[{"data":1,"prerenderedAt":79},["ShallowReactive",2],{"subject-feng-chao":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},2676,"feng-chao","蜂巢","蜂巢画高清赏析","精选中国历代蜂巢题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33f36389e15970529a3aac15136cc8f6.jpg",0,3,[14,41,61],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":35,"size":36,"collection":36,"collections":37,"showCount":38,"zanCount":39,"manualWeight":11,"mainColor":40},214844,"xie-sheng-ce-18-hua-yan-214844","写生册-18","清","华嵒","台北故宫博物院","华嵒是一位清代著名画家和艺术家。他的写生册是一本记录他写生草稿的册子，通常包含他对自然和人物的写生绘画。写生册是画家们练习和提高技巧的重要工具，因为它们能够帮助画家观察、捕捉和描绘细节。华嵒的写生册中可能包含了他对山水、花鸟、人物等的写生画作。",[23,24,25,26,27,28,29,30,31,7,32,33,34],"名画","国画","书画","册","设色","水墨","写生","花鸟","蜂","桂树","叶子","花","纸本,设色","",[],91,1,"BDBDBD",{"id":42,"slug":43,"title":44,"dynasty":18,"author":45,"museum":46,"description":47,"tags":48,"thumbUrl":57,"material":58,"size":36,"collection":36,"collections":59,"showCount":60,"zanCount":11,"manualWeight":11,"mainColor":40},234129,"hua-hui-tu-juan-zhu-da-234129","花卉图卷","朱耷","藏地不详","清代初期的中国画坛活跃着弘仁、髡残、朱耷、石涛四位僧人画家，画史上合称“四僧”。他们的绘画在继承传统的基础上，大胆创新，主张师法自然造化，与当时画坛正统风格相距甚远，具有鲜明的艺术风格。在这四人当中尤以朱耷的人生与艺术最具传奇色彩。\n朱耷（1626—1705），江西南昌人，为明江西宁献王朱权的九世孙。明亡后出家为僧，法名传綮，曾经使用的号有很多，最为著名的则是在他弃僧还俗后使用的“八大山人”。\n朱耷的绘画以水墨为多，用笔恣意纵横，浑厚酣畅，花鸟画成就突出。他在学习陈淳、徐渭等前代写意大家的同时，在绘画实践中逐渐突出用笔奇峭，构图险怪，造型夸张的特点，形成了强烈的个人风格，对后世的写意花鸟画发展产生了深远的影响。在他的花鸟画作品中，现收藏于天津博物馆的《河上花图》可谓精品中的精品。",[49,24,28,50,51,52,53,54,34,55,56,7],"高清","长卷","写意","竹","兰","石","果实","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F488c99931bac41583c1af07fdb126a07.jpg","纸本，水墨",[],72,{"id":62,"slug":63,"title":64,"dynasty":65,"author":66,"museum":46,"description":67,"tags":68,"thumbUrl":74,"material":75,"size":76,"collection":36,"collections":77,"showCount":78,"zanCount":11,"manualWeight":11,"mainColor":40},225495,"fu-shi-hui-253-yi-ming-225495","浮世绘253","不详","佚名","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。",[69,27,70,31,7,71,33,72,73],"浮世绘","工笔","藤蔓","花朵","毛毛虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47f4889447cdc630bbc481c7cd908c25.jpg","未知","Xcm*Xcm",[],5,1777535767380]