[{"data":1,"prerenderedAt":56},["ShallowReactive",2],{"artwork-hua-niao-kun-chong-ce-zhou-quan-237173":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":24,"material":25,"size":26,"collection":26,"collections":27,"showCount":28,"zanCount":29,"manualWeight":29,"mainColor":30,"tagLinks":31},237173,"hua-niao-kun-chong-ce-zhou-quan-237173","花鸟昆虫册","清","周铨","北京故宫博物院","沈铨 （1682—1760），字衡之，号南苹，其画远师黄筌画派，近承明代吕纪，工写花卉翎毛、走兽，以精密妍丽见长，也擅长画仕女。设色妍丽，工致精丽、赋色浓艳，极尽构梁之巧。画人物得不传之秘。注重写实，画风谨严工细，造型准确生动。尝写《花蕊夫人宫词》为图，笔意殊极巧妙。\n雍正九年（1731）沈铨应日本天皇之聘，偕弟子郑培、高钧等东渡日本，历时3年，形成“南苹派”写生画，深受日人推崇，被称为“舶来画家第一”，从习画者颇多，日本江户时代长崎画派即在其影响下形成，尤以圆山应举最为著名。归得金帛散给友朋，橐仍萧然。\n沈铨归国后声誉大震，传至京城，朝廷便下旨命沈铨作画上贡，乾隆7年作《花蕊夫人宫词意》受到好评，除此，沈铨还陆续为宫廷作吉祥寓意之画，由此沈铨及弟子童衡在中国画史上被称为宫廷画家，沈铨晚年寄居于苏州，孜孜不倦地致力于书画艺术之研究，在乾隆27年81岁的沈铨还能作《花鸟图》。1762年沈铨逝世后，从子沈天骧进新市南频府，守孝三年，继承画业，唯一入室弟子童衡离开沈宅到新市明因寺为僧，闲余作画终身。沈铨把一生献给了绘画事业，在继承院体派传统的基础上，独创了强大的南苹画派，在当时的江南独树一帜，有诗予以很高的评价“江南高手谁第一，吴兴沈生世无匹”。",[12,13,14,15,16,17,18,19,20,21,22,23],"国画","设色","工笔","册","花鸟","昆虫","荷花","水草","花卉","青蛙","飞虫","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b915bd9e6b1e382e63b7c2f445a81be.jpg","纸本，设色","",[],13,0,"BDBDBD",[32,34,36,38,40,42,44,46,48,50,52,54],{"name":12,"slug":33},"guo-hua",{"name":13,"slug":35},"she-se",{"name":14,"slug":37},"gong-bi",{"name":15,"slug":39},"ce",{"name":16,"slug":41},"hua-niao",{"name":17,"slug":43},"kun-chong",{"name":18,"slug":45},"he-hua",{"name":19,"slug":47},"shui-cao",{"name":20,"slug":49},"hua-hui",{"name":21,"slug":51},"qing-wa",{"name":22,"slug":53},"fei-chong",{"name":23,"slug":55},"yin-zhang",1777535425521]