[{"data":1,"prerenderedAt":89},["ShallowReactive",2],{"subject-zhi-bu-ji":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},4611,"zhi-bu-ji","织布机","织布机画高清赏析","精选中国历代织布机题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96c253a0cac7b8e9210e2e2c35b04964.jpg",0,4,[14,41,54,74],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":34,"material":35,"size":36,"collection":37,"collections":38,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":40},225703,"a-weaver-s-cottage-1884-fan-gao-225703","A Weaver's Cottage 1884","不详","梵高","藏地不详","文森特·威廉·梵高（Vincent Willem van Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[23,24,7,25,26,27,28,29,30,31,32,33],"油画","人物","小屋","窗户","灯","布料","木制结构","工具","室内场景","笔触","写实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17825a2c204d7af79695adc115eb2f0b.jpg","未知","Xcm*Xcm","油画精选",[37],71,"37474F",{"id":42,"slug":43,"title":44,"dynasty":18,"author":19,"museum":20,"description":21,"tags":45,"thumbUrl":50,"material":35,"size":36,"collection":37,"collections":51,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":53},225872,"weaver-1884-fan-gao-225872","Weaver 1884",[23,33,24,7,46,47,48,49],"纺车","室内","红色织物","椅子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99b7a1ac022669dfeea1085459d74627.jpg",[37],11,"795548",{"id":55,"slug":56,"title":57,"dynasty":58,"author":59,"museum":20,"description":60,"tags":61,"thumbUrl":69,"material":70,"size":70,"collection":70,"collections":71,"showCount":72,"zanCount":73,"manualWeight":11,"mainColor":53},235319,"duan-ji-jiao-zi-tu-zhou-kang-tao-235319","断机教子图轴","清","康涛","工笔设色绘就贤母训子场景，左侧织机悬着未竟素帛，孟母持剪而立，神色沉凝肃穆，将断杼明志的训诫藏于举手投足间。幼孟轲垂首立在身侧，孺慕间带着愧悔之色。\n衣纹以铁线描勾勒，温婉秀雅，蓝饰头鬓晕染细腻，赭褐衣装衬出沉静古雅的色调。右上角题字笔意端秀，呼应画中劝学成才的典故。\n画作未刻意渲染情绪，却将言传身教的意蕴藏在人物姿态中，绢本底色晕开东方家教的沉厚底色，把千年贤母训子的佳话定格为可感的画面，工致笔触尽显雅致风骨。",[62,63,64,65,66,24,7,67,68],"国画","书画","立轴","设色","工笔","古代服饰","清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7b81833b420652ba2ce9221df03ea46.jpg","",[],7,1,{"id":75,"slug":76,"title":77,"dynasty":18,"author":78,"museum":20,"description":79,"tags":80,"thumbUrl":10,"material":35,"size":36,"collection":70,"collections":87,"showCount":72,"zanCount":11,"manualWeight":11,"mainColor":88},225489,"fu-shi-hui-247-yi-ming-225489","浮世绘247","佚名","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。",[81,82,65,24,83,7,84,85,86],"浮世绘","木刻","美人","和服","纺织场景","线条",[],"BDBDBD",1777535758553]