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等人创作的绢本设色画，现收藏于 。\n该画以高超的写实技巧描绘了乾隆皇帝和大臣在南苑围场捕射野兔的情形，作者通过对骑在骏马上精悍的人物与狂奔逃命的野兔准备而且传神的刻画，成功地展示出乾隆皇帝娴熟的骑技和尚武骑射的创作主题，全画人物马匹千姿百态，动感十足。\n款识：“臣郎世宁恭绘。\n”下钤“臣世宁”白文方印、“恭绘”朱文方印。\n御题诗三首，款署：“南苑行围即事三首，乙亥暮春御笔。\n”钤“乾隆宸翰”白文方印、“得象外意”朱文方印、“研露”朱文长方印。\n“乙亥”是乾隆二十年（1755年），乾隆皇帝时年45岁。\n从乾隆皇帝的御制诗中可知，他此次南苑狩猎“是日凡中八兔”，可谓战绩骄人。\n从笔法上分析，图中乾隆皇帝的肖像及马无疑应出自郎世宁之手，山石树木等衬景则来自中国的宫廷画家之笔。\n《乾隆皇帝射猎图》表现乾隆帝及近亲王公大臣在南苑猎场捕射野兔的动感瞬间。\n作者通过骑在骏马上精悍的人物与狂奔逃命的野兔准确而且传神的刻画，成功地展示出乾隆皇帝娴熟的骑技和尚武骑射的创作主题。\n乾隆皇帝作为以畜牧、游猎为主的 人后裔，严格遵守被清朝诸先帝奉为“满洲根本”、“先正遗风”的骑射尚武典制。\n他通过带有游乐性质的狩猎活动，将满族人弯弓射箭的传统习俗发扬光大。\n乾隆皇帝为了弘扬这种尚武精神，谕令宫廷西洋画师郎世宁以及中国宫廷画家创作了数十幅专门表现他行围狩猎场景的画作，此图便是其中之一。\n该画真实地纪录了乾隆皇帝紧张而热烈的狩猎情景。\n同时，展示了乾隆帝行猎时所使用的各种兵器，为研究乾隆朝的皇室武备无疑提供了难得的形象资料。\n27年11月，该画在意大利“皇家韵致展”中展出。\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。",[23,24,80,81,82,52,27,83,84,85,86,87,88,56,89,90,7,91,92],"名画","立轴","清代","中西合璧技法","写实风格","人物","马","弓箭","射猎场景","草地","小径","动态构图","狩猎题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F569e69e422015fa6786904aed47711d4.jpg","绢本设色","25.7×33厘米",[],71,{"id":99,"slug":100,"title":101,"dynasty":46,"author":102,"museum":20,"description":103,"tags":104,"thumbUrl":121,"material":122,"size":123,"collection":38,"collections":124,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":41},221386,"bao-shan-shi-jing-ce-fan-kuan-221386","包山十景册","范宽","范宽（约950—约1032），又名中正，字中立，陕西华原（今陕西铜川耀州区）人，宋代绘画大师。因为性情宽厚豁达，时人称之为“宽”，遂以范宽自名。范宽、董源、李成，并称“北宋三大家”。艺术成就使得范宽与李成齐名，并称“李范”，又与同为华原人的柳公权合称“柳范”。\n初学李成，后感悟“与其师于人者，未若师诸造化”，遂隐居终南、太华，对景造意，写山真骨，自成一家。其画峰峦浑厚端庄，气势壮阔伟岸，令人有雄奇险峻之感。用笔强健有力，皴多雨点、豆瓣、钉头，山顶好作密林，常于水边置大石巨岩，屋宇笼染黑色。作雪景亦妙。\n存世作品有《谿山行旅图》《雪山萧寺图》《雪景寒林图》等。\n2004年，美国《生活》杂志将范宽评为“上一千年对人类最有影响的百大人物”第59位。",[50,23,24,105,106,26,107,108,109,57,110,111,112,113,55,7,114,115,116,117,118,119,61,120],"古画","册","皴法","山水","老树","孤石","亭","山峦","枯树","传统绘画","水墨山水","山间景物","山水景观","石质山体","树木景观","皴笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed28aa2f9c150b73b313c757a0820177.jpg","绢本","30.2x31.8",[],36,{"id":127,"slug":128,"title":129,"dynasty":18,"author":130,"museum":20,"description":131,"tags":132,"thumbUrl":140,"material":141,"size":142,"collection":143,"collections":144,"showCount":145,"zanCount":71,"manualWeight":11,"mainColor":41},219448,"kan-yun-dui-pu-tu-chen-shu-219448","看云对瀑图","陈书","瀑流自崖巅飞泻而下，如素练垂空，溅起的水雾与卷舒的云气交融漫过山腰，晕染出朦胧虚灵之境。近岸松枝苍劲，竹影婆娑，几竿修竹亭亭玉立，与古松相映成趣。林间隐见小亭一角，有人凭栏静坐，似在聆听瀑声、静观云态，物我两忘。笔墨以水墨为主，线条清劲中含柔婉，山石皴擦见质感，云雾用淡墨晕染，层次分明。整幅画将山水之幽、林泉之趣凝于尺幅，尽显文人雅士寄情自然的悠然心境，静穆中藏生机，恬淡里透禅意。",[23,133,26,107,81,134,135,136,137,138,111,108,55,139,90,7],"山水画","传统书画","云","瀑布","松","竹","溪流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99274f7e4932bc229e46873d4ab1708e.jpg","纸本,水墨","79.7x51.8","山水画精选",[143],29,{"id":147,"slug":148,"title":149,"dynasty":18,"author":150,"museum":151,"description":152,"tags":153,"thumbUrl":161,"material":141,"size":162,"collection":143,"collections":163,"showCount":164,"zanCount":11,"manualWeight":11,"mainColor":41},219913,"su-yu-xiao-yan-tu-wang-hui-219913","宿雨晓烟图","王翚","南京博物院","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” 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Leys）的画室学习。",[175,250,27,85,253,183,362,363,222,364,7],"石质建筑","海洋","古典服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd91ae02bd42a802338e90498e7d4e6e8.jpg",[],5,{"id":369,"slug":370,"title":371,"dynasty":270,"author":372,"museum":171,"description":373,"tags":374,"thumbUrl":382,"material":185,"size":186,"collection":38,"collections":383,"showCount":384,"zanCount":11,"manualWeight":11,"mainColor":41},237504,"shan-shui-hua-hui-ce-jiang-shou-cheng-237504","山水花卉册","蒋守成","蒋守成明代画家。字继之,号晓山。丹阳人。善画山水,师法宋元画家赵千里,赵子昂、吴仲圭。亦作花鸟、竹石,都很出色,可惜中年患有眼疾,传世作品甚少。",[23,24,106,375,27,108,376,56,112,278,31,26,377,7,378,57,317,379,380,381],"行书","河流","书法","传统技法","水域","远山","近景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F151fceff1d559bd393e5906365f0c727.jpg",[],4,{"id":386,"slug":387,"title":388,"dynasty":18,"author":389,"museum":77,"description":390,"tags":391,"thumbUrl":401,"material":38,"size":402,"collection":38,"collections":403,"showCount":384,"zanCount":11,"manualWeight":11,"mainColor":41},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。",[23,52,27,392,393,394,395,85,396,56,397,235,182,398,399,234,7,400,177],"界画","册页","中西合璧","透视","房屋","栅栏","农耕","劳作场景","细致线条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a7e62abef33f1a50cee03a9181381d0.jpg","34.7cm×27.7cm",[],{"id":405,"slug":406,"title":407,"dynasty":18,"author":271,"museum":171,"description":408,"tags":409,"thumbUrl":420,"material":185,"size":186,"collection":38,"collections":421,"showCount":422,"zanCount":11,"manualWeight":11,"mainColor":41},246865,"ti-hong-zhu-lin-qi-xian-tu-bi-tong-yi-ming-246865","剔红竹林七贤图笔筒","笔筒： 用陶瓷、竹木、等制成的筒形插笔器具。笔筒是搁放毛笔的专用器物，据文献记载，它的材质有镏金、翡翠、紫檀和乌木，现在我们能够见到的传世器物，大多是用瓷或者是竹木制作的。具有收藏价值。",[410,411,412,326,85,413,414,57,18,415,234,7,416,417,418,419],"漆器","剔红","雕刻","亭台","小桥","古代文人","立体雕刻","红漆工艺","园林场景","文人雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69ec6c70d6554dd1c179b536d37779ae.jpg",[],3,{"id":424,"slug":425,"title":426,"dynasty":18,"author":271,"museum":20,"description":427,"tags":428,"thumbUrl":433,"material":434,"size":435,"collection":38,"collections":436,"showCount":437,"zanCount":11,"manualWeight":11,"mainColor":265},231533,"suan-ni-tu-yi-ming-231533","狻猊图","现存古代绘画中，反映真狮形象的绘画主要集中于明清时期的宫廷绘画中，但水平有高下之分。从清代宫廷画家刘九德、张为邦及部分佚名画家所绘狮子图来看，虽然已十分接近真狮，但水平不高，较为呆板，精致程度远不及周全《狮子图》。这些较为写实的狮子绘画有些作于康熙年间，有些则是雍、乾时期的仿本。康熙十七年（1678）八月，葡萄牙人曾将一只狮子运抵北京献给康熙皇帝，可惜的是此狮到京后只存活了不到三个月，为时甚短，此后直到20世纪初，再未有真狮入华。由于接触时间甚短，未能细致观察，又迭经转摹，导致清宫写实性狮子绘画水平普遍不高，细节上有所缺失。",[23,24,52,27,28,154,429,82,122,114,430,431,432,7,284,57],"草","线条勾勒","设色典雅","神兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb7499dad40501202d7f76dc3a35bc65.jpg","纸本","211.9x178.6厘米",[],2,{"id":439,"slug":440,"title":441,"dynasty":169,"author":442,"museum":171,"description":443,"tags":444,"thumbUrl":450,"material":185,"size":186,"collection":38,"collections":451,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":190},230643,"rembrandt-harmensz-van-rijn-031-lun-bo-lang-230643","Rembrandt Harmensz.van Rijn - 031","伦勃朗","伦勃朗·哈尔曼松·凡·莱因（Rembrandt Harmenszoon van 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。",[175,445,251,85,57,56,446,260,447,7,448,449],"明暗对比","暗色调","古典","裸体人物","昏暗环境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93fd6f03868d5c8da7012cd8d5e71b98.jpg",[],{"id":453,"slug":454,"title":455,"dynasty":456,"author":271,"museum":171,"description":457,"tags":458,"thumbUrl":467,"material":185,"size":186,"collection":38,"collections":468,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":265},228154,"jin-qiu-shan-yu-shi-yi-ming-228154","金、「秋山」玉饰","元","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[459,412,460,461,462,463,464,465,182,466,7,416],"元代","玉石","金器","饰品","秋山","山林","动物","玉雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd963964ba3b356f8cd68786709e55bd4.jpg",[],{"id":470,"slug":471,"title":472,"dynasty":18,"author":473,"museum":474,"description":475,"tags":476,"thumbUrl":487,"material":26,"size":38,"collection":38,"collections":488,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":265},215640,"yu-zhi-geng-zhi-tu-10-kang-xi-215640","御制耕织图-10","康熙","哈佛艺术博物馆","左边织室里，女子们或理丝或专注劳作，窗棂间光影轻摇，器物的纹路、衣袂的褶皱皆以细腻线条勾勒，透着生活的温润；右侧场景中，农具倚墙而立，庭院草木扶疏，质朴墨线晕染出农事的平实。整幅画以工笔之精绘就耕织日常，将农桑并重的传统深植于每处细节——织机旁的凝神、田畔的静谧，都藏着对民生根本的体察。笔触间既有绘事的严谨，更有对人间烟火的温柔观照，让平凡劳作生出静穆生机，尽显农耕文明里的生活智慧与人文关怀。",[50,477,52,23,24,106,85,396,56,57,139,478,377,398,479,480,481,31,482,483,484,7,399,378,485,486,284,234],"白描","农具","织作","题字","线描","清代风格","田园生活","民居","笔墨线条","生活场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38d3e1b9c4436f1397b49dbfad26d2de.jpg",[],1777535717974]