[{"data":1,"prerenderedAt":204},["ShallowReactive",2],{"subject-wei-man":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},2936,"wei-man","帷幔","帷幔画高清赏析","精选中国历代帷幔题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2515550556e489ce91b0388253267075.jpg",0,11,[14,37,48,69,89,107,124,138,157,172,188],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":32,"size":33,"collection":33,"collections":34,"showCount":35,"zanCount":11,"manualWeight":11,"mainColor":36},216277,"er-shi-si-xiao-tu-15-chou-ying-216277","二十四孝图-15","明","仇英","藏地不详","二十四孝图是明朝时期著名的书画作品，由仇英创作。它描绘了中国传统文化中的二十四种孝道场景。二十四孝图的内容涵盖了人生各个阶段的孝道行为，从小学阶段的“孝悌忠信”到晚年的“慈孝双全”。这幅作品在明朝时期广受欢迎，并被视为一部重要的文化遗产。",[23,24,25,26,27,28,7,29,30,31],"名画","国画","书画","工笔","设色","人物","床榻","桌案","衣帽","绢本,设色","",[],24,"795548",{"id":38,"slug":39,"title":40,"dynasty":18,"author":19,"museum":20,"description":21,"tags":41,"thumbUrl":45,"material":32,"size":33,"collection":33,"collections":46,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":36},216282,"er-shi-si-xiao-tu-12-chou-ying-216282","二十四孝图-12",[24,25,26,27,28,42,7,29,43,31,44],"竹子","家具","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa67e11eccdac8138ab59c198a4c00546.jpg",[],22,{"id":49,"slug":50,"title":51,"dynasty":52,"author":53,"museum":54,"description":55,"tags":56,"thumbUrl":64,"material":65,"size":66,"collection":33,"collections":67,"showCount":68,"zanCount":11,"manualWeight":11,"mainColor":36},223025,"hong-lou-meng-150-sun-wen-223025","红楼梦150","清","孙温","旅顺博物馆","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[57,24,25,58,27,26,28,59,60,61,62,30,7,63],"高清","长卷","仕女","楼阁","室内场景","红楼故事","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6648d89f3633663c83d3317a0b227995.jpg","绢本","纵43.3厘米、横76.5厘米",[],21,{"id":70,"slug":71,"title":72,"dynasty":73,"author":74,"museum":20,"description":75,"tags":76,"thumbUrl":83,"material":84,"size":85,"collection":33,"collections":86,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":88},225407,"fu-shi-hui-165-yi-ming-225407","浮世绘165","不详","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。",[77,78,27,79,28,80,81,82,7],"浮世绘","木刻","白描","美人","布料","扇子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10823c17b9b3563a26fef3175b8b5771.jpg","未知","Xcm*Xcm",[],15,"BDBDBD",{"id":90,"slug":91,"title":92,"dynasty":93,"author":74,"museum":94,"description":95,"tags":96,"thumbUrl":103,"material":84,"size":85,"collection":33,"collections":104,"showCount":105,"zanCount":106,"manualWeight":11,"mainColor":36},226219,"ku-yong-dao-bei-pi-yi-ming-226219","窟甬道北披","唐","敦煌","莫高窟，俗称千佛洞，坐落在河西走廊西端的敦煌。它始建于前秦宣昭帝苻坚时期，后历经北朝、隋朝、唐朝、五代十国、西夏、元朝等历代的兴建，形成巨大的规模，有洞窟735个，壁画4.5万平方米、泥质彩塑2415尊，是世界上现存规模最大、内容最丰富的佛教艺术地。\n1961年，莫高窟被中华人民共和国国务院公布为第一批全国重点文物保护单位之一。1987年，莫高窟被列为世界文化遗产。\n莫高窟与河南洛阳龙门石窟、山西大同云冈石窟并称中国三大石窟，后加麦积山石窟称四大石窟。 2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[97,98,27,26,7,99,100,101,102],"壁画","唐代","流苏","装饰纹样","彩绘","图案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff344ef10397038f08a23621ef9b9f164.jpg",[],13,1,{"id":108,"slug":109,"title":110,"dynasty":73,"author":74,"museum":20,"description":111,"tags":112,"thumbUrl":121,"material":84,"size":85,"collection":33,"collections":122,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":88},288612,"john-gregory-crace-design-for-the-decoration-of-the-drawing-room-yi-ming-288612","John Gregory Crace--Design for the Decoration of the Drawing Room","这是一幅哥特复兴风格的会客厅设计稿，蓝底描金的肋拱穹顶缀满纹章浮雕，修长花饰沿拱券垂落，将中世纪宗教建筑的雅致庄重移入私邸。墙面铺陈古典叙事壁画，壁炉侧的猩红长椅柔化了建筑线条的冷硬，同色系帐幔与地毯首尾呼应，晕开温暖柔和的空间底色。\n\n中央雕花台座配古典画作，与两侧壁龛形成对称韵律，阳光穿透高窗在彩绘织物间晕开朦胧层次。设计师将中世纪装饰语言转化为宅邸厅堂的华贵私享氛围，纹饰暗含古典美学秩序感，平衡复古形制与起居暖意，尽显浪漫规整的复古室内美学精髓。",[113,114,61,115,116,117,7,118,119,27,97,120],"水彩画","装饰设计","客厅","彩绘天花板","壁炉","地毯","古典风格","古典家具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d7a55d043f4e803338390b664ca6de8.jpg",[],4,{"id":125,"slug":126,"title":127,"dynasty":73,"author":74,"museum":20,"description":128,"tags":129,"thumbUrl":135,"material":84,"size":85,"collection":33,"collections":136,"showCount":137,"zanCount":11,"manualWeight":11,"mainColor":88},289092,"jean-jacques-lagrene-e-still-life-vases-a-cassolette-on-a-pedestal-yi-ming-289092","Jean Jacques Lagrenée--Still Life Vases, a Cassolette on a Pedestal","帷幔轻展，铺陈出一方古典雅致的陈列空间。利落的线条勾勒出洛可可式柔婉的器物轮廓，台座上的香炉浮雕精巧，两侧银壶缠枝纹饰华贵细腻。左侧藤篮倾溢出饱满鲜果与葡萄，搭配角落贝壳，将人工造物的精致与自然野趣柔和相融。淡灰水色晕染出明暗层次，烘托出静谧庄重的氛围，让华丽的陈设褪去张扬，尽显复古沉静的美学张力，将巴洛克式的装饰感与松弛的写生意趣平衡恰好，勾勒出古典静物独有的典雅质感。",[130,131,27,132,133,134,7],"静物","素描","银器","器皿","果物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff044dca9bd7f90a110e95738f9a4fe4e.jpg",[],2,{"id":139,"slug":140,"title":141,"dynasty":73,"author":142,"museum":20,"description":143,"tags":144,"thumbUrl":155,"material":84,"size":85,"collection":33,"collections":156,"showCount":137,"zanCount":11,"manualWeight":11,"mainColor":88},232362,"he-er-bai-yin-21-he-er-bai-yin-232362","荷尔拜因21","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。",[131,79,145,146,28,147,148,149,7,150,61,151,152,153,154],"写实","线条勾勒","建筑","拱门","柱子","栏杆","宗教题材","长袍","皇冠","集会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc97387c0f945fa80e58054b6d7f5fc01.jpg",[],{"id":158,"slug":159,"title":160,"dynasty":73,"author":74,"museum":20,"description":75,"tags":161,"thumbUrl":170,"material":84,"size":85,"collection":33,"collections":171,"showCount":137,"zanCount":11,"manualWeight":11,"mainColor":88},225448,"fu-shi-hui-206-yi-ming-225448","浮世绘206",[77,78,27,162,163,164,165,28,61,166,167,168,169,118,7],"西式建筑","喷泉","庭院","樱花树","西式服饰","军装","礼服","红色窗帘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a55165906873ebf4595a496de453f60.jpg",[],{"id":173,"slug":174,"title":175,"dynasty":73,"author":74,"museum":20,"description":176,"tags":177,"thumbUrl":186,"material":84,"size":85,"collection":33,"collections":187,"showCount":106,"zanCount":11,"manualWeight":11,"mainColor":88},288724,"valentin-lefebvre-david-chooses-three-days-of-pestilence-yi-ming-288724","Valentin Lefebvre--David Chooses Three Days of Pestilence","褐棕水彩晕开帷幔的垂坠褶皱，跪坐的圣者仰首向天，光晕环衬他虔诚惶惑的面容。云端天使振翼持械，充满力量感的肌肉线条裹挟着神性威严破空而来。古典拱门的背景，将神域与凡世悄然分割，器物细节暗藏宿命抉择的隐喻。明暗交叠间，巴洛克式戏剧张力拉满，将天启降临时的震颤瞬间定格，让观者直面信仰之中的惊惧与赤诚。",[178,179,131,180,181,182,183,7,147,184,185],"宗教画","人物画","淡彩","天使","宗教人物","云朵","跪拜","狮像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6446478d209163e07b51b39a1fc6407.jpg",[],{"id":189,"slug":190,"title":191,"dynasty":73,"author":142,"museum":20,"description":143,"tags":192,"thumbUrl":201,"material":84,"size":85,"collection":33,"collections":202,"showCount":106,"zanCount":11,"manualWeight":11,"mainColor":203},232469,"he-er-bai-yin-128-he-er-bai-yin-232469","荷尔拜因128",[193,145,27,28,194,195,7,196,197,198,199,200],"油画","皮毛","丝绸","纸张","木质","饰品","肖像","细节刻画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4df80c14d881dd16dcbeb6094039280.jpg",[],"37474F",1777535732317]