[{"data":1,"prerenderedAt":157},["ShallowReactive",2],{"subject-shi-bei":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},2705,"shi-bei","石碑","石碑画高清赏析","精选中国历代石碑题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff53a31c5f27472144eda19f8672ee7e1.jpg",0,6,[14,54,69,88,107,132],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":49,"material":50,"size":50,"collection":50,"collections":51,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":53},223489,"ming-shi-san-ling-tu-yi-ming-223489","明十三陵图","清","佚名","藏地不详","《明十三陵手绘图(珍藏版)》中的明十三陵位于北京市昌平区，是明朝13位皇帝的陵墓群，并葬有23个皇后和1个贵妃。它是中国现存规模最大、帝后陵寝最多的皇陵建筑群。明十三陵于永乐七年（1409年）开始营建，至崇祯十七年（1644年）明朝灭亡建成。陵区三面环山，中间是盆地，南接北京平原，入口左右有两座山——龙山和卧虎山。十三座陵墓分布在东、北、西三面，各以一座山峰为背景，规模大小不一，形制却基本相同，主要建筑依次为陵门、棱恩门、裬恩殿、棂星门、石五供、明楼和宝城。宝城下面为地下宫殿。2003年，联合国教科文组织世界遗产委员会将明十三陵和南京明孝陵列入《世界遗产名录》，作为“明、清皇家陵寝”的附属项目。",[23,24,25,26,27,28,29,30,31,32,7,33,34,35,36,37,38,39,40,41,42,43,44,45,46,47,48],"高清","国画","长卷","工笔","设色","界画","山水","楼阁","陵墓","树木","牌坊","宫殿建筑","山石","道路","拱桥","松柏","亭台","神道","石象生","门楼","山峦","植被","古建筑群","石牌坊","殿堂","碑亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F123aa13e4f3c2f815d482dd3e89104ba.jpg","",[],8,"BDBDBD",{"id":55,"slug":56,"title":57,"dynasty":18,"author":58,"museum":20,"description":59,"tags":60,"thumbUrl":10,"material":66,"size":50,"collection":50,"collections":67,"showCount":68,"zanCount":11,"manualWeight":11,"mainColor":53},215079,"tui-bei-tu-ce-30-jiao-bing-zhen-215079","推背图册-30","焦秉贞","焦秉贞是中国清朝时期著名的画家，他被认为是中国水墨画史上最伟大的画家之一。其中最著名的作品是他的推背图册，其中包含了十幅推背图。推背图是一种特殊的水墨画，它们通常是用单一的墨色在纸上描绘的，并且使用了特殊的技巧来创造出立体感。焦秉贞的推背图册在当时被认为是一件杰出的艺术品，并且至今仍然备受赞赏。",[23,24,61,62,63,26,27,64,65,7],"名画","书画","册","人物","美人","纸本,设色",[],3,{"id":70,"slug":71,"title":72,"dynasty":18,"author":73,"museum":74,"description":75,"tags":76,"thumbUrl":83,"material":84,"size":85,"collection":50,"collections":86,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":53},233926,"dai-lu-fang-bei-tu-ce-huang-yi-233926","岱麓访碑图册","黄易","北京故宫博物院","图名里的“岱”即指位于山东省中部的泰山。《岱麓访碑图》册共24开，以左文右图的形式描绘黄易在清嘉庆二年（1797年）由济宁到泰山访碑的种种情形。据作者本人题跋可知，其中一部分册页记录泰山的碑刻情况，如“岱顶”、“开元磨崖碑”、“石经谷”、“王母池”等，另一部分则是记录作者在往返途中所见的碑刻情况，如“大明湖”、“孟子庙”、“孔林”、“孔子庙”、“大汶口”等。除此之外，作者还在题跋中介绍了碑刻的具体状况，为后人研究提供了资料。\n黄易一生致力于金石碑版的研究，曾经四处寻访存世的残碣断碑，并较为系统地加以整理与著录，对我国传统金石学的发展起到了积极的作用。与众不同的是，他亲自用画笔将每次寻访古碑的过程都完整地记录下来，绘制成许多作品，被当时的艺术家们广为称颂。《岱麓访碑图》册便是其中的一套作品。\n纵观整套册页，作者采用了水墨与浅绛两种中国画表现技法，但呈现出的艺术风格却是统一的。具体而言，他注重线条的断续与转折，多用粗笔短线描写碑刻所在地周围的景色，使得画面景致简明，意境幽僻清寂，有平淡天真的艺术趣味。",[24,62,63,27,77,78,79,32,80,81,82,64,7],"水墨","书法","行书","老树","树林","房屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F973d04a7f30cf9ab4261c52297ab6b40.jpg","纸本，设色","纵17.4厘米，横50.8厘米",[],2,{"id":89,"slug":90,"title":91,"dynasty":92,"author":19,"museum":20,"description":93,"tags":94,"thumbUrl":102,"material":103,"size":104,"collection":50,"collections":105,"showCount":106,"zanCount":11,"manualWeight":11,"mainColor":53},289212,"giuseppe-maria-mitelli-allegorical-figures-of-experience-and-time-yi-ming-289212","Giuseppe Maria Mitelli--Allegorical Figures of Experience and Time","不详","以红粉笔铺就画面，线条苍劲洗练，以疏密排线勾勒两位寓言化身。左侧老者为经验，裹帽持卷握权杖，神情沉稳内敛，尽显饱经世事的沉静；右侧是时间化身，须发蓬乱肩扛镰刀，指尖轻抬仿佛正在对谈。\n\n二人围立碑铭两侧，古朴铭文规整排布，整体画面肃穆庄重，带着巴洛克式的厚重叙事感。创作者以精准线条塑造体积与光影，将抽象哲思具象化，定格经验与岁月的对话，沉郁的红棕色调烘托出古典思辨的厚重氛围，尽显寓意素描的沉敛典雅。",[95,96,97,98,7,99,100,101],"素描","人物画","寓言题材","老者","线描","西洋绘画","镰刀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6287b012800a444a9d14144689dd1cf9.jpg","未知","Xcm*Xcm",[],1,{"id":108,"slug":109,"title":110,"dynasty":92,"author":111,"museum":20,"description":112,"tags":113,"thumbUrl":130,"material":103,"size":104,"collection":50,"collections":131,"showCount":106,"zanCount":11,"manualWeight":11,"mainColor":53},232429,"he-er-bai-yin-88-he-er-bai-yin-232429","荷尔拜因88","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。",[95,114,115,116,117,118,119,120,121,7,122,123,124,125,126,127,128,129],"写实风格","线条勾勒","明暗对比","光影表现","细节刻画","拱门","柱子","半身像","植物","远景","浮雕装饰","人物头像","蛇形装饰","古典建筑元素","田园场景","古典雕塑元素","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb3f67a8ccdd5dbd060bc7d02499c16b.jpg",[],{"id":133,"slug":134,"title":135,"dynasty":92,"author":136,"museum":20,"description":137,"tags":138,"thumbUrl":154,"material":103,"size":104,"collection":50,"collections":155,"showCount":106,"zanCount":11,"manualWeight":11,"mainColor":156},232342,"a-er-ma-69-lao-lun-si-a-er-ma-ta-de-ma-232342","阿尔玛69","劳伦斯·阿尔玛-塔德玛","劳伦斯·阿尔玛-塔德玛（Lawrence Alma-Tadema, 1836年1月8日—1912年6月25日）是英国维多利亚时代的知名画家，他的作品以豪华描绘古代世界（中世纪前）而闻名。\n生于荷兰的德龙赖普（Dronrijp），他的父亲彼得·塔德玛（Pieter Tadema）是一名公证人，在他4岁时便去世了。阿尔玛是他教父的名字，他的生母是他父亲的第二名妻子，家庭人口相当众多。家里原准备让他继承父业，但他表现出了对艺术的强烈偏好，因此将他送至安特卫普，在1852年进入了那里的艺术学院，并在亨德利克·利思（Hendrik Leys）的画室学习。",[139,27,140,64,65,141,142,143,7,32,144,145,146,147,148,149,150,151,152,153],"油画","新古典主义","男性人物","古希腊服饰","大理石建筑","海洋","天空","海岸线","远山","弦乐器","花环","石桌","石凳","木质椅子","石质地面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2dc9763ef4974b1212acdaae4eab6e6.jpg",[],"795548",1777535748127]