[{"data":1,"prerenderedAt":81},["ShallowReactive",2],{"subject-mu-zhi-jia-ju":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},7342,"mu-zhi-jia-ju","木质家具","木质家具画高清赏析","精选中国历代木质家具题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85489f77ad9bc5b80e72a24aa63db57d.jpg",0,3,[14,44,67],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":37,"material":38,"size":39,"collection":40,"collections":41,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":43},232340,"a-er-ma-67-lao-lun-si-a-er-ma-ta-de-ma-232340","阿尔玛67","不详","劳伦斯·阿尔玛-塔德玛","藏地不详","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。",[23,24,25,26,27,28,29,30,7,31,32,33,34,35,36],"名画","油画","古典主义","写实","设色","古埃及建筑","人物","棕榈树","织物","壁画","卧榻","地砖","篮子","象形文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77dc8fb028cfeaa2885888fe10fb482d.jpg","未知","Xcm*Xcm","",[],2,"795548",{"id":45,"slug":46,"title":47,"dynasty":18,"author":19,"museum":20,"description":21,"tags":48,"thumbUrl":63,"material":38,"size":39,"collection":40,"collections":64,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":66},232339,"a-er-ma-66-lao-lun-si-a-er-ma-ta-de-ma-232339","阿尔玛66",[24,49,50,27,51,52,53,54,55,7,56,57,58,59,60,61,62],"写实风格","古典题材","人物群像","古埃及元素","室内场景","烛火","织物服饰","坐姿人物","卧姿人物","器物陈设","光影表现","写实技法","地面装饰","人物互动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d04dccf5d574e7c874dfd00b59e4363.jpg",[],1,"37474F",{"id":68,"slug":69,"title":70,"dynasty":71,"author":72,"museum":20,"description":73,"tags":74,"thumbUrl":10,"material":38,"size":39,"collection":40,"collections":79,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":80},273577,"zi-tan-kui-long-wen-mei-gui-yi-yi-ming-273577","紫檀夔龙纹玫瑰椅","清","佚名","敦煌285窟壁画就有两人分坐在椅子上的图像；257窟壁画中有坐方凳和交叉腿长凳的妇女；龙门莲花洞石雕中有坐圆凳妇女。这些图像生动地再现了南北朝时期椅、凳在仕宦贵族家庭中的使用情况。尽管当时的坐具已具备了椅子、凳子的形状，但因其时没有椅、凳的称谓，人们还习惯称之为“胡床”，在寺庙内，常用于坐禅，故又称禅床。唐代以后，椅子的使用逐渐增多，椅子的名称也被广泛使用，才从床的品类中分离出来。因此，论及椅、凳的起源，必须从汉魏时经印度传入的胡床谈起。\n唐代以前的“椅”字还有一种解释，作“车旁”讲，即车的围栏。其作用是人乘车时有所依靠。后来的椅子，其形式是在四足支撑的平台上安装围栏，其制当是受车旁围栏的启发，并沿用其名而称这种坐具为“椅子”了。从现存资料看，唐代已有相当讲究的椅子了。\n五代至宋，高型坐具空前普及，椅子的形式也多了起来，出现靠背椅、扶手椅、圈椅等。同时根据尊卑等级的不同，椅子的形制、质料和功能也有所区别。\n五代至两宋时期的家具大体保留着唐代遗风，只是高型家具较前更加普及了。\n椅子非常古老和简单，虽然许多世纪以来，是一个普通使用状态。在早王朝时期，他们用布或皮革、木雕覆盖椅背和椅面，但是覆盖面积均远低于21世纪的椅子，椅面有时仅离地25厘米。在古埃及时代的椅子似乎已经被极大的丰富，老式乌木、象牙雕刻、镀金的木材等都会被使用。它们被覆盖着昂贵的材料，华丽的图案和猎杀的野兽或雕刻着的俘虏数字。一般来说，地位越高的个人，他的椅子就越高越华丽，这是种荣誉的象征。",[75,76,77,78,7],"玫瑰椅","紫檀","夔龙纹","雕刻",[],"BDBDBD",1777535775901]