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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。",[24,25,84,27,85,86,7],"册","没骨","蔬菜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4f5f53e977e7efc527a9d38d0124d37.jpg","绢本,设色","26.1x19.9cm",[],137,"795548",{"id":94,"slug":95,"title":96,"dynasty":79,"author":97,"museum":98,"description":99,"tags":100,"thumbUrl":113,"material":72,"size":72,"collection":72,"collections":114,"showCount":115,"zanCount":116,"manualWeight":11,"mainColor":52},228930,"shu-guo-tu-gu-luo-228930","蔬果图","顾洛","藏地不详","此作用长卷铺陈出满幅鲜活意趣，以工笔淡彩晕染描摹，设色清妍雅致。枝蔓果蔬次第绵延，宛如将乡野生机尽数铺展于素纸之上。石榴裂瓣露籽，饱满鲜活；水蜜桃色泽娇嫩，肌理宛然，各类蔬果皆刻画入微，菜叶舒展自然，浆果晶莹饱满，连蒜叶、菜根都写实生动，将日常烟火里的瓜果蔬蔬，赋予了文人画的隽雅格调，把清蔬佳果的鲜活生命力淋漓尽致地呈现，于平实间尽显雅致意韵。",[23,24,63,62,26,32,101,102,103,104,67,105,106,107,7,38,108,109,110,111,112],"石榴","草莓","桃子","梨","茄子","玉米","豆角","梅子","桑葚","栗子","叶子","枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaf3cd4ae119b84b1a3922ca91fd46c7.jpg",[],122,1,{"id":118,"slug":119,"title":120,"dynasty":18,"author":19,"museum":121,"description":122,"tags":123,"thumbUrl":133,"material":134,"size":135,"collection":136,"collections":137,"showCount":139,"zanCount":140,"manualWeight":11,"mainColor":52},221500,"shui-mo-xie-sheng-tu-mu-xi-221500","水墨写生图","北京故宫博物院","法常的绘画，有不少取材于平时人们司空见惯的日常生活，但独能于平淡天真之中揭示生命意识的真谛。此卷所绘折枝花果、禽鸟、鱼虾及蔬果，笔墨简淡，平平常常，在画幅上随随便便地摆放在一起，看来就是最为常见的与我们现实生活息息相关的景象，但是卷中墨色的氤氲、排列的错综、变化的神奇，却又分明深蕴着禅机。这些平常物象的背后是不着笔墨的大片空白，这种“知白守黑”、“计白当黑”的处理，使得画面中本不相关联的事物各自相对独立又可合而为一，画意更为完整而富于张力，给观者以想象的空间，正所谓“于无画处皆成妙境”。整幅作品充满着一种宁静、自省、淡泊的内在精神，使观者有“万物静观皆自得”的会心感受，耐人寻味。牧溪的绘画，写生功底极深，此幅亦是“肖似形类，并得其意”（项元汴语）的形神兼备之作。\n沈周卷后题识称：“不施色彩，任意潑墨，儼然若生。回視黃筌、舜舉之流，風斯下矣。”本幅无作者款印，沈周定为“真宋物也”。徐邦达先生认为，沈周题跋中“牧”字有挖改痕迹，是“似牧非牧之画”。",[23,24,124,25,26,27,28,29,30,32,125,36,126,127,37,128,129,38,7,130,31,131,132,111],"名画","水族","虾","蟹","燕子","麻雀","荷花","植物","水草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facf031a51ea46b7afc61efea8475b520.jpg","纸本","纵47.3厘米，横814．1厘米","宋画精选",[136,48,138],"水墨画精选",106,2,{"id":142,"slug":143,"title":144,"dynasty":145,"author":146,"museum":20,"description":147,"tags":148,"thumbUrl":149,"material":88,"size":150,"collection":151,"collections":152,"showCount":153,"zanCount":140,"manualWeight":11,"mainColor":92},218779,"wu-shu-tu-qian-xuan-218779","五蔬图","元","钱选","数丛蔬果错落铺陈，叶片舒展如翠羽轻振，或浓墨点染见苍劲，或淡彩晕开显清柔，脉络隐现间藏着盎然生趣。茎秆以细笔勾勒，挺拔中带几分随性，似能嗅到泥土里的清芬气息。文人之笔写寻常风物，让不起眼的蔬食脱去尘俗，生出雅致姿态——无浓艳设色，浅淡晕染里见笔墨细腻；无繁复构图，疏朗排布中透田园闲静。寻常蔬果化作案上清供，藏着古人对生活本真的热爱，对平淡之美的珍视，笔端流转的，是烟火气里的诗意与从容。",[23,124,24,25,26,62,63,86,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe270b6d6f8ab98ce45b7b1bbffeb8e54.jpg","70.77x129.68","设色画精选",[151],82,{"id":155,"slug":156,"title":157,"dynasty":79,"author":158,"museum":98,"description":159,"tags":160,"thumbUrl":165,"material":72,"size":72,"collection":72,"collections":166,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":52},234227,"hua-guo-juan-zhu-da-234227","花果卷","朱耷","清代初期的中国画坛活跃着弘仁、髡残、朱耷、石涛四位僧人画家，画史上合称“四僧”。他们的绘画在继承传统的基础上，大胆创新，主张师法自然造化，与当时画坛正统风格相距甚远，具有鲜明的艺术风格。在这四人当中尤以朱耷的人生与艺术最具传奇色彩。\n朱耷（1626—1705），江西南昌人，为明江西宁献王朱权的九世孙。明亡后出家为僧，法名传綮，曾经使用的号有很多，最为著名的则是在他弃僧还俗后使用的“八大山人”。",[23,24,25,26,27,29,161,39,7,162,101,163,30,32,164,66],"行书","佛手","梅花","题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd794f3dd4ca89c61b435218135cfad42.jpg",[],68,{"id":169,"slug":170,"title":171,"dynasty":172,"author":173,"museum":174,"description":175,"tags":176,"thumbUrl":178,"material":46,"size":179,"collection":72,"collections":180,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":52},214627,"hua-hui-ce-16-chen-chun-214627","花卉册-16","明","陈淳","上海博物馆","陈淳（1483—1544），字道复,后以字行,更字复甫,号白阳,又号白阳山人，江苏苏州人。曾从文徵明学画，但是不拘于师法，山水、花卉自具门径。花卉善写意，淡墨浅色，生动有致。与徐渭并称“青藤白阳”，代表明中期水墨写意花鸟画的新格调，是吴门画派的代表画家。\n用笔简洁，笔势潇洒，行笔迅疾，许多花卉草虫仅用深浅浓淡的不同墨色，却能完整地表达出物象的形状及立体效果，富有生意，具有强烈的笔墨情趣。",[24,27,29,84,31,7,177],"草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84bb14fac9bc80e3378b9dace3eb0549.jpg","纵28 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青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[24,25,64,27,86,7,65,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F882a6819adf61af2379967113415c814.jpg","92.3x31.7",[],28,{"id":227,"slug":228,"title":229,"dynasty":79,"author":230,"museum":98,"description":231,"tags":232,"thumbUrl":233,"material":72,"size":72,"collection":48,"collections":234,"showCount":235,"zanCount":116,"manualWeight":11,"mainColor":52},224297,"hua-hui-shi-er-kai-ce-li-shan-224297","花卉十二开册","李鱓","此画取材寻常蔬食，笔意写意疏朗。茼蒿茎叶以淡绿晕染，线条舒展灵动，尽显菜叶柔润鲜活之态；生姜皴擦朴拙，还原肌理质感，红辣椒设色鲜亮醒目，点亮画面。\n\n搭配题诗与蔬果相映成趣，以日常食材寄寓情志，将烟火清欢融入文人雅趣之中。淡朴的市井风物化作笔下意趣，不见雕琢之迹，尽显冲淡天真的笔墨意韵，于寻常日常里，勾勒出文人画以物明心的雅致情致。",[23,24,25,84,62,161,66,29,7,67,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ad80d7081dfe9a6e575a0b565504dc3.jpg",[48],22,{"id":237,"slug":238,"title":239,"dynasty":79,"author":240,"museum":98,"description":241,"tags":242,"thumbUrl":243,"material":72,"size":72,"collection":72,"collections":244,"showCount":245,"zanCount":11,"manualWeight":11,"mainColor":52},235911,"yuan-ji-mo-bai-cai-tu-ye-yi-ming-235911","原济墨白菜图页","佚名","此作用水墨写意落笔，以浓淡墨色铺陈菜叶层次，叶片舒张宛然如生，运笔放逸洒脱，墨晕间尽显菜叶鲜嫩蓬松的质感，留白勾勒叶脉肌理，将白菜蓬勃生机尽显无余。下方以淡墨点缀野菜杂草，简淡写意，与主体虚实相映，画面疏密得宜。全幅未施丹青，纯以水墨造势，将寻常菜蔬赋予清雅意趣，暗含清蔬寄怀的文人襟怀，于朴素物象间寄托超脱世俗的审美追求，尽显水墨小品极简雅致的意韵，是借日常风物抒怀的写意佳作。",[24,25,27,66,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6ea26e2ceab68f8b07f7638d0369fc1.jpg",[],17,{"id":247,"slug":248,"title":195,"dynasty":172,"author":196,"museum":121,"description":249,"tags":250,"thumbUrl":254,"material":134,"size":255,"collection":72,"collections":256,"showCount":257,"zanCount":11,"manualWeight":11,"mainColor":52},233216,"xin-yi-mo-cai-tu-juan-shen-zhou-233216","第一段：此幅采用没骨法绘折枝辛夷，以苍秀古拙之笔画花卉枝干，以不同水分的色墨画出花瓣叶片，色泽浓淡分明，层次丰富，再用重墨劲细之笔勾画叶筋。构图疏密有致，设色清妍秀雅，富于蕴蓄之致。\u2028　　第二段：画中运用干笔的飞白、水墨的渲染和重笔浓墨的点写将一棵普普通通的白菜表现得栩栩如生。此画突出了书法用笔的特点，粗放率意，转折自然，用墨亦变化多端，颇具逸致，天趣盎然。",[24,26,27,62,29,251,30,199,7,252,253,66],"文人画","枝叶","花苞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d7e94e8db94371a03e84ca9826f8650.jpg","纵34.9厘米，横58.8厘米",[],14,{"id":259,"slug":260,"title":261,"dynasty":79,"author":240,"museum":98,"description":262,"tags":263,"thumbUrl":268,"material":269,"size":270,"collection":72,"collections":271,"showCount":272,"zanCount":11,"manualWeight":11,"mainColor":92},229380,"cui-yu-bai-cai-yi-ming-229380","翠玉白菜","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 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