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tion":59,"collections":301,"showCount":302,"zanCount":11,"manualWeight":11,"mainColor":63},220454,"ling-yan-jian-yi-jiao-tu-pan-tian-shou-220454","灵岩涧一角图","民国","潘天寿","中国现当代美术文献研究中心","此作截取山涧一隅造势，以险绝构图盘活画面，虚实相生见巧思。枯笔浓墨勾勒皴擦山石，苍劲老辣，尽显崖壁嶙峋之态。蓝红山花浓艳跳脱，于幽寂墨色中撞出鲜亮野趣，打破山林沉郁。屋舍隐于深林，留白代作溪涧，以虚写实，将浙东山川清奇苍劲敛于尺幅之间。既得传统山水的雅致意境，又以边角小景抒发山河磅礴生机，笔墨间尽显独出机杼的构图胆识与沉雄朴厚的艺术风骨，把乡野山水的清逸生机藏于方寸。",[23,25,112,137,28,263,297,176,298,95,7,93,54],"皴法","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a236d64f04b03b64b29b72f54995505.jpg","纸本设色",[],153,{"id":304,"slug":305,"title":306,"dynasty":48,"author":190,"museum":307,"description":308,"tags":309,"thumbUrl":314,"material":310,"size":59,"collection":144,"collections":315,"showCount":316,"zanCount":185,"manualWeight":11,"mainColor":43},222152,"fu-hui-xi-yi-ming-222152","赴会西","法海寺","唐代画圣吴道子，以画佛道功德为其主要职业，曾画过《佛会图》，可惜早已无存。《佛会图》属佛中的杂类图画。明代宗教壁画不少，在绘画技巧、用笔用色和制作工艺上，法海寺壁画当推为全国明代壁画之典范，《佛会图》就是其中的一铺。\n佛会图，位于大殿东西山墙两壁，共两铺，高3.2米，长22米（东西山墙壁各11米），面积70.4平方米。壁画内容为佛祖讲经说法、佛众菩萨赴会参禅的画面。绘画中有祥云缭绕，以上为天界，以下为人间。天界有佛众菩萨诸神趺跏于祥云之上，人间有山泉花卉、曲径竹篱。台座上原有十八罗塑汉像，天界与人间，罗汉与佛众，壁画与塑像，形成一幅完美的艺术整体。现罗汉塑像已毁。\n佛会图，绘有飞天、四菩萨、五方佛（东西两壁合称十方佛）、六观音（亦可六菩萨），共32种佛众诸神。图画上部的极南边，各月一凌空舞来的飞天。飞天神女，佛教中天龙八部众之一，被称为干达婆，是香神又是乐神。食香，以身放香，又称香乐神。食香，以身放香，又称香音神。她常出现在佛面前演唱赞歌。各代飞天画像都不尽相同。法海寺明代壁画中的飞天，为身披飘带、手执宝盘的仙女形象，天真活泼，雅气喜人。盘中盛有鲜花，攀云乘风，飘舞在乐鼓齐鸣、天花乱坠的佛会时刻。远观佛会图上部，观音菩萨六尊为组，红衣坐佛五尊为伴，另为四尊菩萨彼此相近。佛众菩萨，趺跏于祥云之上，不即不离，若即若离，似语不语，似静似动，错落有致，把你引入仙境，带给你以虚空宁静，美的享受。\n这铺壁画更突出的特点，是在山水花卉绘制技术上的完美，它融汇了我国历代壁画的多种技法，甚至运用了卷轴重彩的技法。山石水浪，与我国宋代山水花鸟绘画大师马远的手法相比，画法一致，水准亦高，毫不逊色。长22米的画面，章法上大胆取舍剪裁，描绘山之一角，水之一涯，一石一树，一花一草，皴染都极其严谨，种种臻秒。随便拮取其中的一花一叶，其精妙致之绝，直逼故宫所藏宋画团扇。小桥流水，篱笆曲径，瀑布水浪自流于竹蕉山石之下，牡丹荷花盛开于苍松菩提之间，充满了现实生活气息，令人玩味不尽，叹为观止。",[23,25,310,311,28,27,138,312,93,313,7,94,26],"壁画","宗教","祥云","小桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F523a3843792607369b3d33ef8fab9484.jpg",[144],146,{"id":318,"slug":319,"title":320,"dynasty":48,"author":321,"museum":134,"description":322,"tags":323,"thumbUrl":328,"material":37,"size":329,"collection":144,"collections":330,"showCount":331,"zanCount":62,"manualWeight":11,"mainColor":43},219564,"huo-lang-tu-cui-zi-zhong-219564","货郎图","崔子忠","明代流传至今的《货郎图》绘者如计盛、吕文英、崔子忠、姜隐，还有诸佚名的《货郎图》，虽风格不一，或设色或白描，但大部分的货郎都是挑着华丽的货担，货架精雕细琢、所售器物五花八门，孩子们前簇后拥，玩着猴子、蟋蟀、皮影、书籍、花枝，不亦乐乎，场景往往热闹非凡。",[23,25,27,28,137,324,138,325,326,249,94,7,29,327,93],"风俗画","孩童","货郎","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc73c1b2b4649dfef47e2ac975b98f223.jpg","纵205横125厘米",[144,82],145,{"id":333,"slug":334,"title":335,"dynasty":152,"author":153,"museum":69,"description":336,"tags":337,"thumbUrl":340,"material":124,"size":341,"collection":126,"collections":342,"showCount":343,"zanCount":185,"manualWeight":11,"mainColor":43},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。",[23,25,24,26,27,28,35,158,338,117,7,339,283,111],"蜻蜓","果实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a9b890e9249dec5b777dd3cfaf3145a.jpg","29.4x174.6cm",[126,39,82],142,{"id":345,"slug":346,"title":347,"dynasty":105,"author":106,"museum":107,"description":348,"tags":349,"thumbUrl":350,"material":124,"size":351,"collection":126,"collections":352,"showCount":353,"zanCount":185,"manualWeight":11,"mainColor":43},221709,"hua-cao-zhong-si-qian-xuan-221709","花草螽斯","钱选，字舜举，号玉潭，霅川人。宋景定间，乡贡进士。元初吴兴有八俊之号，以赵孟頫为称首，而选与焉。及孟頫被荐等朝，诸公皆相附取宦达，独选龃龉不合，流连诗画以终其身。人物师李公麟，山水师赵伯驹，花鸟师赵昌，尤善作折枝，得意者赋诗其上。赵孟頫尝从之问画法。尝借人白鹰图，夜临摹装池，翌日以临本归之，主人弗觉也。湖州人经其指教，类皆以能画称。画多人物花鸟，山水颇罕其传。",[23,25,27,28,35,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb2cd550ee9c53d194f657bfeb038acc.jpg","26.6x23",[126,39,82],139,{"id":355,"slug":356,"title":357,"dynasty":105,"author":358,"museum":359,"description":360,"tags":361,"thumbUrl":365,"material":366,"size":367,"collection":39,"collections":368,"showCount":369,"zanCount":62,"manualWeight":11,"mainColor":63},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。",[24,25,362,27,363,35,364,223,158,94,7,29],"水墨画","白描","竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eec035eb38ac09eb11650ff2dee6cbc.jpg","纸本,水墨","139.3x49.9cm",[39],134,{"id":371,"slug":372,"title":373,"dynasty":88,"author":89,"museum":20,"description":374,"tags":375,"thumbUrl":377,"material":59,"size":59,"collection":59,"collections":378,"showCount":379,"zanCount":62,"manualWeight":11,"mainColor":43},228764,"jin-hui-dui-tu-xu-xi-228764","锦灰堆图","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。",[23,25,112,26,28,27,35,158,338,117,7,376,339,157],"枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde61754fc4a7f484e9027edfa11300a3.jpg",[],128,{"id":381,"slug":382,"title":383,"dynasty":18,"author":384,"museum":20,"description":385,"tags":386,"thumbUrl":394,"material":59,"size":59,"collection":59,"collections":395,"showCount":396,"zanCount":185,"manualWeight":11,"mainColor":63},233905,"hua-hui-shan-shui-ce-yun-shou-ping-233905","花卉山水册","恽寿平","恽寿平（1633-1690年），初名格，后以字行，又字正叔，别号南田，一号白云外史、云溪外史、东园客、巢枫客、草衣生、横山樵者。江苏武进人。清代著名画家。与“四王”、吴历并称“清初六大家”。其父恽日初诗文杰出，为“复社”中人。叔父恽向（道生）为著名山水画家，自创一派。恽寿平是清朝初期最享盛名的花鸟画家。其画作多写生，人称“写生正派”；更以徐崇嗣为宗，兼取各家之长，极大的发展了没骨画。所画花卉，很少勾勒，以水墨着色渲染，用笔含蓄，画法工整，明丽简洁，天趣盎然。恽寿平不仅画作出众，风格独具，而且兼工诗书，题句清丽流畅，诗格脱俗超逸，为“昆陵六逸”之冠。恽南田《山水花卉册》八帧，其中包括山水，花鸟及情景兼容的人物，攘括了恽南田所有的画种。画中有退耕堂藏印。退耕堂为徐世昌的室名。\n恽寿平一生坎坷，饱经困苦，他幼年聪颖玲利，遭遇战乱，与兄皆被俘，与父亲失散，后遇灵隐寺方丈相救，才得以与家人团聚，归家后，发奋读书学画。经刻苦钻研，于古文、诗词、书画无不精擅。他崇尚气节，誓不应科举，少时的忧患，留下深深的创痛，一生未尝忘情。却在绘画上取得了很高的成就；恽南田曾致书王（翚）说：“格于山水，终难打破一字关，曰‘窘’，良由为古人规矩法度所束缚耳。”又说：“君独步矣！吾不为第二手也”。于是恽寿平转攻花鸟，以后山水不过偶而为之。可见其艺术抱负。《山水花卉册》中的山水，取黄公望笔法，于荒率中见秀润，尖毫勾皴，浓墨点树、高旷清淡，浸润宋元诸家，吸取王蒙、二米等人之长，渐脱刻极。40岁左右作品最为精采，如43岁的《山水花鸟册》，技法灵活多变，表达各家风貌准确，艺术已臻成熟。他的花鸟画成就最为突出，取法徐崇嗣的没骨法，他的没骨花卉，揉合了黄（筌）、徐（熙）两派技法，既重视写生，力求形似，“每画一花，必折是花插之瓶中，极力描摹，得其生香活色而后已。”又强调“与花传神”。力去华靡，追求“ 澹雅”。此册中的花鸟更是形神兼备，清新淡雅，具有新的风貌。",[25,387,28,263,297,364,31,116,388,77,389,390,391,392,393,76,7],"没骨","兰草","苔草","红色花卉","黄色花卉","竹叶","竹笋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4377c657f826c18b3596050a5963db15.jpg",[],124,{"id":398,"slug":399,"title":400,"dynasty":152,"author":401,"museum":107,"description":402,"tags":403,"thumbUrl":413,"material":37,"size":414,"collection":126,"collections":415,"showCount":416,"zanCount":11,"manualWeight":11,"mainColor":43},220144,"qiu-pu-rong-bin-tu-cui-bai-220144","秋蒲蓉宾图","崔白","本幅绘荷叶枯黄，芙蓉展艳，一派秋光旖旎，花间鹡鸰腾跃，翡翠静静停留，两鸿雁振翅凌空，意在千里。无画家款印，旧传为崔氏之作。崔白(约西元十一世纪)，安徽凤阳人，字子西。宋仁宗至神宗时为画院画家。精工画花卉翎毛，尤以枯荷凫雁得名，但亦精于道释、人物、鬼神。据说他作画时从不起稿，画长直坚挺的线条，无须使用直尺界画，操笔立就。",[23,404,114,28,405,406,407,408,55,409,410,411,7,412,29],"宋代","写实","写生","细腻笔触","大雁","蒲草","荷花","禽鸟","荷叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0742ff18547c75d91c9eaba1ab1932e4.jpg","本幅 149.1x95.5公分、全幅 133公分",[126,39],123,{"id":418,"slug":419,"title":420,"dynasty":292,"author":421,"museum":294,"description":422,"tags":423,"thumbUrl":425,"material":426,"size":59,"collection":59,"collections":427,"showCount":428,"zanCount":11,"manualWeight":11,"mainColor":63},220589,"hua-cao-gong-chong-ce-ye-lv-e-qi-bai-shi-220589","花草工虫册页 - 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横97.5厘米",[39],{"id":505,"slug":506,"title":507,"dynasty":18,"author":508,"museum":20,"description":509,"tags":510,"thumbUrl":511,"material":59,"size":59,"collection":59,"collections":512,"showCount":513,"zanCount":165,"manualWeight":11,"mainColor":492},236105,"mu-dan-shuang-shou-tu-zhou-yu-sheng-236105","牡丹双绶图轴","余省","桃花双绶图轴 清 余省 桃花双绶图轴 绢本设色 纵12厘米 横5厘米。",[24,25,112,137,28,27,35,280,249,223,94,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5c4c0d3181e223fbb9eb02524df05a4.jpg",[],100,{"id":515,"slug":516,"title":517,"dynasty":18,"author":190,"museum":107,"description":518,"tags":519,"thumbUrl":521,"material":37,"size":522,"collection":39,"collections":523,"showCount":524,"zanCount":185,"manualWeight":11,"mainColor":63},218818,"fu-gui-ji-qing-tu-yi-ming-218818","富贵吉庆图","这幅画是在七色牡丹花下画了一对公鸡和母鸡接近小鸡的场景。牡丹的画法是恽代英式的，鸡的形状也很准确，采用的是略带西方色彩的凹版画法，所以这幅画应该是清代宫廷画家的作品。",[25,28,27,35,282,520,446,280,111,7],"母鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87b682bea290156c24b7bd4517051447.jpg","138.5x69cm",[39],96,{"id":526,"slug":527,"title":528,"dynasty":18,"author":529,"museum":20,"description":530,"tags":531,"thumbUrl":532,"material":59,"size":59,"collection":59,"collections":533,"showCount":534,"zanCount":165,"manualWeight":11,"mainColor":63},238999,"fu-gui-bai-tou-tu-zhou-ju-lian-238999","富贵白头图轴","居廉","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。",[25,24,137,27,28,35,280,223,158,111,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc5e8dafcd23c0f7abfb2e6f9f962f77.jpg",[],90,{"id":536,"slug":537,"title":538,"dynasty":18,"author":539,"museum":69,"description":540,"tags":541,"thumbUrl":542,"material":57,"size":543,"collection":144,"collections":544,"showCount":545,"zanCount":165,"manualWeight":11,"mainColor":63},219223,"er-tong-dou-cao-tu-jin-ting-biao-219223","儿童斗草图","金廷标","此图表现的是端午节儿童们斗草的游戏。有的以比赛采得的花草作对，这是文斗；有的把叶柄相勾拉拽，也称“拔根儿”，就是武斗。",[23,24,25,112,137,27,28,138,195,111,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94f548edff091b9ba461b027bf11c428.jpg","纵105.3厘米，横79.5厘米",[144],88,{"id":547,"slug":548,"title":549,"dynasty":550,"author":551,"museum":20,"description":552,"tags":553,"thumbUrl":557,"material":558,"size":559,"collection":59,"collections":560,"showCount":561,"zanCount":185,"manualWeight":11,"mainColor":43},290027,"hua-niao-tu-ping-feng-shou-ye-song-rong-shou-ye-guang-xin-290027","花鸟图屏风","不详","狩野松荣、狩野光信","狩野光信面對新興漢系畫家的競爭，不得不奔走於豐臣家與德川家之間以取得更多委託，並透過狩野長信 (1577-1654) 與德川幕府建立的關係，成為後繼者狩野孝信取得德川家支持參與名古屋城本丸御殿製作的基礎。",[23,25,554,35,27,28,555,280,55,32,556,33,29,176,298,7],"屏风","松","鹰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F066d6aadc5c3af2e9023ff46f3b095ba.jpg","未知","Xcm*Xcm",[],87,{"id":563,"slug":564,"title":565,"dynasty":18,"author":219,"museum":107,"description":566,"tags":567,"thumbUrl":573,"material":28,"size":574,"collection":59,"collections":575,"showCount":576,"zanCount":185,"manualWeight":11,"mainColor":63},222743,"xian-e-chang-chun-tu-03a-lang-shi-ning-222743","仙萼长春图-03a","本册共十六开内容分别描绘牡丹、桃花、芍药、海棠玉兰、虞美人、蝴蝶花、黄刺玫牡丹、石竹、樱桃、罂粟、紫白丁香、百合花牡丹、翠竹牵牛、荷花慈姑花、豆花稷穗、鸡冠花、菊花等，其中有八开还画有鸟禽，整册内容与《石渠宝笈三编》著录之〈郎世宁画花卉册〉一致，对幅皆是空白，而最末一开有宋体书款「臣郎世宁恭画」，依据画风特色推测是郎世宁雍正时期的花鸟佳作。全册不仅设色精緻，构图手法也见新意。特别能于鸟禽形体姿态上有超乎传统的表现，是西法透视手法的精采成果。画中花鸟多处能够显示光影明暗，透过白色颜料提点高光的技巧也常见运用。整册画风都一再显示其与郎世宁雍正前期画风有关。",[23,24,25,112,53,28,27,568,405,35,116,54,569,570,121,157,571,572,376,94,7],"中西合璧","叶片","花朵","色彩","造型逼真","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83860a3be34dc8440f2f86b13d28b9f5.jpg","宽28.4公分，高33.7公分",[],83,{"id":578,"slug":579,"title":580,"dynasty":152,"author":581,"museum":107,"description":582,"tags":583,"thumbUrl":585,"material":586,"size":587,"collection":126,"collections":588,"showCount":576,"zanCount":185,"manualWeight":11,"mainColor":43},221591,"jiu-ci-tu-juan-li-di-221591","九鹚图卷","李迪","李迪“画多艺精，颇负盛名。工花鸟竹石、鹰鹘犬猫、耕牛山鸡，长于写生，超亦能作山水小景。构思精妙，功力深湛，雄伟处动人心魄。”所作《枫鹰雉鸡图》温柔娇嫩可爱，《鸡雏图》形象生动，刻画细致，各具神态。山水师法李唐，也多又佳作。论者谓其画鸠“作寒冷状，精俊如生”；画鹡鸰“翘翘欲起”",[23,24,25,112,26,28,27,35,195,7,54,584],"鹚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba83bf3091278e25daedea126febf6f5.jpg","设色,浅设色","本幅34.7x226.6 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of a Figure Outdoors, Facing Left, 1886","莫奈","奥斯卡-克劳德·莫奈（法文：Oscar-Claude Monet，1840年11月14日-1926年12月5日），法国画家，被誉为“印象派领导者”，是印象派代表人物和创始人之一。\n莫奈是法国最重要的画家之一，印象派的理论和实践大部分都有他的推广。莫奈擅长光与影的实验与表现技法。他最重要的风格是改变了阴影和轮廓线的画法，在莫奈的画作中看不到非常明确的阴影，也看不到突显或平涂式的轮廓线。光和影的色彩描绘是莫奈绘画的最大特色。\n2019年5月14日，法国印象派画家克劳德·莫奈的作品《干草堆》在纽约苏富比拍卖行以破纪录的1.107亿美元（当时1美元约合人民币6.87元）高价拍出。这是莫奈作品拍卖价格的最高纪录，也是印象派画作拍卖最高纪录。",[740,741,742,743,138,139,744,7,745,746,266,747,748,749],"印象派","外光写生","色彩光影","笔触灵动","草地","天空","云朵","白色长裙","绿色伞","户外场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31fe05e594f193a91bd5fa324ae02e5d.jpg","油画精选",[751],55,{"id":755,"slug":756,"title":757,"dynasty":550,"author":758,"museum":20,"description":759,"tags":760,"thumbUrl":772,"material":558,"size":559,"collection":751,"collections":773,"showCount":753,"zanCount":11,"manualWeight":11,"mainColor":43},225721,"boerderij-in-de-provence-fan-gao-225721","Boerderij in de Provence","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。",[24,761,762,763,764,765,766,767,768,769,770,93,138,771,7,745,746],"油画","后印象派","厚涂","色彩浓烈","笔触奔放","田野","农舍","石墙","拱门","干草堆","小路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c0ec8b667688d44a5bb0209d76d2bd1.jpg",[751],{"id":775,"slug":776,"title":777,"dynasty":18,"author":260,"museum":20,"description":778,"tags":779,"thumbUrl":784,"material":59,"size":59,"collection":59,"collections":785,"showCount":786,"zanCount":11,"manualWeight":11,"mainColor":43},234249,"bai-shou-tu-hua-yan-234249","百兽图","华喦[yán]，清朝人。他生于康熙，卒于乾隆，经历“康乾盛世”，却一生贫苦。\n他年轻时因被乡绅羞辱，拒绝他为宗族祠堂作画。他一气之下，连夜在祠堂墙壁上画下高山云鹤、水国浮牛、悬崖青松、倚马题诗四幅画作，然后愤然离乡出走。\n他中年辗转于江南各地，与“扬州八怪”交往密切，成为扬州画派的代表人物，传世佳作皆被世人奉若珍宝。\n他晚年书、画、诗俱全，被称为“三绝”，人物、花鸟走兽、山水自然无不精通，终成一代名家。乃至后来者如吴昌硕、齐白石、徐悲鸿等大师也学习他绘画技法。\n在这里要特别提到的是，他笔下的画作，和别的艺术大师有些不同。\n嵒，通“岩”。华喦，人如其名。他的艺术成就如同山峰一般耸立在清代画坛，令无数后来者敬仰。自古以来善画走兽者甚多，但很少有人能画出百兽图。因此珍藏于北京故宫博物院的一幅《百兽图》便显得格外珍贵，它的作者便是华喦。\n此作为长卷画作，画面自右向左依次出现狗、牛、羊、马、鹿、狼、虎、猴、熊等动物，而一头老虎位居画面正中却面露囧态。画面中的动物们被华喦描绘的生动传神，栩栩如生，各具亮点。每一处局部独立展示便是一幅小品佳作，而纵览全画便犹如置身深山老林之中，处处散发着自然的生命力。\n画面最右侧，首先映入眼帘的是人类生活中常见的狗、牛、羊、马。\n接下来画面中来到河畔旁的草地上，一众动物在枫叶美景中悠闲地嬉戏打闹，但河对岸一只麋鹿正此刻正和一只灰狼对峙，凭添了几分紧张的气息。\n镜头继续向左转移，一只老虎在山坡的另一侧独自矗立。虽说老虎是百兽之王，可它此刻的面部表情却十分窘迫，甚至引得巨石上的猴子驻足观看。想来应该是它在头疼这森林的管理问题吧。\n随着我们的视角不断向左深入，画面中山石林立，藤叶纷飞，显得更加原始。而这里的主角变成了一群热闹的猴子，和两只争食的黑熊。\n整幅画作的最左侧，两只大黑熊在互相夺食，而另一只小黑熊却呆在山洞里悠闲地睡着懒觉，顿时令观者啼笑皆非。\n值得一提的是，华喦这幅《百兽图》除开陆地上生活的一群动物外，空中无鸟，水中无鱼。本应威武凶狠的老虎虽出画面正中心，却毫无威仪感，甚至显得有些窘迫。不知作者当时为何会如此创作。",[23,25,26,28,27,297,176,72,780,781,30,31,7,29,782,783,500],"猴","牛","犬","羊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd8e66486eac6115b5e7d13a3b541fdc.jpg",[],54,{"id":788,"slug":789,"title":790,"dynasty":48,"author":791,"museum":20,"description":792,"tags":793,"thumbUrl":800,"material":59,"size":59,"collection":59,"collections":801,"showCount":786,"zanCount":11,"manualWeight":11,"mainColor":63},228402,"liu-shi-shuang-ji-zhou-zhi-mian-228402","榴实双鸡","周之冕","此作以兼工带写之法绘就，垂落桃枝悬着饱满桃实，石畔榴花烂漫盛放。两只雄鸡意态悠然，一只昂首翘尾似正引吭，一只垂首理羽尽显松弛自在。\n\n禽鸟翎毛晕染细腻写实，将肌理纤毫毕现，坡石花草则写意随性，设色雅致柔和，明淡中带着融融暖意。画面定格庭院一隅的鲜活生趣，兼具院体花鸟的精工雅致，又不失文人水墨的隽逸生机，将日常闲晕染成灵动雅致的画卷，尽显悠然野趣。",[25,794,28,795,700,796,797,798,7,799],"花鸟画","兼工带写","榴花","雄鸡","坡石","悠然野趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4af223222167eb01e3e7d533bf97c5b2.jpg",[],{"id":803,"slug":804,"title":805,"dynasty":152,"author":190,"museum":107,"description":806,"tags":807,"thumbUrl":808,"material":37,"size":809,"collection":39,"collections":810,"showCount":811,"zanCount":185,"manualWeight":11,"mainColor":43},220443,"song-ren-sun-ji-tu-yi-ming-220443","宋人隼击图","秋桂飘香，芙蓉摇曳，原是祥和秋景，却呈现阵阵肃杀之气。但见巨鹰凌空俯冲，凌厉的目光，大有扑杀之势。于是雉鸡藏身石后，八哥、蜡嘴仓皇桃散，状甚惊恐。而它们在走避之余，尚注视着巨鹰动向的眼神，尤为生动传神。本幅细致写实，传为宋人所作，然就树干、芙蓉叶、芦苇等多处笔意观之，倒颇合明代吕纪一派画风。",[23,25,112,28,27,29,93,7,298,638],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97657f8d0e87c5567462cc2a0dbe89c9.jpg","本幅 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在历代流传下来的“货郎图”图示中，我们便可略窥一二。宋代绘画是写实主义的巅峰，《货郎图》则是这一巅峰上的一片奇岫。南宋吴自牧《梦粱录》中提到，当时杭州的小贩在沿街叫卖时“挑担抬盘架”，“担瑜石钉铰金装架儿”，《清明上河图》中，也有货郎在一根扁担的两头各挑一个货架，说明这种一根扁担挑两个货架的销售形式，在两宋很是普遍。因此，画中这位货郎和他的货担，可谓是对十一至十三世纪的流动小商贩的忠实记录。“货郎图”是宋代较为流行的一种表现当时流动小商品买卖的绘画形式。如今存世较为知名的主要有四幅南宋李嵩的《货郎图》（分别藏于北京故宫博物院、台北故宫博物院、美国大都会博物院、美国克利夫兰美术馆）以及一幅传为北宋苏汉臣所作的《货郎图》。",[25,28,27,137,138,819,904,326,93,75,94,7,327,905,906,907,908,157],"妇女","秋景","服饰","货郎担","棚架","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b38b5a780482a0e4fa98b8ed68079b5.jpg",[],37,{"id":913,"slug":914,"title":915,"dynasty":18,"author":219,"museum":107,"description":916,"tags":917,"thumbUrl":918,"material":197,"size":919,"collection":59,"collections":920,"showCount":911,"zanCount":11,"manualWeight":11,"mainColor":63},231527,"shi-jun-quan-jin-chi-xian-lang-shi-ning-231527","十骏犬金翅猃","郎世宁生于意大利，清康熙末年进入宫廷，郎世宁的《十犬图》轴十幅，每幅纵246.6厘米，横163.9厘米，由台北故宫博物院藏。画中十条品种高贵的名犬，这些名犬大都是当时周边部落首领进献给皇帝的，，均为郎世 宁写生作品。由于他深谙动物的解剖结构，所以其笔下的名犬形象非常准确，且富于立体感。在笔法上，他以细碎的小笔触来表现动物皮毛的质感，使得入 画的名犬栩栩如生。\n十条品种高贵的名犬，分别命为：苍水虬、斑锦彪、金翅猃、蓦空鹊、墨玉璃、茹黄豹、睒星狼、霜花鹞、雪爪卢、苍猊犬。其中，前九条狗都属小头长吻、腰腹收缩、四肢细劲那类品种，均为出色的擅长奔跑的猎手，敏捷强壮，速度耐力惊人，成为皇帝一行围猎时的好帮手;最后那条威猛的苍猊犬，应当是藏獒。\n从画面上看，图中的犬，无疑是由画家郎世宁所绘，因为狗采用的是西方的素描画法，造型立体具有质感，欧洲风味很足;而图画背景部分的花草坡石，讲究皴法、勾勒，追求平面的装饰效果，与动物的画法相比较，二者有很大的差异，这应当是由供奉宫廷的中国画家用传统画法补画的，但署名只有郎世宁一人。作品用中国的毛笔、纸绢和色彩，却以欧洲的绘画方式来诠释动物的结构、体积感及皮毛的质感，使得动物造形准确、生动，立体效果强。在这幅作品中骏犬的描绘用素描式的方法，通过光影明暗的变化，来达到栩栩如生的效果。但环境的描绘却遵循中国绘画的传统技法，勾、皴、点、染，兼工带写，以工为主，营造出中国花鸟画所特有的清秀明丽的韵味。\n《十骏犬》册中的每幅图都有当朝的文职大臣的题诗赋词。据史料记载，乾隆皇帝拿到时，大加赞赏，百看不厌，爱不释手。这幅册页，艺术水准相当高，郎士宁使用的是中国的软笔，却按西画的透视和光感等技巧，把犬的形态和神态表现出来，体现了高超的写生功夫和创意能力，画得相当精细，栩栩如生，立体感极强。比如犬的毛是单笔渐入，虽然用的不是画油画的油彩，却根根呈现，逼真到让人忍不住触手去摸，中国画是散点透视，西画是高光点和近光点，一点透视。这种透视效果在这两幅册页中充分体现出来。这些技法对后来中国画的发展都有很大的影响。",[25,27,28,405,72,555,7,298,744],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F282319004ad80a2cd47a8365f76f3e47.jpg","纵246.6厘米，横163.9厘米",[],{"id":922,"slug":923,"title":924,"dynasty":18,"author":925,"museum":20,"description":926,"tags":927,"thumbUrl":930,"material":59,"size":59,"collection":59,"collections":931,"showCount":911,"zanCount":185,"manualWeight":11,"mainColor":492},224578,"qing-ke-si-qun-xian-zhu-shou-zhou-qing-ren-224578","清缂丝群仙祝寿轴","清人","云端玄女乘鹤御风而来，松荫之下众仙执笙捧盏，衣袂翩跹顾盼生姿，满含恭谨喜色，似正静待贺寿吉时。下方仙姝俯身采撷芝草灵卉，奇石虬松环伺左右，流云漫卷天际，将海天仙乡的缥缈灵秀铺展尽致。\n\n此作用通经断纬之技晕染衣纹褶皱的柔婉层次，石色苍古明润，松针纤毫毕现，将群仙赴寿的欢愉雅景织就，既见仙班贺寿的祥瑞吉庆，又尽显工致秀雅的匠艺风华，恍将清虚仙境凝于尺幅之中。",[24,25,112,137,928,28,138,176,93,312,929,34,7,94,29,95],"缂丝","仙鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87520e9eaeef0cd56b73baacd54137b6.jpg",[],{"id":933,"slug":934,"title":935,"dynasty":152,"author":190,"museum":107,"description":936,"tags":937,"thumbUrl":939,"material":37,"size":59,"collection":144,"collections":940,"showCount":941,"zanCount":185,"manualWeight":11,"mainColor":43},219172,"shan-yang-tu-yi-ming-219172","山羊图","粉面朱唇的稚子端坐羊背，衣袂鲜妍如霞，手中轻挥短鞭。群羊毛色胜雪，犄角宛转似玉，或驰于坡前，或驻于石畔，或低头嗅草，姿态灵动如生。背景松枝虬劲，梅蕊初绽，墨色浓淡间晕染出清寂古意。线条工细若蚕丝，衣纹褶皱、羊身毫毛皆刻画入微；设色沉敛温润，赭石与石青相映，既见宋画的雅致，又藏孩童嬉戏的稚趣。动静相宜间，似能听见羊蹄踏石的轻响，稚子清脆的笑声，将寻常生活的闲情，凝作千年不褪的画卷。",[25,112,24,27,28,938,138,555,236,94,7],"山羊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00d784dda5b0462addae6b69112b558a.jpg",[144],36,{"id":943,"slug":944,"title":945,"dynasty":18,"author":190,"museum":946,"description":947,"tags":948,"thumbUrl":949,"material":37,"size":950,"collection":144,"collections":951,"showCount":941,"zanCount":11,"manualWeight":11,"mainColor":43},218426,"zhong-kui-tu-yi-ming-218426","钟馗图","费城艺术博物馆","苍树虬枝旁，柳丝轻垂如帘，梅蕊点点绽于枝头。宽袍大袖的身影伫立其间，手持梅枝似在凝神细赏。笔墨简练却生动传神，衣纹线条婉转流畅，勾勒出人物雍容气度——昔日驱邪判官，此刻化作赏梅雅士，威严之余添了几分文人闲逸。背景疏草与古木相映，浅褐底色晕染出古朴雅韵，细节处见匠心。作品打破传统钟馗刻板印象，以清雅之境赋予神祇新的情致，于简淡中藏深意，尽显传统绘画的意趣与韵味。",[25,28,27,138,236,195,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29d9821f588ead48b6f3e9bad8a5520a.jpg","71x30",[144],{"id":953,"slug":954,"title":955,"dynasty":48,"author":956,"museum":20,"description":957,"tags":958,"thumbUrl":962,"material":558,"size":559,"collection":59,"collections":963,"showCount":964,"zanCount":11,"manualWeight":11,"mainColor":43},289876,"lu-jiu-tu-zhou-ding-yun-peng-289876","漉酒图轴","丁云鹏","该画描绘的是东晋陶渊明漉酒的生活情景。\n漉酒即将所酿的新酒用纱布过滤澄清的一道工序。\n庭院中老柳三株，浓叶成荫，树下一髯者与二童子作漉酒状。湖石及树边丛菊盛开，表现出秋高气爽的季节。用笔细致，衣摺用铁线描，富有质感。设色古艳，构思精密。\n画面中央，陶渊明脱巾散发，籍虎皮而坐，风神潇洒、气度轩昂；两童子相对助其漉酒，稚气可掬。上方有三树高柳，绿茵浓密，树根石隙，菊英缤纷，竞吐芬芳。柳菊相应，点明了夏末秋初酿酒的节候特征，也渲染了陶渊明独特的品格与心胸。本图着意通过人物动态神情的刻划，环境道具的烘托，成功地揭示出陶渊明超旷虚灵、静穆澹远的性格。",[24,25,112,137,28,27,138,195,94,7,959,960,961],"茶具","漉酒","文人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0609eaca6db96cf92ecdee6505dba58.jpg",[],35,{"id":966,"slug":967,"title":968,"dynasty":18,"author":854,"museum":855,"description":856,"tags":969,"thumbUrl":970,"material":124,"size":863,"collection":59,"collections":971,"showCount":964,"zanCount":11,"manualWeight":11,"mainColor":63},223054,"hong-lou-meng-179-sun-wen-223054","红楼梦179",[23,25,112,27,28,138,475,313,95,142,222,195,94,75,715,613,93,893,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10e5eba9e39159cf3c0ab3897bedecf0.jpg",[],{"id":973,"slug":974,"title":975,"dynasty":48,"author":976,"museum":622,"description":977,"tags":978,"thumbUrl":979,"material":37,"size":59,"collection":39,"collections":980,"showCount":964,"zanCount":185,"manualWeight":11,"mainColor":43},216727,"lu-tu-zhou-yuan-216727","鹿图","周渊","周渊（1352年－1419年）是明朝时期的一位学者，他在明朝时期撰写了一本名为《鹿图》的书。这本书的主要内容是关于中国历史的，其中包括有关周渊所生存的时代的历史事件和人物的记录。周渊还编写了许多其他的书籍，其中包括《古今图书集成》、《汉学义谈》和《顺治图书》。周渊是明朝时期著名的历史学家和文学家，他在当时期对中国历史的研究和记录有着很大的贡献。",[25,137,28,27,72,500,30,7,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20428cbe62ec60d3b6feb86ebda3315c.jpg",[39],{"id":982,"slug":983,"title":984,"dynasty":18,"author":539,"museum":107,"description":985,"tags":986,"thumbUrl":993,"material":994,"size":995,"collection":82,"collections":996,"showCount":997,"zanCount":11,"manualWeight":11,"mainColor":63},219439,"zhang-zhi-tian-xian-zhou-jin-ting-biao-219439","长至添线轴","三仕女或立或蹲，围聚一处，纤指捻线穿针，神态专注。古松虬枝盘结，怪石嶙峋错落，梅梢疏影横斜，几点红萼点缀其间，清寂中透着雅致。笔触细劲流畅，衣袂飘举若流云，设色温润淡雅，将冬至添线的闺阁雅事凝为静谧时光片段。山石苍朴与仕女柔婉相映，草木疏朗与神情专注相衬，尽显传统生活里的闲情与温情，似能闻得针线轻捻的细碎声响，漫溢出岁月的静好。",[25,137,28,27,138,298,7,987,988,989,990,991,992,121,94],"梅枝","古代服饰","庭院景致","浅绛","细笔勾勒","设色淡雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ded8ec5791225f131ba582f53901274.jpg","设色,绢本","144.5x55.1",[82],34,{"id":999,"slug":1000,"title":1001,"dynasty":18,"author":1002,"museum":107,"description":1003,"tags":1004,"thumbUrl":1005,"material":197,"size":1006,"collection":182,"collections":1007,"showCount":1008,"zanCount":11,"manualWeight":11,"mainColor":63},224122,"qing-gao-zong-yu-bi-kai-tai-shuo-bing-fang-ming-xuan-zong-kai-tai-tu-zhou-qian-long-224122","清高宗御笔开泰说并仿明宣宗开泰图轴","乾隆","该幅据其自题，谓壬辰（1772）新春，自制开泰说一篇，又仿明宣宗作开泰图。三羊造型，实仿朗世宁开泰图。花石则系邹一桂奉诏补景之作。\n“三阳开泰”词意源出于《易经》：“正月为泰卦，三阳生于下”，取其冬去春来，阴消阳长，表示佳运即将开始，是新年吉祥的贺词。“三阳”取其谐音写生绵羊三只，母羊与小羊表情动人；配景的花石，用笔自由写意，乃出自于乾隆朝翰林词臣画家邹一桂（1686－1772）之手。邹一桂生于江苏无锡，雍正五年（1727）进士，官至礼部侍郎。",[23,25,137,28,27,72,783,54,7,77,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f4c9e77f35eea21414f4325ecb0cef4.jpg","127.7×63厘米",[182,897],32,{"id":1010,"slug":1011,"title":1012,"dynasty":1013,"author":190,"museum":20,"description":1014,"tags":1015,"thumbUrl":1020,"material":558,"size":559,"collection":59,"collections":1021,"showCount":1008,"zanCount":11,"manualWeight":11,"mainColor":63},223961,"bo-ju-wen-jing-zhi-fu-jian-1-yi-ming-223961","博局纹镜之附件-1","汉","汉镜有圆形﹑方形。纽多作半球形。正面磨光背面铸有几何形图案或神人禽兽等。东汉中期出现浮雕的画像造形精美。\n两汉时期大体上分西汉、新莽、东 汉三个阶段。汉镜纹饰的主要种类有草叶纹镜、蟠龙纹镜、百乳镜、连弧纹镜、规矩镜、多乳禽兽纹镜和变形四叶镜等。",[1016,28,27,116,388,7,1017,1018,1019,463],"汉代","木质","彩绘","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd88eb790bc8dd8a0e4bfcc793c91eb21.jpg",[],{"id":1023,"slug":1024,"title":1025,"dynasty":18,"author":854,"museum":855,"description":856,"tags":1026,"thumbUrl":1030,"material":124,"size":863,"collection":59,"collections":1031,"showCount":1032,"zanCount":11,"manualWeight":11,"mainColor":63},223038,"hong-lou-meng-163-sun-wen-223038","红楼梦163",[23,25,27,28,175,138,142,613,75,554,176,93,7,1027,959,1028,1029,159],"桌椅","衣帽","聚会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a77715bf17c0334e164e3416334c83b.jpg",[],31,{"id":1034,"slug":1035,"title":1036,"dynasty":48,"author":246,"museum":134,"description":1037,"tags":1038,"thumbUrl":1040,"material":37,"size":1041,"collection":39,"collections":1042,"showCount":1032,"zanCount":185,"manualWeight":11,"mainColor":43},219047,"su-chun-tu-lv-ji-219047","粟鹑图","这幅画画在深秋，地上的小雏菊盛开，到处可见黄色的小花；粟穗已经成熟，穗粒饱满下垂，叶子已经枯萎，粟穗丛中有三只鹌鹑，右边的一只正在啄食粟穗粒为食。",[23,25,112,27,28,35,595,1039,7],"粟穗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc190124f6a5eefee9c247d2fc4d3dce2.jpg","117.7x85cm",[39],{"id":1044,"slug":1045,"title":1046,"dynasty":18,"author":190,"museum":20,"description":1047,"tags":1048,"thumbUrl":1054,"material":558,"size":559,"collection":59,"collections":1055,"showCount":1056,"zanCount":11,"manualWeight":11,"mainColor":1057},265691,"xue-hui-se-duan-di-dan-cai-tao-zhu-ju-wen-tao-yi-ming-265691","雪灰色缎地淡彩桃竹菊纹绦","经线提花锦的组织结构和纹样都十分复杂，舞人动物纹锦的纹样横贯全幅，充分反映了当时已有了先进的提花织造技术。精美的刺绣品共有17种纹样，构图大，讲究对称、平衡，色彩配合恰当，给人以端庄典雅、富丽堂皇的美感。纹样内容充满神话色彩，鲜明地反映了楚文化的浪漫主义特色。墓中出土的衣袍为直据，是当时贵族中最流行的一种服式。这批先秦织物的出土，为深入研究我国古代纺织史提供了珍贵的实物资料。",[1049,1050,1051,28,1052,7,1053],"织绣","刺绣","布料","菊花","绦带","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f6c67f71863aded8f19a53679e42ea3.jpg",[],30,"9C27B0",{"id":1059,"slug":1060,"title":1061,"dynasty":152,"author":581,"museum":107,"description":1062,"tags":1063,"thumbUrl":1071,"material":488,"size":1072,"collection":59,"collections":1073,"showCount":1074,"zanCount":185,"manualWeight":11,"mainColor":63},221590,"qiu-hui-cao-chong-tu-li-di-221590","秋卉草虫图","此画左下方斜出数茎花草，相互掩映。一叶梢上栖息着一只螳螂，回首张望，高举双臂，似是盯着正在飞舞捕食的金龟。螳螂自腰部至头部弯转，其弧度与金龟外壳圆缓的轮廓线、草木花叶的线条都甚利落。其最精彩的部分应属精细的敷色，顺着叶片弧度，用石绿叠出深浅及细细叶脉。石青点染的鸭跖草，及天青色花瓣，虽色已剥落，仍有透薄之感。花间用白粉描绘小花头，螳螂上半部因敷白粉，突出了甲壳的平滑立体，其前臂更是富于变化，虽只勾勒出轮廓，但黄褐、淡黄、橄榄绿等色叠变，显示出更细致的部位变化，其金色的龟壳以金粉钩染，斑纹历历在目。",[23,25,112,53,28,27,35,1064,1065,117,116,157,1066,114,1067,113,121,1068,405,905,7,1069,1070],"草虫","秋草","虫类","宋代绘画","细笔","小生灵","花鸟草虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0fa271539c516bc1fca226558e483c4.jpg","25.2x26.1厘米",[],29,{"id":1076,"slug":1077,"title":1078,"dynasty":48,"author":190,"museum":90,"description":1079,"tags":1080,"thumbUrl":1082,"material":37,"size":1083,"collection":39,"collections":1084,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":43},218983,"shuang-feng-tu-yi-ming-218983","双凤图","双凤立于苍石之上，一昂首扬尾，羽色斑斓；一低首理翎，姿态娴静。笔触细腻处，翎羽纹理毕现，古朴色泽中透着温润；写意间，墨竹疏斜，花草点缀，衬出清幽之境。山石的厚重与凤鸟的灵秀相映，满含祥瑞之气，尽显古典花鸟的雅致韵致与自然生机。笔墨工写相济，将凤鸟的灵动与环境的静谧完美融合，传递出传统艺术中对生命与祥瑞的美好期许。",[23,25,112,27,28,35,1081,364,111,7,29],"凤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2281d3ed1187e1095135d352c1b21d46.jpg","155.3x103.2cm",[39],{"id":1086,"slug":1087,"title":1088,"dynasty":48,"author":190,"museum":20,"description":1089,"tags":1090,"thumbUrl":1093,"material":59,"size":1094,"collection":59,"collections":1095,"showCount":1096,"zanCount":11,"manualWeight":11,"mainColor":43},232908,"fang-hui-zong-cha-hua-ge-niao-tu-yi-ming-232908","仿徽宗茶花鸽鸟图","中国茶花画历千年而不衰，名家辈出，流派风格纷纭，成为中华民族传统艺术瑰宝之一，屹立于世界美术之林。古往今来的画家以茶花为题作画，表现它的千姿百态，笔情墨韵。众多茶花画向我们展示了风云迭起的美的历程，给人以酣畅淋漓的美的享受和奋发向上的民族精神的感召。\n唐代茶花画的形成和发展具有深刻的社会历史背景。\n其一，从茶花栽培史看，三国时代至隋代，茶花已经从野生状态发展到人工栽培，成为观赏花卉；及至唐代，中国主要茶花产区的人工栽培已经普及，并出现了茶花品种的名称和重瓣茶花。这些茶花的物质财富必然要反映到文学艺术中来。\n其二，从社会文化看，唐代是中国长期封建社会的辉煌时代，经济繁荣，物力殷阜，宫苑私园遍于各地。茶花被视作最珍贵的花木，它与牡丹花一样，成为宫廷显贵的荣耀。在寺院里，这种具有深刻宗教色彩的曼陀罗花，受到成千上万信徒的顶礼膜拜。茶花成为盛唐文化的一个亮点。\n其三，从中国花鸟画的生存衍化来看，花鸟画历经南北朝的萌芽状态，到唐代逐渐发展成为一门独立的画科，出现一批专门的花鸟画家，其技艺亦达到精湛的水平。在这三大因素的作用和催化下，茶花题材的绘画作品应运而生。特别值得提出的是唐南诏名画《南诏画传》。在这幅唐光化二年（公元899年）由南诏画师绘就的画卷里，有两株高大的植于南诏奇王庭院圆形花坛中的山茶，画面生动精美，系典型的唐人笔法，为中国古代绘画珍品（该画卷原藏北京故宫，现在日本）。《南诏画传》中这两株高过屋檐开着大朵红色鲜花的古茶花树，是中国绘画中最早出现的山茶形象。\n此外，在唐代的花鸟画家中，晚唐的滕昌是一位具有代表性的画家。滕昌擅作花鸟草虫、蔬果，亦工书法，号称“滕书”。滕昌在居室旁栽植竹石花木，以供写生。《宣和画谱》记有滕昌茶花作品《山茶家鹩图》一幅。可以想见，画家在居室旁栽植的花木中，定然有茶花。《山茶家鹩图》当为写生之作。此传世作品后被宋徽宗藏于宫廷。滕昌的画，“笔迹轻利，傅彩鲜泽，宛有生意”。他的《山茶家鹩图》当为早期花鸟画中的茶花画代表作品。\n五代茶花画在唐人基础上迅速发展并走向成熟，至两宋，茶花画达到了兴盛时期。其主要标志有三：\n一是画院的成立和发展。这是茶花画兴盛的物质基础之一。五代西蜀、南唐正式成立画院，称“翰林图画院”，一时名画家皆归附，绘事盛极一时。至两宋，画院繁荣，尤其是在宋徽宗的倡导下，扩充画院、兴画学，画院及绘画得到空前的发展。\n二是宋代造园植树之风大盛，茶花的引种栽培发展到一个鼎盛时期。其茶花新品种之多，园艺技术水平之高，盆栽与插花艺术拓展之快，都是前所未有的。这是宋代茶花画兴盛的物质条件。\n三是茶花画领域出现以黄筌为代表的在绘画史上具有重要地位和成就的画家。五代和宋前期的花鸟画家，首推黄筌。黄筌（约903～965年）为五代西蜀画家，是五代院体画家主要代表人物。曾入西蜀画院为翰林待诏。黄筌承前启后，创黄筌画派。黄筌的“富丽画风”，适合统治者和宫庭的需要及审美趣味。所谓“黄氏富贵”，即以严谨的用笔，惟妙惟肖的形象刻画，富丽堂皇的色彩为基本特点。黄筌的茶花作品有四幅。《宣和画谱》记有三幅：《山茶鹑雀图》一幅和《山茶雪雀图》二幅，均无画迹可考。只有近代画家于非闇临黄筌《彩鸠山茶图》一幅尚存。摹本上有临宋徽宗题款：“彩鸠山茶，黄筌妙笔。”\n两宋时期的茶花画家，院体画家（即宫廷画家）主要有北宋画家崔悫、吴元瑜，南宋画家林椿、李嵩（1166～1243年）、苏汉臣、董祥（1068～？）等，其身份均为画院待诏。林椿工画花鸟翎，重布局经营，是一位卓有成就的花鸟画家，代表作有《山茶霁雪图》和《茶花鸽子图》。崔悫有《山茶图》。吴元瑜有《山茶鹩子图》。李嵩茶花代表作为《花篮图》（藏台北故宫博物院）。苏汉臣为人物画家，作品《冬日婴戏图》（现藏台北故宫博物院）是一幅以山茶为背景的人物画作。董祥茶花作品有《岁朝图》（现藏台北故宫博物院）。\n院外画家（非宫廷画家）主要有北宋画家赵昌（？～1016年）、易元吉、丘庆余等。赵昌的茶花作品有折枝茶花、二色茶花，其画作“不特取其形似，直与花传神者也”，称“写生赵昌”，名重一时。《宣和画谱》录有其茶花作品《山茶图》、《山茶竹兔图》等十幅之多，另有《四季花卉卷· 山茶》。宋代大文豪苏轼也曾为赵昌山茶图作题跋二首。易元吉的茶花作品，《宣和画谱》录有《山茶孔雀图》、《山茶戏猿图》等八幅。丘庆余的茶花作品也见诸于《宣和画谱》，有《山茶花兔图》、《湖石山茶图》等五幅。\n勾勒填彩的细密画风成为两宋茶花画的主要艺术倾向。两宋的茶花作品以精工的描绘，鲜妍的敷色著称。画家十分注意物象、物理的研究，对物写生成为一时风尚，章法严谨，笔墨精丽，技法成熟，达到炉火纯青的地步，形成这一时期茶花画的主要艺术特色。北宋的茶花画已佚，流传至今的只有南宋画家李嵩的《花篮图》（设色绢本）、宋代佚名的《山茶蝴蝶图》、《白茶花图》，从中足以窥见当时盛行画风的特色。剖析这一时期的绘画作品，可以清晰地看到，以院体画为主的细密画风始终占主导地位。此外，赵昌、易元吉的作品以写生为重。崔悫、吴元瑜的作品在继承黄筌的基础上别创一清淡疏秀之格。林椿虽为宋后期院体画家，却在继承北宋院体画细密的传统中，显示出敷色轻淡，灵活生动的特色。宋无款的《百花图卷· 茶花》画风接近于“文人画”。宋后期的董祥、赵彦敷的茶花作品已具早期文人水墨画的特征。这些作品在主体画风之外各有特色，但是茶花作品的整体艺术倾向始终是鲜明而统一的。\n五代两宋为茶花画数量最多的一个时期。五代两宋时期画茶花的有院体画家、院外画家、士大夫阶层为官者，绘茶花者甚众，呈现欣欣向荣之气势。迄今发现两宋茶花画达41幅，居各个时期茶花作品数量之首。",[23,25,24,112,26,27,28,636,35,1091,1092,29,224,94,7],"茶花","鸽子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F031db809757be93633780fb6452f3df0.jpg","30.1 x 206.5厘米",[],25,{"id":1098,"slug":1099,"title":1100,"dynasty":105,"author":1101,"museum":107,"description":1102,"tags":1103,"thumbUrl":1104,"material":124,"size":1105,"collection":59,"collections":1106,"showCount":1096,"zanCount":11,"manualWeight":11,"mainColor":43},232255,"zhu-lin-xian-zi-tu-liu-guan-dao-232255","竹林仙子图","刘贯道","这一张古画比较奇怪，奇怪的是故事的内容比较特殊，而且是供欣赏者来一起讨论的。作品是元代刘贯道的 《竹林仙子》，作品并不大，但如今被收藏在台北博物馆之中。\n为什么说这一张作品比较奇怪，因为画中仅仅只出现了一个古代仕女，但专家却称这一个仕女有区别当时的画中人物，准确的讲作者想要画的是自己想象中的仙女。\n700年前的一个仙女掉落竹林，古画中的她想飞却又被困住了！\n既然是仙女，为何画中的人物会被困在画里的竹林之中无法飞出去呢？这背后究竟是为什么？我们带着疑问先来看看作品的细节，一起来欣赏一下距今700多年的作品背后究竟作者想要表达什么！\n刘贯道是元代一个著名的绘画大师，而且他的绘画作品尤其是擅长于画佛道人物，所以为什么画中人物被称为仙女，这与作者的用意有直接的关系。\n当然他也能画山水、花竹、鸟兽等等。他的作品之中绘画的手法与宋朝文人雅士一样，但其画功非又比一般的画家复杂得多，而且他的存世作品非常少。\n仔细看这一张作品，其实大家可以感受到绘画作者非常的细致，每一处的景色显得非常的精妙，尤其是他笔下有着一种传统的绘画技法，透露着一种浓浓的古典风味。\n整个作品十分的雅，而且清秀的笔锋与颜料的使用都是非常特别。仔细看那一个仙女的衣服，飘逸的感觉真的很到位，就如天宫之中的仙女一模一样。但为什么这一个仙女会落到凡间的竹之中呢？\n首先有网友给出一种解释，那就是不是这一个仙女落到了凡间，而是她亲自下凡后却被凡间的某一些东西给吸引住了。作者在绘画的时候让仙女的眼神落在了地上的鲜花上面，可能是凡间的花朵吸引住了她，也可能这一些鲜花在天宫之中就没有，美女爱花这一个观点就融入到作品之中。\n仙女被仙花吸引住了，所以她独自下凡就是为了多看几眼鲜花。仙女的姿势是有向后飞的意思，衣服的飘带也是呈现一种动起来的姿态，而仙凡看着花果，估计也就是被鲜花给吸引住了。\n不得不说古人绘画的作品真的够细致，山间有竹林，而竹林之中又有少许的鲜花。一个仙女落入在凡间的树林之中，在鲜花的山间还有一些流水，这样一种诗情画意的画面真妙。\n难怪仙女不愿意离开，估计换成别人落入到如此美景之中也不会想着离开吧",[25,112,24,27,28,138,139,364,94,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b43f6849455cf8800987ffcf55ba5cf.jpg","70×31.4cm",[],{"id":1108,"slug":1109,"title":1110,"dynasty":550,"author":737,"museum":20,"description":738,"tags":1111,"thumbUrl":1115,"material":558,"size":559,"collection":751,"collections":1116,"showCount":1096,"zanCount":11,"manualWeight":11,"mainColor":43},226121,"the-summer-poppy-field-1875-mo-nai-226121","The Summer, Poppy Field, 1875",[24,761,740,1112,1113,743,766,93,138,745,845,7,744,1114],"光影表现","色彩明快","阳光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f20bbfbf4cd1e444441aaf2510ffd5b.jpg",[751],{"id":1118,"slug":1119,"title":1120,"dynasty":550,"author":737,"museum":20,"description":738,"tags":1121,"thumbUrl":1130,"material":558,"size":559,"collection":751,"collections":1131,"showCount":1096,"zanCount":185,"manualWeight":11,"mainColor":43},226070,"the-fisherman-s-house-at-varengeville-1882-mo-nai-226070","The Fisherman's House at Varengeville, 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at Arles July 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Iris Garden at Giverny, 1899-1900",[740,761,1220,1148,93,1149,7,157,888],"鸢尾花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3e8a5d135301cb3766f578cad93232a.jpg",[751],{"id":1224,"slug":1225,"title":1226,"dynasty":18,"author":190,"museum":69,"description":1227,"tags":1228,"thumbUrl":1232,"material":1233,"size":1234,"collection":59,"collections":1235,"showCount":1205,"zanCount":185,"manualWeight":11,"mainColor":63},223366,"guang-xu-nian-jian-bai-duan-di-guang-xiu-san-yang-kai-tai-gua-ping-xin-yi-ming-223366","光绪年间白缎地广绣三阳开泰挂屏心","此挂屏心是在白色缎地上施五彩绣。画面中一轮红日高挂，草木葱郁，山石玲珑，3只羊嬉戏于湖边草地上，9只瑞鸟飞鸣栖息于花间树梢，展现出一派春光明媚、万物滋生的美好景象。作品采用了洒插针、辫子股针、扭针、刻鳞针、打籽针和风车针等针法，针工细密，有较强的立体感。三只羊形态各异，刻画逼真，羊身上用辫子股针绣成一圈圈凸起的圈线，颇具毛绒感。画面施以浅驼、驼、古铜、沉香、灰、驼黄、黄、绿、蓝、石青和大红等色，色彩艳而不俗，富于装饰性，充分体现了广绣独特的风格。\n此挂屏心的主题以“羊”与“阳”的谐音寓意“三阳开泰”，作为新年伊始的祝福。此为广绣的杰作。",[23,714,1229,1050,28,783,72,29,30,1230,96,111,744,7,1231],"广绣","云","挂屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7ff1a6d481f46a46864196ab03a7f3b.jpg","屏心","高67厘米，宽52厘米",[],{"id":1237,"slug":1238,"title":1239,"dynasty":18,"author":854,"museum":855,"description":856,"tags":1240,"thumbUrl":1241,"material":124,"size":863,"collection":59,"collections":1242,"showCount":1205,"zanCount":11,"manualWeight":11,"mainColor":63},222958,"hong-lou-meng-83-sun-wen-222958","红楼梦83",[23,25,112,27,28,138,142,313,95,475,176,195,75,613,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7403ace2ce41dd5ba217ead338cf78bf.jpg",[],{"id":1244,"slug":1245,"title":1246,"dynasty":18,"author":190,"museum":20,"description":1247,"tags":1248,"thumbUrl":1249,"material":37,"size":59,"collection":59,"collections":1250,"showCount":1205,"zanCount":11,"manualWeight":11,"mainColor":43},216700,"hong-lou-meng-fu-tu-ce-21-yi-ming-216700","红楼梦赋图册-21","亭榭半敞，粉帘轻垂，温柔勾连起内外景致。亭中二人对坐案前，案上器物雅致，似正叙谈品物，衣饰纹样细腻入微；亭外侍女持器侍立，身姿恭谨，与阶下花木、石景相映成趣。画面以淡雅色调铺陈，绿栏粉幕、鲜妍花草交织出古典闺阁的娴静气息。笔触工细，帘上花纹、石畔细草、人物神情皆含温婉韵致，仿佛将红楼梦中从容雅致的日常定格，让观者窥见旧时闺阁里一段清宁时光，感受那份藏于细节中的古典诗意。",[23,25,28,27,53,138,139,142,475,111,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a1e036fdb42a86e193d00710ae2287e.jpg",[],{"id":1252,"slug":1253,"title":1254,"dynasty":550,"author":737,"museum":20,"description":738,"tags":1255,"thumbUrl":1260,"material":558,"size":559,"collection":751,"collections":1261,"showCount":1262,"zanCount":11,"manualWeight":11,"mainColor":200},226131,"the-water-lily-pond-at-giverny-1917-mo-nai-226131","The Water-Lily Pond at Giverny, 1917",[740,761,1256,1257,238,1258,93,7,157,888,1259,1123,743],"池塘","睡莲","倒影","光影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e3a8fb7d461b825bc9f879091fc468a.jpg",[751],19,{"id":1264,"slug":1265,"title":1266,"dynasty":550,"author":737,"museum":20,"description":738,"tags":1267,"thumbUrl":1275,"material":558,"size":559,"collection":751,"collections":1276,"showCount":1262,"zanCount":11,"manualWeight":11,"mainColor":63},225944,"hotel-des-roches-noires-trouville-1870-mo-nai-225944","Hotel des Roches Noires, Trouville, 1870",[740,761,1112,1124,1113,142,1268,1269,1201,745,746,1270,1271,7,715,1272,1114,1273,138,1274],"街道","行人","路灯","遮阳篷","海滨","阴影","道路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a2076575fd4f3bb9a56637384d389da.jpg",[751],{"id":1278,"slug":1279,"title":1280,"dynasty":48,"author":1281,"museum":69,"description":1282,"tags":1283,"thumbUrl":1286,"material":300,"size":1287,"collection":59,"collections":1288,"showCount":1262,"zanCount":11,"manualWeight":11,"mainColor":63},222598,"cheng-guan-tu-ce-he-juan-lan-ying-222598","澄观图册合卷","蓝瑛","“澄观”一语出自六朝山水画家、画论家宗炳《画山水叙》。宗炳认为山水画的功用在于“澄怀观道”，即通过欣赏山水画以滌除心胸之垢，进入平和无我的高尚境界，这也是蓝瑛69岁时精绘此册的初衷。\n蓝瑛一生游历甚广，明代韩昂在《图绘宝鉴续纂》中记载他到过福建、广东、湖北、陕西、河南等地，对长江南北的名山大川有着细致的观察和深切的感悟。因此，在这本图册中，他凭藉深厚的艺术功底准确地表现出江南水乡的秀美和北方山岳的壮丽。由于画家遵循“外师造化，中得心源”的创作原则，在创作过程中达到“澄观”的目的，所以在此图册中无法找到任何与自然界相对应的具体景观。蓝瑛在师法自然的基础上又对自然山水的某些形式结构及色彩等进行了分解和重新组合，使之化作自己的“胸中丘壑”再加以表现。这种典型的文人山水画创作方法与西方注重写实的风景画迥异其趣。",[23,25,112,53,28,263,297,159,176,94,93,29,95,1212,475,1284,313,1285,7],"云雾","屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71e687a33ee9379b8def8f1d91a5d46e.jpg","纵42.5cm，横23.2cm",[],{"id":1290,"slug":1291,"title":1292,"dynasty":48,"author":190,"museum":1293,"description":1294,"tags":1295,"thumbUrl":1297,"material":37,"size":1298,"collection":144,"collections":1299,"showCount":1262,"zanCount":185,"manualWeight":11,"mainColor":43},219619,"ming-ren-qiu-lin-mu-yang-tu-yi-ming-219619","明人秋林牧羊图","耶鲁大学艺术博物馆","丹红叶色覆满古木虬枝，晕染出深秋萧疏又温煦的氛围。林下坡岸，一人踞坐拨弦，一人垂首静听，意态闲散悠然，尽显林下雅趣。坡麓双羊缓行啮草，野逸闲寂的田园意致油然而生。\n\n画作笔墨简淡秀润，设色清雅沉稳，人物意态生动传神，林木皴染细致写实，将秋日郊野的幽寂清旷与文人士子的山居闲情相融，勾勒出超脱尘俗的林下雅兴图景，尽显写意尚趣的审美意韵。",[25,28,27,138,783,1296,251,94,7,93,905,72],"秋林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaedaedf3332b4fb0340859744f2680b.jpg","纵100.5横51.5厘米",[144],{"id":1301,"slug":1302,"title":1303,"dynasty":1304,"author":1305,"museum":50,"description":1306,"tags":1307,"thumbUrl":1309,"material":59,"size":59,"collection":82,"collections":1310,"showCount":1262,"zanCount":11,"manualWeight":11,"mainColor":1311},202989,"ba-jun-tu-zhou-ge-quan-202989","八骏图轴","近代","戈荃","柳丝垂拂，草坡茵茵，八匹骏马散落其间，或昂首嘶鸣，或俯身食草，或打滚嬉戏，或静卧休憩，姿态各异，神情灵动。设色温润淡雅，马匹勾勒细致入微，毛发纹理清晰可见，尽显骏骥的矫健与活力；背景山石用墨灵动，树木枝叶疏密有致，飞鸟点缀天际，更添自然野趣。整幅画作兼具工笔的精谨与写意的洒脱，于宁静氛围中蕴含蓬勃生机，勾勒出一派人与自然和谐共处的悠然景致。",[25,28,27,1308,195,94,29,7,23],"马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3baf4688685672991a68758944430d5e.jpg",[82],"bcaf90",{"id":1313,"slug":1314,"title":1315,"dynasty":550,"author":737,"museum":20,"description":738,"tags":1316,"thumbUrl":1319,"material":558,"size":559,"collection":751,"collections":1320,"showCount":1321,"zanCount":185,"manualWeight":11,"mainColor":43},225960,"irises-1914-17-mo-nai-225960","Irises, 1914-17",[740,761,1317,1318,1220,157,7],"色彩融合","笔触自由","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde6f543826f5e14a7efb29668df9d017.jpg",[751],18,{"id":1323,"slug":1324,"title":1325,"dynasty":550,"author":758,"museum":20,"description":759,"tags":1326,"thumbUrl":1332,"material":558,"size":559,"collection":751,"collections":1333,"showCount":1321,"zanCount":11,"manualWeight":11,"mainColor":200},225842,"the-garden-at-the-asylum-at-saint-remy-fan-gao-225842","The garden at the asylum at Saint Remy",[761,762,28,1327,764,1148,1149,93,7,715,744,745,1328,1126,1329,1330,1331,613],"厚重笔触","长椅","开花树木","土路","灌木丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5cf7757baff05fbba965fb0a000e802.jpg",[751],{"id":1335,"slug":1336,"title":1337,"dynasty":152,"author":1338,"museum":107,"description":1339,"tags":1340,"thumbUrl":1342,"material":37,"size":1343,"collection":59,"collections":1344,"showCount":1345,"zanCount":11,"manualWeight":11,"mainColor":43},290324,"shi-quan-bao-xi-zhou-lin-chun-290324","十全报喜轴","林椿","林椿，南宋钱塘（今浙江杭州）人，生卒年不详，南宋孝宗淳熙（1174—1189）间画院待诏，赐金带。 林椿为南宋时期画家，孝宗淳熙年间曾为画院待诏。生卒年不详，浙江钱塘（今浙江杭州）人，南宋时期画家。孝宗淳熙年间曾为画院待诏。绘画师法赵昌，工画花鸟、草虫、果品，设色轻淡，笔法精工，设色妍美，善于体现自然的形态，所绘小品为多，当时赞为“极写生之妙，莺飞欲起，宛然欲活”。传世作品有：《梅竹寒禽图》册页，藏于上海博物馆。《果熟来禽图》《葡萄草虫》《枇杷山鸟图》，藏于北京故宫博物院。",[25,24,137,35,27,28,29,555,364,298,7,1341],"报喜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4e4eb9e64c0112fda03b22f51f0d9e8.jpg","173.2x97.6",[],17,{"id":1347,"slug":1348,"title":1349,"dynasty":18,"author":854,"museum":855,"description":856,"tags":1350,"thumbUrl":1362,"material":124,"size":863,"collection":59,"collections":1363,"showCount":1345,"zanCount":11,"manualWeight":11,"mainColor":63},222919,"hong-lou-meng-44-sun-wen-222919","红楼梦44",[23,27,28,175,138,613,142,93,1351,858,861,1352,7,1027,959,1353,75,1354,1355,1356,1357,1358,554,1359,1360,1126,1361,140,961],"芭蕉","盆栽","回廊","圆形门洞","石阶","石墩","古典建筑","窗棂","宴饮","赏花","石景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49e9dd68d51b05a8326c6123fca2f6e4.jpg",[],{"id":1365,"slug":1366,"title":1367,"dynasty":18,"author":854,"museum":855,"description":856,"tags":1368,"thumbUrl":1370,"material":124,"size":863,"collection":59,"collections":1371,"showCount":1372,"zanCount":11,"manualWeight":11,"mainColor":63},222913,"hong-lou-meng-38-sun-wen-222913","红楼梦38",[23,25,112,27,28,175,138,142,613,93,75,859,94,906,1369,7],"地面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe17d679e1f1bb0d6400b5266757571c9.jpg",[],16,{"id":1374,"slug":1375,"title":1376,"dynasty":18,"author":1377,"museum":20,"description":1378,"tags":1379,"thumbUrl":1380,"material":59,"size":59,"collection":59,"collections":1381,"showCount":1382,"zanCount":11,"manualWeight":11,"mainColor":43},238208,"duan-yang-gu-shi-ce-xu-yang-238208","端阳故事册","徐扬","《端阳故事图之赐枭羹》是清代徐扬创作的绢本设色画册，共八开。\n此为第二开，名《赐枭羹》，题：“汉令郡国贡枭为羹赐官以恶鸟，故食之。\n”",[24,25,112,53,27,28,138,195,613,7,715,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F207aece91c855086232fb366672d1ea1.jpg",[],14,{"id":1384,"slug":1385,"title":1386,"dynasty":152,"author":190,"museum":20,"description":1387,"tags":1388,"thumbUrl":1390,"material":59,"size":59,"collection":59,"collections":1391,"showCount":1382,"zanCount":11,"manualWeight":11,"mainColor":63},223618,"hong-mei-kong-que-tu-yi-ming-223618","红梅孔雀图","《宋人画红梅孔雀图》是宋代佚名画家创作的花鸟绘画。\n中国古代以 为题材的绘画不多见。\n此图绘溪边春色，以近远景搭配，表现出自然界的勃勃生机。\n正中一树梅花盛开，两侧辅以山茶、古柏、翠竹、迎春。\n孔雀一对，雄者栖于树干，回首梳翎；雌者倘佯岸边，低头觅食。\n其毛羽斑斓，与花树汇成一片绚烂春光。\n此图难能之处在于布局繁密但杂而不乱；设色富丽但艳而不俗。\n梅、柏枝干用焦墨勾皴，苍劲古朴，与周围花卉禽鸟的纤细娇美恰成互补。\n作者当是擅长状写升平景象的画院高手。\n本幅无款识。\n钤鉴藏印“真赏”、“都尉耿信公书画之章”、“公”、“信公珍赏”、“丹诚”、“宜尔子孙”、“珍秘”、“会侯珍藏”、“庞莱臣珍藏宋元真迹”。\n裱边钤鉴藏印“信公监定珍藏”。\n本幅右侧题“ ”细款，但细察周围有挖痕，应系从别处移来。\n对幅有耿昭忠题记：“此图花木禽鸟极其精工。\n《画髓》评云：‘远欲其子得誉，多于己画题作马麟。\n’夫岂其然？千山信公。\n”钤“虚斋珍赏”及耿氏藏印5方。\n存《名笔集胜》册中。\n《虚斋名画录》著录。",[23,25,24,27,28,1389,33,249,858,29,94,238,7],"红梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5efe163d7bf4a53fe85c48eba2f57af.jpg",[],{"id":1393,"slug":1394,"title":1395,"dynasty":18,"author":190,"museum":191,"description":1396,"tags":1397,"thumbUrl":1399,"material":197,"size":59,"collection":59,"collections":1400,"showCount":1382,"zanCount":11,"manualWeight":11,"mainColor":200},216850,"xi-xiang-ji-tu-ce-28-yi-ming-216850","西厢记图册-28","月辉轻笼草舍，薄雪覆檐，疏枝横斜间缀着几点红，似把秋冬清寒揉进暖意。屋内案前，人影静对笔墨，一室幽寂里藏着未言的心事。溪边石上，素衣女子执花伫立，眸光落向水面，衣袂与青丝随微风轻漾，手中花枝如诉如慕。\n\n笔触细腻温润，淡彩晕染出朦胧月夜。人物眉间的轻蹙、指尖的微滞，都藏着西厢故事里的缱绻怅惘。风过枝叶的轻响、溪水的低吟似在耳畔，将古典情愫里的含蓄温柔，静静铺展成一幅可感可触的诗画——每一处细节都在低语，把千年前的幽微心绪，凝在这方纸页上。",[25,53,28,27,139,313,95,138,194,251,1398,93,7],"屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F760d951c02b48612d921e06a314b57f4.jpg",[],{"id":1402,"slug":1403,"title":1404,"dynasty":550,"author":1405,"museum":20,"description":1406,"tags":1407,"thumbUrl":1411,"material":558,"size":559,"collection":59,"collections":1412,"showCount":1413,"zanCount":11,"manualWeight":11,"mainColor":63},231790,"ming-qing-ri-ben-gu-hua-fen-ben-shan-shui-juan-he-guo-xiao-zhai-231790","明清日本古画粉本-山水卷","河锅晓斋","河鍋曉齋是日本幕末至明治時期的浮世絵師。評論家認為他是「一個獨立的帶有個人主義的，可能是傳統日本畫的最後大師」。",[23,25,26,263,28,176,1408,1284,93,7,1409,1410],"山峰","雪景","河流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d12f5d72d96918e6b40bcf86252f60d.jpg",[],13,{"id":1415,"slug":1416,"title":1417,"dynasty":18,"author":190,"museum":20,"description":1418,"tags":1419,"thumbUrl":1422,"material":558,"size":559,"collection":59,"collections":1423,"showCount":1424,"zanCount":11,"manualWeight":11,"mainColor":63},272981,"mu-bian-hua-ling-zhi-bian-fu-tu-gua-ping-yi-ming-272981","木边画灵芝蝙蝠图挂屏","此作工写相融，动静相宜。淡墨晕染出空濛天色，两只蝙蝠振翅穿空，暗合纳福的美好祈愿。下方拳石苍润通灵，细瀑垂落似有声响，灵芝挺秀、幽花绽艳，伴以细草舒展，生机流溢。\n设色清雅柔润，花卉的明丽与山石墨色的苍淡形成鲜明虚实对照，既有工笔描摹的细腻鲜活，又兼具写意的空疏灵韵，将世俗祈福的意趣藏入清逸山景间，雅俗共赏，尽显传统小品画的温婉雅致。",[25,112,1231,28,27,1420,1421,94,95,7],"蝙蝠","灵芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc10219ac8d906dcfb28e21cdb7f67ee3.jpg",[],12,{"id":1426,"slug":1427,"title":1428,"dynasty":105,"author":1429,"museum":69,"description":1430,"tags":1431,"thumbUrl":1434,"material":59,"size":59,"collection":1435,"collections":1436,"showCount":1424,"zanCount":11,"manualWeight":11,"mainColor":63},239567,"xing-fang-cao-tie-ce-ye-deng-wen-yuan-239567","行芳草帖册页","邓文原","邓文原（1258年—1328年），字善之，一字匪石，人称素履先生，绵州（今四川绵阳）人，又因绵州古属巴西郡，人称邓文原为“邓巴西”。其父早年避兵入杭，遂迁寓浙江杭州，或称杭州人。\n历官江浙儒学提举、江南浙西道肃政廉访司事、集贤直学士兼国子监祭酒、翰林侍讲学士，卒谥文肃。其政绩卓著，为一代廉吏，其文章出众，也堪称元初文坛泰斗，《元史》有传。著述有《巴西文集》《内制集》《素履斋稿》等。\n邓文原擅行、草书。传世书迹有《临急就章卷》等。与赵孟頫、鲜于枢齐名，号称“元初三大书法家”，尤以擅章草而闻名。",[159,208,1212,95,1432,1433,7,77],"暮烟","鸥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc9f44f03c82473d486a19d389c5da98.jpg","书法精选",[1435],{"id":1438,"slug":1439,"title":1440,"dynasty":18,"author":1441,"museum":69,"description":1442,"tags":1443,"thumbUrl":1446,"material":1447,"size":1448,"collection":59,"collections":1449,"showCount":1424,"zanCount":11,"manualWeight":11,"mainColor":63},233774,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233774","原济陶渊明诗意册","石涛","本图册是作者根据东晋著名诗人陶渊明诗句而创作。陶渊明是中国田园诗的创始者，他的诗不仅反映出田园生活的美好与自然，更流露出他徘徊于出仕与归隐之间的矛盾。绘画者显然非常赞赏这种避身独处、与世无争、乐天安命的人生哲学，通过描绘回归自然、淡于荣禄、不与统治者合作的隐士陶渊明来表现自己美好的理想。\n这里择两开赏析。\n第二开《悠然见南山》：陶渊明的许多诗篇中都有关于菊花的诗句：“采菊东篱下，悠然见南山”、“秋菊有佳色，裛露掇其英”均写出了他远离世俗的心境和陶醉于自然的乐趣。他常以菊自喻，借菊花凌秋傲霜的品质表达自己清高的节操和情怀。石涛仰慕陶渊明的高尚情操，故此图借陶渊明爱菊寄寓了画家自己的思想感情。画中篱笆院中菊花盛开，一高士手持菊花观赏，悠然之态可见。此图结构精巧，人物用笔细密。远山以墨笔烘染，山腰云雾密布，不见山脚，以此表现烟云飘渺的动态和气势。这种中锋、细勾、渍染相结合的画法使画面有动有静，虚实结合，意趣无穷。\n第六开《遥遥望白云 怀古一何深》：描绘一位着布衣宽袍的老者临溪而立。老者远望青山，脚下溪水流淌。面对满目凄凉、空无一人的山水，主人公似思绪万千，发思古之幽情。画家借此图深刻而恰当地表达了自己零丁孤苦、怀才不遇之情。构图采用一水两岸的自然分疆法。画面上只见弥漫的云山、层山断处的房舍和半露的松林而不见山脚，山顶则似露非露地隐现。树木用水墨渍出，以衬托山腰白云的动感。",[25,112,53,263,28,176,195,1444,1052,138,1445,1230,7,208,264,297],"亭子","夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ca4420878f973ed6cbf1457c2815973.jpg","纸本，设色","纵27厘米，横21.3厘米",[],{"id":1451,"slug":1452,"title":1453,"dynasty":550,"author":190,"museum":1454,"description":1455,"tags":1456,"thumbUrl":1459,"material":197,"size":1460,"collection":59,"collections":1461,"showCount":1424,"zanCount":11,"manualWeight":11,"mainColor":63},231579,"hua-yan-wu-shi-wu-suo-hua-juan-yi-ming-231579","华严五十五所画卷","日本京都国立博物馆","此作描述了《华严经》中记录的善财童子遍参善知识的经历。故事讲述的是善财童子心地纯洁，如天空般明净，听从文殊菩萨的规劝，遍参了55位善知识（才德兼备而能指引他人的高人），终于修成正果的美丽故事。这个表现主题在大陆（即中国）、日本自古就被造型化，此绘卷继承日本的传统，于镰仓时代中期临摹了制作于平安时代至镰仓时代初期的东大寺本（分藏于东大寺及他处。东大寺所藏为国宝，其他处所藏为重要文物）中的5段。原本凭借其柔和流畅的线条及宁静的色彩，展现了极高的思想性，本临摹本虽无法媲美原本，但也可以说具有原本的余韵。各段上书有的文字，为各位善知识的位阶及姓名，以及以各段内容为主题的诗文画赞。画赞采用的是与北宋时期著名文人苏东坡等相交甚密的杨杰的作品。",[23,25,26,28,27,138,93,176,95,142,313,94,7,140,1457,1458,29],"僧侣","坐像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbca48a1d5a23cbaab71ad1178b785161.jpg","31.7×196.6cm",[],{"id":1463,"slug":1464,"title":728,"dynasty":18,"author":190,"museum":20,"description":1465,"tags":1466,"thumbUrl":1468,"material":1469,"size":1470,"collection":59,"collections":1471,"showCount":1424,"zanCount":11,"manualWeight":11,"mainColor":63},223472,"shan-mian-yi-ming-223472","图绘一女子与郊外采茶",[23,25,112,728,28,27,363,138,139,463,7,94,598,1467],"鼠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F155243ffb1d2bc268317032cb916a089.jpg","絹本设色","纵24.2 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[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。",[25,28,27,53,1578,7,222,283,1579,157],"青蛙","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a39b3a7af0938c4ac3b55f3903b933b.jpg",[],9,{"id":1584,"slug":1585,"title":1586,"dynasty":18,"author":190,"museum":20,"description":1587,"tags":1588,"thumbUrl":1590,"material":558,"size":559,"collection":59,"collections":1591,"showCount":1582,"zanCount":11,"manualWeight":11,"mainColor":63},234438,"zhu-tu-ban-tuo-jia-zun-zhe-tang-ka-yi-ming-234438","注荼半托迦尊者唐卡","唐卡（Thang-ga）也叫唐嘎，唐喀，系藏文音译，指用彩缎装裱后悬挂供奉的宗教卷轴画。唐卡是藏族文化中一种独具特色的绘画艺术形式，题材内容涉及藏族的历史、政治、文化和社会生活等诸多领域，传世唐卡大都是藏传佛教和本教作品。\n唐卡是藏族文化中一种独具特色的绘画艺术形式。具有鲜明的民族特点、浓郁的宗教色彩和独特的艺术风格，用明亮的色彩描绘出神圣的佛的世界；颜料传统上是全部采用金、银、珍珠、玛瑙、珊瑚、松石、孔雀石、朱砂等珍贵的矿物宝石和藏红花、大黄、蓝靛等植物为颜料以示其神圣。这些天然原料保证了所绘制的唐卡色泽鲜艳，璀璨夺目，虽经几百年的岁月，仍是色泽艳丽明亮。因此被誉为中国民族绘画艺术的珍品，被称为藏族的”百科全书”也是中华民族民间艺术中弥足珍贵的非物质文化遗产。\n传统唐卡的绘制要求严苛、程序极为复杂，必须按照经书中的仪轨及上师的要求进行，包括绘前仪式、制作画布、构图起稿、着色染色、勾线定型、铺金描银、开眼、缝裱开光等一整套工艺程序。制作一幅唐卡用时较长，短则半年完成，长则需要十余年。",[1589,714,311,28,27,138,142,95,93,7,312,94],"唐卡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa25c49ce35e22f869389b92aec6bb4aa.jpg",[],{"id":1593,"slug":1594,"title":1595,"dynasty":18,"author":190,"museum":20,"description":1596,"tags":1597,"thumbUrl":1600,"material":558,"size":559,"collection":59,"collections":1601,"showCount":1602,"zanCount":11,"manualWeight":11,"mainColor":63},269053,"bai-duan-di-guang-xiu-san-yang-kai-tai-gua-ping-xin-yi-ming-269053","白缎地广绣三阳开泰挂屏心","此作为祥瑞主题的刺绣精品，以三羊铺陈核心意境，三只瑞羊姿态各异，或徐行或伫立，形神兼备，尽显灵动安然。背景里百鸟翔集于虬枝松石间，朝日浮空，流云轻绕，花树错落、溪草扶苏，铺展出一派清和明媚的春日盛景。\n\n它运用多样岭南刺绣针法，施色妍丽雅致却不失柔和，翎羽纤毫毕现，羊身绒毛蓬松写实，草木山石层次饱满，将广绣的精巧工细发挥到极致，把新春吉庆寓意融在生机盎然的雅致图景中，是清代吉祥题材刺绣的上乘之作。",[1050,1229,1231,1598,783,29,411,72,1599,93,94,7,28,27,1051],"三阳开泰","红日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25c0bf5c7983518097e615fa65998026.jpg",[],8,{"id":1604,"slug":1605,"title":1606,"dynasty":152,"author":190,"museum":20,"description":1607,"tags":1608,"thumbUrl":1609,"material":558,"size":559,"collection":59,"collections":1610,"showCount":1602,"zanCount":11,"manualWeight":11,"mainColor":43},231075,"cai-hua-tu-yi-ming-231075","采花图","此作以小品形制绘就郊野雅游之景。水岸坡坨间，老柳垂荫，清润草木错落点缀，留白写尽浩渺水色，晕染出空寂淡远的氛围感。画面中，士人策杖徐行，小童执花引路，侧旁仆役正攀枝采撷，将文人日常游赏的闲逸雅趣藏于细节里。笔墨简淡秀雅，皴擦轻简便勾勒出坡岸肌理，设色古雅柔和，尽显平和天真的审美意趣，咫尺之间将林下悠游的松弛意韵铺陈开来，淡而有味，余韵悠长。",[404,25,728,28,27,138,93,94,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a447cd5bf553072e7e792dafc9ceb20.jpg",[],{"id":1612,"slug":1613,"title":1614,"dynasty":18,"author":1136,"museum":50,"description":1615,"tags":1616,"thumbUrl":1617,"material":197,"size":1618,"collection":59,"collections":1619,"showCount":1602,"zanCount":11,"manualWeight":11,"mainColor":63},219833,"ren-wu-ce-ye-2-ren-xiong-219833","人物册页-2","任熊善山水、人物、花卉、翎毛、虫鱼、走兽，笔力雄厚，气味静穆，深得宋人神髓。尤擅长人物，绘画师法陈洪绶，人物形象多高古、奇倔、夸张、得陈洪绶神韵而能别出心裁，其自画像神态刻画细致入微，十分写实。任熊对衣纹的勾画向来十分精彩，铁画银钩，很见功力。所题款字也是十分有力，与画法同出一辙。\n此开册页共十二页，内容丰富，题材广博，有人物、仕女、神仙、花鸟、鞍马、博古、山水等等。工笔写意，错杂出之，光怪陆离，不可方物。",[25,112,53,28,138,1308,94,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ccf5311db022a9e95cdf7062721bb3f.jpg","27.2x34.3厘米",[],{"id":1621,"slug":1622,"title":1623,"dynasty":18,"author":472,"museum":50,"description":1624,"tags":1625,"thumbUrl":1628,"material":59,"size":59,"collection":144,"collections":1629,"showCount":1602,"zanCount":11,"manualWeight":11,"mainColor":1630},201816,"ying-hai-xi-die-tu-zhou-yu-zhi-ding-201816","婴孩嬉蝶图轴","画面里，婴孩憨态可掬，身着红绿肚兜，俯身伸指欲触翩飞的蝴蝶，神情专注天真。背景芭蕉叶墨韵舒展，生机盎然；旁侧花草点缀，石矶错落，构筑出清雅小景。笔触细腻工致，设色明丽温润，定格孩童嬉游瞬间，满溢自然童趣与生活意趣，尽显传统人物画的雅致韵味。",[27,28,138,1626,1351,7,1627,158,23],"婴孩","石矶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d49fc33cfb53ae86064b080f8052242.jpg",[144],"b0915f",{"id":1632,"slug":1633,"title":1634,"dynasty":48,"author":1635,"museum":20,"description":1636,"tags":1637,"thumbUrl":1638,"material":59,"size":59,"collection":59,"collections":1639,"showCount":1640,"zanCount":11,"manualWeight":11,"mainColor":63},236019,"ren-wu-tu-ce-jiao-yang-dui-yi-wen-nan-shou-mao-weng-236019","人物图册－蕉阳对奕","文柟寿茂翁","此作以清简笔墨铺就林下雅景，右侧蕉叶舒展如盖，缀花柔枝垂曳，二翁对坐手谈，棋盘方桌间，尽得忘机闲趣，石畔浅草轻缀，愈发衬出周遭清寂安和。\n\n左侧题诗笔意秀逸，诗画相生，将静聆蕉声、不问俗事的隐逸心境缓缓铺陈。设色浅淡温润，笔墨不事繁复刻画，却把寄情弈棋、远隔尘嚣的出世之态尽数彰显，尽显文人画尚简崇雅的意趣，将林下清欢定格卷中。",[25,112,53,28,138,1351,7,94,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb979a5baef5c6922c0ce2fcc6370c286.jpg",[],7,{"id":1642,"slug":1643,"title":1644,"dynasty":152,"author":190,"museum":69,"description":1645,"tags":1646,"thumbUrl":1649,"material":79,"size":1650,"collection":59,"collections":1651,"showCount":1640,"zanCount":11,"manualWeight":11,"mainColor":43},234077,"liao-gui-tu-ye-yi-ming-234077","蓼龟图页","图绘溪水岸边，泥坡碎石，红蓼吐艳，野菊轻绽。一只老龟缓缓爬上坡岸，未及出水，便被蓼花上的小蜂所吸引，驻足昂首仰望，后足仍浸于池中，其悠闲自在、与世无争的神态表露无遗。用笔兼工带写，红蓼、乌龟以中锋细笔勾描，小草、花蕊用小写意法，工写结合，笔法灵活多样，设色淡雅清秀。",[25,24,112,53,27,28,35,72,1647,1648,7,54],"龟","蓼草","https:\u002F\u002Foss.chuan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and white porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[689,461,1863,1864,27,1626,7,327],"青花","釉下彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81a939f4eccf41aedc30f651b314cf73.jpg","瓷器",[],{"id":1869,"slug":1870,"title":1871,"dynasty":550,"author":190,"museum":20,"description":1872,"tags":1873,"thumbUrl":1874,"material":558,"size":559,"collection":59,"collections":1875,"showCount":62,"zanCount":11,"manualWeight":11,"mainColor":63},225409,"fu-shi-hui-167-yi-ming-225409","浮世绘167","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。",[1556,28,1557,138,139,7,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb6271c2f9d56d399d675d56653762e9.jpg",[],{"id":1877,"slug":1878,"title":1879,"dynasty":18,"author":190,"museum":20,"description":1880,"tags":1881,"thumbUrl":1883,"material":37,"size":59,"collection":59,"collections":1884,"showCount":62,"zanCount":11,"manualWeight":11,"mainColor":200},218123,"fu-hua-luo-han-jiu-zhang-lao-xiang-3-yi-ming-218123","佛画·罗汉九长老像-3","佚名的佛画 罗汉九长老像 是一幅清朝时期的佛教画作，描绘了九位罗汉，这些罗汉是佛教中的超凡脱俗的人物，他们拥有超凡的智慧和慈悲之心，并且被视为佛教中的榜样。\n\n在这幅画中，佚名以精细的笔触描绘了九位罗汉的形象，每一位罗汉都面带慈祥的微笑，身着精致的法衣，体现出他们超凡的品德和修行的成果。画面中还有许多佛教的装饰元素，如佛像、佛经、菩提树等，为整幅画作增添了浓厚的佛教气息。\n\n总的来说，佚名的 罗汉九长老像 是一幅非常精美的佛教画作，其中所传达出的超凡慈悲和修行成果，对于追求佛道的人来说是一种极大的启发和鼓励。",[23,714,25,311,138,28,27,94,93,95,7,1882,1457],"罗汉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6d43c375e41dbbe825f0e2847774d36.jpg",[],{"id":1886,"slug":1887,"title":1888,"dynasty":18,"author":190,"museum":20,"description":1880,"tags":1889,"thumbUrl":1892,"material":37,"size":59,"collection":59,"collections":1893,"showCount":62,"zanCount":11,"manualWeight":11,"mainColor":200},218121,"fu-hua-luo-han-jiu-zhang-lao-xiang-4-yi-ming-218121","佛画·罗汉九长老像-4",[23,25,112,311,28,27,714,1882,138,1806,780,32,555,596,7,94,887,1890,1891,157],"佛画风格","动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe7bb8c794f616214b5d985ba5ca11a8.jpg",[],{"id":1895,"slug":1896,"title":1897,"dynasty":18,"author":1815,"museum":69,"description":1816,"tags":1898,"thumbUrl":1899,"material":57,"size":1819,"collection":59,"collections":1900,"showCount":62,"zanCount":11,"manualWeight":11,"mainColor":63},216231,"shi-jun-quan-tu-3-ai-qi-meng-216231","十骏犬图-3",[23,18,27,28,208,77,782,72,7,94,1369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F226ec098d235e87559c7765f4e95e3a1.jpg",[],{"id":1902,"slug":1903,"title":1904,"dynasty":18,"author":190,"museum":20,"description":1905,"tags":1906,"thumbUrl":1908,"material":558,"size":559,"collection":59,"collections":1909,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":63},259813,"dou-cai-lu-si-lian-hua-wen-pan-yi-ming-259813","斗彩鹭鸶莲花纹盘","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[461,1546,410,1907,7,463],"鹭鸶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31b5906cae1af7691995cf286ab85955.jpg",[],{"id":1911,"slug":1912,"title":1913,"dynasty":18,"author":190,"museum":20,"description":1914,"tags":1915,"thumbUrl":1918,"material":558,"size":559,"collection":59,"collections":1919,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":43},249205,"hua-fa-lang-xi-yang-ren-wu-bi-yan-hu-yi-ming-249205","画珐琅西洋人物鼻烟壶","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。",[462,1916,28,138,1917,463,7],"画珐琅","西洋人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34ccd24dff6557c51ccf256617955c90.jpg",[],{"id":1921,"slug":1922,"title":1923,"dynasty":18,"author":190,"museum":20,"description":1924,"tags":1925,"thumbUrl":1927,"material":558,"size":559,"collection":59,"collections":1928,"showCount":185,"zanCount":11,"manualWeight":11,"mainColor":43},288187,"shuang-qin-tu-ye-yi-ming-288187","双禽图页","此作工致秀雅，两只鹌鹑意态悠然，一昂首侧目望向花枝，似在细闻芳馨，一垂首敛羽，仿若啄食理毛，翎毛细笔丝染，蓬松绒羽的质感尽显。\n\n周遭鸢尾杂花错落生姿，叶片舒展柔劲，设色清妍柔和，淡赭、石青与紫晕相融，古绢底色晕染出沉静古雅的氛围。画面疏密相宜，右上角题字与景致浑然一体，将秋野一隅的闲静生机尽显。写生功力精湛，把禽鸟灵动与花草幽柔完美契合，晕染细腻温婉，带着恬淡安宁的文人意趣，尽显小品花鸟的雅致韵味。",[23,25,112,24,1926,27,28,35,411,7,94],"册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F851254b3a5d02bb317e06522a50c59a3.jpg",[],{"id":1930,"slug":1931,"title":1932,"dynasty":18,"author":190,"museum":20,"description":1933,"tags":1934,"thumbUrl":1937,"material":558,"size":559,"collection":59,"collections":1938,"showCount":185,"zanCount":11,"manualWeight":11,"mainColor":63},270334,"yu-mao-zhe-shan-yi-ming-270334","羽毛折扇","这柄折扇以竹为骨，透雕小巧花格，素洁里藏着精工巧思。外沿取孔雀翎羽，晕褐眼斑凝着暗调华贵，自带禽鸟天生的野奢质感；内层白羽晕染浅绿花叶，笔触柔婉清新，将闺阁秀意晕开在绒羽之上。\n两种羽毛相映，朴雅与华贵相融，天然意趣和手绘细腻缠绕一处。尾端垂挂彩绦流苏，轻晃时便添灵动娇俏。轻摇扇面时，翎风微动，似携草木清芬，把中式闲情揉进日常，藏起旧时光里的雅致匠心，是兼具实用与赏玩之美的精巧物件。",[728,1935,1017,1936,7],"羽毛扇","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1568db5c76372d40dbb0aa41d0eee81f.jpg",[],{"id":1940,"slug":1941,"title":1942,"dynasty":18,"author":190,"museum":20,"description":1861,"tags":1943,"thumbUrl":1946,"material":558,"size":559,"collection":59,"collections":1947,"showCount":185,"zanCount":11,"manualWeight":11,"mainColor":43},261917,"qing-hua-hua-die-wen-wo-zu-xiao-wan-yi-ming-261917","青花花蝶纹卧足小碗",[461,1863,1944,1945,1936,7,94],"花蝶","小碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feec3069554dcbf37a538fd089cac9e6a.jpg",[],{"id":1949,"slug":1950,"title":1951,"dynasty":18,"author":190,"museum":20,"description":1952,"tags":1953,"thumbUrl":1957,"material":558,"size":559,"collection":59,"collections":1958,"showCount":185,"zanCount":11,"manualWeight":11,"mainColor":63},258527,"qian-long-kuan-fen-cai-ying-xi-tu-gai-guan-yi-ming-258527","乾隆款粉彩婴戏图盖罐","此罐描金饰彩，华贵雅致。盖钮作莲苞状，盖面、颈足部饰缠枝宝相花与回纹，勾勒出匀整富丽的边饰。\n器身通景婴戏图，孩童们或燃爆竹、或抬花灯，嬉游于蕉梅庭院间，神态灵动鲜活，衣色鲜妍明快，粉彩晕染柔润细腻，将稚子嬉闹的吉庆童趣铺陈开来。整器绘工精湛考究，把祥瑞意趣融于瓷绘，尽显彩瓷妍丽精巧的典型风貌，藏着旧时匠人的细腻巧思与雅致审美。",[714,461,1837,28,1626,93,7,1954,1955,138,157,1956],"回纹","缠枝纹","装饰纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff99ca14894554181f39cc59dd79f34d3.jpg",[],{"id":1960,"slug":1961,"title":1962,"dynasty":18,"author":190,"museum":20,"description":1963,"tags":1964,"thumbUrl":1967,"material":558,"size":559,"collection":59,"collections":1968,"showCount":185,"zanCount":11,"manualWeight":11,"mainColor":63},248775,"hei-qi-miao-jin-hua-cao-wen-er-ceng-chang-fang-he-yi-ming-248775","黑漆描金花草纹二层长方盒","清代文物。旧时用于存放食物或饰品之用,根据材质价值不同。清宫旧藏",[1965,1966,7,463],"漆器","描金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf4c827a075d5eaddb9eca99fd1bbe76.jpg",[],{"id":1970,"slug":1971,"title":1972,"dynasty":48,"author":1973,"museum":20,"description":1974,"tags":1975,"thumbUrl":1976,"material":59,"size":59,"collection":59,"collections":1977,"showCount":185,"zanCount":11,"manualWeight":11,"mainColor":63},233646,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233646","十竹斋五色笺谱册","胡日从","《十竹斋书画谱》，融诗、书、画、印艺术为一体，是木版水印史上的巨制鸿构，有“画苑之白眉，绘林之赤帜”之誉。凡书画、竹、墨华、石、翎毛、梅、兰、果八谱，每谱两册，全帙共十六册，蝴蝶装。\n一为书画册。花卉竹石、翎毛蔬果二十幅，均有对题。谱前有醒天居士《题十竹斋画册小引》和芒砀山人王三德《胡曰从书画谱引》。\n二为竹谱。卷首有《梨云馆竹谱》，分“写竹要语”，“写竹括”和“写竹法”。前半为一画一题，凡竹图二十幅，分作“廻风”、“喜霁”、“带雨”、“凝露”、“贮云”、“笼烟”、“快雪”、“印月”、“怡老”、“启新”、“飞白”、“聚翠”、“紫蓧”、“朱帔”、“崖影”、“石床”、“飨松”、“访菊”、“友梅”、“佩兰”等。后半则为画竹“起手式”。\n三为墨华册。谱中图呈圆光型，对题有绿色“十竹斋琅干笺”竹纹边框。画、题各有二十幅，画面着色细润，气韵生动。谱前有语水乘槎子《十竹斋墨花题辞》。\n四为石谱。画、题各二十幅，谱前有序两篇，一为王三德《阅石谱题言》，一为米芾后人米万钟《石谱题辞》。谱中二十幅画皆为高阳所作。高阳，字秋甫，善花鸟，为万历间写生名手。高阳画奇石尤精，石谱中作品是临摹上版，王三德观后评价极高，以为“天划神缕之巧，嵌空玲珑之致，半幅冰茧，宛具层岩叠嶂、峰峦洞穴，真可以对杨次公矣。”图有墨石、彩石，但均以套版为之，每画都有对应的题赞。\n五为翎毛谱。画、题各二十幅，有杨文骢于“天启丁卯立秋日”所题《翎毛谱小序》，非常精彩地评介了胡氏所施饾版之法：“胡曰从氏巧心妙手，超越前代，以铁笔作颖生，以梨枣代绢素，而其中皴法、染法、点法，及着色之轻重、浅深、远近、离合无不呈妍曲致，穷巧极工。即当行作手观之，定以为写生妙品，不敢作刻画观。”此翎毛谱二十图，画上无名款，从印鉴来看，应全为凌云翰一人所作。凌云翰，字五云，万历、崇祯时人。《明画录》说他善画山水，其实上凌氏花鸟亦善，尤工画石，为胡正言所推许。\n六为梅谱。由玉山进士董继周作序。此册胡正言以“芳信先传”、“飘飘欲仙”、“冰壶掩映”、“暖谷回阳”、“君子之交”、“铁干支春”、“暗香浮动”、“拾翠为钿”、“黄惹蜂腰”、“额上玄功”、“东邻窥宋”、“盟坚寒素”、“香梦沉酣”、“水妃写照”、“玉骨同妍”、“疏影横斜”、“幽人赠佩”、“调脂梅粉”、“宫锦清班”、“寿阳点妆”等二十画题，分别写早梅、风梅、雪梅、枯梅、竹梅、老梅、月梅、松梅、蜡梅、墨梅、过墙梅、倚石梅、烟梅、临水梅、水仙梅、疏梅、兰花梅、茶花梅、杏花梅和落梅，或水墨，或设色，意境、造型与章法，则穷尽变化之能事。每幅画都有对应的题赞。\n七为兰谱。前有涂日昌“兰谱序”和画兰“起手执笔式”，此谱图解兰花，并附小注，颇为详尽，但无题赞。多为墨印，间有彩版，此谱可为之初学之范本。图二十幅，多是临摹赵孟頫等名家之作。\n八为果谱。画、题各二十幅，有西京韩文镜作序。其中“三元”、“朱橘”等图，雕版设计巧妙，可谓匠心独运。\n《十竹斋书画谱》自万历己未（1619年）第一谱《书画册》起，至崇祯癸酉（1633年）第八谱《果谱》止，梓印时间长达十五年之久。每谱有序言，除《竹谱》附写竹诀，《兰谱》附起手式，其余各谱均四十幅，一图一文，以书配画，交相辉映。\n胡正言辑印《十竹斋书画谱》，广交名人时贤，亦自作书画付梓。全谱序、画、诗作者或书法题写者，多达一百五十余人。谱中所辑作品大多是由当时名家如吴彬、倪瑛、魏之克、米万钟、吴士冠、文震亨、高阳、高友等创作的，也有二十多幅画稿是临摹自赵孟頫、唐寅、沈周、文征明、陆治、陈道复等著名书画家的；胡正言自己也曾为谱画稿、题诗，画有“白莲”、“墨梅”、“芝草”三图，诗有“题梅花”、“题兰竹”两首。画谱中所题诗句，笔调清新，咏物抒情，不同程度地反映了诗人们喜爱画谱的心情。题诗大部分都是书写者自己所作，也有借用前人诗句题咏的，如胡正言用唐释无可的咏兰诗题《兰竹图》，西湖仙郎何伟然用徐渭咏榴诗题《石榴图》，竹冠道人应麟用刘禹锡题开元寺枸杞诗书《枸杞诗图》等等。全谱书法篆、隶、行、楷诸体皆备，最多的还是晚明文人流行的行草。这些书迹，大都兼有晋、唐、宋书家的风韵，亦可为后人临池所借鉴。\n醒天居士的《题十竹斋画册小引》把胡正言的爱好、特长及画谱刊印的初衷和艺术水平都进行了叙述：\n“王宰十日一山，五日一石，岂肖形之难哉？山有情，石有态，磅礴得之为难耳。近代画手，千临百摹，如里媪捧心，不揜儿寝，而目食者争售之，大轴小图，祗为壁疥。新安胡曰从氏，清姿博学，既精六书，尤擅众巧。所制隃糜硾茧与所镌法语名言，皆出新裁，赏鉴家多宝爱之。乃竹斋多暇，复创画册。所选皆花果竹石，有关于幽人韵士之癖好者。而写形既妙，设色尤工，至于翠瓣丹柎，葩分蕊折，花之情，竹之姿，与禽虫飞懦之态，奇石云烟之气，展册淋漓，宛然在目。盖淡淡浓浓，篇篇神采；疏疏密密，幅幅乱真，诚画苑之白眉，绘林之赤帜也。然王宰之画妙出毫锥，胡君之画妙出梨枣，是磅礴之心，较王宰更难；而成功之捷，较王宰更简更易，岂不尤奇哉！余故喜而叙之，愿与好事者同赏，仍俟具眼者定价焉。时癸酉年中秋前二日，醒天居士书于十竹斋。”\n《十竹斋书画谱》“绘刻精而奇，谱则巧而该”，在画谱刊行后不久就引起广泛的注意，开始有人仿刻了，以至胡氏声明道“原板珍藏，素遐真赏，近有效颦，恐混鱼目，善价沽者，勿虚藻鉴。”历代重印、翻刻者达二十余种。清代李渔等人辑印的《芥子园画传》也是在它的启发下产生的。",[25,112,53,1557,28,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96b3a9515ab83ffa5a61f1d977bfda78.jpg",[],{"id":1979,"slug":1980,"title":1981,"dynasty":48,"author":190,"museum":20,"description":1737,"tags":1982,"thumbUrl":1985,"material":558,"size":559,"collection":59,"collections":1986,"showCount":185,"zanCount":11,"manualWeight":11,"mainColor":63},228646,"yu-yu-long-hua-cao-wen-dai-shi-9-yi-ming-228646","玉鱼龙花草纹带饰-9",[1739,689,1019,1983,1984,1536,1743,7,1744,1741],"透雕","浮雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b8f04c6931240452f1a605e4b6069d4.jpg",[],{"id":1988,"slug":1989,"title":1990,"dynasty":48,"author":190,"museum":20,"description":1737,"tags":1991,"thumbUrl":1992,"material":558,"size":559,"collection":59,"collections":1993,"showCount":185,"zanCount":11,"manualWeight":11,"mainColor":63},228639,"yu-yu-long-hua-cao-wen-dai-shi-2-yi-ming-228639","玉鱼龙花草纹带饰-2",[1739,1019,1742,1536,1743,7,1741,689],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef09a858bf05b54344c49464a7dd3d0a.jpg",[],{"id":1995,"slug":1996,"title":1997,"dynasty":18,"author":190,"museum":20,"description":1047,"tags":1998,"thumbUrl":2001,"material":558,"size":559,"collection":59,"collections":2002,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":63},264887,"pin-yue-se-duan-di-dan-cai-zhu-ju-wen-tao-yi-ming-264887","品月色缎地淡彩竹菊纹绦",[1051,1741,364,1999,1050,2000,7],"菊","淡彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b8be596737355b5f620dfe00d944b8e.jpg",[],{"id":2004,"slug":2005,"title":2006,"dynasty":18,"author":190,"museum":20,"description":2007,"tags":2008,"thumbUrl":2011,"material":558,"size":559,"collection":59,"collections":2012,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":63},264098,"hu-se-di-hua-hui-wen-jin-yi-ming-264098","湖色地花卉纹锦","《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》。",[1051,2009,2010,28,7,280],"织锦","花卉纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa615859c41563ed5d3151fe8db348352.jpg",[],{"id":2014,"slug":2015,"title":2016,"dynasty":18,"author":190,"museum":20,"description":2017,"tags":2018,"thumbUrl":2021,"material":558,"size":559,"collection":59,"collections":2022,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":200},261976,"wu-cai-hua-niao-wen-bi-tong-yi-ming-261976","五彩花鸟纹笔筒","笔筒： 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