[{"data":1,"prerenderedAt":79},["ShallowReactive",2],{"subject-hua-niao-cao-chong":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},966,"hua-niao-cao-chong","花鸟草虫","花鸟草虫画高清赏析","精选中国历代花鸟草虫题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa54f0685222a43fdbe009095cf200829.jpg",0,2,[14,46],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":39,"size":40,"collection":41,"collections":42,"showCount":43,"zanCount":44,"manualWeight":11,"mainColor":45},214665,"san-jue-tu-7-yao-shou-214665","三绝图-7","明","姚绶","上海博物馆","姚绶（1536年－1627年）是中国明朝时期著名的画家、书法家和诗人。他在明朝末年和清朝初年期间活跃，是中国古代四大书法家之一。姚绶的“三绝图册”是他的代表作之一，是他在晚年创作的一组绘画作品集。\n\n“三绝图册”共有三册，分别为“绝境图册”、“绝岭图册”和“绝川图册”。这三册作品均采用水墨画的方式，描绘了天山、岭川、峡谷等山水风光。姚绶的绘画风格具有浓郁的民族特色，笔墨简洁而凌厉，构图巧妙，色彩明快。这三册作品被认为是中国古代山水画的精品，被广泛收藏和展览。",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,37,38,7],"国画","设色","青绿","山水","花鸟","松树","老树","草地","石头","兔子","飞鸟","溪流","梅","坡地","小景","设色山水","纸本,设色","纵31.2 厘米 横48.3 厘米","",[],43,1,"BDBDBD",{"id":47,"slug":48,"title":49,"dynasty":50,"author":51,"museum":52,"description":53,"tags":54,"thumbUrl":74,"material":75,"size":76,"collection":41,"collections":77,"showCount":78,"zanCount":44,"manualWeight":11,"mainColor":45},221590,"qiu-hui-cao-chong-tu-li-di-221590","秋卉草虫图","宋","李迪","台北故宫博物院","此画左下方斜出数茎花草，相互掩映。一叶梢上栖息着一只螳螂，回首张望，高举双臂，似是盯着正在飞舞捕食的金龟。螳螂自腰部至头部弯转，其弧度与金龟外壳圆缓的轮廓线、草木花叶的线条都甚利落。其最精彩的部分应属精细的敷色，顺着叶片弧度，用石绿叠出深浅及细细叶脉。石青点染的鸭跖草，及天青色花瓣，虽色已剥落，仍有透薄之感。花间用白粉描绘小花头，螳螂上半部因敷白粉，突出了甲壳的平滑立体，其前臂更是富于变化，虽只勾勒出轮廓，但黄褐、淡黄、橄榄绿等色叠变，显示出更细致的部位变化，其金色的龟壳以金粉钩染，斑纹历历在目。",[55,23,56,57,24,58,27,59,60,61,62,63,64,65,66,67,68,69,70,71,72,73,7],"高清","书画","册","工笔","草虫","秋草","昆虫","花卉","植物","虫类","工笔花鸟","宋代绘画","设色花鸟","草木","细笔","写实","秋景","花草","小生灵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0fa271539c516bc1fca226558e483c4.jpg","绢本设色","25.2x26.1厘米",[],29,1777535785059]