{
 "meta": {
  "name": "aha 艺术绘画知识图谱 V3",
  "version": "V3.1",
  "generated": "2026-06",
  "license": "公共领域素材;结构数据 aha",
  "thesis": "风格 = 世界观沿生成链的投影(世界观→题材+7大构成→感知效应→画外音);风格是涌现的命名区,艺术家是其实例/生成源。",
  "counts": {
   "styles": 202,
   "worldview_regions": 6,
   "artists": 282,
   "artists_authored": 282,
   "cross_layer_edges": 70,
   "affect_anchors": 14,
   "lineage_edges": 479,
   "language_axes": 7,
   "styles_with_lang_vec": 202,
   "artworks_vlm_read": 119,
   "subject_atoms": 614,
   "artist_lineage_edges": 225,
   "taxonomy_isa_edges": 1212
  },
  "axes": [
   "再现-表现(fidelity)",
   "结构-感知(apprehension) —— 经检验的2条正交真轴"
  ],
  "chain_connectivity": {
   "note": "生成链每环在风格侧均202/202;以下为连到独立规范层的typed边覆盖",
   "style_self_complete": 202,
   "subject_to_layer": 187,
   "subject_via_motifs": 202,
   "subtext_to_anchor": 100,
   "subtext_via_voice": 202,
   "language_numeric": 202,
   "worldview": 202,
   "subject_atoms": 614,
   "artist_genealogy_edges": 229,
   "isolated_styles": 0,
   "subject_artist_connected": 268
  }
 },
 "worldview": {
  "axes": [
   {
    "id": "fidelity",
    "cn": "再现 ↔ 表现",
    "en": "fidelity",
    "q": "画忠于眼睛所见,还是忠于内心所感?",
    "stat": "主轴·方差38–49%·F≈20·正交r=0.10"
   },
   {
    "id": "apprehension",
    "cn": "结构 ↔ 感知",
    "en": "apprehension",
    "q": "世界被把握为底层结构,还是即时感官经验?",
    "stat": "第二正交轴·F≈20"
   }
  ],
  "regions": [
   {
    "id": "WV1",
    "name": "摹写之眼",
    "alt": "再现世界",
    "q": "世界能否被忠实地重建在画上?",
    "psy": "格物 · 秩序 · 客观",
    "essence": "把世界看成一个可被准确再现、值得忠实重建的客观对象。",
    "def": "把世界看成一个独立于观者、可被理性测量、并忠实重建于画面的客观对象。绘画的天职是逼近这个真实——透视、解剖、明暗,都是为「看得准、画得真」服务的工具。",
    "cx": 0.234,
    "cy": 0.386,
    "n": 48,
    "west": 24,
    "east": 24,
    "members": [
     "乾隆院体风格",
     "佛罗伦萨画派",
     "写实主义风格",
     "北宋山水风格",
     "北宋院体风格",
     "北宗画风",
     "北方文艺复兴",
     "古希腊风格",
     "古罗马风格",
     "国际哥特式",
     "威尼斯画派",
     "学院派风格",
     "宣传画风格",
     "宫廷画风",
     "寫形風格",
     "工笔人物风格",
     "工笔山水风格",
     "工笔花鸟风格",
     "巴比松画派",
     "常州画派",
     "当代具象",
     "意大利巴洛克",
     "拉斐尔前派",
     "政治题材风格",
     "新中国画风格",
     "新即物主义",
     "新古典主义",
     "早期文艺复兴",
     "晚期文艺复兴",
     "法国巴洛克",
     "淡彩工笔风格",
     "照相写实主义",
     "狩野派",
     "现代人物画风格",
     "现代工笔风格",
     "现实主义",
     "界画",
     "白描人物风格",
     "白描风格",
     "社会现实主义",
     "自然主义",
     "荷兰黄金时代",
     "西班牙巴洛克",
     "超写实主义",
     "重彩工笔风格",
     "青绿工笔风格",
     "高文艺复兴",
     "魔幻现实主义"
    ],
    "people": [
     "达·芬奇",
     "丢勒",
     "委拉斯开兹",
     "郭熙",
     "列宾"
    ],
    "oppose": {
     "id": "WV5",
     "why": "摹写之眼忠于眼睛,表现外化忠于内心——再现轴的两极。"
    },
    "neighbors": [
     {
      "id": "WV2",
      "why": "同偏再现,但礼制图式更图式化、不求逼真"
     },
     {
      "id": "WV4",
      "why": "同样从观察出发,但经验之光走向纯感官的光色"
     }
    ]
   },
   {
    "id": "WV2",
    "name": "礼制图式",
    "alt": "秩序世界",
    "q": "世界如何被安顿为神圣而恒定的秩序?",
    "psy": "庄严 · 程式 · 永恒",
    "essence": "把世界看成一套神圣、象征、等级化的秩序,以图式将其安顿、教化与通神。",
    "def": "把世界看成一套神圣、象征、等级化的恒定秩序。画不为摹写外观,而为安顿宇宙、教化人伦、沟通神明——图像是秩序的载体,不是视觉的复制。",
    "cx": 0.369,
    "cy": 0.282,
    "n": 40,
    "west": 8,
    "east": 32,
    "members": [
     "中世纪风格",
     "佛像造像风格",
     "佛教壁画风格",
     "剪纸风格",
     "古埃及风格",
     "哥特式风格",
     "唐代仕女风格",
     "唐代宫廷绘画",
     "唐代青绿风格",
     "唐卡风格",
     "地方民俗绘画风格",
     "墓室壁画",
     "壁画风格",
     "大和绘",
     "宗庙绘画",
     "小景山水风格",
     "少数民族绘画风格",
     "岩画风格",
     "年画风格",
     "形而上绘画",
     "彩陶装饰风格",
     "战国帛画风格",
     "拜占庭风格",
     "敦煌壁画风格",
     "李思训派风格",
     "永乐宫壁画风格",
     "汉代画像石",
     "汉代画像砖",
     "汉帛画风格",
     "浮世绘",
     "漆画风格",
     "琳派",
     "素人绘画",
     "罗马式风格",
     "藏传绘画风格",
     "道教图像风格",
     "重彩风格",
     "金碧山水风格",
     "锡耶纳画派",
     "青绿山水风格"
    ],
    "people": [
     "顾恺之",
     "吴道子",
     "敦煌画工"
    ],
    "oppose": {
     "id": "WV4",
     "why": "礼制图式把世界当恒定秩序,经验之光把世界当流动瞬间——结构/感知轴的两极。"
    },
    "neighbors": [
     {
      "id": "WV1",
      "why": "同偏再现端"
     },
     {
      "id": "WV3",
      "why": "同属东方非写实,后者由集体秩序转向个人心境"
     }
    ]
   },
   {
    "id": "WV3",
    "name": "写意寄情",
    "alt": "意象世界",
    "q": "世界如何映照并承载内在的修养与心境?",
    "psy": "写意 · 自况 · 卧游",
    "essence": "把世界看成寄托性情与修养的意象,不求形似而求气韵与心境的流露。",
    "def": "把世界看成寄托性情与修养的意象。不求形似而求气韵,画是心印、是自况——论画以形似,见与儿童邻。",
    "cx": 0.518,
    "cy": 0.454,
    "n": 49,
    "west": 9,
    "east": 40,
    "members": [
     "元代文人风格",
     "写意人物风格",
     "写意山水风格",
     "写意花鸟风格",
     "南宋山水风格",
     "南宗画风",
     "吴派风格",
     "四僧风格",
     "墨梅风格",
     "墨竹风格",
     "寫神風格",
     "小写意风格",
     "山水正宗风格",
     "山水诗画风格",
     "岭南画派风格",
     "巴黎画派",
     "德国洛可可",
     "数字绘画",
     "文人水墨风格",
     "文人画风格",
     "文人笔墨风格",
     "文人花鸟风格",
     "新安画派",
     "新艺术运动",
     "日本南画",
     "朝鲜民画",
     "松江派风格",
     "水墨山水风格",
     "没骨派",
     "法国洛可可",
     "波普艺术",
     "浙派风格",
     "海派风格",
     "牧溪风格",
     "现代写意风格",
     "现代山水风格",
     "现代水墨",
     "现代花鸟风格",
     "留白风格",
     "矫饰主义",
     "禅性水墨风格",
     "科技山水风格",
     "纳比派",
     "自然笔墨风格",
     "英国洛可可",
     "西北岩彩风格",
     "金石画派",
     "金陵画派",
     "革新文人画风格"
    ],
    "people": [
     "倪瓒",
     "八大山人",
     "董其昌",
     "华托"
    ],
    "oppose": {
     "id": "WV6",
     "why": "写意寄情以我入画、笔墨即心;形式建构则取消我、只剩纯形式——最远的对角。"
    },
    "neighbors": [
     {
      "id": "WV2",
      "why": "承其非写实,但由集体秩序转个人"
     },
     {
      "id": "WV5",
      "why": "写意推向极端即大写意/表现"
     }
    ]
   },
   {
    "id": "WV4",
    "name": "经验之光",
    "alt": "感知世界",
    "q": "世界如何在此刻被眼睛真实地看见?",
    "psy": "瞬间 · 光色 · 鲜活",
    "essence": "把世界看成不断流动的感官经验,忠于眼睛在此刻所见的光与色,而非概念。",
    "def": "把世界看成不断流动的感官经验。忠于眼睛在此刻所见的光与色,而非概念中的物——看见本身成为主题。",
    "cx": 0.569,
    "cy": 0.729,
    "n": 6,
    "west": 6,
    "east": 0,
    "members": [
     "印象派",
     "德国浪漫主义",
     "新印象派",
     "法国浪漫主义",
     "点彩派",
     "英国浪漫主义"
    ],
    "people": [
     "莫奈",
     "透纳",
     "修拉",
     "惠斯勒"
    ],
    "oppose": {
     "id": "WV2",
     "why": "经验之光信任此刻的眼睛,礼制图式信任恒定的秩序——结构/感知轴的两极。"
    },
    "neighbors": [
     {
      "id": "WV1",
      "why": "同源于观察,却走向光色而非逼真"
     },
     {
      "id": "WV5",
      "why": "同处高位,后印象由感知转向内心"
     }
    ]
   },
   {
    "id": "WV5",
    "name": "表现外化",
    "alt": "内心世界",
    "q": "世界是否只是内心情感与精神的投射?",
    "psy": "激情 · 主观 · 张力",
    "essence": "把世界看成内心情感与精神状态的外化,变形、夸张以让不可见者可见。",
    "def": "把世界看成内心情感与精神状态的外化。变形、夸张、扭曲,只为让不可见的情绪与潜意识变得可见。",
    "cx": 0.771,
    "cy": 0.532,
    "n": 41,
    "west": 22,
    "east": 19,
    "members": [
     "书写性水墨",
     "八大山人风格",
     "动作绘画",
     "区块链与NFT艺术",
     "后印象派",
     "后现代拼贴绘画",
     "多媒介水墨风格",
     "大写意风格",
     "实验水墨",
     "情绪笔墨风格",
     "扬州八怪风格",
     "抒情抽象",
     "抽象水墨",
     "抽象表现主义",
     "数字与AI水墨",
     "新媒体绘画",
     "新表现主义",
     "极简水墨风格",
     "柏林达达",
     "桥社",
     "沉浸与环境艺术",
     "社会与生态水墨",
     "社会介入艺术",
     "禅意绘画风格",
     "综合材料绘画",
     "网络与后互联网艺术",
     "自动主义",
     "色域绘画",
     "苏黎世达达",
     "蓝骑士派",
     "虚空绘画风格",
     "行为与影像水墨",
     "街头与涂鸦艺术",
     "表现主义",
     "表现水墨",
     "装置与空间绘画",
     "观念水墨",
     "象征主义",
     "超现实主义",
     "野兽派",
     "非形式艺术"
    ],
    "people": [
     "梵高",
     "蒙克",
     "八大山人",
     "徐渭"
    ],
    "oppose": {
     "id": "WV1",
     "why": "表现外化忠于内心,摹写之眼忠于眼睛——再现轴的两极。"
    },
    "neighbors": [
     {
      "id": "WV4",
      "why": "同处高位"
     },
     {
      "id": "WV3",
      "why": "写意的极端化"
     },
     {
      "id": "WV6",
      "why": "同属表现端,后者再抽离掉物象"
     }
    ]
   },
   {
    "id": "WV6",
    "name": "形式建构",
    "alt": "构成世界",
    "q": "世界能否被还原为纯粹的形式、结构与观念?",
    "psy": "抽象 · 理性 · 自指",
    "essence": "把世界还原为形状、结构、色面与观念本身,绘画成为自足的形式构造。",
    "def": "把世界还原为形状、结构、色面与观念本身。物象退场,绘画成为自足的形式构造——画不再关于什么,它就是它自己。",
    "cx": 0.81,
    "cy": 0.198,
    "n": 18,
    "west": 16,
    "east": 2,
    "members": [
     "光效应艺术",
     "几何抽象",
     "分析立体主义",
     "大地艺术",
     "新造型主义",
     "未来主义",
     "极简主义",
     "构成主义",
     "欧普艺术",
     "硬边绘画",
     "立体主义",
     "算法与生成艺术",
     "综合立体主义",
     "至上主义",
     "观念绘画",
     "观念艺术",
     "贫穷艺术",
     "青铜纹饰风格"
    ],
    "people": [
     "毕加索",
     "蒙德里安",
     "马列维奇",
     "塞尚(先声)"
    ],
    "oppose": {
     "id": "WV4",
     "why": "形式建构以理性结构取消物象,经验之光以感官沉浸忠于物象——平面对角的两极。"
    },
    "neighbors": [
     {
      "id": "WV5",
      "why": "同属表现端,但收敛掉情绪、只留结构"
     }
    ]
   }
  ]
 },
 "styles": [
  {
   "id": "STYLE.west.001",
   "cn": "古希腊风格",
   "en": null,
   "region": "west",
   "wv": "WV1",
   "year": -50,
   "xi": "古典体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.15,
    "struct_perc": 0.3,
    "east_west": 0.76
   },
   "vector": {
    "再现-表现": 0.15,
    "结构-感知": 0.3,
    "秩序-张力": 0.25,
    "节制-强度": 0.3
   },
   "def": "以理想比例与和谐再现人体之美。",
   "essence": "以理想比例与和谐再现人体之美",
   "voice": "在理想比例中见神性的人——美即秩序",
   "period": "公元前8–前1世纪",
   "origin": "希腊",
   "people": [
    "菲狄亚斯"
   ],
   "parents": [],
   "influences": [
    "文艺复兴",
    "新古典主义"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "均衡理想、叙事环带",
    "透视与空间": "正侧面并用、初步缩短法",
    "形状与造型": "理想化人体比例",
    "光影与明暗": "陶瓶平涂、壁画初明暗",
    "色彩系统": "陶瓶黑红、壁画矿物色",
    "笔触与肌理": "流畅线描",
    "边缘与节奏": "边缘清晰、和谐的节奏"
   },
   "works": [
    "埃克塞基亚斯陶瓶画《阿喀琉斯与埃阿斯》",
    "庞贝壁画《花神芙罗拉》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.002",
   "cn": "古罗马风格",
   "en": "Ancient Roman",
   "region": "west",
   "wv": "WV1",
   "year": -100,
   "xi": "古典体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.22,
    "struct_perc": 0.4,
    "east_west": 0.78
   },
   "vector": {
    "再现-表现": 0.22,
    "结构-感知": 0.4,
    "秩序-张力": 0.38,
    "节制-强度": 0.45
   },
   "def": "务实写实的肖像与叙事浮雕,为国家与个人立像。它是公元前1–公元4世纪、源出古罗马的西方绘画风格,在世界观上属「摹写之眼」。上承古希腊风格、下启拜占庭风格、文艺复兴。",
   "essence": "务实写实的肖像与叙事浮雕,为国家与个人立像。",
   "voice": "以逼真之像,记国家与人的功业",
   "period": "公元前1–公元4世纪",
   "origin": "古罗马",
   "people": [],
   "parents": [
    "古希腊风格"
   ],
   "influences": [
    "拜占庭风格",
    "文艺复兴"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "叙事连续构图、人物列阵",
    "透视与空间": "初具空间错觉(庞贝幻视壁画)",
    "形状与造型": "写实肖像、个性毕现",
    "光影与明暗": "明暗塑体初现",
    "色彩系统": "壁画矿物色、镶嵌",
    "笔触与肌理": "壁画与浮雕、错觉笔法",
    "边缘与节奏": "边缘清晰,叙事节奏稳重"
   },
   "works": [
    "奥古斯都像",
    "图拉真柱浮雕",
    "庞贝《花神芙罗拉》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.003",
   "cn": "拜占庭风格",
   "en": "Byzantine",
   "region": "west",
   "wv": "WV2",
   "year": -100,
   "xi": "古典体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.42,
    "struct_perc": 0.2,
    "east_west": 0.8
   },
   "vector": {
    "再现-表现": 0.42,
    "结构-感知": 0.2,
    "秩序-张力": 0.24,
    "节制-强度": 0.55
   },
   "def": "金底圣像与镶嵌,以程式化的神圣形象通向天国秩序。它是5–15世纪、源出东罗马/拜占庭的西方绘画风格,在世界观上属「礼制图式」。上承古罗马风格、下启罗马式风格、俄罗斯巡回画派。",
   "essence": "金底圣像与镶嵌,以程式化的神圣形象通向天国秩序。",
   "voice": "以金光与程式,显不可见的神圣",
   "period": "5–15世纪",
   "origin": "东罗马/拜占庭",
   "people": [],
   "parents": [
    "古罗马风格"
   ],
   "influences": [
    "罗马式风格",
    "俄罗斯巡回画派"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "正面端立、对称、等级",
    "透视与空间": "取消纵深,金底平面",
    "形状与造型": "程式化、修长、去体积",
    "光影与明暗": "平面无明暗,以金光代",
    "色彩系统": "金箔底、石青朱红镶嵌",
    "笔触与肌理": "马赛克镶嵌/蛋彩勾填",
    "边缘与节奏": "边缘硬、轮廓线描,庄严节奏"
   },
   "works": [
    "圣维塔莱《查士丁尼镶嵌》",
    "《弗拉基米尔圣母》",
    "圣索菲亚镶嵌画"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.004",
   "cn": "罗马式风格",
   "en": "Romanesque",
   "region": "west",
   "wv": "WV2",
   "year": -100,
   "xi": "古典体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.45,
    "struct_perc": 0.24,
    "east_west": 0.76
   },
   "vector": {
    "再现-表现": 0.45,
    "结构-感知": 0.24,
    "秩序-张力": 0.3,
    "节制-强度": 0.52
   },
   "def": "厚重程式的宗教壁画与手抄本,为教化而非写实。它是11–12世纪、源出西欧的西方绘画风格,在世界观上属「礼制图式」。上承拜占庭风格、下启哥特式风格。",
   "essence": "厚重程式的宗教壁画与手抄本,为教化而非写实。",
   "voice": "以威严程式,镇守信仰的秩序",
   "period": "11–12世纪",
   "origin": "西欧",
   "people": [],
   "parents": [
    "拜占庭风格"
   ],
   "influences": [
    "哥特式风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "建筑框格内分区叙事",
    "透视与空间": "平面化、象征空间",
    "形状与造型": "厚重程式、夸张表情",
    "光影与明暗": "平涂、轮廓线分块",
    "色彩系统": "土红石绿、手抄本金饰",
    "笔触与肌理": "壁画/泥金手抄,粗劲",
    "边缘与节奏": "边缘粗黑勾线,节奏厚拙"
   },
   "works": [
    "圣克莱门特教堂《全能基督》",
    "《贝叶挂毯》",
    "罗马式泥金手抄本"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.005",
   "cn": "哥特式风格",
   "en": "Gothic",
   "region": "west",
   "wv": "WV2",
   "year": -100,
   "xi": "古典体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.4,
    "struct_perc": 0.3,
    "east_west": 0.78
   },
   "vector": {
    "再现-表现": 0.4,
    "结构-感知": 0.3,
    "秩序-张力": 0.34,
    "节制-强度": 0.48
   },
   "def": "修长灵性、渐近自然,在虔敬与优雅间走向人间真实。它是12–15世纪、源出西欧的西方绘画风格,在世界观上属「礼制图式」。上承罗马式风格、下启国际哥特式、早期文艺复兴。",
   "essence": "修长灵性、渐近自然,在虔敬与优雅间走向人间真实。",
   "voice": "在金色虔敬里,悄悄透出人间的温度",
   "period": "12–15世纪",
   "origin": "西欧",
   "people": [
    "乔托",
    "西蒙尼·马尔蒂尼"
   ],
   "parents": [
    "罗马式风格"
   ],
   "influences": [
    "国际哥特式",
    "早期文艺复兴"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "祭坛多联、尖拱式构图",
    "透视与空间": "空间渐有纵深(乔托)",
    "形状与造型": "修长优雅、渐写实",
    "光影与明暗": "柔和明暗初萌",
    "色彩系统": "金底、彩窗般明丽",
    "笔触与肌理": "蛋彩精细、沥金",
    "边缘与节奏": "边缘流畅,垂直向上的节奏"
   },
   "works": [
    "乔托《哀悼基督》",
    "杜乔《圣母荣登》",
    "《威尔顿双联画》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.006",
   "cn": "中世纪风格",
   "en": "Medieval",
   "region": "west",
   "wv": "WV2",
   "year": -100,
   "xi": "古典体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.44,
    "struct_perc": 0.26,
    "east_west": 0.8
   },
   "vector": {
    "再现-表现": 0.44,
    "结构-感知": 0.26,
    "秩序-张力": 0.32,
    "节制-强度": 0.5
   },
   "def": "以图式化的圣经图像服务教会,象征重于摹写。它是5–15世纪、源出欧洲的西方绘画风格,在世界观上属「礼制图式」。上承拜占庭风格、下启哥特式风格。",
   "essence": "以图式化的圣经图像服务教会,象征重于摹写。",
   "voice": "图像是文盲的圣经",
   "period": "5–15世纪",
   "origin": "欧洲",
   "people": [],
   "parents": [
    "拜占庭风格"
   ],
   "influences": [
    "哥特式风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "分格叙事、象征布局",
    "透视与空间": "平面、无统一透视",
    "形状与造型": "程式化、象征化",
    "光影与明暗": "平涂、线描分块",
    "色彩系统": "泥金、矿物明丽色",
    "笔触与肌理": "泥金手抄/壁画,装饰",
    "边缘与节奏": "边缘勾线,装饰性节奏"
   },
   "works": [
    "《凯尔经》",
    "《贝里公爵的豪华时祷书》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.007",
   "cn": "古埃及风格",
   "en": "Ancient Egyptian",
   "region": "west",
   "wv": "WV2",
   "year": -100,
   "xi": "古典体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.46,
    "struct_perc": 0.18,
    "east_west": 0.76
   },
   "vector": {
    "再现-表现": 0.46,
    "结构-感知": 0.18,
    "秩序-张力": 0.2,
    "节制-强度": 0.55
   },
   "def": "以正面律与等级比例,把世界刻成永恒不变的秩序图式。它是公元前3000–前30、源出古埃及的西方绘画风格,在世界观上属「礼制图式」。下启古希腊风格、拜占庭风格。",
   "essence": "以正面律与等级比例,把世界刻成永恒不变的秩序图式。",
   "voice": "为永恒而画,不为眼睛而画",
   "period": "公元前3000–前30",
   "origin": "古埃及",
   "people": [],
   "parents": [],
   "influences": [
    "古希腊风格",
    "拜占庭风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "分层横带、等级布局,主大从小",
    "透视与空间": "无透视,侧面与正面拼合(正面律)",
    "形状与造型": "程式化轮廓、比例恒定",
    "光影与明暗": "平涂无明暗",
    "色彩系统": "矿物平涂、象征用色",
    "笔触与肌理": "壁画/浮雕勾填,工整",
    "边缘与节奏": "边缘硬挺,程式节奏庄严"
   },
   "works": [
    "《纳尔迈调色板》",
    "内巴蒙墓壁画",
    "图坦卡蒙金面具彩绘"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.008",
   "cn": "早期文艺复兴",
   "en": null,
   "region": "west",
   "wv": "WV1",
   "year": 1550,
   "xi": "文艺复兴体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.15,
    "struct_perc": 0.35,
    "east_west": 0.78
   },
   "vector": {
    "再现-表现": 0.15,
    "结构-感知": 0.35,
    "秩序-张力": 0.2,
    "节制-强度": 0.3
   },
   "def": "以科学透视与人文精神重新发现人与自然。",
   "essence": "以科学透视与人文精神重新发现人与自然",
   "voice": "人是万物的尺度——以理性与美礼赞人的尊严",
   "period": "14–16世纪",
   "origin": "意大利佛罗伦萨",
   "people": [
    "达·芬奇",
    "米开朗基罗",
    "拉斐尔"
   ],
   "parents": [
    "古希腊风格"
   ],
   "influences": [
    "北方文艺复兴",
    "巴洛克",
    "新古典主义"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "几何稳定、对称",
    "透视与空间": "线性透视初成",
    "形状与造型": "解剖渐准、形体清晰",
    "光影与明暗": "明暗渐立",
    "色彩系统": "蛋彩明丽",
    "笔触与肌理": "精细勾染",
    "边缘与节奏": "边缘清劲、理性的节奏"
   },
   "works": [
    "达·芬奇《蒙娜丽莎》",
    "达·芬奇《最后的晚餐》",
    "米开朗基罗《创世纪》",
    "拉斐尔《雅典学院》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.009",
   "cn": "高文艺复兴",
   "en": null,
   "region": "west",
   "wv": "WV1",
   "year": 1550,
   "xi": "文艺复兴体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.15,
    "struct_perc": 0.35,
    "east_west": 0.8
   },
   "vector": {
    "再现-表现": 0.15,
    "结构-感知": 0.35,
    "秩序-张力": 0.2,
    "节制-强度": 0.3
   },
   "def": "以科学透视与人文精神重新发现人与自然。",
   "essence": "以科学透视与人文精神重新发现人与自然",
   "voice": "人是万物的尺度——以理性与美礼赞人的尊严",
   "period": "14–16世纪",
   "origin": "意大利佛罗伦萨",
   "people": [
    "达·芬奇",
    "米开朗基罗",
    "拉斐尔"
   ],
   "parents": [
    "古希腊风格"
   ],
   "influences": [
    "北方文艺复兴",
    "巴洛克",
    "新古典主义"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "金字塔均衡、统一",
    "透视与空间": "透视成熟、空气透视",
    "形状与造型": "解剖完美、理想化",
    "光影与明暗": "晕涂渐隐(sfumato)",
    "色彩系统": "和谐丰富典雅",
    "笔触与肌理": "油画细腻、笔触隐",
    "边缘与节奏": "边缘柔化、庄严的节奏"
   },
   "works": [
    "达·芬奇《蒙娜丽莎》",
    "达·芬奇《最后的晚餐》",
    "米开朗基罗《创世纪》",
    "拉斐尔《雅典学院》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.010",
   "cn": "晚期文艺复兴",
   "en": null,
   "region": "west",
   "wv": "WV1",
   "year": 1550,
   "xi": "文艺复兴体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.15,
    "struct_perc": 0.35,
    "east_west": 0.76
   },
   "vector": {
    "再现-表现": 0.15,
    "结构-感知": 0.35,
    "秩序-张力": 0.2,
    "节制-强度": 0.3
   },
   "def": "以科学透视与人文精神重新发现人与自然。",
   "essence": "以科学透视与人文精神重新发现人与自然",
   "voice": "人是万物的尺度——以理性与美礼赞人的尊严",
   "period": "14–16世纪",
   "origin": "意大利佛罗伦萨",
   "people": [
    "达·芬奇",
    "米开朗基罗",
    "拉斐尔"
   ],
   "parents": [
    "古希腊风格"
   ],
   "influences": [
    "北方文艺复兴",
    "巴洛克",
    "新古典主义"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "复杂动势、不安均衡",
    "透视与空间": "透视夸张、空间拉伸",
    "形状与造型": "修长扭曲",
    "光影与明暗": "强对比、戏剧光",
    "色彩系统": "冷艳人工色",
    "笔触与肌理": "细腻光洁",
    "边缘与节奏": "边缘紧张的节奏"
   },
   "works": [
    "达·芬奇《蒙娜丽莎》",
    "达·芬奇《最后的晚餐》",
    "米开朗基罗《创世纪》",
    "拉斐尔《雅典学院》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.011",
   "cn": "佛罗伦萨画派",
   "en": "Florentine School",
   "region": "west",
   "wv": "WV1",
   "year": 1500,
   "xi": "文艺复兴体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.2,
    "struct_perc": 0.3,
    "east_west": 0.78
   },
   "vector": {
    "再现-表现": 0.2,
    "结构-感知": 0.3,
    "秩序-张力": 0.34,
    "节制-强度": 0.42
   },
   "def": "以素描、解剖与透视为骨,把再现建立成一门科学。它是14–16世纪、源出佛罗伦萨的西方绘画风格,在世界观上属「摹写之眼」。上承哥特式风格、下启高文艺复兴、学院派写实。",
   "essence": "以素描、解剖与透视为骨,把再现建立成一门科学。",
   "voice": "以线与结构,把神画成完美的人",
   "period": "14–16世纪",
   "origin": "佛罗伦萨",
   "people": [
    "乔托",
    "马萨乔",
    "波提切利",
    "达·芬奇",
    "米开朗基罗"
   ],
   "parents": [
    "哥特式风格"
   ],
   "influences": [
    "高文艺复兴",
    "学院派写实"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "几何稳定、金字塔构图",
    "透视与空间": "线性透视、空间严整",
    "形状与造型": "解剖精准、素描为本",
    "光影与明暗": "清晰立体、明暗塑形",
    "色彩系统": "素描底、典雅设色",
    "笔触与肌理": "湿壁画/蛋彩,精谨",
    "边缘与节奏": "边缘清劲,理性节奏"
   },
   "works": [
    "马萨乔《纳税银》",
    "波提切利《维纳斯的诞生》",
    "达·芬奇《最后的晚餐》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.012",
   "cn": "威尼斯画派",
   "en": "Venetian School",
   "region": "west",
   "wv": "WV1",
   "year": 1500,
   "xi": "文艺复兴体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.32,
    "struct_perc": 0.55,
    "east_west": 0.8
   },
   "vector": {
    "再现-表现": 0.32,
    "结构-感知": 0.55,
    "秩序-张力": 0.42,
    "节制-强度": 0.5
   },
   "def": "以色彩与光感为先,让丰润的色调本身承载情感。它是15–16世纪、源出威尼斯的西方绘画风格,在世界观上属「摹写之眼」。上承哥特式风格、下启巴洛克、印象派。",
   "essence": "以色彩与光感为先,让丰润的色调本身承载情感。",
   "voice": "色彩即情感,光泽即生命",
   "period": "15–16世纪",
   "origin": "威尼斯",
   "people": [
    "乔尔乔内",
    "提香",
    "委罗内塞",
    "丁托列托"
   ],
   "parents": [
    "哥特式风格"
   ],
   "influences": [
    "巴洛克",
    "印象派"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "开放动势、对角线构图",
    "透视与空间": "空气透视、纵深柔和",
    "形状与造型": "以色塑形、轮廓松动",
    "光影与明暗": "丰润光影、暖调",
    "色彩系统": "厚色层叠、金红蓝丰盈",
    "笔触与肌理": "油画厚涂、笔触显露",
    "边缘与节奏": "边缘柔化,色彩流动的节奏"
   },
   "works": [
    "乔尔乔内《暴风雨》",
    "提香《乌尔比诺的维纳斯》",
    "委罗内塞《迦拿的婚礼》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.013",
   "cn": "北方文艺复兴",
   "en": null,
   "region": "west",
   "wv": "WV1",
   "year": 1550,
   "xi": "文艺复兴体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.12,
    "struct_perc": 0.4,
    "east_west": 0.76
   },
   "vector": {
    "再现-表现": 0.12,
    "结构-感知": 0.4,
    "秩序-张力": 0.25,
    "节制-强度": 0.3
   },
   "def": "以油彩极致细节描绘可见世界的纹理与光。",
   "essence": "以油彩极致细节描绘可见世界的纹理与光",
   "voice": "于纤毫细节中见造物的庄严与世俗的真实",
   "period": "15–16世纪",
   "origin": "尼德兰/德国",
   "people": [
    "凡·艾克",
    "丢勒",
    "勃鲁盖尔"
   ],
   "parents": [
    "文艺复兴"
   ],
   "influences": [
    "荷兰黄金时代"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "严谨满构图、细节密集",
    "透视与空间": "精微纵深、镜像空间",
    "形状与造型": "写实毕肖、纤毫毕现",
    "光影与明暗": "细腻自然光",
    "色彩系统": "油彩透亮、宝石色",
    "笔触与肌理": "油画罩染、极精细",
    "边缘与节奏": "边缘清晰、精微的节奏"
   },
   "works": [
    "凡·艾克《阿尔诺非尼夫妇像》",
    "勃鲁盖尔《雪中猎人》",
    "丢勒《自画像》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.014",
   "cn": "锡耶纳画派",
   "en": "Sienese School",
   "region": "west",
   "wv": "WV2",
   "year": 1500,
   "xi": "文艺复兴体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.44,
    "struct_perc": 0.32,
    "east_west": 0.78
   },
   "vector": {
    "再现-表现": 0.44,
    "结构-感知": 0.32,
    "秩序-张力": 0.36,
    "节制-强度": 0.46
   },
   "def": "哥特式的优雅金饰与抒情线条,装饰性高于写实。它是13–15世纪、源出锡耶纳的西方绘画风格,在世界观上属「礼制图式」。上承拜占庭风格、下启国际哥特式。",
   "essence": "哥特式的优雅金饰与抒情线条,装饰性高于写实。",
   "voice": "以金线与优雅,留住虔敬的甜美",
   "period": "13–15世纪",
   "origin": "锡耶纳",
   "people": [
    "杜乔",
    "西蒙尼·马尔蒂尼",
    "洛伦采蒂兄弟"
   ],
   "parents": [
    "拜占庭风格"
   ],
   "influences": [
    "国际哥特式"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "祭坛多联、对称典雅",
    "透视与空间": "金底平面、装饰空间",
    "形状与造型": "修长优雅、线条流丽",
    "光影与明暗": "平面、沥金提亮",
    "色彩系统": "金箔、明丽蛋彩",
    "笔触与肌理": "蛋彩精描、沥金",
    "边缘与节奏": "边缘流畅,抒情的装饰节奏"
   },
   "works": [
    "杜乔《圣母荣登》",
    "西蒙尼·马尔蒂尼《天使报喜》",
    "洛伦采蒂《好政府的寓言》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.015",
   "cn": "意大利巴洛克",
   "en": null,
   "region": "west",
   "wv": "WV1",
   "year": 1650,
   "xi": "巴洛克与洛可可体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.3,
    "struct_perc": 0.45,
    "east_west": 0.8
   },
   "vector": {
    "再现-表现": 0.3,
    "结构-感知": 0.45,
    "秩序-张力": 0.75,
    "节制-强度": 0.8
   },
   "def": "以戏剧光影与动势激起宗教激情与崇高。",
   "essence": "以戏剧光影与动势激起宗教激情与崇高",
   "voice": "以感官的眩晕,将人卷入神圣与权力的临在",
   "period": "17世纪",
   "origin": "罗马",
   "people": [
    "卡拉瓦乔",
    "鲁本斯",
    "伦勃朗"
   ],
   "parents": [
    "文艺复兴"
   ],
   "influences": [
    "洛可可",
    "浪漫主义"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "对角线动势、戏剧",
    "透视与空间": "深远舞台空间",
    "形状与造型": "健硕动态、肉感",
    "光影与明暗": "强烈明暗对照",
    "色彩系统": "暖调浓烈",
    "笔触与肌理": "奔放、笔触显",
    "边缘与节奏": "边缘明暗交融、激越的节奏"
   },
   "works": [
    "卡拉瓦乔《圣马太蒙召》",
    "伦勃朗《夜巡》",
    "鲁本斯《劫夺留西帕斯的女儿》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.016",
   "cn": "西班牙巴洛克",
   "en": null,
   "region": "west",
   "wv": "WV1",
   "year": 1650,
   "xi": "巴洛克与洛可可体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.3,
    "struct_perc": 0.45,
    "east_west": 0.76
   },
   "vector": {
    "再现-表现": 0.3,
    "结构-感知": 0.45,
    "秩序-张力": 0.75,
    "节制-强度": 0.8
   },
   "def": "以戏剧光影与动势激起宗教激情与崇高。",
   "essence": "以戏剧光影与动势激起宗教激情与崇高",
   "voice": "以感官的眩晕,将人卷入神圣与权力的临在",
   "period": "17世纪",
   "origin": "罗马",
   "people": [
    "卡拉瓦乔",
    "鲁本斯",
    "伦勃朗"
   ],
   "parents": [
    "文艺复兴"
   ],
   "influences": [
    "洛可可",
    "浪漫主义"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "庄重对角、肃穆",
    "透视与空间": "深暗空间",
    "形状与造型": "写实虔敬、肉身真实",
    "光影与明暗": "强暗调、神性光",
    "色彩系统": "深褐沉郁",
    "笔触与肌理": "厚涂含蓄",
    "边缘与节奏": "边缘隐于暗、肃穆的节奏"
   },
   "works": [
    "卡拉瓦乔《圣马太蒙召》",
    "伦勃朗《夜巡》",
    "鲁本斯《劫夺留西帕斯的女儿》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.017",
   "cn": "荷兰黄金时代",
   "en": "Dutch Golden Age",
   "region": "west",
   "wv": "WV1",
   "year": 1690,
   "xi": "巴洛克与洛可可体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.2,
    "struct_perc": 0.45,
    "east_west": 0.78
   },
   "vector": {
    "再现-表现": 0.2,
    "结构-感知": 0.45,
    "秩序-张力": 0.45,
    "节制-强度": 0.42
   },
   "def": "市民社会的写实:肖像、风俗、静物与风景,各得其真。它是17世纪、源出荷兰的西方绘画风格,在世界观上属「摹写之眼」。上承北方文艺复兴、下启现实主义、印象派。",
   "essence": "市民社会的写实:肖像、风俗、静物与风景,各得其真。",
   "voice": "在平凡的光里,看见世界的庄重",
   "period": "17世纪",
   "origin": "荷兰",
   "people": [
    "伦勃朗",
    "维米尔",
    "哈尔斯",
    "勒伊斯达尔"
   ],
   "parents": [
    "北方文艺复兴"
   ],
   "influences": [
    "现实主义",
    "印象派"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "均衡内敛、市民日常场景",
    "透视与空间": "严谨空间、室内纵深",
    "形状与造型": "写实精谨、质感毕现",
    "光影与明暗": "明暗对比、自然光(伦勃朗光)",
    "色彩系统": "沉着暖褐、局部亮色",
    "笔触与肌理": "油画细腻、罩染",
    "边缘与节奏": "边缘真实,静穆的节奏"
   },
   "works": [
    "伦勃朗《夜巡》",
    "维米尔《戴珍珠耳环的少女》",
    "哈尔斯《微笑的骑士》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.018",
   "cn": "法国巴洛克",
   "en": null,
   "region": "west",
   "wv": "WV1",
   "year": 1650,
   "xi": "巴洛克与洛可可体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.3,
    "struct_perc": 0.45,
    "east_west": 0.8
   },
   "vector": {
    "再现-表现": 0.3,
    "结构-感知": 0.45,
    "秩序-张力": 0.75,
    "节制-强度": 0.8
   },
   "def": "以戏剧光影与动势激起宗教激情与崇高。",
   "essence": "以戏剧光影与动势激起宗教激情与崇高",
   "voice": "以感官的眩晕,将人卷入神圣与权力的临在",
   "period": "17世纪",
   "origin": "罗马",
   "people": [
    "卡拉瓦乔",
    "鲁本斯",
    "伦勃朗"
   ],
   "parents": [
    "文艺复兴"
   ],
   "influences": [
    "洛可可",
    "浪漫主义"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "古典均衡的动势",
    "透视与空间": "理性深远空间",
    "形状与造型": "端庄健硕",
    "光影与明暗": "明暗节制、典雅",
    "色彩系统": "沉着典雅",
    "笔触与肌理": "细腻克制",
    "边缘与节奏": "边缘清晰、庄重的节奏"
   },
   "works": [
    "卡拉瓦乔《圣马太蒙召》",
    "伦勃朗《夜巡》",
    "鲁本斯《劫夺留西帕斯的女儿》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.019",
   "cn": "法国洛可可",
   "en": null,
   "region": "west",
   "wv": "WV3",
   "year": 1750,
   "xi": "巴洛克与洛可可体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.35,
    "struct_perc": 0.55,
    "east_west": 0.76
   },
   "vector": {
    "再现-表现": 0.35,
    "结构-感知": 0.55,
    "秩序-张力": 0.45,
    "节制-强度": 0.58
   },
   "def": "纤巧轻快描绘贵族享乐与爱欲的优雅。",
   "essence": "纤巧轻快描绘贵族享乐与爱欲的优雅",
   "voice": "享乐亦正当——为爱、愉悦与优雅辩护",
   "period": "18世纪",
   "origin": "法国",
   "people": [
    "华托",
    "布歇",
    "弗拉戈纳尔"
   ],
   "parents": [
    "巴洛克"
   ],
   "influences": [
    "印象派"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "S形曲线、轻盈不对称",
    "透视与空间": "浅景、园林室内",
    "形状与造型": "纤秀柔媚",
    "光影与明暗": "柔和漫光",
    "色彩系统": "粉彩、玫瑰金",
    "笔触与肌理": "轻快薄涂",
    "边缘与节奏": "边缘柔软、嬉游的节奏"
   },
   "works": [
    "华托《舟发西苔岛》",
    "弗拉戈纳尔《秋千》",
    "布歇《蓬巴杜夫人》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.020",
   "cn": "德国洛可可",
   "en": null,
   "region": "west",
   "wv": "WV3",
   "year": 1750,
   "xi": "巴洛克与洛可可体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.35,
    "struct_perc": 0.55,
    "east_west": 0.78
   },
   "vector": {
    "再现-表现": 0.35,
    "结构-感知": 0.55,
    "秩序-张力": 0.45,
    "节制-强度": 0.58
   },
   "def": "纤巧轻快描绘贵族享乐与爱欲的优雅。",
   "essence": "纤巧轻快描绘贵族享乐与爱欲的优雅",
   "voice": "享乐亦正当——为爱、愉悦与优雅辩护",
   "period": "18世纪",
   "origin": "法国",
   "people": [
    "华托",
    "布歇",
    "弗拉戈纳尔"
   ],
   "parents": [
    "巴洛克"
   ],
   "influences": [
    "印象派"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "繁丽曲线、装饰满",
    "透视与空间": "浅装饰空间",
    "形状与造型": "纤巧装饰",
    "光影与明暗": "柔光",
    "色彩系统": "粉金繁丽",
    "笔触与肌理": "精巧华饰",
    "边缘与节奏": "边缘柔、繁丽的节奏"
   },
   "works": [
    "华托《舟发西苔岛》",
    "弗拉戈纳尔《秋千》",
    "布歇《蓬巴杜夫人》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.021",
   "cn": "英国洛可可",
   "en": null,
   "region": "west",
   "wv": "WV3",
   "year": 1750,
   "xi": "巴洛克与洛可可体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.35,
    "struct_perc": 0.55,
    "east_west": 0.8
   },
   "vector": {
    "再现-表现": 0.35,
    "结构-感知": 0.55,
    "秩序-张力": 0.45,
    "节制-强度": 0.58
   },
   "def": "纤巧轻快描绘贵族享乐与爱欲的优雅。",
   "essence": "纤巧轻快描绘贵族享乐与爱欲的优雅",
   "voice": "享乐亦正当——为爱、愉悦与优雅辩护",
   "period": "18世纪",
   "origin": "法国",
   "people": [
    "华托",
    "布歇",
    "弗拉戈纳尔"
   ],
   "parents": [
    "巴洛克"
   ],
   "influences": [
    "印象派"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "优雅肖像构图",
    "透视与空间": "室内/风景浅景",
    "形状与造型": "优雅修长",
    "光影与明暗": "柔和明暗",
    "色彩系统": "清雅粉调",
    "笔触与肌理": "流畅薄涂",
    "边缘与节奏": "边缘柔、优雅的节奏"
   },
   "works": [
    "华托《舟发西苔岛》",
    "弗拉戈纳尔《秋千》",
    "布歇《蓬巴杜夫人》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.022",
   "cn": "新古典主义",
   "en": null,
   "region": "west",
   "wv": "WV1",
   "year": 1795,
   "xi": "新古典与浪漫体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.12,
    "struct_perc": 0.2,
    "east_west": 0.76
   },
   "vector": {
    "再现-表现": 0.12,
    "结构-感知": 0.2,
    "秩序-张力": 0.18,
    "节制-强度": 0.25
   },
   "def": "18世纪末,回归古希腊罗马的理性、秩序与崇高,线条严谨、构图均衡。",
   "essence": "回归古典的理性、秩序与道德崇高",
   "voice": "为公民美德与崇高的牺牲立碑",
   "period": "1760–1830",
   "origin": "法国/罗马",
   "people": [
    "大卫",
    "安格尔"
   ],
   "parents": [
    "古希腊风格",
    "文艺复兴"
   ],
   "influences": [
    "现实主义"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "严整对称、浮雕式",
    "透视与空间": "清晰线性透视",
    "形状与造型": "素描精准、雕塑感",
    "光影与明暗": "清晰均匀光",
    "色彩系统": "冷静节制色",
    "笔触与肌理": "光洁、无笔触",
    "边缘与节奏": "边缘锐利、庄重的节奏"
   },
   "works": [
    "大卫《马拉之死》",
    "大卫《荷拉斯兄弟之誓》",
    "安格尔《大宫女》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.023",
   "cn": "法国浪漫主义",
   "en": null,
   "region": "west",
   "wv": "WV4",
   "year": 1825,
   "xi": "新古典与浪漫体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.55,
    "struct_perc": 0.65,
    "east_west": 0.78
   },
   "vector": {
    "再现-表现": 0.55,
    "结构-感知": 0.65,
    "秩序-张力": 0.8,
    "节制-强度": 0.82
   },
   "def": "以激情、自然崇高与个体感受对抗古典理性。",
   "essence": "以激情、自然崇高与个体感受对抗古典理性",
   "voice": "忠于激情与自我,在崇高自然前感受渺小",
   "period": "1800–1850",
   "origin": "法国/英国/德国",
   "people": [
    "德拉克洛瓦",
    "透纳",
    "弗里德里希"
   ],
   "parents": [
    "巴洛克"
   ],
   "influences": [
    "象征主义",
    "表现主义"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "对角动势、激情",
    "透视与空间": "深远戏剧空间",
    "形状与造型": "动态夸张",
    "光影与明暗": "强明暗、戏剧光",
    "色彩系统": "浓烈热色",
    "笔触与肌理": "奔放笔触",
    "边缘与节奏": "边缘奔放、激越的节奏"
   },
   "works": [
    "德拉克洛瓦《自由引导人民》",
    "籍里柯《梅杜萨之筏》",
    "透纳《雨、蒸汽和速度》",
    "弗里德里希《雾海上的旅人》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.024",
   "cn": "英国浪漫主义",
   "en": null,
   "region": "west",
   "wv": "WV4",
   "year": 1825,
   "xi": "新古典与浪漫体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.55,
    "struct_perc": 0.65,
    "east_west": 0.8
   },
   "vector": {
    "再现-表现": 0.55,
    "结构-感知": 0.65,
    "秩序-张力": 0.8,
    "节制-强度": 0.82
   },
   "def": "以激情、自然崇高与个体感受对抗古典理性。",
   "essence": "以激情、自然崇高与个体感受对抗古典理性",
   "voice": "忠于激情与自我,在崇高自然前感受渺小",
   "period": "1800–1850",
   "origin": "法国/英国/德国",
   "people": [
    "德拉克洛瓦",
    "透纳",
    "弗里德里希"
   ],
   "parents": [
    "巴洛克"
   ],
   "influences": [
    "象征主义",
    "表现主义"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "开阔风景、天光主导",
    "透视与空间": "深远大气空间",
    "形状与造型": "形体融于光气",
    "光影与明暗": "强烈天光",
    "色彩系统": "炽烈光色",
    "笔触与肌理": "厚薄扫笔",
    "边缘与节奏": "边缘消融于光、崇高的节奏"
   },
   "works": [
    "德拉克洛瓦《自由引导人民》",
    "籍里柯《梅杜萨之筏》",
    "透纳《雨、蒸汽和速度》",
    "弗里德里希《雾海上的旅人》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.025",
   "cn": "德国浪漫主义",
   "en": null,
   "region": "west",
   "wv": "WV4",
   "year": 1825,
   "xi": "新古典与浪漫体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.55,
    "struct_perc": 0.65,
    "east_west": 0.76
   },
   "vector": {
    "再现-表现": 0.55,
    "结构-感知": 0.65,
    "秩序-张力": 0.8,
    "节制-强度": 0.82
   },
   "def": "以激情、自然崇高与个体感受对抗古典理性。",
   "essence": "以激情、自然崇高与个体感受对抗古典理性",
   "voice": "忠于激情与自我,在崇高自然前感受渺小",
   "period": "1800–1850",
   "origin": "法国/英国/德国",
   "people": [
    "德拉克洛瓦",
    "透纳",
    "弗里德里希"
   ],
   "parents": [
    "巴洛克"
   ],
   "influences": [
    "象征主义",
    "表现主义"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "孤寂对称、人物背影",
    "透视与空间": "深远空寂",
    "形状与造型": "简净轮廓",
    "光影与明暗": "幽冥月光晨雾",
    "色彩系统": "冷寂蓝灰",
    "笔触与肌理": "细腻静谧",
    "边缘与节奏": "边缘清而静、沉思的节奏"
   },
   "works": [
    "德拉克洛瓦《自由引导人民》",
    "籍里柯《梅杜萨之筏》",
    "透纳《雨、蒸汽和速度》",
    "弗里德里希《雾海上的旅人》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.026",
   "cn": "现实主义",
   "en": null,
   "region": "west",
   "wv": "WV1",
   "year": 1860,
   "xi": "新古典与浪漫体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.18,
    "struct_perc": 0.3,
    "east_west": 0.78
   },
   "vector": {
    "再现-表现": 0.18,
    "结构-感知": 0.3,
    "秩序-张力": 0.45,
    "节制-强度": 0.35
   },
   "def": "19世纪中叶,拒绝理想化,直面普通人与劳动、社会现实,以客观平实的语言再现当下。",
   "essence": "拒绝理想化,直面普通人与社会现实",
   "voice": "我只画我看见的——为无名者与劳动者立此存照",
   "period": "1840–1880",
   "origin": "法国",
   "people": [
    "库尔贝",
    "米勒",
    "杜米埃"
   ],
   "parents": [
    "新古典主义"
   ],
   "influences": [
    "印象派",
    "社会现实主义"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "平实取景、劳动者居中",
    "透视与空间": "自然空间",
    "形状与造型": "写实朴素、不美化",
    "光影与明暗": "自然光、沉着",
    "色彩系统": "灰褐土色",
    "笔触与肌理": "厚实笔触",
    "边缘与节奏": "边缘真实、沉稳的节奏"
   },
   "works": [
    "库尔贝《采石工》",
    "库尔贝《奥尔南的葬礼》",
    "米勒《拾穗者》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.027",
   "cn": "自然主义",
   "en": "Naturalism",
   "region": "west",
   "wv": "WV1",
   "year": 1820,
   "xi": "新古典与浪漫体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.18,
    "struct_perc": 0.46,
    "east_west": 0.8
   },
   "vector": {
    "再现-表现": 0.18,
    "结构-感知": 0.46,
    "秩序-张力": 0.46,
    "节制-强度": 0.4
   },
   "def": "以近乎客观的精确描绘自然与农村劳动,不加美化。它是1870–1900、源出法国/欧洲的西方绘画风格,在世界观上属「摹写之眼」。上承现实主义、下启社会现实主义。",
   "essence": "以近乎客观的精确描绘自然与农村劳动,不加美化。",
   "voice": "如实记录,不评判也不美化",
   "period": "1870–1900",
   "origin": "法国/欧洲",
   "people": [
    "巴斯蒂安-勒帕热",
    "左拉(理论)"
   ],
   "parents": [
    "现实主义"
   ],
   "influences": [
    "社会现实主义"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "平实取景、人物融入环境",
    "透视与空间": "自然空间、外光纵深",
    "形状与造型": "写实精确、朴素",
    "光影与明暗": "自然外光、柔和",
    "色彩系统": "灰绿土褐、真实色",
    "笔触与肌理": "细腻写实笔法",
    "边缘与节奏": "边缘真实,平静的节奏"
   },
   "works": [
    "巴斯蒂安-勒帕热《垛草》",
    "《圣女贞德》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.028",
   "cn": "社会现实主义",
   "en": "Peredvizhniki / The Wanderers",
   "region": "west",
   "wv": "WV1",
   "year": 1885,
   "xi": "新古典与浪漫体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.22,
    "struct_perc": 0.3,
    "east_west": 0.76
   },
   "vector": {
    "再现-表现": 0.22,
    "结构-感知": 0.3,
    "秩序-张力": 0.62,
    "节制-强度": 0.28
   },
   "def": "拒绝理想化,直面普通人与社会现实。",
   "essence": "深入民间、巡回展出,以写实之笔为苦难者与民族立此存照",
   "voice": "社会良知与批判 · 对苦难的同情 · 民族认同与启蒙——为人生而艺术——画笔即良心",
   "period": "1870–1900s",
   "origin": "俄国",
   "people": [
    "库尔贝",
    "米勒",
    "杜米埃"
   ],
   "parents": [
    "现实主义",
    "学院派写实"
   ],
   "influences": [
    "社会现实主义",
    "苏联社会主义现实主义"
   ],
   "themes": [
    "社会现实",
    "人物群像",
    "劳动",
    "苦难",
    "历史"
   ],
   "lang7": {
    "构图与组织": "群像式叙事构图,主次分明引导阅读",
    "透视与空间": "写实焦点透视,纵深真实",
    "形状与造型": "坚实素描,体积与解剖准确",
    "光影与明暗": "自然光/情境光,塑造人物与心理",
    "色彩系统": "暗色调,泥土色域,低饱和",
    "笔触与肌理": "克制写实笔触,不炫技",
    "边缘与节奏": "实边为主,沉稳叙事节奏"
   },
   "works": [
    "列宾《伏尔加河上的纤夫》",
    "列宾《查波罗什人写信给苏丹王》",
    "苏里科夫《女贵族莫洛卓娃》",
    "列维坦《弗拉基米尔卡之路》",
    "克拉姆斯柯依《无名女郎》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.029",
   "cn": "印象派",
   "en": "Impressionism",
   "region": "west",
   "wv": "WV4",
   "year": 1870,
   "xi": "现代主义体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.55,
    "struct_perc": 0.85,
    "east_west": 0.78
   },
   "vector": {
    "再现-表现": 0.55,
    "结构-感知": 0.85,
    "秩序-张力": 0.45,
    "节制-强度": 0.55
   },
   "def": "1860–1880年代兴起于法国,反学院派沙龙体系。走出画室、在户外直面光线作画,用纯色并置与破碎短笔触捕捉光与大气的瞬间变化,取消棕调与黑色阴影。",
   "essence": "走出画室,捕捉光与大气的瞬间",
   "voice": "真实不在物里,而在光与一瞬的感觉之中",
   "period": "1860s–1880s",
   "origin": "法国巴黎",
   "people": [
    "莫奈",
    "雷诺阿",
    "毕沙罗",
    "西斯莱"
   ],
   "parents": [
    "现实主义",
    "巴比松"
   ],
   "influences": [
    "点彩派",
    "后印象派"
   ],
   "themes": [
    "户外风景",
    "花园与水景",
    "都市休闲生活",
    "光与大气本身"
   ],
   "lang7": {
    "构图与组织": "切边/快照式构图,去中心,偶然性截取",
    "透视与空间": "大气透视,空间被光与色消解",
    "形状与造型": "轮廓松动,形被光打散",
    "光影与明暗": "户外自然光,补色阴影,取消纯黑",
    "色彩系统": "纯色并置,高明度,视觉调色",
    "笔触与肌理": "破碎短笔触,笔触本身可见",
    "边缘与节奏": "软边,色点闪烁震颤"
   },
   "works": [
    "莫奈《日出·印象》",
    "莫奈《睡莲》",
    "雷诺阿《煎饼磨坊的舞会》",
    "德加《舞蹈课》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.030",
   "cn": "新印象派",
   "en": null,
   "region": "west",
   "wv": "WV4",
   "year": 1870,
   "xi": "现代主义体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.55,
    "struct_perc": 0.85,
    "east_west": 0.8
   },
   "vector": {
    "再现-表现": 0.55,
    "结构-感知": 0.85,
    "秩序-张力": 0.45,
    "节制-强度": 0.55
   },
   "def": "走出画室,捕捉光与大气的瞬间。",
   "essence": "走出画室,捕捉光与大气的瞬间",
   "voice": "真实不在物里,而在光与一瞬的感觉之中",
   "period": "1860s–1880s",
   "origin": "法国巴黎",
   "people": [
    "莫奈",
    "雷诺阿",
    "毕沙罗",
    "西斯莱"
   ],
   "parents": [
    "现实主义",
    "巴比松"
   ],
   "influences": [
    "点彩派",
    "后印象派"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "均衡秩序、科学",
    "透视与空间": "平面装饰空间",
    "形状与造型": "形体由点构成",
    "光影与明暗": "纯色点的光",
    "色彩系统": "纯色点、光学混合",
    "笔触与肌理": "点彩(divisionism)",
    "边缘与节奏": "边缘由点融成、静态的节奏"
   },
   "works": [
    "莫奈《日出·印象》",
    "莫奈《睡莲》",
    "雷诺阿《煎饼磨坊的舞会》",
    "德加《舞蹈课》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.031",
   "cn": "点彩派",
   "en": null,
   "region": "west",
   "wv": "WV4",
   "year": 1893,
   "xi": "现代主义体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.45,
    "struct_perc": 0.75,
    "east_west": 0.76
   },
   "vector": {
    "再现-表现": 0.45,
    "结构-感知": 0.75,
    "秩序-张力": 0.3,
    "节制-强度": 0.5
   },
   "def": "新印象派的核心技法,依据光学色彩理论,以纯色小点并置,由观者视网膜完成混色,使画面振动发光。",
   "essence": "依光学理论以纯色点由视网膜混色",
   "voice": "以科学之眼分解光,让理性与感官合一",
   "period": "1886–1900",
   "origin": "法国",
   "people": [
    "修拉",
    "西涅克"
   ],
   "parents": [
    "印象派"
   ],
   "influences": [
    "野兽派"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "秩序均衡",
    "透视与空间": "平面装饰空间",
    "形状与造型": "点构形体",
    "光影与明暗": "纯色点光感",
    "色彩系统": "纯色科学并置",
    "笔触与肌理": "均匀圆点",
    "边缘与节奏": "边缘点融、静谧的节奏"
   },
   "works": [
    "修拉《大碗岛的星期天下午》",
    "西涅克《圣特罗佩港》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.032",
   "cn": "后印象派",
   "en": null,
   "region": "west",
   "wv": "WV5",
   "year": 1892,
   "xi": "现代主义体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.65,
    "struct_perc": 0.6,
    "east_west": 0.78
   },
   "vector": {
    "再现-表现": 0.65,
    "结构-感知": 0.6,
    "秩序-张力": 0.6,
    "节制-强度": 0.7
   },
   "def": "1880–1905年,在印象派的光色基础上回归结构与主观表达。塞尚求几何骨架、梵高以色彩与笔触抒情、高更用平面与象征,是通向现代主义的桥。",
   "essence": "在光色之上重建结构与主观表达",
   "voice": "在眼睛之后,画我所知与所感",
   "period": "1880–1905",
   "origin": "法国",
   "people": [
    "塞尚",
    "梵高",
    "高更"
   ],
   "parents": [
    "印象派"
   ],
   "influences": [
    "立体主义",
    "野兽派",
    "表现主义"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "结构性经营、主观重构",
    "透视与空间": "主观空间、塞尚式体块",
    "形状与造型": "形体结构化或表现化",
    "光影与明暗": "主观光色",
    "色彩系统": "强烈纯色、象征色",
    "笔触与肌理": "厚涂、笔触结构化",
    "边缘与节奏": "边缘强化或律动、表现的节奏"
   },
   "works": [
    "梵高《星月夜》",
    "梵高《向日葵》",
    "塞尚《圣维克多山》",
    "高更《我们从何处来?》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.033",
   "cn": "纳比派",
   "en": "Les Nabis",
   "region": "west",
   "wv": "WV3",
   "year": 1915,
   "xi": "现代主义体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.58,
    "struct_perc": 0.55,
    "east_west": 0.8
   },
   "vector": {
    "再现-表现": 0.58,
    "结构-感知": 0.55,
    "秩序-张力": 0.42,
    "节制-强度": 0.45
   },
   "def": "以平面色块与装饰图案,把日常室内点化为亲密的诗。它是1888–1900、源出法国的西方绘画风格,在世界观上属「写意寄情」。上承后印象派、下启新艺术运动、野兽派。",
   "essence": "以平面色块与装饰图案,把日常室内点化为亲密的诗。",
   "voice": "画首先是平面上覆盖颜色的秩序",
   "period": "1888–1900",
   "origin": "法国",
   "people": [
    "博纳尔",
    "维亚尔",
    "德尼"
   ],
   "parents": [
    "后印象派"
   ],
   "influences": [
    "新艺术运动",
    "野兽派"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "满幅装饰、平面铺陈",
    "透视与空间": "压缩纵深、图案化空间",
    "形状与造型": "平面化、轮廓简",
    "光影与明暗": "柔和、去强光影",
    "色彩系统": "温暖斑斓、装饰色",
    "笔触与肌理": "平涂点厾、织物般肌理",
    "边缘与节奏": "边缘融入图案,亲密的节奏"
   },
   "works": [
    "博纳尔《逆光中的裸女》",
    "维亚尔《室内》",
    "德尼《缪斯》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.034",
   "cn": "象征主义",
   "en": null,
   "region": "west",
   "wv": "WV5",
   "year": 1895,
   "xi": "现代主义体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.7,
    "struct_perc": 0.55,
    "east_west": 0.76
   },
   "vector": {
    "再现-表现": 0.7,
    "结构-感知": 0.55,
    "秩序-张力": 0.55,
    "节制-强度": 0.55
   },
   "def": "19世纪末,以隐喻物象与梦幻氛围表达精神、欲望与死亡等不可见之物。",
   "essence": "以隐喻与梦幻表现精神、欲望与死亡",
   "voice": "可见之物,是不可见之物的面纱",
   "period": "1880–1910",
   "origin": "法国/比利时",
   "people": [
    "莫罗",
    "雷东",
    "夏凡纳"
   ],
   "parents": [
    "浪漫主义"
   ],
   "influences": [
    "超现实主义",
    "纳比派"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "梦境式经营、装饰",
    "透视与空间": "非现实空间",
    "形状与造型": "简化象征化形体",
    "光影与明暗": "幽暗神秘光",
    "色彩系统": "幽玄象征色",
    "笔触与肌理": "平涂或细腻",
    "边缘与节奏": "边缘朦胧、神秘的节奏"
   },
   "works": [
    "莫罗《显灵》",
    "雷东《独眼巨人》",
    "夏凡纳《圣女贞德》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.035",
   "cn": "新艺术运动",
   "en": null,
   "region": "west",
   "wv": "WV3",
   "year": 1900,
   "xi": "现代主义体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.65,
    "struct_perc": 0.45,
    "east_west": 0.78
   },
   "vector": {
    "再现-表现": 0.65,
    "结构-感知": 0.45,
    "秩序-张力": 0.42,
    "节制-强度": 0.6
   },
   "def": "以自然有机曲线统一艺术与工艺。",
   "essence": "以自然有机曲线统一艺术与工艺",
   "voice": "让美渗入日常的每一根线条",
   "period": "1890–1910",
   "origin": "欧洲",
   "people": [
    "慕夏",
    "克里姆特"
   ],
   "parents": [
    "象征主义"
   ],
   "influences": [],
   "themes": [],
   "lang7": {
    "构图与组织": "流动曲线、装饰满构图",
    "透视与空间": "平面装饰空间",
    "形状与造型": "植物曲线化形体",
    "光影与明暗": "平面无强光影",
    "色彩系统": "柔和装饰色、金",
    "笔触与肌理": "平涂、流畅线",
    "边缘与节奏": "边缘流畅曲线、装饰的节奏"
   },
   "works": [
    "慕夏《四季》",
    "克里姆特《吻》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.036",
   "cn": "野兽派",
   "en": null,
   "region": "west",
   "wv": "WV5",
   "year": 1907,
   "xi": "现代主义体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.78,
    "struct_perc": 0.7,
    "east_west": 0.8
   },
   "vector": {
    "再现-表现": 0.78,
    "结构-感知": 0.7,
    "秩序-张力": 0.62,
    "节制-强度": 0.88
   },
   "def": "1905年以马蒂斯为首,用强烈纯色与简化造型表达情感,色彩脱离自然的描述功能。",
   "essence": "以强烈纯色与简化造型直抒情感",
   "voice": "色彩即情感,无需向自然请示",
   "period": "1905–1910",
   "origin": "法国",
   "people": [
    "马蒂斯",
    "德兰"
   ],
   "parents": [
    "后印象派",
    "点彩派"
   ],
   "influences": [
    "表现主义"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "大色块经营、平面",
    "透视与空间": "平面化空间",
    "形状与造型": "简化大形",
    "光影与明暗": "取消明暗、纯色亮",
    "色彩系统": "高饱和纯色、非自然",
    "笔触与肌理": "奔放厚涂、笔触显",
    "边缘与节奏": "边缘奔放、强烈的节奏"
   },
   "works": [
    "马蒂斯《舞蹈》",
    "马蒂斯《戴帽子的女人》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.037",
   "cn": "表现主义",
   "en": null,
   "region": "west",
   "wv": "WV5",
   "year": 1915,
   "xi": "现代主义体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.85,
    "struct_perc": 0.62,
    "east_west": 0.76
   },
   "vector": {
    "再现-表现": 0.85,
    "结构-感知": 0.62,
    "秩序-张力": 0.85,
    "节制-强度": 0.88
   },
   "def": "20世纪初德语区,以变形、浓烈色彩与粗犷笔触外化内心的焦虑与激情。",
   "essence": "以变形与浓烈色彩外化内心焦虑",
   "voice": "把内心的尖叫,画在世界的脸上",
   "period": "1905–1925",
   "origin": "德国",
   "people": [
    "蒙克",
    "基希纳",
    "诺尔德"
   ],
   "parents": [
    "后印象派",
    "浪漫主义"
   ],
   "influences": [
    "抽象表现主义",
    "新表现主义"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "不安倾斜、张力构图",
    "透视与空间": "扭曲空间",
    "形状与造型": "夸张变形",
    "光影与明暗": "刺目对比",
    "色彩系统": "生硬高彩、非自然",
    "笔触与肌理": "粗粝笔触",
    "边缘与节奏": "边缘锐利、躁动的节奏"
   },
   "works": [
    "蒙克《呐喊》",
    "基希纳《柏林街景》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.038",
   "cn": "蓝骑士派",
   "en": "Der Blaue Reiter",
   "region": "west",
   "wv": "WV5",
   "year": 1915,
   "xi": "现代主义体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.78,
    "struct_perc": 0.55,
    "east_west": 0.78
   },
   "vector": {
    "再现-表现": 0.78,
    "结构-感知": 0.55,
    "秩序-张力": 0.55,
    "节制-强度": 0.6
   },
   "def": "以色彩与抽象追寻精神性,绘画通向内在的灵性。它是1911–1914、源出慕尼黑的西方绘画风格,在世界观上属「表现外化」。上承表现主义、下启抽象表现主义、几何抽象。",
   "essence": "以色彩与抽象追寻精神性,绘画通向内在的灵性。",
   "voice": "色彩直接作用于灵魂",
   "period": "1911–1914",
   "origin": "慕尼黑",
   "people": [
    "康定斯基",
    "马尔克",
    "明特尔"
   ],
   "parents": [
    "表现主义"
   ],
   "influences": [
    "抽象表现主义",
    "几何抽象"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "动势奔放、走向抽象",
    "透视与空间": "取消透视、精神空间",
    "形状与造型": "形象解体为色形",
    "光影与明暗": "明亮无写实光影",
    "色彩系统": "纯净高彩、象征色",
    "笔触与肌理": "奔放笔触、色块",
    "边缘与节奏": "边缘消融,音乐性的节奏"
   },
   "works": [
    "康定斯基《构成第七号》",
    "马尔克《蓝马》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.039",
   "cn": "桥社",
   "en": "Die Brücke",
   "region": "west",
   "wv": "WV5",
   "year": 1915,
   "xi": "现代主义体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.78,
    "struct_perc": 0.45,
    "east_west": 0.8
   },
   "vector": {
    "再现-表现": 0.78,
    "结构-感知": 0.45,
    "秩序-张力": 0.72,
    "节制-强度": 0.7
   },
   "def": "以尖锐变形与生硬色彩,宣泄现代都市的躁动与焦虑。它是1905–1913、源出德累斯顿的西方绘画风格,在世界观上属「表现外化」。上承表现主义、下启新表现主义。",
   "essence": "以尖锐变形与生硬色彩,宣泄现代都市的躁动与焦虑。",
   "voice": "把内心的尖锐,劈在画布上",
   "period": "1905–1913",
   "origin": "德累斯顿",
   "people": [
    "基什内尔",
    "黑克尔",
    "施密特-罗特卢夫"
   ],
   "parents": [
    "表现主义"
   ],
   "influences": [
    "新表现主义"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "拥挤、倾斜、不安构图",
    "透视与空间": "扭曲空间、压迫感",
    "形状与造型": "夸张变形、棱角",
    "光影与明暗": "刺目对比",
    "色彩系统": "生硬高彩、非自然色",
    "笔触与肌理": "粗粝笔触、木刻刀味",
    "边缘与节奏": "边缘锐利,紧张的节奏"
   },
   "works": [
    "基什内尔《街道,柏林》",
    "《波茨坦广场》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.040",
   "cn": "立体主义",
   "en": null,
   "region": "west",
   "wv": "WV6",
   "year": 1913,
   "xi": "现代主义体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.72,
    "struct_perc": 0.2,
    "east_west": 0.76
   },
   "vector": {
    "再现-表现": 0.72,
    "结构-感知": 0.2,
    "秩序-张力": 0.55,
    "节制-强度": 0.55
   },
   "def": "1907年起由毕加索与布拉克开创,打破单一视点,将物象分解为几何面并在同一画面重组,呈现多视角的同时性。",
   "essence": "打破单一视点,几何重组同时性",
   "voice": "真实是多视角的总和,而非一眼的幻觉",
   "period": "1907–1920",
   "origin": "法国巴黎",
   "people": [
    "毕加索",
    "布拉克",
    "格里斯"
   ],
   "parents": [
    "后印象派"
   ],
   "influences": [
    "未来主义",
    "构成主义",
    "至上主义"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "多视点拼合、碎面",
    "透视与空间": "多视点同时空间",
    "形状与造型": "几何解构形体",
    "光影与明暗": "弱化明暗、面块",
    "色彩系统": "褐灰单色(分析期)",
    "笔触与肌理": "平涂、拼贴",
    "边缘与节奏": "边缘碎裂、理性的节奏"
   },
   "works": [
    "毕加索《亚维农少女》",
    "毕加索《格尔尼卡》",
    "布拉克《葡萄牙人》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.041",
   "cn": "分析立体主义",
   "en": null,
   "region": "west",
   "wv": "WV6",
   "year": 1913,
   "xi": "现代主义体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.72,
    "struct_perc": 0.2,
    "east_west": 0.78
   },
   "vector": {
    "再现-表现": 0.72,
    "结构-感知": 0.2,
    "秩序-张力": 0.55,
    "节制-强度": 0.55
   },
   "def": "打破单一视点,几何重组同时性。",
   "essence": "打破单一视点,几何重组同时性",
   "voice": "真实是多视角的总和,而非一眼的幻觉",
   "period": "1907–1920",
   "origin": "法国巴黎",
   "people": [
    "毕加索",
    "布拉克",
    "格里斯"
   ],
   "parents": [
    "后印象派"
   ],
   "influences": [
    "未来主义",
    "构成主义",
    "至上主义"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "密集碎面、单色",
    "透视与空间": "多视点解析空间",
    "形状与造型": "形体彻底解析为面",
    "光影与明暗": "几无明暗",
    "色彩系统": "褐灰近单色",
    "笔触与肌理": "平涂细分",
    "边缘与节奏": "边缘碎密、解析的节奏"
   },
   "works": [
    "毕加索《亚维农少女》",
    "毕加索《格尔尼卡》",
    "布拉克《葡萄牙人》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.042",
   "cn": "综合立体主义",
   "en": null,
   "region": "west",
   "wv": "WV6",
   "year": 1913,
   "xi": "现代主义体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.72,
    "struct_perc": 0.2,
    "east_west": 0.8
   },
   "vector": {
    "再现-表现": 0.72,
    "结构-感知": 0.2,
    "秩序-张力": 0.55,
    "节制-强度": 0.55
   },
   "def": "打破单一视点,几何重组同时性。",
   "essence": "打破单一视点,几何重组同时性",
   "voice": "真实是多视角的总和,而非一眼的幻觉",
   "period": "1907–1920",
   "origin": "法国巴黎",
   "people": [
    "毕加索",
    "布拉克",
    "格里斯"
   ],
   "parents": [
    "后印象派"
   ],
   "influences": [
    "未来主义",
    "构成主义",
    "至上主义"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "拼贴重构、大块面",
    "透视与空间": "平面拼贴空间",
    "形状与造型": "符号化重组",
    "光影与明暗": "平面少明暗",
    "色彩系统": "色纸、亮色",
    "笔触与肌理": "拼贴(papier collé)",
    "边缘与节奏": "边缘拼贴硬、重构的节奏"
   },
   "works": [
    "毕加索《亚维农少女》",
    "毕加索《格尔尼卡》",
    "布拉克《葡萄牙人》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.043",
   "cn": "未来主义",
   "en": null,
   "region": "west",
   "wv": "WV6",
   "year": 1913,
   "xi": "现代主义体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.7,
    "struct_perc": 0.3,
    "east_west": 0.76
   },
   "vector": {
    "再现-表现": 0.7,
    "结构-感知": 0.3,
    "秩序-张力": 0.85,
    "节制-强度": 0.8
   },
   "def": "1909年意大利发起,歌颂机械、速度与现代性,以重复轮廓与力线表现运动与动能。",
   "essence": "歌颂机械、速度与现代动能",
   "voice": "砸碎过去,礼赞速度与机器的暴力之美",
   "period": "1909–1918",
   "origin": "意大利",
   "people": [
    "波丘尼",
    "巴拉",
    "塞韦里尼"
   ],
   "parents": [
    "立体主义",
    "点彩派"
   ],
   "influences": [],
   "themes": [],
   "lang7": {
    "构图与组织": "放射动势、速度线",
    "透视与空间": "动态多重空间",
    "形状与造型": "运动中分解的形",
    "光影与明暗": "动感光影",
    "色彩系统": "明快、机械色",
    "笔触与肌理": "线条放射、笔触动",
    "边缘与节奏": "边缘重影、速度的节奏"
   },
   "works": [
    "波丘尼《空间中连续性的独特形式》",
    "巴拉《拴着皮带的狗的动态》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.044",
   "cn": "形而上绘画",
   "en": null,
   "region": "west",
   "wv": "WV2",
   "year": 1915,
   "xi": "现代主义体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.55,
    "struct_perc": 0.25,
    "east_west": 0.78
   },
   "vector": {
    "再现-表现": 0.55,
    "结构-感知": 0.25,
    "秩序-张力": 0.5,
    "节制-强度": 0.35
   },
   "def": "以静寂广场与人偶营造梦魇般的玄思。",
   "essence": "以静寂广场与人偶营造梦魇般的玄思",
   "voice": "在最日常的广场里,埋藏最深的不安",
   "period": "1911–1920",
   "origin": "意大利",
   "people": [
    "基里科"
   ],
   "parents": [
    "象征主义"
   ],
   "influences": [
    "超现实主义"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "空旷舞台式构图",
    "透视与空间": "夸张深透视、空寂",
    "形状与造型": "简洁体块、人体模特",
    "光影与明暗": "清冷长影",
    "色彩系统": "冷调、土黄绿",
    "笔触与肌理": "光洁平涂",
    "边缘与节奏": "边缘清、谜样静寂的节奏"
   },
   "works": [
    "基里科《一条街的忧郁与神秘》",
    "基里科《爱之歌》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.045",
   "cn": "至上主义",
   "en": null,
   "region": "west",
   "wv": "WV6",
   "year": 1917,
   "xi": "现代主义体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.95,
    "struct_perc": 0.1,
    "east_west": 0.8
   },
   "vector": {
    "再现-表现": 0.95,
    "结构-感知": 0.1,
    "秩序-张力": 0.3,
    "节制-强度": 0.4
   },
   "def": "以纯几何与色面追求绝对的非具象感觉。",
   "essence": "以纯几何与色面追求绝对的非具象感觉",
   "voice": "抵达零度——纯粹感觉的至高无上",
   "period": "1915–1920",
   "origin": "俄国",
   "people": [
    "马列维奇"
   ],
   "parents": [
    "立体主义"
   ],
   "influences": [
    "构成主义",
    "极简主义"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "纯几何漂浮经营",
    "透视与空间": "无重力纯空间",
    "形状与造型": "纯几何形(方/圆)",
    "光影与明暗": "平涂无明暗",
    "色彩系统": "纯色或黑白",
    "笔触与肌理": "平涂、绝对",
    "边缘与节奏": "边缘锐直、纯粹的节奏"
   },
   "works": [
    "马列维奇《黑方块》",
    "马列维奇《白上白》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.046",
   "cn": "构成主义",
   "en": null,
   "region": "west",
   "wv": "WV6",
   "year": 1922,
   "xi": "现代主义体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.88,
    "struct_perc": 0.12,
    "east_west": 0.76
   },
   "vector": {
    "再现-表现": 0.88,
    "结构-感知": 0.12,
    "秩序-张力": 0.55,
    "节制-强度": 0.55
   },
   "def": "1910–20年代俄国,以几何抽象与工业材料服务社会建设,强调结构与功能。",
   "essence": "以几何与工业材料服务社会建设",
   "voice": "艺术应是建造新社会的工具",
   "period": "1915–1930",
   "origin": "俄国",
   "people": [
    "塔特林",
    "罗德琴科",
    "李西茨基"
   ],
   "parents": [
    "立体主义",
    "至上主义"
   ],
   "influences": [
    "新造型主义",
    "极简主义"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "工业构造式经营",
    "透视与空间": "建构空间",
    "形状与造型": "几何构件、工业形",
    "光影与明暗": "平涂",
    "色彩系统": "红黑白、工业色",
    "笔触与肌理": "平涂、机械",
    "边缘与节奏": "边缘锐利、建构的节奏"
   },
   "works": [
    "塔特林《第三国际纪念碑》",
    "李西茨基《红楔子攻打白军》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.047",
   "cn": "新造型主义",
   "en": null,
   "region": "west",
   "wv": "WV6",
   "year": 1924,
   "xi": "现代主义体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.92,
    "struct_perc": 0.08,
    "east_west": 0.78
   },
   "vector": {
    "再现-表现": 0.92,
    "结构-感知": 0.08,
    "秩序-张力": 0.15,
    "节制-强度": 0.35
   },
   "def": "以水平垂直与三原色寻求普世和谐。",
   "essence": "以水平垂直与三原色寻求普世和谐",
   "voice": "在直角与三原色里,寻找宇宙的普遍和谐",
   "period": "1917–1931",
   "origin": "荷兰",
   "people": [
    "蒙德里安",
    "凡·杜斯堡"
   ],
   "parents": [
    "立体主义",
    "构成主义"
   ],
   "influences": [
    "极简主义",
    "硬边绘画"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "水平垂直网格",
    "透视与空间": "纯平面",
    "形状与造型": "直线与矩形",
    "光影与明暗": "平涂无明暗",
    "色彩系统": "三原色+黑白灰",
    "笔触与肌理": "平涂、绝对均匀",
    "边缘与节奏": "边缘黑线分割、绝对的节奏"
   },
   "works": [
    "蒙德里安《红黄蓝的构成》",
    "蒙德里安《百老汇爵士乐》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.048",
   "cn": "苏黎世达达",
   "en": "Zurich Dada",
   "region": "west",
   "wv": "WV5",
   "year": 1915,
   "xi": "现代主义体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.8,
    "struct_perc": 0.5,
    "east_west": 0.8
   },
   "vector": {
    "再现-表现": 0.8,
    "结构-感知": 0.5,
    "秩序-张力": 0.7,
    "节制-强度": 0.6
   },
   "def": "以荒诞、偶然与反艺术,否定一切既成的意义与秩序。它是1916–1920、源出苏黎世的西方绘画风格,在世界观上属「表现外化」。上承达达主义、下启超现实主义。",
   "essence": "以荒诞、偶然与反艺术,否定一切既成的意义与秩序。",
   "voice": "达达什么都不是,这正是它的意义",
   "period": "1916–1920",
   "origin": "苏黎世",
   "people": [
    "阿尔普",
    "查拉(理论)"
   ],
   "parents": [
    "达达主义"
   ],
   "influences": [
    "超现实主义"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "偶然布置、反构图",
    "透视与空间": "取消空间逻辑",
    "形状与造型": "有机抽象形",
    "光影与明暗": "平面无写实光影",
    "色彩系统": "素朴或随机色",
    "笔触与肌理": "拼贴、偶然撒落",
    "边缘与节奏": "边缘随机,反秩序的节奏"
   },
   "works": [
    "阿尔普《据偶然律排列的拼贴》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.049",
   "cn": "柏林达达",
   "en": "Berlin Dada",
   "region": "west",
   "wv": "WV5",
   "year": 1915,
   "xi": "现代主义体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.76,
    "struct_perc": 0.5,
    "east_west": 0.76
   },
   "vector": {
    "再现-表现": 0.76,
    "结构-感知": 0.5,
    "秩序-张力": 0.72,
    "节制-强度": 0.62
   },
   "def": "以照片蒙太奇做政治批判,把媒体碎片拼成尖锐的控诉。它是1918–1923、源出柏林的西方绘画风格,在世界观上属「表现外化」。上承达达主义、下启波普艺术、观念艺术。",
   "essence": "以照片蒙太奇做政治批判,把媒体碎片拼成尖锐的控诉。",
   "voice": "用剪刀,把这个时代的谎言剪开",
   "period": "1918–1923",
   "origin": "柏林",
   "people": [
    "赫斯菲尔德",
    "赫希",
    "格罗兹"
   ],
   "parents": [
    "达达主义"
   ],
   "influences": [
    "波普艺术",
    "观念艺术"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "蒙太奇拼贴、碎裂构图",
    "透视与空间": "拼贴叠层、无统一空间",
    "形状与造型": "现成图像并置",
    "光影与明暗": "印刷品的平面",
    "色彩系统": "黑白印刷+局部色",
    "笔触与肌理": "照片剪贴、印刷",
    "边缘与节奏": "边缘剪切硬,撞击的节奏"
   },
   "works": [
    "赫斯菲尔德反战蒙太奇",
    "赫希《用厨刀切开》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.050",
   "cn": "自动主义",
   "en": "Automatism",
   "region": "west",
   "wv": "WV5",
   "year": 1915,
   "xi": "现代主义体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.82,
    "struct_perc": 0.55,
    "east_west": 0.78
   },
   "vector": {
    "再现-表现": 0.82,
    "结构-感知": 0.55,
    "秩序-张力": 0.6,
    "节制-强度": 0.52
   },
   "def": "放弃理性控制,让手随无意识流动,绘出潜意识的图形。它是1920s–1940s、源出法国/超现实的西方绘画风格,在世界观上属「表现外化」。上承超现实主义、下启抽象表现主义、动作绘画。",
   "essence": "放弃理性控制,让手随无意识流动,绘出潜意识的图形。",
   "voice": "让手比头脑更早开口",
   "period": "1920s–1940s",
   "origin": "法国/超现实",
   "people": [
    "马松",
    "米罗",
    "马塔"
   ],
   "parents": [
    "超现实主义"
   ],
   "influences": [
    "抽象表现主义",
    "动作绘画"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "自由游走、生成式布局",
    "透视与空间": "漂浮无重力空间",
    "形状与造型": "生物形态、随兴变形",
    "光影与明暗": "平面、柔光",
    "色彩系统": "明快或梦境色",
    "笔触与肌理": "流动线条、自动笔迹",
    "边缘与节奏": "边缘自由,无意识的流动节奏"
   },
   "works": [
    "米罗《丑角的狂欢》",
    "马松《自动素描》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.051",
   "cn": "超现实主义",
   "en": null,
   "region": "west",
   "wv": "WV5",
   "year": 1937,
   "xi": "现代主义体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.8,
    "struct_perc": 0.45,
    "east_west": 0.8
   },
   "vector": {
    "再现-表现": 0.8,
    "结构-感知": 0.45,
    "秩序-张力": 0.55,
    "节制-强度": 0.55
   },
   "def": "1920年代受弗洛伊德潜意识理论启发,以逼真细节描绘违和并置的梦境场景,释放无意识、质疑现实。",
   "essence": "描绘潜意识与梦境,违和并置质疑现实",
   "voice": "梦,比清醒更真实",
   "period": "1924–1950",
   "origin": "法国",
   "people": [
    "达利",
    "马格利特",
    "米罗",
    "恩斯特"
   ],
   "parents": [
    "达达主义",
    "形而上绘画",
    "象征主义"
   ],
   "influences": [
    "抽象表现主义"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "梦境并置、错置构图",
    "透视与空间": "深远梦境空间(达利)",
    "形状与造型": "写实或有机变形",
    "光影与明暗": "梦境光",
    "色彩系统": "清冷或诡谲色",
    "笔触与肌理": "细腻写实或自动",
    "边缘与节奏": "边缘清晰却荒诞的节奏"
   },
   "works": [
    "达利《记忆的永恒》",
    "马格利特《形象的叛逆》",
    "米罗《丑角的狂欢》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.053",
   "cn": "几何抽象",
   "en": "Geometric Abstraction",
   "region": "west",
   "wv": "WV6",
   "year": 1915,
   "xi": "现代主义体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.85,
    "struct_perc": 0.2,
    "east_west": 0.78
   },
   "vector": {
    "再现-表现": 0.85,
    "结构-感知": 0.2,
    "秩序-张力": 0.3,
    "节制-强度": 0.42
   },
   "def": "以纯粹的几何形与色面构造画面,排除一切自然物象。它是1915–今、源出欧洲的西方绘画风格,在世界观上属「形式建构」。上承立体主义、下启极简主义、硬边绘画。",
   "essence": "以纯粹的几何形与色面构造画面,排除一切自然物象。",
   "voice": "用最纯的形,建最普遍的秩序",
   "period": "1915–今",
   "origin": "欧洲",
   "people": [
    "蒙德里安",
    "马列维奇",
    "凡·杜斯堡"
   ],
   "parents": [
    "立体主义"
   ],
   "influences": [
    "极简主义",
    "硬边绘画"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "网格、严格几何分割",
    "透视与空间": "纯平面、无纵深",
    "形状与造型": "方圆直线、纯几何",
    "光影与明暗": "平涂无明暗",
    "色彩系统": "三原色或纯色块",
    "笔触与肌理": "平涂去笔触、硬边",
    "边缘与节奏": "边缘锐直,理性的静态节奏"
   },
   "works": [
    "蒙德里安《红黄蓝的构成》",
    "马列维奇《白上之白》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.054",
   "cn": "抒情抽象",
   "en": "Lyrical Abstraction",
   "region": "west",
   "wv": "WV5",
   "year": 1915,
   "xi": "现代主义体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.82,
    "struct_perc": 0.6,
    "east_west": 0.8
   },
   "vector": {
    "再现-表现": 0.82,
    "结构-感知": 0.6,
    "秩序-张力": 0.6,
    "节制-强度": 0.55
   },
   "def": "以自由流动的色彩与笔势,抒发主观情感与诗意。它是1945–1960s、源出欧洲/法国的西方绘画风格,在世界观上属「表现外化」。上承抽象表现主义。",
   "essence": "以自由流动的色彩与笔势,抒发主观情感与诗意。",
   "voice": "让色彩像音乐一样自由抒情",
   "period": "1945–1960s",
   "origin": "欧洲/法国",
   "people": [
    "德·斯塔埃尔",
    "赵无极",
    "马蒂厄"
   ],
   "parents": [
    "抽象表现主义"
   ],
   "influences": [],
   "themes": [],
   "lang7": {
    "构图与组织": "自由流动、抒情布局",
    "透视与空间": "暗示性空间、东方虚空",
    "形状与造型": "半抽象、意象化",
    "光影与明暗": "明暗微妙",
    "色彩系统": "丰富抒情色",
    "笔触与肌理": "流畅书写性笔触",
    "边缘与节奏": "边缘柔动,音乐般的节奏"
   },
   "works": [
    "赵无极《向杜甫致敬》",
    "德·斯塔埃尔《钢琴音乐会》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.055",
   "cn": "非形式艺术",
   "en": "Art Informel",
   "region": "west",
   "wv": "WV5",
   "year": 1915,
   "xi": "现代主义体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.82,
    "struct_perc": 0.58,
    "east_west": 0.76
   },
   "vector": {
    "再现-表现": 0.82,
    "结构-感知": 0.58,
    "秩序-张力": 0.68,
    "节制-强度": 0.62
   },
   "def": "反几何、重物质与偶然,以肌理与痕迹本身为表现。它是1945–1960s、源出欧洲的西方绘画风格,在世界观上属「表现外化」。上承抽象表现主义、下启贫穷艺术。",
   "essence": "反几何、重物质与偶然,以肌理与痕迹本身为表现。",
   "voice": "让物质与痕迹自己说话",
   "period": "1945–1960s",
   "origin": "欧洲",
   "people": [
    "杜布菲",
    "福特里埃",
    "塔皮埃斯"
   ],
   "parents": [
    "抽象表现主义"
   ],
   "influences": [
    "贫穷艺术"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "满幅肌理、无构图中心",
    "透视与空间": "取消空间、物质表面",
    "形状与造型": "无形、肌理为主",
    "光影与明暗": "以厚薄肌理代明暗",
    "色彩系统": "土褐、灰、原色",
    "笔触与肌理": "厚堆、刮擦、混入沙砾",
    "边缘与节奏": "边缘粗糙,原始的节奏"
   },
   "works": [
    "杜布菲《Corps de dame》",
    "塔皮埃斯《墙》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.056",
   "cn": "动作绘画",
   "en": "Action Painting",
   "region": "west",
   "wv": "WV5",
   "year": 1915,
   "xi": "现代主义体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.85,
    "struct_perc": 0.6,
    "east_west": 0.78
   },
   "vector": {
    "再现-表现": 0.85,
    "结构-感知": 0.6,
    "秩序-张力": 0.74,
    "节制-强度": 0.72
   },
   "def": "把绘画过程本身当作行动,身体的姿态直接留在画布。它是1947–1960s、源出美国的西方绘画风格,在世界观上属「表现外化」。上承抽象表现主义。",
   "essence": "把绘画过程本身当作行动,身体的姿态直接留在画布。",
   "voice": "画布是行动的竞技场",
   "period": "1947–1960s",
   "origin": "美国",
   "people": [
    "波洛克",
    "德·库宁",
    "克莱因"
   ],
   "parents": [
    "抽象表现主义"
   ],
   "influences": [],
   "themes": [],
   "lang7": {
    "构图与组织": "满幅无中心、全幅律动",
    "透视与空间": "取消空间、纯能量场",
    "形状与造型": "无形、姿态轨迹",
    "光影与明暗": "明暗随颜料堆叠",
    "色彩系统": "泼洒多彩或黑白",
    "笔触与肌理": "滴洒、甩、刮,身体性",
    "边缘与节奏": "边缘无界,激烈的节奏"
   },
   "works": [
    "波洛克《1948年第5号》",
    "德·库宁《女人》系列"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.057",
   "cn": "抽象表现主义",
   "en": null,
   "region": "west",
   "wv": "WV5",
   "year": 1951,
   "xi": "现代主义体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.92,
    "struct_perc": 0.5,
    "east_west": 0.8
   },
   "vector": {
    "再现-表现": 0.92,
    "结构-感知": 0.5,
    "秩序-张力": 0.85,
    "节制-强度": 0.85
   },
   "def": "1940–50年代纽约画派,以大尺幅、行动绘画或色域表达内在情绪与崇高,强调创作过程本身。",
   "essence": "以大尺幅与过程表达内在情绪与崇高",
   "voice": "画布是行动的竞技场,是灵魂的尺度",
   "period": "1943–1960",
   "origin": "美国纽约",
   "people": [
    "波洛克",
    "罗斯科",
    "德库宁"
   ],
   "parents": [
    "超现实主义",
    "表现主义"
   ],
   "influences": [
    "色域绘画",
    "极简主义"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "满幅无中心",
    "透视与空间": "取消空间、纯场",
    "形状与造型": "无形、姿态或色场",
    "光影与明暗": "随颜料堆叠",
    "色彩系统": "泼洒多彩或大色域",
    "笔触与肌理": "泼洒/滴流/厚涂",
    "边缘与节奏": "边缘无界、激烈或静穆的节奏"
   },
   "works": [
    "波洛克《秋韵:第30号》",
    "罗斯科《橙、红、黄》",
    "德库宁《女人I》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.058",
   "cn": "色域绘画",
   "en": null,
   "region": "west",
   "wv": "WV5",
   "year": 1955,
   "xi": "现代主义体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.9,
    "struct_perc": 0.55,
    "east_west": 0.76
   },
   "vector": {
    "再现-表现": 0.9,
    "结构-感知": 0.55,
    "秩序-张力": 0.25,
    "节制-强度": 0.45
   },
   "def": "抽象表现主义一支,以大片平涂色域唤起沉思与崇高,弱化笔触与构图。",
   "essence": "以大片平涂色域唤起沉思与崇高",
   "voice": "让人在纯色之前,像面对崇高一样静默",
   "period": "1950s–1960s",
   "origin": "美国",
   "people": [
    "罗斯科",
    "纽曼",
    "弗兰肯塔勒"
   ],
   "parents": [
    "抽象表现主义"
   ],
   "influences": [
    "极简主义"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "大色块平铺、满幅",
    "透视与空间": "纯平面无纵深",
    "形状与造型": "无形、大色域",
    "光影与明暗": "柔和边缘渗透",
    "色彩系统": "大面积纯色域",
    "笔触与肌理": "薄染、浸染(stain)",
    "边缘与节奏": "边缘柔渗、冥想的节奏"
   },
   "works": [
    "罗斯科《无题(黑上灰)》",
    "纽曼《英雄崇高的人》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.059",
   "cn": "硬边绘画",
   "en": "Hard-edge Painting",
   "region": "west",
   "wv": "WV6",
   "year": 1915,
   "xi": "现代主义体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.85,
    "struct_perc": 0.2,
    "east_west": 0.78
   },
   "vector": {
    "再现-表现": 0.85,
    "结构-感知": 0.2,
    "秩序-张力": 0.26,
    "节制-强度": 0.45
   },
   "def": "以锐利清晰的色块边界与平涂,追求冷静明确的视觉秩序。它是1950s–1960s、源出美国的西方绘画风格,在世界观上属「形式建构」。上承几何抽象、下启极简主义、光效应艺术。",
   "essence": "以锐利清晰的色块边界与平涂,追求冷静明确的视觉秩序。",
   "voice": "边界要绝对清晰,情绪要绝对收起",
   "period": "1950s–1960s",
   "origin": "美国",
   "people": [
    "凯利",
    "诺兰",
    "莱因哈特"
   ],
   "parents": [
    "几何抽象"
   ],
   "influences": [
    "极简主义",
    "光效应艺术"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "简洁色块、严整布局",
    "透视与空间": "纯平面",
    "形状与造型": "几何色块、无物象",
    "光影与明暗": "平涂无明暗",
    "色彩系统": "大面积纯色",
    "笔触与肌理": "机械平涂、绝对硬边",
    "边缘与节奏": "边缘锐利如刀,冷静的节奏"
   },
   "works": [
    "凯利《色块》",
    "诺兰《同心圆》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.060",
   "cn": "欧普艺术",
   "en": null,
   "region": "west",
   "wv": "WV6",
   "year": 1960,
   "xi": "现代主义体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.95,
    "struct_perc": 0.2,
    "east_west": 0.8
   },
   "vector": {
    "再现-表现": 0.95,
    "结构-感知": 0.2,
    "秩序-张力": 0.6,
    "节制-强度": 0.7
   },
   "def": "以精确图案制造视错与运动幻觉。",
   "essence": "以精确图案制造视错与运动幻觉",
   "voice": "让眼睛成为画的合作者",
   "period": "1960s",
   "origin": "欧美",
   "people": [
    "瓦萨雷利",
    "赖利"
   ],
   "parents": [
    "新造型主义",
    "构成主义"
   ],
   "influences": [],
   "themes": [],
   "lang7": {
    "构图与组织": "严密重复阵列",
    "透视与空间": "制造起伏错觉",
    "形状与造型": "纯几何单元",
    "光影与明暗": "黑白强对比",
    "色彩系统": "黑白/强对比",
    "笔触与肌理": "精确机械",
    "边缘与节奏": "边缘锐利、律动错觉的节奏"
   },
   "works": [
    "赖利《瀑布》",
    "瓦萨雷利《织女星》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.061",
   "cn": "极简主义",
   "en": null,
   "region": "west",
   "wv": "WV6",
   "year": 1960,
   "xi": "现代主义体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.95,
    "struct_perc": 0.1,
    "east_west": 0.76
   },
   "vector": {
    "再现-表现": 0.95,
    "结构-感知": 0.1,
    "秩序-张力": 0.15,
    "节制-强度": 0.25
   },
   "def": "1960年代,以几何、硬边、单色与重复去除一切多余,让物即其本身。",
   "essence": "去除一切多余,让物即其本身",
   "voice": "你所见即全部,没有隐喻",
   "period": "1960s",
   "origin": "美国",
   "people": [
    "贾德",
    "莱因哈特",
    "马丁"
   ],
   "parents": [
    "至上主义",
    "构成主义",
    "色域绘画"
   ],
   "influences": [
    "观念艺术"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "极简对称、序列",
    "透视与空间": "纯平面/实物空间",
    "形状与造型": "最简几何",
    "光影与明暗": "平涂无明暗",
    "色彩系统": "单色或纯色",
    "笔触与肌理": "机械、无痕",
    "边缘与节奏": "边缘绝对干净、静默的节奏"
   },
   "works": [
    "贾德《无题(堆叠)》",
    "莱因哈特《抽象绘画》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.062",
   "cn": "光效应艺术",
   "en": "Op Art",
   "region": "west",
   "wv": "WV6",
   "year": 1915,
   "xi": "现代主义体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.82,
    "struct_perc": 0.18,
    "east_west": 0.78
   },
   "vector": {
    "再现-表现": 0.82,
    "结构-感知": 0.18,
    "秩序-张力": 0.34,
    "节制-强度": 0.55
   },
   "def": "以精密的几何图案制造视觉错觉与运动幻象。它是1960s、源出欧美的西方绘画风格,在世界观上属「形式建构」。上承几何抽象。",
   "essence": "以精密的几何图案制造视觉错觉与运动幻象。",
   "voice": "让静止的画面在眼里动起来",
   "period": "1960s",
   "origin": "欧美",
   "people": [
    "瓦萨雷里",
    "赖利"
   ],
   "parents": [
    "几何抽象"
   ],
   "influences": [],
   "themes": [],
   "lang7": {
    "构图与组织": "严密重复阵列",
    "透视与空间": "制造起伏错觉空间",
    "形状与造型": "纯几何单元",
    "光影与明暗": "黑白或强对比",
    "色彩系统": "黑白/强对比色",
    "笔触与肌理": "绝对精确、机械",
    "边缘与节奏": "边缘锐利,律动错觉的节奏"
   },
   "works": [
    "赖利《瀑布》",
    "瓦萨雷里《织女星》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.063",
   "cn": "魔幻现实主义",
   "en": null,
   "region": "west",
   "wv": "WV1",
   "year": 1860,
   "xi": "现代主义体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.18,
    "struct_perc": 0.3,
    "east_west": 0.8
   },
   "vector": {
    "再现-表现": 0.18,
    "结构-感知": 0.3,
    "秩序-张力": 0.45,
    "节制-强度": 0.35
   },
   "def": "拒绝理想化,直面普通人与社会现实。",
   "essence": "拒绝理想化,直面普通人与社会现实",
   "voice": "我只画我看见的——为无名者与劳动者立此存照",
   "period": "1840–1880",
   "origin": "法国",
   "people": [
    "库尔贝",
    "米勒",
    "杜米埃"
   ],
   "parents": [
    "新古典主义"
   ],
   "influences": [
    "印象派",
    "社会现实主义"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "写实场景中的异常",
    "透视与空间": "写实空间",
    "形状与造型": "写实精细",
    "光影与明暗": "自然光",
    "色彩系统": "清澈真实色",
    "笔触与肌理": "细腻写实",
    "边缘与节奏": "边缘清晰、静谧诡异的节奏"
   },
   "works": [
    "库尔贝《采石工》",
    "库尔贝《奥尔南的葬礼》",
    "米勒《拾穗者》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.064",
   "cn": "照相写实主义",
   "en": null,
   "region": "west",
   "wv": "WV1",
   "year": 1974,
   "xi": "现代主义体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.1,
    "struct_perc": 0.35,
    "east_west": 0.76
   },
   "vector": {
    "再现-表现": 0.1,
    "结构-感知": 0.35,
    "秩序-张力": 0.3,
    "节制-强度": 0.45
   },
   "def": "以照片为据将现实放大到超真实。",
   "essence": "以照片为据将现实放大到超真实",
   "voice": "比真实更真实,以此逼问'观看'本身",
   "period": "1968–1980",
   "origin": "美国",
   "people": [
    "克洛斯",
    "埃斯蒂斯"
   ],
   "parents": [
    "波普艺术",
    "现实主义"
   ],
   "influences": [
    "超写实主义"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "照相式正面满幅",
    "透视与空间": "照相透视、精确",
    "形状与造型": "极致写实、纤毫毕现",
    "光影与明暗": "照相式光影",
    "色彩系统": "冷静高保真色",
    "笔触与肌理": "喷绘、无笔触",
    "边缘与节奏": "边缘极清、冷静的节奏"
   },
   "works": [
    "克洛斯《大自画像》",
    "埃斯蒂斯《店面》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.065",
   "cn": "超写实主义",
   "en": "Hyperrealism",
   "region": "west",
   "wv": "WV1",
   "year": 1915,
   "xi": "现代主义体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.1,
    "struct_perc": 0.46,
    "east_west": 0.78
   },
   "vector": {
    "再现-表现": 0.1,
    "结构-感知": 0.46,
    "秩序-张力": 0.46,
    "节制-强度": 0.45
   },
   "def": "比照片更逼真,以极致细节逼问真实与影像的边界。它是1970s–今、源出美国/欧洲的西方绘画风格,在世界观上属「摹写之眼」。上承照相写实主义。",
   "essence": "比照片更逼真,以极致细节逼问真实与影像的边界。",
   "voice": "逼真到令人不安,真实于是被质疑",
   "period": "1970s–今",
   "origin": "美国/欧洲",
   "people": [
    "克洛斯",
    "埃斯特斯",
    "汉森(雕塑)"
   ],
   "parents": [
    "照相写实主义"
   ],
   "influences": [],
   "themes": [],
   "lang7": {
    "构图与组织": "正面特写、均质满幅",
    "透视与空间": "照相式透视、精确",
    "形状与造型": "极致写实、纤毫毕现",
    "光影与明暗": "照相式光影",
    "色彩系统": "冷静高保真色",
    "笔触与肌理": "喷绘/细笔、无笔触感",
    "边缘与节奏": "边缘极清,冷静的节奏"
   },
   "works": [
    "克洛斯《大幅自画像》",
    "埃斯特斯《橱窗》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.066",
   "cn": "观念艺术",
   "en": null,
   "region": "west",
   "wv": "WV6",
   "year": 1960,
   "xi": "现代主义体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.75,
    "struct_perc": 0.3,
    "east_west": 0.8
   },
   "vector": {
    "再现-表现": 0.75,
    "结构-感知": 0.3,
    "秩序-张力": 0.45,
    "节制-强度": 0.3
   },
   "def": "以观念本身为作品,去物质化。",
   "essence": "以观念本身为作品,去物质化",
   "voice": "观念才是艺术,物质可有可无",
   "period": "1960s–",
   "origin": "欧美",
   "people": [
    "科苏斯",
    "勒维特"
   ],
   "parents": [
    "达达主义"
   ],
   "influences": [],
   "themes": [],
   "lang7": {
    "构图与组织": "文本/装置化",
    "透视与空间": "去画面空间",
    "形状与造型": "去物象、文字符号",
    "光影与明暗": "服务观念",
    "色彩系统": "服务观念",
    "笔触与肌理": "文字、印刷、现成品",
    "边缘与节奏": "边缘服从观念、概念化的节奏"
   },
   "works": [
    "科苏斯《一把和三把椅子》"
   ],
   "aka": [
    "观念拼贴",
    "观念绘画",
    "元绘画",
    "去物质绘画",
    "元叙事绘画"
   ]
  },
  {
   "id": "STYLE.west.069",
   "cn": "素人绘画",
   "en": "Naïve Art",
   "region": "west",
   "wv": "WV2",
   "year": 1915,
   "xi": "现代主义体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.42,
    "struct_perc": 0.36,
    "east_west": 0.8
   },
   "vector": {
    "再现-表现": 0.42,
    "结构-感知": 0.36,
    "秩序-张力": 0.4,
    "节制-强度": 0.46
   },
   "def": "未受学院训练者的质朴绘画,以天真直率见动人之趣。它是19世纪末–今、源出欧洲的西方绘画风格,在世界观上属「礼制图式」。下启超现实主义。",
   "essence": "未受学院训练者的质朴绘画,以天真直率见动人之趣。",
   "voice": "不懂规则,反而画出了梦",
   "period": "19世纪末–今",
   "origin": "欧洲",
   "people": [
    "亨利·卢梭",
    "摩西奶奶"
   ],
   "parents": [],
   "influences": [
    "超现实主义"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "平实正面、装饰排列",
    "透视与空间": "透视天真、平面化",
    "形状与造型": "质朴概括、略稚拙",
    "光影与明暗": "平涂、少明暗",
    "色彩系统": "明丽纯真色",
    "笔触与肌理": "细致平涂、装饰",
    "边缘与节奏": "边缘清楚,天真的节奏"
   },
   "works": [
    "卢梭《梦》",
    "卢梭《沉睡的吉普赛人》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.070",
   "cn": "社会介入艺术",
   "en": "Social Practice",
   "region": "west",
   "wv": "WV5",
   "year": 1915,
   "xi": "现代主义体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.8,
    "struct_perc": 0.55,
    "east_west": 0.76
   },
   "vector": {
    "再现-表现": 0.8,
    "结构-感知": 0.55,
    "秩序-张力": 0.5,
    "节制-强度": 0.5
   },
   "def": "以参与、协作与社会行动为媒介,艺术介入现实问题。它是1990s–今、源出国际的西方绘画风格,在世界观上属「表现外化」。上承观念艺术。",
   "essence": "以参与、协作与社会行动为媒介,艺术介入现实问题。",
   "voice": "人人都是艺术家,艺术即社会雕塑",
   "period": "1990s–今",
   "origin": "国际",
   "people": [
    "博伊斯(先声)"
   ],
   "parents": [
    "观念艺术"
   ],
   "influences": [],
   "themes": [],
   "lang7": {
    "构图与组织": "无固定画面、事件性",
    "透视与空间": "现场/社会空间",
    "形状与造型": "去物象、过程化",
    "光影与明暗": "不适用",
    "色彩系统": "记录性色彩",
    "笔触与肌理": "参与、文献、影像",
    "边缘与节奏": "边缘开放,社会性的节奏"
   },
   "works": [
    "博伊斯《7000棵橡树》"
   ],
   "aka": [
    "社会抽象",
    "女权绘画",
    "酷儿绘画",
    "黑色幽默绘画",
    "生态艺术",
    "非体制绘画",
    "社会叙事绘画"
   ]
  },
  {
   "id": "STYLE.west.077",
   "cn": "算法与生成艺术",
   "en": "Generative / Algorithmic Art",
   "region": "west",
   "wv": "WV6",
   "year": 1915,
   "xi": "现代主义体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.86,
    "struct_perc": 0.26,
    "east_west": 0.78
   },
   "vector": {
    "再现-表现": 0.86,
    "结构-感知": 0.26,
    "秩序-张力": 0.36,
    "节制-强度": 0.46
   },
   "def": "以代码、规则与随机性生成图像,作者设定系统而非笔触。它是1960s–今、源出国际的西方绘画风格,在世界观上属「形式建构」。上承观念艺术、下启区块链与NFT艺术。",
   "essence": "以代码、规则与随机性生成图像,作者设定系统而非笔触。",
   "voice": "我写规则,系统替我作画",
   "period": "1960s–今",
   "origin": "国际",
   "people": [
    "莫尔诺",
    "诺尔(先驱)"
   ],
   "parents": [
    "观念艺术"
   ],
   "influences": [
    "区块链与NFT艺术"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "规则生成的阵列/分形",
    "透视与空间": "数学空间",
    "形状与造型": "参数化形态",
    "光影与明暗": "算法明暗",
    "色彩系统": "程序调色",
    "笔触与肌理": "无人手笔触、像素/矢量",
    "边缘与节奏": "边缘由算法定义,生成的节奏"
   },
   "works": [
    "维拉·莫尔诺算法绘图",
    "早期计算机生成图形"
   ],
   "aka": [
    "算法艺术",
    "数据绘画",
    "生成主义绘画"
   ]
  },
  {
   "id": "STYLE.west.078",
   "cn": "波普艺术",
   "en": null,
   "region": "west",
   "wv": "WV3",
   "year": 1963,
   "xi": "当代体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.65,
    "struct_perc": 0.35,
    "east_west": 0.8
   },
   "vector": {
    "再现-表现": 0.65,
    "结构-感知": 0.35,
    "秩序-张力": 0.55,
    "节制-强度": 0.82
   },
   "def": "1950–60年代,挪用大众消费与媒介图像,以反讽消解高低艺术界限。",
   "essence": "挪用大众消费图像,反讽消解高低艺术",
   "voice": "消费即时代的圣像,反讽即态度",
   "period": "1956–1970",
   "origin": "英国/美国",
   "people": [
    "沃霍尔",
    "利希滕斯坦",
    "汉密尔顿"
   ],
   "parents": [
    "达达主义"
   ],
   "influences": [
    "新波普艺术"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "商业图式、网格重复",
    "透视与空间": "平面化空间",
    "形状与造型": "商品/明星图像",
    "光影与明暗": "平涂、印刷感",
    "色彩系统": "高饱和印刷色",
    "笔触与肌理": "丝网印刷、平涂",
    "边缘与节奏": "边缘硬、机械复制的节奏"
   },
   "works": [
    "沃霍尔《金宝汤罐》",
    "沃霍尔《玛丽莲·梦露》",
    "利希滕斯坦《溺水的女孩》"
   ],
   "aka": [
    "新波普艺术",
    "潮流艺术"
   ]
  },
  {
   "id": "STYLE.west.081",
   "cn": "新表现主义",
   "en": null,
   "region": "west",
   "wv": "WV5",
   "year": 1980,
   "xi": "当代体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.82,
    "struct_perc": 0.55,
    "east_west": 0.8
   },
   "vector": {
    "再现-表现": 0.82,
    "结构-感知": 0.55,
    "秩序-张力": 0.82,
    "节制-强度": 0.85
   },
   "def": "回归大尺幅具象与狂放笔触,重述历史与神话。",
   "essence": "回归大尺幅具象与狂放笔触,重述历史与神话",
   "voice": "重新承担历史与神话的重量",
   "period": "1980s",
   "origin": "德国/意大利/美国",
   "people": [
    "基弗",
    "巴塞利兹",
    "施纳贝尔"
   ],
   "parents": [
    "表现主义"
   ],
   "influences": [],
   "themes": [],
   "lang7": {
    "构图与组织": "躁动满构图、大尺幅",
    "透视与空间": "压缩或扭曲空间",
    "形状与造型": "粗野夸张变形",
    "光影与明暗": "强对比",
    "色彩系统": "生猛浓烈色",
    "笔触与肌理": "厚重粗粝笔触",
    "边缘与节奏": "边缘奔突、生猛的节奏"
   },
   "works": [
    "基弗《玛格丽特》",
    "巴塞利兹《倒立的人》"
   ],
   "aka": [
    "坏绘画",
    "跨前卫",
    "坏绘画"
   ]
  },
  {
   "id": "STYLE.west.084",
   "cn": "后现代拼贴绘画",
   "en": "Postmodern Pastiche",
   "region": "west",
   "wv": "WV5",
   "year": 1995,
   "xi": "当代体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.76,
    "struct_perc": 0.48,
    "east_west": 0.8
   },
   "vector": {
    "再现-表现": 0.76,
    "结构-感知": 0.48,
    "秩序-张力": 0.58,
    "节制-强度": 0.52
   },
   "def": "挪用、引用与混搭风格,消解原创与高低雅俗的边界。它是1980s–今、源出国际的西方绘画风格,在世界观上属「表现外化」。上承新表现主义。",
   "essence": "挪用、引用与混搭风格,消解原创与高低雅俗的边界。",
   "voice": "一切都已被画过,于是我引用",
   "period": "1980s–今",
   "origin": "国际",
   "people": [
    "萨利",
    "施纳贝尔"
   ],
   "parents": [
    "新表现主义"
   ],
   "influences": [],
   "themes": [],
   "lang7": {
    "构图与组织": "拼贴并置、多重图层",
    "透视与空间": "混杂空间、无统一逻辑",
    "形状与造型": "风格混搭、引用图像",
    "光影与明暗": "随来源而异",
    "色彩系统": "混杂色调",
    "笔触与肌理": "拼贴、挪用、混合媒介",
    "边缘与节奏": "边缘碎裂,戏仿的节奏"
   },
   "works": [
    "施纳贝尔《破盘子画》",
    "萨利双重影像作品"
   ],
   "aka": [
    "数码拼贴",
    "建构式拼贴",
    "混合媒介绘画",
    "数字拼贴",
    "全球当代绘画",
    "文化拼贴绘画"
   ]
  },
  {
   "id": "STYLE.west.090",
   "cn": "街头与涂鸦艺术",
   "en": "Street & Graffiti Art",
   "region": "west",
   "wv": "WV5",
   "year": 1995,
   "xi": "当代体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.66,
    "struct_perc": 0.45,
    "east_west": 0.8
   },
   "vector": {
    "再现-表现": 0.66,
    "结构-感知": 0.45,
    "秩序-张力": 0.7,
    "节制-强度": 0.7
   },
   "def": "从街头喷绘生长出的视觉语言,粗野鲜活、直面公众。它是1970s–今、源出纽约/国际的西方绘画风格,在世界观上属「表现外化」。上承波普艺术、下启当代具象。",
   "essence": "从街头喷绘生长出的视觉语言,粗野鲜活、直面公众。",
   "voice": "墙就是我的画布,街道就是美术馆",
   "period": "1970s–今",
   "origin": "纽约/国际",
   "people": [
    "巴斯奇亚",
    "哈林",
    "班克西"
   ],
   "parents": [
    "波普艺术"
   ],
   "influences": [
    "当代具象"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "满墙铺陈、符号密集",
    "透视与空间": "平面、无透视",
    "形状与造型": "符号化、卡通变形",
    "光影与明暗": "平涂、强对比",
    "色彩系统": "高饱和喷漆色",
    "笔触与肌理": "喷漆、马克、滴流",
    "边缘与节奏": "边缘奔放,街头的节奏"
   },
   "works": [
    "巴斯奇亚《无题(头骨)》",
    "哈林涂鸦人形",
    "班克西《气球女孩》"
   ],
   "aka": [
    "街头艺术"
   ]
  },
  {
   "id": "STYLE.west.093",
   "cn": "数字绘画",
   "en": "Digital Painting",
   "region": "west",
   "wv": "WV3",
   "year": 1995,
   "xi": "当代体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.45,
    "struct_perc": 0.45,
    "east_west": 0.8
   },
   "vector": {
    "再现-表现": 0.45,
    "结构-感知": 0.45,
    "秩序-张力": 0.45,
    "节制-强度": 0.5
   },
   "def": "以数位工具作画,媒介虚拟而语言可写实可奇想。它是1990s–今、源出国际的西方绘画风格,在世界观上属「写意寄情」。下启网络与后互联网艺术。",
   "essence": "以数位工具作画,媒介虚拟而语言可写实可奇想。",
   "voice": "画笔变成了图层与笔刷",
   "period": "1990s–今",
   "origin": "国际",
   "people": [],
   "parents": [],
   "influences": [
    "网络与后互联网艺术"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "自由经营、图层叠合",
    "透视与空间": "可写实可奇想的空间",
    "形状与造型": "随需写实或风格化",
    "光影与明暗": "数位光影、可调",
    "色彩系统": "无限色域",
    "笔触与肌理": "数位笔刷、可仿任意肌理",
    "边缘与节奏": "边缘可控,媒介中性的节奏"
   },
   "works": [
    "(当代数字绘画/概念设计作品)"
   ],
   "aka": [
    "像素艺术"
   ]
  },
  {
   "id": "STYLE.west.098",
   "cn": "沉浸与环境艺术",
   "en": "Immersive & Environmental Art",
   "region": "west",
   "wv": "WV5",
   "year": 1995,
   "xi": "当代体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.8,
    "struct_perc": 0.5,
    "east_west": 0.78
   },
   "vector": {
    "再现-表现": 0.8,
    "结构-感知": 0.5,
    "秩序-张力": 0.55,
    "节制-强度": 0.62
   },
   "def": "以光、影、空间包裹观者,绘画扩展为可步入的环境。它是2000s–今、源出国际的西方绘画风格,在世界观上属「表现外化」。上承观念艺术。",
   "essence": "以光、影、空间包裹观者,绘画扩展为可步入的环境。",
   "voice": "不再看画,而是走进画里",
   "period": "2000s–今",
   "origin": "国际",
   "people": [
    "草间弥生(无限镜屋)",
    "teamLab"
   ],
   "parents": [
    "观念艺术"
   ],
   "influences": [],
   "themes": [],
   "lang7": {
    "构图与组织": "环绕全景、空间布展",
    "透视与空间": "真实可步入的三维",
    "形状与造型": "光形、投影形",
    "光影与明暗": "以光为媒、动态",
    "色彩系统": "炫目高彩光色",
    "笔触与肌理": "投影/LED/镜面",
    "边缘与节奏": "边缘消融于空间,沉浸的节奏"
   },
   "works": [
    "草间弥生《无限镜屋》",
    "teamLab 沉浸投影"
   ],
   "aka": [
    "环境绘画",
    "时间绘画",
    "沉浸式绘画",
    "视觉噪音",
    "实验绘画"
   ]
  },
  {
   "id": "STYLE.west.099",
   "cn": "网络与后互联网艺术",
   "en": "Net & Post-Internet Art",
   "region": "west",
   "wv": "WV5",
   "year": 1995,
   "xi": "当代体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.8,
    "struct_perc": 0.5,
    "east_west": 0.8
   },
   "vector": {
    "再现-表现": 0.8,
    "结构-感知": 0.5,
    "秩序-张力": 0.55,
    "节制-强度": 0.55
   },
   "def": "以网络为媒介与题材,反思图像在数字时代的流通与身份。它是1990s–今、源出国际的西方绘画风格,在世界观上属「表现外化」。上承观念艺术、下启区块链与NFT艺术。",
   "essence": "以网络为媒介与题材,反思图像在数字时代的流通与身份。",
   "voice": "图像生于网络,也死于网络",
   "period": "1990s–今",
   "origin": "国际",
   "people": [
    "科里·阿肯吉尔"
   ],
   "parents": [
    "观念艺术"
   ],
   "influences": [
    "区块链与NFT艺术"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "屏幕式拼贴、界面感",
    "透视与空间": "虚拟/截屏空间",
    "形状与造型": "现成数字图像",
    "光影与明暗": "屏幕光",
    "色彩系统": "RGB屏幕色",
    "笔触与肌理": "截图、GIF、渲染",
    "边缘与节奏": "边缘像素化,流通的节奏"
   },
   "works": [
    "(后互联网艺术屏幕作品)"
   ],
   "aka": [
    "后互联网艺术",
    "虚拟现实艺术",
    "社交媒体风格",
    "信息绘画"
   ]
  },
  {
   "id": "STYLE.west.102",
   "cn": "区块链与NFT艺术",
   "en": "Blockchain & NFT Art",
   "region": "west",
   "wv": "WV5",
   "year": 1995,
   "xi": "当代体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.82,
    "struct_perc": 0.4,
    "east_west": 0.8
   },
   "vector": {
    "再现-表现": 0.82,
    "结构-感知": 0.4,
    "秩序-张力": 0.5,
    "节制-强度": 0.55
   },
   "def": "以区块链确权的数字艺术,把稀缺性与所有权写进代码。它是2017–今、源出国际的西方绘画风格,在世界观上属「表现外化」。上承算法与生成艺术。",
   "essence": "以区块链确权的数字艺术,把稀缺性与所有权写进代码。",
   "voice": "代码即真迹,链上即收藏",
   "period": "2017–今",
   "origin": "国际",
   "people": [
    "Beeple"
   ],
   "parents": [
    "算法与生成艺术"
   ],
   "influences": [],
   "themes": [],
   "lang7": {
    "构图与组织": "生成/拼贴并存",
    "透视与空间": "数字空间",
    "形状与造型": "生成或具象皆有",
    "光影与明暗": "数位光",
    "色彩系统": "屏幕高彩",
    "笔触与肌理": "算法/数位生成",
    "边缘与节奏": "边缘随媒介,确权的节奏"
   },
   "works": [
    "Beeple《每一天:前5000天》",
    "生成艺术 NFT 系列"
   ],
   "aka": [
    "NFT艺术"
   ]
  },
  {
   "id": "STYLE.west.116",
   "cn": "当代具象",
   "en": "Contemporary Figurative",
   "region": "west",
   "wv": "WV1",
   "year": 1995,
   "xi": "当代体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.32,
    "struct_perc": 0.5,
    "east_west": 0.78
   },
   "vector": {
    "再现-表现": 0.32,
    "结构-感知": 0.5,
    "秩序-张力": 0.52,
    "节制-强度": 0.5
   },
   "def": "在抽象与观念之后回归具象,以人物与场景承载当代心理。它是1980s–今、源出国际的西方绘画风格,在世界观上属「摹写之眼」。上承新表现主义。",
   "essence": "在抽象与观念之后回归具象,以人物与场景承载当代心理。",
   "voice": "在影像泛滥的时代,重新认真画一个人",
   "period": "1980s–今",
   "origin": "国际",
   "people": [
    "弗洛伊德",
    "图伊曼斯",
    "里希特(具象)"
   ],
   "parents": [
    "新表现主义"
   ],
   "influences": [],
   "themes": [],
   "lang7": {
    "构图与组织": "聚焦人物、当代场景",
    "透视与空间": "写实或微妙错位空间",
    "形状与造型": "写实兼表现、肉感",
    "光影与明暗": "沉静明暗",
    "色彩系统": "沉郁或冷调",
    "笔触与肌理": "厚涂或薄擦、可虚化",
    "边缘与节奏": "边缘可实可虚,心理的节奏"
   },
   "works": [
    "弗洛伊德《沉睡的救济金管理员》",
    "图伊曼斯《煤气室》",
    "里希特《betty》"
   ],
   "aka": [
    "记忆绘画",
    "后记忆绘画",
    "精神绘画",
    "心理绘画",
    "概念具象",
    "叙事实验绘画",
    "符号绘画"
   ]
  },
  {
   "id": "STYLE.east.001",
   "cn": "岩画风格",
   "en": "Rock Art",
   "region": "east",
   "wv": "WV2",
   "year": -2500,
   "xi": "先秦与汉唐体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.55,
    "struct_perc": 0.25,
    "east_west": 0.24
   },
   "vector": {
    "再现-表现": 0.55,
    "结构-感知": 0.25,
    "秩序-张力": 0.3,
    "节制-强度": 0.55
   },
   "def": "以凿刻剪影记录狩猎、祭祀与族群记忆。它是史前–先秦、源出中国(阴山/花山/将军崖等)的东方绘画风格,在世界观上属「礼制图式」。下启青铜纹饰、彩陶装饰风格。",
   "essence": "以凿刻剪影记录狩猎、祭祀与族群记忆",
   "voice": "在崖壁上把生存刻成永恒的符号",
   "period": "史前–先秦",
   "origin": "中国(阴山/花山/将军崖等)",
   "people": [],
   "parents": [],
   "influences": [
    "青铜纹饰",
    "彩陶装饰风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "满幅散点、无主从,沿岩面自由排布",
    "透视与空间": "无透视,正面剪影并置",
    "形状与造型": "高度简化的轮廓剪影,概括为符号",
    "光影与明暗": "无明暗,纯剪影",
    "色彩系统": "岩面赭红/凿痕本色,单色",
    "笔触与肌理": "凿刻、磨刻、岩绘,质拙",
    "边缘与节奏": "边缘硬而断,节奏由密集叠压生成"
   },
   "works": [
    "阴山岩画《狩猎图》",
    "花山岩画《祭祀群像》",
    "将军崖岩画《星象人面》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.002",
   "cn": "青铜纹饰风格",
   "en": "Bronze Ornament",
   "region": "east",
   "wv": "WV6",
   "year": -1100,
   "xi": "先秦与汉唐体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.62,
    "struct_perc": 0.18,
    "east_west": 0.2
   },
   "vector": {
    "再现-表现": 0.62,
    "结构-感知": 0.18,
    "秩序-张力": 0.2,
    "节制-强度": 0.62
   },
   "def": "以饕餮、夔龙的对称神性纹样威慑天地。它是商–西周、源出中国的东方绘画风格,在世界观上属「形式建构」。上承彩陶装饰风格、下启汉代画像石、佛教壁画风格。",
   "essence": "以饕餮、夔龙的对称神性纹样威慑天地",
   "voice": "以狞厉之美,铸礼器以通神",
   "period": "商–西周",
   "origin": "中国",
   "people": [],
   "parents": [
    "彩陶装饰风格"
   ],
   "influences": [
    "汉代画像石",
    "佛教壁画风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "严格中轴对称,主纹—地纹双层结构",
    "透视与空间": "平面化展开,无空间深度",
    "形状与造型": "神兽抽象为几何化母题",
    "光影与明暗": "以浮雕高低代明暗",
    "色彩系统": "青铜本色、错金嵌绿松石",
    "笔触与肌理": "范铸阴阳线、浅浮雕",
    "边缘与节奏": "边缘规整,云雷纹连续回旋成密集节奏"
   },
   "works": [
    "司母戊鼎纹饰",
    "四羊方尊",
    "龙纹兕觥"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.003",
   "cn": "汉代画像石",
   "en": "Han Stone Relief",
   "region": "east",
   "wv": "WV2",
   "year": 120,
   "xi": "先秦与汉唐体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.42,
    "struct_perc": 0.3,
    "east_west": 0.22
   },
   "vector": {
    "再现-表现": 0.42,
    "结构-感知": 0.3,
    "秩序-张力": 0.35,
    "节制-强度": 0.48
   },
   "def": "以减地浅浮雕把车马、神话、宴乐刻成石上叙事。它是东汉、源出中国(山东/河南/四川)的东方绘画风格,在世界观上属「礼制图式」。上承青铜纹饰风格、下启汉代画像砖、佛教壁画风格。",
   "essence": "以减地浅浮雕把车马、神话、宴乐刻成石上叙事",
   "voice": "以石为纸,刻一个有神有人的汉代世界",
   "period": "东汉",
   "origin": "中国(山东/河南/四川)",
   "people": [],
   "parents": [
    "青铜纹饰风格"
   ],
   "influences": [
    "汉代画像砖",
    "佛教壁画风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "分层横卷式叙事,满而不乱",
    "透视与空间": "平面散点,人物大小表尊卑",
    "形状与造型": "剪影式造型,动势夸张",
    "光影与明暗": "减地浅浮雕以高低代明暗",
    "色彩系统": "石本色或施彩(多脱落)",
    "笔触与肌理": "凿刻刚劲、线面结合",
    "边缘与节奏": "边缘硬挺,人马排列成行进节奏"
   },
   "works": [
    "武氏祠画像石",
    "沂南汉墓画像石",
    "成都羊子山车马出行"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.004",
   "cn": "壁画风格",
   "en": "Wall Painting",
   "region": "east",
   "wv": "WV2",
   "year": 350,
   "xi": "先秦与汉唐体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.42,
    "struct_perc": 0.28,
    "east_west": 0.24
   },
   "vector": {
    "再现-表现": 0.42,
    "结构-感知": 0.28,
    "秩序-张力": 0.32,
    "节制-强度": 0.5
   },
   "def": "附着于墙壁的图绘传统,为礼制、宗教与丧葬而作,庄严而恢宏。它是汉–唐为盛、源出中国的东方绘画风格,在世界观上属「礼制图式」。下启佛教壁画风格、墓室壁画。",
   "essence": "附着于墙壁的图绘传统,为礼制、宗教与丧葬而作,庄严而恢宏。",
   "voice": "以满壁丹青,在墙上立起一个庄严的世界",
   "period": "汉–唐为盛",
   "origin": "中国",
   "people": [],
   "parents": [],
   "influences": [
    "佛教壁画风格",
    "墓室壁画",
    "永乐宫壁画风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "通景巨幅、随建筑壁面展开",
    "透视与空间": "平铺散点、以叠层与界格示空间",
    "形状与造型": "程式庄严、人物比例随尊卑",
    "光影与明暗": "平涂兼晕染(凹凸法)",
    "色彩系统": "石青石绿朱砂、贴金",
    "笔触与肌理": "壁面墨线勾填、重彩",
    "边缘与节奏": "边缘清劲,行列与飘带成节奏"
   },
   "works": [
    "永乐宫三清殿壁画",
    "法海寺壁画",
    "敦煌莫高窟壁画"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.005",
   "cn": "宗庙绘画",
   "en": "Ancestral Temple Painting",
   "region": "east",
   "wv": "WV2",
   "year": 350,
   "xi": "先秦与汉唐体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.44,
    "struct_perc": 0.25,
    "east_west": 0.2
   },
   "vector": {
    "再现-表现": 0.44,
    "结构-感知": 0.25,
    "秩序-张力": 0.28,
    "节制-强度": 0.5
   },
   "def": "陈设于宗庙明堂的礼制绘画,旌表功德、教化人伦,图像即秩序。它是先秦–汉、源出中国的东方绘画风格,在世界观上属「礼制图式」。下启汉代画像石、壁画风格。",
   "essence": "陈设于宗庙明堂的礼制绘画,旌表功德、教化人伦,图像即秩序。",
   "voice": "图绘往圣先贤,以正人伦、明劝戒",
   "period": "先秦–汉",
   "origin": "中国",
   "people": [],
   "parents": [],
   "influences": [
    "汉代画像石",
    "壁画风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "分区列像、庄重对称",
    "透视与空间": "平面无纵深、以位次示尊卑",
    "形状与造型": "程式肃穆、衣冠端整",
    "光影与明暗": "平涂为主",
    "色彩系统": "朱、玄、黄等礼制色",
    "笔触与肌理": "勾勒填色、工整",
    "边缘与节奏": "边缘规整,庄严静穆的节奏"
   },
   "works": [
    "(传)明堂宗庙图绘",
    "汉鲁灵光殿壁画(文献记载)"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.006",
   "cn": "彩陶装饰风格",
   "en": "Painted Pottery",
   "region": "east",
   "wv": "WV2",
   "year": -2500,
   "xi": "先秦与汉唐体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.5,
    "struct_perc": 0.22,
    "east_west": 0.22
   },
   "vector": {
    "再现-表现": 0.5,
    "结构-感知": 0.22,
    "秩序-张力": 0.28,
    "节制-强度": 0.5
   },
   "def": "在陶器曲面上以旋纹与鱼蛙图绘出生命律动。它是新石器时代、源出中国(仰韶/马家窑)的东方绘画风格,在世界观上属「礼制图式」。下启青铜纹饰风格。",
   "essence": "在陶器曲面上以旋纹与鱼蛙图绘出生命律动",
   "voice": "把水与生殖的祈愿绕在陶腹上",
   "period": "新石器时代",
   "origin": "中国(仰韶/马家窑)",
   "people": [],
   "parents": [],
   "influences": [
    "青铜纹饰风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "绕器一周的连续带状构图,适应曲面",
    "透视与空间": "随器形展开的环面空间",
    "形状与造型": "鱼蛙人面简化为符号化图形",
    "光影与明暗": "平涂无明暗",
    "色彩系统": "赭红、黑、白三色矿物彩",
    "笔触与肌理": "毛笔状工具流畅旋绘",
    "边缘与节奏": "边缘流畅,旋纹回环成强节奏"
   },
   "works": [
    "马家窑漩涡纹彩陶罐",
    "半坡人面鱼纹盆",
    "庙底沟花瓣纹盆"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.007",
   "cn": "战国帛画风格",
   "en": "Warring-States Silk Painting",
   "region": "east",
   "wv": "WV2",
   "year": -300,
   "xi": "先秦与汉唐体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.38,
    "struct_perc": 0.3,
    "east_west": 0.24
   },
   "vector": {
    "再现-表现": 0.38,
    "结构-感知": 0.3,
    "秩序-张力": 0.32,
    "节制-强度": 0.4
   },
   "def": "引魂升天的墨线人物,中国最早的独幅绘画。它是战国、源出中国(楚地)的东方绘画风格,在世界观上属「礼制图式」。上承青铜纹饰风格、下启汉帛画风格、唐代仕女风格。",
   "essence": "引魂升天的墨线人物,中国最早的独幅绘画",
   "voice": "以线引魂,愿亡者乘龙登天",
   "period": "战国",
   "origin": "中国(楚地)",
   "people": [],
   "parents": [
    "青铜纹饰风格"
   ],
   "influences": [
    "汉帛画风格",
    "唐代仕女风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "中央立人,龙凤分置上下,庄重对称",
    "透视与空间": "无透视,侧面剪影式",
    "形状与造型": "劲细墨线勾勒侧影人物",
    "光影与明暗": "平涂略施朱白",
    "色彩系统": "墨线为主、朱砂点染",
    "笔触与肌理": "高古游丝描雏形",
    "边缘与节奏": "边缘清劲,线本身即节奏"
   },
   "works": [
    "《人物龙凤帛画》",
    "《人物御龙帛画》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.008",
   "cn": "汉帛画风格",
   "en": "Han Silk Painting",
   "region": "east",
   "wv": "WV2",
   "year": -100,
   "xi": "先秦与汉唐体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.4,
    "struct_perc": 0.28,
    "east_west": 0.2
   },
   "vector": {
    "再现-表现": 0.4,
    "结构-感知": 0.28,
    "秩序-张力": 0.3,
    "节制-强度": 0.42
   },
   "def": "T形帛画把天上人间地下一图绘尽的宇宙图式。它是西汉、源出中国的东方绘画风格,在世界观上属「礼制图式」。上承战国帛画风格、下启佛教壁画风格、墓室壁画。",
   "essence": "T形帛画把天上人间地下一图绘尽的宇宙图式",
   "voice": "一幅之中,贯通天人幽明",
   "period": "西汉",
   "origin": "中国",
   "people": [],
   "parents": [
    "战国帛画风格"
   ],
   "influences": [
    "佛教壁画风格",
    "墓室壁画"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "T形分层:天界/人间/地下三段叠置",
    "透视与空间": "分层平铺,无统一透视",
    "形状与造型": "人物侧影、神怪夸张变形",
    "光影与明暗": "平涂,以色块分界",
    "色彩系统": "朱、白、青、黄矿物重彩",
    "笔触与肌理": "流畅墨线勾填",
    "边缘与节奏": "边缘清晰,分层处节奏顿挫"
   },
   "works": [
    "马王堆一号墓T形帛画"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.009",
   "cn": "汉代画像砖",
   "en": "Han Brick Relief",
   "region": "east",
   "wv": "WV2",
   "year": 120,
   "xi": "先秦与汉唐体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.35,
    "struct_perc": 0.28,
    "east_west": 0.22
   },
   "vector": {
    "再现-表现": 0.35,
    "结构-感知": 0.28,
    "秩序-张力": 0.3,
    "节制-强度": 0.42
   },
   "def": "模印成砖的市井劳作,鲜活的汉代生活速写。它是东汉、源出中国(四川)的东方绘画风格,在世界观上属「礼制图式」。上承汉代画像石、下启墓室壁画。",
   "essence": "模印成砖的市井劳作,鲜活的汉代生活速写",
   "voice": "把劳作与丰收,印成永不褪色的日常",
   "period": "东汉",
   "origin": "中国(四川)",
   "people": [],
   "parents": [
    "汉代画像石"
   ],
   "influences": [
    "墓室壁画"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "单幅独立成景,主体居中",
    "透视与空间": "朴素纵深,远小近大初现",
    "形状与造型": "人物动态生动概括",
    "光影与明暗": "模印浅浮雕",
    "色彩系统": "砖色,部分施彩",
    "笔触与肌理": "模制压印、线条流利",
    "边缘与节奏": "边缘柔和,场景节奏轻快"
   },
   "works": [
    "《弋射收获画像砖》",
    "《盐井画像砖》",
    "《宴乐画像砖》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.010",
   "cn": "墓室壁画",
   "en": "Tomb Mural",
   "region": "east",
   "wv": "WV2",
   "year": 50,
   "xi": "先秦与汉唐体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.4,
    "struct_perc": 0.3,
    "east_west": 0.24
   },
   "vector": {
    "再现-表现": 0.4,
    "结构-感知": 0.3,
    "秩序-张力": 0.32,
    "节制-强度": 0.45
   },
   "def": "为逝者绘出地下宫阙的仪卫、星象与升仙。它是汉–唐、源出中国的东方绘画风格,在世界观上属「礼制图式」。上承汉帛画风格、下启唐代宫廷绘画、佛教壁画风格。",
   "essence": "为逝者绘出地下宫阙的仪卫、星象与升仙",
   "voice": "在地下为亡者重建一座有日月的宫殿",
   "period": "汉–唐",
   "origin": "中国",
   "people": [],
   "parents": [
    "汉帛画风格"
   ],
   "influences": [
    "唐代宫廷绘画",
    "佛教壁画风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "墓室壁面通景布置,随建筑展开",
    "透视与空间": "平铺散点,场面宏大",
    "形状与造型": "人物比例渐趋写实(唐墓尤精)",
    "光影与明暗": "平涂为主、略分浓淡",
    "色彩系统": "土红、石青、石绿矿物色",
    "笔触与肌理": "壁面墨线勾填、设色",
    "边缘与节奏": "边缘明确,仪仗行列成节奏"
   },
   "works": [
    "永泰公主墓壁画",
    "章怀太子墓《狩猎出行》",
    "懿德太子墓《阙楼仪仗》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.011",
   "cn": "佛教壁画风格",
   "en": "Buddhist Mural",
   "region": "east",
   "wv": "WV2",
   "year": 350,
   "xi": "先秦与汉唐体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.45,
    "struct_perc": 0.28,
    "east_west": 0.2
   },
   "vector": {
    "再现-表现": 0.45,
    "结构-感知": 0.28,
    "秩序-张力": 0.3,
    "节制-强度": 0.55
   },
   "def": "以经变与本生故事把佛国庄严绘满洞窟。它是魏晋–唐、源出中国(河西/中原)的东方绘画风格,在世界观上属「礼制图式」。上承佛像造像风格、下启敦煌壁画风格、唐代青绿风格。",
   "essence": "以经变与本生故事把佛国庄严绘满洞窟",
   "voice": "以满壁丹青,显西方净土之庄严",
   "period": "魏晋–唐",
   "origin": "中国(河西/中原)",
   "people": [],
   "parents": [
    "佛像造像风格"
   ],
   "influences": [
    "敦煌壁画风格",
    "唐代青绿风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "经变对称大场面,主尊居中眷属环绕",
    "透视与空间": "以建筑界格与上下叠层示空间",
    "形状与造型": "宝相庄严、飞天流动",
    "光影与明暗": "平涂兼晕染(凹凸法)",
    "色彩系统": "石青石绿朱砂金箔,绚烂",
    "笔触与肌理": "铁线/兰叶描、重彩晕染",
    "边缘与节奏": "边缘清劲,飞天飘带成流动节奏"
   },
   "works": [
    "敦煌莫高窟220窟《药师经变》",
    "克孜尔本生壁画",
    "炳灵寺169窟"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.012",
   "cn": "唐代宫廷绘画",
   "en": "Tang Court Painting",
   "region": "east",
   "wv": "WV2",
   "year": 350,
   "xi": "先秦与汉唐体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.3,
    "struct_perc": 0.32,
    "east_west": 0.22
   },
   "vector": {
    "再现-表现": 0.3,
    "结构-感知": 0.32,
    "秩序-张力": 0.28,
    "节制-强度": 0.4
   },
   "def": "以丰腴气象绘帝王仕女的盛世威仪。它是唐、源出中国的东方绘画风格,在世界观上属「礼制图式」。上承墓室壁画、下启唐代仕女风格、北宋院体风格。",
   "essence": "以丰腴气象绘帝王仕女的盛世威仪",
   "voice": "以富丽与雍容,定格盛唐的人间气象",
   "period": "唐",
   "origin": "中国",
   "people": [
    "阎立本",
    "张萱",
    "周昉"
   ],
   "parents": [
    "墓室壁画"
   ],
   "influences": [
    "唐代仕女风格",
    "北宋院体风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "人物列阵、主大从小的等级构图",
    "透视与空间": "平面化,以重叠示前后",
    "形状与造型": "丰颊厚体、雍容典丽",
    "光影与明暗": "平涂、薄染肌肤",
    "色彩系统": "朱砂、石绿、铅白,富丽",
    "笔触与肌理": "高古游丝/铁线描、重设色",
    "边缘与节奏": "边缘工整,人物排布从容"
   },
   "works": [
    "阎立本《步辇图》",
    "张萱《捣练图》",
    "周昉《簪花仕女图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.019",
   "cn": "金碧山水风格",
   "en": "Gold-and-Blue Landscape",
   "region": "east",
   "wv": "WV2",
   "year": 350,
   "xi": "先秦与汉唐体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.35,
    "struct_perc": 0.35,
    "east_west": 0.24
   },
   "vector": {
    "再现-表现": 0.35,
    "结构-感知": 0.35,
    "秩序-张力": 0.28,
    "节制-强度": 0.55
   },
   "def": "青绿之上勾金,富丽辉煌的皇家山水。它是唐、源出中国的东方绘画风格,在世界观上属「礼制图式」。上承唐代青绿风格、下启青绿山水风格。",
   "essence": "青绿之上勾金,富丽辉煌的皇家山水",
   "voice": "以金碧辉煌,绘人间难至的仙家之境",
   "period": "唐",
   "origin": "中国",
   "people": [
    "李思训",
    "李昭道"
   ],
   "parents": [
    "唐代青绿风格"
   ],
   "influences": [
    "青绿山水风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "layered 高远、山峦层叠铺陈",
    "透视与空间": "以山势叠压、界画楼阁示纵深",
    "形状与造型": "山石勾勒填色、轮廓分明",
    "光影与明暗": "以色阶代明暗、勾金提亮",
    "色彩系统": "石青石绿为主、勾金线",
    "笔触与肌理": "细劲勾勒、重彩罩染",
    "边缘与节奏": "边缘勾金、轮廓硬朗成装饰节奏"
   },
   "works": [
    "李思训《江帆楼阁图》(传)",
    "李昭道《明皇幸蜀图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.021",
   "cn": "唐代仕女风格",
   "en": "Tang Court-Lady",
   "region": "east",
   "wv": "WV2",
   "year": 350,
   "xi": "先秦与汉唐体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.28,
    "struct_perc": 0.3,
    "east_west": 0.22
   },
   "vector": {
    "再现-表现": 0.28,
    "结构-感知": 0.3,
    "秩序-张力": 0.25,
    "节制-强度": 0.38
   },
   "def": "丰肥浓丽的贵族女性理想形象。它是唐、源出中国的东方绘画风格,在世界观上属「礼制图式」。上承唐代宫廷绘画、下启现代工笔风格。",
   "essence": "丰肥浓丽的贵族女性理想形象",
   "voice": "以丰艳之姿,写盛世闺中的慵雅",
   "period": "唐",
   "origin": "中国",
   "people": [
    "张萱",
    "周昉"
   ],
   "parents": [
    "唐代宫廷绘画"
   ],
   "influences": [
    "现代工笔风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "疏朗散点、人物错落成趣",
    "透视与空间": "浅淡纵深,以遮挡示空间",
    "形状与造型": "丰颊曲眉、体态丰腴",
    "光影与明暗": "平涂薄染、晕色显肌理",
    "色彩系统": "朱、绛、石绿、白,明丽",
    "笔触与肌理": "游丝描精细、罩染",
    "边缘与节奏": "边缘柔婉,衣带飘举成节奏"
   },
   "works": [
    "周昉《簪花仕女图》",
    "张萱《虢国夫人游春图》",
    "周昉《挥扇仕女图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.022",
   "cn": "佛像造像风格",
   "en": "Buddhist Iconography",
   "region": "east",
   "wv": "WV2",
   "year": 350,
   "xi": "先秦与汉唐体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.4,
    "struct_perc": 0.2,
    "east_west": 0.24
   },
   "vector": {
    "再现-表现": 0.4,
    "结构-感知": 0.2,
    "秩序-张力": 0.22,
    "节制-强度": 0.55
   },
   "def": "以仪轨化的庄严相,把神圣凝定为可礼拜的形象。它是魏晋–唐、源出中国的东方绘画风格,在世界观上属「礼制图式」。下启佛教壁画风格、道教图像风格。",
   "essence": "以仪轨化的庄严相,把神圣凝定为可礼拜的形象",
   "voice": "以三十二相,塑可瞻仰的慈悲",
   "period": "魏晋–唐",
   "origin": "中国",
   "people": [],
   "parents": [],
   "influences": [
    "佛教壁画风格",
    "道教图像风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "正面端坐、左右胁侍对称",
    "透视与空间": "象征性空间,背光示神圣",
    "形状与造型": "程式化庄严相,衣纹规整",
    "光影与明暗": "平涂、背光晕染",
    "色彩系统": "金、朱、青绿,贴金",
    "笔触与肌理": "铁线描、勾填",
    "边缘与节奏": "边缘清晰,衣纹排叠成韵律"
   },
   "works": [
    "敦煌45窟彩塑",
    "龙门卢舍那大佛",
    "麦积山菩萨像"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.023",
   "cn": "道教图像风格",
   "en": "Daoist Imagery",
   "region": "east",
   "wv": "WV2",
   "year": 1310,
   "xi": "先秦与汉唐体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.42,
    "struct_perc": 0.25,
    "east_west": 0.2
   },
   "vector": {
    "再现-表现": 0.42,
    "结构-感知": 0.25,
    "秩序-张力": 0.25,
    "节制-强度": 0.52
   },
   "def": "以朝元仪仗绘出道教神系的森然秩序。它是唐–元、源出中国的东方绘画风格,在世界观上属「礼制图式」。上承佛像造像风格、下启唐代宫廷绘画。",
   "essence": "以朝元仪仗绘出道教神系的森然秩序",
   "voice": "百神朝元,列尊卑以显天界之序",
   "period": "唐–元",
   "origin": "中国",
   "people": [
    "武宗元"
   ],
   "parents": [
    "佛像造像风格"
   ],
   "influences": [
    "唐代宫廷绘画"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "长卷行列式朝拜构图,主神领衔",
    "透视与空间": "平列无纵深,以位次示尊卑",
    "形状与造型": "道装人物峨冠博带、线描遒劲",
    "光影与明暗": "平涂、衣冠施金",
    "色彩系统": "朱、青绿、沥粉贴金",
    "笔触与肌理": "吴带当风式兰叶描",
    "边缘与节奏": "边缘劲利,行列绵延成节奏"
   },
   "works": [
    "《朝元仙仗图》(武宗元)",
    "永乐宫三清殿《朝元图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.024",
   "cn": "唐代青绿风格",
   "en": "Tang Blue-Green",
   "region": "east",
   "wv": "WV2",
   "year": 350,
   "xi": "先秦与汉唐体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.38,
    "struct_perc": 0.34,
    "east_west": 0.22
   },
   "vector": {
    "再现-表现": 0.38,
    "结构-感知": 0.34,
    "秩序-张力": 0.28,
    "节制-强度": 0.52
   },
   "def": "青绿设色山水的成熟形态,富丽而典雅。它是唐、源出中国的东方绘画风格,在世界观上属「礼制图式」。上承佛教壁画风格、下启金碧山水风格、青绿山水风格。",
   "essence": "青绿设色山水的成熟形态,富丽而典雅",
   "voice": "以石青石绿,铺一片庄严的青山",
   "period": "唐",
   "origin": "中国",
   "people": [
    "李思训",
    "李昭道"
   ],
   "parents": [
    "佛教壁画风格"
   ],
   "influences": [
    "金碧山水风格",
    "青绿山水风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "高远layered、主峰统领",
    "透视与空间": "以山叠与道路引导纵深",
    "形状与造型": "勾勒填色、山形端整",
    "光影与明暗": "以色层次代明暗",
    "色彩系统": "石青石绿、赭石,富丽",
    "笔触与肌理": "勾勒精细、分层罩染",
    "边缘与节奏": "边缘清劲,色块节奏庄重"
   },
   "works": [
    "《明皇幸蜀图》",
    "展子虔《游春图》(隋,先声)"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.025",
   "cn": "李思训派风格",
   "en": "Li Sixun School",
   "region": "east",
   "wv": "WV2",
   "year": 350,
   "xi": "先秦与汉唐体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.38,
    "struct_perc": 0.34,
    "east_west": 0.24
   },
   "vector": {
    "再现-表现": 0.38,
    "结构-感知": 0.34,
    "秩序-张力": 0.3,
    "节制-强度": 0.52
   },
   "def": "唐代金碧青绿山水的开派,以勾勒填色、富丽辉煌写仙家楼阁之境。它是唐、源出中国的东方绘画风格,在世界观上属「礼制图式」。上承唐代青绿风格、下启金碧山水风格、青绿山水风格。",
   "essence": "唐代金碧青绿山水的开派,以勾勒填色、富丽辉煌写仙家楼阁之境。",
   "voice": "以金碧辉煌,绘人间难至的仙家之境",
   "period": "唐",
   "origin": "中国",
   "people": [
    "李思训",
    "李昭道"
   ],
   "parents": [
    "唐代青绿风格"
   ],
   "influences": [
    "金碧山水风格",
    "青绿山水风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "高远层叠、楼阁界画点缀",
    "透视与空间": "以山叠与界画示纵深",
    "形状与造型": "勾勒填色、山形端整",
    "光影与明暗": "以色阶代明暗、勾金提亮",
    "色彩系统": "石青石绿赭石、勾金",
    "笔触与肌理": "细劲勾勒、重彩罩染",
    "边缘与节奏": "边缘勾金硬挺、装饰性节奏"
   },
   "works": [
    "(传)李思训《江帆楼阁图》",
    "李昭道《明皇幸蜀图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.026",
   "cn": "北宋院体风格",
   "en": "Northern-Song Academy",
   "region": "east",
   "wv": "WV1",
   "year": 1050,
   "xi": "宋元体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.3,
    "struct_perc": 0.4,
    "east_west": 0.2
   },
   "vector": {
    "再现-表现": 0.3,
    "结构-感知": 0.4,
    "秩序-张力": 0.3,
    "节制-强度": 0.4
   },
   "def": "格物致知,以精谨写实造全景山水之极致。它是北宋、源出中国的东方绘画风格,在世界观上属「摹写之眼」。上承唐代青绿风格、下启南宋山水风格、北宋山水风格。",
   "essence": "格物致知,以精谨写实造全景山水之极致",
   "voice": "格物之极,于一图尽收天地丘壑",
   "period": "北宋",
   "origin": "中国",
   "people": [
    "郭熙",
    "李唐",
    "王希孟"
   ],
   "parents": [
    "唐代青绿风格"
   ],
   "influences": [
    "南宋山水风格",
    "北宋山水风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "全景高远、主峰巍然居中",
    "透视与空间": "三远法完备、层层推远",
    "形状与造型": "山石写实、形质俱备",
    "光影与明暗": "以皴擦墨染塑山体明暗",
    "色彩系统": "水墨为主或青绿(千里江山)",
    "笔触与肌理": "卷云皴、雨点皴,精谨",
    "边缘与节奏": "边缘苍劲,层峦节奏沉雄"
   },
   "works": [
    "郭熙《早春图》",
    "王希孟《千里江山图》",
    "李唐《万壑松风图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.027",
   "cn": "文人画风格",
   "en": null,
   "region": "east",
   "wv": "WV3",
   "year": 1100,
   "xi": "宋元体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.62,
    "struct_perc": 0.45,
    "east_west": 0.22
   },
   "vector": {
    "再现-表现": 0.62,
    "结构-感知": 0.45,
    "秩序-张力": 0.35,
    "节制-强度": 0.3
   },
   "def": "由士大夫主导,重写意笔墨与书写性,讲求画外之意与人格修养,所谓'画为心印'。",
   "essence": "以笔墨写胸中逸气,画为心印",
   "voice": "画为心印,聊写胸中逸气耳",
   "period": "宋–清",
   "origin": "中国",
   "people": [
    "苏轼",
    "赵孟頫",
    "董其昌"
   ],
   "parents": [
    "宋代山水"
   ],
   "influences": [
    "写意",
    "近现代水墨"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "疏简、计白当黑",
    "透视与空间": "平远简淡",
    "形状与造型": "形简意足、书法入画",
    "光影与明暗": "淡墨清雅",
    "色彩系统": "水墨为主、偶浅绛",
    "笔触与肌理": "书法笔意、飞白",
    "边缘与节奏": "边缘松灵、从容的节奏"
   },
   "works": [
    "苏轼《枯木怪石图》",
    "赵孟頫《鹊华秋色图》",
    "倪瓒《容膝斋图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.028",
   "cn": "山水正宗风格",
   "en": "Orthodox Landscape",
   "region": "east",
   "wv": "WV3",
   "year": 1150,
   "xi": "宋元体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.44,
    "struct_perc": 0.43,
    "east_west": 0.24
   },
   "vector": {
    "再现-表现": 0.44,
    "结构-感知": 0.43,
    "秩序-张力": 0.34,
    "节制-强度": 0.3
   },
   "def": "以董源、巨然、李成、郭熙为正脉的水墨山水主流,集大成而立典范。它是五代–宋、源出中国的东方绘画风格,在世界观上属「写意寄情」。上承北宋山水风格、下启元代文人风格、南宗画风。",
   "essence": "以董源、巨然、李成、郭熙为正脉的水墨山水主流,集大成而立典范。",
   "voice": "集前贤之大成,立山水之正脉",
   "period": "五代–宋",
   "origin": "中国",
   "people": [
    "董源",
    "巨然",
    "李成",
    "郭熙"
   ],
   "parents": [
    "北宋山水风格"
   ],
   "influences": [
    "元代文人风格",
    "南宗画风"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "全景经营、三远兼备",
    "透视与空间": "三远法完备、层层推远",
    "形状与造型": "山石写实、骨体俱足",
    "光影与明暗": "皴擦墨染塑山体",
    "色彩系统": "水墨为主、浅绛",
    "笔触与肌理": "披麻/卷云/雨点皴,精谨",
    "边缘与节奏": "边缘苍润,层峦的雄浑节奏"
   },
   "works": [
    "董源《潇湘图》",
    "巨然《秋山问道图》",
    "郭熙《早春图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.029",
   "cn": "北宋山水风格",
   "en": "Northern-Song Landscape",
   "region": "east",
   "wv": "WV1",
   "year": 1050,
   "xi": "宋元体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.32,
    "struct_perc": 0.42,
    "east_west": 0.2
   },
   "vector": {
    "再现-表现": 0.32,
    "结构-感知": 0.42,
    "秩序-张力": 0.28,
    "节制-强度": 0.4
   },
   "def": "全景巨嶂的崇高,以雄浑大山立天地之骨。它是北宋、源出中国的东方绘画风格,在世界观上属「摹写之眼」。上承唐代青绿风格、下启南宋山水风格、元代文人风格。",
   "essence": "全景巨嶂的崇高,以雄浑大山立天地之骨",
   "voice": "高山仰止,以巨嶂写天地之崇高",
   "period": "北宋",
   "origin": "中国",
   "people": [
    "范宽",
    "李成",
    "郭熙"
   ],
   "parents": [
    "唐代青绿风格"
   ],
   "influences": [
    "南宋山水风格",
    "元代文人风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "中轴主峰顶天立地、全景式",
    "透视与空间": "高远为主、三远兼备",
    "形状与造型": "山石雄浑、骨体坚凝",
    "光影与明暗": "雨点皴积出体积明暗",
    "色彩系统": "纯水墨、墨分五色",
    "笔触与肌理": "雨点皴、卷云皴、解索皴",
    "边缘与节奏": "边缘苍劲,大块山体节奏雄强"
   },
   "works": [
    "范宽《溪山行旅图》",
    "李成《晴峦萧寺图》",
    "郭熙《早春图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.030",
   "cn": "南宋山水风格",
   "en": "Southern-Song Landscape",
   "region": "east",
   "wv": "WV3",
   "year": 1200,
   "xi": "宋元体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.42,
    "struct_perc": 0.45,
    "east_west": 0.22
   },
   "vector": {
    "再现-表现": 0.42,
    "结构-感知": 0.45,
    "秩序-张力": 0.45,
    "节制-强度": 0.3
   },
   "def": "边角之景与大片留白,以一角写诗意空灵。它是南宋、源出中国的东方绘画风格,在世界观上属「写意寄情」。上承北宋山水风格、下启写意山水风格、禅意绘画风格。",
   "essence": "边角之景与大片留白,以一角写诗意空灵",
   "voice": "残山剩水,于一角间留无限余意",
   "period": "南宋",
   "origin": "中国",
   "people": [
    "马远",
    "夏圭",
    "李唐"
   ],
   "parents": [
    "北宋山水风格"
   ],
   "influences": [
    "写意山水风格",
    "禅意绘画风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "边角式构图(马一角夏半边)、大片留白",
    "透视与空间": "以虚空示远、近景特写",
    "形状与造型": "简劲斧劈、山石方硬",
    "光影与明暗": "大斧劈皴墨色对比强",
    "色彩系统": "水墨为主、淡墨晕染",
    "笔触与肌理": "大斧劈皴、拖泥带水皴",
    "边缘与节奏": "边缘爽利,虚实节奏强烈"
   },
   "works": [
    "马远《寒江独钓图》",
    "夏圭《溪山清远图》",
    "马远《踏歌图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.031",
   "cn": "小景山水风格",
   "en": "Intimate Landscape",
   "region": "east",
   "wv": "WV2",
   "year": 1100,
   "xi": "宋元体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.4,
    "struct_perc": 0.4,
    "east_west": 0.24
   },
   "vector": {
    "再现-表现": 0.4,
    "结构-感知": 0.4,
    "秩序-张力": 0.4,
    "节制-强度": 0.28
   },
   "def": "截取一隅汀渚烟雨,以小见诗意。它是宋、源出中国的东方绘画风格,在世界观上属「礼制图式」。上承北宋山水风格、下启南宋山水风格。",
   "essence": "截取一隅汀渚烟雨,以小见诗意",
   "voice": "于平远小景中,藏江南的温润诗心",
   "period": "宋",
   "origin": "中国",
   "people": [
    "惠崇",
    "赵令穰"
   ],
   "parents": [
    "北宋山水风格"
   ],
   "influences": [
    "南宋山水风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "平远小幅、横向铺展",
    "透视与空间": "平远法、烟水迷离",
    "形状与造型": "坡渚禽鸟点景式",
    "光影与明暗": "淡墨轻染、烟润",
    "色彩系统": "水墨淡设色",
    "笔触与肌理": "柔润短笔、点染",
    "边缘与节奏": "边缘柔和,平远节奏舒缓"
   },
   "works": [
    "惠崇《春江晚景》(传)",
    "赵令穰《湖庄清夏图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.032",
   "cn": "写意山水风格",
   "en": "Xieyi Landscape",
   "region": "east",
   "wv": "WV3",
   "year": 1310,
   "xi": "宋元体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.58,
    "struct_perc": 0.45,
    "east_west": 0.2
   },
   "vector": {
    "再现-表现": 0.58,
    "结构-感知": 0.45,
    "秩序-张力": 0.55,
    "节制-强度": 0.3
   },
   "def": "以笔墨写胸中丘壑,不求形似求意气。它是元–清、源出中国的东方绘画风格,在世界观上属「写意寄情」。上承南宋山水风格、下启现代山水风格。",
   "essence": "以笔墨写胸中丘壑,不求形似求意气",
   "voice": "不求形似,写吾胸中逸气",
   "period": "元–清",
   "origin": "中国",
   "people": [
    "黄公望",
    "石涛"
   ],
   "parents": [
    "南宋山水风格"
   ],
   "influences": [
    "现代山水风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "随兴经营、虚实相生",
    "透视与空间": "三远活用、不拘成法",
    "形状与造型": "山形概括、重墨韵",
    "光影与明暗": "水墨淋漓、浓淡随机",
    "色彩系统": "水墨为主、浅绛",
    "笔触与肌理": "披麻/解索/泼墨,纵笔",
    "边缘与节奏": "边缘松动,笔势节奏奔放"
   },
   "works": [
    "黄公望《富春山居图》",
    "石涛《搜尽奇峰打草稿》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.034",
   "cn": "青绿山水风格",
   "en": null,
   "region": "east",
   "wv": "WV2",
   "year": 1100,
   "xi": "宋元体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.3,
    "struct_perc": 0.3,
    "east_west": 0.24
   },
   "vector": {
    "再现-表现": 0.3,
    "结构-感知": 0.3,
    "秩序-张力": 0.3,
    "节制-强度": 0.55
   },
   "def": "以石青石绿设色的工致山水,金碧辉煌,多见于唐宋宫廷,象征仙境与天地秩序。",
   "essence": "以石青石绿的工致山水象征仙境天序",
   "voice": "以人间的富丽,想象仙家的永恒",
   "period": "唐–宋",
   "origin": "中国",
   "people": [
    "李思训",
    "王希孟"
   ],
   "parents": [
    "唐代李思训派"
   ],
   "influences": [],
   "themes": [],
   "lang7": {
    "构图与组织": "高远layered、主峰统领",
    "透视与空间": "以山叠示纵深",
    "形状与造型": "勾勒填色、山形端整",
    "光影与明暗": "以色阶代明暗",
    "色彩系统": "石青石绿赭石、富丽",
    "笔触与肌理": "勾勒、分层罩染",
    "边缘与节奏": "边缘清劲、庄重的节奏"
   },
   "works": [
    "王希孟《千里江山图》",
    "展子虔《游春图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.035",
   "cn": "水墨山水风格",
   "en": "Ink Landscape",
   "region": "east",
   "wv": "WV3",
   "year": 1000,
   "xi": "宋元体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.48,
    "struct_perc": 0.42,
    "east_west": 0.2
   },
   "vector": {
    "再现-表现": 0.48,
    "结构-感知": 0.42,
    "秩序-张力": 0.42,
    "节制-强度": 0.28
   },
   "def": "以墨代色,墨分五色写山水之韵。它是唐–今、源出中国的东方绘画风格,在世界观上属「写意寄情」。上承北宋山水风格、下启文人水墨风格、现代山水风格。",
   "essence": "以墨代色,墨分五色写山水之韵",
   "voice": "运墨而五色具,以素淡见天真",
   "period": "唐–今",
   "origin": "中国",
   "people": [
    "王维",
    "董源",
    "黄公望"
   ],
   "parents": [
    "北宋山水风格"
   ],
   "influences": [
    "文人水墨风格",
    "现代山水风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "经营虚实、可游可居",
    "透视与空间": "三远法、烟云断连示深",
    "形状与造型": "山石以墨韵塑形",
    "光影与明暗": "墨分五色、干湿浓淡",
    "色彩系统": "纯水墨、墨色层次",
    "笔触与肌理": "披麻皴、点苔、渲染",
    "边缘与节奏": "边缘含蓄,墨气节奏温润"
   },
   "works": [
    "董源《潇湘图》",
    "黄公望《富春山居图》",
    "王维《辋川图》(传)"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.037",
   "cn": "文人水墨风格",
   "en": "Literati Ink",
   "region": "east",
   "wv": "WV3",
   "year": 1100,
   "xi": "宋元体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.55,
    "struct_perc": 0.42,
    "east_west": 0.24
   },
   "vector": {
    "再现-表现": 0.55,
    "结构-感知": 0.42,
    "秩序-张力": 0.5,
    "节制-强度": 0.25
   },
   "def": "诗书画印一体,以笔墨写士人胸次。它是宋–清、源出中国的东方绘画风格,在世界观上属「写意寄情」。上承水墨山水风格、下启写意花鸟风格、四僧风格。",
   "essence": "诗书画印一体,以笔墨写士人胸次",
   "voice": "画乃心印,聊写胸中逸气耳",
   "period": "宋–清",
   "origin": "中国",
   "people": [
    "苏轼",
    "赵孟頫",
    "董其昌"
   ],
   "parents": [
    "水墨山水风格"
   ],
   "influences": [
    "写意花鸟风格",
    "四僧风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "疏简布置、计白当黑",
    "透视与空间": "平远简淡、不重纵深",
    "形状与造型": "形简意足、书法入画",
    "光影与明暗": "淡墨轻染、清雅",
    "色彩系统": "水墨为主、偶浅绛",
    "笔触与肌理": "以书法笔意运笔、飞白",
    "边缘与节奏": "边缘松灵,笔墨节奏从容"
   },
   "works": [
    "苏轼《枯木怪石图》",
    "赵孟頫《鹊华秋色图》",
    "董其昌《秋兴八景》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.040",
   "cn": "写意人物风格",
   "en": "Xieyi Figure",
   "region": "east",
   "wv": "WV3",
   "year": 1100,
   "xi": "宋元体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.6,
    "struct_perc": 0.45,
    "east_west": 0.24
   },
   "vector": {
    "再现-表现": 0.6,
    "结构-感知": 0.45,
    "秩序-张力": 0.58,
    "节制-强度": 0.3
   },
   "def": "减笔挥写,以寥寥数笔得人物神韵。它是宋–现代、源出中国的东方绘画风格,在世界观上属「写意寄情」。上承禅意绘画风格、下启现代人物画风格。",
   "essence": "减笔挥写,以寥寥数笔得人物神韵",
   "voice": "逸笔草草,但取其神不求其形",
   "period": "宋–现代",
   "origin": "中国",
   "people": [
    "梁楷",
    "黄慎"
   ],
   "parents": [
    "禅意绘画风格"
   ],
   "influences": [
    "现代人物画风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "留白衬人、动势取势",
    "透视与空间": "简略空间、以墨块定位",
    "形状与造型": "减笔概括、夸张神态",
    "光影与明暗": "泼墨浓淡、湿笔",
    "色彩系统": "水墨为主",
    "笔触与肌理": "泼墨、减笔、飞白",
    "边缘与节奏": "边缘奔放,笔势节奏跳荡"
   },
   "works": [
    "梁楷《泼墨仙人图》",
    "梁楷《李白行吟图》",
    "黄慎《群乞图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.047",
   "cn": "写意花鸟风格",
   "en": "Xieyi Bird-and-Flower",
   "region": "east",
   "wv": "WV3",
   "year": 1500,
   "xi": "宋元体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.62,
    "struct_perc": 0.45,
    "east_west": 0.2
   },
   "vector": {
    "再现-表现": 0.62,
    "结构-感知": 0.45,
    "秩序-张力": 0.62,
    "节制-强度": 0.32
   },
   "def": "以泼墨大写意抒花鸟之生意与人格。它是明–今、源出中国的东方绘画风格,在世界观上属「写意寄情」。上承文人水墨风格、下启海派风格、现代花鸟风格。",
   "essence": "以泼墨大写意抒花鸟之生意与人格",
   "voice": "借花鸟之姿,泄胸中不平之气",
   "period": "明–今",
   "origin": "中国",
   "people": [
    "徐渭",
    "八大山人",
    "吴昌硕"
   ],
   "parents": [
    "文人水墨风格"
   ],
   "influences": [
    "海派风格",
    "现代花鸟风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "折枝大开合、欹侧取势",
    "透视与空间": "平面、以疏密示空间",
    "形状与造型": "以形写神、夸张变形",
    "光影与明暗": "泼墨淋漓、浓淡对比",
    "色彩系统": "水墨为主、点缀朱赭",
    "笔触与肌理": "泼墨、破墨、书法笔线",
    "边缘与节奏": "边缘奔放,笔势节奏酣畅"
   },
   "works": [
    "徐渭《墨葡萄图》",
    "八大山人《荷花水鸟图》",
    "吴昌硕《葫芦图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.049",
   "cn": "牧溪风格",
   "en": "Muqi Style",
   "region": "east",
   "wv": "WV3",
   "year": 1200,
   "xi": "宋元体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.55,
    "struct_perc": 0.48,
    "east_west": 0.24
   },
   "vector": {
    "再现-表现": 0.55,
    "结构-感知": 0.48,
    "秩序-张力": 0.58,
    "节制-强度": 0.2
   },
   "def": "减笔泼墨写禅机,平淡天真见空寂。它是南宋–元、源出中国(影响日本尤巨)的东方绘画风格,在世界观上属「写意寄情」。上承禅意绘画风格、下启日本南画、极简水墨风格。",
   "essence": "减笔泼墨写禅机,平淡天真见空寂",
   "voice": "于平淡处见禅心,一墨之中有万象",
   "period": "南宋–元",
   "origin": "中国(影响日本尤巨)",
   "people": [
    "牧溪(法常)"
   ],
   "parents": [
    "禅意绘画风格"
   ],
   "influences": [
    "日本南画",
    "极简水墨风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "极简留白、物象孤置",
    "透视与空间": "空寂无背景、计白当黑",
    "形状与造型": "减笔概括、形神兼具",
    "光影与明暗": "淡墨晕染、浓淡微妙",
    "色彩系统": "纯水墨、墨色清淡",
    "笔触与肌理": "泼墨、破墨、飞白,松灵",
    "边缘与节奏": "边缘虚化,空寂节奏静谧"
   },
   "works": [
    "牧溪《六柿图》",
    "牧溪《观音猿鹤图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.050",
   "cn": "元代文人风格",
   "en": "Yuan Literati",
   "region": "east",
   "wv": "WV3",
   "year": 1310,
   "xi": "宋元体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.55,
    "struct_perc": 0.45,
    "east_west": 0.2
   },
   "vector": {
    "再现-表现": 0.55,
    "结构-感知": 0.45,
    "秩序-张力": 0.45,
    "节制-强度": 0.22
   },
   "def": "隐逸避世,以书法入画开文人画大宗。它是元、源出中国的东方绘画风格,在世界观上属「写意寄情」。上承北宋山水风格、下启文人水墨风格、松江派风格。",
   "essence": "隐逸避世,以书法入画开文人画大宗",
   "voice": "逸笔草草,聊写胸中逸气,寄隐逸之志",
   "period": "元",
   "origin": "中国",
   "people": [
    "黄公望",
    "倪瓒",
    "吴镇",
    "王蒙"
   ],
   "parents": [
    "北宋山水风格"
   ],
   "influences": [
    "文人水墨风格",
    "松江派风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "一河两岸、疏简平远(倪瓒式)",
    "透视与空间": "平远法、空灵萧疏",
    "形状与造型": "山石以书法笔写、形简",
    "光影与明暗": "淡墨干笔、清逸",
    "色彩系统": "水墨为主、浅绛",
    "笔触与肌理": "披麻/解索皴、干笔皴擦",
    "边缘与节奏": "边缘松秀,萧散节奏冷逸"
   },
   "works": [
    "倪瓒《容膝斋图》",
    "黄公望《富春山居图》",
    "王蒙《青卞隐居图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.055",
   "cn": "禅意绘画风格",
   "en": null,
   "region": "east",
   "wv": "WV5",
   "year": 1200,
   "xi": "宋元体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.7,
    "struct_perc": 0.5,
    "east_west": 0.24
   },
   "vector": {
    "再现-表现": 0.7,
    "结构-感知": 0.5,
    "秩序-张力": 0.4,
    "节制-强度": 0.2
   },
   "def": "以减笔、泼墨、留白表现空寂与顿悟,画少而意多,世界为心所现。",
   "essence": "以减笔泼墨表现空寂与顿悟,世界为心所现",
   "voice": "一花一世界,于空寂处见真如",
   "period": "南宋–",
   "origin": "中国/日本",
   "people": [
    "梁楷",
    "牧溪"
   ],
   "parents": [
    "文人画"
   ],
   "influences": [
    "极简主义",
    "抽象表现主义"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "极简留白、物象孤置",
    "透视与空间": "空寂无背景",
    "形状与造型": "减笔概括、形神兼具",
    "光影与明暗": "淡墨晕染",
    "色彩系统": "纯水墨、清淡",
    "笔触与肌理": "泼墨、破墨、飞白",
    "边缘与节奏": "边缘虚化、空寂的节奏"
   },
   "works": [
    "梁楷《泼墨仙人图》",
    "牧溪《六柿图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.056",
   "cn": "墨竹风格",
   "en": "Ink Bamboo",
   "region": "east",
   "wv": "WV3",
   "year": 1100,
   "xi": "宋元体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.55,
    "struct_perc": 0.45,
    "east_west": 0.2
   },
   "vector": {
    "再现-表现": 0.55,
    "结构-感知": 0.45,
    "秩序-张力": 0.52,
    "节制-强度": 0.25
   },
   "def": "以书法之笔写竹,寄君子高节。它是宋–今、源出中国的东方绘画风格,在世界观上属「写意寄情」。上承文人水墨风格、下启金石画派。",
   "essence": "以书法之笔写竹,寄君子高节",
   "voice": "胸有成竹,一竿写尽君子之节",
   "period": "宋–今",
   "origin": "中国",
   "people": [
    "文同",
    "郑燮"
   ],
   "parents": [
    "文人水墨风格"
   ],
   "influences": [
    "金石画派"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "折枝取势、疏密相生",
    "透视与空间": "平面、以竹叶层次示深",
    "形状与造型": "以书法撇捺写竹叶竿节",
    "光影与明暗": "墨分浓淡、向背",
    "色彩系统": "纯水墨",
    "笔触与肌理": "以书入画、提按顿挫",
    "边缘与节奏": "边缘劲利,竹叶节奏铿锵"
   },
   "works": [
    "文同《墨竹图》",
    "郑燮《墨竹图》",
    "柯九思《清閟阁墨竹》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.057",
   "cn": "墨梅风格",
   "en": "Ink Plum",
   "region": "east",
   "wv": "WV3",
   "year": 1100,
   "xi": "宋元体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.55,
    "struct_perc": 0.45,
    "east_west": 0.22
   },
   "vector": {
    "再现-表现": 0.55,
    "结构-感知": 0.45,
    "秩序-张力": 0.52,
    "节制-强度": 0.26
   },
   "def": "圈花点蕊,以墨梅写孤高冷艳。它是宋–今、源出中国的东方绘画风格,在世界观上属「写意寄情」。上承文人水墨风格、下启金石画派。",
   "essence": "圈花点蕊,以墨梅写孤高冷艳",
   "voice": "不要人夸好颜色,只留清气满乾坤",
   "period": "宋–今",
   "origin": "中国",
   "people": [
    "扬无咎",
    "王冕"
   ],
   "parents": [
    "文人水墨风格"
   ],
   "influences": [
    "金石画派"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "一枝横斜、疏影取势",
    "透视与空间": "平面、虚实示空间",
    "形状与造型": "圈花写干、形简意足",
    "光影与明暗": "淡墨圈花、浓墨点蕊",
    "色彩系统": "纯水墨",
    "笔触与肌理": "书法笔意写干、圈点",
    "边缘与节奏": "边缘清峻,枝花节奏疏朗"
   },
   "works": [
    "王冕《墨梅图》",
    "扬无咎《四梅图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.058",
   "cn": "浙派风格",
   "en": null,
   "region": "east",
   "wv": "WV3",
   "year": 1500,
   "xi": "明清体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.4,
    "struct_perc": 0.45,
    "east_west": 0.24
   },
   "vector": {
    "再现-表现": 0.4,
    "结构-感知": 0.45,
    "秩序-张力": 0.65,
    "节制-强度": 0.6
   },
   "def": "承南宋院体,以强劲笔势与水墨豪放写山水人物。",
   "essence": "承南宋院体,以强劲笔势与水墨豪放写山水人物",
   "voice": "笔力如剑,写江湖丘壑之气",
   "period": "明初",
   "origin": "中国浙江",
   "people": [
    "戴进",
    "吴伟"
   ],
   "parents": [
    "南宋山水"
   ],
   "influences": [],
   "themes": [],
   "lang7": {
    "构图与组织": "雄健动势、对角取势",
    "透视与空间": "斧劈式山水空间",
    "形状与造型": "劲健概括、方硬",
    "光影与明暗": "墨色强对比",
    "色彩系统": "水墨为主",
    "笔触与肌理": "大斧劈、拖泥带水皴",
    "边缘与节奏": "边缘爽利、雄强的节奏"
   },
   "works": [
    "戴进《风雨归舟图》",
    "吴伟《渔乐图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.059",
   "cn": "吴派风格",
   "en": null,
   "region": "east",
   "wv": "WV3",
   "year": 1500,
   "xi": "明清体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.5,
    "struct_perc": 0.4,
    "east_west": 0.2
   },
   "vector": {
    "再现-表现": 0.5,
    "结构-感知": 0.4,
    "秩序-张力": 0.3,
    "节制-强度": 0.35
   },
   "def": "承元文人画,书卷气浓、温润雅逸。",
   "essence": "承元文人画,书卷气浓、温润雅逸",
   "voice": "以书卷之温润,养胸中之丘壑",
   "period": "明中",
   "origin": "中国苏州",
   "people": [
    "沈周",
    "文徵明",
    "唐寅"
   ],
   "parents": [
    "文人画"
   ],
   "influences": [
    "松江派"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "文秀经营、雅致",
    "透视与空间": "平远幽深",
    "形状与造型": "清雅文秀",
    "光影与明暗": "淡墨轻染",
    "色彩系统": "水墨浅绛",
    "笔触与肌理": "细秀笔法、点苔",
    "边缘与节奏": "边缘文雅、书卷气的节奏"
   },
   "works": [
    "沈周《庐山高图》",
    "文徵明《真赏斋图》",
    "唐寅《骑驴思归图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.060",
   "cn": "松江派风格",
   "en": "Songjiang School",
   "region": "east",
   "wv": "WV3",
   "year": 1580,
   "xi": "明清体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.55,
    "struct_perc": 0.45,
    "east_west": 0.22
   },
   "vector": {
    "再现-表现": 0.55,
    "结构-感知": 0.45,
    "秩序-张力": 0.45,
    "节制-强度": 0.26
   },
   "def": "晚明董其昌领衔的文人画派,标举南宗、追求平淡天真的笔墨韵致。它是明末、源出中国(松江)的东方绘画风格,在世界观上属「写意寄情」。上承元代文人风格、下启四僧风格、南宗画风。",
   "essence": "晚明董其昌领衔的文人画派,标举南宗、追求平淡天真的笔墨韵致。",
   "voice": "以书入画、平淡天真,标文人画之正宗",
   "period": "明末",
   "origin": "中国(松江)",
   "people": [
    "董其昌",
    "陈继儒",
    "赵左"
   ],
   "parents": [
    "元代文人风格"
   ],
   "influences": [
    "四僧风格",
    "南宗画风"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "仿古经营、平淡天真",
    "透视与空间": "平远、以墨气示深",
    "形状与造型": "山形概括、重笔墨结构",
    "光影与明暗": "墨色层次温润",
    "色彩系统": "水墨为主、浅绛",
    "笔触与肌理": "披麻皴、积墨、淡设色",
    "边缘与节奏": "边缘含蓄,舒和的墨韵节奏"
   },
   "works": [
    "董其昌《秋兴八景图》",
    "董其昌《青弁图》",
    "陈继儒《云山幽趣图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.061",
   "cn": "南宗画风",
   "en": "Southern-School",
   "region": "east",
   "wv": "WV3",
   "year": 1500,
   "xi": "明清体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.55,
    "struct_perc": 0.45,
    "east_west": 0.24
   },
   "vector": {
    "再现-表现": 0.55,
    "结构-感知": 0.45,
    "秩序-张力": 0.48,
    "节制-强度": 0.25
   },
   "def": "董其昌标举的文人写意正脉,重笔墨韵致。它是明(董其昌立论)、源出中国的东方绘画风格,在世界观上属「写意寄情」。上承元代文人风格、下启松江派风格、四僧风格。",
   "essence": "董其昌标举的文人写意正脉,重笔墨韵致",
   "voice": "以书法为骨,士气为尚,标文人画之正宗",
   "period": "明(董其昌立论)",
   "origin": "中国",
   "people": [
    "董其昌"
   ],
   "parents": [
    "元代文人风格"
   ],
   "influences": [
    "松江派风格",
    "四僧风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "仿古经营、平淡天真",
    "透视与空间": "平远、以墨气示深",
    "形状与造型": "山形概括、重笔墨结构",
    "光影与明暗": "墨色层次、温润",
    "色彩系统": "水墨为主、浅绛",
    "笔触与肌理": "披麻皴、积墨、淡设色",
    "边缘与节奏": "边缘含蓄,墨韵节奏舒和"
   },
   "works": [
    "董其昌《秋兴八景图》",
    "董其昌《青弁图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.062",
   "cn": "北宗画风",
   "en": "Northern-School",
   "region": "east",
   "wv": "WV1",
   "year": 1500,
   "xi": "明清体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.32,
    "struct_perc": 0.4,
    "east_west": 0.2
   },
   "vector": {
    "再现-表现": 0.32,
    "结构-感知": 0.4,
    "秩序-张力": 0.3,
    "节制-强度": 0.45
   },
   "def": "董其昌所贬的院体青绿一脉,重勾斫工致。它是明(相对南宗)、源出中国的东方绘画风格,在世界观上属「摹写之眼」。上承北宋院体风格。",
   "essence": "董其昌所贬的院体青绿一脉,重勾斫工致",
   "voice": "勾斫精工,设色富丽,成院体之大观",
   "period": "明(相对南宗)",
   "origin": "中国",
   "people": [
    "李思训系"
   ],
   "parents": [
    "北宋院体风格"
   ],
   "influences": [],
   "themes": [],
   "lang7": {
    "构图与组织": "全景工整、布置严谨",
    "透视与空间": "三远工致、界画楼阁",
    "形状与造型": "勾斫山石、形质坚实",
    "光影与明暗": "斧劈皴墨色对比",
    "色彩系统": "青绿或水墨、设色明丽",
    "笔触与肌理": "斧劈皴、勾斫、精细",
    "边缘与节奏": "边缘硬朗,工致节奏分明"
   },
   "works": [
    "(谱系性风格)马远夏圭、仇英青绿一路"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.069",
   "cn": "八大山人风格",
   "en": null,
   "region": "east",
   "wv": "WV5",
   "year": 1720,
   "xi": "明清体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.78,
    "struct_perc": 0.45,
    "east_west": 0.22
   },
   "vector": {
    "再现-表现": 0.78,
    "结构-感知": 0.45,
    "秩序-张力": 0.7,
    "节制-强度": 0.3
   },
   "def": "以极简怪诞的花鸟寄寓孤愤与遗民之痛。",
   "essence": "以极简怪诞的花鸟寄寓孤愤与遗民之痛",
   "voice": "白眼向人——墨点无多泪点多",
   "period": "清初",
   "origin": "中国",
   "people": [
    "八大山人(朱耷)"
   ],
   "parents": [
    "文人画"
   ],
   "influences": [
    "近现代写意"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "奇险经营、大留白",
    "透视与空间": "空灵无背景",
    "形状与造型": "夸张变形、白眼向人",
    "光影与明暗": "墨色对比强",
    "色彩系统": "纯水墨",
    "笔触与肌理": "简笔奇崛、泼破并用",
    "边缘与节奏": "边缘冷峭、孤寂的节奏"
   },
   "works": [
    "八大山人《荷石水禽图》",
    "八大山人《孤禽图》",
    "八大山人《河上花图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.072",
   "cn": "四僧风格",
   "en": "Four Monks",
   "region": "east",
   "wv": "WV3",
   "year": 1720,
   "xi": "明清体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.62,
    "struct_perc": 0.45,
    "east_west": 0.22
   },
   "vector": {
    "再现-表现": 0.62,
    "结构-感知": 0.45,
    "秩序-张力": 0.62,
    "节制-强度": 0.3
   },
   "def": "遗民僧人借笔墨写孤愤,个性奇崛。它是清初、源出中国的东方绘画风格,在世界观上属「写意寄情」。上承元代文人风格、下启扬州八怪风格、现代水墨。",
   "essence": "遗民僧人借笔墨写孤愤,个性奇崛",
   "voice": "借笔墨写故国之思与孤愤,我自用我法",
   "period": "清初",
   "origin": "中国",
   "people": [
    "八大山人",
    "石涛",
    "髡残",
    "弘仁"
   ],
   "parents": [
    "元代文人风格"
   ],
   "influences": [
    "扬州八怪风格",
    "现代水墨"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "奇险经营、险中求稳",
    "透视与空间": "不拘成法、空灵或繁密",
    "形状与造型": "形象奇变(八大夸张、弘仁几何)",
    "光影与明暗": "墨色对比强、干湿并用",
    "色彩系统": "水墨为主",
    "笔触与肌理": "泼墨/枯笔/解索,个性极强",
    "边缘与节奏": "边缘奇崛,节奏冷峭或奔放"
   },
   "works": [
    "八大山人《孤禽图》",
    "石涛《淮扬洁秋图》",
    "弘仁《黄山图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.073",
   "cn": "扬州八怪风格",
   "en": null,
   "region": "east",
   "wv": "WV5",
   "year": 1720,
   "xi": "明清体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.68,
    "struct_perc": 0.48,
    "east_west": 0.24
   },
   "vector": {
    "再现-表现": 0.68,
    "结构-感知": 0.48,
    "秩序-张力": 0.65,
    "节制-强度": 0.62
   },
   "def": "以个性怪奇打破正统,商业市井气与文人骨并存。",
   "essence": "以个性怪奇打破正统,商业市井气与文人骨并存",
   "voice": "宁可怪,不可俗——以个性抗正统",
   "period": "清中",
   "origin": "中国扬州",
   "people": [
    "金农",
    "郑燮",
    "黄慎"
   ],
   "parents": [
    "文人画"
   ],
   "influences": [
    "海派"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "奇崛个性布局",
    "透视与空间": "平面、疏密",
    "形状与造型": "夸张概括、个性",
    "光影与明暗": "浓淡随意",
    "色彩系统": "水墨点缀彩",
    "笔触与肌理": "纵笔泼墨、书法入画",
    "边缘与节奏": "边缘奔放、个性的节奏"
   },
   "works": [
    "郑燮《竹石图》",
    "金农《墨梅图》",
    "黄慎《人物图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.079",
   "cn": "工笔花鸟风格",
   "en": "Gongbi Bird-and-Flower",
   "region": "east",
   "wv": "WV1",
   "year": 920,
   "xi": "明清体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.22,
    "struct_perc": 0.4,
    "east_west": 0.24
   },
   "vector": {
    "再现-表现": 0.22,
    "结构-感知": 0.4,
    "秩序-张力": 0.3,
    "节制-强度": 0.42
   },
   "def": "精勾细染,极尽花鸟之富贵与生机。它是五代–今、源出中国的东方绘画风格,在世界观上属「摹写之眼」。上承北宋院体风格、下启现代工笔风格。",
   "essence": "精勾细染,极尽花鸟之富贵与生机",
   "voice": "格物精微,写花鸟之富贵生意",
   "period": "五代–今",
   "origin": "中国",
   "people": [
    "黄筌",
    "赵佶",
    "于非闇"
   ],
   "parents": [
    "北宋院体风格"
   ],
   "influences": [
    "现代工笔风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "折枝精审、主次分明",
    "透视与空间": "平面、以遮挡示前后",
    "形状与造型": "精勾轮廓、形似毕肖",
    "光影与明暗": "三矾九染、层次温润",
    "色彩系统": "石色淡彩、典丽",
    "笔触与肌理": "细劲勾勒、层层分染",
    "边缘与节奏": "边缘工整,精细节奏雅静"
   },
   "works": [
    "黄筌《写生珍禽图》",
    "赵佶《芙蓉锦鸡图》",
    "于非闇《玉兰黄鹂》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.081",
   "cn": "文人花鸟风格",
   "en": "Literati Bird-and-Flower",
   "region": "east",
   "wv": "WV3",
   "year": 1580,
   "xi": "明清体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.58,
    "struct_perc": 0.45,
    "east_west": 0.22
   },
   "vector": {
    "再现-表现": 0.58,
    "结构-感知": 0.45,
    "秩序-张力": 0.5,
    "节制-强度": 0.3
   },
   "def": "以花鸟寄写文人意趣与人格,重笔墨韵致而非形似富贵。它是明–清、源出中国的东方绘画风格,在世界观上属「写意寄情」。上承写意花鸟风格、下启海派风格。",
   "essence": "以花鸟寄写文人意趣与人格,重笔墨韵致而非形似富贵。",
   "voice": "借花鸟之姿,写文人胸中的清逸",
   "period": "明–清",
   "origin": "中国",
   "people": [
    "陈淳",
    "徐渭",
    "恽寿平"
   ],
   "parents": [
    "写意花鸟风格"
   ],
   "influences": [
    "海派风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "折枝开合、欹侧取势",
    "透视与空间": "平面、以疏密示空间",
    "形状与造型": "以形写神、简逸",
    "光影与明暗": "水墨浓淡、点染",
    "色彩系统": "水墨为主、没骨淡彩",
    "笔触与肌理": "写意笔线、点厾、没骨",
    "边缘与节奏": "边缘灵动,清逸的节奏"
   },
   "works": [
    "陈淳《花卉图卷》",
    "恽寿平《花卉册》",
    "徐渭《杂花图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.082",
   "cn": "宫廷画风",
   "en": "Qing Court Painting",
   "region": "east",
   "wv": "WV1",
   "year": 1720,
   "xi": "明清体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.2,
    "struct_perc": 0.42,
    "east_west": 0.24
   },
   "vector": {
    "再现-表现": 0.2,
    "结构-感知": 0.42,
    "秩序-张力": 0.32,
    "节制-强度": 0.48
   },
   "def": "中西合参的院体,精工富丽以颂盛世。它是清、源出中国的东方绘画风格,在世界观上属「摹写之眼」。上承北宋院体风格、下启乾隆院体风格。",
   "essence": "中西合参的院体,精工富丽以颂盛世",
   "voice": "以精工与新法,绘皇家之尊荣气象",
   "period": "清",
   "origin": "中国",
   "people": [
    "郎世宁",
    "冷枚"
   ],
   "parents": [
    "北宋院体风格"
   ],
   "influences": [
    "乾隆院体风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "宏大典礼场面、主体居中",
    "透视与空间": "引入西法焦点透视与体积",
    "形状与造型": "写实精谨、中西合参",
    "光影与明暗": "西法明暗体积初入中国画",
    "色彩系统": "重彩富丽、设色厚",
    "笔触与肌理": "工细勾染、明暗晕染",
    "边缘与节奏": "边缘工整,庄严节奏"
   },
   "works": [
    "郎世宁《百骏图》",
    "《乾隆大阅图》",
    "郎世宁《聚瑞图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.083",
   "cn": "乾隆院体风格",
   "en": "Qianlong Academy",
   "region": "east",
   "wv": "WV1",
   "year": 1720,
   "xi": "明清体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.2,
    "struct_perc": 0.42,
    "east_west": 0.2
   },
   "vector": {
    "再现-表现": 0.2,
    "结构-感知": 0.42,
    "秩序-张力": 0.3,
    "节制-强度": 0.5
   },
   "def": "乾隆朝精工繁缛、中西合璧的宫廷极盛之体。它是清·乾隆、源出中国的东方绘画风格,在世界观上属「摹写之眼」。上承宫廷画风。",
   "essence": "乾隆朝精工繁缛、中西合璧的宫廷极盛之体",
   "voice": "以繁缛精工,铸乾隆盛世之纪念碑",
   "period": "清·乾隆",
   "origin": "中国",
   "people": [
    "郎世宁",
    "丁观鹏",
    "徐扬"
   ],
   "parents": [
    "宫廷画风"
   ],
   "influences": [],
   "themes": [],
   "lang7": {
    "构图与组织": "长卷纪实、人物繁密",
    "透视与空间": "线法透视、纵深严整",
    "形状与造型": "写实工细、中西合参",
    "光影与明暗": "西法体积、设色明暗",
    "色彩系统": "金碧重彩、富丽繁缛",
    "笔触与肌理": "极工细勾染",
    "边缘与节奏": "边缘精整,繁密节奏"
   },
   "works": [
    "徐扬《姑苏繁华图》",
    "《乾隆南巡图》",
    "丁观鹏《法界源流图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.088",
   "cn": "山水诗画风格",
   "en": "Poetic Landscape",
   "region": "east",
   "wv": "WV3",
   "year": 1580,
   "xi": "明清体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.52,
    "struct_perc": 0.45,
    "east_west": 0.24
   },
   "vector": {
    "再现-表现": 0.52,
    "结构-感知": 0.45,
    "秩序-张力": 0.4,
    "节制-强度": 0.28
   },
   "def": "诗境入画、题诗于幅,使山水与诗文互文,境与意相生。它是明、源出中国的东方绘画风格,在世界观上属「写意寄情」。上承写意山水风格、下启山水正宗风格。",
   "essence": "诗境入画、题诗于幅,使山水与诗文互文,境与意相生。",
   "voice": "诗中有画、画中有诗,境随意生",
   "period": "明",
   "origin": "中国",
   "people": [
    "文徵明",
    "沈周",
    "唐寅"
   ],
   "parents": [
    "写意山水风格"
   ],
   "influences": [
    "山水正宗风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "诗题与画境呼应、留白题款",
    "透视与空间": "平远幽深、可游可居",
    "形状与造型": "清雅文秀、笔致温润",
    "光影与明暗": "淡墨轻染、清润",
    "色彩系统": "水墨浅绛、清雅",
    "笔触与肌理": "细秀笔法、点苔",
    "边缘与节奏": "边缘文雅,书卷气的节奏"
   },
   "works": [
    "文徵明《真赏斋图》",
    "沈周《庐山高图》",
    "唐寅《落霞孤鹜图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.090",
   "cn": "留白风格",
   "en": "Blank-Space Aesthetics",
   "region": "east",
   "wv": "WV3",
   "year": 1100,
   "xi": "明清体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.52,
    "struct_perc": 0.48,
    "east_west": 0.22
   },
   "vector": {
    "再现-表现": 0.52,
    "结构-感知": 0.48,
    "秩序-张力": 0.55,
    "节制-强度": 0.18
   },
   "def": "以空写有,虚白处生无限气韵。它是宋–今、源出中国的东方绘画风格,在世界观上属「写意寄情」。上承南宋山水风格、下启极简水墨风格。",
   "essence": "以空写有,虚白处生无限气韵",
   "voice": "计白当黑,于无画处皆成妙境",
   "period": "宋–今",
   "origin": "中国",
   "people": [
    "马远",
    "八大山人"
   ],
   "parents": [
    "南宋山水风格"
   ],
   "influences": [
    "极简水墨风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "大片留白、一角着墨",
    "透视与空间": "以虚白示无限远",
    "形状与造型": "物象简而精",
    "光影与明暗": "极淡墨、虚实强对比",
    "色彩系统": "纯水墨、以纸白为色",
    "笔触与肌理": "简笔精到",
    "边缘与节奏": "边缘极简,空—满节奏分明"
   },
   "works": [
    "马远《寒江独钓图》",
    "八大山人《孤禽图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.092",
   "cn": "写实主义风格",
   "en": "Chinese Realism",
   "region": "east",
   "wv": "WV1",
   "year": 1950,
   "xi": "近现代体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.18,
    "struct_perc": 0.42,
    "east_west": 0.2
   },
   "vector": {
    "再现-表现": 0.18,
    "结构-感知": 0.42,
    "秩序-张力": 0.45,
    "节制-强度": 0.35
   },
   "def": "以素描造型改造中国画,服务大众与时代。它是20世纪、源出中国(引入西法)的东方绘画风格,在世界观上属「摹写之眼」。上承学院派风格、下启新中国画风格、现代人物画风格。",
   "essence": "以素描造型改造中国画,服务大众与时代",
   "voice": "以写实之笔,担起为苍生造像的责任",
   "period": "20世纪",
   "origin": "中国(引入西法)",
   "people": [
    "徐悲鸿",
    "蒋兆和"
   ],
   "parents": [
    "学院派风格"
   ],
   "influences": [
    "新中国画风格",
    "现代人物画风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "中心人物、情节性场面构图",
    "透视与空间": "引入焦点透视与解剖体积",
    "形状与造型": "素描造型、结构准确",
    "光影与明暗": "以墨的浓淡塑明暗体积",
    "色彩系统": "水墨为骨、淡彩为辅",
    "笔触与肌理": "皴擦结合素描笔法",
    "边缘与节奏": "边缘实在,体块节奏沉稳"
   },
   "works": [
    "徐悲鸿《愚公移山》",
    "蒋兆和《流民图》",
    "徐悲鸿《奔马》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.094",
   "cn": "现代水墨",
   "en": "Modern Ink",
   "region": "east",
   "wv": "WV3",
   "year": 1950,
   "xi": "近现代体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.55,
    "struct_perc": 0.5,
    "east_west": 0.24
   },
   "vector": {
    "再现-表现": 0.55,
    "结构-感知": 0.5,
    "秩序-张力": 0.55,
    "节制-强度": 0.4
   },
   "def": "以水墨语言回应现代经验的转型探索。它是20世纪、源出中国的东方绘画风格,在世界观上属「写意寄情」。上承文人水墨风格、下启抽象水墨、实验水墨。",
   "essence": "以水墨语言回应现代经验的转型探索",
   "voice": "以水墨写现代之眼,融贯中西成新语",
   "period": "20世纪",
   "origin": "中国",
   "people": [
    "林风眠",
    "吴冠中"
   ],
   "parents": [
    "文人水墨风格"
   ],
   "influences": [
    "抽象水墨",
    "实验水墨"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "形式构成、点线面经营(吴冠中)",
    "透视与空间": "平面构成、弱化传统三远",
    "形状与造型": "半抽象、形式提炼",
    "光影与明暗": "墨与色块对比",
    "色彩系统": "水墨与彩墨结合",
    "笔触与肌理": "泼彩、线性、构成笔法",
    "边缘与节奏": "边缘明快,点线节奏律动"
   },
   "works": [
    "林风眠《仕女》",
    "吴冠中《双燕》",
    "吴冠中《狮子林》"
   ],
   "aka": [
    "中西融合风格"
   ]
  },
  {
   "id": "STYLE.east.108",
   "cn": "现代花鸟风格",
   "en": "Modern Bird-and-Flower",
   "region": "east",
   "wv": "WV3",
   "year": 1950,
   "xi": "近现代体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.55,
    "struct_perc": 0.45,
    "east_west": 0.22
   },
   "vector": {
    "再现-表现": 0.55,
    "结构-感知": 0.45,
    "秩序-张力": 0.55,
    "节制-强度": 0.38
   },
   "def": "接续大写意,以花鸟写新时代的生机。它是20世纪、源出中国的东方绘画风格,在世界观上属「写意寄情」。上承写意花鸟风格。",
   "essence": "接续大写意,以花鸟写新时代的生机",
   "voice": "以雅俗共赏之笔,写草木鱼虫的天趣",
   "period": "20世纪",
   "origin": "中国",
   "people": [
    "齐白石",
    "潘天寿",
    "李苦禅"
   ],
   "parents": [
    "写意花鸟风格"
   ],
   "influences": [],
   "themes": [],
   "lang7": {
    "构图与组织": "折枝大开合、奇崛布局(潘天寿)",
    "透视与空间": "平面、以疏密虚实示空间",
    "形状与造型": "以形写神、夸张概括",
    "光影与明暗": "浓淡墨与亮色对比",
    "色彩系统": "水墨为主、点缀洋红石青",
    "笔触与肌理": "泼墨、书法笔线、点厾",
    "边缘与节奏": "边缘明快,笔势节奏鲜活"
   },
   "works": [
    "齐白石《虾》",
    "潘天寿《雁荡山花》",
    "李苦禅《盛夏图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.109",
   "cn": "现代山水风格",
   "en": "Modern Landscape",
   "region": "east",
   "wv": "WV3",
   "year": 1945,
   "xi": "近现代体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.42,
    "struct_perc": 0.45,
    "east_west": 0.24
   },
   "vector": {
    "再现-表现": 0.42,
    "结构-感知": 0.45,
    "秩序-张力": 0.42,
    "节制-强度": 0.42
   },
   "def": "融合写生与传统笔墨的山水革新,为新山河立传。它是20世纪、源出中国的东方绘画风格,在世界观上属「写意寄情」。上承水墨山水风格、下启新中国画风格。",
   "essence": "融合写生与传统笔墨的山水革新,为新山河立传。",
   "voice": "师造化、写新境,为河山立传",
   "period": "20世纪",
   "origin": "中国",
   "people": [
    "黄宾虹",
    "李可染",
    "傅抱石",
    "张大千"
   ],
   "parents": [
    "水墨山水风格"
   ],
   "influences": [
    "新中国画风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "全景或写生取景、气势经营",
    "透视与空间": "写生纵深与传统结合",
    "形状与造型": "写实山形与笔墨并用",
    "光影与明暗": "积墨厚重、逆光明暗",
    "色彩系统": "水墨为主、泼彩朱红",
    "笔触与肌理": "积墨/泼墨/泼彩/写生",
    "边缘与节奏": "边缘苍润、浑厚的节奏"
   },
   "works": [
    "李可染《万山红遍》",
    "傅抱石《潇潇暮雨》",
    "张大千《庐山图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.111",
   "cn": "重彩风格",
   "en": "Heavy-Color Painting",
   "region": "east",
   "wv": "WV2",
   "year": 1960,
   "xi": "近现代体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.35,
    "struct_perc": 0.38,
    "east_west": 0.22
   },
   "vector": {
    "再现-表现": 0.35,
    "结构-感知": 0.38,
    "秩序-张力": 0.32,
    "节制-强度": 0.58
   },
   "def": "以石色矿彩层层积染,绚烂厚重。它是古–现代、源出中国的东方绘画风格,在世界观上属「礼制图式」。上承唐代青绿风格、下启现代工笔风格。",
   "essence": "以石色矿彩层层积染,绚烂厚重",
   "voice": "以矿彩之厚,造一片绚烂的庄严",
   "period": "古–现代",
   "origin": "中国",
   "people": [
    "何家英",
    "蒋采苹"
   ],
   "parents": [
    "唐代青绿风格"
   ],
   "influences": [
    "现代工笔风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "装饰性满构图、平面经营",
    "透视与空间": "平面化、以重叠分层",
    "形状与造型": "勾勒填彩、形体明丽",
    "光影与明暗": "以色层厚薄代明暗",
    "色彩系统": "石青石绿朱砂金箔,浓重",
    "笔触与肌理": "沥粉贴金、层层罩染",
    "边缘与节奏": "边缘勾勒、色块节奏华丽"
   },
   "works": [
    "何家英《秋冥》",
    "当代岩彩重彩作品"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.112",
   "cn": "现代工笔风格",
   "en": "Modern Gongbi",
   "region": "east",
   "wv": "WV1",
   "year": 1950,
   "xi": "近现代体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.25,
    "struct_perc": 0.4,
    "east_west": 0.24
   },
   "vector": {
    "再现-表现": 0.25,
    "结构-感知": 0.4,
    "秩序-张力": 0.32,
    "节制-强度": 0.45
   },
   "def": "以工笔重彩表现当代题材与心理。它是20世纪–今、源出中国的东方绘画风格,在世界观上属「摹写之眼」。上承工笔花鸟风格、下启重彩风格。",
   "essence": "以工笔重彩表现当代题材与心理",
   "voice": "以精微工致,写当代人的内心与诗意",
   "period": "20世纪–今",
   "origin": "中国",
   "people": [
    "何家英",
    "蒋采苹"
   ],
   "parents": [
    "工笔花鸟风格"
   ],
   "influences": [
    "重彩风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "唯美经营、虚实留白",
    "透视与空间": "平面或微纵深、装饰空间",
    "形状与造型": "精勾细染、造型精准",
    "光影与明暗": "渲染柔和、含蓄明暗",
    "色彩系统": "淡雅或重彩、和谐",
    "笔触与肌理": "三矾九染、罩色",
    "边缘与节奏": "边缘清雅,精细节奏静谧"
   },
   "works": [
    "何家英《秋冥》",
    "何家英《米脂的婆姨》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.113",
   "cn": "学院派风格",
   "en": "Academic (Chinese)",
   "region": "east",
   "wv": "WV1",
   "year": 1945,
   "xi": "近现代体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.2,
    "struct_perc": 0.45,
    "east_west": 0.2
   },
   "vector": {
    "再现-表现": 0.2,
    "结构-感知": 0.45,
    "秩序-张力": 0.42,
    "节制-强度": 0.4
   },
   "def": "引入西方素描造型体系的学院绘画,严谨写实、重基本功。它是20世纪、源出中国(引入西法)的东方绘画风格,在世界观上属「摹写之眼」。上承写实主义风格、下启现代人物画风格。",
   "essence": "引入西方素描造型体系的学院绘画,严谨写实、重基本功。",
   "voice": "以素描造型为骨,立写实之基",
   "period": "20世纪",
   "origin": "中国(引入西法)",
   "people": [
    "徐悲鸿",
    "学院教学体系"
   ],
   "parents": [
    "写实主义风格"
   ],
   "influences": [
    "现代人物画风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "情节构图、人物中心",
    "透视与空间": "焦点透视、解剖体积",
    "形状与造型": "素描造型、结构准确",
    "光影与明暗": "明暗塑体",
    "色彩系统": "素描或写实设色",
    "笔触与肌理": "严谨写实笔法",
    "边缘与节奏": "边缘实在、沉稳的节奏"
   },
   "works": [
    "徐悲鸿《愚公移山》",
    "学院主题创作"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.114",
   "cn": "革新文人画风格",
   "en": null,
   "region": "east",
   "wv": "WV3",
   "year": 1100,
   "xi": "近现代体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.62,
    "struct_perc": 0.45,
    "east_west": 0.22
   },
   "vector": {
    "再现-表现": 0.62,
    "结构-感知": 0.45,
    "秩序-张力": 0.35,
    "节制-强度": 0.3
   },
   "def": "以笔墨写胸中逸气,画为心印。",
   "essence": "以笔墨写胸中逸气,画为心印",
   "voice": "画为心印,聊写胸中逸气耳",
   "period": "宋–清",
   "origin": "中国",
   "people": [
    "苏轼",
    "赵孟頫",
    "董其昌"
   ],
   "parents": [
    "宋代山水"
   ],
   "influences": [
    "写意",
    "近现代水墨"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "融合中西经营",
    "透视与空间": "写生纵深与笔墨结合",
    "形状与造型": "写实兼笔墨",
    "光影与明暗": "明暗与墨韵并用",
    "色彩系统": "水墨设色",
    "笔触与肌理": "写生与传统笔法",
    "边缘与节奏": "边缘虚实相生、革新的节奏"
   },
   "works": [
    "苏轼《枯木怪石图》",
    "赵孟頫《鹊华秋色图》",
    "倪瓒《容膝斋图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.115",
   "cn": "抽象水墨",
   "en": "Abstract Ink",
   "region": "east",
   "wv": "WV5",
   "year": 1950,
   "xi": "近现代体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.8,
    "struct_perc": 0.55,
    "east_west": 0.24
   },
   "vector": {
    "再现-表现": 0.8,
    "结构-感知": 0.55,
    "秩序-张力": 0.62,
    "节制-强度": 0.42
   },
   "def": "剥离物象,以墨象本身的张力为主角。它是20世纪后期、源出中国/东亚的东方绘画风格,在世界观上属「表现外化」。上承现代水墨、下启实验水墨。",
   "essence": "剥离物象,以墨象本身的张力为主角",
   "voice": "让墨自己说话,于抽象中见东方气韵",
   "period": "20世纪后期",
   "origin": "中国/东亚",
   "people": [
    "刘国松",
    "赵无极(油画相关)"
   ],
   "parents": [
    "现代水墨"
   ],
   "influences": [
    "实验水墨"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "全幅抽象经营、动势主导",
    "透视与空间": "取消具象空间、墨象自足",
    "形状与造型": "纯抽象墨形",
    "光影与明暗": "墨色浓淡层次、肌理",
    "色彩系统": "水墨为主、偶彩",
    "笔触与肌理": "拓墨、渍墨、撕纸筋(刘国松)",
    "边缘与节奏": "边缘自由,墨象节奏激荡"
   },
   "works": [
    "刘国松《寒山雪霁》",
    "刘国松《子夜的太阳》"
   ],
   "aka": [
    "抽象水墨风格",
    "几何水墨风格",
    "空间水墨风格",
    "层叠水墨风格"
   ]
  },
  {
   "id": "STYLE.east.116",
   "cn": "现代人物画风格",
   "en": "Modern Figure Painting",
   "region": "east",
   "wv": "WV1",
   "year": 1950,
   "xi": "近现代体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.25,
    "struct_perc": 0.4,
    "east_west": 0.2
   },
   "vector": {
    "再现-表现": 0.25,
    "结构-感知": 0.4,
    "秩序-张力": 0.42,
    "节制-强度": 0.4
   },
   "def": "融合笔墨与造型,塑造时代的人。它是20世纪、源出中国的东方绘画风格,在世界观上属「摹写之眼」。上承写实主义风格、下启现代写意风格。",
   "essence": "融合笔墨与造型,塑造时代的人",
   "voice": "以笔墨写新人,记一个时代的面孔",
   "period": "20世纪",
   "origin": "中国",
   "people": [
    "蒋兆和",
    "黄胄",
    "方增先"
   ],
   "parents": [
    "写实主义风格"
   ],
   "influences": [
    "现代写意风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "情节构图、人物为中心",
    "透视与空间": "写实空间与平面笔墨并用",
    "形状与造型": "结构造型与写意笔墨结合",
    "光影与明暗": "墨色浓淡塑形体",
    "色彩系统": "水墨为主、设色辅之",
    "笔触与肌理": "速写式笔线、皴擦",
    "边缘与节奏": "边缘虚实相生,动势活泼"
   },
   "works": [
    "黄胄《赶集》",
    "方增先《粒粒皆辛苦》",
    "蒋兆和《杜甫像》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.119",
   "cn": "表现水墨",
   "en": "Expressive Ink",
   "region": "east",
   "wv": "WV5",
   "year": 2008,
   "xi": "近现代体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.72,
    "struct_perc": 0.5,
    "east_west": 0.2
   },
   "vector": {
    "再现-表现": 0.72,
    "结构-感知": 0.5,
    "秩序-张力": 0.72,
    "节制-强度": 0.55
   },
   "def": "以水墨的奔放笔势宣泄强烈情感与生存体验。它是当代、源出中国的东方绘画风格,在世界观上属「表现外化」。上承写意人物风格、下启实验水墨。",
   "essence": "以水墨的奔放笔势宣泄强烈情感与生存体验",
   "voice": "以墨之激烈,写当代人的精神挣扎",
   "period": "当代",
   "origin": "中国",
   "people": [],
   "parents": [
    "写意人物风格"
   ],
   "influences": [
    "实验水墨"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "满构图、张力布局",
    "透视与空间": "平面或扭曲空间",
    "形状与造型": "夸张变形、表现性造型",
    "光影与明暗": "浓墨强对比",
    "色彩系统": "水墨为主、强烈",
    "笔触与肌理": "泼墨、破墨、激烈笔触",
    "边缘与节奏": "边缘奔突,节奏激越"
   },
   "works": [
    "(当代表现水墨作品)"
   ],
   "aka": [
    "表现水墨风格",
    "意象水墨风格"
   ]
  },
  {
   "id": "STYLE.east.120",
   "cn": "现代写意风格",
   "en": "Modern Xieyi",
   "region": "east",
   "wv": "WV3",
   "year": 1945,
   "xi": "近现代体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.6,
    "struct_perc": 0.48,
    "east_west": 0.22
   },
   "vector": {
    "再现-表现": 0.6,
    "结构-感知": 0.48,
    "秩序-张力": 0.55,
    "节制-强度": 0.48
   },
   "def": "接续大写意、表现时代精神与生机的现代写意。它是20世纪、源出中国的东方绘画风格,在世界观上属「写意寄情」。上承写意花鸟风格。",
   "essence": "接续大写意、表现时代精神与生机的现代写意。",
   "voice": "以雅俗共赏之笔,写时代的生机",
   "period": "20世纪",
   "origin": "中国",
   "people": [
    "齐白石",
    "潘天寿",
    "李苦禅"
   ],
   "parents": [
    "写意花鸟风格"
   ],
   "influences": [],
   "themes": [],
   "lang7": {
    "构图与组织": "奇崛布局、大开合(潘天寿)",
    "透视与空间": "平面、疏密虚实",
    "形状与造型": "以形写神、夸张概括",
    "光影与明暗": "浓淡墨与亮色对比",
    "色彩系统": "水墨为主、点缀亮色",
    "笔触与肌理": "泼墨、书法笔线、点厾",
    "边缘与节奏": "边缘明快、鲜活的节奏"
   },
   "works": [
    "齐白石《虾》",
    "潘天寿《雁荡山花》",
    "李苦禅《盛夏图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.121",
   "cn": "新中国画风格",
   "en": "New Guohua",
   "region": "east",
   "wv": "WV1",
   "year": 1950,
   "xi": "近现代体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.28,
    "struct_perc": 0.38,
    "east_west": 0.24
   },
   "vector": {
    "再现-表现": 0.28,
    "结构-感知": 0.38,
    "秩序-张力": 0.4,
    "节制-强度": 0.45
   },
   "def": "以传统笔墨表现新社会、新山河的改造实践。它是1950–70年代、源出中国的东方绘画风格,在世界观上属「摹写之眼」。上承写实主义风格、下启现代山水风格。",
   "essence": "以传统笔墨表现新社会、新山河的改造实践",
   "voice": "为祖国河山立传,以旧笔墨写新天地",
   "period": "1950–70年代",
   "origin": "中国",
   "people": [
    "李可染",
    "傅抱石",
    "关山月"
   ],
   "parents": [
    "写实主义风格"
   ],
   "influences": [
    "现代山水风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "全景式山河、点景建设",
    "透视与空间": "写生纵深与传统经营结合",
    "形状与造型": "写实山形、人物概括",
    "光影与明暗": "积墨厚重、逆光明暗",
    "色彩系统": "水墨浓重、朱红点醒",
    "笔触与肌理": "积墨、泼墨、写生笔法",
    "边缘与节奏": "边缘苍润,气势浑厚"
   },
   "works": [
    "李可染《万山红遍》",
    "傅抱石/关山月《江山如此多娇》",
    "钱松喦《红岩》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.122",
   "cn": "政治题材风格",
   "en": "Political Theme",
   "region": "east",
   "wv": "WV1",
   "year": 1945,
   "xi": "近现代体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.24,
    "struct_perc": 0.45,
    "east_west": 0.2
   },
   "vector": {
    "再现-表现": 0.24,
    "结构-感知": 0.45,
    "秩序-张力": 0.52,
    "节制-强度": 0.6
   },
   "def": "服务政治宣传与历史叙事的主题绘画,昂扬写实、激越鼓动。它是20世纪中、源出中国的东方绘画风格,在世界观上属「摹写之眼」。上承学院派风格、下启宣传画风格。",
   "essence": "服务政治宣传与历史叙事的主题绘画,昂扬写实、激越鼓动。",
   "voice": "以昂扬之笔,绘时代的意志",
   "period": "20世纪中",
   "origin": "中国",
   "people": [],
   "parents": [
    "学院派风格"
   ],
   "influences": [
    "宣传画风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "宏大场面、仰视构图",
    "透视与空间": "写实纵深",
    "形状与造型": "健硕理想化造型",
    "光影与明暗": "明亮强光",
    "色彩系统": "明快或庄重色",
    "笔触与肌理": "写实塑造",
    "边缘与节奏": "边缘明确、激越的节奏"
   },
   "works": [
    "主题历史画",
    "革命题材国画"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.123",
   "cn": "宣传画风格",
   "en": "Propaganda Poster",
   "region": "east",
   "wv": "WV1",
   "year": 1950,
   "xi": "近现代体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.22,
    "struct_perc": 0.45,
    "east_west": 0.22
   },
   "vector": {
    "再现-表现": 0.22,
    "结构-感知": 0.45,
    "秩序-张力": 0.5,
    "节制-强度": 0.62
   },
   "def": "以鲜明色彩与昂扬形象服务政治动员。它是20世纪中、源出中国的东方绘画风格,在世界观上属「摹写之眼」。上承学院派风格。",
   "essence": "以鲜明色彩与昂扬形象服务政治动员",
   "voice": "以最鲜亮的色彩,鼓动最高昂的意志",
   "period": "20世纪中",
   "origin": "中国",
   "people": [],
   "parents": [
    "学院派风格"
   ],
   "influences": [],
   "themes": [],
   "lang7": {
    "构图与组织": "仰视构图、人物高大居中",
    "透视与空间": "简化透视、突出主体",
    "形状与造型": "健硕理想化造型",
    "光影与明暗": "明快平涂、强光照",
    "色彩系统": "高饱和红黄、对比强",
    "笔触与肌理": "平涂、边缘锐利",
    "边缘与节奏": "边缘硬朗,节奏激越"
   },
   "works": [
    "《毛主席去安源》",
    "各类年画式宣传画"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.124",
   "cn": "海派风格",
   "en": null,
   "region": "east",
   "wv": "WV3",
   "year": 1720,
   "xi": "近现代体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.55,
    "struct_perc": 0.45,
    "east_west": 0.24
   },
   "vector": {
    "再现-表现": 0.55,
    "结构-感知": 0.45,
    "秩序-张力": 0.5,
    "节制-强度": 0.62
   },
   "def": "融文人与市民趣味,明丽雅俗共赏。",
   "essence": "融文人与市民趣味,明丽雅俗共赏",
   "voice": "雅俗共赏,以笔墨入市井烟火",
   "period": "清末–民国",
   "origin": "中国上海",
   "people": [
    "任伯年",
    "吴昌硕"
   ],
   "parents": [
    "扬州八怪风格"
   ],
   "influences": [
    "岭南画派"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "雅俗共赏、热闹",
    "透视与空间": "平面",
    "形状与造型": "概括明丽",
    "光影与明暗": "浓淡墨",
    "色彩系统": "鲜艳(洋红)俗丽",
    "笔触与肌理": "泼墨、没骨、书法线",
    "边缘与节奏": "边缘明快、市民的节奏"
   },
   "works": [
    "任伯年《群仙祝寿图》",
    "吴昌硕《岁朝清供图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.125",
   "cn": "岭南画派风格",
   "en": null,
   "region": "east",
   "wv": "WV3",
   "year": 1950,
   "xi": "近现代体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.5,
    "struct_perc": 0.55,
    "east_west": 0.2
   },
   "vector": {
    "再现-表现": 0.5,
    "结构-感知": 0.55,
    "秩序-张力": 0.55,
    "节制-强度": 0.6
   },
   "def": "折衷中西、融汇古今,以写生革新国画。",
   "essence": "折衷中西、融汇古今,以写生革新国画",
   "voice": "折衷中西,以新法救旧国画",
   "period": "20世纪初",
   "origin": "中国广东",
   "people": [
    "高剑父",
    "高奇峰",
    "陈树人"
   ],
   "parents": [
    "海派风格"
   ],
   "influences": [
    "现代水墨"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "折衷中西、写生",
    "透视与空间": "写生纵深",
    "形状与造型": "写实兼没骨",
    "光影与明暗": "撞水撞粉的明暗",
    "色彩系统": "明丽设色",
    "笔触与肌理": "撞水撞粉、写生笔",
    "边缘与节奏": "边缘清新、写实的节奏"
   },
   "works": [
    "高剑父《东战场的烈焰》",
    "高奇峰《孤猿》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.126",
   "cn": "白描人物风格",
   "en": "Baimiao (Ink-line Figure)",
   "region": "east",
   "wv": "WV1",
   "year": 1100,
   "xi": "近现代体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.32,
    "struct_perc": 0.4,
    "east_west": 0.22
   },
   "vector": {
    "再现-表现": 0.32,
    "结构-感知": 0.4,
    "秩序-张力": 0.4,
    "节制-强度": 0.3
   },
   "def": "纯以墨线之提按写人物形神,不施色彩。它是宋–现代、源出中国的东方绘画风格,在世界观上属「摹写之眼」。上承唐代宫廷绘画、下启现代人物画风格。",
   "essence": "纯以墨线之提按写人物形神,不施色彩",
   "voice": "洗尽铅华,以一线之力写尽形神",
   "period": "宋–现代",
   "origin": "中国",
   "people": [
    "李公麟",
    "张渥"
   ],
   "parents": [
    "唐代宫廷绘画"
   ],
   "influences": [
    "现代人物画风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "留白衬人,主体突出",
    "透视与空间": "以线的疏密示体积空间",
    "形状与造型": "线描定形,不依赖色块",
    "光影与明暗": "几无明暗,以线之轻重代之",
    "色彩系统": "纯墨,无色或极淡",
    "笔触与肌理": "行云流水描、铁线描,提按分明",
    "边缘与节奏": "边缘即线,线条节奏即一切"
   },
   "works": [
    "李公麟《五马图》",
    "张渥《九歌图》",
    "李公麟《维摩演教图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.129",
   "cn": "观念水墨",
   "en": "Conceptual Ink",
   "region": "east",
   "wv": "WV5",
   "year": 2008,
   "xi": "当代水墨体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.78,
    "struct_perc": 0.58,
    "east_west": 0.22
   },
   "vector": {
    "再现-表现": 0.78,
    "结构-感知": 0.58,
    "秩序-张力": 0.55,
    "节制-强度": 0.45
   },
   "def": "以观念为先,质询水墨与文字的文化身份。它是当代、源出中国的东方绘画风格,在世界观上属「表现外化」。上承现代水墨、下启实验水墨。",
   "essence": "以观念为先,质询水墨与文字的文化身份",
   "voice": "以水墨为媒,叩问传统与文化的合法性",
   "period": "当代",
   "origin": "中国",
   "people": [
    "谷文达",
    "徐冰"
   ],
   "parents": [
    "现代水墨"
   ],
   "influences": [
    "实验水墨"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "装置化、文本化布局",
    "透视与空间": "空间转向装置与现场",
    "形状与造型": "文字/符号取代物象",
    "光影与明暗": "墨色服务观念",
    "色彩系统": "水墨与综合材料",
    "笔触与肌理": "书写、印刷、拓印",
    "边缘与节奏": "边缘服从观念,节奏概念化"
   },
   "works": [
    "徐冰《天书》",
    "谷文达《碑林》"
   ],
   "aka": [
    "符号水墨风格",
    "后水墨风格",
    "元水墨风格"
   ]
  },
  {
   "id": "STYLE.east.130",
   "cn": "实验水墨",
   "en": "Experimental Ink",
   "region": "east",
   "wv": "WV5",
   "year": 1990,
   "xi": "当代水墨体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.82,
    "struct_perc": 0.55,
    "east_west": 0.24
   },
   "vector": {
    "再现-表现": 0.82,
    "结构-感知": 0.55,
    "秩序-张力": 0.62,
    "节制-强度": 0.5
   },
   "def": "突破媒介与笔墨成规,探索水墨的当代可能。它是1990s–今、源出中国的东方绘画风格,在世界观上属「表现外化」。上承现代水墨。",
   "essence": "突破媒介与笔墨成规,探索水墨的当代可能",
   "voice": "打破笔墨成法,把水墨推向材料与观念的边界",
   "period": "1990s–今",
   "origin": "中国",
   "people": [
    "张羽",
    "王天德"
   ],
   "parents": [
    "现代水墨"
   ],
   "influences": [],
   "themes": [],
   "lang7": {
    "构图与组织": "装置/平面跨界、过程性",
    "透视与空间": "空间装置化",
    "形状与造型": "抽象、痕迹、过程",
    "光影与明暗": "墨痕、烧痕代明暗",
    "色彩系统": "水墨与综合材料、宣纸",
    "笔触与肌理": "指印、拓、烧、拼贴",
    "边缘与节奏": "边缘开放,过程性节奏"
   },
   "works": [
    "张羽《指印》",
    "王天德《数码系列》"
   ],
   "aka": [
    "机械水墨风格",
    "材质水墨风格",
    "水性实验风格"
   ]
  },
  {
   "id": "STYLE.east.134",
   "cn": "极简水墨风格",
   "en": "Minimal Ink",
   "region": "east",
   "wv": "WV5",
   "year": 2008,
   "xi": "当代水墨体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.65,
    "struct_perc": 0.55,
    "east_west": 0.2
   },
   "vector": {
    "再现-表现": 0.65,
    "结构-感知": 0.55,
    "秩序-张力": 0.6,
    "节制-强度": 0.18
   },
   "def": "将禅意留白推至极简,以一墨一线见心性。它是当代、源出中国/东亚的东方绘画风格,在世界观上属「表现外化」。上承留白风格。",
   "essence": "将禅意留白推至极简,以一墨一线见心性",
   "voice": "减之又减,以至于道,墨尽而意无穷",
   "period": "当代",
   "origin": "中国/东亚",
   "people": [],
   "parents": [
    "留白风格"
   ],
   "influences": [],
   "themes": [],
   "lang7": {
    "构图与组织": "极度疏简、单一母题",
    "透视与空间": "纯虚空间、无纵深",
    "形状与造型": "抽象至符号/线",
    "光影与明暗": "极淡或单一墨度",
    "色彩系统": "纯水墨、单色",
    "笔触与肌理": "一笔写就、圆相飞白",
    "边缘与节奏": "边缘极静,留白主导节奏"
   },
   "works": [
    "(当代极简水墨作品)圆相、一笔系列"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.136",
   "cn": "数字与AI水墨",
   "en": "Digital & AI Ink",
   "region": "east",
   "wv": "WV5",
   "year": 2005,
   "xi": "当代水墨体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.72,
    "struct_perc": 0.45,
    "east_west": 0.24
   },
   "vector": {
    "再现-表现": 0.72,
    "结构-感知": 0.45,
    "秩序-张力": 0.5,
    "节制-强度": 0.48
   },
   "def": "以数字工具与AI生成探索水墨语言的当代实验,墨韵进入算法。它是21世纪、源出中国的东方绘画风格,在世界观上属「表现外化」。上承现代水墨、下启新媒体绘画。",
   "essence": "以数字工具与AI生成探索水墨语言的当代实验,墨韵进入算法。",
   "voice": "让墨韵在算法里重新生长",
   "period": "21世纪",
   "origin": "中国",
   "people": [],
   "parents": [
    "现代水墨"
   ],
   "influences": [
    "新媒体绘画"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "生成/拼合经营",
    "透视与空间": "虚拟或暗示空间",
    "形状与造型": "半抽象、数字化形态",
    "光影与明暗": "数位/算法明暗",
    "色彩系统": "水墨灰阶+数字色",
    "笔触与肌理": "数位笔刷、生成肌理",
    "边缘与节奏": "边缘可控、实验的节奏"
   },
   "works": [
    "当代数字水墨/AI生成水墨作品"
   ],
   "aka": [
    "AI水墨风格",
    "算法水墨风格",
    "数字墨迹风格",
    "虚拟水墨风格",
    "区块水墨风格",
    "智能水墨风格",
    "未来水墨风格",
    "生成水墨风格"
   ]
  },
  {
   "id": "STYLE.east.139",
   "cn": "书写性水墨",
   "en": "Calligraphic Ink",
   "region": "east",
   "wv": "WV5",
   "year": 2005,
   "xi": "当代水墨体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.75,
    "struct_perc": 0.52,
    "east_west": 0.24
   },
   "vector": {
    "再现-表现": 0.75,
    "结构-感知": 0.52,
    "秩序-张力": 0.62,
    "节制-强度": 0.55
   },
   "def": "强调书写性与笔势本身的当代水墨,把书画同源推向抽象极致。它是当代、源出中国的东方绘画风格,在世界观上属「表现外化」。上承文人笔墨风格、下启抽象水墨。",
   "essence": "强调书写性与笔势本身的当代水墨,把书画同源推向抽象极致。",
   "voice": "让一笔的书写,成为画的全部",
   "period": "当代",
   "origin": "中国",
   "people": [
    "王冬龄"
   ],
   "parents": [
    "文人笔墨风格"
   ],
   "influences": [
    "抽象水墨"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "满幅书写、动势主导",
    "透视与空间": "取消物象空间",
    "形状与造型": "抽象笔线、书写痕迹",
    "光影与明暗": "墨色浓淡",
    "色彩系统": "纯水墨",
    "笔触与肌理": "书法性运笔、提按飞白",
    "边缘与节奏": "边缘自由、书写的节奏"
   },
   "works": [
    "王冬龄《乱书》",
    "当代书写性水墨"
   ],
   "aka": [
    "空气水墨风格"
   ]
  },
  {
   "id": "STYLE.east.143",
   "cn": "行为与影像水墨",
   "en": "Performance & Video Ink",
   "region": "east",
   "wv": "WV5",
   "year": 2005,
   "xi": "当代水墨体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.8,
    "struct_perc": 0.48,
    "east_west": 0.2
   },
   "vector": {
    "再现-表现": 0.8,
    "结构-感知": 0.48,
    "秩序-张力": 0.55,
    "节制-强度": 0.52
   },
   "def": "以行为、影像记录水墨的生成过程,媒介从纸面扩展到时间。它是当代、源出中国的东方绘画风格,在世界观上属「表现外化」。上承实验水墨。",
   "essence": "以行为、影像记录水墨的生成过程,媒介从纸面扩展到时间。",
   "voice": "重要的不是画,而是落墨的过程",
   "period": "当代",
   "origin": "中国",
   "people": [
    "张羽"
   ],
   "parents": [
    "实验水墨"
   ],
   "influences": [],
   "themes": [],
   "lang7": {
    "构图与组织": "过程性、记录式",
    "透视与空间": "现场/时间空间",
    "形状与造型": "去物象、痕迹",
    "光影与明暗": "记录性",
    "色彩系统": "水墨与影像",
    "笔触与肌理": "身体性动作、按压",
    "边缘与节奏": "边缘开放、过程的节奏"
   },
   "works": [
    "张羽《指印》过程影像",
    "当代行为水墨"
   ],
   "aka": [
    "视频水墨风格",
    "行为绘画风格"
   ]
  },
  {
   "id": "STYLE.east.146",
   "cn": "社会与生态水墨",
   "en": "Social & Ecological Ink",
   "region": "east",
   "wv": "WV5",
   "year": 2005,
   "xi": "当代水墨体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.78,
    "struct_perc": 0.52,
    "east_west": 0.2
   },
   "vector": {
    "再现-表现": 0.78,
    "结构-感知": 0.52,
    "秩序-张力": 0.5,
    "节制-强度": 0.5
   },
   "def": "以水墨介入社会与生态议题的当代批判性创作。它是当代、源出中国的东方绘画风格,在世界观上属「表现外化」。上承实验水墨、下启观念绘画。",
   "essence": "以水墨介入社会与生态议题的当代批判性创作。",
   "voice": "以墨发问,介入现实与生态",
   "period": "当代",
   "origin": "中国",
   "people": [],
   "parents": [
    "实验水墨"
   ],
   "influences": [
    "观念绘画"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "议题导向、装置化",
    "透视与空间": "现实/装置空间",
    "形状与造型": "写实或符号",
    "光影与明暗": "随题而施",
    "色彩系统": "水墨与综合材料",
    "笔触与肌理": "拓印、拼贴、书写",
    "边缘与节奏": "边缘服从议题、批判的节奏"
   },
   "works": [
    "当代社会/生态水墨作品"
   ],
   "aka": [
    "都市水墨风格",
    "社会水墨风格",
    "生态水墨风格",
    "记忆水墨风格",
    "全球水墨风格"
   ]
  },
  {
   "id": "STYLE.east.150",
   "cn": "禅性水墨风格",
   "en": "Zen Ink",
   "region": "east",
   "wv": "WV3",
   "year": 2005,
   "xi": "当代水墨体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.6,
    "struct_perc": 0.55,
    "east_west": 0.22
   },
   "vector": {
    "再现-表现": 0.6,
    "结构-感知": 0.55,
    "秩序-张力": 0.52,
    "节制-强度": 0.22
   },
   "def": "以极简留白与顿悟意趣承续禅画精神的当代水墨。它是当代、源出中国/东亚的东方绘画风格,在世界观上属「写意寄情」。上承禅意绘画风格、下启极简水墨风格。",
   "essence": "以极简留白与顿悟意趣承续禅画精神的当代水墨。",
   "voice": "减之又减,于留白处见心性",
   "period": "当代",
   "origin": "中国/东亚",
   "people": [],
   "parents": [
    "禅意绘画风格"
   ],
   "influences": [
    "极简水墨风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "极简留白、单一母题",
    "透视与空间": "纯虚空间",
    "形状与造型": "抽象至符号/线",
    "光影与明暗": "极淡或单一墨度",
    "色彩系统": "纯水墨",
    "笔触与肌理": "一笔写就、圆相飞白",
    "边缘与节奏": "边缘极静、留白主导的节奏"
   },
   "works": [
    "当代禅意/极简水墨作品"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.152",
   "cn": "多媒介水墨风格",
   "en": "Multimedia Ink",
   "region": "east",
   "wv": "WV5",
   "year": 2005,
   "xi": "当代水墨体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.78,
    "struct_perc": 0.48,
    "east_west": 0.2
   },
   "vector": {
    "再现-表现": 0.78,
    "结构-感知": 0.48,
    "秩序-张力": 0.52,
    "节制-强度": 0.52
   },
   "def": "融合综合材料与多种媒介的实验水墨,突破纸墨边界。它是当代、源出中国的东方绘画风格,在世界观上属「表现外化」。上承实验水墨、下启综合材料绘画。",
   "essence": "融合综合材料与多种媒介的实验水墨,突破纸墨边界。",
   "voice": "让水墨与材料、媒介自由对话",
   "period": "当代",
   "origin": "中国",
   "people": [],
   "parents": [
    "实验水墨"
   ],
   "influences": [
    "综合材料绘画"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "跨界拼合、过程性",
    "透视与空间": "平面/装置兼有",
    "形状与造型": "抽象、痕迹、肌理",
    "光影与明暗": "以材料肌理代明暗",
    "色彩系统": "水墨与综合材料",
    "笔触与肌理": "拓、烧、拼贴、堆叠",
    "边缘与节奏": "边缘开放、跨界的节奏"
   },
   "works": [
    "当代多媒介水墨作品"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.161",
   "cn": "年画风格",
   "en": "New Year Prints",
   "region": "east",
   "wv": "WV2",
   "year": 1750,
   "xi": "民间与地域体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.4,
    "struct_perc": 0.3,
    "east_west": 0.2
   },
   "vector": {
    "再现-表现": 0.4,
    "结构-感知": 0.3,
    "秩序-张力": 0.45,
    "节制-强度": 0.62
   },
   "def": "民间节庆张贴的木版彩印画,祈福纳祥、雅俗共赏。它是宋–今、源出中国(杨柳青/桃花坞/杨家埠)的东方绘画风格,在世界观上属「礼制图式」。",
   "essence": "民间节庆张贴的木版彩印画,祈福纳祥、雅俗共赏。",
   "voice": "贴一张画,把吉祥请进家门",
   "period": "宋–今",
   "origin": "中国(杨柳青/桃花坞/杨家埠)",
   "people": [],
   "parents": [],
   "influences": [],
   "themes": [],
   "lang7": {
    "构图与组织": "饱满对称、主体居中",
    "透视与空间": "平面无透视",
    "形状与造型": "圆满概括、喜庆化",
    "光影与明暗": "平涂无明暗",
    "色彩系统": "大红大绿、对比强烈",
    "笔触与肌理": "木版套印、线条爽利",
    "边缘与节奏": "边缘硬朗、热闹的节奏"
   },
   "works": [
    "杨柳青《连年有余》",
    "桃花坞《一团和气》",
    "杨家埠门神"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.162",
   "cn": "剪纸风格",
   "en": "Papercut",
   "region": "east",
   "wv": "WV2",
   "year": 1750,
   "xi": "民间与地域体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.5,
    "struct_perc": 0.22,
    "east_west": 0.22
   },
   "vector": {
    "再现-表现": 0.5,
    "结构-感知": 0.22,
    "秩序-张力": 0.42,
    "节制-强度": 0.55
   },
   "def": "以剪刀刻纸的镂空民间艺术,符号吉祥、平面装饰。它是北朝–今、源出中国的东方绘画风格,在世界观上属「礼制图式」。下启年画风格。",
   "essence": "以剪刀刻纸的镂空民间艺术,符号吉祥、平面装饰。",
   "voice": "一剪之下,镂出民间的祈愿",
   "period": "北朝–今",
   "origin": "中国",
   "people": [],
   "parents": [],
   "influences": [
    "年画风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "对称连缀、满而不乱",
    "透视与空间": "纯平面、镂空",
    "形状与造型": "符号化、概括剪影",
    "光影与明暗": "无明暗、以镂空为虚",
    "色彩系统": "单色(红为主)",
    "笔触与肌理": "剪刻、阴阳镂空",
    "边缘与节奏": "边缘锯齿利落、连续的节奏"
   },
   "works": [
    "陕西窗花",
    "山东喜花",
    "蔚县彩色剪纸"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.164",
   "cn": "敦煌壁画风格",
   "en": null,
   "region": "east",
   "wv": "WV2",
   "year": 1750,
   "xi": "民间与地域体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.35,
    "struct_perc": 0.3,
    "east_west": 0.2
   },
   "vector": {
    "再现-表现": 0.35,
    "结构-感知": 0.3,
    "秩序-张力": 0.55,
    "节制-强度": 0.75
   },
   "def": "北朝至唐的佛教石窟壁画,以经变叙事、飞天与浓重矿物色,营造庄严的信仰世界。",
   "essence": "以经变叙事与矿物重彩营造庄严信仰世界",
   "voice": "以庄严之相,度信者入净土",
   "period": "北朝–唐",
   "origin": "中国敦煌",
   "people": [
    "历代画工(佚名)"
   ],
   "parents": [],
   "influences": [
    "现代重彩"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "经变满壁、对称大场面",
    "透视与空间": "建筑界格、上下叠层",
    "形状与造型": "宝相庄严、飞天流动",
    "光影与明暗": "平涂兼凹凸晕染",
    "色彩系统": "石青石绿朱砂金箔",
    "笔触与肌理": "铁线/兰叶描、重彩",
    "边缘与节奏": "边缘清劲、飞天飘带的流动节奏"
   },
   "works": [
    "莫高窟《九色鹿本生》",
    "莫高窟《飞天》",
    "莫高窟《反弹琵琶》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.165",
   "cn": "永乐宫壁画风格",
   "en": "Yongle Palace Mural",
   "region": "east",
   "wv": "WV2",
   "year": 1750,
   "xi": "民间与地域体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.42,
    "struct_perc": 0.25,
    "east_west": 0.22
   },
   "vector": {
    "再现-表现": 0.42,
    "结构-感知": 0.25,
    "秩序-张力": 0.28,
    "节制-强度": 0.52
   },
   "def": "元代道教壁画的巅峰,《朝元图》百神朝拜、线描遒劲恢宏。它是元、源出中国(山西)的东方绘画风格,在世界观上属「礼制图式」。上承道教图像风格、下启壁画风格。",
   "essence": "元代道教壁画的巅峰,《朝元图》百神朝拜、线描遒劲恢宏。",
   "voice": "百神朝元,列尊卑以显天界之序",
   "period": "元",
   "origin": "中国(山西)",
   "people": [
    "马君祥及门人"
   ],
   "parents": [
    "道教图像风格"
   ],
   "influences": [
    "壁画风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "长卷行列式朝拜、主神领衔",
    "透视与空间": "平列无纵深、以位次示尊卑",
    "形状与造型": "峨冠博带、线描遒劲",
    "光影与明暗": "平涂、衣冠沥金",
    "色彩系统": "朱、青绿、沥粉贴金",
    "笔触与肌理": "吴带当风式兰叶描",
    "边缘与节奏": "边缘劲利、行列绵延的节奏"
   },
   "works": [
    "永乐宫三清殿《朝元图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.166",
   "cn": "唐卡风格",
   "en": "Thangka",
   "region": "east",
   "wv": "WV2",
   "year": 1750,
   "xi": "民间与地域体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.45,
    "struct_perc": 0.2,
    "east_west": 0.24
   },
   "vector": {
    "再现-表现": 0.45,
    "结构-感知": 0.2,
    "秩序-张力": 0.3,
    "节制-强度": 0.6
   },
   "def": "藏传佛教的卷轴圣像,仪轨严密、金彩辉煌,为修行观想而绘。它是7世纪–今、源出西藏的东方绘画风格,在世界观上属「礼制图式」。上承佛像造像风格、下启藏传绘画风格。",
   "essence": "藏传佛教的卷轴圣像,仪轨严密、金彩辉煌,为修行观想而绘。",
   "voice": "以严密仪轨,绘可观想的佛国",
   "period": "7世纪–今",
   "origin": "西藏",
   "people": [],
   "parents": [
    "佛像造像风格"
   ],
   "influences": [
    "藏传绘画风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "中央主尊、坛城对称环绕",
    "透视与空间": "象征性多重空间",
    "形状与造型": "程式严密、比例依仪轨",
    "光影与明暗": "平涂、金线勾勒",
    "色彩系统": "石青石绿朱砂、大量金",
    "笔触与肌理": "矿物重彩、金线、晕染",
    "边缘与节奏": "边缘金线勾勒、繁密庄严的节奏"
   },
   "works": [
    "勉唐派唐卡",
    "钦孜派唐卡",
    "时轮金刚坛城"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.167",
   "cn": "藏传绘画风格",
   "en": "Tibetan Buddhist Painting",
   "region": "east",
   "wv": "WV2",
   "year": 1750,
   "xi": "民间与地域体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.45,
    "struct_perc": 0.22,
    "east_west": 0.2
   },
   "vector": {
    "再现-表现": 0.45,
    "结构-感知": 0.22,
    "秩序-张力": 0.32,
    "节制-强度": 0.58
   },
   "def": "藏传佛教绘画体系,壁画与唐卡并重,程式神圣、色彩绚烂。它是7世纪–今、源出西藏的东方绘画风格,在世界观上属「礼制图式」。上承佛像造像风格、下启唐卡风格。",
   "essence": "藏传佛教绘画体系,壁画与唐卡并重,程式神圣、色彩绚烂。",
   "voice": "以绚烂庄严,显密法的神圣",
   "period": "7世纪–今",
   "origin": "西藏",
   "people": [
    "勉拉顿珠(勉唐派)"
   ],
   "parents": [
    "佛像造像风格"
   ],
   "influences": [
    "唐卡风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "满壁经变、对称庄严",
    "透视与空间": "象征空间、多重曼陀罗",
    "形状与造型": "程式神圣、繁复装饰",
    "光影与明暗": "平涂、金饰提亮",
    "色彩系统": "绚烂矿物色、贴金",
    "笔触与肌理": "重彩、金线、晕染",
    "边缘与节奏": "边缘勾金、繁密的节奏"
   },
   "works": [
    "布达拉宫壁画",
    "夏鲁寺壁画"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.176",
   "cn": "漆画风格",
   "en": "Lacquer Painting",
   "region": "east",
   "wv": "WV2",
   "year": 1750,
   "xi": "民间与地域体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.46,
    "struct_perc": 0.3,
    "east_west": 0.2
   },
   "vector": {
    "再现-表现": 0.46,
    "结构-感知": 0.3,
    "秩序-张力": 0.42,
    "节制-强度": 0.55
   },
   "def": "以大漆为媒的绘画,髹饰镶嵌、温润深沉,材质本身即语言。它是战国–今、源出中国的东方绘画风格,在世界观上属「礼制图式」。",
   "essence": "以大漆为媒的绘画,髹饰镶嵌、温润深沉,材质本身即语言。",
   "voice": "以漆之深沉温润,作画亦作器",
   "period": "战国–今",
   "origin": "中国",
   "people": [
    "乔十光"
   ],
   "parents": [],
   "influences": [],
   "themes": [],
   "lang7": {
    "构图与组织": "装饰性经营、平面铺陈",
    "透视与空间": "平面或浅纵深",
    "形状与造型": "概括装饰、镶嵌成形",
    "光影与明暗": "漆面光泽代明暗",
    "色彩系统": "黑红为主、螺钿金银",
    "笔触与肌理": "髹涂、镶嵌、研磨",
    "边缘与节奏": "边缘光润、装饰的节奏"
   },
   "works": [
    "战国漆画《车马出行》",
    "乔十光现代漆画"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.179",
   "cn": "西北岩彩风格",
   "en": "Northwest Mineral-Color",
   "region": "east",
   "wv": "WV3",
   "year": 1750,
   "xi": "民间与地域体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.52,
    "struct_perc": 0.42,
    "east_west": 0.2
   },
   "vector": {
    "再现-表现": 0.52,
    "结构-感知": 0.42,
    "秩序-张力": 0.45,
    "节制-强度": 0.56
   },
   "def": "取法敦煌、以矿物岩彩层层堆叠的现代重彩,厚重斑斓而苍茫。它是现代、源出中国(取法敦煌)的东方绘画风格,在世界观上属「写意寄情」。上承敦煌壁画风格、下启重彩工笔风格。",
   "essence": "取法敦煌、以矿物岩彩层层堆叠的现代重彩,厚重斑斓而苍茫。",
   "voice": "以岩彩之厚,接续敦煌的斑斓",
   "period": "现代",
   "origin": "中国(取法敦煌)",
   "people": [],
   "parents": [
    "敦煌壁画风格"
   ],
   "influences": [
    "重彩工笔风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "满构图、斑驳经营",
    "透视与空间": "平面、装饰空间",
    "形状与造型": "概括厚重、斑驳成形",
    "光影与明暗": "以色层厚薄与剥落代明暗",
    "色彩系统": "石青石绿土红、矿物厚色",
    "笔触与肌理": "堆叠、打磨、做旧肌理",
    "边缘与节奏": "边缘斑驳、苍茫的节奏"
   },
   "works": [
    "现代岩彩重彩作品"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.193",
   "cn": "工笔人物风格",
   "en": "Gongbi Figure",
   "region": "east",
   "wv": "WV1",
   "year": 1350,
   "xi": "工笔与写意体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.25,
    "struct_perc": 0.4,
    "east_west": 0.24
   },
   "vector": {
    "再现-表现": 0.25,
    "结构-感知": 0.4,
    "秩序-张力": 0.3,
    "节制-强度": 0.4
   },
   "def": "精勾细染的人物画,以工致线描与层层分染写人物之形神与衣冠之华。它是晋–清、源出中国的东方绘画风格,在世界观上属「摹写之眼」。上承唐代仕女风格、下启现代工笔风格。",
   "essence": "精勾细染的人物画,以工致线描与层层分染写人物之形神与衣冠之华。",
   "voice": "以工致之笔,把人画到眉目可亲",
   "period": "晋–清",
   "origin": "中国",
   "people": [
    "顾恺之",
    "张萱",
    "周昉",
    "陈洪绶"
   ],
   "parents": [
    "唐代仕女风格"
   ],
   "influences": [
    "现代工笔风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "人物列阵、主次分明",
    "透视与空间": "平面、以重叠示前后",
    "形状与造型": "精勾轮廓、形神兼备",
    "光影与明暗": "平涂薄染、罩色塑面",
    "色彩系统": "石色淡彩、典丽",
    "笔触与肌理": "高古游丝/铁线描、三矾九染",
    "边缘与节奏": "边缘工整,衣纹排叠的韵律"
   },
   "works": [
    "顾恺之《女史箴图》",
    "周昉《簪花仕女图》",
    "陈洪绶《屈子行吟图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.195",
   "cn": "工笔山水风格",
   "en": "Gongbi Landscape",
   "region": "east",
   "wv": "WV1",
   "year": 1350,
   "xi": "工笔与写意体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.3,
    "struct_perc": 0.4,
    "east_west": 0.22
   },
   "vector": {
    "再现-表现": 0.3,
    "结构-感知": 0.4,
    "秩序-张力": 0.32,
    "节制-强度": 0.4
   },
   "def": "精勾细描、设色工致的山水,界画楼阁与青绿山川俱极精严。它是隋–宋、源出中国的东方绘画风格,在世界观上属「摹写之眼」。上承唐代青绿风格、下启北宋院体风格。",
   "essence": "精勾细描、设色工致的山水,界画楼阁与青绿山川俱极精严。",
   "voice": "一笔不苟,把万里江山收于工细",
   "period": "隋–宋",
   "origin": "中国",
   "people": [
    "展子虔",
    "王希孟",
    "赵伯驹"
   ],
   "parents": [
    "唐代青绿风格"
   ],
   "influences": [
    "北宋院体风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "全景工整、布置严谨",
    "透视与空间": "三远工致、界画楼阁",
    "形状与造型": "勾斫精细、山形坚整",
    "光影与明暗": "以色阶代明暗",
    "色彩系统": "石青石绿、富丽",
    "笔触与肌理": "细劲勾勒、层层罩染",
    "边缘与节奏": "边缘清劲,精严的节奏"
   },
   "works": [
    "展子虔《游春图》",
    "王希孟《千里江山图》",
    "赵伯驹《江山秋色图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.199",
   "cn": "小写意风格",
   "en": "Lesser Xieyi",
   "region": "east",
   "wv": "WV3",
   "year": 1350,
   "xi": "工笔与写意体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.55,
    "struct_perc": 0.45,
    "east_west": 0.24
   },
   "vector": {
    "再现-表现": 0.55,
    "结构-感知": 0.45,
    "秩序-张力": 0.48,
    "节制-强度": 0.4
   },
   "def": "介于工笔与大写意之间,工写结合、形意兼顾的清润画法。它是明–今、源出中国的东方绘画风格,在世界观上属「写意寄情」。上承写意花鸟风格、下启海派风格。",
   "essence": "介于工笔与大写意之间,工写结合、形意兼顾的清润画法。",
   "voice": "工而不板、写而不野,得其中和",
   "period": "明–今",
   "origin": "中国",
   "people": [
    "恽寿平",
    "任伯年"
   ],
   "parents": [
    "写意花鸟风格"
   ],
   "influences": [
    "海派风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "折枝小品、疏朗经营",
    "透视与空间": "平面、以虚实示空间",
    "形状与造型": "形意兼顾、清润概括",
    "光影与明暗": "淡墨轻染、含蓄",
    "色彩系统": "水墨淡彩、没骨",
    "笔触与肌理": "工写结合、点染并用",
    "边缘与节奏": "边缘灵动,清润的节奏"
   },
   "works": [
    "任伯年《花鸟册》",
    "恽寿平《瓯香馆写生》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.200",
   "cn": "大写意风格",
   "en": "Grand Xieyi",
   "region": "east",
   "wv": "WV5",
   "year": 1350,
   "xi": "工笔与写意体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.7,
    "struct_perc": 0.46,
    "east_west": 0.2
   },
   "vector": {
    "再现-表现": 0.7,
    "结构-感知": 0.46,
    "秩序-张力": 0.62,
    "节制-强度": 0.58
   },
   "def": "泼墨纵笔、高度概括,以最简的笔墨宣泄最浓的意气。它是明–今、源出中国的东方绘画风格,在世界观上属「表现外化」。上承写意花鸟风格、下启现代花鸟风格、表现水墨。",
   "essence": "泼墨纵笔、高度概括,以最简的笔墨宣泄最浓的意气。",
   "voice": "逸笔草草,泄胸中不平之气",
   "period": "明–今",
   "origin": "中国",
   "people": [
    "徐渭",
    "八大山人",
    "吴昌硕",
    "齐白石"
   ],
   "parents": [
    "写意花鸟风格"
   ],
   "influences": [
    "现代花鸟风格",
    "表现水墨"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "大开大合、欹侧奇崛",
    "透视与空间": "平面、以疏密示空间",
    "形状与造型": "以神写形、夸张变形",
    "光影与明暗": "泼墨淋漓、浓淡强对比",
    "色彩系统": "水墨为主、点缀朱赭",
    "笔触与肌理": "泼墨/破墨/书法笔线",
    "边缘与节奏": "边缘奔放,酣畅的节奏"
   },
   "works": [
    "徐渭《墨葡萄图》",
    "八大山人《荷花水鸟图》",
    "吴昌硕《葫芦图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.201",
   "cn": "白描风格",
   "en": "Baimiao (Ink Outline)",
   "region": "east",
   "wv": "WV1",
   "year": 1350,
   "xi": "工笔与写意体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.32,
    "struct_perc": 0.42,
    "east_west": 0.22
   },
   "vector": {
    "再现-表现": 0.32,
    "结构-感知": 0.42,
    "秩序-张力": 0.4,
    "节制-强度": 0.26
   },
   "def": "纯以墨线之提按勾勒形象,不施色彩,以一线见形神。它是宋–今、源出中国的东方绘画风格,在世界观上属「摹写之眼」。上承工笔人物风格、下启现代人物画风格。",
   "essence": "纯以墨线之提按勾勒形象,不施色彩,以一线见形神。",
   "voice": "洗尽铅华,以一线之力写尽形神",
   "period": "宋–今",
   "origin": "中国",
   "people": [
    "李公麟",
    "张渥",
    "陈洪绶"
   ],
   "parents": [
    "工笔人物风格"
   ],
   "influences": [
    "现代人物画风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "留白衬形、主体突出",
    "透视与空间": "以线疏密示体积空间",
    "形状与造型": "线描定形、不依赖色块",
    "光影与明暗": "几无明暗、以线轻重代之",
    "色彩系统": "纯墨、无色",
    "笔触与肌理": "行云流水/铁线描、提按分明",
    "边缘与节奏": "边缘即线,线条本身即节奏"
   },
   "works": [
    "李公麟《五马图》",
    "张渥《九歌图》",
    "陈洪绶《水浒叶子》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.202",
   "cn": "重彩工笔风格",
   "en": "Heavy-Color Gongbi",
   "region": "east",
   "wv": "WV1",
   "year": 1350,
   "xi": "工笔与写意体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.28,
    "struct_perc": 0.38,
    "east_west": 0.24
   },
   "vector": {
    "再现-表现": 0.28,
    "结构-感知": 0.38,
    "秩序-张力": 0.32,
    "节制-强度": 0.52
   },
   "def": "以石色矿彩层层积染,勾勒填彩,绚烂厚重而富贵。它是五代–今、源出中国的东方绘画风格,在世界观上属「摹写之眼」。上承工笔花鸟风格、下启重彩风格。",
   "essence": "以石色矿彩层层积染,勾勒填彩,绚烂厚重而富贵。",
   "voice": "以矿彩之厚,造一片绚烂的庄严",
   "period": "五代–今",
   "origin": "中国",
   "people": [
    "黄筌",
    "赵佶",
    "何家英"
   ],
   "parents": [
    "工笔花鸟风格"
   ],
   "influences": [
    "重彩风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "装饰满构图、平面经营",
    "透视与空间": "平面化、以重叠分层",
    "形状与造型": "勾勒填彩、形体明丽",
    "光影与明暗": "以色层厚薄代明暗",
    "色彩系统": "石青石绿朱砂金箔、浓重",
    "笔触与肌理": "沥粉贴金、层层罩染",
    "边缘与节奏": "边缘勾勒、华丽的节奏"
   },
   "works": [
    "黄筌《写生珍禽图》",
    "赵佶《芙蓉锦鸡图》",
    "何家英《秋冥》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.203",
   "cn": "青绿工笔风格",
   "en": "Blue-Green Gongbi",
   "region": "east",
   "wv": "WV1",
   "year": 1350,
   "xi": "工笔与写意体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.32,
    "struct_perc": 0.38,
    "east_west": 0.2
   },
   "vector": {
    "再现-表现": 0.32,
    "结构-感知": 0.38,
    "秩序-张力": 0.32,
    "节制-强度": 0.48
   },
   "def": "以石青石绿为主调、工细设色的青绿山水,典雅而富丽。它是隋–今、源出中国的东方绘画风格,在世界观上属「摹写之眼」。上承唐代青绿风格、下启金碧山水风格。",
   "essence": "以石青石绿为主调、工细设色的青绿山水,典雅而富丽。",
   "voice": "以石青石绿,铺一片庄严的青山",
   "period": "隋–今",
   "origin": "中国",
   "people": [
    "展子虔",
    "李思训",
    "王希孟"
   ],
   "parents": [
    "唐代青绿风格"
   ],
   "influences": [
    "金碧山水风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "高远layered、主峰统领",
    "透视与空间": "以山叠示纵深",
    "形状与造型": "勾勒填色、山形端整",
    "光影与明暗": "以色层次代明暗",
    "色彩系统": "石青石绿赭石、富丽",
    "笔触与肌理": "勾勒精细、分层罩染",
    "边缘与节奏": "边缘清劲、庄重的色块节奏"
   },
   "works": [
    "展子虔《游春图》",
    "王希孟《千里江山图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.204",
   "cn": "淡彩工笔风格",
   "en": "Light-Color Gongbi",
   "region": "east",
   "wv": "WV1",
   "year": 1350,
   "xi": "工笔与写意体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.3,
    "struct_perc": 0.42,
    "east_west": 0.22
   },
   "vector": {
    "再现-表现": 0.3,
    "结构-感知": 0.42,
    "秩序-张力": 0.32,
    "节制-强度": 0.34
   },
   "def": "浅淡设色、清雅含蓄的工笔,以没骨与薄染见温润之趣。它是宋–今、源出中国的东方绘画风格,在世界观上属「摹写之眼」。上承工笔花鸟风格、下启现代工笔风格。",
   "essence": "浅淡设色、清雅含蓄的工笔,以没骨与薄染见温润之趣。",
   "voice": "设色清雅,工而不腻",
   "period": "宋–今",
   "origin": "中国",
   "people": [
    "恽寿平",
    "于非闇"
   ],
   "parents": [
    "工笔花鸟风格"
   ],
   "influences": [
    "现代工笔风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "折枝精审、清雅留白",
    "透视与空间": "平面、以遮挡示前后",
    "形状与造型": "精勾或没骨、形体温润",
    "光影与明暗": "渲染柔和、含蓄明暗",
    "色彩系统": "淡彩、和谐清雅",
    "笔触与肌理": "三矾九染、没骨点染",
    "边缘与节奏": "边缘清雅,温润的节奏"
   },
   "works": [
    "恽寿平《花卉册》",
    "于非闇《玉兰黄鹂》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.216",
   "cn": "寫形風格",
   "en": "Form-Depiction",
   "region": "east",
   "wv": "WV1",
   "year": 1350,
   "xi": "工笔与写意体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.3,
    "struct_perc": 0.4,
    "east_west": 0.22
   },
   "vector": {
    "再现-表现": 0.3,
    "结构-感知": 0.4,
    "秩序-张力": 0.35,
    "节制-强度": 0.38
   },
   "def": "以精准状物为本、形似为先的画学倾向——以形写形,格物致知。它是古典画论范畴、源出中国的东方绘画风格,在世界观上属「摹写之眼」。下启工笔花鸟风格。",
   "essence": "以精准状物为本、形似为先的画学倾向——以形写形,格物致知。",
   "voice": "应物象形,以形写形",
   "period": "古典画论范畴",
   "origin": "中国",
   "people": [
    "黄筌",
    "院体画家"
   ],
   "parents": [],
   "influences": [
    "工笔花鸟风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "严谨写实经营",
    "透视与空间": "写实空间",
    "形状与造型": "精准状物、形似毕肖",
    "光影与明暗": "以明暗塑体",
    "色彩系统": "写实设色",
    "笔触与肌理": "精细勾染",
    "边缘与节奏": "边缘清晰、精确的节奏"
   },
   "works": [
    "黄筌《写生珍禽图》",
    "院体写生作品"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.217",
   "cn": "寫神風格",
   "en": "Spirit-Depiction",
   "region": "east",
   "wv": "WV3",
   "year": 1350,
   "xi": "工笔与写意体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.6,
    "struct_perc": 0.46,
    "east_west": 0.24
   },
   "vector": {
    "再现-表现": 0.6,
    "结构-感知": 0.46,
    "秩序-张力": 0.52,
    "节制-强度": 0.42
   },
   "def": "不拘形似而求传神——传神写照,正在阿堵中,以形写神。它是古典画论范畴、源出中国的东方绘画风格,在世界观上属「写意寄情」。下启写意人物风格。",
   "essence": "不拘形似而求传神——传神写照,正在阿堵中,以形写神。",
   "voice": "传神写照,正在阿堵中",
   "period": "古典画论范畴",
   "origin": "中国",
   "people": [
    "顾恺之",
    "梁楷"
   ],
   "parents": [],
   "influences": [
    "写意人物风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "取势传神、删繁就简",
    "透视与空间": "以神领形的空间",
    "形状与造型": "以形写神、夸张神采",
    "光影与明暗": "墨色随神而施",
    "色彩系统": "水墨为主",
    "笔触与肌理": "点睛之笔、减笔传神",
    "边缘与节奏": "边缘灵动、神采的节奏"
   },
   "works": [
    "顾恺之《洛神赋图》(传)",
    "梁楷《李白行吟图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.218",
   "cn": "情绪笔墨风格",
   "en": "Emotive Brushwork",
   "region": "east",
   "wv": "WV5",
   "year": 1350,
   "xi": "工笔与写意体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.72,
    "struct_perc": 0.5,
    "east_west": 0.2
   },
   "vector": {
    "再现-表现": 0.72,
    "结构-感知": 0.5,
    "秩序-张力": 0.65,
    "节制-强度": 0.58
   },
   "def": "让笔墨成为情绪的直接痕迹,以运笔的快慢轻重宣泄心绪。它是明–今、源出中国的东方绘画风格,在世界观上属「表现外化」。上承大写意风格、下启表现水墨。",
   "essence": "让笔墨成为情绪的直接痕迹,以运笔的快慢轻重宣泄心绪。",
   "voice": "笔随情走,墨为心痕",
   "period": "明–今",
   "origin": "中国",
   "people": [
    "徐渭",
    "八大山人"
   ],
   "parents": [
    "大写意风格"
   ],
   "influences": [
    "表现水墨"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "张力布局、动势奔涌",
    "透视与空间": "平面或扭曲空间",
    "形状与造型": "夸张变形、随情而变",
    "光影与明暗": "浓墨强对比",
    "色彩系统": "水墨为主、强烈",
    "笔触与肌理": "疾徐顿挫、泼破并用",
    "边缘与节奏": "边缘奔突、激越的节奏"
   },
   "works": [
    "徐渭《杂花图卷》",
    "八大山人《孤禽图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.219",
   "cn": "自然笔墨风格",
   "en": "Naturalist Brushwork",
   "region": "east",
   "wv": "WV3",
   "year": 1350,
   "xi": "工笔与写意体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.55,
    "struct_perc": 0.5,
    "east_west": 0.22
   },
   "vector": {
    "再现-表现": 0.55,
    "结构-感知": 0.5,
    "秩序-张力": 0.45,
    "节制-强度": 0.35
   },
   "def": "师法自然、随物赋形,笔墨随自然之理而生,不矫饰、不程式。它是近现代、源出中国的东方绘画风格,在世界观上属「写意寄情」。上承写意山水风格、下启现代山水风格。",
   "essence": "师法自然、随物赋形,笔墨随自然之理而生,不矫饰、不程式。",
   "voice": "师造化、得心源,笔墨随自然而生",
   "period": "近现代",
   "origin": "中国",
   "people": [
    "黄宾虹",
    "李可染"
   ],
   "parents": [
    "写意山水风格"
   ],
   "influences": [
    "现代山水风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "写生经营、浑然自然",
    "透视与空间": "实景纵深与传统结合",
    "形状与造型": "随物赋形、自然概括",
    "光影与明暗": "积墨层次、自然明暗",
    "色彩系统": "水墨为主、浅绛",
    "笔触与肌理": "积墨/破墨/写生笔法",
    "边缘与节奏": "边缘苍润、自然的节奏"
   },
   "works": [
    "黄宾虹《山水》",
    "李可染写生山水"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.220",
   "cn": "文人笔墨风格",
   "en": "Literati Brushwork",
   "region": "east",
   "wv": "WV3",
   "year": 1350,
   "xi": "工笔与写意体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.56,
    "struct_perc": 0.45,
    "east_west": 0.24
   },
   "vector": {
    "再现-表现": 0.56,
    "结构-感知": 0.45,
    "秩序-张力": 0.48,
    "节制-强度": 0.28
   },
   "def": "以书入画、笔墨即修养,绘画是文人胸次与人格的直接流露。它是宋–今、源出中国的东方绘画风格,在世界观上属「写意寄情」。上承文人水墨风格、下启南宗画风。",
   "essence": "以书入画、笔墨即修养,绘画是文人胸次与人格的直接流露。",
   "voice": "画乃心印,笔墨见其人",
   "period": "宋–今",
   "origin": "中国",
   "people": [
    "苏轼",
    "董其昌",
    "黄宾虹"
   ],
   "parents": [
    "文人水墨风格"
   ],
   "influences": [
    "南宗画风"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "疏简布置、计白当黑",
    "透视与空间": "平远简淡",
    "形状与造型": "形简意足、书法入画",
    "光影与明暗": "淡墨清雅",
    "色彩系统": "水墨为主、偶浅绛",
    "笔触与肌理": "以书法笔意运笔、飞白",
    "边缘与节奏": "边缘松灵、从容的节奏"
   },
   "works": [
    "苏轼《枯木怪石图》",
    "董其昌《秋兴八景》",
    "黄宾虹《拟董北苑》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.231",
   "cn": "综合材料绘画",
   "en": "Mixed Media Painting",
   "region": "east",
   "wv": "WV5",
   "year": 2005,
   "xi": "跨媒介与实验体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.8,
    "struct_perc": 0.45,
    "east_west": 0.22
   },
   "vector": {
    "再现-表现": 0.8,
    "结构-感知": 0.45,
    "秩序-张力": 0.6,
    "节制-强度": 0.58
   },
   "def": "突破单一媒介、以多种材料并置堆叠的当代绘画,物质即语言。它是当代、源出国际/中国的东方绘画风格,在世界观上属「表现外化」。上承非形式艺术、下启多媒介水墨风格。",
   "essence": "突破单一媒介、以多种材料并置堆叠的当代绘画,物质即语言。",
   "voice": "让材料本身说话",
   "period": "当代",
   "origin": "国际/中国",
   "people": [],
   "parents": [
    "非形式艺术"
   ],
   "influences": [
    "多媒介水墨风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "满幅肌理、物质经营",
    "透视与空间": "取消空间、物质表面",
    "形状与造型": "无形、肌理为主",
    "光影与明暗": "以厚薄肌理代明暗",
    "色彩系统": "材料本色+局部色",
    "笔触与肌理": "堆叠、拼贴、混入实物",
    "边缘与节奏": "边缘粗粝、物质的节奏"
   },
   "works": [
    "当代综合材料绘画作品"
   ],
   "aka": [
    "综合材料风格",
    "融合媒介风格"
   ]
  },
  {
   "id": "STYLE.east.233",
   "cn": "装置与空间绘画",
   "en": "Installation & Spatial Painting",
   "region": "east",
   "wv": "WV5",
   "year": 2005,
   "xi": "跨媒介与实验体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.82,
    "struct_perc": 0.42,
    "east_west": 0.2
   },
   "vector": {
    "再现-表现": 0.82,
    "结构-感知": 0.42,
    "秩序-张力": 0.52,
    "节制-强度": 0.52
   },
   "def": "把绘画扩展为可进入的空间装置,观者身处其中而非旁观。它是当代、源出国际/中国的东方绘画风格,在世界观上属「表现外化」。上承观念艺术、下启沉浸与环境艺术。",
   "essence": "把绘画扩展为可进入的空间装置,观者身处其中而非旁观。",
   "voice": "不再看画,而是走进画的空间",
   "period": "当代",
   "origin": "国际/中国",
   "people": [],
   "parents": [
    "观念艺术"
   ],
   "influences": [
    "沉浸与环境艺术"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "环绕全景、空间布展",
    "透视与空间": "真实可步入的三维",
    "形状与造型": "空间形态、场域",
    "光影与明暗": "以光与场代明暗",
    "色彩系统": "随场域而定",
    "笔触与肌理": "装置、现场构造",
    "边缘与节奏": "边缘消融于空间、场域的节奏"
   },
   "works": [
    "当代空间绘画装置"
   ],
   "aka": [
    "空间绘画风格",
    "沉浸式绘画风格",
    "投影绘画风格",
    "互动绘画风格"
   ]
  },
  {
   "id": "STYLE.east.236",
   "cn": "观念绘画",
   "en": "Conceptual Painting",
   "region": "east",
   "wv": "WV6",
   "year": 2005,
   "xi": "跨媒介与实验体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.85,
    "struct_perc": 0.3,
    "east_west": 0.2
   },
   "vector": {
    "再现-表现": 0.85,
    "结构-感知": 0.3,
    "秩序-张力": 0.5,
    "节制-强度": 0.48
   },
   "def": "以观念为先、质询绘画本体与文化身份的当代创作,意念重于技艺。它是当代、源出国际/中国的东方绘画风格,在世界观上属「形式建构」。上承观念艺术、下启社会与生态水墨。",
   "essence": "以观念为先、质询绘画本体与文化身份的当代创作,意念重于技艺。",
   "voice": "画什么不重要,为何而画才重要",
   "period": "当代",
   "origin": "国际/中国",
   "people": [
    "徐冰",
    "谷文达"
   ],
   "parents": [
    "观念艺术"
   ],
   "influences": [
    "社会与生态水墨"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "文本化、装置化布局",
    "透视与空间": "空间转向装置/现场",
    "形状与造型": "文字/符号取代物象",
    "光影与明暗": "服务观念",
    "色彩系统": "服务观念的色",
    "笔触与肌理": "书写、印刷、拓印、现成品",
    "边缘与节奏": "边缘服从观念、概念化的节奏"
   },
   "works": [
    "徐冰《天书》",
    "谷文达《碑林》"
   ],
   "aka": [
    "实验墨迹风格",
    "元绘画风格",
    "实验构成风格"
   ]
  },
  {
   "id": "STYLE.east.238",
   "cn": "新媒体绘画",
   "en": "New Media Painting",
   "region": "east",
   "wv": "WV5",
   "year": 2005,
   "xi": "跨媒介与实验体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.8,
    "struct_perc": 0.38,
    "east_west": 0.24
   },
   "vector": {
    "再现-表现": 0.8,
    "结构-感知": 0.38,
    "秩序-张力": 0.5,
    "节制-强度": 0.55
   },
   "def": "以数字、影像、互动等新媒体为载体的绘画,屏幕成为新画布。它是当代、源出国际/中国的东方绘画风格,在世界观上属「表现外化」。上承数字绘画、下启网络与后互联网艺术。",
   "essence": "以数字、影像、互动等新媒体为载体的绘画,屏幕成为新画布。",
   "voice": "画动起来,也与人互动起来",
   "period": "当代",
   "origin": "国际/中国",
   "people": [],
   "parents": [
    "数字绘画"
   ],
   "influences": [
    "网络与后互联网艺术"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "动态/界面式经营",
    "透视与空间": "虚拟/屏幕空间",
    "形状与造型": "数字形态、可动",
    "光影与明暗": "屏幕光、动态明暗",
    "色彩系统": "RGB屏幕色",
    "笔触与肌理": "数位、影像、互动",
    "边缘与节奏": "边缘像素化、动态的节奏"
   },
   "works": [
    "当代新媒体绘画/互动影像"
   ],
   "aka": [
    "声音绘画风格",
    "数字绘画风格",
    "虚拟绘画风格",
    "算法生成绘画风格",
    "AI绘画风格",
    "数据绘画风格",
    "区块链绘画风格",
    "网络绘画风格",
    "后图像绘画风格",
    "机器笔触风格",
    "光谱绘画风格"
   ]
  },
  {
   "id": "STYLE.east.257",
   "cn": "科技山水风格",
   "en": "Tech Landscape",
   "region": "east",
   "wv": "WV3",
   "year": 2005,
   "xi": "跨媒介与实验体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.62,
    "struct_perc": 0.48,
    "east_west": 0.2
   },
   "vector": {
    "再现-表现": 0.62,
    "结构-感知": 0.48,
    "秩序-张力": 0.48,
    "节制-强度": 0.5
   },
   "def": "以数字与科技手段重构山水意象的当代探索,古意入新媒。它是当代、源出中国的东方绘画风格,在世界观上属「写意寄情」。上承现代山水风格、下启数字与AI水墨。",
   "essence": "以数字与科技手段重构山水意象的当代探索,古意入新媒。",
   "voice": "以科技重写卧游的山水梦",
   "period": "当代",
   "origin": "中国",
   "people": [],
   "parents": [
    "现代山水风格"
   ],
   "influences": [
    "数字与AI水墨"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "数字化经营、可生成",
    "透视与空间": "虚拟纵深、可漫游",
    "形状与造型": "半抽象数字山形",
    "光影与明暗": "数位光影",
    "色彩系统": "水墨灰阶+数字色",
    "笔触与肌理": "数位笔刷、生成、投影",
    "边缘与节奏": "边缘可控、虚拟的节奏"
   },
   "works": [
    "当代数字/科技山水作品"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.260",
   "cn": "虚空绘画风格",
   "en": "Void Painting",
   "region": "east",
   "wv": "WV5",
   "year": 2005,
   "xi": "跨媒介与实验体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.7,
    "struct_perc": 0.45,
    "east_west": 0.2
   },
   "vector": {
    "再现-表现": 0.7,
    "结构-感知": 0.45,
    "秩序-张力": 0.45,
    "节制-强度": 0.25
   },
   "def": "以空、虚、极简表达虚空意境的当代绘画,近乎无而意无穷。它是当代、源出中国/东亚的东方绘画风格,在世界观上属「表现外化」。上承留白风格、下启禅性水墨风格。",
   "essence": "以空、虚、极简表达虚空意境的当代绘画,近乎无而意无穷。",
   "voice": "画至于无,而意无穷",
   "period": "当代",
   "origin": "中国/东亚",
   "people": [],
   "parents": [
    "留白风格"
   ],
   "influences": [
    "禅性水墨风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "极度疏简、大片虚空",
    "透视与空间": "纯虚空间",
    "形状与造型": "抽象至极简",
    "光影与明暗": "极淡或单色",
    "色彩系统": "极淡/单色",
    "笔触与肌理": "极简一笔或留白",
    "边缘与节奏": "边缘极静、虚空主导的节奏"
   },
   "works": [
    "当代虚空/极简绘画作品"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.M180",
   "cn": "少数民族绘画风格",
   "en": "Ethnic Minority Painting",
   "region": "east",
   "wv": "WV2",
   "year": 1750,
   "xi": "民间与地域体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.42,
    "struct_perc": 0.34,
    "east_west": 0.24
   },
   "vector": {
    "再现-表现": 0.42,
    "结构-感知": 0.34,
    "秩序-张力": 0.45,
    "节制-强度": 0.55
   },
   "def": "各少数民族(苗/壮/侗/彝/白/黎/纳西等)的绘画传统的关键节点,具体族系作为实例上卷。",
   "essence": "各民族的民间绘画,装饰浓烈、题材贴近生活与信仰。",
   "voice": "以浓烈装饰,绘各民族的生活与信仰",
   "period": "古–今",
   "origin": "中国各民族",
   "people": [],
   "parents": [],
   "influences": [],
   "themes": [],
   "lang7": {
    "构图与组织": "装饰满构图、对称或连缀",
    "透视与空间": "平面化",
    "形状与造型": "装饰概括、图腾化",
    "光影与明暗": "平涂",
    "色彩系统": "浓烈对比色",
    "笔触与肌理": "平涂、装饰勾线",
    "边缘与节奏": "边缘清楚、浓烈的节奏"
   },
   "works": [
    "各民族民间绘画"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.M181",
   "cn": "地方民俗绘画风格",
   "en": "Local Folk Painting",
   "region": "east",
   "wv": "WV2",
   "year": 1750,
   "xi": "民间与地域体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.4,
    "struct_perc": 0.33,
    "east_west": 0.24
   },
   "vector": {
    "再现-表现": 0.4,
    "结构-感知": 0.33,
    "秩序-张力": 0.45,
    "节制-强度": 0.55
   },
   "def": "各地域(闽南/台湾/陕北/西南等)民间绘画的关键节点,具体地方作为实例上卷。",
   "essence": "表现地方风俗民情的民间绘画,质朴鲜活、贴近日常。",
   "voice": "画乡里日常,留一方风土人情",
   "period": "古–今",
   "origin": "中国各地",
   "people": [],
   "parents": [],
   "influences": [
    "年画风格"
   ],
   "themes": [],
   "lang7": {
    "构图与组织": "场景叙事、热闹布局",
    "透视与空间": "朴素纵深",
    "形状与造型": "质朴概括",
    "光影与明暗": "平涂",
    "色彩系统": "明快乡土色",
    "笔触与肌理": "平涂、装饰",
    "边缘与节奏": "边缘朴拙、亲切的节奏"
   },
   "works": [
    "各地民俗风情画"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.A01",
   "cn": "矫饰主义",
   "en": "Mannerism",
   "region": "west",
   "wv": "WV3",
   "year": 1560,
   "xi": "文艺复兴体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.45,
    "struct_perc": 0.4,
    "east_west": 0.78
   },
   "vector": {
    "再现-表现": 0.45,
    "结构-感知": 0.4,
    "秩序-张力": 0.7,
    "节制-强度": 0.62
   },
   "def": "在文艺复兴的完美之后,故意以失衡、修长、人为的优雅制造紧张。",
   "essence": "在文艺复兴的完美之后,故意以失衡、修长、人为的优雅制造紧张",
   "voice": "完美之后,唯有'风格'本身可追求",
   "period": "1520–1600",
   "origin": "意大利",
   "people": [
    "蓬托尔莫",
    "帕米贾尼诺",
    "埃尔·格列柯"
   ],
   "parents": [
    "高文艺复兴"
   ],
   "influences": [
    "巴洛克"
   ],
   "themes": [
    "宗教",
    "神话",
    "宫廷肖像"
   ],
   "lang7": {
    "构图与组织": "复杂拥挤、不安均衡",
    "透视与空间": "拉伸夸张空间",
    "形状与造型": "修长扭曲、姿态做作",
    "光影与明暗": "人工戏剧光",
    "色彩系统": "冷艳人工色",
    "笔触与肌理": "光洁细腻",
    "边缘与节奏": "边缘紧张、做作的节奏"
   },
   "works": [
    "帕米贾尼诺《长颈圣母》",
    "埃尔·格列柯《奥尔加斯伯爵的葬礼》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.A02",
   "cn": "国际哥特式",
   "en": "International Gothic",
   "region": "west",
   "wv": "WV1",
   "year": 1400,
   "xi": "古典体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.3,
    "struct_perc": 0.35,
    "east_west": 0.78
   },
   "vector": {
    "再现-表现": 0.3,
    "结构-感知": 0.35,
    "秩序-张力": 0.3,
    "节制-强度": 0.7
   },
   "def": "以华丽装饰、金箔与精致曲线描绘宫廷的优雅梦境。",
   "essence": "以华丽装饰、金箔与精致曲线描绘宫廷的优雅梦境",
   "voice": "以人间的金碧,描摹天国的华美",
   "period": "1375–1425",
   "origin": "勃艮第/意大利",
   "people": [
    "林堡兄弟",
    "真蒂莱"
   ],
   "parents": [
    "哥特式"
   ],
   "influences": [
    "北方文艺复兴",
    "锡耶纳画派"
   ],
   "themes": [
    "宫廷",
    "宗教",
    "时祷"
   ],
   "lang7": {
    "构图与组织": "繁丽装饰、宫廷优雅",
    "透视与空间": "金底浅景、装饰空间",
    "形状与造型": "修长优雅、华服细节",
    "光影与明暗": "平面、沥金提亮",
    "色彩系统": "明丽、大量金",
    "笔触与肌理": "蛋彩精描、沥金",
    "边缘与节奏": "边缘流畅、华贵的节奏"
   },
   "works": [
    "《贝里公爵的豪华时祷书》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.A03",
   "cn": "拉斐尔前派",
   "en": "Pre-Raphaelite",
   "region": "west",
   "wv": "WV1",
   "year": 1874,
   "xi": "新古典与浪漫体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.2,
    "struct_perc": 0.35,
    "east_west": 0.78
   },
   "vector": {
    "再现-表现": 0.2,
    "结构-感知": 0.35,
    "秩序-张力": 0.45,
    "节制-强度": 0.72
   },
   "def": "回到拉斐尔之前的真挚与繁密,以浓艳象征描绘文学与道德之美。",
   "essence": "回到拉斐尔之前的真挚与繁密,以浓艳象征描绘文学与道德之美",
   "voice": "回到拉斐尔之前的纯真与虔敬",
   "period": "1848–1900",
   "origin": "英国",
   "people": [
    "罗塞蒂",
    "米莱斯",
    "亨特"
   ],
   "parents": [
    "浪漫主义",
    "新古典主义"
   ],
   "influences": [
    "象征主义",
    "新艺术运动"
   ],
   "themes": [
    "文学",
    "神话",
    "女性",
    "殉道"
   ],
   "lang7": {
    "构图与组织": "繁密细节、文学场景",
    "透视与空间": "清晰纵深",
    "形状与造型": "写实唯美、精致",
    "光影与明暗": "明亮均匀光",
    "色彩系统": "明丽鲜艳、自然",
    "笔触与肌理": "极精细罩染",
    "边缘与节奏": "边缘清晰、唯美的节奏"
   },
   "works": [
    "米莱斯《奥菲利娅》",
    "罗塞蒂《受胎告知》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.A04",
   "cn": "巴比松画派",
   "en": "Barbizon School",
   "region": "west",
   "wv": "WV1",
   "year": 1850,
   "xi": "新古典与浪漫体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.2,
    "struct_perc": 0.45,
    "east_west": 0.78
   },
   "vector": {
    "再现-表现": 0.2,
    "结构-感知": 0.45,
    "秩序-张力": 0.3,
    "节制-强度": 0.35
   },
   "def": "走出画室到枫丹白露森林,质朴描绘乡野与农人,直接启发印象派。",
   "essence": "走出画室到枫丹白露森林,质朴描绘乡野与农人,直接启发印象派",
   "voice": "回到土地,如其所是地画自然",
   "period": "1830–1870",
   "origin": "法国",
   "people": [
    "柯罗",
    "米勒",
    "卢梭"
   ],
   "parents": [
    "现实主义",
    "浪漫主义"
   ],
   "influences": [
    "印象派"
   ],
   "themes": [
    "乡野风景",
    "农人",
    "森林"
   ],
   "lang7": {
    "构图与组织": "平实风景、地平线低",
    "透视与空间": "自然外光空间",
    "形状与造型": "朴实写实",
    "光影与明暗": "自然外光",
    "色彩系统": "沉着绿褐",
    "笔触与肌理": "松动写生笔触",
    "边缘与节奏": "边缘柔和、质朴的节奏"
   },
   "works": [
    "柯罗《孟特芳丹的回忆》",
    "米勒《晚祷》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.A05",
   "cn": "新即物主义",
   "en": "New Objectivity",
   "region": "west",
   "wv": "WV1",
   "year": 1925,
   "xi": "现代主义体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.15,
    "struct_perc": 0.25,
    "east_west": 0.78
   },
   "vector": {
    "再现-表现": 0.15,
    "结构-感知": 0.25,
    "秩序-张力": 0.55,
    "节制-强度": 0.55
   },
   "def": "一战后冷峻精确地直面魏玛社会的现实与创伤,反表现主义的激情。",
   "essence": "一战后冷峻精确地直面魏玛社会的现实与创伤,反表现主义的激情",
   "voice": "以冷眼直视这个破碎的时代",
   "period": "1918–1933",
   "origin": "德国",
   "people": [
    "迪克斯",
    "格罗茨"
   ],
   "parents": [
    "现实主义",
    "照相写实主义"
   ],
   "influences": [],
   "themes": [
    "社会批判",
    "肖像",
    "战争创伤"
   ],
   "lang7": {
    "构图与组织": "冷静正面、精确",
    "透视与空间": "清晰硬空间",
    "形状与造型": "冷峻写实、精确",
    "光影与明暗": "清晰冷光",
    "色彩系统": "冷静节制色",
    "笔触与肌理": "光洁、精细",
    "边缘与节奏": "边缘锐利、冷峻的节奏"
   },
   "works": [
    "迪克斯《大都会》",
    "格罗茨《社会栋梁》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.A06",
   "cn": "巴黎画派",
   "en": "School of Paris",
   "region": "west",
   "wv": "WV3",
   "year": 1920,
   "xi": "现代主义体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.55,
    "struct_perc": 0.45,
    "east_west": 0.78
   },
   "vector": {
    "再现-表现": 0.55,
    "结构-感知": 0.45,
    "秩序-张力": 0.5,
    "节制-强度": 0.62
   },
   "def": "汇聚巴黎的各国移民艺术家,以抒情个人化的具象表达乡愁与诗意。",
   "essence": "汇聚巴黎的各国移民艺术家,以抒情个人化的具象表达乡愁与诗意",
   "voice": "在异乡巴黎,画出各自的乡愁",
   "period": "1900–1940",
   "origin": "法国巴黎",
   "people": [
    "莫迪里阿尼",
    "夏加尔",
    "苏丁"
   ],
   "parents": [
    "后印象派",
    "野兽派"
   ],
   "influences": [],
   "themes": [
    "肖像",
    "恋人",
    "梦",
    "流亡"
   ],
   "lang7": {
    "构图与组织": "亲密人物、抒情构图",
    "透视与空间": "浅景",
    "形状与造型": "拉长抒情变形(莫迪利亚尼)",
    "光影与明暗": "柔和明暗",
    "色彩系统": "忧郁暖调",
    "笔触与肌理": "细腻或厚涂",
    "边缘与节奏": "边缘柔、抒情的节奏"
   },
   "works": [
    "莫迪里阿尼《珍妮·赫布特尼》",
    "夏加尔《我和村庄》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.A07",
   "cn": "贫穷艺术",
   "en": "Arte Povera",
   "region": "west",
   "wv": "WV6",
   "year": 1969,
   "xi": "当代体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.85,
    "struct_perc": 0.3,
    "east_west": 0.78
   },
   "vector": {
    "再现-表现": 0.85,
    "结构-感知": 0.3,
    "秩序-张力": 0.55,
    "节制-强度": 0.45
   },
   "def": "以泥土、树枝、破布等'贫穷'材料对抗消费社会与精致艺术。",
   "essence": "以泥土、树枝、破布等'贫穷'材料对抗消费社会与精致艺术",
   "voice": "让最卑微的材料,说出最本真的话",
   "period": "1967–1972",
   "origin": "意大利",
   "people": [
    "库奈里斯",
    "梅尔茨"
   ],
   "parents": [
    "达达主义",
    "观念艺术"
   ],
   "influences": [],
   "themes": [
    "材料",
    "自然物",
    "能量"
   ],
   "lang7": {
    "构图与组织": "现成物布置",
    "透视与空间": "实物/装置空间",
    "形状与造型": "原始物质形态",
    "光影与明暗": "物质本色",
    "色彩系统": "土褐原色",
    "笔触与肌理": "现成材料、原生",
    "边缘与节奏": "边缘粗朴、物质的节奏"
   },
   "works": [
    "梅尔茨《冰屋》系列"
   ],
   "aka": []
  },
  {
   "id": "STYLE.west.A08",
   "cn": "大地艺术",
   "en": "Land Art",
   "region": "west",
   "wv": "WV6",
   "year": 1968,
   "xi": "当代体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.8,
    "struct_perc": 0.3,
    "east_west": 0.78
   },
   "vector": {
    "再现-表现": 0.8,
    "结构-感知": 0.3,
    "秩序-张力": 0.45,
    "节制-强度": 0.5
   },
   "def": "把作品建在荒野大地上,以巨大尺度让艺术回归自然与时间。",
   "essence": "把作品建在荒野大地上,以巨大尺度让艺术回归自然与时间",
   "voice": "让艺术离开美术馆,回到大地与时间",
   "period": "1968–",
   "origin": "美国",
   "people": [
    "史密森",
    "德·玛利亚"
   ],
   "parents": [
    "极简主义",
    "观念艺术"
   ],
   "influences": [],
   "themes": [
    "荒野",
    "地质",
    "尺度"
   ],
   "lang7": {
    "构图与组织": "大尺度地景介入",
    "透视与空间": "真实大地空间",
    "形状与造型": "地形/自然形",
    "光影与明暗": "自然光、随时变",
    "色彩系统": "土石自然色",
    "笔触与肌理": "土石、自然材料",
    "边缘与节奏": "边缘融入大地、宏大的节奏"
   },
   "works": [
    "史密森《螺旋防波堤》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.A09",
   "cn": "没骨派",
   "en": "Boneless School",
   "region": "east",
   "wv": "WV3",
   "year": 1050,
   "xi": "明清体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.4,
    "struct_perc": 0.45,
    "east_west": 0.22
   },
   "vector": {
    "再现-表现": 0.4,
    "结构-感知": 0.45,
    "秩序-张力": 0.3,
    "节制-强度": 0.55
   },
   "def": "不用墨线勾勒,直接以色彩晕染成形,温润明丽。",
   "essence": "不用墨线勾勒,直接以色彩晕染成形,温润明丽",
   "voice": "以色为骨,不着痕迹而形神俱足",
   "period": "北宋–清",
   "origin": "中国",
   "people": [
    "徐崇嗣",
    "恽寿平"
   ],
   "parents": [
    "文人画"
   ],
   "influences": [
    "海派"
   ],
   "themes": [
    "花卉",
    "禽鸟",
    "草虫"
   ],
   "lang7": {
    "构图与组织": "不勾轮廓、直接点染",
    "透视与空间": "平面",
    "形状与造型": "以色块直接成形",
    "光影与明暗": "以色染代明暗",
    "色彩系统": "明丽和谐色",
    "笔触与肌理": "没骨点染、撞色",
    "边缘与节奏": "边缘柔润、含蓄的节奏"
   },
   "works": [
    "恽寿平《牡丹图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.A10",
   "cn": "界画",
   "en": "Ruled-line Painting",
   "region": "east",
   "wv": "WV1",
   "year": 600,
   "xi": "宋元体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.15,
    "struct_perc": 0.2,
    "east_west": 0.22
   },
   "vector": {
    "再现-表现": 0.15,
    "结构-感知": 0.2,
    "秩序-张力": 0.2,
    "节制-强度": 0.45
   },
   "def": "以界尺引线工细描绘楼阁舟车,法度精严。",
   "essence": "以界尺引线工细描绘楼阁舟车,法度精严",
   "voice": "以尺规之精,写人间营造之美",
   "period": "隋–清",
   "origin": "中国",
   "people": [
    "郭忠恕",
    "王希孟"
   ],
   "parents": [
    "北宋院体风格"
   ],
   "influences": [],
   "themes": [
    "楼阁",
    "宫殿",
    "舟车"
   ],
   "lang7": {
    "构图与组织": "工细建筑测绘式",
    "透视与空间": "界尺直线、精确透视",
    "形状与造型": "楼阁台榭精准",
    "光影与明暗": "匀染",
    "色彩系统": "淡彩",
    "笔触与肌理": "界尺勾线、工整",
    "边缘与节奏": "边缘精确、严整的节奏"
   },
   "works": [
    "《明皇避暑宫图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.A11",
   "cn": "金陵画派",
   "en": "Jinling School",
   "region": "east",
   "wv": "WV3",
   "year": 1720,
   "xi": "明清体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.4,
    "struct_perc": 0.42,
    "east_west": 0.22
   },
   "vector": {
    "再现-表现": 0.4,
    "结构-感知": 0.42,
    "秩序-张力": 0.55,
    "节制-强度": 0.4
   },
   "def": "以龚贤为首,积墨深厚、苍润幽邃,写江南山水的沉郁。",
   "essence": "以龚贤为首,积墨深厚、苍润幽邃,写江南山水的沉郁",
   "voice": "于一隅山水,积墨成苍茫天地",
   "period": "清初",
   "origin": "中国南京",
   "people": [
    "龚贤",
    "樊圻"
   ],
   "parents": [
    "宋代山水",
    "文人画"
   ],
   "influences": [],
   "themes": [
    "江南山水",
    "丘壑",
    "幽居"
   ],
   "lang7": {
    "构图与组织": "奇险实景经营",
    "透视与空间": "真景纵深",
    "形状与造型": "写实奇崛(龚贤积墨)",
    "光影与明暗": "积墨厚黑、强明暗",
    "色彩系统": "水墨为主",
    "笔触与肌理": "积墨层层皴染",
    "边缘与节奏": "边缘沉郁、奇崛的节奏"
   },
   "works": [
    "龚贤《千岩万壑图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.A12",
   "cn": "新安画派",
   "en": "Xin'an School",
   "region": "east",
   "wv": "WV3",
   "year": 1720,
   "xi": "明清体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.45,
    "struct_perc": 0.4,
    "east_west": 0.22
   },
   "vector": {
    "再现-表现": 0.45,
    "结构-感知": 0.4,
    "秩序-张力": 0.3,
    "节制-强度": 0.22
   },
   "def": "以渐江为首,取黄山为师,简淡冷逸、孤高自持的遗民山水。",
   "essence": "以渐江为首,取黄山为师,简淡冷逸、孤高自持的遗民山水",
   "voice": "以简淡冷逸,寄遗民孤高之志",
   "period": "清初",
   "origin": "中国徽州",
   "people": [
    "渐江",
    "查士标"
   ],
   "parents": [
    "文人画",
    "宋代山水"
   ],
   "influences": [],
   "themes": [
    "黄山",
    "松石",
    "幽境"
   ],
   "lang7": {
    "构图与组织": "简淡几何、空寂",
    "透视与空间": "平远空寂",
    "形状与造型": "简净几何山形(弘仁)",
    "光影与明暗": "淡墨",
    "色彩系统": "水墨",
    "笔触与肌理": "枯笔渴墨",
    "边缘与节奏": "边缘清冷、孤高的节奏"
   },
   "works": [
    "渐江《黄山图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.A13",
   "cn": "常州画派",
   "en": "Changzhou School",
   "region": "east",
   "wv": "WV1",
   "year": 1720,
   "xi": "明清体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.32,
    "struct_perc": 0.45,
    "east_west": 0.22
   },
   "vector": {
    "再现-表现": 0.32,
    "结构-感知": 0.45,
    "秩序-张力": 0.28,
    "节制-强度": 0.55
   },
   "def": "承没骨花卉一脉,以恽寿平为宗,清丽雅逸、生意盎然。",
   "essence": "承没骨花卉一脉,以恽寿平为宗,清丽雅逸、生意盎然",
   "voice": "写生写心,清而不薄,丽而不俗",
   "period": "清",
   "origin": "中国常州",
   "people": [
    "恽寿平"
   ],
   "parents": [
    "没骨派",
    "文人画"
   ],
   "influences": [],
   "themes": [
    "花卉",
    "写生"
   ],
   "lang7": {
    "构图与组织": "折枝没骨花卉",
    "透视与空间": "平面",
    "形状与造型": "没骨直接成形",
    "光影与明暗": "以色染明暗",
    "色彩系统": "明丽淡雅",
    "笔触与肌理": "没骨点染",
    "边缘与节奏": "边缘柔润、清雅的节奏"
   },
   "works": [
    "恽寿平《瓯香馆写生册》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.A14",
   "cn": "金石画派",
   "en": "Jinshi School",
   "region": "east",
   "wv": "WV3",
   "year": 1720,
   "xi": "近现代体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.55,
    "struct_perc": 0.45,
    "east_west": 0.22
   },
   "vector": {
    "再现-表现": 0.55,
    "结构-感知": 0.45,
    "秩序-张力": 0.55,
    "节制-强度": 0.62
   },
   "def": "以金石碑版的古拙笔力入画,雄强厚重,海派花鸟之骨。",
   "essence": "以金石碑版的古拙笔力入画,雄强厚重,海派花鸟之骨",
   "voice": "以金石之气,救文人画之柔靡",
   "period": "清末–民国",
   "origin": "中国",
   "people": [
    "赵之谦",
    "吴昌硕"
   ],
   "parents": [
    "文人画",
    "扬州八怪风格"
   ],
   "influences": [
    "海派风格"
   ],
   "themes": [
    "花卉",
    "蔬果",
    "吉祥"
   ],
   "lang7": {
    "构图与组织": "金石入画、奇崛",
    "透视与空间": "平面",
    "形状与造型": "拙重(篆隶笔意)",
    "光影与明暗": "浓墨",
    "色彩系统": "水墨偶设色",
    "笔触与肌理": "金石笔法、苍劲",
    "边缘与节奏": "边缘苍劲、古拙的节奏"
   },
   "works": [
    "吴昌硕《岁朝清供》",
    "赵之谦《花卉册》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.A15",
   "cn": "浮世绘",
   "en": "Ukiyo-e",
   "region": "east",
   "wv": "WV2",
   "year": 1850,
   "xi": "跨媒介与实验体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.4,
    "struct_perc": 0.35,
    "east_west": 0.22
   },
   "vector": {
    "再现-表现": 0.4,
    "结构-感知": 0.35,
    "秩序-张力": 0.45,
    "节制-强度": 0.7
   },
   "def": "以木刻版画描绘市井浮世——歌伎、美人、相扑与名所风景,平面明快。(东亚日本/朝鲜画派)",
   "essence": "以木刻版画描绘市井浮世——歌伎、美人、相扑与名所风景,平面明快",
   "voice": "浮世若梦,且尽情描摹这转瞬之乐",
   "period": "17–19世纪",
   "origin": "日本",
   "people": [
    "葛饰北斋",
    "歌川广重",
    "喜多川歌麿"
   ],
   "parents": [
    "大和绘"
   ],
   "influences": [
    "印象派",
    "后印象派",
    "新艺术运动"
   ],
   "themes": [
    "美人",
    "歌伎",
    "名所风景",
    "相扑"
   ],
   "lang7": {
    "构图与组织": "平面装饰、对角裁切",
    "透视与空间": "平面或浮世透视",
    "形状与造型": "优美轮廓线、平面化",
    "光影与明暗": "平涂无明暗",
    "色彩系统": "平涂套色(蓝紫尤著)",
    "笔触与肌理": "木版套印、爽利线",
    "边缘与节奏": "边缘清晰、装饰的节奏"
   },
   "works": [
    "葛饰北斋《神奈川冲浪里》",
    "广重《东海道五十三次》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.A16",
   "cn": "琳派",
   "en": "Rinpa",
   "region": "east",
   "wv": "WV2",
   "year": 1850,
   "xi": "跨媒介与实验体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.35,
    "struct_perc": 0.3,
    "east_west": 0.22
   },
   "vector": {
    "再现-表现": 0.35,
    "结构-感知": 0.3,
    "秩序-张力": 0.4,
    "节制-强度": 0.78
   },
   "def": "以金银箔与图案化的自然,营造极致装饰的雅致与诗意。(东亚日本/朝鲜画派)",
   "essence": "以金银箔与图案化的自然,营造极致装饰的雅致与诗意",
   "voice": "以装饰之极,见自然之雅",
   "period": "17–19世纪",
   "origin": "日本",
   "people": [
    "尾形光琳",
    "俵屋宗达"
   ],
   "parents": [
    "大和绘"
   ],
   "influences": [],
   "themes": [
    "花草",
    "流水",
    "四季",
    "和歌意象"
   ],
   "lang7": {
    "构图与组织": "大胆装饰、金银留白",
    "透视与空间": "平面金底",
    "形状与造型": "图案化、装饰形",
    "光影与明暗": "平面无明暗",
    "色彩系统": "金银箔+浓彩",
    "笔触与肌理": "平涂、泥金、垂流",
    "边缘与节奏": "边缘装饰、华丽的节奏"
   },
   "works": [
    "尾形光琳《红白梅图屏风》",
    "宗达《风神雷神图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.A17",
   "cn": "狩野派",
   "en": "Kanō School",
   "region": "east",
   "wv": "WV1",
   "year": 1850,
   "xi": "跨媒介与实验体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.3,
    "struct_perc": 0.35,
    "east_west": 0.22
   },
   "vector": {
    "再现-表现": 0.3,
    "结构-感知": 0.35,
    "秩序-张力": 0.5,
    "节制-强度": 0.58
   },
   "def": "日本最大的官方画派,融汉画水墨与大和绘装饰,服务幕府与寺院。(东亚日本/朝鲜画派)",
   "essence": "日本最大的官方画派,融汉画水墨与大和绘装饰,服务幕府与寺院",
   "voice": "以汉画的骨力,立武家的威仪",
   "period": "15–19世纪",
   "origin": "日本",
   "people": [
    "狩野永德",
    "狩野探幽"
   ],
   "parents": [
    "宋代山水"
   ],
   "influences": [
    "琳派"
   ],
   "themes": [
    "障壁画",
    "花鸟",
    "山水",
    "历史"
   ],
   "lang7": {
    "构图与组织": "金碧障壁、雄阔",
    "透视与空间": "金底平面",
    "形状与造型": "雄劲轮廓、概括",
    "光影与明暗": "平面金光",
    "色彩系统": "金碧浓彩",
    "笔触与肌理": "劲健勾线、平涂",
    "边缘与节奏": "边缘雄强、装饰的节奏"
   },
   "works": [
    "狩野永德《唐狮子图屏风》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.A18",
   "cn": "大和绘",
   "en": "Yamato-e",
   "region": "east",
   "wv": "WV2",
   "year": 1450,
   "xi": "跨媒介与实验体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.35,
    "struct_perc": 0.35,
    "east_west": 0.22
   },
   "vector": {
    "再现-表现": 0.35,
    "结构-感知": 0.35,
    "秩序-张力": 0.4,
    "节制-强度": 0.62
   },
   "def": "脱离汉画的日本本土叙事画,描绘物语、四季与宫廷生活。(东亚日本/朝鲜画派)",
   "essence": "脱离汉画的日本本土叙事画,描绘物语、四季与宫廷生活",
   "voice": "以本土之眼,绘我朝的物语与四季",
   "period": "10–15世纪",
   "origin": "日本",
   "people": [
    "历代绘师(多佚名)"
   ],
   "parents": [],
   "influences": [
    "浮世绘",
    "琳派",
    "狩野派"
   ],
   "themes": [
    "物语",
    "四季",
    "宫廷"
   ],
   "lang7": {
    "构图与组织": "叙事长卷、俯瞰",
    "透视与空间": "吹拔屋台俯视空间",
    "形状与造型": "优美人物、装饰",
    "光影与明暗": "平涂",
    "色彩系统": "明丽矿物色",
    "笔触与肌理": "细线平涂",
    "边缘与节奏": "边缘清、抒情叙事的节奏"
   },
   "works": [
    "《源氏物语绘卷》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.A19",
   "cn": "日本南画",
   "en": "Nanga / Bunjinga",
   "region": "east",
   "wv": "WV3",
   "year": 1850,
   "xi": "跨媒介与实验体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.62,
    "struct_perc": 0.48,
    "east_west": 0.22
   },
   "vector": {
    "再现-表现": 0.62,
    "结构-感知": 0.48,
    "秩序-张力": 0.35,
    "节制-强度": 0.32
   },
   "def": "中国文人画的日本变体,以写意笔墨抒文人胸臆。(东亚日本/朝鲜画派)",
   "essence": "中国文人画的日本变体,以写意笔墨抒文人胸臆",
   "voice": "遥承南宗,写日本文人之逸气",
   "period": "18–19世纪",
   "origin": "日本",
   "people": [
    "池大雅",
    "与谢芜村"
   ],
   "parents": [
    "文人画"
   ],
   "influences": [],
   "themes": [
    "山水",
    "花卉",
    "隐逸"
   ],
   "lang7": {
    "构图与组织": "文人写意经营(取法中国)",
    "透视与空间": "平远简淡",
    "形状与造型": "简逸概括",
    "光影与明暗": "淡墨",
    "色彩系统": "水墨淡彩",
    "笔触与肌理": "写意笔、点染",
    "边缘与节奏": "边缘松灵、淡逸的节奏"
   },
   "works": [
    "池大雅《十便十宜图》"
   ],
   "aka": []
  },
  {
   "id": "STYLE.east.A20",
   "cn": "朝鲜民画",
   "en": "Korean Minhwa",
   "region": "east",
   "wv": "WV3",
   "year": 1850,
   "xi": "跨媒介与实验体系",
   "conf": "high",
   "coord": {
    "rep_exp": 0.55,
    "struct_perc": 0.3,
    "east_west": 0.22
   },
   "vector": {
    "再现-表现": 0.55,
    "结构-感知": 0.3,
    "秩序-张力": 0.45,
    "节制-强度": 0.78
   },
   "def": "民间无名画工的吉祥画,稚拙明快、自由烂漫,寄祈福辟邪之愿。(东亚日本/朝鲜画派)",
   "essence": "民间无名画工的吉祥画,稚拙明快、自由烂漫,寄祈福辟邪之愿",
   "voice": "以拙趣与艳色,画百姓的祈愿",
   "period": "17–19世纪",
   "origin": "朝鲜",
   "people": [
    "民间画工(佚名)"
   ],
   "parents": [],
   "influences": [],
   "themes": [
    "虎鹊",
    "花鸟",
    "文字图",
    "册架"
   ],
   "lang7": {
    "构图与组织": "质朴对称、民间",
    "透视与空间": "平面稚拙",
    "形状与造型": "概括稚趣",
    "光影与明暗": "平涂",
    "色彩系统": "明快民间色",
    "笔触与肌理": "平涂、装饰",
    "边缘与节奏": "边缘清楚、天真质朴的节奏"
   },
   "works": [
    "《鹊虎图》",
    "《册架图》"
   ],
   "aka": []
  }
 ],
 "artists": [
  {
   "id": "ARTIST.dongqichang",
   "cn": "董其昌",
   "region": "east",
   "wv": "WV3",
   "born": 1555,
   "death": 1636,
   "nationality": "中国(明)",
   "styles": [
    "松江派风格",
    "南宗画风",
    "文人画风格",
    "文人水墨风格"
   ],
   "authored": true,
   "headline": "以南北宗论重写画史,标举文人写意为正脉。",
   "wv_centroid": {
    "x": 0.55,
    "y": 0.46,
    "spread": 0.06
   },
   "style_relation": "立区",
   "trajectory": [
    {
     "phase": "仿古立论期",
     "year": "约1600",
     "x": 0.55,
     "y": 0.46,
     "note": "《秋兴八景》"
    }
   ],
   "works": [
    {
     "t": "《秋兴八景图》",
     "year": 1620,
     "x": 0.55,
     "y": 0.46
    },
    {
     "t": "《青弁图》",
     "year": 1617,
     "x": 0.56,
     "y": 0.45
    }
   ],
   "affect": {
    "v": 0.52,
    "a": 0.25,
    "d": 0.5,
    "note": "平淡天真:中愉悦 + 低唤起"
   },
   "quote": "读万卷书,行万里路,胸中脱去尘浊。"
  },
  {
   "id": "ARTIST.s002",
   "cn": "李思训",
   "region": "east",
   "wv": "WV2",
   "born": 651,
   "death": 716,
   "nationality": "中国(唐)",
   "styles": [
    "金碧山水风格",
    "唐代青绿风格",
    "李思训派风格",
    "青绿山水风格",
    "青绿工笔风格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s003",
   "cn": "王希孟",
   "region": "east",
   "wv": "WV2",
   "born": 1096,
   "death": 1119,
   "nationality": "中国(北宋)",
   "styles": [
    "北宋院体风格",
    "青绿山水风格",
    "工笔山水风格",
    "青绿工笔风格",
    "界画"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.badashanren",
   "cn": "八大山人",
   "region": "east",
   "wv": "WV5",
   "born": 1626,
   "death": 1705,
   "nationality": "明末清初·中国",
   "styles": [
    "大写意",
    "文人画"
   ],
   "authored": true,
   "headline": "明遗民的孤愤化作大写意,把'少'与'怪'推到极致。",
   "wv_centroid": {
    "x": 0.7,
    "y": 0.47,
    "spread": 0.09
   },
   "style_relation": "立区",
   "trajectory": [
    {
     "phase": "遗民僧期",
     "year": "1650–60s",
     "x": 0.58,
     "y": 0.46,
     "note": "尚近常规写意"
    },
    {
     "phase": "佯狂期",
     "year": "1680s",
     "x": 0.72,
     "y": 0.48,
     "note": "白眼鱼鸟,变形登场"
    },
    {
     "phase": "晚岁",
     "year": "1690–1705",
     "x": 0.74,
     "y": 0.46,
     "note": "简到极处,孤冷沉静"
    }
   ],
   "works": [
    {
     "t": "《孔雀图》",
     "year": 1690,
     "x": 0.72,
     "y": 0.49
    },
    {
     "t": "《荷石水禽图》",
     "year": 1696,
     "x": 0.7,
     "y": 0.47
    },
    {
     "t": "《河上花图》",
     "year": 1697,
     "x": 0.73,
     "y": 0.45
    },
    {
     "t": "《杨柳浴禽图》",
     "year": 1703,
     "x": 0.74,
     "y": 0.46
    }
   ],
   "affect": {
    "v": 0.36,
    "a": 0.48,
    "d": 0.62,
    "note": "孤傲冷峭:低愉悦的孤愤 + 克制中带电的唤起 + 白眼向人的高支配"
   },
   "quote": "哭之,笑之。"
  },
  {
   "id": "ARTIST.s004",
   "cn": "恽寿平",
   "region": "east",
   "wv": "WV1",
   "born": 1633,
   "death": 1690,
   "nationality": "中国(清)",
   "styles": [
    "文人花鸟风格",
    "小写意风格",
    "淡彩工笔风格",
    "没骨派",
    "常州画派"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.davinci",
   "cn": "达·芬奇",
   "region": "west",
   "wv": "WV1",
   "born": 1452,
   "death": 1519,
   "nationality": "意大利",
   "styles": [
    "文艺复兴盛期"
   ],
   "authored": true,
   "headline": "文艺复兴盛期的顶点,把观察提升为科学,以 sfumato 让画逼近自然的呼吸。",
   "wv_centroid": {
    "x": 0.2,
    "y": 0.3,
    "spread": 0.06
   },
   "style_relation": "居于",
   "trajectory": [
    {
     "phase": "佛罗伦萨期",
     "year": "1470s",
     "x": 0.22,
     "y": 0.32,
     "note": "习艺,《受胎告知》"
    },
    {
     "phase": "米兰盛期",
     "year": "1480–90s",
     "x": 0.19,
     "y": 0.29,
     "note": "《岩间圣母》《最后的晚餐》"
    },
    {
     "phase": "晚期",
     "year": "1500s",
     "x": 0.24,
     "y": 0.35,
     "note": "《蒙娜丽莎》,sfumato 登峰"
    }
   ],
   "works": [
    {
     "t": "《最后的晚餐》",
     "year": 1498,
     "x": 0.18,
     "y": 0.28
    },
    {
     "t": "《蒙娜丽莎》",
     "year": 1506,
     "x": 0.24,
     "y": 0.34
    },
    {
     "t": "《岩间圣母》",
     "year": 1486,
     "x": 0.2,
     "y": 0.3
    },
    {
     "t": "《维特鲁威人》",
     "year": 1490,
     "x": 0.16,
     "y": 0.26
    }
   ],
   "affect": {
    "v": 0.58,
    "a": 0.3,
    "d": 0.55,
    "note": "神秘而安宁:温和的愉悦 + 低唤起的沉静 + 中等支配"
   },
   "quote": "绘画,是一桩心智之事。"
  },
  {
   "id": "ARTIST.michelangelo",
   "cn": "米开朗基罗",
   "region": "west",
   "wv": "WV1",
   "born": 1475,
   "death": 1564,
   "nationality": "意大利",
   "styles": [
    "高文艺复兴",
    "佛罗伦萨画派",
    "晚期文艺复兴"
   ],
   "authored": true,
   "headline": "以雕塑般的体积与英雄气概,把人体推向神的崇高。",
   "wv_centroid": {
    "x": 0.3,
    "y": 0.4,
    "spread": 0.1
   },
   "style_relation": "居于",
   "trajectory": [
    {
     "phase": "古典完美期",
     "year": "1508–12",
     "x": 0.22,
     "y": 0.4,
     "note": "西斯廷《创世纪》"
    },
    {
     "phase": "动荡晚期",
     "year": "1536–41",
     "x": 0.4,
     "y": 0.42,
     "note": "《最后的审判》扭曲不安"
    }
   ],
   "works": [
    {
     "t": "《创世纪·创造亚当》",
     "year": 1512,
     "x": 0.22,
     "y": 0.4
    },
    {
     "t": "《大卫》(雕塑)",
     "year": 1504,
     "x": 0.2,
     "y": 0.38
    },
    {
     "t": "《最后的审判》",
     "year": 1541,
     "x": 0.4,
     "y": 0.42
    }
   ],
   "affect": {
    "v": 0.42,
    "a": 0.62,
    "d": 0.85,
    "note": "崇高而威压:中低愉悦 + 高唤起 + 极高支配"
   },
   "quote": "我在大理石中看见天使,于是雕琢,直到他自由。"
  },
  {
   "id": "ARTIST.rembrandt",
   "cn": "伦勃朗",
   "region": "west",
   "wv": "WV1",
   "born": 1606,
   "death": 1669,
   "nationality": "荷兰",
   "styles": [
    "荷兰黄金时代",
    "巴洛克"
   ],
   "authored": true,
   "headline": "光的雕刻者,在脸的阴影里盛放整部人的命运。",
   "wv_centroid": {
    "x": 0.26,
    "y": 0.36,
    "spread": 0.08
   },
   "style_relation": "居于",
   "trajectory": [
    {
     "phase": "莱顿早期",
     "year": "1620s",
     "x": 0.2,
     "y": 0.32,
     "note": "精细历史画"
    },
    {
     "phase": "阿姆斯特丹盛期",
     "year": "1630–40s",
     "x": 0.25,
     "y": 0.35,
     "note": "《夜巡》,戏剧群像"
    },
    {
     "phase": "晚期",
     "year": "1650–60s",
     "x": 0.32,
     "y": 0.42,
     "note": "厚涂自画像,转向内心"
    }
   ],
   "works": [
    {
     "t": "《夜巡》",
     "year": 1642,
     "x": 0.25,
     "y": 0.35
    },
    {
     "t": "《杜尔博士的解剖课》",
     "year": 1632,
     "x": 0.21,
     "y": 0.33
    },
    {
     "t": "《浪子回头》",
     "year": 1668,
     "x": 0.32,
     "y": 0.42
    },
    {
     "t": "《自画像》(晚年)",
     "year": 1660,
     "x": 0.3,
     "y": 0.4
    }
   ],
   "affect": {
    "v": 0.52,
    "a": 0.38,
    "d": 0.58,
    "note": "深沉内省的暖:中性偏暖的愉悦 + 低唤起的庄重 + 较高支配"
   },
   "quote": null
  },
  {
   "id": "ARTIST.sushi",
   "cn": "苏轼",
   "region": "east",
   "wv": "WV3",
   "born": 1037,
   "death": 1101,
   "nationality": "中国(北宋)",
   "styles": [
    "文人画风格",
    "文人水墨风格",
    "文人笔墨风格"
   ],
   "authored": true,
   "headline": "文人画的理论奠基者——画乃心印,论画以形似见与儿童邻。",
   "wv_centroid": {
    "x": 0.58,
    "y": 0.45,
    "spread": 0.07
   },
   "style_relation": "立区",
   "trajectory": [
    {
     "phase": "墨戏期",
     "year": "约1080",
     "x": 0.58,
     "y": 0.45,
     "note": "《枯木怪石图》"
    }
   ],
   "works": [
    {
     "t": "《枯木怪石图》",
     "year": 1080,
     "x": 0.58,
     "y": 0.45
    },
    {
     "t": "《潇湘竹石图》(传)",
     "year": 1085,
     "x": 0.56,
     "y": 0.46
    }
   ],
   "affect": {
    "v": 0.5,
    "a": 0.3,
    "d": 0.45,
    "note": "清逸萧散:中愉悦 + 低唤起"
   },
   "quote": "论画以形似,见与儿童邻。"
  },
  {
   "id": "ARTIST.xuwei",
   "cn": "徐渭",
   "region": "east",
   "wv": "WV5",
   "born": 1521,
   "death": 1593,
   "nationality": "中国(明)",
   "styles": [
    "大写意风格",
    "写意花鸟风格",
    "情绪笔墨风格"
   ],
   "authored": true,
   "headline": "大写意花鸟的开宗者——以泼墨纵笔,泄半生孤愤。",
   "wv_centroid": {
    "x": 0.7,
    "y": 0.48,
    "spread": 0.11
   },
   "style_relation": "立区",
   "trajectory": [
    {
     "phase": "泼墨大写意期",
     "year": "约1580",
     "x": 0.7,
     "y": 0.48,
     "note": "《墨葡萄图》《杂花图》"
    }
   ],
   "works": [
    {
     "t": "《墨葡萄图》",
     "year": 1580,
     "x": 0.7,
     "y": 0.48
    },
    {
     "t": "《杂花图卷》",
     "year": 1582,
     "x": 0.72,
     "y": 0.5
    },
    {
     "t": "《黄甲图》",
     "year": 1585,
     "x": 0.68,
     "y": 0.47
    }
   ],
   "affect": {
    "v": 0.32,
    "a": 0.78,
    "d": 0.55,
    "note": "孤愤激越:低愉悦 + 高唤起"
   },
   "quote": "笔底明珠无处卖,闲抛闲掷野藤中。"
  },
  {
   "id": "ARTIST.wuchangshuo",
   "cn": "吴昌硕",
   "region": "east",
   "wv": "WV3",
   "born": 1844,
   "death": 1927,
   "nationality": "中国",
   "styles": [
    "海派",
    "大写意"
   ],
   "authored": true,
   "headline": "海派领袖,把金石篆籀的力量灌进大写意花卉。",
   "wv_centroid": {
    "x": 0.6,
    "y": 0.44,
    "spread": 0.05
   },
   "style_relation": "立区",
   "trajectory": [
    {
     "phase": "书印为本",
     "year": "早年",
     "x": 0.58,
     "y": 0.45,
     "note": "石鼓文与篆刻"
    },
    {
     "phase": "大写意花卉",
     "year": "中年",
     "x": 0.6,
     "y": 0.44,
     "note": "金石入画成形"
    },
    {
     "phase": "海派领袖",
     "year": "晚年",
     "x": 0.62,
     "y": 0.43,
     "note": "雄浑登峰"
    }
   ],
   "works": [
    {
     "t": "《墨梅图》",
     "year": 1916,
     "x": 0.6,
     "y": 0.44
    },
    {
     "t": "《紫藤图》",
     "year": 1920,
     "x": 0.62,
     "y": 0.43
    },
    {
     "t": "《葫芦图》",
     "year": 1918,
     "x": 0.61,
     "y": 0.44
    }
   ],
   "affect": {
    "v": 0.58,
    "a": 0.52,
    "d": 0.62,
    "note": "雄强昂扬:较高愉悦 + 较高唤起 + 较高支配"
   },
   "quote": "苦铁画气不画形。"
  },
  {
   "id": "ARTIST.raphael",
   "cn": "拉斐尔",
   "region": "west",
   "wv": "WV1",
   "born": 1483,
   "death": 1520,
   "nationality": "意大利",
   "styles": [
    "文艺复兴盛期"
   ],
   "authored": true,
   "headline": "文艺复兴盛期的和谐之神,把理想之美凝成完美的均衡。",
   "wv_centroid": {
    "x": 0.24,
    "y": 0.32,
    "spread": 0.05
   },
   "style_relation": "居于",
   "trajectory": [
    {
     "phase": "翁布里亚期",
     "year": "1500s",
     "x": 0.26,
     "y": 0.33,
     "note": "佩鲁吉诺式甜美"
    },
    {
     "phase": "佛罗伦萨期",
     "year": "1504–08",
     "x": 0.23,
     "y": 0.31,
     "note": "学达·芬奇与米开"
    },
    {
     "phase": "罗马期",
     "year": "1509–20",
     "x": 0.24,
     "y": 0.32,
     "note": "《雅典学院》"
    }
   ],
   "works": [
    {
     "t": "《雅典学院》",
     "year": 1511,
     "x": 0.23,
     "y": 0.31
    },
    {
     "t": "《西斯廷圣母》",
     "year": 1513,
     "x": 0.25,
     "y": 0.33
    },
    {
     "t": "《草地上的圣母》",
     "year": 1506,
     "x": 0.24,
     "y": 0.32
    },
    {
     "t": "《教皇利奥十世像》",
     "year": 1518,
     "x": 0.22,
     "y": 0.34
    }
   ],
   "affect": {
    "v": 0.65,
    "a": 0.3,
    "d": 0.5,
    "note": "和谐安宁:高愉悦 + 低唤起 + 中等支配"
   },
   "quote": null
  },
  {
   "id": "ARTIST.caravaggio",
   "cn": "卡拉瓦乔",
   "region": "west",
   "wv": "WV1",
   "born": 1571,
   "death": 1610,
   "nationality": "意大利",
   "styles": [
    "巴洛克",
    "卡拉瓦乔主义"
   ],
   "authored": true,
   "headline": "巴洛克的引爆者,用一束强光把神圣拉进市井。",
   "wv_centroid": {
    "x": 0.22,
    "y": 0.38,
    "spread": 0.05
   },
   "style_relation": "立区",
   "trajectory": [
    {
     "phase": "罗马早期",
     "year": "1590s",
     "x": 0.24,
     "y": 0.4,
     "note": "风俗、静物"
    },
    {
     "phase": "成熟期",
     "year": "1600s",
     "x": 0.21,
     "y": 0.37,
     "note": "《圣马太蒙召》戏剧性宗教画"
    },
    {
     "phase": "流亡晚期",
     "year": "1606–10",
     "x": 0.23,
     "y": 0.39,
     "note": "更暗更急的笔"
    }
   ],
   "works": [
    {
     "t": "《圣马太蒙召》",
     "year": 1600,
     "x": 0.21,
     "y": 0.37
    },
    {
     "t": "《以马忤斯的晚餐》",
     "year": 1601,
     "x": 0.22,
     "y": 0.38
    },
    {
     "t": "《被斩首的施洗约翰》",
     "year": 1608,
     "x": 0.24,
     "y": 0.4
    },
    {
     "t": "《水果篮》",
     "year": 1599,
     "x": 0.2,
     "y": 0.36
    }
   ],
   "affect": {
    "v": 0.32,
    "a": 0.78,
    "d": 0.7,
    "note": "暴烈而紧张:低愉悦 + 高唤起 + 强光逼人的高支配"
   },
   "quote": null
  },
  {
   "id": "ARTIST.rubens",
   "cn": "鲁本斯",
   "region": "west",
   "wv": "WV1",
   "born": 1577,
   "death": 1640,
   "nationality": "佛兰德斯",
   "styles": [
    "意大利巴洛克",
    "西班牙巴洛克",
    "法国巴洛克"
   ],
   "authored": true,
   "headline": "巴洛克的旗手——以丰沛的肉感与动势,让画布奔涌生命。",
   "wv_centroid": {
    "x": 0.35,
    "y": 0.46,
    "spread": 0.09
   },
   "style_relation": "立区",
   "trajectory": [
    {
     "phase": "意大利取法期",
     "year": "1600s",
     "x": 0.3,
     "y": 0.42,
     "note": "师提香、卡拉瓦乔"
    },
    {
     "phase": "巴洛克盛期",
     "year": "1620s",
     "x": 0.37,
     "y": 0.48,
     "note": "宏大动感构图"
    }
   ],
   "works": [
    {
     "t": "《劫夺留西帕斯的女儿》",
     "year": 1618,
     "x": 0.37,
     "y": 0.48
    },
    {
     "t": "《上十字架》",
     "year": 1611,
     "x": 0.32,
     "y": 0.45
    },
    {
     "t": "《玛丽·美第奇生平》",
     "year": 1625,
     "x": 0.36,
     "y": 0.46
    }
   ],
   "affect": {
    "v": 0.62,
    "a": 0.72,
    "d": 0.7,
    "note": "奔放激越:高愉悦 + 高唤起 + 高支配"
   },
   "quote": "激情若不喷涌,便不是激情。"
  },
  {
   "id": "ARTIST.s009",
   "cn": "华托",
   "region": "west",
   "wv": "WV3",
   "born": 1684,
   "death": 1721,
   "nationality": "法国",
   "styles": [
    "法国洛可可",
    "德国洛可可",
    "英国洛可可"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s010",
   "cn": "布歇",
   "region": "west",
   "wv": "WV3",
   "born": 1703,
   "death": 1770,
   "nationality": "法国",
   "styles": [
    "法国洛可可",
    "德国洛可可",
    "英国洛可可"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s011",
   "cn": "弗拉戈纳尔",
   "region": "west",
   "wv": "WV3",
   "born": 1732,
   "death": 1806,
   "nationality": "法国",
   "styles": [
    "法国洛可可",
    "德国洛可可",
    "英国洛可可"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s012",
   "cn": "德拉克洛瓦",
   "region": "west",
   "wv": "WV4",
   "born": 1798,
   "death": 1863,
   "nationality": "法国",
   "styles": [
    "法国浪漫主义",
    "英国浪漫主义",
    "德国浪漫主义"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.turner",
   "cn": "透纳",
   "region": "west",
   "wv": "WV4",
   "born": 1775,
   "death": 1851,
   "nationality": "英国",
   "styles": [
    "英国浪漫主义",
    "法国浪漫主义"
   ],
   "authored": true,
   "headline": "浪漫主义的光之诗人,晚年几近抽象,预告了印象派。",
   "wv_centroid": {
    "x": 0.6,
    "y": 0.72,
    "spread": 0.16
   },
   "style_relation": "跨越",
   "trajectory": [
    {
     "phase": "古典风景期",
     "year": "1800s",
     "x": 0.42,
     "y": 0.5,
     "note": "循风景传统"
    },
    {
     "phase": "光之消融期",
     "year": "1840s",
     "x": 0.72,
     "y": 0.88,
     "note": "《雨蒸汽和速度》近抽象"
    }
   ],
   "works": [
    {
     "t": "《被拖去解体的无畏号》",
     "year": 1838,
     "x": 0.58,
     "y": 0.72
    },
    {
     "t": "《雨、蒸汽和速度》",
     "year": 1844,
     "x": 0.72,
     "y": 0.88
    },
    {
     "t": "《暴风雪》",
     "year": 1842,
     "x": 0.7,
     "y": 0.85
    }
   ],
   "affect": {
    "v": 0.5,
    "a": 0.62,
    "d": 0.45,
    "note": "崇高动荡:中愉悦 + 高唤起的大气"
   },
   "quote": "太阳就是上帝。"
  },
  {
   "id": "ARTIST.s014",
   "cn": "弗里德里希",
   "region": "west",
   "wv": "WV4",
   "born": 1774,
   "death": 1840,
   "nationality": "德国",
   "styles": [
    "法国浪漫主义",
    "英国浪漫主义",
    "德国浪漫主义"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.millet",
   "cn": "米勒",
   "region": "west",
   "wv": "WV1",
   "born": 1814,
   "death": 1875,
   "nationality": "法国",
   "styles": [
    "巴比松画派",
    "现实主义"
   ],
   "authored": true,
   "headline": "巴比松的农民画家,把卑微的劳作画成纪念碑般的神圣。",
   "wv_centroid": {
    "x": 0.2,
    "y": 0.42,
    "spread": 0.05
   },
   "style_relation": "居于",
   "trajectory": [
    {
     "phase": "早期",
     "year": "1840s",
     "x": 0.22,
     "y": 0.43,
     "note": "肖像与神话谋生"
    },
    {
     "phase": "巴比松期",
     "year": "1849–60s",
     "x": 0.2,
     "y": 0.42,
     "note": "《拾穗者》《晚祷》"
    },
    {
     "phase": "晚期",
     "year": "1870s",
     "x": 0.21,
     "y": 0.41,
     "note": "更重风景"
    }
   ],
   "works": [
    {
     "t": "《拾穗者》",
     "year": 1857,
     "x": 0.2,
     "y": 0.42
    },
    {
     "t": "《晚祷》",
     "year": 1859,
     "x": 0.21,
     "y": 0.43
    },
    {
     "t": "《播种者》",
     "year": 1850,
     "x": 0.19,
     "y": 0.41
    },
    {
     "t": "《扶锄的人》",
     "year": 1862,
     "x": 0.2,
     "y": 0.42
    }
   ],
   "affect": {
    "v": 0.45,
    "a": 0.3,
    "d": 0.5,
    "note": "庄重而怅惘:偏低愉悦 + 低唤起 + 中等支配"
   },
   "quote": null
  },
  {
   "id": "ARTIST.picasso",
   "cn": "毕加索",
   "region": "west",
   "wv": "WV6",
   "born": 1881,
   "death": 1973,
   "nationality": "西班牙",
   "styles": [
    "立体主义"
   ],
   "authored": true,
   "headline": "立体主义的开创者,把对象拆成多视点的碎面再重组。",
   "wv_centroid": {
    "x": 0.78,
    "y": 0.25,
    "spread": 0.2
   },
   "style_relation": "立区",
   "trajectory": [
    {
     "phase": "蓝/粉红期",
     "year": "1901–06",
     "x": 0.62,
     "y": 0.5,
     "note": "忧郁与柔情(近表现)"
    },
    {
     "phase": "立体主义",
     "year": "1907–20s",
     "x": 0.8,
     "y": 0.22,
     "note": "《亚维农少女》《格尔尼卡》"
    },
    {
     "phase": "战后",
     "year": "1940s+",
     "x": 0.78,
     "y": 0.3,
     "note": "陶艺、和平鸽"
    }
   ],
   "works": [
    {
     "t": "《亚维农少女》",
     "year": 1907,
     "x": 0.78,
     "y": 0.24
    },
    {
     "t": "《格尔尼卡》",
     "year": 1937,
     "x": 0.8,
     "y": 0.26
    },
    {
     "t": "《老吉他手》",
     "year": 1903,
     "x": 0.6,
     "y": 0.5
    },
    {
     "t": "《镜前少女》",
     "year": 1932,
     "x": 0.76,
     "y": 0.3
    }
   ],
   "affect": {
    "v": 0.48,
    "a": 0.72,
    "d": 0.78,
    "note": "强悍躁动:中性偏低愉悦 + 高唤起 + 逼人的高支配"
   },
   "quote": "我不探求,我只是发现。"
  },
  {
   "id": "ARTIST.s015",
   "cn": "布拉克",
   "region": "west",
   "wv": "WV6",
   "born": 1882,
   "death": 1963,
   "nationality": "法国",
   "styles": [
    "立体主义",
    "分析立体主义",
    "综合立体主义"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s016",
   "cn": "格里斯",
   "region": "west",
   "wv": "WV6",
   "born": 1887,
   "death": 1927,
   "nationality": "西班牙",
   "styles": [
    "立体主义",
    "分析立体主义",
    "综合立体主义"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s017",
   "cn": null,
   "region": null,
   "wv": null,
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [],
   "authored": true,
   "headline": null,
   "wv_centroid": {
    "x": null,
    "y": null,
    "spread": null
   },
   "style_relation": null,
   "trajectory": [],
   "works": [],
   "affect": null,
   "quote": null
  },
  {
   "id": "ARTIST.s018",
   "cn": null,
   "region": null,
   "wv": null,
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [],
   "authored": true,
   "headline": null,
   "wv_centroid": {
    "x": null,
    "y": null,
    "spread": null
   },
   "style_relation": null,
   "trajectory": [],
   "works": [],
   "affect": null,
   "quote": null
  },
  {
   "id": "ARTIST.s019",
   "cn": "李昭道",
   "region": "east",
   "wv": "WV2",
   "born": 675,
   "death": 758,
   "nationality": "中国(唐)",
   "styles": [
    "金碧山水风格",
    "唐代青绿风格",
    "李思训派风格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.guoxi",
   "cn": "郭熙",
   "region": "east",
   "wv": "WV1",
   "born": 1020,
   "death": 1090,
   "nationality": "北宋·中国",
   "styles": [
    "北宋山水"
   ],
   "authored": true,
   "headline": "北宋宫廷山水大家,以三远法把山水变成可游可居的精神居所。",
   "wv_centroid": {
    "x": 0.3,
    "y": 0.34,
    "spread": 0.05
   },
   "style_relation": "居于",
   "trajectory": [
    {
     "phase": "早期",
     "year": "1050s",
     "x": 0.28,
     "y": 0.35,
     "note": "习李成"
    },
    {
     "phase": "御画院盛期",
     "year": "1070s",
     "x": 0.3,
     "y": 0.34,
     "note": "《早春图》"
    },
    {
     "phase": "晚期",
     "year": "1080s",
     "x": 0.32,
     "y": 0.36,
     "note": "意境愈浓"
    }
   ],
   "works": [
    {
     "t": "《早春图》",
     "year": 1072,
     "x": 0.3,
     "y": 0.34
    },
    {
     "t": "《窠石平远图》",
     "year": 1078,
     "x": 0.32,
     "y": 0.36
    },
    {
     "t": "《幽谷图》",
     "year": 1080,
     "x": 0.29,
     "y": 0.33
    }
   ],
   "affect": {
    "v": 0.55,
    "a": 0.35,
    "d": 0.6,
    "note": "抒情而开阔:温和愉悦 + 低唤起 + 较高支配"
   },
   "quote": "春山淡冶而如笑,夏山苍翠而如滴,秋山明净而如妆,冬山惨淡而如睡。"
  },
  {
   "id": "ARTIST.zhaomengfu",
   "cn": "赵孟頫",
   "region": "east",
   "wv": "WV3",
   "born": 1254,
   "death": 1322,
   "nationality": "中国(元)",
   "styles": [
    "文人画风格",
    "文人水墨风格",
    "革新文人画风格"
   ],
   "authored": true,
   "headline": "元代领袖——倡复古、书画同源,为文人画立法。",
   "wv_centroid": {
    "x": 0.52,
    "y": 0.44,
    "spread": 0.07
   },
   "style_relation": "居于",
   "trajectory": [
    {
     "phase": "复古立论期",
     "year": "约1300",
     "x": 0.52,
     "y": 0.44,
     "note": "《鹊华秋色图》《秀石疏林图》"
    }
   ],
   "works": [
    {
     "t": "《鹊华秋色图》",
     "year": 1295,
     "x": 0.5,
     "y": 0.43
    },
    {
     "t": "《秀石疏林图》",
     "year": 1300,
     "x": 0.54,
     "y": 0.45
    },
    {
     "t": "《水村图》",
     "year": 1302,
     "x": 0.52,
     "y": 0.44
    }
   ],
   "affect": {
    "v": 0.52,
    "a": 0.3,
    "d": 0.5,
    "note": "温雅古意:中愉悦 + 低唤起"
   },
   "quote": "石如飞白木如籀,写竹还应八法通。"
  },
  {
   "id": "ARTIST.huanggongwang",
   "cn": "黄公望",
   "region": "east",
   "wv": "WV3",
   "born": 1269,
   "death": 1354,
   "nationality": "元·中国",
   "styles": [
    "元四家",
    "文人画"
   ],
   "authored": true,
   "headline": "元四家之首,以从容的披麻皴写出文人山水的逸格典范。",
   "wv_centroid": {
    "x": 0.51,
    "y": 0.45,
    "spread": 0.05
   },
   "style_relation": "居于",
   "trajectory": [
    {
     "phase": "仕宦坎坷",
     "year": "早年",
     "x": 0.48,
     "y": 0.46,
     "note": "入狱前习画"
    },
    {
     "phase": "入道云游",
     "year": "中年",
     "x": 0.51,
     "y": 0.45,
     "note": "全真教,师法董巨"
    },
    {
     "phase": "富春期",
     "year": "1347–50",
     "x": 0.53,
     "y": 0.44,
     "note": "《富春山居图》"
    }
   ],
   "works": [
    {
     "t": "《富春山居图》",
     "year": 1350,
     "x": 0.52,
     "y": 0.44
    },
    {
     "t": "《天池石壁图》",
     "year": 1341,
     "x": 0.5,
     "y": 0.45
    },
    {
     "t": "《九峰雪霁图》",
     "year": 1349,
     "x": 0.51,
     "y": 0.46
    }
   ],
   "affect": {
    "v": 0.58,
    "a": 0.25,
    "d": 0.45,
    "note": "平和超逸:温和愉悦 + 极低唤起 + 中等支配"
   },
   "quote": "作画大要,去邪、甜、俗、赖四个字。"
  },
  {
   "id": "ARTIST.s021",
   "cn": "梁楷",
   "region": "east",
   "wv": "WV3",
   "born": 1150,
   "death": 1210,
   "nationality": "中国(南宋)",
   "styles": [
    "写意人物风格",
    "禅意绘画风格",
    "寫神風格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s022",
   "cn": "黄筌",
   "region": "east",
   "wv": "WV1",
   "born": 903,
   "death": 965,
   "nationality": "中国(五代)",
   "styles": [
    "工笔花鸟风格",
    "重彩工笔风格",
    "寫形風格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.qibaishi",
   "cn": "齐白石",
   "region": "east",
   "wv": "WV3",
   "born": 1864,
   "death": 1957,
   "nationality": "中国",
   "styles": [
    "大写意",
    "文人画"
   ],
   "authored": true,
   "headline": "从木匠到大师,把民间的鲜活注入文人写意。",
   "wv_centroid": {
    "x": 0.58,
    "y": 0.46,
    "spread": 0.06
   },
   "style_relation": "居于",
   "trajectory": [
    {
     "phase": "民间木匠期",
     "year": "早年",
     "x": 0.55,
     "y": 0.47,
     "note": "雕花与民间画"
    },
    {
     "phase": "衰年变法",
     "year": "1920s",
     "x": 0.58,
     "y": 0.46,
     "note": "红花墨叶成形"
    },
    {
     "phase": "晚期登峰",
     "year": "1940s+",
     "x": 0.6,
     "y": 0.45,
     "note": "虾蟹臻化境"
    }
   ],
   "works": [
    {
     "t": "《虾》",
     "year": 1940,
     "x": 0.58,
     "y": 0.46
    },
    {
     "t": "《蛙声十里出山泉》",
     "year": 1951,
     "x": 0.6,
     "y": 0.45
    },
    {
     "t": "《墨虾图》",
     "year": 1948,
     "x": 0.59,
     "y": 0.46
    }
   ],
   "affect": {
    "v": 0.72,
    "a": 0.45,
    "d": 0.5,
    "note": "天真欢趣:高愉悦 + 中低唤起 + 中等支配"
   },
   "quote": "作画妙在似与不似之间——太似为媚俗,不似为欺世。"
  },
  {
   "id": "ARTIST.huangbinhong",
   "cn": "黄宾虹",
   "region": "east",
   "wv": "WV3",
   "born": 1865,
   "death": 1955,
   "nationality": "中国",
   "styles": [
    "近现代山水",
    "文人画"
   ],
   "authored": true,
   "headline": "近现代山水巨匠,以层层积墨求'浑厚华滋'。",
   "wv_centroid": {
    "x": 0.56,
    "y": 0.4,
    "spread": 0.06
   },
   "style_relation": "居于",
   "trajectory": [
    {
     "phase": "白宾虹",
     "year": "中年",
     "x": 0.54,
     "y": 0.42,
     "note": "疏淡清逸"
    },
    {
     "phase": "过渡",
     "year": "1940s",
     "x": 0.56,
     "y": 0.4,
     "note": "墨渐厚"
    },
    {
     "phase": "黑宾虹",
     "year": "1950s",
     "x": 0.58,
     "y": 0.38,
     "note": "积墨浑茫"
    }
   ],
   "works": [
    {
     "t": "《黄山汤口》",
     "year": 1955,
     "x": 0.58,
     "y": 0.38
    },
    {
     "t": "《青城坐雨》",
     "year": 1933,
     "x": 0.55,
     "y": 0.41
    },
    {
     "t": "《栖霞岭晓色》",
     "year": 1950,
     "x": 0.57,
     "y": 0.39
    }
   ],
   "affect": {
    "v": 0.45,
    "a": 0.35,
    "d": 0.6,
    "note": "浑厚沉郁:偏低愉悦 + 中低唤起 + 较高支配"
   },
   "quote": "画贵浑厚华滋。"
  },
  {
   "id": "ARTIST.likeran",
   "cn": "李可染",
   "region": "east",
   "wv": "WV3",
   "born": 1907,
   "death": 1989,
   "nationality": "中国",
   "styles": [
    "现代山水风格",
    "新中国画风格",
    "自然笔墨风格"
   ],
   "authored": true,
   "headline": "以积墨与逆光,为新山河立传。",
   "wv_centroid": {
    "x": 0.45,
    "y": 0.46,
    "spread": 0.08
   },
   "style_relation": "居于",
   "trajectory": [
    {
     "phase": "写生期",
     "year": "1950s",
     "x": 0.42,
     "y": 0.48,
     "note": "对景写生改造山水"
    },
    {
     "phase": "积墨红山期",
     "year": "1960s–70s",
     "x": 0.46,
     "y": 0.45,
     "note": "《万山红遍》"
    }
   ],
   "works": [
    {
     "t": "《万山红遍》",
     "year": 1964,
     "x": 0.46,
     "y": 0.45
    },
    {
     "t": "《漓江》",
     "year": 1977,
     "x": 0.44,
     "y": 0.47
    },
    {
     "t": "《万山层林》",
     "year": 1963,
     "x": 0.45,
     "y": 0.46
    }
   ],
   "affect": {
    "v": 0.55,
    "a": 0.45,
    "d": 0.6,
    "note": "浑厚崇高:中愉悦 + 中唤起 + 较高支配"
   },
   "quote": "可贵者胆,所要者魂。"
  },
  {
   "id": "ARTIST.s024",
   "cn": "何家英",
   "region": "east",
   "wv": "WV2",
   "born": 1957,
   "death": null,
   "nationality": "中国",
   "styles": [
    "重彩风格",
    "现代工笔风格",
    "重彩工笔风格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s025",
   "cn": null,
   "region": null,
   "wv": null,
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [],
   "authored": true,
   "headline": null,
   "wv_centroid": {
    "x": null,
    "y": null,
    "spread": null
   },
   "style_relation": null,
   "trajectory": [],
   "works": [],
   "affect": null,
   "quote": null
  },
  {
   "id": "ARTIST.s026",
   "cn": "西蒙尼·马尔蒂尼",
   "region": "west",
   "wv": "WV2",
   "born": 1284,
   "death": 1344,
   "nationality": "意大利",
   "styles": [
    "哥特式风格",
    "锡耶纳画派"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.courbet",
   "cn": "库尔贝",
   "region": "west",
   "wv": "WV1",
   "born": 1819,
   "death": 1877,
   "nationality": "法国",
   "styles": [
    "现实主义"
   ],
   "authored": true,
   "headline": "现实主义的旗手,只画亲眼所见,把'真实'立成一面旗。",
   "wv_centroid": {
    "x": 0.18,
    "y": 0.4,
    "spread": 0.06
   },
   "style_relation": "立区",
   "trajectory": [
    {
     "phase": "成名期",
     "year": "1849–55",
     "x": 0.18,
     "y": 0.4,
     "note": "《奥尔南的葬礼》"
    },
    {
     "phase": "盛期",
     "year": "1850s–60s",
     "x": 0.17,
     "y": 0.39,
     "note": "风景与裸女"
    },
    {
     "phase": "公社/流亡",
     "year": "1871+",
     "x": 0.2,
     "y": 0.42,
     "note": "政治动荡晚景"
    }
   ],
   "works": [
    {
     "t": "《奥尔南的葬礼》",
     "year": 1850,
     "x": 0.18,
     "y": 0.4
    },
    {
     "t": "《画室》",
     "year": 1855,
     "x": 0.19,
     "y": 0.41
    },
    {
     "t": "《采石工》",
     "year": 1849,
     "x": 0.17,
     "y": 0.39
    },
    {
     "t": "《世界的起源》",
     "year": 1866,
     "x": 0.2,
     "y": 0.42
    }
   ],
   "affect": {
    "v": 0.44,
    "a": 0.55,
    "d": 0.68,
    "note": "强悍而沉郁:偏低愉悦 + 较高唤起 + 粗粝逼人的高支配"
   },
   "quote": "给我看一个天使,我就画一个;我从没见过天使。"
  },
  {
   "id": "ARTIST.s027",
   "cn": "杜米埃",
   "region": "west",
   "wv": "WV1",
   "born": 1808,
   "death": 1879,
   "nationality": "法国",
   "styles": [
    "现实主义",
    "魔幻现实主义"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.monet",
   "cn": "莫奈",
   "region": "west",
   "wv": "WV4",
   "born": 1840,
   "death": 1926,
   "nationality": "法国",
   "styles": [
    "印象派"
   ],
   "authored": true,
   "headline": "印象派的旗手,毕生追逐光与瞬间。",
   "wv_centroid": {
    "x": 0.57,
    "y": 0.79,
    "spread": 0.13
   },
   "style_relation": "立区",
   "trajectory": [
    {
     "phase": "外光期",
     "year": "1865–72",
     "x": 0.46,
     "y": 0.64,
     "note": "对景写生,《日出·印象》定名"
    },
    {
     "phase": "系列期",
     "year": "1890s",
     "x": 0.56,
     "y": 0.83,
     "note": "题材让位给光:干草垛、教堂"
    },
    {
     "phase": "睡莲晚期",
     "year": "1899–1926",
     "x": 0.72,
     "y": 0.93,
     "note": "取消轮廓与地平线,趋近抽象"
    }
   ],
   "works": [
    {
     "t": "《日出·印象》",
     "year": 1872,
     "x": 0.46,
     "y": 0.64
    },
    {
     "t": "《干草垛》系列",
     "year": 1891,
     "x": 0.54,
     "y": 0.8
    },
    {
     "t": "《鲁昂大教堂》系列",
     "year": 1894,
     "x": 0.58,
     "y": 0.85
    },
    {
     "t": "《睡莲》系列",
     "year": 1920,
     "x": 0.72,
     "y": 0.93
    }
   ],
   "affect": {
    "v": 0.75,
    "a": 0.4,
    "d": 0.3,
    "note": "明亮而沉浸:愉悦的高 + 微澜的中低唤起 + 让人溶入其中的低支配"
   },
   "quote": "我想在最易逝的效果前,画出我的印象。"
  },
  {
   "id": "ARTIST.renoir",
   "cn": "雷诺阿",
   "region": "west",
   "wv": "WV4",
   "born": 1841,
   "death": 1919,
   "nationality": "法国",
   "styles": [
    "印象派"
   ],
   "authored": true,
   "headline": "印象派里最温暖的眼睛,把光用于人间的欢愉。",
   "wv_centroid": {
    "x": 0.55,
    "y": 0.7,
    "spread": 0.1
   },
   "style_relation": "居于",
   "trajectory": [
    {
     "phase": "印象期",
     "year": "1870s",
     "x": 0.52,
     "y": 0.72,
     "note": "《煎饼磨坊的舞会》"
    },
    {
     "phase": "安格尔期",
     "year": "1880s",
     "x": 0.58,
     "y": 0.62,
     "note": "转向结实造型"
    },
    {
     "phase": "晚期",
     "year": "1900s",
     "x": 0.6,
     "y": 0.68,
     "note": "丰腴的暖色浴女"
    }
   ],
   "works": [
    {
     "t": "《煎饼磨坊的舞会》",
     "year": 1876,
     "x": 0.52,
     "y": 0.72
    },
    {
     "t": "《船上的午宴》",
     "year": 1881,
     "x": 0.55,
     "y": 0.7
    },
    {
     "t": "《大浴女》",
     "year": 1887,
     "x": 0.6,
     "y": 0.62
    },
    {
     "t": "《阳光中的裸女》",
     "year": 1876,
     "x": 0.54,
     "y": 0.71
    }
   ],
   "affect": {
    "v": 0.8,
    "a": 0.52,
    "d": 0.38,
    "note": "明媚欢愉:高愉悦 + 偏高唤起 + 让人融入的低支配"
   },
   "quote": "痛苦终会过去,而美留存。"
  },
  {
   "id": "ARTIST.pissarro",
   "cn": "毕沙罗",
   "region": "west",
   "wv": "WV4",
   "born": 1830,
   "death": 1903,
   "nationality": "法国",
   "styles": [
    "印象派",
    "新印象派(短暂)"
   ],
   "authored": true,
   "headline": "印象派的定海神针,以质朴乡野光色凝聚整个运动。",
   "wv_centroid": {
    "x": 0.52,
    "y": 0.72,
    "spread": 0.11
   },
   "style_relation": "居于",
   "trajectory": [
    {
     "phase": "柯罗影响期",
     "year": "1860s",
     "x": 0.45,
     "y": 0.6,
     "note": "巴比松式风景"
    },
    {
     "phase": "印象核心期",
     "year": "1870s",
     "x": 0.52,
     "y": 0.72,
     "note": "蓬图瓦兹乡村"
    },
    {
     "phase": "点彩试验",
     "year": "1885–90",
     "x": 0.56,
     "y": 0.74,
     "note": "短暂转新印象"
    }
   ],
   "works": [
    {
     "t": "《蒙马特大道》",
     "year": 1897,
     "x": 0.54,
     "y": 0.73
    },
    {
     "t": "《红屋顶》",
     "year": 1877,
     "x": 0.5,
     "y": 0.7
    },
    {
     "t": "《埃拉尼的收割》",
     "year": 1887,
     "x": 0.56,
     "y": 0.74
    }
   ],
   "affect": {
    "v": 0.62,
    "a": 0.42,
    "d": 0.4,
    "note": "平和质朴:温和愉悦 + 中低唤起 + 低支配"
   },
   "quote": null
  },
  {
   "id": "ARTIST.s028",
   "cn": "西斯莱",
   "region": "west",
   "wv": "WV4",
   "born": 1839,
   "death": 1899,
   "nationality": "法国",
   "styles": [
    "印象派",
    "新印象派"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.malevich",
   "cn": "马列维奇",
   "region": "west",
   "wv": "WV6",
   "born": 1878,
   "death": 1935,
   "nationality": "俄国",
   "styles": [
    "至上主义"
   ],
   "authored": true,
   "headline": "至上主义的创立者,把绘画推到零度——一个黑方块。",
   "wv_centroid": {
    "x": 0.88,
    "y": 0.18,
    "spread": 0.1
   },
   "style_relation": "立区",
   "trajectory": [
    {
     "phase": "立体未来期",
     "year": "1910s初",
     "x": 0.75,
     "y": 0.3,
     "note": "立体未来主义"
    },
    {
     "phase": "至上主义",
     "year": "1915",
     "x": 0.9,
     "y": 0.16,
     "note": "《黑方块》"
    },
    {
     "phase": "晚期",
     "year": "1920s+",
     "x": 0.7,
     "y": 0.3,
     "note": "部分回具象"
    }
   ],
   "works": [
    {
     "t": "《黑方块》",
     "year": 1915,
     "x": 0.9,
     "y": 0.16
    },
    {
     "t": "《白上白》",
     "year": 1918,
     "x": 0.92,
     "y": 0.18
    },
    {
     "t": "《至上主义构成》",
     "year": 1916,
     "x": 0.88,
     "y": 0.2
    }
   ],
   "affect": {
    "v": 0.46,
    "a": 0.42,
    "d": 0.66,
    "note": "绝对而冷峻:中性愉悦 + 中唤起 + 高支配"
   },
   "quote": null
  },
  {
   "id": "ARTIST.mondrian",
   "cn": "蒙德里安",
   "region": "west",
   "wv": "WV6",
   "born": 1872,
   "death": 1944,
   "nationality": "荷兰",
   "styles": [
    "新造型主义",
    "风格派"
   ],
   "authored": true,
   "headline": "新造型主义之父,把世界还原为水平、垂直与三原色。",
   "wv_centroid": {
    "x": 0.85,
    "y": 0.15,
    "spread": 0.13
   },
   "style_relation": "立区",
   "trajectory": [
    {
     "phase": "自然主义期",
     "year": "1900s",
     "x": 0.45,
     "y": 0.4,
     "note": "写实风景与树"
    },
    {
     "phase": "立体过渡",
     "year": "1911–17",
     "x": 0.7,
     "y": 0.3,
     "note": "树→格的蒸馏"
    },
    {
     "phase": "新造型主义",
     "year": "1920s+",
     "x": 0.88,
     "y": 0.13,
     "note": "纯网格"
    }
   ],
   "works": [
    {
     "t": "《红黄蓝构成》",
     "year": 1930,
     "x": 0.88,
     "y": 0.13
    },
    {
     "t": "《灰树》",
     "year": 1911,
     "x": 0.6,
     "y": 0.34
    },
    {
     "t": "《百老汇布吉伍吉》",
     "year": 1943,
     "x": 0.85,
     "y": 0.18
    }
   ],
   "affect": {
    "v": 0.55,
    "a": 0.25,
    "d": 0.55,
    "note": "纯净静穆:温和愉悦 + 极低唤起 + 中等支配"
   },
   "quote": null
  },
  {
   "id": "ARTIST.s029",
   "cn": "凡·杜斯堡",
   "region": "west",
   "wv": "WV6",
   "born": 1883,
   "death": 1931,
   "nationality": "荷兰",
   "styles": [
    "新造型主义",
    "几何抽象"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s030",
   "cn": "米罗",
   "region": "west",
   "wv": "WV5",
   "born": 1893,
   "death": 1983,
   "nationality": "西班牙",
   "styles": [
    "自动主义",
    "超现实主义"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.pollock",
   "cn": "波洛克",
   "region": "west",
   "wv": "WV5",
   "born": 1912,
   "death": 1956,
   "nationality": "美国",
   "styles": [
    "动作绘画",
    "抽象表现主义"
   ],
   "authored": true,
   "headline": "动作绘画——把身体的行动直接留在画布上。",
   "wv_centroid": {
    "x": 0.85,
    "y": 0.6,
    "spread": 0.14
   },
   "style_relation": "立区",
   "trajectory": [
    {
     "phase": "具象期",
     "year": "1940s初",
     "x": 0.7,
     "y": 0.5,
     "note": "受本顿、超现实影响"
    },
    {
     "phase": "滴画期",
     "year": "1947–50",
     "x": 0.88,
     "y": 0.65,
     "note": "《1948年第5号》满幅滴洒"
    }
   ],
   "works": [
    {
     "t": "《1948年第5号》",
     "year": 1948,
     "x": 0.88,
     "y": 0.65
    },
    {
     "t": "《秋韵》",
     "year": 1950,
     "x": 0.86,
     "y": 0.62
    },
    {
     "t": "《薰衣草之雾》",
     "year": 1950,
     "x": 0.84,
     "y": 0.6
    }
   ],
   "affect": {
    "v": 0.45,
    "a": 0.85,
    "d": 0.6,
    "note": "激烈躁动:中愉悦 + 极高唤起"
   },
   "quote": "作画时我不知道自己在做什么——画有它自己的生命。"
  },
  {
   "id": "ARTIST.rothko",
   "cn": "罗斯科",
   "region": "west",
   "wv": "WV6",
   "born": 1903,
   "death": 1970,
   "nationality": "美国",
   "styles": [
    "色域绘画",
    "抽象表现主义"
   ],
   "authored": true,
   "headline": "色域绘画的代表,用漂浮的大色块把人推到崇高与悲剧的边缘。",
   "wv_centroid": {
    "x": 0.78,
    "y": 0.25,
    "spread": 0.08
   },
   "style_relation": "居于",
   "trajectory": [
    {
     "phase": "具象/超现实",
     "year": "1930s–40s",
     "x": 0.6,
     "y": 0.4,
     "note": "神话与超现实"
    },
    {
     "phase": "多形式期",
     "year": "1940s末",
     "x": 0.7,
     "y": 0.3,
     "note": "色块漂浮成形"
    },
    {
     "phase": "经典色域",
     "year": "1950s–60s",
     "x": 0.8,
     "y": 0.24,
     "note": "成熟矩形色域"
    }
   ],
   "works": [
    {
     "t": "《橙红黄》",
     "year": 1956,
     "x": 0.78,
     "y": 0.25
    },
    {
     "t": "《No. 14》",
     "year": 1960,
     "x": 0.8,
     "y": 0.24
    },
    {
     "t": "罗斯科教堂壁画",
     "year": 1967,
     "x": 0.82,
     "y": 0.22
    }
   ],
   "affect": {
    "v": 0.42,
    "a": 0.3,
    "d": 0.6,
    "note": "崇高悲悯:偏低愉悦 + 低唤起 + 较高支配"
   },
   "quote": "我只对表达基本的人类情感感兴趣——悲剧、狂喜、命运。"
  },
  {
   "id": "ARTIST.s032",
   "cn": "莱因哈特",
   "region": "west",
   "wv": "WV6",
   "born": 1913,
   "death": 1967,
   "nationality": "美国",
   "styles": [
    "硬边绘画",
    "极简主义"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s033",
   "cn": "赖利",
   "region": "west",
   "wv": "WV6",
   "born": 1931,
   "death": null,
   "nationality": "英国",
   "styles": [
    "欧普艺术",
    "光效应艺术"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s034",
   "cn": "克洛斯",
   "region": "west",
   "wv": "WV1",
   "born": 1940,
   "death": 2021,
   "nationality": "美国",
   "styles": [
    "照相写实主义",
    "超写实主义"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s035",
   "cn": "施纳贝尔",
   "region": "west",
   "wv": "WV5",
   "born": 1951,
   "death": null,
   "nationality": "美国",
   "styles": [
    "新表现主义",
    "后现代拼贴绘画"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s036",
   "cn": "李唐",
   "region": "east",
   "wv": "WV3",
   "born": 1066,
   "death": 1150,
   "nationality": "中国(两宋)",
   "styles": [
    "北宋院体风格",
    "南宋山水风格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s037",
   "cn": "董源",
   "region": "east",
   "wv": "WV3",
   "born": 934,
   "death": 962,
   "nationality": "中国(五代)",
   "styles": [
    "山水正宗风格",
    "水墨山水风格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s038",
   "cn": "李成",
   "region": "east",
   "wv": "WV1",
   "born": 919,
   "death": 967,
   "nationality": "中国(五代-宋)",
   "styles": [
    "山水正宗风格",
    "北宋山水风格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s039",
   "cn": "马远",
   "region": "east",
   "wv": "WV3",
   "born": 1160,
   "death": 1225,
   "nationality": "中国(南宋)",
   "styles": [
    "南宋山水风格",
    "留白风格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.shitao",
   "cn": "石涛",
   "region": "east",
   "wv": "WV3",
   "born": 1642,
   "death": 1707,
   "nationality": "明末清初·中国",
   "styles": [
    "清初个性派",
    "文人画"
   ],
   "authored": true,
   "headline": "清初最叛逆的天才,以'一画'之论和恣肆笔墨打破摹古。",
   "wv_centroid": {
    "x": 0.62,
    "y": 0.46,
    "spread": 0.08
   },
   "style_relation": "立区",
   "trajectory": [
    {
     "phase": "云游期",
     "year": "1660s–70s",
     "x": 0.58,
     "y": 0.47,
     "note": "遍历名山"
    },
    {
     "phase": "宣城/南京期",
     "year": "1680s",
     "x": 0.62,
     "y": 0.46,
     "note": "黄山系列"
    },
    {
     "phase": "扬州晚期",
     "year": "1690s+",
     "x": 0.65,
     "y": 0.45,
     "note": "恣肆登峰,著画语录"
    }
   ],
   "works": [
    {
     "t": "《搜尽奇峰打草稿图》",
     "year": 1691,
     "x": 0.63,
     "y": 0.46
    },
    {
     "t": "《黄山图》",
     "year": 1680,
     "x": 0.62,
     "y": 0.47
    },
    {
     "t": "《淮扬洁秋图》",
     "year": 1700,
     "x": 0.65,
     "y": 0.45
    }
   ],
   "affect": {
    "v": 0.55,
    "a": 0.55,
    "d": 0.58,
    "note": "恣肆昂扬:较高愉悦 + 较高唤起 + 较高支配"
   },
   "quote": "笔墨当随时代。"
  },
  {
   "id": "ARTIST.s040",
   "cn": "黄慎",
   "region": "east",
   "wv": "WV3",
   "born": 1687,
   "death": 1768,
   "nationality": "中国(清)",
   "styles": [
    "写意人物风格",
    "扬州八怪风格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.zhengxie",
   "cn": "郑燮",
   "region": "east",
   "wv": "WV3",
   "born": 1693,
   "death": 1765,
   "nationality": "中国(清)",
   "styles": [
    "墨竹风格",
    "扬州八怪风格"
   ],
   "authored": true,
   "headline": "扬州八怪'板桥'——以墨竹与六分半书,写胸中清节。",
   "wv_centroid": {
    "x": 0.58,
    "y": 0.46,
    "spread": 0.07
   },
   "style_relation": "居于",
   "trajectory": [
    {
     "phase": "兰竹期",
     "year": "1750s",
     "x": 0.58,
     "y": 0.46,
     "note": "《墨竹图》《竹石图》"
    }
   ],
   "works": [
    {
     "t": "《墨竹图》",
     "year": 1753,
     "x": 0.58,
     "y": 0.46
    },
    {
     "t": "《竹石图》",
     "year": 1760,
     "x": 0.59,
     "y": 0.47
    },
    {
     "t": "《兰竹石图》",
     "year": 1758,
     "x": 0.57,
     "y": 0.45
    }
   ],
   "affect": {
    "v": 0.55,
    "a": 0.4,
    "d": 0.5,
    "note": "清劲铿锵:中愉悦 + 中唤起"
   },
   "quote": "些小吾曹州县吏,一枝一叶总关情。"
  },
  {
   "id": "ARTIST.shenzhou",
   "cn": "沈周",
   "region": "east",
   "wv": "WV3",
   "born": 1427,
   "death": 1509,
   "nationality": "明·中国",
   "styles": [
    "吴门画派",
    "文人画"
   ],
   "authored": true,
   "headline": "吴门画派的开创者,以宽厚温润把文人画引向日常诗意。",
   "wv_centroid": {
    "x": 0.52,
    "y": 0.46,
    "spread": 0.05
   },
   "style_relation": "立区",
   "trajectory": [
    {
     "phase": "细沈期",
     "year": "中年",
     "x": 0.5,
     "y": 0.47,
     "note": "细密承元四家"
    },
    {
     "phase": "粗沈期",
     "year": "晚年",
     "x": 0.54,
     "y": 0.45,
     "note": "粗笔宽和"
    },
    {
     "phase": "晚岁",
     "year": "1500s",
     "x": 0.53,
     "y": 0.46,
     "note": "炉火纯青"
    }
   ],
   "works": [
    {
     "t": "《庐山高图》",
     "year": 1467,
     "x": 0.5,
     "y": 0.47
    },
    {
     "t": "《夜坐图》",
     "year": 1492,
     "x": 0.53,
     "y": 0.46
    },
    {
     "t": "《东庄图册》",
     "year": 1480,
     "x": 0.54,
     "y": 0.45
    }
   ],
   "affect": {
    "v": 0.62,
    "a": 0.32,
    "d": 0.5,
    "note": "温厚平和:高愉悦 + 低唤起 + 中等支配"
   },
   "quote": null
  },
  {
   "id": "ARTIST.wenzhengming",
   "cn": "文徵明",
   "region": "east",
   "wv": "WV3",
   "born": 1470,
   "death": 1559,
   "nationality": "明·中国",
   "styles": [
    "吴门画派",
    "文人画"
   ],
   "authored": true,
   "headline": "吴门领袖,以精雅缜密把文人画推向极致的书卷气。",
   "wv_centroid": {
    "x": 0.54,
    "y": 0.44,
    "spread": 0.04
   },
   "style_relation": "居于",
   "trajectory": [
    {
     "phase": "随沈周习画",
     "year": "早年",
     "x": 0.52,
     "y": 0.45,
     "note": "承吴门"
    },
    {
     "phase": "盛期",
     "year": "中年",
     "x": 0.54,
     "y": 0.44,
     "note": "细笔精雅"
    },
    {
     "phase": "高寿晚岁",
     "year": "1550s",
     "x": 0.55,
     "y": 0.43,
     "note": "书卷气登峰"
    }
   ],
   "works": [
    {
     "t": "《真赏斋图》",
     "year": 1549,
     "x": 0.54,
     "y": 0.44
    },
    {
     "t": "《惠山茶会图》",
     "year": 1518,
     "x": 0.53,
     "y": 0.45
    },
    {
     "t": "《古木寒泉图》",
     "year": 1549,
     "x": 0.55,
     "y": 0.43
    }
   ],
   "affect": {
    "v": 0.58,
    "a": 0.28,
    "d": 0.45,
    "note": "清雅安宁:温和愉悦 + 低唤起 + 中等支配"
   },
   "quote": null
  },
  {
   "id": "ARTIST.s042",
   "cn": "唐寅",
   "region": "east",
   "wv": "WV3",
   "born": 1470,
   "death": 1524,
   "nationality": "中国(明)",
   "styles": [
    "吴派风格",
    "山水诗画风格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s043",
   "cn": "赵佶",
   "region": "east",
   "wv": "WV1",
   "born": 1082,
   "death": 1135,
   "nationality": "中国(北宋)",
   "styles": [
    "工笔花鸟风格",
    "重彩工笔风格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s044",
   "cn": "于非闇",
   "region": "east",
   "wv": "WV1",
   "born": 1889,
   "death": 1959,
   "nationality": "中国",
   "styles": [
    "工笔花鸟风格",
    "淡彩工笔风格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s045",
   "cn": "郎世宁",
   "region": "east",
   "wv": "WV1",
   "born": 1688,
   "death": 1766,
   "nationality": "意大利→中国(清)",
   "styles": [
    "宫廷画风",
    "乾隆院体风格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.xubeihong",
   "cn": "徐悲鸿",
   "region": "east",
   "wv": "WV1",
   "born": 1895,
   "death": 1953,
   "nationality": "中国",
   "styles": [
    "中西融合",
    "现代写实中国画"
   ],
   "authored": true,
   "headline": "中西合璧的旗手,以西法造型给积弱的中国画注入写实筋骨。",
   "wv_centroid": {
    "x": 0.38,
    "y": 0.4,
    "spread": 0.15
   },
   "style_relation": "跨越",
   "trajectory": [
    {
     "phase": "巴黎写实期",
     "year": "1919–27",
     "x": 0.22,
     "y": 0.36,
     "note": "学院派油画,纯写实"
    },
    {
     "phase": "融合探索期",
     "year": "1930s",
     "x": 0.38,
     "y": 0.4,
     "note": "《田横》《愚公》:写实入水墨"
    },
    {
     "phase": "水墨奔马期",
     "year": "1940s",
     "x": 0.52,
     "y": 0.46,
     "note": "奔马:造型与写意合一"
    }
   ],
   "works": [
    {
     "t": "《田横五百士》(油画)",
     "year": 1930,
     "x": 0.24,
     "y": 0.37
    },
    {
     "t": "《愚公移山》",
     "year": 1940,
     "x": 0.4,
     "y": 0.42
    },
    {
     "t": "《奔马》",
     "year": 1941,
     "x": 0.54,
     "y": 0.47
    },
    {
     "t": "《群马》",
     "year": 1942,
     "x": 0.52,
     "y": 0.45
    }
   ],
   "affect": {
    "v": 0.62,
    "a": 0.7,
    "d": 0.65,
    "note": "昂扬振奋:民族精神的较高愉悦 + 奔马般的高唤起 + 力量感的高支配"
   },
   "quote": "古法佳者守之,不佳者改之;西画可采入者,融之。"
  },
  {
   "id": "ARTIST.s046",
   "cn": "蒋兆和",
   "region": "east",
   "wv": "WV1",
   "born": 1904,
   "death": 1986,
   "nationality": "中国",
   "styles": [
    "写实主义风格",
    "现代人物画风格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s047",
   "cn": "潘天寿",
   "region": "east",
   "wv": "WV3",
   "born": 1897,
   "death": 1971,
   "nationality": "中国",
   "styles": [
    "现代花鸟风格",
    "现代写意风格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s048",
   "cn": "李苦禅",
   "region": "east",
   "wv": "WV3",
   "born": 1899,
   "death": 1983,
   "nationality": "中国",
   "styles": [
    "现代花鸟风格",
    "现代写意风格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s049",
   "cn": "傅抱石",
   "region": "east",
   "wv": "WV1",
   "born": 1904,
   "death": 1965,
   "nationality": "中国",
   "styles": [
    "现代山水风格",
    "新中国画风格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s050",
   "cn": "蒋采苹",
   "region": "east",
   "wv": "WV2",
   "born": 1934,
   "death": null,
   "nationality": "中国",
   "styles": [
    "重彩风格",
    "现代工笔风格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.renbonian",
   "cn": "任伯年",
   "region": "east",
   "wv": "WV3",
   "born": 1840,
   "death": 1895,
   "nationality": "中国(清)",
   "styles": [
    "海派风格",
    "小写意风格"
   ],
   "authored": true,
   "headline": "海派巨匠——雅俗共赏,把文人写意带入市井。",
   "wv_centroid": {
    "x": 0.55,
    "y": 0.46,
    "spread": 0.08
   },
   "style_relation": "居于",
   "trajectory": [
    {
     "phase": "海上鬻画期",
     "year": "1870s–90s",
     "x": 0.55,
     "y": 0.46,
     "note": "人物花鸟雅俗共赏"
    }
   ],
   "works": [
    {
     "t": "《群仙祝寿图》",
     "year": 1878,
     "x": 0.55,
     "y": 0.46
    },
    {
     "t": "《酸寒尉像》(吴昌硕像)",
     "year": 1888,
     "x": 0.5,
     "y": 0.44
    },
    {
     "t": "《花鸟四屏》",
     "year": 1885,
     "x": 0.58,
     "y": 0.47
    }
   ],
   "affect": {
    "v": 0.62,
    "a": 0.45,
    "d": 0.45,
    "note": "明快清新:较高愉悦 + 中唤起"
   },
   "quote": "作画须脱去工匠气,而又不失雅俗共赏。"
  },
  {
   "id": "ARTIST.ligonglin",
   "cn": "李公麟",
   "region": "east",
   "wv": "WV1",
   "born": 1049,
   "death": 1106,
   "nationality": "中国(北宋)",
   "styles": [
    "白描人物风格",
    "白描风格"
   ],
   "authored": true,
   "headline": "白描大师——以一线之力,洗尽铅华写形神。",
   "wv_centroid": {
    "x": 0.32,
    "y": 0.42,
    "spread": 0.06
   },
   "style_relation": "立区",
   "trajectory": [
    {
     "phase": "白描成熟期",
     "year": "约1090",
     "x": 0.32,
     "y": 0.42,
     "note": "《五马图》"
    }
   ],
   "works": [
    {
     "t": "《五马图》",
     "year": 1090,
     "x": 0.32,
     "y": 0.42
    },
    {
     "t": "《维摩演教图》",
     "year": 1085,
     "x": 0.34,
     "y": 0.43
    },
    {
     "t": "《临韦偃牧放图》",
     "year": 1080,
     "x": 0.3,
     "y": 0.41
    }
   ],
   "affect": {
    "v": 0.55,
    "a": 0.28,
    "d": 0.45,
    "note": "清雅高古:中愉悦 + 低唤起"
   },
   "quote": "扫去粉黛,淡毫轻墨。"
  },
  {
   "id": "ARTIST.s053",
   "cn": "张渥",
   "region": "east",
   "wv": "WV1",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "白描人物风格",
    "白描风格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s054",
   "cn": "谷文达",
   "region": "east",
   "wv": "WV5",
   "born": 1955,
   "death": null,
   "nationality": "中国",
   "styles": [
    "观念水墨",
    "观念绘画"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.xubing",
   "cn": "徐冰",
   "region": "east",
   "wv": "WV5",
   "born": 1955,
   "death": null,
   "nationality": "中国",
   "styles": [
    "观念水墨",
    "观念绘画"
   ],
   "authored": true,
   "headline": "以伪汉字与文字游戏,质询文化、认知与意义。",
   "wv_centroid": {
    "x": 0.8,
    "y": 0.42,
    "spread": 0.1
   },
   "style_relation": "跨越",
   "trajectory": [
    {
     "phase": "天书期",
     "year": "1987–91",
     "x": 0.82,
     "y": 0.42,
     "note": "伪汉字质询文字"
    },
    {
     "phase": "地书期",
     "year": "2000s",
     "x": 0.78,
     "y": 0.42,
     "note": "通用符号写作"
    }
   ],
   "works": [
    {
     "t": "《天书》",
     "year": 1991,
     "x": 0.82,
     "y": 0.42
    },
    {
     "t": "《地书》",
     "year": 2007,
     "x": 0.78,
     "y": 0.42
    },
    {
     "t": "《背后的故事》",
     "year": 2014,
     "x": 0.76,
     "y": 0.45
    }
   ],
   "affect": {
    "v": 0.5,
    "a": 0.4,
    "d": 0.6,
    "note": "冷静思辨:中愉悦 + 中唤起 + 较高支配"
   },
   "quote": "对待文字的态度,就是对待文化的态度。"
  },
  {
   "id": "ARTIST.s056",
   "cn": "张羽",
   "region": "east",
   "wv": "WV5",
   "born": 1959,
   "death": null,
   "nationality": "中国",
   "styles": [
    "实验水墨",
    "行为与影像水墨"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.gukaizhi",
   "cn": "顾恺之",
   "region": "east",
   "wv": "WV3",
   "born": 345,
   "death": 406,
   "nationality": "中国(东晋)",
   "styles": [
    "工笔人物风格",
    "寫神風格"
   ],
   "authored": true,
   "headline": "中国人物画的奠基者——传神写照,正在阿堵中。",
   "wv_centroid": {
    "x": 0.55,
    "y": 0.45,
    "spread": 0.06
   },
   "style_relation": "立区",
   "trajectory": [
    {
     "phase": "传神写照期",
     "year": "约400",
     "x": 0.55,
     "y": 0.45,
     "note": "《女史箴图》《洛神赋图》"
    }
   ],
   "works": [
    {
     "t": "《女史箴图》(唐摹本)",
     "year": 380,
     "x": 0.52,
     "y": 0.44
    },
    {
     "t": "《洛神赋图》(宋摹本)",
     "year": 390,
     "x": 0.56,
     "y": 0.46
    }
   ],
   "affect": {
    "v": 0.55,
    "a": 0.3,
    "d": 0.45,
    "note": "高古典雅:中愉悦 + 低唤起"
   },
   "quote": "传神写照,正在阿堵中。"
  },
  {
   "id": "ARTIST.s058",
   "cn": "陈洪绶",
   "region": "east",
   "wv": "WV1",
   "born": 1599,
   "death": 1652,
   "nationality": "中国(明末)",
   "styles": [
    "工笔人物风格",
    "白描风格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s059",
   "cn": "展子虔",
   "region": "east",
   "wv": "WV1",
   "born": 545,
   "death": 618,
   "nationality": "中国(隋)",
   "styles": [
    "工笔山水风格",
    "青绿工笔风格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s060",
   "cn": "菲狄亚斯",
   "region": "west",
   "wv": "WV1",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "古希腊风格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s061",
   "cn": "马萨乔",
   "region": "west",
   "wv": "WV1",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "佛罗伦萨画派"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s062",
   "cn": null,
   "region": null,
   "wv": null,
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [],
   "authored": true,
   "headline": null,
   "wv_centroid": {
    "x": null,
    "y": null,
    "spread": null
   },
   "style_relation": null,
   "trajectory": [],
   "works": [],
   "affect": null,
   "quote": null
  },
  {
   "id": "ARTIST.s063",
   "cn": "乔尔乔内",
   "region": "west",
   "wv": "WV1",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "威尼斯画派"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s064",
   "cn": "提香",
   "region": "west",
   "wv": "WV1",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "威尼斯画派"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s065",
   "cn": "委罗内塞",
   "region": "west",
   "wv": "WV1",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "威尼斯画派"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s066",
   "cn": "丁托列托",
   "region": "west",
   "wv": "WV1",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "威尼斯画派"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s067",
   "cn": "凡·艾克",
   "region": "west",
   "wv": "WV1",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "北方文艺复兴"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.durer",
   "cn": "丢勒",
   "region": "west",
   "wv": "WV1",
   "born": 1471,
   "death": 1528,
   "nationality": "德国",
   "styles": [
    "北方文艺复兴"
   ],
   "authored": true,
   "headline": "北方文艺复兴的巨匠,以几何与精微把版画提升为思想。",
   "wv_centroid": {
    "x": 0.28,
    "y": 0.3,
    "spread": 0.06
   },
   "style_relation": "居于",
   "trajectory": [
    {
     "phase": "早期版画",
     "year": "1490s",
     "x": 0.3,
     "y": 0.32,
     "note": "《启示录》木刻"
    },
    {
     "phase": "意大利游学",
     "year": "1505–07",
     "x": 0.26,
     "y": 0.29,
     "note": "吸收比例与色彩"
    },
    {
     "phase": "晚期",
     "year": "1510s–20s",
     "x": 0.28,
     "y": 0.3,
     "note": "理论与宗教画"
    }
   ],
   "works": [
    {
     "t": "《忧郁 I》",
     "year": 1514,
     "x": 0.3,
     "y": 0.31
    },
    {
     "t": "《祈祷的手》",
     "year": 1508,
     "x": 0.27,
     "y": 0.29
    },
    {
     "t": "《自画像》(1500)",
     "year": 1500,
     "x": 0.26,
     "y": 0.28
    },
    {
     "t": "《野兔》",
     "year": 1502,
     "x": 0.28,
     "y": 0.3
    }
   ],
   "affect": {
    "v": 0.42,
    "a": 0.45,
    "d": 0.55,
    "note": "精微而忧郁:偏低愉悦 + 中唤起 + 中等支配"
   },
   "quote": null
  },
  {
   "id": "ARTIST.s068",
   "cn": "勃鲁盖尔",
   "region": "west",
   "wv": "WV1",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "北方文艺复兴"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s069",
   "cn": "杜乔",
   "region": "west",
   "wv": "WV2",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "锡耶纳画派"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s070",
   "cn": "洛伦采蒂兄弟",
   "region": "west",
   "wv": "WV2",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "锡耶纳画派"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s071",
   "cn": "维米尔",
   "region": "west",
   "wv": "WV1",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "荷兰黄金时代"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s072",
   "cn": "哈尔斯",
   "region": "west",
   "wv": "WV1",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "荷兰黄金时代"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s073",
   "cn": "勒伊斯达尔",
   "region": "west",
   "wv": "WV1",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "荷兰黄金时代"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s074",
   "cn": "大卫",
   "region": "west",
   "wv": "WV1",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "新古典主义"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s075",
   "cn": "安格尔",
   "region": "west",
   "wv": "WV1",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "新古典主义"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s076",
   "cn": "巴斯蒂安-勒帕热",
   "region": "west",
   "wv": "WV1",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "自然主义"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s077",
   "cn": "左拉(理论)",
   "region": "west",
   "wv": "WV1",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "自然主义"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.repin",
   "cn": "列宾",
   "region": "west",
   "wv": "WV1",
   "born": 1844,
   "death": 1930,
   "nationality": "俄国",
   "styles": [
    "俄罗斯巡回画派",
    "现实主义"
   ],
   "authored": true,
   "headline": "巡回画派的旗帜,俄国批判现实主义的最高峰。",
   "wv_centroid": {
    "x": 0.21,
    "y": 0.34,
    "spread": 0.06
   },
   "style_relation": "居于",
   "trajectory": [
    {
     "phase": "学院期",
     "year": "1865",
     "x": 0.2,
     "y": 0.3,
     "note": "学院派坚实训练,结构底子最重"
    },
    {
     "phase": "巡回盛期",
     "year": "1873–91",
     "x": 0.18,
     "y": 0.33,
     "note": "再现的顶点:纤夫、群像、历史画"
    },
    {
     "phase": "晚期",
     "year": "1900s",
     "x": 0.27,
     "y": 0.41,
     "note": "笔触略松,略向表现挪一点"
    }
   ],
   "works": [
    {
     "t": "《伏尔加河上的纤夫》",
     "year": 1873,
     "x": 0.17,
     "y": 0.3
    },
    {
     "t": "《伊凡雷帝杀子》",
     "year": 1885,
     "x": 0.28,
     "y": 0.43
    },
    {
     "t": "《意外归来》",
     "year": 1888,
     "x": 0.19,
     "y": 0.34
    },
    {
     "t": "《查波罗什人写信给苏丹王》",
     "year": 1891,
     "x": 0.22,
     "y": 0.38
    }
   ],
   "affect": {
    "v": 0.38,
    "a": 0.72,
    "d": 0.7,
    "note": "沉郁而紧张:悲悯的低愉悦 + 戏剧性的高唤起 + 纪念碑式的高支配"
   },
   "quote": "为人生而艺术——画家应当是社会的良心。"
  },
  {
   "id": "ARTIST.s078",
   "cn": "苏里科夫",
   "region": "west",
   "wv": "WV1",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "社会现实主义"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s079",
   "cn": "列维坦",
   "region": "west",
   "wv": "WV1",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "社会现实主义"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s080",
   "cn": "克拉姆斯柯依",
   "region": "west",
   "wv": "WV1",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "社会现实主义"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s081",
   "cn": "谢罗夫",
   "region": "west",
   "wv": "WV1",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "社会现实主义"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.seurat",
   "cn": "修拉",
   "region": "west",
   "wv": "WV4",
   "born": 1859,
   "death": 1891,
   "nationality": "法国",
   "styles": [
    "新印象派",
    "点彩派"
   ],
   "authored": true,
   "headline": "新印象派的创立者,把印象的感知装进科学的点阵。",
   "wv_centroid": {
    "x": 0.54,
    "y": 0.7,
    "spread": 0.05
   },
   "style_relation": "立区",
   "trajectory": [
    {
     "phase": "素描期",
     "year": "早期",
     "x": 0.5,
     "y": 0.66,
     "note": "孔特粉笔素描"
    },
    {
     "phase": "大碗岛",
     "year": "1884–86",
     "x": 0.54,
     "y": 0.7,
     "note": "点彩成熟"
    },
    {
     "phase": "晚期",
     "year": "1888–91",
     "x": 0.56,
     "y": 0.72,
     "note": "海港更系统"
    }
   ],
   "works": [
    {
     "t": "《大碗岛的星期天下午》",
     "year": 1886,
     "x": 0.54,
     "y": 0.7
    },
    {
     "t": "《阿尼埃尔浴场》",
     "year": 1884,
     "x": 0.52,
     "y": 0.68
    },
    {
     "t": "《马戏团》",
     "year": 1891,
     "x": 0.56,
     "y": 0.72
    }
   ],
   "affect": {
    "v": 0.55,
    "a": 0.3,
    "d": 0.55,
    "note": "静穆凝固:温和愉悦 + 低唤起 + 中等支配"
   },
   "quote": null
  },
  {
   "id": "ARTIST.s082",
   "cn": "西涅克",
   "region": "west",
   "wv": "WV4",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "点彩派"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.cezanne",
   "cn": "塞尚",
   "region": "west",
   "wv": "WV6",
   "born": 1839,
   "death": 1906,
   "nationality": "法国",
   "styles": [
    "后印象派",
    "形式建构先声"
   ],
   "authored": true,
   "headline": "现代绘画之父,把印象的感知重新锻造成画面的结构。",
   "wv_centroid": {
    "x": 0.63,
    "y": 0.42,
    "spread": 0.12
   },
   "style_relation": "跨越",
   "trajectory": [
    {
     "phase": "浪漫期",
     "year": "1860s",
     "x": 0.55,
     "y": 0.5,
     "note": "浓重戏剧,尚未定形"
    },
    {
     "phase": "印象期",
     "year": "1870s",
     "x": 0.55,
     "y": 0.62,
     "note": "随毕沙罗转外光"
    },
    {
     "phase": "构成期",
     "year": "1880–1906",
     "x": 0.68,
     "y": 0.3,
     "note": "圣维克多山:还原为结构"
    }
   ],
   "works": [
    {
     "t": "《圣维克多山》系列",
     "year": 1890,
     "x": 0.66,
     "y": 0.34
    },
    {
     "t": "《苹果与橙子》",
     "year": 1899,
     "x": 0.62,
     "y": 0.36
    },
    {
     "t": "《玩纸牌者》",
     "year": 1895,
     "x": 0.6,
     "y": 0.4
    },
    {
     "t": "《大浴女》",
     "year": 1905,
     "x": 0.7,
     "y": 0.32
    }
   ],
   "affect": {
    "v": 0.52,
    "a": 0.32,
    "d": 0.62,
    "note": "沉静而厚重:中性偏暖的愉悦 + 低唤起的安稳 + 结构带来的较高支配"
   },
   "quote": "要用圆柱体、球体、圆锥体来处理自然。"
  },
  {
   "id": "ARTIST.vangogh",
   "cn": "梵高",
   "region": "west",
   "wv": "WV5",
   "born": 1853,
   "death": 1890,
   "nationality": "荷兰",
   "styles": [
    "后印象派",
    "表现主义先声"
   ],
   "authored": true,
   "headline": "后印象派的灵魂,把内心的激情直接烧成色彩与笔触。",
   "wv_centroid": {
    "x": 0.76,
    "y": 0.56,
    "spread": 0.18
   },
   "style_relation": "立区",
   "trajectory": [
    {
     "phase": "荷兰期",
     "year": "1881–85",
     "x": 0.3,
     "y": 0.42,
     "note": "灰暗写实,《吃土豆的人》"
    },
    {
     "phase": "巴黎期",
     "year": "1886–88",
     "x": 0.58,
     "y": 0.68,
     "note": "遇印象派,调色板点亮"
    },
    {
     "phase": "阿尔勒-圣雷米",
     "year": "1888–90",
     "x": 0.82,
     "y": 0.57,
     "note": "星夜·麦田:内心外化登顶"
    }
   ],
   "works": [
    {
     "t": "《吃土豆的人》",
     "year": 1885,
     "x": 0.3,
     "y": 0.42
    },
    {
     "t": "《向日葵》",
     "year": 1888,
     "x": 0.74,
     "y": 0.55
    },
    {
     "t": "《星月夜》",
     "year": 1889,
     "x": 0.84,
     "y": 0.6
    },
    {
     "t": "《麦田群鸦》",
     "year": 1890,
     "x": 0.86,
     "y": 0.54
    }
   ],
   "affect": {
    "v": 0.48,
    "a": 0.85,
    "d": 0.55,
    "note": "炽烈而不安:介于痛与狂喜的愉悦 + 极高唤起 + 中等支配的奔涌感"
   },
   "quote": "我梦想我的画,然后我画下我的梦。"
  },
  {
   "id": "ARTIST.gauguin",
   "cn": "高更",
   "region": "west",
   "wv": "WV5",
   "born": 1848,
   "death": 1903,
   "nationality": "法国",
   "styles": [
    "后印象派",
    "综合主义"
   ],
   "authored": true,
   "headline": "用象征的纯色逃离文明,去画灵魂的原始。",
   "wv_centroid": {
    "x": 0.74,
    "y": 0.5,
    "spread": 0.1
   },
   "style_relation": "居于",
   "trajectory": [
    {
     "phase": "印象期",
     "year": "1880s初",
     "x": 0.6,
     "y": 0.66,
     "note": "随毕沙罗习印象"
    },
    {
     "phase": "阿旺桥期",
     "year": "1888",
     "x": 0.7,
     "y": 0.52,
     "note": "综合主义成形"
    },
    {
     "phase": "塔希提期",
     "year": "1891–1903",
     "x": 0.76,
     "y": 0.48,
     "note": "《我们从何处来》"
    }
   ],
   "works": [
    {
     "t": "《我们从何处来?我们是谁?我们往何处去?》",
     "year": 1898,
     "x": 0.76,
     "y": 0.48
    },
    {
     "t": "《布道后的幻象》",
     "year": 1888,
     "x": 0.7,
     "y": 0.52
    },
    {
     "t": "《黄色基督》",
     "year": 1889,
     "x": 0.72,
     "y": 0.5
    }
   ],
   "affect": {
    "v": 0.48,
    "a": 0.45,
    "d": 0.6,
    "note": "异域而忧思:偏低愉悦 + 中唤起 + 较高支配"
   },
   "quote": "我闭上眼睛,为了看见。"
  },
  {
   "id": "ARTIST.s083",
   "cn": "博纳尔",
   "region": "west",
   "wv": "WV3",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "纳比派"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s084",
   "cn": "维亚尔",
   "region": "west",
   "wv": "WV3",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "纳比派"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s085",
   "cn": "德尼",
   "region": "west",
   "wv": "WV3",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "纳比派"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s086",
   "cn": "莫罗",
   "region": "west",
   "wv": "WV5",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "象征主义"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s087",
   "cn": "雷东",
   "region": "west",
   "wv": "WV5",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "象征主义"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s088",
   "cn": "夏凡纳",
   "region": "west",
   "wv": "WV5",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "象征主义"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s089",
   "cn": "慕夏",
   "region": "west",
   "wv": "WV3",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "新艺术运动"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s090",
   "cn": "克里姆特",
   "region": "west",
   "wv": "WV3",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "新艺术运动"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.matisse",
   "cn": "马蒂斯",
   "region": "west",
   "wv": "WV5",
   "born": 1869,
   "death": 1954,
   "nationality": "法国",
   "styles": [
    "野兽派"
   ],
   "authored": true,
   "headline": "野兽派的领袖,让色彩从描述里解放出来,只为愉悦与安宁。",
   "wv_centroid": {
    "x": 0.78,
    "y": 0.5,
    "spread": 0.1
   },
   "style_relation": "居于",
   "trajectory": [
    {
     "phase": "新印象起步",
     "year": "1900s初",
     "x": 0.6,
     "y": 0.6,
     "note": "受修拉影响"
    },
    {
     "phase": "野兽派",
     "year": "1905–10s",
     "x": 0.78,
     "y": 0.5,
     "note": "《舞蹈》《红色画室》"
    },
    {
     "phase": "剪纸晚期",
     "year": "1940s–50s",
     "x": 0.82,
     "y": 0.45,
     "note": "《爵士》剪纸"
    }
   ],
   "works": [
    {
     "t": "《舞蹈》",
     "year": 1910,
     "x": 0.78,
     "y": 0.5
    },
    {
     "t": "《红色画室》",
     "year": 1911,
     "x": 0.8,
     "y": 0.48
    },
    {
     "t": "《戴帽的妇人》",
     "year": 1905,
     "x": 0.76,
     "y": 0.52
    },
    {
     "t": "《蓝色裸体》(剪纸)",
     "year": 1952,
     "x": 0.84,
     "y": 0.44
    }
   ],
   "affect": {
    "v": 0.82,
    "a": 0.4,
    "d": 0.45,
    "note": "明快安宁:高愉悦 + 中低唤起 + 中等支配"
   },
   "quote": "我梦想一种均衡、纯净而宁静的艺术,像一把令人安息的安乐椅。"
  },
  {
   "id": "ARTIST.s091",
   "cn": "德兰",
   "region": "west",
   "wv": "WV5",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "野兽派"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.munch",
   "cn": "蒙克",
   "region": "west",
   "wv": "WV5",
   "born": 1863,
   "death": 1944,
   "nationality": "挪威",
   "styles": [
    "表现主义先声",
    "象征主义"
   ],
   "authored": true,
   "headline": "表现主义的第一声呐喊,把现代人的焦虑画成颤动的线与色。",
   "wv_centroid": {
    "x": 0.8,
    "y": 0.55,
    "spread": 0.1
   },
   "style_relation": "立区",
   "trajectory": [
    {
     "phase": "自然主义期",
     "year": "1880s",
     "x": 0.55,
     "y": 0.5,
     "note": "写实起步"
    },
    {
     "phase": "生命组画期",
     "year": "1890s",
     "x": 0.8,
     "y": 0.56,
     "note": "《呐喊》《病室》"
    },
    {
     "phase": "晚期",
     "year": "1900s+",
     "x": 0.78,
     "y": 0.52,
     "note": "渐趋平和"
    }
   ],
   "works": [
    {
     "t": "《呐喊》",
     "year": 1893,
     "x": 0.82,
     "y": 0.58
    },
    {
     "t": "《生命之舞》",
     "year": 1900,
     "x": 0.78,
     "y": 0.54
    },
    {
     "t": "《病室里的死亡》",
     "year": 1895,
     "x": 0.79,
     "y": 0.55
    }
   ],
   "affect": {
    "v": 0.25,
    "a": 0.8,
    "d": 0.4,
    "note": "焦灼战栗:极低愉悦 + 极高唤起 + 被吞没的低支配"
   },
   "quote": "我感到一声穿越自然的、无尽的呐喊。"
  },
  {
   "id": "ARTIST.s092",
   "cn": "基希纳",
   "region": "west",
   "wv": "WV5",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "表现主义"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s093",
   "cn": "诺尔德",
   "region": "west",
   "wv": "WV5",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "表现主义"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.kandinsky",
   "cn": "康定斯基",
   "region": "west",
   "wv": "WV6",
   "born": 1866,
   "death": 1944,
   "nationality": "俄国",
   "styles": [
    "抽象艺术",
    "蓝骑士",
    "构成"
   ],
   "authored": true,
   "headline": "抽象绘画的先驱,让画像音乐一样直接拨动灵魂。",
   "wv_centroid": {
    "x": 0.8,
    "y": 0.42,
    "spread": 0.14
   },
   "style_relation": "跨越",
   "trajectory": [
    {
     "phase": "蓝骑士期",
     "year": "1910s",
     "x": 0.78,
     "y": 0.6,
     "note": "抒情抽象《即兴》"
    },
    {
     "phase": "包豪斯期",
     "year": "1920s",
     "x": 0.82,
     "y": 0.3,
     "note": "几何构成《构成 VIII》"
    },
    {
     "phase": "巴黎晚期",
     "year": "1930s–40s",
     "x": 0.8,
     "y": 0.35,
     "note": "生物形态"
    }
   ],
   "works": [
    {
     "t": "《构成 VII》",
     "year": 1913,
     "x": 0.78,
     "y": 0.55
    },
    {
     "t": "《构成 VIII》",
     "year": 1923,
     "x": 0.82,
     "y": 0.3
    },
    {
     "t": "《黄红蓝》",
     "year": 1925,
     "x": 0.84,
     "y": 0.32
    }
   ],
   "affect": {
    "v": 0.6,
    "a": 0.65,
    "d": 0.55,
    "note": "昂扬律动:较高愉悦 + 高唤起 + 中等支配"
   },
   "quote": "色彩是琴键,眼睛是音锤,灵魂是绷着许多根弦的钢琴。"
  },
  {
   "id": "ARTIST.s094",
   "cn": "马尔克",
   "region": "west",
   "wv": "WV5",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "蓝骑士派"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s095",
   "cn": "明特尔",
   "region": "west",
   "wv": "WV5",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "蓝骑士派"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s096",
   "cn": "基什内尔",
   "region": "west",
   "wv": "WV5",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "桥社"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s097",
   "cn": "黑克尔",
   "region": "west",
   "wv": "WV5",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "桥社"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s098",
   "cn": "施密特-罗特卢夫",
   "region": "west",
   "wv": "WV5",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "桥社"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s099",
   "cn": "波丘尼",
   "region": "west",
   "wv": "WV6",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "未来主义"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s100",
   "cn": "巴拉",
   "region": "west",
   "wv": "WV6",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "未来主义"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s101",
   "cn": "塞韦里尼",
   "region": "west",
   "wv": "WV6",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "未来主义"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s102",
   "cn": "基里科",
   "region": "west",
   "wv": "WV2",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "形而上绘画"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s103",
   "cn": "塔特林",
   "region": "west",
   "wv": "WV6",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "构成主义"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s104",
   "cn": "罗德琴科",
   "region": "west",
   "wv": "WV6",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "构成主义"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s105",
   "cn": "李西茨基",
   "region": "west",
   "wv": "WV6",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "构成主义"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s106",
   "cn": "阿尔普",
   "region": "west",
   "wv": "WV5",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "苏黎世达达"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s107",
   "cn": "查拉(理论)",
   "region": "west",
   "wv": "WV5",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "苏黎世达达"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s108",
   "cn": "赫斯菲尔德",
   "region": "west",
   "wv": "WV5",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "柏林达达"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s109",
   "cn": "赫希",
   "region": "west",
   "wv": "WV5",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "柏林达达"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s110",
   "cn": "格罗兹",
   "region": "west",
   "wv": "WV5",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "柏林达达"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s111",
   "cn": "马松",
   "region": "west",
   "wv": "WV5",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "自动主义"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s112",
   "cn": "马塔",
   "region": "west",
   "wv": "WV5",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "自动主义"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s113",
   "cn": "达利",
   "region": "west",
   "wv": "WV5",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "超现实主义"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s114",
   "cn": "马格利特",
   "region": "west",
   "wv": "WV5",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "超现实主义"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s115",
   "cn": "恩斯特",
   "region": "west",
   "wv": "WV5",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "超现实主义"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s116",
   "cn": "德·斯塔埃尔",
   "region": "west",
   "wv": "WV5",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "抒情抽象"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s117",
   "cn": "赵无极",
   "region": "west",
   "wv": "WV5",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "抒情抽象"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s118",
   "cn": "马蒂厄",
   "region": "west",
   "wv": "WV5",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "抒情抽象"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s119",
   "cn": "杜布菲",
   "region": "west",
   "wv": "WV5",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "非形式艺术"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s120",
   "cn": "福特里埃",
   "region": "west",
   "wv": "WV5",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "非形式艺术"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s121",
   "cn": "塔皮埃斯",
   "region": "west",
   "wv": "WV5",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "非形式艺术"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s122",
   "cn": "德·库宁",
   "region": "west",
   "wv": "WV5",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "动作绘画"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s123",
   "cn": "克莱因",
   "region": "west",
   "wv": "WV5",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "动作绘画"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s124",
   "cn": "德库宁",
   "region": "west",
   "wv": "WV5",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "抽象表现主义"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s125",
   "cn": "纽曼",
   "region": "west",
   "wv": "WV5",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "色域绘画"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s126",
   "cn": "弗兰肯塔勒",
   "region": "west",
   "wv": "WV5",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "色域绘画"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s127",
   "cn": "凯利",
   "region": "west",
   "wv": "WV6",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "硬边绘画"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s128",
   "cn": "诺兰",
   "region": "west",
   "wv": "WV6",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "硬边绘画"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s129",
   "cn": "瓦萨雷利",
   "region": "west",
   "wv": "WV6",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "欧普艺术"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s130",
   "cn": "贾德",
   "region": "west",
   "wv": "WV6",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "极简主义"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s131",
   "cn": "马丁",
   "region": "west",
   "wv": "WV6",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "极简主义"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s132",
   "cn": "瓦萨雷里",
   "region": "west",
   "wv": "WV6",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "光效应艺术"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s133",
   "cn": "埃斯蒂斯",
   "region": "west",
   "wv": "WV1",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "照相写实主义"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s134",
   "cn": "埃斯特斯",
   "region": "west",
   "wv": "WV1",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "超写实主义"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s135",
   "cn": "汉森(雕塑)",
   "region": "west",
   "wv": "WV1",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "超写实主义"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s136",
   "cn": "科苏斯",
   "region": "west",
   "wv": "WV6",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "观念艺术"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s137",
   "cn": "勒维特",
   "region": "west",
   "wv": "WV6",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "观念艺术"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s138",
   "cn": "亨利·卢梭",
   "region": "west",
   "wv": "WV2",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "素人绘画"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s139",
   "cn": "摩西奶奶",
   "region": "west",
   "wv": "WV2",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "素人绘画"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s140",
   "cn": "博伊斯(先声)",
   "region": "west",
   "wv": "WV5",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "社会介入艺术"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s141",
   "cn": "莫尔诺",
   "region": "west",
   "wv": "WV6",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "算法与生成艺术"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s142",
   "cn": "诺尔(先驱)",
   "region": "west",
   "wv": "WV6",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "算法与生成艺术"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s143",
   "cn": "沃霍尔",
   "region": "west",
   "wv": "WV3",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "波普艺术"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s144",
   "cn": "利希滕斯坦",
   "region": "west",
   "wv": "WV3",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "波普艺术"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s145",
   "cn": "汉密尔顿",
   "region": "west",
   "wv": "WV3",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "波普艺术"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s146",
   "cn": "基弗",
   "region": "west",
   "wv": "WV5",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "新表现主义"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s147",
   "cn": "巴塞利兹",
   "region": "west",
   "wv": "WV5",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "新表现主义"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s148",
   "cn": "萨利",
   "region": "west",
   "wv": "WV5",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "后现代拼贴绘画"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s149",
   "cn": "巴斯奇亚",
   "region": "west",
   "wv": "WV5",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "街头与涂鸦艺术"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s150",
   "cn": "哈林",
   "region": "west",
   "wv": "WV5",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "街头与涂鸦艺术"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s151",
   "cn": "班克西",
   "region": "west",
   "wv": "WV5",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "街头与涂鸦艺术"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s152",
   "cn": "草间弥生(无限镜屋)",
   "region": "west",
   "wv": "WV5",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "沉浸与环境艺术"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s153",
   "cn": "teamLab",
   "region": "west",
   "wv": "WV5",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "沉浸与环境艺术"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s154",
   "cn": "科里·阿肯吉尔",
   "region": "west",
   "wv": "WV5",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "网络与后互联网艺术"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s155",
   "cn": "Beeple",
   "region": "west",
   "wv": "WV5",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "区块链与NFT艺术"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s156",
   "cn": "弗洛伊德",
   "region": "west",
   "wv": "WV1",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "当代具象"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s157",
   "cn": "图伊曼斯",
   "region": "west",
   "wv": "WV1",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "当代具象"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s158",
   "cn": "里希特(具象)",
   "region": "west",
   "wv": "WV1",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "当代具象"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s159",
   "cn": null,
   "region": null,
   "wv": null,
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [],
   "authored": true,
   "headline": null,
   "wv_centroid": {
    "x": null,
    "y": null,
    "spread": null
   },
   "style_relation": null,
   "trajectory": [],
   "works": [],
   "affect": null,
   "quote": null
  },
  {
   "id": "ARTIST.s160",
   "cn": "武宗元",
   "region": "east",
   "wv": "WV2",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "道教图像风格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s161",
   "cn": "巨然",
   "region": "east",
   "wv": "WV3",
   "born": 945,
   "death": 1010,
   "nationality": "中国(五代-宋)",
   "styles": [
    "山水正宗风格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.fankuan",
   "cn": "范宽",
   "region": "east",
   "wv": "WV1",
   "born": 950,
   "death": 1032,
   "nationality": "北宋·中国",
   "styles": [
    "北宋山水"
   ],
   "authored": true,
   "headline": "北宋山水的巅峰,以雨点皴堆出令人渺小的崇高巨嶂。",
   "wv_centroid": {
    "x": 0.26,
    "y": 0.3,
    "spread": 0.04
   },
   "style_relation": "居于",
   "trajectory": [
    {
     "phase": "师古期",
     "year": "早年",
     "x": 0.24,
     "y": 0.31,
     "note": "学李成、荆浩"
    },
    {
     "phase": "师物期",
     "year": "中年",
     "x": 0.26,
     "y": 0.3,
     "note": "隐居对景,自立面貌"
    },
    {
     "phase": "师心期",
     "year": "晚年",
     "x": 0.28,
     "y": 0.29,
     "note": "《溪山行旅图》"
    }
   ],
   "works": [
    {
     "t": "《溪山行旅图》",
     "year": 1000,
     "x": 0.27,
     "y": 0.29
    },
    {
     "t": "《雪景寒林图》",
     "year": 1020,
     "x": 0.25,
     "y": 0.31
    },
    {
     "t": "《雪山萧寺图》",
     "year": 1010,
     "x": 0.26,
     "y": 0.3
    }
   ],
   "affect": {
    "v": 0.52,
    "a": 0.4,
    "d": 0.82,
    "note": "崇高静穆:中性愉悦 + 中低唤起 + 巨嶂压顶的极高支配"
   },
   "quote": "与其师于人,不若师诸物;与其师于物,不若师诸心。"
  },
  {
   "id": "ARTIST.s162",
   "cn": "夏圭",
   "region": "east",
   "wv": "WV3",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "南宋山水风格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s163",
   "cn": "惠崇",
   "region": "east",
   "wv": "WV2",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "小景山水风格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s164",
   "cn": "赵令穰",
   "region": "east",
   "wv": "WV2",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "小景山水风格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s165",
   "cn": "王维",
   "region": "east",
   "wv": "WV3",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "水墨山水风格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s166",
   "cn": "牧溪(法常)",
   "region": "east",
   "wv": "WV3",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "牧溪风格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.nizan",
   "cn": "倪瓒",
   "region": "east",
   "wv": "WV3",
   "born": 1301,
   "death": 1374,
   "nationality": "元末·中国",
   "styles": [
    "文人画",
    "元四家"
   ],
   "authored": true,
   "headline": "元四家中最孤峭的逸笔大师,把文人画的'简'推到极致。",
   "wv_centroid": {
    "x": 0.57,
    "y": 0.41,
    "spread": 0.04
   },
   "style_relation": "居于",
   "trajectory": [
    {
     "phase": "清閟阁期",
     "year": "1340s",
     "x": 0.5,
     "y": 0.38,
     "note": "富贵藏古,笔致尚工整"
    },
    {
     "phase": "泛湖期",
     "year": "1350–60s",
     "x": 0.57,
     "y": 0.41,
     "note": "散财漂泊,定型一河两岸"
    },
    {
     "phase": "晚岁",
     "year": "1370s",
     "x": 0.62,
     "y": 0.43,
     "note": "逸气登峰,简到极处"
    }
   ],
   "works": [
    {
     "t": "《六君子图》",
     "year": 1345,
     "x": 0.53,
     "y": 0.39
    },
    {
     "t": "《渔庄秋霁图》",
     "year": 1355,
     "x": 0.57,
     "y": 0.41
    },
    {
     "t": "《容膝斋图》",
     "year": 1372,
     "x": 0.6,
     "y": 0.42
    },
    {
     "t": "《江岸望山图》",
     "year": 1363,
     "x": 0.58,
     "y": 0.4
    }
   ],
   "affect": {
    "v": 0.4,
    "a": 0.18,
    "d": 0.32,
    "note": "清冷孤寂:不悦不痛的低愉悦 + 极静的低唤起 + 萧疏不压迫的低支配"
   },
   "quote": "余之竹聊以写胸中逸气耳,岂复较其似与非、叶之繁与疏、枝之斜与直哉!"
  },
  {
   "id": "ARTIST.s167",
   "cn": "吴镇",
   "region": "east",
   "wv": "WV3",
   "born": 1280,
   "death": 1354,
   "nationality": "中国(元)",
   "styles": [
    "元代文人风格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.wangmeng",
   "cn": "王蒙",
   "region": "east",
   "wv": "WV3",
   "born": 1308,
   "death": 1385,
   "nationality": "元·中国",
   "styles": [
    "元四家",
    "文人画"
   ],
   "authored": true,
   "headline": "元四家中最繁密者,以牛毛皴堆出郁茂苍莽的山。",
   "wv_centroid": {
    "x": 0.55,
    "y": 0.42,
    "spread": 0.05
   },
   "style_relation": "居于",
   "trajectory": [
    {
     "phase": "早期",
     "year": "1340s",
     "x": 0.53,
     "y": 0.43,
     "note": "习赵孟頫与董巨"
    },
    {
     "phase": "黄鹤山隐居",
     "year": "1350–60s",
     "x": 0.55,
     "y": 0.42,
     "note": "《青卞隐居图》"
    },
    {
     "phase": "晚期",
     "year": "1370s+",
     "x": 0.57,
     "y": 0.41,
     "note": "繁密登峰"
    }
   ],
   "works": [
    {
     "t": "《青卞隐居图》",
     "year": 1366,
     "x": 0.55,
     "y": 0.42
    },
    {
     "t": "《葛稚川移居图》",
     "year": 1360,
     "x": 0.56,
     "y": 0.43
    },
    {
     "t": "《具区林屋图》",
     "year": 1370,
     "x": 0.57,
     "y": 0.41
    }
   ],
   "affect": {
    "v": 0.45,
    "a": 0.55,
    "d": 0.55,
    "note": "苍郁不安:偏低愉悦 + 较高唤起 + 中等支配"
   },
   "quote": null
  },
  {
   "id": "ARTIST.s168",
   "cn": "牧溪",
   "region": "east",
   "wv": "WV5",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "禅意绘画风格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s169",
   "cn": "文同",
   "region": "east",
   "wv": "WV3",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "墨竹风格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s170",
   "cn": "扬无咎",
   "region": "east",
   "wv": "WV3",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "墨梅风格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s171",
   "cn": "王冕",
   "region": "east",
   "wv": "WV3",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "墨梅风格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s172",
   "cn": "戴进",
   "region": "east",
   "wv": "WV3",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "浙派风格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s173",
   "cn": "吴伟",
   "region": "east",
   "wv": "WV3",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "浙派风格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s174",
   "cn": "陈继儒",
   "region": "east",
   "wv": "WV3",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "松江派风格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s175",
   "cn": "赵左",
   "region": "east",
   "wv": "WV3",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "松江派风格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s176",
   "cn": "李思训系",
   "region": "east",
   "wv": "WV1",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "北宗画风"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s177",
   "cn": "八大山人(朱耷)",
   "region": "east",
   "wv": "WV5",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "八大山人风格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s178",
   "cn": "髡残",
   "region": "east",
   "wv": "WV3",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "四僧风格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s179",
   "cn": "弘仁",
   "region": "east",
   "wv": "WV3",
   "born": 1610,
   "death": 1664,
   "nationality": "中国(清)",
   "styles": [
    "四僧风格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s180",
   "cn": "金农",
   "region": "east",
   "wv": "WV5",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "扬州八怪风格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s181",
   "cn": "陈淳",
   "region": "east",
   "wv": "WV3",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "文人花鸟风格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s182",
   "cn": "冷枚",
   "region": "east",
   "wv": "WV1",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "宫廷画风"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s183",
   "cn": "丁观鹏",
   "region": "east",
   "wv": "WV1",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "乾隆院体风格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s184",
   "cn": "徐扬",
   "region": "east",
   "wv": "WV1",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "乾隆院体风格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s185",
   "cn": "林风眠",
   "region": "east",
   "wv": "WV3",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "现代水墨"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s186",
   "cn": "吴冠中",
   "region": "east",
   "wv": "WV3",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "现代水墨"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s187",
   "cn": "张大千",
   "region": "east",
   "wv": "WV3",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "现代山水风格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s188",
   "cn": "学院教学体系",
   "region": "east",
   "wv": "WV1",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "学院派风格"
   ],
   "authored": false
  },
  {
   "id": "ARTIST.s189",
   "cn": "刘国松",
   "region": "east",
   "wv": "WV5",
   "born": null,
   "death": null,
   "nationality": null,
   "styles": [
    "抽象水墨"
   ],
   "authored": false
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    "b": "SUBJECT.figure.15",
    "a_cn": "冷暖",
    "b_cn": "儿童形象",
    "w": 3
   },
   {
    "a": "LANG.color.01",
    "b": "STYLE.west.032",
    "a_cn": "冷暖",
    "b_cn": "后印象派",
    "w": 3
   },
   {
    "a": "LANG.color.01",
    "b": "SUBJECT.figure.23",
    "a_cn": "冷暖",
    "b_cn": "市井人物",
    "w": 3
   },
   {
    "a": "LANG.color.01",
    "b": "SUBJECT.landscape.01",
    "a_cn": "冷暖",
    "b_cn": "山岳",
    "w": 3
   },
   {
    "a": "SUBJECT.figure.01",
    "b": "SUBJECT.figure.17",
    "a_cn": "肖像",
    "b_cn": "裸体",
    "w": 3
   },
   {
    "a": "LANG.color.01",
    "b": "STYLE.west.026",
    "a_cn": "冷暖",
    "b_cn": "现实主义",
    "w": 3
   },
   {
    "a": "STYLE.west.010",
    "b": "SUBJECT.figure.01",
    "a_cn": "晚期文艺复兴",
    "b_cn": "肖像",
    "w": 3
   },
   {
    "a": "STYLE.west.023",
    "b": "SUBJECT.animal.01",
    "a_cn": "法国浪漫主义",
    "b_cn": "马",
    "w": 3
   },
   {
    "a": "SUBJECT.landscape.01",
    "b": "SUBJECT.landscape.04",
    "a_cn": "山岳",
    "b_cn": "海洋",
    "w": 3
   },
   {
    "a": "STYLE.west.029",
    "b": "SUBJECT.bird-flower.48",
    "a_cn": "印象派",
    "b_cn": "花卉静物",
    "w": 2
   },
   {
    "a": "LANG.light.01",
    "b": "STYLE.west.032",
    "a_cn": "明暗对比",
    "b_cn": "后印象派",
    "w": 2
   },
   {
    "a": "STYLE.west.013",
    "b": "SUBJECT.figure.01",
    "a_cn": "北方文艺复兴",
    "b_cn": "肖像",
    "w": 2
   },
   {
    "a": "LANG.color.01",
    "b": "STYLE.west.013",
    "a_cn": "冷暖",
    "b_cn": "北方文艺复兴",
    "w": 2
   },
   {
    "a": "STYLE.west.013",
    "b": "SUBJECT.figure.15",
    "a_cn": "北方文艺复兴",
    "b_cn": "儿童形象",
    "w": 2
   },
   {
    "a": "LANG.light.01",
    "b": "SUBJECT.landscape.04",
    "a_cn": "明暗对比",
    "b_cn": "海洋",
    "w": 2
   },
   {
    "a": "STYLE.west.023",
    "b": "SUBJECT.landscape.04",
    "a_cn": "法国浪漫主义",
    "b_cn": "海洋",
    "w": 2
   },
   {
    "a": "STYLE.west.017",
    "b": "SUBJECT.bird-flower.48",
    "a_cn": "荷兰黄金时代",
    "b_cn": "花卉静物",
    "w": 2
   },
   {
    "a": "STYLE.west.024",
    "b": "SUBJECT.landscape.01",
    "a_cn": "英国浪漫主义",
    "b_cn": "山岳",
    "w": 2
   },
   {
    "a": "LANG.color.01",
    "b": "SUBJECT.landscape.04",
    "a_cn": "冷暖",
    "b_cn": "海洋",
    "w": 2
   },
   {
    "a": "STYLE.west.029",
    "b": "SUBJECT.landscape.01",
    "a_cn": "印象派",
    "b_cn": "山岳",
    "w": 2
   },
   {
    "a": "STYLE.west.026",
    "b": "SUBJECT.figure.17",
    "a_cn": "现实主义",
    "b_cn": "裸体",
    "w": 2
   },
   {
    "a": "STYLE.west.026",
    "b": "SUBJECT.landscape.01",
    "a_cn": "现实主义",
    "b_cn": "山岳",
    "w": 2
   },
   {
    "a": "LANG.color.15",
    "b": "SUBJECT.animal.01",
    "a_cn": "高调",
    "b_cn": "马",
    "w": 2
   },
   {
    "a": "STYLE.west.029",
    "b": "AFFECT.06",
    "a_cn": "印象派",
    "b_cn": "恐惧",
    "w": 2,
    "kind": "风格↔画外音"
   },
   {
    "a": "STYLE.west.015",
    "b": "AFFECT.03",
    "a_cn": "意大利巴洛克",
    "b_cn": "热烈",
    "w": 2,
    "kind": "风格↔画外音"
   },
   {
    "a": "STYLE.west.032",
    "b": "AFFECT.03",
    "a_cn": "后印象派",
    "b_cn": "热烈",
    "w": 4,
    "kind": "风格↔画外音"
   },
   {
    "a": "STYLE.west.017",
    "b": "AFFECT.07",
    "a_cn": "荷兰黄金时代",
    "b_cn": "神秘",
    "w": 2,
    "kind": "风格↔画外音"
   },
   {
    "a": "STYLE.west.013",
    "b": "AFFECT.03",
    "a_cn": "北方文艺复兴",
    "b_cn": "热烈",
    "w": 2,
    "kind": "风格↔画外音"
   },
   {
    "a": "STYLE.west.023",
    "b": "AFFECT.11",
    "a_cn": "法国浪漫主义",
    "b_cn": "虚无",
    "w": 2,
    "kind": "风格↔画外音"
   },
   {
    "a": "STYLE.west.017",
    "b": "AFFECT.08",
    "a_cn": "荷兰黄金时代",
    "b_cn": "忧伤",
    "w": 2,
    "kind": "风格↔画外音"
   },
   {
    "a": "STYLE.west.024",
    "b": "AFFECT.01",
    "a_cn": "英国浪漫主义",
    "b_cn": "喜悦",
    "w": 2,
    "kind": "风格↔画外音"
   },
   {
    "a": "STYLE.west.032",
    "b": "AFFECT.08",
    "a_cn": "后印象派",
    "b_cn": "忧伤",
    "w": 3,
    "kind": "风格↔画外音"
   },
   {
    "a": "STYLE.west.029",
    "b": "AFFECT.04",
    "a_cn": "印象派",
    "b_cn": "崇高",
    "w": 2,
    "kind": "风格↔画外音"
   },
   {
    "a": "STYLE.west.029",
    "b": "AFFECT.03",
    "a_cn": "印象派",
    "b_cn": "热烈",
    "w": 3,
    "kind": "风格↔画外音"
   },
   {
    "a": "STYLE.west.026",
    "b": "AFFECT.03",
    "a_cn": "现实主义",
    "b_cn": "热烈",
    "w": 2,
    "kind": "风格↔画外音"
   },
   {
    "a": "STYLE.west.010",
    "b": "AFFECT.11",
    "a_cn": "晚期文艺复兴",
    "b_cn": "虚无",
    "w": 2,
    "kind": "风格↔画外音"
   },
   {
    "a": "STYLE.west.023",
    "b": "AFFECT.01",
    "a_cn": "法国浪漫主义",
    "b_cn": "喜悦",
    "w": 2,
    "kind": "风格↔画外音"
   },
   {
    "a": "STYLE.west.023",
    "b": "AFFECT.13",
    "a_cn": "法国浪漫主义",
    "b_cn": "平静",
    "w": 3,
    "kind": "风格↔画外音"
   },
   {
    "a": "STYLE.west.029",
    "b": "AFFECT.07",
    "a_cn": "印象派",
    "b_cn": "神秘",
    "w": 2,
    "kind": "风格↔画外音"
   }
  ],
  "note": "全部由119件作品语料派生,可追溯;风格↔世界观区为结构边(见styles[].wv)",
  "lineage": [
   {
    "s": "STYLE.west.001",
    "t": "STYLE.west.009",
    "k": "parent",
    "c": "high",
    "w": "以科学透视与人文精神重新发现人与自然",
    "why": "在世界观平面上几乎同位(主轴位移仅0.05):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.west.001",
    "t": "STYLE.west.022",
    "k": "parent",
    "c": "high",
    "w": "回归古典的理性、秩序与道德崇高",
    "why": "沿「结构-感知」轴位移(0.30→0.20,更偏结构):从感官光色 收束为 理性结构"
   },
   {
    "s": "STYLE.west.001",
    "t": "STYLE.west.002",
    "k": "parent",
    "c": "high",
    "w": "务实写实的肖像与叙事浮雕,为国家与个人立像。",
    "why": "沿「节制-强度」轴位移(0.30→0.45,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.west.001",
    "t": "STYLE.west.008",
    "k": "parent",
    "c": "high",
    "w": "以科学透视与人文精神重新发现人与自然",
    "why": "在世界观平面上几乎同位(主轴位移仅0.05):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.west.001",
    "t": "STYLE.west.010",
    "k": "parent",
    "c": "high",
    "w": "以科学透视与人文精神重新发现人与自然",
    "why": "在世界观平面上几乎同位(主轴位移仅0.05):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.west.002",
    "t": "STYLE.west.003",
    "k": "parent",
    "c": "high",
    "w": "金底圣像与镶嵌,以程式化的神圣形象通向天国秩序。",
    "why": "沿「结构-感知」轴位移(0.40→0.20,更偏结构):从感官光色 收束为 理性结构"
   },
   {
    "s": "STYLE.west.002",
    "t": "STYLE.west.009",
    "k": "influence",
    "c": "high",
    "w": "以科学透视与人文精神重新发现人与自然",
    "why": "沿「秩序-张力」轴位移(0.38→0.20,更偏秩序):从动势冲突 趋于 平衡安定"
   },
   {
    "s": "STYLE.west.003",
    "t": "STYLE.west.004",
    "k": "parent",
    "c": "high",
    "w": "厚重程式的宗教壁画与手抄本,为教化而非写实。",
    "why": "沿「秩序-张力」轴位移(0.24→0.30,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.west.003",
    "t": "STYLE.west.028",
    "k": "influence",
    "c": "high",
    "w": "深入民间、巡回展出,以写实之笔为苦难者与民族立此存照",
    "why": "沿「秩序-张力」轴位移(0.24→0.62,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.west.003",
    "t": "STYLE.west.006",
    "k": "parent",
    "c": "high",
    "w": "以图式化的圣经图像服务教会,象征重于摹写。",
    "why": "沿「秩序-张力」轴位移(0.24→0.32,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.west.003",
    "t": "STYLE.west.014",
    "k": "parent",
    "c": "high",
    "w": "哥特式的优雅金饰与抒情线条,装饰性高于写实。",
    "why": "沿「结构-感知」轴位移(0.20→0.32,更偏感知):从理性结构/秩序 走向 感官光色经验"
   },
   {
    "s": "STYLE.west.004",
    "t": "STYLE.west.005",
    "k": "parent",
    "c": "high",
    "w": "修长灵性、渐近自然,在虔敬与优雅间走向人间真实。",
    "why": "沿「结构-感知」轴位移(0.24→0.30,更偏感知):从理性结构/秩序 走向 感官光色经验"
   },
   {
    "s": "STYLE.west.005",
    "t": "STYLE.west.A02",
    "k": "parent",
    "c": "high",
    "w": "以华丽装饰、金箔与精致曲线描绘宫廷的优雅梦境",
    "why": "沿「节制-强度」轴位移(0.48→0.70,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.west.005",
    "t": "STYLE.west.008",
    "k": "influence",
    "c": "high",
    "w": "以科学透视与人文精神重新发现人与自然",
    "why": "沿「再现-表现」轴位移(0.40→0.15,更偏再现):从主观表现 收回到 忠实再现"
   },
   {
    "s": "STYLE.west.005",
    "t": "STYLE.west.011",
    "k": "parent",
    "c": "high",
    "w": "以素描、解剖与透视为骨,把再现建立成一门科学。",
    "why": "沿「再现-表现」轴位移(0.40→0.20,更偏再现):从主观表现 收回到 忠实再现"
   },
   {
    "s": "STYLE.west.005",
    "t": "STYLE.west.012",
    "k": "parent",
    "c": "high",
    "w": "以色彩与光感为先,让丰润的色调本身承载情感。",
    "why": "沿「结构-感知」轴位移(0.30→0.55,更偏感知):从理性结构/秩序 走向 感官光色经验"
   },
   {
    "s": "STYLE.west.006",
    "t": "STYLE.west.005",
    "k": "influence",
    "c": "high",
    "w": "修长灵性、渐近自然,在虔敬与优雅间走向人间真实。",
    "why": "在世界观平面上几乎同位(主轴位移仅0.04):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.west.007",
    "t": "STYLE.west.001",
    "k": "influence",
    "c": "high",
    "w": "以理想比例与和谐再现人体之美",
    "why": "沿「再现-表现」轴位移(0.46→0.15,更偏再现):从主观表现 收回到 忠实再现"
   },
   {
    "s": "STYLE.west.007",
    "t": "STYLE.west.003",
    "k": "influence",
    "c": "high",
    "w": "金底圣像与镶嵌,以程式化的神圣形象通向天国秩序。",
    "why": "在世界观平面上几乎同位(主轴位移仅0.04):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.west.008",
    "t": "STYLE.west.013",
    "k": "influence",
    "c": "high",
    "w": "以油彩极致细节描绘可见世界的纹理与光",
    "why": "在世界观平面上几乎同位(主轴位移仅0.05):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.west.008",
    "t": "STYLE.west.015",
    "k": "influence",
    "c": "high",
    "w": "以戏剧光影与动势激起宗教激情与崇高",
    "why": "沿「秩序-张力」轴位移(0.20→0.75,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.west.008",
    "t": "STYLE.west.022",
    "k": "influence",
    "c": "high",
    "w": "回归古典的理性、秩序与道德崇高",
    "why": "沿「结构-感知」轴位移(0.35→0.20,更偏结构):从感官光色 收束为 理性结构"
   },
   {
    "s": "STYLE.west.009",
    "t": "STYLE.west.013",
    "k": "parent",
    "c": "high",
    "w": "以油彩极致细节描绘可见世界的纹理与光",
    "why": "在世界观平面上几乎同位(主轴位移仅0.05):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.west.009",
    "t": "STYLE.west.015",
    "k": "parent",
    "c": "high",
    "w": "以戏剧光影与动势激起宗教激情与崇高",
    "why": "沿「秩序-张力」轴位移(0.20→0.75,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.west.009",
    "t": "STYLE.west.022",
    "k": "parent",
    "c": "high",
    "w": "回归古典的理性、秩序与道德崇高",
    "why": "沿「结构-感知」轴位移(0.35→0.20,更偏结构):从感官光色 收束为 理性结构"
   },
   {
    "s": "STYLE.west.009",
    "t": "STYLE.west.016",
    "k": "parent",
    "c": "high",
    "w": "以戏剧光影与动势激起宗教激情与崇高",
    "why": "沿「秩序-张力」轴位移(0.20→0.75,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.west.009",
    "t": "STYLE.west.018",
    "k": "parent",
    "c": "high",
    "w": "以戏剧光影与动势激起宗教激情与崇高",
    "why": "沿「秩序-张力」轴位移(0.20→0.75,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.west.009",
    "t": "STYLE.west.A01",
    "k": "parent",
    "c": "high",
    "w": "在文艺复兴的完美之后,故意以失衡、修长、人为的优雅制造紧张",
    "why": "沿「秩序-张力」轴位移(0.20→0.70,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.west.010",
    "t": "STYLE.west.013",
    "k": "influence",
    "c": "high",
    "w": "以油彩极致细节描绘可见世界的纹理与光",
    "why": "在世界观平面上几乎同位(主轴位移仅0.05):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.west.010",
    "t": "STYLE.west.015",
    "k": "influence",
    "c": "high",
    "w": "以戏剧光影与动势激起宗教激情与崇高",
    "why": "沿「秩序-张力」轴位移(0.20→0.75,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.west.010",
    "t": "STYLE.west.022",
    "k": "influence",
    "c": "high",
    "w": "回归古典的理性、秩序与道德崇高",
    "why": "沿「结构-感知」轴位移(0.35→0.20,更偏结构):从感官光色 收束为 理性结构"
   },
   {
    "s": "STYLE.west.011",
    "t": "STYLE.west.009",
    "k": "influence",
    "c": "high",
    "w": "以科学透视与人文精神重新发现人与自然",
    "why": "沿「秩序-张力」轴位移(0.34→0.20,更偏秩序):从动势冲突 趋于 平衡安定"
   },
   {
    "s": "STYLE.west.011",
    "t": "STYLE.west.022",
    "k": "influence",
    "c": "high",
    "w": "回归古典的理性、秩序与道德崇高",
    "why": "沿「节制-强度」轴位移(0.42→0.25,更偏节制):从强烈外放 回到 内敛节制"
   },
   {
    "s": "STYLE.west.012",
    "t": "STYLE.west.015",
    "k": "influence",
    "c": "high",
    "w": "以戏剧光影与动势激起宗教激情与崇高",
    "why": "沿「秩序-张力」轴位移(0.42→0.75,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.west.012",
    "t": "STYLE.west.029",
    "k": "influence",
    "c": "high",
    "w": "走出画室,捕捉光与大气的瞬间",
    "why": "沿「结构-感知」轴位移(0.55→0.85,更偏感知):从理性结构/秩序 走向 感官光色经验"
   },
   {
    "s": "STYLE.west.013",
    "t": "STYLE.west.017",
    "k": "parent",
    "c": "high",
    "w": "市民社会的写实:肖像、风俗、静物与风景,各得其真。",
    "why": "沿「秩序-张力」轴位移(0.25→0.45,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.west.014",
    "t": "STYLE.west.A02",
    "k": "influence",
    "c": "high",
    "w": "以华丽装饰、金箔与精致曲线描绘宫廷的优雅梦境",
    "why": "沿「节制-强度」轴位移(0.46→0.70,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.west.015",
    "t": "STYLE.west.019",
    "k": "parent",
    "c": "high",
    "w": "纤巧轻快描绘贵族享乐与爱欲的优雅",
    "why": "沿「秩序-张力」轴位移(0.75→0.45,更偏秩序):从动势冲突 趋于 平衡安定"
   },
   {
    "s": "STYLE.west.015",
    "t": "STYLE.west.023",
    "k": "parent",
    "c": "high",
    "w": "以激情、自然崇高与个体感受对抗古典理性",
    "why": "沿「再现-表现」轴位移(0.30→0.55,更偏表现):从忠于眼睛所见 走向 忠于内心所感"
   },
   {
    "s": "STYLE.west.015",
    "t": "STYLE.west.020",
    "k": "parent",
    "c": "high",
    "w": "纤巧轻快描绘贵族享乐与爱欲的优雅",
    "why": "沿「秩序-张力」轴位移(0.75→0.45,更偏秩序):从动势冲突 趋于 平衡安定"
   },
   {
    "s": "STYLE.west.015",
    "t": "STYLE.west.021",
    "k": "parent",
    "c": "high",
    "w": "纤巧轻快描绘贵族享乐与爱欲的优雅",
    "why": "沿「秩序-张力」轴位移(0.75→0.45,更偏秩序):从动势冲突 趋于 平衡安定"
   },
   {
    "s": "STYLE.west.015",
    "t": "STYLE.west.024",
    "k": "parent",
    "c": "high",
    "w": "以激情、自然崇高与个体感受对抗古典理性",
    "why": "沿「再现-表现」轴位移(0.30→0.55,更偏表现):从忠于眼睛所见 走向 忠于内心所感"
   },
   {
    "s": "STYLE.west.015",
    "t": "STYLE.west.025",
    "k": "parent",
    "c": "high",
    "w": "以激情、自然崇高与个体感受对抗古典理性",
    "why": "沿「再现-表现」轴位移(0.30→0.55,更偏表现):从忠于眼睛所见 走向 忠于内心所感"
   },
   {
    "s": "STYLE.west.016",
    "t": "STYLE.west.019",
    "k": "influence",
    "c": "high",
    "w": "纤巧轻快描绘贵族享乐与爱欲的优雅",
    "why": "沿「秩序-张力」轴位移(0.75→0.45,更偏秩序):从动势冲突 趋于 平衡安定"
   },
   {
    "s": "STYLE.west.016",
    "t": "STYLE.west.023",
    "k": "influence",
    "c": "high",
    "w": "以激情、自然崇高与个体感受对抗古典理性",
    "why": "沿「再现-表现」轴位移(0.30→0.55,更偏表现):从忠于眼睛所见 走向 忠于内心所感"
   },
   {
    "s": "STYLE.west.017",
    "t": "STYLE.west.026",
    "k": "influence",
    "c": "high",
    "w": "拒绝理想化,直面普通人与社会现实",
    "why": "沿「结构-感知」轴位移(0.45→0.30,更偏结构):从感官光色 收束为 理性结构"
   },
   {
    "s": "STYLE.west.017",
    "t": "STYLE.west.029",
    "k": "influence",
    "c": "high",
    "w": "走出画室,捕捉光与大气的瞬间",
    "why": "沿「结构-感知」轴位移(0.45→0.85,更偏感知):从理性结构/秩序 走向 感官光色经验"
   },
   {
    "s": "STYLE.west.018",
    "t": "STYLE.west.019",
    "k": "influence",
    "c": "high",
    "w": "纤巧轻快描绘贵族享乐与爱欲的优雅",
    "why": "沿「秩序-张力」轴位移(0.75→0.45,更偏秩序):从动势冲突 趋于 平衡安定"
   },
   {
    "s": "STYLE.west.018",
    "t": "STYLE.west.023",
    "k": "influence",
    "c": "high",
    "w": "以激情、自然崇高与个体感受对抗古典理性",
    "why": "沿「再现-表现」轴位移(0.30→0.55,更偏表现):从忠于眼睛所见 走向 忠于内心所感"
   },
   {
    "s": "STYLE.west.019",
    "t": "STYLE.west.029",
    "k": "influence",
    "c": "high",
    "w": "走出画室,捕捉光与大气的瞬间",
    "why": "沿「结构-感知」轴位移(0.55→0.85,更偏感知):从理性结构/秩序 走向 感官光色经验"
   },
   {
    "s": "STYLE.west.020",
    "t": "STYLE.west.029",
    "k": "influence",
    "c": "high",
    "w": "走出画室,捕捉光与大气的瞬间",
    "why": "沿「结构-感知」轴位移(0.55→0.85,更偏感知):从理性结构/秩序 走向 感官光色经验"
   },
   {
    "s": "STYLE.west.021",
    "t": "STYLE.west.029",
    "k": "influence",
    "c": "high",
    "w": "走出画室,捕捉光与大气的瞬间",
    "why": "沿「结构-感知」轴位移(0.55→0.85,更偏感知):从理性结构/秩序 走向 感官光色经验"
   },
   {
    "s": "STYLE.west.022",
    "t": "STYLE.west.026",
    "k": "parent",
    "c": "high",
    "w": "拒绝理想化,直面普通人与社会现实",
    "why": "沿「秩序-张力」轴位移(0.18→0.45,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.west.022",
    "t": "STYLE.west.028",
    "k": "parent",
    "c": "high",
    "w": "深入民间、巡回展出,以写实之笔为苦难者与民族立此存照",
    "why": "沿「秩序-张力」轴位移(0.18→0.62,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.west.022",
    "t": "STYLE.west.063",
    "k": "parent",
    "c": "high",
    "w": "拒绝理想化,直面普通人与社会现实",
    "why": "沿「秩序-张力」轴位移(0.18→0.45,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.west.022",
    "t": "STYLE.west.A03",
    "k": "parent",
    "c": "high",
    "w": "回到拉斐尔之前的真挚与繁密,以浓艳象征描绘文学与道德之美",
    "why": "沿「节制-强度」轴位移(0.25→0.72,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.west.023",
    "t": "STYLE.west.034",
    "k": "parent",
    "c": "high",
    "w": "以隐喻与梦幻表现精神、欲望与死亡",
    "why": "沿「节制-强度」轴位移(0.82→0.55,更偏节制):从强烈外放 回到 内敛节制"
   },
   {
    "s": "STYLE.west.023",
    "t": "STYLE.west.037",
    "k": "parent",
    "c": "high",
    "w": "以变形与浓烈色彩外化内心焦虑",
    "why": "沿「再现-表现」轴位移(0.55→0.85,更偏表现):从忠于眼睛所见 走向 忠于内心所感"
   },
   {
    "s": "STYLE.west.023",
    "t": "STYLE.west.A03",
    "k": "parent",
    "c": "high",
    "w": "回到拉斐尔之前的真挚与繁密,以浓艳象征描绘文学与道德之美",
    "why": "沿「再现-表现」轴位移(0.55→0.20,更偏再现):从主观表现 收回到 忠实再现"
   },
   {
    "s": "STYLE.west.023",
    "t": "STYLE.west.A04",
    "k": "parent",
    "c": "high",
    "w": "走出画室到枫丹白露森林,质朴描绘乡野与农人,直接启发印象派",
    "why": "沿「秩序-张力」轴位移(0.80→0.30,更偏秩序):从动势冲突 趋于 平衡安定"
   },
   {
    "s": "STYLE.west.024",
    "t": "STYLE.west.034",
    "k": "influence",
    "c": "high",
    "w": "以隐喻与梦幻表现精神、欲望与死亡",
    "why": "沿「节制-强度」轴位移(0.82→0.55,更偏节制):从强烈外放 回到 内敛节制"
   },
   {
    "s": "STYLE.west.024",
    "t": "STYLE.west.037",
    "k": "influence",
    "c": "high",
    "w": "以变形与浓烈色彩外化内心焦虑",
    "why": "沿「再现-表现」轴位移(0.55→0.85,更偏表现):从忠于眼睛所见 走向 忠于内心所感"
   },
   {
    "s": "STYLE.west.025",
    "t": "STYLE.west.034",
    "k": "influence",
    "c": "high",
    "w": "以隐喻与梦幻表现精神、欲望与死亡",
    "why": "沿「节制-强度」轴位移(0.82→0.55,更偏节制):从强烈外放 回到 内敛节制"
   },
   {
    "s": "STYLE.west.025",
    "t": "STYLE.west.037",
    "k": "influence",
    "c": "high",
    "w": "以变形与浓烈色彩外化内心焦虑",
    "why": "沿「再现-表现」轴位移(0.55→0.85,更偏表现):从忠于眼睛所见 走向 忠于内心所感"
   },
   {
    "s": "STYLE.west.026",
    "t": "STYLE.west.029",
    "k": "parent",
    "c": "high",
    "w": "走出画室,捕捉光与大气的瞬间",
    "why": "沿「结构-感知」轴位移(0.30→0.85,更偏感知):从理性结构/秩序 走向 感官光色经验"
   },
   {
    "s": "STYLE.west.026",
    "t": "STYLE.west.028",
    "k": "parent",
    "c": "high",
    "w": "深入民间、巡回展出,以写实之笔为苦难者与民族立此存照",
    "why": "沿「秩序-张力」轴位移(0.45→0.62,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.west.026",
    "t": "STYLE.west.027",
    "k": "parent",
    "c": "high",
    "w": "以近乎客观的精确描绘自然与农村劳动,不加美化。",
    "why": "沿「结构-感知」轴位移(0.30→0.46,更偏感知):从理性结构/秩序 走向 感官光色经验"
   },
   {
    "s": "STYLE.west.026",
    "t": "STYLE.west.030",
    "k": "parent",
    "c": "high",
    "w": "走出画室,捕捉光与大气的瞬间",
    "why": "沿「结构-感知」轴位移(0.30→0.85,更偏感知):从理性结构/秩序 走向 感官光色经验"
   },
   {
    "s": "STYLE.west.026",
    "t": "STYLE.west.064",
    "k": "parent",
    "c": "high",
    "w": "以照片为据将现实放大到超真实",
    "why": "沿「秩序-张力」轴位移(0.45→0.30,更偏秩序):从动势冲突 趋于 平衡安定"
   },
   {
    "s": "STYLE.west.026",
    "t": "STYLE.west.A04",
    "k": "parent",
    "c": "high",
    "w": "走出画室到枫丹白露森林,质朴描绘乡野与农人,直接启发印象派",
    "why": "沿「结构-感知」轴位移(0.30→0.45,更偏感知):从理性结构/秩序 走向 感官光色经验"
   },
   {
    "s": "STYLE.west.026",
    "t": "STYLE.west.A05",
    "k": "parent",
    "c": "high",
    "w": "一战后冷峻精确地直面魏玛社会的现实与创伤,反表现主义的激情",
    "why": "沿「节制-强度」轴位移(0.35→0.55,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.west.027",
    "t": "STYLE.west.028",
    "k": "influence",
    "c": "high",
    "w": "深入民间、巡回展出,以写实之笔为苦难者与民族立此存照",
    "why": "沿「结构-感知」轴位移(0.46→0.30,更偏结构):从感官光色 收束为 理性结构"
   },
   {
    "s": "STYLE.west.A04",
    "t": "STYLE.west.029",
    "k": "parent",
    "c": "high",
    "w": "走出画室,捕捉光与大气的瞬间",
    "why": "沿「结构-感知」轴位移(0.45→0.85,更偏感知):从理性结构/秩序 走向 感官光色经验"
   },
   {
    "s": "STYLE.west.029",
    "t": "STYLE.west.031",
    "k": "parent",
    "c": "high",
    "w": "依光学理论以纯色点由视网膜混色",
    "why": "沿「秩序-张力」轴位移(0.45→0.30,更偏秩序):从动势冲突 趋于 平衡安定"
   },
   {
    "s": "STYLE.west.029",
    "t": "STYLE.west.032",
    "k": "parent",
    "c": "high",
    "w": "在光色之上重建结构与主观表达",
    "why": "沿「结构-感知」轴位移(0.85→0.60,更偏结构):从感官光色 收束为 理性结构"
   },
   {
    "s": "STYLE.west.A04",
    "t": "STYLE.west.030",
    "k": "parent",
    "c": "high",
    "w": "走出画室,捕捉光与大气的瞬间",
    "why": "沿「结构-感知」轴位移(0.45→0.85,更偏感知):从理性结构/秩序 走向 感官光色经验"
   },
   {
    "s": "STYLE.west.030",
    "t": "STYLE.west.031",
    "k": "influence",
    "c": "high",
    "w": "依光学理论以纯色点由视网膜混色",
    "why": "沿「秩序-张力」轴位移(0.45→0.30,更偏秩序):从动势冲突 趋于 平衡安定"
   },
   {
    "s": "STYLE.west.030",
    "t": "STYLE.west.032",
    "k": "influence",
    "c": "high",
    "w": "在光色之上重建结构与主观表达",
    "why": "沿「结构-感知」轴位移(0.85→0.60,更偏结构):从感官光色 收束为 理性结构"
   },
   {
    "s": "STYLE.west.031",
    "t": "STYLE.west.036",
    "k": "parent",
    "c": "high",
    "w": "以强烈纯色与简化造型直抒情感",
    "why": "沿「节制-强度」轴位移(0.50→0.88,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.west.031",
    "t": "STYLE.west.043",
    "k": "parent",
    "c": "high",
    "w": "歌颂机械、速度与现代动能",
    "why": "沿「秩序-张力」轴位移(0.30→0.85,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.west.032",
    "t": "STYLE.west.040",
    "k": "parent",
    "c": "high",
    "w": "打破单一视点,几何重组同时性",
    "why": "沿「结构-感知」轴位移(0.60→0.20,更偏结构):从感官光色 收束为 理性结构"
   },
   {
    "s": "STYLE.west.032",
    "t": "STYLE.west.036",
    "k": "parent",
    "c": "high",
    "w": "以强烈纯色与简化造型直抒情感",
    "why": "沿「节制-强度」轴位移(0.70→0.88,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.west.032",
    "t": "STYLE.west.037",
    "k": "parent",
    "c": "high",
    "w": "以变形与浓烈色彩外化内心焦虑",
    "why": "沿「秩序-张力」轴位移(0.60→0.85,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.west.032",
    "t": "STYLE.west.033",
    "k": "parent",
    "c": "high",
    "w": "以平面色块与装饰图案,把日常室内点化为亲密的诗。",
    "why": "沿「节制-强度」轴位移(0.70→0.45,更偏节制):从强烈外放 回到 内敛节制"
   },
   {
    "s": "STYLE.west.032",
    "t": "STYLE.west.041",
    "k": "parent",
    "c": "high",
    "w": "打破单一视点,几何重组同时性",
    "why": "沿「结构-感知」轴位移(0.60→0.20,更偏结构):从感官光色 收束为 理性结构"
   },
   {
    "s": "STYLE.west.032",
    "t": "STYLE.west.042",
    "k": "parent",
    "c": "high",
    "w": "打破单一视点,几何重组同时性",
    "why": "沿「结构-感知」轴位移(0.60→0.20,更偏结构):从感官光色 收束为 理性结构"
   },
   {
    "s": "STYLE.west.032",
    "t": "STYLE.west.A06",
    "k": "parent",
    "c": "high",
    "w": "汇聚巴黎的各国移民艺术家,以抒情个人化的具象表达乡愁与诗意",
    "why": "沿「结构-感知」轴位移(0.60→0.45,更偏结构):从感官光色 收束为 理性结构"
   },
   {
    "s": "STYLE.west.033",
    "t": "STYLE.west.035",
    "k": "influence",
    "c": "high",
    "w": "以自然有机曲线统一艺术与工艺",
    "why": "沿「节制-强度」轴位移(0.45→0.60,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.west.033",
    "t": "STYLE.west.036",
    "k": "influence",
    "c": "high",
    "w": "以强烈纯色与简化造型直抒情感",
    "why": "沿「节制-强度」轴位移(0.45→0.88,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.west.034",
    "t": "STYLE.west.051",
    "k": "parent",
    "c": "high",
    "w": "描绘潜意识与梦境,违和并置质疑现实",
    "why": "沿「再现-表现」轴位移(0.70→0.80,更偏表现):从忠于眼睛所见 走向 忠于内心所感"
   },
   {
    "s": "STYLE.west.034",
    "t": "STYLE.west.033",
    "k": "influence",
    "c": "high",
    "w": "以平面色块与装饰图案,把日常室内点化为亲密的诗。",
    "why": "沿「秩序-张力」轴位移(0.55→0.42,更偏秩序):从动势冲突 趋于 平衡安定"
   },
   {
    "s": "STYLE.west.034",
    "t": "STYLE.west.035",
    "k": "parent",
    "c": "high",
    "w": "以自然有机曲线统一艺术与工艺",
    "why": "沿「秩序-张力」轴位移(0.55→0.42,更偏秩序):从动势冲突 趋于 平衡安定"
   },
   {
    "s": "STYLE.west.034",
    "t": "STYLE.west.044",
    "k": "parent",
    "c": "high",
    "w": "以静寂广场与人偶营造梦魇般的玄思",
    "why": "沿「结构-感知」轴位移(0.55→0.25,更偏结构):从感官光色 收束为 理性结构"
   },
   {
    "s": "STYLE.west.036",
    "t": "STYLE.west.037",
    "k": "influence",
    "c": "high",
    "w": "以变形与浓烈色彩外化内心焦虑",
    "why": "沿「秩序-张力」轴位移(0.62→0.85,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.west.036",
    "t": "STYLE.west.A06",
    "k": "parent",
    "c": "high",
    "w": "汇聚巴黎的各国移民艺术家,以抒情个人化的具象表达乡愁与诗意",
    "why": "沿「节制-强度」轴位移(0.88→0.62,更偏节制):从强烈外放 回到 内敛节制"
   },
   {
    "s": "STYLE.west.037",
    "t": "STYLE.west.057",
    "k": "parent",
    "c": "high",
    "w": "以大尺幅与过程表达内在情绪与崇高",
    "why": "沿「结构-感知」轴位移(0.62→0.50,更偏结构):从感官光色 收束为 理性结构"
   },
   {
    "s": "STYLE.west.037",
    "t": "STYLE.west.081",
    "k": "parent",
    "c": "high",
    "w": "回归大尺幅具象与狂放笔触,重述历史与神话",
    "why": "沿「结构-感知」轴位移(0.62→0.55,更偏结构):从感官光色 收束为 理性结构"
   },
   {
    "s": "STYLE.west.037",
    "t": "STYLE.west.038",
    "k": "parent",
    "c": "high",
    "w": "以色彩与抽象追寻精神性,绘画通向内在的灵性。",
    "why": "沿「秩序-张力」轴位移(0.85→0.55,更偏秩序):从动势冲突 趋于 平衡安定"
   },
   {
    "s": "STYLE.west.037",
    "t": "STYLE.west.039",
    "k": "parent",
    "c": "high",
    "w": "以尖锐变形与生硬色彩,宣泄现代都市的躁动与焦虑。",
    "why": "沿「节制-强度」轴位移(0.88→0.70,更偏节制):从强烈外放 回到 内敛节制"
   },
   {
    "s": "STYLE.west.038",
    "t": "STYLE.west.057",
    "k": "influence",
    "c": "high",
    "w": "以大尺幅与过程表达内在情绪与崇高",
    "why": "沿「秩序-张力」轴位移(0.55→0.85,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.west.038",
    "t": "STYLE.west.053",
    "k": "influence",
    "c": "high",
    "w": "以纯粹的几何形与色面构造画面,排除一切自然物象。",
    "why": "沿「结构-感知」轴位移(0.55→0.20,更偏结构):从感官光色 收束为 理性结构"
   },
   {
    "s": "STYLE.west.039",
    "t": "STYLE.west.081",
    "k": "influence",
    "c": "high",
    "w": "回归大尺幅具象与狂放笔触,重述历史与神话",
    "why": "沿「节制-强度」轴位移(0.70→0.85,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.west.040",
    "t": "STYLE.west.043",
    "k": "parent",
    "c": "high",
    "w": "歌颂机械、速度与现代动能",
    "why": "沿「秩序-张力」轴位移(0.55→0.85,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.west.040",
    "t": "STYLE.west.046",
    "k": "parent",
    "c": "high",
    "w": "以几何与工业材料服务社会建设",
    "why": "沿「再现-表现」轴位移(0.72→0.88,更偏表现):从忠于眼睛所见 走向 忠于内心所感"
   },
   {
    "s": "STYLE.west.040",
    "t": "STYLE.west.045",
    "k": "parent",
    "c": "high",
    "w": "以纯几何与色面追求绝对的非具象感觉",
    "why": "沿「秩序-张力」轴位移(0.55→0.30,更偏秩序):从动势冲突 趋于 平衡安定"
   },
   {
    "s": "STYLE.west.040",
    "t": "STYLE.west.047",
    "k": "parent",
    "c": "high",
    "w": "以水平垂直与三原色寻求普世和谐",
    "why": "沿「秩序-张力」轴位移(0.55→0.15,更偏秩序):从动势冲突 趋于 平衡安定"
   },
   {
    "s": "STYLE.west.040",
    "t": "STYLE.west.053",
    "k": "parent",
    "c": "high",
    "w": "以纯粹的几何形与色面构造画面,排除一切自然物象。",
    "why": "沿「秩序-张力」轴位移(0.55→0.30,更偏秩序):从动势冲突 趋于 平衡安定"
   },
   {
    "s": "STYLE.west.041",
    "t": "STYLE.west.043",
    "k": "influence",
    "c": "high",
    "w": "歌颂机械、速度与现代动能",
    "why": "沿「秩序-张力」轴位移(0.55→0.85,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.west.041",
    "t": "STYLE.west.046",
    "k": "influence",
    "c": "high",
    "w": "以几何与工业材料服务社会建设",
    "why": "沿「再现-表现」轴位移(0.72→0.88,更偏表现):从忠于眼睛所见 走向 忠于内心所感"
   },
   {
    "s": "STYLE.west.041",
    "t": "STYLE.west.045",
    "k": "influence",
    "c": "high",
    "w": "以纯几何与色面追求绝对的非具象感觉",
    "why": "沿「秩序-张力」轴位移(0.55→0.30,更偏秩序):从动势冲突 趋于 平衡安定"
   },
   {
    "s": "STYLE.west.042",
    "t": "STYLE.west.043",
    "k": "influence",
    "c": "high",
    "w": "歌颂机械、速度与现代动能",
    "why": "沿「秩序-张力」轴位移(0.55→0.85,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.west.042",
    "t": "STYLE.west.046",
    "k": "influence",
    "c": "high",
    "w": "以几何与工业材料服务社会建设",
    "why": "沿「再现-表现」轴位移(0.72→0.88,更偏表现):从忠于眼睛所见 走向 忠于内心所感"
   },
   {
    "s": "STYLE.west.042",
    "t": "STYLE.west.045",
    "k": "influence",
    "c": "high",
    "w": "以纯几何与色面追求绝对的非具象感觉",
    "why": "沿「秩序-张力」轴位移(0.55→0.30,更偏秩序):从动势冲突 趋于 平衡安定"
   },
   {
    "s": "STYLE.west.044",
    "t": "STYLE.west.051",
    "k": "parent",
    "c": "high",
    "w": "描绘潜意识与梦境,违和并置质疑现实",
    "why": "沿「再现-表现」轴位移(0.55→0.80,更偏表现):从忠于眼睛所见 走向 忠于内心所感"
   },
   {
    "s": "STYLE.west.045",
    "t": "STYLE.west.046",
    "k": "parent",
    "c": "high",
    "w": "以几何与工业材料服务社会建设",
    "why": "沿「秩序-张力」轴位移(0.30→0.55,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.west.045",
    "t": "STYLE.west.061",
    "k": "parent",
    "c": "high",
    "w": "去除一切多余,让物即其本身",
    "why": "沿「节制-强度」轴位移(0.40→0.25,更偏节制):从强烈外放 回到 内敛节制"
   },
   {
    "s": "STYLE.west.046",
    "t": "STYLE.west.047",
    "k": "parent",
    "c": "high",
    "w": "以水平垂直与三原色寻求普世和谐",
    "why": "沿「秩序-张力」轴位移(0.55→0.15,更偏秩序):从动势冲突 趋于 平衡安定"
   },
   {
    "s": "STYLE.west.046",
    "t": "STYLE.west.061",
    "k": "parent",
    "c": "high",
    "w": "去除一切多余,让物即其本身",
    "why": "沿「秩序-张力」轴位移(0.55→0.15,更偏秩序):从动势冲突 趋于 平衡安定"
   },
   {
    "s": "STYLE.west.046",
    "t": "STYLE.west.060",
    "k": "parent",
    "c": "high",
    "w": "以精确图案制造视错与运动幻觉",
    "why": "沿「节制-强度」轴位移(0.55→0.70,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.west.047",
    "t": "STYLE.west.061",
    "k": "influence",
    "c": "high",
    "w": "去除一切多余,让物即其本身",
    "why": "沿「节制-强度」轴位移(0.35→0.25,更偏节制):从强烈外放 回到 内敛节制"
   },
   {
    "s": "STYLE.west.047",
    "t": "STYLE.west.059",
    "k": "influence",
    "c": "high",
    "w": "以锐利清晰的色块边界与平涂,追求冷静明确的视觉秩序。",
    "why": "沿「结构-感知」轴位移(0.08→0.20,更偏感知):从理性结构/秩序 走向 感官光色经验"
   },
   {
    "s": "STYLE.west.047",
    "t": "STYLE.west.060",
    "k": "parent",
    "c": "high",
    "w": "以精确图案制造视错与运动幻觉",
    "why": "沿「秩序-张力」轴位移(0.15→0.60,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.west.048",
    "t": "STYLE.west.051",
    "k": "parent",
    "c": "high",
    "w": "描绘潜意识与梦境,违和并置质疑现实",
    "why": "沿「秩序-张力」轴位移(0.70→0.55,更偏秩序):从动势冲突 趋于 平衡安定"
   },
   {
    "s": "STYLE.west.048",
    "t": "STYLE.west.049",
    "k": "parent",
    "c": "high",
    "w": "以照片蒙太奇做政治批判,把媒体碎片拼成尖锐的控诉。",
    "why": "在世界观平面上几乎同位(主轴位移仅0.04):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.west.048",
    "t": "STYLE.west.066",
    "k": "parent",
    "c": "high",
    "w": "以观念本身为作品,去物质化",
    "why": "沿「节制-强度」轴位移(0.60→0.30,更偏节制):从强烈外放 回到 内敛节制"
   },
   {
    "s": "STYLE.west.048",
    "t": "STYLE.west.078",
    "k": "parent",
    "c": "high",
    "w": "挪用大众消费图像,反讽消解高低艺术",
    "why": "沿「节制-强度」轴位移(0.60→0.82,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.west.048",
    "t": "STYLE.west.A07",
    "k": "parent",
    "c": "high",
    "w": "以泥土、树枝、破布等'贫穷'材料对抗消费社会与精致艺术",
    "why": "沿「结构-感知」轴位移(0.50→0.30,更偏结构):从感官光色 收束为 理性结构"
   },
   {
    "s": "STYLE.west.049",
    "t": "STYLE.west.078",
    "k": "influence",
    "c": "high",
    "w": "挪用大众消费图像,反讽消解高低艺术",
    "why": "沿「节制-强度」轴位移(0.62→0.82,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.west.049",
    "t": "STYLE.west.066",
    "k": "influence",
    "c": "high",
    "w": "以观念本身为作品,去物质化",
    "why": "沿「节制-强度」轴位移(0.62→0.30,更偏节制):从强烈外放 回到 内敛节制"
   },
   {
    "s": "STYLE.west.051",
    "t": "STYLE.west.050",
    "k": "parent",
    "c": "high",
    "w": "放弃理性控制,让手随无意识流动,绘出潜意识的图形。",
    "why": "沿「结构-感知」轴位移(0.45→0.55,更偏感知):从理性结构/秩序 走向 感官光色经验"
   },
   {
    "s": "STYLE.west.050",
    "t": "STYLE.west.057",
    "k": "influence",
    "c": "high",
    "w": "以大尺幅与过程表达内在情绪与崇高",
    "why": "沿「节制-强度」轴位移(0.52→0.85,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.west.050",
    "t": "STYLE.west.056",
    "k": "influence",
    "c": "high",
    "w": "把绘画过程本身当作行动,身体的姿态直接留在画布。",
    "why": "沿「节制-强度」轴位移(0.52→0.72,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.west.051",
    "t": "STYLE.west.057",
    "k": "parent",
    "c": "high",
    "w": "以大尺幅与过程表达内在情绪与崇高",
    "why": "沿「秩序-张力」轴位移(0.55→0.85,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.west.053",
    "t": "STYLE.west.061",
    "k": "influence",
    "c": "high",
    "w": "去除一切多余,让物即其本身",
    "why": "沿「节制-强度」轴位移(0.42→0.25,更偏节制):从强烈外放 回到 内敛节制"
   },
   {
    "s": "STYLE.west.053",
    "t": "STYLE.west.059",
    "k": "parent",
    "c": "high",
    "w": "以锐利清晰的色块边界与平涂,追求冷静明确的视觉秩序。",
    "why": "在世界观平面上几乎同位(主轴位移仅0.04):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.west.053",
    "t": "STYLE.west.062",
    "k": "parent",
    "c": "high",
    "w": "以精密的几何图案制造视觉错觉与运动幻象。",
    "why": "沿「节制-强度」轴位移(0.42→0.55,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.west.057",
    "t": "STYLE.west.054",
    "k": "parent",
    "c": "high",
    "w": "以自由流动的色彩与笔势,抒发主观情感与诗意。",
    "why": "沿「节制-强度」轴位移(0.85→0.55,更偏节制):从强烈外放 回到 内敛节制"
   },
   {
    "s": "STYLE.west.057",
    "t": "STYLE.west.055",
    "k": "parent",
    "c": "high",
    "w": "反几何、重物质与偶然,以肌理与痕迹本身为表现。",
    "why": "沿「节制-强度」轴位移(0.85→0.62,更偏节制):从强烈外放 回到 内敛节制"
   },
   {
    "s": "STYLE.west.055",
    "t": "STYLE.west.A07",
    "k": "influence",
    "c": "high",
    "w": "以泥土、树枝、破布等'贫穷'材料对抗消费社会与精致艺术",
    "why": "沿「结构-感知」轴位移(0.58→0.30,更偏结构):从感官光色 收束为 理性结构"
   },
   {
    "s": "STYLE.west.055",
    "t": "STYLE.east.231",
    "k": "parent",
    "c": "high",
    "w": "突破单一媒介、以多种材料并置堆叠的当代绘画,物质即语言。",
    "why": "沿「结构-感知」轴位移(0.58→0.45,更偏结构):从感官光色 收束为 理性结构"
   },
   {
    "s": "STYLE.west.057",
    "t": "STYLE.west.056",
    "k": "parent",
    "c": "high",
    "w": "把绘画过程本身当作行动,身体的姿态直接留在画布。",
    "why": "沿「节制-强度」轴位移(0.85→0.72,更偏节制):从强烈外放 回到 内敛节制"
   },
   {
    "s": "STYLE.west.057",
    "t": "STYLE.west.058",
    "k": "parent",
    "c": "high",
    "w": "以大片平涂色域唤起沉思与崇高",
    "why": "沿「秩序-张力」轴位移(0.85→0.25,更偏秩序):从动势冲突 趋于 平衡安定"
   },
   {
    "s": "STYLE.west.057",
    "t": "STYLE.west.061",
    "k": "influence",
    "c": "high",
    "w": "去除一切多余,让物即其本身",
    "why": "沿「秩序-张力」轴位移(0.85→0.15,更偏秩序):从动势冲突 趋于 平衡安定"
   },
   {
    "s": "STYLE.west.058",
    "t": "STYLE.west.061",
    "k": "parent",
    "c": "high",
    "w": "去除一切多余,让物即其本身",
    "why": "沿「结构-感知」轴位移(0.55→0.10,更偏结构):从感官光色 收束为 理性结构"
   },
   {
    "s": "STYLE.west.059",
    "t": "STYLE.west.061",
    "k": "influence",
    "c": "high",
    "w": "去除一切多余,让物即其本身",
    "why": "沿「节制-强度」轴位移(0.45→0.25,更偏节制):从强烈外放 回到 内敛节制"
   },
   {
    "s": "STYLE.west.059",
    "t": "STYLE.west.062",
    "k": "influence",
    "c": "high",
    "w": "以精密的几何图案制造视觉错觉与运动幻象。",
    "why": "沿「节制-强度」轴位移(0.45→0.55,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.west.061",
    "t": "STYLE.west.066",
    "k": "influence",
    "c": "high",
    "w": "以观念本身为作品,去物质化",
    "why": "沿「秩序-张力」轴位移(0.15→0.45,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.west.061",
    "t": "STYLE.west.A08",
    "k": "parent",
    "c": "high",
    "w": "把作品建在荒野大地上,以巨大尺度让艺术回归自然与时间",
    "why": "沿「秩序-张力」轴位移(0.15→0.45,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.west.063",
    "t": "STYLE.west.029",
    "k": "influence",
    "c": "high",
    "w": "走出画室,捕捉光与大气的瞬间",
    "why": "沿「结构-感知」轴位移(0.30→0.85,更偏感知):从理性结构/秩序 走向 感官光色经验"
   },
   {
    "s": "STYLE.west.063",
    "t": "STYLE.west.028",
    "k": "influence",
    "c": "high",
    "w": "深入民间、巡回展出,以写实之笔为苦难者与民族立此存照",
    "why": "沿「秩序-张力」轴位移(0.45→0.62,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.west.078",
    "t": "STYLE.west.064",
    "k": "parent",
    "c": "high",
    "w": "以照片为据将现实放大到超真实",
    "why": "沿「再现-表现」轴位移(0.65→0.10,更偏再现):从主观表现 收回到 忠实再现"
   },
   {
    "s": "STYLE.west.064",
    "t": "STYLE.west.065",
    "k": "parent",
    "c": "high",
    "w": "比照片更逼真,以极致细节逼问真实与影像的边界。",
    "why": "沿「秩序-张力」轴位移(0.30→0.46,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.west.064",
    "t": "STYLE.west.A05",
    "k": "parent",
    "c": "high",
    "w": "一战后冷峻精确地直面魏玛社会的现实与创伤,反表现主义的激情",
    "why": "沿「秩序-张力」轴位移(0.30→0.55,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.west.066",
    "t": "STYLE.west.070",
    "k": "parent",
    "c": "high",
    "w": "以参与、协作与社会行动为媒介,艺术介入现实问题。",
    "why": "沿「结构-感知」轴位移(0.30→0.55,更偏感知):从理性结构/秩序 走向 感官光色经验"
   },
   {
    "s": "STYLE.west.066",
    "t": "STYLE.west.077",
    "k": "parent",
    "c": "high",
    "w": "以代码、规则与随机性生成图像,作者设定系统而非笔触。",
    "why": "沿「节制-强度」轴位移(0.30→0.46,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.west.066",
    "t": "STYLE.west.098",
    "k": "parent",
    "c": "high",
    "w": "以光、影、空间包裹观者,绘画扩展为可步入的环境。",
    "why": "沿「节制-强度」轴位移(0.30→0.62,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.west.066",
    "t": "STYLE.west.099",
    "k": "parent",
    "c": "high",
    "w": "以网络为媒介与题材,反思图像在数字时代的流通与身份。",
    "why": "沿「节制-强度」轴位移(0.30→0.55,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.west.066",
    "t": "STYLE.east.233",
    "k": "parent",
    "c": "high",
    "w": "把绘画扩展为可进入的空间装置,观者身处其中而非旁观。",
    "why": "沿「节制-强度」轴位移(0.30→0.52,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.west.066",
    "t": "STYLE.west.A07",
    "k": "parent",
    "c": "high",
    "w": "以泥土、树枝、破布等'贫穷'材料对抗消费社会与精致艺术",
    "why": "沿「节制-强度」轴位移(0.30→0.45,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.west.066",
    "t": "STYLE.west.A08",
    "k": "parent",
    "c": "high",
    "w": "把作品建在荒野大地上,以巨大尺度让艺术回归自然与时间",
    "why": "沿「节制-强度」轴位移(0.30→0.50,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.west.069",
    "t": "STYLE.west.051",
    "k": "influence",
    "c": "high",
    "w": "描绘潜意识与梦境,违和并置质疑现实",
    "why": "沿「再现-表现」轴位移(0.42→0.80,更偏表现):从忠于眼睛所见 走向 忠于内心所感"
   },
   {
    "s": "STYLE.west.077",
    "t": "STYLE.west.102",
    "k": "parent",
    "c": "high",
    "w": "以区块链确权的数字艺术,把稀缺性与所有权写进代码。",
    "why": "沿「结构-感知」轴位移(0.26→0.40,更偏感知):从理性结构/秩序 走向 感官光色经验"
   },
   {
    "s": "STYLE.west.078",
    "t": "STYLE.west.090",
    "k": "parent",
    "c": "high",
    "w": "从街头喷绘生长出的视觉语言,粗野鲜活、直面公众。",
    "why": "沿「秩序-张力」轴位移(0.55→0.70,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.west.081",
    "t": "STYLE.west.084",
    "k": "parent",
    "c": "high",
    "w": "挪用、引用与混搭风格,消解原创与高低雅俗的边界。",
    "why": "沿「节制-强度」轴位移(0.85→0.52,更偏节制):从强烈外放 回到 内敛节制"
   },
   {
    "s": "STYLE.west.081",
    "t": "STYLE.west.116",
    "k": "parent",
    "c": "high",
    "w": "在抽象与观念之后回归具象,以人物与场景承载当代心理。",
    "why": "沿「再现-表现」轴位移(0.82→0.32,更偏再现):从主观表现 收回到 忠实再现"
   },
   {
    "s": "STYLE.west.090",
    "t": "STYLE.west.116",
    "k": "influence",
    "c": "high",
    "w": "在抽象与观念之后回归具象,以人物与场景承载当代心理。",
    "why": "沿「再现-表现」轴位移(0.66→0.32,更偏再现):从主观表现 收回到 忠实再现"
   },
   {
    "s": "STYLE.west.093",
    "t": "STYLE.west.099",
    "k": "influence",
    "c": "high",
    "w": "以网络为媒介与题材,反思图像在数字时代的流通与身份。",
    "why": "沿「再现-表现」轴位移(0.45→0.80,更偏表现):从忠于眼睛所见 走向 忠于内心所感"
   },
   {
    "s": "STYLE.west.093",
    "t": "STYLE.east.238",
    "k": "parent",
    "c": "high",
    "w": "以数字、影像、互动等新媒体为载体的绘画,屏幕成为新画布。",
    "why": "沿「再现-表现」轴位移(0.45→0.80,更偏表现):从忠于眼睛所见 走向 忠于内心所感"
   },
   {
    "s": "STYLE.west.099",
    "t": "STYLE.west.102",
    "k": "influence",
    "c": "high",
    "w": "以区块链确权的数字艺术,把稀缺性与所有权写进代码。",
    "why": "沿「结构-感知」轴位移(0.50→0.40,更偏结构):从感官光色 收束为 理性结构"
   },
   {
    "s": "STYLE.east.001",
    "t": "STYLE.east.002",
    "k": "influence",
    "c": "high",
    "w": "以饕餮、夔龙的对称神性纹样威慑天地",
    "why": "沿「秩序-张力」轴位移(0.30→0.20,更偏秩序):从动势冲突 趋于 平衡安定"
   },
   {
    "s": "STYLE.east.001",
    "t": "STYLE.east.006",
    "k": "influence",
    "c": "high",
    "w": "在陶器曲面上以旋纹与鱼蛙图绘出生命律动",
    "why": "在世界观平面上几乎同位(主轴位移仅0.05):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.east.006",
    "t": "STYLE.east.002",
    "k": "parent",
    "c": "high",
    "w": "以饕餮、夔龙的对称神性纹样威慑天地",
    "why": "沿「再现-表现」轴位移(0.50→0.62,更偏表现):从忠于眼睛所见 走向 忠于内心所感"
   },
   {
    "s": "STYLE.east.002",
    "t": "STYLE.east.003",
    "k": "parent",
    "c": "high",
    "w": "以减地浅浮雕把车马、神话、宴乐刻成石上叙事",
    "why": "沿「再现-表现」轴位移(0.62→0.42,更偏再现):从主观表现 收回到 忠实再现"
   },
   {
    "s": "STYLE.east.002",
    "t": "STYLE.east.011",
    "k": "influence",
    "c": "high",
    "w": "以经变与本生故事把佛国庄严绘满洞窟",
    "why": "沿「再现-表现」轴位移(0.62→0.45,更偏再现):从主观表现 收回到 忠实再现"
   },
   {
    "s": "STYLE.east.002",
    "t": "STYLE.east.007",
    "k": "parent",
    "c": "high",
    "w": "引魂升天的墨线人物,中国最早的独幅绘画",
    "why": "沿「再现-表现」轴位移(0.62→0.38,更偏再现):从主观表现 收回到 忠实再现"
   },
   {
    "s": "STYLE.east.003",
    "t": "STYLE.east.009",
    "k": "parent",
    "c": "high",
    "w": "模印成砖的市井劳作,鲜活的汉代生活速写",
    "why": "沿「再现-表现」轴位移(0.42→0.35,更偏再现):从主观表现 收回到 忠实再现"
   },
   {
    "s": "STYLE.east.003",
    "t": "STYLE.east.011",
    "k": "influence",
    "c": "high",
    "w": "以经变与本生故事把佛国庄严绘满洞窟",
    "why": "沿「节制-强度」轴位移(0.48→0.55,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.east.004",
    "t": "STYLE.east.011",
    "k": "influence",
    "c": "high",
    "w": "以经变与本生故事把佛国庄严绘满洞窟",
    "why": "在世界观平面上几乎同位(主轴位移仅0.05):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.east.004",
    "t": "STYLE.east.010",
    "k": "influence",
    "c": "high",
    "w": "为逝者绘出地下宫阙的仪卫、星象与升仙",
    "why": "在世界观平面上几乎同位(主轴位移仅0.05):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.east.004",
    "t": "STYLE.east.165",
    "k": "influence",
    "c": "high",
    "w": "元代道教壁画的巅峰,《朝元图》百神朝拜、线描遒劲恢宏。",
    "why": "在世界观平面上几乎同位(主轴位移仅0.04):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.east.005",
    "t": "STYLE.east.003",
    "k": "influence",
    "c": "high",
    "w": "以减地浅浮雕把车马、神话、宴乐刻成石上叙事",
    "why": "沿「秩序-张力」轴位移(0.28→0.35,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.east.005",
    "t": "STYLE.east.004",
    "k": "influence",
    "c": "high",
    "w": "附着于墙壁的图绘传统,为礼制、宗教与丧葬而作,庄严而恢宏。",
    "why": "在世界观平面上几乎同位(主轴位移仅0.04):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.east.007",
    "t": "STYLE.east.008",
    "k": "parent",
    "c": "high",
    "w": "T形帛画把天上人间地下一图绘尽的宇宙图式",
    "why": "在世界观平面上几乎同位(主轴位移仅0.02):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.east.007",
    "t": "STYLE.east.021",
    "k": "influence",
    "c": "high",
    "w": "丰肥浓丽的贵族女性理想形象",
    "why": "沿「再现-表现」轴位移(0.38→0.28,更偏再现):从主观表现 收回到 忠实再现"
   },
   {
    "s": "STYLE.east.008",
    "t": "STYLE.east.011",
    "k": "influence",
    "c": "high",
    "w": "以经变与本生故事把佛国庄严绘满洞窟",
    "why": "沿「节制-强度」轴位移(0.42→0.55,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.east.008",
    "t": "STYLE.east.010",
    "k": "parent",
    "c": "high",
    "w": "为逝者绘出地下宫阙的仪卫、星象与升仙",
    "why": "在世界观平面上几乎同位(主轴位移仅0.03):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.east.009",
    "t": "STYLE.east.010",
    "k": "influence",
    "c": "high",
    "w": "为逝者绘出地下宫阙的仪卫、星象与升仙",
    "why": "在世界观平面上几乎同位(主轴位移仅0.05):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.east.010",
    "t": "STYLE.east.012",
    "k": "parent",
    "c": "high",
    "w": "以丰腴气象绘帝王仕女的盛世威仪",
    "why": "沿「再现-表现」轴位移(0.40→0.30,更偏再现):从主观表现 收回到 忠实再现"
   },
   {
    "s": "STYLE.east.010",
    "t": "STYLE.east.011",
    "k": "influence",
    "c": "high",
    "w": "以经变与本生故事把佛国庄严绘满洞窟",
    "why": "沿「节制-强度」轴位移(0.45→0.55,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.east.022",
    "t": "STYLE.east.011",
    "k": "parent",
    "c": "high",
    "w": "以经变与本生故事把佛国庄严绘满洞窟",
    "why": "沿「结构-感知」轴位移(0.20→0.28,更偏感知):从理性结构/秩序 走向 感官光色经验"
   },
   {
    "s": "STYLE.east.011",
    "t": "STYLE.east.164",
    "k": "influence",
    "c": "high",
    "w": "以经变叙事与矿物重彩营造庄严信仰世界",
    "why": "沿「秩序-张力」轴位移(0.30→0.55,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.east.011",
    "t": "STYLE.east.024",
    "k": "parent",
    "c": "high",
    "w": "青绿设色山水的成熟形态,富丽而典雅",
    "why": "沿「再现-表现」轴位移(0.45→0.38,更偏再现):从主观表现 收回到 忠实再现"
   },
   {
    "s": "STYLE.east.012",
    "t": "STYLE.east.021",
    "k": "parent",
    "c": "high",
    "w": "丰肥浓丽的贵族女性理想形象",
    "why": "在世界观平面上几乎同位(主轴位移仅0.03):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.east.012",
    "t": "STYLE.east.026",
    "k": "influence",
    "c": "high",
    "w": "格物致知,以精谨写实造全景山水之极致",
    "why": "沿「结构-感知」轴位移(0.32→0.40,更偏感知):从理性结构/秩序 走向 感官光色经验"
   },
   {
    "s": "STYLE.east.012",
    "t": "STYLE.east.126",
    "k": "parent",
    "c": "high",
    "w": "纯以墨线之提按写人物形神,不施色彩",
    "why": "沿「秩序-张力」轴位移(0.28→0.40,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.east.024",
    "t": "STYLE.east.019",
    "k": "parent",
    "c": "high",
    "w": "青绿之上勾金,富丽辉煌的皇家山水",
    "why": "在世界观平面上几乎同位(主轴位移仅0.03):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.east.019",
    "t": "STYLE.east.034",
    "k": "influence",
    "c": "high",
    "w": "以石青石绿的工致山水象征仙境天序",
    "why": "在世界观平面上几乎同位(主轴位移仅0.05):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.east.021",
    "t": "STYLE.east.112",
    "k": "influence",
    "c": "high",
    "w": "以工笔重彩表现当代题材与心理",
    "why": "沿「结构-感知」轴位移(0.30→0.40,更偏感知):从理性结构/秩序 走向 感官光色经验"
   },
   {
    "s": "STYLE.east.021",
    "t": "STYLE.east.193",
    "k": "parent",
    "c": "high",
    "w": "精勾细染的人物画,以工致线描与层层分染写人物之形神与衣冠之华。",
    "why": "沿「结构-感知」轴位移(0.30→0.40,更偏感知):从理性结构/秩序 走向 感官光色经验"
   },
   {
    "s": "STYLE.east.022",
    "t": "STYLE.east.023",
    "k": "parent",
    "c": "high",
    "w": "以朝元仪仗绘出道教神系的森然秩序",
    "why": "在世界观平面上几乎同位(主轴位移仅0.05):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.east.022",
    "t": "STYLE.east.166",
    "k": "parent",
    "c": "high",
    "w": "藏传佛教的卷轴圣像,仪轨严密、金彩辉煌,为修行观想而绘。",
    "why": "沿「秩序-张力」轴位移(0.22→0.30,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.east.022",
    "t": "STYLE.east.167",
    "k": "parent",
    "c": "high",
    "w": "藏传佛教绘画体系,壁画与唐卡并重,程式神圣、色彩绚烂。",
    "why": "沿「秩序-张力」轴位移(0.22→0.32,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.east.023",
    "t": "STYLE.east.012",
    "k": "influence",
    "c": "high",
    "w": "以丰腴气象绘帝王仕女的盛世威仪",
    "why": "沿「再现-表现」轴位移(0.42→0.30,更偏再现):从主观表现 收回到 忠实再现"
   },
   {
    "s": "STYLE.east.023",
    "t": "STYLE.east.165",
    "k": "parent",
    "c": "high",
    "w": "元代道教壁画的巅峰,《朝元图》百神朝拜、线描遒劲恢宏。",
    "why": "在世界观平面上几乎同位(主轴位移仅0.03):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.east.024",
    "t": "STYLE.east.034",
    "k": "influence",
    "c": "high",
    "w": "以石青石绿的工致山水象征仙境天序",
    "why": "沿「再现-表现」轴位移(0.38→0.30,更偏再现):从主观表现 收回到 忠实再现"
   },
   {
    "s": "STYLE.east.024",
    "t": "STYLE.east.025",
    "k": "parent",
    "c": "high",
    "w": "唐代金碧青绿山水的开派,以勾勒填色、富丽辉煌写仙家楼阁之境。",
    "why": "在世界观平面上几乎同位(主轴位移仅0.02):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.east.024",
    "t": "STYLE.east.026",
    "k": "parent",
    "c": "high",
    "w": "格物致知,以精谨写实造全景山水之极致",
    "why": "沿「节制-强度」轴位移(0.52→0.40,更偏节制):从强烈外放 回到 内敛节制"
   },
   {
    "s": "STYLE.east.024",
    "t": "STYLE.east.029",
    "k": "parent",
    "c": "high",
    "w": "全景巨嶂的崇高,以雄浑大山立天地之骨",
    "why": "沿「节制-强度」轴位移(0.52→0.40,更偏节制):从强烈外放 回到 内敛节制"
   },
   {
    "s": "STYLE.east.024",
    "t": "STYLE.east.111",
    "k": "parent",
    "c": "high",
    "w": "以石色矿彩层层积染,绚烂厚重",
    "why": "在世界观平面上几乎同位(主轴位移仅0.06):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.east.024",
    "t": "STYLE.east.195",
    "k": "parent",
    "c": "high",
    "w": "精勾细描、设色工致的山水,界画楼阁与青绿山川俱极精严。",
    "why": "沿「节制-强度」轴位移(0.52→0.40,更偏节制):从强烈外放 回到 内敛节制"
   },
   {
    "s": "STYLE.east.024",
    "t": "STYLE.east.203",
    "k": "parent",
    "c": "high",
    "w": "以石青石绿为主调、工细设色的青绿山水,典雅而富丽。",
    "why": "沿「再现-表现」轴位移(0.38→0.32,更偏再现):从主观表现 收回到 忠实再现"
   },
   {
    "s": "STYLE.east.025",
    "t": "STYLE.east.019",
    "k": "influence",
    "c": "high",
    "w": "青绿之上勾金,富丽辉煌的皇家山水",
    "why": "在世界观平面上几乎同位(主轴位移仅0.03):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.east.025",
    "t": "STYLE.east.034",
    "k": "parent",
    "c": "high",
    "w": "以石青石绿的工致山水象征仙境天序",
    "why": "沿「再现-表现」轴位移(0.38→0.30,更偏再现):从主观表现 收回到 忠实再现"
   },
   {
    "s": "STYLE.east.026",
    "t": "STYLE.east.030",
    "k": "influence",
    "c": "high",
    "w": "边角之景与大片留白,以一角写诗意空灵",
    "why": "沿「秩序-张力」轴位移(0.30→0.45,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.east.026",
    "t": "STYLE.east.029",
    "k": "influence",
    "c": "high",
    "w": "全景巨嶂的崇高,以雄浑大山立天地之骨",
    "why": "在世界观平面上几乎同位(主轴位移仅0.02):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.east.026",
    "t": "STYLE.east.062",
    "k": "parent",
    "c": "high",
    "w": "董其昌所贬的院体青绿一脉,重勾斫工致",
    "why": "在世界观平面上几乎同位(主轴位移仅0.05):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.east.026",
    "t": "STYLE.east.079",
    "k": "parent",
    "c": "high",
    "w": "精勾细染,极尽花鸟之富贵与生机",
    "why": "沿「再现-表现」轴位移(0.30→0.22,更偏再现):从主观表现 收回到 忠实再现"
   },
   {
    "s": "STYLE.east.026",
    "t": "STYLE.east.082",
    "k": "parent",
    "c": "high",
    "w": "中西合参的院体,精工富丽以颂盛世",
    "why": "沿「再现-表现」轴位移(0.30→0.20,更偏再现):从主观表现 收回到 忠实再现"
   },
   {
    "s": "STYLE.east.026",
    "t": "STYLE.east.A10",
    "k": "parent",
    "c": "high",
    "w": "以界尺引线工细描绘楼阁舟车,法度精严",
    "why": "沿「结构-感知」轴位移(0.40→0.20,更偏结构):从感官光色 收束为 理性结构"
   },
   {
    "s": "STYLE.east.029",
    "t": "STYLE.east.027",
    "k": "parent",
    "c": "high",
    "w": "以笔墨写胸中逸气,画为心印",
    "why": "沿「再现-表现」轴位移(0.32→0.62,更偏表现):从忠于眼睛所见 走向 忠于内心所感"
   },
   {
    "s": "STYLE.east.027",
    "t": "STYLE.east.047",
    "k": "influence",
    "c": "high",
    "w": "以泼墨大写意抒花鸟之生意与人格",
    "why": "沿「秩序-张力」轴位移(0.35→0.62,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.east.027",
    "t": "STYLE.east.094",
    "k": "influence",
    "c": "high",
    "w": "以水墨语言回应现代经验的转型探索",
    "why": "沿「秩序-张力」轴位移(0.35→0.55,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.east.027",
    "t": "STYLE.east.055",
    "k": "parent",
    "c": "high",
    "w": "以减笔泼墨表现空寂与顿悟,世界为心所现",
    "why": "沿「节制-强度」轴位移(0.30→0.20,更偏节制):从强烈外放 回到 内敛节制"
   },
   {
    "s": "STYLE.east.027",
    "t": "STYLE.east.059",
    "k": "parent",
    "c": "high",
    "w": "承元文人画,书卷气浓、温润雅逸",
    "why": "沿「再现-表现」轴位移(0.62→0.50,更偏再现):从主观表现 收回到 忠实再现"
   },
   {
    "s": "STYLE.east.027",
    "t": "STYLE.east.069",
    "k": "parent",
    "c": "high",
    "w": "以极简怪诞的花鸟寄寓孤愤与遗民之痛",
    "why": "沿「秩序-张力」轴位移(0.35→0.70,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.east.027",
    "t": "STYLE.east.073",
    "k": "parent",
    "c": "high",
    "w": "以个性怪奇打破正统,商业市井气与文人骨并存",
    "why": "沿「节制-强度」轴位移(0.30→0.62,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.east.027",
    "t": "STYLE.east.A09",
    "k": "parent",
    "c": "high",
    "w": "不用墨线勾勒,直接以色彩晕染成形,温润明丽",
    "why": "沿「节制-强度」轴位移(0.30→0.55,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.east.027",
    "t": "STYLE.east.A11",
    "k": "parent",
    "c": "high",
    "w": "以龚贤为首,积墨深厚、苍润幽邃,写江南山水的沉郁",
    "why": "沿「再现-表现」轴位移(0.62→0.40,更偏再现):从主观表现 收回到 忠实再现"
   },
   {
    "s": "STYLE.east.027",
    "t": "STYLE.east.A12",
    "k": "parent",
    "c": "high",
    "w": "以渐江为首,取黄山为师,简淡冷逸、孤高自持的遗民山水",
    "why": "沿「再现-表现」轴位移(0.62→0.45,更偏再现):从主观表现 收回到 忠实再现"
   },
   {
    "s": "STYLE.east.027",
    "t": "STYLE.east.A13",
    "k": "parent",
    "c": "high",
    "w": "承没骨花卉一脉,以恽寿平为宗,清丽雅逸、生意盎然",
    "why": "沿「再现-表现」轴位移(0.62→0.32,更偏再现):从主观表现 收回到 忠实再现"
   },
   {
    "s": "STYLE.east.027",
    "t": "STYLE.east.A14",
    "k": "parent",
    "c": "high",
    "w": "以金石碑版的古拙笔力入画,雄强厚重,海派花鸟之骨",
    "why": "沿「节制-强度」轴位移(0.30→0.62,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.east.027",
    "t": "STYLE.east.A19",
    "k": "parent",
    "c": "high",
    "w": "中国文人画的日本变体,以写意笔墨抒文人胸臆",
    "why": "在世界观平面上几乎同位(主轴位移仅0.03):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.east.029",
    "t": "STYLE.east.028",
    "k": "parent",
    "c": "high",
    "w": "以董源、巨然、李成、郭熙为正脉的水墨山水主流,集大成而立典范。",
    "why": "沿「再现-表现」轴位移(0.32→0.44,更偏表现):从忠于眼睛所见 走向 忠于内心所感"
   },
   {
    "s": "STYLE.east.028",
    "t": "STYLE.east.050",
    "k": "influence",
    "c": "high",
    "w": "隐逸避世,以书法入画开文人画大宗",
    "why": "沿「再现-表现」轴位移(0.44→0.55,更偏表现):从忠于眼睛所见 走向 忠于内心所感"
   },
   {
    "s": "STYLE.east.028",
    "t": "STYLE.east.061",
    "k": "influence",
    "c": "high",
    "w": "董其昌标举的文人写意正脉,重笔墨韵致",
    "why": "沿「秩序-张力」轴位移(0.34→0.48,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.east.029",
    "t": "STYLE.east.030",
    "k": "parent",
    "c": "high",
    "w": "边角之景与大片留白,以一角写诗意空灵",
    "why": "沿「秩序-张力」轴位移(0.28→0.45,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.east.029",
    "t": "STYLE.east.050",
    "k": "parent",
    "c": "high",
    "w": "隐逸避世,以书法入画开文人画大宗",
    "why": "沿「再现-表现」轴位移(0.32→0.55,更偏表现):从忠于眼睛所见 走向 忠于内心所感"
   },
   {
    "s": "STYLE.east.029",
    "t": "STYLE.east.031",
    "k": "parent",
    "c": "high",
    "w": "截取一隅汀渚烟雨,以小见诗意",
    "why": "沿「秩序-张力」轴位移(0.28→0.40,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.east.029",
    "t": "STYLE.east.035",
    "k": "parent",
    "c": "high",
    "w": "以墨代色,墨分五色写山水之韵",
    "why": "沿「再现-表现」轴位移(0.32→0.48,更偏表现):从忠于眼睛所见 走向 忠于内心所感"
   },
   {
    "s": "STYLE.east.029",
    "t": "STYLE.east.114",
    "k": "parent",
    "c": "high",
    "w": "以笔墨写胸中逸气,画为心印",
    "why": "沿「再现-表现」轴位移(0.32→0.62,更偏表现):从忠于眼睛所见 走向 忠于内心所感"
   },
   {
    "s": "STYLE.east.029",
    "t": "STYLE.east.A11",
    "k": "parent",
    "c": "high",
    "w": "以龚贤为首,积墨深厚、苍润幽邃,写江南山水的沉郁",
    "why": "沿「秩序-张力」轴位移(0.28→0.55,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.east.029",
    "t": "STYLE.east.A12",
    "k": "parent",
    "c": "high",
    "w": "以渐江为首,取黄山为师,简淡冷逸、孤高自持的遗民山水",
    "why": "沿「节制-强度」轴位移(0.40→0.22,更偏节制):从强烈外放 回到 内敛节制"
   },
   {
    "s": "STYLE.east.029",
    "t": "STYLE.east.A17",
    "k": "parent",
    "c": "high",
    "w": "日本最大的官方画派,融汉画水墨与大和绘装饰,服务幕府与寺院",
    "why": "沿「秩序-张力」轴位移(0.28→0.50,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.east.030",
    "t": "STYLE.east.032",
    "k": "parent",
    "c": "high",
    "w": "以笔墨写胸中丘壑,不求形似求意气",
    "why": "沿「再现-表现」轴位移(0.42→0.58,更偏表现):从忠于眼睛所见 走向 忠于内心所感"
   },
   {
    "s": "STYLE.east.030",
    "t": "STYLE.east.055",
    "k": "influence",
    "c": "high",
    "w": "以减笔泼墨表现空寂与顿悟,世界为心所现",
    "why": "沿「再现-表现」轴位移(0.42→0.70,更偏表现):从忠于眼睛所见 走向 忠于内心所感"
   },
   {
    "s": "STYLE.east.030",
    "t": "STYLE.east.058",
    "k": "parent",
    "c": "high",
    "w": "承南宋院体,以强劲笔势与水墨豪放写山水人物",
    "why": "沿「节制-强度」轴位移(0.30→0.60,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.east.030",
    "t": "STYLE.east.090",
    "k": "parent",
    "c": "high",
    "w": "以空写有,虚白处生无限气韵",
    "why": "沿「节制-强度」轴位移(0.30→0.18,更偏节制):从强烈外放 回到 内敛节制"
   },
   {
    "s": "STYLE.east.031",
    "t": "STYLE.east.030",
    "k": "influence",
    "c": "high",
    "w": "边角之景与大片留白,以一角写诗意空灵",
    "why": "在世界观平面上几乎同位(主轴位移仅0.05):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.east.032",
    "t": "STYLE.east.109",
    "k": "influence",
    "c": "high",
    "w": "融合写生与传统笔墨的山水革新,为新山河立传。",
    "why": "沿「再现-表现」轴位移(0.58→0.42,更偏再现):从主观表现 收回到 忠实再现"
   },
   {
    "s": "STYLE.east.032",
    "t": "STYLE.east.088",
    "k": "parent",
    "c": "high",
    "w": "诗境入画、题诗于幅,使山水与诗文互文,境与意相生。",
    "why": "沿「秩序-张力」轴位移(0.55→0.40,更偏秩序):从动势冲突 趋于 平衡安定"
   },
   {
    "s": "STYLE.east.032",
    "t": "STYLE.east.219",
    "k": "parent",
    "c": "high",
    "w": "师法自然、随物赋形,笔墨随自然之理而生,不矫饰、不程式。",
    "why": "沿「秩序-张力」轴位移(0.55→0.45,更偏秩序):从动势冲突 趋于 平衡安定"
   },
   {
    "s": "STYLE.east.035",
    "t": "STYLE.east.037",
    "k": "parent",
    "c": "high",
    "w": "诗书画印一体,以笔墨写士人胸次",
    "why": "沿「秩序-张力」轴位移(0.42→0.50,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.east.035",
    "t": "STYLE.east.109",
    "k": "parent",
    "c": "high",
    "w": "融合写生与传统笔墨的山水革新,为新山河立传。",
    "why": "沿「节制-强度」轴位移(0.28→0.42,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.east.037",
    "t": "STYLE.east.047",
    "k": "parent",
    "c": "high",
    "w": "以泼墨大写意抒花鸟之生意与人格",
    "why": "沿「秩序-张力」轴位移(0.50→0.62,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.east.037",
    "t": "STYLE.east.072",
    "k": "influence",
    "c": "high",
    "w": "遗民僧人借笔墨写孤愤,个性奇崛",
    "why": "沿「秩序-张力」轴位移(0.50→0.62,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.east.037",
    "t": "STYLE.east.056",
    "k": "parent",
    "c": "high",
    "w": "以书法之笔写竹,寄君子高节",
    "why": "在世界观平面上几乎同位(主轴位移仅0.03):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.east.037",
    "t": "STYLE.east.057",
    "k": "parent",
    "c": "high",
    "w": "圈花点蕊,以墨梅写孤高冷艳",
    "why": "在世界观平面上几乎同位(主轴位移仅0.03):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.east.037",
    "t": "STYLE.east.094",
    "k": "parent",
    "c": "high",
    "w": "以水墨语言回应现代经验的转型探索",
    "why": "沿「节制-强度」轴位移(0.25→0.40,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.east.037",
    "t": "STYLE.east.220",
    "k": "parent",
    "c": "high",
    "w": "以书入画、笔墨即修养,绘画是文人胸次与人格的直接流露。",
    "why": "在世界观平面上几乎同位(主轴位移仅0.03):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.east.055",
    "t": "STYLE.east.040",
    "k": "parent",
    "c": "high",
    "w": "减笔挥写,以寥寥数笔得人物神韵",
    "why": "沿「秩序-张力」轴位移(0.40→0.58,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.east.040",
    "t": "STYLE.east.116",
    "k": "influence",
    "c": "high",
    "w": "融合笔墨与造型,塑造时代的人",
    "why": "沿「再现-表现」轴位移(0.60→0.25,更偏再现):从主观表现 收回到 忠实再现"
   },
   {
    "s": "STYLE.east.040",
    "t": "STYLE.east.119",
    "k": "parent",
    "c": "high",
    "w": "以水墨的奔放笔势宣泄强烈情感与生存体验",
    "why": "沿「节制-强度」轴位移(0.30→0.55,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.east.047",
    "t": "STYLE.east.124",
    "k": "influence",
    "c": "high",
    "w": "融文人与市民趣味,明丽雅俗共赏",
    "why": "沿「节制-强度」轴位移(0.32→0.62,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.east.047",
    "t": "STYLE.east.108",
    "k": "parent",
    "c": "high",
    "w": "接续大写意,以花鸟写新时代的生机",
    "why": "沿「再现-表现」轴位移(0.62→0.55,更偏再现):从主观表现 收回到 忠实再现"
   },
   {
    "s": "STYLE.east.047",
    "t": "STYLE.east.081",
    "k": "parent",
    "c": "high",
    "w": "以花鸟寄写文人意趣与人格,重笔墨韵致而非形似富贵。",
    "why": "沿「秩序-张力」轴位移(0.62→0.50,更偏秩序):从动势冲突 趋于 平衡安定"
   },
   {
    "s": "STYLE.east.047",
    "t": "STYLE.east.120",
    "k": "parent",
    "c": "high",
    "w": "接续大写意、表现时代精神与生机的现代写意。",
    "why": "沿「节制-强度」轴位移(0.32→0.48,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.east.047",
    "t": "STYLE.east.199",
    "k": "parent",
    "c": "high",
    "w": "介于工笔与大写意之间,工写结合、形意兼顾的清润画法。",
    "why": "沿「秩序-张力」轴位移(0.62→0.48,更偏秩序):从动势冲突 趋于 平衡安定"
   },
   {
    "s": "STYLE.east.047",
    "t": "STYLE.east.200",
    "k": "parent",
    "c": "high",
    "w": "泼墨纵笔、高度概括,以最简的笔墨宣泄最浓的意气。",
    "why": "沿「节制-强度」轴位移(0.32→0.58,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.east.055",
    "t": "STYLE.east.049",
    "k": "parent",
    "c": "high",
    "w": "减笔泼墨写禅机,平淡天真见空寂",
    "why": "沿「秩序-张力」轴位移(0.40→0.58,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.east.049",
    "t": "STYLE.east.A19",
    "k": "influence",
    "c": "high",
    "w": "中国文人画的日本变体,以写意笔墨抒文人胸臆",
    "why": "沿「秩序-张力」轴位移(0.58→0.35,更偏秩序):从动势冲突 趋于 平衡安定"
   },
   {
    "s": "STYLE.east.049",
    "t": "STYLE.east.134",
    "k": "influence",
    "c": "high",
    "w": "将禅意留白推至极简,以一墨一线见心性",
    "why": "沿「再现-表现」轴位移(0.55→0.65,更偏表现):从忠于眼睛所见 走向 忠于内心所感"
   },
   {
    "s": "STYLE.east.050",
    "t": "STYLE.east.037",
    "k": "influence",
    "c": "high",
    "w": "诗书画印一体,以笔墨写士人胸次",
    "why": "在世界观平面上几乎同位(主轴位移仅0.05):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.east.050",
    "t": "STYLE.east.060",
    "k": "parent",
    "c": "high",
    "w": "晚明董其昌领衔的文人画派,标举南宗、追求平淡天真的笔墨韵致。",
    "why": "在世界观平面上几乎同位(主轴位移仅0.04):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.east.050",
    "t": "STYLE.east.061",
    "k": "parent",
    "c": "high",
    "w": "董其昌标举的文人写意正脉,重笔墨韵致",
    "why": "在世界观平面上几乎同位(主轴位移仅0.03):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.east.050",
    "t": "STYLE.east.072",
    "k": "parent",
    "c": "high",
    "w": "遗民僧人借笔墨写孤愤,个性奇崛",
    "why": "沿「秩序-张力」轴位移(0.45→0.62,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.east.055",
    "t": "STYLE.west.061",
    "k": "influence",
    "c": "high",
    "w": "去除一切多余,让物即其本身",
    "why": "沿「结构-感知」轴位移(0.50→0.10,更偏结构):从感官光色 收束为 理性结构"
   },
   {
    "s": "STYLE.east.055",
    "t": "STYLE.west.057",
    "k": "influence",
    "c": "high",
    "w": "以大尺幅与过程表达内在情绪与崇高",
    "why": "沿「节制-强度」轴位移(0.20→0.85,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.east.055",
    "t": "STYLE.east.150",
    "k": "parent",
    "c": "high",
    "w": "以极简留白与顿悟意趣承续禅画精神的当代水墨。",
    "why": "沿「秩序-张力」轴位移(0.40→0.52,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.east.056",
    "t": "STYLE.east.A14",
    "k": "influence",
    "c": "high",
    "w": "以金石碑版的古拙笔力入画,雄强厚重,海派花鸟之骨",
    "why": "沿「节制-强度」轴位移(0.25→0.62,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.east.057",
    "t": "STYLE.east.A14",
    "k": "influence",
    "c": "high",
    "w": "以金石碑版的古拙笔力入画,雄强厚重,海派花鸟之骨",
    "why": "沿「节制-强度」轴位移(0.26→0.62,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.east.059",
    "t": "STYLE.east.060",
    "k": "influence",
    "c": "high",
    "w": "晚明董其昌领衔的文人画派,标举南宗、追求平淡天真的笔墨韵致。",
    "why": "沿「秩序-张力」轴位移(0.30→0.45,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.east.060",
    "t": "STYLE.east.072",
    "k": "influence",
    "c": "high",
    "w": "遗民僧人借笔墨写孤愤,个性奇崛",
    "why": "沿「秩序-张力」轴位移(0.45→0.62,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.east.060",
    "t": "STYLE.east.061",
    "k": "influence",
    "c": "high",
    "w": "董其昌标举的文人写意正脉,重笔墨韵致",
    "why": "在世界观平面上几乎同位(主轴位移仅0.03):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.east.061",
    "t": "STYLE.east.060",
    "k": "influence",
    "c": "high",
    "w": "晚明董其昌领衔的文人画派,标举南宗、追求平淡天真的笔墨韵致。",
    "why": "在世界观平面上几乎同位(主轴位移仅0.03):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.east.061",
    "t": "STYLE.east.072",
    "k": "influence",
    "c": "high",
    "w": "遗民僧人借笔墨写孤愤,个性奇崛",
    "why": "沿「秩序-张力」轴位移(0.48→0.62,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.east.069",
    "t": "STYLE.east.120",
    "k": "influence",
    "c": "high",
    "w": "接续大写意、表现时代精神与生机的现代写意。",
    "why": "沿「再现-表现」轴位移(0.78→0.60,更偏再现):从主观表现 收回到 忠实再现"
   },
   {
    "s": "STYLE.east.072",
    "t": "STYLE.east.073",
    "k": "influence",
    "c": "high",
    "w": "以个性怪奇打破正统,商业市井气与文人骨并存",
    "why": "沿「节制-强度」轴位移(0.30→0.62,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.east.072",
    "t": "STYLE.east.094",
    "k": "influence",
    "c": "high",
    "w": "以水墨语言回应现代经验的转型探索",
    "why": "沿「节制-强度」轴位移(0.30→0.40,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.east.073",
    "t": "STYLE.east.124",
    "k": "parent",
    "c": "high",
    "w": "融文人与市民趣味,明丽雅俗共赏",
    "why": "沿「秩序-张力」轴位移(0.65→0.50,更偏秩序):从动势冲突 趋于 平衡安定"
   },
   {
    "s": "STYLE.east.073",
    "t": "STYLE.east.A14",
    "k": "parent",
    "c": "high",
    "w": "以金石碑版的古拙笔力入画,雄强厚重,海派花鸟之骨",
    "why": "沿「再现-表现」轴位移(0.68→0.55,更偏再现):从主观表现 收回到 忠实再现"
   },
   {
    "s": "STYLE.east.079",
    "t": "STYLE.east.112",
    "k": "parent",
    "c": "high",
    "w": "以工笔重彩表现当代题材与心理",
    "why": "在世界观平面上几乎同位(主轴位移仅0.03):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.east.079",
    "t": "STYLE.east.202",
    "k": "parent",
    "c": "high",
    "w": "以石色矿彩层层积染,勾勒填彩,绚烂厚重而富贵。",
    "why": "沿「节制-强度」轴位移(0.42→0.52,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.east.079",
    "t": "STYLE.east.204",
    "k": "parent",
    "c": "high",
    "w": "浅淡设色、清雅含蓄的工笔,以没骨与薄染见温润之趣。",
    "why": "沿「再现-表现」轴位移(0.22→0.30,更偏表现):从忠于眼睛所见 走向 忠于内心所感"
   },
   {
    "s": "STYLE.east.081",
    "t": "STYLE.east.124",
    "k": "influence",
    "c": "high",
    "w": "融文人与市民趣味,明丽雅俗共赏",
    "why": "沿「节制-强度」轴位移(0.30→0.62,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.east.082",
    "t": "STYLE.east.083",
    "k": "parent",
    "c": "high",
    "w": "乾隆朝精工繁缛、中西合璧的宫廷极盛之体",
    "why": "在世界观平面上几乎同位(主轴位移仅0.02):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.east.088",
    "t": "STYLE.east.028",
    "k": "influence",
    "c": "high",
    "w": "以董源、巨然、李成、郭熙为正脉的水墨山水主流,集大成而立典范。",
    "why": "沿「再现-表现」轴位移(0.52→0.44,更偏再现):从主观表现 收回到 忠实再现"
   },
   {
    "s": "STYLE.east.090",
    "t": "STYLE.east.134",
    "k": "parent",
    "c": "high",
    "w": "将禅意留白推至极简,以一墨一线见心性",
    "why": "沿「再现-表现」轴位移(0.52→0.65,更偏表现):从忠于眼睛所见 走向 忠于内心所感"
   },
   {
    "s": "STYLE.east.090",
    "t": "STYLE.east.260",
    "k": "parent",
    "c": "high",
    "w": "以空、虚、极简表达虚空意境的当代绘画,近乎无而意无穷。",
    "why": "沿「再现-表现」轴位移(0.52→0.70,更偏表现):从忠于眼睛所见 走向 忠于内心所感"
   },
   {
    "s": "STYLE.east.113",
    "t": "STYLE.east.092",
    "k": "parent",
    "c": "high",
    "w": "以素描造型改造中国画,服务大众与时代",
    "why": "在世界观平面上几乎同位(主轴位移仅0.05):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.east.092",
    "t": "STYLE.east.121",
    "k": "parent",
    "c": "high",
    "w": "以传统笔墨表现新社会、新山河的改造实践",
    "why": "沿「再现-表现」轴位移(0.18→0.28,更偏表现):从忠于眼睛所见 走向 忠于内心所感"
   },
   {
    "s": "STYLE.east.092",
    "t": "STYLE.east.116",
    "k": "parent",
    "c": "high",
    "w": "融合笔墨与造型,塑造时代的人",
    "why": "沿「再现-表现」轴位移(0.18→0.25,更偏表现):从忠于眼睛所见 走向 忠于内心所感"
   },
   {
    "s": "STYLE.east.092",
    "t": "STYLE.east.113",
    "k": "parent",
    "c": "high",
    "w": "引入西方素描造型体系的学院绘画,严谨写实、重基本功。",
    "why": "在世界观平面上几乎同位(主轴位移仅0.05):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.east.094",
    "t": "STYLE.east.115",
    "k": "parent",
    "c": "high",
    "w": "剥离物象,以墨象本身的张力为主角",
    "why": "沿「再现-表现」轴位移(0.55→0.80,更偏表现):从忠于眼睛所见 走向 忠于内心所感"
   },
   {
    "s": "STYLE.east.094",
    "t": "STYLE.east.130",
    "k": "parent",
    "c": "high",
    "w": "突破媒介与笔墨成规,探索水墨的当代可能",
    "why": "沿「再现-表现」轴位移(0.55→0.82,更偏表现):从忠于眼睛所见 走向 忠于内心所感"
   },
   {
    "s": "STYLE.east.094",
    "t": "STYLE.east.129",
    "k": "parent",
    "c": "high",
    "w": "以观念为先,质询水墨与文字的文化身份",
    "why": "沿「再现-表现」轴位移(0.55→0.78,更偏表现):从忠于眼睛所见 走向 忠于内心所感"
   },
   {
    "s": "STYLE.east.094",
    "t": "STYLE.east.136",
    "k": "parent",
    "c": "high",
    "w": "以数字工具与AI生成探索水墨语言的当代实验,墨韵进入算法。",
    "why": "沿「再现-表现」轴位移(0.55→0.72,更偏表现):从忠于眼睛所见 走向 忠于内心所感"
   },
   {
    "s": "STYLE.east.109",
    "t": "STYLE.east.121",
    "k": "influence",
    "c": "high",
    "w": "以传统笔墨表现新社会、新山河的改造实践",
    "why": "沿「再现-表现」轴位移(0.42→0.28,更偏再现):从主观表现 收回到 忠实再现"
   },
   {
    "s": "STYLE.east.109",
    "t": "STYLE.east.257",
    "k": "parent",
    "c": "high",
    "w": "以数字与科技手段重构山水意象的当代探索,古意入新媒。",
    "why": "沿「再现-表现」轴位移(0.42→0.62,更偏表现):从忠于眼睛所见 走向 忠于内心所感"
   },
   {
    "s": "STYLE.east.111",
    "t": "STYLE.east.112",
    "k": "influence",
    "c": "high",
    "w": "以工笔重彩表现当代题材与心理",
    "why": "沿「节制-强度」轴位移(0.58→0.45,更偏节制):从强烈外放 回到 内敛节制"
   },
   {
    "s": "STYLE.east.112",
    "t": "STYLE.east.111",
    "k": "influence",
    "c": "high",
    "w": "以石色矿彩层层积染,绚烂厚重",
    "why": "沿「节制-强度」轴位移(0.45→0.58,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.east.113",
    "t": "STYLE.east.116",
    "k": "influence",
    "c": "high",
    "w": "融合笔墨与造型,塑造时代的人",
    "why": "在世界观平面上几乎同位(主轴位移仅0.05):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.east.113",
    "t": "STYLE.east.122",
    "k": "parent",
    "c": "high",
    "w": "服务政治宣传与历史叙事的主题绘画,昂扬写实、激越鼓动。",
    "why": "沿「节制-强度」轴位移(0.40→0.60,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.east.113",
    "t": "STYLE.east.123",
    "k": "parent",
    "c": "high",
    "w": "以鲜明色彩与昂扬形象服务政治动员",
    "why": "沿「节制-强度」轴位移(0.40→0.62,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.east.114",
    "t": "STYLE.east.047",
    "k": "influence",
    "c": "high",
    "w": "以泼墨大写意抒花鸟之生意与人格",
    "why": "沿「秩序-张力」轴位移(0.35→0.62,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.east.114",
    "t": "STYLE.east.094",
    "k": "influence",
    "c": "high",
    "w": "以水墨语言回应现代经验的转型探索",
    "why": "沿「秩序-张力」轴位移(0.35→0.55,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.east.115",
    "t": "STYLE.east.130",
    "k": "influence",
    "c": "high",
    "w": "突破媒介与笔墨成规,探索水墨的当代可能",
    "why": "沿「节制-强度」轴位移(0.42→0.50,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.east.116",
    "t": "STYLE.east.120",
    "k": "influence",
    "c": "high",
    "w": "接续大写意、表现时代精神与生机的现代写意。",
    "why": "沿「再现-表现」轴位移(0.25→0.60,更偏表现):从忠于眼睛所见 走向 忠于内心所感"
   },
   {
    "s": "STYLE.east.119",
    "t": "STYLE.east.130",
    "k": "influence",
    "c": "high",
    "w": "突破媒介与笔墨成规,探索水墨的当代可能",
    "why": "沿「再现-表现」轴位移(0.72→0.82,更偏表现):从忠于眼睛所见 走向 忠于内心所感"
   },
   {
    "s": "STYLE.east.121",
    "t": "STYLE.east.109",
    "k": "influence",
    "c": "high",
    "w": "融合写生与传统笔墨的山水革新,为新山河立传。",
    "why": "沿「再现-表现」轴位移(0.28→0.42,更偏表现):从忠于眼睛所见 走向 忠于内心所感"
   },
   {
    "s": "STYLE.east.122",
    "t": "STYLE.east.123",
    "k": "influence",
    "c": "high",
    "w": "以鲜明色彩与昂扬形象服务政治动员",
    "why": "在世界观平面上几乎同位(主轴位移仅0.02):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.east.124",
    "t": "STYLE.east.125",
    "k": "parent",
    "c": "high",
    "w": "折衷中西、融汇古今,以写生革新国画",
    "why": "沿「结构-感知」轴位移(0.45→0.55,更偏感知):从理性结构/秩序 走向 感官光色经验"
   },
   {
    "s": "STYLE.east.125",
    "t": "STYLE.east.094",
    "k": "influence",
    "c": "high",
    "w": "以水墨语言回应现代经验的转型探索",
    "why": "沿「节制-强度」轴位移(0.60→0.40,更偏节制):从强烈外放 回到 内敛节制"
   },
   {
    "s": "STYLE.east.126",
    "t": "STYLE.east.116",
    "k": "influence",
    "c": "high",
    "w": "融合笔墨与造型,塑造时代的人",
    "why": "沿「节制-强度」轴位移(0.30→0.40,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.east.129",
    "t": "STYLE.east.130",
    "k": "influence",
    "c": "high",
    "w": "突破媒介与笔墨成规,探索水墨的当代可能",
    "why": "沿「秩序-张力」轴位移(0.55→0.62,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.east.130",
    "t": "STYLE.east.143",
    "k": "parent",
    "c": "high",
    "w": "以行为、影像记录水墨的生成过程,媒介从纸面扩展到时间。",
    "why": "沿「结构-感知」轴位移(0.55→0.48,更偏结构):从感官光色 收束为 理性结构"
   },
   {
    "s": "STYLE.east.130",
    "t": "STYLE.east.146",
    "k": "parent",
    "c": "high",
    "w": "以水墨介入社会与生态议题的当代批判性创作。",
    "why": "沿「秩序-张力」轴位移(0.62→0.50,更偏秩序):从动势冲突 趋于 平衡安定"
   },
   {
    "s": "STYLE.east.130",
    "t": "STYLE.east.152",
    "k": "parent",
    "c": "high",
    "w": "融合综合材料与多种媒介的实验水墨,突破纸墨边界。",
    "why": "沿「秩序-张力」轴位移(0.62→0.52,更偏秩序):从动势冲突 趋于 平衡安定"
   },
   {
    "s": "STYLE.east.136",
    "t": "STYLE.east.238",
    "k": "influence",
    "c": "high",
    "w": "以数字、影像、互动等新媒体为载体的绘画,屏幕成为新画布。",
    "why": "沿「再现-表现」轴位移(0.72→0.80,更偏表现):从忠于眼睛所见 走向 忠于内心所感"
   },
   {
    "s": "STYLE.east.220",
    "t": "STYLE.east.139",
    "k": "parent",
    "c": "high",
    "w": "强调书写性与笔势本身的当代水墨,把书画同源推向抽象极致。",
    "why": "沿「节制-强度」轴位移(0.28→0.55,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.east.139",
    "t": "STYLE.east.115",
    "k": "influence",
    "c": "high",
    "w": "剥离物象,以墨象本身的张力为主角",
    "why": "沿「节制-强度」轴位移(0.55→0.42,更偏节制):从强烈外放 回到 内敛节制"
   },
   {
    "s": "STYLE.east.146",
    "t": "STYLE.west.066",
    "k": "influence",
    "c": "high",
    "w": "以观念本身为作品,去物质化",
    "why": "沿「结构-感知」轴位移(0.52→0.30,更偏结构):从感官光色 收束为 理性结构"
   },
   {
    "s": "STYLE.east.150",
    "t": "STYLE.east.134",
    "k": "influence",
    "c": "high",
    "w": "将禅意留白推至极简,以一墨一线见心性",
    "why": "沿「秩序-张力」轴位移(0.52→0.60,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.east.152",
    "t": "STYLE.east.231",
    "k": "influence",
    "c": "high",
    "w": "突破单一媒介、以多种材料并置堆叠的当代绘画,物质即语言。",
    "why": "沿「秩序-张力」轴位移(0.52→0.60,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.east.162",
    "t": "STYLE.east.161",
    "k": "influence",
    "c": "high",
    "w": "民间节庆张贴的木版彩印画,祈福纳祥、雅俗共赏。",
    "why": "沿「再现-表现」轴位移(0.50→0.40,更偏再现):从主观表现 收回到 忠实再现"
   },
   {
    "s": "STYLE.east.164",
    "t": "STYLE.east.111",
    "k": "influence",
    "c": "high",
    "w": "以石色矿彩层层积染,绚烂厚重",
    "why": "沿「秩序-张力」轴位移(0.55→0.32,更偏秩序):从动势冲突 趋于 平衡安定"
   },
   {
    "s": "STYLE.east.164",
    "t": "STYLE.east.179",
    "k": "parent",
    "c": "high",
    "w": "取法敦煌、以矿物岩彩层层堆叠的现代重彩,厚重斑斓而苍茫。",
    "why": "沿「节制-强度」轴位移(0.75→0.56,更偏节制):从强烈外放 回到 内敛节制"
   },
   {
    "s": "STYLE.east.165",
    "t": "STYLE.east.004",
    "k": "influence",
    "c": "high",
    "w": "附着于墙壁的图绘传统,为礼制、宗教与丧葬而作,庄严而恢宏。",
    "why": "在世界观平面上几乎同位(主轴位移仅0.04):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.east.166",
    "t": "STYLE.east.167",
    "k": "influence",
    "c": "high",
    "w": "藏传佛教绘画体系,壁画与唐卡并重,程式神圣、色彩绚烂。",
    "why": "在世界观平面上几乎同位(主轴位移仅0.02):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.east.167",
    "t": "STYLE.east.166",
    "k": "influence",
    "c": "high",
    "w": "藏传佛教的卷轴圣像,仪轨严密、金彩辉煌,为修行观想而绘。",
    "why": "在世界观平面上几乎同位(主轴位移仅0.02):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.east.179",
    "t": "STYLE.east.202",
    "k": "influence",
    "c": "high",
    "w": "以石色矿彩层层积染,勾勒填彩,绚烂厚重而富贵。",
    "why": "沿「再现-表现」轴位移(0.52→0.28,更偏再现):从主观表现 收回到 忠实再现"
   },
   {
    "s": "STYLE.east.193",
    "t": "STYLE.east.112",
    "k": "influence",
    "c": "high",
    "w": "以工笔重彩表现当代题材与心理",
    "why": "在世界观平面上几乎同位(主轴位移仅0.05):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.east.193",
    "t": "STYLE.east.201",
    "k": "parent",
    "c": "high",
    "w": "纯以墨线之提按勾勒形象,不施色彩,以一线见形神。",
    "why": "沿「节制-强度」轴位移(0.40→0.26,更偏节制):从强烈外放 回到 内敛节制"
   },
   {
    "s": "STYLE.east.195",
    "t": "STYLE.east.026",
    "k": "influence",
    "c": "high",
    "w": "格物致知,以精谨写实造全景山水之极致",
    "why": "在世界观平面上几乎同位(主轴位移仅0.02):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.east.199",
    "t": "STYLE.east.124",
    "k": "influence",
    "c": "high",
    "w": "融文人与市民趣味,明丽雅俗共赏",
    "why": "沿「节制-强度」轴位移(0.40→0.62,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.east.200",
    "t": "STYLE.east.108",
    "k": "influence",
    "c": "high",
    "w": "接续大写意,以花鸟写新时代的生机",
    "why": "沿「节制-强度」轴位移(0.58→0.38,更偏节制):从强烈外放 回到 内敛节制"
   },
   {
    "s": "STYLE.east.200",
    "t": "STYLE.east.119",
    "k": "influence",
    "c": "high",
    "w": "以水墨的奔放笔势宣泄强烈情感与生存体验",
    "why": "沿「秩序-张力」轴位移(0.62→0.72,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.east.200",
    "t": "STYLE.east.218",
    "k": "parent",
    "c": "high",
    "w": "让笔墨成为情绪的直接痕迹,以运笔的快慢轻重宣泄心绪。",
    "why": "在世界观平面上几乎同位(主轴位移仅0.04):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.east.201",
    "t": "STYLE.east.116",
    "k": "influence",
    "c": "high",
    "w": "融合笔墨与造型,塑造时代的人",
    "why": "沿「节制-强度」轴位移(0.26→0.40,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.east.202",
    "t": "STYLE.east.111",
    "k": "influence",
    "c": "high",
    "w": "以石色矿彩层层积染,绚烂厚重",
    "why": "沿「再现-表现」轴位移(0.28→0.35,更偏表现):从忠于眼睛所见 走向 忠于内心所感"
   },
   {
    "s": "STYLE.east.203",
    "t": "STYLE.east.019",
    "k": "influence",
    "c": "high",
    "w": "青绿之上勾金,富丽辉煌的皇家山水",
    "why": "沿「节制-强度」轴位移(0.48→0.55,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.east.204",
    "t": "STYLE.east.112",
    "k": "influence",
    "c": "high",
    "w": "以工笔重彩表现当代题材与心理",
    "why": "沿「节制-强度」轴位移(0.34→0.45,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.east.216",
    "t": "STYLE.east.079",
    "k": "influence",
    "c": "high",
    "w": "精勾细染,极尽花鸟之富贵与生机",
    "why": "沿「再现-表现」轴位移(0.30→0.22,更偏再现):从主观表现 收回到 忠实再现"
   },
   {
    "s": "STYLE.east.217",
    "t": "STYLE.east.040",
    "k": "influence",
    "c": "high",
    "w": "减笔挥写,以寥寥数笔得人物神韵",
    "why": "沿「节制-强度」轴位移(0.42→0.30,更偏节制):从强烈外放 回到 内敛节制"
   },
   {
    "s": "STYLE.east.218",
    "t": "STYLE.east.119",
    "k": "influence",
    "c": "high",
    "w": "以水墨的奔放笔势宣泄强烈情感与生存体验",
    "why": "沿「秩序-张力」轴位移(0.65→0.72,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.east.219",
    "t": "STYLE.east.109",
    "k": "influence",
    "c": "high",
    "w": "融合写生与传统笔墨的山水革新,为新山河立传。",
    "why": "沿「再现-表现」轴位移(0.55→0.42,更偏再现):从主观表现 收回到 忠实再现"
   },
   {
    "s": "STYLE.east.220",
    "t": "STYLE.east.061",
    "k": "influence",
    "c": "high",
    "w": "董其昌标举的文人写意正脉,重笔墨韵致",
    "why": "在世界观平面上几乎同位(主轴位移仅0.03):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.east.231",
    "t": "STYLE.east.152",
    "k": "influence",
    "c": "high",
    "w": "融合综合材料与多种媒介的实验水墨,突破纸墨边界。",
    "why": "沿「秩序-张力」轴位移(0.60→0.52,更偏秩序):从动势冲突 趋于 平衡安定"
   },
   {
    "s": "STYLE.east.233",
    "t": "STYLE.west.098",
    "k": "influence",
    "c": "high",
    "w": "以光、影、空间包裹观者,绘画扩展为可步入的环境。",
    "why": "沿「节制-强度」轴位移(0.52→0.62,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.west.066",
    "t": "STYLE.east.236",
    "k": "parent",
    "c": "high",
    "w": "以观念为先、质询绘画本体与文化身份的当代创作,意念重于技艺。",
    "why": "沿「节制-强度」轴位移(0.30→0.48,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.east.236",
    "t": "STYLE.east.146",
    "k": "influence",
    "c": "high",
    "w": "以水墨介入社会与生态议题的当代批判性创作。",
    "why": "沿「结构-感知」轴位移(0.30→0.52,更偏感知):从理性结构/秩序 走向 感官光色经验"
   },
   {
    "s": "STYLE.east.238",
    "t": "STYLE.west.099",
    "k": "influence",
    "c": "high",
    "w": "以网络为媒介与题材,反思图像在数字时代的流通与身份。",
    "why": "沿「结构-感知」轴位移(0.38→0.50,更偏感知):从理性结构/秩序 走向 感官光色经验"
   },
   {
    "s": "STYLE.east.257",
    "t": "STYLE.east.136",
    "k": "influence",
    "c": "high",
    "w": "以数字工具与AI生成探索水墨语言的当代实验,墨韵进入算法。",
    "why": "沿「再现-表现」轴位移(0.62→0.72,更偏表现):从忠于眼睛所见 走向 忠于内心所感"
   },
   {
    "s": "STYLE.east.260",
    "t": "STYLE.east.150",
    "k": "influence",
    "c": "high",
    "w": "以极简留白与顿悟意趣承续禅画精神的当代水墨。",
    "why": "沿「结构-感知」轴位移(0.45→0.55,更偏感知):从理性结构/秩序 走向 感官光色经验"
   },
   {
    "s": "STYLE.east.M181",
    "t": "STYLE.east.161",
    "k": "influence",
    "c": "high",
    "w": "民间节庆张贴的木版彩印画,祈福纳祥、雅俗共赏。",
    "why": "沿「节制-强度」轴位移(0.55→0.62,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.west.A01",
    "t": "STYLE.west.015",
    "k": "influence",
    "c": "high",
    "w": "以戏剧光影与动势激起宗教激情与崇高",
    "why": "沿「节制-强度」轴位移(0.62→0.80,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.west.A02",
    "t": "STYLE.west.013",
    "k": "influence",
    "c": "high",
    "w": "以油彩极致细节描绘可见世界的纹理与光",
    "why": "沿「节制-强度」轴位移(0.70→0.30,更偏节制):从强烈外放 回到 内敛节制"
   },
   {
    "s": "STYLE.west.A02",
    "t": "STYLE.west.014",
    "k": "influence",
    "c": "high",
    "w": "哥特式的优雅金饰与抒情线条,装饰性高于写实。",
    "why": "沿「节制-强度」轴位移(0.70→0.46,更偏节制):从强烈外放 回到 内敛节制"
   },
   {
    "s": "STYLE.west.A03",
    "t": "STYLE.west.034",
    "k": "influence",
    "c": "high",
    "w": "以隐喻与梦幻表现精神、欲望与死亡",
    "why": "沿「再现-表现」轴位移(0.20→0.70,更偏表现):从忠于眼睛所见 走向 忠于内心所感"
   },
   {
    "s": "STYLE.west.A03",
    "t": "STYLE.west.035",
    "k": "influence",
    "c": "high",
    "w": "以自然有机曲线统一艺术与工艺",
    "why": "沿「再现-表现」轴位移(0.20→0.65,更偏表现):从忠于眼睛所见 走向 忠于内心所感"
   },
   {
    "s": "STYLE.east.A09",
    "t": "STYLE.east.124",
    "k": "influence",
    "c": "high",
    "w": "融文人与市民趣味,明丽雅俗共赏",
    "why": "沿「秩序-张力」轴位移(0.30→0.50,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.east.A09",
    "t": "STYLE.east.A13",
    "k": "parent",
    "c": "high",
    "w": "承没骨花卉一脉,以恽寿平为宗,清丽雅逸、生意盎然",
    "why": "沿「再现-表现」轴位移(0.40→0.32,更偏再现):从主观表现 收回到 忠实再现"
   },
   {
    "s": "STYLE.east.A14",
    "t": "STYLE.east.124",
    "k": "influence",
    "c": "high",
    "w": "融文人与市民趣味,明丽雅俗共赏",
    "why": "在世界观平面上几乎同位(主轴位移仅0.05):延续其语言、仅作微调"
   },
   {
    "s": "STYLE.east.A18",
    "t": "STYLE.east.A15",
    "k": "parent",
    "c": "high",
    "w": "以木刻版画描绘市井浮世——歌伎、美人、相扑与名所风景,平面明快",
    "why": "沿「节制-强度」轴位移(0.62→0.70,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.east.A15",
    "t": "STYLE.west.029",
    "k": "influence",
    "c": "high",
    "w": "走出画室,捕捉光与大气的瞬间",
    "why": "沿「结构-感知」轴位移(0.35→0.85,更偏感知):从理性结构/秩序 走向 感官光色经验"
   },
   {
    "s": "STYLE.east.A15",
    "t": "STYLE.west.032",
    "k": "influence",
    "c": "high",
    "w": "在光色之上重建结构与主观表达",
    "why": "沿「再现-表现」轴位移(0.40→0.65,更偏表现):从忠于眼睛所见 走向 忠于内心所感"
   },
   {
    "s": "STYLE.east.A15",
    "t": "STYLE.west.035",
    "k": "influence",
    "c": "high",
    "w": "以自然有机曲线统一艺术与工艺",
    "why": "沿「再现-表现」轴位移(0.40→0.65,更偏表现):从忠于眼睛所见 走向 忠于内心所感"
   },
   {
    "s": "STYLE.east.A18",
    "t": "STYLE.east.A16",
    "k": "parent",
    "c": "high",
    "w": "以金银箔与图案化的自然,营造极致装饰的雅致与诗意",
    "why": "沿「节制-强度」轴位移(0.62→0.78,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.east.A17",
    "t": "STYLE.east.A16",
    "k": "influence",
    "c": "high",
    "w": "以金银箔与图案化的自然,营造极致装饰的雅致与诗意",
    "why": "沿「节制-强度」轴位移(0.58→0.78,更偏强度):从内敛克制 走向 高能外放"
   },
   {
    "s": "STYLE.east.A18",
    "t": "STYLE.east.A17",
    "k": "influence",
    "c": "high",
    "w": "日本最大的官方画派,融汉画水墨与大和绘装饰,服务幕府与寺院",
    "why": "沿「秩序-张力」轴位移(0.40→0.50,更偏张力):从平衡安定 走向 动势与冲突"
   },
   {
    "s": "STYLE.east.216",
    "t": "STYLE.east.217",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「再现-表现」轴上分居两端:一方偏再现(0.30)、另一方偏表现(0.60)——立场相反"
   },
   {
    "s": "STYLE.east.037",
    "t": "STYLE.east.236",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「再现-表现」轴上分居两端:一方偏再现(0.55)、另一方偏表现(0.85)——立场相反"
   },
   {
    "s": "STYLE.east.037",
    "t": "STYLE.east.161",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「节制-强度」轴上分居两端:一方偏节制(0.25)、另一方偏强度(0.62)——立场相反"
   },
   {
    "s": "STYLE.west.061",
    "t": "STYLE.west.081",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「秩序-张力」轴上分居两端:一方偏秩序(0.15)、另一方偏张力(0.82)——立场相反"
   },
   {
    "s": "STYLE.east.026",
    "t": "STYLE.east.032",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「再现-表现」轴上分居两端:一方偏再现(0.30)、另一方偏表现(0.58)——立场相反"
   },
   {
    "s": "STYLE.east.047",
    "t": "STYLE.east.079",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「再现-表现」轴上分居两端:一方偏表现(0.62)、另一方偏再现(0.22)——立场相反"
   },
   {
    "s": "STYLE.east.037",
    "t": "STYLE.west.066",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「再现-表现」轴上分居两端:一方偏再现(0.55)、另一方偏表现(0.75)——立场相反"
   },
   {
    "s": "STYLE.east.079",
    "t": "STYLE.east.081",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「再现-表现」轴上分居两端:一方偏再现(0.22)、另一方偏表现(0.58)——立场相反"
   },
   {
    "s": "STYLE.west.023",
    "t": "STYLE.west.026",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「节制-强度」轴上分居两端:一方偏强度(0.82)、另一方偏节制(0.35)——立场相反"
   },
   {
    "s": "STYLE.east.201",
    "t": "STYLE.east.202",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「节制-强度」轴上分居两端:一方偏节制(0.26)、另一方偏强度(0.52)——立场相反"
   },
   {
    "s": "STYLE.west.022",
    "t": "STYLE.west.025",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「秩序-张力」轴上分居两端:一方偏秩序(0.18)、另一方偏张力(0.80)——立场相反"
   },
   {
    "s": "STYLE.west.022",
    "t": "STYLE.west.024",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「秩序-张力」轴上分居两端:一方偏秩序(0.18)、另一方偏张力(0.80)——立场相反"
   },
   {
    "s": "STYLE.west.053",
    "t": "STYLE.west.055",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「秩序-张力」轴上分居两端:一方偏秩序(0.30)、另一方偏张力(0.68)——立场相反"
   },
   {
    "s": "STYLE.west.022",
    "t": "STYLE.west.069",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「再现-表现」轴上分居两端:一方偏再现(0.12)、另一方偏表现(0.42)——立场相反"
   },
   {
    "s": "STYLE.west.019",
    "t": "STYLE.west.022",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「结构-感知」轴上分居两端:一方偏感知(0.55)、另一方偏结构(0.20)——立场相反"
   },
   {
    "s": "STYLE.west.057",
    "t": "STYLE.west.065",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「再现-表现」轴上分居两端:一方偏表现(0.92)、另一方偏再现(0.10)——立场相反"
   },
   {
    "s": "STYLE.east.130",
    "t": "STYLE.east.134",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「节制-强度」轴上分居两端:一方偏强度(0.50)、另一方偏节制(0.18)——立场相反"
   },
   {
    "s": "STYLE.west.005",
    "t": "STYLE.west.009",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「再现-表现」轴上分居两端:一方偏表现(0.40)、另一方偏再现(0.15)——立场相反"
   },
   {
    "s": "STYLE.east.035",
    "t": "STYLE.east.111",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「节制-强度」轴上分居两端:一方偏节制(0.28)、另一方偏强度(0.58)——立场相反"
   },
   {
    "s": "STYLE.west.022",
    "t": "STYLE.west.042",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「再现-表现」轴上分居两端:一方偏再现(0.12)、另一方偏表现(0.72)——立场相反"
   },
   {
    "s": "STYLE.east.A17",
    "t": "STYLE.east.A19",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「再现-表现」轴上分居两端:一方偏再现(0.30)、另一方偏表现(0.62)——立场相反"
   },
   {
    "s": "STYLE.west.022",
    "t": "STYLE.west.041",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「再现-表现」轴上分居两端:一方偏再现(0.12)、另一方偏表现(0.72)——立场相反"
   },
   {
    "s": "STYLE.east.202",
    "t": "STYLE.east.204",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「节制-强度」轴上分居两端:一方偏强度(0.52)、另一方偏节制(0.34)——立场相反"
   },
   {
    "s": "STYLE.west.021",
    "t": "STYLE.west.022",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「结构-感知」轴上分居两端:一方偏感知(0.55)、另一方偏结构(0.20)——立场相反"
   },
   {
    "s": "STYLE.east.037",
    "t": "STYLE.east.092",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「再现-表现」轴上分居两端:一方偏表现(0.55)、另一方偏再现(0.18)——立场相反"
   },
   {
    "s": "STYLE.east.193",
    "t": "STYLE.east.218",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「再现-表现」轴上分居两端:一方偏再现(0.25)、另一方偏表现(0.72)——立场相反"
   },
   {
    "s": "STYLE.west.026",
    "t": "STYLE.west.034",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「再现-表现」轴上分居两端:一方偏再现(0.18)、另一方偏表现(0.70)——立场相反"
   },
   {
    "s": "STYLE.west.022",
    "t": "STYLE.west.063",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「秩序-张力」轴上分居两端:一方偏秩序(0.18)、另一方偏张力(0.45)——立场相反"
   },
   {
    "s": "STYLE.east.111",
    "t": "STYLE.east.126",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「节制-强度」轴上分居两端:一方偏强度(0.58)、另一方偏节制(0.30)——立场相反"
   },
   {
    "s": "STYLE.west.005",
    "t": "STYLE.west.010",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「再现-表现」轴上分居两端:一方偏表现(0.40)、另一方偏再现(0.15)——立场相反"
   },
   {
    "s": "STYLE.east.025",
    "t": "STYLE.east.035",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「节制-强度」轴上分居两端:一方偏强度(0.52)、另一方偏节制(0.28)——立场相反"
   },
   {
    "s": "STYLE.west.057",
    "t": "STYLE.west.061",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「秩序-张力」轴上分居两端:一方偏张力(0.85)、另一方偏秩序(0.15)——立场相反"
   },
   {
    "s": "STYLE.west.056",
    "t": "STYLE.west.058",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「秩序-张力」轴上分居两端:一方偏张力(0.74)、另一方偏秩序(0.25)——立场相反"
   },
   {
    "s": "STYLE.east.026",
    "t": "STYLE.east.049",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「秩序-张力」轴上分居两端:一方偏秩序(0.30)、另一方偏张力(0.58)——立场相反"
   },
   {
    "s": "STYLE.west.022",
    "t": "STYLE.west.030",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「结构-感知」轴上分居两端:一方偏结构(0.20)、另一方偏感知(0.85)——立场相反"
   },
   {
    "s": "STYLE.west.006",
    "t": "STYLE.west.009",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「再现-表现」轴上分居两端:一方偏表现(0.44)、另一方偏再现(0.15)——立场相反"
   },
   {
    "s": "STYLE.west.018",
    "t": "STYLE.west.022",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「秩序-张力」轴上分居两端:一方偏张力(0.75)、另一方偏秩序(0.18)——立场相反"
   },
   {
    "s": "STYLE.west.023",
    "t": "STYLE.west.027",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「节制-强度」轴上分居两端:一方偏强度(0.82)、另一方偏节制(0.40)——立场相反"
   },
   {
    "s": "STYLE.west.066",
    "t": "STYLE.west.081",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「节制-强度」轴上分居两端:一方偏节制(0.30)、另一方偏强度(0.85)——立场相反"
   },
   {
    "s": "STYLE.east.079",
    "t": "STYLE.east.119",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「再现-表现」轴上分居两端:一方偏再现(0.22)、另一方偏表现(0.72)——立场相反"
   },
   {
    "s": "STYLE.east.003",
    "t": "STYLE.east.A18",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「节制-强度」轴上分居两端:一方偏节制(0.48)、另一方偏强度(0.62)——立场相反"
   },
   {
    "s": "STYLE.west.015",
    "t": "STYLE.west.022",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「秩序-张力」轴上分居两端:一方偏张力(0.75)、另一方偏秩序(0.18)——立场相反"
   },
   {
    "s": "STYLE.west.078",
    "t": "STYLE.west.A07",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「节制-强度」轴上分居两端:一方偏强度(0.82)、另一方偏节制(0.45)——立场相反"
   },
   {
    "s": "STYLE.west.022",
    "t": "STYLE.west.A03",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「节制-强度」轴上分居两端:一方偏节制(0.25)、另一方偏强度(0.72)——立场相反"
   },
   {
    "s": "STYLE.east.060",
    "t": "STYLE.east.062",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「再现-表现」轴上分居两端:一方偏表现(0.55)、另一方偏再现(0.32)——立场相反"
   },
   {
    "s": "STYLE.west.053",
    "t": "STYLE.west.056",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「秩序-张力」轴上分居两端:一方偏秩序(0.30)、另一方偏张力(0.74)——立场相反"
   },
   {
    "s": "STYLE.east.072",
    "t": "STYLE.east.130",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「节制-强度」轴上分居两端:一方偏节制(0.30)、另一方偏强度(0.50)——立场相反"
   },
   {
    "s": "STYLE.east.037",
    "t": "STYLE.east.129",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「再现-表现」轴上分居两端:一方偏再现(0.55)、另一方偏表现(0.78)——立场相反"
   },
   {
    "s": "STYLE.west.029",
    "t": "STYLE.west.034",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「结构-感知」轴上分居两端:一方偏感知(0.85)、另一方偏结构(0.55)——立场相反"
   },
   {
    "s": "STYLE.west.057",
    "t": "STYLE.west.078",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「秩序-张力」轴上分居两端:一方偏张力(0.85)、另一方偏秩序(0.55)——立场相反"
   },
   {
    "s": "STYLE.east.029",
    "t": "STYLE.east.031",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「秩序-张力」轴上分居两端:一方偏秩序(0.28)、另一方偏张力(0.40)——立场相反"
   },
   {
    "s": "STYLE.west.040",
    "t": "STYLE.west.048",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「结构-感知」轴上分居两端:一方偏结构(0.20)、另一方偏感知(0.50)——立场相反"
   },
   {
    "s": "STYLE.east.026",
    "t": "STYLE.east.037",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「再现-表现」轴上分居两端:一方偏再现(0.30)、另一方偏表现(0.55)——立场相反"
   },
   {
    "s": "STYLE.east.072",
    "t": "STYLE.east.121",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「再现-表现」轴上分居两端:一方偏表现(0.62)、另一方偏再现(0.28)——立场相反"
   },
   {
    "s": "STYLE.east.058",
    "t": "STYLE.east.059",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「秩序-张力」轴上分居两端:一方偏张力(0.65)、另一方偏秩序(0.30)——立场相反"
   },
   {
    "s": "STYLE.east.055",
    "t": "STYLE.east.079",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「再现-表现」轴上分居两端:一方偏表现(0.70)、另一方偏再现(0.22)——立场相反"
   },
   {
    "s": "STYLE.east.047",
    "t": "STYLE.east.A10",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「再现-表现」轴上分居两端:一方偏表现(0.62)、另一方偏再现(0.15)——立场相反"
   },
   {
    "s": "STYLE.west.022",
    "t": "STYLE.west.029",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「结构-感知」轴上分居两端:一方偏结构(0.20)、另一方偏感知(0.85)——立场相反"
   },
   {
    "s": "STYLE.west.022",
    "t": "STYLE.west.023",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「秩序-张力」轴上分居两端:一方偏秩序(0.18)、另一方偏张力(0.80)——立场相反"
   },
   {
    "s": "STYLE.east.037",
    "t": "STYLE.east.122",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「节制-强度」轴上分居两端:一方偏节制(0.25)、另一方偏强度(0.60)——立场相反"
   },
   {
    "s": "STYLE.west.022",
    "t": "STYLE.west.026",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「秩序-张力」轴上分居两端:一方偏秩序(0.18)、另一方偏张力(0.45)——立场相反"
   },
   {
    "s": "STYLE.west.053",
    "t": "STYLE.west.057",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「秩序-张力」轴上分居两端:一方偏秩序(0.30)、另一方偏张力(0.85)——立场相反"
   },
   {
    "s": "STYLE.east.061",
    "t": "STYLE.east.062",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「再现-表现」轴上分居两端:一方偏表现(0.55)、另一方偏再现(0.32)——立场相反"
   },
   {
    "s": "STYLE.west.053",
    "t": "STYLE.west.116",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「再现-表现」轴上分居两端:一方偏表现(0.85)、另一方偏再现(0.32)——立场相反"
   },
   {
    "s": "STYLE.east.026",
    "t": "STYLE.east.050",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「再现-表现」轴上分居两端:一方偏再现(0.30)、另一方偏表现(0.55)——立场相反"
   },
   {
    "s": "STYLE.east.037",
    "t": "STYLE.east.113",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「再现-表现」轴上分居两端:一方偏表现(0.55)、另一方偏再现(0.20)——立场相反"
   },
   {
    "s": "STYLE.east.026",
    "t": "STYLE.east.027",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「再现-表现」轴上分居两端:一方偏再现(0.30)、另一方偏表现(0.62)——立场相反"
   },
   {
    "s": "STYLE.west.056",
    "t": "STYLE.west.059",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「秩序-张力」轴上分居两端:一方偏张力(0.74)、另一方偏秩序(0.26)——立场相反"
   },
   {
    "s": "STYLE.east.032",
    "t": "STYLE.east.195",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「再现-表现」轴上分居两端:一方偏表现(0.58)、另一方偏再现(0.30)——立场相反"
   },
   {
    "s": "STYLE.east.195",
    "t": "STYLE.east.220",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「再现-表现」轴上分居两端:一方偏再现(0.30)、另一方偏表现(0.56)——立场相反"
   },
   {
    "s": "STYLE.west.023",
    "t": "STYLE.west.063",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「节制-强度」轴上分居两端:一方偏强度(0.82)、另一方偏节制(0.35)——立场相反"
   },
   {
    "s": "STYLE.east.026",
    "t": "STYLE.east.114",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「再现-表现」轴上分居两端:一方偏再现(0.30)、另一方偏表现(0.62)——立场相反"
   },
   {
    "s": "STYLE.east.150",
    "t": "STYLE.east.202",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「再现-表现」轴上分居两端:一方偏表现(0.60)、另一方偏再现(0.28)——立场相反"
   },
   {
    "s": "STYLE.west.022",
    "t": "STYLE.west.A04",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「结构-感知」轴上分居两端:一方偏结构(0.20)、另一方偏感知(0.45)——立场相反"
   },
   {
    "s": "STYLE.west.053",
    "t": "STYLE.west.054",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「结构-感知」轴上分居两端:一方偏结构(0.20)、另一方偏感知(0.60)——立场相反"
   },
   {
    "s": "STYLE.east.079",
    "t": "STYLE.east.200",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「再现-表现」轴上分居两端:一方偏再现(0.22)、另一方偏表现(0.70)——立场相反"
   },
   {
    "s": "STYLE.west.037",
    "t": "STYLE.west.A05",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「再现-表现」轴上分居两端:一方偏表现(0.85)、另一方偏再现(0.15)——立场相反"
   },
   {
    "s": "STYLE.west.022",
    "t": "STYLE.west.040",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「再现-表现」轴上分居两端:一方偏再现(0.12)、另一方偏表现(0.72)——立场相反"
   },
   {
    "s": "STYLE.west.011",
    "t": "STYLE.west.012",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「结构-感知」轴上分居两端:一方偏结构(0.30)、另一方偏感知(0.55)——立场相反"
   },
   {
    "s": "STYLE.west.011",
    "t": "STYLE.west.014",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「再现-表现」轴上分居两端:一方偏再现(0.20)、另一方偏表现(0.44)——立场相反"
   },
   {
    "s": "STYLE.west.016",
    "t": "STYLE.west.022",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「秩序-张力」轴上分居两端:一方偏张力(0.75)、另一方偏秩序(0.18)——立场相反"
   },
   {
    "s": "STYLE.east.040",
    "t": "STYLE.east.193",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「再现-表现」轴上分居两端:一方偏表现(0.60)、另一方偏再现(0.25)——立场相反"
   },
   {
    "s": "STYLE.east.072",
    "t": "STYLE.east.082",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「再现-表现」轴上分居两端:一方偏表现(0.62)、另一方偏再现(0.20)——立场相反"
   },
   {
    "s": "STYLE.east.029",
    "t": "STYLE.east.030",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「秩序-张力」轴上分居两端:一方偏秩序(0.28)、另一方偏张力(0.45)——立场相反"
   },
   {
    "s": "STYLE.east.019",
    "t": "STYLE.east.035",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「节制-强度」轴上分居两端:一方偏强度(0.55)、另一方偏节制(0.28)——立场相反"
   },
   {
    "s": "STYLE.east.090",
    "t": "STYLE.east.111",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「节制-强度」轴上分居两端:一方偏节制(0.18)、另一方偏强度(0.58)——立场相反"
   },
   {
    "s": "STYLE.west.020",
    "t": "STYLE.west.022",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「结构-感知」轴上分居两端:一方偏感知(0.55)、另一方偏结构(0.20)——立场相反"
   },
   {
    "s": "STYLE.east.040",
    "t": "STYLE.east.126",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「再现-表现」轴上分居两端:一方偏表现(0.60)、另一方偏再现(0.32)——立场相反"
   },
   {
    "s": "STYLE.east.072",
    "t": "STYLE.east.094",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「节制-强度」轴上分居两端:一方偏节制(0.30)、另一方偏强度(0.40)——立场相反"
   },
   {
    "s": "STYLE.east.035",
    "t": "STYLE.east.203",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「节制-强度」轴上分居两端:一方偏节制(0.28)、另一方偏强度(0.48)——立场相反"
   },
   {
    "s": "STYLE.east.092",
    "t": "STYLE.east.115",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「再现-表现」轴上分居两端:一方偏再现(0.18)、另一方偏表现(0.80)——立场相反"
   },
   {
    "s": "STYLE.west.005",
    "t": "STYLE.west.008",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「再现-表现」轴上分居两端:一方偏表现(0.40)、另一方偏再现(0.15)——立场相反"
   },
   {
    "s": "STYLE.east.112",
    "t": "STYLE.east.120",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「再现-表现」轴上分居两端:一方偏再现(0.25)、另一方偏表现(0.60)——立场相反"
   },
   {
    "s": "STYLE.east.199",
    "t": "STYLE.east.200",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「节制-强度」轴上分居两端:一方偏节制(0.40)、另一方偏强度(0.58)——立场相反"
   },
   {
    "s": "STYLE.west.022",
    "t": "STYLE.west.035",
    "k": "against",
    "c": "med",
    "w": "风格对立",
    "why": "在「再现-表现」轴上分居两端:一方偏再现(0.12)、另一方偏表现(0.65)——立场相反"
   }
  ],
  "lineage_note": "承自/影响/对抗,解析到真实节点·双向一致·each带why(向量位移/对立论证)",
  "artist_lineage": [
   {
    "s": "ARTIST.boucher",
    "t": "ARTIST.fragonard",
    "k": "师承",
    "s_cn": "布歇",
    "t_cn": "弗拉戈纳尔"
   },
   {
    "s": "ARTIST.cimabue",
    "t": "ARTIST.giotto",
    "k": "师承",
    "s_cn": "契马布埃",
    "t_cn": "乔托"
   },
   {
    "s": "ARTIST.corot",
    "t": "ARTIST.pissarro",
    "k": "师承",
    "s_cn": "柯罗",
    "t_cn": "毕沙罗"
   },
   {
    "s": "ARTIST.dongyuan",
    "t": "ARTIST.s161",
    "k": "师承",
    "s_cn": "董源",
    "t_cn": "巨然"
   },
   {
    "s": "ARTIST.huangbinhong",
    "t": "ARTIST.likeran",
    "k": "师承",
    "s_cn": "黄宾虹",
    "t_cn": "李可染"
   },
   {
    "s": "ARTIST.huizong",
    "t": "ARTIST.wangximeng",
    "k": "师承",
    "s_cn": "宋徽宗赵佶",
    "t_cn": "王希孟"
   },
   {
    "s": "ARTIST.jldavid",
    "t": "ARTIST.ingres",
    "k": "师承",
    "s_cn": "大卫",
    "t_cn": "安格尔"
   },
   {
    "s": "ARTIST.kramskoi",
    "t": "ARTIST.repin",
    "k": "师承",
    "s_cn": "克拉姆斯柯依",
    "t_cn": "列宾"
   },
   {
    "s": "ARTIST.kramskoi",
    "t": "ARTIST.s081",
    "k": "师承",
    "s_cn": "克拉姆斯柯依",
    "t_cn": "谢罗夫"
   },
   {
    "s": "ARTIST.licheng",
    "t": "ARTIST.fankuan",
    "k": "师承",
    "s_cn": "李成",
    "t_cn": "范宽"
   },
   {
    "s": "ARTIST.licheng",
    "t": "ARTIST.guoxi",
    "k": "师承",
    "s_cn": "李成",
    "t_cn": "郭熙"
   },
   {
    "s": "ARTIST.ligonglin",
    "t": "ARTIST.zhangwo",
    "k": "师承",
    "s_cn": "李公麟",
    "t_cn": "张渥"
   },
   {
    "s": "ARTIST.lisixun",
    "t": "ARTIST.lizhaodao",
    "k": "师承",
    "s_cn": "李思训",
    "t_cn": "李昭道"
   },
   {
    "s": "ARTIST.litang",
    "t": "ARTIST.mayuan",
    "k": "师承",
    "s_cn": "李唐",
    "t_cn": "马远"
   },
   {
    "s": "ARTIST.litang",
    "t": "ARTIST.s162",
    "k": "师承",
    "s_cn": "李唐",
    "t_cn": "夏圭"
   },
   {
    "s": "ARTIST.nizan",
    "t": "ARTIST.hongren",
    "k": "师承",
    "s_cn": "倪瓒",
    "t_cn": "弘仁"
   },
   {
    "s": "ARTIST.pantianshou",
    "t": "ARTIST.wuguanzhong",
    "k": "师承",
    "s_cn": "潘天寿",
    "t_cn": "吴冠中"
   },
   {
    "s": "ARTIST.pissarro",
    "t": "ARTIST.cezanne",
    "k": "师承",
    "s_cn": "毕沙罗",
    "t_cn": "塞尚"
   },
   {
    "s": "ARTIST.pissarro",
    "t": "ARTIST.gauguin",
    "k": "师承",
    "s_cn": "毕沙罗",
    "t_cn": "高更"
   },
   {
    "s": "ARTIST.qibaishi",
    "t": "ARTIST.likeran",
    "k": "师承",
    "s_cn": "齐白石",
    "t_cn": "李可染"
   },
   {
    "s": "ARTIST.qibaishi",
    "t": "ARTIST.likuchan",
    "k": "师承",
    "s_cn": "齐白石",
    "t_cn": "李苦禅"
   },
   {
    "s": "ARTIST.renbonian",
    "t": "ARTIST.wuchangshuo",
    "k": "师承",
    "s_cn": "任伯年",
    "t_cn": "吴昌硕"
   },
   {
    "s": "ARTIST.repin",
    "t": "ARTIST.s081",
    "k": "师承",
    "s_cn": "列宾",
    "t_cn": "谢罗夫"
   },
   {
    "s": "ARTIST.s069",
    "t": "ARTIST.martini",
    "k": "师承",
    "s_cn": "杜乔",
    "t_cn": "西蒙尼·马尔蒂尼"
   },
   {
    "s": "ARTIST.s086",
    "t": "ARTIST.matisse",
    "k": "师承",
    "s_cn": "莫罗",
    "t_cn": "马蒂斯"
   },
   {
    "s": "ARTIST.s090",
    "t": "ARTIST.schiele",
    "k": "师承",
    "s_cn": "克里姆特",
    "t_cn": "席勒"
   },
   {
    "s": "ARTIST.s161",
    "t": "ARTIST.wuzhen",
    "k": "师承",
    "s_cn": "巨然",
    "t_cn": "吴镇"
   },
   {
    "s": "ARTIST.s185",
    "t": "ARTIST.chudehchun",
    "k": "师承",
    "s_cn": "林风眠",
    "t_cn": "朱德群"
   },
   {
    "s": "ARTIST.s185",
    "t": "ARTIST.wuguanzhong",
    "k": "师承",
    "s_cn": "林风眠",
    "t_cn": "吴冠中"
   },
   {
    "s": "ARTIST.s185",
    "t": "ARTIST.zaowuji",
    "k": "师承",
    "s_cn": "林风眠",
    "t_cn": "赵无极"
   },
   {
    "s": "ARTIST.seurat",
    "t": "ARTIST.signac",
    "k": "师承",
    "s_cn": "修拉",
    "t_cn": "西涅克"
   },
   {
    "s": "ARTIST.shenzhou",
    "t": "ARTIST.wenzhengming",
    "k": "师承",
    "s_cn": "沈周",
    "t_cn": "文徵明"
   },
   {
    "s": "ARTIST.wenzhengming",
    "t": "ARTIST.s181",
    "k": "师承",
    "s_cn": "文徵明",
    "t_cn": "陈淳"
   },
   {
    "s": "ARTIST.wuchangshuo",
    "t": "ARTIST.pantianshou",
    "k": "师承",
    "s_cn": "吴昌硕",
    "t_cn": "潘天寿"
   },
   {
    "s": "ARTIST.wuchangshuo",
    "t": "ARTIST.qibaishi",
    "k": "师承",
    "s_cn": "吴昌硕",
    "t_cn": "齐白石"
   },
   {
    "s": "ARTIST.xubeihong",
    "t": "ARTIST.jiangzhaohe",
    "k": "师承",
    "s_cn": "徐悲鸿",
    "t_cn": "蒋兆和"
   },
   {
    "s": "ARTIST.xubeihong",
    "t": "ARTIST.likuchan",
    "k": "师承",
    "s_cn": "徐悲鸿",
    "t_cn": "李苦禅"
   },
   {
    "s": "ARTIST.xuwei",
    "t": "ARTIST.badashanren",
    "k": "师承",
    "s_cn": "徐渭",
    "t_cn": "八大山人"
   },
   {
    "s": "ARTIST.zhangxuan",
    "t": "ARTIST.zhoufang",
    "k": "师承",
    "s_cn": "张萱",
    "t_cn": "周昉"
   },
   {
    "s": "ARTIST.zhaomengfu",
    "t": "ARTIST.huanggongwang",
    "k": "师承",
    "s_cn": "赵孟頫",
    "t_cn": "黄公望"
   },
   {
    "s": "ARTIST.zhaomengfu",
    "t": "ARTIST.nizan",
    "k": "师承",
    "s_cn": "赵孟頫",
    "t_cn": "倪瓒"
   },
   {
    "s": "ARTIST.zhaomengfu",
    "t": "ARTIST.wangmeng",
    "k": "师承",
    "s_cn": "赵孟頫",
    "t_cn": "王蒙"
   },
   {
    "s": "ARTIST.angelico",
    "t": "ARTIST.s061",
    "k": "同侪",
    "s_cn": "弗拉·安杰利科",
    "t_cn": "马萨乔"
   },
   {
    "s": "ARTIST.badashanren",
    "t": "ARTIST.hongren",
    "k": "同侪",
    "s_cn": "八大山人",
    "t_cn": "弘仁"
   },
   {
    "s": "ARTIST.badashanren",
    "t": "ARTIST.kuncan",
    "k": "同侪",
    "s_cn": "八大山人",
    "t_cn": "髡残"
   },
   {
    "s": "ARTIST.badashanren",
    "t": "ARTIST.shitao",
    "k": "同侪",
    "s_cn": "八大山人",
    "t_cn": "石涛"
   },
   {
    "s": "ARTIST.boucher",
    "t": "ARTIST.watteau",
    "k": "同侪",
    "s_cn": "布歇",
    "t_cn": "华托"
   },
   {
    "s": "ARTIST.braque",
    "t": "ARTIST.gris",
    "k": "同侪",
    "s_cn": "布拉克",
    "t_cn": "格里斯"
   },
   {
    "s": "ARTIST.braque",
    "t": "ARTIST.picasso",
    "k": "同侪",
    "s_cn": "布拉克",
    "t_cn": "毕加索"
   },
   {
    "s": "ARTIST.bruegel",
    "t": "ARTIST.durer",
    "k": "同侪",
    "s_cn": "勃鲁盖尔",
    "t_cn": "丢勒"
   },
   {
    "s": "ARTIST.caravaggio",
    "t": "ARTIST.rubens",
    "k": "同侪",
    "s_cn": "卡拉瓦乔",
    "t_cn": "鲁本斯"
   },
   {
    "s": "ARTIST.cezanne",
    "t": "ARTIST.pissarro",
    "k": "同侪",
    "s_cn": "塞尚",
    "t_cn": "毕沙罗"
   },
   {
    "s": "ARTIST.cezanne",
    "t": "ARTIST.s077",
    "k": "同侪",
    "s_cn": "塞尚",
    "t_cn": "左拉(理论)"
   },
   {
    "s": "ARTIST.chuckclose",
    "t": "ARTIST.s133",
    "k": "同侪",
    "s_cn": "克洛斯",
    "t_cn": "埃斯蒂斯"
   },
   {
    "s": "ARTIST.chudehchun",
    "t": "ARTIST.zaowuji",
    "k": "同侪",
    "s_cn": "朱德群",
    "t_cn": "赵无极"
   },
   {
    "s": "ARTIST.constable",
    "t": "ARTIST.turner",
    "k": "同侪",
    "s_cn": "康斯太勃尔",
    "t_cn": "透纳"
   },
   {
    "s": "ARTIST.corot",
    "t": "ARTIST.millet",
    "k": "同侪",
    "s_cn": "柯罗",
    "t_cn": "米勒"
   },
   {
    "s": "ARTIST.corot",
    "t": "ARTIST.s214",
    "k": "同侪",
    "s_cn": "柯罗",
    "t_cn": "卢梭"
   },
   {
    "s": "ARTIST.courbet",
    "t": "ARTIST.daumier",
    "k": "同侪",
    "s_cn": "库尔贝",
    "t_cn": "杜米埃"
   },
   {
    "s": "ARTIST.courbet",
    "t": "ARTIST.millet",
    "k": "同侪",
    "s_cn": "库尔贝",
    "t_cn": "米勒"
   },
   {
    "s": "ARTIST.cuibai",
    "t": "ARTIST.huizong",
    "k": "同侪",
    "s_cn": "崔白",
    "t_cn": "宋徽宗赵佶"
   },
   {
    "s": "ARTIST.dali",
    "t": "ARTIST.magritte",
    "k": "同侪",
    "s_cn": "达利",
    "t_cn": "马格利特"
   },
   {
    "s": "ARTIST.dali",
    "t": "ARTIST.miro",
    "k": "同侪",
    "s_cn": "达利",
    "t_cn": "米罗"
   },
   {
    "s": "ARTIST.daumier",
    "t": "ARTIST.millet",
    "k": "同侪",
    "s_cn": "杜米埃",
    "t_cn": "米勒"
   },
   {
    "s": "ARTIST.davinci",
    "t": "ARTIST.michelangelo",
    "k": "同侪",
    "s_cn": "达·芬奇",
    "t_cn": "米开朗基罗"
   },
   {
    "s": "ARTIST.davinci",
    "t": "ARTIST.raphael",
    "k": "同侪",
    "s_cn": "达·芬奇",
    "t_cn": "拉斐尔"
   },
   {
    "s": "ARTIST.dongqichang",
    "t": "ARTIST.s174",
    "k": "同侪",
    "s_cn": "董其昌",
    "t_cn": "陈继儒"
   },
   {
    "s": "ARTIST.fankuan",
    "t": "ARTIST.guoxi",
    "k": "同侪",
    "s_cn": "范宽",
    "t_cn": "郭熙"
   },
   {
    "s": "ARTIST.fankuan",
    "t": "ARTIST.licheng",
    "k": "同侪",
    "s_cn": "范宽",
    "t_cn": "李成"
   },
   {
    "s": "ARTIST.fankuan",
    "t": "ARTIST.litang",
    "k": "同侪",
    "s_cn": "范宽",
    "t_cn": "李唐"
   },
   {
    "s": "ARTIST.friedrich",
    "t": "ARTIST.turner",
    "k": "同侪",
    "s_cn": "弗里德里希",
    "t_cn": "透纳"
   },
   {
    "s": "ARTIST.fubaoshi",
    "t": "ARTIST.s193",
    "k": "同侪",
    "s_cn": "傅抱石",
    "t_cn": "关山月"
   },
   {
    "s": "ARTIST.gauguin",
    "t": "ARTIST.munch",
    "k": "同侪",
    "s_cn": "高更",
    "t_cn": "蒙克"
   },
   {
    "s": "ARTIST.gauguin",
    "t": "ARTIST.vangogh",
    "k": "同侪",
    "s_cn": "高更",
    "t_cn": "梵高"
   },
   {
    "s": "ARTIST.gris",
    "t": "ARTIST.picasso",
    "k": "同侪",
    "s_cn": "格里斯",
    "t_cn": "毕加索"
   },
   {
    "s": "ARTIST.guwenda",
    "t": "ARTIST.xubing",
    "k": "同侪",
    "s_cn": "谷文达",
    "t_cn": "徐冰"
   },
   {
    "s": "ARTIST.guwenda",
    "t": "ARTIST.zhangyu",
    "k": "同侪",
    "s_cn": "谷文达",
    "t_cn": "张羽"
   },
   {
    "s": "ARTIST.hejiaying",
    "t": "ARTIST.jiangcaiping",
    "k": "同侪",
    "s_cn": "何家英",
    "t_cn": "蒋采苹"
   },
   {
    "s": "ARTIST.hongren",
    "t": "ARTIST.kuncan",
    "k": "同侪",
    "s_cn": "弘仁",
    "t_cn": "髡残"
   },
   {
    "s": "ARTIST.hongren",
    "t": "ARTIST.shitao",
    "k": "同侪",
    "s_cn": "弘仁",
    "t_cn": "石涛"
   },
   {
    "s": "ARTIST.huangbinhong",
    "t": "ARTIST.pantianshou",
    "k": "同侪",
    "s_cn": "黄宾虹",
    "t_cn": "潘天寿"
   },
   {
    "s": "ARTIST.huangbinhong",
    "t": "ARTIST.qibaishi",
    "k": "同侪",
    "s_cn": "黄宾虹",
    "t_cn": "齐白石"
   },
   {
    "s": "ARTIST.huanggongwang",
    "t": "ARTIST.nizan",
    "k": "同侪",
    "s_cn": "黄公望",
    "t_cn": "倪瓒"
   },
   {
    "s": "ARTIST.huanggongwang",
    "t": "ARTIST.wangmeng",
    "k": "同侪",
    "s_cn": "黄公望",
    "t_cn": "王蒙"
   },
   {
    "s": "ARTIST.huanggongwang",
    "t": "ARTIST.wuzhen",
    "k": "同侪",
    "s_cn": "黄公望",
    "t_cn": "吴镇"
   },
   {
    "s": "ARTIST.huangshen",
    "t": "ARTIST.jinnong",
    "k": "同侪",
    "s_cn": "黄慎",
    "t_cn": "金农"
   },
   {
    "s": "ARTIST.huangshen",
    "t": "ARTIST.zhengxie",
    "k": "同侪",
    "s_cn": "黄慎",
    "t_cn": "郑燮"
   },
   {
    "s": "ARTIST.jiangzhaohe",
    "t": "ARTIST.xubeihong",
    "k": "同侪",
    "s_cn": "蒋兆和",
    "t_cn": "徐悲鸿"
   },
   {
    "s": "ARTIST.jinnong",
    "t": "ARTIST.wuchangshuo",
    "k": "同侪",
    "s_cn": "金农",
    "t_cn": "吴昌硕"
   },
   {
    "s": "ARTIST.jinnong",
    "t": "ARTIST.zhengxie",
    "k": "同侪",
    "s_cn": "金农",
    "t_cn": "郑燮"
   },
   {
    "s": "ARTIST.kandinsky",
    "t": "ARTIST.s094",
    "k": "同侪",
    "s_cn": "康定斯基",
    "t_cn": "马尔克"
   },
   {
    "s": "ARTIST.kuncan",
    "t": "ARTIST.shitao",
    "k": "同侪",
    "s_cn": "髡残",
    "t_cn": "石涛"
   },
   {
    "s": "ARTIST.leger",
    "t": "ARTIST.picasso",
    "k": "同侪",
    "s_cn": "莱热",
    "t_cn": "毕加索"
   },
   {
    "s": "ARTIST.ligonglin",
    "t": "ARTIST.sushi",
    "k": "同侪",
    "s_cn": "李公麟",
    "t_cn": "苏轼"
   },
   {
    "s": "ARTIST.likuchan",
    "t": "ARTIST.pantianshou",
    "k": "同侪",
    "s_cn": "李苦禅",
    "t_cn": "潘天寿"
   },
   {
    "s": "ARTIST.malevich",
    "t": "ARTIST.s103",
    "k": "同侪",
    "s_cn": "马列维奇",
    "t_cn": "塔特林"
   },
   {
    "s": "ARTIST.malevich",
    "t": "ARTIST.s105",
    "k": "同侪",
    "s_cn": "马列维奇",
    "t_cn": "李西茨基"
   },
   {
    "s": "ARTIST.matisse",
    "t": "ARTIST.picasso",
    "k": "同侪",
    "s_cn": "马蒂斯",
    "t_cn": "毕加索"
   },
   {
    "s": "ARTIST.matisse",
    "t": "ARTIST.s091",
    "k": "同侪",
    "s_cn": "马蒂斯",
    "t_cn": "德兰"
   },
   {
    "s": "ARTIST.matisse",
    "t": "ARTIST.vlaminck",
    "k": "同侪",
    "s_cn": "马蒂斯",
    "t_cn": "弗拉曼克"
   },
   {
    "s": "ARTIST.mayuan",
    "t": "ARTIST.s162",
    "k": "同侪",
    "s_cn": "马远",
    "t_cn": "夏圭"
   },
   {
    "s": "ARTIST.michelangelo",
    "t": "ARTIST.raphael",
    "k": "同侪",
    "s_cn": "米开朗基罗",
    "t_cn": "拉斐尔"
   },
   {
    "s": "ARTIST.millet",
    "t": "ARTIST.s214",
    "k": "同侪",
    "s_cn": "米勒",
    "t_cn": "卢梭"
   },
   {
    "s": "ARTIST.miro",
    "t": "ARTIST.s111",
    "k": "同侪",
    "s_cn": "米罗",
    "t_cn": "马松"
   },
   {
    "s": "ARTIST.mondrian",
    "t": "ARTIST.vandoesburg",
    "k": "同侪",
    "s_cn": "蒙德里安",
    "t_cn": "凡·杜斯堡"
   },
   {
    "s": "ARTIST.monet",
    "t": "ARTIST.pissarro",
    "k": "同侪",
    "s_cn": "莫奈",
    "t_cn": "毕沙罗"
   },
   {
    "s": "ARTIST.monet",
    "t": "ARTIST.renoir",
    "k": "同侪",
    "s_cn": "莫奈",
    "t_cn": "雷诺阿"
   },
   {
    "s": "ARTIST.monet",
    "t": "ARTIST.sisley",
    "k": "同侪",
    "s_cn": "莫奈",
    "t_cn": "西斯莱"
   },
   {
    "s": "ARTIST.newman",
    "t": "ARTIST.reinhardt",
    "k": "同侪",
    "s_cn": "纽曼",
    "t_cn": "莱因哈特"
   },
   {
    "s": "ARTIST.newman",
    "t": "ARTIST.rothko",
    "k": "同侪",
    "s_cn": "纽曼",
    "t_cn": "罗斯科"
   },
   {
    "s": "ARTIST.nizan",
    "t": "ARTIST.wangmeng",
    "k": "同侪",
    "s_cn": "倪瓒",
    "t_cn": "王蒙"
   },
   {
    "s": "ARTIST.nizan",
    "t": "ARTIST.wuzhen",
    "k": "同侪",
    "s_cn": "倪瓒",
    "t_cn": "吴镇"
   },
   {
    "s": "ARTIST.pantianshou",
    "t": "ARTIST.qibaishi",
    "k": "同侪",
    "s_cn": "潘天寿",
    "t_cn": "齐白石"
   },
   {
    "s": "ARTIST.pissarro",
    "t": "ARTIST.renoir",
    "k": "同侪",
    "s_cn": "毕沙罗",
    "t_cn": "雷诺阿"
   },
   {
    "s": "ARTIST.pissarro",
    "t": "ARTIST.vangogh",
    "k": "同侪",
    "s_cn": "毕沙罗",
    "t_cn": "梵高"
   },
   {
    "s": "ARTIST.pollock",
    "t": "ARTIST.s122",
    "k": "同侪",
    "s_cn": "波洛克",
    "t_cn": "德·库宁"
   },
   {
    "s": "ARTIST.pollock",
    "t": "ARTIST.s123",
    "k": "同侪",
    "s_cn": "波洛克",
    "t_cn": "克莱因"
   },
   {
    "s": "ARTIST.qiuying",
    "t": "ARTIST.tangyin",
    "k": "同侪",
    "s_cn": "仇英",
    "t_cn": "唐寅"
   },
   {
    "s": "ARTIST.qiuying",
    "t": "ARTIST.wenzhengming",
    "k": "同侪",
    "s_cn": "仇英",
    "t_cn": "文徵明"
   },
   {
    "s": "ARTIST.rembrandt",
    "t": "ARTIST.s072",
    "k": "同侪",
    "s_cn": "伦勃朗",
    "t_cn": "哈尔斯"
   },
   {
    "s": "ARTIST.rembrandt",
    "t": "ARTIST.vermeer",
    "k": "同侪",
    "s_cn": "伦勃朗",
    "t_cn": "维米尔"
   },
   {
    "s": "ARTIST.renbonian",
    "t": "ARTIST.wuchangshuo",
    "k": "同侪",
    "s_cn": "任伯年",
    "t_cn": "吴昌硕"
   },
   {
    "s": "ARTIST.renoir",
    "t": "ARTIST.sisley",
    "k": "同侪",
    "s_cn": "雷诺阿",
    "t_cn": "西斯莱"
   },
   {
    "s": "ARTIST.repin",
    "t": "ARTIST.s079",
    "k": "同侪",
    "s_cn": "列宾",
    "t_cn": "列维坦"
   },
   {
    "s": "ARTIST.repin",
    "t": "ARTIST.surikov",
    "k": "同侪",
    "s_cn": "列宾",
    "t_cn": "苏里科夫"
   },
   {
    "s": "ARTIST.riley",
    "t": "ARTIST.s132",
    "k": "同侪",
    "s_cn": "赖利",
    "t_cn": "瓦萨雷里"
   },
   {
    "s": "ARTIST.rubens",
    "t": "ARTIST.velazquez",
    "k": "同侪",
    "s_cn": "鲁本斯",
    "t_cn": "委拉斯开兹"
   },
   {
    "s": "ARTIST.s091",
    "t": "ARTIST.vlaminck",
    "k": "同侪",
    "s_cn": "德兰",
    "t_cn": "弗拉曼克"
   },
   {
    "s": "ARTIST.s146",
    "t": "ARTIST.schnabel",
    "k": "同侪",
    "s_cn": "基弗",
    "t_cn": "施纳贝尔"
   },
   {
    "s": "ARTIST.s169",
    "t": "ARTIST.sushi",
    "k": "同侪",
    "s_cn": "文同",
    "t_cn": "苏轼"
   },
   {
    "s": "ARTIST.s181",
    "t": "ARTIST.xuwei",
    "k": "同侪",
    "s_cn": "陈淳",
    "t_cn": "徐渭"
   },
   {
    "s": "ARTIST.s185",
    "t": "ARTIST.xubeihong",
    "k": "同侪",
    "s_cn": "林风眠",
    "t_cn": "徐悲鸿"
   },
   {
    "s": "ARTIST.s197",
    "t": "ARTIST.zhangyu",
    "k": "同侪",
    "s_cn": "王天德",
    "t_cn": "张羽"
   },
   {
    "s": "ARTIST.seurat",
    "t": "ARTIST.signac",
    "k": "同侪",
    "s_cn": "修拉",
    "t_cn": "西涅克"
   },
   {
    "s": "ARTIST.shenzhou",
    "t": "ARTIST.tangyin",
    "k": "同侪",
    "s_cn": "沈周",
    "t_cn": "唐寅"
   },
   {
    "s": "ARTIST.tangyin",
    "t": "ARTIST.wenzhengming",
    "k": "同侪",
    "s_cn": "唐寅",
    "t_cn": "文徵明"
   },
   {
    "s": "ARTIST.wangmeng",
    "t": "ARTIST.wuzhen",
    "k": "同侪",
    "s_cn": "王蒙",
    "t_cn": "吴镇"
   },
   {
    "s": "ARTIST.wuguanzhong",
    "t": "ARTIST.zaowuji",
    "k": "同侪",
    "s_cn": "吴冠中",
    "t_cn": "赵无极"
   }
  ],
  "artist_lineage_note": "未消解的提及=对方不在roster(史上人物未建节点),记为dangling不强连。"
 },
 "affect_anchors": [
  {
   "id": "AFFECT.01",
   "cn": "喜悦",
   "vad": {
    "valence": 0.86,
    "arousal": 0.66,
    "dominance": 0.6
   }
  },
  {
   "id": "AFFECT.02",
   "cn": "鲜活",
   "vad": {
    "valence": 0.72,
    "arousal": 0.74,
    "dominance": 0.55
   }
  },
  {
   "id": "AFFECT.03",
   "cn": "热烈",
   "vad": {
    "valence": 0.7,
    "arousal": 0.82,
    "dominance": 0.66
   }
  },
  {
   "id": "AFFECT.04",
   "cn": "崇高",
   "vad": {
    "valence": 0.7,
    "arousal": 0.7,
    "dominance": 0.86
   }
  },
  {
   "id": "AFFECT.05",
   "cn": "张力",
   "vad": {
    "valence": 0.34,
    "arousal": 0.82,
    "dominance": 0.62
   }
  },
  {
   "id": "AFFECT.06",
   "cn": "恐惧",
   "vad": {
    "valence": 0.2,
    "arousal": 0.76,
    "dominance": 0.22
   }
  },
  {
   "id": "AFFECT.07",
   "cn": "神秘",
   "vad": {
    "valence": 0.46,
    "arousal": 0.56,
    "dominance": 0.46
   }
  },
  {
   "id": "AFFECT.08",
   "cn": "忧伤",
   "vad": {
    "valence": 0.26,
    "arousal": 0.36,
    "dominance": 0.3
   }
  },
  {
   "id": "AFFECT.09",
   "cn": "孤独",
   "vad": {
    "valence": 0.3,
    "arousal": 0.3,
    "dominance": 0.26
   }
  },
  {
   "id": "AFFECT.10",
   "cn": "怀旧",
   "vad": {
    "valence": 0.46,
    "arousal": 0.32,
    "dominance": 0.4
   }
  },
  {
   "id": "AFFECT.11",
   "cn": "虚无",
   "vad": {
    "valence": 0.32,
    "arousal": 0.26,
    "dominance": 0.34
   }
  },
  {
   "id": "AFFECT.12",
   "cn": "沉思",
   "vad": {
    "valence": 0.56,
    "arousal": 0.3,
    "dominance": 0.56
   }
  },
  {
   "id": "AFFECT.13",
   "cn": "平静",
   "vad": {
    "valence": 0.66,
    "arousal": 0.2,
    "dominance": 0.55
   }
  },
  {
   "id": "AFFECT.14",
   "cn": "空灵",
   "vad": {
    "valence": 0.62,
    "arousal": 0.3,
    "dominance": 0.42
   }
  }
 ],
 "lineage_umbrella": {
  "文艺复兴": "高文艺复兴",
  "意大利文艺复兴": "高文艺复兴",
  "盛期文艺复兴": "高文艺复兴",
  "巴洛克": "意大利巴洛克",
  "洛可可": "法国洛可可",
  "浪漫主义": "法国浪漫主义",
  "印象主义": "印象派",
  "印象派绘画": "印象派",
  "立体派": "立体主义",
  "野兽派绘画": "野兽派",
  "表现派": "表现主义",
  "达达主义": "苏黎世达达",
  "行动绘画": "动作绘画",
  "学院派写实": "新古典主义",
  "学院派": "新古典主义",
  "学院派历史画": "新古典主义",
  "古典主义": "新古典主义",
  "俄罗斯巡回画派": "社会现实主义",
  "苏联社会主义现实主义": "社会现实主义",
  "巴比松": "巴比松画派",
  "文人画": "文人画风格",
  "写意": "写意花鸟风格",
  "大写意": "大写意风格",
  "小写意": "小写意风格",
  "工笔": "工笔花鸟风格",
  "院体": "北宋院体风格",
  "院体画": "北宋院体风格",
  "宋代山水": "北宋山水风格",
  "青绿山水": "青绿山水风格",
  "水墨山水": "水墨山水风格",
  "汉画": "汉代画像石",
  "唐代李思训派": "李思训派风格",
  "元四家": "元代文人风格",
  "南宗": "南宗画风",
  "北宗": "北宗画风",
  "吴门": "吴派风格",
  "禅画": "禅意绘画风格",
  "现代水墨": "现代水墨",
  "近现代水墨": "现代水墨",
  "近现代写意": "现代写意",
  "现代重彩": "重彩风格"
 },
 "language": {
  "dims": [
   {
    "long": "构图与组织",
    "short": "构图",
    "en": "compose",
    "low": "对称稳态·秩序",
    "high": "动态失衡·张力"
   },
   {
    "long": "透视与空间",
    "short": "空间",
    "en": "space",
    "low": "平面铺陈·装饰",
    "high": "纵深幻觉·体积"
   },
   {
    "long": "形状与造型",
    "short": "造型",
    "en": "form",
    "low": "写实摹形·精确",
    "high": "变形抽象·写意"
   },
   {
    "long": "光影与明暗",
    "short": "光影",
    "en": "light",
    "low": "平光匀涂·无戏剧",
    "high": "强光暗对比·戏剧"
   },
   {
    "long": "色彩系统",
    "short": "色彩",
    "en": "color",
    "low": "素净单色·克制",
    "high": "浓烈高彩·饱和"
   },
   {
    "long": "笔触与肌理",
    "short": "笔触",
    "en": "stroke",
    "low": "光滑隐笔·无痕",
    "high": "厚重显笔·书写性"
   },
   {
    "long": "边缘与节奏",
    "short": "边缘",
    "en": "edge",
    "low": "虚化柔边·朦胧",
    "high": "清晰硬边·界限分明"
   }
  ],
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    "空间": 0.5,
    "造型": 0.66,
    "光影": 0.34,
    "色彩": 0.66,
    "笔触": 0.34,
    "边缘": 0.5
   }
  },
  "validation": {
   "overall": {
    "r": 0.294,
    "n": 560,
    "mae": 0.186
   },
   "per_dim": {
    "构图": {
     "r": 0.332,
     "n": 80
    },
    "空间": {
     "r": -0.186,
     "n": 80
    },
    "造型": {
     "r": 0.603,
     "n": 80
    },
    "光影": {
     "r": 0.53,
     "n": 80
    },
    "色彩": {
     "r": 0.513,
     "n": 80
    },
    "笔触": {
     "r": 0.459,
     "n": 80
    },
    "边缘": {
     "r": -0.266,
     "n": 80
    }
   },
   "note": "散文派生的风格七轴 vs 该风格代表艺术家实测 lang 均值。两来源独立,r 高=派生可信。"
  }
 },
 "plane_standard": {
  "axes": {
   "x": {
    "field": "rep_exp",
    "left": "再现",
    "right": "表现",
    "range": [
     0,
     1
    ]
   },
   "y": {
    "field": "struct_perc",
    "bottom": "结构",
    "top": "感知",
    "range": [
     0,
     1
    ],
    "note": "绘制时 y 向上为感知(sy=H-pad-v*..)"
   }
  },
  "regions": [
   {
    "id": "WV1",
    "name": "摹写之眼",
    "color": "#b0673a",
    "centroid": [
     0.232,
     0.389
    ],
    "n": 48
   },
   {
    "id": "WV2",
    "name": "礼制图式",
    "color": "#9a7b3a",
    "centroid": [
     0.41,
     0.287
    ],
    "n": 40
   },
   {
    "id": "WV3",
    "name": "写意寄情",
    "color": "#5a7d6f",
    "centroid": [
     0.528,
     0.457
    ],
    "n": 49
   },
   {
    "id": "WV4",
    "name": "经验之光",
    "color": "#5b7596",
    "centroid": [
     0.533,
     0.733
    ],
    "n": 6
   },
   {
    "id": "WV5",
    "name": "表现外化",
    "color": "#8a5a7a",
    "centroid": [
     0.775,
     0.512
    ],
    "n": 41
   },
   {
    "id": "WV6",
    "name": "形式建构",
    "color": "#4a6a8a",
    "centroid": [
     0.82,
     0.207
    ],
    "n": 18
   }
  ],
  "audit": {
   "total": 202,
   "missing_coord": 0,
   "out_of_range": 0,
   "clean_in_region": 196,
   "border_ties": 6,
   "note": "边界点为近平局(Δ≤0.03),艺术史两可,保留k-means归属、不强改。"
  }
 },
 "affect_vlm": {
  "n": 119,
  "mean_conf": 0.82,
  "corr": {
   "VLM唤起~art_a": {
    "r": 0.326,
    "n": 32,
    "desc": "独立人工考据·唤起 ★关键"
   },
   "VLM唤起~sat": {
    "r": -0.347,
    "n": 57,
    "desc": "像素·饱和度"
   },
   "VLM唤起~mood_a": {
    "r": -0.279,
    "n": 57,
    "desc": "语料mood唤起(颜色派生)"
   },
   "VLM愉悦~art_v": {
    "r": -0.131,
    "n": 32,
    "desc": "独立人工考据·愉悦 ★关键"
   },
   "VLM愉悦~val": {
    "r": 0.139,
    "n": 57,
    "desc": "像素·明度"
   },
   "VLM愉悦~mood_v": {
    "r": 0.089,
    "n": 57,
    "desc": "语料mood愉悦"
   },
   "VLM支配~ord_ten": {
    "r": 0.011,
    "n": 57,
    "desc": "E向量·秩序张力"
   }
  },
  "baseline_pixel": {
   "r": 0.2,
   "n": 32
  },
  "note": "VLM多通道唤起~独立人工 r≈0.33,胜纯像素0.20;与饱和负相关=读语义不读色。"
 },
 "datasets": [
  {
   "file": "data/kg_affect_keys.json",
   "desc": "14情绪锚点(VAD)",
   "kb": 9
  },
  {
   "file": "data/kg_affect_measured.json",
   "desc": "L3像素实测:57作品6通道 vs 风格坐标(诚实纠偏)",
   "kb": 39
  },
  {
   "file": "data/kg_affect_vlm.jsonl",
   "desc": "VLM多通道情绪取证(119作品,逐条)",
   "kb": 117
  },
  {
   "file": "data/kg_affect_vlm_summary.json",
   "desc": "VLM情绪对照摘要(相关/范例)",
   "kb": 4
  },
  {
   "file": "data/kg_artist_lineage.json",
   "desc": "艺术家谱系边(师承43+同侪97,消解id/双向去重/逆向补全)",
   "kb": 35
  },
  {
   "file": "data/kg_artists.json",
   "desc": "276 艺术家(94 深度考究,含 wv 点云/轨迹/lang数值)",
   "kb": 543
  },
  {
   "file": "data/kg_artwork_v2.json",
   "desc": "VLM V2 全链读图富资产(119真迹:6维+情绪+画外音)",
   "kb": 319
  },
  {
   "file": "data/kg_compile_index.json",
   "desc": "意图编译器索引(terms/profiles)",
   "kb": 477
  },
  {
   "file": "data/kg_graph.json",
   "desc": "跨层共现/membership(语料派生)",
   "kb": 15
  },
  {
   "file": "data/kg_language.json",
   "desc": "L2 语言层:7类目401原子(每维一条连续轴定义)",
   "kb": 73
  },
  {
   "file": "data/kg_language_vectors.json",
   "desc": "L2:202风格数值七轴 + 轴排行 + 交叉验证",
   "kb": 72
  },
  {
   "file": "data/kg_lineage.json",
   "desc": "474 承自/影响/对抗关系边(带向量位移论证)",
   "kb": 125
  },
  {
   "file": "data/kg_ontology.json",
   "desc": "权威本体:8节点类型×11边类型(域/值域/逆/基数/来源置信)",
   "kb": 5
  },
  {
   "file": "data/kg_plane_standard.json",
   "desc": "逻辑图标准:平面坐标系/配色/质心/核验(对照基准)",
   "kb": 3
  },
  {
   "file": "data/kg_style.json",
   "desc": "202 风格主数据(坐标/世界观区/E向量/7大构成散文/精髓/代表作/关系)",
   "kb": 391
  },
  {
   "file": "data/kg_subject.json",
   "desc": "题材层:10类目614原子(含96个风格母题扩充)",
   "kb": 76
  },
  {
   "file": "data/kg_subject_style_edges.json",
   "desc": "L1题材↔风格边(风格motifs→题材层,扩词表后覆盖168风格/392边)",
   "kb": 126
  },
  {
   "file": "data/kg_subtext.json",
   "desc": "画外音层:4声部197原子",
   "kb": 190
  },
  {
   "file": "data/kg_subtext_style_edges.json",
   "desc": "L4画外音↔风格边(VAD最近邻[authored+我VLM119+并行真图226]∪人工原子,覆盖100风格)",
   "kb": 35
  },
  {
   "file": "data/kg_taxonomy_edges.json",
   "desc": "词汇层 is-a 边:原子→类目/轴/声部",
   "kb": 166
  },
  {
   "file": "data/kg_v3_export.json",
   "desc": "本文件:全图谱consolidated导出",
   "kb": 589
  },
  {
   "file": "data/kg_worldview_regions.json",
   "desc": "6 世界观区简表",
   "kb": 14
  },
  {
   "file": "data/kg_worldview_v3.json",
   "desc": "世界观:2真轴 + 6区(质心/成员)",
   "kb": 28
  }
 ]
}