[{"data":1,"prerenderedAt":102},["ShallowReactive",2],{"subject-qian-bi-hua":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},6684,"qian-bi-hua","铅笔画","铅笔画画高清赏析","精选中国历代铅笔画题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff65b25ef8085e7d59be3724e4ee9272e.jpg",0,6,[14,38,52,65,79,90],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":31,"material":32,"size":33,"collection":34,"collections":35,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},232382,"he-er-bai-yin-41-he-er-bai-yin-232382","荷尔拜因41","不详","荷尔拜因","藏地不详","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。",[23,24,25,26,27,7,28,29,30],"素描","肖像画","人物","写实","人文主义","男性","服饰","文书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc15827e320509f3d72ec83f44f06de46.jpg","未知","Xcm*Xcm","",[],3,"BDBDBD",{"id":39,"slug":40,"title":41,"dynasty":18,"author":42,"museum":20,"description":43,"tags":44,"thumbUrl":49,"material":32,"size":33,"collection":34,"collections":50,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":37},232540,"mi-lai-si-84-yue-han-ai-fu-li-te-mi-lai-si-232540","米莱斯84","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。",[45,23,25,46,47,7,48],"名画","马","骑士","西方绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a6befd7ce64c96234eac7fdcf3a6487.jpg",[],2,{"id":53,"slug":54,"title":55,"dynasty":18,"author":56,"museum":20,"description":57,"tags":58,"thumbUrl":62,"material":32,"size":33,"collection":34,"collections":63,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":37},288874,"giovanni-battista-tiepolo-illustration-for-a-book-two-scenes-of-coronation-yi-ming-288874","Giovanni Battista Tiepolo--Illustration for a Book Two Scenes of Coronation","佚名","乔凡尼·巴蒂斯塔·提埃坡罗，常被称为詹巴蒂斯塔（Giambattista），巴洛克及洛可可时期意大利著名画家，威尼斯画派最后的代表人物。\n提埃坡罗是著名的壁画家，属于早期的洛可可风格，他继承了巴洛克艺术的传统，开创了天顶画的开阔视野，他的天顶画透明，和边框有机的结合在一起，产生了水彩画的效果，他也是威尼斯共和国最后一位希腊神话画家。\n他的两个儿子继承他的风格，但没有他那么优秀和有创造性。",[23,7,59,25,60,61],"书籍插图","宗教场景","加冕仪式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc5a121154c298c777cb412daa09b664.jpg",[],1,{"id":66,"slug":67,"title":68,"dynasty":18,"author":56,"museum":20,"description":69,"tags":70,"thumbUrl":77,"material":32,"size":33,"collection":34,"collections":78,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":37},288713,"wenzel-jamnitzer-urania-yi-ming-288713","Wenzel Jamnitzer--Urania","这尊立身女神带着古典静穆的质感，硬朗的排线铺陈出衣褶垂坠厚重的肌理，贴合身形的布料暗显躯体柔润轮廓，兼具庄重与优雅。她头顶星环，掌中天球仪凝缩寰宇，指尖轻触星轨纹理，周身浸着沉静神性。\n\n地面卧着的大球与掌中小球形成鲜明尺度对照，暗喻天地宏观与个体执掌星象的反差，荒草与散置器物晕开旷野荒寂氛围，将形象锚定在鸿蒙天地间。明暗排线层次细腻，织物褶皱如缓流般带着韵律，把理性的宇宙意象融入典雅的古典造像，沉敛诉说着对宇宙秩序的凝望与掌控。",[23,7,71,72,73,74,75,76],"人物画","西洋画","神话人物","天文女神","天球仪","地球仪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3591a516fe95fe83b0d8d5c962c48f7.jpg",[],{"id":80,"slug":81,"title":82,"dynasty":18,"author":56,"museum":20,"description":83,"tags":84,"thumbUrl":88,"material":32,"size":33,"collection":34,"collections":89,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":37},288610,"john-sloan-of-human-bondage-chapter-87-yi-ming-288610","John Sloan--Of Human Bondage, Chapter 87","这幅铅笔速写以松弛随性的线条，定格了室内暗流涌动的片刻。立着的女子神态柔和舒展，椅背旁垂首偏倚的老者似正沉溺在私语中，背景的少年静立旁观，沉默烘托出隐秘拉扯的氛围。\n\n未加修饰的笔调留存下创作时的鲜活感，边角潦草的手书，将构思的思绪一同凝固在纸面。人物间的张力藏在简略勾勒的神态与动作里，仿佛将一段暧昧纠葛的人际关系定格，带着草稿独有的即兴温度，让观者得以触碰创作者捕捉情绪瞬间时的心境，将未完成的朦胧质感，揉进了这场缄默的场景中。",[23,71,7,85,86,87],"室内场景","手绘","人物群像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f24e495705c2b730edf8e5d3a1c468e.jpg",[],{"id":91,"slug":92,"title":93,"dynasty":18,"author":94,"museum":20,"description":95,"tags":96,"thumbUrl":10,"material":32,"size":33,"collection":34,"collections":101,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},231127,"su-miao-381-xi-fang-231127","素描381","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。",[23,26,25,97,98,99,100,7],"武士","刀剑","西方风格","肖像",[],1777535749163]