[{"data":1,"prerenderedAt":113},["ShallowReactive",2],{"subject-zhang":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},2762,"zhang","杖","杖画高清赏析","精选中国历代杖题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b9b9ab02d19464c3f26f274577983b3.jpg",0,5,[14,41,64,81,101],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":33,"material":34,"size":35,"collection":36,"collections":37,"showCount":38,"zanCount":39,"manualWeight":11,"mainColor":40},220116,"shi-liu-luo-han-tu-di-ba-zun-zhe-jin-da-shou-220116","十六罗汉图-第八尊者","宋","金大受","日本东京国立博物馆","金大受是南宋时代浙江宁波具有代表性的佛画师。本图各幅有落款“大宋明州车桥西、金大受笔”，绘于庆元元年（1195）之前，当时的宁波被称为“明州”，作为现存浙江佛画中时代最早的作品而闻名。金大受所绘的罗汉笔锋收敛，形态把握准确，其赋彩也是巧用中间色，采用协调的自然表现手法，在宁波所绘制的罗汉图中也属于佳作。作为摄州多田院的镇院之宝而传来。曾为原邦造旧蔵。16幅作品中，现已确认有东京国立博物馆馆藏的10幅，以及群马县立近代美术馆馆藏的1幅，其他5幅估计流失海外，所在不明。\n金大受所画十六罗汉计十六幅，分藏三个处所，除了东京国立博物馆藏了十幅之外，其余分别由二个私人收藏家所收藏。十六幅中，每幅均有「大宋明州车桥西金大受笔」的落款，因此一直被误认为作者是西金居士。后来才被判定为南宋宁波车桥之西的画家金大受。\n十六幅中，现藏于群马县立近代美术馆的一幅，长一一七．四公分，宽五Ｏ．四公分。尊者着偏袒右肩式僧服，外罩水田衣，微侧脸注视手中的持花，其蹙眉掀鼻，张口露齿的表情，很是特出。画中除尊者之外，另有侍者一人，以及伏在矮几的小童一人，尊者头上的圆光，以青绿色为之，背后花树盛开，树枝上倒挂一朵莲花，色彩精致，笔触细腻，采用了较幽沉的色调，却烘托出尊者和圆光的明亮。",[23,24,25,26,27,28,29,30,31,32,7],"高清","国画","宗教","人物","设色","工笔","罗汉","侍者","树","光环","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa096f31a4172545a1bb5916fc205061f.jpg","绢本,设色","118.8×51.7cm","",[],13,1,"795548",{"id":42,"slug":43,"title":44,"dynasty":45,"author":46,"museum":47,"description":48,"tags":49,"thumbUrl":58,"material":59,"size":60,"collection":36,"collections":61,"showCount":62,"zanCount":11,"manualWeight":11,"mainColor":63},287526,"qi-yan-lv-shi-song-ke-287526","七言律诗","明","宋克","藏地不详","宋克（1327―1387）字仲温，一字克温，自号南宫生，长洲（今江苏苏州）人。是明代初期闻名于书坛的书法家“三宋二沈”之一。与高启等称十友，诗称十才子。\n洪武初为凤翔同知。素工草隶深得钟、王之法，笔精墨妙，风度翩翩。并工写竹，虽寸冈尺堑，而千篁万玉，雨叠烟生，萧然无尘俗之气。尝作鸡栖石业条一幅，题语有“艺成不觉自敛手”之句，谓不可复得也。书学急就章，故写竹能妙。尝于试院牍尾用朱笔扫竹，张伯雨有“偶见一枝红石竹”之句，人遂以为朱竹自宋克始。卒年六十一。宋克的书法，在明代颇享盛名，与当时擅长书法的宋璲、宋广合称三宋。",[50,51,52,53,54,55,56,57,7],"书法","草书","印章","飞鸟","雪","春风","云","松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86f52c927d1e9856d3dfa22a7602ff34.jpg","未知","Xcm*Xcm",[],7,"BDBDBD",{"id":65,"slug":66,"title":67,"dynasty":68,"author":69,"museum":47,"description":70,"tags":71,"thumbUrl":77,"material":78,"size":36,"collection":36,"collections":79,"showCount":80,"zanCount":11,"manualWeight":11,"mainColor":63},215880,"qing-dai-xing-fa-ji-lu-tu-ce-6-yi-ming-215880","清代刑罚记录图册-6","清","佚名","画面以写实笔触勾勒清代刑罚场景，执法者叉腰持鞭立左侧，姿态威严；两名受刑者跪伏于地，一人手足带枷，一人颈压木枷，枷上墨书依稀可辨，尽显困顿与屈辱。服饰色彩对比鲜明，红衫蓝裤的执法者与蓝、橙衣袍的受刑者形成视觉张力，线条简练却入木三分，将权力的压迫与个体的卑微刻画得淋漓尽致。这幅图不仅是刑罚的直观记录，更凝固了一段尘封的司法图景，以朴素写实风格承载厚重历史信息，让观者窥见彼时社会的律法风貌与人性百态。",[72,27,28,73,26,74,7,75,76],"清代","册","枷","衣帽","刑罚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec92fe4ee7a86a394cd5c8791e9105ef.jpg","纸本,设色",[],2,{"id":82,"slug":83,"title":84,"dynasty":85,"author":86,"museum":47,"description":87,"tags":88,"thumbUrl":99,"material":59,"size":60,"collection":36,"collections":100,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":40},232521,"he-er-bai-yin-180-he-er-bai-yin-232521","荷尔拜因180","不详","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。",[25,26,89,90,91,7,92,93,94,95,96,97,98],"男性","长袍","钥匙","素描","铜版画","写实","黑白","线条","明暗","肖像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6767142e0971a55cdf69efa86a965745.jpg",[],{"id":102,"slug":103,"title":104,"dynasty":68,"author":69,"museum":47,"description":105,"tags":106,"thumbUrl":10,"material":111,"size":36,"collection":36,"collections":112,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":63},215471,"bai-miao-jie-tou-mai-mai-hua-ce-87-yi-ming-215471","白描街头买卖画册-87","墨线轻勾，晕染开一段市井旧梦。斗笠覆顶，竹筐负肩，长杆斜握的身影，步履间藏着街头买卖的细碎日常。不施粉黛的素纸之上，仅以粗细转折的墨线，便勾勒出衣袂的褶皱、竹篾的纹理，连人物眉眼间的恬淡神情，都隐在简练笔触里却鲜活如昨。\n\n线条是此帧的魂——或轻或重，或缓或急，似有若无地牵起百年前的烟火气。寻常生计的温暖，被凝在素净纸面：那竹筐里或许盛着新鲜蔬果，长杆或许是叫卖的工具，每一处细节都在默默诉说街巷里的平凡故事。时光仿佛在此刻慢下来，让观者窥见旧时光里，那些藏在白描线条中的生活本真。",[23,68,24,107,73,108,26,109,7,110],"书画","白描","斗笠","筐","纸本",[],1777535753692]