[{"data":1,"prerenderedAt":755},["ShallowReactive",2],{"subject-xie-shi-feng-ge":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},3039,"xie-shi-feng-ge","写实风格","写实风格画高清赏析","精选中国历代写实风格题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9a716ceb0b89b148d93f747fef75255.jpg",0,55,[14,48,66,90,115,127,142,151,174,185,198,220,233,248,257,275,285,295,309,320,331,344,360,377,397,410,419,438,449,456,464,473,488,505,514,525,542,560,569,578,591,601,610,628,638,659,668,676,689,699,711,721,729,736,746],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":41,"material":42,"size":43,"collection":44,"collections":45,"showCount":46,"zanCount":11,"manualWeight":11,"mainColor":47},234912,"qian-long-huang-di-she-lie-tu-zhou-lang-shi-ning-234912","乾隆皇帝射猎图轴","清","郎世宁","北京故宫博物院","《乾隆皇帝射猎图》是清代 等人创作的绢本设色画，现收藏于 。\n该画以高超的写实技巧描绘了乾隆皇帝和大臣在南苑围场捕射野兔的情形，作者通过对骑在骏马上精悍的人物与狂奔逃命的野兔准备而且传神的刻画，成功地展示出乾隆皇帝娴熟的骑技和尚武骑射的创作主题，全画人物马匹千姿百态，动感十足。\n款识：“臣郎世宁恭绘。\n”下钤“臣世宁”白文方印、“恭绘”朱文方印。\n御题诗三首，款署：“南苑行围即事三首，乙亥暮春御笔。\n”钤“乾隆宸翰”白文方印、“得象外意”朱文方印、“研露”朱文长方印。\n“乙亥”是乾隆二十年（1755年），乾隆皇帝时年45岁。\n从乾隆皇帝的御制诗中可知，他此次南苑狩猎“是日凡中八兔”，可谓战绩骄人。\n从笔法上分析，图中乾隆皇帝的肖像及马无疑应出自郎世宁之手，山石树木等衬景则来自中国的宫廷画家之笔。\n《乾隆皇帝射猎图》表现乾隆帝及近亲王公大臣在南苑猎场捕射野兔的动感瞬间。\n作者通过骑在骏马上精悍的人物与狂奔逃命的野兔准确而且传神的刻画，成功地展示出乾隆皇帝娴熟的骑技和尚武骑射的创作主题。\n乾隆皇帝作为以畜牧、游猎为主的 人后裔，严格遵守被清朝诸先帝奉为“满洲根本”、“先正遗风”的骑射尚武典制。\n他通过带有游乐性质的狩猎活动，将满族人弯弓射箭的传统习俗发扬光大。\n乾隆皇帝为了弘扬这种尚武精神，谕令宫廷西洋画师郎世宁以及中国宫廷画家创作了数十幅专门表现他行围狩猎场景的画作，此图便是其中之一。\n该画真实地纪录了乾隆皇帝紧张而热烈的狩猎情景。\n同时，展示了乾隆帝行猎时所使用的各种兵器，为研究乾隆朝的皇室武备无疑提供了难得的形象资料。\n27年11月，该画在意大利“皇家韵致展”中展出。\n郎世宁（1688—1766年），意大利米兰人，原名朱塞佩·伽斯底里奥内（Giuseppe Castiglione），青年时期受到系统的绘画训练，后来加入了欧洲基督教下属的宗教组织耶稣会，并于1714年（清·康熙五十三年）以传教士的身份离开欧洲来到东方，次年抵达澳门，起汉名郎世宁，继而北上京师，随即于康熙末期进入宫廷供职，开始了他长达数十年的中国宫廷艺术家的生涯。\n郎世宁在清宫廷内为皇帝画了多幅表现当时重大事件的历史画，以及众多的人物肖像、走兽、花鸟画作品，还将欧洲的焦点透视画法介绍到中国，协助中国学者年希尧完成了叙述这一画法的著作《视学》，成为当时东西方文化交流的重要使者。\n1766年7月16日（清乾隆三十一年六月初十日）郎世宁在北京病逝，终年78岁。",[23,24,25,26,27,28,29,30,7,31,32,33,34,35,36,37,38,39,40],"国画","书画","名画","立轴","清代","工笔","设色","中西合璧技法","人物","马","弓箭","射猎场景","树木","草地","小径","自然景物","动态构图","狩猎题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F569e69e422015fa6786904aed47711d4.jpg","绢本设色","25.7×33厘米","",[],71,"BDBDBD",{"id":49,"slug":50,"title":51,"dynasty":52,"author":53,"museum":54,"description":55,"tags":56,"thumbUrl":10,"material":63,"size":44,"collection":44,"collections":64,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":47},220566,"xi-wo-hou-xu-bei-hong-220566","徯我后","民国","徐悲鸿","中央美术学院美术馆","焦土龟裂，流民褴褛。老者抬手极目远眺，干裂的唇畔似在发出喟叹，将渴盼化进焦灼的目光里；妇孺瘫倒在地，孱弱的身躯再也扛不住流离的苦楚。身旁水牛攒动，更衬出这方天地里的惶惶不安。\n\n沉郁的色调裹着悲怆，粗粝的笔触刻尽苦难。它借古抒怀，把乱世中人对救赎的祈盼，凝在每一道佝偻的背影里，每一双望穿秋水的眼眸中，是旧时代底层苍生呼号与热望的鲜活注脚。",[57,52,58,59,29,31,60,61,35,62,7],"高清","油画","写实","牛","土地","荒郊","布面油彩",[],42,{"id":67,"slug":68,"title":69,"dynasty":18,"author":70,"museum":71,"description":72,"tags":73,"thumbUrl":84,"material":29,"size":44,"collection":85,"collections":86,"showCount":87,"zanCount":88,"manualWeight":11,"mainColor":89},219247,"zu-xian-xiang-yi-ming-219247","祖先像","佚名","美国克利夫兰艺术博物馆","层叠排布的家族群像，铺展一幅清代家族的伦理长卷。顶戴花翎的男子端坐，旗装霞帔的女眷肃立，衣袂间织锦暗纹隐现，品级补子昭示身份尊卑。面容沉静肃穆，目光似穿越时空，承载着家族的荣耀与传承。工笔细腻，设色典雅，人物神态刻画入微，服饰细节还原精准。这幅祖先像不仅是家族祭祀的精神载体，更以写实笔触定格清代世家风貌与文化基因，成为兼具艺术价值与社会意义的肖像画鲜活见证。",[57,23,28,29,27,74,75,76,77,78,79,80,81,7,82,83],"人物肖像","家族群像","清代服饰","传统服饰","工笔人物","设色人物","室内陈设","器物","人物群像","中国传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89e4a59c5c3af57ba55f005f02ec73ce.jpg","人物画精选",[85],32,3,"795548",{"id":91,"slug":92,"title":93,"dynasty":94,"author":95,"museum":96,"description":97,"tags":98,"thumbUrl":108,"material":109,"size":110,"collection":111,"collections":112,"showCount":113,"zanCount":11,"manualWeight":11,"mainColor":114},225626,"rembrandt-harmensz-van-rijn-035-lun-bo-lang-225626","Rembrandt Harmensz.van Rijn - 035","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。",[58,99,59,31,100,101,102,103,104,105,106,7,107],"明暗对比","室内","桌子","纸牌","织物","服饰","头饰","光线","巴洛克","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49caae398f58c4f2fff3e3d7b430c628.jpg","未知","Xcm*Xcm","油画精选",[111],28,"37474F",{"id":116,"slug":117,"title":118,"dynasty":94,"author":119,"museum":96,"description":120,"tags":121,"thumbUrl":124,"material":109,"size":110,"collection":111,"collections":125,"showCount":126,"zanCount":11,"manualWeight":11,"mainColor":89},225761,"head-of-a-prostitute-december-1885-fan-gao-225761","Head of a prostitute December 1885","梵高","文森特·威廉·梵高（Vincent Willem van Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[58,122,123,7],"女性肖像","后印象派","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff353b9cb43df230b91e1f4fbc78b05e6.jpg",[111],14,{"id":128,"slug":129,"title":130,"dynasty":94,"author":131,"museum":96,"description":132,"tags":133,"thumbUrl":139,"material":109,"size":110,"collection":111,"collections":140,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":89},225951,"hunting-trophy-1862-mo-nai-225951","Hunting Trophy, 1862","莫奈","奥斯卡-克劳德·莫奈（法文：Oscar-Claude Monet，1840年11月14日-1926年12月5日），法国画家，被誉为“印象派领导者”，是印象派代表人物和创始人之一。\n莫奈是法国最重要的画家之一，印象派的理论和实践大部分都有他的推广。莫奈擅长光与影的实验与表现技法。他最重要的风格是改变了阴影和轮廓线的画法，在莫奈的画作中看不到非常明确的阴影，也看不到突显或平涂式的轮廓线。光和影的色彩描绘是莫奈绘画的最大特色。\n2019年5月14日，法国印象派画家克劳德·莫奈的作品《干草堆》在纽约苏富比拍卖行以破纪录的1.107亿美元（当时1美元约合人民币6.87元）高价拍出。这是莫奈作品拍卖价格的最高纪录，也是印象派画作拍卖最高纪录。",[58,134,40,135,136,137,138,7],"静物画","猎犬","雉鸡","野禽","狩猎装备","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F686cf2545571f18b6a36822be1481bb7.jpg",[111],13,{"id":143,"slug":144,"title":145,"dynasty":94,"author":119,"museum":96,"description":120,"tags":146,"thumbUrl":148,"material":109,"size":110,"collection":111,"collections":149,"showCount":150,"zanCount":11,"manualWeight":11,"mainColor":114},225760,"head-of-a-peasant-1884-fan-gao-225760","Head of a peasant 1884",[58,74,7,123,147],"农民","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cae2dec0f29890faf48d03272e55059.jpg",[111],6,{"id":152,"slug":153,"title":154,"dynasty":94,"author":155,"museum":96,"description":156,"tags":157,"thumbUrl":171,"material":109,"size":110,"collection":44,"collections":172,"showCount":173,"zanCount":11,"manualWeight":11,"mainColor":89},232363,"he-er-bai-yin-22-he-er-bai-yin-232363","荷尔拜因22","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。",[59,158,31,159,105,160,161,29,162,163,7,74,164,165,166,167,168,169,170],"肖像","女性","衣物","素描","面部刻画","衣物褶皱","头饰细节","衣物纹理","面部表情刻画","写实技法","人物形象塑造","服饰细节","面部轮廓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11ea074229486352ae40100469e60432.jpg",[],5,{"id":175,"slug":176,"title":177,"dynasty":94,"author":155,"museum":96,"description":156,"tags":178,"thumbUrl":182,"material":109,"size":110,"collection":44,"collections":183,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":47},232386,"he-er-bai-yin-45-he-er-bai-yin-232386","荷尔拜因45",[161,59,31,158,179,180,7,181],"线描","细腻笔触","头部描绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13633e7aca80ed579dacb4b65eedd5c5.jpg",[],4,{"id":186,"slug":187,"title":188,"dynasty":94,"author":189,"museum":96,"description":190,"tags":191,"thumbUrl":196,"material":109,"size":110,"collection":44,"collections":197,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":89},232590,"wei-lian-a-dao-fu-bu-ge-luo-204-wei-lian-a-dao-fu-bu-ge-luo-232590","威廉·阿道夫·布格罗204","威廉·阿道夫·布格罗","威廉·阿道夫·布格罗，1825年生于法国拉罗谢尔，是一名画家。他是法国19世纪学院派最重要人物，曾先后在安格尔画室、法朗索瓦·爱德华·皮柯特工作室接受训练，后入巴黎国家高等美术学院，以及到罗马进修。\n875年在巴黎朱利安美术学院教学，1888年成为巴黎国家高等美术学院教授。画风唯美，擅长创造美好、理想化的境界。题材多为神话、天使和寓言。",[58,31,192,193,194,7,195],"儿童","镜子","室内场景","唯美","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdef21ac07963bbc6dbcdc3457bd8849c.jpg",[],{"id":199,"slug":200,"title":201,"dynasty":94,"author":155,"museum":96,"description":156,"tags":202,"thumbUrl":218,"material":109,"size":110,"collection":44,"collections":219,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":89},232367,"he-er-bai-yin-26-he-er-bai-yin-232367","荷尔拜因26",[203,161,59,31,204,205,206,207,208,209,210,211,212,213,214,215,216,7,99,217],"宗教","圣婴","天使","建筑","拱门","柱子","动物","明暗","线条","宗教题材","人物画","建筑元素","动物形象","素描技法","线条勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4676d663b776b167a0f3f629e31a1f3a.jpg",[],{"id":221,"slug":222,"title":223,"dynasty":94,"author":224,"museum":96,"description":225,"tags":226,"thumbUrl":231,"material":109,"size":110,"collection":44,"collections":232,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":47},231252,"su-miao-506-xi-fang-231252","素描506","西方","使用单一色彩表现明度变化的绘画。绘画工具而在画面载体上按照一定的绘制原则而有意塑造物体形态的美术活动。速写是素描的一种变式。素描水平是反映绘画者空间造型能力的重要指标之一。\n素描是绘画的基础，绘画的骨骼；也是最节制、最需要理智来协助的艺术。初学绘画的人一定要先学素描，素描画得好的人，油画自然画得好。素描的起源，普遍都是以文艺复兴开始，事实上希腊的瓶绘、雕塑都有良好的素描基础。初期的素描是视为绘画的底稿，例如作壁画先要有构想的草稿，然后有素描的底稿，同时也要有手、脸部分精密素描图。作壁画习惯上是不看模特儿写生的，完全要靠事先准备的习作素描和画家的记忆。近代素描，已脱离了原来的底稿和习作的地位，可以成为艺术品来欣赏。画素描的态度不只培养描写力，同时也培养造型的能力，最后仅仅是素描也可视为作品来欣赏。相反的单看油画作品就可知道作者在素描上的造诣如何。因此，素描是绘画的基础，也是绘画的骨骼，是初学画的人无论如何要先认真学素描。素描在严格的解释上，只有单色的黑与白，但如加上淡彩或颜色，仍可认作素描。素描的表现方法分成：一、以描画材料来看可分成木炭素描、铅笔素描、炭精素描、钢笔素描、银笔素描、毛笔素描等。二、以所画的题材可分成石膏像素描，风景素描，静物素描、人体素描、幻想素描。三、依素描的目的又可分成作为构想的素描、用作画稿的素描、速写、作品、习作。\n由木炭，铅笔，钢笔等，以线条来画出物象明暗的单色画，称作素描。单色水彩和单色油画也可以算作素描；中国传统的白描和水墨画也可以称之为素描。通常讲的素描多元化指铅笔画和炭笔画。素描是一切绘画的基础，这是研究绘画艺术所必须经过的一个阶段。　素描通常采用可于平面留下痕迹的方法：如，炭笔，钢笔，画笔，墨水，及纸张等。轮廓和线条是素描的一般称谓。素描具备了自然律动感。不同的笔触营造出不同的线条及横切关系和节奏、主动与被动的周围环境、平面、体积、色调、及质感。\n素描是一种正式的艺术创作，以单色线条来表现直观世界中的事物，亦可以表达思想、概念、态度、感情、幻想、象征甚至抽象形式。它不像带色彩的绘画那样重视总体和彩色，而是着重结构和形式。",[161,59,31,227,228,229,230,224,7,216],"裸体","人体","光影","细腻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc08e927cd2591bab7f77a361012aeb0.jpg",[],{"id":234,"slug":235,"title":236,"dynasty":94,"author":155,"museum":96,"description":156,"tags":237,"thumbUrl":245,"material":109,"size":110,"collection":44,"collections":246,"showCount":247,"zanCount":11,"manualWeight":11,"mainColor":47},232516,"he-er-bai-yin-175-he-er-bai-yin-232516","荷尔拜因175",[25,161,59,238,239,240,241,242,179,7,243,244],"手绘","纸本","人物手部","人物面部","人物局部","单色","细节刻画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce8f018a7418746511ff7dd3e286068e.jpg",[],2,{"id":249,"slug":250,"title":251,"dynasty":94,"author":155,"museum":96,"description":156,"tags":252,"thumbUrl":255,"material":109,"size":110,"collection":44,"collections":256,"showCount":247,"zanCount":11,"manualWeight":11,"mainColor":47},232491,"he-er-bai-yin-150-he-er-bai-yin-232491","荷尔拜因150",[31,158,161,59,253,104,74,254,217,7],"衣帽","写实主义","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7951114bb5628872f2598528041691a.jpg",[],{"id":258,"slug":259,"title":260,"dynasty":94,"author":155,"museum":96,"description":156,"tags":261,"thumbUrl":273,"material":109,"size":110,"collection":44,"collections":274,"showCount":247,"zanCount":11,"manualWeight":11,"mainColor":47},232485,"he-er-bai-yin-144-he-er-bai-yin-232485","荷尔拜因144",[161,262,31,263,264,265,266,59,267,268,179,269,270,271,272,7,217],"白描","战争","兵器","刀剑","群像","动态","冲突","战斗场景","人物动态","刀剑兵器","群像构图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F262814b3c37e6ebebc42c7a1c4fdc034.jpg",[],{"id":276,"slug":277,"title":278,"dynasty":94,"author":155,"museum":96,"description":156,"tags":279,"thumbUrl":283,"material":109,"size":110,"collection":44,"collections":284,"showCount":247,"zanCount":11,"manualWeight":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Alma-Tadema, 1836年1月8日—1912年6月25日）是英国维多利亚时代的知名画家，他的作品以豪华描绘古代世界（中世纪前）而闻名。\n生于荷兰的德龙赖普（Dronrijp），他的父亲彼得·塔德玛（Pieter Tadema）是一名公证人，在他4岁时便去世了。阿尔玛是他教父的名字，他的生母是他父亲的第二名妻子，家庭人口相当众多。家里原准备让他继承父业，但他表现出了对艺术的强烈偏好，因此将他送至安特卫普，在1852年进入了那里的艺术学院，并在亨德利克·利思（Hendrik Leys）的画室学习。",[58,7,302,303,304,31,305,306],"田园风光","田野","干草堆","阅读","休憩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a6ed10bab49e8275b1b12eb7c4a5bd6.jpg",[],{"id":310,"slug":311,"title":312,"dynasty":94,"author":224,"museum":96,"description":225,"tags":313,"thumbUrl":318,"material":109,"size":110,"collection":44,"collections":319,"showCount":247,"zanCount":11,"manualWeight":11,"mainColor":47},231270,"su-miao-524-xi-fang-231270","素描524",[161,59,31,159,227,314,228,229,230,315,74,316,317,7,216],"黑白","质感","坐姿","西方绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F484da68a767b7ce0bf7e8d382aa0d420.jpg",[],{"id":321,"slug":322,"title":323,"dynasty":94,"author":224,"museum":96,"description":225,"tags":324,"thumbUrl":329,"material":109,"size":110,"collection":44,"collections":330,"showCount":247,"zanCount":11,"manualWeight":11,"mainColor":114},231147,"su-miao-401-xi-fang-231147","素描401",[161,31,159,59,314,229,228,216,325,7,326,327,328],"人物素描","黑白灰调子","人体结构","光影表现","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9291bf7fb257da04b0365a3597431ee.jpg",[],{"id":332,"slug":333,"title":334,"dynasty":94,"author":95,"museum":96,"description":97,"tags":335,"thumbUrl":342,"material":109,"size":110,"collection":44,"collections":343,"showCount":247,"zanCount":11,"manualWeight":11,"mainColor":114},230645,"rembrandt-harmensz-van-rijn-033-lun-bo-lang-230645","Rembrandt 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盆、筒杯、勺、盘、缸、甑、 釜、小壶、扁壶、茧形壶、钵、罐、钟、碗等。明器包括礼器鼎和模型明器仓、陶囤以及各种动物形象。纹饰多为变形回纹、三角纹和窝纹。陕西潼关以东地区人们的日常用陶，以灰陶为主，有罐、 壶、碗、勺、筒杯、 瓮、盒、洗、甑、釜、杯、盘、尊等。在汉代流行起来的生活用具模型，如仓、 炉、 灶、井等。大都作为明器供随葬之用。盒、盘、案、杯等，逐渐成组出现，为适应人们厚葬之需也成为祭器。猪、羊、狗、鸡等家畜家禽及圈舍、住宅等明器模型也大量流行。装饰则有弦纹、刻划的三角纹、连环纹、栉齿纹和动物纹，还有绳纹、拍印纹、模印、浮雕、涂色和彩绘等。南方的长沙地区，制陶工艺自成体系，陶盒使用普遍，陶壶无盖，鼎的三足成矮胖的兽蹄形，其他实用器皿还有壶、罐、碗、钫、、盆、釜、甑、长方炉、博山炉等。特点是坚硬厚重。殉葬明器有灶、仓、井、屋、猪圈模型等。广东地区秦汉时属南海郡，常用陶器有瓮、双耳罐、提、四联罐和五联罐、瓿、小瓿、壶、匏壶、温壶、钫、 盒、敦、 小盒、三足盒、三足罐、三足瓿、四联盒、 碗、盆、 甑、釜、鼎、豆、三足格盒等。生活用具中灰白色的印纹硬陶占多数， 有的还戳上印记，多为容器，炊器只有釜、 鼎、甑 3种。造型特别的三足器、温壶、匏壶有着明显的地方特点。印纹硬陶很讲究装饰，单是几何图案就达70多种，此外还有弦纹、 陶纹、 镂孔、篦纹及文字记号等。明器上多施彩绘。四川云南等也有自己的制陶业，不少作品和中原地区相似，如圆底釜、侈口束颈、鼓腹的壶等。关中地区流行的茧形壶虽不生产，确有发现。舞蹈俑、说书俑、抚琴俑、听琴俑、侍立俑和各类家禽形象，生动优美，自然写实。",[632,367,368,635,370,7],"兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdad80fb0ca4b0717b9c8eecf05fbff88.jpg",[],{"id":639,"slug":640,"title":380,"dynasty":18,"author":70,"museum":96,"description":641,"tags":642,"thumbUrl":657,"material":109,"size":110,"collection":44,"collections":658,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},238614,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238614","这幅作品以全景式铺陈，将川地层叠山峦与河谷林海尽揽卷中。远景峰峦间隐见戍城，晕染出边地苍茫的战地氛围。近中景人马如潮，骑兵阵列齐整肃然，步卒、辎重依次排布，将士甲胄鲜明、战马昂然，把平叛大军的雄壮声势淋漓展现。\n\n画师以精细写实的线条，将将士的悍勇神态、战马的昂扬体态，还有山野林木的肌理逐一勾勒，纪实感浓厚，把这场平叛战事的雄浑瞬间凝于纸面，尽显军旅征伐的厚重威严。",[25,23,24,643,548,28,31,32,644,35,645,646,617,647,616,648,649,650,651,652,653,654,388,655,656,7],"册","山水","岩石","河流","军队","植被","山峦叠嶂","人马队列","河流景观","树木丛生","岩石分布","群体人物","山水背景","细致描绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96d911897dcf091a7b8a49017dd6bc12.jpg",[],{"id":660,"slug":661,"title":662,"dynasty":94,"author":224,"museum":96,"description":225,"tags":663,"thumbUrl":666,"material":109,"size":110,"collection":44,"collections":667,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},231326,"su-miao-580-xi-fang-231326","素描580",[161,59,31,159,664,316,158,665,7],"花卉","手持花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffccbe92a4685b64d39c8d0630c32da17.jpg",[],{"id":669,"slug":670,"title":671,"dynasty":94,"author":224,"museum":96,"description":225,"tags":672,"thumbUrl":674,"material":109,"size":110,"collection":44,"collections":675,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":89},231325,"su-miao-579-xi-fang-231325","素描579",[161,59,228,443,31,314,216,7,596,328,673],"结构刻画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe42edc71a9759a9304174f9db226688e.jpg",[],{"id":677,"slug":678,"title":679,"dynasty":94,"author":224,"museum":96,"description":225,"tags":680,"thumbUrl":687,"material":109,"size":110,"collection":44,"collections":688,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":89},231292,"su-miao-546-xi-fang-231292","素描546",[161,7,74,493,681,336,682,683,684,685,686],"光影塑造","眼镜","外套","衬衫","素色背景","笔触层次","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674f88bec319dabdfbb7582a81f2e87a.jpg",[],{"id":690,"slug":691,"title":692,"dynasty":94,"author":224,"museum":96,"description":225,"tags":693,"thumbUrl":697,"material":109,"size":110,"collection":44,"collections":698,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},231261,"su-miao-515-xi-fang-231261","素描515",[161,59,31,158,314,238,694,280,216,213,7,695,696,74],"西方绘画风格","黑白绘画","手绘素描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c69787f9d80d80d33afd0c520cb7b77.jpg",[],{"id":700,"slug":701,"title":702,"dynasty":94,"author":224,"museum":96,"description":225,"tags":703,"thumbUrl":709,"material":109,"size":110,"collection":44,"collections":710,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":89},231259,"su-miao-513-xi-fang-231259","素描513",[161,59,99,704,31,705,706,521,707,708,7,213],"炭笔技法","头盔","步枪","敞开上衣","手持武器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74c81513283fa0b7940cd3c0de5ac09b.jpg",[],{"id":712,"slug":713,"title":714,"dynasty":94,"author":224,"museum":96,"description":225,"tags":715,"thumbUrl":719,"material":109,"size":110,"collection":44,"collections":720,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},231245,"su-miao-499-xi-fang-231245","素描499",[161,7,74,716,314,217,99,238,717,162,718,165],"老年人物","西方艺术","头发描绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2da9b47ec0a4809082e65feb2abc2076.jpg",[],{"id":722,"slug":723,"title":724,"dynasty":94,"author":224,"museum":96,"description":225,"tags":725,"thumbUrl":727,"material":109,"size":110,"collection":44,"collections":728,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":89},231233,"su-miao-487-xi-fang-231233","素描487",[161,74,726,606,7],"木炭素描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca6925dba14ca752c0b46c676269684.jpg",[],{"id":730,"slug":731,"title":732,"dynasty":94,"author":224,"museum":96,"description":225,"tags":733,"thumbUrl":734,"material":109,"size":110,"collection":44,"collections":735,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":89},231228,"su-miao-482-xi-fang-231228","素描482",[161,74,607,606,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F192454ffbb1d9fd245c1569e387ec292.jpg",[],{"id":737,"slug":738,"title":739,"dynasty":94,"author":224,"museum":96,"description":225,"tags":740,"thumbUrl":744,"material":109,"size":110,"collection":44,"collections":745,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},231167,"su-miao-421-xi-fang-231167","素描421",[161,317,31,159,7,328,314,741,742,743,217,99],"背影","长发","人体轮廓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56bcd465d0757595e514a4e3e43bdc7a.jpg",[],{"id":747,"slug":748,"title":749,"dynasty":94,"author":224,"m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