[{"data":1,"prerenderedAt":2110},["ShallowReactive",2],{"subject-he-ye":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},464,"he-ye","荷叶","荷叶画高清赏析","精选中国历代荷叶题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3cc4add30032e336b6155a4f1ef1953.jpg",0,201,[14,40,56,69,86,104,123,139,151,165,175,186,198,212,231,242,256,270,285,299,312,326,336,349,362,375,386,396,407,418,429,439,450,459,474,486,498,510,519,528,536,546,558,566,575,595,605,616,640,650,660,683,694,705,717,729,739,751,759,771,783,799,809,818,828,841,850,861,871,880,892,902,914,924,933,943,954,964,974,982,995,1005,1012,1025,1032,1039,1052,1062,1072,1086,1100,1108,1119,1125,1135,1145,1152,1161,1172,1184,1195,1205,1214,1228,1238,1244,1253,1262,1274,1283,1296,1305,1320,1334,1343,1349,1364,1381,1390,1400,1408,1418,1426,1437,1447,1457,1465,1473,1482,1491,1502,1512,1521,1528,1535,1542,1554,1565,1573,1582,1590,1599,1608,1620,1632,1640,1647,1657,1667,1678,1689,1697,1705,1719,1728,1737,1746,1756,1765,1778,1786,1794,1803,1812,1821,1829,1838,1844,1850,1857,1864,1874,1882,1890,1898,1908,1915,1921,1928,1936,1943,1950,1957,1964,1971,1978,1986,1993,2001,2009,2019,2026,2035,2044,2052,2061,2069,2077,2086,2094,2103],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":32,"material":33,"size":34,"collection":35,"collections":36,"showCount":37,"zanCount":38,"manualWeight":11,"mainColor":39},214744,"hua-hui-ce-yun-shou-ping-214744","花卉册","清","恽寿平","私人收藏","恽寿平（1796-1873）是清代著名的画家，他擅长画花鸟，尤其是花卉。他的花卉册是他的代表作之一，包含了他对花卉的描绘和描写。\n\n恽寿平的花卉册以其精细的笔墨和精美的色彩著称，他善于捕捉花卉的细节和美感，并将其再现在画布上。他画的花卉通常都是生动传神，有时也带有一些象征意义。恽寿平还创作了许多花卉图谱，用来介绍各种花卉的特征和用途。\n\n恽寿平的花卉册不仅深受藏家的喜爱，也被认为是清代花卉画的杰出代表作之一。他的作品不仅为后人留下了宝贵的艺术瑰宝，而且也为我们展示了清代花卉画艺术的魅力。",[23,24,25,26,27,28,29,30,31,7],"高清","国画","书画","册","花鸟","没骨","设色","紫藤","荷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab73f6dce929392ea6f25d5a923c813e.jpg","纸本,设色","","花鸟画精选",[35],10967,60,"BDBDBD",{"id":41,"slug":42,"title":43,"dynasty":18,"author":44,"museum":45,"description":46,"tags":47,"thumbUrl":52,"material":34,"size":34,"collection":34,"collections":53,"showCount":54,"zanCount":55,"manualWeight":11,"mainColor":39},224170,"he-hua-tu-xie-sun-224170","荷花图","谢荪","藏地不详","此作用淡赭铺就底色，晕染出古雅沉静的氛围。盛放粉荷为画面焦点，花瓣由尖部玫红渐次晕化为柔白，笔触细腻，尽显芙蕖舒展娇妍的姿态。\n\n枯荣并置，残荷蚀痕勾勒入微，带着清冷迟暮意，与挺劲草叶和鲜活芙蕖形成对照，错落间尽显荷塘幽谧生机。线条清隽秀润，配色温婉柔和，右上角题字秀雅致，与画面融为一体，将夏日荷塘悠然澹远的意蕴尽数铺展，于浅淡晕染中传递出清和雅致的风骨，尽显江南画派的秀润格调。",[23,24,25,27,48,29,31,7,49,50,51],"工笔","水草","清代","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F888fece7ea88a068223afc5c8664face.jpg",[],4288,26,{"id":57,"slug":58,"title":59,"dynasty":18,"author":19,"museum":45,"description":60,"tags":61,"thumbUrl":62,"material":63,"size":64,"collection":35,"collections":65,"showCount":67,"zanCount":68,"manualWeight":11,"mainColor":39},239441,"hua-niao-ce-yun-shou-ping-239441","花鸟册","恽南田（1633年—1690年），即恽寿平，原名格，字寿平，后以字行，改字正叔，号南田，别号云溪外史，晚居城东，号东园草衣，后迁居白云渡，号白云外史，明末清初著名书画家，常州画派的开山祖师，后来成为清六家之一。",[24,29,28,27,31,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25dc95f6524d1116e76db2a26246c9fd.jpg","未知","Xcm*Xcm",[35,66],"设色画精选",2051,14,{"id":70,"slug":71,"title":43,"dynasty":18,"author":72,"museum":73,"description":74,"tags":75,"thumbUrl":80,"material":81,"size":82,"collection":34,"collections":83,"showCount":84,"zanCount":85,"manualWeight":11,"mainColor":39},223241,"he-hua-tu-wu-ying-zhen-223241","吴应贞","北京故宫博物院","《荷花图》是一幅表现池塘风和日丽景色的写实画，作者没有刻意地描绘水，而是通过惬意于荷花丛中的鱼儿，将一池清水巧妙地暗示了出来。作者又通过鱼儿若聚若离、或远或近的交错游动，巧妙地扩展了画面的深远空间。画中所绘荷花绰然俏丽，花、叶敷色艳丽而不浓腻，工致的晕染，旨在追求花、叶含水带露的润泽、鲜灵与生动，清逸秀爽的笔墨则写出了“出淤泥而不染”的荷花品格。",[23,24,48,29,27,31,7,76,77,78,79],"莲蓬","蜜蜂","鱼","花苞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F176f9dbe89816a1b32c18086be591086.jpg","纸本","纵130cm，横58.5cm",[],1591,18,{"id":87,"slug":88,"title":89,"dynasty":90,"author":91,"museum":20,"description":92,"tags":93,"thumbUrl":96,"material":97,"size":98,"collection":99,"collections":100,"showCount":101,"zanCount":102,"manualWeight":11,"mainColor":103},218573,"lu-chi-zhuo-su-tu-wu-bing-218573","渌池擢素图","宋","吴炳","吴炳，生卒年不详，南宋画家。毗陵武阳（今江苏常州）人。工画花鸟，写生折枝，妙夺造化，彩绘精致富丽。绍熙初（公元1131-1162年），宋光宗赵悼皇后李氏，赏识其画，授画院待诏，赐金带。。画风谨守院体，作品较多。画迹有《春池睡鸭》、《山茶鹁鸽》、《鸳鸯瑞莲》、《宝珠玉蝶》、《折枝绛桃》等二十六件，著录于《绘事备考》。传世作品有《出水芙蓉图》、《竹雀图》、《嘉禾草虫图》、《枇杷绣羽图》等。",[94,24,25,48,29,27,31,7,95],"名画","荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6610c8fae2457627a5a08640bf940f45.jpg","绢本,设色","25.4×26cm","宋画精选",[99,35],1495,23,"795548",{"id":105,"slug":106,"title":43,"dynasty":107,"author":108,"museum":109,"description":110,"tags":111,"thumbUrl":117,"material":118,"size":119,"collection":35,"collections":120,"showCount":121,"zanCount":122,"manualWeight":11,"mainColor":39},218732,"he-hua-tu-xu-wei-218732","明","徐渭","台北故宫博物院","这幅画的构图简洁明了，布局清新精致。荷叶用滴水不漏的方式画出，而荷花则是寥寥数笔，充满了情感和笔墨的意趣。",[24,25,112,113,114,115,51,116,31,7,49,76],"立轴","水墨","写意","书法","草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe64b411afff5b620d7387710af664033.jpg","纸本,水墨","141.7x37.2cm",[35],1397,13,{"id":124,"slug":125,"title":126,"dynasty":127,"author":128,"museum":129,"description":130,"tags":131,"thumbUrl":134,"material":135,"size":34,"collection":136,"collections":137,"showCount":138,"zanCount":85,"manualWeight":11,"mainColor":39},220450,"lian-chi-lin-yu-shan-220450","莲池","民国","林玉山","国立台湾美术馆","这幅《莲池》是民国画家林玉山的工笔花鸟佳作，可从以下几方面鉴赏：\n\n一、技法表现：工笔精谨，写实入微\n林玉山擅长工笔重彩，这幅画以精细工笔技法刻画物象：荷叶的脉络、荷花的瓣层、白鹭的羽毛都被细腻勾勒，线条匀净流畅，尽显工笔“精工细作”的特质；同时融入写实观察，让荷花、荷叶的形态、白鹭的动态都极具自然真实感，体现他“写生入画”的创作理念。\n\n二、构图布局：疏密有致，动静相生\n画面布局繁而不乱：大片荷叶荷花层层叠叠，疏密、虚实对比鲜明；左下角的白鹭成为视觉焦点，以其灵动姿态打破静态莲池的沉寂，形成“静（莲荷）动（白鹭）相生”的节奏，让画面既有满幅的丰富感，又有视觉的呼吸感。\n\n三、色彩格调：典雅和谐，层次丰盈\n采用工笔重彩设色法，背景的暖棕色调与荷叶的蓝绿色调形成雅致对比，荷花的粉白、白鹭的素净又在色彩层次中穿插呼应，既保留了传统工笔的富丽感，又通过色调调和营造出莲池清幽朦胧的氛围，尽显色彩的抒情性。\n\n四、意境与风格：传统意趣与现代写实的融合\n画面营造出“清幽雅致”的田园意境，莲池的静谧、白鹭的灵动，传递出自然生机与文人式的闲逸情致。同时，林玉山将西方写实技法融入传统工笔，既延续了中国花鸟画的装饰美感与意境追求，又以写实观察赋予物象鲜活生命力，是民国时期“传统笔墨现代化”的典型探索，展现了他在工笔花鸟领域“古今融合、中西通汇”的独特风格。\n\n综上，这幅《莲池》以精湛工笔、精妙构图、典雅色彩，勾勒出诗意莲池的生动图景，既是林玉山个人艺术风格的凝练，也折射出民国时期传统绘画在现代转型中的探索与成就。",[23,24,25,48,29,27,31,7,132,133],"白鹭","水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1ee7c758c3a5d09e9063bab49500b45.jpg","绢","花鸟精选",[136],1224,{"id":140,"slug":141,"title":43,"dynasty":107,"author":142,"museum":109,"description":143,"tags":144,"thumbUrl":146,"material":29,"size":147,"collection":35,"collections":148,"showCount":149,"zanCount":150,"manualWeight":11,"mainColor":39},219452,"he-hua-tu-chen-hong-shou-219452","陈洪绶","湖石嶙峋，瘦漏透皱间藏古拙意趣，墨色浓淡层叠，如老衲坐禅般沉稳。荷花亭亭，瓣尖染淡粉似晨露晕开，留白处见清灵；荷叶或卷或展，青绿间带赭石，随水波轻漾。线条如春蚕吐丝，劲挺却柔婉，将花叶石的形态勾勒得奇崛又生动。题跋墨痕流转，朱印点缀，添几分文人雅韵。整幅画浸在古绢暖光里，淡雅中藏倔强风骨，古意盎然却透着鲜活气，如无声禅诗，引人沉湎于那份清寂与悠远。",[24,25,112,48,29,31,145,7,51,115],"孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0331e9c85b7f539e58f688b2de6e8fb.jpg","75.8x39",[35],696,7,{"id":152,"slug":153,"title":154,"dynasty":18,"author":155,"museum":156,"description":157,"tags":158,"thumbUrl":160,"material":97,"size":161,"collection":35,"collections":162,"showCount":163,"zanCount":164,"manualWeight":11,"mainColor":103},219051,"hua-niao-tu-zhou-quan-219051","花鸟图","周铨","大英博物馆","绘河塘的一角，铺天盖地的荷叶和花朵高高耸立，白色花瓣中的黄色花蕊错落有致，刚刚冒出的小荷叶和花蕾展现出勃勃生机；地面上，一只羽毛斑斓、微闭双眼的野鸭子似乎正在打盹。",[23,24,29,48,112,27,31,7,159,49],"鸭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc74352fefe18eb2942c55d970a733680.jpg","94x48.6cm",[35],628,10,{"id":166,"slug":167,"title":168,"dynasty":90,"author":91,"museum":45,"description":169,"tags":170,"thumbUrl":171,"material":34,"size":34,"collection":34,"collections":172,"showCount":173,"zanCount":150,"manualWeight":11,"mainColor":174},227811,"chu-shui-fu-rong-tu-ye-wu-bing-227811","出水芙蓉图页","《出水芙蓉图》页，宋， ，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。",[23,24,94,25,26,48,29,27,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F465d8a0e1d27a9d9e1ea0a726ac79344.jpg",[],616,"F48FB1",{"id":176,"slug":177,"title":43,"dynasty":18,"author":178,"museum":45,"description":179,"tags":180,"thumbUrl":182,"material":34,"size":34,"collection":34,"collections":183,"showCount":184,"zanCount":185,"manualWeight":11,"mainColor":39},223629,"he-hua-tu-yi-ming-223629","佚名","此作用笔秀润，设色清妍雅致。粉瓣荷花亭亭舒展，晕染出柔媚鲜活的层次，荷叶或苍绿如盖、或半卷含露，墨色浓淡尽显舒展生机。枯瘦莲蓬擎立，自带幽寂禅意。池中游鱼轻摆尾鳍，黑蜂振翅悬于淡赭素色的虚空，静中藏动，将夏日荷塘的鲜活气意晕开。整幅构图疏朗空灵，以浅淡底色晕出水汽氤氲的朦胧，不见满幅堆砌的繁复，将江南莲塘的清润宁和尽数铺陈，尽显文人画的悠然意趣，把溽暑里的荷塘清韵定格在绢素之上。",[23,94,24,25,112,29,48,27,95,7,76,78,181],"昆虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d474cb4c4b95102723b2afdeb3c667a.jpg",[],572,2,{"id":187,"slug":188,"title":189,"dynasty":18,"author":190,"museum":45,"description":191,"tags":192,"thumbUrl":195,"material":63,"size":64,"collection":34,"collections":196,"showCount":197,"zanCount":164,"manualWeight":11,"mainColor":39},235526,"he-hua-liao-shi-tu-zhou-wang-wu-235526","荷花蓼石图轴","王武","王武，1632年生，1690年逝世，吴县（今江苏苏州）人。字勤中，晚号忘庵，又号雪颠道人。明代画家王鏊六世孙，精鉴赏，富收藏，擅画花鸟，风格工整秀丽，正如王时敏所云：“神韵生动，应在妙品中。”为清初院画的名家。亦擅诗文。传世作品有《水仙柏石图》、《红杏白鸽图》、《鸳鸯白鹭图》等。",[94,24,25,112,29,48,31,7,193,133,194,27],"蓼石","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4adc90c09b933312107f54c136768ed.jpg",[],477,{"id":199,"slug":200,"title":201,"dynasty":18,"author":202,"museum":203,"description":204,"tags":205,"thumbUrl":208,"material":33,"size":34,"collection":35,"collections":209,"showCount":210,"zanCount":211,"manualWeight":11,"mainColor":39},218128,"qiu-shui-he-ye-tu-shi-tao-218128","秋水荷叶图","石涛","美国弗利尔美术馆","石涛，法名原济，靖江王朱守谦十世孙，工书法，能诗文。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。",[23,24,25,94,26,113,29,114,95,7,206,207,51],"莲花","明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cfdd37fcf60f013839a1cf9ac9c4700.jpg",[35],451,1,{"id":213,"slug":214,"title":215,"dynasty":127,"author":216,"museum":217,"description":218,"tags":219,"thumbUrl":228,"material":34,"size":34,"collection":34,"collections":229,"showCount":230,"zanCount":185,"manualWeight":11,"mainColor":39},220453,"hua-niao-ce-ye-pan-tian-shou-220453","花鸟册页","潘天寿","中国美术学院美术馆","这套册页诗书画印浑然天成，十余开铺陈开山野清趣。以浓墨大写鸲鹆，骨力雄健朴拙，墨色厚重凝练尽显沉郁气度；转而写幽花野卉，荷瓣清逸、牵牛含露，水墨晕染虚实相生，将草木舒展之态藏于简括笔意中。\n题跋笔势跌宕，篆隶金石气融于画中，以书入画，线条刚柔相济。每开或绘禽鸟踞枝，或写丛篁蔬果，删繁就简留白疏密得宜，把林泉间的清寂生机缓缓铺展，文人雅致与写意野趣交融无间，笔底带着山野间的灵动意趣，尽显大写意花鸟的诗画交融之妙。",[23,24,25,26,113,29,220,114,51,27,221,222,223,224,225,226,227,145,7],"行书","梅","兰","竹","菊","水仙","乌鸦","果实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1977491dcb09096c6f919e88e1d5b78a.jpg",[],429,{"id":232,"slug":233,"title":234,"dynasty":18,"author":235,"museum":45,"description":236,"tags":237,"thumbUrl":238,"material":63,"size":64,"collection":34,"collections":239,"showCount":240,"zanCount":241,"manualWeight":11,"mainColor":39},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。",[24,112,48,29,27,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6326436ed40ce4fc7bdd96e5c4b3674d.jpg",[],390,4,{"id":243,"slug":244,"title":245,"dynasty":18,"author":246,"museum":73,"description":247,"tags":248,"thumbUrl":250,"material":251,"size":252,"collection":35,"collections":253,"showCount":254,"zanCount":255,"manualWeight":11,"mainColor":39},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。",[24,25,112,48,29,27,95,31,7,76,249],"水生植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9622bb894e71ccc81a2bebb607fb57db.jpg","纸本，设色","纵126.41cm 横56.4cm",[35,66],368,6,{"id":257,"slug":258,"title":259,"dynasty":127,"author":260,"museum":261,"description":262,"tags":263,"thumbUrl":266,"material":34,"size":34,"collection":34,"collections":267,"showCount":268,"zanCount":269,"manualWeight":11,"mainColor":39},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。",[23,24,113,29,114,112,51,31,76,264,7,265],"蜻蜓","花梗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbede3ed88faf28cd4881cd596424cf78.jpg",[],351,5,{"id":271,"slug":272,"title":273,"dynasty":90,"author":178,"museum":45,"description":274,"tags":275,"thumbUrl":282,"material":34,"size":34,"collection":35,"collections":283,"showCount":284,"zanCount":150,"manualWeight":11,"mainColor":103},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。",[23,94,24,25,112,29,48,276,31,7,277,278,279,280,281],"宋代","莲","水禽","鹭","飞鸟","池塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faab72c6cd475fe4f0cd76844911ed7c4.jpg",[35],334,{"id":286,"slug":287,"title":288,"dynasty":18,"author":289,"museum":290,"description":291,"tags":292,"thumbUrl":294,"material":295,"size":296,"collection":35,"collections":297,"showCount":298,"zanCount":255,"manualWeight":11,"mainColor":103},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。",[23,24,25,94,112,48,29,27,31,7,293,280],"鸳鸯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73f8825b07bf8e459260b47a52535640.jpg","绢本，立轴，设色","187x105.2",[35,66],304,{"id":300,"slug":301,"title":302,"dynasty":107,"author":303,"museum":73,"description":304,"tags":305,"thumbUrl":309,"material":34,"size":34,"collection":35,"collections":310,"showCount":311,"zanCount":185,"manualWeight":11,"mainColor":103},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。",[24,94,112,27,29,48,31,293,306,7,307,308],"鸟","树枝","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F848b8317f95838a26d9b5f0806530d75.jpg",[35,66],272,{"id":313,"slug":314,"title":315,"dynasty":107,"author":316,"museum":317,"description":318,"tags":319,"thumbUrl":321,"material":322,"size":323,"collection":35,"collections":324,"showCount":325,"zanCount":185,"manualWeight":11,"mainColor":39},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。",[23,24,25,112,29,31,7,320,48,51],"器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F551d511ecb28a9a711639a1773ee49c3.jpg","纸本设色","60x143cm",[35,66],267,{"id":327,"slug":328,"title":168,"dynasty":90,"author":178,"museum":73,"description":329,"tags":330,"thumbUrl":331,"material":332,"size":333,"collection":34,"collections":334,"showCount":335,"zanCount":269,"manualWeight":11,"mainColor":39},234008,"chu-shui-fu-rong-tu-ye-yi-ming-234008","一朵盛开的粉红色荷花占据整个画面，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。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。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。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。",[24,25,26,48,29,27,95,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17db9572c20d73e7f8a55e19111edd03.jpg","绢本，设色","纵23.8cm，横25cm",[],266,{"id":337,"slug":338,"title":339,"dynasty":107,"author":108,"museum":73,"description":340,"tags":341,"thumbUrl":343,"material":344,"size":345,"collection":35,"collections":346,"showCount":348,"zanCount":11,"manualWeight":11,"mainColor":39},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。",[24,25,94,26,113,114,31,7,342],"荷梗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F351e01471d4a02f5b5c49d72a35b166f.jpg","纸本水墨","纵26.9厘米 横38.3厘米",[35,347],"水墨画精选",260,{"id":350,"slug":351,"title":352,"dynasty":18,"author":353,"museum":73,"description":354,"tags":355,"thumbUrl":357,"material":33,"size":358,"collection":35,"collections":359,"showCount":360,"zanCount":361,"manualWeight":11,"mainColor":39},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。",[23,24,25,112,48,29,27,31,7,356],"绿藻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbce64fa92c044787704676762c01daae.jpg","纵135.7厘米，横59厘米",[35,66],257,3,{"id":363,"slug":364,"title":365,"dynasty":18,"author":366,"museum":367,"description":368,"tags":369,"thumbUrl":370,"material":371,"size":372,"collection":66,"collections":373,"showCount":374,"zanCount":185,"manualWeight":11,"mainColor":103},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。",[23,24,25,112,113,114,27,31,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8096febc3e81d3c848b1646b4296b977.jpg","纸本，水墨","146X80cm",[66],256,{"id":376,"slug":377,"title":43,"dynasty":18,"author":378,"museum":73,"description":379,"tags":380,"thumbUrl":382,"material":322,"size":383,"collection":34,"collections":384,"showCount":385,"zanCount":185,"manualWeight":11,"mainColor":39},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。",[23,24,25,112,113,114,31,7,342,381],"水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe153b110743b11a6b88ea2620ed2d20a.jpg","纵172厘米，横62厘米",[],250,{"id":387,"slug":388,"title":43,"dynasty":389,"author":390,"museum":45,"description":391,"tags":392,"thumbUrl":393,"material":63,"size":64,"collection":34,"collections":394,"showCount":395,"zanCount":11,"manualWeight":11,"mainColor":103},289001,"he-hua-tu-huang-quan-289001","五代十国","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。",[94,24,25,48,29,27,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b2a7d3c3f2290ee5f25db1f0672a6ce.jpg",[],240,{"id":397,"slug":398,"title":399,"dynasty":18,"author":400,"museum":45,"description":401,"tags":402,"thumbUrl":403,"material":322,"size":404,"collection":35,"collections":405,"showCount":406,"zanCount":361,"manualWeight":11,"mainColor":39},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。",[23,24,25,112,113,29,27,31,7,114,115,220,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa674a2b082ee8c9527d6f7c106c9b861.jpg","93x46",[35,66],231,{"id":408,"slug":409,"title":410,"dynasty":18,"author":411,"museum":20,"description":412,"tags":413,"thumbUrl":414,"material":118,"size":415,"collection":34,"collections":416,"showCount":417,"zanCount":361,"manualWeight":11,"mainColor":39},216909,"hua-niao-si-tiao-ping-4-zhu-da-216909","花鸟四条屏-4","朱耷","此四条屏作于其七十前后，(款字八作二折)或作风荷拳石;或作高梧疏竹;或作双凫戏于溪头，或作群鱼悠游涧中。意境静寂，动静生发。墨淡而厚，湿而毛;笔圆而劲，重而灵;苍莽朴茂之中，有清韵流衍;笔墨不多而意境丰满。荷塘一幅，以微风摇动之花叶，烘托凝重古质之拳石，雄豪活泼之气溢于画里画外。双凫一幅，极尽墨沈之灵变。禽羽之丰满润泽，仿佛若可触摸。崖石用虚淡之笔皴点，略以浓墨点苔竹，虽满纸空白，而情韵入微。所谓无处还有是也。而游鱼一幅尤佳绝，下方危石如奇峰倒立，已出人意表。其上悬崖兀起，其间秋水空阔，群鱼悠游，或伫滞水面，或倏忽水底，其状拙质，其形简古，而不失生趣。大小二十七尾，无一雷同，为八大画中绝品。八大四屏传世绝少，识者珍视之!",[23,24,113,114,112,95,7,306,145,27,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9e75a5ceb8b50523c17e63136acafff.jpg","182.5×49cm",[],229,{"id":419,"slug":420,"title":421,"dynasty":127,"author":422,"museum":20,"description":423,"tags":424,"thumbUrl":427,"material":33,"size":34,"collection":35,"collections":428,"showCount":417,"zanCount":211,"manualWeight":11,"mainColor":39},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。",[24,25,113,114,425,31,7,426,27],"屏条","墨色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ca7db73862a36d7500f1fd596d38685.jpg",[35],{"id":430,"slug":431,"title":206,"dynasty":18,"author":432,"museum":45,"description":433,"tags":434,"thumbUrl":436,"material":34,"size":34,"collection":34,"collections":437,"showCount":438,"zanCount":185,"manualWeight":11,"mainColor":39},224110,"lian-hua-mian-yi-224110","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。",[24,25,27,48,29,31,7,249,435],"小花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25226c11c993dc0c02d852defc77b4af.jpg",[],213,{"id":440,"slug":441,"title":442,"dynasty":107,"author":178,"museum":443,"description":444,"tags":445,"thumbUrl":447,"material":97,"size":34,"collection":35,"collections":448,"showCount":449,"zanCount":241,"manualWeight":11,"mainColor":103},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。",[23,24,29,48,112,27,31,7,446,280],"苍鹭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd08681f58d681525cfd1a7c86c9d4cc8.jpg",[35],207,{"id":451,"slug":452,"title":234,"dynasty":18,"author":453,"museum":45,"description":454,"tags":455,"thumbUrl":456,"material":63,"size":64,"collection":34,"collections":457,"showCount":458,"zanCount":361,"manualWeight":11,"mainColor":39},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）。",[24,25,112,29,113,27,31,7,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24e20f7c46d85cc1273ebbc0538eb92b.jpg",[],187,{"id":460,"slug":461,"title":462,"dynasty":127,"author":422,"museum":20,"description":463,"tags":464,"thumbUrl":471,"material":33,"size":34,"collection":35,"collections":472,"showCount":473,"zanCount":211,"manualWeight":11,"mainColor":103},216601,"mo-he-si-lian-ping-2-zhang-da-qian-216601","墨荷四联屏-2","泼墨淋漓间，荷叶以焦墨泼洒，浓黑如漆却层次分明，边缘晕染淡墨朦胧，似雨打荷叶的湿润。荷花留白衬淡墨勾勒，花瓣舒展如凝脂，于浓墨丛中亭亭玉立，清妍脱俗。荷杆挺拔如剑，穿插有致，疏密藏章法。整幅墨韵流转，既有泼墨豪放，又含细腻笔触，将荷塘清幽与生机凝于尺幅。观之如临夏日清池，荷风拂面，心宁气静，尽显文人画雅致风骨，墨色浓淡间藏自然意趣，豪放与婉约相融，尽得笔墨之妙。",[24,113,465,466,31,7,467,468,469,470],"花鸟画","泼墨","荷杆","清幽","文人画","夏日荷塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b01bf97167e7cb59dfefbd32f1a87fd.jpg",[35],181,{"id":475,"slug":476,"title":477,"dynasty":127,"author":478,"museum":479,"description":480,"tags":481,"thumbUrl":483,"material":34,"size":34,"collection":34,"collections":484,"showCount":485,"zanCount":211,"manualWeight":11,"mainColor":39},220488,"zhang-da-qian-yu-fei-yin-wang-xue-tao-he-zuo-he-tang-qing-qu-tu-wang-xue-tao-220488","张大千、于非誾、王雪涛合作荷塘清趣图","王雪涛","四川博物院","此作为三家合璧之妙品，以泼墨晕染荷叶，浓淡交织晕开雨后荷塘的氤氲水气，苍润淋漓间尽显池夏清寂雅致。白荷亭亭玉立，带着初经雨洗的舒展柔润，暗吐幽芳。\n上空红蜓振翅悬停，池边青蛙轻跃欲起，草叶间小蜻蜓静立，将初夏荷塘的鲜活生机悄然铺陈。书画相映成趣，题句点透菡萏初发的诗意。\n写意与工笔相融，泼墨的疏朗大气搭配草虫的工致鲜活，把荷塘的幽趣揉入笔墨，静中生灵韵，雅淡见天然，尽显文人意趣与写生妙谛。",[23,24,25,112,29,113,27,95,31,264,482,7,49,114],"青蛙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7972b04f6b3a1e7149a7f2c832b57a2.jpg",[],176,{"id":487,"slug":488,"title":489,"dynasty":18,"author":490,"museum":45,"description":491,"tags":492,"thumbUrl":495,"material":34,"size":34,"collection":35,"collections":496,"showCount":497,"zanCount":211,"manualWeight":11,"mainColor":39},237149,"he-hua-yan-zi-zhou-wang-zhen-237149","荷花燕子轴","王震","此作为大写意花鸟佳作，淡墨晕染荷叶，留白衬出白荷莹润雅洁。荷茎瘦劲挺拔，枯墨点苔尽显苍古意趣。燕子栖于茎杆之上，以浓淡笔墨晕染羽翼，侧目远眺灵动有神，静穆之中暗涌生机。\n\n下方浓墨绘叶，丹色花串垂落，冷暖对比提亮画面层次。左上角题字笔力苍浑朴拙，书画相映成趣，兼具海派写意的纵肆洒脱，亦不失文人水墨的清雅意韵，于极简构图里铺陈夏日荷塘清寂，留白淡墨中尽显通透灵秀，平淡间藏满生机雅趣。",[24,25,112,27,113,29,114,31,493,7,79,494],"燕子","藤蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b37c204f1cdc5992283504ca234ed3c.jpg",[35,66],172,{"id":499,"slug":500,"title":501,"dynasty":18,"author":502,"museum":73,"description":503,"tags":504,"thumbUrl":505,"material":506,"size":507,"collection":34,"collections":508,"showCount":509,"zanCount":11,"manualWeight":11,"mainColor":39},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。",[23,24,25,94,112,29,113,27,31,7,293,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F354cad584cbfaada75e733228bef455f.jpg","绢本设色","纵138厘米，横42厘米",[],163,{"id":511,"slug":512,"title":513,"dynasty":18,"author":411,"museum":45,"description":514,"tags":515,"thumbUrl":516,"material":34,"size":34,"collection":34,"collections":517,"showCount":518,"zanCount":11,"manualWeight":11,"mainColor":39},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。",[24,25,113,26,95,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F470063c37b35045e9c6772f0cfa86f81.jpg",[],153,{"id":520,"slug":521,"title":365,"dynasty":18,"author":400,"museum":73,"description":522,"tags":523,"thumbUrl":524,"material":251,"size":525,"collection":34,"collections":526,"showCount":527,"zanCount":185,"manualWeight":11,"mainColor":39},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。",[94,24,113,29,112,114,27,95,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18450c962cc4dc8033a867f98dea23ce.jpg","纵163.4厘米，横47.5厘米",[],151,{"id":529,"slug":530,"title":531,"dynasty":127,"author":422,"museum":20,"description":532,"tags":533,"thumbUrl":534,"material":33,"size":34,"collection":35,"collections":535,"showCount":527,"zanCount":211,"manualWeight":11,"mainColor":39},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。",[24,25,113,112,31,7,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a911d419cf2bdb27af6f664cf482a33.jpg",[35],{"id":537,"slug":538,"title":539,"dynasty":107,"author":142,"museum":45,"description":540,"tags":541,"thumbUrl":543,"material":63,"size":64,"collection":34,"collections":544,"showCount":545,"zanCount":211,"manualWeight":11,"mainColor":103},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》。",[23,94,24,25,112,465,48,29,31,293,542,145,7],"蝴蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35f6c74082eff5c95dc37ca5423373bf.jpg",[],139,{"id":547,"slug":548,"title":549,"dynasty":550,"author":551,"museum":45,"description":552,"tags":553,"thumbUrl":555,"material":34,"size":34,"collection":34,"collections":556,"showCount":557,"zanCount":211,"manualWeight":11,"mainColor":39},230477,"hua-niao-tu-ping-ge-shi-bei-zhai-230477","花鸟图屏","不详","葛饰北斋","画面以浅褐素底铺陈秋塘底色，白鹭莹洁似雪，身姿挺秀悠然，羽色晕染细腻柔和，抬首静立间自带安然意态。旁侧枯荷舒展残叶、垂坠莲蓬，笔意简淡尽显清秋萧疏之致。整体构图留白松弛，淡彩晕染出温润雅致的侘寂意趣，将秋塘的清寂禅意藏于笔墨之间，物景相融相生，晕开东方独有的静谧诗意，寥寥勾勒便绘就幽淡闲雅的秋日荷塘意韵，尽显空灵雅致的东方美学意境。",[23,24,25,554,48,29,27,95,132,76,7],"屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22c00298726ea46a856b6cbf562896d1.jpg",[],138,{"id":559,"slug":560,"title":442,"dynasty":107,"author":178,"museum":203,"description":561,"tags":562,"thumbUrl":563,"material":97,"size":564,"collection":35,"collections":565,"showCount":557,"zanCount":241,"manualWeight":11,"mainColor":103},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。",[23,24,94,25,29,48,27,446,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7da87412892d3bb3ded765cef53220cf.jpg","纵97.7横43.1厘米",[35],{"id":567,"slug":568,"title":569,"dynasty":18,"author":44,"museum":45,"description":570,"tags":571,"thumbUrl":572,"material":34,"size":34,"collection":34,"collections":573,"showCount":574,"zanCount":361,"manualWeight":11,"mainColor":39},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。",[94,24,29,48,26,31,7,49,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F437de0e69fce243e2beeaba3fd223383.jpg",[],125,{"id":576,"slug":577,"title":578,"dynasty":90,"author":579,"museum":109,"description":580,"tags":581,"thumbUrl":591,"material":97,"size":592,"collection":99,"collections":593,"showCount":594,"zanCount":11,"manualWeight":11,"mainColor":103},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。",[23,276,582,29,583,584,585,586,587,588,31,589,590,7,280],"工笔花鸟","写实","写生","细腻笔触","大雁","芙蓉","蒲草","禽鸟","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0742ff18547c75d91c9eaba1ab1932e4.jpg","本幅 149.1x95.5公分、全幅 133公分",[99,35],123,{"id":596,"slug":597,"title":59,"dynasty":18,"author":598,"museum":73,"description":599,"tags":600,"thumbUrl":601,"material":332,"size":602,"collection":34,"collections":603,"showCount":604,"zanCount":211,"manualWeight":11,"mainColor":39},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。",[24,25,26,48,29,31,7,542,27,308,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58118af921331845033ac41b6553a729.jpg","纵32.6厘米，横28.6厘米",[],122,{"id":606,"slug":607,"title":608,"dynasty":18,"author":609,"museum":45,"description":610,"tags":611,"thumbUrl":613,"material":63,"size":64,"collection":34,"collections":614,"showCount":615,"zanCount":185,"manualWeight":11,"mainColor":39},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。",[24,29,27,112,113,31,612,7,49],"水鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46322f421f14030edbe6883250880f4a.jpg",[],113,{"id":617,"slug":618,"title":619,"dynasty":90,"author":620,"museum":73,"description":621,"tags":622,"thumbUrl":636,"material":81,"size":637,"collection":34,"collections":638,"showCount":639,"zanCount":185,"manualWeight":11,"mainColor":39},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。",[23,24,25,623,113,584,114,27,589,624,625,78,626,627,628,308,629,31,630,223,631,194,632,633,634,7,76,635],"长卷","野鸡","麻雀","水果","桃子","石榴","牡丹","菊花","芦苇","蔬菜","葱","藕","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8c560c5bf16abfce7333669f1d842b1.jpg","纵47.3厘米，横814．1厘米",[],110,{"id":641,"slug":642,"title":643,"dynasty":107,"author":316,"museum":109,"description":644,"tags":645,"thumbUrl":646,"material":81,"size":647,"collection":34,"collections":648,"showCount":649,"zanCount":185,"manualWeight":11,"mainColor":39},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。",[23,94,24,25,113,114,51,31,482,7,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfa0b35a5a56cdef8fbb2e9da30170c2.jpg","34.8×56.5厘米",[],108,{"id":651,"slug":652,"title":653,"dynasty":18,"author":598,"museum":109,"description":654,"tags":655,"thumbUrl":656,"material":29,"size":657,"collection":34,"collections":658,"showCount":659,"zanCount":211,"manualWeight":11,"mainColor":39},222751,"xian-e-chang-chun-tu-07a-lang-shi-ning-222751","仙萼长春图-07a","本册共十六开内容分别描绘牡丹、桃花、芍药、海棠玉兰、虞美人、蝴蝶花、黄刺玫牡丹、石竹、樱桃、罂粟、紫白丁香、百合花牡丹、翠竹牵牛、荷花慈姑花、豆花稷穗、鸡冠花、菊花等，其中有八开还画有鸟禽，整册内容与《石渠宝笈三编》著录之〈郎世宁画花卉册〉一致，对幅皆是空白，而最末一开有宋体书款「臣郎世宁恭画」，依据画风特色推测是郎世宁雍正时期的花鸟佳作。全册不仅设色精緻，构图手法也见新意。特别能于鸟禽形体姿态上有超乎传统的表现，是西法透视手法的精采成果。画中花鸟多处能够显示光影明暗，透过白色颜料提点高光的技巧也常见运用。整册画风都一再显示其与郎世宁雍正前期画风有关。",[23,24,25,48,29,27,31,542,7,308,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fb31a611f6bc17b2cd92a02ab60f10f.jpg","宽28.4公分，高33.7公分",[],105,{"id":661,"slug":662,"title":663,"dynasty":18,"author":664,"museum":73,"description":665,"tags":666,"thumbUrl":677,"material":678,"size":679,"collection":680,"collections":681,"showCount":682,"zanCount":241,"manualWeight":11,"mainColor":103},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",[23,48,29,623,667,668,669,281,31,670,671,672,673,7,674,675,676],"人物","亭","楼阁","舟","树木","栏杆","庭院","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","人物画精选",[680],104,{"id":684,"slug":685,"title":686,"dynasty":389,"author":687,"museum":109,"description":688,"tags":689,"thumbUrl":690,"material":97,"size":691,"collection":35,"collections":692,"showCount":693,"zanCount":11,"manualWeight":11,"mainColor":103},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。",[23,24,25,112,27,113,29,48,95,31,7,542],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d2cbafe8b7c62d5722cbe40085ab683.jpg","97.6x46.2cm",[35],100,{"id":695,"slug":696,"title":697,"dynasty":18,"author":202,"museum":73,"description":698,"tags":699,"thumbUrl":700,"material":701,"size":702,"collection":34,"collections":703,"showCount":704,"zanCount":211,"manualWeight":11,"mainColor":39},233405,"mo-he-tu-zhou-shi-tao-233405","墨荷图轴","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”。",[24,25,112,113,220,95,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86fe017aa56845f71e72ee664ba076f8.jpg","纸本，墨笔","纵90.2厘米，横50.4厘米",[],96,{"id":706,"slug":707,"title":708,"dynasty":18,"author":709,"museum":317,"description":710,"tags":711,"thumbUrl":712,"material":713,"size":714,"collection":34,"collections":715,"showCount":716,"zanCount":361,"manualWeight":11,"mainColor":39},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。",[23,24,25,48,29,27,31,7,293,206,76,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6d0a7150805b19feb3ed4f0a01d4fd0.jpg","绢本","139X41CM",[],94,{"id":718,"slug":719,"title":720,"dynasty":721,"author":722,"museum":723,"description":724,"tags":725,"thumbUrl":726,"material":506,"size":727,"collection":35,"collections":728,"showCount":716,"zanCount":11,"manualWeight":11,"mainColor":103},221840,"lian-ji-ling-tu-wang-yuan-221840","莲鹡鸰图","元","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。",[23,94,24,25,48,29,27,31,280,7,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b8dcc488c7d4ab10557e1ad0364ca7b.jpg","29.9×36cm",[35,66],{"id":730,"slug":731,"title":732,"dynasty":18,"author":400,"museum":45,"description":733,"tags":734,"thumbUrl":736,"material":63,"size":64,"collection":34,"collections":737,"showCount":738,"zanCount":211,"manualWeight":11,"mainColor":39},235635,"bai-lian-tu-zhou-wu-chang-shuo-235635","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》。",[24,25,112,113,29,27,95,7,735,114],"枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82c0df205ec2ce42c42492c16896f1a8.jpg",[],91,{"id":740,"slug":741,"title":742,"dynasty":90,"author":178,"museum":45,"description":743,"tags":744,"thumbUrl":747,"material":63,"size":64,"collection":34,"collections":748,"showCount":749,"zanCount":211,"manualWeight":11,"mainColor":750},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”。",[24,112,745,27,31,7,48,29,746],"缂丝","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5496eee4f3b0cb9dd3c8db2a7491703.jpg",[],90,"37474F",{"id":752,"slug":753,"title":365,"dynasty":18,"author":754,"museum":45,"description":755,"tags":756,"thumbUrl":757,"material":34,"size":34,"collection":34,"collections":758,"showCount":749,"zanCount":11,"manualWeight":11,"mainColor":39},224332,"he-hua-tu-zhou-li-shan-224332","李鱓","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。",[23,24,25,112,113,114,220,51,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b036304de3bc3acd1b8f63768ad6326.jpg",[],{"id":760,"slug":761,"title":762,"dynasty":107,"author":178,"museum":763,"description":764,"tags":765,"thumbUrl":767,"material":97,"size":768,"collection":35,"collections":769,"showCount":770,"zanCount":211,"manualWeight":11,"mainColor":103},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。",[24,25,48,29,27,78,31,766,7],"落花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadfa03c687a78c5002929fc39069b598.jpg","49.3x33.5cm",[35],87,{"id":772,"slug":773,"title":774,"dynasty":90,"author":579,"museum":156,"description":775,"tags":776,"thumbUrl":779,"material":97,"size":780,"collection":35,"collections":781,"showCount":782,"zanCount":11,"manualWeight":11,"mainColor":103},219342,"shuang-e-tu-cui-bai-219342","双鹅图","图为一池景，水面波光粼粼，荷叶点缀，前面一只白鹅，后面紧跟着一只长着棕白羽毛的大鹅，水下鹅足在用力划桨。",[23,24,25,48,29,27,777,133,49,7,181,713,583,778],"鹅","自然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F655339b4f302564650f45fb89c765f64.jpg","27x34.10cm",[35],82,{"id":784,"slug":785,"title":786,"dynasty":550,"author":787,"museum":45,"description":788,"tags":789,"thumbUrl":795,"material":63,"size":64,"collection":796,"collections":797,"showCount":798,"zanCount":11,"manualWeight":11,"mainColor":103},226092,"the-pool-with-waterlilies-1917-19-mo-nai-226092","The Pool with Waterlilies, 1917-19","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。",[790,791,792,281,381,793,7,31,794],"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",[796],78,{"id":800,"slug":801,"title":802,"dynasty":107,"author":803,"museum":45,"description":804,"tags":805,"thumbUrl":806,"material":34,"size":34,"collection":35,"collections":807,"showCount":808,"zanCount":211,"manualWeight":11,"mainColor":103},237497,"mo-he-yuan-yang-tu-zhou-li-yin-237497","墨荷鸳鸯图轴","李因","李鱓[shàn]（1686年—1756年），字宗扬，号复堂，别号懊道人、墨磨人，清康熙二十五年（1686）生，乾隆二十一年（1756）卒，江苏扬州府兴化人，明代状元宰相李春芳第六世孙。清代著名画家，“扬州八怪”之一。康熙五十年中举， 康熙五十三年召为内廷供奉，其宫廷工笔画造诣颇深，因不愿受“正统派”画风束缚而遭忌离职。乾隆三年出任山东滕县知县，颇得民心，因得罪上司而罢官。后居扬州，卖画为生。\n李鱓工诗文书画。曾随蒋廷锡、高其佩学画。后受石涛影响，擅花卉、竹石、松柏，早年画风工细严谨，颇有法度。中年画风始变，转入粗笔写意，挥洒泼辣，气势充沛，对晚清花鸟画有较大影响。 [1]\n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。北京工艺美术出版社2005年出版“中国书画名家全集”，内收《李鱓画集》（上下卷）。",[24,25,112,113,27,95,293,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F557524c45070d0779dcb0b92bcfbebf5.jpg",[35],77,{"id":810,"slug":811,"title":812,"dynasty":18,"author":411,"museum":45,"description":813,"tags":814,"thumbUrl":815,"material":34,"size":34,"collection":34,"collections":816,"showCount":817,"zanCount":11,"manualWeight":11,"mainColor":39},231041,"mo-he-tu-zhu-da-231041","墨荷图","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。",[23,94,24,25,112,113,27,31,7,145],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F926a786a2b10460948ab44a52259f36d.jpg",[],69,{"id":819,"slug":820,"title":821,"dynasty":127,"author":422,"museum":822,"description":823,"tags":824,"thumbUrl":826,"material":34,"size":34,"collection":34,"collections":827,"showCount":817,"zanCount":211,"manualWeight":11,"mainColor":39},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。",[24,113,29,31,7,112,114,825],"墨荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22f536715eecbc62d1e1108ce9d6bcb5.jpg",[],{"id":829,"slug":830,"title":831,"dynasty":90,"author":832,"museum":45,"description":833,"tags":834,"thumbUrl":838,"material":63,"size":64,"collection":34,"collections":839,"showCount":840,"zanCount":11,"manualWeight":11,"mainColor":103},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。",[835,24,94,48,29,836,27,31,7,280,837],"扇面","青绿","微风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feffd42f9cf8108f6afa83f0ebe8d2397.jpg",[],66,{"id":842,"slug":843,"title":844,"dynasty":550,"author":787,"museum":45,"description":788,"tags":845,"thumbUrl":847,"material":63,"size":64,"collection":796,"collections":848,"showCount":849,"zanCount":211,"manualWeight":11,"mainColor":39},225989,"nympheas-fragment-mo-nai-225989","Nympheas (fragment)",[790,791,792,7,381,29,846],"笔触","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3e725c0b74ad8f654523156cabe4b36.jpg",[796],65,{"id":851,"slug":852,"title":853,"dynasty":18,"author":854,"museum":73,"description":855,"tags":856,"thumbUrl":857,"material":81,"size":34,"collection":858,"collections":859,"showCount":860,"zanCount":211,"manualWeight":11,"mainColor":39},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。",[112,24,25,113,29,31,7,220,115,308],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9aa48d2065c663302255911bf30c46e5.jpg","书法精选",[858],63,{"id":862,"slug":863,"title":864,"dynasty":107,"author":865,"museum":73,"description":866,"tags":867,"thumbUrl":868,"material":332,"size":869,"collection":34,"collections":870,"showCount":860,"zanCount":211,"manualWeight":11,"mainColor":103},233881,"fu-rong-e-tu-zhou-sun-long-233881","芙蓉鹅图轴","孙隆","图绘池塘草畔，一只大鹅昂首前望，侧立于芙蓉、湖石下。芙蓉花叶用先点后勾法画成，墨、色相间。太湖石以没骨法渲染。鹅则兼用没骨与勾勒，以淡墨线勾勒轮廓、羽毛，淡墨渲染花色，朱棕赭石填染咀和掌，造型严整，笔致工细。整幅画不拘泥于细节的刻划，而是从整体出发，着力表现白鹅、芙蓉的生动神态。\n在画法上，作者将写意与写形、没骨与勾勒、水墨与淡彩融为一体，和谐地统一于图画之中。这种画法的渊源，应为宋、元以来水墨写意花鸟技法的发展和变异，是孙隆的一种创造，开写意花鸟画之新风。此图为其存世佳作。",[24,94,25,112,27,29,28,587,777,7,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4161d97123ab1447f6e046cfecf58534.jpg","纵159.3厘米，横84.1厘米",[],{"id":872,"slug":873,"title":874,"dynasty":90,"author":178,"museum":45,"description":875,"tags":876,"thumbUrl":878,"material":34,"size":34,"collection":34,"collections":879,"showCount":860,"zanCount":211,"manualWeight":11,"mainColor":103},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。",[23,94,24,25,112,48,29,95,31,7,278,877],"池水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcad2f0b5b63fb5100d6e2037573719a0.jpg",[],{"id":881,"slug":882,"title":883,"dynasty":18,"author":178,"museum":109,"description":884,"tags":885,"thumbUrl":888,"material":322,"size":889,"collection":680,"collections":890,"showCount":891,"zanCount":11,"manualWeight":11,"mainColor":39},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。",[24,112,48,29,667,886,887,31,7,635,672,308,281,50],"美人","柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0271796fde7f4f01e55be68f0f4a86c.jpg","纵169cm，横90cm",[680,66],62,{"id":893,"slug":894,"title":895,"dynasty":90,"author":178,"museum":45,"description":896,"tags":897,"thumbUrl":899,"material":34,"size":34,"collection":34,"collections":900,"showCount":901,"zanCount":269,"manualWeight":11,"mainColor":103},223630,"he-xie-tu-yi-ming-223630","荷蟹图","《宋人画荷蟹图》是宋代佚名创作是一幅中国画。\n图中残败的荷叶枯黄斑驳，半浸于水中，一只团脐雌蟹挥螯伏于叶上。\n潺潺流水中生长、飘浮着红蓼、蒲草、浮萍、水藻等，其叶片边沿均已泛黄，显示出时已临秋，金秋时节，正是蟹美膏肥之时，荷叶的颓势与雌蟹的鲜活形成强烈的对比。\n画面刻意求真，荷叶用双钩夹叶法描绘，叶之叶筋、斑纹及莛上的小刺都刻意求工，雌蟹用笔缜密严谨。\n此图画面意境生动，题材别出新意，为宋人写实画作的典范。\n【简介】 本幅无款。\n钤印一方，印文模糊不辨。",[23,94,24,25,29,48,95,898,7,49,27],"螃蟹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F180dab128ffc6da8aaed986bccf8201c.jpg",[],61,{"id":903,"slug":904,"title":905,"dynasty":107,"author":906,"museum":109,"description":907,"tags":908,"thumbUrl":909,"material":910,"size":911,"collection":912,"collections":913,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},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。",[23,24,112,29,48,31,7,306,49,381],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3e54eae5e00cccc24c1fccf44406de6.jpg","白纸本","106.8x43.8厘米","山水画精选",[912,347],{"id":915,"slug":916,"title":917,"dynasty":18,"author":803,"museum":367,"description":918,"tags":919,"thumbUrl":921,"material":118,"size":922,"collection":35,"collections":923,"showCount":38,"zanCount":211,"manualWeight":11,"mainColor":39},218900,"fu-rong-yuan-yang-tu-li-yin-218900","芙蓉鸳鸯图","该画以竖构图表现池畔一隅，景致于深阔中见清逸，画的下方，几缕淡淡的游丝线勾出透明的水域，一对鸳鸯仿佛边游边聊着。画的中上部，从画外探进来的芙蓉花占了画面三分之二多，一枝俯垂，一枝上扬，俯仰之间既各得其韵，又彼此呼应；芙蓉花是用白描法淡墨勾勒而成，花朵之间的摆布迎让有序、相辅相成，毫无刻意造作之气，线条使转流畅，给人以运笔迅疾之感；叶子用没骨法点饰，大小、浓淡适宜，层次分明，墨色明透清亮，且叶筋勾勒得劲健挺拔，淡墨写出的几缕蒲草叶点缀其间，与花的团叶互为映衬，又于疏密中见丰富。水面上，两只鸳鸯相拥着游向接近水面的花，大概是雌鸳鸯嗅到了花香发出惊叫，引得雄鸳鸯回头观望，那温柔的神态充满爱意。鸳鸯的造型生动、准确，羽毛勾勒后用淡墨晕染，笔触细腻，墨分五彩，虽未着色却显现出绚丽华滋的富贵之气。纵观全画，作者以构图的疏朗与简括，笔墨的简洁与精劲，营造出花开季节游禽恬淡安闲的状态，进而通过诗画的意境传达出一种浪漫气息。同时，画面的空明与洁静，也体现出作者高超的笔墨功夫。",[24,113,27,112,587,293,920,7],"水波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63764a7a72a14f84ca58ebff73c6e3c8.jpg","纵115厘米，横47.3厘米",[35],{"id":925,"slug":926,"title":927,"dynasty":18,"author":178,"museum":45,"description":928,"tags":929,"thumbUrl":930,"material":34,"size":34,"collection":34,"collections":931,"showCount":932,"zanCount":11,"manualWeight":11,"mainColor":39},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。",[24,113,114,27,31,7,115,220,51,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb26610f2567b72eb84b2c567e8c8efe.jpg",[],52,{"id":934,"slug":935,"title":936,"dynasty":18,"author":937,"museum":45,"description":938,"tags":939,"thumbUrl":941,"material":34,"size":34,"collection":34,"collections":942,"showCount":932,"zanCount":11,"manualWeight":11,"mainColor":39},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。",[23,24,112,713,48,29,31,7,940,308,51],"花瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76f80e41463c6d0100002a7885112251.jpg",[],{"id":944,"slug":945,"title":946,"dynasty":18,"author":754,"museum":45,"description":947,"tags":948,"thumbUrl":950,"material":81,"size":951,"collection":34,"collections":952,"showCount":953,"zanCount":11,"manualWeight":11,"mainColor":39},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”。",[23,24,25,112,113,114,31,7,949,27,631,49,306,51],"鹭鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3527f96ea3aeadc84c0dedcfd0c340f.jpg","56.4x104cm",[],51,{"id":955,"slug":956,"title":957,"dynasty":550,"author":787,"museum":45,"description":788,"tags":958,"thumbUrl":962,"material":63,"size":64,"collection":796,"collections":963,"showCount":953,"zanCount":211,"manualWeight":11,"mainColor":39},226130,"the-water-lilies-pond-1917-mo-nai-226130","The Water-Lilies Pond, 1917",[790,791,959,960,846,281,792,7,381,961,793],"色彩层次","光影变化","水波纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a11760a29eb3f97cd31932b79db1765.jpg",[796],{"id":965,"slug":966,"title":967,"dynasty":107,"author":968,"museum":45,"description":969,"tags":970,"thumbUrl":971,"material":34,"size":34,"collection":34,"collections":972,"showCount":973,"zanCount":11,"manualWeight":11,"mainColor":39},228920,"xiang-feng-jing-he-tu-zhou-liu-ru-shi-228920","香风静荷图轴","柳如是","此作为水墨写意妙品，以虚实相生铺就荷塘清景。泼墨重写团荷，浓淡晕染间尽显叶片舒展的苍润质感，荷茎虬曲穿插，残莲蓬斜立，暗笼秋意浅愁。白鹭以淡墨轻勾慢染，羽毛蓬松柔润，伫立浅滩侧目凝神，身姿娴静又暗含灵动生机，于留白水面独显出尘之态。\n\n笔墨干湿互济，淡墨晕开水面清光，浓墨点染汀洲残叶，画面疏密错落，题款极简留白恰到好处，将荷塘的幽谧禅意尽数铺陈，淡而弥远，简而不空，把初秋水畔的静雅与孤高意趣融为一体，尽显文人写意的空灵雅致。",[23,24,25,112,113,27,95,7,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe714f3a115a37707a297ef74ff20726f.jpg",[],50,{"id":975,"slug":976,"title":977,"dynasty":107,"author":178,"museum":45,"description":978,"tags":979,"thumbUrl":980,"material":34,"size":34,"collection":34,"collections":981,"showCount":973,"zanCount":11,"manualWeight":11,"mainColor":103},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。",[23,94,24,25,26,29,48,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4589146b155a8c850a3f7b447dbf6eb0.jpg",[],{"id":983,"slug":984,"title":985,"dynasty":107,"author":178,"museum":45,"description":986,"tags":987,"thumbUrl":992,"material":713,"size":993,"collection":34,"collections":994,"showCount":973,"zanCount":11,"manualWeight":11,"mainColor":39},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。",[23,24,25,29,48,27,31,7,988,280,278,671,989,308,589,990,991,582],"天鹅","翎毛","草木","设色花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd66437a893b263b8850ee0421ee4d9d3.jpg","80x60cm",[],{"id":996,"slug":997,"title":234,"dynasty":18,"author":998,"museum":45,"description":999,"tags":1000,"thumbUrl":1002,"material":63,"size":64,"collection":34,"collections":1003,"showCount":1004,"zanCount":211,"manualWeight":11,"mainColor":39},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。",[24,112,113,29,114,27,31,7,1001],"茎秆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81805cb9f07093259ca1f8e2008f7476.jpg",[],48,{"id":1006,"slug":1007,"title":27,"dynasty":18,"author":754,"museum":45,"description":1008,"tags":1009,"thumbUrl":1010,"material":34,"size":34,"collection":34,"collections":1011,"showCount":1004,"zanCount":11,"manualWeight":11,"mainColor":39},224309,"hua-niao-li-shan-224309","这幅画以水墨写就水畔一隅，布局错落有致。右上角芙蓉枝叶交叠，浓墨点染阔叶，淡墨勾出柔花，枯笔写枝，苍劲中带着秀润。左侧荷花亭亭舒展，墨色晕染出荷叶的清润质感，花瓣用线空灵雅洁。白鹭静立在汀草间，淡墨勾形留白衬出羽毛蓬松，目光低垂神态悠然，将水鸟的闲适之态尽藏其中。\n笔墨干湿浓淡相映，以写意笔法写尽夏日水郊的清寂野趣，禽鸟花木浑然相融，尽显纵逸洒脱又不失雅致的文人写意风骨，将幽淡恬然的郊野生机凝练在尺幅之间。",[23,24,94,112,113,29,114,27,95,587,279,194,631,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35c32e970d3d12ecf0c1bdd93057eb7f.jpg",[],{"id":1013,"slug":1014,"title":1015,"dynasty":107,"author":316,"museum":1016,"description":1017,"tags":1018,"thumbUrl":1022,"material":33,"size":1023,"collection":34,"collections":1024,"showCount":1004,"zanCount":11,"manualWeight":11,"mainColor":39},220014,"dong-zhuang-tu-ce-zhi-qu-chi-shen-zhou-220014","东庄图册之曲池","南京博物院","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。",[23,24,113,29,26,1019,7,31,671,635,1020,1021],"流水","小径","皴法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4be52ac42f2b1996ec3a9bfa4d090913.jpg","纵28.6厘米，横33厘米",[],{"id":1026,"slug":1027,"title":831,"dynasty":90,"author":832,"museum":45,"description":833,"tags":1028,"thumbUrl":1029,"material":63,"size":64,"collection":34,"collections":1030,"showCount":1031,"zanCount":11,"manualWeight":11,"mainColor":103},290073,"tai-ye-he-feng-tu-feng-da-you-290073",[835,24,94,48,29,836,27,31,7,280,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33b38195099f690faa5e9453aed49e0a.jpg",[],42,{"id":1033,"slug":1034,"title":1035,"dynasty":107,"author":178,"museum":443,"description":444,"tags":1036,"thumbUrl":1037,"material":97,"size":34,"collection":34,"collections":1038,"showCount":1031,"zanCount":211,"manualWeight":11,"mainColor":103},216907,"lian-chi-cang-lu-tu-2-yi-ming-216907","莲池苍鹭图-2",[23,24,29,48,27,31,7,446,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cba271913a98a4f8d9ca40173ca82e3.jpg",[],{"id":1040,"slug":1041,"title":1042,"dynasty":18,"author":1043,"museum":1044,"description":1045,"tags":1046,"thumbUrl":1048,"material":713,"size":1049,"collection":34,"collections":1050,"showCount":1051,"zanCount":11,"manualWeight":11,"mainColor":103},223035,"hong-lou-meng-160-sun-wen-223035","红楼梦160","孙温","旅顺博物馆","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[23,24,48,29,668,669,1019,667,1047,671,7,635],"小桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96a3b36d5f100795b59ea7df0714f34a.jpg","纵43.3厘米、横76.5厘米",[],39,{"id":1053,"slug":1054,"title":1055,"dynasty":107,"author":1056,"museum":45,"description":1057,"tags":1058,"thumbUrl":1059,"material":34,"size":34,"collection":34,"collections":1060,"showCount":1061,"zanCount":11,"manualWeight":11,"mainColor":39},228404,"mo-he-tu-li-zhou-xiang-yuan-bian-228404","墨荷图立轴","项元汴","此作虚实相生，以文绘相融尽显文人意趣。右上角题诗留白衬映画面，下半段挥写墨荷。大写意泼染荷叶，墨色干湿浓淡交织，晕染出翠盖舒展的蓬勃野态；花瓣以清隽白描勾勒，尽显菡萏清雅绰约之姿。挺劲荷茎点缀苔斑，舒展兰草环绕侧畔，更添幽塘清逸之趣。\n\n整幅以极简水墨抒怀，将荷塘晓风的清寂诗意融于笔底，以简驭繁尽显晚明文人画重韵尚意的风骨，在水墨氤氲间晕染出空灵澹远的幽塘意境，是借物寄怀的文人水墨佳构。",[23,24,25,112,113,31,7,49,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e662119b33919b8f58181bb78653082.jpg",[],37,{"id":1063,"slug":1064,"title":1065,"dynasty":18,"author":1066,"museum":45,"description":1067,"tags":1068,"thumbUrl":1069,"material":63,"size":64,"collection":34,"collections":1070,"showCount":1071,"zanCount":11,"manualWeight":11,"mainColor":39},235405,"he-hua-shuang-fu-tu-zhou-ren-qi-235405","荷花双凫图轴","任淇","一作琪，字竹君，号建齐，生年不详，卒于1861年。浙江萧山人（瀛壖杂志作任竹君，余姚人），任熊族叔。工书法，写兰亭、十三行，楷法精妙。与周白山同时寓沪甚久。精篆刻，金石、竹、木，无不擅长。花卉双钩，尤其专技。",[24,112,48,29,27,31,7,280,612],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee3cf559924c299931a82ede3a2c8040.jpg",[],36,{"id":1073,"slug":1074,"title":1075,"dynasty":18,"author":1043,"museum":1044,"description":1045,"tags":1076,"thumbUrl":1084,"material":713,"size":1049,"collection":34,"collections":1085,"showCount":1071,"zanCount":11,"manualWeight":11,"mainColor":39},223055,"hong-lou-meng-180-sun-wen-223055","红楼梦180",[23,48,29,1077,667,669,668,31,7,281,672,671,1078,1079,1080,1081,1082,673,1083],"界画","圆形窗","桌椅","茶具","扇子","鸭子","室内场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f50c00b41d18bf698643e1b41df6987.jpg",[],{"id":1087,"slug":1088,"title":1089,"dynasty":18,"author":178,"museum":45,"description":1090,"tags":1091,"thumbUrl":1096,"material":63,"size":64,"collection":1097,"collections":1098,"showCount":1099,"zanCount":211,"manualWeight":11,"mainColor":103},270515,"yao-bian-you-pen-yu-shi-he-hua-pen-jing-yi-ming-270515","窑变釉盆玉石荷花盆景","烧造瓷器，凡在开窑后发现不是预期的形状或釉色，以至于传世瓷器有时发生特异的情况者，都可说是“窑变”。《稗史汇编》说：“瓷有同是一质，遂成异质，同是一色，遂成异色者，水土所合，非人力之巧所能加，是之谓窑变。”总而言之，窑变大致可分为变形、变色、变质等数种。\n窑变釉，顾名思义，是器物在烧成过程中出现了意想不到的釉色效果。由于窑中含有多种呈色元素，经氧化或还原作用，瓷器在出窑后可能呈现出意外的釉色效果。因由窑变釉出现出于偶然，形态特别，人们又不知其原理，只知于窑内焙烧过程变化而得，故称之为“窑变釉”，俗语有“窑变无双”，就是指窑变釉的变化莫测，独一无二。",[1092,1093,1094,31,7,1095],"陶瓷","玉石","雕刻","盆景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4309ecdb93eb52d598c88d6247e7df0.jpg","瓷器精选",[1097],35,{"id":1101,"slug":1102,"title":1103,"dynasty":18,"author":598,"museum":109,"description":654,"tags":1104,"thumbUrl":1106,"material":29,"size":657,"collection":34,"collections":1107,"showCount":1099,"zanCount":11,"manualWeight":11,"mainColor":39},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",[23,24,25,26,29,48,27,31,1105,542,7],"慈姑花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45ad0b6a8b52b7b8263a034c82ced6e6.jpg",[],{"id":1109,"slug":1110,"title":1111,"dynasty":18,"author":609,"museum":45,"description":1112,"tags":1113,"thumbUrl":1116,"material":34,"size":34,"collection":34,"collections":1117,"showCount":1118,"zanCount":11,"manualWeight":11,"mainColor":39},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。",[23,24,29,27,279,31,1114,7,735,1115],"柳枝","兼工带写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f9f28911d8a7133a06f0c24a7adda13.jpg",[],34,{"id":1120,"slug":1121,"title":315,"dynasty":107,"author":316,"museum":317,"description":318,"tags":1122,"thumbUrl":1123,"material":322,"size":323,"collection":35,"collections":1124,"showCount":1118,"zanCount":11,"manualWeight":11,"mainColor":39},230957,"ping-he-tu-shen-zhou-230957",[23,24,25,112,29,48,31,7,320,115,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9937a425003a6af29aa49db4e9aa7adf.jpg",[35,66],{"id":1126,"slug":1127,"title":1128,"dynasty":18,"author":1129,"museum":45,"description":1130,"tags":1131,"thumbUrl":1132,"material":34,"size":34,"collection":35,"collections":1133,"showCount":1134,"zanCount":11,"manualWeight":11,"mainColor":103},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。",[24,25,94,26,113,95,31,7,27,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdca8a3f7e25a409507aba1c306024f12.jpg",[35,347,858],32,{"id":1136,"slug":1137,"title":1138,"dynasty":127,"author":1139,"museum":822,"description":1140,"tags":1141,"thumbUrl":1143,"material":34,"size":34,"collection":34,"collections":1144,"showCount":1134,"zanCount":11,"manualWeight":11,"mainColor":39},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。",[24,25,113,27,112,31,1142,7,133],"鹭鸶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff09adb59070f68f461c12e1eadc1bd60.jpg",[],{"id":1146,"slug":1147,"title":821,"dynasty":127,"author":422,"museum":822,"description":1148,"tags":1149,"thumbUrl":826,"material":34,"size":34,"collection":34,"collections":1150,"showCount":1151,"zanCount":11,"manualWeight":11,"mainColor":39},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。",[24,25,112,113,29,27,31,7,342],[],31,{"id":1153,"slug":1154,"title":1155,"dynasty":107,"author":178,"museum":45,"description":1156,"tags":1157,"thumbUrl":1158,"material":63,"size":64,"collection":34,"collections":1159,"showCount":1160,"zanCount":211,"manualWeight":11,"mainColor":103},238961,"he-tang-shuang-e-tu-ye-yi-ming-238961","荷塘双鹅图页","此作用笔秀润雅致，以深秋荷塘为景，残荷欹斜，枯卷的莲蓬与半萎的荷叶自带清冷萧疏之韵，坡岸旁荻草随风轻曳，灵动舒展。\n\n画面里白鹅仰首似在唳鸣，羽毛以淡墨晕染出蓬松柔润的质感，憨态灵动，尽显水禽野逸之态。整体设色淡雅柔和，以留白烘托出水滨空寂的秋意，将深秋荷塘的清寂与生机相融，寥寥数笔便勾勒出幽闲野逸的秋日水居意趣，尽显小品画的雅致隽秀之美。",[24,29,48,27,95,7,777,49,835],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F965428578e8b8005d6e4495e488de86d.jpg",[],30,{"id":1162,"slug":1163,"title":1164,"dynasty":107,"author":1165,"museum":45,"description":1166,"tags":1167,"thumbUrl":1170,"material":34,"size":34,"collection":34,"collections":1171,"showCount":1160,"zanCount":11,"manualWeight":11,"mainColor":39},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。",[24,25,112,1168,113,29,31,76,7,1169,308,114],"白描","莲藕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab2d6731a756e18afa13d56d32e9d48b.jpg",[],{"id":1173,"slug":1174,"title":1175,"dynasty":721,"author":178,"museum":109,"description":1176,"tags":1177,"thumbUrl":1181,"material":135,"size":1182,"collection":34,"collections":1183,"showCount":1160,"zanCount":11,"manualWeight":11,"mainColor":103},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。 ​​​",[23,94,24,25,48,29,1178,1179,1180,31,7,49,51],"柳","塘","白燕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d166284910d93d3270e5a93502379d8.jpg","31.1×60.6",[],{"id":1185,"slug":1186,"title":1187,"dynasty":18,"author":1188,"museum":1044,"description":1189,"tags":1190,"thumbUrl":1192,"material":33,"size":34,"collection":34,"collections":1193,"showCount":1194,"zanCount":11,"manualWeight":11,"mainColor":39},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。",[23,24,113,27,26,114,31,7,1191,49],"荷茎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b66aa7186bcbd1ec727f37a8e582947.jpg",[],28,{"id":1196,"slug":1197,"title":1198,"dynasty":18,"author":1199,"museum":45,"description":1200,"tags":1201,"thumbUrl":1203,"material":34,"size":34,"collection":34,"collections":1204,"showCount":55,"zanCount":211,"manualWeight":11,"mainColor":39},234587,"he-tang-fei-yan-wan-shan-xin-yue-234587","荷塘飞燕纨扇","辛樾","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。",[24,25,835,113,29,48,27,95,31,7,280,1202],"燕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6520d05d1c8a90a069b4eea658183e03.jpg",[],{"id":1206,"slug":1207,"title":1208,"dynasty":18,"author":1209,"museum":73,"description":1210,"tags":1211,"thumbUrl":1212,"material":506,"size":34,"collection":34,"collections":1213,"showCount":55,"zanCount":185,"manualWeight":11,"mainColor":39},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。",[24,25,26,48,29,27,95,31,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff04a76310a5243e9fcb581b22ba12471.jpg",[],{"id":1215,"slug":1216,"title":1217,"dynasty":18,"author":1043,"museum":1044,"description":1045,"tags":1218,"thumbUrl":1226,"material":713,"size":1049,"collection":34,"collections":1227,"showCount":55,"zanCount":11,"manualWeight":11,"mainColor":39},222956,"hong-lou-meng-81-sun-wen-222956","红楼梦81",[23,94,24,25,48,29,1219,669,667,133,31,7,1220,671,672,1221,675,673,1222,887,635,1223,1224,1225],"亭台","湖面","远山","水榭","围栏","平台","工笔重彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feac0e81cb3119ae54f2e3390d79b514f.jpg",[],{"id":1229,"slug":1230,"title":1231,"dynasty":18,"author":502,"museum":45,"description":1232,"tags":1233,"thumbUrl":1234,"material":332,"size":1235,"collection":34,"collections":1236,"showCount":1237,"zanCount":11,"manualWeight":11,"mainColor":39},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。",[24,25,112,29,48,27,95,31,7,306,989,308],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbf9f397c8059cf090d6b2cb507af50a.jpg","149 x 61 cm",[],25,{"id":1239,"slug":1240,"title":821,"dynasty":127,"author":422,"museum":822,"description":1241,"tags":1242,"thumbUrl":826,"material":34,"size":34,"collection":34,"collections":1243,"showCount":1237,"zanCount":11,"manualWeight":11,"mainColor":39},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。",[94,24,113,29,112,114,31,7,76],[],{"id":1245,"slug":1246,"title":1247,"dynasty":107,"author":178,"museum":45,"description":1248,"tags":1249,"thumbUrl":1250,"material":34,"size":34,"collection":34,"collections":1251,"showCount":1252,"zanCount":11,"manualWeight":11,"mainColor":103},228918,"he-tang-shuang-lu-tu-yi-ming-228918","荷塘双鹭图","画面饱满铺陈，粉荷或绽苞或盛放，枯荣荷叶交错层叠，蒲草芙蕖错落其间，尽显盛夏荷塘的蓬勃野趣。两只白鹭娴静错落，一只昂首远眺，一只曲颈理羽，将幽寂安然的意趣藏在留白里。\n古绢底色晕染出沉雅氛围感，设色柔和雅致，禽鸟素白羽翼与粉荷暖色相互映衬，蜻蜓水鸟掠飞其间，为静谧荷塘添灵动生机。工写兼施，花鸟刻画细致入微，草木晕染写意空灵，将江南水泽的清宁诗意凝于绢素，藏着澹泊闲静的池居幽情。",[23,24,94,25,112,29,48,27,95,7,279,280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d11c6095b8c54fa3490081eeda3ec70.jpg",[],24,{"id":1254,"slug":1255,"title":1256,"dynasty":90,"author":178,"museum":45,"description":1257,"tags":1258,"thumbUrl":1260,"material":34,"size":34,"collection":34,"collections":1261,"showCount":102,"zanCount":11,"manualWeight":11,"mainColor":39},231078,"liu-tang-fan-yue-yi-ming-231078","柳塘泛月","薄月垂悬柳梢，清辉漫过塘面，晕开一怀夏夜幽寂。柔枝垂柳以淡墨晕染，如烟似雾，将塘岸晕染成朦胧一片。青碧莲叶错落水面，随波轻漾。\n\n扁舟缓行于莲间，舟上仕女姿态悠然，或凭舷凝望月色，或斜卧舟中静享晚风，侍女垂立身侧，动静之间，将夜游的闲雅意趣缓缓铺陈。\n\n画作以没骨晕染写就景致，墨色柔润层次分明，浅淡设色清雅和谐，以尺幅小景承载起清远疏淡的意韵，将闲逸的审美心境融于笔底，尽显小品画的隽永悠然。",[94,24,25,835,29,48,667,887,281,207,1259,7,133],"小船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d348506c30be231f405f138a860f593.jpg",[],{"id":1263,"slug":1264,"title":1265,"dynasty":18,"author":1266,"museum":367,"description":1267,"tags":1268,"thumbUrl":1271,"material":81,"size":34,"collection":34,"collections":1272,"showCount":1273,"zanCount":11,"manualWeight":11,"mainColor":39},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。",[24,29,27,1269,31,7,30,1270],"册页","玉簪花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc26b5eb62df5eecaa15fd2db8f768689.jpg",[],20,{"id":1275,"slug":1276,"title":1277,"dynasty":18,"author":1278,"museum":45,"description":1279,"tags":1280,"thumbUrl":1281,"material":34,"size":34,"collection":34,"collections":1282,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":103},230853,"hua-hui-tu-zhang-yu-230853","花卉图","张敔","此作截取荷塘一隅取景，虚实相生间尽显写意妙趣。浓墨挥写半幅枯老荷叶，焦墨劲挺勾勒叶脉，苍浑厚重带着岁月沉凝的质感；淡墨晕染新叶与待放菡萏，清润柔和，与浓墨形成鲜明对比，暗合新旧交替的生机。荷梗以枯涩带点的笔线写出，朴拙老辣，带着疏野萧散的意趣。朱红闲章轻点画面，以一抹亮色调和水墨的清冷，平衡视觉重心。整幅以简驭繁，不用浓丽设色，仅以水墨干湿浓淡的层次变化，将秋日荷塘残而未颓的清寂诗意晕染开来，于随性挥洒间尽显文人写意的疏淡格调。",[24,25,94,113,27,95,7,76,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1252ffd258c16f4357c28c9363dd76d8.jpg",[],{"id":1284,"slug":1285,"title":1286,"dynasty":18,"author":1287,"museum":73,"description":1288,"tags":1289,"thumbUrl":1290,"material":1291,"size":1292,"collection":34,"collections":1293,"showCount":1294,"zanCount":11,"manualWeight":11,"mainColor":1295},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。",[23,24,29,48,26,31,7,206,145],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa21471dc14f16ee61c8eb48af722a982.jpg","泥金笺，设色","纵26.3厘米，横20.5厘米",[],16,"FF9800",{"id":1297,"slug":1298,"title":1299,"dynasty":18,"author":378,"museum":1300,"description":1301,"tags":1302,"thumbUrl":1303,"material":33,"size":34,"collection":34,"collections":1304,"showCount":1294,"zanCount":11,"manualWeight":11,"mainColor":39},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。",[24,113,29,26,31,7,27,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1390e062dcc9a31e1c77611f2c4c8842.jpg",[],{"id":1306,"slug":1307,"title":1308,"dynasty":18,"author":178,"museum":45,"description":1309,"tags":1310,"thumbUrl":1317,"material":63,"size":64,"collection":34,"collections":1318,"showCount":1319,"zanCount":11,"manualWeight":11,"mainColor":103},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。",[1092,1311,1312,1313,31,7,1314,1315,1316],"尊","矾红彩","粉彩","兽耳","彩绘","开光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd06f18cfcc2704ea19653df5e1d94bff.jpg",[],15,{"id":1321,"slug":1322,"title":1323,"dynasty":107,"author":178,"museum":45,"description":1324,"tags":1325,"thumbUrl":1332,"material":63,"size":64,"collection":34,"collections":1333,"showCount":68,"zanCount":11,"manualWeight":11,"mainColor":103},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。",[1326,1327,1328,1094,29,1329,1330,1331,7,31,320],"明代","漆器","剔彩","莲塘","龙舟","龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5401e06e7807f981fbcd1dcc40472ca3.jpg",[],{"id":1335,"slug":1336,"title":1337,"dynasty":90,"author":178,"museum":73,"description":1338,"tags":1339,"thumbUrl":1340,"material":332,"size":1341,"collection":34,"collections":1342,"showCount":68,"zanCount":11,"manualWeight":11,"mainColor":103},233005,"ji-ling-he-ye-tu-ye-yi-ming-233005","鹡鸰荷叶图页","图中荷塘里枯枝断茎，一片残败的荷叶向上斜出，翻卷的叶面，满布虫蚀的痕迹，一只鹡鸰停驻其上，双爪紧握荷茎，扭颈俯视，神情专注，为萧瑟的深秋平添了几许生气。鸟羽刻画细腻，先用色渲染，然后以极细之笔勾出，笔法生动秀逸。构图疏密有致，动静结合。",[24,25,27,26,48,113,29,280,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02c23f1fd4e2835e55c1e6774b7eac60.jpg","纵26厘米，横26.5厘米。",[],{"id":1344,"slug":1345,"title":821,"dynasty":127,"author":422,"museum":822,"description":1346,"tags":1347,"thumbUrl":826,"material":34,"size":34,"collection":34,"collections":1348,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":39},220508,"he-du-ye-qu-zhang-da-qian-220508","泼墨与彩色交融晕染，主叶如翻卷流云，墨色浓淡裹挟着水汽漫溢，将盛夏荷塘的滂沛生机铺陈开来。白荷亭亭玉立，花瓣用线清劲秀雅，冰洁质感与重墨荷叶形成强烈反差，干湿互济的笔触晕染出水面漾开的朦胧绿意。\n\n整幅画兼工带写，以大写意泼墨构建荷塘野趣，又以工细笔意勾勒莲瓣柔姿，题款墨色与画面气韵浑然一体，将夏日莲池的清寂禅意和蓬勃野趣揉合一处，尽显泼墨荷花的写意风神。",[24,113,29,112,27,31,7,95],[],{"id":1350,"slug":1351,"title":1352,"dynasty":18,"author":1353,"museum":45,"description":1354,"tags":1355,"thumbUrl":1361,"material":34,"size":34,"collection":34,"collections":1362,"showCount":1363,"zanCount":11,"manualWeight":11,"mainColor":39},238232,"shan-jing-ri-zhang-tu-ce-zhang-yu-sen-238232","山静日长图册","张雨森","张雨霖，初名雨，字作霖，一字紫琅，号苍野，安徽当涂人，经子，工山水，得文家风韵。善泼墨，惜用墨皆渗以胶。亦善画花鸟。乾隆时曾供奉内廷。乾隆时供奉内廷，乾隆帝题其《山水图》有“悬之高堂六月凉，助我清兴生吟席”句，又题其《仿沈周山水图》“吴中沈周清狂客，雨森笔似人亦肖”句。画迹有摹燕文贵《江干雪霁图》卷，著录于《石渠宝笈初编》。",[94,24,25,26,29,1021,1356,1357,133,1358,671,223,7,1359,1360,635],"山水","山","茅舍","云雾","栈道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18dd9df66367d82542672b8b337dc484.jpg",[],12,{"id":1365,"slug":1366,"title":1367,"dynasty":18,"author":178,"museum":45,"description":1368,"tags":1369,"thumbUrl":1379,"material":63,"size":64,"collection":34,"collections":1380,"showCount":1363,"zanCount":211,"manualWeight":11,"mainColor":39},229252,"yin-du-jin-dian-cui-qian-zhu-bao-he-ye-er-zhui-yi-ming-229252","银镀金点翠嵌珠宝荷叶耳坠","耳坠指耳饰的一种，指带有下垂饰物的耳饰（耳环）。有时耳坠等同于耳环，又称耳坠子，是耳朵饰品的代称。耳坠又指耳垂，是属于耳朵结构的一部分，位于耳朵的下半部，比较肥厚的那部分。在最传统的命理学说法中，耳坠的厚与薄代表一个人的命运。\n古时候，人们讲究“耳大如轮，眼大有神”，注重以貌取人，认为耳垂小了是没有福气的象征。但是人一出世，天生的小耳垂，又有啥办法弥补呢？传说，只有戴上耳坠。才能把耳轮拉长。因此，妇女都喜欢戴一副耳坠。 问起这一风俗的来历，传说，还是三国时期貂蝉传下来的呢。 貂蝉原是东汉末汉献帝时司徒王允的一名歌伎，她长得相貌出众、能歌善舞，色伎俱佳，很受王允的宠爱，以亲女看待。当时，董卓专权，挟天子以令诸侯，大臣们对他恨之入骨，但是敢怒而不敢言。王允为此事也闷闷不乐，终日不思茶饭。 貂蝉虽是女流，可王允的心事，她却宗宗看在眼里，件件记在心中。她很会察言观色，为主人分忧解愁。在一个月光皎洁的夜晚，貂蝉在花园里设下香案，为主人祝祷。她虔诚地燃起三柱香火，仰天一拜说道：“明月呀明月，你虽昭昭洁白如洗，可知我家老爷心中烦恼？苍天呀苍天！我貂蝉虽乃女流之辈，老爷婢女，若能为老爷分担忧愁，我愿万死不辞。”恰在此时，王允因忧国心烦，夜不能寐，来到后花园赏月散心。他听见有人祝祷，连忙躲在一座假山后面，静听起来。他听完貂婶的祝愿，心情无比激动和感激，忙上前来，搀扶起这一歌女。 王允问貂婢：“你向苍天明月祈告，为我分忧解愁，可知我忧在何处？愁为何事呀！” 貂蝉说：“当然知道。” 王允又问：“既然知道，又有什么妙法替我杀了董卓？” 貂婢说：“只要老爷相信得过我，奴婢愿效犬马之劳，即使赴汤蹈火，也心甘情愿。” 王允听了，顿时为这女子的仗义和气魄所感动，当即认貂蝉为女儿。后来王允与貂蝉合议：先将貂蝉献于董卓，后再暗许吕布，以离间两人之交，让这董吕两人勾心斗角，互相杀害。 貂蝉耳垂小，怕自己美中不足，使董、吕二人看不上，使密谋落空。她想办法弥补，想了很久，终于想出了良法，就在家中拿了些碎银子，叫银匠给自己作了一对银耳坠，挂在耳垂上。这样过了不久，耳垂果然变大了，为她的美容又增添了不少姿色。 董卓一见貂蝉大喜！吕布一见貂蝉着迷，使董卓和吕布因争夺这一美女而激烈相斗。又因吕布貂蝉私通，恐事发觉，心神不安。王允设计使吕布为内应，结果董卓被杀了。 从此，戴耳坠也就传到了民间。",[50,1370,1371,1372,7,1373,1374,1375,1376,1377,1378],"点翠","嵌珠宝","银镀金","珠宝","耳坠","银器","金器","饰品","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06ea37094d4d049e7f0b7f15a142378f.jpg",[],{"id":1382,"slug":1383,"title":1384,"dynasty":18,"author":1043,"museum":1044,"description":1045,"tags":1385,"thumbUrl":1388,"material":713,"size":1049,"collection":34,"collections":1389,"showCount":1363,"zanCount":11,"manualWeight":11,"mainColor":39},222924,"hong-lou-meng-49-sun-wen-222924","红楼梦49",[23,48,29,667,669,671,1019,31,7,635,673,1386,887,1387],"石阶","对联","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa157efabf61a32a02f8a26e2a8bc10fc.jpg",[],{"id":1391,"slug":1392,"title":1393,"dynasty":18,"author":1394,"museum":45,"description":1395,"tags":1396,"thumbUrl":1397,"material":34,"size":34,"collection":34,"collections":1398,"showCount":1399,"zanCount":11,"manualWeight":11,"mainColor":39},234611,"shan-shui-wan-shan-zhang-zhi-wan-234611","山水纨扇","张之万","张之万，字子青，直隶南皮人（今河北省南皮县人）。道光二十七年（１８４７）以一甲一名中进士，授翰林院修撰，咸丰二年（１８５２）出督河南学政，累迁内阁学士，擢礼部侍郎，兼署工部。尝与太常寺卿许彭寿等总结历代帝王及垂帘事迹，汇辑成《治平宝鉴》，以备帝王借鉴自省。同治元年（１８６２），署理河南巡抚，时捻军起义，张之万在河南汝洲、开封等地多次围剿捻军，捷报频传，赏头品顶戴、赐花翎。之后调任江苏巡抚、迁浙闽总督。光绪八年（１８８２）起兵部尚书，调刑部。光绪十年（１８８４）入军机，兼署吏部，光绪十五年（１８８９），授体仁阁大学士，转东阁，赐双眼花翎，并赐用紫缰（清代对于皇室近支和有功勋的官员，特许骑马用紫缰）。光绪丁酉年（１８９７）卒，年８７，赠太傅，谥文达。\n张之万生平襟怀旷远，不见欣戚之色；其在师中，临危制变，不动声色；善于择将，拔张曜、宋庆等于稠人之中，这些将领均以战功显明于世；居政府１３年，让功推能，人尤称其相度。\n世人或知张之万政绩卓著，战功显赫，然其生性儒雅，工书善画能诗也许少为人知。石家庄市博物馆收藏有张之万书画作品数幅，现择取有代表性的两幅与诸君共赏。",[24,835,29,1356,1021,668,671,1221,133,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F246c0a28a14775872551e950cec067a7.jpg",[],11,{"id":1401,"slug":1402,"title":1403,"dynasty":18,"author":598,"museum":73,"description":599,"tags":1404,"thumbUrl":1406,"material":332,"size":602,"collection":34,"collections":1407,"showCount":164,"zanCount":185,"manualWeight":11,"mainColor":39},222783,"hua-niao-ce-ye-03-lang-shi-ning-222783","花鸟册页03",[23,94,24,25,1269,27,48,29,1405,31,542,7,308,989],"中西合璧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a19f1bd022351d63f2aba574d80b75b.jpg",[],{"id":1409,"slug":1410,"title":1411,"dynasty":18,"author":178,"museum":45,"description":1412,"tags":1413,"thumbUrl":1415,"material":63,"size":64,"collection":34,"collections":1416,"showCount":1417,"zanCount":11,"manualWeight":11,"mainColor":39},229075,"bi-yu-tou-hua-he-ye-xiang-nang-yi-ming-229075","碧玉透花荷叶香囊","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。",[50,1093,1094,1414,7,1377],"透雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F012e3c767011cabf2159b3b1500da730.jpg",[],8,{"id":1419,"slug":1420,"title":1421,"dynasty":107,"author":142,"museum":45,"description":1422,"tags":1423,"thumbUrl":1424,"material":118,"size":34,"collection":34,"collections":1425,"showCount":1417,"zanCount":11,"manualWeight":11,"mainColor":103},216310,"xi-xiang-ji-zhen-ben-tu-ce-7-chen-hong-shou-216310","西厢记真本图册-7","墨线如铁线盘桓，勾出荷花清雅风骨。荷瓣轻展若含情，莲蓬点点藏生机，荷叶脉络纵横似含烟水之气，与花相映成趣。画面简而不空，线条转折间见笔力千钧，古雅韵致扑面而来。仿佛池畔荷香漫溢，静谧中漾开诗意。笔端带着岁月沉淀的温度，将古典情境融入一池荷景。每一笔皆有筋骨，刚劲中藏柔媚，尽显文人画逸趣。观者于水墨间触摸跨越时空的雅致，似能窥见画中人心境，在荷影摇曳里，感受古典艺术的永恒魅力。",[24,25,26,1168,48,31,7,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19262cf55a02620e9692685ab003c5e3.jpg",[],{"id":1427,"slug":1428,"title":1429,"dynasty":18,"author":1430,"museum":367,"description":1431,"tags":1432,"thumbUrl":1434,"material":34,"size":34,"collection":35,"collections":1435,"showCount":1417,"zanCount":11,"manualWeight":11,"mainColor":1436},201675,"he-hua-yuan-yang-tu-zhou-liao-yun-jin-201675","荷花鸳鸯图轴","廖芸锦","画面中荷花盛放，粉瓣含露，娇嫩动人；荷叶或展或卷，青绿与赭黄交织，尽显自然意趣。禽鸟羽色斑斓，身姿灵动，于荷塘间顾盼生姿。笔触工细，线条婉转，设色清雅，将花鸟情态与荷塘清幽完美相融，传递出传统花鸟画的温婉韵致与生机盎然，令人赏心悦目。",[48,29,31,27,112,24,7,589,1433,23],"雅致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb37e6474a23c08214ccd62a0bff7449e.jpg",[35],"bca179",{"id":1438,"slug":1439,"title":1440,"dynasty":18,"author":1441,"museum":367,"description":1442,"tags":1443,"thumbUrl":1444,"material":34,"size":34,"collection":35,"collections":1445,"showCount":1417,"zanCount":11,"manualWeight":11,"mainColor":1446},201580,"pu-tang-qing-qu-tu-zhou-wang-kun-201580","蒲塘清趣图轴","王琨","画面以荷花为主体，粉白花瓣层层晕染，姿态清雅；墨绿荷叶舒展自然，浓淡间显生机。上方行书笔墨流畅，与下方莲荷相映成趣，尽显文人画的雅致意趣。设色清新柔和，工笔技法细腻传神，将蒲塘间的悠然景致娓娓道来，传递出静谧闲适的清趣之美。",[24,27,48,29,220,25,31,7,95,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c8448a8b238f58c6fcb863cd4684c4e.jpg",[35],"ab9d7c",{"id":1448,"slug":1449,"title":1450,"dynasty":18,"author":178,"museum":45,"description":1451,"tags":1452,"thumbUrl":1455,"material":63,"size":64,"collection":34,"collections":1456,"showCount":150,"zanCount":11,"manualWeight":11,"mainColor":103},260770,"zhao-zhi-qian-kuan-fen-cai-he-lian-wen-wan-yi-ming-260770","赵之谦款粉彩荷莲纹碗","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。",[1092,1313,31,7,1453,1454],"日用具","碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F736ec7365db1a85d07f1860bc193d091.jpg",[],{"id":1458,"slug":1459,"title":1460,"dynasty":18,"author":178,"museum":45,"description":1309,"tags":1461,"thumbUrl":1463,"material":63,"size":64,"collection":34,"collections":1464,"showCount":150,"zanCount":11,"manualWeight":11,"mainColor":103},260577,"fen-cai-he-hua-tu-xiao-zun-yi-ming-260577","粉彩荷花图小尊",[1092,1313,31,7,29,308,1462],"器皿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc86103ec19d3c620c1c3aa20ff687562.jpg",[],{"id":1466,"slug":1467,"title":1468,"dynasty":90,"author":178,"museum":45,"description":1469,"tags":1470,"thumbUrl":1471,"material":34,"size":34,"collection":34,"collections":1472,"showCount":150,"zanCount":11,"manualWeight":11,"mainColor":39},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 相距甚远，故改为无名氏画。",[23,24,25,276,26,835,113,29,31,7,76,898,220,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba4b3faac025682ff468de9c8c866068.jpg",[],{"id":1474,"slug":1475,"title":1476,"dynasty":90,"author":178,"museum":45,"description":1477,"tags":1478,"thumbUrl":1480,"material":63,"size":64,"collection":34,"collections":1481,"showCount":150,"zanCount":11,"manualWeight":11,"mainColor":750},227458,"ci-hua-ping-yi-ming-227458","瓷花瓶","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。",[1092,1479,31,7,320],"白釉黑彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a4e3be71fd180895f40299b7a6e7811.jpg",[],{"id":1483,"slug":1484,"title":1485,"dynasty":18,"author":178,"museum":45,"description":1486,"tags":1487,"thumbUrl":1489,"material":63,"size":64,"collection":34,"collections":1490,"showCount":255,"zanCount":11,"manualWeight":11,"mainColor":750},268437,"dian-cui-he-hua-wen-tou-hua-yi-ming-268437","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。",[1377,1370,31,7,76,1488],"头饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b3694801cedebc7addcc4a9281937c2.jpg",[],{"id":1492,"slug":1493,"title":1494,"dynasty":18,"author":1495,"museum":45,"description":1496,"tags":1497,"thumbUrl":1500,"material":34,"size":34,"collection":34,"collections":1501,"showCount":255,"zanCount":11,"manualWeight":11,"mainColor":39},237733,"wu-sheng-shi-yi-tu-ce-huang-yi-237733","无声诗意图册","黄易","黄易（1744 年11月22日—1802年3月26日），字大易，号小松、秋盦，又号秋影庵主、散花滩人。浙江钱塘人，钱塘黄氏八世。兼擅篆刻，与丁敬并称丁黄，为“西泠八家”之一。",[24,25,26,113,29,1498,635,7,1499,51],"树","亭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95bac49caddd00e2fb78b656357d0a3a.jpg",[],{"id":1503,"slug":1504,"title":1505,"dynasty":18,"author":1506,"museum":45,"description":1507,"tags":1508,"thumbUrl":1510,"material":34,"size":34,"collection":34,"collections":1511,"showCount":269,"zanCount":11,"manualWeight":11,"mainColor":39},234370,"lin-jiang-ting-xi-hua-hui-ce-jiang-shu-234370","临蒋廷锡花卉册","蒋淑","蒋淑，蒋廷锡之女。蒋淑不仅得其父亲蒋廷锡的指点，而且经常以其父的作品为学习范本。《临蒋廷锡花卉图册》便是她临摹蒋廷锡花卉的代表作，用笔设色均有其父的画风神韵。每开也均有蒋廷锡题诗，赞美之辞溢于言表。 一股“我闺女棒棒哒”的自豪溢出来了～\n蒋淑（生卒年不详），清代杰出女性画家，从其画作上判断她大致生活于清康熙至雍正年间，字又文，江苏常熟人。蒋廷锡女，华亭王敬妻。其父蒋廷锡官至大学士，闲暇之余以逸笔作写生花卉，机趣天然。蒋淑自幼秉承家教，亦以擅绘花鸟著称。",[24,25,26,1509,1168,113,27,95,76,7],"临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfcfcd0efb63eeb8e0c3ab93999fc652.jpg",[],{"id":1513,"slug":1514,"title":1515,"dynasty":18,"author":178,"museum":45,"description":1309,"tags":1516,"thumbUrl":1519,"material":63,"size":64,"collection":34,"collections":1520,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":103},256943,"wu-cai-jia-jin-lu-lian-wen-zun-yi-ming-256943","五彩加金鹭莲纹尊",[18,1517,1518,29,1092,320,279,277,31,7,612,27],"五彩","加金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fb4c617c59d081962e7b5fe824a1e06.jpg",[],{"id":1522,"slug":1523,"title":1524,"dynasty":18,"author":178,"museum":45,"description":1412,"tags":1525,"thumbUrl":1526,"material":63,"size":64,"collection":34,"collections":1527,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":39},250879,"qing-yu-he-ye-shuang-kong-hua-cha-yi-ming-250879","青玉荷叶双孔花插",[1093,1094,95,7,320,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e9ae7fd052d497e0fc36c626b84e9eb.jpg",[],{"id":1529,"slug":1530,"title":1531,"dynasty":107,"author":178,"museum":45,"description":1324,"tags":1532,"thumbUrl":1533,"material":63,"size":64,"collection":34,"collections":1534,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":39},246232,"ti-cai-long-zhou-tu-he-ye-shi-pan-yi-ming-246232","剔彩龙舟图荷叶式盘",[107,1327,1328,1094,29,1330,7,668,669,1331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1512a6620f5c7d1dabf386ba38bf931c.jpg",[],{"id":1536,"slug":1537,"title":17,"dynasty":18,"author":1209,"museum":45,"description":1538,"tags":1539,"thumbUrl":1540,"material":34,"size":34,"collection":34,"collections":1541,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":39},235573,"hua-hui-ce-fan-ting-zhen-235573","以淡墨晕染花瓣，留白衬出菡萏清润柔雅的质感，莲蓬细节勾勒入微，纤毫毕现，将初绽娇态尽显。荷叶以浓淡破墨写出，晕染自然，虚实相生，衬出莲花出尘之姿。左上角蛱蝶以墨色点染灵动，添了鲜活生机，浅掠的水鸟剪影，极简几笔便带出荷塘野趣。题字朱印点缀画面，更添文气雅致。\n\n全作用笔疏淡含蓄，以墨色浓淡变化营造空灵悠远的荷塘清境，不重工丽着色，将夏日荷塘的幽谧雅致藏于笔墨间，尽显写意花鸟的含蓄韵味，把莲的清隽高洁品格融在淡墨疏笔之中。",[24,25,26,113,1168,27,31,542,7,308],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F836885c1022b52ecda6f04c2ee3cbf3d.jpg",[],{"id":1543,"slug":1544,"title":1545,"dynasty":18,"author":178,"museum":45,"description":1546,"tags":1547,"thumbUrl":1552,"material":63,"size":64,"collection":34,"collections":1553,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":39},229078,"hua-fa-lang-zhang-jing-ping-yi-ming-229078","画珐瑯长颈瓶","珐琅又称“佛郎”、“法蓝”，是由中国隋唐时古西域地名拂菻音译而来。珐琅器是以珐琅为材料装饰而制成的器物，其基本成分为石英、长石、硼砂和氟化物，与陶瓷釉、琉璃、玻璃同属硅酸盐类物质。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。\n珐琅就是将经过粉碎研磨的珐琅釉料，涂施于经过金属加工工艺制作后的金属制品的表面，经干燥、烧成等制作步骤后，所得到的复合性工艺品。珐琅工艺的制作分类很多，一般根据制作方法和胎地种类将其分类。 [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 ，錾胎珐琅的制作中心也在广州，透明珐琅器也以广州出产的最为著名。",[1548,1549,29,31,7,1550,1551],"珐琅器","画珐琅","缠枝花卉","长颈瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa109850d5dfdaf30b72c18346c10df3c.jpg",[],{"id":1555,"slug":1556,"title":1557,"dynasty":18,"author":178,"museum":45,"description":1558,"tags":1559,"thumbUrl":1563,"material":63,"size":64,"collection":34,"collections":1564,"showCount":361,"zanCount":11,"manualWeight":11,"mainColor":103},274509,"tong-du-jin-fa-lang-zhuan-ya-he-hua-gang-zhong-yi-ming-274509","铜镀金珐琅转鸭荷花缸钟","最早的钟原本是指古代汉族 传统的打击乐器，形状扁圆而中空，盛于春秋战国直至秦汉，多为青铜制，又叫“编钟”，自佛教传入中国后，逐渐变为一种宗教法器的代称，又叫“梵钟”或“半钟”原本叫“犍稚”又叫“信鼓”是寺院为报时、集众而敲击之用。",[1560,1561,31,7,159,1453,1562],"琺瑯器","铜制","钟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F192504cf0e58008e2ecf403397f4a6ba.jpg",[],{"id":1566,"slug":1567,"title":1568,"dynasty":18,"author":178,"museum":45,"description":1558,"tags":1569,"thumbUrl":1571,"material":63,"size":64,"collection":34,"collections":1572,"showCount":361,"zanCount":11,"manualWeight":11,"mainColor":750},274508,"tong-du-jin-qian-fa-lang-zhuan-ya-he-hua-gang-zhong-yi-ming-274508","铜镀金嵌珐琅转鸭荷花缸钟",[1548,1561,31,7,1570,320],"钟表","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e1a3b0629541b1d8b23dfbd75d1db28.jpg",[],{"id":1574,"slug":1575,"title":1576,"dynasty":18,"author":178,"museum":45,"description":1577,"tags":1578,"thumbUrl":1580,"material":63,"size":64,"collection":34,"collections":1581,"showCount":361,"zanCount":11,"manualWeight":11,"mainColor":103},260015,"ti-he-dian-kuan-fen-cai-he-lian-wen-fang-hua-pen-yi-ming-260015","体和殿款粉彩荷莲纹方花盆","此器造型方正规整，浅矮足承托器身，沉稳雅致。器底以匀净黄釉为地，内壁施以淡青釉，冷暖色调相映，清新柔和。外壁粉彩绘就荷莲景致，粉荷柔婉妍丽，白荷清润素雅，碧叶舒展灵动，间饰细碎浮萍与纤长水草，构图疏密有致，将夏日荷塘的悠然意趣铺陈于器身。\n\n口沿以回纹与小花边作饰，规整之余更添雅致。笔触细腻晕染自然，粉彩发色鲜妍柔和，尽显制瓷工艺的精巧工致，将芙蕖映水的清雅之景融于文房清供，静赏之下，如沐荷塘清风，脱俗悠然。",[1092,1453,1579,1313,31,7],"花盆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49c17d028a58955bec0608d4fce13432.jpg",[],{"id":1583,"slug":1584,"title":1585,"dynasty":18,"author":178,"museum":45,"description":1309,"tags":1586,"thumbUrl":1588,"material":63,"size":64,"collection":34,"collections":1589,"showCount":361,"zanCount":11,"manualWeight":11,"mainColor":103},258739,"jia-qing-kuan-fen-cai-lu-lian-wen-zun-yi-ming-258739","嘉庆款粉彩鹭莲纹尊",[50,1092,1313,29,27,949,31,7,1587,961],"莲纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3f74e2c58babdb7484f213e3abfc29e.jpg",[],{"id":1591,"slug":1592,"title":1593,"dynasty":18,"author":1594,"museum":45,"description":1595,"tags":1596,"thumbUrl":1597,"material":63,"size":64,"collection":34,"collections":1598,"showCount":361,"zanCount":11,"manualWeight":11,"mainColor":39},235965,"cai-jia-hua-hui-tu-ce-cai-jia-235965","蔡嘉花卉图册","蔡嘉","蔡嘉(1686-1779)，字松原，一字岑州，号雪堂，一号旅亭，又号朱方老民，清朝江苏丹阳人，侨居扬州。所居曰高寒旧馆。与高翔、汪士慎、朱冕为诗画友。",[24,25,26,29,220,51,95,7,308,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed769e7b34e44c147d629ef300972991.jpg",[],{"id":1600,"slug":1601,"title":1602,"dynasty":18,"author":178,"museum":45,"description":1603,"tags":1604,"thumbUrl":1606,"material":63,"size":64,"collection":34,"collections":1607,"showCount":361,"zanCount":11,"manualWeight":11,"mainColor":39},229243,"diao-zhu-gen-he-ye-shui-sheng-yi-ming-229243","雕竹根荷叶水盛","依竹根天然肌理随形施艺，将残荷之态凝于方寸。枯卷的荷叶边缘带着自然残损的质感，细密脉络顺着竹材纹理铺展，仿佛将夏末荷塘的寥落雅致定格。俏雕的菡萏花苞点缀一隅，柔婉荷茎萦回盘绕，添了几分灵动生机。\n器型将文房盛水的实用属性，与清隽雅致的审美意趣相融，借竹材温润的棕褐底色，衬出晚荷的清冷之韵。看似疏淡的雕镂，却把残荷的沉静之美刻画入微，既是案头雅器，亦是可赏可玩的清供，尽显竹雕工艺的精妙与文人雅趣。",[50,1094,1605,7,320],"竹根","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc3fd79dad97dbea885073d62449c141.jpg",[],{"id":1609,"slug":1610,"title":1611,"dynasty":18,"author":1612,"museum":73,"description":1613,"tags":1614,"thumbUrl":1617,"material":33,"size":1618,"collection":34,"collections":1619,"showCount":361,"zanCount":11,"manualWeight":11,"mainColor":39},216228,"shi-jun-quan-tu-6-ai-qi-meng-216228","十骏犬图-6","艾启蒙","图为乾隆皇帝在宫中豢养的欧洲纯种猎犬画像。作者以西方的素描技法，运用解剖学，以短细的笔触一丝不苟地刻画出猎犬健美的体态和皮毛的质感，具有极强的写实性。每幅图的对开上均标明犬名，对宫廷御用犬的研究具有极高的史料价值。图中的衬景山水是中国画家创作的。中西画家携手创作是乾隆朝宫廷绘画的一大特色。\u2028　　款署：“臣艾启蒙恭绘。”钤“臣艾启蒙”白文印、“恭画”朱文印。每图对开页有嵇璜书写的乾隆朝大学士汪由敦和梁诗正撰写的题赞。鉴藏印有“乾隆鉴赏”、“宜子孙”等。\u2028　　此图旧藏紫禁城内的乐寿堂。《石渠宝笈》著录。",[23,94,24,25,48,29,1615,1616,635,671,133,7],"犬","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07fffbd22022d4c7c78c3d4a155eeb6a.jpg","纵24.5厘米，横29.3厘米",[],{"id":1621,"slug":1622,"title":1623,"dynasty":18,"author":1624,"museum":367,"description":1625,"tags":1626,"thumbUrl":1629,"material":34,"size":34,"collection":34,"collections":1630,"showCount":361,"zanCount":11,"manualWeight":11,"mainColor":1631},202618,"shang-lian-tu-zhou-ren-xia-202618","赏莲图轴","任霞","淡墨轻晕出朦胧水汽，素衣女子坐于石畔，侧身凝眸荷塘。荷叶泼墨设色，蓝绿交织，叶脉简括；荷花点缀，清雅灵动。背景芦苇以写意笔触挥洒，虚实相映，衬出清幽静远之境。人物神态娴静，衣纹线条流畅自然，尽显温婉气质。画作融写意与工笔，设色清新雅致，意境空灵，蕴藉文人诗意与禅意，引人入胜。",[24,29,114,48,667,31,7,631,1627,1628,23],"淡雅","空灵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F239ad6d73012885d3e442325c650263e.jpg",[],"bfb3a8",{"id":1633,"slug":1634,"title":1635,"dynasty":107,"author":178,"museum":45,"description":1636,"tags":1637,"thumbUrl":1638,"material":63,"size":64,"collection":34,"collections":1639,"showCount":185,"zanCount":11,"manualWeight":11,"mainColor":39},252022,"bai-yu-tou-diao-he-ye-lu-si-wen-lu-ding-yi-ming-252022","白玉透雕荷叶鹭鸶纹炉顶","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。",[1093,1414,7,1142,320],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21b2664e58e20b9a13fd0e3b2dee298b.jpg",[],{"id":1641,"slug":1642,"title":1643,"dynasty":90,"author":178,"museum":45,"description":1636,"tags":1644,"thumbUrl":1645,"material":63,"size":64,"collection":34,"collections":1646,"showCount":185,"zanCount":11,"manualWeight":11,"mainColor":103},252013,"bai-yu-he-ye-lu-si-wen-lu-ding-yi-ming-252013","白玉荷叶鹭鸶纹炉顶",[1093,1094,7,1142,320],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf7a19141cd204a4500d6c8323b4caae.jpg",[],{"id":1648,"slug":1649,"title":1650,"dynasty":107,"author":178,"museum":45,"description":1412,"tags":1651,"thumbUrl":1655,"material":63,"size":64,"collection":34,"collections":1656,"showCount":185,"zanCount":11,"manualWeight":11,"mainColor":103},251238,"qing-yu-fu-diao-hu-die-lian-bing-he-ye-bei-yi-ming-251238","青玉浮雕蝴蝶莲柄荷叶杯",[1093,1652,7,1653,542,1654],"浮雕","莲柄","饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2d08a33f0d1bcfb8a2d6f70cd7d93e3.jpg",[],{"id":1658,"slug":1659,"title":1660,"dynasty":18,"author":178,"museum":45,"description":1661,"tags":1662,"thumbUrl":1664,"material":63,"size":64,"collection":34,"collections":1665,"showCount":185,"zanCount":11,"manualWeight":11,"mainColor":1666},241723,"cui-he-ye-bei-yun-yi-ming-241723","翠荷叶背云","这枚翠饰满色浓绿，莹润鲜亮，似将盛夏荷塘的鲜活翠色凝于方寸之上。以透雕结合浅浮雕工艺琢出荷叶造型，叶身卷折柔婉，脉络舒展自然，暗合水波漾开的灵动感。镂空处疏密有致，让整件器物古雅精巧又不失通透灵气。佩于衣襟时，翠色随光影流动，将莲池清趣藏于随身，把夏日荷塘的生机凝练为可触可感的雅致清赏，尽显东方旧物含蓄温婉的隽永意韵。",[50,1093,1094,7,1377,1663],"翠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a64ddf42f0aa235aa40c1ebf8a962e0.jpg",[],"0D904F",{"id":1668,"slug":1669,"title":1670,"dynasty":107,"author":1671,"museum":45,"description":1672,"tags":1673,"thumbUrl":1676,"material":34,"size":34,"collection":34,"collections":1677,"showCount":185,"zanCount":11,"manualWeight":11,"mainColor":39},233673,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233673","十竹斋五色笺谱册","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。",[24,25,26,1674,29,145,7,1675],"木刻","灵芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1221307ccb659fe60cc76bd9fbac0500.jpg",[],{"id":1679,"slug":1680,"title":1681,"dynasty":18,"author":178,"museum":45,"description":1682,"tags":1683,"thumbUrl":1687,"material":63,"size":64,"collection":34,"collections":1688,"showCount":185,"zanCount":11,"manualWeight":11,"mainColor":39},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。",[50,1684,1094,1685,31,7,1686,320],"松花石","砚","荷塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62f273aa7bd61d7f1ba4450e52b22737.jpg",[],{"id":1690,"slug":1691,"title":1692,"dynasty":18,"author":178,"museum":45,"description":1324,"tags":1693,"thumbUrl":1695,"material":63,"size":64,"collection":34,"collections":1696,"showCount":185,"zanCount":11,"manualWeight":11,"mainColor":39},229245,"diao-xiang-ya-he-ye-pan-yi-ming-229245","雕象牙荷叶盘",[1694,1094,7,629,320,308,50],"象牙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e54ddd296d8e9a53be89a7e3310dcdb.jpg",[],{"id":1698,"slug":1699,"title":1700,"dynasty":107,"author":178,"museum":45,"description":1412,"tags":1701,"thumbUrl":1703,"material":63,"size":64,"collection":34,"collections":1704,"showCount":185,"zanCount":11,"manualWeight":11,"mainColor":103},228516,"jiu-yu-he-ye-xi-yi-ming-228516","旧玉荷叶洗",[1326,1093,1094,1652,583,7,898,320,1702],"文房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17fa83039e53322c6b3b0effc80cf1a9.jpg",[],{"id":1706,"slug":1707,"title":1708,"dynasty":18,"author":1709,"museum":45,"description":1710,"tags":1711,"thumbUrl":1715,"material":1716,"size":1717,"collection":34,"collections":1718,"showCount":185,"zanCount":11,"manualWeight":11,"mainColor":174},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。",[23,24,25,26,220,113,1712,207,95,31,7,1713,145,194,1714,133,1357],"夕阳","船","露","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff84aedfa28e75d33e856affa0fda90d1.jpg","墨色绢本","48x32",[],{"id":1720,"slug":1721,"title":1722,"dynasty":18,"author":178,"museum":45,"description":1324,"tags":1723,"thumbUrl":1726,"material":63,"size":64,"collection":34,"collections":1727,"showCount":211,"zanCount":11,"manualWeight":11,"mainColor":103},270564,"xi-he-ye-shi-pan-yi-ming-270564","锡荷叶式盘",[1724,320,1453,7,1725],"锡器","饪食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97238f080adc95be7b2f8d6dd4c3351e.jpg",[],{"id":1729,"slug":1730,"title":1731,"dynasty":18,"author":178,"museum":45,"description":1732,"tags":1733,"thumbUrl":1735,"material":63,"size":64,"collection":34,"collections":1736,"showCount":211,"zanCount":11,"manualWeight":11,"mainColor":103},270054,"xi-jiao-diao-lian-peng-he-ye-xing-bei-yi-ming-270054","犀角雕莲蓬荷叶形杯","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。",[320,1654,1094,1734,95,76,7],"犀角","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa85c69397678cde9950e18cf6f804ed8.jpg",[],{"id":1738,"slug":1739,"title":1740,"dynasty":18,"author":178,"museum":45,"description":1741,"tags":1742,"thumbUrl":1744,"material":63,"size":64,"collection":34,"collections":1745,"showCount":211,"zanCount":11,"manualWeight":11,"mainColor":103},269142,"zhu-gen-diao-he-ye-pang-xie-yi-ming-269142","竹根雕荷叶螃蟹","此作循竹根天然肌理施刀，以一片卷舒的荷叶为主体，叶脉起伏流转，叶缘翻卷自然，将池水间的慵懒意趣凝于顽竹之上。蟹身半藏叶底，螯足隐现，似正悄然蛰伏，静中藏动，把荷塘盛夏的鲜活清趣定格。\n\n雕刀老辣洗练，于朴拙间见精巧，竹色沉敛温润，莹然包浆带着岁月摩挲的厚重质感，将闲居赏玩的雅趣融于一刀一凿，把日常小景刻绘得灵动鲜活。",[1094,1743,7,898,320],"竹根雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbad935fca515e7fbf294bc171f30783.jpg",[],{"id":1747,"slug":1748,"title":1749,"dynasty":721,"author":178,"museum":45,"description":1750,"tags":1751,"thumbUrl":1754,"material":63,"size":64,"collection":1097,"collections":1755,"showCount":211,"zanCount":11,"manualWeight":11,"mainColor":750},260485,"long-quan-yao-qing-you-he-ye-shi-gai-guan-yi-ming-260485","龙泉窑青釉荷叶式盖罐","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。",[1092,1752,7,1753,320],"青釉","盖罐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82a1549adbd6719f98f28865ed5fa1a6.jpg",[1097],{"id":1757,"slug":1758,"title":1759,"dynasty":18,"author":178,"museum":45,"description":1309,"tags":1760,"thumbUrl":1763,"material":63,"size":64,"collection":34,"collections":1764,"showCount":211,"zanCount":11,"manualWeight":11,"mainColor":103},258690,"fang-fa-hua-chi-he-wen-zun-yi-ming-258690","仿珐花池荷纹尊",[1092,1761,29,31,7,1762],"仿珐花","水纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24f1d236a8eeb01d0296f084fded9cec.jpg",[],{"id":1766,"slug":1767,"title":1768,"dynasty":18,"author":178,"museum":45,"description":1769,"tags":1770,"thumbUrl":1776,"material":63,"size":64,"collection":34,"collections":1777,"showCount":211,"zanCount":11,"manualWeight":11,"mainColor":103},242091,"yin-du-jin-he-ye-wen-zan-yi-ming-242091","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。",[50,1372,1771,1772,1377,7,31,1773,1774,1775],"珐琅","镶嵌","珍珠","宝石","金属工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe38463aed9165172ce90cbaee9089a6.jpg",[],{"id":1779,"slug":1780,"title":1781,"dynasty":18,"author":178,"museum":45,"description":1782,"tags":1783,"thumbUrl":1784,"material":34,"size":34,"collection":34,"collections":1785,"showCount":211,"zanCount":11,"manualWeight":11,"mainColor":39},235046,"yuan-ji-za-hua-tu-ce-yi-ming-235046","原济杂画图册","此作用淡墨晕染残荷残影，枯笔勾勒莲蓬苍劲老辣，虬曲荷梗尽显疏朗野逸。留白空灵简约，以少胜多，将暮秋荷塘萧索清寂之意铺展开来。\n\n题诗与画境相映，将莲出泥不染的君子品格融于残败意态中，褪去妍丽粉饰，尽显水墨写意的禅寂之美。笔墨极简却意趣悠长，把残荷的冷冽疏脱之姿尽致展现，笔墨间浸透着孤傲出尘的文人风骨，以意驭笔，将物象品格与文人心性相融，是写意花鸟中借物抒怀的上乘之作。",[24,25,26,113,95,76,7,634,115,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5eb409817ebe9687e3b039feff397de.jpg",[],{"id":1787,"slug":1788,"title":1789,"dynasty":721,"author":178,"museum":45,"description":1412,"tags":1790,"thumbUrl":1792,"material":63,"size":64,"collection":34,"collections":1793,"showCount":211,"zanCount":11,"manualWeight":11,"mainColor":103},228094,"yuan-yang-he-ye-wen-yu-ding-yi-ming-228094","鸳鸯荷叶纹玉顶",[1093,1094,293,7,31,1791],"元代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde679a3a2908ac3331a4645da6230e20.jpg",[],{"id":1795,"slug":1796,"title":1797,"dynasty":90,"author":178,"museum":45,"description":1412,"tags":1798,"thumbUrl":1801,"material":63,"size":64,"collection":34,"collections":1802,"showCount":211,"zanCount":11,"manualWeight":11,"mainColor":39},227790,"qing-yu-gui-you-he-ye-xi-yi-ming-227790","青玉龟游荷叶洗",[276,1093,1094,7,1799,1800,320],"龟","文玩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a9361c8467ea2ad60abdb1877992998.jpg",[],{"id":1804,"slug":1805,"title":1806,"dynasty":18,"author":178,"museum":45,"description":1682,"tags":1807,"thumbUrl":1810,"material":63,"size":64,"collection":34,"collections":1811,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},272237,"duan-shi-diao-xie-he-ye-shi-yan-yi-ming-272237","端石雕蟹荷叶式砚",[1685,1808,1094,7,1809],"端石","蟹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc53166a4047df50343bf8cda1e2d39c.jpg",[],{"id":1813,"slug":1814,"title":1815,"dynasty":18,"author":178,"museum":45,"description":1682,"tags":1816,"thumbUrl":1819,"material":63,"size":64,"collection":34,"collections":1820,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},272213,"duan-shi-diao-he-ye-sui-xing-yan-yi-ming-272213","端石雕荷叶随形砚",[1685,1808,1094,7,1817,1818],"文房用具","木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcb9c26f9ab413643a87c7d50563c4f6.jpg",[],{"id":1822,"slug":1823,"title":1824,"dynasty":18,"author":178,"museum":45,"description":1682,"tags":1825,"thumbUrl":1827,"material":63,"size":64,"collection":34,"collections":1828,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":103},272174,"she-shi-diao-he-ye-chang-fang-yan-yi-ming-272174","歙石雕荷叶长方砚",[1685,320,1826,1094,7],"歙石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef96b7b17ba4a9794caa3e4837544cbb.jpg",[],{"id":1830,"slug":1831,"title":1832,"dynasty":18,"author":178,"museum":45,"description":1682,"tags":1833,"thumbUrl":1836,"material":63,"size":64,"collection":34,"collections":1837,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":103},271624,"duan-shi-gui-bi-he-ye-shi-yan-yi-ming-271624","端石圭璧荷叶式砚",[1685,1808,1094,7,1834,1835],"圭璧","文房器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1d0cb89309d3e5423c0d5edfd2ae9fc.jpg",[],{"id":1839,"slug":1840,"title":1815,"dynasty":18,"author":178,"museum":45,"description":1682,"tags":1841,"thumbUrl":1842,"material":63,"size":64,"collection":34,"collections":1843,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":103},271621,"duan-shi-diao-he-ye-sui-xing-yan-yi-ming-271621",[1685,1808,1094,7,1817],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81c691841d2822ce9050561e334b3c5a.jpg",[],{"id":1845,"slug":1846,"title":1832,"dynasty":18,"author":178,"museum":45,"description":1682,"tags":1847,"thumbUrl":1848,"material":63,"size":64,"collection":34,"collections":1849,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":103},271606,"duan-shi-gui-bi-he-ye-shi-yan-yi-ming-271606",[1685,1808,1094,7,1835],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22143eaf9bd10a63498f439178129386.jpg",[],{"id":1851,"slug":1852,"title":1853,"dynasty":18,"author":178,"museum":45,"description":1682,"tags":1854,"thumbUrl":1855,"material":63,"size":64,"collection":34,"collections":1856,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":103},271580,"she-shi-he-ye-shi-yan-yi-ming-271580","歙石荷叶式砚",[1685,1817,1826,7,1094],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64b94fecd104e8ecdf2ca08b5f794a00.jpg",[],{"id":1858,"slug":1859,"title":1860,"dynasty":18,"author":178,"museum":45,"description":1682,"tags":1861,"thumbUrl":1862,"material":63,"size":64,"collection":34,"collections":1863,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":103},271371,"duan-shi-xie-he-yan-yi-ming-271371","端石蟹荷砚",[1685,1808,1094,1809,31,7,1817],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23403d06ec51f2e2e9607a8772638679.jpg",[],{"id":1865,"slug":1866,"title":1867,"dynasty":18,"author":178,"museum":45,"description":1868,"tags":1869,"thumbUrl":1872,"material":63,"size":64,"collection":34,"collections":1873,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":750},271015,"cheng-fen-wen-ju-tong-he-ye-xi-yi-ming-271015","成份文具-铜荷叶洗","此器取池中风荷为形，叶缘翻卷起伏，带着天然舒展的野趣，将莲塘夏意凝铸为铜色永恒。以卷叶为足，一侧保留短茎，把荷塘鲜活意趣收于方寸之间。褪去莲荷柔媚，青铜沉褐的包浆温润内敛，带着岁月摩挲的厚重质感。\n\n它虽为文房清供，却将文人雅趣与造物匠心相融，研墨间隙可观叶形宛转，静赏时似有荷风萦怀，成了案头一抹清逸隽永的景致。",[1561,1870,1871,7,1094,320],"文具","青铜器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff56fb218f6d5c19b158b69bb23403408.jpg",[],{"id":1875,"slug":1876,"title":1877,"dynasty":18,"author":178,"museum":45,"description":1878,"tags":1879,"thumbUrl":1880,"material":63,"size":64,"collection":34,"collections":1881,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":750},271008,"cheng-fen-wen-ju-ma-nao-he-ye-xi-yi-ming-271008","成份文具-玛瑙荷叶洗","随形取玛瑙之质，摹拟出水荷叶之姿。石表天然绺脉晕作舒展叶脉，深浅褐调仿若晨露初歇后的荷塘底色，将材质肌理与造物意趣相融无间。器沿卷曲起伏，一角巧作蹲伏蛙趣，鲜活灵动，把水洗的实用属性隐于清逸的自然意涵中。搭配透雕缠枝木座，盘绕枝蔓呼应器身荷韵，整体野趣天成，清隽雅致，尽显旧时文人心寄草木、以物为友的雅逸襟怀。",[1093,1094,7,1870,320,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39a3fb51bb3046b55409173cf4cf8272.jpg",[],{"id":1883,"slug":1884,"title":1885,"dynasty":18,"author":178,"museum":45,"description":1886,"tags":1887,"thumbUrl":1888,"material":63,"size":64,"collection":34,"collections":1889,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":750},269979,"zi-tan-diao-he-ye-shi-xi-yi-ming-269979","紫檀雕荷叶式洗","取荷塘夏荷为形，边缘翻卷灵动，宛若被柔风吹拂的初绽碧荷。表面阴刻叶脉，纹理舒展自然，将荷叶鲜活肌理一一勾勒。柄部随形雕作蜷曲荷梗，带着池水浸润而生的野趣，将仿生意趣与文房实用融于一身。\n\n整器紫檀为材，质地沉穆细腻，包浆温润莹然。刀工隐去锋芒，线条柔婉流畅，不见刻意雕琢之痕，却将莲塘清韵凝于掌心案头，尽显造器者对自然的细腻体察。静置于案，触手生凉，仿佛将一塘夏意敛于文房，雅致至极。",[1818,1094,95,7,320],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84b0bacc4d1552bf8d2c7d91ba6135a6.jpg",[],{"id":1891,"slug":1892,"title":1893,"dynasty":18,"author":178,"museum":45,"description":1894,"tags":1895,"thumbUrl":1896,"material":63,"size":64,"collection":34,"collections":1897,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},269874,"zhu-gen-diao-he-ye-shi-xi-yi-ming-269874","竹根雕荷叶式洗","随形施艺，将竹根天然肌理与残荷之态相融。筋脉舒展的荷叶边缘枯卷，纹理写实入微，更以俏色点染出一抹嫩红，暗合新荷初绽的灵韵。\n\n刀工婉转写意，把塘间夏末残荷的疏淡雅致凝于方寸文房。朴拙的竹色衬出莲韵清寂，卷曲的叶边仿佛还带着塘水的湿润意趣，将江南荷塘的悠悠意境收纳于小器之中，朴素里藏着精巧匠心，尽显文人清雅的审美意趣，虽是案头小具，却如将一段塘间闲景撷取而来。",[1743,1094,95,7,1817,320],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1e64c6a358f7fedc0ce6abdaf21d6fe.jpg",[],{"id":1899,"slug":1900,"title":1901,"dynasty":18,"author":178,"museum":45,"description":1732,"tags":1902,"thumbUrl":1905,"material":63,"size":64,"collection":34,"collections":1906,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":1907},269796,"xi-jiao-diao-lian-chi-wen-he-ye-shi-bei-yi-ming-269796","犀角雕莲螭纹荷叶式杯",[1094,1654,320,95,7,1903,1904],"螭龙","犀角杯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1355af11b99ff14f5c36e9cadbe7046c.jpg",[],"FFFFFF",{"id":1909,"slug":1910,"title":1635,"dynasty":721,"author":178,"museum":45,"description":1636,"tags":1911,"thumbUrl":1913,"material":63,"size":64,"collection":34,"collections":1914,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":750},252029,"bai-yu-tou-diao-he-ye-lu-si-wen-lu-ding-yi-ming-252029",[1093,1414,7,1142,320,1912],"元代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F312b1f0571123ea79507b0481986a7f9.jpg",[],{"id":1916,"slug":1917,"title":1635,"dynasty":721,"author":178,"museum":45,"description":1636,"tags":1918,"thumbUrl":1919,"material":63,"size":64,"collection":34,"collections":1920,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":750},252019,"bai-yu-tou-diao-he-ye-lu-si-wen-lu-ding-yi-ming-252019",[1093,1414,7,1142,320],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F195710ab69787c1f9dd6693800a41ebe.jpg",[],{"id":1922,"slug":1923,"title":1924,"dynasty":107,"author":178,"museum":45,"description":1412,"tags":1925,"thumbUrl":1926,"material":63,"size":64,"collection":34,"collections":1927,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":103},252016,"qing-yu-tou-diao-he-ye-lu-si-wen-lu-ding-yi-ming-252016","青玉透雕荷叶鹭鸶纹炉顶",[1326,1093,1414,7,1142,320],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86f95808a8d53696011e48ba77a714f3.jpg",[],{"id":1929,"slug":1930,"title":1931,"dynasty":18,"author":178,"museum":45,"description":1732,"tags":1932,"thumbUrl":1934,"material":63,"size":64,"collection":34,"collections":1935,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":103},251934,"ma-nao-tou-diao-lian-hua-er-he-ye-shi-bei-yi-ming-251934","玛瑙透雕莲花耳荷叶式杯",[1093,1933,1414,1094,95,206,7,1654,320],"玛瑙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b540baeed65798002df9ac1834c53d9.jpg",[],{"id":1937,"slug":1938,"title":1939,"dynasty":18,"author":178,"museum":45,"description":1412,"tags":1940,"thumbUrl":1941,"material":63,"size":64,"collection":34,"collections":1942,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":103},251758,"bi-yu-ban-zhi-yi-ming-251758","碧玉扳指",[1093,1094,836,29,31,7,1377,320],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1c00bed38ac82ec86332b20e541a6ef.jpg",[],{"id":1944,"slug":1945,"title":1946,"dynasty":18,"author":178,"museum":45,"description":1412,"tags":1947,"thumbUrl":1948,"material":63,"size":64,"collection":34,"collections":1949,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":103},251597,"qing-yu-he-ye-shi-xi-yi-ming-251597","青玉荷叶式洗",[50,1093,1094,7,320],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ec42fbefaea6ba4a42cd9558c566834.jpg",[],{"id":1951,"slug":1952,"title":1953,"dynasty":18,"author":178,"museum":45,"description":1412,"tags":1954,"thumbUrl":1955,"material":63,"size":64,"collection":34,"collections":1956,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":750},251572,"qing-yu-lu-si-wen-he-ye-shi-hua-cha-yi-ming-251572","青玉鹭鸶纹荷叶式花插",[50,1093,1094,7,31,1142,27,320],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f342e668c1e876842d0a62144e317b4.jpg",[],{"id":1958,"slug":1959,"title":1960,"dynasty":18,"author":178,"museum":45,"description":1412,"tags":1961,"thumbUrl":1962,"material":63,"size":64,"collection":34,"collections":1963,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":750},251442,"qing-yu-lian-ou-lu-si-yi-ming-251442","青玉莲藕鹭鸶",[50,1093,1094,1169,1142,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59320cf1847fb1fa7af829dcf71ee800.jpg",[],{"id":1965,"slug":1966,"title":1967,"dynasty":18,"author":178,"museum":45,"description":1412,"tags":1968,"thumbUrl":1969,"material":63,"size":64,"collection":34,"collections":1970,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":750},251215,"huang-yu-he-ye-shi-hua-cha-yi-ming-251215","黄玉荷叶式花插",[50,1093,1094,7,320],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf7122b3611085e8faa94c0801ebb964.jpg",[],{"id":1972,"slug":1973,"title":1974,"dynasty":18,"author":178,"museum":45,"description":1412,"tags":1975,"thumbUrl":1976,"material":63,"size":64,"collection":34,"collections":1977,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":103},251195,"qing-yu-quan-lian-he-ye-xi-yi-ming-251195","青玉全莲荷叶洗",[1093,1094,95,31,7,76,320],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f602fa760fdb1f946435b51bd9e9f89.jpg",[],{"id":1979,"slug":1980,"title":1981,"dynasty":18,"author":178,"museum":45,"description":1636,"tags":1982,"thumbUrl":1984,"material":63,"size":64,"collection":34,"collections":1985,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":103},251119,"dai-pi-bai-yu-he-ye-xing-pei-yi-ming-251119","带皮白玉荷叶形佩",[1093,1094,1377,7,50,1983],"带皮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1d2ed35da440f8ff089b9bbd3201774.jpg",[],{"id":1987,"slug":1988,"title":1989,"dynasty":107,"author":178,"museum":45,"description":1412,"tags":1990,"thumbUrl":1991,"material":63,"size":64,"collection":34,"collections":1992,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":103},250831,"qing-yu-he-hua-he-ye-wo-ying-yi-ming-250831","青玉荷花荷叶卧婴",[1093,1094,667,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5b501a970aedf13d2d0bfdacd566278.jpg",[],{"id":1994,"slug":1995,"title":1996,"dynasty":107,"author":178,"museum":45,"description":1412,"tags":1997,"thumbUrl":1999,"material":63,"size":64,"collection":34,"collections":2000,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":103},250829,"qing-yu-he-ye-wo-fu-yi-ming-250829","青玉荷叶卧凫",[1093,1094,7,1998,306],"凫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0de8eff4096a1526cfc8068bb0286526.jpg",[],{"id":2002,"slug":2003,"title":2004,"dynasty":90,"author":178,"museum":45,"description":1412,"tags":2005,"thumbUrl":2007,"material":63,"size":64,"collection":34,"collections":2008,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":750},250552,"man-ban-mo-yu-xian-lian-hua-he-ye-yu-yi-ming-250552","满斑墨玉衔莲花荷叶鱼",[276,1093,1094,78,31,7,2006],"墨玉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F926bd8836f0ff1c35c6a0017a9b9ed64.jpg",[],{"id":2010,"slug":2011,"title":2012,"dynasty":18,"author":178,"museum":45,"description":2013,"tags":2014,"thumbUrl":2017,"material":63,"size":64,"collection":34,"collections":2018,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":750},248317,"ti-hong-chan-zhi-lian-wen-he-ye-bian-xiang-he-yi-ming-248317","剔红缠枝莲纹荷叶边香盒","清代文物。旧时用于存放食物或饰品之用,根据材质价值不同。清宫旧藏",[18,1327,2015,1094,2016,7,320],"剔红","缠枝莲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3223fb99ab3c68f0cc36e90a0ff2f6b1.jpg",[],{"id":2020,"slug":2021,"title":2012,"dynasty":18,"author":178,"museum":45,"description":2013,"tags":2022,"thumbUrl":2024,"material":63,"size":64,"collection":34,"collections":2025,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":103},248316,"ti-hong-chan-zhi-lian-wen-he-ye-bian-xiang-he-yi-ming-248316",[50,1327,2015,1094,2023,7,320],"缠枝莲纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ed790a614fa637156dfa23661ba2d76.jpg",[],{"id":2027,"slug":2028,"title":2029,"dynasty":18,"author":178,"museum":45,"description":2013,"tags":2030,"thumbUrl":2033,"material":63,"size":64,"collection":34,"collections":2034,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},247877,"dui-cai-he-lian-wen-he-yi-ming-247877","堆彩荷莲纹盒",[50,2031,1094,29,1327,31,76,7,1587,2032],"堆彩","盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feed38fd8a3a4ae9c600e77e219e72a3a.jpg",[],{"id":2036,"slug":2037,"title":2038,"dynasty":18,"author":178,"museum":45,"description":1324,"tags":2039,"thumbUrl":2042,"material":63,"size":64,"collection":34,"collections":2043,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":103},246197,"tian-qi-ye-mai-wen-he-ye-shi-pan-yi-ming-246197","填漆叶脉纹荷叶式盘",[18,1327,2040,7,2041,320],"填漆","叶脉纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76b3100acecb6d5ceaac9e2201e70cb2.jpg",[],{"id":2045,"slug":2046,"title":2047,"dynasty":18,"author":178,"museum":45,"description":1324,"tags":2048,"thumbUrl":2050,"material":63,"size":64,"collection":34,"collections":2051,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":103},245935,"yin-he-ye-shi-gao-zu-pan-yi-ming-245935","银荷叶式高足盘",[50,1375,1094,7,2049],"高足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c3b0f0f354abaf6dfc75080d88cdcbf.jpg",[],{"id":2053,"slug":2054,"title":2055,"dynasty":18,"author":178,"museum":45,"description":1324,"tags":2056,"thumbUrl":2059,"material":63,"size":64,"collection":34,"collections":2060,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":103},245811,"tong-zhi-ba-nian-kuan-yin-he-ye-shi-pan-yi-ming-245811","同治八年款银荷叶式盘",[18,1375,7,1094,2057,2058,320],"锤揲","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe7e301f92ed3c14a0dcef8caadd972b.jpg",[],{"id":2062,"slug":2063,"title":2064,"dynasty":18,"author":178,"museum":45,"description":2065,"tags":2066,"thumbUrl":2067,"material":63,"size":64,"collection":34,"collections":2068,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},241727,"cui-he-ye-yu-bei-yun-yi-ming-241727","翠荷叶鱼背云","这枚翠饰水头丰盈，满色莹润翠绿，通透鲜亮如凝水含光。以透雕结合圆雕技法，将游鱼卧于荷叶间的景致拢作团形。鱼身饱满灵动，鳍须宛然如生，荷叶卷舒自然，脉络隐现，柔婉线条将鱼戏荷塘的悠然意趣凝于方寸之间。\n\n形制精巧兼具佩饰功用，将江南荷塘清趣融于翠色之中，雅致鲜活，尽显旧时匠人施艺的细腻用心与清雅审美。",[50,1093,1094,1652,836,1377,7,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F760eb092d9073e5bcb3e1e0d5a4dab54.jpg",[],{"id":2070,"slug":2071,"title":2072,"dynasty":18,"author":178,"museum":45,"description":1636,"tags":2073,"thumbUrl":2075,"material":63,"size":64,"collection":34,"collections":2076,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":750},230076,"bai-yu-he-ye-yuan-yang-ding-yi-ming-230076","白玉荷叶鸳鸯顶",[50,1093,1094,7,293,2074,1378],"白玉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc42f0fa0f066ce223cc72adc6edad3c7.jpg",[],{"id":2078,"slug":2079,"title":2080,"dynasty":18,"author":178,"museum":45,"description":2081,"tags":2082,"thumbUrl":2084,"material":63,"size":64,"collection":34,"collections":2085,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},229809,"ma-nao-zhui-yi-ming-229809","玛瑙坠","整器依料施艺，俏色运用精妙天成。将玛瑙的深糖色凝为伏蛙，澄澈冰透处化作卷舒莲叶。蛙身饱满写实，四肢收拢贴于叶面，圆目轻睁，憨态灵动仿佛正待纵身一跃；莲叶翻卷舒展，浅隐的纹路摹写出自然意趣，将夏日池畔生机收于方寸间。\n挂绳古雅质朴，与玉色相得益彰，可佩可赏，静藏池边野趣，尽展这份玉雕的审美意趣，把天然石韵与匠人巧思相融，清雅生动，韵致悠长。",[1093,1094,1377,2083,7],"蛙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35cd9f41c323fb0f58c355919ba5b404.jpg",[],{"id":2087,"slug":2088,"title":2089,"dynasty":18,"author":178,"museum":45,"description":2090,"tags":2091,"thumbUrl":2092,"material":63,"size":64,"collection":34,"collections":2093,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},229648,"mu-he-ye-zuo-yi-ming-229648","木荷叶座","木底座是属于园艺工艺品一种，就是红木、檀木、花梨木制成的底座，通称为木底座。随着现在人们生活水平的提高和艺术审美的加强，各种工艺品收藏的火爆也让木底座这种搜藏渐渐走入我们的生活中，让我们的生活中每个角落里都有了美丽和艺术的氛围。木底座主要用来摆放工艺品和奇石等。",[50,1818,1094,95,7,320],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc40076f4fed2695815b7ad04f119694.jpg",[],{"id":2095,"slug":2096,"title":2097,"dynasty":721,"author":178,"museum":45,"description":2098,"tags":2099,"thumbUrl":2101,"material":63,"size":64,"collection":34,"collections":2102,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":103},228136,"lian-tang-shuang-fu-tu-yu-shi-yi-ming-228136","莲塘双凫图玉饰","中国宋代(960～1279) 玉器承前启后。玉器画面构图复杂，多层次，形神兼备，有浓厚绘画趣味，完成了唐玉由工艺性、雕塑性向宋玉的绘画性、法书性的转变。",[1093,1094,1414,1377,95,2100,612,7],"双凫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa95c0c6e3c9fb3e467163a3ef26c70c0.jpg",[],{"id":2104,"slug":2105,"title":2106,"dynasty":721,"author":178,"museum":45,"description":1636,"tags":2107,"thumbUrl":2108,"material":63,"size":64,"collection":34,"collections":2109,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":103},228133,"bai-yu-he-tang-lu-si-mao-ding-yi-ming-228133","白玉荷塘鹭鸶帽顶",[1912,1093,1094,1414,31,7,1142,1377],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b27c5927a999f03d8a26301e8896681.jpg",[],1777535701282]