[{"data":1,"prerenderedAt":302},["ShallowReactive",2],{"subject-bai-lu":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},255,"bai-lu","白鹭","白鹭画高清赏析","精选中国历代白鹭题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbc9d92841bde9cdefb02f4c99c26507.jpg",0,19,[14,40,62,81,96,113,137,147,159,171,184,196,207,224,237,252,263,274,287],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":32,"material":33,"size":34,"collection":35,"collections":36,"showCount":37,"zanCount":38,"manualWeight":11,"mainColor":39},220450,"lian-chi-lin-yu-shan-220450","莲池","民国","林玉山","国立台湾美术馆","这幅《莲池》是民国画家林玉山的工笔花鸟佳作，可从以下几方面鉴赏：\n\n一、技法表现：工笔精谨，写实入微\n林玉山擅长工笔重彩，这幅画以精细工笔技法刻画物象：荷叶的脉络、荷花的瓣层、白鹭的羽毛都被细腻勾勒，线条匀净流畅，尽显工笔“精工细作”的特质；同时融入写实观察，让荷花、荷叶的形态、白鹭的动态都极具自然真实感，体现他“写生入画”的创作理念。\n\n二、构图布局：疏密有致，动静相生\n画面布局繁而不乱：大片荷叶荷花层层叠叠，疏密、虚实对比鲜明；左下角的白鹭成为视觉焦点，以其灵动姿态打破静态莲池的沉寂，形成“静（莲荷）动（白鹭）相生”的节奏，让画面既有满幅的丰富感，又有视觉的呼吸感。\n\n三、色彩格调：典雅和谐，层次丰盈\n采用工笔重彩设色法，背景的暖棕色调与荷叶的蓝绿色调形成雅致对比，荷花的粉白、白鹭的素净又在色彩层次中穿插呼应，既保留了传统工笔的富丽感，又通过色调调和营造出莲池清幽朦胧的氛围，尽显色彩的抒情性。\n\n四、意境与风格：传统意趣与现代写实的融合\n画面营造出“清幽雅致”的田园意境，莲池的静谧、白鹭的灵动，传递出自然生机与文人式的闲逸情致。同时，林玉山将西方写实技法融入传统工笔，既延续了中国花鸟画的装饰美感与意境追求，又以写实观察赋予物象鲜活生命力，是民国时期“传统笔墨现代化”的典型探索，展现了他在工笔花鸟领域“古今融合、中西通汇”的独特风格。\n\n综上，这幅《莲池》以精湛工笔、精妙构图、典雅色彩，勾勒出诗意莲池的生动图景，既是林玉山个人艺术风格的凝练，也折射出民国时期传统绘画在现代转型中的探索与成就。",[23,24,25,26,27,28,29,30,7,31],"高清","国画","书画","工笔","设色","花鸟","荷花","荷叶","水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1ee7c758c3a5d09e9063bab49500b45.jpg","绢","","花鸟精选",[35],1224,18,"BDBDBD",{"id":41,"slug":42,"title":43,"dynasty":44,"author":45,"museum":46,"description":47,"tags":48,"thumbUrl":52,"material":53,"size":54,"collection":55,"collections":56,"showCount":59,"zanCount":60,"manualWeight":11,"mainColor":61},219216,"zhu-ou-tu-cui-bai-219216","竹鸥图","宋","崔白","台北故宫博物院","本幅画翠竹、芦草随风摇曳，水波也起伏荡漾，白鹭一只立于水中，则是放低了姿势，采逆向迎风、涉水而行的姿态，动静之间，形成均衡画幅的力量。幅上虽有崔白二字款，若和院藏崔白的「双喜图」相比较，在刻划花鸟的情态、掌握自然环境中一刹那生动的情景，两者的风味相类；但在用笔方面，崔白的笔墨线条，无论粗细柔劲、浓淡干湿、起伏顿挫，都为表现物象的质感、动态，随物变化。而在「竹鸥图」中，画白鸥的线条细挺，画竹子、芦草和坡石则是时有断续、富有弹性的线条，与院藏宋人「翠竹翎毛」中那种起伏变化明显，偏向于南宋风格的线条较为接近，因此本幅虽非崔白所作，但属宋代受崔白影响的作品之一。崔白（活动于11世纪后半），字子西，濠梁（今安徽凤阳）人。宋仁宗时（1022-1062）画院学艺。举凡道释、人物、禽兽、花卉无不精绝，尤擅长于花竹、山兔、枯荷、水凫、野雁之类。",[23,24,28,27,26,49,7,50,51],"竹","岩石","水草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6de49481fe805ec1b96d44ffd87decef.jpg","绢本,设色","101.3x49.9cm","宋画精选",[55,57,58],"花鸟画精选","设色画精选",242,2,"795548",{"id":63,"slug":64,"title":65,"dynasty":66,"author":67,"museum":46,"description":68,"tags":69,"thumbUrl":76,"material":53,"size":77,"collection":57,"collections":78,"showCount":79,"zanCount":80,"manualWeight":11,"mainColor":61},216220,"fu-rong-bai-lu-tu-zheng-shi-216220","芙蓉白鹭图","明","郑石","郑石的《芙蓉白鹭图》是一幅著名的绢本花鸟画。这幅画描绘了一只芙蓉花和二只白鹭鸟，画面非常精致优美。这幅画是郑石最著名的作品之一，被认为是明朝花鸟画的代表作之一。郑石是明朝时期著名的画家，他的画风清新自然，画面精致细腻，对后世艺术家产生了很大的影响。",[23,70,24,25,71,26,27,28,72,7,73,74,75],"明代","立轴","芙蓉","柳树","花卉","禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51b6278a19e0cd0b6464e8d5101b347b.jpg","144.4x74.3cm",[57],217,1,{"id":82,"slug":83,"title":84,"dynasty":85,"author":86,"museum":87,"description":88,"tags":89,"thumbUrl":93,"material":34,"size":34,"collection":34,"collections":94,"showCount":95,"zanCount":80,"manualWeight":11,"mainColor":39},230477,"hua-niao-tu-ping-ge-shi-bei-zhai-230477","花鸟图屏","不详","葛饰北斋","藏地不详","画面以浅褐素底铺陈秋塘底色，白鹭莹洁似雪，身姿挺秀悠然，羽色晕染细腻柔和，抬首静立间自带安然意态。旁侧枯荷舒展残叶、垂坠莲蓬，笔意简淡尽显清秋萧疏之致。整体构图留白松弛，淡彩晕染出温润雅致的侘寂意趣，将秋塘的清寂禅意藏于笔墨之间，物景相融相生，晕开东方独有的静谧诗意，寥寥勾勒便绘就幽淡闲雅的秋日荷塘意韵，尽显空灵雅致的东方美学意境。",[23,24,25,90,26,27,28,91,7,92,30],"屏","荷","莲蓬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22c00298726ea46a856b6cbf562896d1.jpg",[],138,{"id":97,"slug":98,"title":99,"dynasty":44,"author":100,"museum":46,"description":101,"tags":102,"thumbUrl":109,"material":53,"size":110,"collection":55,"collections":111,"showCount":112,"zanCount":11,"manualWeight":11,"mainColor":61},219200,"lu-ting-bai-lu-tu-yi-ming-219200","芦汀白鹭图","佚名","图绘白鹭两对栖于芦苇丛生的洲渚岸边，一饮啄、一飞降、一静息，一仰首迎接。全画用墨层次丰富，掌握住秋天的景致气氛。在题材、构图、设色上保留南宋汀渚水鸟小景画的意趣，但通幅笔力较为薄弱。",[23,24,27,26,103,28,104,7,105,106,107,108],"册页","芦苇","汀渚","飞鸟","水泽","水墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77827917d9c35594679d81fabbd6da53.jpg","25x25.5cm",[55,57],77,{"id":114,"slug":115,"title":116,"dynasty":117,"author":118,"museum":87,"description":119,"tags":120,"thumbUrl":132,"material":133,"size":134,"collection":34,"collections":135,"showCount":136,"zanCount":80,"manualWeight":11,"mainColor":39},222700,"qiu-feng-mo-zao-tu-juan-shou-juan-qian-yu-ling-222700","秋风墨藻图卷手卷","清","钱与龄","画中的蓝藻、紫绿红蓼、游鱼蟹、泥鳅蛙、蜻蜓翠鸟、白鹭飞虫，游或游或荷花或偷窥，首当其冲的就是充满活力的秋天。 年代，清代女画家，画家陈舒的曾孙女，写生写生，画如陈舒的笔法。",[23,121,24,25,122,27,26,91,123,124,51,125,104,126,92,7,127,128,129,130,74,31,131,106],"名画","长卷","鱼","鸟","蜻蜓","水藻","红鱼","水生植物","莲叶","草丛","小鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30ec091c195124569eded74b3cf2a78e.jpg","纸本，设色","32.2×339.2cm",[],54,{"id":138,"slug":139,"title":140,"dynasty":66,"author":141,"museum":87,"description":142,"tags":143,"thumbUrl":144,"material":34,"size":34,"collection":34,"collections":145,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":39},228920,"xiang-feng-jing-he-tu-zhou-liu-ru-shi-228920","香风静荷图轴","柳如是","此作为水墨写意妙品，以虚实相生铺就荷塘清景。泼墨重写团荷，浓淡晕染间尽显叶片舒展的苍润质感，荷茎虬曲穿插，残莲蓬斜立，暗笼秋意浅愁。白鹭以淡墨轻勾慢染，羽毛蓬松柔润，伫立浅滩侧目凝神，身姿娴静又暗含灵动生机，于留白水面独显出尘之态。\n\n笔墨干湿互济，淡墨晕开水面清光，浓墨点染汀洲残叶，画面疏密错落，题款极简留白恰到好处，将荷塘的幽谧禅意尽数铺陈，淡而弥远，简而不空，把初秋水畔的静雅与孤高意趣融为一体，尽显文人写意的空灵雅致。",[23,24,25,71,108,28,91,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe714f3a115a37707a297ef74ff20726f.jpg",[],50,{"id":148,"slug":149,"title":150,"dynasty":66,"author":67,"museum":46,"description":151,"tags":152,"thumbUrl":154,"material":155,"size":156,"collection":57,"collections":157,"showCount":158,"zanCount":11,"manualWeight":11,"mainColor":61},222407,"hua-fu-rong-bai-lu-zhou-zheng-shi-222407","画芙蓉白鹭轴","郑石，生卒年不详。系明画院中人，自署锦衣百户。\n工画花鸟，其画之风格出自宫廷花鸟画家吕纪。\n画幅之构图和树、石、花鸟的用笔，比之吕纪「秋鹭芙蓉」、「秋渚水禽」，显见在布局上较吕氏为简化。而用笔则不如其细致，有着较明显之提顿变化，渐趋向于浙派晚期之风味。",[23,24,25,71,27,26,28,72,7,153],"老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6580b27108d81173535dc902fb47cdad.jpg","绢本设色","纵144.4厘米，横74.3厘米",[57,58],42,{"id":160,"slug":161,"title":162,"dynasty":66,"author":163,"museum":87,"description":164,"tags":165,"thumbUrl":168,"material":34,"size":34,"collection":57,"collections":169,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":61},237663,"san-si-tu-zhou-yu-qi-feng-237663","三思图轴","俞奇逢","俞奇逢，[明]，福建沙县人。沙县俞氏自存胜得其舅氏边文进之传，遂世业花鸟。",[24,25,71,27,26,28,166,7,106,167,50],"鹰","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facc809c2646c002bed50c182f923e9d9.jpg",[57,58],40,{"id":172,"slug":173,"title":174,"dynasty":175,"author":176,"museum":87,"description":177,"tags":178,"thumbUrl":179,"material":180,"size":181,"collection":34,"collections":182,"showCount":183,"zanCount":11,"manualWeight":11,"mainColor":61},290132,"san-bai-tu-wang-yuan-290132","三白图","元","王渊","坡岸一角，以枯柳、翠竹、丹叶为伴，三只雪白的鹭鸶，或翘首，或远眺，或俯视，各逞其优雅的姿态。用笔工细，设色穠丽，但构景单纯，留出大片空白，具有一种清新高雅的气韵。",[121,24,25,71,28,26,27,7,106,73,49,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F468c5fc1d6904a02bd64a6307a9645b2.jpg","未知","Xcm*Xcm",[],21,{"id":185,"slug":186,"title":187,"dynasty":175,"author":100,"museum":46,"description":188,"tags":189,"thumbUrl":193,"material":53,"size":194,"collection":34,"collections":195,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":61},290957,"rui-xue-xian-qin-tu-yi-ming-290957","瑞雪仙禽图","水滨雪霁，三只鹭鸶停宿在坡石上，山鹧、桑鳲栖息於老梅技干之间，呈现出祥和安宁之气氛。梅花傲雪而盛开，又有绿竹为衬托，于冰雪中，透露出生意盎然与春至之讯息。",[121,24,71,27,26,190,191,192,49,106,7],"花鸟画","瑞雪","梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19e0201b5673a509515f852bda2bd053.jpg","181.1x94.5",[],{"id":197,"slug":198,"title":199,"dynasty":175,"author":100,"museum":46,"description":200,"tags":201,"thumbUrl":204,"material":53,"size":181,"collection":34,"collections":205,"showCount":206,"zanCount":11,"manualWeight":11,"mainColor":61},290133,"lu-yan-tu-yi-ming-290133","芦雁图","元代绘画中，文人画占据画坛主流。因元代未设画院，除少数专业画家直接服务于宫廷外，大都是身居高位的士大夫画家和在野的文人画家。他们的创作比较自由，多表现自身的生活环境、情趣和理想。山水、枯木、竹石、梅兰等题材大量出现，直接反映社会生活的人物画减少。作品强调文学性和笔墨韵味，重视以书法用笔入画和诗、书、画的三结合。",[24,28,26,27,106,202,7,72,203],"雁","芦草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4cdf5d6601db8fff05edc3219b94003.jpg",[],13,{"id":208,"slug":209,"title":210,"dynasty":211,"author":100,"museum":87,"description":212,"tags":213,"thumbUrl":222,"material":180,"size":181,"collection":34,"collections":223,"showCount":206,"zanCount":11,"manualWeight":11,"mainColor":61},224010,"he-tang-bai-lu-yu-ding-xi-shou-mian-zhi-wen-gui-fu-jian-yi-ming-224010","荷塘白鹭玉顶，西兽面直纹簋附件","周","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。 这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[214,215,216,217,218,7,29,219,220,221],"周代","玉器","雕刻","镂空","荷塘","兽面纹","直纹","礼器附件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a1bbe9ae5f2de43eb3001b0b4d12a81.jpg",[],{"id":225,"slug":226,"title":227,"dynasty":228,"author":229,"museum":230,"description":231,"tags":232,"thumbUrl":10,"material":34,"size":34,"collection":57,"collections":234,"showCount":235,"zanCount":80,"manualWeight":11,"mainColor":236},203048,"he-hua-bai-lu-tu-zhou-zhang-shan-ma-203048","荷花白鹭图轴","近代","张善孖","上海博物馆","泼墨荷叶层叠错落，浓墨处如积云沉郁，淡墨间似轻烟缥缈，笔触挥洒自如；几枝荷花点缀其间，粉瓣浅晕，清雅含蓄。白鹭悄然栖于荷丛，羽色素净温润，身姿悠然，与水墨荷影交织出静谧幽远的意境。画作笔墨兼具写意之奔放与细节之传神，将荷塘的生机与闲逸融于一纸，尽显传统花鸟的雅致韵致。",[24,108,27,28,91,7,233,71,23],"写意",[57],12,"c1b5a8",{"id":238,"slug":239,"title":240,"dynasty":117,"author":241,"museum":242,"description":243,"tags":244,"thumbUrl":247,"material":248,"size":249,"collection":34,"collections":250,"showCount":251,"zanCount":11,"manualWeight":11,"mainColor":39},222650,"zhi-hua-xi-lie-zhi-hua-bai-lu-gao-qi-pei-222650","指画系列-指画·白鹭","高其佩","美国纳尔逊阿特金斯艺术博物馆","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。\n高其佩“扬州八怪李鱓”之师。其艺术才华出众，能诗、工画，他在细绢上所描绘的亭台楼阁、人物、花鸟、鱼虫等等，笔墨精细，设色艳丽，精妙绝伦。他在临摹了大量的前代名人作品，打下了深厚的根基之后，开创了一条新路。大胆地创造出了别具情趣的“舍笔而求之于手”的表现技法。秀水张浦山著的《国朝画征录》中记载：“高且园善指画，画人、山水花鸟、鱼虫、鸟兽，天资超迈，情奇逸趣，信手而得，四方重之”。高其佩指画有“叱石成羊”之妙，他创作山水、人物、花鸟、走兽时，均信手一挥而就，“倾刻数十幅，……无不绝人。”他一生的作画数量是惊人的。正如他侄孙高秉在《指头画说》一文中所述：“自弱冠至七旬，不下五、六万幅”。可惜其大部分早已失传。保存下来的多藏于各地博物馆，铁岭县文化馆过去曾存有春、夏、秋、冬四幅《竹》。上海出版社出版的《高其佩》（杨仁恺著）一书，对他的生活和创作道路做了详细的论述，指出他的最大贡献是：“标题材之新，立结构之异，对当时和后来绘画艺术都有一定影响。”",[23,24,25,245,108,7,106,246],"指画","册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d9ac7296b9da2dfb2f4c6c22e8d5602.jpg","浅设色","35.88x57.31cm",[],7,{"id":253,"slug":254,"title":255,"dynasty":117,"author":256,"museum":87,"description":257,"tags":258,"thumbUrl":259,"material":260,"size":34,"collection":34,"collections":261,"showCount":262,"zanCount":11,"manualWeight":11,"mainColor":39},231573,"hua-hui-shi-er-kai-li-shan-231573","花卉十二开","李鱓","李鱓（shàn），清康熙二十五年（1686）生，乾隆二十一年（1756）卒。字宗扬，号复堂，别号懊道人、墨磨人，江苏扬州府兴化人，明代状元宰相李春芳第六世孙。清代著名画家，扬州八怪之一。康熙五十年中举， 康熙五十三年召为内廷供奉，其宫廷工笔画造诣颇深，因不愿受“正统派”画风束缚而遭忌离职。乾隆三年出任山东滕县知县，颇得民心，因得罪上司而罢官。后居扬州，卖画为生。李鱓工诗文书画。曾随蒋廷锡、高其佩学画。后受石涛影响，擅花卉、竹石、松柏，早年画风工细严谨，颇有法度。中年画风始变，转入粗笔写意，挥洒泼辣，气势充沛，对晚清花鸟画有较大影响。",[24,108,27,28,246,7,104,233],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71ffad346df645f21757cf8ef14b4cb7.jpg","绢本",[],6,{"id":264,"slug":265,"title":266,"dynasty":117,"author":267,"museum":230,"description":268,"tags":269,"thumbUrl":271,"material":34,"size":34,"collection":34,"collections":272,"showCount":80,"zanCount":11,"manualWeight":11,"mainColor":273},201671,"he-tang-bai-lu-tu-zhou-li-yin-201671","荷塘白鹭图轴","李因","水墨晕染间，荷塘景致清雅动人。白鹭单足立于浅滩，长颈微昂，姿态悠然；荷叶或浓墨泼洒，或淡笔勾勒，舒展有致；荷花含苞待放，线条婉转，尽显娇柔。水草以细劲笔触随意点染，与摇曳的荷叶相映成趣。整幅画笔墨简练却神形兼备，墨色浓淡相宜，于留白处见空灵，传递出清逸淡远的文人意趣，仿佛能闻得荷塘间的微风与水韵。",[24,108,28,91,7,71,270],"写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b6445f080a3a4beec925ff1f36b065f.jpg",[],"c09c62",{"id":275,"slug":276,"title":277,"dynasty":117,"author":278,"museum":230,"description":279,"tags":280,"thumbUrl":284,"material":34,"size":34,"collection":57,"collections":285,"showCount":80,"zanCount":11,"manualWeight":11,"mainColor":286},201263,"yuan-yang-bai-lu-tu-zhou-wang-wu-201263","鸳鸯白鹭图轴","王武","画面左侧坡岸，一对鸳鸯相偎相依，羽色斑斓间流露亲昵；右侧孤石之上，白鹭单足独立，长颈微曲，姿态闲雅。周遭花卉盛放，叶片舒展，水草随波摇曳，水面波纹细腻如织，营造出清幽静谧的氛围。设色温润淡雅，线条细腻灵动，花鸟造型传神，兼具工笔之精致与写意之韵致，尽显自然生机与文人雅趣。",[24,121,26,27,28,281,7,282,51,283,23],"鸳鸯","孤石","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a12e2a506a1bd05c957ed8715fb377c.jpg",[57],"8b7952",{"id":288,"slug":289,"title":290,"dynasty":117,"author":100,"museum":87,"description":291,"tags":292,"thumbUrl":300,"material":180,"size":181,"collection":34,"collections":301,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},270613,"wang-jin-sheng-wang-chuan-tu-mo-luan-jia-lai-mo-yi-ming-270613","汪近圣辋川图墨-栾家濑墨","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”。",[293,294,295,296,7,297,298,299],"墨","书法","楷书","秋雨","凫","文房用具","溪流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f7e7ea143656f3af01fc26dca7a8f83.jpg",[],1777535721071]