[{"data":1,"prerenderedAt":1040},["ShallowReactive",2],{"subject-zhuo-zi":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},637,"zhuo-zi","桌子","桌子画高清赏析","精选中国历代桌子题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe99c76b35d00ef90a74d1a8ec9e3b8c.jpg",0,78,[14,45,79,96,127,142,157,177,192,211,226,244,259,278,298,315,331,351,361,379,392,412,426,434,448,460,469,482,495,506,516,527,538,549,559,572,586,601,617,630,642,650,661,670,686,701,710,725,738,752,762,770,780,789,799,822,831,841,850,867,877,884,892,902,909,917,925,932,944,953,960,975,982,994,1006,1017,1023,1032],{"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},220358,"xi-yuan-ya-ji-tu-juan-shi-tao-220358","西园雅集图卷","清","石涛","上海博物馆","此长图景物繁复。庭园中芳草如茵，劲松盘根虬曲，柳树成荫，石桥流水，曲径通幽，清溪深处翠荫茂密，处处雅静怡人。此图布局严密，繁而不乱，密而不塞。通过作者苦心经营，将诸多不同人物、树木、山石、草木、花木及一些陈设，巧妙地统一在这幅长卷中。全卷结构井然有序，运思精妙，布局停匀。通卷虽不留空白，而疏密有致。\n全图共写人物24人，神态不一，衣着各异，人物组合有疏有密，却与空间的景物浑然一体。人物形象均以墨线勾写，几乎全为白描，设色淡雅，衣纹等看似信笔率意而成，实则深具功力，笔笔送到。人物形象逼真生动，有的造形略有夸张。总体来说，此画用笔淋漓纵率之中显得工致缜密，沉着痛快，墨色浓淡得宜。人物俱用细笔，所谓一种“细笔石涛”，精气逼人。山石、松木、芭蕉等，均在工写之间，形象精到，而又意趣动人。故此画不但是石涛的代表作，更是清代人物画发展中的精品。",[23,24,25,26,27,28,29,30,31,32,33,34,35,7],"高清","名画","国画","书画","长卷","设色","皴法","人物","山水","小桥","流水","树","石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38f5d3c589f09a558783d6079a9170b7.jpg","纸本,设色","纵36.5厘米，横328厘米","人物画精选",[39,41],"设色画精选",443,5,"BDBDBD",{"id":46,"slug":47,"title":48,"dynasty":49,"author":50,"museum":51,"description":52,"tags":53,"thumbUrl":70,"material":71,"size":72,"collection":73,"collections":74,"showCount":77,"zanCount":11,"manualWeight":11,"mainColor":78},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。",[23,25,26,54,55,56,57,58,59,60,61,62,63,30,64,7,65,66,67,68,69],"工笔","水墨","浅设色","边角构图","行书","印章","册页","明月","竹子","山石","酒具","远山","月夜","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",[73,75,76],"山水画精选","水墨画精选",220,"795548",{"id":80,"slug":81,"title":82,"dynasty":18,"author":83,"museum":51,"description":84,"tags":85,"thumbUrl":92,"material":37,"size":93,"collection":39,"collections":94,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":44},214808,"wu-ri-zhong-kui-tu-hua-yan-214808","午日钟馗图","华嵒","这幅画表现的是一朵石榴花靠着一块石头，在一个清澈的池塘里有一支箭。钟馗坐在椅子上，头戴绿帽，身穿大衣，欣赏着锦葵花。在他身后，桌子上放着水果、酒和香喷喷的饺子。五个鬼魂陪伴着他，一个拿着一把破伞遮挡阳光，一个手里拿着一个酒瓶，一个头上戴着花。其中一个人偷了一盘橙子，试图把它藏在腋下，但另一个鬼注意到了，用左手摘下他的围巾，用右手打他的上衣。另一个鬼注意到了，用他的左手摘下他的围巾，而他的右手打在他的上面。整幅画是故事性和趣味性的结合，观者不禁为之倾倒。",[23,25,26,28,55,86,30,87,88,7,89,90,59,67,63,91],"写意","柳树","孤石","伞","花草","垂柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbc9a31aafc0ced5a148f4c4af90990a.jpg","131.5x63.7",[39],160,{"id":97,"slug":98,"title":99,"dynasty":100,"author":101,"museum":102,"description":103,"tags":104,"thumbUrl":120,"material":121,"size":122,"collection":123,"collections":124,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":126},225616,"rembrandt-harmensz-van-rijn-020-lun-bo-lang-225616","Rembrandt 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Rijn，1606年7月15日～1669年10月4日）是欧洲17世纪最伟大的画家之一，也是荷兰历史上最伟大的画家。\n伦勃朗早年从师P.拉斯特曼，1625年在家乡开设画室。画作体裁广泛，擅长肖像画、风景画、风俗画、宗教画、历史画等领域。",[105,106,107,30,108,109,110,111,112,113,114,115,116,117,7,118,119],"油画","写实","明暗对比","男性","女性","书籍","烛台","布料","室内场景","胡须","白发","帽子","白色衣领","蜡烛","肖像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F879cda8e31773dcf7ca7b39f3116a968.jpg","未知","Xcm*Xcm","油画精选",[123],127,"37474F",{"id":128,"slug":129,"title":130,"dynasty":49,"author":131,"museum":102,"description":132,"tags":133,"thumbUrl":138,"material":139,"size":139,"collection":139,"collections":140,"showCount":141,"zanCount":43,"manualWeight":11,"mainColor":78},227801,"gong-nv-tu-liu-song-nian-227801","宫女图","刘松年","桐荫覆满深院，围栏外花木萦回，三位宫女消磨着悠长白日。红衣女子斜身倚过小杌，抬手遥遥指向前方，似唤榻上友人共赏景致，罗裙纹饰随抬手动作柔婉舒展。榻上宫女支颐托腮，目光追着前者指尖，眉眼浸着慵懒娇柔。立在侧旁的侍女垂眸静立，敛着恭谨自持。\n\n全幅设色古雅妍丽，衣物质感纤毫毕现，花木围栏皆以细笔晕染，棕褐绢底衬得满幅宁和。画中无宫闱沉郁，只将深宫日常里松弛闲散的片刻定格，把少女间的娇憨意趣藏在细腻笔触中，晕开宋时独有的雅致闲淡。",[23,25,24,26,134,54,28,30,135,34,7,136,112,137],"扇面","美人","凳子","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febc5296a5a36c0ab6eb8605bdcbdefd0.jpg","",[],105,{"id":143,"slug":144,"title":145,"dynasty":146,"author":147,"museum":51,"description":148,"tags":149,"thumbUrl":153,"material":37,"size":154,"collection":39,"collections":155,"showCount":156,"zanCount":11,"manualWeight":11,"mainColor":44},216952,"mi-tuo-fo-xiang-zhang-wo-216952","弥陀佛像","元","张渥","这幅弥勒佛烧香招蝠是竹园二年的张渥题写的，不是真迹，更接近明末人物画家的风格。",[25,26,28,54,150,30,151,152,35,7,110,59],"宗教","枯树","芭蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4241a4efd980f7cd16dde56a1e854820.jpg","87.5x30.4",[39],74,{"id":158,"slug":159,"title":160,"dynasty":49,"author":161,"museum":20,"description":162,"tags":163,"thumbUrl":172,"material":71,"size":173,"collection":139,"collections":174,"showCount":175,"zanCount":176,"manualWeight":11,"mainColor":78},223525,"ge-le-tu-yi-ming-223525","歌乐图","佚名","《歌乐图卷》描绘了南宋宫廷歌乐女伎演奏、排练的场景。画面中九位女伎、一位老乐官和二位女童于庭院中一字排开，手持笛、鼓、排箫、琵琶等多种乐器。画中人物均穿着南宋时期的典型服饰：九位女伎身材修长，穿着红色窄袖背子，高髻上饰以角状配饰；男性乐官佩戴朝天幞头，女童则戴簪花幞头。此卷所绘的人物及场景是南宋社会文化生活的生动写照。\n在技法上，《歌乐图》设色细腻鲜艳，用笔精细而能够随物应形，通过不同的笔法表现不同物象的特定质感，如衣纹流畅、竹叶劲挺、树石沉雄，写实且富于意趣。画面构图疏朗简洁，节奏感强，整体上呈现出相当高的艺术水平。而以歌乐女伎为表现题材的作品在南宋人物画中极为少见，具有相当高的历史、艺术价值。\n画面右侧为一棵棕榈树，树干以淡墨晕染，树叶双钩，并填以石绿色，上层的树叶以树身为轴呈对称状；地面上点缀了几丛花草，草叶以没骨写意法画出，地面上白色的小花以浑点点出；地面局部晕染石青，并勾勒有平行的水平线表现地面质理。画面左侧的配景，靠右边为太湖石和竹丛的组合，地面点缀花草，花草的描绘方式与右侧配景中的花草一致。太湖石的轮廓线比较粗犷、写意，石面以石青晕染，局部施以皴擦表现质理。太湖石后的竹子，竹竿和竹叶双钩，中间几株竹竿以石青晕染。太湖石和后面的竹丛也呈中轴对称状。左边有一段栏杆，栏杆后绘有一棵盛开着白色花朵的树，似为梨树，树干双钩，树身晕染，树叶为瓜子形点叶，白色的花瓣以椭圆形的点进行表现，画面美感十足。\n画中所绘九女子，皆披褙子外衣，此服饰出现于北宋年间，流行于南宋时代。在河南禹县白沙一号北宋墓壁画《伎乐图》，和传世的南宋《瑶台步月图》页中都可见到。此外，女子梳高髻并簪有三朵花状饰物的发式与南宋《瑶台步月图》页和《荷亭儿戏图》页中的女子发式相近。图中另二个女孩装扮官员样，所戴直脚幞头也是宋时官帽样式。另一位手抱琵琶的男艺人，穿圆领窄袖袍衫，戴曲脚幞头，与河北宣化辽墓壁画《散乐图》中的吹乐艺人相同。从此图人物的服饰和幞头考察，有宋制和辽制混合的形迹。",[23,25,26,27,28,54,30,135,164,165,166,34,35,167,168,169,170,7,171],"孩童","乐器","竹","栏杆","庭院","服饰","发饰","棕榈树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88da24574fef71de8346deb557e6bfd1.jpg","25.5x158.7厘米",[],69,2,{"id":178,"slug":179,"title":180,"dynasty":100,"author":101,"museum":102,"description":103,"tags":181,"thumbUrl":189,"material":121,"size":122,"collection":123,"collections":190,"showCount":191,"zanCount":11,"manualWeight":11,"mainColor":126},225624,"rembrandt-harmensz-van-rijn-028-lun-bo-lang-225624","Rembrandt 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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。",[24,105,199,200,201,202,203,108,7,204,116,205,206,207],"后印象派","厚涂","色彩浓烈","笔触奔放","人物肖像","花卉","外套","蓝色背景","红色桌面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc909bd6e11dbfa4e46edb4a877c5c26d.jpg",[123],58,{"id":212,"slug":213,"title":214,"dynasty":100,"author":196,"museum":102,"description":197,"tags":215,"thumbUrl":222,"material":121,"size":122,"collection":123,"collections":223,"showCount":224,"zanCount":225,"manualWeight":11,"mainColor":78},225826,"sunflowers-1888-or-1889-fan-gao-225826","Sunflowers 1888 or 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of Mrs. Gaudibert, 1868","莫奈","奥斯卡-克劳德·莫奈（法文：Oscar-Claude Monet，1840年11月14日-1926年12月5日），法国画家，被誉为“印象派领导者”，是印象派代表人物和创始人之一。\n莫奈是法国最重要的画家之一，印象派的理论和实践大部分都有他的推广。莫奈擅长光与影的实验与表现技法。他最重要的风格是改变了阴影和轮廓线的画法，在莫奈的画作中看不到非常明确的阴影，也看不到突显或平涂式的轮廓线。光和影的色彩描绘是莫奈绘画的最大特色。\n2019年5月14日，法国印象派画家克劳德·莫奈的作品《干草堆》在纽约苏富比拍卖行以破纪录的1.107亿美元（当时1美元约合人民币6.87元）高价拍出。这是莫奈作品拍卖价格的最高纪录，也是印象派画作拍卖最高纪录。",[251,105,30,109,252,253,254,7,218,255,235,113,28,256],"印象派","长裙","披肩","窗帘","玫瑰花","光影表现","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f9d8975a5f7f36a6c408e9a43bb51d8.jpg",[123],{"id":260,"slug":261,"title":262,"dynasty":100,"author":196,"museum":102,"description":197,"tags":263,"thumbUrl":275,"material":121,"size":122,"collection":123,"collections":276,"showCount":277,"zanCount":225,"manualWeight":11,"mainColor":78},225736,"de-slaapkamer-fan-gao-225736","De 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Harmensz.van Rijn - 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potato eaters (April - May )",[105,199,200,30,384,439,7,440,441,442,443,444],"煤油灯","盘子","土豆","头巾","朴素衣物","灯光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eb1fc720c3d4c7d118f23e73006a376.jpg",[123],22,{"id":449,"slug":450,"title":451,"dynasty":18,"author":396,"museum":397,"description":398,"tags":452,"thumbUrl":457,"material":288,"size":409,"collection":139,"collections":458,"showCount":459,"zanCount":11,"manualWeight":11,"mainColor":78},222943,"hong-lou-meng-68-sun-wen-222943","红楼梦68",[23,54,28,431,30,113,453,204,240,419,402,454,7,136,455,456],"家具","书架","灯笼","盆栽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c32ce07b23c9a117289cfb2e75eaa4a.jpg",[],18,{"id":461,"slug":462,"title":463,"dynasty":100,"author":196,"museum":102,"description":197,"tags":464,"thumbUrl":466,"material":121,"size":122,"collection":123,"collections":467,"showCount":468,"zanCount":11,"manualWeight":11,"mainColor":126},225824,"still-life-with-bible-october-fan-gao-225824","Still life with Bible (October - )",[105,200,199,216,238,118,111,7,465],"书本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c3aa4e9d613c061cd554434971d94be.jpg",[123],17,{"id":470,"slug":471,"title":472,"dynasty":302,"author":473,"museum":51,"description":474,"tags":475,"thumbUrl":478,"material":37,"size":479,"collection":139,"collections":480,"showCount":481,"zanCount":11,"manualWeight":11,"mainColor":44},216093,"tai-ping-le-shi-tu-ce-3-dai-jin-216093","太平乐事图册-3","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。",[25,26,476,28,54,30,34,477,7,59,168],"册","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90d16d700e8be3994d5e6ac81c9fcce9.jpg","22.8x22cm",[],14,{"id":483,"slug":484,"title":485,"dynasty":18,"author":486,"museum":102,"description":487,"tags":488,"thumbUrl":492,"material":139,"size":139,"collection":139,"collections":493,"showCount":494,"zanCount":11,"manualWeight":11,"mainColor":78},238215,"duan-yang-gu-shi-ce-zhi-xi-cai-si-xu-yang-238215","端阳故事册之系彩丝","徐扬","青树环拥的雅致小院里，圆月窗恰似一方天然画框，框住了端阳时分的脉脉温情。长者正凝神为孩童臂间系上彩丝，衣袂褶皱轻缓舒展，案头粽果陈置妥帖，笔触细腻熨帖，将日常亲昵揉入节俗意趣。\n\n浅淡的设色晕染出初夏江南的温润，没有喧嚷，只余下静谧的亲昵，把驱邪纳福的古俗，化作寻常烟火里的温柔定格。整幅画以恬淡笔调铺陈，将旧时光里的端午暖意晕开，清雅柔润的笔触复刻出古人节俗里的细腻温情，淡而不寡，静中含暖，藏着中式传统里独有的含蓄浪漫。",[25,26,476,28,54,30,477,420,341,168,489,7,490,491],"圆形门","彩丝","传统节日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe199907d720d98cd1598507dc1929ae9.jpg",[],13,{"id":496,"slug":497,"title":498,"dynasty":18,"author":499,"museum":102,"description":500,"tags":501,"thumbUrl":503,"material":121,"size":122,"collection":139,"collections":504,"showCount":505,"zanCount":11,"manualWeight":11,"mainColor":44},238948,"bu-gun-tu-ye-zhou-kai-238948","补衮图页","周恺","画面描绘一位女子端坐于方凳上，正神态专注地精心绣制龙纹衣装。女子头戴闪亮的簪钗，着交领淡蓝色上衣和白地方格纹长裙，一袭蓝色霞帔飘曳垂地。其面容娥眉杏眼，樱口桃腮，秀丽姣美。身边的几、案、插瓶、绣墩刻画细微，极具富丽之气。",[25,26,24,60,54,28,30,135,502,136,7,218,111,237,112,137],"器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5499dd6049deb8aeb01c44d11afc3645.jpg",[],10,{"id":507,"slug":508,"title":509,"dynasty":18,"author":486,"museum":102,"description":510,"tags":511,"thumbUrl":514,"material":139,"size":139,"collection":139,"collections":515,"showCount":505,"zanCount":11,"manualWeight":11,"mainColor":78},238214,"duan-yang-gu-shi-ce-zhi-guo-jiao-shu-xu-yang-238214","端阳故事册之裹角黍","此作工致清雅，将端午日常晕染在庭院一隅。翠木荫蔽着素朴屋舍，案边女子巧手翻飞，捋叶填米缠缚成粽；阶旁妇孺相顾指点，柔婉情态漫着天伦暖意。石畔两人正将艾草浸在水盆中，清浅水汽晕开端午的宁和意趣。\n\n全画笔致细腻敷色温润，未作浓艳铺陈，只以浅淡色调勾勒出江南宅院里的端阳烟火，将岁时节庆的融融意趣，藏在仕女孩童的娴静情态中，把寻常家宅里的端午闲常，定格成隽永清雅的诗意图景。",[24,25,26,476,28,54,30,168,512,420,62,7,513],"房屋","篮子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8e7642d113ba861090065d47eafea3a.jpg",[],{"id":517,"slug":518,"title":519,"dynasty":302,"author":520,"museum":102,"description":521,"tags":522,"thumbUrl":524,"material":37,"size":139,"collection":139,"collections":525,"showCount":526,"zanCount":11,"manualWeight":11,"mainColor":44},216337,"xi-xiang-ji-cha-ye-15-min-qi-ji-216337","西厢记插页-15","闵齐伋","画面分左右两幕，左间二人围案而坐，一人执物似语，一人垂眸静听，衣袂轻展如流云；右处双影近倚，一人微倾身递物，一人抬臂相候，案侧屏风半掩，脚下花毯织纹精巧。线条细劲婉转，勾勒出人物柔婉身姿与衣纹层叠之美；设色淡雅温润，青蓝与明黄交织，似晨露沾花般清新。眉眼间藏着细碎情意，动作里含着含蓄温柔，仿佛能嗅到案上熏香微甜，触到衣料软滑。整幅画如一首浅吟的小令，将古典娴静与细腻情愫凝在每处细节，让人心生向往，沉醉于那份悠远雅致。",[25,26,476,28,54,30,7,183,235,523,137],"牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21234659646c450c8f290c4b343e726f.jpg",[],9,{"id":528,"slug":529,"title":530,"dynasty":100,"author":196,"museum":102,"description":197,"tags":531,"thumbUrl":535,"material":121,"size":122,"collection":123,"collections":536,"showCount":537,"zanCount":11,"manualWeight":11,"mainColor":78},225769,"l-arle-sienne-fan-gao-225769","L'Arlésienne",[105,199,200,30,110,532,116,7,113,533,534],"围巾","笔触鲜明","色彩对比","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bad232a8b96ff00f1c89822871c7b98.jpg",[123],8,{"id":539,"slug":540,"title":541,"dynasty":49,"author":161,"museum":336,"description":542,"tags":543,"thumbUrl":546,"material":288,"size":547,"collection":139,"collections":548,"showCount":537,"zanCount":11,"manualWeight":11,"mainColor":78},223512,"liu-yin-qun-mang-tu-yi-ming-223512","柳荫群盲图","此幅为年俗画，描绘盲人打架的场面。画中柳树下，三三两两的盲人抓在一起，抱团打架，抓衣服不放的，抱胳膊死拽的，揪着耳朵拼命的，打架招势表现的淋漓尽致；人物面部扭曲变形，姿势夸张，展示出打架过程中拼命的样子。",[23,25,28,54,544,30,545,7,183],"宋画","柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed64abbdddd46112eb2761d5b97d634f.jpg","78.5×82cm",[],{"id":550,"slug":551,"title":552,"dynasty":302,"author":520,"museum":102,"description":553,"tags":554,"thumbUrl":557,"material":37,"size":139,"collection":139,"collections":558,"showCount":537,"zanCount":225,"manualWeight":11,"mainColor":44},216345,"xi-xiang-ji-cha-ye-5-min-qi-ji-216345","西厢记插页-5","画面以雅致闺阁为景，半掩的纱帐轻笼床榻，帐内衾枕隐约，似藏未语心事。床侧女子衣袂素淡，身姿轻立，眉目间凝着幽思，恰如西厢故事里的婉转情愫。旁侧朱红桌案置瓶花，高烛台燃暖光，光影摇曳添静谧。屏风蓝底缀白梅，另一侧云气绕山水，纹样雅致与陈设相映。画作线条细腻流畅，淡彩晕染出明式版画的清雅韵致，以含蓄场景铺陈，将故事缱绻意绪融入细节，让观者于古典情境里感知西厢的温婉深情。",[25,26,476,28,431,30,135,268,7,1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第五子，母侧福晋索绰罗氏，左都御使观保之女。",[25,28,54,476,30,420,512,623,624,7,625,626,610],"梯子","木桶","篱笆","田园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab3a72a33d76f212031c18e3e9133253.jpg",[],3,{"id":631,"slug":632,"title":633,"dynasty":100,"author":634,"museum":102,"description":635,"tags":636,"thumbUrl":640,"material":121,"size":122,"collection":139,"collections":641,"showCount":629,"zanCount":11,"manualWeight":11,"mainColor":78},231157,"su-miao-411-xi-fang-231157","素描411","西方","使用单一色彩表现明度变化的绘画。绘画工具而在画面载体上按照一定的绘制原则而有意塑造物体形态的美术活动。速写是素描的一种变式。素描水平是反映绘画者空间造型能力的重要指标之一。\n素描是绘画的基础，绘画的骨骼；也是最节制、最需要理智来协助的艺术。初学绘画的人一定要先学素描，素描画得好的人，油画自然画得好。素描的起源，普遍都是以文艺复兴开始，事实上希腊的瓶绘、雕塑都有良好的素描基础。初期的素描是视为绘画的底稿，例如作壁画先要有构想的草稿，然后有素描的底稿，同时也要有手、脸部分精密素描图。作壁画习惯上是不看模特儿写生的，完全要靠事先准备的习作素描和画家的记忆。近代素描，已脱离了原来的底稿和习作的地位，可以成为艺术品来欣赏。画素描的态度不只培养描写力，同时也培养造型的能力，最后仅仅是素描也可视为作品来欣赏。相反的单看油画作品就可知道作者在素描上的造诣如何。因此，素描是绘画的基础，也是绘画的骨骼，是初学画的人无论如何要先认真学素描。素描在严格的解释上，只有单色的黑与白，但如加上淡彩或颜色，仍可认作素描。素描的表现方法分成：一、以描画材料来看可分成木炭素描、铅笔素描、炭精素描、钢笔素描、银笔素描、毛笔素描等。二、以所画的题材可分成石膏像素描，风景素描，静物素描、人体素描、幻想素描。三、依素描的目的又可分成作为构想的素描、用作画稿的素描、速写、作品、习作。\n由木炭，铅笔，钢笔等，以线条来画出物象明暗的单色画，称作素描。单色水彩和单色油画也可以算作素描；中国传统的白描和水墨画也可以称之为素描。通常讲的素描多元化指铅笔画和炭笔画。素描是一切绘画的基础，这是研究绘画艺术所必须经过的一个阶段。　素描通常采用可于平面留下痕迹的方法：如，炭笔，钢笔，画笔，墨水，及纸张等。轮廓和线条是素描的一般称谓。素描具备了自然律动感。不同的笔触营造出不同的线条及横切关系和节奏、主动与被动的周围环境、平面、体积、色调、及质感。\n素描是一种正式的艺术创作，以单色线条来表现直观世界中的事物，亦可以表达思想、概念、态度、感情、幻想、象征甚至抽象形式。它不像带色彩的绘画那样重视总体和彩色，而是着重结构和形式。",[637,106,30,183,7,638,639,384],"素描","台灯","瓶子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbec361f6280ac78dac058fcee057f41f.jpg",[],{"id":643,"slug":644,"title":645,"dynasty":100,"author":161,"museum":102,"description":590,"tags":646,"thumbUrl":648,"material":121,"size":122,"collection":139,"collections":649,"showCount":629,"zanCount":11,"manualWeight":11,"mainColor":44},225441,"fu-shi-hui-199-yi-ming-225441","浮世绘199",[592,28,30,555,7,647,137,113,169],"箱子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F654fc1e539166c1d5fc7dcd8900da995.jpg",[],{"id":651,"slug":652,"title":653,"dynasty":18,"author":161,"museum":102,"description":654,"tags":655,"thumbUrl":657,"material":658,"size":659,"collection":139,"collections":660,"showCount":629,"zanCount":11,"manualWeight":11,"mainColor":44},215906,"qing-ren-xiao-xiang-tu-ce-9-yi-ming-215906","清人肖像图册-9","墨袍靛边轻垂，端坐床榻的身影透着儒雅沉稳。床前织锦软垫纹理细腻，右侧条案上青瓷瓶簪花吐蕊，案角茶具闲放，寥寥几笔勾勒出雅致生活场景。人物面容温和，眼神沉静，似在静思或小憩，神态捕捉恰到好处。画家以写实之笔摹写衣纹褶皱与器物质感，色调古朴温润，整体氛围清宁雅致。旧时文人的从容情态与居所闲逸意趣凝于尺幅间，尽显古典肖像画的含蓄韵味，将彼时生活的静美与精神的内敛悄然定格。",[25,26,28,54,30,268,7,218,204,169,656],"器皿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F138347fcbdd052a1a079f72e123be293.jpg","绢本,设色","44x40",[],{"id":662,"slug":663,"title":664,"dynasty":18,"author":161,"museum":102,"description":665,"tags":666,"thumbUrl":668,"material":37,"size":139,"collection":139,"collections":669,"showCount":629,"zanCount":11,"manualWeight":11,"mainColor":44},215878,"qing-dai-xing-fa-ji-lu-tu-ce-7-yi-ming-215878","清代刑罚记录图册-7","画面定格清代刑罚的一幕，人物动态交织出压抑氛围。身着绿袍者手势威严，似在发号施令；旁立者持物凝视，神色凝重。三名执刑者跪伏在地，合力按住受刑者手足，动作间透着执行的专注。受刑者蜷缩红垫之上，身形紧绷，似承剧痛。人物服饰色彩分明，蓝、紫、棕长袍与官帽相映，尽显清代风貌。右侧绿桌配白瓶鲜花，柔美景物与肃穆刑罚形成微妙反差，更衬出画面张力。画作细节生动，从神态到动作肌理皆细致描摹，将彼时场景的真实与沉重传递出来，引人深思。",[25,54,28,30,7,218,357,476,667],"刑罚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e2a2a68d201b8b0452b989b9313b997.jpg",[],{"id":671,"slug":672,"title":673,"dynasty":100,"author":674,"museum":102,"description":675,"tags":676,"thumbUrl":684,"material":121,"size":122,"collection":139,"collections":685,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":126},232565,"mi-lai-si-109-yue-han-ai-fu-li-te-mi-lai-si-232565","米莱斯109","约翰·埃弗里特米莱斯","John Everett Millais十九世纪英国画家，是拉斐尔前派的三个创始人中年龄最小、才华最高的一位，其它两位是亨特和布朗。其油画《基督在自己父母家中》(1850)中体现了该派精神，以画风细腻著称。\n米莱斯是拉斐尔前派中最有才华的一个。他出生于南埃普顿，幼年就表现出非凡的绘画才能。10岁时，他的绘画就获得了艺术协会颁发的银质奖章。据说当时他的个子还没有讲台高，只能站在凳子上领奖。两年后，他的天赋为马丁·希伊勋爵发现，转入皇家美术学院的附属学校(希伊后来是皇家美术学院院长)，以后又转入皇家美术学院，以后又多次获奖，并在18岁那年获得金质奖章，是学院公认的高材生。",[105,106,28,30,677,678,679,116,680,218,681,237,112,682,204,113,7,183,513,683],"少女","连衣裙","蕾丝","花束","雕花家具","玫瑰","孔雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b9c1c2e8e84966cdeea1f489bd678d8.jpg",[],{"id":687,"slug":688,"title":689,"dynasty":100,"author":674,"museum":102,"description":675,"tags":690,"thumbUrl":699,"material":121,"size":122,"collection":139,"collections":700,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":78},232532,"mi-lai-si-76-yue-han-ai-fu-li-te-mi-lai-si-232532","米莱斯76",[105,106,28,30,113,691,692,183,7,110,204,269,693,513,694,695,696,697,254,698,184],"老人","女子","旗帜","画框","玻璃杯","柠檬","木质地板","靠垫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35965a9e92a1fbfaa6a3fa09fb6fb5fc.jpg",[],{"id":702,"slug":703,"title":704,"dynasty":100,"author":705,"museum":102,"description":706,"tags":707,"thumbUrl":708,"material":121,"size":122,"collection":139,"collections":709,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":126},232326,"a-er-ma-53-lao-lun-si-a-er-ma-ta-de-ma-232326","阿尔玛53","劳伦斯·阿尔玛-塔德玛","劳伦斯·阿尔玛-塔德玛（Lawrence Alma-Tadema, 1836年1月8日—1912年6月25日）是英国维多利亚时代的知名画家，他的作品以豪华描绘古代世界（中世纪前）而闻名。\n生于荷兰的德龙赖普（Dronrijp），他的父亲彼得·塔德玛（Pieter Tadema）是一名公证人，在他4岁时便去世了。阿尔玛是他教父的名字，他的生母是他父亲的第二名妻子，家庭人口相当众多。家里原准备让他继承父业，但他表现出了对艺术的强烈偏好，因此将他送至安特卫普，在1852年进入了那里的艺术学院，并在亨德利克·利思（Hendrik Leys）的画室学习。",[105,28,216,204,218,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa84512972f91c6433da5d6c7ce102e58.jpg",[],{"id":711,"slug":712,"title":713,"dynasty":100,"author":714,"museum":102,"description":715,"tags":716,"thumbUrl":723,"material":121,"size":122,"collection":139,"collections":724,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":78},231978,"the-bellelli-family-musee-d-orsay-france-de-jia-231978","The Bellelli Family - - - Musee d'Orsay (France)","德加","埃德加·德加（Edgar Degas，1834年7月19日—1917年9月27日），印象派重要画家。他出身于金融资本家的家庭，他的祖父是个画家，因此他从小就生长在一个非常关心艺术的家庭中。\n中学毕业后，德加报考了美术学校，他在意大利学习意大利的艺术，特别是文艺复兴时期的艺术。与此同时，他又在让-奥古斯特·多米尼克·安格尔（Jean-Suguste Dominique Ingres，1780-1867）的一位得意门生路易·拉莫特（Louis Lamott）的画室里学画。\n1917年9月27日，埃德加·德加逝世于巴黎，享年83岁。",[105,28,251,106,30,113,272,270,7,183,717,235,718,440,252,719,720,205,370,721,722],"壁炉","钟表","围裙","衬衫","成年男性","成年女性","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4241b29045f6925539990d742e2d6bc4.jpg",[],{"id":726,"slug":727,"title":728,"dynasty":100,"author":714,"museum":102,"description":715,"tags":729,"thumbUrl":736,"material":121,"size":122,"collection":139,"collections":737,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":78},231971,"the-cotton-exchange-in-new-orleans-musee-des-beaux-arts-pau-france-de-jia-231971","The Cotton Exchange in New Orleans - - Musee des Beaux-Arts - Pau (France)",[105,251,30,384,730,7,183,269,731,732,454,733,734,108,735],"棉花","报纸","高顶礼帽","文件","西装","办公场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F586e0b61bcd288a663f1a4b09686aab0.jpg",[],{"id":739,"slug":740,"title":741,"dynasty":18,"author":161,"museum":102,"description":742,"tags":743,"thumbUrl":750,"material":37,"size":139,"collection":139,"collections":751,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":44},215882,"qing-dai-xing-fa-ji-lu-tu-ce-4-yi-ming-215882","清代刑罚记录图册-4","画面以写实笔触还原清代刑罚场景，人物神态鲜活。左侧囚犯跪伏在地，锁链缠身，佝偻身形尽显卑微；旁侧役人持杖而立，目光沉肃，拉链者弓身发力，动作间透着威慑。右侧桌案前官员端坐，顶戴长袍衬出威严，侍从侍立一旁，神态恭谨。桌案上文书、器物细节清晰，红绿布幔与人物服饰的色彩对比，强化场景肃穆感。构图以身份落差铺展，权力与惩戒的张力隐于其间，既是清代司法场景的真实定格，也藏着对制度与人性的无声观照。",[744,28,54,30,745,746,747,748,749,7,183,565],"清代","官员","差役","受刑者","锁链","刑具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaf49d22d041fb224da9b76c89553be0.jpg",[],{"id":753,"slug":754,"title":755,"dynasty":18,"author":161,"museum":102,"description":756,"tags":757,"thumbUrl":759,"material":760,"size":139,"collection":139,"collections":761,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":44},215548,"bai-miao-jie-tou-mai-mai-hua-ce-9-yi-ming-215548","白描街头买卖画册-9","淡墨细线勾连起市井交易的片刻剪影。三人围桌，情态各异：左侧二人或低语商榷，或抚物凝思，衣褶随身形流转如轻烟；右侧一人执杆微倾，似在演示物件，指尖的动态藏着交易的张力。案上盘盏、纸片错落，隐现买卖细节。白描以极简之笔写极繁之态，线条的刚柔张弛间，市井的烟火气漫溢而出——没有浓艳设色，却将街头交易的鲜活日常凝作纸页上生动的注脚，平凡中见真味。",[23,25,26,476,306,30,7,183,137,758],"买卖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb0d53b41bd4754c927dc98c7cb996d3.jpg","纸本",[],{"id":763,"slug":764,"title":765,"dynasty":18,"author":161,"museum":102,"description":766,"tags":767,"thumbUrl":768,"material":760,"size":139,"collection":139,"collections":769,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":44},215445,"bai-miao-jie-tou-mai-mai-hua-ce-113-yi-ming-215445","白描街头买卖画册-113","素纸之上，墨线轻勾出市井一隅的鲜活。人物端坐案前，袖角微挽，指尖似捻物细察，眉宇间凝着专注，藏着生活的温煦质感。案上筛具纹理隐现，旁侧竹篮盈实，器物轮廓以简练线条勾勒，竹篾的纹路在淡墨里悄然流转，见形更见神。\n\n白描笔法清劲利落，无浓墨重彩却生动传神。每一笔都带着烟火气，褪去浮华后，旧时光里的平凡日常跃然纸上：或许是摊主细辨货物的认真，或许是市井买卖的细碎温情。线条间藏着质朴与细腻，静静诉说着旧时光里的鲜活与本真，让人忍不住回望那些藏在墨线中的市井余韵。",[23,25,26,476,306,30,556,7,513],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F285b02f522f294d488a76ce66269aef0.jpg",[],{"id":771,"slug":772,"title":773,"dynasty":18,"author":161,"museum":102,"description":774,"tags":775,"thumbUrl":778,"material":760,"size":139,"collection":139,"collections":779,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":44},215204,"bai-miao-jie-tou-mai-mai-hua-ce-352-yi-ming-215204","白描街头买卖画册-352","素笔勾勒的市井图景里，竹伞如盖，撑起一方临街的小天地。商贩端坐桌畔，碗碟在案头静静排列，旁侧竹篮盛着待售的货什，似正候着路人驻足。衣纹的婉转、器物的细痕，皆以简练线条晕开生活的肌理。没有华彩渲染，却将街头买卖的恬淡日常凝于纸面——那伞骨的疏朗，桌腿的挺括，乃至人物眉眼间的平和，都藏着旧时光里的烟火温热，勾连起清代市井鲜活的一隅，让观者恍若触到百年前街头的软风，窥见寻常日子里的鲜活与从容。",[23,306,476,30,776,513,7,777,556],"竹伞","食具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F754dbc3dcee5a3033c42b62b6d475e75.jpg",[],{"id":781,"slug":782,"title":783,"dynasty":18,"author":161,"museum":102,"description":784,"tags":785,"thumbUrl":787,"material":658,"size":139,"collection":139,"collections":788,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":44},215166,"yi-shi-ji-yao-tan-25-yi-ming-215166","医士及药摊-25","室内案前，医患对坐。医者指尖轻搭腕间，凝神探脉，似在捕捉气血的细微律动；患者微倾上身，神情恭谨，将身心托付于指尖的诊断。案上红盖瓷瓶静立，旁置小盏，待汤药调和的余韵隐于其间。背景蓝地缀白点纹如涟漪轻漾，衬得一室静谧；侧墙墨书流转，藏着旧时文人的风雅余味。衣袂纹缕清晰，器物形制古朴，淡彩线条质朴却传神，将传统医事的日常瞬间定格成温润的时光切片。无繁复铺陈，却于细微处见真章：医患间的信任，医事里的专注，器物纹饰间的烟火气，皆在笔墨中缓缓流淌，尽显旧时生活的温情与笃定。",[23,744,28,54,476,30,384,7,183,786],"文字条幅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80cf1ee991fc85bbbcbeaf3b97a6fc0f.jpg",[],{"id":790,"slug":791,"title":792,"dynasty":18,"author":161,"museum":102,"description":793,"tags":794,"thumbUrl":797,"material":658,"size":139,"collection":139,"collections":798,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":44},215163,"yi-shi-ji-yao-tan-29-yi-ming-215163","医士及药摊-29","青绿柜台前，顾客与铺中人的互动藏着市井暖意。朱红药格层层叠叠，盛着百草的细碎光阴。窗棂投下的软影里，桌案小碟静立，衣袂褶皱间是鲜活的日常。递药的手势轻缓，似把老铺的温厚递到掌心；旁观的身影谦和，映着市井交易的质朴。整幅画如一段被定格的烟火片段，将药铺的气息、人与人的温情揉进淡彩里。那些药柜的格子、桌上的陈设，皆如时光切片般留存了彼时的生活肌理，让百年前的药香与寻常烟火，仍能透过画面触手可及。",[23,25,744,28,431,476,30,795,7,183,796,113],"药柜","商铺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68dde0b5021a713b4cbdb1db8c0889a1.jpg",[],{"id":800,"slug":801,"title":802,"dynasty":100,"author":674,"museum":102,"description":675,"tags":803,"thumbUrl":820,"material":121,"size":122,"collection":139,"collections":821,"showCount":225,"zanCount":11,"manualWeight":11,"mainColor":44},232574,"mi-lai-si-118-yue-han-ai-fu-li-te-mi-lai-si-232574","米莱斯118",[306,637,804,805,30,806,807,808,7,183,809,810,384,811,812,813,814,815,816,817,818,819],"黑白","线条勾勒","画架","调色板","画笔","绅士","聚会","室外","日常场景","绘画活动","社交交谈","戴帽人物","餐桌","座椅","艺术创作","人物群像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F356922e47f9ff208cd235b3ea0edcb70.jpg",[],{"id":823,"slug":824,"title":825,"dynasty":100,"author":674,"museum":102,"description":675,"tags":826,"thumbUrl":829,"material":121,"size":122,"collection":139,"collections":830,"showCount":225,"zanCount":11,"manualWeight":11,"mainColor":1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- - Yale University Art Gallery (USA) - oil on canvas",[105,251,30,7,846,116,384,847],"纸张","交谈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4784bb3d5487c9066087ba84c9a26b5.jpg",[],{"id":851,"slug":852,"title":853,"dynasty":100,"author":714,"museum":102,"description":715,"tags":854,"thumbUrl":865,"material":121,"size":122,"collection":139,"collections":866,"showCount":225,"zanCount":11,"manualWeight":11,"mainColor":78},232227,"dancer-in-her-dressing-room-circa-oskar-reinhart-collection-switzerland-pencil-de-jia-232227","Dancer in Her Dressing Room - circa - Oskar Reinhart Collection (Switzerland) - pencil",[251,855,856,857,858,859,860,386,861,7,862,863,864],"色粉画","铅笔","人物画","芭蕾舞者","更衣室场景","舞裙","足尖鞋","地板","背景织物","人物动态","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10185511313e064b148127dd505671b4.jpg",[],{"id":868,"slug":869,"title":870,"dynasty":100,"author":714,"museum":102,"description":715,"tags":871,"thumbUrl":875,"material":121,"size":122,"collection":139,"collections":876,"showCount":225,"zanCount":11,"manualWeight":11,"mainColor":78},232175,"diego-martelli-national-galleries-of-scotland-scotland-de-jia-232175","Diego Martelli - - National Galleries of Scotland 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London",[105,251,203,113,109,183,7,846,897,270,898,899],"雕像","墙面","玻璃柜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff861beaa12d4a0ea3482bdd9c184cdb8.jpg",[],{"id":903,"slug":904,"title":905,"dynasty":100,"author":714,"museum":102,"description":715,"tags":906,"thumbUrl":907,"material":121,"size":122,"collection":139,"collections":908,"showCount":225,"zanCount":11,"manualWeight":11,"mainColor":126},232137,"jeantaud-linet-and-laine-musee-d-orsay-france-de-jia-232137","Jeantaud, Linet and Laine - - Musee d'Orsay (France)",[105,251,30,108,732,7,384],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69e00dcb1fa1ca5c5f0bd76afca65b83.jpg",[],{"id":910,"slug":911,"title":912,"dynasty":100,"author":714,"museum":102,"description":715,"tags":913,"thumbUrl":915,"material":121,"size":122,"collection":139,"collections":916,"showCount":225,"zanCount":11,"manualWeight":11,"mainColor":78},232070,"de-jia-37-de-jia-232070","德加37",[105,251,30,110,7,112,384,28,914],"笔触","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c4dc19d9899d101d49ab88260384cb6.jpg",[],{"id":918,"slug":919,"title":920,"dynasty":100,"author":714,"museum":102,"description":715,"tags":921,"thumbUrl":923,"material":121,"size":122,"collection":139,"collections":924,"showCount":225,"zanCount":11,"manualWeight":11,"mainColor":126},232069,"pagans-and-degas-s-father-philadelphia-museum-of-art-usa-de-jia-232069","Pagans and Degas's Father - - Philadelphia Museum of Art 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Rene De Gas, nee Estelle Musson - 1872-1873",[105,28,30,109,357,218,7,384],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c4a72d4f59b1f43cef9e3ba06c6522c.jpg",[],{"id":933,"slug":934,"title":935,"dynasty":100,"author":714,"museum":102,"description":715,"tags":936,"thumbUrl":942,"material":121,"size":122,"collection":139,"collections":943,"showCount":225,"zanCount":11,"manualWeight":11,"mainColor":78},232048,"portrait-of-a-man-circa-brooklyn-museum-of-art-usa-de-jia-232048","Portrait of a Man - circa - Brooklyn Museum of Art 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0258",[105,107,30,113,7,965,966,967,184,968,969,970,971,972],"食物","木质结构","宗教题材","光影效果","室内陈设","人物聚会","暗色调","光线聚焦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1e8517a7c7fec469f62b1bb23dc7e09.jpg",[],{"id":976,"slug":977,"title":978,"dynasty":100,"author":101,"museum":102,"description":103,"tags":979,"thumbUrl":980,"material":121,"size":122,"collection":139,"collections":981,"showCount":225,"zanCount":11,"manualWeight":11,"mainColor":126},230609,"rembrandt-harmensz-van-rijn-0189-lun-bo-lang-230609","Rembrandt Harmensz.van Rijn - 0189",[105,107,30,238,111,118,7,137,384],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F262d405401387b829c0e19cb71145a81.jpg",[],{"id":983,"slug":984,"title":985,"dynasty":18,"author":605,"museum":102,"description":986,"tags":987,"thumbUrl":992,"material":37,"size":139,"collection":139,"collections":993,"showCount":225,"zanCount":11,"manualWeight":11,"mainColor":44},215074,"tui-bei-tu-ce-31-jiao-bing-zhen-215074","推背图册-31","焦秉贞是中国清朝时期著名的画家，他被认为是中国水墨画史上最伟大的画家之一。其中最著名的作品是他的推背图册，其中包含了十幅推背图。推背图是一种特殊的水墨画，它们通常是用单一的墨色在纸上描绘的，并且使用了特殊的技巧来创造出立体感。焦秉贞的推背图册在当时被认为是一件杰出的艺术品，并且至今仍然备受赞赏。",[23,25,28,54,476,30,988,989,990,7,118,991],"长袍","羽冠","跪拜","垫子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12925b42079ecaadb3de33c49bd09be7.jpg",[],{"id":995,"slug":996,"title":997,"dynasty":49,"author":161,"museum":102,"description":998,"tags":999,"thumbUrl":1004,"material":121,"size":122,"collection":139,"collections":1005,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},255874,"lao-lai-zi-yu-qin-zhuan-diao-yi-ming-255874","老莱子娱亲砖雕","青砖为纸，刻刀作笔，将孝感故事凝作永恒。稚态老莱子匍地奉樽，憨态可掬，堂上双亲相向而坐，眉眼舒展，笑意融融。檐下垂柳轻摇，似也为这天伦温情柔了姿态。\n\n朴拙刀工里藏着细腻心思，衣褶纹路灵动自然，人物神情鲜活传神，把刻意扮娱哄得双亲展颜的温情尽数铺陈。寻常家宅的方寸日常，晕开传统孝义的脉脉温情，让千年前的淳厚家风，顺着砖面纹路款款走来。",[368,1000,1001,1002,30,343,164,7,345,1003],"砖雕","雕刻","浮雕","家居场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d3f0d2a71d7bfab5e8b336fd66e4413.jpg",[],{"id":1007,"slug":1008,"title":1009,"dynasty":302,"author":1010,"museum":102,"description":1011,"tags":1012,"thumbUrl":1014,"material":139,"size":139,"collection":139,"collections":1015,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":1016},233532,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233532","十竹斋五色笺谱册","胡日从","《十竹斋书画谱》，融诗、书、画、印艺术为一体，是木版水印史上的巨制鸿构，有“画苑之白眉，绘林之赤帜”之誉。凡书画、竹、墨华、石、翎毛、梅、兰、果八谱，每谱两册，全帙共十六册，蝴蝶装。\n一为书画册。花卉竹石、翎毛蔬果二十幅，均有对题。谱前有醒天居士《题十竹斋画册小引》和芒砀山人王三德《胡曰从书画谱引》。\n二为竹谱。卷首有《梨云馆竹谱》，分“写竹要语”，“写竹括”和“写竹法”。前半为一画一题，凡竹图二十幅，分作“廻风”、“喜霁”、“带雨”、“凝露”、“贮云”、“笼烟”、“快雪”、“印月”、“怡老”、“启新”、“飞白”、“聚翠”、“紫蓧”、“朱帔”、“崖影”、“石床”、“飨松”、“访菊”、“友梅”、“佩兰”等。后半则为画竹“起手式”。\n三为墨华册。谱中图呈圆光型，对题有绿色“十竹斋琅干笺”竹纹边框。画、题各有二十幅，画面着色细润，气韵生动。谱前有语水乘槎子《十竹斋墨花题辞》。\n四为石谱。画、题各二十幅，谱前有序两篇，一为王三德《阅石谱题言》，一为米芾后人米万钟《石谱题辞》。谱中二十幅画皆为高阳所作。高阳，字秋甫，善花鸟，为万历间写生名手。高阳画奇石尤精，石谱中作品是临摹上版，王三德观后评价极高，以为“天划神缕之巧，嵌空玲珑之致，半幅冰茧，宛具层岩叠嶂、峰峦洞穴，真可以对杨次公矣。”图有墨石、彩石，但均以套版为之，每画都有对应的题赞。\n五为翎毛谱。画、题各二十幅，有杨文骢于“天启丁卯立秋日”所题《翎毛谱小序》，非常精彩地评介了胡氏所施饾版之法：“胡曰从氏巧心妙手，超越前代，以铁笔作颖生，以梨枣代绢素，而其中皴法、染法、点法，及着色之轻重、浅深、远近、离合无不呈妍曲致，穷巧极工。即当行作手观之，定以为写生妙品，不敢作刻画观。”此翎毛谱二十图，画上无名款，从印鉴来看，应全为凌云翰一人所作。凌云翰，字五云，万历、崇祯时人。《明画录》说他善画山水，其实上凌氏花鸟亦善，尤工画石，为胡正言所推许。\n六为梅谱。由玉山进士董继周作序。此册胡正言以“芳信先传”、“飘飘欲仙”、“冰壶掩映”、“暖谷回阳”、“君子之交”、“铁干支春”、“暗香浮动”、“拾翠为钿”、“黄惹蜂腰”、“额上玄功”、“东邻窥宋”、“盟坚寒素”、“香梦沉酣”、“水妃写照”、“玉骨同妍”、“疏影横斜”、“幽人赠佩”、“调脂梅粉”、“宫锦清班”、“寿阳点妆”等二十画题，分别写早梅、风梅、雪梅、枯梅、竹梅、老梅、月梅、松梅、蜡梅、墨梅、过墙梅、倚石梅、烟梅、临水梅、水仙梅、疏梅、兰花梅、茶花梅、杏花梅和落梅，或水墨，或设色，意境、造型与章法，则穷尽变化之能事。每幅画都有对应的题赞。\n七为兰谱。前有涂日昌“兰谱序”和画兰“起手执笔式”，此谱图解兰花，并附小注，颇为详尽，但无题赞。多为墨印，间有彩版，此谱可为之初学之范本。图二十幅，多是临摹赵孟頫等名家之作。\n八为果谱。画、题各二十幅，有西京韩文镜作序。其中“三元”、“朱橘”等图，雕版设计巧妙，可谓匠心独运。\n《十竹斋书画谱》自万历己未（1619年）第一谱《书画册》起，至崇祯癸酉（1633年）第八谱《果谱》止，梓印时间长达十五年之久。每谱有序言，除《竹谱》附写竹诀，《兰谱》附起手式，其余各谱均四十幅，一图一文，以书配画，交相辉映。\n胡正言辑印《十竹斋书画谱》，广交名人时贤，亦自作书画付梓。全谱序、画、诗作者或书法题写者，多达一百五十余人。谱中所辑作品大多是由当时名家如吴彬、倪瑛、魏之克、米万钟、吴士冠、文震亨、高阳、高友等创作的，也有二十多幅画稿是临摹自赵孟頫、唐寅、沈周、文征明、陆治、陈道复等著名书画家的；胡正言自己也曾为谱画稿、题诗，画有“白莲”、“墨梅”、“芝草”三图，诗有“题梅花”、“题兰竹”两首。画谱中所题诗句，笔调清新，咏物抒情，不同程度地反映了诗人们喜爱画谱的心情。题诗大部分都是书写者自己所作，也有借用前人诗句题咏的，如胡正言用唐释无可的咏兰诗题《兰竹图》，西湖仙郎何伟然用徐渭咏榴诗题《石榴图》，竹冠道人应麟用刘禹锡题开元寺枸杞诗书《枸杞诗图》等等。全谱书法篆、隶、行、楷诸体皆备，最多的还是晚明文人流行的行草。这些书迹，大都兼有晋、唐、宋书家的风韵，亦可为后人临池所借鉴。\n醒天居士的《题十竹斋画册小引》把胡正言的爱好、特长及画谱刊印的初衷和艺术水平都进行了叙述：\n“王宰十日一山，五日一石，岂肖形之难哉？山有情，石有态，磅礴得之为难耳。近代画手，千临百摹，如里媪捧心，不揜儿寝，而目食者争售之，大轴小图，祗为壁疥。新安胡曰从氏，清姿博学，既精六书，尤擅众巧。所制隃糜硾茧与所镌法语名言，皆出新裁，赏鉴家多宝爱之。乃竹斋多暇，复创画册。所选皆花果竹石，有关于幽人韵士之癖好者。而写形既妙，设色尤工，至于翠瓣丹柎，葩分蕊折，花之情，竹之姿，与禽虫飞懦之态，奇石云烟之气，展册淋漓，宛然在目。盖淡淡浓浓，篇篇神采；疏疏密密，幅幅乱真，诚画苑之白眉，绘林之赤帜也。然王宰之画妙出毫锥，胡君之画妙出梨枣，是磅礴之心，较王宰更难；而成功之捷，较王宰更简更易，岂不尤奇哉！余故喜而叙之，愿与好事者同赏，仍俟具眼者定价焉。时癸酉年中秋前二日，醒天居士书于十竹斋。”\n《十竹斋书画谱》“绘刻精而奇，谱则巧而该”，在画谱刊行后不久就引起广泛的注意，开始有人仿刻了，以至胡氏声明道“原板珍藏，素遐真赏，近有效颦，恐混鱼目，善价沽者，勿虚藻鉴。”历代重印、翻刻者达二十余种。清代李渔等人辑印的《芥子园画传》也是在它的启发下产生的。",[25,26,476,28,593,7,1013,502],"书册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fd57871211c0b90e621a42bf065c21f.jpg",[],"FFFFFF",{"id":1018,"slug":1019,"title":1009,"dynasty":302,"author":1010,"museum":102,"description":1011,"tags":1020,"thumbUrl":1021,"material":139,"size":139,"collection":139,"collections":1022,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},233528,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233528",[25,593,28,476,454,828,7,238,502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcff2f99211b1a55b9e637fee28b9a10.jpg",[],{"id":1024,"slug":1025,"title":1026,"dynasty":18,"author":161,"museum":102,"description":1027,"tags":1028,"thumbUrl":1030,"material":37,"size":139,"collection":139,"collections":1031,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":78},215123,"er-shi-si-xiao-tu-ce-14-yi-ming-215123","二十四孝图册-14","二十四孝图册 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