[{"data":1,"prerenderedAt":124},["ShallowReactive",2],{"subject-zhan-li":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},6792,"zhan-li","站立","站立画高清赏析","精选中国历代站立题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ee189c006e46e761f4c28936d6aa4ad.jpg",0,7,[14,35,49,61,88,104,114],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":28,"material":29,"size":30,"collection":31,"collections":32,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":34},288674,"attributed-to-domenico-veneziano-standing-youth-leaning-on-a-long-staff-yi-ming-288674","attributed to Domenico Veneziano--Standing Youth Leaning on a Long Staff","不详","佚名","藏地不详","这是一幅充满古典张力的人体素描，清癯健硕的青年倚杖静立，筋骨与肌肉的起伏被明暗排线精准晕染，在灰调纸面上生出柔和的体积感。他双手交握长杖，头颅微昂，似在凝神远眺，沉郁的神态藏于利落的轮廓中，静立姿态里裹挟着内敛的力量。画作兼具速写的松弛生动与古典写实的严谨克制，每一处线条都贴合着人体肌理，将躯体的蓬勃生气与沉静的氛围感相融，让静止的形象拥有了呼吸般的鲜活质感。",[23,24,25,26,27,7],"素描","人物","男性","拄杖","人体","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe3ebad86293d53b989d95837a249309.jpg","未知","Xcm*Xcm","",[],4,"BDBDBD",{"id":36,"slug":37,"title":38,"dynasty":18,"author":19,"museum":20,"description":39,"tags":40,"thumbUrl":46,"material":29,"size":30,"collection":31,"collections":47,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":34},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。",[23,41,42,43,7,44,45],"西洋画","人物画","士兵","衣纹","习作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed4244fdcc431877723fa10a608018b1.jpg",[],2,{"id":50,"slug":51,"title":52,"dynasty":18,"author":19,"museum":20,"description":53,"tags":54,"thumbUrl":58,"material":29,"size":30,"collection":31,"collections":59,"showCount":60,"zanCount":11,"manualWeight":11,"mainColor":34},288757,"salvator-rosa-two-standing-men-gesticulating-yi-ming-288757","Salvator Rosa--Two Standing Men Gesticulating","奔放洒脱的墨线肆意游走，寥寥数笔便将两人交谈的鲜活瞬间定格。左侧男子侧头回望，右手搭在腰间佩剑上，带着倾听的沉静；右侧男子抬手挥舞，身体前倾，似正慷慨陈词，肢体动作满是情绪张力。\n\n粗粝的线条精准扫过衣袍褶皱与身形轮廓，即兴速写的松弛感扑面而来，没有刻意雕琢的笔触，却将人物神态与动态刻画得淋漓尽致，仿佛下一秒就能听见他们的争论呼告。纸面的晕染墨迹带着随性的烟火气，潦草中藏着对刹那生机的敏锐捕捉，尽显速写直击情绪与动态的独特魅力，让转瞬即逝的日常对话成为了永恒的视觉留存。",[55,24,25,7,56,57,23],"白描","手势","速写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb36058584c0c025f4962bf56a0c5dd8.jpg",[],1,{"id":62,"slug":63,"title":64,"dynasty":18,"author":65,"museum":20,"description":66,"tags":67,"thumbUrl":85,"material":29,"size":30,"collection":31,"collections":86,"showCount":60,"zanCount":11,"manualWeight":11,"mainColor":87},232403,"he-er-bai-yin-62-he-er-bai-yin-232403","荷尔拜因62","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。",[68,69,70,24,71,72,73,74,75,76,77,78,79,80,81,82,83,84,7],"宗教","油画","设色","天使","圣徒","建筑","砖墙","拱门","长袍","头巾","光环","金色织物","棕榈枝","翅膀","书籍","跪拜","坐姿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd799103db13332f5c4f816eddd27aae.jpg",[],"795548",{"id":89,"slug":90,"title":91,"dynasty":18,"author":92,"museum":20,"description":93,"tags":94,"thumbUrl":101,"material":29,"size":30,"collection":31,"collections":102,"showCount":60,"zanCount":11,"manualWeight":11,"mainColor":103},232038,"project-for-portraits-in-a-frieze-three-women-1879-de-jia-232038","Project for Portraits in a Frieze - Three Women - 1879","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。",[95,96,23,97,24,98,7,84,99,100],"印象派","粉彩","纸本","女性","服饰","日常场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5663dd96149c8c0beaa859a86e807a66.jpg",[],"37474F",{"id":105,"slug":106,"title":107,"dynasty":18,"author":92,"museum":20,"description":93,"tags":108,"thumbUrl":112,"material":29,"size":30,"collection":31,"collections":113,"showCount":60,"zanCount":11,"manualWeight":11,"mainColor":87},231992,"standing-female-figure-with-bared-torso-circa-kunstmuseum-basel-switzerland-de-jia-231992","Standing Female Figure with Bared Torso - circa - - Kunstmuseum Basel (Switzerland)",[24,98,109,7,23,110,70,57,27,111],"袒胸","水彩","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89830f61e6807fceaf4d19088cc4f1a9.jpg",[],{"id":115,"slug":116,"title":117,"dynasty":18,"author":118,"museum":20,"description":119,"tags":120,"thumbUrl":10,"material":29,"size":30,"collection":31,"collections":123,"showCount":60,"zanCount":11,"manualWeight":11,"mainColor":34},231314,"su-miao-568-xi-fang-231314","素描568","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。",[23,121,24,98,122,7],"写实","裸体",[],1777535744613]