[{"data":1,"prerenderedAt":1907},["ShallowReactive",2],{"artist-yun-shou-ping-8":3},{"artist":4,"artworks":17},{"id":5,"slug":6,"name":7,"dynasty":8,"birthAndDeath":9,"shortDesc":10,"longDesc":11,"coverUrl":12,"tags":13,"workNumber":14,"initial":15,"showCount":16},8,"yun-shou-ping-8","恽寿平","清","1633年—1690年","恽南田，即恽寿平，原名格，字寿平，后以字行，改字正叔，号南田，别号云溪外史，晚居城东，号东园草衣，后迁居白云渡，号白云外史，明末清初著名书画家，常州画派的开山祖师，后来成为清六家之一。","恽南田，即恽寿平，原名格，字寿平，后以字行，改字正叔，号南田，别号云溪外史，晚居城东，号东园草衣，后迁居白云渡，号白云外史，明末清初著名书画家，常州画派的开山祖师，后来成为清六家之一。\n\n人物经历\n恽格，字寿平，号南田，别号云溪外史，晚居城东，号东园草衣，后迁居白云渡，号白云外史 。他是明末清初著名的书画家，开创了没骨花卉画的独特画风，是常州画派的开山祖师。他一生生活在民族矛盾极其尖锐的时代。少时从伯父学画，青少年时期参加过抗清义军，家破人亡，当过俘虏，又被浙闽总督收为义子，曾在灵隐寺为僧，返里后卖画为生，一直赡养父亲。与王时敏、王鉴、王翚(hui)、王原祁、吴历合称为“清六家”，他山水画初学元黄公望、王蒙，深得冷澹幽隽之致。又以没骨法画花卉、禽兽、草虫，自谓承徐崇嗣没骨花法。创作态度严谨，认为“惟能极似，才能传神。”“每画一花，必折是花插之瓶中，极力描摹，必得其生香活色而后已” 。他画法不同一般，是“点染粉笔带脂，点后复以染笔足之”，创造了一种笔法透逸，设色明净，格调清雅的“恽体”花卉画风，而成为一代宗匠。对明末清初的花卉画有“起衰之功”，被尊为“写生正派”，影响波及大江南北，史载：“近日无论江南江北，莫不家家南田，户户正叔，遂有‘常州派'之目”。\n恽南田的山水画初学元代黄公望、王蒙，深得冷澹幽隽之致，与王时敏、王鉴、王翚、王原祁、吴历合称为“清六家”。他的山水画，不让“四王”，小幅逸笔草草，寄郁勃于悠闲，枯而有润，淡而有奇，自成格局，有“四王”未到之处。\n清康熙二十八年（1689）腊月，恽南田离家到杭州卖画。次年五月，托人购得杭州坟地两处，决定迁葬其父灵柩于湖上，以了其生平之愿。他急于筹款，抱病作画，以致病倒不起。其于三月十七日返回常州，次日卒于白云渡瓯香馆，终年五十八岁。一代才华绝世的宗师，就此默默地终结其坎坷的人生。\n\n人物生平\n恽南田的一生世家子弟 勤奋好学恽南田的家族是武进的世家大族，曾祖恽邵芳是明嘉靖进士。祖父恽应候，万历年间国子监（明朝最高学府）监生。父亲恽日初崇祯六年贡生，大学问家刘世周的高足，曾参加抗清运动，后在乡里讲学。堂伯恽本初，明朝著名山水画家，崇祯十七年弃官归隐。堂伯恽厥初，明万历三十二年进士，任湖广按察使（省公安厅长），带兵参与抗清运动。堂叔恽于迈，崇祯年间曾任知县，明亡后弃官遁入空门，四处云游。由于南田先生的祖、父辈多是有节操的名士，因此这位世家子弟从小就受到了精忠报国的良好的教育。他自幼聪明，“八岁咏莲花成句，惊其塾师”。这是他后来成为著名画家的重要条件。\n潜身浙东 报国抗清南田十一岁那年，父亲不满明末的腐败政治，带着两个孩子隐居浙江天台山。清兵入关后，在扬州、江阴、杭州等地开展大屠杀，南田随父兄逃到福州，父亲在福州参加了武装抗清运动，福州被清军攻破，南田随父兄又逃往广州，千里奔波，颠沛流离。到达广州后，福建的建宁义军将领王祁邀请南田的父亲前往建宁共商抗清大计，父亲接到信后，由南田到建宁暗地考察后认为“此地尚全盛，兵强富储胥。窃观王公为，魁杰实丈夫。”南田当时只有十五岁，但已经有了相当高的政治见地。通过他的判断，促使他父兄到建宁参加了义军。到建宁后，在对清战斗中，南田的长兄战死，清军六万围困建宁达100多天，被攻陷，王祁在巷战中自杀，二哥不知所终，父亲由于外出求援而幸免于难，从此多年离散。\n狱中囚俘 初露才华南田被俘后，没有被杀，开始了痛苦的奴隶生涯，后来出人意料的成为当时清军将领闽浙总督陈锦的养子。这是怎么回事呢？在他后来写的诗中，我们知道这和一位青楼女子有关。这位青楼女子是当时建宁城中的一位歌舞妓，在建宁城破后被总督收留。当时的总督夫人想打造一些首饰，但是请了一些画师画首饰的图样，感觉都不满意。这位歌舞妓知道南田的画很好，就推荐南田为总督夫人画图样。总督夫人见他“丰神俊朗、进退从容”，人品出众，自己又恰好无子，一直想收养一个孩子，于是“喜出望外，遂蓄子”。这样，南田从一个战俘营的囚犯，一下成为一个总督的公子。\n不慕富贵 极尽忠孝在被陈锦收养4年后，南田二十岁的时候，陈锦被家丁刺死，陈夫人带着南田前往奔丧，在杭州灵隐寺给陈锦超度亡灵，大做法事，恰巧南田在众僧中发现了自己的父亲恽日初。当时他很想上前相认，但因为养母和众多的家将兵丁在场，考虑到这样做很可能弄巧成拙，于是暗中与父亲见面，然后请主持具德和尚出面，骗陈夫人说：我看你这个儿子寿命不长，要想保住他的性命，只有让他出家从佛。具德和尚是当时最有名望的一位神僧，在灵隐寺任住持18年之久，“先后十做道场，开大法门，雷震海内”，“所至万人挤拥，挥汗成雨，至浴水一时呷尽”，就是这样一位权威，说出来的话所以极具威信，老夫人哭着不肯，要带南田回京继承陈锦的爵位，但南田表示自己不愿享受荣华富贵，愿意在寺中出家，陈夫人无奈，只好勉强同意把南田留在寺中离去。这样南田就巧妙地和父亲相认，然后随父亲回到上店老家。后来，著名戏剧家王抃把南田的这一早年身世编成了剧本《鹫峰缘》，在康熙十九年广为传唱，成为一段佳话。\n一生清贫 矢志不渝回乡后，南田以卖画为生，抚养老父亲，教化乡里。南田为人清高，视名利如草芥，决不肯趋炎附势。遇到谈得来的，不论贫践，求他作画，即刻挥毫；若遇见一些想用金钱来买画的势利小人，即使给他一百两银子，也不肯为他们画一花一叶。南田每次出游，归家时，身上总带着许多银子，这是他作画得来的馈赠。他为人慷慨，喜欢周济别人，自己反而经常过着清贫的生活。南田先生的晚年极其凄凉，他老来得子，大儿子却溺亡于水沟中，二儿子因天花夭折。为了偿还葬父所欠债务，他拼命地画画。1690年三月十八，这位贫病交加的老人终于倒在了白云渡寓所，终年58岁。他的儿子当时只有5岁，连棺材也置不起一口，南田生前好友王翚(hui)等人，出钱代为料理了后事。\n恽南田的品格修养坚贞不渝 民族气节南田先生的家族中，多是抗清义士，他本人参加过抗清运动，两个兄长也都死于抗清战斗中。明清易祚，清廷为了加强统治，对汉民族采取了残酷的屠杀和愚民政策。数据显示：明末时汉族有1亿人口，到了清初只剩下一半。但当后来清朝大局已定，在清廷的怀柔政策感召下，有许多士人纷纷投入清廷的怀抱，并为清朝的种族屠杀粉饰，还千方百计寻找清朝替代明朝的合理性和正统性。南田先生坚决采取与清朝“不合作”的立场。他一生不应科举，不做官，连个秀才都不去考。他的所有作品，书信，从来不署清朝的年号，而是用天干地支。他就以这种消极、沉默的反抗抒发自己的民族感情。\n富贵不淫 贫贱不移南田先生的一生只有一个污点，就是被满清闽浙总督陈锦收为养子，但是我们要知道，当时他还只是一个15岁的孩子，我们能要求一个孩子自杀殉国吗？而就是这样一个富贵公子，面对着继承两省总督的养父爵位的巨大诱惑时，他选择了毅然离去，甘受清贫，最后在穷困潦倒中病死，这不能不让我们佩服他的高尚情操。\n侍父极孝 待友极诚当他在灵隐寺发现自己的生父时，毫不犹豫地弃富贵如浮云，坚决随父亲回乡。父亲在乡里每天以文会友，所需笔墨等费用均一直靠南田卖画所得赡养父亲，支持父亲的教化事业。他从不攀附权贵，对朋友推心置腹，待之以诚。比如当时人称“画圣”的王翚，南田非常推崇，认为他在山水画上的造诣很高，两人结交为兄弟，并在王翚的画上题写了很多的跋，成为画史上的佳话。\n胸襟坦荡 诚实守信南田先生一生最大的遗憾就是被俘后成为了清军将领陈锦的养子。他在给朋友的信中写道：“……白圭之玷，何如其无玷也，凡吾所为，勿令君子道可惜，更待将来觅铁铸错字也。”可见他把自己被陈锦认作养子视为“白圭之玷”。他虽然不愿意提起这段经历，但却并不隐瞒这段经历，而是在伤感之余任由他人评说，显示出他诚实的品格和坦荡的胸襟。\n执着追求 坚定不移南田先生一生精力全部用于绘画艺术，而且他不受世俗的干扰，坚持走自己的路，走创新之路。当时的画坛是以山水画作为正派，他本人山水画水平也极高，但他始终没有放弃对现实主义艺术创新的追求，将绝大部分精力都投入到花鸟画的创作上。因为花鸟画的作品一般篇幅都不大，所以他存世的大幅作品较少。\n\n艺术成就\n恽南田诗、书、画皆造诣深厚，有“南田三绝”之誉。\n\n诗\n恽南田的诗在诗坛上被誉为“毗陵六逸”之首。大学者顾炎武曾称赞南田的诗说：“恽正叔落笔如子山，萧瑟乡关，……非大地欢乐场中仿效徘倡，郎当舞袖。”“选意必幽，择辞必鲜，俗尘凡语自然不侵其笔。” 其诗见于《南田诗钞》、《瓯香馆集》。\n\n书\n南田从楷书入手，之后行草学王羲之及王献之父子，后来致力于学褚遂良书法，这在当时来说是不可多得的，也是他能在当时书坛中独树一帜的原因。明末清初的书坛，是以董其昌为代表的对宋元书风的承袭，将宋元以来文人书法的把握和个人性情的表现融汇一体，将和谐优雅、轻松自然的风格发挥得淋漓尽致。入清后，由于康熙皇帝的个人喜好和提倡，使董书弥漫书坛。但是南田对当时流行的董其昌书法也是颇有微辞的，他认为：“秀绝故弱，秀不掩弱，限于资地，故上石辄不得佳，其不足在是，其高超亦在是”。这表明南田能发现其长处和短处，而扬长避短，自成一家。\n\n画\n恽南田的伯父恽向是个名画家，南田从小跟伯父学过诗文绘画，可以算是唯一的老师。南田归家后，开始画山水，在山水画上创出了名声，四王吴恽并称为“清六家”。然而，南田面对花鸟画的日渐式微，开始专攻花鸟画，他继承北宋徐崇嗣的画法，然后几乎是独创出一种“没骨画”法，直接用颜色或墨色绘成花叶，而没有“笔骨”。给当时的花鸟画创作注入了一股新的活力，为此后中国画的均衡发展作出了一定的贡献。对明末清初的花卉画有“起衰之功”，被尊为“写生正派”，影响波及大江南北。《国朝画征录》上载：“近日无论江南江北，莫不家家南田，户户正叔，遂有‘常州派’之目”。中国绘画史上所载，常州画派画家即达百人之多。南田在绘画理论上的成就也很高，画论详见于《南田画跋》。他的画论主要有：“摄情说”；要“师古人”，更要“师造化”。还有“似”与“不似”，当时的主流观点是认为要“不似”，似了就成了庸俗。苏东坡曾经说过：“论画以形似，见于儿童邻。”后来的文人就以这句话来攻击画得似的画家。在南田看来，“似”与“不似”都不是绘画的最高要求，最高境界在于“传神”。他说:“世人皆以不似为妙，余则不然，惟能极似，乃称与画传神。”\n\n恽南田作品选集\n山水篇恽南田创作的山水画题材广泛，大幅求“势”，小幅求“趣”，淡墨、浅色、湿笔，追求幽深、寂静、清新、高逸的情趣。\n书法篇康熙年间，董书风靡一时，但恽南田不染时风，以其深厚的诗画功底为素养，迥出时流，自成一格。恽南田的书法，具有深厚的传统功力，他广泛吸收古代名家之长，以我为用，即所谓“以王献之为体，以褚遂良为面，以黄庭坚为骨”，融会贯通，形成了秀润劲利的自家风貌，他书写并传世大量的诗画题跋无不独展风姿而光彩照人，构成了恽南田诗书画中的一绝。\n花鸟篇恽南田的花鸟画以似求不似，画风清新雅丽，其没骨画法风靡一时，追随者众多。他自称“徐家传吾法”，他在继承了徐崇嗣的没骨花卉画法的基础上，又揉合了黄筌、徐崇嗣两家的精髓，重视形象写生，“以花传神”。他的画法是一种“点花粉笔点脂，点后复以染笔足之”的体貌，方薰认为这是“前人未传此法，是其独造”的新风貌，它融工笔与写意之精华为一体，既有工笔画形态逼真，更具写意画的传神。\n\n后世影响\n据中国绘画史载，常州画派达百人之多，且有不少女画家。近现代知名画家任伯年、吴昌硕、刘海粟等都临摹学习过他的画。他还精行楷书，取法褚遂良、米芾而自成一体。诗为毗陵六逸之首，擅五言古诗，其诗格超逸、书法俊秀、画笔生动，人誉之“南田三绝”。遗著有《瓯香馆集》。他在书法上的成就也很高，他学王羲之及王献之父子，后来又学褚遂良书法。当时董书风靡一时，但恽南田不染时风，以其深厚的书画功底为素养，迥出时流，自成一格。\n自从恽南田以高逸的山书画和寓意的没骨花卉写生画问世后，追随者众多。常州画派就是在这种审美风尚的趋引下，自然形成的。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1f9a9d7eae5ddf59a5433237393b6bf.jpg",[],118,"Y",297,[18,44,59,75,89,101,116,127,140,151,164,175,199,209,220,230,241,252,269,282,293,302,316,324,333,341,349,360,371,379,389,399,415,423,434,444,453,463,474,482,494,502,513,523,541,548,556,564,573,583,597,604,613,621,629,637,645,653,666,674,681,687,694,702,710,717,729,736,743,756,765,773,783,790,797,805,815,824,833,841,849,855,862,871,881,905,914,921,929,940,947,961,971,979,987,996,1003,1012,1021,1030,1037,1046,1054,1063,1070,1078,1087,1096,1107,1119,1128,1135,1143,1151,1158,1168,1178,1186,1195,1204,1215,1224,1231,1238,1245,1254,1263,1270,1279,1286,1293,1301,1307,1319,1325,1331,1341,1348,1355,1364,1375,1386,1393,1400,1407,1418,1427,1436,1447,1456,1464,1472,1480,1490,1496,1506,1514,1522,1531,1544,1557,1565,1573,1582,1590,1597,1605,1613,1620,1632,1641,1654,1661,1671,1680,1687,1695,1704,1713,1721,1731,1740,1750,1760,1770,1779,1789,1800,1809,1820,1830,1837,1846,1855,1865,1872,1879,1888,1898],{"id":19,"slug":20,"title":21,"dynasty":8,"author":7,"museum":22,"description":23,"tags":24,"thumbUrl":35,"material":36,"size":37,"collection":38,"collections":39,"showCount":40,"zanCount":41,"manualWeight":42,"mainColor":43},214707,"chun-hua-tu-ba-kai-yun-shou-ping-214707","春花图八开","上海博物馆","恽寿平画了八种春天的花，包括桃花、牵牛花、牡丹、绣球、萱草、月季、樱花和鸢尾花。这幅画是在他晚年的时候画的，当时他五十三岁，虽是没骨而近乎写意，用笔已是纯青。",[25,26,27,28,29,30,31,32,33,34],"高清","国画","书画","册","设色","没骨","花鸟","花卉","鸢尾","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fa759adc318004a833d99020a6068e6.jpg","纸本,设色","26.3x35.7","花鸟画精选",[38],14420,63,0,"BDBDBD",{"id":45,"slug":46,"title":47,"dynasty":8,"author":7,"museum":48,"description":49,"tags":50,"thumbUrl":54,"material":36,"size":55,"collection":38,"collections":56,"showCount":57,"zanCount":58,"manualWeight":42,"mainColor":43},214744,"hua-hui-ce-yun-shou-ping-214744","花卉册","私人收藏","恽寿平（1796-1873）是清代著名的画家，他擅长画花鸟，尤其是花卉。他的花卉册是他的代表作之一，包含了他对花卉的描绘和描写。\n\n恽寿平的花卉册以其精细的笔墨和精美的色彩著称，他善于捕捉花卉的细节和美感，并将其再现在画布上。他画的花卉通常都是生动传神，有时也带有一些象征意义。恽寿平还创作了许多花卉图谱，用来介绍各种花卉的特征和用途。\n\n恽寿平的花卉册不仅深受藏家的喜爱，也被认为是清代花卉画的杰出代表作之一。他的作品不仅为后人留下了宝贵的艺术瑰宝，而且也为我们展示了清代花卉画艺术的魅力。",[25,26,27,28,31,30,29,51,52,53],"紫藤","荷花","荷叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab73f6dce929392ea6f25d5a923c813e.jpg","",[38],10967,60,{"id":60,"slug":61,"title":62,"dynasty":8,"author":7,"museum":63,"description":64,"tags":65,"thumbUrl":68,"material":69,"size":70,"collection":38,"collections":71,"showCount":73,"zanCount":74,"manualWeight":42,"mainColor":43},214306,"mu-dan-ce-yun-shou-ping-214306","牡丹册","台北故宫博物院","用宋人没骨法作此册，不是黄筌的美作，也不是赵昌的刻本，而是徐冲子的另一种画法",[66,26,27,28,29,30,31,67],"名画","牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d1db57360d128a861a0d5e464c59ec1.jpg","绢本,设色","41x38",[38,72],"设色画精选",4567,18,{"id":76,"slug":77,"title":78,"dynasty":8,"author":7,"museum":79,"description":80,"tags":81,"thumbUrl":85,"material":36,"size":55,"collection":38,"collections":86,"showCount":87,"zanCount":88,"manualWeight":42,"mainColor":43},216593,"ou-xiang-guan-xie-sheng-ce-yun-shou-ping-216593","瓯香馆写生册","旅顺博物馆","《瓯香馆写生册》描写了四时的花果，从春到夏分别是桃花、海棠、碧海珊瑚、牡丹、枇杷、卷丹、洛阳花、凤仙花、菊花、梅花。除了梅花一开，作者写明是学杨补之的水墨画法之外，其余各开全用没骨法，完全不用墨线勾勒，直接用颜色点厾出花朵、叶片、果实，只以色线勾勒叶茎。落色点花的没骨花，既不同于细线勾勒再层层渲染的工笔花卉，也不同于水墨淋漓的大写意花卉，它介于两者之间，也被称作“小写意”花卉。工笔求逼真，写意求意趣，恽氏没骨花所求正在“似与不似之间”。着色花卉自然比纯粹的水墨更逼真，但直接点染的“落色花”比起层层渲染的工笔花卉又有更大的随意性，不必被物象的细枝末节所羁绊，可以放手表现花的风骨。就气质而言，没骨花介于工笔与大写意之间，既不刻画，也不放逸，清新洒脱。",[26,27,28,29,30,82,83,84,31],"水墨","竹","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed8966ba999269ca801a2d4a56096289.jpg",[38],2727,12,{"id":90,"slug":91,"title":92,"dynasty":8,"author":7,"museum":22,"description":23,"tags":93,"thumbUrl":97,"material":36,"size":37,"collection":55,"collections":98,"showCount":99,"zanCount":100,"manualWeight":42,"mainColor":43},214709,"chun-hua-tu-ba-kai-4-yun-shou-ping-214709","春花图八开-4",[25,26,27,28,29,31,30,94,95,96,32],"花","藤蔓","叶子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F711decf5412e0d1bdf126cff504c08c8.jpg",[],2285,11,{"id":102,"slug":103,"title":104,"dynasty":8,"author":7,"museum":105,"description":106,"tags":107,"thumbUrl":110,"material":111,"size":112,"collection":38,"collections":113,"showCount":114,"zanCount":115,"manualWeight":42,"mainColor":43},220970,"jiu-lan-tu-yun-shou-ping-220970","九兰图","北京故宫博物院","此图又名《建兰图》。建兰，亦称秋兰。图绘兰花数枝，苍秀挺拔，布满画面，构图简洁，画法新颖别致，作者不用一点水墨，纯用赭石、白粉和略加花青点画，只见色痕，为没骨画中具有新意之作。从画末自题可知，该图表现了作者对澹贻堂主人“闽海”离后的怀念之情。",[25,26,66,27,29,31,108,34,109],"兰","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2849227d424582c35a1dde4e843e4fcc.jpg","绢本 设色","23.4cmx60.8cm",[38,72],2213,32,{"id":117,"slug":118,"title":119,"dynasty":8,"author":7,"museum":22,"description":23,"tags":120,"thumbUrl":123,"material":36,"size":37,"collection":55,"collections":124,"showCount":125,"zanCount":126,"manualWeight":42,"mainColor":43},214708,"chun-hua-tu-ba-kai-3-yun-shou-ping-214708","春花图八开-3",[25,26,27,28,29,30,31,121,122,96,34,109],"桃花","枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3854c4a04d540aad1f6fd4f84bc9fda.jpg",[],2124,9,{"id":128,"slug":129,"title":130,"dynasty":8,"author":7,"museum":131,"description":132,"tags":133,"thumbUrl":134,"material":135,"size":136,"collection":38,"collections":137,"showCount":138,"zanCount":139,"manualWeight":42,"mainColor":43},239441,"hua-niao-ce-yun-shou-ping-239441","花鸟册","藏地不详","恽南田（1633年—1690年），即恽寿平，原名格，字寿平，后以字行，改字正叔，号南田，别号云溪外史，晚居城东，号东园草衣，后迁居白云渡，号白云外史，明末清初著名书画家，常州画派的开山祖师，后来成为清六家之一。",[26,29,30,31,52,53,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25dc95f6524d1116e76db2a26246c9fd.jpg","未知","Xcm*Xcm",[38,72],2051,14,{"id":141,"slug":142,"title":143,"dynasty":8,"author":7,"museum":22,"description":23,"tags":144,"thumbUrl":147,"material":36,"size":37,"collection":55,"collections":148,"showCount":149,"zanCount":150,"manualWeight":42,"mainColor":43},214704,"chun-hua-tu-ba-kai-2-yun-shou-ping-214704","春花图八开-2",[25,26,27,28,29,30,31,145,146,34,109],"樱桃","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6677b01b31ad3df8b7719f1993dc4829.jpg",[],1639,16,{"id":152,"slug":153,"title":154,"dynasty":8,"author":7,"museum":105,"description":155,"tags":156,"thumbUrl":158,"material":159,"size":160,"collection":38,"collections":161,"showCount":162,"zanCount":163,"manualWeight":42,"mainColor":43},220975,"shan-shui-hua-hui-tu-ce-mu-dan-yun-shou-ping-220975","山水花卉图册-牡丹","《山水花鸟图》是清代 创作的纸本设色画。\n\n每图各有 题识，分别钤“寿平”白朱文印、“正叔”朱文印、“寿平”白文印、“恽正叔”白文印、“寿平印”白文印等。\n\n每图各有乾隆皇帝题诗一首。\n\n鉴藏印有：“ 御赏之宝”、“淳化轩”、“石渠宝笈”、“臣庞元济恭藏”、“虚斋至精之品”等二十余方。\n\n本图册第三开、第十开分别署年款“乙卯秋”、“乙卯十月”。\n\n“乙卯”为清康熙十四年（1675年），此作应为恽寿平4岁时作品。\n\n此山水花卉图册分别描绘鹅群、荷花、山水、古木寒鸦、牡丹、乔柯急涧、夜雨初霁、菊花、兰花蝴蝶花、溪山行旅等。\n\n全册为作者临仿宋、元、明诸家。\n\n山水以宗董源、巨然、米芾、赵孟頫诸家为主，秀骨清幽，富有文人书卷之气。",[25,26,66,27,28,29,157,30,31,67,96,122,109],"工笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F330e3e872b432c5d096fddbd7eafe407.jpg","纸本，设色","纵27.5厘米，横35.2厘米。",[38,72],1541,7,{"id":165,"slug":166,"title":167,"dynasty":8,"author":7,"museum":48,"description":49,"tags":168,"thumbUrl":171,"material":36,"size":55,"collection":55,"collections":172,"showCount":173,"zanCount":174,"manualWeight":42,"mainColor":43},214742,"hua-hui-ce-2-yun-shou-ping-214742","花卉册-2",[25,66,26,27,31,28,30,29,169,170,32,146],"萱草","桂花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1be5a0e030dc2534dcd967c594f0154e.jpg",[],1468,6,{"id":176,"slug":177,"title":178,"dynasty":8,"author":7,"museum":179,"description":180,"tags":181,"thumbUrl":192,"material":193,"size":194,"collection":38,"collections":195,"showCount":196,"zanCount":197,"manualWeight":42,"mainColor":198},220992,"bai-hua-tu-juan-yun-shou-ping-220992","百花图卷","美国大都会艺术博物馆","恽寿平的山水画造诣之高，受到历代画家的赞誉。然而，他到中年后却放弃了在山水画领域的成就，转向以画花卉为主。究其原因，历史上说法很多。",[25,26,27,182,29,30,157,31,32,67,183,184,52,121,185,186,187,188,189,51,190,191],"长卷","百合","菊","芙蓉","月季","水仙","兰花","芍药","蝴蝶","昆虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff29e1c97e998205c049e5c6f18799621.jpg","手卷，绢本设色","纵32厘米，横530厘米",[38,72],1418,23,"F48FB1",{"id":200,"slug":201,"title":202,"dynasty":8,"author":7,"museum":48,"description":49,"tags":203,"thumbUrl":206,"material":36,"size":55,"collection":55,"collections":207,"showCount":208,"zanCount":126,"manualWeight":42,"mainColor":43},214738,"hua-hui-ce-4-yun-shou-ping-214738","花卉册-4",[25,26,27,28,30,157,29,121,204,32,146,205],"玉兰","红花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F326abb94d57aaaefc22233506e6e8c26.jpg",[],1350,{"id":210,"slug":211,"title":212,"dynasty":8,"author":7,"museum":131,"description":213,"tags":214,"thumbUrl":216,"material":55,"size":217,"collection":38,"collections":218,"showCount":219,"zanCount":88,"manualWeight":42,"mainColor":43},233901,"hua-hui-shan-shui-ce-yun-shou-ping-233901","花卉山水册","恽寿平（1633-1690年），初名格，后以字行，又字正叔，别号南田，一号白云外史、云溪外史、东园客、巢枫客、草衣生、横山樵者。江苏武进人。清代著名画家。与“四王”、吴历并称“清初六大家”。其父恽日初诗文杰出，为“复社”中人。叔父恽向（道生）为著名山水画家，自创一派。恽寿平是清朝初期最享盛名的花鸟画家。其画作多写生，人称“写生正派”；更以徐崇嗣为宗，兼取各家之长，极大的发展了没骨画。所画花卉，很少勾勒，以水墨着色渲染，用笔含蓄，画法工整，明丽简洁，天趣盎然。恽寿平不仅画作出众，风格独具，而且兼工诗书，题句清丽流畅，诗格脱俗超逸，为“昆陵六逸”之冠。恽南田《山水花卉册》八帧，其中包括山水，花鸟及情景兼容的人物，攘括了恽南田所有的画种。画中有退耕堂藏印。退耕堂为徐世昌的室名。\n恽寿平一生坎坷，饱经困苦，他幼年聪颖玲利，遭遇战乱，与兄皆被俘，与父亲失散，后遇灵隐寺方丈相救，才得以与家人团聚，归家后，发奋读书学画。经刻苦钻研，于古文、诗词、书画无不精擅。他崇尚气节，誓不应科举，少时的忧患，留下深深的创痛，一生未尝忘情。却在绘画上取得了很高的成就；恽南田曾致书王（翚）说：“格于山水，终难打破一字关，曰‘窘’，良由为古人规矩法度所束缚耳。”又说：“君独步矣！吾不为第二手也”。于是恽寿平转攻花鸟，以后山水不过偶而为之。可见其艺术抱负。《山水花卉册》中的山水，取黄公望笔法，于荒率中见秀润，尖毫勾皴，浓墨点树、高旷清淡，浸润宋元诸家，吸取王蒙、二米等人之长，渐脱刻极。40岁左右作品最为精采，如43岁的《山水花鸟册》，技法灵活多变，表达各家风貌准确，艺术已臻成熟。他的花鸟画成就最为突出，取法徐崇嗣的没骨法，他的没骨花卉，揉合了黄（筌）、徐（熙）两派技法，既重视写生，力求形似，“每画一花，必折是花插之瓶中，极力描摹，得其生香活色而后已。”又强调“与花传神”。力去华靡，追求“ 澹雅”。此册中的花鸟更是形神兼备，清新淡雅，具有新的风貌。",[26,27,30,29,31,121,215,109],"柳枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10aa5773f16fa6bd4dd6b950a442d3b2.jpg","纵32.5厘米，横25.5厘米",[38],1349,{"id":221,"slug":222,"title":223,"dynasty":8,"author":7,"museum":22,"description":23,"tags":224,"thumbUrl":226,"material":36,"size":37,"collection":55,"collections":227,"showCount":228,"zanCount":229,"manualWeight":42,"mainColor":43},214702,"chun-hua-tu-ba-kai-7-yun-shou-ping-214702","春花图八开-7",[25,26,27,28,30,29,31,183,225,109],"叶片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2389e1ac2ceb12e7d4b9e1c738856ee3.jpg",[],1232,10,{"id":231,"slug":232,"title":233,"dynasty":8,"author":7,"museum":48,"description":49,"tags":234,"thumbUrl":237,"material":36,"size":55,"collection":55,"collections":238,"showCount":239,"zanCount":240,"manualWeight":42,"mainColor":43},214734,"hua-hui-ce-6-yun-shou-ping-214734","花卉册-6",[25,26,27,66,28,30,29,31,32,235,157,236,82],"石头","草本植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa6add9c0b73e67c0dfd0de7e7d098a1.jpg",[],1228,5,{"id":242,"slug":243,"title":244,"dynasty":8,"author":7,"museum":63,"description":245,"tags":246,"thumbUrl":248,"material":29,"size":249,"collection":38,"collections":250,"showCount":251,"zanCount":5,"manualWeight":42,"mainColor":43},220990,"mu-dan-tu-yun-shou-ping-220990","牡丹图","恽寿平（1633年－1690年），初名格，字寿平，改字正叔，号南田，又号云溪外史、白云外史，武进（今江苏常州）人，清代画家。\n恽寿平生于明崇祯六年（1633年），父恽日初为复社要人。寿平八岁能咏莲，少年遭遇战乱，随父参加抗清运动，兵败后与父失散，被总督陈锦之妻收留。陈锦遇刺身亡，寿平扶灵北归时，在灵隐寺与父相遇，留寺为僧，后回乡与家人团聚。\n子恽念祖，娶西营汤氏，汤谟孙女、汤自明次女。\n生前视钱如无物，晚年贫病交迫，卒于清康熙二十九年（1690年），由好友王翚出资安葬。",[25,26,27,31,29,30,67,32,247,109],"题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b5f207c857db2c2b1912c82d5800ded.jpg","纵28.5公分 横43公分",[38,72],1162,{"id":253,"slug":254,"title":255,"dynasty":8,"author":7,"museum":256,"description":257,"tags":258,"thumbUrl":264,"material":69,"size":265,"collection":38,"collections":266,"showCount":267,"zanCount":174,"manualWeight":42,"mainColor":268},216110,"yun-shou-ping-hua-guo-shu-cai-ce-ye-yun-shou-ping-216110","恽寿平花果蔬菜册页","天津博物馆","恽寿平花果蔬菜册页一共六开，绢本设色，以没骨写意画法依次描写了丝瓜、竹笋、竹子、葡萄、茄子、扁豆、白菜、芋头等日常蔬果，笔致灵动、色调雅致清新，描写入微，蔬果的叶尖、芽尖也刻画细致生动，尽显淡然天真之气，是恽寿平晚年描绘蔬果的没骨精品。 此册页每一页所绘蔬果都有刘墉相应赋诗一首，书法浑厚大气，古朴自然，自成一派，看似松散，实则丰貌骨劲。刘墉所描写蔬果诗文生动质朴，贴近生活，与恽寿平描绘的蔬果相应成趣，极大增加了观赏趣味。",[66,26,27,28,259,82,29,31,260,261,262,95,96,263],"白描","蔬菜","花果","丝瓜","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2ff8d0ecdcd63604674ff7f8ad8ac1b.jpg","26.1x19.9cm",[38],1136,"795548",{"id":270,"slug":271,"title":272,"dynasty":8,"author":7,"museum":48,"description":49,"tags":273,"thumbUrl":278,"material":36,"size":55,"collection":55,"collections":279,"showCount":280,"zanCount":281,"manualWeight":42,"mainColor":43},214740,"hua-hui-ce-3-yun-shou-ping-214740","花卉册-3",[25,26,27,28,30,29,31,67,274,275,276,277,32],"岩石","腊梅","山茶","松枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c927f31d42dd0d26109d43256054d1e.jpg",[],1110,3,{"id":283,"slug":284,"title":285,"dynasty":8,"author":7,"museum":48,"description":49,"tags":286,"thumbUrl":289,"material":36,"size":55,"collection":55,"collections":290,"showCount":291,"zanCount":292,"manualWeight":42,"mainColor":43},214736,"hua-hui-ce-5-yun-shou-ping-214736","花卉册-5",[25,26,27,28,30,29,32,67,121,287,288,66],"丁香","清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab8c1fc721132cfdc39d78db2f67e138.jpg",[],1106,4,{"id":294,"slug":295,"title":296,"dynasty":8,"author":7,"museum":22,"description":23,"tags":297,"thumbUrl":299,"material":36,"size":37,"collection":55,"collections":300,"showCount":301,"zanCount":174,"manualWeight":42,"mainColor":43},214706,"chun-hua-tu-ba-kai-6-yun-shou-ping-214706","春花图八开-6",[25,26,27,66,28,30,29,31,94,298,122],"叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0a989ce46045ab5e8868995eea818ba.jpg",[],1054,{"id":303,"slug":304,"title":305,"dynasty":8,"author":7,"museum":306,"description":307,"tags":308,"thumbUrl":310,"material":311,"size":312,"collection":38,"collections":313,"showCount":314,"zanCount":315,"manualWeight":42,"mainColor":43},220996,"hua-hui-tu-ce-li-hua-yun-shou-ping-220996","花卉图册·梨花","美国纳尔逊阿特金斯艺术博物馆","《花卉图册》绘有荷花、梨花、水仙、桃花、山矾、罂粟、茶蘼、金萱石榴、牵牛、双凤、桂枝及雁来红等十二种花。画用新没骨法，不用墨线钩勒，而直接着色点染而成。点色的用笔很洒脱、飘逸。十二种花，各具姿色。色彩艳而不俗，色调的表情是清丽和冷艳，在秀雅之中含有一种凛然难犯的韵味。画册中，作者或题名或赋诗，那秀劲古逸、和婉密丽的书体，与这种艳雅的画风相结合，相得益彰，更具魅力。该图册是恽寿平绘画中的精品。\n恽寿平（1633—1690），初名格，字寿平，号南田，武进（江苏常州）人。其诗格超逸，书法遒劲，擅长山水画，尤精没骨花卉画，画笔生动。",[25,26,27,66,28,30,29,31,309,146,109],"梨花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5ced6b3440393ea70433c90398c4a22.jpg","纸本 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