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（约1131-1218），号清波，南宋画家，历孝宗、光宗、宁宗三朝，浙江省金华市汤溪镇宅口人。刘松年与刘龟年兄弟随父亲宦居钱塘清波门，以住地自号刘清波，因清波门又称南“暗门”，故外号宋“暗门刘”。",[23,24,27,28,29,30,36,33,80,7,81,82,55,83],"花卉","几案","印章","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6b8170b586633a643595048667f2ac3.jpg","绢本","纵117公分，横55.8公分",[],19,{"id":90,"slug":91,"title":92,"dynasty":93,"author":19,"museum":94,"description":95,"tags":96,"thumbUrl":99,"material":100,"size":101,"collection":59,"collections":102,"showCount":103,"zanCount":44,"manualWeight":11,"mainColor":62},234854,"he-su-fu-ren-ying-xiang-zhou-yi-ming-234854","和素夫人影像轴","清","藏地不详","此作工笔精绝，将诰命夫人的雍容气度尽付笔端。画师于面容描摹细致入微，眉眼含静，神态端方沉稳，尽显世家尊眷的矜贵仪态。宝蓝吉服华美绝伦，金龙辗转腾挪于袍身，祥云、江崖海水次第铺陈，笔墨还原出针绣肌理的精妙，纹样层次分明，将森严的品级礼制融于雅致工巧之中。画面留白简约，边角题跋衬映，文气与画意相融。整作形神兼备，写实功力深厚，将官眷威仪与富贵风华定格于绢素之上，尽显清代肖像画精细传神的创作特色。",[24,25,26,28,27,30,97,7,98,55],"龙","地毯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50d2a120e8a09f29ad429c901df1d611.jpg","未知","Xcm*Xcm",[],12,{"id":105,"slug":106,"title":107,"dynasty":108,"author":109,"museum":94,"description":110,"tags":111,"thumbUrl":126,"material":100,"size":101,"collection":127,"collections":128,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":130},225694,"the-preacher-eleazar-swalmius-lun-bo-lang-225694","The preacher Eleazar Swalmius","不详","伦勃朗","伦勃朗·哈尔曼松·凡·莱因（Rembrandt Harmenszoon van 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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。",[112,27,113,30,204,205,206,207,7,208,209,210,211,212,213,214],"教堂","拱形窗","木梁","旗帜","武器","历史服饰","室内场景","人群","讲台","宗教建筑","建筑内部","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e4f39f8636b0b362c575129219604e7.jpg",[],{"id":218,"slug":219,"title":220,"dynasty":108,"author":221,"museum":94,"description":222,"tags":223,"thumbUrl":231,"material":100,"size":101,"collection":59,"collections":232,"showCount":196,"zanCount":11,"manualWeight":11,"mainColor":62},231976,"the-billiard-room-at-menil-hubert-staatsgalerie-stuttgart-germany-de-jia-231976","The Billiard Room at Menil-Hubert - - Staatsgalerie Stuttgart (Germany)","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。",[112,224,210,225,226,227,7,228,229,230],"印象派","台球桌","墙壁挂画","花纹地毯","房间陈设","光影表现","色彩丰富","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0309a9a9d5899427c2bb0fb9ea786a1a.jpg",[],{"id":234,"slug":235,"title":236,"dynasty":93,"author":19,"museum":94,"description":237,"tags":238,"thumbUrl":239,"material":59,"size":59,"collection":59,"collections":240,"showCount":196,"zanCount":11,"manualWeight":11,"mainColor":62},230321,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-bo-guo-duo-yi-ming-230321","历代帝王贵妃大臣朝服像(博果铎)","此作写实工笔尽显匠心，画中人物面庞方正，虬髯垂胸，神色沉凝威严，自带世家勋贵的端肃威仪。石青朝服上团龙纹绣制精妙，金线勾勒的龙身矫健灵动，云纹晕染细腻萦绕四周，朝珠匀润光洁，与衣上刺绣交相辉映，寸缕之间皆见工艺精湛。人物安坐于锦缎扶手椅中，身下宝相花纹地毯繁复规整，色彩厚重沉稳，烘托出庄重仪礼氛围。整幅画作笔法细腻入微，设色典雅华贵，精准定格了旗人勋贵的雍容气度，是兼具纪实性与艺术性的上乘肖像之作。",[23,165,28,27,30,114,54,97,168,7,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F200cbdd6adf4e792b40f7ff2550d0101.jpg",[],{"id":242,"slug":243,"title":244,"dynasty":108,"author":19,"museum":94,"description":245,"tags":246,"thumbUrl":253,"material":100,"size":101,"collection":59,"collections":254,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":62},289549,"attributed-to-john-carter-drawing-room-of-lea-castle-looking-west-yi-ming-289549","Attributed to John Carter--Drawing Room of Lea Castle, Looking West","整体是哥特复兴风格的雅致厅堂，层次错落的雕花藻井以青绿描金点缀，晕开复古华贵的底色。墙面拱壁龛柱搭配浮雕人像，庄重典雅之余带着复古仪式感。壁炉居于视觉中心，上方古典画作与对称排布的软包座椅相互呼应，边桌鎏金摆件柔和了建筑的冷硬肌理，铺陈出旧日宅邸的闲适氛围。\n水彩晕染柔和细腻，精准勾勒每一处雕花肌理，将中世纪复古形制与室内陈设的柔美融合，仿若将鎏金岁月凝于纸面，尽显古典宅邸的精致雍容，让人好似窥见旧日厅堂里衣香鬓影的松弛光景。",[247,248,27,249,210,250,251,7,252],"水彩画","界画","厅堂","古典建筑","壁炉","挂画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdffd9fcd1e4b98c5eb7752208451339.jpg",[],{"id":256,"slug":257,"title":258,"dynasty":108,"author":19,"museum":94,"description":259,"tags":260,"thumbUrl":268,"material":100,"size":101,"collection":59,"collections":269,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":62},288886,"giovanni-battista-tiepolo-illustration-for-a-book-scene-of-a-murder-yi-ming-288886","Giovanni Battista Tiepolo--Illustration for a Book Scene of a Murder","乔凡尼·巴蒂斯塔·提埃坡罗，常被称为詹巴蒂斯塔（Giambattista），巴洛克及洛可可时期意大利著名画家，威尼斯画派最后的代表人物。\n提埃坡罗是著名的壁画家，属于早期的洛可可风格，他继承了巴洛克艺术的传统，开创了天顶画的开阔视野，他的天顶画透明，和边框有机的结合在一起，产生了水彩画的效果，他也是威尼斯共和国最后一位希腊神话画家。\n他的两个儿子继承他的风格，但没有他那么优秀和有创造性。",[261,262,263,264,265,210,266,37,267,7],"素描","白描","人物画","书籍插画","谋杀场景","紧张氛围","烛台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2d15d54c191e52ce80ba49defc72373.jpg",[],{"id":271,"slug":272,"title":273,"dynasty":108,"author":19,"museum":94,"description":274,"tags":275,"thumbUrl":282,"material":100,"size":101,"collection":59,"collections":283,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":62},288824,"pelagio-palagi-king-charles-viii-of-france-with-the-dying-gian-galeazzo-sforza-yi-ming-288824","Pelagio Palagi--King Charles VIII of France with the Dying Gian Galeazzo Sforza","画面以细密的素描笔触铺陈出沉郁的宫廷场景。濒死的贵族被幼童与侍从竭力搀扶，身体佝挛着满是将熄的孱弱。白衣王后垂首哀戚，伸出的双手似在向王座上的君主求告，却难掩绝望。王座上的帝王神色冷漠，端坐的姿态衬出权力的威压，旁立的老者们或侧目忧心、或冷眼漠然，将宫廷凉薄尽显。明暗层次晕染出窒闷的氛围，将王权阴影下生命的凋零与权力倾轧的悲剧，凝在这一凝滞的对峙瞬间，满是末世宫廷的唏嘘与沉重。",[261,263,276,210,277,278,279,280,281,7],"历史画","多人","悲伤氛围","贵族","孩童","床榻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd5ce4e52f01efe6cb2336aef223b6f8.jpg",[],{"id":285,"slug":286,"title":287,"dynasty":93,"author":19,"museum":94,"description":288,"tags":289,"thumbUrl":295,"material":100,"size":101,"collection":59,"collections":296,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":62},272732,"zi-tan-mu-qian-hua-mu-teng-xin-yi-yi-ming-272732","紫檀木嵌桦木藤心椅","敦煌285窟壁画就有两人分坐在椅子上的图像；257窟壁画中有坐方凳和交叉腿长凳的妇女；龙门莲花洞石雕中有坐圆凳妇女。这些图像生动地再现了南北朝时期椅、凳在仕宦贵族家庭中的使用情况。尽管当时的坐具已具备了椅子、凳子的形状，但因其时没有椅、凳的称谓，人们还习惯称之为“胡床”，在寺庙内，常用于坐禅，故又称禅床。唐代以后，椅子的使用逐渐增多，椅子的名称也被广泛使用，才从床的品类中分离出来。因此，论及椅、凳的起源，必须从汉魏时经印度传入的胡床谈起。\n唐代以前的“椅”字还有一种解释，作“车旁”讲，即车的围栏。其作用是人乘车时有所依靠。后来的椅子，其形式是在四足支撑的平台上安装围栏，其制当是受车旁围栏的启发，并沿用其名而称这种坐具为“椅子”了。从现存资料看，唐代已有相当讲究的椅子了。\n五代至宋，高型坐具空前普及，椅子的形式也多了起来，出现靠背椅、扶手椅、圈椅等。同时根据尊卑等级的不同，椅子的形制、质料和功能也有所区别。\n五代至两宋时期的家具大体保留着唐代遗风，只是高型家具较前更加普及了。\n椅子非常古老和简单，虽然许多世纪以来，是一个普通使用状态。在早王朝时期，他们用布或皮革、木雕覆盖椅背和椅面，但是覆盖面积均远低于21世纪的椅子，椅面有时仅离地25厘米。在古埃及时代的椅子似乎已经被极大的丰富，老式乌木、象牙雕刻、镀金的木材等都会被使用。它们被覆盖着昂贵的材料，华丽的图案和猎杀的野兽或雕刻着的俘虏数字。一般来说，地位越高的个人，他的椅子就越高越华丽，这是种荣誉的象征。",[290,7,291,292,293,294],"家具","木质","雕刻","嵌木工艺","藤心","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F260b7bc68dcf9fa130dc45f337c7c6cc.jpg",[],{"id":298,"slug":299,"title":300,"dynasty":108,"author":201,"museum":94,"description":202,"tags":301,"thumbUrl":320,"material":100,"size":101,"collection":59,"collections":321,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":62},232574,"mi-lai-si-118-yue-han-ai-fu-li-te-mi-lai-si-232574","米莱斯118",[262,261,302,303,30,304,305,306,307,308,309,310,311,312,313,314,315,316,317,7,318,319],"黑白","线条勾勒","画架","调色板","画笔","桌子","椅子","绅士","聚会","室内","室外","日常场景","绘画活动","社交交谈","戴帽人物","餐桌","艺术创作","人物群像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F356922e47f9ff208cd235b3ea0edcb70.jpg",[],{"id":323,"slug":324,"title":325,"dynasty":108,"author":201,"museum":94,"description":202,"tags":326,"thumbUrl":333,"material":100,"size":101,"collection":59,"collections":334,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":45},232554,"mi-lai-si-98-yue-han-ai-fu-li-te-mi-lai-si-232554","米莱斯98",[327,113,328,117,329,330,331,207,7,116,332],"版画","人物肖像","长袍","帽子","手杖","线条刻画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3e75be538ddc30facfc8d258e3ac942.jpg",[],{"id":336,"slug":337,"title":338,"dynasty":108,"author":201,"museum":94,"description":202,"tags":339,"thumbUrl":345,"material":100,"size":101,"collection":59,"collections":346,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":130},232546,"mi-lai-si-90-yue-han-ai-fu-li-te-mi-lai-si-232546","米莱斯90",[112,113,27,30,340,341,7,342,210,343,55,344],"鸟笼","猫头鹰","窗帘","织物","写实技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F266eccfc6db489ca62a2dfd5174d46db.jpg",[],{"id":348,"slug":349,"title":350,"dynasty":108,"author":109,"museum":94,"description":110,"tags":351,"thumbUrl":355,"material":100,"size":101,"collection":59,"collections":356,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":45},230640,"rembrandt-harmensz-van-rijn-0273-lun-bo-lang-230640","Rembrandt Harmensz.van Rijn - 0273",[112,29,30,311,352,353,115,7,354,54],"老人","青年","文书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70a7599094263eaeb5023db89415e0e2.jpg",[],{"id":358,"slug":359,"title":360,"dynasty":93,"author":19,"museum":94,"description":288,"tags":361,"thumbUrl":364,"material":100,"size":101,"collection":59,"collections":365,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},273568,"hua-li-mu-qi-bei-yi-yi-ming-273568","花梨木漆背椅",[291,290,7,292,362,363],"漆器","竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe02e0ff482551244280d8f730c5654b.jpg",[],1777535718621]