[{"data":1,"prerenderedAt":751},["ShallowReactive",2],{"subject-zhang-peng":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},740,"zhang-peng","帐篷","帐篷画高清赏析","精选中国历代帐篷题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcc9b30145bb637d0165ec6a64a2d50d.jpg",0,67,[14,45,63,83,104,125,140,174,187,199,212,223,239,254,264,275,282,296,314,327,335,343,351,358,367,374,383,392,407,417,426,437,450,464,473,480,487,500,507,514,531,541,550,557,564,573,582,593,600,606,613,621,628,635,644,656,663,671,679,686,693,702,711,719,727,735,743],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":36,"material":37,"size":38,"collection":39,"collections":40,"showCount":42,"zanCount":43,"manualWeight":11,"mainColor":44},222779,"bai-jun-tu-lang-shi-ning-222779","百骏图","清","郎世宁","台北故宫博物院","《百骏图》是意大利籍清代宫廷画家郎世宁创作的绘画作品，是中国十大传世名画之一。此图稿本为纸质，原作分别收藏于美国纽约大都会博物馆（纸质稿本）和中国台北故宫博物院（绢本）\n此图共绘有100匹骏马，姿势各异，或立、或奔、或跪、或卧，可谓曲尽骏马之态。画面的首尾各有牧者数人，控制着整个马群，体现了一种人与自然界其他生物间的和谐关系。\n此图为一长卷，从右至左，画面开始是两棵参天的老松树，透过松枝的空隙，露出了牧马人搭建的简易白色帐篷，有三个身穿满族服装的牧人在帐篷前，二人倦怠地或坐或卧，还有一人双手拄着套马杆立在那里，看着不远处的马匹，一只牧犬从帐篷内伸出了半个身子。\n近处是一匹浑身滚圆的白马悠然而立，旁边的两匹花马在低头啃草，由此引出了后面千姿百态的群马。在草地上，一群肥瘦不一的马匹各自在觅食、躺卧、翻滚嬉闹。\n远处群山连绵，草木丛生，一个牧马人正用套杆套一匹跑远的马，另一牧人则在赶拢跑散的八九匹小马驹，此处近景也是几棵盘根虬枝的古松，一大群不同花色的骏马或立或卧或昂首或低头，还有几匹在追逐打闹。\n画面中段，在一片树木坡石间又有一群马在休息，其中有一对母子，母马正看着在吃奶的小马驹，旁边一匹马正在古松上蹭痒，惹得一牧人扭头观看。\n画卷再向左侧展开是一片湖水，湖岸边芦苇郁郁葱葱，马匹则在水边嬉闹。湖中有一人正在为一花马擦洗，湖中倒影清晰可见。\n过了水面窄处而后湖水又逐渐开阔，湖滩的沙地上长满了芦苇和杂草，另有一小群马在一个骑马的牧人带领下，泅过不宽的水面到对面去。\n画面的结尾是一个手持套马杆的牧人。在画幅的左下角，署有画家名款：“雍正六年，岁次戊申仲春，臣郎世宁恭画。”画幅上钤乾隆印多方。\n此图描绘了姿态各异的骏马百匹放牧游息的场面，画面的首尾各有牧者数人，控制着整个马群，体现了一种人与自然界其他生物间的和谐关系。\n《百骏图》长卷洋洋洒洒，塑造了一大群或站或卧、或翻滚嬉戏、或打斗觅食的骏马，它们聚散不一，自由、舒闲。画作中除了上百匹骏马之外，还有人物、山水、草木，无不精致写实，形象逼真，给予人们足够的空间，令人产生无边的遐想。同时花卉的形态和神态作者也通过西画的透视和光感等技巧表现出来，画得相当精细，立体感强。\n此画上，作者运用中国的毛笔、纸绢和色彩，却以欧洲的绘画方法注重于表现马匹的解剖结构、体积感和皮毛的质感，使得笔下的马匹形象造型准确、比例恰当、凹凸立体，而不像中国古代画\n家采用延绵遒劲的线条来勾勒物象轮廓的方法。他是以细密的短线，按照素描的画法，来描绘马匹的外形、皮毛的皱褶和皮毛下凸起的血管、筋腱，或者利用色泽的深浅，来表现马匹的凹凸肌肉，与传统中国绘画中的马匹形象迥然有别。以中国传统绘画技法加入西洋光影透视法及西画颜料，以显示中西趣味兼容并蓄的画面。如画中马匹、人物、树木、土坡皆应用了光的原理，使物象极富立体感；而如松针、树皮、草叶等的墨线勾勒，石块土坡的皴擦等仍含有中国传统手法，即使是马匹及树干上的阴影表现，亦是以中国传统的渲染方法来完成的。\n此画构图复杂，风格独特，极具意趣，别具一格。尽管全图包含了马匹、牧者、帐篷、树木等众多景物，但作者充分显示了其“虚实相间”的构图功力，画面由牧者引出，又以牧者结束，而作为主角的百匹骏马均在牧马人的引导控制之下活动。整幅画面聚散、稀疏的设置充满了节奏感。\n中国画是散点透视，西画是焦点透视。这种透视效果在这幅册页中充分体现出来。这些技法对后来中国画的发展都有很大的影响。注重形象的解剖结构、光影效果及立体感。并且，在此画上，作者将中国画法巧妙地与西法相融合，突破了明清时期大部分山水、花鸟画作品以水墨为主流的表现方法，另辟蹊径，创造了一种“中西合璧”的绘画新风格，具有开拓性的意义，对于中国传统绘画的发展产生了巨大的推动和冲击。",[23,24,25,26,27,28,29,30,31,32,7,33,34,35],"高清","工笔","设色","长卷","中西合璧","马","树木","河流","草地","人物","山水","坡地","溪流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26b30b71123be3a26bafdc83b49d1c5e.jpg","绢本设色","纵102厘米，横813厘米","花鸟画精选",[39,41],"设色画精选",1291,7,"795548",{"id":46,"slug":47,"title":48,"dynasty":18,"author":19,"museum":49,"description":50,"tags":51,"thumbUrl":55,"material":56,"size":57,"collection":58,"collections":59,"showCount":60,"zanCount":61,"manualWeight":11,"mainColor":62},216844,"zhan-zheng-tong-ban-hua-lang-shi-ning-216844","战争铜版画","藏地不详","这一系列铜质战争版画是由清朝乾隆皇帝旨令制作的，描绘了他在位期间在内陆省份和边疆的军事行动场景。这些版画主要由当时在宫廷服务的欧洲传教士绘制，如郎世宁、王志成、艾启蒙和安德烈。柏林国家图书馆的东亚部分拥有五个系列的64幅版画。",[52,53,32,28,33,29,54,7],"铜版画","战争","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17f8252dec1e59bebb52ee40d5d9bef8.jpg","水墨","","山水画精选",[58],175,1,"BDBDBD",{"id":64,"slug":65,"title":66,"dynasty":67,"author":68,"museum":20,"description":69,"tags":70,"thumbUrl":77,"material":78,"size":79,"collection":80,"collections":81,"showCount":82,"zanCount":61,"manualWeight":11,"mainColor":44},218162,"wen-ji-gui-han-tu-ce-li-tang-218162","文姬归汉图册","宋","李唐","这本画册由18张图片组成，以上下系列的形式。每张图片大小不一，是独立的画作，与其他画作一起构成一个完整的故事。",[71,72,73,25,24,32,7,74,75,76],"国画","书画","册","车马","胡地","毡房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb66d2ebe72e8271220a920899a0213a3.jpg","绢本,设色","50.7x39.7","人物画精选",[80],113,{"id":84,"slug":85,"title":86,"dynasty":87,"author":88,"museum":89,"description":90,"tags":91,"thumbUrl":100,"material":101,"size":57,"collection":57,"collections":102,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":44},217287,"jiang-mo-bian-dun-huang-tu-juan-3-yi-ming-217287","降魔变·敦煌图卷-3","唐","佚名","法国国家图书馆","树影婆娑间，故事徐徐铺展。墨线勾勒的衣袂翻飞里，左侧人群神色各异——或凝神静听，或交头接耳，衣袍的赭黄与青绿晕染出人间烟火气。\n\n帐幔轻垂，裹着一室虔诚：帐内人物或合十默祷，或低语交谈，虬髯者的粗犷与稚童的灵动相映成趣。旁侧大象纹饰古雅，背上的图案似藏玄机，卧于茵席间，添了几分神圣静谧。\n\n右侧僧众团坐，赭红衣袂与墨色僧袍交织，光头的圆润衬着肃穆神情，仿佛法音正缓缓流转。他们或指或听，姿态各异却皆凝向中心，将叙事的焦点引向那份庄严。\n\n淡彩晕染的纸页上，线条如行云流水，把宗教的神圣与人间的鲜活揉作一处。每一笔都藏着敦煌艺术的古朴韵致，让千年前的故事，在今日仍能触到那份温热的虔诚与生动。",[92,71,72,26,25,24,93,32,94,95,96,29,97,7,98,99],"名画","宗教","敦煌","大象","乐器","莲花","僧侣","龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe78417d9a75ae607f87c5184762deb39.jpg","设色,拓本",[],91,{"id":105,"slug":106,"title":107,"dynasty":67,"author":108,"museum":109,"description":110,"tags":111,"thumbUrl":117,"material":118,"size":119,"collection":120,"collections":121,"showCount":122,"zanCount":123,"manualWeight":11,"mainColor":124},220074,"jia-pai-tu-quan-juan-gong-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。景定年间曾任两淮制置司监当官。他是一位诗文书画都擅长的文人画家，山水画师法米芾、米友仁，人物、鞍马则学曹霸，亦能画梅、菊等花卉。喜欢用水墨画鬼魅及钟馗，“怪怪奇奇，自成一家”，开明清写意画之先河。从现存作品看，其特点是用笔粗重、墨色淋漓，造形比较夸张，画上多题诗及跋语。抒情寓意，寄托遗老的怀抱。",[23,71,72,26,112,32,28,7,113,114,115,116],"白描","书法","行书","草书","楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33a6695fc73019d28ed46873d7d95576.jpg","纸本","全卷30.6X770厘米","宋画精选",[120],70,2,"37474F",{"id":126,"slug":127,"title":128,"dynasty":18,"author":88,"museum":129,"description":130,"tags":131,"thumbUrl":135,"material":78,"size":136,"collection":80,"collections":137,"showCount":138,"zanCount":139,"manualWeight":11,"mainColor":44},219453,"yuan-ren-qiu-lie-tu-yi-ming-219453","元人秋猎图","私人收藏","描绘了北方少数民族在高山密林间行军、围猎、休憩、露营的情形。\n画卷以人物活动为主线，山水树石作为场景铺垫，既是人物活动展开的背景，又形成各段情节之间的自然间隔和过渡。十二米的长卷中场面宏大，情景众多，共画有七百余人，人物身份不一，有的衣饰华贵，气宇轩昂，被众人簇拥，俨然王族之相。多数是兵将勇士之属，其中甚至还有女兵的身影。\n此卷布局繁密有序，山峦错落，画面是静止和片段性的，而人物活动则有一定的时间性和延续性，如何将二者结合就很考验画家的创作能力了。表现带有情节性和故事性的山水人物，中国传统绘画的惯用手段就是利用长卷的形式，画卷的展开赋予画面一种流动性，画中人物的活动随观赏者的目光而移动，时间的维度就在不知不觉中展开了。",[23,71,26,25,24,32,28,33,29,7,132,133,134],"狩猎","秋景","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9edf607c039286a054fe9cb75697a771.jpg","纵59厘米，横1240厘米",[80,58],51,3,{"id":141,"slug":142,"title":143,"dynasty":18,"author":144,"museum":20,"description":145,"tags":146,"thumbUrl":168,"material":169,"size":170,"collection":57,"collections":171,"showCount":172,"zanCount":173,"manualWeight":11,"mainColor":62},223096,"zi-guang-ge-ci-yan-tu-juan-yao-wen-han-223096","紫光阁赐宴图卷","姚文瀚","乾隆二十五年（1761年），紫光阁修缮完成，乾隆下旨将平定准部、回部的100名功臣画像张悬于四壁。次年正月，乾隆皇帝又在此设庆功宴，王公贵族、文武大臣、蒙古族首领以及西征将士百余人出席。此幅描绘了当时宴庆的宏大场面。图中建筑借助西洋绘画手法而沿用中国画传统的手卷形式来表现。位于中南海内的紫光阁始建于明代，到清代成为皇帝阅射和殿试武举之所，乾隆时重修，至今依然保持着当年盛世的形貌，图画中之建筑与紫光阁实景两相对照，饶有情趣。",[23,24,25,147,32,148,149,29,150,7,151,152,153,154,155,156,157,158,159,160,161,162,163,164,165,166,167],"界画","楼阁","飞鸟","旗帜","队列","庭院","宫殿式建筑","仪仗","人群","冬季树木","建筑群","台阶","红色服饰","蓝色服饰","黄色帐篷","落叶树","常绿树","旗帜飘扬","飞鸟群","平台","围栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb785c231aa7f19856cb11465734c15e7.jpg","绢本，设色","纵45.7厘米，横486.5厘米",[],45,4,{"id":175,"slug":176,"title":177,"dynasty":67,"author":108,"museum":109,"description":110,"tags":178,"thumbUrl":183,"material":184,"size":119,"collection":120,"collections":185,"showCount":186,"zanCount":11,"manualWeight":11,"mainColor":44},220089,"jia-pai-tu-quan-juan-fen-juan-12-gong-kai-220089","笳拍图全卷-分卷12",[71,92,72,26,112,32,7,28,179,180,181,182],"羊","器物","衣帽","兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c86fb758c911901199210f2e7cb4fe9.jpg","纸本,水墨",[120],39,{"id":188,"slug":189,"title":190,"dynasty":18,"author":88,"museum":191,"description":192,"tags":193,"thumbUrl":196,"material":169,"size":57,"collection":58,"collections":197,"showCount":198,"zanCount":61,"manualWeight":11,"mainColor":44},236180,"hong-li-sai-yan-si-shi-heng-zhou-guan-jiao-yi-ming-236180","弘历塞宴四事横轴(贯跤)","北京故宫博物院","以青绿山水铺就雄浑底色，层峦茂林间铺展塞宴盛景。校场之上跤手相搏，周遭武士肃立分列，官员侍从神态各异，或凝神观赛，或静候待命。远景帐幄连绵、驼队逶迤，将秋狝行猎的塞外氛围烘托尽致。\n画作工笔细腻，设色妍丽雅致，兼具院体画的规整纪实与风物绘的生动鲜活，将塞上习武宴游的盛大场景定格，既彰显出康乾盛世的恢宏气象，也尽显游牧围猎的独特塞外风情，是纪实性与艺术性相融的佳作。",[71,92,26,25,24,33,32,28,194,7,29,31,195],"骆驼","山峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe0d7a3293f2e36650fa58befd46b885.jpg",[58,80,41],37,{"id":200,"slug":201,"title":202,"dynasty":203,"author":88,"museum":49,"description":204,"tags":205,"thumbUrl":207,"material":208,"size":209,"collection":80,"collections":210,"showCount":211,"zanCount":11,"manualWeight":11,"mainColor":44},216729,"cai-wen-ji-gui-han-tu-juan-yi-ming-216729","蔡文姬归汉图卷","元","蔡文姬归汉图卷是一幅来自中国元朝时期的绘画作品，作者不详。这幅作品描绘了蔡文姬的故事，蔡文姬是中国古代传奇人物，被认为是中国历史上最伟大的女子琴师之一。\n\n蔡文姬归汉图卷描绘了蔡文姬归汉的故事，她最终回到了中国。",[23,92,71,72,26,112,25,32,28,194,7,206],"古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa205e6ef03d2c82dc7ac2a4de33cb74.jpg","绢本,水墨","31.5x89.5",[80],33,{"id":213,"slug":214,"title":215,"dynasty":216,"author":88,"museum":49,"description":217,"tags":218,"thumbUrl":220,"material":57,"size":57,"collection":57,"collections":221,"showCount":222,"zanCount":11,"manualWeight":11,"mainColor":44},223622,"hu-jia-shi-ba-pai-tu-juan-yi-ming-223622","胡笳十八拍图卷","明","这是诗书画合一的叙事长卷，以古雅绢本为底，绘图配书，徐徐铺展蔡文姬的半生流离。画面里车马辚辚、城郭乡野、人物衣冠皆贴合古制，细节里藏着乱世羁旅的沉郁。每段题笔与场景呼应，将去国的怆然、归汉别子的两难尽数渲染，笔致朴拙温婉，把《胡笳十八拍》里的哀恸与深情具象为可视的场景，让文辞的悲戚落在人物的眉眼、步履之间，带着旧绢的温润底色，诉尽乱世女子的飘零宿命，让千年前的家国离愁跨越岁月，静静铺陈在卷上。",[23,92,71,72,26,25,24,112,32,28,148,150,7,33,29,219],"车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a822cce9a1c19b42a164c7a30f03db9.jpg",[],32,{"id":224,"slug":225,"title":226,"dynasty":18,"author":227,"museum":20,"description":228,"tags":229,"thumbUrl":234,"material":235,"size":236,"collection":58,"collections":237,"showCount":238,"zanCount":11,"manualWeight":11,"mainColor":62},222844,"hua-wan-bang-sui-lv-tu-juan-hong-wu-222844","画万邦绥屡图卷","弘旿","弘旿（1743年－1811年），爱新觉罗氏，是清朝康熙帝二十四子允秘的次子，画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。生母为允秘的侧福晋殷氏，殷大成之女。他在乾隆八年癸亥九月三十日寅时生，乾隆二十八年（公元1763年）封二等镇国将军，乾隆三十九年（公元1774年）晋贝子，乾隆四十三年（公元1778年）因事革退，乾隆五十九年（公元1794年）封奉恩将军，嘉庆四年（公元1799年）又革退，嘉庆十四年（公元1809年）复封奉恩将军。《石渠宝笈》著录弘旿画计有三十多件，内府收藏的估计还有不少。可见弘旿作画之勤，亦可见乾隆帝对他笔墨的赞许。其《自题山水画册》诗，有疏朗、清越之韵律。工于书画，书兼四体，其山水画作得董邦达之妙谛，花木具有古朴陈香；治石印有元、明篆刻的风格。有《听泉图》、《板桥僧舍图》、《江山拱翠图》、《仿唐寅山水图》、《素濑松吟》等。乾隆五十七年（1792）和阮元、铁保等人游万寿寺，写《七松图扇》等。家富于藏书，藏书楼名“静寄轩”，嘉庆十六年（公元1811年）薨，享年68岁，有子7人。由第五子永松袭封奉恩将军。",[23,71,26,25,33,230,32,28,179,7,29,149,54,31,231,232,233],"皴法","牧童","牧民","云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf84832b44c645958e870473163f5207.jpg","立轴，纸本，设色","112.2×53cm",[58,41],18,{"id":240,"slug":241,"title":242,"dynasty":18,"author":19,"museum":49,"description":50,"tags":243,"thumbUrl":251,"material":56,"size":57,"collection":57,"collections":252,"showCount":253,"zanCount":11,"manualWeight":11,"mainColor":62},216841,"zhan-zheng-tong-ban-hua-3-lang-shi-ning-216841","战争铜版画-3",[244,245,53,246,32,247,248,249,7,250],"铜制","版画","历史画","战马","军队","营地","山地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa78fcb5bcb1faa51de7c5020c331aeb9.jpg",[],13,{"id":255,"slug":256,"title":257,"dynasty":87,"author":88,"museum":49,"description":258,"tags":259,"thumbUrl":261,"material":57,"size":57,"collection":57,"collections":262,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":44},227226,"jiang-mo-bian-yi-ming-227226","降魔变","【 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