[{"data":1,"prerenderedAt":115},["ShallowReactive",2],{"subject-xiao-gou":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},2263,"xiao-gou","小狗","小狗画高清赏析","精选中国历代小狗题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf1d4166525a0816f7b92f6d8b121fdb.jpg",0,5,[14,41,61,78,95],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":35,"size":36,"collection":37,"collections":38,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":40},219232,"hua-niu-dai-song-219232","画牛","唐","戴嵩","台北故宫博物院","戴嵩 ，生卒年不详，唐代画家。韩滉弟子，韩滉镇守浙西时，嵩为巡官。擅画田家、川原之景，画水牛尤为著名，后人谓得“野性筋骨之妙”。相传曾画饮水之牛，水中倒影，唇鼻相连，可见之观察之精微。明代李日华评其画谓：“固知象物者不在工谨，贯得其神而捷取之耳。”与韩干之画马，并称“韩马戴牛”。",[23,24,25,26,27,28,29,30,31,32,7,33,34],"唐代","国画","书画","名画","水墨","设色","工笔","牛","人物","树","石头","印章","绢本","","水墨画精选",[37],53,"BDBDBD",{"id":42,"slug":43,"title":44,"dynasty":45,"author":46,"museum":47,"description":48,"tags":49,"thumbUrl":55,"material":56,"size":57,"collection":36,"collections":58,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":60},231965,"the-dance-class-circa-musee-d-orsay-france-de-jia-231965","The Dance Class - circa - - Musee d'Orsay (France)","不详","德加","藏地不详","埃德加·德加（Edgar Degas，1834年7月19日—1917年9月27日），印象派重要画家。他出身于金融资本家的家庭，他的祖父是个画家，因此他从小就生长在一个非常关心艺术的家庭中。\n中学毕业后，德加报考了美术学校，他在意大利学习意大利的艺术，特别是文艺复兴时期的艺术。与此同时，他又在让-奥古斯特·多米尼克·安格尔（Jean-Suguste Dominique Ingres，1780-1867）的一位得意门生路易·拉莫特（Louis Lamott）的画室里学画。\n1917年9月27日，埃德加·德加逝世于巴黎，享年83岁。",[50,51,52,53,54,31,7],"油画","印象派","芭蕾","舞者","室内场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10fea89e78fdf95c5d54223b32e46d64.jpg","未知","Xcm*Xcm",[],4,"795548",{"id":62,"slug":63,"title":64,"dynasty":45,"author":65,"museum":47,"description":66,"tags":67,"thumbUrl":75,"material":56,"size":57,"collection":36,"collections":76,"showCount":77,"zanCount":11,"manualWeight":11,"mainColor":40},288773,"rodolphe-bresdin-group-of-figures-yi-ming-288773","Rodolphe Bresdin--Group of Figures","佚名","这幅蚀刻版画以虚实交织的叙事铺陈画面，下半隅是两位长裙仕女牵犬漫游郊野，衣褶柔婉舒展，漫溢着闲游行止松弛惬意的氛围感。而上半段岩穴与灌丛间，古典衣装的人物群像悄然浮现，如同郊野林间沉眠的旧影幽灵。\n作者以疏密错落的线条区分山石、植被与衣袂肌理，将日常闲步的松弛和超现实的幽诡交融，让郊野漫游化作一场朦胧幻梦，漫步的轻愉里裹挟着挥之不去的神秘恍惚，恍若踏入现世与异界交界的朦胧狭间。",[31,68,69,7,70,71,72,73,74],"美人","孩童","洞穴","草木","线描","黑白","户外","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc858b739ff401c3d9a184b49cf9f6a12.jpg",[],2,{"id":79,"slug":80,"title":81,"dynasty":45,"author":82,"museum":47,"description":83,"tags":84,"thumbUrl":93,"material":56,"size":57,"collection":36,"collections":94,"showCount":77,"zanCount":11,"manualWeight":11,"mainColor":60},232561,"mi-lai-si-105-yue-han-ai-fu-li-te-mi-lai-si-232561","米莱斯105","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。",[50,85,28,31,86,7,87,88,89,90,91,92],"写实","男女","木门","绿色墙壁","红色地毯","军装","长裙","挂画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb55b22a40d4e502fe2f9148675d86edd.jpg",[],{"id":96,"slug":97,"title":98,"dynasty":45,"author":65,"museum":47,"description":99,"tags":100,"thumbUrl":113,"material":56,"size":57,"collection":36,"collections":114,"showCount":77,"zanCount":11,"manualWeight":11,"mainColor":40},225439,"fu-shi-hui-197-yi-ming-225439","浮世绘197","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。",[101,102,103,28,31,104,7,105,106,107,108,109,110,111,54,112],"浮世绘","木刻","版画","宠物","花卉","樱花","服饰","地毯","栏杆","山水","树木","室外背景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa07c9e6c28210584baeedcad1739a1bc.jpg",[],1777535752293]