[{"data":1,"prerenderedAt":125},["ShallowReactive",2],{"subject-chen-yu":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},3522,"chen-yu","沉郁","沉郁画高清赏析","精选中国历代沉郁题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79518c24488244980b0d190df84ca60c.jpg",0,5,[14,40,61,72,103],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":34,"material":35,"size":36,"collection":36,"collections":37,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},220538,"shi-zi-xu-bei-hong-220538","狮子","民国","徐悲鸿","中央美术学院美术馆","云气翻涌的山巅之上，雌雄双狮傲立危崖。劲健的线条塑出肌肉棱廓，雄狮鬃毛如裂焰贲张，沉凝的目光刺破晦暝；雌狮昂首嘶吼，将野性生命力喷薄而出。\n\n左下角的闪电撕破铅灰色雨云，把天地晕染出沉郁苍茫的色调，粗粝的明暗铺陈，让崖石的嶙峋与狮身的遒劲交织，仿佛能听见山风卷着雷鸣掠过耳畔。\n\n犷悍笔力勾勒出百兽之王的威仪，将荒野暴雨前的肃杀揉进光影里，把雄狮的沉雄不屈刻进每一处肌理，尽显生命在天地间的刚猛气魄。",[23,24,25,17,26,27,28,29,30,7,31,32,33],"名画","素描","兽","山巅","危崖","闪电","荒野","暴雨前","肃杀","刚猛","野性","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c918a4e3eca97b0519fe38c90232a85.jpg","纸本素描","",[],48,"BDBDBD",{"id":41,"slug":42,"title":43,"dynasty":44,"author":45,"museum":46,"description":47,"tags":48,"thumbUrl":10,"material":55,"size":56,"collection":57,"collections":58,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":60},225877,"wheatfield-under-thunderclouds-july-fan-gao-225877","Wheatfield under thunderclouds (July - )","不详","梵高","藏地不详","文森特·威廉·梵高（Vincent Willem van 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。",[49,50,51,52,53,54,7],"油画","后印象派","麦田","雷雨云","田野","风景","未知","Xcm*Xcm","油画精选",[57],40,"795548",{"id":62,"slug":63,"title":64,"dynasty":44,"author":45,"museum":46,"description":47,"tags":65,"thumbUrl":69,"material":55,"size":56,"collection":57,"collections":70,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":60},225879,"wheatfield-with-crows-july-fan-gao-225879","Wheatfield with crows (July - )",[23,49,50,51,66,67,68,7],"群鸦","天空","乡间小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8ca128e448b20fdbbcc37b1b24ed1df.jpg",[57],35,{"id":73,"slug":74,"title":75,"dynasty":76,"author":77,"museum":78,"description":79,"tags":80,"thumbUrl":98,"material":99,"size":100,"collection":36,"collections":101,"showCount":102,"zanCount":11,"manualWeight":11,"mainColor":36},220732,"xun-qin-tu-3-huang-xiang-jian-220732","寻亲图3","清","黄向坚","香港中文大学文物馆","此作以平远之境铺展江南水乡，淡青绿晕染的山峦层叠起伏，烟岚轻笼，将江南丘林的温润秀色晕开。水网交错萦绕村舍田畴，渔舟缓行于烟波之上，远天水色相融，漫出空濛诗意。\n\n笔墨苍秀兼工带写，山石以浅绛勾勒皴擦，苔点缀出草木华滋，衬出江南独有的烟雨氤氲底色。长卷山光水色之间，藏着行路寻亲的沉郁心绪，将羁旅迢迢融于清和景致，实景与归思相映，静雅晕开脉脉温情，绘就山水间藏着的惦念与归途。",[81,82,83,84,85,86,87,88,89,90,91,92,93,94,95,7,96,97],"国画","长卷","山水画","青绿","设色","浅绛","皴法","兼工带写","山峦","烟岚","流水","村舍","田畴","渔舟","江南水乡","温情","归思","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F677da50b5e5dfa1604cc4f515ee239d9.jpg","水墨,设色,纸本,手卷","31.4 × 550.4厘米",[],17,{"id":104,"slug":105,"title":106,"dynasty":107,"author":108,"museum":109,"description":110,"tags":111,"thumbUrl":120,"material":121,"size":122,"collection":36,"collections":123,"showCount":124,"zanCount":11,"manualWeight":11,"mainColor":60},232259,"ying-zhen-xiang-yi-ming-232259","应真像","元","佚名","台北故宫博物院","全幅线条运笔相当流畅，有简洁净雅的韵味，人物五官手足以细瘦而轻淡的描线，衣服褶纹则笔致较为粗重而浓厚，全身并施以薄薄的晕染，袈裟水田纹有华丽的图案。\n尊者的容颜是肖像画的手法完成的，或浓眉大眼，或胡须横腮，或皱纹满面，眼窝四周并涂上厚厚蛤粉。此种造形给人以一股沉郁之感。",[23,81,112,113,85,114,115,116,117,118,119,7],"宗教","人物","白描","晕染","罗汉","枯树","袈裟","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad0511087ee38eb77c532302d97cf4bf.jpg","纸本","104.1x50.3",[],3,1777535752467]