[{"data":1,"prerenderedAt":123},["ShallowReactive",2],{"subject-ren-wu-xing-xiang":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},5372,"ren-wu-xing-xiang","人物形象","人物形象画高清赏析","精选中国历代人物形象题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa85e8b7a9cdaee52ab3bffd6f3d309d6.jpg",0,5,[14,41,71,92,111],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":35,"size":36,"collection":37,"collections":38,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":40},226173,"ku-qian-shi-xi-bi-yi-ming-226173","窟前室西壁","唐","佚名","敦煌","莫高窟，俗称千佛洞，坐落在河西走廊西端的敦煌。它始建于前秦宣昭帝苻坚时期，后历经北朝、隋朝、唐朝、五代十国、西夏、元朝等历代的兴建，形成巨大的规模，有洞窟735个，壁画4.5万平方米、泥质彩塑2415尊，是世界上现存规模最大、内容最丰富的佛教艺术地。\n1961年，莫高窟被中华人民共和国国务院公布为第一批全国重点文物保护单位之一。1987年，莫高窟被列为世界文化遗产。\n莫高窟与河南洛阳龙门石窟、山西大同云冈石窟并称中国三大石窟，后加麦积山石窟称四大石窟。 2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[23,24,25,26,27,28,29,30,31,7,32,33,34],"壁画","唐代","宗教","设色","人物","线描","重彩","唐代风格","宗教题材","壁画技法","色彩设色","线描勾勒","未知","Xcm*Xcm","",[],41,"795548",{"id":42,"slug":43,"title":44,"dynasty":45,"author":46,"museum":47,"description":48,"tags":49,"thumbUrl":65,"material":66,"size":67,"collection":37,"collections":68,"showCount":69,"zanCount":11,"manualWeight":11,"mainColor":70},236484,"shan-shui-ren-wu-ce-guo-fen-ya-236484","山水人物册","明","郭汾涯","北京故宫博物院","郭汾涯（约公元15世纪），明初时人，生卒年不详。能诗，善画山水、人物，宗唐、宋人画法，取马远、夏圭笔意。关于其生平，画史记载甚少，现只能从仅有的几幅传世作品，以及明初时的画风嬗变，来了解这位画家。\n此套《山水人物册》，每页自题七言诗一首，落款“汾涯”。册页中人物形神刻画生动，线条挺劲酣畅；山水以斧劈皴随意勾写，笔力遒劲；画树出枝峭拔、点叶爽辣，得南宋山水画遗风。\n明代初期画院复兴，提倡以古硬、雄厚、峻峭的风格来振作笔墨精神。在元朝被压制了多年的李、刘、马、夏画风，此时又开始活跃起来。宫廷内外，宗法者甚多。画风变南宋苍劲荒率为浑壮雄厚。画家们将贵族艺术引入民间，注重功力又不死守法度，变精严为放逸，顺应通俗艺术发展的时代潮流。这股势力影响范围广大，成为明代初期画坛实力最雄厚的画派——浙派。\n从这套册页中看，郭汾涯也是身处这股巨浪之中，但从画面中依然能体会到画家自觉与主动的一面，笔墨并非一味地追求粗放与草率，而是劲拔精简，笔下流露出画家掩饰不住的率真天性。画面还成功地将自然环境和人物活动富有情趣地结合在一起，给观者以强烈的艺术感染力。",[50,51,52,53,27,54,55,56,57,58,7,59,60,61,62,63,64],"国画","水墨","册","山水","蓑笠","竹","渔乐","水墨技法","山水景物","竹枝","渔翁形象","山石","水墨渲染","写意风格","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8699a4db2300ad1453fbef0d16cbce1b.jpg","纸本","纵38.8厘米，横60.4厘米",[],4,"BDBDBD",{"id":72,"slug":73,"title":74,"dynasty":75,"author":76,"museum":77,"description":78,"tags":79,"thumbUrl":89,"material":35,"size":36,"collection":37,"collections":90,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":70},232497,"he-er-bai-yin-156-he-er-bai-yin-232497","荷尔拜因156","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。",[80,81,28,82,83,84,7,85,86,87,88],"素描","淡彩","建筑装饰","柱子","兽首","雕刻纹样","器物","涡卷纹","编织纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8596b87575395e30d48d10325f044401.jpg",[],2,{"id":93,"slug":94,"title":95,"dynasty":96,"author":19,"museum":77,"description":97,"tags":98,"thumbUrl":107,"material":35,"size":36,"collection":37,"collections":108,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":110},255242,"nv-ren-chang-fang-zhuan-yi-ming-255242","女人长方砖","宋","发髻温婉轻挽，宽袖长衣垂落如流云，浅浮雕将少女柔婉身姿凝于青砖之上。她双手捧举高灯，灯顶俏立小童，把宋时寻常宅院的融融暖意刻入石间。\n\n衣褶流转自然，未作浓艳雕饰，只以简洁刀工勾勒出日常的脉脉温情，褪去了造像的疏离感，更似截取了千年前的浮生一隅。质朴灰砖晕开沉静底色，让这份温婉愈发厚重悠长，将宋人的清雅审美与生活意趣凝为永恒，顺着砖面肌理，把旧时暖意递到今人的眼前。",[99,100,27,101,102,103,104,7,105,106],"雕刻","浮雕","美人","砖","宋代","立体","衣纹","砖雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeed80b61b00deb71a1fba16e739f27a.jpg",[],1,"37474F",{"id":112,"slug":113,"title":114,"dynasty":115,"author":19,"museum":77,"description":116,"tags":117,"thumbUrl":121,"material":35,"size":36,"collection":37,"collections":122,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":110},281580,"bai-se-nv-mian-ju-yi-ming-281580","白色女面具","清","古代，傩祭，傩戏的流行面很广，长江流域、黄河流域、嫩江流域都有流行。这一地区丰富多彩的傩戏群大致可以归纳为三类，即地戏、傩堂戏、变人戏。",[118,119,99,120,7],"面具","木质","女性","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18c39b5b46e0d27b8f8e4fb6041c7af0.jpg",[],1777535752675]