[{"data":1,"prerenderedAt":133},["ShallowReactive",2],{"subject-xi-shi-jian-zhu":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},2872,"xi-shi-jian-zhu","西式建筑","西式建筑画高清赏析","精选中国历代西式建筑题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98aa9c3aaaf37a0138ff09866aaaffc7.jpg",0,5,[14,46,71,92,116],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":39,"material":40,"size":41,"collection":42,"collections":43,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":45},236169,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236169","雍正十二月行乐图轴","清","佚名","北京故宫博物院","这是一组表现雍正皇帝日常生活的作品，按春、夏、秋、冬四季十二个月的顺序排列，分别为“正月观灯”、“二月踏青”、“三月赏桃”、“四月流觞”、“五月竞舟”、“六月纳凉”、“七月乞巧”、“八月赏月”、“九月赏菊”、“十月画像”、“十一月参禅”和“腊月赏雪”。每幅图轴纵188.2厘米，横102.2厘米。从描绘的景物判断，表现的对象应为圆明园。\n画面以山水楼阁为主，建筑描绘细腻，其中既有中式园林建筑，又有西式亭台楼阁，更有中西合璧者，画面的景观可能是画家以圆明园的建筑结合自己的想象而创作的。圆明园是雍正作皇子时的封赐，他解释说“圆明园”的赐名大有深意：“圆而入神，君子之时中；明而普照，达人之睿智也。” 雍正三年（1725年）八月圆明园兴修一新之后，雍正皇帝经常在园中居住并在此办理公务，他明谕百官“每日办理政事与宫中无异”。这十二幅行乐图展现了其在圆明园生活的各个场景，也表现了十二个月的不同节令风俗。",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,37,7,38],"国画","设色","工笔","界画","山水","楼阁","园林","人物","亭台","山石","树木","行乐图","宫廷生活","节令风俗","中式建筑","宴饮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff841a07266c24ab45bc115c2dd2f7821.jpg","绢本，设色","纵188.2厘米，横102.2厘米","",[],135,"795548",{"id":47,"slug":48,"title":49,"dynasty":18,"author":50,"museum":51,"description":52,"tags":53,"thumbUrl":10,"material":42,"size":66,"collection":67,"collections":68,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":45},222834,"yuan-ben-qing-ming-shang-he-tu-sun-hu-222834","院本清明上河图","孙祜","台北故宫博物院","此画由清宫画院的五位画家协作画成，是参照了各朝仿本、集各家所长的作品。同时增加了明清时代的特殊风俗，如踏青、表演等等娱乐活动，亦增添了许多丰富的情节，如戏剧、猴戏、特技、擂台等等，使画中人物增加到超过4,000人，而且受到西洋画风的影响，街道房舍均以透视原理作画，并有西式建筑行置其中。此卷用色鲜丽明亮，用笔达圆熟细致，所画之桥梁、屋宇、人物皆细腻严谨，是院画中的精品之作。",[54,23,55,24,25,30,28,56,57,58,59,60,61,62,7,63,64,65],"高清","长卷","桥梁","屋宇","街道","猴","戏剧","特技","擂台","踏青","风俗画","院画","长1152.8公分及宽35.6公分","人物画精选",[67,69],"设色画精选",86,{"id":72,"slug":73,"title":74,"dynasty":18,"author":19,"museum":75,"description":76,"tags":77,"thumbUrl":86,"material":87,"size":42,"collection":88,"collections":89,"showCount":90,"zanCount":11,"manualWeight":11,"mainColor":91},215858,"xi-yang-jian-wen-tu-hui-shan-shui-tu-juan-yi-ming-215858","西洋见闻图绘-山水图卷","藏地不详","画面铺展开阔海面与层叠山峦，淡彩晕染的峰峦间，岛屿错落。中式帆船与西式多桅舰船往来穿梭，尽显海上交通的繁盛。岸边西式建筑与传统山水笔墨相融，勾勒出中西交流的鲜活场景。淡雅的色调中，既有传统山水画的悠远意境，又藏着近代海上贸易的生动印记，是历史与艺术交织的珍贵遗存。",[54,23,55,24,27,78,79,80,81,82,7,83,84,85],"海面","山峦","岛屿","中式帆船","西式舰船","海上贸易","中西交流","淡彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F626e6ce52d48541cd4ba0b7c83faf208.jpg","纸本,设色","山水画精选",[88],24,"BDBDBD",{"id":93,"slug":94,"title":95,"dynasty":96,"author":19,"museum":75,"description":97,"tags":98,"thumbUrl":111,"material":112,"size":113,"collection":42,"collections":114,"showCount":115,"zanCount":11,"manualWeight":11,"mainColor":91},225448,"fu-shi-hui-206-yi-ming-225448","浮世绘206","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。",[99,100,24,7,101,102,103,30,104,105,106,107,108,109,110],"浮世绘","木刻","喷泉","庭院","樱花树","室内场景","西式服饰","军装","礼服","红色窗帘","地毯","帷幔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a55165906873ebf4595a496de453f60.jpg","未知","Xcm*Xcm",[],2,{"id":117,"slug":118,"title":119,"dynasty":96,"author":19,"museum":75,"description":120,"tags":121,"thumbUrl":130,"material":112,"size":113,"collection":42,"collections":131,"showCount":132,"zanCount":11,"manualWeight":11,"mainColor":91},289090,"jean-jacques-lequeu-longitudinal-and-cross-sections-yi-ming-289090","Jean Jacques Lequeu--Longitudinal and Cross Sections","这幅室内立面设计尽显新古典主义的典雅克制。左上与左下方案以对称门楣、浮雕壁龛为骨架，复刻大理石肌理凸显石材冷冽质感，雕塑与雕花壁柱烘托出庄重仪式感，将建筑理性融于形制细节。\n\n右上与右下则以布艺柔化空间氛围，湖蓝与墨绿帘幔呼应墙面浮雕，采光窗嵌入装饰逻辑，让规整的古典形制晕染出通透暖意。细密排线精准区分材质层次，将装饰美学与实用功能平衡统一，还原了法式贵族宅邸的优雅范式，是新古典室内设计的细腻范本，尽显克制奢华的古典美学意趣。",[122,7,123,24,124,125,126,127,128,129],"建筑画","室内设计","剖面图","壁饰","雕像","窗饰","厅堂","古典装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0314a264bf4808629ccada37f5a55b60.jpg",[],1,1777535751284]