[{"data":1,"prerenderedAt":143},["ShallowReactive",2],{"subject-hu-dong-chang-jing":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},3920,"hu-dong-chang-jing","互动场景","互动场景画高清赏析","精选中国历代互动场景题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d023ef86179d59c6aefffc4a2684acc.jpg",0,6,[14,48,75,89,107,130],{"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},225589,"zai-wen-shi-li-ai-de-hua-ma-nai-225589","在温室里","不详","爱德华·马奈","藏地不详","爱德华·马奈（Édouard Manet，1832.01.23～1883.04.30）是19世纪印象主义的奠基人之一，1832年出生于法国巴黎。他从未参加过印象派的展览，但他深具革新精神的艺术创作态度，却深深影响了莫奈、塞尚、梵高等新兴画家，进而将绘画带入现代主义的道路上。受到日本浮世绘及西班牙画风的影响，马奈大胆采用鲜明色彩，舍弃传统绘画的中间色调，将绘画从追求三元次立体空间的传统束缚中解放出来，朝二元次的平面创作迈出革命性的一大步。\n印象派大师爱德华·马内的名画《春天》5日在美国纽约佳士得拍卖行拍得3320万美元。《春天》是马内的代表作之一，最早于1882年在法国巴黎展出，描绘女演员让娜·德马尔西身穿花裙，与春色交相辉映。马内试图用画笔描绘四季，但仅完成《春天》和《秋天》。马内1883年离世，终年51岁。",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,37,38,39,40,7],"油画","印象派","设色","写实","人物","温室植物","长椅","花盆","遮阳伞","帽子","女士","男士","绿植","花卉","室内场景","服饰","光影","热带植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5670ad47ae742da5c0afcd6fcba8f181.jpg","未知","Xcm*Xcm","",[],61,"37474F",{"id":49,"slug":50,"title":51,"dynasty":52,"author":53,"museum":54,"description":55,"tags":56,"thumbUrl":69,"material":70,"size":71,"collection":44,"collections":72,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":74},222847,"meng-mu-jiao-zi-tu-kang-shou-222847","孟母教子图","清","康寿","北京故宫博物院","此图出自典故《孟母断机》，讲述的是孟子逃课后孟母割掉织好的布以此教育孟子。图绘孟母镰刀回头看着儿子，孟子双手拢起小心翼翼。人物额头点白有着明人绘法",[57,58,59,25,60,61,62,63,64,65,66,67,68,7],"高清","清代","工笔","白描","传统绘画","线条细腻","设色淡雅","古代女性","孩童","织机","古装服饰","发髻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8713e7a4d3396fbe48cc631455acfc95.jpg","绢本，设色","64x142cm",[],15,"BDBDBD",{"id":76,"slug":77,"title":78,"dynasty":18,"author":79,"museum":20,"description":80,"tags":81,"thumbUrl":10,"material":44,"size":44,"collection":44,"collections":87,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":74},225437,"fu-shi-hui-195-yi-ming-225437","浮世绘195","佚名","这幅作品是东西洋文化碰撞的缩影，洋房穹顶下悬着西洋枝形吊灯，拼花地砖衬出雅致洋派的室内格局，男子身着饰有日式纹章的西式礼服，姿态倨傲疏离，侍女们则身披纹样繁复的传统和服。跪拜女子垂首哀戚，将新旧交替的时代拉扯藏于场景之中。鲜亮饱和的套色晕染出独有的明艳质感，细腻笔触勾勒出人物神态间的微妙情绪，既复刻出西风东渐的世俗图景，也暗喻着传统礼教与新潮文明碰撞下的人际张力，将时代洪流下的个体纠葛定格在纸面之上。",[82,83,25,27,84,85,86,38,7],"浮世绘","木刻","美人","室内","器",[],5,{"id":90,"slug":91,"title":92,"dynasty":18,"author":93,"museum":20,"description":94,"tags":95,"thumbUrl":104,"material":42,"size":43,"collection":44,"collections":105,"showCount":106,"zanCount":11,"manualWeight":11,"mainColor":74},232542,"mi-lai-si-86-yue-han-ai-fu-li-te-mi-lai-si-232542","米莱斯86","约翰·埃弗里特米莱斯","John Everett Millais十九世纪英国画家，是拉斐尔前派的三个创始人中年龄最小、才华最高的一位，其它两位是亨特和布朗。其油画《基督在自己父母家中》(1850)中体现了该派精神，以画风细腻著称。\n米莱斯是拉斐尔前派中最有才华的一个。他出生于南埃普顿，幼年就表现出非凡的绘画才能。10岁时，他的绘画就获得了艺术协会颁发的银质奖章。据说当时他的个子还没有讲台高，只能站在凳子上领奖。两年后，他的天赋为马丁·希伊勋爵发现，转入皇家美术学院的附属学校(希伊后来是皇家美术学院院长)，以后又转入皇家美术学院，以后又多次获奖，并在18岁那年获得金质奖章，是学院公认的高材生。",[96,97,98,99,26,27,100,101,102,103,7],"素描","速写","单色","线条","士兵","女性","儿童","动态","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F497af1daf19eec0781ba33d2d8902f63.jpg",[],2,{"id":108,"slug":109,"title":110,"dynasty":18,"author":93,"museum":20,"description":94,"tags":111,"thumbUrl":126,"material":42,"size":43,"collection":44,"collections":127,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":129},232553,"mi-lai-si-97-yue-han-ai-fu-li-te-mi-lai-si-232553","米莱斯97",[23,112,25,27,102,113,114,115,116,117,37,118,119,120,7,121,122,123,124,125],"写实风格","成人","木工台","木材","木屑","梯子","户外远景","草地","天空","跪地姿态","站立姿态","赤足","衣物","工坊场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc4abf962a939e2c2e7f7e64f597dfb3.jpg",[],1,"795548",{"id":131,"slug":132,"title":133,"dynasty":18,"author":79,"museum":20,"description":134,"tags":135,"thumbUrl":141,"material":42,"size":43,"collection":44,"collections":142,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":74},225524,"fu-shi-hui-282-yi-ming-225524","浮世绘282","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。",[82,83,25,27,136,38,137,138,139,140,7],"楼阁","明月","建筑","西式服装","传统和服","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71f96a8a1ff1ef0b2ac4748cfde0f483.jpg",[],1777535746720]