[{"data":1,"prerenderedAt":159},["ShallowReactive",2],{"subject-gui-bai":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},2702,"gui-bai","跪拜","跪拜画高清赏析","精选中国历代跪拜题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa365715052ddc64f2ab1f8b58aadab50.jpg",0,9,[14,36,51,64,79,101,114,128,147],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":29,"material":30,"size":31,"collection":32,"collections":33,"showCount":34,"zanCount":11,"manualWeight":11,"mainColor":35},288875,"giovanni-battista-tiepolo-illustration-for-a-book-two-monks-kneeling-yi-ming-288875","Giovanni Battista Tiepolo--Illustration for a Book Two Monks Kneeling","不详","佚名","藏地不详","乔凡尼·巴蒂斯塔·提埃坡罗，常被称为詹巴蒂斯塔（Giambattista），巴洛克及洛可可时期意大利著名画家，威尼斯画派最后的代表人物。\n提埃坡罗是著名的壁画家，属于早期的洛可可风格，他继承了巴洛克艺术的传统，开创了天顶画的开阔视野，他的天顶画透明，和边框有机的结合在一起，产生了水彩画的效果，他也是威尼斯共和国最后一位希腊神话画家。\n他的两个儿子继承他的风格，但没有他那么优秀和有创造性。",[23,24,25,26,7,27,28],"宗教","人物","素描","僧侣","西方绘画","殿堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd71c43e3964a7a0c1b80ce0af740a879.jpg","未知","Xcm*Xcm","",[],2,"BDBDBD",{"id":37,"slug":38,"title":39,"dynasty":18,"author":19,"museum":20,"description":40,"tags":41,"thumbUrl":48,"material":30,"size":31,"collection":32,"collections":49,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":35},289494,"bernardino-poccetti-saint-antoninus-kneeling-before-the-crucifix-yi-ming-289494","Bernardino Poccetti--Saint Antoninus Kneeling before the Crucifix","这幅素描以克制却灵动的线条铺陈教堂内的虔敬图景。穹顶之下的礼拜堂中，左侧信众列队垂首静立，姿态沉凝庄重，中央跪伏的身影向着祭台苦像全心祷祝，简练笔触将敬慕与赤诚传递尽致。右侧妇孺依偎观望，柔缓的线条晕开寻常信众的平和安然。作品以疏密有致的排线交代空间纵深，利落轮廓清晰区分群像与祭台陈设，未以繁复敷色修饰，仅凭借明暗层次，便烘托出圣堂静谧庄严的氛围，将宗教场域的肃穆虔敬藏于每一处线条起落，尽显素描语言叙事传情的力量。",[23,42,25,43,44,7,45,46,47],"白描","人物画","十字架","教堂","室内场景","宗教人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34839885bd23d52532b53256e5a94bf9.jpg",[],1,{"id":52,"slug":53,"title":54,"dynasty":18,"author":19,"museum":20,"description":55,"tags":56,"thumbUrl":61,"material":30,"size":31,"collection":32,"collections":62,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":63},289267,"pietro-malombra-the-emperor-frederick-barbarossa-submitting-yi-ming-289267","Pietro Malombra--The Emperor Frederick Barbarossa Submitting","以红黑粉笔铺陈画面，炭笔排线皴出衣褶的沉郁阴影，红粉笔晕开衣袍的暖调光泽。焦点落于中心的臣服仪式，跪拜者身形低伏将皇权的俯首具象化，旁侧人物垂眼敛容，带着审视的沉静肃穆。\n\n右侧侍从以松散线条虚化错落，弱化个体来烘托群像的庄重氛围。整幅画未作精描细摹，却用松弛又精准的笔触，借明暗对比收拢视线，将这场权力交叠时刻的沉凝威仪尽数铺展，让纸面流转出厚重的历史张力，静述着皇权俯首的肃穆瞬间。",[24,25,57,58,47,59,7,60],"设色","历史画","帝王","人物群像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2520b588b7d8b54eca3968de716198a.jpg",[],"795548",{"id":65,"slug":66,"title":67,"dynasty":18,"author":19,"museum":20,"description":68,"tags":69,"thumbUrl":77,"material":30,"size":31,"collection":32,"collections":78,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":35},288724,"valentin-lefebvre-david-chooses-three-days-of-pestilence-yi-ming-288724","Valentin Lefebvre--David Chooses Three Days of Pestilence","褐棕水彩晕开帷幔的垂坠褶皱，跪坐的圣者仰首向天，光晕环衬他虔诚惶惑的面容。云端天使振翼持械，充满力量感的肌肉线条裹挟着神性威严破空而来。古典拱门的背景，将神域与凡世悄然分割，器物细节暗藏宿命抉择的隐喻。明暗交叠间，巴洛克式戏剧张力拉满，将天启降临时的震颤瞬间定格，让观者直面信仰之中的惊惧与赤诚。",[70,43,25,71,72,47,73,74,75,7,76],"宗教画","淡彩","天使","云朵","帷幔","建筑","狮像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6446478d209163e07b51b39a1fc6407.jpg",[],{"id":80,"slug":81,"title":82,"dynasty":18,"author":83,"museum":20,"description":84,"tags":85,"thumbUrl":99,"material":30,"size":31,"collection":32,"collections":100,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":63},232403,"he-er-bai-yin-62-he-er-bai-yin-232403","荷尔拜因62","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。",[23,86,57,24,72,87,75,88,89,90,91,92,93,94,95,96,7,97,98],"油画","圣徒","砖墙","拱门","长袍","头巾","光环","金色织物","棕榈枝","翅膀","书籍","坐姿","站立","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd799103db13332f5c4f816eddd27aae.jpg",[],{"id":102,"slug":103,"title":104,"dynasty":18,"author":105,"museum":20,"description":106,"tags":107,"thumbUrl":112,"material":30,"size":31,"collection":32,"collections":113,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":63},232302,"a-er-ma-29-lao-lun-si-a-er-ma-ta-de-ma-232302","阿尔玛29","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。",[108,86,57,24,58,109,110,111,7],"名画","古典风格","宫廷场景","士兵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d59c82249b80efe13725f035bbb8b27.jpg",[],{"id":115,"slug":116,"title":117,"dynasty":18,"author":118,"museum":20,"description":119,"tags":120,"thumbUrl":10,"material":30,"size":31,"collection":32,"collections":126,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":127},230616,"rembrandt-harmensz-van-rijn-025-lun-bo-lang-230616","Rembrandt Harmensz.van Rijn - 025","伦勃朗","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。",[86,23,24,121,7,90,122,123,124,125],"明暗对照","室内","光影","群像","写实",[],"37474F",{"id":129,"slug":130,"title":131,"dynasty":132,"author":133,"museum":20,"description":134,"tags":135,"thumbUrl":144,"material":145,"size":32,"collection":32,"collections":146,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":35},215074,"tui-bei-tu-ce-31-jiao-bing-zhen-215074","推背图册-31","清","焦秉贞","焦秉贞是中国清朝时期著名的画家，他被认为是中国水墨画史上最伟大的画家之一。其中最著名的作品是他的推背图册，其中包含了十幅推背图。推背图是一种特殊的水墨画，它们通常是用单一的墨色在纸上描绘的，并且使用了特殊的技巧来创造出立体感。焦秉贞的推背图册在当时被认为是一件杰出的艺术品，并且至今仍然备受赞赏。",[136,137,57,138,139,24,90,140,7,141,142,143],"高清","国画","工笔","册","羽冠","桌子","蜡烛","垫子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12925b42079ecaadb3de33c49bd09be7.jpg","纸本,设色",[],{"id":148,"slug":149,"title":150,"dynasty":151,"author":19,"museum":20,"description":152,"tags":153,"thumbUrl":157,"material":30,"size":31,"collection":32,"collections":158,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":63},254837,"sha-shi-gong-yang-ren-gui-bai-xiang-yi-ming-254837","砂石供养人跪拜像","南北朝","这尊跪拜像虽有残损，却沉静肃穆。匠人以砂石为材，以洗练刀法雕凿出供养人屈膝合掌的模样，将礼佛时的虔诚尽数凝于石上。石面历经千年漫漶斑驳，褪去浮华修饰，仅以极简造型传递出真挚敬奉之心，带着拙朴沉静的宗教氛围感。即便只是残片，依旧能让人触摸到千年前那份纯粹炽热的信仰重量。",[23,154,24,155,151,156,7],"雕刻","砂石","供养人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84b16581551d625b420f3b2a0cc2f176.jpg",[],1777535737677]