[{"data":1,"prerenderedAt":158},["ShallowReactive",2],{"subject-tou-xiang":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},2666,"tou-xiang","头像","头像画高清赏析","精选中国历代头像题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a423b7af64cfc6dc89543b6355c4731.jpg",0,12,[14,34,56,75,83,97,106,115,122,131,141,148],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":27,"material":28,"size":29,"collection":30,"collections":31,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":33},254523,"qiong-yao-lv-you-nv-tou-xiang-yi-ming-254523","邛窑绿釉女头像","唐","佚名","藏地不详","邛窑,中国最古老的民窑之一，是中国彩绘瓷的发源地。其价值堪比三星堆、金沙遗址，被列入国家大遗址重点保护。它始创于东晋，成熟于南朝，盛于唐，是跨越八个多世纪的中国古代陶瓷名窑。\n邛窑分布在我国的四川省境内，以青釉、青釉褐斑、青釉褐绿斑和彩绘瓷为主，始烧于南北朝衰于宋朝，时间踌度约800年的中国古代陶瓷名窑。邛窑是我国著名民间瓷窑之一。器物有各种盘、碗、罐等日用器皿，其中以丰富的小瓷俑最为生动形象，以创造了陶瓷省油灯而闻名全国。\n善于将雕塑艺术的手法运用到瓷器的造型上。纵观邛窑瓷器，雕塑艺术品特别多，例如各类大小动物，胡商俑、武士俑、劳作俑、侍女俑、役仆俑等形象都用雕塑手法作出，就是一些实用生活用具、文房用具、储盛用具等雕塑艺术的作法也处处可见。另一个巨型三彩釉陶砚台，塑成一个伸颈昂首，瞪眼张嘴的大龟，四腿塑成兽蹄形，盖用雕塑手法塑成隆起的龟背，再刻划出背纹和裙边，既实用又具有很高的艺术性。有的执壶，口部以上塑一鼻孔上翻，鼓目张嘴的人头，整齐的牙齿外露，似乎正在歌唱。有的器盖塑成一个天真的儿童，光头，昂首，两眼上视，双臂伸开，两退上翻，脚交织在一起，天真活泼，很像现在的杂技表演。瓷枕也塑造成虎形，下为一个椭圆形底板，上塑的虎，咧嘴露齿，翻鼻鼓睛；作伏卧状，背上的枕面四角圆润，前部较小，后面较大，中间略微低下，虎的前额、眉眼、皮毛和枕面以褐绿彩点画成彩斑装饰。第二，彩绘装饰十分普遍，邛窑陶瓷有单色釉、如青釉、棕黄色釉、褐黑色釉，灰白色釉。由于泥料较粗，普遍含有细沙粒，胎面普遍施化妆土，用当地原料配出浅黄、深黄、棕黄、老绿、翠绿、孔雀蓝、藏蓝、紫黄、黑色等彩在瓷器上作画，大多数是釉下彩。由于邛窑瓷器釉层稀薄，釉下彩或釉上彩不易分辨，但大多数是釉下彩。以大片圆形彩斑、联珠、多层菱形、圆圈构成的图案，有些和刻花、划花、粘贴、捏塑、模印等共同组成装饰面。最突出的是彩画。这些釉下彩绘，由于工匠有深厚的文化根底和书画艺术的功力，以没骨画的技法，率然落笔，粗悍展开，画出的花纹潇洒豪放，韵味无穷。 贴近生活的创造，四川自古以来崇尚读书，学子们多贫寒清苦，邛窑创造出省油灯，陆游说“书灯勿用铜盏，惟瓷盏最省油。蜀有夹瓷盏，注水于盏唇窍中，可省油之半。”受到士大夫文人和广大庶民百姓欢迎。这种创造为文化教育的普及提供了条件。",[23,24,25,26,7],"唐代","陶瓷","绿釉","人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff53722ce1993e859073461725a15d17d.jpg","未知","Xcm*Xcm","瓷器精选",[30],4,"795548",{"id":35,"slug":36,"title":37,"dynasty":38,"author":19,"museum":39,"description":40,"tags":41,"thumbUrl":10,"material":50,"size":51,"collection":52,"collections":53,"showCount":54,"zanCount":11,"manualWeight":11,"mainColor":55},214763,"zhi-sheng-xian-xian-ban-shen-xiang-46-yi-ming-214763","至圣先贤半身像-46","元","台北故宫博物院","这本60页的画册展示了从孔子到许衡（1209-1281），从春秋时期（公元前770-476年）到元朝的121位著名学者，最初被放置在清宫的南董殿，那里保存着皇帝、皇后和贤臣的图像。",[42,43,44,45,46,47,26,48,7,49],"高清","国画","书画","册","设色","工笔","古装","服饰","纸本,设色","33.3x24.3","",[],2,"BDBDBD",{"id":57,"slug":58,"title":59,"dynasty":60,"author":61,"museum":20,"description":62,"tags":63,"thumbUrl":72,"material":28,"size":29,"collection":52,"collections":73,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":55},232493,"he-er-bai-yin-152-he-er-bai-yin-232493","荷尔拜因152","不详","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。",[64,65,26,66,49,67,68,69,70,7,71],"素描","写实","男性","帽子","明暗","线条","肖像","肩部","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5bf96b68fdc7ecbddd430f3c4b8c688.jpg",[],1,{"id":76,"slug":77,"title":78,"dynasty":60,"author":61,"museum":20,"description":62,"tags":79,"thumbUrl":81,"material":28,"size":29,"collection":52,"collections":82,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":55},232474,"he-er-bai-yin-133-he-er-bai-yin-232474","荷尔拜因133",[26,70,64,65,68,69,80,7],"衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feca7ab2e1b7496d838d10da5433e0fdf.jpg",[],{"id":84,"slug":85,"title":86,"dynasty":60,"author":87,"museum":20,"description":88,"tags":89,"thumbUrl":95,"material":28,"size":29,"collection":52,"collections":96,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":33},231309,"su-miao-563-xi-fang-231309","素描563","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。",[64,65,90,26,91,70,7,92,93,94],"黑白","女性","颈饰","衣物褶皱","光影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3113663222526387baf1bcec796572d8.jpg",[],{"id":98,"slug":99,"title":100,"dynasty":60,"author":87,"museum":20,"description":88,"tags":101,"thumbUrl":104,"material":28,"size":29,"collection":52,"collections":105,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":55},231117,"su-miao-371-xi-fang-231117","素描371",[64,65,26,7,102,103,94,70],"石膏像","单色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e47a055871b6b78120b2eab07a3ec04.jpg",[],{"id":107,"slug":108,"title":109,"dynasty":60,"author":87,"museum":20,"description":88,"tags":110,"thumbUrl":113,"material":28,"size":29,"collection":52,"collections":114,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":55},231330,"su-miao-584-xi-fang-231330","素描584",[64,65,26,111,7,112],"男性肖像","明暗表现","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd63fd9de798a751a22dd7e9256e96b3c.jpg",[],{"id":116,"slug":117,"title":118,"dynasty":60,"author":87,"museum":20,"description":88,"tags":119,"thumbUrl":120,"material":28,"size":29,"collection":52,"collections":121,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":55},231324,"su-miao-578-xi-fang-231324","素描578",[64,65,26,70,91,94,103,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2512b740e8ad3cb4e94feb2369e4a27a.jpg",[],{"id":123,"slug":124,"title":125,"dynasty":60,"author":87,"museum":20,"description":88,"tags":126,"thumbUrl":129,"material":28,"size":29,"collection":52,"collections":130,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":55},231286,"su-miao-540-xi-fang-231286","素描540",[26,64,65,70,94,127,7,71,87,103,128],"细腻","手绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc2405b6ca9bd625e05a7e89823ff6a1.jpg",[],{"id":132,"slug":133,"title":134,"dynasty":60,"author":87,"museum":20,"description":88,"tags":135,"thumbUrl":139,"material":28,"size":29,"collection":52,"collections":140,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":55},231214,"su-miao-468-xi-fang-231214","素描468",[64,65,26,66,7,70,136,137,138],"多视角","写实主义","素描技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bb259001add8c4e2e0c3f3a35cb8c8e.jpg",[],{"id":142,"slug":143,"title":144,"dynasty":60,"author":87,"museum":20,"description":88,"tags":145,"thumbUrl":146,"material":28,"size":29,"collection":52,"collections":147,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":55},231118,"su-miao-372-xi-fang-231118","素描372",[64,26,65,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F306b1e941d89283af5673ad5e7374adf.jpg",[],{"id":149,"slug":150,"title":151,"dynasty":60,"author":87,"museum":20,"description":88,"tags":152,"thumbUrl":156,"material":28,"size":29,"collection":52,"collections":157,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":55},231103,"su-miao-357-xi-fang-231103","素描357",[64,65,26,70,91,153,7,94,154,155],"炭笔","笔触","西方绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F439b09e2122ee7a80c9f7e4ccd975284.jpg",[],1777535730877]