[{"data":1,"prerenderedAt":511},["ShallowReactive",2],{"subject-hua-mu":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},382,"hua-mu","花木","花木画高清赏析","精选中国历代花木题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35556d0fc866fc9b5aa3d7250bdfd750.jpg",0,31,[14,41,72,95,110,142,161,178,194,207,229,249,260,273,295,313,322,332,341,352,364,375,395,408,421,432,444,464,477,487,499],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":33,"material":34,"size":35,"collection":36,"collections":37,"showCount":38,"zanCount":39,"manualWeight":11,"mainColor":40},216964,"ying-xi-tu-su-han-chen-216964","婴戏图","宋","苏汉臣","台北故宫博物院","婴戏图即描绘儿童游戏时的画作，又称“戏婴图”，是中国人物画的一种。因为以小孩为主要绘画对象，以表现童真为主要目的，所以画面丰富，形态有趣。中国很早已有绘画婴孩的传统，到了唐宋时期技巧渐趋成熟，宋代更是婴戏图的黄金时期，使之成为中国绘画中极受欢迎的画类。\n\n宋代是婴戏图发展的全盛时期，不但取材多样化，而且描绘技巧高超。有的采用鲜艳颜色以衬托婴孩游玩时的愉快心情，营造热闹快乐的气氛；有的利用简洁的线描，刻划平民的市井风情。市井之民虽生于低下阶层，物质生活不甚丰富，但小孩的天真、贪吃贪玩的性情仍溢于纸上。在婴孩的形体构图方面，孩子面貌及身形比例准确，不再是“身小而貌壮”或“妇人之貌”。而且画家每每绘画小孩穿上轻纱薄衣，使观者能通过薄衣透视小孩丰满圆润的身段。婴孩面部表情亦十分丰富，喜怒哀乐活灵活现。宋代婴戏图的兴盛和成功，奠定了婴戏图的基础，亦创新了不少题材，使后世仿效之作甚多。",[23,24,25,26,27,28,29,30,31,7,32],"宋代","工笔","设色","人物","婴孩","庭院","建筑","榻","假山","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F683c03575faeba1accf39da01c82a0c5.jpg","纸本,设色","","人物画精选",[36],271,4,"795548",{"id":42,"slug":43,"title":44,"dynasty":45,"author":46,"museum":47,"description":48,"tags":49,"thumbUrl":67,"material":34,"size":35,"collection":36,"collections":68,"showCount":69,"zanCount":70,"manualWeight":11,"mainColor":71},218255,"shi-nv-ce-wu-jia-you-218255","仕女册","清","吴嘉猷","上海博物馆","细腻笔触晕染出闺阁的温婉时光。仕女们或临窗研墨，或凭栏观鸟，或围坐品茗，或抚琴寄怀。庭院花木扶疏，轩窗屏风雅致，每一处细节都藏着东方生活的诗意。衣袂褶皱、器物纹理、人物神态皆被精心勾勒，尽显古代女性的娴静灵秀。一幅幅日常场景串联成流动画卷，将清人闺阁的雅致情趣与审美意趣悄然铺展，引人沉醉于那份古典的温柔与从容。笔墨间流淌的不仅是生活片段，更是东方美学里独有的温婉与雅致，让观者仿佛踏入时光回廊，触摸到古代仕女的细腻心境。",[50,51,52,24,25,53,54,28,55,56,57,7,58,59,60,61,62,63,64,65,66],"高清","国画","册","仕女","美人","楼阁","轩窗","屏风","飞鸟","抚琴","品茗","研墨","温婉","娴静","雅致","器物","园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fbf079b3eb908aacb932a649ab3bd75.jpg",[36],186,9,"BDBDBD",{"id":73,"slug":74,"title":75,"dynasty":18,"author":76,"museum":20,"description":77,"tags":78,"thumbUrl":89,"material":90,"size":35,"collection":91,"collections":92,"showCount":93,"zanCount":94,"manualWeight":11,"mainColor":40},220204,"bo-gu-tu-yi-ming-220204","博古图","佚名","博古是杂画的一种，后人将图画在器物上，形成装饰的工艺品，泛称“博古”。如“博古图”加上花卉、果品作为点缀而完成画幅的叫“花博古”。 北宋大观宋徽宗命大臣编绘宣和殿所藏古器，修成《宣和博古图》三十卷。后人因此将绘有瓷、铜、玉、石等古代器物的图画，叫做“博古图”，有时以花卉、果品等装饰点缀。“博古图”有博古通今、崇尚儒雅之寓意，常用于书香门第或官宦人家的宅第装饰，这也造成了其在艺术品投资领域中不俗的地位。",[50,51,79,25,24,26,80,81,82,83,65,28,84,85,86,87,88,7],"书画","松","石","梅","古物","孩童","文人","桌案","古玩","平台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e71958042d8dd75fd60dcfa63880052.jpg","绢本,设色","宋画精选",[91,36],164,3,{"id":96,"slug":97,"title":98,"dynasty":45,"author":99,"museum":100,"description":101,"tags":102,"thumbUrl":106,"material":35,"size":35,"collection":35,"collections":107,"showCount":108,"zanCount":109,"manualWeight":11,"mainColor":40},234463,"qu-zhao-lin-wu-bao-heng-deng-he-hua-shuang-feng-mu-dan-tie-luo-qu-zhao-lin-234463","屈兆麟伍葆恒等合画双凤牡丹贴落","屈兆麟","北京故宫博物院","屈兆麟，字仁甫，北京人，1884年18岁时，进清宫造办处如意馆听差，擅长工笔花鸟，后升至如意馆“司匠长”。在清宫如意馆做过最后一任“司匠长”的画师（1866-1937），正好赶上中国历史上由王朝到共和的翻天覆地之变。民国十三年（1924）11月，民国政府摄政内阁黄郛、冯玉祥下令，由北京警卫司令鹿钟麟、警察总监张璧、北京大学教授李煜瀛出面执行，请逊帝溥仪出宫。从此，屈兆麟结束了长达四十年的宫廷画工生涯，流入社会，靠卖画为生，成为职业画家。",[51,79,24,25,103,104,7,105],"凤凰","牡丹","奇石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5d48e3fe992844b4b122f5d332d3aaf.jpg",[],98,2,{"id":111,"slug":112,"title":113,"dynasty":114,"author":115,"museum":116,"description":117,"tags":118,"thumbUrl":137,"material":125,"size":138,"collection":35,"collections":139,"showCount":140,"zanCount":141,"manualWeight":11,"mainColor":40},231591,"kong-que-tu-lu-zhao-yang-231591","孔雀图","明","卢朝阳","印第安纳波利斯艺术博物馆","这幅画描绘了一对生活在牡丹丛中巨石上的孔雀，以及杏花丛中的一对蓝丝带。 卢朝阳代代相传的作品很少。 这个有边景昭，吕纪风致，可以看出他学来的渊源。",[50,51,25,24,119,120,104,121,58,122,123,124,125,126,127,128,129,130,7,131,132,133,134,135,136],"花鸟","孔雀","梅花","山石","花卉","明代","绢本","翎毛","花卉禽鸟","传统绘画","工笔重彩","禽鸟","枝干","花朵","羽毛","苔点","晕染","勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee51507f3008fc01a7b7141c72840283.jpg","281x119厘米",[],48,1,{"id":143,"slug":144,"title":145,"dynasty":45,"author":146,"museum":100,"description":147,"tags":148,"thumbUrl":157,"material":158,"size":159,"collection":35,"collections":160,"showCount":12,"zanCount":11,"manualWeight":11,"mainColor":71},236139,"li-chao-xian-hou-gu-shi-tu-jiao-bing-zhen-236139","历朝贤后故事图","焦秉贞","历史故事是清代宫廷绘画中的重要题材之一。此套图册题材取自历代有良好德行的皇后、太后的故事，人物包括西周文王之母太任、西周武王之母太姒、东汉明帝明德马皇后、东汉和帝和熹邓皇后、北宋仁宗慈圣曹皇后、北宋英宗宣仁高皇后、明仁宗诚孝张皇后。她们在身为皇后或太后期间，有的勤俭仁厚、贤淑孝顺，有的不问政事、不佞外戚。画家绘此画册就是借她们的懿德来宣传封建的伦理纲常，给宫廷里的妃嫔们树立行为楷模。在12开的册页中，所绘仕女形象柔弱，设色浓艳，富有装饰性。图上建筑物的绘制采用欧洲焦点透视的方法，有别于中国的传统界画。每开对题是由梁诗正书写的弘历在皇子时期所作的诗句，记录了这些皇后、太后的事迹和对她们的评价。",[51,79,24,25,149,26,53,55,150,151,28,152,153,154,29,7,155,156],"界画","竹","芭蕉","台地","栏杆","古装人物","廊柱","台阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bb3c692d9bd63ff00c7b99a6b8f1f1c.jpg","绢本，设色","纵30.8厘米，横37.4厘米",[],{"id":162,"slug":163,"title":164,"dynasty":165,"author":166,"museum":47,"description":167,"tags":168,"thumbUrl":173,"material":35,"size":35,"collection":174,"collections":175,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":177},203391,"bai-qin-tu-juan-jiang-han-ting-203391","百禽图卷","近代","江寒汀","这幅长卷铺展百禽之态，或栖枝啁啾，或振翅掠空，或啄食嬉戏，神情毕肖。笔墨兼工带写，禽鸟羽毛勾勒精细，纹理毕现；花木枝干墨色灵动，设色清雅中见艳丽。梅、竹、牡丹等景致错落，与禽鸟相映成趣，画面疏密有致，动静相宜，满溢自然生机，尽显笔墨功底与对生命的细腻体察，堪称花鸟佳作。",[51,169,119,24,25,82,150,104,58,130,170,171,7,172,50],"长卷","兼工带写","羽毛纹理","生机","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b255eb679be70f777ef7738be689750.jpg","花鸟画精选",[174],29,"000000",{"id":179,"slug":180,"title":181,"dynasty":45,"author":182,"museum":183,"description":184,"tags":185,"thumbUrl":190,"material":125,"size":191,"collection":35,"collections":192,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":71},222877,"hong-lou-meng-2-sun-wen-222877","红楼梦2","孙温","旅顺博物馆","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[50,51,24,25,149,186,55,26,54,187,31,7,153,28,188,189],"亭","芭蕉树","树木","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06983d53be2cd078301c222dda3eab3b.jpg","纵43.3厘米、横76.5厘米",[],28,{"id":195,"slug":196,"title":197,"dynasty":45,"author":198,"museum":199,"description":200,"tags":201,"thumbUrl":202,"material":203,"size":204,"collection":35,"collections":205,"showCount":206,"zanCount":11,"manualWeight":11,"mainColor":71},235278,"ren-wu-gu-shi-ce-fan-xue-yi-235278","人物故事册","范雪仪","藏地不详","女，本姓淑，嫁范氏为妻，江苏苏州人，生卒年不详。",[51,79,52,24,25,26,55,186,54,84,122,151,153,156,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa76b242492325dde8fcec18b836c2f25.jpg","未知","Xcm*Xcm",[],24,{"id":208,"slug":209,"title":210,"dynasty":45,"author":76,"museum":199,"description":211,"tags":212,"thumbUrl":225,"material":35,"size":35,"collection":226,"collections":227,"showCount":228,"zanCount":11,"manualWeight":11,"mainColor":71},230334,"bai-miao-tu-miao-man-tu-shuo-san-yi-ming-230334","百苗图苗蛮图说(三)","淡彩晕开层叠青山，山野间花木点染秋意，将黔地清幽铺展开来。山道之上，三名苗家男子持旗扛械，步履铿锵神态悍勇，尽显精壮剽悍。山坳小屋中，两名妇人凭窗凝望，似是牵念远行之人。\n\n整幅工笔线条细劲灵动，设色雅致柔和，以写实视角定格边地族群风貌，将苗乡日常行伍的鲜活场面与山野村居的悠然景致相融，兼具纪实性与审美意趣，带着古朴的民俗质感，生动还原出西南苗寨的质朴生活图景。",[51,24,25,26,213,214,215,216,217,218,219,220,221,7,222,223,224],"山水","民俗","苗寨","男子","妇人","兵器","村居","山野","青山","小屋","山道","行伍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7e72acd99537e3600c448bfccd8819b.jpg","山水画精选",[226],23,{"id":230,"slug":231,"title":232,"dynasty":45,"author":182,"museum":183,"description":184,"tags":233,"thumbUrl":246,"material":125,"size":191,"collection":35,"collections":247,"showCount":248,"zanCount":11,"manualWeight":11,"mainColor":40},223049,"hong-lou-meng-174-sun-wen-223049","红楼梦174",[50,51,79,24,25,26,55,28,188,65,234,235,53,236,7,237,238,239,240,241,242,129,243,244,245],"对联","衣帽","陈设","古典建筑","室内陈设","植物景观","人物活动","传统服饰","中式庭院","建筑细节","器物陈列","花木点缀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88fad2c2f3af8a63a17937234540e5be.jpg",[],21,{"id":250,"slug":251,"title":252,"dynasty":45,"author":182,"museum":183,"description":184,"tags":253,"thumbUrl":258,"material":125,"size":191,"collection":35,"collections":259,"showCount":248,"zanCount":11,"manualWeight":11,"mainColor":71},223009,"hong-lou-meng-134-sun-wen-223009","红楼梦134",[50,51,24,25,26,55,28,123,254,54,255,256,257,53,7],"桌椅","服饰","格子窗","中式建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00931620d8096351542651764df9c6ef.jpg",[],{"id":261,"slug":262,"title":263,"dynasty":18,"author":264,"museum":20,"description":265,"tags":266,"thumbUrl":269,"material":90,"size":270,"collection":35,"collections":271,"showCount":272,"zanCount":141,"manualWeight":11,"mainColor":40},287716,"hua-hua-niao-li-di-287716","画花鸟","李迪","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”。",[267,51,79,268,24,25,119,58,130,123,7],"名画","立轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7a1b3f44c7ed4e5d36709ac9ec464aa.jpg","112.7x38.4",[],20,{"id":274,"slug":275,"title":276,"dynasty":45,"author":277,"museum":100,"description":278,"tags":279,"thumbUrl":291,"material":158,"size":292,"collection":35,"collections":293,"showCount":294,"zanCount":11,"manualWeight":11,"mainColor":40},222864,"shi-gong-ci-tu-ce-03-leng-mei-222864","十宫词图册03","冷枚","此套图册共10开，描绘历代贤德后妃或贵族女子的故事，和《养正图》册具有同样鲜明的教育意义。对题有梁诗正书写的弘历承继帝位前于雍正十三年（1735年）所作的诗句，与图画互为辉映。\n由于图册以历代宫廷生活为题，故每幅画面均有对宫廷建筑的描绘，但因为作者只是宫廷画工，并不具备对前代建筑的了解与认知，同时历史人物画“成教化，助人伦”的政治功用也淡化了这些作为人物故事背景的历代宫廷建筑，使其更多地带有装饰性与程式化色彩，并没有呈现出不同时代的建筑风貌。值得注意的是，册中建筑的描绘均采用“海西画法”，冷枚作品中体现的这种画风特性，是在中国传统界画的基础上运用透视法增强画面的空间深度感并以明暗关系区分阴阳向背，说明曾为康熙皇帝所赏识的“海西法”在雍正、乾隆朝的宫廷建筑绘画中已被日渐欣赏和接受。",[50,51,79,52,25,24,280,32,26,55,28,281,282,283,284,188,7,237,285,241,286,287,288,289,290],"行书","廊","圆门","石阶","路径","园林景观","人物群像","书法题跋","印鉴","建筑装饰","人物互动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bbdacdc2555c58cb249651b9849937a.jpg","纵33.1厘米，横29.3厘米",[],16,{"id":296,"slug":297,"title":298,"dynasty":45,"author":299,"museum":20,"description":300,"tags":301,"thumbUrl":311,"material":34,"size":35,"collection":35,"collections":312,"showCount":294,"zanCount":11,"manualWeight":11,"mainColor":71},218041,"tian-wang-xiang-3-yao-wen-han-218041","天王像-3","姚文瀚","画面中央人物端坐石上，神态安详，衣袂纹饰繁复细腻，红绿蓝三色交织却显和谐雅致。身旁花木扶疏，枝叶舒展间缀满粉白黄紫的花朵，生机盎然。下方水波荡漾，蓝发精灵自水中探身，托举鲜果盘盏，动态鲜活；右侧童子躬身呈物，姿态恭谨。背景祥云缭绕，飞天隐现于云端，仙袂飘飘，更添缥缈意境。整幅画作工笔精湛，线条婉转流畅，设色明丽温润，细节处见匠心——无论是衣纹的褶皱、花叶的脉络，还是水波的纹理，皆刻画入微。动静相宜的构图，将人物的沉静与周遭的灵动巧妙融合，营造出清寂而又充满生气的氛围，尽显传统工笔重彩的典雅韵致。",[51,24,25,302,26,303,304,305,306,7,307,308,309,129,310],"宗教","罗汉","飞天","童子","精灵","水波","祥云","鲜果","典雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3dab5aee7d3ceb67daa4b6ae007ad6d.jpg",[],{"id":314,"slug":315,"title":316,"dynasty":45,"author":277,"museum":100,"description":278,"tags":317,"thumbUrl":319,"material":158,"size":292,"collection":35,"collections":320,"showCount":321,"zanCount":11,"manualWeight":11,"mainColor":40},222868,"shi-gong-ci-tu-ce-07-leng-mei-222868","十宫词图册07",[50,51,79,52,24,25,149,26,53,55,213,28,283,7,129,318,128],"清代绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63c56859c3524c0625a8927ab32b68f3.jpg",[],15,{"id":323,"slug":324,"title":325,"dynasty":45,"author":76,"museum":199,"description":326,"tags":327,"thumbUrl":330,"material":90,"size":35,"collection":35,"collections":331,"showCount":321,"zanCount":141,"manualWeight":11,"mainColor":40},216696,"hong-lou-meng-fu-tu-ce-26-yi-ming-216696","红楼梦赋图册-26","冰裂纹窗棂半敞，漏进满院清光。倚坐的仕女衣袂叠着红绿，似将春日揉进罗裳；伫立的身影拢着蓝衫，凝望着阶前花事。阶下小婢轻抬的手，若要接住风里絮语，石畔粉花与苍苔，又把庭院衬得愈发动人。窗棂纹路、案上陈设、树影婆娑，皆浸着红楼闺阁的雅致含蓄。人物间无声互动藏着未言心事，让静谧场景漫出淡淡怅惘。笔墨凝住小说里的温柔幽微，如旧梦一缕，在庭院光影里缓缓流淌，道尽红楼赋中未说尽的温柔与怅惘。",[50,267,51,79,52,25,24,26,54,28,7,328,156,329,255,29],"假山石","窗棂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F403425bb470fe631e98a1bd1da06e90b.jpg",[],{"id":333,"slug":334,"title":335,"dynasty":45,"author":182,"museum":183,"description":184,"tags":336,"thumbUrl":337,"material":125,"size":191,"collection":35,"collections":338,"showCount":339,"zanCount":11,"manualWeight":11,"mainColor":340},222938,"hong-lou-meng-63-sun-wen-222938","红楼梦63",[50,51,24,25,26,55,28,188,122,65,7,236,255],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f82b48ad4bbd75929ec78aef15756fa.jpg",[],13,"F48FB1",{"id":342,"slug":343,"title":344,"dynasty":45,"author":182,"museum":183,"description":184,"tags":345,"thumbUrl":350,"material":125,"size":191,"collection":35,"collections":351,"showCount":339,"zanCount":11,"manualWeight":11,"mainColor":71},222907,"hong-lou-meng-32-sun-wen-222907","红楼梦32",[50,51,79,24,25,149,26,55,28,150,346,122,236,54,347,7,348,349],"树","房屋","室内场景","室外场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365e9f1d82d6ef78a2bca3d92337f7fb.jpg",[],{"id":353,"slug":354,"title":355,"dynasty":45,"author":76,"museum":199,"description":356,"tags":357,"thumbUrl":362,"material":90,"size":35,"collection":35,"collections":363,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":40},216690,"hong-lou-meng-fu-tu-ce-34-yi-ming-216690","红楼梦赋图册-34","亭榭临阶，绿阴覆檐。亭内女眷凭栏凝睇，或执扇低语，鬓边钗环衬着素色衫裙；庭中三姝款步，一伞轻撑，衣袂沾着淡粉的花影。院角石案上盆花静静吐蕊，围墙漏窗映出远处苔痕。笔墨细腻如丝，设色清雅温润，将红楼闺阁的温婉与庭院幽致融于一纸。人物眉眼间藏着细碎情致，亭内与庭外的呼应似有未言故事，风过枝桠的轻响仿佛在画中流转，尽显清代仕女画的雅致与红楼场景的细腻动人。",[50,51,25,24,52,149,26,55,188,153,358,54,28,283,359,31,329,29,360,361,241,328,156,257,7],"花盆","围墙","植物","庭院景观","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69ff7f875c5cffd7c564ec18ca19e6ea.jpg",[],{"id":365,"slug":366,"title":367,"dynasty":45,"author":368,"museum":47,"description":369,"tags":370,"thumbUrl":372,"material":35,"size":35,"collection":174,"collections":373,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":374},201560,"hua-niao-zhou-fang-xun-201560","花鸟轴","方薰","画面中花枝蜿蜒舒展，紫粉花朵点缀其间，叶片清润有致。一只鸟儿静栖枝头，羽翼纹理细腻；另一只振翅欲飞，姿态灵动鲜活。下方孤石苍劲古朴，笔墨简练却质感十足。整体设色淡雅温润，线条流畅婉转，工笔与写意相融相生，既捕捉花鸟之生动情态，又勾勒山石之古拙气韵，营造出清雅静谧又生机盎然的意境，尽显传统花鸟画作的雅致韵致。",[51,119,268,25,24,58,371,7,50],"孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9c292211ec570f1b3170452b6e70568.jpg",[174],"b89c76",{"id":376,"slug":377,"title":378,"dynasty":45,"author":379,"museum":100,"description":380,"tags":381,"thumbUrl":389,"material":390,"size":391,"collection":392,"collections":393,"showCount":394,"zanCount":11,"manualWeight":11,"mainColor":40},241088,"meng-hao-ran-shi-zhou-yang-shou-jing-241088","孟浩然诗轴","杨守敬","释文：\n山寺鸣钟昼已昏，鱼梁度头争度喧。人随沙岸向江村，予亦乘舟归鹿门。鹿门月照开烟树，忽到庞公栖隐处。岩扉松径长寂寥，唯有幽人自来去。录孟襄阳诗。宣统庚戌九月邻苏老人书于鄂城菊湾，时年七十有二。\n本幅行书录唐代诗人孟浩然“夜归鹿门山歌”诗一首，末自识云：“录孟襄阳诗，宣统庚戌九月邻苏老人书于鄂城菊湾，时年七十有二。”下钤“杨守敬”、“惺吾七十以后书”印二方。本幅无藏印。“宣统庚戌”为宣统二年（1910年）。\n此轴书法淳雅朴厚，能陶铸碑帖，寓汉隶之韵，法魏碑风规，行笔略带滞涩之势，峭拔古劲，复具信本书韵。结字秀丽，行笔洒脱，又具姿肆跳宕之势，代表了杨守敬晚年书法的艺术水平。",[382,280,268,32,383,384,385,386,387,80,388,7],"书法","山","寺","钟","暮色","月","禅房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6907331ebc6468c451435f0aac5bb0e8.jpg","纸本","纵165.1厘米，横35.7厘米","书法精选",[392],7,{"id":396,"slug":397,"title":398,"dynasty":114,"author":399,"museum":47,"description":400,"tags":401,"thumbUrl":406,"material":35,"size":35,"collection":36,"collections":407,"showCount":394,"zanCount":11,"manualWeight":11,"mainColor":177},201509,"han-gong-chun-xiao-tu-juan-you-qiu-201509","汉宫春晓图卷","尤求","画卷铺展，汉宫春日的雍容景致徐徐浮现。亭台楼阁间，仕女们或临窗对弈，或凭栏观花，或泛舟湖上，情态生动自然。线条细劲流畅，白描技法勾勒出人物衣袂的轻盈与建筑的精巧，界画工整精准，尽显宫苑的规制与雅致。花木扶疏，山石点缀，春日的生机与宫廷的闲逸交融，每一处细节皆见匠心。画面空间转换巧妙，从庭院到室内，从舟楫到轩榭，层次分明，宛如一部流动的宫苑生活长卷，将汉宫春晓的温婉与繁华尽纳其中。",[402,149,24,26,55,186,403,7,122,169,53,404,405,50],"白描","舟船","宫苑","春日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02c2c91d643b9d3f8440d1a033708222.jpg",[36],{"id":409,"slug":410,"title":411,"dynasty":114,"author":412,"museum":100,"description":413,"tags":414,"thumbUrl":417,"material":158,"size":418,"collection":35,"collections":419,"showCount":420,"zanCount":11,"manualWeight":11,"mainColor":71},233756,"ren-wu-gu-shi-ce-3-chou-ying-233756","人物故事册3","仇英","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。",[51,79,52,24,25,149,26,54,55,28,7,415,153,156,122,188,255,416],"乐器","盆栽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff262bebc3812167aef075a4e655f423e.jpg","纵41.4厘米，横33.8厘米",[],6,{"id":422,"slug":423,"title":398,"dynasty":45,"author":424,"museum":47,"description":425,"tags":426,"thumbUrl":429,"material":35,"size":35,"collection":36,"collections":430,"showCount":420,"zanCount":11,"manualWeight":11,"mainColor":431},201494,"han-gong-chun-xiao-tu-juan-lv-huan-cheng-201494","吕焕成","画卷舒展，汉宫春晓之景徐徐铺陈。界画技法勾勒的亭台楼阁，线条工细如丝，飞檐斗拱尽显规制之美；桃柳依依，花团锦簇，流水潺潺间春意浮动。仕女身姿曼妙，或临窗理妆，或庭前漫步，神态生动传神。设色明丽温润，青蓝衬朱红，既显宫殿富丽，又融春日柔婉。工笔细腻处，衣纹褶皱、花叶脉络皆清晰可见，情态毕肖。整幅作品将汉宫的雍容华贵与春日的盎然生机完美融合，尽显传统工笔重彩的精湛技艺与清雅意境。",[267,51,169,24,149,25,26,55,427,186,428,7,50],"桃花","流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0a3a30853b12108933ebedf5d876ae1.jpg",[36],"c9b9a1",{"id":433,"slug":434,"title":435,"dynasty":18,"author":436,"museum":437,"description":438,"tags":439,"thumbUrl":440,"material":90,"size":441,"collection":35,"collections":442,"showCount":443,"zanCount":11,"manualWeight":11,"mainColor":71},216919,"xiang-shan-jiu-lao-tu-11-ma-xing-zu-216919","香山九老图-11","马兴祖","美国弗利尔美术馆","画的是唐贞观五年，白居易率领九位老者在河南洛阳的斗姆山聚会和宴请的故事。马兴祖是南宋画家，是马远的祖父，他的作品有花鸟、人物、山水和各种画作，特别擅长做精细的艺术家。此卷是由后来的艺术家复制的，与马兴祖没有关系。",[50,51,79,169,24,25,26,186,213,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eac7a0192cb3c4034c20c97eb6f89fd.jpg","27.1x217.2",[],5,{"id":445,"slug":446,"title":447,"dynasty":45,"author":76,"museum":199,"description":448,"tags":449,"thumbUrl":462,"material":203,"size":204,"collection":35,"collections":463,"showCount":94,"zanCount":11,"manualWeight":11,"mainColor":40},238877,"qing-ren-shan-ba-la-wang-pu-sa-xiang-zhou-yi-ming-238877","清人善巴拉王菩萨像轴","此作为典型藏地宗教绘画，主尊身形魁梧威严，蹙眉圆目，忿怒相尽显护法之威。身着织金彩绸，缀满珠宝璎珞，纹样精细入微，华贵尽显。左手托法轮、右手持宝杖，安坐莲台宝座，周身祥云缭绕、花木簇拥。以朱砂、石青、石绿等矿物颜料晕染，色彩浓烈厚重且层次分明。\n\n画面上下排布胁侍祖师，呼应主尊，构图饱满规整，兼具对称美感与叙事性。整体用笔工细精妙，融宗教神性与绘画审美于一体，既传递出藏传佛教的庄严肃穆，也尽显传统唐卡的工艺匠心。",[450,268,451,452,453,454,455,24,25,456,457,308,7,458,459,460,461],"唐卡","宗教绘画","藏传佛教","人物画","菩萨","祖师","矿物颜料","莲台","法轮","宝杖","威严","庄重","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac0e4e9e8991419e8ff6583b0395423.jpg",[],{"id":465,"slug":466,"title":447,"dynasty":45,"author":76,"museum":199,"description":467,"tags":468,"thumbUrl":475,"material":203,"size":204,"collection":35,"collections":476,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":71},238880,"qing-ren-shan-ba-la-wang-pu-sa-xiang-zhou-yi-ming-238880","这幅唐卡以饱满构图铺陈神性图景，主尊面生虬髯、怒目圆睁，身着错彩缕金的宝衣法饰，坐于夜叉身上，尽显威赫富足的气度。上方天界祥云缭绕，护法与祖师分置左右，呼应出世净土意涵；下方衬以青绿山水、梵宇花木，烟火意趣与神域庄严相融。画师以天然矿物颜料施色，朱红、石青、石绿浓艳厚重，金线勾饰衣纹宝相纹样，细节处分毫毕现，既恪守藏地造像仪轨，又以鲜活的色彩层次，将招财纳福的祈愿凝于画面，宗教肃穆与审美意趣浑然一体。",[450,302,25,456,469,26,470,471,472,455,473,55,7,474],"金线勾勒","善巴拉王菩萨","夜叉","护法","青绿山水","招财纳福","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15f90c5b9144643927eacb247a4865b2.jpg",[],{"id":478,"slug":479,"title":480,"dynasty":114,"author":481,"museum":199,"description":482,"tags":483,"thumbUrl":485,"material":35,"size":35,"collection":35,"collections":486,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":71},233599,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233599","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。",[51,79,52,484,402,25,213,346,122,7],"木刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54567a3ee3789925a36e616396e34aa6.jpg",[],{"id":488,"slug":489,"title":490,"dynasty":45,"author":76,"museum":199,"description":491,"tags":492,"thumbUrl":497,"material":203,"size":204,"collection":35,"collections":498,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":71},269099,"xiang-ya-diao-yue-man-qing-you-si-yue-jing-ce-yi-ming-269099","象牙雕月曼清游四月景册","此作以牙雕点染闺中春游盛景，牙雕仕女衣裾施色柔和雅致，身姿柔婉灵动。亭台花木以牙石拼接镂刻，池畔春梅绽枝、流水澹澹，将暮春庭院的温婉生机铺陈眼前。仕女或迤逦同行低语，或凭栏凝伫，把深闺寻幽的慵懒闲趣尽数流露。\n\n右侧御笔楷书端秀劲挺，诗景相合，将春日天香国色的雅致融于方寸册页，工艺与诗画合璧，把清代闺中雅游的闲情逸趣凝于此刻，尽显匠心雅致。",[52,493,494,53,55,28,495,382,24,496,7,32],"雕刻","象牙","楷书","闲情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89da60e0e3645964ff0a432592db2a5b.jpg",[],{"id":500,"slug":501,"title":502,"dynasty":45,"author":76,"museum":199,"description":503,"tags":504,"thumbUrl":509,"material":203,"size":204,"collection":35,"collections":510,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":71},261605,"cheng-hua-kuan-qing-hua-shi-nv-tu-gai-guan-yi-ming-261605","成化款青花仕女图盖罐","青花瓷（blue and white porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[505,506,53,507,26,508,86,7],"陶瓷","青花","盖罐","湖石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fda2af9ddf1dea3eb64955b7e6c4766.jpg",[],1777535714778]