[{"data":1,"prerenderedAt":73},["ShallowReactive",2],{"subject-fen-hua":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},1328,"fen-hua","粉花","粉花画高清赏析","精选中国历代粉花题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7658e23838304ebc4df732ea780c1525.jpg",0,3,[14,42,62],{"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},238353,"hua-hui-ce-dong-gao-238353","花卉册","清","董诰","藏地不详","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），首席军机大臣，上书房总师傅，钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，赠太傅，赐谥号文恭，入祀贤良祠。嘉庆亲写哀诗“只有文章传子侄，绝无货币置田庄”，并亲自拨款建立“董公祠”。",[23,24,25,26,27,28,29,30,31,7,32,33],"国画","设色","工笔","册","花鸟","花卉","牡丹","叶子","枝干","绿叶","草茎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8d9c4200a4698643a8ae724a399a702.jpg","未知","Xcm*Xcm","",[],25,1,"BDBDBD",{"id":43,"slug":44,"title":45,"dynasty":18,"author":46,"museum":20,"description":47,"tags":48,"thumbUrl":57,"material":58,"size":59,"collection":37,"collections":60,"showCount":61,"zanCount":11,"manualWeight":11,"mainColor":41},234989,"hua-hui-ling-mao-ping-7-ren-yi-234989","花卉翎毛屏7","任颐","任颐(1839-1896)，初名润，字伯年，一字次远，号小楼(亦作晓楼)，萧山城厢镇人。其父善画肖像，任颐自幼随之习画。人物、山水、花卉、翎毛等均有扎实功底，尤以人物画见长，他在十余岁时即能勾勒出来访者容貌，使人见其画如见其人。\n咸丰十一年(1861)，太平军占领杭州、绍兴，任颐即投笔从戎，参加太平军，掌军旗，为前驱。同治二年(1863)，太平军撤离浙江，任留居家乡；次年，移居宁波，得到任熊、任薰悉心指导。同治七年(1868)春，随任薰去苏州，是年冬，转至上海定居。从此，任颐步入新兴的上海画派之列。\n任颐画路宽拓，所画人物具有独特的风韵，更以描写风俗人情、民间传说和神话故事中人物见长，如《女娲》、《钟 馗》、《八仙》、《群仙祝寿》等作品，将艺术与现实巧妙地容贯于画面。其人物肖像画既有深厚的传统基础，又注重写生，每次外出，备有速写本，随时勾录。寓居上海后，以卖画为生，创作甚富。《钟馗》、《关河一望萧索》、《苏武牧羊》、《野塘雨后》和《三友图》等为其代表作。且其参用画意的书法亦奇惊不凡，光绪二十二年(1896)逝世。\n任伯年因是浙江山阴人，故画面署款多写山阴任颐。儿时随父学画，十四岁到上海，在扇庄当学徒，后以卖画为生。所画题材，极为广泛，人物、花鸟、山水、走兽无不精妙。他的画用笔用墨，丰富多变，构图新巧，创造了一种清新流畅的独特风格，在正统派外别树一帜。\n任颐是近代杰出画家。字伯年，号小楼，浙江山阴人，因此他的画署款多写山阴任颐。任伯年的绘画题材广泛，人物、肖像、山水、花卉、禽鸟无不擅长。用笔用墨，丰富多变，构图新巧，主题突出，疏中有密，虚实相间，浓淡相生，富有诗情画意，清新流畅是他的独特风格。任伯年的主要成就是在于人物画和花鸟画方面，往往寥寥数笔，便能把人物整个神态表现出来，着墨不多而意境深远。其线条简练沉着，有力潇洒。他常画钟馗，他笔下的钟馗心胸磊落、不怕鬼，不信邪。他的花鸟画，总是把花与鸟连在一起，禽鸟显得很突出，花卉有时只作背景，整个画面充满了诗的意境。",[23,49,27,50,24,25,51,52,53,54,7,55,56,28],"书画","立轴","飞鸟","树枝","山石","红花","白花","蓝花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b6f696c4310601d6245936bdbdeacd5.jpg","绢本，设色","149 x 61 cm",[],21,{"id":63,"slug":64,"title":17,"dynasty":18,"author":65,"museum":20,"description":66,"tags":67,"thumbUrl":70,"material":37,"size":37,"collection":37,"collections":71,"showCount":72,"zanCount":40,"manualWeight":11,"mainColor":41},234785,"hua-hui-ce-jin-li-ying-234785","金礼嬴","金礼嬴（1772—1807）一作礼瀛，字云门，号五云，东桥、云门女史、会稽内史、自号昭明阁女史，一称昭明阁内史，山阴（今浙江绍兴）人，晚居钱塘（今浙江杭州）。嘉兴王昙（仲瞿）继室。幼娴翰墨，志趣高远。夫妇以诗文、书、画像商榷，志趣高远。王昙曾自撰门联云：家中有碧水丹山，妻太聪明夫太怪，门外省青磷白骨，人何寥落鬼何多。\n礼嬴性喜佳山水，吴越幽胜之区，探索殆尽。故其画得游览之助为多。佣笔自给，求者踵至而画益工。凡人物、仕女、界画楼室、山水、花卉，悉能匠心独运，妙夺古人，尤精画佛，庄严妙丽。得者宝之。画梅亦妙。书法晋、唐，兼工汉隶，诗多清灵凄婉之致，著有《秋红丈室遗诗》。卒年三十六。",[23,24,25,26,28,68,54,69,7,32],"花叶","黄花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa92084238e54d8ec9f8ad51d9dc981e8.jpg",[],16,1777535769743]