[{"data":1,"prerenderedAt":108},["ShallowReactive",2],{"subject-tuo-pan":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},1002,"tuo-pan","托盘","托盘画高清赏析","精选中国历代托盘题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55fd26dc4bc0ff9a5c93cc2e9ec5468a.jpg",0,6,[14,38,55,63,80,97],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":32,"material":33,"size":34,"collection":35,"collections":36,"showCount":12,"zanCount":11,"manualWeight":11,"mainColor":37},225417,"fu-shi-hui-175-yi-ming-225417","浮世绘175","不详","佚名","藏地不详","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。",[23,24,25,26,27,28,29,30,7,31],"浮世绘","木刻","设色","人物","美人","和服","发饰","茶具","碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a07afaf00c9072961f6f1e7984f7e80.jpg","未知","Xcm*Xcm","",[],"BDBDBD",{"id":39,"slug":40,"title":41,"dynasty":18,"author":19,"museum":20,"description":21,"tags":42,"thumbUrl":52,"material":33,"size":34,"collection":35,"collections":53,"showCount":54,"zanCount":11,"manualWeight":11,"mainColor":37},225523,"fu-shi-hui-281-yi-ming-225523","浮世绘281",[23,24,25,26,27,43,28,44,45,46,7,47,48,49,50,51],"洋装","桌子","椅子","乐器","酒瓶","窗户","船只","地毯","窗帘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe79218199b0754aee056f18535257749.jpg",[],4,{"id":56,"slug":57,"title":58,"dynasty":18,"author":19,"museum":20,"description":21,"tags":59,"thumbUrl":10,"material":33,"size":34,"collection":35,"collections":61,"showCount":62,"zanCount":11,"manualWeight":11,"mainColor":37},225375,"fu-shi-hui-132-yi-ming-225375","浮世绘132",[23,24,25,26,27,60,7,31],"器",[],3,{"id":64,"slug":65,"title":66,"dynasty":18,"author":67,"museum":20,"description":68,"tags":69,"thumbUrl":76,"material":33,"size":34,"collection":35,"collections":77,"showCount":78,"zanCount":11,"manualWeight":11,"mainColor":79},232321,"a-er-ma-48-lao-lun-si-a-er-ma-ta-de-ma-232321","阿尔玛48","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。",[70,25,71,26,72,73,74,7,75],"油画","写实","海洋","海浪","礁石","衣物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f907091b57f227c7ea45d774321fecd.jpg",[],1,"795548",{"id":81,"slug":82,"title":83,"dynasty":84,"author":19,"museum":20,"description":85,"tags":86,"thumbUrl":95,"material":33,"size":34,"collection":35,"collections":96,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":79},244882,"bo-shan-lu-yi-ming-244882","博山炉","汉","汉代青铜器产生于青铜时代的晚期，在我国青铜史上占有特殊的地位，体现出独特的设计思想和特征，具有卓越的科学功能，并对当今设计有很大的启示作用。\n汉代青铜器很多都是素纹，大部分还是铸造的，也有的花纹、铭文是用錾子雕刻的。比如汉代的鎏金杯子、奁、盒、碗等用具上的花纹，多是雕刻的。\n汉代以后至唐代的铜器，铸造的花纹很多，其中有打料的铜、金、银器，并且也有了大、小焊的技术。\n西汉初期（高祖至景帝），此时的青铜器，基本为素面。其鼎主要承自秦式，但一般三足更矮。敦盒形。\n壶有大小二型并存，大型壶腹下部略呈收缩之状，腹比秦壶要鼓；小型壶的腹部较瘦长，经常铸出变形螭纹。钫此时更流行，有的做得很讲究，通腹有镶嵌绿松石的三角云纹。\n鍪和蒜头壶继续流行。日用器皿中，高灯多见，豆式熏炉盛行，带钩显琵琶形、棒形、琴形讲究的多做成鎏金、错金银、镶玉或绿松石。\n西汉中期至东汉早期（西汉武帝至东汉章帝）是西汉青铜器最发达的时期，也是汉代青铜器新风格最终形成的时期。这时期最多见的青铜用器是鼎、壶、钫、尊、熨斗、带钩、铜镜。\n灯：古代照明器具。青铜灯出现于战国时期，而盛行于汉代。最著名的当属长信宫灯了，灯的样子很多，较普通的是有圆盘，盘内有钎，盘下有柱，柱下有圈足；也有盘下作雁足状的，盘用来盛油或插烛。\n另有一种灯自铭为“行灯”，它圆盘边有把，盘下有三短足。青铜灯最富感染力的当属那些铸成人形、禽形、兽形、树形的艺术造型灯。\n博山炉：古代焚香的器具。一般炉体作圆形，用来放香料，体下有高足，有的足还铸成人形或鸟兽形；炉盖均高而尖，雕镂成山峦形上有人物、走兽，象征海上仙山“博山”，故名“博山炉”。盛行于汉代。\n樽：古代盛酒的器皿，器作圆形，直壁，有盖，腹较深，下有三兽足，旁有铺首衔环耳。\n洗：盥洗用器皿。形状象盆，圆形、宽口沿，平或圆底，腹外多有铺首衔环耳，内底常用双鱼作装饰，并多铸吉语。盛行于汉晋。\n耳杯：古代饮酒器。多漆制，称“羽觞”。铜质者，器作椭圆形，腹壁有二环耳。\n熨斗：古式熨烫衣服的工具。形状为圆腹宽口沿，有长柄，盛行于汉魏。\n东汉中晚期（和帝至献帝）青铜器又有了新的变化。此时使用较多的铜器日用品有：钟、扁壶、盆、釜、鐎斗、灯、博山炉、炉、熨斗、尊、耳杯、虎子、车马器、带钩、铜镜、玺印等。\n此时青铜器的特点是比以前轻薄、错金银技术在青铜器装饰中几乎消失，鎏金仍多，鎏金器上出现了细线阴刻云纹。",[87,88,89,90,91,92,7,93,94],"汉代","青铜器","铜制","雕刻","镂空","山峦造型","底座","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F663beb4c5ad331f67121864008118c83.jpg",[],{"id":98,"slug":99,"title":100,"dynasty":84,"author":19,"museum":20,"description":85,"tags":101,"thumbUrl":106,"material":33,"size":34,"collection":35,"collections":107,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},244712,"deng-yi-ming-244712","灯",[87,89,88,94,90,102,103,7,104,105],"三足","带柄","金属工艺","器物造型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F905a8b1c4776ceba01ad2cd02da44e03.jpg",[],1777535748368]