[{"data":1,"prerenderedAt":377},["ShallowReactive",2],{"subject-yuan-jing":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},1302,"yuan-jing","远景","远景画高清赏析","精选中国历代远景题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc10a6e16a4d38f951839ee2ccf76ee2d.jpg",0,21,[14,45,77,96,116,134,153,164,180,193,209,226,241,254,268,286,310,323,337,353,366],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":38,"material":39,"size":40,"collection":41,"collections":42,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":44},225894,"antibes-seen-from-the-salis-garden-1888-mo-nai-225894","Antibes seen from the Salis Garden, 1888","不详","莫奈","藏地不详","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。",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,7,37],"油画","印象派","点彩","光影捕捉","色彩交融","树","湖水","城镇","天空","花园","山石","水面","建筑","枝叶","春天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66591dc12d3fde82a8664f11526e454f.jpg","未知","Xcm*Xcm","油画精选",[41],102,"BDBDBD",{"id":46,"slug":47,"title":48,"dynasty":49,"author":50,"museum":20,"description":51,"tags":52,"thumbUrl":72,"material":73,"size":73,"collection":73,"collections":74,"showCount":75,"zanCount":76,"manualWeight":11,"mainColor":44},224543,"shan-shui-hua-juan-luo-mei-224543","山水画卷","清","罗枚","此卷水墨山水以平远之境铺陈开，山峦层叠逶迤，林舍错落点缀溪谷间。线条清劲简括，皴染淡逸萧疏，留白虚处见云水空濛，尽显丘壑幽寂。题诗与画境相融，笔墨脱略凡俗，以淡墨写林泉雅意，简而不薄，淡而有味，将林峦清润之态化为纸上幽境，尽显寄情山水的文人雅怀，清寂出尘的意韵溢满卷间。",[53,54,55,56,57,58,59,60,33,61,62,63,64,65,66,7,67,68,69,70,71],"高清","国画","书画","长卷","水墨","白描","皴法","山水","树木","亭台","河流","山峦","远岫","近景","松树","峭壁","村落","云雾","小桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F007e50ac54acef202389bbd66e88ceb5.jpg","",[],50,1,{"id":78,"slug":79,"title":80,"dynasty":49,"author":81,"museum":20,"description":82,"tags":83,"thumbUrl":90,"material":91,"size":73,"collection":92,"collections":93,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":44},238970,"fang-huang-gong-wang-fu-chun-shan-zhou-wang-yuan-qi-238970","仿黄公望富春山轴","王原祁","黄公望的《富春山居图》被誉为中国十大传世名画之一。清初画家王原祁师法五代宋元名家，于黄公望用功尤深，一生痴迷，自言“所学者大痴（黄公望）也，所传者大痴也”。王原祁早期的绘画中，仿黄公望者尤多。《仿富春山居图轴》便是他52岁时仿效黄公望《富春山居图》的笔法而创作。",[54,55,84,57,59,85,60,61,86,87,88,66,89,7],"立轴","临摹","岩石","溪流","远山","中景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cdce8d36036ddec2616f8760eb8e4ec.jpg","纸本","山水画精选",[92,94],"水墨画精选",40,{"id":97,"slug":98,"title":99,"dynasty":18,"author":19,"museum":20,"description":21,"tags":100,"thumbUrl":112,"material":39,"size":40,"collection":41,"collections":113,"showCount":114,"zanCount":76,"manualWeight":11,"mainColor":115},225930,"flowers-at-vetheuil-1880-mo-nai-225930","Flowers at Vetheuil, 1880",[24,23,101,102,103,104,105,106,61,63,34,107,7,108,109,110,111],"光影","色彩丰富","笔触奔放","花朵","花丛","植物","房屋","自然景观","户外","绿植","水景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3d1346f087a032be70d9ec8d35c5427.jpg",[41],36,"795548",{"id":117,"slug":118,"title":119,"dynasty":120,"author":121,"museum":20,"description":122,"tags":123,"thumbUrl":131,"material":73,"size":73,"collection":73,"collections":132,"showCount":133,"zanCount":76,"manualWeight":11,"mainColor":115},227768,"shan-shui-ye-li-tang-227768","山水页","宋","李唐","李唐（1066年－1150年），字晞古，亦作希古，宋朝著名画家，河阳三城（今河南孟县）人。\n\n李唐原供奉北宋徽宗的画院，1127年金兵攻陷汴京，李唐颠沛流离，逃往临安（今杭州），以卖画度日。南宋恢复画院后，李唐经人举荐，进入画院，授成忠郎职务。\n\n李唐精于山水画，变荆浩、范宽之法，山水画最初用峭劲的笔墨，写出北方山河雄峻气势；晚年去繁就简，创大斧劈皴；画水打破鱼鳞纹程式，而得盘涡动荡之状；兼工人物画，初似李公麟，后衣褶变为方折劲硬；并以画牛著称。\n\n描绘青绿山水，如《万壑松风图》、《长夏江寺图》等，是北派山水的著名代表人之一，其后用笔及取景变的简括凝炼、构图精练、意境优美，开辟南宋的新画风，并创作人物画《胡笳十八拍》、《采薇图》等，借历史抒发怀念故国，希图中兴的感情。\n\n李唐的画风对后世有很大影响，他也培养了一些杰出弟子如萧照，其后马远、夏圭继承和发展了他的画风，和他一起，并称为“南宋四家”（李唐、刘松年、马远、夏圭）。",[53,54,55,124,57,59,125,60,126,127,61,33,128,129,35,88,66,7,130,68],"名画","册页","楼阁","孤舟","水域","船只","枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45201661780ca97b7873407544fff787.jpg",[],29,{"id":135,"slug":136,"title":137,"dynasty":18,"author":19,"museum":20,"description":21,"tags":138,"thumbUrl":150,"material":39,"size":40,"collection":41,"collections":151,"showCount":152,"zanCount":11,"manualWeight":11,"mainColor":115},226060,"the-cliff-at-dieppe-1882-mo-nai-226060","The Cliff at Dieppe, 1882",[24,23,139,140,141,142,143,144,107,145,31,146,147,148,149,7,66],"设色","悬崖","大海","沙滩","人物","帆船","草地","海岸线","海浪","远帆","小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5154be1a926a1c99feae1f17fe44cf22.jpg",[41],22,{"id":154,"slug":155,"title":156,"dynasty":18,"author":19,"museum":20,"description":21,"tags":157,"thumbUrl":161,"material":39,"size":40,"collection":41,"collections":162,"showCount":163,"zanCount":11,"manualWeight":11,"mainColor":115},225940,"haystack-in-the-sunlight-1890-mo-nai-225940","Haystack in the Sunlight, 1890",[24,23,25,158,159,160,101,7],"干草堆","阳光","田野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F237daee52a9de8c1e06c4708d9eaa8f0.jpg",[41],15,{"id":165,"slug":166,"title":167,"dynasty":168,"author":169,"museum":170,"description":171,"tags":172,"thumbUrl":175,"material":176,"size":177,"collection":73,"collections":178,"showCount":179,"zanCount":76,"manualWeight":11,"mainColor":115},234875,"yin-bao-jie-shan-tu-zhou-wang-wen-234875","隐宝界山图轴","明","王问","北京故宫博物院","画中所绘当为宝界山实景。筑于半山的房舍中，王问侧坐，正对景读书，屋前渔舟泊于岸边，充满生活气息。画家以浓墨绘杂树参差，纵横交错，不拘成法，茅屋数间则以工细的淡墨写出。用笔浑厚老健，笔墨轻重、浓淡、动静的对比与衬托都恰到好处。王问之作传世不多，得此盛年鼎绝作品实为不易。\n此图原藏清宫，后流落民间，故宫博物院考古学家顾铁符先生（1908-1990年）于1949年购于广州。1994年顾先生的家属根据他的遗愿将此图捐赠故宫博物院。",[54,84,60,57,59,61,126,33,107,88,173,35,174,66,7],"近树","丛林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9de3f53df33e51fc5b44308bff63eca.jpg","绢本，墨笔","纵116厘米，横62.5厘米",[],14,{"id":181,"slug":182,"title":183,"dynasty":168,"author":184,"museum":20,"description":185,"tags":186,"thumbUrl":189,"material":39,"size":40,"collection":73,"collections":190,"showCount":191,"zanCount":11,"manualWeight":11,"mainColor":192},237964,"shan-shui-shan-ye-wen-bo-ren-237964","山水扇页","文伯仁","文伯仁（1502---1575）明代画家，字德承，号五峰、摄山长、葆生、摄山老农、五峰山人、五峰樵客，汉族，湖广衡山人，系籍长州（今江苏苏州）。文徵明侄子。\n性暴躁，好使气骂座，少年时曾与叔文徵明相讼，一度系狱。工画山水，效王蒙，学“三赵”（令穰、伯驹、孟頫），笔力清劲，岩峦郁茂，布景奇兀，时以巧思发之，名在文徵明之下。横披大幅颇负出蓝之誉，唯构图时有塞实之感。\n善画人物，亦能诗。其山水画有简、繁两种面貌。简者效文徵明细笔山水，景色疏朗，笔墨细秀，多抒情意趣；繁者出自王蒙，山林层叠，构图饱满，皴点繁密，境界郁茂。",[187,57,59,60,61,33,63,143,188,7,66],"扇面","亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0d74be524d3c7e5a4ee1128812e7204.jpg",[],12,"F48FB1",{"id":194,"slug":195,"title":196,"dynasty":18,"author":19,"museum":20,"description":21,"tags":197,"thumbUrl":206,"material":39,"size":40,"collection":41,"collections":207,"showCount":208,"zanCount":11,"manualWeight":11,"mainColor":44},226024,"san-giorggio-maggiore-1908-mo-nai-226024","San Giorggio Maggiore, 1908",[23,24,198,199,200,128,201,202,203,204,205,31,7,129],"光影表现","色彩晕染","朦胧笔触","小船","教堂","钟楼","建筑群","水面波纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87d982d8d320fa2db48e60dd9adcfb75.jpg",[41],11,{"id":210,"slug":211,"title":212,"dynasty":18,"author":19,"museum":20,"description":21,"tags":213,"thumbUrl":224,"material":39,"size":40,"collection":41,"collections":225,"showCount":208,"zanCount":11,"manualWeight":11,"mainColor":115},225926,"fields-of-tulip-with-the-rijnsburg-windmill-1886-mo-nai-225926","Fields of Tulip With The Rijnsburg Windmill, 1886",[23,24,101,139,214,215,216,107,31,217,160,218,219,220,221,222,223,7],"郁金香","花田","风车","白云","色彩明快","自然风景","田园风光","户外场景","蓝天白云","红屋顶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3720d8460e6adc62c9495b42499f397.jpg",[41],{"id":227,"slug":228,"title":229,"dynasty":49,"author":230,"museum":20,"description":231,"tags":232,"thumbUrl":238,"material":39,"size":40,"collection":73,"collections":239,"showCount":240,"zanCount":11,"manualWeight":11,"mainColor":44},237487,"shan-shui-tu-ce-yao-song-237487","山水图册","姚宋","姚宋（1648—1721），字雨金，一作雨京，号野梅。安徽新安（今安徽歙县）人。清代画家。\n姚宋寓居芜湖。擅长山水画，其初学弘仁，后期广学诸家，成为新安派画家之一。姚宋所画人物、花鸟、鱼虫、兰竹、无不工致。",[54,233,57,234,235,59,236,60,237,61,201,128,68,7,33],"册","书法","行书","印章","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86f53938c1969f1a58b6dd58cd34eed5.jpg",[],7,{"id":242,"slug":243,"title":244,"dynasty":49,"author":245,"museum":170,"description":246,"tags":247,"thumbUrl":249,"material":250,"size":251,"collection":73,"collections":252,"showCount":253,"zanCount":11,"manualWeight":11,"mainColor":44},236119,"shan-shui-lou-ge-ce-chen-mei-236119","山水楼阁册","陈枚","陈枚在绘画上受到郎世宁的影响，运用了一些西洋的透视画法，表现出物象的立体感。他曾“以海西法于寸纸尺缣图群山万壑，峰峦林木，屋宇桥梁。”此册以中西合璧的绘画技法展现出圆明园中西融会的建筑与宫殿园林的完美结合，使人对这座“万园之园”产生无尽的遐想。咸丰十年（1860年），英法联军焚毁圆明园，因而该册的艺术价值弥足珍贵。",[54,139,248,233,60,126,107,61,7,143],"界画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7b8f9776e5f067c9a0d99025637160c.jpg","绢本，设色","纵31厘米，横25.3厘米",[],5,{"id":255,"slug":256,"title":257,"dynasty":18,"author":258,"museum":20,"description":259,"tags":260,"thumbUrl":265,"material":39,"size":40,"collection":73,"collections":266,"showCount":267,"zanCount":11,"manualWeight":11,"mainColor":115},232033,"racehorses-at-longchamp-museum-of-fine-arts-usa-de-jia-232033","Racehorses at Longchamp - - Museum of Fine Arts (USA)","德加","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。",[24,23,101,261,262,263,145,61,7,31,160,264,143],"暖色调","赛马","骑手","马匹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadc1e2c1300fc298ed08c4644591bbba.jpg",[],2,{"id":269,"slug":270,"title":271,"dynasty":49,"author":272,"museum":20,"description":273,"tags":274,"thumbUrl":283,"material":73,"size":284,"collection":73,"collections":285,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":44},233108,"ping-ding-xi-yu-zhan-tu-ye-yi-ming-233108","平定西域战图页","佚名","《平定西域战图》又称《平定准噶尔回部得胜图》、《平定伊犁回部战图》等。册页装，一函。图版十六幅，法国铜板制印，图版下署画家、刻工姓名。本馆藏有两部，一部首为乾隆御制序，乾隆诗文墨题画上，末有大学士傅恒、尚书舒赫德、于敏中等跋；另一部前为御制序，每图后附御题诗文，后为傅恒等跋，清内府造办处木版刷印。\n清廷在入主中原后，康、雍、乾三朝屡屡用兵西北，以肃清厄鲁特蒙古噶尔部割据势力。乾隆二十年至二十六年间（公元1755-1761年），两次平定准噶尔部叛乱的战役，对于维护国家稳定起到重要作用。 为了纪念平叛的胜利，乾隆让宫廷中的西洋画家郎世宁创作了大型历史纪实组画《平定西域战图册》。并决定将它送往欧洲制作成铜版画。",[275,276,143,277,60,61,33,278,279,280,70,64,281,282,86,7,66],"工笔","木刻","马","战争","战场","弓箭","动态","战骑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc9d4649f4a1254642ca9e039373ed85.jpg","87.3×50cm",[],{"id":287,"slug":288,"title":289,"dynasty":18,"author":290,"museum":20,"description":291,"tags":292,"thumbUrl":308,"material":39,"size":40,"collection":73,"collections":309,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":44},232429,"he-er-bai-yin-88-he-er-bai-yin-232429","荷尔拜因88","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。",[293,294,295,296,198,297,298,299,300,301,106,7,302,303,304,305,306,307],"素描","写实风格","线条勾勒","明暗对比","细节刻画","拱门","柱子","半身像","石碑","浮雕装饰","人物头像","蛇形装饰","古典建筑元素","田园场景","古典雕塑元素","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb3f67a8ccdd5dbd060bc7d02499c16b.jpg",[],{"id":311,"slug":312,"title":313,"dynasty":18,"author":314,"museum":20,"description":315,"tags":316,"thumbUrl":321,"material":39,"size":40,"collection":73,"collections":322,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":115},232327,"a-er-ma-54-lao-lun-si-a-er-ma-ta-de-ma-232327","阿尔玛54","劳伦斯·阿尔玛-塔德玛","劳伦斯·阿尔玛-塔德玛（Lawrence 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。",[23,139,317,143,145,318,61,319,160,320,7],"写实","山丘","伞","野花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eefc154e0408c5a4b5a4c80a7e079fc.jpg",[],{"id":324,"slug":325,"title":326,"dynasty":18,"author":314,"museum":20,"description":315,"tags":327,"thumbUrl":335,"material":39,"size":40,"collection":73,"collections":336,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":44},232323,"a-er-ma-50-lao-lun-si-a-er-ma-ta-de-ma-232323","阿尔玛50",[23,317,139,328,329,330,331,332,7,143,333,334],"美人","石墙","塔楼","长袍","披肩","布料","头饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4818485520cf35640f0689e53e6405c.jpg",[],{"id":338,"slug":339,"title":340,"dynasty":18,"author":258,"museum":20,"description":259,"tags":341,"thumbUrl":351,"material":39,"size":40,"collection":73,"collections":352,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":115},232119,"de-jia-61-de-jia-232119","德加61",[23,24,160,342,318,145,31,343,344,345,7,66,108,220,346,198,347,348,349,350],"小路","植被","土路","山坡","色彩柔和","蜿蜒小径","起伏地形","植被覆盖","黄昏色调","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0949e5b0f6254a4e39f02ae0cb9241fd.jpg",[],{"id":354,"slug":355,"title":356,"dynasty":18,"author":258,"museum":20,"description":259,"tags":357,"thumbUrl":364,"material":39,"size":40,"collection":73,"collections":365,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":115},232014,"seascape-musee-d-orsay-france-de-jia-232014","Seascape - - Musee d'Orsay (France)",[23,24,358,31,359,360,129,361,199,362,128,363,219,7],"海景","云朵","海面","地平线","笔触轻盈","阴天氛围","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7499704ecb79c0ef4c5f9cb64c6fa15.jpg",[],{"id":367,"slug":368,"title":369,"dynasty":18,"author":272,"museum":20,"description":370,"tags":371,"thumbUrl":375,"material":39,"size":40,"collection":73,"collections":376,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":44},225492,"fu-shi-hui-250-yi-ming-225492","浮世绘250","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。",[372,139,276,143,126,67,373,7,374],"浮世绘","平台","屋顶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76778b4af551d3b43c6a13124673cca1.jpg",[],1777535719894]