[{"data":1,"prerenderedAt":316},["ShallowReactive",2],{"subject-zhuang-shi-hua":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},4920,"zhuang-shi-hua","装饰画","装饰画画高清赏析","精选中国历代装饰画题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd839b67cfb870696d6b4c5ef21db946e.jpg",0,21,[14,41,51,79,100,117,131,144,157,169,178,189,200,221,238,250,258,272,283,295,307],{"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},226318,"ku-zhu-shi-zao-jing-yi-ming-226318","窟主室藻井","唐","佚名","敦煌","莫高窟，俗称千佛洞，坐落在河西走廊西端的敦煌。它始建于前秦宣昭帝苻坚时期，后历经北朝、隋朝、唐朝、五代十国、西夏、元朝等历代的兴建，形成巨大的规模，有洞窟735个，壁画4.5万平方米、泥质彩塑2415尊，是世界上现存规模最大、内容最丰富的佛教艺术地。\n1961年，莫高窟被中华人民共和国国务院公布为第一批全国重点文物保护单位之一。1987年，莫高窟被列为世界文化遗产。\n莫高窟与河南洛阳龙门石窟、山西大同云冈石窟并称中国三大石窟，后加麦积山石窟称四大石窟。 2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[23,24,25,26,27,28,7,29,30,31,32],"壁画","宗教","设色","几何纹样","卷草纹","唐代","同心圆图案","菱形纹样","色彩装饰","图案化","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb805fcf6723b8907879d368c1b090a0.jpg","未知","Xcm*Xcm","",[],28,1,"795548",{"id":42,"slug":43,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":44,"thumbUrl":48,"material":34,"size":35,"collection":36,"collections":49,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":40},226496,"ku-zhu-shi-zao-jing-yi-ming-226496",[20,23,45,46,47,7],"藻井","佛教","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03b0f4a0f5e4b87ae81202f2d3c8a6c3.jpg",[],17,{"id":52,"slug":53,"title":54,"dynasty":55,"author":56,"museum":57,"description":58,"tags":59,"thumbUrl":75,"material":34,"size":35,"collection":76,"collections":77,"showCount":78,"zanCount":11,"manualWeight":11,"mainColor":40},225767,"in-the-cafe-agostina-segatori-in-le-tambourin-january-march-fan-gao-225767","In the café Agostina Segatori in Le Tambourin (January - March )","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。",[60,61,62,63,64,65,66,67,68,69,70,71,7,72,73,74],"油画","后印象派","厚涂","人物","女性","室内","咖啡馆","圆桌","玻璃杯","鼓形坐墩","墙面","窗户","桌上物品","笔触奔放","色彩鲜明","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5ff734c082d4cbb0bac39c2d4b09413.jpg","油画精选",[76],16,{"id":80,"slug":81,"title":82,"dynasty":55,"author":83,"museum":57,"description":84,"tags":85,"thumbUrl":10,"material":34,"size":35,"collection":76,"collections":97,"showCount":98,"zanCount":11,"manualWeight":11,"mainColor":99},225983,"meditation-mrs-monet-sitting-on-a-sofa-1870-1871-mo-nai-225983","Meditation, Mrs. Monet Sitting on a Sofa, 1870-1871","莫奈","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。",[86,60,87,88,89,90,91,92,93,94,95,7,96],"印象派","室内场景","女性人物","沙发","地毯","壁炉","书籍","窗帘","花卉纹样","光影表现","室内装饰",[76],11,"37474F",{"id":101,"slug":102,"title":103,"dynasty":55,"author":19,"museum":57,"description":104,"tags":105,"thumbUrl":113,"material":34,"size":35,"collection":36,"collections":114,"showCount":115,"zanCount":11,"manualWeight":11,"mainColor":116},289495,"bernardino-india-design-for-a-wall-decoration-over-an-arched-doorway-yi-ming-289495","Bernardino India--Design for a Wall Decoration over an Arched Doorway","整体采用对称构图，以中央纹章锚定视觉重心，涡卷茛苕纹与兽面雕饰缠绕勾勒框架，华丽繁复尽显巴洛克装饰意趣。左右画框内的女性喻像一威一静，左者持杖端坐气场威仪，右者倚柱安坐气质柔静，中央立像英挺矫健，借古典人形体颂权力与德行。\n画师以利落明暗晕染铺陈体积感，刚柔并济的线条刻画出拟石的厚重肌理，将古典人文的典雅与巴洛克的华丽动感相融，适配拱门上楣的装饰形制，让庄重气场与灵动韵律共生，尽显古典装饰设计的精妙巧思。",[106,7,23,63,107,108,24,109,110,111,112],"素描","狮子","拱门","古典风格","建筑装饰","纹章","设计稿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1448e1fb7daa0c7d469160298c7b0794.jpg",[],2,"BDBDBD",{"id":118,"slug":119,"title":120,"dynasty":55,"author":19,"museum":57,"description":121,"tags":122,"thumbUrl":129,"material":34,"size":35,"collection":36,"collections":130,"showCount":115,"zanCount":11,"manualWeight":11,"mainColor":116},289489,"bernardo-castello-modello-for-ceiling-fresco-with-papal-coat-of-arms-yi-ming-289489","Bernardo Castello--Modello for Ceiling Fresco with Papal Coat of Arms","浅棕调素描晕染出巴洛克式华丽构图，盾形纹章为视觉核心，涡卷雕花勾勒柔美元边框。上方丘比特簇拥十字宝球与三重冠，灵动小天使环绕绶带，托举细节。两侧拟人女神烘托威仪，下方勇武军士承托整体，层级分明。细腻排线区分明暗，将宗教纹样的庄肃，揉入古典装饰的柔美灵动，尽显文艺复兴晚期宫廷宗教装饰的典雅仪式感，兼具布局巧思与美学张力。",[24,106,123,124,125,126,127,128,7],"湿壁画稿","西洋画","教皇纹章","天使","古典人物","线描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3494a24301bd7f770085b63e81f4d3f.jpg",[],{"id":132,"slug":133,"title":134,"dynasty":55,"author":19,"museum":57,"description":135,"tags":136,"thumbUrl":142,"material":34,"size":35,"collection":36,"collections":143,"showCount":115,"zanCount":11,"manualWeight":11,"mainColor":116},288692,"attributed-to-andre-s-de-melgar-column-of-grotesques-with-dragons-and-kneeling-yi-ming-288692","attributed to Andrés de Melgar--Column of Grotesques with Dragons and 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Cat","这幅装饰手稿以端坐的猫咪作为视觉锚点，跳脱常规怪诞纹样的神性表达，糅入软萌生机。对称排布的禽鸟牵起垂坠布幔，为画面铺陈出仪式感。\n\n层叠舒展的茛苕涡旋、拟人化面具顺着纵向延展，灵动小兽攀附卷草藤蔓，底部葡萄纹样晕开自然野趣。速写式的线条松弛随性，将严谨的对称构图揉化出鲜活温度，肃穆的古典装饰语言与稚拙的即兴笔触感奇妙碰撞，把庄重怪诞风格晕染出俏皮意趣。",[150,151,47,137,106,152,153,138,7,154],"猫","飞鸟","怪诞纹样","古典装饰","书画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4312bcad97a45aa578fc907226a457f6.jpg",[],{"id":158,"slug":159,"title":160,"dynasty":55,"author":19,"museum":57,"description":161,"tags":162,"thumbUrl":167,"material":34,"size":35,"collection":36,"collections":168,"showCount":115,"zanCount":11,"manualWeight":11,"mainColor":116},288684,"attributed-to-andre-s-de-melgar-grotesques-with-q-r-in-cartouche-at-left-s-p-q-r-at-right-yi-ming-288684","attributed to Andrés de Melgar--Grotesques, with Q.R. in Cartouche at Left, S.P.Q.R. at Right","整幅以银笔铺就，是充满即兴张力的装饰草图。左侧茛苕涡卷垂落花饰与帷幔，托举纹章框，带着古典形制的规整肃穆；右侧则游走奇幻怪诞形象：羽身萨堤尔踞坐拨弄里拉琴，人面融于缠枝茛苕，古典标识隐现其间，潦草手注留存构思的鲜活痕迹。\n\n线条松弛灵动，揉合文艺复兴晚期怪诞装饰风格，将古典神话形象与程式化卷草交织，未完成的笔痕间，兼具古典符号的庄重感与奇幻形象的戏谑生机，复刻出装饰设计初始构思的蓬勃生命力。",[137,7,152,63,163,27,164,165,166],"翼兽","纹饰","乐器","古典纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee151b05fb0259bae6305ed42907ff43.jpg",[],{"id":170,"slug":171,"title":172,"dynasty":55,"author":19,"museum":57,"description":173,"tags":174,"thumbUrl":176,"material":34,"size":35,"collection":36,"collections":177,"showCount":115,"zanCount":11,"manualWeight":11,"mainColor":116},288681,"attributed-to-andre-s-de-melgar-seated-satyr-holding-a-shell-dragon-horizontal-yi-ming-288681","attributed to Andrés de Melgar--Seated Satyr Holding a Shell - Dragon [horizontal]","这张手稿以灵动线条勾勒出怪诞绮丽的奇想世界。半人半兽的形象虬须怒张，神态沉郁威严，健硕躯体带着蛮荒野性，臂间环缠的龙形异兽尖牙利爪，身姿蜿蜒张扬，与古典涡旋饰纹缠绕交织，将神异怪趣与建筑装饰性融为一体。\n\n排线明暗精准晕出肌肉张力与构件体积，硬朗的建筑结构和柔媚飘带、虬曲异兽形成刚柔对冲，在静态纸面下仿佛涌动着诡谲生机，把奇诡幻想与装饰工艺的精致韵律揉合为一，尽显奇想与工巧的绝妙平衡。",[137,175,139,47,63,106,7],"神话人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c79ef2c258f158f524238dbd49b668b.jpg",[],{"id":179,"slug":180,"title":181,"dynasty":55,"author":19,"museum":57,"description":182,"tags":183,"thumbUrl":187,"material":34,"size":35,"collection":36,"collections":188,"showCount":115,"zanCount":11,"manualWeight":11,"mainColor":116},288678,"attributed-to-andre-s-de-melgar-term-and-seated-satyr-grotesque-holding-shell-yi-ming-288678","attributed to Andrés de Melgar--Term and Seated Satyr - Grotesque Holding Shell","这幅素描以矫饰怪诞的幻想图景铺陈叙事，半人半兽的萨堤尔、龙形异兽与茛苕涡卷纹缠绕共生，将古典神话母题拆解重组。流畅的墨线勾画出蓬松肌理与灵动曲线，细腻排线晕出毛发褶皱的真实质感，回旋往复的线条牵拉着视觉游走，让妖异动感溢满纸面。庄严的古典形象被消解为绮丽戏谑的装饰元素，众神异兽仿佛沉溺在一场隐秘的异世界狂欢里，把装饰性与幻想精妙揉合，尽显对古典美学的破格重构。",[137,184,63,47,139,7,185,186],"神话","线稿","贝壳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F772afc931b1b140dd6bdca87ec570029.jpg",[],{"id":190,"slug":191,"title":192,"dynasty":55,"author":19,"museum":57,"description":193,"tags":194,"thumbUrl":197,"material":34,"size":35,"collection":36,"collections":198,"showCount":115,"zanCount":11,"manualWeight":11,"mainColor":199},288567,"attributed-to-giuseppe-cades-design-for-a-frieze-with-two-women-flanking-an-urn-yi-ming-288567","attributed to Giuseppe Cades--Design for a Frieze with Two Women Flanking an Urn","这幅古典壁饰稿本，以棕调晕染铺陈复古质感。左侧翼女踏金球静立，神情肃穆矜贵。中央两位仕女身姿柔婉慵懒，一人支颐回望，一人背手垂首，环绕雕花古瓮，蛇形饰件盘绕瓮沿，明暗线条勾勒出衣褶垂坠的韵律，复刻出古罗马湿壁画的典雅意趣。右侧菱形饰板内，托举的女神与卷草浮雕呼应整体氛围，构图对称均衡，将神话意象与装饰美学相融，细腻笔触尽显人体柔美与装饰纹样的精巧，静穆中流淌着文艺复兴复古风格的诗意庄重。",[106,137,7,63,195,126,196,109],"美人","瓮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8425550542be6db46f14990aec77825f.jpg",[],"F48FB1",{"id":201,"slug":202,"title":203,"dynasty":55,"author":204,"museum":57,"description":205,"tags":206,"thumbUrl":219,"material":34,"size":35,"collection":36,"collections":220,"showCount":115,"zanCount":11,"manualWeight":11,"mainColor":40},232293,"a-er-ma-20-lao-lun-si-a-er-ma-ta-de-ma-232293","阿尔玛20","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。",[60,207,25,208,209,195,87,210,211,212,213,214,215,7,216,217,218],"写实","细腻","光影","花瓶","花卉","拱形门窗","木质地板","长椅","老虎皮","圆形桌","水域","船只","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F795068ca8c135a4797c99b6c59089871.jpg",[],{"id":222,"slug":223,"title":224,"dynasty":55,"author":19,"museum":57,"description":225,"tags":226,"thumbUrl":236,"material":34,"size":35,"collection":36,"collections":237,"showCount":115,"zanCount":11,"manualWeight":11,"mainColor":116},230687,"shi-qi-shi-ji-qing-hua-shi-nv-hua-ban-kou-xi-yi-ming-230687","十七世纪 青花仕女花瓣口洗","青花瓷（blue and white porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[227,228,229,230,63,211,231,232,164,233,234,235,7],"陶瓷","青花","釉下彩","仕女","花瓣口","十七世纪","古陶瓷","釉色","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9300a8b54771de2232afd2bb5891ee47.jpg",[],{"id":239,"slug":240,"title":241,"dynasty":55,"author":19,"museum":57,"description":242,"tags":243,"thumbUrl":248,"material":34,"size":35,"collection":36,"collections":249,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":116},289295,"paolo-farinati-project-for-the-decoration-of-a-spandrel-winged-female-yi-ming-289295","Paolo Farinati--Project for the Decoration of a Spandrel Winged Female","身姿扭转的带翼女子舒展灵动，手臂扶着拱券结构，羽翼贴合躯干将力量与柔美相融。画家以棕色调素描结合水彩晕染在灰纸基底之上，借底色衬托亮部，深色线条利落勾勒肌肉与衣褶起伏。厚重衣袍褶皱流畅垂坠，精准表现出布料的重量感，人物神情专注肃穆，带着古典静穆之美。\n\n左下角的手写字迹带着草稿随性，留存下创作构思的鲜活痕迹，整幅画既有扎实的造型功底，线条虚实间尽显动态张力，又不失速写的松弛气韵，将装饰画稿的灵动雏形尽数呈现。",[106,244,245,246,175,7,247],"淡彩","人物画","有翼女性","手绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F615fd3044bb71b8a31cb9763308bfc33.jpg",[],{"id":251,"slug":252,"title":253,"dynasty":55,"author":19,"museum":57,"description":254,"tags":255,"thumbUrl":256,"material":34,"size":35,"collection":36,"collections":257,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":116},288703,"workshop-of-battista-franco-design-for-the-decoration-yi-ming-288703","Workshop of Battista Franco--Design for the Decoration","这幅设计稿以素描淡彩铺陈，将拱顶与墙面装饰融为一体。拱顶之上，天使与神话场景错落排布，花环与涡卷纹样穿插其间，让装饰兼具叙事性与韵律感。墙面壁龛浮雕刻画凝练，人物动态张弛有度，烘托出宗教叙事的肃穆氛围。\n\n线条精准利落，明暗晕染巧妙烘托出浮雕立体感，尽显文艺复兴晚期装饰美学。建筑结构与装饰艺术精妙融合，每一处细节都暗藏缜密巧思，将装饰的功能性与艺术性平衡得恰到好处，尽显古典艺术的庄严雅致。",[137,63,24,7,106,175,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9019c049ff59c402edd6c2b3410afcc.jpg",[],{"id":259,"slug":260,"title":261,"dynasty":55,"author":19,"museum":57,"description":262,"tags":263,"thumbUrl":270,"material":34,"size":35,"collection":36,"collections":271,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":116},288688,"attributed-to-andre-s-de-melgar-grotesque-at-right-with-winged-female-and-lion-mask-yi-ming-288688","attributed to Andrés de Melgar--Grotesque at Right with Winged Female; and Lion Mask","这幅手稿以刚柔碰撞的奇趣美学铺展画面。左侧异兽狞猛诡谲，狮首卷躯、龙形蜷身，涡旋肌理缠绕着神话生物的凌厉骨相，线条利落锋利，把幻想造物与古典卷草饰纹肆意糅合。右侧则以舒展羽翼的裸女为核心，柔美的躯体缠绕华丽茛苕纹样，柔化了异兽的暴戾气质。\n\n创作者以细腻排线勾勒轮廓，随性的手绘线条里藏着装饰设计的巧思，怪诞奇想与古典雅致彼此制衡，让狞厉的异兽与柔婉人像在卷草间共生，勾勒出中古奇幻美学的浪漫剪影，尽显复古怪谲的灵动诗意。",[137,185,264,265,266,267,7,268,269],"狮","神兽","带翼女性","怪诞形象","兽类","神话形象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe85579304a607bb95b13c75572308a88.jpg",[],{"id":273,"slug":274,"title":275,"dynasty":55,"author":19,"museum":57,"description":276,"tags":277,"thumbUrl":281,"material":34,"size":35,"collection":36,"collections":282,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":116},288686,"attributed-to-andre-s-de-melgar-grotesque-with-satyr-head-and-fan-above-octagonal-yi-ming-288686","attributed to Andrés de Melgar--Grotesque with Satyr Head and Fan Above Octagonal","以细密线条织就蛛网扇形顶饰，下方狞厉兽首衔垂帷幔，撑起对称构图的威严骨架。八角龛中缩着古典小像，暗合复古意趣。两侧狮鹫雄健对峙，翼羽层叠舒张，俯身托举托盘，野性张力扑面而来。\n\n底部女像柱柔婉舒展，承起上方异兽的犷悍，刚柔相撞间生出奇妙平衡。壁板上的小面具悄悄呼应顶部兽首，让整体视觉串联成一体。手绘草稿带着随性灵动的笔意，将古典神话异兽与装饰纹样揉合，诡谲华丽的复古氛围扑面而来，尽显怪诞装饰美学的奇想巧思。",[137,106,185,175,278,47,279,280,7],"狮鹫","女性形象","怪诞风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F248ee63410b4a114470369be76f40e33.jpg",[],{"id":284,"slug":285,"title":286,"dynasty":55,"author":19,"museum":57,"description":287,"tags":288,"thumbUrl":293,"material":34,"size":35,"collection":36,"collections":294,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":116},288680,"attributed-to-andre-s-de-melgar-strapwork-term-with-arm-extended-onto-head-yi-ming-288680","attributed to Andrés de Melgar--Strapwork Term with Arm Extended onto Head","这幅钢笔素描以利落排线铺陈体积，圆润饱满的小天使侧身舒展，肌肉起伏在疏密线条中柔和显现，稚拙中带着古典人体的柔美张力。\n\n它将怪诞柱头、缠枝饰带与涡纹构件相融，小天使与拟人化柱头呼应，绮丽复古。作为古典壁饰构思，把人文意象与工艺装饰巧妙结合，线条灵动勾勒出复古奇幻的装饰美学，带着文艺复兴晚期怪诞装饰风格的余韵，简约却尽显精致巧思。",[137,106,128,124,7,289,290,291,27,292],"孩童","半裸人物","鱼","柱饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc345f784fdfb833b3ef64df73abc602.jpg",[],{"id":296,"slug":297,"title":298,"dynasty":299,"author":19,"museum":57,"description":300,"tags":301,"thumbUrl":305,"material":34,"size":35,"collection":36,"collections":306,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},274575,"tong-du-jin-qian-fa-lang-liu-jiao-xing-si-ming-zhong-yi-ming-274575","铜镀金嵌珐琅六角形四明钟","清","最早的钟原本是指古代汉族 传统的打击乐器，形状扁圆而中空，盛于春秋战国直至秦汉，多为青铜制，又叫“编钟”，自佛教传入中国后，逐渐变为一种宗教法器的代称，又叫“梵钟”或“半钟”原本叫“犍稚”又叫“信鼓”是寺院为报时、集众而敲击之用。",[302,303,304,63,7],"珐琅器","铜制","钟表","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81f66be764a6782c368d6e454a96973c.jpg",[],{"id":308,"slug":309,"title":310,"dynasty":18,"author":19,"museum":57,"description":21,"tags":311,"thumbUrl":314,"material":34,"size":35,"collection":36,"collections":315,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":99},227188,"dun-huang-59-yi-ming-227188","敦煌59",[20,25,312,151,313,7],"布料","植物纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8bdcbc720dabe29438489dfde7ee8af.jpg",[],1777535720055]