[{"data":1,"prerenderedAt":78},["ShallowReactive",2],{"subject-mao-tou-ying":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},296,"mao-tou-ying","猫头鹰","猫头鹰画高清赏析","精选中国历代猫头鹰题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e5009b7b4b53f4c045cbc6a37fa8276.jpg",0,3,[14,37,63],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":32,"size":32,"collection":33,"collections":34,"showCount":35,"zanCount":11,"manualWeight":11,"mainColor":36},203165,"mao-tou-ying-tu-zhou-gao-jian-fu-203165","猫头鹰图轴","近代","高剑父","上海博物馆","猫头鹰敛翅蹲踞于虬曲老干之上，双目圆睁，神情警觉而专注。枯树枝桠交错，笔触老辣如铁线盘桓，水墨浓淡相济，苍劲中见朴拙质感。背景淡墨晕染，似朦胧月色漫开，笼住夜的静谧幽寂。画家以写意笔墨状物，墨色层次丰富，既承传统国画的笔墨韵致，又融入写实观察，将禽鸟神态与古木沧桑尽现。画面于幽淡氛围里藏生机，传递出自然生灵的生动与古木的岁月沉淀之美。",[23,24,25,26,7,27,28,29,30,31],"国画","水墨","立轴","花鸟","枯树","明月","写意","墨色","高清","","花鸟画精选",[33],7,"d0c1ab",{"id":38,"slug":39,"title":40,"dynasty":41,"author":42,"museum":43,"description":44,"tags":45,"thumbUrl":57,"material":58,"size":59,"collection":32,"collections":60,"showCount":61,"zanCount":11,"manualWeight":11,"mainColor":62},232546,"mi-lai-si-90-yue-han-ai-fu-li-te-mi-lai-si-232546","米莱斯90","不详","约翰·埃弗里特米莱斯","藏地不详","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。",[46,47,48,49,50,7,51,52,53,54,55,56],"油画","写实","设色","人物","鸟笼","座椅","窗帘","室内场景","织物","服饰","写实技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F266eccfc6db489ca62a2dfd5174d46db.jpg","未知","Xcm*Xcm",[],1,"37474F",{"id":64,"slug":65,"title":66,"dynasty":67,"author":68,"museum":43,"description":69,"tags":70,"thumbUrl":75,"material":58,"size":59,"collection":32,"collections":76,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":77},278068,"mao-tou-ying-niu-zhi-zhi-li-xing-yin-yi-ming-278068","猫头鹰纽“致知力行”印","明","佚名","战国时期，主张合纵的名相苏秦佩戴过六国相印。近几年来，出土的文物又把印章的历史向前推进了数百年。也就是说，印章在周朝时就有了。\n传世的古代玺印，多数出于古城废墟、河流和古墓中。有的是战争中战败者流亡时所遗弃，也有在战争中殉职者遗弃在战场上的，而当时的惯例，凡在战场上虏获的印章必须上交，而官吏迁职、死后也须脱解印绶上交。其它有不少如官职连姓名的，以及吉语印、肖形印等一般是殉葬之物，而不是实品。其它在战国时代的陶器和标准量器上，以及有些诸侯国的金币上，都用印章盖上名称和记录上制造工匠的名姓或图记性质的符号，也被流传下来。\n古玺是先秦印章的通称。我们现在所能看到的一般最早的印章大多是战国古玺。印文笔画细如毫发，都出于铸造。白文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。官玺的印文内容有“司马”、“司徒”等名称外，还有各种不规则的形状，内容还刻有吉语和生动的物图案。朱文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。",[71,72,7,73,74],"印章","篆刻","兽","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda0bfcfae44159e6341331b343b5ff9e.jpg",[],"BDBDBD",1777535772608]