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Harmensz.van Rijn - 0197","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。",[52,7,53,26,54,55,56],"油画","明暗对比","鸟类","衣帽","肖像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd6af52e2b4bac5a46bf2d140aea52df.jpg","未知","Xcm*Xcm","油画精选",[60],152,"37474F",{"id":65,"slug":66,"title":67,"dynasty":47,"author":48,"museum":49,"description":50,"tags":68,"thumbUrl":76,"material":58,"size":59,"collection":60,"collections":77,"showCount":78,"zanCount":11,"manualWeight":11,"mainColor":63},225641,"rembrandt-harmensz-van-rijn-051-lun-bo-lang-225641","Rembrandt Harmensz.van Rijn - 051",[52,7,53,25,26,69,70,71,72,73,74,75],"裸体女性","侍女","孔雀","织物","台阶","地毯","光影运用","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0ed1703eace104f83f36a3a4e2c8618.jpg",[60],142,{"id":80,"slug":81,"title":82,"dynasty":47,"author":48,"museum":49,"description":50,"tags":83,"thumbUrl":96,"material":58,"size":59,"collection":60,"collections":97,"showCount":98,"zanCount":11,"manualWeight":11,"mainColor":99},225619,"rembrandt-harmensz-van-rijn-0209-lun-bo-lang-225619","Rembrandt Harmensz.van Rijn - 0209",[52,7,26,56,53,84,85,86,87,88,89,90,91,92,93,94,95],"光影","金属质感","羽毛装饰","服饰","男性人物","写实主义","肖像画","光影处理","盔甲","帽子","面部刻画","质感表现","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1053022676f459aad37dd7ecb373e8ab.jpg",[60],137,"795548",{"id":101,"slug":102,"title":103,"dynasty":104,"author":105,"museum":106,"description":107,"tags":108,"thumbUrl":120,"material":121,"size":122,"collection":123,"collections":124,"showCount":125,"zanCount":126,"manualWeight":11,"mainColor":42},218854,"san-yang-kai-tai-tu-lang-shi-ning-218854","三羊开泰图","清","郎世宁","台北故宫博物院","其画风中融合特殊中西笔触，尤其是运用写实画派光影透视技巧，郎氏画作特别讨喜尤受皇帝欣赏。\n三羊开泰用于岁首祝福时，人们也常用“三羊”来代替“三阳”，把“三阳开泰”写成“三羊开泰”，乃取其谐音而已。根据泰卦的释义，“三阳开泰”的引申意思，则有好运即将降临之意。\n拿“三羊”来代替“三阳”，除了“羊”与“阳”两字谐音而外，也还有寓有更隐蔽的深层的文化含义。",[23,109,24,110,25,111,7,112,113,114,115,116,117,118,119],"清代","工笔","中西合璧","羊","兽","梅","竹","石","草地","植物","立轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4b031b067e2d9172399a90dab58307e.jpg","绢本,设色","横60厘米 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020",[52,7,53,26,132,133,134,135,136,137,138,139,93,140,141,142,56],"男性","女性","书籍","烛台","布料","室内场景","胡须","白发","白色衣领","桌子","蜡烛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F879cda8e31773dcf7ca7b39f3116a968.jpg",[60],127,{"id":147,"slug":148,"title":149,"dynasty":150,"author":151,"museum":152,"description":153,"tags":154,"thumbUrl":160,"material":161,"size":162,"collection":163,"collections":164,"showCount":166,"zanCount":167,"manualWeight":11,"mainColor":99},221555,"yuan-tu-mao-song-221555","猿图","宋","毛松","日本京都国立博物馆","这幅猴图在表现上非常出色，超越了单纯的写实，在众多的宋画当中亦堪称名品。据说所画的是日本猴而非中国猴，除水墨之外还使用了金泥，工笔细腻自然。南宋画院画家毛松所作的说法始于狩野探幽，但此说缺乏依据。曾由武田信玄捐赠与曼殊院觉如。该图在褐色的底色上，利用金泥所绘线条的交织，表现出绒毛的光泽。又以细腻的笔致，表现其面部的皱纹、嘴势、眼神以及颇有戏剧性的爪足，极其逼真地将这只金毛浓淡有致、赤面红耳的猿猴画了出来。",[23,155,24,156,110,157,25,158,113,159,7],"名画","书画","水墨","猴","金泥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a5893ea0ae36c7bc5b4c46f296e8fce.jpg","绢本","纵：47.0cm，横：36.5cm","宋画精选",[163,123,165],"设色画精选",126,3,{"id":169,"slug":170,"title":171,"dynasty":150,"author":172,"museum":106,"description":173,"tags":174,"thumbUrl":187,"material":121,"size":188,"collection":163,"collections":189,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":99},220144,"qiu-pu-rong-bin-tu-cui-bai-220144","秋蒲蓉宾图","崔白","本幅绘荷叶枯黄，芙蓉展艳，一派秋光旖旎，花间鹡鸰腾跃，翡翠静静停留，两鸿雁振翅凌空，意在千里。无画家款印，旧传为崔氏之作。崔白(约西元十一世纪)，安徽凤阳人，字子西。宋仁宗至神宗时为画院画家。精工画花卉翎毛，尤以枯荷凫雁得名，但亦精于道释、人物、鬼神。据说他作画时从不起稿，画长直坚挺的线条，无须使用直尺界画，操笔立就。",[23,175,176,25,7,177,178,179,180,181,182,183,184,185,186],"宋代","工笔花鸟","写生","细腻笔触","大雁","芙蓉","蒲草","荷花","禽鸟","花草","荷叶","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0742ff18547c75d91c9eaba1ab1932e4.jpg","本幅 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8","达芬奇","列奥纳多·达·芬奇［意大利语：Leonardo da Vinci；儒略历1452年4月15日（公历4月23日）~1519年5月2日］。意大利文艺复兴画家、科学家、发明家。 现代学者称他为“文艺复兴时期最完美的代表”，是人类历史上绝无仅有的全才，其最大的成就是绘画，他的杰作《蒙娜丽莎》和《最后的晚餐》等作品，体现了他精湛的艺术造诣。\n达·芬奇思想深邃，学识渊博、擅长绘画、雕刻、发明、建筑，通晓数学、生物学、物理学、天文学、地质学等学科 。保存下来的手稿大约有6000页。达·芬奇认为自然中最美的研究对象是人体，人体是大自然的奇妙之作品，画家应以人为绘画对象的核心。\n达·芬奇生于托斯卡纳的芬奇镇附近。他在少年时已显露艺术天赋，15岁左右到佛罗伦萨拜师学艺，成长为具有科学素养的画家、雕刻家。并成为军事工程师和建筑师。 1482年应聘到米兰后，在贵族宫廷中进行创作和研究活动，1513年起漂泊于罗马和佛罗伦萨等地。1516年侨居法国，1519年5月2日病逝。\n2021年7月9日，达·芬奇素描《熊的头部》在伦敦佳士得以885.75万英镑，约合8000万元人民币的价格成交，创下达·芬奇素描画新的拍卖纪录",[317,7,478,26,56],"明暗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5458ac75b748f84dc4a0e774dda564d7.jpg",[],57,{"id":483,"slug":484,"title":485,"dynasty":47,"author":486,"museum":49,"description":487,"tags":488,"thumbUrl":495,"material":58,"size":59,"collection":60,"collections":496,"showCount":481,"zanCount":11,"manualWeight":11,"mainColor":63},225891,"fa-guo-wang-hou-ma-li-an-tuo-wa-he-ta-de-hai-zi-men-yi-li-sha-bai-lu-yi-si-wei-jie-lei-bu-lun-225891","法国王后玛丽．安托瓦和她的孩子们","伊丽莎白·路易丝·维杰·勒布伦","伊丽莎白·路易丝·维热·勒布伦（ElisabethLouiseVigee-LeBrun），1755年出生于法国，学肖像画成名后，被选为法兰西皇家绘画雕塑学院院士，1842年在巴黎逝世。",[52,25,7,90,26,489,133,389,137,490,72,74,491,492,84,493,494],"孩童","华丽服饰","窗帘","柜子","古典","欧洲宫廷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93289aec03f77fbc22f98dd6e56f227e.jpg",[60],{"id":498,"slug":499,"title":500,"dynasty":47,"author":48,"museum":49,"description":50,"tags":501,"thumbUrl":503,"material":58,"size":59,"collection":60,"collections":504,"showCount":481,"zanCount":11,"manualWeight":11,"mainColor":99},225671,"rembrandt-harmensz-van-rijn-081-lun-bo-lang-225671","Rembrandt 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David，1748—1825）是法国著名画家，新古典主义画派的奠基人。画风严谨，技法精工。\n在资产阶级革命民主派雅各宾专政时期，曾任公共教育委员会和美术委员会的委员。早期作品以历史英雄人物为题材，如《荷拉斯兄弟的宣誓》、《处决自己的儿子布鲁特斯》等。",[52,601,7,26,602,603,604,240,605,606,607,608,137],"新古典主义","浴盆","木箱","羽毛笔","白布","血迹","伤口","历史题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3042836c18f5ca365fb9d9264702bfd.jpg",[],47,{"id":613,"slug":614,"title":615,"dynasty":47,"author":572,"museum":49,"description":573,"tags":616,"thumbUrl":619,"material":58,"size":59,"collection":60,"collections":620,"showCount":621,"zanCount":11,"manualWeight":11,"mainColor":63},226147,"shang-ren-ge-ao-er-ge-ji-sai-xiao-han-si-huo-er-bai-yin-226147","商人格奥尔格·吉塞",[52,7,26,617,618,134,577,136,55,432],"纸","笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a694ea2d89efc2767401182cad29d48.jpg",[60],45,{"id":623,"slug":624,"title":625,"dynasty":47,"author":335,"museum":49,"description":336,"tags":626,"thumbUrl":633,"material":58,"size":59,"collection":60,"collections":634,"showCount":621,"zanCount":233,"manualWeight":11,"mainColor":42},225717,"bleaching-ground-at-scheveningen-1882-fan-gao-225717","Bleaching Ground at Scheveningen 1882",[52,7,26,117,221,627,628,629,630,631,632],"建筑群","木栅栏","晾晒物","土路","多云","粗犷笔触","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2523837246725860aa9e6b5694db722.jpg",[60],{"id":636,"slug":637,"title":638,"dynasty":47,"author":639,"museum":49,"description":640,"tags":641,"thumbUrl":646,"material":58,"size":59,"collection":39,"collections":647,"showCount":648,"zanCount":11,"manualWeight":11,"mainColor":63},230648,"bao-nan-gua-de-shao-nv-fu-shi-tuo-zuo-na-luo-230648","抱南瓜的少女","浮士托·佐那罗","浮士托·佐那罗fausto zonaro(1854年9月18日- 1929年7月19日)，他是一名意大利画家，以他的现实主义风格的生活和奥斯曼帝国的历史绘画而闻名。",[52,7,25,26,642,643,118,644,645,55],"少女","南瓜","草丛","绿叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae1afabc5e032ac22c4fa0cb818add4b.jpg",[],43,{"id":650,"slug":651,"title":652,"dynasty":18,"author":19,"museum":20,"description":653,"tags":654,"thumbUrl":657,"material":230,"size":39,"collection":39,"collections":658,"showCount":659,"zanCount":11,"manualWeight":11,"mainColor":42},220566,"xi-wo-hou-xu-bei-hong-220566","徯我后","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。",[23,18,52,7,25,26,28,32,203,655,656],"荒郊","写实风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9a716ceb0b89b148d93f747fef75255.jpg",[],42,{"id":661,"slug":662,"title":663,"dynasty":47,"author":48,"museum":49,"description":50,"tags":664,"thumbUrl":666,"material":58,"size":59,"collection":60,"collections":667,"showCount":668,"zanCount":11,"manualWeight":11,"mainColor":63},225636,"rembrandt-harmensz-van-rijn-046-lun-bo-lang-225636","Rembrandt Harmensz.van Rijn - 046",[52,7,53,26,133,55,285,665,136],"项链","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa53398f21582c77f212aff593753fbb0.jpg",[60],40,{"id":670,"slug":671,"title":672,"dynasty":104,"author":105,"museum":106,"description":673,"tags":674,"thumbUrl":675,"material":121,"size":39,"collection":165,"collections":676,"showCount":677,"zanCount":265,"manualWeight":11,"mainColor":42},219727,"shi-jun-tu-zhi-hong-yu-zuo-lang-shi-ning-219727","十骏图之红玉座","郎世宁，1688年生，1766年逝世，意大利米兰人。原名朱塞佩·伽斯底里奥内。年轻时在欧洲学习绘画，曾为教堂绘制圣像。清康熙五十四年（1715）作为天主教耶稣会的修道士来中国传教，到京后约于雍正元年（1723）进入如意馆，成为宫廷画家。他很好地融合了中西绘画技法，既讲究西方绘画中的立体效果，注意透视和明暗，重视写实和结构准确的合理性。由于他能画并精通建筑学，曾参与增修圆明园建筑工事。擅画肖像、走兽、花果、翎毛尤善画马。所作大多以西画法入绢纸，略参中法，以写实为工，专注形似。他将欧洲的绘画品种和方法传授给中国的宫廷画家，为中西文化艺术的交流作出了积极贡献，颇得皇家青睐",[155,24,156,110,25,7,220,113,272,161],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24534bc44ce45c061edd6f11765136ed.jpg",[165],38,{"id":679,"slug":680,"title":681,"dynasty":104,"author":248,"museum":106,"description":682,"tags":683,"thumbUrl":685,"material":25,"size":686,"collection":165,"collections":687,"showCount":677,"zanCount":11,"manualWeight":11,"mainColor":42},219363,"dong-hai-xun-lu-tu-zhou-yi-ming-219363","东海驯鹿图轴","依据乾隆乙丑（1745）的御题，此画为宁古塔将军进献的东海所产驯鹿。体型如牛，性情温驯，与麋鹿非常接近。从画的尺幅看来，有描绘动物原寸大小的意图，与其他郎世宁所画的骏马、骏犬等以原寸表现的作法一样。画中驯鹿的眼睛有细腻的高光处理，另外对于毛色也有微妙地掌握，特别是驯鹿脸部神情的表达，似乎也让观者能感受它的驯良可爱性格。本图无款，然画法水准可能出自郎世宁。",[24,25,110,113,684,119,109,7,532],"鹿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d52e7b832daa560d07e49a96985f005.jpg","211.8x215.4",[165],{"id":689,"slug":690,"title":691,"dynasty":104,"author":105,"museum":106,"description":692,"tags":693,"thumbUrl":695,"material":696,"size":697,"collection":39,"collections":698,"showCount":699,"zanCount":11,"manualWeight":11,"mainColor":42},231527,"shi-jun-quan-jin-chi-xian-lang-shi-ning-231527","十骏犬金翅猃","郎世宁生于意大利，清康熙末年进入宫廷，郎世宁的《十犬图》轴十幅，每幅纵246.6厘米，横163.9厘米，由台北故宫博物院藏。画中十条品种高贵的名犬，这些名犬大都是当时周边部落首领进献给皇帝的，，均为郎世 宁写生作品。由于他深谙动物的解剖结构，所以其笔下的名犬形象非常准确，且富于立体感。在笔法上，他以细碎的小笔触来表现动物皮毛的质感，使得入 画的名犬栩栩如生。\n十条品种高贵的名犬，分别命为：苍水虬、斑锦彪、金翅猃、蓦空鹊、墨玉璃、茹黄豹、睒星狼、霜花鹞、雪爪卢、苍猊犬。其中，前九条狗都属小头长吻、腰腹收缩、四肢细劲那类品种，均为出色的擅长奔跑的猎手，敏捷强壮，速度耐力惊人，成为皇帝一行围猎时的好帮手;最后那条威猛的苍猊犬，应当是藏獒。\n从画面上看，图中的犬，无疑是由画家郎世宁所绘，因为狗采用的是西方的素描画法，造型立体具有质感，欧洲风味很足;而图画背景部分的花草坡石，讲究皴法、勾勒，追求平面的装饰效果，与动物的画法相比较，二者有很大的差异，这应当是由供奉宫廷的中国画家用传统画法补画的，但署名只有郎世宁一人。作品用中国的毛笔、纸绢和色彩，却以欧洲的绘画方式来诠释动物的结构、体积感及皮毛的质感，使得动物造形准确、生动，立体效果强。在这幅作品中骏犬的描绘用素描式的方法，通过光影明暗的变化，来达到栩栩如生的效果。但环境的描绘却遵循中国绘画的传统技法，勾、皴、点、染，兼工带写，以工为主，营造出中国花鸟画所特有的清秀明丽的韵味。\n《十骏犬》册中的每幅图都有当朝的文职大臣的题诗赋词。据史料记载，乾隆皇帝拿到时，大加赞赏，百看不厌，爱不释手。这幅册页，艺术水准相当高，郎士宁使用的是中国的软笔，却按西画的透视和光感等技巧，把犬的形态和神态表现出来，体现了高超的写生功夫和创意能力，画得相当精细，栩栩如生，立体感极强。比如犬的毛是单笔渐入，虽然用的不是画油画的油彩，却根根呈现，逼真到让人忍不住触手去摸，中国画是散点透视，西画是高光点和近光点，一点透视。这种透视效果在这两幅册页中充分体现出来。这些技法对后来中国画的发展都有很大的影响。",[24,110,25,7,113,694,184,412,117],"松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F282319004ad80a2cd47a8365f76f3e47.jpg","纸本","纵246.6厘米，横163.9厘米",[],37,{"id":701,"slug":702,"title":703,"dynasty":47,"author":475,"museum":49,"description":476,"tags":704,"thumbUrl":706,"material":58,"size":59,"collection":39,"collections":707,"showCount":699,"zanCount":11,"manualWeight":11,"mainColor":42},230595,"su-miao-3-da-fen-qi-230595","素描3",[317,26,56,7,705],"线条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0367a41b51a5cc074a587b3089698415.jpg",[],{"id":709,"slug":710,"title":711,"dynasty":47,"author":48,"museum":49,"description":50,"tags":712,"thumbUrl":721,"material":58,"size":59,"collection":60,"collections":722,"showCount":699,"zanCount":11,"manualWeight":11,"mainColor":63},225685,"rembrandt-harmensz-van-rijn-095-lun-bo-lang-225685","Rembrandt Harmensz.van Rijn - 095",[52,713,53,7,714,390,715,325,665,716,717,718,719,720],"人物肖像","女性形象","毛皮衣物","耳环","暗背景","织物纹理","光影效果","人物神态","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F639166c433b2c8df6dcadd7804d44be3.jpg",[60],{"id":724,"slug":725,"title":726,"dynasty":104,"author":105,"museum":106,"description":281,"tags":727,"thumbUrl":731,"material":25,"size":294,"collection":39,"collections":732,"showCount":699,"zanCount":11,"manualWeight":11,"mainColor":42},222737,"xian-e-chang-chun-tu-dou-hua-lang-shi-ning-222737","仙萼长春图豆花",[23,155,24,156,283,25,110,7,111,284,728,729,117,730,118,186],"豆花","麻雀","石块","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf7cbebeb96400b2f7cc4f921366e047.jpg",[],{"id":734,"slug":735,"title":736,"dynasty":737,"author":738,"museum":49,"description":739,"tags":740,"thumbUrl":752,"material":39,"size":39,"collection":39,"collections":753,"showCount":754,"zanCount":11,"manualWeight":11,"mainColor":42},228496,"yuan-ri-xin-nian-tu-li-shi-da-228496","元日新年图","明","李士达","此作用淡墨晕染出疏朗萧寒的柳林，枝桠错落萧散，衬出元日的清寒底色。河畔村舍错落，堂内乡人围坐把盏，院间孩童嬉闹、邻里揖礼贺岁，桥头水榭行人徐行，处处漫溢着新年的融融暖意。\n画家以松秀灵动的线条勾勒景物，设色简淡古雅，将冬日水乡的清寂与世俗年味相融，写实中饱含诗意。细腻铺陈江南乡间的淳朴乡风，把邻里间的新年温情藏在日常烟火里，让古朴鲜活的乡间元日跃然纸上，尽显雅致又贴近平常的画中意趣。",[23,24,157,25,26,489,741,742,743,744,745,746,747,748,749,750,7,751],"小桥","村舍","水榭","枯柳","流水","水乡","新年","贺岁","温情","民俗","诗意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6928196d431c0946ab7bed432df00a6d.jpg",[],35,{"id":756,"slug":757,"title":508,"dynasty":104,"author":105,"museum":106,"description":509,"tags":758,"thumbUrl":762,"material":521,"size":522,"collection":123,"collections":763,"showCount":764,"zanCount":11,"manualWeight":11,"mainColor":99},222794,"jin-chun-tu-lang-shi-ning-222794",[23,155,24,25,284,512,759,285,760,761,7],"湖石","山涧","杂卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee1bcec4cb1230187f87809e407b8069.jpg",[123,165],34,{"id":766,"slug":767,"title":768,"dynasty":47,"author":335,"museum":49,"description":336,"tags":769,"thumbUrl":777,"material":58,"size":59,"collection":60,"collections":778,"showCount":779,"zanCount":233,"manualWeight":11,"mainColor":99},225722,"boerendorp-in-de-avond1884-fan-gao-225722","Boerendorp 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041",[52,26,56,7,53,25,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F121f4308b7cd69af96e9b6936139cefb.jpg",[60],{"id":914,"slug":915,"title":916,"dynasty":104,"author":105,"museum":106,"description":281,"tags":917,"thumbUrl":919,"material":25,"size":294,"collection":39,"collections":920,"showCount":895,"zanCount":11,"manualWeight":11,"mainColor":42},222731,"xian-e-chang-chun-tu-zi-bai-ding-xiang-lang-shi-ning-222731","仙萼长春图紫白丁香",[23,24,156,283,110,25,284,918,816,292,288,7,111],"丁香","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ffcb1593f89bbebafa1e0c5468c60b4.jpg",[],{"id":922,"slug":923,"title":924,"dynasty":47,"author":475,"museum":49,"description":476,"tags":925,"thumbUrl":926,"material":58,"size":59,"collection":39,"collections":927,"showCount":928,"zanCount":11,"manualWeight":11,"mainColor":42},230596,"su-miao-2-da-fen-qi-230596","素描2",[155,317,220,113,7,705],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9237a25023781abd17ef9640f879dc7.jpg",[],26,{"id":930,"slug":931,"title":932,"dynasty":47,"author":933,"museum":49,"description":934,"tags":935,"thumbUrl":944,"material":58,"size":59,"collection":39,"collections":945,"showCount":928,"zanCount":11,"manualWeight":11,"mainColor":99},226151,"conception-giovanni-battista-tiepolo-226151","Conception","Giovanni Battista Tiepolo","乔凡尼·巴蒂斯塔·提埃坡罗，常被称为詹巴蒂斯塔（Giambattista），巴洛克及洛可可时期意大利著名画家，威尼斯画派最后的代表人物。",[411,52,26,856,936,937,938,285,939,859,940,118,7,84,941,942,943],"鸽子","龙","云朵","披风","球体","色彩丰富","神话生物","小天使","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9da7c27f4bcc1dbe29780391e7ba55ab.jpg",[],{"id":947,"slug":948,"title":949,"dynasty":47,"author":48,"museum":49,"description":50,"tags":950,"thumbUrl":952,"material":58,"size":59,"collection":60,"collections":953,"showCount":954,"zanCount":11,"manualWeight":11,"mainColor":63},225630,"rembrandt-harmensz-van-rijn-039-lun-bo-lang-225630","Rembrandt Harmensz.van Rijn - 039",[52,26,7,53,880,84,868,137,951,90],"衣着华丽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dedba658724fa1c3703f05f3d6304c3.jpg",[60],24,{"id":956,"slug":957,"title":958,"dynasty":150,"author":248,"museum":887,"description":959,"tags":960,"thumbUrl":964,"material":521,"size":965,"collection":966,"collections":967,"showCount":954,"zanCount":11,"manualWeight":11,"mainColor":99},223361,"hui-chang-jiu-lao-tu-juan-yi-ming-223361","会昌九老图卷","此卷描绘的是唐会昌五年（845年）白居易居洛阳香山时与友人的“尚齿”之会。虽以人物为题材，但建筑部分不论整体还是细部都描绘得准确精微，水榭、房舍、板桥、河堤、护栏、石凳乃至屋内的陈设交代得一清二楚，可谓“咸取砖木诸匠本法，略不相背”，几乎可以按图构建。画家不仅对建筑的构造和做法至详至悉，而且已经开始注意通过高超的写实技巧和一定程度的透视画法在二维平面上更为真实地表现建筑物三维空间的立体感和通透感，达到使观者“望之中虚，若可蹑足”的艺术效果。尤为重要的是，图中的建筑采用北宋的界画手法，匀细的线条有利于刻画建筑物复杂的结构和构件的细部，这种水墨白描的建筑画法延续至元代并发展到了极致。",[23,155,24,961,199,848,157,26,200,741,962,963,7],"长卷","房舍","文人雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ade434f61458b68f926c3828411c458.jpg","纵40cm，横69cm","书法精选",[966],{"id":969,"slug":970,"title":971,"dynasty":18,"author":19,"museum":20,"description":972,"tags":973,"thumbUrl":975,"material":39,"size":39,"collection":39,"collections":976,"showCount":954,"zanCount":11,"manualWeight":11,"mainColor":42},220542,"xi-yi-xu-bei-hong-220542","洗衣","此作用淡墨留白晕染出水乡柔波，岸滩以焦墨枯笔勾勒，尽显糙实质感。一坐一蹲的浣衣女子是画面焦点，线条兼具速写的爽利与国画的凝练，将日常劳作的松弛情态自然铺陈。白衣女子垂首静望，黑衣妇人俯身搓揉衣物，发髻妥帖、身姿鲜活，没有刻意修饰，尽是江南水乡寻常的烟火意趣。\n\n右上角题字与画面呼应，书画相融，带着质朴的人文温度。画作跳出古典仕女的范式，以写实笔触聚焦平凡世相，将日常劳作晕染成诗意的生活切片，晕开沉静温婉的东方韵味，把最朴素的日常，绘就成动人的生活图景。",[24,156,157,25,26,7,974],"石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F538ee49cf9ef15f0e4bcc69f5a8326d3.jpg",[],{"id":978,"slug":979,"title":980,"dynasty":981,"author":982,"museum":983,"description":984,"tags":985,"thumbUrl":988,"material":39,"size":39,"collection":123,"collections":989,"showCount":954,"zanCount":233,"manualWeight":11,"mainColor":990},202797,"qiu-hua-san-ji-tu-zhou-cheng-zhang-202797","秋花三鸡图轴","近代","程璋","上海博物馆","画面中三只鸡雏情态生动，或俯首啄食，或侧颈谛听，羽毛以墨色浓淡晕染，兼施细笔勾勒，质感蓬松而层次分明。背景秋花竞放，黄花明艳，红叶似火，墨叶苍劲，笔墨写意中见工致，色彩明快却不失雅致。构图疏密有致，禽鸟与花草相映成趣，既得传统花鸟之生机，又融写实技法之精准，尽显秋日田园的恬淡意趣。",[24,119,284,986,25,157,7,110,987,23],"鸡","秋花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90bc5d7d0a33799eeec73b51380fa026.jpg",[123],"c3b6a5",{"id":992,"slug":993,"title":994,"dynasty":47,"author":48,"museum":49,"description":50,"tags":995,"thumbUrl":999,"material":58,"size":59,"collection":60,"collections":1000,"showCount":1001,"zanCount":11,"manualWeight":11,"mainColor":63},225695,"lun-bo-lang-225695","Рембрандт ван Рейн - Саския ван Эйленбург, 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048",[155,52,26,90,133,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cfdfeb28bfd483fc68196d7135c5777.jpg",[60],{"id":1471,"slug":1472,"title":1473,"dynasty":47,"author":1163,"museum":49,"description":1265,"tags":1474,"thumbUrl":1479,"material":58,"size":59,"collection":39,"collections":1480,"showCount":1481,"zanCount":11,"manualWeight":11,"mainColor":99},232589,"wei-lian-a-dao-fu-bu-ge-luo-203-wei-lian-a-dao-fu-bu-ge-luo-232589","威廉·阿道夫·布格罗203",[52,601,7,25,26,489,1475,859,1476,1477,73,118,285,1271,325,324,1478],"带翼人物","弓箭","石柱","户外场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18093c9f14851c36be0b35e0cc03b672.jpg",[],11,{"id":1483,"slug":1484,"title":1485,"dynasty":47,"author":1070,"museum":49,"description":1071,"tags":1486,"thumbUrl":1488,"material":58,"size":59,"collection":39,"collections":1489,"showCount":1481,"zanCount":11,"manualWeight":11,"mainColor":99},231144,"su-miao-398-xi-fang-231144","素描398",[317,591,26,7,1487],"西画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6bbcfa6234839ddde2b49de33aef920.jpg",[],{"id":1491,"slug":1492,"title":1493,"dynasty":737,"author":248,"museum":49,"description":1494,"tags":1495,"thumbUrl":1500,"material":39,"size":39,"collection":39,"collections":1501,"showCount":1481,"zanCount":11,"manualWeight":11,"mainColor":99},228381,"ming-xuan-zong-ma-shang-xiang-zhou-yi-ming-228381","明宣宗马上像轴","画面中帝王骑乘骏马缓行，明黄官袍衣袂微曳，神态从容悠然，尽显松弛闲适的帝王气度。骏马昂首扬蹄，身姿矫健灵动，将驰行动感完美呈现。\n\n背景浅沙平滩之上，芦荻随风轻摆，水鸟掠沙振翅，烘托出郊野清旷疏朗的意趣。整作设色柔和古朴，工细雅致，人物鞍马刻画写实精准，兼具肖像纪实性与山水画的淡远意境，将宫廷驰游的闲逸图景晕染恰到好处，是明代鞍马人物画的精妙之作。",[155,24,156,119,25,110,26,220,186,1496,1497,1498,7,1499],"芦荻","郊野","闲逸","鞍马人物画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F845b19d053221e30bd84e4eca72a4d5f.jpg",[],{"id":1503,"slug":1504,"title":1505,"dynasty":47,"author":335,"museum":49,"description":336,"tags":1506,"thumbUrl":1508,"material":58,"size":59,"collection":60,"collections":1509,"showCount":1481,"zanCount":11,"manualWeight":11,"mainColor":99},225872,"weaver-1884-fan-gao-225872","Weaver 1884",[52,7,26,338,1507,359,1327,320],"纺车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99b7a1ac022669dfeea1085459d74627.jpg",[60],{"id":1511,"slug":1512,"title":1513,"dynasty":47,"author":335,"museum":49,"description":336,"tags":1514,"thumbUrl":1519,"material":58,"size":59,"collection":60,"collections":1520,"showCount":1481,"zanCount":11,"manualWeight":11,"mainColor":63},225764,"head-of-a-woman-november-january-fan-gao-225764","Head of a woman (November - January )",[155,52,26,133,869,502,1515,1516,7,1041,1125,1517,1518,713],"笔触粗犷","色彩对比","表现性笔触","色彩浓郁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59029dcdc390e39ace6f8619be8dd5b.jpg",[60],{"id":1522,"slug":1523,"title":1524,"dynasty":150,"author":248,"museum":49,"description":1525,"tags":1526,"thumbUrl":1530,"material":58,"size":59,"collection":39,"collections":1531,"showCount":1481,"zanCount":11,"manualWeight":11,"mainColor":63},223807,"mo-yu-bi-shan-yi-ming-223807","墨玉笔山","笔架又称笔格、笔搁，是一种传统的文房用具，用于书写或作画间隙暂时搁置湿笔。笔架形制多样，其中别名“笔山”的山形笔架更是别具一格，以其峰峦起伏的山势促成了实用性与观赏性的和谐统一。\n山形笔架在宋代开始流行于文人墨客的案头，其产生有着特定的时代背景。宋代，随着文人阶层的兴起，文房用具在日常生活器具中的地位也不断提升，成为文人审美雅趣与精神追求的重要载体。问道升仙的梦想、隐逸山林的志向与仁者乐山的胸怀，凝聚成山形笔架所承载的精神内核，文房用具的专门化发展和传统造山艺术的渊源则为山形笔架的产生提供了物质与技术条件。因此，对山形笔架源流进行梳理，能够透物而见人，剖析宋代以降文人群体的精神世界。",[175,530,531,1114,1527,1528,430,7,1529],"文房","器","简约造型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae86dab3fa4e3e42a79cbb4e1de9910b.jpg",[],{"id":1533,"slug":1534,"title":1535,"dynasty":104,"author":248,"museum":887,"description":1536,"tags":1537,"thumbUrl":1542,"material":521,"size":1543,"collection":262,"collections":1544,"showCount":1545,"zanCount":233,"manualWeight":11,"mainColor":42},236163,"xuan-ye-rong-zhuang-xiang-zhou-yi-ming-236163","玄烨戎装像轴","画面中帝王戎装卓立，铠甲纹饰工细鲜明，金饰点缀尽显庄重威仪，背负箭矢，尽显弓马本色。四名侍从神态恭谨，错落随侍，衬出帝王尊崇地位。苍松虬劲古朴，枝桠舒展，皴染细腻，留白晕染出郊野空阔悠远的氛围。\n\n整幅设色明丽沉稳，线条流畅工致，写实兼具意境。既精准复刻人物服制仪态细节，又借古松烘托帝王沉雄气魄，将帝王的武略风采与肃穆仪范定格绢素，是清代纪实肖像画的精妙之作。",[155,24,119,90,198,25,110,7,1538,1539,1540,1541,1497],"苍松","帝王","侍从","戎装","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd3c2d5aba305219ef7e7053ae7f0bc1.jpg","纵256.1厘米， 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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。",[155,317,56,26,7,132,93,138,1125,705,696],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd8b49b984de339ba47e78696103feeb.jpg",[],{"id":1556,"slug":1557,"title":1558,"dynasty":47,"author":1550,"museum":49,"description":1551,"tags":1559,"thumbUrl":1560,"material":58,"size":59,"collection":39,"collections":1561,"showCount":1545,"zanCount":11,"manualWeight":11,"mainColor":905},232348,"he-er-bai-yin-7-he-er-bai-yin-232348","荷尔拜因7",[155,317,7,26,55,696],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde42edb2996979ff5bc07e76e3573000.jpg",[],{"id":1563,"slug":1564,"title":1565,"dynasty":47,"author":48,"museum":49,"description":50,"tags":1566,"thumbUrl":1571,"material":58,"size":59,"collection":60,"collections":1572,"showCount":1545,"zanCount":11,"manualWeight":11,"mainColor":63},225694,"the-preacher-eleazar-swalmius-lun-bo-lang-225694","The preacher Eleazar 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Rijn - 065",[52,26,55,390,53,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F165399e79b4e19540aac062816b31e53.jpg",[60],{"id":1588,"slug":1589,"title":1590,"dynasty":47,"author":48,"museum":49,"description":50,"tags":1591,"thumbUrl":1592,"material":58,"size":59,"collection":60,"collections":1593,"showCount":1545,"zanCount":11,"manualWeight":11,"mainColor":63},225652,"rembrandt-harmensz-van-rijn-062-lun-bo-lang-225652","Rembrandt Harmensz.van Rijn - 062",[52,7,53,84,26,1567,132,223,869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F672706c53f9410ce44f62699cb3321ee.jpg",[60],{"id":1595,"slug":1596,"title":1597,"dynasty":104,"author":105,"museum":887,"description":888,"tags":1598,"thumbUrl":1600,"material":521,"size":893,"collection":39,"collections":1601,"showCount":1545,"zanCount":11,"manualWeight":11,"mainColor":42},222786,"hua-niao-ce-ye-06-lang-shi-ning-222786","花鸟册页06",[23,24,156,284,1186,110,25,7,111,1599,1187,202,285,289],"兰花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cfbd368ce8a13d8f1c449151eb2224a.jpg",[],{"id":1603,"slug":1604,"title":1605,"dynasty":104,"author":105,"museum":887,"description":888,"tags":1606,"thumbUrl":1609,"material":521,"size":893,"collection":39,"collections":1610,"showCount":1545,"zanCount":233,"manualWeight":11,"mainColor":42},222782,"hua-niao-ce-ye-02-lang-shi-ning-222782","花鸟册页02",[23,155,24,156,1186,110,25,111,7,1329,284,1607,288,1608,645],"罂粟花","花苞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ccfecb63f6077c37a83305fe3001965.jpg",[],{"id":1612,"slug":1613,"title":1614,"dynasty":47,"author":1615,"museum":49,"description":1616,"tags":1617,"thumbUrl":1621,"material":58,"size":59,"collection":39,"collections":1622,"showCount":1623,"zanCount":11,"manualWeight":11,"mainColor":99},232300,"a-er-ma-27-lao-lun-si-a-er-ma-ta-de-ma-232300","阿尔玛27","劳伦斯·阿尔玛-塔德玛","劳伦斯·阿尔玛-塔德玛（Lawrence 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England","这幅素描以松灵的排线铺陈水岸暮色，近景虬曲矮枝错落排布，笔调随性晕染出郊野草木的生趣。水岸林木疏密有致，以层层短线勾勒出叶片蓬松质感，树影在镜面般的水面晕开，模糊实景与虚像的边界，揉碎了柔和天光。\n\n远景村镇融在朦胧雾气之中，尖顶塔楼成为视觉锚点，将视线引向悠远灰调天际。画作以细腻明暗过渡拉开空间层次，带着松弛的临场写生感，将日暮河畔的湿润水汽与慵懒晚风揉进铅色里，定格乡野河畔的恬然静谧，尽显自然乡野的温柔诗意。",[317,2915,203,2916,2380,2917,186,7],"风景","湖泊","村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F121ba0c17ed7683a29196f0154266e1c.jpg",[],{"id":2921,"slug":2922,"title":2923,"dynasty":47,"author":248,"museum":49,"description":2924,"tags":2925,"thumbUrl":2930,"material":58,"size":59,"collection":39,"collections":2931,"showCount":265,"zanCount":11,"manualWeight":11,"mainColor":99},288622,"jean-franc-ois-millet-sheepshearing-beneath-a-tree-yi-ming-288622","Jean-François Millet--Sheepshearing Beneath a Tree","这幅素描以沉实细腻的排线，铺陈出乡野午后的劳作日常。佝偻着腰的农妇专注持剪，与戴帽农父合力固定住温顺的羊只，羊只探出头颅，蓬松皮毛与人物粗粝衣褶形成柔硬反差。角落中另一位农人俯身忙碌，背景木栅栏与浓荫层叠交错，晕开慵懒光影，将劳作疲惫揉进乡野静谧里。\n\n笔触质朴无饰，未作刻意修饰，把平凡田间劳作刻画出沉静诗意，将乡人的日常定格为带着烟火气的永恒瞬间，尽显写实风格的温柔力量，让观者触摸到乡野生活的温热肌理。",[317,2926,770,1270,203,2927,112,2928,2929,7],"风俗画","栅栏","劳动者","剪羊毛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37606fe14ec06192c05be74bd7084db8.jpg",[],{"id":2933,"slug":2934,"title":2935,"dynasty":47,"author":248,"museum":49,"description":2936,"tags":2937,"thumbUrl":2939,"material":58,"size":59,"collection":39,"collections":2940,"showCount":265,"zanCount":11,"manualWeight":11,"mainColor":42},288556,"after-wenceslaus-hollar-four-heads-yi-ming-288556","After Wenceslaus Hollar--Four Heads","四幅肖像各成一帧，利落的钢刻线条精准勾勒出四位老者的迥异神采。\n左上老者头巾缠头，皱纹如刀凿刻就，眉眼垂落，沉郁神色藏着饱经世事的缄默。右上男子束巾覆额，下颌紧绷，目光锐利带着审视的锋芒。左下老者肩颈袒露，眉眼扬起，似正高声言说，神态鲜活外放。右下角侧颜线条硬朗冷冽，眉骨凸起，神色疏离又带着沉凝。\n\n全作以排线铺陈明暗，无多余笔墨，粗粝刻痕带着质朴的力量感，寥寥数笔便将每个形象的性格全然定格，粗朴生动间尽显肖像刻画的独到功力，将市井老者的鲜活情态凝于纸面，让人仿佛能窥见每张面孔背后的人生片段。",[198,90,848,88,317,7,2938],"人物头像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57603755ff0311f455f9412200a2888e.jpg",[],{"id":2942,"slug":2943,"title":2463,"dynasty":2216,"author":248,"museum":49,"description":2944,"tags":2945,"thumbUrl":2946,"material":58,"size":59,"collection":39,"collections":2947,"showCount":265,"zanCount":233,"manualWeight":11,"mainColor":63},256141,"tao-gou-yi-ming-256141","汉代陶器的工艺水平很高,造型优美,质地精良。品种、装饰则因地区不同而不同。陕西关中地区常见的日用陶器有豆、 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。",[2216,2467,7,113,1664],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f788bba19499e4cf550c93ce8f09a20.jpg",[],{"id":2949,"slug":2950,"title":2951,"dynasty":2216,"author":248,"museum":49,"description":2952,"tags":2953,"thumbUrl":2957,"material":58,"size":59,"collection":39,"collections":2958,"showCount":265,"zanCount":11,"manualWeight":11,"mainColor":99},255409,"tao-nan-yong-yi-ming-255409","陶男俑","春秋战国时期，有一种殉葬用的“俑”，据《礼记·檀弓》，孔子“谓为俑者不仁”。郑玄注：“俑，偶人也，有面目机发，有似于生人。”皇侃疏：“机械发动踊跃，故谓之俑也。”孔颖达正义：“刻木为人，而自发动，与生人无异，但无性灵知识。”又《孟子·梁惠王》：“仲尼曰：始作俑者，其无后乎?为其像人而用之也。”焦循《孟子正义》：《广雅》引(张揖)《埤苍》云：“俑，木人，送葬设关而能跳踊，故名之。”“为其像人者，谓为其像人之转动跳踊也。”可见“俑”就是由简单机械发动能够自己转动跳跃的木人。\n中国古代坟中墓中陪葬用的偶人。是象征殉葬奴隶的模拟品。东周墓中出现渐多，秦汉至隋唐盛行，北宋以后逐渐衰落，但仍沿用到元明时期。俑的质料以木、陶质最常见，也有瓷、石或金属制品。宋代以后纸明器开始流行，陶、木、石质的俑开始渐渐减少。俑的形象，主要有奴仆、舞乐、士兵、仪仗等，并常附有鞍马、牛车、庖厨用具和家畜等模型，还有镇墓胜的神物。俑大多真实地模拟着当时的各种人物，因而可以考见当时社会的生活习俗，也是研究各代舆服制度的重要资料。俑还可以反映出各个时代雕塑艺术的水平。\n秦代的秦始皇陵兵马俑，形体比人略高，陶制，是已知最大的俑；另外还有铜俑等。汉俑种类比以前增多，有兵士、女侍、仆役及乐舞俑。南方以木俑为多，有的彩绘着衣。其他地方多陶、石、木、金属等多种材质的俑，注重传神。两晋南北朝制作多样，南方承中原传统并有了瓷俑；北方出了少数民族形象的陶俑。隋唐俑型大而精美，三彩俑为盛唐时的制作高峰。现在能见到的，是保存在陕西省历史博物馆的唐三彩杰作，有陕西省乾县懿德太子李重润墓出土的、三彩纹胎骑马狩猎俑，和西安市中堡村唐墓出土的唐三彩骆驼戴乐舞俑。这些俑的特点，普遍是形象高大雄健，神态生动富有传神，可谓形神俱佳的作品。并反映了盛唐时期，中华民族富有创造性和豪迈自信的民族性格。五代以后，以俑殉葬的风气开始低落，金元墓葬中出现了陶塑、砖雕表演杂剧的俑，往往成组塑造，还有舞台背景，较为生动，是制作俑的最后一个高潮，以山西出土为多。明清墓葬中俑的出现渐少。在高官王侯墓中出土有木俑和石俑，多以成群人物或辅以仪仗、侍从的庞大场面，用来炫耀死者地位为主，但作为雕塑制品已失去了艺术感染力。秦兵马俑的历史文化价值是独具魅力的。它打开了观察它所产生的那个时代的窗口，大大地改变了人们对那个时代的看法。\n秦兵马俑震撼世人的首推其卓越的艺术成就。几千件魁伟英武的大型陶塑艺术作品，以整体形象排列在将近两万平方米的空间里，其磅礴的气势几乎使所有不同肤色的参观者都从心灵深处产生强烈震颤，体现出艺术家驾驭宏大艺术题材、追求整体气韵和艺术创造的卓越才能。秦俑千人千面、呼之欲出的人物塑造则从形体把握、神韵处理、色彩运用、细部刻画等方面表现出作者的艺术素养和艺术成就。作品写实主义的风格不仅给我们留下了一个高超的古代艺术范本，同时也留下了许多关于那个时代的极富价值的历史记录。严肃划一的军旅题材能够处理得如此生动，产生如此震撼人心的艺术魅力，使人们不得不换一副眼光来审视中国古代艺术发展历程中的特殊规律，重新探索和构架中国古代造型艺术发展的历史。\n秦兵马俑坑文物的出土也较大幅度地改写了人们对秦代的科技水平的认识，以大量的实证材料形象地展现了秦代生产力的发展水平。就科技史而言，秦俑坑发现的许多资料都是令世人震惊的。譬如：1、秦俑坑出土文物所展现的秦代冶金和金属加工技术比我们以往的估计要高出很多，其中青铜涂铬防锈技术的大量应用是最具代表性的一例，它在当时已是一种很成熟的技术，秦俑出土的绝大多数兵器表面都涂有这种保护层。这种绝技似乎从汉代以后就失传了，与之形成鲜明对比的是，两千多年后的1937年，现代镀铬技术才在德国产生，并以专利发明载入了史册。2、秦俑坑出土兵器明确印证了秦简中关于“为器同物者，其小大、短长”是一种标准化概念，秦人在标准化实践方面取得了惊人的成就。这种标准化既是秦人管理艺术发展的代表，也是秦代科技水平的标志。秦人加工的青铜弩机器件精密、形体标准，相同规格的器件完全可以互换。许多特殊的加工工艺，如青铜铍脊上的纹饰生成，纤如毫发的金属小孔钻刻技艺，也都令人叹为观止，一些工艺至今还是不解之谜。由于古代统治者们有重政治、重伦理、崇人事而轻科技的倾向，史书关于科技的记载往往简略残缺，秦代科技资料更是凤毛麟角。正因为如此，秦俑考古的历史文化价值也就更加重要。\n俑坑数千兵马俑所展示的军事内容无疑是军事史研究的最重要的、最形象的资料之一，许多资料使人们对古代军事领域的认识更进一步。譬如，关于当时的兵种构成、组合搭配和结阵形式，兵器、兵器配置形式以及甲具防护装备，军伍组织结构和指挥系统，甚至军伍士卒的来源等，都有珍贵的资料价值。二号坑弩兵的单独结阵，骑兵、轻车兵的编队和配合，是以前有所不知或知之不详的重要资料，以之对照《孙膑兵法》中关于车、步、骑配合原则的论述，给人留下的印象是极其深刻的。古代军事著述中关于兵器配置中长短相杂、相救的原则在秦俑坑兵器配置中也有直观表现，同样有其军事科学上的研究价值。难怪有人将秦俑三坑称为一座内容丰厚的秦代军事博物馆。\n历史本身赋予了秦俑多种历史文化价值。秦俑所折射的历史层面既多又广，在建筑史、服饰史、制度史尤其是王陵制度史等方面，具有独特的认识价值。即使秦俑的身高、体魄、服饰发髻、刻记文字以及秦人在俑坑留下的生产工具和劳作痕迹，都能从不同侧面反映出秦代社会生活的真实影像，反映出一个时代的文化特质，反映出秦兴亡的历史真谛。\n秦俑坑出土文物的精美和丰富，是文物所代表的那个时代物质成就的直接见证。它让人们重新认识和评价那个时代，也提出了许多值得探讨的历史课题，譬如关于帝王权力的重新认识、秦代文化的特质、秦在中国历史发展中的地位等。与之相联系的是，秦始皇的历史评价又一次成为人们关注的话题，秦俑坑出土文物所反映的科技水平和生产能力，在一定程度上反映出秦始皇所起的某种积极作用，同时也从一个侧面证实史书中提到的秦代好大喜功、横征暴敛的统治问题。秦俑考古还在继续，相信对这些问题的研究将会随着考古的进展而不断深入。",[2216,2954,1665,26,356,2467,2955,2956,7],"陶","质朴","古拙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f5617eb23b405fb7177e5482ec0d563.jpg",[],{"id":2960,"slug":2961,"title":2962,"dynasty":104,"author":248,"museum":49,"description":2963,"tags":2964,"thumbUrl":2969,"material":58,"size":59,"collection":39,"collections":2970,"showCount":265,"zanCount":11,"manualWeight":11,"mainColor":63},252834,"ni-ren-zhang-su-ba-xian-zhang-guo-lao-xiang-yi-ming-252834","泥人张塑八仙张果老像","这件泥塑将张果老的仙者气韵尽显。老者额间圆光自带出尘之感，面容慈和，皱纹顺着肌理舒展，长髯如银丝垂落，根根分明写实传神。\n\n宽袍褶皱层叠自然，灰旧衣身镶边晕出岁月质感，衣料垂坠的重量感被拿捏入微。他手持简牍，姿态恭谨又带着闲散仙气，皮肤松弛的肌理细节逼真，仿若俗世中悠然隐世的长者，却又自带着仙灵清隽气质。\n\n写实技法揉合神话意趣，将泥料化作有温度的仙翁形象，清代泥塑的精湛匠心凝于寸尺泥胎，让神话人物走下传说，仿若可缓步而来。",[109,2965,26,2966,2967,7,223,138,2968,2608],"泥塑","八仙","民间工艺","道帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F363dba17b126f0b5166959a60da48c76.jpg",[],{"id":2972,"slug":2973,"title":2974,"dynasty":47,"author":1854,"museum":49,"description":1855,"tags":2975,"thumbUrl":2979,"material":58,"size":59,"collection":39,"collections":2980,"showCount":265,"zanCount":11,"manualWeight":11,"mainColor":63},232565,"mi-lai-si-109-yue-han-ai-fu-li-te-mi-lai-si-232565","米莱斯109",[52,7,25,26,642,1063,996,93,2976,2977,2978,578,136,1630,285,137,141,320,592,71],"花束","花瓶","雕花家具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b9c1c2e8e84966cdeea1f489bd678d8.jpg",[],{"id":2982,"slug":2983,"title":2984,"dynasty":47,"author":1854,"museum":49,"description":1855,"tags":2985,"thumbUrl":2988,"material":58,"size":59,"collection":39,"collections":2989,"showCount":265,"zanCount":11,"manualWeight":11,"mainColor":42},232562,"mi-lai-si-106-yue-han-ai-fu-li-te-mi-lai-si-232562","米莱斯106",[317,848,7,26,220,256,378,2986,379,2987,705,478],"街道","日常场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda326b256351db28b51156f9b8bb95be.jpg",[],{"id":2991,"slug":2992,"title":2993,"dynasty":47,"author":1854,"museum":49,"description":1855,"tags":299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Man","以红粉笔铺陈晕染，蓬松卷曲的假发通过虚实错落的排线，层层铺展出柔软蓬松的体积感，发丝起伏舒展，还原出华丽复古的巴洛克发式细节。\n画家将重心落于人物神态塑造，沉稳的眼窝衬出锐利沉静的目光，抿起的唇角带着冷峻自持的气场，面部光影柔和平滑，精准刻画出骨骼起伏与细腻的皮肤肌理。松弛敞开的衣领线条简练自然，暗合人物松弛却不失庄重的绅士气韵。整体笔触松弛克制，在写实精准间晕开古典肖像的雅致氛围感，将人物的内敛风骨凝于笔端。",[317,90,88,785,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d2006c8458a11a01e6ce0788a905524.jpg",[],{"id":3886,"slug":3887,"title":3888,"dynasty":47,"author":248,"museum":49,"description":3889,"tags":3890,"thumbUrl":3892,"material":58,"size":59,"collection":39,"collections":3893,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":905},289499,"benedetto-luti-seated-nude-male-figure-recto-seated-figure-verso-yi-ming-289499","Benedetto Luti--Seated Nude Male Figure (recto); Seated Figure 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West--Maternity","以红粉笔晕出柔暖朦胧的底色，将缱绻温情揉进每一笔线条之中。垂首的女子眉目柔婉，松垂的衣褶似流云舒展，晕开松弛静谧的氛围。膝头的孩童们或亲昵依偎在身侧，或探着小身子索求目光，蓬松的发丝、软润的肌肤皆被细腻笔触晕染得鲜活动人。没有锐利生硬的轮廓，唯有暖调排线缓缓铺陈天伦亲昵，把亲子间无需言说的羁绊，定格在朦胧柔美的光影之中，将沉静悠长的温柔氛围拉到极致。",[317,198,3861,3900,3901,489,133,7],"母爱","温馨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1a442ca035d8714b76645a9e70c9fab.jpg",[],{"id":3905,"slug":3906,"title":3907,"dynasty":47,"author":248,"museum":49,"description":3908,"tags":3909,"thumbUrl":3913,"material":58,"size":59,"collection":39,"collections":3914,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":99},289488,"bernardo-strozzi-study-for-st-francis-of-assisi-adoring-the-cross-yi-ming-289488","Bernardo Strozzi (–)-Study for St Francis of Assisi adoring the cross","粗粝的排线扫过蓬乱须发，顺着眉骨、颧肌的起伏揉擦出明暗层次，将脖颈拉伸的紧绷感全然铺展。人物目光竭力向上扬起，眉峰攒起的褶皱牵动着眼角纹路，微张的嘴唇仿佛正吐露出无声的祷念。\n\n厚重的炭色揉出须发的蓬松粗野，却用细腻晕染柔化了面部肌肉的震颤，把仰望时的悲戚与崇敬一并刻入纸面。光影顺着鼻梁与下颌线流淌，精准勾勒出仰颈时肌肉的拉扯感，将那份近乎屏息的虔诚，凝练成静态却极具张力的动容瞬间。",[317,713,411,3910,3911,7,3912,132],"宗教人物","圣方济各","虔诚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8021cc0f17c639cd3d9a95526c0079b.jpg",[],{"id":3916,"slug":3917,"title":3918,"dynasty":47,"author":248,"museum":49,"description":3919,"tags":3920,"thumbUrl":3922,"material":58,"size":59,"collection":39,"collections":3923,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":63},289309,"max-weber-the-drawing-class-yi-ming-289309","Max Weber--The Drawing Class","画面以站立裸模为核心，用凝练扎实的排线刻画出肌肉起伏与骨骼棱角，将清瘦躯体的张力藏于松弛站姿之中。背景朦胧晕开，伏案的画者、堆叠的画框化作虚化色块，既交代了课堂场景，又反衬出模特身形的硬朗清晰。\n\n明暗过渡柔和自然，线条疏密区分出皮肤的温润与画室木质结构的粗糙，写实笔触晕染出沉静肃穆的氛围，将写生课堂里专注凝滞的瞬间定格于纸面，让观者仿佛踏入这间安静的画室，真切感受现场流淌的专注氛围，尽显古典人体素描的扎实功底，把写生现场的真实质感细腻铺陈开来。",[317,198,1690,3921,7,2674],"画室","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0d71582fdd3c4fb0cbdebeb0e71e27f.jpg",[],{"id":3925,"slug":3926,"title":3927,"dynasty":47,"author":248,"museum":49,"description":3928,"tags":3929,"thumbUrl":3932,"material":58,"size":59,"collection":39,"collections":3933,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":42},289270,"pietro-jacopo-palmieri-trompe-l-oeil-exercise-prints-on-a-table-top-yi-ming-289270","Pietro Jacopo Palmieri--Trompe-l'Oeil Exercise Prints on a Table Top","这是一幅巧思盎然的错视佳作，将凌乱堆叠的速写稿铺陈于桌面之上，虚实交融模糊了画内画外的边界。\n小幅速写各有乾坤：戴羽饰的异域男子神情桀骜，鞍马奔踏带着旷野的风，旅人彳亍、水乡小镇晕开静谧烟火，每一页都封存着鲜活的采风日常。\n画稿看似随意摊放，带着刚被翻阅搁置的松弛感，仿佛能窥见画师方才辍笔的模样，将零散的灵感碎片定格成充满生活温度的创作一隅，尽显古典手绘的精妙意趣。",[317,1700,3930,26,220,379,696,7,2915,3931],"错视画","市井场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcb75bb43ce9bc25a1738131ad9e5540.jpg",[],{"id":3935,"slug":3936,"title":3937,"dynasty":47,"author":248,"museum":49,"description":3938,"tags":3939,"thumbUrl":3942,"material":58,"size":59,"collection":39,"collections":3943,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":42},289236,"rembrandt-elsje-christiaens-hanging-on-a-gibbet-yi-ming-289236","Rembrandt--Elsje Christiaens Hanging on a Gibbet","这幅速写以克制却极具穿透力的笔墨，定格了濒死时刻的沉郁瞬间。松弛耷拉的肢体瘫靠在绞架上，微垂的眉眼泄尽了最后一丝气力，将麻木与绝望揉进每一处线条里。粗犷却精准的笔触勾勒出衣物褶皱的潦草真实，枷锁的冷硬线条和瘫软躯体形成强烈反差。浅淡的明暗晕染顺着纸色蔓延，晕开了压抑到窒闷的氛围，没有刻意渲染血腥，却把生命流逝的沉重感尽数传递，让观者能触摸到这份濒死的悲凉，于极简的笔墨中攫住了最撼动人心的悲剧张力。",[317,848,26,3940,3941,7],"绞刑场景","悲怆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd518f01f9b93b7c960dda86e2b9609d4.jpg",[],{"id":3945,"slug":3946,"title":3947,"dynasty":47,"author":248,"museum":49,"description":3948,"tags":3949,"thumbUrl":3950,"material":58,"size":59,"collection":39,"collections":3951,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":99},289208,"glenn-sujo-self-portrait-drawing-xiii-yi-ming-289208","Glenn Sujo--Self-Portrait Drawing XIII","奔放粗粝的炭笔笔触肆意铺陈，强烈明暗切割开面部轮廓，将自我审视的复杂心绪揉入画面之中。受光面硬朗锐利，如同不肯妥协的自我意志，暗部晕染朦胧，藏着沉郁拉扯的情绪。潦草写意的背景弱化虚化，反衬出肖像的厚重存在感，每一道排线都带着创作者的情绪起伏，把内心的焦灼与沉静的笃定，一同刻绘在纸面之上，让观者得以触碰这份真实浓烈的自我凝视，在明暗交织里，窥见皮囊之下翻腾的精神世界。",[317,26,56,285,7,1073],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4289d8c6b9ef6dfe0def13840a5cd8ca.jpg",[],{"id":3953,"slug":3954,"title":3955,"dynasty":47,"author":248,"museum":49,"description":3956,"tags":3957,"thumbUrl":3960,"material":58,"size":59,"collection":39,"collections":3961,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":42},289188,"goya-construction-in-progress-yi-ming-289188","Goya--Construction in Progress","以棕褐水墨铺就画面，作者以灵动奔放的线条捕捉施工现场的鲜活瞬间。前景处牵拉绳索的劳工姿态紧绷，肌肉的张力藏在粗粝的笔锋中，一旁伫立的长衫观者闲散疏离，二者动静对照，暗合阶层的微妙分野。中后景的脚手架上挤满工人与看客，人群错落拥挤，将工地的喧嚣烟火气尽数收纳。\n没有精雕细琢的刻画，虚实变幻的笔触勾勒出杂乱又蓬勃的劳作氛围，仿佛能听见号子与交谈声交织，将市井劳作的生命力定格在纸面，粗粝笔意裹挟着滚烫的生活质感，让这段日常劳作拥有了直击人心的力量。",[1700,317,26,3958,3959,563,7],"工地","脚手架","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f821b3a100042002e7c2b4ae0fb6977.jpg",[],{"id":3963,"slug":3964,"title":3965,"dynasty":47,"author":248,"museum":49,"description":3966,"tags":3967,"thumbUrl":3969,"material":58,"size":59,"collection":39,"collections":3970,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":99},289179,"goya-hunting-lice-images-yi-ming-289179","Goya--Hunting Lice; Images","昏棕的晕染铺就逼仄昏暗的农舍小屋，粗粝松弛的笔触将贫贱日常缓缓铺开。佝偻的老者沉坐椅上，少女俯身专注为他捉虱，旁侧二人埋首桌前，或是沉湎琐事或是短暂休憩。\n\n光影裹挟着粗朴烟火气，潦草随性的线条藏着底层生计的疲惫，没有刻意煽情，只以速写般的随性刻画出小人物的片刻日常，粗粝笔触让窘迫的生活质感扑面而来，将困顿里的麻木与细碎温情揉合在晕开的墨色中，尽显平凡褶皱下的沉郁况味，静诉着底层人生的黯淡庸常。",[198,157,137,219,3968,7],"市井生活","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1508bb2fbfdf636bee6dd2db310d8eaa.jpg",[],{"id":3972,"slug":3973,"title":3974,"dynasty":47,"author":248,"museum":49,"description":3975,"tags":3976,"thumbUrl":3977,"material":58,"size":59,"collection":39,"collections":3978,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":42},289171,"goya-nothing-is-known-of-this-yi-ming-289171","Goya--Nothing Is Known of This","淡晕的墨色晕开模糊的拱门街巷，明暗拉扯出逼仄压抑的市井角落。粗粝的笔触不加修饰，将乱世流民的绝望直白剖开。\n\n前景妇人裹着褴褛头巾，癫狂嘶吼，似要将满腹愤懑全数呕出，手中紧攥的纸片，是她仅能抓住的微弱诉求。身旁男子佝偻滞重，仿佛被千斤生活拖拽，连动作都浸着麻木。\n\n晕散的墨色揉开混沌的世相，将失语的苦难摊开纸面。冷硬的荒诞感扑面而来，直白诉说着底层在泥沼里的挣扎，把麻木与癫狂织成一张密网，将观者拖入这沉郁悲戚的乱世图景中。",[157,26,3941,543,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F057419497e7da5f9bd0255a13a9e019a.jpg",[],{"id":3980,"slug":3981,"title":3982,"dynasty":47,"author":248,"museum":49,"description":3983,"tags":3984,"thumbUrl":3985,"material":58,"size":59,"collection":39,"collections":3986,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":42},289167,"goya-self-portrait-yi-ming-289167","Goya--Self-Portrait","这幅炭笔素描以极简笔触锚定人物精神内核。蓬松卷发以浓郁晕染交叠出蓬松质感，明暗交错间带着未经修饰的生动。\n\n面部刻画精准克制，眉峰微蹙，沉郁锐利的眼带着审视意味，颧骨与下颌的明暗块面，勾勒出饱经世事的沧桑轮廓，紧抿的唇线封存着深沉情绪。衣袍仅以浅淡排线轻描，以虚实对比将焦点紧锁于面部，粗粝炭笔肌理与柔和晕染交织，把艺术家的孤傲与敏锐凝在纸面，无冗余细节，却让灵魂的重量跃然纸上。",[317,26,807,90,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0005e5638f0877978e21e5de3a65a68e.jpg",[],{"id":3988,"slug":3989,"title":3990,"dynasty":47,"author":248,"museum":49,"description":3991,"tags":3992,"thumbUrl":3993,"material":58,"size":59,"collection":39,"collections":3994,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":42},289149,"guercino-bust-of-a-man-facing-right-yi-ming-289149","Guercino--Bust of a Man Facing Right","奔放灵动的笔墨勾勒出老者半身侧颜，浓淡干湿变化的墨色，将蓬松卷曲的发丝层次尽数铺展，粗简线条带过肩部轮廓，写意却精准贴合人体结构。画家以晕染暗部刻画出皮肤松弛纹路与紧绷的下颌线条，将老者凝神远眺时的沉郁沧桑尽数藏在寥寥几笔中。\n整幅速写随性却不失严谨，以极具表现力的笔触定格人物瞬间神态，情绪张力浸透在每一处笔墨里，尽显速写捕捉鲜活气韵的独特魅力。",[713,132,998,1700,157,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2dc43e34f29687a37ebaf52171b3e7d.jpg",[],{"id":3996,"slug":3997,"title":3998,"dynasty":47,"author":248,"museum":49,"description":3999,"tags":4000,"thumbUrl":4002,"material":58,"size":59,"collection":39,"collections":4003,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":42},289088,"jean-jacques-de-boissieu-farmyard-yi-ming-289088","Jean Jacques de Boissieu--Farmyard","这幅乡野画作用明暗晕染铺陈出松弛的午后日常。笔触朴拙自然，将柔光揉进粗粝的乡居肌理里，木构阳台爬着荒草，石墙带着风霜磨蚀的痕迹，堆置的干草捆漫溢慵懒的山野气息。\n\n三两村人散落各处，阳台孩童凭栏眺望，近景的农夫歇坐长木休憩，墙根路人蜷卧酣睡，闲散松弛漫在风里。左侧林木枯荣交织，虬曲枝桠和乡居的破败粗朴相映，勾勒出未加修饰的原生野趣。\n明暗层次晕开静谧氛围，将乡居烟火的温柔日常定格，满是质朴治愈的松弛暖意。",[317,3861,2926,771,1008,1729,770,26,4001,7],"干草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb79807babc00ca6f5c74e6dffa05938a.jpg",[],{"id":4005,"slug":4006,"title":4007,"dynasty":47,"author":248,"museum":49,"description":4008,"tags":4009,"thumbUrl":4010,"material":58,"size":59,"collection":39,"collections":4011,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":42},289081,"jean-restout-le-jeune-seated-male-nude-yi-ming-289081","Jean Restout le jeune--Seated Male Nude","这幅素描以色纸为底，明暗碰撞极具感染力。松弛又精准的笔触感，将男性躯体的张力尽数捕捉：肩胛、胸肌与腿部的肌肉起伏清晰可见，光影铺陈下，皮下筋肉的力量感呼之欲出。\n\n人物垂眉敛目，舒展的双臂添了沉静悲悯的氛围，擦笔晕染出柔和的明暗过渡，利落排线勾勒出骨骼棱角，粗粝的明暗块面烘托出沉郁肃穆的氛围感，兼顾古典人体写生的写实严谨与灵动写意，让静态素描拥有呼吸感，将男性躯体的力量与沉静神态相融。",[317,26,1690,325,7,2572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cb02b80e26cf6a244c962c6843fa352.jpg",[],{"id":4013,"slug":4014,"title":4015,"dynasty":47,"author":248,"museum":49,"description":4016,"tags":4017,"thumbUrl":4019,"material":58,"size":59,"collection":39,"collections":4020,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":905},289046,"leonardo-da-vinci-head-of-a-man-in-profile-facing-to-the-left-yi-ming-289046","Leonardo da Vinci--Head of a Man in Profile Facing to the Left","这是一幅充满张力的侧面头像速写，用交叉排线铺陈出沉实的体积感。螺旋状的灵动笔触将卷发蓬松蓬松的绒感鲜活呈现，顺着面部骨骼起伏的调子，利落刻画出硬朗的眉骨、棱角分明的下颌，凝沉的神情藏在深浅错落的阴影里，带着未说出口的沉郁故事。\n\n残损的画纸晕开了时间的痕迹，每一道线条都带着即兴的生动，没有刻意修饰的匠气，只用纯粹的素描语言，将观察瞬间的神态牢牢定格。粗粝又细腻的笔触感，让这个男性形象既有世俗的厚重粗莽，又裹挟着古典式的威严，仿佛是从旧时光里拓印而出的侧影，静静诉说着速写独有的鲜活力量。",[317,26,807,4018,7,90],"侧面人像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13b1521fe4d3ef59fffa3c317bd8a964.jpg",[],{"id":4022,"slug":4023,"title":4024,"dynasty":47,"author":248,"museum":49,"description":4025,"tags":4026,"thumbUrl":4032,"material":58,"size":59,"collection":39,"collections":4033,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":42},288912,"giovanni-battista-piazzetta-boy-with-an-egg-girl-with-a-hen-yi-ming-288912","Giovanni Battista Piazzetta--Boy with an Egg, Girl with a Hen","这幅素描以明暗交织定格市井日常瞬间，左侧男孩偷瞥的眼神藏着孩童的狡黠灵动，中间少女眉眼柔婉，怀中小鸡晕开鲜活暖意，右侧女子神色沉静内敛。以炭笔铺陈暗调，又以白色提亮衣褶的蓬松质感，寥寥数笔便精准抓住人物神态特质，将不同年龄的情绪张力揉入画面之中。松弛的笔触衬出生活化的松弛氛围，把平凡日常的鲜活意趣定格，让观者仿佛能窥见街头一隅的鲜活片刻，细腻勾勒出人物间暗藏的情绪联结。",[317,26,4027,4028,4029,4030,4031,7],"男孩","女孩","老妇","母鸡","鸡蛋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9297762ecdd98ce63857515837aecdf6.jpg",[],{"id":4035,"slug":4036,"title":4037,"dynasty":47,"author":248,"museum":49,"description":4038,"tags":4039,"thumbUrl":4043,"material":58,"size":59,"collection":39,"collections":4044,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":42},288910,"giovanni-battista-piazzetta-executioner-holding-up-a-severed-head-yi-ming-288910","Giovanni Battista Piazzetta--Executioner Holding Up a Severed Head","炭笔粗粝松弛的笔触，将刽子手悍野粗莽的气质揉碎在顿挫线条里。他眉眼拧起，麻木又暴戾的神情顺着笔锋漫开，粗布袍衫的褶皱用潦草却带着力量感的线条铺陈，将底层武夫的悍狠气场具象在纸面。\n虚淡模糊的断头轮廓，反而放大了画面的惊悚张力，晕开的阴影晕染出暗沉血腥的氛围，无需精描细刻，便将刑场的肃杀冷意牢牢攥住。潦草笔触间仿佛还飘着濒绝的余响，让这份残酷的冲击力穿透纸面，将一瞬的悚然永远定格。",[317,26,4040,4041,7,4042],"刽子手","断头","惊悚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe53ba1c91b9158b40311ffdb2134aff6.jpg",[],{"id":4046,"slug":4047,"title":4048,"dynasty":47,"author":248,"museum":49,"description":4049,"tags":4050,"thumbUrl":4052,"material":58,"size":59,"collection":39,"collections":4053,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":42},288908,"giovanni-battista-piazzetta-girl-with-a-hen-yi-ming-288908","Giovanni Battista Piazzetta--Girl with a Hen","少女垂眸敛目，神情柔恬松弛，与怀中小母鸡亲昵相依，将日常里松弛治愈的瞬间定格。\n画师以炭笔晕染明暗，细腻勾勒出少女柔润的面部轮廓，晕染出皮肤在柔光下的通透肌理。禽鸟蓬松的羽毛与少女肌肤的温润形成鲜明质感对比，寥寥数笔便刻画出二者间信赖亲昵的氛围，用极简的素描语言，揉合出质朴动人的温情日常，尽显写实笔触下的细腻情绪张力。",[317,26,354,4030,7,4051],"温婉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd27c2b600535e67c1790a3eb0a568027.jpg",[],{"id":4055,"slug":4056,"title":4057,"dynasty":47,"author":248,"museum":49,"description":2012,"tags":4058,"thumbUrl":4062,"material":58,"size":59,"collection":39,"collections":4063,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":42},288809,"peter-paul-rubens-anatomical-studies-a-left-forearm-in-two-positions-yi-ming-288809","Peter Paul Rubens--Anatomical Studies a left forearm in two positions",[317,4059,4060,7,1847,4061],"人体解剖","手臂","线条技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc04fc15e33371299220160c40e094c3.jpg",[],{"id":4065,"slug":4066,"title":4067,"dynasty":47,"author":248,"museum":49,"description":4068,"tags":4069,"thumbUrl":4072,"material":58,"size":59,"collection":39,"collections":4073,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":42},288789,"pierre-paul-prud-hon-seated-female-nude-recto-standing-male-nude-yi-ming-288789","Pierre Paul Prud'hon--Seated Female Nude (recto); Standing Male Nude","这幅素描以精妙的明暗铺陈，将女性躯体的柔美与力量感相融。细腻排线与块面明暗精准贴合身体结构，肩胛的舒展、腰胯的曲线、腿部的肌肉起伏被刻画得浑然天成，柔和过渡的色调晕染出皮肤的温润质感。\n\n抬手垂首的姿态带着沉静的氛围感，弱化面部以聚焦躯体的韵律之美，让观者沉浸于人体的优雅张力之中。扎实的写实功底将体积感与柔润感平衡得恰到好处，把生命的鲜活凝固在纸面，尽显古典人体素描的极致塑造力。",[317,4070,4071,325,7],"人体画","女性裸体","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73cec835382e1095edcb5d0cb0207602.jpg",[],{"id":4075,"slug":4076,"title":4077,"dynasty":47,"author":248,"museum":49,"description":4078,"tags":4079,"thumbUrl":4082,"material":58,"size":59,"collection":39,"collections":4083,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":99},288782,"pietro-antonio-novelli-chained-nude-prisoner-yi-ming-288782","Pietro Antonio Novelli--Chained Nude Prisoner","奔放的棕褐墨色晕开沉郁的背景，将逼仄的窒息感铺满纸面。健硕的裸身囚徒被枷锁锢在石柱之上，隆起的肩背与虬结的腹肌，将身体里攒着的愤懑与挣扎尽数透出。粗粝的笔痕刻画出紧绷的侧脸，眉峰拧起、下颌绷紧，不甘的情绪顺着线条漫溢开来。\n\n浅棕底色衬出深褐剪影，明暗拉扯间将被困的绝望与未熄的韧劲揉合一处。没有精致描摹，只以写意笔触把困兽般的张力刻入纸面，带着粗粝的写实力量，让观者仿佛能触摸到那枷锁下滚烫的反抗余温。",[198,1271,4080,4081,317,7],"囚徒","锁链","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadcc781bd77c0656e5b47748a48fac3f.jpg",[],{"id":4085,"slug":4086,"title":4087,"dynasty":47,"author":248,"museum":49,"description":4088,"tags":4089,"thumbUrl":4092,"material":58,"size":59,"collection":39,"collections":4093,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":99},288767,"salvator-rosa-a-large-tree-yi-ming-288767","Salvator Rosa--A Large Tree","这幅素描以苍劲古木为绝对主角，笔力带着粗粝的质感。主干盘虬扭结，如蛰伏的虬龙，将经受过岁月风霜的沧桑张力尽显无遗。作者以虚实兼具的笔法区分层次，外层叶簇用淡晕的排线晕染出蓬松朦胧的空气感，仿佛风拂过枝叶时光影在浮动，内层枝桠则以锐利硬挺的线条，精准勾勒出交错纠缠的结构，让树木筋骨分明。\n\n粗粝的根须牢牢抓附地面，把荒野古木沉浑的生命力凝于纸面，舍去多余布景，全然聚焦树木本身的野性与静穆，将自然造物的朴拙美感定格成永恒的沉静诗篇。",[317,4090,4091,203,2902,7],"老树","大树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F363a22da69d982b931abcc2571a8d260.jpg",[],{"id":4095,"slug":4096,"title":4097,"dynasty":47,"author":248,"museum":49,"description":4098,"tags":4099,"thumbUrl":4103,"material":58,"size":59,"collection":39,"collections":4104,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":99},288714,"wallerant-vaillant-boy-drawing-a-bust-of-the-roman-emperor-vitellius-yi-ming-288714","Wallerant Vaillant--Boy Drawing a Bust of the Roman Emperor Vitellius","明暗晕开静谧的工坊角落，卷发少年垂首沉心，指尖轻抵摊开的画纸，目光牵系着纸笔与身旁的帝王胸像，将心神悉数交付于摹画创作。右侧的胸像带着帝王的傲慢沉凝，与少年柔和专注的神态形成奇妙张力。地面散落的镜片、卷轴静卧，晕开松弛的日常创作氛围。\n\n蚀刻版画的细腻笔触将光影揉进发丝衣褶，精准捕捉少年低垂的眉眼、紧绷的指节，把专注沉静的氛围感拉满。古典雕像的厚重肃穆，与学徒沉浸创作的松弛日常相融，定格下艺术求索的温柔瞬间，让古典创作的静谧诗意漫溢画面。",[1901,198,3193,4100,2206,1073,7,4101,4102],"帝王胸像","专注","绘画工具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48ff666a52161e468bf15d18a9c601d5.jpg",[],{"id":4106,"slug":4107,"title":4108,"dynasty":47,"author":248,"museum":49,"description":4109,"tags":4110,"thumbUrl":4114,"material":58,"size":59,"collection":39,"collections":4115,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":42},288712,"willem-van-de-velde-ii-the-french-vessel-courtisan-yi-ming-288712","Willem van de Velde II--The French Vessel Courtisan","这幅素描以精准细腻的笔触，将风帆战舰的威仪尽显。作者以严谨的排线铺陈明暗，刻画出船体敦实的体积感，艏部极尽繁复的巴洛克浮雕群像层次分明，神祇、贵族饰纹错落交织，还原出王室舰船奢华无匹的装饰工艺。\n\n画面截取半侧船体静泊水面，留白的浅淡水色晕开沉稳氛围，写实的海事绘图技法糅合古典美学张力，将大航海时代舰船的巅峰装饰美学凝于纸面，静静铺陈着风帆纪元的荣光与匠心。",[317,3861,4111,4112,380,7,4113],"古帆船","船舶","浮雕装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f05661b97e8ad6efd648a614eff0c79.jpg",[],{"id":4117,"slug":4118,"title":4119,"dynasty":47,"author":248,"museum":49,"description":4120,"tags":4121,"thumbUrl":4123,"material":58,"size":59,"collection":39,"collections":4124,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":42},288627,"jean-baptiste-marie-pierre-st-charles-borromeo-distributing-communion-yi-ming-288627","Jean-Baptiste Marie Pierre--St. Charles Borromeo Distributing Communion","画面以阶梯分割出两个情绪场域，下方民众或瘫倒在地气息奄奄，或伸臂哀号，将灾厄中的困顿与绝望刻画得入木三分。台阶之上的人物衣褶厚重沉稳，动作轻柔庄重，带着悲悯肃穆的质感，与下方悲苦形成强烈对冲。画家以排线与晕染铺陈明暗层次，精准勾勒出不同人物的神情张力，将施舍的神圣暖意，揉进受者的濒死绝望之中，让慈悲救赎的主题在素色纸面间震颤。",[317,1399,198,4122,3910,7],"宗教仪式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc5cc6b4de2cc7917dd20ce4214fdb14.jpg",[],{"id":4126,"slug":4127,"title":4128,"dynasty":47,"author":248,"museum":49,"description":4129,"tags":4130,"thumbUrl":4133,"material":58,"size":59,"collection":39,"collections":4134,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":42},288609,"john-smith-leaf-from-aedes-walpolianae-mounted-with-a-print-and-a-drawing-yi-ming-288609","John Smith--Leaf from Aedes Walpolianae mounted with a print and a drawing","上方铜版画里，长发匠人执刀侧坐，指尖抚触未竟的半身雕像，沉静神态尽显创作时的专注沉浸。袍服褶皱在柔和晕染的明暗里层次分明，将匠人的从容气度具象呈现。\n\n下方的古典壁龛设计图纸对称规整，三角楣饰与立柱勾勒出庄重克制的古典美感，精准还原经典装饰范式。\n整页将肖像与设计稿并置，既是对工艺大师风貌的写实留存，也尽显其横跨雕塑与建筑设计的全能造诣，定格了匠人精神与古典美学交融的独特质感。",[1901,90,4131,356,4132,1073,7,1093],"建筑画","男子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43b7986d3812eee694d7e29d17cf107f.jpg",[],{"id":4136,"slug":4137,"title":4138,"dynasty":47,"author":248,"museum":49,"description":4139,"tags":4140,"thumbUrl":4142,"material":58,"size":59,"collection":39,"collections":4143,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":42},288564,"attributed-to-marco-benefial-youth-kissing-an-outstretched-hand-yi-ming-288564","attributed to Marco Benefial--Youth Kissing an Outstretched 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