[{"data":1,"prerenderedAt":158},["ShallowReactive",2],{"subject-chu-ji-309":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},309,"chu-ji-309","雏鸡","雏鸡画高清赏析","精选中国历代雏鸡题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F646a8999bac2dfee9dc422d10ec0b0aa.jpg",0,9,[14,43,62,79,96,107,116,131,143],{"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":40,"zanCount":41,"manualWeight":11,"mainColor":42},219005,"shou-zhu-heng-chun-tu-lv-ji-219005","寿祝恒春图","明","吕纪","大英博物馆","该场景描绘了一对公鸡和母鸡在一个有花有竹的郁郁葱葱的院子里。这幅画被认为是吕纪的作品，但除了鸡群与蓝山鹊很像吕纪的笔触外，湖石和花竹都与吕纪无关，印记也不是真的。然而，画家的作品是如此深刻，以至于可以作为边景昭画派的作品来欣赏。",[23,24,25,26,27,28,29,30,31,7,32,33],"高清","国画","书画","花鸟","工笔","设色","立轴","竹","鸡","花草","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa63c8c7a0ec2a692f833b7185730dd23.jpg","绢本,设色","","花鸟画精选",[37,39],"设色画精选",119,3,"795548",{"id":44,"slug":45,"title":46,"dynasty":47,"author":48,"museum":49,"description":50,"tags":51,"thumbUrl":56,"material":35,"size":57,"collection":37,"collections":58,"showCount":59,"zanCount":60,"manualWeight":11,"mainColor":61},218818,"fu-gui-ji-qing-tu-yi-ming-218818","富贵吉庆图","清","佚名","台北故宫博物院","这幅画是在七色牡丹花下画了一对公鸡和母鸡接近小鸡的场景。牡丹的画法是恽代英式的，鸡的形状也很准确，采用的是略带西方色彩的凹版画法，所以这幅画应该是清代宫廷画家的作品。",[24,28,27,26,52,53,7,54,55,32],"公鸡","母鸡","牡丹","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87b682bea290156c24b7bd4517051447.jpg","138.5x69cm",[37],96,1,"BDBDBD",{"id":63,"slug":64,"title":65,"dynasty":18,"author":66,"museum":67,"description":68,"tags":69,"thumbUrl":73,"material":74,"size":75,"collection":37,"collections":76,"showCount":78,"zanCount":11,"manualWeight":11,"mainColor":61},222130,"chu-ji-tu-ye-shen-zhou-222130","雏鸡图页","沈周","北京故宫博物院","本幅自题七言诗：“茸茸毛色半含黄，何独啾啾去母傍。白日千年万年事，待渠催晓日应长。”自识“沈周”，钤“启南”朱方印、“白石翁”白方印。收藏印钤“朱卧庵收藏印”、“之赤”、“昆王成宪画印”等，右下骑缝花押。\n从自题诗看，画家对这只已然半大的雏鸡表现了担忧之情，总是啾啾寻母，长大后如何承担起催日报晓的责任呢？不难看出画家借雏鸡图寄予了期望后代早日成才的心愿。\n此画构图简练，为一只墨笔写意的雏鸡。其背部羽毛以湿润的墨色渲染，体形轮廓则以简约的墨线勾勒，虽为写意，仍能照顾到物象的立体感。雏鸡两翅以淡墨细笔写出，角度与比例配合得当。整幅画虽题材简单，但笔韵内敛传神，雏鸡稚嫩的体态通过水墨尽得显现。此作品为沈周所作有关鸡之题材绘画的代表作，此时的沈周已经完全摆脱了元人一味摹宋的工致画风，而是真正将自己的心神融入到笔锋之中，达到了写形传神的境界。",[23,24,25,70,71,26,7,72],"水墨","行书","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6374170d786fdeec4131bd7de6727b5b.jpg","纸本，墨笔","纵28.1厘米，横37.6厘米",[37,77],"水墨画精选",48,{"id":80,"slug":81,"title":82,"dynasty":83,"author":48,"museum":49,"description":84,"tags":85,"thumbUrl":91,"material":92,"size":93,"collection":37,"collections":94,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":42},219324,"hua-xia-jiang-chu-tu-yi-ming-219324","花下将雏图","元","画幅下面有一湖石横卧其间，湖石两侧长有几丛幽竹，枝叶伸展，匍伏于湖石上，湖石四周杂草遍地，以象征出整片的草地，对整个画面起到衬托作用。画幅右侧有湖石竖立其旁，湖石上大下小，向左倾斜，呈险势状。湖石造型奇特，玲珑剔透。湖石后有一束翠竹横出，又有几株鲜花盛开的牡丹。枝头上硕大的花朵，由绿叶衬托，更显得艳丽秀美。花枝有的向画面左侧横出，有一枝条伸展至画幅左上部位，这是妙笔，将画幅左上部位空白处填补，起到了充实和平衡整个画面的作用。在湖石和牡丹枝荫下，有鸡一公、一母、七雏，立于湖石和盛开着的牡丹的草地上，左侧公鸡低首觅食，两爪有力抓在地上，头部肉冠及肉办较大，短翼，脚健壮，跗跖及趾皆被鳞板，尾发达，体较大，羽色亦美，尾羽夸张地飘动着如海草一般；母鸡蹲伏在地上，两爪有力抓地，双翅上翘，尾巴舒展开来呈扇形，弯颈低首，双目下视；母鸡背部立一雏，另一雏在翼下，二雏藏尾后，余下三雏则在近处草地啄食，皆毛羽缕缕可见。",[86,24,25,87,29,27,28,26,54,52,53,7,88,33,89,90],"元代","名画","老树","草木","禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F553dd7adab84486b80b38f993362b208.jpg","纸本,设色","182x102.8公分",[37],41,{"id":97,"slug":98,"title":99,"dynasty":18,"author":100,"museum":101,"description":102,"tags":103,"thumbUrl":104,"material":36,"size":36,"collection":36,"collections":105,"showCount":106,"zanCount":11,"manualWeight":11,"mainColor":42},230890,"zi-mu-ji-tu-zhu-zhan-ji-230890","子母鸡图","朱瞻基","藏地不详","此作用淡墨勾勒，以留白晕染出禽鸟素洁的羽毛，笔触细腻写实，将绒羽的肌理纤毫毕现。亲鸡护持雏鸡啄食，雏鸟环绕依偎，亲昵互动间尽显舐犊温情，将田家寻常的天伦之趣凝于绢素。\n\n古雅棕调的绢底衬出群禽的素净雅致，写实功力与脉脉温情相融，把田园平凡生机化作细腻动人的诗意图景，尽显院体花鸟的雅致工巧，将日常烟火里的温情娓娓道来，让田家生趣跃然绢上。",[87,24,25,29,28,27,26,31,7,72],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc65a4cbda63247618482e600f8b523c.jpg",[],17,{"id":108,"slug":109,"title":65,"dynasty":18,"author":66,"museum":67,"description":110,"tags":111,"thumbUrl":113,"material":74,"size":75,"collection":36,"collections":114,"showCount":115,"zanCount":11,"manualWeight":11,"mainColor":61},233833,"chu-ji-tu-ye-shen-zhou-233833","从自题诗看，画家对这只已然半大的雏鸡表现了担忧之情，总是啾啾寻母，长大后如何承担起催日报晓的责任呢？不难看出画家借雏鸡图寄予了期望后代早日成才的心愿。\n此画构图简练，为一只墨笔写意的雏鸡。其背部羽毛以湿润的墨色渲染，体形轮廓则以简约的墨线勾勒，虽为写意，仍能照顾到物象的立体感。雏鸡两翅以淡墨细笔写出，角度与比例配合得当。整幅画虽题材简单，但笔韵内敛传神，雏鸡稚嫩的体态通过水墨尽得显现。此作品为沈周所作有关鸡之题材绘画的代表作，此时的沈周已经完全摆脱了元人一味摹宋的工致画风，而是真正将自己的心神融入到笔锋之中，达到了写形传神的境界。",[24,25,70,26,7,71,72,112],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee3886c457920ae97c8f13eb891504ce.jpg",[],12,{"id":117,"slug":118,"title":119,"dynasty":120,"author":121,"museum":122,"description":123,"tags":124,"thumbUrl":128,"material":36,"size":36,"collection":37,"collections":129,"showCount":115,"zanCount":11,"manualWeight":11,"mainColor":130},203195,"hai-tang-chu-ji-tu-zhou-qi-bai-shi-203195","海棠雏鸡图轴","近代","齐白石","上海博物馆","画面里，海棠红花以浓艳胭脂点染，花瓣饱满间藏娇俏；墨叶泼洒淋漓，浓淡干湿交错，枝干挺括有力度。几只雏鸡憨态可掬，淡墨晕染出毛茸茸的质感，或低头似欲啄食，或侧首张望，神态各异。旁侧蟋蟀细笔勾勒，灵动身姿跃然纸上，为画面添几分生趣。笔墨简练却形神兼备，红花墨叶对比鲜明，稚拙中见精妙，尽显生活意趣与写意之美。",[24,125,70,28,26,126,7,127,29,23],"写意","海棠","蟋蟀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff34e6a12583a92ba45b6b99b11adcd98.jpg",[37],"d5c6b5",{"id":132,"slug":133,"title":134,"dynasty":47,"author":135,"museum":101,"description":136,"tags":137,"thumbUrl":140,"material":36,"size":36,"collection":36,"collections":141,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":61},232894,"chu-ji-tu-li-zhou-guan-zhen-tai-232894","雏鸡图立轴","管镇泰","此画构图简练，为雏鸡,体形轮廓则以简约的墨线勾勒，虽为写意，仍能照顾到物象的立体感。整幅画虽题材简单，但笔韵内敛传神，雏鸡稚嫩的体态通过水墨尽得显现。",[23,24,70,29,125,7,138,139,90],"水草","水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52c2e9efaf71e2689a3a532d8d172ad8.jpg",[],8,{"id":144,"slug":145,"title":146,"dynasty":47,"author":48,"museum":101,"description":147,"tags":148,"thumbUrl":154,"material":155,"size":156,"collection":36,"collections":157,"showCount":60,"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。",[149,150,31,7,151,152,153],"陶瓷","斗彩","草虫","饮酒器","器皿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f7f72b6f7ea7e58e424027616617a0a.jpg","未知","Xcm*Xcm",[],1777535735965]