[{"data":1,"prerenderedAt":276},["ShallowReactive",2],{"subject-nan-xing-xiao-xiang":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},4710,"nan-xing-xiao-xiang","男性肖像","男性肖像画高清赏析","精选中国历代男性肖像题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a0a35fc2198ba7e2b402920b258ac71.jpg",0,22,[14,33,52,72,90,102,111,122,131,143,152,162,172,183,201,209,221,232,242,249,258,268],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":27,"size":28,"collection":29,"collections":30,"showCount":31,"zanCount":11,"manualWeight":11,"mainColor":32},225633,"rembrandt-harmensz-van-rijn-042-lun-bo-lang-225633","Rembrandt Harmensz.van Rijn - 042","不详","伦勃朗","藏地不详","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。",[23,24,25,7,26],"名画","油画","人物","写实","未知","Xcm*Xcm","油画精选",[29],30,"37474F",{"id":34,"slug":35,"title":36,"dynasty":18,"author":37,"museum":20,"description":38,"tags":39,"thumbUrl":48,"material":27,"size":28,"collection":29,"collections":49,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":51},225809,"self-portrait-1889-fan-gao-225809","Self-Portrait 1889","梵高","文森特·威廉·梵高（Vincent Willem van Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[24,40,41,42,25,7,43,44,45,46,47],"后印象派","厚涂","笔触强烈","胡须","头发","服装","蓝绿色调","面部表情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02deb123afc97b375649b1929f0450ed.jpg",[29],26,"BDBDBD",{"id":53,"slug":54,"title":55,"dynasty":56,"author":57,"museum":20,"description":58,"tags":59,"thumbUrl":68,"material":27,"size":28,"collection":69,"collections":70,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":51},288438,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-kang-xi-shi-si-zi-yin-ti-yi-ming-288438","历代帝王贵妃大臣朝服像(康熙十四子胤禵)","清","佚名","此作为写实工笔肖像，用笔精细入微。画师以淡墨晕染面部，将人物皮肤的松弛褶皱与霜色须发刻画得丝丝分明，沉稳威严的神态呼之欲出，尽显中年男子的沉凝气度。石青色常服线条劲挺，晕染出织物的厚重质感，暖绒官帽点缀出端庄仪范。蓝底红云坐褥设色浓艳华贵，与素净背景形成冷暖对比，衬得人物沉静内敛。上方题诗与画像呼应，暗合人物端方仁厚的风骨。整作形神兼备，既有宫廷肖像画的严谨工整，又将人物气度与仪容完美融合，是清代肖像画的上乘之作。",[60,61,62,25,63,64,65,66,67,7],"高清","国画","设色","工笔","立轴","肖像画","朝服","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a502daf27004585523e0ca50abe0f5c.jpg","",[],6,{"id":73,"slug":74,"title":75,"dynasty":18,"author":19,"museum":20,"description":21,"tags":76,"thumbUrl":88,"material":27,"size":28,"collection":29,"collections":89,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":32},225675,"rembrandt-harmensz-van-rijn-085-lun-bo-lang-225675","Rembrandt Harmensz.van Rijn - 085",[23,24,25,7,77,26,78,79,80,81,82,83,84,85,86,87,65],"明暗对比","半身像","深色背景","织物质感","光影效果","写实主义","巴洛克风格","手部细节","服饰纹理","暗色调","光影塑造","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42871374ec6ea472dad06d5921d1b9aa.jpg",[29],{"id":91,"slug":92,"title":93,"dynasty":18,"author":94,"museum":20,"description":95,"tags":96,"thumbUrl":99,"material":27,"size":28,"collection":69,"collections":100,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":51},232529,"he-er-bai-yin-188-he-er-bai-yin-232529","荷尔拜因188","荷尔拜因","小汉斯·荷尔拜因（约1497年-1543年11月29日以前）是德国画家，最擅长油画和版画，是欧洲北方文艺复兴时代的艺术家。其代表作有：木版画《死神之舞》。\n荷尔拜因在创作一幅肖像画以前，经常用铅笔描绘衣物、装饰品等细节，有时也用钢笔或垩笔，然后在纸上沿轮廓扎上小孔，铺在画布上，用炭粉将其转移到画布上。在晚年也使用复写纸。他的画作对细节描绘非常详细、真实，甚至于仪器上的刻度、信笺上的文字、桌布上的花纹都描绘的一丝不苟，但整体风格仍然非常统一，人文主义风格非常明显，俄罗斯作家陀斯妥耶夫斯基曾经评价他的作品《墓中的基督》：“可以把许多人的信仰夺去。” 他曾经从同为英国王室画家的弗拉芒画家卢卡斯·霍亨布特那里学习画微型画，卢卡斯曾为他画了一幅微型画像，他自己从没有画过自画像。",[23,97,62,25,7,98,26],"素描","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe798df22cfa22c0a95dda6f1ce05716a.jpg",[],2,{"id":103,"slug":104,"title":105,"dynasty":18,"author":94,"museum":20,"description":95,"tags":106,"thumbUrl":109,"material":27,"size":28,"collection":69,"collections":110,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":51},232490,"he-er-bai-yin-149-he-er-bai-yin-232490","荷尔拜因149",[26,97,107,108,25,7,98,78],"线条","明暗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeaba9ad6ec4768be56c08b7f580b42c.jpg",[],{"id":112,"slug":113,"title":114,"dynasty":18,"author":94,"museum":20,"description":95,"tags":115,"thumbUrl":120,"material":27,"size":28,"collection":69,"collections":121,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":51},232488,"he-er-bai-yin-147-he-er-bai-yin-232488","荷尔拜因147",[97,26,25,7,116,117,118,119,43],"线描","阴影","衣物","帽子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F158c948ba72654e378e5173c3ea68f5c.jpg",[],{"id":123,"slug":124,"title":125,"dynasty":18,"author":57,"museum":20,"description":126,"tags":127,"thumbUrl":128,"material":27,"size":28,"collection":69,"collections":129,"showCount":130,"zanCount":11,"manualWeight":11,"mainColor":51},289167,"goya-self-portrait-yi-ming-289167","Goya--Self-Portrait","这幅炭笔素描以极简笔触锚定人物精神内核。蓬松卷发以浓郁晕染交叠出蓬松质感，明暗交错间带着未经修饰的生动。\n\n面部刻画精准克制，眉峰微蹙，沉郁锐利的眼带着审视意味，颧骨与下颌的明暗块面，勾勒出饱经世事的沧桑轮廓，紧抿的唇线封存着深沉情绪。衣袍仅以浅淡排线轻描，以虚实对比将焦点紧锁于面部，粗粝炭笔肌理与柔和晕染交织，把艺术家的孤傲与敏锐凝在纸面，无冗余细节，却让灵魂的重量跃然纸上。",[97,25,7,65,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0005e5638f0877978e21e5de3a65a68e.jpg",[],1,{"id":132,"slug":133,"title":134,"dynasty":18,"author":57,"museum":20,"description":135,"tags":136,"thumbUrl":140,"material":27,"size":28,"collection":69,"collections":141,"showCount":130,"zanCount":11,"manualWeight":11,"mainColor":142},289135,"martin-schongauer-bust-of-a-man-in-a-hat-gazing-upward-yi-ming-289135","Martin Schongauer--Bust of a Man in a Hat Gazing Upward","这幅素描以细腻排线铺陈层次，宽檐高帽用规整密集的线条，将织物厚重质感尽显，侧边的装饰更添几分异域意趣。画家精准勾勒出老者松弛的皮肉、虬结的纹路，上抬的眉眼间带着凝神远眺的怅惘，每一道褶皱都凝缩着岁月洗练的沧桑。\n\n衣领处的绒毛以短促细碎的线条晕染，和帽身的规整排线形成鲜明对比，让画面层次愈发饱满。明暗线条穿插间，将人物的体积感塑造得立体生动，老者沉静肃穆的神态被牢牢定格，写实笔触里藏着克制的温柔，将沉郁的思绪与时光的痕迹尽数藏于笔锋之中。",[137,97,116,7,138,139,98],"人物画","戴帽","仰视","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aed114c2516be64a72baa0ea762a27e.jpg",[],"795548",{"id":144,"slug":145,"title":146,"dynasty":18,"author":57,"museum":20,"description":147,"tags":148,"thumbUrl":150,"material":27,"size":28,"collection":69,"collections":151,"showCount":130,"zanCount":11,"manualWeight":11,"mainColor":51},289087,"jean-jacques-de-boissieu-self-portrait-yi-ming-289087","Jean Jacques de Boissieu--Self-Portrait","这帧肖像以红粉笔铺陈，笔触兼具松弛与细腻。发丝卷曲蓬松，根缕层次清晰，柔化了面部的硬朗轮廓。画家精准捕捉自身神态，眉眼沉静锐利，带着审视自我的内敛沉稳，面部光影晕染柔和自然，将中年面容的肌理感真实呈现。领口领结褶皱刻画入微，线条凝练又不失生动。画面留白松弛透气，带着古典肖像的严谨写实，又暗藏速写般的灵动鲜活，将创作者沉静自持的文人气质尽显无余，氤氲着古典肖像特有的优雅克制。",[97,65,137,7,149],"写实技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76bc135ccdf10f2bcb3a9f6eddc0cb86.jpg",[],{"id":153,"slug":154,"title":155,"dynasty":18,"author":57,"museum":20,"description":156,"tags":157,"thumbUrl":159,"material":27,"size":28,"collection":69,"collections":160,"showCount":130,"zanCount":11,"manualWeight":11,"mainColor":161},289046,"leonardo-da-vinci-head-of-a-man-in-profile-facing-to-the-left-yi-ming-289046","Leonardo da Vinci--Head of a Man in Profile Facing to the Left","这是一幅充满张力的侧面头像速写，用交叉排线铺陈出沉实的体积感。螺旋状的灵动笔触将卷发蓬松蓬松的绒感鲜活呈现，顺着面部骨骼起伏的调子，利落刻画出硬朗的眉骨、棱角分明的下颌，凝沉的神情藏在深浅错落的阴影里，带着未说出口的沉郁故事。\n\n残损的画纸晕开了时间的痕迹，每一道线条都带着即兴的生动，没有刻意修饰的匠气，只用纯粹的素描语言，将观察瞬间的神态牢牢定格。粗粝又细腻的笔触感，让这个男性形象既有世俗的厚重粗莽，又裹挟着古典式的威严，仿佛是从旧时光里拓印而出的侧影，静静诉说着速写独有的鲜活力量。",[97,25,7,158,26,65],"侧面人像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13b1521fe4d3ef59fffa3c317bd8a964.jpg",[],"F48FB1",{"id":163,"slug":164,"title":165,"dynasty":18,"author":57,"museum":20,"description":166,"tags":167,"thumbUrl":170,"material":27,"size":28,"collection":69,"collections":171,"showCount":130,"zanCount":11,"manualWeight":11,"mainColor":51},289045,"leonardo-da-vinci-portrait-of-leonardo-da-vinci-yi-ming-289045","Leonardo da Vinci--Portrait of Leonardo da Vinci","这帧蚀刻肖像以明暗线条铺陈层次，精准勾勒出人物标志性的蓬松长髯，发丝虬曲卷曲，在细腻排线中晕开柔和光影，衬出面容的沉静深邃。宽檐软帽压低，眉眼间凝敛着沉思神色，暗合巨匠内敛深沉的气质。粗粝的毛皮衣领与柔润须发形成质感对比，刻绘层次分明，让肖像兼具写实质感与古典版画的肃穆庄重。整体刻画克制而传神，寥寥刀笔间，将这位博学者的儒雅睿智与从容风骨尽显纸面，还原出巨匠沉静深邃的精神气韵。",[65,168,7,169],"版画","长须老者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4379060da9b93284f7a6fe914b7afeb1.jpg",[],{"id":173,"slug":174,"title":175,"dynasty":18,"author":57,"museum":20,"description":176,"tags":177,"thumbUrl":181,"material":27,"size":28,"collection":69,"collections":182,"showCount":130,"zanCount":11,"manualWeight":11,"mainColor":51},288796,"pier-leone-ghezzi-luigi-vanvitelli-yi-ming-288796","Pier Leone Ghezzi--Luigi Vanvitelli","这是一幅蚀刻铜版肖像，以利落细腻的棕调线条，定格了侧身伫立的绅士身影。宽大衣袍的垂坠褶皱被刻画得极具质感，精准衬出人物沉稳雍容的仪态，三角假发与配剑细节，还原了彼时精英阶层的着装风貌，将建筑师的身份气度融于笔端。\n\n画面下方的手写小字，为肖像补上人文注脚，让作品跳出单纯的形象复刻，兼具纪实温度。整体画风克制雅致，用极简色调勾勒写实造型，既有古典肖像的庄重感，亦带着版画特有的细腻肌理美感，是一件兼具身份纪实性与古典美学意趣的小品。",[137,178,116,7,168,179,180],"白描","古代衣帽","佩剑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e61efb501119da59970a32be3a60eab.jpg",[],{"id":184,"slug":185,"title":186,"dynasty":18,"author":94,"museum":20,"description":95,"tags":187,"thumbUrl":199,"material":27,"size":28,"collection":69,"collections":200,"showCount":130,"zanCount":11,"manualWeight":11,"mainColor":142},232438,"he-er-bai-yin-97-he-er-bai-yin-232438","荷尔拜因97",[24,26,25,62,7,188,189,190,191,192,193,194,195,196,197,198],"服饰","金饰","皮毛","权杖","织物纹理","精细刻画","珠宝","红色织物","白色毛领","金属装饰","手持器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf1e5860cfea683e5754dc3204b7abb2.jpg",[],{"id":202,"slug":203,"title":204,"dynasty":18,"author":94,"museum":20,"description":95,"tags":205,"thumbUrl":207,"material":27,"size":28,"collection":69,"collections":208,"showCount":130,"zanCount":11,"manualWeight":11,"mainColor":51},232411,"he-er-bai-yin-70-he-er-bai-yin-232411","荷尔拜因70",[25,7,98,97,178,62,206],"淡彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57d91574e955c806874315332388d07b.jpg",[],{"id":210,"slug":211,"title":212,"dynasty":18,"author":213,"museum":20,"description":214,"tags":215,"thumbUrl":219,"material":27,"size":28,"collection":69,"collections":220,"showCount":130,"zanCount":11,"manualWeight":11,"mainColor":32},232176,"de-jia-85-de-jia-232176","德加85","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。",[24,26,62,25,7,118,216,217,65,218,137],"绿色上衣","白色领口","笔触","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3699bb0acecbbd54fbb9a211659a915.jpg",[],{"id":222,"slug":223,"title":224,"dynasty":18,"author":225,"museum":20,"description":226,"tags":227,"thumbUrl":230,"material":27,"size":28,"collection":69,"collections":231,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},231330,"su-miao-584-xi-fang-231330","素描584","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。",[97,26,25,7,228,229],"头像","明暗表现","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd63fd9de798a751a22dd7e9256e96b3c.jpg",[],{"id":233,"slug":234,"title":235,"dynasty":18,"author":225,"museum":20,"description":226,"tags":236,"thumbUrl":240,"material":27,"size":28,"collection":69,"collections":241,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":142},231298,"su-miao-552-xi-fang-231298","素描552",[97,26,25,7,237,238,65,239],"炭笔","黑白","光影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ddc37a9a84a9cd0f49f283b95dc8a59.jpg",[],{"id":243,"slug":244,"title":245,"dynasty":18,"author":225,"museum":20,"description":226,"tags":246,"thumbUrl":247,"material":27,"size":28,"collection":69,"collections":248,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":32},231192,"su-miao-446-xi-fang-231192","素描446",[97,26,25,7,238,239,237],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe140b5b947d593af90b9bc16eb11fa14.jpg",[],{"id":250,"slug":251,"title":252,"dynasty":18,"author":225,"museum":20,"description":226,"tags":253,"thumbUrl":256,"material":27,"size":28,"collection":69,"collections":257,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},231152,"su-miao-406-xi-fang-231152","素描406",[97,7,254,255],"单色画","画笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49cd2ade0dbb504cb248abaf1ffad48b.jpg",[],{"id":259,"slug":260,"title":261,"dynasty":18,"author":225,"museum":20,"description":226,"tags":262,"thumbUrl":266,"material":27,"size":28,"collection":69,"collections":267,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},231125,"su-miao-379-xi-fang-231125","素描379",[97,26,25,7,229,263,264,265],"线条勾勒","写实风格","人物肖像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3962494570610286a4e846cd2bc8c845.jpg",[],{"id":269,"slug":270,"title":271,"dynasty":18,"author":225,"museum":20,"description":226,"tags":272,"thumbUrl":274,"material":27,"size":28,"collection":69,"collections":275,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},231097,"su-miao-351-xi-fang-231097","素描351",[97,26,25,7,65,273],"肖像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b258acf9231e9d8ef4a9838a5706ee6.jpg",[],1777535719385]