[{"data":1,"prerenderedAt":111},["ShallowReactive",2],{"subject-shui-chi":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},2899,"shui-chi","水池","水池画高清赏析","精选中国历代水池题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1ac0129a93679acba72c8366e0f6590.jpg",0,5,[14,43,67,83,99],{"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。",[23,24,25,26,27,28,29,30,31,7,32,33,34,35,36],"铜版画","工笔","界画","中西合璧","楼阁","喷泉","园林","树木","山石","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":62,"material":63,"size":64,"collection":38,"collections":65,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":42},232319,"a-er-ma-46-lao-lun-si-a-er-ma-ta-de-ma-232319","阿尔玛46","不详","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。",[51,52,53,54,55,56,57,7,58,59,60,61],"名画","油画","设色","新古典主义","人物","美人","大海","石砌平台","鱼","花","古典服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F680dd60068cd691bcb89c86ea7b8bd6c.jpg","未知","Xcm*Xcm",[],4,{"id":68,"slug":69,"title":70,"dynasty":47,"author":71,"museum":20,"description":72,"tags":73,"thumbUrl":81,"material":63,"size":64,"collection":38,"collections":82,"showCount":41,"zanCount":11,"manualWeight":11,"mainColor":42},231731,"da-zheng-nian-xi-zhi-juan-jin-cun-zi-hong-231731","大正年 夕之卷","今村紫红","今村四光（Shiko Imamura，1880年（明治13年）12月16日－1916年12月16日（大正5年）2月28日）是横滨神奈川县人，出生于日本画家。他的真名是十三郎。他虽然享年35岁（按年算37岁），但他大胆而原创的作品给画家带来了新鲜的刺激，对后辈画家也产生了很大的影响。主要作品如“近江八景”系列（1912年，东京国立博物馆，重要文化财产），“笃之卷”（1914年，东京国立博物馆，重要文化财产）。",[74,75,53,55,76,77,30,78,79,7,80],"高清","浮世绘","大象","亭","房屋","土丘","夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc3691c67ea1f3ab10fba325b2c3239f.jpg",[],{"id":84,"slug":85,"title":86,"dynasty":47,"author":87,"museum":20,"description":88,"tags":89,"thumbUrl":96,"material":63,"size":64,"collection":38,"collections":97,"showCount":98,"zanCount":11,"manualWeight":11,"mainColor":42},289057,"lambert-lombard-christ-healing-at-the-pool-of-bethesda-yi-ming-289057","Lambert Lombard--Christ Healing at the Pool of Bethesda","佚名","画面以利落蚀刻线条铺展神迹：左侧长者伸手唤住背负瘫者的男子，池畔横陈疾苦之人，天使振翅自天际降临。明暗排线晕开光影，衬出人群惶惑与愈者沉郁的张力，远景城郭肃穆拱卫这场神圣疗愈，古典楼宇的厚重为信仰注脚。作者以刚劲笔触描摹市井疾苦与神性救赎的碰撞，将悲悯藏进衣褶纹路、沉凝的神色中，让信仰的温度浸透质朴刻绘，把宗教叙事的庄重沉静，融在细腻的人间百态描摹里。",[90,91,55,92,93,94,7,95],"宗教","白描","版画","古典建筑","天使","圣经故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F570dbfcfec21d6d828d4723396b32c49.jpg",[],1,{"id":100,"slug":101,"title":102,"dynasty":18,"author":87,"museum":103,"description":104,"tags":105,"thumbUrl":10,"material":108,"size":38,"collection":38,"collections":109,"showCount":98,"zanCount":11,"manualWeight":11,"mainColor":110},215931,"di-jian-tu-shuo-cai-hui-ben-74-yi-ming-215931","帝鉴图说彩绘本-74","法国国家图书馆","画面中，层叠殿宇巍峨矗立，朱红廊柱与青绿瓦顶相映，尽显庄重气象。殿前阶下人影攒动，或躬身行礼，或肃立待召，衣袂翩跹间似有仪典声息流转。转至庭院，碧水盈池，曲廊绕岸，几人闲步其间，或低语或回望，添几分生动意趣。画作工细入微，建筑的飞檐斗拱、人物的衣纹褶皱皆刻画精致，色彩柔和雅致，既存皇家威仪，又藏日常温情，仿佛将一段古代宫廷轶事凝于绢素之上，引人驻足遐思。",[106,53,24,25,55,27,33,30,107,7],"国画","台阶","绢本,设色",[],"795548",1777535751746]