[{"data":1,"prerenderedAt":195},["ShallowReactive",2],{"subject-zhan-dou":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},3043,"zhan-dou","战斗","战斗画高清赏析","精选中国历代战斗题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab4d180386e98360415a2bfea86083d3.jpg",0,13,[14,41,61,80,92,100,108,124,138,148,159,169,179],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":36,"size":37,"collection":37,"collections":38,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":40},216835,"zhan-zheng-tong-ban-hua-9-lang-shi-ning-216835","战争铜版画-9","清","郎世宁","藏地不详","这一系列铜质战争版画是由清朝乾隆皇帝旨令制作的，描绘了他在位期间在内陆省份和边疆的军事行动场景。这些版画主要由当时在宫廷服务的欧洲传教士绘制，如郎世宁、王志成、艾启蒙和安德烈。柏林国家图书馆的东亚部分拥有五个系列的64幅版画。",[23,24,25,26,27,28,29,30,31,32,7,33,34,35],"铜版画","写实","战争","士兵","马","帐篷","山峦","树木","烟雾","建筑","人物","山石","田野","水墨","",[],5,"BDBDBD",{"id":42,"slug":43,"title":44,"dynasty":45,"author":46,"museum":20,"description":47,"tags":48,"thumbUrl":56,"material":57,"size":58,"collection":37,"collections":59,"showCount":60,"zanCount":11,"manualWeight":11,"mainColor":40},232531,"mi-lai-si-75-yue-han-ai-fu-li-te-mi-lai-si-232531","米莱斯75","不详","约翰·埃弗里特米莱斯","John Everett Millais十九世纪英国画家，是拉斐尔前派的三个创始人中年龄最小、才华最高的一位，其它两位是亨特和布朗。其油画《基督在自己父母家中》(1850)中体现了该派精神，以画风细腻著称。\n米莱斯是拉斐尔前派中最有才华的一个。他出生于南埃普顿，幼年就表现出非凡的绘画才能。10岁时，他的绘画就获得了艺术协会颁发的银质奖章。据说当时他的个子还没有讲台高，只能站在凳子上领奖。两年后，他的天赋为马丁·希伊勋爵发现，转入皇家美术学院的附属学校(希伊后来是皇家美术学院院长)，以后又转入皇家美术学院，以后又多次获奖，并在18岁那年获得金质奖章，是学院公认的高材生。",[49,50,51,27,33,7,52,53,54,55],"素描","速写","战车","长矛","车轮","奔跑","倒地人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feec497c34f92f9b95656db313198267f.jpg","未知","Xcm*Xcm",[],4,{"id":62,"slug":63,"title":64,"dynasty":18,"author":65,"museum":66,"description":67,"tags":68,"thumbUrl":75,"material":76,"size":77,"collection":37,"collections":78,"showCount":79,"zanCount":11,"manualWeight":11,"mainColor":40},233045,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-233045","平定台湾战图册","佚名","北京故宫博物院","乾隆五十一年（1786），台湾天地会北路首领林爽文起事，并得到南路首领庄大田的响应，旋即占领全岛，林爽文自称盟主大元帅，建元顺天；庄大田自称洪号，辅国大元帅。《战图》所绘即清大学士福康安和侍卫大臣海兰等于乾隆五十三年率军剿灭林爽文起事的战况。图十二幅，图目为：福康安奏报诸罗解围图、福康安奏报攻克斗六门图、福康安奏报攻克大里杙图、福康安奏报进攻小半天图、集集埔之战图、大埔林之战、大武垄之战图、枋寮之战图、生擒林爽文图、生擒庄大田图、福康安奏报抵厦门图、赐宴凯旋诸将图。\n据清内务府造办处乾隆五十三年档案记载：先是福康安进呈《台湾战图》御览，乾隆帝看过后并不满意，下旨：“图内人物绘画尚未合式，将原图十六幅寄京交如意馆，着伊兰泰将从前画过战图尺寸查清再画一份。五十三年九月二十日：姚文瀚将起得渡海凯旋图稿呈览，奉旨准画，着杨大章、贾全、谢遂、庄豫德、黎明分画。”十月初五太监鄂勒里传旨：“姚文瀚等现画台湾战图着以册十二幅，如画得一两幅，陆续交如意馆照西域战图画法一样画十二幅，俟画得时交造办处刻铜板。”[《活计档》。第3554册，中国第一历史档案馆藏。]即这是第一部完全由中国人绘稿和雕刻铜版的《战图》。但这套战图刻印完成后，也许乾隆帝并不十分满意，或者是对《平定准部回部战图》的西洋画法更感兴趣，又于乾隆五十四八月十七太监鄂鲁里传旨：“台湾战图册页画稿俟刻铜板完成时，将原稿掣回，着西洋人贺清泰、潘廷璋照铜板画法一样成画一份。”据《清内府造办处舆房目录》记载：《平定台湾战图》六份，其中绘本一份，内有原签注：“贾全起稿，黎明画稿”等字样。据故宫博物院藏清宫档案记载：“台湾战图铜板一份计十二块，压过二百份，各处陈设一百十九份，赏用八十一份。”",[69,70,71,33,27,29,72,73,74,7],"国画","册","设色","烟火","战争场景","历史画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5ae94eb704e0df5ac7654085e2a7f7e.jpg","纸本，设色","长55.6厘米，宽91.1厘米",[],3,{"id":81,"slug":82,"title":83,"dynasty":45,"author":65,"museum":20,"description":84,"tags":85,"thumbUrl":89,"material":57,"size":58,"collection":37,"collections":90,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":40},288668,"attributed-to-francesco-allegrini-cavalry-charge-yi-ming-288668","attributed to Francesco Allegrini--Cavalry Charge","这帧速写以近乎狂放的线条，定格骑兵对冲的炽热瞬间。迅疾的笔触勾勒出奔马昂扬的轮廓，肌肉的紧绷感顺着笔锋流淌。骑手们姿态各异，或挥械猛进，或俯身控马，战马扬蹄嘶鸣的悍野冲破纸面。\n\n没有繁复的铺陈，飞白与线条的留白将战场的喧嚣藏于笔意之间，潦草却精准的落点锚定住混战里的张力，把对冲间的混乱与悍勇尽数定格，每一道线条都裹挟着奔涌的战意，将即兴捕捉到的战场野性留存，让观者仿佛能听见马蹄震地的轰鸣。",[49,50,86,33,87,88,25,7],"白描","战马","骑兵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b52196d2b169235bb49f998dec2b346.jpg",[],2,{"id":93,"slug":94,"title":95,"dynasty":45,"author":65,"museum":20,"description":96,"tags":97,"thumbUrl":98,"material":57,"size":58,"collection":37,"collections":99,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":40},288667,"attributed-to-francesco-allegrini-cavalry-charge2-yi-ming-288667","attributed to Francesco Allegrini--Cavalry Charge2","这幅速写以极具张力的线条，将骑兵冲锋的瞬间定格。奔放潦草的笔触勾勒出骑手挥臂挺矛、战马昂首腾跃的姿态，粗粝却精准地抓住了厮杀前紧绷的动感，晕开的线条揉碎边界，渲染出战场的混乱与野性。仿佛能听见马蹄轰鸣、兵刃相击的呼号，笔触带着临场的仓促与热烈，将古战场的热血喷张尽数凝固于纸面，不加修饰的原始生命力扑面而来，寥寥数笔就让观者沉浸式触碰冲锋时刻的磅礴气势，把那份悍勇粗犷的战地氛围永远封存在方寸纸间。",[86,49,33,87,88,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4efd981ec4d289584e301f1404879fea.jpg",[],{"id":101,"slug":102,"title":103,"dynasty":45,"author":65,"museum":20,"description":104,"tags":105,"thumbUrl":106,"material":57,"size":58,"collection":37,"collections":107,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":40},288647,"attributed-to-francesco-allegrini-horsemen-and-three-foot-soldiers-in-battle-yi-ming-288647","attributed to Francesco Allegrini--Horsemen and Three Foot Soldiers in Battle","这幅战地速写以棕褐墨水铺陈厮杀瞬间，骑手高举长剑俯身向前，战马昂首扬蹄，肌肉轮廓在晕染墨色中喷张着野性力量。地面三名步兵缠斗一处，挥剑者姿态狠厉，倒地者竭力挣扎，肢体扭结间满是紧绷的张力。\n\n作者以粗放随性的笔触省去细节雕琢，借浓淡不一的墨色区分光影层次，大片留白让画面更具呼吸感，将短兵相接的混乱与悍勇凝练定格。原始粗粝的线条仿佛裹挟着战场嘶吼与兵刃交击锐响，把搏斗最具冲击力的瞬间牢牢抓在纸面，带着即兴速写独有的鲜活动感，将冷兵器交锋的残酷与力量之美倾泻而出。",[33,27,25,36,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43a7a514ad6bfd6f34a878142a422a1e.jpg",[],{"id":109,"slug":110,"title":111,"dynasty":18,"author":19,"museum":20,"description":21,"tags":112,"thumbUrl":122,"material":36,"size":37,"collection":37,"collections":123,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":40},216825,"zhan-zheng-tong-ban-hua-24-lang-shi-ning-216825","战争铜版画-24",[23,113,24,114,115,33,26,7,29,34,30,116,117,118,119,120,121],"蚀刻","中西合璧","山水","堡垒","路径","云雾","植被","军事防御工事","兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecc647fdf8d4ff4c6db24781e5d24665.jpg",[],{"id":125,"slug":126,"title":127,"dynasty":45,"author":65,"museum":20,"description":128,"tags":129,"thumbUrl":134,"material":57,"size":58,"collection":37,"collections":135,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":137},289316,"francesco-casanova-cavalry-skirmish-with-a-fallen-drummer-at-left-yi-ming-289316","Francesco Casanova--Cavalry Skirmish with a Fallen Drummer at Left","这幅画以粗粝奔放的笔触，将骑兵短兵相接的厮杀瞬间定格。明暗对比强烈的色调，裹挟着战场的混沌烟尘，让肃杀之气扑面而来。\n\n中心两名骑手缠斗扭打，挥剑的手臂张扬着原始的血性，战马肌肉紧绷、昂首腾挪，将近身搏杀的张力拉到极致。左侧倒地的鼓手僵卧在地，冷寂的姿态反衬出战斗的惨烈，散落的兵器与倒伏的士卒铺满前景，具象化出战争的残酷底色。\n\n粗野的力量感浸透纸面，仿佛能听见兵刃交击、战马悲鸣，将战场的嘶吼与混乱凝为永恒的视觉冲击。",[130,73,88,87,26,131,121,7,132,133],"油画","鼓手","硝烟","人物画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d11adff3fedb8302fdbb483a218e70d.jpg",[],1,"795548",{"id":139,"slug":140,"title":141,"dynasty":45,"author":65,"museum":20,"description":142,"tags":143,"thumbUrl":146,"material":57,"size":58,"collection":37,"collections":147,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":137},289315,"francesco-casanova-cavalry-skirmish-with-a-fallen-soldier-at-right-yi-ming-289315","Francesco Casanova--Cavalry Skirmish with a Fallen Soldier at Right","以明暗铺陈满幅战场张力，前冲的骏马肌肉线条在晕染间尽显爆发力，将领挥指厉声呼喝，身旁号手高举长号，火星似从号口迸裂而出，点燃暗沉天际。\n\n前景倒地的士兵与奔涌骑兵形成强烈反差，冷灰阴影将败者的颓丧烘托尽致，远处厮杀的人马隐没在朦胧烟霭中，让战场残酷悄然蔓延至画外。\n\n创作者以单色薄涂与擦笔技巧，将光影揉作弥漫硝烟，把冲锋一瞬定格为带着嘶吼的凝固史诗。粗放笔触精准戳中战斗的野性与悲怆，仿佛能听见马蹄踏过尸身的闷响，号角穿透云层的震颤，将短兵相接的肃杀氛围牢牢攥住。",[130,33,87,144,88,7,132,145],"战场","倒地士兵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ae5f496a638b08aab9da53822aa6f99.jpg",[],{"id":149,"slug":150,"title":151,"dynasty":45,"author":65,"museum":20,"description":152,"tags":153,"thumbUrl":157,"material":57,"size":58,"collection":37,"collections":158,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":40},288881,"giovanni-battista-tiepolo-illustration-for-a-book-soldiers-storming-a-city-yi-ming-288881","Giovanni Battista Tiepolo--Illustration for a Book Soldiers Storming a City","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。\n提埃坡罗是著名的壁画家，属于早期的洛可可风格，他继承了巴洛克艺术的传统，开创了天顶画的开阔视野，他的天顶画透明，和边框有机的结合在一起，产生了水彩画的效果，他也是威尼斯共和国最后一位希腊神话画家。\n他的两个儿子继承他的风格，但没有他那么优秀和有创造性。",[49,154,74,33,26,144,155,156,121,7],"插画","攻城","城池","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F874169985e7ef7bd547052cd9b77a484.jpg",[],{"id":160,"slug":161,"title":162,"dynasty":45,"author":65,"museum":20,"description":163,"tags":164,"thumbUrl":167,"material":57,"size":58,"collection":37,"collections":168,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":40},288664,"attributed-to-francesco-allegrini-cavalry-engagement1-yi-ming-288664","attributed to Francesco Allegrini--Cavalry Engagement1","这幅速写以迅疾奔放的棕褐线条，铺陈出骑兵混战的炽热张力。奔马昂首腾蹄、肌肉紧绷，骑士们挥刃嘶吼，交错的人马裹挟着狂暴战意扑面而来。\n\n前景倒伏的躯体，将缠斗的惨烈拉至眼前，潦草却精准的笔触勾勒出肢体的挣扎与战马的野性，仅凭线条的疏密急缓，便将短兵相接的混乱与热血迸发的冲击力直抵观者心底，粗粝笔触自带原始的杀伐质感，让这场骑斗的喧嚣仿佛冲破纸面。",[49,165,166,33,87,88,7],"线描","战争画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb064627240c9a75b3adaad52f5f64fca.jpg",[],{"id":170,"slug":171,"title":172,"dynasty":45,"author":65,"museum":20,"description":173,"tags":174,"thumbUrl":177,"material":57,"size":58,"collection":37,"collections":178,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":40},288657,"attributed-to-francesco-allegrini-four-horsemen-in-battle-yi-ming-288657","attributed to Francesco Allegrini--Four Horsemen in Battle","这幅速写以奔放淋漓的棕褐笔墨，定格了混战瞬间。骑手们俯身控马，战马扬蹄腾挪，肢体的扭转、肌肉的紧绷都被狂放的线条晕染勾勒，将骑乘冲锋的冲击力喷薄而出。\n\n下方的坠马身影更添厮杀的混乱与野性，没有精细刻画，却依靠虚实交错的色块与飞白，让战马的鬃毛、皮革的紧绷感呼之欲出。短兵相接的肃杀与动感揉进每一笔晕染里，粗犷笔触自带原始张力，仿佛能听见马蹄轰鸣与兵器碰撞之声，用极简色调将古战场的悍勇与混乱牢牢锁在纸面之上。",[49,50,175,33,27,25,7,88,176],"淡彩","激烈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ae573f6152f0006e7dbdc90cfdc04b2.jpg",[],{"id":180,"slug":181,"title":182,"dynasty":18,"author":65,"museum":66,"description":183,"tags":184,"thumbUrl":191,"material":192,"size":193,"collection":37,"collections":194,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":40},233079,"ping-ding-yi-li-hui-bu-zhan-tu-ce-yi-ming-233079","平定伊犁回部战图册","《平定伊犁回部战图册》（平定准噶尔回部得胜图）是乾隆皇帝炫耀武功的作品，其宏大的战争场面，荣耀的献俘场景，皆彰显出清帝国极盛时代的不可一世。乾隆三十年（1765年），“传旨西洋人郎世宁等四人起得胜图稿十六张，着丁观鹏等五人用宣纸依照原稿着色画十六张”。这一批画由西洋传教士起稿，后又送至法国制版印刷成铜版画，是当时受西洋技法影响较深的画作。",[69,71,185,70,33,115,30,186,28,29,187,188,189,7,190,119],"工笔","马匹","岩石","皴法","军队","山川","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe87baf46514ab43f15309167d971ee3b.jpg","纸本","纵55.4cm，横90.8cm",[],1777535728557]