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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。",[58,100,101,26,102,103,104,7,105,106,107,108,109,29,110,111,112,28,113,114,115],"油画","后印象派","夜晚","咖啡馆","露台","行人","建筑","星空","鹅卵石街道","灯光","遮阳篷","窗户","门","天空","星星","街道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc99b9b8fa41b5faffd98b459fbff668a.jpg","未知","Xcm*Xcm","油画精选",[119],84,{"id":123,"slug":124,"title":125,"dynasty":126,"author":127,"museum":76,"description":128,"tags":129,"thumbUrl":136,"material":42,"size":137,"collection":44,"collections":138,"showCount":139,"zanCount":11,"manualWeight":11,"mainColor":48},218312,"ying-xi-tu-han-cheng-218312","婴戏图","元","韩晟","这幅画描绘了一个农场，许多孩子在玩耍，四个孩子在玩滑梯，一个亭子在下棋和读书，院子里有一个骑士和一只蚂蚱。嬉戏打闹，无可否认地表达了孩子们的活泼、快乐、童真和美丽的外表。",[24,25,26,27,130,28,131,132,81,30,29,133,7,134,135],"界画","孩童","楼阁","盆栽","玩具","围栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3189fe2b51b76e3feedecd63c68921ed.jpg","139.4x76.2",[44],83,{"id":141,"slug":142,"title":143,"dynasty":74,"author":144,"museum":20,"description":145,"tags":146,"thumbUrl":149,"material":150,"size":151,"collection":44,"collections":152,"showCount":153,"zanCount":154,"manualWeight":11,"mainColor":90},216095,"tai-ping-le-shi-tu-ce-dai-jin-216095","太平乐事图册","戴进","此册共十开，分别绘「婴戏」、「骑牛」、「娱乐」、「戏耍」、「捕鱼」、「试射」、「耕罢」、「观戏」、「木马」、「牧归」等题材。其中数开以宋元名画为本：如第二开妇人哺乳之形象，可见于南宋李嵩〈市担婴戏〉（国立故宫博物院）；第九开「木马」则取自元任仁发〈果老见明皇〉（北京故宫博物院）；第十开则摹自宋人〈春社醉归〉。其余几开，皆透过人物之「观看」，将观者目光聚焦于画中场景，而营造某种叙事情节。绘人物之线条采「钉头鼠尾」（起笔钝重、收笔细）之笔法，与画史对戴进人物风格之描述吻合。然整体笔墨略显软弱、平直，或为晚期浙派画家根据戴进真迹加以临仿之作。",[24,26,147,28,131,7,38,148,27],"册","民俗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69d6277ebff97c525e8c808b42e4ea48.jpg","纸本,设色","22.8x22cm",[44],73,1,{"id":156,"slug":157,"title":158,"dynasty":159,"author":160,"museum":161,"description":162,"tags":163,"thumbUrl":172,"material":173,"size":174,"collection":65,"collections":175,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":48},223075,"hong-lou-meng-61-sun-wen-223075","红楼梦61","清","孙温","旅顺博物馆","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[23,24,27,26,130,28,164,165,132,30,29,166,167,60,38,7,168,169,170,171],"山水","雪景","围墙","房屋","红楼梦题材","室内场景","陈设","古典","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ce8b0c32c96d9c86a13f94caf067894.jpg","绢本","纵43.3厘米、横76.5厘米",[],48,{"id":178,"slug":179,"title":180,"dynasty":159,"author":181,"museum":97,"description":182,"tags":183,"thumbUrl":187,"material":65,"size":65,"collection":65,"collections":188,"showCount":189,"zanCount":154,"manualWeight":11,"mainColor":48},239312,"gong-fei-hua-chong-tu-zhou-ding-guan-peng-239312","宫妃话宠图轴","丁观鹏","取景幽寂庭院，修竹扶疏，晕出宫苑清冷雅致的底色。仕女华服温婉，神情各别，或凭栏私语，或侍弄案上清供，将深宫女子的隐秘心绪藏于眉梢眼角之间。\n画作工细妍丽，线条匀净流畅，设色秀雅沉静。案头盆景、陈设器物描摹入微，既还原了宫苑闲趣日常，又暗透出深闺幽闭中的缱绻心事。笔触婉转细腻，将闲寂悠长的深宫氛围悄然铺陈，在柔婉的仕女情态里，藏着含蓄的情绪张力，尽显仕女画的雅致韵致。",[24,25,184,26,27,28,60,185,133,186,7,38],"立轴","竹","栏杆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2af47c93549f345fb95b556ecd7a19e8.jpg",[],47,{"id":191,"slug":192,"title":193,"dynasty":18,"author":194,"museum":76,"description":195,"tags":196,"thumbUrl":203,"material":204,"size":205,"collection":44,"collections":206,"showCount":207,"zanCount":208,"manualWeight":11,"mainColor":90},216770,"xiao-jing-tu-chang-juan-li-gong-lin-216770","孝经图长卷","李公麟","李公麟的孝经形象在宋代以来的各种作品中被反复提及，而且大多以不止一种形式流传。",[23,58,24,25,59,197,198,28,199,200,81,201,7,202],"白描","水墨","树","石","案几","景物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52813534dd45106294016e482651eab3.jpg","绢本,水墨","21.9x475.6",[44],46,2,{"id":210,"slug":211,"title":212,"dynasty":74,"author":213,"museum":214,"description":215,"tags":216,"thumbUrl":218,"material":65,"size":65,"collection":65,"collections":219,"showCount":220,"zanCount":154,"manualWeight":11,"mainColor":90},234208,"yin-zhong-ba-xian-tu-juan-li-shi-da-234208","饮中八仙图卷","李士达","北京故宫博物院","李士达的生活年代大约是十六世纪中叶到十七世纪初。在万历二年（公元1574年）考中进士，泰昌元年（公元1620年）还画过一幅《关山风雨图》，活了八十多岁。\n[明]号仰槐，一作仰怀，陕西省三原县人。万历元年（一五七三）癸酉乡试中举 [1] ，入雁塔题名碑，万历二年（一五七四） [2] 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