[{"data":1,"prerenderedAt":357},["ShallowReactive",2],{"subject-guai-zhang":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},794,"guai-zhang","拐杖","拐杖画高清赏析","精选中国历代拐杖题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e8cc58c6577733dd2de0ebd0395f3a8.jpg",0,22,[14,38,59,80,92,108,131,146,162,173,188,205,220,242,258,271,287,300,313,324,334,345],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":31,"material":32,"size":33,"collection":34,"collections":35,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},218294,"xiang-long-luo-han-tu-yi-ming-218294","降龙罗汉图","明","佚名","美国弗利尔美术馆","罗汉袒胸盘坐，红衣如焰翻卷，青带若云流转，神情从容间藏着威严。手中钵盂盛翠，似凝天地生机；法杖拄地，顶轮熠熠，似镇世间妄念。足下蛟龙蜷身，鳞爪毕现却温顺俯首，龙须轻摆仍余灵动，尽显降伏之态。背景幽岩深暗，衬出主体鲜活。线条劲健流畅，衣纹褶皱如行云流水；设色浓淡相宜，红与蓝的碰撞点亮画面。整作将罗汉法力无边与慈悲相济凝于笔端，龙的驯服更显佛法庄严，尽显明代佛画的精湛造诣与精神内核，观之令人心生敬畏与宁静。",[23,24,25,26,27,28,29,30,7],"国画","宗教","人物","龙","设色","工笔","立轴","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8bcc5483184976244b0b04126d77aa8.jpg","绢本,设色","172.2x109.2","人物画精选",[34],179,"795548",{"id":39,"slug":40,"title":41,"dynasty":42,"author":43,"museum":44,"description":45,"tags":46,"thumbUrl":53,"material":54,"size":55,"collection":55,"collections":56,"showCount":57,"zanCount":11,"manualWeight":11,"mainColor":58},220464,"tao-hua-yuan-ren-yi-220464","桃花源","清","任颐","亚瑟·M·赛克勒美术馆","淡墨勾皴层叠岩壁，浅晕青绿晕开山岚清润。老樵负斧驻足，抬首凝望漫山繁花。苍劲虬枝缀满素色花团，如堆雪覆枝，将山野晕染出朦胧柔婉。幽寂山石隐在花影石隙，似藏着无人惊扰的洞天。\n人物衣褶简括灵动，抬首的怔忡神态宛然在目，将误入世外山境的沉醉凝于笔端。淡墨写意晕出空寂悠远的山野氛围，清简笔墨铺展出世外天地的悠然意趣，把隐逸避世的幽韵尽数融在这尺幅之中。",[47,23,29,27,48,25,49,50,30,51,52,7],"高清","兼工带写","山水","梅","树木","流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc2b3db8d3cbb318979a7513a7d5b907.jpg","纸本水墨","",[],75,"BDBDBD",{"id":60,"slug":61,"title":62,"dynasty":42,"author":63,"museum":64,"description":65,"tags":66,"thumbUrl":75,"material":76,"size":77,"collection":34,"collections":78,"showCount":79,"zanCount":11,"manualWeight":11,"mainColor":58},219417,"cai-zhi-tu-zhou-ren-xun-219417","采芝图轴","任薰","上海博物馆","此轴纸本设色画一人物幅巾广袖拄杖而行，手提装满灵芝的竹篮，相貌奇古。右下书题“朵峰仁兄大人属即教正 永兴弟任薰舜琴写”，钤“任薰”白文方印。",[23,29,27,28,25,67,68,69,70,7,71,72,73,74],"芝","树","石","篮子","柳叶","草地","苔藓","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F660fdaf34b7e404657c4f40b3ede7755.jpg","纸本,设色","纵137.5厘米，横39.5厘米",[34],37,{"id":81,"slug":82,"title":83,"dynasty":42,"author":43,"museum":84,"description":85,"tags":86,"thumbUrl":88,"material":89,"size":55,"collection":55,"collections":90,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":58},233726,"jiu-ri-deng-gao-tu-ping-ren-yi-233726","九日登高图屏","北京故宫博物院","任颐（1840-1896），初名润，字小楼，后字伯年，浙江山阴（今绍兴）人。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，均是名声显赫的画家。任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。任伯年精于写像，是一位杰出的肖像画家。人物画早年师法萧云从、陈洪绶、费晓楼、任熊等人。工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任董，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意，更加简逸灵活。",[23,29,27,25,30,28,87,74,7],"皴法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea0e76bf5e8ac1625574fca1e12385ab.jpg","纸本设色",[],32,{"id":93,"slug":94,"title":95,"dynasty":42,"author":96,"museum":97,"description":98,"tags":99,"thumbUrl":104,"material":76,"size":105,"collection":34,"collections":106,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":58},220439,"er-xian-tu-feng-ning-220439","二仙图","冯宁","台北故宫博物院","冯宁，生死时年、籍贯均不详。高宗乾隆时，任职内廷画院供奉，擅长于人物画，画法似是出自明代浙派吴伟一路，用笔慓劲，衣服褶纹采取破笔粗线描法，水墨恣肆，墨气淋漓，画面充分给人一种力的感觉。画中二仙，似为八仙中的钟汉离、铁拐李二人。",[23,100,101,29,27,28,25,51,30,102,103,7],"书画","名画","葫芦","长袍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F461871e343739280aea5bb0310803e26.jpg","173.5x68.9公分",[34,107],"设色画精选",{"id":109,"slug":110,"title":111,"dynasty":18,"author":112,"museum":113,"description":114,"tags":115,"thumbUrl":125,"material":89,"size":126,"collection":55,"collections":127,"showCount":128,"zanCount":129,"manualWeight":11,"mainColor":130},222375,"liu-mang-tu-juan-zhou-chen-222375","流氓图卷","周臣","美国克利夫兰艺术博物馆","此卷共绘人物12人，形态各异，或身背锣鼓，或手牵小动物，皆衣衫褴褛。作画背景是明武宗朱厚照统治时期，所谓的流氓多是因战争流离失所而逃难的百姓。也许他们有着正当的职业，稳定的收入，但战争降临后，一切都化为了乌有。逃难的人们为了生计想法设法赚钱，有能力的可以凭借自己的能力勉强果腹，没有能力的人连乞丐都不如。\n“流氓”的界定：流氓是指“脱离了古代社会最基本的生产资料——田地，因此没有正当的业务可恃且又愚昧无知的社会底层成员；而作为流氓之'流'的字义中，又可包涵或引申出向坏的方向嬗变以及放纵成弊等内容。合而言之，大致可以把'流氓'一词从词义上界定为：特指脱离生产不务正业而在社会上游荡，并以悖离传统道德文化和破坏社会秩序为基本行为特征的不良分子。 因此称之为《流民图》亦可。",[47,23,100,116,117,27,25,118,119,120,7,70,121,122,123,124],"长卷","白描","猴","狗","羊","鼓","乐器","行书","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd181c6127f25e533180376f904c665f0.jpg","纵28厘米，横384厘米",[],26,1,"F48FB1",{"id":132,"slug":133,"title":134,"dynasty":18,"author":135,"museum":84,"description":136,"tags":137,"thumbUrl":140,"material":141,"size":142,"collection":143,"collections":144,"showCount":145,"zanCount":129,"manualWeight":11,"mainColor":37},237693,"qi-shi-tu-zhou-chen-hong-shou-237693","乞士图轴","陈洪绶","图绘乞士拄杖而立。款题“陈洪绶摹李伯时乞士图”，钤“陈洪绶印”白文印、“章侯父”白文印。乞士为比丘的别称，有“上乞法于佛，下乞食于一切众生”之意。《法华义疏》卷一云：“比丘者名为乞士，上从如来乞法以练神，下就俗人乞食以资身，故名乞士。”比丘的境界也含有破除一切烦恼，了一切生死而能成正果的意思。\n图中人物造型略为夸张，线条简洁洗练，高古奇隽。清代张庚在《国朝画征录》中指出，陈洪绶画人物“躯干伟岸，衣纹清圆细劲，兼有（李）公麟、（赵）子昂之妙”。此图虽题为摹李公麟，实则变圆为方，化整为散，主要是仿李公麟白描画法的秀灵和神韵，形不似而神似，寥寥数笔即刻画出乞士超脱不凡的精神境界。",[23,29,28,25,7,138,124,123,139],"帽子","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffed15b0fa176fc9c04a100b5058ac344.jpg","绢本，设色","纵34.4厘米，横26.2厘米","书法精选",[143],25,{"id":147,"slug":148,"title":149,"dynasty":150,"author":151,"museum":97,"description":152,"tags":153,"thumbUrl":157,"material":158,"size":159,"collection":55,"collections":160,"showCount":161,"zanCount":11,"manualWeight":11,"mainColor":58},221546,"hua-luo-han-zhou-liu-song-nian-221546","画罗汉轴","宋","刘松年","本院藏画中，有三幅刘松年画罗汉，每幅都款署「开禧丁卯（1207）刘松年画」，此轴即为其中之一。幅中罗汉浓眉高鼻，貌若印度高僧，身著右袒式袈裟，倚树沈思。身侧随侍的和尚以衣袂承接树上长臂猿所摘之石榴，身前尚有二鹿仰观，画面生动。此罗汉脸上满布皱纹，双眉蹙起，神情专注，栩栩如生。全作用笔变化多端，衣纹流畅罗汉头後的圆光，及三树枝柯掩映，层次分明。全画敷色妍丽，繁缛精美，皆臻绝纱。\n此画风格属于刘松年工整细润一路，是他晚年成熟的作品。画中人物用铁线描绘而成，线条流畅有力。服饰与面部均刻画得极其精细，用笔沉着稳健，神形兼备。画中罗汉与小和尚的僧袍色彩在多样变化中求得协调和统一，树木与山石注重写实。特别是树石的用笔，勾勒与皴擦，墨色浓淡相间，充分表现出了树干与山石的坚硬质感与体积感。枯树满身结疤和苍老坚硬的枝条与后面一棵枝叶浓密的树形成强烈对照，表现出了大自然所蕴涵的无限生机。浓密的枯枝与树叶衬托出疏朗的人物，形成疏密的对比，使人物形象在画中十分突出。此幅作品称得上是山水画和人物画完美结合的成功之作。\n这幅《罗汉图》虽然取自佛教题材，实际上已有着明显的世俗化的倾向。在意境表现上，画家通过对山石树木等自然景物的精心布置和渲染，营造出一个草木丰茂、秋清气爽、山果飘香的画境。罗汉与小和尚置身其境，神情悠然自得，营造了人与自然、人与动物之间互相依存的祥和气氛。\n另外，这幅《罗汉图》在艺术处理上吸取了佛教壁画在佛像头部画上佛光的方法，其表现手法是十分高超的。罗汉头像的佛光就如聚光灯一般，如雾如纱。朦胧中一组树枝隐约可见，使画面的虚实对比更加强烈",[47,101,23,100,29,24,28,27,25,154,155,7,156],"界画","芭蕉","童子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0035ad35ba239ec50313d885cbecae1d.jpg","绢本","纵117厘米横55.8厘米",[],18,{"id":163,"slug":164,"title":165,"dynasty":18,"author":19,"museum":20,"description":166,"tags":167,"thumbUrl":170,"material":32,"size":55,"collection":34,"collections":171,"showCount":161,"zanCount":11,"manualWeight":11,"mainColor":172},219493,"li-tie-ba-xiang-yi-ming-219493","李铁捌像","以重墨晕染出苍松掩映的幽寂山林，昏沉底色晕开古朴玄异的仙道氛围。画中虬面深目，髭髯卷曲张扬，布箍束发，兽毛镶边的袍服褶皱古拙刚劲，粗粝笔触尽显山野散仙的豪迈不羁。\n\n他斜身倚拐踞坐，岩畔点缀的白花破开暗沉色调，晕开一缕清灵生气。衣纹勾勒顿挫有力，浓淡墨色晕染出衣物厚重质感，将这位带着烟火野趣的仙人刻画得形神兼备，粗粝间见精妙，沉郁中藏仙气，尽显道释人物画的精湛笔力与传神意趣。",[23,27,25,29,28,168,7,169],"松","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0152fee3a6734433435a0a438af7de1c.jpg",[34],"37474F",{"id":174,"slug":175,"title":176,"dynasty":177,"author":19,"museum":97,"description":178,"tags":179,"thumbUrl":184,"material":27,"size":185,"collection":34,"collections":186,"showCount":187,"zanCount":11,"manualWeight":11,"mainColor":37},221777,"ying-zhen-xiang-liu-zhou-yi-ming-221777","应真像（六）轴","元","全幅线条运笔相当流畅，有简洁净雅的韵味，人物五官手足以细瘦而轻淡的描线，衣服褶纹则笔致较为粗重而浓厚，全身并施以薄薄的晕染，袈裟水田纹有华丽的图案。\n尊者的容颜是肖像画的手法完成的，或浓眉大眼，或胡须横腮，或皱纹满面，眼窝四周并涂上厚厚蛤粉。此种造形给人以一股沉郁之感。",[47,23,100,29,24,27,28,25,180,181,49,182,74,183,7,139],"老树","孤石","岩石","念珠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e946c6fb32967bbf5ea25f7204f80cc.jpg","该幅104.1x50.3公分；全幅 74.2公分",[34,107],14,{"id":189,"slug":190,"title":191,"dynasty":150,"author":151,"museum":97,"description":192,"tags":193,"thumbUrl":200,"material":201,"size":202,"collection":55,"collections":203,"showCount":204,"zanCount":11,"manualWeight":11,"mainColor":37},231410,"luo-han-tu-er-liu-song-nian-231410","罗汉图（二）","台北故宫藏画中，有三幅刘松年画罗汉，每幅都款署开禧丁卯（1207）刘松年画，此轴即为其中之一。幅中罗汉浓眉高鼻，貌若印度高僧，身著右袒式袈裟，倚树沈思。身侧随侍的和尚以衣袂承接树上长臂猿所摘之石榴，身前尚有二鹿仰观，画面生动。此罗汉脸上满布皱纹，双眉蹙起，神情专注，栩栩如生。全作用笔变化多端，衣纹流畅罗汉头後的圆光，及三树枝柯掩映，层次分明。全画敷色妍丽，繁缛精美，皆臻绝纱。\n隋唐以来，不少画家画过《罗汉图》，宋代更为盛行。画《罗汉图》不是用以供奉礼拜，而是为了赏玩，是把宗教题材世俗化，可以说，这是中国绘画史上的一大变迁。\n罗汉像多是耳戴金环，丰颐悬额，隆鼻深目，长眉密髯，服装与配饰具有异域色彩。五代之后，中国画家吸取我国传统人物画风格来画罗汉像，使具有宗教色彩的罗汉中国化。唐代禅宗兴起，主张顿悟，见性成佛，认为世间万物本身自有佛性。禅宗认为，自然界的山川河流、草木花鸟、风雨雷电和人世间百般实相都可以参禅，成为顿悟佛性的机缘。刘松年的这幅《罗汉图》(见图)又名《猿猴献果图》，绢本设色，纵117.2厘米，横56厘米，现存台北“故宫博物院”。他创作此幅《罗汉图》正是受禅宗思想的影响，把佛教壁画中守护在菩萨身边的罗汉，变成游山玩水的世俗僧人。图中前面是一棵历尽沧桑的枯树，树干由下而上呈“s”型，枯树叶已脱尽，只剩下遍体的嶙峋与凌乱的树权。后面是一株枝叶茂盛的阔叶大树，两树中间夹着结满果实的小树。画中的罗汉双手相交，趴伏在一横斜树枝上，深情地注视着面前两只温顺的小鹿，表情亲切、温和，流露出世俗的欢乐。罗汉的头部造型准确，虽与全身相比略显大些，但五官刻画细致，具有神韵。树上的两只猿猴居高临下，形态生动、活泼，正在摘熟透的果子。树下一清秀文雅的小和尚双袖合抱去接其中一只猿猴扔下的果子，一只小鹿仰头观望。这种极富生活情趣的描写，不仅表现了人与自然相依相存的亲密关系，也淡化了作品的宗教气氛。\n此画风格属于刘松年工整细润一路，是他晚年成熟的作品。画中人物用铁线描绘而成，线条流畅有力。服饰与面部均刻画得极其精细，用笔沉着稳健，神形兼备。画中罗汉与小和尚的僧袍色彩在多样变化中求得协调和统一，树木与山石注重写实。特别是树石的用笔，勾勒与皴擦，墨色浓淡相间，充分表现出了树干与山石的坚硬质感与体积感。枯树满身结疤和苍老坚硬的枝条与后面一棵枝叶浓密的树形成强烈对照，表现出了大自然所蕴涵的无限生机。浓密的枯枝与树叶衬托出疏朗的人物，形成疏密的对比，使人物形象在画中十分突出。此幅作品称得上是山水画和人物画完美结合的成功之作。\n这幅《罗汉图》虽然取自佛教题材，实际上已有着明显的世俗化的倾向。在意境表现上，画家通过对山石树木等自然景物的精心布置和渲染，营造出一个草木丰茂、秋清气爽、山果飘香的画境。罗汉与小和尚置身其境，神情悠然自得，营造了人与自然、人与动物之间互相依存的祥和气氛。\n另外，这幅《罗汉图》在艺术处理上吸取了佛教壁画在佛像头部画上佛光的方法，其表现手法是十分高超的。罗汉头像的佛光就如聚光灯一般，如雾如纱。朦胧中一组树枝隐约可见，使画面的虚实对比更加强烈。",[23,100,29,194,28,27,24,25,195,196,7,197,198,199],"宋代","屏风","植物","扇","服饰","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33bad5af550efbba55abfcfb88b17f3e.jpg","绢本设色画","纵117公分，横55.8公分",[],13,{"id":206,"slug":207,"title":208,"dynasty":42,"author":209,"museum":84,"description":210,"tags":211,"thumbUrl":216,"material":89,"size":217,"collection":55,"collections":218,"showCount":219,"zanCount":11,"manualWeight":11,"mainColor":58},238304,"shi-liu-luo-han-ce-jia-quan-238304","十六罗汉册","贾全","贾全，生卒年不详，乾隆时供奉内廷。工画人物及马。此册画不同形象的罗汉十六尊。佛像采用中国传统人物画技法，勾线填色。人物神态平和，面部晕染有致，衣纹流畅，背景简率。",[23,100,27,212,28,213,24,25,30,51,214,215,7,70],"水墨","册","枝干","藤蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea59d68857ff452e20637f318e5edea.jpg","纵31.5厘米横25厘米",[],10,{"id":221,"slug":222,"title":223,"dynasty":224,"author":225,"museum":226,"description":227,"tags":228,"thumbUrl":236,"material":237,"size":238,"collection":239,"collections":240,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":172},225687,"rembrandt-harmensz-van-rijn-097-lun-bo-lang-225687","Rembrandt Harmensz.van Rijn - 097","不详","伦勃朗","藏地不详","伦勃朗·哈尔曼松·凡·莱因（Rembrandt Harmenszoon van Rijn，1606年7月15日～1669年10月4日）是欧洲17世纪最伟大的画家之一，也是荷兰历史上最伟大的画家。\n伦勃朗早年从师P.拉斯特曼，1625年在家乡开设画室。画作体裁广泛，擅长肖像画、风景画、风俗画、宗教画、历史画等领域。",[229,230,231,232,233,234,103,7,235],"油画","写实","明暗对比","人物肖像","老年男性","头巾","深色背景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dd8a67b4102d349023ee425e4900726.jpg","未知","Xcm*Xcm","油画精选",[239],9,{"id":243,"slug":244,"title":245,"dynasty":42,"author":19,"museum":84,"description":246,"tags":247,"thumbUrl":256,"material":27,"size":55,"collection":55,"collections":257,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":58},217313,"gu-xiu-wu-shi-san-can-tu-ce-4-yi-ming-217313","顾绣·五十三参图册-4","这幅顾绣作品以针代笔，将修行场景凝于丝缕间。一侧鹿踏祥云，老者衣袂翩跹，童子紧随；另一侧行者戴笠持杖，缓步郊野，童子仰头望之，神态毕肖。绣线劈丝如发，设色雅致温润，人物动态鲜活，场景清幽自然。画面分帧却气韵连贯，传递出善财童子参访善知识的虔诚，与寻访途中的悠然意趣。顾绣特有的细腻针法，让衣纹的褶皱、鹿的肌理、郊野的草木皆显生动，于方寸间藏修行之境，见工艺之精，尽显“以线代墨”的独特艺术魅力。",[248,249,27,28,213,25,250,251,68,252,253,254,7,255,196,139],"顾绣","刺绣","鹿","云","水","蓑笠","小孩","山坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7b1b24bd78f5120284a3a2e41180a97.jpg",[],{"id":259,"slug":260,"title":261,"dynasty":177,"author":262,"museum":84,"description":263,"tags":264,"thumbUrl":266,"material":267,"size":268,"collection":55,"collections":269,"showCount":270,"zanCount":11,"manualWeight":11,"mainColor":172},233965,"li-xian-xiang-zhou-yan-hui-233965","李仙像轴","颜辉","李仙即李铁拐，是“八仙”之一，八仙的故事在民间流传甚广。据明彭大翼《山堂肆考》云：“拐仙姓李，有足疾，西王母点化升仙，封东华教主，授以铁杖一根。”另《古今图书集成·神异典》中云：“李铁拐或云隋时峡人，名洪水，小字拐儿，又名铁拐，常行丐于市，人皆贱之。后以铁杖掷空，化为龙，乘龙而去。”铁拐李尽管外貌丑陋，却法力高超，富有人情味，深得人们的钟爱，是元明清画家们喜画的题材。\n图中的李仙盘腿拄杖，坐于大石上。他披发浓须，袒胸赤足，蹙眉斜目。其身后山崖竞秀，瀑布高悬，云雾缥缈，崖下藤枝盘绕。画中人物神情不同凡俗，背景的描绘更衬托出了铁拐李的仙人之气。",[23,29,25,24,212,27,265,30,7],"瀑布","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91220011e41ccdfe64584e22b2472e31.jpg","绢本，水墨","纵146.5厘米，横72.5厘米",[],6,{"id":272,"slug":273,"title":274,"dynasty":224,"author":275,"museum":226,"description":276,"tags":277,"thumbUrl":284,"material":237,"size":238,"collection":55,"collections":285,"showCount":286,"zanCount":11,"manualWeight":11,"mainColor":58},231085,"su-miao-339-xi-fang-231085","素描339","西方","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。",[278,230,279,280,281,25,7,138,282,283],"素描","明暗","线条","阴影","衣物","鞋子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ed17730799ac9eca36a0368c442c5ae.jpg",[],3,{"id":288,"slug":289,"title":290,"dynasty":224,"author":225,"museum":226,"description":227,"tags":291,"thumbUrl":298,"material":237,"size":238,"collection":55,"collections":299,"showCount":286,"zanCount":11,"manualWeight":11,"mainColor":37},230637,"rembrandt-harmensz-van-rijn-0270-lun-bo-lang-230637","Rembrandt Harmensz.van Rijn - 0270",[24,25,292,231,293,294,103,7,295,296,297],"版画","十字架","梯子","光线","人群","巴洛克","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8795efb39c19c2487862d772bc9e92d5.jpg",[],{"id":301,"slug":302,"title":303,"dynasty":224,"author":19,"museum":226,"description":304,"tags":305,"thumbUrl":310,"material":55,"size":55,"collection":55,"collections":311,"showCount":312,"zanCount":11,"manualWeight":11,"mainColor":58},225389,"fu-shi-hui-146-yi-ming-225389","浮世绘146","此作以简练劲挺的线条勾勒出行旅男子的沉静身姿，宽檐斗笠自带羁旅意趣，题字更添行路况味。素色外褂轻覆于满饰涡旋团纹的小袖之外，雅素与华美相互调和，设色调柔温润，晕染细腻克制。\n\n背景仅以淡笔勾绘沙碛浅草，大片留白衬出旅途荒寂，将视线全然落于旅人身上。画师捕捉到男子眉眼间透出的行路风霜与沉静坚毅，把行旅之人的寂寥与自持融于笔端，含蓄尽显日式美学的冲淡余韵。",[306,307,27,25,74,308,7,309,29],"浮世绘","木刻","斗笠","古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd73433cbce429f073781c8655c236f4.jpg",[],2,{"id":314,"slug":315,"title":316,"dynasty":224,"author":19,"museum":226,"description":317,"tags":318,"thumbUrl":322,"material":237,"size":238,"collection":55,"collections":323,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":58},289190,"goya-beggar-with-a-staff-in-his-right-hand-yi-ming-289190","Goya--Beggar with a Staff in His Right Hand,","粗粝奔放的棕褐色笔触下，佝偻的老者撑杖而立，枯皴的手向前托着帽檐，将底层流浪者的困顿尽数铺展。\n线条取舍极具张力，衣物的破洞褶皱、蓬乱的须发都以写意的笔触带过，虚实间尽显衣衫褴褛的落魄。阴影落于足底，将这份漂泊的疲惫钉在纸面，不加修饰的粗朴笔触，把老者谦卑乞讨的模样刻入观者眼底，仿佛能听见他低微的乞声，将街头流民的沧桑苦难凝缩在方寸纸面中，带着直击人心的真实力量。",[25,319,7,278,320,321],"乞丐","速写","乞讨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2537b2dea0d08232840d214749be191.jpg",[],{"id":325,"slug":326,"title":327,"dynasty":42,"author":19,"museum":226,"description":328,"tags":329,"thumbUrl":332,"material":32,"size":55,"collection":55,"collections":333,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":37},216021,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-4-ce-20-yi-ming-216021","职贡图巨幅彩绘册页第4册-20","笔墨细腻勾勒人物百态，色彩淡雅晕染族群风情。左者蓝衣束腰，裙摆曳地，肩荷莲苞似携乡野清趣，笑意盈盈间透着质朴亲和；右者褐衫赤足，杖倚肩头，腰系蓝绦尽显随性洒脱，健硕身形里藏着山野韧劲。线条流畅描摹衣袂纹理，神态刻画入微传情——或温婉或豪放，皆鲜活如临其境。画面以写实之笔，载录不同族群的衣着风貌与生活气息，简而不陋，淡而有神，尽显清代职贡图对边疆风情记录的细致与生动，为后世留存下一段段可触可感的民族文化印记。",[47,23,100,213,27,28,25,74,330,7,331],"荷","赤足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea5c192abd8d9e03a871fa22e7eecffc.jpg",[],{"id":335,"slug":336,"title":337,"dynasty":224,"author":225,"museum":226,"description":227,"tags":338,"thumbUrl":343,"material":237,"size":238,"collection":55,"collections":344,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":58},225612,"rp-p-1962-61-lun-bo-lang-225612","RP-P-1962-61",[278,339,230,280,25,340,341,7,138,342],"蚀刻","老者","孩童","背包","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53da542d003a114fb1f110e8b75456bf.jpg",[],{"id":346,"slug":347,"title":348,"dynasty":42,"author":19,"museum":226,"description":349,"tags":350,"thumbUrl":355,"material":76,"size":55,"collection":55,"collections":356,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},215116,"er-shi-si-xiao-tu-ce-19-yi-ming-215116","二十四孝图册-19","二十四孝图册 是一本著名的清朝绘画作品，其中描绘了传统中国文化中最重要的 二十四孝 的故事。\n\n二十四孝 指的是传统中国文化中所尊重的二十四种子孝顺父母的行为。这些行为包括孝敬父母、恭敬长辈、孝敬兄长、恭敬长辈婆婆、孝敬师长等。\n\n二十四孝图册 由佚名的艺术家绘制，每一幅画都描绘了一种孝顺行为的故事。这本图册被认为是中国传统文化中最重要的艺术品之一，并被广泛收藏。",[47,23,100,213,27,28,25,74,351,352,353,7,354],"器","盆栽","木桶","桌子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde72d8d9fa68bb8e08f62c4a5f5ff1ac.jpg",[],1777535719222]