[{"data":1,"prerenderedAt":593},["ShallowReactive",2],{"subject-xian-tiao-gou-le":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},1493,"xian-tiao-gou-le","线条勾勒","线条勾勒画高清赏析","精选中国历代线条勾勒题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4644764581b518a5ebb25839a0c7068f.jpg",0,38,[14,43,61,89,105,118,133,145,153,162,183,207,226,236,252,267,281,289,301,325,332,347,359,371,393,408,435,446,461,476,485,508,526,538,552,566,576,584],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":36,"material":37,"size":38,"collection":39,"collections":40,"showCount":41,"zanCount":11,"manualWeight":11,"mainColor":42},227062,"ku-zhu-shi-dong-bi-yi-ming-227062","窟主室东壁","南北朝","佚名","藏地不详","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。",[23,24,25,7,26,27,28,29,30,31,32,33,34,35],"壁画","南北朝风格","宗教题材","设色","佛像","菩萨","飞天","供养人","古代服饰","背光","人物群像","宗教壁画技法","壁面绘制","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71b3a62d2883cac04e8b299e670573b7.jpg","未知","Xcm*Xcm","",[],117,"795548",{"id":44,"slug":45,"title":46,"dynasty":47,"author":19,"museum":48,"description":21,"tags":49,"thumbUrl":57,"material":37,"size":38,"collection":39,"collections":58,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":60},226160,"yu-lin-ku-025-ku-zhu-shi-dong-bi-yi-ming-226160","榆林窟025窟主室东壁","唐","敦煌",[50,23,51,52,25,53,54,55,56,7,26],"唐代","彩绘","工笔","人物造像","莲花","华盖","矿物颜料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff901bcf5ae28da34781422e6ef84b2cb.jpg",[],101,"BDBDBD",{"id":62,"slug":63,"title":64,"dynasty":65,"author":19,"museum":20,"description":66,"tags":67,"thumbUrl":86,"material":37,"size":38,"collection":39,"collections":87,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":60},230488,"fu-shi-hui-125-yi-ming-230488","浮世绘125","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。",[68,69,26,70,71,72,73,74,75,76,77,78,79,80,81,82,83,84,7,85],"浮世绘","木刻","瀑布","树木","山石","流水","人物","建筑","小屋","水域","浴场场景","植物","山石景观","人物活动","传统建筑","自然景观","彩色版画","色彩渲染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadb8451450e532362118b932c616a263.jpg",[],11,{"id":90,"slug":91,"title":92,"dynasty":65,"author":93,"museum":20,"description":94,"tags":95,"thumbUrl":102,"material":37,"size":38,"collection":39,"collections":103,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":60},230647,"you-hua-tiziano-vecellio-048-ti-xiang-230647","油画-Tiziano Vecellio-048","提香","提香·韦切利奥，又译提齐安诺·维伽略（ Tiziano Vecelli或Tiziano Vecellio，约 1488\u002F1490年 – 1576年8月27日 ），英语系国家常称呼为提香（Titian），他是意大利文艺复兴后期威尼斯画派的代表画家。\n提香出生于意大利东北部阿尔卑斯山地区的卡多列。10岁时随兄长到威尼斯，在乔凡尼·贝利尼的画室学画，与画家乔尔乔内是同学。\n在提香所处的时代，他被称为“群星中的太阳”，是意大利最有才能的画家之一，兼工肖像、风景及神话、宗教主题绘画。他对色彩的运用不仅影响了文艺复兴时代的意大利画家，更对西方艺术产生了深远的影响",[96,7,97,98,99,72,100,101],"素描","明暗排线","房屋群","枯树","土地","天空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76d14d3c70de38a2c5d8fb626f88d411.jpg",[],9,{"id":106,"slug":107,"title":108,"dynasty":47,"author":19,"museum":48,"description":21,"tags":109,"thumbUrl":116,"material":37,"size":38,"collection":39,"collections":117,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":42},226502,"ku-yong-dao-nan-pi-yi-ming-226502","窟甬道南披",[50,23,26,110,111,112,113,7,114,115],"装饰风格","纹样","花卉图案","几何纹样","对称构图","平涂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32c1a67a1e2590ac9f420352e5f78125.jpg",[],{"id":119,"slug":120,"title":121,"dynasty":65,"author":122,"museum":20,"description":123,"tags":124,"thumbUrl":130,"material":37,"size":38,"collection":39,"collections":131,"showCount":132,"zanCount":11,"manualWeight":11,"mainColor":60},232378,"he-er-bai-yin-37-he-er-bai-yin-232378","荷尔拜因37","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。” 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Dancer in Profile - - Musee d'Orsay 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