[{"data":1,"prerenderedAt":337},["ShallowReactive",2],{"subject-gui-hua":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},115,"gui-hua","桂花","桂花画高清赏析","精选中国历代桂花题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff59aba3863951387f3393053363d6ba6.jpg",0,25,[14,41,58,80,93,115,131,150,162,175,189,203,214,230,239,246,259,269,279,290,300,308,314,321,328],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":34,"material":35,"size":36,"collection":36,"collections":37,"showCount":38,"zanCount":39,"manualWeight":11,"mainColor":40},214742,"hua-hui-ce-2-yun-shou-ping-214742","花卉册-2","清","恽寿平","私人收藏","恽寿平（1796-1873）是清代著名的画家，他擅长画花鸟，尤其是花卉。他的花卉册是他的代表作之一，包含了他对花卉的描绘和描写。\n\n恽寿平的花卉册以其精细的笔墨和精美的色彩著称，他善于捕捉花卉的细节和美感，并将其再现在画布上。他画的花卉通常都是生动传神，有时也带有一些象征意义。恽寿平还创作了许多花卉图谱，用来介绍各种花卉的特征和用途。\n\n恽寿平的花卉册不仅深受藏家的喜爱，也被认为是清代花卉画的杰出代表作之一。他的作品不仅为后人留下了宝贵的艺术瑰宝，而且也为我们展示了清代花卉画艺术的魅力。",[23,24,25,26,27,28,29,30,31,7,32,33],"高清","名画","国画","书画","花鸟","册","没骨","设色","萱草","花卉","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1be5a0e030dc2534dcd967c594f0154e.jpg","纸本,设色","",[],1468,6,"BDBDBD",{"id":42,"slug":43,"title":44,"dynasty":18,"author":19,"museum":45,"description":46,"tags":47,"thumbUrl":50,"material":51,"size":52,"collection":53,"collections":54,"showCount":56,"zanCount":57,"manualWeight":11,"mainColor":40},220998,"hua-hui-tu-ce-gui-hua-yun-shou-ping-220998","花卉图册·桂花","美国纳尔逊阿特金斯艺术博物馆","《花卉图册》绘有荷花、梨花、水仙、桃花、山矾、罂粟、茶蘼、金萱石榴、牵牛、双凤、桂枝及雁来红等十二种花。画用新没骨法，不用墨线钩勒，而直接着色点染而成。点色的用笔很洒脱、飘逸。十二种花，各具姿色。色彩艳而不俗，色调的表情是清丽和冷艳，在秀雅之中含有一种凛然难犯的韵味。画册中，作者或题名或赋诗，那秀劲古逸、和婉密丽的书体，与这种艳雅的画风相结合，相得益彰，更具魅力。该图册是恽寿平绘画中的精品。\n恽寿平（1633—1690），初名格，字寿平，号南田，武进（江苏常州）人。其诗格超逸，书法遒劲，擅长山水画，尤精没骨花卉画，画笔生动。",[23,24,25,26,28,30,29,27,32,7,48,49],"枝干","叶片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d3d4803a177ac67268b07a8c66a1114.jpg","纸本 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其继承了恽南田一路的“家法”。传世作品目前 仅见有一件《紫薇桂花图轴》（北京故宫博物院 藏），文献著录的作品也仅有一件《岁朝图》（李 玉棻《瓯钵罗室书画过目考·附》）[32]。笔者并未 见过其传世作品，但从李湜《明清闺阁绘画研 究》中可知，“图中花瓣以粉笔带脂点染，气韵 生动，色度变化妙极自然，为其小帧画作中的 佳品”，说明仍然还是恽寿平没骨写生一路 的风格。",[25,67,30,27,88,7],"紫薇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6298096c9a83f2e4e2d26c8c1da3a71f.jpg","纸本，设色",[53],117,{"id":94,"slug":95,"title":96,"dynasty":62,"author":97,"museum":85,"description":98,"tags":99,"thumbUrl":111,"material":36,"size":36,"collection":36,"collections":112,"showCount":113,"zanCount":114,"manualWeight":11,"mainColor":40},233788,"gui-hua-shu-wu-zhou-shen-zhou-233788","桂花书屋轴","沈周","这类将屋舍置于山林中的作品，寓意“尘远六街身世别”;又在书屋旁环栽秋桂、梧桐等，桂树风姿绰绰，书屋内所藏甚丰，堆满书籍的书桌旁侧坐一老者，一童捧物趋亭而至，情志恰如乾隆所题：“幽人结屋桂花阴，叶叶绿琼穗穗金。彼自悠然无世念，小山动我白驹心。”为诗人所津津乐道的隐逸生活，作为一种文化现象，在我国古代社会可谓源远流长。《易经》有云：“不事王侯，高尚其事”，儒家有“天下有道则见，无道则隐”。“邦有道则仕，邦无道则可卷而怀之”的待时之隐，老庄哲学有“道隐无名”思想，可以说，儒道思想分别为我国的仕宦文化、隐逸文化提供了哲学上的依据。在两种文化思维的相互碰撞、交融之下，中国士人每每被整合成“内道外儒”的人格类型，表现在士人的生存方式上就是“隐逸”。",[25,100,30,101,102,67,103,104,7,105,69,106,107,108,109,110],"水墨画","文人画","皴法","山水","树","书屋","流水","石头","庭院","远山","小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4adb9b5e6ec91eec93c0bbe3a7175244.jpg",[],73,1,{"id":116,"slug":117,"title":118,"dynasty":119,"author":120,"museum":121,"description":122,"tags":123,"thumbUrl":126,"material":127,"size":128,"collection":129,"collections":130,"showCount":113,"zanCount":114,"manualWeight":11,"mainColor":40},218838,"yue-ming-jin-su-tu-yi-ming-218838","月明金粟图","宋","佚名","台北故宫博物院","这幅画描绘了山中的一轮明月，一枝金桂（又称金粟）从天而降，香气远扬。其构图在古代和现代的折叠式微型画中是独一无二的，折叠式花枝伴随着远山、云彩和月亮。",[23,24,25,26,124,68,30,125,7,33,27],"扇面","明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ffe1f4cf683153ff158daeb9f1f5bf1.jpg","绢本,设色","21.7x23.8","宋画精选",[129,53],{"id":132,"slug":133,"title":134,"dynasty":18,"author":120,"museum":135,"description":136,"tags":137,"thumbUrl":145,"material":146,"size":76,"collection":36,"collections":147,"showCount":148,"zanCount":79,"manualWeight":11,"mainColor":149},267492,"lv-se-duan-xiu-gui-hua-yu-tu-jin-pi-qiu-hua-wen-ba-yue-hua-shen-yi-yi-ming-267492","绿色缎绣桂花玉兔金皮球花纹八月花神衣","藏地不详","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[138,139,140,141,142,143,7,144],"衣帽","服饰","花神衣","布料","刺绣","兔","皮球花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74a97d0349633aa053d67a02c01703f5.jpg","未知",[],62,"795548",{"id":151,"slug":152,"title":153,"dynasty":18,"author":154,"museum":135,"description":155,"tags":156,"thumbUrl":159,"material":36,"size":36,"collection":53,"collections":160,"showCount":161,"zanCount":11,"manualWeight":11,"mainColor":40},236198,"hua-gui-hua-yu-min-zhong-lin-huang-ting-jian-tie-cheng-shan-qian-wei-cheng-236198","画桂花于敏中临黄庭坚帖成扇","钱维城","钱维城（1720—1772）清朝官吏、画家。初名辛来，字宗磐，一字幼安，号纫庵、茶山，晚号稼轩，江苏武进人。乾隆十年状元，官至刑部侍郎，谥文敏。书法苏轼，初从陈书学画写意折枝花果，后学山水，经董邦达指导，遂成名手，供奉内廷，为画苑领袖。曾随乾隆帝在木兰围场狩猎，帝以神枪殪虎，命维城绘图刻石纪事。著有《茶山集》。",[25,26,124,27,7,157,158,30],"临摹","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf40f10679bf2abd7c354888e76c59f3.jpg",[53],49,{"id":163,"slug":164,"title":165,"dynasty":18,"author":120,"museum":135,"description":166,"tags":167,"thumbUrl":172,"material":146,"size":76,"collection":36,"collections":173,"showCount":174,"zanCount":11,"manualWeight":11,"mainColor":149},264606,"yuan-qing-se-zhi-jin-qian-cai-mu-dan-gui-hua-wen-tao-yi-ming-264606","元青色织金浅彩牡丹桂花纹绦","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。",[141,168,169,7,170,171],"饰品","牡丹","织金","浅彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facc4ef6c2149757a9006de41e97193dc.jpg",[],28,{"id":176,"slug":177,"title":178,"dynasty":18,"author":120,"museum":135,"description":179,"tags":180,"thumbUrl":185,"material":146,"size":76,"collection":36,"collections":186,"showCount":187,"zanCount":11,"manualWeight":11,"mainColor":188},248395,"hei-qi-qian-wen-zhu-gui-hua-wen-chang-fang-pan-yi-ming-248395","黑漆嵌文竹桂花纹长方盘","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[181,182,7,183,184],"漆器","嵌文竹","器","长方","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F832a3ecb83834248b8575a4eeac5b5d7.jpg",[],23,"37474F",{"id":190,"slug":191,"title":192,"dynasty":18,"author":120,"museum":135,"description":193,"tags":194,"thumbUrl":200,"material":146,"size":76,"collection":36,"collections":201,"showCount":202,"zanCount":114,"manualWeight":11,"mainColor":149},267141,"qing-se-duan-kou-man-na-gui-hua-hai-tang-tu-wen-tuo-yuan-he-bao-yi-ming-267141","青色缎口满纳桂花海棠兔纹椭圆荷包","荷包是中国汉族传统服饰中，人们所随身佩带的一种装零星物品的小包，后发展为爱情信物，荷包的图案有繁有简，花卉、鸟、兽、草虫、山水、人物以及吉祥语、诗词文字都有，装饰意味很浓。\n在民间荷包中，占相当比重的是香包，香包里装有香草之类的药品，包面上绣制着“五毒”，即蝎子、蛇、蜈蚣、壁虎和蟾蜍，它原是五月端午的节令物品，为了防止各种毒虫猖獗，侵害人体，人们相互馈赠，挂在衣襟或帐勾上，以避除“五毒”。就形状来看，有虎形的、鸡形的、如意形的、寿桃形的、蝙蝠形的，以取意于福、禄、寿、喜、吉祥、如意等。富有深厚民族心理基础的绣荷包，在民间文化中，显示着旺盛的生命力。",[168,195,141,142,143,7,196,197,198,199],"日用具","海棠","玉石","流苏","荷包","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff234ba4163637935a86d96228ed2dcba.jpg",[],16,{"id":204,"slug":205,"title":206,"dynasty":18,"author":207,"museum":135,"description":208,"tags":209,"thumbUrl":211,"material":36,"size":36,"collection":36,"collections":212,"showCount":213,"zanCount":11,"manualWeight":11,"mainColor":40},234787,"hua-hui-ce-jin-li-ying-234787","花卉册","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。",[25,30,68,28,169,7,210,73],"菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18ad6591c64ce257e53a5d8511e7dbeb.jpg",[],15,{"id":215,"slug":216,"title":217,"dynasty":218,"author":219,"museum":220,"description":221,"tags":222,"thumbUrl":227,"material":36,"size":36,"collection":53,"collections":228,"showCount":213,"zanCount":11,"manualWeight":11,"mainColor":229},202830,"gui-shou-tu-zhou-qi-bai-shi-202830","贵寿图轴","近代","齐白石","上海博物馆","墨线勾勒的篮筐古朴拙趣，内盛数枚寿桃，晕染得饱满多汁，粉白渐变间透着鲜嫩。上方桂枝舒展，叶片以简括笔触点画，细碎黄花缀于枝间，似有暗香浮动。整幅以水墨设色为主，线条肯定洒脱，色彩淡雅却富生机，将“贵”与“寿”的吉祥寓意融于简洁构图中，虚实相生，意趣盎然，尽显写意之妙。",[25,67,223,224,30,27,225,7,226,23],"写意","水墨","寿桃","篮筐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa45a53ac4c07b32c7aa7ec5f6acc2621.jpg",[53],"ccc7b9",{"id":231,"slug":232,"title":206,"dynasty":18,"author":233,"museum":135,"description":234,"tags":235,"thumbUrl":236,"material":146,"size":76,"collection":36,"collections":237,"showCount":238,"zanCount":11,"manualWeight":11,"mainColor":40},235219,"hua-hui-ce-zhang-wei-235219","张伟","清代画家张伟的花卉写生图，是一组工笔细描的花卉图。",[25,26,28,30,68,27,7,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56b790e5f0e87a83fd74fc4393e25d6d.jpg",[],14,{"id":240,"slug":241,"title":192,"dynasty":18,"author":120,"museum":135,"description":193,"tags":242,"thumbUrl":243,"material":146,"size":76,"collection":36,"collections":244,"showCount":245,"zanCount":11,"manualWeight":11,"mainColor":149},267142,"qing-se-duan-kou-man-na-gui-hua-hai-tang-tu-wen-tuo-yuan-he-bao-yi-ming-267142",[168,141,143,7,196,199,142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F676698fbf9d44d22108316cd1d72ab42.jpg",[],12,{"id":247,"slug":248,"title":249,"dynasty":18,"author":120,"museum":135,"description":250,"tags":251,"thumbUrl":256,"material":146,"size":76,"collection":36,"collections":257,"showCount":258,"zanCount":11,"manualWeight":11,"mainColor":188},270522,"hua-fa-lang-pen-mi-la-gui-hua-pen-jing-yi-ming-270522","画珐琅盆蜜蜡桂花盆景","宝蓝地画珐琅盆身，遍饰缠枝彩纹，浓艳富丽，古韵悠然。盆中花枝错落，蜜蜡凝就的桂花层次丰盈，与玉质枝叶相映，深浅花色交织，将盛放之态摹写得鲜活生动。角落点缀瑞兽小饰，为静雅景致添了几分灵动意趣。整座盆景以料器工艺复刻花木生姿之态，写实细腻，将手工造物的匠心融于雅致陈设，尽显内敛华贵的工艺美学意蕴，是仿生摆件中的精巧之作。",[252,253,254,7,255],"琺瑯器","盆景","蜜蜡","工艺品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6943aa75fd1580fd29c14496bc331822.jpg",[],11,{"id":260,"slug":261,"title":206,"dynasty":62,"author":262,"museum":135,"description":263,"tags":264,"thumbUrl":267,"material":146,"size":76,"collection":36,"collections":268,"showCount":57,"zanCount":11,"manualWeight":11,"mainColor":40},237679,"hua-hui-ce-sun-ke-hong-237679","孙克弘","明书画家、藏书家。一作克宏，字允执，号雪居，松江（今属上海市）人。礼部尚书孙承恩子。以荫授应天治中，官至汉阳知府。生性巧慧，声音洪亮，状貌疏野。所居四壁皆画苍松老柏，崩浪流泉，有一种澄泓萧瑟之意萦绕其间。他喜交友，陈继儒谓其“好客之癖，闻于江东，履綦如云，谈笑生风，坐上酒尊，老而不空”。卒年八十（一作七十九）。",[25,26,28,224,158,32,7,265,48,266],"叶子","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f4d37d83c8aaf04938e8a539bd09f79.jpg",[],{"id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