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厘米",[35],5957,35,{"id":60,"slug":61,"title":62,"dynasty":45,"author":63,"museum":64,"description":65,"tags":66,"thumbUrl":81,"material":82,"size":83,"collection":35,"collections":84,"showCount":85,"zanCount":86,"manualWeight":39,"mainColor":87},214539,"si-shi-hua-hui-tu-xu-wei-214539","四时花卉图","徐渭","北京故宫博物院","长卷以大写意方式绘牡丹、芍药、葡萄、芭蕉，以兼工带写绘桂花叶和松树，以烘托方式绘竹子、岩石和雪中梅花。从画卷末尾的自述中可以看出，艺术家是用物品来表达她胸中的郁闷。该卷的风格简洁明了，风格轻快，不急不躁。",[23,24,49,67,68,69,25,31,70,71,72,73,74,75,76,77,78,7,79,80],"写意","大写意","长卷","行书","梅","竹","松","荷","牡丹","芙蓉","桃花","水仙","兰","菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b359a71dcaf3445be4bdab0f5d74d69.jpg","纸本,水墨","29.9x1081.7",[35],3030,18,"795548",{"id":89,"slug":90,"title":91,"dynasty":92,"author":93,"museum":20,"description":94,"tags":95,"thumbUrl":101,"material":102,"size":103,"collection":35,"collections":104,"showCount":105,"zanCount":106,"manualWeight":39,"mainColor":87},214284,"hua-hui-cao-chong-tu-yan-yan-nv-shi-214284","花卉草虫图","宋","艳艳女史","花卉草虫图是宋代画家艳艳女史的一幅代表作。这幅画作描绘了花卉、草木和虫类的生活场景。\n\n在这幅画作中，艳艳女史巧妙地捕捉了花卉、草木和虫类的生活特征。她用浓墨重彩的画法，勾勒出了花卉、草木和虫类的形态。她还用细腻的线条勾勒出了花卉、草木和虫类的细节，让人感受到了花卉、草木和虫类的自然韵味。",[23,96,24,25,69,97,27,29,7,98,99,100],"名画","工笔","草虫","蝴蝶","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e8031ffdafeef83437ebb80105be86b.jpg","绢本,设色","32.5x333.5",[35],2504,32,{"id":108,"slug":109,"title":110,"dynasty":18,"author":19,"museum":20,"description":21,"tags":111,"thumbUrl":115,"material":33,"size":34,"collection":116,"collections":117,"showCount":118,"zanCount":119,"manualWeight":39,"mainColor":40},214709,"chun-hua-tu-ba-kai-4-yun-shou-ping-214709","春花图八开-4",[23,24,25,26,27,29,28,112,113,114,7],"花","藤蔓","叶子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F711decf5412e0d1bdf126cff504c08c8.jpg","",[],2285,11,{"id":121,"slug":122,"title":123,"dynasty":45,"author":124,"museum":125,"description":126,"tags":127,"thumbUrl":129,"material":130,"size":131,"collection":35,"collections":132,"showCount":134,"zanCount":135,"manualWeight":39,"mainColor":40},222001,"bai-yu-lan-tu-juan-wen-zheng-ming-222001","白玉兰图卷","文徴明","美国大都会艺术博物馆","公元1549年，即明嘉靖二十八年，这一年三月的一天，春光明媚，80岁的文徵明在家中庭院闲来无事，忽见亲手种植的白玉兰开花了，欣喜之余，他吟诗作画，忙得不亦乐乎",[23,24,31,29,7,27,67,69,128],"纸本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff15168a94a1e8cc14d5c9e9defbc85cb.jpg","纸本设色","27.9×133",[35,133],"设色画精选",1562,17,{"id":137,"slug":138,"title":139,"dynasty":45,"author":140,"museum":141,"description":142,"tags":143,"thumbUrl":146,"material":102,"size":147,"collection":35,"collections":148,"showCount":149,"zanCount":150,"manualWeight":39,"mainColor":40},220230,"hua-niao-chong-cao-xie-sheng-ce-die-dian-chun-hua-chen-hong-shou-220230","花鸟虫草写生册-蝶点春花","陈洪绶","私人收藏","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。",[23,144,24,25,26,27,97,29,77,99,7,145],"明代","昆虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29d24e4e72e70775f7e4626a7a610564.jpg","21.5×16cm",[35],1477,14,{"id":152,"slug":153,"title":154,"dynasty":18,"author":19,"museum":141,"description":155,"tags":156,"thumbUrl":159,"material":33,"size":116,"collection":116,"collections":160,"showCount":161,"zanCount":162,"manualWeight":39,"mainColor":40},214742,"hua-hui-ce-2-yun-shou-ping-214742","花卉册-2","恽寿平（1796-1873）是清代著名的画家，他擅长画花鸟，尤其是花卉。他的花卉册是他的代表作之一，包含了他对花卉的描绘和描写。\n\n恽寿平的花卉册以其精细的笔墨和精美的色彩著称，他善于捕捉花卉的细节和美感，并将其再现在画布上。他画的花卉通常都是生动传神，有时也带有一些象征意义。恽寿平还创作了许多花卉图谱，用来介绍各种花卉的特征和用途。\n\n恽寿平的花卉册不仅深受藏家的喜爱，也被认为是清代花卉画的杰出代表作之一。他的作品不仅为后人留下了宝贵的艺术瑰宝，而且也为我们展示了清代花卉画艺术的魅力。",[23,96,24,25,29,26,28,27,157,158,7,51],"萱草","桂花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1be5a0e030dc2534dcd967c594f0154e.jpg",[],1468,6,{"id":164,"slug":165,"title":166,"dynasty":18,"author":19,"museum":125,"description":167,"tags":168,"thumbUrl":175,"material":176,"size":177,"collection":35,"collections":178,"showCount":179,"zanCount":180,"manualWeight":39,"mainColor":181},220992,"bai-hua-tu-juan-yun-shou-ping-220992","百花图卷","恽寿平的山水画造诣之高，受到历代画家的赞誉。然而，他到中年后却放弃了在山水画领域的成就，转向以画花卉为主。究其原因，历史上说法很多。",[23,24,25,69,27,28,97,29,7,75,169,80,170,77,76,171,78,172,173,174,99,145],"百合","荷花","月季","兰花","芍药","紫藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff29e1c97e998205c049e5c6f18799621.jpg","手卷，绢本设色","纵32厘米，横530厘米",[35,133],1418,23,"F48FB1",{"id":183,"slug":184,"title":185,"dynasty":18,"author":19,"museum":141,"description":155,"tags":186,"thumbUrl":189,"material":33,"size":116,"collection":116,"collections":190,"showCount":191,"zanCount":192,"manualWeight":39,"mainColor":40},214738,"hua-hui-ce-4-yun-shou-ping-214738","花卉册-4",[23,24,25,26,28,97,27,77,187,7,51,188],"玉兰","红花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F326abb94d57aaaefc22233506e6e8c26.jpg",[],1350,9,{"id":194,"slug":195,"title":196,"dynasty":18,"author":19,"museum":141,"description":155,"tags":197,"thumbUrl":199,"material":33,"size":116,"collection":116,"collections":200,"showCount":201,"zanCount":202,"manualWeight":39,"mainColor":40},214734,"hua-hui-ce-6-yun-shou-ping-214734","花卉册-6",[23,24,2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亭花，这可能是后来明代的仿制品。",[23,96,24,25,291,97,27,29,7,307,293,308,309,50],"禽鸟","植物","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91b842f5975229d677278c15f942eb45.jpg","83.4x28.9","宋画精选",[312],864,21,{"id":317,"slug":318,"title":319,"dynasty":18,"author":320,"museum":207,"description":321,"tags":322,"thumbUrl":324,"material":33,"size":325,"collection":35,"collections":326,"showCount":327,"zanCount":328,"manualWeight":39,"mainColor":40},219433,"teng-hua-shao-yao-zhou-zou-yi-gui-219433","藤花芍药轴","邹一桂","紫藤藤蔓虬曲伸展，紫蓝花穗垂落如串串玉珠，枝叶葱茏带露；下方芍药竞放，白瓣皎洁如霜，粉蕊柔婉似云，红苞艳若丹砂，叶片舒展有致，脉络清晰可见。设色清丽雅致，线条细腻灵动，花叶的姿态鲜活自然，尽显春日芳菲的生机与韵致。笔墨间藏着对自然的深情体察，每一处细节都透着工笔花卉的精妙之美，雅致中蕴蓬勃活力，宛如将春日一隅凝于绢素之上。",[24,25,291,97,27,29,323,173,53,7],"藤花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46a37dff9eccfbfc632eca571c3b1785.jpg","129.1x60.8",[35],836,10,{"id":330,"slug":331,"title":332,"dynasty":92,"author":333,"museum":207,"description":334,"tags":335,"thumbUrl":337,"material":338,"size":339,"collection":312,"collections":340,"showCount":341,"zanCount":342,"manualWeight":39,"mainColor":87},221299,"sui-chao-tu-zhao-chang-221299","岁朝图","赵昌","与过年有关的节令画在古代多称之为“岁朝图”，大致兴起于宋代，徽宗时期宫廷绘画艺术得到了空前的发展。《岁朝图》的本质就是高级年画。所谓“岁朝”是一年之初的文艺叫法。历来的文人皇帝很喜欢用这样的画往来友人赏赐臣下，恭贺新禧。",[23,96,24,25,291,27,97,29,7,336,332],"奇石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda10c5d8b72f237927104c275194e0a4.jpg","绢","103.8×51.2cm",[312,35,133],830,13,{"id":344,"slug":345,"title":346,"dynasty":347,"author":348,"museum":207,"description":349,"tags":350,"thumbUrl":355,"material":102,"size":356,"collection":259,"collections":357,"showCount":358,"zanCount":119,"manualWeight":39,"mainColor":87},218529,"shi-nv-tu-zhou-wen-ju-218529","仕女图","五代十国","周文矩","这幅画表现的是一个在桐荫的女人与一个奴隶贩子在栅栏上摊开她的画卷。画中没有名字，而衣服的图案，僵硬曲折，与文姬的风格相去甚远，很可能是后来的收藏家擅自给它起了个名字，所以才有了这个标题",[23,24,27,97,248,249,351,252,99,352,7,353,354,291],"猫","树","石","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb332ba757d3b97ebad0f1f7b7982c84e.jpg","180.9x102.1",[259],820,{"id":360,"slug":361,"title":362,"dynasty":45,"author":244,"museum":64,"description":363,"tags":364,"thumbUrl":367,"material":368,"size":369,"collection":259,"collections":370,"showCount":371,"zanCount":162,"manualWeight":39,"mainColor":40},222194,"ren-wu-gu-shi-tu-gui-fei-xiao-zhuang-chou-ying-222194","人物故事图-贵妃晓妆","全册共十开，内容取材于历史故事、寓言传说、文人轶事和诗文寓意，具体为子路问津、明妃出塞、贵妃晓妆、南华秋水、吹箫引凤、高山流水、竹院品古、松林六逸、浔阳琵琶、捉柳花图等。这些题材历史上常被画家描绘，但仇英在作品立意、形象塑造和笔墨表现等方面，都注入了自己的才思和技巧，显示出鲜明的个性风格。\n作品主题明确，构思巧妙，不仅人物活动的细节刻画具体明晓，而且注意环境气氛的烘托，使每幅画页都有很强的观赏性。如“贵妃晓妆”页，以杨贵妃清晨在华清宫端正楼对镜理髻为中心，将宫女奏乐、采花和携琵琶等情节同现于一个画面，集中表现了贵妃爱牡丹、喜簪花、善声乐、好打扮的习性，也概括反映了贵妃奢华纵乐的生活内容。又如“高山流水”页，取材于伯牙鼓琴的故事，在描绘俞伯牙草亭弹琴，钟子期拾阶而上，知音相遇的具体情节同时，布置了高山飞瀑、松林流水的静谧清幽环境，形象地表达了高山流水的音乐内容，也衬托出人物的高雅情操，以象征性手法营造出了一个情景交融的臻境。\n此图册运用工笔重彩法。人物情态描绘得细腻精微，文人举止高雅潇洒，仕女容貌端庄娟美。建筑器皿工整精细，山石树木形态各具。笔致工细而不板滞，流畅自然，刚柔相济。敷色艳丽，又多和色，整体色调和谐、清雅。作品具有雅俗共赏的艺术效果，是仇英对唐宋工笔重彩法的创新和发展。",[23,24,96,25,97,27,248,249,250,253,254,255,252,7,365,366],"器具","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6305566e747339ff404852138f61f051.jpg","绢本，设色","每开纵41.4厘米，横33.8厘米",[259,133],808,{"id":373,"slug":374,"title":375,"dynasty":18,"author":19,"museum":207,"description":376,"tags":377,"thumbUrl":378,"material":379,"size":380,"collection":35,"collections":381,"showCount":382,"zanCount":383,"manualWeight":39,"mainColor":40},220978,"hua-hui-shan-shui-he-ce-yun-shou-ping-220978","花卉山水合册","恽寿平传世作品极多，主要有《红梅山茶图》《桃花图》《 三友图》《林居高士图》等，笔墨润秀，神完气足。其没骨花卉画柔美秀雅，开创了一代新风，时人争相仿效。\n王翚有《康熙南巡图》(与杨晋等人合作)、《秋山萧寺图》、《虞山枫林图》、《秋树昏鸦图》、《芳洲图》（常熟博物馆藏）等传世。着有《清晖画跋》。",[23,24,25,96,27,28,29,7,26,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79d394a60f3fe31f74cc2a4529d753ab.jpg","白纸本","43x29厘米",[35,133],750,7,{"id":385,"slug":386,"title":387,"dynasty":388,"author":389,"museum":141,"description":390,"tags":391,"thumbUrl":394,"material":102,"size":395,"collection":35,"collections":396,"showCount":397,"zanCount":150,"manualWeight":39,"mainColor":87},218979,"xi-yuan-chun-se-tu-liu-guan-dao-218979","西园春色图","元","刘贯道","蛱蝶蹁跹于花草丛中，翅羽斑斓如霞，或振翅欲飞，或停驻吮香，姿态灵动鲜活。草叶舒展，花蕊微绽，淡彩晕染出春日的柔媚生机。旁侧书法笔墨流转，行草相间，墨色浓淡相宜，与工致的花鸟相映成趣。书画交织处，既有自然野趣的鲜活，又有文人笔墨的雅致，仿佛能闻春风里的花香，听纸间墨韵的轻响。整体气息清逸，将西园春日的盎然生机与文人雅兴融于一卷，尽显古典艺术的和谐之美。",[96,24,25,69,97,27,29,99,170,392,7,393,70,31,53],"草","虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec39f61ffab9b2bf23461034a8902f3b.jpg","23x137cm",[35],694,{"id":399,"slug":400,"title":401,"dynasty":347,"author":402,"museum":207,"description":403,"tags":404,"thumbUrl":405,"material":406,"size":407,"collection":312,"collections":408,"showCount":409,"zanCount":202,"manualWeight":39,"mainColor":87},221430,"mu-dan-hua-hui-tu-ye-xu-xi-221430","牡丹花卉图页","徐熙","五代當時名家輩出：花鳥畫之黃筌、徐熙，前後輝映，造就了五代. 的光芒。，他想買下，無奈錢不夠，因此而與丈夫趙明誠雙雙",[23,96,24,25,26,27,29,75,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d4545b75f5270a81a2bbe98ab5c0643.jpg","绢本","41×33",[312,35,133],683,{"id":411,"slug":412,"title":413,"dynasty":92,"author":414,"museum":207,"description":415,"tags":416,"thumbUrl":419,"material":102,"size":420,"collection":35,"collections":421,"showCount":422,"zanCount":328,"manualWeight":39,"mainColor":87},218937,"hua-lan-tu-dong-li-song-218937","花篮图-冬","李嵩","篮子上装饰着水仙花、韵草、绿萼梅、单花茶花和蜡梅，中央的朱砂茶花以其艳丽的红色取胜，周围是芬芳的花朵。",[23,96,24,25,97,27,29,417,7,76,53,418],"器","宋画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55ed24f58dd4748fe5e7c6a5283a48e2.jpg","26.1x26.3",[35],662,{"id":424,"slug":425,"title":426,"dynasty":18,"author":19,"museum":427,"description":428,"tags":429,"thumbUrl":431,"material":432,"size":433,"collection":35,"collections":434,"showCount":435,"zanCount":192,"manualWeight":39,"mainColor":40},220998,"hua-hui-tu-ce-gui-hua-yun-shou-ping-220998","花卉图册·桂花","美国纳尔逊阿特金斯艺术博物馆","《花卉图册》绘有荷花、梨花、水仙、桃花、山矾、罂粟、茶蘼、金萱石榴、牵牛、双凤、桂枝及雁来红等十二种花。画用新没骨法，不用墨线钩勒，而直接着色点染而成。点色的用笔很洒脱、飘逸。十二种花，各具姿色。色彩艳而不俗，色调的表情是清丽和冷艳，在秀雅之中含有一种凛然难犯的韵味。画册中，作者或题名或赋诗，那秀劲古逸、和婉密丽的书体，与这种艳雅的画风相结合，相得益彰，更具魅力。该图册是恽寿平绘画中的精品。\n恽寿平（1633—1690），初名格，字寿平，号南田，武进（江苏常州）人。其诗格超逸，书法遒劲，擅长山水画，尤精没骨花卉画，画笔生动。",[23,96,24,25,26,27,28,29,7,158,52,430],"叶片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d3d4803a177ac67268b07a8c66a1114.jpg","纸本 设色","24.5×29.3cm",[35,133],657,{"id":437,"slug":438,"title":439,"dynasty":45,"author":440,"museum":207,"description":441,"tags":442,"thumbUrl":444,"material":102,"size":445,"collection":35,"collections":446,"showCount":447,"zanCount":150,"manualWeight":39,"mainColor":87},214726,"hua-hui-tu-chen-chun-214726","花卉图","陈淳","这幅画描绘了在海石后面盛开的各种花朵，包括五种栀子花、玫瑰花、百合花、天竺葵和红丹参。花朵是用无骨笔描绘的，栀子花和百合花的白色花朵是用钩花和点叶描绘的。景观安排得很细致，着色柔和优雅，不显庸俗，有别于晚年放笔写意的习惯，应该是五十岁以前的作品。",[23,24,25,96,291,27,67,29,7,251,443,308],"草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0c023ce4b74affaefcba3f3678377db.jpg","188x96.9",[35],619,{"id":449,"slug":450,"title":451,"dynasty":92,"author":452,"museum":453,"description":454,"tags":455,"thumbUrl":461,"material":82,"size":462,"collection":35,"collections":463,"showCount":464,"zanCount":465,"manualWeight":39,"mainColor":40},218639,"mo-lan-tu-zheng-si-xiao-218639","墨兰图","郑思肖","日本大阪市立美术馆","这是一幅描绘两朵兰花的画，闲适而优雅，有一种侵入性的清晰。叶子是对称的，但花只在左边，重心稍微向左倾斜。叶子不多，但不是孤零零的散落，笔法轻重不一，大小不一，通篇使用淡墨，使画作更加优雅柔美。这幅画延续了南宋的写实风格，开创了元代文人画的先河。叶子分两组画，每组有三片叶子，笔法与图中对称，略带左右强调。笔触有轻有重，笔触准确。剑身略宽，给人以丰富和艳丽的美感。位于长叶子之间的短叶子，仍然用同样明亮的墨水和笔触绘制。画的是两朵花，一朵是盛开的四片花瓣，一朵是含苞待放的两片花瓣。两片长而弯曲的叶子被放在画框的底部中心，环绕着它们，这就是画的眼睛。花瓣也很饱满，笔触与画叶子的笔触相同。花蕊是用浓墨勾勒出来的，花的描绘方式是其他画作中所没有的。",[23,96,49,67,456,79,457,7,458,459,460],"文人画","简笔","墨笔","文人花卉","水墨花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f9c1a31515452db9f01aafbc38687bb.jpg","34.3x59.6",[35],570,12,{"id":467,"slug":468,"title":469,"dynasty":18,"author":470,"museum":275,"description":471,"tags":472,"thumbUrl":473,"material":116,"size":116,"collection":35,"collections":474,"showCount":475,"zanCount":119,"manualWeight":39,"mainColor":40},228928,"hua-hui-hu-die-tu-juan-ma-quan-228928","花卉蝴蝶图卷","马荃","此作工写相融，以没骨法绘就群蝶，翅翼薄如蝉翼，晕染出绒毛的柔润质感，墨色浓淡相宜，黑蝶沉雅莹润，白蝶清透灵动。群蝶翩跹往复，似循着花香振翅而来，各有姿态，灵动生趣。\n\n间缀芍药、佛手数处，设色柔婉秀雅，花叶舒展自然，与蝶影相映成趣，将花底群蝶相逐的春日清景缓缓铺展。引首题字娟秀端丽，书画合璧，将闺中细腻意趣融于笔底，晕开一卷悠然雅致的花间清梦。",[23,24,25,69,27,97,70,53,29,7,99,75,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa61f6d45e4448610bc0d9227c8c99010.jpg",[35],537,{"id":477,"slug":478,"title":479,"dynasty":18,"author":480,"museum":64,"description":481,"tags":482,"thumbUrl":488,"material":368,"size":489,"collection":297,"collections":490,"showCount":491,"zanCount":215,"manualWeight":39,"mainColor":87},222770,"wu-rui-tu-lang-shi-ning-222770","午瑞图","郎世宁","这是一幅近似于欧洲静物画的作品，青瓷瓶内插着蒲草叶、石榴花和蜀葵花，托盘里盛有李子和樱桃，几个粽子散落一旁。图中的粽子、蒲草等物暗示此画是为中国的传统节日——端午节而绘制的。就构图而言，画中物品聚散有致，呈正三角形布局，给人的视觉以稳定感。而绘制方法则采用色彩深浅及光影明暗的变化展示花叶、水果和瓷瓶的立体感，尤其是瓷瓶肩部见于欧洲绘画而中国画绝无的“高光”手法，能令观者清晰地体会到西方油画的技巧。虽然画面没有落年款，但根据清内务府造办处的档案记载，此图应作于雍正十年（1732年），属郎世宁在中国的早期作品。\n作为异域来客，为了使基督教广布中国，明末清初抵华的众多传教士们采取了将东西方文化相融合，而后循序渐进地推行教义的传教策略，郎世宁无疑是一位彻底的实践者。尽管此图中他对静物的表现技法源自欧洲油画，然而其内容反映的却是蕴含华夏民族两千余年文化精髓的风俗。正是由于借助兼得中外、博取东西的折衷技巧与迎合中国皇帝趣味的题材择选，才使郎世宁成为深得雍正、乾隆两位帝王赏识、并且大加重用的西洋画家，他有为数不少的画作存世亦得益于此。",[23,24,97,27,483,235,484,7,485,486,53,487],"中西结合","青瓷","果实","粽子","静物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9cf54c3f7bd81efc6632c675afac9c4.jpg","纵140厘米，横84厘米",[297,133],514,{"id":493,"slug":494,"title":495,"dynasty":18,"author":496,"museum":207,"description":497,"tags":498,"thumbUrl":501,"material":33,"size":502,"collection":35,"collections":503,"showCount":504,"zanCount":239,"manualWeight":39,"mainColor":40},220335,"cao-chong-hua-hui-hu-shi-si-ping-zi-wei-ju-lian-220335","草虫花卉湖石四屏-紫薇","居廉","居廉对岭南画派的影响十分深远，岭南画派创始人高剑父、陈树人均师从居廉。“二居”所创立的十香园成为岭南画派发源之地，当时岭南绘画界八成以上的人都出自十香园门下或是经受过二居绘画艺术的熏陶，在中国美术史上垂名的杰出弟子多达三十余人。二居以革命精神开创的“撞水”、“撞粉”技法被后来者沿袭至今，二居、二高一陈富于创新的革命艺术精神更使得岭南画派开一时风气之先，在中国画坛独领风骚。",[23,24,25,29,97,27,7,98,251,113,499,500],"紫薇","螳螂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3161675f1c6cc75d7b4fb092b58090a4.jpg","113×26.5厘米",[35],464,{"id":506,"slug":507,"title":508,"dynasty":92,"author":414,"museum":207,"description":509,"tags":510,"thumbUrl":512,"material":406,"size":513,"collection":312,"collections":514,"showCount":515,"zanCount":215,"manualWeight":39,"mainColor":87},221490,"hua-lan-tu-li-song-221490","花篮图","图绘藤编花篮一只，竹篮编织精巧别致，里面盛满了各色鲜艳欲滴的花朵，白的、红的、粉的、淡黄的，有蜀葵、栀子、百合、广玉兰、石榴等，布置得错落有致，画家笔下一个小小的花篮，折射出的是繁花似锦的大自然，美丽而富有朝气，让人看了之后感到十分亲切，画家对自然、生命的热爱和关注由此跃然于绢上。",[23,96,24,25,26,97,27,29,417,511,75,169,7,114],"花篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8587f02c9ca8d9b82abaf7122913f6ac.jpg","26.1 x 26.3公分",[312,35,133],454,{"id":517,"slug":518,"title":332,"dynasty":18,"author":519,"museum":207,"description":520,"tags":521,"thumbUrl":525,"material":33,"size":526,"collection":259,"collections":527,"showCount":528,"zanCount":465,"manualWeight":39,"mainColor":40},214713,"sui-chao-tu-jin-ting-biao-214713","金廷标","它描绘了孩子们在梅花盛开的院子里玩耍的情景。根据乾隆对这首诗的题词，这似乎是一个训诫。",[96,24,25,27,97,248,522,523,254,253,100,7,524,53],"孩童","小桥","庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd7359c4847fbcbefede1de57ca93a09.jpg","96x65.9",[259],437,{"id":530,"slug":531,"title":532,"dynasty":388,"author":533,"museum":275,"description":534,"tags":535,"thumbUrl":538,"material":102,"size":539,"collection":133,"collections":540,"showCount":541,"zanCount":215,"manualWeight":39,"mainColor":87},219227,"hu-lu-hua-ping-tu-chen-lin-219227","葫芦花瓶图","陈琳","葫芦形花瓶静立中央，上下两腹铺陈盎然生机：上腹花叶扶疏，禽鸟栖于枝间；下腹莲荷绽放，游鱼隐于水藻。工笔细描尽显物象之态，花瓣晕染得宜，鸟羽纹理纤毫可见，设色古雅温润，与背景暗纹相映成趣。瓶中世界仿佛自成天地，静谧中藏着灵动生机，尽显传统绘事对自然意趣的凝练与表达，观之令人心生悠然。",[23,24,25,291,27,97,29,7,536,537,308],"器物","葫芦瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26c245651b0116b5d744e49060ab67f7.jpg","86X41",[133],423,{"id":543,"slug":544,"title":545,"dynasty":18,"author":19,"museum":64,"description":546,"tags":547,"thumbUrl":548,"material":549,"size":116,"collection":116,"collections":550,"showCount":551,"zanCount":552,"manualWeight":39,"mainColor":40},234300,"yun-shou-ping-hua-hui-ce-yun-shou-ping-234300","恽寿平花卉册","恽寿平（1633年-1690年），初名格，字惟大，后改字寿平，以字行。别号南田。作为明末清初著名的书画家，他开创了没骨花卉画的独画风，是常州画派的开山祖师。自小敏慧，却一生坎坷\n恽（yùn）寿平出生于官宦之家，又是书香门第，曾祖父、祖父、爹爹、叔父不是为官就是为学，从小敏慧，长相出众，8岁便有咏莲花之诗。清初遭遇战乱，年仅12岁的恽寿平随父远走浙、闽、粤几省，风餐露宿，历尽艰险。后参加了福建建宁王祈的抗清队伍。\n顺治五年（1648年），闽浙总督陈锦率六万清军强攻建宁，15岁的恽寿平坚守孤城。城陷后，与兄皆被虏至清兵营。陈锦无子，其妻见寿平聪明清秀，收为养子。恽寿平虽在总督府生活优裕，但思亲之情未绝。五年后，遇灵隐寺方丈相救，才得以与家人团聚。此后，他刻苦钻研学问，古文、诗词、书画无不精擅。",[24,25,26,28,27,70,53,75,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dc8ee0032281ae979767d6d432d5240.jpg","纸本，设色",[],407,2,{"id":554,"slug":555,"title":556,"dynasty":45,"author":557,"museum":558,"description":559,"tags":560,"thumbUrl":563,"material":102,"size":116,"collection":35,"collections":564,"showCount":565,"zanCount":552,"manualWeight":39,"mainColor":87},219280,"feng-huang-mu-dan-tu-sun-yi-219280","凤凰牡丹图","孙忆","九州国立博物馆","凤凰顾盼生姿，翎羽层叠如锦缎铺展，青绿冠羽衬得朱喙明艳，蓝红翅羽与尾羽眼斑流转虹光，每缕纹理皆细腻入毫。牡丹雍容吐蕊，白瓣胜雪、红瓣似霞，枝叶缠络间缀细碎白花，与凤凰相映成趣。古雅绢本色调晕染出静谧祥瑞，工笔线条精准流畅，设色浓淡相宜，华贵中透着清雅。整幅画将凤凰的祥瑞之气与牡丹的富贵之姿融于一体，尽显盛世花鸟的雍容气象，笔墨间藏着对美好生活的祈愿，是工笔花鸟里兼具艺术性与寓意的佳作。",[24,25,97,27,29,561,75,7,562],"凤凰","翎毛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8785c401d091b29709625d8b0cf4c0e9.jpg",[35],379,{"id":567,"slug":568,"title":569,"dynasty":388,"author":570,"museum":571,"description":572,"tags":573,"thumbUrl":576,"material":577,"size":578,"collection":35,"collections":579,"showCount":580,"zanCount":202,"manualWeight":39,"mainColor":40},221855,"qian-kun-sheng-yi-tu-juan-xie-chu-fang-221855","乾坤生意图卷","谢楚芳","大英博物馆","此《乾坤生意图》卷由元代谢楚芳绘。画卷内容主题为动物和昆虫捕食：画面中各类花草盛开，一只蟾蜍埋伏等待着正在肢解蝴蝶的蚂蚁，一只蜻蜓袭击蜥蜴捕获的一只小昆虫，以及螳螂捕蝉等六部分，每组画面看似生机勃勃，实则是动物为生存而绞杀捕猎场景。此卷现藏于大英博物馆。\n这幅精致而珍贵的工笔画是大英博物馆于 1998 年在国家艺术收藏品基金会和布鲁克史威尔永久基金的赞助下花巨资收购的，在丝质封套内有一枚英国人威廉巴特勒 ( Williambutler) 的入藏章，章上的日期标明为 1797 年，是目前所知英国人最早收藏的中国画，曾被大英博物馆列为 “最珍贵的十种馆藏中国文物之一，在英国的中国文物收藏史上占有特殊的地位。",[23,24,25,69,27,97,29,72,99,574,7,98,308,31,70,575],"蜻蜓","篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e1c56124fe25c7b1d901efbb1fb8345.jpg","绢本设色","27.8x352.9cm",[35,133],368,{"id":582,"slug":583,"title":584,"dynasty":18,"author":304,"museum":275,"description":585,"tags":586,"thumbUrl":588,"material":116,"size":116,"collection":116,"collections":589,"showCount":590,"zanCount":228,"manualWeight":39,"mainColor":87},230349,"yong-zheng-shi-er-mei-ren-tu-yin-zhen-mei-ren-tu-yi-ming-230349","雍正十二美人图(胤禛美人图)","仕女侧身凭门，眉眼含柔静赏修竹，暗纹黄衫绣饰精巧，鬓边珠翠轻缀，温婉娴静的闺阁气韵尽显。庭院中奇石错落，盆梅初绽、兰草幽柔，案头盆花清雅动人。画作以框景巧构，将室内外景致相融，淡雅设色晕染出悠然氛围，笔触写实细腻，衣料柔润质感、竹影婆娑意态皆被精妙还原，将深闺女子的闲情意趣与中式园林的雅致意境融为一体，尽显东方古典美学含蓄温婉之韵。",[23,97,27,249,72,293,587,7,254,524,354,291],"盆栽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a850643fba7892c7c56dbf39750b66e.jpg",[],362,{"id":592,"slug":593,"title":594,"dynasty":18,"author":519,"museum":64,"description":595,"tags":596,"thumbUrl":599,"material":102,"size":600,"collection":259,"collections":601,"showCount":602,"zanCount":383,"manualWeight":39,"mainColor":87},220398,"shi-nv-zan-hua-tu-jin-ting-biao-220398","仕女簪花图","图中精致的家具、富丽的陈设所构筑出的典雅高贵的环境，表明此图表现的是宫廷女子日常生活的景象。梳妆打扮是贵族妇女每日生活中的重要内容之一，对此，她们不敢有丝毫的怠慢。图绘晨起的女子对镜理妆的情景。她为了取得良好的照镜角度，不禁起身而立，双目注视着桌上的铜镜，同时，左手缓缓地往云鬓上插玉簪。情节生动，人物举止自然，显示出作者细致入微的观察力和准确传神的艺术表现力。\n图中女子杏脸桃腮，皓齿朱唇，身段婀娜多姿，富于曲线变化，体虚力弱中显现出娇柔典雅的娟秀气，体现出清代仕女画清新俊秀的时代特征。人物衣纹用笔顿挫转折，线条遒劲刚健，与以界画方式表现的家具及室内装饰物所采用的守规守矩、见棱见角的线条相互呼应，笔墨格调于统一中显现出所绘物象不同的质感。此幅构图颇具机巧，近景为全身像的簮花女子，中景系若隐若现的理书侍女，远景是含烟带雾的翠竹一隅。繁复的画面，既未掩簪花的创作主题，又通过近、中、远三景的自然展现加强了画幅的立体、纵深效果，从而在有限的画面上扩展出无限的空间。",[23,97,27,248,249,417,366,597,7,254,598],"饰品","室内陈设","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F836624fe83b39d31a2d2db2d60908583.jpg","纵223厘米，横130.5厘米",[259,133],360,{"id":604,"slug":605,"title":606,"dynasty":18,"author":607,"museum":125,"description":608,"tags":609,"thumbUrl":610,"material":33,"size":611,"collection":116,"collections":612,"showCount":602,"zanCount":162,"manualWeight":39,"mainColor":40},216256,"jing-fu-si-qi-dong-jing-tu-4-qian-wei-cheng-216256","景敷四气冬景图-4","钱维城","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n女史观星兆自嘉，净香竞体足风华。故应俯视黄金盏，只号人间醒酒花。钤印：水月两澂明",[24,25,96,26,27,97,29,78,7,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eafcb674b80771b89f70439ef4ed54a.jpg","21.9 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30.2cm",[],{"id":614,"slug":615,"title":616,"dynasty":617,"author":304,"museum":141,"description":618,"tags":619,"thumbUrl":624,"material":102,"size":116,"collection":35,"collections":625,"showCount":626,"zanCount":239,"manualWeight":39,"mainColor":87},216908,"lu-yan-fu-rong-tu-yi-ming-216908","芦雁芙蓉图","隋","芦雁芙蓉图是一幅佚名的隋代画作，它的创作时间大约在6世纪中期。这幅画的主题是芦雁和芙蓉，被认为是隋朝时期最优秀的花卉画之一。\n\n芦雁是一种常见的水鸟，在古代中国文学中常被描写为优美、品性高尚的鸟类。芙蓉是一种常见的花卉，被认为是一种具有极高艺术价值的植物。在这幅画中，芦雁和芙蓉被描绘得栩栩如生，使用的颜色十分丰富，线条流畅，构图巧妙，是一幅充满美感的艺术品。\n\n芦雁芙蓉图被认为是隋朝时期花卉画的代表作之一，其创作背景和风格反映了当时的文化、艺术特点。它对后世的艺术家们也产生了深远的影响。",[23,24,27,97,291,29,620,76,621,622,100,307,7,308,623],"雁","芦苇","水","动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a48aa75a4e73cbfea994365e8bccc65.jpg",[35],356,{"id":628,"slug":629,"title":630,"dynasty":92,"author":631,"museum":207,"description":632,"tags":633,"thumbUrl":639,"material":102,"size":640,"collection":35,"collections":641,"showCount":642,"zanCount":228,"manualWeight":39,"mainColor":87},219395,"hua-niao-zhou-xiao-rong-219395","花鸟轴","萧瀜","旧传为十一世纪辽画家萧瀜所作，但构图与北京故宫所藏吕纪〈桂菊山禽〉类似。加之在右幅石块上发现一「四明吕廷振印」之残印，推论此幅作品可能实为吕纪作品。图中描绘三只山鹧鸟俯盼于激流旁的岩石。上方舞动的竹叶的竹干，与下方的流水、及石上与空中鹊鸟的动向相互应和，形成一种吕纪花鸟特有的优雅却又互动频繁的构图。其中山鹧俗称拖尾练，常被误认为绶带鸟，而其中「绶」与「寿」谐音，而「竹」与「祝」谐音，用以表现祝寿之吉祥意。",[23,96,24,29,291,27,72,634,221,252,635,636,7,637,638],"流水","山鹧","鹊鸟","祝寿","吉祥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f2fe32238fe90f0171dc8b50979108.jpg","145x83",[35],350,{"id":644,"slug":645,"title":646,"dynasty":18,"author":480,"museum":64,"description":647,"tags":648,"thumbUrl":651,"material":102,"size":652,"collection":35,"collections":653,"showCount":654,"zanCount":162,"manualWeight":39,"mainColor":40},219111,"hua-niao-tu-lang-shi-ning-219111","花鸟图","此图笔法精工细腻，色调绚丽多彩，造型抽象生动，注重展现禽鸟翎毛的细腻、花叶的阴阳向背以及明暗层次的差异，具有鲜明的西洋花鸟写实画的色调。",[23,97,27,53,29,75,50,649,650,7,51],"老树","蘑菇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43bf0edaaa3f25a2c4a60fa09e4aa741.jpg","纵63.7厘米，横32.3厘米",[35],323,{"id":656,"slug":657,"title":658,"dynasty":45,"author":440,"museum":659,"description":660,"tags":661,"thumbUrl":663,"material":130,"size":664,"collection":35,"collections":665,"showCount":666,"zanCount":552,"manualWeight":39,"mainColor":40},222557,"hua-hui-tu-ce-chen-chun-222557","花卉图册","美国波士顿博物馆","此图册是陈淳晚年作品。卷尾自题“嘉靖庚子，余游玉山，过周氏六观草堂。主人出此册，具丹粉，欲图杂卉。留连累月，不觉盈帙，见者亦且以草本视之可也。道复志”。按照其生卒年推算， “嘉靖庚子” 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。",[23,24,25,29,26,67,49,27,7,75,100,51,662],"兰草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F917a3d7d0165dfb34ce3f2d19087dabb.jpg","32.5×57.3厘米",[35,133],314,{"id":668,"slug":669,"title":670,"dynasty":18,"author":671,"museum":64,"description":672,"tags":673,"thumbUrl":675,"material":82,"size":676,"collection":35,"collections":677,"showCount":666,"zanCount":239,"manualWeight":39,"mainColor":40},214364,"duan-wu-tu-zhou-wang-shi-min-214364","端午图轴","王时敏","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。",[23,96,24,25,291,49,27,29,97,7,308,114,309,674],"菖蒲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3414e2605b1e19c796fba5f04650202d.jpg","100.8x40.1",[35],{"id":679,"slug":680,"title":681,"dynasty":45,"author":682,"museum":64,"description":683,"tags":684,"thumbUrl":687,"material":688,"size":689,"collection":35,"collections":690,"showCount":691,"zanCount":239,"manualWeight":39,"mainColor":87},222398,"gui-ju-shan-qin-tu-lv-ji-222398","桂菊山禽图","吕纪","该画所绘主体花鸟：绶带鸟、八哥、桂花、秋菊，均属于祥瑞、珍贵之物，寓有富贵长寿和君子节操含意，内容明显地反映了皇家的艺术和审美旨趣。\n画中造型严密，布置合理，使鸟、树、花儿粗细两相映衬，而色彩的明艳夺目更是增加了该画的艺术气息。\n该画描绘的是秋天的情景，画中有一棵高大而茂盛的桂花树，树干苍健，树上绿叶茂密，桂花簇聚。\n桂树上栖落着几只八哥，有两只正隔着树枝对唱，一只正翘首远眺。\n在低一些的树枝上，有一只蓝色绶带正朝着树下鸣叫，它黑白相间的羽翼之间，长着蓝色的羽毛，嘴和爪子为红色。\n树下的三只绶带，正在争食一只草虫，它们翘起高高的羽翎。\n桂树下长着一些野草，还有一些形状各异的石头，石后几株菊花正开得鲜艳，颜色有红的、黄的、白的。\n明代画院花鸟画是以南宋院体为基础并发展的，讲究设色浓艳，笔势劲健且奔放，明代画家吕纪的《桂菊山禽图》就体现了这样的画风。\n吕纪工笔重彩花鸟画创作的时候，承袭五代 工整精细的画风， 在整体章法布局和背景树石用笔上，更多地接受了南宋 、 的影响，由此而逐渐形成了自己的风格特色，《桂菊山禽图》《山茶白鹇图》是其中的代表作。\n《桂菊山禽图》刻意精细，显然是奉召而作。\n《桂菊山禽图》中的物象真实地展现了生物的自然本性，也形象地表达了内涵的寓意。\n所绘主体花鸟：桂花、秋菊、八哥以及授带鸟，都是祥瑞吉庆之物、寓意着富贵长寿和君子的气节；殉丽的色泽与生动的景致，又营造出欢乐的气氛和华美的意境，明显地反映了皇家的艺术和审美旨趣。\n展开画轴，在画面的右下侧山石屹立，有的横卧，有的竖立，有一块较大的湖石，造型奇特，上大下小，山左倾斜，呈险势状；山石和土坡上点缀着花草、杂木；山石后有一簇盛开的菊花，山石旁有一棵老桂拔地而起，树干粗壮，长满了疤节，显然是一株老桂；树干向右斜倾，并将主干伸出画面之外，然后又从画外上方斜入画面右上部；另一枝杈，又从树干伸出向左上方，入画面中上部，这是妙笔，不但弥补了画幅左上端的空阙，而且对整个画面起到平衡作用。\n桂树花叶繁茂，树枝相互交错，错落有致，树枝上端繁花满枝，让人感到金桂的幽香阵阵，沁人心肺，与下端石旁盛开的各色菊花相互映发。\n由于一棵硕大桂树干重心偏向右侧，画家在构思上十分巧妙，将桂树向左倾斜伸出的枝权上安排了两只八哥，一只绶带鸟，用来平衡了画面。\n这两只八哥和右侧另一树枝上的一只八哥，翘着尾张嘴在树枝上叫鸣，遥相呼应，显得十分活泼，生动真切。\n画面左下角安排了一只绶带鸟，晃动着色彩艳丽的长尾，聚在坡间草丛中相互争食一只蚱蜢，显得热闹非凡。\n此画构图新颖，景物主要集中于画面右侧和下部，形成全幅构图既充实饱满，又疏密相间，景物配置得体，画幅左侧中部留有较大的空白，形成黑白强烈的对比。\n此画用笔秀劲，勾勒敷色，颇具功力。\n山石用斧劈皴。\n山石的笔法较为粗放，棱角方硬，具有立体感和质感。\n此画继承南宋院体中花鸟画法，工细中稍加放纵，形成精工富丽的艺术风格：细笔工绘，花、叶、鸟产生了强烈的对比；这种一工一写，相互映衬，达到粗细相间，却和谐统一，且显得自然生动：禽鸟造型准确，形象逼真，生动活泼，小趣盎然；设色方面，此图色彩浓重艳丽，厚重而无俗媚之气。\n绶带鸟斑斓的羽毛和艳丽的长尾，漂亮的红嘴，脚爪，描绘极为真实自然，色彩的深浅厚薄的变化，表现了羽毛的质感。\n八哥虽体以黑色为主，但却层次分明，活泼自然，生动毕肖，每一只八哥的神情刻画得特别贴切。\n花叶用石青染出，以浓淡分向背，极富有变化。\n作品的不足之处是八哥与绶带鸟之间缺少有机的联系。\n这反映了皇家贵胄多半要求画得繁多华丽的偏向，而宫廷画家不得不循以满足之。",[23,96,24,25,291,97,27,29,685,80,252,251,686,7,307],"桂","树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8206d9ae1c5854baf1d866a01f8809e8.jpg","绢本工笔","纵192厘米，横107厘米",[35,133],312,{"id":693,"slug":694,"title":695,"dynasty":92,"author":696,"museum":207,"description":697,"tags":698,"thumbUrl":707,"material":82,"size":708,"collection":35,"collections":709,"showCount":710,"zanCount":162,"manualWeight":39,"mainColor":40},218756,"xie-sheng-hua-niao-tu-mu-xi-218756","写生花鸟图","牧溪","这是一幅水墨画，画的是各种花卉、果蔬、飞禽走兽，并绘有草、坡、竹、石。用墨精到，造型准确。与北京故宫收藏的宋代百花长卷相比，水墨画更显从容，为元代王瑞雪和明代林良的水墨画打开了大门。",[23,24,25,69,49,699,67,29,7,700,72,74,75,701,50,702,703,704,705,706,76,77,78],"写生","蔬果","鱼","白菜","萝卜","南瓜","莲蓬","葱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F319f1d586ad6d8f701799388a3a2ded1.jpg","44.5x1017.1cm",[35],302,{"id":712,"slug":713,"title":714,"dynasty":388,"author":715,"museum":207,"description":716,"tags":717,"thumbUrl":727,"material":406,"size":728,"collection":312,"collections":729,"showCount":730,"zanCount":202,"manualWeight":39,"mainColor":40},221708,"hua-cao-mi-feng-qian-xuan-221708","花草蜜蜂","钱选","早晨披衣晨起，气温已升高，只有些微凉意。春天所剩只有两日，人生恨不得能大醉千百场。芳草随着渐行渐远的旅人连绵到天涯，柳丝百丈，也比不得旅人的愁闷那么长。花花朵朵已经没有了，但还有几分春色被蜜蜂藏起了蜂蜜里。\n烂醉恨无千百场：苏轼有词：百年里，浑教是醉，三万六千场。\n这首诗作于嘉泰元年（1201），作者时在山阴。",[23,24,96,27,97,718,719,100,29,25,720,721,722,7,145,293,723,724,725,443,726],"花草","蜜蜂","设色花鸟","工笔花鸟","元代绘画","传统绘画","工笔设色","花鸟题材","蜂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bd7df0fb4cdfe9a940d95305f727f55.jpg","26.6x23cm",[312,35,133],301,{"id":732,"slug":733,"title":734,"dynasty":18,"author":496,"museum":275,"description":735,"tags":736,"thumbUrl":737,"material":116,"size":116,"collection":35,"collections":738,"showCount":739,"zanCount":239,"manualWeight":39,"mainColor":40},224369,"hua-hui-qi-shi-ce-shi-er-kai-ju-lian-224369","花卉奇石册-十二开","此作以玲珑拳石为视觉中心，通透窍洞破开画面虚实，石上草虫振翅欲飞，翅脉纤毫毕现，将微末生机藏于静境之中。\n\n石畔幽花柔叶舒展，细茎擎着星状小花，素白鹅黄点缀苔痕苍润的坡岸，淡赭底色晕开旧绢的温雅质感。画作以没骨之法写就，敷色清妍秀润，奇石以淡墨勾形再晕染石色，苍润古拙不凝滞。\n\n静石、幽花与小虫相映成趣，将岭南边角野景的清逸意趣晕染尽致，淡远恬和间尽显小品雅致，把寻常小景升华为充满生机的清雅画境，藏着独属于晚晴的细腻闲情。",[23,24,25,96,26,97,27,251,7,145,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ee4772b0b0bf227b89265b6f3697b9a.jpg",[35,133],299,{"id":741,"slug":742,"title":743,"dynasty":18,"author":19,"museum":427,"description":428,"tags":744,"thumbUrl":745,"material":406,"size":746,"collection":35,"collections":747,"showCount":748,"zanCount":239,"manualWeight":39,"mainColor":40},220995,"hua-hui-tu-ce-tao-hua-yun-shou-ping-220995","花卉图册·桃花",[23,24,25,26,27,28,29,77,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb300ee60f9ba34664528d3e4e7228c38.jpg","每帧纵32.5厘米，横25.5厘米",[35,133],284,{"id":750,"slug":751,"title":752,"dynasty":18,"author":496,"museum":275,"description":753,"tags":754,"thumbUrl":755,"material":116,"size":116,"collection":35,"collections":756,"showCount":757,"zanCount":239,"manualWeight":39,"mainColor":40},224364,"hua-hui-si-ping-zhi-yi-ju-lian-224364","花卉四屏之一","此作用笔兼工带写，艳红凌霄花晕染鲜活，明丽暖调点亮画面，虬曲藤蔓以枯笔勾勒，苍劲老辣尽显古拙质感。湖石以淡墨勾皴，空灵通透的孔洞颇具玲珑意趣，与柔蔓繁花形成刚柔对照。\n\n两只螳螂纤毫毕现，身形灵动写实，悄然栖于枝桠，暗藏盛夏幽丛间的野趣。画面疏密错落，花叶垂曳、顽石静立，草虫点缀出鲜活生机，将庭院小景的清幽雅致尽数铺展，尽显清丽脱俗的花鸟意韵。",[23,24,25,291,97,27,29,113,114,7,100,500,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb303d0182d4e4c3f71398cf0140d09b1.jpg",[35,133],282,{"id":759,"slug":760,"title":761,"dynasty":45,"author":762,"museum":763,"description":764,"tags":765,"thumbUrl":766,"material":82,"size":116,"collection":35,"collections":767,"showCount":768,"zanCount":11,"manualWeight":39,"mainColor":40},214925,"mo-hua-ce-shen-zhou-214925","墨花册","沈周","印第安纳波利斯艺术博物馆","沈周是一位著名的明朝画家，他的作品《墨花册》是一本插图本，其中包含了许多令人惊叹的墨花图案。《墨花册》是沈周的代表作之一，因其精美的图案和精湛的插画技巧而广受赞誉。在《墨花册》中，沈周用黑墨和水彩画描绘了许多精美的墨花图案，包括花卉、鸟类、动物和人物等。沈周的作品充满了生机和活力，他的绘画技巧非常出色，深受人们的喜爱。",[23,96,24,49,26,29,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f196629d6204bca22e9e6f450463f95.jpg",[35],276,{"id":770,"slug":771,"title":772,"dynasty":18,"author":19,"museum":275,"description":773,"tags":774,"thumbUrl":775,"material":116,"size":776,"collection":116,"collections":777,"showCount":778,"zanCount":228,"manualWeight":39,"mainColor":40},233898,"hua-hui-ce-yun-shou-ping-233898","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。",[24,96,25,26,28,27,29,7,112,267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F762dbd11be83006cb14a4b005d749e3d.jpg","纵32.5厘米，横25.5厘米",[],275,{"id":780,"slug":781,"title":782,"dynasty":347,"author":402,"museum":275,"description":783,"tags":784,"thumbUrl":785,"material":279,"size":280,"collection":116,"collections":786,"showCount":787,"zanCount":552,"manualWeight":39,"mainColor":87},288264,"yu-tang-fu-gui-tu-xu-xi-288264","玉堂富贵图","画中上方玉兰初吐芳华，海棠飞艳溢彩，秀石之后，几丛牡丹姹紫嫣红，一只野雉正倘徉其间。该图构图方法颇具特色。从整幅图中来看，所有画面被牡丹、玉兰，海棠，禽鸟和假山石充溢，十分紧密，有明显的装饰性，使观者一望而生富丽之感。",[23,24,96,25,291,29,27,97,75,187,252,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66fe9d017d489145ac64737a1045253a.jpg",[],274,{"id":789,"slug":790,"title":791,"dynasty":45,"author":792,"museum":64,"description":793,"tags":794,"thumbUrl":795,"material":796,"size":797,"collection":35,"collections":798,"showCount":799,"zanCount":239,"manualWeight":39,"mainColor":40},222416,"bai-hua-tu-zhou-zhi-mian-222416","百花图","周之冕","是图有作者自识：“萬曆壬寅(1602年)秋日寫，汝南周之冕。”系周之冕的晚年之作。该图勾画了四季花卉，其中木本花卉多为折枝。画家将吴派的写意山水笔墨转化为花鸟画的造型语言，形成了勾花点叶派。画家以写意的手法勾写或涂抹出花叶、枝干，随意之中透露着明快和清雅，反映出文人画家淡泊不羁的胸臆。\n清《石渠宝笈·三编》著录。",[23,24,25,27,97,29,69,71,77,187,7,51,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4a3ecd116129eeb96dfb86398c9a098.jpg","纸本，墨笔","纵31.5厘米，横706厘米",[35,133],273,{"id":801,"slug":802,"title":803,"dynasty":45,"author":792,"museum":64,"description":804,"tags":805,"thumbUrl":808,"material":116,"size":116,"collection":35,"collections":809,"showCount":810,"zanCount":552,"manualWeight":39,"mainColor":87},239086,"he-hua-yuan-yang-zhou-zhou-zhi-mian-239086","荷花鸳鸯轴","此图画面下部绘有一对鸳鸯，活跃在荷塘水草之中，一只雄性的徴莺，正潜水觅食，双翅合拢，羽尾上翘，伸颈张嘴，正在捕捉食物。另一只雌性站立在荷塘岸上，扭弯脖颈，双目炯炯有神，正在注视河水中正在捕食的雄性。画面的背景主要集中右上方，右侧湖石从旁伸展，湖石造型奇特，玲珑别透，湖石上面有一棵廾满花朵的花树，枝干弯曲，伸向画面左中侧。湖石旁有数株荷叶，荷茎挺拔，荷花盛开，荷叶有的平展，有的悬垂，荷叶整、残相间，另间有其水草。\n此图写湖石、荷花、鸳鹫，形象通真，生动传神。画面清秀，笔墨自然，设色艳丽。此画是周氏用勾花点叶画法画的一幅典型作品，作者把草书的笔法融汇到画法中去，运笔疾速，枝叶的穿插、花朵的安排都恰到好处。作品用笔简洁、概括，例如河岸、湖石的画法，用粗笔勾勒，只有很少的儿笔魃染，寥寥数笔却颇具形态，水面大部分空白，只以淡淡的几条水纹表现水的存在，却有动感，杂草看去似不经心之笔却错落有致。鸳鸯的造型是在写实的基础上略有变化。两只鸳鹫神态各异，但都生动自然，日似点漆，颇具精神。鸳鹫大部分以淡墨浅设色写出，颈部、背部的毛用纤细的笔法画出，根根可见，表现出画家娴熟的工笔技法。头、尾、足又巧妙地利用了生纸的性能，水墨自然晕开，甚为生动，翅膀用笔虽较硬，但由于水墨涸晕的效果，把羽毛丰满的鸳鸯形象表现得淋漓尽致。兼工.带写，别具一格。鸳整体设色浓淡得宜立体感很强。荷花采用匀花点叶法，花以线条勾出，叶子则直接落笔成形，然后以墨勾叶筋，荷花设色淡雅，清新自然。这一切都显示了画家的笔墨造形功力。",[24,96,291,29,27,97,170,806,50,807,686,7],"鸳鸯","荷叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F848b8317f95838a26d9b5f0806530d75.jpg",[35,133],272,{"id":812,"slug":813,"title":814,"dynasty":18,"author":607,"museum":125,"description":815,"tags":816,"thumbUrl":817,"material":33,"size":611,"collection":116,"collections":818,"showCount":819,"zanCount":11,"manualWeight":39,"mainColor":40},216246,"jing-fu-si-qi-dong-jing-tu-11-qian-wei-cheng-216246","景敷四气冬景图-11","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n一瀑高悬银凿落，四山攅积玉参差。并刀剪水作花后，转语堪诠杜老诗。钤印：泼墨",[24,25,27,97,29,171,53,31,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ef9652a7cd63623c4474d2e78468a1.jpg",[],268,{"id":821,"slug":822,"title":823,"dynasty":45,"author":46,"museum":64,"description":824,"tags":825,"thumbUrl":826,"material":33,"size":827,"collection":35,"collections":828,"showCount":829,"zanCount":192,"manualWeight":39,"mainColor":87},219121,"yu-tang-zhi-lan-tu-sun-ke-hong-219121","玉堂芝兰图","图绘拳石之旁，玉兰、兰花竞相开放。花、石的技法均极工细，玉兰花用粉多次轻染分出浓淡，再用工笔勾勒烘托出花瓣的肥大白嫩。枝干双勾填色并施以皴擦，极富质感。山石的技法是先以淡墨勾出轮廓，然后用浓淡墨多次晕染，逐渐加深，直至显现出丰富的前后层次及石体的细腻。山石玲珑剔透而刚硬，玉兰和兰花​​​​​​​婀娜多姿而柔媚。本幅设色明丽清亮，层次细密，变化微妙，典雅端丽，属作者绘画山水之作品。",[23,24,25,291,97,27,29,187,79,293,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb622e2d3d8f5803168e0fa600c2995e.jpg","横59厘米，纵135厘米",[35],262,{"id":831,"slug":832,"title":833,"dynasty":18,"author":834,"museum":207,"description":835,"tags":836,"thumbUrl":839,"material":33,"size":840,"collection":116,"collections":841,"showCount":842,"zanCount":202,"manualWeight":39,"mainColor":40},219875,"er-shi-si-fan-hua-xin-feng-tu-hai-tang-yu-qiang-wei-dong-gao-219875","二十四番花信风图-海棠与蔷薇","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。",[96,24,25,26,27,97,31,837,838,7],"海棠","蔷薇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff95e31a5963a95c6acd4e4eb61d50b.jpg","20x14.2厘米",[],261,{"id":844,"slug":845,"title":846,"dynasty":45,"author":63,"museum":64,"description":847,"tags":848,"thumbUrl":851,"material":796,"size":852,"collection":297,"collections":853,"showCount":855,"zanCount":228,"manualWeight":39,"mainColor":40},222231,"mo-hua-jiu-duan-tu-juan-xu-wei-222231","墨花九段图卷","此图绘水墨写意四季花卉。每段均有自题七绝一首。画面上，画家充分发挥了水墨的表现力，以狂放的笔触，淋漓的水墨，变化多端的笔锋，泼墨、焦墨、破墨、双勾并用，寥寥数笔即勾画出了各种花卉的特征，简约却颇具神采。从徐渭自书诗并题记，知此画是作者在浓郁的创作激情中以酣畅的笔墨挥洒而就。此图堪称徐渭水墨写意花卉的佳作。",[23,24,25,69,49,68,849,31,29,71,79,72,80,74,251,7,850,113,293],"题跋","竹叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2e0e76186d34ba6f0466cc88cfd916f.jpg","纵46.6厘米，横625厘米",[297,854],"水墨画精选",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的收藏印，及比较院藏其他梁清标之题签，推测此册可能为梁清标所集，显示明末清初所理解的宋元画。",[23,96,24,25,890,97,27,29,891,7,51],"扇面","罂粟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadad36eaac06d8f20b835860208428a2.jpg","23.7x24.3cm",[35],236,{"id":897,"slug":898,"title":899,"dynasty":18,"author":900,"museum":275,"description":901,"tags":902,"thumbUrl":905,"material":549,"size":906,"collection":116,"collections":907,"showCount":908,"zanCount":552,"manualWeight":39,"mainColor":40},234803,"fang-yun-shou-ping-hua-hui-zhou-jiang-ji-xi-234803","仿恽寿平花卉轴","蒋季锡","蒋季锡，女（具体生卒年不详），从其画作上判断她大致活动于清康熙至雍正年间（公元1661－1735年），字苹南，江苏常熟人。陕西道监察御史、画家蒋伊之女，大学士蒋廷锡之妹。她出生与官宦书画世家，并常与父兄探讨画理，研习画艺。她的艺术功底深厚，思路开阔，在艺术上刻意求新。其花鸟画学马荃的勾染花卉法，兼学恽寿平的没骨写生法，同时巧妙地吸收了西洋的明暗技法，使她的画作工整细致、写实逼真、别有意境。\n落款自题七言诗一首：“一叶芳心任卷舒，客愁乡梦待何如。平生枉用藤溪纸，绿玉窗前好写书。仿瓯香馆笔意，苹南女史蒋季锡。”钤“苹南”、“季锡”印二方。",[24,25,291,29,27,28,80,903,7,904],"芭蕉","临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7049879c68c188c33b57a9d26849b1c6.jpg","纵107厘米，横33.4厘米",[],234,{"id":910,"slug":911,"title":912,"dynasty":45,"author":913,"museum":275,"description":914,"tags":915,"thumbUrl":916,"material":116,"size":116,"collection":35,"collections":917,"showCount":918,"zanCount":228,"manualWeight":39,"mainColor":87},238075,"song-he-ling-xiao-zhou-wang-wei-lie-238075","松鹤凌霄轴","王维烈","王维烈字无竞，吴郡（今江苏苏州）人，游周之冕之门，明代苏州画家。\n王维烈[明]花鸟在周之冕下，高阳之上。泰昌元年（一六二o）作树石孔雀图。南京博物院藏有其崇祯十三年（一六四o）作寒雀争梅图。",[24,25,291,97,27,29,73,292,293,7,252],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bd83a04879ea1f1f5ef9c405bd25556.jpg",[35],233,{"id":920,"slug":921,"title":922,"dynasty":45,"author":923,"museum":571,"description":924,"tags":925,"thumbUrl":927,"material":102,"size":928,"collection":259,"collections":929,"showCount":930,"zanCount":162,"manualWeight":39,"mainColor":87},219530,"tao-gu-zeng-ci-tu-tang-yin-219530","陶穀赠词图","唐寅","唐寅（1470—1523年），字伯虎，一字子畏，号六如居士，吴县（今江苏苏州）人。出身商人家庭，自幼聪明伶俐。20余岁时家中连遭不幸，父母、妻子、妹妹相继去世，家境衰败，在好友祝允明的规劝下收心读书，29岁参加应天府公试，得中第一名“解元”，30岁赴京会试，却受考场舞弊案牵连被斥为吏。此后遂绝意进取，以卖画为生。正德九年（1514年）曾应宁王朱宸濠之请赴南昌半年余，后察觉宁王有图谋不轨，遂佯狂得以脱身而归。晚年生活困顿，54岁即病卒。他玩世不恭而又才气横溢，诗文擅名，与祝允明、文徵明、徐祯卿并称“江南四才子”，画名更著，与沈周、文徵明、仇英并称“吴门四家”。 其绘画擅长山水、人物、花鸟各科。画法早年受沈周、文徵明影响，多“吴派”痕迹，30余岁时拜周臣为师，主宗南宗“院体”一路，后泛学宋元诸家，自成一体。山水画有粗、细两种风格：粗笔一路源自周臣，仿学南宋“院体”，然于刚劲雄健中别具清俊秀逸之韵；细笔画属其本色，更多文人画笔意，景色简约清朗，用笔纤细有力，皴法灵活多变，墨色淋漓多变，风格奇峭而又秀润。人物画造诣也很深，兼善工笔重彩、工笔淡彩、白描、水墨写意诸法，形神俱备。",[23,24,96,291,27,97,248,249,352,7,417,366,926],"乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4160d60f87f2087cb65dd4c2c4d435.jpg","纵171横103.8厘米",[259],231,{"id":932,"slug":933,"title":934,"dynasty":18,"author":935,"museum":936,"description":937,"tags":938,"thumbUrl":942,"material":943,"size":944,"collection":35,"collections":945,"showCount":946,"zanCount":228,"manualWeight":39,"mainColor":87},223162,"gui-he-tu-shen-quan-223162","桂鹤图","沈铨","辽宁省博物馆","此画写桂花、单鹤、水仙、山水等，意境深远、清幽，形象自然生动，是一幅典型的吉祥画作，图中的桂树寓意“富贵”，鹤寓意“长寿”，整幅画面流露着吉祥富贵的气氛。除了仙鹤和桂树，画面中还有牡丹、灵芝、水仙，吉祥的寓意不言而喻。画中还绘有一条溪流，潺潺的流水充满了浓重的生活气息。",[23,24,97,27,939,940,221,7,941,29],"仙鹤","桂树","山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfd68003b0bdaaf677d976ed05fb7753.jpg","纸本工笔设色","纵177厘米，横90.3厘米",[35],226,{"id":948,"slug":949,"title":508,"dynasty":92,"author":333,"museum":950,"description":951,"tags":952,"thumbUrl":953,"material":577,"size":954,"collection":312,"collections":955,"showCount":956,"zanCount":11,"manualWeight":39,"mainColor":87},221300,"hua-lan-tu-zhao-chang-221300","日本京都国立博物馆","趙昌，生於970-1040年，字昌之，北宋畫家，廣漢劍南（今四川劍閣之南）人。工書法、繪畫，擅畫花果，多作折枝花，兼工草蟲。初師滕昌祐，後來發展出自身畫風，沒骨花鳥自成一派，有徐熙、黃荃遺風。在北宋時期與宋徽宗趙佶齊名，是宋代花鳥畫壇的傑出畫家。",[23,96,24,25,26,97,27,29,75,417,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4e439bec3f68d4048c7a22672432565.jpg","22.7×22.4",[312,35,133],222,{"id":958,"slug":959,"title":960,"dynasty":18,"author":19,"museum":275,"description":773,"tags":961,"thumbUrl":963,"material":116,"size":116,"collection":116,"collections":964,"showCount":965,"zanCount":228,"manualWeight":39,"mainColor":40},233911,"hua-hui-shan-shui-ce-yun-shou-ping-233911","花卉山水册",[24,25,26,28,27,29,7,837,962],"花叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365b8ee143cb6b67cd7e5ece42f851e1.jpg",[],218,{"id":967,"slug":968,"title":969,"dynasty":45,"author":970,"museum":207,"description":971,"tags":972,"thumbUrl":975,"material":102,"size":976,"collection":35,"collections":977,"showCount":978,"zanCount":11,"manualWeight":39,"mainColor":87},216220,"fu-rong-bai-lu-tu-zheng-shi-216220","芙蓉白鹭图","郑石","郑石的《芙蓉白鹭图》是一幅著名的绢本花鸟画。这幅画描绘了一只芙蓉花和二只白鹭鸟，画面非常精致优美。这幅画是郑石最著名的作品之一，被认为是明朝花鸟画的代表作之一。郑石是明朝时期著名的画家，他的画风清新自然，画面精致细腻，对后世艺术家产生了很大的影响。",[23,144,24,25,291,97,27,29,76,973,974,7,307],"白鹭","柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51b6278a19e0cd0b6464e8d5101b347b.jpg","144.4x74.3cm",[35],217,{"id":980,"slug":981,"title":982,"dynasty":45,"author":792,"museum":275,"description":983,"tags":984,"thumbUrl":986,"material":279,"size":280,"collection":116,"collections":987,"showCount":988,"zanCount":192,"manualWeight":39,"mainColor":87},287613,"si-shi-hua-niao-tu-zhou-zhi-mian-287613","四时花鸟图","周之冕（1521—？）明代杰出画家，字服卿，号少谷，长洲（今江苏苏州）人。卒年不详，活跃于万历年间。擅花鸟，注重观察体会花鸟形貌神情，及禽鸟的饮啄、飞止等种种动态。善用勾勒法画花，以水墨点染叶子，画法兼工带写，人称勾花点叶法。所作花鸟，形象真实，意态生动，颇有影响。写意花鸟，最有神韵。设色亦鲜雅，家畜各种禽鸟，详其饮啄飞止，故动笔具有生意 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2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[96,24,1031,1032,97,27,1033,7,1034],"壁画","宗教","龙","卷草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9523ba3f8abaac0ac6ff9edee579d76d.jpg",[],212,{"id":1039,"slug":1040,"title":1041,"dynasty":1042,"author":1043,"museum":275,"description":1044,"tags":1045,"thumbUrl":1054,"material":279,"size":280,"collection":1055,"collections":1056,"showCount":1037,"zanCount":11,"manualWeight":39,"mainColor":87},225705,"a-bottle-of-white-roses-fan-gao-225705","A 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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。",[1046,487,7,1047,1048,1049,27,1050,1051,1052,1053],"油画","白色玫瑰","花瓶","厚涂","绿色","桌面","笔触奔放","色彩鲜明","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61092a1c7e00462e6c53a81e571c9644.jpg","油画精选",[1055],{"id":1058,"slug":1059,"title":1060,"dynasty":18,"author":834,"museum":207,"description":835,"tags":1061,"thumbUrl":1063,"material":33,"size":840,"collection":116,"collections":1064,"showCount":1037,"zanCount":239,"manualWeight":39,"mainColor":40},219882,"er-shi-si-fan-hua-xin-feng-tu-shan-fan-yu-lan-hua-dong-gao-219882","二十四番花信风图-山矾与兰花",[24,25,26,27,97,7,1062,172,100,31,53],"山矾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa300fd27248f7782bac6bc2754e41f05.jpg",[],{"id":1066,"slug":1067,"title":1068,"dynasty":45,"author":1069,"museum":64,"description":1070,"tags":1071,"thumbUrl":1072,"material":406,"size":1073,"collection":35,"collections":1074,"showCount":1075,"zanCount":11,"manualWeight":39,"mainColor":87},222048,"mei-gu-hua-hui-tiao-fu-wang-zhong-222048","没骨花卉条幅","汪中","绘花鸟虫石一幅，湖石立于地面，棱角尖锐，内部多孔，其四周有月季、金银花穿插之中，花儿娇艳，虫蝶生动活泼。汪中，字容甫，清朝时期著名的哲学家、文学家、史学家，与阮元、焦循同为“扬州学派” 的杰出代表。",[23,24,25,291,28,27,29,251,7,99,574,113,51,309],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a80d2f3763b05356d5be7d88d57866d.jpg","54.4x113.9",[35,133],204,{"id":1077,"slug":1078,"title":1079,"dynasty":18,"author":607,"museum":207,"description":1080,"tags":1081,"thumbUrl":1082,"material":549,"size":1083,"collection":35,"collections":1084,"showCount":1085,"zanCount":39,"manualWeight":39,"mainColor":40},222697,"hua-chun-hua-san-zhong-zhou-qian-wei-cheng-222697","画春花三种轴","钱维城（1720 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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》。",[24,96,25,291,49,27,29,71,78,251,536,31,53,1172,7,587],"柿子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30fcfb6589c3a3e4729c4a0a67ce3c16.jpg",[],169,{"id":1177,"slug":1178,"title":1179,"dynasty":18,"author":935,"museum":141,"description":1180,"tags":1181,"thumbUrl":1187,"material":577,"size":1188,"collection":35,"collections":1189,"showCount":1190,"zanCount":39,"manualWeight":39,"mainColor":87},223164,"bai-niao-chao-feng-hou-bu-fen-shen-quan-223164","百鸟朝凤（后部分）","长卷以四季景色变化，绘禽鸟约近三百只，树木百余棵，四季花卉绽放；天空百鸟聚集，地上百花开放，寓意天下一片详和。长卷色彩艳丽，气势恢弘，堪称国之瑰宝。沈铨，字衡之，号南苹，清代画家，其画远师黄筌画派，近承明代吕纪。",[23,96,24,25,69,97,27,252,29,253,293,170,939,307,7,974,1118,1182,1183,221,1184,1185,1186],"草地","溪流","孔雀","水禽","花丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e5a549e10ca658a58fc3c8da817825d.jpg","45cm*1600cm",[35,133],166,{"id":1192,"slug":1193,"title":1194,"dynasty":92,"author":304,"museum":207,"description":1195,"tags":1196,"thumbUrl":1197,"material":102,"size":1198,"collection":35,"collections":1199,"showCount":1200,"zanCount":202,"manualWeight":39,"mainColor":40},218397,"hua-fu-rong-tu-yi-ming-218397","画芙蓉图","团扇方寸间，芙蓉绰约生姿。粉白花瓣晕染出柔润渐变，似沾晨露未晞，层层叠叠藏着细腻肌理；几枝花苞微绽，欲语还休。墨绿叶片脉络分明，与沉靛底色相映，更衬花的清妍。笔触细腻如丝，既写实又含韵致，不施浓艳却见雍容，将芙蓉的雅致与生机凝于咫尺。淡粉与深青碰撞，似封存宋时清雅气息，每处细节皆藏匠意，尽显宋画含蓄深厚的审美意趣——不喧不躁，却让观者读懂花叶间流动的温柔与生机。",[23,24,25,26,97,27,76,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d0930e0b70ec605d49251ad17a09093.jpg","21.0x23.5cm",[35],165,{"id":1202,"slug":1203,"title":772,"dynasty":18,"author":834,"museum":275,"description":1204,"tags":1205,"thumbUrl":1206,"material":279,"size":280,"collection":35,"collections":1207,"showCount":1208,"zanCount":552,"manualWeight":39,"mainColor":40},238883,"hua-hui-ce-dong-gao-238883","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），首席军机大臣，上书房总师傅，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，赠太傅，赐谥号文恭，入祀贤良祠。嘉庆亲写哀诗“只有文章传子侄，绝无货币置田庄”，并亲自拨款建立“董公祠”。",[24,25,26,97,27,29,7,112,267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5565de81860414a56e206c890dc9266.jpg",[35,133],162,{"id":1210,"slug":1211,"title":1212,"dynasty":45,"author":682,"museum":1115,"description":1213,"tags":1214,"thumbUrl":1216,"material":102,"size":1217,"collection":35,"collections":1218,"showCount":1208,"zanCount":39,"manualWeight":39,"mainColor":87},218959,"yuan-yang-hua-niao-tu-lv-ji-218959","鸳鸯花鸟图","这幅画描绘了夏天溪边成双成对的鸟儿，包括白头鹅、鸳鸯、红嘴蓝鹊等，其形态准确真实，着色精妙。这幅画的作者是吕纪，题目是南宋的，也就是说，这是吕纪早年的作品。",[23,24,96,97,27,1118,806,252,29,7,649,1215,718],"水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0191004ce3982d50bfff75380fa7ddd.jpg","185.7x108.5cm",[35],{"id":1220,"slug":1221,"title":1222,"dynasty":92,"author":1223,"museum":207,"description":1224,"tags":1225,"thumbUrl":1229,"material":406,"size":1230,"collection":312,"collections":1231,"showCount":1232,"zanCount":239,"manualWeight":39,"mainColor":87},221380,"huo-lang-tu-su-han-chen-221380","货郎图","苏汉臣","画面上描绘一位走乡串村的老货郎，推着小货车，走到一棵老梅树下的空旷场院上，货郎的到来，给孩子们带来了极大的快乐：货郎车上挂满了木叉、们‘耙，帽子、围巾、布兜、小风车、拨浪鼓、花篮、糖葫芦、花灯笼，各种佩饰等，品种繁多，琳琅满日。连货郎肩上、腰间、背后都有货物。由于货郎的到来，引来了四面八方的孩子，欣喜若狂地在货车周围戏耍。靠近货郎的一个背着小弟弟的男娃子，好像刚刚跑到这里，眼巴巴地瞧着货郎车上的东西，似有想买又没有买到的样子，所以老货郎的目光投向了这个背着弟弟而迟到的男娃子，停止了车，一手撒把指着小花鼓招引孩子：在车轮旁两个小孩，由于买到了喜爱的玩物，离开货车转身就跑，其中大的孩子手持糖葫芦满面笑容，兴高彩烈的样子。另一个小的孩子满心欢跳，一不小心，仰面跌了一个大跟斗，但是双眼还在找他喜爱的玩具。车头前又有两个站着的孩子，头上、身上戴着佩饰的那个孩子，一手指着货郎车的东西，似在告诉另一个孩子什么玩具好。头戴帽子穿着长袍的孩子，举起双手摇摆着，似有不让货郎车走开的意思。",[23,24,96,97,27,248,1226,71,308,597,1227,1228,7],"儿童","日用品","衣冠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdca69375cfc2c3f744733e8fa2fb6541.jpg","纵159.2厘米，横97厘米",[312,259,133],161,{"id":1234,"slug":1235,"title":1026,"dynasty":1027,"author":304,"museum":1028,"description":1029,"tags":1236,"thumbUrl":1239,"material":279,"size":280,"collection":116,"collections":1240,"showCount":1241,"zanCount":552,"manualWeight":39,"mainColor":870},226402,"ku-zhu-shi-zao-jing-yi-ming-226402",[1031,1032,27,7,1237,1238],"卷草纹","几何纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bda2d4520f30335b9744716dc3d4576.jpg",[],157,{"id":1243,"slug":1244,"title":772,"dynasty":18,"author":19,"museum":275,"description":773,"tags":1245,"thumbUrl":1246,"material":116,"size":776,"collection":116,"collections":1247,"showCount":1248,"zanCount":39,"manualWeight":39,"mainColor":40},233897,"hua-hui-ce-yun-shou-ping-233897",[24,25,26,27,28,29,7,701,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc808c246006bd21e0410433b0454b719.jpg",[],154,{"id":1250,"slug":1251,"title":1252,"dynasty":18,"author":320,"museum":275,"description":1253,"tags":1254,"thumbUrl":1258,"material":279,"size":280,"collection":116,"collections":1259,"showCount":1260,"zanCount":202,"manualWeight":39,"mainColor":40},288274,"du-mu-shi-yi-tu-li-zhou-zou-yi-gui-288274","杜牧诗意图立轴","邹一桂（1688-1772），清代画家。字元褒，号小山、二知、让卿、乡森子，江苏无锡人。雍正五年(1727)进士，官至礼部侍郎。擅工笔花卉。尝作《百花》卷，各系一诗。传世作品有《白梅山茶图》、《太古云岚图》、《水仙红梅图》等。",[23,96,24,25,291,29,97,27,7,1255,1256,1257],"枯木","顽石","竹草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feedd022cd80eec5e9b9f4773b20b52dd.jpg",[],153,{"id":1262,"slug":1263,"title":1264,"dynasty":18,"author":1265,"museum":453,"description":1266,"tags":1267,"thumbUrl":1269,"material":33,"size":116,"collection":35,"collections":1270,"showCount":1271,"zanCount":11,"manualWeight":39,"mainColor":40},214821,"shan-shui-hua-hui-tu-ce-gao-feng-han-214821","山水花卉图册","高凤翰","高凤翰是一位清代著名的画家，他最著名的作品之一是山水花卉图册。这本图册包含了许多精美的山水和花卉画作，描绘了中国传统山水风景的美丽景色。高凤翰以其独特的画风和精湛的技巧著称，他的作品在当时颇受欢迎，并被广泛收藏。\n\n高凤翰的山水花卉图册对中国山水画的发展有着巨大的影响。他的作品描绘了中国传统山水风景，但又不拘泥于传统，注重自然与艺术的结合。他运用了自然的色彩和线条，使画面生动而富有感染力。同时，他也注重写实，力求将自然界的细节再现在画面中。高凤翰的山水花卉图册是中国山水画发展史上的一部重要作品，其中蕴含了许多独特的艺术成就。",[24,25,26,49,27,293,75,1268,7,31,53],"竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7cf54d8ff98e36838fdc0046806b6e0.jpg",[35],152,{"id":1273,"slug":1274,"title":469,"dynasty":18,"author":470,"museum":275,"description":1275,"tags":1276,"thumbUrl":1277,"material":116,"size":116,"collection":35,"collections":1278,"showCount":1279,"zanCount":552,"manualWeight":39,"mainColor":40},228929,"hua-hui-hu-die-tu-juan-ma-quan-228929","此卷以没骨法绘就，蝶群翩跹百态各异，翅脉纤毫毕现：或墨色沉凝如漆，或晕染粉白通透，振翅翻飞间灵动宛然。间缀佛手、牡丹与素花，设色清润柔雅，花叶舒展柔媚，衬得蝶群更显鲜活生机。\n\n卷后题笔文辞清丽，笔墨秀雅与画境相融，尽显创作者细腻入微的观察力，将草间花蝶相依的悠然灵趣定格长卷，温婉雅致，意韵盎然，是闺阁花鸟画里的精巧之作。",[23,96,24,25,69,27,97,29,99,7,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3906603e4a8bf2dc062465a3550f3584.jpg",[35],149,{"id":1281,"slug":1282,"title":1283,"dynasty":18,"author":1169,"museum":275,"description":1284,"tags":1285,"thumbUrl":1286,"material":549,"size":1287,"collection":35,"collections":1288,"showCount":1289,"zanCount":239,"manualWeight":39,"mainColor":40},224232,"gui-shou-tu-li-zhou-wu-chang-shuo-224232","贵寿图立轴","此幅描绘含露微嫩的牡丹，亭亭玉立的水仙。牡丹雍容华贵，花瓣层层叠叠，显富贵之意；淡黄色水仙花与嫩绿而修长的叶片，娇艳欲滴；似云似烟的湖石穿插于花卉中，灵动自然。画面题：神仙贵寿。",[23,24,291,29,67,27,75,114,100,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedac561ff78a78041827fca1bcbcc149.jpg","117x35cm",[35,133],148,{"id":1291,"slug":1292,"title":1293,"dynasty":92,"author":1294,"museum":64,"description":1295,"tags":1296,"thumbUrl":1297,"material":577,"size":1298,"collection":312,"collections":1299,"showCount":1300,"zanCount":39,"manualWeight":39,"mainColor":87},221365,"dai-sheng-tu-zhao-ji-221365","戴胜图","赵佶","宋徽宗赵佶（1082年11月2日-1135年6月4日） [6] ，号宣和主人，宋朝第八位皇帝（1100年2月23日-1126年1月18日在位），书画家。宋神宗第十一子、宋哲宗之弟。先后被封为遂宁王、端王。 [1] 哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”， [1] 并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。 [2] 他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。 [3] 南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[23,96,24,25,97,27,29,252,7,51,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac6d21304ca588d1c5a05077bff87467.jpg","纵55厘米，横59厘米",[312,35,133],144,{"id":1302,"slug":1303,"title":772,"dynasty":18,"author":1304,"museum":20,"description":1305,"tags":1306,"thumbUrl":1307,"material":82,"size":116,"collection":35,"collections":1308,"showCount":1300,"zanCount":11,"manualWeight":39,"mainColor":40},214693,"hua-hui-ce-luo-pin-214693","罗聘","罗聘（1733年－1799年）是一位清代的画家，他的花卉册是一本记录花卉的画册，其中包含了许多精美的花卉画作。这本画册是由罗聘亲手绘制并装帧而成，并由他的学生赠送给他。罗聘是一位非常有才华的画家，他的花卉册中的画作非常生动，能够很好地展现出花卉的美丽和优美。\n\n这本画册是一件非常珍贵的艺术品，对于研究罗聘的艺术风格和清代花卉画艺术有着重要的意义。",[24,25,26,49,29,7,75,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd22e30016320aef8a29832998f488225.jpg",[35],{"id":1310,"slug":1311,"title":1312,"dynasty":1313,"author":1314,"museum":1315,"description":1316,"tags":1317,"thumbUrl":1319,"material":116,"size":116,"collection":116,"collections":1320,"showCount":1321,"zanCount":11,"manualWeight":39,"mainColor":40},220604,"da-li-tu-qi-bai-shi-220604","大利图","民国","齐白石","龙美术馆西岸馆","苍劲如屈铁的墨线勾勒提篮轮廓，枯涩老辣的笔力尽显朴拙厚重，留白的纸面将视线全然引向篮中佳果。\n以朱砂厚涂荔枝，色艳而不浮腻，颗颗饱满莹润，仿佛带着新鲜采摘的清甜，墨叶绿意深浅交叠，衬得荔枝愈发娇妍鲜活。\n将日常风物与美好意趣相融，寥寥几笔便将烟火日常晕染出雅致生机，笔简意足，雅俗共赏，把平实小景绘就成寄寓深味的佳品。",[24,25,27,49,29,7,114,1318,417,67,53],"篮子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F520a9588b0836603c2a4637d3df8d3cf.jpg",[],142,{"id":1323,"slug":1324,"title":1325,"dynasty":92,"author":414,"museum":207,"description":1326,"tags":1327,"thumbUrl":1330,"material":102,"size":1331,"collection":259,"collections":1332,"showCount":1321,"zanCount":11,"manualWeight":39,"mainColor":87},219975,"ting-ruan-tu-li-song-219975","听阮图","此图园中高木奇石，枝叶掩映翁郁，树下士人持拂闲坐于榻上，左腿盘起，聆听拨阮演乐并赏古玩。旁有仪态娇美仕女，焚香、拈花、持扇随侍。人物线条流畅，绘法近似明代画家杜蓳、唐寅。",[24,96,25,291,97,27,248,1120,1119,1328,926,352,903,7,1329,863,366,308],"侍女","桌案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f429ae99228b49a6346c6be40873864.jpg","177.5x104.5公分",[259],{"id":1334,"slug":1335,"title":1336,"dynasty":45,"author":1337,"museum":275,"description":1338,"tags":1339,"thumbUrl":1343,"material":116,"size":116,"collection":116,"collections":1344,"showCount":1345,"zanCount":11,"manualWeight":39,"mainColor":40},228271,"er-shi-si-fan-hua-xin-tu-juan-wei-zhi-ke-228271","二十四番花信图卷","魏之克","此作用没骨法写群芳次第铺展，艳红山茶花、柔粉芙蓉、明黄牵牛、素白水仙等错落排布，将四季花信的娇美姿态尽揽卷中。\n\n敷色妍丽清润，花叶晕染细腻自然，花瓣的柔润肌理、叶片的明暗层次皆被精微呈现。勾勒线条纤秀柔和，不着笔痕却见风骨。构图舒展疏朗，一花一叶各含生机，毫无拥塞之感，将文人意趣融于写生之中，整卷清新雅致，如将春日烂漫温柔铺陈眼前，观之如沐东风，尽现写生花鸟的雅致意韵。",[23,24,25,69,97,27,29,71,79,75,76,77,78,171,1340,169,223,837,1341,1342,7,51,309,53],"杜鹃","栀子","茉莉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fcbf65ccf427d0eec788db6bcfcdb78.jpg",[],137,{"id":1347,"slug":1348,"title":1349,"dynasty":1042,"author":1350,"museum":275,"description":1351,"tags":1352,"thumbUrl":1359,"material":279,"size":280,"collection":1055,"collections":1360,"showCount":1361,"zanCount":39,"manualWeight":39,"mainColor":87},225893,"agapanthus-1914-17-mo-nai-225893","Agapanthus, 1914-17","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。",[1353,1046,27,7,308,1354,114,1106,1355,1356,1357,1358],"印象派","百子莲","自然景观","光影","色彩晕染","写意笔触","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5ee6f81839b5b83565121b0f7c652c2.jpg",[1055],132,{"id":1363,"slug":1364,"title":1365,"dynasty":18,"author":1169,"museum":64,"description":1366,"tags":1367,"thumbUrl":1370,"material":128,"size":116,"collection":35,"collections":1371,"showCount":1361,"zanCount":11,"manualWeight":39,"mainColor":40},224229,"lao-shao-nian-zhou-wu-chang-shuo-224229","老少年轴","使用西洋红设色，一老一新两丛雁来红，构图成对角斜势，虚实相生，主体突出。此作当是吴昌硕大胆运用洋红的最佳范例之一。他把金石的古厚质朴的意趣，引用到绘画用色方面来，自然不落于平薄，更无粉脂俗艳。吴昌硕可以说是大写意花卉史上最善于用色的高手之一。这种绘画方法，对之后的海派绘画，乃至齐白石等京派绘画产生了重大影响。",[23,24,25,291,27,67,70,53,7,308,52,1368,1369],"红叶","绿叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8ca4315e839c5191b026d588d9a0432.jpg",[35,133],{"id":1373,"slug":1374,"title":1375,"dynasty":18,"author":19,"museum":275,"description":276,"tags":1376,"thumbUrl":1377,"material":279,"size":280,"collection":116,"collections":1378,"showCount":1379,"zanCount":39,"manualWeight":39,"mainColor":87},288301,"hua-niao-cao-chong-tu-ce-yun-shou-ping-288301","花鸟草虫图册",[23,24,26,27,29,98,7,99,97,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F258fd1430fd11d1d5348dc536b1403e0.jpg",[],130,{"id":1381,"slug":1382,"title":960,"dynasty":18,"author":19,"museum":275,"description":773,"tags":1383,"thumbUrl":1384,"material":116,"size":116,"collection":116,"collections":1385,"showCount":1379,"zanCount":39,"manualWeight":39,"mainColor":40},233909,"hua-hui-shan-shui-ce-yun-shou-ping-233909",[24,25,26,27,28,7,251,392,1268,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6174e80dbb9482ece91dbfbb01b8787f.jpg",[],{"id":1387,"slug":1388,"title":1389,"dynasty":1042,"author":1043,"museum":275,"description":1044,"tags":1390,"thumbUrl":1394,"material":279,"size":280,"collection":1055,"collections":1395,"showCount":1379,"zanCount":228,"manualWeight":39,"mainColor":1396},225825,"sunflowers-january-fan-gao-225825","Sunflowers (January - 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1889",[1046,27,1049,30,7,1369,1415,308,1416,1417,1052],"土地","野花","色彩明快","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e0a8f0a24ff57e00c72bda77261c3ff.jpg",[1055],{"id":1421,"slug":1422,"title":332,"dynasty":92,"author":304,"museum":207,"description":1423,"tags":1424,"thumbUrl":1426,"material":102,"size":1427,"collection":35,"collections":1428,"showCount":1429,"zanCount":11,"manualWeight":39,"mainColor":87},219277,"sui-chao-tu-yi-ming-219277","岁朝，指一岁之始，历代画家作该图，含有元旦开笔，预祝一年万事吉利之意。本幅绘拳石临流，雉鸡一对，麻雀数只，山茶旁生于老梅干后，绿竹新生于回流之上。水仙、红茶、白梅等花上下分别盛开，色调朱白相映，通幅设色浓而不艳，一派和熙春色。旧传为宋人之作，然笔触色调皆不类，疑是明人学吕纪画风。",[23,96,24,25,291,97,27,29,71,72,50,1425,293,7],"雉鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24ebc914f3148654b0f6a2722ee6abfa.jpg","164.2x80.3",[35],126,{"id":1431,"slug":1432,"title":1433,"dynasty":18,"author":1434,"museum":64,"description":1435,"tags":1436,"thumbUrl":1444,"material":128,"size":1445,"collection":116,"collections":1446,"showCount":1447,"zanCount":39,"manualWeight":39,"mainColor":40},231938,"cao-chong-tu-ce-zhu-da-231938","草虫图册","朱耷","朱耷花鸟画成就特别突出，也最有个性。其画大多缘物抒情，用象征手法表达寓意，将物象人格化，寄托自己的感情。如画鱼、鸟，曾作“白眼向人”之状，抒发愤世嫉俗之情。其花鸟画风，可分为三个时期，50岁以前为僧时属早期，署款“传綮”、“个”、“驴” 、“人屋”，多绘蔬果、花卉、松梅一类题材，以卷册为多。画面比较精细工致，劲挺有力。50岁至65岁为中期，画风逐渐变化，喜绘鱼、鸟、草虫、动物，形象有所夸张，用笔挺劲刻削，动物和鸟的嘴、眼多呈方形，面作卵形，上大下小，岌岌可危，禽鸟多栖一足，悬一足。65岁以后为晚期、艺术日趋成熟。笔势变为朴茂雄伟，造型极为夸张，鱼、鸟之眼一圈一点，眼珠顶着眼圈，一幅“白眼向天”的神情。他画的鸟有些显得很倔强，即使落墨不多，却表现出鸟儿振羽，使人有不可一触，触之即飞的感觉。有些禽鸟拳足缩颈，一副既受欺又不屈的情态，在构图、笔墨上也更加简略。这些形象塑造，无疑是画家自的写照，即“愤慨悲歌，忧愤于世，一一寄情于笔墨”。他在题黄公望山水诗中写道：“郭家皴法云头小，董老麻皮树上多。想见时人解图画，一峰还与宋山河。表现出他的民族意识。此画作足以代表朱耷的艺术风格。笔墨简括凝练，形象夸张，意境清冷。画中山水树木，形象寂寥无不带有画家的个人烙印和情感。",[24,49,67,26,29,98,7,53,1019,1437,1438,1439,1440,1441,1092,1442,460,1443],"水墨花鸟","草虫题材","花卉题材","水墨技法","写意技法","花鸟虫鱼","水墨草虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1832d1cbad4704515cafe4aadf8818b.jpg","纵26厘米，横41厘米",[],125,{"id":1449,"slug":1450,"title":545,"dynasty":18,"author":19,"museum":275,"description":276,"tags":1451,"thumbUrl":1452,"material":279,"size":280,"collection":116,"collections":1453,"showCount":1454,"zanCount":11,"manualWeight":39,"mainColor":40},235085,"yun-shou-ping-hua-hui-ce-yun-shou-ping-235085",[24,26,28,27,7,51,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61a7b3aafdec8a0f229dbcde14d2bdc4.jpg",[],124,{"id":1456,"slug":1457,"title":960,"dynasty":18,"author":19,"museum":275,"description":773,"tags":1458,"thumbUrl":1464,"material":116,"size":116,"collection":116,"collections":1465,"showCount":1454,"zanCount":11,"manualWeight":39,"mainColor":40},233905,"hua-hui-shan-shui-ce-yun-shou-ping-233905",[24,28,27,49,1404,72,353,7,662,53,1459,1460,1461,850,1462,1463,718],"苔草","红色花卉","黄色花卉","竹笋","石块","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4377c657f826c18b3596050a5963db15.jpg",[],{"id":1467,"slug":1468,"title":1469,"dynasty":18,"author":496,"museum":275,"description":1470,"tags":1471,"thumbUrl":1472,"material":279,"size":280,"collection":116,"collections":1473,"showCount":1474,"zanCount":228,"manualWeight":39,"mainColor":40},239153,"hua-hui-cao-chong-tu-shan-ye-ju-lian-239153","花卉草虫图扇页","居廉（1828年9月22日－1904年5月5日），广东省广州府番禺县隔山乡人，原籍江苏扬州宝应县 [1] ，字士刚，号古泉、隔山樵子、罗湖散人，是中国近代岭南地区著名的国画画家，和其从兄居巢并称“二居”。 [2] 他初时学宋光宝和孟丽堂，后吸收各家之长，自成一家。笔法工整，设色妍丽，在继承和发展恽寿平没骨画法基础上，广泛运用了撞水和撞粉法，继承、发展和完善了“居派”艺术。代表作品有《十二分春色》。",[24,96,25,890,97,27,29,7,98,76,1369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F718408587ec96f67a2d985fd07ea1e2f.jpg",[],123,{"id":1476,"slug":1477,"title":1478,"dynasty":18,"author":1479,"museum":275,"description":1480,"tags":1481,"thumbUrl":1482,"material":279,"size":280,"collection":35,"collections":1483,"showCount":1474,"zanCount":11,"manualWeight":39,"mainColor":40},239081,"si-ji-hua-hui-ping-zhang-xiong-239081","四季花卉屏","张熊","张熊(1803—1886)，又名张熊祥，字寿甫，亦作寿父，号子祥，晚号祥翁，别号鸳湖外史，鸳湖老人，鸳湖老者，鸳鸯湖外史，西厢客。别署清河伯子，髯参军。室名银藤花馆。秀水（今浙江嘉兴）人，张熊年青时代就移居上海，参加各种美术活动。",[24,27,97,29,251,7,291],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a972c0e37f7684a3d727f061a740104.jpg",[35,133],{"id":1485,"slug":1486,"title":1487,"dynasty":18,"author":496,"museum":275,"description":1488,"tags":1489,"thumbUrl":1490,"material":116,"size":116,"collection":116,"collections":1491,"showCount":1474,"zanCount":39,"manualWeight":39,"mainColor":40},224379,"hua-hui-qi-shi-ce-shi-er-kai-9-ju-lian-224379","花卉奇石册-十二开-9","此作以清供小品入画，湖石以淡墨枯笔皴擦勾勒，朴拙空灵，带着苍古沉静的质感。蚌壳盛着素白茉莉，花瓣晕染柔润饱满，似将幽微花香凝于绢面。石畔垂悬的圆叶小花，以青绿轻敷鲜活透亮，柔润花叶和苍劲湖石形成刚柔对照。\n没骨笔法细腻写实，设色明秀淡雅，将案头闲情雅致尽皆铺展，把寻常清玩绘出隽永诗意，尽显文人心底的幽居雅趣。",[23,24,25,26,27,97,251,7,53,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca79a5b6e1c9fa0841b71698cbf4c7c.jpg",[],{"id":1493,"slug":1494,"title":1495,"dynasty":18,"author":19,"museum":207,"description":1496,"tags":1497,"thumbUrl":1498,"material":130,"size":116,"collection":35,"collections":1499,"showCount":1474,"zanCount":552,"manualWeight":39,"mainColor":40},220979,"ping-shan-mian-hua-ce-yun-shou-ping-220979","平扇面畫冊","扇面顧名思義就是扇子形狀的一個面，在幾何上是這樣定義何為扇形的：一條弧和經過這條弧兩端的兩條半徑所圍成的圖形叫扇形，那麼扇面是不是就是一個扇形的面呢？其實並不是。\n現多指為書畫作品的一種形式，分為摺扇和團扇。",[23,890,28,27,29,75,7,51,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec7984a13c489e6e7b3ce49166670d47.jpg",[35,133],{"id":1501,"slug":1502,"title":44,"dynasty":18,"author":480,"museum":64,"description":1503,"tags":1504,"thumbUrl":1505,"material":368,"size":1506,"collection":116,"collections":1507,"showCount":1508,"zanCount":11,"manualWeight":39,"mainColor":40},232976,"hua-niao-ce-lang-shi-ning-232976","此图册分别描绘了牡丹、兰花、罂粟、萱草、荷花、梅花等艳丽多姿的花卉和体态生动的蝶、鸟。构图上取法中国传统花鸟画的格局，以虚托实，注重对所绘物象的突出。在表现技法上，则充分发挥了欧洲绘画注重明暗及透视的特点，以工致细腻的笔触，刻画出花瓣、叶片以及鸟雀的羽毛质感和体积感，呈现出与传统的中国花鸟画迥然不同的艺术风貌。这种“中西合璧”的画风成为清代宫廷绘画艺术的一大特色，受到了清皇室的青睐。",[24,25,26,97,27,170,807,99,29,7,145],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58118af921331845033ac41b6553a729.jpg","纵32.6厘米，横28.6厘米",[],122,{"id":1510,"slug":1511,"title":1512,"dynasty":388,"author":304,"museum":275,"description":1513,"tags":1514,"thumbUrl":1515,"material":116,"size":116,"collection":116,"collections":1516,"showCount":1517,"zanCount":552,"manualWeight":39,"mainColor":87},228216,"mu-dan-hua-hui-tu-zhou-yi-ming-228216","牡丹花卉图轴","以深沉绢地托举群芳，白牡丹莹洁似凝脂，红牡丹浓艳若燃霞，紫牡丹晕染出雅致柔韵。花姿或肆意盛放、或含苞颔首，俯仰之间各有姿态。叶片以细腻晕染分出阴阳向背，脉络清浅舒展，将草木柔润生机尽藏笔底。构图繁而不乱，错落排布尽显繁茂却不觉拥塞，将牡丹的雍容富贵融于清雅古拙的笔意之中，尽显花鸟写生的精湛功力，把国色天香的神韵晕染得恰到好处。",[23,96,24,25,291,97,27,75,7,1369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f44b549ecd7f5efb68ebd193de03a4a.jpg",[],121,{"id":1519,"slug":1520,"title":1521,"dynasty":92,"author":1294,"museum":275,"description":1522,"tags":1523,"thumbUrl":1525,"material":279,"size":280,"collection":116,"collections":1526,"showCount":1527,"zanCount":552,"manualWeight":39,"mainColor":87},287892,"xie-sheng-ling-mao-tu-zhao-ji-287892","写生翎毛图","宋徽宗赵佶（1082年11月2日-1135年6月4日）[6]，号宣和主人，宋朝第八位皇帝（1100年2月23日-1126年1月18日在位），书画家。宋神宗第十一子、宋哲宗之弟。先后被封为遂宁王、端王。哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”，并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[23,96,24,69,27,97,29,252,99,1524,7,51,562],"荔枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F991c70342fcdd1f954ce69e99322aad5.jpg",[],120,{"id":1529,"slug":1530,"title":1531,"dynasty":1042,"author":1043,"museum":275,"description":1044,"tags":1532,"thumbUrl":1538,"material":279,"size":280,"collection":1055,"collections":1539,"showCount":1527,"zanCount":228,"manualWeight":39,"mainColor":40},225729,"chestnut-tree-in-blossom1890-fan-gao-225729","Chestnut tree in blossom1890",[1046,1391,1049,1052,1417,1533,1534,1535,686,1536,1415,1537,1355,7,308],"设色丰富","栗树花","栗树叶","蓝天","开花植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7e806daa16d15288c635016ec4e55cd.jpg",[1055],{"id":1541,"slug":1542,"title":1543,"dynasty":45,"author":304,"museum":1544,"description":1545,"tags":1546,"thumbUrl":1549,"material":577,"size":1550,"collection":116,"collections":1551,"showCount":1527,"zanCount":202,"manualWeight":39,"mainColor":87},223381,"qian-qiu-jue-yan-tu-yi-ming-223381","千秋绝艳图","中国国家博物馆","此卷在六米多长的画面上，绘写了近七十位古代仕女形象，画中女子采用工笔重彩，多用铁线描钩勒衣纹。服饰敷彩妍丽鲜明。每个人物都手持或配有最能代表和体现她们身份的配物，并在右上方，各题有七言绝句一首。",[23,24,25,69,97,27,248,249,926,1547,597,366,863,7,1548],"笔墨纸砚","珊瑚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ca25007acf93fb2441506aa6e02095e.jpg","29.5x667.5厘米",[],{"id":1553,"slug":1554,"title":1555,"dynasty":45,"author":682,"museum":141,"description":1556,"tags":1557,"thumbUrl":1558,"material":102,"size":1559,"collection":35,"collections":1560,"showCount":1561,"zanCount":552,"manualWeight":39,"mainColor":87},218920,"fu-rong-shuang-yan-tu-lv-ji-218920","芙蓉双雁图","吕纪，花鸟初师边景昭，又学林良，并广泛师法唐宋诸家，所作有工笔重彩和水墨写意两种画法，前者描绘精工，色彩富丽，法度谨严；后者粗笔挥洒，随意点染，简练奔放，富有气势和动感。其山水宗法马远、夏圭，以大斧劈皴画山石，苍劲有力。人物亦法南宋院体，衣纹线条简练顿挫。初学边景昭工笔法，亦受林良水墨法影响，后临仿唐宋诸家名迹，遂自成一体，独步当代。其花鸟画风呈两种面貌，一作工笔重彩，精工富丽，多绘凤鹤、孔雀、鸳鸯之类，辅以树木坡石、滩渚流泉背景，既具法度，又富生气。另一类为水墨写意画，粗笔挥洒，简练奔放，接近林良的风格。他亦兼善人物、山水，宗法南宋马远、夏圭画法。他的花鸟画风在当时宫廷内外影响甚大，继承者不乏其人。",[23,24,96,97,27,29,76,620,308,52,114,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac8fb431edd8bf3e6cbb2221cc53cd04.jpg","114x52cm",[35],119,{"id":1563,"slug":1564,"title":1565,"dynasty":45,"author":1566,"museum":64,"description":1567,"tags":1568,"thumbUrl":1569,"material":27,"size":1570,"collection":35,"collections":1571,"showCount":1561,"zanCount":552,"manualWeight":39,"mainColor":40},216097,"qiang-wei-shan-mian-lu-zhi-216097","蔷薇扇面","陆治","陆治（1496—1576年），字叔平，吴县（今属江苏苏州）人。因居太湖之包山，号包山子，后隐居支硎山中。文徵明弟子，诗、文、书、画都有相当造诣，擅长画山水、花鸟，为“吴门画派”后期重要画家。花鸟画兼工能写，风格清秀。山水画笔墨劲峭，深受宋元人和文徵明影响而又创立了自己的风格。",[23,890,24,27,29,7,838,51,31,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b8d7a219ff7f6c557ee6210e2bc55f4.jpg","15.9x49cm",[35],{"id":1573,"slug":1574,"title":1575,"dynasty":45,"author":140,"museum":64,"description":1576,"tags":1577,"thumbUrl":1578,"material":1579,"size":1580,"collection":259,"collections":1581,"showCount":1582,"zanCount":228,"manualWeight":39,"mainColor":87},237386,"shi-nv-zhou-chen-hong-shou-237386","仕女轴","陈洪绶(1597—1652年)，字章侯，号老莲、悔迟，诸暨（今属浙江省）人。明代画家。早年受业于著名学者刘宗周、黄道周门下，1642年曾到北京为国子监生，授中书舍人，供奉内廷，不久即离京南归。明朝灭亡后，为躲避清兵，一度在绍兴云门寺出家为僧，自号悔迟，亦号老迟。后在杭州以卖画为生。工诗，擅画，山水、人物、花鸟无一不精。其画初受蓝瑛影响，后广泛临学古人，并大胆突破创新，所作人物、花鸟形象古拙，擅用夸张变形手法，独树一帜，为晚明变形主义绘画大师。与崔子忠齐名于南北，世称“南陈北崔”。其画风对后世有巨大影响。著《宝纶堂集》。",[24,25,291,27,97,248,249,1048,7,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F113668156e4a80c8b3cb0d089b3479d4.jpg","绢本 ，设色","纵173.5cm，横95.3cm",[259],117,{"id":1584,"slug":1585,"title":1586,"dynasty":18,"author":19,"museum":20,"description":1587,"tags":1588,"thumbUrl":1589,"material":102,"size":1590,"collection":116,"collections":1591,"showCount":1582,"zanCount":228,"manualWeight":39,"mainColor":40},219815,"hua-hui-shi-kai-8-yun-shou-ping-219815","花卉十开-8","此作以没骨法绘鸢尾，淡紫花瓣晕染柔润细腻，深浅紫韵自然晕开，将含露轻绽的娇柔情态尽致铺陈。叶片以汁绿分染，浅赭醒出叶筋，苍润舒展，与柔花形成刚柔互衬的清和意趣。\n\n左侧题书与花绘相映，诗画交融，逸韵悠然。全作弃墨线勾勒，以色造型，明洁秀润尽显清逸冶丽之风，将花草天趣与文人情思相融，淡冶之中自有静雅高致，是没骨花鸟的精妙佳构。",[96,24,25,26,28,27,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff281040b68aa6c58226f8690b30d0dcf.jpg","20.4×29.2厘米",[],{"id":1593,"slug":1594,"title":1595,"dynasty":347,"author":1596,"museum":275,"description":1597,"tags":1598,"thumbUrl":1600,"material":279,"size":280,"collection":116,"collections":1601,"showCount":1602,"zanCount":11,"manualWeight":39,"mainColor":87},290143,"yao-miao-san-tu-tu-huang-ju-cai-290143","药苗三兔图","黄居寀","黄居寀[cǎi]（933年—993年后），字伯鸾，成都（今属四川）人，五代十国名画家黄筌第三子。善画花竹、翎毛，为西蜀翰林待诏。蜀亡入宋，得宋太宗礼遇，黄家画法遂成宋初画院评画的标准。精于勾勒，用笔劲挺工稳，填彩浓厚华丽，其园竹翎毛形象逼真，妙得自然；怪石山水超过乃父，与父同仕后蜀，为翰林待诏，入宋仍任翰林待诏。尝合作殿廷墙壁，宫闱屏幛，不可胜记。",[24,96,69,97,27,29,1599,252,7,31,53],"兔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb438f57aef3d2f318cc466e59d223e48.jpg",[],116,{"id":1604,"slug":1605,"title":1606,"dynasty":18,"author":19,"museum":20,"description":1607,"tags":1608,"thumbUrl":1609,"material":102,"size":1590,"collection":116,"collections":1610,"showCount":1611,"zanCount":552,"manualWeight":39,"mainColor":40},219820,"hua-hui-shi-kai-3-yun-shou-ping-219820","花卉十开-3","以没骨技法晕染桃花，枝桠清疏舒展，粉瓣柔妍动人。花色由深粉晕向柔白，过渡柔和自然，将桃花初绽的缱绻柔态尽显，仿佛携带着春日融融暖意。嫩绿叶芽点缀枝间，与粉花相映，愈衬花色明丽清新，未用轮廓勾勒却形神兼备。\n\n左侧题诗与右侧钤印呼应，诗画交融，将桃花不拟梅之傲雪、自有柔香引蝶的雅致品格点明，文人意趣跃然纸上。整幅画作清润秀雅，尽显淡逸之风，将春日桃花的娇柔定格，雅致脱俗，尽显没骨花鸟的动人韵味。",[24,96,25,26,28,27,29,7,52,114,31,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff19bf3a15b42d07ec373376a6522b8c.jpg",[],114,{"id":1613,"slug":1614,"title":1615,"dynasty":45,"author":792,"museum":275,"description":983,"tags":1616,"thumbUrl":1617,"material":279,"size":280,"collection":116,"collections":1618,"showCount":5,"zanCount":552,"manualWeight":39,"mainColor":40},287867,"qun-ying-tu-xiu-tu-juan-quan-juan-zhou-zhi-mian-287867","群英吐秀图卷全卷",[23,96,24,69,27,97,29,71,74,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9376170452f4611e36c408f82f4d059d.jpg",[],{"id":1620,"slug":1621,"title":1622,"dynasty":18,"author":1623,"museum":275,"description":1624,"tags":1625,"thumbUrl":1628,"material":368,"size":1629,"collection":35,"collections":1630,"showCount":5,"zanCount":39,"manualWeight":39,"mainColor":40},234983,"hua-hui-ling-mao-ping-ren-yi-234983","花卉翎毛屏","任颐","任颐(1839-1896)，初名润，字伯年，一字次远，号小楼(亦作晓楼)，萧山城厢镇人。其父善画肖像，任颐自幼随之习画。人物、山水、花卉、翎毛等均有扎实功底，尤以人物画见长，他在十余岁时即能勾勒出来访者容貌，使人见其画如见其人。\n咸丰十一年(1861)，太平军占领杭州、绍兴，任颐即投笔从戎，参加太平军，掌军旗，为前驱。同治二年(1863)，太平军撤离浙江，任留居家乡；次年，移居宁波，得到任熊、任薰悉心指导。同治七年(1868)春，随任薰去苏州，是年冬，转至上海定居。从此，任颐步入新兴的上海画派之列。\n任颐画路宽拓，所画人物具有独特的风韵，更以描写风俗人情、民间传说和神话故事中人物见长，如《女娲》、《钟 馗》、《八仙》、《群仙祝寿》等作品，将艺术与现实巧妙地容贯于画面。其人物肖像画既有深厚的传统基础，又注重写生，每次外出，备有速写本，随时勾录。寓居上海后，以卖画为生，创作甚富。《钟馗》、《关河一望萧索》、《苏武牧羊》、《野塘雨后》和《三友图》等为其代表作。且其参用画意的书法亦奇惊不凡，光绪二十二年(1896)逝世。\n任伯年因是浙江山阴人，故画面署款多写山阴任颐。儿时随父学画，十四岁到上海，在扇庄当学徒，后以卖画为生。所画题材，极为广泛，人物、花鸟、山水、走兽无不精妙。他的画用笔用墨，丰富多变，构图新巧，创造了一种清新流畅的独特风格，在正统派外别树一帜。\n任颐是近代杰出画家。字伯年，号小楼，浙江山阴人，因此他的画署款多写山阴任颐。任伯年的绘画题材广泛，人物、肖像、山水、花卉、禽鸟无不擅长。用笔用墨，丰富多变，构图新巧，主题突出，疏中有密，虚实相间，浓淡相生，富有诗情画意，清新流畅是他的独特风格。任伯年的主要成就是在于人物画和花鸟画方面，往往寥寥数笔，便能把人物整个神态表现出来，着墨不多而意境深远。其线条简练沉着，有力潇洒。他常画钟馗，他笔下的钟馗心胸磊落、不怕鬼，不信邪。他的花鸟画，总是把花与鸟连在一起，禽鸟显得很突出，花卉有时只作背景，整个画面充满了诗的意境。",[24,27,29,291,97,562,7,1626,1627],"棕榈","枝蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd890e2f692a2d99201f17f205a6278b8.jpg","149 x 61 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1887",[1046,1353,7,1917,1918,1919,1920,1921,1922,1923],"铁线莲","白色花朵","绿色叶片","笔触松散","色彩交融","光影表现","自然植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17ab458058d8e55b0be238489857835f.jpg",[1055],98,{"id":1928,"slug":1929,"title":1930,"dynasty":92,"author":1931,"museum":207,"description":1932,"tags":1933,"thumbUrl":1935,"material":379,"size":1936,"collection":35,"collections":1937,"showCount":1926,"zanCount":39,"manualWeight":39,"mainColor":40},221222,"sui-chao-tu-zhou-dong-xiang-221222","岁朝图轴","董祥","“岁朝”，是指阴历的正月初一，也就是我们通常谓之“年初一”——“春节”。在这一岁之始，人们为了祈求新的一年平安吉祥，往往喜欢在厅堂挂一些“岁朝图”，图上画的象征平安祥瑞的花卉器物，在这寒冽萧瑟的严冬，给家宅带来明媚温煦的春意。这民间的风俗，始于唐代，起先不过是一些仕绅、文人在大年初一将金石、书画、古董等雅玩之物精心摆设于临窗的案几上，渐渐地也有将这些物品勾染成画挂壁，意在祈福纳祥。至宋代，这民俗流行宫廷内外，宋徽宗每逢春节将临，乃命其图画院的画师们描画冬季不能见到的花卉禽鸟，陈列宫中，以增添岁朝的喜庆气氛。此后，岁朝图的内容逐渐扩展，经明、清而至近现代，大至文房器物，小至灯笼、鞭炮、果蔬等日常生活用品，都成为图上的吉祥物，日益成为一种雅俗共赏、意蕴丰厚，融诗、书、画、印于一体的画种。",[23,24,25,291,49,97,53,31,70,1934,7,224,536,417,587],"瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa23bfa3f92c3fbaf6e40503c0241d83.jpg","115.2x44.3公分",[35,133],{"id":1939,"slug":1940,"title":185,"dynasty":45,"author":440,"museum":20,"description":1833,"tags":1941,"thumbUrl":1942,"material":82,"size":1836,"collection":116,"collections":1943,"showCount":1944,"zanCount":39,"manualWeight":39,"mainColor":40},214642,"hua-hui-ce-4-chen-chun-214642",[96,24,49,67,26,29,7,51,485],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd4c6f394b5716476a6daa9123972186.jpg",[],97,{"id":1946,"slug":1947,"title":1948,"dynasty":45,"author":1949,"museum":275,"description":1950,"tags":1951,"thumbUrl":1954,"material":279,"size":280,"collection":116,"collections":1955,"showCount":1956,"zanCount":11,"manualWeight":39,"mainColor":87},288002,"tang-yuan-xi-chun-tu-juan-zhu-zhan-ji-288002","唐苑嬉春图卷","朱瞻基","画面上画了五只猫，其动作神情都不一样。颜色趋于白花的猫。这种动物类的绘画里，无非就是两种要注意的。\n其一是造型。照猫画虎也行，照虎画猫也行，一定要把它的型抓住，神另说。这五只猫，每一只猫的形态还是很生动的。这只叼着鸟的猫，其回身的动作和眼神，都是一致的。",[23,24,96,69,97,27,351,72,7,1952,1953],"走兽","嬉春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e0eac807c246b76d65c027745f5ba9a.jpg",[],96,{"id":1958,"slug":1959,"title":772,"dynasty":18,"author":1960,"museum":275,"description":1961,"tags":1962,"thumbUrl":1963,"material":279,"size":280,"collection":35,"collections":1964,"showCount":1956,"zanCount":39,"manualWeight":39,"mainColor":40},235595,"hua-hui-ce-wang-wu-235595","王武","王武，1632年生，1690年逝世，吴县（今江苏苏州）人。字勤中，晚号忘庵，又号雪颠道人。明代画家王鏊六世孙，精鉴赏，富收藏，擅画花鸟，风格工整秀丽，正如王时敏所云：“神韵生动，应在妙品中。”为清初院画的名家。亦擅诗文。传世作品有《水仙柏石图》、《红杏白鸽图》、《鸳鸯白鹭图》等。",[96,24,25,26,27,97,29,251,7,51,53,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53dfb5af791c81f1b8b2110f11c0c905.jpg",[35,133],{"id":1966,"slug":1967,"title":1968,"dynasty":18,"author":834,"museum":275,"description":1969,"tags":1970,"thumbUrl":1971,"material":116,"size":116,"collection":116,"collections":1972,"showCount":1973,"zanCount":11,"manualWeight":39,"mainColor":40},230248,"he-hua-hong-liao-dong-gao-230248","荷花红蓼","此作对开铺陈，群芳错落生姿，粉山茶娇妍柔婉，朱月季明艳鲜活，黄萱草清雅舒展，枝叶穿插顾盼，尽显春日花木蓬勃生机。\n\n设色明丽柔和，晕染细腻匀净，将草木天然神韵勾勒得鲜活动人。左侧题诗与画境呼应，诗书画印相融相合，晕开文人雅趣。笔触秀逸兼具工致，既恪守写生法度，又暗合闲淡悠然的审美意趣，将春日群芳的柔媚丰姿凝于素笺，尽展传统花鸟雅致隽秀的笔墨情致。",[24,25,26,27,97,29,7,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5eb0cc576e00222d934108ce911daf05.jpg",[],95,{"id":1975,"slug":1976,"title":1977,"dynasty":45,"author":440,"museum":207,"description":1978,"tags":1979,"thumbUrl":1984,"material":130,"size":1985,"collection":35,"collections":1986,"showCount":1973,"zanCount":39,"manualWeight":39,"mainColor":40},222555,"qiu-tang-hua-ya-zhou-chen-chun-222555","秋塘花鸭轴","陈淳，1483年生，1544年逝世（另一种说法是1482—1539），长洲（今江苏苏州）人。字道复，后以字行，更字复甫，号白阳，又号白阳山人。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。在绘画史上，陈淳与徐渭并称为“白阳、青藤”， 陈淳的绘画当属文人隽雅一路的，即“白阳”一派画家。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。\n陈淳中年以后间作山水，技法学米友仁、高克恭，多以江南风景为题材，手法简练，极具文人生活情趣，文徵明曾微笑着说：“吾道复举业师耳，渠书、画自有门径，非吾徒也。”存世作品有《红梨诗画图》《山茶水仙图》《葵石图》《罨画图》等。其子陈括继承父风、擅花卉。\n陈淳绘山水，效法米友仁、高克恭，水墨淋漓，颇得氤氲之气。他的泼墨之功，往往见于画烟云之中。在写意花卉方面，陈淳独得玄门，笔法挥洒自如，富有疏朗轻健的风姿，用墨设色，则如徐沁所谓“浅色淡墨之痕俱化矣！”王世贞在《州续稿》中说：“胜国（元朝）以来，写花卉者无如吾吴郡，而吴郡自沈启南（周）后，无如陈道确，陆叔平（治）”。近代画家如蒲华、吴昌硕、齐白石等，在诗文题书画中，都对陈淳做出了极高的评价。明万历年间即有人曾评价过陈淳在花卉方面的造诣和声誉都超过了文征明，成为继沈周之后的吴门大家。明清以来画家，尤其在花鸟画方面，受他的影响很深。他与徐渭齐名，人称“青藤白阳”。现存的陈淳作品大部分均在博物馆收藏，民间甚少得见。",[23,24,291,49,27,67,29,170,705,1741,1800,621,144,1980,307,7,308,1981,456,1019,1982,1983],"秋景","淡彩","水墨设色","明代绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57ed2c1673a772976ff5fcf779defb76.jpg","90.8x36.2厘米",[35,133],{"id":1988,"slug":1989,"title":1990,"dynasty":92,"author":1991,"museum":275,"description":1992,"tags":1993,"thumbUrl":1995,"material":116,"size":116,"collection":116,"collections":1996,"showCount":1997,"zanCount":11,"manualWeight":39,"mainColor":40},227753,"ju-cong-fei-die-tu-ye-zhu-shao-zong-227753","菊丛飞蝶图页","朱绍宗","《菊丛飞蝶图》页，宋，朱绍宗绘，纨扇页，绢本，设色，纵23.7厘米，横24.4厘米。\n本幅款识：“朱”。钤鉴藏印2方，印文模糊，唯可辨一“璘”字。裱边题签：“朱绍宗菊丛飞蝶”。\n图绘丛菊盛开。花分黄、白、蓝、紫四色，构图繁复，灿若文锦。虽是篱边野景，却饶富贵典雅气象。蜜蜂逐花而至，蛱蝶上下翻飞，为画面增添了动感。花瓣、叶片的勾染皆极为精工，花心用白粉点染，立体感很强，望似凸出于绢素之上。画史称作者“描染精邃，远过流辈”，信是不虚。\n对幅有清乾隆御题诗：“趋炎殊众卉，放英独于秋。舞去风全香，承来露半流。绘者具神解，渊明晤庄周。”钤“八征耄念之宝”朱文印、“自强不息”白文印。\n存《四朝选藻》册中。《石渠宝笈续编》著录。",[23,24,25,1092,97,27,29,1717,99,7,70,53,1994,96],"宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faee499b5bb1bb99a6d174c1ae3c18abf.jpg",[],94,{"id":1999,"slug":2000,"title":2001,"dynasty":92,"author":2002,"museum":275,"description":2003,"tags":2004,"thumbUrl":2005,"material":406,"size":2006,"collection":312,"collections":2007,"showCount":1997,"zanCount":39,"manualWeight":39,"mainColor":87},221442,"xie-sheng-cao-chong-tu-juan-cui-bai-221442","写生草虫图卷","崔白","崔白，字子西，北宋濠梁人，杰出的花鸟画家。北宋中期翰林图画院画家，擅长画花鸟，所做动物在写生基础上概括，形象生动活泼。他不仅擅画花竹翎毛、败荷凫雁，而且画佛道鬼神、山水、人物亦精妙绝伦，尤长于写生，所画鹅、蝉、雀堪称三绝。他一改百余年画风，成为北宋画坛革新主将，数百年来颇受画坛尊祟。\n崔白的一生中大部分时间只是个民间画工，生活颠沛流离，后来有很多人都为他的不得赏识打抱不平。像米芾在他的《画史》中说，在嘉年间（1056—1063年），公卿贵族们的收藏竞相一味求古，多是阎立本、韩滉一类画家的赝品，而对于像崔白这么优秀的当代画家的画作，他们却熟视无睹。",[23,24,25,69,97,27,699,98,99,308,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff80e1171b5cd251561cf91850b031251.jpg","26×150",[312,35,133],{"id":2009,"slug":2010,"title":2011,"dynasty":45,"author":440,"museum":20,"description":1833,"tags":2012,"thumbUrl":2013,"material":82,"size":1836,"collection":116,"collections":2014,"showCount":1997,"zanCount":39,"manualWeight":39,"mainColor":40},214620,"hua-hui-ce-21-chen-chun-214620","花卉册-21",[24,49,67,26,25,74,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F610ad50195f120bc2cf0a96d0f254470.jpg",[],{"id":2016,"slug":2017,"title":2018,"dynasty":18,"author":834,"museum":275,"description":2019,"tags":2020,"thumbUrl":2021,"material":116,"size":116,"collection":35,"collections":2022,"showCount":2023,"zanCount":39,"manualWeight":39,"mainColor":40},238366,"dong-gao-yan-chun-hui-cai-tu-ce-dong-gao-238366","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”。",[24,25,26,97,27,29,7,114,1717],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e56e69a03dcde8ab9a366f27b7c94c8.jpg",[35,133],93,{"id":2025,"slug":2026,"title":2027,"dynasty":92,"author":2028,"museum":275,"description":2029,"tags":2030,"thumbUrl":2031,"material":116,"size":116,"collection":116,"collections":2032,"showCount":2033,"zanCount":39,"manualWeight":39,"mainColor":87},227735,"xia-hui-pian-fang-tu-ye-lu-zong-gui-227735","夏卉骈芳图页","鲁宗贵","《鹅图》是南宋鲁宗贵创作的绢本设色画。\n《鹅图》描绘一只母鹅，背上驼着两只雏鹅在水中游戏，其中一只雏鹅曲颈望着水面，另一只则似乎和母鹅述说着什么，母鹅扭转过头来爱抚地倾听，表现出母鹅和雏鹅之间有似慈母和娇子之间的母子亲情。\n图中绘有大白鹅一只，背负两只雏鹅在水面上浮游，其中一只雏鹅在母鹅右侧颈后，低头引颈望水中，另一只雏鹅在母鹅左侧，抬头向天呜叫，鹅妈妈欣喜扭转过头来，似作侧耳细细倾听小仔的歌声。\n画面颇为情趣，给人以一种温馨善良的感觉。\n作者在构图上颇有新意，无任何背景作陪衬，河水以浅墨一抹而过，起到衬托作用，突出其主题。\n作者捕捉到这种母鹅背负雏鹅的情节，在一般画鹅的作品中不乏多见。\n在布局上取近景，以特写的镜头，将主体突出在画面的居中位置，为了说明母鹅带着雏鹅在水中游戏，一是鹅身前方的匦面留空多；二是母鹅的腿向后伸，虽没有画出水波纹，但这二点足以看出运动的鹅体具有向前浮游的动感。\n另外，采取色差变化来塑造母鹅与仔鹅的形体，以周围的浅灰色烘托出母鹅的洁白，又以墨笔勾勒及黑色晕染出母鹅背上栖卧的两只雏鹅。\n一般来说雏鹅的毛羽是鹅黄色的，但作者采用了与实体自然色相差甚远的黑色，这也是作者的又一新意。\n全图以染为主，仅在嘴、脚及羽毛部略以淡线勾勒，其羽毛形态隐约见真。\n整个图的艺术语言凝重简练，形态栩栩如生，画意情趣生动，意味绵绵。\n鲁宗贵，生卒年未详。\n南宋画家。\n室名筠斋，钱塘(今浙江杭州)人。\n理宗绍定时(1228一12)为画院待诏，出人杨驸马家。\n工花竹、禽鸟、窠石，用笔意趣有余，描染佳妙。\n尤长于写生，鸡雏乳鸭，甚有生意。\n画迹有《金葵翠羽》、《竹枝山鹧》、《梨花白燕》等图，著录于《绘事备考》。\n传世作品有《春韶鸣喜图》、《夏卉骈芳图》册页。",[96,24,25,26,890,97,27,29,7,169,76,114,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F271a4d7d9c178ff1ca01282a323a7b3e.jpg",[],92,{"id":2035,"slug":2036,"title":2037,"dynasty":18,"author":2038,"museum":207,"description":2039,"tags":2040,"thumbUrl":2041,"material":102,"size":2042,"collection":35,"collections":2043,"showCount":2033,"zanCount":228,"manualWeight":39,"mainColor":40},219455,"tian-zhong-jia-hui-chen-shu-219455","天中佳卉","陈舒","山石层叠，青绿晕染间见苍劲肌理，墨线勾勒出嶙峋之态；旁侧花枝扶疏，红英灼灼若焰，粉瓣轻舒似云，橙黄花朵衬着修长叶片，清雅动人。笔墨兼工带写，设色明丽却不失蕴藉，将草木的生机与石的沉稳相融，尽显初夏时节的盎然意趣。仿佛微风拂过，花香浮动，叶片轻颤，于静谧中藏着灵动，是一幅雅致动人的案头清供佳制，尽显文人画的秀逸之韵。",[24,27,97,49,29,291,251,7,51,293,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F541bb4ac861feedf8baad632d78276d4.jpg","115.8x46.1",[35],{"id":2045,"slug":2046,"title":2047,"dynasty":45,"author":63,"museum":64,"description":2048,"tags":2049,"thumbUrl":2050,"material":128,"size":2051,"collection":116,"collections":2052,"showCount":2053,"zanCount":11,"manualWeight":39,"mainColor":40},233727,"mo-hua-juan-xu-wei-233727","墨花卷","本幅水墨花卉十六段，其顺序是：牡丹、梅花、竹石、玉簪、绣球、萱草、荷花、石榴、芙蓉、秋海棠、菊花、秋葵、双勾竹、水仙、茶花、梅花每段自题七绝一首。末端自题诗。款：“万历五年重九为从子十郎君戏作于木瓜桥之花园馆，金晶山人”印“文长”“两溟渔鸣”白方。引首自书“识得东风”后幅吴俊卿题记。",[24,25,69,49,67,31,70,53,71,79,72,80,74,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3841d2a97c07af3531a1bd134c1503b.jpg","纵30cm横54.7cm",[],91,{"id":2055,"slug":2056,"title":2057,"dynasty":18,"author":2058,"museum":64,"description":2059,"tags":2060,"thumbUrl":2062,"material":102,"size":2063,"collection":35,"collections":2064,"showCount":2053,"zanCount":11,"manualWeight":39,"mainColor":40},219221,"duan-yang-jing-tu-yu-zhi-219221","端阳景图","余穉","本图借助对动植物的描绘来体现端阳时节大地回暖的场景。在日丽水暖的郊外，牡丹花、野菊花等植物竞相绽放，青蛙、蟾蜍和蜻蜓等植物在春光中跳跃、飞翔，一派生机盎然的欢悦景象。此图是作者任职宫廷之后所作，线条工细、匀整、流畅，设色淡雅富丽并充满装饰性。动植物造型精确且充满生趣，显示出作者较强的写实手法。",[23,24,97,27,29,7,392,2061,574,862,145,308],"青蛙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee229c4c1e5619fb234c345e8e4f6d14.jpg","纵137.3厘米，横68.8厘米",[35],{"id":2066,"slug":2067,"title":2068,"dynasty":18,"author":304,"museum":275,"description":2069,"tags":2070,"thumbUrl":2078,"material":279,"size":280,"collection":259,"collections":2079,"showCount":2080,"zanCount":11,"manualWeight":39,"mainColor":40},234453,"bu-kong-juan-suo-guan-shi-yin-pu-sa-tang-ka-yi-ming-234453","不空羂索观世音菩萨唐卡","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。",[2071,2072,2073,27,2074,2075,2076,2077,7],"唐卡","佛教","宗教绘画","铺金描银","人物画","不空羂索观世音菩萨","神兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33646f9b1c0dd82929dab59dbb9202dd.jpg",[259],89,{"id":2082,"slug":2083,"title":2084,"dynasty":18,"author":480,"museum":207,"description":1817,"tags":2085,"thumbUrl":2086,"material":27,"size":1820,"collection":116,"collections":2087,"showCount":2080,"zanCount":228,"manualWeight":39,"mainColor":40},222747,"xian-e-chang-chun-tu-05a-lang-shi-ning-222747","仙萼长春图-05a",[23,24,97,27,29,7,1645,1369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feed7da96ce0c7b5d28a9d61f8f6ce6aa.jpg",[],{"id":2089,"slug":2090,"title":2091,"dynasty":92,"author":2092,"museum":1115,"description":2093,"tags":2094,"thumbUrl":2095,"material":102,"size":2096,"collection"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《双喜图》中，描绘树干所使用的灵活悠游又不失法度的水墨工写结合技法。",[23,24,25,97,27,29,2189,1184,252,336,7],"枇杷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f51404c96f2c60be675e39c78ae54fd.jpg","183.1x109.8",[312],85,{"id":2195,"slug":2196,"title":2197,"dynasty":18,"author":496,"museum":275,"description":2198,"tags":2199,"thumbUrl":2200,"material":116,"size":116,"collection":116,"collections":2201,"showCount":2193,"zanCount":11,"manualWeight":39,"mainColor":40},224378,"hua-hui-qi-shi-ce-shi-er-kai-8-ju-lian-224378","花卉奇石册-十二开-8","此作用笔秀润工致，湖石嶙峋朴拙，留白孔洞衬出通透雅姿，旁侧幽竹叶叶分明，清隽舒展。石畔野花柔婉娇妍，细草萦地，将小景衬得生机悠然。\n\n附石螳螂昂首凝神，振翅小虫翩跹于空，草虫刻画毫厘毕现，将灵动野趣藏于静雅景致中。设色轻浅柔和，晕染细腻自然，工笔精致却不板滞，将幽寂庭隅的清趣鲜活定格，于尺幅绢素间，糅合草木的静雅与草虫的生机，尽显闲淡悠然的逸致，勾勒出夏日庭间的鲜活幽谧。",[23,24,25,26,27,97,29,72,336,7,145,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa288770c4e7a26717f5dbb64eb7856ee.jpg",[],{"id":2203,"slug":2204,"title":2205,"dynasty":45,"author":440,"museum":659,"description":660,"tags":2206,"thumbUrl":2207,"material":130,"size":664,"collection":116,"collections":2208,"showCount":2193,"zanCount":39,"manualWeight":39,"mainColor":40},222568,"hua-hui-tu-7-chen-chun-222568","花卉图7",[23,96,24,25,144,67,49,27,29,7,51,52,309,1019],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42c3b1556563313a1660bdbd2d2b3b30.jpg",[],{"id":2210,"slug":2211,"title":2212,"dynasty":45,"author":304,"museum":2213,"description":2214,"tags":2215,"thumbUrl":2220,"material":2221,"size":116,"collection":133,"collections":2222,"showCount":2223,"zanCount":11,"manualWeight":39,"mainColor":870},220336,"kong-que-ming-wang-yi-ming-220336","孔雀明王","日本东京国立博物馆","主尊身色莹白慈悲，六臂分持莲华、鲜果、摩尼宝珠与孔雀翎，怀捧宝瓶，璎珞衣饰以金彩勾勒，尽显华贵庄严。乘骑孔雀羽翼丰美晕染细腻，翎羽层次分明，神姿昂然。背景以深褐为底，孔雀开屏式圆光环伺主尊，眼纹环饰精巧神秘。整体设色沉厚古雅，工笔细密入微，衣袂织物的柔润光泽与造像的神圣感融为一体，在静谧肃穆的氛围里，传递出密宗造像护国息灾的神圣力量，是极具代表性的佛绘精品。",[23,24,97,27,291,1032,248,1184,50,2216,2217,2218,1844,2219,623,7],"莲花","多臂人物","重彩","佛教题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe61e91b9aaf3f5abd9e79c97669b37e.jpg","设色,绢本",[133],84,{"id":2225,"slug":2226,"title":2227,"dynasty":45,"author":2228,"museum":125,"description":2229,"tags":2230,"thumbUrl":2231,"material":102,"size":2232,"collection":35,"collections":2233,"showCount":2223,"zanCount":39,"manualWeight":39,"mainColor":87},219312,"hua-die-tu-lv-jing-fu-219312","花蝶图","吕敬甫","棕褐底色如古笺轻展，鲜妍花卉自其间漾开生机。粉白花瓣晕染淡红边缘，似沾晨露般娇嫩；翠叶柔茎交错，脉络清晰如织。彩蝶翩跹，或振翅掠花，或停瓣小憩；草虫隐于叶底，细足微蜷，灵动毕现。笔墨细腻见工致，设色淡雅含明艳，晕染自然天成。画面简而丰沛，动静相宜，将田园闲逸凝于尺幅。观之如沐清风，心随蝶影轻飏，仿佛能闻花叶簌簌、虫翅微振，尽得自然野趣与雅致情味。",[24,97,27,29,99,145,7,144,308,1908],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F487bfc2f1c455b3d2ec1c663f8992c9a.jpg","101.6x53cm",[35],{"id":2235,"slug":2236,"title":2237,"dynasty":347,"author":1596,"museum":275,"description":1597,"tags":2238,"thumbUrl":2239,"material":279,"size":280,"collection":116,"collections":2240,"showCount":2241,"zanCount":39,"manualWeight":39,"mainColor":87},290142,"hui-qin-tu-huang-ju-cai-290142","会禽图",[96,24,25,291,97,27,29,252,71,223,336,307,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5f43a7cf6d1c9220be37682f0c14340.jpg",[],83,{"id":2243,"slug":2244,"title":2245,"dynasty":92,"author":2246,"museum":275,"description":2247,"tags":2248,"thumbUrl":2249,"material":279,"size":280,"collection":116,"collections":2250,"showCount":2241,"zanCount":228,"manualWeight":39,"mainColor":87},288332,"hong-bai-fu-rong-tu-ye-yi-li-di-288332","红白芙蓉图页一","李迪","该图画红、白芙蓉各一幅，线描有黄筌画风的精神。该画的描写写实，用笔纤细且色彩层次微妙，因而富于情趣。善用余白的画面空间也显得自然而静谧。",[23,96,24,25,97,27,29,76,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd98b04c253b7294f848e933790d49cf.jpg",[],{"id":2252,"slug":2253,"title":2254,"dynasty":1042,"author":1350,"museum":275,"description":1351,"tags":2255,"thumbUrl":2260,"material":279,"size":280,"collection":1055,"collections":2261,"showCount":2241,"zanCount":39,"manualWeight":39,"mainColor":870},226132,"the-waterlilies-1904-mo-nai-226132","The 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。\n吴楷： 清嘉庆——咸丰时期著名画家。一名允楷，字辛生，别号骞林外史，室名云静庐，吴县(今江苏苏州)人。 [2] 工花卉兰石，兼善山水。 （详见《中国书画家印鉴款识》第444页。）",[24,25,26,27,97,29,7,174,53,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9ad03ae2e1d9e12b784846270fbb25e.jpg","设色纸本",[35],{"id":2419,"slug":2420,"title":2421,"dynasty":1042,"author":1043,"museum":275,"description":1044,"tags":2422,"thumbUrl":2433,"material":279,"size":280,"collection":1055,"collections":2434,"showCount":2399,"zanCount":11,"manualWeight":39,"mainColor":2435},225794,"portrait-of-joseph-roulin-1889-2-fan-gao-225794","Portrait of Joseph Roulin 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饶有苏汉臣一派“著色鲜润、体度如生”的意趣。惟配景花树，失之刻镂、少自然，加以湖石上附加的苔点，画法已近乎明人习气。此图表现出儿童游戏轻松诙谐的一面。以是，推断此幅原应有所本，当属明代仿宋的佳作。",[24,97,27,248,2585,2586,99,253,7,926,524],"婴戏","童趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72cbb027ec6f04ae9381a03904106a8b.jpg",[],71,{"id":2591,"slug":2592,"title":2593,"dynasty":45,"author":304,"museum":275,"description":2594,"tags":2595,"thumbUrl":2596,"material":279,"size":280,"collection":116,"collections":2597,"showCount":2589,"zanCount":39,"manualWeight":39,"mainColor":87},287391,"hu-die-hua-hui-ye-yi-ming-287391","蝴蝶花卉页","此作以沉雅地色衬景，坡岸之上一花挺生，柔茎舒展，叶片晕染出深浅层次，素色小花清雅柔婉。三蝶翩跹，色分浓淡，姿态各异，或逐花低回，或振翅缓翔，将郊野春时的悠然意趣凝于方寸。\n\n装裱织锦边框纹样精巧，与画面浑然相融。整作工致细腻，配色古静沉稳，不做繁丽铺陈，仅以清简技法勾勒闲逸生机，尽显小品雅致韵致，将虫花相伴的自然清趣娓娓铺展，恬淡动人，尽显古雅闲逸的东方意韵。",[23,24,25,29,27,97,7,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70b8a85c99b2cd00f3ec6e578572fb29.jpg",[],{"id":2599,"slug":2600,"title":2601,"dynasty":18,"author":304,"museum":275,"description":2602,"tags":2603,"thumbUrl":2605,"material":279,"size":280,"collection":116,"collections":2606,"showCount":2589,"zanCount":39,"manualWeight":39,"mainColor":40},263656,"ke-si-yu-zhi-shi-hua-hui-tu-ce-shi-liu-hua-yi-ming-263656","缂丝御制诗花卉图册-石榴花","缂（kè，同：刻）丝（英文：K’o-ssu 、Kesi 或 Chinese silk 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，不拘绳墨，意在青藤、白阳、竹憨之间。画梅以瘦硬见称，老干新枝 ，欹侧蟠曲。用间印有“梅花手段”，著名的题画梅诗有“不逢摧折不离奇”之句。还喜欢画狂风中的松竹。工书。能诗，后人辑有《梅花楼 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"角色扮演"，皇帝、嫔妃、公主和小王子都是演员。",[24,27,97,248,1118,254,7,417,1226,2924,2925,2534,353,392,2926,2927],"妇女","男性","灌木","地面植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab8a6a7974ea6f9fa050bef2d57c5eda.jpg",[],{"id":2931,"slug":2932,"title":2933,"dynasty":18,"author":2934,"museum":64,"description":2935,"tags":2936,"thumbUrl":2937,"material":128,"size":2938,"collection":116,"collections":2939,"showCount":2917,"zanCount":39,"manualWeight":39,"mainColor":40},234082,"yuan-ji-zhu-ju-xiu-shi-tu-zhou-shi-tao-234082","原济竹菊秀石图轴","石涛","此画集中体现了石涛所谓“化”、“略无纪律而纪律自在其中”的艺术特点。画面左下侧湖石挺拔而起，矗立至画幅左中部。湖石脚下画有数茎兰花，花朵吐出清幽的芳香，散发在湿润的空气中。山石腰部和顶端长了花草。湖石后面，耸立着两竿新竹，竹叶直伸展画面顶端，竹叶交迭穿插，有的仰俯，有的平展，有的下垂。湖石后面又一株菊花，依石与新竹穿插生长，花朵盛开，枝叶茂盛。\n此画构图紧凑，画面虽竖长条，上不留天，下不留地，在画的右侧下，有作者自题识。此画的竹、菊全以浓墨写出，仅以淡墨点几点苔点及花萼、花蕊。画成以后，即以淡墨水全幅遍染，仅仅留出菊花的花瓣的白底子，在灰色的背景下，显得格外清亮。在背景的淡墨水将干未干之际，用较深的墨作草书题款。由于对水分的掌握恰到好处。字迹与画的底色渗化融合，浑然一体。总之，此画中的菊、竹、湖石画得淋漓挥洒，纵横豪宕绝无霸悍之气，似乎信手拈来，一挥而就，且无一笔不合画理和法度，达到了天才和功力的完美统一，是一幅笔墨意境均出神入化的佳作。",[24,49,291,67,72,80,251,392,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89d6e081a28cf954997b56c68ef141d0.jpg","51.16*129.02厘米",[],{"id":2941,"slug":2942,"title":2943,"dynasty":1042,"author":1862,"museum":275,"description":1863,"tags":2944,"thumbUrl":2947,"material":279,"size":280,"collection":116,"collections":2948,"showCount":2917,"zanCount":39,"manualWeight":39,"mainColor":870},230654,"wu-liang-shou-fu-jing-tu-xiang-xi-zang-tang-ka-230654","无量寿佛净土像",[23,2071,1032,27,97,2218,248,250,1865,941,7,634,2945,2946],"宗教造像","建筑装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10df8168c8017de1f6c15027c9a30589.jpg",[],{"id":2950,"slug":2951,"title":2952,"dynasty":1042,"author":2953,"museum":275,"description":2954,"tags":2955,"thumbUrl":2965,"material":279,"size":280,"collection":116,"collections":2966,"showCount":2917,"zanCount":39,"manualWeight":39,"mainColor":870},225589,"zai-wen-shi-li-ai-de-hua-ma-nai-225589","在温室里","爱德华·马奈","爱德华·马奈（Édouard 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（约1131-1218），号清波，南宋画家，历孝宗、光宗、宁宗三朝，浙江省金华市汤溪镇宅口人。刘松年与刘龟年兄弟随父亲宦居钱塘清波门，以住地自号刘清波，因清波门又称南“暗门”，故外号宋“暗门刘”。\n刘松年工山水人物，山水皴法受李唐影响，画风笔精墨妙，变雄健为典雅，水墨青绿兼工，着色妍丽典雅，常画西湖，多写茂林修竹，山明水秀之西湖胜景，因题材多园林小景，人称“小景山水”。",[23,96,24,69,25,27,97,248,941,523,634,293,3011,73,903,7,3012,3013,3014,53],"古木","文人雅集","宴饮","赏景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc1182922653740754f1d2cf37a3c1d6.jpg",[],59,{"id":3019,"slug":3020,"title":3021,"dynasty":388,"author":715,"museum":275,"description":3022,"tags":3023,"thumbUrl":3027,"material":116,"size":116,"collection":116,"collections":3028,"showCount":3017,"zanCount":39,"manualWeight":39,"mainColor":87},228316,"jin-hui-dui-tu-qian-xuan-228316","锦灰堆图","起于元，盛于清末，俗称“打翻字纸篓”，以画残破的文物片段堆栈构成画面。\n郑达甫先生被公认为此领域的唯一能手 锦灰堆 最早起源于何时，现无准确文献记载，相传是元代与赵孟頫齐名的画家钱选，在一次醉酒后兴起，将当天散落在饭桌上的下酒菜吃剩残物，如蟹脚、蚌壳、莲房、鸡翎、鱼刺等、信手绘制成一幅横卷，并挥笔题款“锦灰堆”。\n这可能是“锦灰堆”最早的历史记载。\n“锦灰堆”致力于特色陶瓷礼品研制、开发与销售。\n旗下品牌有锦瓷，锦瓷窑，泥道等。\n锦瓷只要生产红瓷，青花瓷，天目釉，茶具，格致古典，服务当下，具有深厚传统情怀的锦灰堆机构，于借礼品进而使得当下国人在器用和精神层面上回归古典，回归宁静，从而让现代人从喧嚣浮躁的盲动中找到某种心灵的归宿，达到静养身心，调节自我的目的。\n再者，通过对古代生活器用的阐扬、恢复，在更宏大的视野中，我们希望能为整个民族的精神回归作出点滴贡献。\n在推进整个古典生活场景的复原中，锦灰堆首推华丽、时尚的红瓷系列，并从功夫茶的发源地潮汕地区切入，引入此间的红头船文化和航海文化，凸显火“红”的福字主题。\n重构中国人的雅致生活 锦，绮丽繁华，天下莫此为甚。\n中国风雅的源头《诗经》，有“终南何有？有条有梅。\n君子至止，锦衣狐裘。\n”锦衣狐裘，诸侯方可穿着。\n《仪礼·聘礼》复有“皆奉玉锦束请觌”之句。\n锦为何物？《说文解字》云：锦，襄邑织文。\n《毛诗正义》则说，锦者，杂采为文。\n锦于中国人，乃成美好事物的普遍象征，遂有锦绣、锦囊、锦瑟、锦带、锦江、锦文、锦鳞，凡物着一锦字，读之立刻口齿芬芳。\n至于家国河山，古人亦以锦名之，曰锦绣河山。\n事实上，只有中国人可以用一种逍遥俯瞰的之态，描述壮丽宏大的山水，正如元代以降的山水画所表达的，“收拾河山入画图”。\n灰，则表达了古典中国人对世俗和底层生活的关注和亲密，这一点，则全非近代以前泰西诸国等级森然的社会体制所能及。\n“满面尘灰烟火色”，白乐天对一个卖炭老翁的细致描绘，恰恰说明了这一点。\n古代士大夫就是在“锦”与“灰”两端中求得心灵的平衡，从而达到中庸和无为的至高境界。\n宋末吴兴人钱选，一代画师。\n其时也，蒙元入主中国，钱选尚气节，不事新朝，特立独行，与赵孟頫辈异。\n选流连诗酒，无酒不能作画，此其雅癖之一；曾作小横卷，所绘举凡螯钤、鸡翎、莲房等食余剥剩、无用当弃之物，名之曰“锦灰堆”，此其雅癖之二。\n锦灰堆遂成一特异之画种，又称“八段锦”。\n生活零碎之物而形诸笔墨锦笺，而独放异彩，或可称怪异之三。\n钱选之作，有堪称国宝者，后多收入清宫大内，为清帝御览之宝。\n凡经御览，都为卷册，名曰《石渠宝笈》。\n钱选作品被收入《石渠宝笈初编》。\n民初海上，锦灰之堆润格攀涨，山水人物花鸟，不得专宠矣。\n所绘之物，由食余吐物，扩而及之“一页旧书、半张残帖、公文、私札、废契、短简”。\n若以当代美学考量，锦灰堆作为一种绘画门类，具有一种潜在的解构主义，可谓当代艺术潮流的远古鼻祖。\n会此意者，定当一笑。\n京城王世襄先生，亦慕钱选之高格与戏作，以“锦灰堆”名其文集。\n世襄年过九旬，于经世致用之学而外，洞彻古玩器物，举凡明家具、鹰鹞、烹饪、古建筑、蟋蟀、鸽子、竹艺、漆器等等，均深有发现。\n黄苗子遂以“玩物成家”目之。\n玩物而不丧志，其渊源幽淼，直可追溯先秦。\n《考工记》行文古雅，而凡世间百工造物，靡不涉及。\n魏晋诸子，倡而导之，经东坡等宋代诸儒，至明清而成玩物洪流矣。\n唐陆鸿渐行迹编海内而著《茶经》，后人饮茶，便得宗旨；宋人朱肱于杭州开酒坊，自酿自卖，著《北山酒经》流传于世，酒于是而得经典。\n而花草树木果树陶瓷园艺文房，乃至闺阁妆奁，人间烟火，皆入明代士大夫法眼，各种著述层出不穷。\n文震亨著《长物志》，高濂著《遵生八笺》，张岱著《陶庵梦忆》，玲琅满目，胪列不尽。\n执着于充满人情的尘世生活，是中国人典型的文化心理。\n明代变乱之前，物质的繁荣导致士大夫和普通民众的生活，在最求细节方面面达到了极致。\n庭除屋宇、园林百卉、钿光钗影、杯来盏往，余怀之《板桥杂记》所录晚明民众生活，其细致处，真是呼之欲出。\n悠闲，华美，逸乐，侠游，乃中国古代生活物质层面之四维。\n“闲者，匪徒尸居肉食，无所事事之谓。\n”高濂解释闲是一种境界，“闲可以养性，可以悦心，可以怡生安寿”。\n时乎坐陈钟鼎，几列琴书，榻排松窗之下，图展兰室之中，帘栊香霭，栏槛花妍，虽咽水餐云，亦足以忘饥永日。\n张岱论人，谓“人无癖，不可与交，以其无深情也；人无疵，不可与交，以其无真气也。\n” 张岱本人亦癖灯、癖游赏，癖器物。\n“少为纨绔子弟，极爱繁华，好精舍，好美婢，好娈童，好鲜衣，好美食，好骏马，好华灯，好烟火，好梨园，好鼓吹，好古董，好花鸟，兼以茶淫橘虐，书蠹诗魔。\n” 清代玩家自亦不少，晚明遗风，渔洋、袁枚等，接踵其后。\n然现代以来，士大夫之闲情雅致竟至泯然无迹，前人所持、所做、所饮、所餐、所观，遂成绝响，仅可于故纸堆中觅得鳞爪。\n此于国人，殊为憾事。\n前尘往事，并非定成空幻，成梦影。\n在器物层面，重构中国人古典生活方式，易于行，行远必将影响当下国人的价值认知。\n何也？一杯一盏，一花一木，一庐一室，一瓢一饮，均深蕴中国古典之价值，优雅，缠绵，温柔，富丽。\n似锦绣之质，浸俗世之情，于锦灰堆中，觅见风雅。\n1、 潮汕濒临南海，浮海可至南洋、印度、非洲海岸，乃至泰西诸国。\n这里是中西文明交流的一条重要路径——海上丝绸之路的必经之地，瓷器、丝绸、茶叶等中国固有的大宗产品从这里出口，而南洋的香料、珍宝、木材等，也远远不断，由此进入内地。\n潮汕也是古代中国人南迁之后的落脚点，所以，这里积存这丰厚的汉文化的元素。\n潮汕人很早就浮海去南洋谋生，其中，又以暹罗（泰国）居多。\n清代，此间与南洋的航运，是从中暹大米贸易开始的。\n为适应远洋航行的需要，原来有双桅、单桅之“潮州红头船”，发展成为“翘首高舷，备大桅樯三具”的远洋大帆船。\n《樟东风物记》：大型红头船长二十余丈，载重数百吨，三桅，有四帆开笑之称。\n红头船来自，源于清代之海禁。\n当时制度，凡出海之舶，须设色以辨。\n沿海省份，共设四色。\n广东在南，五行属火，用色为赤，遂“红油漆饰，青色钩字”。\n红头船不仅用朱砂油头，且以白粉油腹，头两侧画黑圈，再于船舷刻黑字。\n无形中，红头船具有了一种祛除不详的心理期待功能，融入到整个潮汕文化当中。\n红头船功夫茶具，不仅承载着这段具有强烈海洋文化特色的历史，还寄托着自生民以来就具有的祈福。\n2、功夫茶 苏辙诗曰：“闽中茶品天下高，倾身事茶不知劳。\n”此乃咏功夫茶诗也。\n功夫茶源于宋潮州府及福建的漳州、泉州。\n饮茶发展到功夫茶阶段，跟当时理学与禅宗的兴盛密不可分。\n功夫茶，茶中见性，以茶养性。\n除了水、火和冲泡这一程序性之外，功夫茶还衍生出极具形式美感的茶具。\n清俞蛟《潮嘉风月记》：“工夫茶，烹治之法，本诸陆羽《茶经》，而器具更为精致……杯盘则花瓷居多，内外写山水人物，极工致……杯小而盘如满月。\n” 锦灰堆功夫茶具，具本于宋代以降的人文传统。\n同时，亦融入时尚的造型，以适合现代人的审美。\n、红瓷 红瓷极尊贵，其制作之难亦冠各瓷之首。\n红瓷承载着吉祥、尊贵、自古就成为皇室追求的珍品。\n红瓷也是中国民间审美中至正之色，象征生命、繁衍和尊贵。\n红瓷釉料迥异于青花与青瓷等，其不耐高温的特性，使得一件红瓷的诞生很艰难。\n红瓷烧制，工艺复杂，须四次进炉：素烧，釉烧，红烧，金烧。\n每一环节不可偏差。\n尽管如此，仍是 “十窑九不成”。\n然则，更显红瓷的稀缺与珍贵。\n锦灰堆红头船红瓷功夫茶具，釉色分布匀停，光可鉴人，或蟠龙游凤，或牡丹缠枝，或花开富贵。\n而轻巧圆润，恰供清赏。\n（1）、红茶壶（鸿福） 壶，象盛器之形。\n日常不可或离之物，亦为礼器。\n古代常升华为美好之意。\n《春秋公羊传》：国子执壶浆。\n《三国志·诸葛亮传》：箪食壶浆。\n《芙蓉楼送辛渐》：一片冰心在玉壶。\n普通话，壶与“福”谐音，锦灰堆红茶壶便有了“鸿福”之意，同时，亦有“鸿鹄”之意，谓抱负远大也。\n（2）、红茶垫（托福） 茶垫又称壶托、托壶，红茶垫便可谐“福托”“托鸿福”“托福”等音。\n传统礼仪，接人待物，皆须谦逊。\n接茶、送茶之间，中华礼节，于细节中呈现。\n礼仪著于双方，也体现于每个个体，人借“托”举，“福”方永存。\n（）、福杯（吊鸿福杯） 杯，古又曰“爵”，饮器也。\n爵，象征荣誉和地位，即福禄寿喜之“禄”。\n与“福”为邻，传统抱负，合二为一。\n（4）、公杯（聚福） “大道之行也，天下为公。\n”《礼记》规定了中国人的最高社会理想。\n“公之为言公正无私也”。\n小小茶具，竟含儒家大道，此亦古人寄理想于“长物”之旨吧。\n公，也是古代爵位的最高等级。\n（5）、红茶渡（渡鸿福、鸿福渡） 渡，济也，引导也。\n这是一个暗藏禅机的词语，意蕴深厚。\n舍己渡人，方得超脱，这是佛家之道。\n若以当代社会伦理视之，此器亦公器也。\n然于公器之外，更充满英雄主义和绅士风度。\n（余可参照原文） （6）、精致小茶海 方寸之间，可容宇宙。\n海浩瀚无涯涘，在空间上以为这难以逾越，然则可以器用喻之。\n人心隔海，有渡可致。\n具物取名，古代闲情逸致之士乐此不疲，关键是，他们的想象力一如大海。\n海，又与潮汕之风俗相贯通。\n1）、大富大贵 “唯有牡丹真国色，花开时节动京城”，牡丹一直是中国富贵文化的核心意象，唐刘禹锡的诗恰好证明了这一点。\n作为花中之王，牡丹是历代文人雅士歌咏的对象。\n而龙、凤和蝶等意象的融合，则意味着一派高贵、长寿等怡人景象。\n2）、龙腾吉祥 在中国的语境中，龙一直是帝王的象征。\n当这一意象进入整个民族的心理深层结构，变成了众多行为的指南，一系列的崇拜也由此而来。\n龙也成了祈福消灾的对象。\n）、常年富贵 花团锦簇，一团和气，是古代人家最为看重的。\n等花卉图案，构成了众多居家要素，比如瓷器、锦缎。\n枝枝相连的形态暗示了中国人邻里相助和子孙繁衍的愿望，“连”也是“年”的谐音，于是便有“常年富贵”之名。\n4）、年年好运 运，行也。\n引申而为命运，“运隆祚永”是国家追求的目标，而祈求好运于一般人也变顺理成章。\n5）、6周年庆 大红的底色意味的喜气扑面而来。\n运筹红色，这正好是红瓷专家最为擅长的领域。\n黄色的五星，如暗夜繁星，耀人眼目，也如天女散花。",[23,24,25,69,97,27,29,145,308,849,3024,7,99,3025,485,114,3026],"墨迹","杂物","虫蛀痕迹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F413580bf86f0f2f07a385084ba691349.jpg",[],{"id":3030,"slug":3031,"title":3032,"dynasty":1027,"author":304,"museum":1028,"description":1029,"tags":3033,"thumbUrl":3037,"material":279,"size":280,"collection":116,"collections":3038,"showCount":3017,"zanCount":39,"manualWeight":39,"mainColor":87},226503,"ku-yong-dao-ding-bu-yi-ming-226503","窟甬道顶部",[1031,27,7,3034,3035,3036],"团花","装饰纹样","唐代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda6252f9da74950b214d3a93c867f32c.jpg",[],{"id":3040,"slug":3041,"title":3042,"dynasty":1042,"author":1043,"museum":275,"description":1044,"tags":3043,"thumbUrl":3045,"material":279,"size":280,"collection":1055,"collections":3046,"showCount":3017,"zanCount":39,"manualWeight":39,"mainColor":87},225716,"basket-of-pansies-may-1887-fan-gao-225716","Basket of pansies May 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》。",[24,25,291,27,97,29,685,353,3077,79,7,293,3078],"灵芝","明代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63ab0a3d62a43789402ff3fa5ee685e5.jpg",[35,133],58,{"id":3083,"slug":3084,"title":3085,"dynasty":1042,"author":1043,"museum":275,"description":1044,"tags":3086,"thumbUrl":3090,"material":279,"size":280,"collection":1055,"collections":3091,"showCount":3081,"zanCount":11,"manualWeight":39,"mainColor":87},225885,"sunflower-fan-gao-225885","sunFlower",[1046,1391,2423,1052,2866,1392,1048,1051,487,7,3087,3088,3089],"暖色调","肌理感强","静物写生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6095b24ac2c99234007434eb27e80996.jpg",[1055],{"id":3093,"slug":3094,"title":3095,"dynasty":1042,"author":1043,"museum":275,"description":1044,"tags":3096,"thumbUrl":3101,"material":279,"size":280,"collection":1055,"collections":3102,"showCount":3081,"zanCount":39,"manualWeight":39,"mainColor":870},225738,"dr-paul-gachet-1890-fan-gao-225738","Dr Paul Gachet 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横52.5厘米",[35,133],{"id":3142,"slug":3143,"title":2057,"dynasty":45,"author":3144,"museum":207,"description":3145,"tags":3146,"thumbUrl":3147,"material":102,"size":116,"collection":35,"collections":3148,"showCount":3081,"zanCount":39,"manualWeight":39,"mainColor":40},219446,"duan-yang-jing-tu-chen-jia-yan-219446","陈嘉言","墨石崚嶒，以浓淡干湿之笔写出苍劲肌理，似含嶙峋风骨。石畔百合舒卷有致，瓣白如玉，清雅绝尘；艳艳红花点缀其间，色如渥丹，相映成趣。细碎野花丛生，黄绿枝叶错落，笔墨兼工带写，设色明丽却不艳俗。整幅画面生机盎然，野趣中透着雅致，仿佛能嗅到端阳时节的草木清气，尽显文人画的疏朗意韵。笔意洒脱，构图疏密得当，于不经意间流露自然之美，引人沉醉于这方清幽小景里。",[24,291,27,49,67,29,251,169,7,308,114,392,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ef5005627b1e39b1323e869dbb1145.jpg",[35],{"id":3150,"slug":3151,"title":3152,"dynasty":92,"author":2002,"museum":275,"description":3153,"tags":3154,"thumbUrl":3155,"material":279,"size":280,"collection":116,"collections":3156,"showCount":3157,"zanCount":39,"manualWeight":39,"mainColor":87},287586,"hua-pi-pa-kong-que-cui-bai-287586","画枇杷孔雀","崔白（1004-1088），字子西，濠州（今安徽凤阳）人，北宋画家。崔白是开始发挥写生精神的画家，其无前人的画稿可临摹或参考，但其依靠超越前人的观察研究及描绘能力，探索花木鸟兽的生意，摆脱花鸟属装饰图案的遗影，开创新的发展方向。其擅花竹、翎毛，亦长于佛道壁画，画佛道鬼神、山水、人物亦精妙绝伦，尤长于写生。所画鹅、蝉、雀堪称三绝，手法细致，形象真实，生动传神，富于逸情野趣。一改百余年墨守成规的花鸟画风（指“黄筌画派”），成为北宋画坛的革新主将，数百年来颇受画坛尊崇。",[24,96,29,97,27,1184,2189,7,336,252],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe485ccbcaf466a1e71621d56277378c3.jpg",[],57,{"id":3159,"slug":3160,"title":3161,"dynasty":45,"author":2542,"museum":64,"description":2543,"tags":3162,"thumbUrl":3163,"material":130,"size":3164,"collection":133,"collections":3165,"showCount":3157,"zanCount":39,"manualWeight":39,"mainColor":87},237895,"ming-ren-zhu-cha-tu-zhou-ding-yun-peng-237895","明人煮茶图轴",[24,25,291,27,97,248,903,1268,7,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F094a120df71d56d0cb60610819a00d95.jpg","纵137.3厘米，横64.4厘米",[133],{"id":3167,"slug":3168,"title":3169,"dynasty":45,"author":3170,"museum":3171,"description":3172,"tags":3173,"thumbUrl":3174,"material":128,"size":116,"collection":116,"collections":3175,"showCount":3157,"zanCount":39,"manualWeight":39,"mainColor":40},234160,"hua-niao-tu-juan-li-yin-234160","花鸟图卷","李因","重庆中国三峡博物馆","李因（1610－1685），字是庵，号龛山逸史，晚号今生。明末清初女诗人、画家。会稽（今浙江绍兴）人，一作钱塘（今杭州）人。早年为江浙名妓，后嫁光禄卿葛征奇为妾，在绘画上崇尚隽雅，在山水画上学习米芾、米友仁，画山水、花鸟，疏爽隽逸，毫无女子纤弱之气。亦工诗，著有《竹笑轩吟草》等，诗笔清奇，有中唐遗韵。\n李因名声很大，也颇为自负，经常将自己视作唐朝的王维。",[23,96,24,69,49,29,252,7,31,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F395b220e33ecb40388d49fc859a4ba09.jpg",[],{"id":3177,"slug":3178,"title":3179,"dynasty":18,"author":480,"museum":207,"description":3180,"tags":3181,"thumbUrl":3186,"material":368,"size":3187,"collection":35,"collections":3188,"showCount":3157,"zanCount":39,"manualWeight":39,"mainColor":40},222793,"jin-chun-tu-lang-shi-ning-222793","锦春图","《锦春图》设色浓艳鲜丽，充分体现郎世宁的绘画特色。锦鸡花卉得写实之真，而湖石坡草又表现中国画的笔墨趣味。画春华锦鸡。锦鸡全用西法。点景树石笔墨是旧院体。构景一仍是陈法。当出另一画家补绘。设色画山涧旁湖石杂卉，二锦鸡栖石上。",[23,96,24,25,291,97,27,2267,3182,2268,3183,307,293,7,443,3184,1416,336,52,1459,3185,962,562],"光影透视","锦鸡","岩壑","坡地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2017289c044d5d1fb6ebf7be3f2e2187.jpg","横68.6厘米，纵121.6厘米",[35,133],{"id":3190,"slug":3191,"title":3192,"dynasty":45,"author":1949,"museum":207,"description":3193,"tags":3194,"thumbUrl":3195,"material":379,"size":3196,"collection":35,"collections":3197,"showCount":3157,"zanCount":39,"manualWeight":39,"mainColor":87},222020,"hua-xia-li-nu-tu-zhou-zhu-zhan-ji-222020","花下貍奴图轴","此画构图呈对角线，所画的猫、湖石、秋花均在对角线上，可谓全幅构图别致，虚实结合。狸奴造型准确，画法先淡色涂染全身，背上的毛用干笔涂擦点簇而成，表现了狸奴细毛的质感。以焦墨点睛，炯炯有神。湖石则用长麻皮皴。",[23,24,25,291,27,97,351,1717,251,53,31,862,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F511c301cd9d9a27486446cb728c20d37.jpg","纵41．5厘米，横39．3厘米",[35,133],{"id":3199,"slug":3200,"title":646,"dynasty":92,"author":2246,"museum":207,"description":3201,"tags":3202,"thumbUrl":3204,"material":102,"size":3205,"collection":116,"collections":3206,"showCount":3207,"zanCount":552,"manualWeight":39,"mainColor":40},288265,"hua-niao-tu-li-di-288265","李迪，生卒年不详。南宋画家，河阳（今河南省孟州市）人，北宋宣和时为画院成忠郎，南宋绍兴时复职为画院副使，历事宋孝宗、宋光宗、宋宁宗三朝（1162年—1224年），活跃于宫廷画院几十年，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，间作山水小景。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》形象生动超拔，刻画细致入微，各具神态。山水师李唐法，亦多佳作。论者谓其画鸠“作寒冷状，精俊如生”；画鹡鸰“翘翘欲起”。",[23,24,96,25,291,97,27,29,252,2770,7,3203],"古树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F025bf6ddb9e0a0576db7f74ad6a02d0c.jpg","112.7x38.4",[],56,{"id":3209,"slug":3210,"title":3211,"dynasty":388,"author":715,"museum":275,"description":2377,"tags":3212,"thumbUrl":3213,"material":279,"size":280,"collection":116,"collections":3214,"showCount":3207,"zanCount":11,"manualWeight":39,"mainColor":87},283619,"hua-niao-tu-quan-juan-qian-xuan-283619","花鸟图全卷",[23,96,24,25,69,97,27,29,72,80,76,252,99,7,443],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F137ee05c575ac4967710143b8215cd6c.jpg",[],{"id":3216,"slug":3217,"title":3218,"dynasty":18,"author":2364,"museum":2365,"description":2366,"tags":3219,"thumbUrl":3221,"material":406,"size":2371,"collection":116,"collections":3222,"showCount":3207,"zanCount":39,"ma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and fruit, 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鸷攫及畏避之状”。亦间作山水。马臻题其《雪岸寒鸦图》诗云：“北风万里吹石裂，古树槎桠摧朽铁，群乌哑哑如苦饥，倦飞还向空林歇。孤村荒寒得食远，日暮沙边啄残雪，回情诉意各有态，羡杀画师心更切。我尝记得天随诗，至今读之心激越，妇女衣襟便佞态，始得金笼日提挈。老乌，老乌，尔身毛羽黑离离，况复人间厌尔啼，何不飞鸣丈人屋，丈人屋头春柳绿。”",[23,96,24,25,97,27,29,2770,99,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0a7a66cc5c8697ff42ab6e379a7cb63.jpg","设色绢","52x68",[312,35,133],{"id":3264,"slug":3265,"title":3266,"dynasty":18,"author":19,"museum":275,"description":3267,"tags":3268,"thumbUrl":3269,"material":33,"size":3270,"collection":35,"collections":3271,"showCount":3207,"zanCount":39,"manualWeight":39,"mainColor":40},219990,"yao-pu-qiong-pa-tu-yun-shou-ping-219990","瑶圃琼葩图","图绘湖石一块，形状怪异；后有牡丹围绕，枝繁叶茂，枝头花朵或粉红，或红白相间，花瓣层层叠叠，层次清晰。此幅敷色生硬，或是后人摹本。",[23,24,25,29,96,291,28,27,97,75,100,1268,7,51,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52a659286fd748d9c56f400aa903af4c.jpg","120×54",[35],{"id":3273,"slug":3274,"title":1521,"dynasty":92,"author":1294,"museum":275,"description":1522,"tags":3275,"thumbUrl":3276,"material":279,"size":280,"collection":116,"collections":3277,"showCount":3278,"zanCount":39,"manualWeight":39,"mainColor":87},288117,"xie-sheng-ling-mao-tu-zhao-ji-288117",[23,96,24,69,97,27,29,252,99,1524,7,31,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa279f39fe2fa81aa6da60077492747c2.jpg",[],55,{"id":3280,"slug":3281,"title":3282,"dynasty":18,"author":3283,"museum":275,"description":3284,"tags":3285,"thumbUrl":3288,"material":116,"size":116,"collection":35,"collections":3289,"showCount":3278,"zanCount":11,"manualWeight":39,"mainColor":40},238178,"xian-zhi-zhu-shou-tu-zhou-shen-zhen-lin-238178","仙芝祝寿图轴","沈振麟","沈振麟（生卒年不详，生活于19世纪），字凤池，一作凤墀，元和（今江苏省吴县）人。他以创作题材广泛，花鸟虫鱼人物山水各臻其妙，笔法工细写实而成为晚清重要的宫廷画家。任如意馆画作首领数十年。",[24,291,27,97,251,3077,7,51,293,3286,3287],"小草","白色花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F035c9856899db7d34109e2309e3bffa5.jpg",[35],{"id":3291,"slug":3292,"title":3293,"dynasty":18,"author":1169,"museum":64,"description":3294,"tags":3295,"thumbUrl":3297,"material":3298,"size":3299,"collection":116,"collections":3300,"showCount":3278,"zanCount":11,"manualWeight":39,"mainColor":40},233736,"wu-jun-qing-yan-lai-hong-zhou-wu-chang-shuo-233736","吴俊卿雁来红轴","本幅设色。款：“安吉吴俊卿”。\n吴昌硕（1844—1927年），原名俊，字昌硕，以字行，号苦铁、缶庐等，浙江安吉人。早年习书，中年学画。曾任官府小吏，后以鬻书卖画为生。绘画以写意花卉著称于世，对近现代画坛影响极大。精篆刻，被推为“西泠印社”社长。书法一变前人成法，风格独特，长于摹写石鼓文，并以此擅名于近代书坛。与任伯年、高邕等在沪书画家相友善。著有《缶庐诗存》，后人整理出版其画集多种。",[24,25,291,27,251,3296,392,7],"雁来红","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8648de328c40626b7f14d113b0bcb0fb.jpg","金笺 ，设色","纵174.7cm，横47.5cm",[],{"id":3302,"slug":3303,"title":3304,"dynasty":45,"author":440,"museum":659,"description":660,"tags":3305,"thumbUrl":3306,"material":130,"size":664,"collection":116,"collections":3307,"showCount":3278,"zanCount":11,"manualWeight":39,"mainColor":40},222565,"hua-hui-tu-4-chen-chun-222565","花卉图4",[23,24,29,67,49,27,7,157,430,1416],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12a8d0fc1f066a0983129200e58f195a.jpg",[],{"id":3309,"slug":3310,"title":3311,"dynasty":18,"author":834,"museum":275,"description":2019,"tags":3312,"thumbUrl":3314,"material":116,"size":116,"collection":2408,"collections":3315,"showCount":3316,"zanCount":11,"manualWeight":39,"mainColor":40},238317,"qiu-hua-si-shou-zhou-dong-gao-238317","秋花四首轴",[24,25,291,27,97,1048,3313,511,308,7,53],"秋花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f70d4386e484a0de4f87b2b3e7b37d2.jpg",[2408],54,{"id":3318,"slug":3319,"title":3320,"dynasty":18,"author":1623,"museum":275,"description":3321,"tags":3322,"thumbUrl":3323,"material":116,"size":116,"collection":116,"collections":3324,"showCount":3316,"zanCount":11,"manualWeight":39,"mainColor":40},230119,"hua-hui-ce-ye-si-kai-ren-yi-230119","花卉册页四开","这幅画作尽显写意花鸟的灵动意趣，左畔黄花明丽醒目，以明艳赭黄点染瓣蕊，娇俏鲜活，与浓墨绘就的叶片形成鲜明反差，苍劲墨色衬出花的妍丽。右方淡色花簇晕染柔润，清雅素净，和左侧形成虚实冷暖的精妙呼应。\n\n枝干运笔枯湿浓淡相宜，苍润兼具，写出了花木舒展自然的姿态。笔墨兼具工写之妙，既以豪放淋漓的墨色绘就叶片的苍劲质感，又细致勾勒出花蕊、花苞的娇柔细节，设色清隽雅致，将花木天然的生机逸态尽显无遗，氤氲着悠然的文人雅趣，尽显清逸灵动的花鸟意韵。",[96,24,25,26,27,49,29,7,114,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bc9e9ba66454e1ab14a0ed4e8251f9f.jpg",[],{"id":3326,"slug":3327,"title":658,"dynasty":45,"author":440,"museum":275,"description":3328,"tags":3329,"thumbUrl":3330,"material":116,"size":116,"collection":116,"collections":3331,"showCount":3316,"zanCount":39,"manualWeight":39,"mainColor":40},228467,"hua-hui-tu-ce-chen-chun-228467","以水墨淡彩写就湖石花木，居中湖石以浓淡干湿变化的墨色晕染勾勒，苍润朴拙，留白与周边花植相映，衬出空间层次。\n花草兼工带写，没骨点染花瓣，色泽柔淡雅致，花枝以细劲线条写出，舒展灵动、野趣横生。笔意松快随性，将春日花木的柔婉生机与湖石的古雅朴拙相融，尽显文人写意的清雅意趣，寥寥笔墨便晕染出鲜活自然之态，淡冶秀逸间饱含悠然生机。",[23,24,25,29,67,49,27,7,293,51,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8a207906aca606c24b53bc39de7027b.jpg",[],{"id":3333,"slug":3334,"title":3335,"dynasty":18,"author":3336,"museum":275,"description":3337,"tags":3338,"thumbUrl":3344,"material":549,"size":3345,"collection":116,"collections":3346,"showCount":3316,"zanCount":11,"manualWeight":39,"mainColor":40},222700,"qiu-feng-mo-zao-tu-juan-shou-juan-qian-yu-ling-222700","秋风墨藻图卷手卷","钱与龄","画中的蓝藻、紫绿红蓼、游鱼蟹、泥鳅蛙、蜻蜓翠鸟、白鹭飞虫，游或游或荷花或偷窥，首当其冲的就是充满活力的秋天。 年代，清代女画家，画家陈舒的曾孙女，写生写生，画如陈舒的笔法。",[23,96,24,25,69,27,97,74,701,50,1800,574,621,3339,705,973,3340,3341,3342,1106,7,622,3343,252],"水藻","红鱼","水生植物","莲叶","小鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30ec091c195124569eded74b3cf2a78e.jpg","32.2×339.2cm",[],{"id":3348,"slug":3349,"title":3350,"dynasty":388,"author":304,"museum":20,"description":3351,"tags":3352,"thumbUrl":3356,"material":102,"size":3357,"collection":35,"collections":3358,"showCount":3316,"zanCount":11,"manualWeight":39,"mainColor":87},219254,"xing-hua-yuan-yang-tu-yi-ming-219254","杏花鸳鸯图","老干虬曲盘折，枝桠间素白杏花轻绽，似碎雪点染枝头，清妍雅致。水畔鸳鸯相倚，羽色温润柔和，与浅滩细草、零星苔石相映，添得几分闲逸生趣。画面色调古雅沉敛，笔墨简淡却意韵悠长，于静谧中藏生机，尽显元代文人画的清逸之致，观之如沐春风，心归恬淡。",[23,3353,96,24,25,29,97,27,3354,806,352,622,100,3355,307,7],"元代","杏花","杂草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3807ab913238f9ab10fab7e5d2ba0d67.jpg","纵163横98.2厘米",[35],{"id":3360,"slug":3361,"title":3362,"dynasty":18,"author":304,"museum":275,"description":2602,"tags":3363,"thumbUrl":3366,"material":279,"size":280,"collection":116,"collections":3367,"showCount":3368,"zanCount":228,"manualWeight":39,"mainColor":87},273097,"ke-si-ling-xian-zhu-shou-ping-hua-gua-ping-yi-ming-273097","缂丝灵仙祝寿瓶花挂屏",[1141,3364,27,29,1048,7,72,31,637,3365],"挂屏","灵仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F914dba3a90c62a132e69cfde5c941fc3.jpg",[],52,{"id":3370,"slug":3371,"title":3372,"dynasty":1042,"author":1043,"museum":275,"description":1044,"tags":3373,"thumbUrl":3375,"material":279,"size":280,"collection":1055,"collections":3376,"showCount":3368,"zanCount":11,"manualWeight":39,"mainColor":87},225826,"sunflowers-1888-or-1889-fan-gao-225826","Sunflowers 1888 or 1889",[1046,1049,487,1392,1048,3097,2429,1052,7,3374,2427],"黄色花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11b7012642ae4a499ee94b8edb2aaa05.jpg",[1055],{"id":3378,"slug":3379,"title":3380,"dynasty":18,"author":2403,"museum":275,"description":3381,"tags":3382,"thumbUrl":3383,"material":116,"size":116,"collection":116,"collections":3384,"showCount":3368,"zanCount":39,"manualWeight":39,"mainColor":40},224581,"ci-lian-tu-zhou-jiang-ting-xi-224581","赐莲图轴","此作用笔秀逸工致，瓶身釉色晕染细腻，冰裂纹饰古朴沉静，莲茎舒展挺秀，两朵白莲瓣脉柔润，清妍雅致，荷叶以浓淡墨色晕染，尽显舒展自然之态，将芙蕖出尘之姿与清供古雅之美相融。左上题字清雅舒展，与画面相得益彰，兼具院体工笔的精细工整与文人画的冲淡意趣，整体意境清逸娴静，尽显文房清供的恬淡雅致，将案头赏玩的闲情逸趣诉诸笔端，是极具意韵的写生佳作。",[23,24,291,406,97,27,170,807,1048,7,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76f80e41463c6d0100002a7885112251.jpg",[],{"id":3386,"slug":3387,"title":3388,"dynasty":18,"author":304,"museum":275,"description":3389,"tags":3390,"thumbUrl":3393,"material":116,"size":116,"collection":1675,"collections":3394,"showCount":3395,"zanCount":11,"manualWeight":39,"mainColor":870},241832,"bai-yu-qian-zhu-bao-cui-hua-hui-wen-bian-fang-yi-ming-241832","白玉嵌珠宝翠花卉纹扁方","玉质莹白如凝脂，通体匀净温润。两端以点翠铺就缠枝，累丝托举各色珠宝作花。粉宝为芙蓉初绽，红宝似榴花灼目，碧色宝石衬出翠叶鲜活，碎钻隐在枝桠间轻闪星芒。器身浅刻暗纹如流云萦花，静中含动。\n\n整器将玉的清润、翠的灵秀与珠宝的明妍相融，把闺中鬓畔的风华凝于一支之上，藏着旧时女子妆奁间的清贵雅致，将四时烂漫春意收拢，是东方雅致审美绝佳注脚。",[18,3391,1664,1669,3392,7,597],"玉石","翡翠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa680a3aa9620f8b258a1323ea184d209.jpg",[1675],51,{"id":3397,"slug":3398,"title":3399,"dynasty":92,"author":304,"museum":275,"description":3400,"tags":3401,"thumbUrl":3402,"material":116,"size":116,"collection":116,"collections":3403,"showCount":3395,"zanCount":11,"manualWeight":39,"mainColor":40},227381,"qiu-hua-tu-ye-yi-ming-227381","秋花图页","艺术史学家高居翰(James 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清新，了解之深厚，是后世无可比拟的。",[23,96,24,25,1092,97,27,29,7,3313,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F566273ba43fdaceaabf6298b88025aa3.jpg",[],{"id":3405,"slug":3406,"title":3407,"dynasty":92,"author":304,"museum":207,"description":3408,"tags":3409,"thumbUrl":3412,"material":3413,"size":3414,"collection":116,"collections":3415,"showCount":3395,"zanCount":11,"manualWeight":39,"mainColor":870},223437,"song-xiu-ju-hua-lian-er-zhou-yi-ming-223437","宋绣菊花廉（二）轴","通幅以沉暗墨色为底，金针彩线织就案头秋供盛景。主株菊丛葳蕤繁茂，团花如簇，瓣层叠似凝霜聚雪，花叶以套色勾勒晕染，明暗过渡自然，将秋菊的清隽风骨尽数铺展。四周蝶影轻翩，细碎蜂蝶点染虚空，为静雅画面添上灵动生机。\n\n下方朱漆条案承托主盆，两侧配衬小花盆栽，章法端严对称，尽显宋人居室清供的雅致意趣。绣工精绝，戗色、盘金技法交织，针脚细密匀整，丝绒光泽晕开花鸟雅韵，静穆晕着秋日庭间的清寂诗意，尽显宋人尚雅的审美意趣。",[23,1994,3410,97,27,291,1717,99,2958,7,308,29,587,417,3411],"刺绣","装饰纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe36b2a6209c7a620404ab879a6cb7f2c.jpg","轴绢本","150.4x64厘米",[],{"id":3417,"slug":3418,"title":658,"dynasty":45,"author":440,"museum":275,"description":3419,"tags":3420,"thumbUrl":3422,"material":279,"size":280,"collection":116,"collections":3423,"showCount":3424,"zanCount":39,"manualWeight":39,"mainColor":40},287453,"hua-hui-tu-ce-chen-chun-287453","陈淳（1483年—1544年），字道复，后以字行，更字复甫，号白阳，又号白阳山人，长洲（今江苏苏州）人，明代绘画大师。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。",[31,3421,26,53,7],"隶书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa0e04f4d9ae9e6e8e101a02b7e45561.jpg",[],50,{"id":3426,"slug":3427,"title":3428,"dynasty":92,"author":3429,"museum":275,"description":3430,"tags":3431,"thumbUrl":3432,"material":406,"size":3433,"collection":116,"collections":3434,"showCount":3424,"zanCount":39,"manualWeight":39,"mainColor":40},232873,"xie-sheng-hu-die-hua-hui-tu-juan-ma-lin-232873","写生蝴蝶花卉图卷","马麟","图绘群蝶恋花的田园小景。轻灵振翅的蛱蝶起舞于画幅的上半部；秋花枯芦摇曳于画卷的底边。在物象表现上，作者用双勾填色法画土坡、草丛、蛱蝶。其勾线富于顿挫和粗细变化，墨色亦有浓淡轻重之分，敷色积染多层，特别是蛱蝶的翅翼更因积染而色彩浓艳厚重，从而与主要以植物色染就的草叶形成“轻”与“重”的对比。图中蛱蝶的形象最为传神，作者逼真地刻画了蛱蝶之翼薄如绢纱的质感、绚丽斑斓的花纹和蛱蝶细如发丝的根根须脚。传神的笔墨展示了作者深厚的写生功底，使本图成为研究古代蝶种的形象资料。",[96,24,25,69,27,97,699,29,99,7,31,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb467a89c60170e8b6134389615759f31.jpg","27.85*334.93厘米",[],{"id":3436,"slug":3437,"title":3438,"dynasty":45,"author":304,"museum":275,"description":3439,"tags":3440,"thumbUrl":3442,"material":406,"size":3443,"collection":116,"collections":3444,"showCount":3424,"zanCount":39,"manualWeight":39,"mainColor":40},223582,"rui-lian-ling-mao-tu-yi-ming-223582","瑞莲翎毛图","荷塘里，荷叶绿如盘，粉红的荷花，或腐烂，或萌芽，含彩花，已结莲子； 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画有夙慧，初写人物，中年后专攻花鸟、草虫、水族，尤善画龟。笔精墨妙，生动尽致。",[96,24,25,291,27,97,29,3525,3526,3341,7,53],"金鱼","湖石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36ff6396d75f7a14cf78bf4d16f51833.jpg",[],48,{"id":3531,"slug":3532,"title":3533,"dynasty":45,"author":2133,"museum":275,"description":3534,"tags":3535,"thumbUrl":3536,"material":116,"size":3537,"collection":116,"collections":3538,"showCount":3529,"zanCount":11,"manualWeight":39,"mainColor":40},233916,"hua-hui-cao-chong-ce-xiang-sheng-mo-233916","花卉草虫册","项圣谟，生于明代万历二十五年（1597年），卒于清代顺治十五年（1658年），初字逸，后字孔彰，号易庵，别号甚多，已知者有子璋、子毗、胥山樵、胥樵、古胥山樵人、兔鸣叟、莲塘居士、松涛散仙、大酉山人、存存居士、烟波钓徒、狂吟客、鸳湖钓叟、逸叟、不夜楼中士、醉疯人、烟雨楼边钓鼇客等，浙江嘉兴人。祖父项元汴，为明末著名书画收藏家和画家。伯父项德新也善画。项圣谟自幼受家庭熏陶，精研古代书画名作，虽然曾由秀才举荐为国子监太学生，但不求仕进，而把兴趣投入到书画中，从而在绘画创作上，他很早就显现出了多方面的才能，山水、人物、花鸟无一不精，曾得到明末两位最为著名的鉴赏家，董其昌和李日华的高度评价。董其昌在他的画册上题跋，称“古人论画，以取物无疑为一合，非十三科全备，未能至此。范宽山水神品，犹借名手为人物，故知兼长之难。项孔彰此册，乃众美毕臻，树石屋宇，皆与宋人血战，就中山水，又兼元人气韵，虽其天骨自合，要亦工力至深，所谓士气、作家俱备。项子京有此文孙，不负好古鉴赏百年食报之胜事矣”，李日华称赞他的画风“英思神悟，超然独得”，是“崛起之豪”。\n项圣谟的作品，以山水为多，也是他成就的主要方面。他早年从学习文徵明入手，但很快就跳出了文徵明画法画风的局限，而直接向古人学习。这主要是受益於其家族富甲天下的历代名画收藏，从而可以使他很快改学宋人用笔的周密严谨、兼取了元人的韵致。除了宗乳於祖辈的丰富家藏，亦得力其自身的观察自然、远游写生的经验，使其画面布局大开大合，意境明净清雅，结构严谨而富于变化，笔法简洁秀逸，气韵高雅，极富书卷气，具有很高的品格和思想内涵。\n他的画有两点最值得称道，也是当时其他画家所不及的。其一是强烈的政治色彩，他用画反映民间疾苦，寄托对人民的同情和对明王朝的忠贞。在先后经历了“甲申”和“乙酉”之变，满清入主中原后，项圣谟在画上就不再题写朝代的纪年，仅用干支，并钤盖“江南在野臣”、“大宋南渡以来辽西郡人”、“皇明世胄之中嘉禾处士”等印，以彰其志节。此段时间的作品，大多借用绘画抒写胸中郁愤，表现强烈的遗民感情，由徐树铭题项圣谟清顺治三年（1646）所作《山水诗画册》：“六月雪篇有时变之感，望扶桑篇有故国之思，诗史之董狐也。”于画作中寓写深意，反应时代，以画为史。李铸晋认为其在亡国后的作品，蕴含著效忠前朝，表达亡国之痛的图画象徵，如：红色，以“朱”为明朝；枝干壮硕却无叶的树木，喻为国家，虽历风雨，枝干仍傲然挺立，有著不可折屈的精神；在暮色中栖息的飞鸟是无处可归，何处为家之意等。现藏北京故宫之《大树风号图》的题跋“风号大树中天立，日落西山四海孤。短策且随时旦莫，不堪回首望菰蒲”可作其心境写照。\n其二是极其严谨的画风和写实态度。项圣谟善于从生活中摄取素材，他的画贴近现实，造型准确，严肃不苟，一反当时潦草粗疏，追求“逸笔草草”的画风。吴山涛在题项圣谟《秋声图轴》曾说到：“孔彰先生为予老友，作画必凝神定志，一笔不苟，予常嗤其太劳。君曰：我辈笔墨，欲流传千百世，岂可草草乎？旨哉其言也。”可见项圣谟这种严肃认真的好的作风，直接影响到他的画风，使他的绘画在当时的画坛上别树一帜，而赢得了“士气作家俱备”的称誉。\n项圣谟喜画高大的乔木，尤喜画松树，树木勾，擦，染精细，树干之嶙峋，历历几可扪捉，有强烈的凹凸感，而留出的受光部分则颇具体积感，与一般文人画示意性的画法迥然有别，故明时有“项松之名满东南”之誉。他画的大树，树干挺直，刚强伟岸，拟人化的画面形象鲜明强烈，具有强大的人格力量。\n在花鸟画的创作上项圣谟同样具有自己鲜明的特色，尤其讲究造型，经意构图，善于表现花叶和花瓣的层次，向背以及受光点的明暗，从而有别于当时其他花鸟画家的画风。项圣谟很认真地吸收了黄筌画派精谨慎严的审物造物精神，但在画法上，受写意画影响，形成一种工写结合的形式，酲酿了黄筌画派工笔花鸟画新的发展趋势。在技法上，大都以水墨或略施淡彩，有时也纯用色彩作没骨法，色彩淡而不薄。在用笔上，十分凝重秀逸，故而虽有姣妍之色相，却寓嶙峋之风骨，整个调子和气氛，非常飘洒雅致，不同凡俗，好似有一股冷艳暗香浮动其间。他的这种风格在之后的恽寿平、蒋廷锡等人的作品中都有所体现。\n除绘画外，项圣谟亦精书法，善赋诗。其书法端庄严谨，峻拔出脱中不失书卷气。其诗多为题画诗，除了描绘山光水色、自然美景的山水诗外，还有许多是表达其对人民疾苦的同情和对故国的怀念，文辞警策凝重，格调悲壮慨然，反映出他的个性为人。因国破家亡，其晚年家贫，却志存高洁，不结交权贵，靠卖画自给。著有《朗云堂集》、《清河草堂集》、《历代画家姓氏考》、《墨君题语》。",[24,26,27,97,29,7,51,53,223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cfbfe75dae41daeb995925f68ddf49c.jpg","23x31cm",[],{"id":3540,"slug":3541,"title":3542,"dynasty":92,"author":3429,"museum":275,"description":3543,"tags":3544,"thumbUrl":3546,"material":116,"size":116,"collection":116,"collections":3547,"showCount":3529,"zanCount":11,"manualWeight":39,"mainColor":40},232910,"dou-die-tu-ma-lin-232910","豆蝶图","马麟，麟一作驎，钱塘（今浙江杭州）人。南宋画家。马世荣之孙，马远之子。\n生卒年不详。其父马远是宋光宗、宋宁宗两朝（1190～1224）画院待诏，马麟画承家学，擅画人物、山水、花鸟，用笔圆劲，轩昂洒落，画风秀润处过于乃父。宁宗嘉泰间（1201～1204）授画院祗候，颇得宁宗赵扩、恭圣皇后杨氏及杨妹子称赏，每于父子画上题句。在《层叠冰绡图》中题诗云：“浑如冷蝶宿花房，拥抱檀心忆旧香。开到寒梢尤可爱，此般必是汉宫妆。”",[23,96,24,25,69,27,97,418,29,99,3545,7,145,53],"豆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b08f1fa810326ea69c7b5cb3b5cbbf0.jpg",[],{"id":3549,"slug":3550,"title":3551,"dynasty":1042,"author":3552,"museum":275,"description":3553,"tags":3554,"thumbUrl":3557,"material":279,"size":280,"collection":116,"collections":3558,"showCount":3529,"zanCount":39,"manualWeight":39,"mainColor":40},231746,"jiang-hu-shi-dai-xia-qiu-cao-tu-ping-feng-qiu-fen-jiu-jing-bao-yi-231746","江户时代 夏秋草图屏风-秋分","酒井抱一","日本画家的的琳派。他以复兴绪方光琳的风格和流行而闻名，并创作了光琳作品的许多复制品。",[23,27,97,29,113,1369,7,99,392,3555,3556],"浮世绘","日本传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F115d92d5e47f2f2a6c2be087928f418c.jpg",[],{"id":3560,"slug":3561,"title":3562,"dynasty":45,"author":3563,"museum":763,"description":3564,"tags":3565,"thumbUrl":3573,"material":406,"size":3574,"collection":116,"collections":3575,"showCount":3529,"zanCount":11,"manualWeight":39,"mainColor":87},231591,"kong-que-tu-lu-zhao-yang-231591","孔雀图","卢朝阳","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。",[23,24,27,97,29,1184,75,1730,252,293,7,144,406,562,3566,723,3567,307,3568,52,309,3569,3570,3571,3572],"花卉禽鸟","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",[],{"id":3577,"slug":3578,"title":1026,"dynasty":1027,"author":304,"museum":1028,"description":1029,"tags":3579,"thumbUrl":3580,"material":279,"size":280,"collection":116,"collections":3581,"showCount":3529,"zanCount":39,"manualWeight":39,"mainColor":87},226232,"ku-zhu-shi-zao-jing-yi-ming-226232",[1031,1032,27,97,7,3035],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F735741f7d2cf965ac9bf9aac6041d358.jpg",[],{"id":3583,"slug":3584,"title":3585,"dynasty":1042,"author":1043,"museum":275,"description":1044,"tags":3586,"thumbUrl":3589,"material":279,"size":280,"collection":1055,"collections":3590,"showCount":3529,"zanCount":39,"manualWeight":39,"mainColor":87},225748,"flowering-plum-orchard-after-hiroshige-october-november-fan-gao-225748","Flowering plum orchard after Hiroshige (October - November 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。",[24,25,890,27,97,29,251,50,7,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29f6db911ad00282fc6ef5a8e0e78eae.jpg",[],{"id":3631,"slug":3632,"title":3487,"dynasty":45,"author":3633,"museum":275,"description":3634,"tags":3635,"thumbUrl":3636,"material":549,"size":116,"collection":116,"collections":3637,"showCount":3620,"zanCount":39,"manualWeight":39,"mainColor":40},234257,"hua-hui-juan-zhu-chang-234257","朱昶","夏昶（1388年－1470年），字仲昭，号玉峯、自在居士，南直隶昆山县（今属江苏省昆山市）人。明朝画家，官员。外玄孙归有光。《明史》有传。\n夏昶早年过继于舅父，故姓朱。永乐十三年（1415年）乙未科进士，选入庶吉士，归宗，复夏姓，明成祖赐名为昶。正统年间官至太常寺少卿。夏昶与上元县的张益齐名，同年考中进士，同善作赋、画竹，夏昶后来认为自己的辞赋，不如张益，于是终身不再作赋；张益也认为自己所画的竹子不如夏昶，也终身不画竹子。",[23,24,69,25,97,27,29,7,170,75,169,171,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb24494b2d5604dc9bc0f9237bdad182.jpg",[],{"id":3639,"slug":3640,"title":3641,"dynasty":18,"author":3642,"museum":275,"description":3643,"tags":3644,"thumbUrl":3645,"material":116,"size":116,"collection":116,"collections":3646,"showCount":3620,"zanCount":39,"manualWeight":39,"mainColor":40},230257,"fang-lao-lian-pin-jiu-tu-gai-qi-230257","仿老莲品酒图","改琦","此作用笔细劲秀逸，设色柔雅清淡。画面之中，两位雅士对坐石上，一人持盏浅酌，神情悠然沉醉，一人拨弄酒器，专注雅致。仕女垂首侍立，温婉娟秀，仆从捧来瓶花，为雅集添上清隽意趣。\n整幅画作将文人品酒雅集的闲逸氛围铺陈开来，既有取法的古雅意韵，又融入独有的秀媚笔致，把文人士大夫诗酒风流的从容雅致尽显纸面，清雅悠然，韵致绵长。",[23,24,25,291,97,27,904,248,2741,251,366,417,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c995a313ec5966c17d37672db050351.jpg",[],{"id":3648,"slug":3649,"title":3134,"dynasty":45,"author":440,"museum":207,"description":1978,"tags":3650,"thumbUrl":3653,"material":3654,"size":3655,"collection":116,"collections":3656,"showCount":3620,"zanCount":11,"manualWeight":39,"mainColor":40},222571,"hua-hui-shan-mian-chen-chun-222571",[23,24,25,890,67,49,27,70,7,3651,962,1019,3652,210],"花枝","笔墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77b227089b3a30105cdc5394e4006f97.jpg","纸本，泥金","纵18.6厘米横54.1厘米",[],{"id":3658,"slug":3659,"title":3660,"dynasty":45,"author":63,"museum":64,"description":3661,"tags":3662,"thumbUrl":3663,"material":3664,"size":3665,"collection":116,"collections":3666,"showCount":3667,"zanCount":39,"manualWeight":39,"mainColor":40},233477,"ren-wu-hua-hui-ce-xu-wei-233477","人物花卉册","该册十八页，其中画十五页，分别作写意山水人物、写生花卉，内容有婴戏、对弈、牡丹、兰花、稻穗螃蟹等等。笔墨简括豪放，随意自然。选其二页，可窥真趣。",[24,25,26,49,67,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96bef8a2d314d7233986a3b547635d2c.jpg","纸本水墨","纵26.9厘米 横38.3厘米",[],46,{"id":3669,"slug":3670,"title":2001,"dynasty":388,"author":715,"museum":141,"description":3671,"tags":3672,"thumbUrl":3673,"material":406,"size":3674,"collection":116,"collections":3675,"showCount":3667,"zanCount":11,"manualWeight":39,"mainColor":87},232831,"xie-sheng-cao-chong-tu-juan-qian-xuan-232831","此卷设色典雅，用笔精微，一花一竹，一虫一鸟，皆细致入神，工中见意，精巧传神，一丝不苟，可谓写生妙手。\n钱选（1239-1299），宋末元初著名画家，与赵孟?等合称为“吴兴八俊”。字舜举，号玉潭，又号巽峰，霅川翁，别号清癯老人、川翁、习懒翁等，湖州（今浙江吴兴）人。山水师从赵令穰，人物师从李公麟，花鸟师赵昌，青绿山水师赵伯驹。继承苏轼等人的文人画理论，提倡士气说，倡导戾家画。",[23,24,25,69,27,97,699,29,98,113,114,7,145,308,53,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b6e400748db309145ac39941fe71144.jpg","34x310厘米",[],{"id":3677,"slug":3678,"title":3679,"dynasty":347,"author":348,"museum":275,"description":3680,"tags":3681,"thumbUrl":3683,"material":116,"size":116,"collection":116,"collections":3684,"showCount":3667,"zanCount":11,"manualWeight":39,"mainColor":87},231033,"ting-yuan-tong-xi-tu-zhou-wen-ju-231033","庭院童戏图","画面里，玲珑湖石错落而立，旁侧蜀葵抽茎绽红，晕开雅致清幽的庭中底色。三个稚童于廊下嬉玩，或俯地、或跪坐，手持玩具专注投入，憨态天真尽显笔端。\n\n作者以精细笔触勾勒出衣纹的软柔灵动，设色古雅温润，将孩童嬉闹的鲜活日常描摹得生动自然。静谧庭苑与稚子烂漫相映，把细碎童趣晕化成悠然平和的古典意趣，藏着旧时世家庭院里的温柔烟火气。",[23,96,24,25,97,27,248,3682,251,523,524,308,7],"童戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c8bf418623c3f4f8d9458352c316f86.jpg",[],{"id":3686,"slug":3687,"title":3688,"dynasty":1042,"author":1350,"museum":275,"description":1351,"tags":3689,"thumbUrl":3691,"material":279,"size":280,"collection":1055,"collections":3692,"showCount":3667,"zanCount":39,"manualWeight":39,"mainColor":870},225957,"iris-1914-1917-mo-nai-225957","Iris, 1914-1917",[1353,1046,1920,1417,1922,1921,3690,7,308,1369,1355],"鸢尾花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca07925f586f72b9cf51d00327278db0.jpg",[1055],{"id":3694,"slug":3695,"title":3696,"dynasty":18,"author":496,"museum":275,"description":3697,"tags":3698,"thumbUrl":3699,"material":116,"size":116,"collection":116,"collections":3700,"showCount":3667,"zanCount":39,"manualWeight":39,"mainColor":40},224372,"hua-hui-qi-shi-ce-shi-er-kai-12-ju-lian-224372","花卉奇石册-十二开-12","此作用笔灵动兼具工致，奇石以淡墨皴擦晕染，瘦透古朴，孔洞藏幽，自带嶙峋古意。左侧水仙双钩填色，莹白花瓣勾勒细腻，嫩黄花心娇柔明媚，翠叶舒展回转，韵致清雅脱俗。右上角附石幽兰，青叶劲挺，素花轻绽，暗透幽香。\n\n整幅设色明丽秀雅，工写相融，没骨笔法鲜活生动，将花草清隽与湖石古拙相映成趣，尽显妍丽细腻的风韵，把案头清供的雅致意趣铺陈开来，淡逸娴静的文人雅韵漫溢绢素。",[23,24,25,26,27,97,29,78,251,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe76c2edb1768b60a8a2314d604f95911.jpg",[],{"id":3702,"slug":3703,"title":3704,"dynasty":388,"author":3705,"museum":763,"description":3706,"tags":3707,"thumbUrl":3710,"material":102,"size":116,"collection":35,"collections":3711,"showCount":3667,"zanCount":11,"manualWeight":39,"mainColor":87},219067,"ying-sun-tu-ren-ren-fa-219067","鹰隼图","任仁发","画面描绘了一只白腹黑背、体态丰满、羽毛整齐的大壮鹰，用一对锋利的爪子按住一只麻雀，张开翅膀，圆睁双眼，张开嘴，却无计可施。",[96,24,97,27,291,2451,3708,3709,3355,7,293,29],"隼","枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81e640e66b80da72ad388df45295a7d4.jpg",[35],{"id":3713,"slug":3714,"title":3715,"dynasty":18,"author":3716,"museum":275,"description":3717,"tags":3718,"thumbUrl":3721,"material":279,"size":280,"collection":116,"collections":3722,"showCount":3723,"zanCount":39,"manualWeight":39,"mainColor":40},290491,"qi-yan-lian-wu-hu-fan-290491","七言联","吴湖帆","吴湖帆，江苏苏州人，为吴大澄嗣孙(1894年农历七月初二—1968年8月11日)。初名翼燕，字遹骏，后更名万，字东庄，又名倩，别署丑簃，号倩庵，书画署名湖帆。",[23,24,25,3719,31,70,27,72,3720,7,536,53],"对联","佛手","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdff61d5b426294b7d95db061d5a5f81f.jpg",[],45,{"id":3725,"slug":3726,"title":3727,"dynasty":92,"author":3728,"museum":207,"description":3729,"tags":3730,"thumbUrl":3735,"material":3736,"size":3737,"collection":116,"collections":3738,"showCount":3723,"zanCount":11,"manualWeight":39,"mainColor":87},221241,"song-ke-xiu-kai-tai-tu-zhou-song-ren-221241","宋缂绣开泰图轴","宋人","南宋踏踏歌行图轴为宋人缂丝作品仲裁取的一部分，能独立成篇。\n构缂、平缂交替使用。\n远处云气流动，近处山石野草情趣盎然。\n人物造型准确生动，手持击板，嘴中吟唱，轻踏脚步，逍遥自在。",[23,3731,291,27,97,248,3732,3733,1730,941,1865,3734,253,7,293],"缂绣","马","羊","河流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc401a0692f0ab7135bf602629e7f6c91.jpg","织绣","349x95.8",[],{"id":3740,"slug":3741,"title":3742,"dynasty":45,"author":244,"museum":275,"description":3743,"tags":3744,"thumbUrl":3745,"material":279,"size":280,"collection":116,"collections":3746,"showCount":3747,"zanCount":39,"manualWeight":39,"mainColor":40},290922,"ming-hua-hui-cao-chong-chou-ying-290922","明花卉草虫","仇英（约1498年—约1552年）， 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时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[24,96,26,97,27,29,7,98,1342],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8163aef7e78f2a1d893f5eca500593eb.jpg",[],44,{"id":3749,"slug":3750,"title":1930,"dynasty":18,"author":2403,"museum":275,"description":2404,"tags":3751,"thumbUrl":3752,"material":279,"size":280,"collection":116,"collections":3753,"showCount":3747,"zanCount":39,"manualWeight":39,"mainColor":87},290318,"sui-chao-tu-zhou-jiang-ting-xi-290318",[96,24,291,27,97,29,73,71,78,3077,7,31,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49b36f951d2dbef57185121b60fa59eb.jpg",[],{"id":3755,"slug":3756,"title":3757,"dynasty":92,"author":333,"museum":275,"description":3758,"tags":3759,"thumbUrl":3762,"material":279,"size":280,"collection":116,"collections":3763,"showCount":3747,"zanCount":11,"manualWeight":39,"mainColor":40},288539,"xie-sheng-jia-die-tu-zhao-chang-288539","写生蛱蝶图","赵昌，生于970-1040年，字昌之，北宋画家，广汉剑南（今四川剑阁之南）人。工书法、绘画，擅画花果，多作折枝花，兼工草虫。初师滕昌祐，后来发展出自身画风，没骨花鸟自成一派，有徐熙、黄荃遗风。在北宋时期与宋徽宗赵佶齐名，是宋代花鸟画坛的杰出画家。",[23,24,96,25,69,97,27,29,877,98,7,3760,70,53,3761],"野草","秋意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97796390b63dc3cfc3af98bc62a819e5.jpg",[],{"id":3765,"slug":3766,"title":658,"dynasty":18,"author":3767,"museum":275,"description":3768,"tags":3769,"thumbUrl":3770,"material":279,"size":280,"collection":116,"collections":3771,"showCount":3747,"zanCount":39,"manualWeight":39,"mainColor":40},288454,"hua-hui-tu-ce-zhao-zhi-qian-288454","赵之谦","赵之谦（1829年8月8日－1884年11月18日），汉族，浙江会稽（今绍兴）人。初字益甫，号冷君；后改字撝（huī）叔，号悲庵、梅庵、无闷等。清代著名书画家、篆刻家，与吴昌硕、厉良玉并称“新浙派”的三位代表人物，与任伯年、吴昌硕并称“清末三大画家”。李志敏评价：“赵之谦学北碑自成一体。”\n赵之谦从青年时代起，就刻苦致力于经学、文字训诂和金石考据之学，取得了相当的成就。尤精书画、篆刻。赵之谦善于向前人和同时代各派名家学习，又不囿前人，勇于创新。在绘画上，他是“海上画派”的先驱人物，其以书、印入画所开创的“金石画风”，对近代写意花卉的发展产生了巨大影响；在书法上，他是清代碑学理论的最有力实践者，其魏碑体书风的形成，使得碑派技法体系进一步趋向完善，从而成为有清一代第一位在正、行、篆、隶诸体上真正全面学碑的典范；在篆刻上，他在前人的基础上广为取法，融会贯通，以“印外求印”的手段创造性地继承了邓石如以来“印从书出”的创作模式，开辟了一个前所未有的新境界。\n赵之谦的篆刻成就巨大，对后世影响深远。近代的吴昌硕、齐白石等画家都从他处受惠良多。著有《六朝别字记》《悲庵居士文存》等，又有篆刻《二金蝶堂印存》。",[23,24,25,26,27,29,78,3077,293,31,53,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F264efa0c0138cb942593d7fd8f6558d0.jpg",[],{"id":3773,"slug":3774,"title":3775,"dynasty":45,"author":2133,"museum":275,"description":3776,"tags":3777,"thumbUrl":3778,"material":279,"size":280,"collection":116,"collections":3779,"showCount":3747,"zanCount":39,"manualWeight":39,"mainColor":40},287750,"hua-hui-shi-kai-he-tu-xiang-sheng-mo-287750","花卉十开(合图)","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。",[24,96,26,97,27,29,7,71,79,80,74,75,1716,77,78,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7dc877eba84263d9e3018bb06e2fb25.jpg",[],{"id":3781,"slug":3782,"title":3783,"dynasty":18,"author":3784,"museum":275,"description":3785,"tags":3786,"thumbUrl":3787,"material":279,"size":280,"collection":116,"collections":3788,"showCount":3747,"zanCount":39,"manualWeight":39,"mainColor":40},235284,"ren-wu-gu-shi-ce-fan-xue-yi-235284","人物故事册","范雪仪","女，本姓淑，嫁范氏为妻，江苏苏州人，生卒年不详。",[24,25,26,27,97,248,250,524,7,254,249,2338,352,417],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4969cf7e7182473f0293efe286f13572.jpg",[],{"id":3790,"slug":3791,"title":3792,"dynasty":18,"author":3793,"museum":275,"description":3794,"tags":3795,"thumbUrl":3796,"material":116,"size":116,"collection":116,"collections":3797,"showCount":3747,"zanCount":39,"manualWeight":39,"mainColor":40},230242,"hua-hui-ce-liu-kai-jin-nong-230242","花卉册六开","金农","此作以淡墨轻勾花形，敷色浅淡清润，将花卉柔婉之态晕染尽致。叶片以枯涩苍劲的墨线勾勒叶脉，淡青晕染叶面，朴拙之中不失秀灵。题字古雅厚朴，金石意趣与画面浑然相融。整体构图疏朗空寂，摒弃繁复修饰，尽显文人画简淡野逸之致。寥寥数笔便捕捉住花草清寂神韵，以极简的笔墨传递出沉静内敛的古拙之美，将文人高逸品格寄寓在一花一叶之间，平淡中见奇崛，清疏里藏雅意。",[24,49,27,26,7,79,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d028cce8fba0f93a54076616de43b82.jpg",[],{"id":3799,"slug":3800,"title":3801,"dynasty":18,"author":496,"museum":275,"description":3802,"tags":3803,"thumbUrl":3804,"material":116,"size":116,"collection":116,"collections":3805,"showCount":3747,"zanCount":39,"manualWeight":39,"mainColor":40},224371,"hua-hui-qi-shi-ce-shi-er-kai-11-ju-lian-224371","花卉奇石册-十二开-11","此作以淡墨晕染奇石，皴擦间尽显朴拙质感，留白透气，清润雅致。红草以没骨法点染，色泽明丽却不俗艳，叶片舒展柔态毕现；蓝黄雏菊娇俏鲜活，枝蔓穿插错落，野趣自生。石上蜻蜓纤毫细致，翼脉清晰可见，悄然驻足为画面添灵动生机。\n整体兼工带写，将草木清隽与顽石朴拙相融，静中生趣。画面简淡空灵，把秋日小景的闲逸意蕴铺陈开来，笔底藏着雅致的审美意趣，于方寸间尽显自然小景的幽恬清宁，带着悠然静穆的中式美学韵味。",[23,24,26,27,97,53,251,7,80,252,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c03336a008070491717018219acd353.jpg",[],{"id":3807,"slug":3808,"title":3809,"dynasty":45,"author":3810,"museum":2213,"description":3811,"tags":3812,"thumbUrl":3813,"material":3814,"size":3815,"collection":854,"collections":3816,"showCount":3747,"zanCount":39,"manualWeight":39,"mainColor":87},220402,"yue-mei-tu-liu-shi-ru-220402","月梅图","刘世儒","刘世儒，字继相，号雪湖，山阴(（今浙江绍兴)）人，生卒不详，明代画家，传世作品有《雪梅双兔图》、《梅花图》长卷、《月梅图》、《先春报喜图》等。\n刘世儒，艺术活动主要于明代正德、嘉靖时期。\n少年时偶然得元人王冕的墨梅，废寝忘食地临摹学习。随后遍走山林，观察各种梅花习性，终成墨梅大师。刘世儒一生好梅，时人谓之年九十，而画梅八十。\n曾作《铁干回春图》赠送胡元瑞。《雪湖梅谱》是其一生画梅之心得。",[23,24,25,291,49,27,71,1654,53,31,7],"https:\u002F\u002Foss.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of Yellow Irises at Giverny, 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Ware）在古时被称为“金”或“吉金”，是红铜与其他化学元素锡、铅等的合金，刚刚铸造完成的青铜器是金色，但因为出土的青铜因为时间流失产生锈蚀后变为青绿色，被称为青铜。\n青铜器的使用开始于新石器时代晚期的土耳其和伊拉克地区，及叙利亚古代TellRamad遗址出土的铜珠等。中国青铜器开始于马家窑至秦汉时期，以商周时期的器物最为精美。在中国仰韶文化早期和马家窑文化时期就已经出现。\n中国最初出现的是小型工具或饰物。夏代始有青铜容器和兵器。商中期，青铜器品种已很丰富，并出现了铭文和精细的花纹。商晚期至西周早期，是青铜器发展的鼎盛时期，器型多种多样，浑厚凝重，铭文逐渐加长，花纹繁缛富丽。随后，青铜器胎体开始变薄，纹饰逐渐简化。春秋晚期至战国，由于铁器的推广使用，铜制工具越来越少。秦汉时期，随着陶器和漆器进入日常生活，铜制容器品种减少，装饰简单，多为素面，胎体也更为轻薄。\n中国青铜器制作精美，在世界青铜器中享有极高的声誉和艺术价值，代表着中国5000多年青铜发展的高超技术与文化。\n我国商、周时代的青铜器具，不单是盛物用的容器，同时也是宗庙中的礼器。青铜器的数量可以表示出身份地位的高低，青铜器形制的大小也可以显示出权力的等级。青铜器中，最重要的器类就是鼎。远古的青铜器可以分为食器、酒器、水器、乐器四大类。食器中包括鼎、鬲等等。其中鼎是最重要的礼器。\n西周中晚期我国形成了列鼎制度，据《春秋公羊传》记载，天子用9鼎，诸侯用7鼎、卿大夫用5鼎、士用3鼎或1鼎。同时。与鼎一同出现的还有簋，通常为九鼎八簋，七鼎六簋，五鼎四簋，三鼎二簋。在西周中晚期的墓葬制度中，鼎为单数而簋为双数。青铜鼎随着时代的发展，形制也在发生变化。商代早期多为圆腹尖足，也有方鼎。到了中期出现了扁足鼎等等。商代晚期尖足鼎逐渐减少，圆腹柱足鼎开始居多，鬲鼎逐渐多了起来。《尔雅》记载“鼎之款足者，谓之鬲”。鬲鼎也称为分裆鼎，是鬲和鼎的混合体，鼎从商代开始铸有各式样的神秘纹饰，多为兽面纹，如饕餮纹、蝉纹、象纹等等，纹饰变化巧妙。容器内部铸有族徽或祖先的名字。\n青铜是铜和锡铅的合金。在中国古代早期的工艺美术中青铜工艺成为奴隶社会工艺美术的典型代表是我们的祖先对人类物质文明的巨大贡献。商周时期是中国历史上的青铜时代，它以品类丰富、造型优美、纹饰华丽、制作精巧、风格独特而著称。此时是冶炼铸造技术可以说有了突发猛进的发展，在应用上具有广泛的适用性。成为中国艺术史的一个组成部分。本文以商周时期的青铜器主要代表作品作品：《后母戊大方鼎》、《盂鼎》为例，从青铜器作为“礼器”的艺术精神与青铜器的造型、装饰艺术特点来谈谈商周青铜器艺术。\n中国古代青铜器，就使用规模、铸造工艺、造型艺术及品种而言。中国古代青铜器在世界艺术史上占有独特地位。商周时期是中国历史上的青铜时代，青铜流行于新石器时代晚期至秦汉时代。以商周器物最为精美，品种已很丰富器型多种多样，并出现了铭文和精细的花纹浑厚凝重。商周青铜器艺术装饰承接新石器时代艺术中若干精髓，经过长期绵延不断的变化，形成独特的体系，在成为中国艺术史的一个组成部分。商周时期，青铜的冶炼业作为生产力的标志而达到高峰。是中国古代青铜器发展的鼎盛时期。",[3391,2146,1033,7,597],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfc387d8bd3ea53f2d3b1c9245701ced.jpg",[],{"id":3933,"slug":3934,"title":3935,"dynasty":18,"author":304,"museum":275,"description":3936,"tags":3937,"thumbUrl":3944,"material":279,"size":280,"collection":116,"collections":3945,"showCount":3946,"zanCount":39,"manualWeight":39,"mainColor":870},248709,"hei-qi-qian-luo-dian-xiang-ya-hua-hui-wen-hai-tang-shi-bi-tong-yi-ming-248709","黑漆嵌螺钿象牙花卉纹海棠式笔筒","笔筒： 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Rijn，1606年7月15日～1669年10月4日）是欧洲17世纪最伟大的画家之一，也是荷兰历史上最伟大的画家。\n伦勃朗早年从师P.拉斯特曼，1625年在家乡开设画室。画作体裁广泛，擅长肖像画、风景画、风俗画、宗教画、历史画等领域。",[1046,2268,4018,248,4019,366,7,4020,2295],"明暗对比","女性","项链","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa53398f21582c77f212aff593753fbb0.jpg",[1055],{"id":4024,"slug":4025,"title":4026,"dynasty":18,"author":304,"museum":275,"description":4027,"tags":4028,"thumbUrl":4029,"material":102,"size":4030,"collection":259,"collections":4031,"showCount":4010,"zanCount":11,"manualWeight":39,"mainColor":87},217061,"luo-han-tu-yi-ming-217061","罗汉图","罗汉图是清朝时期的一张著名图画。这张图画描绘了一个罗汉，也就是佛教中的一种超凡脱俗的人物。罗汉图通常都会描绘罗汉坐在一个莲花座上，并且脸部表情非常平静。罗汉图被认为是一张具有深刻哲学意义的图画，它可以帮助人们思考人生、审视自己内心世界的问题。",[23,24,27,97,1032,248,1118,293,7,307,291],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f0f92db8d3a95be73cc37fc1f75a538.jpg","63x39",[259],{"id":4033,"slug":4034,"title":4035,"dynasty":45,"author":440,"museum":20,"description":1833,"tags":4036,"thumbUrl":4037,"material":82,"size":1836,"collection":116,"collections":4038,"showCount":4010,"zanCount":39,"manualWeight":39,"mainColor":87},214626,"hua-hui-ce-17-chen-chun-214626","花卉册-17",[24,25,26,49,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94559f93cf4255b74fe376265618355f.jpg",[],{"id":4040,"slug":4041,"title":4042,"dynasty":45,"author":304,"museum":275,"description":4043,"tags":4044,"thumbUrl":4048,"material":279,"size":280,"collection":2149,"collections":4049,"showCount":4050,"zanCount":11,"manualWeight":39,"mainColor":40},228532,"guan-yao-qing-hua-si-ji-hua-hui-wan-yi-ming-228532","官窑 青花四季花卉碗","官窑，是南宋宋高宗时期一些窑口专为宫廷烧制的瓷器，供御捡退，在当时俗称"官窑“。官窑，毛公洞第一（今 江苏扬州一带）。南宋官窑瓷器沿袭北宋风格，规整对称，宫廷气势，高雅大气，一丝不苟。因为胎土含铁量极高，手感沉重，胎土呈深黑褐色，后称”紫口铁足“。釉面沉重幽亮，釉厚如堆脂，温润如玉。釉面多层反复细刮，釉光下沉而不刺眼，纹理布局规则有致，造型庄重大方。另外”肉腐留骨“（露胎处像死人骨头，俗称”骨董“）也是那时所造。我们今天所称官窑泛指历朝官府烧造瓷器，其实，历史上仅指南宋时期烧造的瓷器，后世再无此称呼。\n官窑起自唐，有两种涵义，一是指贡器，一是指官厂。自唐代至元代（公元八世纪~十四世纪），官窑多有贡器，少有官厂，采取的形式是“官监民烧”，烧出的瓷器，“千中选十，百中选一”，进贡给统治阶级。这种瓷器就叫做贡瓷和官窑。那时，唐代在产瓷区设有司务，如唐景隆初（公元707~709年）褚绥为新平(景德镇)司务，奉诏监烧献陵祭器。宋代设监，如太平兴国年间(公元976~983年)，派殿前承旨赵仁济监理越州窑务。到了元代则设局，以提领监陶，后改为本设总管。他们烧出的“景德年制”，“枢府’等款式的瓷器，分别称为“景德窑’，“枢府窑”等。\n官窑之谓，在中国古代陶瓷史上有不同的内涵。就广义而言，是有别民窑而专为官办的瓷窑，其产品为宫廷所垄断。在宋代瓷器中，官窑即是一种专称，指北宋和南宋时在京城汴京（汴梁，今开封）和临安（今杭州）由宫廷设窑烧造的青瓷，故又有“旧官”和“新官”之分，前者为北宋官窑，后者为南宋官窑。\n官窑是在宋大观及政和年间于汴梁所造，青瓷釉色晶莹惕透，有开裂或呈冰片状，粉青紫口铁定是其特色。\n宋室南移在凤凰山下设立官窑，又称修内司官窑或内窑，郊坛下设立的郊坛下官窑，器形较多，有直径大过一尺的大型产品。\n从1128年元世祖忽必烈设置“浮梁磁局”，到二十世纪清朝覆亡，景德镇是元、明、清三代皇家瓷厂所在地，中国的官窑制度在这里延续了632年，江西景德镇也由此拥有烧造时间最长、规模最大、工艺最精巧的官办瓷厂。景德镇地下也因此存有大量因禁绝流入民间而被就地掩埋的古碎瓷，成为中国品类最完整、年代最可靠、信息最丰富的官窑遗址和“地下瓷都”。北宋官窑也称汴京官窑。相传北宋大观、政和年间，在汴京附近设立窑场，专烧宫廷用瓷器，即北宋官窑。南宋顾文荐《负暄杂录》记载："宋宣政间（宣和、政和即公元1111－1125年）京师自置窑烧造，名曰官窑"，南宋叶在其《垣斋笔衡》中对北京官窑亦有记载："政和京师自置窑烧造，名曰官窑"。当时的京师即汴京（今开封），因宋代汴京遗址已沉入地底，到今为止，尚未发掘出北宋官窑遗址，对于北宋官窑遗址缺乏考古发掘地资料和充足的文献资料的支撑，因此，时到今，关于北宋官窑遗址在何处，仍有不同说法，一般有三种说法：一说北宋官窑即为汝窑；二说否认北宋官窑的存在；三说为北宋官窑即为汴京官窑，它与南宋时的修内司官窑先后存在。\n南宋顾文荐《负睻杂录》记载：“宋宣政间（宣和、政和即公元1111~1125年）京师自置窑烧造，名曰‘官窑’”，南宋叶寘在其《垣斋笔衡》中对北京官窑亦有记载：“政和京师自置窑烧造，名曰‘官窑’”。明代《事物绀珠》、《留留青》因袭此说。当时的京师即汴京(今河南开封)，因宋代汴京遗址已沉入地下，到今为止，尚未发掘出北宋官窑遗址。对于北宋官窑遗址缺乏考古发掘地资料和充足的文献资料的支撑，因此，今关于北宋官窑遗址在何处，仍有不同说法，一般有三种说法：一说北宋官窑即为汝窑；二说否认北宋官窑的存在；三说为北宋官窑即为汴京官窑，它与南宋时的修内司官窑先后存在。支持第三种说法的人较多。\n北宋官窑传世品很少，形质与工艺与汝窑有共同处。器多仿古，主要有碗、瓶、洗等。胎体显厚，胎骨深灰、紫色或黑色，釉色有淡青、粉青、月白等，釉质莹润温雅，尤以釉面开大裂纹片著称，不同于南宋官窑和汝窑及龙泉窑瓷器。底有文钉烧痕，有“紫口铁足”的特征。",[45,2305,4045,4046,4047,7,417],"官窑","青花","四季花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9752a691d3a1959b24b5e6ec7821168e.jpg",[2149],39,{"id":4052,"slug":4053,"title":4054,"dynasty":18,"author":4055,"museum":936,"description":4056,"tags":4057,"thumbUrl":4059,"material":116,"size":116,"collection":297,"collections":4060,"showCount":4050,"zanCount":39,"manualWeight":39,"mainColor":40},223244,"hua-hui-shan-shui-12-hua-yan-223244","花卉山水-12","华嵒","该合册傅山父子传世画作共计16开，每副均为精品，构图奇特，迥异他人。其中傅山画5开，傅眉画11开",[24,25,27,49,941,7,29,4058,74,252,634,352],"柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc18d2a868a7fff05f5a7f52f85957ea0.jpg",[297,133],{"id":4062,"slug":4063,"title":4064,"dynasty":18,"author":304,"museum":275,"description":4065,"tags":4066,"thumbUrl":4072,"material":279,"size":280,"collection":116,"collections":4073,"showCount":4074,"zanCount":39,"manualWeight":39,"mainColor":870},268426,"dian-cui-ping-an-fu-shou-ru-yi-wen-tou-hua-yi-ming-268426","点翠平安福寿如意纹头花","如意为木胎，其上采用八成金质累丝工艺。如意头的正面为累丝古钱纹，中心嵌绿松石“乙酉”二字，背面为镂空的古钱纹并露出木胎。柄的正面亦为累丝古钱纹，镶嵌绿松石“万年如意”四字，背面为累丝六角锦纹。如意的侧边以卷草纹为饰。",[597,4067,4068,7,4069,4070,4071,2976],"点翠","头饰","寿字","平安","福寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faba15bd026df44d9a09e200965791d4c.jpg",[],38,{"id":4076,"slug":4077,"title":772,"dynasty":45,"author":2133,"museum":275,"description":3776,"tags":4078,"thumbUrl":4079,"material":279,"size":280,"collection":35,"collections":4080,"showCount":4074,"zanCount":39,"manualWeight":39,"mainColor":40},238114,"hua-hui-ce-xiang-sheng-mo-238114",[24,25,26,49,29,7,53,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d64ca3bfca453100e2eec44b78f1024.jpg",[35],{"id":4082,"slug":4083,"title":4084,"dynasty":45,"author":304,"museum":275,"description":4085,"tags":4086,"thumbUrl":4087,"material":406,"size":116,"collection":116,"collections":4088,"showCount":4074,"zanCount":11,"manualWeight":39,"mainColor":87},236285,"wang-zi-yuan-hua-niao-ce-yi-ming-236285","王子元花鸟册","此作清疏留白，蜿蜒花枝斜斜舒展，粉紫碎花攒聚枝头，墨叶苍润古雅，晕染得宜。绣眼静栖枝梢，羽色晕染细腻柔和，尖喙微抬，侧目端详下方螳螂，灵动神态呼之欲出。翠色螳螂凝立花枝之上，身姿劲挺鲜活。\n\n画面静中藏动，将林间偶遇的刹那生机定格，设色雅致柔和，妍而不俗。工写结合的笔法兼具细腻与意趣，寥寥景致却尽显自然幽微意趣，带着平和隽逸的文人意韵，把郊野小景的灵动生机晕染纸上，尽显小品花鸟的雅致格调。",[24,25,26,27,97,29,50,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdb8fffef29c538df923837946d854ac.jpg",[],{"id":4090,"slug":4091,"title":4092,"dynasty":45,"author":682,"museum":64,"description":4093,"tags":4094,"thumbUrl":4098,"material":368,"size":689,"collection":116,"collections":4099,"showCount":4074,"zanCount":39,"manualWeight":39,"mainColor":87},233850,"gui-ju-shan-qin-tu-zhou-lv-ji-233850","桂菊山禽图轴","此图为工笔重彩花鸟与写意树石相结合的作品。所绘主体花鸟：绶带鸟、八哥、桂花、秋菊，均属于祥瑞、珍贵之物，寓有富贵长寿和君子节操含意，内容明显地反映了皇家的艺术和审美旨趣。\n画面的物象既真实地展现了生物的自然本性，也形象地表达了内涵的寓意。桂树干粗叶茂，枝头繁花如锦，黄色金桂似散出阵阵幽香；石畔数丛菊花，红、黄、粉、白，色彩斑斓，竞相斗艳；枝头八哥相对鸣叫，突出了其善鸣秉性；绶带鸟身姿优美，深蓝色羽毛分外夺目。花鸟绚丽的色泽和生动的情致，营造出喜庆、欢悦的气氛和吉祥、华美的意趣。\n此图画法工整鲜丽，继承了宋代“黄家富贵”的宫廷“院体”花鸟传统。同时，工笔重彩的花鸟与粗笔水墨的树石相间，也反映了吕纪兼工带写的成熟花鸟画风格。",[144,97,27,4095,940,1717,4096,252,4097,293,7],"院体","山禽","树干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59bccc1179ac574e6114c194b238a5df.jpg",[],{"id":4101,"slug":4102,"title":4103,"dynasty":18,"author":1623,"museum":275,"description":4104,"tags":4105,"thumbUrl":4106,"material":116,"size":116,"collection":116,"collections":4107,"showCount":4074,"zanCount":11,"manualWeight":39,"mainColor":40},230125,"hua-hui-tu-ce-12-zhen-ren-yi-230125","花卉图册12帧","此作用笔兼工带写，以朱砂点簇秋实，圆厚鲜活，仿佛能触到饱满生机。浓墨绘叶，焦墨勾筋，苍劲朴拙，和淡墨晕染的湖石形成强烈的虚实对照。右侧留白疏朗空灵，衬出花木蓬勃意态。设色艳而不妖，朱红、浓墨与浅灰层次分明，将秋果鲜活与湖石清寂相融，既有写生的生动写实，又兼具文人写意的疏放洒脱，把花木生机与清雅文心合而为一，尽显雅致灵动的画中逸趣。",[24,25,26,27,49,29,251,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F745db1e5257ed10b6f6364e406e8c5a4.jpg",[],{"id":4109,"slug":4110,"title":4111,"dynasty":1042,"author":1043,"museum":275,"description":1044,"tags":4112,"thumbUrl":4115,"material":279,"size":280,"collection":1055,"collections":4116,"showCount":4074,"zanCount":39,"manualWeight":39,"mainColor":87},225777,"lilac-bush-fan-gao-225777","Lilac 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at Sainte-Adresse, 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Lecadre in the Garden, 1866",[1046,1353,96,2694,4019,7,253,1922,2704],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F773ce0e8bd935e0c49d0bd241b4e2739.jpg",[1055],{"id":4456,"slug":4457,"title":4458,"dynasty":1042,"author":1350,"museum":275,"description":1351,"tags":4459,"thumbUrl":4461,"material":279,"size":280,"collection":1055,"collections":4462,"showCount":106,"zanCount":11,"manualWeight":39,"mainColor":87},225959,"irises-in-monets-garden-1899-1900-mo-nai-225959","Irises in Monets garden, 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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。",[4470,27,97,7,662,718,4152,1843,2146,417],"汉代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd88eb790bc8dd8a0e4bfcc793c91eb21.jpg",[],{"id":4474,"slug":4475,"title":4476,"dynasty":18,"author":834,"museum":207,"description":4477,"tags":4478,"thumbUrl":4480,"material":116,"size":4481,"collection":116,"collections":4482,"showCount":106,"zanCount":39,"manualWeight":39,"mainColor":40},222856,"xia-jing-hua-hui-zhi-ba-dong-gao-222856","夏景花卉之八","董誥（1740年－1818年），字雅倫，號蔗林，浙江省杭州府富陽縣（今浙江省杭州市）人，生於順天府（今北京市），清代大臣、書畫家。工部尚書董邦達長子，與其父有“大、小董”之稱。\n乾隆二十九年（1764）中舉，隔年會試，名列一甲第三，得中探花，乾隆帝將其改為二甲第一，作金殿傳臚，形降實升。嘉慶四年（1799），董誥六十歲，以從庶吉士、編修、工部侍郎、軍機大臣、東閣大學士等，擢為文華殿大學士（即宰相），欽賜“紫禁城騎馬”。直軍機先後四十年。董誥精書法，善繪畫，更通曉軍事。他五次歸還故里，生活簡樸，平易近人，從不倨傲，深為鄰里稱道。董誥卒於嘉慶二十三年（1818），終年七十九歲。\n董誥死後六天，嘉慶帝親臨祭奠，所寫哀詩中有“只有文章傳子侄，絕無貨幣置田莊”之句，並親自撥款建立“董公祠”。",[23,24,25,27,97,26,7,51,174,4479],"蓝色花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf821d335f96deca766e5ea81f6d4194.jpg","22.1x27",[],{"id":4484,"slug":4485,"title":4486,"dynasty":18,"author":4487,"museum":207,"description":4488,"tags":4489,"thumbUrl":4490,"material":82,"size":4491,"collection":259,"collections":4492,"showCount":106,"zanCount":552,"manualWeight":39,"mainColor":40},219442,"ling-xian-zhu-shou-tu-zhou-qian-zai-219442","灵仙祝寿图轴","钱载","虬松盘空，松针攒簇如墨星缀枝，枝干皴擦见苍劲老骨；旁逸修竹数竿，叶影疏斜带清韵。坡间灵菌隐现，伴以细草繁花，笔墨细劲却含生机，淡墨晕染衬出野趣。全图以水墨写就，浓淡干湿相生，于清雅笔墨间藏祝寿吉意。既有文人画的疏朗气韵，又含对福寿康宁的温婉期许，帧中留白更显意境悠远。观之如沐林下清风，心随画境渐宁，仿佛能闻松涛竹语，见灵秀之气漫溢纸间，笔墨里的雅致与吉庆悄然相融，尽显传统文人画的韵致与温度。\u003C\u002Fthink_never_used_51bce0c785ca2f68081bfa7d91973934>",[24,25,96,291,49,97,1118,1268,3077,7,293],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e85c969be4769322ad7f0290fce1fef.jpg","185.3x79.3",[259],{"id":4494,"slug":4495,"title":4496,"dynasty":92,"author":333,"museum":275,"description":3758,"tags":4497,"thumbUrl":4498,"material":279,"size":280,"collection":116,"collections":4499,"showCount":4500,"zanCount":39,"manualWeight":39,"mainColor":87},290071,"feng-wang-tu-zhao-chang-290071","蜂王图",[96,24,69,97,27,29,7,171,719,145],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F683e97e6f2357e0884a46de42f289124.jpg",[],31,{"id":4502,"slug":4503,"title":4504,"dynasty":18,"author":304,"museum":275,"description":4505,"tags":4506,"thumbUrl":4511,"material":279,"size":280,"collection":116,"collections":4512,"showCount":4500,"zanCount":39,"manualWeight":39,"mainColor":87},273272,"hong-se-duan-xiu-feng-he-bao-shi-huo-lian-yi-ming-273272","红色缎绣凤荷包式火燫","荷包是中国汉族传统服饰中，人们所随身佩带的一种装零星物品的小包，后发展为爱情信物，荷包的图案有繁有简，花卉、鸟、兽、草虫、山水、人物以及吉祥语、诗词文字都有，装饰意味很浓。\n在民间荷包中，占相当比重的是香包，香包里装有香草之类的药品，包面上绣制着“五毒”，即蝎子、蛇、蜈蚣、壁虎和蟾蜍，它原是五月端午的节令物品，为了防止各种毒虫猖獗，侵害人体，人们相互馈赠，挂在衣襟或帐勾上，以避除“五毒”。就形状来看，有虎形的、鸡形的、如意形的、寿桃形的、蝙蝠形的，以取意于福、禄、寿、喜、吉祥、如意等。富有深厚民族心理基础的绣荷包，在民间文化中，显示着旺盛的生命力。",[3410,2295,4507,4508,597,4149,4509,4510,7,417],"铜制","铁器","凤纹","寿纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40be8ce4cb7c5b7e8a10e1d152e52c15.jpg",[],{"id":4514,"slug":4515,"title":4516,"dynasty":18,"author":304,"museum":275,"description":4517,"tags":4518,"thumbUrl":4520,"material":279,"size":280,"collection":116,"collections":4521,"showCount":4500,"zanCount":11,"manualWeight":39,"mainColor":870},268466,"dian-cui-hua-hui-niao-die-wen-tou-hua-yi-ming-268466","点翠花卉鸟蝶纹头花","中国妇女最偏爱的头花当属绒花，尤其是在女儿出嫁时，头上必须戴红色绒花，图火红吉利。在中国妇女中，只要条件允许，不仅婚礼喜庆日时要戴绒花，而且一年四季都愿意头戴绒花，求谐音吉祥。尤其到应时节序戴应季绒花：立春日戴春幡，清明日戴柳枝，端阳日戴艾草，中秋日戴桂花，重阳日戴茱萸，立冬日戴葫芦阳生……。清宫后妃们的头花，还有大批的绒花、绢花、绫花流存于世，这些花色彩协调，晕色层次丰富，堪称“乱真”之花。清代遗留下来的绒、绢、绫、绸等质地的头花有白、粉、桃红三晕色的牡丹花，浅黄、中黄、深黄三色的菊花，白、藕、雪青三色的月季花及粉、白相间的梅花等等，历时百年不久，仍鲜艳悦人。",[597,4067,7,4519,4068,1671],"鸟蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F469d4420dc82383de73b71b28a549dcc.jpg",[],{"id":4523,"slug":4524,"title":274,"dynasty":18,"author":19,"museum":275,"description":276,"tags":4525,"thumbUrl":4526,"material":279,"size":280,"collection":116,"collections":4527,"showCount":4500,"zanCount":39,"manualWeight":39,"mainColor":40},239429,"shan-shui-hua-hui-ce-yun-shou-ping-239429",[96,24,25,26,27,28,70,941,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4165765c72dedf8943fa5f69a909a7c7.jpg",[],{"id":4529,"slug":4530,"title":4531,"dynasty":18,"author":4532,"museum":275,"description":4533,"tags":4534,"thumbUrl":4535,"material":116,"size":116,"collection":116,"collections":4536,"showCount":4500,"zanCount":39,"manualWeight":39,"mainColor":40},230363,"hua-hui-tu-ce-12-kai-wang-shi-shen-230363","花卉图册12开","汪士慎","此作用没骨淡彩绘就田间蚕豆花，叶片以柔毫晕染青绿，脉络隐现，舒展灵动自带生机。粉白花瓣轻晕淡红，嫩蕊娇柔，将乡野花蔬描摹得楚楚动人。\n\n左侧行书题诗与画作相映，笔致清逸秀雅，文气与画意浑然相融。整幅画面不见浓艳，以幽澹之韵取胜，将田间寻常小景化为清雅逸品，尽显闲淡疏朗的文人意趣，把乡野清芬纳入笔下，尽显冲淡平和的审美意致。",[96,24,25,26,27,29,7,392],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb307a89d6f339862bc7cddeb25759f0.jpg",[],{"id":4538,"slug":4539,"title":4540,"dynasty":18,"author":4541,"museum":207,"description":4542,"tags":4543,"thumbUrl":4544,"material":379,"size":4545,"collection":116,"collections":4546,"showCount":4500,"zanCount":11,"manualWeight":39,"mainColor":40},224573,"qing-qian-long-ke-si-hua-hui-gua-ping-san-zhou-qing-ren-224573","清乾隆缂丝花卉挂屏（三）轴","清人","花卉册在本色地上缂织茶花水仙、玉兰海棠、牡丹、碧桃芝竹、百合剪春罗、荷花蜻蜓、踯躅、芝兰、秋海棠、剪秋纱、蝴蝶花、梅花等各色花卉，每开均缂织而成，无着笔处。画幅采用平缂、构缂、木梳戗、长短戗、凤尾戗和掼缂等缂织技法，缂工细致，润色自然，描画不求形似，具有简逸风格的文人花鸟画风。",[23,1141,291,27,97,7,99,686,114,100,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5222c3323292451a6bbb293a2c5953d.jpg","每开纵41厘米，横42厘米",[],{"id":4548,"slug":4549,"title":4550,"dynasty":45,"author":762,"museum":64,"description":4551,"tags":4552,"thumbUrl":4554,"material":549,"size":4555,"collection":116,"collections":4556,"showCount":4557,"zanCount":39,"manualWeight":39,"mainColor":40},233836,"wo-you-tu-ce-kui-hua-shen-zhou-233836","卧游图册－葵花","此套图册分别绘仿倪山水、杏花、秋葵、秋柳鸣蝉、平坡散牧、栀子花、秋景山水、芙蓉、枇杷、秋山读书、石榴、雏鸡、秋江钓艇、菜花、江山坐话、仿米山水、雪江渔夫等山水、花鸟小景。\n根据末开画家自题，可知该册页的“卧游”之名源自南朝宋宗炳在居室四壁挂山水以当卧游的典故。然而不同于挂轴的是，该图册还可于卧床时仰面翻阅。 由此可见画家的绘制初衷和生活情趣。\n引首自书“卧游”，钤“沈氏启南”朱文印。鉴藏印：“士元珍藏”朱文印，“朱卧庵收藏印”朱文印，“查映山氏收藏图书”朱文印。\n仿倪山水，自题：“苦忆云林子，风流不可追。时时一把笔，草树各天涯。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印，“士元”朱文印，“昆山王成宪画印”朱文印，“映山珍藏”朱文印。\n杏花。自题：“老眼于今已敛华，风流全与少年差。看书一向糢糊去，岂有心情及杏花。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n秋葵。自题：“秋色韫仙骨，淡姿风露中。衣裳不胜薄，倚向石阑东。沈周。” 钤“启南”朱文印。鉴藏印：“士元”朱文印，“卧庵所藏”朱文印，“昆山王成宪画印”朱文印。\n秋柳鸣蝉。自题：“秋已及一月，残声绕细枝。因声追尔质，郑重未忘诗。沈周。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“䒶机流动”朱文印。“卧庵所藏”朱文印。\n平坡散牧。自题：“春草平坡雨迹深，徐行斜日入桃林。童儿放手无拘束，调牧于今已得心。沈周。”钤“启南”朱文印两方。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“之”“赤”朱文联珠印。\n栀子花。自题：“花尽春归厌日迟。玉葩撩兴有新栀。淡香流韵与风宜。帘触处、人在酒醒时。 生怕隔墙知。白头痴老子，折斜枝。还愁零落不堪持。招魂去、一曲（按：此字点去）阙小山词。右词寄小玉山，沈周。”钤“启南”朱文印，“吴言”朱文印。“石田翁”白文印。鉴藏印：“之”“赤”朱文联珠印，“朱卧庵收藏印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n秋景山水。自题：“淡墨疏烟处，微踪仿佛谁。梅花庵里客，端的是吾师。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印。\n芙蓉。自题：“芙蓉清骨出仙胎，赭玉玲珑轧露开。天亦要妆秋富贵，锦江翻作楚江来。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“卧庵所藏”朱文印、“昆山王成宪画印”朱文印、“竹南藏玩”白文印。\n枇杷。自题：“弹质圆充饤，蜜津凉沁唇，黄金作服食，天亦寿吴人。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印,“卧庵所藏”朱文印、“昆山王成宪画印” 朱文印。\n秋山读书。自题：“高木西风落叶时，一襟萧爽坐遥遥。闲披秋水未终卷，心与天游谁得知。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“卧庵所藏”朱文印。\n石榴。自题：“石榴谁擘破，群琲露人看。不是无藏韫，平生想怕瞒。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n雏鸡。自题：“茸茸毛色半含黄，何独啾啾去母傍。白日千年万年事，待渠催晓日应长，沈周。”钤“启南”朱文印，“白石翁”白文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印、“朱卧庵收藏印”朱文印。\n秋江钓艇。自题：“满池纶竿处处缘，百人同业不同船。江风江水无凭准，相并相开总偶然。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“卧庵所藏”朱文印。\n菜花。自题：“南畦多雨露，绿甲已抽新。切玉烂蒸去，自然便老人。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印，“昆山王成宪画印”朱文印。\n江山坐话。自题：“江山作话柄，相对坐清秋。如此澄怀地，西湖忆旧游。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印、“昆山王成宪画印”朱文印。\n仿米山水。自题“云来山失色，云去山依然。野老忘得丧，悠悠柱杖前。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n雪江渔夫。自题：“千山一白照人头，簑笠生涯此钓舟。不识江湖风雪里，可能干得庙堂忧。沈周。”钤“白石翁”白文印。鉴藏印：“昆山王成宪画印”朱文印、“卧庵所藏”朱文印。\n题跋。自题：“宗少父四壁揭山水图，自谓卧游其间。此册方可尺许，可以仰眠匡床，一手执之，一手徐徐翻阅，殊得少文之趣。倦则掩之，不亦便乎？于揭亦为劳矣。真愚闻其言，大发笑。沈周跋。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印，“芃园曹氏平生真赏”朱文印，“麓云楼书画记”朱文印，“康饴”朱文印，“只可自怡悦”白文印，“朱卧庵收藏印”朱文印，“依竹居士鉴赏书画印”朱文印。",[24,96,25,26,27,49,29,4553,51,7,53],"葵花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dbf48238765c284f9c5dd2053777823.jpg","纵27.8厘米，横37.3厘米",[],30,{"id":4559,"slug":4560,"title":4561,"dynasty":45,"author":4562,"museum":275,"description":4563,"tags":4564,"thumbUrl":4566,"material":116,"size":116,"collection":116,"collections":4567,"showCount":4557,"zanCount":39,"manualWeight":39,"mainColor":40},231014,"lian-ou-jing-yin-tu-wen-jia-231014","莲藕净因图","文嘉","此作画风清逸疏朗，以淡墨勾绘莲茎清瘦挺拔，粉荷半绽，淡赭轻染花尖，晕染出柔婉清雅的姿态。莲蓬与莲藕刻画精微朴拙，线条简淡却将水生风物的温润质感尽显无遗。\n\n宽绰留白铺就幽寂禅意，搭配题咏禅诗，诗画相映，将莲的清净本心寄寓其间，尽显幽淡出尘的文人意趣。全作用笔以简驭繁，淡而弥厚，融禅思入绘事，观之如临幽塘，心下自会澄明安宁，尽显文人尚简崇雅的审美意韵。",[24,25,291,2498,49,27,170,705,807,4565,7,67],"莲藕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab2d6731a756e18afa13d56d32e9d48b.jpg",[],{"id":4569,"slug":4570,"title":4571,"dynasty":18,"author":2364,"museum":2365,"description":2366,"tags":4572,"thumbUrl":4574,"material":406,"size":2371,"collection":116,"collections":4575,"showCount":4557,"zanCount":39,"manualWeight":39,"mainColor":40},230104,"hong-lou-meng-185-sun-wen-230104","红楼梦185",[24,97,27,248,250,903,293,7,253,524,1865,4573],"窗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff27b4ef23ad965b1028c930df54eac1c.jpg",[],{"id":4577,"slug":4578,"title":4579,"dynasty":18,"author":4580,"museum":275,"description":4581,"tags":4582,"thumbUrl":4583,"material":116,"size":116,"collection":116,"collections":4584,"showCount":4557,"zanCount":39,"manualWeight":39,"mainColor":40},229012,"shi-jun-ma-tu-wang-zhi-cheng-229012","十骏马图","王致诚","《千姿百态画骏马》是一本书籍，上海书店出版社; 第1版 (26年月1日)出版，开本16。\n丛书名: 国画训练新编系列2 平装: 页 正文语种: 简体中文 条形码: 786784845, 978786784846 尺寸: 28.5 21.2 . cm 重量: 181 g 《千姿百态画骏马》内容简介：在中同美术史上，几乎每个朝代的艺术作品都有以马为题材的杰作。\n如先秦时代青铜器盠驹尊，秦始皇陵出土的大批陶马俑、四汉霍去病墓前的《马踏匈奴》石雕、东汉青铜器《马踏飞燕》、唐代画马高手韩斡笔下的《神骏图》、韦偃画了两千余匹千姿百态骏马的《牧放图》、宋代李公麟的名作《五马图》、元代赵孟頫的《浴马图》，明代仇英的《秋园猎骑图》、清代王致诚的《十骏马图》，直至近代徐悲鸿的大量奔马立马图……由此可见，马是中国历代艺术家最热衷的题材之一。",[24,25,97,27,3732,293,253,7,31,53,941],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F266c74560a21981e18d0b59b83e4fb52.jpg",[],{"id":4586,"slug":4587,"title":4588,"dynasty":1042,"author":4589,"museum":275,"description":4590,"tags":4591,"thumbUrl":4595,"material":279,"size":280,"collection":116,"collections":4596,"showCount":4557,"zanCount":11,"manualWeight":39,"mainColor":87},226152,"gong-zhu-zhan-mu-si-mai-ke-ni-er-hui-si-lei-226152","公主","詹姆斯·麦克尼尔·惠斯勒","詹姆斯·阿博特·麦克尼尔·惠斯勒（James Abbott McNeill Whistler，1834.07.11—1903.07.17）美国画家、蚀刻家，父亲是美国工程师，全家曾经住过圣彼得堡。惠斯勒曾于西点军校肄业，之后选择做画家。深受日本绘画影响。代表作有：灰与黑的协奏曲、画家母亲肖像、白衣少女（系列）、瓷器公主。",[1046,27,248,249,4592,4593,256,4594,7,2295,252],"和服","扇子","地毯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80d9ef3d59526e363f8bff5ec7a8aa0a.jpg",[],{"id":4598,"slug":4599,"title":4600,"dynasty":45,"author":4601,"museum":4602,"description":4603,"tags":4604,"thumbUrl":4605,"material":577,"size":4606,"collection":35,"collections":4607,"showCount":4557,"zanCount":39,"manualWeight":39,"mainColor":40},221918,"wu-se-shu-kui-tu-chen-gua-221918","五色蜀葵图","陈栝","广州艺术博物院","此画不拘于象的写法发挥至极致，其勾点皴擦，随心所欲，绝出尘象之外",[23,96,24,25,291,27,97,29,7,4328,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fd40f4d75edc248b6c82bca466a29ef.jpg","133X66.5cm",[35,133],{"id":4609,"slug":4610,"title":772,"dynasty":45,"author":913,"museum":20,"description":4611,"tags":4612,"thumbUrl":4615,"material":4616,"size":116,"collection":35,"collections":4617,"showCount":4557,"zanCount":11,"manualWeight":39,"mainColor":4618},203415,"hua-hui-ce-wang-wei-lie-203415","此册两开，左幅蟹卧翠叶，紫穗垂悬，草虫点缀其间，工笔勾勒精准，设色温润雅致；右幅芙蓉绽放，花叶扶疏，浓淡相衬，姿态娇妍生动。画面布局精巧，线条婉转流畅，设色明丽却不俗，尽显明代花鸟册页的精致意趣，于细微处见自然生机，笔墨间藏清幽韵致。",[97,27,29,26,1798,76,7,4613,4614,23],"工细","清雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faca6a9107f4af8b26a6991a2c2dbd95e.jpg","设",[35],"ab8e72",{"id":4620,"slug":4621,"title":4622,"dynasty":388,"author":715,"museum":275,"description":2377,"tags":4623,"thumbUrl":4625,"material":279,"size":280,"collection":116,"collections":4626,"showCount":4627,"zanCount":39,"manualWeight":39,"mainColor":40},283618,"li-hua-tu-qian-xuan-283618","梨花图",[23,24,96,69,25,29,4624,70,31,53,7],"梨花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c47c67343792d97cc1609ddfe962a6c.jpg",[],29,{"id":4629,"slug":4630,"title":4631,"dynasty":45,"author":304,"museum":275,"description":4147,"tags":4632,"thumbUrl":4636,"material":279,"size":280,"collection":116,"collections":4637,"showCount":4627,"zanCount":39,"manualWeight":39,"mainColor":87},256169,"mu-diao-cai-hui-lou-kong-feng-huang-mu-dan-hua-hui-jian-zhu-qian-jian-yi-ming-256169","木雕彩绘镂空凤凰牡丹花卉建筑嵌件",[144,4152,4633,1843,4634,2146,561,75,7,4635],"木雕","镂空","建筑嵌件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5effde7e95a6a03425a0e292ed5eee91.jpg",[],{"id":4639,"slug":4640,"title":3894,"dynasty":18,"author":320,"museum":275,"description":1253,"tags":4641,"thumbUrl":4642,"material":279,"size":280,"collection":116,"collections":4643,"showCount":4627,"zanCount":39,"manualWeight":39,"mainColor":40},239451,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239451",[24,25,26,97,27,29,75,172,7,308,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faef2ed2dae437b368ec5f5836264d4e1.jpg",[],{"id":4645,"slug":4646,"title":3894,"dynasty":18,"author":320,"museum":275,"description":1253,"tags":4647,"thumbUrl":4648,"material":279,"size":280,"collection":116,"collections":4649,"showCount":4627,"zanCount":39,"manualWeight":39,"mainColor":40},239449,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239449",[24,96,26,97,27,29,31,53,7,485],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e4a14bf201db386ebf68f255bd0b66a.jpg",[],{"id":4651,"slug":4652,"title":4653,"dynasty":18,"author":304,"museum":275,"description":2069,"tags":4654,"thumbUrl":4659,"material":279,"size":280,"collection":116,"collections":4660,"showCount":4627,"zanCount":39,"manualWeight":39,"mainColor":87},234413,"zhi-xing-fu-mu-tang-ka-yi-ming-234413","智行佛母唐卡",[1032,97,27,2218,291,248,1865,7,4655,253,4656,4657,4658,1844],"山峦","火焰纹","背光","宝相花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47919a6f05c0b86e438887ba4126ae79.jpg",[],{"id":4662,"slug":4663,"title":4664,"dynasty":18,"author":3767,"museum":20,"description":4665,"tags":4666,"thumbUrl":4668,"material":128,"size":116,"collection":116,"collections":4669,"showCount":4627,"zanCount":39,"manualWeight":39,"mainColor":87},233194,"hua-hui-ce-ying-su-hua-ye-zhao-zhi-qian-233194","花卉册-罂粟花页","赵之谦（1829-1884），字益甫、孺卿，又号瀚寮，初字冷君，中年更号悲盦，晚号无闷，浙江会稽（今绍兴）人。早年曾游按察使缪梓幕，咸丰九年（1859）举人，同治元年（1862）入京，四年（1866）会试，之后历官鄱阳、奉新、南城知县。家藏秘册甚富，以篆刻名世，为晚清印坛代表人物。同时擅书、工花卉。此册画十二开，各绘牡丹、萱草、芙蓉、桃花、梅竹、杂卉等，造型新颖，设色鲜亮。",[24,25,26,27,29,4667,7,97,53],"罂粟花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6bc79346a1a651cfdd68b3179673136.jpg",[],{"id":4671,"slug":4672,"title":4673,"dynasty":1042,"author":1043,"museum":275,"description":1044,"tags":4674,"thumbUrl":4679,"material":279,"size":280,"collection":1055,"collections":4680,"showCount":4627,"zanCount":39,"manualWeight":39,"mainColor":87},225874,"wheat-field-with-cypresses-1889-fan-gao-225874","Wheat Field with Cypresses 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　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[23,24,25,890,27,29,4727,4728,307,7],"翠鸟","茶花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0422548bf7c6a8cf40b657aeba6e1bf7.jpg",[],{"id":4732,"slug":4733,"title":4734,"dynasty":18,"author":304,"museum":275,"description":2602,"tags":4735,"thumbUrl":4736,"material":279,"size":280,"collection":116,"collections":4737,"showCount":4720,"zanCount":11,"manualWeight":39,"mainColor":87},272868,"zi-tan-mu-bian-ke-si-hua-niao-tu-gua-ping-yi-ming-272868","紫檀木边缂丝花鸟图挂屏",[24,25,3364,1141,97,27,29,253,252,251,7,4152,2295],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff17f2642bff062578c84f8e86b499e46.jpg",[],{"id":4739,"slug":4740,"title":4741,"dynasty":18,"author":304,"museum":275,"description":4742,"tags":4743,"thumbUrl":4748,"material":279,"size":280,"collection":116,"collections":4749,"showCount":4720,"zanCount":11,"manualWeight":39,"mainColor":870},241988,"yin-du-jin-dian-cui-qian-zhu-bao-hua-hui-wen-zan-yi-ming-241988","银镀金点翠嵌珠宝花卉纹簪","发簪，中国古代汉族人民用来固定和装饰头发的一种首饰。对于现代人来说已经是一个很古老的名词了，但是当在看古装剧时，却总是能被它们点缀出的精致效果所折服。\n将长发松松挽起，插上一枚别致的发簪，再配上典雅的长裙，即便性格再外放的女性，也可以成为让人眼前一亮的古典美人。发簪金属的光泽闪耀在发间，加上小而巧的坠饰，长发的风情便又是一种不一样的感受了。",[235,4067,1666,4744,4745,597,1669,7,4746,4747],"银镀金","花卉纹","金器","银器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F511fed28284ca58f0bf86e093c57ec3c.jpg",[],{"id":4751,"slug":4752,"title":4753,"dynasty":18,"author":2353,"museum":275,"description":4754,"tags":4755,"thumbUrl":4756,"material":279,"size":280,"collection":35,"collections":4757,"showCount":4720,"zanCount":39,"manualWeight":39,"mainColor":40},239104,"hua-hui-ce-1-yu-sheng-239104","花卉册1","余省（1692年—1767年） ，字曾三，号鲁亭，江苏常熟人，余珣之子，清代著名画家。曾受业于蒋廷锡。乾隆（1736—1795）时与唐岱、周鲲同祗候内廷，善花鸟、虫鱼、翎毛，间亦参用西法，赋色妍丽，尤善画蝶，工兰竹水仙，所作叠邀高宗睿题，藏于石渠宝笈。",[24,25,26,49,27,29,7,99,251,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F605e27d7cfb58a061b88e561669dc373.jpg",[35,133],{"id":4759,"slug":4760,"title":772,"dynasty":18,"author":834,"museum":275,"description":1204,"tags":4761,"thumbUrl":4762,"material":279,"size":280,"collection":116,"collections":4763,"showCount":4720,"zanCount":39,"manualWeight":39,"mainColor":40},238889,"hua-hui-ce-dong-gao-238889",[24,25,26,27,97,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5782111591ceaef2e1a39eafb04e1a7.jpg",[],{"id":4765,"slug":4766,"title":3660,"dynasty":45,"author":63,"museum":64,"description":3661,"tags":4767,"thumbUrl":4768,"material":3664,"size":3665,"collection":116,"collections":4769,"showCount":4720,"zanCount":39,"manualWeight":39,"mainColor":40},233467,"ren-wu-hua-hui-ce-xu-wei-233467",[24,25,26,49,67,7,72],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19bc6f941ccfef49e745a867f1e80420.jpg",[],{"id":4771,"slug":4772,"title":4773,"dynasty":45,"author":762,"museum":275,"description":4774,"tags":4775,"thumbUrl":4776,"material":116,"size":116,"collection":116,"collections":4777,"showCount":4720,"zanCount":11,"manualWeight":39,"mainColor":40},228831,"zhe-zhi-hua-zhi-shen-zhou-228831","折枝花枝","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。",[23,24,25,291,49,7,52,114,309,31,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52bbf1cdcefb49755ec2f8724f6aeda7.jpg",[],{"id":4779,"slug":4780,"title":4781,"dynasty":1027,"author":304,"museum":275,"description":4782,"tags":4783,"thumbUrl":4784,"material":279,"size":280,"collection":116,"collections":4785,"showCount":4720,"zanCount":39,"manualWeight":39,"mainColor":87},223816,"mou-fu-jing-yi-ming-223816","某凫镜","唐代铜镜在造型上突破了汉式镜，创造出各种花镜，如葵花镜、菱花镜、方亚形镜等等。图案除了传统的瑞兽、鸟兽、画像、铭文等纹饰外，还增加了表现西方题材的海兽葡萄纹，表现现实生活的打马球纹等等。唐代铜镜的纹饰和总体布局，也突破了前期的程式规范。铜镜的构图虽然还是环绕式和对称式的表现手法，但是布局清新明朗，流畅华丽，自由活泼，特别是高浮雕技法，生气充沛，柔美自然。\n唐代铜镜在造型上已突破了汉式镜，如葵花镜、菱花镜、方亚形镜等。图案除传统的瑞兽、鸟兽、画像、铭文等纹外，还增加了表现西方题材的海兽葡萄纹，打马球纹等。盛唐以后，以花为主，多为吉祥图案，自由豪放，清新活泼，表现了大唐帝国蓬勃向上的精神面貌。装饰方法有浮雕、彩绘、镶嵌、鎏金等到，出现了金银平脱、螺钿镶嵌、涂釉、涂漆等新工艺。唐代铜镜的演变情况可分为三个时期。初唐，一方面继承隋代传统，多为四神镜、十二生肖镜、瑞兽镜；另一方面又受外影响，出现海兽葡萄镜。盛唐、中唐时，民族特点加强，多为花鸟镜、瑞花镜、人物故事镜、盘龙镜、对凤镜等，寓意吉祥。构图也不像传统汉式镜那样严格对称，而是采用绘画风格，但求均衡，不求对称。装饰手法也比以前增多，华丽精致，雄健豪放，是唐镜的最盛期，代表了唐镜的水平。晚唐处于衰落趋势，多为八卦镜，万字镜，有宗教意义，整个看上去，简单粗放，单调乏味。",[1842,4507,2146,252,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79f3940cd34c7651504a27ee17dfb630.jpg",[],{"id":4787,"slug":4788,"title":4789,"dynasty":92,"author":4790,"museum":207,"description":4791,"tags":4792,"thumbUrl":4794,"material":102,"size":4795,"collection":116,"collections":4796,"showCount":4797,"zanCount":39,"manualWeight":39,"mainColor":87},288457,"shi-quan-bao-xi-tu-lin-chun-288457","十全报喜图","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。",[23,24,96,25,291,29,97,27,252,1118,293,7,4793],"报喜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feceae8d01d0cfba39399adf662cee49c.jpg","173.2x97.6",[],27,{"id":4799,"slug":4800,"title":772,"dynasty":18,"author":834,"museum":275,"description":1204,"tags":4801,"thumbUrl":4802,"material":279,"size":280,"collection":116,"collections":4803,"showCount":4797,"zanCount":11,"manualWeight":39,"mainColor":40},238892,"hua-hui-ce-dong-gao-238892",[24,25,26,27,97,29,71,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34029679e39a22d48bdbe68a1ab3a690.jpg",[],{"id":4805,"slug":4806,"title":4807,"dynasty":18,"author":2403,"museum":275,"description":4808,"tags":4809,"thumbUrl":4810,"material":116,"size":116,"collection":116,"collections":4811,"showCount":4797,"zanCount":11,"manualWeight":39,"mainColor":40},234518,"hua-hui-ce-ye-jiang-ting-xi-234518","花卉册页","蒋廷锡先生绘画最初是学恽寿平的没骨技法，但是他把恽寿平的没骨画进行了改变，一改其纤丽之风，形成了他自己的兼顾工细与文人大写意画风相融合的'蒋派'花鸟画风。\n在这套策略当中，共有12帧，每一帧都画的极为精美秀丽，在蒋廷锡的安排组合下又平添了几分贵气，绘画的花卉在抓住自然的基础上，又把花卉的神韵进行了很好的描绘，在淡淡的笔墨当中施以淡色，以工笔点心，用淡墨层层渲染，把花卉的层次展现出来，这种绘画的方式极为细腻，稍有插翅就容易将一幅画面毁掉，这考究的是画家对笔墨的高度把握，用'以画作诗诗细腻，以诗作画画入神。'这句诗来描述蒋廷锡的最为恰当。",[24,25,26,27,97,29,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c01863c4280c138a261be04736e8923.jpg",[],{"id":4813,"slug":4814,"title":44,"dynasty":18,"author":480,"museum":64,"description":1503,"tags":4815,"thumbUrl":4817,"material":368,"size":1506,"collection":116,"collections":4818,"showCount":4797,"zanCount":552,"manualWeight":39,"mainColor":40},232973,"hua-niao-ce-lang-shi-ning-232973",[96,24,25,26,97,27,2268,4816,29,7,3690,293,443],"中西融合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F275741959223d2a9d4cd225fb7d71574.jpg",[],{"id":4820,"slug":4821,"title":4822,"dynasty":18,"author":304,"museum":275,"description":4823,"tags":4824,"thumbUrl":4827,"material":279,"size":280,"collection":2149,"collections":4828,"showCount":4797,"zanCount":11,"manualWeight":39,"mainColor":40},229216,"qian-long-yao-fa-lang-cai-lan-di-kai-guang-hua-hui-xiao-wan-yi-ming-229216","乾隆窑 珐瑯彩蓝地开光花卉小碗","清高宗在位时(公元1736〜1795年）的官窑。所产的瓷器，突出的特点是能把许多不同品种、不同火度的釉料用于一器之上。在仿古瓷及各种色釉器方面，品种也很多。乾隆窑瓷器釉较康、雍时期略显粗糙，一为乳白粉釉，一为略带青色的白釉。器型种类繁多，并出现了一些新奇的制品，如用瓷土制造的像生瓷，制作精巧，艺术价值很高。乾隆窑瓷器的纹饰，讲究画得规矩，所画多仿名家笔意，并开始有仿西洋的画法。颜色釉方面，以茶叶末釉烧得最为成功，并利用茶叶末加以变化的古铜釉，十分巧妙地反映出铜器的色泽、锈斑，制出仿铜器的作品。",[2305,4418,27,97,7,4825,4826],"开光","蓝地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef37cd2b94669dbd294c627fc1b2a92d.jpg",[2149],{"id":4830,"slug":4831,"title":4832,"dynasty":45,"author":1566,"museum":275,"description":4833,"tags":4834,"thumbUrl":4835,"material":116,"size":116,"collection":116,"collections":4836,"showCount":4797,"zanCount":39,"manualWeight":39,"mainColor":87},228314,"hua-shi-tu-lu-zhi-228314","花石图","这幅作品错落铺陈花木湖石，右上角山茶花艳红似火，苍劲枝干蟠曲舒展，尽显盛放热烈。中段蜀葵柔白清雅，叶片肥润舒展，与青绿晕染的玲珑湖石相映成趣，湖石皴染细腻，通灵剔透，将花姿衬得愈发娇妍。下方萱草抽茎舒瓣，柔姿轻曳，添了幽婉闲静之致。\n\n画作工写兼施，设色明秀雅致又层次丰盈，把草木的鲜活生机与湖石的沉静古雅相融，既兼具院体花鸟的写实细腻，又饱含文人画的秀逸格调，将仲夏庭间的鲜活雅致凝于绢素，一花一叶皆可见对自然意趣的细致体察。",[23,24,96,291,27,97,251,75,76,169,7,293],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff21574bc48e709759518e5032841160b.jpg",[],{"id":4838,"slug":4839,"title":4840,"dynasty":18,"author":2364,"museum":2365,"description":2366,"tags":4841,"thumbUrl":4844,"material":406,"size":2371,"collection":116,"collections":4845,"showCount":4797,"zanCount":39,"manualWeight":39,"mainColor":40},223069,"hong-lou-meng-55-sun-wen-223069","红楼梦55",[23,96,24,25,97,27,248,250,524,253,587,3220,4842,3238,7,4843,1329,536],"古典建筑","人物场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1b14771366881409afaa5b48b2e58a0.jpg",[],{"id":4847,"slug":4848,"title":4849,"dynasty":18,"author":2364,"museum":2365,"description":2366,"tags":4850,"thumbUrl":4852,"material":406,"size":2371,"collection":116,"collections":4853,"showCount":4797,"zanCount":39,"manualWeight":39,"mainColor":87},223063,"hong-lou-meng-49-sun-wen-223063","红楼梦49",[23,96,24,25,69,97,27,247,248,250,524,253,4851,254,7],"屋顶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0005ec926a0d206e783104f1a358f952.jpg",[],{"id":4855,"slug":4856,"title":4857,"dynasty":45,"author":124,"museum":207,"description":4858,"tags":4859,"thumbUrl":4860,"material":379,"size":4861,"collection":35,"collections":4862,"showCount":4797,"zanCount":39,"manualWeight":39,"mainColor":40},222004,"qiu-kui-zhe-zhi-tu-wen-zheng-ming-222004","秋葵折枝图","图绘折枝秋葵一枝，取其正面之势。花开粲然，叶呈多貌，浓墨淡墨穿插其间，神韵清俊舒朗。",[23,24,29,7,49,67,291,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa792f16172d45ac3e5b4b10cf32a318e.jpg","纵65.4厘米，横30.3厘米",[35,854],{"id":4864,"slug":4865,"title":4866,"dynasty":18,"author":304,"museum":275,"description":4867,"tags":4868,"thumbUrl":4870,"material":279,"size":280,"collection":116,"collections":4871,"showCount":4872,"zanCount":552,"manualWeight":39,"mainColor":87},273080,"mu-bian-qing-xiu-mu-dan-hua-hui-wen-ping-yi-ming-273080","木边清绣牡丹花卉纹屏","左幅紫藤垂曳萦回，柔花轻垂，水畔游鱼拨弄清波，野趣横生。右幅牡丹次第盛放，娇妍动人，蛱蝶振翅环绕花枝，灵动鲜活。\n\n绣工极尽精巧，施针细密匀整，配色柔和雅致，花叶脉络、蝶翼纹理皆细腻逼真，晕染过渡自然柔和，将花木鱼虫的情态尽数勾勒。整作构图疏朗空灵，把庭院小景的悠然意趣定格于丝帛之上，尽显传统闺阁刺绣的雅致造诣，晕开东方古典的温婉诗意。",[4869,3364,29,75,7,99,701,3410,4152,2295],"绣品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F943c7d6e2577a669bd910da821464e93.jpg",[],26,{"id":4874,"slug":4875,"title":4876,"dynasty":18,"author":1623,"museum":275,"description":1624,"tags":4877,"thumbUrl":4879,"material":368,"size":1629,"collection":116,"collections":4880,"showCount":4872,"zanCount":39,"manualWeight":39,"mainColor":40},234994,"hua-hui-ling-mao-ping-12-ren-yi-234994","花卉翎毛屏12",[24,27,291,29,649,4878,7,562],"枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5870bd8f431964529394a7aa9ab6cb0f.jpg",[],{"id":4882,"slug":4883,"title":2165,"dynasty":18,"author":4884,"museum":64,"description":4885,"tags":4886,"thumbUrl":4887,"material":549,"size":4888,"collection":116,"collections":4889,"showCount":4872,"zanCount":39,"manualWeight":39,"mainColor":40},233728,"wu-rui-tu-zhou-xu-gu-233728","虚谷","瓶花是虚谷喜画的题材之一。图中蜜桃、枇杷、百合等是日常生活中常见的花果，给人以朴素、亲切的感觉。图中瓷瓶及百合用勾染法描绘，线条简练，造型准确；花卉、蜜桃及枇杷用没骨法表现，层层渲染，增添了花果的层次感及质感。画面设色润泽鲜艳，富有淡雅清新的韵味。\n“五瑞”即端午祥瑞之意。蜜桃、枇杷、百合均有吉祥寓意。此图当为祝贺是年端午节而作。",[24,27,67,29,7,485,2958,51,308],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eacdc52cbfaccb9957c899b8b80fc7e.jpg","纵177.8厘米，横46.3厘米",[],{"id":4891,"slug":4892,"title":658,"dynasty":18,"author":4893,"museum":64,"description":4894,"tags":4895,"thumbUrl":4896,"material":577,"size":116,"collection":116,"collections":4897,"showCount":4872,"zanCount":11,"manualWeight":39,"mainColor":40},232942,"hua-hui-tu-ce-fan-ting-zhen-232942","范廷镇","范廷镇（清），字鹿畴，一作祉安，或止安，号芷庵，一号冻亭，又号乐亭，武进（今江苏常州）人。能作花卉草虫，并书法，俱效恽寿平。\n范廷镇是恽寿平的亲传弟子，最能得恽南田没骨写生花卉之神髓，他的个别作品甚至可以达到乱真的地步，也是恽寿平的主要代笔人。包括他的书法与恽寿平都十分相近，接近于形神兼备，但格调稍欠，诗文才情更是与恽寿平相差甚远。",[24,25,26,97,27,29,7,112,114,392],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab207a06b8dcd58c96b61485747f7522.jpg",[],{"id":4899,"slug":4900,"title":4901,"dynasty":18,"author":320,"museum":275,"description":4902,"tags":4903,"thumbUrl":4904,"material":116,"size":116,"collection":116,"collections":4905,"showCount":4872,"zanCount":39,"manualWeight":39,"mainColor":40},229025,"hua-hui-ba-kai-zou-yi-gui-229025","花卉八开","柔梅斜枝舒展，粉瓣层叠轻绽，深浅花色晕染出娇柔妍态，苍劲老干皴擦尽显古拙意趣。旁侧新竹挺秀，翠叶临风摇曳，清刚之姿与梅花柔媚相映成趣，一动一静间尽显花木灵韵。\n\n右上角题诗娟秀雅致，诗画相融更添文人情思。设色明丽柔和，勾勒晕染兼具工细与写意之妙，将春日花木的生机神韵尽数铺陈，笔底饱含清雅悠然的文人意趣，将这一隅小景绘就成生机盎然又古雅沉静的清逸画卷。",[24,25,26,27,97,29,72,75,53,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28d8a09956eafa777e9025de0f632c7d.jpg",[],{"id":4907,"slug":4908,"title":4909,"dynasty":1042,"author":4910,"museum":275,"description":4911,"tags":4912,"thumbUrl":4920,"material":279,"size":280,"collection":116,"collections":4921,"showCount":4872,"zanCount":39,"manualWeight":39,"mainColor":87},226151,"conception-giovanni-battista-tiepolo-226151","Conception","Giovanni Battista Tiepolo","乔凡尼·巴蒂斯塔·提埃坡罗，常被称为詹巴蒂斯塔（Giambattista），巴洛克及洛可可时期意大利著名画家，威尼斯画派最后的代表人物。",[1032,1046,248,4913,4914,1033,4677,7,4915,4916,4917,308,2268,1356,3910,4918,4919],"天使","鸽子","披风","翅膀","球体","神话生物","小天使","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9da7c27f4bcc1dbe29780391e7ba55ab.jpg",[],{"id":4923,"slug":4924,"title":4925,"dynasty":1042,"author":1350,"museum":275,"description":1351,"tags":4926,"thumbUrl":4930,"material":279,"size":280,"collection":1055,"collections":4931,"showCount":4872,"zanCount":39,"manualWeight":39,"mainColor":870},226145,"wistarias-at-giverny-mo-nai-226145","Wistarias at Giverny",[1353,1046,4927,1357,3911,4928,113,1369,308,7,4929],"光影捕捉","紫藤花","自然景物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86b0e9a23d613eabce3b15b3e7e09b8b.jpg",[1055],{"id":4933,"slug":4934,"title":4935,"dynasty":18,"author":4936,"museum":20,"description":4937,"tags":4938,"thumbUrl":4940,"material":82,"size":116,"collection":259,"collections":4941,"showCount":4872,"zanCount":11,"manualWeight":39,"mainColor":40},218259,"za-hua-juan-li-yu-218259","杂画卷","李渔","水墨写意间，月色轻笼孤舟，帆影随水草漾开清寂。兰草以简劲线条勾勒，墨色浓淡相生，逸趣盎然。仕女执扇伫立，衣袂翩然，身旁花草点染幽淡诗意。山石淡墨皴擦，云雾缭绕处，二人对坐，似论道品茗，空灵悠远。整卷笔墨疏朗，意境闲淡，文人雅致与自然之趣融于尺幅，每段皆含诗意，尽显写意之妙。",[23,24,25,49,2498,70,31,69,53,941,248,4939,1654,79,7],"孤舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85eebb03ec7d9b97d1eea30725928f51.jpg",[259],{"id":4943,"slug":4944,"title":4945,"dynasty":18,"author":3793,"museum":141,"description":4946,"tags":4947,"thumbUrl":4948,"material":3814,"size":4949,"collection":116,"collections":4950,"showCount":4872,"zanCount":39,"manualWeight":39,"mainColor":40},216330,"jin-nong-ba-kai-hua-niao-tu-4-jin-nong-216330","金农八开花鸟图-4","八开花鸟图是清朝时期金农所绘的著名图画作品之一。金农是清朝时期著名的画家，他的八开花鸟图是他最著名的作品之一。\n\n这幅画中，金农绘制了许多花和鸟的形象，这些花和鸟形象都非常生动，充满了生机和活力。画中的花和鸟共同组成了一个浓郁的自然风景，让人们感受到花园中的清新与自然。\n\n金农的八开花鸟图被认为是中国画史上的杰作，在当时也广受欢迎，被认为是一幅非常优秀的作品。",[24,25,49,67,291,29,7,52,114,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a4a4c16d57ac37a6163886acbe3d554.jpg","30.5x40.9cm",[],{"id":4952,"slug":4953,"title":4954,"dynasty":18,"author":304,"museum":275,"description":4147,"tags":4955,"thumbUrl":4956,"material":279,"size":280,"collection":116,"collections":4957,"showCount":4958,"zanCount":11,"manualWeight":39,"mainColor":40},270153,"chou-xiu-hua-niao-tu-mian-wu-mu-diao-hua-bing-tuan-shan-yi-ming-270153","绸绣花鸟图面乌木雕花柄团扇",[890,29,99,7,3410,2295,4152,4149,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba12426b1b2629e505b68cd8678a10e7.jpg",[],25,{"id":4960,"slug":4961,"title":4962,"dynasty":18,"author":304,"museum":275,"description":4963,"tags":4964,"thumbUrl":4966,"material":279,"size":280,"collection":116,"collections":4967,"showCount":4958,"zanCount":11,"manualWeight":39,"mainColor":40},265608,"xue-hui-se-duan-di-zhi-mei-mu-dan-tao-hua-lan-hua-wen-tao-yi-ming-265608","雪灰色缎地枝梅牡丹桃花兰花纹绦","经线提花锦的组织结构和纹样都十分复杂，舞人动物纹锦的纹样横贯全幅，充分反映了当时已有了先进的提花织造技术。精美的刺绣品共有17种纹样，构图大，讲究对称、平衡，色彩配合恰当，给人以端庄典雅、富丽堂皇的美感。纹样内容充满神话色彩，鲜明地反映了楚文化的浪漫主义特色。墓中出土的衣袍为直据，是当时贵族中最流行的一种服式。这批先秦织物的出土，为深入研究我国古代纺织史提供了珍贵的实物资料。",[2295,597,3736,71,79,75,77,7,4965],"绦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F682cb286d2e9772da5b52b0d7e216ce9.jpg",[],{"id":4969,"slug":4970,"title":4971,"dynasty":18,"author":304,"museum":275,"description":4972,"tags":4973,"thumbUrl":4979,"material":279,"size":280,"collection":116,"collections":4980,"showCount":4958,"zanCount":11,"manualWeight":39,"mainColor":87},263569,"lan-se-di-fu-shou-san-duo-gui-bei-wen-jin-yi-ming-263569","蓝色地福寿三多龟背纹锦","《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》。",[4974,2295,4975,4976,4977,7,27,4978],"织锦","龟背纹","福寿三多","瑞兽","传统纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b74c94a8f287781637f7d3af6cef616.jpg",[],{"id":4982,"slug":4983,"title":4984,"dynasty":18,"author":834,"museum":275,"description":1204,"tags":4985,"thumbUrl":4987,"material":279,"size":280,"collection":116,"collections":4988,"showCount":4958,"zanCount":11,"manualWeight":39,"mainColor":40},239445,"fang-gu-si-shi-hua-hui-juan-dong-gao-239445","仿古四时花卉卷"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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。",[2305,4046,5814,5815,5816,4417,7],"缠枝宝相花","海棠式盆","玻璃梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5904a399893e7db9dfa49a6618018752.jpg",[],{"id":5820,"slug":5821,"title":5822,"dynasty":18,"author":304,"museum":275,"description":5823,"tags":5824,"thumbUrl":5827,"material":279,"size":280,"collection":116,"collections":5828,"showCount":135,"zanCount":39,"manualWeight":39,"mainColor":40},267474,"lan-se-an-hua-zhou-chou-zhui-pan-jin-da-zi-xiu-ba-tuan-hua-lan-wen-nv-pei-yi-ming-267474","蓝色暗花绉绸缀盘金打籽绣八团花篮纹女帔","宝蓝暗花绉绸为底，自带低调肌理，沉静雅致。领口绣饰细密精巧，盘金绣线勾勒轮廓，挺括鲜亮，打籽绣绒粒饱满莹润，攒簇出花叶娇态。八团花篮纹饰排布匀停，花篮形制古雅，花叶鲜活灵动，朱红、翠色点染其间，与底色相映，浓艳却不俗腻。\n\n宽袖舒展合于规制，针脚藏纳匠心，将祈福吉意凝于绣纹之中，尽显清代闺阁服饰的温婉贵气，是传统绣艺与服饰美学相融的精妙之作。",[366,2295,3410,5825,5826,7],"盘金打籽绣","花篮纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1ca74ca0bc3e9495dd1486101c2e9a8.jpg",[],{"id":5830,"slug":5831,"title":5832,"dynasty":18,"author":304,"museum":275,"description":5833,"tags":5834,"thumbUrl":5835,"material":279,"size":280,"collection":116,"collections":5836,"showCount":135,"zanCount":39,"manualWeight":39,"mainColor":87},264498,"xue-hui-se-hai-tang-shao-yao-wen-jiang-chou-yi-ming-264498","雪灰色海棠芍药纹江绸","整体色调柔雅沉静，暗纹织就的海棠与芍药舒展蔓延，花枝缱绻柔婉，布局疏密相宜。暗花在光影里若隐若现，将花卉娇妍悄然融于面料肌理，尽显含蓄雅致的东方意趣。\n织物经纬之间尽显匠心，把中式花艺的温婉灵秀凝固于丝帛之上，自带澹澹古韵，静赏间便能触摸到传统丝织工艺的细腻质感，尽显东方织物内敛的美学意蕴。",[2295,837,173,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c770d4f2c1c83e6a2544ab21ccc6e2.jpg",[],{"id":5838,"slug":5839,"title":5840,"dynasty":18,"author":304,"museum":275,"description":4972,"tags":5841,"thumbUrl":5844,"material":279,"size":280,"collection":116,"collections":5845,"showCount":135,"zanCount":39,"manualWeight":39,"mainColor":5846},263834,"yue-bai-se-di-chuan-zhi-da-yang-hua-wen-jin-bao-di-jin-yi-ming-263834","月白色地串枝大洋花纹金宝地锦",[4974,2295,5842,5843,7,75,27],"金宝地","串枝纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d62373aadd85cdc6a9002e7c9d9e6a5.jpg",[],"2A56C6",{"id":5848,"slug":5849,"title":772,"dynasty":18,"author":2610,"museum":275,"description":2611,"tags":5850,"thumbUrl":5851,"material":279,"size":280,"collection":116,"collections":5852,"showCount":135,"zanCount":39,"manualWeight":39,"mainColor":40},239095,"hua-hui-ce-ma-yuan-yu-239095",[24,96,25,26,27,29,252,7,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b30ddd64bda961704f25e2e005f1a5a.jpg",[],{"id":5854,"slug":5855,"title":772,"dynasty":18,"author":834,"museum":275,"description":1204,"tags":5856,"thumbUrl":5858,"material":279,"size":280,"collection":116,"collections":5859,"showCount":135,"zanCount":39,"manualWeight":39,"mainColor":40},238890,"hua-hui-ce-dong-gao-238890",[24,25,26,27,97,7,251,76,5857],"秋海棠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2cabbf4021f74ea7b313a841aca195b.jpg",[],{"id":5861,"slug":5862,"title":5546,"dynasty":18,"author":834,"museum":275,"description":1204,"tags":5863,"thumbUrl":5864,"material":279,"size":280,"collection":116,"collections":5865,"showCount":135,"zanCount":39,"manualWeight":39,"mainColor":40},238404,"xuan-jin-lu-fang-tu-ce-dong-gao-238404",[96,24,25,26,97,27,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84eea1bcbc36d4794de19156cc25663d.jpg",[],{"id":5867,"slug":5868,"title":772,"dynasty":18,"author":834,"museum":275,"description":1204,"tags":5869,"thumbUrl":5871,"material":279,"size":280,"collection":116,"collections":5872,"showCount":135,"zanCount":11,"manualWeight":39,"mainColor":40},238347,"hua-hui-ce-dong-gao-238347",[24,25,26,27,97,29,75,30,5870,7],"荷包牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7314ada3764358bd13472889e55703f2.jpg",[],{"id":5874,"slug":5875,"title":5876,"dynasty":18,"author":5877,"museum":275,"description":5878,"tags":5879,"thumbUrl":5880,"material":279,"size":280,"collection":35,"collections":5881,"showCount":135,"zanCount":39,"manualWeight":39,"mainColor":40},238107,"yun-zi-hua-hui-ce-yun-zi-238107","恽资花卉册","恽资","此作以没骨法写折枝花卉，枝叶晕染清润柔和，粉瓣过渡自然，将盛放娇花与将谢残英并置，暗含荣枯之思。\n笔底花叶舒展灵动，设色明雅柔和，淡而有神，将草木柔媚之态与脉脉生韵相融。旁配行书题跋，笔意隽秀清雅，书画相映成趣，尽显文人意趣。\n画作脱却匠气，以写生为要，尽显细腻情思，于尺幅间晕染出雅致恬然的林下风致，尽显闺阁画柔婉雅致的独特风貌。",[24,25,26,97,27,29,7,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01ebf255ec050eb15310032b3d56a6ab.jpg",[35,133],{"id":5883,"slug":5884,"title":772,"dynasty":18,"author":2412,"museum":275,"description":2413,"tags":5885,"thumbUrl":5886,"material":128,"size":116,"collection":116,"collections":5887,"showCount":135,"zanCount":39,"manualWeight":39,"mainColor":40},237287,"hua-hui-ce-wu-kai-237287",[24,25,96,26,27,97,7,76,114,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f178840eaee77e57ff2f1eb327e2707.jpg",[],{"id":5889,"slug":5890,"title":5100,"dynasty":18,"author":5891,"museum":275,"description":5892,"tags":5893,"thumbUrl":5894,"material":116,"size":116,"collect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、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。\n黄慎擅长人物、山水、花鸟，并以人物画最为突出，题材多为神仙佛道和历史人物，也有一些现实生活中的形象，多从民间生活取材，不少作品塑造了纤夫、乞丐，流民、渔民等下层人物形象，如《群乞图》取材现实生活，描写灾荒年中，乞丐们流落街头，受人欺凌的悲惨画面，表现出他对人民疾苦的同情。画神仙佛道如《醉民图》，多操大幅，用笔设色，泼辣大胆，于迷离扑朔中见形象神韵。描绘文人生活的有《东坡玩砚图》，用笔迅疾，衣纹顿挫，线条硬折，墨公浓淡相间，人物轩昂、富有气势，为其成熟后的代表画风。\n他的花鸟画宗法徐渭，亦纵逸泼辣挥洒自如，如《瓶梅图》《菊蟹图》等。他的山水虽“不以山水名”，但山水画有一定的造诣，大幅和小景都各尽其妙，潇洒有致，山水代表作如《渔归图》，两株柳树，“姿态婀娜劲挺，耸立奇峭山岩，淡墨轻赭横扫出沙滩，中景两只渔船，一笔勾出船舷，船中人物，神态右辨，画面左角草书题画诗三行，诗、书、画、印紧相配合，自然贴切。\n黄慎擅草书，书法学“二王”，更得怀素笔意，从章草脱化而出，其栖劲运笔亦用于绘画之中，故画面多干枯、飞白和迅疾之迹，黄慎的草书，点画纷披，散而序，评者说它象疏景横斜，苍藤盘结，具有“字中有画”之趣，他的书法出于章草，颇难认识，故而仿效者不多，但他不趋时尚，敢于标新立异。 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一股“我闺女棒棒哒”的自豪溢出来了～\n蒋淑（生卒年不详），清代杰出女性画家，从其画作上判断她大致生活于清康熙至雍正年间，字又文，江苏常熟人。蒋廷锡女，华亭王敬妻。其父蒋廷锡官至大学士，闲暇之余以逸笔作写生花卉，机趣天然。蒋淑自幼秉承家教，亦以擅绘花鸟著称。",[24,25,26,27,97,904,29,7,485,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea0728567f0f0573e343468c07c62a75.jpg",[],{"id":6367,"slug":6368,"title":6369,"dynasty":18,"author":6370,"museum":275,"description":6371,"tags":6372,"thumbUrl":6374,"material":116,"size":116,"collection":116,"collections":6375,"showCount":6200,"zanCount":39,"manualWeight":39,"mainColor":40},234117,"hua-guo-juan-yuan-jiang-234117","花果卷","袁江","清代康熙至乾隆时期，我国东南的扬州地区，由于商品经济的发展，涌现出了一批追求个性解放，锐意创新的画家群体，这就是画史上称之“扬州画派”，或曰“扬州八怪”。在这个画派中，除了拥有人数众多名震画坛的山水、花鸟和人物画家之外，还出现了一批界画作家，如李寅，颇峰、袁江、袁帽，颇岳等，而袁江、袁耀则是这批楼阁界画的佼佼者，他们成就最大，名望最高，把我国传统的界画技法发展到了一个新的高度，并对后世产生了深远的影响。\n关于袁江的生卒，由于画史无记载，我们只能在袁氏的作品中寻找。据笔者所知，袁江现存最早有纪年的作品是画于康熙三十二年(公元1693年)，最晚的作品画于乾隆八年(公元1743年)，学者以此推测他大约生于康熙十年(公元1671年)前后，卒于乾隆八年，或稍后一、二年之内。他早年生活在“千家养女先教曲，十里栽花算种田”，“夜桥灯火连星汉，水郭帆樯近斗牛”的繁华城市扬州，以后他又到过江宁(今江苏南京)、会稽(今浙江绍兴)。又根据袁江《花鸟图》二幅(藏故宫博物院)的署款“癸卯二月古榕袁江画”，他可能还到过福州，因为“榕”是福州市的别称。又据袁江传世真迹《瞻园图》判断，袁江可能还在南京生活过一段时间，\n因为瞻园是明太祖朱元璋的大将徐达的府第，(位于南京市)。雍正二年(公元1724年)，他北上抵京师(北京)作画，郭味蕖记载他在画中的自题：“在燕台作此图”就是佐证。大至到了晚年，袁江又回到家乡扬州，从他署有年款的“邗上袁江”的大量作品看就能证明这一点，因“邗”即今名的扬州市，(见《左传·哀》九年：“秋，吴城邗，沟通江淮”)。谈到袁江山水楼阁画的师承，文献记载极少，李斗《扬州画舫录》说他“初学仇十洲”，面仇英之画，近师周臣，远“摹唐来人之画，皆能夺真”，由此推之，袁江的画上溯可至唐代的李思训、李昭道父子以及赵伯驹和赵伯骑兄弟。袁江工整细致，设色浓丽的楼阁界画风格，确有仇英的遗韵。又据《画人补遗》记载：“中年得无名氏所临古人画稿”，这“无名氏”又是谁?学术界说法不一，而据有的学者推测，它应该是来人名迹，因为从袁江的山水画中，可以看出有北宋范宽，郭熙，李成、阎次平以及南宋的马远、夏圭等人的画法和遗风。在经营位置上，他又吸收了元明以来山水画的长处，予以融合变化，形成自己的特色。他学“院体”，但又脱去院画中纤弱之笔和艳俗之弊，变为凝炼厚重、工致妍美、艳而不俗的风格。袁江的楼阁界画，更是继承了唐李思训父子，宋赵伯驹兄弟和郭熙以来界画的传统以及元代王振鹏等楼阁画用笔严谨．精雕细刻的画风，并加以发扬光大。",[24,25,96,69,27,49,97,29,1715,6373,170,75,171,76,78,169,71,79,72,80,485,7,51,53],"西瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18aa0380b6630459be1fef1dc09c8650.jpg",[],{"id":6377,"slug":6378,"title":6379,"dynasty":18,"author":304,"museum":275,"description":6380,"tags":6381,"thumbUrl":6384,"material":279,"size":280,"collection":116,"collections":6385,"showCount":6200,"zanCount":39,"manualWeight":39,"mainColor":870},229213,"qian-long-kuan-tong-tai-hua-fa-lang-huang-di-cai-hua-kai-guang-ren-wu-gai-wan-yi-ming-229213","乾隆款 铜胎画珐瑯黄地彩花开光人物盖碗","珐琅又称“佛郎”、“法蓝”，是由中国隋唐时古西域地名拂菻音译而来。珐琅器是以珐琅为材料装饰而制成的器物，其基本成分为石英、长石、硼砂和氟化物，与陶瓷釉、琉璃、玻璃同属硅酸盐类物质。依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。\n珐琅就是将经过粉碎研磨的珐琅釉料，涂施于经过金属加工工艺制作后的金属制品的表面，经干燥、烧成等制作步骤后，所得到的复合性工艺品。珐琅工艺的制作分类很多，一般根据制作方法和胎地种类将其分类。 [2] 珐琅依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。其中掐丝珐琅器就是俗称的“景泰蓝”，15世纪中期明代景泰年间的制品尤为著称，故有景泰蓝之称。\n清代，西洋珐琅从广州传入中国，广州生产的珐琅俗称“广珐琅”，是朝廷的贡品，其中最著名的是画珐琅 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[5] 著有《壹斋集》40卷，其中《奏御集》2卷，杂篇6卷，《萧、汤二老遗诗合编》1卷，《画品》1卷。工诗文、书画，所绘山水，有萧云从余韵，“久邀睿赏，与富阳首相。国称董（浩）黄（钺）二家”，宫内名画，多为其鉴定真伪。诗词有苏东坡风韵，年九十一岁失明，自号“盲左”仍吟诗作画，故乡风情，吟咏殆尽，所作《于湖竹枝词》66首，亦诗亦史，富有深厚乡情。宋子才有“太白脱靴”，“山谷返棹”两图，石刻在太平府尊经阁内。《志》谓“子才七世孙，元太平路经历景阳刻”。嘉庆十七年（1812），黄钺在作此图时也注为元景阳刻。后觉有误，自责捉笔：“承讹袭谬，未暇深考。顷友人拓赠二纸，始知其谬，愧赧无已，爰记以诗，以志吾荒陋焉”。虚怀若谷，难能可贵。\n道光五年（1825），黄钺76岁，请求归休。宣宗“温旨慰留”。次年，又申前请，获准荣归。道光二十一年六月三十日申时（即1841年8月16日15时至17时）在芜湖家中逝世，享年九十二岁。宣宗悼惜，追封为太子太保衔，入祀贤良祠，按尚书条例抚恤，谥号“勤敏”。命史馆立传，赐祭葬，树石碑，葬于当涂南褐山下。同年，奉旨入芜湖乡贤祠。 [3]\n清代乾隆、嘉庆、道光年间，当涂出了一位赫赫有名的内阁尚书、军机大臣。黄钺，字左田，号左君，又号壹斋、左盲，生于乾隆十五年（1750年），卒于道光二十一年（1841年）。因其一生敏而好学，著述甚多，又“执掌皖南北书院十载”，对当地文化、教育做出了重要贡献。\n乾隆三十八年（1773年）十月，年仅23岁的黄钺在太平府学政使院参加岁试。安徽提督学政朱筠阅其卷，以为“奇才异能”，称道不止。朱筠在离开当涂回京都时，特地将这位年轻人带入京城应试，虽未中试，但得以在《四库全书》馆做誉录工作，因之学识大进。乾隆五十三年（1788年），黄钺考中举人，五十五年中进士，授户部主事。当时权臣和坤主管户部，因二人意见相左，借故请假回家，协助安徽巡抚李世杰在芜湖赭山谪翠轩创建中江书院，招员授业。嘉庆四年（1799年），仁宗亲政，黄钺奉命进京加封为“懋勤殿行走”。嘉庆九年（1804年），提升为“赞善，入直南书房”。嘉庆十年，出任山西学政，又特旨任湖北、山东、顺天等地的乡试主考官，后又兼任山西、山东学政，准予密折奏事。嘉庆十五年（1810年），迁侍讲学士，十八年擢升内阁学士，十九年升任户部侍郎，不久，又调任礼部侍郎。嘉庆二十四年（1819年），升任礼部尚书，并“赐紫禁城骑马肩舆入直，加封太子少保衔”。次年，升会试主考官。道光元年（1821年），宣宗亲政，封其为军机大臣，不久，又调任户部尚书，参与大典事宜，从事“京察议叙”。道光三年，宣宗“赐宴玉澜堂”，并给功臣绘像，黄钺是当时朝廷15名老臣之一。道光五年，黄钺已75岁，请求归休，宣宗又“温旨慰留”。次年，又申前请，始获准归乡。黄钺在朝廷历时27年。\n黄钺一生为封建统治阶级“矢勤矢慎”，但他笔耕不辍，在学术上也很有造诣。著有《壹斋集》四十卷、《壹斋诗集》三十六卷、《韩诗增注正讹》十一卷、《萧汤二老遗诗合编》二卷、《奏御集》二卷，另有《画友录》、《泛浆录》、《游黄山记》、《两朝恩赉记》、《二十四画品》等著作。他善画山水花鸟，尤长画梅，初学王 ，晚学王原祁，与“四王”末流董邦达并称山水画家。他的画，笔墨苍厚，他的字，既有书卷气，也有台阁气。他的诗，别具一格，很有气势。曾作的《花卉图》、《端阳佳景图》、《高冈长松图》等，无论青绿山水和水墨山水都很有特色。\n黄钺在绘画艺术上经过多年的实践和探索，将自己积累的经验进行理论概括，撰成画学专著《二十四画品》一书。《二十四画品》是仿照唐司空图撰写的中国古代文集约名著《二十四诗品》的体例而写成的。书中运用四言韵语，把各种绘画艺术风格概括为：一气韵，二神妙，三高古，四苍润，五沉雄，六冲和，七淡远，八补拙，九超脱，十奇辟，十一纵横，十二淋漓，十三荒寒，十四清旷，十五性灵，十六圆浑，十七幽邃，十八明净，十九健拔，二十简洁，二十一精谨，二十二隽爽，二十三空灵，二十四韶秀。整部著作文词典雅，清丽可诵，表现了栩栩如生的艺术形象。\n黄钺对谢朓、李白、黄庭坚十分崇拜，曾多次游览青山和采石矶。他颂扬谢朓“谢公爱青山，结宇恣啸咏”；在《咏李翰林》诗中讴歌李白：“仙骨埋青山，草木发灵异。”到采石矶“高怀吊古”，“掩英雄之泪，吟供奉之诗”。在他作的《采石矶赋》一文中，除了历数在这里发生的许多惊天动地的事件和英雄人物外，还特地为李白而感叹，说：“白也不群，宗之潇洒，着宫锦而扬帆，共兰舟而持 。旁若无人，歌清四野，当此之时，何其壮也！”黄钺又诗云：“平轩遥瞰一湖开，闻说涪翁守郡来。当日到官才九日，未应便起读书台。”该诗也附注曰：“赭山有滴翠轩，相传为涪翁读书处。李之仪跋山谷二词：‘鲁直请无为、当涂，而得当涂，犹蹭蹬一年方到官，既到九日而罢，又数日乃去。’“\n道光十一年（1831年），长江发生水患，回到家乡的黄钺 积极倡兴赈济，带头捐献俸银千两。道光十三年，濒临江淮的州县又遭水灾，黄钺又“捐百金助赈”，以救乡民。次年，当涂、芜湖一带饥荒，米珠薪桂，人民生计困难，黄钺又与王泽、许耕余等发动有田富户及绅士14家，按田交谷600担，兴办“丰备义仓”12座，当义仓上梁即将落成时，黄钺以诗记其事道：“成城缘众志，图匮在年丰。”并在“丰备义仓”的旁边建立私塾，招收蒙童，普及地方教育事业。\n道光十六年，88岁已不能认字，但仍吟诗咏物，所作《于湖竹枝词》66首，亦诗亦史，深入浅出，富有深厚的爱乡之情。",[24,27,97,29,26,7875,7,1908],"柳叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd9b61d79c938fafcd7ef97deb26ef7b.jpg",[],{"id":7879,"slug":7880,"title":7881,"dynasty":18,"author":7882,"museum":275,"description":7883,"tags":7884,"thumbUrl":7885,"material":279,"size":280,"collection":116,"collections":7886,"showCount":192,"zanCount":39,"manualWeight":39,"mainColor":40},237826,"hua-hui-tu-shan-ye-zhang-ruo-ai-237826","花卉图扇页","张若霭","张若霭[清]（1713—1746）字晴岚（读画辑略作字景采，号晴岚），室名藕香书屋，安徽桐城人。张若霭有家学，祖父张英，父亲张廷玉为雍正、乾隆朝大学士。 雍正十一年（1733）癸丑科殿试金榜中二甲一名进士，未散馆特授编修，后帝亲授内阁学士、礼部侍郎，入直南书房，官至礼部尚书，袭伯爵。",[24,25,890,49,97,29,7,76,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32eaf4d2732d6a1b1bf983ace2b1584d.jpg",[],{"id":7888,"slug":7889,"title":772,"dynasty":45,"author":46,"museum":275,"description":6313,"tags":7890,"thumbUrl":7891,"material":279,"size":280,"collection":116,"collections":7892,"showCount":192,"zanCount":39,"manualWeight":39,"mainColor":40},237682,"hua-hui-ce-sun-ke-hong-237682",[26,70,49,29,31,53,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9657b19b9dc610bf6ba0a935e2fd04b1.jpg",[],{"id":7894,"slug":7895,"title":772,"dynasty":45,"author":46,"museum":275,"description":6313,"tags":7896,"thumbUrl":7897,"material":279,"size":280,"collection":116,"collections":7898,"showCount":192,"zanCount":39,"manualWeight":39,"mainColor":40},237679,"hua-hui-ce-sun-ke-hong-237679",[24,25,26,49,70,7,158,114,52,309],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f4d37d83c8aaf04938e8a539bd09f79.jpg",[],{"id":7900,"slug":7901,"title":658,"dynasty":18,"author":4055,"museum":275,"description":6784,"tags":7902,"thumbUrl":7903,"material":279,"size":280,"collection":116,"collections":7904,"showCount":192,"zanCount":39,"manualWeight":39,"mainColor":40},236005,"hua-hui-tu-ce-hua-yan-236005",[24,25,96,26,27,97,7,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04073fe8ae1ea3053f0bb63aeea839e8.jpg",[],{"id":7906,"slug":7907,"title":658,"dynasty":18,"author":4055,"museum":275,"description":6784,"tags":7908,"thumbUrl":7909,"material":279,"size":280,"collection":116,"collections":7910,"showCount":192,"zanCount":39,"manualWeight":39,"mainColor":40},236003,"hua-hui-tu-ce-hua-yan-236003",[24,25,26,27,29,7,52,114,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2427aa512035cbb993a01c78f18877b.jpg",[],{"id":7912,"slug":7913,"title":274,"dynasty":45,"author":2133,"museum":275,"description":3776,"tags":7914,"thumbUrl":7915,"material":279,"size":280,"collection":116,"collections":7916,"showCount":192,"zanCount":39,"manualWeight":39,"mainColor":40},235690,"shan-shui-hua-hui-ce-xiang-sheng-mo-235690",[24,25,26,27,97,70,53,29,7,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe60f114f1c1d66accec9468b22e9b3b9.jpg",[],{"id":7918,"slug":7919,"title":7920,"dynasty":1042,"author":304,"museum":275,"description":7921,"tags":7922,"thumbUrl":7924,"material":279,"size":280,"collection":116,"collections":7925,"showCount":192,"zanCount":39,"manualWeight":39,"mainColor":40},231771,"wang-gu-feng-su-hua-hui-juan-er-yi-ming-231771","往古风俗画绘卷二","这幅界画工致清雅，以全景铺陈开古旧坊巷。屋舍排布错落严整，飞甍黛瓦、朱栏庭阶皆勾勒细致，尽显传统营造之美。街巷间人物往来熙攘，或市井贸迁，或闲庭信步，百态日常跃然绢素，将往昔烟火气揉进细腻笔触中。\n\n庭园里点缀枯荣花木，四时意趣藏于巷陌深处，设色柔淡雅致，晕开平和温润的古意，引观者踏入旧时光景，触摸千年前鲜活的人间烟火，静赏古早世风的悠然质感。",[23,24,69,27,97,247,7923,248,250,524,2695,253,7],"风俗画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1967de1077b0f92bda1d523e3423430.jpg",[],{"id":7927,"slug":7928,"title":375,"dynasty":18,"author":6555,"museum":275,"description":7929,"tags":7930,"thumbUrl":7931,"material":116,"size":116,"collection":116,"collections":7932,"showCount":192,"zanCount":39,"manualWeight":39,"mainColor":40},229019,"hua-hui-shan-shui-he-ce-wang-hui-229019","此作绘三株牡丹，朱砂色热烈似燃，莹白如凝脂映光，紫花晕染柔婉绰约。叶片勾勒舒展，脉纹细致，衬得花姿愈发秾艳华贵，笔底尽显牡丹摇曳生姿的娇态。左侧题诗行书隽秀，笔墨与花色相映成趣，晕染间揉合精工与写意，既有野逸生动之态，又具没骨设色的妍丽雅致，将天香国色的雍容尽数铺展，藏着雅致文心与鲜活意趣，尽显花间富贵风雅。",[24,25,97,27,7,75,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb13d9c12b5cebfe97f710421564a29a6.jpg",[],{"id":7934,"slug":7935,"title":7936,"dynasty":1042,"author":1350,"museum":275,"description":1351,"tags":7937,"thumbUrl":7941,"material":279,"size":280,"collection":1055,"collections":7942,"showCount":192,"zanCount":39,"manualWeight":39,"mainColor":87},226114,"the-seine-at-argenteuil-1877-mo-nai-226114","The 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的下摆，斜向排列着许多弯曲的线条，名谓水脚。水脚之上，还有许多波浪翻滚的水浪，水浪之上，又立有山石宝物，俗称“海水江涯”，它除了表示绵延不断的吉祥含意之外，还有“一统山河”和“万世升平”的寓意。\n皇后常服样式，与满族贵妇服饰基本相似，圆领、大襟，衣领、衣袖及衣襟边缘，都饰有宽花边，只是图案有\n所不同。本图展示的服装纹样为凤穿牡丹。整件服装在鲜艳的蓝色缎地上，绣八只彩凤，彩凤中间，穿插数朵牡丹。牡丹的颜色处理得净穆而素雅，色彩变化惟妙，具有传统的山水画特点。与此相反，凤的颜色比较浓重，红绿对比度极为强烈，具有典型民族风格和时代特色。\n清代官服主要品种为长袍马褂。官帽与前朝截然不同，凡军士、差役以上军政人员都戴似斗笠而小的纬帽，按冬夏季节有暖帽、凉帽之分，还视品级高低安上不同颜色、质料的“顶子”，帽后拖一束孔雀翎。翎称花翎，高级的翎上有“眼”（羽毛上的圆斑），并有单眼、双眼、三眼之别，眼多者为贵，只有亲王或功勋卓著的大臣才被赏戴。皇帝有时还赏穿黄马褂，以示特别恩宠。影响所及，其他颜色的马褂遂在官员士绅中逐渐流行，成为一般的礼服。四、五品以上官员还项挂朝珠，用各种贵重珠宝、香木制成，构成清代官服的又一特点。丝纺绣染及各种手工专业的进步，为清代服饰品种的丰富创造了条件。\n清代男装主要是长袍和马褂，袖端呈马蹄形是历代不曾见过的。长袍造型简练，立领直身，偏大襟，前后衣身有接缝，下摆有两开衩（古时称“缺裤”），四开衩和无开衩几种类型。皇室贵族为便于骑射，着四面开衩长袍，即衣前后中缝和左右两侧均有开衩的式样，平民则着左右两侧开衩或称“一裹圆”的不开衩长袍。在我国文学名著《红楼梦》第九十四回“宴海棠贾母赏花妖”一节中，记述了一段内容“那日宝玉本来穿着”一裹圆的皮袄在家休息，忽听贾母要来，便去换了一件狐腋箭袖，罩了一件玄狐腿外褂。这里说明“一裹圆”，是休闲衣服，不可登大雅之堂，所以贾母的到来，必须换掉便装，改着正式穿戴。满清时期长袍外面的马褂身长不过膝，袖宽且短。衣服上的佩饰比较琐繁，一个金银牌上垂挂着数十件小东西，如耳挖子、镊子、牙签，还有一些古代兵器的小模型，如戟、枪之类，佩挂饰物在清代已经形成风尚。",[366,2295,5086,9154,1033,6499,7,2975,6500,9155],"缉米珠","海水江崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93fe00291e3c110cff84ecfe87b61a0d.jpg",[],{"id":9159,"slug":9160,"title":9161,"dynasty":18,"author":304,"museum":275,"description":4963,"tags":9162,"thumbUrl":9163,"material":279,"size":280,"collection":116,"collections":9164,"showCount":202,"zanCount":39,"manualWeight":39,"mainColor":870},265693,"bao-lan-se-duan-di-dan-cai-xing-hua-wen-tao-yi-ming-265693","宝蓝色缎地淡彩杏花纹绦",[2295,597,7,3354,72,80,27,7155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc225b5c9f4fec7368abea86e4e12e627.jpg",[],{"id":9166,"slug":9167,"title":9168,"dynasty":18,"author":304,"museum":275,"description":2602,"tags":9169,"thumbUrl":9170,"material":279,"size":280,"collection":116,"collections":9171,"showCount":202,"zanCount":39,"manualWeight":39,"mainColor":181},264290,"xing-huang-se-ke-si-he-hua-wen-pao-liao-yi-ming-264290","杏黄色缂丝荷花纹袍料",[366,2295,1141,170,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0c6922005e6a7f6dea9bdd05c3a050b.jpg",[],{"id":9173,"slug":9174,"title":9175,"dynasty":18,"author":304,"museum":275,"description":9176,"tags":9177,"thumbUrl":9178,"material":279,"size":280,"collection":116,"collections":9179,"showCount":202,"zanCount":11,"manualWeight":39,"mainColor":40},262199,"wu-cai-hua-hui-wen-cha-ping-yi-ming-262199","五彩花卉纹插屏","画面下半绿彩水浪层叠翻卷，金红鲤鱼破浪腾跃，身姿鲜活饱满，暗含跃龙门的吉庆寓意。上侧丹红花枝斜逸而出，浓艳花朵缀满虬枝，嫩绿新叶点染其间，残月悬于素白瓷面，晕开清浅幽柔的夜色，右侧竹石峭立，晕染出文人雅致意趣。\n\n整作以五彩施色，红彩鲜亮明丽，绿彩层次丰盈，素白瓷底托衬得画面雅致清透。构图疏密有致，将灵动生机的水族景致与明媚花月、清逸竹石相融，兼具世俗吉庆意趣与文人雅韵，是瓷绘中兼具装饰性与意蕴的精巧佳品。",[2305,7684,5576,7,701,634,1654,253],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd91901a161d452b044ebed08946200d6.jpg",[],{"id":9181,"slug":9182,"title":9183,"dynasty":18,"author":304,"museum":275,"description":7837,"tags":9184,"thumbUrl":9185,"material":279,"size":280,"collection":116,"collections":9186,"showCount":202,"zanCount":39,"manualWeight":39,"mainColor":40},262143,"yong-zheng-kuan-fen-cai-zhe-zhi-hua-hui-wen-wan-yi-ming-262143","雍正款粉彩折枝花卉纹碗",[2305,5682,75,7,4149,8453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F429024fa56f5c1cae5b1b315fbbd7138.jpg",[],{"id":9188,"slug":9189,"title":9190,"dynasty":18,"author":304,"museum":275,"description":3616,"tags":9191,"thumbUrl":9192,"material":279,"size":280,"collection":116,"collections":9193,"showCount":202,"zanCount":39,"manualWeight":39,"mainColor":870},262014,"wu-cai-hua-niao-wen-ping-yi-ming-262014","五彩花鸟纹瓶",[2305,5576,29,293,7,252,417],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F077773b627f55a4de23a656976497c16.jpg",[],{"id":9195,"slug":9196,"title":9197,"dynasty":18,"author":304,"museum":275,"description":7837,"tags":9198,"thumbUrl":9200,"material":279,"size":280,"collection":116,"collections":9201,"showCount":202,"zanCount":11,"manualWeight":39,"mainColor":40},261525,"yong-zheng-kuan-dou-cai-tuan-hua-wen-wan-yi-ming-261525","雍正款斗彩团花纹碗",[2305,4149,8881,9199,7,80,27],"团花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F649b27b08cecb1b3f071bc002b4e6c92.jpg",[],{"id":9203,"slug":9204,"title":9205,"dynasty":18,"author":304,"museum":275,"description":3616,"tags":9206,"thumbUrl":9207,"material":279,"size":280,"collection":116,"collections":9208,"showCount":202,"zanCount":39,"manualWeight":39,"mainColor":40},258882,"huang-di-fen-cai-hua-hui-wen-hu-lu-ping-yi-ming-258882","黄地粉彩花卉纹葫芦瓶",[2305,5682,27,29,7,75,99,417],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb5f7a0b60c433ba9450413958660240.jpg",[],{"id":9210,"slug":9211,"title":9212,"dynasty":18,"author":304,"museum":275,"description":3616,"tags":9213,"thumbUrl":9215,"material":279,"size":280,"collection":116,"collections":9216,"showCount":202,"zanCount":39,"manualWeight":39,"mainColor":87},258653,"qian-long-kuan-song-shi-lv-di-fen-cai-kai-guang-hua-hui-wen-hu-lu-shi-bi-ping-yi-ming-258653","乾隆款松石绿地粉彩开光花卉纹葫芦式壁瓶",[2305,5682,4825,27,9214,7,5176,417],"松石绿地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffeca4bd64f7145ec40920aaaff787a87.jpg",[],{"id":9218,"slug":9219,"title":9220,"dynasty":18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[2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[235,2145,9348,2146,4825,7,8426,9357,9358],"圆盘","吉祥图案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d791485a491c9c196fc9810f4e939e5.jpg",[],{"id":9362,"slug":9363,"title":7446,"dynasty":1027,"author":304,"museum":275,"description":6399,"tags":9364,"thumbUrl":9367,"material":279,"size":280,"collection":116,"collections":9368,"showCount":202,"zanCount":39,"manualWeight":39,"mainColor":870},245103,"shuang-feng-wen-jing-yi-ming-245103",[1842,4507,2146,9365,7,9366,6410,2147,29],"双凤","花口","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb06b6423f6da808e9f7e4bcc23387f00.jpg",[],{"id":9370,"slug":9371,"title":8499,"dynasty":18,"author":304,"museum":275,"description":9372,"tags":9373,"thumbUrl":9375,"material":279,"size":280,"collection":116,"collections":9376,"showCount":202,"zanCount":39,"manualWeight":39,"mainColor":870},241935,"dian-cui-chuan-zhu-hua-yi-ming-241935","幽蓝点翠似揉碎深夜长空，晕染出莹润透亮的叶片，银胎錾刻的脉络清晰灵动，将草木舒展的姿态凝于发簪之上。穿缀的珠花小巧娇憨，米白珠粒配朱色点缀，宛若带露初绽的碎花簇在枝梢，把春日枝桠的鲜活定格。\n\n匠人以细工慢活将自然意趣藏于鬓间，把东方审美里的温柔雅致融于方寸，静立间便晕开旧时光里的清隽闺韵，尽显旧时首饰工艺的精巧灵秀。",[235,4067,8492,7,597,8505,4436,9374],"装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe455c0a72b76cb534d57869e4af0c7c.jpg",[],{"id":9378,"slug":9379,"title":9380,"dynasty":18,"author":9381,"museum":275,"description":9382,"tags":9383,"thumbUrl":9385,"material":279,"size":280,"collection":116,"collections":9386,"showCount":202,"zanCount":39,"manualWeight":39,"mainColor":87},241470,"xing-kai-jin-zhu-fang-cong-yi-duan-juan-yao-song-241470","行楷晋麈芳丛一段卷","姚宋","姚宋（1648—1721），字雨金，一作雨京，号野梅。安徽新安（今安徽歙县）人。清代画家。\n姚宋寓居芜湖。擅长山水画，其初学弘仁，后期广学诸家，成为新安派画家之一。姚宋所画人物、花鸟、鱼虫、兰竹、无不工致。",[31,69,9384,3463,75,837,1716,76,73,72,71,80,77,79,523,634,4939,252,1654,941,7],"行楷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01aec93a00f535293be71bc9dc187444.jpg",[],{"id":9388,"slug":9389,"title":9390,"dynasty":18,"author":9391,"museum":275,"description":9392,"tags":9393,"thumbUrl":9395,"material":279,"size":280,"collection":116,"collections":9396,"showCount":202,"zanCount":39,"manualWeight":39,"mainColor":40},239340,"zhi-hua-hua-hui-zhou-ying-bao-239340","指画花卉轴","瑛宝","瑛宝，清代画家。姓拜都氏，满洲正白旗人。大学士永贵长子，曾官笔帖式。",[24,9394,291,27,67,7,80,308,53],"指画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf5b784683d6675644786c17ce2896c5.jpg",[],{"id":9398,"slug":9399,"title":9400,"dynasty":18,"author":2353,"museum":275,"description":4754,"tags":9401,"thumbUrl":9402,"material":279,"size":280,"collection":116,"collections":9403,"showCount":202,"zanCount":39,"manualWeight":39,"mainColor":40},239108,"hua-hui-ce-5-yu-sheng-239108","花卉册5",[24,25,26,27,97,7,53,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac953455d6263d22a02dc8e5ad934128.jpg",[],{"id":9405,"slug":9406,"title":6756,"dynasty":18,"author":834,"museum":275,"description":2019,"tags":9407,"thumbUrl":9408,"material":116,"size":116,"collection":116,"collections":9409,"showCount":202,"zanCount":39,"manualWeight":39,"mainColor":40},238784,"hua-hui-xiao-ce-dong-gao-238784",[24,25,26,27,29,7,71,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd702190713b36c052c6d5c09e80afd1b.jpg",[],{"id":9411,"slug":9412,"title":658,"dynasty":18,"author":6257,"museum":275,"description":6258,"tags":9413,"thumbUrl":9414,"material":279,"size":280,"collection":116,"collections":9415,"showCount":202,"zanCount":11,"manualWeight":39,"mainColor":40},238487,"hua-hui-tu-ce-jiang-pu-238487",[24,25,26,27,97,29,7,485,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b6d2dc47325011a0d45419b4d536aad.jpg",[],{"id":9417,"slug":9418,"title":658,"dynasty":18,"author":6169,"museum":275,"description":8609,"tags":9419,"thumbUrl":9420,"material":279,"size":280,"collection":116,"collections":9421,"showCount":202,"zanCount":39,"manualWeight":39,"mainColor":87},237743,"hua-hui-tu-ce-huang-shen-237743",[24,25,26,49,27,29,7,31,70,7183,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1126f88a490e206b1a9f304b6b528eba.jpg",[],{"id":9423,"slug":9424,"title":658,"dynasty":18,"author":6169,"museum":275,"description":8609,"tags":9425,"thumbUrl":9426,"material":279,"size":280,"collection":116,"collections":9427,"showCount":202,"zanCount":39,"manualWeight":39,"mainColor":40},237742,"hua-hui-tu-ce-huang-shen-237742",[24,25,26,49,27,7183,29,7,99,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73b86f38cdc34c5995bfff14ab736541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宋元罗汉画常见僧侣日常活动，此轴描绘僧人补衣，亦可归入罗汉画类型。刘松年是活动在十二世纪的南宋宫廷画家，以本院所藏〈画罗汉〉三轴最具代表性。若与〈补纳图〉相较，风格互异，本幅应系南宋晚期至元的画家托名所作。\n“南宋四家”之一刘松年在南宋画院崭露头角，介于李唐和马远、夏圭之间。他曾师从张敦礼学画，而敦礼画法学李唐，工于山水、人物画，刘松年学到了老师恬洁滋润的长处，也继承了李唐的绘画优点。\n刘松年的作品传世者并不多，据记载他的作品多表现江南一带风景，特别是西湖园林的优美景色，并穿插以文人贵族的闲适生活，少数还图绘了仙山楼阁的神仙世界，反映了那一时代上层社会的审美情趣。\n刘松年的工笔人物画尤其是罗汉图主要是对贯休的继承。当然这种继承不是拷贝，而是在古人的基础之上融入了自己的理解和心得，并形成自己的风格特色。",[24,96,25,291,97,27,248,862,598,1329,9549,7,9476,5777,9550,2962,9551,9552],"鞋履","宋代画风","衣纹细致","色彩典雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ad9390faee56e00d3126eeee9d660f4.jpg","纵141.9cm，横59.8cm",[],{"id":9557,"slug":9558,"title":9559,"dynasty":388,"author":304,"museum":275,"description":9560,"tags":9561,"thumbUrl":9562,"material":116,"size":116,"collection":116,"collections":9563,"showCount":202,"zanCount":39,"manualWeight":39,"mainColor":87},230903,"ge-ba-qiu-feng-tu-yi-ming-230903","歌罢秋风图","淡墨晕染芙蓉瓣，留白衬出柔润娇妍，层叠舒展间暗蕴盛放之姿。浓焦墨勾勒叶脉，苍劲利落的笔触写尽秋意萧疏，枝梗挺括暗藏清刚骨力。\n\n画幅间题诗与画境呼应，以墨代彩，褪去浓艳浮华，尽显简淡秀逸的文人意趣。水墨相生，将清秋芙蓉冷艳风骨与澹泊心境相融，淡远萧疏的氛围里，把晚风里芙蓉的清隽寂寥缓缓铺陈，简淡笔墨间留住一刹幽寂秋光，尽显文人水墨小品的空静雅韵。",[23,24,25,49,27,7,114,31,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78f4f12104f7914b7ff23728192398f8.jpg",[],{"id":9565,"slug":9566,"title":9567,"dynasty":18,"author":304,"museum":275,"description":9346,"tags":9568,"thumbUrl":9569,"material":279,"size":280,"collection":116,"collections":9570,"showCount":202,"zanCount":39,"manualWeight":39,"mainColor":40},229236,"lou-diao-xiang-ya-shi-liu-he-yi-ming-229236","镂雕象牙石榴盒",[235,3939,8906,1716,7,114,417],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1ade92b327c6c37590a3e80ebf93df0.jpg",[],{"id":9572,"slug":9573,"title":9574,"dynasty":18,"author":304,"museum":275,"description":9575,"tags":9576,"thumbUrl":9577,"material":279,"size":280,"collection":116,"collections":9578,"showCount":202,"zanCount":11,"manualWeight":39,"mainColor":40},229223,"jin-lou-kong-hua-hui-zhuo-yi-ming-229223","金镂空花卉镯","传统腕饰，流行于全国各地。其多用金、银、玉等制圆环，束于臂腕间。汉代即有。套在手腕脚腕上的环形装饰品。",[235,4746,597,4634,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcaebc409807bde1c40c85215979a077.jpg",[],{"id":9580,"slug":9581,"title":9582,"dynasty":18,"author":4541,"museum":275,"description":9583,"tags":9584,"thumbUrl":9585,"material":279,"size":280,"collection":116,"collections":9586,"showCount":202,"zanCount":39,"manualWeight":39,"mainColor":40},229051,"qing-ke-si-yu-zhi-san-xing-tu-song-bing-gong-hui-tu-zhou-qing-ren-229051","清缂丝御制三星图颂并恭绘图轴","此作以缂丝技法织就，福禄寿三星齐聚庭间，福星朱袍持如意，雍容端方，禄星抱婴含笑，满含温情，寿星银须捧桃，矍铄古朴。数位稚童环绕身侧，嬉戏随侍，融融暖意扑面而来。\n\n衬以玉树虬松、玲珑湖石与缤纷花草，云烟轻笼庭间，铺就悠然吉庆的雅致氛围。通幅走线匀整细腻，配色明丽沉稳，袍服织金纹饰、松石肌理皆还原精妙，上部御题诗文隽秀规整，与下方图景呼应成趣，将世俗祈愿与宫廷缂丝工艺完美融合，尽显华贵祥和的祥瑞气韵。",[96,24,25,291,1141,27,97,638,248,2159,352,293,1865,7,1268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1baaeba49be9b03774cc9e5217bff1a3.jpg",[],{"id":9588,"slug":9589,"title":9590,"dynasty":45,"author":304,"museum":275,"description":4043,"tags":9591,"thumbUrl":9595,"material":279,"size":280,"collection":2149,"collections":9596,"showCount":202,"zanCount":39,"manualWeight":39,"mainColor":87},228531,"guan-yao-tian-bai-hua-hua-hua-hui-ling-hua-shi-pan-yi-ming-228531","官窑 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Degas，1834年7月19日—1917年9月27日），印象派重要画家。他出身于金融资本家的家庭，他的祖父是个画家，因此他从小就生长在一个非常关心艺术的家庭中。\n中学毕业后，德加报考了美术学校，他在意大利学习意大利的艺术，特别是文艺复兴时期的艺术。与此同时，他又在让-奥古斯特·多米尼克·安格尔（Jean-Suguste Dominique Ingres，1780-1867）的一位得意门生路易·拉莫特（Louis Lamott）的画室里学画。\n1917年9月27日，埃德加·德加逝世于巴黎，享年83岁。",[1046,1353,27,248,11420,11421,253,3441,7,11422,11423],"芭蕾舞者","动态人物","舞裙","足尖鞋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ee10e315dd1c6c3b00ecf65368c18d1.jpg",[],{"id":11427,"slug":11428,"title":11429,"dynasty":1042,"author":304,"museum":275,"description":11430,"tags":11431,"thumbUrl":11432,"material":116,"size":116,"collection":116,"collections":11433,"showCount":228,"zanCount":39,"manualWeight":39,"mainColor":40},231768,"xin-mo-cao-mu-hua-tu-juan-yi-ming-231768","新摸草木花图卷","此卷以白描与设色递次铺陈草木芳华。起首淡墨勾摹朝颜藤蔓花苞，笔致清灵秀雅，尽显藤蔓舒展柔态；继而敷色晕染，朱红白边的喇叭花鲜妍明媚，叶片层次清润自然。\n\n其后依次绘就数种花卉，工细描摹花、叶、果实的各异姿态，配小字题注品类，兼具写生的写实意趣与淡逸格调，将草木舒展之姿、花绽娇妍之态尽皆铺陈，尽显传统花草写生画的清雅韵致。",[23,24,25,69,2498,27,29,7,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ccf1cdfb3870f19a38bdc3bc137e28b.jpg",[],{"id":11435,"slug":11436,"title":11437,"dynasty":1042,"author":304,"museum":275,"description":11438,"tags":11439,"thumbUrl":11440,"material":279,"size":280,"collection":116,"collections":11441,"showCount":228,"zanCount":39,"manualWeight":39,"mainColor":40},230548,"ming-qing-fang-gu-fen-ben-6-sheng-bai-hua-hui-juan-yi-ming-230548","明清仿古粉本-6- 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花卉卷","此卷以水墨绘就，兼具工致与写意之趣。左侧湖石隐于幽草间，枯笔皴擦勾勒石体质感，苍劲古拙，野意盎然。右侧花枝错落舒展，枝干以清劲笔线写出，力道暗藏。叶片以淡墨晕染，浓墨点醒叶脉，层次分明，绣球花以白描圈点，空灵雅致，旁侧小花晕勾结合，疏密相生。全作用墨清和，虚实相映，将湖石的冷寂幽趣与花枝的柔妍盛放相融，尽显文人水墨的清雅淡远，笔底含韵，墨色空灵，尽显古典花鸟的清逸格调。",[23,24,25,69,49,2498,7,251,686,114,53,904],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8339dee55b3aa72625aa9c24a2f9a3b.jpg",[],{"id":11443,"slug":11444,"title":11445,"dynasty":18,"author":304,"museum":275,"description":6380,"tags":11446,"thumbUrl":11448,"material":279,"size":280,"collection":116,"collections":11449,"showCount":228,"zanCount":39,"manualWeight":39,"mainColor":87},229173,"qian-long-tong-fa-lang-lu-yi-ming-229173","乾隆铜珐瑯炉",[18,4507,4418,5173,27,417,8481,11187,11447,2147,10917,7],"盖钮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3e6ef1df91812b62c371d15280c4697.jpg",[],{"id":11451,"slug":11452,"title":5048,"dynasty":45,"author":304,"museum":275,"description":11453,"tags":11454,"thumbUrl":11456,"material":279,"size":280,"collection":116,"collections":11457,"showCount":228,"zanCount":39,"manualWeight":39,"mainColor":87},228417,"fu-hui-xi-yi-ming-228417","位于法海寺大殿内的壁画 距今已有六百多年",[24,27,97,1032,248,941,1777,352,293,170,45,11455,5747,2677,253,4655,7],"传统彩绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a23e74bb909715d6258d13dd9ab2c4f.jpg",[],{"id":11459,"slug":11460,"title":11461,"dynasty":1042,"author":304,"museum":275,"description":11462,"tags":11463,"thumbUrl":11464,"material":116,"size":116,"collection":116,"collections":11465,"showCount":228,"zanCount":39,"manualWeight":39,"mainColor":40},225514,"fu-shi-hui-272-yi-ming-225514","浮世绘272","这幅花鸟绘以雅致留白铺就水岸闲景，斜伸的花枝缀满柔黄繁花，墨色叶片相衬，晕染出春日融融的雅致生机。\n\n水面之上两只水鸭悠然游弋，羽色层次丰富细腻，绒毛质感呼之欲出，一昂首回望、一理羽小憩，动静相映尽显野恬之趣。浅淡墨纹勾勒水波轻漾，晕开清灵水色。整体色调温婉古雅，浅棕底纸晕开柔和古韵，将郊野水岸的悠然意趣缓缓铺陈，把自然的恬适安宁定格在尺幅间，尽显和风花鸟绘的静美意韵。",[3555,27,7045,29,1741,622,308,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdcd264bdd79f084808011e5f8399730.jpg",[],{"id":11467,"slug":11468,"title":11469,"dynasty":1042,"author":304,"museum":275,"description":11470,"tags":11471,"thumbUrl":11472,"material":279,"size":280,"collection":116,"collections":11473,"showCount":228,"zanCount":39,"manualWeight":39,"mainColor":40},225496,"fu-shi-hui-254-yi-ming-225496","浮世绘254","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。",[3555,27,1462,7,145],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff852442d68181c2b361776dac7df3328.jpg",[],{"id":11475,"slug":11476,"title":11477,"dynasty":1042,"author":304,"museum":275,"description":11470,"tags":11478,"thumbUrl":11480,"material":279,"size":280,"collection":116,"collections":11481,"showCount":228,"zanCount":39,"manualWeight":39,"mainColor":40},225477,"fu-shi-hui-235-yi-ming-225477","浮世绘235",[3555,7045,27,248,249,11479,4592,7,3451,7620],"长发","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c8e28cd97b8696a6a7d90f31ec26a1b.jpg",[],{"id":11483,"slug":11484,"title":11485,"dynasty":18,"author":4309,"museum":275,"description":11486,"tags":11487,"thumbUrl":11488,"material":116,"size":116,"collection":116,"collections":11489,"showCount":228,"zanCount":39,"manualWeight":39,"mainColor":40},224301,"hua-hui-shi-er-kai-2-li-shan-224301","花卉十二开2","这幅画以写意笔墨绘就石畔幽花野卉，水墨晕染的湖石朴拙苍劲，淡紫二月兰柔婉舒展，花瓣晕染清透雅致，叶片敷色明润鲜活，细草瘦劲挺秀。笔墨刚柔相济，写意间不失花木娇柔之态，寥寥数笔便将林下野逸生机尽显。题诗与画意相映成趣，诗书画印融为一体，尽显文人写意画的雅致意趣，笔情墨趣间饱含悠然林下的澹然情怀，尽显随性洒脱却不失细腻的创作意韵。",[23,24,25,26,27,49,67,7,251,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1d201bc5fee7ea3e50e27c60d4d7c93.jpg",[],{"id":11491,"slug":11492,"title":11493,"dynasty":18,"author":4309,"museum":275,"description":11494,"tags":11495,"thumbUrl":11496,"material":116,"size":116,"collection":116,"collections":11497,"showCount":228,"zanCount":39,"manualWeight":39,"mainColor":40},224300,"hua-hui-shi-er-kai-12-li-shan-224300","花卉十二开12","此作折枝秋菊错落生姿，紫、粉、白菊次第绽放，没骨绘就的花瓣薄润鲜活，叶片舒展带着清润生机，笔墨放逸却不失秀润意趣，将秋菊清隽之态尽显。\n\n右侧行书题诗笔致率意洒脱，诗书与花木相映成趣。诗句将晚晴霞色附于花枝，让娇花似染落日余晖，把花木风神与文思诗意相融，尽显文人画以物寄情的意趣。画面雅洁灵动，笔情墨趣间，尽是悠然自得的文人情致。",[23,24,25,26,27,7,114,52,31,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe76a21249cc0b1c6fd6cf767055061e9.jpg",[],{"id":11499,"slug":11500,"title":11501,"dynasty":18,"author":2071,"museum":275,"description":2069,"tags":11502,"thumbUrl":11503,"material":279,"size":280,"collection":116,"collections":11504,"showCount":228,"zanCount":39,"manualWeight":39,"mainColor":87},224129,"vajriputra-tang-ka-224129","Vajriputra",[235,2071,1032,27,97,248,250,252,308,293,623,536,7,354],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00fbd60f24945236742f9612f6f0103a.jpg",[],{"id":11506,"slug":11507,"title":11508,"dynasty":45,"author":2891,"museum":207,"description":11509,"tags":11510,"thumbUrl":11511,"material":102,"size":11512,"collection":116,"collections":11513,"showCount":228,"zanCount":39,"manualWeight":39,"mainColor":40},216763,"jiu-lao-tu-4-huang-biao-216763","九老图-4","这是黄震泉仿宋刘松年九老图而成的，要有相似的造型和人物，虽然排列的树石略显单薄轻巧，傅彩清新飘逸之外，也不失为仿制的传世佳品。",[24,96,97,27,248,2178,523,1118,1268,7,926,536,293,366],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11dfd356931d7c386cbe98730bd03dd3.jpg","27.2x193",[],{"id":11515,"slug":11516,"title":11517,"dynasty":18,"author":304,"museum":275,"description":11518,"tags":11519,"thumbUrl":11520,"material":102,"size":116,"collection":116,"collections":11521,"showCount":228,"zanCount":39,"manualWeight":39,"mainColor":87},216692,"hong-lou-meng-fu-tu-ce-33-yi-ming-216692","红楼梦赋图册-33","藤蔓如柔丝轻缠，牵缀着粉白小花与深红浆果，将满篇墨字温柔环抱。竖排文字墨色匀净，笔锋端凝，似在低声诉说红楼深处的韵事。花叶勾勒细腻入微，红绿相映间透着清雅生机，与文字里的诗意互为表里。整幅画面如一方被时光浸润的信笺，图文交织成旧梦碎片，静默中流淌着古典雅致与淡淡怅惘，仿佛能触到红楼人物若有若无的气息。",[23,24,25,26,27,113,7,31,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24138bb077fb75a6389a5a137ae00d31.jpg",[],{"id":11523,"slug":11524,"title":11525,"dynasty":18,"author":304,"museum":275,"description":11526,"tags":11527,"thumbUrl":11529,"material":102,"size":11530,"collection":116,"collections":11531,"showCount":228,"zanCount":39,"manualWeight":39,"mainColor":40},215906,"qing-ren-xiao-xiang-tu-ce-9-yi-ming-215906","清人肖像图册-9","墨袍靛边轻垂，端坐床榻的身影透着儒雅沉稳。床前织锦软垫纹理细腻，右侧条案上青瓷瓶簪花吐蕊，案角茶具闲放，寥寥几笔勾勒出雅致生活场景。人物面容温和，眼神沉静，似在静思或小憩，神态捕捉恰到好处。画家以写实之笔摹写衣纹褶皱与器物质感，色调古朴温润，整体氛围清宁雅致。旧时文人的从容情态与居所闲逸意趣凝于尺幅间，尽显古典肖像画的含蓄韵味，将彼时生活的静美与精神的内敛悄然定格。",[24,25,27,97,248,11528,3097,1048,7,354,8453],"床","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F138347fcbdd052a1a079f72e123be293.jpg","44x40",[],{"id":11533,"slug":11534,"title":11535,"dynasty":1042,"author":304,"museum":275,"description":11536,"tags":11537,"thumbUrl":11540,"material":279,"size":280,"collection":116,"collections":11541,"showCount":552,"zanCount":39,"manualWeight":39,"mainColor":40},289535,"aubert-henri-joseph-parent-wine-cooler-or-vase-on-a-classical-pedestal-yi-ming-289535","Aubert Henri Joseph Parent--Wine Cooler or Vase on a Classical Pedestal","整体以红褐晕染，古典装饰意韵浓厚。敞口尊以翼身女像为主体，胴身为器腹，舒展羽翼延展为器沿，缠枝葡萄攀附周身，暗合酒器的用途，将神性柔美融于器物形制。\n下方饰板里，萨梯与孩童共持花束，憨态尽显，带着古朴谐趣。禽鸟停驻花枝，蔷薇盛放攀绕画面，自然意趣与古典神话交织。细腻线条还原雕刻肌理，复古色调晕开沉静典雅的氛围，将古典器物的庄重与自然生机揉合为一，兼具柔美雅致与古典浮雕的厚重质感，把神话与俗世的宴饮诗意凝于纸面。",[2741,417,248,252,7,5986,11538,2146,5597,11539],"铜刻","古典","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F497f702d4a5d37cbd1e7d8306bfb5e7d.jpg",[],{"id":11543,"slug":11544,"title":11545,"dynasty":1042,"author":304,"museum":275,"description":11546,"tags":11547,"thumbUrl":11548,"material":279,"size":280,"collection":116,"collections":11549,"showCount":552,"zanCount":39,"manualWeight":39,"mainColor":181},289050,"lenox-incorporated-design-drawing-of-of-poppy-blossom-yi-ming-289050","Lenox, Incorporated--Design drawing of of poppy 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(Night)","暮色如纱笼罩幽林，小爱神雕像静立一旁，似是这场爱恋的沉默见证者。鎏金华服与柔粉长裙缱绻相拥，树影在衣料褶皱间晕开暧昧朦胧的光晕。\n\n林间水雾裹挟草木甜香漫溢，远处瀑布碎光揉进夜色晕染出湿润浪漫，明暗晕染勾勒出私密缱绻的相拥时刻，将洛可可式的柔美揉进晚风里，让耳鬓厮磨的心动，化作一帧温柔又私密的午夜恋歌，把偷来的片刻温情，凝固为永恒的温柔剪影。",[1046,248,5030,11556,11557,3905,11558,7,11559,11560],"小爱神","月夜","瀑布","浪漫","古典风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd555ecb86c926cbd489ce2e5a49986d8.jpg",[],{"id":11564,"slug":11565,"title":11566,"dynasty":1042,"author":304,"museum":275,"description":11567,"tags":11568,"thumbUrl":11572,"material":279,"size":280,"collection":116,"collections":11573,"showCount":552,"zanCount":39,"manualWeight":39,"mainColor":40},288698,"workshop-of-jacques-charles-franc-ois-marie-froment-meurice-yi-ming-288698","Workshop of Jacques-Charles-François-Marie 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灵动，将草虫的鲜活之态尽藏笔底。留白铺陈开来，衬得画面愈见空灵悠远，野趣横生。\n\n配题诗文与画作相映，诗画交融间晕开幽寂恬然的意韵。整体设色浅淡含蓄，笔墨秀净简逸，把秋郊闲静的意境娓娓道来，尽显文人小品画的清雅格调，于方寸之间藏着鲜活生机与清远雅致。",[24,25,26,27,29,7,145,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd676e3427161dc849851c6f72cababa2.jpg",[],{"id":12639,"slug":12640,"title":8558,"dynasty":1042,"author":12641,"museum":275,"description":12642,"tags":12643,"thumbUrl":12644,"material":279,"size":280,"collection":116,"collections":12645,"showCount":552,"zanCount":39,"manualWeight":39,"mainColor":87},236290,"hua-hui-shan-wang-zhi-236290","王廌","此作为金笺水墨花卉，以写意之法绘折枝花木。淡墨晕染花瓣，柔润舒展，尽显清妍之态；焦墨挥写枝叶，笔力顿挫苍劲，浓淡对比间，花叶错落顾盼，满溢鲜活生机。\n留白与笔墨疏密相宜，将花木疏朗清逸的韵致尽数铺陈。左侧题款书法朴拙洒脱，与画面笔墨意趣相融，文气盎然。整幅以简驭繁，不耽于刻画形貌，而专意抓取花木风神，于方寸扇面中，尽显文人写意的随性雅致与自然清趣。",[24,25,890,49,7,53,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F956f9eba1c54b8d0ea05b5e47b3a9933.jpg",[],{"id":12647,"slug":12648,"title":12649,"dynasty":18,"author":5039,"museum":275,"description":12650,"tags":12651,"thumbUrl":12652,"material":116,"size":116,"collection":116,"collections":12653,"showCount":552,"zanCount":39,"manualWeight":39,"mainColor":40},236095,"hua-luo-han-ce-leng-mei-236095","画罗汉册","此作设色雅淡明净，右侧绘禅室清景。袒胸罗汉安坐案侧，目含静定悠然之态，一童子俯首研墨，侍者正趋前供花。案头卷册、砚台错落，瓶花素净雅致，笔线清劲秀挺，衣纹流转自如，晕染柔润细腻，将禅居的静穆闲和尽显无余。\n\n左侧行书舒展俊逸，诗画相映成趣。整幅简净空灵，工致中不失文人雅逸之韵，将禅者萧散自在的襟怀融于绢素，把清修禅意与文房雅境相融，尽显静谧悠远的世外幽情。",[24,25,97,27,1032,248,9777,1048,7,53,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F948535ada5b246890bf49c4f661cefdd.jpg",[],{"id":12655,"slug":12656,"title":6102,"dynasty":18,"author":6103,"museum":275,"description":10334,"tags":12657,"thumbUrl":12658,"material":279,"size":280,"collection":116,"collections":12659,"showCount":552,"zanCount":39,"manualWeight":39,"mainColor":40},235967,"cai-jia-hua-hui-tu-ce-cai-jia-235967",[24,25,96,26,27,29,7,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe93efeeb0ae7295f6af13855fd3136b3.jpg",[],{"id":12661,"slug":12662,"title":772,"dynasty":18,"author":4893,"museum":275,"description":12663,"tags":12664,"thumbUrl":12665,"material":116,"size":116,"collection":116,"collections":12666,"showCount":552,"zanCount":39,"manualWeight":39,"mainColor":40},235574,"hua-hui-ce-fan-ting-zhen-235574","此作以淡墨晕染铺就秋夜月色，朦胧清柔漫开画卷。桂树枝叶以没骨法绘就，叶片向背枯荣皆具意态，细碎繁花点染枝头，似将幽淡桂香凝于纸面。\n题诗与画境相映，把清秋月下桂子盛放的静谧清雅刻画入微。墨色干湿浓淡层次分明，不见艳色却暗生馥郁，温婉静雅的书卷气扑面而来。诗书画印相合，勾勒出清寂出尘的秋夜图景，寄情于物，尽显中式古典雅致的美学意趣，将秋夜暗香浮动的幽逸氛围烘托极致。",[24,25,26,49,27,29,7,51,1654,18],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50b14a5af1aa05ff1247ef93a40773bf.jpg",[],{"id":12668,"slug":12669,"title":6102,"dynasty":18,"author":6103,"museum":275,"description":10334,"tags":12670,"thumbUrl":12671,"material":279,"size":280,"collection":116,"collections":12672,"showCount":552,"zanCount":39,"manualWeight":39,"mainColor":40},235420,"cai-jia-hua-hui-tu-ce-cai-jia-235420",[24,25,26,49,27,97,251,7,99,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fe7a30342711083f7b1a53de3221fc4.jpg",[],{"id":12674,"slug":12675,"title":6102,"dynasty":18,"author":6103,"museum":275,"description":10334,"tags":12676,"thumbUrl":12677,"material":279,"size":280,"collection":116,"collections":12678,"showCount":552,"zanCount":39,"manualWeight":39,"mainColor":40},235419,"cai-jia-hua-hui-tu-ce-cai-jia-235419",[24,25,26,27,29,7,51,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd85490bf5b79d1991ca20bfaa0574090.jpg",[],{"id":12680,"slug":12681,"title":6102,"dynasty":18,"author":6103,"museum":275,"description":10334,"tags":12682,"thumbUrl":12683,"material":279,"size":280,"collection":116,"collections":12684,"showCount":552,"zanCount":39,"manualWeight":39,"mainColor":40},235416,"cai-jia-hua-hui-tu-ce-cai-jia-235416",[24,25,96,26,27,29,75,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd753f7a7efc960089d43763d23c09de2.jpg",[],{"id":12686,"slug":12687,"title":12688,"dynasty":18,"author":304,"museum":275,"description":12689,"tags":12690,"thumbUrl":12691,"material":279,"size":280,"collection":116,"collections":12692,"showCount":552,"zanCount":39,"manualWeight":39,"mainColor":40},234415,"liu-shi-ban-chan-luo-sang-ba-dan-yi-xi-xiang-zhou-yi-ming-234415","六世班禅洛桑巴丹益西像轴","主尊安坐莲台法座，面容慈悲沉静，明黄僧衣衬出清贵仪容，结印说法，法座雕饰威严瑞兽，宝相庄严。上方云端化生三尊圣像，或忿怒伏魔，或跏趺圆寂，或持律安坐，尽显藏传佛教诸般法相。下方护法驰马踏焰，威赫慑人。背景青绿晕染出灵秀秘境，祥云缭绕托举天界殊胜。整幅设色浓丽厚重，金彩勾勒细节，线条流畅劲健，以分层构图铺陈佛国图景，将宗教的神圣肃穆与雪域灵境相融，兼具信仰厚重感与审美意趣。",[18,1032,27,97,2071,248,1033,3732,941,253,1777,862,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F006dc3394ef538d2aac7e7c1a5dd5d8a.jpg",[],{"id":12694,"slug":12695,"title":12696,"dynasty":45,"author":12697,"museum":275,"description":12698,"tags":12699,"thumbUrl":12700,"material":116,"size":116,"collection":116,"collections":12701,"showCount":552,"zanCount":39,"manualWeight":39,"mainColor":40},233656,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233656","十竹斋五色笺谱册","胡日从","《十竹斋书画谱》，融诗、书、画、印艺术为一体，是木版水印史上的巨制鸿构，有“画苑之白眉，绘林之赤帜”之誉。凡书画、竹、墨华、石、翎毛、梅、兰、果八谱，每谱两册，全帙共十六册，蝴蝶装。\n一为书画册。花卉竹石、翎毛蔬果二十幅，均有对题。谱前有醒天居士《题十竹斋画册小引》和芒砀山人王三德《胡曰从书画谱引》。\n二为竹谱。卷首有《梨云馆竹谱》，分“写竹要语”，“写竹括”和“写竹法”。前半为一画一题，凡竹图二十幅，分作“廻风”、“喜霁”、“带雨”、“凝露”、“贮云”、“笼烟”、“快雪”、“印月”、“怡老”、“启新”、“飞白”、“聚翠”、“紫蓧”、“朱帔”、“崖影”、“石床”、“飨松”、“访菊”、“友梅”、“佩兰”等。后半则为画竹“起手式”。\n三为墨华册。谱中图呈圆光型，对题有绿色“十竹斋琅干笺”竹纹边框。画、题各有二十幅，画面着色细润，气韵生动。谱前有语水乘槎子《十竹斋墨花题辞》。\n四为石谱。画、题各二十幅，谱前有序两篇，一为王三德《阅石谱题言》，一为米芾后人米万钟《石谱题辞》。谱中二十幅画皆为高阳所作。高阳，字秋甫，善花鸟，为万历间写生名手。高阳画奇石尤精，石谱中作品是临摹上版，王三德观后评价极高，以为“天划神缕之巧，嵌空玲珑之致，半幅冰茧，宛具层岩叠嶂、峰峦洞穴，真可以对杨次公矣。”图有墨石、彩石，但均以套版为之，每画都有对应的题赞。\n五为翎毛谱。画、题各二十幅，有杨文骢于“天启丁卯立秋日”所题《翎毛谱小序》，非常精彩地评介了胡氏所施饾版之法：“胡曰从氏巧心妙手，超越前代，以铁笔作颖生，以梨枣代绢素，而其中皴法、染法、点法，及着色之轻重、浅深、远近、离合无不呈妍曲致，穷巧极工。即当行作手观之，定以为写生妙品，不敢作刻画观。”此翎毛谱二十图，画上无名款，从印鉴来看，应全为凌云翰一人所作。凌云翰，字五云，万历、崇祯时人。《明画录》说他善画山水，其实上凌氏花鸟亦善，尤工画石，为胡正言所推许。\n六为梅谱。由玉山进士董继周作序。此册胡正言以“芳信先传”、“飘飘欲仙”、“冰壶掩映”、“暖谷回阳”、“君子之交”、“铁干支春”、“暗香浮动”、“拾翠为钿”、“黄惹蜂腰”、“额上玄功”、“东邻窥宋”、“盟坚寒素”、“香梦沉酣”、“水妃写照”、“玉骨同妍”、“疏影横斜”、“幽人赠佩”、“调脂梅粉”、“宫锦清班”、“寿阳点妆”等二十画题，分别写早梅、风梅、雪梅、枯梅、竹梅、老梅、月梅、松梅、蜡梅、墨梅、过墙梅、倚石梅、烟梅、临水梅、水仙梅、疏梅、兰花梅、茶花梅、杏花梅和落梅，或水墨，或设色，意境、造型与章法，则穷尽变化之能事。每幅画都有对应的题赞。\n七为兰谱。前有涂日昌“兰谱序”和画兰“起手执笔式”，此谱图解兰花，并附小注，颇为详尽，但无题赞。多为墨印，间有彩版，此谱可为之初学之范本。图二十幅，多是临摹赵孟頫等名家之作。\n八为果谱。画、题各二十幅，有西京韩文镜作序。其中“三元”、“朱橘”等图，雕版设计巧妙，可谓匠心独运。\n《十竹斋书画谱》自万历己未（1619年）第一谱《书画册》起，至崇祯癸酉（1633年）第八谱《果谱》止，梓印时间长达十五年之久。每谱有序言，除《竹谱》附写竹诀，《兰谱》附起手式，其余各谱均四十幅，一图一文，以书配画，交相辉映。\n胡正言辑印《十竹斋书画谱》，广交名人时贤，亦自作书画付梓。全谱序、画、诗作者或书法题写者，多达一百五十余人。谱中所辑作品大多是由当时名家如吴彬、倪瑛、魏之克、米万钟、吴士冠、文震亨、高阳、高友等创作的，也有二十多幅画稿是临摹自赵孟頫、唐寅、沈周、文征明、陆治、陈道复等著名书画家的；胡正言自己也曾为谱画稿、题诗，画有“白莲”、“墨梅”、“芝草”三图，诗有“题梅花”、“题兰竹”两首。画谱中所题诗句，笔调清新，咏物抒情，不同程度地反映了诗人们喜爱画谱的心情。题诗大部分都是书写者自己所作，也有借用前人诗句题咏的，如胡正言用唐释无可的咏兰诗题《兰竹图》，西湖仙郎何伟然用徐渭咏榴诗题《石榴图》，竹冠道人应麟用刘禹锡题开元寺枸杞诗书《枸杞诗图》等等。全谱书法篆、隶、行、楷诸体皆备，最多的还是晚明文人流行的行草。这些书迹，大都兼有晋、唐、宋书家的风韵，亦可为后人临池所借鉴。\n醒天居士的《题十竹斋画册小引》把胡正言的爱好、特长及画谱刊印的初衷和艺术水平都进行了叙述：\n“王宰十日一山，五日一石，岂肖形之难哉？山有情，石有态，磅礴得之为难耳。近代画手，千临百摹，如里媪捧心，不揜儿寝，而目食者争售之，大轴小图，祗为壁疥。新安胡曰从氏，清姿博学，既精六书，尤擅众巧。所制隃糜硾茧与所镌法语名言，皆出新裁，赏鉴家多宝爱之。乃竹斋多暇，复创画册。所选皆花果竹石，有关于幽人韵士之癖好者。而写形既妙，设色尤工，至于翠瓣丹柎，葩分蕊折，花之情，竹之姿，与禽虫飞懦之态，奇石云烟之气，展册淋漓，宛然在目。盖淡淡浓浓，篇篇神采；疏疏密密，幅幅乱真，诚画苑之白眉，绘林之赤帜也。然王宰之画妙出毫锥，胡君之画妙出梨枣，是磅礴之心，较王宰更难；而成功之捷，较王宰更简更易，岂不尤奇哉！余故喜而叙之，愿与好事者同赏，仍俟具眼者定价焉。时癸酉年中秋前二日，醒天居士书于十竹斋。”\n《十竹斋书画谱》“绘刻精而奇，谱则巧而该”，在画谱刊行后不久就引起广泛的注意，开始有人仿刻了，以至胡氏声明道“原板珍藏，素遐真赏，近有效颦，恐混鱼目，善价沽者，勿虚藻鉴。”历代重印、翻刻者达二十余种。清代李渔等人辑印的《芥子园画传》也是在它的启发下产生的。",[24,25,26,27,97,74,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77c07213ee9f543656e2b1ef8b7e22d8.jpg",[],{"id":12703,"slug":12704,"title":12696,"dynasty":45,"author":12697,"museum":275,"description":12698,"tags":12705,"thumbUrl":12706,"material":116,"size":116,"collection":116,"collections":12707,"showCount":552,"zanCount":39,"manualWeight":39,"mainColor":3474},233617,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233617",[24,25,26,27,29,7045,7,1627],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dca1b1afe1d20605943381b27a4e8c7.jpg",[],{"id":12709,"slug":12710,"title":12711,"dynasty":45,"author":12697,"museum":275,"description":12698,"tags":12712,"thumbUrl":12713,"material":116,"size":116,"collection":116,"collections":12714,"showCount":552,"zanCount":39,"manualWeight":39,"mainColor":40},233321,"shi-zhu-zhai-pu-ce-hu-ri-cong-233321","十竹斋谱册",[24,25,26,27,29,252,53,51,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e57f946b0d8398e7f6aab8228744f0b.jpg",[],{"id":12716,"slug":12717,"title":12711,"dynasty":45,"author":12697,"museum":275,"description":12698,"tags":12718,"thumbUrl":12719,"material":116,"size":116,"collection":116,"collections":12720,"showCount":552,"zanCount":39,"manualWeight":39,"mainColor":40},233305,"shi-zhu-zhai-pu-ce-hu-ri-cong-233305",[24,96,26,27,29,7045,76,267,308,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b2501c9e6f63debd3010d1f9475bdb9.jpg",[],{"id":12722,"slug":12723,"title":12724,"dynasty":1042,"author":12725,"museum":275,"description":12726,"tags":12727,"thumbUrl":12732,"material":279,"size":280,"collection":116,"collections":12733,"showCount":552,"zanCount":39,"manualWeight":39,"mainColor":870},232565,"mi-lai-si-109-yue-han-ai-fu-li-te-mi-lai-si-232565","米莱斯109","约翰·埃弗里特米莱斯","John 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[1] ，以弘旿孙绵勋袭贝子。子孙递降，以镇国公世袭。\n观其传世作品，似受董邦达影响为多。此卷笔墨秀润，细皴密擦，林麓滃郁华滋，功力不浅。卷末落“臣”字款，又自称“恭绘”，可见是进御之作。《石渠宝笈》著录弘旿画计有三十多件，内府收藏的估计还有不少。可见弘旿作画之勤，亦可见乾隆对这位同宗兄弟笔墨的赞许。但从流传的弘旿作品看，此卷却是其中极为精彩的一幅，且保存完好，值得珍视。",[24,25,26,97,27,29,80,962,235,721,720,23926,7],"洋菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffac69ace841a6d886296ada8bac31bdc.jpg",[],{"id":23930,"slug":23931,"title":8193,"dynasty":18,"author":8194,"museum":275,"description":23932,"tags":23933,"thumbUrl":23934,"material":116,"size":116,"collection":116,"collections":23935,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},236464,"qian-shan-shui-hua-hui-ce-wang-wen-236464","此作用笔简淡清逸，以水墨晕染描摹花姿，花瓣以淡墨点染，晕开朦胧柔润的质感，似带着盛放后的慵懒舒展。叶片枯湿浓淡相映，苍润兼具，将枝叶舒展偃仰之态尽显，寥寥几笔长草斜斜逸出，为画面添上几分清灵空寂。\n\n构图疏朗雅致，留白悠然，以极简笔墨传递出花木的隽秀之韵，将文人画澹泊闲适的意趣融于笔间，笔意虽简，却把花木的娇柔清隽尽数蕴含，尽显水墨写意含蓄悠长的雅致意境。",[24,49,26,7,51,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c0a819244ad1f14366c6de702c3da14.jpg",[],{"id":23937,"slug":23938,"title":8193,"dynasty":18,"author":8194,"museum":275,"description":23939,"tags":23940,"thumbUrl":23941,"material":116,"size":116,"collection":116,"collections":23942,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},236463,"qian-shan-shui-hua-hui-ce-wang-wen-236463","以淡墨晕染花头，虚实交融间，将牡丹含露初绽的朦胧娇柔尽显，不着艳色，却自存天香清韵。枝叶以浓淡枯湿的笔墨勾皴点染，俯仰生姿，笔意简逸洒脱，尽显灵动舒展之态。\n\n整幅画面留白疏朗，以少胜多，褪去牡丹世俗艳态，独取其清雅风骨，寥寥数笔便将花木盎然生机跃然纸上。朱红印信错落点缀，与水墨层次相映成趣，章法和谐自然，尽显文人写意画的空灵雅致，寄寓着超然脱俗的审美意趣。",[24,49,7,53,26,25,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ad74a4dc6d7c30f2fbf48095722bba0.jpg",[],{"id":23944,"slug":23945,"title":23946,"dynasty":18,"author":304,"museum":275,"description":23947,"tags":23948,"thumbUrl":23949,"material":279,"size":280,"collection":116,"collections":23950,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},234452,"qing-ren-luo-han-xiang-zhou-yi-ming-234452","清人罗汉像轴","四方分置四位罗汉，上方云端趺坐佛陀。罗汉神态沉静安然，衣纹舒展雅致，朱褐配石青，设色明丽和谐。青绿山水间遍植芍药、杜鹃，灵禽瑞兽环伺左右，侍从随侍身侧。作品兼具雪域明丽色彩与汉地工笔重彩的细腻晕染，将清净禅意与盎然生机精妙融合。画面饱满富丽，尽显清代宗教绘画的华美工致，以尺幅铺陈佛门圣境的祥和宁谧，引观者体悟世外清净禅心。",[24,25,291,1032,97,27,248,7,941,634,623,417,75,1599],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F338ae108b975fbaa5b612078b2a3168a.jpg",[],{"id":23952,"slug":23953,"title":12696,"dynasty":45,"author":12697,"museum":275,"description":12698,"tags":23954,"thumbUrl":23955,"material":116,"size":116,"collection":116,"collections":23956,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},233570,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233570",[24,25,26,7045,27,417,7,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3c1c322f6d7f326aa3548e2839ebc71.jpg",[],{"id":23958,"slug":23959,"title":12696,"dynasty":45,"author":12697,"museum":275,"description":12698,"tags":23960,"thumbUrl":23961,"material":116,"size":116,"collection":116,"collections":23962,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},233534,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233534",[24,25,26,7045,27,417,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa25580c0cfe5a2a967e4711bb91ec13e.jpg",[],{"id":23964,"slug":23965,"title":12696,"dynasty":45,"author":12697,"museum":275,"description":12698,"tags":23966,"thumbUrl":23967,"material":116,"size":116,"collection":116,"collections":23968,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},233515,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233515",[24,25,26,7045,27,417,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe08435eeb3432595f063cb11f2c872ae.jpg",[],{"id":23970,"slug":23971,"title":12696,"dynasty":45,"author":12697,"museum":275,"description":12698,"tags":23972,"thumbUrl":23973,"material":116,"size":116,"collection":116,"collections":23974,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},233485,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233485",[24,25,26,27,7045,29,80,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0504a8eaa1802e6eef069df469ea915.jpg",[],{"id":23976,"slug":23977,"title":23978,"dynasty":388,"author":304,"museum":275,"description":14362,"tags":23979,"thumbUrl":23980,"material":279,"size":280,"collection":116,"collections":23981,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},231926,"guang-kou-cha-guan-yi-ming-231926","广口茶罐",[3353,2305,14428,20196,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45e02080fbc1d61099829c45467cfe5b.jpg",[],{"id":23983,"slug":23984,"title":23985,"dynasty":388,"author":304,"museum":275,"description":14362,"tags":23986,"thumbUrl":23987,"material":279,"size":280,"collection":116,"collections":23988,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},231873,"shuang-er-zi-hua-guan-yi-ming-231873","双耳紫花罐",[2305,14428,8905,484,12189,11187,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F583b50cc80837fe71112267824e0250c.jpg",[],{"id":23990,"slug":23991,"title":23992,"dynasty":388,"author":304,"museum":275,"description":5812,"tags":23993,"thumbUrl":23994,"material":279,"size":280,"collection":116,"collections":23995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