[{"data":1,"prerenderedAt":782},["ShallowReactive",2],{"subject-shi-bing":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},3006,"shi-bing","士兵","士兵画高清赏析","精选中国历代士兵题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce09a59ea5a18f1b27b2a0cfb5026979.jpg",0,69,[14,43,62,84,106,132,148,160,173,187,198,206,220,227,249,258,271,280,290,306,319,328,338,348,358,370,381,389,401,416,424,434,443,452,459,471,482,491,500,509,522,531,539,550,558,567,575,585,595,605,612,619,628,636,644,654,667,674,680,692,703,710,718,727,735,748,756,764,771],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":35,"material":36,"size":37,"collection":38,"collections":39,"showCount":40,"zanCount":41,"manualWeight":11,"mainColor":42},238590,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-ai-qi-meng-238590","平定两金川得胜图册","清","艾启蒙","德国国立柏林民俗博物馆","两金川即大小金川，位于今四川省西部，大金川是大渡河上流，小金川则是大渡河上流东面的一条支流，都为藏族聚居地。自元代开始，中央政府先后在两金川分设土司，令其各守疆界，相互牵制，借以捍卫边围。惟土司众多，彼此之间每因承袭土职或边界纠纷日寻干戈，仇杀不已。清初沿明旧制，颁授印信，大小金川接受清廷册封。土司们常以朝廷名号恃强掠夺，蚕食邻邦，不安住牧，声势日盛，边境不安，加之大小金川在地理位置上接近成都，远连卫藏，威胁到内地的安全，为求永靖边围，乾隆皇帝遂兴师进剿，乃有平定大小金川之役。\n《平定两金川得胜图》描绘了清乾隆十二年至四十一年（1747—1776年）清政府两次出兵平定四川大小金川叛乱的战绩。十六幅图分别为：收复小金川、攻克喇穆及日则丫口、攻克罗博瓦山碉、攻克宜喜达尔图山梁、攻克日旁一带、攻克康萨尔山梁、攻克木思工噶克丫口、攻克宜喜甲索等处碉卡、攻克石真噶贼碉、攻克葘则大海昆色尔山梁并拉枯喇嘛寺等处、攻克贼巢、攻克科布曲索隆古山梁等处碉寨、攻克噶喇依报捷、郊台迎劳将军阿桂凯旋、午门受俘、紫光阁凯宴成功诸将士。\n较之《平定准噶尔得胜图》，该组铜版战图在造型、透视、构图等方面受中国传统画法影响更深，整个画面多利用散点透视的方法，去掉了阴影和明暗对比，因而画面呈现出一种平面效果。树木、山石皆用线蚀法刻画，层次感和质感稍差。",[23,24,25,26,27,28,29,7,30,31,32,33,34],"铜版画","得胜图","画册","历史画","平定大小金川","山地","碉楼","战争场景","线蚀法","散点透视","山石","林木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1b6be4afc3a400f4ea003bfdf7d4806.jpg","","纵51cm，横88.5cm","山水画精选",[38],42,1,"BDBDBD",{"id":44,"slug":45,"title":46,"dynasty":47,"author":48,"museum":49,"description":50,"tags":51,"thumbUrl":56,"material":57,"size":58,"collection":59,"collections":60,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":61},225658,"rembrandt-harmensz-van-rijn-068-lun-bo-lang-225658","Rembrandt Harmensz.van Rijn - 068","不详","伦勃朗","藏地不详","伦勃朗·哈尔曼松·凡·莱因（Rembrandt Harmenszoon van Rijn，1606年7月15日～1669年10月4日）是欧洲17世纪最伟大的画家之一，也是荷兰历史上最伟大的画家。\n伦勃朗早年从师P.拉斯特曼，1625年在家乡开设画室。画作体裁广泛，擅长肖像画、风景画、风俗画、宗教画、历史画等领域。",[52,53,26,54,7,55],"名画","油画","人物","兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b414dcd4ca7fe8af3037124474e2d35.jpg","未知","Xcm*Xcm","油画精选",[59],"37474F",{"id":63,"slug":64,"title":65,"dynasty":47,"author":66,"museum":49,"description":67,"tags":68,"thumbUrl":80,"material":57,"size":58,"collection":36,"collections":81,"showCount":82,"zanCount":11,"manualWeight":11,"mainColor":83},231680,"fu-shi-hui-ping-feng-yi-ming-231680","浮世绘屏风","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。",[69,70,71,72,73,54,74,75,76,77,78,7,79,55],"高清","浮世绘","屏风","设色","工笔","楼阁","旗帜","山水","云纹","战场","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9b8fbc85ceb5ed9e8c405e27e3e9b00.jpg",[],18,"795548",{"id":85,"slug":86,"title":87,"dynasty":18,"author":88,"museum":49,"description":89,"tags":90,"thumbUrl":102,"material":103,"size":36,"collection":36,"collections":104,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":42},216842,"zhan-zheng-tong-ban-hua-6-lang-shi-ning-216842","战争铜版画-6","郎世宁","这一系列铜质战争版画是由清朝乾隆皇帝旨令制作的，描绘了他在位期间在内陆省份和边疆的军事行动场景。这些版画主要由当时在宫廷服务的欧洲传教士绘制，如郎世宁、王志成、艾启蒙和安德烈。柏林国家图书馆的东亚部分拥有五个系列的64幅版画。",[23,91,30,7,92,93,94,95,96,97,75,98,79,99,100,101,78],"写实","战马","帐篷","营地","山峦","树木","城堡","人群","田野","队列","营帐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F077b9e9d01ac61cce9d171c5922ad00c.jpg","水墨",[],8,{"id":107,"slug":108,"title":109,"dynasty":18,"author":66,"museum":110,"description":111,"tags":112,"thumbUrl":127,"material":128,"size":129,"collection":36,"collections":130,"showCount":131,"zanCount":11,"manualWeight":11,"mainColor":42},233065,"ping-ding-yi-li-hui-bu-zhan-tu-ce-yi-ming-233065","平定伊犁回部战图册","北京故宫博物院","《平定伊犁回部战图册》（平定准噶尔回部得胜图）是乾隆皇帝炫耀武功的作品，其宏大的战争场面，荣耀的献俘场景，皆彰显出清帝国极盛时代的不可一世。乾隆三十年（1765年），“传旨西洋人郎世宁等四人起得胜图稿十六张，着丁观鹏等五人用宣纸依照原稿着色画十六张”。这一批画由西洋传教士起稿，后又送至法国制版印刷成铜版画，是当时受西洋技法影响较深的画作。",[113,72,73,114,54,76,92,115,96,116,117,55,78,118,93,119,120,121,122,7,123,124,101,33,125,91,126],"国画","册","骆驼","河流","军队","山脉","植被","战斗场景","远山","近树","将领","驮兽","草木","精细刻画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcccc5b4c9f0a016973cfbc4b7dcbef3e.jpg","纸本","纵55.4cm，横90.8cm",[],7,{"id":133,"slug":134,"title":135,"dynasty":18,"author":66,"museum":110,"description":136,"tags":137,"thumbUrl":144,"material":145,"size":146,"collection":36,"collections":147,"showCount":131,"zanCount":11,"manualWeight":11,"mainColor":42},233040,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-233040","平定台湾战图册","乾隆五十一年（1786），台湾天地会北路首领林爽文起事，并得到南路首领庄大田的响应，旋即占领全岛，林爽文自称盟主大元帅，建元顺天；庄大田自称洪号，辅国大元帅。《战图》所绘即清大学士福康安和侍卫大臣海兰等于乾隆五十三年率军剿灭林爽文起事的战况。图十二幅，图目为：福康安奏报诸罗解围图、福康安奏报攻克斗六门图、福康安奏报攻克大里杙图、福康安奏报进攻小半天图、集集埔之战图、大埔林之战、大武垄之战图、枋寮之战图、生擒林爽文图、生擒庄大田图、福康安奏报抵厦门图、赐宴凯旋诸将图。\n据清内务府造办处乾隆五十三年档案记载：先是福康安进呈《台湾战图》御览，乾隆帝看过后并不满意，下旨：“图内人物绘画尚未合式，将原图十六幅寄京交如意馆，着伊兰泰将从前画过战图尺寸查清再画一份。五十三年九月二十日：姚文瀚将起得渡海凯旋图稿呈览，奉旨准画，着杨大章、贾全、谢遂、庄豫德、黎明分画。”十月初五太监鄂勒里传旨：“姚文瀚等现画台湾战图着以册十二幅，如画得一两幅，陆续交如意馆照西域战图画法一样画十二幅，俟画得时交造办处刻铜板。”[《活计档》。第3554册，中国第一历史档案馆藏。]即这是第一部完全由中国人绘稿和雕刻铜版的《战图》。但这套战图刻印完成后，也许乾隆帝并不十分满意，或者是对《平定准部回部战图》的西洋画法更感兴趣，又于乾隆五十四八月十七太监鄂鲁里传旨：“台湾战图册页画稿俟刻铜板完成时，将原稿掣回，着西洋人贺清泰、潘廷璋照铜板画法一样成画一份。”据《清内府造办处舆房目录》记载：《平定台湾战图》六份，其中绘本一份，内有原签注：“贾全起稿，黎明画稿”等字样。据故宫博物院藏清宫档案记载：“台湾战图铜板一份计十二块，压过二百份，各处陈设一百十九份，赏用八十一份。”",[113,138,72,73,26,139,140,7,76,54,141,142,143],"册页","军事题材","战船","书法","印章","平定台湾战事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3fc770116fcd292f0e449e1c877c52f.jpg","纸本，设色","长55.6厘米，宽91.1厘米",[],{"id":149,"slug":150,"title":151,"dynasty":18,"author":88,"museum":49,"description":89,"tags":152,"thumbUrl":158,"material":103,"size":36,"collection":36,"collections":159,"showCount":131,"zanCount":11,"manualWeight":11,"mainColor":42},216831,"zhan-zheng-tong-ban-hua-14-lang-shi-ning-216831","战争铜版画-14",[52,23,153,91,154,30,54,74,55,100,155,7,156,157,117],"清代","中西合璧","中式建筑","官员","庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc20f6a9ecc541a4ae1e2a448539914b9.jpg",[],{"id":161,"slug":162,"title":163,"dynasty":18,"author":88,"museum":49,"description":89,"tags":164,"thumbUrl":170,"material":103,"size":36,"collection":36,"collections":171,"showCount":172,"zanCount":11,"manualWeight":11,"mainColor":42},216830,"zhan-zheng-tong-ban-hua-17-lang-shi-ning-216830","战争铜版画-17",[23,91,165,166,167,76,95,79,168,169,54,7],"线条精细","明暗对比","战争",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Lamott）的画室里学画。\n1917年9月27日，埃德加·德加逝世于巴黎，享年83岁。",[53,72,297,30,192,54,298,7,299,239,78,300,301,302,183],"中世纪","裸体人物","枯树","尸体","弓箭","动态","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff621e3c45b09b3d92fe8b32435117374.jpg",[],3,{"id":307,"slug":308,"title":309,"dynasty":18,"author":88,"museum":49,"description":89,"tags":310,"thumbUrl":317,"material":103,"size":36,"collection":36,"collections":318,"showCount":305,"zanCount":11,"manualWeight":11,"mainColor":42},216829,"zhan-zheng-tong-ban-hua-13-lang-shi-ning-216829","战争铜版画-13",[153,23,91,30,93,54,180,95,116,96,75,311,7,243,100,33,119,78,312,313,92,314,28,98,315,316,101],"军营","阵列","旌旗","营帐群","军阵","兵士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7a29802c212af21ea1589e6b4d414ea.jpg",[],{"id":320,"slug":321,"title":322,"dynasty":18,"author":88,"museum":49,"description":89,"tags":323,"thumbUrl":326,"material":103,"size":36,"collection":36,"collections":327,"showCount":305,"zanCount":11,"manualWeight":11,"mainColor":42},216818,"zhan-zheng-tong-ban-hua-26-lang-shi-ning-216818","战争铜版画-26",[23,154,91,324,30,95,97,267,7,325,96,79,78],"线刻","云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1c195a3d473ba74b85895cba0a65460.jpg",[],{"id":329,"slug":330,"title":331,"dynasty":18,"author":88,"museum":49,"description":89,"tags":332,"thumbUrl":336,"material":103,"size":36,"collection":36,"collections":337,"showCount":305,"zanCount":11,"manualWeight":11,"mainColor":42},216815,"zhan-zheng-tong-ban-hua-27-lang-shi-ning-216815","战争铜版画-27",[18,23,179,333,334,28,335,168,7,120,254,96,79,267],"线条刻画","明暗表现","城墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3f63a98aae9e9d6cf6bab4da81450b9.jpg",[],{"id":339,"slug":340,"title":341,"dynasty":18,"author":88,"museum":49,"description":89,"tags":342,"thumbUrl":346,"material":103,"size":36,"collection":36,"collections":347,"showCount":305,"zanCount":11,"manualWeight":11,"mainColor":42},216812,"zhan-zheng-tong-ban-hua-31-lang-shi-ning-216812","战争铜版画-31",[23,91,324,343,153,54,74,344,157,100,7,156,55,345],"透视","宫殿","开阔场地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1af19126368070b42cdcf68f6f36bf6.jpg",[],{"id":349,"slug":350,"title":351,"dynasty":47,"author":66,"museum":49,"description":352,"tags":353,"thumbUrl":355,"material":57,"size":58,"collection":36,"collections":356,"showCount":357,"zanCount":11,"manualWeight":11,"mainColor":42},288884,"giovanni-battista-tiepolo-illustration-for-a-book-soldier-yi-ming-288884","Giovanni 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为了纪念平叛的胜利，乾隆让宫廷中的西洋画家郎世宁创作了大型历史纪实组画《平定西域战图册》。并决定将它送往欧洲制作成铜版画。",[153,234,73,54,74,344,55,7,156,157,155,395,396,397],"军事","仪式","线描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80e24f599f8ce09872a4bdf4989a7e9c.jpg","87.3×50cm",[],{"id":402,"slug":403,"title":404,"dynasty":47,"author":405,"museum":49,"description":406,"tags":407,"thumbUrl":414,"material":57,"size":58,"collection":36,"collections":415,"showCount":357,"zanCount":11,"manualWeight":11,"mainColor":42},232542,"mi-lai-si-86-yue-han-ai-fu-li-te-mi-lai-si-232542","米莱斯86","约翰·埃弗里特米莱斯","John Everett 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