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工整精细的画风， 在整体章法布局和背景树石用笔上，更多地接受了南宋 、 的影响，由此而逐渐形成了自己的风格特色，《桂菊山禽图》《山茶白鹇图》是其中的代表作。\n《桂菊山禽图》刻意精细，显然是奉召而作。\n《桂菊山禽图》中的物象真实地展现了生物的自然本性，也形象地表达了内涵的寓意。\n所绘主体花鸟：桂花、秋菊、八哥以及授带鸟，都是祥瑞吉庆之物、寓意着富贵长寿和君子的气节；殉丽的色泽与生动的景致，又营造出欢乐的气氛和华美的意境，明显地反映了皇家的艺术和审美旨趣。\n展开画轴，在画面的右下侧山石屹立，有的横卧，有的竖立，有一块较大的湖石，造型奇特，上大下小，山左倾斜，呈险势状；山石和土坡上点缀着花草、杂木；山石后有一簇盛开的菊花，山石旁有一棵老桂拔地而起，树干粗壮，长满了疤节，显然是一株老桂；树干向右斜倾，并将主干伸出画面之外，然后又从画外上方斜入画面右上部；另一枝杈，又从树干伸出向左上方，入画面中上部，这是妙笔，不但弥补了画幅左上端的空阙，而且对整个画面起到平衡作用。\n桂树花叶繁茂，树枝相互交错，错落有致，树枝上端繁花满枝，让人感到金桂的幽香阵阵，沁人心肺，与下端石旁盛开的各色菊花相互映发。\n由于一棵硕大桂树干重心偏向右侧，画家在构思上十分巧妙，将桂树向左倾斜伸出的枝权上安排了两只八哥，一只绶带鸟，用来平衡了画面。\n这两只八哥和右侧另一树枝上的一只八哥，翘着尾张嘴在树枝上叫鸣，遥相呼应，显得十分活泼，生动真切。\n画面左下角安排了一只绶带鸟，晃动着色彩艳丽的长尾，聚在坡间草丛中相互争食一只蚱蜢，显得热闹非凡。\n此画构图新颖，景物主要集中于画面右侧和下部，形成全幅构图既充实饱满，又疏密相间，景物配置得体，画幅左侧中部留有较大的空白，形成黑白强烈的对比。\n此画用笔秀劲，勾勒敷色，颇具功力。\n山石用斧劈皴。\n山石的笔法较为粗放，棱角方硬，具有立体感和质感。\n此画继承南宋院体中花鸟画法，工细中稍加放纵，形成精工富丽的艺术风格：细笔工绘，花、叶、鸟产生了强烈的对比；这种一工一写，相互映衬，达到粗细相间，却和谐统一，且显得自然生动：禽鸟造型准确，形象逼真，生动活泼，小趣盎然；设色方面，此图色彩浓重艳丽，厚重而无俗媚之气。\n绶带鸟斑斓的羽毛和艳丽的长尾，漂亮的红嘴，脚爪，描绘极为真实自然，色彩的深浅厚薄的变化，表现了羽毛的质感。\n八哥虽体以黑色为主，但却层次分明，活泼自然，生动毕肖，每一只八哥的神情刻画得特别贴切。\n花叶用石青染出，以浓淡分向背，极富有变化。\n作品的不足之处是八哥与绶带鸟之间缺少有机的联系。\n这反映了皇家贵胄多半要求画得繁多华丽的偏向，而宫廷画家不得不循以满足之。",[23,24,25,26,27,28,29,30,7,31,32,33,34,35,36],"高清","名画","国画","书画","立轴","工笔","设色","花鸟","菊","飞鸟","孤石","树枝","花卉","禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8206d9ae1c5854baf1d866a01f8809e8.jpg","绢本工笔","纵192厘米，横107厘米","花鸟画精选",[40,42],"设色画精选",312,4,"795548",{"id":47,"slug":48,"title":49,"dynasty":18,"author":50,"museum":51,"description":52,"tags":53,"thumbUrl":59,"material":60,"size":60,"collection":40,"collections":61,"showCount":62,"zanCount":11,"manualWeight":11,"mainColor":45},236618,"gui-shi-lan-zhi-zhou-chen-can-236618","桂石兰芝轴","陈粲","藏地不详","陈粲名，1524年出生，国籍中国，是 万历间画家，代表作是春景鸳鸯图。\n陈粲名（1524～？）明代万历间画家。\n字长倩，一字兰谷，号雪庵、道光、雪谷子，长洲 （今江苏苏州）人。\n万历间以善花鸟闻名于时。\n传世作品有《春景鸳鸯图》轴，绢本，设色，纵17.4厘米，横82.7厘米，现藏 ；《桂石兰芝图》轴，绢本，设色，纵11.2厘米，横49厘米，藏故宫博物院；万历四十三年(1615)作《兰竹图册》著录于《 》。",[25,26,27,29,28,30,7,54,55,56,35,57,58],"石","灵芝","兰","山石","明代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63ab0a3d62a43789402ff3fa5ee685e5.jpg","",[40,42],58,{"id":64,"slug":65,"title":66,"dynasty":67,"author":68,"museum":51,"description":69,"tags":70,"thumbUrl":76,"material":60,"size":60,"collection":60,"collections":77,"showCount":78,"zanCount":11,"manualWeight":11,"mainColor":79},224545,"yue-zhong-gui-tu-tu-jiang-pu-224545","月中桂兔图","清","蒋溥","《月中桂兔图》是清乾隆时期蒋溥创作的一幅画。\n本幅自识：“臣蒋溥恭绘。\n”下钤：“臣”、“溥”朱文方印。\n下裱工钤有古物陈列所藏印：“宝蕴楼书画续录”朱文方印。\n按乾隆皇帝御题可知，该作品绘于 二十三年（1758年）中秋。\n上、下诗堂有乾隆皇帝、刘统勋、董邦达、刘纶、介福五家题诗，以及蒋溥自题诗。\n蒋溥自题：“宸襟拈句发清芳，惭愧濡毫数点黄。\n恰遇山庄开寿宴，兔轮初上碧天凉。\n臣蒋溥恭和。\n”下钤：“臣”、“溥”朱文方印。\n乾隆皇帝御题：“秋暖无端迟桂芳，缀枝初折几苞黄。\n玉㕙静守冰轮朗，画出人间满意凉。\n戊寅中秋御题。\n”下钤“乾”朱文方印、“隆”白文方印。\n刘统勋题：“蕊珠颗颗领秋芳，风露连宵色染黄。\n驻景不烦寻玉杵，冰轮影现永清凉。\n臣刘统勋恭和。\n”下钤“歌咏太平”白文长方印。\n董邦达题：“广寒高处落秾芳，颖暎金枝浥露黄。\n正是敷天开寿域，重轮无际一天凉。\n臣董邦达恭和。\n”下钤“邦”白文方印、“达”朱文方印。\n刘纶题：“一株玉宇领巌芳，顾腹祥占抱珥黄。\n天咏题成广寒谱，云璈合与奏新凉。\n臣刘纶恭和。\n”下钤“臣”、“纶”白文方印。\n介福题：“玉兔爰爰守桂芳，金波湛湛着花黄。\n普天恰祝如恒寿，风露先披上苑凉。\n臣介福恭和。\n”下钤“介福”白文方印。\n此图以墨笔绘圆月，月中玉兔以干笔写皮毛，焦墨点睛，形象生动可爱。\n桂树以墨笔绘枝、叶，笔法细腻老道。\n桂花以桔黄色点染，其温暖的色调为冷月寒宫增添了几许暖意。\n全图布局紧凑，色墨运用巧妙，极富情趣。\n画作题诗中“冰轮”、“兔轮”、“广寒”、“重轮”等语，皆为月亮与玉兔的隐喻，以诗歌的形式烘托画面主题，从而巧妙的将诗、书、画三者紧密结合，把月中玉兔、桂树的优美传说演绎的美轮美奂，实为一件精美的风俗画作品。\n此幅上除了蒋溥的画及自题诗外，还有乾隆皇帝的御制诗和刘统勋、董邦达等大臣的应和诗，从中可见乾隆皇帝对汉民族传统习俗的承袭，和他与臣僚之间以诗画共度中秋的雅集场景。",[23,25,26,27,28,71,29,72,7,73,34,74,75],"水墨","兔","月亮","草","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac6f474eb82248126deb2f54e04d38a2.jpg",[],45,"BDBDBD",{"id":81,"slug":82,"title":83,"dynasty":67,"author":84,"museum":51,"description":85,"tags":86,"thumbUrl":89,"material":90,"size":91,"collection":60,"collections":92,"showCount":93,"zanCount":11,"manualWeight":11,"mainColor":45},290165,"mei-ren-zhe-gui-tu-yi-ming-290165","美人折桂图","佚名","画家以流畅的线条与细腻的上色，来处理人物的头部与手，成功描绘出女性的温柔婉约，衣纹皱褶感则以粗细变化较大的线条来处理。与宋人的处理类似，画中的美人呈现出安静祥和的表情，她似乎若有所思，手中桂枝也透露出对于未来生活的期望。尽管宋元明清的女性主题绘画总是存在各种差异，但我们仍然可以从中大致领略古代女性之美。",[25,27,29,28,87,88,7],"人物","美人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F663593ae520b22243012471c0238a12a.jpg","未知","Xcm*Xcm",[],31,{"id":95,"slug":96,"title":97,"dynasty":18,"author":98,"museum":20,"description":99,"tags":100,"thumbUrl":105,"material":106,"size":107,"collection":60,"collections":108,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":79},233913,"gui-zi-xiang-yuan-tu-zhou-xiang-yuan-bian-233913","桂子香园图轴","项元汴","本幅墨笔，上方自题：”园同三五夜，香并一枝芬。项元汴戏为客写桂枝香园图，并题二美交胜，两间造化生物之妙有如此者吾不得而知亦无得而言。请客手眼无隐乎尔。“钦”墨林山人“”檇李“等印。\n项元汴（1524—1590年），明嘉兴（今浙江省嘉兴）人，字子京，号墨林山人，别号香岩居士、鸳鸯湖长、退密斋主人，收藏家、画家。富藏书画等古名物，在明代私家收藏中堪称巨擘。精鉴赏。常见主要印记有“项元汴印”、“子京”、“檇李项氏世家珍玩”、“神品”等。",[25,26,27,71,101,75,102,7,103,104,74],"行书","印章","竹","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d180f3eaa8b34b9f6e6327b9d5e9f1a.jpg","纸本 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清朝是以满族统治者为主的政权机构，满族八旗服饰随朝代的变更冲进关内。旗人的风俗习惯影响着广大的中原地区。从公服开始逐渐推向常服。",[149,150,151,56,7,152,29],"衣帽","布料","刺绣","蝴蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd076748619a92774b776ea648a821a4f.jpg",[],8,{"id":157,"slug":158,"title":159,"dynasty":67,"author":160,"museum":51,"description":161,"tags":162,"thumbUrl":165,"material":90,"size":91,"collection":60,"collections":166,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":79},290580,"song-gui-jiao-ke-tu-zhou-zhang-peng-chong-290580","松桂交柯图轴","张鹏翀","张鹏翀（1688～1745）清代画家。字天扉，一作天飞，号抑斋、南华山人、南华散仙，人谓之漆园散仙。崇明（今属上海市）人，居嘉定（今属上海）。幼年多病，资性滞钝。十七岁时开悟，遍读经史，精通诗文绘画，才思敏捷，命题咏，可应声立就，时人比之为古代东方朔、苏轼。作画亦顷刻能尽数纸。爱佳山水，常裹粮往游。\n雍正五年（1727）进士，官至詹事府詹事。曾以所作《经史法戒诗》《万寿圣德诗》《十慎箴》《春林淡霭图》《日长山静》画扇进献乾隆帝。帝亦曾以御画《松竹图》、御书“双清阁”匾额，以及笔砚、纱缎、绒貂之类赐之。在朝所进诗，及与诸同僚和者，不下数百篇。\n乾隆十年（1745），以省墓请假归乡，帝赐白金百两， 御制五律一章，以宠其行，行至山东临清以病卒。",[25,27,71,163,164,132,7,57,75,102],"皴法","山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5e2f256b6fe68589333b8f770752a00.jpg",[],5,{"id":169,"slug":170,"title":171,"dynasty":67,"author":172,"museum":173,"description":174,"tags":175,"thumbUrl":177,"material":60,"size":60,"collection":60,"collections":178,"showCount":179,"zanCount":11,"manualWeight":11,"mainColor":180},202632,"song-gui-zhu-lan-tu-zhou-li-shan-202632","松桂竹兰图轴","李鱓","上海博物馆","画面中老松虬干盘曲，枝干如铁铸般苍劲，松针攒簇似剑戟；桂叶扶疏，墨色浓淡交错间显层叠之姿；竹影疏斜、兰草纤柔，与嶙峋孤石相映成趣。笔墨纵逸奔放，兼工带写，线条老辣洒脱，皴擦点染中草木山石皆具神采。构图疏密有致，虚实相生，气韵流转自如，于豪放挥洒里藏雅致，尽显文人写意之韵，观之满溢自然野趣与清逸风骨。",[25,71,30,132,56,103,7,33,176,163,29,23],"写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febd1c1cc1d77e4150bd3cca8709a1666.jpg",[],2,"9d8771",{"id":182,"slug":183,"title":184,"dynasty":67,"author":84,"museum":51,"description":185,"tags":186,"thumbUrl":189,"material":90,"size":91,"collection":60,"collections":190,"showCount":191,"zanCount":11,"manualWeight":11,"mainColor":192},270647,"qian-long-kuan-yu-yong-hua-hui-shi-mo-gui-mo-yi-ming-270647","乾隆款御咏花卉诗墨-桂墨","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”。",[187,188,75,7],"墨","楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cc0d8e9e3a05e100e3d63b46ac25fca.jpg",[],1,"37474F",{"id":194,"slug":195,"title":196,"dynasty":67,"author":84,"museum":51,"description":197,"tags":198,"thumbUrl":204,"material":90,"size":91,"collection":60,"collections":205,"showCount":191,"zanCount":11,"manualWeight":11,"mainColor":79},264718,"si-se-duan-di-zhi-jin-shui-mo-lan-gui-wen-tao-yi-ming-264718","四色缎地织金水墨兰桂纹绦","经线提花锦的组织结构和纹样都十分复杂，舞人动物纹锦的纹样横贯全幅，充分反映了当时已有了先进的提花织造技术。精美的刺绣品共有17种纹样，构图大，讲究对称、平衡，色彩配合恰当，给人以端庄典雅、富丽堂皇的美感。纹样内容充满神话色彩，鲜明地反映了楚文化的浪漫主义特色。墓中出土的衣袍为直据，是当时贵族中最流行的一种服式。这批先秦织物的出土，为深入研究我国古代纺织史提供了珍贵的实物资料。",[199,200,56,7,201,71,150,202,203],"典籍","龙纹","织金","纹饰","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd93985791f00325c02de1588336c4e36.jpg",[],{"id":207,"slug":208,"title":196,"dynasty":67,"author":84,"museum":51,"description":197,"tags":209,"thumbUrl":211,"material":90,"size":91,"collection":60,"collections":212,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":79},264719,"si-se-duan-di-zhi-jin-shui-mo-lan-gui-wen-tao-yi-ming-264719",[210,150,56,7,201,71,199],"龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82d2d55bae461dc68b0d945ad4939338.jpg",[],{"id":214,"slug":215,"title":216,"dynasty":67,"author":84,"museum":51,"description":217,"tags":218,"thumbUrl":220,"material":90,"size":91,"collection":60,"collections":221,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":79},264400,"lv-se-chou-xiu-lan-gui-wen-pao-liao-yi-ming-264400","绿色绸绣兰桂纹袍料","绸缎，泛指丝织物。古时多是有钱人家作为衣物，其颜色光滑亮丽，五彩缤纷。《儿女英雄传》第二回：“大凡到工的官儿们送礼，谁不是缂绣、呢羽、绸缎、皮张，还有玉玩、金器、朝珠、洋表的？” 老舍《四世同堂》四九：“他看不起绸缎的衣服，与文雅的态度，可又有点自惭形秽。”",[151,150,149,56,7,219],"花卉纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e77a861bb2d867e99c8a4d9a0af9a54.jpg",[],1777535727421]