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《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。",[23,24,60,209,62,61,210,211,7,212,213,214,215],"花鸟画","黄莺","野鸭","杜鹃","山石","水岸","夏季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47f39703be94e381648560a821fb184e.jpg","176.0×100.8",[45,79],358,{"id":221,"slug":222,"title":223,"dynasty":224,"author":56,"museum":225,"description":226,"tags":227,"thumbUrl":235,"material":130,"size":145,"collection":45,"collections":236,"showCount":237,"zanCount":238,"manualWeight":49,"mainColor":50},216908,"lu-yan-fu-rong-tu-yi-ming-216908","芦雁芙蓉图","隋","私人收藏","芦雁芙蓉图是一幅佚名的隋代画作，它的创作时间大约在6世纪中期。这幅画的主题是芦雁和芙蓉，被认为是隋朝时期最优秀的花卉画之一。\n\n芦雁是一种常见的水鸟，在古代中国文学中常被描写为优美、品性高尚的鸟类。芙蓉是一种常见的花卉，被认为是一种具有极高艺术价值的植物。在这幅画中，芦雁和芙蓉被描绘得栩栩如生，使用的颜色十分丰富，线条流畅，构图巧妙，是一幅充满美感的艺术品。\n\n芦雁芙蓉图被认为是隋朝时期花卉画的代表作之一，其创作背景和风格反映了当时的文化、艺术特点。它对后世的艺术家们也产生了深远的影响。",[23,24,61,62,126,63,228,7,229,230,231,232,39,233,234],"雁","芦苇","水","石头","禽鸟","植物","动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a48aa75a4e73cbfea994365e8bccc65.jpg",[45],356,4,{"id":240,"slug":241,"title":242,"dynasty":55,"author":243,"museum":57,"description":244,"tags":245,"thumbUrl":255,"material":43,"size":256,"collection":45,"collections":257,"showCount":258,"zanCount":201,"manualWeight":49,"mainColor":98},218756,"xie-sheng-hua-niao-tu-mu-xi-218756","写生花鸟图","牧溪","这是一幅水墨画，画的是各种花卉、果蔬、飞禽走兽，并绘有草、坡、竹、石。用墨精到，造型准确。与北京故宫收藏的宋代百花长卷相比，水墨画更显从容，为元代王瑞雪和明代林良的水墨画打开了大门。",[23,24,29,28,25,246,26,63,39,247,33,35,36,248,249,250,251,252,253,254,7,37,38],"写生","蔬果","鱼","鸟","白菜","萝卜","南瓜","莲蓬","葱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F319f1d586ad6d8f701799388a3a2ded1.jpg","44.5x1017.1cm",[45],302,{"id":260,"slug":261,"title":262,"dynasty":55,"author":179,"museum":180,"description":181,"tags":263,"thumbUrl":264,"material":184,"size":185,"collection":145,"collections":265,"showCount":266,"zanCount":238,"manualWeight":49,"mainColor":50},221595,"hong-bai-fu-rong-tu-er-li-di-221595","红白芙蓉图（二）",[23,24,60,29,62,61,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd25dc107fa4494ca042034f992513016.jpg",[],239,{"id":268,"slug":269,"title":270,"dynasty":55,"author":271,"museum":57,"description":272,"tags":273,"thumbUrl":276,"material":197,"size":277,"collection":77,"collections":278,"showCount":280,"zanCount":148,"manualWeight":49,"mainColor":50},221355,"qiu-ting-xi-ying-tu-su-han-chen-221355","秋庭戏婴图","苏汉臣","该画作描绘了在秋天的一富家庭院里，姐弟俩正围着螺钿漆墩玩着自制的小玩具的情景。急躁的小弟弟全神贯注，衣领滑下了肩，显示出他顽皮、好动的外向性格；细心的姐姐耐心地照看着小弟弟，她性情沉静温和。两个孩子玩得着了迷，似乎忘记了刚才发生的一切。在他们身后的另一张螺钿漆墩上，杂乱地摆放着其他玩具，可能刚才他们曾在花丛边追打嬉闹过。 [2]\n该画作左上角有清高宗乾隆所题绝句：庭院秋声落枣红，拾来旋转戏儿童。丹青讵止传神诩，寓意原存相让风。",[23,24,60,29,126,62,61,274,275,128,7,156],"人物","孩童","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71807e6a7737f12c8af99f0cf3723a85.jpg","纵197.5厘米，横108.7厘米",[77,45,279,79],"人物画精选",237,{"id":282,"slug":283,"title":284,"dynasty":55,"author":56,"museum":225,"description":285,"tags":286,"thumbUrl":287,"material":130,"size":288,"collection":45,"collections":289,"showCount":290,"zanCount":162,"manualWeight":49,"mainColor":50},218554,"ping-hua-tu-yi-ming-218554","瓶花图","画的是一个中心中空的竹制花篮，篮子里有几朵菊花和木槿。芙蓉花瓣由内而外由紫变淡红，大方得体，而粉色和白色的菊花层层叠叠，繁而不乱，画面不大，却诠释了秋天的多种色彩。",[24,29,61,62,63,41,156,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92ea7ee08022ee5215dc568f32303c97.jpg","21x19cm",[45],235,{"id":292,"slug":293,"title":294,"dynasty":18,"author":295,"museum":57,"description":296,"tags":297,"thumbUrl":301,"material":130,"size":302,"collection":45,"collections":303,"showCount":304,"zanCount":11,"manualWeight":49,"mainColor":50},216220,"fu-rong-bai-lu-tu-zheng-shi-216220","芙蓉白鹭图","郑石","郑石的《芙蓉白鹭图》是一幅著名的绢本花鸟画。这幅画描绘了一只芙蓉花和二只白鹭鸟，画面非常精致优美。这幅画是郑石最著名的作品之一，被认为是明朝花鸟画的代表作之一。郑石是明朝时期著名的画家，他的画风清新自然，画面精致细腻，对后世艺术家产生了很大的影响。",[23,298,24,29,126,62,61,63,7,299,300,39,232],"明代","白鹭","柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51b6278a19e0cd0b6464e8d5101b347b.jpg","144.4x74.3cm",[45],217,{"id":306,"slug":307,"title":308,"dynasty":18,"author":309,"museum":310,"description":311,"tags":312,"thumbUrl":315,"material":316,"size":317,"collection":145,"collections":318,"showCount":319,"zanCount":320,"manualWeight":49,"mainColor":50},287613,"si-shi-hua-niao-tu-zhou-zhi-mian-287613","四时花鸟图","周之冕","藏地不详","周之冕（1521—？）明代杰出画家，字服卿，号少谷，长洲（今江苏苏州）人。卒年不详，活跃于万历年间。擅花鸟，注重观察体会花鸟形貌神情，及禽鸟的饮啄、飞止等种种动态。善用勾勒法画花，以水墨点染叶子，画法兼工带写，人称勾花点叶法。所作花鸟，形象真实，意态生动，颇有影响。写意花鸟，最有神韵。设色亦鲜雅，家畜各种禽鸟，详其饮啄飞止，故动笔具有生意 。特以嗜酒落魄，不甚为世重耳。又善古隶。",[23,24,28,61,62,63,32,33,36,7,37,313,232,39,314],"飞鸟","柳枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784a8955d2b4f0279d0683708db84ee1.jpg","未知","Xcm*Xcm",[],216,9,{"id":322,"slug":323,"title":324,"dynasty":325,"author":326,"museum":57,"description":327,"tags":328,"thumbUrl":330,"material":130,"size":331,"collection":79,"collections":332,"showCount":333,"zanCount":334,"manualWeight":49,"mainColor":50},219338,"rong-que-tu-xu-xi-219338","蓉雀图","五代十国","徐熙","芙蓉烂漫绽放，墨骨淡彩晕出娇嫩肌理，花瓣层叠间藏着自然野趣。苍劲枝干上，雀鸟或翘首啼鸣，或敛翅小憩，羽翼以细墨勾描，淡彩点染，神态活灵活现。空中飞鸟振翅，地面双雀啄食，动静交织间满是生机。徐熙“落墨法”的韵致尽显——墨线勾勒轮廓，淡彩晕染层次，不刻意求工，却于自然中见真趣。无宫廷富贵气，唯有山野花鸟相依的清逸，仿佛能闻雀鸣花语，触到风过花枝的轻颤，尽显五代花鸟的野逸之美。",[24,29,61,63,7,329],"雀鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06a8ec8db619167b3ec5865d642cfe66.jpg","75.8×62.2cm",[79],195,2,{"id":336,"slug":337,"title":338,"dynasty":339,"author":340,"museum":225,"description":341,"tags":342,"thumbUrl":346,"material":130,"size":145,"collection":45,"collections":347,"showCount":348,"zanCount":334,"manualWeight":49,"mainColor":50},219186,"fu-rong-yuan-yang-tu-qian-xuan-219186","芙蓉鸳鸯图","元","钱选","芙蓉枝蔓自右上垂落，花叶丰腴，白瓣晕染淡红，似含晨露。一对鸳鸯相倚岸汀，羽色层次分明，红喙翠翎与素白绒羽相映，姿态亲昵如诉温情。画面设色温润雅致，绢本底色衬出古雅意蕴，笔墨工细却不刻板，于静谧中藏生机，尽显自然之美与缱绻意趣。枝间花叶错落有致，岸畔草石点缀生姿，整体构图虚实相生，将禽鸟的亲昵与花木的清妍融于一体，传递出恬淡悠然的古典情韵。",[23,60,24,62,61,63,7,343,128,344,345],"鸳鸯","枝叶","元代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F226d4750da5198d9248ca7382ce9bb70.jpg",[45,79],175,{"id":350,"slug":351,"title":352,"dynasty":353,"author":354,"museum":355,"description":356,"tags":357,"thumbUrl":360,"material":145,"size":145,"collection":145,"collections":361,"showCount":362,"zanCount":148,"manualWeight":49,"mainColor":98},220578,"huang-bin-hong-ben-hua-niao-shan-shui-ce-ye-huang-bin-hong-220578","黄宾虹本花鸟山水册页","民国","黄宾虹","中国美术学院美术馆","此作以分段折枝花鸟铺陈，各景花木情态自具：牡丹秾艳娇柔，梅枝清癯疏朗，铃兰、山茶各见风姿。以淡彩晕染花萼枝叶，勾勒轻简见笔力，兼具写生之真与写意之逸，既有青藤白阳的纵逸笔意，又自出机杼。题跋书法与花木相映成趣，诗画交融，晕染淡雅却筋骨暗蕴，艳而不俗，淡而不薄，将花木的柔媚与文人画的清雅风骨相融，尽显明清逸格画韵的余味，笔底漾着沉静文心，是极具文人雅致的花鸟小品佳作。",[23,24,29,141,61,62,31,73,63,36,37,41,65,7,38,40,358,359],"墨","纸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaf98760b63f1afddbdee99352c5f94a.jpg",[],168,{"id":364,"slug":365,"title":366,"dynasty":55,"author":56,"museum":57,"description":367,"tags":368,"thumbUrl":369,"material":130,"size":370,"collection":45,"collections":371,"showCount":372,"zanCount":373,"manualWeight":49,"mainColor":98},218397,"hua-fu-rong-tu-yi-ming-218397","画芙蓉图","团扇方寸间，芙蓉绰约生姿。粉白花瓣晕染出柔润渐变，似沾晨露未晞，层层叠叠藏着细腻肌理；几枝花苞微绽，欲语还休。墨绿叶片脉络分明，与沉靛底色相映，更衬花的清妍。笔触细腻如丝，既写实又含韵致，不施浓艳却见雍容，将芙蓉的雅致与生机凝于咫尺。淡粉与深青碰撞，似封存宋时清雅气息，每处细节皆藏匠意，尽显宋画含蓄深厚的审美意趣——不喧不躁，却让观者读懂花叶间流动的温柔与生机。",[23,24,29,141,62,61,7,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d0930e0b70ec605d49251ad17a09093.jpg","21.0x23.5cm",[45],165,5,{"id":375,"slug":376,"title":102,"dynasty":55,"author":56,"museum":20,"description":377,"tags":378,"thumbUrl":380,"material":75,"size":381,"collection":145,"collections":382,"showCount":383,"zanCount":148,"manualWeight":49,"mainColor":98},231540,"bai-hua-tu-juan-yi-ming-231540","此幅画四季花卉约60种，长近17米，堪称辉煌巨制。尾纸钤鉴藏印“棠村”、“蕉林梁氏书画之印”等，有乾隆、嘉庆、宣统鉴赏印及清内府鉴藏印多方。\n此图绘四季花卉五十余种，其中主要有梅花、山茶、牡丹、百合、芍药、海棠、萱花、含笑、碧桃、桃花、梨花、石竹花、罂粟、打破碗花、栀子、蕙兰、荷花、并蒂莲、鸡冠花、蓼花、芙蓉、扁豆花、石蒜花、桂花、菊花、山丹、牵牛花、凤仙花、蜀葵、秋葵等。\n花间分别点缀禽鸟、蜻蜓、蝴蝶、蜜蜂、蚱蜢、小鱼等，颇具自然生机和情趣。图中花卉和动物，都用细线勾描，浓淡墨多层晕染，花之娇态、层次，页之筋脉、转折、凹凸刻画得很细致。全图用笔工细，用墨于单纯中求丰富，统一中求变化，使画面富有秀雅之美。图卷首段的梅花的画法接近南宋扬无咎的风格而又有变化。这种工而不板，艳二不火的画风，开文人花鸟画的先河。画中钤有「乾隆御览之宝」、「三希堂精鉴玺」、「嘉庆御览之宝」、「宣统御览之宝」等印玺多方。无作者款印，曾经清内府收藏，《石渠宝笈三编》著録。\n画面上花鸟之间穿插自然，毫无牵强拼凑之意。其间又点缀蜂、蚊、蜻蜓、蝴蝶、游鱼、青蛙之类，显得生意盎然。全卷纯使水墨，亦加白描花卉，除卷首的梅花近似扬无咎的画法略带写意笔外，其他全用墨笔工写，以墨代色，兼勾勒墨染与白描，且融入了没骨画法，体现了宋工笔花鸟精密不苟的画风。又以单纯的水墨代替艳丽的设色，呈现出清淡典雅的情趣。一脱繁复刻板的院体末路，突破了传统花鸟画的时空限制，呈现出崭新的面貌。这种技法对元代钱选、王渊、赵衷的墨笔花卉以及后来文人水墨花卉都有一定的影响。",[23,60,24,29,28,62,61,63,379,70,71,249,36,7,37,65],"百花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd98aa4ddc30bf83c5a67d1f1c11a05a.jpg","纵31.5厘米、横1679.5厘米",[],153,{"id":385,"slug":386,"title":387,"dynasty":18,"author":309,"museum":57,"description":388,"tags":389,"thumbUrl":392,"material":130,"size":393,"collection":45,"collections":394,"showCount":395,"zanCount":334,"manualWeight":49,"mainColor":50},218792,"hua-zhu-an-chun-tu-zhou-zhi-mian-218792","花竹鹌鹑图","瘦长的画幅，主景放置在幅右，秋日,石上几株绿竹，间杂著娇媚的蜀葵、牵牛花。石下一对鹌鹑，临风处有一只大凤蝶飞来。整幅画充满著婀娜明艳的光辉。题句多，亦足以让人诗画共赏。",[24,61,62,33,7,390,70,213,63,391],"鹌鹑","藤蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15a00ce3772da92e745cee036acd9c15.jpg","111.7x29.7cm",[45],144,{"id":397,"slug":398,"title":399,"dynasty":18,"author":400,"museum":310,"description":401,"tags":402,"thumbUrl":408,"material":145,"size":145,"collection":145,"collections":409,"showCount":410,"zanCount":11,"manualWeight":49,"mainColor":98},228271,"er-shi-si-fan-hua-xin-tu-juan-wei-zhi-ke-228271","二十四番花信图卷","魏之克","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。",[23,24,29,28,62,61,63,32,40,36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[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》。",[24,60,29,418,62,61,63,39,419,7,420],"扇面","草虫","绿叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F718408587ec96f67a2d985fd07ea1e2f.jpg",[],123,{"id":425,"slug":426,"title":427,"dynasty":55,"author":428,"museum":57,"description":429,"tags":430,"thumbUrl":438,"material":130,"size":439,"collection":77,"collections":440,"showCount":423,"zanCount":49,"manualWeight":49,"mainColor":50},220144,"qiu-pu-rong-bin-tu-cui-bai-220144","秋蒲蓉宾图","崔白","本幅绘荷叶枯黄，芙蓉展艳，一派秋光旖旎，花间鹡鸰腾跃，翡翠静静停留，两鸿雁振翅凌空，意在千里。无画家款印，旧传为崔氏之作。崔白(约西元十一世纪)，安徽凤阳人，字子西。宋仁宗至神宗时为画院画家。精工画花卉翎毛，尤以枯荷凫雁得名，但亦精于道释、人物、鬼神。据说他作画时从不起稿，画长直坚挺的线条，无须使用直尺界画，操笔立就。",[23,431,432,61,433,246,434,435,7,436,108,232,142,437,313],"宋代","工笔花鸟","写实","细腻笔触","大雁","蒲草","荷叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0742ff18547c75d91c9eaba1ab1932e4.jpg","本幅 149.1x95.5公分、全幅 133公分",[77,45],{"id":442,"slug":443,"title":444,"dynasty":18,"author":206,"museum":225,"description":445,"tags":446,"thumbUrl":449,"material":130,"size":450,"collection":45,"collections":451,"showCount":452,"zanCount":334,"manualWeight":49,"mainColor":50},218920,"fu-rong-shuang-yan-tu-lv-ji-218920","芙蓉双雁图","吕纪，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。",[23,24,60,62,61,63,7,228,233,447,448,39],"枝干","叶子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac8fb431edd8bf3e6cbb2221cc53cd04.jpg","114x52cm",[45],119,{"id":454,"slug":455,"title":456,"dynasty":18,"author":19,"museum":310,"description":457,"tags":458,"thumbUrl":459,"material":145,"size":145,"collection":145,"collections":460,"showCount":461,"zanCount":11,"manualWeight":49,"mainColor":98},228760,"shi-er-mo-hua-shi-hua-tu-juan-xu-wei-228760","十二墨花诗画图卷","此作用淋漓水墨写尽草木风神，以书入画，笔锋纵恣老辣。长卷铺展，一花一诗相生相融，浓墨泼洒见花枝繁盛，淡墨勾勒显枝叶清灵，干湿浓淡间，四时花木的野逸之态跃然纸上。\n逸笔草草不拘形似，却将花木的疏狂生机、清寂之姿尽数展露，以极简笔墨传递蓬勃意趣，将文人疏放心境寄情于一花一叶，笔墨间满是狂放不羁的风骨，尽显大写意水墨的写意真髓。",[23,24,29,28,25,26,73,31,32,40,33,41,35,36,38,7,65,128,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80ebde713ecf78a9dd05b8f4040f76c2.jpg",[],114,{"id":463,"slug":464,"title":102,"dynasty":339,"author":465,"museum":89,"description":466,"tags":467,"thumbUrl":469,"material":197,"size":470,"collection":145,"collections":471,"showCount":472,"zanCount":373,"manualWeight":49,"mainColor":50},232772,"bai-hua-tu-juan-wang-yuan-232772","王渊","王渊，生卒年不详，元代画家。字若水，号澹轩，一号虎林逸士，钱塘（今浙江杭州）人。\n幼习丹青，赵孟頫多指教之，故所画皆师古人，无一笔院体。山水师郭熙，花鸟画师承后蜀黄筌，先勾勒后皴染水墨，浓淡深浅，极有韵致，得写生之妙，时称“绝艺”。\n人物师唐人吴道子，一一精妙，注重线条勾勒，不讲究墨彩渲染，史称“有笔而无墨”，自成风韵。尤精墨花鸟竹石，当代绝艺。天机溢发，肖古而不泥古。",[23,60,24,28,61,62,63,36,7,107,468,38,39],"梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28c480c150ed6fe88a7f552eddcaa50d.jpg","32.1x 247.7cm",[],108,{"id":474,"slug":475,"title":476,"dynasty":339,"author":56,"museum":57,"description":477,"tags":478,"thumbUrl":482,"material":130,"size":483,"collection":45,"collections":484,"showCount":472,"zanCount":148,"manualWeight":49,"mainColor":50},219956,"fu-rong-hua-ya-tu-yi-ming-219956","芙蓉花鸭图","画面取境清寂悠然，芙蓉从左畔斜逸而上，莹白花头晕染出柔润娇嫩，墨色叶片苍劲厚重，明暗间衬出花之柔媚与枝叶的朴拙苍润。池沼间两只水鸭亲昵相依，以细笔丝毛刻画翎羽，浓淡墨色晕出绒羽蓬松质感，憨态毕现。浅绿点染浮萍水波，愈发衬出水畔安闲静谧。\n\n工写兼融，设色秀雅沉稳，将花木的柔、禽鸟的憨静交织一处，把秋日池隅的悠然意韵定格绢素，内敛雅致中藏着鲜活生趣，尽显花鸟小品的隽永意境。",[60,24,29,126,62,184,63,7,479,480,39,481],"鸭子","水禽","传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d272febbf98aa5b9a5dc38399cd4a67.jpg","119.3x45.8",[45],{"id":486,"slug":487,"title":488,"dynasty":87,"author":489,"museum":490,"description":491,"tags":492,"thumbUrl":494,"material":197,"size":495,"collection":145,"collections":496,"showCount":497,"zanCount":238,"manualWeight":49,"mainColor":98},222683,"si-ji-hua-niao-tu-ping-6-chen-mei-222683","四季花鸟图屏6","陈枚","天津博物馆","此花鸟屏共八条，绘四季花卉：春桃、夏荷、秋菊、冬梅，配以四时禽鸟。由于作者有西洋绘画的功底，所绘画鸟造型准确，赋色大胆艳丽，栩栩如生。西洋技法加上传统绘画的笔墨意趣，使画面韵律生动，极富表现力。作者为宫廷画家，此八条屏作于雍正丙午，即公元1726年，是年作者因供奉内廷有功，获赏内务府掌仪司员外郎衔。\n由于作者有西洋绘画的功底，所绘花鸟造型准确，赋色大胆艳丽，栩栩如生，将一年四季的美妙景色勾勒的惟妙惟肖，让人怦然心动。\n整幅图运用了西洋技法加上传统绘画技巧，笔墨细腻，充满意趣，使画面韵律生动，极富表现力。",[23,24,62,61,63,7,249,128,493],"草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78822ac937e1da347d3173f152b03859.jpg","139X41CM",[],103,{"id":499,"slug":500,"title":501,"dynasty":18,"author":56,"museum":502,"description":503,"tags":504,"thumbUrl":507,"material":145,"size":145,"collection":145,"collections":508,"showCount":509,"zanCount":334,"manualWeight":49,"mainColor":50},232911,"fang-qian-xuan-hua-niao-tu-yi-ming-232911","仿钱选花鸟图","美国克利夫兰艺术博物馆","钱选以花鸟画成就最高。他的成熟花鸟画，在院画基础上吸取 扬无咎 一派水墨花卉的技法，创造了新的体格。\n后人很多仿画。",[23,24,29,28,62,61,505,63,33,7,506,249,70,233],"临摹","花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e0b54ca3ef8f0e19e5c3536b8481fe.jpg",[],96,{"id":511,"slug":512,"title":513,"dynasty":18,"author":19,"museum":514,"description":515,"tags":516,"thumbUrl":517,"material":43,"size":518,"collection":145,"collections":519,"showCount":520,"zanCount":49,"manualWeight":49,"mainColor":98},220101,"shi-er-mo-hua-tu-juan-4-xu-wei-220101","十二墨花图卷-4","美国弗利尔美术馆","此卷徐渭充分发挥了其高超的水墨表现力，以狂放的笔触，淋漓的水墨，变化多端的笔锋，泼墨、焦墨、破墨、双勾并用，寥寥数笔即勾画出了各种花卉的特征，简约却颇具神采。",[23,24,29,28,25,63,26,73,30,31,36,7,40,506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102a8eb2b6b2546b1fba3bbf5502311f.jpg","全卷32.8cm×544cm",[],95,{"id":522,"slug":523,"title":524,"dynasty":18,"author":19,"museum":310,"description":525,"tags":526,"thumbUrl":527,"material":145,"size":145,"collection":145,"collections":528,"showCount":529,"zanCount":49,"manualWeight":49,"mainColor":98},228761,"shi-er-yue-hua-hui-tu-quan-juan-xu-wei-228761","十二月花卉图全卷","此作用笔纵逸狂放，以水墨晕染替代敷色，浓淡干湿间尽显花卉神韵。牡丹苍润饱满，墨色浓沉见雍容；蜀葵疏朗清劲，淡墨勾勒存清雅，水草兰叶信笔挥洒，野趣横生。\n\n诗画相生相伴，题诗与笔墨意境交融，将文人的疏放心性寄寓于一花一草之中，脱略形似而独尚神韵，以极简的水墨语言写尽花木风骨情态，尽显大写意花鸟的淋漓意趣，是笔墨性情与文人情思完美合一的典范。",[23,24,29,28,25,63,36,7,40,73,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f4e8f11f67d43edc105e9c7369bf569.jpg",[],92,{"id":531,"slug":532,"title":533,"dynasty":55,"author":534,"museum":310,"description":535,"tags":536,"thumbUrl":537,"material":145,"size":145,"collection":145,"collections":538,"showCount":529,"zanCount":49,"manualWeight":49,"mainColor":50},227735,"xia-hui-pian-fang-tu-ye-lu-zong-gui-227735","夏卉骈芳图页","鲁宗贵","《鹅图》是南宋鲁宗贵创作的绢本设色画。\n《鹅图》描绘一只母鹅，背上驼着两只雏鹅在水中游戏，其中一只雏鹅曲颈望着水面，另一只则似乎和母鹅述说着什么，母鹅扭转过头来爱抚地倾听，表现出母鹅和雏鹅之间有似慈母和娇子之间的母子亲情。\n图中绘有大白鹅一只，背负两只雏鹅在水面上浮游，其中一只雏鹅在母鹅右侧颈后，低头引颈望水中，另一只雏鹅在母鹅左侧，抬头向天呜叫，鹅妈妈欣喜扭转过头来，似作侧耳细细倾听小仔的歌声。\n画面颇为情趣，给人以一种温馨善良的感觉。\n作者在构图上颇有新意，无任何背景作陪衬，河水以浅墨一抹而过，起到衬托作用，突出其主题。\n作者捕捉到这种母鹅背负雏鹅的情节，在一般画鹅的作品中不乏多见。\n在布局上取近景，以特写的镜头，将主体突出在画面的居中位置，为了说明母鹅带着雏鹅在水中游戏，一是鹅身前方的匦面留空多；二是母鹅的腿向后伸，虽没有画出水波纹，但这二点足以看出运动的鹅体具有向前浮游的动感。\n另外，采取色差变化来塑造母鹅与仔鹅的形体，以周围的浅灰色烘托出母鹅的洁白，又以墨笔勾勒及黑色晕染出母鹅背上栖卧的两只雏鹅。\n一般来说雏鹅的毛羽是鹅黄色的，但作者采用了与实体自然色相差甚远的黑色，这也是作者的又一新意。\n全图以染为主，仅在嘴、脚及羽毛部略以淡线勾勒，其羽毛形态隐约见真。\n整个图的艺术语言凝重简练，形态栩栩如生，画意情趣生动，意味绵绵。\n鲁宗贵，生卒年未详。\n南宋画家。\n室名筠斋，钱塘(今浙江杭州)人。\n理宗绍定时(1228一12)为画院待诏，出人杨驸马家。\n工花竹、禽鸟、窠石，用笔意趣有余，描染佳妙。\n尤长于写生，鸡雏乳鸭，甚有生意。\n画迹有《金葵翠羽》、《竹枝山鹧》、《梨花白燕》等图，著录于《绘事备考》。\n传世作品有《春韶鸣喜图》、《夏卉骈芳图》册页。",[60,24,29,141,418,62,61,63,39,107,7,448,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F271a4d7d9c178ff1ca01282a323a7b3e.jpg",[],{"id":540,"slug":541,"title":542,"dynasty":543,"author":544,"museum":310,"description":545,"tags":546,"thumbUrl":553,"material":316,"size":317,"collection":145,"collections":554,"showCount":555,"zanCount":11,"manualWeight":49,"mainColor":50},290027,"hua-niao-tu-ping-feng-shou-ye-song-rong-shou-ye-guang-xin-290027","花鸟图屏风","不详","狩野松荣、狩野光信","狩野光信面對新興漢系畫家的競爭，不得不奔走於豐臣家與德川家之間以取得更多委託，並透過狩野長信 (1577-1654) 與德川幕府建立的關係，成為後繼者狩野孝信取得德川家支持參與名古屋城本丸御殿製作的基礎。",[23,24,547,63,62,61,34,36,7,548,549,550,313,551,552,142],"屏风","鹤","鹰","孔雀","山水","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F066d6aadc5c3af2e9023ff46f3b095ba.jpg",[],87,{"id":557,"slug":558,"title":559,"dynasty":325,"author":560,"museum":310,"description":561,"tags":562,"thumbUrl":566,"material":145,"size":145,"collection":145,"collections":567,"showCount":568,"zanCount":148,"manualWeight":49,"mainColor":50},227262,"xue-jing-ba-jiao-han-que-tu-huang-ju-cai-227262","雪景芭蕉寒雀图","黄居寀","麻雀是我们生活中常见的鸟类，身形娇小，机敏灵活，却也憨态可掬，更因为打不倒的顽强生命力，在画家们的笔下，散发出了生机勃勃的魅力，一幅花鸟画中，因为麻雀的构成，顿时“活”了起来，因此国画麻雀也相当受画家和收藏者们喜爱",[23,60,24,29,126,61,63,62,563,564,565,32,7],"雪景","芭蕉","寒雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F267d2fc6d76d34d83a59c288d428c4e8.jpg",[],86,{"id":570,"slug":571,"title":572,"dynasty":55,"author":179,"museum":310,"description":573,"tags":574,"thumbUrl":575,"material":316,"size":317,"collection":145,"collections":576,"showCount":577,"zanCount":148,"manualWeight":49,"mainColor":50},288332,"hong-bai-fu-rong-tu-ye-yi-li-di-288332","红白芙蓉图页一","该图画红、白芙蓉各一幅，线描有黄筌画风的精神。该画的描写写实，用笔纤细且色彩层次微妙，因而富于情趣。善用余白的画面空间也显得自然而静谧。",[23,60,24,29,62,61,63,7,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd98b04c253b7294f848e933790d49cf.jpg",[],83,{"id":579,"slug":580,"title":581,"dynasty":87,"author":122,"museum":310,"description":582,"tags":583,"thumbUrl":585,"material":145,"size":145,"collection":145,"collections":586,"showCount":587,"zanCount":49,"manualWeight":49,"mainColor":98},233120,"hua-niao-ping-ren-yi-233120","花鸟屏","任颐（1840年－1895年），中国近代画家。原名小属，初名润，字小楼，一作晓楼。后号次远，字伯年，常被称作任伯年。山阴（浙江省绍兴）人，故画面署款多写“山阴任颐”。",[24,126,61,63,584,7,128],"鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd185d4da9d0d49d86d8f217625063508.jpg",[],72,{"id":589,"slug":590,"title":591,"dynasty":339,"author":592,"museum":123,"description":593,"tags":594,"thumbUrl":595,"material":43,"size":596,"collection":45,"collections":597,"showCount":599,"zanCount":49,"manualWeight":49,"mainColor":50},219282,"fu-rong-yuan-yang-tu-zhou-zhang-zhong-219282","芙蓉鸳鸯图轴","张中","此图描绘了一幅秋高气爽时节的生动景象，水边的木芙蓉枝叶舒展，枝头花朵绽放；两只鸳鸯在水中嬉戏，其中雌鸳鸯昂首鸣叫，雄鸳鸯垂首清波。此图笔墨简洁古朴，山石不修饰以苔点，以水墨点触晕染，生动写实而清雅隽永，富于韵味。",[23,24,29,126,25,62,63,7,343,230,493,231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5eac47218af15810079b2edc1cc7f16f.jpg","纵147 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lor":98},224309,"hua-niao-li-shan-224309","李鱓","这幅画以水墨写就水畔一隅，布局错落有致。右上角芙蓉枝叶交叠，浓墨点染阔叶，淡墨勾出柔花，枯笔写枝，苍劲中带着秀润。左侧荷花亭亭舒展，墨色晕染出荷叶的清润质感，花瓣用线空灵雅洁。白鹭静立在汀草间，淡墨勾形留白衬出羽毛蓬松，目光低垂神态悠然，将水鸟的闲适之态尽藏其中。\n笔墨干湿浓淡相映，以写意笔法写尽夏日水郊的清寂野趣，禽鸟花木浑然相融，尽显纵逸洒脱又不失雅致的文人写意风骨，将幽淡恬然的郊野生机凝练在尺幅之间。",[23,24,60,126,25,61,26,63,35,7,763,493,229,437],"鹭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35c32e970d3d12ecf0c1bdd93057eb7f.jpg",[],48,{"id":768,"slug":769,"title":770,"dynasty":18,"author":206,"museum":310,"description":771,"tags":772,"thumbUrl":774,"material":316,"size":317,"collection":145,"collections":775,"showCount":776,"zanCount":49,"manualWeight":49,"mainColor":50},290150,"qiu-lu-fu-rong-tu-lv-ji-290150","秋鹭芙蓉图","画中芙蓉花开正盛，摇曳的残荷与挺拔的莲蓬示意着秋天的到来。柳树从画面右侧突兀而入，枝叶茂盛挺拔，枝上柳叶繁而不乱，疏密得当，层次分明。画中三只白鹭，或栖止，或飞翔，上下呼应，造型准确，形态生动。其中一只栖息在岸边，正回过头向着空中飞翔着的同伴鸣叫，而空中的一只似乎也听到了呼唤，正盘旋而下，与伙伴会合，另一只仿佛也正寻见叫声紧跟而下。三只白鹭所连接起来的弧形曲线与柳枝弯曲的线条相对应，在画面上形成了强烈的动感。",[24,60,63,62,61,763,7,108,313,773],"柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb9262e1e5ebf6b0387a9924cedf7acc.jpg",[],47,{"id":778,"slug":779,"title":780,"dynasty":18,"author":138,"museum":57,"description":781,"tags":782,"thumbUrl":784,"material":61,"size":785,"collection":45,"collections":786,"showCount":787,"zanCount":49,"manualWeight":49,"mainColor":98},222138,"fu-rong-hua-tu-sun-ke-hong-222138","芙蓉花图","孙克弘，晚明时士夫画家，官至汉阳知府，多才艺，山水、花鸟、人物、仙佛无不擅长，万历时极享盛誉。此扇写溪头景色，芙蓉正开，芦花染赭，参差掩映，野趣可人。",[23,24,418,61,63,7,344,783],"水墨设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F603131f0ebc82cf5654bc007cb890ea7.jpg","66.8x60.8厘米",[45,79],46,{"id":789,"slug":790,"title":591,"dynasty":18,"author":688,"museum":490,"description":791,"tags":792,"thumbUrl":793,"material":794,"size":795,"collection":45,"collections":796,"showCount":797,"zanCount":49,"manualWeight":49,"mainColor":98},226155,"fu-rong-yuan-yang-tu-zhou-li-yin-226155","图绘鸳鸯一对，一只于芦滩上理毛，另一只自高处飞来，似与滩上的会合；画左侧绘一石块，一株芙蓉探出枝杆，枝头花团锦簇、绿叶繁茂。李因，字今是，工山水、花鸟，亦作诗文，画得陈淳之法，多用水墨，为明末清初时代励志女画家。",[23,24,60,126,25,63,7,343,128,313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facc1665e5ec8951f7b4aa571136b5df1.jpg","纸本，水墨","138.9x47.8cm",[45],45,{"id":799,"slug":800,"title":801,"dynasty":87,"author":802,"museum":225,"description":803,"tags":804,"thumbUrl":807,"material":93,"size":808,"collection":45,"collections":809,"showCount":797,"zanCount":49,"manualWeight":49,"mainColor":98},214565,"mo-zui-za-hua-tu-ce-2-shi-tao-214565","墨醉杂画图册-2","石涛","石涛此册花鸟山水，除两开山水外，都是各种农家花卉果蔬小品，包括芙蓉河石、黄瓜豇豆、水仙竹枝、杏果柿子、莲藕扁豆等，作画构图新奇，笔法松柔秀拙，笔情恣肆，淋漓洒脱，具有一种豪放郁勃的生动气息!",[23,24,29,141,61,25,805,128,7,35,493,806],"皴法","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3bb60e03b8a80aef02ca4e630d97a6a.jpg","纵51.4厘米，横35.4厘米",[45],{"id":811,"slug":812,"title":813,"dynasty":18,"author":814,"museum":310,"description":815,"tags":816,"thumbUrl":818,"material":316,"size":317,"collection":145,"collections":819,"showCount":820,"zanCount":49,"manualWeight":49,"mainColor":98},287750,"hua-hui-shi-kai-he-tu-xiang-sheng-mo-287750","花卉十开(合图)","项圣谟","项圣谟，初字逸，后字孔彰，号易庵，别号有胥山樵、存存居士、醉风人、大酉山人、莲塘居士、烟波钓徒、松涛散仙、逸叟、狂吟客、鸳湖钓叟、不夜楼中士等等，浙江嘉兴人。",[24,60,141,62,61,63,39,32,40,41,35,36,817,37,38,7],"石榴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7dc877eba84263d9e3018bb06e2fb25.jpg",[],44,{"id":822,"slug":823,"title":191,"dynasty":55,"author":192,"museum":20,"description":824,"tags":825,"thumbUrl":826,"material":197,"size":317,"collection":145,"collections":827,"showCount":828,"zanCount":49,"manualWeight":49,"mainColor":50},287891,"fu-rong-jin-ji-tu-zhao-ji-287891","此画以花蝶、锦鸡构成画面，画中两只芙蓉花娴静的半开着，一只锦鸡蓦然飞临芙蓉的枝头，压弯了枝头，打破了宁静，枝头还在颤动，而锦鸡却浑然不顾，已回首翘望右上角那对翩翩起舞的彩蝶，跃跃欲试。\n画中赵佶自题：“秋劲拒霜盛，峨冠锦羽鸡，已知全五德，安逸胜凫鷖”。\n画内藏印有“万历之宝”、“乾隆御览之宝”、“嘉庆御览之宝”、“宣统御览之宝”等。 [2]\n画中还有签名画押，据说是天下一人四字拼合而成。",[24,63,62,61,7,41,195,70,30,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53ed80cbf2e91b8137c11c7a56795b76.jpg",[],43,{"id":830,"slug":831,"title":832,"dynasty":55,"author":192,"museum":20,"description":193,"tags":833,"thumbUrl":834,"material":657,"size":198,"collection":145,"collections":835,"showCount":828,"zanCount":49,"manualWeight":49,"mainColor":50},232979,"fu-rong-jin-ji-tu-zhou-zhao-ji-232979","芙蓉锦鸡图轴",[24,60,126,62,61,63,7,195,70,344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5116d76afa37a92bf68862f475326df6.jpg",[],{"id":837,"slug":838,"title":839,"dynasty":18,"author":840,"museum":57,"description":841,"tags":842,"thumbUrl":843,"material":61,"size":844,"collection":45,"collections":845,"showCount":828,"zanCount":49,"manualWeight":49,"mainColor":98},222180,"hua-niao-shan-mian-lu-zhi-222180","花鸟扇面","陆治","陆治（西元一四九六－一五七六年），江苏吴县人，字叔平，号包山子。倜傥好义，以教友著称于乡里。诗文书画并佳。曾和文征明、祝允明一起作画吟诗。画的名声和文征明一样好。\n这幅用淡墨干笔，画丛山叠树，渔父鼓舟前进，一面洗脚，二人在高坡上坐着似在观看瀑布。用色淡雅而有变化。画成于陆治七十三岁。陆治有诗，曾自比「桃源中人」，以喻其隐居状况。\n此画在笔法与构图，均受元代王蒙花溪渔隐图影响，颇有自况意味",[23,24,418,61,63,7,249,231,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe186c518a951a238ca279262f34bd2f5.jpg","纵31厘米、横61厘米",[45,79],{"id":847,"slug":848,"title":849,"dynasty":339,"author":850,"museum":20,"description":851,"tags":852,"thumbUrl":865,"material":75,"size":866,"collection":867,"collections":868,"showCount":828,"zanCount":49,"manualWeight":49,"mainColor":98},220799,"jing-ji-xuan-shi-wen-zhou-ni-zan-220799","静寄轩诗文轴","倪瓒","《静寄轩诗文》是倪瓒自作并书写的。此轴所书共三部分，内容包括《邾伯盛氏小像赞》、《刻古印文诗四韵》五律1首、《静寄轩诗》七绝3首。\n此帖上方篆书“静寄轩”和帖首篆书“静寄轩诗文”为张绅所书。“静寄轩”是邾伯盛的斋名，其人名珪，字伯盛，苏州人。师濮阳吴睿，习大小篆书，喜为人治印。\n此诗文是倪瓒71岁时所作，虽已至古稀之年，但笔力精致，毫无滞涩之处，结字略扁，内紧外舒，收笔时顿笔稳重，圭角突出，于质朴遒劲中带有很重的隶书笔意。",[23,126,30,31,853,73,854,855,856,35,7,37,128,857,858,859,860,773,861,862,863,864,548,468],"篆刻","孤鹤","瘦骨","苍林","轩","僧","茶烟","云","山","雪","门","馆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd648c8e27c6ab1979999ef58ef0056a.jpg","纵62.9cm，横23.3cm","书法精选",[867],{"id":870,"slug":871,"title":872,"dynasty":55,"author":873,"museum":57,"description":874,"tags":875,"thumbUrl":878,"material":130,"size":879,"collection":45,"collections":880,"showCount":828,"zanCount":49,"manualWeight":49,"mainColor":50},219208,"fu-rong-shui-niao-tu-liang-kai-219208","芙蓉水鸟图","梁楷","萧瑟水岸，枯树疏斜如铁线横陈，枝桠间栖一水鸟，羽翼敛着清寂，目光落向粼粼水面。几瓣芙蓉柔艳，绽在枯梢旁，刚柔相映成趣。水面如镜，水禽悠游，涟漪轻漾；远空淡雾里，飞鸟掠过，影迹渐消。墨色层次分明：淡墨晕染天际与水面，似笼薄纱；枯笔勾枝，见苍劲之态；细笔点花叶，藏雅致之韵。简笔不简意，疏放中含细腻，将宋人的闲远心境融于尺幅。万物自在，清寂里透着生机，仿佛能闻水禽划水轻响，风过枝叶微声，意境悠远，耐人寻味。",[23,24,60,418,61,62,7,876,313,877,806,229],"水鸟","枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9624696a3ecaca950aa26973ca863c4.jpg","纵25.1厘米，横25.1厘米",[45],{"id":882,"slug":883,"title":884,"dynasty":18,"author":309,"museum":310,"description":311,"tags":885,"thumbUrl":886,"material":316,"size":317,"collection":145,"collections":887,"showCount":888,"zanCount":49,"manualWeight":49,"mainColor":98},236818,"fu-rong-can-he-shan-mian-zhou-zhi-mian-236818","芙蓉残荷扇面",[418,61,63,7,35,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a0dd8d66ac4ce3212b6b5df3088965c.jpg",[],42,{"id":890,"slug":891,"title":892,"dynasty":18,"author":295,"museum":57,"description":893,"tags":894,"thumbUrl":896,"material":184,"size":897,"collection":45,"collections":898,"showCount":888,"zanCount":49,"manualWeight":49,"mainColor":50},222407,"hua-fu-rong-bai-lu-zhou-zheng-shi-222407","画芙蓉白鹭轴","郑石，生卒年不详。系明画院中人，自署锦衣百户。\n工画花鸟，其画之风格出自宫廷花鸟画家吕纪。\n画幅之构图和树、石、花鸟的用笔，比之吕纪「秋鹭芙蓉」、「秋渚水禽」，显见在布局上较吕氏为简化。而用笔则不如其细致，有着较明显之提顿变化，渐趋向于浙派晚期之风味。",[23,24,29,126,61,62,63,7,299,895],"老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6580b27108d81173535dc902fb47cdad.jpg","纵144.4厘米，横74.3厘米",[45,79],{"id":900,"slug":901,"title":902,"dynasty":18,"author":903,"museum":310,"description":904,"tags":905,"thumbUrl":907,"material":316,"size":317,"collection":145,"collections":908,"showCount":909,"zanCount":11,"manualWeight":49,"mainColor":98},287797,"hua-hui-cao-chong-shan-chen-hong-shou-287797","花卉草虫扇","陈洪绶","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[23,418,24,60,29,61,62,63,906,7,70],"花卉草虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3d257f034c5743e049d2308aee80852.jpg",[],41,{"id":911,"slug":912,"title":913,"dynasty":18,"author":665,"museum":20,"description":914,"tags":915,"thumbUrl":916,"material":917,"size":918,"collection":145,"collections":919,"showCount":909,"zanCount":49,"manualWeight":49,"mainColor":98},233841,"wo-you-tu-ce-fu-rong-shen-zhou-233841","卧游图册－芙蓉","此套图册分别绘仿倪山水、杏花、秋葵、秋柳鸣蝉、平坡散牧、栀子花、秋景山水、芙蓉、枇杷、秋山读书、石榴、雏鸡、秋江钓艇、菜花、江山坐话、仿米山水、雪江渔夫等山水、花鸟小景。\n根据末开画家自题，可知该册页的“卧游”之名源自南朝宋宗炳在居室四壁挂山水以当卧游的典故。然而不同于挂轴的是，该图册还可于卧床时仰面翻阅。 由此可见画家的绘制初衷和生活情趣。\n引首自书“卧游”，钤“沈氏启南”朱文印。鉴藏印：“士元珍藏”朱文印，“朱卧庵收藏印”朱文印，“查映山氏收藏图书”朱文印。\n仿倪山水，自题：“苦忆云林子，风流不可追。时时一把笔，草树各天涯。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印，“士元”朱文印，“昆山王成宪画印”朱文印，“映山珍藏”朱文印。\n杏花。自题：“老眼于今已敛华，风流全与少年差。看书一向糢糊去，岂有心情及杏花。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n秋葵。自题：“秋色韫仙骨，淡姿风露中。衣裳不胜薄，倚向石阑东。沈周。” 钤“启南”朱文印。鉴藏印：“士元”朱文印，“卧庵所藏”朱文印，“昆山王成宪画印”朱文印。\n秋柳鸣蝉。自题：“秋已及一月，残声绕细枝。因声追尔质，郑重未忘诗。沈周。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“䒶机流动”朱文印。“卧庵所藏”朱文印。\n平坡散牧。自题：“春草平坡雨迹深，徐行斜日入桃林。童儿放手无拘束，调牧于今已得心。沈周。”钤“启南”朱文印两方。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“之”“赤”朱文联珠印。\n栀子花。自题：“花尽春归厌日迟。玉葩撩兴有新栀。淡香流韵与风宜。帘触处、人在酒醒时。 生怕隔墙知。白头痴老子，折斜枝。还愁零落不堪持。招魂去、一曲（按：此字点去）阙小山词。右词寄小玉山，沈周。”钤“启南”朱文印，“吴言”朱文印。“石田翁”白文印。鉴藏印：“之”“赤”朱文联珠印，“朱卧庵收藏印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n秋景山水。自题：“淡墨疏烟处，微踪仿佛谁。梅花庵里客，端的是吾师。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印。\n芙蓉。自题：“芙蓉清骨出仙胎，赭玉玲珑轧露开。天亦要妆秋富贵，锦江翻作楚江来。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“卧庵所藏”朱文印、“昆山王成宪画印”朱文印、“竹南藏玩”白文印。\n枇杷。自题：“弹质圆充饤，蜜津凉沁唇，黄金作服食，天亦寿吴人。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印,“卧庵所藏”朱文印、“昆山王成宪画印” 朱文印。\n秋山读书。自题：“高木西风落叶时，一襟萧爽坐遥遥。闲披秋水未终卷，心与天游谁得知。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“卧庵所藏”朱文印。\n石榴。自题：“石榴谁擘破，群琲露人看。不是无藏韫，平生想怕瞒。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n雏鸡。自题：“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，沈周。”钤“启南”朱文印，“白石翁”白文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印、“朱卧庵收藏印”朱文印。\n秋江钓艇。自题：“满池纶竿处处缘，百人同业不同船。江风江水无凭准，相并相开总偶然。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“卧庵所藏”朱文印。\n菜花。自题：“南畦多雨露，绿甲已抽新。切玉烂蒸去，自然便老人。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印，“昆山王成宪画印”朱文印。\n江山坐话。自题：“江山作话柄，相对坐清秋。如此澄怀地，西湖忆旧游。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印、“昆山王成宪画印”朱文印。\n仿米山水。自题“云来山失色，云去山依然。野老忘得丧，悠悠柱杖前。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n雪江渔夫。自题：“千山一白照人头，簑笠生涯此钓舟。不识江湖风雪里，可能干得庙堂忧。沈周。”钤“白石翁”白文印。鉴藏印：“昆山王成宪画印”朱文印、“卧庵所藏”朱文印。\n题跋。自题：“宗少父四壁揭山水图，自谓卧游其间。此册方可尺许，可以仰眠匡床，一手执之，一手徐徐翻阅，殊得少文之趣。倦则掩之，不亦便乎？于揭亦为劳矣。真愚闻其言，大发笑。沈周跋。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印，“芃园曹氏平生真赏”朱文印，“麓云楼书画记”朱文印，“康饴”朱文印，“只可自怡悦”白文印，“朱卧庵收藏印”朱文印，“依竹居士鉴赏书画印”朱文印。",[24,29,60,141,61,25,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8ebcdb6393844fc83fa104c39766209.jpg","纸本，设色","纵27.8厘米，横37.3厘米",[],{"id":921,"slug":922,"title":923,"dynasty":55,"author":428,"museum":57,"description":924,"tags":925,"thumbUrl":927,"material":130,"size":928,"collection":77,"collections":929,"showCount":930,"zanCount":49,"manualWeight":49,"mainColor":50},289351,"qiu-pu-rong-bin-tu-cui-bai-289351","秋浦蓉宾图","本幅绘荷叶枯黄，芙蓉展艳，一派秋光旖旎，花间鶺鴒腾跃，翡翠踞，两鸿雁振翅凌空，意在千里。",[23,24,63,62,61,313,7,35,926],"秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77dda06caf7a56f83b18a435258e2305.jpg","149.1x95.5",[77],40,{"id":932,"slug":933,"title":934,"dynasty":18,"author":56,"museum":310,"description":935,"tags":936,"thumbUrl":937,"material":316,"size":317,"collection":145,"collections":938,"showCount":930,"zanCount":11,"manualWeight":49,"mainColor":50},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。",[24,29,141,61,62,298,63,419,7,70,39,448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4bc0d30b118796ae3802452fc2608ee.jpg",[],{"id":940,"slug":941,"title":942,"dynasty":339,"author":465,"museum":310,"description":943,"tags":944,"thumbUrl":945,"material":145,"size":145,"collection":145,"collections":946,"showCount":947,"zanCount":49,"manualWeight":49,"mainColor":50},228162,"fu-rong-hua-tu-ye-wang-yuan-228162","芙蓉花图页","以水墨写就芙蓉，淡墨晕染花瓣，层层铺陈间将柔媚蓬松的花态尽显，花瓣边缘虚淡朦胧，如带清露。浓墨绘叶，枯笔勾勒叶脉，晕分出叶片阴阳向背之态，枝叶舒展错落，尽显芙蓉清妍雅致之姿。\n\n画面间题诗错落排布，朱红印章点缀其间，诗画合璧，褪去设色浓丽，以素净水墨尽现芙蓉秀润风骨，尽显尚意简淡的审美意趣，将文人情思融于笔墨意趣之中，清雅脱俗，余韵悠长。",[24,29,141,25,62,63,7,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9168b45b7cbef3fdbda8ee446bb21498.jpg",[],38,{"id":949,"slug":950,"title":951,"dynasty":18,"author":952,"museum":310,"description":953,"tags":954,"thumbUrl":955,"material":145,"size":145,"collection":145,"collections":956,"showCount":957,"zanCount":49,"manualWeight":49,"mainColor":98},237665,"hua-niao-ce-ling-bi-zheng-237665","花鸟册","凌必正","[明]字贞卿，一字蒙求，号约庵，太仓（今江苏太仓）人。崇祯四年（一六三一）进士，官至广西副使。善山水，设色妍雅，位置精密，接轸宋人。间画花鸟，尚欠超逸生动之致。《太仓州志、无声诗史、桐阴论画》",[24,60,29,141,61,62,63,128,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faed2278632f794fa3ce5f154692b37f9.jpg",[],36,{"id":959,"slug":960,"title":961,"dynasty":87,"author":103,"museum":310,"description":962,"tags":963,"thumbUrl":964,"material":316,"size":317,"collection":145,"collections":965,"showCount":966,"zanCount":49,"manualWeight":49,"mainColor":98},290522,"qing-fu-rong-yuan-yang-yun-shou-ping-290522","清芙蓉鸳鸯","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。",[418,24,60,29,63,61,62,7,343],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b6faa670a9de5d2a3fdb5690327caf1.jpg",[],34,{"id":968,"slug":969,"title":970,"dynasty":87,"author":971,"museum":310,"description":972,"tags":973,"thumbUrl":974,"material":316,"size":317,"collection":145,"collections":975,"showCount":976,"zanCount":11,"manualWeight":49,"mainColor":98},239082,"si-ji-hua-hui-ping-zhang-xiong-239082","四季花卉屏","张熊","张熊(1803—1886)，又名张熊祥，字寿甫，亦作寿父，号子祥，晚号祥翁，别号鸳湖外史，鸳湖老人，鸳湖老者，鸳鸯湖外史，西厢客。别署清河伯子，髯参军。室名银藤花馆。秀水（今浙江嘉兴）人，张熊年青时代就移居上海，参加各种美术活动。",[24,29,126,61,62,63,66,7,128,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3076167865436319be86a416993807d1.jpg",[],33,{"id":978,"slug":979,"title":980,"dynasty":55,"author":56,"museum":57,"description":981,"tags":982,"thumbUrl":369,"material":130,"size":983,"collection":45,"collections":984,"showCount":985,"zanCount":49,"manualWeight":49,"mainColor":98},218700,"fu-rong-tu-yi-ming-218700","芙蓉图","一枝芙蓉斜逸而出，花瓣层叠如凝脂，粉白晕染间似沾着晨露的清润；含苞的蓓蕾裹着淡红，敛着半开的心事。墨绿叶片脉络分明，纤细却劲挺，肌理薄韧如绢。深青底色如幽潭静水，将花朵的明丽衬得愈发温润。画面无冗余缀饰，却于细微处见匠心：花瓣的柔纹、叶尖的轻颤，皆被捕捉得恰到好处。宋人的笔意藏在每一笔晕染里，不张扬却动人，似将芙蓉的清雅与生机，凝在这一方圆境中，静静诉说着时光里的温柔与诗意。",[23,60,24,29,141,61,62,63,7],"21.0x23.5",[45],32,{"id":987,"slug":988,"title":989,"dynasty":87,"author":990,"museum":310,"desc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绝出尘象之外。",[23,24,29,28,25,1125,63,32,40,33,41,36,38,7,37,128,73,30],"白描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F824a49108093b390bf2a18fe74a97e32.jpg",[],{"id":1129,"slug":1130,"title":1131,"dynasty":87,"author":1132,"museum":310,"description":1133,"tags":1134,"thumbUrl":1137,"material":145,"size":145,"collection":145,"collections":1138,"showCount":1102,"zanCount":49,"manualWeight":49,"mainColor":98},224200,"fu-rong-lu-yan-tu-zhou-qiu-jian-224200","芙蓉芦雁图轴","丘鉴","此作兼工带写，空中芦雁振翼俯冲，滩涂三雁昂首和鸣，翎毛纤毫毕现，将雁群互动的鲜活瞬间定格。芙蓉临水盛放，粉瓣柔润饱满，苇草舒展随风曳动，野菊点缀坡岸晕染秋意。\n\n设色雅致柔和，花叶层次晕染自然，禽鸟姿态灵动逼真，恍若能闻雁唳破空。坡岸皴笔简淡，衬出水畔秋日清寂野趣，取景浑然天成，将汀渚生机与秋日闲逸融为一体，写实之中尽显雅致灵韵。",[23,24,29,126,62,61,63,1135,7,1136,229,39],"清代","芦雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F741d4deda5f2329d3547762bc74961e0.jpg",[],{"id":1140,"slug":1141,"title":1142,"dynasty":18,"author":903,"museum":502,"description":1143,"tags":1144,"thumbUrl":1145,"material":141,"size":145,"collection":145,"collections":1146,"showCount":1102,"zanCount":49,"manualWeight":49,"mainColor":98},221907,"hua-niao-jing-pin-ce-4-chen-hong-shou-221907","花鸟精品册4","陈洪绶（1599～1652），明末清初著名书画家、诗人，字章侯，号老莲，浙江绍兴人。其画手法简练，格调高古，享誉明末画坛，与当时的顺天崔子忠齐名，号称“南陈北崔”。花鸟工笔描绘精细，设色清丽，富有装饰味。",[24,60,29,141,61,62,63,70,7,41],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2ced18c0048b9fb698e0e97704afea7.jpg",[],{"id":1148,"slug":1149,"title":1121,"dynasty":87,"author":1150,"museum":123,"description":1151,"tags":1152,"thumbUrl":1153,"material":145,"size":145,"collection":45,"collections":1154,"showCount":1102,"zanCount":11,"manualWeight":49,"mainColor":1155},202133,"hua-hui-tu-juan-ren-xiong-202133","任熊","这幅花卉长卷构图自然舒展，各类花卉次第铺陈，生机勃发。画师以工笔细描花瓣，线条灵动精准，叶片则以写意晕染，墨色层次丰富。设色明丽而不失雅致，牡丹雍容、桃花娇妍、芙蓉清雅、月季柔媚，各色花朵与翠叶相映成趣，姿态神韵毕现。整卷融工笔之精致与写意之洒脱于一体，将自然花卉的蓬勃活力与柔美风姿展现得淋漓尽致，尽显对生命与自然的热爱。",[24,28,63,62,61,36,37,7,65,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb97f0cdf35134a5d8f2cea43bc8fa78b.jpg",[45],"cca57d",{"id":1157,"slug":1158,"title":1159,"dynasty":87,"author":1160,"museum":20,"description":1161,"tags":1162,"thumbUrl":1164,"material":184,"size":145,"collection":145,"collections":1165,"showCount":1166,"zanCount":49,"manualWeight":49,"mainColor":98},232947,"hua-hui-tu-ce-fan-ting-zhen-232947","花卉图册","范廷镇","范廷镇（清），字鹿畴，一作祉安，或止安，号芷庵，一号冻亭，又号乐亭，武进（今江苏常州）人。能作花卉草虫，并书法，俱效恽寿平。\n范廷镇是恽寿平的亲传弟子，最能得恽南田没骨写生花卉之神髓，他的个别作品甚至可以达到乱真的地步，也是恽寿平的主要代笔人。包括他的书法与恽寿平都十分相近，接近于形神兼备，但格调稍欠，诗文才情更是与恽寿平相差甚远。",[24,62,61,63,39,448,1163,7],"花苞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F258f695b12ba32d2146bf51a04fd8af2.jpg",[],21,{"id":1168,"slug":1169,"title":1159,"dynasty":87,"author":1170,"museum":123,"description":1171,"tags":1172,"thumbUrl":1173,"material":145,"size":145,"collection":45,"collections":1174,"showCount":1166,"zanCount":49,"manualWeight":49,"mainColor":1175},203022,"hua-hui-tu-ce-zhao-zhi-qian-203022","赵之谦","粉晕的芙蓉花瓣娇嫩欲滴，色彩层次细腻过渡，尽显柔媚之态。叶片以阔笔泼洒，石绿与墨色交织，浓淡相宜，叶脉用劲挺线条勾勒，带着金石的硬朗质感，刚柔相济。枝干线条简练，穿插有致，构图疏朗却饱满。画风融文人雅致与民间鲜活，笔墨间藏着金石入画的独特韵味，尽显花卉生机与艺术张力。",[24,29,141,61,63,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fb2b14d87e37f276685367c87d83c26.jpg",[45],"b6ac8e",{"id":1177,"slug":1178,"title":1179,"dynasty":55,"author":56,"museum":310,"description":1180,"tags":1181,"thumbUrl":1182,"material":316,"size":317,"collection":145,"collections":1183,"showCount":1184,"zanCount":49,"manualWeight":49,"mainColor":50},288541,"zhe-zhi-hua-hui-tu-yi-ming-288541","折枝花卉图","这卷折枝花卉以没骨绘就四段小品：老梅枯槎遒劲，冷蕊疏朗点缀，清寒孤高；芙蓉柔瓣晕染浅粉，叶片翠绿鲜活，娇憨含露；栀花白洁莹润，枝叶舒展清雅；海棠轻粉凝娇，花苞初绽含情。\n\n全作用色柔淡清润，枝桠穿插自然灵动，一花一叶皆体察入微，将花木各自的风神尽数摹写，尽显宋画写生的精妙。古旧绢底晕开浅淡色泽，更添沉静古雅的意趣，将宋人平和隽雅的审美藏在每一处晕染的笔意之中。",[23,60,24,28,61,62,63,32,7,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67cb252091bc5933586023f5df18e0ce.jpg",[],20,{"id":1186,"slug":1187,"title":1188,"dynasty":87,"author":1189,"museum":20,"description":1190,"tags":1191,"thumbUrl":1192,"material":917,"size":145,"collection":145,"collections":1193,"showCount":1194,"zanCount":49,"manualWeight":49,"mainColor":98},237178,"hua-niao-kun-chong-ce-zhou-quan-237178","花鸟昆虫册","周铨","沈铨 （1682—1760），字衡之，号南苹，其画远师黄筌画派，近承明代吕纪，工写花卉翎毛、走兽，以精密妍丽见长，也擅长画仕女。设色妍丽，工致精丽、赋色浓艳，极尽构梁之巧。画人物得不传之秘。注重写实，画风谨严工细，造型准确生动。尝写《花蕊夫人宫词》为图，笔意殊极巧妙。\n雍正九年（1731）沈铨应日本天皇之聘，偕弟子郑培、高钧等东渡日本，历时3年，形成“南苹派”写生画，深受日人推崇，被称为“舶来画家第一”，从习画者颇多，日本江户时代长崎画派即在其影响下形成，尤以圆山应举最为著名。归得金帛散给友朋，橐仍萧然。\n沈铨归国后声誉大震，传至京城，朝廷便下旨命沈铨作画上贡，乾隆7年作《花蕊夫人宫词意》受到好评，除此，沈铨还陆续为宫廷作吉祥寓意之画，由此沈铨及弟子童衡在中国画史上被称为宫廷画家，沈铨晚年寄居于苏州，孜孜不倦地致力于书画艺术之研究，在乾隆27年81岁的沈铨还能作《花鸟图》。1762年沈铨逝世后，从子沈天骧进新市南频府，守孝三年，继承画业，唯一入室弟子童衡离开沈宅到新市明因寺为僧，闲余作画终身。沈铨把一生献给了绘画事业，在继承院体派传统的基础上，独创了强大的南苹画派，在当时的江南独树一帜，有诗予以很高的评价“江南高手谁第一，吴兴沈生世无匹”。",[24,29,141,61,62,63,110,7,493,1099,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd41aa9c65a510594189b75d82abf7fce.jpg",[],19,{"id":1196,"slug":1197,"title":1198,"dynasty":18,"author":1122,"museum":310,"description":1123,"tags":1199,"thumbUrl":1200,"material":794,"size":145,"collection":145,"collections":1201,"showCount":1194,"zanCount":49,"manualWeight":49,"mainColor":98},234247,"mo-hua-jiu-zhong-juan-chen-gua-234247","墨花九种卷",[23,24,29,28,25,63,26,73,36,108,64,7,65,38,67,468,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc52c46bc4e3b4ca5a9f77865bc6868ab.jpg",[],{"id":1203,"slug":1204,"title":1205,"dynasty":18,"author":56,"museum":310,"description":1206,"tags":1207,"thumbUrl":1208,"material":197,"size":145,"collection":145,"collections":1209,"showCount":48,"zanCount":49,"manualWeight":49,"mainColor":50},236286,"wang-zi-yuan-hua-niao-ce-yi-ming-236286","王子元花鸟册","此作以芙蓉栖禽入画，粉紫芙蓉柔瓣舒展，晕染出娇妍层次，枝叶墨色浓淡相衬，鲜活饱满，尽显花绽之姿。石上双禽依偎，翎毛细劲工致，亲昵恬和的神态尽显灵动。周遭浅草疏枝淡笔勾勒，虚实相生，晕开清寂悠然的秋日氛围。\n\n整画工写兼具，设色明雅柔和，将花木柔媚与禽鸟恬然相融，把寻常小景晕染出幽淡隽雅的诗意，尽显雅致温婉的花鸟意趣。",[24,61,63,62,7,249,231,493],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e4a342ecf0dff4de7a0f4be078271f0.jpg",[],{"id":1211,"slug":1212,"title":1011,"dynasty":18,"author":1213,"museum":310,"description":1214,"tags":1215,"thumbUrl":1216,"material":316,"size":317,"collection":145,"collections":1217,"showCount":48,"zanCount":49,"manualWeight":49,"mainColor":98},235470,"hua-hui-ce-qi-xun-235470","戚勋","戚勋 (明)字世臣，号曲泉。山阴(今属绍兴)人。\n善画山水、花卉，得疏野之趣。",[24,29,141,61,63,31,73,7,39,448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8945201ff343213f536ecf7426aece95.jpg",[],{"id":1219,"slug":1220,"title":1221,"dynasty":55,"author":1222,"museum":20,"description":1223,"tags":1224,"thumbUrl":1238,"material":75,"size":1239,"collection":867,"collections":1240,"showCount":48,"zanCount":49,"manualWeight":49,"mainColor":98},221561,"cheng-nan-chang-he-shi-juan-quan-juan-di-yi-duan-zhu-xi-221561","城南唱和诗卷全卷第一段","朱熹","《城南唱和诗卷》，对章草笔意的运用达到了随心所欲、挥洒自如的境界。杨维桢把晋唐楷法和汉隶、章草、今草笔法融合在一起，故独有奇拙、古朴的趣味。所谓“矫杰横发”（李东阳）“狂怪不经”（徐有贞）“大将班师，三军奏凯。破斧缺斨，例载而归”（吴宽）就是指杨维桢书风中豪迈雄强、形态怪异、用笔粗放的特点。而这种激越奔放的气势，刀斫斧劈的雄强，正是筑基于章草笔法的渗入。\n此诗卷是朱熹为和张栻城南诗20首所作。张栻，字敬夫，号轩，张浚之子、宋代著名学者。居谭州（今长沙）。构城南书院，城南有风景20处、故题诗20首。朱孝宗乾道三年（公元1167年）八月，朱熹与张南轩游城市诸胜景，和南轩二十咏。时年朱熹38岁，此诗卷书写年代则较晚。此卷书法笔墨精妙，萧散简远，笔意从容，灵活自然，为朱熹传世佳作。明陆简《朱熹城甫唱和诗帖跋》云：“紫阳夫子平生讲道之功日不暇给，而于辞翰游戏之事亦往柱精诣绝人。评书家谓其书郁有道义之气、固耳。”",[23,31,30,28,1225,73,861,230,860,862,1226,1227,1228,1229,41,40,1230,1231,1232,1233,7,1234,34,1235,1236,1237,33,32],"墨迹","月","亭","石","林","桂","江","秋","冬","舟","风","海","溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcb576060bbf9033850da273c683961f.jpg","纵31.5厘米横275.5厘米",[867],{"id":1242,"slug":1243,"title":1244,"dynasty":18,"author":840,"museum":310,"description":1245,"tags":1246,"thumbUrl":1247,"material":316,"size":317,"collection":145,"collections":1248,"showCount":1249,"zanCount":49,"manualWeight":49,"mainColor":50},290500,"duan-yang-jia-jing-zhou-lu-zhi-290500","端阳佳景轴","陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因先世由汴徙居吴之包山梅梁里，遂自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[60,24,126,61,63,128,7,39,73,30,1113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F482b189c87564d22bc6caf1b3e60965a.jpg",[],17,{"id":1251,"slug":1252,"title":1011,"dynasty":87,"author":1061,"museum":310,"description":1062,"tags":1253,"thumbUrl":1255,"material":316,"size":317,"collection":145,"collections":1256,"showCount":1249,"zanCount":49,"manualWeight":49,"mainColor":98},238890,"hua-hui-ce-dong-gao-238890",[24,29,141,61,62,39,128,7,1254],"秋海棠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2cabbf4021f74ea7b313a841aca195b.jpg",[],{"id":1258,"slug":1259,"title":1011,"dynasty":87,"author":1260,"museum":310,"description":1261,"tags":1262,"thumbUrl":1263,"material":75,"size":145,"collection":145,"collections":1264,"showCount":1249,"zanCount":49,"manualWeight":49,"mainColor":98},237287,"hua-hui-ce-wu-kai-237287","吴楷","吴楷，男，清嘉庆—咸丰时期（公元十八——十九世纪）著名画家 。\n吴楷： 清嘉庆——咸丰时期著名画家。一名允楷，字辛生，别号骞林外史，室名云静庐，吴县(今江苏苏州)人。 [2] 工花卉兰石，兼善山水。 （详见《中国书画家印鉴款识》第444页。）",[24,29,60,141,61,62,39,7,448,447],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f178840eaee77e57ff2f1eb327e2707.jpg",[],{"id":1266,"slug":1267,"title":1268,"dynasty":87,"author":56,"museum":310,"description":1269,"tags":1270,"thumbUrl":1273,"material":145,"size":145,"collection":145,"collections":1274,"showCount":1275,"zanCount":334,"manualWeight":49,"mainColor":98},238187,"wang-cheng-pei-ji-hui-ming-he-juan-yi-ming-238187","汪承霈集卉鸣和卷","此卷开篇绘幽竹亭亭，鸣虫静栖竹间，溪畔蓝花簇生，野趣盎然。清溪蜿蜒穿流过浅渚，渐入群芳盛放之景：粉菊、蓝花、红卉与素白琼英交织错落，枝叶柔曼舒展。蜻蜓振翅掠水，蛱蝶穿花翩跹，蜂虫流连芳丛，诸般小生灵衬得满卷生机浮动。全作用笔纤柔细腻，工笔淡彩晕染雅致明秀，将郊野春景的清灵意趣缓缓铺展，把花间小景的娴静生机描摹尽致，宛如将融融春日的一隅闲趣，凝于素绢之上。",[23,24,29,28,62,61,63,33,506,70,71,1271,1272,213,493,110,35,36,7,65],"蝉","流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946dcdc9d843fe6490645d4ecbbb0d23.jpg",[],16,{"id":1277,"slug":1278,"title":1279,"dynasty":18,"author":903,"museum":225,"description":1280,"tags":1281,"thumbUrl":1282,"material":130,"size":1283,"collection":145,"collections":1284,"showCount":1275,"zanCount":49,"manualWeight":49,"mainColor":98},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","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。",[23,60,24,29,141,62,61,63,70,7,448,407,419],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3014485fbd602bc596fe511ee39155e.jpg","21.5×16cm",[],{"id":1286,"slug":1287,"title":1288,"dynasty":87,"author":103,"museum":123,"description":1289,"tags":1290,"thumbUrl":1293,"material":145,"size":145,"collection":45,"collections":1294,"showCount":1275,"zanCount":49,"manualWeight":49,"mainColor":1295},201728,"qiu-hua-mao-die-tu-zhou-yun-shou-ping-201728","秋花猫蝶图轴","秋草纤柔间，白猫茸毛蓬松，墨蝶轻舞引其注目，憨态可掬。花叶以淡彩晕染，无需勾勒而形神兼备；顽石以枯笔皴擦，墨色层次分明。整幅画笔墨细腻，设色清雅，将猫的慵懒、蝶的轻盈与花草的生机相融，尽显闲庭秋趣。画面气韵生动，兼具工笔之精致与写意之传神，传递出悠然恬淡的秋日氛围。",[24,63,61,127,1291,128,1292,62,805,7,23],"蝶","秋草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d6f6676bdf8b1ee5183a8c105dcf9ef.jpg",[45],"beb097",{"id":1297,"slug":1298,"title":1011,"dynasty":87,"author":1299,"museum":310,"description":1300,"tags":1301,"thumbUrl":1302,"material":316,"size":317,"collection":145,"collections":1303,"showCount":1304,"zanCount":49,"manualWeight":49,"mainColor":98},235602,"hua-hui-ce-wang-wu-235602","王武","王武，1632年生，1690年逝世，吴县（今江苏苏州）人。字勤中，晚号忘庵，又号雪颠道人。明代画家王鏊六世孙，精鉴赏，富收藏，擅画花鸟，风格工整秀丽，正如王时敏所云：“神韵生动，应在妙品中。”为清初院画的名家。亦擅诗文。传世作品有《水仙柏石图》、《红杏白鸽图》、《鸳鸯白鹭图》等。",[24,29,141,25,63,39,7,73,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F385939373832557ba2ee4c861648fbcc.jpg",[],15,{"id":1306,"slug":1307,"title":1308,"dynasty":18,"author":1309,"museum":310,"description":1310,"tags":1311,"thumbUrl":1312,"material":145,"size":145,"collection":145,"collections":1313,"showCount":1304,"zanCount":49,"manualWeight":49,"mainColor":98},234214,"zhang-yan-mo-hua-juan-zhang-yan-234214","张彦墨花卷","张彦","张彦（？－？），字伯美，号无诤道人，嘉定（今属上海市）人，一作江苏苏州人，明朝画家。\n万历四十一年（1631年）作《山水图》，著录于《退庵题跋》\n崇祯二年（1629年）作《寒林钟馗图》，著录于《爱日吟庐书画录》\n传世作品有《山径携琴图》轴，现藏南京博物院\n崇祯十年作《松溪放舟图》轴图录于《中国名画宝鉴》\n崇祯十二年（1639）作《设色山水图》卷著录于《中国书画家印鉴款识》；同年作《雪景梅花图》轴，纸本，设色，现藏苏州市博物馆",[23,24,29,28,25,1125,63,32,40,33,41,35,36,7,65,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff41ab333b99a0d13328d654b652e75f6.jpg",[],{"id":1315,"slug":1316,"title":1317,"dynasty":87,"author":1318,"museum":310,"description":1319,"tags":1320,"thumbUrl":1324,"material":145,"size":145,"collection":145,"collections":1325,"showCount":1304,"zanCount":49,"manualWeight":49,"mainColor":98},234117,"hua-guo-juan-yuan-jiang-234117","花果卷","袁江","清代康熙至乾隆时期，我国东南的扬州地区，由于商品经济的发展，涌现出了一批追求个性解放，锐意创新的画家群体，这就是画史上称之“扬州画派”，或曰“扬州八怪”。在这个画派中，除了拥有人数众多名震画坛的山水、花鸟和人物画家之外，还出现了一批界画作家，如李寅，颇峰、袁江、袁帽，颇岳等，而袁江、袁耀则是这批楼阁界画的佼佼者，他们成就最大，名望最高，把我国传统的界画技法发展到了一个新的高度，并对后世产生了深远的影响。\n关于袁江的生卒，由于画史无记载，我们只能在袁氏的作品中寻找。据笔者所知，袁江现存最早有纪年的作品是画于康熙三十二年(公元1693年)，最晚的作品画于乾隆八年(公元1743年)，学者以此推测他大约生于康熙十年(公元1671年)前后，卒于乾隆八年，或稍后一、二年之内。他早年生活在“千家养女先教曲，十里栽花算种田”，“夜桥灯火连星汉，水郭帆樯近斗牛”的繁华城市扬州，以后他又到过江宁(今江苏南京)、会稽(今浙江绍兴)。又根据袁江《花鸟图》二幅(藏故宫博物院)的署款“癸卯二月古榕袁江画”，他可能还到过福州，因为“榕”是福州市的别称。又据袁江传世真迹《瞻园图》判断，袁江可能还在南京生活过一段时间，\n因为瞻园是明太祖朱元璋的大将徐达的府第，(位于南京市)。雍正二年(公元1724年)，他北上抵京师(北京)作画，郭味蕖记载他在画中的自题：“在燕台作此图”就是佐证。大至到了晚年，袁江又回到家乡扬州，从他署有年款的“邗上袁江”的大量作品看就能证明这一点，因“邗”即今名的扬州市，(见《左传·哀》九年：“秋，吴城邗，沟通江淮”)。谈到袁江山水楼阁画的师承，文献记载极少，李斗《扬州画舫录》说他“初学仇十洲”，面仇英之画，近师周臣，远“摹唐来人之画，皆能夺真”，由此推之，袁江的画上溯可至唐代的李思训、李昭道父子以及赵伯驹和赵伯骑兄弟。袁江工整细致，设色浓丽的楼阁界画风格，确有仇英的遗韵。又据《画人补遗》记载：“中年得无名氏所临古人画稿”，这“无名氏”又是谁?学术界说法不一，而据有的学者推测，它应该是来人名迹，因为从袁江的山水画中，可以看出有北宋范宽，郭熙，李成、阎次平以及南宋的马远、夏圭等人的画法和遗风。在经营位置上，他又吸收了元明以来山水画的长处，予以融合变化，形成自己的特色。他学“院体”，但又脱去院画中纤弱之笔和艳俗之弊，变为凝炼厚重、工致妍美、艳而不俗的风格。袁江的楼阁界画，更是继承了唐李思训父子，宋赵伯驹兄弟和郭熙以来界画的传统以及元代王振鹏等楼阁画用笔严谨．精雕细刻的画风，并加以发扬光大。",[24,29,60,28,61,25,62,63,1321,1322,108,36,65,7,38,107,32,40,33,41,1323,39,344,73],"桃子","西瓜","果实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18aa0380b6630459be1fef1dc09c8650.jpg",[],{"id":1327,"slug":1328,"title":1329,"dynasty":18,"author":1330,"museum":57,"description":1331,"tags":1332,"thumbUrl":1333,"material":75,"size":1334,"collection":145,"collections":1335,"showCount":1304,"zanCount":49,"manualWeight":49,"mainColor":98},222438,"hua-die-cao-chong-6-du-da-cheng-222438","花蝶草虫6","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。",[23,24,62,25,61,141,63,70,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff2945f351f2989ba0ec2965d2fb8113.jpg","27x34cm",[],{"id":1337,"slug":1338,"title":1339,"dynasty":339,"author":56,"museum":310,"description":1340,"tags":1341,"thumbUrl":1346,"material":316,"size":1347,"collection":145,"collections":1348,"showCount":1349,"zanCount":49,"manualWeight":49,"mainColor":50},291027,"tian-zhong-jia-jing-zhou-yi-ming-291027","天中佳景轴","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。",[24,126,61,62,63,274,1342,7,817,1343,1344,156,30,1345],"银器","菖蒲","端午","篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff78aff34a8a838b30125b3886ed6af42.jpg","99.9x63.5公分",[],14,{"id":1351,"slug":1352,"title":1353,"dynasty":339,"author":56,"museum":57,"description":1095,"tags":1354,"thumbUrl":1355,"material":130,"size":317,"collection":145,"collections":1356,"showCount":1349,"zanCount":49,"manualWeight":49,"mainColor":50},290137,"lu-yan-tu-yi-ming-290137","芦雁图",[60,24,63,62,61,313,228,7,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e1ac17d1694dd9db326460d303213a3.jpg",[],{"id":1358,"slug":1359,"title":1360,"dynasty":87,"author":1361,"museum":310,"description":1362,"tags":1363,"thumbUrl":1366,"material":316,"size":317,"collection":145,"collections":1367,"showCount":1349,"zanCount":49,"manualWeight":49,"mainColor":98},235750,"shi-di-ba-ren-he-zuo-jiu-qiu-tu-zhou-wang-hui-235750","师弟八人合作九秋图轴","王翚","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[24,29,126,61,62,63,1364,41,7,65,391,344,73,25,1135,39,1365],"秋花","合作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e1454da1fc321a9cf26daccf2083cf8.jpg",[],{"id":1369,"slug":1370,"title":1353,"dynasty":339,"author":56,"museum":57,"description":1095,"tags":1371,"thumbUrl":1372,"material":130,"size":317,"collection":145,"collections":1373,"showCount":174,"zanCount":49,"manualWeight":49,"mainColor":50},290133,"lu-yan-tu-yi-ming-290133",[24,63,62,61,313,228,299,7,713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4cdf5d6601db8fff05edc3219b94003.jpg",[],{"id":1375,"slug":1376,"title":1377,"dynasty":18,"author":903,"museum":310,"description":904,"tags":1378,"thumbUrl":1380,"material":316,"size":317,"collection":145,"collections":1381,"showCount":174,"zanCount":49,"manualWeight":49,"mainColor":98},228301,"hua-niao-jing-pin-ce-chen-hong-shou-228301","花鸟精品册",[24,29,141,61,62,63,36,35,7,37,38,313,108,127,1379,248],"兔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ab22e59eca769a09ba77829421839ef.jpg",[],{"id":1383,"slug":1384,"title":1385,"dynasty":339,"author":465,"museum":57,"description":1386,"tags":1387,"thumbUrl":1388,"material":130,"size":1389,"collection":145,"collections":1390,"showCount":174,"zanCount":49,"manualWeight":49,"mainColor":50},219114,"hua-hui-ce-fu-rong-wang-yuan-219114","花卉册-芙蓉","花瓣层叠如轻云堆雪，晕染出浅粉的柔媚，却无半分俗艳。笔触细劲如丝，勾出花瓣的脉络，似能触到那凝脂般的质感。枝干以墨骨立形，皴擦间见苍劲，如老笔写篆，转折处藏着书法的意趣。几片绿叶点缀其间，墨色浓淡相宜，与柔花形成刚柔相济的韵致。绢本的温润底色，衬得花叶如沐清光，一派幽淡古雅的风致。笔墨间既有宋人的严谨工致，又含元人的放逸灵秀，于简净中藏生机，于细节处见匠心，将芙蓉的绰约姿态与古木的苍劲之美，融成一首无声的诗。",[23,24,60,141,61,62,63,39,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ee4628c3dfc3d56c821975790d28c5b.jpg","25.9x23.6cm",[],{"id":1392,"slug":1393,"title":1394,"dynasty":1395,"author":1396,"museum":123,"description":1397,"tags":1398,"thumbUrl":1400,"material":145,"size":145,"collection":45,"collections":1401,"showCount":174,"zanCount":49,"manualWeight":49,"mainColor":1402},203111,"qiu-pu-tu-zhou-cheng-zhang-203111","秋圃图轴","近代","程璋","秋日圃中，草木扶疏，白花点缀墨叶间，浓淡相宜的笔触勾勒出枝叶的丰茂。蜻蜓振翅欲飞，螳螂敛足凝睇，甲虫驻足枝杆，诸虫刻画入微，灵动毕现。笔墨融贯中西，线条简练却精准传神，藤蔓的缠绕、绳索的质感皆生动可触；设色淡雅，水墨晕染与淡彩交织，既有传统花鸟的意韵，又含写实的细腻。画面虽为秋景，却无萧瑟之气，反溢盎然生机，似能听闻虫鸣草语，观之如置身其间，满溢自然野趣。",[24,63,126,61,25,62,1399,71,7,110,23],"螳螂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1155235514f2cd9e9d55326ed4fb8ed5.jpg",[45],"cfc7c1",{"id":1404,"slug":1405,"title":1406,"dynasty":55,"author":56,"museum":310,"description":1407,"tags":1408,"thumbUrl":1411,"material":316,"size":317,"collection":145,"collections":1412,"showCount":1413,"zanCount":49,"manualWeight":49,"mainColor":50},290285,"song-ke-si-fu-rong-shuang-yan-zhou-yi-ming-290285","宋缂丝芙蓉双雁轴","缂（kè，同：刻）丝（英文：K’o-ssu 、Kesi 或 Chinese silk 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羽墨褐相间，神态亲昵似私语。笔触兼工带写，设色雅致：叶片晕染层次丰富，花瓣勾勒细腻入微，鸳鸯羽毛质感鲜活灵动。背景浅淡留白，更衬出花鸟的生机盎然，整体清新灵动，满溢自然温情与鲜活意趣。",[24,126,63,7,343,61,62,1725],"写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F511b714de53d8c738c70c4641e9c5706.jpg",[],"c7bcad",{"id":1730,"slug":1731,"title":1732,"dynasty":18,"author":309,"museum":123,"description":1733,"tags":1734,"thumbUrl":1737,"material":145,"size":145,"collection":145,"collections":1738,"showCount":238,"zanCount":49,"manualWeight":49,"mainColor":1739},202201,"fu-rong-fu-ya-tu-zhou-zhou-zhi-mian-202201","芙蓉凫鸭图轴","凫鸭伫立石畔，羽色墨彩交融，神态闲雅。芙蓉花叶疏落有致，花瓣晕染淡粉，叶片蓝绿勾描，柔媚鲜活。水草以写意线条挥就，灵动飘逸。笔墨工写结合，勾染相济，构图疏密得宜，气韵清逸，尽显花鸟之生机与雅致意趣。",[24,63,7,62,61,1735,1736],"勾染","立","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0831ff21fa6d1c8bf6b2035efc85e925.jpg",[],"bfaea2",{"id":1741,"slug":1742,"title":591,"dynasty":87,"author":688,"museum":123,"description":1743,"tags":1744,"thumbUrl":1745,"material":145,"size":145,"collection":45,"collections":1746,"showCount":238,"zanCount":49,"manualWeight":49,"mainColor":1747},201501,"fu-rong-yuan-yang-tu-zhou-li-yin-201501","这幅画以水墨写意铺展芙蓉与鸳鸯的景致，枝蔓婉转间，芙蓉花叶用墨浓淡相宜，花瓣勾勒清雅含韵，叶片泼洒随性却见章法；水波轻漾处，双鸳鸯相依相偎，姿态亲昵传神。笔墨灵动间，既显自然生机之趣，又含静谧温情之韵，清雅中见雅致，简淡里藏生动，将花鸟之态与水畔之息融于素纸，尽显水墨写意的空灵意趣。",[24,25,63,7,343,26,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a018ea584c7ff1533f70b7ad6adf3fd.jpg",[45],"bfab92",{"id":1749,"slug":1750,"title":1751,"dynasty":87,"author":56,"museum":310,"description":1752,"tags":1753,"thumbUrl":1756,"material":316,"size":317,"collection":145,"collections":1757,"showCount":148,"zanCount":49,"manualWeight":49,"mainColor":98},263565,"lv-se-di-chuan-zhi-mu-dan-fu-rong-wen-jin-bao-di-jin-yi-ming-263565","绿色地串枝牡丹芙蓉纹金宝地锦","《说文》：“锦，襄邑织文。从帛，金声。”即用彩色经纬丝织出各种图案花纹的纺织品，泛指具有多种彩色花纹的丝织物。锦的生产工艺要求高，织造难度大，所以它是古代最贵重的织物。“锦，金也，作之用功重，其价如金。”古人把锦看成和黄金等价。这种织物有经起花和纬起花两种，也叫经锦和纬锦。经锦是用两组或两组以上的经线同一组纬线交织。经线多的二色或三色，一色一根作为一副，如果需要更多的颜色，也可以使用牵色条的方法。纬线有明纬和夹纬；用夹纬把每副中的表经和底经分隔开，用织物正面的经浮点显花。\n用染好颜色的彩色经纬线，经提花、织造工艺织出图案的织物。中国丝织提花技术起源久远。早在殷商时代中国已有丝织物。周代丝织物中出现织锦，花纹五色灿烂，技艺臻于成熟。汉代设有织室、锦署，专门织造织锦，供宫廷享用。自汉武帝后，中国织锦通过丝绸之路传入波斯（今伊朗）、大秦（古罗马帝国）等国。三国时四川蜀锦成为主流。唐代贞观年间窦师伦的对雉、斗羊、翔凤等蜀锦图案，称为绫阳公样。在织造工艺上由经锦改进为纬锦，并出现彩色经纬线由浅入深或由深入浅的退晕手法。北宋宫廷在汴京等地建立规模庞大的织造工场，生产各种绫锦。元代是中国历史上大量生产织金锦（一种加金的丝织物）的时代，宫廷设立织染局、织染提举司，机构庞大，集中了大批优秀工匠。\n明清两代织锦生产集中在江苏南京、苏州，除了官府的织锦局外，民间作坊也蓬勃兴起，形成江南织锦生产的繁荣时期。织锦大多采用传统提花工艺和木制花楼织机，有些织锦因品种不同而有所区别。如宋锦、土家族织锦采用通经断纬工艺，即分段调换彩色纬线，使色彩更加丰富。杭锦采用铁制提花机。织锦种类有南京云锦、四川蜀锦、苏州宋锦、杭州织锦以及少数民族的黎锦、壮锦、傣锦、瑶锦、侗锦、苗锦、土家锦、爱得利斯锦等。1960年以来，中国织锦在继承、发扬传统织锦的基础上，恢复了云锦的妆花锦和蜀锦的浣花锦、锦上添花锦、八答晕锦，并生产了窗帘、沙发套、枕套、被面、台毯、靠垫、床罩、提包、民族服装用料等新品种。\n锦已有3000年以上的历史，战国、西汉以前流行以二色或三色经轮流显花的经锦，包括局部饰以挂经的挂锦、具有立体效果的凸花锦和绒锦。1959年在新疆民丰尼雅遗址发现的东汉“万年如意锦”使用绛、白、绛紫、淡蓝、渥绿五色，通幅分成十二个色条，就是汉代典型的经锦。\n纬锦是用两组或两组以上的纬线同一组经线交织。经线有交织经和夹经；用织物正面的纬浮点显花。1969年在新疆阿斯塔那发现的唐代锦袜，在大红色地上起各种禽鸟花朵和行云的图案，就属于这一种锦。\n经锦和纬锦具有不同的织造效果。经锦的纬密比较低，只用一把梭子，生产效率比较高。纬锦织造比较费时，但可以使用两把以上的梭子，容易变换色彩，色彩丰富。这两种锦在中国出现的时间都比较早。但是六朝以前织造的，以经起花为主；隋唐以后织造的，似乎以纬起花为主。\n在苏联的巴泽雷克发现一批中国战国时期的丝绸，就有用红绿二色纬线织造的纬斜纹起花的纬锦。产生于宋代前后的宋锦以地经、地纬交织成经斜组织，按结经与纹纬交织成纬斜组织。\n金元之际流行加金的丝织物——织金锦，又称“纳石失”。明清时盛行以挖花缎的彩纬多达30—40种，锦面的经、纬方向都有逐花异色的效果，是中国织锦最高水平的代表。\n锦在历史上曾用多棕多蹑机和束棕花楼机织造，现代生产采用纹版提花机。\n国家非常重视非物质文化遗产的保护，南京云锦木机妆花手工织造技艺作为中国古老的织锦技艺最高水平的代表，于2006年列入首批国家级非物质文化遗产名录。2006年5月20日，土家族织锦技艺经国务院批准列入第一批国家级非物质文化遗产名录。2007年6月8日，湖南凤凰水云织锦坊获得国家文化部颁布的首届文化遗产日奖。2009年8月《地理标志产品云锦》国家标准在南京通过国家级专家评审，同年9月成功入选联合国《人类非物质文化遗产代表作名录》。",[678,1754,36,7,1755,61],"织锦","花卉纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35abae382b2513af408d061575b8b3aa.jpg",[],{"id":1759,"slug":1760,"title":1761,"dynasty":87,"author":56,"museum":310,"description":1762,"tags":1763,"thumbUrl":1766,"material":316,"size":317,"collection":1767,"collections":1768,"showCount":148,"zanCount":49,"manualWeight":49,"mainColor":1103},260111,"li-ling-yao-you-xia-wu-cai-hua-niao-wen-ping-yi-ming-260111","醴陵窑釉下五彩花鸟纹瓶","宋代是传统制瓷工艺发展史上一个非常繁荣昌盛的时期。现时已发现的古代陶瓷遗址分布于全国170个县。其中有宋代窑址的就有130个县，占总数的75%。\n陶瓷史家通常将宋代陶瓷窑大致概括为6个瓷窑系，它们分别是：北方地区的定窑系、耀州窑系、钧窑系和磁州窑系；南方地区的龙泉青瓷系和景德镇的青白瓷系。这些窑系一方面具有因受其所在地区使用原材料的影响而具有的特殊性，另一方面又有受帝国时代的政治理念、文化习俗、工艺水平制约而具有的共同性。\n从造型的角度分析，宋瓷的器形较之前代更为丰富多彩，几乎包括了人民日常生活用器的大部分：碗、盘、壶、罐、盒、炉、枕、砚与水注等，其中最为多见的是玉壶春瓶。总的说来，民间用瓷的造型大部分是大方朴实、经济耐用；而宫廷用瓷则端庄典雅、雍容华贵。最能反映皇家气派的是哥、官、钧、汝与定窑口烧制的贡瓷，最能体现百姓喜乐的是磁州、耀州窑口烧制的民间瓷品。\n从纹饰上讲，宋瓷的纹饰题材表现手法都极为丰富独特。一般情况下，龙、凤、鹿、鹤、游鱼、花鸟、婴戏、山水景色等常作为主体纹饰而突现在各类器形的显著部位，而回纹、卷枝卷叶纹、云头纹、钱纹、莲瓣纹等多用作边饰间饰，用以辅助主题纹饰。工匠们用刻、划、剔、画和雕塑等不同技法，在器物上把纹样的神情意态与胎体的方圆长短巧妙结合起来，形成审美与实用的统一整体，令人爱不释手。如婴戏纹，或于碗心、或于瓶腹，将肌肤稚嫩，情态活泼的童子置于花丛之中，或一或二，或三五成群，攀树折花，追逐嬉戏，真切动人，生活气息甚为浓厚。",[1707,1764,63,7,1765],"釉下五彩","瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3d3b0be52a29300751beb035046d741.jpg","瓷器精选",[1767],{"id":1770,"slug":1771,"title":1772,"dynasty":18,"author":56,"museum":310,"description":1773,"tags":1774,"thumbUrl":1778,"material":316,"size":317,"collection":1767,"collections":1779,"showCount":148,"zanCount":49,"manualWeight":49,"mainColor":50},257050,"yi-xing-yao-tian-lan-you-fu-rong-ye-shi-xi-yi-ming-257050","宜兴窑天蓝釉芙蓉叶式洗","宜兴窑，在今江苏宜兴丁蜀镇，故名。烧瓷历史悠久，秦汉时宜兴地区陶窑密布；两晋时在均山烧青瓷，唐初在归径等地大量烧制，至晚唐、五代成为南方民间著名青瓷窑；宋、元时期，丁蜀与西渚一带大规模烧造日用陶和早期紫砂。明清时成为当时的烧陶中心。涧众村发现有唐代青瓷窑址。明代以紫砂器闻名于世，出现不少制紫砂壶名家，如供春；时大彬、李仲芳、陈仲美等，并仿烧宋代钧窑器物，因有"宜钧"之称。\n在今江苏宜兴市南部的丁蜀镇一带，故称为宜兴窑。宜兴窑从汉代始烧红陶、灰陶、和原始青瓷等等，其烧制陶瓷的历史一直延续到今天，有2000多年，故可称是最古老的窑口。宋代已开始烧造紫砂器，明代的紫砂器闻名于世，清代是其高峰。建国后，宜兴除传统的紫砂陶、均陶有很大发展外，还恢复了青瓷生产，新创了花釉陶和精陶等产品，是我国重点陶瓷产区之一。",[298,1707,1775,7,1776,1777],"天蓝釉","叶式","洗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff91d0ec29de7dfd9aae906a2240bc512.jpg",[1767],{"id":1781,"slug":1782,"title":1783,"dynasty":543,"author":56,"museum":310,"description":1784,"tags":1785,"thumbUrl":1792,"material":316,"size":317,"collection":145,"collections":1793,"showCount":148,"zanCount":49,"manualWeight":49,"mainColor":98},225484,"fu-shi-hui-242-yi-ming-225484","浮世绘242","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[1786,1787,61,1463,1788,1789,1790,156,7,678,1791],"浮世绘","木刻","扇子","和服","衣帽","篮子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8d2f7ec99b7072049c6c9fabf2d30cc.jpg",[],{"id":1795,"slug":1796,"title":1797,"dynasty":1395,"author":1798,"museum":123,"description":1799,"tags":1800,"thumbUrl":1802,"material":145,"size":145,"collection":145,"collections":1803,"showCount":148,"zanCount":49,"manualWeight":49,"mainColor":1804},203390,"fu-rong-bai-ji-tu-zhou-zhang-shu-qi-203390","芙蓉白鸡图轴","张书旂","画面中，白鸡身姿灵动，红冠鲜妍夺目，白羽如流云般舒展，尾羽飘逸似风拂过。旁侧芙蓉枝干挺秀，墨叶浓淡相宜，黄花明丽雅致，与白鸡相映成趣。整体笔墨雅致，设色清新自然，禽鸟姿态生动传神，花叶意韵悠然，尽显花鸟小品之灵动生机，传递出自然恬淡的意趣。",[24,63,7,1801,61,62,26,126],"白鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F378ace24d1844ec6db52afcec5514dfb.jpg",[],"b09a7d",{"id":1806,"slug":1807,"title":1808,"dynasty":1395,"author":1809,"museum":123,"description":1810,"tags":1811,"thumbUrl":10,"material":145,"size":145,"collection":145,"collections":1812,"showCount":148,"zanCount":49,"manualWeight":49,"mainColor":1813},202974,"jin-ji-fu-rong-tu-zhou-gao-jian-fu-202974","锦鸡芙蓉图轴","高剑父","锦鸡伫立，羽色斑斓间见笔墨灵动，红冠点缀头部，身覆赭黄墨斑，尾羽劲挺带细密斑纹，写实中含写意之趣。旁侧芙蓉花团锦簇，粉瓣叠绽，绿叶片片舒展，水墨晕染与色彩点染相融，枝干线条劲健。画面构图虚实相生，背景留白衬出花鸟生机，融中西技法之韵尽显，既存传统笔墨意趣，又具写实生动之态，雅韵盎然。",[24,63,61,25,7,62],[],"ae987c",{"id":1815,"slug":1816,"title":1817,"dynasty":18,"author":56,"museum":310,"description":1818,"tags":1819,"thumbUrl":1821,"material":316,"size":317,"collection":145,"collections":1822,"showCount":334,"zanCount":49,"manualWeight":49,"mainColor":98},277997,"shou-shan-shi-qiu-shui-fu-rong-huo-yao-sheng-ling-zhi-zhen-yuan-jing-bai-ke-jin-sha-xian-mu-yu-jing-li-yang-tai-he-er-mian-yin-yi-ming-277997","寿山石“秋水芙蓉”“火药生灵质真源浄百疴金沙闲沐浴静里养太和”二面印","战国时期，主张合纵的名相苏秦佩戴过六国相印。近几年来，出土的文物又把印章的历史向前推进了数百年。也就是说，印章在周朝时就有了。\n传世的古代玺印，多数出于古城废墟、河流和古墓中。有的是战争中战败者流亡时所遗弃，也有在战争中殉职者遗弃在战场上的，而当时的惯例，凡在战场上虏获的印章必须上交，而官吏迁职、死后也须脱解印绶上交。其它有不少如官职连姓名的，以及吉语印、肖形印等一般是殉葬之物，而不是实品。其它在战国时代的陶器和标准量器上，以及有些诸侯国的金币上，都用印章盖上名称和记录上制造工匠的名姓或图记性质的符号，也被流传下来。\n古玺是先秦印章的通称。我们现在所能看到的一般最早的印章大多是战国古玺。印文笔画细如毫发，都出于铸造。白文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。官玺的印文内容有“司马”、“司徒”等名称外，还有各种不规则的形状，内容还刻有吉语和生动的物图案。朱文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。",[73,853,1345,1820,7],"寿山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a5baedd578abc63544f72a7eba5c83b.jpg",[],{"id":1824,"slug":1825,"title":1826,"dynasty":18,"author":56,"museum":310,"description":1818,"tags":1827,"thumbUrl":1829,"material":316,"size":317,"collection":145,"collections":1830,"showCount":334,"zanCount":49,"manualWeight":49,"mainColor":98},277989,"fu-rong-tai-ping-tian-zi-chao-yuan-ri-wu-se-yun-che-jia-liu-long-yin-yi-ming-277989","芙蓉太平天子朝元日五色云车驾六龙”印",[73,853,1345,1828,7],"龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1df071fd39e1ae91132d269cf0e4656.jpg",[],{"id":1832,"slug":1833,"title":1834,"dynasty":87,"author":56,"museum":310,"description":1835,"tags":1836,"thumbUrl":1839,"material":316,"size":317,"collection":145,"collections":1840,"showCount":334,"zanCount":49,"manualWeight":49,"mainColor":98},270682,"wang-zhi-chun-jin-huang-shan-tu-mo-fu-rong-feng-mo-yi-ming-270682","王之春进黄山图墨-芙蓉峰墨","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[358,1837,1838,1828,551,7],"文房用具","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaef09508bd84509623d9a17b678efbf.jpg",[],{"id":1842,"slug":1843,"title":1844,"dynasty":87,"author":56,"museum":310,"description":1845,"tags":1846,"thumbUrl":1848,"material":316,"size":317,"collection":145,"collecti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