[{"data":1,"prerenderedAt":247},["ShallowReactive",2],{"subject-yue-ye":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},579,"yue-ye","月夜","月夜画高清赏析","精选中国历代月夜题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23ac42663cc688b3b7dc481ace5743d8.jpg",0,13,[14,52,75,97,114,128,143,158,177,194,207,219,233],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":43,"material":44,"size":45,"collection":46,"collections":47,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":51},221523,"yue-xia-ba-bei-tu-ma-yuan-221523","月下把杯图","宋","马远","台北故宫博物院","月下把杯图》是一幅构图别致意境幽远的小品山水画佳作。作为纨扇扇面，其圆形构图对创作是一种限制。此画之妙在于，画家把重点描绘的山石、树木等景物安排在约占小半个画面的斜右下部，以浓墨钩勒树木、翠竹、篱笆、山石等，而与占大半个画面的远山、天空形成浓与淡、实与虚的对比，这即使圆形构图中的景物显得平稳安定，又富于变化。马远画山水以少见多，以偏概全，正是他艺术手法高明独到之处。图中山石画法用大斧劈皴，状其石质，画树“瘦硬如屈铁”，多折枝。远山则低，用淡墨勾染。苍茫外，露出月亮，表达作者当时思念之情。",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,37,38,39,7,40,41,42],"高清","国画","书画","工笔","水墨","浅设色","边角构图","行书","印章","册页","明月","竹子","山石","人物","酒具","桌子","远山","饮酒场景","文人聚会场景","宋代绘画风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e50aabe7cee1ca5997ec7a693d08c1d.jpg","绢本设色","纵25.5厘米，横25.7厘米","宋画精选",[46,48,49],"山水画精选","水墨画精选",220,"795548",{"id":53,"slug":54,"title":55,"dynasty":56,"author":57,"museum":58,"description":59,"tags":60,"thumbUrl":68,"material":69,"size":70,"collection":71,"collections":72,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":74},238121,"yue-ye-shan-ji-tu-zhou-ren-yi-238121","月夜山鸡图轴","清","任颐","北京故宫博物院","任颐的花鸟画多有兼工带写、明丽活泼的特点。画中巨石用淡墨勾写，以赭色随意勾描石上的丛草，竹子采用工写结合的方法，山鸡则以短粗的线条细细地绘出其皮毛的质感，又以浓淡设彩的变化呈现其体积感，使山鸡神情毕肖。全图用笔奔放灵活，设色淡雅清新，构图平中求奇，静中寓动。\n1998年，由北京大学张青莲教授转让，故宫博物院购藏。",[24,61,62,27,63,64,65,66,67,7],"立轴","设色","写意","花鸟","山鸡","孤石","竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F059fae90ced9eeb925fdc440f4355ca3.jpg","纸本，设色","纵111.2厘米，横55.4厘米","花鸟画精选",[71],38,"BDBDBD",{"id":76,"slug":77,"title":78,"dynasty":18,"author":79,"museum":80,"description":81,"tags":82,"thumbUrl":91,"material":92,"size":93,"collection":94,"collections":95,"showCount":96,"zanCount":11,"manualWeight":11,"mainColor":74},285065,"yue-ye-kan-chao-tu-li-song-285065","月夜看潮图","李嵩","藏地不详","该画作描绘了宋时临安（今浙江杭州）中秋夜观海潮的情形，是一幅情景精致的杰作。",[23,83,24,84,85,62,86,87,88,89,7,90,31],"扇面","名画","界画","楼阁","孤舟","潮水","山水","枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12505dfe1c558e14579ad3df9e7fede5.jpg","未知","Xcm*Xcm","",[],27,{"id":98,"slug":99,"title":100,"dynasty":101,"author":102,"museum":20,"description":103,"tags":104,"thumbUrl":109,"material":110,"size":111,"collection":48,"collections":112,"showCount":113,"zanCount":11,"manualWeight":11,"mainColor":51},222065,"xue-ye-fang-dai-zhou-zhou-wen-jing-222065","雪夜访戴轴","明","周文靖","此图描写东晋名士王徽之夜里梦醒，见月色皎洁兴致突生，遂趋船造访好友戴逵。然抵达之后，又打消念头而折回，或曰：「乘兴而来，尽兴而返。」为明代历史人物故事画之佳例。此幅构图继承南宋马、夏特色，却较之概括简约，而其潇洒放逸之笔法，则近似元人风格。",[23,24,27,62,105,61,89,87,36,106,107,7,90,108],"皴法","雪景","树木","船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c217c7206bd4b15f36643d89ad02332.jpg","白纸本","320X120.2",[48,49],24,{"id":115,"slug":116,"title":117,"dynasty":18,"author":118,"museum":80,"description":119,"tags":120,"thumbUrl":125,"material":92,"size":93,"collection":94,"collections":126,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":51},288419,"zhang-song-shan-shui-tu-ma-lin-288419","长松山水图","马麟","由山崖蜿蜒转入山寺的路上，一位流连与山水之间的高士，在一株爬满枯藤的古松之下徜徉，仿佛与起伏的远山融为一体，构成了一幅人与自然合而为一的完美景象。画面构图简洁而高旷，下半部分的实与上半部分的虚形成鲜明对比，进而产生高而深远的意境。\n二者之间以一棵长松相连，使画面自然而然成为一个整体。由实及虚的三段递进，将最写实的建筑、虚实相间的山崖坡石以及淡远的山峦，组成了位于高处的平远构图。山石采用小斧劈皴简略画出，画面的层次主要依赖点染进行刻画。画的中央，摇曳的藤蔓是全画的点睛之笔，山水之间，清风徐来，画面一下子动了起来，让人感受到一种清凉与惬意。",[84,24,25,89,121,122,33,86,123,31,27,105,7,124],"长松","山峦","高士","静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff32fd310c2f4d050fec2e4b45931b71b.jpg",[],17,{"id":129,"slug":130,"title":131,"dynasty":56,"author":132,"museum":58,"description":133,"tags":134,"thumbUrl":139,"material":69,"size":140,"collection":94,"collections":141,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":74},233143,"han-tuo-can-xue-tu-zhou-hua-yan-233143","寒驼残雪图轴","华嵒","图绘天寒地冻、晓月高悬的雪夜，一旅者与驼露宿山路的景象。画面以对角线分割，右下为该画主体即人与驼。在雪山脚下寒林枯树旁，一枯瘦的双峰驼正低头啮雪，帐篷中一人向外观望。作者用寥寥数笔简练地绘出帐篷的圆形；人物高鼻、卷发、胡须浓密，似西域人；骆驼以线勾出后稍加晕染，驼骨微露，双目圆睁，神情专著，充分显示出华嵒减笔画的深厚功力。左上以淡墨染底表示雪夜的阴霾，以浓墨勾出一弯残月与孤雁，这与下部留白所表示的残雪形成对照，视觉反差强烈，由此可以看出华嵒驾驭画面的高超能力和文人的审美情趣。\n该画的画意与华嵒的《天山积雪图》有相似之处，二图的人物面象也略似，两件作品均形象生动，是华嵒的代表作。",[24,25,61,62,27,135,36,136,137,33,138,31,106,7],"骆驼","残雪","孤树","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81cfed74214149a504d200af26a333aa.jpg","纵139.7厘米，横58.4厘米",[],15,{"id":144,"slug":145,"title":146,"dynasty":101,"author":147,"museum":80,"description":148,"tags":149,"thumbUrl":155,"material":92,"size":93,"collection":94,"collections":156,"showCount":157,"zanCount":11,"manualWeight":11,"mainColor":74},287953,"chi-bi-sheng-you-tu-yuan-tu-wen-zheng-ming-287953","赤壁胜游图(原图)","文徴明","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。\n文徵明曾学文于吴宽，学书法于李应祯，学画于沈周，生平九次参加乡试均不中。嘉靖二年（1523年），以岁贡生参加吏部考试，被授予翰林院待诏之职。嘉靖五年（1526年），文徵明辞官归乡，专事创作。\n嘉靖三十八年（1559年）二月二十，文徵明去世，享年九十。其弟子私谥贞献。\n文徵明诗、文、书、画无一不精，人称“四绝”，其与沈周共创“吴派”。在画史上与沈周、唐寅、仇英合称“明四家”。在文学上，与祝允明、唐寅、徐祯卿并称“吴中四才子”。",[23,84,24,25,150,30,151,62,89,87,152,138,7,153,154],"长卷","书法","流水","赤壁","饮酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F007377e715f6141477623b2ea37e4d5b.jpg",[],6,{"id":159,"slug":160,"title":161,"dynasty":162,"author":163,"museum":80,"description":164,"tags":165,"thumbUrl":173,"material":92,"size":93,"collection":174,"collections":175,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":51},225880,"whitehousenight-fan-gao-225880","Whitehousenight","不详","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。",[166,167,168,7,36,169,170,171,172],"油画","后印象派","房屋","乡村夜景","庭院","灌木","星空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5463b4e0ac9745fc294da224a41e43c.jpg","油画精选",[174],5,{"id":178,"slug":179,"title":180,"dynasty":162,"author":181,"museum":80,"description":182,"tags":183,"thumbUrl":191,"material":92,"size":93,"collection":94,"collections":192,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":51},288794,"pierre-antoine-baudouin-la-nuit-night-yi-ming-288794","Pierre Antoine Baudouin--La Nuit (Night)","佚名","暮色如纱笼罩幽林，小爱神雕像静立一旁，似是这场爱恋的沉默见证者。鎏金华服与柔粉长裙缱绻相拥，树影在衣料褶皱间晕开暧昧朦胧的光晕。\n\n林间水雾裹挟草木甜香漫溢，远处瀑布碎光揉进夜色晕染出湿润浪漫，明暗晕染勾勒出私密缱绻的相拥时刻，将洛可可式的柔美揉进晚风里，让耳鬓厮磨的心动，化作一帧温柔又私密的午夜恋歌，把偷来的片刻温情，凝固为永恒的温柔剪影。",[166,36,184,185,7,186,187,188,189,190],"情侣","小爱神","树林","瀑布","花卉","浪漫","古典风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd555ecb86c926cbd489ce2e5a49986d8.jpg",[],2,{"id":195,"slug":196,"title":197,"dynasty":56,"author":181,"museum":80,"description":198,"tags":199,"thumbUrl":205,"material":92,"size":93,"collection":94,"collections":206,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":51},269108,"xiang-ya-diao-yue-man-qing-you-ba-yue-jing-ce-yi-ming-269108","象牙雕月曼清游八月景册","此作以牙雕镂刻拼接出仲秋赏月图景，素洁牙片裁作霜林覆雪、飞檐翘角，玉宇楼台清雅出尘。仕女或凭高远眺银汉婵娟，或于廊下低语，衣袂宛转灵动，尽显闺人夜游的闲柔意态。\n右侧书法笔致清雅流丽，诗境呼应画中幽景，将清秋夜色里桂风暗度、露凉衣薄的缱绻意趣融于一处。整作以牙雕温润质感衬月色清寒，工艺细巧入微，楼台窗棂、花木枝桠分毫毕现，书画与雕景相映成趣，把古时深闺中秋夜游的闲雅意兴，定格为一方雅致隽永的清宵图景，尽显旧时匠造的灵思与工致。",[200,201,202,203,86,170,33,151,204,62,7],"册","象牙","雕刻","美人","楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5ff8c830112d1159ae71b71c1acc7af.jpg",[],{"id":208,"slug":209,"title":210,"dynasty":56,"author":211,"museum":212,"description":213,"tags":214,"thumbUrl":216,"material":94,"size":94,"collection":94,"collections":217,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":218},202713,"jin-lian-gui-yuan-tu-zhou-huang-shan-shou-202713","金莲归院图轴","黄山寿","上海博物馆","月夜竹林间，竹影横斜，月色清辉洒落。二士相对而立，一者执灯前行，衣纹流转如行云；一者长髯垂胸，袍服宽博尽显古雅。笔墨工致细腻，人物神态鲜活，衣袂用线劲挺流畅，设色淡雅温润。竹枝以浓淡墨笔写出，苍劲有力；石体晕染含蓄，与竹影相映成趣。画面静谧清幽，将文人逸态与自然之美交织，尽显古典雅韵与诗意氛围。",[24,61,36,67,215,62,26,7,23],"石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F483bc07f76f45a28906ea2978024b511.jpg",[],"706147",{"id":220,"slug":221,"title":222,"dynasty":162,"author":181,"museum":80,"description":223,"tags":224,"thumbUrl":230,"material":92,"size":93,"collection":94,"collections":231,"showCount":232,"zanCount":11,"manualWeight":11,"mainColor":74},289148,"guercino-endymion-sleeping-yi-ming-289148","Guercino--Endymion Sleeping","裸身的少年沉眠石台，将头颅枕在交叠的臂弯，蓬松发丝覆着低垂眉眼，周身松弛慵懒，全然沉湎在静谧酣梦里。\n\n淡墨勾塑轮廓，晕染铺陈开躯体柔和的明暗起伏，把肌肤温润的质感藏在虚实笔触间。远景林野朦胧虚化，弯月悬在暗夜里晕开清辉，晕染开幽谧柔婉的底色，斜倚一旁的长杖，静静暗合牧人的身份。\n\n寥寥几笔将神话里月下的缱绻凝成纸面，线条松弛舒展，把夜半梦境的安宁与温柔尽数揉入其中，浪漫又宁静。",[225,226,7,227,228,124,229],"素描","神话人物","男性人体","沉睡","新月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f7abee22eb15d00542070356a4bcb60.jpg",[],1,{"id":234,"slug":235,"title":236,"dynasty":162,"author":181,"museum":80,"description":237,"tags":238,"thumbUrl":244,"material":92,"size":93,"collection":94,"collections":245,"showCount":232,"zanCount":11,"manualWeight":11,"mainColor":246},289094,"jean-jacques-lagrene-e-landscape-with-a-scene-from-fe-nelon-s-yi-ming-289094","Jean Jacques Lagrenée--Landscape with a Scene from Fénelon's","月夜郊野晕染在幽蓝底色之上，淡墨铺就林影与云絮，朦胧柔润。滩涂弃舟静卧，和林间翩然舞动的身影形成静动对冲。远处古堡隐在月色云霭间，将郊野实景揉进幻梦叙事里。\n\n灵动群像打破夜色沉郁，带着古典牧歌式的松弛浪漫，让山野月夜化作神话逸事的舞台。光影借月色铺陈出幽谧氛围，晕染笔触将自然与人文叙事相融，在静谧夜色与欢愉群像的碰撞中，晕开复古诗意，把浪漫遐想藏进朦胧底色里。",[166,7,186,239,87,36,240,241,242,243],"河流","舞蹈","古典风景","云彩","神话场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F405126ff43080dc98027c73148a0bcc6.jpg",[],"37474F",1777535727522]