[{"data":1,"prerenderedAt":97},["ShallowReactive",2],{"subject-nv-zi":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},1921,"nv-zi","女子","女子画高清赏析","精选中国历代女子题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe18f58f1bd354f121fc9ebe7b55b6c3b.jpg",0,4,[14,40,54,81],{"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":11,"manualWeight":11,"mainColor":39},289067,"julien-mue-re-drawing-room-of-the-plas-spa-yi-ming-289067","Julien Muère--Drawing Room of the Plas. Spa","不详","佚名","藏地不详","这幅水彩画晕开柔雅色调，将午后的松弛闲逸定格成永恒。暖阳穿窗而入，给暖棕木纹镀上薄金，携着窗外山岚绿意漫进房间。\n\n身着曳地白纱的女子斜倚竖琴旁，似刚停驻拨弦，侧脸笼在纱帘漏下的光影里，漫着倦怠温柔。房间陈设处处流露旧调雅致：壁炉台的铜饰雕塑凝着复古意趣，墙沿挂画晕着岁月质感，丝绒窗帘垂着柔滑褶皱，雕花座椅绣着釉蓝纹样，每一处细节都铺陈出旧日贵族的精致日常。\n\n室外山岚与室内静谧温柔衔接，让这方小天地既有烟火暖意，又带着清隽诗意，把慵懒松弛的午后氛围描摹得淋漓尽致。",[23,24,25,26,7,27,28,29,30,31,32],"水彩画","西洋画","室内场景","起居室","竖琴","西洋家具","窗景","静谧","织物","挂画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea84235e6f60b98d8ac29929493de518.jpg","未知","Xcm*Xcm","",[],2,"BDBDBD",{"id":41,"slug":42,"title":43,"dynasty":18,"author":19,"museum":20,"description":44,"tags":45,"thumbUrl":52,"material":34,"size":35,"collection":36,"collections":53,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},288778,"rembrandt-woman-reading-yi-ming-288778","Rembrandt--Woman Reading","这幅速写以松弛却精准的笔触，定格了女子凝神阅读的瞬间。单色晕染铺陈出柔和光影，头巾厚重的褶皱衬出面部低垂的专注轮廓，指节轻按书页，仿佛能感知指尖贴合纸面的力道，伏案的姿态松弛沉静。\n\n笔墨虚实拿捏精妙，虚化的背景将视线牢牢锚定在女子与书页之上，留白与晕染交织，将沉浸于文字的静谧氛围缓缓晕开。没有繁复修饰，却将阅读时的安宁心绪传递得淋漓尽致，粗粝的笔触感带着即兴的鲜活，把日常一隅的松弛瞬间永久留存，尽显速写捕捉气韵的动人魅力。",[46,47,7,48,49,30,50,51],"速写","人物","阅读","单色晕染","松弛","日常场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9b1531bda3d651d458255e8e31a763.jpg",[],{"id":55,"slug":56,"title":57,"dynasty":18,"author":58,"museum":20,"description":59,"tags":60,"thumbUrl":78,"material":34,"size":35,"collection":36,"collections":79,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":80},232532,"mi-lai-si-76-yue-han-ai-fu-li-te-mi-lai-si-232532","米莱斯76","约翰·埃弗里特米莱斯","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。",[61,62,63,47,25,64,7,65,66,67,68,69,70,71,72,73,74,75,76,77,31],"油画","写实","设色","老人","椅子","桌子","书籍","花卉","窗户","旗帜","篮子","画框","玻璃杯","柠檬","木质地板","窗帘","靠垫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35965a9e92a1fbfaa6a3fa09fb6fb5fc.jpg",[],"795548",{"id":82,"slug":83,"title":84,"dynasty":85,"author":19,"museum":20,"description":86,"tags":87,"thumbUrl":94,"material":34,"size":35,"collection":36,"collections":95,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":96},255985,"qing-you-ci-bao-zi-nv-zuo-xiang-yi-ming-255985","青釉瓷抱子女坐像","宋","中国瓷器著名传统颜色釉。亦称“青瓷釉”。古代南方青釉，是瓷器最早的颜色釉。\n所谓“青釉”，颜色并不是纯粹的青，有：月白、天青、粉青、梅子青、豆青、豆绿、翠青等，但多少总能泛出一点青绿色。同时，古人往往将青、绿、蓝三种颜色，一统称为“青色”，例如许之衡《饮流斋说瓷》称：“古瓷尚青，凡绿也、蓝也，皆以青括之。”刘子芬《竹园陶说》中也说：“青色一种，常与蓝色相混。雨过天晴，钧窑、元窑之青，皆近蓝色。”“惟千峰翠色、梅子青、豆青、乃为纯青耳。天色本蓝，有时为青。”\n青釉是我国使用最早，延用时间最久，分布最广的一个釉种，它的发明是与我国瓷土矿大都含有一定量的铁矿的现象相一致的。青色也符合我国人民的传统审美情趣。青色与碧玉相若，认为稳重而高雅。浙江、江西、河南等地已出土了不少早至商周时期的原始青釉瓷。六朝至唐宋以越窑为代表的南方青釉瓷；宋到元明的龙泉窑系青瓷；耀州窑、临汝窑、钧窑等宋代北方青瓷；以及明、清以来的景德镇青釉瓷，是青釉发展的几个重要阶段，所谓的宋代“汝、定、官、哥、钧”五大名窑，除定窑外均属青釉瓷。表釉的呈色主要决定于着色氧化物的含铁量与烧成气氛，青釉含铁量一般在1—3%左右，过高会变成黑釉，低了就能烧成白瓷。在还原气氛中烧成。釉色青绿；在氧化气氛中烧成，釉色泛黄。因而陶瓷界所谓的青釉是相对而言的，正如许之衡《饮流斋说瓷》中所说：“古瓷尚青，凡绿也，蓝也，皆以青括之。”",[88,89,90,47,7,91,92,93],"宋代","陶瓷","青釉","抱子","坐像","瓷塑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e0249856db54220a39b32e25a5b9c3b.jpg",[],"37474F",1777535763129]