，它应是宋代佚名画家所作。\n周文矩，生卒年代不详，句容（今属江苏）人，曾在南唐后主李煜时任画院翰林待诏。\n工画佛道、人物、车马、屋木、山水，尤精于仕女，多以宫廷或文人生活为题,以“用意深远”著称。\n其仕女画师从周昉，作风更加纤丽繁复，用笔多以“战笔”为特点。\n现藏故官博物院的《重解会棋图》是他的传世作品之一。\n传世作品有《重屏会棋图》、《 》等。",[23,25,91,28,29,92,93,94,95,7,96,97],"扇面","人物","美人","神鸟","飞鸟","云雾","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecd1fa7526358a03d725c63f905f8a92.jpg",[],{"id":101,"slug":102,"title":103,"dynasty":46,"author":88,"museum":48,"description":104,"tags":105,"thumbUrl":114,"material":59,"size":60,"collection":80,"collections":115,"showCount":116,"zanCount":11,"manualWeight":11,"mainColor":41},230543,"shi-ting-shi-dai-ri-yue-shan-shui-tu-ping-feng-yue-ping-yi-ming-230543","室町时代 日月山水图屏风-月屏","浅金晕染出朦胧夜气，以青绿为主调铺展山野幽境。挺秀松林错落坡巅，笔墨清简勾勒出苍古意态。浅滩茅庐半隐于草色间，坡岸随色块开合错落，墨笔轻绘竹叶、草叶，疏朗雅致。\n\n整体以平远构图铺陈，删繁就简，用色块晕染出月夜山野的清寂淡远，将东方禅意融于侘寂风物中，于简淡空灵里，尽显静穆古雅的山水幽趣，藏着独属于山野夜色的宁谧安然。",[23,29,106,107,108,109,110,111,7,112,113],"青绿","山水","屏风","松树","山","草地","茅屋","竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4805b1904a7c472e2a9775631e4451df.jpg",[],16,{"id":118,"slug":119,"title":120,"dynasty":46,"author":121,"museum":48,"description":122,"tags":123,"thumbUrl":141,"material":80,"size":80,"collection":80,"collections":142,"showCount":143,"zanCount":11,"manualWeight":11,"mainColor":83},231827,"xiao-xian-he-ge-tu-juan-1-ku-tian-zheng-heng-231827","消闲和歌图卷-1","堀田正衡","这是一卷诗书画合璧的写意佳作，以淡赭素纸为底，大写意笔墨铺陈雅趣。浓淡干湿的墨色晕染出瑞兽、墨龙、折枝桃果、竹篮清供、幽草灵蛇与寒梅，笔意简劲纵逸，寥寥数笔便得物象神韵。日式和歌书法错落穿插于画幅之中，行笔舒展随性，与画作相映成趣。整体意境侘寂清雅，将文人消闲的幽远禅意融于笔墨之间，空灵疏朗，尽显随性自在的东方雅韵。",[23,25,26,124,73,29,125,126,97,127,128,129,130,131,109,132,77,133,134,135,136,137,92,138,139,7,140],"长卷","白描","行书","写意","扇子","篮子","盘子","狮子","梅花","桃子","蛇","龙","水果","猴子","蝴蝶","云","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0668c72e7438d7eaf0064a20e69d82f.jpg",[],5,{"id":145,"slug":146,"title":147,"dynasty":46,"author":88,"museum":48,"description":148,"tags":149,"thumbUrl":155,"material":59,"size":60,"collection":80,"collections":156,"showCount":143,"zanCount":11,"manualWeight":11,"mainColor":83},225571,"fu-shi-hui-53-yi-ming-225571","浮世绘53","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。",[150,151,29,92,152,153,7,97,154],"浮世绘","木刻","和服","茶碗","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bbc4d9114b1567183a08a129a0b09a2.jpg",[],{"id":158,"slug":159,"title":160,"dynasty":161,"author":88,"museum":48,"description":162,"tags":163,"thumbUrl":170,"material":59,"size":60,"collection":80,"collections":171,"showCount":172,"zanCount":173,"manualWeight":11,"mainColor":41},244698,"xi-niu-wang-yue-wen-jing-yi-ming-244698","犀牛望月纹镜","明","中国铜镜的制作和使用具有悠久的历史，根据考古发掘，年代最早的铜镜为4000多年前的齐家文化。从齐家文化至西周末春秋早期制作的铜镜，多以纹饰简单、形体小、种类少。此一时期为中国铜镜制作早期阶段。\n春秋中晚期开始，我国铜镜制作和使用就发展起来了，特别是战国时期，铜镜的种类复杂，题材广泛，制作工艺精细，包括此时期铜镜的合金成分，其锡含量是最适合铜镜的使用，这些充分反应了铜镜在此时期制作技术已达到成熟阶段。汉代开始铜镜得到了进一步的发展，这时期的铜镜出现了新的类型，铭纹也正逐渐成为铜镜的纹饰组成部分，反映了汉代铸镜业的发达及铜镜商品化的发展。\n隋唐时期是中国铜镜高度发展时期，此时的铜镜突破了以往圆形与方形的传统形式，出现了菱花形、葵花形铜镜。特别是盛唐时期铜镜工艺精湛，著名的瑞兽葡萄镜更是闻名于世，这一时期铜镜发展达到了顶峰。\n从唐末，五代起中国的铜镜艺术日趋衰落，宋、金、元时期的铜镜，从造型、纹饰和合金成分上都有不同于传统铜镜的特点。明，清时期虽然铜镜还在人们日常生活当中使用，但到清代中后期随着玻璃的使用，铜镜逐渐退出了历史舞台。当今虽然不再有人使用铜镜整装容，但古代铜镜给予我们的除了收藏价值，还有对古代形制、纹饰、铭文、艺术、制作工艺、成分等等的研究价值。中历收藏品鉴定中心，为我国合法第三方专业鉴定平台，证书得到了专业人士及社会各界的高度认可，藏品鉴定可咨询。",[164,165,166,140,167,7,168,169],"明代","铜制","雕刻","犀牛","云纹","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05154098c82a86fba70b03ee31e3cccd.jpg",[],3,1,{"id":175,"slug":176,"title":177,"dynasty":46,"author":88,"museum":48,"description":178,"tags":179,"thumbUrl":186,"material":59,"size":60,"collection":80,"collections":187,"showCount":188,"zanCount":11,"manualWeight":11,"mainColor":83},288698,"workshop-of-jacques-charles-franc-ois-marie-froment-meurice-yi-ming-288698","Workshop of Jacques-Charles-François-Marie Froment-Meurice","这是一幅细腻的珠宝手绘稿，整体构思浪漫柔婉。顶部以花萼花苞为挂扣，柔蔓碎花蜿蜒垂下，托住圆形主牌。圆框内酣眠的小爱神舒展身形，周遭点缀细碎花钿，双月牙环抱住圆牌，柔化了硬朗的轮廓。下方星链垂坠，尾端俏皮的小天使托着花饰，与主牌的爱神主题巧妙呼应。\n铅笔线条细腻柔和，泛黄底色晕出复古质感，将星月、爱神、繁花这些经典浪漫意象揉为一体，尽显法式古典珠宝独有的缱绻诗意，完整呈现出一件温柔雅致的珠宝构想。",[125,180,181,7,182,183,184,185],"饰品","小天使","星星","花卉","手绘稿","装饰图案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F167db17f7659ab826818f0a12b51bfbd.jpg",[],2,{"id":190,"slug":191,"title":192,"dynasty":69,"author":88,"museum":48,"description":193,"tags":194,"thumbUrl":197,"material":59,"size":60,"collection":80,"collections":198,"showCount":173,"zanCount":11,"manualWeight":11,"mainColor":41},236238,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236238","避暑山庄图励宗万书诗成扇","此扇以泥金为底，自带雍容华贵的底色，山水景致铺陈其上。山峦以披麻皴写就，层叠逶迤，苍松茂木错落点染，屋庐隐于林泉之间，晕染出幽寂空凉的山居意趣。淡赭轻敷山岩，墨色勾勒林麓，笔墨清润秀雅，将夏山翠色与静穆凉意融于盈尺扇面。书画合璧，山水与题诗相互呼应，把林泉高致藏于开合之间，抬手便可将山野幽意携于袖中，尽显悠然雅致的赏玩意趣。",[25,26,91,29,107,195,78,110,196,7],"皴法","树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43f5c9e0d646867a23d17ffde919391e.jpg",[],1777535733308]