[{"data":1,"prerenderedAt":143},["ShallowReactive",2],{"subject-zhuang-shi-xing":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},2139,"zhuang-shi-xing","装饰性","装饰性画高清赏析","精选中国历代装饰性题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfd36af4034e47aec7adfa435181c4c6.jpg",0,7,[14,37,59,76,96,119,130],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":31,"size":32,"collection":33,"collections":34,"showCount":35,"zanCount":11,"manualWeight":11,"mainColor":36},231506,"ni-po-er-pu-sa-yi-ming-231506","尼泊尔菩萨","元","佚名","藏地不详","中国蒙古族统治者早在建立元朝之前，便先后仿照汉族建筑样式，营建上都及大都两个都城。两都的各种宫殿坛庙建筑组群都有石雕、木雕和琉璃制品。而分布各地的寺庙塑像、石窟造像等亦展示了元代雕塑艺术的概貌。",[23,24,25,26,27,28,29,30,7],"宗教","佛教","人物","菩萨","铜制","雕刻","元代","金属造像","未知","Xcm*Xcm","",[],8,"BDBDBD",{"id":38,"slug":39,"title":40,"dynasty":41,"author":19,"museum":20,"description":42,"tags":43,"thumbUrl":56,"material":31,"size":32,"collection":33,"collections":57,"showCount":58,"zanCount":11,"manualWeight":11,"mainColor":36},225416,"fu-shi-hui-174-yi-ming-225416","浮世绘174","不详","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。",[44,45,46,47,48,49,50,51,52,53,25,54,7,55],"名画","浮世绘","木刻版画","设色","美人","传统服饰","发饰","扇子","工笔","彩色","服饰纹样","线条流畅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5477c822d26a0ceb9cb19269c340678a.jpg",[],5,{"id":60,"slug":61,"title":62,"dynasty":63,"author":19,"museum":20,"description":64,"tags":65,"thumbUrl":72,"material":31,"size":32,"collection":33,"collections":73,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":75},241967,"yin-xiang-zhu-shi-zhuo-yi-ming-241967","银镶珠石镯","清","传统腕饰，流行于全国各地。其多用金、银、玉等制圆环，束于臂腕间。汉代即有。套在手腕脚腕上的环形装饰品。",[66,67,68,69,70,71,7],"清代","银器","饰品","镶嵌","珠石","金属工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54eef0ecd6a4665328ca17ac9771b9f7.jpg",[],4,"37474F",{"id":77,"slug":78,"title":79,"dynasty":63,"author":19,"museum":20,"description":80,"tags":81,"thumbUrl":94,"material":31,"size":32,"collection":33,"collections":95,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":36},238881,"qing-ren-shan-ba-la-wang-pu-sa-xiang-zhou-yi-ming-238881","清人善巴拉王菩萨像轴","主尊宝冠严饰，安坐须弥宝座，身着织锦华服，璎珞珠宝遍覆周身，右手擎摩尼宝珠，左手托举吐宝鼠，神态雍容祥和，尽显福泽充盈的尊荣气度。\n\n画面上方胁侍圣众安坐云端，下方眷属部众环绕簇拥，亭台瑞兽、灵花佳木点缀其间，构图饱满富丽。设色浓妍厚重，朱砂、石青、石黄撞色鲜明热烈，尽显藏地唐卡标志性的装饰美学。\n\n线条精细流畅，纹样繁密却不失章法，诸佛仪轨细节严谨完备，将宗教神性与求财纳福的世俗祈愿融于丹青，兼具庄严感与装饰性，尽显清代藏传造像唐卡的独特艺术风貌。",[82,83,23,47,52,25,26,84,85,86,87,88,89,90,91,92,93,7],"唐卡","立轴","胁侍","眷属","亭台","瑞兽","灵花","佳木","摩尼宝珠","吐宝鼠","求财纳福","庄严","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9010ab7b96c96190790fdeceaba361d9.jpg",[],{"id":97,"slug":98,"title":99,"dynasty":41,"author":100,"museum":20,"description":101,"tags":102,"thumbUrl":116,"material":31,"size":32,"collection":33,"collections":117,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":118},232330,"a-er-ma-57-lao-lun-si-a-er-ma-ta-de-ma-232330","阿尔玛57","劳伦斯·阿尔玛-塔德玛","劳伦斯·阿尔玛-塔德玛（Lawrence 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