[{"data":1,"prerenderedAt":239},["ShallowReactive",2],{"subject-luo-ti-ren-wu":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},5475,"luo-ti-ren-wu","裸体人物","裸体人物画高清赏析","精选中国历代裸体人物题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93fd6f03868d5c8da7012cd8d5e71b98.jpg",0,16,[14,41,57,77,93,105,118,136,148,164,175,185,194,206,216,226],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":33,"material":34,"size":35,"collection":36,"collections":37,"showCount":38,"zanCount":39,"manualWeight":11,"mainColor":40},226649,"wei-na-si-de-dan-sheng-sang-de-luo-bo-ti-qie-li-226649","维纳斯的诞生","不详","桑德罗·波提切利","藏地不详","画面所表现的是西西里岛的一个美丽的传说：一片漂亮的大贝壳漂浮在碧波荡漾的海面上，上面站着纯洁而美丽的维纳斯，翱翔于天上的风神轻轻地将贝壳吹到岸边，等候在岸边的春之女神正张开红色绣花斗篷，准备为维纳斯换上新装。维纳斯身材修长，容貌秀美，双眼凝视着远方，眼神充满着幻想、迷惘与哀伤。体现了在佛罗伦萨流行一种新柏拉图主义的哲学思潮：美是不可能逐步完善或从非美中产生，美只能是自我完成，它是无可比拟的，美是不生不灭的永恒。",[23,24,25,7,26,27,28,29,30,31,32],"蛋彩画","设色","神话","美人","贝壳","海浪","花朵","树木","翅膀","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faca3edf2229ab9dd3bdba346df792dbd.jpg","未知","Xcm*Xcm","",[],89,1,"795548",{"id":42,"slug":43,"title":44,"dynasty":18,"author":45,"museum":20,"description":46,"tags":47,"thumbUrl":53,"material":34,"size":35,"collection":36,"collections":54,"showCount":55,"zanCount":11,"manualWeight":11,"mainColor":56},288800,"peter-van-lint-flemish-venus-de-medici-view-from-the-front-yi-ming-288800","Peter van Lint, Flemish--Venus de' Medici; view from the front","佚名","铅色笔触轻落在灰蓝纸面上，将雕像的优雅凝于画中。细腻线条顺着躯体起伏铺展，柔化了大理石的冷硬，把女性躯体的圆润肌理勾勒得舒展自然，静穆的古典神性藏在每一处柔和的转折里。\n\n左下角的骷髅添上了别样意趣，古典人体的永恒之美，对照着凡俗生命的虚幻无常，生出淡淡的怅惘隐喻。右下角的手写题注，为这幅严谨的写生晕开一丝松弛的纪实温度，让静态的复刻多了写生时的鲜活临场感。整体笔触克制又精准，兼顾雕塑的庄重与纸面写生的柔和层次，将古典人体的沉静美感融在朴素的素描细节中。",[48,49,50,51,7,26,52],"素描","人物画","神话人物","维纳斯","骷髅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4e20c4bb1454843c81c9d0b4729b4d7.jpg",[],6,"BDBDBD",{"id":58,"slug":59,"title":60,"dynasty":18,"author":61,"museum":20,"description":62,"tags":63,"thumbUrl":74,"material":34,"size":35,"collection":36,"collections":75,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":40},232310,"a-er-ma-37-lao-lun-si-a-er-ma-ta-de-ma-232310","阿尔玛37","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。",[64,65,66,7,67,68,69,70,71,72,73],"油画","新古典主义","写实","卧榻","兽皮地毯","花卉","羽毛扇","大理石纹理","靠垫","花盆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1975849826ee781f0688c71d10731468.jpg",[],5,{"id":78,"slug":79,"title":80,"dynasty":18,"author":45,"museum":20,"description":81,"tags":82,"thumbUrl":90,"material":34,"size":35,"collection":36,"collections":91,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":56},288711,"william-blake-angel-of-the-divine-presence-bringing-eve-to-adam-yi-ming-288711","William Blake--Angel of the Divine Presence Bringing Eve to Adam","朦胧水彩晕开神性氤氲的光晕，中央长须圣者牵起亚当与夏娃的手，定格下创世初遇的瞬间。\n\n左侧亚当自地面仰起，蓝发覆顶，赤裸躯体带着苏醒的懵懂，攀住圣者的手满是渴求联结的悸动。右侧夏娃立在云间，肌体柔美舒展，带着怯生生的好奇望向亚当。背景葡萄藤垂挂着饱满果簇，灵禽停驻枝桠，晕开的灰调丘峦水岸衬得三人愈发圣洁空灵。\n\n暖调肌肤与冷调衣袍交织，刻画出人类原初的肉身温度，亦烘托出创世的神性悲悯，将圣经故事里的震颤与温柔，揉进朦胧柔美的笔触之中。",[83,25,84,85,86,49,24,7,87,88,89],"宗教","亚当","夏娃","天使","葡萄树","飞鸟","创世场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd032fc5aefb70a09c7c829f3d525f855.jpg",[],3,{"id":94,"slug":95,"title":96,"dynasty":18,"author":97,"museum":20,"description":98,"tags":99,"thumbUrl":103,"material":34,"size":35,"collection":36,"collections":104,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":40},232126,"de-jia-66-de-jia-232126","德加66","德加","埃德加·德加（Edgar Degas，1834年7月19日—1917年9月27日），印象派重要画家。他出身于金融资本家的家庭，他的祖父是个画家，因此他从小就生长在一个非常关心艺术的家庭中。\n中学毕业后，德加报考了美术学校，他在意大利学习意大利的艺术，特别是文艺复兴时期的艺术。与此同时，他又在让-奥古斯特·多米尼克·安格尔（Jean-Suguste Dominique Ingres，1780-1867）的一位得意门生路易·拉莫特（Louis Lamott）的画室里学画。\n1917年9月27日，埃德加·德加逝世于巴黎，享年83岁。",[100,101,24,102,7],"印象派","色粉画","人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18dce678169d24554c909aa426fc2a58.jpg",[],{"id":106,"slug":107,"title":108,"dynasty":18,"author":97,"museum":20,"description":98,"tags":109,"thumbUrl":115,"material":34,"size":35,"collection":36,"collections":116,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":117},232123,"de-jia-64-de-jia-232123","德加64",[110,100,7,111,112,113,114],"色粉","水盆","窗帘","室内","洗漱场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51b2ef27700d4056366f02d15871d452.jpg",[],"37474F",{"id":119,"slug":120,"title":121,"dynasty":18,"author":97,"museum":20,"description":98,"tags":122,"thumbUrl":134,"material":34,"size":35,"collection":36,"collections":135,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":40},232087,"midieval-war-scene-musee-d-orsay-france-de-jia-232087","Midieval War Scene - - Musee d'Orsay (France)",[64,24,123,124,125,102,7,126,127,128,129,130,131,132,133],"中世纪","战争场景","马","士兵","枯树","火焰","战场","尸体","弓箭","动态","人物群像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff621e3c45b09b3d92fe8b32435117374.jpg",[],{"id":137,"slug":138,"title":139,"dynasty":18,"author":97,"museum":20,"description":98,"tags":140,"thumbUrl":146,"material":34,"size":35,"collection":36,"collections":147,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":56},232080,"de-jia-41-de-jia-232080","德加41",[7,101,100,141,142,143,144,145],"坐姿","足部","单鞋","线条勾勒","色彩晕染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa035a8074f9f0f3b339fe4eae00e15a.jpg",[],{"id":149,"slug":150,"title":151,"dynasty":18,"author":152,"museum":20,"description":153,"tags":154,"thumbUrl":162,"material":34,"size":35,"collection":36,"collections":163,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":56},231215,"su-miao-469-xi-fang-231215","素描469","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。",[48,66,155,156,157,158,159,7,160,161,144],"人体","男性","肌肉","光影","站姿","明暗对比","人体写生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5f26d19087537b863348dd5b5b44ec3.jpg",[],{"id":165,"slug":166,"title":167,"dynasty":18,"author":97,"museum":20,"description":98,"tags":168,"thumbUrl":172,"material":34,"size":35,"collection":36,"collections":173,"showCount":174,"zanCount":11,"manualWeight":11,"mainColor":40},232108,"de-jia-53-de-jia-232108","德加53",[100,101,49,7,169,170,171],"室内场景","沙发","地面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40693f7a23fbc756ff2d1ce8ad67d049.jpg",[],2,{"id":176,"slug":177,"title":178,"dynasty":18,"author":152,"museum":20,"description":153,"tags":179,"thumbUrl":183,"material":34,"size":35,"collection":36,"collections":184,"showCount":174,"zanCount":11,"manualWeight":11,"mainColor":40},231288,"su-miao-542-xi-fang-231288","素描542",[48,66,155,156,160,180,181,182,7],"西方绘画","写实主义","素描技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82186f5928afd2762f48eb880ba81e90.jpg",[],{"id":186,"slug":187,"title":188,"dynasty":18,"author":45,"museum":20,"description":189,"tags":190,"thumbUrl":192,"material":34,"size":35,"collection":36,"collections":193,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":56},289263,"pietro-testa-nude-youth-running-recto-standing-draped-yi-ming-289263","Pietro Testa--Nude Youth Running (recto); Standing Draped","以极简的炭笔线条，精准定格下裸奔青年的迸发瞬间。前倾的躯干、蹬伸的后腿与前摆的手臂，凝练出充满张力的奔跑韵律，寥寥数笔便勾勒出肌肉的起伏轮廓，将躯体的重量感与冲刺的动感融为一体。没有繁复的修饰，凭借敏锐的观察力捕捉刹那的灵动，潦草却极具生命力的笔触，让整幅速写拥有了鲜活的呼吸感，将人体运动的蓬勃张力尽数展现，尽显速写即兴捕捉的独特魅力，让转瞬即逝的动态成为永恒的视觉印记。",[48,49,7,191],"奔跑姿态","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc5a119f029b0ea4ed989f9c2cb3145b.jpg",[],{"id":195,"slug":196,"title":197,"dynasty":18,"author":97,"museum":20,"description":98,"tags":198,"thumbUrl":204,"material":34,"size":35,"collection":36,"collections":205,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":40},232068,"de-jia-36-de-jia-232068","德加36",[64,100,7,199,200,201,202,203,132,155],"多人","水面","船只","建筑","夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0f46ccca586070288e85421932c3c04.jpg",[],{"id":207,"slug":208,"title":209,"dynasty":18,"author":97,"museum":20,"description":98,"tags":210,"thumbUrl":214,"material":34,"size":35,"collection":36,"collections":215,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":40},232012,"de-jia-10-de-jia-232012","德加10",[211,100,101,7,212,213,113],"名画","浴盆","织物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33b157045a3663f7ddb1f74708f944ee.jpg",[],{"id":217,"slug":218,"title":219,"dynasty":18,"author":152,"museum":20,"description":153,"tags":220,"thumbUrl":224,"material":34,"size":35,"collection":36,"collections":225,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":56},231104,"su-miao-358-xi-fang-231104","素描358",[48,66,155,7,221,222,223],"动态人物","男性人体","线条表现","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc87c8b1df9135f8f07edfb65672a585d.jpg",[],{"id":227,"slug":228,"title":229,"dynasty":18,"author":230,"museum":20,"description":231,"tags":232,"thumbUrl":10,"material":34,"size":35,"collection":36,"collections":238,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":117},230643,"rembrandt-harmensz-van-rijn-031-lun-bo-lang-230643","Rembrandt Harmensz.van Rijn - 031","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。",[64,160,66,102,233,30,234,158,235,236,7,237],"山石","暗色调","古典","自然景物","昏暗环境",[],1777535723892]