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所刻，有学者根据虚谷用印推断作品所在时期，认为此印或为虚谷1876-1887这十年间所用，则此画大约作于这一时期，当时画家多在苏州。\n大致可推测，虚谷此图作于1876-1887这十年中，当时他多活动于苏州一带，即为苏州僧人鉴中作此图，一直流传至今，其尺幅、楮墨及品相皆可圈可点。\n虚谷三十岁以后弃戎出家，广泛往来于上海、扬州、苏州等地鬻画为生，他虽“不茹素，不礼佛”，却与众多方外友人维持着良好的关系。\n他与苏州寺院的关系尤为密切，《寒松阁谈艺琐录》的作者张鸣珂结识虚谷即由狮林寺僧诺瞿邀约所致，尝为瑞莲寺画《瑞莲放参图》，为光福古铜佛寺画《古铜佛寺图》，且一度担任狮林寺的住持，退居后到与狮林寺有法系关系的石壁寺养老，并葬于此。\n至于为鉴中所作除了《花果轴》，尚有《瑞莲放参图》。\n鉴中的题跋，曾出现在顾澐为顾曾寿（字子长，号棱伽山民）所作《惟德堂图》后，同卷后有苏州文人书画家顾澐、潘锺瑞、刘履芬、顾文彬、潘遵祁众多题跋，鉴中题后钤有“释日升”、“鉴中”二印，由是可知“日升”即鉴中法名，以及鉴中与晚清苏州文坛、画坛的交往。\n虚谷这一时期侨居苏州为多，与鉴中和尚结缘绝非偶然，故先后以《瑞莲放参图》、《花果轴》相赠。\n此图所写皆案头清供：画面主体写一长瓶，上有老梅数丛，挺拔如剑，右下角配以三丛偃枝，古奥奇绝。\n传统梅干交叉法皆恪守“女”字形的原则，虚谷画梅是自出机轴，不尽拘此绳墨。\n花瓣利用底色以粉点出，附以红色花萼加以烘托，为梅干的古拙平添几分生趣。\n虚谷自作咏梅诗云：“无端白雪落沙来，古本疏枝上粉苔。\n似雪似花花似雪，梅花又向雪中开。\n”写寒梅之高洁，亦可为此清供之梅传神。\n丛梅左侧陪衬了些许松枝，松针逸笔草草却不乏韵致。\n瓶下右侧则有佛手一枝二果，以破墨画叶，墨彩清润浑厚；又有连根百合二枚；前有红柿一枚，反复渲染，隐隐透出红晕，亦各尽其妙。\n瓶后露出如意半枝，是为改变花瓶左侧垂直线的单调而加，使画面显得更为和谐、丰富。\n（182-1896），安徽新安（今歙县）人。\n清代画家， 。\n俗姓朱，名怀仁，移居江苏广陵（今扬州）。\n初任清军参将，后出家，名虚白字虚谷，号倦鹤、紫阳山民。\n以字竹，室名觉非庵、古柏草堂、三十七峰草堂。\n不茹素，不礼佛，也“从不卓锡僧寺”，往来于上海、苏州、扬州一带，卖画为业，是“海上画派”杰出代表人物。\n他携笔墨、着僧装，“闲中写出三千幅,行乞人间作饭钱”，云游四海，清贫于世却笔墨人间，他行程之广、画作之多，己为当时罕见。\n他承古创新，另辟捷径，广集素材，勤奋垦作，终成一代巨擘。\n早年学界画，后以擅画花果、禽鱼、山水著名。\n风格冷峭新奇，绣雅鲜活，无一笔滞相，匠心独运，别具一格。\n亦能诗，有《虚谷和尚诗录》。\n传世作品有《梅花金鱼图》、《松菊图》、《葫芦图》、《蕙兰灵芝图》、《枇耙图》等。",[48,23,27,28,49,7,50],"高清","菊","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d67027df7898465725f2bb0928bb54d.jpg",[],39,"BDBDBD",{"id":56,"slug":57,"title":58,"dynasty":18,"author":59,"museum":60,"description":61,"tags":62,"thumbUrl":65,"material":66,"size":67,"collection":68,"collections":69,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":38},218982,"hong-guo-lv-bei-tu-yi-ming-218982","红果绿鹎图","佚名","上海博物馆","图中“红果”即是山楂，山楂在宋人生活中很是常见，陆游有《出游》诗写道：“行路迢迢入谷斜，系驴来憩野人家。山童负担卖红果，村女缘篱采碧花。”，写的就是诗人在出游途中，看到有人正挑着担子贩卖山楂。",[24,23,25,26,27,28,63,7,64],"鸟","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d2733aa2f4c00bae25f90540a4fce6f.jpg","绢本,设色","24.1x25.1cm","花鸟画精选",[68],34,{"id":72,"slug":73,"title":74,"dynasty":18,"author":59,"museum":75,"description":76,"tags":77,"thumbUrl":80,"material":81,"size":82,"collection":35,"collections":83,"showCount":84,"zanCount":85,"manualWeight":11,"mainColor":38},223517,"sang-guo-shan-niao-tu-yi-ming-223517","桑果山鸟图","台北故宫博物院","此图有宫廷画院的工丽之风，却多了几分粗犷率真。画面取一斜伸桑枝，在一细劲的枝条上站立一只山鸟，憨态可掬，嘴里还叼着桑葚，表情很有几分稚趣",[48,24,23,25,26,27,78,7,63,28,30,31,79],"桑","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1693f8902501da32c2e9093c661caa4.jpg","绢本设色","纵25.2厘米 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[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。",[43,105,170,171,172,27,173,7,174],"粉彩","雕塑","白地","蟹","盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71e05553c0808b717a7baa22cc9b769f.jpg",[],3,{"id":179,"slug":180,"title":181,"dynasty":43,"author":59,"museum":45,"description":182,"tags":183,"thumbUrl":187,"material":108,"size":109,"collection":110,"collections":188,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":189},258995,"yi-xing-yao-zi-sha-jia-cai-bai-guo-wen-hu-yi-ming-258995","宜兴窑紫砂加彩百果纹壶","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。",[105,184,185,186,7,50],"紫砂","加彩","百果纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F632548045509a317326dff445c79de0a.jpg",[110],"37474F",{"id":191,"slug":192,"title":193,"dynasty":43,"author":59,"museum":45,"description":182,"tags":194,"thumbUrl":198,"material":108,"size":109,"collection":110,"collections":199,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},258991,"yi-xing-yao-zi-sha-bai-guo-shi-ju-yan-di-hu-yi-ming-258991","宜兴窑紫砂百果诗句砚滴壶",[105,184,195,50,196,197,7,27],"日用具","雕刻","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa31e3e5d7f44722f8eba633c415a42e8.jpg",[110],{"id":201,"slug":202,"title":203,"dynasty":43,"author":59,"museum":45,"description":204,"tags":205,"thumbUrl":207,"material":108,"size":109,"collection":35,"collections":208,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},258260,"yong-zheng-kuan-you-li-hong-san-guo-wen-wan-yi-ming-258260","雍正款釉里红三果纹碗","雍正一朝虽然只有13年，但他的制瓷业成就却达到了清代官窑的历史高峰，其品种之多，制作工艺之精良，都是其他朝代无法比拟的。",[105,206,27,7,50],"釉里红","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e5aee24ab77af13aa6501a66fa70dd3.jpg",[],{"id":210,"slug":211,"title":212,"dynasty":117,"author":59,"museum":45,"description":213,"tags":214,"thumbUrl":220,"material":108,"size":109,"collection":35,"collections":221,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":189},257119,"xuan-de-kuan-qing-hua-zhe-zhi-hua-guo-wen-kui-ban-kou-wan-yi-ming-257119","宣德款青花折枝花果纹葵瓣口碗","青花瓷（blue 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