[{"data":1,"prerenderedAt":144},["ShallowReactive",2],{"subject-yi-wu-zhe-zhou":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},6658,"yi-wu-zhe-zhou","衣物褶皱","衣物褶皱画高清赏析","精选中国历代衣物褶皱题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa1e767cda5e599e9c2213ab19f8ac33.jpg",0,8,[14,48,72,87,98,108,120,133],{"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},232363,"he-er-bai-yin-22-he-er-bai-yin-232363","荷尔拜因22","不详","荷尔拜因","藏地不详","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。",[23,24,25,26,27,28,29,30,31,7,32,33,34,35,36,37,38,39,40],"写实","肖像","人物","女性","头饰","衣物","素描","设色","面部刻画","写实风格","人物肖像","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","未知","Xcm*Xcm","",[],5,"795548",{"id":49,"slug":50,"title":51,"dynasty":18,"author":52,"museum":20,"description":53,"tags":54,"thumbUrl":69,"material":42,"size":43,"collection":44,"collections":70,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":47},232585,"wei-lian-a-dao-fu-bu-ge-luo-199-wei-lian-a-dao-fu-bu-ge-luo-232585","威廉·阿道夫·布格罗199","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。",[55,23,30,56,25,26,57,58,59,60,61,62,63,64,65,66,7,67,68],"油画","细腻笔触","孩童","裸童","草地","小径","黄花","绿植","树木","岩石","户外场景","赤脚","自然背景","人物刻画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cd1eaa7206ac914ecc37acdc1f81d0e.jpg",[],4,{"id":73,"slug":74,"title":75,"dynasty":18,"author":76,"museum":20,"description":77,"tags":78,"thumbUrl":83,"material":42,"size":43,"collection":44,"collections":84,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":86},231268,"su-miao-522-xi-fang-231268","素描522","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。",[29,23,25,79,80,81,82,7,24],"美人","布料","光影","人体","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47ae7eef548a1cdc517c5c2b9fa1c01e.jpg",[],2,"BDBDBD",{"id":88,"slug":89,"title":90,"dynasty":18,"author":76,"museum":20,"description":77,"tags":91,"thumbUrl":95,"material":42,"size":43,"collection":44,"collections":96,"showCount":97,"zanCount":11,"manualWeight":11,"mainColor":47},231309,"su-miao-563-xi-fang-231309","素描563",[29,23,92,25,26,24,93,94,7,81],"黑白","头像","颈饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3113663222526387baf1bcec796572d8.jpg",[],1,{"id":99,"slug":100,"title":101,"dynasty":18,"author":76,"museum":20,"description":77,"tags":102,"thumbUrl":10,"material":42,"size":43,"collection":44,"collections":107,"showCount":97,"zanCount":11,"manualWeight":11,"mainColor":86},231113,"su-miao-367-xi-fang-231113","素描367",[29,23,25,103,104,105,106,7],"老年肖像","坐姿","线条勾勒","明暗对比",[],{"id":109,"slug":110,"title":111,"dynasty":18,"author":76,"museum":20,"description":77,"tags":112,"thumbUrl":118,"material":42,"size":43,"collection":44,"collections":119,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},231296,"su-miao-550-xi-fang-231296","素描550",[29,23,25,80,113,114,115,116,7,117],"宗教","炭笔","写实主义","人物素描","坐姿人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdade32424ead1a844009d619d5b44737.jpg",[],{"id":121,"slug":122,"title":123,"dynasty":18,"author":76,"museum":20,"description":77,"tags":124,"thumbUrl":131,"material":42,"size":43,"collection":44,"collections":132,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":86},231189,"su-miao-443-xi-fang-231189","素描443",[29,114,23,25,125,126,127,128,7,129,130],"厚衣","帽子","速写","单色","光影表现","人物姿态","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d3ae31d2249a7b17c423e82d162d04a.jpg",[],{"id":134,"slug":135,"title":136,"dynasty":18,"author":76,"museum":20,"description":77,"tags":137,"thumbUrl":142,"material":42,"size":43,"collection":44,"collections":143,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":86},231094,"su-miao-348-xi-fang-231094","素描348",[29,23,25,138,139,140,7,141],"半身像","单色调","老年男性","手部刻画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe508a9179d0948dba7e5ea347d72c339.jpg",[],1777535740397]