[{"data":1,"prerenderedAt":76},["ShallowReactive",2],{"subject-dong-tai-ke-hua":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},3552,"dong-tai-ke-hua","动态刻画","动态刻画画高清赏析","精选中国历代动态刻画题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a2f69ce983061f1fd4e24622108c0bc.jpg",0,2,[14,45],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":38,"material":39,"size":40,"collection":40,"collections":41,"showCount":42,"zanCount":43,"manualWeight":11,"mainColor":44},220576,"tian-heng-wu-bai-shi-xu-bei-hong-220576","田横五百士","民国","徐悲鸿","中央美术学院美术馆","画面左侧义士们悲愤难抑，有人按剑瞋目，有人振臂呼号，粗粝的赤足、紧绷的筋骨满溢着不甘的血性。右侧红衣者垂眸拱手，将诀别的沉毅藏在眉眼间，身侧白马静立，更衬出离别的肃穆沉哀。\n\n以写实技法刻绘人物神态，将东方侠义风骨织入油彩，定格下这诀别时刻的慷慨悲歌。垂首掩泣的老者、攥紧衣衫的壮士，细节里揉进了赴死壮怀与俗世温情，让忠义千秋的底色变得滚烫又厚重，把这群义士的刚烈柔肠永远封存在画布之上。",[23,24,25,26,27,28,29,30,31,32,33,34,7,35,36,37],"高清","油画","写实","人物群像","马","树木","天空","土地","剑","长袍","传统服饰","男性人物","色彩写实","自然景观","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4dedb8317bb1c81c3a2b5e8029cfbe1.jpg","布面油彩","",[],100,1,"BDBDBD",{"id":46,"slug":47,"title":48,"dynasty":49,"author":50,"museum":51,"description":52,"tags":53,"thumbUrl":10,"material":72,"size":73,"collection":40,"collections":74,"showCount":75,"zanCount":11,"manualWeight":11,"mainColor":44},232359,"he-er-bai-yin-18-he-er-bai-yin-232359","荷尔拜因18","不详","荷尔拜因","藏地不详","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。",[54,55,56,57,58,59,60,61,62,63,64,28,65,66,67,68,69,70,7,71],"名画","白描","素描","线条勾勒","淡彩","人物","士兵","铠甲","马匹","火焰","建筑柱式","河流","冲突场景","历史题材","战争场景","武器","群像","叙事场景","未知","Xcm*Xcm",[],4,1777535782463]