累計抗原快篩45次 核酸23次。
巧的是現實世界當中強國也有一個日子不在日曆上，就是六月四日。歷史上的那一天政府拿武器對著人民，2022年的上海政府拿防疫當武器對付上海居民，
剪頭髮聽八卦
不確定公司何時會招喚進公司上班，在那之前必須要把門面打理好，前天6/2做的核酸證明拿到了，可以前往美容院剪髮打理。美容院應該天天都很熱門，因為封了兩個多月的上海居民，都快變成原始人了，一解禁第一件事就是去整理儀容。很久不見的造型師除了在我頭上飛動剪子之外，還聊了他的封城經歷，他住的小區是老小區，居民素質比較不一，還有些斤斤計較的上海阿姨，5/6的金橋被子門事件居然發生在認識的人小區內，美容院的造型師說金橋被子門事件的女主角_把方艙被子帶回家的老阿姨，就是住造型師住的小區，造成小區內二十人被拉去方艙，聽造型師說老小區的防疫奇聞真的太搞笑。上海政府的奇葩操作，一樣的上海居民也才這麼奇葩。
人文書吧
作品名称：Canigiani Holy Family.艺术家：Raphael Santi.材料：oil on poplar wood.尺寸：131x107cm.创作年代：1505-1506.
With this devotional painting in large format, the young Raphael competed with Leonardo and Michelangelo in Florence at the beginning of the 16th century. The figures of the Holy Family are arranged in a strict pyramidal composition. The familial is revealed on the inside: in the visual lines and referential alignments that develop between the figures and tighten the composition. The precise observation of human behavior makes the picture appear natural despite the apparent austerity.
The Italian masters of the Renaissance present the saints of their devotional pictures in front of wide landscapes with city views. In doing so, they follow the example of Old Dutch painting, which attracted a great deal of attention, especially in Florence. Thus Raphael also quotes the architecture north of the Alps, which incidentally serves the purpose of locating the events depicted in a foreign country.
St. Joseph, standing in the center of the picture, completes the harmonious composition of figures in its pyramidal structure. Through his dialogue with Saint Elizabeth, he is prominently integrated into the complex emotional interweaving of the protagonists. Apparently, Raphael was inspired by Leonardo's and Michelangelo's paintings regarding this pictorial composition. In particular, the similarity to Michelangelo's depiction of the Holy Family in the Doni Tondo is obvious.
Raphael signed his painting created in Florence at the neckline of the garment of the Mother of God with the note "RAPHAEL . VRBINAS." The pupil of the Umbrian master Perugino, who came from Urbino in the Marches, self-confidently documented that he is not a Florentine painter. He worked in the Tuscan art center for only four years, from 1504 to 1508, before continuing his great career in Rome. The Florentine merchant Domenico Canigiani probably ordered the painting on the occasion of his wedding. It later became the property of the Medici family.
There is no mention in the Bible of a meeting between Christ and John the Baptist when they were boys. The numerous depictions of this encounter go back to accounts of the life of John, who is venerated as the patron saint of the city in Florence. The infant Jesus grasps the scroll with John's prophecy: "Behold, this is the Lamb of God."
A restoration completed in 1983 uncovered the two groups of angels at the top of the picture. They had been completely painted over in the 18th century when the painting was in the collection of the Düsseldorf Elector Johann Wilhelm von Pfalz-Neuburg.
The Italian masters of the Renaissance present the saints of their devotional pictures in front of wide landscapes with city views. In doing so, they follow the example of Old Dutch painting, which attracted a great deal of attention, especially in Florence. Thus Raphael also quotes the architecture north of the Alps, which incidentally serves the purpose of locating the events depicted in a foreign country.
St. Joseph, standing in the center of the picture, completes the harmonious composition of figures in its pyramidal structure. Through his dialogue with Saint Elizabeth, he is prominently integrated into the complex emotional interweaving of the protagonists. Apparently, Raphael was inspired by Leonardo's and Michelangelo's paintings regarding this pictorial composition. In particular, the similarity to Michelangelo's depiction of the Holy Family in the Doni Tondo is obvious.
Raphael signed his painting created in Florence at the neckline of the garment of the Mother of God with the note "RAPHAEL . VRBINAS." The pupil of the Umbrian master Perugino, who came from Urbino in the Marches, self-confidently documented that he is not a Florentine painter. He worked in the Tuscan art center for only four years, from 1504 to 1508, before continuing his great career in Rome. The Florentine merchant Domenico Canigiani probably ordered the painting on the occasion of his wedding. It later became the property of the Medici family.
There is no mention in the Bible of a meeting between Christ and John the Baptist when they were boys. The numerous depictions of this encounter go back to accounts of the life of John, who is venerated as the patron saint of the city in Florence. The infant Jesus grasps the scroll with John's prophecy: "Behold, this is the Lamb of God."
A restoration completed in 1983 uncovered the two groups of angels at the top of the picture. They had been completely painted over in the 18th century when the painting was in the collection of the Düsseldorf Elector Johann Wilhelm von Pfalz-Neuburg.
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