[{"data":1,"prerenderedAt":1036},["ShallowReactive",2],{"subject-cao-chong":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},206,"cao-chong","草虫","草虫画高清赏析","精选中国历代草虫题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79e161a8d5c38c95c3ff909b59207c95.jpg",0,93,[14,42,62,84,107,122,135,159,171,186,196,207,220,231,243,257,269,284,298,310,324,337,348,359,370,381,391,402,414,424,434,445,456,468,476,483,492,501,510,518,526,545,558,569,578,589,598,606,616,634,643,652,663,673,685,693,702,712,719,726,733,742,749,758,765,774,784,791,799,808,817,824,831,840,849,856,868,877,884,891,903,911,921,931,941,952,964,972,984,997,1005,1012,1024],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":34,"material":35,"size":36,"collection":37,"collections":38,"showCount":39,"zanCount":40,"manualWeight":11,"mainColor":41},214284,"hua-hui-cao-chong-tu-yan-yan-nv-shi-214284","花卉草虫图","宋","艳艳女史","上海博物馆","花卉草虫图是宋代画家艳艳女史的一幅代表作。这幅画作描绘了花卉、草木和虫类的生活场景。\n\n在这幅画作中，艳艳女史巧妙地捕捉了花卉、草木和虫类的生活特征。她用浓墨重彩的画法，勾勒出了花卉、草木和虫类的形态。她还用细腻的线条勾勒出了花卉、草木和虫类的细节，让人感受到了花卉、草木和虫类的自然韵味。",[23,24,25,26,27,28,29,30,31,7,32,33],"高清","名画","国画","书画","长卷","工笔","设色","花鸟","花卉","蝴蝶","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e8031ffdafeef83437ebb80105be86b.jpg","绢本,设色","32.5x333.5","花鸟画精选",[37],2504,32,"795548",{"id":43,"slug":44,"title":45,"dynasty":46,"author":47,"museum":48,"description":49,"tags":50,"thumbUrl":55,"material":56,"size":57,"collection":37,"collections":58,"showCount":59,"zanCount":60,"manualWeight":11,"mainColor":61},220335,"cao-chong-hua-hui-hu-shi-si-ping-zi-wei-ju-lian-220335","草虫花卉湖石四屏-紫薇","清","居廉","台北故宫博物院","居廉对岭南画派的影响十分深远，岭南画派创始人高剑父、陈树人均师从居廉。“二居”所创立的十香园成为岭南画派发源之地，当时岭南绘画界八成以上的人都出自十香园门下或是经受过二居绘画艺术的熏陶，在中国美术史上垂名的杰出弟子多达三十余人。二居以革命精神开创的“撞水”、“撞粉”技法被后来者沿袭至今，二居、二高一陈富于创新的革命艺术精神更使得岭南画派开一时风气之先，在中国画坛独领风骚。",[23,25,26,30,28,29,31,7,51,52,53,54],"孤石","藤蔓","紫薇","螳螂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3161675f1c6cc75d7b4fb092b58090a4.jpg","纸本,设色","113×26.5厘米",[37],464,4,"BDBDBD",{"id":63,"slug":64,"title":65,"dynasty":66,"author":67,"museum":68,"description":69,"tags":70,"thumbUrl":77,"material":78,"size":79,"collection":37,"collections":80,"showCount":82,"zanCount":83,"manualWeight":11,"mainColor":61},221855,"qian-kun-sheng-yi-tu-juan-xie-chu-fang-221855","乾坤生意图卷","元","谢楚芳","大英博物馆","此《乾坤生意图》卷由元代谢楚芳绘。画卷内容主题为动物和昆虫捕食：画面中各类花草盛开，一只蟾蜍埋伏等待着正在肢解蝴蝶的蚂蚁，一只蜻蜓袭击蜥蜴捕获的一只小昆虫，以及螳螂捕蝉等六部分，每组画面看似生机勃勃，实则是动物为生存而绞杀捕猎场景。此卷现藏于大英博物馆。\n这幅精致而珍贵的工笔画是大英博物馆于 1998 年在国家艺术收藏品基金会和布鲁克史威尔永久基金的赞助下花巨资收购的，在丝质封套内有一枚英国人威廉巴特勒 ( Williambutler) 的入藏章，章上的日期标明为 1797 年，是目前所知英国人最早收藏的中国画，曾被大英博物馆列为 “最珍贵的十种馆藏中国文物之一，在英国的中国文物收藏史上占有特殊的地位。",[23,25,26,27,29,28,30,71,32,72,31,7,73,74,75,76],"竹","蜻蜓","植物","书法","行书","篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e1c56124fe25c7b1d901efbb1fb8345.jpg","绢本设色","27.8x352.9cm",[37,81],"设色画精选",368,5,{"id":85,"slug":86,"title":87,"dynasty":88,"author":89,"museum":90,"description":91,"tags":92,"thumbUrl":101,"material":102,"size":103,"collection":103,"collections":104,"showCount":105,"zanCount":106,"manualWeight":11,"mainColor":61},220586,"li-zi-shu-he-san-zhi-kun-chong-qi-bai-shi-220586","李子树和三只昆虫","民国","齐白石","Oscar Niemeyer Museum","以焦墨挥写虬曲枝干，苍劲老辣带着朴拙野趣。明黄果实以没骨点染，圆厚饱满，鲜亮明快。墨色叶片兼工带写，叶缘焦墨棘刺点缀，粗粝间暗藏灵动。\n\n蝉踞枝桠、蝼蛄游于纸间，草虫刻画纤毫毕现，与大写意的花果形成强烈的工写对比，一简一繁，将乡野小景的生机尽致铺展。构图疏密错落，斜逸的枝条串联起满幅花果，鲜活虫趣让静态画幅瞬间鲜活，尽显自然天趣与田园诗意，于平淡中晕开醇厚的烟火意趣。",[24,25,93,94,95,29,96,97,98,7,99,100],"花鸟画","立轴","水墨","枇杷","蝉","蝼蛄","工写结合","田园意趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c2ed094ae70ff55be21c091139f419b.jpg","Watercolor on paper","",[],192,1,{"id":108,"slug":109,"title":110,"dynasty":46,"author":111,"museum":112,"description":113,"tags":114,"thumbUrl":117,"material":118,"size":119,"collection":103,"collections":120,"showCount":121,"zanCount":11,"manualWeight":11,"mainColor":41},288301,"hua-niao-cao-chong-tu-ce-yun-shou-ping-288301","花鸟草虫图册","恽寿平","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。",[23,25,115,29,30,7,31,32,28,116],"册","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F258fd1430fd11d1d5348dc536b1403e0.jpg","未知","Xcm*Xcm",[],130,{"id":123,"slug":124,"title":125,"dynasty":18,"author":126,"museum":112,"description":127,"tags":128,"thumbUrl":132,"material":118,"size":119,"collection":103,"collections":133,"showCount":134,"zanCount":11,"manualWeight":11,"mainColor":41},289560,"pu-tao-cao-chong-tu-lin-chun-289560","葡萄草虫图","林椿","林椿，南宋钱塘（今浙江杭州）人，生卒年不详，南宋孝宗淳熙（1174—1189）间画院待诏，赐金带。 林椿为南宋时期画家，孝宗淳熙年间曾为画院待诏。生卒年不详，浙江钱塘（今浙江杭州）人，南宋时期画家。孝宗淳熙年间曾为画院待诏。绘画师法赵昌，工画花鸟、草虫、果品，设色轻淡，笔法精工，设色妍美，善于体现自然的形态，所绘小品为多，当时赞为“极写生之妙，莺飞欲起，宛然欲活”。传世作品有：《梅竹寒禽图》册页，藏于上海博物馆。《果熟来禽图》《葡萄草虫》《枇杷山鸟图》，藏于北京故宫博物院。",[25,129,28,29,130,7,54,72,131,93],"扇面","葡萄","蚱蜢","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd265e60b95e8fc8b7f968d06de63bf6.jpg",[],127,{"id":136,"slug":137,"title":138,"dynasty":46,"author":139,"museum":140,"description":141,"tags":142,"thumbUrl":154,"material":155,"size":156,"collection":103,"collections":157,"showCount":158,"zanCount":11,"manualWeight":11,"mainColor":61},231938,"cao-chong-tu-ce-zhu-da-231938","草虫图册","朱耷","北京故宫博物院","朱耷花鸟画成就特别突出，也最有个性。其画大多缘物抒情，用象征手法表达寓意，将物象人格化，寄托自己的感情。如画鱼、鸟，曾作“白眼向人”之状，抒发愤世嫉俗之情。其花鸟画风，可分为三个时期，50岁以前为僧时属早期，署款“传綮”、“个”、“驴” 、“人屋”，多绘蔬果、花卉、松梅一类题材，以卷册为多。画面比较精细工致，劲挺有力。50岁至65岁为中期，画风逐渐变化，喜绘鱼、鸟、草虫、动物，形象有所夸张，用笔挺劲刻削，动物和鸟的嘴、眼多呈方形，面作卵形，上大下小，岌岌可危，禽鸟多栖一足，悬一足。65岁以后为晚期、艺术日趋成熟。笔势变为朴茂雄伟，造型极为夸张，鱼、鸟之眼一圈一点，眼珠顶着眼圈，一幅“白眼向天”的神情。他画的鸟有些显得很倔强，即使落墨不多，却表现出鸟儿振羽，使人有不可一触，触之即飞的感觉。有些禽鸟拳足缩颈，一副既受欺又不屈的情态，在构图、笔墨上也更加简略。这些形象塑造，无疑是画家自的写照，即“愤慨悲歌，忧愤于世，一一寄情于笔墨”。他在题黄公望山水诗中写道：“郭家皴法云头小，董老麻皮树上多。想见时人解图画，一峰还与宋山河。表现出他的民族意识。此画作足以代表朱耷的艺术风格。笔墨简括凝练，形象夸张，意境清冷。画中山水树木，形象寂寥无不带有画家的个人烙印和情感。",[25,95,143,115,30,7,31,116,144,145,146,147,148,149,150,151,152,153],"写意","写意花鸟","水墨花鸟","草虫题材","花卉题材","水墨技法","写意技法","册页","花鸟虫鱼","水墨花卉","水墨草虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1832d1cbad4704515cafe4aadf8818b.jpg","纸本","纵26厘米，横41厘米",[],125,{"id":160,"slug":161,"title":162,"dynasty":46,"author":47,"museum":112,"description":163,"tags":164,"thumbUrl":167,"material":118,"size":119,"collection":103,"collections":168,"showCount":169,"zanCount":170,"manualWeight":11,"mainColor":61},239153,"hua-hui-cao-chong-tu-shan-ye-ju-lian-239153","花卉草虫图扇页","居廉（1828年9月22日－1904年5月5日），广东省广州府番禺县隔山乡人，原籍江苏扬州宝应县 [1] ，字士刚，号古泉、隔山樵子、罗湖散人，是中国近代岭南地区著名的国画画家，和其从兄居巢并称“二居”。 [2] 他初时学宋光宝和孟丽堂，后吸收各家之长，自成一家。笔法工整，设色妍丽，在继承和发展恽寿平没骨画法基础上，广泛运用了撞水和撞粉法，继承、发展和完善了“居派”艺术。代表作品有《十二分春色》。",[25,24,26,129,28,29,30,31,7,165,166],"芙蓉","绿叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F718408587ec96f67a2d985fd07ea1e2f.jpg",[],123,3,{"id":172,"slug":173,"title":174,"dynasty":18,"author":175,"museum":176,"description":177,"tags":178,"thumbUrl":182,"material":35,"size":103,"collection":37,"collections":183,"showCount":185,"zanCount":106,"manualWeight":11,"mainColor":41},218950,"cao-chong-tu-yi-ming-218950","草虫图","佚名","私人收藏","藤蔓如蚓，蜿蜒牵惹着几片翠叶与明黄的花，柔劲的线条里藏着自然的生趣。笼栅细劲，圈住一只草虫——翅翼的纹理纤毫毕现，触须轻颤似在嗅闻叶间清香，敛足欲跃的姿态，让静穆画面漫出一丝灵动。绢本的古褐底色如陈年书卷，淡绿与嫩黄的晕染，似将春日温煦凝在绢上。\n\n宋人画草虫向来重写实却不泥于形，这帧小品无浓墨喧阗，只有对生命细微处的温柔体察：藤蔓卷舒、花叶轻颤、草虫意态，都藏着文人案头的闲雅时光。风过叶隙时，仿佛能听见那若有若无的虫鸣，漫溢出清宁的田园况味，古雅的色调里，沉淀着时光的温煦与悠然。",[23,25,28,29,30,7,52,179,180,181],"叶子","花朵","虫笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fd768168c81591ad3b140352772d501.jpg",[37,184],"宋画精选",116,{"id":187,"slug":188,"title":189,"dynasty":46,"author":47,"museum":48,"description":190,"tags":191,"thumbUrl":193,"material":56,"size":57,"collection":103,"collections":194,"showCount":195,"zanCount":106,"manualWeight":11,"mainColor":61},220332,"cao-chong-hua-hui-hu-shi-si-ping-ling-xiao-ju-lian-220332","草虫花卉湖石四屏-凌霄","这四屏分写牡丹、凌霄、绣球、紫薇等时卉，并配以湖石、蜂、蝶、知了、螳螂。于精密写实之外，饶富没骨花卉清新典丽的特质，虽因重装颜色稍褪，犹可清晰得见居氏惯采的撞水与撞粉画技，笔法工整，设色妍丽，让人赏心悦目。",[23,25,24,94,29,28,192,7,51,31],"牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23c30eb79bde7328d62f40006fb6c480.jpg",[],105,{"id":197,"slug":198,"title":199,"dynasty":46,"author":47,"museum":48,"description":190,"tags":200,"thumbUrl":204,"material":56,"size":57,"collection":103,"collections":205,"showCount":206,"zanCount":106,"manualWeight":11,"mainColor":61},220331,"cao-chong-hua-hui-hu-shi-si-ping-mu-dan-ju-lian-220331","草虫花卉湖石四屏-牡丹",[23,25,26,94,28,29,192,51,7,31,201,202,203],"树枝","叶片","飞虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9405a060a876dc38c257ff27f089ad9e.jpg",[],99,{"id":208,"slug":209,"title":210,"dynasty":18,"author":211,"museum":112,"description":212,"tags":213,"thumbUrl":215,"material":216,"size":217,"collection":184,"collections":218,"showCount":219,"zanCount":11,"manualWeight":11,"mainColor":41},221442,"xie-sheng-cao-chong-tu-juan-cui-bai-221442","写生草虫图卷","崔白","崔白，字子西，北宋濠梁人，杰出的花鸟画家。北宋中期翰林图画院画家，擅长画花鸟，所做动物在写生基础上概括，形象生动活泼。他不仅擅画花竹翎毛、败荷凫雁，而且画佛道鬼神、山水、人物亦精妙绝伦，尤长于写生，所画鹅、蝉、雀堪称三绝。他一改百余年画风，成为北宋画坛革新主将，数百年来颇受画坛尊祟。\n崔白的一生中大部分时间只是个民间画工，生活颠沛流离，后来有很多人都为他的不得赏识打抱不平。像米芾在他的《画史》中说，在嘉年间（1056—1063年），公卿贵族们的收藏竞相一味求古，多是阎立本、韩滉一类画家的赝品，而对于像崔白这么优秀的当代画家的画作，他们却熟视无睹。",[23,25,26,27,28,29,214,7,32,73,31],"写生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff80e1171b5cd251561cf91850b031251.jpg","绢本","26×150",[184,37,81],94,{"id":221,"slug":222,"title":223,"dynasty":46,"author":224,"museum":20,"description":225,"tags":226,"thumbUrl":227,"material":29,"size":228,"collection":37,"collections":229,"showCount":230,"zanCount":11,"manualWeight":11,"mainColor":41},219810,"hua-niao-cao-chong-tu-sun-long-219810","花鸟草虫图","孙龙","此册绢本设色，共十二图，描绘荷塘鹡鴒、蓼花螳螂、水藻玄蝉、秋塘青蛙、秋草蝗虫、蜀葵、黄叶麻雀、海棠白头等内容。",[25,24,29,30,7,54,73,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84436a5c33a598cea9820f16146645fc.jpg","纵22.9 厘米 横21.5 厘米",[37],92,{"id":232,"slug":233,"title":234,"dynasty":66,"author":235,"museum":48,"description":236,"tags":237,"thumbUrl":239,"material":56,"size":240,"collection":37,"collections":241,"showCount":242,"zanCount":11,"manualWeight":11,"mainColor":61},221740,"xie-sheng-hua-niao-zhou-zhang-zhong-221740","写生花鸟轴","张中","该幅绘沙石间，一紫冠白鸡足蹈蜈蚣，神情颇为生动，配景并有蜀葵、萱花、栀子、石榴、百合、虞美人、石竹、石菖蒲等各式夏卉，殆以钩花点叶法成之，设色雅丽，然不似张中笔墨，为后代画家托名之作。",[24,25,26,94,214,29,30,238,31,7,28],"鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d6bf03ce5d03b4b0d24067f72905518.jpg","122.8x43.3公分",[37,81],82,{"id":244,"slug":245,"title":246,"dynasty":247,"author":248,"museum":48,"description":249,"tags":250,"thumbUrl":253,"material":155,"size":254,"collection":37,"collections":255,"showCount":256,"zanCount":11,"manualWeight":11,"mainColor":61},222433,"hua-die-cao-chong-ce-du-da-cheng-222433","花蝶草虫册","明","杜大成","明代·杜大成（生卒年不详）。十六—十七世纪初，字允修，号三山狂生，一作山狂生。苏南京人。嗜声诗，工音律，善画禽虫花木，嫣秀生动。传世作品有《花卉草虫图册》，纸本，墨笔，现藏辽宁省博物馆。从艺活动约在嘉靖、万历间。名画家杜大成的《人物草虫图》寥寥几笔，似不经意，而花叶、草虫却生意盎然，栩栩如生。",[23,25,95,115,30,251,252,7],"花","蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fdd5485eb18b52994d17f0f3d39c21a.jpg","27x34cm",[37],78,{"id":258,"slug":259,"title":260,"dynasty":261,"author":262,"museum":112,"description":263,"tags":264,"thumbUrl":266,"material":118,"size":119,"collection":103,"collections":267,"showCount":268,"zanCount":11,"manualWeight":11,"mainColor":41},290555,"wu-dai-nan-tang-hua-hui-cao-chong-juan-xu-xi-290555","五代南唐花卉草虫卷","五代十国","徐熙","徐熙，五代南唐杰出画家，金陵（今南京）人，一说钟陵（今江西进贤）人。出身于“江南名族”。生于唐僖宗光启年间，后在开宝末年（公元975）随李后主归宋，不久病故。一生未官，郭若虚称他为“江南处士”。沈括说他是“江南布衣”。其性情豪爽旷达，志节高迈，善画花竹林木，蝉蝶草虫，其妙与自然无异。",[24,25,26,27,28,29,30,265,7,31],"菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae6d9fb677d356b11b5aa6b55f88bca7.jpg",[],76,{"id":270,"slug":271,"title":272,"dynasty":247,"author":273,"museum":48,"description":274,"tags":275,"thumbUrl":279,"material":280,"size":281,"collection":37,"collections":282,"showCount":283,"zanCount":106,"manualWeight":11,"mainColor":41},222173,"jia-he-cao-chong-tu-wu-bing-222173","嘉禾草虫图","吴炳","本幅选自「名绘集珍」册。画水稻两株，在田间婷婷伫立，成串的稻穗，已经俯首低垂。蝴蝶、花虻和蜻蜓，有的兀自在空中飞舞，有的则栖息在叶梢。由于右上方的叶子，和上方的稻穗，均溢出了画幅的边界，推测可能是表面曾经遭到污损，才由大裁小，改装成现在所看到的形式。",[23,276,25,24,28,29,30,277,7,32,72,278,73],"明代","嘉禾","蜜蜂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c3e40e787e59113179f539e535e2cfe.jpg","册页，设色","27.3 x 45.7公分",[37,81],75,{"id":285,"slug":286,"title":287,"dynasty":18,"author":19,"museum":112,"description":288,"tags":289,"thumbUrl":293,"material":118,"size":294,"collection":103,"collections":295,"showCount":296,"zanCount":297,"manualWeight":11,"mainColor":41},289554,"cao-chong-hua-die-tu-yan-yan-nv-shi-289554","草虫花蝶图","此卷描绘了一幅秋光明媚的花鸟长卷。画面中，在坡地、湖石之间，桂花、海棠、秋葵等花卉盛开、争奇斗艳，蝴蝶、蜜蜂、蜻蜓翻飞其间、形态各异，充满生机。此卷中花卉设色妍丽，虫蝶描绘栩栩如生而富于变化，与“勾勒纤细，敷色浓艳”的画院“院体”花鸟画风格十分相符，整体给人以写实细腻之感。此卷充分反映出艳艳女史作为一位女性画家出色的绘画技法，充满女性细致、淡雅之趣。",[23,25,24,27,30,28,29,31,7,32,290,291,72,292],"飞蛾","蜂","坡石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F378970eb9c0212617a3a0b5e28d792b0.jpg","绢本设色纵32.5厘米，横333.5厘米",[],73,2,{"id":299,"slug":300,"title":301,"dynasty":66,"author":302,"museum":303,"description":304,"tags":305,"thumbUrl":306,"material":216,"size":307,"collection":103,"collections":308,"showCount":309,"zanCount":297,"manualWeight":11,"mainColor":41},232771,"hua-hui-cao-chong-tu-juan-qian-xuan-232771","花卉草虫图卷","钱选","美国大都会艺术博物馆","钱选是宋末元初著名画家，与赵孟頫、王子中、牟应龙、肖子中、陈天逸、陈仲信、姚式并称为“吴兴八俊”。\n钱选人品及画品皆称誉当时。他提倡绘画中的“士气”，在画上题写诗文或跋语，萌芽了诗、书、画紧密结合的文人画的鲜明特色。\n钱选的花鸟画成就最高，是元代继承宋代设色工笔花鸟画这一派中的代表人物。钱选特别善作折枝花木，是一位技法全面的画家。他的《花鸟图》所画花鸟用笔尽劲，细洁而光润，设色淡雅清丽，精巧传神。",[23,24,25,26,27,29,28,31,7,32,72,73,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9613502e8f0012e70f2245d5e7d000f1.jpg","纵26.8厘米，横120厘米",[],72,{"id":311,"slug":312,"title":313,"dynasty":247,"author":314,"museum":176,"description":315,"tags":316,"thumbUrl":319,"material":56,"size":320,"collection":103,"collections":321,"showCount":322,"zanCount":106,"manualWeight":11,"mainColor":323},216259,"ming-za-hua-ce-6-wang-zhong-216259","明杂画册-6","汪中","汪中指的是汪建中（1501-1593年），他是明朝时期的一位著名画家。明杂画册是指他绘制的一组绘画作品集，通常指其中一部名为《汪中杂画册》的作品。《汪中杂画册》是一部非常著名的画册，由汪建中在明朝末期绘制而成。它共有24册，收录了许多他的绘画作品，包括花卉、山水、虫鸟、人物等。这些作品都非常精美，被认为是中国画史上的杰作。《汪中杂画册》目前被认为是中国明朝时期最重要的画册之一，并被认为是中国画史上的经典之作。",[25,29,28,116,30,7,73,317,318,179],"果实","根茎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32f2d1231e91e0eead919ad5dde30bb8.jpg","30x27cm",[],63,"FDD835",{"id":325,"slug":326,"title":327,"dynasty":18,"author":328,"museum":48,"description":329,"tags":330,"thumbUrl":333,"material":35,"size":334,"collection":37,"collections":335,"showCount":336,"zanCount":106,"manualWeight":11,"mainColor":61},219940,"ye-shu-cao-chong-tu-xu-di-219940","野蔬草虫图","许迪","素净的地面上，有一株孤伶伶的白菜。零星的叶片，褪了不少绿意，也被虫子啃蚀得有些残破。一只红尾的蝗虫大剌剌地弹跳了过来，看来又是想要来饱食一顿的饕客。白菜上方，另一位访客－淡黄的粉蝶也翩然而至，与一只黑翅的蜻蜓不期而遇。看这只蜻蜓摩拳搓掌的样子，不禁令人替这只娇弱的粉蝶捏把冷汗。",[23,24,25,129,28,29,331,7,32,72,332],"蔬菜","蟋蟀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c9714821a89822cea4d8aee785f1a6b.jpg","纵25.8厘米、横26.9厘米",[37],56,{"id":338,"slug":339,"title":340,"dynasty":18,"author":341,"museum":112,"description":342,"tags":343,"thumbUrl":345,"material":118,"size":119,"collection":103,"collections":346,"showCount":347,"zanCount":106,"manualWeight":11,"mainColor":61},288326,"qiu-hui-cao-chong-tu-li-di-288326","秋卉草虫图","李迪","本幅画叶稍上，螳螂高举双臂，想要捕食金龟子，金龟子适时察觉，立即振翅飞起。螳螂扑了空，只好无奈地回首怅望。昆虫追逐与逃脱的生死瞬间，透过画家的描绘，扣人心弦",[24,25,28,29,30,7,54,344,116],"秋草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78d045300c5b04cb819d7d29c68685b7.jpg",[],54,{"id":349,"slug":350,"title":351,"dynasty":18,"author":175,"museum":303,"description":352,"tags":353,"thumbUrl":355,"material":216,"size":356,"collection":103,"collections":357,"showCount":358,"zanCount":106,"manualWeight":11,"mainColor":41},232878,"gua-guo-cao-chong-tu-juan-yi-ming-232878","瓜果草虫图卷","宋代绘画是中国传统艺术当之无愧的颠峰，形成了琳琅满目的各式题材与流派，而它最具代表的特点是画家深入的观察与细腻的表达，因此产生出叹为观止的精妙画作。这既源于宋代兴起的理学精神，强调“格物”；亦源于宋代人对于生活的热爱，使他们乐于描绘世界的细微处——例如一类以瓜果作为题材的花鸟画作品。",[23,25,26,27,29,28,30,354,7,32,52,317,179,180],"瓜果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51b48aaaf0d6e93f2e0fb70756a9d19.jpg","41x197.3厘米",[],53,{"id":360,"slug":361,"title":362,"dynasty":18,"author":19,"museum":20,"description":363,"tags":364,"thumbUrl":366,"material":103,"size":103,"collection":103,"collections":367,"showCount":368,"zanCount":11,"manualWeight":11,"mainColor":369},202725,"cao-chong-hua-die-tu-juan-yan-yan-nv-shi-202725","草虫花蝶图卷","长卷铺展间，草木葳蕤，群芳竞艳，蝶舞虫鸣似跃然绢上。工笔线条细腻婉转，设色清雅古艳，花瓣的柔润、蝶翅的轻透、虫豸的灵动皆刻画入神，尽显宋代花鸟画的写实风骨与雅致意趣。古朴绢本衬得花叶愈发鲜活，蜂蝶穿梭间仿佛可闻草木清香，将自然之趣凝于一卷，流露着画家对生命的细腻体察与精湛笔墨功底。",[25,24,27,28,29,30,7,252,192,365],"写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e19a8ad65d10fa60a01b79f888a5e80.jpg",[],52,"80715e",{"id":371,"slug":372,"title":373,"dynasty":18,"author":126,"museum":140,"description":374,"tags":375,"thumbUrl":376,"material":377,"size":378,"collection":103,"collections":379,"showCount":380,"zanCount":106,"manualWeight":11,"mainColor":41},234009,"pu-tao-cao-chong-tu-ye-lin-chun-234009","葡萄草虫图页","图绘葡萄累累垂挂，蜻蜓、螳螂、蝈蝈、蝽象伏于藤蔓绿叶间，画家以小幅的画面抒写了一幅生机盎然的田园景致。昆虫以双勾填彩法绘制，用线刚柔相济，既准确地勾勒出秋虫或动或静的各种体态和神情，又将昆虫翅膀的轻薄或外壳的坚硬等不同的质感表露无遗，显示出作者敏锐的观察力和精于细节表现的绘画功底。在色彩上，敷色轻淡，深得造化之妙，葡萄藤的藤尖点染红色以示其新生初发之嫩，叶子的边缘略以褐色渲染，表明叶片饱经浓霜重露之貌。这种合乎自然规律的晕染与其求实写真的线条相得益彰，具有宋代院体工笔画的鲜明特色。",[25,24,26,30,129,28,29,130,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F749b5dc78e09cc13d321b8999ca74329.jpg","绢本，设色","纵26.2厘米，横27厘米",[],47,{"id":382,"slug":383,"title":210,"dynasty":66,"author":302,"museum":176,"description":384,"tags":385,"thumbUrl":387,"material":216,"size":388,"collection":103,"collections":389,"showCount":390,"zanCount":106,"manualWeight":11,"mainColor":41},232831,"xie-sheng-cao-chong-tu-juan-qian-xuan-232831","此卷设色典雅，用笔精微，一花一竹，一虫一鸟，皆细致入神，工中见意，精巧传神，一丝不苟，可谓写生妙手。\n钱选（1239-1299），宋末元初著名画家，与赵孟?等合称为“吴兴八俊”。字舜举，号玉潭，又号巽峰，霅川翁，别号清癯老人、川翁、习懒翁等，湖州（今浙江吴兴）人。山水师从赵令穰，人物师从李公麟，花鸟师赵昌，青绿山水师赵伯驹。继承苏轼等人的文人画理论，提倡士气说，倡导戾家画。",[23,25,26,27,29,28,214,30,7,52,179,31,386,73,116,74],"昆虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b6e400748db309145ac39941fe71144.jpg","34x310厘米",[],46,{"id":392,"slug":393,"title":394,"dynasty":247,"author":395,"museum":112,"description":396,"tags":397,"thumbUrl":399,"material":118,"size":119,"collection":103,"collections":400,"showCount":401,"zanCount":11,"manualWeight":11,"mainColor":61},290922,"ming-hua-hui-cao-chong-chou-ying-290922","明花卉草虫","仇英","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[25,24,115,28,29,30,31,7,398],"茉莉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8163aef7e78f2a1d893f5eca500593eb.jpg",[],44,{"id":403,"slug":404,"title":405,"dynasty":18,"author":406,"museum":112,"description":407,"tags":408,"thumbUrl":412,"material":118,"size":119,"collection":103,"collections":413,"showCount":401,"zanCount":106,"manualWeight":11,"mainColor":61},288539,"xie-sheng-jia-die-tu-zhao-chang-288539","写生蛱蝶图","赵昌","赵昌，生于970-1040年，字昌之，北宋画家，广汉剑南（今四川剑阁之南）人。工书法、绘画，擅画花果，多作折枝花，兼工草虫。初师滕昌祐，后来发展出自身画风，没骨花鸟自成一派，有徐熙、黄荃遗风。在北宋时期与宋徽宗赵佶齐名，是宋代花鸟画坛的杰出画家。",[23,25,24,26,27,28,29,30,409,7,31,410,75,116,411],"蛱蝶","野草","秋意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97796390b63dc3cfc3af98bc62a819e5.jpg",[],{"id":415,"slug":416,"title":417,"dynasty":46,"author":418,"museum":112,"description":419,"tags":420,"thumbUrl":422,"material":118,"size":119,"collection":103,"collections":423,"showCount":401,"zanCount":11,"manualWeight":11,"mainColor":61},239454,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239454","邹一桂花鸟草虫图册","邹一桂","邹一桂（1688-1772），清代画家。字元褒，号小山、二知、让卿、乡森子，江苏无锡人。雍正五年(1727)进士，官至礼部侍郎。擅工笔花卉。尝作《百花》卷，各系一诗。传世作品有《白梅山茶图》、《太古云岚图》、《水仙红梅图》等。",[25,26,115,28,29,30,7,32,251,421,116],"草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F384bf1f79890e720543b7671782cefef.jpg",[],{"id":425,"slug":426,"title":427,"dynasty":46,"author":139,"museum":112,"description":428,"tags":429,"thumbUrl":431,"material":118,"size":119,"collection":103,"collections":432,"showCount":433,"zanCount":11,"manualWeight":11,"mainColor":61},237938,"za-hua-ce-zhu-da-237938","杂画册","朱耷（1626年—约1705年），原名朱统𨨗，字刃庵，号八大山人、雪个、个山、人屋、道朗等，出家时释名传綮，汉族，江西南昌人 。明末清初画家，中国画一代宗师。",[25,26,115,95,75,143,30,7,430,116],"枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefc62b03cb8e858aebb63969a5919883.jpg",[],43,{"id":435,"slug":436,"title":437,"dynasty":46,"author":438,"museum":112,"description":439,"tags":440,"thumbUrl":443,"material":103,"size":103,"collection":103,"collections":444,"showCount":433,"zanCount":11,"manualWeight":11,"mainColor":41},224184,"hua-niao-cao-chong-tu-ba-03-hua-yan-224184","花鸟草虫图八-03","华嵒","此作兼工带写，以淡逸之笔绘就秋日常景。瓜藤迤逦缠绕，墨竹穿插其间，劲挺竹叶以浓墨挥写，尽显清刚意态。没骨晕染的瓜叶鲜活舒展，浓淡过渡自然。赭色螳螂静伏叶间，秋虫攀附艳色黄花，草虫刻画细腻逼真，灵动如生。\n右上角题诗呼应画境，将秋野闲逸之趣融于诗画。整体设色柔和雅致，笔意松灵秀逸，把寻常小景晕染出诗意禅味，尽显文人写意的空灵隽秀，将秋日郊野的生机野趣娓娓道来。",[23,25,26,115,29,30,7,71,441,442,386],"瓜","叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c969a769d5bae547a54eea345c4adb1.jpg",[],{"id":446,"slug":447,"title":448,"dynasty":18,"author":126,"museum":176,"description":449,"tags":450,"thumbUrl":453,"material":35,"size":454,"collection":37,"collections":455,"showCount":433,"zanCount":297,"manualWeight":11,"mainColor":41},218961,"liao-an-cao-chong-tu-lin-chun-218961","蓼岸草虫图","画面截取蓼岸一隅，秋菊攒簇，蓼花垂露，枝茎间草虫情态毕肖——蟋蟀敛翅似欲跃动，甲虫栖于梢头，翅脉纹理纤毫可辨。岩石皴染朴拙，杂草疏密天成，笔墨于工致中透着野逸之趣。花叶的娇嫩与虫豸的鲜活相映成趣，似能嗅到秋野的清芬，聆听到草间的细碎声响。虽为小幅写生，却以极致细腻的笔触捕捉自然生机，尽显宋人对万物的精微观察与绘事匠心，将转瞬即逝的郊野小景凝为永恒的诗意画面。",[25,24,26,30,28,29,451,7,452,51],"蓼草","菊花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b63dd0c8fbcb2bdf5404075decb3f64.jpg","29x26cm",[37],{"id":457,"slug":458,"title":459,"dynasty":261,"author":460,"museum":112,"description":461,"tags":462,"thumbUrl":465,"material":118,"size":119,"collection":103,"collections":466,"showCount":467,"zanCount":297,"manualWeight":11,"mainColor":41},287375,"ye-hua-cao-chong-tu-qiu-yu-qing-287375","野花草虫图","丘余庆","丘余庆，五代后蜀人，丘文播子，居成都。",[24,25,26,30,28,29,463,71,7,32,464],"野花","蚂蚱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ffa37c7c203d2d3737bf30decc157ec.jpg",[],40,{"id":469,"slug":470,"title":471,"dynasty":247,"author":175,"museum":112,"description":472,"tags":473,"thumbUrl":474,"material":118,"size":119,"collection":103,"collections":475,"showCount":467,"zanCount":106,"manualWeight":11,"mainColor":41},238966,"song-yuan-ming-hua-ce-ming-ren-hua-hui-cao-chong-tu-ye-yi-ming-238966","宋元明画册－明人花卉草虫图页","此作为工笔花鸟小品，以团扇承载幽微野趣。牵牛花藤蔓萦回，叶片俯仰错落，红瓣晕染出娇嫩层次，白蕊点缀其间，鲜活明妍，将盛夏花卉的柔婉生机尽数铺展。\n草虫隐匿花间，蚱蜢静伏枝桠，翅脉纹路细腻宛然，粉蝶恋花低徊，飞虫振翅欲去，动静交织，把郊野一隅的刹那鲜活定格绢上。设色调和古雅，赭色绢底衬得花叶愈发清妍不俗，细劲秀逸的线条勾勒出草木柔态与虫豸灵动，尽显雅致工丽，将夏日闲静小景凝于尺幅之间，引人沉醉在这静谧鲜活的方寸天地里。",[25,26,115,29,28,276,30,7,165,32,31,179],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4bc0d30b118796ae3802452fc2608ee.jpg",[],{"id":477,"slug":478,"title":417,"dynasty":46,"author":418,"museum":112,"description":419,"tags":479,"thumbUrl":480,"material":118,"size":119,"collection":103,"collections":481,"showCount":482,"zanCount":11,"manualWeight":11,"mainColor":61},239450,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239450",[25,26,24,115,28,29,30,7,192,278,430,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F120f3a2b7178e03763cfebbbab3f1417.jpg",[],37,{"id":484,"slug":485,"title":486,"dynasty":18,"author":175,"museum":48,"description":487,"tags":488,"thumbUrl":489,"material":35,"size":490,"collection":37,"collections":491,"showCount":482,"zanCount":11,"manualWeight":11,"mainColor":61},218731,"cao-chong-gua-shi-tu-yi-ming-218731","草虫瓜实图","瓜果成熟，吸引了蝈蝈（也叫织女），其生产力蓬勃发展；果实肥沃，瓜的叶子和胡须是蔓生植物，可以继续生长，有 希望多子 的美好含义。瓜皮被染成老绿色，瓜棱被填上赭石，裂缝被染成淡淡的石绿色。瓜的叶子的边缘已经枯萎，呈赭黄色。",[23,24,25,26,115,28,29,7,441,179],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F577659173433558d7dedcd3a2518e7f0.jpg","23.5x24.8",[37],{"id":493,"slug":494,"title":495,"dynasty":46,"author":438,"museum":112,"description":496,"tags":497,"thumbUrl":498,"material":103,"size":103,"collection":103,"collections":499,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":41},224185,"hua-niao-cao-chong-tu-ba-04-hua-yan-224185","花鸟草虫图八-04","此作画境清寂空灵，以大片素净绢底铺就秋意寥廓。枯曲枝桠携残叶斜垂，晕染出沉郁秋容，瘦硬题诗暗合秋声萧瑟。\n\n寒蝉静栖残叶之上，翼脉纤细通透，躯体晕染青绿，将蛰伏静气藏于枯叶间；野蜂振翅独行，墨色凝练收拢，晕开秋日细碎生机。设色简淡克制，枯褐与浅绿相映，将清秋的清寒与虫豸生趣相融，以小景见秋深，尽显文人写意的淡远雅致，把清秋里幽微的生命意趣娓娓道来。",[23,25,26,24,115,29,95,30,7,52,179,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5a6ebe9dc7f416e70b255842e6dea0d.jpg",[],34,{"id":502,"slug":503,"title":504,"dynasty":66,"author":175,"museum":112,"description":505,"tags":506,"thumbUrl":507,"material":103,"size":103,"collection":103,"collections":508,"showCount":509,"zanCount":297,"manualWeight":11,"mainColor":41},223625,"cao-chong-tu-pu-tao-juan-ben-yi-ming-223625","草虫图葡萄绢本","此作以郊野秋景为绘，上方葡萄柔蔓垂挂，攒珠般的果实隐于掌状青叶间，野意横生。\n画面主体蜀葵堆雪似的白花饱满舒展，朱红萱花斜斜探出，衬着星星点点的杂花细草，下方汀渚浅草错落。粉蝶蹁跹穿花，细蜂振翅逐香，草蜢静伏水畔，小景处处藏着灵动生机。\n设色轻淡柔润，晕染写实细腻，工笔勾勒虫羽的轻薄通透，写意铺陈草木的舒展之态，将郊原清寂又鲜活的意趣尽数定格，尽显写生花鸟的雅致野逸。",[23,25,24,26,216,29,28,30,7,130,32,251,52,179],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1952844787d4fec5abf43c241f76ab44.jpg",[],33,{"id":511,"slug":512,"title":125,"dynasty":18,"author":126,"museum":112,"description":513,"tags":514,"thumbUrl":515,"material":103,"size":103,"collection":103,"collections":516,"showCount":517,"zanCount":11,"manualWeight":11,"mainColor":41},227974,"pu-tao-cao-chong-tu-lin-chun-227974","《葡萄草虫图》是宋代画家林椿创作的一幅设色扇面画想，现藏于 。\n图中绘葡萄累累垂挂，蜻蜓、螳螂、蝈蝈、蝽象伏于藤蔓绿叶间，富有生活气息。\n昆虫以双钩填彩绘制，用线刚柔相济，表现出不同的质感，如蜻蜓轻薄的翅膀，蝽象坚硬的外壳。\n藤尖叶边略作点染，表现季节特征。\n此图承袭了北宋的写实画风。\n图绘绿色玫瑰葡萄一枝，须蔓缠绕，硕果累累，垂挂枝叶间，果实晶莹如玉，水分饱满，绿色枝叶，向四周伸展，须子有的曲绕枝干，有的随意飞飘。\n纺织娘在叶子上吸吮着鲜汁；螳螂抬首举前足；蜻蜓刚刚飞停于枝头。\n另有一只金龟子匍伏于葡萄枝上，为葡萄绿叶所掩遮：甲虫落枝叶上，或低头觅食，或抬首举足，形象生动有趣。\n昆虫形象毕肖，富有生趣，给人甜美丰实的精神享受。\n本幅款识“林椿”。\n整个画面题材取景为自然界一隅，十分平常，但对葡萄、叶片、昆虫的描绘真实牛功，具有深厚的写牛功力：林椿工花鸟，师法赵昌，多直接用色彩分别浓淡进行细致描绘：画葡萄分出浓淡不同层次，一气呵成，犹如泼墨，然后用浓墨，以草书法勾口厂筋、藤蔓。\n葡萄叶因用笔用墨的不同而能分出老嫩、正反、枯鲜等状态。\n葡萄果莹润饱满；蜻蜓尤备极工细，神韵奕奕，其翅膀透明轻盈；螳螂的眼睛明亮如镜，镰刀状的前足生有钩刺，日光炯炯，真有“挹露裳初试，迎风斧半撑的气势”。\n都是多层设色，层层晕染，造成形体的凹凸体积和具有质感。\n当然，在某些地方，如葡萄枝十及口卜脉也适当地用细线作一些勾勒，只是这些勾勒已具有粗细浓淡的变化，因此更富有表现力。\n这些为农家随处可见景物，画家以独具的慧眼撷之入画，可谓别开生面-总体来说，此图用笔精细，设色轻柔，变化层次微妙，工写兼施，相映成趣；构图善从一角出发，全幅荡漾着空灵的诗意、画面左下方署有“林椿”二宁款，小楷书，无收藏印。\n此幅为林椿真迹代表之作。\n《葡萄草虫图》体现了“以实写虚，意味无穷”的画风，表现出“诗中有画，画中有诗”和“诗是无形画，画是有形诗”的不同艺术意蕴风格，并求通过真实、具体的形象，抒写作者的感情，以激起读者的想象和联想，产生艺术魅力。\n整体画面的表现为虚实关系的进一步发展，体现了画家对物象的刻画以诗意的意境和气韵来追求现实的全实的客观精神，这就使得宋代宫廷花鸟画以自由来追求自然与人审美情怀，这就构成了一个高超的艺术境界。\n宋代绘画风格的现实性不仅是客观的物象，是画家用“写实”语言，在充分尊重客观对象，并按照创作需要和审美观念来对客观分析一系列的艺术，从而描述一个故事来表达自己的思想感情和精神寄托。\n可以看出，古代绘画通过“现实主义”的表现手法，不仅是形象的东西，而且还真正体现了事物的状态，画中所绘的动植物不仅真实存在，符合动植物的生长规律及习性还符合当时的时间，地点和情境。\n裱边旧题签：“林椿葡萄草虫。\n”存《名笔集》册中。\n经《虚斋名画录》卷十一、《中国古代书画目录》第二册著录。\n林椿（生卒年不详），钱塘（今浙江杭州）人。\n孝宗淳熙（1174－1189年）时为画院待诏，由于其画艺高超，受赐金带。\n所绘花鸟、果品、草虫小品为多，画法远师赵昌，近取李迪，时人赞为“极写生之妙，莺飞欲起，宛然欲活。\n”",[23,25,24,26,129,28,29,30,130,7,52,179],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F282864883129152b7ca84a825688e9bf.jpg",[],31,{"id":519,"slug":520,"title":417,"dynasty":46,"author":418,"museum":112,"description":419,"tags":521,"thumbUrl":523,"material":118,"size":119,"collection":103,"collections":524,"showCount":525,"zanCount":11,"manualWeight":11,"mainColor":61},239451,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239451",[25,26,115,28,29,30,192,522,31,73,7],"兰花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faef2ed2dae437b368ec5f5836264d4e1.jpg",[],29,{"id":527,"slug":528,"title":340,"dynasty":18,"author":341,"museum":48,"description":529,"tags":530,"thumbUrl":542,"material":78,"size":543,"collection":103,"collections":544,"showCount":525,"zanCount":106,"manualWeight":11,"mainColor":61},221590,"qiu-hui-cao-chong-tu-li-di-221590","此画左下方斜出数茎花草，相互掩映。一叶梢上栖息着一只螳螂，回首张望，高举双臂，似是盯着正在飞舞捕食的金龟。螳螂自腰部至头部弯转，其弧度与金龟外壳圆缓的轮廓线、草木花叶的线条都甚利落。其最精彩的部分应属精细的敷色，顺着叶片弧度，用石绿叠出深浅及细细叶脉。石青点染的鸭跖草，及天青色花瓣，虽色已剥落，仍有透薄之感。花间用白粉描绘小花头，螳螂上半部因敷白粉，突出了甲壳的平滑立体，其前臂更是富于变化，虽只勾勒出轮廓，但黄褐、淡黄、橄榄绿等色叠变，显示出更细致的部位变化，其金色的龟壳以金粉钩染，斑纹历历在目。",[23,25,26,115,29,28,30,7,344,386,31,73,531,532,533,534,535,536,537,538,539,540,541],"虫类","工笔花鸟","宋代绘画","设色花鸟","草木","细笔","写实","秋景","花草","小生灵","花鸟草虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0fa271539c516bc1fca226558e483c4.jpg","25.2x26.1厘米",[],{"id":546,"slug":547,"title":548,"dynasty":247,"author":549,"museum":303,"description":550,"tags":551,"thumbUrl":553,"material":554,"size":555,"collection":37,"collections":556,"showCount":557,"zanCount":106,"manualWeight":11,"mainColor":41},222417,"cao-chong-ce-ye-wen-liang-222417","草虫册页","温良","温良，山西山阴人，明朝政治人物。进士出身。\n永乐九年，辛卯科山西乡试中举。永乐十九年（1421年）辛丑科进士，授户部郎中",[23,25,29,28,115,7,552,73,52],"岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78c9ca4b052ee1ae78ddd46b0f652dc2.jpg","绢本水墨设色","12.7×17.1",[37,81],28,{"id":559,"slug":560,"title":561,"dynasty":18,"author":175,"museum":140,"description":562,"tags":563,"thumbUrl":565,"material":78,"size":566,"collection":103,"collections":567,"showCount":568,"zanCount":106,"manualWeight":11,"mainColor":41},223373,"xie-sheng-cao-chong-tu-yi-ming-223373","写生草虫图","画面右侧绘野生花草，狗尾、紫菀莛叶穿插。菜粉蝶落在花上吸取花蜜，蜻蜓徐徐低飞，蚱蜢跃跃欲跳，整幅画面充满动感。3只昆虫在画面上的等边三角形构图平衡了丛生的野草所造成的重心偏倚，使画面结构稳定。野草和花叶用花青加汁绿勾填，花用没骨法出之，昆虫兼工带写，形态逼真",[23,24,25,26,28,29,214,30,7,72,32,464,564,180,116],"草本植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf81f5379cd474d1d26ba4e587d518bb.jpg","25.9x26.9",[],25,{"id":570,"slug":571,"title":572,"dynasty":18,"author":573,"museum":303,"description":574,"tags":575,"thumbUrl":576,"material":56,"size":103,"collection":37,"collections":577,"showCount":568,"zanCount":106,"manualWeight":11,"mainColor":41},219283,"han-cai-tu-xu-gu-yan-219283","寒菜图","徐古岩","两棵大白菜水墨画，叶子用重墨画，叶子留白做茎。 菜根长出一株杂草，细长的草茎上栖息着一只蚱蜢。 虽然画面是冬景，但活跃的蚱蜢带来活力。",[23,25,26,24,95,74,116,331,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56ef32d8e02f0c02c27da1581f805f1c.jpg",[37],{"id":579,"slug":580,"title":581,"dynasty":261,"author":582,"museum":112,"description":583,"tags":584,"thumbUrl":586,"material":118,"size":119,"collection":103,"collections":587,"showCount":588,"zanCount":11,"manualWeight":11,"mainColor":61},287307,"cui-zhu-cao-chong-tu-juan-huang-quan-287307","翠竹草虫图卷","黄荃","黄筌（约903年—965年），字要叔，成都（今四川成都）人。曾随唐末入蜀的著名画家刁光胤学画，又吸收山水画家李昇，人物龙水画家孙位之长，结果“全该六法，远过三师”他擅长花竹翎毛，也能画佛道，人物，山水，是一位技艺全面的画家。\n早以工画得名，擅花鸟，师刁光胤、膝昌苑，兼工人物、山水、墨竹。山水松石学李升，人物龙水学孙位，鹤师薛稷，撷诸家之萃，脱去格律而自成一派。所画禽鸟造型正确，骨肉兼备，形象丰满，赋色浓丽，勾勒精细，几乎不见笔迹，似轻色染成，谓之“写生”。与江南徐熙并称“黄徐”，形成五代、宋初花鸟画两大主要流派。",[23,24,25,26,27,30,28,71,7,74,75,585,116],"楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f8d53909ea73552937b92b2443bc246.jpg",[],24,{"id":590,"slug":591,"title":246,"dynasty":247,"author":248,"museum":112,"description":592,"tags":593,"thumbUrl":595,"material":103,"size":103,"collection":103,"collections":596,"showCount":597,"zanCount":11,"manualWeight":11,"mainColor":61},228394,"hua-die-cao-chong-ce-du-da-cheng-228394","此作用水墨写意绘就花枝蛱蝶，淡墨晕染花瓣，晕出柔润层次，浓墨点醒花心，叶片以干湿浓墨分出阴阳向背，笔致写意率性却不失草木姿态，枝条挺秀舒展，暗含生机动人。\n\n一旁蛱蝶用工笔勾勒，翅脉纤毫毕现，蝶翼轻颤欲落，与写意花木形成工写对照，动静相生。画面留白疏朗雅致，将蛱蝶翩跹之灵与花枝清逸之静相融，尽显简淡清隽的意趣，笔墨简而意态足，晕开春日草木的悠然生机，尽显雅致风神。",[23,24,25,95,115,30,32,251,7,594],"白描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33dea1476444c732f0df93615d5f9095.jpg",[],23,{"id":599,"slug":600,"title":561,"dynasty":18,"author":211,"museum":112,"description":601,"tags":602,"thumbUrl":603,"material":118,"size":119,"collection":103,"collections":604,"showCount":605,"zanCount":106,"manualWeight":11,"mainColor":41},289349,"xie-sheng-cao-chong-tu-cui-bai-289349","画面右侧绘野生花草，狗尾、紫菀莛叶穿插。菜粉蝶落在花上吸取花蜜，蜻蜓徐徐低飞，蚱蜢跃跃欲跳，整幅画面充满动感。3只昆虫在画面上的等边三角形构图平衡了丛生的野草所造成的重心偏倚，使画面结构稳定。野草和花叶用花青加汁绿勾填，花用没骨法出之，昆虫兼工带写，形态逼真。",[23,24,25,27,28,29,30,7,32,72,97,75,74,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b7dcd9dc21885b547b27cbaf1170050.jpg",[],22,{"id":607,"slug":608,"title":609,"dynasty":66,"author":175,"museum":112,"description":610,"tags":611,"thumbUrl":613,"material":118,"size":119,"collection":103,"collections":614,"showCount":605,"zanCount":11,"manualWeight":11,"mainColor":615},288922,"cao-chong-tu-dui-zhou-zhi-pu-tao-yi-ming-288922","草虫图对轴之葡萄","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。",[24,25,94,28,29,30,7,130,165,612,32,278,31],"萱草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F989194f767a3f85d72ea617008493ab9.jpg",[],"37474F",{"id":617,"slug":618,"title":619,"dynasty":247,"author":248,"museum":620,"description":249,"tags":621,"thumbUrl":630,"material":631,"size":632,"collection":103,"collections":633,"showCount":605,"zanCount":11,"manualWeight":11,"mainColor":61},222432,"ren-wu-cao-chong-tu-quan-juan-du-da-cheng-222432","人物草虫图全卷","辽宁省博物馆",[23,25,24,26,27,594,95,28,116,74,622,7,623,624,625,51,626,627,628,629],"人物","松树","竹子","兰","飞鸟","棕榈","桌椅","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbc23865987ff0a8c397d24a26b83c9f.jpg","纸本，水墨","30x336",[],{"id":635,"slug":636,"title":637,"dynasty":66,"author":302,"museum":112,"description":638,"tags":639,"thumbUrl":640,"material":103,"size":103,"collection":103,"collections":641,"showCount":642,"zanCount":11,"manualWeight":11,"mainColor":41},228021,"cao-chong-tu-juan-zhen-ji-qian-xuan-228021","草虫图卷真迹","此作工细清润，草虫鲜活灵动，翅脉触须纤毫毕现，草木柔叶含带晨露清气，将草间小景勾勒得满生意趣。配笔题字朴拙苍劲，与画作的隽雅相映成趣，诗书画印融为一体。整体气质淡远清旷，以草虫之微，寄寓对生命本真的吟咏，尽得元人文人画澄怀观道的意韵，静雅中藏着蓬勃生机，是笔墨见心性的上乘佳作。",[23,25,26,27,28,29,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bb58a17d67bcb7d3dcdbd84e29a6a97.jpg",[],21,{"id":644,"slug":645,"title":646,"dynasty":66,"author":175,"museum":112,"description":647,"tags":648,"thumbUrl":650,"material":103,"size":103,"collection":103,"collections":651,"showCount":642,"zanCount":11,"manualWeight":11,"mainColor":41},223624,"cao-chong-tu-zhu-ye-juan-ben-yi-ming-223624","草虫图竹叶绢本","画面错落铺陈野趣生机，上方疏枝斜探，中段群芳舒展。明黄蜀葵柔丽妍秀，紫花秾艳、朱英点点，深浅花色交映成趣。粉蝶蹁跹、蜉蝣轻翔，草虫灵动如生，隐于枝叶花间。\n\n落笔工细秀逸，晕染雅致沉静，深褐绢底托衬出花木清妍，将初秋郊野的幽寂鲜活晕染开来。工致中带着写意澹远，把小景生机藏于古雅色调，静中含动，尽显写生花鸟的含蓄雅致，淡冶清和之间，古韵悠然流转，将草木虫豸之微末意趣，铺展成耐人品味的幽闲景致。",[23,25,24,26,216,29,28,7,649,31,32,72,73],"竹叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ed08f0802a9845b116d1f8c75cdf940.jpg",[],{"id":653,"slug":654,"title":655,"dynasty":46,"author":656,"museum":20,"description":657,"tags":658,"thumbUrl":660,"material":103,"size":103,"collection":37,"collections":661,"showCount":642,"zanCount":106,"manualWeight":11,"mainColor":662},203409,"hua-guo-cao-chong-ce-ni-yun-203409","花果草虫册","倪耘","画面中两朵花草盛放夺目，紫色花瓣如绒球蓬松朦胧，粉橙花朵艳而不俗、层次细腻。叶片舒展脉络清晰，墨绿与浅绿交织尽显生机。两只小虫轻盈飞落，为静态画面注入灵动气息，似能闻见花间细语。设色淡雅温润，线条工致却不刻板，将花果柔媚与草虫鲜活融为一体，传递自然清新雅致与生命蓬勃意趣，尽显传统花鸟册页的细腻韵致。",[28,29,30,659,7,115,23],"花果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7427b10e8e1aacee8726f9674516a03.jpg",[37],"d2c7b0",{"id":664,"slug":665,"title":246,"dynasty":247,"author":666,"museum":20,"description":667,"tags":668,"thumbUrl":669,"material":103,"size":103,"collection":37,"collections":670,"showCount":671,"zanCount":11,"manualWeight":11,"mainColor":672},203090,"hua-die-cao-chong-ce-wen-chu-203090","文俶","画面以疏简之笔勾勒自然意趣，淡墨枝丫横斜，叶片晕染赭墨，枯润有致。中央绿翅蚕蛾尤为夺目，翅色如翠玉温润，边缘浅红轻晕，翅面金斑若星，纤毫毕现。笔触细腻温婉，设色清雅脱俗，将草虫的鲜活与枝叶的疏淡相衬，静中生趣，尽显雅致生机。",[25,115,29,30,28,7,430,116,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5c7930773a86ac8d411a7a67534513b.jpg",[37],20,"d7cdc1",{"id":674,"slug":675,"title":676,"dynasty":247,"author":677,"museum":176,"description":678,"tags":679,"thumbUrl":681,"material":35,"size":682,"collection":103,"collections":683,"showCount":684,"zanCount":11,"manualWeight":11,"mainColor":61},220228,"hua-niao-cao-chong-xie-sheng-ce-qiu-fang-yi-shi-chen-hong-shou-220228","花鸟草虫写生册-秋芳倚石","陈洪绶","陈洪绶的绘画，尤其是他以之驰誉艺坛的双勾设色花鸟画，其特点有三，一是造型的古拙，二是色彩的古艳，三是线条的寓迟涩于劲挺，既厚重且圆润。",[23,25,26,24,115,28,29,251,680,51,166,7],"蜗牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd5070cbb8535d068831c1c644da9378.jpg","21.5×16cm",[],18,{"id":686,"slug":687,"title":688,"dynasty":247,"author":248,"museum":48,"description":249,"tags":689,"thumbUrl":690,"material":155,"size":254,"collection":103,"collections":691,"showCount":692,"zanCount":11,"manualWeight":11,"mainColor":61},222437,"hua-die-cao-chong-4-du-da-cheng-222437","花蝶草虫4",[23,24,25,26,115,28,95,30,251,252,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66ebf16e035fe6f21a4862947405a3fe.jpg",[],17,{"id":694,"slug":695,"title":696,"dynasty":247,"author":677,"museum":176,"description":678,"tags":697,"thumbUrl":700,"material":35,"size":682,"collection":103,"collections":701,"showCount":692,"zanCount":11,"manualWeight":11,"mainColor":61},220224,"hua-niao-cao-chong-xie-sheng-ce-gu-qiu-hua-hong-chen-hong-shou-220224","花鸟草虫写生册-古虬花红",[23,25,26,115,28,29,30,7,698,699,659,116],"老树","虬枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb21091114f949d92850c06dcdca89214.jpg",[],{"id":703,"slug":704,"title":705,"dynasty":46,"author":706,"museum":112,"description":707,"tags":708,"thumbUrl":709,"material":118,"size":119,"collection":103,"collections":710,"showCount":711,"zanCount":11,"manualWeight":11,"mainColor":61},288353,"lan-shi-tu-jiang-pu-288353","兰石图","蒋溥","蒋溥（1708—1761年），大学士蒋廷锡长子，字质甫，号恒轩，江苏常熟人，清朝大臣，画家，善画花卉，深得家传。雍正八年二甲第一名进士，官至东阁大学士兼户部尚书。性情宽厚而警敏，任职后，精心奉职，勤于政事，是乾隆时期的重臣，亦是蒋派花鸟画艺术的重要代表。\n乾隆二十六年（1761）四月，病逝于任上。乾隆皇帝亲临祭奠，加赠太子太保，谥曰文恪，入祀贤良祠。",[25,26,94,29,28,30,192,625,51,7,72],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0350f5ed0f80f346627b44ec05cfd1de.jpg",[],16,{"id":713,"slug":714,"title":715,"dynasty":247,"author":248,"museum":48,"description":249,"tags":716,"thumbUrl":717,"material":155,"size":254,"collection":103,"collections":718,"showCount":711,"zanCount":11,"manualWeight":11,"mainColor":61},222440,"hua-die-cao-chong-8-du-da-cheng-222440","花蝶草虫8",[23,25,95,28,594,30,7,32,386,251,421],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3482b99c9a114f587fe2de4568df48a7.jpg",[],{"id":720,"slug":721,"title":722,"dynasty":247,"author":248,"museum":48,"description":249,"tags":723,"thumbUrl":724,"material":155,"size":254,"collection":103,"collections":725,"showCount":711,"zanCount":11,"manualWeight":11,"mainColor":61},222436,"hua-die-cao-chong-3-du-da-cheng-222436","花蝶草虫3",[23,25,26,95,28,594,30,7,32,251,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1a347739aaed6c58c2cf28ca8269f81.jpg",[],{"id":727,"slug":728,"title":729,"dynasty":247,"author":677,"museum":176,"description":678,"tags":730,"thumbUrl":731,"material":35,"size":682,"collection":103,"collections":732,"showCount":711,"zanCount":11,"manualWeight":11,"mainColor":61},220226,"hua-niao-cao-chong-xie-sheng-ce-dan-jie-wu-chen-chen-hong-shou-220226","花鸟草虫写生册-丹洁无尘",[23,24,25,26,115,28,29,30,32,165,179,180,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3014485fbd602bc596fe511ee39155e.jpg",[],{"id":734,"slug":735,"title":736,"dynasty":247,"author":677,"museum":176,"description":678,"tags":737,"thumbUrl":739,"material":35,"size":682,"collection":103,"collections":740,"showCount":741,"zanCount":11,"manualWeight":11,"mainColor":61},220223,"hua-niao-cao-chong-xie-sheng-ce-dan-zi-gu-fang-chen-hong-shou-220223","花鸟草虫写生册-淡紫孤芳",[23,24,25,26,115,28,29,265,32,738,30,7,116],"红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53bb070134421d626cfa855b4c4e709c.jpg",[],15,{"id":743,"slug":744,"title":745,"dynasty":46,"author":224,"museum":20,"description":225,"tags":746,"thumbUrl":747,"material":29,"size":228,"collection":103,"collections":748,"showCount":741,"zanCount":11,"manualWeight":11,"mainColor":41},219804,"hua-niao-cao-chong-tu-6-sun-long-219804","花鸟草虫图-6",[25,29,28,30,7,73,116,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb66ded91ecfb89d3eae0eef8d7c05c94.jpg",[],{"id":750,"slug":751,"title":752,"dynasty":247,"author":248,"museum":48,"description":249,"tags":753,"thumbUrl":755,"material":155,"size":254,"collection":103,"collections":756,"showCount":757,"zanCount":11,"manualWeight":11,"mainColor":61},222435,"hua-die-cao-chong-2-du-da-cheng-222435","花蝶草虫2",[23,25,754,28,7,72,131,73,31,30,116,95],"水墨画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74f32a7969dd3a89b2b66f9c9fc6cc97.jpg",[],14,{"id":759,"slug":760,"title":761,"dynasty":247,"author":248,"museum":48,"description":249,"tags":762,"thumbUrl":763,"material":155,"size":254,"collection":103,"collections":764,"showCount":757,"zanCount":11,"manualWeight":11,"mainColor":61},222434,"hua-die-cao-chong-10-du-da-cheng-222434","花蝶草虫10",[23,25,26,95,28,30,7,115,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9e4b4356761fc0aa6b43e23ce6d6298.jpg",[],{"id":766,"slug":767,"title":768,"dynasty":18,"author":175,"museum":140,"description":601,"tags":769,"thumbUrl":770,"material":377,"size":771,"collection":103,"collections":772,"showCount":773,"zanCount":11,"manualWeight":11,"mainColor":41},233456,"xie-sheng-cao-chong-tu-ye-yi-ming-233456","写生草虫图页",[25,24,26,115,28,29,30,7,73,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cddca671bbcf7d7f148320861277a43.jpg","纵25.9厘米，横26.9厘米",[],13,{"id":775,"slug":776,"title":777,"dynasty":778,"author":779,"museum":112,"description":780,"tags":781,"thumbUrl":782,"material":118,"size":119,"collection":103,"collections":783,"showCount":773,"zanCount":11,"manualWeight":11,"mainColor":61},231607,"ju-zhen-hua-pu-shang-zhong-xia-ce-zhong-shou-ye-tan-you-231607","聚珍画谱.上中下册（中）","不详","狩野探幽","狩野探幽（1602～1674），京都人，原名守信，狩野永德之孙，孝信长子，狩野派代表画家。",[25,26,30,29,115,31,72,32,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73e3f10043cd6901a649d6153921c292.jpg",[],{"id":785,"slug":786,"title":787,"dynasty":247,"author":248,"museum":48,"description":249,"tags":788,"thumbUrl":789,"material":155,"size":254,"collection":103,"collections":790,"showCount":773,"zanCount":11,"manualWeight":11,"mainColor":61},222441,"hua-die-cao-chong-9-du-da-cheng-222441","花蝶草虫9",[23,25,95,28,115,7,421,30,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51894c941ab97e4210b2e2dcf75e70bd.jpg",[],{"id":792,"slug":793,"title":794,"dynasty":46,"author":224,"museum":20,"description":225,"tags":795,"thumbUrl":797,"material":29,"size":228,"collection":103,"collections":798,"showCount":773,"zanCount":11,"manualWeight":11,"mainColor":41},219808,"hua-niao-cao-chong-tu-2-sun-long-219808","花鸟草虫图-2",[24,25,26,29,30,796,7,116,115,143],"鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F351215e9fdcf2a7bb48a6fadabd20502.jpg",[],{"id":800,"slug":801,"title":802,"dynasty":46,"author":224,"museum":20,"description":225,"tags":803,"thumbUrl":806,"material":29,"size":228,"collection":103,"collections":807,"showCount":773,"zanCount":11,"manualWeight":11,"mainColor":41},219805,"hua-niao-cao-chong-tu-5-sun-long-219805","花鸟草虫图-5",[25,29,115,30,7,804,805,116],"青蛙","荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1496eebef00e11803437826b3ab60ab1.jpg",[],{"id":809,"slug":810,"title":811,"dynasty":46,"author":175,"museum":112,"description":812,"tags":813,"thumbUrl":814,"material":103,"size":103,"collection":103,"collections":815,"showCount":816,"zanCount":11,"manualWeight":11,"mainColor":61},234484,"jin-ling-ming-bi-ji-sheng-hu-zao-hua-cao-chong-ce-ye-yi-ming-234484","金陵名笔集胜-胡慥画草虫册页","明末清初，金陵特殊的政治、经济、文化地位，使其集聚了一大批画家，用龚贤的话来说：“今日画家以江南最盛，江南十郡以首郡为盛，郡中著名者且数十辈，但能吮笔者岂止千人？”① 江南的首郡就是金陵。在这些画家中，却单单有八位画家因一个概念而被画史铭记，这就是“金陵八家”。但是，关于“金陵八家”的构成一直为画史争论不休。先后出现了多个版本，这些不同的“金陵八家”组合其实可以分为三类：①为张庚《国朝画征录》中提出的以龚贤为首的“金陵八家”。②为标明是周亮工品题的不包括龚贤，并以陈卓领衔的“金陵八家”，《上元县志》、《新修江宁府志》、《上江两县志》和《金陵通传》这4部南京地方志采用该说。前三书完全相同，而《金陵通传》略有不同，将武丹换成了武弁（很可能是传抄的错误）。《眼福编》的组合虽与张庚之说相似，但将龚贤换成了邹喆的父亲邹典，故将之归到这一类。③为《昆山景物志》，此说也以龚贤为首，大概因为龚贤是昆山人。新入3人：施霖、盛丹、王概。这三类“金陵八家”构成以第一种受到的附合最多。为什么会出现如此多的“金陵八家”说不同版本，“金陵八家”最初由谁品题，为什么会发生变化，其动因又是什么呢？",[25,26,115,29,28,30,265,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd69d52209f5bf66a1de1c23e1b5d4804.jpg",[],12,{"id":818,"slug":819,"title":820,"dynasty":46,"author":224,"museum":20,"description":225,"tags":821,"thumbUrl":822,"material":29,"size":228,"collection":103,"collections":823,"showCount":816,"zanCount":11,"manualWeight":11,"mainColor":41},219800,"hua-niao-cao-chong-tu-10-sun-long-219800","花鸟草虫图-10",[25,26,29,30,7,626,31,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F916a85c048376a55f5f9524aa1ef342f.jpg",[],{"id":825,"slug":826,"title":827,"dynasty":46,"author":224,"museum":20,"description":225,"tags":828,"thumbUrl":829,"material":29,"size":228,"collection":103,"collections":830,"showCount":816,"zanCount":11,"manualWeight":11,"mainColor":41},219797,"hua-niao-cao-chong-tu-12-sun-long-219797","花鸟草虫图-12",[25,95,29,30,7,51,116,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8be34d718fc3d34b8996dab3f8ae6d78.jpg",[],{"id":832,"slug":833,"title":834,"dynasty":18,"author":175,"museum":112,"description":835,"tags":836,"thumbUrl":837,"material":103,"size":103,"collection":103,"collections":838,"showCount":839,"zanCount":11,"manualWeight":11,"mainColor":41},223623,"hua-shi-cao-chong-tu-yi-ming-223623","花石草虫图","此作用笔精微细腻，构图取舍精妙，折枝花倚顽石而生，柔媚与苍劲相映成趣。粉红花瓣以淡彩晕染，瓣尖轻着白粉，将盛放之姿描摹得楚楚动人，叶片脉络清晰可见，带着鲜活水润的质感。顽石以枯笔勾勒皴擦，嶙峋纹理尽显硬冷苍古，和花草的柔润形成鲜明对照。\n\n画中诸般小生灵皆栩栩如生：蜥蜴探首曳尾，似正蹑足穿行；蜗牛静附石上，蜷壳悠然；飞蜂悬于空中，振翅之态仿佛可闻轻响。整体设色浅淡清和，墨色层次丰富，将郊野一角的生机定格，藏着细腻观照万物的心意，于平朴之中尽显雅致生趣。",[23,25,24,28,29,30,51,251,7,680],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F389a4324e39851ec48a8bf5727886c77.jpg",[],11,{"id":841,"slug":842,"title":843,"dynasty":46,"author":224,"museum":20,"description":225,"tags":844,"thumbUrl":847,"material":29,"size":228,"collection":103,"collections":848,"showCount":839,"zanCount":11,"manualWeight":11,"mainColor":41},219806,"hua-niao-cao-chong-tu-4-sun-long-219806","花鸟草虫图-4",[25,26,24,115,29,143,30,165,116,7,845,31,73,846],"水墨设色","虫鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16b52c7ce8c0823943b1da2bc3f62bbb.jpg",[],{"id":850,"slug":851,"title":852,"dynasty":46,"author":224,"museum":20,"description":225,"tags":853,"thumbUrl":854,"material":29,"size":228,"collection":103,"collections":855,"showCount":839,"zanCount":11,"manualWeight":11,"mainColor":41},219803,"hua-niao-cao-chong-tu-7-sun-long-219803","花鸟草虫图-7",[25,29,28,30,7,97,539,116,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe331aa41b772de3fa25912b046eb27da.jpg",[],{"id":857,"slug":858,"title":859,"dynasty":46,"author":860,"museum":20,"description":861,"tags":862,"thumbUrl":865,"material":103,"size":103,"collection":37,"collections":866,"showCount":839,"zanCount":11,"manualWeight":11,"mainColor":867},203379,"hua-niao-cao-chong-ce-gu-shao-203379","花鸟草虫册","顾韶","这幅画作以工致笔触捕捉自然生趣，花叶舒展间，螳螂翘首欲动，小虫隐于叶隙，羽翎纹理纤毫毕现。设色清雅明快，叶片的翠润、花瓣的柔粉与虫羽的素白相映成趣，线条精准勾勒出草木脉络与生灵动态，将草虫花鸟的鲜活气息凝于纸面。观者仿佛能嗅到草木清香，窥见虫鸣私语，于方寸间尽显写生之妙与文人意韵，是兼具写实功力与诗意情致的佳作。",[28,29,30,7,535,863,214,864,23],"羽翎","文人意韵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f88b530601772cc1a1b7b8ee1776728.jpg",[37],"bcab88",{"id":869,"slug":870,"title":834,"dynasty":18,"author":175,"museum":112,"description":871,"tags":872,"thumbUrl":874,"material":118,"size":119,"collection":103,"collections":875,"showCount":876,"zanCount":11,"manualWeight":11,"mainColor":41},289939,"hua-shi-cao-chong-tu-yi-ming-289939","宋代绘画是在中国宋代期间的绘画作品，中国宋朝延续300多年，其绘画在隋唐五代的基础上继续得到发展。民间绘画、宫廷绘画、士大夫绘画各自形成体系，彼此间又互相影响、吸收、渗透，构成宋代绘画丰富多彩的面貌。\n北宋统一消除了封建割据造成的分裂和隔阂，在一段时期内社会保持着相对安定局面，商业手工业迅速发展，城市布局打破坊和市的严格界限，出现空前未有的繁荣。南宋虽然偏安江南，由于物产丰盛的江、浙、湖、广地区都在其境内，大量南迁的北方人和南方人一起共同开发江南，经济、文化都得到继续发展并超过北方。北宋的汴梁（今河南省开封市）、南宋的临安（今浙江省杭州市）等城市商业繁盛，除贵族聚集外，还住有大量的商人、手工业者和市民阶层，城市文化生活空前活跃，绘画的需求量明显增长，绘画的服务对象也有所扩大，为绘画发展和繁荣提供了物质条件和群众基础。\n宋代绘画进入手工业商业行列，与更多的群众建立较为密切的联系。一批技艺精湛的职业画家，将作品作为商品在市场上出售，汴京及临安都有纸画行业。汴京大相国寺每月开放5次庙会，百货云集，其中就有售卖书籍和图画的摊店；南宋临安夜市也有细画扇面、梅竹扇面出售；汴京、临安等地的酒楼也以悬挂字画美化店堂，作为吸引顾客的手段。市民遇有喜庆宴会，所需要的屏风、画帐、书画陈设等都可以租赁。适应年节的需要，岁末时又有门神、钟馗等节令画售卖，为市甚盛。北宋时，汴京善画“照盆孩儿”的画家刘宗道，每创新稿必画出几百幅在市场一次售出，以防别人仿制；专画楼阁建筑的赵楼台；画婴儿的杜孩儿，也在汴京享有盛名。吴兴籍军人燕文贵常到汴京州桥一带卖画。山西绛州杨威，善画村田乐，每有汴京贩画商人买画，他即嘱其如到画院门前去卖，可得高价。社会对绘画的需求和民间职业画家创作的活跃，是推动宋代绘画发展的重要因素。宋代由于手工业的发达，促成了雕版印刷的发展与普及，出现了汴京、临安、平阳、成都、建阳等雕版中心，不少书籍及佛经都附有版画插图，现存宋金雕印的弥勒像、陀罗尼经咒、《佛国禅师文殊指南图赞》、《赵城藏》等，可见其绘刻之精美程度。",[25,24,26,28,29,30,31,51,7,873,278],"蛇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93e736ec07c5274b496d790b42b1ee02.jpg",[],10,{"id":878,"slug":879,"title":880,"dynasty":46,"author":224,"museum":20,"description":225,"tags":881,"thumbUrl":882,"material":29,"size":228,"collection":103,"collections":883,"showCount":876,"zanCount":11,"manualWeight":11,"mainColor":41},219801,"hua-niao-cao-chong-tu-9-sun-long-219801","花鸟草虫图-9",[25,29,30,7,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F334af5c92f2911b915e72b776c12089c.jpg",[],{"id":885,"slug":886,"title":887,"dynasty":46,"author":224,"museum":20,"description":225,"tags":888,"thumbUrl":889,"material":29,"size":228,"collection":103,"collections":890,"showCount":876,"zanCount":11,"manualWeight":11,"mainColor":41},219798,"hua-niao-cao-chong-tu-11-sun-long-219798","花鸟草虫图-11",[25,29,115,30,7,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb68ad6cc4d6452ced985f28adbc6fd0.jpg",[],{"id":892,"slug":893,"title":894,"dynasty":66,"author":895,"museum":140,"description":896,"tags":897,"thumbUrl":898,"material":899,"size":900,"collection":103,"collections":901,"showCount":902,"zanCount":11,"manualWeight":11,"mainColor":41},233962,"cao-chong-ye-zang-xiang-qing-233962","草虫页","臧祥卿","本幅墨笔，未见著录。\n臧良（生卒年不详），字祥卿，钱塘（今杭州）人。善画花竹翎毛，风格师法王渊。",[25,115,594,28,7,30,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21c4ce5c5006a48501bcb25ae4c892b8.jpg","绢本 ，墨笔","纵18.6cm，横22.5cm",[],8,{"id":904,"slug":905,"title":906,"dynasty":247,"author":175,"museum":112,"description":907,"tags":908,"thumbUrl":909,"material":103,"size":103,"collection":103,"collections":910,"showCount":902,"zanCount":11,"manualWeight":11,"mainColor":61},231360,"hu-die-cao-chong-tu-yi-ming-231360","蝴蝶草虫图","蝴蝶是一种漂亮的小动物，它千姿百态，绚丽缤纷，穿梭于繁花丛中，常被人赋予“虫国佳丽”、“会飞的花朵”、“百花仙子”等美名，更引得历代不少文人墨客为之咏怀。长期以来，历代画家更是把蝴蝶作为重要的创作题材之一，点景于花鸟画中。",[23,25,26,129,28,29,30,32,7,73,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cb044f767b5955063e9771401885f8b.jpg",[],{"id":912,"slug":913,"title":859,"dynasty":247,"author":224,"museum":20,"description":914,"tags":915,"thumbUrl":917,"material":103,"size":103,"collection":37,"collections":918,"showCount":919,"zanCount":11,"manualWeight":11,"mainColor":920},203308,"hua-niao-cao-chong-ce-sun-long-203308","枝叶以没骨法晕染，墨彩交融如沾清露，舒展间见草木柔姿；草虫勾勒简练却形神兼备，翅脉纹理皆含灵动之态。画面摒弃硬挺轮廓，凭色彩浓淡层次塑物态，鲜活捕捉花鸟草虫的自然野趣，尽显文人画中“观物取情”的雅致，方寸册页间凝缩生机无限。",[916,95,29,30,7,115,23],"没骨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F131c1995596ddf3c287fbcb502fe1b17.jpg",[37],6,"bcbbaf",{"id":922,"slug":923,"title":924,"dynasty":925,"author":89,"museum":20,"description":926,"tags":927,"thumbUrl":10,"material":103,"size":103,"collection":81,"collections":929,"showCount":83,"zanCount":11,"manualWeight":11,"mainColor":930},202976,"cao-chong-ce-qi-bai-shi-202976","草虫册","近代","画面左侧，一只草虫以工笔细描而成，翅脉纤毫毕现，神态鲜活灵动；右侧油灯则用大写意泼墨挥洒，浓淡墨色间尽显朴拙之态。工笔的精致与写意的豪放在此交融，日常小景被赋予盎然生机。齐白石将平凡物件化为画中逸趣，以简练笔墨传递生活温情，尽显其“似与不似”的艺术精髓。",[25,95,28,143,7,928,115,116,23],"器",[81],"dcd8cb",{"id":932,"slug":933,"title":934,"dynasty":46,"author":935,"museum":20,"description":936,"tags":937,"thumbUrl":938,"material":103,"size":103,"collection":103,"collections":939,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":940},203426,"hua-hui-cao-chong-ce-12-kai-ni-tian-203426","花卉草虫册12开","倪田","这幅画作笔墨灵动，蓝花以淡彩晕染，花瓣轻盈透亮；墨叶写意挥洒，浓淡干湿交错，尽显草木生机。草虫刻画细致入微，翅脉纹理清晰，姿态鲜活，似欲振翅跃动于花叶间。构图疏朗有致，设色清雅，兼具写意的洒脱与工笔的精巧，将自然野趣凝于尺幅，传递出恬淡闲适的意韵，令人观之忘俗。",[25,115,95,29,30,7,143,28,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef1e1db5860f1c7c6b610513febc6ed4.jpg",[],"cec6be",{"id":942,"slug":943,"title":944,"dynasty":46,"author":175,"museum":112,"description":945,"tags":946,"thumbUrl":950,"material":118,"size":119,"collection":103,"collections":951,"showCount":297,"zanCount":11,"manualWeight":11,"mainColor":615},259438,"lv-di-fen-cai-cao-chong-hua-hui-wen-shuang-er-ping-yi-ming-259438","绿地粉彩草虫花卉纹双耳瓶","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[947,948,7,31,949,29],"陶瓷","粉彩","双耳瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82d870b1272e07d832f5dadedf8d82e3.jpg",[],{"id":953,"slug":954,"title":955,"dynasty":46,"author":175,"museum":112,"description":956,"tags":957,"thumbUrl":962,"material":118,"size":119,"collection":103,"collections":963,"showCount":106,"zanCount":11,"manualWeight":11,"mainColor":61},261516,"cheng-hua-kuan-dou-cai-ji-tu-bei-yi-ming-261516","成化款斗彩鸡图杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[947,958,238,959,7,960,961],"斗彩","雏鸡","饮酒器","器皿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f7f72b6f7ea7e58e424027616617a0a.jpg",[],{"id":965,"slug":966,"title":967,"dynasty":46,"author":175,"museum":112,"description":968,"tags":969,"thumbUrl":970,"material":118,"size":119,"collection":103,"collections":971,"showCount":106,"zanCount":11,"manualWeight":11,"mainColor":41},258966,"da-ya-zhai-kuan-huang-di-fen-cai-cao-chong-hua-hui-wen-hua-pen-yi-ming-258966","大雅斋款黄地粉彩草虫花卉纹花盆","此器以娇黄釉为地，匀净明丽，宛若鎏金凝脂。粉彩绘就花草虫趣，海棠柔枝缀满繁英，白葩清雅绽放，草虫穿梭其间，将暮春园林的鲜活意趣凝于瓷上。\n\n口沿留白青花勾边，配朱印题识，尽显宫廷御制的雅致气韵。釉色莹润饱满，设色柔妍秀雅，工笔细腻写实，将晚清御窑的细腻工法与雅致审美融为一体，把自然生机藏于方寸瓷间，尽显温婉隽秀的宫廷意趣。",[947,948,29,28,31,7,928,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe56ffb3d40f173bda63d64b5a9c437a.jpg",[],{"id":973,"slug":974,"title":975,"dynasty":247,"author":175,"museum":112,"description":976,"tags":977,"thumbUrl":982,"material":118,"size":119,"collection":103,"collections":983,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},269058,"zhu-diao-cao-chong-bai-cai-tu-xiang-tong-yi-ming-269058","竹雕草虫白菜图香筒","这件香筒以浮雕镂刻出白菜茎叶，叶片舒展饱满，脉络纹理细腻写实，仿佛带着晨露的鲜活生机。旁侧草虫灵动点缀，将乡野间的日常小景凝于竹身。筒身辅以留青饰边，素雅和谐，牙质顶盖配深色木座，愈发衬出竹色温润朴拙。\n\n整体构图疏密得宜，留白处让虫草意趣更显盎然。刀工圆熟自然，把寻常田园野趣，化作案头雅物，将写实传神的特质尽显无遗，静立之间便带着悠然闲意，藏着匠人巧思，把清浅乡韵揉入文房雅致当中。",[978,979,7,980,981,928],"竹雕","雕刻","白菜","香筒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa80fad48b2a80a9fd4cb35734363c421.jpg",[],{"id":985,"slug":986,"title":987,"dynasty":247,"author":175,"museum":112,"description":988,"tags":989,"thumbUrl":995,"material":118,"size":119,"collection":103,"collections":996,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},261203,"qing-hua-hua-hui-cao-chong-wen-wan-yi-ming-261203","青花花卉草虫纹碗","青花瓷（blue and white porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[947,990,991,992,31,7,993,994],"青花","日用具","碗","兰草","怪石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdde2f9711b476df61a05b01851465122.jpg",[],{"id":998,"slug":999,"title":1000,"dynasty":46,"author":175,"museum":112,"description":945,"tags":1001,"thumbUrl":1003,"material":118,"size":119,"collection":103,"collections":1004,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},260186,"wu-cai-cao-chong-hua-niao-tu-gua-leng-ping-yi-ming-260186","五彩草虫花鸟图瓜棱瓶",[947,928,1002,30,7,805,626,29],"五彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7f8d56893d4df5f927477e940ed45d8.jpg",[],{"id":1006,"slug":1007,"title":1008,"dynasty":46,"author":175,"museum":112,"description":945,"tags":1009,"thumbUrl":1010,"material":118,"size":119,"collection":103,"collections":1011,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},259447,"lv-di-fen-cai-cao-chong-hua-hui-wen-pie-kou-ping-yi-ming-259447","绿地粉彩草虫花卉纹撇口瓶",[947,948,7,192,31,949,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3534fe178116dba8deb99eaceb82ce6c.jpg",[],{"id":1013,"slug":1014,"title":1015,"dynasty":46,"author":175,"museum":112,"description":1016,"tags":1017,"thumbUrl":1022,"material":118,"size":119,"collection":103,"collections":1023,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},252121,"zi-gang-kuan-bai-yu-qiu-ye-cao-chong-wen-bi-tian-yi-ming-252121","子刚款白玉秋叶草虫纹笔掭","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。\n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玉器经历7000多年的发展，从简单的装饰品发展到古代宗教祭拜、礼仪用品，再到象征高尚道德品质的装饰品，最后上升为丰富的艺术鉴赏作品，深入反映了不同历史时期的社会发展演变过程。",[1018,979,1019,1020,7,928,1021],"玉石","清代","秋叶","文房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9fa9f12db914e7399f46e99a8cf8133.jpg",[],{"id":1025,"slug":1026,"title":1027,"dynasty":247,"author":175,"museum":112,"description":1028,"tags":1029,"thumbUrl":1034,"material":118,"size":119,"collection":103,"collections":1035,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":615},246039,"ti-hong-gou-yun-san-you-cao-chong-tu-yuan-he-yi-ming-246039","剔红勾云三友草虫图圆盒","雕漆,是漆工艺中的一个品种,是中国漆器特有的装饰技法,是在油光漆兑入入漆颜料,数十层乃至上百层地髹涂在用漆封闭处理过的胎骨上,每天只能髹涂二至三道,髹涂下道漆不可等上道漆干透,否则漆层容易缺脱,这样逐层累积到需要的厚度,用刀剔刻出浮雕花纹,表现层次与质地的美感.",[1030,1031,1032,1033,7,928],"漆器","剔红","勾云纹","三友","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38a802a9f0701ee888e788ea6612569d.jpg",[],1777535705008]