[{"data":1,"prerenderedAt":107},["ShallowReactive",2],{"subject-pen-quan":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},4592,"pen-quan","喷泉","喷泉画高清赏析","精选中国历代喷泉题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a55165906873ebf4595a496de453f60.jpg",0,5,[14,43,68,80,91],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":37,"material":38,"size":38,"collection":38,"collections":39,"showCount":40,"zanCount":41,"manualWeight":11,"mainColor":42},230206,"yuan-ming-yuan-tong-ban-hua-lang-shi-ning-230206","圆明园铜版画","清","郎世宁","藏地不详","《圆明园铜版画》是清代郎世宁于1724年创作的纸本画，共2开。\n本幅无款印。\n清雍正二年（1724年）， 皇帝决定扩建康熙年间即已开始兴建的 。\n在雍正、乾隆两朝持续不断的大规模扩建中，通晓西洋建筑学的 曾与法国传教士 、 等一起参与园内著名的“西洋楼”的设计和工程督造，并有机会在较长的时间里住在这座东方名园内，为装饰殿堂画了多幅作品，其中既有欧洲风格的油画，也有以欧洲 在平面上表现深远效果的“线法画”。\n虽然郎世宁在圆明园的这些创作由于兵燹的劫难早已湮没无存，但从此册铜版组画中，我们仍然可以看到郎世宁等西洋宫廷画家在宫廷建筑绘画上的高超造诣与成就。\n这组完全西式的铜版组画也成为清代宫廷建筑绘画全新技法的代表作。\n郎世宁（1688—1766年），意大利米兰人，原名朱塞佩·伽斯底里奥内（Giuseppe Castiglione），青年时期受到系统的绘画训练，后来加入了欧洲基督教下属的宗教组织耶稣会，并于1714年（清·康熙五十三年）以传教士的身份离开欧洲来到东方，次年抵达澳门，起汉名郎世宁，继而北上京师，随即于康熙末期进入宫廷供职，开始了他长达数十年的中国宫廷艺术家的生涯。\n郎世宁在清宫廷内为皇帝画了多幅表现当时重大事件的历史画，以及众多的人物肖像、走兽、花鸟画作品，还将欧洲的焦点透视画法介绍到中国，协助中国学者年希尧完成了叙述这一画法的著作《视学》，成为当时东西方文化交流的重要使者。\n1766年7月16日（清乾隆三十一年六月初十日）郎世宁在北京病逝，终年78岁。",[23,24,25,26,27,7,28,29,30,31,32,33,34,35,36],"铜版画","工笔","界画","中西合璧","楼阁","园林","树木","山石","水池","建筑","庭院","雕塑","栏杆","对称布局","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2f65b9eb8fabb63e8ae379edc225897.jpg","",[],84,3,"BDBDBD",{"id":44,"slug":45,"title":46,"dynasty":47,"author":48,"museum":20,"description":49,"tags":50,"thumbUrl":10,"material":64,"size":65,"collection":38,"collections":66,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":42},225448,"fu-shi-hui-206-yi-ming-225448","浮世绘206","不详","佚名","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[51,52,53,54,7,33,55,56,57,58,59,60,61,62,63],"浮世绘","木刻","设色","西式建筑","樱花树","人物","室内场景","西式服饰","军装","礼服","红色窗帘","地毯","帷幔","未知","Xcm*Xcm",[],2,{"id":69,"slug":70,"title":71,"dynasty":47,"author":48,"museum":20,"description":72,"tags":73,"thumbUrl":77,"material":64,"size":65,"collection":38,"collections":78,"showCount":79,"zanCount":11,"manualWeight":11,"mainColor":42},289032,"louis-gustave-taraval-design-for-a-neoclassical-building-yi-ming-289032","Louis Gustave Taraval--Design for a Neoclassical Building","整体遵循严整对称的古典构图，以神庙形制为基底，粗犷隅石立面勾勒建筑轮廓，中央柱廊复刻多立克柱式的庄重肃穆，壁龛与檐部浮雕延续古典叙事性装饰脉络。分层水景从壁龛、中央柱厅逐层铺展跌落，刚硬石材与柔缓水流形成视觉对冲，消解纪念性建筑的沉郁感。顶端的胜利女神雕塑收束立面视觉，水彩晕染的浅灰天际柔化建筑冷硬感，将礼制秩序与灵动水景精妙糅合，尽显新古典主义的秩序美学，是纪念性建筑与造景艺术融合的典范设计。",[25,74,75,76,7,34,53],"新古典主义","建筑设计","西洋建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3114e2cb293f258de761972a2fe46f48.jpg",[],1,{"id":81,"slug":82,"title":83,"dynasty":47,"author":48,"museum":20,"description":84,"tags":85,"thumbUrl":89,"material":64,"size":65,"collection":38,"collections":90,"showCount":79,"zanCount":11,"manualWeight":11,"mainColor":42},289017,"luigi-vanvitelli-manuscript-page-with-a-project-for-a-fountain-yi-ming-289017","Luigi Vanvitelli--Manuscript page with a Project for a Fountain","这张手稿以钢笔淡墨铺陈构思，线条松弛却精准勾勒出一座大型水景喷泉。环形主水池搭配层叠水台，台座错落排布着古典人像与装饰灯柱，斜倚的雕塑舒展自然，巴洛克式华丽呼之欲出。背景的建筑轮廓以淡墨晕染，朦胧间拉开空间纵深，潦草排线带着即兴构思的鲜活温度。草稿随性却藏着精巧考量，将造园美学与雕塑装饰相融，设计师推敲方案的灵动思绪跃然纸上，未完成的留白里，满是这件水景装置的宏伟浪漫构想，古典雅致的氛围感透过薄纸扑面而来。",[86,87,88,7,32,34,28],"素描","手绘","草图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60d7ed8884a784ed5fa42366a5cf6954.jpg",[],{"id":92,"slug":93,"title":94,"dynasty":47,"author":48,"museum":20,"description":95,"tags":96,"thumbUrl":105,"material":64,"size":65,"collection":38,"collections":106,"showCount":79,"zanCount":11,"manualWeight":11,"mainColor":42},288700,"workshop-of-gilles-marie-oppenord-study-for-a-garden-capriccio1-yi-ming-288700","Workshop of Gilles-Marie Oppenord--Study for a Garden Capriccio1","这件蚀刻版画以极尽华丽的巴洛克造园奇想为主题，凌厉细密的线条铺陈出层次饱满的园林水景装置。方柱上的拟人躯干像沉凝肃穆，坛瓮顶端环绕着嬉闹的小天使，柔化了石刻的冷硬。右侧水神女像持器倾注水流，狮身瑞兽伏护着纹章铭牌，奔涌的水线破开画面沉静，与左侧凭栏眺望的观景士人形成动静呼应。明暗排线塑出雕塑的厚重体积，繁复涡旋雕饰带着洛可可初兴的绮丽恣肆，将古典神话意趣与造园美学交融，仿佛能听见潺潺水声，尽显园林设计中的浪漫幻想与雕塑张力。",[97,98,99,28,7,100,34,101,102,103,104],"黑白","版画","线描","流水","神话人物","狮身兽","小天使","建筑装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62af449cc8ee2d1bd40a9c11edcfd86b.jpg",[],1777535751729]