[{"data":1,"prerenderedAt":121},["ShallowReactive",2],{"subject-du-juan":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},75,"du-juan","杜鹃","杜鹃画高清赏析","精选中国历代杜鹃题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F094a7bafc131d0bf31ad41ceff9a587a.jpg",0,5,[14,44,76,93,108],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":35,"material":36,"size":37,"collection":38,"collections":39,"showCount":41,"zanCount":42,"manualWeight":11,"mainColor":43},222392,"si-ji-hua-niao-tu-xia-lv-ji-222392","四季花鸟图-夏","明","吕纪","日本京都国立博物馆","吕纪（1429～1505），字廷振，号乐愚，鄞（今浙江宁波）人。明代画家。\n其花鸟初师边景昭，又学林良，并广泛师法唐宋诸家，所作有工笔重彩和水墨写意两种画法，前者描绘精工，色彩富丽，法度谨严；后者粗笔挥洒，随意点染，简练奔放，富有气势和动感。其山水宗法马远、夏圭，以大斧劈皴画山石，苍劲有力。人物亦法南宋院体，衣纹线条简练顿挫。初学边景昭工笔法，亦受林良水墨法影响，后临仿唐宋诸家名迹，遂自成一体，独步当代。其花鸟画风呈两种面貌，一作工笔重彩，精工富丽，多绘凤鹤、孔雀、鸳鸯之类，辅以树木坡石、滩渚流泉背景，既具法度，又富生气。另一类为水墨写意画，粗笔挥洒，简练奔放，接近林良的风格。他亦兼善人物、山水，宗法南宋马远、夏圭画法。他的花鸟画风在当时宫廷内外影响甚大，继承者不乏其人。\n明弘治年间，入值仁智殿，官至锦卫指挥使，是明代与边景昭、林良齐名的院体花鸟画代表画家。其绘画风格可分为两大类，一类是以水墨为主略淡彩，用笔较为豪纵，另一类则是设色浓丽，用和工致，具有富丽的宫廷装饰趣味。吕纪由水墨淡色画转为工笔重设色画，更直接的原因是为了适应不同皇帝的不同口味，具体说来就是弘治皇帝朱祐樘的欣赏口味不同于他的父辈成化皇帝朱见深，从而造成了吕纪多画凤凰、雉鸡、仙鹤、孔雀、鸳鸯之类，杂以花木草石，具有生气。工笔着色与水墨写意能，并善于将两体结合。吕纪初学唐宋各家和同时代的边景昭，后形成自己的风格。他的花鸟设色鲜艳，生气奕奕，被称为明代花鸟画第一家。据说吕纪在画作上常用寓意手法对皇帝劝谏，皇帝知其用心，曾说：“工执艺事以，谏吕纪有之。”其代表作品有《新春双雉图》《桂花山禽图》《残荷鹰鹭图》《秋鹭芙蓉图》《五德大吉图》 《狮头鹅图》等。\n吕纪，1477年生，鄞州（今浙江宁波）人。字廷振，号乐愚，弘治间（1488-1505）供事仁智殿，弘治间征入宫廷，为宫廷作画，供奉仁智殿，官锦衣卫指挥。擅画临古花鸟，初学边景昭，后研习唐宋诸家名作，继承两宋“院体”，以工笔重彩，又在水墨写意方面受林良影响。\n远宗南宋院体格，廷续了黄筌工整细致的画风及钩勒笔法，并予以发扬，多以凤凰、仙鹤、孔雀、鸳鸯之类鸣禽为题材，杂以浓郁花树，画面绚丽。亦作粗笔水墨写意者，笔势劲健奔放，与林良相近，与边景昭同为明代院体花鸟画中的临古派代表。传世作品有《桂菊山禽图》《榴花双莺图》《雪景翎毛图》《浴凫图》等。除画花鸟外，偶尔也画人物山水。他主要是以工整精丽的院体传统作画，造型准确，设色鲜艳。但也能画活泼生动兼工带写的花鸟画。他的画生动，笔墨清新，是当时与边景昭、林良齐名的花鸟名家。他作画时，常以寓意手法规谏皇帝，故明孝宗曾说：“工执艺事从谏，吕纪有之”。他是与边景昭、林良齐名的院体花鸟画代表作家。《狮头鹅图》，绢本，设色。纵191厘米，横104厘米。工笔画狮头鹅，侧身曲颈回顾古梅，鹅身洁白如玉，眼睛刻划有神，形象生动。古梅干枝苍劲，生机勃勃。树下衬以太湖石、月季花，石后有双勾竹隐露，色彩艳丽，衬托出狮头鹅之白身红冠。是明代院体花鸟画的杰作。款署“吕纪”。现藏辽宁省博物馆。\n《榴花双莺图》写石榴一枝，蘩花盛开，一对黄鹂栖于枝头，一上一下，鸣啼相应，神态活泼。工笔重彩，钩勒填色，绚丽多彩为明代中期院体画的典型风格。\n相比画家，吕纪的另一个身份更令人吃惊——历经明代成化、弘治、正德三代，官至锦衣卫指挥使(秘密警察头目)。吕纪的花鸟绘画，水墨淋漓，气势宏大，甚至是日本屏风画的来源之一。《柳荫双鸭图》和《幽涧双鹭图》曾在日本出版的《听松清鉴》中著录，郑振铎在上世纪四十年代遍访流传在海外的中国名画，并在其所编的《域外所藏中国名画》中收录。吕纪的两幅作品不仅是明代全景花鸟画的杰作，也是中国绘画影响日本绘画的证据代表作。",[23,24,25,26,27,28,29,30,31,7,32,33,34],"高清","国画","名画","花鸟画","工笔","设色","黄莺","野鸭","芙蓉","山石","水岸","夏季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47f39703be94e381648560a821fb184e.jpg","绢本设色","176.0×100.8","花鸟画精选",[38,40],"设色画精选",358,7,"795548",{"id":45,"slug":46,"title":47,"dynasty":18,"author":48,"museum":49,"description":50,"tags":51,"thumbUrl":70,"material":71,"size":71,"collection":71,"collections":72,"showCount":73,"zanCount":74,"manualWeight":11,"mainColor":75},228271,"er-shi-si-fan-hua-xin-tu-juan-wei-zhi-ke-228271","二十四番花信图卷","魏之克","藏地不详","此作用没骨法写群芳次第铺展，艳红山茶花、柔粉芙蓉、明黄牵牛、素白水仙等错落排布，将四季花信的娇美姿态尽揽卷中。\n\n敷色妍丽清润，花叶晕染细腻自然，花瓣的柔润肌理、叶片的明暗层次皆被精微呈现。勾勒线条纤秀柔和，不着笔痕却见风骨。构图舒展疏朗，一花一叶各含生机，毫无拥塞之感，将文人意趣融于写生之中，整卷清新雅致，如将春日烂漫温柔铺陈眼前，观之如沐东风，尽现写生花鸟的雅致意韵。",[23,24,52,53,27,28,54,55,56,57,31,58,59,60,7,61,62,63,64,65,66,67,68,69],"书画","长卷","花鸟","梅","兰","牡丹","桃花","水仙","月季","百合","山茶","海棠","栀子","茉莉","花卉","枝叶","花朵","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fcbf65ccf427d0eec788db6bcfcdb78.jpg","",[],137,1,"BDBDBD",{"id":77,"slug":78,"title":79,"dynasty":80,"author":81,"museum":82,"description":83,"tags":84,"thumbUrl":87,"material":88,"size":89,"collection":71,"collections":90,"showCount":91,"zanCount":92,"manualWeight":11,"mainColor":75},219819,"hua-hui-shi-kai-4-yun-shou-ping-219819","花卉十开-4","清","恽寿平","上海博物馆","此作以没骨法绘就杜鹃，枝桠舒展错落，艳红杜鹃次第绽放在绢素之上。花瓣以色晕染，从浓烈朱红渐过渡到柔粉，边缘轻透灵动，将盛放时的娇柔鲜活尽数呈现。叶片敷色层次分明，苍嫩绿意与丹红花瓣相映，鲜活雅致。\n右上角题诗与绘面呼应，诗画交融，将杜鹃含露待放的山野清灵勾勒入心。整作不用墨骨，纯以色彩塑形晕染，尽显清雅文人意趣，把春日杜鹃的生机定格，静谧间满溢草木蓬勃灵气，藏着笔下花木写意的雅致情致。",[24,52,85,28,86,54,66,7,67],"册","没骨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd845887bc2884d5aced37e1e46e150a4.jpg","绢本,设色","20.4×29.2厘米",[],108,2,{"id":94,"slug":95,"title":96,"dynasty":18,"author":97,"museum":82,"description":98,"tags":99,"thumbUrl":104,"material":71,"size":71,"collection":38,"collections":105,"showCount":106,"zanCount":11,"manualWeight":11,"mainColor":107},201542,"yi-shi-za-hui-tu-juan-sun-ke-hong-201542","异时杂卉图卷","孙克弘","这幅长卷以灵动笔触勾勒十余种花卉蔬果，水仙清雅、杜鹃艳红、秋菊疏放、夏荷婷婷，更有杨梅垂枝、萱草曳风，花叶姿态各异，生机盎然。工笔细腻处见叶脉纹理，设色淡雅中显自然韵致，题字与画作相映成趣，文人气息扑面而来。画家以简括线条捕捉花木神韵，既得写实之真，又含写意之趣，尽显对自然生灵的入微观察与雅致情怀。",[24,53,54,27,28,59,7,100,101,102,103,69,23],"菊","荷","杨梅","萱草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc73b09fb9495aca83a9628afdcb499cb.jpg",[38],10,"000000",{"id":109,"slug":110,"title":111,"dynasty":112,"author":113,"museum":82,"description":114,"tags":115,"thumbUrl":10,"material":71,"size":71,"collection":71,"collections":119,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":120},202793,"du-juan-tu-zhou-xu-bei-hong-202793","杜鹃图轴","近代","徐悲鸿","画面中杜鹃枝干以水墨写意出之，线条遒劲如篆籀，转折间骨力尽显，墨色浓淡枯湿交错，苍劲老辣。淡紫花瓣施以设色，晕染细腻雅致，与墨枝相映成趣；花朵姿态各异，盛放者舒展，含苞者娇羞，生机流转。构图疏朗有致，枝干盘曲伸展，花朵疏密点缀，动静相宜。画作融文人笔墨意趣与写生生动性于一体，笔墨简练却形神兼备，尽显杜鹃烂漫清逸之韵。",[24,116,28,54,7,117,118,23],"水墨","写意","笔墨",[],"c2bba0",1777535750894]