[{"data":1,"prerenderedAt":263},["ShallowReactive",2],{"subject-wu-qi-3049":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},3049,"wu-qi-3049","武器","武器画高清赏析","精选中国历代武器题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13de2b81f76ba7346938612c7e9535a2.jpg",0,13,[14,44,66,93,111,132,161,180,196,208,227,240,250],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":37,"material":38,"size":39,"collection":40,"collections":41,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":43},225697,"ye-xun-lun-bo-lang-225697","夜巡","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。",[23,24,25,26,27,28,29,30,31,32,33,7,34,35,36],"油画","写实","明暗对比","人物","群体","盔甲","旗帜","长枪","鼓","乐器","服饰","光影","动态","昏暗场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8654790adb9d9086ef2631f67d1f00db.jpg","未知","Xcm*Xcm","油画精选",[40],58,"37474F",{"id":45,"slug":46,"title":47,"dynasty":48,"author":49,"museum":20,"description":50,"tags":51,"thumbUrl":61,"material":62,"size":62,"collection":62,"collections":63,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":65},228077,"zhong-kui-ye-you-tu-yan-hui-228077","钟馗夜游图","元","颜辉","此作用铁线游丝般的白描铺陈夜游盛景，开篇主角被鬼卒前呼后拥，伞盖高张、锣声隐隐，群鬼或扛矛开道、或携琴捧酒，狞怪形貌下藏着憨拙灵动的神态。画师以刚柔相济的墨线，勾勒出鬼物各异的怪谲身形，将幽冥出行的诡谲，化作带市井烟火气的诙谐游行。没有浓墨重彩，仅以枯淡墨痕衬出清冷幽冥的氛围感，把搜神题材的森然消解为戏谑意趣，尽显笔底奇思与线描功力，让这场夜游跳出幽冥的可怖，鲜活如人间市集的巡行。",[52,53,54,55,56,57,58,26,59,7,60],"高清","名画","国画","书画","长卷","白描","水墨","鬼怪","动作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73c9e76964e6d5a4befe37e1f51e3f10.jpg","",[],24,"795548",{"id":67,"slug":68,"title":69,"dynasty":18,"author":70,"museum":20,"description":71,"tags":72,"thumbUrl":89,"material":38,"size":39,"collection":62,"collections":90,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":92},232515,"he-er-bai-yin-174-he-er-bai-yin-232515","荷尔拜因174","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。",[73,26,57,74,75,76,77,78,79,80,81,82,83,84,85,86,7,87,88],"宗教","素描","立轴","天使","恶魔","剑","天平","怪兽","翅膀","铠甲","长袍","装饰纹样","底座","神话生物","称量工具","竖幅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F397e2eb2133791e351d36266ae48288e.jpg",[],5,"BDBDBD",{"id":94,"slug":95,"title":96,"dynasty":18,"author":97,"museum":20,"description":98,"tags":99,"thumbUrl":109,"material":38,"size":39,"collection":62,"collections":110,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":92},225479,"fu-shi-hui-237-yi-ming-225479","浮世绘237","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。",[53,100,101,102,26,103,104,105,106,107,7,108],"浮世绘","设色","木刻","美人","战争场景","和服","文字","牡丹","坐姿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07c483c364f1a60f530189180acdeaa7.jpg",[],{"id":112,"slug":113,"title":114,"dynasty":18,"author":70,"museum":20,"description":71,"tags":115,"thumbUrl":129,"material":38,"size":39,"collection":62,"collections":130,"showCount":131,"zanCount":11,"manualWeight":11,"mainColor":92},232359,"he-er-bai-yin-18-he-er-bai-yin-232359","荷尔拜因18",[53,57,74,116,117,26,118,82,119,120,121,122,123,124,125,104,7,126,127,128],"线条勾勒","淡彩","士兵","马匹","火焰","建筑柱式","树木","河流","冲突场景","历史题材","群像","动态刻画","叙事场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a2f69ce983061f1fd4e24622108c0bc.jpg",[],4,{"id":133,"slug":134,"title":135,"dynasty":136,"author":137,"museum":20,"description":138,"tags":139,"thumbUrl":158,"material":58,"size":62,"collection":62,"collections":159,"showCount":160,"zanCount":11,"manualWeight":11,"mainColor":92},216829,"zhan-zheng-tong-ban-hua-13-lang-shi-ning-216829","战争铜版画-13","清","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。",[140,141,24,104,142,26,119,143,123,122,29,144,118,7,145,146,147,148,149,150,151,152,153,154,155,156,157],"清代","铜版画","帐篷","山峦","军营","队列","山石","植被","战场","阵列","旌旗","战马","营帐群","山地","人群","军阵","兵士","营帐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7a29802c212af21ea1589e6b4d414ea.jpg",[],3,{"id":162,"slug":163,"title":164,"dynasty":18,"author":165,"museum":20,"description":166,"tags":167,"thumbUrl":177,"material":38,"size":39,"collection":62,"collections":178,"showCount":179,"zanCount":11,"manualWeight":11,"mainColor":65},232537,"mi-lai-si-81-yue-han-ai-fu-li-te-mi-lai-si-232537","米莱斯81","约翰·埃弗里特米莱斯","John Everett Millais十九世纪英国画家，是拉斐尔前派的三个创始人中年龄最小、才华最高的一位，其它两位是亨特和布朗。其油画《基督在自己父母家中》(1850)中体现了该派精神，以画风细腻著称。\n米莱斯是拉斐尔前派中最有才华的一个。他出生于南埃普顿，幼年就表现出非凡的绘画才能。10岁时，他的绘画就获得了艺术协会颁发的银质奖章。据说当时他的个子还没有讲台高，只能站在凳子上领奖。两年后，他的天赋为马丁·希伊勋爵发现，转入皇家美术学院的附属学校(希伊后来是皇家美术学院院长)，以后又转入皇家美术学院，以后又多次获奖，并在18岁那年获得金质奖章，是学院公认的高材生。",[23,101,24,26,168,169,170,29,171,7,172,173,154,174,175,176],"教堂","拱形窗","木梁","座椅","历史服饰","室内场景","讲台","宗教建筑","建筑内部","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e4f39f8636b0b362c575129219604e7.jpg",[],2,{"id":181,"slug":182,"title":183,"dynasty":136,"author":97,"museum":20,"description":184,"tags":185,"thumbUrl":192,"material":62,"size":193,"collection":62,"collections":194,"showCount":195,"zanCount":11,"manualWeight":11,"mainColor":92},233111,"ping-ding-xi-yu-zhan-tu-ye-yi-ming-233111","平定西域战图页","《平定西域战图》又称《平定准噶尔回部得胜图》、《平定伊犁回部战图》等。册页装，一函。图版十六幅，法国铜板制印，图版下署画家、刻工姓名。本馆藏有两部，一部首为乾隆御制序，乾隆诗文墨题画上，末有大学士傅恒、尚书舒赫德、于敏中等跋；另一部前为御制序，每图后附御题诗文，后为傅恒等跋，清内府造办处木版刷印。\n清廷在入主中原后，康、雍、乾三朝屡屡用兵西北，以肃清厄鲁特蒙古噶尔部割据势力。乾隆二十年至二十六年间（公元1755-1761年），两次平定准噶尔部叛乱的战役，对于维护国家稳定起到重要作用。 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。",[57,102,186,26,187,123,122,188,189,190,7,191],"山水","马","岩石","军队","战阵","渡口","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd54f8e81e6dad77e117084c00f209da.jpg","87.3×50cm",[],1,{"id":197,"slug":198,"title":199,"dynasty":18,"author":70,"museum":20,"description":71,"tags":200,"thumbUrl":206,"material":38,"size":39,"collection":62,"collections":207,"showCount":195,"zanCount":11,"manualWeight":11,"mainColor":65},232431,"he-er-bai-yin-90-he-er-bai-yin-232431","荷尔拜因90",[57,74,26,28,201,202,84,203,204,7,205],"盾牌","拱门","建筑","风景","古典服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff65212f104130616ff5b6f4e9f815d6b.jpg",[],{"id":209,"slug":210,"title":211,"dynasty":18,"author":212,"museum":20,"description":213,"tags":214,"thumbUrl":225,"material":38,"size":39,"collection":62,"collections":226,"showCount":195,"zanCount":11,"manualWeight":11,"mainColor":65},232334,"a-er-ma-61-lao-lun-si-a-er-ma-ta-de-ma-232334","阿尔玛61","劳伦斯·阿尔玛-塔德玛","劳伦斯·阿尔玛-塔德玛（Lawrence 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Leys）的画室学习。",[53,215,141,216,217,218,219,220,221,222,28,223,7,205,173,224],"新古典主义","写实风格","人物群像","古典建筑","柱廊","贵族","孩童","武士","陶罐","仪式场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa382e9402051a6e9901e425d81f8359d.jpg",[],{"id":228,"slug":229,"title":230,"dynasty":18,"author":97,"museum":20,"description":98,"tags":231,"thumbUrl":238,"material":38,"size":39,"collection":62,"collections":239,"showCount":195,"zanCount":11,"manualWeight":11,"mainColor":92},225518,"fu-shi-hui-276-yi-ming-225518","浮世绘276",[100,102,101,26,186,232,233,234,188,7,235,236,33,237,106],"枯树","草地","水域","笔","纸","眼镜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff668069ff761107c0adfd790ab359b.jpg",[],{"id":241,"slug":242,"title":243,"dynasty":18,"author":97,"museum":20,"description":98,"tags":244,"thumbUrl":10,"material":38,"size":39,"collection":62,"collections":249,"showCount":195,"zanCount":11,"manualWeight":11,"mainColor":92},225443,"fu-shi-hui-201-yi-ming-225443","浮世绘201",[100,102,101,26,245,246,247,7,248],"舰船","烟火","制服","烟雾",[],{"id":251,"slug":252,"title":253,"dynasty":136,"author":97,"museum":20,"description":254,"tags":255,"thumbUrl":261,"material":62,"size":62,"collection":62,"collections":262,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":92},238610,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238610","平定两金川得胜图册","这幅全景铜版画以环形营寨为核心，细密线条铺展出排布规整的帐幕，兵卒往来各司其职，操练值守、打理营务的细节清晰分明。连绵山峦环抱着战地营盘，将整座驻点框入苍茫山野间，零星驻点散落远景，呼应主寨的宏大格局。笔触冷峻写实，既复刻出征讨大军的整肃军容，也以开阔构图烘托出战事之下的雄浑气场，如实定格了平叛战事里的军营实景，兼具纪实的严谨质感与战地的厚重氛围感。",[102,256,189,142,143,122,26,29,123,146,257,118,151,148,258,147,154,157,259,7,260],"线描","营寨","山谷","围栏","动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60f3a3a919d8a5194982b18d8572bfca.jpg",[],1777535727945]