© Kena Betancur/Agence France-Presse — Getty Images
© Adriana Loureiro Fernandez for The New York Times
当市场还在讨论各种三排大六座的时候，有两辆不太一样的小车突然出现在我们跟前——
大众 ID.Polo 和 smart #2。
放到十年前，这两个名字绝对是车圈的头条。但在 2025 年的当下，大家对小车的关注度似乎只剩下了一个指标：够不够便宜。在当下，尺寸成了衡量价值的绝对标尺，小车要么是用来占号的工具，要么就是单纯的通勤代步，鲜少有人再把它们和「品质」或者「向往」联系在一起。
▲大众 ID.Polo
▲smart #2
但这两款即将问世的新车，值得我们停下来聊一聊。这倒不是因为它们的参数有多惊人，而是大众和 smart 这两家老厂牌，在面对中国这个全球竞争最激烈的电动车市场时，做出了截然相反的选择。
大众选择让曾经的平民神车 Polo 体面地留在欧洲，而 smart 决定把那台注定会被市场冷落的 #2 带到中国。一进一退，这是两种完全不同的生存逻辑。
最新的报道证实，大众不再执着于用 ID.2 这样冰冷的代号来教育用户，而是直接把那台计划在 2026 年量产的新车命名为 ID.Polo。
这是一个非常聪明的决定。对于大众来说，Polo 这个名字本身就意味着某种无需解释的信赖感。而且从目前披露的信息来看，这台车的产品力并不弱。基于升级后的 MEB+ 平台打造，车身尺寸维持在 4 米左右，但内部空间利用率提升明显，甚至还会在后续推出拥有 226 马力的 GTI 版本。
▲ID.Polo GTI
如果在十年前，这绝对是一台能在中国市场引发抢购的爆款。然而，大众乘用车品牌 CEO 施文韬却公开表示：ID.Polo 暂时没有进入中国市场的计划。
他对此的解释颇为耐人寻味。施文韬认为中国市场的审美取向与欧洲截然不同，中国消费者更偏好那种前卫且富有张力的设计，言下之意是 ID.Polo 这种传承经典的造型在中国可能吃不开。
▲ID.Polo
这番话听起来非常得体，它把一款车无法引入的原因归结为「文化差异」这种感性的因素。但或许，这背后还有更真实的商业层面的考量——
ID.Polo 在欧洲的起售价定在了 2.5 万欧元，约合人民币 20.6 万元。
在中国当下的市场环境里，这是一个极其尴尬的数字。手握这笔预算的消费者，选择实在太多了。即便它国产后的价格降到 10 万元这个位置，吉利、比亚迪和五菱早就构筑了一道严密的防线。
大众非常清楚，ID.Polo 在欧洲或许能凭借品牌光环维持溢价，但在这个价格战打到白热化的中国市场，它引以为傲的机械素质和经典设计，很难在与国产车型的配置单对决中占到便宜。
与其把这款全球车型引进来然后被迫卷入无休止的价格战，不如索性将其留在欧洲。大众在中国选择了另一条路，那就是依靠「特供」，比如广州车展上的 ID. ERA、ID. AURA。大众现在的思路就是用中国本土的供应链和技术，去造符合中国成本结构的电动车。
▲ 广州车展里的 ID. ERA，采用增程动力
ID.Polo 不错，但它属于欧洲，不属于卷到极致的中国。
与大众的战略性撤退不同，smart 做了一个看似有些头铁的决定。那台主要由奔驰负责设计、吉利负责生产的 smart #2 已经开始了测试，并且明确会保留双座布局，成为经典车型 ForTwo 的继任者。更重要的是，这台车会进入中国市场。
▲smart #2
很多人可能会觉得 smart #2 在国内的前景并不乐观。毕竟在国内的微型车市场，五菱宏光 MINIEV 和吉利星愿早就把价格门槛拉到了地板上，而作为一台挂着 smart 标的所谓「精品小车」，#2 的定价注定不会便宜。在一个讲究量大管饱的市场里卖这样的一台两座车，听起来就是一笔赔本买卖。
但吉利和奔驰显然算过这笔账。
smart 现在的处境其实挺微妙，不管是已经上市的 #1、#3，还是体型庞大的 #5，以及即将到来的轿车车型 #6，这些车承担的任务是走量，是赚钱，但也让这个品牌变得越来越重，越来越像是一台普通的吉利。
▲刚上工信部公告的 smart #6
而 smart #2 的存在并不是为了刷销量数据，它是这个品牌的锚点。它负责告诉大家，即便为了生存不得不造大车，smart 依旧可以是那个能在城市缝隙里穿梭的精灵。没有 #2 带来的品牌光环，#5 和 #6 就很难讲好故事。
ID.Polo 和 Smart #2 看似南辕北辙，却殊途同归地把国内小车市场的尴尬摊开在了台面上：
在这个市场里，极致好用的代步工具比比皆是，唯独少了那些真正有态度的作品。
回顾这两年的国产小车，吉利星愿也好，比亚迪海鸥也罢，销量确实非常惊人。但这更多是供应链成熟带来的红利。车企把以前不属于这个价位的配置塞进了车里，把彩电、大沙发下放了，让乘坐体验变得更好了。但这并没有改变它们作为「工具车」的属性。
这让我想起了一个很有意思的现象：现在的外卖行业开始卷工服设计了，越来越注重剪裁和品牌表达。
京东和淘宝闪购骑手服的大火，在以往是难以想象的，外卖行业刚兴起，大家关注的是能不能准时吃到饭，只有当「吃饱」不再是问题，行业才开始有余力去关注形象和文化。
国内小车市场也是一样，现在的热销车型，本质上是更好的「雨衣」，而不是表达个性的时装。
两厢车其实是最考验车企态度的品类。在局促的尺寸里，既要保证基本的实用性，又要做出独特的驾驶质感和内外饰巧思，这比造一台堆料的大 SUV 难得多。历史上真正能被记住的小车，无一例外都是有鲜明性格的。
大众因为觉得拼不过「性价比」而带走了 ID.Polo，smart 为了「保住调性」而带回了 #2。留给自主品牌的问题是，当我们把供应链卷到极致之后，谁能率先迈出那一步，去造一台真正属于中国市场的精品小车？
目前看来，蔚来的萤火虫和零跑的 Lafa5 或许值得期待。特别是如果它们能跳出单纯的配置竞赛，去在这类车型最稀缺的「个性」和「设计」上下功夫，那才算是真正接住了这波消费升级的浪潮。
等到消费者意识到小车也可以是一种审美表达时，只有那些提前准备好的品牌，才能接得住这泼天的富贵。
比起大热的三排大六座，两厢车市场或许是更得我们观察的行业切片。
大众 ID.Polo 的缺席固然让人觉得有些遗憾，它带走了一种经历了数十年打磨的欧洲造车哲学。但换个角度看，这恰恰给中国车企留出了一块不错的试验田。
很长一段时间里，我们在小车这个领域都在做填空题，什么配置缺了就补什么，哪里空间小了就拉大哪里。这种解题思路在早期非常有效，它迅速填补了市场的空白，让每个人都买得起车。但当所有的空都被填满，当所有的车都变成了性价比极高的六边形战士，市场就会因为过度同质化而变得乏味。
我们期待蔚来的萤火虫，期待零跑的 Lafa5，或者其他还没露面的国产新车，能换一种解题思路。我们希望看到中国车企不再仅仅把小车当作拉低门槛的工具，而是真的把它们当作一个独立的、值得尊重的品类去打磨。
一个成熟的汽车社会，不应该只有一种声音。街道上不应该只有为了生存而奔波的实用工具，也应该有为了悦己而存在的精致玩具。当有一天，我们愿意为了设计、为了驾驶乐趣、为了那一点点与众不同的态度，去为一辆国产小车买单，而不是仅仅因为它可以省下几块钱油费时，中国汽车工业才算真正完成了从大到强的最后一块拼图。
如果大众 ID.Polo 真的不来，那我们希望在 2026 年的街头，能看到足以替代甚至超越它的中国面孔。这不仅是市场的胜利，也是审美的胜利。
#欢迎关注爱范儿官方微信公众号：爱范儿（微信号：ifanr），更多精彩内容第一时间为您奉上。
Making a highly successful career for yourself as a woman artist in the Renaissance was an extraordinary if not unique feat. It’s one of the many accomplishments of Sofonisba Anguissola (c 1532-1625), who also managed to survive the ravages of infectious disease, and died in her early nineties, four centuries ago today.
Even more unusually, she wasn’t born into an artistic family, but into minor nobility in Cremona, Lombardy, Italy. The oldest of Amilcare Anguissola’s seven children, the family claimed ancestry going back to ancient Carthage. Amilcare and his wife Bianca educated and encouraged their daughters to develop their abilities, resulting in four of their six girls becoming painters, but it was only Sofonisba who persisted long enough to make a career of her art.
When she was fourteen, Sofonisba went to study in Bernardino Campi’s workshop, then to Bernardino Gatti’s. She probably completed her training in about 1553, but by then was already painting outstanding works in oils.
One of her earliest surviving paintings is also one of her most remarkable and ingenious, this Self-portrait with Bernardino Campi, painted in 1550 when she was just eighteen. This double portrait is fascinating in her depiction of two left hands on the portrait that Campi is shown working on: one reaches up to meet his right hand, holding a brush, and the other holds her own brushes.
Only five years later she transformed Renaissance portraiture with her superb The Chess Game (1555), showing her sisters playing chess, with their mother (probably) making an appearance at the right edge. Her sisters Lucia, Minerva and Europa are shown dressed in their finest, but the informality of their poses and expressions is striking, and innovative in portraits at that time. Her attention to detail in clothing and on the table is also notable, and perhaps more characteristic of the Northern Renaissance. Her other portraits are just as finely detailed.
In addition to painting her family, she also completed a series of self-portraits in her early career, including this Self-portrait from 1554, when she was twenty-two. The contrast with the fine dress and relaxed informality of her family portraits is interesting, and may reflect her almost austere devotion to her art.
A couple of years later, Self-portrait at the Easel (1556) shows her working on an exquisite devotional painting which may have been of the Virgin and Child, showing the deep relationship between a mother and her infant, and another painting within a painting.
This small undated Self-portrait on a tondo is no more relaxed.
Her Portrait of the Artist’s Family of 1557-58 maintains her style of informality in poses, although its composition is more typical of the day. This shows her younger sister Minerva, father Amilcare, and young brother Asdrubale, with a fantasy landscape of classical ruins and the rising towers of distant castles, receding to a dramatic mountain.
She stayed in Rome in 1554, where she met Michelangelo and several other artists. Michelangelo seems to have mentored her for a while. She became an established portraitist, and in 1559 was invited by King Philip II of Spain to teach painting to his wife, the young Queen Elisabeth of Valois. Anguissola painted many important portraits while in Philip’s court, and prospered as a result.
This fine Portrait of Prince Alessandro Farnese from about 1560 has been attributed to her. The prince, who later became Duke of Parma and Piacenza, lived from 1545-1592, and this portrait conforms to more standard practice.
Her Portrait of Anna of Austria of 1573 was one of her more important commissions. Anna (1549-1580) was the fourth wife of her uncle, King Philip II of Spain, and the daughter of the Holy Roman Emperor Maximilian II. She married the king in 1570 following the death of Queen Elisabeth of Valois, who had been Anguissola’s pupil. Among Anna’s other portrait painters was Giuseppe Arcimboldo, later famous for his unique ‘vegetable’ portraits.
Although she had married a noble in 1571, she continued to paint professionally, and the couple moved to Paternò, near Catania on the east coast of Sicily. Her first husband died eight years later, and in 1584 she married again, moving to Genoa.
This unusual Portrait of Julius Caesar Aged 14 from about 1586 shows, according to its inscription, the famous Roman emperor, who lived from 100-44 BCE. She has approached it as another of her informal portraits rather than as a history painting.
Her religious paintings broke new ground in the intimacy with which she shows family scenes, as in The Holy Family with Saints Anne and John the Baptist (1592).
She taught and provided advice to other painters throughout her later career, and in 1624 was visited by the young Anthony van Dyck. Her sight was failing by that time, but she was still able to give him good advice. Finally, Anguissola moved to Palermo, where she died at the age of 92 or 93 in 1625. She had no children, but left a generation of artists who had benefitted from her innovation and influence. Among those directly inspired by her example and work was Lavinia Fontana. Over two centuries later, Ella Sophonisba Hergesheimer pursued her painting career bearing Anguissola’s name.
Reference
Tomorrow, 16 November, marks the four-hundredth anniversary of the death of one of the first great women painters, Sofonisba Anguissola. In preparation, this article looks at four of those who followed in her brushstrokes, and succeeded in a world so dominated by men.
Lavinia Fontana was a precocious painter in the late sixteenth century, the only child of the successful artist Prospero Fontana. With no son to take the family workshop on, it was a relief to her father that she showed strong artistic ability at an early age; so early that by the time she was thirteen, she may have been generating much of the family’s income.
Her paintings provide unusual insights into contemporary family life, as in her Portrait of a Newborn in a Cradle (c 1583). This is clearly a child of a rich family, wearing a string of pearls in their ornate crib.
Fontana set a tradition that successful women painters should make several works showing Judith with the Head of Holofernes. This version, from 1600, avoids gore and puts the severed head discreetly in half-light, while Judith brandishes the sword with pride, and her maid appears delighted. Her use of rich colours and chiaroscuro were advanced for painting in Bologna at the time.
Her workshop in Bologna was successful and prosperous, but ultimate recognition came in 1603, when Pope Clement VIII invited her to move to Rome. She quickly acquired powerful patronage, painted a portrait of Pope Paul V and became his court portraitist, and was even awarded a bronze medallion made for her by Casone in 1611.
When in Rome, she painted this remarkable family Portrait of Bianca degli Utili Maselli with six of her children (1604-5), showing this wife who died within a year of its completion, five of her sons, and her daughter Verginia. As in many of her portraits, the lapdog was a sign of fidelity, and her depiction of clothing exquisite.
Fontana died in Rome in 1614, leaving the largest oeuvre of any woman painter prior to 1700. Unlike the few who had gone before her, she had succeeded at the highest level in a range of different genres, including mythology, religious works (with some large-scale altarpieces), and portraiture.
While she was painting for the Pope in Rome, in northern Europe still life painting was developing rapidly, thanks to the quiet brilliance of Clara Peeters. We don’t even know when she was born, but she seems to have trained in Antwerp, then pursued her career successfully in the Dutch Republic to the north. She’s thought to have been internationally successful by 1611, when at least four of her paintings were sold to Spain. Her last reliably dated works are from 1621, although there are a few attributed to her from later. No one knows whether she stopped painting when she married, or when she died.
Her Still Life of Fish and a Candlestick is one of the earliest and most accomplished paintings of the fruits de mer, which were to find favour with William Merritt Chase nearly three centuries later.
The following year, her still life with Flowers and Gold Cups of Honour (1612) reveals multiple miniature self-portraits reflected in the gold cup at the right. These are shown more clearly in the detail below.
Her short career overlapped with that of the most famous of all the early women painters, Artemisia Gentileschi. She was the eldest child of the renowned Tuscan painter Orazio Gentileschi, learned to draw at an early age, and soon worked in her father’s workshop. Her father was strongly influenced by the work and friendship of Caravaggio, which in turn was an early influence on Artemisia.
She was taught by Agostino Tassi, when he was working with her father on murals in a palace in Rome, when Artemisia was already painting her own works in oils. Tassi raped Artemisia, and continued to have sexual relations with her in the expectation that they would marry. Her father pressed charges against Tassi, who was eventually convicted after a long trial that was profoundly traumatic physically, mentally, and emotionally for Artemisia.
Her father arranged for her marriage to a modest Florentine painter, and the couple moved to Florence where she started receiving commissions. They worked there between 1614 and 1620, when she became the first woman ever to be accepted into the Accademia delle Arti del Disegno. She enjoyed good relationships with other prominent artists and intellectuals, including Galileo Galilei. In 1618 the only one of her four children to survive into adult life was born, Prudentia, who also became a painter. However, in 1621 she separated from her husband and moved back to Rome. This didn’t prove a success, so she moved to Venice, and on to Naples in 1630.
Her first painting of Susanna and the Elders from 1610 remains her best-known, and with Tintoretto’s is one of its canonical depictions. Gone are the decorations, symbols, and diversions of earlier artists, in favour of a close-up of the three actors at the crucial moment that the elders tell Susanna of their ‘generous offer’. They’re as thick as thieves, one whispering into the ear of the other, who holds his left hand to his mouth as he commits his crime. Susanna is naked, distressed, and her arms are trying to fend the elders off. Her face tells of her pain and refusal to succumb to their blackmail.
She is most famous for her paintings of Judith Slaying Holofernes, her first version being painted at about the same time as her rape and Tassi’s subsequent trial. It’s generally believed that Tassi was the model for Holofernes, she cast herself as Judith, and a female companion who failed to come to her aid during the rape (and failed to give evidence in her support at the trial) was the maid. It would therefore be natural to interpret this painting as part of her very understandable response to her own traumatic events.
Her second version, painted in 1620-21 and now in the Uffizi in Florence, is similar in most respects, although the view isn’t as tightly cropped on the three figures, so that it shows Holofernes’ legs and a deep red wrap around his lower body. The lower section of the blade is also executed better. Judith’s face shows intense concentration and effort, both arms thrust out straight in front of her. The left grips Holofernes by the hair, the right pushes the blade onwards. Her maid is seen holding Holofernes down, pushing hard with both her arms out straight too. Holofernes’s right hand seems to be pushing the maid back, but his left arm is folded over his body.
There’s more uncertainty as to whether her brilliant painting of the Allegory of Painting (c 1638-9) is a self-portrait. This striking angle of view can be accounted for if this was a self-portrait composed using two mirrors, one placed above and on the left of the painter, the other directly in front of her, where she is gazing so intently. If so, it was particularly ingenious because the reflection in the second mirror would have normal chirality (left and right would not be reversed).
However, it has been suggested that this isn’t a self-portrait, in which case her choice of view would have been most unusual. It’s believed to have been painted during her stay in London, possibly for King Charles I, as it appears to have passed straight into the Royal Collection, where it has remained ever since.
Returning to Italy, my last great woman painter is Elisabetta Sirani, oldest child of the Bolognese painter Giovanni Andrea Sirani (1610–1670), who had been a pupil of Guido Reni (1575–1642). She was running the family workshop by the time she was only seventeen. Her success was meteoric until she collapsed and died suddenly in August 1665, aged twenty-seven, and has since lapsed into obscurity.
Her Penitent Magdalene is a powerful painting using a wide tonal scale to heighten its emotive effect.
Her Portia Wounding her Thigh (1664) refers not to the Portia of Shakespeare’s play The Merchant of Venice, but to Portia or Porcia Catonis, wife of Marcus Junius Brutus, one of Julius Caesar’s assassins in 44 BCE.
Getting wind of the plot to murder Caesar, Portia asked Brutus what was wrong. He didn’t answer, fearing that she might reveal any secret under torture. She therefore inflicted wounds to her thigh using a barber’s knife to see if she could endure the pain. As she overcame the pain of her wounds, she declared to Brutus that she had found that her body could keep silence, and implored him to tell her. When he saw her wounds, Brutus confided all in her.
By August 1665 Sirani had completed nearly 200 paintings, many fine drawings, and various prints. She died so suddenly that it was at first suspected that she might have been murdered, but it transpired that she had suffered fulminating peritonitis as the result of a burst peptic ulcer.
In tomorrow’s article I will look at the life and work of their forerunner, Sofonisba Anguissola.
By the early 1860s, the large and ancient Forest of Fontainebleau, to the south-east of Paris, had been attracting those of the Barbizon School, who painted realist landscapes in front of the motif. The next generation started visiting in 1865, and went on to form the French Impressionists.
In May 1865, the young Frédéric Bazille left the city of Paris for the Forest of Fontainebleau, where he painted Landscape at Chailly (1865) in company with Claude Monet, and possibly Auguste Renoir and Alfred Sisley. Although clearly influenced by the Barbizon School, his colours are much brighter, and escape the rather sombre browns and greens that dominated much of the work of that earlier art.
Sisley painted this Avenue of Chestnut Trees in La Celle-Saint-Cloud to the west of the forest in 1865, again in Barbizon style. He didn’t submit it to the Salon until 1867, when it was refused. It then remained unsold for ten years before being bought by Sisley’s patron Jean-Baptiste Faure, a celebrated opera singer.
The following year, Sisley walked through the forest with Renoir. He then stayed in the village of Marlotte, where Renoir, Monet, Bazille, Pissarro and Cézanne also visited to paint.
Sisley was more successful with Women Going to the Woods, completed in 1866. This was one of his two paintings exhibited at the Salon that year, and shows the main street in the village of Marlotte with a little rustic staffage.
Clearing in the Woods (1865) is Renoir’s first substantial (surviving) landscape painting, and shows strong influence from Corot. He adopts quite a detailed realist style in this view of a clearing in the midst of massive chestnut trees. These are believed to be near the small village of La Celle-St-Cloud, to the west of Paris not far from Bougival, rather than in the forest. It’s likely that he painted there in the company of Alfred Sisley, who made two views of the same site in very different style.
The following year Renoir painted his friend Jules Le Coeur and his Dogs in the Forest of Fontainebleau. This is unusual among his works, as it was preceded by two studies, and all three were made using the palette knife rather than brushes. This makes it most likely to have been painted before Renoir abandoned the knife and returned to the brush, by the middle of May 1866.
The following year Abbott Handerson Thayer, an American artist who trained in Paris, painted this wonderful oil sketch of Landscape at Fontainebleau Forest (c 1876). This is probably the loosest and most Impressionist painting of his career.
At some time in the late nineteenth century, the wealthy industrialist, amateur painter and patron of Impressionism, Henri Rouart painted In Fontainebleau Forest. This may have been inspired by Corot, but is a realist study in light, shade, and the texture of bark.
John Ferguson Weir was another American painter who had trained in Paris, and became the first director of the School of Fine Arts at Yale University. He visited in about 1902, when he painted Forest of Fontainebleau (c 1902), with its tiny solitary figure against the fallen trunk.
In 1867 Théodore Rousseau died in the village of Barbizon, and he was followed in 1875 by Jean-François Millet. By the twentieth century the forest had fallen out of favour with the new generation.
阅读这篇文章的人有两种：
第一种，是原本就关注了这个博客的读者，或者通过视频、图文等各种社交媒体找过来的观众，你们应该是这个项目相关视频的观众，或者通过这篇博客知道了这个项目的读者，总之，东西不在你们手里；
第二种，是找到了指定地点，并找到了这件作品，同时发现了它背后的二维码，扫码进入了这个页面的幸运儿。
如果你是第二种人，恭喜你！这件作品，现在送给你了：）
如果你愿意把你在现场与这件作品的合照（无需露脸），以及这件作品的多角度照片（不少于 3 张），发布在微博和小红书上（两个平台一起发布哦），并带上 #苏志斌3Dfiti# 这个标签，我将为你定制一件 3D 打印作品。当你分享完之后，请把这两个平台的链接发送至以下这个邮箱：
suithink.su@gmail.com
我们将在后续的沟通里，一起完成为你定制的作品。
这是一系列艺术创作项目的开始，是第一件作品。
这件作品中的造像，是来自四川毗卢洞紫竹堂的水月观音，它是宋代的杰作，是举世公认的艺术文化瑰宝。因作品场地空间特殊，故将造像左右翻转，与原造型呈镜像关系。
我参与 3DFiti 这个艺术项目，旨在通过 3D 扫描和 3D 打印技术，使我们生活的周边环境增加一些趣味性和艺术性。在人类学家项飙（英国牛津大学社会人类学教授，德国马克斯普朗克社会人类学研究所所长）所描述的那个「附近」的概念之中延展出来，一切我可以到达的地方，只要有我感兴趣的公共区域内的「缺损」部分，就有可能成为这个艺术项目的创作对象。
我通过 iPhone 扫描空间或者物体，并对模型进行二次创作，使用 3D 打印技术将其制作成一件真实的物品，即能够与现场的「缺损」相嵌合的物件，使这个「缺损」转化为一处临时的微型艺术场所。
No.001 作品中的 紫竹观音像 3D 模型，是来自 Funes.world 的文件。他们的工作是在人类从原子社会进入到比特社会的过程中，将原本属于原子世界中的建筑、空间、故事，通过 3D 扫描建模的方式，将其保存在数字世界中，建成一座人类文明的数字空间博物馆。
如果你想观看 No.001 作品的相关视频，可以点击链接：
https://www.bilibili.com/video/BV1ShGvzwEeB/
或点击下方图片：
“这座微型雕塑？跟随影片线索去发现吧！藏在城市褶皱中的精美作品，属于第一个破解谜题的人！”
期待你也参与到这个项目之中 
拓展阅读：
水月观音是汉传佛教中国化的典范，以“水中月”喻诸法皆空，融合《华严经》哲思与文人山水意境。其形象由中唐周昉首创，经宋元演化定型：唐五代为半裸髭须的男性，宋代后转为慈美女性，体态婀娜如安岳毗卢洞紫竹观音，背倚紫竹，跷足坐于莲台，衣纹流畅如“S”曲线，被誉为“东方维纳斯”。
坐姿核心为“自在”：
赤足触水喻“普渡”，手持杨柳、净瓶显慈悲，姿态从庄重禅定转向世俗洒脱，折射佛教本土化进程。其造像以圆月、竹石为境，突破宗教程式，成就敦煌壁画、大足石刻等艺术巅峰，更渗入民间故事（如榆林窟唐僧取经图），成为宗教与世俗美学的融合象征。
精髓：以空性为核，化仪轨为诗意——紫竹观音跷足斜倚之姿，既承“观自在”禅悟，亦凝唐宋工匠“以形写神”的至高境界，堪称佛教艺术中国化的里程碑。
其实有点出乎我意料，除了 Apple Vision Pro 那期，最受欢迎的居然是聊《九龙城寨》和《暗恋桃花源》的这两期。而且，刚发的《谈判专家》这期的收听量也在稳定上涨。聊 AI 那期尽管内容很多，但收听量比这些都少得多。
从博客后台数据能看到，最近一周的主要收听量中，三分之二都来自这三期聊戏聊剧的节目。
我原本以为，收听我节目的主要人群，是过去在知乎和 B站看我讲设计的读者和观众。
这么看下来，我有一个猜测：收听我播客的人群当中，有很大一部分比例，可能是此前并不认识我的路人，他们对科技类话题的兴趣，没有对娱乐类型的话题高。
挺好的，这也挺符合我最初对播客的预期，这样我就可以不用老聊设计和产品了！
荒野楼阁 WildloG：https://suithink.me/zlink/podcast/
小宇宙： https://suithink.podcast.xyz
Spotify：荒野楼阁 WildloG
YouTube：荒野楼阁 WildloG
Apple Podcast 在中国大陆地区目前只支持通过 URL 订阅：
https://suithink.me/category/podcast/feed/
Login
