[{"data":1,"prerenderedAt":306},["ShallowReactive",2],{"subject-dan-se":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},6638,"dan-se","单色","单色画高清赏析","精选中国历代单色题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c23692328a2f7e6b79005dff493e779.jpg",0,25,[14,34,47,61,78,93,108,120,140,153,164,175,189,197,209,217,226,233,243,251,262,271,279,289,297],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":26,"material":27,"size":28,"collection":29,"collections":30,"showCount":31,"zanCount":32,"manualWeight":11,"mainColor":33},231182,"su-miao-436-xi-fang-231182","素描436","不详","西方","藏地不详","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。",[23,24,7,25],"素描","人体素描","写实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa42c9e612327a7dcc048cc4787629cf3.jpg","未知","Xcm*Xcm","",[],12,1,"BDBDBD",{"id":35,"slug":36,"title":37,"dynasty":18,"author":19,"museum":20,"description":21,"tags":38,"thumbUrl":10,"material":27,"size":28,"collection":29,"collections":44,"showCount":45,"zanCount":11,"manualWeight":11,"mainColor":46},231028,"su-miao-337-xi-fang-231028","素描337",[23,39,40,7,41,42,43,25],"速写","线条","人物","坐姿","手部",[],9,"795548",{"id":48,"slug":49,"title":50,"dynasty":18,"author":51,"museum":20,"description":52,"tags":53,"thumbUrl":58,"material":27,"size":28,"collection":29,"collections":59,"showCount":60,"zanCount":11,"manualWeight":11,"mainColor":33},288801,"peter-van-lint-flemish-venus-de-medici-view-from-the-back-yi-ming-288801","Peter van Lint, Flemish--Venus de' Medici; view from the back","佚名","炭笔循着灰蓝纸底晕染明暗，将维纳斯的背面形神复刻于纸面。细腻笔触顺着肌肉走势铺陈，腰臀的柔润弧线、腿部紧绷的张力被精准捕捉，完美诠释了古典人体的优雅韵律。\n左下角的骷髅与鲜活的肉身形成强烈对冲，一边是肉体的柔美鲜活，一边是死亡的冷峻肃穆，暗喻着肉身的转瞬即逝。创作者以精微的明暗过渡，将大理石雕塑的温润质感化为纸面层次，在忠实还原原作静穆气质的同时，让手绘笔触赋予雕像新的鲜活温度，静立间尽显古典人体的永恒美感。",[23,54,41,55,56,57,25,7],"临摹","裸女","神话人物","骷髅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1176d6d8cb29d3a838f3bdd3e9d2683.jpg",[],4,{"id":62,"slug":63,"title":64,"dynasty":18,"author":65,"museum":20,"description":66,"tags":67,"thumbUrl":76,"material":27,"size":28,"collection":29,"collections":77,"showCount":60,"zanCount":11,"manualWeight":11,"mainColor":33},232354,"he-er-bai-yin-13-he-er-bai-yin-232354","荷尔拜因13","荷尔拜因","小汉斯·荷尔拜因（约1497年-1543年11月29日以前）是德国画家，最擅长油画和版画，是欧洲北方文艺复兴时代的艺术家。其代表作有：木版画《死神之舞》。\n荷尔拜因在创作一幅肖像画以前，经常用铅笔描绘衣物、装饰品等细节，有时也用钢笔或垩笔，然后在纸上沿轮廓扎上小孔，铺在画布上，用炭粉将其转移到画布上。在晚年也使用复写纸。他的画作对细节描绘非常详细、真实，甚至于仪器上的刻度、信笺上的文字、桌布上的花纹都描绘的一丝不苟，但整体风格仍然非常统一，人文主义风格非常明显，俄罗斯作家陀斯妥耶夫斯基曾经评价他的作品《墓中的基督》：“可以把许多人的信仰夺去。” 他曾经从同为英国王室画家的弗拉芒画家卢卡斯·霍亨布特那里学习画微型画，卢卡斯曾为他画了一幅微型画像，他自己从没有画过自画像。",[23,25,41,68,69,70,71,72,73,7,74,75],"肖像","男性","胡须","帽子","衣物","线描","头部肖像","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0846d5a73f15057506732916b2c1c421.jpg",[],{"id":79,"slug":80,"title":81,"dynasty":18,"author":82,"museum":20,"description":83,"tags":84,"thumbUrl":90,"material":27,"size":28,"collection":29,"collections":91,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":33},232542,"mi-lai-si-86-yue-han-ai-fu-li-te-mi-lai-si-232542","米莱斯86","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。",[23,39,7,40,25,41,85,86,87,88,89],"士兵","女性","儿童","动态","互动场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F497af1daf19eec0781ba33d2d8902f63.jpg",[],2,{"id":94,"slug":95,"title":96,"dynasty":18,"author":65,"museum":20,"description":66,"tags":97,"thumbUrl":106,"material":27,"size":28,"collection":29,"collections":107,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":33},232516,"he-er-bai-yin-175-he-er-bai-yin-232516","荷尔拜因175",[98,23,25,99,100,101,102,103,73,104,7,105],"名画","手绘","纸本","人物手部","人物面部","人物局部","写实风格","细节刻画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce8f018a7418746511ff7dd3e286068e.jpg",[],{"id":109,"slug":110,"title":111,"dynasty":18,"author":19,"museum":20,"description":21,"tags":112,"thumbUrl":118,"material":27,"size":28,"collection":29,"collections":119,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":46},231253,"su-miao-507-xi-fang-231253","素描507",[23,25,41,113,114,7,115,116,117],"裸体","光影","西方绘画","人体","细腻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbc69716468abfbc42ceb41623820af4.jpg",[],{"id":121,"slug":122,"title":123,"dynasty":18,"author":19,"museum":20,"description":21,"tags":124,"thumbUrl":138,"material":27,"size":28,"collection":29,"collections":139,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":33},231132,"su-miao-386-xi-fang-231132","素描386",[23,7,25,41,87,125,126,68,127,128,129,130,131,132,133,134,135,136,137],"裙子","亲密姿态","炭笔技法","光影表现","西方绘画风格","人物互动","孩童形象","服饰细节","柔和笔触","黑白灰层次","生活场景感","双人构图","站姿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3cfc32a1956228cc9fe1bc1b39afbf2.jpg",[],{"id":141,"slug":142,"title":143,"dynasty":18,"author":19,"museum":20,"description":21,"tags":144,"thumbUrl":151,"material":27,"size":28,"collection":29,"collections":152,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":33},231114,"su-miao-368-xi-fang-231114","素描368",[23,25,145,116,146,7,147,41,148,149,150],"光影塑造","布纹","明暗对比","写实主义","布料质感","黑白","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81fd7f54137d4e209ddf14267ea63e40.jpg",[],{"id":154,"slug":155,"title":156,"dynasty":18,"author":51,"museum":20,"description":157,"tags":158,"thumbUrl":161,"material":27,"size":28,"collection":29,"collections":162,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":163},289499,"benedetto-luti-seated-nude-male-figure-recto-seated-figure-verso-yi-ming-289499","Benedetto Luti--Seated Nude Male Figure (recto); Seated Figure (verso)","暖调红粉笔晕开柔和底色，排线顺着肌肉的起伏走势铺陈，精准刻画出青年躯体的张力。肩背块面棱角分明，腰腿线条流畅舒展，力量感与松弛感融于一身。他右臂绷紧拽住织物，静态坐姿里生出拉扯的动态感，衬布褶皱虚实交错，更衬出人体的饱满体积。\n\n微抬的下颌，望向斜上方的眼神带着一缕怅惘，让冰冷的习作拥有了鲜活情绪。没有冗余笔触，以极简的素描语言将古典写实的人体美学诠释得淋漓尽致，细腻捕捉了肉体的生命力，让这尊裸像兼具雕塑般的质感与灵动的魂魄。",[23,159,160,42,25,7],"人物画","裸体男性","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59d8fc11ef0ae811af54df0ba24f9ad7.jpg",[],"F48FB1",{"id":165,"slug":166,"title":167,"dynasty":18,"author":51,"museum":20,"description":168,"tags":169,"thumbUrl":172,"material":27,"size":28,"collection":29,"collections":173,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":174},289159,"goya-three-washerwomen-madrid-album-yi-ming-289159","Goya--Three Washerwomen; Madrid 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