[{"data":1,"prerenderedAt":556},["ShallowReactive",2],{"subject-di-mian":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},725,"di-mian","地面","地面画高清赏析","精选中国历代地面题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e4acebe0585d569d11be7033503fe41.jpg",0,35,[14,40,69,94,116,132,158,178,195,213,231,245,257,275,291,303,319,330,350,366,384,397,412,424,438,452,465,474,486,495,507,515,525,536,546],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":32,"material":33,"size":34,"collection":35,"collections":36,"showCount":37,"zanCount":38,"manualWeight":11,"mainColor":39},225614,"rembrandt-harmensz-van-rijn-019-lun-bo-lang-225614","Rembrandt Harmensz.van Rijn - 019","不详","伦勃朗","藏地不详","伦勃朗（Rembrandt Harmensz. van Rijn）所创作的这幅作品，聚焦于耶稣受难这一经典场景。画面正中央，被钉于十字架之上的耶稣，其身躯扭曲，呈现出极度痛苦的模样，十字架巍峨矗立，瞬间抓住观者的目光，形成一种极具震撼力的视觉冲击感。\n\n环绕在耶稣身旁的诸多人物，每一位皆被赋予了鲜明独特的个性。他们的神情姿态丰富多样，或面露悲痛之色，眉眼低垂，泪水几欲夺眶而出；或虔诚祈祷，双手合十，双唇微启念念有词；亦或驻足观望，眼神中交织着震惊、悲悯与思索。伦勃朗凭借其细腻入微的笔触，将这些人物刻画得栩栩如生，淋漓尽致地展现出他超凡脱俗的绘画技艺，以及对人物内在情感深邃且精准的洞察与把控能力。特别值得留意的是，画面左下角有一人躺卧在地，从其姿态与场景氛围推测，大概率为已逝去之人，这一细节无疑进一步渲染烘托出整幅画面所弥漫的悲剧色彩。\n\n目光移至画面背景处，可见阴沉压抑的苍穹笼罩在上空，仿若一块铅灰色的幕布，沉甸甸地压将下来。远处城市的轮廓若隐若现，影影绰绰间尽显萧瑟之感。整幅画作以灰暗色调为主调，恰似一层厚重的阴霾，将悲伤、压抑的情绪丝丝缕缕地渗透出来，营造出一种仿若全世界都被裹挟于耶稣受难这一沉重阴影之下的氛围感。伦勃朗在创作过程中巧妙运用光影效果，精准地突出了画面核心 —— 耶稣及周边人物，令观者的视线不由自主地聚焦于此。这一独特的光影处理方式，便是在绘画史上赫赫有名的 “伦勃朗光”，成为其作品标志性的艺术特征之一。\n\n总体而言，这幅画作绝非仅仅局限于宗教题材层面，它更是伦勃朗对人性幽微、苦难磨砺以及救赎希望等一系列深刻主题深入骨髓的艺术诠释，承载着极高的艺术审美价值，同时也积淀着深厚的历史文化底蕴，成为人类艺术宝库中熠熠生辉的瑰宝。",[23,24,25,26,27,28,29,30,7,31],"油画","宗教","人物","十字架","明暗对比","设色","人物群像","梯子","光影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce05a7aa063b679cb1cba4e79fb37994.jpg","未知","Xcm*Xcm","油画精选",[35],409,1,"37474F",{"id":41,"slug":42,"title":43,"dynasty":44,"author":45,"museum":46,"description":47,"tags":48,"thumbUrl":62,"material":63,"size":64,"collection":65,"collections":66,"showCount":67,"zanCount":38,"manualWeight":11,"mainColor":68},219618,"bai-chi-wu-tong-tu-zhao-meng-fu-219618","百尺梧桐图","元","赵孟頫","上海博物馆","此作以淡逸青绿晕染出林下幽居之景，古木荫蔽临水轩馆，主人凭案静坐，似在沉湎遐思，侧室侍童悄然研墨，檐下光影清和。篱桥婉转接引溪岸，携琴小童缓步入园，将访友雅事暗藏画中。\n笔致清简柔润，设色浅淡雅致，无浓艳堆砌，只以平和色调晕染出草木山石的温润质感，将文人幽居的恬然意趣尽数铺展。画面不见喧嚣，只余林下静穆闲雅，把文人心中的隐逸栖居，定格成一段安然自持的慢时光，淡韵悠长，余味清远。",[49,28,50,51,52,25,53,54,55,56,57,58,59,7,60,61],"国画","工笔","文人画","梧桐","亭","树木","围栏","山石","草地","栏杆","建筑","栅栏","远人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b0d2d1313c377cfccc6bd8b50026170.jpg","绢本,设色","29.5x59.7厘米","人物画精选",[65],101,"795548",{"id":70,"slug":71,"title":72,"dynasty":73,"author":74,"museum":75,"description":76,"tags":77,"thumbUrl":87,"material":88,"size":89,"collection":90,"collections":91,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":93},222189,"ren-wu-gu-shi-tu-zhuo-liu-hua-tu-chou-ying-222189","人物故事图-捉柳花图","明","仇英","北京故宫博物院","全册共十开，内容取材于历史故事、寓言传说、文人轶事和诗文寓意，具体为子路问津、明妃出塞、贵妃晓妆、南华秋水、吹箫引凤、高山流水、竹院品古、松林六逸、浔阳琵琶、捉柳花图等。这些题材历史上常被画家描绘，但仇英在作品立意、形象塑造和笔墨表现等方面，都注入了自己的才思和技巧，显示出鲜明的个性风格。\n作品主题明确，构思巧妙，不仅人物活动的细节刻画具体明晓，而且注意环境气氛的烘托，使每幅画页都有很强的观赏性。如“贵妃晓妆”页，以杨贵妃清晨在华清宫端正楼对镜理髻为中心，将宫女奏乐、采花和携琵琶等情节同现于一个画面，集中表现了贵妃爱牡丹、喜簪花、善声乐、好打扮的习性，也概括反映了贵妃奢华纵乐的生活内容。又如“高山流水”页，取材于伯牙鼓琴的故事，在描绘俞伯牙草亭弹琴，钟子期拾阶而上，知音相遇的具体情节同时，布置了高山飞瀑、松林流水的静谧清幽环境，形象地表达了高山流水的音乐内容，也衬托出人物的高雅情操，以象征性手法营造出了一个情景交融的臻境。\n此图册运用工笔重彩法。人物情态描绘得细腻精微，文人举止高雅潇洒，仕女容貌端庄娟美。建筑器皿工整精细，山石树木形态各具。笔致工细而不板滞，流畅自然，刚柔相济。敷色艳丽，又多和色，整体色调和谐、清雅。作品具有雅俗共赏的艺术效果，是仇英对唐宋工笔重彩法的创新和发展。",[78,49,79,50,28,80,25,81,82,83,84,57,85,86,7],"高清","书画","册","柳树","房屋","山水","流水","小孩","庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00f4e6ab2a4ef0d6aec4e0ebef87e333.jpg","绢本，设色","每开纵41.4厘米，横33.8厘米","",[],74,"BDBDBD",{"id":95,"slug":96,"title":97,"dynasty":73,"author":98,"museum":99,"description":100,"tags":101,"thumbUrl":109,"material":110,"size":111,"collection":112,"collections":113,"showCount":115,"zanCount":11,"manualWeight":11,"mainColor":93},222064,"jian-qiu-luo-ji-lin-da-222064","剪秋罗鸡","林达","台北故宫博物院","此图为《明林达花卉翎毛册》中的一页。林达（年代不详），字志道，号愧吾，福建莆田人。俊子。正德九年（1514）进士，历官南京吏部考功郎中。",[78,102,49,79,103,28,50,104,105,106,107,7,108],"名画","明代","花鸟","小鸡","花卉","孤石","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5ad09435dd181cbb24bac44d2945b7b.jpg","纸本设色","29.7×40.4cm","花鸟画精选",[112,114],"设色画精选",64,{"id":117,"slug":118,"title":119,"dynasty":120,"author":121,"museum":99,"description":122,"tags":123,"thumbUrl":127,"material":63,"size":128,"collection":129,"collections":130,"showCount":131,"zanCount":11,"manualWeight":11,"mainColor":93},218842,"song-yin-fang-dao-tu-yi-ming-218842","松荫访道图","宋","佚名","这幅画描绘了一位国王和一位王子向一位僧人请教冥想的情景，并将人物放在一条阴松溪的岸边，溪上有一座石桥，暗示渡口可以到达彼岸。这幅画与刘松年的画派相似，是山水画中人物团扇的典范。",[78,49,28,50,124,125,126,25,56,54,7],"皴法","团扇","松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94fd283639ef962c56bc157245007996.jpg","22.5x24.8","宋画精选",[129],36,{"id":133,"slug":134,"title":135,"dynasty":18,"author":136,"museum":20,"description":137,"tags":138,"thumbUrl":155,"material":33,"size":34,"collection":35,"collections":156,"showCount":157,"zanCount":11,"manualWeight":11,"mainColor":93},226020,"saint-lazare-station-exterior-view-1877-1-mo-nai-226020","Saint-Lazare Station, Exterior View, 1877 1","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。",[139,23,31,140,141,142,143,144,145,59,146,147,148,149,150,7,151,152,153,154],"印象派","色彩","笔触","火车站","铁轨","蒸汽","人群","顶棚","列车","站台","烟雾","金属结构","城市景观","工业场景","室外光线","瞬间光影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e8cebda616b5cf81092a71273f0dc63.jpg",[35],32,{"id":159,"slug":160,"title":161,"dynasty":120,"author":162,"museum":75,"description":163,"tags":164,"thumbUrl":174,"material":88,"size":175,"collection":90,"collections":176,"showCount":177,"zanCount":11,"manualWeight":11,"mainColor":93},234030,"jiao-yin-ji-qiu-tu-ye-su-han-chen-234030","蕉阴击球图页","苏汉臣","《蕉阴击球图》绘南宋贵族庭院里的婴戏小景。庭院内奇巧的湖石突兀而立，其后隐现茂盛的芭蕉数丛。石前的少妇正与身旁的女子专注地观看二童子玩槌球游戏。一童手持木拍正欲坐地击球，另一童子则向他急急地喊话。图中四人的目光同时落于童子所欲击打的小小球体上。构思巧妙，情节生动，显示出作者善于观察人物并且捕捉生活细节的能力。此幅在构图上巧妙地将玲珑剔透的湖石正立于画心中部，以其自身的完整性起到了镇住画面的作用，聚拢了交叠张扬的芭蕉叶及分散的人物，避免了画面因景物繁杂而出现轻浮感。此外，湖石拉开了前景人物与背景芭蕉间的距离，增强了画面的纵向层次感。在笔法上，作者注重物象间的对比互衬关系。人物与芭蕉为中锋运笔，线条工整细匀，如行云流水；着色渲染浓淡相宜，清新明洁的色调有助于表达轻松活泼的主题。湖石则以粗笔重墨表现，线条劲练，转折顿挫中见洒脱。湖石所呈现出的坚硬质地成功地衬托出人物纤秀婉约的形象及芭蕉飘逸润泽的自然美。\n在宋代类似于《蕉阴击球图》的作品很多。以写实的笔法描绘民间生活、反映“市井细民”的审美趣味是宋代绘画的一大特色。当时涌现出众多绘风俗画的著名画家，如王居正、张择端、李嵩、苏汉臣等人，他们的作品以富有浓郁的生活气息而在中国绘画史上占有重要的地位。\n原题签作者为苏汉臣。此幅虽在题材、笔法上与苏汉臣的画风较为接近，但在艺术表现的造诣上却远不及苏汉臣，因此，此图当是与苏汉臣同时代的佚名画家之作。",[102,49,79,165,166,50,28,167,25,168,169,170,171,7,172,173],"册页","宋代","精细","儿童","芭蕉","石头","桌子","击球","工笔人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5800a0bb27581102b47456c505bec926.jpg","纵25厘米，横24.5厘米",[],28,{"id":179,"slug":180,"title":181,"dynasty":182,"author":183,"museum":20,"description":184,"tags":185,"thumbUrl":192,"material":33,"size":34,"collection":90,"collections":193,"showCount":194,"zanCount":38,"manualWeight":11,"mainColor":93},235318,"hua-niao-tu-zhou-ling-heng-235318","花鸟图轴","清","凌恒","画面留白疏朗，坡岸生棘草野卉，红实垂缀枝梢，暗涌浅秋生机。四只小雀栖于柔条之上，或整羽、或顾盼，灵动娇憨。石坡间斑鸠独立，翎毛晕染细腻柔和，神态安然娴静。\n\n此作工写相融，敷色清雅克制，禽鸟形神兼备，草木勾勒秀逸简淡，以极简布景烘托出郊野幽寂安闲的氛围，将荒陂秋日的恬然生机藏于笔底，尽显平和雅致的林下意趣。",[49,186,28,50,104,187,188,189,190,191,7],"立轴","飞鸟","鸟","植物","果实","杂草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7fd4ecfe92a7ecfebd88f9ec0e17f39.jpg",[],24,{"id":196,"slug":197,"title":198,"dynasty":18,"author":199,"museum":20,"description":200,"tags":201,"thumbUrl":210,"material":33,"size":34,"collection":35,"collections":211,"showCount":212,"zanCount":38,"manualWeight":11,"mainColor":68},225732,"corridor-in-the-asylum-fan-gao-225732","Corridor in the Asylum","梵高","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。",[23,202,203,204,205,206,207,208,7,25,209,31],"后印象派","笔触奔放","色彩鲜明","室内场景","走廊","拱门","柱子","墙面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F280e79c7ab565bfd54bd93db4e4d2752.jpg",[35],19,{"id":214,"slug":215,"title":216,"dynasty":182,"author":217,"museum":218,"description":219,"tags":220,"thumbUrl":226,"material":227,"size":228,"collection":90,"collections":229,"showCount":230,"zanCount":11,"manualWeight":11,"mainColor":93},222913,"hong-lou-meng-38-sun-wen-222913","红楼梦38","孙温","旅顺博物馆","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[78,49,79,50,28,221,25,222,86,54,58,223,56,224,7,225],"界画","楼阁","门窗","服饰","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe17d679e1f1bb0d6400b5266757571c9.jpg","绢本","纵43.3厘米、横76.5厘米",[],16,{"id":232,"slug":233,"title":234,"dynasty":73,"author":235,"museum":20,"description":236,"tags":237,"thumbUrl":242,"material":90,"size":90,"collection":90,"collections":243,"showCount":244,"zanCount":11,"manualWeight":11,"mainColor":93},235975,"shan-shui-ce-cheng-jia-sui-235975","山水册","程嘉燧","此作用笔极简淡，秋林水岸之间，几株枯松清癯卓立，虬枝舒展，尽现岁寒之姿。远山以轻笔晕染，留白写就浩渺烟水，空寂萧疏的秋意漫溢纸面。笔墨松灵脱略，深得元人淡远逸韵，洗尽铅华尽显文人画清虚简淡之致。\n\n左侧小楷清隽雅致，题诗与画意相映成趣，将倦游思归的幽怀，融在这空阔秋景中，诗画合璧，把厌离尘劳、寄心林泉的林下襟怀，藏在尺幅的淡墨轻岚之中，清冷疏旷里尽是禅意闲情。",[102,49,79,80,238,239,240,83,54,241,7],"水墨","白描","行书","山峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa709db4ba8ddcc287d87a77556ea3af8.jpg",[],14,{"id":246,"slug":247,"title":248,"dynasty":18,"author":199,"museum":20,"description":200,"tags":249,"thumbUrl":254,"material":33,"size":34,"collection":35,"collections":255,"showCount":256,"zanCount":38,"manualWeight":11,"mainColor":68},225854,"the-vicarage-at-nuenen-september-october-fan-gao-225854","The vicarage at Nuenen (September - October )",[23,250,141,82,54,25,7,251,252,253,59,86],"厚涂","天空","乡村","秋季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F081efa7ec6917abf9d54d1198a31c8d3.jpg",[35],11,{"id":258,"slug":259,"title":260,"dynasty":18,"author":199,"museum":20,"description":200,"tags":261,"thumbUrl":272,"material":33,"size":34,"collection":35,"collections":273,"showCount":274,"zanCount":11,"manualWeight":11,"mainColor":68},225782,"night-after-millet-october-fan-gao-225782","Night (after Millet) (October - )",[23,262,250,25,263,264,265,266,267,268,269,7,270,271],"临摹","猫","室内","凳子","椅子","桶","灯","墙壁","夜晚","劳作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38b37849b04ddc3e6268e893287ee75f.jpg",[35],10,{"id":276,"slug":277,"title":278,"dynasty":18,"author":136,"museum":20,"description":137,"tags":279,"thumbUrl":288,"material":33,"size":34,"collection":35,"collections":289,"showCount":290,"zanCount":11,"manualWeight":11,"mainColor":39},226055,"the-chapel-of-notre-dame-de-grace-honfleur-1864-mo-nai-226055","The Chapel of Notre-Dame-de-Grace, Honfleur, 1864",[23,139,280,281,282,283,54,284,59,251,57,7,285,286,287],"光影捕捉","色彩明快","笔触自然","教堂","道路","绿树","小教堂","户外场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d07c708aa1a213c55859624f70d7d71.jpg",[35],9,{"id":292,"slug":293,"title":294,"dynasty":18,"author":136,"museum":20,"description":137,"tags":295,"thumbUrl":300,"material":33,"size":34,"collection":35,"collections":301,"showCount":302,"zanCount":11,"manualWeight":11,"mainColor":68},226059,"the-church-at-ve-theuil-snow-1878-1879-mo-nai-226059","The Church at Vétheuil, Snow, 1878-1879",[139,23,141,31,296,283,82,54,297,25,298,59,299,7],"雪景","雪地","冬季","自然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd729d43af55760e2f9727f4c8b9beecb.jpg",[35],8,{"id":304,"slug":305,"title":306,"dynasty":18,"author":199,"museum":20,"description":200,"tags":307,"thumbUrl":317,"material":33,"size":34,"collection":35,"collections":318,"showCount":302,"zanCount":11,"manualWeight":11,"mainColor":68},225884,"emty-chair-1888-fan-gao-225884","emty chair 1888",[23,202,308,309,310,311,312,313,7,209,314,315,316],"笔触厚重","色彩对比","具象表现","纹理刻画","木椅","藤编坐垫","木箱","烟斗","纸张","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67bd7165e467f725f22207232e1a6c55.jpg",[35],{"id":320,"slug":321,"title":322,"dynasty":18,"author":121,"museum":20,"description":323,"tags":324,"thumbUrl":327,"material":33,"size":34,"collection":90,"collections":328,"showCount":329,"zanCount":11,"manualWeight":11,"mainColor":93},225512,"fu-shi-hui-270-yi-ming-225512","浮世绘270","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[325,28,25,326,54,7],"浮世绘","美人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f26d84bd9906203b71361ff34a5befe.jpg",[],7,{"id":331,"slug":332,"title":333,"dynasty":18,"author":334,"museum":20,"description":335,"tags":336,"thumbUrl":347,"material":33,"size":34,"collection":90,"collections":348,"showCount":349,"zanCount":11,"manualWeight":11,"mainColor":68},232292,"a-er-ma-19-lao-lun-si-a-er-ma-ta-de-ma-232292","阿尔玛19","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。",[23,28,337,338,25,339,340,341,208,342,149,7,343,344,345,346],"写实","古典","鸟类","古建筑","壁画","象形文字","裸体","饰品","织物","祭品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b27c01d81e1292695bebf5710757803.jpg",[],5,{"id":351,"slug":352,"title":353,"dynasty":73,"author":354,"museum":99,"description":355,"tags":356,"thumbUrl":363,"material":63,"size":364,"collection":90,"collections":365,"showCount":349,"zanCount":11,"manualWeight":11,"mainColor":93},216767,"jiu-lao-tu-3-huang-biao-216767","九老图-3","黄彪","这是黄震泉仿宋刘松年九老图而成的，要有相似的造型和人物，虽然排列的树石略显单薄轻巧，傅彩清新飘逸之外，也不失为仿制的传世佳品。",[49,102,50,28,25,357,358,359,360,56,361,362,54,7],"老人","孩童","松树","花树","古装","长袍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48f6a6c88bea38b7d78906c7e08ea109.jpg","27.2x193",[],{"id":367,"slug":368,"title":369,"dynasty":18,"author":370,"museum":20,"description":371,"tags":372,"thumbUrl":381,"material":33,"size":34,"collection":90,"collections":382,"showCount":383,"zanCount":11,"manualWeight":11,"mainColor":68},232357,"he-er-bai-yin-16-he-er-bai-yin-232357","荷尔拜因16","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。",[24,25,373,337,374,375,376,377,378,7,379,380],"铜版画","线条","衣纹","光环","布料","建筑局部","长发","婴儿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F728fa25c57b66fd439f7f6ae7b58c9d7.jpg",[],4,{"id":385,"slug":386,"title":387,"dynasty":18,"author":334,"museum":20,"description":335,"tags":388,"thumbUrl":395,"material":33,"size":34,"collection":90,"collections":396,"showCount":383,"zanCount":11,"manualWeight":11,"mainColor":39},232285,"a-er-ma-12-lao-lun-si-a-er-ma-ta-de-ma-232285","阿尔玛12",[23,337,25,389,345,390,391,344,205,362,392,393,394,209,7,266],"古典服饰","大理石","家具","凉鞋","珍珠","窗帘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a38c189cf5cd4e316f5512b79dd0ab5.jpg",[],{"id":398,"slug":399,"title":400,"dynasty":182,"author":401,"museum":75,"description":402,"tags":403,"thumbUrl":407,"material":408,"size":409,"collection":90,"collections":410,"showCount":411,"zanCount":11,"manualWeight":11,"mainColor":93},216231,"shi-jun-quan-tu-3-ai-qi-meng-216231","十骏犬图-3","艾启蒙","图为乾隆皇帝在宫中豢养的欧洲纯种猎犬画像。作者以西方的素描技法，运用解剖学，以短细的笔触一丝不苟地刻画出猎犬健美的体态和皮毛的质感，具有极强的写实性。每幅图的对开上均标明犬名，对宫廷御用犬的研究具有极高的史料价值。图中的衬景山水是中国画家创作的。中西画家携手创作是乾隆朝宫廷绘画的一大特色。\u2028　　款署：“臣艾启蒙恭绘。”钤“臣艾启蒙”白文印、“恭画”朱文印。每图对开页有嵇璜书写的乾隆朝大学士汪由敦和梁诗正撰写的题赞。鉴藏印有“乾隆鉴赏”、“宜子孙”等。\u2028　　此图旧藏紫禁城内的乐寿堂。《石渠宝笈》著录。",[78,182,50,28,240,404,405,406,225,56,7],"印章","犬","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F226ec098d235e87559c7765f4e95e3a1.jpg","纸本,设色","纵24.5厘米，横29.3厘米",[],3,{"id":413,"slug":414,"title":415,"dynasty":18,"author":416,"museum":20,"description":417,"tags":418,"thumbUrl":421,"material":33,"size":34,"collection":90,"collections":422,"showCount":423,"zanCount":11,"manualWeight":11,"mainColor":68},232547,"mi-lai-si-91-yue-han-ai-fu-li-te-mi-lai-si-232547","米莱斯91","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。",[23,337,28,25,419,106,420,7],"狗","蓝天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe757ebba3de1389284a4450bfe47c7b3.jpg",[],2,{"id":425,"slug":426,"title":427,"dynasty":18,"author":370,"museum":20,"description":371,"tags":428,"thumbUrl":435,"material":33,"size":34,"collection":90,"collections":436,"showCount":423,"zanCount":11,"manualWeight":11,"mainColor":437},232415,"he-er-bai-yin-74-he-er-bai-yin-232415","荷尔拜因74",[24,429,430,337,27,25,431,432,59,208,207,26,433,434,7],"素描","版画","动物","羊","圣光环","兽皮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefef2c26dc8fc790a72578a72de1ad79.jpg",[],"FFFFFF",{"id":439,"slug":440,"title":441,"dynasty":18,"author":370,"museum":20,"description":371,"tags":442,"thumbUrl":450,"material":33,"size":34,"collection":90,"collections":451,"showCount":423,"zanCount":11,"manualWeight":11,"mainColor":93},232369,"he-er-bai-yin-28-he-er-bai-yin-232369","荷尔拜因28",[337,429,443,28,25,444,224,445,446,447,448,449,7],"水彩","女性","头巾","长裙","腰带","流苏","鞋子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd9322b1bc85d9718a1881ba74d93084.jpg",[],{"id":453,"slug":454,"title":455,"dynasty":18,"author":456,"museum":20,"description":457,"tags":458,"thumbUrl":463,"material":33,"size":34,"collection":90,"collections":464,"showCount":423,"zanCount":11,"manualWeight":11,"mainColor":68},232108,"de-jia-53-de-jia-232108","德加53","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。",[139,459,460,461,205,462,7],"色粉画","人物画","裸体人物","沙发","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40693f7a23fbc756ff2d1ce8ad67d049.jpg",[],{"id":466,"slug":467,"title":468,"dynasty":18,"author":456,"museum":20,"description":457,"tags":469,"thumbUrl":472,"material":33,"size":34,"collection":90,"collections":473,"showCount":423,"zanCount":11,"manualWeight":11,"mainColor":39},232104,"de-jia-49-de-jia-232104","德加49",[23,28,25,31,470,224,471,7],"动态","发饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79bcc9abba66465f48761af023c8147e.jpg",[],{"id":475,"slug":476,"title":477,"dynasty":18,"author":416,"museum":20,"description":417,"tags":478,"thumbUrl":484,"material":33,"size":34,"collection":90,"collections":485,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":68},232566,"mi-lai-si-110-yue-han-ai-fu-li-te-mi-lai-si-232566","米莱斯110",[23,337,25,419,479,480,481,205,482,483,31,7],"床","帽子","剑","拱形背景","衣物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5869ee96e31eb2b3bc207800055c4665.jpg",[],{"id":487,"slug":488,"title":489,"dynasty":18,"author":370,"museum":20,"description":371,"tags":490,"thumbUrl":493,"material":33,"size":34,"collection":90,"collections":494,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":93},232523,"he-er-bai-yin-182-he-er-bai-yin-232523","荷尔拜因182",[429,239,337,374,24,25,432,26,491,208,207,376,375,492,377,7],"古典建筑","毛皮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f2b5f499a869d00a6046ae139cc5a28.jpg",[],{"id":496,"slug":497,"title":498,"dynasty":18,"author":370,"museum":20,"description":371,"tags":499,"thumbUrl":505,"material":33,"size":34,"collection":90,"collections":506,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":437},232473,"he-er-bai-yin-132-he-er-bai-yin-232473","荷尔拜因132",[337,429,24,25,500,362,501,502,503,376,7,170,504],"男性","赤脚","钥匙","锁链","袋子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2533c4260851c17dce7bd937e3a3b5d.jpg",[],{"id":508,"slug":509,"title":510,"dynasty":18,"author":370,"museum":20,"description":371,"tags":511,"thumbUrl":513,"material":33,"size":34,"collection":90,"collections":514,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":93},232471,"he-er-bai-yin-130-he-er-bai-yin-232471","荷尔拜因130",[25,444,224,429,337,512,107,7,377,374,186],"明暗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd292e044c446de77c69a21457fdb881b.jpg",[],{"id":516,"slug":517,"title":518,"dynasty":18,"author":456,"museum":20,"description":457,"tags":519,"thumbUrl":523,"material":33,"size":34,"collection":90,"collections":524,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":68},232224,"dancer-with-bouquets-circa-chrysler-museum-of-art-usa-de-jia-232224","Dancer with Bouquets - circa - - Chrysler Museum of Art (USA)",[23,139,28,520,521,522,83,251,7,31,141],"芭蕾舞者","芭蕾舞裙","花束","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff68b8063da5291a778c5ccfb4826206b.jpg",[],{"id":526,"slug":527,"title":528,"dynasty":18,"author":456,"museum":20,"description":457,"tags":529,"thumbUrl":534,"material":33,"size":34,"collection":90,"collections":535,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":68},232115,"landscape-with-hills-museum-of-fine-arts-usa-de-jia-232115","Landscape with Hills - - Museum of Fine Arts (USA)",[139,530,28,531,241,532,251,7,533],"色粉","山丘","风景","植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61cb16761fddc06ef313c8c45a43f177.jpg",[],{"id":537,"slug":538,"title":539,"dynasty":18,"author":121,"museum":20,"description":323,"tags":540,"thumbUrl":544,"material":33,"size":34,"collection":90,"collections":545,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":93},225468,"fu-shi-hui-226-yi-ming-225468","浮世绘226",[325,541,28,25,406,542,543,60,7],"木刻","大象","和服","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb02b41e9a4eb4cab846f7194f0d815f0.jpg",[],{"id":547,"slug":548,"title":549,"dynasty":73,"author":550,"museum":20,"description":551,"tags":552,"thumbUrl":553,"material":554,"size":90,"collection":90,"collections":555,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},217143,"shui-hu-quan-tu-51-du-jin-217143","水浒全图-51","杜堇","杜堇的人物画宗法李公麟，笔法精劲流畅，别具秀逸之态，因此他被推为当时画坛的白描高手。其人物画大都表现古代传说故事或逸闻趣事，并以山水及园林景致为衬景，有的还题诗作赋，显示着一派文入画的格调。",[49,239,25,56,7,189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb18171602ae171e33c64521660a9dddf.jpg","纸本",[],1777535713240]