{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"f71d9b04-ddb2-437a-992f-5d3e3e0ed3f4","title":"技术与文明","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787112107469","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"f71d9b04-ddb2-437a-992f-5d3e3e0ed3f4","id":"f71d9b04-ddb2-437a-992f-5d3e3e0ed3f4","uuid":"f71d9b04-ddb2-437a-992f-5d3e3e0ed3f4","title":"技术与文明","normalized_title":"技术与文明","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787112107469","isbns":["9787112107469"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":478,"navigation_url":"https://workshop.closeclaw.top/ai/book/f71d9b04-ddb2-437a-992f-5d3e3e0ed3f4","title_url":"https://workshop.closeclaw.top/ai/title/%E6%8A%80%E6%9C%AF%E4%B8%8E%E6%96%87%E6%98%8E","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/f71d9b04-ddb2-437a-992f-5d3e3e0ed3f4/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/f71d9b04-ddb2-437a-992f-5d3e3e0ed3f4/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/f71d9b04-ddb2-437a-992f-5d3e3e0ed3f4","page_url":"https://workshop.closeclaw.top/api/ai/books/f71d9b04-ddb2-437a-992f-5d3e3e0ed3f4/page","search_url":"https://workshop.closeclaw.top/api/ai/books/f71d9b04-ddb2-437a-992f-5d3e3e0ed3f4/search"},"page":{"printed_page":302,"pdf_page":313,"physical_index":313,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"d09b75c3ce21592c68226ffbc81c552daf99ce94420ac6e82f587fa1cdaf0b03"},"chapter":"第七章 机器体系的同化","content":"4. 费迪南德·莱热（FerdinandLéger)的作品：早餐桌。作品用机械的语言表达了有机的、活生生的事物，是对自然形式的一种肢解，也是绘画艺术的创新。(相片来自个人收藏，蒙现代艺术博物馆的允许转载于此)\n\n3. 现代谷物升降机。这幅作品的美感来自对象的简洁、本质，以及基本形式的重复。其巨大的规模也进一步强化了作品的艺术感染力。参见沃林格(Worringer)关于埃及和美国的发人深思的文章。\n\n[蒙埃里克·门德尔松(Erich Mendel-sohn)的允许转载于此]\n\n302\n\n技术与文明","previous_page":301,"next_page":303}