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，一作1464—1537）明代画家。字天驰，号平山，汴梁（今河南省开封）人，明代画家。绘人物，师法吴伟，山水学戴进“狂态”，用笔豪放纵逸，水墨酣畅淋漓，与朱端、蒋嵩、汪肇等同为“浙派”名家 。亦工鸟兽、花卉。\n早年画学戴进，临摹能肖其神，画法工细。至南京后，又宗法吴伟，变为粗笔写意。他善画人物，多绘神仙、士子、渔夫，形象质朴，神态清朗，具高昂向上的气质。景致简略，笔墨遒劲，风格豪放，然少秀逸和蕴藉之致；为浙派健将，亦开后来学者粗率之风。他具有典型风貌的水墨写意作品较多，人物多用顿折的重墨线条勾勒，山石以粗犷的笔触作大斧劈皴，运笔迅捷，水墨淋漓，具有豪放动荡的气势。亦能画写意花鸟。",[50,24,25,94,95,96,52,97,98,7],"册","水墨","白描","笔","砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365f96a79eba1447b5b9fefe6c2663ab.jpg",[],22,1,{"id":104,"slug":105,"title":106,"dynasty":18,"author":107,"museum":70,"description":108,"tags":109,"thumbUrl":118,"material":80,"size":81,"collection":82,"collections":119,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":40},272883,"zi-tan-mu-bian-qian-yu-shi-bo-gu-tu-gua-ping-yi-ming-272883","紫檀木边嵌玉石博古图挂屏","佚名","此作为百宝嵌工艺佳作，浅地衬出雅洁底色，将文房清供之趣尽显方寸。青釉宝瓶斜生花枝，玉石彩石分饰花叶，瓣层鲜活、叶片舒展，生机灵动。旁侧如意莹润雅致，线条婉转柔润。右方兰草盆栽以翠料摹写兰叶，白花点缀其间，自带幽然清气。下方卷轴系宝蓝绦带，文气自生。紫檀边框走线细腻，铜挂扣錾刻古纹，细节处处考究。\n\n整器配色和谐舒雅，嵌饰工艺精湛，将文人闲情与匠心工艺相融，晕染出静穆文雅的厅堂雅韵，尽显清代百宝嵌工艺的雅致格调。",[110,111,112,113,114,56,7,115,116,117],"挂屏","紫檀木","玉石","博古图","兰花","如意","花卉","镶嵌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff112bf33fb4df0d6337afb05fa95837d.jpg",[],16,{"id":122,"slug":123,"title":124,"dynasty":125,"author":126,"museum":70,"description":127,"tags":128,"thumbUrl":139,"material":80,"size":81,"collection":82,"collections":140,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":40},232300,"a-er-ma-27-lao-lun-si-a-er-ma-ta-de-ma-232300","阿尔玛27","不详","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。",[129,27,130,131,52,28,132,7,133,134,135,136,137,138],"油画","写实","古典风格","大理石","典籍","雕刻","浮雕","布料","台阶","室内场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d69d0fe4c253f427ebc397002a8f949.jpg",[],9,{"id":143,"slug":144,"title":145,"dynasty":125,"author":107,"museum":70,"description":146,"tags":147,"thumbUrl":153,"material":80,"size":81,"collection":82,"collections":154,"showCount":102,"zanCount":11,"manualWeight":11,"mainColor":63},289151,"guercino-a-sibyl-holding-a-scroll-yi-ming-289151","Guercino--A Sibyl Holding a Scroll","奔放灵动的线条铺陈开少女的身影，仰起的面庞带着怅惘又虔诚的神采，仿佛正凝神聆听神启。作者以松弛又富有张力的速写笔法，用疏密不一的排线与明暗块面，快速勾勒出衣褶的挺括与头巾的柔和，柔硬线条形成鲜明对比，精准捕捉下人物的动态张力。潦草的手稿字迹随性散落，添了几分即兴创作的鲜活气息，寥寥数笔便赋予人物饱满的精神气质，将少女的虔诚与灵动完美定格，满是即兴速写的蓬勃表现力，凝练又传神地烘托出人物沉浸于神圣时刻的氛围。",[148,149,150,7,151,152],"素描","人物画","女性","宗教神话","女先知","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F255a98e62df4aa935df32ab0e8e4b6be.jpg",[],{"id":156,"slug":157,"title":158,"dynasty":125,"author":107,"museum":70,"description":159,"tags":160,"thumbUrl":169,"material":80,"size":81,"collection":82,"collections":170,"showCount":102,"zanCount":11,"manualWeight":11,"mainColor":40},288715,"vittorio-maria-bigari-allegorical-figure-of-history-yi-ming-288715","Vittorio Maria Bigari--Allegorical Figure of History","这幅作品以色粉在灰蓝纸上营造出类浅浮雕的视觉效果，明暗晕染如石材般厚重沉静。静穆的天使展翼持卷，与垂颓疲惫的时间之神形成强烈对照。天使凝思的神情呼应上方题旨，将历史承载的文明荣光娓娓铺陈；一旁的时间之神枯槁佝偻，身侧沙漏与镰刀暗喻岁月流逝，抬手扶额的姿态尽显沧桑倦怠。摊开的古书静置于角落，暗合历史的叙事底色。创作者以雕塑化的造型语言，将历史在时间洪流里存续荣光、裹挟消逝的深邃哲思，藏入细腻的光影层次之中。",[148,149,161,162,77,163,164,7,165,166,167,168],"寓意画","天使","翅膀","书籍","沙漏","镰刀","神话形象","宗教元素","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00fa3466829d08b1ca12ed5f967ce251.jpg",[],{"id":172,"slug":173,"title":174,"dynasty":18,"author":107,"museum":70,"description":175,"tags":176,"thumbUrl":178,"material":80,"size":81,"collection":82,"collections":179,"showCount":102,"zanCount":11,"manualWeight":11,"mainColor":180},273145,"rou-gui-yi-ming-273145","肉桂","这方旧物裹在糙旧皮纸之中，陈置于素净锡盒内。锡盒蒙着薄尘，泛黄签纸晕开旧年墨色，藏着被时光揉皱的旧日意趣。肉桂色泽沉褐，油润的肌理被岁月晕开暗哑的光泽，仿佛还凝着当年拆封时漫出的辛香暖意。旧纸带着摩挲过的软韧痕迹，将旧时茶事里的妥帖珍视封存在时光里，让日常闲趣跨越年岁，依旧带着生活的温热质感，静静诉说着昔年藏家的惜物之心。",[174,133,136,177,7],"金属器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5d086ff89377ac082b86f6600a025c7.jpg",[],"37474F",{"id":182,"slug":183,"title":184,"dynasty":18,"author":107,"museum":70,"description":185,"tags":186,"thumbUrl":191,"material":80,"size":81,"collection":82,"collections":192,"showCount":102,"zanCount":11,"manualWeight":11,"mainColor":40},252825,"ni-ren-zhang-su-cai-hui-nv-zuo-xiang-yi-ming-252825","泥人张塑彩绘女坐像","中国雕塑是指具有中国特色且原产于中国的雕塑艺术品。中国雕塑（Chinese sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[187,188,27,52,150,189,190,7],"泥塑","彩绘","清代","民间工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f116aef291887ea75fb6466a8976287.jpg",[],{"id":194,"slug":195,"title":196,"dynasty":125,"author":197,"museum":70,"description":198,"tags":199,"thumbUrl":206,"material":80,"size":81,"collection":82,"collections":207,"showCount":102,"zanCount":11,"manualWeight":11,"mainColor":180},232406,"he-er-bai-yin-65-he-er-bai-yin-232406","荷尔拜因65","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。",[129,130,27,200,201,136,202,203,7,204,76,205],"纸张","木质","钥匙","球形装饰","信件","日常用品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b2feabe52aabe2b030b037ec608878c.jpg",[],{"id":209,"slug":210,"title":211,"dynasty":125,"author":126,"museum":70,"description":127,"tags":212,"thumbUrl":227,"material":80,"size":81,"collection":82,"collections":228,"showCount":102,"zanCount":11,"manualWeight":11,"mainColor":63},232336,"a-er-ma-63-lao-lun-si-a-er-ma-ta-de-ma-232336","阿尔玛63",[129,130,27,213,52,214,150,73,215,216,217,137,132,218,219,220,221,222,223,116,224,7,225,226],"新古典主义","男性","里拉琴","建筑","古典柱式","海景","大海","花环","织物","长袍","兽皮","红色花卉","石凳","白墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45153139f73deb51ec20f97ef97eb0ba.jpg",[],{"id":230,"slug":231,"title":232,"dynasty":125,"author":107,"museum":70,"description":233,"tags":234,"thumbUrl":239,"material":80,"size":81,"collection":82,"collections":240,"showCount":102,"zanCount":11,"manualWeight":11,"mainColor":63},225580,"fu-shi-hui-71-yi-ming-225580","浮世绘71","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。",[235,27,236,52,28,97,237,238,98,7,164],"浮世绘","木刻","墨","纸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e586f687094bfaa3457fc2cf23e82d8.jpg",[],{"id":242,"slug":243,"title":244,"dynasty":125,"author":245,"museum":70,"description":246,"tags":247,"thumbUrl":255,"material":80,"size":81,"collection":82,"collections":256,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},225607,"rp-p-1962-112-lun-bo-lang-225607","RP-P-1962-112","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。",[248,249,250,130,52,251,7,252,253,254],"蚀刻","铜版画","明暗对比","长发","服饰","室内","光影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3ea2b57dfdce9ae4982c5ad4b516bcb.jpg",[],1777535725964]