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，设色，纵2.8cm，横25cm。\n本幅无款。\n有残印一角。\n裱边贴签：“吴炳 ”。\n一朵盛开的粉红色荷花占据整个 ，在碧绿的荷叶映衬下抢眼而夺目，布局、设色端庄大气，将荷花“出淤泥而不染，濯清涟而不妖”的君子气质表现得十分完美。\n莲瓣的描绘技法类似后世的“没骨”法，不见勾勒之迹，渲染出花瓣既轻盈又腴润的质感。\n画家的写实功力极为扎实，每片莲瓣的形状、角度、色泽和光感都安排得无懈可击。\n至于瓣上红丝、蕊端腻粉，也一一仔细料理，微妙之处，使人叹为神工！ 旧题吴炳绘，无据。\n存《名笔集胜》册中。\n《虚斋名画录》著录。",[23,24,95,25,26,49,29,27,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F465d8a0e1d27a9d9e1ea0a726ac79344.jpg",[],616,{"id":217,"slug":218,"title":219,"dynasty":134,"author":220,"museum":46,"description":221,"tags":222,"thumbUrl":227,"material":64,"size":65,"collection":34,"collections":228,"showCount":229,"zanCount":230,"manualWeight":39,"mainColor":231},228413,"shui-yue-guan-yin-xiang-yi-ming-228413","水月观音像","佚名","位于法海寺大殿内的壁画 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。梧桐以其肥硕的枝干稳住了这二小段的重心，这是全图的第一个高潮。以下菊花、扁豆、紫薇等只是逸笔草草，随意点染。就章法而言，疏密是相对而存在的，这一小段貌似不经意之笔，在全图的节奏处理上却起着关键的作用。紫藤如蛇的老干泼辣粗放，“一扫槎枒三丈绢”的气势，形成了全图的最高潮。紫藤的花叶更是水墨淋漓，走笔如飞而不乱，意犹跃出纸外。芭蕉是滋润而含蓄的，它与紫藤形成了动与静的强烈对比，貌与质的相依共存。接下来梅枝横斜傲骨铮铮，幽兰、纤竹寥寥数笔，是为尾声。艺术是相通的，我们从这卷《杂花图》中可以领略到诗的起、承、转、合，也像欣赏一部交响曲，从引子到尾声，节奏和韵味正是它们共同的内涵。我们更能通过此图触摸到青藤老人胸中激情的横流。",[23,24,25,112,140,250,142,114,251,7,252,253,254,255,256,257,258],"大写意","石榴","梧桐","菊花","南瓜","扁豆","紫薇","葡萄","竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2ccaec0a74bfab54d306d36724d1bcb.jpg","1053.5X30厘米","山水画精选",[261,263],"水墨画精选",448,{"id":266,"slug":267,"title":268,"dynasty":18,"author":269,"museum":46,"description":270,"tags":271,"thumbUrl":272,"material":64,"size":65,"collection":34,"collections":273,"showCount":274,"zanCount":275,"manualWeight":39,"mainColor":40},290612,"he-hua-zhou-wang-tu-bing-290612","荷花轴","王图炳","王图炳（1668-1743）：清朝江南华亭县（今上海市金山区）张堰镇人，一品大学士王顼龄之子。康熙五十一年（1712年）御赐进士，选庶吉士，授编修，官至礼部侍郎，降官侍读，加詹事衔。清代著名诗人、书画家。",[24,139,49,29,27,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6326436ed40ce4fc7bdd96e5c4b3674d.jpg",[],390,4,{"id":277,"slug":278,"title":279,"dynasty":18,"author":280,"museum":74,"description":281,"tags":282,"thumbUrl":284,"material":285,"size":286,"collection":35,"collections":287,"showCount":288,"zanCount":289,"manualWeight":39,"mainColor":40},236307,"pu-tang-qiu-yan-zhou-yun-bing-236307","蒲塘秋艳轴","恽冰","荷，是南方最常见的水生植物，以历代文人墨客吟之以诗，形之以画。作者以写实的手法，成功地刻画了蒲塘秋日的丽景：碧水之上萍藻点点，绿荷盈盈。\n荷花在荷叶的衬托下，以含苞、初绽、怒放的三种生命形态展示着自然美。整幅运用仿恽南田笔意的没骨法，萍藻以色彩直接点就，显现出灵秀生动的物性。荷花以粉红色点染花尖，旋即以清水迅速晕开，色阶层次丰富，色调深浅过度自然，真实地展现出花瓣清淡雅丽之美以及荷花“出淤泥而不染，濯清涟而不妖”的内在神韵。\n恽冰，字清於，号浩如，别号兰陵女史，亦署南兰女子；卒年不详，武进（今江苏常州）人。清代乾隆、嘉庆、道光年间深得家传的一位女画家，诸生恽钟隆次女，恽南田族玄孙女。善花果，芊绵蕴藉，用粉精纯，作已辄题小诗，名著吴中。乾隆初，江苏巡抚君继善以恽冰画进呈孝圣太后，乾隆帝题诗嘉奖。",[24,25,139,49,29,27,96,7,31,77,283],"水生植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9622bb894e71ccc81a2bebb607fb57db.jpg","纸本，设色","纵126.41cm 横56.4cm",[35,67],368,6,{"id":291,"slug":292,"title":293,"dynasty":154,"author":294,"museum":295,"description":296,"tags":297,"thumbUrl":300,"material":34,"size":34,"collection":34,"collections":301,"showCount":302,"zanCount":303,"manualWeight":39,"mainColor":40},220597,"lian-hua-yu-long-fei-qi-bai-shi-220597","莲花与龙飞","齐白石","Indianapolis Museum of Art at Newfields","枯墨勾勒荷茎与水草，苍劲老辣带着风霜质感，赭石晕染残荷，铺展出秋塘的疏淡萧瑟。朱砂点就的红莲，浓艳醒目，在枯寂里绽出鲜活暖意，稚拙圆润的莲蓬，藏着乡野间的朴拙意趣。翅羽轻颤的小虫寥寥数笔便形神兼具，翩然灵动，和沉郁静穆的残荷形成鲜明动静反差。\n\n整幅画以少胜多，大写意笔墨里藏着对自然的细微体察，将秋塘的清寂生机揉合一处，平淡天真间尽是悠然意韵。",[23,24,140,29,141,139,52,7,77,298,31,299],"蜻蜓","花梗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbede3ed88faf28cd4881cd596424cf78.jpg",[],351,5,{"id":305,"slug":306,"title":307,"dynasty":134,"author":135,"museum":74,"description":308,"tags":309,"thumbUrl":311,"material":82,"size":312,"collection":313,"collections":314,"showCount":315,"zanCount":316,"manualWeight":39,"mainColor":40},222239,"huang-jia-tu-zhou-xu-wei-222239","黄甲图轴","该图绘肥阔的荷叶已开始凋零，一只螃蟹缓缓爬行，留出大片空白表现秋水。构图简洁洗练，布局清新奇巧。\n图绘肥阔的荷叶已开始凋零，一只螃蟹缓缓爬行，留出大片空白表现秋水。构图简洁洗练，布局清新奇巧。\n画上自题诗曰：“兀然有物气豪粗，莫问年来珠有无。养就孤标人不识，时来黄甲独传胪。”诗意幽默。这幅画也有在讽刺进士甲科的意味，是藉着螃蟹粗鲁横行的形象，来嘲讽那些胸无点墨、世人不耻，但却能依靠关系或金钱金榜题名的人。\n图中的水墨加入了适量的胶，以避免水墨渗散，恰是此图的特色所在。图中以墨色画荷叶，画蟹则寥寥数笔，看似草草为之，实则浓、淡、枯、湿、勾、抹、点多种笔法参用，形状虽夸张，却饶有笔情墨趣。徐渭用奔放的笔墨勾画出螃蟹爬行的姿态以及荷叶疏落的秋天气氛。螃蟹的造型虽然简单，但却是许多笔法一起用才画出来的，不管是形状、质感甚至神态都相当生动。",[23,95,24,25,139,140,250,27,7,310,52,142,188],"螃蟹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02ca3a19b3c408805bb700eca1b9e478.jpg","114.6cm x 29.7cm","人物画精选",[313,263],336,3,{"id":318,"slug":319,"title":320,"dynasty":91,"author":220,"museum":46,"description":321,"tags":322,"thumbUrl":328,"material":34,"size":34,"collection":35,"collections":329,"showCount":330,"zanCount":177,"manualWeight":39,"mainColor":104},223631,"lian-chi-shui-qin-tu-zhou-dui-zhou-yi-ming-223631","莲池水禽图轴对轴","此作设色清雅古拙，将夏末荷塘景致凝于绢素。粉荷或粲然盛放，或半含待绽，圆阔荷叶交错叠覆，枯荣相携，细茎缀着淡粉小花，晕开幽柔生机。\n\n两只白鹭一动一静，振翅者俯身掠空，尖喙直指水面，将俯冲的凌厉之势藏于翩然羽翼间；引颈者独立浅泽，昂首似作长鸣，意态娴静悠然。\n\n画笔工致写实，花叶勾勒细腻，禽鸟晕染层次丰盈，古雅的矿物色历经岁时依旧温润。静塘藏动意，野趣暗生，把江南水泽的澹澹诗意晕开在古绢之上，尽显清寂悠然的雅致意趣。",[23,95,24,25,139,29,49,323,7,31,324,325,326,226,327],"宋代","莲","水禽","鹭","池塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faab72c6cd475fe4f0cd76844911ed7c4.jpg",[35],334,{"id":332,"slug":333,"title":334,"dynasty":18,"author":220,"museum":46,"description":335,"tags":336,"thumbUrl":345,"material":34,"size":34,"collection":34,"collections":346,"showCount":347,"zanCount":230,"manualWeight":39,"mainColor":104},234383,"yin-zhen-shi-er-yue-jing-xing-le-tu-dan-pian-yi-ming-234383","胤禛十二月景行乐图单片","满池荷田田铺展，夏意随水汽漫过错落亭台。凭栏雅士闲赏菡萏，凌波画舫载着清趣缓行，庭院间仆从往来忙活，处处漾着松弛鲜活的意趣。\n设色柔润明丽，界画工细严整，人物情态鲜活入微，将消夏雅集的日常铺陈开来。笔底藏着雅致心思，把盛夏水乡的闲逸日常勾勒得细腻生动，尽显升平安逸的烟火意趣。",[24,337,29,49,224,338,7,339,340,341,342,343,344],"界画","楼阁","流水","画舫","庭院","消夏","闲逸","雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F508d9ece16a44c74182184ecba879fff.jpg",[],311,{"id":349,"slug":350,"title":351,"dynasty":18,"author":352,"museum":353,"description":354,"tags":355,"thumbUrl":357,"material":358,"size":359,"collection":35,"collections":360,"showCount":361,"zanCount":289,"manualWeight":39,"mainColor":104},223166,"he-tang-yuan-yang-tu-shen-quan-223166","荷塘鸳鸯图","沈铨","安徽省博物馆","夏天，荷花风光，荷叶盛开，老嫩枯萎，随风飘扬，荷花枝叶高高突出。\n荷花或盛开，或抱以待放。 淡黄色的太阳花瓣，粉红色的花瓣，娇嫩多彩，倒映着水花和芬芳的花瓣。\n水中的鸳鸯成双成对，在花间的叶子底下嬉戏玩耍。 发色抢眼，华丽，勾勒出画面。\n喜鹊在空中栖息飞翔，盘旋三圈，与莲花杆上的三人和声合唱。",[23,24,25,95,139,49,29,27,7,31,356,226],"鸳鸯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73f8825b07bf8e459260b47a52535640.jpg","绢本，立轴，设色","187x105.2",[35,67],304,{"id":363,"slug":364,"title":365,"dynasty":366,"author":367,"museum":136,"description":368,"tags":369,"thumbUrl":376,"material":98,"size":377,"collection":313,"collections":378,"showCount":379,"zanCount":275,"manualWeight":39,"mainColor":104},219691,"he-ting-yi-diao-shi-nv-tu-zhou-wen-ju-219691","荷亭弈钓仕女图","五代十国","周文矩","画亭榭临池，前後碧柳四垂，二女亭中对奕。亭外池荷盛开，翠叶田田。仕女或倚栏垂钓或持扇观荷，一派夏日悠闲景象。通幅屋界、衣饰刻画精细，粉花绿叶著色清丽，本幅旧传为南唐周文矩之作，唯笔墨、器用皆显露出明清习气。",[23,24,95,25,139,49,29,224,370,371,7,338,372,373,374,375],"美人","亭","柳树","台阶","栏杆","弈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe978a3e1bcbd02719a386cfad2d3d42b.jpg","195.1x98厘米",[313],287,{"id":381,"slug":382,"title":383,"dynasty":134,"author":384,"museum":74,"description":385,"tags":386,"thumbUrl":389,"material":34,"size":34,"collection":35,"collections":390,"showCount":391,"zanCount":230,"manualWeight":39,"mainColor":104},239086,"he-hua-yuan-yang-zhou-zhou-zhi-mian-239086","荷花鸳鸯轴","周之冕","此图画面下部绘有一对鸳鸯，活跃在荷塘水草之中，一只雄性的徴莺，正潜水觅食，双翅合拢，羽尾上翘，伸颈张嘴，正在捕捉食物。另一只雌性站立在荷塘岸上，扭弯脖颈，双目炯炯有神，正在注视河水中正在捕食的雄性。画面的背景主要集中右上方，右侧湖石从旁伸展，湖石造型奇特，玲珑别透，湖石上面有一棵廾满花朵的花树，枝干弯曲，伸向画面左中侧。湖石旁有数株荷叶，荷茎挺拔，荷花盛开，荷叶有的平展，有的悬垂，荷叶整、残相间，另间有其水草。\n此图写湖石、荷花、鸳鹫，形象通真，生动传神。画面清秀，笔墨自然，设色艳丽。此画是周氏用勾花点叶画法画的一幅典型作品，作者把草书的笔法融汇到画法中去，运笔疾速，枝叶的穿插、花朵的安排都恰到好处。作品用笔简洁、概括，例如河岸、湖石的画法，用粗笔勾勒，只有很少的儿笔魃染，寥寥数笔却颇具形态，水面大部分空白，只以淡淡的几条水纹表现水的存在，却有动感，杂草看去似不经心之笔却错落有致。鸳鸯的造型是在写实的基础上略有变化。两只鸳鹫神态各异，但都生动自然，日似点漆，颇具精神。鸳鹫大部分以淡墨浅设色写出，颈部、背部的毛用纤细的笔法画出，根根可见，表现出画家娴熟的工笔技法。头、尾、足又巧妙地利用了生纸的性能，水墨自然晕开，甚为生动，翅膀用笔虽较硬，但由于水墨涸晕的效果，把羽毛丰满的鸳鸯形象表现得淋漓尽致。兼工.带写，别具一格。鸳整体设色浓淡得宜立体感很强。荷花采用匀花点叶法，花以线条勾出，叶子则直接落笔成形，然后以墨勾叶筋，荷花设色淡雅，清新自然。这一切都显示了画家的笔墨造形功力。",[24,95,139,27,29,49,7,356,387,31,388,113],"鸟","树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F848b8317f95838a26d9b5f0806530d75.jpg",[35,67],272,{"id":393,"slug":394,"title":395,"dynasty":134,"author":396,"museum":397,"description":398,"tags":399,"thumbUrl":401,"material":402,"size":403,"collection":35,"collections":404,"showCount":405,"zanCount":230,"manualWeight":39,"mainColor":40},222118,"ping-he-tu-shen-zhou-222118","瓶荷图","沈周","天津博物馆","此画是沈周作品中比较少见的工笔花鸟画，画上绘一铜壶，内植荷花荷叶各三株，交错而生。荷叶向背以深浅不同绿色区分，多取其背，使画面变浓艳为淡雅，凸现清高风格。作品形象写实，用笔简括，色泽温润，格调质朴。插花所用的铜壶以墨笔勾轮廓，没骨法渲染明暗，立体感很强。",[23,24,25,139,29,7,31,400,49,52],"器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F551d511ecb28a9a711639a1773ee49c3.jpg","纸本设色","60x143cm",[35,67],267,{"id":407,"slug":408,"title":409,"dynasty":134,"author":135,"museum":74,"description":410,"tags":411,"thumbUrl":413,"material":414,"size":415,"collection":35,"collections":416,"showCount":417,"zanCount":39,"manualWeight":39,"mainColor":40},233464,"ren-wu-hua-hui-ce-xu-wei-233464","人物花卉册","该册十八页，其中画十五页，分别作写意山水人物、写生花卉，内容有婴戏、对弈、牡丹、兰花、稻穗螃蟹等等。笔墨简括豪放，随意自然。选其二页，可窥真趣。",[24,25,95,26,140,141,7,31,412],"荷梗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F351e01471d4a02f5b5c49d72a35b166f.jpg","纸本水墨","纵26.9厘米 横38.3厘米",[35,263],260,{"id":419,"slug":420,"title":421,"dynasty":18,"author":422,"museum":74,"description":423,"tags":424,"thumbUrl":426,"material":33,"size":427,"collection":35,"collections":428,"showCount":429,"zanCount":316,"manualWeight":39,"mainColor":40},220380,"hong-lian-lv-zao-tu-tang-guang-220380","红莲绿藻图","唐炗","此图是唐炗（音光）与恽寿平联手为祝王翚40岁诞辰所作。唐炗绘荷花，恽寿平画荇藻。荷花与荇藻皆采用了没骨法，透露出轻盈飘逸与湿润的感觉。微风中，仿佛莲叶与荷花的清香淡淡而来。水塘里荇藻则用一笔点画。状物形神兼备，风格清新淡雅。",[23,24,25,139,49,29,27,7,31,425],"绿藻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbce64fa92c044787704676762c01daae.jpg","纵135.7厘米，横59厘米",[35,67],257,{"id":431,"slug":432,"title":433,"dynasty":18,"author":434,"museum":435,"description":436,"tags":437,"thumbUrl":438,"material":439,"size":440,"collection":67,"collections":441,"showCount":442,"zanCount":230,"manualWeight":39,"mainColor":104},223253,"he-hua-tu-zhou-pu-hua-223253","荷花图轴","蒲华","上海博物馆","画荷叶枝，叶面宽阔，或像伞一样张开，或水面，微卷而翠绿； 花有三枝，两枝盛开，花瓣层层叠叠，另一枝含待放置的枝条，只露出尖尖的莲花。 朴华喜欢以水墨作画，与八大山人相似。",[23,24,25,139,140,141,27,7,31,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8096febc3e81d3c848b1646b4296b977.jpg","纸本，水墨","146X80cm",[67],256,{"id":444,"slug":445,"title":44,"dynasty":18,"author":446,"museum":74,"description":447,"tags":448,"thumbUrl":450,"material":402,"size":451,"collection":34,"collections":452,"showCount":453,"zanCount":230,"manualWeight":39,"mainColor":40},222643,"he-hua-tu-gao-feng-han-222643","高凤翰","图绘荷塘秋色，荷花于秋风中若俯若仰，似显似藏。荷叶或以浓墨泼染，以示勃勃生机，或以赭色晕染，以示萧索凋败。全图在墨彩交融中表现了满池风动、“接天莲叶无穷碧”的意境。作者以洒脱不羁的笔墨抒发了豪放的情怀。",[23,24,25,139,140,141,7,31,412,449],"水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe153b110743b11a6b88ea2620ed2d20a.jpg","纵172厘米，横62厘米",[],250,{"id":455,"slug":456,"title":44,"dynasty":366,"author":457,"museum":46,"description":458,"tags":459,"thumbUrl":460,"material":64,"size":65,"collection":34,"collections":461,"showCount":462,"zanCount":39,"manualWeight":39,"mainColor":104},289001,"he-hua-tu-huang-quan-289001","黄荃","黄筌（约903年—965年），字要叔，成都（今四川成都）人。曾随唐末入蜀的著名画家刁光胤学画，又吸收山水画家李昇，人物龙水画家孙位之长，结果“全该六法，远过三师”他擅长花竹翎毛，也能画佛道，人物，山水，是一位技艺全面的画家。\n早以工画得名，擅花鸟，师刁光胤、膝昌苑，兼工人物、山水、墨竹。山水松石学李升，人物龙水学孙位，鹤师薛稷，撷诸家之萃，脱去格律而自成一派。所画禽鸟造型正确，骨肉兼备，形象丰满，赋色浓丽，勾勒精细，几乎不见笔迹，似轻色染成，谓之“写生”。与江南徐熙并称“黄徐”，形成五代、宋初花鸟画两大主要流派。",[95,24,25,49,29,27,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b2a7d3c3f2290ee5f25db1f0672a6ce.jpg",[],240,{"id":464,"slug":465,"title":466,"dynasty":18,"author":467,"museum":46,"description":468,"tags":469,"thumbUrl":470,"material":402,"size":471,"collection":35,"collections":472,"showCount":473,"zanCount":316,"manualWeight":39,"mainColor":40},224221,"zhao-ri-hong-he-wu-chang-shuo-224221","朝日红荷","吴昌硕","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。”吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。\n清道光二十四年（1844年）8月1日，生于浙江省孝丰县鄣吴村（今湖州市安吉县）一个读书人家。幼时随父读书，后就学于邻村私塾。10余岁时喜刻印章，其父加以指点，初入门径。\n咸丰十年（1860年）太平军与清军战于浙西，全家避乱于荒山野谷中，弟妹先后死于饥馑。后又与家人失散，替人做短工、打杂度日，先后在湖北、安徽等地流亡数年。\n同治四年（1865年），中秀才。是年，海上先辈名家任薰与周闲合作，为吴昌硕绘画像。\n同治八年（1869年），赴杭州，就学于诂经精舍，从名儒俞樾习小学及辞章。编成《朴巢印存》。\n同治十一年（1872年），赴上海，得以认识高邕之。\n光绪六年（1880年），寓吴云（平斋）两礨轩，以《篆云楼印存》请教，吴云为之删削，更名为《削觚庐印存》。识吴秋农、金心兰、顾茶村、胡三桥、方子昕等。与杨岘（见山）结为朋友。\n光绪八年（1882年），居苏州。友人荐作小吏以维持生计。与虞山沈石友结为朋友。\n光绪九年（1883年），在沪识任伯年。任伯年为作《芜菁亭长小像》。\n光绪十三年（1887年），至沪，任伯年为作《棕荫纳凉图》。\n光绪十五年（1889年），在苏州。时伯年来访，为之作《酸寒尉像》，自题诗。施旭臣、谭复堂为《缶庐诗》作序。\n光绪十六年（1890年），居上海。识吴大澄。\n光绪十八年（1892年），任伯年又为作《蕉荫纳凉图》。\n光绪十九年（1893年），在上海编选壬辰年以前所作诗三卷刊行，题名《缶庐诗》。\n光绪二十（1894年），在北京以诗及印谱赠翁同龢。中日战争爆发，参佐吴大澄戎幕，北上抗日，兵败继续为吴大澄戎幕。\n光绪二十一年（1895年），任伯年为作《棕荫忆旧图》、《山海关从军图》。十一月，任伯年病殁沪上，作诗哭之并撰联。\n光绪二十五年（1899年）十一月，得丁葆元保举，任安东县令，一月即辞去。\n致力书画\n光绪二十六年（1900年），日本河井仙郎投之于门下。\n光绪二十九年（1903年），自订润格。编选壬寅以前所作诗为《缶庐诗》第四卷，连同前刊三卷，又《别存》一卷合为一册。\n光绪三十年（1904年），移居桂和坊19号，名其斋曰“癖斯堂”。赵子云（赵云壑）投门下。\n光绪三十五年（1909年），在沪加入上海豫园书画善会。\n民国元年（1912年），至杭州与西泠诸友宴集。始以字行。\n民国二年（1913年），西泠印社成立，任社长。秋，梅兰芳来会。与王一亭结为至交。王一亭在上海商界、金融界推介吴昌硕的书画金石艺术，使其名声大振。\n民国三年（1914年），王一亭为吴昌硕在六三园举办生平第一次个展，使吴派艺术开始为日本艺界所了解和推崇。上海书画协会成立，任会长。\n民国四年（1915年），上海“题襟馆书画会”推先生为名誉会长。\n民国六年（1917年），吴昌硕继配施氏夫人在上海去世。\n民国九年（1920年），日本长崎首次展出其书画，东京文求堂继刊《吴昌硕画谱》，长崎双树园刊行《吴昌硕画帖》。诸乐三列为门弟子。\n民国十年（1921年），赴杭西泠印社宴集。《汉三老碑》被日商购去，与西泠同仁奔走呼吁，作画义卖，终募款八千大洋将碑赎回。日本朝仓文夫为范铜像。\n民国十二年（1923年），潘天寿由诸闻韵引见来谒，撰联以赠。门弟子陈师曾去世。\n民国十四年（1925年），沙孟海由王贤引列为门弟子。为已逝师友周闲遗作《花卉长卷》作引首并题。\n民国十六年（1927年）十一月二十九日，逝于上海寓所。\n民国二十二年（1933年）十一月，迁葬于浙江余杭县塘栖附近超山报慈寺西侧山麓宋梅亭畔。\n\n篆刻:\n少年时他因受其父熏陶，即喜作书，印刻。楷书始学颜鲁公，继学钟元常；隶书学汉石刻；篆学石鼓文，用笔之法初受邓石如，赵之谦等人影响，以后在临写《石鼓》中融汇变通。行书得黄庭坚、王铎笔势之欹侧，黄道周之章法，个中又受北碑书风及篆籀用笔之影响，大起大落，遒润峻险。\n吴昌硕篆刻从“浙派”入手，后专攻汉印，也受邓石如、吴让之、赵之谦等人影响，善于留白，或对角欹斜，气象峥嵘，构图块面体积感极强。刀融于笔，篆刻雄而媚、拙而朴、丑而美、古而今、变而正。上取鼎彝，下挹秦汉，以“出锋钝角”的刻刀，将钱松、吴攘之切、冲两种刀法相结合治印。\n吴昌硕在继承前人冲刀法和切刀法优秀成果的基础上，融诸家之长，在大量的篆刻创作实践中，不断探索，将冲刀和切刀两种刀法融合在一起，形成了自己的冲切结合的刀法。这种刀法灵活多变，或冲中带切，或切中带冲，甚至切中带削……这种多变的刀法，把冲刀的猛利、挺劲、爽快与切刀的含蓄、浑朴融为一体，将书意和刀意表现得淋漓尽致，使他的篆刻刀法雄浑朴茂中寓秀逸的个性化特点凸现了出来。他与厉良玉、赵之谦并称“新浙派”的三位代表人物。\n残缺刀法是吴昌硕篆刻创作中的一种常用手法。我们知道，秦汉古印大多因年深日久，水土的浸蚀，自然的风化，印面及文字线条失去了原先的平整和光洁，变得残缺不全。恰恰是这些残缺给我们以古朴、含蓄、浑厚、苍拙等特殊的审美效果，这是自然的造化使然。吴昌硕善于巧夺天工，在传统的冲、切刀法的基础上，辅之以敲、击、凿、磨或借用砂石、鞋底、钉头等，极大地丰富了篆刻艺术的表现手法，并创造性地将篆刻艺术中刀石效果产生的金石味，上升到残缺美的审美新境界。\n主要篆刻作品：《寿山老坑巧色雕狮钮》《作了天下事》《读遍千古书》《好学为福》《黑青田》《一月安东令》《湖州安吉县》《泰山残石楼》《园丁生于梅洞长于竹洞》《暴书》《千寻竹斋》《千寻竹斋》3刻《吴俊卿信印日利长寿》《安吉吴俊章》《雷浚》《鲜鲜霜中菊》《归仁里民》。\n\n绘画:\n绘画的题材以花卉为主，亦偶作山水。前期得到任颐指点，后又参用赵之谦画法，并博采徐渭、八大、石涛和扬州八怪诸家之长，兼用篆、隶、狂草笔意入画，色酣墨饱，雄健古拙，亦创新貌。其作品重整体，尚气势，认为“奔放处不离法度，精微处照顾气魄”，富有金石气。讲求用笔、施墨、敷彩、题款、钤印等的疏密轻重，配合得宜。 吴昌硕自言：“我平生得力之处在于能以作书之法作画。”\n他以篆笔写梅兰，狂草作葡萄。所作花卉木石，笔力老辣，气势雄强，布局新颖，构图也近书印的章法布白，喜取“之”字和“女”字格局，或作对角斜势。用色上似赵之谦，喜用浓丽对比的颜色，尤善用西洋红，色泽浓艳。\n吴昌硕因以“草篆书”入画，状物不求写实，形成了影响近现代中国画坛的直抒胸襟，酣畅淋漓的“大写意”笔墨形式。\n他酷爱梅花，以写大篆和草书笔法为之，墨梅、红梅兼有，画红梅水分及色彩调和恰到好处，红紫相间，笔墨酣畅。又喜作兰花，喜以或浓或淡的墨色和用篆书笔法画成，刚劲有力。画竹竿以淡墨轻抹，叶以浓墨点出，疏密相间，富有变化，或伴以松、梅、石等，成为“双清”或“三友”。菊花也是他经常入画的题材，伴以岩石，或插以高而瘦的古瓶，与菊花情状相映成趣。菊花多作黄色，亦或作墨菊和红菊。墨菊以焦墨画出，菊叶以大笔泼洒，浓淡相间。\n晚年较多画牡丹，以鲜艳的胭脂红设色，含有较多水分，再以茂密的枝叶相衬，生气蓬勃。荷花、水仙、松柏也是经常入画的题材。\n菜蔬果品如竹笋、青菜、葫芦、南瓜、桃子、枇杷、石榴等也一一入画，极富生活气息。推崇周闲果蔬风格，作品色墨并用，浑厚苍劲，对于近世花鸟画影响深远。\n主要绘画作品：《天竹花卉》《紫藤图》《墨荷图》《五月枇杷图》《杏花图》《花卉十二屏风》《梅花》《花卉四屏》《牡丹》《兰石图》《松石图》《花卉》2幅《紫藤图》《杂画册（之—、二）》《依样》《天香露图》《杞菊延年》《泥盆菊草图》《牡丹图》《牡丹水仙图》《大富贵》《佛像图》《富贵神仙图》《红梅图》2幅《蔷薇芦桔图》《秋艳图》《三千年结实》《人物》《三千年结实之桃》《神仙福寿》《石梅》《石竹图》《松梅图》《岁寒交图》《桃实图》《瓜果》《灯下观书》《姑苏丝画图》等。\n①金石气息：吴昌硕绘画艺术的第一大特色是有金石气息。所谓金石气息，指的就是钟鼎上所铸的金文与刻在石碑上的文字所具有的味道。人们常说谁谁的画作有金石气息，其实这种评论标准都是从吴昌硕的绘画风格出现以后才有的。比如，人们在谈到徐青藤、八大山人时，就从来没有听说过评价他们的画作有金石气息。\n②笔力雄浑：吴昌硕绘画艺术的第二大特色是笔力雄浑。所谓笔力雄浑，指的就是其画作中的笔触朴拙、苍茫、老辣，极具浑圆、雄强的力量感。人们常说吴昌硕绘画的气息很厚、很重，按照书画圈儿里人的说法就是“笔头子”很大。所谓“笔头子”很大，并不是说他用的毛笔很大，而指他笔下的气息非常浑厚，一笔下去，浑金璞玉，力透纸背，又意蕴丰富、气象万千。\n③设色浓丽：吴昌硕绘画艺术的第三大特色是设色浓丽。过去人们总是说中国画不能搞那么多颜色，用太多颜色容易俗气。不过，张俊东却指出，吴昌硕绘画的用墨就特别浓，设色也特别大胆，特别鲜艳和浓丽。比如，吴昌硕画过很多牡丹，很多都是大红大紫的，但是却不会让人觉得俗气，而且非常有文人的那种风骨。所以张俊东认为，中国画设色的关键不在多少，而在谁来用以及怎么去用。\n④富于变化:吴昌硕绘画艺术的第四大特色是笔法和墨法富于变化。这里边又体现在几个方面。张俊东举例介绍说，比如吴昌硕在画菊花时，可以将一朵菊花无论是正面的，侧面的，静态的，动态的，都能画得非常丰富。\n\n书法:\n吴昌硕的楷书，始学颜鲁公，隶习汉代石刻，篆学石鼓文。行书学黄庭坚、王铎。\n吴昌硕书法作品，以篆书、行草为主，晚年所书隶书，结体变长，取纵势，用笔雄浑、饱满，具有篆书痕迹，将篆、隶溶为一体，形成独特面貌。\n吴昌硕的隶书遍临《汉祀三公山碑》《张迁碑》《嵩山石刻》《石门颂》等汉碑。中年以后，博览众多金石原件及拓本，选择石鼓文为主要临摹对象。数十年间，反复钻研，故所作石鼓文凝练遒劲，风格独特。60岁后所书尤精，圆熟精悍。喜将石鼓文字集语书写对联。晚年以篆隶笔法作草书，笔势奔腾，苍劲雄浑，不拘成法。\n\n诗文:\n吴昌硕善作诗文，苦吟数十年，未尝间断。其诗文，奇崛古朴，用典较多，不甚通俗。但有些绝句纯用白描手法，活泼自然，接近口语，具有明丽俊逸的特点，风格上与民歌很相近。有些绝句则活泼自然，接近口语，时含有讽刺意味，抒发生活实感。所作题画诗寄托深远，颇有浪漫主义气息；评论前人书画，尤多独到见地。早年所作五古，有一部分含有讽刺意味，揭露了当时黑暗社会某些不平现象。他的散文作品写得不多，大都是序跋、考证和题画小品之类，写的都很朴质淳厚，平易近人。题画小品中尤多精心之作。发抒生活实感，鞭挞丑恶现象，颇能以少胜多；读时依稀与作者一灯相对，娓娓而谈，意味非常深长。",[23,24,25,139,140,29,27,7,31,141,142,188,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa674a2b082ee8c9527d6f7c106c9b861.jpg","93x46",[35,67],231,{"id":475,"slug":476,"title":477,"dynasty":154,"author":478,"museum":20,"description":479,"tags":480,"thumbUrl":483,"material":33,"size":34,"collection":35,"collections":484,"showCount":485,"zanCount":11,"manualWeight":39,"mainColor":40},216600,"mo-he-si-lian-ping-3-zhang-da-qian-216600","墨荷四联屏-3","张大千","泼墨淋漓处，荷叶如层云翻涌，浓淡干湿交织出万千层次，苍劲中透着灵动。几朵白莲亭亭玉立，瓣尖以淡墨轻勾，与墨叶的雄浑形成柔刚相映之趣。茎秆以劲挺线条穿引画面，似有清风暗度，摇曳生姿。留白如薄雾轻笼，晕染出荷塘的清幽野逸，笔意纵逸却不失雅致，疏朗中藏生机。墨色的晕化与线条的利落交织，将荷塘的静谧与鲜活凝于尺幅，仿佛能嗅到花叶间浮动的淡香，尽显墨荷的神韵与风骨。",[24,25,140,141,481,7,31,482,27],"屏条","墨色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ca7db73862a36d7500f1fd596d38685.jpg",[35],229,{"id":487,"slug":488,"title":268,"dynasty":134,"author":135,"museum":136,"description":489,"tags":490,"thumbUrl":491,"material":492,"size":493,"collection":34,"collections":494,"showCount":495,"zanCount":11,"manualWeight":39,"mainColor":40},222232,"he-hua-zhou-xu-wei-222232","徐渭（1520－1593），山阴人（今浙江绍兴），字文长，号天池，又号青藤道人。性情好奇，曾签名曰田水月。工诗善古文辞。书法写得好，行草尤为人所推崇。中年学画花卉。用笔潇洒，天才横溢。人物极其生动。山水不拘规矩。自己认为书第一，诗第二，文章第三，画第四，学者们都表赞同。",[23,24,25,139,140,27,7,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F789538c8fba27b3e8ce5134bcd7210d3.jpg","纸本墨笔","该幅 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67公分",[],223,{"id":497,"slug":498,"title":499,"dynasty":134,"author":500,"museum":136,"description":501,"tags":502,"thumbUrl":509,"material":98,"size":34,"collection":313,"collections":510,"showCount":511,"zanCount":230,"manualWeight":39,"mainColor":104},219367,"yi-zhu-tu-chou-ying-219367","移竹图","仇英","竹影婆娑间，数人合力抬竹、培土，动作连贯如活；池畔亭榭半掩，莲叶浮波，士人或俯身打理，或凭栏远眺，笔墨细腻处见生活真趣。设色温润古雅，青绿点缀山石，赭黄晕染土地，墨色浓淡层叠出林木深幽。移竹之雅事，既显文人爱竹之癖，亦藏生活劳作之态，以工笔之精融自然与人文于一卷，动静相宜。画面层次分明，上段林泉移竹见生机，下段亭池闲居显雅致，细节中藏匠心，尽显明代文人生活的诗意与烟火气。",[24,49,29,503,337,224,504,505,506,7,507,338,508,341,339],"青绿","竹子","树木","荷塘","山石","廊榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7039905c000f406bb6ce231d79361d8a.jpg",[313,67,261],222,{"id":513,"slug":514,"title":515,"dynasty":134,"author":500,"museum":516,"description":517,"tags":518,"thumbUrl":521,"material":98,"size":522,"collection":34,"collections":523,"showCount":524,"zanCount":39,"manualWeight":39,"mainColor":104},216361,"xi-xiang-ji-tu-ye-3-chou-ying-216361","西厢记图页-3","美国弗利尔美术馆","清人绘，款仇英",[24,49,29,337,519,224,370,520,338,505,7,327,374,341],"册页","男子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8160bed9793b09c0f8860270b639bc52.jpg","18.5*38",[],218,{"id":526,"slug":527,"title":528,"dynasty":18,"author":529,"museum":46,"description":530,"tags":531,"thumbUrl":532,"material":34,"size":34,"collection":263,"collections":533,"showCount":534,"zanCount":39,"manualWeight":39,"mainColor":40},237886,"mo-he-zhou-zhu-da-237886","墨荷轴","朱耷","朱耷（1626年—约1705年），原名朱统𨨗，字刃庵，号八大山人、雪个、个山、人屋、道朗等，出家时释名传綮，汉族，江西南昌人。明末清初画家，中国画一代宗师。 明遗民。\n朱耷是明太祖朱元璋第十七子朱权的九世孙，明亡后削发为僧，后改信道教，住南昌青云谱道院。擅书画，早年书法取法黄庭坚 。花鸟以水墨写意为主，形象夸张奇特，笔墨凝炼沉毅，风格雄奇隽永；山水师法董其昌，笔致简洁，有静穆之趣，得疏旷之韵。擅书法，能诗文，用墨极少。\n八大山人由于他明朝宗室的特殊身世，和所处的时代背景，使他的画作不能像其它画家那样直抒胸臆，而是通过他那晦涩难解的题画诗和那种怪怪奇奇的变形画来表现。例如他所画的鱼和鸟，寥寥数笔，或拉长身子，或紧缩一团，倾是而非。特别是那对眼睛，有时是个椭圆形，都不是我们生活中所看的鱼、鸟的眼睛，生活中鱼、鸟的眼睛都是圆圆的，眼珠子在中央也不会转动。八大山人的鱼、鸟的眼珠子都能转动，有时还会翻白眼瞪人哩。他画的山石也不像平常画家画那个样子，浑浑圆圆，上大下小，头重脚轻，他想搁在哪里就在哪里，也不管它是不是稳当，立不立得住。他画的树，老干枯枝，仅仅几个杈椰，几片树叶，在森林中几万棵树也挑不出这样一颗树来。他画的风景、山、光秃秃的树，东倒西歪，荒荒凉凉，果真有这么个地方，我想谁也不肯到这里来安家落户。\n还有，他画上的题诗、签名和印章，也是怪怪的。例如他自号“八大山人”，解释的人很多，至今学者们还有不同争论。他有一方印章，印文刻作 ，有人说它是由“八大山人”四字组成，有的人则持慎重态度，称之为“屐形印”，因为它的形状像只木屐。至于他画上的题诗，许多句子更是令人难解。\n然而，八大山人明确地告诉我们：“横流乱世杈椰树，留得文林细揣摩”。又说：“想见时人解图画”。他是很希望人们能够理解他的画中之意的。因此许多学者经细心的研究，从他的画意和字里字间，探听出许多真消息。例如他有一个画押写作 ，很长时间人们一直称它为龟形画押，因为其形状特别像一只乌龟。后来才看出，原来是由“三月十九日”几个字变形组成，这恰好是明代最末一个皇帝崇祯自杀的日子，标志着明朝的灭亡。那么这个画押，也就表示对 亡国的纪念。\n康熙二十一年他曾经画了一幅《古梅图》，树的主干已空心，虬根露出，光秃的几枝杈椰，寥寥的点缀几个花朵，像是饱经风霜雷电劫后余生的样子。其上题了三首诗，第一首写道：“分付梅花吴道人，幽幽翟翟莫相亲。南山之南北山北，老得焚鱼扫虏尘。”“梅花吴道人”是指元代画家吴镇，自号“梅花道人”。方框内的字，显然是被当时或稍后的收藏者有意剜去，以避免文字狱灾祸。不难猜测，这个字不是“胡”，即是“虏”。清代统始者以满族入主中原，最忌讳的也是这两字。要在“南山之南北山北”扫除“胡尘”，朱耷非常明确地表达了他的反清复明思想。第二首诗写道：“得本还时末也非，曾无地瘦与天肥。梅花画里思思肖，和尚如何如采薇。”诗中用了两个典故，一是元初遗民画家郑思肖，在南宋灭亡之后隐居吴下，画兰花露根不画坡土，人问何故，他回答说：“土地都被人抢夺去了，你难道不知吗？”二是殷遗民伯夷、叔齐在周灭殷以后，耻不食周粟，隐居首阳山采薇而食，直至饿死。原来八大这幅《古梅图》虬根外露，也不画坡土，是仿照郑思肖画兰之意，暗含着国土被清人所抢夺，他这个明代宗室子孙，之所以成了和尚，正如伯夷、叔齐采薇首阳山那样，不肯臣服于新王朝。国破家亡，复国无望，这使他不能不“苦泪交千点”了。\n八大山人题画诗，是解开他画意的钥匙，然幽涩难解，如迷如雾，许多学者都下过一番功夫进行破释。例如康熙二十三年所作《甲子花鸟册》，其中第七页画一只八哥站在枯枝上，题诗曰：“衿翠鸟唤哥，吭圆哥换了。八哥语三虢，南飞鹧鸪少。”此诗之意，香港中文大学饶宗颐教授经过引经据典考释后结论说：“此诗画是讥‘虢’（指明）亡后，忠臣如鹧鸪之志切怀南，殊不多见。”这就是说，八大的作品，除了一般的国破家亡的情绪表达之外，有时还具体有所指。《瓜月图》亦是件有所指的作品，在题诗之后他记录说：“己巳润八月十五夜画所得”。面对着天上的圆月，和人间家家户户吃月饼，他的心被触动了，那么他“所得”是什么呢？画上题诗曰：“眼光饼子一面，月圆西瓜上时。个个指月饼子，驴年瓜熟为期。”有人根据吃月饼的风俗来源于反清义军传递起事暗号的民间故事，说八大在期盼着这一天到来。然而却要等到何年（驴年）呢？“驴年马月”是俗语，表示遥无定期。果真如此，则八大的心迹，就不只是徒有国亡余痛了。\n八大山人长于水墨写意，为其划时代的人物。 在水墨写意画中，又有专擅山水和专擅花鸟之别，八大山人则两者兼而善之。他的山水画，近师董其昌，远法董源、巨然、郭熙、米芾、黄公望、倪瓒诸家。例如康熙四十一年所作《书画册》（上海博物馆藏）共画了六幅山水小品，就可以看出深受董其昌的影响，其远笔的圆润则有着董、巨和黄公望的遗踪，墨法参照了米氏云山，而某些树石的组合形式，显然取自倪瓒。但是，我们在欣赏这些作品时，却又强烈地感觉到朱耷的个性，上述那些古人的法则，不过是他随手拈来为自己服务的。那些山、石、树、草，以及茅亭、房舍等，逸笔草草，看似漫不经心，随手拾掇，而干湿浓淡、疏密虚实、远近高低，笔笔无出法度之外，意境全在法度之中。这种无法而法的境界，是情感与技巧的高度结合，使艺术创作进入到一个自由王国。\n比起山水画来，八大山人的花鸟画创作，更具有他风格个性的典型性。顺治十六年所作《传綮写生册》（台北故宫博物院藏），和康熙五年作的《墨花卷》（北京故宫博物院藏），是八大早期作品，从中可以看到他的水墨写意花鸟画创作，深受沈周、陈淳、徐渭的影响，其用笔较方硬，题材、布局也未脱离前人窠臼，但是画中所表现出的兀傲之气，以及不拘一格的大胆剪裁，如不求物象的完整性，却已预示着他的未来的发展。\n八大山人花鸟画最突出特点是“少”，用他的话说是“廉”。少，一是描绘的对象少；二是塑造对象时用笔少。如康熙三十一年所作《花果鸟虫册》，其《涉事》一幅，只画一朵花瓣，总共不过七、八笔便成一幅画。在八大那里，每每一条鱼，一只鸟，一只雏鸡，一棵树，一朵花，一个果，甚至一笔不画，只盖一方印章，便都可以构成一幅完整的画面，可以说少到不可再少了的程度。前人所云“惜墨如金”，又说“以少少许胜多多许”，只有八大才真正做到了这点，可谓前无古人，后难继者。\n少，也许能有人作到，但是少而不薄，少而不贫，少而不单调，少而有味，少而有趣，透过少而给读者一个无限的思想空间，这是难有人作到的，八大山人却具备了如上的要求，这里大有文章。首先是他在用笔用墨上的功夫。他的用笔由方硬变圆润，饱和墨汁与运笔的方法相结合，一下笔就给人以浑厚丰富之感。他是第一个充分主动利用生宣纸特性以加强艺术表现力的画家。生宣纸的吸水能力强，容易使墨汁扩散（洇），这本来是缺点，而八大却把它变为优点，不但为水墨写意画开辟了一个广阔的前景，而且也创造了人们对水墨写意画的新观念，其功不朽。\n其次是形象的塑造。八大山人的花鸟造型，不是简单的变形，而是形与趣、与巧、与意的紧密结合，所以我们在欣赏时，就不会感到单薄和寂寞。再次是他的布局，特别讲究少许物象在二维空间中摆放的位置。其诀窍是充分利用空白，即前人所谓“计白当黑”。与此同时，并充分调动题跋、署款、印章在布局中的均衡、对称、疏密、虚实等的作用。他不像一般画家那样，先画好画，然后在恰当的位置题款和押印，而是有总体的规划设想，使每一点都在布局中起到举足轻重的作用，不多，不少，不奢侈，不节约。例如康熙三十三年所作《花鸟山水册》（上海博物馆藏），第一幅仅画一只雏鸡。小鸡置于画面中右偏下，这一位置的重心，将画面分割成四大块空间，每块空间的大小都不一样，平衡而有变化。由于小鸡头部方向朝左，故题诗在右第二大块空间中，使空荡的背景顿时活跃起来，视觉上起到突破平衡和内容丰富的作用。小鸡的刻画生动传神，动态像小孩刚学走路，蹒跚得十分可爱。瞪着大眼警惕着前方，特别是眼后加三撇，像电波一样，好似前方有什么声响传来，使小鸡心惊胆怯。这只小雏鸡我们可以理解为它刚出蛋壳，表示出对这个世界的惊异与警惕；也可以理解为走失了群体，找不到妈妈，感到孤独而害怕，如何理解，任人们驰骋想象的翅膀，所以有时候少画，反而思想的容量更大。\n少，不是目的而是手段，否则越少越好，艺术又会走入另一条邪径。少是相对的，例如康熙四十二年所作的《杨柳浴禽图》（北京故宫博物院藏），相对上述作品来说是“多”了，但比起一般画家处理同类题材的作品来，却少了许多许多。例如他对柳枝的处理，约有十二笔，就占住了整个画面上部的空间，不但表现出杨柳的老干新枝的质，也表现了枝条迎风的势。在春风料峭之中，八哥在洗刷自己的羽毛将振翅欲飞。这一生活小景，表现出无限的生意。康熙十六年所作的《河上花图》（天津艺术博物馆藏），是八大山人一生作品中仅见的长篇巨制，也是他笔墨最多、布局最复杂的一幅，但他仍然体现着少的原则。例如开卷的一丛荷花，总共超不出三十笔，笔减而意繁，一开卷便引人入胜。\n八大山人，前承古人，后启来者。白石老人曾有诗曰：“青藤（徐渭）雪个（八大山人）远凡胎，缶老（吴昌硕）当年别有才。我原九泉为走狗，三家门下转轮来。”其倾倒如此。今天随着东西方文化的交流，欣赏和理解他艺术的人越来越多。",[24,25,139,140,141,7,96,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12afb4ee4d66f987d5bb2edff1946a7e.jpg",[263],214,{"id":536,"slug":537,"title":538,"dynasty":18,"author":539,"museum":46,"description":540,"tags":541,"thumbUrl":543,"material":34,"size":34,"collection":34,"collections":544,"showCount":545,"zanCount":230,"manualWeight":39,"mainColor":40},224110,"lian-hua-mian-yi-224110","莲花","绵亿","此作用色秀润柔和，盛放的主莲粉瓣晕染自然，金蕊明媚醒目，一旁花苞半敛，晕出柔婉的粉紫色泽。阔大荷叶以石绿晕绘，叶脉勾勒纤细清晰，舒展间带着水润生机。淡蓝碎花与纤柔细草错落点缀，衬出莲的清雅出尘。\n\n笔致轻柔秀雅，工细却无板滞之感，将莲的高洁清灵与柔媚娇美相融，淡素底色晕开夏日水畔的清和诗意，把水生花卉的静雅之美凝于尺幅，观之仿佛能嗅到浅淡荷香，尽显娴静悠远的文人意趣。",[24,25,27,49,29,7,31,283,542],"小花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25226c11c993dc0c02d852defc77b4af.jpg",[],213,{"id":547,"slug":548,"title":549,"dynasty":18,"author":550,"museum":136,"description":551,"tags":552,"thumbUrl":555,"material":33,"size":556,"collection":313,"collections":557,"showCount":558,"zanCount":316,"manualWeight":39,"mainColor":40},216965,"ba-jiao-mei-ren-tu-xu-liang-biao-216965","芭蕉美人图","许良标","在这幅画中，一位面容姣好的少女坐在湖边的岩石上，手里拿着一把扇子，望着栏杆外的荷花田，陷入沉思。景物清晰，色彩鲜艳，构图上远近透视标准，色彩刻意镂空，可能是受到西方绘画的影响。",[24,95,25,29,49,370,553,7,371,554,172,374,339],"芭蕉","小桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe47e4dd41db8abae7aa0d7492be0846b.jpg","171.8x93.9",[313],212,{"id":560,"slug":561,"title":562,"dynasty":134,"author":500,"museum":516,"description":517,"tags":563,"thumbUrl":564,"material":98,"size":522,"collection":34,"collections":565,"showCount":566,"zanCount":39,"manualWeight":39,"mainColor":104},216359,"xi-xiang-ji-tu-ye-6-chou-ying-216359","西厢记图页-6",[49,29,26,224,370,338,339,7,258,371,374,327],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F770eb7aaf55cdeaa8253a4ef63c814ab.jpg",[],211,{"id":568,"slug":569,"title":570,"dynasty":134,"author":220,"museum":571,"description":572,"tags":573,"thumbUrl":575,"material":98,"size":34,"collection":35,"collections":576,"showCount":577,"zanCount":275,"manualWeight":39,"mainColor":104},216906,"lian-chi-cang-lu-tu-yi-ming-216906","莲池苍鹭图","耶鲁大学艺术博物馆","莲池苍鹭图是明朝时期的一幅著名图画，作者不详。这幅图画描绘了一个山间池塘，池塘中有许多莲花，并有一只苍鹭在池塘中游荡。图画中还有许多树木和山峰，构成了一幅优美的山水画。莲池苍鹭图被认为是明朝时期山水画的代表作之一，其中融合了中国传统的山水画风格和新兴的写意山水画风格，反映了明朝时期的艺术特点。",[23,24,29,49,139,27,7,31,574,226],"苍鹭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd08681f58d681525cfd1a7c86c9d4cc8.jpg",[35],207,{"id":579,"slug":580,"title":268,"dynasty":18,"author":581,"museum":46,"description":582,"tags":583,"thumbUrl":584,"material":64,"size":65,"collection":34,"collections":585,"showCount":586,"zanCount":316,"manualWeight":39,"mainColor":40},235426,"he-hua-zhou-lu-hui-235426","陆恢","陆恢（1851—1920），清末民初著名画家。原名友恢，一名友奎，字廉夫，号狷叟，一字狷盫，自号破佛盫主人，原籍江苏吴江，居吴县（今江苏苏州）。",[24,25,139,29,140,27,7,31,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24e20f7c46d85cc1273ebbc0538eb92b.jpg",[],187,{"id":588,"slug":589,"title":590,"dynasty":154,"author":478,"museum":20,"description":591,"tags":592,"thumbUrl":599,"material":33,"size":34,"collection":35,"collections":600,"showCount":601,"zanCount":11,"manualWeight":3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。明末清初画家，中国画一代宗师。",[24,25,26,140,96,7,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff29ff50245c3b93043a1ab132f67fec.jpg",[35,263],{"id":635,"slug":636,"title":637,"dynasty":18,"author":352,"museum":20,"description":638,"tags":639,"thumbUrl":648,"material":649,"size":650,"collection":35,"collections":651,"showCount":652,"zanCount":39,"manualWeight":39,"mainColor":104},223164,"bai-niao-chao-feng-hou-bu-fen-shen-quan-223164","百鸟朝凤（后部分）","长卷以四季景色变化，绘禽鸟约近三百只，树木百余棵，四季花卉绽放；天空百鸟聚集，地上百花开放，寓意天下一片详和。长卷色彩艳丽，气势恢弘，堪称国之瑰宝。沈铨，字衡之，号南苹，清代画家，其画远师黄筌画派，近承明代吕纪。",[23,95,24,25,112,49,29,226,27,505,507,7,640,641,113,372,642,643,644,645,646,325,647],"仙鹤","禽鸟","松树","草地","溪流","岩石","孔雀","花丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e5a549e10ca658a58fc3c8da817825d.jpg","绢本设色","45cm*1600cm",[35,67],166,{"id":654,"slug":655,"title":656,"dynasty":91,"author":657,"museum":136,"description":658,"tags":659,"thumbUrl":662,"material":663,"size":664,"collection":100,"collections":665,"showCount":666,"zanCount":39,"manualWeight":39,"mainColor":104},221337,"chi-tang-qiu-wan-tu-juan-quan-juan-zhao-ji-221337","池塘秋晚图卷全卷","赵佶","该作品为粉笺本，粉笺新纸时，光洁亮丽，其上尚印有卷草纹图案，是极为珍贵的材质。纸面经过上粉处理，具有不吸水性，乍看之下，笔墨甚为质朴，斑剥古趣。徽宗款识：“天下一人”。",[23,24,25,112,49,660,140,27,226,7,77,661,50,172,142,52],"白描","芦苇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e4573239b74f372ac19d707d1888ee0.jpg","白纸本","全图33×237.8公分",[100,35,263],164,{"id":668,"slug":669,"title":670,"dynasty":18,"author":671,"museum":74,"description":672,"tags":673,"thumbUrl":674,"material":649,"size":675,"collection":34,"collections":676,"showCount":677,"zanCount":39,"manualWeight":39,"mainColor":40},223237,"he-hua-yuan-yang-ren-yi-223237","荷花鸳鸯","任颐","虚谷在挽任伯年联中称誉：“笔无常法，别出新机，君艺称极也；天夺斯人，谁能继起，吾道其衰乎。\n”徐悲鸿则将任伯年“定之为仇十洲以后中国画家第一人”（《任伯年评传》），任伯年在近代绘画史上的杰出地位是举世公认的。他的画风新颖生动，风姿多彩，长于设色，于花鸟、人物、山水无所不能，无所不精。以个人成就而言，他的花鸟画最具特色，但从历史角度来衡量，则他的人物画成就更大，这是因为在清末人物画普遍弱化的历史环境中，任伯年显得尤为突出。\n任伯年精于写像，是一位杰出的肖像画家。他的人物画早年师法萧云从、陈洪绶、费晓楼等人，造型夸张奇伟，勾勒灵动，形神毕肖。他的山水画创作不多，但以笔法见长，自具特色。他的花鸟画更具创造性，富有巧趣。他早年以工笔花鸟见长，仿北宋人画法，纯以焦墨钩骨，赋色肥厚，近陈老莲一派。后来吸收了恽寿平的没骨画法以及陈淳、徐渭的写意画法和西洋绘画的技巧，将数者融合为一而又有所变化，形成了兼工带写、明快温馨、简逸放纵的笔调，开辟了花鸟画的新天地，对后世产生了巨大的影响。虽然由于任伯年出身贫寒，读书不多，故与吴昌硕、齐白石相比，画作中蕴涵的文思较乏，缺少一丝画外余音，但就笔法、墨法、结构、色彩而言，任画技巧更为丰富，足资后世借鉴。\n此帧任伯年的《荷花鸳鸯图》写鸳鸯游戏于荷田之中，荷叶硕大如盆，素雅的白莲花散发着幽香。画面以青绿色调为主，清新可人。因系画于熟绢之上，又以用水见长，故色彩交融明快自然，富于生气。笔与笔之间的留白，起到了透气和清醒视觉的作用，斑驳迷离，实非功力深至不能轻达此境。鸳鸯的造型古奥生动，运笔凌利，细节处收拾稳当，简练传神，均是彰显出任伯年独特而高超的绘画技艺之处。",[23,24,25,95,139,29,140,27,7,31,356,160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F354cad584cbfaada75e733228bef455f.jpg","纵138厘米，横42厘米",[],163,{"id":679,"slug":680,"title":681,"dynasty":134,"author":169,"museum":74,"description":682,"tags":683,"thumbUrl":688,"material":649,"size":689,"collection":261,"collections":690,"showCount":691,"zanCount":39,"manualWeight":39,"mainColor":40},221880,"pin-cha-tu-li-zhou-chen-hong-shou-221880","品茶图立轴","画中两人相对而坐,似是一主一客。蕉叶铺地,主人坐于其上,旁置茶炉壶具，炉中炭火正炽。客人坐一怪石上，又以一方奇石为琴台，古琴已收入锦缎琴套中。此时，琴弦歇，茶正熟，两人手持茶盏，四目相视，正闻香品啜，耳边琴声犹在。此中乐趣,任凭读者遐思。读陈洪绶《品茶图》,至少能读出三点明代茶事信息来。",[23,95,24,25,139,29,49,224,400,7,684,685,686,687],"衣袍","石桌","花瓶","卷轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F561d2687f6bef527a3ee9c1f39e3b3a0.jpg","纵150厘米，横67.3厘米",[261],157,{"id":693,"slug":694,"title":695,"dynasty":18,"author":220,"museum":74,"description":696,"tags":697,"thumbUrl":700,"material":701,"size":702,"collection":34,"collections":703,"showCount":704,"zanCount":39,"manualWeight":39,"mainColor":40},236167,"yong-zheng-shi-er-yue-xing-le-tu-yi-ming-236167","雍正十二月行乐图","这是一组表现雍正皇帝日常生活的作品，按春、夏、秋、冬四季十二个月的顺序排列，分别为“正月观灯”、“二月踏青”、“三月赏桃”、“四月流觞”、“五月竞舟”、“六月纳凉”、“七月乞巧”、“八月赏月”、“九月赏菊”、“十月画像”、“十一月参禅”和“腊月赏雪”。每幅图轴纵188.2厘米，横102.2厘米。从描绘的景物判断，表现的对象应为圆明园。\n画面以山水楼阁为主，建筑描绘细腻，其中既有中式园林建筑，又有西式亭台楼阁，更有中西合璧者，画面的景观可能是画家以圆明园的建筑结合自己的想象而创作的。圆明园是雍正作皇子时的封赐，他解释说“圆明园”的赐名大有深意：“圆而入神，君子之时中；明而普照，达人之睿智也。” 雍正三年（1725年）八月圆明园兴修一新之后，雍正皇帝经常在园中居住并在此办理公务，他明谕百官“每日办理政事与宫中无异”。这十二幅行乐图展现了其在圆明园生活的各个场景，也表现了十二个月的不同节令风俗。",[24,25,503,29,49,698,338,554,339,371,224,505,7,507,372,327,374,699,341],"山水","回廊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17f46d3839b07177a70d7da8fa87ed26.jpg","绢本，设色","纵188.2厘米，横102.2厘米",[],156,{"id":706,"slug":707,"title":708,"dynasty":18,"author":529,"museum":46,"description":709,"tags":710,"thumbUrl":711,"material":34,"size":34,"collection":34,"collections":712,"showCount":713,"zanCount":39,"manualWeight":39,"mainColor":40},230272,"hua-he-ce-zhu-da-230272","画荷册","这幅墨荷以水墨写意铺陈，阔笔泼墨挥写荷叶，浓淡干湿交叠，晕染出叶片俯仰向背的错落姿态，墨色氤氲间尽显苍润厚重。荷花以极简的线条勾勒，舒展清癯，留白衬出花瓣的莹洁，孤高冷逸之态尽显。细劲挺拔的水草与厚重荷叶虚实相映，简淡空灵。\n\n画面以少胜多，寥寥数笔便将荷塘清寂之境铺展，清冷出尘的意趣藏于淡墨之中，以形写神，把幽独超迈的文人风骨融在笔墨间，尽显写意水墨以简驭繁的精妙。",[24,25,140,26,96,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F470063c37b35045e9c6772f0cfa86f81.jpg",[],153,{"id":715,"slug":716,"title":433,"dynasty":18,"author":467,"museum":74,"description":717,"tags":718,"thumbUrl":719,"material":285,"size":720,"collection":34,"collections":721,"showCount":722,"zanCount":230,"manualWeight":39,"mainColor":40},233735,"he-hua-tu-zhou-wu-chang-shuo-233735","图绘荷塘小景。荷叶以泼墨法绘出，墨分五彩，浓淡相宜；荷花以胭脂加水晕染，得娇艳欲滴之貌。构图盈满，层次鲜明，画风新奇。",[95,24,140,29,139,141,27,96,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18450c962cc4dc8033a867f98dea23ce.jpg","纵163.4厘米，横47.5厘米",[],151,{"id":724,"slug":725,"title":726,"dynasty":154,"author":478,"museum":20,"description":727,"tags":728,"thumbUrl":729,"material":33,"size":34,"collection":35,"collections":730,"showCount":722,"zanCount":11,"manualWeight":39,"mainColor":40},216602,"mo-he-si-lian-ping-1-zhang-da-qian-216602","墨荷四联屏-1","墨色淋漓间，荷叶或浓泼如积云，或淡染似流烟，焦墨勾筋见骨，湿笔晕染含情。荷花亭亭，瓣尖带露，留白处凝清韵；含苞待放者敛藏生机，似语未发。荷茎挺秀如剑，线条刚劲中藏柔婉，穿插交错成疏密有致的骨架。整幅画笔墨纵横却不失雅致，浓淡干湿互映成趣，于水墨交融间透出清逸出尘之态，仿佛能闻荷风送香，见碧波微动，尽显君子之姿与自然之妙，令人观之忘俗，沉醉于这份静谧与生机。",[24,25,140,139,7,31,141],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a911d419cf2bdb27af6f664cf482a33.jpg",[35],{"id":732,"slug":733,"title":734,"dynasty":134,"author":220,"museum":46,"description":735,"tags":736,"thumbUrl":738,"material":34,"size":34,"collection":34,"collections":739,"showCount":740,"zanCount":303,"manualWeight":39,"mainColor":104},234656,"ming-ren-he-hua-tu-shan-ce-yi-ming-234656","明人荷花图扇册","扇面画的历史源流，据张彦远《历代名画记》记载，三国时，曹操就有请杨修为其画扇的故事。到了唐代画扇之风更为盛行，当时的扇子还是圆形的，故称团扇。宋代宫廷画家更是画扇成风，且留下扇面画也很多，扇子的形制出现了芭蕉形的扇子。集书法、绘画于一扇，则始于明代，这是因为折扇形式的出现。国人历来都有这种习性，一件实用品总要给它艺术化，扇面画就是这样经过明清书画家的匠心经营，从而逐步确定了其作为一种独特的艺术品种而广泛普及、流传下来，继而也逐步形成了扇面画独立的审美体系。及至清代、民国，扇面画都是书画家乐于染翰和文人雅士乐于把玩、收藏的艺术品。",[24,25,737,29,49,27,7],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e90a226e32a8455678335f042760aa.jpg",[],148,{"id":742,"slug":743,"title":744,"dynasty":18,"author":220,"museum":198,"description":745,"tags":746,"thumbUrl":748,"material":98,"size":34,"collection":35,"collections":749,"showCount":750,"zanCount":230,"manualWeight":39,"mainColor":104},219057,"he-lu-tu-yi-ming-219057","荷鹭图","画的是两枝青莲，各有一枝莲花和莲穗，细长的茎上有白色和绿色的花瓣；两只鹭鸶站在水中，雪白的羽毛和尖尖的喙，平静地站在水中，一动不动。",[23,24,25,139,29,49,27,7,747],"鹭鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85725455913aa679061881f4d5d01b14.jpg",[35],147,{"id":752,"slug":753,"title":754,"dynasty":134,"author":169,"museum":46,"description":755,"tags":756,"thumbUrl":757,"material":64,"size":65,"collection":34,"collections":758,"showCount":759,"zanCount":11,"manualWeight":39,"mainColor":104},287343,"he-hua-yuan-yang-tu-juan-wen-chen-hong-shou-287343","荷花鸳鸯图(绢纹)","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[23,95,24,25,139,593,49,29,7,356,123,172,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35f6c74082eff5c95dc37ca5423373bf.jpg",[],139,{"id":761,"slug":762,"title":763,"dynasty":18,"author":764,"museum":46,"description":765,"tags":766,"thumbUrl":767,"material":34,"size":34,"collection":35,"collections":768,"showCount":769,"zanCount":39,"manualWeight":39,"mainColor":40},224310,"hua-niao-ce-shi-kai-li-shan-224310","花鸟册十开","李鱓","《范本传真:李鱓花鸟册》是乾隆时原装裱，品相绝佳，原藏日本，曾于日本“扬州八怪”展上展出，而且当时“扬州八怪”展的宣传海报所用图片即为此册中“蕉阴兰蕙”一开；据日本原藏者介绍，此册几十年前在日还出版过挂历。\n图书信息 《范本传真:李鱓花鸟册》由人民美术出版社出版。",[23,24,140,26,27,7,141,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffefaef9a058a6aa6890761dcabb948f6.jpg",[35,67],138,{"id":771,"slug":772,"title":570,"dynasty":134,"author":220,"museum":516,"description":773,"tags":774,"thumbUrl":775,"material":98,"size":776,"collection":35,"collections":777,"showCount":769,"zanCount":275,"manualWeight":39,"mainColor":104},219268,"lian-chi-cang-lu-tu-yi-ming-219268","墨绿荷叶如伞盖层叠，粉嫩荷花亭亭绽于其间，瓣尖晕染淡红，花心素白如雪。几只苍鹭姿态各异：一者振翅展羽，翎毛纤毫毕现；一者引颈长唳，喙尖微张似欲唤侣；另有两羽相偎，身形依偎间流露亲昵。背景深褐如古绢晕染，衬得花叶禽鸟愈发清雅。笔触细腻处见工致，羽毛的柔滑、荷叶的脉络皆清晰可触，却又不失写意的空灵。整幅画氤氲着静谧生机，似将莲池畔的刹那闲趣凝于绢上，尽显雅致韵致，观之如临清池，闻得荷风与禽鸣交织，恍若触到古绢上凝住的清润时光。",[23,24,95,25,29,49,27,574,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7da87412892d3bb3ded765cef53220cf.jpg","纵97.7横43.1厘米",[35],{"id":779,"slug":780,"title":781,"dynasty":782,"author":783,"museum":74,"description":784,"tags":785,"thumbUrl":788,"material":789,"size":790,"collection":313,"collections":791,"showCount":792,"zanCount":230,"manualWeight":39,"mainColor":104},221136,"yu-yuan-cai-lian-tu-li-si-xun-221136","御苑采莲图","唐","李思训","此卷描绘古代宫苑中夏日景致，宫殿楼观、屋宇舟车纤若毫发，山石均以细笔勾出，略有皴斫，重青绿敷色，同时大量使用金线勾勒建筑物轮廓和网格水纹，辉煌明丽，富有装饰性。此卷为吴景洲先生于1947年倾囊得之，1955年捐献故宫博物院，卷后有其长题，考定此卷为张丑《清河书画舫》中著录的“唐大李将军御苑采莲图”。后经有关学者考证，此卷为南宋人作，虽非出自李思训父子之手，但仍反映出早期青绿楼阁绘画的一些特点。",[23,24,503,29,49,337,698,338,224,554,339,7,505,507,786,324,787],"宫殿","采莲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f0bbca3f486b9ed26103a6d871d1d0e.jpg","绢本","23.90x77.20cm",[313,67],136,{"id":794,"slug":795,"title":796,"dynasty":18,"author":45,"museum":46,"description":797,"tags":798,"thumbUrl":799,"material":34,"size":34,"collection":34,"collections":800,"showCount":801,"zanCount":316,"manualWeight":39,"mainColor":40},233230,"hong-lian-tu-ce-xie-sun-233230","红莲图册","画上自题：己未春日写似，伴翁老先生，谢荪。 钤一印。按己未为清康熙十八年，即公元1679年。\n谢荪（生卒年未详），清代画家。字缃酉，又字天令，常住南京。擅长画山水、花卉，与龚贤、樊圻齐名，为“金陵八家”之一。作品有《青绿山水图轴》等。",[95,24,29,49,26,7,31,50,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F437de0e69fce243e2beeaba3fd223383.jpg",[],125,{"id":803,"slug":804,"title":805,"dynasty":91,"author":806,"museum":136,"description":807,"tags":808,"thumbUrl":816,"material":98,"size":817,"collection":100,"collections":818,"showCount":819,"zanCount":39,"manualWeight":39,"mainColor":104},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。",[23,323,809,29,810,811,812,813,118,814,7,641,815,31,226],"工笔花鸟","写实","写生","细腻笔触","大雁","蒲草","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0742ff18547c75d91c9eaba1ab1932e4.jpg","本幅 149.1x95.5公分、全幅 133公分",[100,35],123,{"id":821,"slug":822,"title":268,"dynasty":134,"author":135,"museum":46,"description":823,"tags":824,"thumbUrl":825,"material":64,"size":65,"collection":34,"collections":826,"showCount":827,"zanCount":11,"manualWeight":39,"mainColor":40},290556,"he-hua-zhou-xu-wei-290556","徐渭（1521年3月12日－1593年），汉族，绍兴府山阴（今浙江绍兴）人。初字文清，后改字文长，号青藤老人、青藤道士、天池生、天池山人、天池渔隐、金垒、 金回山人、山阴布衣、白鹇山人、鹅鼻山侬、田丹水、田水月（一作水田月 ）。明代中期文学家、书画家、戏曲家、军事家。\n徐渭曾担任胡宗宪幕僚，助其擒徐海、诱汪直。胡宗宪被下狱后，徐渭在忧惧发狂之下自杀九次却不死。后因杀继妻被下狱论死，被囚七年后，得张元忭等好友救免。此后南游金陵，北走上谷，纵观边塞阨塞，常慷慨悲歌。晚年贫病交加，藏书数千卷也被变卖殆尽，他自称“南腔北调人”，于万历二十一年（1593年）去世，年七十三\n徐渭多才多艺，在诗文、戏剧、书画等各方面都独树一帜，与解缙、杨慎并称“明代三才子”。他是中国“泼墨大写意画派”创始人、“青藤画派”之鼻祖，其画能吸取前人精华而脱胎换骨，不求形似求神似，山水、人物、花鸟、竹石无所不工，以花卉最为出色，开创了一代画风，对后世画坛（如八大山人、石涛、扬州八怪等）影响极大；书善行草，写过大量诗文，被誉为“有明一代才人”；能操琴，谙音律；爱戏曲，所著《南词叙录》为中国第一部关于南戏的理论专著。另有杂剧《四声猿》《歌代啸》及文集传世。",[24,95,25,139,140,141,27,7,142,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3e13237f744b16759e4d325b37bd217.jpg",[],122,{"id":829,"slug":830,"title":60,"dynasty":18,"author":831,"museum":74,"description":832,"tags":833,"thumbUrl":834,"material":701,"size":835,"collection":34,"collections":836,"showCount":827,"zanCount":11,"manualWeight":39,"mainColor":40},232976,"hua-niao-ce-lang-shi-ning-232976","郎世宁","此图册分别描绘了牡丹、兰花、罂粟、萱草、荷花、梅花等艳丽多姿的花卉和体态生动的蝶、鸟。构图上取法中国传统花鸟画的格局，以虚托实，注重对所绘物象的突出。在表现技法上，则充分发挥了欧洲绘画注重明暗及透视的特点，以工致细腻的笔触，刻画出花瓣、叶片以及鸟雀的羽毛质感和体积感，呈现出与传统的中国花鸟画迥然不同的艺术风貌。这种“中西合璧”的画风成为清代宫廷绘画艺术的一大特色，受到了清皇室的青睐。",[24,25,26,49,29,7,31,123,27,113,124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58118af921331845033ac41b6553a729.jpg","纵32.6厘米，横28.6厘米",[],{"id":838,"slug":839,"title":840,"dynasty":18,"author":529,"museum":46,"description":630,"tags":841,"thumbUrl":842,"material":64,"size":65,"collection":34,"collections":843,"showCount":844,"zanCount":39,"manualWeight":39,"mainColor":40},283659,"he-fu-tu-zhou-zhu-da-283659","荷凫图轴",[23,95,24,139,140,27,7,172,226,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66c68a231a7e3a42dd7d6c86993a9c7f.jpg",[],119,{"id":846,"slug":847,"title":848,"dynasty":18,"author":849,"museum":46,"description":850,"tags":851,"thumbUrl":853,"material":64,"size":65,"collection":34,"collections":854,"showCount":855,"zanCount":230,"manualWeight":39,"mainColor":40},239093,"he-hua-shui-niao-zhou-zhu-cheng-239093","荷花水鸟轴","朱偁","朱偁[清]（1826—1900，一作1826—1899）清代画家，早岁名琛，后更今名，字梦庐，号觉未，浙江嘉兴人。",[24,29,27,139,140,7,852,31,50],"水鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46322f421f14030edbe6883250880f4a.jpg",[],113,{"id":857,"slug":858,"title":859,"dynasty":18,"author":19,"museum":46,"description":61,"tags":860,"thumbUrl":861,"material":64,"size":65,"collection":34,"collections":862,"showCount":863,"zanCount":39,"manualWeight":39,"mainColor":40},235084,"yun-shou-ping-hua-hui-ce-yun-shou-ping-235084","恽寿平花卉册",[24,25,26,29,28,27,7,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d27a48961942f8bb0bbc6702c8f07b6.jpg",[],111,{"id":865,"slug":866,"title":867,"dynasty":91,"author":868,"museum":74,"description":869,"tags":870,"thumbUrl":878,"material":82,"size":879,"collection":34,"collections":880,"showCount":881,"zanCount":230,"manualWeight":39,"mainColor":40},231422,"xie-sheng-tu-fa-chang-231422","写生图","法常","法常的绘画，有不少取材于平时人们司空见惯的日常生活，但独能于平淡天真之中揭示生命意识的真谛。此卷所绘折枝花果、禽鸟、鱼虾及蔬果，笔墨简淡，平平常常，在画幅上随随便便地摆放在一起，看来就是最为常见的与我们现实生活息息相关的景象，但是卷中墨色的氤氲、排列的错综、变化的神奇，却又分明深蕴着禅机。\n这些平常物象的背后是不着笔墨的大片空白，这种“知白守黑”、“计白当黑”的处理，使得画面中本不相关联的事物各自相对独立又可合而为一，画意更为完整而富于张力，给观者以想象的空间，正所谓“于无画处皆成妙境”。整幅作品充满着一种宁静、自省、淡泊的内在精神，使观者有“万物静观皆自得”的会心感受，耐人寻味。牧溪的绘画，写生功底极深，此幅亦是“肖似形类，并得其意”（项元汴语）的形神兼备之作。",[23,24,25,112,140,811,141,27,641,871,872,79,873,874,251,113,114,7,253,258,661,186,875,876,877,31,77,507],"野鸡","麻雀","水果","桃子","蔬菜","葱","藕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8c560c5bf16abfce7333669f1d842b1.jpg","纵47.3厘米，横814．1厘米",[],110,{"id":883,"slug":884,"title":885,"dynasty":134,"author":396,"museum":136,"description":886,"tags":887,"thumbUrl":888,"material":82,"size":889,"collection":34,"collections":890,"showCount":891,"zanCount":230,"manualWeight":39,"mainColor":40},222107,"he-hua-yu-dun-wa-shen-zhou-222107","荷花与蹲蛙","沈周（1427-1509）明代杰出画家。字启南，号石田，又号白石翁、玉田生、有居竹居主人等。长洲（今江苏苏州）人。性情敦厚、博学多才，长于文学，亦工诗画，善画山水、花卉、鸟兽、虫鱼，皆极神妙。常草草点缀，即得意趣。亦常题诗词于画上，当时人称他为“二绝先生”。画宗黄大疾、吴镇，自成一家笔法。亦工墨笔花鸟，和他的学生文征明并称为“吴派”两大家。又与文征明、唐寅、仇英称“明四家”。他每画一画，落笔点苔，绝不苟且。他能从多方面摹习古人，又加自己的创造，更参以二米的笔趣，善用粗笔，圆润挺劲，厚重凝炼。出入于宋元名家，创作态度极为慎重。",[23,95,24,25,140,141,52,7,610,31,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfa0b35a5a56cdef8fbb2e9da30170c2.jpg","34.8×56.5厘米",[],108,{"id":893,"slug":894,"title":895,"dynasty":91,"author":896,"museum":74,"description":897,"tags":898,"thumbUrl":907,"material":82,"size":879,"collection":100,"collections":908,"showCount":909,"zanCount":230,"manualWeight":39,"mainColor":40},221500,"shui-mo-xie-sheng-tu-mu-xi-221500","水墨写生图","牧溪","法常的绘画，有不少取材于平时人们司空见惯的日常生活，但独能于平淡天真之中揭示生命意识的真谛。此卷所绘折枝花果、禽鸟、鱼虾及蔬果，笔墨简淡，平平常常，在画幅上随随便便地摆放在一起，看来就是最为常见的与我们现实生活息息相关的景象，但是卷中墨色的氤氲、排列的错综、变化的神奇，却又分明深蕴着禅机。这些平常物象的背后是不着笔墨的大片空白，这种“知白守黑”、“计白当黑”的处理，使得画面中本不相关联的事物各自相对独立又可合而为一，画意更为完整而富于张力，给观者以想象的空间，正所谓“于无画处皆成妙境”。整幅作品充满着一种宁静、自省、淡泊的内在精神，使观者有“万物静观皆自得”的会心感受，耐人寻味。牧溪的绘画，写生功底极深，此幅亦是“肖似形类，并得其意”（项元汴语）的形神兼备之作。\n沈周卷后题识称：“不施色彩，任意潑墨，儼然若生。回視黃筌、舜舉之流，風斯下矣。”本幅无作者款印，沈周定为“真宋物也”。徐邦达先生认为，沈周题跋中“牧”字有挖改痕迹，是“似牧非牧之画”。",[23,24,95,25,112,140,811,141,27,899,900,79,901,902,387,621,872,903,904,7,113,905,50,906],"蔬果","水族","虾","蟹","萝卜","白菜","植物","叶子","https:\u002F\u002Foss.ch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27年5月1日出版的图书，由任伯年编著。\n出版社: ; 第1版 (27年5月1日) ISBN: 755441 条形码: 尺寸: 22.2 7.5 cm 重量: .9 Kg 《任伯年绘画作品图录(套装上下卷)》内容简介：任伯年的艺术像海派诸家一样，以个性鲜明的艺术风貌反映了怫郁昂藏而又充满生机的时代气息，一变晚清文人画家笔下的雅人高致、陈陈相因与不食人间烟火，作品立意由出世而入世，艺术趣味由雅转“俗”，艺术形式由千篇一律而化为多姿多彩。\n他的艺术风格生动雅丽，明快清新，既不同于赵之谦的朴茂道艳，虚谷的冷隽超逸，也有别于吴昌硕的苍浑醇厚，加以多能兼善，题材广泛，意趣盎然，技艺超妙，诗情洋溢，某些人物画更是寄托深远，所以生前身后，声誉极高，一直被认为是海派的重要代表之一。\n《任伯年绘画作品图录(套装上下卷)(上卷)》目录： 1865年 乙丑 1.仕女图 1866年 丙寅 2.小浃江话别图 .悔花仕女图 1867年 丁卯 4.松下问道图 5.孔雀牡丹图 6. 7.范湖居士六十八岁小像 8.授书图 9.四李人物屏之一 1.四季人物屏之二 11.四季人物屏之三 12.四季人物屏之四 1868年 戊辰 1.斗梅图 14.沙馥三十九岁小像 15.佩秋夫人小像(合作) 16.横云山民行乞图 17.陈允升像 18.榴生像 19.任阜长像 2.水草金鱼图 21. 22.悟生出尘图 2.梅柏白鹏图 1869年 己巳 24.任淞云像(合作) 187年 庚午 25.新秋鹅浴图 26.松鹤图 27.吹箫引凤图 28.访友图 29.人物图 1871年 辛未 .孔雀芭蕉图 1872年 壬申 1.钟馗图 2.凤凰牡丹图 .献瑞图 4.钟馗图 5.礼佛图 6.花蝶图 7.南瓜三鸡图 8.水仙飞禽图 9.芭蕉燕子图 4.夜荷栖鸭图 41.蕉花母鸡图 42.牡丹猫石图 4.山雨欲来风满楼 44.花鸟册(合作) 45.游艇吟箫图 46.凭栏赏荷图 187年 癸酉 47.爱莲图 48.葵花双鸡图 49.残荷鹭鸶图 5.茂叔爱莲图 51.葛仲华二十七岁小像 52.松鹤寿柏图 5.三思图 54.牵牛菖蒲图 1874年 甲戌 55.钟馗图 56.二老并坐图 57.苏武牧羊图 58.女仙图 59.红薇飞禽图 6.苏武牧羊图 61.富贵长寿 62.三羊开泰 6.芍药幽禽图 64.花鸟扇 1875年 乙亥 65.牡丹图 …… 《任伯年绘画作品图录(套装上下卷)(下卷)》目录： 1886年 丙戌 76.三仙图 77.东坡玩砚图 78.东坡玩砚图 79.桃花八哥 8.深山观泉图 81.牧羊图 82.仙鹤 8.听溪图 84.承天夜游图 85. 86.芦鸭图 87.幽鸟鸣春图 88.隔帘规梅图 89.松鹤竹石图 9.桃石群鸟图 91.桃源问津图 92.苍松紫藤图 9.枇杷栖禽图 94.临八人山人八哥图 95.仿高克恭云山图 96.山水阁页 97.玉兰四禽图 98.花鸟册 99.桃花小鸟图 4.仿石田山水图 41.银河秋浅图 1887年 丁亥 42.村居立锄图 4.钟馗图 44.高邕之像 45.松下论诗图 46.童子斗蟋蟀图 47.寒林高士 48.苏长公石钟辨讹图 49.策马图 41.牧羊图 411.岁朝图 412.松鸠图 41.桃鹅图 414.花鸟册 415.封侯图 416.萍花八哥图 417.江上秋痕图 418.天竹白猫图 419.焦叶题书图 42.秋江渔父图 421.紫微鸳鸯图 422.桃石图 1888年 戊子 42. 424.女娲炼石图 425.归牧图 426. 427.寒林牧马图 428.玉局参禅图 429.金谷园图 4.芭蕉狸猫图 41.苏武牧羊图 42.羲之爱鹅图 4.仕女图册之一 44.仕女图册之二 45.仕女图册之三 46.仕女图册之四 47.仕女图册之五 48.仕女图册之六 49.仕女图册之七 44.仕女图册之八 441.仕女图册之九 442.仕女图册之十 44.仕女图册之十一 444.仕女图册之十二 445.午瑞图 446.白猫双雀图 447.岁朝清供图 448.雀声藤影 449.猫鸟图 45.柳塘清趣图 451.红松仙鹤图 ……",[23,95,24,25,139,29,49,224,96,7,374,926],"衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd66ee07d43326e2168f004fc64dd0a95.jpg",[],104,{"id":931,"slug":932,"title":933,"dynasty":18,"author":934,"museum":74,"description":935,"tags":936,"thumbUrl":941,"material":942,"size":943,"collection":313,"collections":944,"showCount":929,"zanCount":275,"manualWeight":39,"mainColor":104},222874,"bai-zi-tu-leng-mei-222874","百子图","冷枚","百子的典故最早出于《诗经》，是歌颂周文王子孙众多的。画面常用谐音谐意，寓意多福多寿，多子多孙，子孙昌盛，万代延续。《百子图》描绘了一百个天真烂漫的孩子在亭台楼阁间互相追逐嬉戏，他们有的手执彩旗，好像在站岗放哨，还有的在捉迷藏、打秋千、下棋、乘船、玩木偶、放鞭炮…每个孩子神态各异，无一雷同，惟妙惟肖，栩栩如生。孩童服饰色泽艳丽，线条流畅，刻画精致形像都各不相同，表情天真可爱，十分有趣，将小孩的调皮可爱之处都表现得淋漓尽致。背景配以湖水荡漾，荷花盛开，岸柳垂荫，芭蕉葱郁，古木森天景色；将亭台、楼阁、水榭、宫室，因地制宜，聚散错落，一应纳入，园林界画，景色秀丽，令人应接不暇。\n笔墨洁净，色彩韶秀，其画法兼工带写，点缀屋宇器皿，笔法极精细。绘画用料为内廷专供，尤其色料多为专用的矿物制品，色泽鲜艳明丽，特征明显，是典型的宫廷题材珍品。\n通篇气度雍容典雅，构图疏密有致，其用笔细腻、精工，设色妍丽清秀而注意质感，不乏对光影明暗的追求与立体透视的体现，显然受到西洋绘画技巧的影响",[23,49,29,112,224,371,338,327,7,937,505,374,341,31,938,939,940],"舟","儿童","建筑","桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd80e3fe3947e693b07fbefa84c8d0fd0.jpg","设色，绫本，手卷","纵40厘米，横200厘米",[313],{"id":946,"slug":947,"title":948,"dynasty":91,"author":949,"museum":46,"description":950,"tags":951,"thumbUrl":953,"material":98,"size":34,"collection":67,"collections":954,"showCount":955,"zanCount":11,"manualWeight":39,"mainColor":104},218660,"he-ting-na-liang-tu-zhao-ling-rang-218660","荷亭纳凉图","赵令穰","亭畔柳丝轻垂如帘，半掩着凭栏闲坐的身影。池中荷叶片片叠翠，粉白的花影在微风里轻晃，似与远处烟霭中的山峦遥遥对语。远山以淡墨晕染，隐在薄云与江雾间，江天浩渺处，几只水鸟掠过，更添空寂。近景的石径、矮墙与草木，笔墨细腻却不繁冗，色彩温润如旧时光里的浅茶。整幅画没有燥热的夏意，只有风过荷塘的清凉与文人的从容——仿佛能听见荷叶上的露水滴落，也能看见那人眼中的江天辽阔。宋人的雅致与诗意，就这样凝在这一方圆幅里，淡而悠长，静而生动。",[23,95,24,25,29,49,698,224,371,96,7,505,226,952],"湖水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab79a4b33df725714b75d1cedff8520f.jpg",[67],102,{"id":957,"slug":958,"title":959,"dynasty":366,"author":960,"museum":136,"description":961,"tags":962,"thumbUrl":963,"material":98,"size":964,"collection":35,"collections":965,"showCount":966,"zanCount":39,"manualWeight":39,"mainColor":104},218703,"ji-he-tu-xu-xi-218703","芰荷图","徐熙","徐熙出生于江宁（今南京），也有记载认为他出生于锺陵（今江西南昌进贤县），一生从没有担任官职，只是专心绘画，他的绘画风格质朴简练，他创作了水墨淡彩的绘画方法，运用墨的浓淡变化，勾点兼施，画出花卉的枝叶萼蕊，略施淡彩，使色不碍墨不掩笔迹而生气动人。善于描绘汀花野竹、水鸟渊鱼、凫雁、鹭鸶、蒲藻、虾鱼、丛艳、折枝、园蔬药苗等。",[23,24,25,139,27,140,29,49,96,7,31,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d2cbafe8b7c62d5722cbe40085ab683.jpg","97.6x46.2cm",[35],100,{"id":968,"slug":969,"title":970,"dynasty":134,"author":971,"museum":435,"description":972,"tags":973,"thumbUrl":974,"material":145,"size":975,"collection":34,"collections":976,"showCount":977,"zanCount":39,"manualWeight":39,"mainColor":40},214636,"hua-hui-ce-8-chen-chun-214636","花卉册-8","陈淳","陈淳（1483—1544），字道复,后以字行,更字复甫,号白阳,又号白阳山人，江苏苏州人。曾从文徵明学画，但是不拘于师法，山水、花卉自具门径。花卉善写意，淡墨浅色，生动有致。与徐渭并称“青藤白阳”，代表明中期水墨写意花鸟画的新格调，是吴门画派的代表画家。\n用笔简洁，笔势潇洒，行笔迅疾，许多花卉草虫仅用深浅浓淡的不同墨色，却能完整地表达出物象的形状及立体效果，富有生意，具有强烈的笔墨情趣。",[24,25,26,140,27,96,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7da666316e5f79ec4f2838877e43329f.jpg","纵28 厘米 横37.9 厘米",[],97,{"id":979,"slug":980,"title":981,"dynasty":18,"author":982,"museum":74,"description":983,"tags":984,"thumbUrl":985,"material":986,"size":987,"collection":34,"collections":988,"showCount":989,"zanCount":11,"manualWeight":39,"mainColor":40},233405,"mo-he-tu-zhou-shi-tao-233405","墨荷图轴","石涛","图绘欣欣向荣的荷塘景色。构图疏密交错，通过荷叶、茨菰、莲蓬、蒲草间的相互掩映构筑出变化丰富的空间层次。用墨淋漓尽致，浓淡、枯润相生，显现出作者较强的笔墨把控能力。\n本幅自题七言诗一首，款署：“大涤子邗上秋日写”。钤白文印二方：“靖江后人”、“大涤堂”。",[24,25,139,140,188,96,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86fe017aa56845f71e72ee664ba076f8.jpg","纸本，墨笔","纵90.2厘米，横50.4厘米",[],96,{"id":991,"slug":992,"title":993,"dynasty":134,"author":971,"museum":136,"description":994,"tags":995,"thumbUrl":1003,"material":402,"size":1004,"collection":35,"collections":1005,"showCount":1006,"zanCount":39,"manualWeight":39,"mainColor":40},222555,"qiu-tang-hua-ya-zhou-chen-chun-222555","秋塘花鸭轴","陈淳，1483年生，1544年逝世（另一种说法是1482—1539），长洲（今江苏苏州）人。字道复，后以字行，更字复甫，号白阳，又号白阳山人。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。在绘画史上，陈淳与徐渭并称为“白阳、青藤”， 陈淳的绘画当属文人隽雅一路的，即“白阳”一派画家。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。\n陈淳中年以后间作山水，技法学米友仁、高克恭，多以江南风景为题材，手法简练，极具文人生活情趣，文徵明曾微笑着说：“吾道复举业师耳，渠书、画自有门径，非吾徒也。”存世作品有《红梨诗画图》《山茶水仙图》《葵石图》《罨画图》等。其子陈括继承父风、擅花卉。\n陈淳绘山水，效法米友仁、高克恭，水墨淋漓，颇得氤氲之气。他的泼墨之功，往往见于画烟云之中。在写意花卉方面，陈淳独得玄门，笔法挥洒自如，富有疏朗轻健的风姿，用墨设色，则如徐沁所谓“浅色淡墨之痕俱化矣！”王世贞在《州续稿》中说：“胜国（元朝）以来，写花卉者无如吾吴郡，而吴郡自沈启南（周）后，无如陈道确，陆叔平（治）”。近代画家如蒲华、吴昌硕、齐白石等，在诗文题书画中，都对陈淳做出了极高的评价。明万历年间即有人曾评价过陈淳在花卉方面的造诣和声誉都超过了文征明，成为继沈周之后的吴门大家。明清以来画家，尤其在花鸟画方面，受他的影响很深。他与徐渭齐名，人称“青藤白阳”。现存的陈淳作品大部分均在博物馆收藏，民间甚少得见。",[23,24,139,140,29,141,27,7,77,996,50,661,997,998,641,113,905,999,597,1000,1001,1002],"鸭子","明代","秋景","淡彩","写意花鸟","水墨设色","明代绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57ed2c1673a772976ff5fcf779defb76.jpg","90.8x36.2厘米",[35,67],95,{"id":1008,"slug":1009,"title":1010,"dynasty":18,"author":1011,"museum":397,"description":1012,"tags":1013,"thumbUrl":1014,"material":789,"size":1015,"collection":34,"collections":1016,"showCount":1017,"zanCount":316,"manualWeight":39,"mainColor":40},222682,"si-ji-hua-niao-tu-ping-5-chen-mei-222682","四季花鸟图屏5","陈枚","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。",[23,24,25,49,29,27,7,31,356,538,77,160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6d0a7150805b19feb3ed4f0a01d4fd0.jpg","139X41CM",[],94,{"id":1019,"slug":1020,"title":1021,"dynasty":182,"author":1022,"museum":1023,"description":1024,"tags":1025,"thumbUrl":1026,"material":649,"size":1027,"collection":35,"collections":1028,"showCount":1017,"zanCount":39,"manualWeight":39,"mainColor":104},221840,"lian-ji-ling-tu-wang-yuan-221840","莲鹡鸰图","王渊","日本京都国立博物馆","此图是唐绘手鉴《笔耕园》60幅册页中的一幅。王渊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”。天机溢发，肖古而不泥古。",[23,95,24,25,49,29,27,7,226,31,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b8dcc488c7d4ab10557e1ad0364ca7b.jpg","29.9×36cm",[35,67],{"id":1030,"slug":1031,"title":1032,"dynasty":18,"author":671,"museum":74,"description":672,"tags":1033,"thumbUrl":1034,"material":1035,"size":675,"collection":35,"collections":1036,"showCount":1037,"zanCount":11,"manualWeight":39,"mainColor":40},223238,"he-hua-yuan-yang-tu-ren-yi-223238","荷花鸳鸯图",[23,24,29,27,7,356,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F748a198151e8ce689be26e752c960fdc.jpg","绢本、设色",[35,67],91,{"id":1039,"slug":1040,"title":1041,"dynasty":91,"author":220,"museum":46,"description":1042,"tags":1043,"thumbUrl":1046,"material":64,"size":65,"collection":34,"collections":1047,"showCount":1048,"zanCount":11,"manualWeight":39,"mainColor":231},290287,"ke-si-he-hua-zhou-yi-ming-290287","缂丝荷花轴","缂（kè，同：刻）丝（英文：K’o-ssu 、Kesi 或 Chinese silk tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[24,139,1044,27,7,31,49,29,1045],"缂丝","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5496eee4f3b0cb9dd3c8db2a7491703.jpg",[],90,{"id":1050,"slug":1051,"title":528,"dynasty":18,"author":467,"museum":46,"description":717,"tags":1052,"thumbUrl":1053,"material":34,"size":34,"collection":35,"collections":1054,"showCount":1048,"zanCount":11,"manualWeight":39,"mainColor":40},236709,"mo-he-zhou-wu-chang-shuo-236709",[24,25,139,140,141,96,7,142,188,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26fa54def8562aff21aef714166c0d1f.jpg",[35,1055],"书法精选",{"id":1057,"slug":1058,"title":433,"dynasty":18,"author":764,"museum":46,"description":1059,"tags":1060,"thumbUrl":1061,"material":34,"size":34,"collection":34,"collections":1062,"showCount":1048,"zanCount":39,"manualWeight":39,"mainColor":40},224332,"he-hua-tu-zhou-li-shan-224332","这幅作品以书入画，诗墨相融。狂放苍劲的题笔沿边排布，与水墨荷塘相映成趣。荷叶以泼墨晕染，浓淡干湿间尽显酣畅野逸，墨色沉凝处如积雨重碧，浅淡处似晓露初歇。花瓣以淡墨轻勾，含露亭亭，在浓墨荷叶的衬托下愈显清柔雅致。\n笔线纵恣写意，荷梗挺拔舒展，卷叶、莲蓬错落点缀，虚实相生间晕开荷塘清寂又蓬勃的生机。整幅将物象风神与文人意趣交织，以大写意笔法把荷塘逸态与胸中意气相融，尽显疏朗狂逸的格调，是性情与笔墨共生的绝佳范本。",[23,24,25,139,140,141,188,52,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b036304de3bc3acd1b8f63768ad6326.jpg",[],{"id":1064,"slug":1065,"title":1066,"dynasty":134,"author":220,"museum":20,"description":1067,"tags":1068,"thumbUrl":1069,"material":145,"size":1070,"collection":35,"collections":1071,"showCount":1072,"zanCount":39,"manualWeight":39,"mainColor":40},216671,"mo-he-tu-yi-ming-216671","墨荷图","墨荷图是明朝时期的一幅水墨画作品，作者是佚名。这幅画的主题是人与自然的和谐关系，描绘了一片森林中的景色。",[24,25,140,96,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f7c76365ae85c084aaded251b4cdbcc.jpg","29x35cm",[35],88,{"id":1074,"slug":1075,"title":1076,"dynasty":134,"author":220,"museum":1077,"description":1078,"tags":1079,"thumbUrl":1081,"material":98,"size":1082,"collection":35,"collections":1083,"showCount":1084,"zanCount":11,"manualWeight":39,"mainColor":104},219080,"luo-hua-you-yu-tu-yi-ming-219080","落花游鱼图","费城艺术博物馆","画面下部描绘了一条张着嘴的鸳鸯鱼，鱼身上有绚丽的背鳍和斑点，周围有荷叶和花朵，还有一条更低调的鲤鱼，鳞片整齐，鱼鳍挥舞，似乎正在向鸳鸯鱼游去。",[24,25,49,29,27,79,7,1080,31],"落花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadfa03c687a78c5002929fc39069b598.jpg","49.3x33.5cm",[35],87,{"id":1086,"slug":1087,"title":1088,"dynasty":134,"author":169,"museum":46,"description":755,"tags":1089,"thumbUrl":1090,"material":64,"size":65,"collection":34,"collections":1091,"showCount":1092,"zanCount":39,"manualWeight":39,"mainColor":104},290354,"hua-he-hua-zhou-chen-hong-shou-290354","画荷花轴",[95,24,25,139,29,27,7,172,142,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8daddd5c38e884b7ee705d40059080ce.jpg",[],85,{"id":1094,"slug":1095,"title":1096,"dynasty":134,"author":971,"museum":46,"description":1097,"tags":1098,"thumbUrl":1099,"material":64,"size":65,"collection":34,"collections":1100,"showCount":1101,"zanCount":39,"manualWeight":39,"mainColor":40},290918,"ping-he-xie-sheng-zhou-chen-chun-290918","瓶荷写生轴","陈淳（1483－1544），字道复，自号白阳山人，江苏长洲人。擅长写意花卉，尤妙写生。款‘辛丑秋日’，时年五十八岁。宋、明以后，花道兴盛，仿古铜觚既可插花，亦可为书斋案头摆饰，深得文人推崇。长梗荷花与叶柄向上伸展，几乎占满画面，独树一格。以钩勒法写荷，没骨法写叶，杂草劲挺交错其中。寥寥几笔写出花叶形态，水墨交融层次丰富，将文人审美情趣与花卉写意完美结合，应是画家醉后遣兴之作。",[24,139,140,27,7,400,52,811],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde40b5e80b3b9679327bf17061f192c9.jpg",[],84,{"id":1103,"slug":1104,"title":1105,"dynasty":18,"author":671,"museum":46,"description":1106,"tags":1107,"thumbUrl":1114,"material":701,"size":1115,"collection":313,"collections":1116,"showCount":1117,"zanCount":11,"manualWeight":39,"mainColor":40},223328,"qun-xian-zhu-shou-shou-juan-ren-yi-223328","群仙祝寿手卷","《群仙祝寿图》作于金笺之上，由十二条通景画构成。表现46个神仙人物共赴王母的寿筵祝寿的仙灵境界，场面宏大，内容祥瑞。对于这幅巨制，唐云先生曾写文章谈到，“‘群仙祝寿图’，尽管是在描写民间传说中的神仙故事，但一举一动都反映出人的性格和情感。把行动诡异的仙人和举止窈窕的仙女种种神态，对照起来看，分外有趣。仙女和仙人，有从空中来，有从海上来，来的地方不同，画面似将各地不同的习惯和性情都表达出来了。一只白鹤，忙着跨上白玉阑干，展翅起舞，回头迎生，竟似一个仙女在拍手热烈欢迎仙宾的情感一样。一对孔雀，也有不同性情:一只爱凑热闹，凝神看着一个举袖轻舞的仙女，另一只似乎嫌太烦乱了，飞到荷香深处，安踞石上，静听着仙女们演奏的美妙音乐，景态十分生动。十二幅通景屏，幅幅风光旖旎，融洽愉快，充分表达了祝寿场面的气氛。”",[23,24,25,112,29,49,1108,698,640,1109,338,7,505,507,905,1110,1111,1112,1113],"人物画","祥云","仙人","服饰","祝寿元素","兼工带写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0d7fbafaea1f350faf3fa62a1bc3481.jpg","全图尺幅高206.8厘米，横宽720厘米（每幅条屏宽59.5厘米）",[313,67],83,{"id":1119,"slug":1120,"title":1121,"dynasty":134,"author":169,"museum":74,"description":1122,"tags":1123,"thumbUrl":1127,"material":649,"size":34,"collection":34,"collections":1128,"showCount":1129,"zanCount":11,"manualWeight":39,"mainColor":40},234105,"shi-nv-juan-chen-hong-shou-234105","仕女卷","仕女画是我国古代一类重要的人物画题材。我们能从各朝画家所画的仕女形象中，看到当时的社会风貌。\n陈洪绶笔下的仕女因其独特的画风被后世画家效仿。本期艺狮·画事就来带你看看陈洪绶笔下的仕女画。\n陈洪绶的仕女画与“吴门画派”诸家所绘仕女不同，吴门画派更注重写实与写意的结合，仕女雍容华丽，艳而不俗，侧重画中的文人气韵。",[24,25,112,49,29,224,1124,1125,7,113,1126,1045],"仕女","乐器","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8d1e094bb0f8b30d59b656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Pool with Waterlilies, 1917-19","不详","莫奈","奥斯卡-克劳德·莫奈（法文：Oscar-Claude Monet，1840年11月14日-1926年12月5日），法国画家，被誉为“印象派领导者”，是印象派代表人物和创始人之一。\n莫奈是法国最重要的画家之一，印象派的理论和实践大部分都有他的推广。莫奈擅长光与影的实验与表现技法。他最重要的风格是改变了阴影和轮廓线的画法，在莫奈的画作中看不到非常明确的阴影，也看不到突显或平涂式的轮廓线。光和影的色彩描绘是莫奈绘画的最大特色。\n2019年5月14日，法国印象派画家克劳德·莫奈的作品《干草堆》在纽约苏富比拍卖行以破纪录的1.107亿美元（当时1美元约合人民币6.87元）高价拍出。这是莫奈作品拍卖价格的最高纪录，也是印象派画作拍卖最高纪录。",[1138,1139,1140,327,449,1141,31,7,1142],"印象派","油画","睡莲","倒影","绿色植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47f56d0d168308a70d3719a0fa3f72a0.jpg","油画精选",[1144],78,{"id":1148,"slug":1149,"title":1150,"dynasty":91,"author":896,"museum":46,"description":1151,"tags":1152,"thumbUrl":1153,"material":34,"size":34,"collection":34,"collections":1154,"showCount":1155,"zanCount":39,"manualWeight":39,"mainColor":104},227717,"lian-yan-tu-mu-xi-227717","莲燕图","牧溪，宋末元初之画僧，无准禅师的弟子。四川人，生卒年不详。依径山无准师范出家，法名法常。于宋末理宗、度宗时（1225～1270），在杭州西湖长庆寺为杂役僧。性情英豪，嗜饮酒，醉则寝，觉则朗吟。擅长画佛像、人物、花果、鸟兽、山水、龙虎、猿鹤等，题材广泛。画风继承石恪、梁楷之减笔画，与中唐以来之逸格山水画，风格壮阔，自由放逸。其生平画迹与作品在国内之流传甚少，然日本极早即流传其画迹，且因其画风对日本艺坛产生强烈影响，故其画迹一直为名流所收藏，如观音猿鹤图、龙虎图、栗柿图、芙蓉图、老松八哥鸟图、潇湘八景图、柳燕图等，其中之观音猿鹤图三幅，相传系日僧圣一于宋理宗淳祐元年（1241），由中国带往日本者，目前被视为日本国宝。\n\n水墨皆禅，万法唯心，对牧溪而言，他也许从未定义自己是个画家，而首先是个僧人，是个禅师。他的画被归为禅画的范畴，禅画将生命的解脱视为最高存在意涵。画中幽远超然的留白，似乎天地之间，只剩你与他笔下的一只蜻蜓、一颗萝卜、一只小燕。生命原本就是这么简单。",[24,95,25,139,140,27,7,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb67985521198db5b72190fbaa7002bfa.jpg",[],77,{"id":1157,"slug":1158,"title":1159,"dynasty":91,"author":1160,"museum":46,"description":1161,"tags":1162,"thumbUrl":1163,"material":34,"size":34,"collection":34,"collections":1164,"showCount":1155,"zanCount":39,"manualWeight":39,"mainColor":104},227545,"luo-hua-you-yu-tu-juan-liu-cai-227545","落花游鱼图卷","刘寀","《落花游鱼图》是北宋刘寀创作的绢本设色画，现藏于美国圣路易美术馆。\n\n此图开始先画盛开的杏花，伸向水面，向后展开，落花引来群鱼争食、或聚或散，或潜游，或上浮，或回泳，翻藻戏蒲，以示水中的畅泳自然之态。其画法全用渲染，间或用没骨法，不见钩勒，活泼生动。这种表现方法和诗情画意，独创一格，多为后人所仿效。",[23,24,112,49,29,79,7,1080,50,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa408c3b0e7c06087b3ea0051b1546b89.jpg",[],{"id":1166,"slug":1167,"title":1168,"dynasty":182,"author":220,"museum":46,"description":1169,"tags":1170,"thumbUrl":1172,"material":64,"size":65,"collection":34,"collections":1173,"showCount":1174,"zanCount":11,"manualWeight":39,"mainColor":104},228240,"yu-lan-guan-yin-zhou-yi-ming-228240","鱼篮观音轴","此尊观音菩萨即为鱼篮观音，像高束发，垂发挽结，自然舒卷，搭在双肩，富有写实感。观音菩萨面相丰满，头微颔，双眼作俯视状，双眉正中嵌珍珠白毫。五官刻画柔和，轮廓端正，表情和悦，深沉内省，充分表现出观音菩萨大慈大悲、慈悯众生的佛性。观音菩萨袒露前胸，佩戴牡丹花饰缨络项链，内束裙，裙边饰花纹，折迭自然起伏，裙带扎束小结，线条流畅细腻，富有动感。外罩双领下垂大衣，衣领雕饰牡丹花草，翻卷自由活泼，富有写实性和立体感。",[23,24,139,29,49,223,224,79,7,225,1171],"篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe41ecfe8a6fc43621a056f7ae4293a6a.jpg",[],76,{"id":1176,"slug":1177,"title":1178,"dynasty":366,"author":1179,"museum":46,"description":1180,"tags":1181,"thumbUrl":1182,"material":64,"size":65,"collection":34,"collections":1183,"showCount":1184,"zanCount":39,"manualWeight":39,"mainColor":104},289777,"lian-chi-shui-qin-tu-zhou-er-gu-de-qian-289777","莲池水禽图轴二","顾德谦","顾德谦，五代南唐画家。建康(江苏)人，专喜好画道教神像画，又善画动植物。深受李后主厚爱。他画的人物，神韵清劲，笔力雄健。传世作品有《太上像》、《太上度关图》、《太上图》、《太上采芝像》、《四子太上像》、《采芝图》、《仙迹图》、《洞庭灵烟图》等20余件，见《宣和画谱》。",[23,24,139,593,29,49,7,325,327,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eb96d9cd6b47e7470bafecaed08c207.jpg",[],75,{"id":1186,"slug":1187,"title":1188,"dynasty":134,"author":169,"museum":1189,"description":1190,"tags":1191,"thumbUrl":1193,"material":98,"size":34,"collection":313,"collections":1194,"showCount":1184,"zanCount":39,"manualWeight":39,"mainColor":231},219592,"pin-cha-tu-chen-hong-shou-219592","品茶图","香港艺术馆","该场景画在一个开放的空间里，用石头、木桌、茶具和荷花装饰。两个高卓人相对而坐，最近的一个已经弹完了古筝，而对面的人则坐在一张大香蕉叶上，一起喝香茶。",[24,95,25,139,49,29,52,224,172,7,1192,926],"茶具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe38a7bfcb0587783355bda0d2f3e792b.jpg",[313],{"id":1196,"slug":1197,"title":1198,"dynasty":134,"author":169,"museum":46,"description":1199,"tags":1200,"thumbUrl":1202,"material":34,"size":34,"collection":313,"collections":1203,"showCount":1204,"zanCount":39,"manualWeight":39,"mainColor":104},237159,"guan-yin-zhou-chen-hong-shou-237159","观音轴","陈洪绶（1599～1652），字章侯，幼名莲子，一名胥岸，号老莲，别号小净名，晚号老迟、悔迟，汉族，浙江绍兴府诸暨县枫桥陈家村（今诸暨市枫桥镇陈家村）人。明末清初书画家、诗人。\n年少师事刘宗周，补生员，后乡试不中，崇祯年间召入内廷供奉。明亡入云门寺唻洎为僧，后頭樤还俗，以卖画为生。享誉明末画坛，与当时的顺天崔子忠齐名，号称“南陈北崔”。名作《九歌图》《屈子行吟图》《插图》《水浒叶子》《博古叶子》等，工诗善书，有《宝纶堂集》。\n1652年去世。",[24,25,139,223,224,49,29,7,1201],"童子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fc28aeb4164075d3d687abc7936a726.jpg",[313],73,{"id":1206,"slug":1207,"title":1208,"dynasty":134,"author":220,"museum":46,"description":1209,"tags":1210,"thumbUrl":1215,"material":34,"size":34,"collection":34,"collections":1216,"showCount":1204,"zanCount":11,"manualWeight":39,"mainColor":104},232909,"fang-xu-xi-hua-niao-tu-juan-yi-ming-232909","仿徐熙花鸟图卷","徐熙，鍾陵（今進賢西北）人，生卒年不詳，出身世家，「世為江南顯族」。但一生沒有出仕做官，因此後世稱他為「江南布衣」或「南唐處士」。他的藝術成就，集中體現在不同凡響的落墨花鳥畫創作方面。在當時，這種畫的畫法不同於一般傳統的技法，而是大膽創新。它的出現，曾引發了一些遵從傳統技法的畫家的震驚和敵視。\n中國花鳥畫成為獨立的藝術，比人物畫、山水畫稍晚，唐代雖然出現了不少名家，但直到五代南唐徐熙和西蜀黃荃兩家的出現，花鳥畫壇才放出了異彩。\n徐熙、黃荃都是中國繪畫史上影響深遠的大畫家，但繪畫風格不同，宋代流行一句話：「黃荃富貴，徐熙野逸」。王安石盛讚徐熙的畫名滿江南，成就卓著。劉道醇的《聖朝名畫評》將徐熙的作品列為「花竹翎毛門」的神品第一名，認為他「與造化之功不甚遠，宜乎為天下冠也」。\n眼光獨特的北宋書畫大家米芾認為徐熙的畫法富於變化，不為常規所有，用普通的追求形色相似的臨摹方法無法描摹、激賞其藝術上的獨創價值。\n徐熙是一位多產的畫家，宋《宣和畫譜》所載藏於御府的畫目中，徐熙的畫有249種。流傳於世間的重要作品有《寒蘆野鴨》《花竹雜禽》《魚蟹草蟲》《雪竹圖》《百鳥圖卷》等，因其開創了中國寫意花鳥畫的先河，時稱「江南花鳥，始於徐家」。",[23,24,25,112,29,49,1211,142,27,226,646,1212,505,507,815,1213,7,1214],"临摹","鹤","日","鸟类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90011eff47e64f1294d5d515d140a732.jpg",[],{"id":1218,"slug":1219,"title":1066,"dynasty":18,"author":529,"museum":46,"description":1220,"tags":1221,"thumbUrl":1222,"material":34,"size":34,"collection":34,"collections":1223,"showCount":1224,"zanCount":39,"manualWeight":39,"mainColor":40},231041,"mo-he-tu-zhu-da-231041","以水墨写就池上清景，中锋勾出的荷茎瘦劲挺拔，如孑然君子撑立水间。\n墨色干湿浓淡铺陈荷叶，泼墨淋漓间，或舒展如伞、或卷垂含露，留白处漾着空濛水意。敛藏半绽的花苞幽然独立，不见游鱼水藻，却满溢荷塘清宁冷逸的意趣。\n整幅删繁就简，将心绪寄寓花叶，以极简笔墨绘出疏旷隽雅的意境，笔底带着清冷孤傲的气韵，寥寥数笔便把池上清寂萧索又清绝的余韵铺展开来，淡远悠长。",[23,95,24,25,139,140,27,7,31,172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F926a786a2b10460948ab44a52259f36d.jpg",[],69,{"id":1226,"slug":1227,"title":1228,"dynasty":154,"author":478,"museum":1229,"description":1230,"tags":1231,"thumbUrl":1233,"material":34,"size":34,"collection":34,"collections":1234,"showCount":1224,"zanCount":11,"manualWeight":39,"mainColor":40},220503,"he-du-ye-qu-zhang-da-qian-220503","荷堵野趣","龙美术馆西岸馆","这幅画以泼墨泼彩晕染出荷塘野意，那株凌空舒展的巨荷最为夺目，墨色苍浑沉厚，瓣叶如流云狂卷，带着风雨将临的恣肆野逸。下方白荷冰清玉洁，线条柔婉雅致，与浓如泼墨的荷叶形成强烈反差。淡粉烟霞般的底色晕开水汽氤氲，把荷塘缥缈朦胧的夏夜氛围铺陈开来。干湿浓淡的墨色肆意碰撞，笔力雄健不失清雅生机，将荷塘的清寂苍茫与蓬勃野趣融于一体，尽显水墨淋漓的写意之美，满是蓬勃的生命张力。",[24,140,29,7,31,139,141,1232],"墨荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22f536715eecbc62d1e1108ce9d6bcb5.jpg",[],{"id":1236,"slug":1237,"title":1238,"dynasty":91,"author":1239,"museum":46,"description":1240,"tags":1241,"thumbUrl":1243,"material":64,"size":65,"collection":34,"collections":1244,"showCount":1245,"zanCount":39,"manualWeight":39,"mainColor":104},288976,"tai-ye-he-feng-tu-feng-da-you-288976","太液荷风图","冯大有","南宋画家，生卒年不详，是南宋吴门（今江苏苏州）人。他自号怡斋，画史记载他善于捕捉莲花风、晴、老、嫩不同的面貌，可说是画莲的能手。",[737,24,95,49,29,503,27,7,31,226,1242],"微风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feffd42f9cf8108f6afa83f0ebe8d2397.jpg",[],66,{"id":1247,"slug":1248,"title":1249,"dynasty":18,"author":467,"museum":46,"description":1250,"tags":1251,"thumbUrl":1252,"material":64,"size":65,"collection":34,"collections":1253,"showCount":1245,"zanCount":230,"manualWeight":39,"mainColor":40},237972,"pu-cao-bai-lian-tu-zhou-wu-chang-shuo-237972","蒲草白莲图轴","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,25,139,140,29,27,7,814,141],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05376873ccbbd59e9bd5afd64a6a3a2e.jpg",[],{"id":1255,"slug":1256,"title":1257,"dynasty":366,"author":367,"museum":136,"description":1258,"tags":1259,"thumbUrl":1260,"material":34,"size":34,"collection":34,"collections":1261,"showCount":1262,"zanCount":11,"manualWeight":39,"mainColor":104},226706,"he-ting-yi-diao-shi-nv-tu-zhou-zhou-wen-ju-226706","荷亭奕钓仕女图轴","五代南唐周文矩荷亭奕钓仕女图轴，中国古画之一，作者是五代南唐周文矩，幅195.1x98公分；全幅100公分，收藏于台北故宫博物院。",[24,25,139,29,49,224,370,371,7,338,374,815],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6da1de419707f3ac4b12376b237d53c6.jpg",[],65,{"id":1264,"slug":1265,"title":1266,"dynasty":18,"author":1267,"museum":74,"description":1268,"tags":1269,"thumbUrl":1270,"material":82,"size":34,"collection":1055,"collections":1271,"showCount":1272,"zanCount":11,"manualWeight":39,"mainColor":40},238975,"he-hua-wang-wen-zhi-ti-yong-zhou-pan-gong-shou-238975","荷花王文治题咏轴","潘恭寿","潘恭寿 （1741－1794），字慎夫，号握篔，又号莲巢，丹徒（今江苏镇江）人。中年归依佛门后，法号达莲。",[139,24,25,140,29,7,31,188,142,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9aa48d2065c663302255911bf30c46e5.jpg",[1055],63,{"id":1274,"slug":1275,"title":1276,"dynasty":91,"author":220,"museum":46,"description":1277,"tags":1278,"thumbUrl":1280,"material":34,"size":34,"collection":34,"collections":1281,"showCount":1272,"zanCount":11,"manualWeight":39,"mainColor":104},223632,"lian-chi-shui-qin-tu-zhou-dui-zhou-er-yi-ming-223632","莲池水禽图轴对轴二","以没骨晕染写就盛夏荷塘生机，粉荷或粲然盛放，或含苞待绽，淡粉水色晕出花瓣柔润层次，娇妍动人。石绿敷色的荷叶，渍染出卷舒枯荣，苍润兼具，尽显池上蓊勃夏意。\n\n两只水禽优游波间，翎羽细勾淡染，姿态闲舒缓和，破开繁花叶影的静谧，添了灵动生趣。\n\n古雅的旧绢底色晕染出宋韵古澹，构图疏密错落，将荷塘幽谧生机融于尺幅，藏着宋人格物观照的雅致意趣，虽经岁时磨损，依旧能窥见院体花鸟工致温婉的审美品格。",[23,95,24,25,139,49,29,96,7,31,325,1279],"池水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcad2f0b5b63fb5100d6e2037573719a0.jpg",[],{"id":1283,"slug":1284,"title":1285,"dynasty":18,"author":220,"museum":136,"description":1286,"tags":1287,"thumbUrl":1288,"material":402,"size":1289,"collection":313,"collections":1290,"showCount":1291,"zanCount":39,"manualWeight":39,"mainColor":40},238870,"mei-gui-fei-chun-gui-ren-xing-le-tu-zhou-yi-ming-238870","玫贵妃春贵人行乐图轴","此图描绘玫贵妃与春贵人、鑫常在花园中钓鱼的情景。人物形神毕肖，个性鲜明，明显带有肖像画特征，对研究晚清嫔妃的宫廷娱乐生活具有较为珍贵的影像价值。\n此图所绘主人公玫贵妃，姓徐佳氏，是清代咸丰皇帝的嫔妃，初为贵人，后进玫嫔。同治皇帝在位时，尊封其为玫贵妃。",[24,139,49,29,224,370,372,7,31,507,374,113,327,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0271796fde7f4f01e55be68f0f4a86c.jpg","纵169cm，横90cm",[313,67],62,{"id":1293,"slug":1294,"title":1295,"dynasty":91,"author":1296,"museum":46,"description":1297,"tags":1298,"thumbUrl":1300,"material":98,"size":1301,"collection":100,"collections":1302,"showCount":1291,"zanCount":230,"manualWeight":39,"mainColor":104},218558,"he-hua-chong-jie-tu-lin-chun-218558","荷花虫介图","林椿","这幅画描绘了一个有着厚厚的白色条纹和点状绿色皮肤的大绿瓜，红色的蜻蜓和两只蜜蜂在瓜上盘旋，似乎是水果的香味吸引了它们；一只绿色的蚱蜢蹲在宽大的叶面上，似乎也在向瓜爬来。",[95,24,25,49,29,27,7,1299,172,186],"虫介","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11bbb375e79fb24e593b6af6beedad0f.jpg","28x26",[100],{"id":1304,"slug":1305,"title":1306,"dynasty":134,"author":1307,"museum":136,"description":1308,"tags":1309,"thumbUrl":1310,"material":663,"size":1311,"collection":261,"collections":1312,"showCount":38,"zanCount":39,"manualWeight":39,"mainColor":40},222411,"shui-mian-wen-xiang-zhou-wen-cong-jian-222411","水面闻香轴","文从简","图绘荷塘一隅，圆盘状荷叶遮住水面，墨色浓郁，四周水草繁茂，三支荷花突颖而出，二支绽放，一支含苞待放，高处荷杆上一只翠鸟探头向水中望去，翠鸟红喙细长尖锐，全身毛发柔软整齐，神情活泼。",[23,24,139,29,49,7,31,387,50,449],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3e54eae5e00cccc24c1fccf44406de6.jpg","106.8x43.8厘米",[261,263],{"id":1314,"slug":1315,"title":1316,"dynasty":18,"author":1317,"museum":74,"description":1318,"tags":1319,"thumbUrl":1320,"material":986,"size":1321,"collection":35,"collections":1322,"showCount":1323,"zanCount":11,"manualWeight":39,"mainColor":40},236383,"he-lu-tu-zhou-huang-shen-236383","荷鹭图轴","黄慎","黄慎的花鸟画更多地继承了明代徐渭的泼墨大写意花鸟画风。此图描绘雨后双鹭于荷塘憩戏觅食的情景。画上荷花数茎，枝叶劲挺，花瓣娇媚，似有暗香浮动。两只白鹭翩翩而下，谨慎地着入水面，画家通过这一细节巧妙地表现出“水满池”的情景，“用笔极简，意趣自足”，由此可见一斑。对于荷叶的用笔恣肆狂放，墨色浓重，显示出荷花枝叶肥厚、“风飘不动”的旺盛生命力。在硕壮浓郁的荷叶的衬托下，以淡而轻的笔法描绘出白鹭的轻盈稚嫩，惹人怜爱。此外，画家在简洁的构图中力求营造空间感：图中荷花高低错落，荷叶相互掩映，俯仰向背，姿态各异，有着明显的纵深前后关系。两只白鹭停息在荷杆之后，尤其那只迎面飞来的白鹭起到了扩展画面空间的作用。在文人画中，很容易因注重笔墨形式而忽略景物的空间感，职业画家出身的黄慎在吸收文人笔墨情趣的同时，恰当地将写实与写意相结合，从而形成自己独特的风格。",[24,25,139,140,141,142,27,96,7,747],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70ddc7422f4a85b05d360154cb4bbb54.jpg","纵130.2 厘米，横71.2厘米",[35,263],56,{"id":1325,"slug":1326,"title":1327,"dynasty":18,"author":1328,"museum":74,"description":1329,"tags":1330,"thumbUrl":1337,"material":701,"size":1338,"collection":34,"collections":1339,"showCount":1340,"zanCount":39,"manualWeight":39,"mainColor":104},234262,"si-xu-tu-juan-yao-wen-han-234262","四序图卷","姚文瀚","此图卷描绘宫廷仕女春游、纳凉、游湖、赏雪四季不同的享乐生活。布局巧妙，境界幽曲，将人物、山水、楼台亭阁、春夏秋冬的不同树木花卉及其景色容于一卷。精心刻划，形象生动，笔墨工细，赋彩随类，颇为自然。人物虽小，然曲尽各种姿态，形神俱备，景物虽繁，然疏密有度，为烘托人物的各种游乐活动而恰到好处。确是精心经营的佳作。\n姚文瀚，号濯亭，顺天（今北京）人，生卒年不详。乾隆时供奉内廷，工道释、人物、山水、界画，《石渠宝笈》著录其曾作《仿清明上河图》卷，文瀚于群工角艺之时，胸具别裁，画成缩本，乾隆喜而题诗并注：“此卷较择端原本尺幅纵横倍减，而临摹毕肖，人物益小，尤见精能。”尝画《梧阴清暇图》轴、《春朝婴戏图》轴、《岁朝欢喜图》轴、《观音像》轴、《文殊像》轴等。乾隆十七年（1752）尝作《仿宋人文会图》卷，二十六年（1761）作《紫光阁锡宴图》卷。\n传世作品有《四序图》卷，绢本，设色，描绘宫廷仕女春游、纳凉、游湖、赏雪四季不同之悠闲生活、构思巧妙，意境幽曲，刻画细腻，形象生动，笔墨工整，设色典雅。此作人物虽小，然曲尽姿态，形神兼备，现藏故宫博物院。",[23,24,112,29,49,337,224,338,698,505,7,1331,341,507,1332,327,1333,939,1334,1335,1336],"舟楫","亭台","路径","园林","草木","游赏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F932487c9f43ccf74b8dc4bf3654f4db3.jpg","纵31．5厘米，横318厘米",[],55,{"id":1342,"slug":1343,"title":1344,"dynasty":134,"author":1345,"museum":46,"description":1346,"tags":1347,"thumbUrl":1350,"material":34,"size":34,"collection":34,"collections":1351,"showCount":1340,"zanCount":11,"manualWeight":39,"mainColor":40},234176,"hua-hui-juan-lu-zhi-234176","花卉卷","鲁治","鲁治，号岐云，东吴人。善画花卉、翎毛。设色妍丽，得宋人之法。广东省博物馆藏《百花图卷》。",[23,24,25,112,49,29,27,1348,1349,258,116,114,118,117,120,119,7],"梅","兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3035c745deb8cf52d925ad006c15ad2b.jpg",[],{"id":1353,"slug":1354,"title":1066,"dynasty":18,"author":529,"museum":46,"description":1355,"tags":1356,"thumbUrl":1357,"material":34,"size":34,"collection":34,"collections":1358,"showCount":1359,"zanCount":39,"manualWeight":39,"mainColor":104},231034,"mo-he-tu-zhu-da-231034","《墨荷图》是清代石涛创作的纸本墨笔画。\n图绘欣欣向荣的荷塘景色。\n构图疏密交错，通过荷叶、茨菰、莲蓬、蒲草间的相互掩映构筑出变化丰富的空间层次。\n用墨淋漓尽致，浓淡、枯润相生，显现出作者较强的笔墨把控能力。\n本幅自题七言诗一首，款署：“大涤子邗上秋日写”。\n钤白文印二方：“靖江后人”、“大涤堂”。\n219年9月2日，该作品在故宫博物院和 共同主办的《回望传承——八大山人纪念馆建馆6周年故宫典藏特展》中展出。\n石涛（1642—约1718年），俗姓朱，明宗室靖江王朱赞仪十世孙，谱名若极，广西桂林人。\n明灭亡后，出家为僧，法名原济，字石涛，号清湘老人、苦瓜和尚等。\n工于诗文，擅绘山水、兰竹、花草及人物。\n其笔情纵恣凝炼，独具创新，对扬州画派和近、现代中国画的影响极大。\n与清初画坛朱耷、髡残、弘仁合称“清四僧”，著有《苦瓜和尚画语录》，针对画坛时弊提出诸多精辟见解。",[23,24,25,95,139,140,27,96,7,172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd1fc908bf2c25b01fd7e185665cc123.jpg",[],53,{"id":1361,"slug":1362,"title":1363,"dynasty":18,"author":220,"museum":46,"description":1364,"tags":1365,"thumbUrl":1366,"material":34,"size":34,"collection":34,"collections":1367,"showCount":1368,"zanCount":39,"manualWeight":39,"mainColor":40},235346,"li-shan-he-hua-tu-zhou-yi-ming-235346","李鱓荷花图轴","此作用水墨写意绘就荷塘景致，泼墨挥写荷叶，浓淡干湿层次分明，墨色晕染尽显苍润淋漓之态。荷花以淡墨轻勾轮廓，清姿绰约，荷茎劲挺穿插，带着舒展野逸的生机。画面搭配狂放题诗，书画相映成趣，笔墨间带着疏放不羁的意趣，将荷塘清韵与文人风骨相融。以极简水墨笔法写尽荷花出尘之姿，尽显写意花鸟酣畅洒脱的格调，朴拙随性间逸气纵横，将夏日荷塘的悠然意趣藏在笔墨虚实之中，尽显以意驭笔的文人画妙味。",[24,140,141,27,7,31,142,188,52,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb26610f2567b72eb84b2c567e8c8efe.jpg",[],52,{"id":1370,"slug":1371,"title":1372,"dynasty":18,"author":1373,"museum":46,"description":1374,"tags":1375,"thumbUrl":1376,"material":34,"size":34,"collection":34,"collections":1377,"showCount":1368,"zanCount":39,"manualWeight":39,"mainColor":40},224581,"ci-lian-tu-zhou-jiang-ting-xi-224581","赐莲图轴","蒋廷锡","此作用笔秀逸工致，瓶身釉色晕染细腻，冰裂纹饰古朴沉静，莲茎舒展挺秀，两朵白莲瓣脉柔润，清妍雅致，荷叶以浓淡墨色晕染，尽显舒展自然之态，将芙蕖出尘之姿与清供古雅之美相融。左上题字清雅舒展，与画面相得益彰，兼具院体工笔的精细工整与文人画的冲淡意趣，整体意境清逸娴静，尽显文房清供的恬淡雅致，将案头赏玩的闲情逸趣诉诸笔端，是极具意韵的写生佳作。",[23,24,139,789,49,29,7,31,686,113,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76f80e41463c6d0100002a7885112251.jpg",[],{"id":1379,"slug":1380,"title":1381,"dynasty":18,"author":220,"museum":46,"description":1382,"tags":1383,"thumbUrl":1389,"material":34,"size":34,"collection":1390,"collections":1391,"showCount":1392,"zanCount":39,"manualWeight":39,"mainColor":231},241795,"bai-yu-qian-bao-shi-bian-fang-yi-ming-241795","白玉嵌宝石扁方","莹白美玉为底，质地匀净温润如凝脂初雪，铺陈出雅致底色。两端嵌饰取荷塘清趣为景，翠色翡翠雕就舒展荷叶，脉络分明尽显鲜活生机，粉、红彩宝雕琢花苞与饰件，明丽撞色晕开灵动意趣，将夏塘一隅的恬然景致凝于发间。\n\n整器修长秀雅，将玉石清贵与彩宝明丽相融，匠意精巧，把江南夏塘的柔婉诗意藏进日常首饰，雅致与鲜活兼具，尽显旧时精致审美意趣。",[51,1384,1385,1386,7,1387,1388],"玉石","镶嵌","宝石","饰品","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16147e4a7f0d9eb198459d2b9b9037c7.jpg","玉器精选",[1390],51,{"id":1394,"slug":1395,"title":1396,"dynasty":18,"author":764,"museum":46,"description":1397,"tags":1398,"thumbUrl":1399,"material":82,"size":1400,"collection":34,"collections":1401,"showCount":1392,"zanCount":39,"manualWeight":39,"mainColor":40},232892,"hua-niao-tu-li-zhou-li-shan-232892","花鸟图立轴","字宗扬，号复堂，又号懊道人，墨磨人、木头老子、苦李、滕薜大夫等。江苏兴化人。\n一生在仕宦途中，历遭坎坷。康熙五十年即２５岁时中举，三年后以画技至清宫当内廷供奉。他本是学画山水的，进宫后，康熙皇帝指令他跟“正宗”派花鸟画家蒋廷锡学习花卉。李鱓不以学习蒋廷锡为满足，又向高其佩学习，后受石涛笔意启发，以破笔泼墨作画，风格大变。突破了“正宗”派所规定的框框，是一位颇得宫廷器重的画师，名声也日益扩大。但他却遭到一批摹古画师的极力排斥，并以所谓抗拒规定题材和体裁的罪名而被解职。郑板桥说他是“才雄颇为世所忌，口虽赞叹心不然”。后来，李鱓以检选出任山东滕县知县，为政清简，体谅民情，被士民所尊敬。又因负才使气，玩世不恭，触犯了权贵，遂于乾隆五年，罢官归里，流落扬州，过着卖画为生的凄凉的生活。两次的仕宦打击，使李鱓在生活上放纵自己，寄情花鸟，以书画发泄其苦闷之情，但又不甘心宦途上的失败，常欲东山再起。但事与愿违。晚年定居扬州，以卖画为生。李鱓与郑板桥是同乡，又最为知已，结为知交，所以郑板桥有《郑板桥集…. 李鱓》的诗句，并有“卖画扬州、与李同老”的话。\n所作花卉，不拘法度，泼墨淋漓，但犹不失天趣。但晚年部分作品过于霸悍。传世画迹有南京博物院藏《土墙蝶花图》轴、故宫博物院藏《松藤图》轴等。\n李 鱓诗才书法成就是卓然的。李 鱓书法古朴，具颜、柳筋骨。作画时喜欢在画幅上长题满跋，有时甚至于把参差错落的题字，写满画面，于质实中见空灵，使整幅画面气韵更加淋漓酣畅。为此秦祖咏说他“书法古朴，款题随意布置，另有别致，殆亦摆脱俗格，自立门庭者也”。",[23,24,25,139,140,141,7,31,747,27,661,50,387,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3527f96ea3aeadc84c0dedcfd0c340f.jpg","56.4x104cm",[],{"id":1403,"slug":1404,"title":1405,"dynasty":134,"author":220,"museum":46,"description":1406,"tags":1407,"thumbUrl":1408,"material":34,"size":34,"collection":34,"collections":1409,"showCount":1410,"zanCount":39,"manualWeight":39,"mainColor":104},223635,"lian-hua-tu-ye-yi-ming-223635","莲花图页","此作以工笔绘就，柔劲细线勾勒莲瓣轮廓，淡赭轻晕瓣边，褪去初绽娇色，白荷温润舒展，尽显盛放的雍容雅致。硕大荷叶以石绿敷色，墨笔勾出叶脉肌理，在古绢底色晕染下，绿意沉凝厚重，与素净白荷相映，清雅中带着沉静古拙的岁月质感。\n\n画面构图饱满却不显繁冗，一花两叶错落排布，将夏荷舒展之态定格。无多余点缀，以极简布景烘托莲的出尘气韵，尽显传统工笔花鸟的内敛雅致，晕开古画沉淀的静美意趣。",[23,95,24,25,26,29,49,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4589146b155a8c850a3f7b447dbf6eb0.jpg",[],50,{"id":1412,"slug":1413,"title":1414,"dynasty":134,"author":220,"museum":46,"description":1415,"tags":1416,"thumbUrl":1420,"material":789,"size":1421,"collection":34,"collections":1422,"showCount":1410,"zanCount":39,"manualWeight":39,"mainColor":40},223582,"rui-lian-ling-mao-tu-yi-ming-223582","瑞莲翎毛图","荷塘里，荷叶绿如盘，粉红的荷花，或腐烂，或萌芽，含彩花，已结莲子； 天空中的白雁鸭成对啄食嬉戏，翠鸟、家禽或站在水草的杆上，或在柳枝上，或盘旋在空中，一派生机勃勃的景象。",[23,24,25,29,49,27,7,31,1417,226,325,505,1418,113,641,1335,1419,809],"天鹅","翎毛","设色花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd66437a893b263b8850ee0421ee4d9d3.jpg","80x60cm",[],{"id":1424,"slug":1425,"title":1426,"dynasty":18,"author":982,"museum":109,"description":1427,"tags":1428,"thumbUrl":1429,"material":82,"size":34,"collection":34,"collections":1430,"showCount":1431,"zanCount":230,"manualWeight":39,"mainColor":40},232606,"ku-gua-he-shang-shu-hua-ce-shi-tao-232606","苦瓜和尚书画册.","此画册《苦瓜和尚书画册》为清代画家石涛绘，共12幅，一图一诗。旧藏日本大收藏家桑名铁城，书名页 “石涛道人书画神品”为日本著名画家富冈铁斋题，现藏于美国大都会博物馆。这些书画大约书绘于1695年。\n石涛（1642年－1708年），清初画家，原姓朱，名若极，广西桂林人，祖籍安徽鳳陽，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等。与弘仁、髡残、朱耷合称“清初四僧”。石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n石涛擅长山水，常体察自然景物，主张“笔墨当随时代”，画山水者应“脱胎于山川”，“搜尽奇峰打草稿”，进而“法自我立”。所画的山水、兰竹、花果、人物，讲求新格，构图善于变化，笔墨笔墨恣肆，意境苍莽新奇，一反当时仿古之风。\n第十二帧：君与梅花同赏，岁寒时许争夸，暖日睛窗拈笔，几回清思无涯。小乘客，济。",[24,25,26,140,188,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07884430a5f9c035d5167b0df2cde5b3.jpg",[],49,{"id":1433,"slug":1434,"title":1435,"dynasty":366,"author":1179,"museum":46,"description":1180,"tags":1436,"thumbUrl":1437,"material":64,"size":65,"collection":34,"collections":1438,"showCount":1439,"zanCount":11,"manualWeight":39,"mainColor":104},289778,"lian-chi-shui-qin-tu-zhou-yi-gu-de-qian-289778","莲池水禽图轴一",[23,24,27,139,49,29,7,96,226,325],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5be46ebdc7cfa368ae7532a135a26ee.jpg",[],48,{"id":1441,"slug":1442,"title":268,"dynasty":18,"author":1443,"museum":46,"description":1444,"tags":1445,"thumbUrl":1447,"material":64,"size":65,"collection":34,"collections":1448,"showCount":1439,"zanCount":11,"manualWeight":39,"mainColor":40},239517,"he-hua-zhou-hu-yuan-239517","胡远","字公寿，号瘦鹤，画用字行，又号横云山民，华亭（今上海松江）人，侨上海。能诗，善书画，书法颜真卿，藏有戏鸿堂祖本争位座稿书，矜为至宝。画笔秀雅绝伦，以湿笔取胜。山水花木无所不能，尤喜画梅。咸丰十一年（一八六一）至上海初寓毛树徴家，后买宅颜曰寄鹤轩。与李壬叔（善兰）、胡鼻山（震）诸名流友善，卖画自给。卒年六十四。有寄鹤轩诗草。",[24,139,140,29,141,27,7,31,1446],"茎秆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81805cb9f07093259ca1f8e2008f7476.jpg",[],{"id":1450,"slug":1451,"title":1452,"dynasty":18,"author":831,"museum":136,"description":1453,"tags":1454,"thumbUrl":1458,"material":649,"size":1459,"collection":261,"collections":1460,"showCount":1439,"zanCount":39,"manualWeight":39,"mainColor":40},222765,"shi-er-yue-ling-tu-6-yue-lang-shi-ning-222765","十二月令图（6月）","清院本版的“赏花”图是清佚名版《行乐图》中没有的，显然是新增的时令图，替换清佚名版的《三月赏桃图》。笔者将其命名为“赏花”，是根据其主景（近景）确定的。其文字介绍也说：“画中描绘了树木渐茂，百花竞放，人们在连绵的细雨中执伞顶笠，赏花、消遣的景象。”如果将其命名为“赏桃”，显然名不符实。其余时令图与《雍正十二月行乐图》的十一种图基本相同。说“基本相同”是因为也有不同之处，下面分别说明。\n1、在《行乐图》之《正月观灯图》中，雍正站在廊式围墙的大门间。在《月令图》之《正月观灯图》中，雍正站在围墙大门右边的廊下。\n2、在《月令图》之《二月踏青图》中，雍正前后的栏杆、围墙与《行乐图》之《二月踏青图》的不同。\n3、在《月令图》之《三月流觞图》中，其溪流右边的楼阁与《行乐图》之《四月流觞图》的不同。\n4、在《月令图》之《五月竞舟图》中，主要是雍正位于的高台凉亭与《行乐图》之《五月竞舟图》的不同。\n5、在《月令图》之《六月纳凉图》中，主要是雍正位于的高台楼阁与《行乐图》之《六月纳凉图》的不同。\n6、在《月令图》之《七月乞巧图》中，主要是雍正所处的房屋后面的树木、雾霭与《行乐图》之《七月乞巧图》的不同。\n7、在《月令图》之《八月赏月图》中，主要是雍正位于的高台楼阁的四周树木、山石与《行乐图》之《八月赏月图》的不同。\n8、在《行乐图》之《九月赏菊图》中，雍正所处房屋的月亮门前是石墙填土的高台院子。在《月令图》的《九月赏菊图》中，雍正所处房屋的月亮门前不是高台，而是山石低岸。\n9、在《行乐图》之《十月画像图》中，雍正所处房屋与对面房屋的通道没有栏杆。在《月令图》的《十月画像图》中，则有红色栏杆。\n10、在《行乐图》之《十一月参禅图》中，雍正所处房屋中有一排字画，靠墙的花几上有一件插了花的青铜觚，门口有一只雌孔雀。这些内容在《月令图》的《十一月参禅图》中都没有。\n11、在《行乐图》之《腊月赏雪图》中，鹿场左侧有九曲桥与对面相通。在《月令图》的《腊月赏雪图》中则没有",[23,24,49,29,338,449,7,1455,505,224,1456,342,1457],"孤舟","纳凉","行乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6718ccffcb0e01f60920e1c7a8481499.jpg","188.2*102.2cm",[261,67],{"id":1462,"slug":1463,"title":1464,"dynasty":134,"author":396,"museum":247,"description":1465,"tags":1466,"thumbUrl":1469,"material":33,"size":1470,"collection":34,"collections":1471,"showCount":1439,"zanCount":39,"manualWeight":39,"mainColor":40},220014,"dong-zhuang-tu-ce-zhi-qu-chi-shen-zhou-220014","东庄图册之曲池","东庄是沈周的好友吴宽的庄园。原作有24幅，明末后只存21幅。",[23,24,140,29,26,339,31,7,505,507,1467,1468],"小径","皴法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4be52ac42f2b1996ec3a9bfa4d090913.jpg","纵28.6厘米，横33厘米",[],{"id":1473,"slug":1474,"title":1475,"dynasty":134,"author":1476,"museum":46,"description":1477,"tags":1478,"thumbUrl":1480,"material":64,"size":65,"collection":34,"collections":1481,"showCount":1482,"zanCount":39,"manualWeight":39,"mainColor":104},290150,"qiu-lu-fu-rong-tu-lv-ji-290150","秋鹭芙蓉图","吕纪","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。",[24,95,27,49,29,326,118,7,226,1479],"柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb9262e1e5ebf6b0387a9924cedf7acc.jpg",[],47,{"id":1484,"slug":1485,"title":1344,"dynasty":134,"author":1486,"museum":46,"description":1487,"tags":1488,"thumbUrl":1490,"material":285,"size":34,"collection":34,"collections":1491,"showCount":1482,"zanCount":39,"manualWeight":39,"mainColor":40},234257,"hua-hui-juan-zhu-chang-234257","朱昶","夏昶（1388年－1470年），字仲昭，号玉峯、自在居士，南直隶昆山县（今属江苏省昆山市）人。明朝画家，官员。外玄孙归有光。《明史》有传。\n夏昶早年过继于舅父，故姓朱。永乐十三年（1415年）乙未科进士，选入庶吉士，归宗，复夏姓，明成祖赐名为昶。正统年间官至太常寺少卿。夏昶与上元县的张益齐名，同年考中进士，同善作赋、画竹，夏昶后来认为自己的辞赋，不如张益，于是终身不再作赋；张益也认为自己所画的竹子不如夏昶，也终身不画竹子。",[23,24,112,25,49,29,27,113,7,114,115,119,1489],"玉兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb24494b2d5604dc9bc0f9237bdad182.jpg",[],{"id":1493,"slug":1494,"title":1495,"dynasty":18,"author":831,"museum":46,"description":1496,"tags":1497,"thumbUrl":1500,"material":34,"size":34,"collection":34,"collections":1501,"showCount":1482,"zanCount":39,"manualWeight":39,"mainColor":40},230207,"hong-li-guan-he-fu-qin-tu-zhou-lang-shi-ning-230207","弘历观荷抚琴图轴","《弘历观荷抚琴图轴》是 的一幅画。\n本幅无作者款识。\n随着明末清初的“西学东渐”之风，一些欧洲画家开始在清代宫廷供奉。\n一方面，他们接受中国传统绘画方式，采用中国笔墨颜料和纸绢作画，另一方面，他们依然坚持西洋绘画技法中的透视原则，在作品中着意表现物体的体积、质感、明暗、投影乃至倒影。\n此幅虽未署作者名款，实由意大利画家郎世宁主绘，中国画家补画山水背景。\n画中乾隆皇帝身着汉装，临湖抚琴，远处高山流水，喻其襟怀心境。\n作者不仅通过高超的技巧和精准的透视画法成功地表现出水边亭台的立体感和通透感，而且将建筑整体复杂的结构和各个构件的细部都交代得一清二楚，细腻的笔触与富于变化的色彩将原木立柱和屋顶青石瓦片的肌理与质感描绘得精微而生动。\n从此图中可以看到郎世宁运用焦点透视手法，按照一定的规律将所见到的屋宇移于画幅，成功地在二维平面画幅上真实地表现出多维空间，与传统中国界画描绘空间的手法完全不同。",[23,139,29,49,698,224,371,7,1498,1212,1125,1499,226],"松","石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd20e9e842214efa4753ba1dbdbe1e410.jpg",[],{"id":1503,"slug":1504,"title":1505,"dynasty":91,"author":220,"museum":74,"description":1506,"tags":1507,"thumbUrl":1509,"material":649,"size":1510,"collection":34,"collections":1511,"showCount":5,"zanCount":39,"manualWeight":39,"mainColor":40},223591,"shu-he-sha-niao-tu-ye-yi-ming-223591","疏荷沙鸟图页","图中所绘残败的荷叶表明了时当秋日，荷塘的一角，一枝枯瘦的莲蓬横出画面，鹡鸰栖止于莲梗上，侧首注视着上方的一只小蜂，其凝神专注的神态刻画得惟妙惟肖。莲梗两端的鹡鸰与莲蓬巧妙地平衡了画面，而鹡鸰目向小蜂的视线则带动观者的视线落于画面上方，这种布局使画面显得既稳定又生动。此图格调典雅，用笔精致，画风细腻，荷叶枯黄的斑点和细小的筋脉均描绘得一丝不苟。",[23,95,24,25,26,49,29,188,142,52,7,1508,387,91],"残荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd83a87f455c33296c9ed4d781844a8fe.jpg","纵25厘米，横25．6厘米",[],{"id":1513,"slug":1514,"title":1515,"dynasty":18,"author":671,"museum":46,"description":1516,"tags":1517,"thumbUrl":1518,"material":64,"size":65,"collection":34,"collections":1519,"showCount":1520,"zanCount":39,"manualWeight":39,"mainColor":40},288174,"he-hua-shuang-ya-li-zhou-ren-yi-288174","荷花双鸭立轴","任颐（1840年－1895年），即任伯年，初名润，字次远，号小楼，后改名颐，字伯年，别号山阴道上行者、寿道士等，以字行，浙江山阴航坞山（今杭州市萧山区瓜沥镇）人，清末著名画家。\n自幼随父卖画，后从任熊、任薰学画，后居上海卖画为生。在“四任”之中，成就最为突出，是“海上画派”中的佼佼者，“海派四杰”之一。任伯年的绘画发轫于民间艺术，技法全面，山水、花鸟、人物等无一不能。重视写生，又融汇诸家法，并吸取水彩色调之长，勾皴点染，格调清新。\n其人物画，早年从陈洪绶法出，形象夸张，富装饰效果。如故宫博物院藏《干莫炼剑图》轴。后练习铅笔速写后，变得较为奔逸，如故宫博物院藏《风尘三侠图》轴等。其写照技艺，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。\n海派中的佼佼者，其绘画发源于民间，重视继承传统，吸收西画技法，形成风姿多采的独特画风，在“四任”中成就最为突出。 　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[23,24,139,140,29,27,7,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F558fc058a71b3262d00499f28f8a76a2.jpg",[],44,{"id":1522,"slug":1523,"title":1524,"dynasty":366,"author":1525,"museum":74,"description":1526,"tags":1527,"thumbUrl":1529,"material":1530,"size":1531,"collection":34,"collections":1532,"showCount":1520,"zanCount":39,"manualWeight":39,"mainColor":104},221171,"jia-nuo-jia-fa-cuo-zun-zhe-tang-ka-bu-ben-guan-xiu-221171","迦诺迦伐磋尊者（唐卡布本）","贯休","贯休(832年-912年)，俗姓姜，字德隐，婺州兰溪(今浙江省兰溪市)人。唐末五代时期前蜀画僧、诗僧。七岁出家和安寺，日读经书千字，过目不忘。唐天复间入蜀，被前蜀主王建封为禅月大师，赐以紫衣。\n天复二年（902年），黄巢起义席卷大半个中国，兵火连年，战祸惨烈。古稀之年的贯休，带着对命运和时代的切肤之悟，做出了人生中一个重大决定：“一瓶一钵垂垂老，千水千山得得来。”他从黔中（今湖南怀化）出发，经三峡，沿长江逆流而上，于次年初春到达成都，度过了人生的最后十年。",[23,24,29,49,223,224,7,1528,1045],"洞窟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc9039551bd38106ac8fa4580e345112.jpg","布本，设色","通高143厘米，宽89厘米，画心纵82厘米，横56厘米",[],{"id":1534,"slug":1535,"title":1536,"dynasty":91,"author":220,"museum":136,"description":1537,"tags":1538,"thumbUrl":1539,"material":98,"size":1540,"collection":100,"collections":1541,"showCount":1520,"zanCount":11,"manualWeight":39,"mainColor":40},218858,"lian-tang-shui-fu-tu-yi-ming-218858","莲塘睡凫图","画家不仅将鸭子讨人喜欢的柔美外表表现得淋漓尽致，还将鸭子的毛绒质感表现得淋漓尽致。",[23,24,95,25,26,27,49,7,996],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad944b5f7cf79d9baa44a2f50701f1b1.jpg","21.2x23.4",[100,67],{"id":1543,"slug":1544,"title":1545,"dynasty":91,"author":220,"museum":136,"description":1546,"tags":1547,"thumbUrl":1548,"material":98,"size":1549,"collection":35,"collections":1550,"showCount":1551,"zanCount":11,"manualWeight":39,"mainColor":40},218856,"he-tang-yu-lu-tu-yi-ming-218856","荷塘浴鹭图","这幅画描绘了一个有荷花和摇曳的芦苇的浅水塘，一只白头鹅坐在池塘边梳理羽毛。荷花巨大，白粉涂得很重，掩盖了线条，而芦苇则用墨汁扫过，这与通常的花鸟彩色笔法不同，颇为有趣。这幅画的标题可能不正确，因为大雁被误认为是苍鹭。",[23,24,25,737,49,29,27,96,7,747,327,160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36b40f49eb9d1e1a577ea9c7a0e33576.jpg","20.3x19.9",[35],43,{"id":1553,"slug":1554,"title":1238,"dynasty":91,"author":1239,"museum":46,"description":1240,"tags":1555,"thumbUrl":1556,"material":64,"size":65,"collection":34,"collections":1557,"showCount":1558,"zanCount":39,"manualWeight":39,"mainColor":104},290073,"tai-ye-he-feng-tu-feng-da-you-290073",[737,24,95,49,29,503,27,7,31,226,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33b38195099f690faa5e9453aed49e0a.jpg",[],42,{"id":1560,"slug":1561,"title":1562,"dynasty":134,"author":500,"museum":46,"description":1563,"tags":1564,"thumbUrl":1566,"material":64,"size":65,"collection":34,"collections":1567,"showCount":1558,"zanCount":39,"manualWeight":39,"mainColor":104},230958,"zhou-mao-shu-ai-lian-tu-li-zhou-chou-ying-230958","周茂叔爱莲图立轴","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[23,95,24,25,139,49,29,503,224,698,7,1565,372],"小船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a4d5dc2dd8cfd1a2c256dea70deac6c.jpg",[],{"id":1569,"slug":1570,"title":1571,"dynasty":134,"author":220,"museum":571,"description":572,"tags":1572,"thumbUrl":1573,"material":98,"size":34,"collection":34,"collections":1574,"showCount":1558,"zanCount":11,"manualWeight":39,"mainColor":104},216907,"lian-chi-cang-lu-tu-2-yi-ming-216907","莲池苍鹭图-2",[23,24,29,49,27,7,31,574,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cba271913a98a4f8d9ca40173ca82e3.jpg",[],{"id":1576,"slug":1577,"title":268,"dynasty":18,"author":1578,"museum":136,"description":1579,"tags":1580,"thumbUrl":1581,"material":145,"size":1582,"collection":34,"collections":1583,"showCount":1584,"zanCount":39,"manualWeight":39,"mainColor":40},290611,"he-hua-zhou-chen-shu-290611","陈书","陈书（1660～1736）字南楼，号上元弟子，晚号南楼老人，秀水（今浙江嘉兴）人，适海监钱纶光，善画花鸟虫草，家贫，卖画自给，教子甚严。以长子钱陈群诰封太淑人。\n陈书擅长人物、山水、花卉，书法也秀丽遒劲，诗文颇为精通。她成年后嫁于钱纶光为妻，钱氏为嘉兴望族，惜乎她的丈夫很早就离开了人间。她只能勤俭持家，夜来纺纱织布，苦度岁月，对于子女的教育从不放松，教子读经吟诗至深夜。其子钱陈群在她的精心培育下，在清康熙六十年中了进士，进入朝廷担任侍读学士等官职。陈书教子成名，自己画了一幅“夜纺授经图”，此图描绘夜深人静一边纺纱，一边教子读经，神态毕俱。这幅面得皇帝的赞赏，并题诗二首在画上，当时乾隆皇帝带头题诗称道这幅画，那些高官名人也纷纷题诗歌颂之。这幅令人瞩目的“夜纺授经图”，后来刻在石上，嵌在嘉兴中山路钱氏故居壁间，笔者曾见其拓本，原作是否存在，已不得而知。但其刻石仍保存在钱氏后裔手中。因在扩展中山路时有人看到其石刻完好地嵌在墙间，现钱氏故居已拆除，其旧址即现在中国银行嘉兴支行这块地基上。\n陈书在书画方面的造诣很高，笔墨娴雅，结构严谨。当时书画家评论她画的人物称得上逸品，画的山水、花卉称为神品，可见对她的评价相当高。陈书的子孙受她的影响也能书画，在笔墨技法上很像她，可以说一门数代继承家风。她的作品曾为清代皇室珍藏，流传民间也不少。嘉兴博物馆藏有她的花卉真迹，笔者在杭州、苏州、扬州等地也看到过她的作品。她的诗为人们所重视，《复庵吟稿》收集了她诗作的精华，流传至今。",[24,95,139,140,27,7,77,641,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f778bdc9fa45f731411e9760150e9cd.jpg","97.4x31.1",[],41,{"id":1586,"slug":1587,"title":1588,"dynasty":18,"author":220,"museum":46,"description":1589,"tags":1590,"thumbUrl":1594,"material":34,"size":34,"collection":34,"collections":1595,"showCount":1584,"zanCount":39,"manualWeight":39,"mainColor":40},223658,"jin-ping-mei-cha-tu-yi-ming-223658","金瓶梅插图","此作为工笔重彩长卷，以分段式构图铺展桥段，院宅厅堂错落排布，人物疏密有致。匠者细绘雕栏花窗、瓶炉陈设，精准还原世家起居样貌，衣袂纹饰鲜妍工丽，各有章法。画面将宴饮雅聚、弈棋闲叙、私会密谈的不同氛围烘托得当，人物神态灵动鲜活，或揖礼叙话，或缱绻依偎，皆细腻传神。青绿、朱红配色明快雅致，兼具界画的工整写实与人物画的气韵生动，把世情日常与深宅韵致相融，尽显清代工笔世俗画的精湛功力，让文字故事具象为可触摸的古典图景。",[23,24,112,29,49,337,224,338,341,505,7,1591,1592,374,1593,507,370,1126],"家具","屏风","盆栽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31a55519b64b307f10e86240af72bfc4.jpg",[],{"id":1597,"slug":1598,"title":1599,"dynasty":18,"author":220,"museum":46,"description":1600,"tags":1601,"thumbUrl":1609,"material":64,"size":65,"collection":313,"collections":1610,"showCount":1611,"zanCount":39,"manualWeight":39,"mainColor":40},238874,"qing-ren-shan-ba-la-wang-pu-sa-xiang-zhou-yi-ming-238874","清人善巴拉王菩萨像轴","主尊面容丰腴含笑，端坐雕花宝座之上，身着朱红织金法衣，周身珠宝璎珞环绕，一手托举摩尼珍宝，一手握持吐宝神鼠，尽显富足威严。上方胁侍圣僧与化现佛陀隐于祥云之间，更添圣洁氛围。\n\n画面以青绿晕染山林底色，点缀盛放莲华与满盘鲜果，下方眷属虔诚献礼，构图饱满富丽。设色浓烈厚重，朱砂石青撞色鲜明，尽显鲜明的装饰性与宗教意蕴，将护法财神的福德庄严完美呈现，藏地佛教艺术的精致工巧尽显其中。",[24,25,139,223,224,503,29,49,1602,7,1603,1604,1605,1606,1607,1608],"鼠","鲜果","山林","财神","护法","善巴拉王","藏传佛教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a8fbed837dc233c8927a054df7fd516.jpg",[313],40,{"id":1613,"slug":1614,"title":1615,"dynasty":18,"author":467,"museum":46,"description":1616,"tags":1617,"thumbUrl":1619,"material":34,"size":34,"collection":34,"collections":1620,"showCount":1611,"zanCount":11,"manualWeight":39,"mainColor":40},235224,"he-liao-tu-zhou-wu-chang-shuo-235224","荷蓼图轴","此作用笔纵老苍劲，以篆籀笔法入画。泼墨写荷叶，浓淡干湿间尽显氤氲苍润，大写意的笔力带着厚重朴拙的金石气。荷花勾勒简雅，莲蓬、蓼花点染鲜活，赭色顽石拙朴雄浑，与水墨荷色相映成趣。\n画面纵轴布陈，荷蓼错落排布，将汀洲秋日清寂疏凉的秋意铺展纸面。题款行书跌宕老辣，与画面笔墨意趣浑然相融，以恣意纵横的笔墨，把萧索秋景化作饱满的文人意趣，藏着沉静又蓬勃的生机，尽显写意花鸟的极致韵味。",[24,139,140,29,27,141,96,7,1618],"蓼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd680434786fc52bb6d3830e98572c7cc.jpg",[],{"id":1622,"slug":1623,"title":1624,"dynasty":366,"author":367,"museum":136,"description":1625,"tags":1626,"thumbUrl":1628,"material":64,"size":65,"collection":34,"collections":1629,"showCount":1630,"zanCount":39,"manualWeight":39,"mainColor":104},287702,"he-ting-yi-diao-shi-nv-tu-zhou-wen-ju-287702","荷亭奕钓仕女图","周文矩（约907年－975年），五代十国时南唐的宫廷画家，句容（今江苏句容县）人。南唐李昪异元年间（937—943），已在宫中作画。后主李煜（961—975年）朝任翰林待诏，擅人物仕女，多以宫廷贵族或文士生活为题材，兼画山水、屋木、佛道。绘画风格接近唐代画家周昉而更纤丽，多用颤动的“颤笔”画衣纹，线条挺健又略带抖动和顿挫。宋人称其“用笔深远，于繁富则尤工”。",[23,24,29,49,337,224,370,1124,338,371,7,1627,139],"弈棋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e62cdcbf6ac380cde864e575745bd4.jpg",[],39,{"id":1632,"slug":1633,"title":1634,"dynasty":91,"author":220,"museum":136,"description":1635,"tags":1636,"thumbUrl":1638,"material":649,"size":1639,"collection":100,"collections":1640,"showCount":1630,"zanCount":39,"manualWeight":39,"mainColor":104},221237,"qiu-tang-shuang-yan-zhou-yi-ming-221237","秋塘双雁轴","《宋人画秋塘双雁图》是宋代佚名画家创作的一幅中国花鸟古画。\n【简介】 本幅在构图上，将洲岸、水草、残荷搭配在画幅两侧，约略呈一个圆弧状，而画中主题双鹅，则分置在画幅的左右，为这个约略的圆弧所包围，形成幅面整体圆融的气氛。\n虽然北宋後半期，在崇尚淡雅的文人画风引导下，搭配双鹅的背景，为萧瑟衰败的秋荷，但仍隐喻著萧瑟苦寒中亦不改其情意的祥瑞之意。\n画中羽禽水草皆描画精准，强调画面中央空旷平远的构图意念，皆可将本幅画作定为北宋徽宗朝画院之作。\n通幅画面由两幅绢并接而成，或因分合改装，致使接合处略有损伤。\n与雁同科，古人有时 鹅不分而通称。\n本幅画浅滩洲岸上的双鹅，在微微风意中，一只仰天引颈而望；一只蹲伏在红蓼下理翎。\n与二只或掠空飞过；或伫足莲杆上栖息的翡翠，交相呼应。",[23,24,25,139,27,29,49,1637,50,7,327],"雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9b4ee9203899581a619038111bbb7b8.jpg","170x 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:136,"description":914,"tags":1723,"thumbUrl":1725,"material":29,"size":917,"collection":34,"collections":1726,"showCount":1718,"zanCount":39,"manualWeight":39,"mainColor":40},222735,"xian-e-chang-chun-tu-he-hua-yu-ci-gu-hua-lang-shi-ning-222735","仙萼长春图荷花与慈姑花",[23,24,25,26,29,49,27,7,1724,123,31],"慈姑花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45ad0b6a8b52b7b8263a034c82ced6e6.jpg",[],{"id":1728,"slug":1729,"title":1730,"dynasty":18,"author":849,"museum":46,"description":1731,"tags":1732,"thumbUrl":1735,"material":34,"size":34,"collection":34,"collections":1736,"showCount":1737,"zanCount":39,"manualWeight":39,"mainColor":40},230973,"su-di-xiao-xia-tu-zhu-cheng-230973","苏堤消夏图","此作以兼工带写之笔铺陈夏意，柔柳垂条拂过崖槎，白鹭独立其上，白羽莹洁，黑喙配明黄眼眸，神态傲然灵动，尽显禽鸟生趣。下方荷塘白莲亭亭舒展，淡墨晕染荷叶，晕开江南盛夏的湿润水汽。枯木苍朴遒劲，与莲柳的清柔相映成趣。设色浅雅清和，禽鸟刻画工细鲜活，花木则写意纵逸，于尺幅间绘就苏堤消暑的幽寂闲澹，将夏日暑热里的清宁逸致娓娓道来，尽显海派花鸟灵动秀雅的风韵。",[23,24,29,27,326,7,1733,31,1734,1113],"柳枝","枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f9f28911d8a7133a06f0c24a7adda13.jpg",[],34,{"id":1739,"slug":1740,"title":395,"dynasty":134,"author":396,"museum":397,"description":398,"tags":1741,"thumbUrl":1742,"material":402,"size":403,"collection":35,"collections":1743,"showCount":1737,"zanCount":39,"manualWeight":39,"mainColor":40},230957,"ping-he-tu-shen-zhou-230957",[23,24,25,139,29,49,7,31,400,142,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9937a425003a6af29aa49db4e9aa7adf.jpg",[35,67],{"id":1745,"slug":1746,"title":1747,"dynasty":134,"author":1748,"museum":46,"description":1749,"tags":1750,"thumbUrl":1751,"material":34,"size":34,"collection":34,"collections":1752,"showCount":1753,"zanCount":39,"manualWeight":39,"mainColor":40},228889,"xie-sheng-you-xi-tu-juan-chen-gua-228889","写生游戏图卷","陈栝","《陈栝写生游戏图卷》是明代画家陈栝创作的一幅设色画。\n此图是陈氏写生画，图中从右至左绘牡丹、兰花、玉兰、桃花、荷花、水仙等9种花卉，花间穿插飞燕、蝴蝶、鱼虾、鸳鸯等。\n花卉没骨、双钩兼用，鸟用意笔写之，生动活泼，颇富野趣。\n画风学陈淳而琐碎过之。\n卷末左下自题“陈栝戏笔”。\n下钤“古吴陈栝”、“沱江子”二印。\n引首有清高宗弘历（乾隆皇帝）御题“造物为师”四字。\n曾经清内府收藏。\n鉴藏印有“乾隆御览之宝”、“石渠宝笈”、“嘉庆御览之宝”、“宣统御览”、“笔研精良人生一乐”等。\n清内府《石渠宝笈·初编》著录。",[23,24,25,112,29,27,226,7,114,52,811],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa86071febaedaa6fcbabea897e0e51df.jpg",[],33,{"id":1755,"slug":1756,"title":1757,"dynasty":18,"author":1758,"museum":46,"description":1759,"tags":1760,"thumbUrl":1761,"material":34,"size":34,"collection":35,"collections":1762,"showCount":1763,"zanCount":39,"manualWeight":39,"mainColor":104},236714,"hua-niao-guo-ce-li-qi-236714","花鸟果册","李圻","此作以大写意绘荷塘小景，阔笔泼墨晕染荷叶，墨色苍润交融，浓淡层次尽显夏日池面的氤氲水汽，落笔尽显酣畅率意。两朵白莲以淡墨勾形，留白作瓣，素净雅致，与浓墨荷叶形成强烈的虚实对照，清雅之气扑面而来。荷茎以劲爽线条勾勒，挺拔柔韧，寥寥数笔便将莲茎风姿尽显。画面两侧题上行草，笔墨意趣与画境呼应，诗书画浑然一体。构图疏密相宜，简逸空灵，以极简笔墨传递出荷塘清寂淡远的幽谧意境，尽显写意功底与文人雅致襟怀。",[24,25,95,26,140,96,7,31,27,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdca8a3f7e25a409507aba1c306024f12.jpg",[35,263,1055],32,{"id":1765,"slug":1766,"title":981,"dynasty":18,"author":1767,"museum":46,"description":1768,"tags":1769,"thumbUrl":1770,"material":64,"size":65,"collection":34,"collections":1771,"showCount":1763,"zanCount":39,"manualWeight":39,"mainColor":130},235559,"mo-he-tu-zhou-fu-shan-235559","傅山","傅山，初名鼎臣，字青竹，改字青主，又有浊翁、观化等别名，汉族，山西太原人。明清时期道家思想家、书法家、医学家。\n傅山自称为老庄之徒，他自己也在很多场合与作品中反复强调、自陈：“老夫学老庄者也”、“我本徒蒙庄”、“吾师庄先生”、“吾漆园家学”。自觉继承道家学派的思想文化。他对老庄的“道法自然”、“无为而治”、“泰初有无”、“隐而不隐”等命题，都作了认真的研究与阐发，对道家传统思想作了发展 ,常以老庄之徒自居。\n傅山于学无所不通，经史之外，兼通先秦诸子，又长于书画医学。北京大学教授、引碑入草开创者的李志敏评价：“傅山的草书圈眼多，繁而不乱，于郁勃浑脱之中，又有逸岩之态”。 著有《霜红龛集》等。一些武侠小说里，傅山被描写为武侠高手。他是著名的道家学者，哲学、医学、内丹、儒学、佛学、诗歌、书法、绘画、金石、武术、考据等无所不通。他被认为是明末清初保持民族气节的典范人物。\n傅青主与顾炎武、黄宗羲、王夫之、李颙、颜元一起被梁启超称为“清初六大师”。著有《傅青主女科》《傅青主男科》等传世之作，在当时有“医圣”之名。《清史稿》卷五百一有传。",[24,140,139,96,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24528e736483b0247d66e35f68b3b981.jpg",[],{"id":1773,"slug":1774,"title":686,"dynasty":91,"author":220,"museum":46,"description":1775,"tags":1776,"thumbUrl":1777,"material":64,"size":65,"collection":34,"collections":1778,"showCount":1763,"zanCount":39,"manualWeight":39,"mainColor":1779},227429,"hua-ping-yi-ming-227429","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[323,1713,7,29,400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb18bf8b33f4775fd7bbf9f4e60b0e516.jpg",[],"FFFFFF",{"id":1781,"slug":1782,"title":1783,"dynasty":154,"author":1784,"museum":1229,"description":1785,"tags":1786,"thumbUrl":1788,"material":34,"size":34,"collection":34,"collections":1789,"showCount":1763,"zanCount":39,"manualWeight":39,"mainColor":40},220515,"he-hua-lu-si-pu-xin-she-220515","荷花鹭鸶","溥心畬","这幅水墨作品以浓淡干湿铺陈笔意，大块浓墨晕染荷叶，苍劲沉郁，与留白水色、素洁鹭鸶形成强烈视觉反差。两只鹭鸶刻画工细，羽毛纤毫毕现，姿态悠然顾盼，在写意荷塘间独显灵动生机。\n\n画面虚实相生，留白处漾出水波空寂之感，垂坠花枝点缀其间，衬出荷塘幽谧之境。左上角题字清雅隽秀，与水墨意趣相融，整体意境疏淡空灵，尽显脱俗澹泊的文人风骨，将夏日荷塘的清寂意韵烘托得淋漓尽致。",[24,25,140,27,139,7,1787,31,160],"鹭鸶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff09adb59070f68f461c12e1eadc1bd60.jpg",[],{"id":1791,"slug":1792,"title":1076,"dynasty":91,"author":1160,"museum":46,"description":1793,"tags":1794,"thumbUrl":1795,"material":64,"size":65,"collection":34,"collections":1796,"showCount":1797,"zanCount":39,"manualWeight":39,"mainColor":104},289353,"luo-hua-you-yu-tu-liu-cai-289353","此图开始先画盛开的杏花，伸向水面，向后展开，落花引来群鱼争食、或聚或散，或潜游，或上浮，或回泳，翻藻戏蒲，以示水中的畅泳自然之态。其画法全用渲染，间或用没骨法，不见钩勒，活泼生动。这种表现方法和诗情画意，独创一格，多为后人所仿效。",[23,24,112,49,29,79,7,1080,50,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ffa62a615216e5b528da9cf4e900f74.jpg",[],31,{"id":1799,"slug":1800,"title":1801,"dynasty":182,"author":1802,"museum":46,"description":1803,"tags":1804,"thumbUrl":1805,"material":64,"size":65,"collection":34,"collections":1806,"showCount":1797,"zanCount":39,"manualWeight":39,"mainColor":104},283617,"zao-yu-tu-li-zhou-lai-an-283617","藻鱼图立轴","赖庵","《藻鱼图》中，鱼几乎占据了画面的全部空间，它似乎刚刚突然掉转身来面对观者，嘴巴大张，目光犀利。作者用细线精心描绘了片片鱼鳞，通过晕染来显示质感和立体感。以淡墨写水草，并通过鱼尾的摆动和水草的摇晃增加了画面的动感。",[24,139,49,29,79,7,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f0d1ae2ed0890eee7efeeb8d1919df7.jpg",[],{"id":1808,"slug":1809,"title":1810,"dynasty":18,"author":220,"museum":46,"description":1811,"tags":1812,"thumbUrl":1814,"material":64,"size":65,"collection":34,"collections":1815,"showCount":1797,"zanCount":39,"manualWeight":39,"mainColor":104},270225,"hei-qi-gu-li-wen-tian-shu-liang-de-run-hua-he-hua-tu-mian-zhe-shan-yi-ming-270225","黑漆股李文田书梁德润画荷花图面折扇","此扇绘面设色秀雅，粉荷柔婉含露，白荷莹洁似玉，晕染细腻，将菡萏的娇柔与清灵尽数铺展。荷叶以浓淡墨色分出阴阳向背，叶脉勾勒精工，墨色晕染间带着水汽氤氲的鲜活，浅描的塘水浮萍更衬出莲塘的幽寂清宁。\n\n黑漆扇骨莹润乌亮，节状纹理颇具巧思，尾端回纹雕饰古雅端方。开合之间，将莲塘清趣纳于尺幅，摇拂时恍若携来荷间清风，把文人的幽居雅意藏于一折一画中，尽显清雅悠然的晚清风致，是赏用俱佳的雅致佳物。",[737,24,25,142,29,49,7,27,1813],"漆器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3144a8ad31a3b8965562195972aec288.jpg",[],{"id":1817,"slug":1818,"title":1819,"dynasty":134,"author":1820,"museum":136,"description":1821,"tags":1822,"thumbUrl":1825,"material":34,"size":1826,"collection":261,"collections":1827,"showCount":1797,"zanCount":39,"manualWeight":39,"mainColor":104},222585,"fang-zhao-ling-rang-he-xiang-qing-xia-lan-ying-222585","仿赵令穰荷乡清夏","蓝瑛","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多。\n蓝瑛 （1585-1664），一作（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂”，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n蓝瑛一生以绘画为职业，曾漫游南北，饱览名胜，眼界开阔，因而不断丰富了创作内容。他的传派，直接继承衣钵的有蓝氏一家子孙，如蓝孟、蓝深、蓝涛等，弟子刘度、王奂等都各有成就。明末同时和稍后的如陈洪绶以及金陵八家等著名画家，也都受他的影响。\n蓝瑛绘画对明末清初影响很大，被后人称为“武林派”。画史上称之为“后浙派”，将其与戴进、吴伟合称“浙派三大家”。 [2] 但实际上他的画风与戴进等不同，不能完全附属于“浙派”之后。蓝瑛字田叔，号蜨叟，晚号石头陀，又号东郭老农，所居榜额曰“城曲茅堂”。\n蓝瑛是我国明末清初的画家，曾有美术史家把他列为“浙派”，对此，有专家学者提出异议认为：蓝瑛与戴进之间既无师承关系，在绘画面貌、艺术风格上也大相径庭，故不应因二人同处浙江杭州而列为同一画派“浙派”。\n清代沈宗骞在《芥舟学画编》中提出“蓝瑛倡为武林派”，蓝瑛和他的追随者们应称为“武林派”。我们知道，画史上有一些画家因种种原因没有留下更多的生平资料，使后人很难从他们一生的行踪、生活背景、个性脾气、思维方式中去了解他们所形成的艺术风格、审美理念，只能从他们留存于世的绘画作品中去洞察其艺术之轨迹，蓝瑛就是这众多画家中的一位。长期以来，学术界对文人画家及其作品比较重视，由于蓝瑛是一位职业画家，又没有诗文和著作留存于世，因此在画史上很少有关于他的记载和涉及。本文试通过对蓝瑛绘画作品的具体分析，来阐述蓝瑛山水绘画的艺术特色和所取得的成就。\n画家的创作理念和他个人所生活的时代、环境、文化素养、审美标准是分不开的。蓝瑛作为明末清初的画家，他的绘画风格同样也脱离不开他所生活的时代。因此，在探讨蓝瑛山水绘画的艺术特色之前，我们首先要对蓝瑛的生平及师承有所了解。\n蓝瑛，生于公元1585年，卒年不详，1664年尚在，字田叔，号蜨叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号西湖外民、西湖外史、东郭老农、吴山农等，所居榜额曰“城曲茅堂”。生长于“浙派”发源地钱塘(今浙江杭州)，二十三岁寓居松江，后来长期活动于杭州、嘉兴、南京、扬州、绍兴等地，卖画授徒，影响深远，追随者主要集中于杭州一带，被称为“武林派”(武林为今杭州别称)，在明末万历到清初康熙年间足以与“松江派”抗衡。其画风融合南北两宗，自成一家，属于一位文人画的职业画家。清代以来不少学者把蓝瑛称为“浙派”的“后劲”或“殿军”。\n他工书善画，长于山水、竹石、梅兰、人物、花鸟等，技法全面，尤以山水画著名，是明末清初颇具影响力的山水画家。他的绘画特点比较明显的是用笔有顿挫，以疏秀苍劲取胜，善写秋景。在其作品的题款中，常署仿某家之作，如“仿张僧繇”、“法荆浩”、“仿李成”等，实则所画均为他自己的面目。他的山水绘画画法有两种：一种作钩勒浅绛法，另一种作没骨法，设色鲜艳夺目，所画青山、红树、白云，运用石青、石绿、朱砂、赭石、铅粉诸色，点染别致，是晚明时期富有变化的山水绘画作品。蓝瑛享年八十有余，一生以绘画为职业，笔耕不辍，传世的绘画作品面貌多样，数量众多。\n从蓝瑛传世的作品看，他的山水画创作大致可分为早、中、晚三个时期。早期为其五十岁以前。从现存蓝瑛早期的绘画作品中可以看出，他在临习古人绘画作品的过程中，打下了扎实的笔墨功底。在艺术成就的取得上，他主要得益于黄公望、王蒙、倪瓒、吴镇的助力。元四家的笔墨虽不尽相同，但蓝瑛在学习他们的绘画技法时却能择良而取，并注意吸取对自己有用的东西，藉以丰富个人的表现能力。博采众长，应该是一个艺术家取得成就的途径之一，这也是我国艺术史上久经证明的成功经验。此时蓝瑛作品呈现出的面貌基本是以中锋运笔，皴法以长披麻皴、解索皴、荷叶皴为主。山石的画法润泽浑圆，没有过多的棱角，苔点圆润。树木的画法则是多种多样，体现了他绘画技法的娴熟。在构图上，近景的树木与远景的山峦之间具有明显的空间感。设色平淡和润，风格秀润清和，疏松简略。\n《溪山秋色图》为癸丑新秋(1613年)，画家29岁时创作的一件传世绘画佳作。画卷右起为辽阔的水域，远山朦胧，云气蒸腾。中部山石突起，溪水潺潺，蜿蜒的水流从山石间缓缓淌过，坡石上零星地分布着杂草树木。整幅画作淡泊宁静，用笔柔和，山石少皴，偶有淡淡的荷叶皴，构图松秀，设色清和，墨色滋润，从中可看出蓝瑛此时的绘画受“松江派”绘画风格影响之痕迹。\n《仿李唐山水图》是蓝瑛早年创作的一件绘画作品。图中景物茂密，近景岩石累累，形成坡坨，处于曲流之畔。坡石上树木茂蔚，造型古朴，刻画细致，疏密枯润，各显生态。树林间有一茅亭临于溪边，亭内二隐士对坐畅聊。隔溪远景是巨石高峰，岩石突兀奇特，下有瀑布，泻入清溪。整个画面山石崚嶒，古树结节，山石的皴法，以小斧劈皴、刮铁皴相济并用，稍以色彩点簇，水墨晕染，刚中见柔。布局稳当，气氛清谧。远山近树，继承了李唐院体画派的风范而自有发挥，作品较多地留有宋代遗风。\n中期为五十至六十五岁之间。这时他不但取法郭熙、李唐及马远、夏圭，而且对二米、云山也精心研究，对黄公望的画更是悉心尤力。时人吴门画派沈周、文徵明的笔法他也热心师效。加之他漫游南北涉猎广泛，眼界宽广，兼融南北，形成了苍劲雄强、骨力刚硬的个人风格，此时的蓝瑛已经达到能“分别宋元家数，某人皴梁法脉，某人蹊径勾点，毫不差谬”的水平。他以自己对各家绘画特色的见解，以中锋、侧锋交替运笔，用各种皴法、点苔法熟练地画出各种形态的山石、树木。以各家的典型构图，或高远或平远，或简或繁，显现出一种笔墨苍劲、气势雄浑的境界，反映出他在三十余年仿古绘画的实践中渐渐脱开单纯的临与仿，开始形成了自己独立的绘画风格。\n《仿古山水册》作于乙亥春仲(1635年)，画家时年51岁。此山水画册的风格以临黄子久为主，笔触粗短，用笔方折，山石少皴，偶用折带、荷叶皴，略加修饰，山石敷以淡青绿和浅绛，加浓墨苔点醒神，用笔简练，设色淡雅。全册共计十二幅，每幅均可见蓝瑛中年绘画之风格。首幅水墨画枯树数株，槎枒矗立，画上题云：“云林之法，妙在简远。瑛法之，未必耳。笑笑。”第二幅浅设色画，一红衣士人立于松下，隔岸观瀑，画上题云：“偶法郭河阳画。西湖外史蓝瑛。”第三幅设色画临水岩上，桃红满树，舟人浮江而行，款“蓝瑛画”。第四幅设色画村舍数间，丛树环绕，小桥流水，画上自题：“赵令穰画法，蓝瑛。”第五幅设色画层峦飞瀑，草阁间士人独坐，画上自题“蓝瑛法大痴画”；第六幅水墨画水畔虚亭，自题：“梅华道人画法，画于富春之吉祥山房。蓝瑛。”第七幅设色画青山红树，画上题云：“元之高彦敬尚书画法米南宫，有白云红树画。蓝瑛仿之。”第八幅设色画层峦蓊郁，群树繁茂，士人独坐水岸，观泉听瀑，自题“王黄鹤听泉图。蓝瑛法。”第九幅设色画苍松红树，孤舟临岸，画上题云：“赵仲穆画似其翁，一段秀古，自成别门。蓝瑛法。”第十幅设色画秋林丹翠，篷舟沿溪，自题：“乙亥春仲法李唐画。西湖外史蓝瑛。”第十一幅设色画秋林丛聚，清雾弥漫，士人独行，自题：“法松雪斋秋林觅句。蓝瑛。”第十二幅设色画，白雪覆树，水岸亭间，士人观景，自题：“乙亥春仲法右丞画。蓝瑛田叔。”\n《乔岳松年图》是蓝瑛55岁时为宁庵祝寿时所绘。画上的景物，笔墨苍劲，山石突兀嶙峋，白云在山间缭绕，远处的楼阁隐现于流动的烟雾之中，时隐时现，增加了画面的动感。画之近处有九株苍干虬枝的古松，繁密的松针，碧绿青翠，使得画面苍浑郁茂，平添了清新的气氛。在松树的掩映下有一茅亭，亭内一老者正在观赏那飞流而下的瀑布。整个画面笔墨精到，用色灵巧，再加上山石间有规律的点以苔藓，使得画中的景物更加雄奇壮观。\n晚年为六十五岁以后，这是蓝瑛一生中最精彩的时期。此时他在融会贯通前人技法的基础上，自立门户，形成了自己的绘画风貌。有人评其晚年画风“绝似仲圭，复似启南”，一语道出蓝瑛画风在渊源上与文人画的关系和晚年苍劲雄浑的画风。从此时期的作品来看，笔法苍劲疏宕，伟峻老练，画风呈多种面貌，有些作品笔墨含蓄隽雅，有些作品青绿重设色，画法工细，色调浓丽，愈老而愈工。这一时期他主要以敏捷快速的粗笔山水为主，山石的轮廓线短小、破碎、躁动，以破笔点苔，以侧锋皴擦；树木的画法更加曲屈苍老和类型化。构图上也基本形成了一种统一的样式：巍峨雄伟的山体以棱角分明的几何体组成并繁复堆积，占据画面的大部分且多偏向一侧，而于另一侧留出一定的空间，山顶突出。山间有飞瀑丛树，山脚以渔樵隐士、老树茅屋点缀。同时出现了山体的立轴画中纵向拉长，在手卷中则横向延伸的变形现象。晚年的作品中没有了早期所保留的一定的空间感，代之以一种逼人的气势，无论是仿荆浩、董源还是仿黄公望，在风格和笔墨上已经没有了差别，它们都已化为蓝瑛的典型山水样式。蓝瑛晚年的作品，笔益精良，构图高嶂巨壁，丘壑深远，重山叠翠，更加苍浑古朴。\n《华岳高秋图》作于1652年，画家时年68岁。画中远景，高山耸立，山顶作平台状，山隈深处，楼阁崔嵬，流泉飞溅，山石勾勒线条硬折，运用荷叶皴、折带皴和牛毛皴，树草稀少，显得崚嶒。中景，群山环绕之中，筑有楼榭，溪流淙淙而下，老树粗壮，用短笔勾成，树叶采用双勾夹叶填色，松针用传统笔法，排列有序，挺拔有力，不失古气。水口用笔转折生硬，受南宋影响，类似浙派。近景，山径迂回，满山红树，二高士漫步小道，观瀑笑语。构图气势雄伟，笔势刚健豪迈。山石用荷叶皴，参以折带皴加水墨渲染，罩花青赭色，树木苍劲，枫叶明丽，描绘出华岳的深秋景色。\n《秋壑飞泉图》为蓝瑛74岁时所作的传世佳作。该画尺幅巨大，气势磅礴，画心高近四米，颇见蓝氏构图设景之能力所在，作品凝聚了画家毕生的技艺与功力。画面层峦耸翠，幽谷深邃，轻岚浮动，红树青山。山谷间的飞瀑和桥上的高士顾盼有情，高远及深远相结合，是典型的蓝氏山水画之模式。画中的高山巨峰，上部的山石重叠峻峋，瀑布悬崖，飞泉溅落。中部巨石杂树间有一茅亭，一人于内赏景，稍下建筑数座，红叶映天，浮桥卧地，小桥上二叟持杖交谈，颇有生活意趣。从这幅绘画的技法上，可以看出他在融汇前人技法方面的成就，也能看出他在创新方面的景物。作者采用“荷叶皴”，在形式与内容方面得到了和谐的结合，取得了较好的效果。那独具特点的置苔，尤显得画面苍润而厚重。有些树叶以赭色画出，突出了节令气氛，使画面秋意盎然。该画构图雄伟，气势阔大，足见蓝瑛博大精深的笔墨造诣。\n纵观蓝瑛早、中、晚三个时期的绘画作品，大体可以得到这样一些认识：早年的作品，是学宋代诸大家的笔法，尤其是学元四家的作品。此时笔法较细润，明显地呈现出某派的笔法痕迹。中年，在学习前人技法的基础上开始变法，也就是向开创独特风格的途程上逐步迈进。晚年则开创了一种雄伟浑穆的独特面貌，画不离苔以及多画秋景，善施赭色，巧用荷叶皴等等，也都是蓝瑛作品的特点。\n蓝瑛的山水画艺术成就，得益于他“性耽山水”。虽然他下苦功夫临习了晋唐宋元诸家，并达到了精妙乱真的程度，但他不以摹仿为能事。他不仅擅于师古人之意进行变革创新，而且还注重生活，注重行万里路，饱游饫看，“游闽粤荆襄，历燕秦晋落，涉猎既多，眼界弘远”。因为他胸中有真丘壑的观察积累，眼界开阔，所以能落笔纵横，水墨淋漓，独创一格一派—武林派。蓝瑛的绘画，影响广泛，师法他的人可分成三类：一类是蓝瑛的嫡传弟子，如早期的刘度、蓝孟等人；第二类是出自蓝瑛的嫡传弟子门下或模仿蓝瑛画风的职业画家，如蓝涛等；第三类是早年曾经出自蓝氏门下，后来自立门户创立了独立画风的陈洪绶、禹之鼎等。千百年来，为祖国锦绣山河传神写貌的画家，能够开宗立派的屈指可数。蓝瑛的绘画崛起于江南，熔铸古今，独开门庭，这是难能可贵的。",[23,24,25,26,29,698,1211,1468,1823,1824,160,96,7],"山","树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c941eb7e0ba93f6e83eaf6dcf7cf0a3.jpg","72.6x60.8厘米",[261,263],{"id":1829,"slug":1830,"title":1228,"dynasty":154,"author":478,"museum":1229,"description":1831,"tags":1832,"thumbUrl":1233,"material":34,"size":34,"collection":34,"collections":1833,"showCount":1797,"zanCount":39,"manualWeight":39,"mainColor":40},220507,"he-du-ye-qu-zhang-da-qian-220507","这幅画作以酣畅泼墨糅合淡彩，铺陈出塘间意趣。上方巨荷打破圆整定式，以淡绿糅合赭色晕染泼洒，状若流云舒卷，带着肆意豪放的笔墨张力。下方白荷则以细劲线条勾勒瓣叶，莹润雅致，与浓黑如墨的荷叶形成强烈的虚实冷暖对比。背景以淡粉色晕染如晓霞初绽，柔化了浓墨的厚重，晕开烟水迷离的清境。工写相融间，将荷塘的蓬勃生机尽数展现，既有自然野趣的灵动，又暗含疏朗浪漫的文人意韵。",[24,25,139,140,29,27,7,31,412],[],{"id":1835,"slug":1836,"title":1150,"dynasty":91,"author":896,"museum":46,"description":1837,"tags":1838,"thumbUrl":1839,"material":64,"size":65,"collection":34,"collections":1840,"showCount":1841,"zanCount":39,"manualWeight":39,"mainColor":104},288732,"lian-yan-tu-mu-xi-288732","从这件作品上看，牧溪的作品并不仅仅是恣肆一路，也有工细的一面。虽然整体还是写意风格，但从作品的两个核心点——莲花和燕子——来看，这位以禅画著称的僧人画家同样有着完全不逊色于宋代职业画家的扎实功底。",[24,95,25,593,140,139,7,226,324],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6da7e99f374af3da1de6fcb781716014.jpg",[],30,{"id":1843,"slug":1844,"title":629,"dynasty":18,"author":529,"museum":46,"description":630,"tags":1845,"thumbUrl":1846,"material":64,"size":65,"collection":34,"collections":1847,"showCount":1841,"zanCount":39,"manualWeight":39,"mainColor":40},235503,"za-hua-ce-zhu-da-235503",[24,140,141,27,96,7,26,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90727016f355f8a136bac506bf6ea3cf.jpg",[],{"id":1849,"slug":1850,"title":981,"dynasty":134,"author":1667,"museum":46,"description":1851,"tags":1852,"thumbUrl":1853,"material":64,"size":65,"collection":34,"collections":1854,"showCount":1841,"zanCount":39,"manualWeight":39,"mainColor":40},235245,"mo-he-tu-zhou-xiang-yuan-bian-235245","项墨林（1525—1590），原名项元汴，字子京，号墨林，别号墨林山人、墨林居士、香严居士、退密庵主人、退密斋主人、惠泉山樵、墨林嫩叟、鸳鸯湖长、漆园傲吏等，浙江嘉兴人。明国子生，为项忠后裔，为明代著名收藏家、鉴赏家。\n少即英敏，博雅好古，绝意仕进。当时风雅之士来嘉兴必访项元汴，名画家文彭、文嘉等与项元汴交往尤密。明万历年间神宗朱翊钧闻其名，特赐玺书征他出来做官，不赴。\n项元汴所藏书法、名画以及鼎彝玉石，甲于海内。项元汴精于鉴赏，辨别真赝，析及毫发，当时无人可比。与项同时代的人记载：“项氏所藏如顾恺之《女史箴图》等，不知其数，观者累月不能尽也。其他墨迹及古彝器尤多。其家累世富厚，不惜重赀以购，故江南故家宝藏皆入其手。”他遴选能工巧匠制作的各种器具，凡几榻架柜奁盒等，镌以铭识，都极精巧，如同秦汉之物。清顺治二年（1645）闰六月，清兵攻破嘉兴府城，其藏品被千夫长汪六水所劫掠，散失殆尽，存世的藏品多归于皇宫，现仍藏于故宫博物院和其他博物馆。\n项元汴曾获一古琴，上刻“天籁”两字，故将其储藏之所取名“天籁阁”，并镌有天籁阁、项墨林等印，凡藏品都钤有印记，往往满纸满幅。项氏以天籁阁名传后世，阁早已毁，今城内建设街道天籁里即以天籁阁命名。\n项元汴工绘画兼擅书法。山水学元代黄公望、倪瓒，笔致疏秀，神合处辄臻胜境，书法出入唐智永、元赵孟頫。刊有《天籁阁帖》，著有《墨林山人诗集》等。",[24,139,140,7,52,142,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd29e44d2355a6bedb9232bd77ee1969b.jpg",[],{"id":1856,"slug":1857,"title":1858,"dynasty":134,"author":1859,"museum":46,"description":1860,"tags":1861,"thumbUrl":1863,"material":34,"size":34,"collection":34,"collections":1864,"showCount":1841,"zanCount":39,"manualWeight":39,"mainColor":40},231014,"lian-ou-jing-yin-tu-wen-jia-231014","莲藕净因图","文嘉","此作画风清逸疏朗，以淡墨勾绘莲茎清瘦挺拔，粉荷半绽，淡赭轻染花尖，晕染出柔婉清雅的姿态。莲蓬与莲藕刻画精微朴拙，线条简淡却将水生风物的温润质感尽显无遗。\n\n宽绰留白铺就幽寂禅意，搭配题咏禅诗，诗画相映，将莲的清净本心寄寓其间，尽显幽淡出尘的文人意趣。全作用笔以简驭繁，淡而弥厚，融禅思入绘事，观之如临幽塘，心下自会澄明安宁，尽显文人尚简崇雅的审美意韵。",[24,25,139,660,140,29,7,77,31,1862,113,141],"莲藕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab2d6731a756e18afa13d56d32e9d48b.jpg",[],{"id":1866,"slug":1867,"title":1868,"dynasty":182,"author":220,"museum":136,"description":1869,"tags":1870,"thumbUrl":1873,"material":162,"size":1874,"collection":34,"collections":1875,"showCount":1841,"zanCount":39,"manualWeight":39,"mainColor":104},223365,"liu-tang-bai-yan-tu-zhou-yi-ming-223365","柳塘白燕图轴","元代工笔画很少的，多的是水墨写意的文人画，其实元代画坛另一路已经走向极致的绘画语言就是写实艺术。 ​​​",[23,95,24,25,49,29,1479,1871,1872,7,31,50,52],"塘","白燕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d166284910d93d3270e5a93502379d8.jpg","31.1×60.6",[],{"id":1877,"slug":1878,"title":1879,"dynasty":134,"author":169,"museum":46,"description":1880,"tags":1881,"thumbUrl":1882,"material":34,"size":34,"collection":34,"collections":1883,"showCount":1884,"zanCount":39,"manualWeight":39,"mainColor":40},228302,"he-shi-tu-chen-hong-shou-228302","荷石图","此作以顽石为骨，笔墨苍浑古拙，皴擦间尽显嶙峋厚重。白莲挺生于石侧，瓣色莹白柔润，舒展如绰约君子，刚柔相映，意趣悠长。荷叶墨色浓淡层叠，残叶带露暗生意态，水面细纹轻曳，浮萍点染，漾出清浅凉意。\n\n题字清隽搭配朱印提亮，融书画印为一体。整幅静穆超拔，将水畔幽寂夏景收于尺幅，既有文人水墨的淡逸，又以奇崛造型独显格调，恍若将溽暑间的一缕清寂凝于纸面。",[23,24,25,29,49,7,172,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70da03aa0c6f05f9a9f6377a8ee1adc4.jpg",[],29,{"id":1886,"slug":1887,"title":1888,"dynasty":182,"author":220,"museum":20,"description":1889,"tags":1890,"thumbUrl":1893,"material":98,"size":34,"collection":35,"collections":1894,"showCount":1884,"zanCount":39,"manualWeight":39,"mainColor":104},219279,"lian-lu-tu-yi-ming-219279","莲鹭图","汀渚石上，双鹭静立。白羽以淡墨层层晕染，质感蓬松清透，长颈或曲或伸，姿态悠然；黑喙尖细如锥，长腿挺括似铁线，爪尖紧扣岩石纹路，稳健中见灵动。周遭莲荷残落，枯梗斜欹，莲蓬以焦墨点簇，间杂细草幽花，皆用简笔写就，野趣横生。画面底色沉郁古雅，绢本的岁月痕迹更添韵致，无浓艳设色，却于简淡中藏深致：风过莲塘的轻响似在耳畔，水泽清寂漫溢开来，尽显元人画中“清空”之境——于静谧里见生机，于素朴中显情韵，寥寥数笔便凝住自然幽微之美。",[23,1891,95,24,25,737,29,49,27,326,7,1892,172],"元代","莲叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b797be1e0744c28f778b94a3e2dfa19.jpg",[35],{"id":1896,"slug":1897,"title":1898,"dynasty":18,"author":1899,"museum":1688,"description":1900,"tags":1901,"thumbUrl":1903,"material":33,"size":34,"collection":34,"collections":1904,"showCount":1905,"zanCount":39,"manualWeight":39,"mainColor":40},216392,"za-hua-ce-2-bian-shou-min-216392","杂画册-2","边寿民","他的作品常常被收录在《边寿民杂画册》中。这本画册收录了边寿民的许多作品，包括花鸟画、人物画、山水画等。边寿民的画风浓郁，线条简洁，色彩明快，深受当时社会的喜爱。他的作品也被视为中国画的经典之作。",[23,24,140,27,26,141,7,31,1902,50],"荷茎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b66aa7186bcbd1ec727f37a8e582947.jpg",[],28,{"id":1907,"slug":1908,"title":1909,"dynasty":18,"author":1910,"museum":46,"description":1911,"tags":1912,"thumbUrl":1913,"material":64,"size":65,"collection":34,"collections":1914,"showCount":1915,"zanCount":11,"manualWeight":39,"mainColor":40},224345,"hua-ping-lian-da-shi-zhou-xu-can-224345","画瓶莲大士轴","徐灿","徐灿（约1618－1698），字湘蘋，又字明深、明霞，号深明，又号紫言（竹字头）。江南吴县（今苏州市西南）人。明末清初女词人、诗人、书画家，为“蕉园五子”之一。光禄丞徐子懋女，弘文院大学士海宁陈之遴继妻。从夫宦游，封一品夫人。\n工诗，尤长于词学。她的词多抒发故国之思、兴亡之感。又善属文、精书画、所画仕女设色淡雅、笔法古秀、工净有度、得北宋人法，晚年画水墨观音、间作花草。\n著有《拙政园诗馀》三卷，诗集《拙政园诗集》二卷，凡诗二百四十六首，今皆存。",[23,24,25,139,660,223,224,7,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43be0cc671ca5772a59c46547ea695db.jpg",[],27,{"id":1917,"slug":1918,"title":1919,"dynasty":91,"author":220,"museum":136,"description":1920,"tags":1921,"thumbUrl":1923,"material":98,"size":1924,"collection":261,"collections":1925,"showCount":1915,"zanCount":39,"manualWeight":39,"mainColor":40},218815,"liu-an-he-tang-tu-yi-ming-218815","柳岸荷塘图","这幅画描绘了一个芦苇茂盛的荷塘，荷叶田田，五支老箭极为茂盛，说明这里是陶渊明的隐居之地，过了小桥就能看到南山。",[23,95,24,29,698,737,1468,1479,96,7,1824,1823,160,1922],"岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15878898e2639dfb24e355516ff4dd5f.jpg","25.4x26.4",[261],{"id":1927,"slug":1928,"title":1929,"dynasty":18,"author":529,"museum":20,"description":1930,"tags":1931,"thumbUrl":1932,"material":145,"size":34,"collection":34,"collections":1933,"showCount":1915,"zanCount":39,"manualWeight":39,"mainColor":40},216354,"hua-niao-ce-4-zhu-da-216354","花鸟册-4","朱耷 (Zhu Da) 是一位著名的清朝画家，他的花鸟册 (huā niǎo cè) 是他的代表作之一。花鸟册是一种中国传统的绘画类型，主要描绘花卉和鸟类，朱耷的花鸟册以其精美的绘画技巧和富有创意的艺术表现而闻名。\n\n朱耷生于 17th 世纪的清朝，他原本是一名佛教僧人，后来转而成为画家。他的花鸟册绘制了各种花卉和鸟类，包括玫瑰、莲花、蝴蝶、孔雀、鹦鹉等。他的画风独特，细腻而生动，给人以非常感性的视觉享受。\n\n朱耷的花鸟册也反映了当时清朝社会的文化氛围。他的作品中常常出现古典诗词的引用，表现出他对中国传统文化的热爱。此外，他的作品还反映了当时清朝社会的审美观念，展现了清朝人对美的追求和对自然的敬畏。\n\n总之，朱耷的花鸟册是一部具有深远影响的艺术作品，其中融合了中国传统文化和绘画技巧的精华，对中国绘画艺术有着重要的贡献。",[23,24,140,26,7,77,27,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F315df4d9d41560bbaf78619963a740b8.jpg",[],{"id":1935,"slug":1936,"title":1937,"dynasty":18,"author":1938,"museum":46,"description":735,"tags":1939,"thumbUrl":1941,"material":34,"size":34,"collection":34,"collections":1942,"showCount":56,"zanCount":11,"manualWeight":39,"mainColor":40},234587,"he-tang-fei-yan-wan-shan-xin-yue-234587","荷塘飞燕纨扇","辛樾",[24,25,737,140,29,49,27,96,7,31,226,1940],"燕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6520d05d1c8a90a069b4eea658183e03.jpg",[],{"id":1944,"slug":1945,"title":1946,"dynasty":18,"author":1947,"museum":74,"description":1948,"tags":1949,"thumbUrl":1950,"material":649,"size":34,"collection":34,"collections":1951,"showCount":56,"zanCount":230,"manualWeight":39,"mainColor":40},232945,"hua-hui-tu-ce-fan-ting-zhen-232945","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。",[24,25,26,49,29,27,96,7,31,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff04a76310a5243e9fcb581b22ba12471.jpg",[],{"id":1953,"slug":1954,"title":1955,"dynasty":18,"author":1956,"museum":46,"description":1957,"tags":1958,"thumbUrl":1960,"material":34,"size":34,"collection":34,"collections":1961,"showCount":56,"zanCount":11,"manualWeight":39,"mainColor":104},230995,"xiu-yuan-tu-wang-yun-230995","休园图","王云","此作以工秀笔触绘就江南私园雅景，亭台临波而起，游廊蜿蜒衔连。水面凫鸭悠游，玲珑湖石与扶苏花木错落排布，晕染出雅致悠然的园居氛围。\n\n堂上主人凭案安坐，侍童侧立随侍，月台、游廊之上仕女游赏低语，将文人日常的闲雅意趣铺陈开来。设色清隽淡雅，界画工整流利，树石皴染兼具质感与文趣，把私园的幽致与园居的松弛心境相融，尽显古典园林绘卷的诗意闲情。",[24,25,29,49,337,224,338,1959,505,7,554,327,699,341,507,939,1334],"假山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c4696b9a08d524f77b20f5a6383d28.jpg",[],{"id":1963,"slug":1964,"title":1965,"dynasty":18,"author":1687,"museum":1688,"description":1689,"tags":1966,"thumbUrl":1972,"material":789,"size":1696,"collection":34,"collections":1973,"showCount":56,"zanCount":39,"manualWeight":39,"mainColor":40},222956,"hong-lou-meng-81-sun-wen-222956","红楼梦81",[23,95,24,25,49,29,1332,338,224,160,7,31,1647,505,374,1967,939,341,1968,372,507,1969,1970,1971],"远山","水榭","围栏","平台","工笔重彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feac0e81cb3119ae54f2e3390d79b514f.jpg",[],{"id":1975,"slug":1976,"title":1977,"dynasty":182,"author":220,"museum":1978,"description":1979,"tags":1980,"thumbUrl":1981,"material":1982,"size":34,"collection":35,"collections":1983,"showCount":56,"zanCount":39,"manualWeight":39,"mainColor":104},216881,"lian-lu-tu-zhou-2-yi-ming-216881","莲鹭图轴-2","日本东京国立博物馆","莲鹭图轴是一幅绘有莲花和鹭鸶的图画，出自元朝（1271-1368年）的佚名画家之手。这幅图画是一根长卷，画面中央是一朵盛开的莲花，周围是若干只鹭鸶，它们正在莲花周围游荡。\n\n莲鹭图轴是元朝时期的一件杰作，当时的画家们非常喜欢用莲花和鹭鸶这种自然元素来表现他们的艺术感悟。莲花象征着清新、优雅和纯洁，而鹭鸶则象征着平静、宁静和和平。这幅图画把这两种元素结合在一起，表现出了一种浪漫、优美、安宁的气氛。\n\n莲鹭图轴是一幅非常精美的图画，画面细腻、线条流畅、色彩和谐。这幅图画现在被认为是元朝艺术的代表作之一，是中国古代绘画艺术的杰作。",[24,95,139,140,29,49,7,747,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42d6fce71076fb407edc41d3ce20b6a1.jpg","绢本,水墨",[35],{"id":1985,"slug":1986,"title":1987,"dynasty":18,"author":220,"museum":46,"description":1988,"tags":1989,"thumbUrl":1992,"material":64,"size":65,"collection":34,"collections":1993,"showCount":1994,"zanCount":11,"manualWeight":39,"mainColor":231},268438,"dian-cui-he-hua-wen-tou-hua-yi-ming-268438","点翠荷花纹头花","中国妇女最偏爱的头花当属绒花，尤其是在女儿出嫁时，头上必须戴红色绒花，图火红吉利。在中国妇女中，只要条件允许，不仅婚礼喜庆日时要戴绒花，而且一年四季都愿意头戴绒花，求谐音吉祥。尤其到应时节序戴应季绒花：立春日戴春幡，清明日戴柳枝，端阳日戴艾草，中秋日戴桂花，重阳日戴茱萸，立冬日戴葫芦阳生……。清宫后妃们的头花，还有大批的绒花、绢花、绫花流存于世，这些花色彩协调，晕色层次丰富，堪称“乱真”之花。清代遗留下来的绒、绢、绫、绸等质地的头花有白、粉、桃红三晕色的牡丹花，浅黄、中黄、深黄三色的菊花，白、藕、雪青三色的月季花及粉、白相间的梅花等等，历时百年不久，仍鲜艳悦人。",[1387,1990,7,123,1991],"点翠","头饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1c640ea4dfc34b00b469aaee08dedbf.jpg",[],25,{"id":1996,"slug":1997,"title":1998,"dynasty":18,"author":671,"museum":46,"description":1999,"tags":2000,"thumbUrl":2001,"material":701,"size":2002,"collection":34,"collections":2003,"showCount":1994,"zanCount":39,"manualWeight":39,"mainColor":40},234992,"hua-hui-ling-mao-ping-10-ren-yi-234992","花卉翎毛屏10","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。",[24,25,139,29,49,27,96,7,31,387,1418,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbf9f397c8059cf090d6b2cb507af50a.jpg","149 x 61 cm",[],{"id":2005,"slug":2006,"title":2007,"dynasty":18,"author":1687,"museum":1688,"description":1689,"tags":2008,"thumbUrl":2012,"material":789,"size":1696,"collection":34,"collections":2013,"showCount":1994,"zanCount":39,"manualWeight":39,"mainColor":40},222994,"hong-lou-meng-119-sun-wen-222994","红楼梦119",[23,24,49,29,95,2009,224,338,341,7,372,1334,1124,112,2010,2011],"红楼梦","亭阁","古典服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd67297d39f5aed8cc4677ef2dc3abce.jpg",[],{"id":2015,"slug":2016,"title":1228,"dynasty":154,"author":478,"museum":1229,"description":2017,"tags":2018,"thumbUrl":1233,"material":34,"size":34,"collection":34,"collections":2019,"showCount":1994,"zanCount":39,"manualWeight":39,"mainColor":40},220506,"he-du-ye-qu-zhang-da-qian-220506","这幅画作以泼墨泼彩晕染荷塘意境，阔大的主荷叶以淋漓墨色铺陈，笔触裹挟雄浑气势，如流云垂落，肆意舒展尽显野趣。留白勾勒的白荷亭亭玉立，花瓣清润雅致，与浓墨荷叶形成强烈虚实对比，淡粉水色晕染池面，朦胧间恍若暮色烟霞漫过塘间。\n\n粗细错落的荷杆撑起画面层次，墨色浓淡铺就荷塘深浅，将盛夏荷塘的蓬勃生机与幽远禅意相融。题字错落排布，文气与画意相映，整体虚实相生，在浓淡开合间，将荷塘野逸雅致的意趣尽数铺展，尽显中式水墨的写意禅味。",[95,24,140,29,139,141,7,31,77],[],{"id":2021,"slug":2022,"title":2023,"dynasty":182,"author":220,"museum":1978,"description":1979,"tags":2024,"thumbUrl":2025,"material":1982,"size":34,"collection":35,"collections":2026,"showCount":1994,"zanCount":39,"manualWeight":39,"mainColor":104},216880,"lian-lu-tu-zhou-1-yi-ming-216880","莲鹭图轴-1",[24,25,139,49,27,7,747,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08dd5a120eafde93f3e851982bae0400.jpg",[35],{"id":2028,"slug":2029,"title":2030,"dynasty":18,"author":220,"museum":46,"description":2031,"tags":2032,"thumbUrl":2039,"material":64,"size":65,"collection":34,"collections":2040,"showCount":2041,"zanCount":39,"manualWeight":39,"mainColor":104},249380,"qia-si-fa-lang-kai-guang-si-ji-hua-niao-tu-tao-er-ping-yi-ming-249380","掐丝珐琅开光四季花鸟图桃耳瓶","景泰蓝（Cloisonne），中国的著名特种金属工艺品类之一，到明代景泰年间这种工艺技术制作达到了最巅峰，制作出的工艺品最为精美而著名，故后人称这种金属器为“景泰蓝”。景泰蓝正名“铜胎掐丝珐琅”，俗名“珐蓝”，又称“嵌珐琅”，是一种在铜质的胎型上，用柔软的扁铜丝，掐成各种花纹焊上，然后把珐琅质的色釉填充在花纹内烧制而成的器物 。因其在明朝景泰年间盛行，制作技艺比较成熟，使用的珐琅釉多以蓝色为主，故而得名“景泰蓝”。",[2033,2034,2035,2036,2037,7,27,114,400,29,2038],"掐丝珐琅器","掐丝珐琅","开光","四季花鸟","桃耳","铜制","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F357ba6b15b2ac6b46fa8745f7aa107d5.jpg",[],24,{"id":2043,"slug":2044,"title":2045,"dynasty":18,"author":220,"museum":46,"description":2031,"tags":2046,"thumbUrl":2049,"material":64,"size":65,"collection":34,"collections":2050,"showCount":2041,"zanCount":11,"manualWeight":39,"mainColor":104},249333,"qia-si-fa-lang-lian-hua-wen-yu-gang-yi-ming-249333","掐丝珐琅莲花纹鱼缸",[2034,2047,7,2048,400,96],"琺瑯器","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fbf9d5db777b349159164637ec91efc.jpg",[],{"id":2052,"slug":2053,"title":2054,"dynasty":18,"author":849,"museum":46,"description":850,"tags":2055,"thumbUrl":2056,"material":64,"size":65,"collection":34,"collections":2057,"showCount":2041,"zanCount":39,"manualWeight":39,"mainColor":40},236440,"hua-niao-shan-zhu-cheng-236440","花鸟扇",[24,25,737,29,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50875841b475751f0202fe0450e2d2a1.jpg",[],{"id":2059,"slug":2060,"title":2061,"dynasty":2062,"author":220,"museum":46,"description":2063,"tags":2064,"thumbUrl":2066,"material":64,"size":65,"collection":34,"collections":2067,"showCount":2041,"zanCount":39,"manualWeight":39,"mainColor":40},226904,"song-shan-hua-shang-lian-tu-yi-shou-jing-mu-xia-fu-jian-yi-ming-226904","嵩山画赏莲图，益寿镜木匣附件","汉","汉镜有圆形﹑方形。纽多作半球形。正面磨光背面铸有几何形图案或神人禽兽等。东汉中期出现浮雕的画像造形精美。\n两汉时期大体上分西汉、新莽、东 汉三个阶段。汉镜纹饰的主要种类有草叶纹镜、蟠龙纹镜、百乳镜、连弧纹镜、规矩镜、多乳禽兽纹镜和变形四叶镜等。",[24,25,49,29,7,324,2065,2062],"木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1b4a4bd4279221698730fe5346f56d4.jpg",[],{"id":2069,"slug":2070,"title":2071,"dynasty":91,"author":2072,"museum":136,"description":2073,"tags":2074,"thumbUrl":2076,"material":98,"size":2077,"collection":67,"collections":2078,"showCount":2041,"zanCount":39,"manualWeight":39,"mainColor":40},218874,"shui-xie-he-xiang-tu-ma-yong-zhong-218874","水榭荷香图","马永忠","这幅画描绘了一座水上宫殿，高耸入云，周围是垂柳树，岩石和宫殿的边框用青绿涂抹。",[23,24,25,29,337,26,338,7,160,505,2075,371,339],"船只","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6285e4bd1b8792b86fd7d346f2b0a86c.jpg","25.3x31.1",[67],{"id":2080,"slug":2081,"title":2082,"dynasty":18,"author":982,"museum":46,"description":2083,"tags":2084,"thumbUrl":2085,"material":64,"size":65,"collection":34,"collections":2086,"showCount":2087,"zanCount":39,"manualWeight":39,"mainColor":40},290458,"da-feng-tang-ti-qing-qi-shan-shui-ce-shi-tao-290458","大风堂题清沏山水册","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等，明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[24,25,26,140,188,52,7,142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feea1bbbc82bc03b1616c198da660c409.jpg",[],22,{"id":2089,"slug":2090,"title":2091,"dynasty":18,"author":220,"museum":46,"description":2092,"tags":2093,"thumbUrl":2096,"material":64,"size":65,"collection":34,"collections":2097,"showCount":2087,"zanCount":11,"manualWeight":39,"mainColor":130},263974,"hong-se-di-mu-dan-he-hua-wen-hui-hui-zhi-jin-jin-yi-ming-263974","红色地牡丹荷花纹回回织金锦","《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》。",[1045,2094,114,7,2095],"织锦","织金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F318241f3f941ade79de1287543f75a47.jpg",[],{"id":2099,"slug":2100,"title":763,"dynasty":18,"author":764,"museum":46,"description":2101,"tags":2102,"thumbUrl":2103,"material":34,"size":34,"collection":34,"collections":2104,"showCount":2087,"zanCount":39,"manualWeight":39,"mainColor":40},230293,"hua-niao-ce-shi-kai-li-shan-230293","此作用笔放逸老辣，以泼墨晕染荷叶，浓淡干湿一气呵成，淋漓间尽显叶片舒展厚重的质感。荷花花苞则以焦墨勾边，淡墨晕染花瓣，妍雅秀润，与荷叶的苍劲朴拙形成鲜明反差，寥寥数笔便勾勒出夏荷出尘之姿。\n\n画面搭配题诗与朱印，书画印浑然一体。书法朴拙跌宕，与水墨荷花相映成趣，将文人意趣与花鸟神韵相融，以简驭繁，尽显写意酣畅情致，把荷花清逸风骨与自身疏朗襟怀尽数诉诸笔端，是笔墨性情与物象神韵完美契合的写意佳作。",[24,25,95,26,140,27,7,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e2b5537a93897bce1aaae99efc57378.jpg",[],{"id":2106,"slug":2107,"title":2108,"dynasty":18,"author":220,"museum":46,"description":2109,"tags":2110,"thumbUrl":2112,"material":64,"size":65,"collection":34,"collections":2113,"showCount":2114,"zanCount":39,"manualWeight":39,"mainColor":2115},265423,"pin-yue-se-duan-di-dan-cai-mu-dan-ju-he-hua-wen-tao-yi-ming-265423","品月色缎地淡彩牡丹菊荷花纹绦","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。",[1045,1387,2111,114,7,253,27,29],"刺绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ed40da84527dce484ddf71e9370c802.jpg",[],21,"2A56C6",{"id":2117,"slug":2118,"title":2119,"dynasty":18,"author":2120,"museum":2121,"description":2122,"tags":2123,"thumbUrl":2124,"material":402,"size":2125,"collection":313,"collections":2126,"showCount":2114,"zanCount":39,"manualWeight":39,"mainColor":130},224239,"lu-shan-guan-lian-shang-guan-zhou-224239","庐山观莲","上官周","中央美术学院美术馆","此图是故事画，描绘东晋僧人慧远于庐山结社，与当时文人交往。左上题云：庐山远公开池种白莲，以十八人为社，社中陶渊明、谢灵运，一因无酒不至，一好游而长来。可见图中人物主要应是谢灵运、慧远。四人神态各异，而无不细致生动，十分传神",[23,24,25,29,224,7,51,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ce0ec4aab08c39ddc115eb46ffc536d.jpg","纵374厘米横25厘米",[313],{"id":2128,"slug":2129,"title":2130,"dynasty":18,"author":2131,"museum":46,"description":2132,"tags":2133,"thumbUrl":2135,"material":64,"size":65,"collection":34,"collections":2136,"showCount":2137,"zanCount":39,"manualWeight":39,"mainColor":40},290516,"zhou-dun-yi-ai-lian-tu-tuan-shan-shu-hao-290516","周敦颐爱莲图团扇","舒浩","舒浩［清］字萍桥，号平桥，又号则水道人。与沙馥、钱慧安等先后同时，名誉亦杨伯仲。工人物、山水、花鸟，工细缜密，雅秀天然。按近代六十名画家传载有舒豪字萍桥，",[23,24,737,29,49,224,7,554,52,142,2134],"闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e06f70481735d4cbb314db4b28a48af.jpg",[],20,{"id":2139,"slug":2140,"title":2141,"dynasty":18,"author":220,"museum":46,"description":2142,"tags":2143,"thumbUrl":2146,"material":64,"size":65,"collection":34,"collections":2147,"showCount":2137,"zanCount":39,"manualWeight":39,"mainColor":1779},269923,"zhu-diao-he-hua-tu-bi-tong-yi-ming-269923","竹雕荷花图笔筒","笔筒： 用陶瓷、竹木、等制成的筒形插笔器具。笔筒是搁放毛笔的专用器物，据文献记载，它的材质有镏金、翡翠、紫檀和乌木，现在我们能够见到的传世器物，大多是用瓷或者是竹木制作的。具有收藏价值。",[400,2144,1388,7,2145],"竹雕","笔筒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dab2d5cb3b8576c74c55d3fae58ddf0.jpg",[],{"id":2149,"slug":2150,"title":2151,"dynasty":18,"author":2152,"museum":435,"description":2153,"tags":2154,"thumbUrl":2156,"material":82,"size":34,"collection":34,"collections":2157,"showCount":2137,"zanCount":39,"manualWeight":39,"mainColor":40},233188,"hua-hui-ce-he-hua-ye-zhao-zhi-qian-233188","花卉册-荷花页","赵之谦","赵之谦（1829-1884），字益甫、孺卿，又号瀚寮，初字冷君，中年更号悲盦，晚号无闷，浙江会稽（今绍兴）人。早年曾游按察使缪梓幕，咸丰九年（1859）举人，同治元年（1862）入京，四年（1866）会试，之后历官鄱阳、奉新、南城知县。家藏秘册甚富，以篆刻名世，为晚清印坛代表人物。同时擅书、工花卉。此册画十二开，各绘牡丹、萱草、芙蓉、桃花、梅竹、杂卉等，造型新颖，设色鲜亮。",[24,29,27,519,7,31,30,2155],"玉簪花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc26b5eb62df5eecaa15fd2db8f768689.jpg",[],{"id":2159,"slug":2160,"title":2161,"dynasty":18,"author":1657,"museum":435,"description":2162,"tags":2163,"thumbUrl":2164,"material":34,"size":34,"collection":35,"collections":2165,"showCount":2137,"zanCount":39,"manualWeight":39,"mainColor":2166},203067,"hua-guo-ce-jin-nong-203067","花果册","墨笔点染间，水仙叶片舒展如带，花姿清逸，淡墨勾瓣衬细蕊，尽显冰肌玉骨之态；荷花以水墨写叶，浓淡相济见苍劲，淡粉晕染花瓣，柔媚与朴拙相映成趣。题字笔致古拙，朱印点缀，诗书画印相融，满溢文人雅韵。画面简而不空，拙中藏巧，质朴里见灵动，尽展清寂出尘的风骨。",[24,140,29,27,120,7,52,26,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4199190901ecf68e505cf3c89be7d5d1.jpg",[35],"d7d1c0",{"id":2168,"slug":2169,"title":1238,"dynasty":91,"author":1239,"museum":46,"description":1240,"tags":2170,"thumbUrl":2171,"material":64,"size":65,"collection":34,"collections":2172,"showCount":2173,"zanCount":39,"manualWeight":39,"mainColor":40},289128,"tai-ye-he-feng-tu-feng-da-you-289128",[24,737,29,27,7,226,49,188,142,327],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4808c104c2ab567d8fad3a717971579.jpg",[],19,{"id":2175,"slug":2176,"title":2177,"dynasty":134,"author":1748,"museum":46,"description":2178,"tags":2179,"thumbUrl":2181,"material":439,"size":34,"collection":34,"collections":2182,"showCount":2173,"zanCount":39,"manualWeight":39,"mainColor":40},234247,"mo-hua-jiu-zhong-juan-chen-gua-234247","墨花九种卷","陈栝（生卒年未详），约活动于公元16世纪，字子正，号沱江，江苏苏州人。陈栝是 陈淳的儿子。善画花卉，笔似其父。嗜酒放浪。画擅花鸟，继其有法，而又出己意，笔致放浪而有生趣，亦能诗。先其父而亡。自元代文人画创立以写法入画以来，明代徐渭、陈道复更在花鸟中将笔迹放纵的写意画法又向前推进一步，而道复之子陈栝则更在其父基础上，将这种不拘于象的写法又发挥至极致，其勾点皴擦，随心所欲， 绝出尘象之外。",[23,24,25,112,140,27,141,52,114,7,30,118,119,120,121,2180,253],"梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc52c46bc4e3b4ca5a9f77865bc6868ab.jpg",[],{"id":2184,"slug":2185,"title":2186,"dynasty":18,"author":220,"museum":46,"description":2187,"tags":2188,"thumbUrl":2191,"material":64,"size":65,"collection":34,"collections":2192,"showCount":86,"zanCount":39,"manualWeight":39,"mainColor":104},261130,"qian-long-kuan-dou-cai-yuan-yang-wo-lian-wen-wan-yi-ming-261130","乾隆款斗彩鸳鸯卧莲纹碗","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。",[1713,2189,2190,356,7,29],"斗彩","碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fd3823732405acbe6ffacf1064ed289.jpg",[],{"id":2194,"slug":2195,"title":2196,"dynasty":18,"author":220,"museum":46,"description":2197,"tags":2198,"thumbUrl":2199,"material":64,"size":65,"collection":34,"collections":2200,"showCount":2201,"zanCount":39,"manualWeight":39,"mainColor":40},270167,"huang-se-ke-si-hua-die-tu-mian-hong-mu-diao-hua-bing-tuan-shan-yi-ming-270167","黄色缂丝花蝶图面红木雕花柄团扇","木雕是雕塑的一种，在我们国家常常被称为“民间工艺”。木雕可以分为立体圆雕、根雕、浮雕三大类。木雕是从木工中分离出来的一个工种，在我们国家的工种分类中为“精细木工”。\n以雕刻材料分类的民间美术品种。一般选用质地细密坚韧，不易变形的树种如楠木、紫檀、樟木、柏木、银杏、沉香、红木、龙眼等。\n木雕是以各种木材及树根为材料进行雕刻，是以传统雕刻工艺中的重要门类。木雕的历史非常悠久，在浙江余姚河姆渡文化遗址就有木雕鱼出土，这是我国木雕史上最早的实物。河南信阳战国大墓出土的木雕镇木兽，湖北云梦汉墓出土的彩雕木佣均为我国早期木雕作品。由于保存的困难，现今很难看到超过千年的木雕作品。\n两宋时期木雕作品较为多见，这时的木雕已采用组织细密的木材为载体进行制作，这就有利于木雕作品的传世。我国的一些庙宇里还保存有宋代的木雕作品。\n元明时由于海外贸易的急速发展，木材种类有所增加，许多由海外进口的硬质木材，是木雕工艺得到长足发展。\n明清期间是木雕艺术的一个辉煌时期，涌现出大量有史可考的名家、艺人及其作品，是古代木雕艺术的一个高峰。\n清末至民国年间由于政府的腐败，国力的衰退，外强的侵略，民不潦生，木雕艺术从此衰落，艺人名家也只能沦为匠人糊口度日。新中国成立后在党和国家的关怀下，民间工艺得到了保护及挖掘，木雕也重新涣发出生命，涌现出一批国家级大师。他们的作品，工艺精湛，秉承传统，立意深远，讴歌时代，体现了大师们立足传统，锐意创新，直抒重获新生的胸怀和报效国家，知遇之恩的深情。\n国家改革开放，经济腾飞，国富民强，党和国家对民间工艺的大力扶持，唤起了民众对传统工艺美术的热爱与追求。逢此盛世，民间工艺美术有了新的飞跃，木雕艺术也不例外。面对实际情况，在全国工艺品展出中，优秀作品的作者年龄偏大，年轻作者寥寥无几。",[737,1044,2065,27,7,123,1045,2048],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93a1b866ba67d6f266466f22b47975bb.jpg",[],17,{"id":2203,"slug":2204,"title":2205,"dynasty":18,"author":2206,"museum":46,"description":2207,"tags":2208,"thumbUrl":2209,"material":64,"size":65,"collection":34,"collections":2210,"showCount":2201,"zanCount":39,"manualWeight":39,"mainColor":40},235659,"shan-shui-ping-yuan-jiang-235659","山水屏","袁江","袁江（1662年—1735年），字文涛，号岫泉，江都（今江苏扬州）人，清代画家。",[24,337,29,49,698,338,371,554,505,507,224,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ba0ef29879681b083ef4cf3223e4053.jpg",[],{"id":2212,"slug":2213,"title":2214,"dynasty":18,"author":1687,"museum":1688,"description":1689,"tags":2215,"thumbUrl":2217,"material":789,"size":1696,"collection":34,"collections":2218,"showCount":2201,"zanCount":39,"manualWeight":39,"mainColor":40},222888,"hong-lou-meng-13-sun-wen-222888","红楼梦13",[23,49,29,337,224,371,338,339,7,505,374,341,2216,506,1111],"中式建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F049e5f0fe63988faa3ef346a8cff10e0.jpg",[],{"id":2220,"slug":2221,"title":1987,"dynasty":18,"author":220,"museum":46,"description":1988,"tags":2222,"thumbUrl":2224,"material":64,"size":65,"collection":34,"collections":2225,"showCount":2226,"zanCount":39,"manualWeight":39,"mainColor":231},268434,"dian-cui-he-hua-wen-tou-hua-yi-ming-268434",[1387,1990,7,2223],"头花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b0db52aba464db3af5b36b0f14cc7a0.jpg",[],16,{"id":2228,"slug":2229,"title":17,"dynasty":134,"author":2230,"museum":46,"description":2231,"tags":2232,"thumbUrl":2233,"material":64,"size":65,"collection":34,"collections":2234,"showCount":2226,"zanCount":39,"manualWeight":39,"mainColor":40},235477,"hua-hui-ce-qi-xun-235477","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。",[24,25,26,188,140,660,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37bc4a6a7e5fd9cdac8bdc41c2dd64f4.jpg",[],{"id":2236,"slug":2237,"title":2238,"dynasty":18,"author":2239,"museum":74,"description":2240,"tags":2241,"thumbUrl":2242,"material":2243,"size":2244,"collection":34,"collections":2245,"showCount":2226,"zanCount":39,"manualWeight":39,"mainColor":2246},223142,"shi-wan-tu-ce-6-ren-xiong-223142","十万图册6","任熊","《十万图》册是任熊晚年创作的10幅山水精品，因题目均以“万”字起首而得名，即“万卷诗楼”、“万点青莲”、“万峰飞雪”、“万笏朝天”、“万竿烟雨”、“万松叠翠”、“万林秋色”、“万壑争流”、“万丈空流”、“万横香雪”，以寓至多尽善、完满俱足之意。该图册多取材于苏州太湖一带的山水而内容又有所扩大，如“万笏朝天”、“万横香雪”即以苏州天平山和香雪海为素材，“万点青莲”描绘的应是杭州西湖的景色，而“万丈空流”、“万竿烟雨”则是想象中的海岛和潇湘奇景。总之，画家是以“十”、“万”来概括天下美景与赏心乐事。作品笔法细腻，构思精微，意境深邃，并富有装饰趣味，于写实中充满浪漫情调。尤其是作者充分运用金笺纸的底色作用，使青绿设色逾显得绚丽多彩，浓艳华贵而不失雅逸的艺术效果。",[23,24,29,49,26,7,31,538,172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa21471dc14f16ee61c8eb48af722a982.jpg","泥金笺，设色","纵26.3厘米，横20.5厘米",[],"FF9800",{"id":2248,"slug":2249,"title":2250,"dynasty":91,"author":220,"museum":136,"description":2251,"tags":2252,"thumbUrl":2256,"material":98,"size":2257,"collection":261,"collections":2258,"showCount":2226,"zanCount":11,"manualWeight":39,"mainColor":40},218704,"he-ting-shui-ge-tu-yi-ming-218704","荷汀水阁图","一个有学问的人在水榭里看荷花，一个渔夫在沙滩上扭动渔网。远处的山和湖各占一半，使画面平静而清晰。笔法是夏圭的遗产，所以这可能是一位大师的作品。",[23,24,95,25,26,140,1468,698,338,2253,7,160,505,1967,2254,2255],"汀洲","近岸","浅设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa60861a88d925828376c2dde8d09dbee.jpg","22.9x23.6",[261],{"id":2260,"slug":2261,"title":2262,"dynasty":18,"author":446,"museum":2263,"description":2264,"tags":2265,"thumbUrl":2266,"material":33,"size":34,"collection":34,"collections":2267,"showCount":2226,"zanCount":39,"manualWeight":39,"mainColor":40},214817,"shan-shui-hua-hui-tu-ce-3-gao-feng-han-214817","山水花卉图册-3","日本大阪市立美术馆","高凤翰（1762-1843）是一位著名的清代画家，他的主要作品是山水花卉图册。高凤翰生于江苏省的吴县，他曾在杭州学习画画，后来进入了江南画派。他的画风独特，被称为“高氏画法”，以其精细、细腻的线条和浓郁的色彩闻名。\n\n高凤翰的山水花卉图册是他的代表作之一，包括了许多精美的山水画作品。这些作品描绘了自然风光，包括山峦、河流、湖泊、树木、花草等。高凤翰的山水画作品经常带有浓厚的写意气息，表现出自然之美。他的画作还常常加入人物、建筑、动物等元素，使得作品更加丰富多彩。\n\n高凤翰的山水花卉图册在当时颇受欢迎，并且被视为江南画派的杰出代表作。他的作品被认为是清代山水画发展的重要贡献，对后世的山水画家也产生了很大的影响。",[24,140,29,26,7,31,27,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1390e062dcc9a31e1c77611f2c4c8842.jpg",[],{"id":2269,"slug":2270,"title":2271,"dynasty":18,"author":220,"museum":46,"description":2272,"tags":2273,"thumbUrl":2279,"material":64,"size":65,"collection":34,"collections":2280,"showCount":2281,"zanCount":39,"manualWeight":39,"mainColor":104},262200,"qian-long-kuan-bai-di-fan-hong-cai-shi-ju-kai-guang-fen-cai-he-hua-tu-zun-yi-ming-262200","乾隆款白地矾红彩诗句开光粉彩荷花图尊","尊，今作樽，是商周时代中国的一种大中型盛酒器。青铜器，尊的形制圈足，圆腹或方腹，长颈，敞口，口径较大。尊盛行于商代至西周时期，春秋后期已经少见。较著名的有四羊方尊。商周至战国时期，还有另外一类形制特殊的盛酒器—彝。彝通常呈鸟兽状，有羊、虎、象、豕、牛、马、鸟、雁、凤等形象。《周礼·春官·司尊彝》：“春祠夏禴，裸用鸡彝鸟彝......追享朝享，裸用虎彝蜼彝。”彝纹饰华丽，在背部或头部有尊盖。",[1713,2274,2275,2276,7,31,2277,2278,2035],"尊","矾红彩","粉彩","兽耳","彩绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd06f18cfcc2704ea19653df5e1d94bff.jpg",[],15,{"id":2283,"slug":2284,"title":17,"dynasty":134,"author":2285,"museum":46,"description":2286,"tags":2287,"thumbUrl":2288,"material":64,"size":65,"collection":34,"collections":2289,"showCount":2281,"zanCount":39,"manualWeight":39,"mainColor":40},238118,"hua-hui-ce-xiang-sheng-mo-238118","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。",[24,25,26,188,140,7,52,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cc779104d688860184936ee207b3185.jpg",[],{"id":2291,"slug":2292,"title":2293,"dynasty":18,"author":2206,"museum":46,"description":2294,"tags":2295,"thumbUrl":2299,"material":34,"size":34,"collection":34,"collections":2300,"showCount":2281,"zanCount":39,"manualWeight":39,"mainColor":40},234117,"hua-guo-juan-yuan-jiang-234117","花果卷","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。",[24,25,95,112,29,140,49,27,874,2296,7,114,119,118,120,115,1348,1349,258,116,2297,113,2298,52],"西瓜","果实","枝叶","https: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画面最左边一名侍女，身穿交领窄袖上襦，领襟及袖端处缘边。下身着黄褐色长裙。上襦之外为白色披帛，内着白色中单。侍女腰间佩戴组绶。古人佩玉，组绶是用以系玉的丝带，穿衣时通常系在衣服的最外面，由彩色的丝线编织而成。《礼记·玉藻》记载：“天子佩白玉而玄组绶，公侯佩山玄玉而朱组绶，大夫佩水苍玉而纯组绶，世子佩瑜玉而綦组绶，士佩瓀玟而緼组绶。” 该侍女发式为双平髻，髻上插梳。双平髻是双挂式的一种，起源于秦朝。其特点是将发顶平分两大股，梳结成对称的环，相对垂挂于两侧。这种发式多用于宫廷。",[24,139,29,224,49,370,7,2330,1456],"宫苑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bedfc707d44a7540422c8ce063b6905.jpg","82.4x44.3",[],{"id":2335,"slug":2336,"title":2337,"dynasty":18,"author":220,"museum":46,"description":2338,"tags":2339,"thumbUrl":2342,"material":64,"size":65,"collection":34,"collections":2343,"showCount":69,"zanCount":39,"manualWeight":39,"mainColor":104},272958,"qi-xiang-qian-ci-hua-niao-tu-gua-ping-yi-ming-272958","漆镶嵌瓷花鸟图挂屏","瓷器是由瓷石、高岭土、石英石、莫来石等烧制而成，外表施有玻璃质釉或彩绘的物器。瓷器的成形要通过在窑内经过高温（约1280℃～1400℃）烧制，瓷器表面的釉色会因为温度的不同从而发生各种化学变化，是中华文明展示的瑰宝。\n中国是瓷器的故乡，瓷器是古代劳动人民的一个重要的创造。谢肇淛在《五杂俎》记载：“今俗语窑器谓之磁器者，盖磁州窑最多，故相延名之，如银称米提，墨称腴糜之类也。”当时出现的以“磁器”代窑器是由磁州窑产量最多所致。这是迄今发现最早使用瓷器称谓的史料。",[2340,1813,2341,27,7,356,52],"挂屏","镶嵌工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0401789e4c10db1c8ecc2f378b1ee35a.jpg",[],{"id":2345,"slug":2346,"title":1987,"dynasty":18,"author":220,"museum":46,"description":1988,"tags":2347,"thumbUrl":2348,"material":64,"size":65,"collection":34,"collections":2349,"showCount":69,"zanCount":39,"manualWeight":39,"mainColor":231},268439,"dian-cui-he-hua-wen-tou-hua-yi-ming-268439",[1387,1990,7,1991],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F749330f9b2f2ea812c95fff8c6a2fc83.jpg",[],{"id":2351,"slug":2352,"title":2353,"dynasty":134,"author":220,"museum":46,"description":2354,"tags":2355,"thumbUrl":2360,"material":64,"size":65,"collection":34,"collections":2361,"showCount":69,"zanCount":39,"manualWeight":39,"mainColor":104},246225,"jia-jing-kuan-ti-cai-lian-tang-long-zhou-wen-he-ye-shi-pan-yi-ming-246225","嘉靖款剔彩莲塘龙舟纹荷叶式盘","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。",[997,1813,2356,1388,29,2357,2358,2359,31,7,400],"剔彩","莲塘","龙舟","龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5401e06e7807f981fbcd1dcc40472ca3.jpg",[],{"id":2363,"slug":2364,"title":2365,"dynasty":2366,"author":2367,"museum":435,"description":2368,"tags":2369,"thumbUrl":2370,"material":34,"size":34,"collection":35,"collections":2371,"showCount":69,"zanCount":39,"manualWeight":39,"mainColor":2372},203128,"hong-he-tu-zhou-pan-tian-shou-203128","红荷图轴","近代","潘天寿","这幅红荷图以大写意手法绘就，艳红荷花于苍劲墨叶间绽放，色墨对比鲜明却和谐。墨叶以浓淡干湿的笔触挥洒，块面厚重刚健；红荷设色明丽，花瓣线条凝练，花蕊点染生动，与墨色形成刚柔相济之美。构图奇崛，留白与物象交错，营造疏朗而富有张力的空间。画面上方题款笔墨雄健，与画作气韵呼应，印章点缀其间，诗书画印浑然一体，尽显传统文人画精髓。整作兼具视觉冲击力与笔墨意趣，展现独特艺术风貌。",[24,27,250,140,29,96,7,142,52,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43f8028c0137dfeda04af104fed12651.jpg",[35],"c9bfb6",{"id":2374,"slug":2375,"title":268,"dynasty":18,"author":2376,"museum":435,"description":2377,"tags":2378,"thumbUrl":2379,"material":34,"size":34,"collection":35,"collections":2380,"showCount":69,"zanCount":39,"manualWeight":39,"mainColor":2381},202141,"he-hua-zhou-liu-cai-202141","刘蔡","画面以荷花为主体，荷叶或展或卷，墨绿与浅黄交织，层次分明；荷花姿态各异，或绽露粉瓣，或含苞待放，设色清雅而不失明艳。线条工细，勾勒出花叶的柔劲之态，背景晕染出朦胧的水泽气息，整体意境清幽淡远，尽显夏日荷塘的生机与雅致，传递出文人画中对自然意趣的追寻。",[49,29,96,7,27,24,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F015f7845215a1a10f0140ca54b76bea5.jpg",[35],"967645",{"id":2383,"slug":2384,"title":2385,"dynasty":18,"author":434,"museum":435,"description":2386,"tags":2387,"thumbUrl":2388,"material":34,"size":34,"collection":34,"collections":2389,"showCount":69,"zanCount":39,"manualWeight":39,"mainColor":2390},201865,"hong-liao-he-hua-tu-zhou-pu-hua-201865","红蓼荷花图轴","画面以荷花为核心，粉瓣娇嫩含露，白荷清逸出尘，荷叶泼墨层叠间晕染淡绿，墨色浓淡相依显生机。红蓼点缀岸畔，竹枝斜逸添意趣，笔墨奔放洒脱，兼具水墨苍劲与设色清雅。线条率性自然，花叶姿态灵动，尽显文人画的逸气与野趣，仿佛荷风轻拂，露坠叶间，于简淡中藏精巧，奔放中见细腻，是蒲华花鸟写意的典型风貌。",[24,25,27,7,29,140,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd997d9cb6083b68ce351b4c25f3d6840.jpg",[],"b5ada2",{"id":2392,"slug":2393,"title":2394,"dynasty":18,"author":2395,"museum":435,"description":2396,"tags":2397,"thumbUrl":2398,"material":34,"size":34,"collection":35,"collections":2399,"showCount":69,"zanCount":11,"manualWeight":39,"mainColor":2400},201573,"he-hua-yuan-yang-tu-zhou-wu-zhen-wu-201573","荷花鸳鸯图轴","吴振武","画面铺展夏日荷塘景致，工笔细绘荷花百态——或绽露粉瓣金蕊，或含苞待放，或残叶半卷，墨绿荷叶与浅白枯梗相映，层次分明。双鸳鸯亲昵游弋，羽色斑斓细腻，喙爪灵动传神，为静谧荷塘添生机。设色清雅温润，线条婉转流畅，背景浅淡留白衬出花叶疏朗之姿。整体雅致灵动，工细中含文人意趣，尽显传统花鸟之韵。",[24,49,29,27,96,7,139,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fc3b796dfb24a295f776a7567d823b7.jpg",[35],"c4af8c",{"id":2402,"slug":2403,"title":2404,"dynasty":18,"author":220,"museum":46,"description":2405,"tags":2406,"thumbUrl":2408,"material":64,"size":65,"collection":34,"collections":2409,"showCount":149,"zanCount":39,"manualWeight":39,"mainColor":231},260771,"tan-zhai-kuan-fen-cai-shi-nv-tu-bei-yi-ming-260771","坦斋款粉彩仕女图杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[1713,2407,2276,1124,226,1109,29,7,49],"饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc45964cb0c9b66328af192c11b53b9c3.jpg",[],{"id":2411,"slug":2412,"title":2413,"dynasty":18,"author":197,"museum":74,"description":2414,"tags":2415,"thumbUrl":2417,"material":285,"size":34,"collection":34,"collections":2418,"showCount":149,"zanCount":39,"manualWeight":39,"mainColor":40},237173,"hua-niao-kun-chong-ce-zhou-quan-237173","花鸟昆虫册","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”。",[24,29,49,26,27,124,7,50,113,610,2416,52],"飞虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b915bd9e6b1e382e63b7c2f445a81be.jpg",[],{"id":2420,"slug":2421,"title":2422,"dynasty":18,"author":1657,"museum":74,"description":2423,"tags":2424,"thumbUrl":2425,"material":2426,"size":2427,"collection":34,"collections":2428,"showCount":149,"zanCount":11,"manualWeight":39,"mainColor":40},233391,"shan-shui-ren-wu-ce-jin-nong-233391","山水人物册","册共十二开，分别绘佛像、山水、人物故事等。\u2028　　第一开：墨笔白描佛像、菩提树，画左自题两行，款“己卯八月”。钤“金吉金印”。\n第二开：画礼佛图，右方自题六行，款“心出家盫僧画记”。钤“金吉金印”。\n第三开：画秋林共话，左方自题八行，款“稽留山民记”。钤“莲峰居士”等二印。\n第四开：画湖山采菱，右下自题七言诗一首，下题记六行，款“冬心先生笔记”。钤“冬心先生印”。\n第五开：画青山薄汀，上方自题词一首，款“乾隆二十四年八月十一日七十三翁金农画记”。钤“金氏寿门”印。\n第六开：水墨画鬼趣图，左上自题七行，款“龙梭仙客记”。钤“金农”、“莲峰居士”二印。\n第七开：画玉川煮茶图，自题两行，款“昔耶居士”。钤“寿”一印。\n第八开：画板桥流水，桃林策杖。左方自题七绝一首，款“金二十六郎画诗书”。\n第九开：画柳塘间舟，右上自题七言诗一首，款“曲江外史画诗书”。钤“冬心先生”印。\n第十开：画花塘长亭，上方自书词曲，款“金牛湖山诗老小笔并自度一曲”。钤“寿”、“朋”二印。\n第十一开：画抱膝长思，右上自题“昔年曾见，金老丁晚年自号也”。钤“金老丁”印。\n第十二开：画山僧叩门图，左下自题七言诗，款“昔耶居士并题”。钤“国泉”一印。裱边、附页有健庵、吴湖帆题记。\n此图用笔灵活古拙，山石用意笔写之，淡墨轻染，岸柳、杂树、芭蕉用勾点夹叶法，钱荷用臥笔横点，佛像、人物、山鬼用笔滞涩朴拙，富有韵味。全画笔法生拙奇奥，设色清秀淡雅，意境幽深，为金农山水人物画代表作品。\u2028　　鉴藏印：“曾藏潘健盦处”、“铭心绝品”、“贞甫审定”等六十二方。\u2028　　庞莱臣《虚斋名画录》著录。",[24,25,26,29,7,338,224,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17ee01c8657aec74e994e0a3b9597cea.jpg","纸本，墨笔或设色","纵24.3厘米，横31.2厘米",[],{"id":2430,"slug":2431,"title":2432,"dynasty":134,"author":169,"museum":46,"description":755,"tags":2433,"thumbUrl":2436,"material":64,"size":65,"collection":34,"collections":2437,"showCount":149,"zanCount":39,"manualWeight":39,"mainColor":40},228301,"hua-niao-jing-pin-ce-chen-hong-shou-228301","花鸟精品册",[24,25,26,29,49,27,114,96,118,117,120,226,7,2434,2435,79],"猫","兔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ab22e59eca769a09ba77829421839ef.jpg",[],{"id":2439,"slug":2440,"title":2441,"dynasty":2442,"author":220,"museum":46,"description":2443,"tags":2444,"thumbUrl":2449,"material":64,"size":65,"collection":34,"collections":2450,"showCount":149,"zanCount":39,"manualWeight":39,"mainColor":1779},224011,"he-zhu-yuan-yang-bai-yu-fang-xi-huan-dai-wen-ding-fu-jian-yi-ming-224011","荷渚鸳鸯白玉，仿西环带纹鼎附件","周","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。\n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玉器经历7000多年的发展，从简单的装饰品发展到古代宗教祭拜、礼仪用品，再到象征高尚道德品质的装饰品，最后上升为丰富的艺术鉴赏作品，深入反映了不同历史时期的社会发展演变过程。",[1384,2445,1388,2446,2447,7,356,2448],"玉器","透雕","西环带纹","周代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5437e72ee0f631a082a4179c2afa2dd9.jpg",[],{"id":2452,"slug":2453,"title":2454,"dynasty":2442,"author":220,"museum":46,"description":2455,"tags":2456,"thumbUrl":2461,"material":64,"size":65,"collection":34,"collections":2462,"showCount":149,"zanCount":39,"manualWeight":39,"mainColor":104},224010,"he-tang-bai-lu-yu-ding-xi-shou-mian-zhi-wen-gui-fu-jian-yi-ming-224010","荷塘白鹭玉顶，西兽面直纹簋附件","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。",[2448,2445,1388,2457,506,159,7,2458,2459,2460],"镂空","兽面纹","直纹","礼器附件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a1bbe9ae5f2de43eb3001b0b4d12a81.jpg",[],{"id":2464,"slug":2465,"title":2466,"dynasty":18,"author":2467,"museum":136,"description":2468,"tags":2469,"thumbUrl":2474,"material":34,"size":2475,"collection":34,"collections":2476,"showCount":149,"zanCount":39,"manualWeight":39,"mainColor":40},223247,"ji-le-shi-jie-ding-guan-peng-223247","极乐世界","丁观鹏","丁观鹏(？-1771后)， 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七子过关图》，均辑入《中国历代名画集》。",[24,25,139,223,2472,29,49,224,2879,698,339,7,114,52,1125],"罗汉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe66941476659f3a33338acdaefcd8a57.jpg",[],{"id":2883,"slug":2884,"title":2885,"dynasty":18,"author":220,"museum":46,"description":2109,"tags":2886,"thumbUrl":2888,"material":64,"size":65,"collection":34,"collections":2889,"showCount":177,"zanCount":39,"manualWeight":39,"mainColor":130},265559,"fen-hong-se-duan-di-mu-dan-he-hua-ju-tao-hua-wen-tao-yi-ming-265559","粉红色缎地牡丹荷花菊桃花纹绦",[1045,1387,114,7,253,117,2887,2111],"花卉纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F602555df7d8e356e649ebeb36cf29c17.jpg",[],{"id":2891,"slug":2892,"title":2893,"dynasty":18,"author":220,"museum":46,"description":2405,"tags":2894,"thumbUrl":2896,"material":64,"size":65,"collection":34,"collections":2897,"showCount":177,"zanCount":39,"manualWeight":39,"mainColor":104},261450,"su-san-cai-he-hua-shi-bei-yi-ming-261450","素三彩荷花式杯",[1713,2407,2048,400,96,7,2895],"素三彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5df4d3919bfe6f5dd78e774a189b114.jpg",[],{"id":2899,"slug":2900,"title":2901,"dynasty":18,"author":220,"museum":46,"description":2902,"tags":2903,"thumbUrl":2904,"material":64,"size":65,"collection":34,"collections":2905,"showCount":177,"zanCount":39,"manualWeight":39,"mainColor":40},261391,"yong-zheng-kuan-dou-cai-lian-chi-yuan-yang-wen-wo-zu-pan-yi-ming-261391","雍正款斗彩莲池鸳鸯纹卧足盘","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。",[1713,2189,7,356,2359,153,2048],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F359baff468a421047b31658f651d15ea.jpg",[],{"id":2907,"slug":2908,"title":2909,"dynasty":18,"author":220,"museum":46,"description":2187,"tags":2910,"thumbUrl":2911,"material":64,"size":65,"collection":34,"collections":2912,"showCount":177,"zanCount":39,"manualWeight":39,"mainColor":104},260770,"zhao-zhi-qian-kuan-fen-cai-he-lian-wen-wan-yi-ming-260770","赵之谦款粉彩荷莲纹碗",[1713,2276,7,31,2048,2190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F736ec7365db1a85d07f1860bc193d091.jpg",[],{"id":2914,"slug":2915,"title":2916,"dynasty":18,"author":220,"museum":46,"description":2272,"tags":2917,"thumbUrl":2919,"material":64,"size":65,"collection":34,"collections":2920,"showCount":177,"zanCount":39,"manualWeight":39,"mainColor":104},260577,"fen-cai-he-hua-tu-xiao-zun-yi-ming-260577","粉彩荷花图小尊",[1713,2276,7,31,29,113,2918],"器皿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc86103ec19d3c620c1c3aa20ff687562.jpg",[],{"id":2922,"slug":2923,"title":2924,"dynasty":134,"author":220,"museum":46,"description":2574,"tags":2925,"thumbUrl":2926,"material":64,"size":65,"collection":34,"collections":2927,"showCount":177,"zanCount":39,"manualWeight":39,"mainColor":130},257388,"qing-hua-yu-lian-wen-ba-leng-hu-lu-ping-yi-ming-257388","青花鱼莲纹八棱葫芦瓶",[1713,2576,29,79,7,400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F086a3570ca57d59c611c3cab523124d8.jpg",[],{"id":2929,"slug":2930,"title":2931,"dynasty":134,"author":220,"museum":46,"description":2443,"tags":2932,"thumbUrl":2934,"material":64,"size":65,"collection":34,"collections":2935,"showCount":177,"zanCount":39,"manualWeight":39,"mainColor":40},250768,"bai-yu-lou-diao-he-hua-lu-si-pei-yi-ming-250768","白玉镂雕荷花鹭鸶佩",[1384,1387,2933,7,1787],"镂雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F046cd8b1c0d500db24c9a6918ea6c300.jpg",[],{"id":2937,"slug":2938,"title":2939,"dynasty":18,"author":220,"museum":46,"description":2940,"tags":2941,"thumbUrl":2946,"material":64,"size":65,"collection":34,"collections":2947,"showCount":177,"zanCount":39,"manualWeight":39,"mainColor":104},245520,"jin-qian-fa-lang-chang-fang-pen-chuan-zhu-mei-hua-pen-jing-yi-ming-245520","金嵌珐琅长方盆穿珠梅花盆景","虬曲梅枝古拙苍劲，以莹润珍珠缀作寒英，素洁雅致，暗合冬梅的冰清傲骨。旁侧粉碧玺荷花亭亭舒展，晕开柔丽水色，珊瑚灵芝鲜妍俏立，细草点缀生趣，将冬春意趣汇于一方。珐琅长盆纹饰精丽鎏金，华贵底色托衬雅意清供，工巧技法与文人意趣绝妙融合，在尺幅案头勾勒出幽澹隽永的小景，尽显雅致闲情。",[51,2942,2943,2180,1714,2944,29,113,2047,2945,1335,7,121],"金嵌珐琅","穿珠","珐琅盆","金器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07db6c2dc76fe745d31a4d6064492ff9.jpg",[],{"id":2949,"slug":2950,"title":2951,"dynasty":18,"author":220,"museum":74,"description":2952,"tags":2953,"thumbUrl":2954,"material":649,"size":2955,"collection":34,"collections":2956,"showCount":177,"zanCount":39,"manualWeight":39,"mainColor":104},234911,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234911","唐岱小园闲咏图册","唐岱（1673—1752后），字毓东，号静岩，又号默庄，满洲正蓝旗人。康熙中以荫官参领。从王原祁学画，丘壑似王原祁，远宗宋人，“泼墨淋漓，气韵生动”。康熙后期常将其召入宫中作画，品题其画为当时第一手，赐称“画状元”。\n第一开：曲径通幽。对开题：“为隔尘氛远，应怜曲径长。迂回山势抱，逦迤竹垣藏。鹤歩苔痕合，春归花气香。板桥流水外，别有读书堂。”\n第二开：芳屿围棋。对开题：“乘兴步芳屿，逍遥任所之。已看苔作席，最爱柳成帷。漫煮蒙溪茗，闲抛赌墅棋。东山称盛事，吟望寄遐思。”\n第三开：桃溪步履。对开题：“山桃开也未，杖策试探寻。好景春来遍，芳溪曲处深。明霞千树叠，傍水一枝临。何必武陵路，随缘物外心。”\n第四开：竹坞春深。对开题：“闲过山坞里，粉脱见新篁。劲节当春绿，踈竿泛籁长。萧骚寒雨夜，彷佛辋川庄。不肯裁为管，无劳引凤凰。”\n第五开：芳港闻莺。对开题：“春色堂堂去，莺声恰恰来。缗蛮听处涩，风景暗中催。长日慵摊饭，新缸喜拨醅。笙簧随分有，何必舞三台。”\n第六开：春湖涵碧。对开题：“碧水漾平湖，空明一镜铺。须眉应可鉴，尘壤杳然无。点点浮青荇，双双下白鳬。春风浴沂水，视此意何殊。”\n第七开：石坂烹云。对开题：“敲火乌卿炽，烹云玉液清。龙团曾未点，鱼目已旋生。漫说肠堪润，应知眼倍眀。披襟成小啜，孤鹤一声鸣。”\n第八开：广厦冰壶。对开题：“天伏三庚永，堂开六月凉。深深屏隔暑，叠叠簟含霜。底事挥纨扇，无劳问蔗浆。冰壶供坐卧，乐意自相忘。”\n第九开：镜水荷香。对开题：“半夜芙蓉雨，三间水月楼。清香随处度，风景一时收。干密妨鱼跃，花深隐鹭游。诗情频入座，不必问渔舟。”\n第十开：月楼夕幌。对开题：“雨洗尘氛静，天空花鸟闲。月楼开一面，夕幌卷千山。牧笛耳边过，征鸿眼里还。桂香依旧发，付与阿谁攀。”\n第十一开：兰桡独钓。对开题：“秋湖鱼怯饵，把钓事如何。绿水一竿竹，清风几领簑。蒹葭尘外老，星月个中多。夜静独归去，清光挂女萝。”\n第十二开：竹篱鹤歩。对开题：“结社松为宅，看家鹤守门。偏知人客至，不负稻粱恩。宿月精神古，梳风毛羽繁。由来好僮仆，不必贵乘轩。”\n第十三开：芦岸秋晴。对开题：“秋色知多少，芦花尽白头。战风摇夕浦，饮露亚寒洲。生意知将谢，随时未肯休。苍茫烟水里，好去弄扁舟。”\n第十四开：板桥霜迹。对开题：“隔溪亭子迥，为架板桥通。秋老碧天白，寒流枫叶红。卷帘吟夜月，着屐歩霜风。爱此双双迹，扶笻过水东。”\n第十五开：雪径梅姿。画心左下款署“唐岱恭画”。对开题：“四时花木足，最喜是园梅。傲雪三冬里，因风几朵开。清香流玉骨，冷润滴氷腮。独有幽人赏，巡檐杖策来。右《小园闲咏》十五首，雍正乙卯夏五月，宝亲王长春居士著”。梁诗正谨书。",[24,25,95,26,29,698,338,505,7,142,188,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc57bded8df6435a6fffe65bbdf0e611d.jpg","25.7×33厘米",[],{"id":2958,"slug":2959,"title":2960,"dynasty":182,"author":220,"museum":46,"description":2455,"tags":2961,"thumbUrl":2964,"material":64,"size":65,"collection":34,"collections":2965,"showCount":177,"zanCount":39,"manualWeight":39,"mainColor":40},228092,"yu-da-yan-dai-shi-yi-ming-228092","玉大雁带饰",[1384,1388,2457,813,7,2962,2963],"元代风格","植物纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F211b640cd0ba8a50e4c981a8c4f0b20b.jpg",[],{"id":2967,"slug":2968,"title":2969,"dynasty":91,"author":220,"museum":46,"description":2970,"tags":2971,"thumbUrl":2972,"material":34,"size":34,"collection":34,"collections":2973,"showCount":177,"zanCount":39,"manualWeight":39,"mainColor":40},227866,"wan-he-guo-suo-tu-yi-ming-227866","晚荷郭索图","《宋扇面画晚荷郭索图》是宋代画家佚名创作一幅绢本设色画。\n此画现藏于北京 。\n此图原载《烟云集绘册》（《石渠宝笈续编》著录）。\n无款，签题黄居寀作。\n居寀为筌子。\n《圣朝名画评》云：黄居寀亦善画花竹毛羽，多与筌共为之，其气骨意思，深有父风。\n孟昶时，画四时花雀图数本，当世称绝。\n评曰：居寀之画鹤，多得筌骨。\n其有佳处，亦不能决其高下。\n至于花竹禽雀，皆不失筌法。\n对开有清乾隆皇帝御题诗一首：“从来螯蛫善横行，稻熟秋风意气生。\n甲介向称无所畏，如何每入膳人烹。\n”钤“古稀天子”、“八徵耄念之宝”、“ ”等玺印多方。\n本幅无款。\n钤鉴藏印“金陵□□□□”。\n曾经清内府收藏，《石渠宝笈续编》著录。\n图中一只硕大的 张牙舞爪踞于残荷之上，肥重的身躯竟将荷梗压断。\n衬以苍老的莲蓬、枯黄的 、稀疏的 ，更增添了萧瑟冷寂的气氛。\n荷叶和莲蓬用粗笔勾描，蟹用细笔写之，笔法粗犷写实，设色鲜艳浓重。\n无名氏。\n旧签题 “黄居寀”作，究其画风，与 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"天鹅绒白。清代除烧白瓷外，盛烧青花与彩绘瓷器。元代以来，德化窑瓷器输出海外，菲律宾、马来西亚出土有元代德化窑青白瓷，泰国及东非坦桑尼亚等国家也出土有清代德化窑青花瓷器。\n这种瓷器的制作工艺程序如下：他们从地下挖取一种泥土，将它垒成一个大堆，任凭风吹、雨打、日晒，从不翻动，历时三、四十年。泥土经过这种处理，质地变得更加纯化精炼，适合制造上述各种器皿，然后抹上认为颜色合宜的釉，再将瓷器放入窑内或炉里烧制而成。因此，人们挖泥堆土，目的是替自已的儿孙贮备制造瓷器的材料而已，大量的瓷器是在城中出售， 一个威尼斯银币能买到八个瓷杯“。马可波罗的介绍，引起了西方人的强烈兴趣。",[1713,1388,223,2667,7,3220,3221,400],"白釉","佛教造像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F955840dae71be72db323360031764a1c.jpg",[1716],{"id":3225,"slug":3226,"title":3227,"dynasty":134,"author":220,"museum":46,"description":3228,"tags":3229,"thumbUrl":3234,"material":64,"size":65,"collection":1716,"collections":3235,"showCount":303,"zanCount":39,"manualWeight":39,"mainColor":40},260706,"long-quan-yao-qing-you-ke-hua-huan-er-ping-yi-ming-260706","龙泉窑青釉刻花环耳瓶","龙泉窑是中国历史上的一个名窑，宋代六大窑系。汉族传统制瓷工艺的珍品。因其主要产区在浙江省龙泉市而得名。它开创于三国两晋，结束于清代，生产瓷器的历史长达1600多年，是中国制瓷历史上最长的一个瓷窑系，它的产品畅销于亚洲、非洲、欧洲的许多国家和地区，影响十分深远。龙泉窑以烧制青瓷而闻名，在北宋早期以前的产品风格受越窑、瓯窑、婺州窑的影响，特征与三窑的产品相似。胎质较粗，胎体较厚，釉色淡青，釉层稍簿。\n1998年3月，宋代的龙泉窑青釉莲瓣纹瓶从英国追回。\n龙泉窑因在今浙江龙泉县，故名，属我国南方青瓷系统。创造于北宋早期，南宋中晚期进入鼎盛时期，至明代中叶以后渐趋衰落，传世的龙泉青瓷下限至清康熙年间，烧造历史达七、八百年之久。北宋时期的龙泉青瓷，胎骨较厚，胎土淡灰，底足露胎处见赭褐色窑红，胎微出烧，釉的玻化程度好，釉层透明，釉表光泽很强。装饰花纹较简练，常见纹样有鱼纹、蕉叶、金枝、荷花等。装饰风格趋于奔放。处于南宋鼎盛时期的龙泉青瓷，形成了自已独有的艺术风格，显示了独特的魅力。\n南宋龙泉青瓷的造型亦形成自已的风格，稳重大方，浑厚淳朴而又不失秀媚，器型丰富多样，装饰普遍采用刻花和堆塑法，颇具艺术匠心。\n元代龙泉青瓷烧造量大，风格与南宋迥异：器型高大、胎体厚重；胎色为白中带灰或淡黄；釉色为粉青带黄绿，光泽较强，釉层半透明；装饰手法多种多样，有刻、划、印、贴、塑等，以划花为主，花纹粗略，线条奔放，纹饰以云龙、飞凰、双鱼、八仙、八卦、牡丹、荷叶等为多见。此外，还大量出现汉文和八思巴文字款铭。\n明代龙泉青瓷走向衰弱，器物胎体厚重，制作粗糙，胎色为灰黄，釉层厚，透明度高，釉表光泽强，釉色有青灰、茶叶末、灰黄等几种，装饰以釉下刻花为主，亦有模印人物故事的装饰方法。\n宋代龙泉青瓷是青瓷工艺的历史高峰。其青瓷的釉色与质地之美，亦如巧夺天工的人造美玉，全世人为之倾倒。\n那么，在漫长的历史长河中，龙泉窑又经历了怎样的发展轨迹呢?朱伯谦先生在《龙泉窑青瓷》一书中曾将龙泉窑的发展归纳为开创、发展、鼎盛和衰落四个阶段：魏晋和五代十国是开创时期，瓷窑少，生产时断时续，处于就地销售断断续续的生产阶段；北宋至南宋前期是发展期，瓷窑发展快，逐渐形成一个较大的瓷窑体系；南宋后期至元代是鼎盛期，瓷窑迅速发展，青瓷质量大大提高，产品畅销国内外广大市场；明清是衰落期，尤其是明代中期以后龙泉窑处境艰难，瓷窑不断地倒闭减少，至清代晚期结束。如果说这四个阶段勾勒出了龙泉窑发展历史的整个脉络，那么，龙泉窑发展史上的三次辉煌期则是连贯发展脉络的重点和要点。",[1713,3230,3231,3232,7,1388,3233],"青釉","刻花","环耳瓶","瓷器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb3f39d4bc679f465a5f3807fdbac0c5.jpg",[1716],{"id":3237,"slug":3238,"title":3239,"dynasty":134,"author":220,"museum":46,"description":2574,"tags":3240,"thumbUrl":3241,"material":64,"size":65,"collection":34,"collections":3242,"showCount":303,"zanCount":39,"manualWeight":39,"mainColor":231},257243,"qing-hua-fan-hong-cai-wu-yu-wen-wan-yi-ming-257243","青花矾红彩五鱼纹碗",[134,1713,2576,2275,79,7,49,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04c8c3c65803ac5e18b45af097f899ca.jpg",[],{"id":3244,"slug":3245,"title":3246,"dynasty":134,"author":220,"museum":46,"description":2574,"tags":3247,"thumbUrl":3249,"material":64,"size":65,"collection":34,"collections":3250,"showCount":303,"zanCount":39,"manualWeight":39,"mainColor":40},256742,"jia-jing-kuan-qing-hua-yu-zao-wen-pan-yi-ming-256742","嘉靖款青花鱼藻纹盘",[134,1713,2576,79,3248,7,49],"藻纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09fc33fb7e03d9efe8fe4b55fd0307c6.jpg",[],{"id":3252,"slug":3253,"title":3254,"dynasty":134,"author":220,"museum":46,"description":2680,"tags":3255,"thumbUrl":3259,"material":64,"size":65,"collection":1716,"collections":3260,"showCount":303,"zanCount":39,"manualWeight":39,"mainColor":130},256530,"yi-xing-yao-yue-bai-you-he-hua-shi-xi-yi-ming-256530","宜兴窑月白釉荷花式洗",[1713,3256,7,3084,400,3257,3258],"月白釉","施釉","荷花式造型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed302f9541a88995309a0dfb85a8790c.jpg",[1716],{"id":3262,"slug":3263,"title":3264,"dynasty":134,"author":3265,"museum":74,"description":3266,"tags":3267,"thumbUrl":3268,"material":188,"size":3269,"collection":1055,"collections":3270,"showCount":303,"zanCount":39,"manualWeight":39,"mainColor":40},240929,"shi-ba-jia-xing-rui-lian-tu-yong-juan-ma-yu-240929","十八家行瑞莲图咏卷","马愈","马愈，明代书画家。字抑之，号华发仙人，人号马清痴，嘉定（今属上海市）人。其父马轼曾以星占服务于军中，又是著名的院体画家。马愈于明英宗天顺八年（1464年）中甲申科进士，后来官至刑部主事。马愈能诗，善书，工山水，登逸品。以诗文书画与江南士有广泛交游，著有《马氏日抄》一卷。",[23,25,112,188,7,52,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9497ca668f58efd01d57e634606a51cd.jpg","纵23.27厘米，横38厘米",[1055],{"id":3272,"slug":3273,"title":3274,"dynasty":134,"author":3275,"museum":74,"description":3276,"tags":3277,"thumbUrl":3283,"material":82,"size":3284,"collection":1055,"collections":3285,"showCount":303,"zanCount":39,"manualWeight":39,"mainColor":40},240024,"xing-shu-lin-jie-jin-shi-juan-cai-yu-240024","行书临解缙诗卷","蔡羽","《临解缙诗》释文\n款署“嘉靖丙申”。丙申为明嘉靖十五年（1536年）。钤“九逵”印。\n《临解缙诗》书法深得王羲之笔意，尤其得力于《集王圣教序》和《兰亭序》。笔势遒逸俊美，流媚多姿，宛转得势，结字清秀。李日华《六研斋笔记》中云：“蔡林屋行押书，遒美有逸韵。”",[23,142,112,188,1211,52,140,3278,7,1479,3279,3280,3281,160,2633,1823,3282,225,172],"纸","湖","溪","浪","月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cf3bf5705f74db8508254a8b8f7366f.jpg","29×822.2cm",[1055],{"id":3287,"slug":3288,"title":3289,"dynasty":18,"author":3290,"museum":46,"description":3291,"tags":3292,"thumbUrl":3293,"material":64,"size":65,"collection":34,"collections":3294,"showCount":303,"zanCount":39,"manualWeight":39,"mainColor":40},239107,"hua-hui-ce-4-yu-sheng-239107","花卉册4","余省","余省（1692年—1767年） 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[2] 珐琅依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。其中掐丝珐琅器就是俗称的“景泰蓝”，15世纪中期明代景泰年间的制品尤为著称，故有景泰蓝之称。\n清代，西洋珐琅从广州传入中国，广州生产的珐琅俗称“广珐琅”，是朝廷的贡品，其中最著名的是画珐琅 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sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[4311,2038,1388,223,224,2879,7,4312],"铜鎏金","坐像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F189fa3754bde5b3c5dd45762f6e20fc0.jpg",[],{"id":4316,"slug":4317,"title":4318,"dynasty":18,"author":220,"museum":46,"description":2443,"tags":4319,"thumbUrl":4320,"material":64,"size":65,"collection":34,"collections":4321,"showCount":230,"zanCount":39,"manualWeight":39,"mainColor":231},251793,"bai-yu-lu-si-lian-hua-tu-cha-ping-yi-ming-251793","白玉鹭鸶莲花图插屏",[1384,1388,1787,7,400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F778acefc1d03a3724a5f2ec6c71c5663.jpg",[],{"id":4323,"slug":4324,"title":4325,"dynasty":18,"author":220,"museum":46,"description":2031,"tags":4326,"thumbUrl":4327,"material":64,"size":65,"collection":34,"collections":4328,"showCount":230,"zanCount":39,"manualWeight":39,"mainColor":104},250059,"qia-si-fa-lang-he-hua-gang-yi-ming-250059","掐丝珐琅荷花缸",[2034,2047,7,400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57d5285f60a0e4356cd97277997c889d.jpg",[],{"id":4330,"slug":4331,"title":4332,"dynasty":18,"author":220,"museum":46,"description":2031,"tags":4333,"thumbUrl":4334,"material":64,"size":65,"collection":34,"collections":4335,"showCount":230,"zanCount":39,"manualWeight":39,"mainColor":231},249408,"qia-si-fa-lang-he-hua-wen-shuang-guan-er-ping-yi-ming-249408","掐丝珐琅荷花纹双管耳瓶",[51,2034,3611,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa481db1286b77960d469ffb239ec9f79.jpg",[],{"id":4337,"slug":4338,"title":4339,"dynasty":18,"author":220,"museum":46,"description":4340,"tags":4341,"thumbUrl":4346,"material":64,"size":65,"collection":34,"collections":4347,"showCount":230,"zanCount":39,"manualWeight":39,"mainColor":104},242092,"yin-du-jin-he-ye-wen-zan-yi-ming-242092","银镀金荷叶纹簪","发簪，中国古代汉族人民用来固定和装饰头发的一种首饰。对于现代人来说已经是一个很古老的名词了，但是当在看古装剧时，却总是能被它们点缀出的精致效果所折服。\n将长发松松挽起，插上一枚别致的发簪，再配上典雅的长裙，即便性格再外放的女性，也可以成为让人眼前一亮的古典美人。发簪金属的光泽闪耀在发间，加上小而巧的坠饰，长发的风情便又是一种不一样的感受了。",[51,4342,4343,1385,1387,4344,7,4345,1386],"银镀金","珐琅","荷叶纹","珍珠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b3d745ab7ec9e9ebce364229b968610.jpg",[],{"id":4349,"slug":4350,"title":4351,"dynasty":18,"author":220,"museum":46,"description":4352,"tags":4353,"thumbUrl":4356,"material":64,"size":65,"collection":34,"collections":4357,"showCount":230,"zanCount":39,"manualWeight":39,"mainColor":1779},241768,"ga-nan-xiang-dai-zhu-shi-cui-pei-yi-ming-241768","伽南香带珠饰翠佩","古人的很多生活器具都是由玉雕成的，能常戴在身上的惟有玉佩。繁钦诗中“美玉”是指玉做的佩，或写作“佩”。古人对玉佩的热爱不是因为玉的贵重，而是源于玉的品格，所以古语有“君子无故，玉不去身”。",[51,1387,1388,2065,7,1384,3431,4354,4355],"翠佩","伽南香","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3abd6d688af0b3c93bd12fdc0bbfc88.jpg",[],{"id":4359,"slug":4360,"title":4361,"dynasty":18,"author":4362,"museum":46,"description":4363,"tags":4364,"thumbUrl":4368,"material":34,"size":34,"collection":34,"collections":4369,"showCount":230,"zanCount":39,"manualWeight":39,"mainColor":40},238843,"hua-gui-yu-ji-dian-tu-ce-dong-gao-238843","画归余纪典图册","董诰","此作以淡墨轻皴铺展乡野春景，笔致松秀温润。鳞次水田顺着田埂铺陈，行人缓行于阡陌，将郊野烟火气晕开。茅庐依古木而建，檐下稚童嬉闹，篱边碎花点染春意，悄然勾勒出春耕将歇的村居日常。\n\n全作以浅绛轻敷晕染山霭林色，不见浓艳，却将春日融融暖意浸透纸面。题识小字清雅端丽，与画境浑然相融，如一卷浅吟的田家诗，把江南乡居的恬然自足铺陈开来，尽显文人写意的清雅意趣，淡而弥真，将郊野闲适的春日意韵缓缓晕散，余韵悠长。",[24,29,26,698,505,4365,4366,339,224,7,4367],"房屋","田地","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ad00727a045c0dc41e992a061cac817.jpg",[],{"id":4371,"slug":4372,"title":629,"dynasty":18,"author":4373,"museum":46,"description":4374,"tags":4375,"thumbUrl":4376,"material":64,"size":65,"collection":34,"collections":4377,"showCount":230,"zanCount":39,"manualWeight":39,"mainColor":40},235870,"za-hua-ce-zhang-sheng-235870","章声","章声（清），字子鹤，仁和（今杭州）人。父谷工山水，善写真，声与兄长采，能绍父艺，山水尤工。所作雪山大幅，笔墨谨严，结构雄伟，乃胎息荆、关，绝无宋、元以来婉媚之习。康熙十六年（1671）尝在屏山阁作山水图。",[24,25,26,29,27,7,123,188,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed77efaae6c1c7459971a868dadbfac0.jpg",[],{"id":4379,"slug":4380,"title":4381,"dynasty":134,"author":4382,"museum":46,"description":4383,"tags":4384,"thumbUrl":4385,"material":34,"size":34,"collection":34,"collections":4386,"showCount":230,"zanCount":39,"manualWeight":39,"mainColor":40},233314,"shi-zhu-zhai-pu-ce-hu-ri-cong-233314","十竹斋谱册","胡日从","《十竹斋书画谱》，融诗、书、画、印艺术为一体，是木版水印史上的巨制鸿构，有“画苑之白眉，绘林之赤帜”之誉。凡书画、竹、墨华、石、翎毛、梅、兰、果八谱，每谱两册，全帙共十六册，蝴蝶装。\n一为书画册。花卉竹石、翎毛蔬果二十幅，均有对题。谱前有醒天居士《题十竹斋画册小引》和芒砀山人王三德《胡曰从书画谱引》。\n二为竹谱。卷首有《梨云馆竹谱》，分“写竹要语”，“写竹括”和“写竹法”。前半为一画一题，凡竹图二十幅，分作“廻风”、“喜霁”、“带雨”、“凝露”、“贮云”、“笼烟”、“快雪”、“印月”、“怡老”、“启新”、“飞白”、“聚翠”、“紫蓧”、“朱帔”、“崖影”、“石床”、“飨松”、“访菊”、“友梅”、“佩兰”等。后半则为画竹“起手式”。\n三为墨华册。谱中图呈圆光型，对题有绿色“十竹斋琅干笺”竹纹边框。画、题各有二十幅，画面着色细润，气韵生动。谱前有语水乘槎子《十竹斋墨花题辞》。\n四为石谱。画、题各二十幅，谱前有序两篇，一为王三德《阅石谱题言》，一为米芾后人米万钟《石谱题辞》。谱中二十幅画皆为高阳所作。高阳，字秋甫，善花鸟，为万历间写生名手。高阳画奇石尤精，石谱中作品是临摹上版，王三德观后评价极高，以为“天划神缕之巧，嵌空玲珑之致，半幅冰茧，宛具层岩叠嶂、峰峦洞穴，真可以对杨次公矣。”图有墨石、彩石，但均以套版为之，每画都有对应的题赞。\n五为翎毛谱。画、题各二十幅，有杨文骢于“天启丁卯立秋日”所题《翎毛谱小序》，非常精彩地评介了胡氏所施饾版之法：“胡曰从氏巧心妙手，超越前代，以铁笔作颖生，以梨枣代绢素，而其中皴法、染法、点法，及着色之轻重、浅深、远近、离合无不呈妍曲致，穷巧极工。即当行作手观之，定以为写生妙品，不敢作刻画观。”此翎毛谱二十图，画上无名款，从印鉴来看，应全为凌云翰一人所作。凌云翰，字五云，万历、崇祯时人。《明画录》说他善画山水，其实上凌氏花鸟亦善，尤工画石，为胡正言所推许。\n六为梅谱。由玉山进士董继周作序。此册胡正言以“芳信先传”、“飘飘欲仙”、“冰壶掩映”、“暖谷回阳”、“君子之交”、“铁干支春”、“暗香浮动”、“拾翠为钿”、“黄惹蜂腰”、“额上玄功”、“东邻窥宋”、“盟坚寒素”、“香梦沉酣”、“水妃写照”、“玉骨同妍”、“疏影横斜”、“幽人赠佩”、“调脂梅粉”、“宫锦清班”、“寿阳点妆”等二十画题，分别写早梅、风梅、雪梅、枯梅、竹梅、老梅、月梅、松梅、蜡梅、墨梅、过墙梅、倚石梅、烟梅、临水梅、水仙梅、疏梅、兰花梅、茶花梅、杏花梅和落梅，或水墨，或设色，意境、造型与章法，则穷尽变化之能事。每幅画都有对应的题赞。\n七为兰谱。前有涂日昌“兰谱序”和画兰“起手执笔式”，此谱图解兰花，并附小注，颇为详尽，但无题赞。多为墨印，间有彩版，此谱可为之初学之范本。图二十幅，多是临摹赵孟頫等名家之作。\n八为果谱。画、题各二十幅，有西京韩文镜作序。其中“三元”、“朱橘”等图，雕版设计巧妙，可谓匠心独运。\n《十竹斋书画谱》自万历己未（1619年）第一谱《书画册》起，至崇祯癸酉（1633年）第八谱《果谱》止，梓印时间长达十五年之久。每谱有序言，除《竹谱》附写竹诀，《兰谱》附起手式，其余各谱均四十幅，一图一文，以书配画，交相辉映。\n胡正言辑印《十竹斋书画谱》，广交名人时贤，亦自作书画付梓。全谱序、画、诗作者或书法题写者，多达一百五十余人。谱中所辑作品大多是由当时名家如吴彬、倪瑛、魏之克、米万钟、吴士冠、文震亨、高阳、高友等创作的，也有二十多幅画稿是临摹自赵孟頫、唐寅、沈周、文征明、陆治、陈道复等著名书画家的；胡正言自己也曾为谱画稿、题诗，画有“白莲”、“墨梅”、“芝草”三图，诗有“题梅花”、“题兰竹”两首。画谱中所题诗句，笔调清新，咏物抒情，不同程度地反映了诗人们喜爱画谱的心情。题诗大部分都是书写者自己所作，也有借用前人诗句题咏的，如胡正言用唐释无可的咏兰诗题《兰竹图》，西湖仙郎何伟然用徐渭咏榴诗题《石榴图》，竹冠道人应麟用刘禹锡题开元寺枸杞诗书《枸杞诗图》等等。全谱书法篆、隶、行、楷诸体皆备，最多的还是晚明文人流行的行草。这些书迹，大都兼有晋、唐、宋书家的风韵，亦可为后人临池所借鉴。\n醒天居士的《题十竹斋画册小引》把胡正言的爱好、特长及画谱刊印的初衷和艺术水平都进行了叙述：\n“王宰十日一山，五日一石，岂肖形之难哉？山有情，石有态，磅礴得之为难耳。近代画手，千临百摹，如里媪捧心，不揜儿寝，而目食者争售之，大轴小图，祗为壁疥。新安胡曰从氏，清姿博学，既精六书，尤擅众巧。所制隃糜硾茧与所镌法语名言，皆出新裁，赏鉴家多宝爱之。乃竹斋多暇，复创画册。所选皆花果竹石，有关于幽人韵士之癖好者。而写形既妙，设色尤工，至于翠瓣丹柎，葩分蕊折，花之情，竹之姿，与禽虫飞懦之态，奇石云烟之气，展册淋漓，宛然在目。盖淡淡浓浓，篇篇神采；疏疏密密，幅幅乱真，诚画苑之白眉，绘林之赤帜也。然王宰之画妙出毫锥，胡君之画妙出梨枣，是磅礴之心，较王宰更难；而成功之捷，较王宰更简更易，岂不尤奇哉！余故喜而叙之，愿与好事者同赏，仍俟具眼者定价焉。时癸酉年中秋前二日，醒天居士书于十竹斋。”\n《十竹斋书画谱》“绘刻精而奇，谱则巧而该”，在画谱刊行后不久就引起广泛的注意，开始有人仿刻了，以至胡氏声明道“原板珍藏，素遐真赏，近有效颦，恐混鱼目，善价沽者，勿虚藻鉴。”历代重印、翻刻者达二十余种。清代李渔等人辑印的《芥子园画传》也是在它的启发下产生的。",[24,25,26,140,27,387,7,3816,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F490af406e427797a9c31756bc340550a.jpg",[],{"id":4388,"slug":4389,"title":4390,"dynasty":18,"author":220,"museum":46,"description":4391,"tags":4392,"thumbUrl":4395,"material":64,"size":65,"collection":34,"collections":4396,"showCount":230,"zanCount":39,"manualWeight":39,"mainColor":40},229532,"song-hua-shi-he-tang-yan-yi-ming-229532","松花石荷塘砚","砚台历经秦汉、魏晋，至唐代起，各地相继发现适合制砚的石料，开始以石为主的砚台制作。其中采用甘肃岷县的洮河石、广东端州的端石、安徽歙州的歙石制作的砚台，被分别称作洮砚、端砚、歙砚。史书将洮、端、歙称作三大名砚。清末，又将河南洛阳的澄泥砚与洮、端、歙，并列为中国四大名砚。也有人主张，以天然砚石雕制的鲁砚中的红丝石砚代替澄泥砚，合称四大名砚。\n谈起砚的种类有许多种，从砚的材质可分为：玉砚、银砚、铜砚、铁砚、陶砚、瓷砚、石砚、漆砚等，其中石砚是最为普遍，也最实用的一种砚。砚台起源于新石器时代。最早的砚是半坡村遗址出土的研磨颜料的研磨器，在1980年，大陆考古学家曾在陕西省临潼县姜寨一处原始社会的遗址中，发现了一套原始人用以陶器彩绘的工具，其中有一方石砚，砚有盖，砚面微凹，凹处并有一根石质磨杵，砚旁留存数块黑色颜料。很显然，这是先民们借助磨杵研磨颜料的早期砚的形制。由于这处遗址归属于母系氏族时期的仰韶文化，故这方砚台的实际寿龄已超过了五千年了。\n清代端石砚要求因材施艺，因石构图，在题材、立意、构图、造型、利用何种雕法都要精心推敲，刻划得当。保持了端砚的古雅、朴实，古色古香、形态自然的特点。如北京故宫收藏的「端石双龙砚」、「猫蝶砚」是端砚中的佳品。",[51,4393,1388,4394,7,31,506,400],"松花石","砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62f273aa7bd61d7f1ba4450e52b22737.jpg",[],{"id":4398,"slug":4399,"title":4400,"dynasty":18,"author":220,"museum":46,"description":3609,"tags":4401,"thumbUrl":4406,"material":64,"size":65,"collection":34,"collections":4407,"showCount":230,"zanCount":39,"manualWeight":39,"mainColor":104},229119,"ci-tai-hua-fa-lang-zi-di-hua-hui-si-cun-die-yi-ming-229119","磁胎画珐瑯紫地花卉四寸碟",[51,4402,4403,29,1713,113,7,622,4404,4405],"珐琅彩","磁胎画珐琅","紫地","碟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ddfc2c348fe67b3bb1c5a7cde889836.jpg",[],{"id":4409,"slug":4410,"title":4411,"dynasty":91,"author":220,"museum":46,"description":1775,"tags":4412,"thumbUrl":4413,"material":64,"size":65,"collection":34,"collections":4414,"showCount":230,"zanCount":39,"manualWeight":39,"mainColor":104},227447,"ke-he-hua-hua-ding-wan-yi-ming-227447","刻荷花花鼎碗",[91,1713,3231,7,400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9efbf3fdc01efc710a8aa71f986073f.jpg",[],{"id":4416,"slug":4417,"title":4418,"dynasty":18,"author":4419,"museum":46,"description":4420,"tags":4421,"thumbUrl":4424,"material":4425,"size":4426,"collection":34,"collections":4427,"showCount":230,"zanCount":39,"manualWeight":39,"mainColor":130},224411,"shu-hua-shi-liu-kai-12-wang-shi-min-224411","书画十六开-12","王时敏","王时敏（1592—1680），明末清初画家。江苏太仓人。王时敏一生寄情诗文书画，家藏历代法书名画甚多。他擅山水，主张艺术应施法古人，专师黄公望。其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。开创了山水画的“娄东派”，艺术史上位居清初画家“四王”之首。",[23,24,25,26,188,140,2632,2309,96,7,31,4422,172,186,4423,160,1823],"船","露","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff84aedfa28e75d33e856affa0fda90d1.jpg","墨色绢本","48x32",[],{"id":4429,"slug":4430,"title":4431,"dynasty":2366,"author":618,"museum":435,"description":4432,"tags":4433,"thumbUrl":4434,"material":34,"size":34,"collection":35,"collections":4435,"showCount":230,"zanCount":39,"manualWeight":39,"mainColor":4436},203242,"liang-yue-fu-rong-tu-zhou-wang-zhen-203242","凉月芙蓉图轴","墨色淋漓间，荷叶以浓淡块面铺陈，笔触豪放不羁；荷花或留白写意，或淡墨勾瓣，清雅传神。挺拔的荷梗以劲挺线条勾勒，穿插错落，几点淡赭浮萍点缀水面，更显生机。留白处似浸着凉月清辉，朦胧静谧，与水墨荷影相映成趣，尽显写意花鸟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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。\n古印章和书画一样，崇尚名人效应，讲究技艺水准。一般来说，篆刻作者以及印章属主的名气大小、地位高低和作品的价值成正比。但古印章和字画、陶瓷等热门品种又有所不同。由于藏家、行家相对较少，认知能力跟不上，以至于鉴定难度加大，认可上更挑剔、更严格。因此，对于名人作品的收藏或投资，一定要慎之又慎。即不仅要真，还要真得“好”、“精”、“开门”。要注意鉴别旧仿以及改刻、添款之作。\n古印章大多都有钮饰工艺，而钮工的精粗与否将直接影响到古印章的价值。钮饰雕琢奇巧、精致传神，薄意浮雕水平高超的，附加值亦随之提升。\n古印章的石材产地多，仅寿山、青田、昌化三地就有数百种之多，其质地高下、优劣参差不齐。一般来说，衡量石质有三点：一是直观颜色漂亮明艳、亮丽抢眼；二是质感好，即符合“细、腻、温、润、结、凝”之“六德”；三是产量稀少、外貌特殊，如上品母黄、芙蓉、封门、鸡血等名品。",[52,4013,1384,1388,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a6b7fcbcde4b2355411464aecbfef51.jpg",[],{"id":4516,"slug":4517,"title":4518,"dynasty":154,"author":220,"museum":46,"description":4511,"tags":4519,"thumbUrl":4520,"material":64,"size":65,"collection":34,"collections":4521,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":231},280222,"wu-suo-wang-er-xing-zhe-shou-shan-shi-zhang-yi-ming-280222","“无所往而行者”寿山石章",[52,4013,1384,1388,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F631af96551d059a8244d64b0c2cee4e1.jpg",[],{"id":4523,"slug":4524,"title":4525,"dynasty":18,"author":220,"museum":46,"description":4526,"tags":4527,"thumbUrl":4528,"material":64,"size":65,"collection":34,"collections":4529,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},277005,"chang-hua-shi-diao-he-tang-xiao-jing-qian-long-chen-han-xi-yi-ming-277005","昌化石雕荷塘小景“乾隆宸翰”玺","印章，用作印于文件上表示鉴定或签署的文具，一般印章都会先沾上颜料再印上，不沾颜料、印上平面后会呈现凹凸的称为钢印，有些是印于蜡或火漆上、信封上的蜡印。制作材质有 玉石、金属、木头、石头等。印章是中国传统文化的代表之一\n明代（1368～1644年）皇帝、王府之宝用玉箸篆玉印。这种篆书“笔画两头肥瘦均匀，末不出锋”，乃“篆书正宗也”（清?陈沣《摹印述》）。御宝舍两宋九叠文而直溯唐以上之玉箸篆，意味着九叠文禁锢公印的冰山已经松动。\n此外，明代内阁印用玉箸文银印，直钮，方一寸七分，厚六分；将军印用柳叶文，平羌、平蛮、征西、镇朔等将军印用螭鼎文，皆银印虎钮，方三寸三分，厚九分；其余百官印都用九叠文，铜印直钮，这类印比重最大。如故宫博物院藏明洪武二十二年（1389年）造“朵颜卫都指挥使司之印”。\n明代直钮已由两宋长方形板状钮变为上小下大的椭圆柱状，加高到8厘米左右，形成后世俗称的“印把子”。明代官印背款皆凿年款及编号。\n应该指出，两宋之时，九叠文中所谓的“九”是—个概数，极言其多，不一定确有九叠，也可能只有五叠、七叠，叠即一字中横画的层数。但明代九叠文中绝大多数确有九层横画。\n清代百官印等级区分同样十分严格，印章普遍有所增大。其字体有蒙古文楷书、满文、汉篆等。最常见的是汉满文对照同时出现在印面上，这也是清公印的一大特点。其中汉篆中，九叠文不太兴盛，出现了玉箸篆、悬针篆、柳叶篆、芝英篆等等。",[52,4013,1388,1384,7,506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0af3f67de36c461671f23d6aac1bdb82.jpg",[],{"id":4531,"slug":4532,"title":4533,"dynasty":18,"author":220,"museum":46,"description":4511,"tags":4534,"thumbUrl":4535,"material":64,"size":65,"collection":34,"collections":4536,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},276442,"diao-he-hua-niu-bao-tai-chi-ying-zhang-yi-ming-276442","雕荷花纽“保泰持盈”章",[52,4013,1384,1388,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffe48b163add04b192ec3c74a4f28fd2.jpg",[],{"id":4538,"slug":4539,"title":4540,"dynasty":18,"author":220,"museum":46,"description":4541,"tags":4542,"thumbUrl":4544,"material":64,"size":65,"collection":34,"collections":4545,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":104},274854,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274854","银胎嵌珐琅供养","银骨凝霜，莲台承托宝龛，錾刻缠枝卷云缠绕柱身，舒展莲瓣肌理分明，冷硬金属晕开柔婉气韵。\n\n龛心珐琅晕染清润浅蓝，烟岚漫过石阶，明黄佛旗炽烈醒目，圣像安坐阶前，方寸间铺陈佛国胜境。釉色鲜亮与银质沉哑冷暖相济，掐丝走线匀净妥帖，将细巧工艺与礼佛虔心相融，静穆雅致间携着庄严的宗教意韵，尽显手工匠人的细腻匠心。",[2988,2047,223,1388,7,4543],"供器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77af62adfacbdfa1670e1fd2ab01fed3.jpg",[],{"id":4547,"slug":4548,"title":4549,"dynasty":18,"author":220,"museum":46,"description":3659,"tags":4550,"thumbUrl":4552,"material":64,"size":65,"collection":34,"collections":4553,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},274510,"tong-du-jin-zan-hua-he-hua-gang-zhong-yi-ming-274510","铜镀金錾花荷花缸钟",[3661,2038,2945,1388,4551,7,1892],"錾花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8abe9002b6c553f22a2a096fd37147b.jpg",[],{"id":4555,"slug":4556,"title":4557,"dynasty":18,"author":220,"museum":46,"description":4558,"tags":4559,"thumbUrl":4560,"material":64,"size":65,"collection":34,"collections":4561,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":231},273323,"lv-se-pi-bao-tong-du-jin-hua-hui-wen-he-bao-shi-huo-lian-yi-ming-273323","绿色皮包铜镀金花卉纹荷包式火燫","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。",[2048,1387,2945,2038,1045,113,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F656833b13dc20f282984a2d0e0274ae0.jpg",[],{"id":4563,"slug":4564,"title":4565,"dynasty":18,"author":220,"museum":46,"description":1042,"tags":4566,"thumbUrl":4568,"material":64,"size":65,"collection":34,"collections":4569,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":104},273308,"lv-se-ke-si-chan-zhi-lian-wen-he-bao-shi-huo-lian-yi-ming-273308","绿色缂丝缠枝莲纹荷包式火燫",[1044,7,4228,1387,2048,1045,4567,2945,400],"铁器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff436eb1be5efc89cb4f1a260d6b25e76.jpg",[],{"id":4571,"slug":4572,"title":4573,"dynasty":18,"author":220,"museum":46,"description":2455,"tags":4574,"thumbUrl":4577,"material":64,"size":65,"collection":34,"collections":4578,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},272857,"hong-mu-diao-hua-bian-qian-yu-cha-ping-yi-ming-272857","红木雕花边嵌玉插屏",[4039,2065,1384,1388,4575,4576,79,7,3430,400],"木雕","嵌玉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad9334c817ba83de993cc044df5d490a.jpg",[],{"id":4580,"slug":4581,"title":4582,"dynasty":18,"author":220,"museum":46,"description":4391,"tags":4583,"thumbUrl":4585,"material":64,"size":65,"collection":34,"collections":4586,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},272108,"duan-shi-diao-he-hua-yuan-yang-tuo-yuan-yan-yi-ming-272108","端石雕荷花鸳鸯椭圆砚",[4394,4584,7,356,1388,3750],"端石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6123167ce18277127e6a004915f156a.jpg",[],{"id":4588,"slug":4589,"title":4590,"dynasty":18,"author":220,"museum":46,"description":4591,"tags":4592,"thumbUrl":4595,"material":64,"size":65,"collection":34,"collections":4596,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":104},270143,"mi-la-fo-shou-pen-jing-yi-ming-270143","蜜蜡佛手盆景","苍褐木枝虬曲古雅，蜜蜡佛手色泽红润凝腻，肌理莹润写实，如将秋日佳果采撷案头。青玉裁为叶片，翠色通透鲜亮，与蜜蜡相映成趣，间缀细小花蕊，添得几分灵动生机。\n\n掐丝珐琅盆身以宝蓝为底，粉荷舒展、缠枝婉转，鎏金饰边勾勒出华贵气度，将玉石雅趣与宫廷珐琅工艺相融，以盆景定格祥瑞清趣，尽显清代造艺的精工雅致，是陈设雅玩中的绝妙之作。",[1714,4593,1384,3611,4594,7,3430],"蜜蜡","佛手","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2cfd573196b536d74015747cec2d415.jpg",[],{"id":4598,"slug":4599,"title":4600,"dynasty":18,"author":220,"museum":46,"description":218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釉色因白润瓷胎的映衬而显出白色，现在习惯上将这种透明釉也称为白釉。\n瓷器釉料中的含铁量降低到0.75%以下，施于洁白的瓷胎上，入窑经高温烧制，就会出现白釉。严格地说，白釉是一种无色透明釉，而不是白色的釉 。白釉是瓷器传统釉色之一,真正的白釉应该是乳白色的乳浊釉,这种釉是近代才发明的。我国古代仅有元代枢府釉是失透的,其他白釉并不是白色的釉,\n白釉烧制工艺比青釉复杂，出现的时间也较青釉晚，一般瓷土和釉料，都或多或少含有一些氧化铁，器物烧出后必然呈现出深浅不同的青色来。如果釉料中的铁元素含量小于0.75%，烧出来的就会是白釉。\n白釉最早出现在汉代，比青釉瓷器晚了400多年，白釉瓷器开始是青白色的，因为瓷器中铁的含量高于1%就是青色的，少于1%就是白瓷了，所以中国白瓷经历青瓷、青白瓷、卵白釉、甜白釉、象牙白、白釉的发展过程。中国历史上白瓷产地有德化白瓷、定窑白瓷以及刑窑白瓷等。",[1713,400,2048,4877,7,3759,4878],"饪食器","青白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fead27695d19332d6ae00d49b67f50f17.jpg",[],{"id":4882,"slug":4883,"title":4884,"dynasty":18,"author":220,"museum":46,"description":2574,"tags":4885,"thumbUrl":4887,"material":64,"size":65,"collection":34,"collections":4888,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":104},261769,"xuan-de-kuan-qing-hua-lian-hua-tao-shi-wen-wan-yi-ming-261769","宣德款青花莲花桃实纹碗",[1713,2576,2190,2048,7,4886],"桃实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb08d278ccb633d15f9c79fa698b1263.jpg",[],{"id":4890,"slug":4891,"title":4892,"dynasty":18,"author":220,"museum":46,"description":1775,"tags":4893,"thumbUrl":4895,"material":64,"size":65,"collection":34,"collections":4896,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},261760,"fen-cai-zhe-zhi-shi-er-yue-hua-hui-wen-ping-yi-ming-261760","粉彩折枝十二月花卉纹瓶",[1713,3825,2276,4894,7,114,119,118,117,120,2887],"折枝花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F162f9b31ad8469170c92db9300b8d528.jpg",[],{"id":4898,"slug":4899,"title":4900,"dynasty":18,"author":220,"museum":46,"description":2574,"tags":4901,"thumbUrl":4903,"material":64,"size":65,"collection":34,"collections":4904,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":231},261095,"qing-hua-he-hua-ji-xiang-ru-yi-tu-pan-yi-ming-261095","青花荷花吉祥如意图盘",[1713,2576,4209,2048,7,4902],"吉祥纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1b0848bbb3012e2c1d04dc7fa318972.jpg",[],{"id":4906,"slug":4907,"title":4908,"dynasty":18,"author":220,"museum":46,"description":2574,"tags":4909,"thumbUrl":4912,"material":64,"size":65,"collection":34,"collections":4913,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":104},260535,"qing-hua-you-li-hong-he-lu-tu-ping-yi-ming-260535","青花釉里红鹤鹿图瓶",[1713,4910,1212,4911,7,3825],"青花釉里红","鹿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80ee1aeaeab2ec31f1eb17b80157ef00.jpg",[],{"id":4915,"slug":4916,"title":4917,"dynasty":134,"author":220,"museum":46,"description":2574,"tags":4918,"thumbUrl":4919,"material":64,"size":65,"collection":34,"collections":4920,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":231},260448,"long-qing-kuan-qing-hua-chan-zhi-lian-wen-qu-qu-guan-yi-ming-260448","隆庆款青花缠枝莲纹蛐蛐罐",[1713,2048,2576,4867,7,400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabb79528bfc61ef2624d31dd4320a9cc.jpg",[],{"id":4922,"slug":4923,"title":4924,"dynasty":91,"author":220,"museum":46,"description":3757,"tags":4925,"thumbUrl":4927,"material":64,"size":65,"collection":1716,"collections":4928,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},260297,"yao-zhou-yao-qing-you-ke-hua-shui-bo-lian-hua-wen-gang-yi-ming-260297","耀州窑青釉刻花水波莲花纹缸",[1713,400,7,3231,3230,4926],"水波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F747fbd7df21c3812d8ca4b225e50336f.jpg",[1716],{"id":4930,"slug":4931,"title":4932,"dynasty":18,"author":220,"museum":46,"description":3218,"tags":4933,"thumbUrl":4935,"material":64,"size":65,"collection":1716,"collections":4936,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":104},260243,"de-hua-yao-bai-you-bi-tong-yi-ming-260243","德化窑白釉笔筒",[1713,2145,3220,4934,7],"镂空雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb51fa335b3e7ec45e2f5a6a2983e30c0.jpg",[1716],{"id":4938,"slug":4939,"title":4940,"dynasty":91,"author":220,"museum":46,"description":4941,"tags":4942,"thumbUrl":4943,"material":64,"size":65,"collection":1716,"collections":4944,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},259799,"lin-ru-yao-qing-you-yin-hua-ya-lian-wen-pan-yi-ming-259799","临汝窑青釉印花鸭莲纹盘","汝窑，宋代五大名窑之一，因窑址位于宋时河南汝州境内而得名，今河南省宝丰县大营镇清凉寺村和汝州市张公巷均发现汝窑烧造。汝瓷位居宋代“汝、官、哥、钧、定”五大名窑之首，在中国陶瓷史上素有“汝窑为魁”之称。汝窑是中华传统制瓷著名瓷种之一，中国北宋、南宋、明朝时期皇家主要代表瓷器。\n汝瓷造型古朴大方，以名贵玛瑙为釉，色泽独特，有“玛瑙为釉古相传”的赞誉。随光变幻，观其釉色，犹如“雨过天晴云破处”，“千峰碧波翠色来”之美妙，土质细润，坯体如侗体其釉厚而声如磬，明亮而不刺目。器表呈蝉翼纹细小开片，有“梨皮、蟹爪、芝麻花”之特点，被世人称为“似玉、非玉、而胜玉”。宋、元、明、清以来，宫廷汝瓷用器，内库所藏，视若珍宝、可与商彝周鼎比贵。\n1952年，周恩来总理指示“发展祖国文化遗产、恢复汝窑生产”。经过上百次实验和研究，1958年烧制出第一批豆绿釉工艺品，1983年8月汝窑天蓝釉经过专家鉴定，均达到明代汝窑水平。从此，汝瓷成了汝州市人的一张名片。\n汝窑天青釉弦纹樽 ，此樽仿汉代铜樽造型，器形规整，仿古逼真，釉色莹润光洁，浓淡对比自然。\n瓷樽始于宋，汝窑、定窑、龙泉窑均有烧造，是陈设用品。所见传世宋代汝窑天青釉弦纹樽只有两件，除故宫博物院收藏的这件以外，英国伦敦大维德基金会亦收藏一件。\n汝窑烧制的汝瓷因为其绝妙的色泽、独特艺术价值，深得帝王欢心，有“宋瓷之冠”的美誉。汝窑又与同期官窑（河南开封）、哥窑（浙江龙泉）、钧窑（河南禹县）、定窑（河北曲阳）合称“宋代五大名窑”，位居五大名窑之首。\n汝窑以传承艺术为己任，采用传统手工制作陶瓷方法，制作一个陶瓷的工序高达十三道，包括淘泥、摞泥、拉坯、印坯、修坯、捺水、画坯、上釉、烧窑、成瓷、成瓷缺陷的修补，做工精细，设计唯美、承艺汝瓷以“釉色层”领先，器型古朴典雅得当，光润有度，由于汝瓷釉层厚，常有开片如鱼鳞、蝉翼状，久用之后茶色会着附于裂纹处，形成不规则的变换交错的花纹，故而手感润滑如脂，似玉非玉之美。\n宋人欧阳修在《归田集》中对汝窑的论述：汝窑瓷真正最美的就是釉，不是天青色，而是粉翠，也就是今所说的翠青色。而汝瓷真正的瓷色是半瓷化作的，玻化不明显，器身不透光亮，因此不排除后人把珍品当作“陶”而丢弃，故存世甚稀。而《清波杂志》里宋人周辉对汝窑的精述，汝瓷以釉取胜，当代青瓷不能同比，真品釉色青中泛滥、纯净、温润，釉面隐现出一种柔和含蓄的光泽，它既不同钧瓷的乳光，也不同哥窑的脂光，而是一种类似古玉般内蕴的光泽。当时汝瓷是唯供御拣退方许出卖，近尤难得。现从文献可知，汝瓷也可民用，绝非“严禁民用”之说。对自藏汝窑瓷及由此对整个汝窑作较全面简述的则是明代学者高濂的《燕闲清赏笺》中提及，“汝窑，余尝见之，实为玛瑙末入釉，汁水莹厚如堆脂，然汁中棕眼隐若蟹爪，其釉色有天青、粉青，还有葱绿和天蓝等。粉青为上，天蓝弥足珍贵。有"雨过天晴云破处"之称誉，釉面可视碧玉，也不为过。所有历代青瓷应以汝窑为冠。”",[1713,3230,3759,201,7,4877],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc72fb76afc8a9ac447726769da503602.jpg",[1716],{"id":4946,"slug":4947,"title":4948,"dynasty":18,"author":220,"museum":46,"description":2574,"tags":4949,"thumbUrl":4950,"material":64,"size":65,"collection":34,"collections":4951,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":231},259564,"xuan-tong-kuan-li-qing-hua-wai-fen-cai-he-hua-wen-wan-yi-ming-259564","宣统款里青花外粉彩荷花纹碗",[1713,2048,2276,2576,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2ad0c4b76e6f5ea9c83454cc0605ea2.jpg",[],{"id":4953,"slug":4954,"title":4955,"dynasty":18,"author":220,"museum":46,"description":2187,"tags":4956,"thumbUrl":4957,"material":64,"size":65,"collection":34,"collections":4958,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":104},259529,"fen-cai-he-hua-lu-si-wen-wan-yi-ming-259529","粉彩荷花鹭鸶纹碗",[1713,2276,29,7,1787,226,2048,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e699dd2f53c4fb7164ee35aff60b53a.jpg",[],{"id":4960,"slug":4961,"title":4962,"dynasty":18,"author":220,"museum":46,"description":2187,"tags":4963,"thumbUrl":4964,"material":64,"size":65,"collection":34,"collections":4965,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":231},259528,"da-ya-zhai-kuan-fen-cai-lu-lian-wen-wan-yi-ming-259528","大雅斋款粉彩鹭莲纹碗",[1713,2276,7,747,2190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e981321fb6a08ae49b243503d632b82.jpg",[],{"id":4967,"slug":4968,"title":4969,"dynasty":18,"author":220,"museum":46,"description":2187,"tags":4970,"thumbUrl":4972,"material":64,"size":65,"collection":34,"collections":4973,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":231},259514,"da-ya-zhai-kuan-fen-cai-lu-lian-wen-gao-zu-wan-yi-ming-259514","大雅斋款粉彩鹭莲纹高足碗",[1713,3233,2276,4971,747,7,27,2048],"高足碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d829eca0546b187de0be83a4e8948ff.jpg",[],{"id":4975,"slug":4976,"title":4977,"dynasty":18,"author":220,"museum":46,"description":2272,"tags":4978,"thumbUrl":4981,"material":64,"size":65,"collection":34,"collections":4982,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":104},258690,"fang-fa-hua-chi-he-wen-zun-yi-ming-258690","仿珐花池荷纹尊",[1713,4979,29,7,31,4980],"仿珐花","水纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24f1d236a8eeb01d0296f084fded9cec.jpg",[],{"id":4984,"slug":4985,"title":3541,"dynasty":134,"author":220,"museum":46,"description":1775,"tags":4986,"thumbUrl":4987,"material":64,"size":65,"collection":34,"collections":4988,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},257492,"cheng-hua-kuan-wu-cai-yuan-yang-wo-lian-tu-wan-yi-ming-257492",[997,1713,2190,3543,29,49,27,356,7,1892,538],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaeea31a1440dc58551ab888525a7494.jpg",[],{"id":4990,"slug":4991,"title":4992,"dynasty":134,"author":220,"museum":46,"description":2574,"tags":4993,"thumbUrl":4994,"material":64,"size":65,"collection":34,"collections":4995,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},257381,"wan-li-kuan-qing-hua-yuan-yang-wo-lian-wen-ping-yi-ming-257381","万历款青花鸳鸯卧莲纹瓶",[134,1713,2576,356,7,3825],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbad2b8a5d250f7aff7f371db64f3d53d.jpg",[],{"id":4997,"slug":4998,"title":4999,"dynasty":134,"author":220,"museum":46,"description":2574,"tags":5000,"thumbUrl":5004,"material":64,"size":65,"collection":34,"collections":5005,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":104},257357,"qing-hua-he-hua-wen-gao-zu-wan-yi-ming-257357","青花荷花纹高足碗",[134,1713,2576,5001,7,5002,5003,3233],"釉下彩","植物纹","高足器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa731fe7474d9090081c9460fc14798d3.jpg",[],{"id":5007,"slug":5008,"title":5009,"dynasty":134,"author":220,"museum":46,"description":2574,"tags":5010,"thumbUrl":5012,"material":64,"size":65,"collection":34,"collections":5013,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":231},256503,"qing-hua-yu-zao-wen-chu-ji-zun-yi-ming-256503","青花鱼藻纹出戟尊",[134,1713,2576,79,5011,7,400],"藻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d062ecbaace5a7960eb8bf4b33edc3a.jpg"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