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Child","灵动的炭笔线条定格下亲昵的母子日常，母亲俯身佝着脊背，顿挫的笔锋勾勒出衣褶的厚重蓬松，衬出环抱孩童时躯体的柔和弧度，将克制又满溢的呵护藏在粗粝笔触里。孩童仰面依偎在母亲身侧，稚嫩轮廓被松弛线条晕开，漫溢出娇憨慵懒的稚气。\n\n朦胧的淡色晕染虚化了背景，将视线牢牢锁在二人相依的方寸之间，没有繁复铺陈，仅凭寥寥几笔便晕开浓稠温情。泛黄粗糙的纸面肌理为画面晕开质朴烟火气，让这份私密温柔的亲子瞬间，带着未经雕琢的动人温度，成为永恒的定格。",[68,69,7,52,82],"速写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F589314278705b3cc1c258fb13b91e81f.jpg",[],{"id":86,"slug":87,"title":88,"dynasty":18,"author":64,"museum":20,"description":89,"tags":90,"thumbUrl":95,"material":37,"size":38,"collection":39,"collections":96,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":59},255880,"nv-ren-bao-zi-chang-fang-zhuan-yi-ming-255880","女人抱子长方砖","浅浮雕技法凿刻出日常天伦，妇人发髻齐整，宽袍垂坠间裹着温婉身形，将孩童紧紧拢在怀中。孩童亲昵探首依偎在她肩头，软稚姿态跃然砖石。\n\n整体造型简约拙朴，没有华丽修饰，却把母子间的缱绻温情勾勒得淋漓尽致。作品带着写实意趣，褪去雕琢刻意，将平凡家庭的脉脉温情凝于方寸砖间，满溢着市井烟火的暖暖暖意，静静诉说着千年前的日常温柔。",[91,92,93,94,29,7],"宋代","雕刻","砖","浮雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc76d2cca507fb854192ddd952d29ee5f.jpg",[],{"id":98,"slug":99,"title":100,"dynasty":101,"author":64,"museum":20,"description":102,"tags":103,"thumbUrl":107,"material":37,"size":38,"collection":39,"collections":108,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":42},253718,"tao-mu-zi-wo-zhu-yi-ming-253718","陶母子卧猪","汉","汉代陶器的工艺水平很高,造型优美,质地精良。品种、装饰则因地区不同而不同。陕西关中地区常见的日用陶器有豆、 盆、筒杯、勺、盘、缸、甑、 釜、小壶、扁壶、茧形壶、钵、罐、钟、碗等。明器包括礼器鼎和模型明器仓、陶囤以及各种动物形象。纹饰多为变形回纹、三角纹和窝纹。陕西潼关以东地区人们的日常用陶，以灰陶为主，有罐、 壶、碗、勺、筒杯、 瓮、盒、洗、甑、釜、杯、盘、尊等。在汉代流行起来的生活用具模型，如仓、 炉、 灶、井等。大都作为明器供随葬之用。盒、盘、案、杯等，逐渐成组出现，为适应人们厚葬之需也成为祭器。猪、羊、狗、鸡等家畜家禽及圈舍、住宅等明器模型也大量流行。装饰则有弦纹、刻划的三角纹、连环纹、栉齿纹和动物纹，还有绳纹、拍印纹、模印、浮雕、涂色和彩绘等。南方的长沙地区，制陶工艺自成体系，陶盒使用普遍，陶壶无盖，鼎的三足成矮胖的兽蹄形，其他实用器皿还有壶、罐、碗、钫、、盆、釜、甑、长方炉、博山炉等。特点是坚硬厚重。殉葬明器有灶、仓、井、屋、猪圈模型等。广东地区秦汉时属南海郡，常用陶器有瓮、双耳罐、提、四联罐和五联罐、瓿、小瓿、壶、匏壶、温壶、钫、 盒、敦、 小盒、三足盒、三足罐、三足瓿、四联盒、 碗、盆、 甑、釜、鼎、豆、三足格盒等。生活用具中灰白色的印纹硬陶占多数， 有的还戳上印记，多为容器，炊器只有釜、 鼎、甑 3种。造型特别的三足器、温壶、匏壶有着明显的地方特点。印纹硬陶很讲究装饰，单是几何图案就达70多种，此外还有弦纹、 陶纹、 镂孔、篦纹及文字记号等。明器上多施彩绘。四川云南等也有自己的制陶业，不少作品和中原地区相似，如圆底釜、侈口束颈、鼓腹的壶等。关中地区流行的茧形壶虽不生产，确有发现。舞蹈俑、说书俑、抚琴俑、听琴俑、侍立俑和各类家禽形象，生动优美，自然写实。",[104,105,106,92,7],"陶瓷","兽","猪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41fbe948691a930ec39808bbb7124616.jpg",[],{"id":110,"slug":111,"title":112,"dynasty":47,"author":113,"museum":20,"description":114,"tags":115,"thumbUrl":10,"material":37,"size":38,"collection":39,"collections":119,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":120},231201,"su-miao-455-xi-fang-231201","素描455","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。",[69,116,117,29,54,118,7],"色粉","写实","婴儿",[],"F48FB1",1777535742876]