[{"data":1,"prerenderedAt":1251},["ShallowReactive",2],{"subject-hua-duo":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},303,"hua-duo","花朵","花朵画高清赏析","精选中国历代花朵题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ac42b629953361553cd66a5f9684a49.jpg",0,100,[14,44,67,85,107,122,139,155,165,174,184,199,215,230,246,262,276,286,306,319,333,344,354,372,387,402,420,441,453,464,474,487,497,512,526,538,550,561,581,591,600,610,630,641,653,663,672,683,700,711,720,732,739,749,760,773,785,795,806,818,826,835,848,856,866,881,895,910,918,927,939,949,960,968,975,985,993,1003,1013,1022,1033,1042,1053,1069,1085,1100,1114,1123,1134,1145,1155,1164,1174,1184,1196,1203,1212,1220,1227,1235],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":36,"material":37,"size":38,"collection":39,"collections":40,"showCount":41,"zanCount":42,"manualWeight":11,"mainColor":43},216110,"yun-shou-ping-hua-guo-shu-cai-ce-ye-yun-shou-ping-216110","恽寿平花果蔬菜册页","清","恽寿平","天津博物馆","恽寿平花果蔬菜册页一共六开，绢本设色，以没骨写意画法依次描写了丝瓜、竹笋、竹子、葡萄、茄子、扁豆、白菜、芋头等日常蔬果，笔致灵动、色调雅致清新，描写入微，蔬果的叶尖、芽尖也刻画细致生动，尽显淡然天真之气，是恽寿平晚年描绘蔬果的没骨精品。 此册页每一页所绘蔬果都有刘墉相应赋诗一首，书法浑厚大气，古朴自然，自成一派，看似松散，实则丰貌骨劲。刘墉所描写蔬果诗文生动质朴，贴近生活，与恽寿平描绘的蔬果相应成趣，极大增加了观赏趣味。",[23,24,25,26,27,28,29,30,31,32,33,34,35,7],"名画","国画","书画","册","白描","水墨","设色","花鸟","蔬菜","花果","丝瓜","藤蔓","叶子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2ff8d0ecdcd63604674ff7f8ad8ac1b.jpg","绢本,设色","26.1x19.9cm","花鸟画精选",[39],1136,6,"795548",{"id":45,"slug":46,"title":47,"dynasty":48,"author":49,"museum":50,"description":51,"tags":52,"thumbUrl":61,"material":37,"size":62,"collection":63,"collections":64,"showCount":65,"zanCount":66,"manualWeight":11,"mainColor":43},218717,"xin-shao-hua-niao-tu-yi-ming-218717","新韶花鸟图","宋","佚名","台北故宫博物院","画中山茶花、梅花、菊花和水仙花围绕着海石盛开，各种植物和叶子交相辉映，一对麻雀在一旁观望，画面十分丰富。除了画底没有鸟之外，这幅作品的构图和表达方式与宋代李迪的《花鸟图》和南唐徐熙的《玉堂富贵图》相似。宋代郭若虚的《图说》中提到，南唐时有一种用于悬挂在宫殿中的 亭花，这可能是后来明代的仿制品。",[53,23,24,25,54,55,29,30,56,57,58,59,7,60],"高清","立轴","工笔","花卉","禽鸟","山石","植物","鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91b842f5975229d677278c15f942eb45.jpg","83.4x28.9","宋画精选",[63],864,21,{"id":68,"slug":69,"title":70,"dynasty":48,"author":71,"museum":50,"description":72,"tags":73,"thumbUrl":79,"material":37,"size":80,"collection":39,"collections":81,"showCount":82,"zanCount":83,"manualWeight":11,"mainColor":84},218393,"xie-sheng-xing-hua-tu-zhao-chang-218393","写生杏花图","赵昌","这是一幅单枝杏花的画作，盛开的杏花，显得春意盎然。笔触精致优雅，花瓣主要用白粉上色，只有花蕾用胭脂上色，给人一种半透明的感觉；花头用胭脂涂抹，颜色丰富，给人一种女性的感觉。",[53,23,24,25,74,55,29,75,30,76,77,7,78],"扇面","写生","杏花","枝干","花蕊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa90c7d76318230f696dd0a532f0faf.jpg","25.2x27.3",[39],572,10,"BDBDBD",{"id":86,"slug":87,"title":88,"dynasty":89,"author":90,"museum":91,"description":92,"tags":93,"thumbUrl":100,"material":101,"size":102,"collection":103,"collections":104,"showCount":105,"zanCount":106,"manualWeight":11,"mainColor":84},225709,"almond-blossom-february-fan-gao-225709","Almond blossom (February - )","不详","梵高","藏地不详","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。",[94,95,76,96,7,97,98,99],"油画","后印象派","树枝","蓝天","厚涂笔触","明亮色彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc340d2ed2d05622f56ebd4b6bac82747.jpg","未知","Xcm*Xcm","油画精选",[103],397,7,{"id":108,"slug":109,"title":110,"dynasty":18,"author":111,"museum":112,"description":113,"tags":114,"thumbUrl":116,"material":117,"size":118,"collection":39,"collections":119,"showCount":120,"zanCount":121,"manualWeight":11,"mainColor":84},214364,"duan-wu-tu-zhou-wang-shi-min-214364","端午图轴","王时敏","北京故宫博物院","墨笔点染的花草疏密有致，剑形菖蒲叶挺拔劲健，似携端午驱邪的古意；蜀葵叶片浓淡相宜，花瓣柔婉舒展；百合与细碎小花点缀其间，姿态娇俏。线条勾勒细腻传神，枝叶脉络清晰可见，墨色层次丰富，从浓墨到浅灰过渡自然。文人意趣融于一花一叶，素净中透出盎然生机，淡雅间藏着温润诗意。无艳色却自具清幽之美，尽显传统花卉画的雅致情韵与端午时节的独特氛围，让人于素纸上感受到自然的生机与文化的绵长。",[53,23,24,25,54,28,29,30,55,56,59,35,7,115],"菖蒲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3414e2605b1e19c796fba5f04650202d.jpg","纸本,水墨","100.8x40.1",[39],314,4,{"id":123,"slug":124,"title":125,"dynasty":126,"author":127,"museum":112,"description":128,"tags":129,"thumbUrl":134,"material":37,"size":135,"collection":39,"collections":136,"showCount":137,"zanCount":138,"manualWeight":11,"mainColor":43},216937,"mei-hua-shuang-qin-juan-chen-ji-ru-216937","梅花双禽卷","明","陈继儒","梅花双禽卷是中国明朝时期陈继儒所作的一幅山水画。这幅画描绘了两只居于梅花树下的雄鹰，它们正在寻找猎物。画中的景象十分写实，雄鹰的羽毛细腻而生动，而梅花树下的草地也非常逼真。梅花双禽卷被认为是陈继儒最杰出的作品之一，并被誉为“中国画史上的经典之作”。",[53,24,130,29,30,131,60,132,133,77,7],"长卷","梅","书法","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F026b7f00452e9bbd679851fd52e23c4e.jpg","纵32.5cm，横256.5cm",[39],277,2,{"id":140,"slug":141,"title":142,"dynasty":18,"author":143,"museum":50,"description":144,"tags":145,"thumbUrl":148,"material":149,"size":150,"collection":151,"collections":152,"showCount":153,"zanCount":154,"manualWeight":11,"mainColor":84},219883,"er-shi-si-fan-hua-xin-feng-tu-rui-xiang-yu-shui-xian-dong-gao-219883","二十四番花信风图-瑞香与水仙","董诰","古人认为春风守信，如期而来，催开百花，称为“花信风”。春天自“小寒”到“谷雨”经历四个月，共八节气，每五天为一候，前后为二十四番花信风，以梅花居首，楝花居末。此套《画二十四番花信风图》册页十二开，共二十四幅，画二十四番花信风。",[24,25,26,29,55,146,147,58,77,7,35,133],"瑞香","水仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ab8b06d96331425eb7144b02fc54b4d.jpg","纸本,设色","20x14.2厘米","",[],264,1,{"id":156,"slug":157,"title":158,"dynasty":18,"author":143,"museum":50,"description":144,"tags":159,"thumbUrl":162,"material":149,"size":150,"collection":151,"collections":163,"showCount":164,"zanCount":138,"manualWeight":11,"mainColor":84},219881,"er-shi-si-fan-hua-xin-feng-tu-ying-tao-yu-ying-chun-dong-gao-219881","二十四番花信风图-樱桃与迎春",[24,25,26,29,55,30,160,161,96,7,35,132,133],"樱桃","迎春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cbb4551c35981c815d28fac994eeefc.jpg",[],237,{"id":166,"slug":167,"title":168,"dynasty":18,"author":143,"museum":50,"description":144,"tags":169,"thumbUrl":172,"material":149,"size":150,"collection":151,"collections":173,"showCount":164,"zanCount":138,"manualWeight":11,"mainColor":84},219874,"er-shi-si-fan-hua-xin-feng-tu-mu-lan-yu-li-hua-dong-gao-219874","二十四番花信风图-木兰与梨花",[24,25,26,29,55,30,170,171,77,7,132,133],"木兰","梨花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e7899210f12729525c86d211dedbbfe.jpg",[],{"id":175,"slug":176,"title":177,"dynasty":18,"author":143,"museum":50,"description":144,"tags":178,"thumbUrl":181,"material":149,"size":150,"collection":151,"collections":182,"showCount":183,"zanCount":138,"manualWeight":11,"mainColor":84},219878,"er-shi-si-fan-hua-xin-feng-tu-li-hua-yu-xing-hua-dong-gao-219878","二十四番花信风图-李花与杏花",[24,29,55,132,133,179,76,180,96,7],"李花","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F985d944013ffd751b9d943e22980248d.jpg",[],216,{"id":185,"slug":186,"title":187,"dynasty":18,"author":188,"museum":189,"description":190,"tags":191,"thumbUrl":195,"material":149,"size":196,"collection":39,"collections":197,"showCount":198,"zanCount":154,"manualWeight":11,"mainColor":84},218903,"hua-niao-tu-zhou-shen-quan-218903","花鸟图轴","沈铨","上海博物馆","沈铨善绘花鸟翎毛，用笔细腻传神，设色富贵浓艳。他的绘画多以描绘松、梅、竹、鹿、鹤、雉等寓意祥瑞富贵的题材为多。是图设色名丽脱俗，极富装饰性。琵琶树下，繁花斗艳，一对锦鸡嬉戏其间，树梢果实累累，绿叶掩映，群鸟相鸣，给人喜庆祥和的视觉感受。此作绘于乾隆二十七年（壬午，1762），作者时年八十一岁。",[23,24,55,29,30,192,193,7,194,58],"飞鸟","树木","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab98048035316f1f40ef1a094497f236.jpg","纵171.6厘米，横95.9 厘米",[39],209,{"id":200,"slug":201,"title":202,"dynasty":126,"author":203,"museum":112,"description":204,"tags":205,"thumbUrl":209,"material":210,"size":211,"collection":39,"collections":212,"showCount":214,"zanCount":154,"manualWeight":11,"mainColor":43},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。",[53,24,25,54,206,29,30,180,56,207,208,34,194,7],"没骨","蝴蝶","蜻蜓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a80d2f3763b05356d5be7d88d57866d.jpg","绢本","54.4x113.9",[39,213],"设色画精选",204,{"id":216,"slug":217,"title":218,"dynasty":126,"author":219,"museum":91,"description":220,"tags":221,"thumbUrl":226,"material":151,"size":151,"collection":151,"collections":227,"showCount":228,"zanCount":229,"manualWeight":11,"mainColor":43},228390,"kong-que-mu-dan-tu-yin-hong-228390","孔雀牡丹图","殷宏","垂柳柔条轻曳，桃枝缀满繁花，引百鸟穿梭啼鸣。孔雀身披彩翎，羽斑环环相扣明丽夺目，信步于湖石之侧，气度雍容不凡。牡丹或素洁似雪，或秾艳若霞，与苍古湖石、翠色草木交织成趣，仙鹤亭亭而立更添清贵。\n整幅画笔致工细，设色妍雅柔和，将春日园林的富贵生机铺陈眼前，把翎毛花卉的灵动雅致糅合无间，尽显吉祥富丽的美好意涵，是极具代表性的工笔花鸟佳作。",[53,23,24,25,222,29,55,30,223,224,193,225,58,7,57,192],"明代","孔雀","牡丹","柳枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe1384e37440b3476c7844a32e3504f3.jpg",[],202,3,{"id":231,"slug":232,"title":233,"dynasty":18,"author":234,"museum":91,"description":235,"tags":236,"thumbUrl":241,"material":242,"size":243,"collection":151,"collections":244,"showCount":245,"zanCount":11,"manualWeight":11,"mainColor":84},223091,"hua-niao-tu-li-zhou-ren-xun-223091","花鸟图立轴","任薰","任薰(1835-1893)，字 舜琴 ，又字阜长，其父任椿，兄 任熊 都是画家。少丧父，从兄学画，青年时在 宁波 卖画为生，1868年与任颐去苏州，后寓居苏州、上海。任颐、 任预 均从其习画。人物与其兄同师 陈洪绶 ，常用高古游丝、铁线、行云流水、兰叶几种描法。\n任薰治学严谨，在写生、临摹上均下了苦功夫。任薰兼工人物、花鸟、山水、肖像、仕女，画法博采众长，面貌多样，富有新意。 与 顾文彬 子顾承相友善，曾为设计怡园。 1888年54岁时双目失明，后病卒于苏州。 与任熊、任颐时称三任，合任预为四任，并为 海上画派 代表画家之一。\n任薰作画题材广泛，对人物、山水、花卉、翎毛、走兽(马、羊等)无所不能，更擅长花鸟、人物。粗写意、细双勾。技法初学其兄谓长，后吸取陈老莲的传统技法。用笔沉着力。\n在构图上有其特长，在大小不同的画面上，创作出许多新颖、宽广、意境深远的作品，尤其适应扇面上的表现技法，能笔随意转，在极小的团扇、折扇画面上，开拓出广阔、妙趣盎然的意境。\n任薰作品在结构上比较严谨，很重视疏密虚实的主从关系，无论一人、一花、一鸟的主从关系都能巧心安排得体。平淡中亦能出奇，宁静中又能生动。画面上给人一种空灵明快之感。\n他的另一特点是工于着色，浓淡相宜，清新可爱，绝无柔媚习气。他尤长于使用重彩着色，能把对比鲜明的色彩调和统一起来，使画面上的景色更显壮丽，又能从鲜艳色彩中透出古朴的意趣。任薰人物画，线条遒劲圆韧。尤其晚年人物衣褶，运笔如同书法中行草，似有行云流水之感，形态多奇伟的身躯，出乎 寻常容貌，带有性格的神态，别出心匠。",[53,237,24,25,54,55,29,30,238,239,240,77,7],"清代","鹦鹉","花","树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22ea923f5fc4a6a88156616b48b14abb.jpg","立轴 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虽然有关陈居中的记载十分简单，但他留下的作品却比较多且十分精彩，这在南宋宫廷画家中是十分难得的。就目前所知确为其真迹的作品有《文姬归汉图》、《胡茄十八拍图》、《绝塞逢春图》、《进马图》、《四羊图》等。这些作品所表现的多为历史故事或少数民族风情题材，这与“专工人物、蕃马”的记载是相吻合的。这些作品的画法多样，技艺高超，笔法精细，形象传神，正如明人吴其贞在题陈居中《八骏图》时所评：“精彩逼真似唐画，系临史道硕、韩干之辈，为两宋人物第一神品也。”",[53,23,24,25,130,55,29,326,194,7,327,328],"茄子","昆虫","杂草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a2515db414029768f29a0bf0dd13bc.jpg","35.8x 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字和庵。天津人。师从孟绣村，多才多艺，通晓西洋照相技法和诗文书画，尤擅写生，画花鸟，并吸收郎世宁西洋画法，开一代画坛新风，自成一派。其作品传世甚少，尤为宝贵。藏于天津市艺术博物馆的《石榴花》，色彩浓艳，风姿绝伦，堪称珍品。其弟子陆文郁等人也在画坛名噪一时。",[24,25,74,29,55,30,300,194,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4c0b8090cb60efc3ac11e58b2f23728.jpg",[],107,{"id":355,"slug":356,"title":357,"dynasty":89,"author":358,"museum":91,"description":359,"tags":360,"thumbUrl":369,"material":101,"size":102,"collection":151,"collections":370,"showCount":371,"zanCount":154,"manualWeight":11,"mainColor":43},226649,"wei-na-si-de-dan-sheng-sang-de-luo-bo-ti-qie-li-226649","维纳斯的诞生","桑德罗·波提切利","画面所表现的是西西里岛的一个美丽的传说：一片漂亮的大贝壳漂浮在碧波荡漾的海面上，上面站着纯洁而美丽的维纳斯，翱翔于天上的风神轻轻地将贝壳吹到岸边，等候在岸边的春之女神正张开红色绣花斗篷，准备为维纳斯换上新装。维纳斯身材修长，容貌秀美，双眼凝视着远方，眼神充满着幻想、迷惘与哀伤。体现了在佛罗伦萨流行一种新柏拉图主义的哲学思潮：美是不可能逐步完善或从非美中产生，美只能是自我完成，它是无可比拟的，美是不生不灭的永恒。",[361,29,362,363,364,365,366,7,193,367,368],"蛋彩画","神话","裸体人物","美人","贝壳","海浪","翅膀","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faca3edf2229ab9dd3bdba346df792dbd.jpg",[],89,{"id":373,"slug":374,"title":375,"dynasty":126,"author":376,"museum":50,"description":377,"tags":378,"thumbUrl":384,"material":37,"size":385,"collection":39,"collections":386,"showCount":371,"zanCount":154,"manualWeight":11,"mainColor":43},218790,"hua-hui-ling-mao-tu-lv-ji-218790","花卉翎毛图","吕纪","吕纪（约 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陈淳应为58岁，此作亦为其是画风成熟之作。从其题跋可以得知陈淳游历数月，画作颇丰，认为此作为“草本”，可见其自觉并无刻意求工，描写大略而已。\n卷尾文彭题曰：“赵昌王友已无伦，更学徐熙更逼真。意到不论颜色似，笔端原有四时春。阅白阳杂花漫题。文彭。”充分体现了吴门花鸟画的文人雅趣，“意到不论颜色似”概括了文人写意的特征，而“漫题”也体现了题咏者的状态，反映出文人书画家的共同气质特点与审美追求。\n文人王穉登的题跋则突出了对陈淳花卉写生推崇与称赞。“写生贵在约略点染，天真烂如。不当以分葩计蕊为似，重丹叠翠为工。观此册陈道复先生所作，粉墨萧闲，意象自足，所谓千金骏骨，识者求之牝牡骊黄之外可也。”此段题跋强调了陈淳花卉写生最主要的特点，即约略点染，不求工细，而意象自足。\n卷尾的金农长跋也对陈淳“行笔绝无时蹊，设色亦未敷采炫目，画以意似而非以形似也”的风格进行梳理，论述了写意书写的源流。但这段题跋存在一些问题。其一，通篇书体较为拘谨，特别是每行末字，刻意缩减对齐，非常局促。其二，“后世临写纷纷，徒劳豪楮”中“豪”应为“毫”之误。此出自大文人之手，有些牵强。其三，“此册九叶，花草凡七，间以山水两帧。”所述并非此册，极有可能是将他处题跋移接此处所致。所以这段金农题字不足以为据，至于真伪原由的评断，是另外的话题。本文主要论及陈淳花卉写生的艺术特点，就不将此段金农的论述作为讨论的依据了。\n变化生动自然，是陈淳花卉写生的代表作。如果将此册置于陈淳传世花鸟画作品中做一纵向比对，可以发现其共性的特征集中体现在这件作品中，同时，这件作品还有一些不同于其他作品的独到之处，都统一在率意自足的书写风格之中。所以这件陈淳绘画风格成熟期的作品，总体来看，体现了陈淳如下几个方面的鲜明的艺术特点。",[53,23,24,25,222,395,28,29,30,56,194,77,7,396],"写意","写意花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42c3b1556563313a1660bdbd2d2b3b30.jpg","纸本设色","32.5×57.3厘米",[],85,{"id":403,"slug":404,"title":405,"dynasty":18,"author":406,"museum":50,"description":407,"tags":408,"thumbUrl":416,"material":29,"size":417,"collection":151,"collections":418,"showCount":419,"zanCount":154,"manualWeight":11,"mainColor":84},222743,"xian-e-chang-chun-tu-03a-lang-shi-ning-222743","仙萼长春图-03a","郎世宁","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。",[53,23,24,25,26,29,55,409,410,30,56,180,411,7,412,59,413,414,194,58,415],"中西合璧","写实","叶片","草木","色彩","造型逼真","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83860a3be34dc8440f2f86b13d28b9f5.jpg","宽28.4公分，高33.7公分",[],83,{"id":421,"slug":422,"title":101,"dynasty":89,"author":90,"museum":91,"description":92,"tags":423,"thumbUrl":437,"material":101,"size":102,"collection":103,"collections":438,"showCount":439,"zanCount":11,"manualWeight":11,"mainColor":440},225779,"wei-zhi-fan-gao-225779",[94,424,95,425,426,427,428,193,429,430,7,431,432,433,434,435,436],"厚涂","田野","草地","天空","白云","干草堆","小屋","农田","绿色植被","蓝色天空","白色云朵","黄色田野","红色小花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdceef6ff3c08517124bb6ddea4f490de.jpg",[103],81,"0D904F",{"id":442,"slug":443,"title":444,"dynasty":18,"author":19,"museum":91,"description":445,"tags":446,"thumbUrl":449,"material":151,"size":450,"collection":151,"collections":451,"showCount":452,"zanCount":11,"manualWeight":11,"mainColor":84},233899,"hua-hui-ce-yun-shou-ping-233899","花卉册","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。",[24,25,26,206,28,29,30,56,447,448,7],"枝","叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1d0de15881eaef9e1fd66f6593c6ec1.jpg","纵32.5厘米，横25.5厘米",[],71,{"id":454,"slug":455,"title":456,"dynasty":126,"author":457,"museum":91,"description":458,"tags":459,"thumbUrl":461,"material":101,"size":102,"collection":273,"collections":462,"showCount":463,"zanCount":154,"manualWeight":11,"mainColor":84},235686,"shan-shui-hua-hui-ce-xiang-sheng-mo-235686","山水花卉册","项圣谟","项圣谟，初字逸，后字孔彰，号易庵，别号有胥山樵、存存居士、醉风人、大酉山人、莲塘居士、烟波钓徒、松涛散仙、逸叟、狂吟客、鸳湖钓叟、不夜楼中士等等，浙江嘉兴人。",[24,25,26,29,30,460,7,35,133],"花枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1058fce6fc406a605fe3444ec1a25c9.jpg",[273],69,{"id":465,"slug":466,"title":467,"dynasty":18,"author":468,"museum":91,"description":469,"tags":470,"thumbUrl":471,"material":101,"size":102,"collection":151,"collections":472,"showCount":473,"zanCount":154,"manualWeight":11,"mainColor":84},239521,"yu-tang-fu-gui-zhou-wu-chang-shuo-239521","玉堂富贵轴","吴昌硕","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,30,395,28,29,224,77,35,7,132,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c73ad8ff25daf55e25f22d50c25068f.jpg",[],66,{"id":475,"slug":476,"title":477,"dynasty":89,"author":90,"museum":91,"description":92,"tags":478,"thumbUrl":484,"material":101,"size":102,"collection":103,"collections":485,"showCount":486,"zanCount":11,"manualWeight":11,"mainColor":43},225724,"bouquet-of-flowers-in-a-vase1890-fan-gao-225724","Bouquet of Flowers in a 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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",[23,24,25,74,29,55,300,207,7,35,327,222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F782c7e9c61bf22243ba7bc8fbc180917.jpg",[],62,{"id":498,"slug":499,"title":500,"dynasty":18,"author":501,"museum":112,"description":502,"tags":503,"thumbUrl":507,"material":508,"size":509,"collection":151,"collections":510,"showCount":511,"zanCount":11,"manualWeight":11,"mainColor":84},223280,"ping-an-ru-yi-tu-yong-rong-223280","平安如意图","永瑢","该图有乾隆御书七绝一首，题跋恭呈孝圣太后。设色画松、梅、茶花、瓶、如意等，寓意“平安如意”，乾隆用以进献其母，表示吉祥和祝福。\n该画以淡墨干笔勾勒花瓶，设色淡雅，颇具文人雅趣。",[53,24,29,395,54,133,481,504,505,506,7,194],"松枝","梅花","如意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55fe051adda6e8cbfcf05822d916be9c.jpg","纸本，设色","91cmx34.7cm",[],60,{"id":513,"slug":514,"title":515,"dynasty":18,"author":516,"museum":20,"description":517,"tags":518,"thumbUrl":522,"material":398,"size":523,"collection":151,"collections":524,"showCount":525,"zanCount":11,"manualWeight":11,"mainColor":84},223233,"mu-zi-ping-an-tu-ren-yi-223233","母子平安图","任颐","任颐（1840年－1895年），即任伯年，初名润，字次远，号小楼，后改名颐，字伯年，别号山阴道上行者、寿道士等，以字行，浙江山阴航坞山（今杭州市萧山区瓜沥镇）人，清末著名画家。\n自幼随父卖画，后从任熊、任薰学画，后居上海卖画为生。在“四任”之中，成就最为突出，是“海上画派”中的佼佼者，“海派四杰”之一。任伯年的绘画发轫于民间艺术，技法全面，山水、花鸟、人物等无一不能。重视写生，又融汇诸家法，并吸取水彩色调之长，勾皴点染，格调清新。\n其人物画，早年从陈洪绶法出，形象夸张，富装饰效果。如故宫博物院藏《干莫炼剑图》轴。后练习铅笔速写后，变得较为奔逸，如故宫博物院藏《风尘三侠图》轴等。其写照技艺，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。\n海派中的佼佼者，其绘画发源于民间，重视继承传统，吸收西画技法，形成风姿多采的独特画风，在“四任”中成就最为突出。 　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[53,237,24,25,29,395,30,519,520,295,193,77,7,521,426],"母鸡","小鸡","草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f8484418d23a6d00d3a4500767ec3af.jpg","150cmx40cm",[],56,{"id":527,"slug":528,"title":529,"dynasty":48,"author":49,"museum":252,"description":530,"tags":531,"thumbUrl":534,"material":210,"size":535,"collection":151,"collections":536,"showCount":537,"zanCount":154,"manualWeight":11,"mainColor":43},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。",[53,24,25,130,29,55,30,532,339,207,34,533,35,7],"瓜果","果实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51b48aaaf0d6e93f2e0fb70756a9d19.jpg","41x197.3厘米",[],53,{"id":539,"slug":540,"title":541,"dynasty":126,"author":542,"museum":112,"description":543,"tags":544,"thumbUrl":546,"material":37,"size":547,"collection":39,"collections":548,"showCount":549,"zanCount":11,"manualWeight":11,"mainColor":43},220375,"yan-long-yu-shu-tu-chen-lu-220375","烟笼玉树图","陈录","陈录，[明]生卒年不详，字宪章，以字行，号如隐居士，会稽（今浙江绍兴）人。善墨梅、松、竹、兰蕙，笔意儒雅，与王谦齐名。评者以二家虽格意不同，录笔力实过王谦。正统十一年（一四四六）尝作墨梅图。传世作品有《万玉图》、《烟笼玉树图》、《梅花图》等。《图绘宝鉴续纂》、《画史会要》、《绍兴府志》、《明画录》、《无声诗史》、《越画见闻》。\n《烟笼玉树图》中树干苍劲，绽花枝头，构图巧妙，点染精当，可谓花鸟花上品。",[53,24,28,29,54,30,131,77,7,395,545],"烟笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd62ea251e0e978b64171ad65c333d8be.jpg","纵137.5厘米，横65.4厘米",[39,213],52,{"id":551,"slug":552,"title":553,"dynasty":48,"author":49,"museum":50,"description":554,"tags":555,"thumbUrl":557,"material":37,"size":558,"collection":39,"collections":559,"showCount":560,"zanCount":154,"manualWeight":11,"mainColor":84},218843,"ke-si-chun-guang-chang-shou-tu-yi-ming-218843","缂丝春光长寿图","缂丝以“通经断纬”之法织就，纹理细密若绘。画面中禽鸟翘首栖于枝间，羽色蓝绿相衬，尾羽纤长舒展，姿态灵动鲜活。枝上缀有盛放的花团，花瓣层叠晕染，色泽温润雅致，叶片脉络清晰可见，尽显春意盎然之态。整体构图疏朗有致，设色古朴淡雅，虽无作者名款，却将宋代缂丝的精湛技艺与文人审美意蕴融于一体。禽鸟与花卉相映成趣，传递出春光和煦、生机勃发的意韵，暗含长寿吉祥的美好祈愿，为宋代缂丝艺术中兼具工艺之美与寓意之深的精品。",[23,24,556,29,30,192,224,194,96,7],"缂丝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F578e7e2828c11ca9b8337d3875c50e13.jpg","49x36.2cm",[39],50,{"id":562,"slug":563,"title":564,"dynasty":126,"author":565,"museum":566,"description":567,"tags":568,"thumbUrl":577,"material":210,"size":578,"collection":151,"collections":579,"showCount":580,"zanCount":154,"manualWeight":11,"mainColor":43},231591,"kong-que-tu-lu-zhao-yang-231591","孔雀图","卢朝阳","印第安纳波利斯艺术博物馆","这幅画描绘了一对生活在牡丹丛中巨石上的孔雀，以及杏花丛中的一对蓝丝带。 卢朝阳代代相传的作品很少。 这个有边景昭，吕纪风致，可以看出他学来的渊源。",[53,24,29,55,30,223,224,505,192,58,56,222,210,379,569,570,571,57,572,77,7,573,574,575,576],"花卉禽鸟","传统绘画","工笔重彩","花木","羽毛","苔点","晕染","勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee51507f3008fc01a7b7141c72840283.jpg","281x119厘米",[],48,{"id":582,"slug":583,"title":584,"dynasty":89,"author":90,"museum":91,"description":92,"tags":585,"thumbUrl":589,"material":101,"size":102,"collection":103,"collections":590,"showCount":580,"zanCount":11,"manualWeight":11,"mainColor":43},225748,"flowering-plum-orchard-after-hiroshige-october-november-fan-gao-225748","Flowering plum orchard after Hiroshige (October - November )",[23,586,94,29,587,131,96,7,588,193,56],"临摹","浮世绘风格","绿地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46ec6e59d5fc227dc0435a3c28cad1ec.jpg",[103],{"id":592,"slug":593,"title":594,"dynasty":89,"author":90,"museum":91,"description":92,"tags":595,"thumbUrl":597,"material":101,"size":102,"collection":103,"collections":598,"showCount":599,"zanCount":154,"manualWeight":11,"mainColor":43},225881,"wild-roses-april-may-fan-gao-225881","Wild roses (April - May )",[94,29,95,596,7,35,59],"玫瑰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0963962b5ae60baef8cf939bd255454b.jpg",[103],37,{"id":601,"slug":602,"title":603,"dynasty":18,"author":468,"museum":91,"description":604,"tags":605,"thumbUrl":607,"material":151,"size":151,"collection":39,"collections":608,"showCount":609,"zanCount":11,"manualWeight":11,"mainColor":84},239176,"teng-luo-tu-zhou-wu-chang-shuo-239176","藤萝图轴","吴昌硕（1844—1927）原名俊，又名俊卿，中年以后更字昌硕，亦署仓硕、仓石、苍石、昌石，69岁后以字行，别号缶庐、苦铁、大聋等，浙江安吉人吴昌硕是近代中国最杰出的艺坛巨匠之一，他以诗、书、画、印四绝享誉海内外，对于近百年来中国传统书画篆刻艺术的走向影响深远。本次展览共汇聚了吴昌硕先生书法、绘画、篆刻、诗文信札等代表性作品170件，尤其是浙江省博物馆馆藏的吴昌硕书画精品，可谓“倾巢而出”，是近年来国内吴昌硕艺术作品一次较大规模的集中展示。",[24,54,30,395,29,28,34,194,7,133,132,606],"篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F202c0b852afa26acbbbea618af316f2d.jpg",[39],36,{"id":611,"slug":612,"title":613,"dynasty":89,"author":614,"museum":91,"description":615,"tags":616,"thumbUrl":628,"material":101,"size":102,"collection":103,"collections":629,"showCount":609,"zanCount":154,"manualWeight":11,"mainColor":43},225930,"flowers-at-vetheuil-1880-mo-nai-225930","Flowers at Vetheuil, 1880","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。",[617,94,618,619,480,7,620,59,193,621,381,622,623,624,625,626,627],"印象派","光影","色彩丰富","花丛","河流","房屋","远景","自然景观","户外","绿植","水景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3d1346f087a032be70d9ec8d35c5427.jpg",[103],{"id":631,"slug":632,"title":633,"dynasty":18,"author":634,"museum":91,"description":635,"tags":636,"thumbUrl":638,"material":151,"size":151,"collection":151,"collections":639,"showCount":640,"zanCount":154,"manualWeight":11,"mainColor":43},224580,"shu-kui-xuan-hua-tu-jiang-ting-xi-224580","蜀葵萱花图","蒋廷锡","此作用没骨技法写就，构图疏朗空灵，主次有致。柔粉蜀葵袅袅舒展，花瓣晕染出轻软娇柔的质感，苍绿枝叶勾勒出阴阳向背，鲜活如生。配搭艳红榴花与橙黄萱花，冷暖色调相映，明丽雅致，将仲夏群芳盛放之态尽数铺陈。\n笔墨兼具院体的工致与文人画的秀逸，晕染细腻柔和，不见勾勒之痕却形神兼备，整体意境恬淡悠然，尽显温婉清隽的花鸟意趣，藏着中式美学里独有的夏日闲情。",[53,24,25,29,55,30,313,637,7,35,133],"萱花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9121d78fdc9453ee8ae006a9bede611.jpg",[],35,{"id":642,"slug":643,"title":644,"dynasty":126,"author":645,"museum":20,"description":646,"tags":647,"thumbUrl":648,"material":649,"size":650,"collection":39,"collections":651,"showCount":652,"zanCount":138,"manualWeight":11,"mainColor":43},222051,"bing-hun-leng-rui-tu-wang-qian-222051","冰魂冷蕊图","王谦","用墨笔截取倒垂老梅，枝干劲健挺拔，梅花双勾而成，繁花密蕊，清奇可爱。 以淡墨晕染绢地，更衬托出梅花凄厉冷艳的姿色。 作品画格雄健，与晚明及清代梅花作品风格迥然相异。",[53,24,23,25,28,395,131,180,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00fb28109c7cdb6700ac5749c89e75c4.jpg","绢本墨笔","纵186cm，横111cm",[39,213],34,{"id":654,"slug":655,"title":656,"dynasty":126,"author":657,"museum":91,"description":658,"tags":659,"thumbUrl":660,"material":151,"size":151,"collection":151,"collections":661,"showCount":662,"zanCount":154,"manualWeight":11,"mainColor":84},228831,"zhe-zhi-hua-zhi-shen-zhou-228831","折枝花枝","沈周","以水墨晕染出海棠花枝，老干苍劲朴拙，用笔凝练老辣，皴擦间尽显饱经风霜的沉厚质感。新发嫩梢轻盈舒展，墨色清浅柔润，与老干形成鲜明虚实对照。枝头繁花淡墨点染，留白为瓣，晕透出通透娇柔的春日情态，叶片浓淡错落，层次分明，鲜活尽现海棠盛放之姿。\n题跋与画作相映成趣，诗书画意交融，尽显文人画雅致意趣。整幅简淡天真，不事雕琢，以极简笔墨抓住花木神韵，将春日雅兴寄于毫端，平朴间自有冲淡空灵的意境，寥寥数笔便铺陈出海棠疏淡清雅之态，藏着江南文人闲居的悠然意致。",[53,24,25,54,28,56,77,35,7,132,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52bbf1cdcefb49755ec2f8724f6aeda7.jpg",[],28,{"id":664,"slug":665,"title":666,"dynasty":18,"author":406,"museum":50,"description":407,"tags":667,"thumbUrl":669,"material":29,"size":417,"collection":151,"collections":670,"showCount":671,"zanCount":11,"manualWeight":11,"mainColor":84},222731,"xian-e-chang-chun-tu-zi-bai-ding-xiang-lang-shi-ning-222731","仙萼长春图紫白丁香",[53,24,25,26,55,29,30,668,60,194,7,410,409],"丁香","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ffcb1593f89bbebafa1e0c5468c60b4.jpg",[],27,{"id":673,"slug":674,"title":675,"dynasty":18,"author":516,"museum":91,"description":676,"tags":677,"thumbUrl":678,"material":679,"size":680,"collection":151,"collections":681,"showCount":682,"zanCount":11,"manualWeight":11,"mainColor":84},234987,"hua-hui-ling-mao-ping-5-ren-yi-234987","花卉翎毛屏5","任颐(1839-1896)，初名润，字伯年，一字次远，号小楼(亦作晓楼)，萧山城厢镇人。其父善画肖像，任颐自幼随之习画。人物、山水、花卉、翎毛等均有扎实功底，尤以人物画见长，他在十余岁时即能勾勒出来访者容貌，使人见其画如见其人。\n咸丰十一年(1861)，太平军占领杭州、绍兴，任颐即投笔从戎，参加太平军，掌军旗，为前驱。同治二年(1863)，太平军撤离浙江，任留居家乡；次年，移居宁波，得到任熊、任薰悉心指导。同治七年(1868)春，随任薰去苏州，是年冬，转至上海定居。从此，任颐步入新兴的上海画派之列。\n任颐画路宽拓，所画人物具有独特的风韵，更以描写风俗人情、民间传说和神话故事中人物见长，如《女娲》、《钟 馗》、《八仙》、《群仙祝寿》等作品，将艺术与现实巧妙地容贯于画面。其人物肖像画既有深厚的传统基础，又注重写生，每次外出，备有速写本，随时勾录。寓居上海后，以卖画为生，创作甚富。《钟馗》、《关河一望萧索》、《苏武牧羊》、《野塘雨后》和《三友图》等为其代表作。且其参用画意的书法亦奇惊不凡，光绪二十二年(1896)逝世。\n任伯年因是浙江山阴人，故画面署款多写山阴任颐。儿时随父学画，十四岁到上海，在扇庄当学徒，后以卖画为生。所画题材，极为广泛，人物、花鸟、山水、走兽无不精妙。他的画用笔用墨，丰富多变，构图新巧，创造了一种清新流畅的独特风格，在正统派外别树一帜。\n任颐是近代杰出画家。字伯年，号小楼，浙江山阴人，因此他的画署款多写山阴任颐。任伯年的绘画题材广泛，人物、肖像、山水、花卉、禽鸟无不擅长。用笔用墨，丰富多变，构图新巧，主题突出，疏中有密，虚实相间，浓淡相生，富有诗情画意，清新流畅是他的独特风格。任伯年的主要成就是在于人物画和花鸟画方面，往往寥寥数笔，便能把人物整个神态表现出来，着墨不多而意境深远。其线条简练沉着，有力潇洒。他常画钟馗，他笔下的钟馗心胸磊落、不怕鬼，不信邪。他的花鸟画，总是把花与鸟连在一起，禽鸟显得很突出，花卉有时只作背景，整个画面充满了诗的意境。",[23,24,25,54,29,55,30,96,7,60,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F183eeaea248695005ebfe5882e2006cb.jpg","绢本，设色","149 x 61 cm",[],26,{"id":684,"slug":685,"title":686,"dynasty":18,"author":687,"museum":112,"description":688,"tags":689,"thumbUrl":696,"material":149,"size":697,"collection":698,"collections":699,"showCount":682,"zanCount":138,"manualWeight":11,"mainColor":84},219211,"bing-xi-tu-jin-ting-biao-219211","冰戏图","金廷标","冬季严寒萧瑟，景物单调，但是对于调皮贪玩的小孩来说依然不乏游戏项目。宫廷画家金廷标就为我们展现了这种一幅场景。十个小伙伴来到结冰的池塘边，胆大的几个先下到了冰面上，可是太滑了，一不小心就摔了个仰面朝天，想再站出来也不容易，只能尽力支撑着。而岸上的同伴则嬉笑着，跃跃欲试。\n金廷标是清乾隆时期最著名的宫廷画家之一，以人物画见长。他笔下的风俗人物质朴自然，贴近生活，情态生动，令观者心生亲切之感。",[53,24,29,55,690,691,692,193,693,694,382,7,695],"人物","孩童","冰面","台阶","栏杆","庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb6864bf5a01739f77580c7a573b3b20.jpg","纵121厘米，横64.8厘米","人物画精选",[698],{"id":701,"slug":702,"title":703,"dynasty":89,"author":49,"museum":91,"description":704,"tags":705,"thumbUrl":708,"material":101,"size":102,"collection":151,"collections":709,"showCount":710,"zanCount":11,"manualWeight":11,"mainColor":84},231793,"ming-qing-ri-ben-gu-hua-hua-niao-shan-shui-ren-wu-fen-ben-hua-niao-juan-yi-ming-231793","明清日本古画花鸟山水人物粉本-花鸟卷","此卷三段取景，意趣各别。首段紫茄垂枝，晕染柔和饱满，将蔬果的鲜活质感尽显无余。中段群芳错生，凤仙秾艳、牵牛幽蓝、鸡冠明黄，草间蜻蜓静立，工笔勾勒柔劲相济，淡彩敷色清润雅致，将花草舒展之姿描摹入微。末段坡泽野趣盎然，蛙类或跃或伏，紫藤垂缀如瀑，蜂蝶振翅穿梭，生机灵动。全卷笔致秀雅，兼具工细写生的精工与自然野逸之趣，淡墨轻色温润和谐，将四时小景的鲜活意趣融于长卷，尽显写生花鸟的雅致风神。",[53,24,25,130,29,55,30,59,327,706,707,35,7],"青蛙","蜜蜂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9311663ccaeea82c7a495e62a25ee48c.jpg",[],25,{"id":712,"slug":713,"title":714,"dynasty":89,"author":90,"museum":91,"description":92,"tags":715,"thumbUrl":718,"material":101,"size":102,"collection":103,"collections":719,"showCount":710,"zanCount":11,"manualWeight":11,"mainColor":43},225846,"the-pink-orchard-march-fan-gao-225846","The pink orchard (March - )",[94,95,424,716,717,426,427,96,7,624],"笔触","开花的树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f828d98b67bb184451d36d834e8b6df.jpg",[103],{"id":721,"slug":722,"title":723,"dynasty":48,"author":49,"museum":112,"description":724,"tags":725,"thumbUrl":728,"material":729,"size":730,"collection":151,"collections":731,"showCount":710,"zanCount":154,"manualWeight":11,"mainColor":43},223373,"xie-sheng-cao-chong-tu-yi-ming-223373","写生草虫图","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",[53,23,24,25,55,29,75,30,339,208,207,726,727,7,133],"蚂蚱","草本植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf81f5379cd474d1d26ba4e587d518bb.jpg","绢本设色","25.9x26.9",[],{"id":733,"slug":734,"title":279,"dynasty":126,"author":280,"museum":91,"description":281,"tags":735,"thumbUrl":736,"material":151,"size":151,"collection":151,"collections":737,"showCount":738,"zanCount":154,"manualWeight":11,"mainColor":84},237674,"hua-niao-ce-ling-bi-zheng-237674",[23,24,25,26,55,28,30,194,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab9409048b6bc8ab56002702e7c8362a.jpg",[],24,{"id":740,"slug":741,"title":742,"dynasty":89,"author":90,"museum":91,"description":92,"tags":743,"thumbUrl":746,"material":101,"size":102,"collection":103,"collections":747,"showCount":748,"zanCount":11,"manualWeight":11,"mainColor":43},225756,"grass-and-butterflies-may-july-fan-gao-225756","Grass and butterflies (May - July )",[94,424,95,744,207,7,745],"草","沙地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b611e16ff1c155c04dec0db7304f7fd.jpg",[103],23,{"id":750,"slug":751,"title":752,"dynasty":18,"author":143,"museum":91,"description":753,"tags":754,"thumbUrl":758,"material":151,"size":151,"collection":151,"collections":759,"showCount":66,"zanCount":154,"manualWeight":11,"mainColor":84},238374,"dong-gao-yan-chun-hui-cai-tu-ce-dong-gao-238374","董诰延春荟彩图册","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝 将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[24,25,26,29,28,55,30,504,755,756,7,194,757],"松针","山茶花","花苞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5db9e96feb7376bec4823df1011f7be.jpg",[],{"id":761,"slug":762,"title":763,"dynasty":89,"author":49,"museum":91,"description":764,"tags":765,"thumbUrl":770,"material":101,"size":102,"collection":151,"collections":771,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":772},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。",[766,767,29,207,208,7,768,769],"浮世绘","木刻","花叶","罂粟花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a69b3271a539214a07d7ac2cc37e1f4.jpg",[],"F48FB1",{"id":774,"slug":775,"title":776,"dynasty":89,"author":777,"museum":91,"description":778,"tags":779,"thumbUrl":781,"material":210,"size":782,"collection":151,"collections":783,"showCount":784,"zanCount":11,"manualWeight":11,"mainColor":84},231578,"hua-yin-ying-hua-tu-juan-guang-lai-231578","花隐樱花图卷","広瀬","江户时代樱花的萌芽增加，作者广濑花隐以描绘樱花而美丽。",[53,24,25,130,30,55,29,780,96,7,133],"樱花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26b5f9759be870fb50edb3c6a69b4f7f.jpg","21×31cm厘米",[],20,{"id":786,"slug":787,"title":788,"dynasty":18,"author":789,"museum":91,"description":790,"tags":791,"thumbUrl":793,"material":151,"size":151,"collection":151,"collections":794,"showCount":784,"zanCount":11,"manualWeight":11,"mainColor":84},224172,"han-mei-cui-niao-tu-hua-yan-224172","寒梅翠鸟图","华嵒","水墨写就老梅枯干，苍劲嶙峋，以浓淡墨色晕染出覆霜带雪的清寒况味，淡粉轻缀梅花，疏落间暗透暗香。\n三只禽鸟各有意态，枝上两只翠鸟头颈相偎，亲昵宛然，羽色晕染细腻柔和；另有一鸟振翅掠空，灵动破寂，为萧寒画面添上蓬勃生趣。\n右侧题跋行书笔致洒脱，文辞与画意相融，更衬出文人雅意。全作用留白铺就冬日清寂底色，却于冷逸间藏着融融生机，将写生的鲜活与文人笔墨的简逸灵秀合而为一，落笔传神尽显幽淡空灵的冬韵雅趣。",[53,24,25,28,29,395,30,131,792,192,77,7,132,133],"翠鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ddfd247e50aebab76cda504b1f8c58f.jpg",[],{"id":796,"slug":797,"title":798,"dynasty":126,"author":799,"museum":267,"description":800,"tags":801,"thumbUrl":803,"material":37,"size":804,"collection":151,"collections":805,"showCount":784,"zanCount":11,"manualWeight":11,"mainColor":84},220219,"hua-niao-cao-chong-xie-sheng-ce-mei-jue-shi-zi-chen-hong-shou-220219","花鸟草虫写生册-梅绝世姿","陈洪绶","陈洪绶的绘画，尤其是他以之驰誉艺坛的双勾设色花鸟画，其特点有三，一是造型的古拙，二是色彩的古艳，三是线条的寓迟涩于劲挺，既厚重且圆润。",[53,24,25,26,29,55,131,802,30,75,77,7],"枯木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca7845904a88bd5bfeec2baca608c104.jpg","21.5×16cm",[],{"id":807,"slug":808,"title":809,"dynasty":18,"author":810,"museum":252,"description":811,"tags":812,"thumbUrl":813,"material":814,"size":815,"collection":151,"collections":816,"showCount":817,"zanCount":11,"manualWeight":11,"mainColor":84},233866,"mei-hua-ce-jin-nong-233866","梅花册","金农","金农（1687—1764），字寿门，号冬心，又号稽留山民、曲江外史、昔耶居士等，浙江仁和（杭州）人。金农一生用过很多号、别号，印记也很多，据秦岭云考证，金农号有：冬心、司农、吉金、竹泉、古泉、老丁、耻春亭翁、寿道士、稽留山民、曲江外史、昔耶居士、莲身居士、龙梭仙客、金二十六郎、仙坛扫花人、金牛湖上诗老、百二砚田富翁、心出家庵粥饭僧、金牛、金吉金（苏伐罗吉苏伐罗）、枯梅庵主、龙梭仙馆旧客、荆蛮民、小善庵主、老金、惜花人、之江钓师、三朝老民、十九松长者、朱阳馆主、纸裘老生。所钤印记有：寿、农、寿门、古泉、金农、竹泉金吉金、莲身居士、金农之印、金吉金之印、冬心先生、金老丁、生于丁卯、金农印信、金寿门氏、努力加餐饭、寿道士、明月入怀、乐此不疲、布衣雄世。某些字号、印章颇具生活气息，其晚年多用佛门别号。",[24,25,26,28,132,131,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0da4a4c9fdf9047d3f8e3350b2ae6c59.jpg","纸本墨笔","25.4cm 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