[{"data":1,"prerenderedAt":80},["ShallowReactive",2],{"subject-kun-bang":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},2888,"kun-bang","捆绑","捆绑画高清赏析","精选中国历代捆绑题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03554afda93db018cefa92bf8cbc75a2.jpg",0,3,[14,42,65],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":36,"material":37,"size":38,"collection":38,"collections":39,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":41},215883,"qing-dai-xing-fa-ji-lu-tu-ce-2-yi-ming-215883","清代刑罚记录图册-2","清","佚名","藏地不详","画面铺展清代刑罚的具象切片：或缚于木架垂足悬空，或倒悬梁下衣衫凌乱，或被按于地受制于人。左侧端坐者袖笼“勇”字，衔烟管似监刑，旁立者持签待命。桌案清供的雅致与刑罚的粗粝形成刺目反差，灯笼题字更添肃杀。色彩明丽却难掩压抑，人物神态或痛苦扭曲或漠然旁观，将权力与惩戒的张力悄然铺展。笔触虽简，却精准捕捉了彼时社会治理的一角，是研究清代刑罚文化与基层秩序的直观图像注脚。",[23,24,25,26,27,28,29,30,31,32,33,34,7,35],"工笔","设色","册","人物","刑罚场景","桌子","椅子","灯笼","荷花","器","衣帽","烟具","吊刑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F891d9994cae48716672a91279d9b5ac8.jpg","纸本,设色","",[],5,"BDBDBD",{"id":43,"slug":44,"title":45,"dynasty":46,"author":47,"museum":20,"description":48,"tags":49,"thumbUrl":10,"material":60,"size":61,"collection":38,"collections":62,"showCount":63,"zanCount":11,"manualWeight":11,"mainColor":64},230610,"rembrandt-harmensz-van-rijn-0190-lun-bo-lang-230610","Rembrandt Harmensz.van Rijn - 0190","不详","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。",[50,51,52,26,53,7,54,55,56,57,58,59],"油画","写实","明暗对比","裸体","岩石","植物","水体","暗背景","布料","光影","未知","Xcm*Xcm",[],4,"37474F",{"id":66,"slug":67,"title":68,"dynasty":46,"author":69,"museum":20,"description":70,"tags":71,"thumbUrl":77,"material":60,"size":61,"collection":38,"collections":78,"showCount":79,"zanCount":11,"manualWeight":11,"mainColor":41},231198,"su-miao-452-xi-fang-231198","素描452","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。",[72,51,73,74,26,7,75,76],"素描","线条","明暗","人物动态","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17dc05e44bd4b14bb927f7cea44a402f.jpg",[],1,1777535773236]