[{"data":1,"prerenderedAt":323},["ShallowReactive",2],{"subject-yi-wen":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},1279,"yi-wen","衣纹","衣纹画高清赏析","精选中国历代衣纹题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc97fcb01c4c223ce9a9478d2a7c157c.jpg",0,19,[14,39,60,75,88,114,133,151,162,183,195,208,225,237,248,262,281,292,310],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":32,"material":33,"size":34,"collection":35,"collections":36,"showCount":37,"zanCount":11,"manualWeight":11,"mainColor":38},218437,"shi-jia-mu-ni-fu-yi-ming-218437","释迦牟尼佛","明","佚名","台北故宫博物院","该图像描绘了佛祖坐在三个小孩子的身体上，这种仪式很少见。台北故宫的这幅画是由一位不知名的明代艺术家所作，但与宋旭的佛像画有一定的联系，面板上也有他的印记和印章，所以可以说是他的作品。",[23,24,25,26,27,28,29,30,31,7],"国画","设色","工笔","宗教","立轴","人物","佛","小鬼","树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7058a98101b5e16f2e6e599d46b8955b.jpg","绢本,设色","135.7x76.8","人物画精选",[35],112,"795548",{"id":40,"slug":41,"title":42,"dynasty":43,"author":19,"museum":44,"description":45,"tags":46,"thumbUrl":53,"material":54,"size":55,"collection":56,"collections":57,"showCount":58,"zanCount":59,"manualWeight":11,"mainColor":38},226220,"ku-yong-dao-nan-bi-yi-ming-226220","窟甬道南壁","唐","敦煌","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。",[47,24,26,28,48,49,50,51,52,7],"壁画","飞天","祥云","马车","神佛","侍从","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa60fc23eb0a795ff982e50a1a833031a.jpg","未知","Xcm*Xcm","",[],50,1,{"id":61,"slug":62,"title":63,"dynasty":18,"author":19,"museum":64,"description":65,"tags":66,"thumbUrl":71,"material":33,"size":72,"collection":35,"collections":73,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":38},218298,"luo-han-tu-yi-ming-218298","罗汉图","美国弗利尔美术馆","两尊罗汉共处一隅，坐者执卷凝思，眉眼间尽是专注，似在经文中悟得禅理；立者躬身侧耳，神态恭谨，如沐智慧的低语。衣袍线条婉转流畅，色彩古雅温润，赤足踏地的细节添了几分随性自在。背景深褐如晦，圆月隐于树影，静谧禅意悄然流淌。画作以生动的神态互动，传递禅林问学的融融之境，笔墨间既有宗教肃穆，又含人间温情，尽显古画的含蓄韵味与精神深度。",[23,67,27,24,25,26,28,68,7,69,70],"书画","罗汉","山石","明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50e51e9f2411a999971874ae34ce0bb4.jpg","140.8x78.8",[35],29,{"id":76,"slug":77,"title":78,"dynasty":79,"author":19,"museum":80,"description":81,"tags":82,"thumbUrl":85,"material":56,"size":56,"collection":56,"collections":86,"showCount":87,"zanCount":59,"manualWeight":11,"mainColor":38},231912,"luo-han-tu-di-shi-qi-zun-zhe-yi-ming-231912","罗汉图（第十七尊者）","元","藏地不详","达摩多罗尊者右手持禅杖，左手持拂子，身背经箧，头罩华盖， 奔走途中，身旁猛虎相随。前方可见无量光佛坐于塔中， 另有粉色祥云前托佛塔，延绵而下至世间， 这种画法来自汉地明代罗汉画像。上界有光芒四射的白度母化现。",[23,67,83,27,25,24,26,28,84,7],"名画","云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66d2ff6194009c658f1f937824ec5ce2.jpg",[],24,{"id":89,"slug":90,"title":91,"dynasty":79,"author":19,"museum":92,"description":93,"tags":94,"thumbUrl":106,"material":107,"size":108,"collection":109,"collections":110,"showCount":112,"zanCount":11,"manualWeight":11,"mainColor":113},221778,"di-ba-ga-na-ga-ba-ha-la-zhui-za-zun-zhe-zhou-yi-ming-221778","第八嘎纳嘎拔哈剌錣杂尊者轴","北京故宫博物院","《元人画第八嘎纳嘎拔哈剌錣杂尊者轴》是创作于元代的一幅画。",[95,23,96,27,97,25,98,28,99,100,68,101,7,102,103,104,105],"高清","宗教画","水墨","白描","山水","瀑布","坐像","光晕","岩石","流水","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad290dab85e6c127be5e1cb6be2a8059.jpg","纸本","114.4x66.8","山水画精选",[109,111],"水墨画精选",13,"BDBDBD",{"id":115,"slug":116,"title":117,"dynasty":118,"author":19,"museum":80,"description":119,"tags":120,"thumbUrl":130,"material":56,"size":56,"collection":56,"collections":131,"showCount":132,"zanCount":11,"manualWeight":11,"mainColor":38},231695,"jiang-hu-shi-qi-di-shi-wu-luo-han-tu-li-zhou-yi-ming-231695","江户时期 第十五罗汉图立轴","不详","褐肤罗汉宝光护体，踞坐松石之下，虬髯深目自带威严沉静之气，团龙织金僧衣华贵雅致，手托丹丸，尽显尊者超凡气度。身前侍者躬身颔首，神态恭谨至极，主仆情态形成鲜明反差，生动勾勒禅门仪轨。\n\n背景古松盘虬苍劲，悬垂鎏金佛灯晕染出清幽肃穆的禅意氛围。整作线条顿挫凝练，设色雅致沉稳，衣纹晕染层次丰厚，将人物的神性与俗世情态刻画入微，尽显佛画写实功力，禅林静谧之韵扑面而来。",[95,27,23,26,24,28,25,121,68,122,123,124,7,69,125,126,127,128,129],"树木","小僧","光头","光环","花纹","服饰图案","坐姿","跪姿","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc639c5a1ca97303fcca2c116d190498.jpg",[],12,{"id":134,"slug":135,"title":136,"dynasty":137,"author":138,"museum":139,"description":140,"tags":141,"thumbUrl":147,"material":56,"size":56,"collection":109,"collections":148,"showCount":149,"zanCount":11,"manualWeight":11,"mainColor":150},201593,"xi-yuan-ya-ji-tu-heng-fu-gu-luo-201593","西园雅集图横幅","清","顾洛","上海博物馆","画面铺展林下雅集之景：苍松蔽日，芭蕉倚石，流水绕阶而过，小桥隐于林麓。文士三五成群，或围案展卷评赏，或凭栏远眺谈玄，或横琴欲奏；仕女捧器侍侧，衣纹细劲流畅。笔致工细，设色淡雅，人物神态鲜活，或凝思或浅笑，尽显文人超逸之态。山石以皴染结合，草木葱茏有致，布局疏密得宜，将雅士闲适之趣融于幽邃自然，自成清旷意境。",[23,25,24,28,99,142,143,69,104,144,145,7,146,95],"文士","芭蕉","小桥","皴法","林下雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5297981deffd60ff3bdb34516eeb8b26.jpg",[109],10,"ad9466",{"id":152,"slug":153,"title":154,"dynasty":137,"author":155,"museum":139,"description":156,"tags":157,"thumbUrl":158,"material":56,"size":56,"collection":56,"collections":159,"showCount":160,"zanCount":11,"manualWeight":11,"mainColor":161},202410,"zhong-kui-tu-zhou-liu-yan-chong-202410","钟馗图轴","刘彦冲","《钟馗图轴》中，钟馗怒目虬髯，身着素袍持利剑，气势凛然；身后随从捧烛持扇，神态恭谨，与钟馗的威严形成鲜明呼应。画家以劲健流畅的线条勾勒衣纹，兼具写意的洒脱与工笔的细腻——面部刻画入微，胡须的蓬松、眼神的锐利皆生动传神；衣袍褶皱用墨浓淡相宜，层次分明。背景留白简洁开阔，更衬出人物的张力与气场。整体设色淡雅和谐，既保留文人画的雅致，又通过鲜活形象传递钟馗驱邪镇宅的文化寓意，是清代人物画中兼具艺术性与内涵的佳作。",[23,28,24,25,97,7,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb32b8fcd5862ca90cf9706c69ff69fad.jpg",[],8,"d3c7bc",{"id":163,"slug":164,"title":165,"dynasty":118,"author":166,"museum":80,"description":167,"tags":168,"thumbUrl":180,"material":54,"size":55,"collection":56,"collections":181,"showCount":182,"zanCount":11,"manualWeight":11,"mainColor":113},232583,"wei-lian-a-dao-fu-bu-ge-luo-197-wei-lian-a-dao-fu-bu-ge-luo-232583","威廉·阿道夫·布格罗197","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。",[169,170,171,24,28,26,172,173,174,121,175,176,177,178,179,7],"油画","新古典主义","写实","儿童","女性","草地","篮子","果实","户外场景","远山","海面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad7467589f6ff53618818a0f30adf05e.jpg",[],7,{"id":184,"slug":185,"title":186,"dynasty":187,"author":188,"museum":139,"description":189,"tags":190,"thumbUrl":191,"material":56,"size":56,"collection":56,"collections":192,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":194},202754,"hong-xian-dao-he-tu-zhou-qi-bai-shi-202754","红线盗盒图轴","近代","齐白石","画中女子发髻高挽，衣袂轻扬，一手托盒，一手舒展，周身淡墨晕染似云雾缭绕，衬出身影轻盈灵动。衣纹线条简练却见功力，设色淡雅鲜活——橙红上衣与蓝裙相映，腰间白练飘动，尽显飒爽机敏。人物神态娴静中藏果决，定格经典瞬间，融传统温婉与侠气。以兼工带写之笔，写意洒脱与工笔细腻兼具，让传奇跃然纸上，韵味悠长。",[23,27,28,24,25,7,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc508062e8f8308912886e71efdd7ecc.jpg",[],6,"c4bdb5",{"id":196,"slug":197,"title":198,"dynasty":18,"author":199,"museum":139,"description":200,"tags":201,"thumbUrl":205,"material":56,"size":56,"collection":56,"collections":206,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":207},202128,"song-zi-guan-yin-tu-zhou-chou-ying-202128","送子观音图轴","仇英","画面中观音端坐帷帐之内，面容慈和温婉，怀抱童子姿态安详。两侧侍女恭谨侍立，手持法器或捧供物，仪态娴雅传神。衣袂线条流畅婉转，如行云流水般勾勒衣物褶皱与飘动感；背景帷幔纹饰繁复精致，器物细节刻画入微，尽显工笔技法的精湛。整体氛围庄穆而不失温情，宗教的神圣感与世俗的柔和意蕴交融。灵动线条与细腻笔触捕捉人物神情，侍女的恭谨衬托场景庄严，传递慈悲祥和意境，展现明代工笔人物画的典雅风貌。",[23,25,98,28,26,27,202,203,7,204],"帷帐","法器","童","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4526bf6effa4229b129c47af92ab0338.jpg",[],"cac0b5",{"id":209,"slug":210,"title":211,"dynasty":118,"author":212,"museum":80,"description":213,"tags":214,"thumbUrl":222,"material":54,"size":55,"collection":56,"collections":223,"showCount":224,"zanCount":11,"manualWeight":11,"mainColor":38},232357,"he-er-bai-yin-16-he-er-bai-yin-232357","荷尔拜因16","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。",[26,28,215,171,216,7,124,217,218,219,220,221],"铜版画","线条","布料","建筑局部","地面","长发","婴儿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F728fa25c57b66fd439f7f6ae7b58c9d7.jpg",[],4,{"id":226,"slug":227,"title":228,"dynasty":118,"author":212,"museum":80,"description":213,"tags":229,"thumbUrl":234,"material":54,"size":55,"collection":56,"collections":235,"showCount":236,"zanCount":11,"manualWeight":11,"mainColor":38},232502,"he-er-bai-yin-161-he-er-bai-yin-232502","荷尔拜因161",[26,28,230,231,232,98,171,7,233],"古典柱式","平台","素描","光影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febf68bba6d2e01f3b32856493481879b.jpg",[],3,{"id":238,"slug":239,"title":240,"dynasty":137,"author":241,"museum":139,"description":242,"tags":243,"thumbUrl":245,"material":56,"size":56,"collection":56,"collections":246,"showCount":236,"zanCount":11,"manualWeight":11,"mainColor":247},202501,"san-xing-tu-zhou-gu-jian-long-202501","三星图轴","顾见龙","画面描绘福禄寿三星与孩童嬉戏场景，人物神态鲜活生动：老者慈眉善目，或抚须含笑，或持物逗趣；孩童环绕其间，天真烂漫。衣纹线条劲健流畅，设色温润雅致，笔墨细腻处尽显工致，衣饰纹理清晰可辨，神态刻画入木三分。整体将祥瑞之气融于笔端，传递出福禄寿喜的美好祈愿，尽显清代人物画的精湛技艺与吉祥寓意。",[25,24,28,244,7,95],"孩童","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe11c8f2f02728916a421278a1da47cb8.jpg",[],"8a6339",{"id":249,"slug":250,"title":251,"dynasty":118,"author":19,"museum":80,"description":252,"tags":253,"thumbUrl":259,"material":54,"size":55,"collection":56,"collections":260,"showCount":261,"zanCount":11,"manualWeight":11,"mainColor":113},288721,"victor-franc-ois-eloi-biennourry-standing-soldier-study-for-the-chapel-yi-ming-288721","Victor-François-Eloi Biennourry--Standing Soldier Study for the chapel","这是一幅极具法度的习作，以炭笔在灰调纸面上铺陈。创作者借助网格辅助起型，锚定造型比例，将刻画重心置于上身的罩袍褶皱之上。排线顺着衣料垂坠走向铺排，暗部笔触厚重紧实，亮处依托纸面底色留白，精准烘托出织物的垂坠重量与柔软质感，藏在衣料下的躯体轮廓若隐若现，让布料贴合身形的张力呼之欲出。整体带着创作草稿的松弛朴拙，虽未完成却尽得写实精髓，将衣物质感与人体结构精妙融合，留存下创作过程里的推敲痕迹，朴素间满溢沉静的绘画生命力。",[232,254,255,256,257,7,258],"西洋画","人物画","士兵","站立","习作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed4244fdcc431877723fa10a608018b1.jpg",[],2,{"id":263,"slug":264,"title":265,"dynasty":18,"author":266,"museum":139,"description":267,"tags":268,"thumbUrl":278,"material":56,"size":56,"collection":109,"collections":279,"showCount":261,"zanCount":11,"manualWeight":11,"mainColor":280},201745,"zhen-ge-xiao-xiang-juan-ceng-jing-201745","箴歌肖像卷","曾鲸","画面中，文人端坐松荫间，神情沉静儒雅，衣袂轻扬尽显风骨；童子侧立侍旁，姿态恭谨。古松虬枝盘曲，苍劲挺拔，周遭草木葱茏，石径蜿蜒，清幽之境衬出文人雅致。人物刻画以墨骨晕染见长，面部层次分明，衣纹简练流畅；景物写意相生，与肖像相得益彰。卷首题跋笔墨纵横，行书流畅自然，书画合璧，尽显晚明文人书画交融的审美意趣与精神风貌。",[23,269,270,28,271,25,24,272,273,105,274,99,275,276,7,277,95],"长卷","肖像","松","书法","行书","文人画","草木","童子","晕染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a53b7fb77f13a897d6117189d4892f9.jpg",[109],"c0b092",{"id":282,"slug":283,"title":284,"dynasty":118,"author":19,"museum":80,"description":285,"tags":286,"thumbUrl":290,"material":54,"size":55,"collection":56,"collections":291,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":113},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","彼得·保罗·鲁本斯（Peter Paul Rubens）（1577年6月28日—1640年5月30日），教名伯多禄·保禄·鲁宾斯，17世纪佛兰德斯画家，西班牙哈布斯堡王朝外交使节。鲁本斯是佛兰德斯画家，是巴洛克画派早期的代表人物。\n鲁本斯出生于德国锡根，在他的父亲去世后，12岁的鲁本斯跟随母亲回到了西班牙统治下的家乡安特卫普，并在那里接受了天主教洗礼。而宗教也成为鲁本斯画家生涯中十分重要的一个主题。",[232,287,288,171,7,289],"人体解剖","手臂","线条技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc04fc15e33371299220160c40e094c3.jpg",[],{"id":293,"slug":294,"title":295,"dynasty":296,"author":19,"museum":80,"description":297,"tags":298,"thumbUrl":307,"material":54,"size":55,"collection":56,"collections":308,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":309},255242,"nv-ren-chang-fang-zhuan-yi-ming-255242","女人长方砖","宋","发髻温婉轻挽，宽袖长衣垂落如流云，浅浮雕将少女柔婉身姿凝于青砖之上。她双手捧举高灯，灯顶俏立小童，把宋时寻常宅院的融融暖意刻入石间。\n\n衣褶流转自然，未作浓艳雕饰，只以简洁刀工勾勒出日常的脉脉温情，褪去了造像的疏离感，更似截取了千年前的浮生一隅。质朴灰砖晕开沉静底色，让这份温婉愈发厚重悠长，将宋人的清雅审美与生活意趣凝为永恒，顺着砖面肌理，把旧时暖意递到今人的眼前。",[299,300,28,301,302,303,304,305,7,306],"雕刻","浮雕","美人","砖","宋代","立体","人物形象","砖雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeed80b61b00deb71a1fba16e739f27a.jpg",[],"37474F",{"id":311,"slug":312,"title":313,"dynasty":118,"author":212,"museum":80,"description":213,"tags":314,"thumbUrl":321,"material":54,"size":55,"collection":56,"collections":322,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":113},232523,"he-er-bai-yin-182-he-er-bai-yin-232523","荷尔拜因182",[232,98,171,216,26,28,315,316,317,318,319,124,7,320,217,219],"羊","十字架","古典建筑","柱子","拱门","毛皮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f2b5f499a869d00a6046ae139cc5a28.jpg",[],1777535721317]