[{"data":1,"prerenderedAt":80},["ShallowReactive",2],{"subject-guai-shou":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},4649,"guai-shou","怪兽","怪兽画高清赏析","精选中国历代怪兽题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22339c068d47174bd0e81896e9dfb4d2.jpg",0,3,[14,48,65],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":41,"material":42,"size":43,"collection":44,"collections":45,"showCount":46,"zanCount":11,"manualWeight":11,"mainColor":47},232515,"he-er-bai-yin-174-he-er-bai-yin-232515","荷尔拜因174","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。",[23,24,25,26,27,28,29,30,31,7,32,33,34,35,36,37,38,39,40],"宗教","人物","白描","素描","立轴","天使","恶魔","剑","天平","翅膀","铠甲","长袍","装饰纹样","底座","神话生物","武器","称量工具","竖幅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F397e2eb2133791e351d36266ae48288e.jpg","未知","Xcm*Xcm","",[],5,"BDBDBD",{"id":49,"slug":50,"title":51,"dynasty":18,"author":52,"museum":20,"description":53,"tags":54,"thumbUrl":10,"material":42,"size":43,"collection":44,"collections":62,"showCount":63,"zanCount":11,"manualWeight":11,"mainColor":64},225576,"fu-shi-hui-63-yi-ming-225576","浮世绘63","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。",[55,56,57,24,58,59,60,61,7],"浮世绘","木刻","设色","武士","兽","兵器","刀",[],4,"F48FB1",{"id":66,"slug":67,"title":68,"dynasty":18,"author":52,"museum":20,"description":69,"tags":70,"thumbUrl":77,"material":42,"size":43,"collection":44,"collections":78,"showCount":79,"zanCount":11,"manualWeight":11,"mainColor":47},289221,"giuseppe-bernardino-bison-drawing-of-a-bracket-with-two-telamones-chained-up-yi-ming-289221","Giuseppe Bernardino Bison--Drawing of a Bracket with Two Telamones Chained up","这幅素描以明暗晕染构筑磅礴张力，两名特拉蒙巨像被锁链缚身，腰背弓曲，肌肉虬结紧绷，将千钧承重的压迫感具象化。粗粝须发与鼓胀筋肉迸发狂野力量，锁链缠缚更添悲怆宿命感，仿佛能听见他们隐忍的低吼。\n\n下方带翼神兽低垂颅首，与巨像沉郁姿态呼应，让画面构图浑然一体。淡墨铺陈出厚重体积，排线勾勒衣褶褶皱，明暗过渡柔和自然，寥寥数笔便将石雕的冰冷质感，与人物悲愤神态融为一体，让装饰托架挣脱匠气，成为凝固的苦难与力量的颂歌。",[26,71,72,73,74,7,75,76],"人物画","神话题材","壮汉","锁链","建筑构件","明暗画法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59354f92924f9f33696be3eafd2f26d.jpg",[],1,1777535773149]