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441. 乔治二世设计的桃花心木瓷器柜，由托马斯·奇本代尔设计（约1755年） by Thomas Chippendale 高清作品[31%]

材质 :Mahogany 尺寸 :246 × 208 × 61.5 cm Other

乔治二世设计的桃花心木瓷器柜，由托马斯·奇本代尔设计（约1755年）-托马斯·齐本德尔(British, 1718–1779)

英文名称:A GEORGE II MAHOGANY CHINA CABINET TO A DESIGN BY THOMAS CHIPPENDALE (ca. 1755)-Thomas Chippendale

442. 古典遗迹旁的人物景观` A Landscape With Figures Resting Beside Classical Ruins by Andrea Locatelli 高清作品[31%]

图片文件尺寸: 2505 x 3460px

古典遗迹旁的人物景观-安德里亚·洛卡特利

~ A Landscape With Figures Resting Beside Classical Ruins--Andrea Locatelli (Italian, 1695-1741)

443. 历史主义超端口，散文元素，第19页结束。19世纪的春季拍卖` by Historismus Supraporte - Aufsatzelement, Ende 19. Jahrhundert 高清作品[31%]

图片文件像素：4800 x 3400 px

历史主义超端口，散文元素，第19页结束。19世纪的春季拍卖-

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胡桃木雕刻成中央盾形花纹，两侧是天使和神话动物，集成在卷帘中，位于后来的墙壁控制台/基座上，长度约184/200厘米，高度约46/49厘米，天使之翼缩短（SLS）呼叫360

444. 抽象超现实主义油画《飞机上的双重入口》1970-1979 by Sebastian "Batan" Matta-Clark 高清作品[31%]

$Abstract Surrealist \'Double Entry on the Plane\' Oil Painting 1970s, 1970-1979$

材质 :Canvas, Oil Paint 尺寸 :87.6 × 109.2 cm Painting

图片文件尺寸 : 5630 x 4332px

抽象超现实主义油画《飞机上的双重入口》1970-1979-塞巴斯蒂安。”巴丹玛塔·克拉克(American, 1943–1976)

英文名称:Abstract Surrealist \'Double Entry on the Plane\' Oil Painting 1970s, 1970-1979-Sebastian "Batan" Matta-Clark

445. 超现实主义是我！（萨尔瓦多·达利的肖像，带着珠宝和眼泪，在霍斯特之后），2009年 by Francesco Vezzoli 高清作品[31%]

$Le Surréalisme C\'Est Moi! (Portrait of Salvador Dalí with Jewels and Tears, After Horst), 2009$

材质 :Inkjet print on canvas with custom jewelry and cotton and metallic embroidery, in artists chosen frame 尺寸 :104 × 77 × 6 cm Painting

图片文件尺寸 : 5630 x 4332px

超现实主义是我！（萨尔瓦多·达利的肖像，带着珠宝和眼泪，在霍斯特之后），2009年-弗朗西斯科·维佐利(Italian, b. 1971)

英文名称:Le Surréalisme C\'Est Moi! (Portrait of Salvador Dalí with Jewels and Tears, After Horst), 2009-Francesco Vezzoli

446. 恩索时期`Enso, Edo Period by Mugaku Soen 高清作品[31%]

图片文件尺寸: 6000×3622 px

恩索时期-苏木谷

-Ensō is a Japanese word meaning circle and a concept strongly associated with Zen. Ensō is one of the most popular subjects of Japanese calligraphy even though it is a symbol and not a character. It symbolises the Absolute, enlightenment, strength, elegance, the Universe, and the void; it can also symbolise the Japanese aesthetic itself. As an ‘expression of the moment’ it is often considered a form of minimalist expressionist art.
In Zen Buddhist painting, ensō represents a moment when the mind is free to simply let the spirit create. The brushed ink of the circle is usually done on silk or paper in one movement (but sometimes the great Bankei used two strokes) and there is no possibility of modification: it shows the expressive movement of the spirit at that time. Zen Buddhists believe that the character of the artist is fully exposed in how he or she draws an ensō. Only a person who is mentally and spiritually complete can draw a true ensō. Achieving the perfect circle, be it a full moon or an ensō is said to be The Moment of Enlightenment.