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“嘉靖庚子” 陈淳应为58岁，此作亦为其是画风成熟之作。从其题跋可以得知陈淳游历数月，画作颇丰，认为此作为“草本”，可见其自觉并无刻意求工，描写大略而已。\n卷尾文彭题曰：“赵昌王友已无伦，更学徐熙更逼真。意到不论颜色似，笔端原有四时春。阅白阳杂花漫题。文彭。”充分体现了吴门花鸟画的文人雅趣，“意到不论颜色似”概括了文人写意的特征，而“漫题”也体现了题咏者的状态，反映出文人书画家的共同气质特点与审美追求。\n文人王穉登的题跋则突出了对陈淳花卉写生推崇与称赞。“写生贵在约略点染，天真烂如。不当以分葩计蕊为似，重丹叠翠为工。观此册陈道复先生所作，粉墨萧闲，意象自足，所谓千金骏骨，识者求之牝牡骊黄之外可也。”此段题跋强调了陈淳花卉写生最主要的特点，即约略点染，不求工细，而意象自足。\n卷尾的金农长跋也对陈淳“行笔绝无时蹊，设色亦未敷采炫目，画以意似而非以形似也”的风格进行梳理，论述了写意书写的源流。但这段题跋存在一些问题。其一，通篇书体较为拘谨，特别是每行末字，刻意缩减对齐，非常局促。其二，“后世临写纷纷，徒劳豪楮”中“豪”应为“毫”之误。此出自大文人之手，有些牵强。其三，“此册九叶，花草凡七，间以山水两帧。”所述并非此册，极有可能是将他处题跋移接此处所致。所以这段金农题字不足以为据，至于真伪原由的评断，是另外的话题。本文主要论及陈淳花卉写生的艺术特点，就不将此段金农的论述作为讨论的依据了。\n变化生动自然，是陈淳花卉写生的代表作。如果将此册置于陈淳传世花鸟画作品中做一纵向比对，可以发现其共性的特征集中体现在这件作品中，同时，这件作品还有一些不同于其他作品的独到之处，都统一在率意自足的书写风格之中。所以这件陈淳绘画风格成熟期的作品，总体来看，体现了陈淳如下几个方面的鲜明的艺术特点。",[23,24,25,30,269,27,204,31,7,293,62],"花叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdcd1dfcc3d68a8385963786e0c07ab3.jpg","纸本设色","32.5×57.3厘米",[],43,{"id":300,"slug":301,"title":302,"dynasty":89,"author":303,"museum":141,"description":304,"tags":305,"thumbUrl":306,"material":307,"size":308,"collection":47,"collections":309,"showCount":311,"zanCount":11,"manualWeight":11,"mainColor":70},221722,"san-hua-tu-juan-zhao-zhong-221722","三花图卷","赵衷","赵衷，元代画家。生卒年不详，主要活动于元至正年间。字原初，号东吴野人，嘉兴（今浙江嘉兴）人，一作吴江（今江苏吴江）人。世本业医，能篆、隶，善画白描人物。山水、花卉，无所不能，有白描兰亭图。至正元年（一三四一）作墨花图。《书史会要、石渠宝笈、唐五代宋元名画选》",[23,24,25,26,205,204,30,32,38,7,206,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250f7b82e15859ba7790be28f7ad50c3.jpg","纸本","30x50.1cm",[47,310],"水墨画精选",38,{"id":313,"slug":314,"title":315,"dynasty":171,"author":316,"museum":141,"description":317,"tags":318,"thumbUrl":319,"material":66,"size":66,"collection":66,"collections":320,"showCount":321,"zanCount":11,"manualWeight":11,"mainColor":105},228314,"hua-shi-tu-lu-zhi-228314","花石图","陆治","这幅作品错落铺陈花木湖石，右上角山茶花艳红似火，苍劲枝干蟠曲舒展，尽显盛放热烈。中段蜀葵柔白清雅，叶片肥润舒展，与青绿晕染的玲珑湖石相映成趣，湖石皴染细腻，通灵剔透，将花姿衬得愈发娇妍。下方萱草抽茎舒瓣，柔姿轻曳，添了幽婉闲静之致。\n\n画作工写兼施，设色明秀雅致又层次丰盈，把草木的鲜活生机与湖石的沉静古雅相融，既兼具院体花鸟的写实细腻，又饱含文人画的秀逸格调，将仲夏庭间的鲜活雅致凝于绢素，一花一叶皆可见对自然意趣的细致体察。",[23,24,93,144,27,29,96,32,36,7,31,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff21574bc48e709759518e5032841160b.jpg",[],27,{"id":323,"slug":324,"title":325,"dynasty":18,"author":156,"museum":141,"description":326,"tags":327,"thumbUrl":330,"material":66,"size":66,"collection":66,"collections":331,"showCount":332,"zanCount":11,"manualWeight":11,"mainColor":70},224588,"mo-song-yuan-hua-liu-xia-xiong-ji-zhou-zou-yi-gui-224588","橅宋苑画榴下雄鸡轴","此作用色明妍雅致，雄鸡独立石上，红冠华羽，昂首睨视，尽显轩昂神气。榴花似火缀于枝桠，与素白百合、娇柔萱花相映，浓烈与清柔交织，层次丰盈。灵透湖石立旁，皴秀古雅，衬得花木禽鸟更见鲜活生机。\n\n工笔绘就却无板滞之感，禽鸟羽毛晕染细腻毫微，花枝俯仰有情，尽显精工雅致。搭配题诗，将雄鸡傲岸品格融于笔端，物性文思相合，构图疏密得宜，静雅鲜活相融，铺展出祥瑞清和的悠然意境，尽显雅致雍容的花鸟意趣。",[23,24,25,144,29,27,30,160,328,7,329,159],"石榴花","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c4db89d3a16251c308996ad3f0f3d35.jpg",[],25,{"id":334,"slug":335,"title":336,"dynasty":171,"author":337,"museum":141,"description":338,"tags":339,"thumbUrl":340,"material":208,"size":209,"collection":66,"collections":341,"showCount":342,"zanCount":248,"manualWeight":11,"mainColor":70},235723,"hua-niao-ce-tan-zhi-yi-235723","花鸟册","谈志伊","谈志伊，字公望，号学山，一字思重，无锡人，明代画家。",[93,24,25,60,204,30,7,78,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F754d533672d348e12400db586ea98fde.jpg",[],24,{"id":344,"slug":345,"title":346,"dynasty":89,"author":90,"museum":75,"description":347,"tags":348,"thumbUrl":350,"material":208,"size":209,"collection":66,"collections":351,"showCount":352,"zanCount":11,"manualWeight":11,"mainColor":105},291025,"hua-niao-zhou-yi-ming-291025","花鸟轴","锦鸡一对，游于花石间，另燕鹊各有一对，点缀著画面。锦鸡的羽毛鲜姘夺目，与盛开的花朵相互辉映。使得画面更显得色彩缤纷，华贵富丽。花、鸟的用笔相当工细，有秀雅的气质。叶面的填色，似较草率，已有多处糢糊或脱落。",[24,144,30,29,27,98,349,31,7,96],"雉鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dc0af266237c1c204632960c1c6e023.jpg",[],21,{"id":354,"slug":355,"title":356,"dynasty":357,"author":358,"museum":141,"description":359,"tags":360,"thumbUrl":362,"material":208,"size":209,"collection":66,"collections":363,"showCount":364,"zanCount":11,"manualWeight":11,"mainColor":70},230591,"su-miao-7-da-fen-qi-230591","素描 7","不详","达芬奇","列奥纳多·达·芬奇［意大利语：Leonardo da Vinci；儒略历1452年4月15日（公历4月23日）~1519年5月2日］。意大利文艺复兴画家、科学家、发明家。 现代学者称他为“文艺复兴时期最完美的代表”，是人类历史上绝无仅有的全才，其最大的成就是绘画，他的杰作《蒙娜丽莎》和《最后的晚餐》等作品，体现了他精湛的艺术造诣。\n达·芬奇思想深邃，学识渊博、擅长绘画、雕刻、发明、建筑，通晓数学、生物学、物理学、天文学、地质学等学科 。保存下来的手稿大约有6000页。达·芬奇认为自然中最美的研究对象是人体，人体是大自然的奇妙之作品，画家应以人为绘画对象的核心。\n达·芬奇生于托斯卡纳的芬奇镇附近。他在少年时已显露艺术天赋，15岁左右到佛罗伦萨拜师学艺，成长为具有科学素养的画家、雕刻家。并成为军事工程师和建筑师。 1482年应聘到米兰后，在贵族宫廷中进行创作和研究活动，1513年起漂泊于罗马和佛罗伦萨等地。1516年侨居法国，1519年5月2日病逝。\n2021年7月9日，达·芬奇素描《熊的头部》在伦敦佳士得以885.75万英镑，约合8000万元人民币的价格成交，创下达·芬奇素描画新的拍卖纪录",[361,205,31,7],"素描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f052907daa34483b9290ae1f0880f8c.jpg",[],19,{"id":366,"slug":367,"title":368,"dynasty":18,"author":369,"museum":141,"description":370,"tags":371,"thumbUrl":372,"material":208,"size":209,"collection":66,"collections":373,"showCount":374,"zanCount":11,"manualWeight":11,"mainColor":70},238403,"xuan-jin-lu-fang-tu-ce-dong-gao-238403","绚锦胪芳图册","董诰","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），首席军机大臣，上书房总师傅，钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，赠太傅，赐谥号文恭，入祀贤良祠。嘉庆亲写哀诗“只有文章传子侄，绝无货币置田庄”，并亲自拨款建立“董公祠”。",[24,25,60,29,27,30,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49226f025b9c8fe5dd96be3c4ad09bed.jpg",[],15,{"id":376,"slug":377,"title":378,"dynasty":18,"author":379,"museum":141,"description":380,"tags":381,"thumbUrl":386,"material":66,"size":66,"collection":66,"collections":387,"showCount":374,"zanCount":11,"manualWeight":11,"mainColor":70},234117,"hua-guo-juan-yuan-jiang-234117","花果卷","袁江","清代康熙至乾隆时期，我国东南的扬州地区，由于商品经济的发展，涌现出了一批追求个性解放，锐意创新的画家群体，这就是画史上称之“扬州画派”，或曰“扬州八怪”。在这个画派中，除了拥有人数众多名震画坛的山水、花鸟和人物画家之外，还出现了一批界画作家，如李寅，颇峰、袁江、袁帽，颇岳等，而袁江、袁耀则是这批楼阁界画的佼佼者，他们成就最大，名望最高，把我国传统的界画技法发展到了一个新的高度，并对后世产生了深远的影响。\n关于袁江的生卒，由于画史无记载，我们只能在袁氏的作品中寻找。据笔者所知，袁江现存最早有纪年的作品是画于康熙三十二年(公元1693年)，最晚的作品画于乾隆八年(公元1743年)，学者以此推测他大约生于康熙十年(公元1671年)前后，卒于乾隆八年，或稍后一、二年之内。他早年生活在“千家养女先教曲，十里栽花算种田”，“夜桥灯火连星汉，水郭帆樯近斗牛”的繁华城市扬州，以后他又到过江宁(今江苏南京)、会稽(今浙江绍兴)。又根据袁江《花鸟图》二幅(藏故宫博物院)的署款“癸卯二月古榕袁江画”，他可能还到过福州，因为“榕”是福州市的别称。又据袁江传世真迹《瞻园图》判断，袁江可能还在南京生活过一段时间，\n因为瞻园是明太祖朱元璋的大将徐达的府第，(位于南京市)。雍正二年(公元1724年)，他北上抵京师(北京)作画，郭味蕖记载他在画中的自题：“在燕台作此图”就是佐证。大至到了晚年，袁江又回到家乡扬州，从他署有年款的“邗上袁江”的大量作品看就能证明这一点，因“邗”即今名的扬州市，(见《左传·哀》九年：“秋，吴城邗，沟通江淮”)。谈到袁江山水楼阁画的师承，文献记载极少，李斗《扬州画舫录》说他“初学仇十洲”，面仇英之画，近师周臣，远“摹唐来人之画，皆能夺真”，由此推之，袁江的画上溯可至唐代的李思训、李昭道父子以及赵伯驹和赵伯骑兄弟。袁江工整细致，设色浓丽的楼阁界画风格，确有仇英的遗韵。又据《画人补遗》记载：“中年得无名氏所临古人画稿”，这“无名氏”又是谁?学术界说法不一，而据有的学者推测，它应该是来人名迹，因为从袁江的山水画中，可以看出有北宋范宽，郭熙，李成、阎次平以及南宋的马远、夏圭等人的画法和遗风。在经营位置上，他又吸收了元明以来山水画的长处，予以融合变化，形成自己的特色。他学“院体”，但又脱去院画中纤弱之笔和艳俗之弊，变为凝炼厚重、工致妍美、艳而不俗的风格。袁江的楼阁界画，更是继承了唐李思训父子，宋赵伯驹兄弟和郭熙以来界画的传统以及元代王振鹏等楼阁画用笔严谨．精雕细刻的画风，并加以发扬光大。",[24,25,93,26,27,204,29,30,382,383,34,32,37,36,38,7,175,176,384,33,385,31,132,62],"桃子","西瓜","竹","果实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18aa0380b6630459be1fef1dc09c8650.jpg",[],{"id":389,"slug":390,"title":391,"dynasty":357,"author":392,"museum":141,"description":393,"tags":394,"thumbUrl":398,"material":208,"size":209,"collection":66,"collections":399,"showCount":400,"zanCount":11,"manualWeight":11,"mainColor":70},231745,"jiang-hu-shi-dai-xia-qiu-cao-tu-ping-feng-xia-fen-jiu-jing-bao-yi-231745","江户时代 夏秋草图屏风-夏分","酒井抱一","日本画家的的琳派。他以复兴绪方光琳的风格和流行而闻名，并创作了光琳作品的许多复制品。",[23,395,27,29,396,30,146,7,95,244,397],"浮世绘","屏风","绿叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb548c61cf45af09f8adccf27384be288.jpg",[],14,{"id":402,"slug":403,"title":404,"dynasty":171,"author":266,"museum":141,"description":405,"tags":406,"thumbUrl":408,"material":208,"size":209,"collection":66,"collections":409,"showCount":410,"zanCount":11,"manualWeight":11,"mainColor":70},290506,"duan-yang-jing-zhou-chen-jia-yan-290506","端阳景轴","陈嘉言（1538～？）字孔彰，浙江嘉兴人。善写花卉翎毛。",[24,25,144,27,30,96,7,145,33,62,407],"端阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda7058ae7dbad931a1e56864cfa4bdd3.jpg",[],9,{"id":412,"slug":413,"title":414,"dynasty":18,"author":140,"museum":57,"description":415,"tags":416,"thumbUrl":418,"material":66,"size":66,"collection":66,"collections":419,"showCount":197,"zanCount":11,"manualWeight":11,"mainColor":420},202446,"si-ji-hua-hui-juan-ma-quan-202446","四季花卉卷","画卷铺展四季花卉，次第鲜活，生机满溢。工笔细勾花叶脉络，线条柔婉流畅；设色雅致明丽，红妍如丹、白洁似雪，晕染细腻自然。牵牛花藤蔓缠绕，百合清雅吐芳，芙蓉娇态毕现，月季绰约多姿，各花形态逼真，栩栩如生。每簇花卉旁题跋相伴，诗画交融，印章点缀，尽显文人雅趣。整卷布局疏朗有致，诗书画印合一，是清代工笔花鸟的精品，凝聚着对自然生机的咏叹与文人审美意趣。",[29,27,30,26,417,7,36,37,32,62,23],"牵牛花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ba6b19b1b3b5a90691397f4096afcf2.jpg",[],"000000",{"id":422,"slug":423,"title":424,"dynasty":18,"author":425,"museum":141,"description":426,"tags":427,"thumbUrl":428,"material":66,"size":66,"collection":66,"collections":429,"showCount":234,"zanCount":11,"manualWeight":11,"mainColor":70},235571,"hua-hui-ce-fan-ting-zhen-235571","花卉册","范廷镇","此作用淡墨晕染湖石，枯笔点苔，虚实相生间尽显嶙峋古拙。萱花以细劲墨线勾勒瓣形，淡墨轻敷花萼，柔婉舒展，尽显绰约清姿。兰叶中锋走笔，笔势秀挺洒脱，自带舒展韵致。\n\n书画合璧，题诗与笔墨相映，文气盎然。整幅小品删繁就简，以水墨写意将花木灵秀之态与文人澹泊襟怀相融，疏朗雅致的格调里尽显传统水墨的写意风神，藏着幽淡出尘的雅趣。",[24,25,60,204,205,96,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1de1a3410bf6f0ba296d0caa3cbde71.jpg",[],{"id":431,"slug":432,"title":433,"dynasty":18,"author":90,"museum":141,"description":434,"tags":435,"thumbUrl":438,"material":208,"size":209,"collection":66,"collections":439,"showCount":248,"zanCount":11,"manualWeight":11,"mainColor":440},270642,"qian-long-kuan-yu-yong-hua-hui-shi-mo-bai-he-mo-yi-ming-270642","乾隆款御咏花卉诗墨-百合墨","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[436,437,206,7],"墨","楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc519771d449464965652acf88c2743d.jpg",[],"37474F",1777535714697]