[{"data":1,"prerenderedAt":127},["ShallowReactive",2],{"subject-chang-pu":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},1327,"chang-pu","菖蒲","菖蒲画高清赏析","精选中国历代菖蒲题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcc9b4bdfa5493110c59280739c308a6.jpg",0,6,[14,44,61,75,97,114],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":36,"material":37,"size":38,"collection":39,"collections":40,"showCount":41,"zanCount":42,"manualWeight":11,"mainColor":43},214364,"duan-wu-tu-zhou-wang-shi-min-214364","端午图轴","清","王时敏","北京故宫博物院","墨笔点染的花草疏密有致，剑形菖蒲叶挺拔劲健，似携端午驱邪的古意；蜀葵叶片浓淡相宜，花瓣柔婉舒展；百合与细碎小花点缀其间，姿态娇俏。线条勾勒细腻传神，枝叶脉络清晰可见，墨色层次丰富，从浓墨到浅灰过渡自然。文人意趣融于一花一叶，素净中透出盎然生机，淡雅间藏着温润诗意。无艳色却自具清幽之美，尽显传统花卉画的雅致情韵与端午时节的独特氛围，让人于素纸上感受到自然的生机与文化的绵长。",[23,24,25,26,27,28,29,30,31,32,33,34,35,7],"高清","名画","国画","书画","立轴","水墨","设色","花鸟","工笔","花卉","植物","叶子","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3414e2605b1e19c796fba5f04650202d.jpg","纸本,水墨","100.8x40.1","花鸟画精选",[39],314,4,"BDBDBD",{"id":45,"slug":46,"title":47,"dynasty":18,"author":48,"museum":20,"description":49,"tags":50,"thumbUrl":55,"material":56,"size":56,"collection":39,"collections":57,"showCount":59,"zanCount":60,"manualWeight":11,"mainColor":43},236914,"ping-hua-chang-pu-tu-zhou-wu-chang-shuo-236914","瓶花菖蒲图轴","吴昌硕","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[25,26,27,29,30,51,7,28,52,53,54],"瓶","书法","行书","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe31a2e8d71982568c3110d604c9844d9.jpg","",[39,58],"设色画精选",76,1,{"id":62,"slug":63,"title":64,"dynasty":65,"author":66,"museum":67,"description":68,"tags":69,"thumbUrl":71,"material":37,"size":56,"collection":72,"collections":73,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":43},219521,"chang-pu-tu-shen-zhen-ji-219521","菖蒲图","明","沈贞吉","台北故宫博物院","沈贞吉（1400-1482年仍在）名沈贞，号陶庵、陶然老人（道人），江苏长洲（今苏州人），其弟沈恒，字恒吉，为“吴门画派”代表畫家沈周（1427-1509）之父。沈贞吉工诗，兼擅绘画，以山水见长。但因其“不肯轻为人作，故少存者”，现在所见传世之作极少书画鉴定家张珩在其《木雁斋书画鉴赏笔记》中著录沈贞吉的《溪山一览图》时说：“南斋为石田伯父，画迹传世，平生惟见此一小幅为真迹……已至为难得矣。”（“南斋”为沈贞吉别号）连寓目书画无数的张珩所见沈贞吉画迹仅一件，可见其流传于今的作品，确实不多见。",[25,28,27,52,54,7,70],"孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feda667cbc2a17f96eecd268417b52830.jpg","水墨画精选",[72],26,{"id":76,"slug":77,"title":78,"dynasty":79,"author":80,"museum":81,"description":82,"tags":83,"thumbUrl":91,"material":92,"size":93,"collection":56,"collections":94,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":96},291027,"tian-zhong-jia-jing-zhou-yi-ming-291027","天中佳景轴","元","佚名","藏地不详","画面上方五幅天师符文，暗合端午驱祟纳吉的古俗。下方案头清供雅致动人，素银宝瓶插满蜀葵、石榴与兰草，花瓣晕染秾丽鲜活，枝叶舒展自然生动。瓷盘盛着角黍鲜果，艾草菖蒲铺陈案边，处处呼应节令意涵。\n\n此作工致细腻，设色沉厚古雅，承袭宋院体花鸟的精工遗韵，又带着元代世俗赏玩的审美意趣，将岁时清赏与祈福心愿融于一室，把端午禳灾纳福的吉庆氛围，晕染在这方静谧典雅的案头小景之中。",[25,27,29,31,30,84,85,86,87,7,88,89,52,90],"人物","银器","芙蓉","石榴","端午","器","篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff78aff34a8a838b30125b3886ed6af42.jpg","未知","99.9x63.5公分",[],14,"795548",{"id":98,"slug":99,"title":100,"dynasty":65,"author":101,"museum":102,"description":103,"tags":104,"thumbUrl":110,"material":56,"size":56,"collection":39,"collections":111,"showCount":112,"zanCount":11,"manualWeight":11,"mainColor":113},201603,"duan-wu-ji-jing-tu-zhou-chen-gua-201603","端午即景图轴","陈栝","上海博物馆","淡赭底色上，端午景致徐徐铺展：菖蒲劲挺如剑，艾草丛生于岸，白花团簇绽放，红蕊点缀其间，石体以水墨晕染，轮廓柔婉却藏苍润。花卉勾勒细腻入微，花瓣层次与枝叶脉络皆清晰可见，设色清雅脱俗，既显自然生机，又蕴文人雅韵。构图疏密相宜，上下景致呼应，笔墨间流露工致灵动之态，传递出端午时节的清和宁静。",[25,30,31,29,105,7,106,107,108,109,23],"皴法","艾草","白花","红蕊","石体","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F193610bbe92c5f0fc82878dedeb24fec.jpg",[39],5,"a79271",{"id":115,"slug":116,"title":117,"dynasty":18,"author":118,"museum":102,"description":119,"tags":120,"thumbUrl":124,"material":56,"size":56,"collection":56,"collections":125,"showCount":60,"zanCount":11,"manualWeight":11,"mainColor":126},202537,"rui-yang-jie-jing-tu-zhou-dai-li-202537","瑞阳节景图轴","戴礼","这幅节景图捕捉端午时节的清雅意趣。墨韵淋漓的山石旁，菖蒲挺立于浅水中，叶片舒展带露；石上红白花朵点缀，疏枝斜出添姿。水面微波轻漾，几只小虫游弋，细节藏妙。笔墨间，山石以浓淡墨块晕染，质感厚重；植物用细劲线条勾勒，设色淡雅。构图疏密有致，虚实相生，将端午的清寂与生机交融，尽显文人对传统节日的细腻感知与审美情致。",[25,27,28,29,7,121,35,122,123,23],"山石","水面","小虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dfb8808b7f3588c32699052655625cc.jpg",[],"ddcdbb",1777535746086]