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Museum","此作以工写交融之法绘就，大写意晕染蔬果花卉：明黄葫芦腴润饱满，墨色瓜实朴拙厚重，丝瓜清透雅致，凌霄、月季柔媚鲜活，藤蔓以狂草般的笔墨肆意舒展，苍劲写意中尽得野趣生机。\n\n笔下草虫则以极精工的细笔刻画：蜻蜓翼脉纤毫毕现，螳螂举臂灵动逼真，蝴蝶振翅欲飞，将小虫的鲜活灵态尽致描摹。简逸朴拙的写意花草，搭配毫厘必现的工笔虫豸，将文人画的雅趣与乡野小景的生机融为一体，把寻常田间意趣化作耐品的丹青佳构。",[23,25,29,30,27,157,158,58,7,159,160,51,55,161,162],"葫芦","丝瓜","螳螂","蟋蟀","藤蔓","叶子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa55484ca9db9175f8ad8bbbb64dec7ae.jpg","color on 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1998 年在国家艺术收藏品基金会和布鲁克史威尔永久基金的赞助下花巨资收购的，在丝质封套内有一枚英国人威廉巴特勒 ( Williambutler) 的入藏章，章上的日期标明为 1797 年，是目前所知英国人最早收藏的中国画，曾被大英博物馆列为 “最珍贵的十种馆藏中国文物之一，在英国的中国文物收藏史上占有特殊的地位。",[23,25,26,27,29,28,30,179,7,58,31,32,259,176,208,260],"植物","篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e1c56124fe25c7b1d901efbb1fb8345.jpg","27.8x352.9cm",[37,66],368,5,{"id":267,"slug":268,"title":269,"dynasty":74,"author":270,"museum":47,"description":271,"tags":272,"thumbUrl":274,"material":196,"size":275,"collection":66,"collections":276,"showCount":277,"zanCount":278,"manualWeight":11,"mainColor":88},219330,"hua-ji-zhen-ji-zhou-tang-yin-219330","画鸡真迹轴","唐寅","石上雄鸡昂首而立，羽色斑斓间透着昂然气度，恰应题中“血染红冠锦满身”之态。旁侧菊丛竞艳，红英灼灼如霞，黄蕊灿灿似金，白瓣皎皎若雪，枝叶扶疏间衬以修竹数竿，清逸之韵自生。双蝶翩跹于花间，翅影轻摇，为静景添灵动生机。整幅画作工写相济，设色淡雅却层次分明，禽鸟花卉皆形神兼备。题诗笔墨洒脱，与画面意境交融，尽显文人画“诗画同源”之妙，于方寸间藏生机与风骨，读来令人心折。",[25,26,141,29,28,273,100,179,7,193,181,60],"鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ca49404492f1b40b2f4829b76583fed.jpg","119.9x30.3",[66],272,4,{"id":280,"slug":281,"title":282,"dynasty":18,"author":283,"museum":242,"description":284,"tags":285,"thumbUrl":288,"material":289,"size":290,"collection":64,"collections":291,"showCount":292,"zanCount":168,"manualWeight":11,"mainColor":88},221297,"xie-sheng-jia-die-tu-juan-zhao-chang-221297","写生蛱蝶图卷","赵昌","该画作描绘了群蝶恋花的田园小景。轻灵振翅的蛱蝶起舞于画幅的上半部；秋花枯芦摇曳于画卷的底边。笔法上，蝶、蚱以工笔细描，花草则以双勾填色法。设色清淡、浓艳各得其所，彩不压墨。在物象表现上，作者用双勾填色法画土坡、草丛、蛱蝶。其勾线富于顿挫和粗细变化，墨色亦有浓淡轻重之分，敷色积染多层，特别是蛱蝶的翅翼更因积染而色彩浓艳厚重，从而与主要以植物色染就的草叶形成“轻”与“重”的对比。",[23,25,26,27,28,29,286,287,259,7,31,176,60],"蛱蝶","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d1b406765c81dbad32d814e51b46fac.jpg","纸本设色画","纵27.7厘米，横91厘米",[64,37,66],238,{"id":294,"slug":295,"title":296,"dynasty":18,"author":297,"museum":47,"description":298,"tags":299,"thumbUrl":302,"material":35,"size":303,"collection":37,"collections":304,"showCount":305,"zanCount":306,"manualWeight":11,"mainColor":88},218939,"xie-sheng-yu-zan-tu-lin-chun-218939","写生玉簪图","林椿","这幅画描绘了玉针花站在一个妃子身上，其香味吸引了蝴蝶飞来飞去。花和蝴蝶都是先用细墨线勾勒，然后上色的。白色的花瓣和绿色的叶子使芬芳的花朵更加美丽。在左下角的叶子下面可以看到林椿的签名。",[23,25,24,220,28,29,300,30,301,7],"写生","玉簪花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0abbcbd3282deb21b8a8f4f226720bde.jpg","23.6x24.6",[37],235,1,{"id":308,"slug":309,"title":310,"dynasty":93,"author":94,"museum":231,"description":311,"tags":312,"thumbUrl":313,"material":165,"size":165,"collection":165,"collections":314,"showCount":315,"zanCount":225,"manualWeight":11,"mainColor":41},230251,"mu-dan-tu-yun-shou-ping-230251","牡丹图","此作用没骨法写就，以色代线，晕染出牡丹娇柔丰腴之态。白粉牡丹瓣层轻叠，莹润如凝脂；朱砂秾艳不俗，紫花幽柔淡雅，色彩过渡自然清妍，不见勾勒却形神兼备。枝叶以深浅草绿斡染，俯仰顾盼间尽显舒展生机，古拙顽石衬于花下，旁缀幽兰数茎，添清寂古雅之趣。\n\n右上题诗与花木相映，将富贵之态融入澹逸文气，以秀雅之笔消解艳俗，淡而不薄，丽而不妖，把写生之功与文人意趣相融，尽显春日花盛的清和雅致。",[23,25,26,141,29,30,51,7,181,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85bcececee698ff8393e54eef5a76e67.jpg",[],234,{"id":317,"slug":318,"title":319,"dynasty":18,"author":320,"museum":231,"description":321,"tags":322,"thumbUrl":324,"material":325,"size":326,"collection":64,"collections":327,"showCount":328,"zanCount":225,"manualWeight":11,"mainColor":41},221504,"he-cao-chong-tu-wu-bing-jia-221504","禾草虫图","吴炳嘉","宋代花鸟在中国花鸟绘画史中达到了一个高峰，院体花鸟画下了很多传世精品，还有大量的典藏记载。其中，花鸟小品占据了主要地位，花鸟画以小品形式迅速发展，成为美术史上的一个代表艺术之一。宋人小品花鸟画形制多为圆中见方的尺牍小幅，以内敛的结构和开合呼应的构图方式，描绘特定的场境和瞬间情态，于状物精微的同时力求构思新奇，营造格调优雅而隽永的意境，表现出独特的趣味。",[23,24,25,26,29,28,30,207,59,7,58,323,60],"蜜蜂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff6d56f3d921df6f611ba36478d1d50.jpg","绢本；设色","纵：49cm，横：30cm",[64,37,66],221,{"id":330,"slug":331,"title":332,"dynasty":74,"author":333,"museum":242,"description":334,"tags":335,"thumbUrl":337,"material":247,"size":338,"collection":37,"collections":339,"showCount":340,"zanCount":306,"manualWeight":11,"mainColor":41},222048,"mei-gu-hua-hui-tiao-fu-wang-zhong-222048","没骨花卉条幅","汪中","绘花鸟虫石一幅，湖石立于地面，棱角尖锐，内部多孔，其四周有月季、金银花穿插之中，花儿娇艳，虫蝶生动活泼。汪中，字容甫，清朝时期著名的哲学家、文学家、史学家，与阮元、焦循同为“扬州学派” 的杰出代表。",[23,25,26,141,98,29,30,181,31,7,58,161,194,336],"花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a80d2f3763b05356d5be7d88d57866d.jpg","54.4x113.9",[37,66],204,{"id":342,"slug":343,"title":344,"dynasty":152,"author":153,"museum":345,"description":346,"tags":347,"thumbUrl":349,"material":350,"size":165,"collection":165,"collections":351,"showCount":352,"zanCount":11,"manualWeight":11,"mainColor":88},220585,"hu-lu-he-san-zhi-kun-chong-qi-bai-shi-220585","葫芦和三只昆虫","Oscar Niemeyer Museum","明黄葫芦以没骨法晕染，色块鲜亮通透，留白巧显葫身莹润质感。焦墨藤蔓如虬龙游走，狂放苍劲，墨叶大笔泼写，浑朴厚重，大写意的疏朗随性扑面而来。\n\n三只草虫用工笔细绘，蝶翅纹路纤毫毕现，蝈蝈、蚱蜢肢体灵动鲜活，工细与写意形成强烈对冲，将乡野秋意揉入画面。枯湿浓淡的墨色层次分明，老辣笔触带着稚拙生机，把篱边闲趣晕染得鲜活动人，俗世清欢藏在笔墨之间，尽显东方水墨的悠然意韵。",[25,26,141,348,29,30,157,161,7,160,60],"水墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61c47104068ce7e480840a2e1fddebeb.jpg","Watercolor on paper",[],199,{"id":354,"slug":355,"title":356,"dynasty":93,"author":230,"museum":231,"description":357,"tags":358,"thumbUrl":360,"material":361,"size":362,"collection":37,"collections":363,"showCount":364,"zanCount":125,"manualWeight":11,"mainColor":41},222662,"hua-niao-tu-ma-quan-222662","花鸟图","马荃（生卒年不详），字江香，江苏常熟人。清代女画家。马元驭之（1669—1722）女（一作马元驭孙女），逸妹。生活于康熙、乾隆年间，\n时与女画家恽冰齐名。\n龚克和妻。工花卉，妙得家法。其夫亦工书、画，偕游京师，以绘事给衣食，颇怡。夫亡归里，绸缠染翰，饮冰茹茶，而名益高，四方以缣素兼金求画者益聚。常蓄婢数人，悉令调铅杀粉。而琴川多贵游士女，皆来求授指法。时常州恽冰画以没骨名，而江香以勾染名，江南人谓之双绝。康熙三十五年（1696）作花卉草虫册十二页，乾隆四年（1739）作琳池草虫扇。马荃代表作品价位2008年行情在3—5万\u002F平尺，市场升值潜力较大，为很多书画收藏家所追捧。",[23,25,24,26,141,28,29,30,7,99,359,181,207],"罂粟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F061ce5762f0e4335685920a74b317b42.jpg","设色绢本","82cm 43cm",[37,66],184,{"id":366,"slug":367,"title":368,"dynasty":152,"author":153,"museum":154,"description":369,"tags":370,"thumbUrl":373,"material":164,"size":165,"collection":165,"collections":374,"showCount":375,"zanCount":306,"manualWeight":11,"mainColor":88},220587,"hua-he-kun-chong-qi-bai-shi-220587","花和昆虫","这幅长卷以兼工带写之法绘就，泼墨挥写折枝花草，葫芦藤蔓蜿蜒豪放，墨叶酣畅淋漓，牵牛、萱花、海棠设色明妍鲜活，笔意朴拙老辣，尽显秋花野逸生机。\n工笔草虫穿插其间，蟋蟀、天牛、蜻蜓、蛱蝶皆纤毫毕现，翅脉通透轻薄，肢体灵动鲜活，将小虫的灵动神态刻画入微。大写意的烂漫朴拙与工笔的精细雅致相映成趣，把乡郊秋日的鲜活野景凝于卷上。搭配古雅题款与篆刻，整体意趣天然浑融，将乡野小景化作文人雅韵，尽显独有的花鸟意致。",[23,24,25,26,27,29,348,28,371,30,193,82,157,158,161,162,7,58,160,372],"写意","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39df443cbe832b9d4633286bff1506d1.jpg",[],180,{"id":377,"slug":378,"title":379,"dynasty":18,"author":46,"museum":47,"description":380,"tags":381,"thumbUrl":382,"material":35,"size":383,"collection":66,"collections":384,"showCount":385,"zanCount":278,"manualWeight":11,"mainColor":41},219187,"hua-wang-tu-yi-ming-219187","花王图","深红牡丹层叠如绮，凝脂染霞般盛放，花叶脉络分明，翠色欲滴。彩蝶翩跹其间，或停驻瓣尖，或振翅穿叶，灵动如生。下方拳石皴法古拙，纹理苍劲，与柔艳花簇相映成趣。笔墨工致却不刻板，设色浓妍而不失清雅，于绚烂中藏静穆，富贵气里透逸韵。一花一叶皆含生机，蝶影石姿俱见匠心，尽显宋代花鸟画状物传神之妙，仿佛能闻暗香浮动，触花叶温润，堪称工笔花鸟的典范之作。",[23,25,24,26,141,28,29,30,51,7,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e51ff66eaeeb48311a78d2dc98d048e.jpg","117.2x72.3公分",[66],178,{"id":387,"slug":388,"title":389,"dynasty":18,"author":46,"museum":231,"description":390,"tags":391,"thumbUrl":392,"material":393,"size":394,"collection":165,"collections":395,"showCount":396,"zanCount":11,"manualWeight":11,"mainColor":88},269050,"ke-si-zhao-ji-hua-niao-fang-zhou-yi-ming-269050","缂丝赵佶花鸟方轴","此作将缂丝工艺与文人意趣相融，下方织就清逸花鸟景致：靛蓝雀鸟栖于茶花枝上，翎毛纤毫毕现，灵动如生。浅粉茶花或盛放或含苞，嫩梢抽芽点缀枝间，粉蝶翩跹萦绕，晕开春日柔婉生机，写实细腻里暗藏温婉诗意。上方瘦金题笔秀挺劲健，诗画呼应，尽显宋代内敛雅致的审美意韵，静赏之间，可窥见宋时风物里的隽永雅致。",[25,221,30,141,29,137,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d5ebf148360aefe44bdffc6be5ec38f.jpg","未知","Xcm*Xcm",[],176,{"id":398,"slug":399,"title":400,"dynasty":18,"author":46,"museum":401,"description":402,"tags":403,"thumbUrl":406,"material":35,"size":407,"collection":37,"collections":408,"showCount":409,"zanCount":278,"manualWeight":11,"mainColor":88},216748,"jia-die-tu-ye-yi-ming-216748","蛱蝶图页","辛辛那提艺术博物馆","蛱蝶图页是一幅著名的宋朝绘画，被认为是宋朝早期艺术发展的重要代表作之一。这幅画是由佚名艺术家创作的，其名字尚不为人所知。\n\n蛱蝶图页描绘了一只蛱蝶飞舞的场景，画面上的蛱蝶美丽、优美，表现出轻盈、自然的感觉。画中的蛱蝶身体清晰可见，细腻地描绘了蛱蝶的身体结构和色彩。蛱蝶的翅膀上有精细的花纹，使得整幅画充满了生动的艺术气息。\n\n蛱蝶图页是宋朝绘画发展的一个里程碑，它体现了宋朝早期艺术家对自然界的观察和描绘能力的高超。这幅画也是宋朝艺术史上非常重要的一件作品，被认为是宋朝绘画艺术的重要代表作之一。",[23,24,25,26,220,404,28,29,30,7,286,405,259],"册页","草叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50bde642897008fa269f1fcefa22eeff.jpg","25.4x24.8cm",[37],164,{"id":411,"slug":412,"title":413,"dynasty":18,"author":414,"museum":47,"description":415,"tags":416,"thumbUrl":417,"material":35,"size":165,"collection":37,"collections":418,"showCount":419,"zanCount":265,"manualWeight":11,"mainColor":41},219722,"hua-die-tu-li-zhong-xuan-219722","花蝶图","李仲宣","此作取景雅致，草木错落排布，野趣盎然。挺秀的秋菊缀着金黄花盘，柔润白花轻绽，带露红浆果垂于青绿叶间，茎叶舒展的姿态写实入微，设色古雅沉稳，晕染细腻尽显草木鲜活生机。\n\n翩跹蝶虫刻画精细，翅脉纹理纤毫毕现，振翅姿态灵动逼真，仿佛携着花间微风扑面而来。整体构图疏密相宜，留白得当，以工笔技法写形传神，既有精致不苟的写实功力，又暗藏平淡天真的诗意，将秋日郊野一隅的闲适意趣定格，尽显创作者观照自然的细腻心境。",[25,24,28,29,30,7,193,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65cb4af11c29f63da0e9192564f9ae77.jpg",[37],161,{"id":421,"slug":422,"title":356,"dynasty":93,"author":423,"museum":256,"description":424,"tags":425,"thumbUrl":427,"material":35,"size":428,"collection":37,"collections":429,"showCount":430,"zanCount":168,"manualWeight":11,"mainColor":41},219037,"hua-niao-tu-yu-yuan-219037","虞沅","墨羽公鸡静立花侧，红冠似火，黑翎如缎，姿态沉稳中藏着几分灵动。粉白花卉枝叶舒展，花瓣层叠若绡，工笔细描下，每一处脉络都清晰可见，温婉雅致。几只彩蝶翩跹其间，或停于花尖，或掠过长空，为静谧画面注入鲜活生气。绢本底色温润如琥珀，设色淡雅清逸，笔墨间流淌着自然之韵，将花鸟之态与文人意趣融于一纸。细品之，仿佛能闻见花香浮动，听见蝶翅轻振，尽显传统工笔花鸟的细腻与生机，雅韵天成。",[24,25,26,141,28,29,30,51,52,426,7,287,162],"公鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a6f640052cff4b884ea0dd8c1a091f6.jpg","纵65.4横79.5厘米",[37],155,{"id":432,"slug":433,"title":92,"dynasty":18,"author":46,"museum":242,"description":434,"tags":435,"thumbUrl":437,"material":62,"size":438,"collection":165,"collections":439,"showCount":440,"zanCount":225,"manualWeight":11,"mainColor":88},231540,"bai-hua-tu-juan-yi-ming-231540","此幅画四季花卉约60种，长近17米，堪称辉煌巨制。尾纸钤鉴藏印“棠村”、“蕉林梁氏书画之印”等，有乾隆、嘉庆、宣统鉴赏印及清内府鉴藏印多方。\n此图绘四季花卉五十余种，其中主要有梅花、山茶、牡丹、百合、芍药、海棠、萱花、含笑、碧桃、桃花、梨花、石竹花、罂粟、打破碗花、栀子、蕙兰、荷花、并蒂莲、鸡冠花、蓼花、芙蓉、扁豆花、石蒜花、桂花、菊花、山丹、牵牛花、凤仙花、蜀葵、秋葵等。\n花间分别点缀禽鸟、蜻蜓、蝴蝶、蜜蜂、蚱蜢、小鱼等，颇具自然生机和情趣。图中花卉和动物，都用细线勾描，浓淡墨多层晕染，花之娇态、层次，页之筋脉、转折、凹凸刻画得很细致。全图用笔工细，用墨于单纯中求丰富，统一中求变化，使画面富有秀雅之美。图卷首段的梅花的画法接近南宋扬无咎的风格而又有变化。这种工而不板，艳二不火的画风，开文人花鸟画的先河。画中钤有「乾隆御览之宝」、「三希堂精鉴玺」、「嘉庆御览之宝」、「宣统御览之宝」等印玺多方。无作者款印，曾经清内府收藏，《石渠宝笈三编》著録。\n画面上花鸟之间穿插自然，毫无牵强拼凑之意。其间又点缀蜂、蚊、蜻蜓、蝴蝶、游鱼、青蛙之类，显得生意盎然。全卷纯使水墨，亦加白描花卉，除卷首的梅花近似扬无咎的画法略带写意笔外，其他全用墨笔工写，以墨代色，兼勾勒墨染与白描，且融入了没骨画法，体现了宋工笔花鸟精密不苟的画风。又以单纯的水墨代替艳丽的设色，呈现出清淡典雅的情趣。一脱繁复刻板的院体末路，突破了传统花鸟画的时空限制，呈现出崭新的面貌。这种技法对元代钱选、王渊、赵衷的墨笔花卉以及后来文人水墨花卉都有一定的影响。",[23,24,25,26,27,28,29,30,436,7,58,180,51,57,81,52],"百花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd98aa4ddc30bf83c5a67d1f1c11a05a.jpg","纵31.5厘米、横1679.5厘米",[],153,{"id":442,"slug":443,"title":229,"dynasty":93,"author":230,"museum":231,"description":444,"tags":445,"thumbUrl":446,"material":165,"size":165,"collection":37,"collections":447,"showCount":448,"zanCount":168,"manualWeight":11,"mainColor":88},228929,"hua-hui-hu-die-tu-juan-ma-quan-228929","此卷以没骨法绘就，蝶群翩跹百态各异，翅脉纤毫毕现：或墨色沉凝如漆，或晕染粉白通透，振翅翻飞间灵动宛然。间缀佛手、牡丹与素花，设色清润柔雅，花叶舒展柔媚，衬得蝶群更显鲜活生机。\n\n卷后题笔文辞清丽，笔墨秀雅与画境相融，尽显创作者细腻入微的观察力，将草间花蝶相依的悠然灵趣定格长卷，温婉雅致，意韵盎然，是闺阁花鸟画里的精巧之作。",[23,24,25,26,27,29,28,30,7,31,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3906603e4a8bf2dc062465a3550f3584.jpg",[37],149,{"id":450,"slug":451,"title":452,"dynasty":74,"author":453,"museum":47,"description":454,"tags":455,"thumbUrl":458,"material":35,"size":459,"collection":37,"collections":460,"showCount":461,"zanCount":168,"manualWeight":11,"mainColor":41},218792,"hua-zhu-an-chun-tu-zhou-zhi-mian-218792","花竹鹌鹑图","周之冕","瘦长的画幅，主景放置在幅右，秋日,石上几株绿竹，间杂著娇媚的蜀葵、牵牛花。石下一对鹌鹑，临风处有一只大凤蝶飞来。整幅画充满著婀娜明艳的光辉。题句多，亦足以让人诗画共赏。",[25,29,28,179,57,456,7,457,30,161],"鹌鹑","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15a00ce3772da92e745cee036acd9c15.jpg","111.7x29.7cm",[37],144,{"id":463,"slug":464,"title":465,"dynasty":18,"author":283,"museum":242,"description":466,"tags":467,"thumbUrl":469,"material":247,"size":470,"collection":64,"collections":471,"showCount":472,"zanCount":306,"manualWeight":11,"mainColor":41},221373,"jin-hui-dui-tu-juan-zhao-chang-221373","锦灰堆图卷","图绘群蝶恋花的田园小景。轻灵振翅的蛱蝶起舞于画幅的上半部；秋花枯芦摇曳于画卷的底边。在物象表现上，作者用双勾填色法画土坡、草丛、蛱蝶。其勾线富于顿挫和粗细变化，墨色亦有浓淡轻重之分，敷色积染多层，特别是蛱蝶的翅翼更因积染而色彩浓艳厚重，从而与主要以植物色染就的草叶形成“轻”与“重”的对比。图中蛱蝶的形象最为传神，作者逼真地刻画了蛱蝶之翼薄如绢纱的质感、绚丽斑斓的花纹和蛱蝶细如发丝的根根须脚。传神的笔墨展示了作者深厚的写生功底，使本图成为研究古代蝶种的形象资料。作者不愧有“写生赵昌”的美誉。\n此图流传有绪。通过图上所钤印文可知，它最早为南宋权相贾似道收藏，德祐年时，贾似道以卖国获罪，此卷遂被官府没收。入元后，它为元仁宗爱育黎拔力八达之姊鲁国大长公主所收藏。明初，被内府典礼纪察司收存。清代，它转入大收藏家梁清标之手，旋即又归入清内府，备受乾隆皇帝赏识。晚清宣统时又流入民间，为伪满“国兵”朱国恩抢得，存放于吉林长春的家中。1952年东北文化部组织的工作小组于长春获得此卷，交由原东北博物馆收藏，后博物馆将它与北宋崔白《寒雀图》卷、吴元瑜《荔枝图》卷一同送交国家文物局，文物局将它们转入故宫博物院庋藏。",[23,25,24,27,28,29,30,7,58,82,287,468,162,33],"果实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a9b890e9249dec5b777dd3cfaf3145a.jpg","29.4x174.6cm",[64,37,66],142,{"id":474,"slug":475,"title":476,"dynasty":74,"author":75,"museum":231,"description":477,"tags":478,"thumbUrl":482,"material":393,"size":394,"collection":165,"collections":483,"showCount":484,"zanCount":306,"manualWeight":11,"mainColor":41},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》。",[23,24,25,26,141,479,28,29,101,480,7,181,481],"花鸟画","鸳鸯","荷叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35f6c74082eff5c95dc37ca5423373bf.jpg",[],139,{"id":486,"slug":487,"title":488,"dynasty":115,"author":489,"museum":490,"description":491,"tags":492,"thumbUrl":494,"material":495,"size":496,"collection":37,"collections":497,"showCount":498,"zanCount":225,"manualWeight":11,"mainColor":88},219062,"zhu-que-tu-wang-yuan-219062","竹雀图","王渊","日本大阪市立美术馆","画家在这幅画中使用了水墨，做了黑白的勾勒，描绘了竹叶的起伏、花朵和湖中不平整的石头。\n这幅画在构图和技法上与印第安纳波利斯艺术博物馆收藏的王原的《花竹山禽图》相似，但《花竹山禽图》的笔触更显年轻，可能是后来的摹本。这幅画上还刻有 摹黄筌竹雀图 的字样，构图与台北故宫的黄居寀画的鹧鸪和麻雀相似，仍保留了唐代画树下花鸟的传统，所以这幅画也许确实是仿黄筌的原作。",[24,25,493,28,175,30,179,180,7,457,287,137],"水墨画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eec035eb38ac09eb11650ff2dee6cbc.jpg","纸本,水墨","139.3x49.9cm",[37],134,{"id":500,"slug":501,"title":502,"dynasty":18,"author":46,"museum":231,"description":503,"tags":504,"thumbUrl":506,"material":165,"size":165,"collection":165,"collections":507,"showCount":508,"zanCount":11,"manualWeight":11,"mainColor":88},227856,"shan-cha-hu-die-tu-ye-yi-ming-227856","山茶蝴蝶图页","以没骨晕染绘就白茶，瓣色柔润留白如凝脂莹洁，盛放与初绽花苞错落排布。浓墨绘叶，晕染出深浅枯润，将叶片舒展的柔劲姿态尽显。墨笔勾绘蝴蝶，翼上纹理纤毫毕现，振翅欲落的灵动，为静雅花枝添了鲜活意趣。\n\n赭色古雅底色衬得花木蝶影愈发清隽，构图疏朗秀逸。画面工致间带着写意韵致，将晴日山茶间的悠然小景定格，带着宋人的清雅审美，把一花一蝶的幽微之美晕染出隽永诗意，观之便好似踏入春日晴光，细品蝶绕山茶的闲静意趣。",[24,25,26,220,28,29,30,505,7],"山茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f81ba4e7647a8fb90303638a82667e5.jpg",[],131,{"id":510,"slug":511,"title":512,"dynasty":93,"author":94,"museum":231,"description":513,"tags":514,"thumbUrl":515,"material":393,"size":394,"collection":165,"collections":516,"showCount":517,"zanCount":11,"manualWeight":11,"mainColor":41},288301,"hua-niao-cao-chong-tu-ce-yun-shou-ping-288301","花鸟草虫图册","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。",[23,25,80,29,30,32,31,7,28,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F258fd1430fd11d1d5348dc536b1403e0.jpg",[],130,{"id":519,"slug":520,"title":521,"dynasty":130,"author":522,"museum":231,"description":523,"tags":524,"thumbUrl":525,"material":165,"size":165,"collection":165,"collections":526,"showCount":527,"zanCount":225,"manualWeight":11,"mainColor":41},228764,"jin-hui-dui-tu-xu-xi-228764","锦灰堆图","徐熙","此作以散落折枝、蔬果翎羽、虫草顽石攒合成卷，不假刻意经营却浑然谐和。笔底写生工致入微，设色清润古雅，将四时风物杂糅一堂，野卉柔叶、鲜菌佳果皆含生趣，蛱蝶蜻蜓穿梭其间，野逸灵动，尽显江南画派的淡冶生机。\n\n画间题跋盛赞其写生神妙，兼具宋人的写实工致与元人的简逸意趣，寻常野趣被点染成清雅可观的长卷，淡墨轻色间铺陈出闲散雅致的文人意韵，是草虫蔬果写生的绝佳范本。",[23,25,26,27,29,28,30,7,58,82,287,194,468,259],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde61754fc4a7f484e9027edfa11300a3.jpg",[],128,{"id":529,"slug":530,"title":531,"dynasty":93,"author":532,"museum":47,"description":533,"tags":534,"thumbUrl":536,"material":196,"size":165,"collection":165,"collections":537,"showCount":538,"zanCount":306,"manualWeight":11,"mainColor":88},214850,"xie-sheng-ce-13-hua-yan-214850","写生册-13","华嵒","华嵒是一位清代著名画家和艺术家。他的写生册是一本记录他写生草稿的册子，通常包含他对自然和人物的写生绘画。写生册是画家们练习和提高技巧的重要工具，因为它们能够帮助画家观察、捕捉和描绘细节。华嵒的写生册中可能包含了他对山水、花鸟、人物等的写生画作。",[25,26,80,348,29,30,58,7,468,259,181,535,162,300],"枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5365c66340a204067495a18471d8430a.jpg",[],125,{"id":540,"slug":541,"title":542,"dynasty":93,"author":543,"museum":242,"description":544,"tags":545,"thumbUrl":546,"material":547,"size":548,"collection":165,"collections":549,"showCount":550,"zanCount":306,"manualWeight":11,"mainColor":88},232976,"hua-niao-ce-lang-shi-ning-232976","花鸟册","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。",[25,26,80,28,29,101,481,7,30,31,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58118af921331845033ac41b6553a729.jpg","绢本，设色","纵32.6厘米，横28.6厘米",[],122,{"id":552,"slug":553,"title":554,"dynasty":18,"author":241,"museum":231,"description":555,"tags":556,"thumbUrl":559,"material":393,"size":394,"collection":165,"collections":560,"showCount":561,"zanCount":168,"manualWeight":11,"mainColor":41},287892,"xie-sheng-ling-mao-tu-zhao-ji-287892","写生翎毛图","宋徽宗赵佶（1082年11月2日-1135年6月4日）[6]，号宣和主人，宋朝第八位皇帝（1100年2月23日-1126年1月18日在位），书画家。宋神宗第十一子、宋哲宗之弟。先后被封为遂宁王、端王。哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”，并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[23,24,25,27,29,28,30,137,7,557,31,194,558],"荔枝","翎毛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F991c70342fcdd1f954ce69e99322aad5.jpg",[],120,{"id":563,"slug":564,"title":565,"dynasty":93,"author":46,"museum":231,"description":566,"tags":567,"thumbUrl":570,"material":393,"size":394,"collection":165,"collections":571,"showCount":572,"zanCount":11,"manualWeight":11,"mainColor":88},236741,"huang-ju-mao-die-wan-shan-yi-ming-236741","黄鞠猫蝶纨扇","这帧纨扇小品取右虚左实之构图，苔石隐于浅草花丛间，乌背白腹的狸奴踞坐其上，圆瞳灼灼，紧盯翩跹粉蝶，蓬松绒毛以晕染细笔勾绘，憨态灵动，将花猫窥蝶的凝神一瞬定格。\n\n左上花枝柔曼，粉花轻缀，没骨笔法晕染出淡冶花色，明丽雅致。侧旁题笔规整清雅，与画面相映成趣。\n\n整幅小品以清隽设色勾勒日常闲趣，将庭间小景的恬淡野趣尽数铺陈，温婉雅致的意趣浸透绢面，尽显小品画的悠然雅韵。",[25,26,24,220,29,28,568,136,7,193,33,569],"清代","树木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a6235c2fe94225bf65dcfca3543ed3c.jpg",[],119,{"id":574,"slug":575,"title":576,"dynasty":93,"author":577,"museum":231,"description":578,"tags":579,"thumbUrl":581,"material":165,"size":165,"collection":165,"collections":582,"showCount":583,"zanCount":11,"manualWeight":11,"mainColor":88},224363,"fu-gui-bai-tou-tu-ju-lian-224363","富贵白头图","居廉","《富贵白头图》为光绪十三年（公元1887年）居廉晚年之作。\n此时居廉画风已完全成熟，因此其艺术追求和体格特点在这幅画作中有充分的体现。\n收藏于 。\n《富贵白头图》为纸本，设色，纵12.1厘米，横74.82厘米，收藏于 。\n图中所绘牡丹艳放，在春风中姹紫嫣红，争奇斗妍，引得蜜蜂、蝴蝶在花间流连嬉戏，石上停息着一双白头翁鸟，神态娴静，与喧闹的蜂蝶相映成趣。\n湖石坚实厚重，衬出花卉的秀美。\n图中偏右一侧一块硕大而玲珑剔透的太湖石兀然而立，湖石的周围一丛盛开的牡丹，姹紫嫣红，争奇斗艳，或低首沉吟，或迎风怒放，引来一群蜜蜂、彩蝶在花丛之中追逐嬉戏，流连忘返，给人一种明媚而又温暖的春天气息。\n在湖石的上端栖停着一对白头翁鸟，一俯一仰，怡然自得，与上下翻飞，喧闹不已的蜂蝶，一动一静，相映成趣，美不胜收。\n该画鸟、蜂、蝶以工笔重彩画出，形态生动。\n花朵的红色、粉色、黄色晕染，非常写实。\n敷以深浅绿叶，以浓墨和红色勾筋。\n线条圆润饱满，叶片清秀洒脱，疏密有致；设色浓淡相依，明丽艳秀。\n而花中奇石用积墨与淡墨晕染相结合绘出，素雅动人。\n在绘画技法上，整幅画作的格调极为工致，造型准确，赋色艳丽，然而却又没有丝毫单滞、艳俗之感，可算得是居氏画作中的精品。\n（1828-194），字古泉，自号隔老人，广西桂林人，占籍广东番禹（今广州），居巢之堂弟。\n善画花鸟、草虫及人物，尤以写生见长。\n初学宋光宝及孟丽堂，亦得恽南田遗意，后吸收诸家之长，自成一体。\n笔法工整，设色妍丽，在继承和发展恽南没骨画法的基础上，创造出撞水法和撞粉法，为岭南派的重要奠基人之一，“二高一陈”皆出自其门下。\n《富贵白头图》自识“丁亥”，应为光绪十三年，也即公元1887年，乃其晚年之笔。\n此时居廉画风已完全成熟，因此其艺术追求和体格特点在这幅画作中有充分的体现。",[23,25,26,141,28,29,30,51,580,7,457],"白头鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F575773c294369c3e892af56386f46796.jpg",[],118,{"id":585,"slug":586,"title":587,"dynasty":93,"author":577,"museum":47,"description":588,"tags":589,"thumbUrl":592,"material":196,"size":593,"collection":165,"collections":594,"showCount":583,"zanCount":306,"manualWeight":11,"mainColor":88},220334,"cao-chong-hua-hui-hu-shi-si-ping-xiu-qiu-ju-lian-220334","草虫花卉湖石四屏-绣球","这四屏分写牡丹、凌霄、绣球、紫薇等时卉，并配以湖石、蜂、蝶、知了、螳螂。于精密写实之外，饶富没骨花卉清新典丽的特质，虽因重装颜色稍褪，犹可清晰得见居氏惯采的撞水与撞粉画技，笔法工整，设色妍丽，让人赏心悦目。",[23,25,26,30,141,28,29,590,7,591],"绣球","湖石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F245a38d04b5ce9f9c1b46c5c7acdf76a.jpg","113×26.5厘米",[],{"id":596,"slug":597,"title":598,"dynasty":18,"author":283,"museum":117,"description":599,"tags":600,"thumbUrl":601,"material":602,"size":603,"collection":64,"collections":604,"showCount":606,"zanCount":225,"manualWeight":11,"mainColor":41},221298,"zhu-chong-tu-zhou-zhao-chang-221298","竹虫图轴","此图画幽篁疏影，双钩填彩，以色之而飞，又绘天牛、螽蜥，无不刻画入微，瓜赞，相阿弥题签，天室和尚题跋。浓淡来显叶之向背、竿之盘曲。枝叶饱满， 叶果实又仿效徐崇嗣的“没骨”画法。设姿态多样。另有花卉野瓜、蝴蝶蜻蜓萦绕 色浓丽而又不隐墨骨。",[23,24,25,26,141,28,29,30,179,7,59,193,162],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3caf6fb1a56d046b3a504e74b2fa9ef8.jpg","轴，绢本设色","纵99 4厘米，横54 2厘米",[64,66,605],"竹石精选",113,{"id":608,"slug":609,"title":610,"dynasty":93,"author":611,"museum":231,"description":612,"tags":613,"thumbUrl":614,"material":247,"size":615,"collection":165,"collections":616,"showCount":617,"zanCount":168,"manualWeight":11,"mainColor":41},222701,"hua-hu-die-tu-jin-yao-222701","花蝴蝶图","金钥","此作用笔工致秀润，设色清雅柔和。灵石皴染朴拙，野卉自石畔抽茎挺生，淡紫碎花垂缀梢头，圆叶绿丛铺陈其下，野趣盎然。数只蛱蝶翅纹斑斓鲜活，或栖于花枝、或振翅翩跹，将蝶之灵动与花之柔婉相融无间。画面右上角题诗配字，笔墨隽秀，书画相映成趣，晕染出悠然闲适的文人情致。整体构图错落舒展，将郊野一隅的幽微生机勾勒动人，把小品花鸟的雅致意趣尽数铺陈，尽显清和隽永的审美意韵。",[23,25,26,141,28,29,30,7,193,259,33,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9952c196199673acf5700bc014e2bd29.jpg","30x75.",[],110,{"id":619,"slug":620,"title":621,"dynasty":18,"author":622,"museum":231,"description":623,"tags":624,"thumbUrl":625,"material":165,"size":165,"collection":165,"collections":626,"showCount":627,"zanCount":265,"manualWeight":11,"mainColor":88},227939,"qing-chun-die-xi-tu-li-an-zhong-227939","晴春蝶戏图","李安忠","《宋李安忠晴春蝶戏图》是南宋画家李安忠所创作的一幅设色扇面画，藏于 。\n此图中绘体态雍容华丽的 、娇小素净的 等 15只和 1只，或平展双翼，或振翅飞舞，在明媚的春光下宛若俏丽的花团漫天绽放，形象生动地体现出“蝶戏”的创作主题。\n《宋李安忠晴春蝶戏图》本幅无款识。\n钤半印一方，印文模糊不辨。\n原载《四朝选藻图》册，旧签题“ 作”。\n裱边钤“ ”、“ ”。\n对幅有清乾隆御题七言诗一首：“蝡肖翘高复低，春园风物已昌兮。\n宣和画院曾经试，何未明拈逐马蹄”。\n钤“八征耄念之宝”、“自强不息” 等印。\n在蜂、蝶的塑造上，勾勒与渲染浑然一体，先以极细而淡的线条勾勒轮廓，然后再“随类赋彩”，或以粉白、土黄多层积色，或在墨线中填重彩，晕染工细而色泽丰富，展现出蛱蝶翅翼的绚烂之美。\n李安忠，生卒年不详，南宋画家，钱塘人。\n宋徽宗宣和年间为画院祗候，授成忠郎，南渡后绍兴年间复职。\n工花鸟走兽，尤长于“捉勒”（鹰鹘之类），得其搏攫惊避之状。\n传世作品有《晴春蝶戏图》《鹑图》等。",[23,24,25,26,220,28,29,30,7,60,176,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf555e4c587bc0c91770957ec2a1b1b4.jpg",[],108,{"id":629,"slug":630,"title":631,"dynasty":93,"author":543,"museum":47,"description":632,"tags":633,"thumbUrl":634,"material":29,"size":635,"collection":165,"collections":636,"showCount":637,"zanCount":306,"manualWeight":11,"mainColor":88},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。",[23,25,26,28,29,30,101,7,481,31,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fb31a611f6bc17b2cd92a02ab60f10f.jpg","宽28.4公分，高33.7公分",[],105,{"id":639,"slug":640,"title":356,"dynasty":93,"author":46,"museum":217,"description":641,"tags":642,"thumbUrl":645,"material":35,"size":646,"collection":37,"collections":647,"showCount":648,"zanCount":306,"manualWeight":11,"mainColor":41},216726,"hua-niao-tu-yi-ming-216726","花鸟图是清朝时期佚名画家创作的一类绘画作品，其中包含了许多花卉和鸟类的描绘。这类画作通常都具有鲜艳的色彩和精致的细节，描绘的花卉和鸟类也常常具有浓郁的自然气息。花鸟图被广泛地用作装饰品，被视作清朝文化中的珍宝。",[25,26,141,28,29,30,180,193,7,643,644,60],"树枝","草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72ae1b447224169fc778d51c627cec2c.jpg","60.5x34.9cm",[37],102,{"id":650,"slug":651,"title":652,"dynasty":130,"author":522,"museum":47,"description":653,"tags":654,"thumbUrl":656,"material":35,"size":657,"collection":37,"collections":658,"showCount":659,"zanCount":11,"manualWeight":11,"mainColor":41},218703,"ji-he-tu-xu-xi-218703","芰荷图","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。",[23,25,26,141,30,348,29,28,655,101,481,7],"荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d2cbafe8b7c62d5722cbe40085ab683.jpg","97.6x46.2cm",[37],100,{"id":661,"slug":662,"title":663,"dynasty":74,"author":46,"museum":664,"description":665,"tags":666,"thumbUrl":668,"material":165,"size":165,"collection":165,"collections":669,"showCount":670,"zanCount":168,"manualWeight":11,"mainColor":41},232911,"fang-qian-xuan-hua-niao-tu-yi-ming-232911","仿钱选花鸟图","美国克利夫兰艺术博物馆","钱选以花鸟画成就最高。他的成熟花鸟画，在院画基础上吸取 扬无咎 一派水墨花卉的技法，创造了新的体格。\n后人很多仿画。",[23,25,26,27,28,29,667,30,179,57,193,180,7,259],"临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e0b54ca3ef8f0e19e5c3536b8481fe.jpg",[],96,{"id":672,"slug":673,"title":674,"dynasty":93,"author":675,"museum":231,"description":676,"tags":677,"thumbUrl":678,"material":393,"size":394,"collection":165,"collections":679,"showCount":680,"zanCount":11,"manualWeight":11,"mainColor":88},236740,"tao-hua-jia-die-wan-shan-zhang-xiong-236740","桃花蛱蝶纨扇","张熊","张熊(1803—1886)，又名张熊祥，字寿甫，亦作寿父，号子祥，晚号祥翁，别号鸳湖外史，鸳湖老人，鸳湖老者，鸳鸯湖外史，西厢客。别署清河伯子，髯参军。室名银藤花馆。秀水（今浙江嘉兴）人，张熊年青时代就移居上海，参加各种美术活动。",[25,26,220,568,28,29,30,81,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55170b403bb25051d64dc082a1e881e2.jpg",[],95,{"id":682,"slug":683,"title":684,"dynasty":18,"author":685,"museum":231,"description":686,"tags":687,"thumbUrl":689,"material":165,"size":165,"collection":165,"collections":690,"showCount":691,"zanCount":306,"manualWeight":11,"mainColor":88},227753,"ju-cong-fei-die-tu-ye-zhu-shao-zong-227753","菊丛飞蝶图页","朱绍宗","《菊丛飞蝶图》页，宋，朱绍宗绘，纨扇页，绢本，设色，纵23.7厘米，横24.4厘米。\n本幅款识：“朱”。钤鉴藏印2方，印文模糊，唯可辨一“璘”字。裱边题签：“朱绍宗菊丛飞蝶”。\n图绘丛菊盛开。花分黄、白、蓝、紫四色，构图繁复，灿若文锦。虽是篱边野景，却饶富贵典雅气象。蜜蜂逐花而至，蛱蝶上下翻飞，为画面增添了动感。花瓣、叶片的勾染皆极为精工，花心用白粉点染，立体感很强，望似凸出于绢素之上。画史称作者“描染精邃，远过流辈”，信是不虚。\n对幅有清乾隆御题诗：“趋炎殊众卉，放英独于秋。舞去风全香，承来露半流。绘者具神解，渊明晤庄周。”钤“八征耄念之宝”朱文印、“自强不息”白文印。\n存《四朝选藻》册中。《石渠宝笈续编》著录。",[23,25,26,404,28,29,30,53,7,31,208,60,688,24],"宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faee499b5bb1bb99a6d174c1ae3c18abf.jpg",[],94,{"id":693,"slug":694,"title":695,"dynasty":18,"author":696,"museum":231,"description":697,"tags":698,"thumbUrl":699,"material":247,"size":700,"collection":64,"collections":701,"showCount":691,"zanCount":11,"manualWeight":11,"mainColor":41},221442,"xie-sheng-cao-chong-tu-juan-cui-bai-221442","写生草虫图卷","崔白","崔白，字子西，北宋濠梁人，杰出的花鸟画家。北宋中期翰林图画院画家，擅长画花鸟，所做动物在写生基础上概括，形象生动活泼。他不仅擅画花竹翎毛、败荷凫雁，而且画佛道鬼神、山水、人物亦精妙绝伦，尤长于写生，所画鹅、蝉、雀堪称三绝。他一改百余年画风，成为北宋画坛革新主将，数百年来颇受画坛尊祟。\n崔白的一生中大部分时间只是个民间画工，生活颠沛流离，后来有很多人都为他的不得赏识打抱不平。像米芾在他的《画史》中说，在嘉年间（1056—1063年），公卿贵族们的收藏竞相一味求古，多是阎立本、韩滉一类画家的赝品，而对于像崔白这么优秀的当代画家的画作，他们却熟视无睹。",[23,25,26,27,28,29,300,32,7,259,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff80e1171b5cd251561cf91850b031251.jpg","26×150",[64,37,66],{"id":703,"slug":704,"title":705,"dynasty":18,"author":706,"museum":47,"description":707,"tags":708,"thumbUrl":709,"material":35,"size":710,"collection":165,"collections":711,"showCount":712,"zanCount":306,"manualWeight":11,"mainColor":88},218578,"hua-niao-shan-shui-xiao-pin-ce-mu-dan-ma-yuan-218578","花鸟山水小品册-牡丹","马远","分别绘茶花、牡丹、葡萄、桃子，色彩鲜艳，用笔精致。山水绘山阁远眺，策杖登高，孤棹泛波，意趣悠然。",[23,24,25,26,80,28,29,30,51,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F766926073a503e1a589f642282e16710.jpg","33*19",[],93,{"id":714,"slug":715,"title":716,"dynasty":93,"author":577,"museum":231,"description":717,"tags":718,"thumbUrl":719,"material":165,"size":165,"collection":165,"collections":720,"showCount":721,"zanCount":168,"manualWeight":11,"mainColor":88},238999,"fu-gui-bai-tou-tu-zhou-ju-lian-238999","富贵白头图轴","此作用湖石撑起画面骨架，瘦漏透皱，空灵奇崛。牡丹攒簇于石畔，粉娇黄雅、紫柔朱艳，花瓣晕染柔润饱满，枝叶疏密错落，尽显盛放之态。\n\n两只白头翁静立石巅，亲昵相依，另有蛱蝶逐花蹁跹，满幅皆是融融春意。设色明丽却不甜俗，没骨技法将花叶的娇柔鲜活尽致展现，湖石以勾勒皴擦带出嶙峋质感，工写相宜。\n\n祥瑞意趣藏在鲜活景致中，将春日生机与美好祈愿揉合，笔底含情，把灵秀雅致凝于尺幅间。",[25,24,141,28,29,30,51,180,7,33,287],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc5e8dafcd23c0f7abfb2e6f9f962f77.jpg",[],90,{"id":723,"slug":724,"title":725,"dynasty":74,"author":190,"museum":242,"description":726,"tags":727,"thumbUrl":728,"material":495,"size":729,"collection":37,"collections":730,"showCount":721,"zanCount":11,"manualWeight":11,"mainColor":110},218770,"mao-die-tu-sun-ke-hong-218770","耄耋图","此图是幅寓意画。图绘一猫仰头注目空中飞蝶，意欲捕捉的生动瞬间。猫蝶即耄耋的谐音，古代人生八十称耄，九十称耋，寓长寿之意。本幅构图简洁，无任何背景衬托，蝶与猫构成一上一下、一动一静的对比，别有情趣。猫以墨彩重写，又以粗毫勾其毛发，造型准确生动。蝶以水墨绘出，勾染结合，着笔简约传神。此为作者墨笔粗简一路画风的代表作。",[23,25,348,136,7,371,141,60,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb67f1548430697540b035cee22f8e29a.jpg","纵139.5厘米，横47厘米",[37],{"id":732,"slug":733,"title":734,"dynasty":115,"author":46,"museum":231,"description":735,"tags":736,"thumbUrl":738,"material":165,"size":165,"collection":165,"collections":739,"showCount":740,"zanCount":168,"manualWeight":11,"mainColor":41},232906,"ke-si-qing-niao-hu-die-tu-juan-yi-ming-232906","缂丝青鸟蝴蝶图卷","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”。",[23,221,29,28,30,27,737,7,51,457,54],"青鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6f791b5f797cb61630dfe3c3212a14b.jpg",[],88,{"id":742,"slug":743,"title":744,"dynasty":18,"author":46,"museum":47,"description":745,"tags":746,"thumbUrl":748,"material":35,"size":749,"collection":37,"collections":750,"showCount":751,"zanCount":168,"manualWeight":11,"mainColor":88},218861,"die-fen-hua-cong-tu-yi-ming-218861","蝶粉花丛图","画面上画着五枝月季花，枝头上的花有的开得灿烂，有的含苞待放，花瓣是红色的，花尖是粉红色的，枝头上的叶子是深绿色的，花和叶子色彩斑斓，清新漂亮，两只蝴蝶在花丛中盘旋，伴着花香翩翩起舞。这幅画的笔触和色彩与卫昇，林椿的相似，应该说是南宋画派的代表作。",[23,25,24,28,29,30,80,7,51,747],"花叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59d14f0dd44d2a05a8c854eb299aff6.jpg","23.6x25.2",[37],87,{"id":753,"slug":754,"title":755,"dynasty":18,"author":46,"museum":231,"description":756,"tags":757,"thumbUrl":761,"material":165,"size":165,"collection":762,"collections":763,"showCount":764,"zanCount":306,"manualWeight":11,"mainColor":765},221498,"hei-wan-yi-ming-221498","黑碗","乌亮漆面如镜，莹白螺钿裁为水仙与飞虫，明暗相映愈见清隽。水仙长叶舒展如线，勾勒出柔劲风骨，花瓣凝润鲜活，似带着幽微暗香静立盘间。两只小虫振翅欲动，为静景添上灵动生机，将闲趣意韵藏于日常器物中。以漆为纸，螺钿作色，素朴间尽显文人情致，淡而不俗，静中含动，把东方雅致的极简美学融于方寸器物，尽显彼时生活里的极致风雅。",[688,758,759,54,7,31,760],"漆器","雕刻","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe335c815e89cb781442724d79068fcaf.jpg","瓷器精选",[762],86,"37474F",{"id":767,"slug":768,"title":769,"dynasty":115,"author":489,"museum":231,"description":770,"tags":771,"thumbUrl":772,"material":35,"size":773,"collection":37,"collections":774,"showCount":764,"zanCount":306,"manualWeight":11,"mainColor":88},219123,"hua-hui-ce-ju-wang-yuan-219123","花卉册-菊","赭黄绢底晕开浅淡秋光，几簇白菊簇生枝侧。花瓣以细劲游丝勾勒，层叠如缕，留白处恍若凝着晨露；旁逸竹枝挺秀，竹叶撇捺间见笔力，墨色深浅映出劲节。右下角粉蝶轻振翅翼，翅脉以淡墨晕染，姿态翩跹欲落未落，为静谧花竹注入灵动生气。\n\n笔法兼工带写，柔媚菊瓣与刚劲竹枝相衬，无浓艳设色却清雅入骨。画面凝萃着文人对秋菊傲霜的喟叹，亦藏着对自然生机的细腻捕捉。笔墨间流转元代文人画的内敛韵致——于素淡中见丰腴，于细微处显匠心，每一笔都似在诉说秋日常景里的清雅情味，让观者沉湎于这份不事张扬的诗意中。",[23,25,26,24,80,29,28,30,100,179,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87b9037637de8126cac747bb8560b156.jpg","25.9x23.6cm",[37],{"id":776,"slug":777,"title":413,"dynasty":74,"author":778,"museum":95,"description":779,"tags":780,"thumbUrl":782,"material":35,"size":783,"collection":37,"collections":784,"showCount":785,"zanCount":11,"manualWeight":11,"mainColor":41},219312,"hua-die-tu-lv-jing-fu-219312","吕敬甫","棕褐底色如古笺轻展，鲜妍花卉自其间漾开生机。粉白花瓣晕染淡红边缘，似沾晨露般娇嫩；翠叶柔茎交错，脉络清晰如织。彩蝶翩跹，或振翅掠花，或停瓣小憩；草虫隐于叶底，细足微蜷，灵动毕现。笔墨细腻见工致，设色淡雅含明艳，晕染自然天成。画面简而丰沛，动静相宜，将田园闲逸凝于尺幅。观之如沐清风，心随蝶影轻飏，仿佛能闻花叶簌簌、虫翅微振，尽得自然野趣与雅致情味。",[25,28,29,30,7,82,31,79,259,781],"飞虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F487bfc2f1c455b3d2ec1c663f8992c9a.jpg","101.6x53cm",[37],84,{"id":787,"slug":788,"title":789,"dynasty":74,"author":75,"museum":95,"description":790,"tags":791,"thumbUrl":792,"material":35,"size":165,"collection":165,"collections":793,"showCount":794,"zanCount":11,"manualWeight":11,"mainColor":88},218020,"za-hua-ce-10-chen-hong-shou-218020","杂画册-10","陈洪绶是明朝时期著名的画家。他最著名的作品是他的杂画册，其中包含了许多精美的花鸟画和山水画。陈洪绶的杂画册是明朝时期最著名的画册之一，并被认为是中国画的杰出代表作之一。\n\n陈洪绶的杂画册中包含了多幅优美的花鸟画，其中包括了各种鸟类、花卉和动物。这些画作都是陈洪绶对自然界的精确再现，并且富有生命力。此外，陈洪绶还创作了许多优美的山水画，其中包含了各种山川、河流、湖泊和其他自然景观。这些画作也是陈洪绶对自然界的精确再现，并且富有感染力。\n\n总的来说，陈洪绶的杂画册是一部杰出的画册，其中包含了许多优美的花鸟画和山水画，是中国画的杰出代表作之一。陈洪绶的画风精细而细腻，他对自然界的描绘充满生命力和感染力，使他的作品在艺术史上占有重要地位。",[25,80,28,29,30,7,193,535],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bc13f67dd3cc500eef8a4c1c0bb9a75.jpg",[],83,{"id":796,"slug":797,"title":798,"dynasty":18,"author":46,"museum":242,"description":799,"tags":800,"thumbUrl":802,"material":547,"size":803,"collection":165,"collections":804,"showCount":805,"zanCount":168,"manualWeight":11,"mainColor":41},233457,"hai-tang-jia-die-tu-ye-yi-ming-233457","海棠蛱蝶图页","图绘阳春三月，蛱蝶翩翩起舞于海棠花枝间。画家着重表现海棠在乍起的春风中花枝招展的动感瞬间，花朵偃仰向背，叶片翻卷辗转，枝干呈“S”形的曲张之态，通过描绘有形的花叶，成功地渲染出了无形的醉人春风和隽永的春意。图中花瓣先以墨笔双勾轮廓线，中锋行笔，线条圆润流畅。然后在花瓣外侧上部略点胭脂红，旋即以清水将色彩晕染开，最后罩上一层白粉，为海棠花亮丽的色调增添了几多妩媚的意韵。叶片用工整的双勾填色笔法表现，作者根据叶片受光照程度的不同而填染以石绿、墨赭等颜色，从而充分表露出叶片“清如水碧，洁如霜露”的美感，显示出画家细致的观察力和深厚的写实功底。",[25,24,28,29,30,801,7,31,82,80,60],"海棠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd95887671acb5a0c68bda59dc14b1a0.jpg","纵25厘米，横24.5厘米",[],81,{"id":807,"slug":808,"title":809,"dynasty":93,"author":810,"museum":231,"description":811,"tags":812,"thumbUrl":814,"material":165,"size":165,"collection":165,"collections":815,"showCount":816,"zanCount":168,"manualWeight":11,"mainColor":88},238191,"hua-hui-chong-die-zhou-yu-sheng-238191","花卉虫蝶轴","余省","此作以工细之笔铺展秋日野趣，湖石错落间，萱花似燃、夕颜凝白，杂花柔枝相衬，野趣横生。画师以极细笔触晕染草虫蛱蝶，翅脉通透、触须纤毫毕现，振翅欲飞间将秋郊生机尽数铺展。设色秀雅清淡，妍而不俗，花叶俯仰生姿，瘦挺草叶穿插其间，疏密布局相得益彰。\n左侧题诗与画作呼应，诗画合璧更添文雅意境，将清秋幽寂又鲜活的意趣藏于尺幅之中，尽显写生精妙功底，把自然小景绘得雅致动人。",[25,26,141,29,28,31,813,7,193,207,181,82,30],"虫蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6199de4d5acfeaec5e8cafcd7497b4c3.jpg",[],80,{"id":818,"slug":819,"title":820,"dynasty":93,"author":821,"museum":231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约生于本年／常熟人。瞿世耜之子。一名镜，字端叔。常熟诸生。喜花鸟，工篆刻。明忠宣公子，父亡，十龄流落于外，人无有过而问之者，顾云美以夙谊收恤",[24,25,26,220,29,28,801,7,336,162,82,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F782c7e9c61bf22243ba7bc8fbc180917.jpg",[],{"id":1020,"slug":1021,"title":1022,"dynasty":93,"author":1023,"museum":231,"description":1024,"tags":1025,"thumbUrl":1028,"material":393,"size":394,"collection":165,"collections":1029,"showCount":1030,"zanCount":11,"manualWeight":11,"mainColor":88},290428,"yi-zhai-hua-niao-hua-ce-7-zhen-long-xin-290428","益斋花鸟画册7帧","龙忻","此作以淡逸之笔绘就幽庭小景，苍润奇石皴染古拙，石畔花草疏斜生姿。蓝果莹润如珠，叶片枯荣相济，粉花含露将绽，清妍动人。一只蛱蝶振翅而来，翅翼赭黄晕着朱红，斑纹纤毫毕现，灵动鲜活。\n\n画作兼用工没骨，设色秀雅柔和，笔致温婉细腻，将草木生灵的幽柔意趣尽显。动静相生间，暗合文人心底的闲适雅致，是小品花鸟的动人佳构。",[25,80,28,29,30,7,31,1026,1027,60],"浆果","怪石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F492260d8ba146abee202deef8c0515b7.jpg",[],61,{"id":1032,"slug":1033,"title":521,"dynasty":115,"author":867,"museum":231,"description":1034,"tags":1035,"thumbUrl":1040,"material":165,"size":165,"collection":165,"collections":1041,"showCount":1042,"zanCount":11,"manualWeight":11,"mainColor":41},228316,"jin-hui-dui-tu-qian-xuan-228316","起于元，盛于清末，俗称“打翻字纸篓”，以画残破的文物片段堆栈构成画面。\n郑达甫先生被公认为此领域的唯一能手 锦灰堆 最早起源于何时，现无准确文献记载，相传是元代与赵孟頫齐名的画家钱选，在一次醉酒后兴起，将当天散落在饭桌上的下酒菜吃剩残物，如蟹脚、蚌壳、莲房、鸡翎、鱼刺等、信手绘制成一幅横卷，并挥笔题款“锦灰堆”。\n这可能是“锦灰堆”最早的历史记载。\n“锦灰堆”致力于特色陶瓷礼品研制、开发与销售。\n旗下品牌有锦瓷，锦瓷窑，泥道等。\n锦瓷只要生产红瓷，青花瓷，天目釉，茶具，格致古典，服务当下，具有深厚传统情怀的锦灰堆机构，于借礼品进而使得当下国人在器用和精神层面上回归古典，回归宁静，从而让现代人从喧嚣浮躁的盲动中找到某种心灵的归宿，达到静养身心，调节自我的目的。\n再者，通过对古代生活器用的阐扬、恢复，在更宏大的视野中，我们希望能为整个民族的精神回归作出点滴贡献。\n在推进整个古典生活场景的复原中，锦灰堆首推华丽、时尚的红瓷系列，并从功夫茶的发源地潮汕地区切入，引入此间的红头船文化和航海文化，凸显火“红”的福字主题。\n重构中国人的雅致生活 锦，绮丽繁华，天下莫此为甚。\n中国风雅的源头《诗经》，有“终南何有？有条有梅。\n君子至止，锦衣狐裘。\n”锦衣狐裘，诸侯方可穿着。\n《仪礼·聘礼》复有“皆奉玉锦束请觌”之句。\n锦为何物？《说文解字》云：锦，襄邑织文。\n《毛诗正义》则说，锦者，杂采为文。\n锦于中国人，乃成美好事物的普遍象征，遂有锦绣、锦囊、锦瑟、锦带、锦江、锦文、锦鳞，凡物着一锦字，读之立刻口齿芬芳。\n至于家国河山，古人亦以锦名之，曰锦绣河山。\n事实上，只有中国人可以用一种逍遥俯瞰的之态，描述壮丽宏大的山水，正如元代以降的山水画所表达的，“收拾河山入画图”。\n灰，则表达了古典中国人对世俗和底层生活的关注和亲密，这一点，则全非近代以前泰西诸国等级森然的社会体制所能及。\n“满面尘灰烟火色”，白乐天对一个卖炭老翁的细致描绘，恰恰说明了这一点。\n古代士大夫就是在“锦”与“灰”两端中求得心灵的平衡，从而达到中庸和无为的至高境界。\n宋末吴兴人钱选，一代画师。\n其时也，蒙元入主中国，钱选尚气节，不事新朝，特立独行，与赵孟頫辈异。\n选流连诗酒，无酒不能作画，此其雅癖之一；曾作小横卷，所绘举凡螯钤、鸡翎、莲房等食余剥剩、无用当弃之物，名之曰“锦灰堆”，此其雅癖之二。\n锦灰堆遂成一特异之画种，又称“八段锦”。\n生活零碎之物而形诸笔墨锦笺，而独放异彩，或可称怪异之三。\n钱选之作，有堪称国宝者，后多收入清宫大内，为清帝御览之宝。\n凡经御览，都为卷册，名曰《石渠宝笈》。\n钱选作品被收入《石渠宝笈初编》。\n民初海上，锦灰之堆润格攀涨，山水人物花鸟，不得专宠矣。\n所绘之物，由食余吐物，扩而及之“一页旧书、半张残帖、公文、私札、废契、短简”。\n若以当代美学考量，锦灰堆作为一种绘画门类，具有一种潜在的解构主义，可谓当代艺术潮流的远古鼻祖。\n会此意者，定当一笑。\n京城王世襄先生，亦慕钱选之高格与戏作，以“锦灰堆”名其文集。\n世襄年过九旬，于经世致用之学而外，洞彻古玩器物，举凡明家具、鹰鹞、烹饪、古建筑、蟋蟀、鸽子、竹艺、漆器等等，均深有发现。\n黄苗子遂以“玩物成家”目之。\n玩物而不丧志，其渊源幽淼，直可追溯先秦。\n《考工记》行文古雅，而凡世间百工造物，靡不涉及。\n魏晋诸子，倡而导之，经东坡等宋代诸儒，至明清而成玩物洪流矣。\n唐陆鸿渐行迹编海内而著《茶经》，后人饮茶，便得宗旨；宋人朱肱于杭州开酒坊，自酿自卖，著《北山酒经》流传于世，酒于是而得经典。\n而花草树木果树陶瓷园艺文房，乃至闺阁妆奁，人间烟火，皆入明代士大夫法眼，各种著述层出不穷。\n文震亨著《长物志》，高濂著《遵生八笺》，张岱著《陶庵梦忆》，玲琅满目，胪列不尽。\n执着于充满人情的尘世生活，是中国人典型的文化心理。\n明代变乱之前，物质的繁荣导致士大夫和普通民众的生活，在最求细节方面面达到了极致。\n庭除屋宇、园林百卉、钿光钗影、杯来盏往，余怀之《板桥杂记》所录晚明民众生活，其细致处，真是呼之欲出。\n悠闲，华美，逸乐，侠游，乃中国古代生活物质层面之四维。\n“闲者，匪徒尸居肉食，无所事事之谓。\n”高濂解释闲是一种境界，“闲可以养性，可以悦心，可以怡生安寿”。\n时乎坐陈钟鼎，几列琴书，榻排松窗之下，图展兰室之中，帘栊香霭，栏槛花妍，虽咽水餐云，亦足以忘饥永日。\n张岱论人，谓“人无癖，不可与交，以其无深情也；人无疵，不可与交，以其无真气也。\n” 张岱本人亦癖灯、癖游赏，癖器物。\n“少为纨绔子弟，极爱繁华，好精舍，好美婢，好娈童，好鲜衣，好美食，好骏马，好华灯，好烟火，好梨园，好鼓吹，好古董，好花鸟，兼以茶淫橘虐，书蠹诗魔。\n” 清代玩家自亦不少，晚明遗风，渔洋、袁枚等，接踵其后。\n然现代以来，士大夫之闲情雅致竟至泯然无迹，前人所持、所做、所饮、所餐、所观，遂成绝响，仅可于故纸堆中觅得鳞爪。\n此于国人，殊为憾事。\n前尘往事，并非定成空幻，成梦影。\n在器物层面，重构中国人古典生活方式，易于行，行远必将影响当下国人的价值认知。\n何也？一杯一盏，一花一木，一庐一室，一瓢一饮，均深蕴中国古典之价值，优雅，缠绵，温柔，富丽。\n似锦绣之质，浸俗世之情，于锦灰堆中，觅见风雅。\n1、 潮汕濒临南海，浮海可至南洋、印度、非洲海岸，乃至泰西诸国。\n这里是中西文明交流的一条重要路径——海上丝绸之路的必经之地，瓷器、丝绸、茶叶等中国固有的大宗产品从这里出口，而南洋的香料、珍宝、木材等，也远远不断，由此进入内地。\n潮汕也是古代中国人南迁之后的落脚点，所以，这里积存这丰厚的汉文化的元素。\n潮汕人很早就浮海去南洋谋生，其中，又以暹罗（泰国）居多。\n清代，此间与南洋的航运，是从中暹大米贸易开始的。\n为适应远洋航行的需要，原来有双桅、单桅之“潮州红头船”，发展成为“翘首高舷，备大桅樯三具”的远洋大帆船。\n《樟东风物记》：大型红头船长二十余丈，载重数百吨，三桅，有四帆开笑之称。\n红头船来自，源于清代之海禁。\n当时制度，凡出海之舶，须设色以辨。\n沿海省份，共设四色。\n广东在南，五行属火，用色为赤，遂“红油漆饰，青色钩字”。\n红头船不仅用朱砂油头，且以白粉油腹，头两侧画黑圈，再于船舷刻黑字。\n无形中，红头船具有了一种祛除不详的心理期待功能，融入到整个潮汕文化当中。\n红头船功夫茶具，不仅承载着这段具有强烈海洋文化特色的历史，还寄托着自生民以来就具有的祈福。\n2、功夫茶 苏辙诗曰：“闽中茶品天下高，倾身事茶不知劳。\n”此乃咏功夫茶诗也。\n功夫茶源于宋潮州府及福建的漳州、泉州。\n饮茶发展到功夫茶阶段，跟当时理学与禅宗的兴盛密不可分。\n功夫茶，茶中见性，以茶养性。\n除了水、火和冲泡这一程序性之外，功夫茶还衍生出极具形式美感的茶具。\n清俞蛟《潮嘉风月记》：“工夫茶，烹治之法，本诸陆羽《茶经》，而器具更为精致……杯盘则花瓷居多，内外写山水人物，极工致……杯小而盘如满月。\n” 锦灰堆功夫茶具，具本于宋代以降的人文传统。\n同时，亦融入时尚的造型，以适合现代人的审美。\n、红瓷 红瓷极尊贵，其制作之难亦冠各瓷之首。\n红瓷承载着吉祥、尊贵、自古就成为皇室追求的珍品。\n红瓷也是中国民间审美中至正之色，象征生命、繁衍和尊贵。\n红瓷釉料迥异于青花与青瓷等，其不耐高温的特性，使得一件红瓷的诞生很艰难。\n红瓷烧制，工艺复杂，须四次进炉：素烧，釉烧，红烧，金烧。\n每一环节不可偏差。\n尽管如此，仍是 “十窑九不成”。\n然则，更显红瓷的稀缺与珍贵。\n锦灰堆红头船红瓷功夫茶具，釉色分布匀停，光可鉴人，或蟠龙游凤，或牡丹缠枝，或花开富贵。\n而轻巧圆润，恰供清赏。\n（1）、红茶壶（鸿福） 壶，象盛器之形。\n日常不可或离之物，亦为礼器。\n古代常升华为美好之意。\n《春秋公羊传》：国子执壶浆。\n《三国志·诸葛亮传》：箪食壶浆。\n《芙蓉楼送辛渐》：一片冰心在玉壶。\n普通话，壶与“福”谐音，锦灰堆红茶壶便有了“鸿福”之意，同时，亦有“鸿鹄”之意，谓抱负远大也。\n（2）、红茶垫（托福） 茶垫又称壶托、托壶，红茶垫便可谐“福托”“托鸿福”“托福”等音。\n传统礼仪，接人待物，皆须谦逊。\n接茶、送茶之间，中华礼节，于细节中呈现。\n礼仪著于双方，也体现于每个个体，人借“托”举，“福”方永存。\n（）、福杯（吊鸿福杯） 杯，古又曰“爵”，饮器也。\n爵，象征荣誉和地位，即福禄寿喜之“禄”。\n与“福”为邻，传统抱负，合二为一。\n（4）、公杯（聚福） “大道之行也，天下为公。\n”《礼记》规定了中国人的最高社会理想。\n“公之为言公正无私也”。\n小小茶具，竟含儒家大道，此亦古人寄理想于“长物”之旨吧。\n公，也是古代爵位的最高等级。\n（5）、红茶渡（渡鸿福、鸿福渡） 渡，济也，引导也。\n这是一个暗藏禅机的词语，意蕴深厚。\n舍己渡人，方得超脱，这是佛家之道。\n若以当代社会伦理视之，此器亦公器也。\n然于公器之外，更充满英雄主义和绅士风度。\n（余可参照原文） （6）、精致小茶海 方寸之间，可容宇宙。\n海浩瀚无涯涘，在空间上以为这难以逾越，然则可以器用喻之。\n人心隔海，有渡可致。\n具物取名，古代闲情逸致之士乐此不疲，关键是，他们的想象力一如大海。\n海，又与潮汕之风俗相贯通。\n1）、大富大贵 “唯有牡丹真国色，花开时节动京城”，牡丹一直是中国富贵文化的核心意象，唐刘禹锡的诗恰好证明了这一点。\n作为花中之王，牡丹是历代文人雅士歌咏的对象。\n而龙、凤和蝶等意象的融合，则意味着一派高贵、长寿等怡人景象。\n2）、龙腾吉祥 在中国的语境中，龙一直是帝王的象征。\n当这一意象进入整个民族的心理深层结构，变成了众多行为的指南，一系列的崇拜也由此而来。\n龙也成了祈福消灾的对象。\n）、常年富贵 花团锦簇，一团和气，是古代人家最为看重的。\n等花卉图案，构成了众多居家要素，比如瓷器、锦缎。\n枝枝相连的形态暗示了中国人邻里相助和子孙繁衍的愿望，“连”也是“年”的谐音，于是便有“常年富贵”之名。\n4）、年年好运 运，行也。\n引申而为命运，“运隆祚永”是国家追求的目标，而祈求好运于一般人也变顺理成章。\n5）、6周年庆 大红的底色意味的喜气扑面而来。\n运筹红色，这正好是红瓷专家最为擅长的领域。\n黄色的五星，如暗夜繁星，耀人眼目，也如天女散花。",[23,25,26,27,28,29,30,82,259,1036,1037,31,7,1038,468,162,1039],"题跋","墨迹","杂物","虫蛀痕迹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F413580bf86f0f2f07a385084ba691349.jpg",[],59,{"id":1044,"slug":1045,"title":1046,"dynasty":74,"author":333,"museum":76,"description":1047,"tags":1048,"thumbUrl":1049,"material":196,"size":1050,"collection":165,"collections":1051,"showCount":1052,"zanCount":168,"manualWeight":11,"mainColor":1053},216261,"ming-za-hua-ce-4-wang-zhong-216261","明杂画册-4","汪中指的是汪建中（1501-1593年），他是明朝时期的一位著名画家。明杂画册是指他绘制的一组绘画作品集，通常指其中一部名为《汪中杂画册》的作品。《汪中杂画册》是一部非常著名的画册，由汪建中在明朝末期绘制而成。它共有24册，收录了许多他的绘画作品，包括花卉、山水、虫鸟、人物等。这些作品都非常精美，被认为是中国画史上的杰作。《汪中杂画册》目前被认为是中国明朝时期最重要的画册之一，并被认为是中国画史上的经典之作。",[25,29,28,80,181,30,100,207,7,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1ab5d750f60cfb64615b60a29b53388.jpg","30x27cm",[],57,"FDD835",{"id":1055,"slug":1056,"title":1057,"dynasty":115,"author":867,"museum":231,"description":1058,"tags":1059,"thumbUrl":1060,"material":393,"size":394,"collection":165,"collections":1061,"showCount":1062,"zanCount":306,"manualWeight":11,"mainColor":41},283619,"hua-niao-tu-quan-juan-qian-xuan-283619","花鸟图全卷","钱选（1239—1299），宋末元初著名画家，与赵孟頫等合称为“吴兴八俊”。字舜举，号玉潭，又号巽峰，霅川翁，别号清癯老人、川翁、习懒翁等，湖州（今浙江吴兴）人。\n南宋景定三年乡贡进士，入元不仕。工诗，善书画。画学极杂：山水师从赵令穰；人物师从李公麟；花鸟师赵昌；青绿山水师赵伯驹。人品及画品皆称誉当时。继承苏轼等人的文人画理论，提倡士气说，倡导戾家画。他提倡绘画中的“士气”，在画上题写诗文或跋语，萌芽了诗、书、画紧密结合的文人画的鲜明特色。",[23,24,25,26,27,28,29,30,179,100,57,137,7,31,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F137ee05c575ac4967710143b8215cd6c.jpg",[],56,{"id":1064,"slug":1065,"title":1066,"dynasty":18,"author":622,"museum":20,"description":1067,"tags":1068,"thumbUrl":1069,"material":1070,"size":1071,"collection":64,"collections":1072,"showCount":1062,"zanCount":168,"manualWeight":11,"mainColor":41},221585,"an-chun-tu-li-an-zhong-221585","鹌鹑图","李安忠，南宋画家。钱塘(今浙江杭州)人，生卒年不详。宋徽宗宣和(1119-1125)时为画院祗候，历官成忠郎。南渡后绍兴(1131-1162)间复职画院，赐金带。子公茂，世其家学，然不逮父。\n工画花鸟、走兽，尤长于“捉勒”(鹰鹘之类)，《画继补遗》谓其“工画捉勒，得其 鸷攫及畏避之状”。亦间作山水。马臻题其《雪岸寒鸦图》诗云：“北风万里吹石裂，古树槎桠摧朽铁，群乌哑哑如苦饥，倦飞还向空林歇。孤村荒寒得食远，日暮沙边啄残雪，回情诉意各有态，羡杀画师心更切。我尝记得天随诗，至今读之心激越，妇女衣襟便佞态，始得金笼日提挈。老乌，老乌，尔身毛羽黑离离，况复人间厌尔啼，何不飞鸣丈人屋，丈人屋头春柳绿。”",[23,24,25,26,28,29,30,456,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0a7a66cc5c8697ff42ab6e379a7cb63.jpg","设色绢","52x68",[64,37,66],{"id":1074,"slug":1075,"title":1076,"dynasty":18,"author":1077,"museum":47,"description":1078,"tags":1079,"thumbUrl":1081,"material":35,"size":1082,"collection":37,"collections":1083,"showCount":1062,"zanCount":306,"manualWeight":11,"mainColor":88},219940,"ye-shu-cao-chong-tu-xu-di-219940","野蔬草虫图","许迪","素净的地面上，有一株孤伶伶的白菜。零星的叶片，褪了不少绿意，也被虫子啃蚀得有些残破。一只红尾的蝗虫大剌剌地弹跳了过来，看来又是想要来饱食一顿的饕客。白菜上方，另一位访客－淡黄的粉蝶也翩然而至，与一只黑翅的蜻蜓不期而遇。看这只蜻蜓摩拳搓掌的样子，不禁令人替这只娇弱的粉蝶捏把冷汗。",[23,24,25,220,28,29,1080,32,7,58,160],"蔬菜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c9714821a89822cea4d8aee785f1a6b.jpg","纵25.8厘米、横26.9厘米",[37],{"id":1085,"slug":1086,"title":554,"dynasty":18,"author":241,"museum":231,"description":555,"tags":1087,"thumbUrl":1088,"material":393,"size":394,"collection":165,"collections":1089,"showCount":1090,"zanCount":11,"manualWeight":11,"mainColor":41},288117,"xie-sheng-ling-mao-tu-zhao-ji-288117",[23,24,25,27,28,29,30,137,7,557,31,176,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa279f39fe2fa81aa6da60077492747c2.jpg",[],55,{"id":1092,"slug":1093,"title":1094,"dynasty":18,"author":46,"museum":95,"description":1095,"tags":1096,"thumbUrl":1098,"material":247,"size":1099,"collection":165,"collections":1100,"showCount":1101,"zanCount":306,"manualWeight":11,"mainColor":41},232878,"gua-guo-cao-chong-tu-juan-yi-ming-232878","瓜果草虫图卷","宋代绘画是中国传统艺术当之无愧的颠峰，形成了琳琅满目的各式题材与流派，而它最具代表的特点是画家深入的观察与细腻的表达，因此产生出叹为观止的精妙画作。这既源于宋代兴起的理学精神，强调“格物”；亦源于宋代人对于生活的热爱，使他们乐于描绘世界的细微处——例如一类以瓜果作为题材的花鸟画作品。",[23,25,26,27,29,28,30,1097,32,7,161,468,162,336],"瓜果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51b48aaaf0d6e93f2e0fb70756a9d19.jpg","41x197.3厘米",[],53,{"id":1103,"slug":1104,"title":1105,"dynasty":93,"author":46,"museum":231,"description":735,"tags":1106,"thumbUrl":1109,"material":393,"size":394,"collection":165,"collections":1110,"showCount":1111,"zanCount":11,"manualWeight":11,"mainColor":88},270175,"hong-se-ke-si-lan-hua-tu-mian-xiang-ya-diao-ba-xian-tu-bing-tuan-shan-yi-ming-270175","红色缂丝兰花图面象牙雕八仙图柄团扇",[220,221,54,7,1107,759,1108,30],"象牙","八仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd866559dd24addc2f93e3e6b5cee6d92.jpg",[],51,{"id":1113,"slug":1114,"title":1115,"dynasty":18,"author":46,"museum":47,"description":1116,"tags":1117,"thumbUrl":1123,"material":1124,"size":1125,"collection":165,"collections":1126,"showCount":1111,"zanCount":306,"manualWeight":11,"mainColor":765},223437,"song-xiu-ju-hua-lian-er-zhou-yi-ming-223437","宋绣菊花廉（二）轴","通幅以沉暗墨色为底，金针彩线织就案头秋供盛景。主株菊丛葳蕤繁茂，团花如簇，瓣层叠似凝霜聚雪，花叶以套色勾勒晕染，明暗过渡自然，将秋菊的清隽风骨尽数铺展。四周蝶影轻翩，细碎蜂蝶点染虚空，为静雅画面添上灵动生机。\n\n下方朱漆条案承托主盆，两侧配衬小花盆栽，章法端严对称，尽显宋人居室清供的雅致意趣。绣工精绝，戗色、盘金技法交织，针脚细密匀整，丝绒光泽晕开花鸟雅韵，静穆晕着秋日庭间的清寂诗意，尽显宋人尚雅的审美意趣。",[23,688,1118,28,29,141,53,7,1119,31,259,30,1120,1121,1122],"刺绣","花盆","盆栽","器","装饰纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe36b2a6209c7a620404ab879a6cb7f2c.jpg","轴绢本","150.4x64厘米",[],{"id":1128,"slug":1129,"title":1130,"dynasty":18,"author":1131,"museum":231,"description":1132,"tags":1133,"thumbUrl":1134,"material":247,"size":1135,"collection":165,"collections":1136,"showCount":1137,"zanCount":11,"manualWeight":11,"mainColor":88},232873,"xie-sheng-hu-die-hua-hui-tu-juan-ma-lin-232873","写生蝴蝶花卉图卷","马麟","图绘群蝶恋花的田园小景。轻灵振翅的蛱蝶起舞于画幅的上半部；秋花枯芦摇曳于画卷的底边。在物象表现上，作者用双勾填色法画土坡、草丛、蛱蝶。其勾线富于顿挫和粗细变化，墨色亦有浓淡轻重之分，敷色积染多层，特别是蛱蝶的翅翼更因积染而色彩浓艳厚重，从而与主要以植物色染就的草叶形成“轻”与“重”的对比。图中蛱蝶的形象最为传神，作者逼真地刻画了蛱蝶之翼薄如绢纱的质感、绚丽斑斓的花纹和蛱蝶细如发丝的根根须脚。传神的笔墨展示了作者深厚的写生功底，使本图成为研究古代蝶种的形象资料。",[24,25,26,27,29,28,300,30,7,31,176,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb467a89c60170e8b6134389615759f31.jpg","27.85*334.93厘米",[],50,{"id":1139,"slug":1140,"title":1141,"dynasty":18,"author":46,"museum":47,"description":1142,"tags":1143,"thumbUrl":1146,"material":62,"size":1147,"collection":165,"collections":1148,"showCount":1149,"zanCount":11,"manualWeight":11,"mainColor":41},223423,"song-ren-ying-xi-tu-zhou-yi-ming-223423","宋人婴戏图轴","以小孩为主要绘画对象，以表现童真为主要目的，所以画面丰富，形态有趣。",[23,25,26,141,28,29,134,881,1144,569,287,7,1145,884],"儿童","玩具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda63fb920aa5b61046227673fe4d57a0.jpg","279x84",[],49,{"id":1151,"slug":1152,"title":1153,"dynasty":93,"author":46,"museum":231,"description":1154,"tags":1155,"thumbUrl":1157,"material":393,"size":394,"collection":165,"collections":1158,"showCount":1159,"zanCount":168,"manualWeight":11,"mainColor":41},272876,"zi-tan-mu-bian-xiu-hua-niao-tu-gua-ping-yi-ming-272876","紫檀木边绣花鸟图挂屏","此挂屏以石青暗缎为地，施针走线晕染出幽隽小景。浅绒线绣就的花树虬曲苍柔，枝头花苞攒聚、轻绽妍丽，花瓣脉络隐现，娇态尽显。玲珑湖石立于坡间，间伴细草幽竹，朴雅静谧。几只彩蝶振翅穿行，翅纹纤毫毕现，似携清风欲飞，让画面骤然生动。\n\n绣法精巧入微，将工笔花鸟画的雅致意趣融于针黹，配色柔雅和谐，石青底色衬出浅绣的温润柔和，整体清逸娴静，尽显旧时绣作的细腻灵秀，将庭院春景的恬然诗意凝固于方寸之间。",[1156,1118,30,569,591,51,7,8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夏秋草图屏风-秋分","不详","酒井抱一","日本画家的的琳派。他以复兴绪方光琳的风格和流行而闻名，并创作了光琳作品的许多复制品。",[23,29,28,30,161,1178,31,7,207,1179,1180],"绿叶","浮世绘","日本传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F115d92d5e47f2f2a6c2be087928f418c.jpg",[],{"id":1184,"slug":1185,"title":1186,"dynasty":93,"author":1187,"museum":231,"description":1188,"tags":1189,"thumbUrl":1190,"material":393,"size":394,"collection":165,"collections":1191,"showCount":1192,"zanCount":11,"manualWeight":11,"mainColor":88},239454,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239454","邹一桂花鸟草虫图册","邹一桂","邹一桂（1688-1772），清代画家。字元褒，号小山、二知、让卿、乡森子，江苏无锡人。雍正五年(1727)进士，官至礼部侍郎。擅工笔花卉。尝作《百花》卷，各系一诗。传世作品有《白梅山茶图》、《太古云岚图》、《水仙红梅图》等。",[25,26,80,28,29,30,32,7,193,207,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F384bf1f79890e720543b7671782cefef.jpg",[],44,{"id":1194,"slug":1195,"title":1196,"dynasty":1174,"author":1197,"museum":231,"description":1198,"tags":1199,"thumbUrl":1205,"material":393,"size":394,"collection":1206,"collections":1207,"showCount":1192,"zanCount":168,"manualWeight":11,"mainColor":41},225726,"butterflies-and-poppies-april-may-fan-gao-225726","Butterflies and poppies (April - May )","梵高","文森特·威廉·梵高（Vincent Willem van Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[24,1200,1201,1202,1203,29,7,359,287,1204],"油画","后印象派","色彩浓郁","笔触奔放","茎叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c05154593d54f2ae99eba9a94f67dcf.jpg","油画精选",[1206],{"id":1209,"slug":1210,"title":1211,"dynasty":93,"author":1212,"museum":231,"description":1213,"tags":1214,"thumbUrl":1215,"material":62,"size":165,"collection":37,"collections":1216,"showCount":1192,"zanCount":11,"manualWeight":11,"mainColor":88},220249,"die-lian-hua-tu-zhou-xian-220249","蝶恋花图","周闲","周闲（1820年—1875年），字存伯，一字小园，号范湖居士，浙江秀水（今嘉兴）人，晚清著名词人、篆刻家、海上画派名家。\n严迪昌《清词史》称周闲足与鸦片战争时期诗史型诗人贝青乔并驾齐驱。咸丰三年，佐戎幕剿灭嘉定小刀会，以功赐六品官。同治三年，官新阳令、候补知州同知。同治五年，因事与大吏龃龉，遭革职，隐居吴市，假笔墨以自娱。晚年寓居上海。\n善画花卉蔬果，远师陈淳、恽寿平、李鱓，近参任熊，笔致雄浑秀腴。《嘉兴府志》称：“其画浓部密致，似宋人”。与任熊、姚燮、胡公寿为艺文挚友，同蒋春霖、任薰、任颐、吴大徵、吴昌硕、张之万等交游密切。善篆刻，富金石派学养。喜用行楷，气韵朴厚。作品有《任处士传》、《范湖草堂词》等。见《海上墨林》、《广印人传》、《清画家诗史》、《金石家书画集》、吴大澂《愙斋日记》、人民文学出版社《近代词史》。",[23,25,26,29,30,178,7,181,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcfb731c7098f88507a9128e18726ce4.jpg",[37],{"id":1218,"slug":1219,"title":240,"dynasty":18,"author":241,"museum":242,"description":1220,"tags":1221,"thumbUrl":1222,"material":247,"size":394,"collection":165,"collections":1223,"showCount":1224,"zanCount":11,"manualWeight":11,"mainColor":41},287891,"fu-rong-jin-ji-tu-zhao-ji-287891","此画以花蝶、锦鸡构成画面，画中两只芙蓉花娴静的半开着，一只锦鸡蓦然飞临芙蓉的枝头，压弯了枝头，打破了宁静，枝头还在颤动，而锦鸡却浑然不顾，已回首翘望右上角那对翩翩起舞的彩蝶，跃跃欲试。\n画中赵佶自题：“秋劲拒霜盛，峨冠锦羽鸡，已知全五德，安逸胜凫鷖”。\n画内藏印有“万历之宝”、“乾隆御览之宝”、“嘉庆御览之宝”、“宣统御览之宝”等。 [2]\n画中还有签名画押，据说是天下一人四字拼合而成。",[25,30,28,29,57,100,245,7,176,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53ed80cbf2e91b8137c11c7a56795b76.jpg",[],43,{"id":1226,"slug":1227,"title":1228,"dynasty":93,"author":821,"museum":231,"description":822,"tags":1229,"thumbUrl":1230,"material":393,"size":394,"collection":165,"collections":1231,"showCount":1224,"zanCount":11,"manualWeight":11,"mainColor":88},239244,"mu-dan-shi-liu-zhong-ce-jiang-ting-xi-239244","牡丹十六种册",[25,26,80,28,29,30,51,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee8cd875f8ac880b48dbab7264c27a44.jpg",[],{"id":1233,"slug":1234,"title":1235,"dynasty":93,"author":1236,"museum":231,"description":1237,"tags":1238,"thumbUrl":1239,"material":393,"size":394,"collection":165,"collections":1240,"showCount":1224,"zanCount":306,"manualWeight":11,"mainColor":88},234846,"hua-hui-tuan-shan-mian-mou-su-yun-234846","花卉团扇面","缪素筠","缪嘉蕙，清女。字素筠，昆明人，适同邑陈氏。光绪（一八七五至一九零八）中叶，慈禧太后忽怡情翰墨，学绘花卉，又作擘窠大字，常书福寿等字以赐大臣等。思行一二代笔妇人，乃诏各省觅之。时嘉蕙随夫宦蜀，夫死子幼，归滇，以弹琴、卖画为活。工翎毛、花卉，秀逸清雅，小楷亦楚楚合格。四川督抚乃驿送之京师。慈禧如试大喜，置诸左右，朝夕不离。并免其跪拜，赏三品服色，月奉二百金，遂为福昌殿供奉。自是慈禧所赏大臣花卉扇轴等物，均嘉蕙手笔。供奉而外伤产力所作，都人士兼金争购。卒年七十七。人称缪姑太。",[25,220,29,28,30,51,179,7,60,1003],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F019ffadf7fde2d722aa6a37981cc8565.jpg",[],{"id":1242,"slug":1243,"title":1244,"dynasty":18,"author":241,"museum":242,"description":243,"tags":1245,"thumbUrl":1246,"material":547,"size":248,"collection":165,"collections":1247,"showCount":1224,"zanCount":11,"manualWeight":11,"mainColor":41},232979,"fu-rong-jin-ji-tu-zhou-zhao-ji-232979","芙蓉锦鸡图轴",[25,24,141,28,29,30,57,245,7,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5116d76afa37a92bf68862f475326df6.jpg",[],{"id":1249,"slug":1250,"title":1251,"dynasty":130,"author":1252,"museum":231,"description":1253,"tags":1254,"thumbUrl":1255,"material":165,"size":165,"collection":165,"collections":1256,"showCount":1224,"zanCount":11,"manualWeight":11,"mainColor":41},227261,"hua-hui-xie-sheng-tu-ce-huang-ju-cai-227261","花卉写生图册","黄居寀","黄居寀(933—?),字伯鸾,成都(今属四川)人,五代后蜀名画家黄筌季子。擅绘花竹禽鸟,精于勾勒,用笔劲挺工稳,填彩浓厚华丽,其园竹翎毛形象逼真,妙得自然;怪石山水超过乃父。与父同仕后蜀,为翰林待诏。乾德三年(965)随蜀主降宋,进京供职宫廷,仍授翰林待诏,负责收罗和鉴定名画,淳化四年(993)曾出使成都府。太宗尤加宠遇,委以搜访名画、诠定品目只重责。",[24,25,26,80,29,28,30,31,7,300,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc391f878cf5f9eadb56dcc0c84f4c326.jpg",[],{"id":1258,"slug":1259,"title":1260,"dynasty":18,"author":685,"museum":231,"description":1261,"tags":1262,"thumbUrl":1263,"material":393,"size":394,"collection":165,"collections":1264,"showCount":1265,"zanCount":306,"manualWeight":11,"mainColor":88},288421,"ju-cong-fei-die-tu-cao-chong-zhu-shao-zong-288421","菊丛飞蝶图-草虫","图绘丛菊盛开。花分黄、白、蓝、紫四色，构图繁复，灿若文锦。虽是篱边野景，却饶富贵典雅气象。蜜蜂逐花而至，蛱蝶上下翻飞，为画面增添了动感。花瓣、叶片的勾染皆极为精工，花心用白粉点染，立体感很强，望似凸出于绢素之上。画史称作者“描染精邃，远过流辈”，信是不虚。",[23,25,220,28,29,30,53,7,176,208,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe49dd3804561dfd01b41e581c283a7eb.jpg",[],42,{"id":1267,"slug":1268,"title":1269,"dynasty":93,"author":46,"museum":231,"description":1270,"tags":1271,"thumbUrl":1276,"material":393,"size":394,"collection":165,"collections":1277,"showCount":1265,"zanCount":11,"manualWeight":11,"mainColor":765},259550,"xuan-tong-kuan-fen-cai-hu-die-wen-pie-kou-ping-yi-ming-259550","宣统款粉彩蝴蝶纹撇口瓶","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[1272,1273,1274,1275,7],"陶瓷","粉彩","蝴蝶纹","撇口瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bae61eca4b1d73afec66e528212c31e.jpg",[],{"id":1279,"slug":1280,"title":1281,"dynasty":93,"author":1282,"museum":231,"description":1283,"tags":1284,"thumbUrl":1285,"material":393,"size":394,"collection":165,"collections":1286,"showCount":1265,"zanCount":11,"manualWeight":11,"mainColor":41},239084,"hua-niao-ping-liao-yun-jin-239084","花鸟屏","廖云锦","廖云锦，生卒年不详，约活动于清道光年间（1821－1850年）。字蕊珠，号织云、锦香居士，华亭（今属上海）人，袁枚女弟子。自幼从父廖古檀吟诗作画同，后归泗泾马氏。",[25,26,141,28,29,667,30,50,51,180,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45f5bffa7312da453bc23ab23d99493e.jpg",[],{"id":1288,"slug":1289,"title":1290,"dynasty":74,"author":75,"museum":231,"description":477,"tags":1291,"thumbUrl":1293,"material":393,"size":394,"collection":165,"collections":1294,"showCount":1295,"zanCount":306,"manualWeight":11,"mainColor":88},287797,"hua-hui-cao-chong-shan-chen-hong-shou-287797","花卉草虫扇",[23,220,25,24,26,29,28,30,1292,57,7],"花卉草虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3d257f034c5743e049d2308aee80852.jpg",[],41,{"id":1297,"slug":1298,"title":1299,"dynasty":93,"author":1300,"museum":231,"description":1301,"tags":1302,"thumbUrl":1304,"material":165,"size":165,"collection":165,"collections":1305,"showCount":1295,"zanCount":306,"manualWeight":11,"mainColor":88},224205,"ying-wu-xi-die-tu-hu-mei-224205","鹦鹉戏蝶图","胡湄","《鹦鹉戏蝶图》是画家胡湄所作的一幅画，现藏于上海博物馆。\n此画中的花鸟仿宋人笔，工笔重色，细致艳丽。\n梅花之沉稳雅致与鹦鹉之灵动飞扬成对比，造型精确、形态生动。\n花朵胭脂设色，鲜嫩娇美，墨绿树叶作为衬托，层次向背各自分明。\n鹦鹉的羽毛用白粉工笔勾描，质感柔绵，整幅画无一懈笔，青铜架上的绿锈、红霉均细致地得到表现。\n在和煦的阳光下，大地一片清新蓊郁，在村宅的一隅，一枝怒放的梨花，张开笑脸，散发出阵阵清香，这时两只斑灿美丽的蝴蝶向飘落的梨花追逐，一只原系立于铜架上的鹦鹉反身而下，全力地扑向彩蝶，形态生动。\n署款“晚山胡湄写”。\n钤 “湄印”白文印、“晚山”朱文印。\n从这幅画中可以看到，画家别有心意，十分留心自然界中所发生的一点一滴，并体察入微，将之再现于画画，让人们领略到这美妙而富有的生活情趣的景象。\n折枝梨树，画画左侧横上舒枝展叶，枝头缀满花朵，有的向阳怒放，有的含蕾待放，煞是可爱。\n花朵设色，鲜嫩可爱，以墨绿树作为衬托，层次向背各自分明。\n鹦鹉的羽毛用粉笔勾描，显示出羽毛柔绵的质感。\n勾画眼、嘴、爪均用较浓的墨色。\n此画的艺术特色足以简雅清淡取胜。\n全幅境象疏朗，笔墨简练，结构上不作繁密丰满、全景式的布局，其他树石、花木作为陪衬，剪裁得宜，取景自然。\n在画法上，不事雕琢，笔墨不多，却能使此画满幅生辉，使欣赏者获得美的享受。\n胡湄，生卒年不详。\n字飞涛，号晚山，又号秋雪，浙江平湖人。\n诸生，项元汴外孙。\n由于项氏收藏 甲天下，故胡氏受到完整的古代绘画艺术的薰陶。\n他为人耿直，富人以金帛求画多拒之。\n他画的花鸟虫鱼、“时称仙笔”。\n传世作品有《鹦鹉戏蝶图》。",[23,25,26,24,141,28,29,30,1303,7,193,643,60],"鹦鹉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72d4e5bf65a6b3e2e6a86eefde4da10a.jpg",[],{"id":1307,"slug":1308,"title":1309,"dynasty":130,"author":1310,"museum":231,"description":1311,"tags":1312,"thumbUrl":1314,"material":393,"size":394,"collection":165,"collections":1315,"showCount":1316,"zanCount":168,"manualWeight":11,"mainColor":41},287375,"ye-hua-cao-chong-tu-qiu-yu-qing-287375","野花草虫图","丘余庆","丘余庆，五代后蜀人，丘文播子，居成都。",[24,25,26,30,28,29,1313,179,32,7,973],"野花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ffa37c7c203d2d3737bf30decc157ec.jpg",[],40,{"id":1318,"slug":1319,"title":1320,"dynasty":74,"author":46,"museum":231,"description":1321,"tags":1322,"thumbUrl":1323,"material":393,"size":394,"collection":165,"collections":1324,"showCount":1316,"zanCount":306,"manualWeight":11,"mainColor":41},238966,"song-yuan-ming-hua-ce-ming-ren-hua-hui-cao-chong-tu-ye-yi-ming-238966","宋元明画册－明人花卉草虫图页","此作为工笔花鸟小品，以团扇承载幽微野趣。牵牛花藤蔓萦回，叶片俯仰错落，红瓣晕染出娇嫩层次，白蕊点缀其间，鲜活明妍，将盛夏花卉的柔婉生机尽数铺展。\n草虫隐匿花间，蚱蜢静伏枝桠，翅脉纹路细腻宛然，粉蝶恋花低徊，飞虫振翅欲去，动静交织，把郊野一隅的刹那鲜活定格绢上。设色调和古雅，赭色绢底衬得花叶愈发清妍不俗，细劲秀逸的线条勾勒出草木柔态与虫豸灵动，尽显雅致工丽，将夏日闲静小景凝于尺幅之间，引人沉醉在这静谧鲜活的方寸天地里。",[25,26,80,29,28,79,30,32,57,7,31,162],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4bc0d30b118796ae3802452fc2608ee.jpg",[],{"id":1326,"slug":1327,"title":1328,"dynasty":18,"author":832,"museum":231,"description":1329,"tags":1330,"thumbUrl":1334,"material":165,"size":165,"collection":165,"collections":1335,"showCount":1336,"zanCount":168,"manualWeight":11,"mainColor":41},232778,"xie-sheng-zhe-zhi-tu-juan-wu-bing-232778","写生折枝图卷","吴炳，毗陵武阳人（今江苏省常州市），南宋光宗绍熙年间(1190-1194)画院待诏。光宗皇后李氏爱其画，恩赉甚厚，赐金带。工画花鸟，元代夏文彦《图绘宝鉴》谓其画“写生折枝，可夺造化，彩绘精致富丽”。所作谨守院体画风格。画迹有《春池睡鸭图》《山茶鹁鸽图》《鸳鸯瑞莲图》《宝珠玉蝶图》《折枝绛桃图》《折枝芍药图》《鸡冠花图》《玫瑰图》《长春图》《水仙图》等43件，著录于《南宋院画录》，均“简易有生趣”，“精彩如生”。",[23,24,25,26,27,28,29,300,1331,30,1332,82,1333,287,7],"折枝","兽","茄子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F735550480f9fac0df96afc47240de032.jpg",[],38,{"id":1338,"slug":1339,"title":1340,"dynasty":93,"author":675,"museum":231,"description":676,"tags":1341,"thumbUrl":1342,"material":393,"size":394,"collection":165,"collections":1343,"showCount":1344,"zanCount":11,"manualWeight":11,"mainColor":88},239083,"si-ji-hua-hui-ping-zhang-xiong-239083","四季花卉屏",[25,26,141,29,28,30,81,181,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77703f523b5de936bdbba16a184e78f0.jpg",[],35,{"id":1346,"slug":1347,"title":1348,"dynasty":93,"author":1349,"museum":231,"description":1350,"tags":1351,"thumbUrl":1352,"material":165,"size":165,"collection":165,"collections":1353,"showCount":1344,"zanCount":11,"manualWeight":11,"mainColor":88},224582,"feng-xian-dao-gua-jiang-ting-xi-zhang-zhao-224582","凤仙倒挂","蒋廷锡 张照","设色明妍清润，凤仙花柔茎舒叶，艳红花瓣娇柔含露，倚石而生，野趣盎然。两只粉蝶一静一翩跹，将花畔生机尽数晕开，工细笔触晕染出蝶翼薄透肌理，花草枝叶的阴阳向背皆细腻入微，兼具工笔精致与写意雅致。\n右侧行书清劲秀雅，笔势流转间将咏花诗意娓娓道来，诗画相映，铺陈出凤仙花的幽逸品格。整幅册页雅致隽秀，融绘事笔墨与文人意趣于一体，尽显温婉雅致之美，是诗画合璧的精妙之作。",[23,25,26,80,29,28,208,30,259,82,457,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b550ce4b068e3759d7ebce65ce339e1.jpg",[],{"id":1355,"slug":1356,"title":1357,"dynasty":93,"author":543,"museum":47,"description":632,"tags":1358,"thumbUrl":1360,"material":29,"size":635,"collection":165,"collections":1361,"showCount":1344,"zanCount":11,"manualWeight":11,"mainColor":88},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",[23,25,26,80,29,28,30,101,1359,7,481],"慈姑花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45ad0b6a8b52b7b8263a034c82ced6e6.jpg",[],{"id":1363,"slug":1364,"title":1365,"dynasty":18,"author":46,"museum":231,"description":1366,"tags":1367,"thumbUrl":1369,"material":165,"size":165,"collection":165,"collections":1370,"showCount":1371,"zanCount":11,"manualWeight":11,"mainColor":88},227935,"qing-feng-ju-die-tu-yi-ming-227935","青枫巨蝶图","《青枫巨蝶图》是宋代佚名画家创作的一幅绢本设色画。\n描绘了伸出嫩绿色枫树一株，枝叶婆娑。\n一只赭黄色巨蝶从右上侧凌空飞临，与枫叶构成平衡的对角关系。\n本幅无款。\n鉴藏印钤“大观”葫芦形朱文印以及“石渠宝笈”、“乐 善堂图书记”、“重华宫鉴藏宝”印。\n钤清乾隆、嘉庆二御览印。\n图左下方更有鲜红色 伏于枫叶之上，十分俏皮。\n画风高度写实，细致入微。\n画法的特点一是细线勾勒，笔若游丝，使蝶与枝、叶的形态皆极为轻倩灵秀；二是设色淡雅明快，红、绿、黄对比鲜明，给人以清新出尘之感，不落浓艳俗套。\n存《 》册中。\n《 》著录。",[23,24,25,26,220,29,30,28,1368,7,60],"枫树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49b2cd2c17f1f932ab06e135ac4df848.jpg",[],34,{"id":1373,"slug":1374,"title":1375,"dynasty":74,"author":1376,"museum":231,"description":1377,"tags":1378,"thumbUrl":1380,"material":393,"size":394,"collection":165,"collections":1381,"showCount":1382,"zanCount":11,"manualWeight":11,"mainColor":88},237801,"hua-die-shan-wu-shi-pei-237801","花蝶扇","吴时培","此作以没骨法绘就，构图疏密相宜。左畔折枝错落，红果碎花点缀其间，晕染柔润鲜亮，尽显草木鲜活生机。中部草虫伏于阔叶之上，翅脉纹路勾勒细致，将虫豸之态摹写逼真。右侧双蝶振翅翩跹，灵动轻盈，仿佛携着微风掠过花间。\n\n设色清雅明丽，没骨晕染衬出花叶柔润质感，工写相融，既有写生的生动写实，又不失文人写意的澹澹雅致。题款与画面相映成趣，将花间逸趣凝于咫尺扇面，静中藏动，尽显悠然雅致的文人意趣。",[220,25,26,29,30,7,31,1379,194],"石块","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F237f267cd73fc030b9c293426b428408.jpg",[],33,{"id":1384,"slug":1385,"title":1386,"dynasty":115,"author":46,"museum":231,"description":1387,"tags":1388,"thumbUrl":1390,"material":165,"size":165,"collection":165,"collections":1391,"showCount":1382,"zanCount":168,"manualWeight":11,"mainColor":41},223625,"cao-chong-tu-pu-tao-juan-ben-yi-ming-223625","草虫图葡萄绢本","此作以郊野秋景为绘，上方葡萄柔蔓垂挂，攒珠般的果实隐于掌状青叶间，野意横生。\n画面主体蜀葵堆雪似的白花饱满舒展，朱红萱花斜斜探出，衬着星星点点的杂花细草，下方汀渚浅草错落。粉蝶蹁跹穿花，细蜂振翅逐香，草蜢静伏水畔，小景处处藏着灵动生机。\n设色轻淡柔润，晕染写实细腻，工笔勾勒虫羽的轻薄通透，写意铺陈草木的舒展之态，将郊原清寂又鲜活的意趣尽数定格，尽显写生花鸟的雅致野逸。",[23,25,24,26,247,29,28,30,32,1389,7,193,161,162],"葡萄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1952844787d4fec5abf43c241f76ab44.jpg",[],{"id":1393,"slug":1394,"title":1395,"dynasty":93,"author":1396,"museum":47,"description":1397,"tags":1398,"thumbUrl":1399,"material":942,"size":1400,"collection":165,"collections":1401,"showCount":1402,"zanCount":306,"manualWeight":11,"mainColor":88},224573,"qing-qian-long-ke-si-hua-hui-gua-ping-san-zhou-qing-ren-224573","清乾隆缂丝花卉挂屏（三）轴","清人","花卉册在本色地上缂织茶花水仙、玉兰海棠、牡丹、碧桃芝竹、百合剪春罗、荷花蜻蜓、踯躅、芝兰、秋海棠、剪秋纱、蝴蝶花、梅花等各色花卉，每开均缂织而成，无着笔处。画幅采用平缂、构缂、木梳戗、长短戗、凤尾戗和掼缂等缂织技法，缂工细致，润色自然，描画不求形似，具有简逸风格的文人花鸟画风。",[23,221,141,29,28,31,7,643,162,33,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5222c3323292451a6bbb293a2c5953d.jpg","每开纵41厘米，横42厘米",[],31,{"id":1404,"slug":1405,"title":1406,"dynasty":1174,"author":46,"museum":231,"description":1407,"tags":1408,"thumbUrl":1412,"material":393,"size":394,"collection":165,"collections":1413,"showCount":1402,"zanCount":11,"manualWeight":11,"mainColor":88},223728,"nei-tian-fa-lang-qian-bao-shi-hu-die-shi-xiong-zhen-biao-yi-ming-223728","内填珐瑯嵌宝石蝴蝶式胸针表","内填珐琅最初是在公元十一世纪时，由法国里摩的珐琅工匠发明出来的，它是在欧洲原来制作珐琅的技艺的基础上在旧有的掐丝珐琅制作工艺中有了新的突破而发展起来的，内填珐琅是清朝初期的康熙年间传入中国的，由于内填珐琅的制作，没有了掐丝这道工序，就可以将透明珐琅釉料直接填入图案中进行烧制，因此当时工匠才称之为“内填珐琅”。",[1409,1410,1411,7],"内填珐琅","嵌宝石","饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfcc4f3168282fc86f16342e0670f173.jpg",[],{"id":1415,"slug":1416,"title":1417,"dynasty":152,"author":1418,"museum":1419,"description":1420,"tags":1421,"thumbUrl":1422,"material":165,"size":165,"collection":165,"collections":1423,"showCount":1402,"zanCount":11,"manualWeight":11,"mainColor":88},220498,"sheng-ting-hong-zhang-da-qian-220498","胜鞓红","张大千","龙美术馆西岸馆","湖石嶙峋苍古，朱砂牡丹开得秾艳饱满，翠色修竹挺拔清隽，粉蝶蹁跹于枝叶之间，生机盈盈。\n设色妍丽却不俗媚，牡丹以重彩层层晕染，尽显雍容华贵；竹叶勾勒劲挺秀逸，带着清透灵韵；湖石以枯笔皴擦，苍劲老辣。虫蝶刻画入微，纤毫毕现，工笔与写意交融，将艳色与清致揉合。\n题字错落排布，书画相生，浑然成趣。整幅画作既有富贵堂皇之态，又藏幽隽清雅之韵，尽显雅致意趣。",[23,25,29,28,141,51,179,7,181,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F547b612a976de1d70f05f8c816e69aa8.jpg",[],{"id":1425,"slug":1426,"title":1427,"dynasty":93,"author":1428,"museum":231,"description":1429,"tags":1430,"thumbUrl":1432,"material":393,"size":394,"collection":165,"collections":1433,"showCount":1434,"zanCount":11,"manualWeight":11,"mainColor":88},289907,"qing-mou-cheng-shan-yu-fei-an-289907","情眸成扇","于非闇","于非闇（1889年3月22日—1959年7月3日），原名于魁照，后改名于照，字仰枢，别署非闇，又号闲人、闻人、老非，近现代中国画家。原籍山东蓬莱，出生于北京，自幼得书画家传。1912年入师范学校学习，后任教于私立师范校、私立华北大学美术系。兼任古物陈列所附设国画研究馆导师。1935年起专攻工笔花鸟画。1949年后历任中央美术学院民族美术研究所研究员、北京中国画研究会副会长、北京画院副院长。作品有《玉兰黄鹂》、《丹柿图》、《牡丹鸽子》等。著有《非闇漫墨》、《艺兰记》、《中国画颜料研究》、《我怎样画花鸟画》。",[220,25,26,28,29,30,137,7,181,1431],"萱草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff863da702831d1f54c9cc95d7ee7ffae.jpg",[],29,{"id":1436,"slug":1437,"title":1438,"dynasty":74,"author":75,"museum":231,"description":477,"tags":1439,"thumbUrl":1440,"material":393,"size":394,"collection":165,"collections":1441,"showCount":1434,"zanCount":11,"manualWeight":11,"mainColor":88},235794,"hua-shi-hu-die-tu-shan-ye-chen-hong-shou-235794","花石蝴蝶图扇页",[24,25,26,220,29,28,30,7,193,181,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F929eff4102003e83d39418c727068bd0.jpg",[],{"id":1443,"slug":1444,"title":1445,"dynasty":93,"author":543,"museum":47,"description":632,"tags":1446,"thumbUrl":1447,"material":29,"size":635,"collection":165,"collections":1448,"showCount":1434,"zanCount":11,"manualWeight":11,"mainColor":88},222730,"xian-e-chang-chun-tu-shi-zhu-lang-shi-ning-222730","仙萼长春图石竹",[23,25,24,80,28,29,30,7,931,31,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d96b867500e27d6e867822d834d5f07.jpg",[],{"id":1450,"slug":1451,"title":1452,"dyn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and butterflies (May - July )",[1200,1645,1201,207,7,336,1646],"厚涂","沙地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b611e16ff1c155c04dec0db7304f7fd.jpg",[1206],{"id":1650,"slug":1651,"title":1546,"dynasty":18,"author":696,"museum":231,"description":1652,"tags":1653,"thumbUrl":1655,"material":393,"size":394,"collection":165,"collections":1656,"showCount":1657,"zanCount":306,"manualWeight":11,"mainColor":41},289349,"xie-sheng-cao-chong-tu-cui-bai-289349","画面右侧绘野生花草，狗尾、紫菀莛叶穿插。菜粉蝶落在花上吸取花蜜，蜻蜓徐徐低飞，蚱蜢跃跃欲跳，整幅画面充满动感。3只昆虫在画面上的等边三角形构图平衡了丛生的野草所造成的重心偏倚，使画面结构稳定。野草和花叶用花青加汁绿勾填，花用没骨法出之，昆虫兼工带写，形态逼真。",[23,24,25,27,28,29,30,32,7,58,1654,208,176,300],"蝉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b7dcd9dc21885b547b27cbaf1170050.jpg",[],22,{"id":1659,"slug":1660,"title":1661,"dynasty":115,"author":46,"museum":231,"description":1662,"tags":1663,"thumbUrl":1664,"material":393,"size":394,"collection":165,"collections":1665,"showCount":1657,"zanCount":11,"manualWeight":11,"mainColor":765},288922,"cao-chong-tu-dui-zhou-zhi-pu-tao-yi-ming-288922","草虫图对轴之葡萄","元代绘画中，文人画占据画坛主流。因元代未设画院，除少数专业画家直接服务于宫廷外，大都是身居高位的士大夫画家和在野的文人画家。他们的创作比较自由，多表现自身的生活环境、情趣和理想。山水、枯木、竹石、梅兰等题材大量出现，直接反映社会生活的人物画减少。作品强调文学性和笔墨韵味，重视以书法用笔入画和诗、书、画的三结合。",[24,25,141,28,29,30,32,1389,57,1431,7,323,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F989194f767a3f85d72ea617008493ab9.jpg",[],{"id":1667,"slug":1668,"title":1669,"dynasty":115,"author":46,"museum":76,"description":1670,"tags":1671,"thumbUrl":1673,"material":62,"size":1674,"collection":165,"collections":1675,"showCount":1657,"zanCount":11,"manualWeight":11,"mainColor":41},232257,"cong-ju-tu-yi-ming-232257","丛菊图","《宋人画丛菊图》是宋代佚名创作的一幅画。图绘秋菊一丛，红白相间，繁枝茂叶，生机勃发，不见肃杀秋意。花瓣用中锋细笔勾描，再以朱红或白粉晕染；花蕊用细笔点出；茂密的叶片或用赭石、或略入汁绿、或稍加藤黄染出，以示老嫩不同的色彩。花之欲开、盛开、将残，叶之翻卷及明暗向背，刻画得恰到好处。画风工致细腻，构图丰满，但繁而不乱，密而不窒，设色艳而不俗，为南宋写生画佳作",[25,24,26,1672,141,29,28,30,53,457,7],"元代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25f51eb89e89e998efcbce918c58e349.jpg","35x36cm",[],{"id":1677,"slug":1678,"title":1679,"dynasty":74,"author":75,"museum":664,"description":1680,"tags":1681,"thumbUrl":1682,"material":80,"size":165,"collection":165,"collections":1683,"showCount":1657,"zanCount":11,"manualWeight":11,"mainColor":88},221907,"hua-niao-jing-pin-ce-4-chen-hong-shou-221907","花鸟精品册4","陈洪绶（1599～1652），明末清初著名书画家、诗人，字章侯，号老莲，浙江绍兴人。其画手法简练，格调高古，享誉明末画坛，与当时的顺天崔子忠齐名，号称“南陈北崔”。花鸟工笔描绘精细，设色清丽，富有装饰味。",[25,24,26,80,29,28,30,7,57,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2ced18c0048b9fb698e0e97704afea7.jpg",[],{"id":1685,"slug":1686,"title":1687,"dynasty":93,"author":46,"museum":231,"description":1688,"tags":1689,"thumbUrl":1691,"material":393,"size":394,"collection":165,"collections":1692,"showCount":1693,"zanCount":11,"manualWeight":11,"mainColor":88},270161,"fen-hong-se-sha-xiu-hua-die-tu-mian-zi-qi-miao-jin-bing-tuan-shan-yi-ming-270161","粉红色纱绣花蝶图面紫漆描金柄团扇","是传统刺绣形式之一。它是在方格纱的底料上严格按格数眼进行刺绣的。不仅图案美丽，而且随 着线条横、直、斜的不同排列作丰富的变化，但花纹间的空眼必须对齐。\n以素纱为绣底，绣时须按格或数眼绣制。绣法垂直进行，以大套小的几何图案，绣满全幅，用色一般以每一几何形为单位。刺绣步骤：以波浪纹为例。从纹样边缘第一眼起针，跨过六个眼，在第七个眼下针，以后每针均往下移一个眼，绣到第十针后，每针均向上移一个眼，直至与第一眼相并列时，再往下移，如此循环往复，即成波浪形。第二皮波浪纹绣法相同，落针的针迹要在第一皮原针眼中，以后类推，直至绣满。",[220,1690,1003,1118,30,7,31,758,1516],"团扇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21ac4842200c3d49183d13fc4e1697c6.jpg",[],21,{"id":1695,"slug":1696,"title":1697,"dynasty":1174,"author":46,"museum":231,"description":1698,"tags":1699,"thumbUrl":1702,"material":393,"size":394,"collection":165,"collections":1703,"showCount":1693,"zanCount":11,"manualWeight":11,"mainColor":110},225497,"fu-shi-hui-255-yi-ming-225497","浮世绘255","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[1179,1700,29,7,58,336,747,1701],"木刻","罂粟花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a69b3271a539214a07d7ac2cc37e1f4.jpg",[],{"id":1705,"slug":1706,"title":1707,"dynasty":115,"author":46,"museum":231,"description":1708,"tags":1709,"thumbUrl":1711,"material":165,"size":165,"collection":165,"collections":1712,"showCount":1693,"zanCount":11,"manualWeight":11,"mainColor":41},223624,"cao-chong-tu-zhu-ye-juan-ben-yi-ming-223624","草虫图竹叶绢本","画面错落铺陈野趣生机，上方疏枝斜探，中段群芳舒展。明黄蜀葵柔丽妍秀，紫花秾艳、朱英点点，深浅花色交映成趣。粉蝶蹁跹、蜉蝣轻翔，草虫灵动如生，隐于枝叶花间。\n\n落笔工细秀逸，晕染雅致沉静，深褐绢底托衬出花木清妍，将初秋郊野的幽寂鲜活晕染开来。工致中带着写意澹远，把小景生机藏于古雅色调，静中含动，尽显写生花鸟的含蓄雅致，淡冶清和之间，古韵悠然流转，将草木虫豸之微末意趣，铺展成耐人品味的幽闲景致。",[23,25,24,26,247,29,28,32,1710,31,7,58,259],"竹叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ed08f0802a9845b116d1f8c75cdf940.jpg",[],{"id":1714,"slug":1715,"title":1716,"dynasty":93,"author":1717,"museum":20,"description":1718,"tags":1719,"thumbUrl":1720,"material":165,"size":165,"collection":37,"collections":1721,"showCount":1693,"zanCount":168,"manualWeight":11,"mainColor":1722},201851,"qiu-yi-tu-zhou-ren-xun-201851","秋意图轴","任薰","画面藤蔓轻垂，葫芦悬枝，数只蝴蝶栖于透明器上，旁侧竹篮与陶盆错落，秋意清寂却含生机。笔墨疏朗灵动，线条简练传神，设色淡雅温润，于日常小景中见文人雅致，尽显写意之趣。",[25,141,30,29,348,161,157,7,906,371,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc472421d9569154aeb2c14fb731d19e5.jpg",[37],"cfc4ac",{"id":1724,"slug":1725,"title":1726,"dynasty":93,"author":1727,"museum":242,"description":1728,"tags":1729,"thumbUrl":1730,"material":920,"size":165,"collection":165,"collections":1731,"showCount":1732,"zanCount":11,"manualWeight":11,"mainColor":88},237178,"hua-niao-kun-chong-ce-zhou-quan-237178","花鸟昆虫册","周铨","沈铨 （1682—1760），字衡之，号南苹，其画远师黄筌画派，近承明代吕纪，工写花卉翎毛、走兽，以精密妍丽见长，也擅长画仕女。设色妍丽，工致精丽、赋色浓艳，极尽构梁之巧。画人物得不传之秘。注重写实，画风谨严工细，造型准确生动。尝写《花蕊夫人宫词》为图，笔意殊极巧妙。\n雍正九年（1731）沈铨应日本天皇之聘，偕弟子郑培、高钧等东渡日本，历时3年，形成“南苹派”写生画，深受日人推崇，被称为“舶来画家第一”，从习画者颇多，日本江户时代长崎画派即在其影响下形成，尤以圆山应举最为著名。归得金帛散给友朋，橐仍萧然。\n沈铨归国后声誉大震，传至京城，朝廷便下旨命沈铨作画上贡，乾隆7年作《花蕊夫人宫词意》受到好评，除此，沈铨还陆续为宫廷作吉祥寓意之画，由此沈铨及弟子童衡在中国画史上被称为宫廷画家，沈铨晚年寄居于苏州，孜孜不倦地致力于书画艺术之研究，在乾隆27年81岁的沈铨还能作《花鸟图》。1762年沈铨逝世后，从子沈天骧进新市南频府，守孝三年，继承画业，唯一入室弟子童衡离开沈宅到新市明因寺为僧，闲余作画终身。沈铨把一生献给了绘画事业，在继承院体派传统的基础上，独创了强大的南苹画派，在当时的江南独树一帜，有诗予以很高的评价“江南高手谁第一，吴兴沈生世无匹”。",[25,26,80,29,28,30,82,57,207,323,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd41aa9c65a510594189b75d82abf7fce.jpg",[],19,{"id":1734,"slug":1735,"title":1736,"dynasty":1174,"author":1197,"museum":231,"description":1198,"tags":1737,"thumbUrl":1739,"material":393,"size":394,"collection":1206,"collections":1740,"showCount":1732,"zanCount":11,"manualWeight":11,"mainColor":41},225750,"garden-with-butterflies-1889-fan-gao-225750","Garden with butterflies 1889",[1200,1201,1645,1203,1202,1738,644,7,259,405],"绿色调","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fd199a6ed2579950996617568558994.jpg",[1206],{"id":1742,"slug":1743,"title":1744,"dynasty":1174,"author":46,"museum":231,"description":1745,"tags":1746,"thumbUrl":1748,"material":165,"size":165,"collection":165,"collections":1749,"showCount":1732,"zanCount":306,"manualWeight":11,"mainColor":41},225300,"fu-shi-hui-22-yi-ming-225300","浮世绘22","画面左右分置景致，左侧浅粉底色晕开柔缓春意，牵牛藤蔓虬曲舒展，蓝紫花苞次第绽放，蛱蝶振翼落于枝梢，灵动柔婉。右侧靛蓝为底，暖艳樱花层层缀满枝桠，双雀依偎栖息，羽色晕染细腻丰润，鲜活憨态尽显。\n中间题字墨色沉浑朴拙，书画相映成趣。配色明丽和谐，写实笔触糅合装饰意趣，将春日草木禽虫的闲逸意趣尽数定格，尽显和风雅致的风物之美，把自然里的幽微鲜活凝于纸面。",[1179,1700,29,30,55,7,1747,137,176,60],"樱花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5c01d703510bfa358818231a8cad0b5.jpg",[],{"id":1751,"slug":1752,"title":1753,"dynasty":93,"author":46,"museum":231,"description":735,"tags":1754,"thumbUrl":1755,"material":393,"size":394,"collection":165,"collections":1756,"showCount":1757,"zanCount":168,"manualWeight":11,"mainColor":88},272867,"zi-tan-mu-bian-ke-si-hua-die-tu-gua-ping-yi-ming-272867","紫檀木边缂丝花蝶图挂屏",[25,1156,221,29,28,30,51,591,7,569],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ca75e6fce0bd759ecb006400d86b428.jpg",[],18,{"id":1759,"slug":1760,"title":1761,"dynasty":93,"author":46,"museum":231,"description":1762,"tags":1763,"thumbUrl":1765,"material":393,"size":394,"collection":165,"collections":1766,"showCount":1757,"zanCount":11,"manualWeight":11,"mainColor":88},267654,"mi-se-di-bai-die-hua-hui-wen-jin-yi-ming-267654","米色地百蝶花卉纹锦","《说文》：“锦，襄邑织文。从帛，金声。”即用彩色经纬丝织出各种图案花纹的纺织品，泛指具有多种彩色花纹的丝织物。锦的生产工艺要求高，织造难度大，所以它是古代最贵重的织物。“锦，金也，作之用功重，其价如金。”古人把锦看成和黄金等价。这种织物有经起花和纬起花两种，也叫经锦和纬锦。经锦是用两组或两组以上的经线同一组纬线交织。经线多的二色或三色，一色一根作为一副，如果需要更多的颜色，也可以使用牵色条的方法。纬线有明纬和夹纬；用夹纬把每副中的表经和底经分隔开，用织物正面的经浮点显花。\n用染好颜色的彩色经纬线，经提花、织造工艺织出图案的织物。中国丝织提花技术起源久远。早在殷商时代中国已有丝织物。周代丝织物中出现织锦，花纹五色灿烂，技艺臻于成熟。汉代设有织室、锦署，专门织造织锦，供宫廷享用。自汉武帝后，中国织锦通过丝绸之路传入波斯（今伊朗）、大秦（古罗马帝国）等国。三国时四川蜀锦成为主流。唐代贞观年间窦师伦的对雉、斗羊、翔凤等蜀锦图案，称为绫阳公样。在织造工艺上由经锦改进为纬锦，并出现彩色经纬线由浅入深或由深入浅的退晕手法。北宋宫廷在汴京等地建立规模庞大的织造工场，生产各种绫锦。元代是中国历史上大量生产织金锦（一种加金的丝织物）的时代，宫廷设立织染局、织染提举司，机构庞大，集中了大批优秀工匠。\n明清两代织锦生产集中在江苏南京、苏州，除了官府的织锦局外，民间作坊也蓬勃兴起，形成江南织锦生产的繁荣时期。织锦大多采用传统提花工艺和木制花楼织机，有些织锦因品种不同而有所区别。如宋锦、土家族织锦采用通经断纬工艺，即分段调换彩色纬线，使色彩更加丰富。杭锦采用铁制提花机。织锦种类有南京云锦、四川蜀锦、苏州宋锦、杭州织锦以及少数民族的黎锦、壮锦、傣锦、瑶锦、侗锦、苗锦、土家锦、爱得利斯锦等。1960年以来，中国织锦在继承、发扬传统织锦的基础上，恢复了云锦的妆花锦和蜀锦的浣花锦、锦上添花锦、八答晕锦，并生产了窗帘、沙发套、枕套、被面、台毯、靠垫、床罩、提包、民族服装用料等新品种。\n锦已有3000年以上的历史，战国、西汉以前流行以二色或三色经轮流显花的经锦，包括局部饰以挂经的挂锦、具有立体效果的凸花锦和绒锦。1959年在新疆民丰尼雅遗址发现的东汉“万年如意锦”使用绛、白、绛紫、淡蓝、渥绿五色，通幅分成十二个色条，就是汉代典型的经锦。\n纬锦是用两组或两组以上的纬线同一组经线交织。经线有交织经和夹经；用织物正面的纬浮点显花。1969年在新疆阿斯塔那发现的唐代锦袜，在大红色地上起各种禽鸟花朵和行云的图案，就属于这一种锦。\n经锦和纬锦具有不同的织造效果。经锦的纬密比较低，只用一把梭子，生产效率比较高。纬锦织造比较费时，但可以使用两把以上的梭子，容易变换色彩，色彩丰富。这两种锦在中国出现的时间都比较早。但是六朝以前织造的，以经起花为主；隋唐以后织造的，似乎以纬起花为主。\n在苏联的巴泽雷克发现一批中国战国时期的丝绸，就有用红绿二色纬线织造的纬斜纹起花的纬锦。产生于宋代前后的宋锦以地经、地纬交织成经斜组织，按结经与纹纬交织成纬斜组织。\n金元之际流行加金的丝织物——织金锦，又称“纳石失”。明清时盛行以挖花缎的彩纬多达30—40种，锦面的经、纬方向都有逐花异色的效果，是中国织锦最高水平的代表。\n锦在历史上曾用多棕多蹑机和束棕花楼机织造，现代生产采用纹版提花机。\n国家非常重视非物质文化遗产的保护，南京云锦木机妆花手工织造技艺作为中国古老的织锦技艺最高水平的代表，于2006年列入首批国家级非物质文化遗产名录。2006年5月20日，土家族织锦技艺经国务院批准列入第一批国家级非物质文化遗产名录。2007年6月8日，湖南凤凰水云织锦坊获得国家文化部颁布的首届文化遗产日奖。2009年8月《地理标志产品云锦》国家标准在南京通过国家级专家评审，同年9月成功入选联合国《人类非物质文化遗产代表作名录》。",[1003,1764,7,31,29],"织锦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23f1d23d456988a09385a85b10b14a51.jpg",[],{"id":1768,"slug":1769,"title":542,"dynasty":74,"author":1770,"museum":231,"description":1771,"tags":1772,"thumbUrl":1773,"material":393,"size":394,"collection":165,"collections":1774,"showCount":1757,"zanCount":11,"manualWeight":11,"mainColor":88},235721,"hua-niao-ce-tan-zhi-yi-235721","谈志伊","谈志伊，字公望，号学山，一字思重，无锡人，明代画家。",[25,26,80,28,348,60,30,193,7,207],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f04da4fed1cbef99f2f3a78cdf356fb.jpg",[],{"id":1776,"slug":1777,"title":1778,"dynasty":93,"author":1779,"museum":20,"description":1780,"tags":1781,"thumbUrl":1783,"material":165,"size":165,"collection":37,"collections":1784,"showCount":1757,"zanCount":11,"manualWeight":11,"mainColor":1785},201829,"qiu-hua-hu-die-tu-zhou-tang-guang-qi-201829","秋花蝴蝶图轴","汤光启","画面以暖棕绢本铺陈，秋花簇生于山石侧畔。明黄花朵舒展瓣翼，绛红菊瓣层叠如丝，紫蓝小菊与细碎野卉点缀其间，枝叶脉络毕现。一只蝴蝶振翅悬停，姿态轻盈灵动，为静谧秋景添几分生机。山石以淡墨皴染，质感朴拙，与花卉的妍丽设色相映成趣。构图疏密有致，笔墨细腻工致，尽显秋日野趣与自然意韵，是清代花鸟画作中兼具雅致与生机的小品。",[25,28,29,30,7,1782,457,100,141,26,23],"秋花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbafa48b9b14fb9082841f66cc66e2d38.jpg",[37],"815723",{"id":1787,"slug":1788,"title":1789,"dynasty":93,"author":46,"museum":231,"description":858,"tags":1790,"thumbUrl":1791,"material":393,"size":394,"collection":165,"collections":1792,"showCount":1793,"zanCount":11,"manualWeight":11,"mainColor":88},270167,"huang-se-ke-si-hua-die-tu-mian-hong-mu-diao-hua-bing-tuan-shan-yi-ming-270167","黄色缂丝花蝶图面红木雕花柄团扇",[220,221,860,30,101,7,1003,1516],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93a1b866ba67d6f266466f22b47975bb.jpg",[],17,{"id":1795,"slug":1796,"title":1726,"dynasty":93,"author":1727,"museum":242,"description":1728,"tags":1797,"thumbUrl":1798,"material":920,"size":165,"collection":165,"collections":1799,"showCount":1793,"zanCount":11,"manualWeight":11,"mainColor":88},237181,"hua-niao-kun-chong-ce-zhou-quan-237181",[25,29,28,30,82,7,159,259,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2343f6636f8ad99ed8390e4becb1304a.jpg",[],{"id":1801,"slug":1802,"title":1803,"dynasty":74,"author":75,"museum":76,"description":77,"tags":1804,"thumbUrl":1805,"material":165,"size":84,"collection":165,"collections":1806,"showCount":1793,"zanCount":11,"manualWeight":11,"mainColor":41},228300,"hua-niao-cao-chong-xie-sheng-ce-zhu-cha-die-bao-chen-hong-shou-228300","花鸟草虫写生册-朱茶蝶抱",[24,25,26,80,29,28,30,505,7,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb0b666b51003f2c1d45f96d154a53f9.jpg",[],{"id":1808,"slug":1809,"title":1810,"dynasty":1174,"author":1197,"museum":231,"description":1198,"tags":1811,"thumbUrl":1814,"material":393,"size":394,"collection":1206,"collections":1815,"showCount":1793,"zanCount":11,"manualWeight":11,"mainColor":41},225778,"long-grass-with-butterflies1890-fan-gao-225778","Long Grass with Butterflies1890",[24,1200,1201,644,1812,7,1813,29],"长草","自然风光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F453cb745ef0582cef77e3e57a4b826a7.jpg",[1206],{"id":1817,"slug":1818,"title":1819,"dynasty":18,"author":46,"museum":231,"description":1820,"tags":1821,"thumbUrl":1823,"material":393,"size":394,"collection":165,"collections":1824,"showCount":1825,"zanCount":11,"manualWeight":11,"mainColor":88},290779,"song-ke-si-cui-yu-qiu-he-yi-ming-290779","宋缂丝翠羽秋荷","缂丝是以简单的平纹木机所织成的一种丝织品，与一般丝织品通经通纬的织造方式不同，采通经断纬的方法来织造。先将经线固定，依图案设计的需要，以不同色线作纬线，来回穿梭于图形的经线之间。由于不同色线所织的图形间，彼此不相关联，图案形状周围会留下锯齿状的空隙，因此缂丝又称为刻丝。",[80,25,26,221,30,28,29,1822,7,781,60],"菜蔬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62e53d78bb78065a5e661dc454786d96.jpg",[],16,{"id":1827,"slug":1828,"title":1829,"dynasty":93,"author":46,"museum":231,"description":1830,"tags":1831,"thumbUrl":1835,"material":393,"size":394,"collection":165,"collections":1836,"showCount":1825,"zanCount":11,"manualWeight":11,"mainColor":1837},267705,"xue-qing-se-die-lian-wen-luo-yi-ming-267705","雪青色蝶莲纹罗","雪青色调柔润朦胧，通身提花隐现其间，似将荷塘清景织入丝缕。莲枝舒展勾连，柔婉袅娜，蝶翼轻敛似栖停花侧，欲振翅穿香而过。纹样循环铺陈，罗料肌理通透轻盈，提花纹样虚实相映，静看是花蝶相依的雅致图景，恍若能嗅到莲间清芬，动时丝缕微漾，好似蝶影翩跹掠过莲丛。将东方含蓄诗意藏进经纬之间，尽显传统织造工艺的细腻匠心，晕开独属于旧时光的温婉清宁。",[1003,1832,7,1833,1834],"罗","莲纹","雪青色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dd97ba673215fc74917b3426fd337e3.jpg",[],"9C27B0",{"id":1839,"slug":1840,"title":1841,"dynasty":93,"author":46,"museum":231,"description":1461,"tags":1842,"thumbUrl":1845,"material":393,"size":394,"collection":165,"collections":1846,"showCount":1825,"zanCount":11,"manualWeight":11,"mainColor":88},266240,"ming-huang-se-duan-xiu-pu-tao-hu-die-wen-chen-yi-yi-ming-266240","明黄色缎绣葡萄蝴蝶纹衬衣",[1463,1003,1843,1389,7,1844],"缎绣","明黄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a0e205e8114164ddf2bb4ad858e3a98.jpg",[],{"id":1848,"slug":1849,"title":1850,"dynasty":93,"author":46,"museum":231,"description":1851,"tags":1852,"thumbUrl":1855,"material":393,"size":394,"collection":165,"collections":1856,"showCount":1825,"zanCount":306,"manualWeight":11,"mainColor":88},264385,"huang-se-chou-xiu-he-die-si-ji-hua-wen-pao-liao-yi-ming-264385","黄色绸绣鹤蝶四季花纹袍料","绸缎，泛指丝织物。古时多是有钱人家作为衣物，其颜色光滑亮丽，五彩缤纷。《儿女英雄传》第二回：“大凡到工的官儿们送礼，谁不是缂绣、呢羽、绸缎、皮张，还有玉玩、金器、朝珠、洋表的？” 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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。",[176,2651,2652,141,29,60,7,31],"对联","隶书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cb61eb2deb1fe816dc385f1fcfafea2.jpg",[],{"id":2656,"slug":2657,"title":2658,"dynasty":93,"author":2659,"museum":231,"description":2660,"tags":2661,"thumbUrl":2662,"material":165,"size":165,"collection":165,"collections":2663,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":88},238282,"hua-qia-xuan-yuan-tu-ce-huang-yue-238282","化洽翾蜎图册","黄钺","黄钺（1750年9月5日-—1841年8月16日），字左田，又名左君，号壹斋、左庶子，安徽芜湖人，清朝大臣，历仕乾隆、嘉庆、道光三朝。是著名的教育家、画家、艺术评论家。\n黄钺师法韩愈、苏轼、黄庭坚三人。 [5] 著有《壹斋集》40卷，其中《奏御集》2卷，杂篇6卷，《萧、汤二老遗诗合编》1卷，《画品》1卷。工诗文、书画，所绘山水，有萧云从余韵，“久邀睿赏，与富阳首相。国称董（浩）黄（钺）二家”，宫内名画，多为其鉴定真伪。诗词有苏东坡风韵，年九十一岁失明，自号“盲左”仍吟诗作画，故乡风情，吟咏殆尽，所作《于湖竹枝词》66首，亦诗亦史，富有深厚乡情。宋子才有“太白脱靴”，“山谷返棹”两图，石刻在太平府尊经阁内。《志》谓“子才七世孙，元太平路经历景阳刻”。嘉庆十七年（1812），黄钺在作此图时也注为元景阳刻。后觉有误，自责捉笔：“承讹袭谬，未暇深考。顷友人拓赠二纸，始知其谬，愧赧无已，爰记以诗，以志吾荒陋焉”。虚怀若谷，难能可贵。\n道光五年（1825），黄钺76岁，请求归休。宣宗“温旨慰留”。次年，又申前请，获准荣归。道光二十一年六月三十日申时（即1841年8月16日15时至17时）在芜湖家中逝世，享年九十二岁。宣宗悼惜，追封为太子太保衔，入祀贤良祠，按尚书条例抚恤，谥号“勤敏”。命史馆立传，赐祭葬，树石碑，葬于当涂南褐山下。同年，奉旨入芜湖乡贤祠。 [3]\n清代乾隆、嘉庆、道光年间，当涂出了一位赫赫有名的内阁尚书、军机大臣。黄钺，字左田，号左君，又号壹斋、左盲，生于乾隆十五年（1750年），卒于道光二十一年（1841年）。因其一生敏而好学，著述甚多，又“执掌皖南北书院十载”，对当地文化、教育做出了重要贡献。\n乾隆三十八年（1773年）十月，年仅23岁的黄钺在太平府学政使院参加岁试。安徽提督学政朱筠阅其卷，以为“奇才异能”，称道不止。朱筠在离开当涂回京都时，特地将这位年轻人带入京城应试，虽未中试，但得以在《四库全书》馆做誉录工作，因之学识大进。乾隆五十三年（1788年），黄钺考中举人，五十五年中进士，授户部主事。当时权臣和坤主管户部，因二人意见相左，借故请假回家，协助安徽巡抚李世杰在芜湖赭山谪翠轩创建中江书院，招员授业。嘉庆四年（1799年），仁宗亲政，黄钺奉命进京加封为“懋勤殿行走”。嘉庆九年（1804年），提升为“赞善，入直南书房”。嘉庆十年，出任山西学政，又特旨任湖北、山东、顺天等地的乡试主考官，后又兼任山西、山东学政，准予密折奏事。嘉庆十五年（1810年），迁侍讲学士，十八年擢升内阁学士，十九年升任户部侍郎，不久，又调任礼部侍郎。嘉庆二十四年（1819年），升任礼部尚书，并“赐紫禁城骑马肩舆入直，加封太子少保衔”。次年，升会试主考官。道光元年（1821年），宣宗亲政，封其为军机大臣，不久，又调任户部尚书，参与大典事宜，从事“京察议叙”。道光三年，宣宗“赐宴玉澜堂”，并给功臣绘像，黄钺是当时朝廷15名老臣之一。道光五年，黄钺已75岁，请求归休，宣宗又“温旨慰留”。次年，又申前请，始获准归乡。黄钺在朝廷历时27年。\n黄钺一生为封建统治阶级“矢勤矢慎”，但他笔耕不辍，在学术上也很有造诣。著有《壹斋集》四十卷、《壹斋诗集》三十六卷、《韩诗增注正讹》十一卷、《萧汤二老遗诗合编》二卷、《奏御集》二卷，另有《画友录》、《泛浆录》、《游黄山记》、《两朝恩赉记》、《二十四画品》等著作。他善画山水花鸟，尤长画梅，初学王 ，晚学王原祁，与“四王”末流董邦达并称山水画家。他的画，笔墨苍厚，他的字，既有书卷气，也有台阁气。他的诗，别具一格，很有气势。曾作的《花卉图》、《端阳佳景图》、《高冈长松图》等，无论青绿山水和水墨山水都很有特色。\n黄钺在绘画艺术上经过多年的实践和探索，将自己积累的经验进行理论概括，撰成画学专著《二十四画品》一书。《二十四画品》是仿照唐司空图撰写的中国古代文集约名著《二十四诗品》的体例而写成的。书中运用四言韵语，把各种绘画艺术风格概括为：一气韵，二神妙，三高古，四苍润，五沉雄，六冲和，七淡远，八补拙，九超脱，十奇辟，十一纵横，十二淋漓，十三荒寒，十四清旷，十五性灵，十六圆浑，十七幽邃，十八明净，十九健拔，二十简洁，二十一精谨，二十二隽爽，二十三空灵，二十四韶秀。整部著作文词典雅，清丽可诵，表现了栩栩如生的艺术形象。\n黄钺对谢朓、李白、黄庭坚十分崇拜，曾多次游览青山和采石矶。他颂扬谢朓“谢公爱青山，结宇恣啸咏”；在《咏李翰林》诗中讴歌李白：“仙骨埋青山，草木发灵异。”到采石矶“高怀吊古”，“掩英雄之泪，吟供奉之诗”。在他作的《采石矶赋》一文中，除了历数在这里发生的许多惊天动地的事件和英雄人物外，还特地为李白而感叹，说：“白也不群，宗之潇洒，着宫锦而扬帆，共兰舟而持 。旁若无人，歌清四野，当此之时，何其壮也！”黄钺又诗云：“平轩遥瞰一湖开，闻说涪翁守郡来。当日到官才九日，未应便起读书台。”该诗也附注曰：“赭山有滴翠轩，相传为涪翁读书处。李之仪跋山谷二词：‘鲁直请无为、当涂，而得当涂，犹蹭蹬一年方到官，既到九日而罢，又数日乃去。’“\n道光十一年（1831年），长江发生水患，回到家乡的黄钺 积极倡兴赈济，带头捐献俸银千两。道光十三年，濒临江淮的州县又遭水灾，黄钺又“捐百金助赈”，以救乡民。次年，当涂、芜湖一带饥荒，米珠薪桂，人民生计困难，黄钺又与王泽、许耕余等发动有田富户及绅士14家，按田交谷600担，兴办“丰备义仓”12座，当义仓上梁即将落成时，黄钺以诗记其事道：“成城缘众志，图匮在年丰。”并在“丰备义仓”的旁边建立私塾，招收蒙童，普及地方教育事业。\n道光十六年，88岁已不能认字，但仍吟诗咏物，所作《于湖竹枝词》66首，亦诗亦史，深入浅出，富有深厚的爱乡之情。",[25,26,80,28,29,30,7,162,193,207],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21fdea2c82bf5fad9fd6e2e233729c8c.jpg",[],{"id":2665,"slug":2666,"title":2658,"dynasty":93,"author":2659,"museum":231,"description":2660,"tags":2667,"thumbUrl":2670,"material":165,"size":165,"collection":165,"collections":2671,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":88},238279,"hua-qia-xuan-yuan-tu-ce-huang-yue-238279",[25,28,29,30,80,7,2668,1178,2669,287],"红花","狗尾草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc93547c86ffe829bc05e52993bfd33b.jpg",[],{"id":2673,"slug":2674,"title":2675,"dynasty":115,"author":489,"museum":47,"description":2098,"tags":2676,"thumbUrl":2677,"material":35,"size":773,"collection":165,"collections":2678,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":41},215001,"xie-sheng-hua-hui-ce-7-wang-yuan-215001","写生花卉册-7",[25,26,80,29,28,30,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03155d86b64c2528fd67865bbc6d4430.jpg",[],{"id":2680,"slug":2681,"title":2682,"dynasty":93,"author":2683,"museum":20,"description":2684,"tags":2685,"thumbUrl":2688,"material":165,"size":165,"collection":165,"collections":2689,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":2690},202686,"li-hua-niao-die-tu-zhou-sun-yi-202686","梨花鸟蝶图轴","孙億","画面中梨花素蕊轻绽，枝桠虬曲间禽鸟姿态各异：或敛翅栖于老干，绒羽细腻可触；或振翼欲飞，尾羽舒展如剪。粉蝶翩跹于花叶间，翅脉通透似绢，与素雅梨花相映成趣。枝干以淡墨勾皴，苍劲中含秀逸；花叶晕染温润，设色古朴雅致。工笔技法精谨，禽鸟情态灵动，蝶影轻盈，梨花清妍，构图疏密得宜，尽显自然生机与花鸟之趣，韵致恬淡悠远。",[28,29,30,2686,137,7,535,747,2687,23],"梨花","禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cdc6d9b1f2ee5f4b1d306c20d1a93db.jpg",[],"88604f",{"id":2692,"slug":2693,"title":2694,"dynasty":93,"author":2695,"museum":20,"description":2696,"tags":2697,"thumbUrl":2699,"material":165,"size":165,"collection":37,"collections":2700,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":2701},201874,"hua-die-tu-zhou-tang-jia-ming-201874","花蝶图轴","汤嘉名","画面里蝶影翩跹，或聚或散姿态各异：有的振翅欲起，翅尖似带轻风气韵；有的静栖青绿草丛间，翅脉纹理纤毫毕现，色彩淡雅却灵动传神。浅粉小花点缀草间，与晕染细腻的叶色相映成趣，尽显春日生机。笔触工致精巧，线条婉转流畅，将蝴蝶的轻盈姿态与花草的柔媚质感刻画得淋漓尽致，整体意境清新雅致，透着自然之趣与文人画的雅致格调。",[28,29,30,7,2698,141,23],"草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8e1a99c710ec82e720545ea84b5787e.jpg",[37],"b49c74",{"id":2703,"slug":2704,"title":2705,"dynasty":18,"author":46,"museum":231,"description":2706,"tags":2707,"thumbUrl":2708,"material":393,"size":394,"collection":165,"collections":2709,"showCount":265,"zanCount":11,"manualWeight":11,"mainColor":41},290750,"xiu-pen-ju-shi-yi-lian-zhou-yi-ming-290750","绣盆菊诗意帘轴","雨后看花兴自幽。花神不减旧风流。重开佳色邀金蝶。更吐新香染绣毬。晚节平分三径露。清标独占一园秋。年年賸有重阳约。尊酒何曾负胜游。 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[2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[1272,1273,2784,2785,29,7,2786],"描金","镂孔","缠枝莲纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd06ac6863ebf07536ba05b536f47b6e.jpg",[],{"id":2790,"slug":2791,"title":2792,"dynasty":93,"author":46,"museum":231,"description":1270,"tags":2793,"thumbUrl":2794,"material":393,"size":394,"collection":165,"collections":2795,"showCount":265,"zanCount":11,"manualWeight":11,"mainColor":765},256171,"wu-cai-hu-die-wen-mei-ping-yi-ming-256171","五彩蝴蝶纹梅瓶",[568,1272,2516,7,1121,29,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91a0bdcb76bf9c9eb8db281fd8f900c2.jpg",[],{"id":2797,"slug":2798,"title":820,"dynasty":93,"author":2799,"museum":231,"description":2800,"tags":2801,"thumbUrl":2803,"material":393,"size":394,"collection":165,"collections":2804,"showCount":265,"zanCount":11,"manualWeight":11,"mainColor":88},237742,"hua-hui-tu-ce-huang-shen-237742","黄慎","黄慎（1687年6月14日—1772年），福建宁化人，初名盛，字恭寿，恭懋，躬懋、菊壮，号瘿瓢子，别号东海布衣。家贫，遂学画，擅长人物、山水、花鸟。他的人物画题材十分广泛和丰富，它不仅画神仙佛道和历史名人，也擅长从民间生活中取材，塑造了纤夫 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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。",[25,26,80,29,28,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa08a04b9c4221d72b0eb3a2b7cc4c3a4.jpg",[],{"id":3092,"slug":3093,"title":3094,"dynasty":93,"author":46,"museum":231,"description":3095,"tags":3096,"thumbUrl":3099,"material":393,"size":394,"collection":165,"collections":3100,"showCount":225,"zanCount":11,"manualWeight":11,"mainColor":41},272852,"hong-mu-bian-qi-di-qian-fa-lang-hua-die-tu-cha-ping-yi-ming-272852","红木边漆地嵌珐琅花蝶图插屏","湖石以珐琅晕染出苍蓝灵韵，玲珑孔洞勾勒出瘦透之姿，好似将江南名石的雅致凝于方寸。玉兰花苞轻绽，花瓣柔润舒展，牡丹或艳黄灼目、或粉紫含娇，层层瓣蕊尽展雍容，枝桠舒展间，蝶翼振翅欲飞，翅脉纹理分毫毕现。\n\n漆地沉敛，衬得珐琅的明丽色彩愈发鲜亮，将工笔花鸟的细腻意趣融于嵌饰工艺中，把春日庭苑的融融生机定格屏间，仿佛能闻见花影甜香，雅致富丽相映，尽显匠心巧思，将工艺之美与画意之妙揉合为一。",[3097,860,2135,758,30,51,3098,52,7,137,591],"插屏","玉兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb690efff3fc07fe2789912124e66577a.jpg",[],{"id":3102,"slug":3103,"title":3104,"dynasty":93,"author":46,"museum":231,"description":3105,"tags":3106,"thumbUrl":3109,"material":393,"size":394,"collection":165,"collections":3110,"showCount":225,"zanCount":11,"manualWeight":11,"mainColor":765},270099,"qian-long-kuan-huang-se-bo-li-tai-hua-fa-lang-hua-die-wen-hu-lu-shi-bi-yan-hu-yi-ming-270099","乾隆款黄色玻璃胎画珐琅花蝶纹葫芦式鼻烟壶","鼻烟壶指的是盛鼻烟的容器，小可手握，便于携带。明末清初，鼻烟传入中国，鼻烟盒渐渐东方化，产生了鼻烟壶。\n人们嗜用鼻烟的习惯几近绝迹，但鼻烟壶却作为一种精美艺术品流传下来，而且长盛不衰，被誉为“集中各国多种工艺之大成的袖珍艺术品”。\n中国鼻烟壶，作为精美的工艺品，采用瓷、铜、象牙、玉石、玛瑙、琥珀等材质，运用青花、五彩、雕瓷、套料、巧作、内画等技法，汲取了域内外多种工艺的优点，被雅好者视为珍贵文玩，在海内外皆享有盛誉。\n在世界上，中国素有「烟壶之乡」的称誉，其中鼻烟壶以其精巧卓绝的制作技术，被称为「集多种工艺之大成于一身的袖珍艺术品」。鼻烟壶为盛装鼻烟之容器，鼻烟系一种烟草制品，原为西洋之物，明末清初自欧洲传入中国后，加工转化后成为粉末状药材，吸闻之后不但具有明目避疫的功效，吸闻鼻烟在各阶层更是蔚为风尚，且迅速地融入了中国的艺术风格，发展出匠心独运的各式鼻烟壶，在清代美学工艺上大放异彩，成为清代艺术的重要标志之一。",[1539,2296,3046,3107,3108,1602,31,7,1516],"葫芦式","鼻烟壶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faff88738882df93dc92934cf8a922fd2.jpg",[],{"id":3112,"slug":3113,"title":3114,"dynasty":93,"author":46,"museum":231,"description":2782,"tags":3115,"thumbUrl":3117,"material":393,"size":394,"collection":165,"collections":3118,"showCount":225,"zanCount":11,"manualWeight":11,"mainColor":41},269549,"xiang-ya-diao-hai-tang-shi-pan-yi-ming-269549","象牙雕海棠式盘",[1107,759,1516,1121,31,7,3116],"海棠式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69f18a069637025495d11113777187ff.jpg",[],{"id":3120,"slug":3121,"title":3122,"dynasty":93,"author":46,"museum":231,"description":2131,"tags":3123,"thumbUrl":3125,"material":393,"size":394,"collection":165,"collections":3126,"showCount":225,"zanCount":11,"manualWeight":11,"mainColor":41},269517,"xiang-ya-ran-diao-shi-liu-hu-die-tu-guo-shi-he-yi-ming-269517","象牙染雕石榴蝴蝶图果式盒",[1107,759,29,3124,1516,1121,2346,7,31],"果式盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F914580baffb8ebd2c3bc717118ae9ebd.jpg",[],{"id":3128,"slug":3129,"title":3122,"dynasty":93,"author":46,"museum":231,"description":2131,"tags":3130,"thumbUrl":3134,"material":393,"size":394,"collection":165,"collections":3135,"showCount":225,"zanCount":11,"manualWeight":11,"mainColor":765},269516,"xiang-ya-ran-diao-shi-liu-hu-die-tu-guo-shi-he-yi-ming-269516",[1107,759,3131,3132,3124,2346,7,3133,31],"染色","日用器","蝙蝠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb92a08462c9147b1d6cf6c9a8b13e5c.jpg",[],{"id":3137,"slug":3138,"title":2114,"dynasty":93,"author":46,"museum":231,"description":1524,"tags":3139,"thumbUrl":3140,"material":393,"size":394,"collection":165,"collections":3141,"showCount":225,"zanCount":11,"manualWeight":11,"mainColor":41},268525,"dian-cui-hua-hui-niao-die-wen-tou-hua-yi-ming-268525",[1411,1526,53,7,1536],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c8d21bb8bd6b253779f28d30e032aa6.jpg",[],{"id":3143,"slug":3144,"title":3145,"dynasty":93,"author":46,"museum":231,"description":1949,"tags":3146,"thumbUrl":3147,"material":393,"size":394,"collection":165,"collections":3148,"showCount":225,"zanCount":11,"manualWeight":11,"mainColor":88},268308,"huang-se-duan-xiu-hua-hui-wen-mao-piao-dai-yi-ming-268308","黄色缎绣花卉纹帽飘带",[1118,1003,1463,30,177,178,100,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9474a9dd057605d6fbfc4011a9ec3b98.jpg",[],{"id":3150,"slug":3151,"title":3152,"dynasty":93,"author":46,"museum":231,"description":1461,"tags":3153,"thumbUrl":3155,"material":393,"size":394,"collection":165,"collections":3156,"showCount":225,"zanCount":11,"manualWeight":11,"mainColor":88},268137,"ming-huang-se-duan-xiu-zhi-zi-hua-die-jia-chen-yi-yi-ming-268137","明黄色缎绣栀子花蝶夹衬衣",[140,1003,1118,3154,7],"栀子花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eb4aa3e53bea21dbee287e2f3f34d3d.jpg",[],{"id":3158,"slug":3159,"title":3160,"dynasty":93,"author":46,"museum":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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。",[2025,2378,481,3655,7,3260],"莲柄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2d08a33f0d1bcfb8a2d6f70cd7d93e3.jpg",[],{"id":3659,"slug":3660,"title":3661,"dynasty":93,"author":46,"museum":231,"description":2131,"tags":3662,"thumbUrl":3666,"material":393,"size":394,"collection":165,"collections":3667,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":88},247850,"dui-cai-shi-wen-he-yi-ming-247850","堆彩柿纹盒",[758,3663,29,3664,3665,7],"堆彩","盒","柿纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F502b74917be70d895d3f3b44fe496b3d.jpg",[],{"id":3669,"slug":3670,"title":3671,"dynasty":93,"author":46,"museum":231,"description":2131,"tags":3672,"thumbUrl":3675,"material":393,"size":394,"collection":165,"collections":3676,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":41},245498,"jin-qian-song-shi-mei-hua-shi-he-yi-ming-245498","金嵌松石梅花式盒",[568,1536,2546,3673,2254,7,906,759,3674],"松石","金工","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f344e7664010ad7aa39da2ec1824c15.jpg",[],{"id":3678,"slug":3679,"title":3680,"dynasty":93,"author":3681,"museum":231,"description":3682,"tags":3683,"thumbUrl":3684,"material":393,"size":394,"collection":165,"collections":3685,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":88},235870,"za-hua-ce-zhang-sheng-235870","杂画册","章声","章声（清），字子鹤，仁和（今杭州）人。父谷工山水，善写真，声与兄长采，能绍父艺，山水尤工。所作雪山大幅，笔墨谨严，结构雄伟，乃胎息荆、关，绝无宋、元以来婉媚之习。康熙十六年（1671）尝在屏山阁作山水图。",[25,26,80,29,30,101,7,208,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed77efaae6c1c7459971a868dadbfac0.jpg",[],{"id":3687,"slug":3688,"title":3689,"dynasty":93,"author":3690,"museum":231,"description":3691,"tags":3692,"thumbUrl":3693,"material":393,"size":394,"collection":165,"collections":3694,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":88},235420,"cai-jia-hua-hui-tu-ce-cai-jia-235420","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。",[25,26,80,348,29,28,181,31,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fe7a30342711083f7b1a53de3221fc4.jpg",[],{"id":3696,"slug":3697,"title":3085,"dynasty":74,"author":3086,"museum":231,"description":3087,"tags":3698,"thumbUrl":3699,"material":165,"size":165,"collection":165,"collections":3700,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":88},233654,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233654",[25,30,29,28,7,162,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F224fe9676de8deb93217e3a1089ba359.jpg",[],{"id":3702,"slug":3703,"title":3085,"dynasty":74,"author":3086,"museum":231,"description":3087,"tags":3704,"thumbUrl":3705,"material":165,"size":165,"collection":165,"collections":3706,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":88},233651,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233651",[25,26,80,29,28,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3592796afd191df489cb4c1f60fef670.jpg",[],{"id":3708,"slug":3709,"title":3085,"dynasty":74,"author":3086,"museum":231,"description":3087,"tags":3710,"thumbUrl":3711,"material":165,"size":165,"collection":165,"collections":3712,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":88},233607,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233607",[25,26,80,1700,29,28,30,7,82,2992],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ad0da78d7815fbf87cb2e11846cf2ef.jpg",[],{"id":3714,"slug":3715,"title":3716,"dynasty":93,"author":46,"museum":231,"description":3717,"tags":3718,"thumbUrl":3721,"material":393,"size":394,"collection":165,"collections":3722,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":41},229601,"tong-tai-hua-fa-lang-huang-di-hua-die-wen-pan-yi-ming-229601","铜胎画珐瑯黄地花蝶纹盘","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 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