[{"data":1,"prerenderedAt":524},["ShallowReactive",2],{"subject-zhong-xi-he-bi":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},1408,"zhong-xi-he-bi","中西合璧","中西合璧画高清赏析","精选中国历代中西合璧题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ae097b856067405292f5b53c28e038e.jpg",0,38,[14,45,68,89,113,135,146,157,175,185,200,219,233,244,257,266,278,289,299,307,325,336,345,355,363,372,382,391,407,423,438,449,462,471,480,493,505,517],{"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。",[23,24,25,26,7,27,28,29,30,31,32,33,34,35],"高清","工笔","设色","长卷","马","树木","河流","草地","人物","帐篷","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":20,"description":49,"tags":50,"thumbUrl":61,"material":62,"size":63,"collection":39,"collections":64,"showCount":65,"zanCount":66,"manualWeight":11,"mainColor":67},218854,"san-yang-kai-tai-tu-lang-shi-ning-218854","三羊开泰图","其画风中融合特殊中西笔触，尤其是运用写实画派光影透视技巧，郎氏画作特别讨喜尤受皇帝欣赏。\n三羊开泰用于岁首祝福时，人们也常用“三羊”来代替“三阳”，把“三阳开泰”写成“三羊开泰”，乃取其谐音而已。根据泰卦的释义，“三阳开泰”的引申意思，则有好运即将降临之意。\n拿“三羊”来代替“三阳”，除了“羊”与“阳”两字谐音而外，也还有寓有更隐蔽的深层的文化含义。",[23,51,52,24,25,7,53,54,55,56,57,58,30,59,60],"清代","国画","写实","羊","兽","梅","竹","石","植物","立轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4b031b067e2d9172399a90dab58307e.jpg","绢本,设色","横60厘米 纵98厘米",[39],135,4,"BDBDBD",{"id":69,"slug":70,"title":71,"dynasty":18,"author":19,"museum":72,"description":73,"tags":74,"thumbUrl":81,"material":82,"size":83,"collection":39,"collections":84,"showCount":87,"zanCount":88,"manualWeight":11,"mainColor":67},236270,"qian-long-huang-di-luo-yan-tu-lang-shi-ning-236270","乾隆皇帝落雁图","北京故宫博物院","此图是乾隆皇帝谕令宫廷画家绘制的巡狩题材系列作品之一。图绘乾隆皇帝在悬崖石壁处，弯弓射雁的情景，表现了乾隆皇帝极强的反应能力和精准的骑射功力。\n根据图中所运用的绘画技法分析，此幅是件中西画家合璧之作。图中乾隆皇帝的肖像及坐骑白马、大雁由西洋画家郎世宁所绘，其笔法细腻，造型准确，尤其将大雁中箭后向下滑行时的动感，及乾隆皇帝箭发后，手由动到静的瞬间都表现得恰到好处，显示出作者具有较强的观察力和表现力。图中点景的山石、树木及溪流当出自中国画家之手，笔墨法度严谨，点染娴熟，得宋元人古意，高大的石壁与树木、曲水共同营造出一个清幽的狩猎环境，将本是伤残的行猎活动点缀得惬意而温馨。",[52,75,76,60,24,25,7,31,27,77,33,78,79,30,29,80],"名画","书画","飞鸟","枯树","岩石","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe798b081b98ec064f1de8deddba91ab5.jpg","绢本，设色","纵259厘米，横171.6厘米",[39,85,86,41],"山水画精选","人物画精选",97,2,{"id":90,"slug":91,"title":92,"dynasty":18,"author":19,"museum":93,"description":94,"tags":95,"thumbUrl":108,"material":109,"size":109,"collection":109,"collections":110,"showCount":111,"zanCount":112,"manualWeight":11,"mainColor":67},230206,"yuan-ming-yuan-tong-ban-hua-lang-shi-ning-230206","圆明园铜版画","藏地不详","《圆明园铜版画》是清代郎世宁于1724年创作的纸本画，共2开。\n本幅无款印。\n清雍正二年（1724年）， 皇帝决定扩建康熙年间即已开始兴建的 。\n在雍正、乾隆两朝持续不断的大规模扩建中，通晓西洋建筑学的 曾与法国传教士 、 等一起参与园内著名的“西洋楼”的设计和工程督造，并有机会在较长的时间里住在这座东方名园内，为装饰殿堂画了多幅作品，其中既有欧洲风格的油画，也有以欧洲 在平面上表现深远效果的“线法画”。\n虽然郎世宁在圆明园的这些创作由于兵燹的劫难早已湮没无存，但从此册铜版组画中，我们仍然可以看到郎世宁等西洋宫廷画家在宫廷建筑绘画上的高超造诣与成就。\n这组完全西式的铜版组画也成为清代宫廷建筑绘画全新技法的代表作。\n郎世宁（1688—1766年），意大利米兰人，原名朱塞佩·伽斯底里奥内（Giuseppe Castiglione），青年时期受到系统的绘画训练，后来加入了欧洲基督教下属的宗教组织耶稣会，并于1714年（清·康熙五十三年）以传教士的身份离开欧洲来到东方，次年抵达澳门，起汉名郎世宁，继而北上京师，随即于康熙末期进入宫廷供职，开始了他长达数十年的中国宫廷艺术家的生涯。\n郎世宁在清宫廷内为皇帝画了多幅表现当时重大事件的历史画，以及众多的人物肖像、走兽、花鸟画作品，还将欧洲的焦点透视画法介绍到中国，协助中国学者年希尧完成了叙述这一画法的著作《视学》，成为当时东西方文化交流的重要使者。\n1766年7月16日（清乾隆三十一年六月初十日）郎世宁在北京病逝，终年78岁。",[96,24,97,7,98,99,100,28,101,102,103,104,105,106,107],"铜版画","界画","楼阁","喷泉","园林","山石","水池","建筑","庭院","雕塑","栏杆","对称布局","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2f65b9eb8fabb63e8ae379edc225897.jpg","",[],84,3,{"id":114,"slug":115,"title":116,"dynasty":18,"author":19,"museum":20,"description":117,"tags":118,"thumbUrl":130,"material":25,"size":131,"collection":109,"collections":132,"showCount":133,"zanCount":134,"manualWeight":11,"mainColor":67},222743,"xian-e-chang-chun-tu-03a-lang-shi-ning-222743","仙萼长春图-03a","本册共十六开内容分别描绘牡丹、桃花、芍药、海棠玉兰、虞美人、蝴蝶花、黄刺玫牡丹、石竹、樱桃、罂粟、紫白丁香、百合花牡丹、翠竹牵牛、荷花慈姑花、豆花稷穗、鸡冠花、菊花等，其中有八开还画有鸟禽，整册内容与《石渠宝笈三编》著录之〈郎世宁画花卉册〉一致，对幅皆是空白，而最末一开有宋体书款「臣郎世宁恭画」，依据画风特色推测是郎世宁雍正时期的花鸟佳作。全册不仅设色精緻，构图手法也见新意。特别能于鸟禽形体姿态上有超乎传统的表现，是西法透视手法的精采成果。画中花鸟多处能够显示光影明暗，透过白色颜料提点高光的技巧也常见运用。整册画风都一再显示其与郎世宁雍正前期画风有关。",[23,75,52,76,119,25,24,7,53,120,121,122,123,124,125,59,126,127,128,101,129],"册","花鸟","花卉","孤石","叶片","花朵","草木","色彩","造型逼真","枝叶","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83860a3be34dc8440f2f86b13d28b9f5.jpg","宽28.4公分，高33.7公分",[],83,1,{"id":136,"slug":137,"title":138,"dynasty":18,"author":19,"museum":20,"description":117,"tags":139,"thumbUrl":143,"material":25,"size":131,"collection":109,"collections":144,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":67},222748,"xian-e-chang-chun-tu-05b-lang-shi-ning-222748","仙萼长春图-05b",[23,75,52,76,119,25,24,7,120,140,121,141,142],"鸟","树枝","叶子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa2ff46c0b7d6fa3b8909b3f40b0c5a9.jpg",[],69,{"id":147,"slug":148,"title":149,"dynasty":18,"author":19,"museum":20,"description":117,"tags":150,"thumbUrl":154,"material":25,"size":131,"collection":109,"collections":155,"showCount":156,"zanCount":11,"manualWeight":11,"mainColor":67},222745,"xian-e-chang-chun-tu-04a-lang-shi-ning-222745","仙萼长春图-04a",[23,18,24,25,7,53,120,151,121,152,59,153],"蝴蝶","石竹","翎毛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83adf550c4dfb61e69df42d9f19a27ee.jpg",[],68,{"id":158,"slug":159,"title":160,"dynasty":161,"author":162,"museum":163,"description":164,"tags":165,"thumbUrl":172,"material":109,"size":173,"collection":109,"collections":174,"showCount":156,"zanCount":11,"manualWeight":11,"mainColor":67},222075,"kun-yu-wan-guo-quan-tu-li-ma-dou-222075","坤舆万国全图","明","利玛窦","南京博物院","《坤舆万国全图》是意大利耶稣会的传教士利玛窦在中国传教时与李之藻合作刊刻的世界地图，该图于明万历三十年在北京付印后，刻本在国内已经失传。南京博物院所藏《坤舆万国全图》为明万历三十六年（1608）宫廷中的彩色摹绘本，是国内现存最早的、也是唯一的一幅据刻本摹绘的世界地图。\n利玛窦绘制《坤舆万国全图》时，以当时的西方世界地图为蓝本，并改变了当时通行的将欧洲居于地图中央的格局，把子午线向左移动170度从而将亚洲东部居于世界地图的中央，这样，中国就自然而然位于该图的中心。此举开创了中国绘制世界地图的模式。",[23,25,166,7,167,168,169,170,171],"彩绘","陆地","海洋","经纬线","地理","地图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9ebe279fb74033ccd7435beb56cf881.jpg","高5英尺（1.52米），宽12英尺（3.66米）",[],{"id":176,"slug":177,"title":178,"dynasty":18,"author":19,"museum":20,"description":117,"tags":179,"thumbUrl":182,"material":25,"size":131,"collection":109,"collections":183,"showCount":184,"zanCount":134,"manualWeight":11,"mainColor":67},222739,"xian-e-chang-chun-tu-01a-lang-shi-ning-222739","仙萼长春图-01a",[23,75,52,76,119,24,25,120,180,181,7],"牡丹","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F327134945f8934e75f6ed2989c364895.jpg",[],63,{"id":186,"slug":187,"title":188,"dynasty":18,"author":19,"museum":20,"description":189,"tags":190,"thumbUrl":196,"material":37,"size":197,"collection":85,"collections":198,"showCount":199,"zanCount":11,"manualWeight":11,"mainColor":44},222760,"shi-er-yue-ling-tu-12-yue-lang-shi-ning-222760","十二月令图（12月）","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",[23,75,52,24,25,97,7,31,98,33,191,28,104,192,193,106,101,194,103,195],"雪地","房屋","台阶","冬季","人物活动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59e46a0d4516642432e21125cc72aab.jpg","188.2*102.2cm",[85,41],61,{"id":201,"slug":202,"title":203,"dynasty":18,"author":19,"museum":20,"description":204,"tags":205,"thumbUrl":215,"material":82,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图中所绘苍松、雄鹰、灵芝、山石、流水，在中国文化中多有强健、长寿和吉祥的美好寓意。但在色彩上，鹰白、松绿、芝棕红、土坡绛色和藤萝花粉紫，却是不同于中国传统、属于郎世宁风格的鲜明、绚丽和浓重。",[23,75,52,76,60,24,25,7,225,226,101,227,228],"松树","瀑布","白鹰","灵芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35ede8b111d7cac1c43336e0de1b2972.jpg","纵242.3cm，横157.1cm",[39],56,{"id":234,"slug":235,"title":236,"dynasty":18,"author":19,"museum":20,"description":117,"tags":237,"thumbUrl":241,"material":25,"size":131,"collection":109,"collections":242,"showCount":243,"zanCount":11,"manualWeight":11,"mainColor":67},222737,"xian-e-chang-chun-tu-dou-hua-lang-shi-ning-222737","仙萼长春图豆花",[23,75,52,76,119,25,24,53,7,120,238,239,30,240,59,77],"豆花","麻雀","石块","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf7cbebeb96400b2f7cc4f921366e047.jpg",[],37,{"id":245,"slug":246,"title":247,"dynasty":18,"author":19,"museum":72,"description":248,"tags":249,"thumbUrl":253,"material":82,"size":254,"collection":109,"collections":255,"showCount":256,"zanCount":11,"manualWeight":11,"mainColor":67},232937,"qian-long-huang-di-da-yue-tu-zhou-lang-shi-ning-232937","乾隆皇帝大阅图轴","本幅无作者款印，据作品画风，无疑系郎世宁真笔。\n乾隆四年（1739年），皇帝弘历亲临南苑检阅八旗军的队列及各种兵器、火器的操练活动，乾隆每3年大阅一次，以壮军威，鼓士气。\n本幅系弘历29岁时的戎装像，精神焕发，亦系郎世宁的盛年佳作。但此时画家对传统中国绘画尚处在学习阶段，图中的表现技法基本上是采用中国传统的绘画工具和材料而取得了西方细笔油画的艺术效果。作者减弱了对景物、人马的素描手法，以平光处理明暗，线条在起到轮廓线的作用后几乎被色彩隐去，天空中云彩的画法全出自西法，近景的草叶近乎西方的静物写生，只有远山的结构保留了清宫写实山水的一些程序。",[75,60,24,25,31,27,33,30,250,251,252,7],"盔甲","服饰","弓箭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e75bd6adc859c5fc594e91cce70fb3d.jpg","纵332.5厘米，横232厘米",[],33,{"id":258,"slug":259,"title":260,"dynasty":18,"author":19,"museum":20,"description":117,"tags":261,"thumbUrl":263,"material":25,"size":131,"collection":109,"collections":264,"showCount":265,"zanCount":11,"manualWeight":11,"mainColor":67},222731,"xian-e-chang-chun-tu-zi-bai-ding-xiang-lang-shi-ning-222731","仙萼长春图紫白丁香",[23,52,76,119,24,25,120,262,140,128,124,53,7],"丁香","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ffcb1593f89bbebafa1e0c5468c60b4.jpg",[],27,{"id":267,"slug":268,"title":269,"dynasty":18,"author":19,"museum":72,"description":270,"tags":271,"thumbUrl":274,"material":82,"size":275,"collection":109,"collections":276,"showCount":277,"zanCount":134,"manualWeight":11,"mainColor":67},232975,"hua-niao-ce-lang-shi-ning-232975","花鸟册","此图册分别描绘了牡丹、兰花、罂粟、萱草、荷花、梅花等艳丽多姿的花卉和体态生动的蝶、鸟。构图上取法中国传统花鸟画的格局，以虚托实，注重对所绘物象的突出。在表现技法上，则充分发挥了欧洲绘画注重明暗及透视的特点，以工致细腻的笔触，刻画出花瓣、叶片以及鸟雀的羽毛质感和体积感，呈现出与传统的中国花鸟画迥然不同的艺术风貌。这种“中西合璧”的画风成为清代宫廷绘画艺术的一大特色，受到了清皇室的青睐。",[75,52,76,24,25,7,120,151,121,59,272,273],"昆虫","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a5b70c75f435968ca94dcef15bf7a87.jpg","纵32.6厘米，横28.6厘米",[],24,{"id":279,"slug":280,"title":281,"dynasty":18,"author":19,"museum":20,"description":282,"tags":283,"thumbUrl":285,"material":82,"size":286,"collection":109,"collections":287,"showCount":288,"zanCount":11,"manualWeight":11,"mainColor":67},222756,"ba-jun-tu-lang-shi-ning-222756","八骏图","清郎世宁八骏图，虽然是采用中国传统的颜料来作画，但在马匹、人物和柳树的表现上，却融入了西画著重光影的手法，显得立体感十足。右下角的签名，用极工整的仿宋体书写，据此推测，此画应是郎世宁来华初期，亦即雍正年间（1723-1735）的作品。",[23,75,52,76,60,24,25,7,53,27,284,31,181,34],"柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28adc62fbf3174d00b42d379a53d67ea.jpg","139.3公分，横：80.2公分",[],22,{"id":290,"slug":291,"title":269,"dynasty":18,"author":19,"museum":72,"description":270,"tags":292,"thumbUrl":296,"material":82,"size":275,"collection":109,"collections":297,"showCount":298,"zanCount":134,"manualWeight":11,"mainColor":67},232971,"hua-niao-ce-lang-shi-ning-232971",[75,52,76,119,24,25,7,293,58,212,120,53,294,295],"兰","笔墨","光影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f6041cf4527a2b11a1a31782ac66d2a.jpg",[],20,{"id":300,"slug":301,"title":269,"dynasty":18,"author":19,"museum":72,"description":270,"tags":302,"thumbUrl":304,"material":82,"size":275,"collection":109,"collections":305,"showCount":306,"zanCount":134,"manualWeight":11,"mainColor":67},232977,"hua-niao-ce-lang-shi-ning-232977",[75,52,76,24,25,53,7,120,303,128,101,181],"鸡冠花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f9ab946d5a201439dab3f6a1a5100fc.jpg",[],17,{"id":308,"slug":309,"title":310,"dynasty":18,"author":19,"museum":93,"description":311,"tags":312,"thumbUrl":321,"material":322,"size":323,"collection":109,"collections":324,"showCount":306,"zanCount":134,"manualWeight":11,"mainColor":67},230210,"hua-niao-ce-ye-lang-shi-ning-230210","花鸟册页","郎世宁（Giuseppe Castiglione，1688.7.19-1766.7.16），原名朱塞佩·伽斯底里奥内，圣名若瑟，天主教耶稣会修士、画家，意大利米兰人。\n1715年（清康熙五十四年）来中国传教，随即入皇宫任宫廷画家，历经康熙、雍正、乾隆三朝，在中国从事绘画50多年，并参加了圆明园西洋楼的设计工作，为清代宫廷十大画家之一。 郎世宁擅绘骏马、人物肖像、花卉走兽，风格上强调将西方绘画手法与传统中国笔墨相融合，受到皇帝的喜爱，也极大地影响了康熙之后的清代宫廷绘画和审美趣味。\n其主要作品有《十骏犬图》《百骏图》《乾隆大阅图》《瑞谷图》《花鸟图》《百子图》《聚瑞图》《仙萼长春图册》《心写治平图》（《乾隆帝后妃嫔图卷》）等。",[23,75,52,76,313,24,25,7,53,120,314,315,316,317,318,212,319,320,181],"册页","树","花枝","红花","白花","绿叶","书法","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd86884ab1f15d686ff36b410f28ce7da.jpg","未知","Xcm*Xcm",[],{"id":326,"slug":327,"title":328,"dynasty":18,"author":19,"museum":72,"description":270,"tags":329,"thumbUrl":334,"material":82,"size":275,"collection":109,"collections":335,"showCount":306,"zanCount":11,"manualWeight":11,"mainColor":67},222790,"hua-niao-ce-ye-10-lang-shi-ning-222790","花鸟册页10",[23,75,52,76,313,24,25,7,53,120,330,124,142,331,59,295,332,333],"鸢尾花","石头","透视","重彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26cf8023c1a700d7d63d7c95b0ee1172.jpg",[],{"id":337,"slug":338,"title":339,"dynasty":18,"author":19,"museum":72,"description":270,"tags":340,"thumbUrl":342,"material":82,"size":275,"collection":109,"collections":343,"showCount":344,"zanCount":134,"manualWeight":11,"mainColor":67},222784,"hua-niao-ce-ye-04-lang-shi-ning-222784","花鸟册页04",[23,52,75,76,119,24,25,7,320,319,120,151,121,341,59],"草叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0af1fe78069d3bb1e3fc5bb35e1c1436.jpg",[],14,{"id":346,"slug":347,"title":348,"dynasty":18,"author":19,"museum":72,"description":270,"tags":349,"thumbUrl":352,"material":82,"size":275,"collection":109,"collections":353,"showCount":354,"zanCount":134,"manualWeight":11,"mainColor":67},222787,"hua-niao-ce-ye-07-lang-shi-ning-222787","花鸟册页07",[23,52,75,76,313,24,25,7,120,350,140,128,351,319,181],"菊花","藤蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94fb8508d2a99083a74c38b6844e1704.jpg",[],10,{"id":356,"slug":357,"title":358,"dynasty":18,"author":19,"museum":72,"description":270,"tags":359,"thumbUrl":361,"material":82,"size":275,"collection":109,"collections":362,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":67},222786,"hua-niao-ce-ye-06-lang-shi-ning-222786","花鸟册页06",[23,52,76,120,313,24,25,53,7,360,315,101,121,125],"兰花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cfbd368ce8a13d8f1c449151eb2224a.jpg",[],{"id":364,"slug":365,"title":366,"dynasty":18,"author":19,"museum":72,"description":270,"tags":367,"thumbUrl":370,"material":82,"size":275,"collection":109,"collections":371,"showCount":354,"zanCount":88,"manualWeight":11,"mainColor":67},222783,"hua-niao-ce-ye-03-lang-shi-ning-222783","花鸟册页03",[23,75,52,76,313,120,24,25,7,368,151,369,121,153],"荷花","荷叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a19f1bd022351d63f2aba574d80b75b.jpg",[],{"id":373,"slug":374,"title":375,"dynasty":18,"author":19,"museum":72,"description":270,"tags":376,"thumbUrl":380,"material":82,"size":275,"collection":109,"collections":381,"showCount":354,"zanCount":134,"manualWeight":11,"mainColor":67},222782,"hua-niao-ce-ye-02-lang-shi-ning-222782","花鸟册页02",[23,75,52,76,313,24,25,7,53,377,120,378,124,379,318],"光影表现","罂粟花","花苞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ccfecb63f6077c37a83305fe3001965.jpg",[],{"id":383,"slug":384,"title":385,"dynasty":18,"author":19,"museum":72,"description":270,"tags":386,"thumbUrl":388,"material":82,"size":275,"collection":109,"collections":389,"showCount":390,"zanCount":134,"manualWeight":11,"mainColor":67},222789,"hua-niao-ce-ye-09-lang-shi-ning-222789","花鸟册页09",[23,75,52,76,313,24,25,7,53,387,120,121,331,128,316,303],"细腻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73c3e2ee11b27dd75906effcdda8e37d.jpg",[],8,{"id":392,"slug":393,"title":394,"dynasty":18,"author":19,"museum":93,"description":395,"tags":396,"thumbUrl":404,"material":405,"size":109,"collection":109,"collections":406,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":67},216831,"zhan-zheng-tong-ban-hua-14-lang-shi-ning-216831","战争铜版画-14","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。",[75,96,51,53,7,397,31,98,398,399,400,401,402,104,403],"战争场景","兵器","队列","中式建筑","士兵","官员","军队","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc20f6a9ecc541a4ae1e2a448539914b9.jpg","水墨",[],{"id":408,"slug":409,"title":410,"dynasty":18,"author":411,"museum":72,"description":412,"tags":413,"thumbUrl":420,"material":109,"size":421,"collection":109,"collections":422,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":67},223195,"geng-zhi-tu-ce-jiao-bing-zhen-223195","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。",[52,24,25,97,313,7,332,31,192,28,414,104,59,415,416,103,417,418,419],"栅栏","农耕","劳作场景","自然景物","细致线条","色彩晕染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a7e62abef33f1a50cee03a9181381d0.jpg","34.7cm×27.7cm",[],{"id":424,"slug":425,"title":410,"dynasty":18,"author":411,"museum":72,"description":412,"tags":426,"thumbUrl":436,"material":109,"size":421,"collection":109,"collections":437,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":67},223186,"geng-zhi-tu-ce-jiao-bing-zhen-223186",[52,76,24,25,7,51,31,427,192,28,428,429,430,431,432,433,434,435],"农具","田园","农作场景","工笔画法","田园风光","设色景物","农作","田园景物","西洋透视","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4baad1cba38968e4bc4d7bb8cc8f7911.jpg",[],{"id":439,"slug":440,"title":441,"dynasty":18,"author":19,"museum":93,"description":395,"tags":442,"thumbUrl":447,"material":405,"size":109,"collection":109,"collections":448,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":67},216803,"zhan-zheng-tong-ban-hua-45-lang-shi-ning-216803","战争铜版画-45",[96,443,444,31,27,33,101,28,98,53,7,445,103,401,446],"雕刻","战争","山石皴法","动态场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3098c59247a2c66922b1cf43f9ed3b88.jpg",[],{"id":450,"slug":451,"title":452,"dynasty":18,"author":19,"museum":93,"description":395,"tags":453,"thumbUrl":460,"material":405,"size":109,"collection":109,"collections":461,"showCount":112,"zanCount":11,"manualWeight":11,"mainColor":67},216818,"zhan-zheng-tong-ban-hua-26-lang-shi-ning-216818","战争铜版画-26",[96,7,53,454,397,455,456,457,401,458,28,103,459],"线刻","山峦","城堡","防御工事","云雾","战场","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1c195a3d473ba74b85895cba0a65460.jpg",[],{"id":463,"slug":464,"title":410,"dynasty":18,"author":411,"museum":72,"description":412,"tags":465,"thumbUrl":469,"material":109,"size":421,"collection":109,"collections":470,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":67},223202,"geng-zhi-tu-ce-jiao-bing-zhen-223202",[75,52,76,313,24,25,7,466,53,31,427,428,467,415,468],"透视法","蚕桑","纺织","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0992d17427623faa5a9a8be40cc5df39.jpg",[],{"id":472,"slug":473,"title":474,"dynasty":18,"author":19,"museum":93,"description":395,"tags":475,"thumbUrl":478,"material":405,"size":109,"collection":109,"collections":479,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":67},216839,"zhan-zheng-tong-ban-hua-2-lang-shi-ning-216839","战争铜版画-2",[18,96,7,444,31,27,33,28,29,455,403,476,401,477],"骑兵","地形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc3c70671345dae94b97b1c13326254c.jpg",[],{"id":481,"slug":482,"title":483,"dynasty":18,"author":19,"museum":93,"description":395,"tags":484,"thumbUrl":491,"material":405,"size":109,"collection":109,"collections":492,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":67},216825,"zhan-zheng-tong-ban-hua-24-lang-shi-ning-216825","战争铜版画-24",[96,485,53,7,33,31,401,486,455,101,28,487,488,458,489,490,398],"蚀刻","战斗","堡垒","路径","植被","军事防御工事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecc647fdf8d4ff4c6db24781e5d24665.jpg",[],{"id":494,"slug":495,"title":496,"dynasty":18,"author":19,"museum":93,"description":395,"tags":497,"thumbUrl":503,"material":405,"size":109,"collection":109,"collections":504,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":67},216785,"zhan-zheng-tong-ban-hua-61-lang-shi-ning-216785","战争铜版画-61",[96,7,53,444,401,498,499,29,28,455,500,459,501,502,403,454],"战马","桥梁","城池","烟雾","道路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce09a59ea5a18f1b27b2a0cfb5026979.jpg",[],{"id":506,"slug":507,"title":410,"dynasty":18,"author":411,"museum":72,"description":412,"tags":508,"thumbUrl":515,"material":109,"size":421,"collection":109,"collections":516,"showCount":134,"zanCount":11,"manualWeight":11,"mainColor":67},223176,"geng-zhi-tu-ce-jiao-bing-zhen-223176",[52,24,25,313,31,509,28,510,511,53,7,332,512,513,514],"稻田","田埂","劳作","农耕场景","小路","水田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89d193c601c0a77b94a26610b704d807.jpg",[],{"id":518,"slug":519,"title":520,"dynasty":18,"author":19,"museum":93,"description":395,"tags":521,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