[{"data":1,"prerenderedAt":821},["ShallowReactive",2],{"subject-hua-niao-hua":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},744,"hua-niao-hua","花鸟画","花鸟画画高清赏析","精选中国历代花鸟画题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4b81a01434f39106e7ce331c554789e.jpg",0,62,[14,38,57,81,103,121,137,149,165,178,187,201,211,222,242,257,271,288,306,320,336,347,358,373,390,400,411,428,441,450,463,476,493,504,513,524,537,548,561,572,584,595,608,618,632,644,655,666,676,687,698,710,721,729,739,748,755,766,775,789,799,811],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":30,"material":31,"size":32,"collection":33,"collections":34,"showCount":35,"zanCount":36,"manualWeight":11,"mainColor":37},216219,"bi-tao-chun-niao-tu-zou-yi-gui-216219","碧桃春鸟图","清","邹一桂","台北故宫博物院","碧桃春鸟图是清朝时期画家邹一桂的一幅名作。这幅画描绘了一只翠绿色的春天鸟儿，它正在一棵桃树上欢快地唱歌。画中的色彩鲜艳，线条流畅，构图精美，反映了邹一桂独特的画风。\n\n邹一桂（1630年～1708年）是清朝时期著名的画家，也是邹氏画派的创始人之一。他的作品擅长描绘自然景观，尤其擅长画鸟。邹一桂的碧桃春鸟图被认为是他的代表作之一，并被广泛收藏和喜爱。",[23,24,7,25,26,27,28,29],"国画","名画","设色","工笔","桃花","飞鸟","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf75f4e0b3c61e6c01028b990b23d999.jpg","纸本,设色","29.2x21.6公分","花鸟画精选",[33],489,8,"BDBDBD",{"id":39,"slug":40,"title":41,"dynasty":18,"author":42,"museum":43,"description":44,"tags":45,"thumbUrl":52,"material":31,"size":53,"collection":33,"collections":54,"showCount":55,"zanCount":56,"manualWeight":11,"mainColor":37},220275,"tao-hua-tu-yun-shou-ping-220275","桃花图","恽寿平","北京故宫博物院","图绘一花团锦簇的折枝桃花斜入画面。笔法轻快疏秀，设色淡雅清丽，充分体现了以没骨法点染物象的独特魅力，不仅表现出花之媚，叶之柔，同时表现出春光下桃花含烟带雾、“习习香熏薄薄烟”的诗意。",[46,23,47,48,7,49,25,27,50,51],"高清","书画","立轴","没骨","枝干","叶子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bd26c1e63df902ca04500cd59486069.jpg","纵133厘米，横55.5厘米",[33],384,11,{"id":58,"slug":59,"title":60,"dynasty":61,"author":62,"museum":63,"description":64,"tags":65,"thumbUrl":73,"material":74,"size":75,"collection":33,"collections":76,"showCount":78,"zanCount":79,"manualWeight":11,"mainColor":80},222392,"si-ji-hua-niao-tu-xia-lv-ji-222392","四季花鸟图-夏","明","吕纪","日本京都国立博物馆","吕纪（1429～1505），字廷振，号乐愚，鄞（今浙江宁波）人。明代画家。\n其花鸟初师边景昭，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。\n明弘治年间，入值仁智殿，官至锦卫指挥使，是明代与边景昭、林良齐名的院体花鸟画代表画家。其绘画风格可分为两大类，一类是以水墨为主略淡彩，用笔较为豪纵，另一类则是设色浓丽，用和工致，具有富丽的宫廷装饰趣味。吕纪由水墨淡色画转为工笔重设色画，更直接的原因是为了适应不同皇帝的不同口味，具体说来就是弘治皇帝朱祐樘的欣赏口味不同于他的父辈成化皇帝朱见深，从而造成了吕纪多画凤凰、雉鸡、仙鹤、孔雀、鸳鸯之类，杂以花木草石，具有生气。工笔着色与水墨写意能，并善于将两体结合。吕纪初学唐宋各家和同时代的边景昭，后形成自己的风格。他的花鸟设色鲜艳，生气奕奕，被称为明代花鸟画第一家。据说吕纪在画作上常用寓意手法对皇帝劝谏，皇帝知其用心，曾说：“工执艺事以，谏吕纪有之。”其代表作品有《新春双雉图》《桂花山禽图》《残荷鹰鹭图》《秋鹭芙蓉图》《五德大吉图》 《狮头鹅图》等。\n吕纪，1477年生，鄞州（今浙江宁波）人。字廷振，号乐愚，弘治间（1488-1505）供事仁智殿，弘治间征入宫廷，为宫廷作画，供奉仁智殿，官锦衣卫指挥。擅画临古花鸟，初学边景昭，后研习唐宋诸家名作，继承两宋“院体”，以工笔重彩，又在水墨写意方面受林良影响。\n远宗南宋院体格，廷续了黄筌工整细致的画风及钩勒笔法，并予以发扬，多以凤凰、仙鹤、孔雀、鸳鸯之类鸣禽为题材，杂以浓郁花树，画面绚丽。亦作粗笔水墨写意者，笔势劲健奔放，与林良相近，与边景昭同为明代院体花鸟画中的临古派代表。传世作品有《桂菊山禽图》《榴花双莺图》《雪景翎毛图》《浴凫图》等。除画花鸟外，偶尔也画人物山水。他主要是以工整精丽的院体传统作画，造型准确，设色鲜艳。但也能画活泼生动兼工带写的花鸟画。他的画生动，笔墨清新，是当时与边景昭、林良齐名的花鸟名家。他作画时，常以寓意手法规谏皇帝，故明孝宗曾说：“工执艺事从谏，吕纪有之”。他是与边景昭、林良齐名的院体花鸟画代表作家。《狮头鹅图》，绢本，设色。纵191厘米，横104厘米。工笔画狮头鹅，侧身曲颈回顾古梅，鹅身洁白如玉，眼睛刻划有神，形象生动。古梅干枝苍劲，生机勃勃。树下衬以太湖石、月季花，石后有双勾竹隐露，色彩艳丽，衬托出狮头鹅之白身红冠。是明代院体花鸟画的杰作。款署“吕纪”。现藏辽宁省博物馆。\n《榴花双莺图》写石榴一枝，蘩花盛开，一对黄鹂栖于枝头，一上一下，鸣啼相应，神态活泼。工笔重彩，钩勒填色，绚丽多彩为明代中期院体画的典型风格。\n相比画家，吕纪的另一个身份更令人吃惊——历经明代成化、弘治、正德三代，官至锦衣卫指挥使(秘密警察头目)。吕纪的花鸟绘画，水墨淋漓，气势宏大，甚至是日本屏风画的来源之一。《柳荫双鸭图》和《幽涧双鹭图》曾在日本出版的《听松清鉴》中著录，郑振铎在上世纪四十年代遍访流传在海外的中国名画，并在其所编的《域外所藏中国名画》中收录。吕纪的两幅作品不仅是明代全景花鸟画的杰作，也是中国绘画影响日本绘画的证据代表作。",[46,23,24,7,26,25,66,67,68,69,70,71,72],"黄莺","野鸭","芙蓉","杜鹃","山石","水岸","夏季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47f39703be94e381648560a821fb184e.jpg","绢本设色","176.0×100.8",[33,77],"设色画精选",358,7,"795548",{"id":82,"slug":83,"title":84,"dynasty":85,"author":86,"museum":87,"description":88,"tags":89,"thumbUrl":97,"material":98,"size":99,"collection":99,"collections":100,"showCount":101,"zanCount":102,"manualWeight":11,"mainColor":37},220586,"li-zi-shu-he-san-zhi-kun-chong-qi-bai-shi-220586","李子树和三只昆虫","民国","齐白石","Oscar 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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》。",[46,23,48,7,25,129,130,29,131],"菊","孤石","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00e6be5cc946debe5480bb68290241ce.jpg","未知","Xcm*Xcm",[],166,{"id":138,"slug":139,"title":140,"dynasty":61,"author":141,"museum":126,"description":142,"tags":143,"thumbUrl":146,"material":133,"size":134,"collection":99,"collections":147,"showCount":148,"zanCount":102,"manualWeight":11,"mainColor":80},287343,"he-hua-yuan-yang-tu-juan-wen-chen-hong-shou-287343","荷花鸳鸯图(绢纹)","陈洪绶","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[46,24,23,47,48,7,26,25,112,144,145,130,113],"鸳鸯","蝴蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35f6c74082eff5c95dc37ca5423373bf.jpg",[],139,{"id":150,"slug":151,"title":152,"dynasty":153,"author":154,"museum":126,"description":155,"tags":156,"thumbUrl":162,"material":133,"size":134,"collection":99,"collections":163,"showCount":164,"zanCount":11,"manualWeight":11,"mainColor":80},289560,"pu-tao-cao-chong-tu-lin-chun-289560","葡萄草虫图","宋","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。",[23,157,26,25,158,94,159,160,161,7],"扇面","葡萄","螳螂","蜻蜓","蚱蜢","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd265e60b95e8fc8b7f968d06de63bf6.jpg",[],127,{"id":166,"slug":167,"title":168,"dynasty":85,"author":169,"museum":126,"description":170,"tags":171,"thumbUrl":175,"material":133,"size":134,"collection":99,"collections":176,"showCount":177,"zanCount":11,"manualWeight":11,"mainColor":37},283788,"shuang-gou-zhi-lan-tu-lai-chu-sheng-283788","双钩芝兰图","来楚生","此作兼工带写，朱砂点染灵芝，秾丽鲜活，似凝着朝露生机。双钩兰叶以清劲线条勾勒，舒展挺拔，柔韧芝草与挺秀兰叶相映成趣。灵石以淡赭晕染、墨色皴擦，写意空灵，与花草形成刚柔对照。\n左上题字古拙朴茂，笔墨苍劲，书画相融，将祥瑞芝草与清雅幽兰相合，跳出题材俗套，尽显清隽雅致的文人意趣，笔底带着金石韵味，雅致脱俗，是写意与工致的绝佳融合。",[23,47,48,25,172,26,7,173,174,130,131,29],"双钩","灵芝","兰草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b3761fd32db867ee4ee6f60d14068ee.jpg",[],112,{"id":179,"slug":180,"title":181,"dynasty":18,"author":125,"museum":126,"description":127,"tags":182,"thumbUrl":184,"material":133,"size":134,"collection":99,"collections":185,"showCount":186,"zanCount":11,"manualWeight":11,"mainColor":37},289898,"shi-liu-tu-li-zhou-wu-chang-shuo-289898","石榴图立轴",[46,24,23,47,48,7,90,25,183,130,131,29],"石榴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc84d0c8474b987b8242984551428f81a.jpg",[],86,{"id":188,"slug":189,"title":190,"dynasty":191,"author":192,"museum":126,"description":193,"tags":194,"thumbUrl":198,"material":133,"size":134,"collection":99,"collections":199,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":80},289777,"lian-chi-shui-qin-tu-zhou-er-gu-de-qian-289777","莲池水禽图轴二","五代十国","顾德谦","顾德谦，五代南唐画家。建康(江苏)人，专喜好画道教神像画，又善画动植物。深受李后主厚爱。他画的人物，神韵清劲，笔力雄健。传世作品有《太上像》、《太上度关图》、《太上图》、《太上采芝像》、《四子太上像》、《采芝图》、《仙迹图》、《洞庭灵烟图》等20余件，见《宣和画谱》。",[46,23,48,7,25,26,112,195,196,197],"水禽","池塘","荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eb96d9cd6b47e7470bafecaed08c207.jpg",[],75,{"id":202,"slug":203,"title":204,"dynasty":153,"author":154,"museum":126,"description":205,"tags":206,"thumbUrl":209,"material":133,"size":134,"collection":99,"collections":210,"showCount":200,"zanCount":102,"manualWeight":11,"mainColor":80},288492,"guo-shu-lai-qin-tu-lin-chun-288492","果熟来禽图","《果熟来禽图》绘有林檎果一枝，枝上硕果累累。系挂着沉甸甸果实的枝丫，仿佛在轻轻地颤动。果叶正反面刻画细致，连虫蚀的痕迹都颇为清晰。果树上有一小鸟，它转颈回眸，振翅欲飞。画面虽不繁复，却充满生气盎然的意趣，表现出作者蕴藉空灵的审美追求",[46,23,24,7,26,25,28,207,208],"果实","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ae85ba9562268d73b08485dbcf58808.jpg",[],{"id":212,"slug":213,"title":214,"dynasty":153,"author":215,"museum":126,"description":216,"tags":217,"thumbUrl":219,"material":133,"size":134,"collection":99,"collections":220,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":80},288933,"mei-hua-xiao-qin-tu-ma-lin-288933","梅花小禽图","马麟","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。”",[24,23,47,7,26,218,28],"梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F409ebebdf13e9db3de88b59744e8ff28.jpg",[],74,{"id":223,"slug":224,"title":225,"dynasty":61,"author":226,"museum":108,"description":227,"tags":228,"thumbUrl":236,"material":237,"size":238,"collection":33,"collections":239,"showCount":240,"zanCount":11,"manualWeight":11,"mainColor":241},218962,"xue-jing-shui-qin-tu-lin-liang-218962","雪景水禽图","林良","寒林雪意笼于纸面，枯枝以枯笔焦墨写出，如铁骨横斜，墨色浓淡交织间见苍劲之态。几只水禽错落分布：枝头者羽翼覆雪，绒毛细腻处见工致；石上者昂首远眺，身姿灵动似欲振翅。留白隐作积雪，清寂中藏生机。笔墨兼工带写，禽鸟形神毕肖，背景枯枝竹丛则写意挥洒，墨韵淋漓。寒冬萧瑟却未失活力，于荒寒中见生命意趣，尽显对自然的细致观察与笔墨掌控力，是冬日花鸟题材中的妙品。",[23,7,90,229,230,231,232,195,130,233,234,235],"兼工带写","雪景","寒林","枯枝","竹丛","清寂","生机","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48a378a33ce7744cfbe4f86a39a9d8d6.jpg","绢本,设色","142.5x55.5cm",[33],73,"37474F",{"id":243,"slug":244,"title":245,"dynasty":61,"author":62,"museum":246,"description":247,"tags":248,"thumbUrl":253,"material":237,"size":254,"collection":33,"collections":255,"showCount":256,"zanCount":102,"manualWeight":11,"mainColor":80},219091,"mei-zhu-zhi-ji-tu-lv-ji-219091","梅竹雉鸡图","圣路易斯艺术博物馆","画面中，雉鸡翎羽斑斓，纤毫毕现，顾盼间神采奕奕，似欲振翅。旁侧梅枝遒劲，蕊瓣凝霜带露，红白相映，清雅动人；竹篁翠影婆娑，叶片舒展如剑，与梅枝交错成趣。背景淡墨晕染，山石轮廓隐约，既衬出前景花鸟的工致，又添悠远意境。工笔与写意相融，浓淡相宜，细节处见精巧，整体中显生机，仿佛能闻梅香浮动，听竹风轻吟，观雉鸡闲步，一派自然生趣跃然绢素，尽显明代院体画的雅致与活力。",[46,23,24,47,7,26,249,25,218,250,251,70,252,235],"写意","竹","雉鸡","雅致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe89d86fad1a49b299371ea8c1d3f18c7.jpg","纵151.1横100.3厘米",[33],72,{"id":258,"slug":259,"title":260,"dynasty":261,"author":262,"museum":263,"description":264,"tags":265,"thumbUrl":269,"material":237,"size":99,"collection":33,"collections":270,"showCount":256,"zanCount":102,"manualWeight":11,"mainColor":80},219070,"dan-feng-shuang-niao-tu-zheng-xi-219070","丹枫双鸟图","元","郑禧","印度安纳波利斯艺术博物馆","一棵彩绘枫树，主干粗壮，细枝上零星的枫叶褪去了红色，两只鸟儿栖息在最高的树枝上，蓬松的羽毛，细长的尾羽，白色的腹部和棕色的亮点，深蓝色的背部，为深秋增添色彩。",[46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“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。",[46,23,7,419,25,420,421,422,366],"册页","文人写意","写生","草本花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2eaa39a1ce4b3d43b4c0fcf6632bf627.jpg","纸本设色","32.5×57.3厘米",[],36,{"id":429,"slug":430,"title":431,"dynasty":153,"author":432,"museum":20,"description":433,"tags":434,"thumbUrl":438,"material":133,"size":134,"collection":99,"collections":439,"showCount":440,"zanCount":11,"manualWeight":11,"mainColor":80},289872,"lu-yan-tu-zhou-cui-bai-289872","芦雁图轴","崔白","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。",[23,24,48,7,25,26,380,435,436,437,29,131,28],"芦苇","河滩","萧瑟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3268d051a3a5f1a61e3fc7aa0356935b.jpg",[],35,{"id":442,"slug":443,"title":444,"dynasty":153,"author":445,"museum":126,"description":446,"tags":447,"thumbUrl":448,"material":133,"size":134,"collection":99,"collections":449,"showCount":440,"zanCount":11,"manualWeight":11,"mainColor":80},288983,"yuan-yang-tu-zhou-zhao-chang-288983","鸳鸯图轴","赵昌","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。",[23,48,7,25,26,144,197,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F317e1556d2628dfda3b8fe3bb5cdff28.jpg",[],{"id":451,"slug":452,"title":453,"dynasty":18,"author":292,"museum":126,"description":454,"tags":455,"thumbUrl":461,"material":133,"size":134,"collection":99,"collections":462,"showCount":440,"zanCount":11,"manualWeight":11,"mainColor":37},263680,"ke-si-fo-shou-shuang-niao-tu-zhou-yi-ming-263680","缂丝佛手双鸟图轴","缂（kè，同：刻）丝（英文：K’o-ssu 、Kesi 或 Chinese silk 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），字建侯。鄂州江夏县（今湖北省武汉市武昌区）人。唐朝宰相，江夏太守李邕从孙。\n李鄘出身“江夏李氏” 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。\n康熙五十年（1711）尝作《草虫图轴》。“没骨”，是中国传统绘画中的一种技法，它不用墨线勾勒，直接以彩色涂画物象。\n金陵天渡楼藏有其康熙己亥（1719）作《花卉草虫册》十二开。",[46,23,90,49,7,48,197,651,435],"鹭鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda87507bf5208022f8d038afe868d9f7.jpg",[],17,{"id":656,"slug":657,"title":658,"dynasty":18,"author":659,"museum":126,"description":660,"tags":661,"thumbUrl":663,"material":133,"size":134,"collection":99,"collections":664,"showCount":665,"zanCount":11,"manualWeight":11,"mainColor":37},288023,"huang-li-chui-liu-tu-qian-se-hua-yan-288023","黄鹂垂柳图（浅色）","华嵒","华岩（1682～1756），一作华嵒，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、离垢居士等，老年自喻“飘篷者”，福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。\n自幼酷爱绘画，后因家贫失学，备受世俗冷落，康熙四十二年（1703）华氏家族重建祠堂，曾因替正厅画壁画，乡绅看不起他，群起反对，最后偷自进祠堂，画上“高山云鹤”、“水国浮牛”、“青松悬崖”和“倚马题诗”四幅画，愤而离乡飘泊，流寓于杭州，结交了很多文人学士，眼界大开。36岁时曾北上入都，“得交当路巨公，名闻于上”，但并不得意，据戴熙《习苦斋画絮》载：“华秋岳自奇其画，游京师无问者。一日有售赝画者，其裹华笔也，华见而太息出都。”他的中晚年一直频繁往来于杭州、扬州，以卖画为生。在扬州他结识了金农、高翔、李鱓、郑板桥及盐商巨子马曰琯、马曰璐兄弟，彼此交流切磋，诗画酬答，使其绘画修养得到多方面的拓展，成为扬州画派的代表人物之一。",[46,23,7,25,48,28,662,625,130],"黄鹂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ef70ef5b3d148a261dcf8166d4c2823.jpg",[],16,{"id":667,"slug":668,"title":669,"dynasty":61,"author":670,"museum":126,"description":671,"tags":672,"thumbUrl":673,"material":133,"size":134,"collection":99,"collections":674,"showCount":675,"zanCount":11,"manualWeight":11,"mainColor":37},290848,"ji-zhen-ji-zhou-tang-yin-290848","鸡真迹轴","唐寅","唐寅（1470年3月6日－1524年1月7日），字伯虎，小字子畏，号六如居士，南直隶苏州府吴县（今江苏省苏州市）人，祖籍凉州晋昌郡，明朝著名画家、书法家、诗人。\n成化二十一年（1485年），考中苏州府试第一名，进入府学读书。弘治十一年，考中应天府乡试第一（解元），入京参加会试。弘治十二年，卷入徐经科场舞弊案，坐罪入狱，贬为浙藩小吏。从此，丧失科场进取心，游荡江湖，埋没于诗画之间，终成一代名画家 。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[24,23,47,48,7,25,471,556,250,145,70,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedb864d815658b9038e4cbbc6da8f12b.jpg",[],14,{"id":677,"slug":678,"title":679,"dynasty":153,"author":680,"museum":126,"description":681,"tags":682,"thumbUrl":685,"material":133,"size":134,"collection":99,"collections":686,"showCount":675,"zanCount":102,"manualWeight":11,"mainColor":37},288494,"chui-yang-fei-xu-tu-yang-huang-hou-288494","垂杨飞絮图","杨皇后","图绘新绿垂柳四枝，袅袅生姿，柳絮似雪飞舞，透露无限春意。画中柳枝用中锋一笔画出；柳叶用细笔勾勒，并填以汁绿；柳絮用白粉信笔点之。全图用笔工整，赋色淡雅。构图疏密得体。上方垂下的柳枝与右侧伸出的柳枝将画面分割成形状不等的四部分，小中见大，引人遐思。图的左上方有宋宁宗皇后杨氏的题诗：“线捻依依绿，金垂袅袅黄”，并钤八卦中的“坤卦”形印。",[46,683,23,47,26,25,7,684,131,532,29],"册","柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0403430a8d43e9748ddfd58d5f9c5770.jpg",[],{"id":688,"slug":689,"title":690,"dynasty":153,"author":432,"museum":126,"description":433,"tags":691,"thumbUrl":695,"material":133,"size":134,"collection":99,"collections":696,"showCount":697,"zanCount":11,"manualWeight":11,"mainColor":80},289375,"sha-zhu-fu-chu-tu-cui-bai-289375","沙渚凫雏图",[24,23,47,7,25,26,692,693,694],"凫雏","沙洲","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec80acdcc9292f6a5512eab894119fa6.jpg",[],13,{"id":699,"slug":700,"title":701,"dynasty":18,"author":292,"museum":126,"description":702,"tags":703,"thumbUrl":707,"material":133,"size":134,"collection":99,"collections":708,"showCount":709,"zanCount":617,"manualWeight":11,"mainColor":241},267352,"xiu-xian-xuan-zhu-zhang-ling-liu-cheng-duo-zi-tu-zhou-yi-ming-267352","绣线萱祝长龄榴呈多子图轴","此作为石青地刺绣作品，以针代笔，用工细绣法还原出雅致清隽的花鸟景致。虬曲桃枝缀满柔粉繁花，两只绶带鸟栖息枝桠，羽色鲜亮灵动，顾盼生姿。蓝白晕染的湖石古拙雅致，石畔萱花舒展盛放，竹影扶疏掩映。\n\n绣线匀整细密，设色妍丽沉稳，石青底色将花叶禽鸟的明秀色泽衬得分外鲜亮。景致间暗蕴吉庆意涵，萱草祝寿，绶带谐“寿”音，将工笔花鸟的柔婉意趣，借由绣线肌理生动呈现，兼具院体花鸟的妍丽格调和闺阁绣的精巧灵秀，清隽雅致间藏着绵长祝福。",[48,704,7,26,25,27,366,28,705,706],"绣品","奇石","吉祥祝寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ae21561f19c1b9b879271e6ab70522c.jpg",[],10,{"id":711,"slug":712,"title":713,"dynasty":153,"author":292,"museum":126,"description":714,"tags":715,"thumbUrl":718,"material":133,"size":134,"collection":99,"collections":719,"showCount":720,"zanCount":11,"manualWeight":11,"mainColor":80},289988,"zhu-ting-yuan-yang-tu-yi-ming-289988","竹汀鸳鸯图","近岸竹树婆娑，枝叶以浓淡墨色层叠晕染，尽显繁密清润之态。汀洲软滩之上，一对鸳鸯亲昵悠然，一只敛羽顾盼，一只低头理毛，翎羽纤毫毕现，写实生动。空阔水面晕染轻淡，远景朦胧虚渺，衬出幽寂静穆之境。几只飞鸟穿掠竹林，为静谧画面添上灵动生机。\n全作用笔工写相融，禽鸟刻画精工细致，竹枝野卉则带写意疏朗，虚实相生间铺陈出江南水畔的闲澹野趣，藏着对自然幽微之处的细腻体察，淡远空灵的诗意晕染在笔墨之间，尽显安然闲逸的林下意趣。",[23,7,26,25,250,144,28,716,717],"水边","汀洲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72f5b444ff331f2b1ab8a5865dcfe7ee.jpg",[],9,{"id":722,"slug":723,"title":724,"dynasty":61,"author":415,"museum":416,"description":417,"tags":725,"thumbUrl":727,"material":424,"size":425,"collection":99,"collections":728,"showCount":720,"zanCount":11,"manualWeight":11,"mainColor":37},222562,"hua-hui-tu-ce-chen-chun-222562","花卉图册",[46,23,47,683,90,249,300,7,25,116,726],"写意花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d121de0c7b60ae8254169e2a821ad98.jpg",[],{"id":730,"slug":731,"title":732,"dynasty":18,"author":733,"museum":126,"description":734,"tags":735,"thumbUrl":737,"material":133,"size":134,"collection":99,"collections":738,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},290592,"shui-xian-zhou-zhang-ruo-ai-290592","水仙轴","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。 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