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创作的纸本设色画。\n\n每图各有 题识，分别钤“寿平”白朱文印、“正叔”朱文印、“寿平”白文印、“恽正叔”白文印、“寿平印”白文印等。\n\n每图各有乾隆皇帝题诗一首。\n\n鉴藏印有：“ 御赏之宝”、“淳化轩”、“石渠宝笈”、“臣庞元济恭藏”、“虚斋至精之品”等二十余方。\n\n本图册第三开、第十开分别署年款“乙卯秋”、“乙卯十月”。\n\n“乙卯”为清康熙十四年（1675年），此作应为恽寿平4岁时作品。\n\n此山水花卉图册分别描绘鹅群、荷花、山水、古木寒鸦、牡丹、乔柯急涧、夜雨初霁、菊花、兰花蝴蝶花、溪山行旅等。\n\n全册为作者临仿宋、元、明诸家。\n\n山水以宗董源、巨然、米芾、赵孟頫诸家为主，秀骨清幽，富有文人书卷之气。",[23,24,106,25,26,27,83,28,7,107,228,67,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F330e3e872b432c5d096fddbd7eafe407.jpg","纸本，设色","纵27.5厘米，横35.2厘米。",[35,112],1541,7,{"id":418,"slug":419,"title":420,"dynasty":195,"author":421,"museum":79,"description":422,"tags":423,"thumbUrl":426,"material":109,"size":427,"collection":202,"collections":428,"showCount":415,"zanCount":429,"manualWeight":39,"mainColor":40},216083,"qiu-kui-tu-li-shi-zhong-216083","秋葵图","李士忠","写秋葵一枝，工笔勾勒填彩，花瓣用粉细勾，叶用重绿，姿韵生动，重彩渲染，布局严谨。两朵开着的花与疏疏的叶子，充分表现出秋葵的神态，是南宋写生佳作。",[23,106,24,25,83,27,7,424,226,425,67],"秋葵","叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90e4f46a0ef378e801baa321bbe7168c.jpg","25x28cm",[202,35],10,{"id":431,"slug":432,"title":433,"dynasty":148,"author":149,"museum":135,"description":434,"tags":435,"thumbUrl":437,"material":438,"size":439,"collection":202,"collections":440,"showCount":441,"zanCount":442,"manualWeight":39,"mainColor":159},221429,"mei-hua-cui-niao-tu-juan-xu-xi-221429","梅花翠鸟图卷","圖繪梅花翠鳥，滿樹梅花開放，粉色的茶花間插其中，鳥兒立於枝頭嬉戲，原來冬天可以這麼美！徐熙，五代南唐畫家，金陵（今南京）人，一說鍾陵（今江西進賢）人。出身於「江南名族」。生於唐僖宗光啓年間，後在開寶末年（公元975）隨李後主歸宋，不久病故。一生未官，郭若虛稱他爲「江南處士」。沈括說他是「江南布衣」。其性情豪爽曠達，志節高邁，善畫花竹林木，蟬蝶草蟲，其妙與自然無異。後人將其與後蜀黃筌並稱爲「黃徐」，有「黃家富貴，徐熙野逸」之評，爲五代、宋初花鳥畫的兩大流派之代表。」\n宋代沈括形容徐熙畫「以墨筆爲之，殊草草，略施丹粉而已，神氣迥出，別有生動之意」(《夢溪筆談》)。宋代《德隅齋畫品》中著錄徐熙《鶴竹圖》，謂其畫竹「根幹節葉皆用濃墨粗筆，其間櫛比，略以青綠點拂，而其梢蕭然有拂雲之氣」。米芾又謂他畫花果有時用澄心堂紙，用絹則「其紋稍粗如布」。這種題材和畫法都表現他作爲江南處士的情懷和審美趣味，與妙在賦彩、細筆輕色的「黃家富貴」不同，﹝指黃筌與黃居寀父子﹞而形成另一種獨特風格，被宋人稱爲「徐熙野逸」。然而《圖畫見聞志》中記徐熙爲南唐宮廷所繪的「鋪殿花」、「裝堂花」，於「雙縑幅素上畫叢豔疊石，傍出藥苗，雜以禽鳥蜂蟬之妙」，「意在位置端莊，駢羅整肅，多不存生意自然之態」。這種富有裝飾性的繪畫，也構成了徐熙繪畫的另一風貌。",[23,106,24,25,82,83,27,7,436,167,65,226],"梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b7029d7b97054b08ec5392ac417022c.jpg","絹本設色","33.8cm×236.2cm",[202,35,112],1532,29,{"id":444,"slug":445,"title":446,"dynasty":119,"author":447,"museum":20,"description":448,"tags":449,"thumbUrl":456,"material":109,"size":52,"collection":35,"collections":457,"showCount":458,"zanCount":459,"manualWeight":39,"mainColor":159},214254,"qiu-shui-fu-yi-tu-ren-ren-fa-214254","秋水凫鹥图","任仁发","秋水凫鹥图是元朝作者任仁发的一幅代表作。这幅画作描绘了秋天的水鸟生活。\n\n在这幅画作中，任仁发巧妙地捕捉了秋天的水鸟的生活情景。他用浓墨重彩的画法，勾勒出了水鸟的身形。他还用细腻的线条勾勒出了水鸟的面容，让人感受到了水鸟的自然和优美。\n\n此外，任仁发在这幅画作中还描绘了水鸟周围的景色。他用色彩丰富的画法，描绘了水鸟周围的山川和河流。这些景色与水鸟的生活场景形成了鲜明的对比，让人感受到了自然与动物的和谐共存。\n\n总之，秋水凫鹥图是一幅精美的画作，描绘了秋天的水鸟生活。它让我们感受到了元朝作者任仁发对自然的崇敬之情，也让我们感受到了元朝文化的魅力。\n\n在这幅画作中，任仁发运用了丰富的色彩和细腻的线条，将水鸟的生活场景展现得淋漓尽致。他还用精美的画法描绘了水鸟周围的景色，让人感受到了自然与动物的和谐共存。\n\n秋水凫鹥图是元朝文化中的经典之作，也是任仁发的代表作之一。它不仅展现了任仁发的艺术才华，也是一幅能够唤起人们对自然的崇敬之情的画作。",[23,24,83,27,7,167,450,451,186,287,452,453,454,455],"水禽","鸭子","树枝","花叶","水波","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc65117c93f7cf534891203b9f9c5bbf5.jpg",[35],1515,25,{"id":461,"slug":462,"title":463,"dynasty":195,"author":464,"museum":45,"description":465,"tags":466,"thumbUrl":468,"material":109,"size":469,"collection":202,"collections":470,"showCount":471,"zanCount":472,"manualWeight":39,"mainColor":159},218573,"lu-chi-zhuo-su-tu-wu-bing-218573","渌池擢素图","吴炳","吴炳，生卒年不详，南宋画家。毗陵武阳（今江苏常州）人。工画花鸟，写生折枝，妙夺造化，彩绘精致富丽。绍熙初（公元1131-1162年），宋光宗赵悼皇后李氏，赏识其画，授画院待诏，赐金带。。画风谨守院体，作品较多。画迹有《春池睡鸭》、《山茶鹁鸽》、《鸳鸯瑞莲》、《宝珠玉蝶》、《折枝绛桃》等二十六件，著录于《绘事备考》。传世作品有《出水芙蓉图》、《竹雀图》、《嘉禾草虫图》、《枇杷绣羽图》等。",[106,24,25,83,27,7,49,50,467],"荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6610c8fae2457627a5a08640bf940f45.jpg","25.4×26cm",[202,35],1495,23,{"id":474,"slug":475,"title":476,"dynasty":60,"author":477,"museum":45,"description":478,"tags":479,"thumbUrl":481,"material":109,"size":482,"collection":35,"collections":483,"showCount":484,"zanCount":279,"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","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。",[23,480,24,25,26,27,83,7,123,214,29,242],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29d24e4e72e70775f7e4626a7a610564.jpg","21.5×16cm",[35],1477,{"id":486,"slug":487,"title":488,"dynasty":489,"author":490,"museum":251,"description":491,"tags":492,"thumbUrl":495,"material":33,"size":496,"collection":35,"collections":497,"showCount":498,"zanCount":429,"manualWeight":39,"mainColor":40},216935,"hua-die-tu-zhou-qi-bai-shi-216935","花蝶图轴","民国","齐白石","画面以泼洒的蓝彩点染花朵，墨色线条勾勒叶片，苍劲中透着灵动。几株蓝花亭亭而立，叶片舒展如剑，与轻盈的花瓣相映成趣。花丛间，一只螳螂敛足欲动，姿态警觉；空中蝴蝶振翅，飞虫轻舞，小生灵的动态被捕捉得活灵活现。右上角题字与朱印相映，平衡构图之余更添文人意趣。整幅画作将自然生机与笔墨意趣相融，草虫的鲜活与花卉的雅致交织，尽显对生活细微之美的敏锐感知与精湛表现力。",[23,24,27,64,7,152,226,493,494,242,228],"蝶","螳螂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e1010a81c5646f35a6bf665ff905dca.jpg","103x41.3cm",[35],1472,{"id":500,"slug":501,"title":502,"dynasty":18,"author":19,"museum":45,"description":46,"tags":503,"thumbUrl":506,"material":33,"size":52,"collection":52,"collections":507,"showCount":508,"zanCount":509,"manualWeight":39,"mainColor":40},214742,"hua-hui-ce-2-yun-shou-ping-214742","花卉册-2",[23,106,24,25,7,26,28,27,504,505,29,66],"萱草","桂花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1be5a0e030dc2534dcd967c594f0154e.jpg",[],1468,6,{"id":511,"slug":512,"title":513,"dynasty":18,"author":19,"museum":306,"description":514,"tags":515,"thumbUrl":520,"material":521,"size":522,"collection":35,"collections":523,"showCount":524,"zanCount":472,"manualWeight":39,"mainColor":525},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。",[23,24,25,82,27,28,83,7,29,107,516,517,49,123,291,286,518,288,519,48,214,242],"百合","菊","水仙","芍药","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff29e1c97e998205c049e5c6f18799621.jpg","手卷，绢本设色","纵32厘米，横530厘米",[35,112],1418,"F48FB1",{"id":527,"slug":528,"title":529,"dynasty":18,"author":530,"museum":45,"description":531,"tags":532,"thumbUrl":533,"material":534,"size":535,"collection":35,"collections":536,"showCount":537,"zanCount":232,"manualWeight":39,"mainColor":40},216924,"hua-niao-si-tiao-ping-zhu-da-216924","花鸟四条屏","朱耷","此四条屏作于其七十前后，(款字八作二折)或作风荷拳石;或作高梧疏竹;或作双凫戏于溪头，或作群鱼悠游涧中。意境静寂，动静生发。墨淡而厚，湿而毛;笔圆而劲，重而灵;苍莽朴茂之中，有清韵流衍;笔墨不多而意境丰满。荷塘一幅，以微风摇动之花叶，烘托凝重古质之拳石，雄豪活泼之气溢于画里画外。双凫一幅，极尽墨沈之灵变。禽羽之丰满润泽，仿佛若可触摸。崖石用虚淡之笔皴点，略以浓墨点苔竹，虽满纸空白，而情韵入微。所谓无处还有是也。而游鱼一幅尤佳绝，下方危石如奇峰倒立，已出人意表。其上悬崖兀起，其间秋水空阔，群鱼悠游，或伫滞水面，或倏忽水底，其状拙质，其形简古，而不失生趣。大小二十七尾，无一雷同，为八大画中绝品。八大四屏传世绝少，识者珍视之!",[23,24,25,152,64,399,7,65,384,90,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F700f64005b95bf5fc96a186eb8e59446.jpg","纸本,水墨","182.5×49cm",[35],1374,{"id":539,"slug":540,"title":541,"dynasty":18,"author":19,"museum":135,"description":542,"tags":543,"thumbUrl":545,"material":52,"size":546,"collection":35,"collections":547,"showCount":548,"zanCount":190,"manualWeight":39,"mainColor":40},233901,"hua-hui-shan-shui-ce-yun-shou-ping-233901","花卉山水册","恽寿平（1633-1690年），初名格，后以字行，又字正叔，别号南田，一号白云外史、云溪外史、东园客、巢枫客、草衣生、横山樵者。江苏武进人。清代著名画家。与“四王”、吴历并称“清初六大家”。其父恽日初诗文杰出，为“复社”中人。叔父恽向（道生）为著名山水画家，自创一派。恽寿平是清朝初期最享盛名的花鸟画家。其画作多写生，人称“写生正派”；更以徐崇嗣为宗，兼取各家之长，极大的发展了没骨画。所画花卉，很少勾勒，以水墨着色渲染，用笔含蓄，画法工整，明丽简洁，天趣盎然。恽寿平不仅画作出众，风格独具，而且兼工诗书，题句清丽流畅，诗格脱俗超逸，为“昆陵六逸”之冠。恽南田《山水花卉册》八帧，其中包括山水，花鸟及情景兼容的人物，攘括了恽南田所有的画种。画中有退耕堂藏印。退耕堂为徐世昌的室名。\n恽寿平一生坎坷，饱经困苦，他幼年聪颖玲利，遭遇战乱，与兄皆被俘，与父亲失散，后遇灵隐寺方丈相救，才得以与家人团聚，归家后，发奋读书学画。经刻苦钻研，于古文、诗词、书画无不精擅。他崇尚气节，誓不应科举，少时的忧患，留下深深的创痛，一生未尝忘情。却在绘画上取得了很高的成就；恽南田曾致书王（翚）说：“格于山水，终难打破一字关，曰‘窘’，良由为古人规矩法度所束缚耳。”又说：“君独步矣！吾不为第二手也”。于是恽寿平转攻花鸟，以后山水不过偶而为之。可见其艺术抱负。《山水花卉册》中的山水，取黄公望笔法，于荒率中见秀润，尖毫勾皴，浓墨点树、高旷清淡，浸润宋元诸家，吸取王蒙、二米等人之长，渐脱刻极。40岁左右作品最为精采，如43岁的《山水花鸟册》，技法灵活多变，表达各家风貌准确，艺术已臻成熟。他的花鸟画成就最为突出，取法徐崇嗣的没骨法，他的没骨花卉，揉合了黄（筌）、徐（熙）两派技法，既重视写生，力求形似，“每画一花，必折是花插之瓶中，极力描摹，得其生香活色而后已。”又强调“与花传神”。力去华靡，追求“ 澹雅”。此册中的花鸟更是形神兼备，清新淡雅，具有新的风貌。",[24,25,28,27,7,123,544,68],"柳枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10aa5773f16fa6bd4dd6b950a442d3b2.jpg","纵32.5厘米，横25.5厘米",[35],1349,{"id":550,"slug":551,"title":552,"dynasty":195,"author":553,"museum":251,"description":554,"tags":555,"thumbUrl":557,"material":558,"size":559,"collection":202,"collections":560,"showCount":561,"zanCount":114,"manualWeight":39,"mainColor":159},221559,"pi-pa-shan-niao-tu-lin-chun-221559","枇杷山鸟图","林椿","图绘江南五月，成熟的枇杷果在夏日的光照下分外诱人。一只绣眼翘尾引颈栖于枇杷枝上正欲啄食果实，却发现其上有一只蚂蚁，便回喙定睛端详，神情十分生动有趣。枇杷枝仿佛随着绣眼的动作重心失衡而上下颤动，画面静中有动，妙趣横生。绣眼的羽毛先以色、墨晕染，随后以工细而不板滞的小笔触根根刻画，表现出鸟儿背羽坚密光滑、腹毛蓬松柔软的不同质感。枇杷果以土黄色线勾轮廓，继而填入金黄色，最后以赭色绘脐，三种不同的暖色水乳交融，从而展现出枇杷果成熟期的丰满甜美。枇杷叶用笔致工整细腻的重彩法表现，不仅如实地刻画出叶面反转向背的各种自然形貌，且将叶面被虫儿叮咬的残损痕迹亦勾描晕染得一丝不苟，充分反映了宋代花鸟画在写实方面所达到的艺术水平。\n《石渠宝笈三编》著录。",[23,106,24,25,83,27,26,7,556,167,68],"枇杷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F195499e5cd6dd07045004c96458c8a96.jpg","绢本 ，设色","纵26.9cm，横27.2cm",[202,35,112],1282,{"id":563,"slug":564,"title":565,"dynasty":60,"author":566,"museum":45,"description":567,"tags":568,"thumbUrl":571,"material":109,"size":52,"collection":35,"collections":572,"showCount":573,"zanCount":574,"manualWeight":39,"mainColor":40},216202,"hua-hui-shi-kai-tu-ce-xiang-sheng-mo-216202","花卉十开图册","项圣谟","花卉十开图册是明朝项圣谟的一部著作，收录了十张以花卉为主题的图画。项圣谟是明朝时期著名的绘画家，他的作品被誉为中国古代花卉画的杰作。 花卉十开图册记录了项圣谟观察花卉的细节和特征，并以精细的线条和色彩描绘出来。这部作品中的图画包括了各种不同种类的花卉，如牡丹、荷花、菊花等。这些图画不仅精美绝伦，而且还能够展现出项圣谟对花卉的深刻理解和观察。",[23,24,26,27,83,68,31,569,7,436,254,517,467,123,107,570,186,455],"行书","石榴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f238b574b7e294422560d3e7833b4b0.jpg",[35],1280,21,{"id":576,"slug":577,"title":578,"dynasty":18,"author":19,"museum":20,"description":21,"tags":579,"thumbUrl":581,"material":33,"size":34,"collection":52,"collections":582,"showCount":583,"zanCount":429,"manualWeight":39,"mainColor":40},214702,"chun-hua-tu-ba-kai-7-yun-shou-ping-214702","春花图八开-7",[23,24,25,26,28,27,7,516,580,68],"叶片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2389e1ac2ceb12e7d4b9e1c738856ee3.jpg",[],1232,{"id":585,"slug":586,"title":587,"dynasty":18,"author":19,"museum":45,"description":46,"tags":588,"thumbUrl":590,"material":33,"size":52,"collection":52,"collections":591,"showCount":592,"zanCount":593,"manualWeight":39,"mainColor":40},214734,"hua-hui-ce-6-yun-shou-ping-214734","花卉册-6",[23,24,25,106,26,28,27,7,29,215,83,589,64],"草本植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa6add9c0b73e67c0dfd0de7e7d098a1.jpg",[],1228,5,{"id":595,"slug":596,"title":597,"dynasty":489,"author":598,"museum":599,"description":600,"tags":601,"thumbUrl":604,"material":96,"size":52,"collection":605,"collections":606,"showCount":607,"zanCount":114,"manualWeight":39,"mainColor":40},220450,"lian-chi-lin-yu-shan-220450","莲池","林玉山","国立台湾美术馆","这幅《莲池》是民国画家林玉山的工笔花鸟佳作，可从以下几方面鉴赏：\n\n一、技法表现：工笔精谨，写实入微\n林玉山擅长工笔重彩，这幅画以精细工笔技法刻画物象：荷叶的脉络、荷花的瓣层、白鹭的羽毛都被细腻勾勒，线条匀净流畅，尽显工笔“精工细作”的特质；同时融入写实观察，让荷花、荷叶的形态、白鹭的动态都极具自然真实感，体现他“写生入画”的创作理念。\n\n二、构图布局：疏密有致，动静相生\n画面布局繁而不乱：大片荷叶荷花层层叠叠，疏密、虚实对比鲜明；左下角的白鹭成为视觉焦点，以其灵动姿态打破静态莲池的沉寂，形成“静（莲荷）动（白鹭）相生”的节奏，让画面既有满幅的丰富感，又有视觉的呼吸感。\n\n三、色彩格调：典雅和谐，层次丰盈\n采用工笔重彩设色法，背景的暖棕色调与荷叶的蓝绿色调形成雅致对比，荷花的粉白、白鹭的素净又在色彩层次中穿插呼应，既保留了传统工笔的富丽感，又通过色调调和营造出莲池清幽朦胧的氛围，尽显色彩的抒情性。\n\n四、意境与风格：传统意趣与现代写实的融合\n画面营造出“清幽雅致”的田园意境，莲池的静谧、白鹭的灵动，传递出自然生机与文人式的闲逸情致。同时，林玉山将西方写实技法融入传统工笔，既延续了中国花鸟画的装饰美感与意境追求，又以写实观察赋予物象鲜活生命力，是民国时期“传统笔墨现代化”的典型探索，展现了他在工笔花鸟领域“古今融合、中西通汇”的独特风格。\n\n综上，这幅《莲池》以精湛工笔、精妙构图、典雅色彩，勾勒出诗意莲池的生动图景，既是林玉山个人艺术风格的凝练，也折射出民国时期传统绘画在现代转型中的探索与成就。",[23,24,25,83,27,7,49,50,602,603],"白鹭","水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1ee7c758c3a5d09e9063bab49500b45.jpg","花鸟精选",[605],1224,{"id":609,"slug":610,"title":611,"dynasty":18,"author":19,"museum":79,"description":612,"tags":613,"thumbUrl":615,"material":27,"size":616,"collection":35,"collections":617,"showCount":618,"zanCount":619,"manualWeight":39,"mainColor":40},220990,"mu-dan-tu-yun-shou-ping-220990","牡丹图","恽寿平（1633年－1690年），初名格，字寿平，改字正叔，号南田，又号云溪外史、白云外史，武进（今江苏常州）人，清代画家。\n恽寿平生于明崇祯六年（1633年），父恽日初为复社要人。寿平八岁能咏莲，少年遭遇战乱，随父参加抗清运动，兵败后与父失散，被总督陈锦之妻收留。陈锦遇刺身亡，寿平扶灵北归时，在灵隐寺与父相遇，留寺为僧，后回乡与家人团聚。\n子恽念祖，娶西营汤氏，汤谟孙女、汤自明次女。\n生前视钱如无物，晚年贫病交迫，卒于清康熙二十九年（1690年），由好友王翚出资安葬。",[23,24,25,7,27,28,107,29,614,68],"题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b5f207c857db2c2b1912c82d5800ded.jpg","纵28.5公分 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此册页每一页所绘蔬果都有刘墉相应赋诗一首，书法浑厚大气，古朴自然，自成一派，看似松散，实则丰貌骨劲。刘墉所描写蔬果诗文生动质朴，贴近生活，与恽寿平描绘的蔬果相应成趣，极大增加了观赏趣味。",[106,24,25,26,627,64,27,7,628,629,630,227,228,631],"白描","蔬菜","花果","丝瓜","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2ff8d0ecdcd63604674ff7f8ad8ac1b.jpg","26.1x19.9cm",[35],1136,{"id":637,"slug":638,"title":639,"dynasty":18,"author":19,"museum":45,"description":46,"tags":640,"thumbUrl":644,"material":33,"size":52,"collection":52,"collections":645,"showCount":646,"zanCount":5,"manualWeight":39,"mainColor":40},214740,"hua-hui-ce-3-yun-shou-ping-214740","花卉册-3",[23,24,25,26,28,27,7,107,641,642,320,643,29],"岩石","腊梅","松枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c927f31d42dd0d26109d43256054d1e.jpg",[],1110,{"id":648,"slug":649,"title":650,"dynasty":18,"author":19,"museum":20,"description":21,"tags":651,"thumbUrl":652,"material":33,"size":34,"collection":52,"collections":653,"showCount":654,"zanCount":509,"manualWeight":39,"mainColor":40},214706,"chun-hua-tu-ba-kai-6-yun-shou-ping-214706","春花图八开-6",[23,24,25,106,26,28,27,7,226,425,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0a989ce46045ab5e8868995eea818ba.jpg",[],1054,{"id":656,"slug":657,"title":658,"dynasty":195,"author":553,"museum":79,"description":659,"tags":660,"thumbUrl":663,"material":109,"size":664,"collection":35,"collections":665,"showCount":666,"zanCount":205,"manualWeight":39,"mainColor":40},218892,"xie-sheng-hai-tang-tu-lin-chun-218892","写生海棠图","这幅画表现的是开花或含苞待放的海棠的一个单枝。花朵的颜色是白色粉末，带有一丝腮红，使它们变得精致而漂亮。",[23,24,25,661,83,27,7,662,228],"扇面","海棠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c6ee140dbb46294f76dd28443ed475a.jpg","23.4x24",[35],1048,{"id":668,"slug":669,"title":670,"dynasty":18,"author":237,"museum":20,"description":671,"tags":672,"thumbUrl":674,"material":33,"size":675,"collection":35,"collections":676,"showCount":677,"zanCount":678,"manualWeight":39,"mainColor":40},218895,"jin-ji-zhu-ju-tu-zhou-hua-yan-218895","锦鸡竹菊图轴","华嵒的《锦鸡竹菊图》轴既融合了没骨写生，又揉和了水墨泼染之长，形成了兼工带写、灵巧松秀的小写意风格，栩栩如生，姿态万千，艺术手法非常高超。",[24,27,7,83,152,673,185,517,186],"锦鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56e481200e5ac0e9cc66a96220c80926.jpg","纵106.8厘米，横47.2厘米",[35],1037,4,{"id":680,"slug":681,"title":682,"dynasty":60,"author":683,"museum":79,"description":684,"tags":685,"thumbUrl":687,"material":33,"size":688,"collection":35,"collections":689,"showCount":690,"zanCount":678,"manualWeight":39,"mainColor":40},214361,"ping-zhong-la-mei-tu-shen-zhou-214361","瓶中蜡梅图","沈周","沈周是一个慷慨大方的人。他能写诗和书法，也善于绘画，山水、花果、鸟、鱼、动物、人物，他都了如指掌，他的作品有一种稚拙的形态，笔触钝而有力，墨色浓重，给人一种厚重感和力量感，有古人的趣味。在这幅《瓶中蜡梅》中，梅花的茎部被用笔触画出，就像山水中的一棵树，显示出它冷峻的姿态。",[23,24,25,152,27,7,436,686,68,569],"器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf9e9b4c56979665467b25f96882b252.jpg","140.6x31.6",[35],1021,{"id":692,"slug":693,"title":694,"dynasty":119,"author":695,"museum":79,"description":696,"tags":697,"thumbUrl":698,"material":699,"size":700,"collection":35,"collections":701,"showCount":702,"zanCount":190,"manualWeight":39,"mainColor":40},221741,"tai-ping-chun-se-zhou-zhang-zhong-221741","太平春色轴","张中","插花从花材的选择、色彩搭配、构图造型、乃至内涵意境都有了一定的要求。张中《太平春色》就是以插花为题材的绘画作品。",[23,24,25,152,83,27,7,107,686,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F056cf2082cbbbc43245d5e3aee80f4c8.jpg","白纸本","99.1x41.1公分",[35,112],1017,{"id":704,"slug":705,"title":706,"dynasty":18,"author":196,"museum":79,"description":707,"tags":708,"thumbUrl":710,"material":109,"size":52,"collection":35,"collections":711,"showCount":712,"zanCount":205,"manualWeight":39,"mainColor":40},216218,"ke-si-hua-niao-zhou-yi-ming-216218","缂丝花鸟轴","缂丝花鸟轴是一件来自清朝的著名织物，它的特点是精细的缂丝织法，用细密的金丝或银丝织成花鸟图案。这种织物通常是用来装饰床单、枕头和窗帘的，也可以用作礼服的饰品。这种织物的制作需要高超的技艺，因此它们非常珍贵且价值高。",[139,709,24,152,27,83,7,89,90,107,167,186],"缂丝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb707e05f41a56d8bb90d7d98b005b201.jpg",[35],1010,{"id":714,"slug":715,"title":716,"dynasty":18,"author":19,"museum":717,"description":718,"tags":719,"thumbUrl":721,"material":722,"size":723,"collection":35,"collections":724,"showCount":725,"zanCount":376,"manualWeight":39,"mainColor":40},220996,"hua-hui-tu-ce-li-hua-yun-shou-ping-220996","花卉图册·梨花","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。",[23,24,25,106,26,28,27,7,720,66,68],"梨花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5ced6b3440393ea70433c90398c4a22.jpg","纸本 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亭花，这可能是后来明代的仿制品。",[23,106,24,25,152,83,27,7,29,807,90,808,631,65],"禽鸟","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91b842f5975229d677278c15f942eb45.jpg","83.4x28.9",[202],864,{"id":814,"slug":815,"title":816,"dynasty":119,"author":817,"museum":818,"description":819,"tags":820,"thumbUrl":821,"material":822,"size":823,"collection":35,"collections":824,"showCount":825,"zanCount":509,"manualWeight":39,"mainColor":159},221850,"mu-dan-hu-die-tu-shen-meng-jian-221850","牡丹蝴蝶图","沈孟坚","日本京都国立博物馆","图绘牡丹一枝，彩蝶二只，牡丹花以粉色为主色，尽显娇嫩、华丽，彩蝶闻花而来，翩翩起舞。此图构图精巧，勾画精细，动静相宜，栩栩如生。",[23,24,83,27,7,107,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e410cee36c9d4dcc1b24a9edab13549.jpg","绢本设色","26.9×27cm",[35,112],854,{"id":827,"slug":828,"title":829,"dynasty":60,"author":830,"museum":20,"description":831,"tags":832,"thumbUrl":833,"material":534,"size":834,"collection":35,"collections":835,"showCount":836,"zanCount":678,"manualWeight":39,"mainColor":40},214646,"hua-hui-ce-1-chen-chun-214646","花卉册-1","陈淳","陈淳（1483—1544），字道复,后以字行,更字复甫,号白阳,又号白阳山人，江苏苏州人。曾从文徵明学画，但是不拘于师法，山水、花卉自具门径。花卉善写意，淡墨浅色，生动有致。与徐渭并称“青藤白阳”，代表明中期水墨写意花鸟画的新格调，是吴门画派的代表画家。\n用笔简洁，笔势潇洒，行笔迅疾，许多花卉草虫仅用深浅浓淡的不同墨色，却能完整地表达出物象的形状及立体效果，富有生意，具有强烈的笔墨情趣。",[24,25,64,399,7,107,66,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb58cc937edc184830f80264b72f580f3.jpg","纵28 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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》。",[23,24,25,106,27,28,7,29,26,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79d394a60f3fe31f74cc2a4529d753ab.jpg","43x29厘米",[35,112],750,{"id":980,"slug":981,"title":982,"dynasty":148,"author":149,"museum":79,"description":983,"tags":984,"thumbUrl":987,"material":109,"size":988,"collection":35,"collections":989,"showCount":990,"zanCount":190,"manualWeight":39,"mainColor":40},218753,"xie-sheng-zhi-zi-xu-xi-218753","写生栀子","雪白的栀子花与绿叶相映成趣，麻雀站在树枝上，试图捕食被花香吸引的黄蜂。蜜蜂的发音与 封 相同，麻雀的发音与 爵 相似，所以用 爵 的谐音来表示祝贺，这是一幅成功的宫廷画。",[23,24,83,27,7,240,985,65,293,425,986],"栀子","枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8936453d77d3d3461e49f1fe82137570.jpg","24.7x26.5",[35],744,{"id":992,"slug":993,"title":994,"dynasty":489,"author":490,"museum":995,"description":996,"tags":997,"thumbUrl":1000,"material":1001,"size":52,"collection":52,"collections":1002,"showCount":1003,"zanCount":800,"manualWeight":39,"mainColor":40},220584,"hua-yu-chong-2-qi-bai-shi-220584","花与虫-2","Hwajeong Museum","此作以工写交融之法绘就，大写意晕染蔬果花卉：明黄葫芦腴润饱满，墨色瓜实朴拙厚重，丝瓜清透雅致，凌霄、月季柔媚鲜活，藤蔓以狂草般的笔墨肆意舒展，苍劲写意中尽得野趣生机。\n\n笔下草虫则以极精工的细笔刻画：蜻蜓翼脉纤毫毕现，螳螂举臂灵动逼真，蝴蝶振翅欲飞，将小虫的鲜活灵态尽致描摹。简逸朴拙的写意花草，搭配毫厘必现的工笔虫豸，将文人画的雅趣与乡野小景的生机融为一体，把寻常田间意趣化作耐品的丹青佳构。",[23,24,27,7,82,998,630,292,214,494,999,107,289,227,228],"葫芦","蟋蟀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa55484ca9db9175f8ad8bbbb64dec7ae.jpg","color on 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的光芒。，他想買下，無奈錢不夠，因此而與丈夫趙明誠雙雙",[23,106,24,25,26,27,7,107,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d4545b75f5270a81a2bbe98ab5c0643.jpg","41×33",[202,35,112],683,{"id":1077,"slug":1078,"title":1079,"dynasty":148,"author":149,"museum":135,"description":1080,"tags":1081,"thumbUrl":1082,"material":109,"size":52,"collection":35,"collections":1083,"showCount":1084,"zanCount":190,"manualWeight":39,"mainColor":40},219178,"hong-mu-dan-tu-xu-xi-219178","红牡丹图","徐熙，五代南唐杰出画家，金陵（今南京）人，一说钟陵（今江西进贤）人。出身于“江南名族”。生于唐僖宗光启年间，后在开宝末年（公元975）随李后主归宋，不久病故。一生未官，郭若虚称他为“江南处士”。沈括说他是“江南布衣”。其性情豪爽旷达，志节高迈，善画花竹林木，蝉蝶草虫，其妙与自然无异。",[23,106,24,25,7,107,27,83,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ffaf2140f2c68889a42d1ec443c4e02.jpg",[35],680,{"id":1086,"slug":1087,"title":1088,"dynasty":60,"author":61,"museum":20,"description":62,"tags":1089,"thumbUrl":1090,"material":33,"size":70,"collection":52,"collections":1091,"showCount":1092,"zanCount":5,"manualWeight":39,"mainColor":40},216658,"hua-niao-ce-6-sun-ke-hong-216658","花鸟册-6",[24,26,27,83,7,186,291,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41af9d4f43aad81c01b9a55c45457cf1.jpg",[],672,{"id":1094,"slug":1095,"title":1096,"dynasty":195,"author":766,"museum":79,"description":1097,"tags":1098,"thumbUrl":1100,"material":109,"size":1101,"collection":35,"collections":1102,"showCount":1103,"zanCount":429,"manualWeight":39,"mainColor":159},218937,"hua-lan-tu-dong-li-song-218937","花篮图-冬","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。",[23,106,24,25,83,27,7,686,29,291,68,1099],"宋画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55ed24f58dd4748fe5e7c6a5283a48e2.jpg","26.1x26.3",[35],662,{"id":1105,"slug":1106,"title":1107,"dynasty":60,"author":477,"museum":251,"description":1108,"tags":1109,"thumbUrl":1111,"material":109,"size":1112,"collection":35,"collections":1113,"showCount":1114,"zanCount":593,"manualWeight":39,"mainColor":159},221913,"he-hua-yuan-yang-tu-chen-hong-shou-221913","荷花鸳鸯图","此图以“出污泥而不染，濯清涟而不妖”的荷花为题，花朵清丽，或含苞，初绽、或怒放，多姿多态；枝叶带露，娉婷舒展，俯仰欹侧；湖石雄奇，锐利坚崚，厚重沉凝。两只彩蝶在空中翩翩起舞，一对鸳鸯在水面戏水悠然，打破了一池碧水的宁静。一只青蛙正隐伏于石后的荷叶上觊觎甲虫，弓身欲动，给画面平添了几许生机与意趣，从中可见画家善于观察的细心与状物精微的匠心。\n作品用笔工致而不显刻板，着色醇厚而不流于俗腻，画风素洁明快，既有应物象形的写生功底，又不乏变幻合宜的适度夸张，画面呈现出一种在繁与简，疏与密、刚与柔的对比变化中的合谐与统一。\n从署款和绘画风格上推断，当是陈洪绶中年的作品。",[23,106,24,25,152,83,27,7,467,1110,186],"鸳鸯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31f77fc76433fcfb9a62c0f14dd26a0c.jpg","纵183厘米，横98.3厘米",[35,112],661,{"id":1116,"slug":1117,"title":1118,"dynasty":18,"author":19,"museum":717,"description":718,"tags":1119,"thumbUrl":1120,"material":722,"size":723,"collection":35,"collections":1121,"showCount":1122,"zanCount":268,"manualWeight":39,"mainColor":40},220998,"hua-hui-tu-ce-gui-hua-yun-shou-ping-220998","花卉图册·桂花",[23,106,24,25,26,27,28,7,29,505,67,580],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d3d4803a177ac67268b07a8c66a1114.jpg",[35,112],657,{"id":1124,"slug":1125,"title":1126,"dynasty":60,"author":61,"museum":20,"description":62,"tags":1127,"thumbUrl":1128,"material":33,"size":70,"collection":52,"collections":1129,"showCount":1130,"zanCount":509,"manualWeight":39,"mainColor":40},216660,"hua-niao-ce-4-sun-ke-hong-216660","花鸟册-4",[24,25,26,27,83,7,65,286,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F095894dcf84ab92db529b2bd1c9b78cf.jpg",[],655,{"id":1132,"slug":1133,"title":1134,"dynasty":18,"author":332,"museum":1135,"description":1136,"tags":1137,"thumbUrl":1138,"material":27,"size":1139,"collection":35,"collections":1140,"showCount":1141,"zanCount":391,"manualWeight":39,"mainColor":40},222691,"wan-you-tong-chun-tu-juan-qian-wei-cheng-222691","万有同春图卷","美国波士顿博物馆","画卷以折枝的方法将生长于不同时节的几十种花卉，密密匝匝地按大小依次穿插，整齐地排列在画面中。\n以没骨法绘写花叶、花瓣，形态逼真。钱氏画风以干笔勾勒，重视烘染，笔墨浑然，用笔缜密，以青绿、赭石相间设色，极富宫廷富贵气息。\n一如其画卷的题目“万有”，他以折枝的方法将生长于不同时节的几十种花卉，密密匝匝地按大小依次穿插，整齐地排列在画面中。\n以恽寿平的没骨法绘写花叶、花瓣，形态逼真。我们可以轻松地根据花来辨别物种。",[23,24,82,27,83,7,107,286,518,123,291],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28df3bc101f8e21a132c570146c27eaa.jpg","36.3X787.3厘米",[35,112],647,{"id":1143,"slug":1144,"title":1145,"dynasty":195,"author":196,"museum":1146,"description":1147,"tags":1148,"thumbUrl":1149,"material":109,"size":52,"collection":35,"collections":1150,"showCount":1151,"zanCount":5,"manualWeight":39,"mainColor":159},214834,"ke-si-mu-dan-hu-die-tu-yi-ming-214834","缂丝牡丹蝴蝶图","美国弗利尔美术馆","缂丝牡丹蝴蝶图是宋代佚名画家的一幅著名图画。这幅图画描绘了一朵牡丹花和蝴蝶在相互追逐的场景。牡丹花象征着美丽和优雅，而蝴蝶则代表着自由和转化。这幅图画结合了自然与人文的元素，展现出一种优美的意境。画中蝴蝶的细腻写实和牡丹花的浓艳色彩相得益彰，使得这幅图画在宋代颇受欢迎。",[23,24,106,25,661,7,709,27,107,214,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F263c73234939963e2722e8b4fcab0d10.jpg",[35],637,{"id":1153,"slug":1154,"title":1155,"dynasty":18,"author":164,"museum":251,"description":1156,"tags":1157,"thumbUrl":1158,"material":822,"size":1159,"collection":35,"collections":1160,"showCount":1161,"zanCount":232,"manualWeight":39,"mainColor":40},223161,"song-mei-shuang-he-tu-shen-quan-223161","松梅双鹤图","此画为作者晚年之作，笔触细致工整，造型生动准确，技法出自明代而又极具个人风格，笔墨工致，敷色浓艳，注重渲染，形象逼真，富有立体感。劲健、流畅的线条，细密的局部勾画，完美的画面构图，令人难以看出此乃年已古稀之人的手笔。\n将工笔、写意、兼工带写、重彩、淡彩、没骨、水墨、白描、勾勒填彩、钩花点叶等绘画技法在写生中灵活运用并加以发展，既重形似，又重神似。",[23,24,25,83,27,7,782,436,171,185,90,955],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc931c0442a93ab3c28aef5baea6bb17.jpg","191cm×98.cm",[35],633,{"id":1163,"slug":1164,"title":903,"dynasty":18,"author":1165,"museum":368,"description":1166,"tags":1167,"thumbUrl":1169,"material":109,"size":1170,"collection":35,"collections":1171,"showCount":1172,"zanCount":429,"manualWeight":39,"mainColor":159},219051,"hua-niao-tu-zhou-quan-219051","周铨","绘河塘的一角，铺天盖地的荷叶和花朵高高耸立，白色花瓣中的黄色花蕊错落有致，刚刚冒出的小荷叶和花蕾展现出勃勃生机；地面上，一只羽毛斑斓、微闭双眼的野鸭子似乎正在打盹。",[23,24,27,83,152,7,49,50,1168,138],"鸭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc74352fefe18eb2942c55d970a733680.jpg","94x48.6cm",[35],628,{"id":1174,"slug":1175,"title":1176,"dynasty":18,"author":19,"museum":79,"description":1177,"tags":1178,"thumbUrl":1179,"material":27,"size":1180,"collection":35,"collections":1181,"showCount":1182,"zanCount":509,"manualWeight":39,"mainColor":40},220988,"yu-zao-tu-ce-bai-he-yun-shou-ping-220988","鱼藻图册-百合","此套《瓯香馆写生册》共十幅，天津博物馆藏，描写了四时的花果，从春到夏分别是桃花、海棠、碧海珊瑚、牡丹、枇杷、卷丹、洛阳花、凤仙花、菊花、梅花。除了梅花一开，作者写明是学杨补之的水墨画法之外，其余各开全用没骨法，完全不用墨线勾勒，直接用颜色点厾出花朵、叶片、果实，只以色线勾勒叶茎。落色点花的没骨花，既不同于细线勾勒再层层渲染的工笔花卉，也不同于水墨淋漓的大写意花卉，它介于两者之间，也被称作“小写意”花卉。工笔求逼真，写意求意趣，恽氏没骨花所求正在“似与不似之间”。着色花卉自然比纯粹的水墨更逼真，但直接点染的“落色花”比起层层渲染的工笔花卉又有更大的随意性，不必被物象的细枝末节所羁绊，可以放手表现花的风骨。就气质而言，没骨花介于工笔与大写意之间，既不刻画，也不放逸，清新洒脱。",[23,24,25,26,28,27,7,516,228,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2762924bf1e1eee5608b789b14168bf1.jpg","37.8x60.5厘米",[35,112],626,{"id":1184,"slug":1185,"title":1186,"dynasty":18,"author":237,"museum":251,"description":1187,"tags":1188,"thumbUrl":1190,"material":109,"size":1191,"collection":35,"collections":1192,"showCount":1193,"zanCount":5,"manualWeight":39,"mainColor":40},219334,"hai-tang-qin-tu-tu-hua-yan-219334","海棠禽兔图","华嵒的花鸟画丰富了传统的“黄家富贵，徐熙野逸”的审美情趣，寓真情实感于创作，使作品具有丰富的感情和个性，具有雅俗共赏的特征。此图是他晚年的代表作，画家运用拟人化的手法，将鹦鹉按捺不住的欣喜和黑兔胆小好奇的神态表现得生动传神。在画法上，华嵒从恽寿平淡雅清丽的没骨花卉入手，涉猎诸家，形成了鲜明的个人风格。此图结构新奇，笔法将宋人工笔花鸟之细腻工致与写意花鸟之秀逸洗练相结合，敷色活泼。海棠以胭脂及白粉点染，树叶颜色用石青、石绿，其间又有微带白黄色的大叶，颜色浓丽湿润，黑兔的墨色变化更为微妙丰富，浓淡之间表现出柔软疏松的质感，并与树木花卉的暖色调和谐统一，使整幅画面洋溢着花香鸟语的初春气氛。",[23,24,152,27,83,7,662,1189,167,68],"兔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd34c59b5ebbf048bf68fd04c4a04bed.jpg","纵135.2厘米，横52.8厘米",[35,112],620,{"id":1195,"slug":1196,"title":1197,"dynasty":60,"author":830,"museum":79,"description":1198,"tags":1199,"thumbUrl":1201,"material":109,"size":1202,"collection":35,"collections":1203,"showCount":1204,"zanCount":279,"manualWeight":39,"mainColor":159},214726,"hua-hui-tu-chen-chun-214726","花卉图","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。",[23,24,25,106,152,27,399,7,29,186,1200,808],"草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0c023ce4b74affaefcba3f3678377db.jpg","188x96.9",[35],619,{"id":1206,"slug":1207,"title":1208,"dynasty":18,"author":1209,"museum":135,"description":1210,"tags":1211,"thumbUrl":1213,"material":52,"size":52,"collection":52,"collections":1214,"showCount":1215,"zanCount":800,"manualWeight":39,"mainColor":40},235409,"wu-chang-shuo-sui-chao-qing-gong-tu-zhou-wu-chang-shuo-235409","吴昌硕岁朝清供图轴","吴昌硕","此作疏密布局精妙，斜出红梅自瓶中探伸，古拙湖石苍劲拙朴，案头水仙舒展清隽，蒲草萧疏有灵，配搭饱满鲜果，雅俗共赏。\n以篆籀笔法入画，笔墨苍劲老辣，设色浓淡相宜，明丽而不艳俗。朴茂雄浑的行书题字与画面浑然一体，金石古意尽显。既饱含文人案头的清雅逸趣，又暗合新春纳福的吉庆意蕴，将写意洒脱与写实鲜活相融，勾勒出岁朝之际悠然年味，尽显写意花鸟的朴拙雅致。",[24,27,64,152,7,68,31,436,518,1212,186,686],"柿子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65a6c68b7d5407cedbe24b1255ca78c0.jpg",[],618,{"id":1217,"slug":1218,"title":1219,"dynasty":195,"author":464,"museum":135,"description":1220,"tags":1221,"thumbUrl":1222,"material":52,"size":52,"collection":52,"collections":1223,"showCount":1224,"zanCount":416,"manualWeight":39,"mainColor":525},227811,"chu-shui-fu-rong-tu-ye-wu-bing-227811","出水芙蓉图页","《出水芙蓉图》页，宋， ，设色，纵2.8cm，横25cm。\n本幅无款。\n有残印一角。\n裱边贴签：“吴炳 ”。\n一朵盛开的粉红色荷花占据整个 ，在碧绿的荷叶映衬下抢眼而夺目，布局、设色端庄大气，将荷花“出淤泥而不染，濯清涟而不妖”的君子气质表现得十分完美。\n莲瓣的描绘技法类似后世的“没骨”法，不见勾勒之迹，渲染出花瓣既轻盈又腴润的质感。\n画家的写实功力极为扎实，每片莲瓣的形状、角度、色泽和光感都安排得无懈可击。\n至于瓣上红丝、蕊端腻粉，也一一仔细料理，微妙之处，使人叹为神工！ 旧题吴炳绘，无据。\n存《名笔集胜》册中。\n《虚斋名画录》著录。",[23,24,106,25,26,83,27,7,49,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F465d8a0e1d27a9d9e1ea0a726ac79344.jpg",[],616,{"id":1226,"slug":1227,"title":1228,"dynasty":195,"author":1229,"museum":1230,"description":1231,"tags":1232,"thumbUrl":1234,"material":27,"size":1235,"collection":202,"collections":1236,"showCount":1237,"zanCount":268,"manualWeight":39,"mainColor":159},221468,"ji-xiang-duo-zi-tu-lu-zong-gui-221468","吉祥多子图","鲁宗贵","波士顿美术馆","画面的确描绘了三种水果，彼此簇拥在一起，粗看起来有些凌乱，但仔细分辨后会发现画家布置得井井有条。\n按照前、中、后的顺序，斜向纵深排列开。前排是两只石榴，一只全部展现出来，并且成熟得果皮迸裂，露出饱满鲜红的石榴子，另一只隐藏在后面，露出尖尖的蒂。画面的后排也是一个圆球形的果实，这是橘。在石榴与橘中间，夹着一串颗粒饱满的水果。这是葡萄吗？画中的这串果实，大小虽然与葡萄类似，但颜色为棕黄色，表面有些粗糙。从形状上来看，大部分果实和葡萄一样是圆球形，但还有一些未完全成熟而泛出青色的果实，有尖尖的头。更为有代表性的是叶子。这串水果乃是从枝上新鲜折下，长条形的叶子连在枝上。这绝不是有裂片、像一个宽大鹅掌的葡萄叶。那么这究竟是串什么水果？答案是龙眼。龙眼，我们更习惯的名字是桂圆，在古代是珍稀水果，在现代也价格不菲。\n中国人对它并不陌生，但在欧美国家吃得却很少。可以想见，当初为这幅画确定英文名的人对龙眼十分陌生，所以才会将画中这串圆圆的果实误认作葡萄了。",[23,24,106,25,83,27,7,570,1233,243,228,68],"荔枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8c09eceb96eb51faf45b369858023ed.jpg","高24厘米，宽25.8厘米",[202,35,112],615,{"id":1239,"slug":1240,"title":1241,"dynasty":195,"author":1242,"museum":818,"description":1243,"tags":1244,"thumbUrl":1245,"material":822,"size":1246,"collection":202,"collections":1247,"showCount":1248,"zanCount":416,"manualWeight":39,"mainColor":159},221594,"hong-bai-fu-rong-tu-li-di-221594","红白芙蓉图","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。\n《红白芙蓉图》是双幅画，描写红白芙蓉盛开的景色。红、白芙蓉各两朵，都画盛开时的花瓣，红色娇艳鲜嫩，白色粉白如玉，花叶为深绿色。",[23,24,25,7,83,27,291],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4a01f8634d699b1442498a83bf153de.jpg","纵25.2×横26.cm×2",[202,112,35],609,{"id":1250,"slug":1251,"title":1252,"dynasty":60,"author":61,"museum":20,"description":62,"tags":1253,"thumbUrl":1254,"material":33,"size":70,"collection":52,"collections":1255,"showCount":1256,"zanCount":5,"manualWeight":39,"mainColor":40},216659,"hua-niao-ce-5-sun-ke-hong-216659","花鸟册-5",[24,26,83,27,7,65,226,452,228,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc762cbbb53d0597b5436b458f6ea96.jpg",[],599,{"id":1258,"slug":1259,"title":1260,"dynasty":60,"author":1261,"museum":79,"description":1262,"tags":1263,"thumbUrl":1264,"material":33,"size":1265,"collection":35,"collections":1266,"showCount":1267,"zanCount":574,"manualWeight":39,"mainColor":40},218793,"pi-pa-zhen-qin-tu-zhou-zhi-mian-218793","枇杷珍禽图","周之冕","画面中，枇杷枝叶舒卷，翠叶如盖，嫩黄果实攒聚枝间，饱满莹润。一只禽鸟栖于枝桠，羽色柔和，神态闲静，似在细赏花叶，又若欲振翅，姿态鲜活传神。画家运笔细腻，勾勒花叶轮廓精准，设色淡雅清逸；叶片脉络、果实肌理刻画入微，禽鸟羽毛层次分明，质感逼真。枝叶穿插自然，虚实相生，画面疏密有致，气韵流动。整体风格宁静雅致，融工笔之精丽与写意之灵动，尽显自然生机与闲适意趣，如同一帧鲜活的春日小景，引人驻足细品。",[106,24,25,152,83,27,7,556,66,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b876424f375b541ae9f0153ebc04f8d.jpg","71.4x30.4cm",[35],594,{"id":1269,"slug":1270,"title":1271,"dynasty":195,"author":196,"museum":135,"description":1272,"tags":1273,"thumbUrl":1275,"material":109,"size":52,"collection":202,"collections":1276,"showCount":1277,"zanCount":678,"manualWeight":39,"mainColor":159},218608,"xian-tao-tu-yi-ming-218608","仙桃图","绢本之上，三枚仙桃饱满圆润，似凝脂般温润的底色晕开淡粉霞彩，如晨露轻染的娇羞。枝干以苍劲线条勾勒，转折间藏着自然生机，叶片墨色层次分明，脉络清晰如触手可及。背景素净无华，更衬出果实的鲜嫩与枝干的挺括。整幅画取境简约却意韵悠长，写实技法中透着宋人对自然的细腻观察与雅致情怀。每一处晕染、每一笔线条，都藏着古画独有的温润静美，仿佛能让观者在静谧里嗅到果实的清甜，沉浸于宋代花鸟画的空灵之境，感受那份跨越千年的自然诗意与艺术匠心。",[24,25,7,83,27,1274,66],"桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7de9cd90dd79570e54237657db38ac34.jpg",[202],588,{"id":1279,"slug":1280,"title":133,"dynasty":18,"author":196,"museum":135,"description":1281,"tags":1282,"thumbUrl":1283,"material":52,"size":52,"collection":52,"collections":1284,"showCount":1285,"zanCount":800,"manualWeight":39,"mainColor":40},223629,"he-hua-tu-yi-ming-223629","此作用笔秀润，设色清妍雅致。粉瓣荷花亭亭舒展，晕染出柔媚鲜活的层次，荷叶或苍绿如盖、或半卷含露，墨色浓淡尽显舒展生机。枯瘦莲蓬擎立，自带幽寂禅意。池中游鱼轻摆尾鳍，黑蜂振翅悬于淡赭素色的虚空，静中藏动，将夏日荷塘的鲜活气意晕开。整幅构图疏朗空灵，以浅淡底色晕出水汽氤氲的朦胧，不见满幅堆砌的繁复，将江南莲塘的清润宁和尽数铺陈，尽显文人画的悠然意趣，把溽暑里的荷塘清韵定格在绢素之上。",[23,106,24,25,152,27,83,7,467,50,355,357,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d474cb4c4b95102723b2afdeb3c667a.jpg",[],572,{"id":1287,"slug":1288,"title":1289,"dynasty":195,"author":305,"museum":79,"description":1290,"tags":1291,"thumbUrl":1294,"material":109,"size":1295,"collection":35,"collections":1296,"showCount":1285,"zanCount":429,"manualWeight":39,"mainColor":40},218393,"xie-sheng-xing-hua-tu-zhao-chang-218393","写生杏花图","这是一幅单枝杏花的画作，盛开的杏花，显得春意盎然。笔触精致优雅，花瓣主要用白粉上色，只有花蕾用胭脂上色，给人一种半透明的感觉；花头用胭脂涂抹，颜色丰富，给人一种女性的感觉。",[23,106,24,25,661,83,27,240,7,1292,67,631,1293],"杏花","花蕊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa90c7d76318230f696dd0a532f0faf.jpg","25.2x27.3",[35],{"id":1298,"slug":1299,"title":1300,"dynasty":195,"author":1301,"museum":79,"description":1302,"tags":1303,"thumbUrl":1304,"material":534,"size":1305,"collection":35,"collections":1306,"showCount":1285,"zanCount":232,"manualWeight":39,"mainColor":40},215109,"sui-han-san-you-tu-zhao-meng-jian-215109","岁寒三友图","赵孟坚","莹净的纸面上，画家以墨笔画上一株饱结花朵、苞蕾的梅枝，继而交错、绕夹著如星芒般的松针与墨影般的竹叶，将它们横斜置於画面中央。这三株折枝植物的组合，不但是一件写生佳作，同时画中岁寒三友－松、竹、梅的组合，又代表当时文人认为应该具备的节操与美德。",[23,24,25,64,627,436,185,782,68,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb649cf50efa4be46ecb8b6ea14056db.jpg","32.2×53.4cm",[35],{"id":1308,"slug":1309,"title":1310,"dynasty":18,"author":1311,"museum":135,"description":1312,"tags":1313,"thumbUrl":1314,"material":52,"size":52,"collection":35,"collections":1315,"showCount":1316,"zanCount":232,"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。",[23,24,25,82,27,83,569,68,7,29,214,107,518],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa61f6d45e4448610bc0d9227c8c99010.jpg",[35],537,{"id":1318,"slug":1319,"title":1320,"dynasty":18,"author":19,"museum":717,"description":718,"tags":1321,"thumbUrl":1324,"material":722,"size":723,"collection":35,"collections":1325,"showCount":1326,"zanCount":593,"manualWeight":39,"mainColor":40},221000,"hua-hui-tu-ce-dou-hua-shi-zhu-yun-shou-ping-221000","花卉图册·豆花石竹",[23,24,25,26,28,27,7,1322,1323],"豆花","石竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99e5a05a9a06168177d3bb7fda38b174.jpg",[35,112],523,{"id":1328,"slug":1329,"title":1330,"dynasty":18,"author":19,"museum":79,"description":1331,"tags":1332,"thumbUrl":1335,"material":96,"size":1336,"collection":35,"collections":1337,"showCount":1338,"zanCount":190,"manualWeight":39,"mainColor":40},220986,"yan-xi-yu-le-zhou-yun-shou-ping-220986","燕喜鱼乐轴","本幅以没骨法绘成，直接用色点染，再略加勾画叶脉筋络。全幅设色典雅，有脱俗的气质",[23,24,25,152,83,27,7,123,1333,1334,357,167],"柳","燕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7813b61c4d298e29291dcdde76707c2d.jpg","120.5×61.2",[35,112],522,{"id":1340,"slug":1341,"title":903,"dynasty":119,"author":196,"museum":79,"description":1342,"tags":1343,"thumbUrl":1344,"material":109,"size":1345,"collection":35,"collections":1346,"showCount":1347,"zanCount":678,"manualWeight":39,"mainColor":159},216222,"hua-niao-tu-yi-ming-216222","一对锦鸡被描绘成在花朵和岩石间游动，而一对燕子和喜鹊则各自点缀着这一场景。雉鸡的羽毛鲜艳夺目，与盛开的鲜花交相辉映。这幅画的色彩斑斓和绚丽通过笔法的运用得到了加强。花和鸟的笔触相当细致，有一种优雅的品质。叶子的着色似乎是杂乱无章的，有几处已经模糊或剥落。这幅画没有标记，但仍有元代的题记。",[24,25,106,83,27,7,65,226,186,287,516,67,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ce90ed3be06a8274a00daaccbc1bec.jpg","167.6x101.9cm",[35],520,{"id":1349,"slug":1350,"title":1351,"dynasty":18,"author":530,"museum":135,"description":1352,"tags":1353,"thumbUrl":1354,"material":275,"size":276,"collection":52,"collections":1355,"showCount":1356,"zanCount":800,"manualWeight":39,"mainColor":40},288298,"he-hua-xiao-niao-tu-zhou-zhu-da-288298","荷花小鸟图轴","朱耷（1626年—约1705年），原名朱统𨨗，字刃庵，号八大山人、雪个、个山、人屋、道朗等，出家时释名传綮，汉族，江西南昌人 。明末清初画家，中国画一代宗师。",[23,106,24,64,152,7,467,186,167,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc703fe503e21b896057d755c0c416262.jpg",[],519,{"id":1358,"slug":1359,"title":1360,"dynasty":18,"author":19,"museum":79,"description":104,"tags":1361,"thumbUrl":1362,"material":109,"size":110,"collection":52,"collections":1363,"showCount":1364,"zanCount":5,"manualWeight":39,"mainColor":40},214305,"mu-dan-ce-5-yun-shou-ping-214305","牡丹册-5",[24,25,106,26,27,83,7,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb3772de09b7a0a9f5b1dbfb42e2091f.jpg",[],516,{"id":1366,"slug":1367,"title":1368,"dynasty":18,"author":19,"museum":717,"description":718,"tags":1369,"thumbUrl":1370,"material":722,"size":723,"collection":112,"collections":1371,"showCount":1373,"zanCount":5,"manualWeight":39,"mainColor":40},220997,"hua-hui-tu-ce-zhu-shi-tu-yun-shou-ping-220997","花卉图册·竹石图",[23,24,25,27,26,28,185,186,455,243,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ddb009d00a9d8acb3b4ebc9060d819d.jpg",[112,1372],"竹石精选",511,{"id":1375,"slug":1376,"title":1377,"dynasty":18,"author":19,"museum":182,"description":183,"tags":1378,"thumbUrl":1379,"material":33,"size":1380,"collection":52,"collections":1381,"showCount":1382,"zanCount":416,"manualWeight":39,"mainColor":40},216591,"ou-xiang-guan-xie-sheng-ce-3-yun-shou-ping-216591","瓯香馆写生册-3",[24,25,26,27,28,7,48,226,452,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2e60e3d8683439073039aa23e65ff0f.jpg","26x36cm",[],506,{"id":1384,"slug":1385,"title":1386,"dynasty":60,"author":78,"museum":1387,"description":1388,"tags":1389,"thumbUrl":1394,"material":109,"size":1395,"collection":958,"collections":1396,"showCount":1397,"zanCount":1398,"manualWeight":39,"mainColor":40},214881,"du-le-yuan-tu-chou-ying-214881","独乐园图","美国克利夫兰艺术博物馆","北宋时期，司马光写了《独乐园记》，其中描述了他自己在洛阳的住所和花园。该卷按从右到左的顺序展示了司马光《独乐园记》中的主要园林场景。然而，司马光在现场反复出现，体现出他的“独乐”之趣。",[23,24,82,25,83,27,84,1390,85,87,1391,1392,1393,185,89,90,88,7],"山水","亭","小桥","流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabdf15eedcbab4e8bd1fe941d9144d1d.jpg","28x519.8",[958],497,1,{"id":1400,"slug":1401,"title":1402,"dynasty":18,"author":793,"museum":79,"description":1403,"tags":1404,"thumbUrl":1405,"material":822,"size":1406,"collection":35,"collections":1407,"showCount":1408,"zanCount":509,"manualWeight":39,"mainColor":525},222780,"hua-yin-shuang-he-tu-zhou-lang-shi-ning-222780","花阴双鹤图轴","此图是郎世宁花鸟画的代表作。画面描绘一对绚丽丰润的仙鹤，和两只小鹤。一只仙鹤阔步行走回首下顾，注视着满身细毛茸茸的小鹤；另一只仙鹤转颈整理羽毛，一脚举起，神态安详。他吸收并采用中国画的传统技法，糅合中西画法进行创作。是二百年前外来文化“中国化”的尝试，是别具一格的杰作。",[23,152,83,27,7,171,286,186,808,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32c3aa01f28ae73498d5f6eecf70dfd2.jpg","170.7厘米×93.1厘米.",[35,112],495,{"id":1410,"slug":1411,"title":1412,"dynasty":195,"author":1413,"museum":79,"description":1414,"tags":1415,"thumbUrl":1417,"material":109,"size":1418,"collection":202,"collections":1419,"showCount":1408,"zanCount":416,"manualWeight":39,"mainColor":159},219194,"ci-xiong-bai-ji-tu-zhao-ji-219194","雌雄白鸡图","赵佶","红冠如焰，燃亮白羽霜华。雄鸡昂首振翅，尾羽若流云舒展；雌鸡依偎身侧，软羽轻覆，尽显亲昵。枝叶舒展间，墨色淡染，衬得禽鸟生动如活。笔锋细腻处，羽丝根根分明，冠色层层晕染，既见写实功力，更含脉脉温情。素朴背景中，生灵之趣与雅致之美交融，似闻晨啼轻响，恍见晨光微熹，尽显对生命意趣的细腻捕捉与诗意表达。",[23,106,24,25,152,83,27,7,1416,808],"鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d30065e7ab2d7ef0ea568cb41dfe6c1.jpg","纵152横37.4cm",[202,35,112],{"id":1421,"slug":1422,"title":1423,"dynasty":195,"author":464,"museum":1424,"description":1425,"tags":1426,"thumbUrl":1427,"material":109,"size":1428,"collection":202,"collections":1429,"showCount":1430,"zanCount":416,"manualWeight":39,"mainColor":159},218635,"shan-cha-tu-wu-bing-218635","山茶图","费城艺术博物馆","画面上画的是一枝山茶花，狭长的枝条上的叶子是深绿色的，边缘是黄色的，枝条上火红的花瓣，淡黄色的花药，伪装的色彩很鲜艳，很自然。",[24,25,106,7,83,27,320,67,228,31,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef7aab5fc08907b55afa575d2a696c4a.jpg","25.7x25.7",[202,35],487,{"id":1432,"slug":1433,"title":1434,"dynasty":18,"author":19,"museum":182,"description":183,"tags":1435,"thumbUrl":1436,"material":33,"size":52,"collection":52,"collections":1437,"showCount":1438,"zanCount":678,"manualWeight":39,"mainColor":40},216592,"ou-xiang-guan-xie-sheng-ce-2-yun-shou-ping-216592","瓯香馆写生册-2",[24,25,106,26,27,28,240,7,123,1333],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F018de872e84372dbf68adb58dee36ac1.jpg",[],485,{"id":1440,"slug":1441,"title":1442,"dynasty":119,"author":196,"museum":45,"description":1443,"tags":1444,"thumbUrl":1446,"material":109,"size":1447,"collection":35,"collections":1448,"showCount":1449,"zanCount":5,"manualWeight":39,"mainColor":159},216732,"ju-hua-xiao-niao-tu-yi-ming-216732","菊花小鸟图","菊花小鸟图 是一幅来自中国元朝时期的著名图画。这幅图画被认为是元朝时期最著名的菊花图案之一，也是当时最具代表性的艺术品之一。\n\n这幅图画中的小鸟是鸟类中常见的山雀，它们正在菊花丛中欢快地嬉戏。菊花是中国传统文化中非常重要的象征，象征着品德高尚、忠诚可靠。在这幅图画中，菊花丛与小鸟的自然互动，展现出人与自然和谐相处的美好愿景。\n\n虽然这幅图画的作者并不是众所周知的，但它仍然是元朝时期艺术史上的重要作品，在当时的艺术市场上也颇受欢迎。如今，菊花小鸟图仍然是许多人所熟知和喜爱的著名图画之一。",[23,24,83,27,7,287,1445],"小鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c8acc0d8c6d4a1dedbc8b9a6a108b16.jpg","22.5x26.6cm",[35],479,{"id":1451,"slug":1452,"title":1453,"dynasty":18,"author":1454,"museum":135,"description":1455,"tags":1456,"thumbUrl":1458,"material":275,"size":276,"collection":52,"collections":1459,"showCount":1460,"zanCount":429,"manualWeight":39,"mainColor":40},235526,"he-hua-liao-shi-tu-zhou-wang-wu-235526","荷花蓼石图轴","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。",[106,24,25,152,27,83,49,50,1457,603,455,7],"蓼石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4adc90c09b933312107f54c136768ed.jpg",[],477,{"id":1462,"slug":1463,"title":1464,"dynasty":60,"author":78,"museum":79,"description":1465,"tags":1466,"thumbUrl":1467,"material":1052,"size":1468,"collection":35,"collections":1469,"showCount":1470,"zanCount":678,"manualWeight":39,"mainColor":40},220126,"shui-xian-la-mei-tu-chou-ying-220126","水仙腊梅图","仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 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”。",[23,24,25,83,27,7,518,642,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07c69768c6eb0147608000594b1c8c39.jpg","纵47厘米，横25厘米",[35],467,{"id":1472,"slug":1473,"title":1474,"dynasty":18,"author":1475,"museum":79,"description":1476,"tags":1477,"thumbUrl":1479,"material":33,"size":1480,"collection":35,"collections":1481,"showCount":1482,"zanCount":678,"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。",[23,24,25,7,83,27,29,213,186,227,1478,494],"紫薇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3161675f1c6cc75d7b4fb092b58090a4.jpg","113×26.5厘米",[35],464,{"id":1484,"slug":1485,"title":1486,"dynasty":18,"author":1487,"museum":368,"description":1488,"tags":1489,"thumbUrl":1490,"material":109,"size":52,"collection":35,"collections":1491,"showCount":1492,"zanCount":5,"manualWeight":39,"mainColor":159},219036,"mu-dan-yu-lan-tu-jiang-ting-xi-219036","牡丹玉兰图","蒋廷锡","画面铺展间，花木扶疏尽显生机。玉兰绽如雪团，缀于虬枝，禽鸟栖停顾盼生姿；牡丹热烈盛放，粉白紫三色交织，花瓣层叠如锦，墨绿叶片衬得花容更艳，一抹朱红点缀其间，添了灵动。树下顽石苍古，纹理拙趣，旁生细草闲花，柔媚与苍劲相映。工笔细腻见匠心，线条婉转，设色相宜，既有富贵雍容之态，又不失清雅灵动之韵，仿佛闻花间细语，观禽鸟轻啼，一派生机盎然的春日盛景跃然眼前。",[23,24,25,7,83,27,107,153,65,226,986,425,90,455],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed08238660ecdcb1bd2c392c1379139b.jpg",[35],456,{"id":1494,"slug":1495,"title":1496,"dynasty":195,"author":766,"museum":79,"description":1497,"tags":1498,"thumbUrl":1500,"material":845,"size":1501,"collection":202,"collections":1502,"showCount":1503,"zanCount":619,"manualWeight":39,"mainColor":159},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。",[23,106,24,25,26,83,27,7,686,1499,107,516,29,228],"花篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8587f02c9ca8d9b82abaf7122913f6ac.jpg","26.1 x 26.3公分",[202,35,112],454,{"id":1505,"slug":1506,"title":1507,"dynasty":18,"author":1209,"museum":135,"description":1508,"tags":1509,"thumbUrl":1510,"material":52,"size":52,"collection":35,"collections":1511,"showCount":1512,"zanCount":800,"manualWeight":39,"mainColor":40},238119,"zi-teng-mu-dan-zhou-wu-chang-shuo-238119","紫藤牡丹轴","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,27,7,48,107,569,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bfc622729b6d71aea89e743af379a39.jpg",[35,112],447,{"id":1514,"slug":1515,"title":1516,"dynasty":195,"author":305,"museum":135,"description":1517,"tags":1518,"thumbUrl":1519,"material":52,"size":52,"collection":52,"collections":1520,"showCount":1512,"zanCount":1398,"manualWeight":39,"mainColor":159},231852,"song-hui-zong-ti-hua-niao-tu-zhao-chang-231852","宋徽宗题花鸟图","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。\n赵昌，字昌之，北宋时期（公元11世纪)，广汉剑南（今四川剑阁之南）人，生卒年不详。性情爽直高傲，刚正不阿。时州伯邵牧争求笔迹，不肯轻与。\n工书，擅画花果，多作折枝花，兼工草虫。初师滕昌祐，后过其艺，亦效徐崇嗣“没骨法”，常于清晨朝露未干，围绕花圃观察花木神态，调色描绘，自号“写生赵昌”。当时盛行厚彩重色，而赵昌所作一片平滑，明润匀薄，活色生香。真宗大中祥符（1008-1016）间，声誉益隆。丁朱崖奉白金五百为寿，昌感其意，亲往谢之。此时，朱崖邀其至东阁，求画生菜数窠及烂瓜生果等，昌挥笔遽成而去。晚年其自矜所作，往往深藏不市，若见自家画作流落市井，则复自购以归之，故世罕传。",[23,24,25,152,83,27,7,436,185,65,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4595cc6a353626e75beccdda5e1c00e.jpg",[],{"id":1522,"slug":1523,"title":1524,"dynasty":18,"author":1525,"museum":1146,"description":1526,"tags":1527,"thumbUrl":1528,"material":33,"size":52,"collection":35,"collections":1529,"showCount":1530,"zanCount":593,"manualWeight":39,"mainColor":40},218131,"tao-hua-zhu-zhi-tu-shi-tao-218131","桃花竹枝图","石涛","石涛，法名原济，靖江王朱守谦十世孙，工书法，能诗文。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品。花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。",[23,24,25,7,64,27,123,185,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82ae9fc9a5c2869c1270ee768459d876.jpg",[35],446,{"id":1532,"slug":1533,"title":1534,"dynasty":119,"author":196,"museum":1535,"description":1536,"tags":1537,"thumbUrl":1538,"material":109,"size":1539,"collection":35,"collections":1540,"showCount":1530,"zanCount":416,"manualWeight":39,"mainColor":159},215142,"mo-mei-tu-yi-ming-215142","墨梅图","辽宁省博物馆","墨梅图是元朝时期的一幅名画，作者是佚名。这幅画描绘了一棵梅花树，梅花盛开，瓣瓣舒展，散发出浓浓的花香。画面上有几只蝴蝶，它们在梅花树周围飞舞，与花朵相互辉映。整幅画清新淡雅，浓轻相宜，富有诗意。墨梅图是中国古代山水画的典范之作，在历史上有很高的艺术价值。",[24,25,64,7,436,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f7caa3d46ac3b4a7bc205ebabf73b9.jpg","24.4x20.3cm",[35],{"id":1542,"slug":1543,"title":1544,"dynasty":195,"author":1413,"museum":251,"description":1545,"tags":1546,"thumbUrl":1547,"material":845,"size":1548,"collection":202,"collections":1549,"showCount":1550,"zanCount":509,"manualWeight":39,"mainColor":159},221345,"fu-rong-jin-ji-tu-zhao-ji-221345","芙蓉锦鸡图","作为独立的画科，宋代的花鸟画无论在绘制技巧还是表现形式方面都已经达到高度的艺术水准，《芙蓉锦鸡图》便是其中的一幅精品。此图是描绘金秋景色的花鸟画作。图中芙蓉盛开，随风轻轻颤动，蝴蝶翩跹，相互追逐嬉戏，引得落在枝上的锦鸡回首凝视，目不转睛。本幅右上宋徽宗赵佶以瘦金体题“秋劲拒霜盛，峨冠锦羽鸡。已知全五德，安逸胜凫鹥”，右下书款“宣和殿御制并书”，草押书“天下一人”。鸡在中国向有“德禽”之称，《韩诗外传》载：“鸡有五德：头戴冠者，文也；足搏距者，武也；敌在前，敢斗者，勇也；见食相呼者，仁也；守夜不失者，信也”，可见其文武兼备、仁勇俱存、信守专一的性格为世人所激赏，难怪才艺绝代的一代帝王也会留下“已知全五德，安逸胜凫鹥”的诗句，流露出对安逸高贵之品格的赞许，由此体现了中国花鸟画的人文寓意。\n目前流传于世题为赵佶的作品中，艺术风格呈现出工致细丽与简朴生拙两种迥然有别的面目，工致细丽者如《芙蓉锦鸡图》、《腊梅山禽图》（台北故宫博物院藏）等，简朴生拙者如《柳鸦图》（上海博物馆藏）、《枇杷山鸟图》等。通过笔墨风格的比较分析，徐邦达先生指出前者不是赵佶所作，而是画院画家的作品，后者则为他的亲笔画迹，这一观点为多数艺术史研究者所认同。此外，现存记载南宋宫廷藏画的《南宋馆阁续录》卷三将此画列入与“御画”并列的“御题画”一类，表明《芙蓉锦鸡图》仅仅是由赵佶亲笔题诗的一幅花鸟画，并非其本人绘制。所以说，尽管图上有赵佶的题字，但此图作者却是一位没有留下姓名的画院高手。\n作为中国历史上最为关注艺事、醉心书画的帝王，宋徽宗赵佶在位期间广收名画巨迹，编纂皇家绘画收藏的书画著录——《宣和书谱》与《宣和画谱》，建立翰林图画院并完善其制度，还依据自己的审美观念亲自指导画院画家的学习与创作。关于绘画创作，赵佶在注重对被描绘对象细致入微的再现的同时，还要求画面蕴含诗歌的意境，令人观之有回味无穷的艺术体验，《芙蓉锦鸡图》无疑完美地体现出这位极具艺术修养的皇帝的美学思想。全图所用双钩法线条细劲，不仅花卉枝叶和锦鸡造型准确，芙蓉为锦鸡所压的低垂摇曳之态也能如实体现，加之色彩晕染得层次清晰，浓淡相宜，富丽堂皇中蕴涵端庄典雅的气质，堪称“形神兼备，曲尽其妙”。就构图而言，画幅左侧集中着芙蓉、锦鸡，与右上轻盈飞舞的蝴蝶遥相呼应，使得错综的布局显得密中见疏，揖让有度。以清瘦劲健的笔体写就的诗文和精致艳丽的图画更是互为辉映，相得益彰。",[23,24,106,25,83,27,7,291,673,214,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05bfe5492760fd3a258b75e61f1a62fd.jpg","纵81.5厘米，横53.6厘米",[202,35,112],442,{"id":1552,"slug":1553,"title":1554,"dynasty":18,"author":381,"museum":251,"description":1555,"tags":1556,"thumbUrl":1559,"material":33,"size":1560,"collection":35,"collections":1561,"showCount":1562,"zanCount":800,"manualWeight":39,"mainColor":40},219288,"mu-dan-bai-tou-tu-ren-yi-219288","牡丹白头图","任颐（1840—1896），字伯年，别号山阴道上行者，清末著名画家。浙江绍兴人，寓居上海，以卖画为生，与任熊、任熏、任预并称为“海上四任”，是“海上画派”中成就最为突出者。他的绘画吸收了民间艺术的技法，人物、肖像、山水、花鸟无不精工。\n其人物画早年师法陈洪绶，造型夸张，装饰效果强，后变得较为奔逸。其花鸟画早年师法北宋诸家，后融汇了恽派、陈淳、徐渭、朱耷的写意画法，又吸收了西方水彩绘画的色调，设色淡雅，格调清新明快，对近现代花鸟画产生了深远的影响。",[23,24,25,152,27,1557,7,107,1558,186,452,226,65,215],"兼工带写","白头鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa31c3984c898ba3c385fce26f73cd95b.jpg","纵133.5cm，横64.8cm",[35,112],437,{"id":1564,"slug":1565,"title":1566,"dynasty":195,"author":1567,"museum":79,"description":1568,"tags":1569,"thumbUrl":1571,"material":845,"size":1572,"collection":202,"collections":1573,"showCount":1574,"zanCount":800,"manualWeight":39,"mainColor":159},220354,"mo-zhu-tu-wen-tong-220354","墨竹图","文同","此图以倒垂竹枝为主体，竹叶和竹枝从左上方垂下，出枝微曲取横空之势，着叶不多，但疏密有致，其茎多新枝，竿、节、枝、叶均以水墨单色一笔画出，生趣蓬勃。在宋代文人眼中，竹可以言志，更可以寄情，由此可见文同创作这幅画的目的是宣泄情感和抒发胸怀。",[23,24,64,185,7,1570,399],"文人画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ff20000777b3dddfef00a4dd1a06f37.jpg","纵131.6厘米，横105.4厘米",[202,35],430,{"id":1576,"slug":1577,"t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“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。",[23,24,25,82,27,83,7,185,214,292,29,213,808,31,569,1802],"篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e1c56124fe25c7b1d901efbb1fb8345.jpg","27.8x352.9cm",[35,112],{"id":1807,"slug":1808,"title":1809,"dynasty":18,"author":1787,"museum":251,"description":1810,"tags":1811,"thumbUrl":1812,"material":295,"size":52,"collection":35,"collections":1813,"showCount":1814,"zanCount":593,"manualWeight":39,"mainColor":40},236979,"zi-teng-yue-ji-zhou-yun-bing-236979","紫藤月季轴","恽冰，清代乾隆、嘉庆、道光年间深得家传的一位女画家，生卒年不详。字清於，号浩如，别号兰陵女史，亦署南兰女子。武进（今江苏常州）人。诸生恽钟隆次女，恽南田族玄孙女。善花果，芊绵蕴藉，用粉精纯，作已辄题小诗，名著吴中。乾隆初，江苏巡抚君继善以恽冰画进呈孝圣太后，乾隆帝题诗嘉奖。",[24,25,152,27,83,7,48,286,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F374a2ed75db25d5c170942d267887b07.jpg",[35],360,{"id":1816,"slug":1817,"title":1818,"dynasty":60,"author":1819,"museum":79,"description":1820,"tags":1821,"thumbUrl":1823,"material":109,"size":1824,"collection":35,"collections":1825,"showCount":1814,"zanCount":593,"manualWeight":39,"mainColor":40},219412,"hua-niao-zhou-zhao-shou-219412","花鸟轴","赵寿","画面布局疏朗空灵，留白处似有清风徐来，漾开淡远意韵。山石皴法古拙，肌理如岁月镌刻，托举柔婉花枝与挺秀竹影。鸟羽覆墨褐光泽，喙带明黄，静立枝头凝望着白花——花瓣层叠如绢，蕊心浅晕鹅黄，与叶间红果相映成趣。水仙叶片舒展如带，花姿清雅；竹枝疏斜，添萧散之态。细腻笔触勾勒生机，淡雅色调晕染文人逸致，花鸟相依、石竹为伴，静谧中藏灵动意趣，仿佛能听见枝头轻啼，嗅到花间淡香，于方寸间尽显自然与人文交融的雅致。",[24,83,27,152,7,65,226,518,1822,215],"竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13055a8e50fdc8f77b496181a0f0a5cb.jpg","103.8x49.2",[35],{"id":1827,"slug":1828,"title":1829,"dynasty":18,"author":332,"museum":306,"description":1830,"tags":1831,"thumbUrl":1832,"material":33,"size":336,"collection":52,"collections":1833,"showCount":1814,"zanCount":509,"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","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",[24,25,106,26,27,83,7,518,29,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eafcb674b80771b89f70439ef4ed54a.jpg",[],{"id":1835,"slug":1836,"title":1837,"dynasty":195,"author":1838,"museum":79,"description":1839,"tags":1840,"thumbUrl":1843,"material":96,"size":1844,"collection":202,"collections":1845,"showCount":1846,"zanCount":593,"manualWeight":39,"mainColor":159},221443,"shuang-xi-tu-zhou-cui-bai-221443","双喜图轴","崔白","作品描绘出深秋时节，寒风萧瑟，枯木衰草，落叶调零，呈现出一派秋风肃杀的冷峭凄凉景象。整幅画面当中两只灰喜鹊之间，灰喜鹊与野兔之间，鸟、兽与自然环境之间，刻画的生动自然，情景交融，充分的表现出它们之间相互呼应的关系。\n画中各物在作者的笔下蠢蠢欲动，大得自然野趣",[23,24,106,25,152,83,27,7,386,1189,167,1841,455,1842],"枯树","土坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb964503850a97e641885f534281620c1.jpg","纵193.7厘米、横103.4厘米",[202,35,112],358,{"id":1848,"slug":1849,"title":1850,"dynasty":1851,"author":196,"museum":45,"description":1852,"tags":1853,"thumbUrl":1857,"material":109,"size":52,"collection":35,"collections":1858,"showCount":1859,"zanCount":678,"manualWeight":39,"mainColor":159},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。",[23,24,27,83,152,7,1854,291,1855,603,215,807,29,808,1856],"雁","芦苇","动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a48aa75a4e73cbfea994365e8bccc65.jpg",[35],356,{"id":1861,"slug":1862,"title":1863,"dynasty":60,"author":1864,"museum":624,"description":1865,"tags":1866,"thumbUrl":1867,"material":401,"size":1868,"collection":35,"collections":1869,"showCount":1870,"zanCount":1398,"manualWeight":39,"mainColor":40},222369,"mu-dan-tu-zhou-lu-zhi-222369","牡丹图轴","陆治","画卷绘折枝牡丹二枝，枝头各自开放花朵，棕色在前，金色略被遮挡，花朵硕大饱满，花瓣层层叠叠，中间配以鹅黄花蕊。技法上，花朵以墨晕染，再以鹅黄点缀花蕊，绿叶细笔深绿构绘叶脉，后以淡绿晕染，清新脱俗。\n陆治，字叔平，明代画家。因居包山，自号包山。善行、楷，尤通绘事，点染花鸟竹石清新自然，山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格。",[23,24,25,152,27,83,107,66,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd605f4b1d772948191c493247cd631c3.jpg","31.7x102.8厘米",[35,112],354,{"id":1872,"slug":1873,"title":1818,"dynasty":195,"author":1874,"museum":79,"description":1875,"tags":1876,"thumbUrl":1881,"material":109,"size":1882,"collection":35,"collections":1883,"showCount":1884,"zanCount":5,"manualWeight":39,"mainColor":159},219395,"hua-niao-zhou-xiao-rong-219395","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。",[23,106,24,7,152,27,185,1393,641,167,1877,1878,29,1879,1880],"山鹧","鹊鸟","祝寿","吉祥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f2fe32238fe90f0171dc8b50979108.jpg","145x83",[35],350,{"id":1886,"slug":1887,"title":1888,"dynasty":18,"author":1209,"museum":135,"description":1889,"tags":1890,"thumbUrl":1891,"material":52,"size":52,"collection":35,"collections":1892,"showCount":1893,"zanCount"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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。",[23,24,25,152,64,7,436,518],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c4232f4f2ae738877a1f8edd9442b7c.jpg","72.8x35",[35,734],345,{"id":1926,"slug":1927,"title":1928,"dynasty":148,"author":1929,"museum":79,"description":1930,"tags":1931,"thumbUrl":1932,"material":109,"size":1933,"collection":35,"collections":1934,"showCount":1935,"zanCount":5,"manualWeight":39,"mainColor":159},216758,"zhu-shi-jin-jiu-tu-huang-ju-cai-216758","竹石锦鸠图","黄居寀","古木巨石旁，荆竹丛生，一弯溪水潺湲流过。一群斑鸠悠闲地在此休憩：有的展翅翱翔，有的在树枝上梳理羽毛作日光浴，有的低首翘尾地站在溪旁饮水，有的站在巨石上，摆出鞠躬、鼓颈的姿势，向下方的斑鸠“咕－咕－咕－”地鸣唱示好。\n斑鸠俗称“粉鸟”，因为颈部羽色黑底白点有若珍珠，因此也名为“珠颈斑鸠”或“锦鸠”。斑鸠们平常多栖息在空旷的平野或树林，但因生性机敏，接近相当不易。在这幅作品里，画家以精妙的画笔捕捉这一幕斑鸠群集的画面，至为难得。此外，纵横乖张的古树枝丫、浓淡对比强烈的斑驳巨石、虚渺无际的溪畔，更为这幕自然增添不少奇幻诡谲的气氛。",[23,24,25,7,83,27,185,169,167,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb10bc776e6b793817d89e43e76fbdf3.jpg","23.6 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45.7公分",[35],343,{"id":1937,"slug":1938,"title":44,"dynasty":18,"author":19,"museum":135,"description":542,"tags":1939,"thumbUrl":1941,"material":52,"size":546,"collection":52,"collections":1942,"showCount":1943,"zanCount":593,"manualWeight":39,"mainColor":40},233896,"hua-hui-ce-yun-shou-ping-233896",[24,25,106,26,27,28,7,1940,425,68,31,569],"绣球花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1de138b415462f9c2198e7b482bf75a8.jpg",[],340,{"id":1945,"slug":1946,"title":1947,"dynasty":18,"author":530,"museum":251,"description":1948,"tags":1949,"thumbUrl":1952,"material":1041,"size":1953,"collection":52,"collections":1954,"showCount":1955,"zanCount":39,"manualWeight":39,"mainColor":40},233829,"he-shi-shui-niao-tu-zhou-zhu-da-233829","荷石水鸟图轴","图绘荷叶下一只水鸟栖于孤石上，形成全图之焦点。水鸟形状独特，单足独立，神态凄凉，它似在休憩，更似在冷眼观望这冰凉的世界。作者孤寂凄凉的处境、强烈的反清复明思想，以及面对清廷统治日益稳固而无可奈何的心境，或多或少地呈现于作品之中。",[24,64,152,7,186,467,1950,1951,68],"水鸟","老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea60eb12ec5354ccf0a9bdd707a4d098.jpg","纵127厘米，横46厘米",[],336,{"id":1957,"slug":1958,"title":1959,"dynasty":60,"author":1037,"museum":251,"description":1960,"tags":1961,"thumbUrl":1964,"material":295,"size":1965,"collection":958,"collections":1966,"showCount":1955,"zanCount":5,"manualWeight":39,"mainColor":40},222239,"huang-jia-tu-zhou-xu-wei-222239","黄甲图轴","该图绘肥阔的荷叶已开始凋零，一只螃蟹缓缓爬行，留出大片空白表现秋水。构图简洁洗练，布局清新奇巧。\n图绘肥阔的荷叶已开始凋零，一只螃蟹缓缓爬行，留出大片空白表现秋水。构图简洁洗练，布局清新奇巧。\n画上自题诗曰：“兀然有物气豪粗，莫问年来珠有无。养就孤标人不识，时来黄甲独传胪。”诗意幽默。这幅画也有在讽刺进士甲科的意味，是藉着螃蟹粗鲁横行的形象，来嘲讽那些胸无点墨、世人不耻，但却能依靠关系或金钱金榜题名的人。\n图中的水墨加入了适量的胶，以避免水墨渗散，恰是此图的特色所在。图中以墨色画荷叶，画蟹则寥寥数笔，看似草草为之，实则浓、淡、枯、湿、勾、抹、点多种笔法参用，形状虽夸张，却饶有笔情墨趣。徐渭用奔放的笔墨勾画出螃蟹爬行的姿态以及荷叶疏落的秋天气氛。螃蟹的造型虽然简单，但却是许多笔法一起用才画出来的，不管是形状、质感甚至神态都相当生动。",[23,106,24,25,152,64,1962,7,49,1963,68,31,569],"大写意","螃蟹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02ca3a19b3c408805bb700eca1b9e478.jpg","114.6cm 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29.7cm",[958,734],{"id":1968,"slug":1969,"title":1970,"dynasty":18,"author":19,"museum":20,"description":612,"tags":1971,"thumbUrl":1972,"material":1595,"size":1973,"collection":35,"collections":1974,"showCount":1955,"zanCount":593,"manualWeight":39,"mainColor":40},220993,"qiu-hai-tang-tu-yun-shou-ping-220993","秋海棠图",[23,24,25,7,28,27,662,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09cce0beb88108cf460712c4b71d3339.jpg","42x60cm",[35,112],{"id":1976,"slug":1977,"title":1978,"dynasty":60,"author":1721,"museum":624,"description":1979,"tags":1980,"thumbUrl":1982,"material":822,"size":1983,"collection":35,"collections":1984,"showCount":1985,"zanCount":678,"manualWeight":39,"mainColor":159},222080,"qiu-hua-jia-die-tu-wen-chu-222080","秋花蛱蝶图","赵文俶(1595-1634年)字端容，今苏州人。文从简的女儿，适赵宦光子赵灵筠，故文俶常在画上落“天水赵氏文俶”款，钤“赵文俶印”。文俶生性聪慧，善绘画，见物既能摹写，年四十便去世。她的画擅长花卉，传说她平日居家偶然看见奇花异草、小虫怪蝶，都随手画下，共收集千种，合成一册，题名“寒山草木昆虫状”，可说写生功力极深，因此对捕捉花木草虫的性情特徵，有独到之处。",[23,24,25,83,27,7,1593,1981,808,66],"秋花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F336545c0cf2814e864937a1efd910257.jpg","纵105厘米，横67厘米",[35,112],328,{"id":1987,"slug":1988,"title":1989,"dynasty":18,"author":1487,"museum":135,"description":1990,"tags":1991,"thumbUrl":1992,"material":275,"size":276,"collection":35,"collections":1993,"showCount":1994,"zanCount":800,"manualWeight":39,"mainColor":40},239249,"mu-dan-shi-liu-zhong-ce-jiang-ting-xi-239249","牡丹十六种册","蒋廷锡（1669年－1732年），字酉君、杨孙，号南沙、西谷，又号青桐居士，江苏常熟人，清朝康熙、雍正时期官员、画家、文献学家、藏书家。\n蒋廷锡为康熙四十二年（1703年）进士，授翰林编修。雍正帝即位后历任礼部侍郎、户部尚书等职。雍正六年（1728年）拜文华殿大学士，仍兼理户部事，并任《明史》总裁。次年（1729年）加太子太傅。累封一等阿达哈哈番。雍正十年（1732年）卒于任内，谥号“文肃”。\n蒋廷锡在官秉公抚政、剔除积弊，声誉甚著。为人博学精敏，尤善诗画。擅长花鸟，以逸笔写生，奇正率工，敷色晕墨，兼有一幅，能自然洽和，风神生动，得恽寿平韵味。点缀坡石，偶作兰竹，亦具雅致。曾画塞外花卉70种，被视为珍宝收藏于宫廷。今有《牡丹扇面》《岁岁久安图》《桃花鹦鹉图》《竹石图》轴及《花卉图》等传世。",[24,25,26,27,83,7,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21e4a8c5c08aea53092bfe51363d6ad0.jpg",[35,112],327,{"id":1996,"slug":1997,"title":1998,"dynasty":18,"author":19,"museum":717,"description":718,"tags":1999,"thumbUrl":2000,"material":722,"size":723,"collection":35,"collections":2001,"showCount":2002,"zanCount":593,"manualWeight":39,"mainColor":40},220999,"hua-hui-tu-ce-sui-han-san-you-tu-yun-shou-ping-220999","花卉图册·岁寒三友图",[23,24,106,25,26,28,27,7,782,185,436],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb29a40cff960843c68f7263ecdb0bd8e.jpg",[35,112],326,{"id":2004,"slug":2005,"title":903,"dynasty":18,"author":793,"museum":251,"description":2006,"tags":2007,"thumbUrl":2009,"material":109,"size":2010,"collection":35,"collections":2011,"showCount":2012,"zanCount":509,"manualWeight":39,"mainColor":40},219111,"hua-niao-tu-lang-shi-ning-219111","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。",[23,83,27,68,7,107,65,1951,2008,29,66],"蘑菇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43bf0edaaa3f25a2c4a60fa09e4aa741.jpg","纵63.7厘米，横32.3厘米",[35],323,{"id":2014,"slug":2015,"title":2016,"dynasty":18,"author":1209,"museum":251,"description":2017,"tags":2018,"thumbUrl":2019,"material":412,"size":2020,"collection":35,"collections":2021,"showCount":2022,"zanCount":1398,"manualWeight":39,"mainColor":40},224219,"sui-chao-qing-gong-tu-wu-chang-shuo-224219","岁朝清供图","岁朝指农历元旦，历代画家特别是文人画家都喜欢在这一天绘制《岁朝清供图》，作为新年伊始的首幅作品。吴昌硕作为一名文人画家，也几乎每年都画《岁朝清供图》，且多所变化，其最大的特点是很少取材于牡丹，他在《缶庐别存》中有一段话披露了其用意，文曰：“己丑除夕，闭门守岁，呵冻作画自娱。凡岁朝图多画牡丹，以富贵名也。予穷居海上，一官如虱，富贵花必不相称，故写梅取有出世姿，写菊取有傲霜骨，读书短檠，我家长物也，此是缶庐中冷淡生活。”此段话写于1889年，而在这幅1915年的《岁朝清供图》中仍然不见牡丹形象，其时吴氏的生活已有了极大改善，但仍不画牡丹，可见其富贵不移初志的高雅人格与画品。\n此图以瓶梅、水仙、蒲草、秀石诸品组合而成，并置于瓶盆等器物中，以示为案头清供之物。物品高下低昂、错落有致地安排于画面，并以右高左低的对角形式排列，左上角和右下角分别配以题识和印章，这是吴昌硕花卉画中常用的构图形式。画面左上角自题：“岁朝清供。岁朝写案头花，象古人所作岁时物之迁流也，兹拟其意。乙卯岁寒吴昌硕。”\n此图信手挥洒，真情流溢笔端。高颈古瓶中的一枝红梅，以及翠绿的水仙，纷披的蒲草，皆得其大意，笔法隽逸洒脱，极具清逸雅淡之气。用墨、设色也恰到好处，用墨浓淡相宜，设色俏丽鲜艳，雅妍相兼，双勾敷色的水仙花，更体现了吴氏晚年运笔遒劲古拙的独特风韵。",[23,24,25,152,27,64,569,68,399,7,436,518,186,1212,686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe60ee9f04eb4937057270e254c03e2aa.jpg","纵151.6厘米，横80.7厘米",[35,112],321,{"id":2024,"slug":2025,"title":611,"dynasty":18,"author":1209,"museum":135,"description":2026,"tags":2027,"thumbUrl":2028,"material":27,"size":52,"collection":35,"collections":2029,"showCount":2030,"zanCount":1398,"manualWeight":39,"mainColor":2031},224225,"mu-dan-tu-wu-chang-shuo-224225","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。”吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。\n清道光二十四年（1844年）8月1日，生于浙江省孝丰县鄣吴村（今湖州市安吉县）一个读书人家。幼时随父读书，后就学于邻村私塾。10余岁时喜刻印章，其父加以指点，初入门径。\n咸丰十年（1860年）太平军与清军战于浙西，全家避乱于荒山野谷中，弟妹先后死于饥馑。后又与家人失散，替人做短工、打杂度日，先后在湖北、安徽等地流亡数年。\n同治四年（1865年），中秀才。是年，海上先辈名家任薰与周闲合作，为吴昌硕绘画像。\n同治八年（1869年），赴杭州，就学于诂经精舍，从名儒俞樾习小学及辞章。编成《朴巢印存》。\n同治十一年（1872年），赴上海，得以认识高邕之。\n光绪六年（1880年），寓吴云（平斋）两礨轩，以《篆云楼印存》请教，吴云为之删削，更名为《削觚庐印存》。识吴秋农、金心兰、顾茶村、胡三桥、方子昕等。与杨岘（见山）结为朋友。\n光绪八年（1882年），居苏州。友人荐作小吏以维持生计。与虞山沈石友结为朋友。\n光绪九年（1883年），在沪识任伯年。任伯年为作《芜菁亭长小像》。\n光绪十三年（1887年），至沪，任伯年为作《棕荫纳凉图》。\n光绪十五年（1889年），在苏州。时伯年来访，为之作《酸寒尉像》，自题诗。施旭臣、谭复堂为《缶庐诗》作序。\n光绪十六年（1890年），居上海。识吴大澄。\n光绪十八年（1892年），任伯年又为作《蕉荫纳凉图》。\n光绪十九年（1893年），在上海编选壬辰年以前所作诗三卷刊行，题名《缶庐诗》。\n光绪二十（1894年），在北京以诗及印谱赠翁同龢。中日战争爆发，参佐吴大澄戎幕，北上抗日，兵败继续为吴大澄戎幕。\n光绪二十一年（1895年），任伯年为作《棕荫忆旧图》、《山海关从军图》。十一月，任伯年病殁沪上，作诗哭之并撰联。\n光绪二十五年（1899年）十一月，得丁葆元保举，任安东县令，一月即辞去。\n致力书画\n光绪二十六年（1900年），日本河井仙郎投之于门下。\n光绪二十九年（1903年），自订润格。编选壬寅以前所作诗为《缶庐诗》第四卷，连同前刊三卷，又《别存》一卷合为一册。\n光绪三十年（1904年），移居桂和坊19号，名其斋曰“癖斯堂”。赵子云（赵云壑）投门下。\n光绪三十五年（1909年），在沪加入上海豫园书画善会。\n民国元年（1912年），至杭州与西泠诸友宴集。始以字行。\n民国二年（1913年），西泠印社成立，任社长。秋，梅兰芳来会。与王一亭结为至交。王一亭在上海商界、金融界推介吴昌硕的书画金石艺术，使其名声大振。\n民国三年（1914年），王一亭为吴昌硕在六三园举办生平第一次个展，使吴派艺术开始为日本艺界所了解和推崇。上海书画协会成立，任会长。\n民国四年（1915年），上海“题襟馆书画会”推先生为名誉会长。\n民国六年（1917年），吴昌硕继配施氏夫人在上海去世。\n民国九年（1920年），日本长崎首次展出其书画，东京文求堂继刊《吴昌硕画谱》，长崎双树园刊行《吴昌硕画帖》。诸乐三列为门弟子。\n民国十年（1921年），赴杭西泠印社宴集。《汉三老碑》被日商购去，与西泠同仁奔走呼吁，作画义卖，终募款八千大洋将碑赎回。日本朝仓文夫为范铜像。\n民国十二年（1923年），潘天寿由诸闻韵引见来谒，撰联以赠。门弟子陈师曾去世。\n民国十四年（1925年），沙孟海由王贤引列为门弟子。为已逝师友周闲遗作《花卉长卷》作引首并题。\n民国十六年（1927年）十一月二十九日，逝于上海寓所。\n民国二十二年（1933年）十一月，迁葬于浙江余杭县塘栖附近超山报慈寺西侧山麓宋梅亭畔。\n\n篆刻:\n少年时他因受其父熏陶，即喜作书，印刻。楷书始学颜鲁公，继学钟元常；隶书学汉石刻；篆学石鼓文，用笔之法初受邓石如，赵之谦等人影响，以后在临写《石鼓》中融汇变通。行书得黄庭坚、王铎笔势之欹侧，黄道周之章法，个中又受北碑书风及篆籀用笔之影响，大起大落，遒润峻险。\n吴昌硕篆刻从“浙派”入手，后专攻汉印，也受邓石如、吴让之、赵之谦等人影响，善于留白，或对角欹斜，气象峥嵘，构图块面体积感极强。刀融于笔，篆刻雄而媚、拙而朴、丑而美、古而今、变而正。上取鼎彝，下挹秦汉，以“出锋钝角”的刻刀，将钱松、吴攘之切、冲两种刀法相结合治印。\n吴昌硕在继承前人冲刀法和切刀法优秀成果的基础上，融诸家之长，在大量的篆刻创作实践中，不断探索，将冲刀和切刀两种刀法融合在一起，形成了自己的冲切结合的刀法。这种刀法灵活多变，或冲中带切，或切中带冲，甚至切中带削……这种多变的刀法，把冲刀的猛利、挺劲、爽快与切刀的含蓄、浑朴融为一体，将书意和刀意表现得淋漓尽致，使他的篆刻刀法雄浑朴茂中寓秀逸的个性化特点凸现了出来。他与厉良玉、赵之谦并称“新浙派”的三位代表人物。\n残缺刀法是吴昌硕篆刻创作中的一种常用手法。我们知道，秦汉古印大多因年深日久，水土的浸蚀，自然的风化，印面及文字线条失去了原先的平整和光洁，变得残缺不全。恰恰是这些残缺给我们以古朴、含蓄、浑厚、苍拙等特殊的审美效果，这是自然的造化使然。吴昌硕善于巧夺天工，在传统的冲、切刀法的基础上，辅之以敲、击、凿、磨或借用砂石、鞋底、钉头等，极大地丰富了篆刻艺术的表现手法，并创造性地将篆刻艺术中刀石效果产生的金石味，上升到残缺美的审美新境界。\n主要篆刻作品：《寿山老坑巧色雕狮钮》《作了天下事》《读遍千古书》《好学为福》《黑青田》《一月安东令》《湖州安吉县》《泰山残石楼》《园丁生于梅洞长于竹洞》《暴书》《千寻竹斋》《千寻竹斋》3刻《吴俊卿信印日利长寿》《安吉吴俊章》《雷浚》《鲜鲜霜中菊》《归仁里民》。\n\n绘画:\n绘画的题材以花卉为主，亦偶作山水。前期得到任颐指点，后又参用赵之谦画法，并博采徐渭、八大、石涛和扬州八怪诸家之长，兼用篆、隶、狂草笔意入画，色酣墨饱，雄健古拙，亦创新貌。其作品重整体，尚气势，认为“奔放处不离法度，精微处照顾气魄”，富有金石气。讲求用笔、施墨、敷彩、题款、钤印等的疏密轻重，配合得宜。 吴昌硕自言：“我平生得力之处在于能以作书之法作画。”\n他以篆笔写梅兰，狂草作葡萄。所作花卉木石，笔力老辣，气势雄强，布局新颖，构图也近书印的章法布白，喜取“之”字和“女”字格局，或作对角斜势。用色上似赵之谦，喜用浓丽对比的颜色，尤善用西洋红，色泽浓艳。\n吴昌硕因以“草篆书”入画，状物不求写实，形成了影响近现代中国画坛的直抒胸襟，酣畅淋漓的“大写意”笔墨形式。\n他酷爱梅花，以写大篆和草书笔法为之，墨梅、红梅兼有，画红梅水分及色彩调和恰到好处，红紫相间，笔墨酣畅。又喜作兰花，喜以或浓或淡的墨色和用篆书笔法画成，刚劲有力。画竹竿以淡墨轻抹，叶以浓墨点出，疏密相间，富有变化，或伴以松、梅、石等，成为“双清”或“三友”。菊花也是他经常入画的题材，伴以岩石，或插以高而瘦的古瓶，与菊花情状相映成趣。菊花多作黄色，亦或作墨菊和红菊。墨菊以焦墨画出，菊叶以大笔泼洒，浓淡相间。\n晚年较多画牡丹，以鲜艳的胭脂红设色，含有较多水分，再以茂密的枝叶相衬，生气蓬勃。荷花、水仙、松柏也是经常入画的题材。\n菜蔬果品如竹笋、青菜、葫芦、南瓜、桃子、枇杷、石榴等也一一入画，极富生活气息。推崇周闲果蔬风格，作品色墨并用，浑厚苍劲，对于近世花鸟画影响深远。\n主要绘画作品：《天竹花卉》《紫藤图》《墨荷图》《五月枇杷图》《杏花图》《花卉十二屏风》《梅花》《花卉四屏》《牡丹》《兰石图》《松石图》《花卉》2幅《紫藤图》《杂画册（之—、二）》《依样》《天香露图》《杞菊延年》《泥盆菊草图》《牡丹图》《牡丹水仙图》《大富贵》《佛像图》《富贵神仙图》《红梅图》2幅《蔷薇芦桔图》《秋艳图》《三千年结实》《人物》《三千年结实之桃》《神仙福寿》《石梅》《石竹图》《松梅图》《岁寒交图》《桃实图》《瓜果》《灯下观书》《姑苏丝画图》等。\n①金石气息：吴昌硕绘画艺术的第一大特色是有金石气息。所谓金石气息，指的就是钟鼎上所铸的金文与刻在石碑上的文字所具有的味道。人们常说谁谁的画作有金石气息，其实这种评论标准都是从吴昌硕的绘画风格出现以后才有的。比如，人们在谈到徐青藤、八大山人时，就从来没有听说过评价他们的画作有金石气息。\n②笔力雄浑：吴昌硕绘画艺术的第二大特色是笔力雄浑。所谓笔力雄浑，指的就是其画作中的笔触朴拙、苍茫、老辣，极具浑圆、雄强的力量感。人们常说吴昌硕绘画的气息很厚、很重，按照书画圈儿里人的说法就是“笔头子”很大。所谓“笔头子”很大，并不是说他用的毛笔很大，而指他笔下的气息非常浑厚，一笔下去，浑金璞玉，力透纸背，又意蕴丰富、气象万千。\n③设色浓丽：吴昌硕绘画艺术的第三大特色是设色浓丽。过去人们总是说中国画不能搞那么多颜色，用太多颜色容易俗气。不过，张俊东却指出，吴昌硕绘画的用墨就特别浓，设色也特别大胆，特别鲜艳和浓丽。比如，吴昌硕画过很多牡丹，很多都是大红大紫的，但是却不会让人觉得俗气，而且非常有文人的那种风骨。所以张俊东认为，中国画设色的关键不在多少，而在谁来用以及怎么去用。\n④富于变化:吴昌硕绘画艺术的第四大特色是笔法和墨法富于变化。这里边又体现在几个方面。张俊东举例介绍说，比如吴昌硕在画菊花时，可以将一朵菊花无论是正面的，侧面的，静态的，动态的，都能画得非常丰富。\n\n书法:\n吴昌硕的楷书，始学颜鲁公，隶习汉代石刻，篆学石鼓文。行书学黄庭坚、王铎。\n吴昌硕书法作品，以篆书、行草为主，晚年所书隶书，结体变长，取纵势，用笔雄浑、饱满，具有篆书痕迹，将篆、隶溶为一体，形成独特面貌。\n吴昌硕的隶书遍临《汉祀三公山碑》《张迁碑》《嵩山石刻》《石门颂》等汉碑。中年以后，博览众多金石原件及拓本，选择石鼓文为主要临摹对象。数十年间，反复钻研，故所作石鼓文凝练遒劲，风格独特。60岁后所书尤精，圆熟精悍。喜将石鼓文字集语书写对联。晚年以篆隶笔法作草书，笔势奔腾，苍劲雄浑，不拘成法。\n\n诗文:\n吴昌硕善作诗文，苦吟数十年，未尝间断。其诗文，奇崛古朴，用典较多，不甚通俗。但有些绝句纯用白描手法，活泼自然，接近口语，具有明丽俊逸的特点，风格上与民歌很相近。有些绝句则活泼自然，接近口语，时含有讽刺意味，抒发生活实感。所作题画诗寄托深远，颇有浪漫主义气息；评论前人书画，尤多独到见地。早年所作五古，有一部分含有讽刺意味，揭露了当时黑暗社会某些不平现象。他的散文作品写得不多，大都是序跋、考证和题画小品之类，写的都很朴质淳厚，平易近人。题画小品中尤多精心之作。发抒生活实感，鞭挞丑恶现象，颇能以少胜多；读时依稀与作者一灯相对，娓娓而谈，意味非常深长。",[23,106,24,25,152,27,64,7,107,569,68,399],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb324477af74ed2e0e3b9bd525ad134c3.jpg",[35,112],320,"FFFFFF",{"id":2033,"slug":2034,"title":2035,"dynasty":195,"author":196,"museum":20,"description":2036,"tags":2037,"thumbUrl":2039,"material":109,"size":2040,"collection":35,"collections":2041,"showCount":2030,"zanCount":509,"manualWeight":39,"mainColor":159},218540,"shu-kui-tu-yi-ming-218540","蜀葵图","这幅画描绘的是两枝蜀葵，枝头花开，粉红色和红色的花瓣清新娇艳，绿色的茎叶茂盛繁多。描绘细致工整，色彩丰富，墨线几乎看不到，着色漂亮，把花开的样子表现得淋漓尽致，令人陶醉。",[24,25,106,661,27,83,7,2038,226,425],"蜀葵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F409cefad89ff6783fe33bcc0e3b49c14.jpg","21.5x22.9cm",[35],{"id":2043,"slug":2044,"title":2045,"dynasty":18,"author":332,"museum":306,"description":2046,"tags":2047,"thumbUrl":2048,"material":33,"size":336,"collection":52,"collections":2049,"showCount":2050,"zanCount":1398,"manualWeight":39,"mainColor":40},216252,"jing-fu-si-qi-dong-jing-tu-6-qian-wei-cheng-216252","景敷四气冬景图-6","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不妨叶面擎微雪，雅称花心射晓晖。独恨品题遗陆羽，仍慙色相号杨妃。钤印：会心不远、徳充符",[24,25,83,27,68,7,320,228,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e691047e218ba377e5b36caab22cef1.jpg",[],317,{"id":2052,"slug":2053,"title":2054,"dynasty":18,"author":530,"museum":135,"description":1352,"tags":2055,"thumbUrl":2057,"material":275,"size":276,"collection":52,"collections":2058,"showCount":2059,"zanCount":39,"manualWeight":39,"mainColor":40},288502,"yu-jing-xin-zhu-da-288502","鱼镜心",[24,64,357,68,7,31,2056,399],"镜心","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa17bf60f144734e219fe785cbacc5ded.jpg",[],316,{"id":2061,"slug":2062,"title":2063,"dynasty":60,"author":830,"museum":1135,"description":2064,"tags":2065,"thumbUrl":2067,"material":401,"size":2068,"collection":35,"collections":2069,"showCount":2070,"zanCount":800,"manualWeight":39,"mainColor":40},222557,"hua-hui-tu-ce-chen-chun-222557","花卉图册","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。",[23,24,25,7,26,399,64,27,29,107,215,66,2066],"兰草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F917a3d7d0165dfb34ce3f2d19087dabb.jpg","32.5×57.3厘米",[35,112],314,{"id":2072,"slug":2073,"title":2074,"dynasty":18,"author":2075,"museum":251,"description":2076,"tags":2077,"thumbUrl":2079,"material":534,"size":2080,"collection":35,"collections":2081,"showCount":2070,"zanCount":678,"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。",[23,106,24,25,152,64,27,7,83,29,808,228,631,2078],"菖蒲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3414e2605b1e19c796fba5f04650202d.jpg","100.8x40.1",[35],{"id":2083,"slug":2084,"title":2085,"dynasty":60,"author":1681,"museum":251,"description":2086,"tags":2087,"thumbUrl":2089,"material":2090,"size":2091,"collection":35,"collections":2092,"showCount":2093,"zanCount":678,"manualWeight":39,"mainColor":159},222398,"gui-ju-shan-qin-tu-lv-ji-222398","桂菊山禽图","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。",[23,106,24,25,152,83,27,7,2088,517,167,186,452,29,807],"桂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8206d9ae1c5854baf1d866a01f8809e8.jpg","绢本工笔","纵192厘米，横107厘米",[35,112],312,{"id":2095,"slug":2096,"title":2097,"dynasty":195,"author":841,"museum":818,"description":2098,"tags":2099,"thumbUrl":2101,"material":822,"size":2102,"collection":202,"collections":2103,"showCount":2104,"zanCount":5,"manualWeight":39,"mainColor":159},221184,"mei-hua-shuang-que-tu-ma-lin-221184","梅花双雀图","《中国历代精品梅兰竹菊(卷一):梅卷》介绍了梅花具有顶风凌雪、先春而发的高尚品格，颇可象征刚正忠贞、横而不流的人格，因此也就自然成为文人骚客反复咏叹的对象。\n在中国文学史上，对梅花的咏赞往往都寓托了作者深远的精神内涵，如陈同甫之诗云“疏枝横玉瘦，小萼点珠光”，是赞美梅花的清贵高古；陆放翁云“当年走马锦城西，曾为梅花醉似泥”，表达出对梅的喜爱之情已臻如痴如醉之境；谢枋得在抗元失败后，隐居武夷，作诗称“几生修得到梅花”，更是以梅花坚贞的品格自期。\n同样，在中国画创作中，梅也是一个重要的题材，它与兰、竹、菊合称为“四君子”。\n并逐渐成为中国花鸟画基本功训练的重要内容，尤其是在意笔花鸟画兴起之后，但凡有成就者，几乎没有不擅长梅、兰、竹、菊的。",[23,24,25,106,26,83,27,7,436,2100],"雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa49bdbf46314f2ed5ab10d9d675a4e7b.jpg","纵28厘米，横29厘米",[202,35,112],311,{"id":2106,"slug":2107,"title":163,"dynasty":148,"author":149,"museum":1146,"description":2108,"tags":2109,"thumbUrl":2111,"material":109,"size":2112,"collection":35,"collections":2113,"showCount":2114,"zanCount":5,"manualWeight":39,"mainColor":40},220047,"bai-niao-chao-feng-tu-xu-xi-220047","构图开阔舒展，右侧古木荫翳，灵凤独立石上，翎羽妍丽夺目。百禽翔游栖止各尽其态，或振翅穿林、或浮波弄影、或凝立枝梢，品类繁富灵动鲜活。汀渚花木错落，烟水澹澹，赤日悬于淼茫之上，晕开融融暖意。\n\n设色古雅温润，勾勒兼具工致与野逸，将百朝灵瑞的吉庆之意，融于苍润悠然的自然之境，既见写生妙趣，亦托太平祥瑞之思，淡远雅致，余韵悠长。",[23,106,24,82,83,27,7,167,91,171,89,170,90,1393,2110],"太阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34dbcbe061745c03e7b73b79d4def2e8.jpg","34.3 x 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淡黄色的太阳花瓣，粉红色的花瓣，娇嫩多彩，倒映着水花和芬芳的花瓣。\n水中的鸳鸯成双成对，在花间的叶子底下嬉戏玩耍。 发色抢眼，华丽，勾勒出画面。\n喜鹊在空中栖息飞翔，盘旋三圈，与莲花杆上的三人和声合唱。",[23,24,25,106,152,83,27,7,49,50,1110,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73f8825b07bf8e459260b47a52535640.jpg","绢本，立轴，设色","187x105.2",[35,112],{"id":2142,"slug":2143,"title":59,"dynasty":18,"author":19,"museum":135,"description":272,"tags":2144,"thumbUrl":2145,"material":275,"size":276,"collection":52,"collections":2146,"showCount":2147,"zanCount":678,"manualWeight":39,"mainColor":40},239431,"hua-niao-ce-yun-shou-ping-239431",[24,25,26,27,28,7,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5391d418d6a9273a2cb10bd932c4d201.jpg",[],302,{"id":2149,"slug":2150,"title":2151,"dynasty":195,"author":2152,"museum":79,"description":2153,"tags":2154,"thumbUrl":2160,"material":534,"size":2161,"collection":35,"collections":2162,"showCount":2147,"zanCount":509,"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。",[23,24,25,82,64,240,399,7,29,2155,185,467,107,357,65,2156,2157,2158,355,2159,291,123,518],"蔬果","白菜","萝卜","南瓜","葱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F319f1d586ad6d8f701799388a3a2ded1.jpg","44.5x1017.1cm",[35],{"id":2164,"slug":2165,"title":2166,"dynasty":18,"author":19,"museum":79,"description":104,"tags":2167,"thumbUrl":2169,"material":109,"size":110,"collection":52,"collections":2170,"showCount":2147,"zanCount":5,"manualWeight":39,"mainColor":40},214304,"mu-dan-ce-2-yun-shou-ping-214304","牡丹册-2",[106,24,25,83,27,26,7,107,2168],"绿叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88c4f68ab97598a41c207c5c41a0ddba.jpg",[],{"id":2172,"slug":2173,"title":2174,"dynasty":18,"author":19,"museum":135,"description":272,"tags":2175,"thumbUrl":2176,"material":275,"size":276,"collection":52,"collections":2177,"showCount":2178,"zanCount":678,"manualWeight":39,"mainColor":40},290526,"hua-hui-zhou-yun-shou-ping-290526","花卉轴",[106,24,25,152,27,83,7,107,153,782],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F060eeb289a0dda1a06b4c11a188ac1f7.jpg",[],301,{"id":2180,"slug":2181,"title":2182,"dynasty":119,"author":120,"museum":79,"description":2183,"tags":2184,"thumbUrl":2191,"material":845,"size":2192,"collection":202,"collections":2193,"showCount":2178,"zanCount":593,"manualWeight":39,"mainColor":40},221708,"hua-cao-mi-feng-qian-xuan-221708","花草蜜蜂","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。",[23,24,106,27,83,170,356,215,7,25,2185,2186,2187,29,242,90,2188,2189,2190,1200,309],"设色花鸟","工笔花鸟","元代绘画","传统绘画","工笔设色","花鸟题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bd7df0fb4cdfe9a940d95305f727f55.jpg","26.6x23cm",[202,35,112],{"id":2195,"slug":2196,"title":2038,"dynasty":195,"author":196,"museum":79,"description":2197,"tags":2198,"thumbUrl":2199,"material":109,"size":52,"collection":35,"collections":2200,"showCount":2178,"zanCount":593,"manualWeight":39,"mainColor":40},216104,"shu-kui-yi-ming-216104","画面中蜀葵悄然绽放，花瓣层叠如轻绡，粉晕从瓣尖漫向花心，似沾了晨露的柔媚。叶片脉络纤细如丝，墨绿间晕染浅碧，藏着风过的微颤。枝干斜逸有致，不带刻意雕琢的匠气，却透着自然生长的生趣。古雅的底色衬得花姿愈发清雅，每一笔都凝着宋人对万物的细腻观照——不追繁复，只撷取蜀葵最动人的一瞬，以温润笔触将娇妍与静谧锁于方寸。无炫技的华丽，唯有物态的鲜活与文人的雅致，恰是宋画“以形写神”的韵味：似能嗅到淡香浮动，触到叶片微凉，让观者于静穆中感知生命的鲜活。",[23,1099,24,106,661,83,27,7,2038],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5b86c98450e1da128f001588b205adf.jpg",[35],{"id":2202,"slug":2203,"title":2204,"dynasty":60,"author":78,"museum":79,"description":2205,"tags":2206,"thumbUrl":2208,"material":699,"size":2209,"collection":35,"collections":2210,"showCount":2211,"zanCount":5,"manualWeight":39,"mainColor":40},222200,"shui-xian-la-mei-zhou-chou-ying-222200","水仙蜡梅轴","本幅画水仙两本，蜡梅一枝，以勾勒填彩法成之，着意无多，而清丽雅澹之韵，盎然绢素，乃仇英之精者，款书十五字，出项元汴手笔。此图另存一幅，现流传于国外。",[23,24,25,152,83,27,7,518,2207,68],"蜡梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16cf1c9094975ec18e1391b0dc61eace.jpg","195.8x44厘米",[35,112],300,{"id":2213,"slug":2214,"title":2215,"dynasty":18,"author":1475,"museum":135,"description":2216,"tags":2217,"thumbUrl":2218,"material":52,"size":52,"collection":35,"collections":2219,"showCount":2220,"zanCount":678,"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。",[23,24,25,106,26,83,27,186,29,242,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ee4772b0b0bf227b89265b6f3697b9a.jpg",[35,112],299,{"id":2222,"slug":2223,"title":2224,"dynasty":18,"author":530,"museum":135,"description":2225,"tags":2226,"thumbUrl":2228,"material":52,"size":52,"collection":52,"collections":2229,"showCount":2230,"zanCount":39,"manualWeight":39,"mainColor":40},237931,"ku-cha-dun-ying-zhou-zhu-da-237931","枯槎蹲鹰轴","大片留白晕开萧索空寂的底色，枯槎以寥寥皴擦写就虬曲老态，墨点留作木疤，沉凝间尽诉岁月剥蚀的沧桑。\n\n蹲立槎头的猛禽，白眼斜睨，倨傲桀骜的神情藏着化不开的孤愤。干湿浓淡的墨色晕染羽翼，蓬松绒羽与锐厉气势相融，利爪紧扣枯木，静穆中暗蓄振翅即发的张力。\n\n整幅画以少胜多，笔墨极简却意蕴沉厚，将孤傲不屈的心绪寄于毫端，清冷禅意与嶙峋风骨跃然纸上，尽显水墨写意的极致妙趣。",[24,64,152,399,68,1841,2227,65,7],"鹰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6320940ea9a227340fd5d2b614e82497.jpg",[],298,{"id":2232,"slug":2233,"title":2234,"dynasty":489,"author":2235,"museum":2236,"description":2237,"tags":2238,"thumbUrl":2240,"material":52,"size":52,"collection":52,"collections":2241,"showCount":2230,"zanCount":1398,"manualWeight":39,"mainColor":40},220522,"xu-bei-hong-xiong-ji-tu-zhou-xu-bei-hong-220522","徐悲鸿雄鸡图轴","徐悲鸿","四川博物院","此作以大写意落笔，雄鸡身姿轩昂抖擞，红冠如灼灼丹火，浓墨泼就的翎羽苍劲如铁，留白晕出颈腹白羽，浓淡相生尽显神采。利爪紧扣崖岩，似将引吭长鸣，尽显昂扬不屈的气魄。\n\n崖石以淡赭泼染，枯笔勾皴出嶙峋质感，间杂数丛浅绿新篁，柔枝衬出顽石刚劲，刚柔相济。整幅画作笔力爽利简练，形神兼备，将雄鸡的英武风骨跃然纸上，寄寓着浩然正气，寥寥数笔便勾勒出禽石相融的生机，尽显写意花鸟的精妙意趣。",[23,24,25,152,64,27,7,2239,185,68],"雄鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe115ec61c0c6ef5f425bf65a2f50841a.jpg",[],{"id":2243,"slug":2244,"title":2245,"dynasty":18,"author":1209,"museum":135,"description":2026,"tags":2246,"thumbUrl":2247,"material":401,"size":52,"collection":35,"collections":2248,"showCount":2249,"zanCount":1398,"manualWeight":39,"mainColor":40},224224,"shen-xiang-ting-mu-dan-tu-wu-chang-shuo-224224","沈香亭牡丹图",[23,24,25,152,27,399,7,107,517,186,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53c9d82e7f776cb18bd2518ac5c4a852.jpg",[35,112],296,{"id":2251,"slug":2252,"title":2253,"dynasty":119,"author":2254,"museum":818,"description":2255,"tags":2256,"thumbUrl":2257,"material":845,"size":2258,"collection":35,"collections":2259,"showCount":2260,"zanCount":416,"manualWeight":39,"mainColor":40},221703,"lan-tu-xue-chuang-221703","兰图","雪窗","简洁而秀逸的兰花，生于幽谷，遗世独立，清雅高洁。在历朝历代文人雅士的笔下，以兰花为表现对象的作品比比皆是。 画兰究竟始于何时已无法考证。《全唐诗》载有牟融《山寺律僧画兰竹》诗。查阅 唐宋绘画史专著，未见有关唐宋画家画兰的记载。史传宋杨补之画过兰花，但作品没有流传下来。有作品流传的画兰名家，当以徐禹功、赵孟坚、郑思肖为最早。其次如赵孟頫、赵雍、王英孙、释道隐、释明雪窗、李至规等亦擅画兰。\n释明雪窗 （？－约1352），元代僧人，画家，以画兰花闻名于世。俗姓曹，号雪窗，法号普明，通称明雪窗，松江（今属上海市）人，在平江出家。至元四年（1338）曾为平江虎丘云岩寺主持，后改为承天能仁主持。精于针灸，擅画兰。与释柏子庭齐名，时称“家家恕斋（班惟志）字，户户雪窗兰”。\n四海出家，同称释氏，中国佛教的出家人都姓释迦牟尼的“释”。在中国美术史上，都把这位元代画兰高僧称为“释明雪窗”，其实应该和石涛、髡残一样，把他称为“明雪窗”。雪窗和尚的画和他的名字一样，在今天鲜为人知，但在大师辈出的元代，雪窗和尚的兰花可谓是家喻户晓，我们无法想象“家家恕斋字，户户雪窗兰”所描述的是一种怎样的景象。\n元人孔齐撰《至正直记》（又名《静斋至正直记》、《静斋类稿》）是作者避兵四明时写的一部见闻杂记，内容包括当时政治、经济状况，器物制作情况，文学、艺术成就和当时的人文社会习俗，是一部很有资料价值的笔记。《至正直记》卷二有《画兰法》一文，记载了一位名叫郎玄隐的道士向孔齐传授明雪窗画兰技法，这些方法和今天画兰教科书里的方法并无二致。",[23,24,25,64,7,254,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41c046834cdc068347a37c68ff699feb.jpg","32.9 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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。",[24,106,152,7,27,83,49,1110,65,50,452,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F848b8317f95838a26d9b5f0806530d75.jpg",[35,112],272,{"id":2430,"slug":2431,"title":2432,"dynasty":18,"author":19,"museum":79,"description":104,"tags":2433,"thumbUrl":2434,"material":109,"size":110,"collection":52,"collections":2435,"showCount":2436,"zanCount":416,"manualWeight":39,"mainColor":40},214303,"mu-dan-ce-3-yun-shou-ping-214303","牡丹册-3",[24,25,7,107,83,28,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdffa0ff34f933df084b45570f27fb53d.jpg",[],271,{"id":2438,"slug":2439,"title":2440,"dynasty":18,"author":2441,"museum":251,"description":2442,"tags":2443,"thumbUrl":2444,"material":52,"size":52,"collection":35,"collections":2445,"showCount":2446,"zanCount":800,"manualWeight":39,"mainColor":40},238946,"tao-hua-ce-ye-ma-yuan-yu-238946","桃花册页","马元驭","马元驭（1669—1722）清代画家。字扶羲，号栖霞，又号天虞山人，江苏常熟人。",[24,25,26,27,7,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02c4fb8323fe9cc6ab422db9d25bae45.jpg",[35,112],270,{"id":2448,"slug":2449,"title":2450,"dynasty":18,"author":1487,"museum":2451,"description":2452,"tags":2453,"thumbUrl":2456,"material":109,"size":2457,"collection":35,"collections":2458,"showCount":2446,"zanCount":5,"manualWeight":39,"mainColor":40},218975,"teng-hua-shan-que-tu-jiang-ting-xi-218975","藤花山雀图","日本大阪市立美术馆","描绘缠绕椿树生长的紫藤花，另有白头翁、兰花、灵芝及湖石等元素。画作右下角款「臣蒋廷锡恭画」，左上方有康熙皇帝御题唐代岑参（715-770）〈石上藤〉一诗。该作曾录于《石渠宝笈》，后辗转流出清宫，成为阿部房次郎（1868-1937）的收藏。",[23,24,25,152,83,27,7,856,2454,167,186,89,288,2455,641,2008],"山雀","溪流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8205a0f0caa95b529902b560707fb7c9.jpg","纵212.5横97.1cm",[35,112],{"id":2460,"slug":2461,"title":2462,"dynasty":18,"author":332,"museum":306,"description":2463,"tags":2464,"thumbUrl":2465,"material":33,"size":336,"collection":52,"collections":2466,"showCount":2467,"zanCount":1398,"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",[24,25,27,83,7,286,68,31,29,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ef9652a7cd63623c4474d2e78468a1.jpg",[],268,{"id":2469,"slug":2470,"title":2471,"dynasty":195,"author":2472,"museum":135,"description":2473,"tags":2474,"thumbUrl":2475,"material":52,"size":52,"collection":52,"collections":2476,"showCount":2477,"zanCount":416,"manualWeight":39,"mainColor":159},227520,"hua-niao-tu-ye-wang-xiao-227520","花鸟图页","王晓","此作取暮春一隅，柔粉海棠攒簇枝头，花瓣轻绽似带朝露，嫩绿叶脉舒张，将春深花繁的柔媚尽数铺陈。两只白头鹎栖于枝上，一俯一仰，羽色晕染细腻柔和，头顶白羽莹洁醒目，胸腹褐绿温润自然，前者昂首似在啼鸣，将禽鸟灵动憨然的情态鲜活呈现。\n画面设色明秀雅致，工细写实中兼具灵动意趣，左侧题字笔致清雅，与花叶禽鸟相映成趣，把春日里禽鸟嬉游、花团锦簇的生机雅致融于尺幅，尽显清丽隽永的宋韵意致。",[23,106,24,25,26,83,27,7,65,226,31,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9548bd192610dc1989302803a5216821.jpg",[],267,{"id":2479,"slug":2480,"title":1219,"dynasty":195,"author":196,"museum":251,"description":2481,"tags":2482,"thumbUrl":2483,"material":1595,"size":2484,"collection":52,"collections":2485,"showCount":2486,"zanCount":593,"manualWeight":39,"mainColor":40},234008,"chu-shui-fu-rong-tu-ye-yi-ming-234008","一朵盛开的粉红色荷花占据整个画面，在碧绿的荷叶映衬下抢眼而夺目，布局、设色端庄大气，将荷花“出淤泥而不染，濯清涟而不妖”的君子气质表现得十分完美。莲瓣的描绘技法类似后世的“没骨”法，不见勾勒之迹，渲染出花瓣既轻盈又腴润的质感。画家的写实功力极为扎实，每片莲瓣的形状、角度、色泽和光感都安排得无懈可击。至于瓣上红丝、蕊端腻粉，也一一仔细料理，微妙之处，使人叹为神工！旧题吴炳绘，无据。",[24,25,26,83,27,7,467,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17db9572c20d73e7f8a55e19111edd03.jpg","纵23.8cm，横25cm",[],266,{"id":2488,"slug":2489,"title":2490,"dynasty":18,"author":2491,"museum":135,"description":2492,"tags":2493,"thumbUrl":2494,"material":275,"size":276,"collection":35,"collections":2495,"showCount":2496,"zanCount":800,"manualWeight":39,"mainColor":40},239058,"shan-shui-hua-niao-ce-yang-jin-239058","山水花鸟册","杨晋","杨晋 （1644－1728），字子和，一字子鹤，号西亭，自号谷林樵客、鹤道人，又署野鹤，江苏常熟人。山水为王翚入室弟子，尝与绘圣祖南巡图颇精。晚年每多率笔，未免苍而不润，神气便少。然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。每侍翚出游，翚作图凡有人物、舆轿、驼、马、牛、羊等皆命补之。又尝摹内府所藏名迹，作副本进御。卒年八十五。",[24,25,26,64,27,7,467,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2612a5bb23dac773d1efcf83ecb99dd1.jpg",[35,112],262,{"id":2498,"slug":2499,"title":2500,"dynasty":60,"author":61,"museum":251,"description":2501,"tags":2502,"thumbUrl":2503,"material":33,"size":2504,"collection":35,"collections":2505,"showCount":2496,"zanCount":268,"manualWeight":39,"mainColor":159},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。",[23,24,25,152,83,27,7,153,254,90,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb622e2d3d8f5803168e0fa600c2995e.jpg","横59厘米，纵135厘米",[35],{"id":2507,"slug":2508,"title":2509,"dynasty":195,"author":1413,"museum":2510,"description":2511,"tags":2512,"thumbUrl":2513,"material":822,"size":2514,"collection":202,"collections":2515,"showCount":2516,"zanCount":800,"manualWeight":39,"mainColor":159},221335,"tao-jiu-tu-zhao-ji-221335","桃鸠图","日本民间","整幅画桃花与枝叶钩勒精工，栖鸠动态自然而生动，用生漆点睛，卓有神采，整体色彩华丽，瘦金书稍稚嫩。\n此图桃花与枝叶钩勒精工，栖鸠动态自然而生动，用生漆点睛，卓有神采，整体色彩华丽，瘦金书稍稚嫩。流传日本已久，长期以来被作为徽宗的真迹，受到良好的保护，现在是日本的国宝级文物。\n本图有“大观丁亥御笔天”的题记，丁亥年是1107年，这一年徽宗26岁，是画家早期的作品。\n从这幅画来看，描法纤细，傅染鲜润，与徐熙（五代）的水墨画要素和徐崇嗣的色彩为中心的没骨法花鸟比较接近。总的看来，色彩的表现给人以强烈的视觉感受，但仔细观察就会发现细部的轮廓线仍然非常明确。\n此册页在传为宋徽宗的作品中比较特别。桃花与枝叶钩勒精工，栖鸠动态自然而生动，用生漆点睛，卓有神采，整体色彩华丽。传其为画家二十六岁时的作品。\n赵佶观察事物细致入微，这幅《桃鸠图》，画中的桃花与枝叶勾勒精工，栖息在树上的鸠鸟动态自然而生动，用生漆点睛，富有神采，整体色彩华丽，洋溢着悠扬的神韵，此画被誉为折枝花鸟画的典型。",[23,24,25,7,83,27,123,167,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19169b4c41d86b4cbbb34e3bf4af4222.jpg","28.5X27厘米",[202,35,112],257,{"id":2518,"slug":2519,"title":2520,"dynasty":18,"author":2521,"museum":251,"description":2522,"tags":2523,"thumbUrl":2525,"material":33,"size":2526,"collection":35,"collections":2527,"showCount":2516,"zanCount":5,"manualWeight":39,"mainColor":40},220380,"hong-lian-lv-zao-tu-tang-guang-220380","红莲绿藻图","唐炗","此图是唐炗（音光）与恽寿平联手为祝王翚40岁诞辰所作。唐炗绘荷花，恽寿平画荇藻。荷花与荇藻皆采用了没骨法，透露出轻盈飘逸与湿润的感觉。微风中，仿佛莲叶与荷花的清香淡淡而来。水塘里荇藻则用一笔点画。状物形神兼备，风格清新淡雅。",[23,24,25,152,83,27,7,49,50,2524],"绿藻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbce64fa92c044787704676762c01daae.jpg","纵135.7厘米，横59厘米",[35,112],{"id":2529,"slug":2530,"title":1423,"dynasty":148,"author":2531,"museum":79,"description":2532,"tags":2533,"thumbUrl":2534,"material":109,"size":2535,"collection":35,"collections":2536,"showCount":2516,"zanCount":619,"manualWeight":39,"mainColor":40},218755,"shan-cha-tu-huang-quan-218755","黄筌","这幅画以丰富的色彩描绘了一朵退去的山茶花，花和叶子都用土金勾勒，丰富而美丽，是一场视觉盛宴。",[23,24,25,7,661,83,27,320,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3b503e3c5d376270f52b0dba78e04e9.jpg","23.3x24.6厘米",[35],{"id":2538,"slug":2539,"title":2540,"dynasty":18,"author":2541,"museum":20,"description":2542,"tags":2543,"thumbUrl":2544,"material":2545,"size":2546,"collection":112,"collections":2547,"showCount":2548,"zanCount":800,"manualWeight":39,"mainColor":159},223253,"he-hua-tu-zhou-pu-hua-223253","荷花图轴","蒲华","画荷叶枝，叶面宽阔，或像伞一样张开，或水面，微卷而翠绿； 花有三枝，两枝盛开，花瓣层层叠叠，另一枝含待放置的枝条，只露出尖尖的莲花。 朴华喜欢以水墨作画，与八大山人相似。",[23,24,25,152,64,399,7,49,50,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8096febc3e81d3c848b1646b4296b977.jpg","纸本，水墨","146X80cm",[112],256,{"id":2550,"slug":2551,"title":2552,"dynasty":18,"author":19,"museum":79,"description":104,"tags":2553,"thumbUrl":2554,"material":109,"size":110,"collection":52,"collections":2555,"showCount":2556,"zanCount":1398,"manualWeight":39,"mainColor":40},214302,"mu-dan-ce-6-yun-shou-ping-214302","牡丹册-6",[24,25,26,27,7,107,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf3d8efc49ce810dd44e41bf1722ac45.jpg",[],254,{"id":2558,"slug":2559,"title":2560,"dynasty":60,"author":1037,"museum":251,"description":2561,"tags":2562,"thumbUrl":2565,"material":1041,"size":2566,"collection":786,"collections":2567,"showCount":2568,"zanCount":5,"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。",[23,24,25,82,64,1962,2563,31,7,436,254,185,517,467,186,29,2564,227,90],"题跋","竹叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2e0e76186d34ba6f0466cc88cfd916f.jpg","纵46.6厘米，横625厘米",[786,734],253,{"id":2570,"slug":2571,"title":2572,"dynasty":18,"author":1209,"museum":251,"description":2573,"tags":2574,"thumbUrl":2575,"material":52,"size":52,"collection":35,"collections":2576,"showCount":2577,"zanCount":800,"manualWeight":39,"mainColor":40},236892,"ba-jiao-mu-dan-zhou-wu-chang-shuo-236892","芭蕉牡丹轴","此画充分利用了水、墨二者的结合及浸渍变化，以饱含水分的笔触，率性而作，洗练简阔，却有神情气爽之感。\n吴昌硕（1844年~1927年），初名俊，后改俊卿，字昌硕，号缶庐、苦铁等，浙江安吉人。善书法，精篆刻，工诗擅画。其大写意花鸟，博取徐渭、八大、石涛、李鱓、赵之谦诸家之长，以篆、隶、狂草笔意入画，用笔雄健古拙，用墨酣畅淋漓，着色艳丽富贵，可谓匠心独运，为中国近代杰出的艺术家，海派主要画家之一。",[106,24,25,152,27,64,7,399,107,384],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40b7aefc21c35bfdb8ce148ec1e96f63.jpg",[35,112],252,{"id":2579,"slug":2580,"title":2581,"dynasty":18,"author":19,"museum":79,"description":104,"tags":2582,"thumbUrl":2583,"material":109,"size":110,"collection":52,"collections":2584,"showCount":2585,"zanCount":1398,"manualWeight":39,"mainColor":40},214300,"mu-dan-ce-7-yun-shou-ping-214300","牡丹册-7",[24,106,7,27,28,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0f7b2fc7446ee7009d16b458846da32.jpg",[],251,{"id":2587,"slug":2588,"title":59,"dynasty":60,"author":2589,"museum":135,"description":2590,"tags":2591,"thumbUrl":2593,"material":275,"size":276,"collection":35,"collections":2594,"showCount":2595,"zanCount":5,"manualWeight":39,"mainColor":40},235720,"hua-niao-ce-tan-zhi-yi-235720","谈志伊","谈志伊，字公望，号学山，一字思重，无锡人，明代画家。",[24,83,27,26,7,2592,66],"杨梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F181ec405e55e4ff9733d37e050394af1.jpg",[35],250,{"id":2597,"slug":2598,"title":2599,"dynasty":195,"author":305,"museum":79,"description":1290,"tags":2600,"thumbUrl":1294,"material":109,"size":2602,"collection":202,"collections":2603,"showCount":2595,"zanCount":5,"manualWeight":39,"mainColor":40},220176,"xing-hua-tu-zhao-chang-220176","杏花图",[23,106,24,25,2601,27,83,7,1292,67,68],"团扇","纵25.2厘米，横27.3厘米",[202,35],{"id":2605,"slug":2606,"title":2607,"dynasty":18,"author":19,"museum":79,"description":104,"tags":2608,"thumbUrl":2609,"material":109,"size":110,"collection":52,"collections":2610,"showCount":2611,"zanCount":1398,"manualWeight":39,"mainColor":40},214301,"mu-dan-ce-4-yun-shou-ping-214301","牡丹册-4",[24,106,26,27,83,7,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62788f0a49f55255a39ab916f86585a7.jpg",[],248,{"id":2613,"slug":2614,"title":2615,"dynasty":18,"author":2616,"museum":135,"description":2617,"tags":2618,"thumbUrl":2619,"material":52,"size":52,"collection":52,"collections":2620,"showCount":2621,"zanCount":678,"manualWeight":39,"mainColor":159},229041,"xi-huang-shang-ren-hua-niao-tu-ce-pu-ru-229041","羲皇上人花鸟图册","溥儒","此作为工笔小帧，虬曲梅枝缀满初绽花苞，粉白柔瓣轻晕胭脂色，深浅层叠间漾开融融春意。\n\n一只禽鸟振翅俯身，羽色晕染细腻写实，翅尖微张、爪部轻抬，将探花一瞬的灵动意态定格。古旧绢底晕开沉褐底色，愈发衬得花鸟鲜活清隽。笔致秀逸温婉，既得院体花鸟精工之妙，又裹挟文人画疏澹雅逸，将春日闲趣藏入古雅底色，把禽鸟探春的幽恬意韵勾勒入微，淡而不寡，静中生趣。",[24,25,26,27,83,7,167,436],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88269039c0cef8c5cb52798546158853.jpg",[],247,{"id":2623,"slug":2624,"title":2625,"dynasty":195,"author":1838,"museum":79,"description":2626,"tags":2627,"thumbUrl":2628,"material":109,"size":2629,"collection":202,"collections":2630,"showCount":2631,"zanCount":800,"manualWeight":39,"mainColor":159},219216,"zhu-ou-tu-cui-bai-219216","竹鸥图","本幅画翠竹、芦草随风摇曳，水波也起伏荡漾，白鹭一只立于水中，则是放低了姿势，采逆向迎风、涉水而行的姿态，动静之间，形成均衡画幅的力量。幅上虽有崔白二字款，若和院藏崔白的「双喜图」相比较，在刻划花鸟的情态、掌握自然环境中一刹那生动的情景，两者的风味相类；但在用笔方面，崔白的笔墨线条，无论粗细柔劲、浓淡干湿、起伏顿挫，都为表现物象的质感、动态，随物变化。而在「竹鸥图」中，画白鸥的线条细挺，画竹子、芦草和坡石则是时有断续、富有弹性的线条，与院藏宋人「翠竹翎毛」中那种起伏变化明显，偏向于南宋风格的线条较为接近，因此本幅虽非崔白所作，但属宋代受崔白影响的作品之一。崔白（活动于11世纪后半），字子西，濠梁（今安徽凤阳）人。宋仁宗时（1022-1062）画院学艺。举凡道释、人物、禽兽、花卉无不精绝，尤擅长于花竹、山兔、枯荷、水凫、野雁之类。",[23,24,7,27,83,185,602,641,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6de49481fe805ec1b96d44ffd87decef.jpg","101.3x49.9cm",[202,35,112],242,{"id":2633,"slug":2634,"title":1888,"dynasty":18,"author":1209,"museum":20,"description":2635,"tags":2636,"thumbUrl":2637,"material":295,"size":2638,"collection":35,"collections":2639,"showCount":2640,"zanCount":1398,"manualWeight":39,"mainColor":40},237437,"ju-hua-zhou-wu-chang-shuo-237437","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” [2] 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》。",[24,25,152,64,27,7,517,686,68,569],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faac17540baab309bf666e37c3441ed42.jpg","纵119.9 厘米横51.6",[35],241,{"id":2642,"slug":2643,"title":133,"dynasty":148,"author":1776,"museum":135,"description":2644,"tags":2645,"thumbUrl":2646,"material":275,"size":276,"collection":52,"collections":2647,"showCount":2648,"zanCount":39,"manualWeight":39,"mainColor":159},289001,"he-hua-tu-huang-quan-289001","黄筌（约903年—965年），字要叔，成都（今四川成都）人。曾随唐末入蜀的著名画家刁光胤学画，又吸收山水画家李昇，人物龙水画家孙位之长，结果“全该六法，远过三师”他擅长花竹翎毛，也能画佛道，人物，山水，是一位技艺全面的画家。\n早以工画得名，擅花鸟，师刁光胤、膝昌苑，兼工人物、山水、墨竹。山水松石学李升，人物龙水学孙位，鹤师薛稷，撷诸家之萃，脱去格律而自成一派。所画禽鸟造型正确，骨肉兼备，形象丰满，赋色浓丽，勾勒精细，几乎不见笔迹，似轻色染成，谓之“写生”。与江南徐熙并称“黄徐”，形成五代、宋初花鸟画两大主要流派。",[106,24,25,83,27,7,49,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b2a7d3c3f2290ee5f25db1f0672a6ce.jpg",[],240,{"id":2650,"slug":2651,"title":2652,"dynasty":60,"author":830,"museum":251,"description":2653,"tags":2654,"thumbUrl":2655,"material":1041,"size":2656,"collection":35,"collections":2657,"showCount":2658,"zanCount":39,"manualWeight":39,"mainColor":40},222553,"mu-dan-hua-hui-tu-chen-chun-222553","牡丹花卉图","本幅上部行草书自题：“春是花时节，红紫各自赋。勿言薄脂粉，适足表贞素。道復。”后钤“陈道復氏”、“陈淳之印”印。\n作品画折枝牡丹花，以淡墨逸笔勾写盛开的花头，以深浅不一的墨色描写枝叶，表现出牡丹摇曳春风的优美姿态，并通过题诗表达了不慕繁华、甘于清静、孤芳自赏的心境。\n陈道復创作过许多以牡丹为主题或含有牡丹形象的绘画作品，如故宫博物院藏《牡丹图卷》、《天香图扇》、《洛阳春色图卷》、《墨花十二种图卷》以及上海博物馆藏《洛阳春色图卷》、《玉楼春色图卷》等等。这些作品多为墨笔或淡设色写意绘画，充分展示了画家在状物造型以及灵活运用水墨方面的高超技艺，正如明末大鉴赏家李日华为此幅作品所题云：“破一滴墨水，作种种妖妍。改旦暮之观，备四时之气”。",[23,24,25,64,7,107,228,569,68,399],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F524ca64f679df2ecd19978f86c81b89a.jpg","纵54.8厘米，横30.8厘米",[35,112],239,{"id":2660,"slug":2661,"title":2662,"dynasty":195,"author":1242,"museum":818,"description":1243,"tags":2663,"thumbUrl":2664,"material":822,"size":1246,"collection":52,"collections":2665,"showCount":2658,"zanCount":678,"manualWeight":39,"mainColor":159},221595,"hong-bai-fu-rong-tu-er-li-di-221595","红白芙蓉图（二）",[23,24,106,25,83,27,7,291],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd25dc107fa4494ca042034f992513016.jpg",[],{"id":2667,"slug":2668,"title":2669,"dynasty":195,"author":841,"museum":79,"description":2670,"tags":2671,"thumbUrl":2672,"material":52,"size":52,"collection":202,"collections":2673,"showCount":2674,"zanCount":1398,"manualWeight":39,"mainColor":159},221186,"shi-liu-wen-niao-ma-lin-221186","石榴文鸟","马麟马世荣之孙，马远之子，马远是宋光宗、宋宁宗两朝画院待诏，马麟画承家学， 用笔圆劲，轩昂洒落，画风秀润处过于乃父。 ​",[23,24,25,83,27,7,570,167,452],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71e0f84a2d62c330aaeff7eb6de993c8.jpg",[202,35,112],238,{"id":2676,"slug":2677,"title":2678,"dynasty":18,"author":317,"museum":79,"description":318,"tags":2679,"thumbUrl":2681,"material":33,"size":324,"collection":52,"collections":2682,"showCount":2683,"zanCount":800,"manualWeight":39,"mainColor":40},219881,"er-shi-si-fan-hua-xin-feng-tu-ying-tao-yu-ying-chun-dong-gao-219881","二十四番花信风图-樱桃与迎春",[24,25,26,27,83,7,344,2680,452,631,228,31,68],"迎春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cbb4551c35981c815d28fac994eeefc.jpg",[],237,{"id":2685,"slug":2686,"title":2687,"dynasty":18,"author":317,"museum":79,"description":318,"tags":2688,"thumbUrl":2690,"material":33,"size":324,"collection":52,"collections":2691,"showCount":2683,"zanCount":800,"manualWeight":39,"mainColor":40},219874,"er-shi-si-fan-hua-xin-feng-tu-mu-lan-yu-li-hua-dong-gao-219874","二十四番花信风图-木兰与梨花",[24,25,26,27,83,7,2689,720,67,631,31,68],"木兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e7899210f12729525c86d211dedbbfe.jpg",[],{"id":2693,"slug":2694,"title":2695,"dynasty":195,"author":2696,"museum":79,"description":2697,"tags":2698,"thumbUrl":2699,"material":109,"size":2700,"collection":35,"collections":2701,"showCount":2702,"zanCount":416,"manualWeight":39,"mainColor":40},215112,"xie-sheng-ying-su-tu-ai-xuan-215112","写生罂粟图","艾宣","此册共二十六开，包含许多精采的宋元册页。各别的作品曾经过南宋内府、十四世纪安徽收藏家吴志淳、十五世纪黔宁王沐璘、十七世纪山东收藏家张笃行等人收藏过。裱装形式上，除了少数有对题者，左边空白对幅皆以明代流行的金粟山藏经纸裱装之，并有风格统一的题签。配合裱纸上梁清标（一六二○－一六九一） 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。",[23,106,24,25,661,83,27,7,1910,29,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadad36eaac06d8f20b835860208428a2.jpg","23.7x24.3cm",[35],236,{"id":2704,"slug":2705,"title":2706,"dynasty":195,"author":553,"museum":79,"description":2707,"tags":2708,"thumbUrl":2710,"material":109,"size":2711,"collection":35,"collections":2712,"showCount":2713,"zanCount":1398,"manualWeight":39,"mainColor":40},218939,"xie-sheng-yu-zan-tu-lin-chun-218939","写生玉簪图","这幅画描绘了玉针花站在一个妃子身上，其香味吸引了蝴蝶飞来飞去。花和蝴蝶都是先用细墨线勾勒，然后上色的。白色的花瓣和绿色的叶子使芬芳的花朵更加美丽。在左下角的叶子下面可以看到林椿的签名。",[23,24,106,661,83,27,240,7,2709,214],"玉簪花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0abbcbd3282deb21b8a8f4f226720bde.jpg","23.6x24.6",[35],235,{"id":2715,"slug":2716,"title":2717,"dynasty":195,"author":196,"museum":45,"description":2718,"tags":2719,"thumbUrl":2720,"material":109,"size":2721,"collection":35,"collections":2722,"showCount":2713,"zanCount":429,"manualWeight":39,"mainColor":159},218554,"ping-hua-tu-yi-ming-218554","瓶花图","画的是一个中心中空的竹制花篮，篮子里有几朵菊花和木槿。芙蓉花瓣由内而外由紫变淡红，大方得体，而粉色和白色的菊花层层叠叠，繁而不乱，画面不大，却诠释了秋天的多种色彩。",[24,25,27,83,7,517,686,291],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92ea7ee08022ee5215dc568f32303c97.jpg","21x19cm",[35],{"id":2724,"slug":2725,"title":2726,"dynasty":18,"author":2727,"museum":135,"description":2728,"tags":2729,"thumbUrl":2731,"material":412,"size":2732,"collection":52,"collections":2733,"showCount":2734,"zanCount":800,"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。",[24,25,152,7,27,28,517,384,29,2730],"临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7049879c68c188c33b57a9d26849b1c6.jpg","纵107厘米，横33.4厘米",[],234,{"id":2736,"slug":2737,"title":611,"dynasty":18,"author":19,"museum":135,"description":2738,"tags":2739,"thumbUrl":2740,"material":52,"size":52,"collection":52,"collections":2741,"showCount":2734,"zanCount":5,"manualWeight":39,"mainColor":159},230251,"mu-dan-tu-yun-shou-ping-230251","此作用没骨法写就，以色代线，晕染出牡丹娇柔丰腴之态。白粉牡丹瓣层轻叠，莹润如凝脂；朱砂秾艳不俗，紫花幽柔淡雅，色彩过渡自然清妍，不见勾勒却形神兼备。枝叶以深浅草绿斡染，俯仰顾盼间尽显舒展生机，古拙顽石衬于花下，旁缀幽兰数茎，添清寂古雅之趣。\n\n右上题诗与花木相映，将富贵之态融入澹逸文气，以秀雅之笔消解艳俗，淡而不薄，丽而不妖，把写生之功与文人意趣相融，尽显春日花盛的清和雅致。",[23,24,25,152,27,7,107,214,186,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85bcececee698ff8393e54eef5a76e67.jpg",[],{"id":2743,"slug":2744,"title":2745,"dynasty":60,"author":2746,"museum":135,"description":2747,"tags":2748,"thumbUrl":2749,"material":52,"size":52,"collection":35,"collections":2750,"showCount":2751,"zanCount":5,"manualWeight":39,"mainColor":159},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。",[24,25,152,83,27,7,782,171,90,29,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bd83a04879ea1f1f5ef9c405bd25556.jpg",[35],233,{"id":2753,"slug":2754,"title":2755,"dynasty":18,"author":381,"museum":251,"description":2756,"tags":2757,"thumbUrl":2760,"material":33,"size":52,"collection":35,"collections":2761,"showCount":2751,"zanCount":678,"manualWeight":39,"mainColor":40},219292,"bo-luo-ju-xie-ye-ren-yi-219292","菠萝菊蟹页","画面以菠萝为底，菊丛旁逸，蟹螯张弛，茶壶静卧，四物相映成趣。红蟹墨螯，笔触劲挺如蟹螯探物；菠萝鳞甲层叠，墨色浓淡间见肌理之趣；蓝菊翠叶，水色晕染似含秋露；深褐茶壶，朴拙造型衬出雅致清欢。笔墨兼具工写，红与蓝撞色鲜活，墨与彩交融和谐。寻常蔬果水族，经笔底点染，既有文人画的逸趣，又含市井生活的鲜活，尽显海派画风的灵动与包容，仿佛一帧秋日常景，藏着岁月的温润与生机。",[23,24,27,7,399,26,2758,517,2759,686],"菠萝","蟹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0150d4cb986e4079fb87d6e7b65100b.jpg",[35],{"id":2763,"slug":2764,"title":2765,"dynasty":60,"author":1681,"museum":45,"description":2766,"tags":2767,"thumbUrl":2770,"material":109,"size":2771,"collection":35,"collections":2772,"showCount":2773,"zanCount":5,"manualWeight":39,"mainColor":159},218918,"fu-gui-rong-hua-tu-lv-ji-218918","富贵荣华图","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。",[23,106,24,25,152,83,27,845,480,7,2768,2769,2168,67],"红花","白花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bcefe113f289970b9573cff9f3de1c6.jpg","49x25cm",[35],232,{"id":2775,"slug":2776,"title":2777,"dynasty":18,"author":1209,"museum":135,"description":2026,"tags":2778,"thumbUrl":2779,"material":401,"size":2780,"collection":35,"collections":2781,"showCount":2782,"zanCount":5,"manualWeight":39,"mainColor":40},224221,"zhao-ri-hong-he-wu-chang-shuo-224221","朝日红荷",[23,24,25,152,64,27,7,49,50,399,31,569,68],"https:\u002F\u002Foss.chuangqi.store\u002F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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。 [3] 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》。",[24,152,27,399,7,2912,998,227,228,226],"葡萄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff132055bd0237aacfdd9ba4bc4e35645.jpg","纵174.7cm，横47.5cm",[],221,{"id":2918,"slug":2919,"title":611,"dynasty":18,"author":1787,"museum":2920,"description":2921,"tags":2922,"thumbUrl":2923,"material":52,"size":2924,"collection":35,"collections":2925,"showCount":2916,"zanCount":800,"manualWeight":39,"mainColor":40},222816,"mu-dan-tu-yun-bing-222816","郑州博物馆","绘牡丹花卉数枝，牡丹枝叶繁茂，绚丽多彩，争奇斗艳。画面右上题署：“南田公曾有此画法，兰陵女氏清於冰写”。",[23,24,25,7,27,83,68,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17ca7be60e424c9bda0e6befeafb4a8a.jpg","纵106厘米 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[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》。",[23,24,25,27,83,7,518,186,2979,68,31],"飞虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08f14912099b74f3d5a6aa2685fc8db4.jpg",[],218,{"id":2984,"slug":2985,"title":541,"dynasty":18,"author":19,"museum":135,"description":542,"tags":2986,"thumbUrl":2987,"material":52,"size":52,"collection":52,"collections":2988,"showCount":2982,"zanCount":5,"manualWeight":39,"mainColor":40},233911,"hua-hui-shan-shui-ce-yun-shou-ping-233911",[24,25,26,28,27,7,29,662,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365b8ee143cb6b67cd7e5ece42f851e1.jpg",[],{"id":2990,"slug":2991,"title":2992,"dynasty":195,"author":1838,"museum":251,"description":2993,"tags":2994,"thumbUrl":2995,"material":1595,"size":2996,"collection":202,"collections":2997,"showCount":2998,"zanCount":593,"manualWeight":39,"mainColor":159},221445,"han-que-tu-juan-cui-bai-221445","寒雀图卷","本幅署款“崔白”二字，有清高宗弘历题诗一首。卷后明文彭题跋。\n图绘枯木及9只麻雀飞动或栖止其间的情景。9只小雀依飞鸣动静之态散落树间，自然形成三组。构图巧妙，布局得当，在动与静之间既有分割又有联系。\n作者以干湿兼用的墨色、松动灵活的笔法绘麻雀及树干。麻雀用笔干细，敷色清淡。树木枝干多用干墨皴擦晕染而成，无刻划痕迹，明显区别于黄筌画派花鸟画的创作技法。尽管此图在形势、风格上还较为工致优雅，但在北宋花鸟画中占主导地位的平和、富丽的特色，在崔白的作品中已不见，反映了北宋宫廷花鸟画在审美感受上进入了新的阶段。崔白新创的花鸟画改变了流传百年的黄筌画派的一统格局，推动了宋代花鸟画的发展。",[23,106,24,25,82,7,83,167,1841,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c651618a9378a8dc159bf2a2ceb5781.jpg","纵25.5厘米，横101.4厘米",[202,35,112],217,{"id":3000,"slug":3001,"title":3002,"dynasty":60,"author":3003,"museum":79,"description":3004,"tags":3005,"thumbUrl":3007,"material":109,"size":3008,"collection":35,"collections":3009,"showCount":2998,"zanCount":1398,"manualWeight":39,"mainColor":159},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。",[23,480,24,25,152,83,27,7,291,602,3006,29,807],"柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51b6278a19e0cd0b6464e8d5101b347b.jpg","144.4x74.3cm",[35],{"id":3011,"slug":3012,"title":3013,"dynasty":60,"author":1261,"museum":135,"description":3014,"tags":3015,"thumbUrl":3016,"material":275,"size":276,"collection":52,"collections":3017,"showCount":3018,"zanCount":268,"manualWeight":39,"mainColor":159},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 。特以嗜酒落魄，不甚为世重耳。又善古隶。",[23,24,82,27,83,7,436,185,107,291,123,167,807,29,544],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784a8955d2b4f0279d0683708db84ee1.jpg",[],216,{"id":3020,"slug":3021,"title":59,"dynasty":18,"author":19,"museum":135,"description":272,"tags":3022,"thumbUrl":3023,"material":275,"size":276,"collection":52,"collections":3024,"showCount":3025,"zanCount":1398,"manualWeight":39,"mainColor":40},239432,"hua-niao-ce-yun-shou-ping-239432",[106,24,25,26,28,27,7,29,66,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48e378a87f8912632f7510fda2eb40c7.jpg",[],215,{"id":3027,"slug":3028,"title":44,"dynasty":18,"author":19,"museum":135,"description":542,"tags":3029,"thumbUrl":3030,"material":52,"size":546,"collection":52,"collections":3031,"showCount":3025,"zanCount":1398,"manualWeight":39,"mainColor":40},233895,"hua-hui-ce-yun-shou-ping-233895",[106,24,25,26,27,28,7,29,286,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e39781d8731f909f8ad4b52da88dd7d.jpg",[],{"id":3033,"slug":3034,"title":3035,"dynasty":195,"author":1413,"museum":3036,"description":3037,"tags":3038,"thumbUrl":3039,"material":109,"size":3040,"collection":35,"collections":3041,"showCount":3042,"zanCount":1398,"manualWeight":39,"mainColor":159},219138,"mei-que-tu-zhao-ji-219138","梅雀图","日本东京国立博物馆","枝桠遒劲，凝着早春的清寒，几簇白梅点缀其间，花瓣薄如蝉翼，花蕊纤毫毕现，似有暗香浮动。一只麻雀敛翅而立，羽色层次分明，从褐棕的背羽到浅黄的腹羽，过渡细腻如天然；墨点的眼珠炯炯有神，喙尖微挑，仿佛正细嗅梅香。古雅的底色衬得生灵与花枝愈发鲜活，笔意工致却不刻板，枝桠的顿挫、羽毛的丝缕、花瓣的晕染，皆藏着对自然的敬畏与细腻感知。静穆中透着生机，仿佛能听见风过枝桠的轻响，看见雀儿转颈的灵动，将转瞬的雅致凝为永恒，尽显笔墨间的生趣与文人清逸。",[23,24,106,25,83,27,661,7,436,2100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51843aee1c6bdffdd691d63bea2ddcbd.jpg","23.0×24.2cm",[35],214,{"id":3044,"slug":3045,"title":3046,"dynasty":18,"author":3047,"museum":135,"description":3048,"tags":3049,"thumbUrl":3051,"material":52,"size":52,"collection":52,"collections":3052,"showCount":3053,"zanCount":800,"manualWeight":39,"mainColor":40},224110,"lian-hua-mian-yi-224110","莲花","绵亿","此作用色秀润柔和，盛放的主莲粉瓣晕染自然，金蕊明媚醒目，一旁花苞半敛，晕出柔婉的粉紫色泽。阔大荷叶以石绿晕绘，叶脉勾勒纤细清晰，舒展间带着水润生机。淡蓝碎花与纤柔细草错落点缀，衬出莲的清雅出尘。\n\n笔致轻柔秀雅，工细却无板滞之感，将莲的高洁清灵与柔媚娇美相融，淡素底色晕开夏日水畔的清和诗意，把水生花卉的静雅之美凝于尺幅，观之仿佛能嗅到浅淡荷香，尽显娴静悠远的文人意趣。",[24,25,7,83,27,49,50,1790,3050],"小花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25226c11c993dc0c02d852defc77b4af.jpg",[],213,{"id":3055,"slug":3056,"title":3057,"dynasty":195,"author":464,"museum":20,"description":3058,"tags":3059,"thumbUrl":3060,"material":109,"size":3061,"collection":35,"collections":3062,"showCount":3063,"zanCount":5,"manualWeight":39,"mainColor":159},219174,"zhu-que-tu-wu-bing-219174","竹雀图","此图写棘竹丛生，枝桠横出，枝头有一雀鸟正在悠闲地啄理羽毛。整幅场景景物聚于下侧，可见南宋构图新风的影响。图中竹枝用双钩技法，雀鸟在用颜色没骨画出后，重点部位再用墨线描出。这是吴炳传世佳作中的代表作。",[106,24,25,83,27,7,185,2100,167,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd20dd6d46a7daa28f75681df47a33321.jpg","纵25厘米，横25厘米",[35],211,{"id":3065,"slug":3066,"title":3067,"dynasty":195,"author":1838,"museum":135,"description":3068,"tags":3069,"thumbUrl":3070,"material":275,"size":276,"collection":52,"collections":3071,"showCount":3072,"zanCount":1398,"manualWeight":39,"mainColor":159},287576,"shuang-xi-tu-cui-bai-287576","双喜图","两宋时期，中国古代花鸟画空前发展并取得重大成就。北宋前期，宫廷画家黄居采继承了其父黄筌的花鸟画风格，使细腻艳丽的富贵风格成为评判当时宫廷花鸟画优劣的准绳，直到崔白等人的出现，才打破了它一直以来的主导地位。崔白与黄筌一样注重写生、造型准确，但在画面中多了几分生趣，正是这种对禽鸟神态的关注，表明了花鸟画进入到一个新的发展阶段。画家将场景设定在深秋野外，被惊扰的野兔回首注视着一对喳喳直叫的山鹊，透过野兔的眼神，我们看到了它驻足回首时的惊异神情。有些诧异，却没有恐惧，因为它知道山鹊对自己没有威胁。它与山鹊之间的动作呼应、位置关联，一定是平日写生的结果，准确而生动。",[23,106,24,152,83,27,167,1189,1841,7,386,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64ec422a7f31392c01473ad0cdcb93a1.jpg",[],210,{"id":3074,"slug":3075,"title":3076,"dynasty":18,"author":793,"museum":79,"description":794,"tags":3077,"thumbUrl":3080,"material":27,"size":797,"collection":52,"collections":3081,"showCount":3082,"zanCount":39,"manualWeight":39,"mainColor":40},222729,"xian-e-chang-chun-tu-bai-he-hua-yu-chan-zhi-mu-dan-lang-shi-ning-222729","仙萼长春图百合花与缠枝牡丹",[23,106,24,25,83,27,7,516,3078,3079,66],"牡丹花","缠枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c55f7cc59936a5a8c9fc4611e39f44d.jpg",[],209,{"id":3084,"slug":3085,"title":3086,"dynasty":18,"author":317,"museum":79,"description":318,"tags":3087,"thumbUrl":3090,"material":33,"size":324,"collection":52,"collections":3091,"showCount":3082,"zanCount":1398,"manualWeight":39,"mainColor":40},219876,"er-shi-si-fan-hua-xin-feng-tu-tang-di-yu-tao-hua-dong-gao-219876","二十四番花信风图-棠棣与桃花",[106,24,25,26,27,83,7,3088,123,3089,31,68],"棠棣","花信风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba17cf988bcf65f78a9b85775c599311.jpg",[],{"id":3093,"slug":3094,"title":3095,"dynasty":18,"author":164,"museum":20,"description":3096,"tags":3097,"thumbUrl":3098,"material":33,"size":3099,"collection":35,"collections":3100,"showCount":3082,"zanCount":1398,"manualWeight":39,"mainColor":40},218903,"hua-niao-tu-zhou-shen-quan-218903","花鸟图轴","沈铨善绘花鸟翎毛，用笔细腻传神，设色富贵浓艳。他的绘画多以描绘松、梅、竹、鹿、鹤、雉等寓意祥瑞富贵的题材为多。是图设色名丽脱俗，极富装饰性。琵琶树下，繁花斗艳，一对锦鸡嬉戏其间，树梢果实累累，绿叶掩映，群鸟相鸣，给人喜庆祥和的视觉感受。此作绘于乾隆二十七年（壬午，1762），作者时年八十一岁。",[106,24,83,27,7,167,89,631,66,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab98048035316f1f40ef1a094497f236.jpg","纵171.6厘米，横95.9 厘米",[35],{"id":3102,"slug":3103,"title":3104,"dynasty":195,"author":841,"museum":45,"description":3105,"tags":3106,"thumbUrl":3108,"material":109,"size":3109,"collection":35,"collections":3110,"showCount":3082,"zanCount":593,"manualWeight":39,"mainColor":159},218555,"mo-li-shu-fang-tu-ma-lin-218555","茉莉舒芳图","绢本古雅的底色上，茉莉枝蔓婉转伸展，白花团簇如凝雪，瓣瓣细腻温润，似含轻露未干。叶片以深浅墨绿晕染，脉络清晰可见，老叶的厚重与新叶的鲜嫩相映成趣。枝梗用笔挺劲又不失灵动，穿插错落间留白恰到好处，尽显疏密有致的构图巧思。整幅画精工雅致，将茉莉的清芬与静谧之美凝于绢素，仿佛能闻见淡淡花香，尽显南宋花鸟的细腻与诗意。笔墨间藏着对自然生灵的细致观察，每一处细节都透着温婉的匠心，让清雅之气溢于画面，是兼具技法与意境的佳作。",[106,24,25,83,27,7,3107,66,68],"茉莉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9afa3f161454d0740d10b8abcc3695ff.jpg","22.8x22.8cm",[35],{"id":3112,"slug":3113,"title":3114,"dynasty":195,"author":766,"museum":135,"description":3115,"tags":3116,"thumbUrl":3117,"material":1595,"size":559,"collection":202,"collections":3118,"showCount":3119,"zanCount":5,"manualWeight":39,"mainColor":159},221586,"guo-qin-tu-ye-li-song-221586","果禽图页","李安忠，南宋画家。钱塘(今浙江杭州)人，生卒年不详。宋徽宗宣和(1119-1125)时为画院祗候，历官成忠郎。南渡后绍兴(1131-1162)间复职画院，赐金带。子公茂，世其家学，然不逮父。\n工画花鸟、走兽，尤长于“捉勒”(鹰鹘之类)，《画继补遗》谓其“工画捉勒，得其 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。”",[23,24,25,83,27,7,241,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5d0bec16d60826eb99359fe54491c93.jpg",[202,35,112],207,{"id":3121,"slug":3122,"title":3123,"dynasty":60,"author":196,"museum":2855,"description":3124,"tags":3125,"thumbUrl":3127,"material":109,"size":52,"collection":35,"collections":3128,"showCount":3119,"zanCount":678,"manualWeight":39,"mainColor":159},216906,"lian-chi-cang-lu-tu-yi-ming-216906","莲池苍鹭图","莲池苍鹭图是明朝时期的一幅著名图画，作者不详。这幅图画描绘了一个山间池塘，池塘中有许多莲花，并有一只苍鹭在池塘中游荡。图画中还有许多树木和山峰，构成了一幅优美的山水画。莲池苍鹭图被认为是明朝时期山水画的代表作之一，其中融合了中国传统的山水画风格和新兴的写意山水画风格，反映了明朝时期的艺术特点。",[23,24,27,83,152,7,49,50,3126,167],"苍鹭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd08681f58d681525cfd1a7c86c9d4cc8.jpg",[35],{"id":3130,"slug":3131,"title":59,"dynasty":18,"author":19,"museum":135,"description":272,"tags":3132,"thumbUrl":3133,"material":275,"size":276,"collection":52,"collections":3134,"showCount":3135,"zanCount":1398,"manualWeight":39,"mainColor":40},239444,"hua-niao-ce-yun-shou-ping-239444",[24,25,26,27,83,7,167,455,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19250735f901fd0882f83c6edac72376.jpg",[],206,{"id":3137,"slug":3138,"title":3139,"dynasty":18,"author":19,"museum":624,"description":625,"tags":3140,"thumbUrl":3141,"material":109,"size":633,"collection":52,"collections":3142,"showCount":3135,"zanCount":5,"manualWeight":39,"mainColor":159},216108,"yun-shou-ping-hua-guo-shu-cai-ce-ye-3-yun-shou-ping-216108","恽寿平花果蔬菜册页-3",[24,25,26,27,28,7,2912,227,228,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e662822fd50f45acad8354abff8c0d6.jpg",[],{"id":3144,"slug":3145,"title":3146,"dynasty":60,"author":1756,"museum":251,"description":3147,"tags":3148,"thumbUrl":3149,"material":845,"size":3150,"collection":35,"collections":3151,"showCount":3152,"zanCount":1398,"manualWeight":39,"mainColor":159},222048,"mei-gu-hua-hui-tiao-fu-wang-zhong-222048","没骨花卉条幅","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。",[23,24,25,152,28,27,7,186,29,214,292,227,66,631],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a80d2f3763b05356d5be7d88d57866d.jpg","54.4x113.9",[35,112],204,{"id":3154,"slug":3155,"title":3156,"dynasty":18,"author":196,"museum":45,"description":3157,"tags":3158,"thumbUrl":3160,"material":109,"size":3161,"collection":35,"collections":3162,"showCount":3152,"zanCount":1398,"manualWeight":39,"mainColor":159},218956,"gui-he-yan-nian-tu-yi-ming-218956","龟鹤延年图","丹顶朱冠，白羽墨翅，仙鹤或昂首引颈似欲唳天，或曲颈垂首若啄苔矶，姿态灵动。修竹挺翠，叶影婆娑，掩映其间；侧畔飞瀑流泉，漱石鸣玉，云雾氤氲如缕，漫笼山隰。笔墨古雅，设色沉朴，仙鹤的灵秀与竹石的清逸相映成趣，流露出祥瑞康宁的意蕴。画面古朴静谧，仿佛将自然生机凝于绢素之上，尽显岁月沉淀下的雅致与吉祥。",[24,83,27,185,171,1779,1393,90,7,3159],"长寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77cfda5f494d8b62a606671a72d79ae1.jpg","111x54cm",[35],{"id":3164,"slug":3165,"title":59,"dynasty":18,"author":19,"museum":135,"description":272,"tags":3166,"thumbUrl":3167,"material":275,"size":276,"collection":52,"collections":3168,"showCount":3169,"zanCount":5,"manualWeight":39,"mainColor":40},239434,"hua-niao-ce-yun-shou-ping-239434",[24,27,28,7,26,289,227,228,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68f83bf355d91cd4fd4d269c81b711e7.jpg",[],203,{"id":3171,"slug":3172,"title":3173,"dynasty":18,"author":1209,"museum":251,"description":3174,"tags":3175,"thumbUrl":3177,"material":3178,"size":3179,"collection":52,"collections":3180,"showCount":3169,"zanCount":800,"manualWeight":39,"mainColor":40},233734,"zi-teng-tu-wu-chang-shuo-233734","紫藤图","此图是1905年吴昌硕62岁作，为花卉四条屏之末条。款：“乙巳（1905年）八月八日，安吉吳俊卿擬十三峰草堂”。钤“吴俊之印”。绘藤叶凌空倚势，宛若龙翔凤舞。藤条盘绕回曲，缠石数重。作者娴熟地运用狂草般的笔法，飞动迅疾，一气呵成。同时，此画画气不画形，追求书法中气贯神通的审美意趣。正如他自言：“草书作葡萄，笔动走蛟龙”，又言：“临抚石鼓琅玡笔，戏为幽兰一写真”等。这种以书入画的画风别开蹊经，对近现代中国画的创作有着深远的影响。\n此外，该图施墨浑厚沉稳而又淋漓酣畅，构图不拘陈法，巧于设陈布势。挥洒之中妙趣横生，生动的笔墨赋予紫藤生机勃勃，其显现出的画境充分地印证了本幅题画诗：“繁英垂紫玉，條系好春光。歲歲花長好，飄（飄）滿畫堂。”的诗境。",[24,152,27,399,7,48,227,3176,64,1802],"石块","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79c251ae9fe1e9537d5a6fe03ea212be.jpg","金笺，设色","纵163.4厘米，横47.3厘米",[],{"id":3182,"slug":3183,"title":3184,"dynasty":60,"author":3185,"museum":135,"description":3186,"tags":3187,"thumbUrl":3188,"material":52,"size":52,"collection":52,"collections":3189,"showCount":3190,"zanCount":5,"manualWeight":39,"mainColor":159},228390,"kong-que-mu-dan-tu-yin-hong-228390","孔雀牡丹图","殷宏","垂柳柔条轻曳，桃枝缀满繁花，引百鸟穿梭啼鸣。孔雀身披彩翎，羽斑环环相扣明丽夺目，信步于湖石之侧，气度雍容不凡。牡丹或素洁似雪，或秾艳若霞，与苍古湖石、翠色草木交织成趣，仙鹤亭亭而立更添清贵。\n整幅画笔致工细，设色妍雅柔和，将春日园林的富贵生机铺陈眼前，把翎毛花卉的灵动雅致糅合无间，尽显吉祥富丽的美好意涵，是极具代表性的工笔花鸟佳作。",[23,106,24,25,480,27,83,7,91,107,89,544,90,631,807,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe1384e37440b3476c7844a32e3504f3.jpg",[],202,{"id":3192,"slug":3193,"title":3194,"dynasty":18,"author":3195,"museum":20,"description":3196,"tags":3197,"thumbUrl":3198,"material":295,"size":52,"collection":35,"collections":3199,"showCount":3200,"zanCount":39,"manualWeight":39,"mainColor":40},233182,"hua-hui-ce-ju-hua-hai-tang-ye-zhao-zhi-qian-233182","花卉册-菊花海棠页","赵之谦","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。",[24,25,26,27,64,399,7,517,662],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5edbc8bd73f1dd91029ea9127ec59094.jpg",[35,112],201,{"id":3202,"slug":3203,"title":3204,"dynasty":489,"author":490,"museum":3205,"description":3206,"tags":3207,"thumbUrl":3208,"material":3209,"size":52,"collection":52,"collections":3210,"showCount":3211,"zanCount":39,"manualWeight":39,"mainColor":40},220585,"hu-lu-he-san-zhi-kun-chong-qi-bai-shi-220585","葫芦和三只昆虫","Oscar Niemeyer Museum","明黄葫芦以没骨法晕染，色块鲜亮通透，留白巧显葫身莹润质感。焦墨藤蔓如虬龙游走，狂放苍劲，墨叶大笔泼写，浑朴厚重，大写意的疏朗随性扑面而来。\n\n三只草虫用工笔细绘，蝶翅纹路纤毫毕现，蝈蝈、蚱蜢肢体灵动鲜活，工细与写意形成强烈对冲，将乡野秋意揉入画面。枯湿浓淡的墨色层次分明，老辣笔触带着稚拙生机，把篱边闲趣晕染得鲜活动人，俗世清欢藏在笔墨之间，尽显东方水墨的悠然意韵。",[24,25,152,64,27,7,998,227,214,999,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61c47104068ce7e480840a2e1fddebeb.jpg","Watercolor on paper",[],199,{"id":3213,"slug":3214,"title":3215,"dynasty":18,"author":1209,"museum":251,"description":3216,"tags":3217,"thumbUrl":3218,"material":2545,"size":52,"collection":35,"collections":3219,"showCount":3220,"zanCount":1398,"manualWeight":39,"mainColor":40},237158,"mei-hua-zhou-wu-chang-shuo-237158","梅花轴","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。”吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,25,152,64,569,68,31,321,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F080ddc2ba3abfecbf7d18533654b3d87.jpg",[35],196,{"id":3222,"slug":3223,"title":3224,"dynasty":18,"author":3225,"museum":135,"description":3226,"tags":3227,"thumbUrl":3228,"material":52,"size":52,"collection":52,"collections":3229,"showCount":3220,"zanCount":5,"manualWeight":39,"mainColor":40},230215,"hua-niao-tu-ce-yu-zhi-230215","花鸟图册","余穉","此作工致秀雅，以桃花翠竹绘就春日小景。枝头桃花柔媚绽放，粉白花瓣晕染匀净，尽显娇妍之态，间杂翠绿竹叶，挺括舒展，鲜润清雅。\n\n三只春燕情态各异，两只红襟燕栖于花枝，羽翼丝缕毕现，绒羽蓬松柔软，神色悠然；一只白燕翩跹掠飞，灵动轻盈，动静相映成趣。整体设色明丽柔和，笔触细腻入微，将春日融融的生机与雅致融为一体，兼具写实之真与古典雅致之美，尽显清逸温婉的花鸟意趣。",[24,83,27,7,123,185,167,68,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95f1730fb5283ee2b7dc13a5bfb558b7.jpg",[],{"id":3231,"slug":3232,"title":874,"dynasty":18,"author":3233,"museum":79,"description":3234,"tags":3235,"thumbUrl":3236,"material":109,"size":3237,"collection":35,"collections":3238,"showCount":3239,"zanCount":1398,"manualWeight":39,"mainColor":40},219529,"sui-chao-tu-yun-shou-ping-wang-hui-da-chong-guang-yang-jin-219529","恽寿平王翚笪重光杨晋","四人联袂共绘，将岁朝清供融于一帧。松针攒簇挺劲，尽显凌霜坚姿，翠竹疏枝摇曳，清韵自生；山茶柔瓣晕染温润，梅枝横斜疏花缀枝，水仙舒展冰姿玉骨，南天竹丹实累累，点染出新年吉庆。\n\n笔墨兼具没骨设色的雅致柔润与勾勒皴擦的苍劲秀逸，融四家所长，各尽其意却浑然一体。花木俯仰错落，冷暖色调相映，清刚与妍柔相融，暗合岁朝迎新的吉庆意趣，将文人清雅审美与岁时雅俗交融，淡墨轻色间，尽显岁朝清供的隽永意韵。",[106,24,25,152,27,7,782,436,254,518,31,68,2188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F625da687a11dea55340262634b2ab88f.jpg","80.7x50.4公分",[35],195,{"id":3241,"slug":3242,"title":3243,"dynasty":148,"author":149,"museum":79,"description":3244,"tags":3245,"thumbUrl":3247,"material":109,"size":3248,"collection":112,"collections":3249,"showCount":3239,"zanCount":800,"manualWeight":39,"mainColor":159},219338,"rong-que-tu-xu-xi-219338","蓉雀图","芙蓉烂漫绽放，墨骨淡彩晕出娇嫩肌理，花瓣层叠间藏着自然野趣。苍劲枝干上，雀鸟或翘首啼鸣，或敛翅小憩，羽翼以细墨勾描，淡彩点染，神态活灵活现。空中飞鸟振翅，地面双雀啄食，动静交织间满是生机。徐熙“落墨法”的韵致尽显——墨线勾勒轮廓，淡彩晕染层次，不刻意求工，却于自然中见真趣。无宫廷富贵气，唯有山野花鸟相依的清逸，仿佛能闻雀鸣花语，触到风过花枝的轻颤，尽显五代花鸟的野逸之美。",[24,25,27,7,291,3246],"雀鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06a8ec8db619167b3ec5865d642cfe66.jpg","75.8×62.2cm",[112],{"id":3251,"slug":3252,"title":3253,"dynasty":18,"author":332,"museum":79,"description":3254,"tags":3255,"thumbUrl":3256,"material":412,"size":3257,"collection":35,"collections":3258,"showCount":3259,"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 —1772）于第二次南巡时陪同南下，不但于苏州绘「借山斋」一景，稍早经过家乡常州时，亦为乾隆皇帝绘制当地名胜苏轼「舣舟亭」，颇似御用的随行写生画家。此作描绘苏州虎邱一带的景致，承续「四王」山水风格，并揉合地貌与建筑，呈现出清代宫廷正统派山水画的风貌。乾隆皇帝于虎邱所题诗句「林泉印证真亲切，秀丽从来说虎邱」，显示出他以艺术品「即景印证」的习惯，并不囿于古代名迹，当朝词臣的画作亦可添助游兴。",[23,24,25,106,152,27,83,7,29,107,153,66,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F644cd5f86ffa087cae3a9551bfee9b91.jpg","260x101.4",[35,112],194,{"id":3261,"slug":3262,"title":3263,"dynasty":18,"author":3264,"museum":20,"description":3265,"tags":3266,"thumbUrl":3267,"material":2545,"size":3268,"collection":35,"collections":3269,"showCount":3270,"zanCount":39,"manualWeight":39,"mainColor":40},223290,"san-qing-tu-li-zhou-zheng-ban-qiao-223290","三清图立轴","郑板桥","绘竹、兰、菊三君子，在画家眼里这三种更为清丽，全图皆水墨，竹的笔直修长，兰的清新幽香，菊的严霜开放，尽显君子谦谦之态。画作左侧有画家自题诗一首：兰梅竹菊四名家，但少春风第一花，寄于东君诸子弟，好将文事夺天葩。板桥郑燮。",[23,24,25,152,64,7,185,517,686,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe2339494716d7ccd299644411857aea.jpg","152×39cm",[35,734],193,{"id":3272,"slug":3273,"title":3274,"dynasty":195,"author":1413,"museum":717,"description":3275,"tags":3276,"thumbUrl":3277,"material":109,"size":52,"collection":202,"collections":3278,"showCount":3279,"zanCount":800,"manualWeight":39,"mainColor":40},219112,"si-qin-tu-zhao-ji-219112","四禽图","枝桠横斜间，禽鸟各呈姿态：或敛翅静栖于梅梢，羽翎纹理纤毫毕现；或侧首凝睇，眼神藏着未语的灵秀；或振翅欲飞，翅尖似带起微风轻响。淡墨勾枝，浅彩点花，笔意清逸如春风拂过，花枝摇曳间，暗香仿佛浮动。\n\n行间题字与朱印错落，墨迹温润与朱砂明艳交织，似时光屐痕，与花鸟相映成趣，更添古雅之韵。每一笔透着对自然的敬畏，每处细节藏着文人闲情——不刻意雕琢，却于平淡中见真味，将生机与静谧凝于尺幅。\n\n整卷如流动的诗画，春日灵趣与岁月沉淀融于一体，读来心远尘嚣，仿佛置身鸟语花香的清境，忘却俗事纷扰。",[24,82,83,627,7,65,436,185,68,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c879664cc93247940a1bf71e75def95.jpg",[202,35],192,{"id":3281,"slug":3282,"title":3283,"dynasty":489,"author":490,"museum":251,"description":3284,"tags":3285,"thumbUrl":3288,"material":33,"size":3289,"collection":35,"collections":3290,"showCount":3279,"zanCount":39,"manualWeight":39,"mainColor":40},216931,"zong-shu-guo-guo-tu-qi-bai-shi-216931","棕树蝈蝈图","赭色树干以浓淡墨线勾皴，如老藤盘结，墨叶纷披似风过梢头，洒脱不羁。画面一隅，蝈蝈翅脉分明，肢足灵动，朱红与赭黄晕染出鲜活质感，似欲振翅而鸣。工细的虫与豪放的树形成鲜明对照，笔意间藏着对生活的细腻观察。简淡的纸本上，墨色苍劲与设色明丽相映成趣，寻常景物里溢出盎然生机，尽显白石老人以小见大、以俗见雅的艺术妙趣。",[23,24,27,64,83,7,3286,3287,68],"棕树","蝈蝈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34160a48a9de7587fb99671f3678ca1f.jpg","69.5x34.3cm",[35],{"id":3292,"slug":3293,"title":3294,"dynasty":60,"author":3295,"museum":135,"description":3296,"tags":3297,"thumbUrl":3298,"material":1595,"size":3299,"collection":35,"collections":3300,"showCount":3301,"zanCount":5,"manualWeight":39,"mainColor":159},222574,"ju-hua-li-zhou-lu-kui-222574","菊花立轴","陆逵","图绘秋日之景色，树叶凋零，几片枝头叶片，摇摇欲坠；秋菊开放，叶茂花艳，数朵菊花争相开放。此图绘枯树时有些讨巧，枯树的枝杆上半部分如长在湖石上，与湖石融为一体，观之惊叹。陆逵，字仪吉，善人物及花草，明代画家。",[23,106,24,25,152,27,83,7,287,1951,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f856c432f5898dc9292bd2ea35d5eba.jpg","48.4x169cm",[35,112],191,{"id":3303,"slug":3304,"title":3305,"dynasty":195,"author":942,"museum":251,"description":3306,"tags":3307,"thumbUrl":3309,"material":1595,"size":3310,"collection":202,"collections":3311,"showCount":3301,"zanCount":800,"manualWeight":39,"mainColor":159},221534,"bai-qiang-wei-tu-ye-ma-yuan-221534","白蔷薇图页","画中的白蔷薇花朵硕大，枝叶繁茂，光彩夺目。画家以细笔勾出花形，用白粉晕染花瓣，以深浅汁绿涂染枝叶，笔法严谨，一丝不苟，画风清丽活泼，颇具生气，代表了南宋画院花鸟画的典型风貌。\n宋代画院花鸟画继承了五代的传统，并在此基础上有所创新，黄荃“勾勒填彩、旨趣浓艳”的富贵风格统治着画坛近百年。其画法先以极工细的线条勾出轮廓，然后敷以重彩，层层晕染，往往掩盖住黑线，展现出一种极为工稳细腻和华贵富丽的风韵。",[23,106,24,25,83,27,7,3308,68],"蔷薇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd668d914b96b091a563b3ef5d0520878.jpg","纵26.2厘米，横25.8厘米",[202,786,112],{"id":3313,"slug":3314,"title":611,"dynasty":195,"author":196,"museum":45,"description":3315,"tags":3316,"thumbUrl":3317,"material":109,"size":52,"collection":35,"collections":3318,"showCount":3319,"zanCount":678,"manualWeight":39,"mainColor":40},218556,"mu-dan-tu-yi-ming-218556","这幅牡丹图尽显宋人工笔花鸟的精妙意趣。花瓣层叠繁复，却以细腻线条勾勒得一丝不苟，粉白渐变间晕染出娇嫩柔润之态，花心处细微纹理亦清晰可见，足见画师对物象观察之深。叶片以浓淡不一的翠绿设色，叶脉勾勒精准，翻转向背间尽显生机，与花瓣的柔美形成刚柔呼应。古朴绢色背景更衬出牡丹的雍容雅致，无过多修饰却意境悠远。宋画重“格物”，此作于写实中蕴含诗意，将牡丹的华贵与清逸完美融合，虽为佚名之作，却不失宋代院体画的严谨与神韵，是宋代花鸟小品中的上乘之作。",[23,83,27,7,107,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59cec98d7c1e9e0929c01e3c92e11d37.jpg",[35],190,{"id":3321,"slug":3322,"title":3323,"dynasty":195,"author":196,"museum":135,"description":3324,"tags":3325,"thumbUrl":3328,"material":52,"size":52,"collection":52,"collections":3329,"showCount":3330,"zanCount":5,"manualWeight":39,"mainColor":159},227842,"ye-he-hua-tu-ye-yi-ming-227842","夜合花图页","《夜合花图》，宋， 佚名，绢本，设色，纵2.9 横25.4厘米 上海博物馆藏 图中夜合花一根两枝，右枝花朵含苞未放，左枝花朵半开半合，洁白如玉，清雅绝尘。\n花朵轻勾淡染，用白粉点画花蕊，用四绿加少量淡墨分染花拖，花叶先以细笔勾勒轮廓和筋脉，后用汁绿与花青染之，最后用焦茶描绘其杆。\n绿叶穿插向背，白花绿叶，色泽淡雅，使人赏心悦目。",[23,106,24,25,83,27,3326,7,3327,68],"册页","夜合花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe31ecf760311e803b651aa46969280b1.jpg",[],189,{"id":3332,"slug":3333,"title":3334,"dynasty":60,"author":196,"museum":45,"description":3335,"tags":3336,"thumbUrl":3337,"material":109,"size":52,"collection":35,"collections":3338,"showCount":3330,"zanCount":800,"manualWeight":39,"mainColor":159},216749,"hai-tang-fei-qin-tu-yi-ming-216749","海棠飞禽图","海棠花是一种常见的中国花卉，通常被认为是爱情、美好愿望和幸福的象征。这幅画的画风精细，笔法优美，极富艺术魅力。",[106,24,25,83,27,7,662,167,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F131241bc6542bdd047d08b2abfb54967.jpg",[35],{"id":3340,"slug":3341,"title":1700,"dynasty":18,"author":3342,"museum":135,"description":3343,"tags":3344,"thumbUrl":3345,"material":275,"size":276,"collection":52,"collections":3346,"showCount":3347,"zanCount":5,"manualWeight":39,"mainColor":40},235426,"he-hua-zhou-lu-hui-235426","陆恢","陆恢（1851—1920），清末民初著名画家。原名友恢，一名友奎，字廉夫，号狷叟，一字狷盫，自号破佛盫主人，原籍江苏吴江，居吴县（今江苏苏州）。",[24,25,152,27,64,7,49,50,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24e20f7c46d85cc1273ebbc0538eb92b.jpg",[],187,{"id":3349,"slug":3350,"title":3351,"dynasty":195,"author":1242,"museum":135,"description":3352,"tags":3353,"thumbUrl":3354,"material":109,"size":3355,"collection":35,"collections":3356,"showCount":3347,"zanCount":678,"manualWeight":39,"mainColor":159},218538,"ming-hua-yan-se-tu-li-di-218538","名花艳色图","绢本底色如陈年素笺，托出一朵淡粉牡丹。花瓣层叠若堆雪，边缘晕染浅绯，似被晨雾轻笼；花心处颜色稍浓，藏着几分含蓄的艳。墨叶以中锋勾筋，浓淡相间的绿里，叶脉如丝缕清晰，翻卷姿态带着自然野趣。宋人的笔触不疾不徐，于细腻中见真意：没有浓妆艳抹，却让花的柔润与叶的苍劲相映成趣。整幅画如无声的诗，将名花的雍容与雅致凝于方寸，静立眼前，似能嗅到穿越千年的清淡花香，沉于这片刻古典诗意里。",[23,24,25,106,83,27,7,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73b4d04bd069c3b826fdbe71d4b8e325.jpg","30x34",[35],{"id":3358,"slug":3359,"title":3360,"dynasty":18,"author":530,"museum":135,"description":1352,"tags":3361,"thumbUrl":3363,"material":275,"size":276,"collection":52,"collections":3364,"showCount":3365,"zanCount":1398,"manualWeight":39,"mainColor":40},288173,"hu-shi-ju-qin-tu-li-zhou-zhu-da-288173","湖石聚禽图立轴",[23,106,24,25,152,64,7,167,186,31,3362,68],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9c97905d89105cc7edd24a3f909cf39.jpg",[],186,{"id":3367,"slug":3368,"title":3369,"dynasty":18,"author":530,"museum":135,"description":3370,"tags":3371,"thumbUrl":3372,"material":52,"size":52,"collection":35,"collections":3373,"showCount":3365,"zanCount":39,"manualWeight":39,"mainColor":40},237958,"qi-niao-tu-ye-zhu-da-237958","棲鸟图页","八大山人的花鸟画深受林良、陈淳、徐谓等大家的影响，他的作品特别强调缘物寄情，因而个性极为鲜明。这种种孤僻、冷漠、悲愤、反常、怪异的特征，当然是他奇特艺术风格的具体化。而这种表象下折射出来的，正是画家一种有别于常人的人格心理。",[24,64,7,26,399,65,452],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F718ef12d519eafc2f08711a7fa23271f.jpg",[35,734],{"id":3375,"slug":3376,"title":3377,"dynasty":18,"author":1475,"museum":135,"description":3378,"tags":3379,"thumbUrl":3383,"material":52,"size":52,"collection":52,"collections":3384,"showCount":3365,"zanCount":39,"manualWeight":39,"mainColor":40},224380,"hua-hui-chong-cao-ju-lian-224380","花卉虫草","这套册页小品十二帧各成天地，明丽柔润的设色晕开草木清辉。花卉姿态各异，或是垂枝含露、或是灼灼盛放，以太湖石为衬，衬出花木的绰约清姿。\n\n笔墨兼具工细与写意，虫草点缀其间，翅脉纹路纤毫毕现，似将振翅而起，把四季花木的生机封藏尺幅间。不做繁复铺陈，尽显细腻写实的画韵，一花一叶皆藏灵趣，浅淡花香仿佛随画漫出，虫翼轻振的细碎声响似在耳边，将庭院闲趣绘成隽永诗意，把山野小景晕染成清逸雅致的东方意趣。",[23,24,25,106,3326,27,7,29,3380,3381,83,399,3382],"虫草","太湖石","清逸雅致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4ccd78c842f80eedfe55c2cef019efe.jpg",[],{"id":3386,"slug":3387,"title":903,"dynasty":60,"author":1681,"museum":368,"description":3388,"tags":3389,"thumbUrl":3392,"material":109,"size":3393,"collection":35,"collections":3394,"showCount":3395,"zanCount":1398,"manualWeight":39,"mainColor":159},216730,"hua-niao-tu-lv-ji-216730","吕纪明朝画家，也被称为吕笃简。他是著名的花鸟画家，并且在当时期间担任过朝廷画家。吕纪的花鸟画精细细腻，注重画面的组合构图，对后世的花鸟画产生了很大的影响。他的著名作品有《花鸟图》和《四季花卉图》。",[23,24,83,27,7,3006,451,167,3390,3391,168],"水面","花枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc9c824b65ade19907e1c12b75fb4b1.jpg","200x102.8cm",[35],185,{"id":3397,"slug":3398,"title":3399,"dynasty":18,"author":730,"museum":306,"description":3400,"tags":3401,"thumbUrl":3402,"material":2893,"size":3403,"collection":35,"collections":3404,"showCount":3405,"zanCount":39,"manualWeight":39,"mainColor":40},233867,"mei-hua-ce-jin-nong-233867","梅花册","金农（1687—1764），字寿门，号冬心，又号稽留山民、曲江外史、昔耶居士等，浙江仁和（杭州）人。金农一生用过很多号、别号，印记也很多，据秦岭云考证，金农号有：冬心、司农、吉金、竹泉、古泉、老丁、耻春亭翁、寿道士、稽留山民、曲江外史、昔耶居士、莲身居士、龙梭仙客、金二十六郎、仙坛扫花人、金牛湖上诗老、百二砚田富翁、心出家庵粥饭僧、金牛、金吉金（苏伐罗吉苏伐罗）、枯梅庵主、龙梭仙馆旧客、荆蛮民、小善庵主、老金、惜花人、之江钓师、三朝老民、十九松长者、朱阳馆主、纸裘老生。所钤印记有：寿、农、寿门、古泉、金农、竹泉金吉金、莲身居士、金农之印、金吉金之印、冬心先生、金老丁、生于丁卯、金农印信、金寿门氏、努力加餐饭、寿道士、明月入怀、乐此不疲、布衣雄世。某些字号、印章颇具生活气息，其晚年多用佛门别号。",[24,25,26,64,7,436],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbe7cac7b0e706ab10260032bfba2d34.jpg","25.4cm ×29.8cm",[35],184,{"id":3407,"slug":3408,"title":903,"dynasty":18,"author":1311,"museum":135,"description":3409,"tags":3410,"thumbUrl":3411,"material":3412,"size":3413,"collection":35,"collections":3414,"showCount":3405,"zanCount":509,"manualWeight":39,"mainColor":159},222662,"hua-niao-tu-ma-quan-222662","马荃（生卒年不详），字江香，江苏常熟人。清代女画家。马元驭之（1669—1722）女（一作马元驭孙女），逸妹。生活于康熙、乾隆年间，\n时与女画家恽冰齐名。\n龚克和妻。工花卉，妙得家法。其夫亦工书、画，偕游京师，以绘事给衣食，颇怡。夫亡归里，绸缠染翰，饮冰茹茶，而名益高，四方以缣素兼金求画者益聚。常蓄婢数人，悉令调铅杀粉。而琴川多贵游士女，皆来求授指法。时常州恽冰画以没骨名，而江香以勾染名，江南人谓之双绝。康熙三十五年（1696）作花卉草虫册十二页，乾隆四年（1739）作琳池草虫扇。马荃代表作品价位2008年行情在3—5万\u002F平尺，市场升值潜力较大，为很多书画收藏家所追捧。",[23,24,106,25,152,83,27,7,214,516,1910,186,455],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F061ce5762f0e4335685920a74b317b42.jpg","设色绢本","82cm 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物院。",[23,106,24,25,26,27,83,7,123,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F492d139f03f73b41512b3e28ecc1aab5.jpg",[],175,{"id":3558,"slug":3559,"title":3560,"dynasty":119,"author":120,"museum":45,"description":3561,"tags":3562,"thumbUrl":3564,"material":109,"size":52,"collection":35,"collections":3565,"showCount":3556,"zanCount":800,"manualWeight":39,"mainColor":159},219186,"fu-rong-yuan-yang-tu-qian-xuan-219186","芙蓉鸳鸯图","芙蓉枝蔓自右上垂落，花叶丰腴，白瓣晕染淡红，似含晨露。一对鸳鸯相倚岸汀，羽色层次分明，红喙翠翎与素白绒羽相映，姿态亲昵如诉温情。画面设色温润雅致，绢本底色衬出古雅意蕴，笔墨工细却不刻板，于静谧中藏生机，尽显自然之美与缱绻意趣。枝间花叶错落有致，岸畔草石点缀生姿，整体构图虚实相生，将禽鸟的亲昵与花木的清妍融于一体，传递出恬淡悠然的古典情韵。",[23,106,24,83,27,7,291,1110,186,66,3563],"元代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F226d4750da5198d9248ca7382ce9bb70.jpg",[35,112],{"id":3567,"slug":3568,"title":3569,"dynasty":195,"author":196,"museum":1230,"description":3570,"tags":3571,"thumbUrl":3573,"material":1595,"size":3574,"collection":52,"collections":3575,"showCount":3576,"zanCount":5,"manualWeight":39,"mainColor":40},223523,"li-hua-ying-wu-tu-yi-ming-223523","梨花鹦鹉图","画面上满是梨花，雪白的碎片，三种绿色，红顶红嘴鹦鹉站在树枝上，俯身闻着梨花的芬芳。 从技术上讲，梨花被涂成白色，茎是浅绿色； 鹦鹉是用每一根粗毛笔画出来的，丝绸蓬松，身体圆润，非常可爱！",[23,106,24,25,83,27,7,720,3572,68],"鹦鹉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58717acba13d2d5091e6b0c695bb5c0e.jpg","27.6x27.6cm",[],174,{"id":3578,"slug":3579,"title":3580,"dynasty":18,"author":3581,"museum":135,"description":3582,"tags":3583,"thumbUrl":3585,"material":52,"size":52,"collection":35,"collections":3586,"showCount":3587,"zanCount":1398,"manualWeight":39,"mainColor":40},237149,"he-hua-yan-zi-zhou-wang-zhen-237149","荷花燕子轴","王震","此作为大写意花鸟佳作，淡墨晕染荷叶，留白衬出白荷莹润雅洁。荷茎瘦劲挺拔，枯墨点苔尽显苍古意趣。燕子栖于茎杆之上，以浓淡笔墨晕染羽翼，侧目远眺灵动有神，静穆之中暗涌生机。\n\n下方浓墨绘叶，丹色花串垂落，冷暖对比提亮画面层次。左上角题字笔力苍浑朴拙，书画相映成趣，兼具海派写意的纵肆洒脱，亦不失文人水墨的清雅意韵，于极简构图里铺陈夏日荷塘清寂，留白淡墨中尽显通透灵秀，平淡间藏满生机雅趣。",[24,25,152,7,64,27,399,49,3584,50,358,227],"燕子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b37c204f1cdc5992283504ca234ed3c.jpg",[35,112],172,{"id":3589,"slug":3590,"title":3591,"dynasty":18,"author":164,"museum":135,"description":3592,"tags":3593,"thumbUrl":3594,"material":822,"size":3595,"collection":52,"collections":3596,"showCount":3587,"zanCount":800,"manualWeight":39,"mainColor":159},223160,"kong-que-yu-lan-mu-dan-tu-shen-quan-223160","孔雀玉兰牡丹图","沈铨（1682—1760）， 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代表画家之一。\n任薰作画题材广泛，对人物、山水、花卉、翎毛、走兽(马、羊等)无所不能，更擅长花鸟、人物。粗写意、细双勾。技法初学其兄谓长，后吸取陈老莲的传统技法。用笔沉着力。\n在构图上有其特长，在大小不同的画面上，创作出许多新颖、宽广、意境深远的作品，尤其适应扇面上的表现技法，能笔随意转，在极小的团扇、折扇画面上，开拓出广阔、妙趣盎然的意境。\n任薰作品在结构上比较严谨，很重视疏密虚实的主从关系，无论一人、一花、一鸟的主从关系都能巧心安排得体。平淡中亦能出奇，宁静中又能生动。画面上给人一种空灵明快之感。\n他的另一特点是工于着色，浓淡相宜，清新可爱，绝无柔媚习气。他尤长于使用重彩着色，能把对比鲜明的色彩调和统一起来，使画面上的景色更显壮丽，又能从鲜艳色彩中透出古朴的意趣。任薰人物画，线条遒劲圆韧。尤其晚年人物衣褶，运笔如同书法中行草，似有行云流水之感，形态多奇伟的身躯，出乎 寻常容貌，带有性格的神态，别出心匠。",[23,139,24,25,152,83,27,7,3572,226,168,67,631],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22ea923f5fc4a6a88156616b48b14abb.jpg","立轴 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},221337,"chi-tang-qiu-wan-tu-juan-quan-juan-zhao-ji-221337","池塘秋晚图卷全卷","该作品为粉笺本，粉笺新纸时，光洁亮丽，其上尚印有卷草纹图案，是极为珍贵的材质。纸面经过上粉处理，具有不吸水性，乍看之下，笔墨甚为质朴，斑剥古趣。徽宗款识：“天下一人”。",[23,24,25,82,83,627,64,7,167,49,355,1855,138,186,31,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e4573239b74f372ac19d707d1888ee0.jpg","全图33×237.8公分",[202,35,734],164,{"id":3776,"slug":3777,"title":3778,"dynasty":195,"author":196,"museum":3779,"description":3780,"tags":3781,"thumbUrl":3783,"material":109,"size":3784,"collection":35,"collections":3785,"showCount":3774,"zanCount":678,"manualWeight":39,"mainColor":40},216748,"jia-die-tu-ye-yi-ming-216748","蛱蝶图页","辛辛那提艺术博物馆","蛱蝶图页是一幅著名的宋朝绘画，被认为是宋朝早期艺术发展的重要代表作之一。这幅画是由佚名艺术家创作的，其名字尚不为人所知。\n\n蛱蝶图页描绘了一只蛱蝶飞舞的场景，画面上的蛱蝶美丽、优美，表现出轻盈、自然的感觉。画中的蛱蝶身体清晰可见，细腻地描绘了蛱蝶的身体结构和色彩。蛱蝶的翅膀上有精细的花纹，使得整幅画充满了生动的艺术气息。\n\n蛱蝶图页是宋朝绘画发展的一个里程碑，它体现了宋朝早期艺术家对自然界的观察和描绘能力的高超。这幅画也是宋朝艺术史上非常重要的一件作品，被认为是宋朝绘画艺术的重要代表作之一。",[23,106,24,25,661,3326,83,27,7,214,1593,3782,808],"草叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50bde642897008fa269f1fcefa22eeff.jpg","25.4x24.8cm",[35],{"id":3787,"slug":3788,"title":3057,"dynasty":195,"author":196,"museum":3789,"description":3790,"tags":3791,"thumbUrl":3792,"material":109,"size":3793,"collection":35,"collections":3794,"showCount":3774,"zanCount":1398,"manualWeight":39,"mainColor":159},216724,"zhu-que-tu-yi-ming-216724","德国国立民族博物馆","竹雀图是一幅中国宋朝时期的山水画。它的作者不详，因此被称作佚名。这幅画展现了一只竹雀坐在枯竹上，它仰望天空，看起来沉思，非常感人。背景是一片山林，山上有云雾，枯竹上有苔藓。这幅画浓烈的山水意境和出色的线条勾勒，使得它成为了一幅经典的中国画作品。",[23,106,24,25,661,83,27,7,185,2100,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a620d767f5903f90715fcce25b8448e.jpg","24.1x23.4cm",[35],{"id":3796,"slug":3797,"title":756,"dynasty":18,"author":19,"museum":135,"description":272,"tags":3798,"thumbUrl":3799,"material":275,"size":276,"collection":52,"collections":3800,"showCount":3801,"zanCount":5,"manualWeight":39,"mainColor":40},235684,"yun-shou-ping-hua-hui-ce-yun-shou-ping-235684",[24,25,26,27,7,107,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6930bde3108470cfd97757dcaf702f3.jpg",[],163,{"id":3803,"slug":3804,"title":3805,"dynasty":18,"author":381,"museum":251,"description":3806,"tags":3807,"thumbUrl":3808,"material":822,"size":3809,"collection":52,"collections":3810,"showCount":3801,"zanCount":39,"manualWeight":39,"mainColor":40},223237,"he-hua-yuan-yang-ren-yi-223237","荷花鸳鸯","虚谷在挽任伯年联中称誉：“笔无常法，别出新机，君艺称极也；天夺斯人，谁能继起，吾道其衰乎。\n”徐悲鸿则将任伯年“定之为仇十洲以后中国画家第一人”（《任伯年评传》），任伯年在近代绘画史上的杰出地位是举世公认的。他的画风新颖生动，风姿多彩，长于设色，于花鸟、人物、山水无所不能，无所不精。以个人成就而言，他的花鸟画最具特色，但从历史角度来衡量，则他的人物画成就更大，这是因为在清末人物画普遍弱化的历史环境中，任伯年显得尤为突出。\n任伯年精于写像，是一位杰出的肖像画家。他的人物画早年师法萧云从、陈洪绶、费晓楼等人，造型夸张奇伟，勾勒灵动，形神毕肖。他的山水画创作不多，但以笔法见长，自具特色。他的花鸟画更具创造性，富有巧趣。他早年以工笔花鸟见长，仿北宋人画法，纯以焦墨钩骨，赋色肥厚，近陈老莲一派。后来吸收了恽寿平的没骨画法以及陈淳、徐渭的写意画法和西洋绘画的技巧，将数者融合为一而又有所变化，形成了兼工带写、明快温馨、简逸放纵的笔调，开辟了花鸟画的新天地，对后世产生了巨大的影响。虽然由于任伯年出身贫寒，读书不多，故与吴昌硕、齐白石相比，画作中蕴涵的文思较乏，缺少一丝画外余音，但就笔法、墨法、结构、色彩而言，任画技巧更为丰富，足资后世借鉴。\n此帧任伯年的《荷花鸳鸯图》写鸳鸯游戏于荷田之中，荷叶硕大如盆，素雅的白莲花散发着幽香。画面以青绿色调为主，清新可人。因系画于熟绢之上，又以用水见长，故色彩交融明快自然，富于生气。笔与笔之间的留白，起到了透气和清醒视觉的作用，斑驳迷离，实非功力深至不能轻达此境。鸳鸯的造型古奥生动，运笔凌利，细节处收拾稳当，简练传神，均是彰显出任伯年独特而高超的绘画技艺之处。",[23,24,25,106,152,27,64,7,49,50,1110,603],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F354cad584cbfaada75e733228bef455f.jpg","纵138厘米，横42厘米",[],{"id":3812,"slug":3813,"title":3814,"dynasty":195,"author":1413,"museum":1135,"description":3815,"tags":3816,"thumbUrl":3817,"material":845,"size":3818,"collection":202,"collections":3819,"showCount":3801,"zanCount":800,"manualWeight":39,"mainColor":40},221328,"wu-se-ying-wu-tu-zhao-ji-221328","五色鹦鹉图","《五色鹦鹉图》是北宋时期宋徽宗 创作的一幅绢本设色画，现收藏于美国波士顿美术馆。\n此图为横卷，画中一只鹦鹉立于一斜枝上，鹦鹉得意自适，似与人语，俏姿可掬。\n正是春光明媚之时，杏枝抽条，白花朵朵，欣欣日上。\n此图是一幅写实性的小品，可以看出徽宗“妙体众形”的深厚功力。\n此卷既有图，又有题句和跋，为赵佶的三绝珍品。\n卷首有清宋荦隶书题款，前段为宋徽宗咏鹦鹉诗一首并序：五色鹦鹉来自岭表，养之禁御，驯服可爱，飞鸣自适，往来于苑囿间。\n方中春，繁杏遍开，翔翥其上，雅诧容与，自有一种态度。\n纵目观之，宛胜图画，因赋是诗焉。\n天产乾犀此异禽，遐陬来贡九重深。\n体全五色非凡质，惠吐多言更好音。\n飞翥似怜毛羽贵，徘徊如饱稻粱心。\n缃膺绀趾诚端雅，为赋新篇步武吟。\n御制御画并书（仅存“制”、“并” 二字及画押）。\n后半部分则画一红颈鹦鹉立千杏枝之上。\n杏花正在盛开，饱满的杏花在枝头次第开放，热烈浓郁，营造出春意盎然、欢快喜悦的精神氛围。\n画卷上钤有元文宗“天历之宝”印，清初戴明说、宋荦藏印及清乾降、嘉庆内府鉴藏印。\n赵佶不是一位好皇帝，然而当时的政治制度以及他统治者的政治地位极大地影响了艺术的发展。\n他痴迷于艺术，并且把自己的爱好推广到社会中，造成一种社会文化现象，使北宋文化在宋徽宗时期创造了一段辉煌，尤其是工笔花鸟画的发展在宋代达到了古代花鸟画历史的顶峰，并开创了花鸟画创作的新时代，对后世的花鸟画产生了深远的影响，《五色鹦鹉图》就是一幅典型的花鸟画。\n据说，宋徽宗在御花园内见一只贡自岭表的别致鹦鹉飞鸣于杏枝间，姿态煞是可爱，遂御笔彩绘，复作诗并序，画了《五色鹦鹉图》。\n在充满了道教神仙思想的徽宗看来，描绘祥瑞之物的工笔花鸟画不但是艺术创作，还是祈祷国家和民族福祉的独特形式，也是治理国家的一种手段。\n他要在大自然中发现那些预示国家运兆的祥禽瑞草，并把它们图绘下来。\n画中的五色鹦鹉的毛色恰好与社稷坛供奉的五色土相近，“五色”为青黄赤白黑，象征着五个方位，亦象征天下。\n宋徽宗正是想用“五色”向诸朝臣表明此系“天产”、“异禽、“非凡质”、乃“样瑞”也。\n宋徽宗羡慕此鸟的“飞鸣自适”，实际是“自由”，这是这位帝王想得都得不到的。\n全枝式构图是花鸟画常见的一种构图方式，即画幅的主要部位摆布几枝全株花木，配以禽鸟或草虫，或烘云托月为其背景。\n花木枝干参差交错，叶片层叠枞深，疏密有致。\n花木下部不露脚根，也不用画山石土坡，使画面的主体物更加突出，重点更为集中。\n《五色鹦鹉图》就是全枝式构图的一个典型代表，画中色彩斑斓的鹦鹉栖息在杏花枝头，营造出一种宁静欢愉的境界。\n这张画是一幅重彩，重彩画画成浓重是方便的，但画得很清灵、透明是不容易的。\n这张画的颜色设计很调和，技巧上厚薄把握得很好。\n在墨的底子上用石绿，因石绿为矿物质颜料，画上容易出现粉气，但它没有这种粉气。\n指鹦鹉背部这一块很淡很薄，笔法显得很生动。\n树枝的勾线很结实，用笔富有变化。\n下笔较重，微露钉头，从上往下勾，如果笔法一样是很死板的，但太不相类又不能成为贯通的一枝，而此画树杆中的钉子头有些明显，有些不明显，很随意，有一种自然变化之妙在其中。\n此图杏树枝条多以淡墨勾勒轮廓，再以极细微多尖锐墨点点苔，枝头嫩绿的叶芽隐隐透出，突出了春天枝条初发生机的柔韧感和树枝坚硬的质地感，枝条安排疏密有致，详略得当。\n杏花或侧或卧，或正或背，或大或小，或蓓蕾初成，或繁华正开，或团簇，或散落，极尽姿态。\n画家先以淡墨勾出花瓣、花蕊轮廓，然后再以白粉层层渲染，花萼则略加勾勒，然后以浅绿敷色，层层包裹，更加映衬突出杏花的繁茂、饱满和热烈，花气鲜嫩浓郁，姿态各异，若从绢上跃然生出。\n鹦鹉为全幅刻画的重点所在，亦是画家着重关注的对象，画中鹦鹉眼睛大而有神，正炯炯注视眼前繁茂的杏花，似乎为欢快的春天气氛所吸引，呈现出欢愉的表情。\n眼睛以生漆点之，呼之欲活，确实倍见精彩。\n鹦鹉羽毛呈五色，黑、灰、红、绿，鲜丽耀日，头呈黑灰色，脖颈呈深红色，翅羽、尾羽呈浅绿色，鲜艳明快的羽毛呈亮色调，为画面增添了温暖的基调。\n鹦鹉露出一足紧紧抓住杏枝，另一足微露脚爪，当为俯视鹦鹉角度所看到的情形，更突出了鹦鹉站立枝头的别样姿态。\n鹦鹉足角质鳞片也悄然画出，不同于羽毛及所立杏枝的质感，更见画家观察的精细，让人不由得驻足留意观赏。\n此画曾著录于《宋中兴馆阁储藏图画记》、吴升《大观录》、《石渠宝笈初编》（卷二十四）诸书中，为《宣和睿览集》中的存世画迹。\n此卷在元代经文宗收藏，明末清初为戴名世所收，又经宋荦收藏，乾隆时收入内府。\n民国初年为山本悌二郎所收，流入日本，著于《澄怀堂书画目录》中。\n山本卒后，他所收藏的《杏花鹦鹉图》不久即流入美国，为波士顿美术馆所收。\n212年11月2日至21年1月日，上海博物馆开展了“翰墨荟萃—美国收藏中国五代宋元书画珍品展”，《五色鹦鹉图》在这次展览中展出。\n217年7月2日，日本东京都美术馆开展了“波士顿美术馆至宝展”，《五色鹦鹉图》在这次展览中展出。\n赵佶（182－115），即宋徽宗，北宋皇帝。\n神宗第十一子，哲宗弟，在位25年。\n即位前历任镇宁军节度使，平江、镇江军节度使等职，先后封宁国公、遂宁郡王、端王。\n崇信道教，自号“教主道君皇帝”。\n南宋绍兴五年（115年），死于五国城（今黑龙江依兰）。\n其书法、绘画颇有造诣，书法自成一家，称“瘦金体”，兼及狂草。\n绘画重写生，尤长花鸟画，存世有《芙蓉锦鸡图》、《池塘秋晚图》。\n并能诗词，著有《宣和宫词》卷，已佚。",[23,106,24,25,82,83,27,7,436,3572,31,569,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250806d5c1a5a740cd7a94908d9dccc4.jpg","纵：53.3，横：125.1厘米",[202,35,112],{"id":3821,"slug":3822,"title":44,"dynasty":18,"author":317,"museum":135,"description":3823,"tags":3824,"thumbUrl":3825,"material":275,"size":276,"collection":35,"collections":3826,"showCount":3827,"zanCount":800,"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”。",[24,25,26,83,27,7,29,226,425],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5565de81860414a56e206c890dc9266.jpg",[35,112],162,{"id":3829,"slug":3830,"title":3831,"dynasty":18,"author":19,"museum":251,"description":3832,"tags":3833,"thumbUrl":3836,"material":412,"size":3837,"collection":52,"collections":3838,"showCount":3827,"zanCount":1398,"manualWeight":39,"mainColor":40},233791,"liao-ting-yu-zao-tu-zhou-yun-shou-ping-233791","蓼汀鱼藻图轴","该幅是恽氏触景生情的写生之作。构图简洁无远、中、近景之分，仅绘青山园池的一隅：蓼花、翠竹与湖石构筑出典雅平和的意境，数尾游鱼惬意的神态又为全幅平添了几分生机和意趣。恽寿平在《瓯香馆集补遗画跋》曾言：“以古人为师犹未能臻妙，必进而师抚造化，庶几极妍尽态而为大雅之宗。” 此图便体现了他这种在传统的绘画之外，更注重师法自然的美学思想。在表现技法上，恽寿平采用的是他出古入新创制的“没骨”画风，即不用笔勾勒物象的轮廓线，而全以色彩点染而成。竹、芦、蓼叶及水藻施以浓淡不同的花青、淡赭、浅红等，每片叶均一笔撇出，缺少轮廓线的束缚，物象更具摇曳多姿的生动性。湖石以淡花青为主调，施用大量的水分晕染，没有干笔勾线，枯笔皴擦，湖石固然失去了石体坚硬的质感，但其玲珑剔透的秀润之美倍增。",[24,27,83,7,186,357,3834,138,3835],"蓼草","藻类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a9bc3daeb5afc87149b9699423ade1b.jpg","纵135厘米，横62.6厘米",[],{"id":3840,"slug":3841,"title":3842,"dynasty":60,"author":1681,"museum":1146,"description":3843,"tags":3844,"thumbUrl":3845,"material":109,"size":3846,"collection":35,"collections":3847,"showCount":3827,"zanCount":39,"manualWeight":39,"mainColor":159},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。",[23,24,106,83,27,3460,1110,167,7,29,1951,3390,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0191004ce3982d50bfff75380fa7ddd.jpg","185.7x108.5cm",[35],{"id":3849,"slug":3850,"title":3851,"dynasty":195,"author":3852,"museum":79,"description":3853,"tags":3854,"thumbUrl":3855,"material":109,"size":52,"collection":35,"collections":3856,"showCount":3857,"zanCount":593,"manualWeight":39,"mainColor":159},219722,"hua-die-tu-li-zhong-xuan-219722","花蝶图","李仲宣","此作取景雅致，草木错落排布，野趣盎然。挺秀的秋菊缀着金黄花盘，柔润白花轻绽，带露红浆果垂于青绿叶间，茎叶舒展的姿态写实入微，设色古雅沉稳，晕染细腻尽显草木鲜活生机。\n\n翩跹蝶虫刻画精细，翅脉纹理纤毫毕现，振翅姿态灵动逼真，仿佛携着花间微风扑面而来。整体构图疏密相宜，留白得当，以工笔技法写形传神，既有精致不苟的写实功力，又暗藏平淡天真的诗意，将秋日郊野一隅的闲适意趣定格，尽显创作者观照自然的细腻心境。",[24,106,83,27,7,214,226,517],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65cb4af11c29f63da0e9192564f9ae77.jpg",[35],161,{"id":3859,"slug":3860,"title":3861,"dynasty":18,"author":530,"museum":135,"description":1352,"tags":3862,"thumbUrl":3863,"material":275,"size":276,"collection":52,"collections":3864,"showCount":3865,"zanCount":39,"manualWeight":39,"mainColor":40},288299,"ba-jiao-zhu-shi-tu-zhu-da-288299","芭蕉竹石图",[23,106,24,25,152,64,7,384,185,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e433e949bf49ac3086bddbbf9d0c776.jpg",[],160,{"id":3867,"slug":3868,"title":3057,"dynasty":119,"author":3663,"museum":1424,"description":3869,"tags":3870,"thumbUrl":3871,"material":109,"size":3872,"collection":35,"collections":3873,"showCount":3865,"zanCount":1398,"manualWeight":39,"mainColor":159},219077,"zhu-que-tu-wang-yuan-219077","三月，万物复苏，荆棘的枯叶和果实尚未脱落，杂草和绿竹已逐渐变绿，四只羽毛蓬松、身体圆润的鹌鹑在一起玩耍、进食。",[24,25,106,3563,152,83,27,7,185,65,215,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc32bae4473f9f585646637c2c7a6b60d.jpg","53x38cm",[35],{"id":3875,"slug":3876,"title":3877,"dynasty":195,"author":2152,"museum":3878,"description":3879,"tags":3880,"thumbUrl":3881,"material":534,"size":3882,"collection":35,"collections":3883,"showCount":3865,"zanCount":5,"manualWeight":39,"mainColor":40},216941,"fei-cui-ji-ling-tu-mu-xi-216941","翡翠鹡鸰图","日本MOA美术馆","翡翠鹡鸰图是宋朝画家牧溪的一幅著名作品。这幅画的主题是一只鹡鸰坐在一棵松树上，周围是密密麻麻的松枝和松针。画面上方是一片蓝天和白云。整幅画表现了牧溪独特的写实主义画风，细腻的线条和精确的造型使得画面栩栩如生。翡翠鹡鸰图被认为是牧溪的代表作之一，也是宋朝画风的典范。",[23,24,64,7,68,399,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e5813acf30d16cb9177b3dd4d6e6c3b.jpg","79x31cm",[35],{"id":3885,"slug":3886,"title":502,"dynasty":60,"author":830,"museum":20,"description":831,"tags":3887,"thumbUrl":3888,"material":534,"size":834,"collection":52,"collections":3889,"showCount":3865,"zanCount":39,"manualWeight":39,"mainColor":40},214645,"hua-hui-ce-2-chen-chun-214645",[24,25,26,64,399,7,1212,452,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b7b87db533064cfbc2864f3c0073898.jpg",[],{"id":3891,"slug":3892,"title":3893,"dynasty":18,"author":530,"museum":135,"description":3894,"tags":3895,"thumbUrl":3897,"material":275,"size":276,"collection":52,"collections":3898,"showCount":3899,"zanCount":39,"manualWeight":39,"mainColor":40},288133,"gu-mu-shuang-ying-tu-zhu-da-288133","古木双鹰图","前一时期题款中常见的“八大山人画”的“画”字，此时已经改为“写”字，这是画家后期典型的写法，而双鹰也是晚期常见的绘画题材。作为画面主体的双鹰憩息于盘石之上，一瑟索凝伫，一神情如铸，外形与神情均十分到位，笔墨造型上几乎无懈可击。不过与先贤林良有所不同的是，画家似乎并不仅仅着意于对禽鸟状貌的真实再现，作为画家笔下的一个艺术符号，它们更多传达的是孤傲荒寒的心灵感悟。画面背景古木寒槎，虬干疏枝，树身用劲笔复笔，益见沧桑枯寂之感。下方盘石内方外圆，危如累卵，益增险仄之势。画家借助古木、怪石这些元代大师们常绘的主题，辅以静默凝重的禽鸟，暗示出生命的枯涸风蚀，苛刻寂寥，笔墨极简而意境丰满，元气充溢，体现了凝重、冷峻、朗润、含蓄、静谧的艺术特征。",[23,24,106,64,7,152,2227,3896,186,68],"古木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8855abe2ec0d96961f6c1c6e272c49d6.jpg",[],159,{"id":3901,"slug":3902,"title":3903,"dynasty":18,"author":237,"museum":79,"description":238,"tags":3904,"thumbUrl":3905,"material":33,"size":52,"collection":52,"collections":3906,"showCount":3899,"zanCount":39,"manualWeight":39,"mainColor":40},214856,"xie-sheng-ce-8-hua-yan-214856","写生册-8",[24,25,26,27,83,7,65,355,467,1822],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1f47f6cc86c0d02af35246389a450d2.jpg",[],{"id":3908,"slug":3909,"title":3910,"dynasty":18,"author":1209,"museum":251,"description":3911,"tags":3912,"thumbUrl":3913,"material":3914,"size":3915,"collection":52,"collections":3916,"showCount":3917,"zanCount":1398,"manualWeight":39,"mainColor":40},233723,"mu-dan-shui-xian-tu-wu-chang-shuo-233723","牡丹水仙图","图中牡丹以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满丝，钥匙空，露出荷花； 荷花自然展开，片片白红相间，娇艳欲滴，犹如荷花的芬芳。 这张图强调颜色，勾勒出图案，是素描笔画的一个很好的例子。",[23,106,24,25,83,27,7,686,254,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffed81165b01055d89197d62fd13fc09c.jpg","19.1cm×26.5cm",[],{"id":4050,"slug":4051,"title":2880,"dynasty":60,"author":1864,"museum":135,"description":4052,"tags":4053,"thumbUrl":4055,"material":275,"size":276,"collection":52,"collections":4056,"showCount":4057,"zanCount":5,"manualWeight":39,"mainColor":40},290309,"sui-chao-tu-zhou-lu-zhi-290309","陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因先世由汴徙居吴之包山梅梁里，遂自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[106,24,25,152,27,7,436,518,107,686,31,68,4054],"日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5facffa84a62716f2f574fdad24943d6.jpg",[],152,{"id":4059,"slug":4060,"title":541,"dynasty":18,"author":19,"museum":135,"description":542,"tags":4061,"thumbUrl":4062,"material":52,"size":52,"collection":52,"collections":4063,"showCount":4064,"zanCount":678,"manualWeight":39,"mainColor":40},233907,"hua-hui-shan-shui-ce-yun-shou-ping-233907",[106,24,25,26,27,28,83,7,289,227,228,358,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F141cf9f332104177044cc00b6174e0b6.jpg",[],151,{"id":4066,"slug":4067,"title":2540,"dynasty":18,"author":1209,"museum":251,"description":4068,"tags":4069,"thumbUrl":4070,"material":412,"size":4071,"collection":52,"collections":4072,"showCount":4064,"zanCount":800,"manualWeight":39,"mainColor":40},233735,"he-hua-tu-zhou-wu-chang-shuo-233735","图绘荷塘小景。荷叶以泼墨法绘出，墨分五彩，浓淡相宜；荷花以胭脂加水晕染，得娇艳欲滴之貌。构图盈满，层次鲜明，画风新奇。",[106,24,64,27,152,399,7,467,49,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18450c962cc4dc8033a867f98dea23ce.jpg","纵163.4厘米，横47.5厘米",[],{"id":4074,"slug":4075,"title":4076,"dynasty":148,"author":1929,"museum":79,"description":4077,"tags":4078,"thumbUrl":4079,"material":96,"size":4080,"collection":35,"collections":4081,"showCount":4064,"zanCount":800,"manualWeight":39,"mainColor":4082},221151,"shan-zhe-ji-que-tu-huang-ju-cai-221151","山鹧棘雀图","山鹧棘雀图是北宋花鸟画家黄居寀所创作的一幅设色画，现藏于台北故宫博物院。此图描写晚秋时节的溪边小景。近景的溪边几块石头显得突出，整个景色显得荒寒萧疏，但飞鸣、栖息于荆刺丛上的几只雀鸟，则为画面增添了不少生机和活跃的气氛。",[23,106,24,83,27,7,167,1841,186,1822,455,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b5a20f43ca35824f3daa158e61bf297.jpg","纵97厘米，横53.6厘米",[35,112],"37474F",{"id":4084,"slug":4085,"title":4086,"dynasty":60,"author":4087,"museum":45,"description":4088,"tags":4089,"thumbUrl":4092,"material":33,"size":52,"collection":786,"collections":4093,"showCount":4094,"zanCount":39,"manualWeight":39,"mainColor":40},216324,"han-xi-meng-xiu-song-yuan-ming-ji-ce-bian-dou-qing-ting-tu-han-xi-meng-216324","韩希孟绣宋元名迹册·扁豆蜻蜓图","韩希孟","针丝摹宋元清韵，绣线藏自然生机。藤蔓婉转牵绕，叶片青绿层次晕染，脉络清晰可触；淡蓝小花缀枝，豆荚饱满似含晨露，嫩黄浅绿间漾着鲜活。两只蜻蜓停落藤蔓，翅脉细如游丝，羽翼薄透若纱，身纹斑斓细腻，姿态轻盈灵动，仿佛振翅欲飞。绣艺疏密得宜，色彩雅淡天成，将夏日庭院的清寂与鲜活凝于方寸，经纬间藏纳草木情致，尽显闺阁绣工的精工巧思与诗意才情。",[4090,26,27,7,4091,292,66,631,31],"刺绣","扁豆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e24cbd413857474856d33165f232536.jpg",[786,35],150,{"id":4096,"slug":4097,"title":4098,"dynasty":18,"author":19,"museum":135,"description":272,"tags":4099,"thumbUrl":4101,"material":275,"size":276,"collection":52,"collections":4102,"showCount":4103,"zanCount":800,"manualWeight":39,"mainColor":159},290523,"yu-zao-tu-zhou-yun-shou-ping-290523","鱼藻图轴",[106,24,25,152,27,83,7,357,138,4100,48],"浮萍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F748fd697006adc0f65ec737a5e5f60cf.jpg",[],149,{"id":4105,"slug":4106,"title":1310,"dynasty":18,"author":1311,"museum":135,"description":4107,"tags":4108,"thumbUrl":4109,"material":52,"size":52,"collection":35,"collections":4110,"showCount":4103,"zanCount":800,"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。",[23,106,24,25,82,27,83,7,214,29,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3906603e4a8bf2dc062465a3550f3584.jpg",[35],{"id":4112,"slug":4113,"title":4114,"dynasty":18,"author":853,"museum":135,"description":4115,"tags":4116,"thumbUrl":4117,"material":275,"size":276,"collection":52,"collections":4118,"showCount":4119,"zanCount":1398,"manualWeight":39,"mainColor":40},235132,"tao-hua-tu-zhou-zou-yi-gui-235132","桃花图轴","“丙戌”是清乾隆三十一年（1766年），邹一桂时年79岁。图绘在月季的衬托下斜入画面的桃树。全图笔法轻快疏秀，设色淡雅清丽，花之媚，叶之柔，充分表现了桃树的独特魅力。作者不刻意求工、求似，唯求自然天趣，揭示出平淡超逸的审美意趣，不仅表现出春回大地桃花含烟带雾的诗意，而且具有富贵长春的吉祥寓意。",[24,106,152,27,83,7,123,107,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdadd8bce962dd2da11a1ab2141bebd95.jpg",[],148,{"id":4121,"slug":4122,"title":4123,"dynasty":60,"author":196,"museum":135,"description":4124,"tags":4125,"thumbUrl":4126,"material":52,"size":52,"collection":52,"collections":4127,"showCount":4119,"zanCount":593,"manualWeight":39,"mainColor":159},234656,"ming-ren-he-hua-tu-shan-ce-yi-ming-234656","明人荷花图扇册","扇面画的历史源流，据张彦远《历代名画记》记载，三国时，曹操就有请杨修为其画扇的故事。到了唐代画扇之风更为盛行，当时的扇子还是圆形的，故称团扇。宋代宫廷画家更是画扇成风，且留下扇面画也很多，扇子的形制出现了芭蕉形的扇子。集书法、绘画于一扇，则始于明代，这是因为折扇形式的出现。国人历来都有这种习性，一件实用品总要给它艺术化，扇面画就是这样经过明清书画家的匠心经营，从而逐步确定了其作为一种独特的艺术品种而广泛普及、流传下来，继而也逐步形成了扇面画独立的审美体系。及至清代、民国，扇面画都是书画家乐于染翰和文人雅士乐于把玩、收藏的艺术品。",[24,25,661,27,83,7,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e90a226e32a8455678335f042760aa.jpg",[],{"id":4129,"slug":4130,"title":2016,"dynasty":18,"author":3195,"museum":4131,"description":4132,"tags":4133,"thumbUrl":4134,"material":4135,"size":4136,"collection":52,"collections":4137,"showCount":4119,"zanCount":1398,"manualWeight":39,"mainColor":40},231349,"sui-chao-qing-gong-tu-zhao-zhi-qian-231349","荣宝斋","岁朝图是中国传统绘画的重要题材之一。岁朝指农历元旦，历代画家特别是文人画家都喜欢在这一天绘制《岁朝清供图》，作为新年伊始的开笔之作。据考证，绘制岁朝图的传统源自于宋代宫廷，从宋徽宗赵佶治下特别流行，主要描绘冬季花卉，如腊梅、松柏、水仙等富有吉祥寓意的花草，一并搭配冬天不易看到的花卉、草木、果实等，意味着春天即将来临，以增加节日的祥和气氛，正如此作题款所云：“富贵昌宜吉祥如意，岁朝清供也。”这其中寄托着古人对于未来一年的美好祝愿。此类岁朝图一般采取细笔写生画法，形象描绘逼真。历代画家多有描绘，在清代宫廷中更为流行，像郎世宁、陈书这样的清宫御用画家都画过类似题材。\n作为文人画家，岁朝清供这样的题材也为赵之谦所爱。此幅《岁朝清供图》即为海派大师赵之谦所作，通幅为长条型构图，描绘的草木花卉皆为案头清玩之物。画面上部描绘一高立的花架，花架上摆有一盆盛放的水仙，盆中亦有秀石与水仙相映成辉。花架下有蒲草、灵芝，寓意吉祥。画面下部绘有一圆型石盆，盆中有怒放的牡丹花。花木、盆架错落有致地安排在画面中。赵之谦将自身深厚的金石书法功底融入绘画，形成了他写意花卉的独特面貌。花架与石盆皆以带有篆籀笔意的用笔写出，廖廖数笔，笔简神完，大气十足，在花卉的描绘上颇重视细节，如牡丹花旁的绿草刚劲有力，细密有如针刺，蒲草则纷披，得其大意，可谓有粗有细、有收有放。用色上注重以色助墨，以墨醒色，花架与花盆以浓墨写出，更映衬出水仙的翠绿与牡丹的嫣红，设色俏丽鲜艳，画面效果虽强烈却不刺激。通篇予人春意融融、满室生香之感。\n从此幅《岁朝清供图》来看，赵之谦将清代两大花鸟画派，即恽寿平的没骨画法与扬州画派的写意画法相结合，并自出机杼，创造出新的风格。他在金石书法方面功力深厚，并将其入画，注重用色，在用色上讲究雅俗共赏，突破了古代文人画家所秉承的“夫画道之中，水墨为上”的原则。这些特点在海派大家吴昌硕那里得到了继承与进一步发挥。可以说，赵氏在写意花鸟画艺术上的拓展与推进，对近世花鸟画影响颇为深远，齐白石、陈师曾等北派巨匠同样受过他画作的影响。",[23,24,25,152,27,64,7,107,467,1212,186,686,68,1802],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bf07ea413035b2c66a5bfd228e15f97.jpg","设色纸本","135.5×30.5cm",[],{"id":4139,"slug":4140,"title":4141,"dynasty":18,"author":1209,"museum":135,"description":4142,"tags":4143,"thumbUrl":4144,"material":412,"size":4145,"collection":35,"collections":4146,"showCount":4119,"zanCount":678,"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。",[23,24,152,7,399,27,107,228,215,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedac561ff78a78041827fca1bcbcc149.jpg","117x35cm",[35,112],{"id":4148,"slug":4149,"title":4150,"dynasty":195,"author":4151,"museum":135,"description":4152,"tags":4153,"thumbUrl":4154,"material":845,"size":4155,"collection":202,"collections":4156,"showCount":4119,"zanCount":5,"manualWeight":39,"mainColor":159},221303,"guo-shu-shuang-qin-tu-juan-yi-yuan-ji-221303","果熟双禽图卷","易元吉","易元吉（生卒年不詳，公元11世紀左右），字慶之，湖南長沙人。北宋時期著名畫家。天資穎異，靈機深敏，尤善畫猿猴，並因此而聞名天下。古代繪畫評論家把獐猿畫看成是易元吉的專工獨詣，認為是“世俗之所不得窺其藩”的絕技。",[23,106,24,25,82,27,83,7,386,1189,167,65,226,2873,1200,90,3430],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6631c878d850cd9d6af666f057a73051.jpg","41.8x288厘米",[202,35,112],{"id":4158,"slug":4159,"title":4160,"dynasty":195,"author":196,"museum":79,"description":4161,"tags":4162,"thumbUrl":4164,"material":33,"size":4165,"collection":202,"collections":4166,"showCount":4119,"zanCount":5,"manualWeight":39,"mainColor":40},218728,"qiu-gua-tu-yi-ming-218728","秋瓜图","地上长着三个秋瓜，景观中还有藤蔓、树叶和花朵。瓜皮用老绿色着色，瓜棱用赭石填充，精致而有节奏。瓜的叶子被仔细地勾勒出来，藤蔓也是圆润而细致的。这幅画没有刻上作者的名字，但我们收藏的另外两幅画《宋代草木瓜》和《钱玄同秋瓜》在构图上与此框相似，而且此卷的笔法精细，与《宋代草木瓜》相似。",[23,24,25,83,27,7,4163,227,580,68,26],"秋瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0270d205fb5d6c396d4cfa437041b14a.jpg","26.8x45.5厘米",[202],{"id":4168,"slug":4169,"title":321,"dynasty":60,"author":1261,"museum":79,"description":4170,"tags":4171,"thumbUrl":4172,"material":295,"size":4173,"collection":52,"collections":4174,"showCount":4175,"zanCount":39,"manualWeight":39,"mainColor":40},222412,"mei-hua-zhou-zhi-mian-222412","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 。特以嗜酒落魄，不甚为世重耳。又善古隶。\n有明以来写花草者，无如吴郡，而吴郡自沈周之后，无如陈道复（1483—1544）陆叔平（1496—1576）然道复妙而不真，叔平真而不妙，周之冕似能兼之。周之冕采陈道复、陆治二家之长，为吴门画派重要画家。\n万历三十年（1602）作《竹石雄鸡图》轴和《百花图》卷，现藏故宫博物院；（1601）作 桃柳春燕图 手卷；《桂树榴雀图》轴藏南京博物院；万历十三年（1585）作《芙蓉凫鸭》图轴藏上海博物馆；十五年（1587）作《芙蓉双凫图》轴藏沈阳故宫博物院；三十年作《墨花图》卷藏天津市艺术博物馆；同年作《杏花锦鸡图》轴藏苏州市博物馆；二十四年作《梅花野雉图》轴藏辽宁省博物馆。",[23,24,25,661,64,7,436],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dbd89ea65005058bae7f1df5879f312.jpg","58x55.6厘米",[],147,{"id":4177,"slug":4178,"title":4179,"dynasty":18,"author":196,"museum":368,"description":4180,"tags":4181,"thumbUrl":4183,"material":109,"size":52,"collection":35,"collections":4184,"showCount":4175,"zanCount":800,"manualWeight":39,"mainColor":159},219057,"he-lu-tu-yi-ming-219057","荷鹭图","画的是两枝青莲，各有一枝莲花和莲穗，细长的茎上有白色和绿色的花瓣；两只鹭鸶站在水中，雪白的羽毛和尖尖的喙，平静地站在水中，一动不动。",[23,24,25,152,27,83,7,49,4182],"鹭鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85725455913aa679061881f4d5d01b14.jpg",[35],{"id":4186,"slug":4187,"title":4188,"dynasty":18,"author":530,"museum":135,"description":4189,"tags":4190,"thumbUrl":4192,"material":52,"size":52,"collection":52,"collections":4193,"showCount":4194,"zanCount":1398,"manualWeight":39,"mainColor":40},234226,"hua-hui-tu-juan-zhu-da-234226","花卉图卷","清代初期的中国画坛活跃着弘仁、髡残、朱耷、石涛四位僧人画家，画史上合称“四僧”。他们的绘画在继承传统的基础上，大胆创新，主张师法自然造化，与当时画坛正统风格相距甚远，具有鲜明的艺术风格。在这四人当中尤以朱耷的人生与艺术最具传奇色彩。\n朱耷（1626—1705），江西南昌人，为明江西宁献王朱权的九世孙。明亡后出家为僧，法名传綮，曾经使用的号有很多，最为著名的则是在他弃僧还俗后使用的“八大山人”。",[23,24,25,82,64,569,3362,68,7,107,123,4191,627],"绣球","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1af9b90b90faf27fd07bc9d5bfdfb023.jpg",[],146,{"id":4196,"slug":4197,"title":4198,"dynasty":18,"author":793,"museum":79,"description":4199,"tags":4200,"thumbUrl":4201,"material":275,"size":276,"collection":52,"collections":4202,"showCount":4194,"zanCount":1398,"manualWeight":39,"mainColor":40},230204,"xian-e-chang-chun-tu-lang-shi-ning-230204","仙萼长春图","郎世宁（Giuseppe Castiglione，1688.7.19-1766.7.16），原名朱塞佩·伽斯底里奥内，圣名若瑟，天主教耶稣会修士、画家，意大利米兰人。\n1715年（清康熙五十四年）来中国传教，随即入皇宫任宫廷画家，历经康熙、雍正、乾隆三朝，在中国从事绘画50多年，并参加了圆明园西洋楼的设计工作，为清代宫廷十大画家之一。 郎世宁擅绘骏马、人物肖像、花卉走兽，风格上强调将西方绘画手法与传统中国笔墨相融合，受到皇帝的喜爱，也极大地影响了康熙之后的清代宫廷绘画和审美趣味。\n其主要作品有《十骏犬图》《百骏图》《乾隆大阅图》《瑞谷图》《花鸟图》《百子图》《聚瑞图》《仙萼长春图册》《心写治平图》（《乾隆帝后妃嫔图卷》）等。",[23,24,106,25,26,83,27,7,107,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dee7461512292d25946deeb4c5ea582.jpg",[],{"id":4204,"slug":4205,"title":3747,"dynasty":195,"author":1413,"museum":368,"description":4206,"tags":4207,"thumbUrl":4208,"material":109,"size":4209,"collection":35,"collections":4210,"showCount":4194,"zanCount":39,"manualWeight":39,"mainColor":159},219349,"bai-ying-tu-zhao-ji-219349","图为一只白鹰站在湖石上，爪子上系着绳索。 这幅画是根据宋徽宗爱画白鹰奇石的传说.",[23,24,106,25,152,83,27,167,1713,185,186,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9f082a50222716196107d33d5784d0f.jpg","141.7x59.5厘米",[35,112],{"id":4212,"slug":4213,"title":59,"dynasty":18,"author":19,"museum":135,"description":272,"tags":4214,"thumbUrl":4215,"material":275,"size":276,"collection":52,"collections":4216,"showCount":4217,"zanCount":1398,"manualWeight":39,"mainColor":40},239439,"hua-niao-ce-yun-shou-ping-239439",[24,106,26,28,27,7,467,185,450],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec7e30a442cbdb53613fd8222a1bae4f.jpg",[],145,{"id":4219,"slug":4220,"title":4221,"dynasty":18,"author":1635,"museum":135,"description":4222,"tags":4223,"thumbUrl":4224,"material":275,"size":276,"collection":52,"collections":4225,"showCount":4217,"zanCount":39,"manualWeight":39,"mainColor":40},237155,"xu-gu-mao-die-tu-zhou-xu-gu-237155","虚谷猫蝶图轴","虚谷（1823～1896），清代著名画家，海上四大家之一，有“晚清画苑第一家”之誉。俗姓朱，名怀仁，僧名虚白，字虚谷，别号紫阳山民、倦鹤，室名觉非庵、古柏草堂、三十七峰草堂。籍新安（今安徽歙县），居广陵（今江苏扬州）。初任清军参将与太平军作战，意有感触，后出家为僧。工山水、花卉、动物、禽鸟，尤长于画松鼠及金鱼。亦擅写真，工隶书。作画有苍秀之趣，敷色清新，造型生动，落笔冷消，别具风格。性情孤僻，非相处情深者不能得其片纸。早年学界画，后以擅画花果、禽鱼、山水著名。风格冷峭新奇，绣雅鲜活，无一笔滞相，匠心独运，别具一格。亦能诗，有《虚谷和尚诗录》。传世作品有《梅花金鱼图》《松菊图》《葫芦图》《蕙兰灵芝图》《枇耙图》等。",[24,25,152,64,27,399,385,493,517,186,7,386],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffac0781a23a4a9e539a1cd4f736c5b1f.jpg",[],{"id":4227,"slug":4228,"title":4229,"dynasty":195,"author":196,"museum":135,"description":4230,"tags":4231,"thumbUrl":4234,"material":52,"size":52,"collection":52,"collections":4235,"showCount":4217,"zanCount":800,"manualWeight":39,"mainColor":40},227882,"liu-zhi-huang-niao-tu-yi-ming-227882","榴枝黄鸟图","《 》是宋代佚名创作的绢本设色画，现藏于北京故宫博物院。\n此图绘 一只，嘴啄小虫，栖止于榴枝上，神形毕肖。\n图中枝梗从右向左斜出，沉甸甸的石榴挂于枝干。\n榴叶萧瑟，鸟的羽毛用淡黄染色后，再用粉白以短而细的笔触勾描，具有毛茸茸的质感。\n鸟的翅膀和尾部等处，浓淡墨色参用。\n画面设色侬艳而又对比鲜明。\n深秋时节， 成熟，绽开表皮，露出累累果实。\n石榴叶已由绿变黄，有的枯萎，有的被虫蛀蚀，写出了秋日的萧瑟。\n一只肥硕的黄鹂衔着小虫栖于榴枝上，悠然自得。\n黄鹂的羽毛经淡赭、黄色晕染后再用白线勾描，近于“没骨”。\n石榴枝叶赋色对比鲜明。\n对幅有清乾隆御题诗一首：“榴子熟时莺转时，野虫衔得集横枝。\n笑他自喜权供饱，忘却有人弹挟之。\n辛亥清和御笔。\n”钤“ ”、“ ”、“八征耄念”、“自强不息”玺印。\n本幅无款。\n钤鉴藏印“张笃行印”，另有2印不辨。\n清《石渠宝笈》著录。",[23,24,25,26,83,27,7,4232,4233,243,66,569,68],"榴枝","黄鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e2351453d665df0945037e4ac4a342f.jpg",[],{"id":4237,"slug":4238,"title":4239,"dynasty":18,"author":19,"museum":624,"description":625,"tags":4240,"thumbUrl":4242,"material":109,"size":633,"collection":52,"collections":4243,"showCount":4217,"zanCount":800,"manualWeight":39,"mainColor":159},216107,"yun-shou-ping-hua-guo-shu-cai-ce-ye-4-yun-shou-ping-216107","恽寿平花果蔬菜册页-4",[24,26,27,83,28,7,628,4241,425],"茄子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d6bc6ad63fe8327a7125c68b0f32629.jpg",[],{"id":4245,"slug":4246,"title":4247,"dynasty":18,"author":4248,"museum":135,"description":4249,"tags":4250,"thumbUrl":4251,"material":275,"size":276,"collection":52,"collections":4252,"showCount":4253,"zanCount":39,"manualWeight":39,"mainColor":40},290384,"lan-hua-tu-juan-yun-xiang-290384","兰花图卷","韵香","女道士。能书擅画，尤擅画兰。主要作品有《空山听雨图册》",[23,106,24,25,82,64,254,186,68,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F346cbb87cd3ed3e666639bdd70f910b5.jpg",[],144,{"id":4255,"slug":4256,"title":59,"dynasty":60,"author":4257,"museum":135,"description":4258,"tags":4259,"thumbUrl":4260,"material":52,"size":52,"collection":35,"collections":4261,"showCount":4253,"zanCount":800,"manualWeight":39,"mainColor":40},237664,"hua-niao-ce-ling-bi-zheng-237664","凌必正","[明]字贞卿，一字蒙求，号约庵，太仓（今江苏太仓）人。崇祯四年（一六三一）进士，官至广西副使。善山水，设色妍雅，位置精密，接轸宋人。间画花鸟，尚欠超逸生动之致。《太仓州志、无声诗史、桐阴论画》",[106,24,25,26,27,83,7,67,228,631,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb686e450eda3e1b564356a6d16a40e28.jpg",[35,112],{"id":4263,"slug":4264,"title":4265,"dynasty":195,"author":1413,"museum":251,"description":4266,"tags":4267,"thumbUrl":4268,"material":822,"size":4269,"collection":202,"collections":4270,"showCount":4253,"zanCount":39,"manualWeight":39,"mainColor":159},221365,"dai-sheng-tu-zhao-ji-221365","戴胜图","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。 [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。",[23,106,24,25,83,27,7,167,29,66,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac6d21304ca588d1c5a05077bff87467.jpg","纵55厘米，横59厘米",[202,35,112],{"id":4272,"slug":4273,"title":4274,"dynasty":18,"author":730,"museum":1009,"description":4275,"tags":4276,"thumbUrl":4277,"material":109,"size":4278,"collection":35,"collections":4279,"showCount":4253,"zanCount":1398,"manualWeight":39,"mainColor":159},218859,"mei-hua-tu-jin-nong-218859","梅花图","老干虬曲如铁，以浓墨劲笔勾勒，线条古拙苍劲，尽显梅树历经风霜的坚韧风骨。枝头繁花疏朗，或含苞待放，或悄然绽放，淡墨点染间透着清雅之韵，与深褐枝干形成鲜明对比，更衬出梅的冰清玉洁。右侧题跋以金农标志性的漆书书就，笔力沉厚，字体方整古朴，笔墨与画面意境交融，文气盎然。整幅作品不拘泥于形似，而重神韵，于简淡中见精神，传递出梅的孤傲品格与文人的清雅风骨，尽显扬州八怪特有的艺术个性，将文人画的意趣与梅的精神完美融合。",[23,24,25,152,64,436,7,569,1951],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ee7b4e0d4c7ca7b49524552eb1cc5da.jpg","41x130cm",[35],{"id":4281,"slug":4282,"title":4283,"dynasty":60,"author":1261,"museum":79,"description":4284,"tags":4285,"thumbUrl":4286,"material":109,"size":4287,"collection":35,"collections":4288,"showCount":4253,"zanCount":800,"manualWeight":39,"mainColor":159},218792,"hua-zhu-an-chun-tu-zhou-zhi-mian-218792","花竹鹌鹑图","瘦长的画幅，主景放置在幅右，秋日,石上几株绿竹，间杂著娇媚的蜀葵、牵牛花。石下一对鹌鹑，临风处有一只大凤蝶飞来。整幅画充满著婀娜明艳的光辉。题句多，亦足以让人诗画共赏。",[24,27,83,185,291,3676,214,90,7,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15a00ce3772da92e745cee036acd9c15.jpg","111.7x29.7cm",[35],{"id":4290,"slug":4291,"title":611,"dynasty":195,"author":196,"museum":4292,"description":4293,"tags":4294,"thumbUrl":4295,"material":109,"size":4296,"collection":35,"collections":4297,"showCount":4253,"zanCount":1398,"manualWeight":39,"mainColor":4082},218645,"mu-dan-tu-yi-ming-218645","福冈市立美术馆","沉棕底色如旧绢凝香，中央牡丹姿态雍容却不失清雅。花瓣层叠如浪，米白与浅褐的晕染间藏着淡粉的柔韵，似被时光打磨出温润质感。墨线勾出的叶片翠意内敛，叶脉纤细如丝，与花的柔婉相映成趣。整幅画作工致细腻，尽显宋画的沉静风骨，将牡丹的端庄神韵凝于方寸之间，仿佛能窥见千年之前画者笔下那一抹含蓄的生机，静谧中流淌着古雅的诗意。",[23,106,24,25,7,83,27,107,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7837e7613763e599f5ea1a410e470c01.jpg","26.7x31.2",[35],{"id":4299,"slug":4300,"title":44,"dynasty":18,"author":4301,"museum":20,"description":4302,"tags":4303,"thumbUrl":4304,"material":534,"size":52,"collection":35,"collections":4305,"showCount":4253,"zanCount":1398,"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。",[24,25,26,64,7,29,107,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd22e30016320aef8a29832998f488225.jpg",[35],{"id":4307,"slug":4308,"title":1330,"dynasty":18,"author":19,"museum":135,"description":272,"tags":4309,"thumbUrl":4311,"material":275,"size":276,"collection":52,"collections":4312,"showCount":4313,"zanCount":800,"manualWeight":39,"mainColor":40},290536,"yan-xi-yu-le-zhou-yun-shou-ping-290536",[24,106,152,25,83,27,7,123,357,167,31,68,4310],"鱼乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20aff2a060a96207e9cbb6a8febec6d9.jpg",[],143,{"id":4315,"slug":4316,"title":44,"dynasty":18,"author":19,"museum":135,"description":542,"tags":4317,"thumbUrl":4318,"material":52,"size":546,"collection":52,"collections":4319,"showCount":4313,"zanCount":39,"manualWeight":39,"mainColor":40},233894,"hua-hui-ce-yun-shou-ping-233894",[24,25,7,27,28,123,452,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6264e10266425c21b4f12e01ab8d910.jpg",[],{"id":4321,"slug":4322,"title":4323,"dynasty":119,"author":3663,"museum":79,"description":4324,"tags":4325,"thumbUrl":4328,"material":699,"size":4329,"collection":35,"collections":4330,"showCount":4313,"zanCount":1398,"manualWeight":39,"mainColor":40},221838,"tao-zhu-jin-ji-tu-zhou-wang-yuan-221838","桃竹锦鸡图轴","该图上有王渊款：“至正已醜(1349年)王若水爲惠明作桃竹錦雞圖。”钤私印两方。是图将工整双勾的线条和细腻的水墨渲染合为一体，形成兼工带写的绘画技巧，以墨代色，脱胎于五代黄筌“黄家富贵”的工笔设色画风，反映了文人画重墨轻色的审美观。画家以水墨皴擦、晕染、粗细笔并用，行笔稳健而不乏洒脱，水墨层次变化丰富，颇有透明感，全图不着一色已俱见典雅端丽，画意蕴藉清润、幽静深秀。",[23,24,4326,83,7,152,1274,185,673,641,4327,2190],"水墨画","水墨设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe14268d3dd72321107b543bb80edf552.jpg","纵102.3cm，横55.4cm",[35,734],{"id":4332,"slug":4333,"title":4334,"dynasty":195,"author":305,"museum":251,"description":4335,"tags":4336,"thumbUrl":4337,"material":845,"size":4338,"collection":202,"collections":4339,"showCount":4340,"zanCount":1398,"manualWeight":39,"mainColor":159},221373,"jin-hui-dui-tu-juan-zhao-chang-221373","锦灰堆图卷","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。作者不愧有“写生赵昌”的美誉。\n此图流传有绪。通过图上所钤印文可知，它最早为南宋权相贾似道收藏，德祐年时，贾似道以卖国获罪，此卷遂被官府没收。入元后，它为元仁宗爱育黎拔力八达之姊鲁国大长公主所收藏。明初，被内府典礼纪察司收存。清代，它转入大收藏家梁清标之手，旋即又归入清内府，备受乾隆皇帝赏识。晚清宣统时又流入民间，为伪满“国兵”朱国恩抢得，存放于吉林长春的家中。1952年东北文化部组织的工作小组于长春获得此卷，交由原东北博物馆收藏，后博物馆将它与北宋崔白《寒雀图》卷、吴元瑜《荔枝图》卷一同送交国家文物局，文物局将它们转入故宫博物院庋藏。",[23,24,106,82,83,27,7,214,292,242,170,243,228,215],"https:\u002F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潞王之寶”、“茅林心賞”、“阿蒙”、“于騰私印”。\n图中画山崖侧立，腊梅倒垂，薄雾蒙蒙的涧水中，一群野鸭正在游戏。山石以斧劈皴法画之，方硬峭拔，与用笔轻快、毛羽松蓬的野鸭形成鲜明的对比。倒垂曲折的枝条是马远特有的画法，故有“拖枝马远”之称。画面呈典型的对角线式构图，岩石、梅树都偏居画面的左上部分，梅树枝条的走势更强调了此种布局的形式感，右下方的野鸭既起到了平衡画面的作用，又是全图的点睛之笔，一幅“春江水暖鸭先知”的景象，无限生趣，跃然绢素。",[23,24,25,26,64,27,3478,436,186,1393,1950,167,7,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae794f0f7f856fe10e8845520e5badc4.jpg","纵26.7厘米，横28.6厘米",[202,35,112],{"id":4496,"slug":4497,"title":4498,"dynasty":195,"author":4499,"museum":4500,"description":4501,"tags":4502,"thumbUrl":4504,"material":109,"size":52,"collection":35,"collections":4505,"showCount":4475,"zanCount":1398,"manualWeight":39,"mainColor":525},218889,"mei-hua-shuang-que-tu-tang-zheng-zhong-218889","梅花双鹊图","汤正仲","上海龙美术馆","虬干盘结如铁，皴擦间尽现老木苍劲之姿；新梢斜逸若剑，挺秀中暗藏生机。素蕊攒枝，以圈花点蕊之法写就，清疏淡雅如覆薄雪，暗香似欲溢出纸面。双鹊栖于枝间，一俯一仰顾盼有情，羽翼细墨勾勒与梅枝粗放形成呼应，添几分灵动暖意。整幅画以墨骨立形，淡彩敷色，既承扬派墨梅清逸，又融自家笔意沉厚。寒梅高洁品格与双鹊吉祥意趣交织，冬日清寂中晕开一抹生机，尽显宋人花鸟画雅致韵致与文人情怀。",[106,24,25,152,83,27,7,436,4503,167,4419,1951],"鹊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15447dc3a3314b0bcbd372dc5a108d12.jpg",[35],{"id":4507,"slug":4508,"title":4509,"dynasty":18,"author":381,"museum":135,"description":4510,"tags":4511,"thumbUrl":4512,"material":52,"size":52,"collection":52,"collections":4513,"showCount":4514,"zanCount":800,"manualWeight":39,"mainColor":40},230128,"hua-niao-shu-guo-ce-ye-ba-kai-ren-yi-230128","花鸟蔬果册页(八开)","此作以淡墨铺染出空濛底色，枝桠间雀鸟静栖，以干笔丝毛晕染翎羽，写实中兼具写意意趣，朱红顶冠醒目鲜活，将禽鸟机灵敏锐的神态刻画入微。衬景枝叶以浓淡水墨挥洒而就，枯荣姿态各具，干湿层次丰富，与留白虚境相映成趣，营造出清寂悠然的秋日氛围。\n\n构图疏朗空灵，右下角题款朱印呼应雀首色彩，章法雅致和谐。笔意兼具写实的生动与文人画的写意气韵，将寻常禽鸟小景绘出澹远悠长的意境，尽显雅致灵动的花鸟意趣。",[24,26,64,27,399,7,66,2155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d23c459b8d850378f7361b3c25c3d70.jpg",[],135,{"id":4516,"slug":4517,"title":4518,"dynasty":18,"author":19,"museum":251,"description":4519,"tags":4520,"thumbUrl":4521,"material":845,"size":4522,"collection":35,"collections":4523,"showCount":4514,"zanCount":1398,"manualWeight":39,"mainColor":40},220973,"shuang-qing-tu-yun-shou-ping-220973","双清图","本幅是恽寿平55岁时所作。以“双清”为画名是因为梅花以“众芳摇落独暄妍”的品格而水仙以淡色疏香和清气逼人的特性同被视为传统绘画题材中的“清物”。此图以淡花青晕染绢地，烘托双清的花色。梅树苍干繁枝，横斜取势，其花瓣法南宋扬无咎的画法，即以墨笔圈线为瓣，线条雅秀雄健，勾勒出花之勃勃生机。水仙法元人赵孟坚的白描笔韵，叶片用笔富于急迟、粗细、顿折诸变化，花儿或仰或俯，或张或合，亦变化多端。作者以活泼多变的表现技法成功地展示出梅花、水仙暗香浮动的美感。全图不刻意求工、求似，唯求自然天趣，揭示出恽寿平一向所追求的平淡超逸的审美意趣。",[23,24,25,152,27,7,28,436,254,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8da6c06676028e116b16baef378dbe92.jpg","纵88.5cm，横54cm",[35,112],{"id":4525,"slug":4526,"title":4527,"dynasty":195,"author":1413,"museum":4528,"description":4529,"tags":4530,"thumbUrl":4531,"material":109,"size":4532,"collection":35,"collections":4533,"showCount":4514,"zanCount":800,"manualWeight":39,"mainColor":159},218921,"ya-tu-zhao-ji-218921","鸭图","东京五岛美术馆","这幅画代表了徐熙的画派，虽然整幅画是彩色的，但水墨淋漓，充满了野趣。这幅画据说是徽宗所画，但由徽宗所画的可能性较小，但仍然是宋代花鸟画的代表作。",[23,106,24,25,152,83,27,7,1168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff029476e533b2343127e16bcd597c59e.jpg","37.9x25.8cm",[35],{"id":4535,"slug":4536,"title":4537,"dynasty":18,"author":196,"museum":135,"description":4538,"tags":4539,"thumbUrl":4540,"material":52,"size":52,"collection":52,"collections":4541,"showCount":4542,"zanCount":800,"manualWeight":39,"mainColor":159},230304,"fang-lin-chun-cui-zhu-hua-niao-tu-shen-se-yi-ming-230304","仿林椿翠竹花鸟图（深色）","此作用色明丽雅致，以赭色绢底托举春日景致。艳红山茶缀于虬曲枝桠，青嫩新篁挺拔舒展，柔媚花枝与劲竹相映成趣。十余只禽鸟灵动错落，或栖于枝头理羽，或两两依偎低语，羽色晕染细腻柔和，将禽鸟绒羽的鲜活质感尽数呈现。\n\n画师以工细笔触勾勒花叶禽鸟，既承袭院体花鸟的精工写实，又暗合文人画的清幽意趣，将林泉春日里花木禽鸟的自在天趣铺展在尺幅间，生机盎然中尽显闲雅静谧的林下意韵。",[23,106,24,25,82,83,27,2730,7,185,65,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ae43cbb6fe15b0c90b72712f15b33f1.jpg",[],134,{"id":4544,"slug":4545,"title":4546,"dynasty":60,"author":196,"museum":135,"description":4547,"tags":4548,"thumbUrl":4549,"material":27,"size":52,"collection":112,"collections":4550,"showCount":4542,"zanCount":1398,"manualWeight":39,"mainColor":159},219904,"cha-mei-san-qin-tu-yi-ming-219904","茶梅三禽图","画面章法错落，斜出的花枝贯穿画面，山茶如烈焰点染绢素，梅花似堆雪缀于枝桠，红白相映，撞色鲜活亮眼。\n\n枝上双禽依偎理羽，姿态闲静安适；石畔绶带鸟垂首啄饮，灵动生趣。湖石、幽竹与冰姿玉骨的水仙铺陈下景，衬出花木禽鸟的清隽雅致。\n\n设色妍丽不失清雅，工笔勾勒禽鸟羽毛、花瓣脉络，晕染柔和自然，写意绘就湖竹野趣，将隆冬时节的盎然生机定格，尽显院体花鸟雅致隽永的东方意趣，藏着岁末清和的鲜活生机。",[23,24,106,83,27,7,436,65,185,169,455,603],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bbd5614909282f3d3a425af305ca027.jpg",[112],{"id":4552,"slug":4553,"title":3057,"dynasty":119,"author":3663,"museum":2451,"description":4554,"tags":4555,"thumbUrl":4556,"material":534,"size":4557,"collection":35,"collections":4558,"showCount":4542,"zanCount":5,"manualWeight":39,"mainColor":40},219062,"zhu-que-tu-wang-yuan-219062","画家在这幅画中使用了水墨，做了黑白的勾勒，描绘了竹叶的起伏、花朵和湖中不平整的石头。\n这幅画在构图和技法上与印第安纳波利斯艺术博物馆收藏的王原的《花竹山禽图》相似，但《花竹山禽图》的笔触更显年轻，可能是后来的摹本。这幅画上还刻有 摹黄筌竹雀图 的字样，构图与台北故宫的黄居寀画的鹧鸪和麻雀相似，仍保留了唐代画树下花鸟的传统，所以这幅画也许确实是仿黄筌的原作。",[106,24,4326,83,627,7,185,65,214,90,170,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eec035eb38ac09eb11650ff2dee6cbc.jpg","139.3x49.9cm",[35],{"id":4560,"slug":4561,"title":420,"dynasty":195,"author":196,"museum":20,"description":4562,"tags":4563,"thumbUrl":4564,"material":109,"size":4565,"collection":35,"collections":4566,"showCount":4542,"zanCount":678,"manualWeight":39,"mainColor":159},218563,"qiu-kui-tu-yi-ming-218563","画面中，秋葵舒展的花瓣如凝脂般温润，白中透粉的晕染似含朝露，娇嫩欲滴。花蕊以深褐点染，在素净花瓣间格外醒目，几笔细致勾勒便显生机。叶片脉络清晰，边缘锯齿纹理与枝干苍劲形成呼应，花苞或敛或绽，层次错落间见自然意趣。\n\n笔墨工致却不刻意，色彩淡雅而富韵致，尽显写生之妙——于细微处见真章，将秋葵清雅姿态凝于绢素。无繁复布景，仅以一花一叶情态，传递自然生命的静美与从容，仿佛能嗅到初秋清晨的微凉气息，藏着宋人对日常草木的深情观照。",[24,106,25,83,27,7,424,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffabea7ea1898f36c4440d93cfb77bd36.jpg","25.6x25.7",[35],{"id":4568,"slug":4569,"title":4570,"dynasty":60,"author":1864,"museum":79,"description":4571,"tags":4572,"thumbUrl":4574,"material":109,"size":4575,"collection":35,"collections":4576,"showCount":4542,"zanCount":1398,"manualWeight":39,"mainColor":159},216221,"jin-pu-ming-chun-tu-lu-zhi-216221","锦圃鸣春图","这幅画描绘了两只孔雀在牡丹园里争奇斗艳，鸟儿在玉兰树上春风得意。这幅画色彩热烈，反映了陆治在山水、花鸟方面的多面性。\n陆治，明代画家，工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，在吴门派画家中具有一定新意，与陈淳并重于世。",[24,25,106,152,83,27,7,91,107,89,90,4573,2769,480],"小草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa50c4c81b69ff6eb527a5c62b8b31e46.jpg","纵146厘米，横89厘米",[35],{"id":4578,"slug":4579,"title":4580,"dynasty":60,"author":683,"museum":251,"description":4581,"tags":4582,"thumbUrl":4583,"material":4584,"size":4585,"collection":52,"collections":4586,"showCount":4587,"zanCount":1398,"manualWeight":39,"mainColor":40},233766,"li-shi-tu-zhou-shen-zhou-233766","荔柿图轴","本幅墨笔画荔枝，柿子树二枝，上方自题“庚子元旦即兴”诗一首，款“右进作一首侑以荔柿图，奉吾宿田老兄新春一笑，周再拜”钤“启南”朱方印一。右下方收藏印“绍庭审定”等二方。\n沈周（1427—1509年），字启南，号石田，晚号白石翁，长洲（今江苏苏州）人。世代隐居吴门，父亲恒古、伯父贞吉均善画。他早年承受家学，兼师杜琼，后博学宋元诸家，自成一格。一生布衣，优游林下，为人敦厚，笃于友谊，性情随和，胸襟磊落，是吴中众望所归的贤达长者。 绘画上擅长山水、花鸟，尤以山水著称，有粗、细两种面貌。早年主宗王蒙，上追董、巨，以细笔为主；40岁以后博取诸家，着意于黄公望，风格逐渐变粗，形成粗笔风貌；60岁后汲取吴镇画法，笔墨疏简苍劲，格调雄健宏阔。其成熟时期的山水，笔墨上既吸收了宋院体和明浙派的硬度和力感，又保留了元人的含蓄笔致，于苍中带秀，刚中见柔。构图造境方面，无论繁复或简略，都强调山川宏阔之“势”，一改元人空寂之境，又着意于朴实的“质”，于拙中藏巧。他开创了“吴派”画风，与文徵明、唐寅、仇英并称“吴门四家”。",[24,25,152,64,399,7,1233,1212,31,569,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86746693b29e5f3412b23d5ba1e633a9.jpg","纸本 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Chinese University of Hong Kong Library","此作以跨页小品写就，水墨清简疏淡。左侧修竹瘦劲挺拔，寥寥数笔写出竹叶翩然之姿，清峻孤高自带霜节。右侧梅枝横斜而出，淡墨圈花，花苞轻绽，冷香暗浮于留白之中。\n\n画面以少胜多，将竹之劲节与梅之清癯相融，寥寥逸笔尽显岁寒二友的君子风骨。题款墨色苍劲古雅，朱印点染提亮，文人情趣浑然天成。整幅淡墨浅痕却余韵悠长，把东方水墨的留白意趣藏在疏枝瘦叶之间，清冷雅致，尽显写意之妙。",[23,24,25,26,64,436,185,68,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9928a3a570439bf1c01d26bb75a5c21e.jpg","Ink and colour on 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金回山人、山阴布衣、白鹇山人、鹅鼻山侬、田丹水、田水月（一作水田月 ）。明代中期文学家、书画家、戏曲家、军事家。\n徐渭曾担任胡宗宪幕僚，助其擒徐海、诱汪直。胡宗宪被下狱后，徐渭在忧惧发狂之下自杀九次却不死。后因杀继妻被下狱论死，被囚七年后，得张元忭等好友救免。此后南游金陵，北走上谷，纵观边塞阨塞，常慷慨悲歌。晚年贫病交加，藏书数千卷也被变卖殆尽，他自称“南腔北调人”，于万历二十一年（1593年）去世，年七十三\n徐渭多才多艺，在诗文、戏剧、书画等各方面都独树一帜，与解缙、杨慎并称“明代三才子”。他是中国“泼墨大写意画派”创始人、“青藤画派”之鼻祖，其画能吸取前人精华而脱胎换骨，不求形似求神似，山水、人物、花鸟、竹石无所不工，以花卉最为出色，开创了一代画风，对后世画坛（如八大山人、石涛、扬州八怪等）影响极大；书善行草，写过大量诗文，被誉为“有明一代才人”；能操琴，谙音律；爱戏曲，所著《南词叙录》为中国第一部关于南戏的理论专著。另有杂剧《四声猿》《歌代啸》及文集传世。",[24,106,25,152,64,399,7,49,31,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3e13237f744b16759e4d325b37bd217.jpg",[],122,{"id":4924,"slug":4925,"title":59,"dynasty":18,"author":793,"museum":251,"description":4926,"tags":4927,"thumbUrl":4928,"material":1595,"size":4929,"collection":52,"collections":4930,"showCount":4922,"zanCount":1398,"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。",[24,25,26,83,27,49,50,214,7,29,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58118af921331845033ac41b6553a729.jpg","纵32.6厘米，横28.6厘米",[],{"id":4932,"slug":4933,"title":4934,"dynasty":60,"author":1681,"museum":79,"description":4935,"tags":4936,"thumbUrl":4937,"material":109,"size":4938,"collection":35,"collections":4939,"showCount":4922,"zanCount":800,"manualWeight":39,"mainColor":159},222397,"xing-hua-kong-que-tu-lv-ji-222397","杏花孔雀图","此画属于吕纪工笔花鸟画的代表作品，右方署款「吕纪」，钤盖「四明吕廷振印」一方。画中描绘一对孔雀在杏花树下栖息的景况。位于画面中央的孔雀单脚伫立于岩石上，回首注视绽放的红色牡丹，另一只孔雀则蜷伏石上，观察地面景况。画中的孔雀、杏花、牡丹等象征着吉祥意味。杏花以白色、粉赭色系颜料敷染，牡丹花及孔雀则使用浓重的赭红色，与石青、石绿的颜料搭配，充满着富贵绮丽的装饰性。",[23,24,25,152,27,83,7,1292,91,107,186,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c7b2db4a8d4bb0924c74e8de14dc43d.jpg","纵203.4厘米，横110.6厘米",[35,112],{"id":4941,"slug":4942,"title":4943,"dynasty":489,"author":490,"museum":4944,"description":4945,"tags":4946,"thumbUrl":4948,"material":52,"size":52,"collection":52,"collections":4949,"showCount":4922,"zanCount":39,"manualWeight":39,"mainColor":40},220591,"jiu-hu-he-ju-hua-qi-bai-shi-220591","酒壶和菊花","Hong Kong Museum of Art","淡赭晕染出酒壶憨朴轮廓，留白衬出器物的温润拙厚。下方提篮中菊花攒簇，朱红明丽、赭黄沉凝、墨白清雅，花瓣勾勒老辣朴拙，枝叶苍劲带着蓬勃生机。右侧题笔顶天立地，楷隶相融的题字与画面相映成趣。虚实相生间，将日常小物化为寄情之物，以酒菊托祝寿深意，笔力雄浑简括，把乡野意趣与文人雅韵揉合一处，尽显冲淡隽永的东方意致，将寻常烟火绘成动人的诗意画卷。",[23,24,25,152,27,399,7,517,4947,68],"饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6b1dcc70632968186c19f507f452f51.jpg",[],{"id":4951,"slug":4952,"title":4953,"dynasty":119,"author":4954,"museum":79,"description":4955,"tags":4956,"thumbUrl":4957,"material":534,"size":4958,"collection":35,"collections":4959,"showCount":4922,"zanCount":39,"manualWeight":39,"mainColor":159},214818,"jia-tu-guan-dao-sheng-214818","茄图","管道升","管道升（生卒年不详）是中国元代（1271年 - 1368年）的画家。他主要以写意山水画著称。管道升的茄图是一幅以茄子为主题的山水画。茄子是一种常见的蔬菜，被广泛用于烹饪。这幅画中的茄子极具写意，呈现出自然的姿态和神韵。管道升善于运用水墨画的技法，表现出山水中的细腻和精致。\n\n管道升的茄图是一幅脍炙人口的名作，被广泛传颂和收藏。它的笔墨简洁，意境深远，描绘出了大自然的美丽和生机。这幅画不仅描绘了山水的美景，而且也表达了作者对生活的感悟和思考。管道升的茄图是中国山水画史上的经典之作，对中国画坛产生了深远的影响。",[24,25,64,83,7,4241,67,228,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ad2d3ee1317752964db7545c6ea152f.jpg","52.1x28.4",[35],{"id":4961,"slug":4962,"title":4963,"dynasty":18,"author":1454,"museum":1387,"description":4964,"tags":4965,"thumbUrl":4966,"material":295,"size":4967,"collection":52,"collections":4968,"showCount":4969,"zanCount":1398,"manualWeight":39,"mainColor":40},231946,"fang-shen-zhou-hua-hui-tu-wang-wu-231946","仿沈周花卉图","作品是在国民期间被带入国门的，但有几幅作品却被比齐白石的画漂亮，画的细节比齐白的还好。\n齐白石牛的蝉，比不过他画的天牛，可惜作品少了海外！这本书国画精口的细节很少，就是画了三张天牛画在上面树上的野画。简单的绘画风格与齐白石的一样，但作品却充满了满满的童趣。\n如果不是亲眼所见，谁也不会相信这是一张清朝的绘画，而且是由王武一个画家画出来的。笔墨十分的潇洒，尤其是在婚纱中的小作品中，烘焙精品的超小纸条。\n作品贵的精巧，贵在细节上面，大家仔细看绘画的整体风格，实际上比齐白石的作品外观要，而且布局更漂亮，但在工整秀丽之间又不失童趣。把一些动物与植物相间的神韵的画出来，难怪在外国的目光，这一类作品太妙了。\n对比的绘画，这只天牛虽然是属于水墨画，但要知道在200多年前，这水墨的风格画，尤其是场景小类的，能画到非常逼真的多，最重要的就如真的还活着，余生如生。\n一张好画的感觉体验一个人的绘画天赋，更表现了一个人的绘画功底。像王武和齐白石的作品，深入要光，还需要依靠对艺术绘画的一种深入理解，这样子有神韵！",[23,24,64,27,7,242,67,228,243,26,399],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25155c1c911c2cd3f45e7be509419dbd.jpg","53x38 厘米",[],121,{"id":4971,"slug":4972,"title":4973,"dynasty":18,"author":530,"museum":135,"description":4974,"tags":4975,"thumbUrl":4976,"material":52,"size":52,"collection":52,"collections":4977,"showCount":4969,"zanCount":39,"manualWeight":39,"mainColor":40},230270,"hua-niao-chong-yu-shen-pin-zhu-da-230270","花鸟虫鱼神品","这一开册页书画合璧，尽显写意风流。右侧水墨花卉以极简笔墨成画，浓墨晕染花头，枯笔勾出素瓶，浓淡枯湿之间，将一花一器的幽寂勾勒殆尽，留白处尽是澹远空寂的禅意。左侧草书与画境呼应，笔墨纵逸苍劲，线条跌宕，和画面疏简孤高的气息融为一体。整体舍去所有赘饰，以少胜多，清冷孤傲的意趣浸透纸面，寥寥数笔就将文人澹泊疏离的心境铺陈开来，简而不空，淡而有味，尽显中式水墨留白造境的精妙。",[23,24,25,26,64,7,31,3362,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bec6de9b81819d99336f4632ebed928.jpg",[],{"id":4979,"slug":4980,"title":4981,"dynasty":18,"author":1454,"museum":79,"description":4982,"tags":4983,"thumbUrl":4984,"material":4985,"size":4986,"collection":35,"collections":4987,"showCount":4969,"zanCount":39,"manualWeight":39,"mainColor":40},222807,"zhu-xia-hong-mei-wang-wu-222807","竹下红梅","王武，1632年生，1690年逝世，吳縣（今江蘇蘇州）人。字勤中，晚號忘庵，又號雪顛道人。明代畫家王鏊六世孫，精鑑賞，富收藏，擅畫花鳥，風格工整秀麗，正如王時敏所云：“神韻生動，應在妙品中。”為清初院畫的名家。亦擅詩文。傳世作品有《水仙柏石圖》、《紅杏白鴿圖》、《鴛鴦白鷺圖》等。",[23,24,25,26,27,83,7,185,436,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe28b7f42c49990357f197784cca3d392.jpg","紙","27.9×36.3",[35,112],{"id":4989,"slug":4990,"title":4991,"dynasty":60,"author":1661,"museum":79,"description":4992,"tags":4993,"thumbUrl":4994,"material":109,"size":4995,"collection":35,"collections":4996,"showCount":4969,"zanCount":800,"manualWeight":39,"mainColor":159},221937,"san-you-bai-qin-tu-bian-wen-jin-221937","三友百禽图","《三友百禽图》描绘了初冬时节，百禽嬉戏于松竹梅之间的场景，画中禽鸟或飞翔，或栖息，或嬉戏，或高瞻远瞩，或转首探望，或自理羽毛，无一重复，整个画面气氛热闹欢快，一派生机勃勃。\n此图中各个禽鸟的动姿刻画得生动活泼，诸鸟细致入微的描绘，使大多鸟类品种可辨，布满全幅的构图，呈现“茂密”的特点，画风工细精微又富装饰性，堪称边景昭最具宫廷花鸟特色的佳作。\n《三友百禽图》中以松、竹、梅和坡石为主要架构，其间穿插近百只禽鸟于枝头、坡上、空中等处。画面下部绘有数块峻峭的山石，在坡石缝隙之间，只见一截老松弯卧，树干表面显得沧桑嶙峋；在老松一侧两株粗壮的翠竹凛然耸起，直入画外，上不见其端顶，下不着其根部，在两棵竹子之间，一枝幼竹迎而立，竹叶繁密；在画面左上角，古老的梅干斜逸而出，茁壮的梅枝低垂，白色梅花凌寒怒放；梅竹之后，又有苍翠的松枝隐现其间。",[23,24,83,27,152,7,782,185,436,65,167,186,67,641],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cb578f9fef886db366ada747d3fe3e2.jpg","纵152.2厘米，横78.1厘米",[35,112],{"id":4998,"slug":4999,"title":5000,"dynasty":195,"author":5001,"museum":79,"description":5002,"tags":5003,"thumbUrl":5005,"material":109,"size":5006,"collection":35,"collections":5007,"showCount":4969,"zanCount":800,"manualWeight":39,"mainColor":159},219228,"ye-ju-qiu-chun-tu-li-an-zhong-219228","野菊秋鹑图","李安忠","画幅中心位置上画两只鹑鸟，全身几乎长满了近似粉白色的翎毛，只有少量的黑褐色斑毛，将头部与背勾画得更加显明突出。一只鹑鸟抬头远望，一只鹑鸟低头啄食，它们伫立在倾斜的土坡上、土坡的上方，白色的野菊花穿插在带棘的灌木中，还有竹竿枝权探头画面上、土坡的下方有蒲公英等野草花点缀着，一仰一俯的两只鹑鸟，互相依偎，自由地在大自然的环境中生活，其神态逼真，栩栩如生。该图设色淡雅，配色和谐。",[23,24,106,83,27,7,3676,5004,185],"野菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F763aa29896547493e563c587705ce6b7.jpg","纵24.1cm，横40.5cm",[35,112,202],{"id":5009,"slug":5010,"title":5011,"dynasty":18,"author":1209,"museum":135,"description":1508,"tags":5012,"thumbUrl":5013,"material":275,"size":276,"collection":52,"collections":5014,"showCount":5015,"zanCount":1398,"manualWeight":39,"mainColor":40},289981,"mei-hua-tu-li-zhou-wu-chang-shuo-289981","梅花图立轴",[23,24,152,64,27,436,782,186,7,31,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F064a0d9d4e3f29549f1c436bae20a6d3.jpg",[],120,{"id":5017,"slug":5018,"title":5019,"dynasty":195,"author":1413,"museum":135,"description":5020,"tags":5021,"thumbUrl":5022,"material":275,"size":276,"collection":52,"collections":5023,"showCount":5015,"zanCount":800,"manualWeight":39,"mainColor":159},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。",[23,106,24,82,27,83,7,167,214,1233,29,66,1736],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F991c70342fcdd1f954ce69e99322aad5.jpg",[],{"id":5025,"slug":5026,"title":5027,"dynasty":18,"author":196,"museum":135,"description":5028,"tags":5029,"thumbUrl":5030,"material":52,"size":52,"collection":52,"collections":5031,"showCount":5015,"zanCount":800,"manualWeight":39,"mainColor":40},239214,"zhao-zhi-qian-mu-dan-tu-zhou-yi-ming-239214","赵之谦牡丹图轴","此作兼工带写，以淡墨绘枯木顽石，焦墨点苔晕出水墨层次。粉牡丹柔妍灵动，花瓣从淡粉晕染至绯色，金黄花芯点簇鲜活。蓝叶以没骨法晕开，色韵清透雅致。右上角行书题笔苍劲朴拙，诗画相映。\n\n花木娇柔与湖石浑朴刚硬形成鲜明对照，刚柔并济，尽显文人写意意趣，将初夏庭间牡丹倚石盛放的清寂雅致铺展开来。笔意纵逸随性，设色秀而不媚，尽显晚清写意花鸟的典型风貌，借花石传递出悠然古淡的文人情致。",[24,152,27,7,107,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff10e1ffe0de8cd4eac0f7a47ebe7cb28.jpg",[],{"id":5033,"slug":5034,"title":5035,"dynasty":18,"author":5036,"museum":251,"description":5037,"tags":5038,"thumbUrl":5039,"material":412,"size":5040,"collection":35,"collections":5041,"showCount":5015,"zanCount":39,"manualWeight":39,"mainColor":40},236382,"mei-hua-tu-zhou-wang-shi-shen-236382","梅花图轴","汪士慎","图绘一株生机盎然的梅树，盛开的梅花洁白无瑕，交错的枝干扶摇向上，表现了梅作为花中君子具有“不恋世间佳丽地，独上寒山称骄子”的高逸之气。此图梅花以淡墨勾轮廓，线条工细，梅干以浓墨一挥而就，墨气淋漓。干与花巧妙地形成黑与白的对比，令简约的画面不失层次的变化。",[24,152,64,436,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febe0c491bd8337e9c24d78ad0b1bcf11.jpg","纵93.4厘米，横52.9厘米",[35,112],{"id":5043,"slug":5044,"title":5045,"dynasty":18,"author":1525,"museum":135,"description":5046,"tags":5047,"thumbUrl":5048,"material":52,"size":52,"collection":52,"collections":5049,"showCount":5015,"zanCount":1398,"manualWeight":39,"mainColor":40},228995,"hua-hui-ce-shi-zhen-shi-tao-228995","花卉册十帧","此作以桃花配墨竹，刚柔互衬。粉桃花朵晕染柔润，娇妍含露，枯笔写枝拙朴苍劲，尽显花柔枝老的生趣。右下角墨竹以浓墨挥写，叶片挺拔清瘦，与柔媚桃花相映，愈见雅致。\n\n行书题款舒朗流畅，诗文借春日江南景致抒放逸闲情，诗书画意相融无间。整幅以淡墨轻色写意，随性疏朗，以简淡笔墨托出春日清妍，将文人心底的闲情雅趣寄于花枝竹影间，淡而有味，简而有神，尽显文人画的写意真趣。",[106,24,25,26,64,27,7,123,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fade10183679772013e35beae8b8ea357.jpg",[],{"id":5051,"slug":5052,"title":5053,"dynasty":60,"author":477,"museum":1387,"description":5054,"tags":5055,"thumbUrl":5056,"material":26,"size":52,"collection":35,"collections":5057,"showCount":5015,"zanCount":1398,"manualWeight":39,"mainColor":40},221905,"hua-niao-jing-pin-ce-chen-hong-shou-221905","花鸟精品册","陈洪绶（1599～1652），明末清初著名书画家、诗人，字章侯，号老莲，浙江绍兴人。其画手法简练，格调高古，享誉明末画坛，与当时的顺天崔子忠齐名，号称“南陈北崔”。花鸟工笔描绘精细，设色清丽，富有装饰味。",[24,25,26,27,83,7,186,452,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F852ddfb4bab4ecb9d65b1c1507a19737.jpg",[35,112],{"id":5059,"slug":5060,"title":5061,"dynasty":119,"author":3663,"museum":251,"description":5062,"tags":5063,"thumbUrl":5064,"material":1595,"size":5065,"collection":35,"collections":5066,"showCount":5015,"zanCount":1398,"manualWeight":39,"mainColor":159},221839,"hua-zhu-jin-ji-tu-zhou-wang-yuan-221839","花竹锦鸡图轴","元代的花鸟画不及宋代昌盛，但却有新的面貌。一部分画家继承了北宋院画刻画严谨的传统并加以变化，发展了勾勒、点染相结合的写生技法，画风朴实拙茂又不失精微细密；另一部分画家则彻底摆脱院体工整妍巧的写生风格，以萧散简逸为宗，充分体现了赵孟頫以书法入画的艺术主张。但总体来看，元代花鸟画的气格是宁静、沉着和庄严的，既不变形又不放纵，体现了“法不逾矩”的特点。活跃于元代中后期的王渊是继承北宋院画的代表画家。",[23,119,24,25,152,83,27,7,1416,185,186,167,170,641,89],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7466780a1e6d1a39bd28e7e52a2208b0.jpg","纵175.7cm，横110.1cm",[35,112],{"id":5068,"slug":5069,"title":5070,"dynasty":18,"author":1209,"museum":135,"description":1508,"tags":5071,"thumbUrl":5072,"material":275,"size":276,"collection":52,"collections":5073,"showCount":5074,"zanCount":39,"manualWeight":39,"mainColor":40},289648,"ju-hua-tu-li-zhou-wu-chang-shuo-289648","菊花图立轴",[23,24,25,152,27,7,517,186,68,31,1802],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17b0b195545b21cb0c63067b6bbe12e1.jpg",[],119,{"id":5076,"slug":5077,"title":5078,"dynasty":18,"author":530,"museum":135,"description":1352,"tags":5079,"thumbUrl":5080,"material":275,"size":276,"collection":52,"collections":5081,"showCount":5074,"zanCount":39,"manualWeight":39,"mainColor":40},283659,"he-fu-tu-zhou-zhu-da-283659","荷凫图轴",[23,106,24,152,64,7,49,186,167,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66c68a231a7e3a42dd7d6c86993a9c7f.jpg",[],{"id":5083,"slug":5084,"title":5085,"dynasty":60,"author":1681,"museum":368,"description":5086,"tags":5087,"thumbUrl":5089,"material":109,"size":52,"collection":35,"collections":5090,"showCount":5074,"zanCount":5,"manualWeight":39,"mainColor":159},219005,"shou-zhu-heng-chun-tu-lv-ji-219005","寿祝恒春图","该场景描绘了一对公鸡和母鸡在一个有花有竹的郁郁葱葱的院子里。这幅画被认为是吕纪的作品，但除了鸡群与蓝山鹊很像吕纪的笔触外，湖石和花竹都与吕纪无关，印记也不是真的。然而，画家的作品是如此深刻，以至于可以作为边景昭画派的作品来欣赏。",[23,24,25,7,83,27,152,185,1416,5088,170,90],"雏鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa63c8c7a0ec2a692f833b7185730dd23.jpg",[35,112],{"id":5092,"slug":5093,"title":5094,"dynasty":60,"author":1681,"museum":45,"description":2766,"tags":5095,"thumbUrl":5096,"material":109,"size":5097,"collection":35,"collections":5098,"showCount":5074,"zanCount":800,"manualWeight":39,"mainColor":159},218920,"fu-rong-shuang-yan-tu-lv-ji-218920","芙蓉双雁图",[23,24,106,83,27,7,291,1854,808,67,228,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac8fb431edd8bf3e6cbb2221cc53cd04.jpg","114x52cm",[35],{"id":5100,"slug":5101,"title":5102,"dynasty":60,"author":1864,"museum":251,"description":5103,"tags":5104,"thumbUrl":5105,"material":27,"size":5106,"collection":35,"collections":5107,"showCount":5074,"zanCount":800,"manualWeight":39,"mainColor":40},216097,"qiang-wei-shan-mian-lu-zhi-216097","蔷薇扇面","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。",[23,661,24,27,7,29,3308,66,31,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b8d7a219ff7f6c557ee6210e2bc55f4.jpg","15.9x49cm",[35],{"id":5109,"slug":5110,"title":5111,"dynasty":18,"author":1475,"museum":135,"description":5112,"tags":5113,"thumbUrl":5114,"material":52,"size":52,"collection":52,"collections":5115,"showCount":5116,"zanCount":39,"manualWeight":39,"mainColor":40},224363,"fu-gui-bai-tou-tu-ju-lian-224363","富贵白头图","《富贵白头图》为光绪十三年（公元1887年）居廉晚年之作。\n此时居廉画风已完全成熟，因此其艺术追求和体格特点在这幅画作中有充分的体现。\n收藏于 。\n《富贵白头图》为纸本，设色，纵12.1厘米，横74.82厘米，收藏于 。\n图中所绘牡丹艳放，在春风中姹紫嫣红，争奇斗妍，引得蜜蜂、蝴蝶在花间流连嬉戏，石上停息着一双白头翁鸟，神态娴静，与喧闹的蜂蝶相映成趣。\n湖石坚实厚重，衬出花卉的秀美。\n图中偏右一侧一块硕大而玲珑剔透的太湖石兀然而立，湖石的周围一丛盛开的牡丹，姹紫嫣红，争奇斗艳，或低首沉吟，或迎风怒放，引来一群蜜蜂、彩蝶在花丛之中追逐嬉戏，流连忘返，给人一种明媚而又温暖的春天气息。\n在湖石的上端栖停着一对白头翁鸟，一俯一仰，怡然自得，与上下翻飞，喧闹不已的蜂蝶，一动一静，相映成趣，美不胜收。\n该画鸟、蜂、蝶以工笔重彩画出，形态生动。\n花朵的红色、粉色、黄色晕染，非常写实。\n敷以深浅绿叶，以浓墨和红色勾筋。\n线条圆润饱满，叶片清秀洒脱，疏密有致；设色浓淡相依，明丽艳秀。\n而花中奇石用积墨与淡墨晕染相结合绘出，素雅动人。\n在绘画技法上，整幅画作的格调极为工致，造型准确，赋色艳丽，然而却又没有丝毫单滞、艳俗之感，可算得是居氏画作中的精品。\n（1828-194），字古泉，自号隔老人，广西桂林人，占籍广东番禹（今广州），居巢之堂弟。\n善画花鸟、草虫及人物，尤以写生见长。\n初学宋光宝及孟丽堂，亦得恽南田遗意，后吸收诸家之长，自成一体。\n笔法工整，设色妍丽，在继承和发展恽南没骨画法的基础上，创造出撞水法和撞粉法，为岭南派的重要奠基人之一，“二高一陈”皆出自其门下。\n《富贵白头图》自识“丁亥”，应为光绪十三年，也即公元1887年，乃其晚年之笔。\n此时居廉画风已完全成熟，因此其艺术追求和体格特点在这幅画作中有充分的体现。",[23,24,25,152,83,27,7,107,1558,214,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F575773c294369c3e892af56386f46796.jpg",[],118,{"id":5118,"slug":5119,"title":5120,"dynasty":18,"author":164,"museum":45,"description":3736,"tags":5121,"thumbUrl":5127,"material":822,"size":5128,"collection":35,"collections":5129,"showCount":5116,"zanCount":1398,"manualWeight":39,"mainColor":40},223163,"bai-niao-chao-feng-qian-bu-fen-shen-quan-223163","百鸟朝凤（前部分）",[23,24,82,83,27,7,5122,172,2845,91,167,89,321,107,5123,3006,90,1393,5124,5125,5126],"百鸟","翠竹","繁花","祥和","四季景色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6000dd4bebda5da888f414ac55bd6c91.jpg","纵40厘米，横1600厘米",[35,112],{"id":5131,"slug":5132,"title":5133,"dynasty":18,"author":1475,"museum":79,"description":5134,"tags":5135,"thumbUrl":5137,"material":33,"size":1480,"collection":52,"collections":5138,"showCount":5116,"zanCount":1398,"manualWeight":39,"mainColor":40},220334,"cao-chong-hua-hui-hu-shi-si-ping-xiu-qiu-ju-lian-220334","草虫花卉湖石四屏-绣球","这四屏分写牡丹、凌霄、绣球、紫薇等时卉，并配以湖石、蜂、蝶、知了、螳螂。于精密写实之外，饶富没骨花卉清新典丽的特质，虽因重装颜色稍褪，犹可清晰得见居氏惯采的撞水与撞粉画技，笔法工整，设色妍丽，让人赏心悦目。",[23,24,25,7,152,83,27,4191,214,5136],"湖石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F245a38d04b5ce9f9c1b46c5c7acdf76a.jpg",[],{"id":5140,"slug":5141,"title":5142,"dynasty":60,"author":196,"museum":45,"description":5143,"tags":5144,"thumbUrl":5145,"material":109,"size":5146,"collection":35,"collections":5147,"showCount":5116,"zanCount":39,"manualWeight":39,"mainColor":159},216673,"mei-hua-xiao-niao-tu-yi-ming-216673","梅花小鸟图","梅花小鸟图是明朝时期的一幅著名图画，作者佚名。这幅图画描绘了一只小鸟停在一棵梅花树上，周围是一片茂密的树林。图画中使用了精致的线条和细腻的色彩，捕捉了小鸟和树林的美妙景象。这幅图画被认为是明朝时期图画艺术的杰作，具有极高的艺术价值。",[24,25,661,27,83,7,436,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef71e1b2dede42b0a2dc0768e23aa09f.jpg","24.5x25cm",[35],{"id":5149,"slug":5150,"title":5151,"dynasty":18,"author":5152,"museum":251,"description":5153,"tags":5154,"thumbUrl":5155,"material":412,"size":52,"collection":35,"collections":5156,"showCount":5157,"zanCount":39,"manualWeight":39,"mainColor":40},237156,"zi-wei-gui-hua-tu-zhou-yun-huai-e-237156","紫薇桂花图轴","恽怀娥","恽怀娥为恽源濬长女，字纫兰，善画花卉， 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的风格。",[24,152,27,7,1478,505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6298096c9a83f2e4e2d26c8c1da3a71f.jpg",[35],117,{"id":5159,"slug":5160,"title":5161,"dynasty":195,"author":196,"museum":79,"description":5162,"tags":5163,"thumbUrl":5165,"material":109,"size":5166,"collection":35,"collections":5167,"showCount":5157,"zanCount":1398,"manualWeight":39,"mainColor":40},216598,"xiu-huang-quan-hua-hua-niao-ce-1-yi-ming-216598","绣黄筌画花鸟册-1","绣线摹写黄筌笔意，工致入微。禽鸟翎羽以细针密缕铺陈，绒光流转间似含振翅之态；喙爪纹理清晰，两两相顾的闲趣跃然绢上。花草茎脉如丝，花瓣晕染若初绽，嫩黄与绯红相映，衬出枝叶的翠色层次。石矶以淡墨绣线勾勒，朴拙中见古雅。整幅绣品将宋画的清隽风骨凝于针下，每一处细节皆藏巧思——无论是禽鸟的灵动神情，还是草木的自然生机，都在方寸间流转，尽显宋代绣艺摹古传真的妙境与对自然意趣的细腻捕捉。",[195,5164,27,7,1416,226,186,808,26,83],"绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb50574abd884824c93c805bfc865464.jpg","23.1x21.1cm",[35],{"id":5169,"slug":5170,"title":5171,"dynasty":18,"author":237,"museum":79,"description":238,"tags":5172,"thumbUrl":5173,"material":33,"size":52,"collection":52,"collections":5174,"showCount":5157,"zanCount":39,"manualWeight":39,"mainColor":40},214855,"xie-sheng-ce-9-hua-yan-214855","写生册-9",[24,25,26,27,7,65,185,1557],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F368bbeff93155c53a4c9aede55749065.jpg",[],{"id":5176,"slug":5177,"title":5178,"dynasty":148,"author":1929,"museum":135,"description":5179,"tags":5180,"thumbUrl":5181,"material":275,"size":276,"collection":52,"collections":5182,"showCount":5183,"zanCount":1398,"manualWeight":39,"mainColor":159},290143,"yao-miao-san-tu-tu-huang-ju-cai-290143","药苗三兔图","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。",[24,106,82,83,27,7,1189,167,29,31,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb438f57aef3d2f318cc466e59d223e48.jpg",[],116,{"id":5185,"slug":5186,"title":5187,"dynasty":18,"author":530,"museum":135,"description":5188,"tags":5189,"thumbUrl":5191,"material":52,"size":52,"collection":52,"collections":5192,"showCount":5183,"zanCount":39,"manualWeight":39,"mainColor":40},230279,"yang-liu-yu-qin-tu-zhou-zhu-da-230279","杨柳浴禽图轴","《朱耷杨柳浴禽图轴》是清代朱耷创作的一幅画。\n本幅自识：“癸未冬日写，八大山人。\n”钤“八大山人”、“何园”、“真赏”印。\n“癸未”是康熙四十二年（17年）。\n鉴 ：“白门李氏珍藏”、“米舫平生之真赏”。\n裱边有狄平子题记二则，钤“狄平子”印等。\n此图是朱耷8岁所作。\n风烛残年的他面对清政权日益巩固，明王朝复辟无望的局面，愤世嫉俗的情结逐渐变成无奈的失望。\n此时他的绘画作品多表现出一种痛定思痛的空寂和宁静。\n图中杨柳以力透纸背的功力展示，墨气干湿浓淡尽在变化之中。\n八哥以软毫笔表现，中锋运转，笔笔凝重沉着，生动地刻画出八哥专注剔羽的神形体态。",[23,24,25,152,64,399,7,186,5190,167,68],"杨柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F919edce87f0eaaf6b6bab59b57d7634d.jpg",[],{"id":5194,"slug":5195,"title":5196,"dynasty":18,"author":5197,"museum":251,"description":5198,"tags":5199,"thumbUrl":5200,"material":33,"size":5201,"collection":35,"collections":5202,"showCount":5183,"zanCount":5,"manualWeight":39,"mainColor":40},219285,"tao-liu-shuang-yan-tu-ren-xiong-219285","桃柳双燕图","任熊","杨柳青青随风摇曳，桃花几株隐现其中，枝头上两只燕子正欢快地嬉戏。画家巧妙地通过弯曲的柳条和燕子的上下飞舞增加了画面的动感，暗示出轻拂花柳的春风。画面风貌写实，设色明丽，色彩对比柔和，桃花在柳条间若隐若现，成为画面中最明丽的亮点，可见画家在色彩运用上的娴熟技艺。",[23,24,27,7,152,123,1333,3584],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50f133d7080974e75316cc983e4b2b15.jpg","纵140.7厘米，横32.7厘米",[35],{"id":5204,"slug":5205,"title":5206,"dynasty":195,"author":196,"museum":45,"description":5207,"tags":5208,"thumbUrl":5210,"material":109,"size":52,"collection":35,"collections":5211,"showCount":5183,"zanCount":1398,"manualWeight":39,"mainColor":159},218950,"cao-chong-tu-yi-ming-218950","草虫图","藤蔓如蚓，蜿蜒牵惹着几片翠叶与明黄的花，柔劲的线条里藏着自然的生趣。笼栅细劲，圈住一只草虫——翅翼的纹理纤毫毕现，触须轻颤似在嗅闻叶间清香，敛足欲跃的姿态，让静穆画面漫出一丝灵动。绢本的古褐底色如陈年书卷，淡绿与嫩黄的晕染，似将春日温煦凝在绢上。\n\n宋人画草虫向来重写实却不泥于形，这帧小品无浓墨喧阗，只有对生命细微处的温柔体察：藤蔓卷舒、花叶轻颤、草虫意态，都藏着文人案头的闲雅时光。风过叶隙时，仿佛能听见那若有若无的虫鸣，漫溢出清宁的田园况味，古雅的色调里，沉淀着时光的温煦与悠然。",[23,24,83,27,7,213,227,228,631,5209],"虫笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fd768168c81591ad3b140352772d501.jpg",[35,202],{"id":5213,"slug":5214,"title":5215,"dynasty":18,"author":237,"museum":79,"description":238,"tags":5216,"thumbUrl":5217,"material":33,"size":52,"collection":52,"collections":5218,"showCount":5183,"zanCount":1398,"manualWeight":39,"mainColor":40},214837,"xie-sheng-ce-23-hua-yan-214837","写生册-23",[24,25,26,83,64,27,7,65,455],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F554a2a03ccf067e9257790a3edcb8044.jpg",[],{"id":5220,"slug":5221,"title":5222,"dynasty":195,"author":5001,"museum":135,"description":5223,"tags":5224,"thumbUrl":5225,"material":275,"size":276,"collection":52,"collections":5226,"showCount":5227,"zanCount":39,"manualWeight":39,"mainColor":40},289110,"zhu-jiu-tu-li-an-zhong-289110","竹鸠图","李安忠，南宋画家。钱塘（今浙江杭州）人，生卒年不详。宋徽宗宣和（1119-1125）时为画院祗候，历官成忠郎。南渡后绍兴（1131-1162）间复职画院，赐金带。",[106,24,661,7,83,27,167,185,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbf7aff72457c41858438cb9ffdc6b09.jpg",[],115,{"id":5229,"slug":5230,"title":756,"dynasty":18,"author":19,"museum":135,"description":272,"tags":5231,"thumbUrl":5232,"material":275,"size":276,"collection":52,"collections":5233,"showCount":5227,"zanCount":1398,"manualWeight":39,"mainColor":40},235082,"yun-shou-ping-hua-hui-ce-yun-shou-ping-235082",[24,25,26,27,28,569,68,7,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18f6cfe7b0c9fd846a94eda0dfacb50e.jpg",[],{"id":5235,"slug":5236,"title":5237,"dynasty":195,"author":196,"museum":251,"description":5238,"tags":5239,"thumbUrl":5240,"material":1595,"size":5241,"collection":52,"collections":5242,"showCount":5227,"zanCount":1398,"manualWeight":39,"mainColor":159},233199,"bai-tou-cong-zhu-tu-ye-yi-ming-233199","白头丛竹图页","图绘小竹数竿，清翠嫩绿，两只白头鹎栖于枝头，一只低头梳理羽毛，一只遥视前方。竹用双钩填彩画法，笔墨缜密严谨，色调沉着。山雀用淡彩层层晕染，再以尖毫细笔绘出绒羽，刻画准确，富有毛绒的质感。",[24,106,25,661,83,27,7,185,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e20b9236c841784d4114a5d6f05f27.jpg","纵25.4厘米，横28.9厘米",[],{"id":5244,"slug":5245,"title":3057,"dynasty":18,"author":196,"museum":45,"description":5246,"tags":5247,"thumbUrl":5248,"material":109,"size":5249,"collection":35,"collections":5250,"showCount":5227,"zanCount":39,"manualWeight":39,"mainColor":159},216675,"zhu-que-tu-yi-ming-216675","竹雀图是一幅出自清朝佚名画家之手的名画。这幅画描绘了一只竹雀和一些竹子的景象。竹雀图以其细腻的线条和精确的造型而闻名，代表了清朝时期中国画的高超技艺。此外，竹雀图还被认为是一幅充满寓意的画作，象征着含蓄、谦虚和高尚的品质。",[24,25,152,27,83,7,185,65,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5af219407ce773a050075d6ae42b557d.jpg","128x29cm",[35],{"id":5252,"slug":5253,"title":5254,"dynasty":60,"author":1037,"museum":135,"description":5255,"tags":5256,"thumbUrl":5257,"material":52,"size":52,"collection":52,"collections":5258,"showCount":5259,"zanCount":1398,"manualWeight":39,"mainColor":40},228760,"shi-er-mo-hua-shi-hua-tu-juan-xu-wei-228760","十二墨花诗画图卷","此作用淋漓水墨写尽草木风神，以书入画，笔锋纵恣老辣。长卷铺展，一花一诗相生相融，浓墨泼洒见花枝繁盛，淡墨勾勒显枝叶清灵，干湿浓淡间，四时花木的野逸之态跃然纸上。\n逸笔草草不拘形似，却将花木的疏狂生机、清寂之姿尽数展露，以极简笔墨传递蓬勃意趣，将文人疏放心境寄情于一花一叶，笔墨间满是狂放不羁的风骨，尽显大写意水墨的写意真髓。",[23,24,25,82,64,399,68,569,436,254,185,517,467,107,518,291,286,186,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80ebde713ecf78a9dd05b8f4040f76c2.jpg",[],114,{"id":5261,"slug":5262,"title":5263,"dynasty":195,"author":464,"museum":135,"description":5264,"tags":5265,"thumbUrl":5266,"material":52,"size":52,"collection":52,"collections":5267,"showCount":5259,"zanCount":39,"manualWeight":39,"mainColor":159},227964,"pi-pa-xiu-yan-tu-tuan-shan-ye-wu-bing-227964","枇杷绣眼图团扇页","画面中枇杷垂枝，圆实饱满的果子晕染出暖黄熟色，果皮绒毛似可触感，叶片正反层次分明，筋脉勾勒细致，一片残叶添了自然错落的意趣。绣眼鸟栖于枝桠，墨绿羽色莹润光泽，身形小巧灵动，垂首望向满枝鲜果，将禽鸟的娇憨馋态刻画入微。\n\n整幅工笔细腻写实，设色雅致柔和，疏密构图恰到好处，静美的果枝与鲜活的禽鸟相映，定格了初夏果熟禽来的清逸小景，把藏在日常里的诗意娓娓道来，淡而愈真，静中生趣。",[661,83,27,7,556,167,24,106,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7715eb3815a372e3b5e1f25007e64c6c.jpg",[],{"id":5269,"slug":5270,"title":5271,"dynasty":148,"author":1929,"museum":135,"description":5272,"tags":5273,"thumbUrl":5274,"material":52,"size":52,"collection":52,"collections":5275,"showCount":5259,"zanCount":5,"manualWeight":39,"mainColor":40},227547,"shi-liu-tu-ye-huang-ju-cai-227547","石榴图页","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。擅绘花竹禽鸟，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。",[23,106,24,25,26,27,83,7,570,66,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3694de77f1763de9903d1d4aa0cf2982.jpg",[],{"id":5277,"slug":5278,"title":5279,"dynasty":60,"author":1681,"museum":1535,"description":5280,"tags":5281,"thumbUrl":5282,"material":1595,"size":5283,"collection":35,"collections":5284,"showCount":5259,"zanCount":1398,"manualWeight":39,"mainColor":159},222401,"shi-tou-e-tu-lv-ji-222401","狮头鹅图","该画作工笔设色绘白鹅踱步于梅树之下，树干古拙，花蕾点点，侧有玲珑剔透的太湖石，石旁花卉丛生。鹅身用笔轻柔，赋色细腻。左上角有吕纪单款，并钤印章。该作品无论在画幅尺寸还是构图气势上都给人一种“大”的感觉，让人在百步之外都能感受到一种强烈的艺术气息。",[23,24,25,83,27,7,436,3469],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46ef3147a069d98f929795d817ad87ed.jpg","纵191厘米，横104厘米",[35,112],{"id":5286,"slug":5287,"title":5288,"dynasty":60,"author":1681,"museum":818,"description":5289,"tags":5290,"thumbUrl":5291,"material":822,"size":5292,"collection":52,"collections":5293,"showCount":5259,"zanCount":1398,"manualWeight":39,"mainColor":159},222394,"si-ji-hua-niao-tu-qiu-lv-ji-222394","四季花鸟图-秋","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。",[23,24,83,27,7,168,215,3390,167,107,451],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1873779d421c2c6c0dad9edf14f98573.jpg","176.0×100.8",[],{"id":5295,"slug":5296,"title":5297,"dynasty":60,"author":1661,"museum":5298,"description":5299,"tags":5300,"thumbUrl":5301,"material":1595,"size":5302,"collection":35,"collections":5303,"showCount":5259,"zanCount":800,"manualWeight":39,"mainColor":159},221940,"bai-he-tu-juan-bian-wen-jin-221940","百鹤图卷","四川省博物馆","此图笔墨精炼，色调明快，绘白鹤近百只，皆丹顶白毛黑尾长腿，或空中盘旋、或水中嬉戏、或伏地栖息、或飞鸣啄食、或舒翼理毛……神态各异，莫不栩栩如生，各臻其妙。鹤群栖息之处鲜花绽放、松树遒劲、水流奔腾、湖石耸立，群鹤和睦，情景融融。",[23,24,82,83,27,7,171,3460,123,90,89,167,1390],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb94bd1c5f39208d59af0aa9219a8508f.jpg","25.4*241.33cm",[35,112],{"id":5305,"slug":5306,"title":5307,"dynasty":18,"author":19,"museum":20,"description":5308,"tags":5309,"thumbUrl":5310,"material":109,"size":1053,"collection":52,"collections":5311,"showCount":5259,"zanCount":800,"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。",[24,106,25,26,28,27,7,29,67,228,31,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff19bf3a15b42d07ec373376a6522b8c.jpg",[],{"id":5313,"slug":5314,"title":5315,"dynasty":60,"author":1261,"museum":135,"description":3014,"tags":5316,"thumbUrl":5317,"material":275,"size":276,"collection":52,"collections":5318,"showCount":5319,"zanCount":800,"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",[23,106,24,82,27,83,7,436,467,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9376170452f4611e36c408f82f4d059d.jpg",[],113,{"id":5321,"slug":5322,"title":5323,"dynasty":18,"author":5324,"museum":135,"description":5325,"tags":5326,"thumbUrl":5327,"material":275,"size":276,"collection":52,"collections":5328,"showCount":5319,"zanCount":800,"manualWeight":39,"mainColor":40},239093,"he-hua-shui-niao-zhou-zhu-cheng-239093","荷花水鸟轴","朱偁","朱偁[清]（1826—1900，一作1826—1899）清代画家，早岁名琛，后更今名，字梦庐，号觉未，浙江嘉兴人。",[24,27,7,152,64,49,1950,50,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46322f421f14030edbe6883250880f4a.jpg",[],{"id":5330,"slug":5331,"title":5332,"dynasty":18,"author":5333,"museum":135,"description":5334,"tags":5335,"thumbUrl":5336,"material":52,"size":52,"collection":35,"collections":5337,"showCount":5319,"zanCount":800,"manualWeight":39,"mainColor":40},238193,"wan-shou-chang-chun-ce-wang-cheng-pei-238193","万寿长春册","汪承霈","汪承霈（？－1805），清朝大臣。字受时，一字春农，号时斋，别号蕉雪，汪由敦之子，浙江钱塘人，原籍安徽休宁。由敦既卒，丧终，承霈以赐祭葬入谢。傅恒为言承霈书类由敦，授兵部主事，充军机处章京。累迁郎中，除福建邵武知府。时母年八十，请军机大臣为陈情，留京供职，复补户部郎中。三十六年，师讨小金川，上命户部侍郎桂林出督饷，以承霈从。三十七年，阿尔泰、宋元俊劾桂林以金与土酋赎所掠军士，辞连承霈，命逮治。俄，事白，仍以郎中充军机处章京。累迁工部右侍郎。甘肃冒赈事发，部议凡在甘肃纳捐监生，应禁革毋许应试，及自别途出身。承霈奏人数甚多，乞开自新之路，令纳金如例，许考试及自别途出身，得旨俞允。四十年，上校射，承霈连发中的，赏花翎。调户部右侍郎。五十四年，坐监临顺天乡试失察，左迁通政使。累迁复至侍郎。",[24,27,83,7,107,186,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f9204c9b628002d3a076dd544d5ad19.jpg",[35,112],{"id":5339,"slug":5340,"title":5341,"dynasty":18,"author":381,"museum":135,"description":5342,"tags":5343,"thumbUrl":5346,"material":1595,"size":5347,"collection":35,"collections":5348,"showCount":5319,"zanCount":39,"manualWeight":39,"mainColor":40},234983,"hua-hui-ling-mao-ping-ren-yi-234983","花卉翎毛屏","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。",[24,27,7,152,83,1736,29,5344,5345],"棕榈","枝蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd890e2f692a2d99201f17f205a6278b8.jpg","149 x 61 cm",[35,112],{"id":5350,"slug":5351,"title":5352,"dynasty":18,"author":1475,"museum":135,"description":5353,"tags":5354,"thumbUrl":5355,"material":52,"size":52,"collection":52,"collections":5356,"showCount":5319,"zanCount":39,"manualWeight":39,"mainColor":40},224368,"hua-hui-qi-shi-ce-ju-lian-224368","花卉奇石册","此作为没骨小品，以太湖石为画面中心，嶙峋通透，以淡墨晕染出石体质感，皴擦兼具，灵秀古雅。两侧折枝柔花轻绽，粉紫花瓣晕染柔美，枝叶敷色妍润鲜活。石上驻足的星天牛刻画精微，鞘翅斑纹清晰如生，将草野清趣暗藏其间。右下角苔草细劲，淡色点染出苔藓苍润，和奇石花木相映成趣。整体设色明丽秀雅，笔致温婉细腻，生机澹然，将花间小景的意趣尽皆呈于尺幅之中，清隽动人。",[23,24,25,26,83,27,7,29,877,242,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10bdde0deaa416907df62737b1070ff1.jpg",[],{"id":5358,"slug":5359,"title":5360,"dynasty":60,"author":1681,"museum":624,"description":5361,"tags":5362,"thumbUrl":5364,"material":822,"size":5365,"collection":35,"collections":5366,"showCount":5319,"zanCount":39,"manualWeight":39,"mainColor":159},222402,"xue-mei-ji-qin-tu-li-zhou-lv-ji-222402","雪梅集禽图立轴","吕纪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。",[23,24,25,152,83,27,7,436,807,5363,90],"雪梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14e407cc061f6c00f1c4b4a682ce1be3.jpg","192cmx110cm",[35,112],{"id":5368,"slug":5369,"title":5370,"dynasty":195,"author":305,"museum":818,"description":5371,"tags":5372,"thumbUrl":5373,"material":5374,"size":5375,"collection":202,"collections":5376,"showCount":5319,"zanCount":5,"manualWeight":39,"mainColor":159},221298,"zhu-chong-tu-zhou-zhao-chang-221298","竹虫图轴","此图画幽篁疏影，双钩填彩，以色之而飞，又绘天牛、螽蜥，无不刻画入微，瓜赞，相阿弥题签，天室和尚题跋。浓淡来显叶之向背、竿之盘曲。枝叶饱满， 叶果实又仿效徐崇嗣的“没骨”画法。设姿态多样。另有花卉野瓜、蝴蝶蜻蜓萦绕 色浓丽而又不隐墨骨。",[23,106,24,25,152,83,27,7,185,214,293,226,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3caf6fb1a56d046b3a504e74b2fa9ef8.jpg","轴，绢本设色","纵99 4厘米，横54 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247.7cm",[],{"id":5585,"slug":5586,"title":5587,"dynasty":119,"author":196,"museum":135,"description":5588,"tags":5589,"thumbUrl":5590,"material":52,"size":52,"collection":52,"collections":5591,"showCount":5552,"zanCount":1398,"manualWeight":39,"mainColor":159},228168,"fang-qian-xuan-hua-niao-hua-yi-ming-228168","仿钱选花鸟画","画面取春日一角，海棠柔枝斜出，白花轻绽，晕染出温润秀雅的底色。两只禽鸟动静相映，一只伫立于高枝，羽色晕染细腻柔和，神态悠然自若；另一只俯身枝桠，似在啄弄新蕊，灵动尽显。右上角飞虫轻掠，更添鲜活生趣。\n\n整幅设色浅淡清丽，勾勒线条柔婉精细，尽得原作花鸟古雅秀润之韵，将春日林禽的恬然意趣收于尺幅之间，笔墨雅致内敛，闲静雅致的小景里，藏着春日最动人的温柔生机。",[23,24,106,25,2730,83,27,7,65,226,452,228,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e0e41ae4620431cb6be12a31d46f40a.jpg",[],{"id":5593,"slug":5594,"title":5595,"dynasty":195,"author":5001,"museum":135,"description":5596,"tags":5597,"thumbUrl":5598,"material":52,"size":52,"collection":52,"collections":5599,"showCount":5552,"zanCount":593,"manualWeight":39,"mainColor":40},227939,"qing-chun-die-xi-tu-li-an-zhong-227939","晴春蝶戏图","《宋李安忠晴春蝶戏图》是南宋画家李安忠所创作的一幅设色扇面画，藏于 。\n此图中绘体态雍容华丽的 、娇小素净的 等 15只和 1只，或平展双翼，或振翅飞舞，在明媚的春光下宛若俏丽的花团漫天绽放，形象生动地体现出“蝶戏”的创作主题。\n《宋李安忠晴春蝶戏图》本幅无款识。\n钤半印一方，印文模糊不辨。\n原载《四朝选藻图》册，旧签题“ 作”。\n裱边钤“ ”、“ ”。\n对幅有清乾隆御题七言诗一首：“蝡肖翘高复低，春园风物已昌兮。\n宣和画院曾经试，何未明拈逐马蹄”。\n钤“八征耄念之宝”、“自强不息” 等印。\n在蜂、蝶的塑造上，勾勒与渲染浑然一体，先以极细而淡的线条勾勒轮廓，然后再“随类赋彩”，或以粉白、土黄多层积色，或在墨线中填重彩，晕染工细而色泽丰富，展现出蛱蝶翅翼的绚烂之美。\n李安忠，生卒年不详，南宋画家，钱塘人。\n宋徽宗宣和年间为画院祗候，授成忠郎，南渡后绍兴年间复职。\n工花鸟走兽，尤长于“捉勒”（鹰鹘之类），得其搏攫惊避之状。\n传世作品有《晴春蝶戏图》《鹑图》等。",[23,106,24,25,661,83,27,7,214,68,31,569],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf555e4c587bc0c91770957ec2a1b1b4.jpg",[],{"id":5601,"slug":5602,"title":5603,"dynasty":119,"author":196,"museum":79,"description":5604,"tags":5605,"thumbUrl":5606,"material":109,"size":5607,"collection":35,"collections":5608,"showCount":5552,"zanCount":5,"manualWeight":39,"mainColor":159},219956,"fu-rong-hua-ya-tu-yi-ming-219956","芙蓉花鸭图","画面取境清寂悠然，芙蓉从左畔斜逸而上，莹白花头晕染出柔润娇嫩，墨色叶片苍劲厚重，明暗间衬出花之柔媚与枝叶的朴拙苍润。池沼间两只水鸭亲昵相依，以细笔丝毛刻画翎羽，浓淡墨色晕出绒羽蓬松质感，憨态毕现。浅绿点染浮萍水波，愈发衬出水畔安闲静谧。\n\n工写兼融，设色秀雅沉稳，将花木的柔、禽鸟的憨静交织一处，把秋日池隅的悠然意韵定格绢素，内敛雅致中藏着鲜活生趣，尽显花鸟小品的隽永意境。",[106,24,25,152,83,822,7,291,451,450,29,2188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d272febbf98aa5b9a5dc38399cd4a67.jpg","119.3x45.8",[35],{"id":5610,"slug":5611,"title":5612,"dynasty":18,"author":19,"museum":20,"description":5613,"tags":5614,"thumbUrl":5615,"material":109,"size":1053,"collection":52,"collections":5616,"showCount":5552,"zanCount":800,"manualWeight":39,"mainColor":40},219819,"hua-hui-shi-kai-4-yun-shou-ping-219819","花卉十开-4","此作以没骨法绘就杜鹃，枝桠舒展错落，艳红杜鹃次第绽放在绢素之上。花瓣以色晕染，从浓烈朱红渐过渡到柔粉，边缘轻透灵动，将盛放时的娇柔鲜活尽数呈现。叶片敷色层次分明，苍嫩绿意与丹红花瓣相映，鲜活雅致。\n右上角题诗与绘面呼应，诗画交融，将杜鹃含露待放的山野清灵勾勒入心。整作不用墨骨，纯以色彩塑形晕染，尽显清雅文人意趣，把春日杜鹃的生机定格，静谧间满溢草木蓬勃灵气，藏着笔下花木写意的雅致情致。",[24,25,26,27,28,7,29,4453,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd845887bc2884d5aced37e1e46e150a4.jpg",[],{"id":5618,"slug":5619,"title":5620,"dynasty":195,"author":1413,"museum":79,"description":5621,"tags":5622,"thumbUrl":5623,"material":109,"size":5624,"collection":35,"collections":5625,"showCount":5552,"zanCount":39,"manualWeight":39,"mainColor":159},219243,"la-mei-shan-qin-tu-zhao-ji-219243","蜡梅山禽图","画中有蜡梅一枝，自右下方向左上方挺生，枝细瘦，却用双线勾成，并略加晕染，勾出结节。蜡梅花用勾线填色法画成，疏朗地缀于枝头。一对白头翁安逸地栖于枝上，形态各异，用笔精炼准确，形象生动。",[23,24,25,152,83,27,7,436,807,518,68,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e78e323c8fc6210fddf024e14353a71.jpg","纵83.3横53.3厘米",[35,202,112],{"id":5627,"slug":5628,"title":5629,"dynasty":18,"author":530,"museum":135,"description":1352,"tags":5630,"thumbUrl":5631,"material":275,"size":276,"collection":52,"collections":5632,"showCount":5633,"zanCount":39,"manualWeight":39,"mainColor":40},283660,"gu-bai-shuang-qin-tu-zhou-zhu-da-283660","古柏双禽图轴",[23,24,106,152,64,7,1951,167,186,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0311e7b30ddf2cabaf3bd0c4bbc710bd.jpg",[],107,{"id":5635,"slug":5636,"title":5637,"dynasty":60,"author":1261,"museum":135,"description":5638,"tags":5639,"thumbUrl":5640,"material":52,"size":52,"collection":35,"collections":5641,"showCount":5633,"zanCount":39,"manualWeight":39,"mainColor":40},236454,"mei-cha-yuan-yang-zhou-zhou-zhi-mian-236454","梅茶鸳鸯轴","周之冕（生卒年不详），“活跃与嘉靖、万历年间”（据《式古堂书画汇考》卷三十七中所载《周复卿小斋雅致图》中署年“万历甲戌（1574）八月朔”，可将之生卒年具体只嘉靖、万历间。）字服卿，号少谷，长洲(今江苏苏州)人。专擅花鸟画，家中饲养禽鸟，以求在画中得其神韵和形态。花卉则采陈淳、陆治之长，兼工带写，设色鲜妍，自成一家。周之冕与同时代的苏州画家们开创了勾花点叶派，在花鸟画坛上影响了明末及清代的笔墨风格。",[24,25,152,27,7,436,199,1110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24f8f5cd312ad0f599e1c1adbc8ba6c3.jpg",[35,112,5642],"书法精选",{"id":5644,"slug":5645,"title":756,"dynasty":18,"author":19,"museum":135,"description":272,"tags":5646,"thumbUrl":5647,"material":275,"size":276,"collection":52,"collections":5648,"showCount":5633,"zanCount":1398,"manualWeight":39,"mainColor":40},235083,"yun-shou-ping-hua-hui-ce-yun-shou-ping-235083",[106,24,25,26,27,28,7,29,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd080a0982598eaf4d529200e5e92e27c.jpg",[],{"id":5650,"slug":5651,"title":5652,"dynasty":18,"author":5653,"museum":135,"description":5654,"tags":5655,"thumbUrl":5656,"material":52,"size":52,"collection":52,"collections":5657,"showCount":5633,"zanCount":1398,"manualWeight":39,"mainColor":40},234589,"hai-tang-wan-shan-zhang-zhao-xiang-234589","海棠纨扇","张兆祥","张兆祥(1852年-1908年),，画家， 字和庵。天津人。师从孟绣村，多才多艺，通晓西洋照相技法和诗文书画，尤擅写生，画花鸟，并吸收郎世宁西洋画法，开一代画坛新风，自成一派。其作品传世甚少，尤为宝贵。藏于天津市艺术博物馆的《石榴花》，色彩浓艳，风姿绝伦，堪称珍品。其弟子陆文郁等人也在画坛名噪一时。",[24,25,661,27,83,7,662,66,631],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4c0b8090cb60efc3ac11e58b2f23728.jpg",[],{"id":5659,"slug":5660,"title":5661,"dynasty":4397,"author":4398,"museum":5662,"description":5663,"tags":5664,"thumbUrl":5667,"material":5668,"size":5669,"collection":52,"collections":5670,"showCount":5633,"zanCount":39,"manualWeight":39,"mainColor":4082},231574,"mu-dan-he-jin-si-que-ge-shi-bei-zhai-231574","牡丹和金丝雀","美国国会图书馆","这幅《牡丹和金丝雀》就是十分典型的葛饰北斋晚期花鸟画。 画面以亮丽的深蓝色为背景，前面是四朵开放得十分热烈的粉色牡丹，中间的花蕊灵动嫩白，在周围绿色的花叶衬托下显得更加娇妍欲滴。葛饰北斋将俯冲向牡丹的金丝雀画在了中央。金丝雀张开双翅，羽翼丰满光滑，富有活力，与平日养在精美鸟笼中的金丝雀截然不同。\n葛饰北斋一直被称为日本美术史上最奇特、最有才气的画家之一。他自称“画狂人”，一生留下了大量的作品，创作一直持续到他90岁去世时的前三个月。他的才能不仅在人们熟悉的风景画领域，在读本插图、花鸟画，甚至《百物语》这种妖怪画等领域都有崭新的表现。他的很多画作都令人耳目一新，深受江户市民的欢迎。",[23,5665,5666,27,7,107,167],"浮世绘","木刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3363479890ca007e42afefe258fccd82.jpg","布面油画","19.2 x 17.4 cm",[],{"id":5672,"slug":5673,"title":5674,"dynasty":195,"author":305,"museum":135,"description":5675,"tags":5676,"thumbUrl":5677,"material":52,"size":52,"collection":52,"collections":5678,"showCount":5633,"zanCount":39,"manualWeight":39,"mainColor":159},227518,"mo-li-hua-tu-zhao-chang-227518","茉莉花图","赵昌（730—814），字洪祚，天水人。祖不器，父居贞，皆有名于时。李承昭为昭义节度，辟昌在幕府。贞元七年，为虔州刺史。属安南都护为夷獠所逐，拜安南都护，夷人率化。十年，因屋坏伤胫，恳疏乞还，以检校兵部郎中裴泰代之，入拜国子祭酒。及泰为首领所逐，德宗诏昌问状。昌时年七十二，而精健如少年者，德宗奇之，复命为都护，南人相贺。",[23,106,24,25,769,661,83,27,28,7,3107,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c26aa0a5bf06d8540629ecbc54cada7.jpg",[],{"id":5680,"slug":5681,"title":5682,"dynasty":18,"author":5683,"museum":624,"description":5684,"tags":5685,"thumbUrl":5686,"material":845,"size":5687,"collection":52,"collections":5688,"showCount":5633,"zanCount":5,"manualWeight":39,"mainColor":40},222680,"si-ji-hua-niao-tu-ping-3-chen-mei-222680","四季花鸟图屏3","陈枚","此花鸟屏共八条，绘四季花卉：春桃、夏荷、秋菊、冬梅，配以四时禽鸟。由于作者有西洋绘画的功底，所绘画鸟造型准确，赋色大胆艳丽，栩栩如生。西洋技法加上传统绘画的笔墨意趣，使画面韵律生动，极富表现力。作者为宫廷画家，此八条屏作于雍正丙午，即公元1726年，是年作者因供奉内廷有功，获赏内务府掌仪司员外郎衔。\n由于作者有西洋绘画的功底，所绘花鸟造型准确，赋色大胆艳丽，栩栩如生，将一年四季的美妙景色勾勒的惟妙惟肖，让人怦然心动。\n整幅图运用了西洋技法加上传统绘画技巧，笔墨细腻，充满意趣，使画面韵律生动，极富表现力。",[23,24,25,106,152,83,27,7,290,65,2769,2168,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb354d235264b4e3fbffcc1189098cae9.jpg","139X41CM",[],{"id":5690,"slug":5691,"title":5692,"dynasty":195,"author":1413,"museum":306,"description":5693,"tags":5694,"thumbUrl":5695,"material":822,"size":5696,"collection":202,"collections":5697,"showCount":5633,"zanCount":39,"manualWeight":39,"mainColor":40},221343,"zhu-qin-tu-quan-juan-zhao-ji-221343","竹禽图全卷","这幅《竹禽图》横55.4厘米，纵33.8厘米。宋人花鸟画都是以小品画见长，又以精细而见功。此画也不例外。在粗略的崖石间伸出两枝翠竹，一上一下形成一个侧着的“V”字。竹枝和竹叶都没有勾勒，此画法与赵佶的《芙蓉锦鸡图》等以往的画作有所不同。翠竹下面的还有一丛荆棘。一上一下的竹枝上停着两只小鸟。下面的那只鸟侧对着人们，它仰着头在看上面的那只鸟。上面的那只鸟腹部正对着人们，头向右侧着，它回望着下面的那只鸟。两小鸟目光相对，互相顾盼，仿佛就差嘴巴一张一合鸣叫的瞬间了。这两只小鸟是画面的主角。看着它们就使人想起杜甫的那句“两个黄鹂鸣翠柳”。不妨换一下，“两只小鸟鸣翠竹”。\n全画竹草崖石用写意画的方法处理，两小鸟用工笔画的方法绘制。粗细方法互助也显示了徽宗的绘画技艺的高妙。画卷后面有皇室后裔赵孟頫的题跋：“道君聪明，天纵其于绘事，尤极神妙。动植物无不曲尽其性，殆若天地生成，非人力所能及。此卷不用描墨，粉彩自然，宜为世宝。然丛尔小禽蒙圣人所录，抑何幸耶。”",[23,24,25,82,83,27,31,68,7,185,186,807],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F942d16befcc838e9850d9ab89e536a94.jpg","画心纵33.8厘米，横55.5厘米",[202,1372],{"id":5699,"slug":5700,"title":5701,"dynasty":18,"author":5702,"museum":79,"description":5703,"tags":5704,"thumbUrl":5709,"material":27,"size":5710,"collection":112,"collections":5711,"showCount":5633,"zanCount":800,"manualWeight":39,"mainColor":40},219889,"bo-gu-hua-cao-zhou-chen-zhao-feng-219889","博古花草轴","陈兆凤","画面左置开光山水瓷瓶，攒插幽竹、紫藤与素叶秋枝，清竹疏朗挺拔，紫穗垂曳如瀑，花叶素净雅致，暗合案头插花的闲趣章法。右侧圆缸承于铜架，朱红墨色琉金金鱼穿曳萍藻之间，摆尾摇鳍暗藏灵动。全作工笔淡彩晕染清妍，线条匀净秀劲，将案头清供的静雅和游鱼的生机相融，把书斋里冲淡安闲的幽居雅兴尽藏笔底，淡寂中透着雅致生机，尽显中式文人清隽的赏玩意趣。",[24,25,152,27,83,5705,2808,5706,170,48,5707,5708,686,7],"花瓶","金鱼缸","陶瓷","珐琅器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0c3ec770138bc377e1486617d4e9536.jpg","231.7x117.7",[112],{"id":5713,"slug":5714,"title":5715,"dynasty":18,"author":19,"museum":20,"description":5716,"tags":5717,"thumbUrl":5718,"material":109,"size":1053,"collection":52,"collections":5719,"showCount":5633,"zanCount":678,"manualWeight":39,"mainColor":40},219814,"hua-hui-shi-kai-9-yun-shou-ping-219814","花卉十开-9","这幅没骨花卉，以淡色晕染出栀子清姿，不用墨线拘囿轮廓，色阶自然过渡，将花瓣莹白温润的质感描摹入微。盛放的花朵舒展柔瓣，如琼玉初绽；待放的花苞敛藏静美，浓淡不一的青叶或苍润鲜碧，或带枯斑，枯荣相衬，更显生机清隽。左上角题诗与画意相融，笔墨间漫溢着文人画的清雅淡远，将江南草木的温婉灵秀，化作平和冲淡的审美意趣，尽显雅致脱俗的笔墨格调。",[24,25,26,27,83,28,7,29,228,67,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1235f17160dbe697ecea3722caedca0e.jpg",[],{"id":5721,"slug":5722,"title":5470,"dynasty":60,"author":5723,"museum":79,"description":5724,"tags":5725,"thumbUrl":5727,"material":109,"size":5728,"collection":35,"collections":5729,"showCount":5633,"zanCount":39,"manualWeight":39,"mainColor":159},216213,"xie-sheng-tu-shang-xi-216213","商喜","商喜是明朝时期的一位著名画家。他的写生图是指他在观察实物的基础上进行的写生画。这些画作经常描绘自然风景、动物、人物等，体现出商喜对于自然现象的敏锐观察力和细腻的描绘能力。商喜的写生图具有浓郁的生活气息和生动的感染力，为后世留下了宝贵的艺术瑰宝。\n\n商喜的写生图作品较多，涵盖了多种题材。其中，他的花鸟画尤其出色，作品中常常出现各种花卉和鸟类，每一幅画作都能够流露出自然的美丽与生机。此外，商喜还绘制了许多人物画，其中有写实的肖像画，也有富有想象力的设计人物。他的人物画作品体现了商喜对人物形态和神态的细致捕捉，能够生动地展现人物的个性和心理。商喜的写生图作品为后世留下了深刻的印象，为中国画的发展做出了重要贡献。",[24,25,83,27,7,386,385,5726,167,185,226,686],"狗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ae66413060d9efa0846a06cffbc58a1.jpg","84.6x61.8cm",[35],{"id":5731,"slug":5732,"title":5733,"dynasty":60,"author":5734,"museum":3036,"description":5735,"tags":5736,"thumbUrl":5737,"material":534,"size":5738,"collection":786,"collections":5739,"showCount":5633,"zanCount":1398,"manualWeight":39,"mainColor":40},215039,"pu-tao-tu-nao-an-215039","葡萄图","挠庵","挠庵是明朝时期的一位著名文人。他是著名的画家，以他的葡萄图而闻名。葡萄图是他的代表作之一，是他在明朝时期所创作的一幅葡萄图。这幅画展示了一个葡萄园的景象，画中的葡萄树和葡萄非常逼真，可以看出挠庵在绘画技巧方面颇有造诣。葡萄图被认为是明朝时期著名画家的杰作之一，被誉为“葡萄图之祖”，在中国画坛上享有盛誉。",[23,24,25,64,399,7,2912,227,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d8f035cf390a823093bc490ce8493db.jpg","27.5×29.3cm",[786],{"id":5741,"slug":5742,"title":5743,"dynasty":18,"author":19,"museum":135,"description":272,"tags":5744,"thumbUrl":5746,"material":275,"size":276,"collection":52,"collections":5747,"showCount":5748,"zanCount":1398,"manualWeight":39,"mainColor":159},290529,"zhu-bai-chang-chun-zhou-yun-shou-ping-290529","竹柏长春轴",[106,24,25,152,27,7,185,5745,186,29,83],"柏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb714bb59defcdde65007397212cbb037.jpg",[],106,{"id":5750,"slug":5751,"title":5752,"dynasty":18,"author":530,"museum":135,"description":1352,"tags":5753,"thumbUrl":5754,"material":275,"size":276,"collection":52,"collections":5755,"showCount":5748,"zanCount":1398,"manualWeight":39,"mainColor":40},287419,"hai-tang-chun-qiu-tu-zhu-da-287419","海棠春秋图",[23,106,24,25,152,64,7,662,31,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5640b26d0debfdda6acd1c0fbf679437.jpg",[],{"id":5757,"slug":5758,"title":5759,"dynasty":18,"author":5760,"museum":135,"description":5761,"tags":5762,"thumbUrl":5763,"material":52,"size":52,"collection":35,"collections":5764,"showCount":5748,"zanCount":678,"manualWeight":39,"mainColor":40},234366,"lin-jiang-ting-xi-hua-hui-ce-jiang-shu-234366","临蒋廷锡花卉册","蒋淑","蒋淑，蒋廷锡之女。蒋淑不仅得其父亲蒋廷锡的指点，而且经常以其父的作品为学习范本。《临蒋廷锡花卉图册》便是她临摹蒋廷锡花卉的代表作，用笔设色均有其父的画风神韵。每开也均有蒋廷锡题诗，赞美之辞溢于言表。 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。",[24,25,26,27,2730,7,254,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e08f4453ea59c906d1aecbc008de815.jpg",[35],{"id":5766,"slug":5767,"title":5768,"dynasty":195,"author":1242,"museum":5769,"description":5770,"tags":5771,"thumbUrl":5772,"material":295,"size":5773,"collection":52,"collections":5774,"showCount":5748,"zanCount":800,"manualWeight":39,"mainColor":159},232874,"pan-tao-qing-niao-tu-juan-li-di-232874","蟠桃青鸟图卷","美国弗瑞尔美术馆","此幅重色画蟠桃青鸟，用笔应物象形，禽鸟造形精确，蟠桃用没骨画法，枝叶安排妥帖，整体观之，明代宫廷画家所作的可能性大一些。 李迪，生卒年不详。",[23,106,24,25,82,83,27,7,241,167,89,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9c8c8a18311cb4fc28befe1cd47b8a.jpg","38.3x193.2cm",[],{"id":5776,"slug":5777,"title":5778,"dynasty":18,"author":793,"museum":79,"description":794,"tags":5779,"thumbUrl":5781,"material":27,"size":797,"collection":52,"collections":5782,"showCount":5748,"zanCount":39,"manualWeight":39,"mainColor":40},222753,"xian-e-chang-chun-tu-08a-ji-guan-hua-lang-shi-ning-222753","仙萼长春图-08a（鸡冠花）",[23,139,24,25,7,83,27,5780,186,228,227],"鸡冠花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dcd6f6155e0f1e2f0398d2738fe5f5a.jpg",[],{"id":5784,"slug":5785,"title":5786,"dynasty":18,"author":793,"museum":79,"description":794,"tags":5787,"thumbUrl":5788,"material":27,"size":797,"collection":52,"collections":5789,"showCount":5748,"zanCount":1398,"manualWeight":39,"mainColor":40},222741,"xian-e-chang-chun-tu-02a-shao-yao-lang-shi-ning-222741","仙萼长春图-02a（芍药）",[23,24,106,83,27,7,519,226,425,67,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c91a3aea82e716ab6aa9b460afb178.jpg",[],{"id":5791,"slug":5792,"title":5793,"dynasty":195,"author":2152,"museum":251,"description":5794,"tags":5795,"thumbUrl":5797,"material":295,"size":5479,"collection":202,"collections":5798,"showCount":5748,"zanCount":800,"manualWeight":39,"mainColor":40},221500,"shui-mo-xie-sheng-tu-mu-xi-221500","水墨写生图","法常的绘画，有不少取材于平时人们司空见惯的日常生活，但独能于平淡天真之中揭示生命意识的真谛。此卷所绘折枝花果、禽鸟、鱼虾及蔬果，笔墨简淡，平平常常，在画幅上随随便便地摆放在一起，看来就是最为常见的与我们现实生活息息相关的景象，但是卷中墨色的氤氲、排列的错综、变化的神奇，却又分明深蕴着禅机。这些平常物象的背后是不着笔墨的大片空白，这种“知白守黑”、“计白当黑”的处理，使得画面中本不相关联的事物各自相对独立又可合而为一，画意更为完整而富于张力，给观者以想象的空间，正所谓“于无画处皆成妙境”。整幅作品充满着一种宁静、自省、淡泊的内在精神，使观者有“万物静观皆自得”的会心感受，耐人寻味。牧溪的绘画，写生功底极深，此幅亦是“肖似形类，并得其意”（项元汴语）的形神兼备之作。\n沈周卷后题识称：“不施色彩，任意潑墨，儼然若生。回視黃筌、舜舉之流，風斯下矣。”本幅无作者款印，沈周定为“真宋物也”。徐邦达先生认为，沈周题跋中“牧”字有挖改痕迹，是“似牧非牧之画”。",[23,24,106,25,82,64,240,399,7,2155,5796,357,924,2759,65,3584,5475,2157,2156,49,29,808,138,228],"水族","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facf031a51ea46b7afc61efea8475b520.jpg",[202,35,734],{"id":5800,"slug":5801,"title":5802,"dynasty":148,"author":2531,"museum":368,"description":5803,"tags":5804,"thumbUrl":5805,"material":109,"size":52,"collection":35,"collections":5806,"showCount":5748,"zanCount":800,"manualWeight":39,"mainColor":159},219025,"ban-jiu-tu-huang-quan-219025","斑鸠图","画的是一棵顶部断裂的枯树干，一只鸽子站在树干上，蓬松的羽毛中夹杂着白色的毛发，盯着树根处发芽的树枝，绿叶红花。",[23,106,24,25,26,83,27,7,167,65,226,66,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a51e04c34bcf36d6653aa90ca568823.jpg",[35],{"id":5808,"slug":5809,"title":5810,"dynasty":18,"author":1487,"museum":79,"description":5811,"tags":5812,"thumbUrl":5814,"material":109,"size":5815,"collection":35,"collections":5816,"showCount":5748,"zanCount":1398,"manualWeight":39,"mainColor":159},218778,"si-rui-qing-deng-tu-jiang-ting-xi-218778","四瑞庆登图","蒋廷锡（西元一六六九－一七三二年），江苏常熟人。字扬孙，号酉君，又号西谷。官至文华殿大学士，工画花卉草虫，以逸笔写生，没骨花鸟画继承恽寿平风格。\n画两棵高梁结满穗粒，并点缀有白头翁、菊花和泉石。画法承恽氏之风，虽用笔工致，但不板滞，兼有写生之趣。此时蒋氏五十五岁，调任礼部侍郎，同年又调任户部。蒋氏鲜少在画上落款处加官职，此图以端正楷书写上礼部右侍郎等字，应是应制之作。而四瑞写各种祥瑞事物，应是称颂雍正皇帝继承帝位是顺天应民之意。",[24,27,83,7,152,65,167,5813,215,287,68],"高粱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff73b7e62a8dadfcb098962fa2d8a6e8a.jpg","185.2x87.2cm",[35],{"id":5818,"slug":5819,"title":5820,"dynasty":148,"author":2531,"museum":1424,"description":5821,"tags":5822,"thumbUrl":5823,"material":109,"size":5824,"collection":35,"collections":5825,"showCount":5748,"zanCount":1398,"manualWeight":39,"mainColor":159},216746,"xie-sheng-yuan-yang-tu-huang-quan-216746","写生鸳鸯图","画面描绘了一棵古老的梅花树，枝干粗壮，梅花枝条细长，树下有一丛绿竹；右下方是一对羽毛鲜艳的鸳鸯，一只蹲在地上，扭曲的头和嘴藏在羽毛中。",[24,25,661,83,27,7,1110,1951,3480,436],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78b5310b6859685fde5b35c131cf676e.jpg","23.6x24.2cm",[35],{"id":5827,"slug":5828,"title":5829,"dynasty":60,"author":1037,"museum":135,"description":4918,"tags":5830,"thumbUrl":5831,"material":275,"size":276,"collection":52,"collections":5832,"showCount":5833,"zanCount":800,"manualWeight":39,"mainColor":40},290557,"mu-dan-zhou-xu-wei-290557","牡丹轴",[24,152,64,25,7,107,185,186,31,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9487283bab61d433f887641040f025a9.jpg",[],105,{"id":5835,"slug":5836,"title":5837,"dynasty":60,"author":830,"museum":135,"description":5838,"tags":5839,"thumbUrl":5840,"material":275,"size":276,"collection":52,"collections":5841,"showCount":5833,"zanCount":5,"manualWeight":39,"mainColor":40},235799,"mu-dan-shan-chen-chun-235799","牡丹扇","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。",[661,24,25,7,107,27,64,31,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95b4e60c9cc0dc84edd2a1739d852f0d.jpg",[],{"id":5843,"slug":5844,"title":5845,"dynasty":148,"author":149,"museum":251,"description":5846,"tags":5847,"thumbUrl":5849,"material":845,"size":5850,"collection":52,"collections":5851,"showCount":5833,"zanCount":1398,"manualWeight":39,"mainColor":159},233213,"dou-jia-qing-ting-tu-ye-xu-xi-233213","豆荚蜻蜓图页","图中画的是田野苗圃间菜豆花与蜻蜓之类昆虫常见的景物。画面为长圆扇形，画家以独具的慧眼撷之入画，采取了特写镜头，只取其豆花的枝头，豆茎自左下向右上斜出，枝叶微下垂，枝上有浅紫色的豆花、绿色的豆叶和沉甸甸地挂下来的长长豆荚。枝梢上歇息着一只大蜻蜓，正在吮吸豆荚嫩叶的鲜汁。蜻蜓呈黄褐色，张开双翼，长长的身子下垂，尾部稍有弯曲。\n图中豆荚一枝，果实乍结。一只黄褐色的蜻蜓轻轻停落在枝端，将豆荚压得微微颤动。画面构图简洁自然，疏密得体。画家用中锋细笔勾勒豆荚枝叶的轮廓，用花青、石绿轻染，以白粉点花瓣，线条沉稳，色彩丰富，形象写实逼真。图中尤以蜻蜓描绘得出神入化，其翅膀透明的质感以及清晰的纹络都表现得清清楚楚，活灵活现，反映了宋画在写实方面所达到的高度水平。\n整幅作品结构自然，疏密得体，色彩丰富，工写结合。其中蜻蜓的描绘神妙入微。画家不仅再现了蜻蜓的形态，甚至连透明的翅膀及纹络都表现了出来。而豆花则以简笔写出，野趣天然。\n整幅作品结构自然，疏密得体，中锋运笔，线条沉稳，色彩丰富，写实逼真，作者善于刻画和铺排是这幅作品在技巧上的特色。菜豆的枝干、花叶、荚部是用粗简的线条勾出，然后略施粉彩，尤其对蜻蜓的描绘神妙入微。蜻蜓身子晕染工细，头部网网眼和翅翼细细刻画轻轻染色，十分清晰透剔，甚至连透明的翅膀及纹络状的小组织，都细微地表现了出来。蜻蜓身上的色斑与浅紫色的豆花，一深一浅，使主题显明突出，这充分反映了宋画在写实方面所达到的高度水平。从绘画题材及笔墨技巧上看，具有徐熙画的特征。《圣朝名画评》说，徐熙画花卉“多做园圃以求情状，虽蔬菜茎苗，以人图写”。但本图无款识，至少可以这样说，虽非出于徐熙之手笔，但可以代表北宋徐熙一派的画风，亦可以说此幅是徐派留下来的凤毛麟角般的珍品。此图右下方押“徐熙”二字伪印。\n此图无款，有“徐熙”朱印。旧题为徐熙作。徐熙“善画花竹林木、蝉蝶草虫之类，多游园圃以求情状，虽蔬菜茎苗亦人图。写意出古人之外，自造于妙。尤能设色，绝有生意”。从这幅作品亦可领略上述特点，所以虽非出于徐熙之手，也可代表北宋徐熙一派的画风。\n此图写豆茎一枝自右下向左上斜出，而梢头着一大蜻蜓。这农家随处可见的景物，画家以独具的慧眼撷之入画，可谓别开生面。豆花、豆叶，点缀生动，长豆三两根，垂垂可喜。茎、叶、豆荚，均以墨勾，疏疏几笔，中设豆绿色，叶中锈斑、虫蚀均为描出，紫白色的豆花和蜻蜓，以没骨法晕染，蜻蜓尤备极工细，神韵奕奕。对花写照的写生功力，令人惊叹。色调素雅，变化层次微妙，工写兼施，相映成趣。构图善从一角生发，全幅荡漾着空灵的诗意，尤觉流走圆美。不是面面俱到，或泛泛大略，而是择取一枝一梢作精心的观赏，一枝一叶总动情，这种审美性格为宋人所独具，风气所开，遥领千古。此图笔墨间随处散发着一种田园佳趣，尤为感人至深，而熠耀其中的是诗意的空间。宋画一如宋诗，其异于唐人之处：一为田园气息，二为哲理之思（以景喻理）。",[106,24,25,7,83,27,5848,292,228,226,68],"豆荚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F880a27b634787e986672e82222fc17bb.jpg","纵27厘米，横23厘米",[],{"id":5853,"slug":5854,"title":5855,"dynasty":18,"author":19,"museum":79,"description":5856,"tags":5857,"thumbUrl":5858,"material":822,"size":5859,"collection":52,"collections":5860,"showCount":5833,"zanCount":1398,"manualWeight":39,"mainColor":40},232677,"dong-li-qiu-se-tu-yun-shou-ping-232677","东篱秋色图","恽寿平(1633~1690)，初名格，字寿平，后以字行，更字正叔，号南田、云溪外史、东园生，晚年又号白云外史、瓯香散人。善画山水、花卉。早年画山水，取法元、五代大家。中年后以画花卉为主，自创一种名为“仿北宋徐崇嗣”的没骨花卉画法，即以潇洒秀逸的用笔直接点蘸敷染而成。这种画法独开生面，风靡一时。其山水画创作亦从未间断，有很高成就，笔墨灵秀，以神韵、情趣取胜。作品有《晴川揽胜图轴》、《设色花卉册》、《花果图册》等。",[139,24,25,152,7,29,27,28,287,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62e5c11e2567494e206962fa4dbf026f.jpg","107.6x54.5厘米",[],{"id":5862,"slug":5863,"title":5864,"dynasty":18,"author":793,"museum":79,"description":794,"tags":5865,"thumbUrl":5866,"material":27,"size":797,"collection":52,"collections":5867,"showCount":5833,"zanCount":1398,"manualWeight":39,"mainColor":40},222751,"xian-e-chang-chun-tu-07a-lang-shi-ning-222751","仙萼长春图-07a",[23,24,25,83,27,7,49,214,50,29,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fb31a611f6bc17b2cd92a02ab60f10f.jpg",[],{"id":5869,"slug":5870,"title":5871,"dynasty":195,"author":1413,"museum":79,"description":5872,"tags":5873,"thumbUrl":5874,"material":845,"size":5875,"collection":202,"collections":5876,"showCount":5833,"zanCount":1398,"manualWeight":39,"mainColor":159},221344,"la-mei-shan-qin-tu-zhou-zhao-ji-221344","腊梅山禽图轴","画面构图十分简约，两丛开花的萱草，一株劲秀挺拔的腊梅；几朵绽放的梅花，枝头上还蜷缩着两只依偎在一起的白头翁。\n画家笔墨细致。萱草、梅树、花朵的轮廓，都用工细线条勾勒，树杆的质感用干墨渲染皴擦，花朵则施以明艳的黄色，是典型的院体工笔。但是疏朗的梅枝，分明有着文人画的韵味。\n两只挤在一起的白头翁最为传神，鸟头都朝向左前方，呼应着左边的留白。身体成交叉向，两只鸟眼圆溜溜，显得机警而敏感，似乎一有风吹草动，随时就要腾空而去。",[23,24,106,152,83,27,7,436,254,4843,68,31,569],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3dbda2c89bcfa6df1b60effce2a1968.jpg","82.8x52.8cm",[202,35,112],{"id":5878,"slug":5879,"title":903,"dynasty":60,"author":196,"museum":368,"description":5880,"tags":5881,"thumbUrl":5882,"material":109,"size":5883,"collection":35,"collections":5884,"showCount":5833,"zanCount":39,"manualWeight":39,"mainColor":159},216733,"hua-niao-tu-yi-ming-216733","花鸟图是中国明朝时期的一种流行的图画作品，通常用来装饰宫殿、庙宇、寺庙和民间住宅。花鸟图画的主题是花和鸟，这些图画通常具有浓郁的艺术气息，并且富有想象力。花鸟图画的风格各异，有的呈现出绚丽多彩的色彩，有的则更加简洁和精细。花鸟图画被广泛地应用于家具、屏风、纸品等各种物品上，为人们的生活带来美感和情感的满足。",[23,24,25,27,83,7,65,66,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2ee16ee0d6aa3b7e54d2fc25984cc1c.jpg","26x22.2cm",[35],{"id":5886,"slug":5887,"title":587,"dynasty":60,"author":830,"museum":20,"description":831,"tags":5888,"thumbUrl":5889,"material":534,"size":834,"collection":52,"collections":5890,"showCount":5833,"zanCount":1398,"manualWeight":39,"mainColor":40},214640,"hua-hui-ce-6-chen-chun-214640",[24,64,399,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffadadcc9005db4ef39cb1d0158d98cdd.jpg",[],{"id":5892,"slug":5893,"title":5894,"dynasty":18,"author":5895,"museum":135,"description":4124,"tags":5896,"thumbUrl":5897,"material":52,"size":52,"collection":52,"collections":5898,"showCount":5899,"zanCount":39,"manualWeight":39,"main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厘米，横59.4 厘米",[35],{"id":5996,"slug":5997,"title":5998,"dynasty":60,"author":830,"museum":20,"description":831,"tags":5999,"thumbUrl":6000,"material":534,"size":834,"collection":52,"collections":6001,"showCount":5938,"zanCount":1398,"manualWeight":39,"mainColor":40},214641,"hua-hui-ce-5-chen-chun-214641","花卉册-5",[24,25,26,64,399,7,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb650fbecd1a4e5e3c720df2a0c160a98.jpg",[],{"id":6003,"slug":6004,"title":6005,"dynasty":18,"author":6006,"museum":135,"description":6007,"tags":6008,"thumbUrl":6010,"material":275,"size":276,"collection":52,"collections":6011,"showCount":6012,"zanCount":1398,"manualWeight":39,"mainColor":40},289921,"sui-chao-ji-xiang-ru-yi-tu-chen-shu-289921","岁朝吉祥如意图","陈书","陈书（1660～1736）字南楼，号上元弟子，晚号南楼老人，秀水（今浙江嘉兴）人，适海监钱纶光，善画花鸟虫草，家贫，卖画自给，教子甚严。以长子钱陈群诰封太淑人。\n陈书擅长人物、山水、花卉，书法也秀丽遒劲，诗文颇为精通。她成年后嫁于钱纶光为妻，钱氏为嘉兴望族，惜乎她的丈夫很早就离开了人间。她只能勤俭持家，夜来纺纱织布，苦度岁月，对于子女的教育从不放松，教子读经吟诗至深夜。其子钱陈群在她的精心培育下，在清康熙六十年中了进士，进入朝廷担任侍读学士等官职。陈书教子成名，自己画了一幅“夜纺授经图”，此图描绘夜深人静一边纺纱，一边教子读经，神态毕俱。这幅面得皇帝的赞赏，并题诗二首在画上，当时乾隆皇帝带头题诗称道这幅画，那些高官名人也纷纷题诗歌颂之。这幅令人瞩目的“夜纺授经图”，后来刻在石上，嵌在嘉兴中山路钱氏故居壁间，笔者曾见其拓本，原作是否存在，已不得而知。但其刻石仍保存在钱氏后裔手中。因在扩展中山路时有人看到其石刻完好地嵌在墙间，现钱氏故居已拆除，其旧址即现在中国银行嘉兴支行这块地基上。\n陈书在书画方面的造诣很高，笔墨娴雅，结构严谨。当时书画家评论她画的人物称得上逸品，画的山水、花卉称为神品，可见对她的评价相当高。陈书的子孙受她的影响也能书画，在笔墨技法上很像她，可以说一门数代继承家风。她的作品曾为清代皇室珍藏，流传民间也不少。嘉兴博物馆藏有她的花卉真迹，笔者在杭州、苏州、扬州等地也看到过她的作品。她的诗为人们所重视，《复庵吟稿》收集了她诗作的精华，流传至今。",[24,25,152,27,83,7,436,107,254,1212,1274,6009,31,68,1880],"瓷瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38029323e05c021e6acdaff4db1b6ef7.jpg",[],102,{"id":6014,"slug":6015,"title":6016,"dynasty":60,"author":6017,"museum":135,"description":6018,"tags":6019,"thumbUrl":6020,"material":275,"size":276,"collection":52,"collections":6021,"showCount":6012,"zanCount":800,"manualWeight":39,"mainColor":40},288079,"shi-liu-zhi-tu-zhou-tang-yin-288079","石榴枝图轴","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”。",[23,24,152,7,27,570,31,569,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f63c78923d96b6e2af743b41cfd6d6.jpg",[],{"id":6023,"slug":6024,"title":6025,"dynasty":18,"author":381,"museum":135,"description":6026,"tags":6027,"thumbUrl":6028,"material":52,"size":52,"collection":35,"collections":6029,"showCount":6012,"zanCount":39,"manualWeight":39,"mainColor":40},237138,"la-mei-han-que-zhou-ren-yi-237138","腊梅寒雀轴","任颐绘画题材广泛，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。\n任颐（1840—1896年），初名润，字小楼、伯年，浙江绍兴人，寓居上海，以卖画为生。擅长人物、肖像、花鸟、山水画。其绘画除继承民间及传统文人画，融汇陈洪绶、陈淳、徐渭诸家之长外，还吸收了西画速写、设色诸法，形成丰姿多彩，新颖生动的独特画风，具有雅俗共赏的艺术趣味和鲜明的时代气息。与任熊、任熏、任预并称为“海上四任”。",[24,152,27,64,7,436,2100,399],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F021cedaf0e04a0116abaa047e0a25a57.jpg",[35],{"id":6031,"slug":6032,"title":6033,"dynasty":18,"author":1209,"museum":135,"description":2026,"tags":6034,"thumbUrl":6035,"material":295,"size":6036,"collection":35,"collections":6037,"showCount":6012,"zanCount":1398,"manualWeight":39,"mainColor":40},224227,"nong-yan-zhuo-zhuo-yun-jin-xian-li-zhou-wu-chang-shuo-224227","秾艳灼灼云锦鲜立轴",[23,24,25,152,27,7,186,123,399],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a9cf103a50a6f03f9f5e08b4a20601c.jpg","93x45cm",[35,112],{"id":6039,"slug":6040,"title":6041,"dynasty":18,"author":237,"museum":135,"description":6042,"tags":6043,"thumbUrl":6044,"material":52,"size":52,"collection":52,"collections":6045,"showCount":6012,"zanCount":1398,"manualWeight":39,"mainColor":40},224178,"mu-dan-zhu-shi-tu-hua-yan-224178","牡丹竹石图","此作淡素底色铺陈，花卉、湖石与秀竹错落排布，虚实相生。冰蓝牡丹以没骨晕染而成，摒弃浓艳富丽，清冷幽洁自带孤高韵致，一扫牡丹流俗的富贵之气。\n淡墨湖石以写意皴染绘就，朴雅苍润，苔点隐约，与柔媚花影形成刚柔对照。旁生秀竹浅赭敷色，清瘦挺拔，枝叶舒展柔和，衬得花容愈发幽绝尘寰。左上行题诗呼应画意，将牡丹幽芳风骨引向诗文意境，工写兼备间，尽抒文人清雅出尘的审美意趣。",[23,24,25,152,27,83,64,107,185,186,7,68,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa7ce165a5673fa2c97572f9249cf42a.jpg",[],{"id":6047,"slug":6048,"title":6049,"dynasty":60,"author":1261,"museum":79,"description":6050,"tags":6051,"thumbUrl":6052,"material":109,"size":6053,"collection":35,"collections":6054,"showCount":6012,"zanCount":1398,"manualWeight":39,"mainColor":159},218791,"ba-bai-chang-chun-tu-zhou-zhi-mian-218791","八百长春图","群鸟聚于虬枝间，动静交织成趣。或振翅俯冲，羽翼翻飞带起风意；或引颈相鸣，喙张似闻啁啾之声；或敛翼静栖，黑亮羽色衬暖褐底色，浓淡墨痕晕染出羽毛层次。虬枝蜿蜒，叶芽点缀其间，野趣盎然。整幅画面鲜活生动，鸟的姿态各异却和谐相融，似捕捉了林间一瞬的热闹场景，墨色与绢本底色相映成辉，尽显自然生机与笔墨意趣。",[23,24,106,25,152,83,7,167,1951,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fd7ed05d03aaa2f92e4f07cd2b388aa.jpg","111.8x50cm",[35],{"id":6056,"slug":6057,"title":903,"dynasty":18,"author":196,"museum":1146,"description":6058,"tags":6059,"thumbUrl":6060,"material":109,"size":6061,"collection":35,"collections":6062,"showCount":6012,"zanCount":1398,"manualWeight":39,"mainColor":159},216726,"hua-niao-tu-yi-ming-216726","花鸟图是清朝时期佚名画家创作的一类绘画作品，其中包含了许多花卉和鸟类的描绘。这类画作通常都具有鲜艳的色彩和精致的细节，描绘的花卉和鸟类也常常具有浓郁的自然气息。花鸟图被广泛地用作装饰品，被视作清朝文化中的珍宝。",[24,25,152,83,27,7,65,226,214,452,3738,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72ae1b447224169fc778d51c627cec2c.jpg","60.5x34.9cm",[35],{"id":6064,"slug":6065,"title":5829,"dynasty":18,"author":1209,"museum":135,"description":6066,"tags":6067,"thumbUrl":6068,"material":52,"size":52,"collection":52,"collections":6069,"showCount":6070,"zanCount":39,"manualWeight":39,"mainColor":40},235404,"mu-dan-zhou-wu-chang-shuo-235404","此作虚实相生，右上角题款与左下花木湖石遥相呼应。牡丹以阔笔泼色，胭脂点染花瓣，浓艳厚重，带着苍浑的金石意趣，柔艳花姿里暗蕴雄强骨力。叶片焦墨挥写，线条老辣苍劲，与牡丹柔色形成强烈反差，更衬花之秾艳。\n\n湖石以淡墨晕染，焦墨提点轮廓，朴拙古雅。藤蔓缠绕穿插，填补留白让层次愈显丰满。题字带着篆隶笔意，与画境浑然相融，将篆刻的苍茫意趣尽数融入画笔，跳出牡丹富贵柔媚的陈套，化为疏野苍劲的文人风骨，纵横恣肆间不失雅致，尽显雄强古茂的写意格调。",[24,25,152,106,27,64,399,7,107,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57e01c9ee92e8c23d37723f245dada53.jpg",[],101,{"id":6072,"slug":6073,"title":611,"dynasty":195,"author":196,"museum":135,"description":6074,"tags":6075,"thumbUrl":6076,"material":52,"size":52,"collection":52,"collections":6077,"showCount":6070,"zanCount":39,"manualWeight":39,"mainColor":40},227896,"mu-dan-tu-yi-ming-227896","此作以工笔设色绘就，将牡丹的雍容之态尽显绢上。重瓣花头饱满蓬松，紫艳花瓣层层叠叠，以色晕染出瓣面明暗渐变，从瓣根的深紫过渡至瓣尖的柔粉，将花瓣舒展翻卷的柔媚质感描摹入微，把牡丹的华贵风韵定格。嫩绿的萼片与枝叶作为映衬，线条细劲灵动，勾勒出叶片舒展的姿态，浅绿设色柔而清透，与花的浓艳形成冷暖呼应，愈衬花头妍丽不俗。\n\n整幅构图紧凑却不显拥塞，团扇形制里氤氲着雅致静谧的氛围，尽显内敛的审美意趣，将国色天香的雅致风骨凝于尺幅之间。",[23,106,24,25,661,27,83,7,107,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e83d9bc1bd1f8aa4ab7a2bddd7fdce5.jpg",[],{"id":6079,"slug":6080,"title":6081,"dynasty":18,"author":6082,"museum":135,"description":6083,"tags":6084,"thumbUrl":6085,"material":52,"size":52,"collection":52,"collections":6086,"showCount":6087,"zanCount":800,"manualWeight":39,"mainColor":525},236105,"mu-dan-shuang-shou-tu-zhou-yu-sheng-236105","牡丹双绶图轴","余省","桃花双绶图轴 清 余省 桃花双绶图轴 绢本设色 纵12厘米 横5厘米。",[106,24,25,152,27,83,7,107,3460,65,90,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5c4c0d3181e223fbb9eb02524df05a4.jpg",[],100,{"id":6089,"slug":6090,"title":6091,"dynasty":18,"author":1209,"museum":135,"description":1508,"tags":6092,"thumbUrl":6094,"material":275,"size":276,"collection":52,"collections":6095,"showCount":6087,"zanCount":1398,"manualWeight":39,"mainColor":40},235133,"ju-shi-tu-zhou-wu-chang-shuo-235133","菊石图轴",[24,152,7,399,27,517,169,6093],"栅栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee122e684142d4f2b96c49a249c633f3.jpg",[],{"id":6097,"slug":6098,"title":541,"dynasty":18,"author":19,"museum":135,"description":542,"tags":6099,"thumbUrl":6100,"material":52,"size":52,"collection":52,"collections":6101,"showCount":6087,"zanCount":1398,"manualWeight":39,"mainColor":40},233904,"hua-hui-shan-shui-ce-yun-shou-ping-233904",[24,25,26,27,7,436],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafbf2e23316e1383346d504dafb8bee8.jpg",[],{"id":6103,"slug":6104,"title":6105,"dynasty":18,"author":793,"museum":79,"description":794,"tags":6106,"thumbUrl":6108,"material":27,"size":797,"collection":52,"collections":6109,"showCount":6087,"zanCount":39,"manualWeight":39,"mainColor":40},222752,"xian-e-chang-chun-tu-07b-lang-shi-ning-222752","仙萼长春图-07b",[23,106,24,25,26,27,83,7,167,5475,1322,6107],"稷穗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d348e9e77d0b308e8a29479ec471bb0.jpg",[],{"id":6111,"slug":6112,"title":6113,"dynasty":18,"author":19,"museum":20,"description":6114,"tags":6115,"thumbUrl":6116,"material":109,"size":1053,"collection":52,"collections":6117,"showCount":6087,"zanCount":800,"manualWeight":39,"mainColor":40},219818,"hua-hui-shi-kai-5-yun-shou-ping-219818","花卉十开-5","此作用没骨法绘就，不见墨线勾勒，纯以色泽晕染造型。粉紫月季花瓣自瓣根至瓣尖由深渐浅，层层晕开，盛放者娇柔饱满，含苞花蕾玲珑含露，柔媚动人。叶片以深浅青绿区分阴阳向背，色泽清润鲜活，将月季的盎然生机传神铺陈。画面右侧题字配朱印，与花叶相映成趣，融笔墨意趣与写生精妙为一体，尽显雅致秀逸的文人意趣，把花卉清妍之态鲜活定格，笔墨简淡却意蕴悠长，尽显淡雅明净的审美意趣，将月季柔媚风姿静静铺展于绢素之上。",[24,27,28,7,286,29,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bce3f469d9ea7fa61fd921e063a2d5f.jpg",[],{"id":6119,"slug":6120,"title":6121,"dynasty":148,"author":149,"museum":79,"description":6122,"tags":6123,"thumbUrl":6124,"material":109,"size":6125,"collection":35,"collections":6126,"showCount":6087,"zanCount":39,"manualWeight":39,"mainColor":159},218703,"ji-he-tu-xu-xi-218703","芰荷图","徐熙出生于江宁（今南京），也有记载认为他出生于锺陵（今江西南昌进贤县），一生从没有担任官职，只是专心绘画，他的绘画风格质朴简练，他创作了水墨淡彩的绘画方法，运用墨的浓淡变化，勾点兼施，画出花卉的枝叶萼蕊，略施淡彩，使色不碍墨不掩笔迹而生气动人。善于描绘汀花野竹、水鸟渊鱼、凫雁、鹭鸶、蒲藻、虾鱼、丛艳、折枝、园蔬药苗等。",[23,24,25,152,7,64,27,83,467,49,50,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d2cbafe8b7c62d5722cbe40085ab683.jpg","97.6x46.2cm",[35],{"id":6128,"slug":6129,"title":6130,"dynasty":18,"author":19,"museum":135,"description":272,"tags":6131,"thumbUrl":6132,"material":275,"size":276,"collection":52,"collections":6133,"showCount":6134,"zanCount":39,"manualWeight":39,"mainColor":40},290530,"bai-he-zhou-yun-shou-ping-290530","百合轴",[24,152,64,627,7,516,31,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda214bdfbec48dbeefb5222aec5f386b.jpg",[],99,{"id":6136,"slug":6137,"title":1888,"dynasty":18,"author":19,"museum":135,"description":272,"tags":6138,"thumbUrl":6139,"material":275,"size":276,"collection":52,"collections":6140,"showCount":6134,"zanCount":39,"manualWeight":39,"mainColor":40},290525,"ju-hua-zhou-yun-shou-ping-290525",[106,24,152,25,27,7,517,186,68,31,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c6f67635860a905d349624dcec02c18.jpg",[],{"id":6142,"slug":6143,"title":44,"dynasty":18,"author":317,"museum":135,"description":3823,"tags":6144,"thumbUrl":6145,"material":275,"size":276,"collection":35,"collections":6146,"showCount":6134,"zanCount":1398,"manualWeight":39,"mainColor":40},238346,"hua-hui-ce-dong-gao-238346",[24,25,7,26,27,83,123,286,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9149d6e60a547adda3d2705a79a31ea9.jpg",[35,112],{"id":6148,"slug":6149,"title":6150,"dynasty":60,"author":6151,"museum":45,"description":6152,"tags":6153,"thumbUrl":6156,"material":109,"size":6157,"collection":35,"collections":6158,"showCount":6134,"zanCount":1398,"manualWeight":39,"mainColor":159},219125,"han-liu-yuan-yang-tu-wang-feng-219125","寒柳鸳鸯图","王酆","图为两只鸳鸯在河边游泳的场景，其中一只已经在水中游动，另一只正在奔跑等待下水。 鸳鸯造型精巧，色墨交融，栩栩如生。 岸边画一枝老柳，笔墨老辣。 右下角，渚石上诞生了几朵野花，色彩淡雅，分外妖娆。",[23,24,25,83,27,7,6154,1110,1393,215,6155],"寒柳","杂草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F164801a49616e2eaf0f52e7357700d20.jpg","纵60cm,横85cm",[35,112],{"id":6160,"slug":6161,"title":4666,"dynasty":60,"author":4655,"museum":368,"description":6162,"tags":6163,"thumbUrl":6165,"material":109,"size":52,"collection":35,"collections":6166,"showCount":6134,"zanCount":1398,"manualWeight":39,"mainColor":159},219052,"lu-yan-tu-lin-liang-219052","墨色浓淡交织间，苇丛恣肆舒展，叶片如剑划破虚灵的背景，尽显野逸之趣。雁群姿态憨然，或低头啄食，或翘首顾盼，羽毛以淡墨晕染，绒质感呼之欲出，兼工带写的笔法将水禽的灵动与野趣凝于尺幅。画面不着艳色，却于水墨淋漓中透出秋江芦岸的清寂与生机，笔力雄健又不失细腻，尽显写意花鸟的奔放与传神，仿佛能听见苇叶沙沙，雁鸣轻啼，将自然之趣定格成永恒的诗意图景。",[23,24,64,399,7,1855,1854,167,6164,186],"岸滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef142504755ac0f39ccbabbb50b7aca.jpg",[35],{"id":6168,"slug":6169,"title":6170,"dynasty":60,"author":1681,"museum":79,"description":6171,"tags":6172,"thumbUrl":6174,"material":109,"size":6175,"collection":35,"collections":6176,"showCount":6134,"zanCount":39,"manualWeight":39,"mainColor":159},218787,"xian-chun-si-xi-tu-lv-ji-218787","先春四喜图","梅枝苍劲，皴痕间晕开早春的暖意——淡粉花萼次第舒展，艳红山茶点缀其间，为清寒添了几分热烈。四只喜鹊姿态各异：或立于枝巅梳理羽翼，或俯身探看枝干纹理，或两两相望似在私语，灵动身影让静谧画面骤然鲜活。鸟羽的黑白分明，与花的柔粉、叶的浅绿相映成趣，绢本暖黄底色更衬出雅致与喜庆。工笔细描的鸟羽纹理、花瓣脉络，与写意勾勒的枝干苍劲形成巧妙平衡，将吉祥意趣藏进每一处生动细节。整幅画似有春风拂面，让人心头漾起融融暖意。",[24,25,152,83,27,7,436,65,6173],"喜鹊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc55ecd4d03ee71fbc7cd4b5d506fd18.jpg","139.8x49.2cm",[35],{"id":6178,"slug":6179,"title":6180,"dynasty":60,"author":830,"museum":20,"description":831,"tags":6181,"thumbUrl":6182,"material":534,"size":834,"collection":52,"collections":6183,"showCount":6134,"zanCount":1398,"manualWeight":39,"mainColor":40},214633,"hua-hui-ce-11-chen-chun-214633","花卉册-11",[24,25,26,64,399,7,290],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b26457ea4cf5316c169d05453ad8d1b.jpg",[],{"id":6185,"slug":6186,"title":6187,"dynasty":18,"author":1209,"museum":135,"description":1508,"tags":6188,"thumbUrl":6189,"material":275,"size":276,"collection":52,"collections":6190,"showCount":6191,"zanCount":1398,"manualWeight":39,"mainColor":40},235243,"tian-zhu-ping-zhou-wu-chang-shuo-235243","天竹屏轴",[24,25,152,27,7,186,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dc338003246671da0d7403f1071f706.jpg",[],98,{"id":6193,"slug":6194,"title":2063,"dynasty":18,"author":6195,"museum":251,"description":6196,"tags":6197,"thumbUrl":6198,"material":822,"size":52,"collection":35,"collections":6199,"showCount":6191,"zanCount":1398,"manualWeight":39,"mainColor":40},232941,"hua-hui-tu-ce-fan-ting-zhen-232941","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。",[24,25,139,26,83,27,7,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4df710205e22d5669d2e2a24740a6861.jpg",[35],{"id":6201,"slug":6202,"title":6203,"dynasty":195,"author":1413,"museum":135,"description":6204,"tags":6205,"thumbUrl":6207,"material":52,"size":52,"collection":52,"collections":6208,"showCount":6191,"zanCount":39,"manualWeight":39,"mainColor":159},230970,"song-hui-zong-dao-jun-li-ying-tu-ye-zhao-ji-230970","宋徽宗(道君)立鹰图页","画面中苍鹰独立危巅，铁爪紧扣寒石，侧目回望之际目光如炬，翎毛以浓淡墨色晕染，层次绵密，将猛禽的刚猛悍勇刻画入微。青蓝山石以淡彩点染，冷峭孤高，背景翻涌的海浪线条虬曲激荡，以动衬静，愈发凸显出雄鹰沉稳孤傲的气度。整作设色古雅沉静，工笔勾勒间不失写意风神，既见精妙的写实功底，亦将猛禽睥睨寰宇的雄逸气魄与浩渺天地相融，将悍猛英姿与幽远意境合为一体，尽显别致的笔墨意趣与精神内核。",[23,106,24,25,3326,27,83,7,2227,186,6206,68],"海浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6fcd749830e028272fda4a6618ab8ef.jpg",[],{"id":6210,"slug":6211,"title":4518,"dynasty":18,"author":19,"museum":135,"description":4519,"tags":6212,"thumbUrl":6214,"material":1595,"size":6215,"collection":35,"collections":6216,"showCount":6191,"zanCount":39,"manualWeight":39,"mainColor":40},220974,"shuang-qing-tu-yun-shou-ping-220974",[23,24,25,152,139,28,27,7,321,518,67,580,6213],"传统技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25d9b08a441f3b8f0cf2cc92ce26149c.jpg","纵88.5厘米，横54厘米",[35,112],{"id":6218,"slug":6219,"title":6220,"dynasty":60,"author":830,"museum":20,"description":831,"tags":6221,"thumbUrl":6222,"material":534,"size":834,"collection":52,"collections":6223,"showCount":6224,"zanCount":39,"manualWeight":39,"mainColor":40},214642,"hua-hui-ce-4-chen-chun-214642","花卉册-4",[106,24,64,399,26,7,29,66,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd4c6f394b5716476a6daa9123972186.jpg",[],97,{"id":6226,"slug":6227,"title":6228,"dynasty":60,"author":830,"museum":20,"description":831,"tags":6229,"thumbUrl":6230,"material":534,"size":834,"collection":52,"collections":6231,"showCount":6224,"zanCount":39,"manualWeight":39,"mainColor":40},214636,"hua-hui-ce-8-chen-chun-214636","花卉册-8",[24,25,26,64,7,467,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7da666316e5f79ec4f2838877e43329f.jpg",[],{"id":6233,"slug":6234,"title":1888,"dynasty":18,"author":1635,"museum":79,"description":6235,"tags":6236,"thumbUrl":6237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他曾任清军参将，后因不愿奉命打 其为人性情孤僻，非相处情深者不能得其片纸。携笔墨、着僧装，“闲中写出三千幅，行乞人间作饭钱”，其一生极为清苦，却云游四海，其行程之广，作品之多，为当时所罕见。他承古创新，独辟捷径，广集素材，勤于创作，终成一代巨擘。",[24,25,152,27,7,517],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fe7cc2ae8930ce3b58efcd7f5e7c78b.jpg","197.4×48.2",[35],96,{"id":6242,"slug":6243,"title":6244,"dynasty":60,"author":196,"museum":135,"description":6245,"tags":6246,"thumbUrl":6247,"material":845,"size":52,"collection":35,"collections":6248,"showCount":6240,"zanCount":800,"manualWeight":39,"mainColor":159},236282,"wang-zi-yuan-hua-niao-ce-yi-ming-236282","王子元花鸟册","此作清雅悠然，绶带鸟栖于梨枝之上，翎毛以细笔丝描晕染，墨色层叠尽显绒羽柔泽，蓝首醒目，长尾轻曳，姿态娴静灵动。枝头梨花绽放，淡墨勾瓣，敷色轻浅柔润，将花瓣舒展之态描摹尽致。叶片以没骨晕染，浓淡晕化间尽显春日枝叶的鲜活生机。\n\n画面构图疏朗雅致，工写相融，于细腻笔触中藏着写意的悠然意趣，将禽鸟的灵动与花木的温婉相融，笔墨间晕开春日清和的淡远意境，尽显静谧雅致的文人闲情。",[24,25,26,27,83,7,65,226,66,480],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c0060be9a1a7849c84dd94d58fb96a4.jpg",[35,112],{"id":6250,"slug":6251,"title":44,"dynasty":18,"author":1454,"museum":135,"description":1455,"tags":6252,"thumbUrl":6253,"material":275,"size":276,"collection":35,"collections":6254,"showCount":6240,"zanCount":39,"manualWeight":39,"mainColor":40},235595,"hua-hui-ce-wang-wu-235595",[106,24,25,26,27,83,7,186,29,66,68,569],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53dfb5af791c81f1b8b2110f11c0c905.jpg",[35,112],{"id":6256,"slug":6257,"title":6258,"dynasty":60,"author":196,"museum":1387,"description":6259,"tags":6260,"thumbUrl":6261,"material":52,"size":52,"collection":52,"collections":6262,"showCount":6240,"zanCount":800,"manualWeight":39,"mainColor":159},232911,"fang-qian-xuan-hua-niao-tu-yi-ming-232911","仿钱选花鸟图","钱选以花鸟画成就最高。他的成熟花鸟画，在院画基础上吸取 扬无咎 一派水墨花卉的技法，创造了新的体格。\n后人很多仿画。",[23,24,25,82,83,27,2730,7,185,291,226,65,214,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e0b54ca3ef8f0e19e5c3536b8481fe.jpg",[],{"id":6264,"slug":6265,"title":6266,"dynasty":18,"author":1209,"museum":624,"description":6267,"tags":6268,"thumbUrl":6269,"material":401,"size":6270,"collection":35,"collections":6271,"showCount":6240,"zanCount":39,"manualWeight":39,"mainColor":40},224223,"song-mei-tu-wu-chang-shuo-224223","松梅图","松树倾斜，画面苍劲，树干稍写皴擦，尽显斑驳质感；松枝斜披，干笔勾枝，浓墨勾画松针。梅干多取直势，稍加润泽，小枝横陈，意境空潆深远。梅花点写，错落纷陈。全图笔势如龙飞，舒放自如，有意在笔先之妙。",[23,24,25,152,64,27,7,782,436,68,399],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F394f15aa9a6c228570b112034349569c.jpg","纵135.6厘米，横67.8厘米",[35,112],{"id":6273,"slug":6274,"title":1578,"dynasty":18,"author":793,"museum":251,"description":4926,"tags":6275,"thumbUrl":6276,"material":1595,"size":4929,"collection":35,"collections":6277,"showCount":6240,"zanCount":1398,"manualWeight":39,"mainColor":40},222781,"hua-niao-ce-ye-lang-shi-ning-222781",[23,106,24,25,26,83,27,7,436,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1a60274f5f3dad5f48ce75b5aa1af22.jpg",[35,112],{"id":6279,"slug":6280,"title":6281,"dynasty":18,"author":5683,"museum":624,"description":5684,"tags":6282,"thumbUrl":6283,"material":845,"size":5687,"collection":52,"collections":6284,"showCount":6240,"zanCount":1398,"manualWeight":39,"mainColor":40},222684,"si-ji-hua-niao-tu-ping-7-chen-mei-222684","四季花鸟图屏7",[23,24,27,83,7,436,287,65,452,641,955,455],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcaf378e4fccac3e55f9b45892458c5c.jpg",[],{"id":6286,"slug":6287,"title":6288,"dynasty":18,"author":19,"museum":135,"description":718,"tags":6289,"thumbUrl":6290,"material":3699,"size":6291,"collection":35,"collections":6292,"showCount":6240,"zanCount":39,"manualWeight":39,"mainColor":525},221001,"hua-hui-li-zhou-yun-shou-ping-221001","花卉立轴",[23,24,152,28,27,7,107,185,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb72df777f65aff6071f8368bf22ed0ab.jpg","48.5×118.5",[35,112],{"id":6294,"slug":6295,"title":6296,"dynasty":60,"author":4655,"museum":79,"description":6297,"tags":6298,"thumbUrl":6299,"material":534,"size":6300,"collection":35,"collections":6301,"showCount":6240,"zanCount":1398,"manualWeight":39,"mainColor":159},218845,"ying-tu-lin-liang-218845","鹰图","明代花鸟画家林良以画花鸟著称，主体多属富野逸之趣的禽鸟，如苍鹰、芦雁、寒鸦、麻雀、雉鸡、喜鹊等，也喜绘群鸟聚集景象，品类众多，情态各异，极富自然天趣。《秋鹰图》为林良代表作，幅中署款“林良”。在宋、元时代的画坛，就常能见到鹰类追捕鸟禽为主题的画作，通常以细腻的用笔与设色，描绘鹰类迴身俯衝，捕捉禽鸟的景况。林良採取类似的图绘模式：飞翔的雄鹰俯身扭转头部，以锐利的眼神盯住猎物，被追逐的八哥鸟落荒而逃，露出惊骇的神情。林良在画面左侧增添横出的枝柯，藉以平衡鸟禽的比例。更以写意没骨技法，以迅速地笔墨点染技巧，精准地捕捉自然界惊心动魄的一刻。",[24,25,106,152,64,399,7,167,2227,3480,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d271fc592f2aaf9b0f31185b041e211.jpg","133.4x80.5cm",[35],{"id":6303,"slug":6304,"title":6305,"dynasty":18,"author":196,"museum":79,"description":6306,"tags":6307,"thumbUrl":6309,"material":109,"size":6310,"collection":35,"collections":6311,"showCount":6240,"zanCount":1398,"manualWeight":39,"mainColor":40},218818,"fu-gui-ji-qing-tu-yi-ming-218818","富贵吉庆图","这幅画是在七色牡丹花下画了一对公鸡和母鸡接近小鸡的场景。牡丹的画法是恽代英式的，鸡的形状也很准确，采用的是略带西方色彩的凹版画法，所以这幅画应该是清代宫廷画家的作品。",[24,27,83,7,3969,6308,5088,107,215,170],"母鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87b682bea290156c24b7bd4517051447.jpg","138.5x69cm",[35],{"id":6313,"slug":6314,"title":6315,"dynasty":18,"author":4878,"museum":135,"description":4879,"tags":6316,"thumbUrl":6317,"material":275,"size":276,"collection":52,"collections":6318,"showCount":6319,"zanCount":39,"manualWeight":39,"mainColor":40},236740,"tao-hua-jia-die-wan-shan-zhang-xiong-236740","桃花蛱蝶纨扇",[24,25,661,139,83,27,7,123,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55170b403bb25051d64dc082a1e881e2.jpg",[],95,{"id":6321,"slug":6322,"title":6323,"dynasty":18,"author":730,"museum":135,"description":6324,"tags":6325,"thumbUrl":6326,"material":52,"size":52,"collection":52,"collections":6327,"showCount":6319,"zanCount":39,"manualWeight":39,"mainColor":40},230874,"mei-hua-tu-ce-jin-nong-230874","梅花图册","这幅画以水墨写梅，老干虬曲苍劲，淡墨晕染出斑驳古拙的质感，枝桠斜逸舒展，尽显老树凌寒的沉浑气度。枝头梅花以淡墨勾瓣，留白衬出冰洁花容，浓墨点蕊，疏密有致，于简淡中见清艳孤高，将梅花傲霜之态全然托出。\n\n左侧隶书题跋朴茂沉厚，笔力苍劲，画与文相映成趣，把画梅心得与爱梅之情落于纸间。整作脱去甜熟妍丽，以极简笔墨写尽梅之清癯风骨，藏着画者疏淡超脱的文人襟怀，以意趣取胜，尽显水墨花卉的空灵淡远之美。",[24,25,26,64,7,436,31,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffe1220c3355013ed53f3eb499f35db0.jpg",[],{"id":6329,"slug":6330,"title":6331,"dynasty":18,"author":317,"museum":135,"description":6332,"tags":6333,"thumbUrl":6334,"material":52,"size":52,"collection":52,"collections":6335,"showCount":6319,"zanCount":1398,"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。",[24,25,26,27,83,7,29,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5eb0cc576e00222d934108ce911daf05.jpg",[],{"id":6337,"slug":6338,"title":6339,"dynasty":60,"author":830,"museum":135,"description":6340,"tags":6341,"thumbUrl":6342,"material":52,"size":52,"collection":52,"collections":6343,"showCount":6319,"zanCount":1398,"manualWeight":39,"mainColor":40},228466,"luo-yang-chun-se-tu-chen-chun-228466","洛阳春色图","明陈淳洛阳春色图此卷绘数株盛开的牡丹，雍容华贵，以没骨法写意。\n湖石枯笔勾皴，淡墨晕染，色墨并用。\n画风疏爽秀逸，艳丽清新。\n自题：“己亥秋日，道复书并图。\n”款“道复制”，钤‘白阳山人“朱文方印、”复父氏“白文方印。\n拖尾自题草书牡丹诗。\n【名称】明 陈淳 洛阳春色图 ，横111.2厘米。\n南京博物院藏。\n（148-1544）：又作1482-159年，长洲（今江苏苏州）人。\n字道复，后以字行，更字复甫，号白阳，又号白阳山人。\n陈淳少年作画以元人为法，深受水墨写意的影响。\n他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。\n他的有些作品，所画质朴，可以看出受沈周画法的影响。\n与徐渭并称白阳青藤。\n陈氏少年作画工细，中年后笔法放纵，自立门户。\n陈淳师从文徵明，在其门下声誉最高。\n曾评其曰：“吾于道复仅举业师耳，其书画自有门径。\n” 己亥为嘉靖十八年，作者时年五十七岁。",[23,24,25,82,27,64,399,7,107,186,569,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecafa67ce26c246c916ad4fb011d6f4d.jpg",[],{"id":6345,"slug":6346,"title":6347,"dynasty":18,"author":793,"museum":79,"description":794,"tags":6348,"thumbUrl":6350,"material":27,"size":797,"collection":52,"collections":6351,"showCount":6319,"zanCount":39,"manualWeight":39,"mainColor":40},222749,"xian-e-chang-chun-tu-06a-lang-shi-ning-222749","仙萼长春图-06a",[23,106,24,25,26,27,83,7,6349,107],"百合花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4adacdd9409943ffa72bb6bc318274c3.jpg",[],{"id":6353,"slug":6354,"title":6355,"dynasty":18,"author":5683,"museum":624,"description":5684,"tags":6356,"thumbUrl":6357,"material":845,"size":5687,"collection":52,"collections":6358,"showCount":6319,"zanCount":678,"manualWeight":39,"mainColor":40},222679,"si-ji-hua-niao-tu-ping-2-chen-mei-222679","四季花鸟图屏2",[23,24,83,27,7,65,226,452,228,107,254,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81b6aab8d5cdb347668d913e6a8ccedc.jpg",[],{"id":6360,"slug":6361,"title":6362,"dynasty":60,"author":830,"museum":79,"description":1919,"tags":6363,"thumbUrl":6367,"material":401,"size":6368,"collection":35,"collections":6369,"showCount":6319,"zanCount":39,"manualWeight":39,"mainColor":40},222555,"qiu-tang-hua-ya-zhou-chen-chun-222555","秋塘花鸭轴",[23,24,152,64,27,399,7,49,355,451,138,1855,480,6364,807,29,808,6365,1570,4775,4327,6366],"秋景","淡彩","明代绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57ed2c1673a772976ff5fcf779defb76.jpg","90.8x36.2厘米",[35,112],{"id":6371,"slug":6372,"title":6373,"dynasty":60,"author":1261,"museum":1535,"description":6374,"tags":6375,"thumbUrl":6376,"material":52,"size":6377,"collection":35,"collections":6378,"showCount":6319,"zanCount":39,"manualWeight":39,"mainColor":40},222415,"mei-hua-ye-zhi-tu-zhou-zhi-mian-222415","梅花野雉图","彩绘老干红梅，野雉栖于其上，竹石映带左右。作者周之冕江苏苏州人，善画花鸟，能的其神态；设色清雅，在陈淳、陆治之间，钩花点叶，间出新意。惟酒成癖，诚是一病。此图写生意味颇浓，构图匀称；工笔精细逼真，而无板滞痕迹，正是难能可贵之处。上有作者“丙申夏日汝南周之冕写”名款，下钤“周之冕印”、“服卿”印章二方。图的整体布局严谨，描摹惟妙惟肖，是同时期画作中的佳品。",[23,24,7,27,64,436,65,186,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dc2989106565d8ba25606cccdc69711.jpg","纵: 134.5厘米. 横: 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桃花盛开； 下方，一只老鹰将野鸡按在脚下，野鸡五颜六色的羽毛在被捕获后瞬间炸开。 ，张开的喙似乎受到惊吓并尖叫着求救。",[23,106,24,25,152,83,27,7,436,185,186,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a9d6f070400e1b1a33505d902eaa96.jpg","纵142.2横78.7厘米",[202,35],{"id":6458,"slug":6459,"title":6460,"dynasty":195,"author":1229,"museum":45,"description":6461,"tags":6462,"thumbUrl":6463,"material":33,"size":6464,"collection":35,"collections":6465,"showCount":6413,"zanCount":678,"manualWeight":39,"mainColor":40},218947,"e-tu-lu-zong-gui-218947","鹅图","绘有一只雏鸟在母亲脖子后面的右侧，低头看着水面，而另一只雏鸟则在母亲的左侧，抬头望天，呜呜地叫着。这个场景相当有趣，反映了动物之间的母子关系。",[24,106,25,83,27,7,3469,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e7faa8a7a2eafd67f868c6d30b023f7.jpg","60x80cm",[35],{"id":6467,"slug":6468,"title":6469,"dynasty":195,"author":196,"museum":135,"description":6470,"tags":6471,"thumbUrl":6472,"material":534,"size":6473,"collection":786,"collections":6474,"showCount":6413,"zanCount":800,"manualWeight":39,"mainColor":4082},218618,"chun-xi-ming-qin-tu-yi-ming-218618","春溪鸣禽图","画面上有古老的柏树，靠外的竹子，溪流中盛开的梅花，以及唱歌的鸟儿和仙女。浓烈的笔墨是宋代的风格，这也是自然小景的典范之作。\n这幅画采用了南宋的写实手法，画出了春日溪边宁静幽远而又生动的景象，造型准确，极为生动。",[24,25,661,83,64,27,1393,167,89,186,7,1390],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff10a47e4d9461a9b24ee60330ea5a6c1.jpg","31x31",[786,202],{"id":6476,"slug":6477,"title":6478,"dynasty":18,"author":317,"museum":135,"description":6479,"tags":6480,"thumbUrl":6481,"material":52,"size":52,"collection":35,"collections":6482,"showCount":6483,"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”。",[24,25,26,83,27,7,29,228,287],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e56e69a03dcde8ab9a366f27b7c94c8.jpg",[35,112],93,{"id":6485,"slug":6486,"title":5435,"dynasty":119,"author":3663,"museum":135,"description":6487,"tags":6488,"thumbUrl":6489,"material":52,"size":6490,"collection":52,"collections":6491,"showCount":6483,"zanCount":800,"manualWeight":39,"mainColor":159},231513,"hua-niao-tu-juan-wang-yuan-231513","王渊是元代著名花鸟画家，字若水，号澹轩，浙江杭州人。生卒年不祥，据陶宗仪《辍耕录》卷七记载，他“幼时获侍赵魏公（赵子昂）故多得指教，所以傅色特妙。天历中（1328—1330年），画集庆龙翔寺两庑壁”。其年龄要比赵子昂小，赵子昂生于南宋理宗宝佑二年（1254年），应活跃在1254年以后，从他的传世作品所签年款来看，多在元朝惠宗至正三年到九年，即1343—1349年，元朝灭亡于至正二十八年（1368年），也有文献记载，在至正二十六年（1366年）曾作《萱花白头图》。可见他从事艺术活动在元代中后期，他的卒年可能在元朝灭亡之前，或在明朝初年。\n王渊的花鸟、古木竹石、梅兰等题材绘画，在继承五代、两宋传统花鸟画的基础上，又有了新的发展和明显的变化，取得显著的成就，在中国美术史上占有重要的地位。他的表现手法属“黄家富贵”体。唯舍色彩而取水墨，通过勾勒和水墨晕染区别浓淡向背，造型极精严，神态亦颇生动，作到“墨具五色”的艺术效果。同钱选一样，王渊在花鸟画创作上起到了承前启后的作用。\n王渊的花鸟画给人以接近气势磅礴的感觉。我们不得不感叹这位画家令人惊羡的艺术造诣，同时又被其画中别样的意境所打动。",[23,24,106,82,83,27,31,68,7,436,107,185,186,123,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f04e0e5eaa4a4d2e89e6b687fe212f7.jpg","95.9×50.6 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（1812-？）本名张槃，河北定兴人，工篆隶书法，尤精画鸟。（清）原名柞枝，字小蓬（一作小槃），号圆腹道人，直隶定兴人。官山东武定同知。工篆、隶。放情诗酒，余事作花鸟，备极精能，亦能山水。光绪二年（1876）尝客袁浦作红药双鹑图。性简傲，乞其画者必择人而予。",[24,25,661,27,7,286,254,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0e694aee14afb2a0093a45ad78f3bea.jpg",[],92,{"id":6565,"slug":6566,"title":6567,"dynasty":60,"author":1037,"museum":135,"description":6568,"tags":6569,"thumbUrl":6570,"material":52,"size":52,"collection":52,"collections":6571,"showCount":6563,"zanCount":39,"manualWeight":39,"mainColor":40},228761,"shi-er-yue-hua-hui-tu-quan-juan-xu-wei-228761","十二月花卉图全卷","此作用笔纵逸狂放，以水墨晕染替代敷色，浓淡干湿间尽显花卉神韵。牡丹苍润饱满，墨色浓沉见雍容；蜀葵疏朗清劲，淡墨勾勒存清雅，水草兰叶信笔挥洒，野趣横生。\n\n诗画相生相伴，题诗与笔墨意境交融，将文人的疏放心性寄寓于一花一草之中，脱略形似而独尚神韵，以极简的水墨语言写尽花木风骨情态，尽显大写意花鸟的淋漓意趣，是笔墨性情与文人情思完美合一的典范。",[23,24,25,82,64,7,107,291,254,68,569],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f4e8f11f67d43edc105e9c7369bf569.jpg",[],{"id":6573,"slug":6574,"title":6575,"dynasty":195,"author":1229,"museum":135,"description":6576,"tags":6577,"thumbUrl":6578,"material":52,"size":52,"collection":52,"collections":6579,"showCount":6563,"zanCount":39,"manualWeight":39,"mainColor":159},227735,"xia-hui-pian-fang-tu-ye-lu-zong-gui-227735","夏卉骈芳图页","《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。",[106,24,25,26,661,83,27,7,29,516,291,228,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F271a4d7d9c178ff1ca01282a323a7b3e.jpg",[],{"id":6581,"slug":6582,"title":6583,"dynasty":195,"author":841,"museum":251,"description":6584,"tags":6585,"thumbUrl":6586,"material":1595,"size":6587,"collection":35,"collections":6588,"showCount":6563,"zanCount":39,"manualWeight":39,"mainColor":159},221185,"ju-lv-tu-ma-lin-221185","橘绿图","图中橘子由绿转黄，满压枝头。\n画家以粗细匀整的用笔流畅地勾画出橘叶的外形轮廓，并以黄绿色填涂叶面，叶片虽然不多，但其充满生命力的色彩为画面增添了几许活力，而侧、转、反、正的种种姿态又为全图带来灵动的节律。\n橘子的画法一改平涂晕染，直接以笔着色粉戳染成形，从而生动地表现出橘皮粗糙不平的质感。\n虽然画作历经磨损，许多白色粉点已经剥落，并露出了黄色的绢底，但仍然可见马麟的非凡技艺。\n橘子又称香圆，寓团圆之意。",[23,24,106,25,661,83,27,7,2323,425,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb517af2b4a5bcb26aab4781737446347.jpg","纵2cm，横2.5cm",[35,112],{"id":6590,"slug":6591,"title":6592,"dynasty":18,"author":6593,"museum":20,"description":6594,"tags":6595,"thumbUrl":6596,"material":27,"size":6597,"collection":35,"collections":6598,"showCount":6563,"zanCount":39,"manualWeight":39,"mainColor":159},219810,"hua-niao-cao-chong-tu-sun-long-219810","花鸟草虫图","孙龙","此册绢本设色，共十二图，描绘荷塘鹡鴒、蓼花螳螂、水藻玄蝉、秋塘青蛙、秋草蝗虫、蜀葵、黄叶麻雀、海棠白头等内容。",[24,106,27,7,213,494,808,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84436a5c33a598cea9820f16146645fc.jpg","纵22.9 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、Kesi 或 Chinese silk tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[24,152,709,7,49,50,83,27,6687],"布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5496eee4f3b0cb9dd3c8db2a7491703.jpg",[],90,{"id":6692,"slug":6693,"title":6694,"dynasty":18,"author":1475,"museum":135,"description":6695,"tags":6696,"thumbUrl":6697,"material":52,"size":52,"collection":52,"collections":6698,"showCount":6690,"zanCount":800,"manualWeight":39,"mainColor":40},238999,"fu-gui-bai-tou-tu-zhou-ju-lian-238999","富贵白头图轴","此作用湖石撑起画面骨架，瘦漏透皱，空灵奇崛。牡丹攒簇于石畔，粉娇黄雅、紫柔朱艳，花瓣晕染柔润饱满，枝叶疏密错落，尽显盛放之态。\n\n两只白头翁静立石巅，亲昵相依，另有蛱蝶逐花蹁跹，满幅皆是融融春意。设色明丽却不甜俗，没骨技法将花叶的娇柔鲜活尽致展现，湖石以勾勒皴擦带出嶙峋质感，工写相宜。\n\n祥瑞意趣藏在鲜活景致中，将春日生机与美好祈愿揉合，笔底含情，把灵秀雅致凝于尺幅间。",[24,106,152,83,27,7,107,65,214,215,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc5e8dafcd23c0f7abfb2e6f9f962f77.jpg",[],{"id":6700,"slug":6701,"title":6511,"dynasty":195,"author":553,"museum":251,"description":6702,"tags":6703,"thumbUrl":6704,"material":1595,"size":6705,"collection":52,"collections":6706,"showCount":6690,"zanCount":800,"manualWeight":39,"mainColor":159},233002,"pi-pa-shan-niao-tu-ye-lin-chun-233002","图绘江南五月，成熟的枇杷果在夏日的光照下分外诱人。一只绣眼翘尾引颈栖于枇杷枝上正欲啄食果实，却发现其上有一只蚂蚁，便回喙定睛端详，神情十分生动有趣。枇杷枝仿佛随着绣眼的动作重心失衡而上下颤动，画面静中有动，妙趣横生。绣眼的羽毛先以色、墨晕染，随后以工细而不板滞的小笔触根根刻画，表现出鸟儿背羽坚密光滑、腹毛蓬松柔软的不同质感。枇杷果以土黄色线勾轮廓，继而填入金黄色，最后以赭色绘脐，三种不同的暖色水乳交融，从而展现出枇杷果成熟期的丰满甜美。枇杷叶用笔致工整细腻的重彩法表现，不仅如实地刻画出叶面反转向背的各种自然形貌，且将叶面被虫儿叮咬的残损痕迹亦勾描晕染得一丝不苟，充分反映了宋代花鸟画在写实方面所达到的艺术水平。",[24,25,106,83,27,7,556,65,228,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7aa06bf3aa4e5e7e1763e4645676c6e.jpg","纵26.9厘米，横27.2厘米",[],{"id":6708,"slug":6709,"title":6710,"dynasty":18,"author":1311,"museum":135,"description":6711,"tags":6712,"thumbUrl":6713,"material":52,"size":52,"collection":52,"collections":6714,"showCount":6690,"zanCount":800,"manualWeight":39,"mainColor":159},228927,"bai-tou-rong-gui-tu-li-zhou-ma-quan-228927","白头荣贵图立轴","此作绘就清秋雅景，桂树虬枝斜出，繁花缀于叶间，两只白头翁栖于枝头，羽色晕染细腻，灵动悠然，似在细嗅甜香。苔石苍古朴拙，旁侧芙蓉柔花绽蕊，粉白相衬，妍丽温婉。\n\n笔触工秀兼具，禽鸟绒毛蓬松鲜活，花叶勾勒柔婉，设色明丽雅致却艳而不俗。以白头翁谐“白头”，丹桂、芙蓉寄寓荣华，将秋日生机与吉庆祈愿相融，笔底尽是温婉意趣，静赏间漫溢清和雅致的古典韵味。",[23,106,24,25,152,83,27,7,107,1558,90,67,228,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa823023cfbac82a24300a34fb689b2f2.jpg",[],{"id":6716,"slug":6717,"title":6718,"dynasty":195,"author":6719,"museum":45,"description":6720,"tags":6721,"thumbUrl":6722,"material":109,"size":6723,"collection":35,"collections":6724,"showCount":6690,"zanCount":800,"manualWeight":39,"mainColor":159},218929,"hong-ye-xiao-niao-tu-wu-yuan-yu-218929","红叶小鸟图","吴元瑜","此幅《红叶小鸟图》是现今所知的唯一署款之作，“元瑜”二字书写古拙，笔法柔中带刚。画的设色极高古，小鸟羽毛描绘精细，指爪紧握树枝，眼神灵活，舌尖颤动如发清音，状物写情生动传神，定为宋画应无疑问。而且画幅上藏印累累，包括黔宁王沐昂，著名的收藏家宋荦，近代鉴藏家吴湖帆、钱镜塘、王季迁等。虽暂时仍未查有著录，但正如杨仁恺在裱绫中所题，“画心钤明清诸家钤印，当有所据也”。",[106,24,25,7,83,27,65,955,452,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91e95be5e4206dc53f32e2bb88825d63.jpg","42x25cm",[35],{"id":6726,"slug":6727,"title":6728,"dynasty":148,"author":1776,"museum":135,"description":6729,"tags":6730,"thumbUrl":6732,"material":275,"size":276,"collection":52,"collections":6733,"showCount":6734,"zanCount":39,"manualWeight":39,"mainColor":159},288974,"ping-po-shan-niao-tu-huang-quan-288974","苹婆山鸟图","竹石花雀学刁光胤与滕昌佑、山水松石学李升、人物龙水学孙位、画鹤学薛稷，皆能脱去古人格律，自创新意。而且，黄筌一家具擅绘画，其弟唯亮，子居宝、居实、居寀，其中尤以黄居寀的成就最大，黄氏父子的花鸟画，在当时人们普遍认为其风格特点是“黄家富贵”。宋人沈括在《梦溪笔谈》中明确指出：“诸黄(指黄氏一家)画花妙在傅色，用笔极新细，殆不见墨迹，但以轻色染成，谓之写生”。\n入秋的山林，一颗颗绯红了脸颊的苹果，悬挂在枝叶间。芬芳的气味、鲜艳的色彩，招来了不少「小过客」们在此停留，留下了许多的斑点与啮痕。一只娇小的粉红鹦嘴，也忍不住好奇地飞了上来。它轻巧地停落在弯细的枝桠上，仰着圆小的脸蛋，摇着细长的尾巴，淘气地又蹦又跳的，好不开心！\n粉红鹦嘴旧名黄头，是种可爱、善斗的小鸟。而吸引粉红鹦嘴的苹果树，传统名为「林檎（禽）」或「来禽」。名称的由来，据说是因为它的果实（即苹果）味道甘醇、甜美，因此常常能吸引许多鸟禽来此聚集的缘故。至于画名以「苹婆」（即柰，又名凤眼珠）相称，应是古人误题了，两者事实上并不相同。\n这幅精巧的「苹婆山鸟」，旧传为五代画家黄筌（活动于903-965）所作。黄筌是中国花鸟画史里，开创工笔细致风格的大师，对五代到北宋初期的画坛影响深远。这幅画作虽非大师亲笔，可是无论是特写式的取景方式或是精辟入理的写实趣味，都明显受到黄筌的影响，是一幅宋代杰出的花鸟画小品。",[24,661,83,27,7,167,6731],"苹婆果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74ea7a4296d2a431f72d4200daacb413.jpg",[],89,{"id":6736,"slug":6737,"title":6738,"dynasty":60,"author":683,"museum":135,"description":6739,"tags":6740,"thumbUrl":6741,"material":275,"size":276,"collection":52,"collections":6742,"showCount":6734,"zanCount":1398,"manualWeight":39,"mainColor":40},228828,"wo-you-tu-ce-shen-zhou-228828","卧游图册","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。",[23,24,25,26,64,27,1390,7,185,169,569],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba6888d1d28a0071d48ff437e6713a55.jpg",[],{"id":6744,"slug":6745,"title":6746,"dynasty":18,"author":793,"museum":79,"description":794,"tags":6747,"thumbUrl":6748,"material":27,"size":797,"collection":52,"collections":6749,"showCount":6734,"zanCount":5,"manualWeight":39,"mainColor":40},222747,"xian-e-chang-chun-tu-05a-lang-shi-ning-222747","仙萼长春图-05a",[23,24,83,27,7,29,358,2168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feed7da96ce0c7b5d28a9d61f8f6ce6aa.jpg",[],{"id":6751,"slug":6752,"title":6753,"dynasty":18,"author":5683,"museum":624,"description":5684,"tags":6754,"thumbUrl":6755,"material":845,"size":5687,"collection":52,"collections":6756,"showCount":6734,"zanCount":5,"manualWeight":39,"mainColor":40},222681,"si-ji-hua-niao-tu-ping-4-chen-mei-222681","四季花鸟图屏4",[23,83,27,7,65,3442,2168,2769,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F215e604db490f4a6381ab7f2e744c172.jpg",[],{"id":6758,"slug":6759,"title":6760,"dynasty":195,"author":6761,"museum":1146,"description":6762,"tags":6763,"thumbUrl":6764,"material":109,"size":6765,"collection":35,"collections":6766,"showCount":6734,"zanCount":800,"manualWeight":39,"mainColor":159},218925,"yuan-yang-za-qin-tu-han-you-218925","鸳鸯杂禽图","韩佑","这幅画上画着密密麻麻的梅花和山茶花，表达了冬天的精致。一对鸳鸯依偎在萧瑟的坡岸上，为画面增添了一丝温情。这幅画据说是宋代的韩佑所作，但山石的风格是明代画院的风格，官方网站将其定为15至16世纪。",[106,24,25,152,83,27,7,436,1110,807,29,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc9960809d93f2f94c401c8fe943f369.jpg","154x94.2cm",[35],{"id":6768,"slug":6769,"title":6770,"dynasty":18,"author":6771,"museum":79,"description":6772,"tags":6773,"thumbUrl":6774,"material":33,"size":6775,"collection":35,"collections":6776,"showCount":6734,"zanCount":800,"manualWeight":39,"mainColor":40},218805,"hua-niao-quan-shi-tu-dai-hong-218805","花鸟泉石图","戴洪","作者戴洪，生死时年藉贯均不详。高宗乾隆时，任职内廷画院供奉。擅长山水、花鸟画。他的画，以笔路纤细，着色秾丽见长，曾和程志道、金昆、孙佑等人，合画清明上河图，精美绝伦，深蒙乾隆赞赏。偶尔也画水墨山水，用笔虽较开放，但仍不脱细谨作风。",[24,27,83,152,7,65,226,215,1822,1393],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc83a526f4a08022e9761839fce88641.jpg","185x66.3cm",[35],{"id":6778,"slug":6779,"title":6780,"dynasty":60,"author":1681,"museum":79,"description":6781,"tags":6782,"thumbUrl":6783,"material":109,"size":6784,"collection":35,"collections":6785,"showCount":6734,"zanCount":1398,"manualWeight":39,"mainColor":159},218790,"hua-hui-ling-mao-tu-lv-ji-218790","花卉翎毛图","吕纪（约 1429-1505），字廷振，浙江鄞县人。花鸟初学边文进（15 世纪），后又广摹唐宋名家，艺事益能精进。明孝宗弘治（1488-1505）间与林良（约1424-1500 后）同值仁智殿， 任锦衣卫指挥使。\n本幅画春暖花开时节，杏花临水绽放，柳树迎风摇曳， 八哥、山鸟停憩、飞翔于其间。溪中游鱼成群，隔岸两对鸳鸯，景致富丽而怡人。画中并无作者款印，布局与笔意，饶有吕纪之精神面貌，研判应出自传承吕氏风格的宫廷画家之手。",[23,24,106,83,27,7,1736,29,1110,452,631,3390,215,167,3006],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1048483f5027abb6034036a7b9aeaaa.jpg","193.2x116cm",[35],{"id":6787,"slug":6788,"title":6789,"dynasty":195,"author":942,"museum":79,"description":943,"tags":6790,"thumbUrl":6792,"material":109,"size":946,"collection":52,"collections":6793,"showCount":6734,"zanCount":800,"manualWeight":39,"mainColor":40},218575,"hua-niao-shan-shui-xiao-pin-ce-tao-shi-ma-yuan-218575","花鸟山水小品册-桃实",[23,24,25,26,27,83,7,6791,66,68],"桃实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faadbefdeadf6a41201afc56e25773c67.jpg",[],{"id":6795,"slug":6796,"title":765,"dynasty":119,"author":120,"museum":135,"description":6797,"tags":6798,"thumbUrl":6799,"material":275,"size":276,"collection":52,"collections":6800,"showCount":6801,"zanCount":1398,"manualWeight":39,"mainColor":159},290093,"lan-hua-tu-qian-xuan-290093","虽然精细工整,但绝不是镜子似的照搬现实,藤篮的复杂图案、花卉的舒卷姿态和排列位置,无不经过巧妙经营和提炼,来自于心与物碰撞熔铸的艺术之意象,这是应该加以明确的。",[24,7,83,27,107,686,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10cab7b8f6574051eeaabfa10382fa55.jpg",[],88,{"id":6803,"slug":6804,"title":2471,"dynasty":18,"author":381,"museum":135,"description":6805,"tags":6806,"thumbUrl":6807,"material":275,"size":276,"collection":52,"collections":6808,"showCount":6801,"zanCount":800,"manualWeight":39,"mainColor":40},288138,"hua-niao-tu-ye-ren-yi-288138","任颐（1840年－1895年），即任伯年，初名润，字次远，号小楼，后改名颐，字伯年，别号山阴道上行者、寿道士等，以字行，浙江山阴航坞山（今杭州市萧山区瓜沥镇）人，清末著名画家。\n自幼随父卖画，后从任熊、任薰学画，后居上海卖画为生。在“四任”之中，成就最为突出，是“海上画派”中的佼佼者，“海派四杰”之一。任伯年的绘画发轫于民间艺术，技法全面，山水、花鸟、人物等无一不能。重视写生，又融汇诸家法，并吸取水彩色调之长，勾皴点染，格调清新。\n其人物画，早年从陈洪绶法出，形象夸张，富装饰效果。如故宫博物院藏《干莫炼剑图》轴。后练习铅笔速写后，变得较为奔逸，如故宫博物院藏《风尘三侠图》轴等。其写照技艺，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。\n海派中的佼佼者，其绘画发源于民间，重视继承传统，吸收西画技法，形成风姿多采的独特画风，在“四任”中成就最为突出。 　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[23,24,661,83,27,7,167,286,31,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb60e23a255768ce7e9fd81450f398093.jpg",[],{"id":6810,"slug":6811,"title":6812,"dynasty":18,"author":6813,"museum":135,"description":6814,"tags":6815,"thumbUrl":6817,"material":275,"size":276,"collection":52,"collections":6818,"showCount":6801,"zanCount":800,"manualWeight":39,"mainColor":40},239215,"qian-yan-hong-tao-tu-zhou-qian-yu-ling-239215","千岩红桃图轴","钱与龄","清代女画家钱与龄（1763—1827年），字九英。其曾祖母陈书（字南楼）是太学生陈尧勋的长女，她的作品被乾隆帝赏识，很多作品有乾隆帝题诗。乾隆帝评她的作品是：“结构总无巾帼气”。钱与龄从小受曾祖母的影响，耳濡目染，笔墨技法上继承家风，蔚为大观。",[24,152,27,83,7,241,4648,6816],"桃叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75505da78daeef02e6ba57b4bf4ac929.jpg",[],{"id":6820,"slug":6821,"title":6822,"dynasty":60,"author":1261,"museum":251,"description":3014,"tags":6823,"thumbUrl":6824,"material":52,"size":52,"collection":52,"collections":6825,"showCount":6801,"zanCount":39,"manualWeight":39,"mainColor":40},234819,"ming-qing-zhu-jia-ji-jin-ce-hua-hui-ce-ye-zhou-zhi-mian-234819","明清诸家集锦册-花卉册页",[24,25,26,64,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe4c8ad8125d04783fe859a3534814b2.jpg",[],{"id":6827,"slug":6828,"title":6829,"dynasty":119,"author":196,"museum":135,"description":6685,"tags":6830,"thumbUrl":6832,"material":52,"size":52,"collection":52,"collections":6833,"showCount":6801,"zanCount":800,"manualWeight":39,"mainColor":159},232906,"ke-si-qing-niao-hu-die-tu-juan-yi-ming-232906","缂丝青鸟蝴蝶图卷",[23,709,27,83,7,82,6831,214,107,90,288],"青鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6f791b5f797cb61630dfe3c3212a14b.jpg",[],{"id":6835,"slug":6836,"title":6837,"dynasty":18,"author":6838,"museum":135,"description":6839,"tags":6840,"thumbUrl":6841,"material":52,"size":52,"collection":52,"collections":6842,"showCount":6801,"zanCount":1398,"manualWeight":39,"mainColor":40},224123,"mu-dan-shui-xian-song-qian-long-224123","牡丹水仙松","乾隆","此作工写兼具，笔致温婉细腻。虬曲松枝挺劲苍古，松针以淡墨晕染，蓬松灵动，缀一枚松果更添幽寂古意。艳粉色牡丹饱满柔润，雍容舒展尽显华贵，一旁水仙莹白清雅，素淡可人。\n\n刚健的松枝搭配柔妍的花束，刚柔相济和谐雅致。设色秀润柔和，毫无艳俗之感，将院体画的精致工整与文人意趣的清雅格调相融。配题诗文寄意福寿绵长、清韵恒常，整幅以松之寿、花之妍，绘就祥瑞吉庆的美好意蕴，尽显典雅雍容的审美意趣。",[23,24,25,152,27,83,7,107,518,782,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d1e0899a4eb23c6ddb0729e24fe94e4.jpg",[],{"id":6844,"slug":6845,"title":6846,"dynasty":489,"author":2235,"museum":6847,"description":6848,"tags":6849,"thumbUrl":6850,"material":52,"size":52,"collection":52,"collections":6851,"showCount":6801,"zanCount":39,"manualWeight":39,"mainColor":40},220574,"feng-yu-ji-ming-xu-bei-hong-220574","风雨鸡鸣","中央美术学院美术馆","滂沱风雨被晕染在冷灰底色中，危岩之上雄鸡振羽昂首，丹红鸡冠如炬，刺破漫天雨幕。它利爪紧扣嶙峋石峰，尾羽怒张，长啼似欲穿破阴霾，将不屈意气倾泻而出。\n\n左侧墨竹在狂风里倾伏翻卷，枝叶乱颤，更衬出雄鸡卓然独立的身姿。整幅画以水墨干湿浓淡铺就氛围，将乱世之中的沉郁压抑与志士觉醒的炽热力量相融，以禽竹山石托物言志，把不屈的民族气节藏在笔锋之下，满纸皆是冲破黑暗的激昂心气。",[23,24,64,27,152,399,7,1416,185,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd30e5ae80b9dd47726b0e88ad80cc9dd.jpg",[],{"id":6853,"slug":6854,"title":6855,"dynasty":60,"author":830,"museum":20,"description":831,"tags":6856,"thumbUrl":6857,"material":534,"size":834,"collection":52,"collections":6858,"showCount":6801,"zanCount":1398,"manualWeight":39,"mainColor":40},214635,"hua-hui-ce-9-chen-chun-214635","花卉册-9",[24,25,26,64,399,7,29,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39f6b8367f309befbd90a7589bac9e70.jpg",[],{"id":6860,"slug":6861,"title":6862,"dynasty":18,"author":19,"museum":135,"description":272,"tags":6863,"thumbUrl":6864,"material":275,"size":276,"collection":52,"collections":6865,"showCount":6866,"zanCount":800,"manualWeight":39,"mainColor":40},290538,"bei-tang-qiu-ying-yun-shou-ping-290538","北堂秋影",[24,26,27,7,29,83,31,68,6364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30507f70fa4d4d14fa0b8ae423c42c20.jpg",[],87,{"id":6868,"slug":6869,"title":6870,"dynasty":4397,"author":6871,"museum":135,"description":6872,"tags":6873,"thumbUrl":6874,"material":275,"size":276,"collection":52,"collections":6875,"showCount":6866,"zanCount":1398,"manualWeight":39,"mainColor":159},290027,"hua-niao-tu-ping-feng-shou-ye-song-rong-shou-ye-guang-xin-290027","花鸟图屏风","狩野松荣、狩野光信","狩野光信面對新興漢系畫家的競爭，不得不奔走於豐臣家與德川家之間以取得更多委託，並透過狩野長信 (1577-1654) 與德川幕府建立的關係，成為後繼者狩野孝信取得德川家支持參與名古屋城本丸御殿製作的基礎。",[23,24,93,7,83,27,782,107,291,171,2227,91,167,1390,641,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F066d6aadc5c3af2e9023ff46f3b095ba.jpg",[],{"id":6877,"slug":6878,"title":1888,"dynasty":18,"author":1209,"museum":135,"description":1508,"tags":6879,"thumbUrl":6880,"material":275,"size":276,"collection":52,"collections":6881,"showCount":6866,"zanCount":5,"manualWeight":39,"mainColor":40},239525,"ju-hua-zhou-wu-chang-shuo-239525",[24,152,7,64,27,517,107,31,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ebcc6f54b50ae6c545c98be3383c48f.jpg",[],{"id":6883,"slug":6884,"title":44,"dynasty":60,"author":566,"museum":1535,"description":6885,"tags":6886,"thumbUrl":6887,"material":722,"size":6888,"collection":35,"collections":6889,"showCount":6866,"zanCount":39,"manualWeight":39,"mainColor":40},237438,"hua-hui-ce-xiang-sheng-mo-237438","项圣谟五十六岁创作的《花卉十开》是其花鸟画册页精品之一。十幅画皆纸本设色、淡彩没骨，依次画千叶桃花、石榴、白色桃花、白色梅花、海棠、兰花、野菊、秋菊、荷花荷叶、莲蓬莲藕，第一、三、四、五、八开画家题诗，第二、六、七、九、十开画家仅题名号，每一幅都有清代画家汪家珍题写诗文。",[24,25,26,27,7,320,31,68,480,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F482745d7ab05be19737eae85edd0cf06.jpg","31 X 23 CM X 10",[35,112],{"id":6891,"slug":6892,"title":6893,"dynasty":60,"author":1681,"museum":4676,"description":6894,"tags":6895,"thumbUrl":6897,"material":822,"size":6898,"collection":35,"collections":6899,"showCount":6866,"zanCount":1398,"manualWeight":39,"mainColor":159},222399,"mei-cha-zhi-que-tu-lv-ji-222399","梅茶雉雀图","此图描绘的是着色雪景，寒意茫茫，坡石上，有白梅老干欹曲，双雉栖息干上，一正一反，侧首相互呼应，形态生动。树根处，隐隐露出兰叶丛草，梅枝虬曲凌 空，花朵疏密散聚，气势飞动，更添无限寒意。数雀聚集栖于上部梅枝之上，山茶红映其间，正如《无声诗史》所评设色鲜丽，生气奕弈。远处岗阜覆雪，涧水 曲流，冷壑荒寂。此画属于工笔重彩一体，色彩浓重妍丽，覆雪山石皴染结合，明暗对比强烈，造成雪景冷雪之意境。",[23,24,25,152,27,83,7,436,320,4765,6896,1951,641],"鸟雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34babdb1d62fbd1860bbd9300b314237.jpg","97.8X183.1",[35,112],{"id":6901,"slug":6902,"title":6903,"dynasty":60,"author":196,"museum":1424,"description":6904,"tags":6905,"thumbUrl":6907,"material":109,"size":6908,"collection":35,"collections":6909,"showCount":6866,"zanCount":1398,"manualWeight":39,"mainColor":159},219080,"luo-hua-you-yu-tu-yi-ming-219080","落花游鱼图","画面下部描绘了一条张着嘴的鸳鸯鱼，鱼身上有绚丽的背鳍和斑点，周围有荷叶和花朵，还有一条更低调的鲤鱼，鳞片整齐，鱼鳍挥舞，似乎正在向鸳鸯鱼游去。",[24,25,83,27,7,357,49,6906,50],"落花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadfa03c687a78c5002929fc39069b598.jpg","49.3x33.5cm",[35],{"id":6911,"slug":6912,"title":6913,"dynasty":195,"author":196,"museum":79,"description":6914,"tags":6915,"thumbUrl":6916,"material":109,"size":6917,"collection":35,"collections":6918,"showCount":6866,"zanCount":800,"manualWeight":39,"mainColor":40},218861,"die-fen-hua-cong-tu-yi-ming-218861","蝶粉花丛图","画面上画着五枝月季花，枝头上的花有的开得灿烂，有的含苞待放，花瓣是红色的，花尖是粉红色的，枝头上的叶子是深绿色的，花和叶子色彩斑斓，清新漂亮，两只蝴蝶在花丛中盘旋，伴着花香翩翩起舞。这幅画的笔触和色彩与卫昇，林椿的相似，应该说是南宋画派的代表作。",[23,24,106,83,27,7,26,214,107,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59d14f0dd44d2a05a8c854eb299aff6.jpg","23.6x25.2",[35],{"id":6920,"slug":6921,"title":6922,"dynasty":60,"author":1681,"museum":79,"description":6923,"tags":6924,"thumbUrl":6925,"material":109,"size":6926,"collection":35,"collections":6927,"showCount":6866,"zanCount":39,"manualWeight":39,"mainColor":159},218789,"chun-xi-tu-lv-ji-218789","春喜图","疏梅横斜，数羽雏鸟栖于枝间，啾鸣似唤春声。老干虬曲，山鹧羽色斑斓，立于石畔枝上，姿态雍容闲雅。靛蓝山石衬暖褐禽羽，白梅与粉花点染其间，清妍与厚重相映。笔墨工致细腻，禽鸟神态鲜活，花木情态毕肖。全图春意氤氲，生机流转，于工笔间见灵动韵致，尽显春日雅趣与自然生机。",[24,25,152,83,27,7,436,65,90,3391],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6167804c0c9e5cfe350a337b21ab551e.jpg","137.4x42cm",[35],{"id":6929,"slug":6930,"title":2940,"dynasty":60,"author":1661,"museum":251,"description":6931,"tags":6932,"thumbUrl":6933,"material":109,"size":6934,"collection":35,"collections":6935,"showCount":6866,"zanCount":39,"manualWeight":39,"mainColor":159},218768,"zhu-he-shuang-qing-tu-bian-wen-jin-218768","画面描绘两只仙鹤悠然漫步于竹林之中。此图为边景昭与王绂二人合作，边景昭画鹤，王绂画竹。边景昭是明代宫廷花鸟画家的代表人物，其画风继承了宋代“院体”工整富丽的风格，并在一定程度上吸收了文人画的特点。王绂是明代前期的画竹名家，他的墨竹延续了北宋文同等人的传统，在竹画的历史上有着承前启后的重要作用。本幅作品中边景昭所画的仙鹤造型优美，气度娴雅，笔墨简放，工细而不拘谨，着色淡雅，与王绂清润秀挺的墨竹格调统一，作品给人以清新出尘之感，是职业画家与文人画家配合默契的成功之作。",[23,106,24,25,152,83,64,27,185,171,215,7,31,569,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19caa71e4d00fa1e7d41bf8d984b1d86.jpg","纵109厘米，横44.6厘米",[35],{"id":6937,"slug":6938,"title":3600,"dynasty":18,"author":6939,"museum":135,"description":6940,"tags":6941,"thumbUrl":6943,"material":275,"size":276,"collection":52,"collections":6944,"showCount":6945,"zanCount":800,"manualWeight":39,"mainColor":525},289903,"hua-niao-tu-li-zhou-qu-zhao-lin-289903","屈兆麟","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。",[23,106,24,25,152,27,83,7,662,6942,186,5524],"绶带鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57c17039c95e5cbe12757afdf6e48fac.jpg",[],86,{"id":6947,"slug":6948,"title":6949,"dynasty":195,"author":196,"museum":135,"description":6950,"tags":6951,"thumbUrl":6952,"material":275,"size":276,"collection":52,"collections":6953,"showCount":6945,"zanCount":1398,"manualWeight":39,"mainColor":159},288935,"li-zhi-tu-yi-ming-288935","荔枝图","此作以折枝构图排布画面，疏密错落间尽显雅致意趣。画师以精工笔法晕染荔枝，半熟的青白带晕红，熟透的赤艳饱满，将果皮的粗糙肌理摹写入微，鲜活仿若可触。墨色枝叶层次分明，浓墨勾出叶骨，淡墨晕染叶背，阴阳向背间尽显叶片舒展的柔劲生机，浅褐色枝桠苍劲柔韧，托举累累果实。右上角隐见小飞虫，更添幽微野趣。整幅设色古雅沉静，写实入微，尽显观察万物的细腻匠心，将盛夏枝头鲜活的荔枝风物定格于绢素之上，藏着雅致生动的清赏意趣。",[23,24,106,25,661,83,27,7,1233],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60ae796b39da5fcbccf537b826cdca33.jpg",[],{"id":6955,"slug":6956,"title":6957,"dynasty":60,"author":1864,"museum":135,"description":4052,"tags":6958,"thumbUrl":6959,"material":275,"size":276,"collection":52,"collections":6960,"showCount":6945,"zanCount":39,"manualWeight":39,"mainColor":159},283633,"mei-hua-kong-que-tu-li-zhou-lu-zhi-283633","梅花孔雀图立轴",[23,106,24,25,152,7,27,83,436,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F348bcac60141f1be81731be09cbd4419.jpg",[],{"id":6962,"slug":6963,"title":59,"dynasty":18,"author":237,"museum":5769,"description":6964,"tags":6965,"thumbUrl":6966,"material":33,"size":6967,"collection":35,"collections":6968,"showCount":6945,"zanCount":1398,"manualWeight":39,"mainColor":40},233943,"hua-niao-ce-hua-yan-233943","华喦（同“岩”）（1682~1756)，一作华岩，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、白沙道人、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、李鳝、郑板桥及盐商巨子马曰管、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。\u2028 华岩一生贫困，金农在《画竹题记》提到:汀洲华岩秋岳，……尝画兰草纸卷，卷有五丈者，一炊饭顷便能了事，清而不媚，恍闻幽香散空谷之中，…… 余恨不能踵其后尘也。乾隆十七年(1752)，回到杭州旧居解弢馆。乾隆二十一年卒，有《离垢集》5卷。",[24,25,26,27,64,399,7,65,455,66,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7a15ddd053c23937374547a7f95ffdd.jpg","31.2×44.7厘米",[35],{"id":6970,"slug":6971,"title":6972,"dynasty":148,"author":1929,"museum":135,"description":6973,"tags":6974,"thumbUrl":6976,"material":52,"size":52,"collection":52,"collections":6977,"showCount":6945,"zanCount":5,"manualWeight":39,"mainColor":159},227262,"xue-jing-ba-jiao-han-que-tu-huang-ju-cai-227262","雪景芭蕉寒雀图","麻雀是我们生活中常见的鸟类，身形娇小，机敏灵活，却也憨态可掬，更因为打不倒的顽强生命力，在画家们的笔下，散发出了生机勃勃的魅力，一幅花鸟画中，因为麻雀的构成，顿时“活”了起来，因此国画麻雀也相当受画家和收藏者们喜爱",[23,106,24,25,152,27,7,83,2871,384,6975,436,291],"寒雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F267d2fc6d76d34d83a59c288d428c4e8.jpg",[],{"id":6979,"slug":6980,"title":6981,"dynasty":18,"author":1525,"museum":135,"description":6982,"tags":6983,"thumbUrl":6984,"material":275,"size":276,"collection":52,"collections":6985,"showCount":6945,"zanCount":39,"manualWeight":39,"mainColor":159},224528,"mu-dan-lan-hua-tu-zhou-shi-tao-224528","牡丹兰花图轴","石涛的花鸟、兰竹，多用水墨写意法，行笔爽利，用墨淋漓简练，给人以清峻、挺拔、浑厚之感。石涛的兰竹画为中国画史中的一绝。图中兰叶瘦劲，浓墨托出，交迭穿插，兰花散发出幽香。",[23,106,24,25,152,64,399,31,68,7,107,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde9163948f16c605409d424d9bc05e56.jpg",[],{"id":6987,"slug":6988,"title":6989,"dynasty":119,"author":3663,"museum":135,"description":6990,"tags":6991,"thumbUrl":6992,"material":109,"size":4596,"collection":35,"collections":6993,"showCount":6945,"zanCount":1398,"manualWeight":39,"mainColor":40},219123,"hua-hui-ce-ju-wang-yuan-219123","花卉册-菊","赭黄绢底晕开浅淡秋光，几簇白菊簇生枝侧。花瓣以细劲游丝勾勒，层叠如缕，留白处恍若凝着晨露；旁逸竹枝挺秀，竹叶撇捺间见笔力，墨色深浅映出劲节。右下角粉蝶轻振翅翼，翅脉以淡墨晕染，姿态翩跹欲落未落，为静谧花竹注入灵动生气。\n\n笔法兼工带写，柔媚菊瓣与刚劲竹枝相衬，无浓艳设色却清雅入骨。画面凝萃着文人对秋菊傲霜的喟叹，亦藏着对自然生机的细腻捕捉。笔墨间流转元代文人画的内敛韵致——于素淡中见丰腴，于细微处显匠心，每一笔都似在诉说秋日常景里的清雅情味，让观者沉湎于这份不事张扬的诗意中。",[23,24,25,106,26,27,83,7,517,185,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87b9037637de8126cac747bb8560b156.jpg",[35],{"id":6995,"slug":6996,"title":6997,"dynasty":119,"author":120,"museum":79,"description":6998,"tags":6999,"thumbUrl":7001,"material":33,"size":7002,"collection":35,"collections":7003,"showCount":6945,"zanCount":1398,"manualWeight":39,"mainColor":40},219110,"tao-zhi-song-shu-tu-qian-xuan-219110","桃枝松鼠图","画中一株桃枝，枝上桃叶披盖，桃果结实鲜嫩。一只松鼠攀附在桃枝上，桃枝似乎随之颤动。松鼠长尾蓬松，高高翘起，四肢紧紧抓住树枝，正小心翼翼向桃子行进。该画不设背景，用没骨法画出松鼠和桃枝，设色清丽，颇有情趣。",[23,24,106,83,27,7,7000,4648,241,31,68],"松鼠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ee543dd71f018935820f6ac096a19bf.jpg","纵26.3公分，横44.3公分",[35],{"id":7005,"slug":7006,"title":7007,"dynasty":60,"author":477,"museum":135,"description":2881,"tags":7008,"thumbUrl":7009,"material":275,"size":276,"collection":52,"collections":7010,"showCount":7011,"zanCount":39,"manualWeight":39,"mainColor":159},290354,"hua-he-hua-zhou-chen-hong-shou-290354","画荷花轴",[106,24,25,152,27,7,49,186,31,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8daddd5c38e884b7ee705d40059080ce.jpg",[],85,{"id":7013,"slug":7014,"title":7015,"dynasty":195,"author":1838,"museum":79,"description":7016,"tags":7017,"thumbUrl":7018,"material":96,"size":7019,"collection":202,"collections":7020,"showCount":7011,"zanCount":1398,"manualWeight":39,"mainColor":159},288266,"pi-pa-kong-que-tu-cui-bai-288266","枇杷孔雀图","不同于崔白其他传世作品，画面富丽堂皇，显示出了崔白对黄筌父子画风的传承，应是其尚未变法以前的作品。画中的主体是一对雄雌孔雀，一只栖立在枇杷树上，一只游憩于花丛之间。两只小鸟立于枇杷树枝头，与画面左侧展翅的绶带鸟相望。背景处一块湖石，中间有细竹、杂花相互掩映。 整幅作品为全景式构图，丰满繁复。禽鸟造型体态雍容，逼真生动，惟妙惟肖。在绘画技法上，禽鸟使用的是典型的勾线设色法，用线遒劲，设色上层层渲染，富丽华美。而对画面背景处的山石、枇杷树干的表达，画家则使用了稍微写意性的笔法进行勾勒，并在此基础上使用了皴染技法表现凹凸质感和阴阳向背。这种对树干与景石的描绘方法，我们似乎可以从中感受到崔白在 《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。",[23,24,25,83,27,7,556,91,167,877,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f51404c96f2c60be675e39c78ae54fd.jpg","183.1x109.8",[202],{"id":7022,"slug":7023,"title":1775,"dynasty":195,"author":1413,"museum":135,"description":5020,"tags":7024,"thumbUrl":7025,"material":275,"size":276,"collection":52,"collections":7026,"showCount":7011,"zanCount":800,"manualWeight":39,"mainColor":40},287888,"xie-sheng-zhen-qin-tu-zhao-ji-287888",[23,106,24,25,82,83,64,7,167,185,807,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e591cd8344c801084f6bb88a9f76701.jpg",[],{"id":7028,"slug":7029,"title":7030,"dynasty":18,"author":237,"museum":251,"description":7031,"tags":7032,"thumbUrl":7034,"material":412,"size":7035,"collection":35,"collections":7036,"showCount":7011,"zanCount":39,"manualWeight":39,"mainColor":40},233941,"hua-yan-qiang-wei-shan-niao-zhou-hua-yan-233941","华嵒蔷薇山鸟轴","华嵒作为活跃于扬州卖画的职业画家，其花鸟画创作善于捕捉自然界中最生动的天趣。图绘春光明媚的时节，一只山鸟栖于蔷薇枝头，引吭高鸣，其清脆的鸣声不仅令无声的画面声情并茂，且生动地图解了“花气晴熏日，鸟声娇战春”之诗意。此图笔墨松秀，设色清丽淡雅，造型自然传神，构图简约空灵，显示了画家在小写意花鸟画方面的非凡造诣和俊逸清新的独特画风。",[24,106,152,27,64,399,7,3308,7033,186],"山鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52c4ffd5974bd96e38b7cc4bca6e60ff.jpg","纵127.1厘米，横55.5厘米",[35],{"id":7038,"slug":7039,"title":7040,"dynasty":119,"author":120,"museum":135,"description":7041,"tags":7042,"thumbUrl":7043,"material":52,"size":52,"collection":52,"collections":7044,"showCount":7011,"zanCount":39,"manualWeight":39,"mainColor":40},228018,"lai-qin-zhi-zi-tu-qian-xuan-228018","来禽栀子图","宋末元初杰出的画家、书法家、诗人， 、 、 、 、肖子中、陈天逸、 、姚式并称“吴兴八俊”，钱选为“吴兴八俊”之首。\n“不管六朝兴废事，一樽且向画图开。\n”宋末元初，特殊的时代环境使得大多数汉文人从仕途中退却，隐逸文化成为当时汉文人生活方式的主流。\n同时，老庄隐逸思想中“平”“淡”的审美特质影响了画家的诗画品格。\n元初画家钱选的花鸟绘画作品所蕴含的诗画意蕴，充分体现了这种影响。\n《东山存稿》卷二中言及钱选作诗：“而钱公跌宕真率，格力优暇，无怨愤不平之意，要为不可及云。\n”以“淡”而归“真率”，绘画与诗文的统一格调，是钱选人格心理的真实写照。\n绘画主流由宫廷而转入民间的过程中，画家的自我意志得到了畅意与释放。\n宋末元初这一时期，钱选、赵孟、龚开、郑思肖等画家的作品中明显可见题画或题画诗的出现，实质是画家的文人意识与自我认知意识的一种抒发。\n钱选传世可考的一些 作品中常见其题诗，《秋瓜图》中道：“写向小窗醒醉目，东陵闲说故秦侯。\n”《梨花图》卷中题：“寂寞阑干泪满枝，洗妆犹带旧风姿。\n闭门夜雨空愁思，不似金波欲暗时。\n”从绘画题材看，画中的秋瓜、梨花等并非有太多奇巧之处，但画家入木三分的刻画赋与其丰富的情感内涵，再结合题画诗将意蕴内涵表现更为明确。\n“写向小窗醒醉目”是不谙世事的放纵，“东陵闲说故秦侯”却是满腔无奈的追忆与感喟，此秋瓜已非彼秋瓜也。\n而画中的梨花更已幻化为一风华绝代的美人，哀怨忧愁，褪尽铅华，悱恻百转却欲说还休。\n诗句是朴素平实的，而画中的对象在诗意中展开了延伸，从平常无奇的花鸟草木亦能体会出其情意所至。\n诗意中所表达的心绪在绘画的审美中与画家的情感相交融，画作意境由此而得以延伸。\n如果说南宋精美工细的花鸟画小品中能看出画家对具体物象细腻的揣度与恭谨的表现，在钱选的花鸟画中，画家所赋予物象的情感则通过诗作不露痕迹地带出，“洗妆犹带旧风姿”，一个“洗”字将观者对一树梨花的清新冷韵形象地再现出来，伤感、追忆的情绪已在枝头花间弥漫，而作者的情感似乎是中性的、平淡的。\n画境与诗境的相通并非是简单直接的描述或说明，而是在另一个较高层次上意趣的通融。\n钱选位居“吴兴八俊”并非完全以其绘画，而是“以诗擅名”，画为文之极，深厚的文学修养必然影响到其对绘画的理解与表现。\n清代陆心源所撰《仪顾堂集》《钱选传》中道：“尤善作折枝，其得意者赋诗其上。\n”钱选流传至今的画作上，无论有无题诗，皆有款识印章的出现。\n款识的出现与变化可能还有另外的原因，当绘画作品突破皇家欣赏的专属，在民间也广为流传时，作品的真伪问题就突显了出来。\n钱选在吴兴当地的画誉较高，时人以“吴兴三绝”分别指钱选的画、赵孟的字以及冯应科的笔。\n钱选作品在具备较高绘画造诣的同时，也有较强的课徒之资。\n其作品《来禽栀子图》现藏于美国弗利尔美术馆，图上绘有两株栀子花并未见禽鸟，一说可能是原图的残简，有一说“来禽栀子”本为花名。\n画中两株花枝势态怡然，摇曳生姿。\n花、叶穿插掩映有致，色调淡雅和谐。\n其画后隔水有赵孟跋：“来禽栀子，生意俱足。\n舜举丹青之妙于斯见之。\n其他琐者必其徒所为也。\n孟”足见，钱选的绘画在当时已为众多后学所追摹本。\n赵孟在钱选《八花图》卷后题跋：“右吴兴钱舜举所画八花真迹，虽风格似近体，而傅色姿媚殊不可得。\n尔来此公日酣于酒，手指颤掉，难复作此。\n而乡里后生多仿效之，有东家捧心之弊，则此卷诚可珍也。\n”山东省出土的钱选《白莲图》卷上也有作者的自跋：“余改号溪翁者，盖赝本甚多，因出新意，使作伪之人知所愧焉。\n钱选舜举。\n”显然，款识与画家身份的辨别在元初得到了进一步的发展，至元中后期画家在画面题款已蔚然成风，同时对画家书法品质的要求也起到了推动的作用。\n从作品来看，钱选书法明显承袭钟繇一路风格，含蓄内敛、平淡天真，法度严谨却又以拙胜巧。\n在钱选的绘画作品中，诗文、书法、绘画、款印相得益彰，书法的审美意蕴与题画诗意均呈现出某种同一的美学特质。\n再经由赵孟等人对“书画同源”观念的推动，发展为大多数文人画家所接受，奠定了后来整个文人画作样式上的基本面貌。\n明代沈颢在《画》中言：“元以前多不用款，款或隐之石隙，恐书不精，有伤画局。\n后来书绘并工，附丽成观。\n”显然，元初是书画款识的一个分界点，沈颢还从画面的结构关系上指出：“一幅中有天然候款处，失之则伤局。\n” 在花鸟画史研究中，论及钱选都认为其承南宋的画风。\n从画面效果来看，现藏于 的《牡丹图》卷是钱选花鸟画中风格较为接近南宋院体的一幅。\n也可能是由于牡丹本身繁茂明丽、雍容华贵的特质，拉近了作品与宫廷审美风格的关联。\n在钱选的画笔之下，花团锦簇，枝叶丰茂，写出牡丹的繁盛之妆容。\n明丽丰满的花头似乎随风摇曳，令人在体会到灼目芳华时却又顿生转瞬既逝的感喟。\n画面空疏有致，题款：“万卉何能继后尘，蜂喧蝶驻亦钟情。\n莫嫌开处春还暮，长向西都见太平。\n”七绝一首在画面左侧，画面形式上来看，题款与牡丹位置相距甚远，中有留白。\n显然作者在画面经营上是匠心独运的，以留白与牡丹花枝紧簇形成对比，增添了繁与简、荣与空之间的对比，从而增添了对牡丹内在审美意蕴的理解。\n题画诗所形成的纵向线条感疏朗有致，增添了画面的形式构成。\n从画面的整体来看，小楷的书写效果，朴实无华，独特一帜。\n同时，又能以诗意提升画意，作者在传承传统技法的同时，以自我的文化修养为作品的创新发展注入了新的因素。\n与同时代的画家相比，钱选花鸟画作品的独特性体现出两方面的辩证联系：一方面是显性的，时人评价钱选之诗：“而钱公跌宕真率，格力优暇，无怨愤不平之意，要为不可及云。\n”此论形容其绘画含蓄凝练，以平淡为格。\n在传承古典绘画技法的同时，将传统 的审美范畴拓展到更富于文人气质的表现上。\n其绘画命意高古，造型赋色独具意趣，以题画诗延伸画意，并在形式上以题跋款识介入画面，形成诗文书画合一的画面风格，为后世文人画家所效仿。\n另一方面，也是更为本质的一方面，他始终坚持在绘画本体的层面进行创作，文学因素的影响始终建立在其对绘画本身的追求与坚持之上。\n即使在钱选晚期的代表作《白莲图》卷中，色彩的渲染简约到了极致，几乎近于白描，但用线造型无不流畅细腻，富于表现力，可谓“精工之极”的典范。\n在宋元相交之际，绘画向主观写意转变的时代潮流中，钱选始终坚持对客观物象的尊重，坚持“状物”之美的表现，将富于文人意味的审美理想内化于其作品之中，这使他与当时的主流绘画样式拉开了距离，从而树立了自我的价值，形成独特的自我风格。",[23,106,24,25,82,27,83,7,985,31,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a2c8b9c667d1fd5c374bd1445018bdf.jpg",[],{"id":7046,"slug":7047,"title":7048,"dynasty":18,"author":1475,"museum":135,"description":7049,"tags":7050,"thumbUrl":7051,"material":52,"size":52,"collection":52,"collections":7052,"showCount":7011,"zanCount":1398,"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。",[23,24,25,26,27,83,7,185,877,29,242,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa288770c4e7a26717f5dbb64eb7856ee.jpg",[],{"id":7054,"slug":7055,"title":7056,"dynasty":60,"author":830,"museum":1135,"description":2064,"tags":7057,"thumbUrl":7058,"material":401,"size":2068,"collection":52,"collections":7059,"showCount":7011,"zanCount":39,"manualWeight":39,"mainColor":40},222568,"hua-hui-tu-7-chen-chun-222568","花卉图7",[23,106,24,25,480,399,64,27,7,29,66,67,631,4775],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42c3b1556563313a1660bdbd2d2b3b30.jpg",[],{"id":7061,"slug":7062,"title":7063,"dynasty":60,"author":1681,"museum":818,"description":5289,"tags":7064,"thumbUrl":7066,"material":822,"size":5292,"collection":52,"collections":7067,"showCount":7011,"zanCount":1398,"manualWeight":39,"mainColor":159},222393,"si-ji-hua-niao-tu-chun-lv-ji-222393","四季花鸟图-春",[23,24,106,83,27,7,436,65,1110,90,452,152,7065],"开花树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2342faa17d4f14661d3abe4bf10e5735.jpg",[],{"id":7069,"slug":7070,"title":7071,"dynasty":60,"author":830,"museum":135,"description":7072,"tags":7073,"thumbUrl":7074,"material":275,"size":276,"collection":52,"collections":7075,"showCount":7076,"zanCount":39,"manualWeight":39,"mainColor":40},290918,"ping-he-xie-sheng-zhou-chen-chun-290918","瓶荷写生轴","陈淳（1483－1544），字道复，自号白阳山人，江苏长洲人。擅长写意花卉，尤妙写生。款‘辛丑秋日’，时年五十八岁。宋、明以后，花道兴盛，仿古铜觚既可插花，亦可为书斋案头摆饰，深得文人推崇。长梗荷花与叶柄向上伸展，几乎占满画面，独树一格。以钩勒法写荷，没骨法写叶，杂草劲挺交错其中。寥寥几笔写出花叶形态，水墨交融层次丰富，将文人审美情趣与花卉写意完美结合，应是画家醉后遣兴之作。",[24,152,64,7,49,686,68,240],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde40b5e80b3b9679327bf17061f192c9.jpg",[],84,{"id":7078,"slug":7079,"title":2880,"dynasty":60,"author":7080,"museum":135,"description":7081,"tags":7082,"thumbUrl":7084,"material":275,"size":276,"collection":52,"collections":7085,"showCount":7076,"zanCount":1398,"manualWeight":39,"mainColor":159},290312,"sui-chao-tu-zhou-tao-cheng-290312","陶成","陶成（生卒年未详），字孟学，号雪湖仙人，宝应（今江苏宝应）人。成化七年（1471年）举人。生性疏狂，多才艺，诗文古朴。书善四体，善画花鸟人物，山水多用青绿，浓丽蔚拔，喜作勾勒，竹兔与鹤鹿均妙，随意画山水、花鸟、人物，都非常接近南宋人。芙蓉称为神品，为世人所珍藏。\n陶成的绘画、书法造诣极高，与沈周、文徼明、唐寅、仇英“明四家”并称于世，有人甚至把他列于唐伯虎之上。明代文学家，书画鉴赏家李开先对陶成推崇备至、评价甚高。他的《中麓画晶》分明代画家为五等，陶成就雄冠其首。明韩昂《图绘宝鉴续编》云，陶成”书工篆隶直草，诗人奇古，画山川多用青绿，尤喜作钩勒，竹、兔与鸹、鹿，皆妙。 由其胸中洒然也”。明十才子之一李梦阳在其《观序上人所藏陶成画菊石歌》中，称赞陶成的菊花、岩石画远远超出了当时的菊石专家计汝和、徐霖。诗中说： “陶生画菊石，潦草笔有力…近时名手计汝和，此生笔力方之过。江柬徐霖学画石，效颦差胜王与何。”故而有这样的说法： “得黄金百不如云湖画一幅。”",[24,25,152,106,27,7,782,436,7083,68,31,569,686],"青铜器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf77270b17ed20c031bfe4c49651301a.jpg",[],{"id":7087,"slug":7088,"title":7089,"dynasty":148,"author":1776,"museum":135,"description":7090,"tags":7091,"thumbUrl":7092,"material":275,"size":276,"collection":52,"collections":7093,"showCount":7076,"zanCount":1398,"manualWeight":39,"mainColor":159},287374,"mu-dan-tu-ye-huang-quan-287374","牡丹图页","五代时期的黄荃擅长工笔牡丹，钩花填色，富丽工巧。北宋郭若虚在《图画见闻志》中称其为“黄家富贵”。他笔下的牡丹不仅着意表现牡丹的姿态，更重视表现牡丹富贵吉祥的寓意。",[106,24,25,7,83,27,107,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc068ad0be98f133efd214bda7be63318.jpg",[],{"id":7095,"slug":7096,"title":3851,"dynasty":60,"author":7097,"museum":306,"description":7098,"tags":7099,"thumbUrl":7100,"material":109,"size":7101,"collection":35,"collections":7102,"showCount":7076,"zanCount":39,"manualWeight":39,"mainColor":159},219312,"hua-die-tu-lv-jing-fu-219312","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。",[24,83,27,7,214,242,29,480,808,2979],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F487bfc2f1c455b3d2ec1c663f8992c9a.jpg","101.6x53cm",[35],{"id":7104,"slug":7105,"title":7106,"dynasty":195,"author":196,"museum":79,"description":7107,"tags":7108,"thumbUrl":7109,"material":109,"size":7110,"collection":35,"collections":7111,"showCount":7076,"zanCount":1398,"manualWeight":39,"mainColor":40},218714,"yang-liu-ru-que-tu-yi-ming-218714","杨柳乳雀图","这幅画描绘了一只鸟在喂养它的孩子。这只鸟被描绘得简单而微妙，它的翅膀用浓墨勾勒，用淡墨上色，小鸟的身高、腹部和背部，俯视、仰视和俯视的姿势都非常精致。柳树稀疏的、交叉的、交错的、下垂的枝条也画得很好。",[23,106,24,25,83,27,7,5190,3246,66,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bf6bfbc2c1c72fbc541eff9d6f5e0b7.jpg","24.8x24.8",[35],{"id":7113,"slug":7114,"title":611,"dynasty":60,"author":830,"museum":79,"description":7115,"tags":7116,"thumbUrl":7117,"material":33,"size":7118,"collection":35,"collections":7119,"showCount":7076,"zanCount":39,"manualWeight":39,"mainColor":40},214727,"mu-dan-tu-chen-chun-214727","这幅画是用牡丹树枝作画，用的是没骨法，笔触很活泼，又很沉稳，不过很可惜，随着时间的推移，颜料已经褪色，让人感觉略显淡薄。这些铭文质量很高，是白杨对毛笔的熟练掌握的结果。碑文写于1544年，在他的最后一年。铭文和绘画各占面板的一半，诗句通过歌唱花朵来传达 「人生行乐当及时」的意趣。",[24,25,152,399,64,27,569,31,7,107,67,228,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf5bd451f1f135ae69ce5a8dd712153b.jpg","122x33.3",[35],{"id":7121,"slug":7122,"title":7123,"dynasty":148,"author":1929,"museum":135,"description":5179,"tags":7124,"thumbUrl":7125,"material":275,"size":276,"collection":52,"collections":7126,"showCount":7127,"zanCount":39,"manualWeight":39,"mainColor":159},290142,"hui-qin-tu-huang-ju-cai-290142","会禽图",[106,24,25,152,83,27,7,167,436,320,877,807,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5f43a7cf6d1c9220be37682f0c14340.jpg",[],83,{"id":7129,"slug":7130,"title":7131,"dynasty":195,"author":1242,"museum":135,"description":7132,"tags":7133,"thumbUrl":7134,"material":275,"size":276,"collection":52,"collections":7135,"showCount":7127,"zanCount":5,"manualWeight":39,"mainColor":159},288332,"hong-bai-fu-rong-tu-ye-yi-li-di-288332","红白芙蓉图页一","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。",[23,106,24,25,83,27,7,291,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd98b04c253b7294f848e933790d49cf.jpg",[],{"id":7137,"slug":7138,"title":1496,"dynasty":195,"author":305,"museum":135,"description":7139,"tags":7140,"thumbUrl":7141,"material":275,"size":276,"collection":52,"collections":7142,"showCount":7127,"zanCount":1398,"manualWeight":39,"mainColor":159},288270,"hua-lan-tu-zhao-chang-288270","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。",[23,106,24,25,7,83,27,107,517,686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2085ee9a72b9b6a9215540541abb702a.jpg",[],{"id":7144,"slug":7145,"title":7146,"dynasty":60,"author":830,"museum":135,"description":7147,"tags":7148,"thumbUrl":7149,"material":52,"size":52,"collection":52,"collections":7150,"showCount":7127,"zanCount":39,"manualWeight":39,"mainColor":40},235992,"chen-dao-fu-mu-dan-hua-hui-tu-zhou-chen-chun-235992","陈道复牡丹花卉图轴","《明陈道复牡丹花卉图轴》是明朝画家陈道复创作的作品，作品画折枝牡丹花，以淡墨逸笔勾写盛开的花头，以深浅不一的墨色描写枝叶，表现出牡丹摇曳春风的优美姿态，并通过题诗表达了不慕繁华、甘于清静、孤芳自赏的心境。\n【名称】明陈道复牡丹花卉图轴 【类别】纸本，墨笔 【规格】纵54.8cm，横.8cm 【年代】 【作者】 【文物现状】现藏北京故宫博物馆 该幅上部行草书自题：“春是花时节，红紫各自赋。\n勿言薄脂粉，适足表贞素。\n道复。\n”后钤“陈道复氏”、“陈淳之印”印。\n陈道复创作过许多以牡丹为主题或含有牡丹形象的绘画作品，如 藏《牡丹图卷》、《天香图扇》、《洛阳春色图卷》、《墨花十二种图卷》以及 藏《洛阳春色图卷》、《玉楼春色图卷》等等。\n这些作品多为墨笔或淡设色写意绘画，充分展示了画家在状物造型以及灵活运用水墨方面的高超技艺，正如明末大鉴赏家 为此幅作品所题云：“破一滴墨水，作种种妖妍。\n改旦暮之观，备四时之气”。\n陈道复（148--1544）明画家，初名淳，字道复，后以字行，改字复甫，号白阳山人，长洲（今江苏吴县）人。\n曾从 学书画，后不拘师法。\n书工行草。\n山水学 而笔迹放纵。\n擅写意花卉，淡墨浅色，风格疏爽，后人把他与 并称“青藤白阳”，为明代中期水墨写意花卉画创出新格调的代表人物。",[24,152,64,7,107,399],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78a6bc858d99429f0d210e5e62f738e6.jpg",[],{"id":7152,"slug":7153,"title":7154,"dynasty":148,"author":1929,"museum":5769,"description":7155,"tags":7156,"thumbUrl":7157,"material":295,"size":7158,"collection":52,"collections":7159,"showCount":7127,"zanCount":1398,"manualWeight":39,"mainColor":40},231849,"he-hua-ya-zi-tu-huang-ju-cai-231849","荷花鸭子图","这是一幅以渲染为主的没骨法作品。画上两朵白色莲花，一片荷叶，一只机灵的鸭子，构图不可谓不简洁。鸭子的画法极尽写实之能事，以极工细的手法细心渲染出每一个细节。虽然荷叶和荷花的画法是没骨法，但近景的坡石和小草却是写意画法，或许正是这微小的细节，把这幅画扔到了元代。不过构图的仰视和几乎无延伸的局部感觉，也是和宋代画家拉开距离的显著特点。",[24,106,83,27,7,467,451],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e9d5a6b846c9f5cabd99ac03c39dab.jpg","87x55.7cm",[],{"id":7161,"slug":7162,"title":7163,"dynasty":18,"author":5683,"museum":135,"description":7164,"tags":7165,"thumbUrl":7166,"material":52,"size":52,"collection":52,"collections":7167,"showCount":7127,"zanCount":1398,"manualWeight":39,"mainColor":40},229033,"si-ji-hua-niao-tu-ping-chen-mei-229033","四季花鸟图屏","此作用没骨法晕染牡丹，朱红、莹白、粉胭、鎏金的花瓣层叠柔润，将花王雍容之态尽展笔底。苍古顽石虬枝旁逸，墨色叶片浓淡相宜，衬得群芳愈发妍丽。\n\n两只春燕翩跹于空，一黑一白相映成趣，振翅姿态灵动鲜活，似携春风穿掠花间，让静雅画幅漾起融融生气。整体设色明妍雅致，工细中带着写意的松弛，将春日芳华揉入绢素，典雅娴静里满溢春日花鸟的鲜活意趣。",[23,106,24,83,27,7,107,3584,66,90,4401],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93c30e140c85d897bb067b888cfe4136.jpg",[],{"id":7169,"slug":7170,"title":7171,"dynasty":18,"author":793,"museum":79,"description":794,"tags":7172,"thumbUrl":7177,"material":27,"size":797,"collection":52,"collections":7178,"showCount":7127,"zanCount":1398,"manualWeight":39,"mainColor":40},222743,"xian-e-chang-chun-tu-03a-lang-shi-ning-222743","仙萼长春图-03a",[23,106,24,25,26,27,83,7173,7174,7,29,186,580,631,1200,808,7175,7176,66,90,170],"中西合璧","写实","色彩","造型逼真","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83860a3be34dc8440f2f86b13d28b9f5.jpg",[],{"id":7180,"slug":7181,"title":7182,"dynasty":195,"author":1242,"museum":251,"description":7183,"tags":7184,"thumbUrl":7185,"material":1595,"size":7186,"collection":202,"collections":7187,"showCount":7127,"zanCount":1398,"manualWeight":39,"mainColor":159},221592,"feng-ying-zhi-ji-tu-zhou-li-di-221592","枫鹰雉鸡图轴","此图又称《鹰雉图》或《鹰窥雉图》，是传世宋画中罕见的巨幅，由南宋宫廷画家李迪创作。据左上方署款“慶元丙辰歲李迪畫”，知作于宋宁宗庆元二年（1196年）。\n画面作对角线构图，主体禽鸟雄鹰置于左上角枯枝巅，俯首下视，紧盯着右下角的锦雉。锦鸡张口鸣叫，正向草丛中窜逃。斜线的呼应关系和锦鸡奔向画外的动态，营造出强烈的紧张气氛，扣人心弦。画家着意刻画苍鹰的眼、喙、爪三个关键部位，目光圆瞪，钢喙如钩，爪尖扣进树皮，既突出了鹰的凶猛矫健秉性，又强调出捕捉猎物时的力之凝聚和意念之专注，可谓真实传神。雉的形象也逼真如生，仓惶奔逃的姿态，惊惧的目光，乍开的羽毛，尤其是蹬出后腿又收缩脚爪的动作，准确地刻画出急于逃命又难脱厄运的情状，可见作者体察生物及其捕捉瞬间之动态的敏锐洞察力和写生传神的高超表现力。\n作品的笔墨敷彩技巧也十分成熟。禽鸟工整精细，设色轻淡，承北宋崔白以来的院体花鸟传统画更增动感和生意。树干粗勾细染，斑纹点点，呈苍劲之质。枫叶、兰草、丛竹则细笔双勾，淡墨渲染，形体富有弹性，又疏密有致，画法遵循“宣和体”的写生法则。山石运斧劈皴，兼作笔实墨重的擦染，近李唐又存北宋之法。此图堪称宋代院体花鸟画的巨构杰作。",[23,24,25,152,83,27,7,386,2227,4765,1951,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4268072dfb8e29fae047930d5a892391.jpg","纵189厘米，横209.5厘米",[202,35,112],{"id":7189,"slug":7190,"title":7191,"dynasty":195,"author":1242,"museum":79,"description":7192,"tags":7193,"thumbUrl":7195,"material":7196,"size":7197,"collection":202,"collections":7198,"showCount":7127,"zanCount":1398,"manualWeight":39,"mainColor":159},221591,"jiu-ci-tu-juan-li-di-221591","九鹚图卷","李迪“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，超亦能作山水小景。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，刻画细致，各具神态。山水师法李唐，也多又佳作。论者谓其画鸠“作寒冷状，精俊如生”；画鹡鸰“翘翘欲起”",[23,106,24,25,82,27,83,7,3006,170,186,7194],"鹚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba83bf3091278e25daedea126febf6f5.jpg","设色,浅设色","本幅34.7x226.6 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之葡萄，表现出明暗和体积，颇显自然逼真，人称“温葡萄”，很得赵孟頫推崇。元至元二十七年（1290），温日观偶遇同乡士人曾遇，得知他即将赴京，欣然画葡萄两幅，一幅托他带给赵孟頫，另一幅赠给曾遇。次年，赵孟頫在葡萄卷上题跋：“日观老师作墨葡萄，初若不经意，而枝叶肯棨，细玩之纤悉皆具，殆非学所能至。俗人恳恳求之，靳不与一笔。遇佳士，虽不求，辄索纸笔挥洒无吝色，岂可谓道人胸中无泾渭耶。吾与师仅一再面，去冬曾君自吴来燕，辱以一纸见寄，相望数千里不遐遗乃尔。因想胜风，欲相从西湖山水间，何可得也。”\n温日观画葡萄率意而作，天真烂漫，吐露心声。《画禅》称他：“自成一家法，人不可测。”由于他擅长草书，葡萄的梗须枝叶都用草书笔法，收藏者以此鉴别真赝。陈继儒称他：“葡萄极得草书三昧法。”有一幅作于至元二十八年（1291）的《葡萄图》轴，上面题诗“香稻雨催熟，丹心老变灰。夕阳归路近，魂梦日徘徊”，后流入日本。《葡萄图》卷现藏美国高居翰先生景元斋。为人超逸绝尘，出言愤世骇俗。行书法杨凝式。据戴表元《宋温日观书心经》题跋，说他“放浪啸傲于西湖三竺间五十年”，享年当在六十岁以上。",[23,106,24,25,7,64,2912,227,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f93f7fe5ef5954868af2d6649c5e2f2.jpg","水墨纸本","27×188.5cm",[202,35,734],{"id":7377,"slug":7378,"title":7379,"dynasty":60,"author":830,"museum":20,"description":831,"tags":7380,"thumbUrl":7381,"material":534,"size":834,"collection":52,"collections":7382,"showCount":7332,"zanCount":39,"manualWeight":39,"mainColor":40},214629,"hua-hui-ce-14-chen-chun-214629","花卉册-14",[24,25,26,64,399,7,226,425],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4ce73704168d67c22b7083f8ab81085.jpg",[],{"id":7384,"slug":7385,"title":7386,"dynasty":60,"author":830,"museum":20,"description":831,"tags":7387,"thumbUrl":7388,"material":534,"size":834,"collection":52,"collections":7389,"showCount":7332,"zanCount":39,"manualWeight":39,"mainColor":40},214621,"hua-hui-ce-20-chen-chun-214621","花卉册-20",[24,25,26,64,7,517,399],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bffc74b26f84183526b214bdad26b81.jpg",[],{"id":7391,"slug":7392,"title":7393,"dynasty":119,"author":120,"museum":135,"description":7394,"tags":7395,"thumbUrl":7397,"material":275,"size":276,"collection":52,"collections":7398,"showCount":7399,"zanCount":1398,"manualWeight":39,"mainColor":159},287308,"yu-tu-xiao-niao-tu-juan-qian-xuan-287308","玉兔小鸟图卷","钱选（1239—1299），宋末元初著名画家，与赵孟頫等合称为“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。\n南宋景定三年乡贡进士，入元不仕。工诗，善书画。画学极杂：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。人品及画品皆称誉当时。继承苏轼等人的文人画理论，提倡士气说，倡导戾家画。他提倡绘画中的“士气”，在画上题写诗文或跋语，萌芽了诗、书、画紧密结合的文人画的鲜明特色。",[23,24,82,83,27,1189,167,7,29,3480,7396],"草本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb81428e6f03395c30ef0e049ea155af.jpg",[],79,{"id":7401,"slug":7402,"title":7403,"dynasty":18,"author":1635,"museum":79,"description":6235,"tags":7404,"thumbUrl":7405,"material":295,"size":52,"collection":35,"collections":7406,"showCount":7399,"zanCount":39,"manualWeight":39,"mainColor":40},237220,"xu-gu-yang-liu-jin-yu-tu-zhou-xu-gu-237220","虚谷杨柳金鱼图轴",[24,152,27,64,7,5190,2808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c814e1d8ff895dc019b71e2a3d06d5.jpg",[35],{"id":7408,"slug":7409,"title":1036,"dynasty":60,"author":1037,"museum":135,"description":4918,"tags":7410,"thumbUrl":7411,"material":275,"size":276,"collection":52,"collections":7412,"showCount":7399,"zanCount":1398,"manualWeight":39,"mainColor":40},236014,"shui-mo-mu-dan-tu-zhou-xu-wei-236014",[106,24,25,152,64,399,7,107,228,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F803b9b9003c0b06152df4c09bc658910.jpg",[],{"id":7414,"slug":7415,"title":7416,"dynasty":18,"author":1209,"museum":135,"description":2026,"tags":7417,"thumbUrl":7418,"material":27,"size":52,"collection":35,"collections":7419,"showCount":7399,"zanCount":39,"manualWeight":39,"mainColor":40},224226,"mu-dan-shui-xian-zhou-wu-chang-shuo-224226","牡丹水仙轴",[23,24,25,152,27,7,107,518,68,399],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F751c4dca763d55c5f20268cdb50760d5.jpg",[35,112],{"id":7421,"slug":7422,"title":7423,"dynasty":18,"author":7424,"museum":1535,"description":7425,"tags":7426,"thumbUrl":7427,"material":2545,"size":7428,"collection":35,"collections":7429,"showCount":7399,"zanCount":39,"manualWeight":39,"mainColor":40},222822,"mu-dan-shan-zhe-tu-zhou-mu-dan-shuang-he-xu-yang-222822","牡丹山鹧图轴(牡丹双鹤)","徐扬","图绘二只山鹧，一只掉于水中，另一只站在石上尾巴散开，羽毛蓬松，圆睁的眼睛似为同伴落水而焦急不已；石边牡丹花绽放，硕大的花朵，层层叠叠的花瓣，高贵典雅。",[23,24,25,152,64,83,7,107,167,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ca665cb56cece71915c2720da655165.jpg","117*55.8cm",[35],{"id":7431,"slug":7432,"title":7433,"dynasty":60,"author":830,"museum":79,"description":1919,"tags":7434,"thumbUrl":7436,"material":295,"size":7437,"collection":35,"collections":7438,"showCount":7399,"zanCount":39,"manualWeight":39,"mainColor":40},222556,"zi-wei-shan-mian-chen-chun-222556","紫薇扇面",[23,106,24,25,661,399,64,27,7,1478,90,7435,68,31],"房屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3d66aa7b277e6d434140b8cfbf7bc17.jpg","纵17.7厘米 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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。）",[24,25,26,27,83,7,29,48,68,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9ad03ae2e1d9e12b784846270fbb25e.jpg",[35],{"id":7504,"slug":7505,"title":3323,"dynasty":195,"author":196,"museum":251,"description":7506,"tags":7507,"thumbUrl":7508,"material":1595,"size":7509,"collection":52,"collections":7510,"showCount":7487,"zanCount":1398,"manualWeight":39,"mainColor":159},233017,"ye-he-hua-tu-ye-yi-ming-233017","图中夜合花一根两枝，右枝花朵含苞未放，左枝花朵半开半合，洁白如玉，清雅绝尘。花朵轻勾淡染，用白粉点画花蕊，花叶先以细笔勾勒轮廓和筋脉，后用汁绿与花青染之。绿叶穿插向背，层次安排巧妙，画面简约而不单薄。",[106,24,25,26,83,27,7,3327,228,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cf71474db059bf26e08b661dea46f53.jpg","纵24.5cm，横25.4cm",[],{"id":7512,"slug":7513,"title":7514,"dynasty":60,"author":830,"museum":251,"description":1919,"tags":7515,"thumbUrl":7516,"material":822,"size":7517,"collection":35,"collections":7518,"showCount":7487,"zanCount":1398,"manualWeight":39,"mainColor":159},222554,"zhuo-se-hua-hui-tu-zhou-chen-chun-222554","着色花卉图轴",[23,24,106,25,152,27,399,7,29,185,186,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b64f49771959cb9dc4b2d40a00c7aad.jpg","59cmx113.4cm",[35,112],{"id":7520,"slug":7521,"title":7522,"dynasty":60,"author":7523,"museum":79,"description":7524,"tags":7525,"thumbUrl":7526,"material":295,"size":7527,"collection":35,"collections":7528,"showCount":7487,"zanCount":39,"manualWeight":39,"mainColor":40},222433,"hua-die-cao-chong-ce-du-da-cheng-222433","花蝶草虫册","杜大成","明代·杜大成（生卒年不详）。十六—十七世纪初，字允修，号三山狂生，一作山狂生。苏南京人。嗜声诗，工音律，善画禽虫花木，嫣秀生动。传世作品有《花卉草虫图册》，纸本，墨笔，现藏辽宁省博物馆。从艺活动约在嘉靖、万历间。名画家杜大成的《人物草虫图》寥寥几笔，似不经意，而花叶、草虫却生意盎然，栩栩如生。",[23,24,64,26,7,226,493,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fdd5485eb18b52994d17f0f3d39c21a.jpg","27x34cm",[35],{"id":7530,"slug":7531,"title":7532,"dynasty":60,"author":7533,"museum":79,"description":7534,"tags":7535,"thumbUrl":7536,"material":109,"size":7537,"collection":35,"collections":7538,"showCount":7487,"zanCount":39,"manualWeight":39,"mainColor":40},221942,"hua-hua-die-zhou-zhao-wen-chu-221942","画花蝶轴","赵文俶","赵文俶，长洲（今苏州）人。文从简的女儿，适赵宦光子赵灵筠，故文俶常在画上落“天水赵氏文俶”款，钤“赵文俶印”。文俶生性聪慧，善绘画，见物既能摹写，年四十便去世。她的画擅长花卉，传说她平日居家偶然看见奇花异草、小虫怪蝶，都随手画下，共收集千种，合成一册，题名「寒山草木昆虫状」，可说写生功力极深，因此对捕捉花木草虫的性情特徵，有独到之处。赵文俶此卷迭经恭亲王奕砢、觯斋郭世五收藏，明女史画家作品妍雅若此，甚属难得。",[23,24,152,27,83,7,186,226,493,455],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c039a1b9f0137adce7892838c9292e0.jpg","149.3x47",[35,112],{"id":7540,"slug":7541,"title":7542,"dynasty":195,"author":196,"museum":79,"description":7543,"tags":7544,"thumbUrl":7545,"material":109,"size":7546,"collection":202,"collections":7547,"showCount":7487,"zanCount":1398,"manualWeight":39,"mainColor":159},220217,"zhu-shi-shuang-lu-tu-yi-ming-220217","竹石双鹭图","整幅画面以留白营造幽远意境，右下拳石嶙峋，丛竹攒簇，墨色苍润，枝叶带风自含山野清趣。两只白鹭一动一静，一者振翅掠空，翎羽舒展灵动，一者徐行浅滩，身姿安然闲适，动静相映，愈发衬出水面空寂无波。\n\n淡墨轻勾汀渚细草，浅染出水泽清浅之态，赭色绢底晕开初夏郊塘的温润氛围。笔致秀雅清润，不施浓艳，以极简物象铺陈出悠远禅意，将塘间幽寂之美收揽尺幅，观之如临静塘，暑意尽散，尽显雅致空灵的宋人意趣。",[23,24,106,25,83,27,7,185,169,4182,167,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bf49cc778c3c4eb41b7d150d5f1c280.jpg","31.4x28.1",[202],{"id":7549,"slug":7550,"title":3067,"dynasty":60,"author":2746,"museum":79,"description":7551,"tags":7552,"thumbUrl":7553,"material":109,"size":7554,"collection":35,"collections":7555,"showCount":7487,"zanCount":39,"manualWeight":39,"mainColor":40},219378,"shuang-xi-tu-wang-wei-lie-219378","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。",[24,25,27,83,7,436,65,2768,67,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4a7e80f45c240fc050ed87c323beb18.jpg","85×39cm",[35],{"id":7557,"slug":7558,"title":4666,"dynasty":195,"author":1929,"museum":79,"description":7559,"tags":7560,"thumbUrl":7561,"material":109,"size":7562,"collection":202,"collections":7563,"showCount":7487,"zanCount":1398,"manualWeight":39,"mainColor":159},219300,"lu-yan-tu-huang-ju-cai-219300","画中三只芦雁从姿态与翎毛、口唇，可分出其雌雄与年龄大小，年幼者在父母之旁安然入睡，公雁者为首领独居图中，形象高大粗壮，具有长者地位，雌雁者既在幼雁旁有护驾之意，又张口切切私语，含情脉脉地望着对方，这种富有家庭意识的禽鸟之态，表现得淋漓之尽。作者对画中的芦雁画法精细，特别羽毛画笔工致，华润淋漓，神态生动逼真；芦苇枝叶双勾与晕染，阴阳背向分明。整个画面主题突出，构图严正，背景简洁明了，水面、沙滩及芦苇布置及画法恰到好处。居案的绘画从写生中出，在《东斋记事》中写着：“其家多养鹰鹘，观其神俊以模写之，故得其妙。”从此芦雁图中可知，长期的写生和临摹训练带给他真实生动地描绘禽鸟的功力，其准确度不亚于动物标本式的记录。",[23,24,106,25,83,27,7,1854,1855,65,603,2859],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1f48e78c47390b027fe23bdb5ccc424.jpg","纵144.5厘米，横93.3厘米",[202,35,112],{"id":7565,"slug":7566,"title":7567,"dynasty":60,"author":196,"museum":1146,"description":7568,"tags":7569,"thumbUrl":7570,"material":109,"size":52,"collection":35,"collections":7571,"showCount":7487,"zanCount":1398,"manualWeight":39,"mainColor":159},219122,"an-chun-bai-hua-tu-yi-ming-219122","鹌鹑百花图","鹌鹑敛翅蹲踞，羽纹以细劲墨线勾勒，敷染赭褐与墨黑，斑纹交错如鳞，绒毛质感毕现。旁侧花枝扶疏，白瓣粉蕊的花朵舒展如蝶翼，紫菊点缀其间，叶片墨绿带黄晕，藤蔓缠绕有致。前景草叶劲挺，枯枝斜出添野趣，背景赭黄绢底温润古雅。整幅画以工笔细描见长，禽鸟的憨态与花卉的鲜妍相映成趣，疏密布局得当，于静谧中藏生机，尽显花鸟写生的细腻与意趣。",[106,24,25,27,83,7,3676,226,228,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5cdc4849f24e6562ead882abb23c70e.jpg",[35],{"id":7573,"slug":7574,"title":7575,"dynasty":1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下部枝叶有阔叶，叶片黄色，多孔。 最左边的叶子上有一只黑色的昆虫，似乎已经吃掉了叶子。 高大的枯树的叶子已经枯萎。 而右边的树枝上，却长出了新的叶芽，站在树枝上的鸟儿正盯着那只黑色的虫子。",[23,106,24,25,83,27,7,4843,452,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b4ff92e043a2bee2158780d7469100a.jpg","26.5x25.7cm",[202,35],{"id":7582,"slug":7583,"title":7584,"dynasty":195,"author":5001,"museum":20,"description":7585,"tags":7586,"thumbUrl":7587,"material":109,"size":7588,"collection":35,"collections":7589,"showCount":7487,"zanCount":5,"manualWeight":39,"mainColor":159},216082,"an-chun-tu-ye-li-an-zhong-216082","鹌鹑图页","此宋人鹌鹑图页，无作者款印。图绘鹌鹑一只，体形滚圆，斑纹、毛羽如生，作回首状，点缀平坡、秋黍等。清代曾经清耿昭忠、耿嘉祚父子收藏，各有鉴藏印记。近代经吴湖帆、潘静淑夫妇收藏，有吴湖帆题签：“北宋李安忠鹌鹑”。",[23,24,25,106,3326,83,27,7,3676,455,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d691dcbeca802bd7e1c7806aa13adcd.jpg","纵23.5厘米，横23.1厘米",[35],{"id":7591,"slug":7592,"title":7593,"dynasty":18,"author":196,"museum":135,"description":6685,"tags":7594,"thumbUrl":7595,"material":275,"size":276,"collection":52,"collections":7596,"showCount":7597,"zanCount":39,"manualWeight":39,"mainColor":40},263553,"ke-si-yu-zhi-shi-hua-hui-tu-ce-yu-lan-yi-ming-263553","缂丝御制诗花卉图册-玉兰",[24,26,83,27,7,153,31,68,709],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7af2d1ea50bfd898d461b49a15cfa160.jpg",[],77,{"id":7599,"slug":7600,"title":7601,"dynasty":18,"author":317,"museum":135,"description":7602,"tags":7603,"thumbUrl":7604,"material":52,"size":52,"collection":35,"collections":7605,"showCount":7597,"zanCount":39,"manualWeight":39,"mainColor":40},238342,"si-ji-hua-hui-ce-dong-gao-238342","四季花卉册","此作以没骨法绘就春日群芳，设色柔婉清新。白牡丹花瓣晕染层叠，莹润饱满，尽显雍容之态；旁侧粉花轻绽，胭脂点染花苞，娇妍粉嫩，灵动鲜活。左侧嫩枝青叶敷色淡雅，笔致秀逸，将草木舒展之姿尽数勾勒。\n\n画面构图错落舒展，数枝花枝交织却不显拥塞，气息恬和雅致。以细腻笔触晕染花叶的柔润肌理，将春日群芳竞绽的清柔意趣定格纸面，雅致秀润，尽显传统花卉小品的隽永韵味。",[24,25,26,27,83,7,107,123,29,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66475b0ae51b2faa51d20ca589d4cd02.jpg",[35,112],{"id":7607,"slug":7608,"title":7609,"dynasty":60,"author":7610,"museum":135,"description":7611,"tags":7612,"thumbUrl":7613,"material":52,"size":52,"collection":35,"collections":7614,"showCount":7597,"zanCount":1398,"manualWeight":39,"mainColor":159},237497,"mo-he-yuan-yang-tu-zhou-li-yin-237497","墨荷鸳鸯图轴","李因","李鱓[shàn]（1686年—1756年），字宗扬，号复堂，别号懊道人、墨磨人，清康熙二十五年（1686）生，乾隆二十一年（1756）卒，江苏扬州府兴化人，明代状元宰相李春芳第六世孙。清代著名画家，“扬州八怪”之一。康熙五十年中举， 康熙五十三年召为内廷供奉，其宫廷工笔画造诣颇深，因不愿受“正统派”画风束缚而遭忌离职。乾隆三年出任山东滕县知县，颇得民心，因得罪上司而罢官。后居扬州，卖画为生。\n李鱓工诗文书画。曾随蒋廷锡、高其佩学画。后受石涛影响，擅花卉、竹石、松柏，早年画风工细严谨，颇有法度。中年画风始变，转入粗笔写意，挥洒泼辣，气势充沛，对晚清花鸟画有较大影响。 [1]\n传世画迹有南京博物院藏《土墙蝶花图》轴、故宫博物院藏《松藤图》轴等。北京工艺美术出版社2005年出版“中国书画名家全集”，内收《李鱓画集》（上下卷）。",[24,25,152,64,7,467,1110,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F557524c45070d0779dcb0b92bcfbebf5.jpg",[35],{"id":7616,"slug":7617,"title":3224,"dynasty":18,"author":237,"museum":135,"description":7618,"tags":7619,"thumbUrl":7620,"material":275,"size":276,"collection":35,"collections":7621,"showCount":7597,"zanCount":39,"manualWeight":39,"mainColor":40},235381,"hua-niao-tu-ce-hua-yan-235381","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。",[24,26,27,7,185,65,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01e4d0cc55e7ee07e955ecc27f59a38e.jpg",[35],{"id":7623,"slug":7624,"title":7625,"dynasty":195,"author":2152,"museum":135,"description":7626,"tags":7627,"thumbUrl":7628,"material":52,"size":52,"collection":52,"collections":7629,"showCount":7597,"zanCount":39,"manualWeight":39,"mainColor":159},227717,"lian-yan-tu-mu-xi-227717","莲燕图","牧溪，宋末元初之画僧，无准禅师的弟子。四川人，生卒年不详。依径山无准师范出家，法名法常。于宋末理宗、度宗时（1225～1270），在杭州西湖长庆寺为杂役僧。性情英豪，嗜饮酒，醉则寝，觉则朗吟。擅长画佛像、人物、花果、鸟兽、山水、龙虎、猿鹤等，题材广泛。画风继承石恪、梁楷之减笔画，与中唐以来之逸格山水画，风格壮阔，自由放逸。其生平画迹与作品在国内之流传甚少，然日本极早即流传其画迹，且因其画风对日本艺坛产生强烈影响，故其画迹一直为名流所收藏，如观音猿鹤图、龙虎图、栗柿图、芙蓉图、老松八哥鸟图、潇湘八景图、柳燕图等，其中之观音猿鹤图三幅，相传系日僧圣一于宋理宗淳祐元年（1241），由中国带往日本者，目前被视为日本国宝。\n\n水墨皆禅，万法唯心，对牧溪而言，他也许从未定义自己是个画家，而首先是个僧人，是个禅师。他的画被归为禅画的范畴，禅画将生命的解脱视为最高存在意涵。画中幽远超然的留白，似乎天地之间，只剩你与他笔下的一只蜻蜓、一颗萝卜、一只小燕。生命原本就是这么简单。",[24,106,25,152,64,7,49,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb67985521198db5b72190fbaa7002bfa.jpg",[],{"id":7631,"slug":7632,"title":7633,"dynasty":195,"author":196,"museum":79,"description":7634,"tags":7635,"thumbUrl":7638,"material":109,"size":7639,"collection":202,"collections":7640,"showCount":7597,"zanCount":39,"manualWeight":39,"mainColor":159},219200,"lu-ting-bai-lu-tu-yi-ming-219200","芦汀白鹭图","图绘白鹭两对栖于芦苇丛生的洲渚岸边，一饮啄、一飞降、一静息，一仰首迎接。全画用墨层次丰富，掌握住秋天的景致气氛。在题材、构图、设色上保留南宋汀渚水鸟小景画的意趣，但通幅笔力较为薄弱。",[23,24,27,83,3326,7,1855,602,7636,167,7637,64],"汀渚","水泽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77827917d9c35594679d81fabbd6da53.jpg","25x25.5cm",[202,35],{"id":7642,"slug":7643,"title":7644,"dynasty":60,"author":196,"museum":368,"description":7645,"tags":7646,"thumbUrl":7649,"material":109,"size":7650,"collection":35,"collections":7651,"showCount":7597,"zanCount":39,"manualWeight":39,"mainColor":159},219003,"gua-shu-tu-yi-ming-219003","瓜鼠图","这幅画描绘了一只老鼠啃食甜瓜的情景，象征着甜瓜的长寿和后人的祝福。由于没有背景，瓜子很逼真，老鼠很灵动，使这个民俗吉祥的题材变得清新雅致，不是一般的普通手笔，可能是出自训练有素的宫廷画师之手。",[23,106,24,25,83,27,7,7647,7648,226,68],"鼠","瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F786880bde7884db33cdeb9b80987b151.jpg","24.6x25.6cm",[35],{"id":7653,"slug":7654,"title":7655,"dynasty":60,"author":830,"museum":20,"description":831,"tags":7656,"thumbUrl":7657,"material":534,"size":834,"collection":52,"collections":7658,"showCount":7597,"zanCount":39,"manualWeight":39,"mainColor":40},214622,"hua-hui-ce-19-chen-chun-214622","花卉册-19",[24,25,106,26,64,399,7,436,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b278267b998a115bffa6c856ead4911.jpg",[],{"id":7660,"slug":7661,"title":7662,"dynasty":148,"author":149,"museum":135,"description":1080,"tags":7663,"thumbUrl":7664,"material":275,"size":276,"collection":52,"collections":7665,"showCount":7666,"zanCount":39,"manualWeight":39,"mainColor":159},290555,"wu-dai-nan-tang-hua-hui-cao-chong-juan-xu-xi-290555","五代南唐花卉草虫卷",[106,24,25,82,83,27,7,517,213,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae6d9fb677d356b11b5aa6b55f88bca7.jpg",[],76,{"id":7668,"slug":7669,"title":7416,"dynasty":18,"author":1209,"museum":135,"description":1508,"tags":7670,"thumbUrl":7671,"material":275,"size":276,"collection":52,"collections":7672,"showCount":7666,"zanCount":1398,"manualWeight":39,"mainColor":40},239513,"mu-dan-shui-xian-zhou-wu-chang-shuo-239513",[24,152,27,7,399,107,518],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F608e8a39a2d5b5e7b4c77db06de234c4.jpg",[],{"id":7674,"slug":7675,"title":59,"dynasty":18,"author":19,"museum":135,"description":272,"tags":7676,"thumbUrl":7677,"material":275,"size":276,"collection":52,"collections":7678,"showCount":7666,"zanCount":39,"manualWeight":39,"mainColor":40},239433,"hua-niao-ce-yun-shou-ping-239433",[24,25,26,28,27,64,7,68,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F142b6495fb6062dbc404fdab2aa71537.jpg",[],{"id":7680,"slug":7681,"title":7682,"dynasty":18,"author":1209,"museum":251,"description":7683,"tags":7684,"thumbUrl":7686,"material":52,"size":52,"collection":35,"collections":7687,"showCount":7666,"zanCount":1398,"manualWeight":39,"mainColor":40},236914,"ping-hua-chang-pu-tu-zhou-wu-chang-shuo-236914","瓶花菖蒲图轴","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,25,152,27,7,7685,2078,64,31,569,68],"瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe31a2e8d71982568c3110d604c9844d9.jpg",[35,112],{"id":7689,"slug":7690,"title":44,"dynasty":18,"author":1209,"museum":251,"description":3216,"tags":7691,"thumbUrl":7692,"material":412,"size":52,"collection":52,"collections":7693,"showCount":7666,"zanCount":39,"manualWeight":39,"mainColor":40},234303,"hua-hui-ce-wu-chang-shuo-234303",[24,25,26,27,399,7,243,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73b8f51f1b3a31f1c9e208eec84c89a4.jpg",[],{"id":7695,"slug":7696,"title":7697,"dynasty":18,"author":1454,"museum":79,"description":4982,"tags":7698,"thumbUrl":7700,"material":52,"size":7701,"collection":35,"collections":7702,"showCount":7666,"zanCount":1398,"manualWeight":39,"mainColor":40},222808,"bian-dou-hua-wang-wu-222808","扁荳花",[23,24,7,27,83,31,68,7699,228,5848,227],"扁豆花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbe5cc35daef658d871bd3f676303498.jpg","34.2x50.4",[35,112],{"id":7704,"slug":7705,"title":7706,"dynasty":60,"author":7707,"museum":1535,"description":7708,"tags":7709,"thumbUrl":7710,"material":412,"size":7711,"collection":35,"collections":7712,"showCount":7666,"zanCount":5,"manualWeight":39,"mainColor":40},222522,"mei-cha-shan-que-tu-zhu-zhu-222522","梅茶山雀图","朱竺","图绘梅、茶花、山雀的花鸟图。雀站立于茶树枝上，昂头望着上方的红茶花和金色梅花，神态专注；梅枝自然伸展，朵朵梅花点缀其上；茶花争相绽放，一抹红色美艳动人。朱竺，号君实，明代画家，工山水，亦能花鸟、人物。",[23,24,25,152,27,83,68,436,320,2454,7,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff27021c8b1604adccb8eb0607990f6.jpg","119.3x39.6cm",[35,112],{"id":7714,"slug":7715,"title":7716,"dynasty":60,"author":1681,"museum":251,"description":7717,"tags":7718,"thumbUrl":7719,"material":7720,"size":7721,"collection":35,"collections":7722,"showCount":7666,"zanCount":39,"manualWeight":39,"mainColor":159},222400,"can-he-ying-lu-tu-lv-ji-222400","残荷鹰鹭图","画面描绘了秋日荷塘中惊心动魄的一幕，苍鹰俯冲搏击白鹭，白鹭冲进苇丛深处，希图逃脱。众鸟或纷纷躲避，或受惊鸣叫。劲风吹动芦苇残荷，更添肃杀之气。作者把握住禽鸟的自然特征，赋予了戏剧化的情节表现，使画面具有扣人心弦的感染力。画家用写意的笔法画出枯败的荷叶，效果逼真，体现出高超的水墨控制能力。",[23,24,25,152,7,83,27,64,467,2227,4820,1855],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc10ae54932f80827cb6ce0d4337c4bf1.jpg","绢本，水墨","纵190厘米，横105.2厘米",[35,734],{"id":7724,"slug":7725,"title":7726,"dynasty":195,"author":7727,"museum":79,"description":7728,"tags":7729,"thumbUrl":7732,"material":6535,"size":7733,"collection":202,"collections":7734,"showCount":7666,"zanCount":39,"manualWeight":39,"mainColor":159},220191,"hui-chong-qiu-ye-pan-diao-hui-chong-220191","惠崇秋野盘雕","惠崇","惠崇（965- 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术从此衰落，艺人名家也只能沦为匠人糊口度日。新中国成立后在党和国家的关怀下，民间工艺得到了保护及挖掘，木雕也重新涣发出生命，涌现出一批国家级大师。他们的作品，工艺精湛，秉承传统，立意深远，讴歌时代，体现了大师们立足传统，锐意创新，直抒重获新生的胸怀和报效国家，知遇之恩的深情。\n国家改革开放，经济腾飞，国富民强，党和国家对民间工艺的大力扶持，唤起了民众对传统工艺美术的热爱与追求。逢此盛世，民间工艺美术有了新的飞跃，木雕艺术也不例外。面对实际情况，在全国工艺品展出中，优秀作品的作者年龄偏大，年轻作者寥寥无几。",[661,709,107,214,7,27,7923,83],"木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40ff59ddc8813b983e9b27b64bbb79a1.jpg",[],{"id":7927,"slug":7928,"title":7929,"dynasty":18,"author":317,"museum":135,"description":6479,"tags":7930,"thumbUrl":7931,"material":52,"size":52,"collection":5642,"collections":7932,"showCount":7907,"zanCount":39,"manualWeight":39,"mainColor":40},238316,"dong-gao-tang-hua-si-yong-zhou-dong-gao-238316","董诰唐花四咏轴",[24,25,152,83,27,7,107,286,518,254,686,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F265a9b103f69a3bf5301103660d3bc32.jpg",[5642],{"id":7934,"slug":7935,"title":2063,"dynasty":18,"author":853,"museum":135,"description":7936,"tags":7937,"thumbUrl":7938,"material":275,"size":276,"collection":35,"collections":7939,"showCount":7907,"zanCount":1398,"manualWeight":39,"mainColor":40},235697,"hua-hui-tu-ce-zou-yi-gui-235697","邹一桂（1688年－1772年）清代官员，画家。字原褒，号小山，又号让卿，晚号二知老人，江苏无锡人。雍正五年二甲第一名进士，授翰林院编修。历官云南道监察御史、贵州学政、太常寺少卿、大理寺卿、礼部侍郎，官至内阁学士。擅画花卉，学恽寿平画法，风格清秀。曾作《百花卷》，每种赋诗，一经进呈，皇上亦赐题绝句百篇，一桂复写一卷，恭录御制于每种之前，而书己作于后，藏于家。著有《小山画谱》、《大雅续稿》。",[24,25,26,83,27,7,226,425,31,569,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc8572a0ccd2626980bd110f0ac70b1c.jpg",[35,112],{"id":7941,"slug":7942,"title":1634,"dynasty":18,"author":1635,"museum":135,"description":7943,"tags":7944,"thumbUrl":7945,"material":52,"size":52,"collection":52,"collections":7946,"showCount":7907,"zanCount":39,"manualWeight":39,"mainColor":40},235012,"pi-pa-tu-xu-gu-235012","有“晚清画苑第一家”之誉的虚谷，曾与吴昌硕、任伯年并称为“海派画坛三杰”。 虚谷一生萍踪浪迹，精通佛禅兼知老庄，在艺术创造上敢于破格创新，是位不同流俗的一代奇才。\n虚谷的画，轻快利索、明净空灵，将清冷飘逸的超脱精神与强烈的生命活力交织在一起，有着水彩画般的透明感。无论是色彩创意、造型语言、构成图式还是笔墨个性，虚谷都突破了传统规范，每一幅作品都会给人耳目一新和精神为之一振的感觉，在晚清画坛可谓独树一帜，吴昌硕盛赞他为“一拳打破去来今”。\n虚谷是位全才型的画家，花鸟、人物、山水皆精，而平凡的蔬菜瓜果一经他的生花妙笔，立刻化为秀雅鲜活的动人形象。由此可见，虚谷是在用蘸满感情的笔墨，抒发着自己热爱自然、憧憬人间美景的情志。作于1896年的《枇杷图》（如图），便是他的一幅笔墨精绝的传世名作。\n绘制这幅画时，虚谷已经是73岁的高龄，然而画面如此精气逼人，真仿佛如有神助。画中一丛长势壮盛的枇杷枝干直挺，一派峥嵘之气。构图顶天立地，布满全幅，用逆笔和枯笔粗细有致地画出了鲜明的节奏感。下方足足四分之一的画面以虚而淡的笔法和色调，衬托出上部鲜艳的果实无比鲜嫩可人、水灵欲滴，使观者的目光情不自禁地上移，也使枇杷树在无形之中有了蓬勃向上的生姿，顿生明媚而祥瑞的意境。\n虚谷在画中的行笔是十分快捷的，在信手挥洒中以精练的笔墨一气呵成，却并无急躁之感。他以含水量很大的湿笔从上到下舞动，而湿笔中又时不时地露出飞白，使人感到沐浴在阳光和雨露中的枇杷树是如此的滋润明洁。从最浓的树叶到最淡的树叶，竟然找不到两片完全相同的，也找不到两个完全相同的果实，真是按部就班、主次分明。虚谷在造型中参用了西洋油画的方法，以虚为主，虚实相生，虽然随手点染却又在漫不经意中显得统一而连贯，使整个画面宁静、安逸、祥和又明亮，反映出画家超凡的自信、深厚的修养和随心所欲的自由境界。\n名画家陈小蝶在《近代六十名画家传》评价道：“虚谷和尚用笔如风雨骤至，灵气透出纸背，无一笔滞相。”虚谷一生寄情于书画，安享着“一树梅花天地春”的恬适，这幅画中就透露出了画家看空名利、追求身心和悦的心境，令人悠然神往。",[24,25,7,27,64,68,556],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F869b939dcfafda528edfa62e15da9aa6.jpg",[],{"id":7948,"slug":7949,"title":7950,"dynasty":60,"author":196,"museum":135,"description":7951,"tags":7952,"thumbUrl":7955,"material":52,"size":52,"collection":52,"collections":7956,"showCount":7907,"zanCount":1398,"manualWeight":39,"mainColor":159},232909,"fang-xu-xi-hua-niao-tu-juan-yi-ming-232909","仿徐熙花鸟图卷","徐熙，鍾陵（今進賢西北）人，生卒年不詳，出身世家，「世為江南顯族」。但一生沒有出仕做官，因此後世稱他為「江南布衣」或「南唐處士」。他的藝術成就，集中體現在不同凡響的落墨花鳥畫創作方面。在當時，這種畫的畫法不同於一般傳統的技法，而是大膽創新。它的出現，曾引發了一些遵從傳統技法的畫家的震驚和敵視。\n中國花鳥畫成為獨立的藝術，比人物畫、山水畫稍晚，唐代雖然出現了不少名家，但直到五代南唐徐熙和西蜀黃荃兩家的出現，花鳥畫壇才放出了異彩。\n徐熙、黃荃都是中國繪畫史上影響深遠的大畫家，但繪畫風格不同，宋代流行一句話：「黃荃富貴，徐熙野逸」。王安石盛讚徐熙的畫名滿江南，成就卓著。劉道醇的《聖朝名畫評》將徐熙的作品列為「花竹翎毛門」的神品第一名，認為他「與造化之功不甚遠，宜乎為天下冠也」。\n眼光獨特的北宋書畫大家米芾認為徐熙的畫法富於變化，不為常規所有，用普通的追求形色相似的臨摹方法無法描摹、激賞其藝術上的獨創價值。\n徐熙是一位多產的畫家，宋《宣和畫譜》所載藏於御府的畫目中，徐熙的畫有249種。流傳於世間的重要作品有《寒蘆野鴨》《花竹雜禽》《魚蟹草蟲》《雪竹圖》《百鳥圖卷》等，因其開創了中國寫意花鳥畫的先河，時稱「江南花鳥，始於徐家」。",[23,24,25,82,27,83,2730,31,7,167,91,171,89,90,170,7953,49,7954],"日","鸟类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90011eff47e64f1294d5d515d140a732.jpg",[],{"id":7958,"slug":7959,"title":7960,"dynasty":195,"author":196,"museum":135,"description":7961,"tags":7962,"thumbUrl":7963,"material":52,"size":52,"collection":52,"collections":7964,"showCount":7907,"zanCount":39,"manualWeight":39,"mainColor":159},223614,"zhu-que-shuang-tu-tu-yi-ming-223614","竹雀双兔图","《竹雀双兔图》是辽代佚名画家创作的绢本设色画，现藏于辽宁省博物馆。\n图绘双钩墨竹一丛，其中有长竹三竿，耸立其间，又有三只麻雀，分踞竹上：有的寻觅食物，有的静立下观，有的自理羽毛，神态各殊；丛竹之下生长的三株野花，左为蒲公英，中为地黄，右为白头翁，显得鲜艳肥大，引人注意；花前的两只灰兔为此图的主题：一只在吃草，一只在探望，神态逼真、活泼清新。\n图上画三竿翠竹，竹上落有三雀，一雀静立枝头，一雀用喙整理毛羽，另一雀侧身瞰视，神情各异。\n丛竹下画有蒲公英、地黄和白头翁三株野花及许多野花小草。\n两只苍兔蹲踞地上，一只在吃草，一只敛耳抬头张望。\n契丹族，是中国北方一支古老的民族，契丹人逐水草而居，以狩猎游牧为生。\n契丹神册元年（916年），耶律阿保机统一了契丹各部，建立了强大的辽王朝，先后与五代和北宋并立。\n其绘画作品，继承唐及五代传统，却又独具特色。\n花卉鸟兽是辽画中常见的题材。\n1974年5月，在辽宁省法库县叶茂台发掘了一座辽代萧氏贵族砖墓，规模较大，出土遗物较多，《竹雀双兔图》就在其中出土。\n关于《竹雀双兔图》的年代，因画上既无作者名款，也没有题识和收藏印记，只能从绢画本身加以分析研究，以确定流派与时间。\n由于画幅出土于辽墓之中，从墓室结构和数百件随葬品综合来考察，可以断定是辽代早期的墓葬，且不晚于辽景宗耶律贤时期，即北宋太宗赵炅的太平兴国年间（976—98年）。\n也就是说，画的制作年代不晚于这个下限。\n至于它的上限早到何时、关于画的作者族属问题， 做过考证，对此图的看法是“侧重出自契丹族画家之手”，这是有道理的。\n由于辽代绘画受到唐、五代画风的深刻影响，与宋文化有着密切的关系，北宋初期的作品，一般都不署名。\n但从作品本身观察，其技法虽带装饰意味，却很难说是出自一般民间画师之笔。\n整幅画作设色清秀，意境明快，静中有动，生机勃勃。\n从中不难看出，画面的装饰气味比较浓厚，生活气息也相当强烈，从中可窥见花鸟画刚刚摆脱从属地位，开始形成独立画种的特点；同时，也不难了解到辽代的绘画艺术与中原的密切联系，又别具一格，值得珍视。\n这幅作品在构图上很讲究均衡对称，如竹与竹、雀与雀、兔与兔之间的位置距离，都保持一定的平行对称的关系，共至连竹叶的对生，花草的奇偶相对，都是经过作者审慎安排的。\n但它不是搞绝对平均的对称，而是在对称中又有一定的变化，并不使你感到单调死板，而是更富有民间艺术均衡饱满的装饰性风味，体现了当时人民群众对艺术的爱好和审美习惯。\n图中虽无作者款印，但因出土的墓葬为辽代早期，即北宋太宗时期，画作的时代下限可靠，为研究五代、北宋早期、辽代的山水画、花鸟画及中原绘画的发展与影响提供了极为可信的第一手资料。\n1974年5月在辽宁省法库县叶茂台辽代7号墓，出土了《竹雀双兔图》。\n该图现藏于辽宁省博物馆。\n218年8月14日，辽宁省博物馆举办“中国古代绘画展”，《竹雀双兔图》在其中展出。",[23,24,106,25,152,83,27,185,2100,1189,467,7,386,455,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01b9287a3d30581cccc1ff161cbfb278.jpg",[],{"id":7966,"slug":7967,"title":7968,"dynasty":18,"author":793,"museum":79,"description":794,"tags":7969,"thumbUrl":7970,"material":27,"size":797,"collection":52,"collections":7971,"showCount":7907,"zanCount":39,"manualWeight":39,"mainColor":40},222742,"xian-e-chang-chun-tu-02b-lang-shi-ning-222742","仙萼长春图-02b",[23,106,24,25,26,83,27,7,65,153,29,67,1736],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44752a8e4622ebb38b8e513c4f4c435f.jpg",[],{"id":7973,"slug":7974,"title":7975,"dynasty":18,"author":793,"museum":79,"description":794,"tags":7976,"thumbUrl":7977,"material":27,"size":797,"collection":52,"collections":7978,"showCount":7907,"zanCount":39,"manualWeight":39,"mainColor":40},222740,"xian-e-chang-chun-tu-01b-lang-shi-ning-222740","仙萼长春图-01b",[23,24,25,26,27,7,83,123,167,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F672474ab59f90287bfe66517e17cf0b7.jpg",[],{"id":7980,"slug":7981,"title":7982,"dynasty":195,"author":196,"museum":79,"description":7983,"tags":7984,"thumbUrl":7985,"material":109,"size":7986,"collection":202,"collections":7987,"showCount":7907,"zanCount":1398,"manualWeight":39,"mainColor":40},218838,"yue-ming-jin-su-tu-yi-ming-218838","月明金粟图","这幅画描绘了山中的一轮明月，一枝金桂（又称金粟）从天而降，香气远扬。其构图在古代和现代的折叠式微型画中是独一无二的，折叠式花枝伴随着远山、云彩和月亮。",[23,106,24,25,661,83,27,5549,505,66,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ffe1f4cf683153ff158daeb9f1f5bf1.jpg","21.7x23.8",[202,35],{"id":7989,"slug":7990,"title":7991,"dynasty":18,"author":7992,"museum":135,"description":7993,"tags":7994,"thumbUrl":7995,"material":275,"size":276,"collection":52,"collections":7996,"showCount":7997,"zanCount":678,"manualWeight":39,"mainColor":40},239078,"hua-niao-ping-liao-yun-jin-239078","花鸟屏","廖云锦","廖云锦，生卒年不详，约活动于清道光年间（1821－1850年）。字蕊珠，号织云、锦香居士，华亭（今属上海）人，袁枚女弟子。自幼从父廖古檀吟诗作画同，后归泗泾马氏。",[24,25,83,27,7,65,226,186,2768,2769,66,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5a9039e5f16dbbf65a5783f0a67ae17.jpg",[],72,{"id":7999,"slug":8000,"title":7991,"dynasty":18,"author":381,"museum":135,"description":8001,"tags":8002,"thumbUrl":8003,"material":52,"size":52,"collection":52,"collections":8004,"showCount":7997,"zanCount":39,"manualWeight":39,"mainColor":40},233120,"hua-niao-ping-ren-yi-233120","任颐（1840年－1895年），中国近代画家。原名小属，初名润，字小楼，一作晓楼。后号次远，字伯年，常被称作任伯年。山阴（浙江省绍兴）人，故画面署款多写“山阴任颐”。",[24,152,27,7,1416,291,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd185d4da9d0d49d86d8f217625063508.jpg",[],{"id":8006,"slug":8007,"title":8008,"dynasty":119,"author":120,"museum":306,"description":8009,"tags":8010,"thumbUrl":8011,"material":845,"size":8012,"collection":52,"collections":8013,"showCount":7997,"zanCount":800,"manualWeight":39,"mainColor":159},232771,"hua-hui-cao-chong-tu-juan-qian-xuan-232771","花卉草虫图卷","钱选是宋末元初著名画家，与赵孟頫、王子中、牟应龙、肖子中、陈天逸、陈仲信、姚式并称为“吴兴八俊”。\n钱选人品及画品皆称誉当时。他提倡绘画中的“士气”，在画上题写诗文或跋语，萌芽了诗、书、画紧密结合的文人画的鲜明特色。\n钱选的花鸟画成就最高，是元代继承宋代设色工笔花鸟画这一派中的代表人物。钱选特别善作折枝花木，是一位技法全面的画家。他的《花鸟图》所画花鸟用笔尽劲，细洁而光润，设色淡雅清丽，精巧传神。",[23,106,24,25,82,27,83,29,213,214,292,808,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9613502e8f0012e70f2245d5e7d000f1.jpg","纵26.8厘米，横120厘米",[],{"id":8015,"slug":8016,"title":6903,"dynasty":18,"author":2441,"museum":135,"description":8017,"tags":8018,"thumbUrl":8020,"material":52,"size":52,"collection":52,"collections":8021,"showCount":7997,"zanCount":39,"manualWeight":39,"mainColor":525},228968,"luo-hua-you-yu-tu-ma-yuan-yu-228968","柔条垂拂牵缀艳红繁花，将暮春清韵轻轻铺展。水面之上，荇藻参差漾着细波，睡荇悬根随水轻摆，漾开空濛水色。数尾游鱼穿弋其间，摆尾逐着飘零落花，灵动悠然，把春水的生机藏在幽谧里。\n\n全作用没骨晕染，淡彩轻敷，将花叶柔润、柳条纤长的质感晕染尽致，未着一笔写水，却借藻荇与游鱼的姿态，将春水空明漾开。花随水去，鱼逐花影，把幽赏春池的闲逸融在笔底，观之便如临浅春水泽，漫生出恬然清和的诗意。",[23,24,25,152,27,7,8019,6906,3006,1790,83],"游鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84302d047146391e5135486d1a4f33c6.jpg",[],{"id":8023,"slug":8024,"title":8025,"dynasty":18,"author":8026,"museum":135,"description":8027,"tags":8028,"thumbUrl":8029,"material":52,"size":52,"collection":52,"collections":8030,"showCount":7997,"zanCount":39,"manualWeight":39,"mainColor":525},228320,"yu-xie-hua-cao-tu-ce-bian-shou-min-228320","鱼蟹花草图册","边寿民","此作用朱砂绘就秋花，笔致朴拙洗练，叶片舒展顾盼有情，将草木摇曳之姿尽显于纸上。枝干苍劲古雅，带着随性自然的笔墨情致，淡墨题款错落排布，与画作相映成趣，雅致清逸。\n\n虽仅绘一花一枝，却将秋意的疏朗与草木的生机相融，文人意趣盎然，尽显闲淡超逸的审美意韵。以简驭繁，把草木风姿与文人雅怀融为一体，笔墨间尽显写意画的空灵雅致，带着澹泊天真的文人风骨。",[106,24,25,26,27,170,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f8f9868f959e1211d78469c11f99cc1.jpg",[],{"id":8032,"slug":8033,"title":8034,"dynasty":60,"author":477,"museum":79,"description":8035,"tags":8036,"thumbUrl":8037,"material":109,"size":8038,"collection":52,"collections":8039,"showCount":7997,"zanCount":800,"manualWeight":39,"mainColor":159},228290,"mei-hua-shan-niao-zhou-chen-hong-shou-228290","梅花山鸟轴","推荐的明陈洪绶(1599一1652)、元杨维祯(1296一l7)及明夏昶(l88一l47)三位画家所绘的梅花山鸟、岁寒图及奇石修皇图等古画为题材，印制邮票一组。松、竹、梅夙有“岁寒三友”的称、天寒地冻，唯松柏常青；竹性耐寒，劲直中节；梅花为我国的国花，素洁清芬，高雅绝俗。选为邮票图案，不仅可阐扬中国固有文化与艺术，且可代表国人崇高的志节。志号品名: 专124 (18)岁寒三友图古画邮票全套面值: 2元邮票规格: 5.9651.46mm: P12印刷机构: 瑞士哥瓦锡厂印刷版别: 影写版: 影写版邮票纸整张枚数: 5(15)枚相关资料: 摄影者吴呈芳(1)梅花山鸟：绢本，轴，横49.6公分，纵124.公分。陈洪绶明诸暨人，生于明神宗万历二十七年，卒于清世祖顺治九年。字章侯，号老莲，又号云门僧，赋性狂散。其画人物，神态特真，时谓三百年无此笔墨，花鸟草虫，亦多精妙。(2)岁寒图：纸本，轴，横2公分，纵98.1公分。杨维祯元诸暨人，生于元成宗元贞二年，卒于明太祖洪武三年。字廉夫，号铁崖，又号铁笛道人，善书画，父杨宏，筑楼铁崖山，植梅去梯，俾其读书。明太祖征诏不赴，赋诗见志。()奇石修皇图：纸本，轴，横14.7公分，纵275.1公分。夏昶明昆山人，生于明太祖洪武二十一年，卒于宪宗成化六年。字仲昭，号自在居士，又号玉峰，举进士，为翰林院庶吉士，正统中仕至太常卿。善书，能诗，精绘事，尤工墨竹，其所作竹技，烟姿雨色，偃直疏浓，各循矩度，楷书画竹，时推第一。",[24,25,152,27,83,436,65,186,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58c74366f27a7acd6bb8197d976548e3.jpg","124.3x49.6",[],{"id":8041,"slug":8042,"title":8043,"dynasty":18,"author":1475,"museum":135,"description":8044,"tags":8045,"thumbUrl":8047,"material":52,"size":52,"collection":52,"collections":8048,"showCount":7997,"zanCount":1398,"manualWeight":39,"mainColor":40},224367,"hua-hui-si-ping-zhi-si-ju-lian-224367","花卉四屏之四","此作用没骨晕染绘绣球，淡蓝敷色晕出团花柔润雅致，赭石点染萼边枝叶，清妍动人。湖石以淡墨勾皴，留白衬出空灵剔透的嶙峋肌理，与花枝相映成趣。两只秋蝉振翅穿飞，翅脉纤毫毕现，将静雅画面揉入灵动生机，暗合清秋将临的闲淡意韵，整体明秀温婉，笔法秀逸轻盈，尽显婉约雅致的花鸟意趣。",[23,24,25,83,27,7,186,8046,67,2979],"花簇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7ed7a1dd429364a77988b1cdcaa1b67.jpg",[],{"id":8050,"slug":8051,"title":8052,"dynasty":60,"author":8053,"museum":79,"description":8054,"tags":8055,"thumbUrl":8057,"material":401,"size":8058,"collection":35,"collections":8059,"showCount":7997,"zanCount":5,"manualWeight":39,"mainColor":159},222085,"hua-zi-mu-ji-tu-zhou-zhu-zhan-ji-222085","画子母鸡图轴","朱瞻基","此画无背景，仅在一公、一母、七雏的鸡群附近俩有一些杂草，遍布地面，虽较稀疏，但远看似一层薄薄的绿色地毯，以象征出整片的草地，对整个画面起到陪衬作用。画幅下部和偏右画有一公鸡、一母鸡。右侧的公鸡低首啄食，口内衔虫，近靠二雏，二双爪有力地抓在地上，长尾飞翘舒展开来，双翅紧合，头部有较大的肉冠及肉瓣，脚健壮，跗臁及趾皆被鳞板，趾网、后趾高而短小，尾部发达。左侧为一母鸡蹲在地上，作待哺的神态，双爪有力地抓地上，嘴短、鼻孔被鳞状瓣，头部肉冠和肉瓣比公鸡小，尾巴上二翘舒展开来。七只小鸡偎近母鸡，其中一只雏鸡，全身旱绒绒的一小团，走起来呈摇摇摆摆之状，似具有初出壳的娇弱之态，皆生动传神，充分体现明宣宗有着写实的功力。\n此画以工笔勾勒白鸡，且勾线十分明显，偏向于工整之笔，染色也较平面化。画法上以工笔勾勒，别开生面，焦墨点睛，炯炯有神，羽毛捕法精细，双爪勾勒，笔扎实有力。鸡的形象画得真实生动，质感强烈，表现了一瞬间各鸡的动作神态。",[23,24,25,152,83,27,7,1416,8056,68],"小鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44c553fe940de32eacb1d4b982556980.jpg","79.7x57.2cm",[35,112],{"id":8061,"slug":8062,"title":8063,"dynasty":60,"author":1681,"museum":251,"description":8064,"tags":8065,"thumbUrl":8066,"material":33,"size":8067,"collection":35,"collections":8068,"showCount":7997,"zanCount":1398,"manualWeight":39,"mainColor":40},219286,"ying-que-tu-lv-ji-219286","鹰鹊图","图绘一只苍鹰独立岩顶，两只飞舞的蜜蜂吸引了它的目光，一旁的喜鹊趁机振翅欲逃。作者用笔粗阔，富有简率纵逸的笔墨意趣。吕纪的花鸟画不仅追求形似，更善于表现禽鸟之间的关系，捕捉住禽鸟瞬间的神态和动势，营造出千钧一发的紧迫感和爆发力，突破了传统花鸟画唯美的装饰意味，从而获得了新的艺术生命力。",[23,24,25,152,27,64,83,7,2227,4503,90,452,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62b4c020881f2a1e771cfb4cf7f1d62f.jpg","纵120.7厘米，横61.5厘米",[35,112],{"id":8070,"slug":8071,"title":8072,"dynasty":60,"author":830,"museum":135,"description":5838,"tags":8073,"thumbUrl":8074,"material":275,"size":276,"collection":52,"collections":8075,"showCount":8076,"zanCount":39,"manualWeight":39,"mainColor":40},290352,"mo-li-zhou-chen-chun-290352","茉莉轴",[24,25,152,7,64,31,569,68,3107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F793322c6fed1aee4c40b46255e95c968.jpg",[],71,{"id":8078,"slug":8079,"title":5011,"dynasty":18,"author":5036,"museum":135,"description":8080,"tags":8081,"thumbUrl":8082,"material":275,"size":276,"collection":52,"collections":8083,"showCount":8076,"zanCount":39,"manualWeight":39,"mainColor":159},288499,"mei-hua-tu-li-zhou-wang-shi-shen-288499","汪士慎（1686—1759）清代著名画家，书法家。字近人，号巢林、溪东外史等，汉族，安徽休宁人，寓居扬州。\n工分隶，善画梅，神腴气清，墨淡趣足。暮年一目失明，仍能为人作书画，自刻一印云：“尚留一目看梅花”，后来，双目俱瞽，但仍挥写，署款“心观”二字。有《巢林集》。与罗聘、李方膺、李鱓、金农、黄慎、高翔和郑燮并称”扬州八怪“。",[23,24,25,106,152,64,7,436,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce92462c168f27ae0eaae5b49de4644d.jpg",[],{"id":8085,"slug":8086,"title":8087,"dynasty":60,"author":196,"museum":135,"description":8088,"tags":8089,"thumbUrl":8090,"material":275,"size":276,"collection":52,"collections":8091,"showCount":8076,"zanCount":39,"manualWeight":39,"mainColor":159},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。",[23,24,25,7,27,83,29,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70b8a85c99b2cd00f3ec6e578572fb29.jpg",[],{"id":8093,"slug":8094,"title":8095,"dynasty":18,"author":196,"museum":135,"description":8096,"tags":8097,"thumbUrl":8102,"material":275,"size":276,"collection":52,"collections":8103,"showCount":8076,"zanCount":800,"manualWeight":39,"mainColor":159},281507,"dong-yang-duan-xiu-song-he-bi-yi-yi-ming-281507","东洋缎绣松鹤壁衣","清王朝时段推行剃发易服，顺治九年（1652），钦定《服色肩舆条例》颁行，从此废除了明朝的冠冕、礼服以及汉族的一切服饰，但满族服饰同时吸收了明朝服饰的纹理图案。明代男子一律蓄发挽髻，着宽松衣，穿长统袜、浅面鞋；清时则剃发留辫，辫垂脑后，穿瘦削的马蹄袖箭衣、紧袜、深统靴。但官民服饰一律泾渭分明。 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陈洪绶生活在晚明时期，朝廷极度腐败，文化方面却呈现出多变而丰富的面貌，陈洪绶是彼时最具强烈个性的艺术巨匠，在绘画的各个题材中均有独特的创造性，并影响中国绘画数百年，流风至今不衰。\n陈洪绶的这件《梨花图》绘于绢本，纵76公分，横26公分，题款：老莲洪绶画。虽未署年款，据陈洪绶传世的其它创作于深柳读书堂的作品及《梨花图》的风格推断，这件作品应创作于十七世纪三十年代中期，那时陈洪绶年龄近四十，绘画技巧已然十分纯熟。画面高低变化，巧妙地丰富了画面的视觉效果。陈洪绶的花鸟画作品，体现了他的精神品位，在构图和造型上都打破了传统样式的束缚，有古拙之趣，造型新颖、拙朴率真，这是在继承传统的基础上显现出的强烈个人风格风貌。其花鸟画表现手法，受宋代院体画风的影响，造型严谨，工笔双钩，设色艳丽，由此汲取艺术精华并发展而来。又受明末大写意花鸟画的影响，用笔洒脱灵动，兼工带写，水墨交融。这件《梨花图》既是画家长期写生锤炼的结晶，也是宋代花鸟画的神韵所在。因陈洪绶花鸟绘画具有高度的装饰性，所以类似《梅花图》这样的题材在当时必定广受欢迎。",[23,24,25,152,83,27,7,720,67,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ed725b25d09198789d5bf2f2832ed81.jpg","76×26 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作品一百六十余件，均来自私家收藏。\n值得强调的是，这些藏品的拥有者本人既是具备一定实力的书画篆刻家，又是活跃在 界的业余鉴赏家。\n本集收录了国内私家收藏的中国近现代著名书画家作品计一百六十余件，包括任伯年、蒲华、吴昌硕、黄宾虹、张大千、马一浮、吴湖帆、弘一、吴茀之、沙孟海、周昌谷、潘天寿、沈尹默、傅抱石、齐白石、江寒汀、程十发、黄胄、陆俨少、陆维钊、启功、朱屺瞻、陈佩秋、唐云等。\n竹石公鸡图轴 钟魁啖鬼图轴 人物故事图四屏 溪堂烟壑图轴 林泉野屋图轴 牡丹湖石图轴 博古菊花图轴 松庐山居图轴 岁朝清供图轴 黄菊寿石图轴 墨竹图轴 博古红梅图轴 行书文稿手卷 天竹水仙图轴 竹石图轴",[23,24,152,27,399,7,8257,518,215,68],"天竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe34ea47443956a65404d4783bc4513f9.jpg",[],{"id":8261,"slug":8262,"title":7,"dynasty":18,"author":237,"museum":135,"description":8263,"tags":8264,"thumbUrl":8265,"material":275,"size":276,"collection":52,"collections":8266,"showCount":8194,"zanCount":800,"manualWeight":39,"mainColor":2031},224162,"hua-niao-hua-yan-224162","华喦（1682-1756），字德嵩，号秋岳、又号新罗山人、新罗生、白砂山人，别号东园生、布衣生、老年自喻“飘篷者”。福建上杭人。华少时酷爱绘画，常替人作山水、花鸟、人物故事画，还在寺堂庙祠画壁画。花鸟画最负盛名，吸收明代陈淳、周之冕、清代恽寿平诸家之长，形成兼工带写的小写意手法。既有大局的的挥洒简逸，又有细节的精微描写，如画禽鸟，能将蓬松的羽毛玲珑剔透地表现出来。敷色鲜嫩不腻，时用枯笔干墨淡彩。这种工写结合、清新俊秀的花鸟画风格，对后世产生了积极影响。",[23,24,25,27,7,65,452,603,215,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8abdb76674bf8f6b4a883e5a267d9d69.jpg",[],{"id":8268,"slug":8269,"title":8270,"dynasty":18,"author":3601,"museum":135,"description":8271,"tags":8272,"thumbUrl":8273,"material":27,"size":52,"collection":35,"collections":8274,"showCount":8194,"zanCount":1398,"manualWeight":39,"mainColor":40},220141,"ling-bo-shui-xian-tu-juan-ren-xun-220141","凌波水仙图卷","任薰（1835年—1893年），字舜琴，又字阜长，其父任椿，兄任熊都是画家。少丧父，从兄学画，青年时在宁波卖画为生，1868年与任颐去苏州，后寓居苏州、上海。任颐、任预均从其习画。人物与其兄同师陈洪绶，常用高古游丝、铁线、行云流水、兰叶几种描法。任薰治学严谨，在写生、临摹上均下了苦功夫。任薰兼工人物、花鸟、山水、肖像、仕女，画法博采众长，面貌多样，富有新意。 与顾文彬子顾承相友善，曾为设计怡园。1888年54岁时双目失明，后病卒于苏州。与任熊、任颐时称“三任”，合任预为“四任”，并为海上画派代表画家之一。",[23,106,24,25,139,82,83,27,7,518,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49729d30e7c1b1754794c5ec8a67dee3.jpg",[35],{"id":8276,"slug":8277,"title":8278,"dynasty":195,"author":196,"museum":79,"description":8279,"tags":8280,"thumbUrl":8281,"material":109,"size":52,"collection":35,"collections":8282,"showCount":8194,"zanCount":678,"manualWeight":39,"mainColor":40},218710,"shan-cha-su-niao-tu-yi-ming-218710","山茶宿鸟图","山茶敷彩浓淡相衔，花瓣层叠如染，露蕊轻绽似噙晨露；宿鸟羽纹细缜若织，绒羽软润可触，敛翅栖枝时，眸光凝定，恍与花叶私语。枝叶晕染自然，脉络隐现，墨青交织间衬得花红鸟俏。方寸小品藏天地，写实中蕴诗意：宋画的精微与雅致尽在笔端。静赏时，似闻花叶轻颤，觉鸟羽微动，古典的温润与生机漫溢开来，于清寂里见鲜活，于雅致中藏野趣，尽显宋人观物之细、写意之深。",[23,106,24,25,661,83,27,7,320,65,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F659d3355cd9776da0b6336002c2c162d.jpg",[35],{"id":8284,"slug":8285,"title":8286,"dynasty":119,"author":196,"museum":8287,"description":8288,"tags":8289,"thumbUrl":8291,"material":109,"size":8292,"collection":786,"collections":8293,"showCount":8194,"zanCount":1398,"manualWeight":39,"mainColor":159},218218,"cang-ying-wu-zhu-tu-yi-ming-218218","苍鹰梧竹图","山东省博物馆","苍鹰梧竹图是元朝时期的一幅著名图画，作者不详。这幅画描绘了一只苍鹰和一根梧竹之间的关系。苍鹰是一种大型鸟类，通常被认为是捕食者，而梧竹则是一种常见的树种。在这幅画中，苍鹰似乎正在用它的爪子抓住梧竹。",[24,106,25,83,27,7,167,8290,1951,1822],"苍鹰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca78eed227b0a78bb43d1239104ae986.jpg","146x93cm",[786,35],{"id":8295,"slug":8296,"title":8297,"dynasty":119,"author":3663,"museum":79,"description":8298,"tags":8299,"thumbUrl":8302,"material":109,"size":8303,"collection":35,"collections":8304,"showCount":8194,"zanCount":39,"manualWeight":39,"mainColor":159},216949,"han-jiang-lu-yan-zhou-wang-yuan-216949","寒江芦雁轴","此帧绘水滨双雁，一延颈啄啮芦根，一半合其目而休憩。毛羽丰润，神态生动。芦苇三两茎衬托其后，复有残荷几叶，益增萧瑟意境。",[24,152,83,27,7,3563,1855,8300,8301,215],"大雁","寒江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde012ecdad844b3e749ba9f388e9437d.jpg","149.7x62.7公分、全幅 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诗草》，仅二十六首，多数散见于画上。",[23,24,25,152,27,7,518,107,29,399,2185,4778],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff472fcd233211bf609eb0bda41e43b4d.jpg","纵162.5厘米，横43.1厘米",[35,112],{"id":8444,"slug":8445,"title":8446,"dynasty":60,"author":8447,"museum":79,"description":8448,"tags":8449,"thumbUrl":8450,"material":33,"size":8451,"collection":112,"collections":8452,"showCount":8405,"zanCount":1398,"manualWeight":39,"mainColor":40},219404,"tian-zhong-de-xi-tu-yuan-shang-tong-219404","天中得喜图","袁尚统","枝头双鹊姿态鲜活，一俯身啄食朱红花朵间的嫩蕊，一昂首展翼似欲鸣啭，墨笔勾勒的羽翼层次分明，黑羽亮泽如缎。老干虬曲盘结，枝桠以劲挺笔触写出，点缀的朱红花朵艳而不妖；下方山石用泼墨点染，兼以皴擦，纹理朴拙厚重，坡地细草丛生，野趣横生。整幅笔墨工写结合，花鸟与山石相映成趣，既得自然生机之妙，又暗蕴欢愉吉庆之意，于简洁构图中传递出恬淡雅致的文人意趣，观之令人心生愉悦。",[24,106,25,27,64,7,167,1951,186,436,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87b8856c5e913470ad4bb1b74dcea90b.jpg","123.1x60.7厘米",[112],{"id":8454,"slug":8455,"title":8456,"dynasty":18,"author":8457,"museum":135,"description":8458,"tags":8459,"thumbUrl":8460,"material":275,"size":276,"collection":52,"collections":8461,"showCount":8462,"zanCount":1398,"manualWeight":39,"mainColor":40},289744,"lin-zhang-wei-hua-guo-yu-niao-ce-yue-xia-li-hua-li-bing-de-289744","临张伟花果鱼鸟册-月下梨花","李秉德","李秉德，字蕙纫，号涪江，龙池山人，祖籍四川遂宁，系明末清初语言学家李实后裔、榜眼李仙根族人，与大诗人书画家张船山有交往。居吴县，乾隆皇帝南巡时，以诸生进献图册，随后进入宫廷供职，工花卉、翎毛，供奉内廷。",[24,26,7,83,27,720,5549,2730,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5068da5716562c206c17a9566b67a208.jpg",[],67,{"id":8464,"slug":8465,"title":1496,"dynasty":195,"author":766,"museum":251,"description":8466,"tags":8467,"thumbUrl":8469,"material":1595,"size":8470,"collection":52,"collections":8471,"showCount":8462,"zanCount":800,"manualWeight":39,"mainColor":159},233847,"hua-lan-tu-li-song-233847","竹篮编织精巧，里面放满了各色鲜花，有秋葵、栀子、百合、广玉兰、石榴等，小小的花篮折射出繁花似锦的大自然——美丽、多样、蓬勃、朝气，让人看了之后感到十分亲切，画家对自然、生命的热爱和关注亦油然绢上。画幅虽然不大，但是描绘细腻具体，线条富有表现力，敷色艳丽雅致，构图稳定饱满。\n据款识可知，这是南宋著名的画院画家李嵩的手笔，小中见大，果然不同凡响。",[106,24,83,27,7,1499,424,985,516,8468,570,29],"广玉兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72d4488497749a0020d882308571fa47.jpg","纵19.1厘米，横26.5厘米",[],{"id":8473,"slug":8474,"title":8475,"dynasty":18,"author":381,"museum":135,"description":8476,"tags":8477,"thumbUrl":8478,"material":52,"size":52,"collection":52,"collections":8479,"showCount":8462,"zanCount":39,"manualWeight":39,"mainColor":40},230124,"hua-hui-shi-er-kai-ren-yi-230124","花卉十二开","此作用淡墨晕染湖石，兼以浓墨勾皴纹理，苍润朴拙，自带沉静古雅之气。右上方艳红浆果攒簇饱满，似燃着点点丹砂，浓墨枝叶分映阴阳，层次宛然，红果墨叶相互衬映，明丽又不失清雅。\n画面兼工带写，花果鲜妍生动，湖石苍劲静穆，一动一静相映成趣。题字笔意纵逸，与画境相融，将文人写意的隽秀风骨与秋实的鲜活生机揉合一处，寥寥数笔便尽显雅致意趣，堪称小品佳作。",[24,27,7,186,29,399,25,106,64,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28cad6736c0bce09b9ac3ea758c58ce7.jpg",[],{"id":8481,"slug":8482,"title":8483,"dynasty":60,"author":4655,"museum":818,"description":8484,"tags":8485,"thumbUrl":8486,"material":295,"size":8487,"collection":35,"collections":8488,"showCount":8462,"zanCount":39,"manualWeight":39,"mainColor":159},222446,"mu-niao-tu-lin-liang-222446","木鸟图","林良（约公元1428-1494），字以善，广东广州府南海县扶南堡（今广东佛山市南海区大沥）人，明代著名画家，广东绘画史上第一个进入主流性行列的画家。\n史料记载“林良吕纪，天下无比”，他因善画而被荐入宫廷，授工部营缮所丞，后任锦衣卫指挥、镇抚，值仁智殿。绘画取材多为雄健壮阔或天趣盎然的自然物象，笔法简练而准确，写意而形具\n林良是明代院体花鸟画的代表人物，也是明代水墨写意画派的开创者，在明代院体画中独树一帜，对后世画坛，包括宫廷画家、职业画家、文人画家均产生重大的影响。\n明初洪武至弘治的百余年内， 占据画坛主位的是皇家画院的宫廷绘画。时代特色和风格成型主要体现在宣德、成化、弘治三朝。尤其是花鸟画， 突破“院体”程式，出现了工笔重彩、水墨写意、设色没骨等多种风格， 并有所创新。其中水墨写意的开派人物便是林良。\n他创作的“文人画化”的水墨写意花鸟画，使明代“院体”花鸟出现了新的生机。虽然在明之前也有水墨写意花鸟，但仍以勾染为主流形式，而且宋“院体”花鸟在元代仍保持着很大的影响力。\n明代的水墨写意花鸟画， 由林良开派， 以后耕耘其间者接踵而至， 如沈周、陈淳、徐渭等， 一步步将写意法推向臻境，并成为明代花鸟画最流行和最富成就的一种形式， 终汇就明清泱泱大观的写意花鸟画风。林良无疑起了先导作用。他在花鸟画的发展史上， 是不可或缺的重要人物。",[23,24,64,399,7,65,452],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a952a0aa9c1a5088e4461d5982c15c7.jpg","30.3×31.3",[35,734],{"id":8490,"slug":8491,"title":8492,"dynasty":60,"author":1261,"museum":79,"description":8493,"tags":8494,"thumbUrl":8495,"material":699,"size":8496,"collection":786,"collections":8497,"showCount":8462,"zanCount":39,"manualWeight":39,"mainColor":159},222414,"hua-zhu-an-chun-zhou-zhou-zhi-mian-222414","花竹鹌鹑轴","绘雨后竹子越发翠绿，紫色的喇叭花缠绕其上，湖石下一对鹌鹑正观景觅食。画顶端有范允临题：雨过竹色明，风恬鸟声乐。睡起北窗凉，斜阳在高阁。周之冕，字服卿，明代画家，擅花鸟，所绘鸟禽栩栩如生。",[23,24,25,152,7,27,83,185,3676,291,214,215,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F877ec000da3e80bb4d127ada41a2f4e7.jpg","111.7x29.7",[786,734],{"id":8499,"slug":8500,"title":8501,"dynasty":195,"author":841,"museum":2855,"description":8502,"tags":8503,"thumbUrl":8505,"material":109,"size":8506,"collection":35,"collections":8507,"showCount":8462,"zanCount":39,"manualWeight":39,"mainColor":40},219084,"can-he-yuan-yang-tu-ma-lin-219084","残荷鸳鸯图","图为荷塘岸边枯萎的荷花，两朵荷花干枯，细杆上隐约可见一层薄薄的雪花，似弯折折断； 一对鸳鸯站在岸边，羽毛鲜艳，身体匀称，一副低头的样子，似乎在寻找食物。",[106,24,25,661,27,83,467,8504,1110,65,7,186,68],"残荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8148e5c307f646b726f878e7dad3e86.jpg","25.4x24.4cm",[35],{"id":8509,"slug":8510,"title":8511,"dynasty":18,"author":5445,"museum":79,"description":8512,"tags":8513,"thumbUrl":8514,"material":33,"size":8515,"collection":35,"collections":8516,"showCount":8462,"zanCount":39,"manualWeight":39,"mainColor":40},218810,"e-mo-niao-tu-yang-da-zhang-218810","额摩鸟图","画面中两只额摩鸟姿态悠然，昂首者似欲引吭，俯身者若寻幽草。翎羽纤毫毕现，颈间蓝红绒羽如霞披覆，肌理质感细腻入微。旁侧牡丹姹紫、玉兰皎洁，枝桠间燕语呢喃，石畔小雀啄食，生机盎然。青绿山石晕染温润，皴擦有致，与禽鸟花木相映成趣。上下题跋为御制诗文，笔墨苍劲，典重之气扑面而来。整幅画作工写兼备，设色妍丽却不失清雅，奇禽异卉共构一堂，既有自然生趣，亦含皇家苑囿的雍容气象，堪称清代宫廷花鸟走兽画的精品之作。",[106,24,25,152,83,27,7,65,107,168,90,31,68,167,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe680768fee9dc27723523539b928bca7.jpg","149.8x101cm",[35],{"id":8518,"slug":8519,"title":1910,"dynasty":18,"author":19,"museum":135,"description":272,"tags":8520,"thumbUrl":8521,"material":275,"size":276,"collection":52,"collections":8522,"showCount":8523,"zanCount":39,"manualWeight":39,"mainColor":40},290532,"ying-su-yun-shou-ping-290532",[24,26,7,83,27,1910,31,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb09b483d6b1aafd58666bcab7fadd694.jpg",[],66,{"id":8525,"slug":8526,"title":8527,"dynasty":119,"author":196,"museum":135,"description":8528,"tags":8529,"thumbUrl":8530,"material":275,"size":276,"collection":52,"collections":8531,"showCount":8523,"zanCount":39,"manualWeight":39,"mainColor":159},290062,"tao-hua-yuan-die-tu-yi-ming-290062","桃花猿蝶图","此作以折枝桃花铺陈画面，柔枝缀满盛放繁花，花瓣晕染细腻，枝叶舒展含露，尽显春日夭桃的娇妍柔媚。猿猴掩映于花枝间，仅露半身与修长猿臂，探伸的姿态暗含灵动憨趣，将猿的机警野态藏在烂漫花影里，动静相生，暗合山林幽趣。\n\n古旧绢色晕染出沉静古朴的基调，清雅敷色衬得花猿愈发生动，以尺幅小景框住林泉一角的生机，尽显幽闲野逸的文人情致，将雅致意趣藏于方寸之间。",[661,24,106,83,27,123,6403,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e287e8609db02fcf1f553464e2db193.jpg",[],{"id":8533,"slug":8534,"title":8535,"dynasty":195,"author":8536,"museum":135,"description":8537,"tags":8538,"thumbUrl":8541,"material":275,"size":276,"collection":52,"collections":8542,"showCount":8523,"zanCount":39,"manualWeight":39,"mainColor":159},288976,"tai-ye-he-feng-tu-feng-da-you-288976","太液荷风图","冯大有","南宋画家，生卒年不详，是南宋吴门（今江苏苏州）人。他自号怡斋，画史记载他善于捕捉莲花风、晴、老、嫩不同的面貌，可说是画莲的能手。",[661,24,106,83,27,8539,7,49,50,167,8540],"青绿","微风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feffd42f9cf8108f6afa83f0ebe8d2397.jpg",[],{"id":8544,"slug":8545,"title":8546,"dynasty":18,"author":8547,"museum":135,"description":8548,"tags":8549,"thumbUrl":8550,"material":275,"size":276,"collection":52,"collections":8551,"showCount":8523,"zanCount":5,"manualWeight":39,"mainColor":159},288240,"hu-die-cao-chong-tu-ce-wu-shu-lan-288240","蝴蝶草虫图册","吴淑兰","此作以工细笔触写蝶，三只彩蝶神态迥然，或振翅欲举，或悠然憩立，翅脉纹路纤毫毕现，晕染出蝶翼绒光与斑斓色泽，写实中带着雅致意趣。淡绿细笔绘出丛生细草，线条柔韧舒展，似有微风拂过，将草叶轻曳之态尽显，衬得蝶影愈发灵动。\n\n左侧题款笔墨清隽，朱红印信点缀留白，融书画印为一体，文气盎然。古旧纸色晕开岁月温润质感，将草间蝶戏的幽谧小景，晕染出冲淡平和的古典意韵，尽显细腻情思与娴静审美。",[24,26,27,83,7,214,455,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc3ca5528649c3da0dbdb34e16762f0c.jpg",[],{"id":8553,"slug":8554,"title":8555,"dynasty":18,"author":1209,"museum":135,"description":1508,"tags":8556,"thumbUrl":8557,"material":275,"size":276,"collection":52,"collections":8558,"showCount":8523,"zanCount":1398,"manualWeight":39,"mainColor":40},239521,"yu-tang-fu-gui-zhou-wu-chang-shuo-239521","玉堂富贵轴",[24,7,399,64,27,107,67,228,631,31,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c73ad8ff25daf55e25f22d50c25068f.jpg",[],{"id":8560,"slug":8561,"title":8562,"dynasty":18,"author":1209,"museum":135,"description":1508,"tags":8563,"thumbUrl":8565,"material":275,"size":276,"collection":52,"collections":8566,"showCount":8523,"zanCount":800,"manualWeight":39,"mainColor":40},237972,"pu-cao-bai-lian-tu-zhou-wu-chang-shuo-237972","蒲草白莲图轴",[24,25,152,64,27,7,49,8564,399],"蒲草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05376873ccbbd59e9bd5afd64a6a3a2e.jpg",[],{"id":8568,"slug":8569,"title":8570,"dynasty":18,"author":5036,"museum":251,"description":8571,"tags":8572,"thumbUrl":8573,"material":1041,"size":8574,"collection":35,"collections":8575,"showCount":8523,"zanCount":1398,"manualWeight":39,"mainColor":40},237637,"mei-hua-lan-shi-tu-zhou-wang-shi-shen-237637","梅花兰石图轴","款署：“庚戌仲秋近人慎写于寿萱堂中。”钤“士慎”白文印。鉴藏印有：“白门李氏珍藏”朱文印。\n“庚戌”为清雍正八年（1730年），作者时年45岁，正是其艺术日臻成熟期。\n图绘春风中兰叶翻飞、梅花初绽的景致。拳石、梅树和丛兰以豪放的笔墨一挥而就，淋漓酣畅的墨气与梅兰旺盛勃发的生命力相符相合。梅花以工细的线条勾勒，俏丽的花姿显现出梅树清幽典雅的风韵和“空里疏香”的诗意。",[24,25,152,64,7,436,254,186,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff48e794336aa1087c4c94cc1fc7e8274.jpg","纵138.4厘米，横44.4厘米",[35,734],{"id":8577,"slug":8578,"title":3224,"dynasty":18,"author":8579,"museum":135,"description":8580,"tags":8581,"thumbUrl":8582,"material":52,"size":52,"collection":52,"collections":8583,"showCount":8523,"zanCount":1398,"manualWeight":39,"mainColor":159},230112,"hua-niao-tu-ce-wu-zhang-230112","吴璋","此作为绢本工笔小景，设色温婉雅致。石榴枝桠斜斜舒展，丹红榴花灼灼盛放，饱满的石榴绽裂果皮，紫实累累，尽显秋日生机。\n\n两只麻雀栖于细枝，一只侧目远眺，一只垂首理羽，羽色晕染细腻，绒毛细毫毕现，将禽鸟娇憨灵动之态尽数描摹。叶片的阴阳向背晕染得体，线条秀逸柔和，写实之中暗含清逸雅致的意趣，将果熟禽闲的静谧小景刻画鲜活，于方寸间尽显工笔花鸟的精巧匠心，带着悠然恬淡的闲趣韵味。",[106,24,25,83,27,3326,7,570,65,2768,2168,67,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9458be09e16cb478d2d52da2905a209b.jpg",[],{"id":8585,"slug":8586,"title":8587,"dynasty":18,"author":1475,"museum":135,"description":8588,"tags":8589,"thumbUrl":8590,"material":52,"size":52,"collection":52,"collections":8591,"showCount":8523,"zanCount":1398,"manualWeight":39,"mainColor":40},224365,"hua-hui-si-ping-zhi-san-ju-lian-224365","花卉四屏之三","此作工写兼施，绣球花团绵密莹润，以淡粉晕染花心，留白衬出白花皎洁质感，叶片勾勒细致，墨色分阶尽显苍润鲜活。奇崛湖石瘦透灵动，皴擦出嶙峋肌理，石窍映出枝叶倒影，苔藓点染更添古意。数只蛱蝶翅脉纤毫毕现，彩翼翩跹于花间，动静相映，将庭院清景的悠然意趣铺陈开来。设色明秀雅致，笔触细腻鲜活，尽显温婉灵秀的岭南花鸟意韵。",[23,24,25,7,83,27,214,4191,186,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc79105dd7b28ebc24bc0563f7f6307bb.jpg",[],{"id":8593,"slug":8594,"title":8595,"dynasty":195,"author":196,"museum":1387,"description":8596,"tags":8597,"thumbUrl":8598,"material":1595,"size":8599,"collection":52,"collections":8600,"showCount":8523,"zanCount":800,"manualWeight":39,"mainColor":40},223515,"tao-zhi-qi-que-tu-ye-yi-ming-223515","桃枝栖雀图页","画梅枝瘦劲，枝上疏梅秀蕊，一只雀儿俏立枝头，与清丽的梅花相映成趣。精致的用笔，温润的设色，出栖雀之神韵，画者勾勒出羽毛绒的质感、蓬松感，更是以之营造出在细梅枝上显得庞大和沉重之感。",[23,106,24,25,83,27,7,4648,3246,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F449db5fc0ae5e5c7c95ecc9b5c14f169.jpg","34x35",[],{"id":8602,"slug":8603,"title":8604,"dynasty":18,"author":793,"museum":79,"description":794,"tags":8605,"thumbUrl":8607,"material":27,"size":797,"collection":52,"collections":8608,"showCount":8523,"zanCount":39,"manualWeight":39,"mainColor":40},222750,"xian-e-chang-chun-tu-06b-lang-shi-ning-222750","仙萼长春图-06b",[23,24,106,25,83,27,185,65,8606,7],"牵牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2072284800f9c10e4b682f3d12b26bf.jpg",[],{"id":8610,"slug":8611,"title":8340,"dynasty":195,"author":8612,"museum":818,"description":8613,"tags":8614,"thumbUrl":8615,"material":8616,"size":8617,"collection":202,"collections":8618,"showCount":8523,"zanCount":1398,"manualWeight":39,"mainColor":159},221669,"zhu-ji-tu-zhou-luo-chuang-221669","萝窗","本画描绘的是五更（凌晨四时）之时，在未明的幽暗中的身兼文、武、勇、仁、信五德的家鸡的形象。不过，鸡的形象仿佛一位在五更时分大彻大悟的禅僧。浅野家旧藏。",[23,24,106,152,27,83,7,185,1416,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2020ebfe9cf8bf048ae9e63dc5de2973.jpg","绢本，墨画","纵96.3cm 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(公元11世纪)〔北宋〕江南人，生卒年不详。画院待诏，为熙宁(1068-1077)前画院高手，工画花竹、翎毛，《宣和画谱》称：“下笔有法，颇得生意。又工为鹦鹉及狮、猫等，非山林草野之所能，不唯责形象之似，亦兼取其富贵态度，自是一格，苟不能焉，终不到也。”重视写生，观察入微，用笔工整，设色绚丽，神态逼肖，形神兼备，笔力精劲，具有宋代院体画特点，作品流传甚少。《宣和画谱》著录御府藏其《绣墩狮猫图》一幅。传世作品有《子母鸡图》册页，纸本，设色，纵42.2厘米，横32.3厘米，描绘一只母鸡携群雏作啄饲状之情景，以形写神，构思巧妙，藏露倚侧，曲尽其妙，笔墨简练，韵格清新，耐人寻味。画面钤有元代顾德辉“金粟道人”、明代“侯懋功印”、清代“宣统御览之宝”和“锡山谈氏珍藏”等收藏印5枚。此图原为清宫旧藏，是故宫《集古图集》册页之一帧，《石渠宝笈初编》著录，现藏台北故宫博物院。",[23,106,24,25,7,83,27,6308,8056],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c311c2ad6d882cfc576c77d301c9e91.jpg","纵42.2厘米，横32.3厘米",[35,112],{"id":8630,"slug":8631,"title":8632,"dynasty":18,"author":8633,"museum":79,"description":8634,"tags":8635,"thumbUrl":8637,"material":109,"size":8638,"collection":35,"collections":8639,"showCount":8523,"zanCount":1398,"manualWeight":39,"mainColor":40},219447,"qiu-cheng-sheng-zhi-zhou-chen-shu-qiu-219447","秋塍生植轴","陈书秋","秋草葳蕤间，秀穗垂曳似携风露。蜻蜓振翅掠叶，粉翅沾着晓光；彩蝶翩跹，翅间星斑如缀墨玉；蚂蚱或伏或跃，肢足纤毫毕现。近坡双鹌相倚，一者低头啄虫，羽纹细腻如织，另一侧首凝睇，眸含憨态。细菊绽蕊淡香似溢，红果点翠添秋温润。笔墨工细却不板滞，生灵姿态鲜活，草木纹理清晰，藏着对自然的深情。静中有动，恬淡里透着蓬勃生机，仿佛能听见虫鸣唧唧，风拂草叶轻响，将秋日田园意趣尽揽其中。",[24,25,152,83,27,68,7,242,455,3676,214,292,8636,517,808],"蚂蚱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75a0fe93ad5cc02980e9601cf4c1e288.jpg","100.1x29.2",[35],{"id":8641,"slug":8642,"title":8643,"dynasty":18,"author":4011,"museum":79,"description":8644,"tags":8645,"thumbUrl":8646,"material":27,"size":8647,"collection":112,"collections":8648,"showCount":8523,"zanCount":1398,"manualWeight":39,"mainColor":40},219295,"xin-nian-da-ji-tu-chen-shu-219295","新年大吉图","陈舒，字原舒，生卒年待考。浙江嘉善人，一作江苏华亭（今上海市）人，侨居江宁（今南京市）。顺治六年（1649）进士，善画花鸟草虫，着有《道山遗稿》。辛夷花下立一雄鸡，目光专注凝视鲶鱼。以辛夷搭配鲶鱼、公鸡，取「辛」「鲶」「鸡」的谐音，有「新年大吉」的寓意，为年节应景画作。构图似未经意，但立意新颖，设色亦饶有文人气息。",[24,25,152,27,64,7,1416,357,29,5345],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42a4e4216ee659fdfed338418acbd5e2.jpg","99x40",[112],{"id":8650,"slug":8651,"title":8652,"dynasty":195,"author":5001,"museum":45,"description":8653,"tags":8654,"thumbUrl":8656,"material":109,"size":52,"collection":35,"collections":8657,"showCount":8523,"zanCount":800,"manualWeight":39,"mainColor":159},218972,"yan-zi-xi-he-tu-li-an-zhong-218972","燕子戏禾图","这幅画描绘了三个方向的三株小米，果实成熟并压弯了茎秆，两只燕子站在茎秆上，一只向下啄食，另一只盯着上方。",[23,24,106,25,661,83,27,7,167,8655],"禾穗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b85eaf5c3080c2ada2253abb4a55fe9.jpg",[35],{"id":8659,"slug":8660,"title":1544,"dynasty":195,"author":196,"museum":45,"description":8661,"tags":8662,"thumbUrl":8663,"material":109,"size":52,"collection":35,"collections":8664,"showCount":8523,"zanCount":39,"manualWeight":39,"mainColor":159},218886,"fu-rong-jin-ji-tu-yi-ming-218886","画面中锦鸡昂首立于石巅，羽色斑斓绚丽，红腹如霞，彩尾曳地，每片翎羽的纹理皆细致入微，尽显灵动之态。上方芙蓉花繁盛绽放，粉瓣凝露，绿叶婆娑，藤蔓缠绕间透着盎然生机。石下小禽啄食，姿态憨趣，与锦鸡的雍容相映成趣。山石皴染古朴厚重，草木点缀清雅自然，构图疏密有致，动静相宜。笔墨细腻处见工致，设色淡雅中含艳丽，既彰显宋代花鸟画的写实功力，又于细节间流露对自然生灵的细腻观察与喜爱，仿佛能闻花叶清香，听禽鸟轻啼，一派静谧鲜活的田园意趣跃然绢上。",[106,24,25,661,27,83,7,291,673,90,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb635e3caa4d97317fda4cdd78b12a00.jpg",[35],{"id":8666,"slug":8667,"title":8668,"dynasty":119,"author":8669,"museum":79,"description":8670,"tags":8671,"thumbUrl":8672,"material":33,"size":8673,"collection":35,"collections":8674,"showCount":8523,"zanCount":1398,"manualWeight":39,"mainColor":40},218824,"gu-mu-shuang-jiu-tu-xie-tian-you-218824","古木双鸠图","谢天游","画面中双鸠栖于古木枝上，一鸟垂首理羽，一鸟侧颈凝睇，姿态憨然生动。鸠鸟羽色温润，墨线勾勒间晕染淡赭，颈间星斑点缀，细腻传神。古木枝干虬曲，以枯笔皴擦出苍劲质感，枝梢苔点稀疏，尽显古意。背景以淡墨轻染，留白处衬出空濛之境，与禽鸟的鲜活形成呼应。整幅画作笔墨简淡却意韵悠长，清雅中见生机，尽显文人画的疏朗雅致，仿佛能闻林间风息，静赏自然之趣。",[24,25,83,27,7,1951,65,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cf06d60a26483cd36712d9a4fa48bc3.jpg","43.7x29.7cm",[35],{"id":8676,"slug":8677,"title":8678,"dynasty":195,"author":8679,"museum":45,"description":8680,"tags":8681,"thumbUrl":8682,"material":109,"size":52,"collection":35,"collections":8683,"showCount":8523,"zanCount":5,"manualWeight":39,"mainColor":525},218764,"shuang-yuan-tu-zhang-mao-218764","双鸳图","张茂","水面漾着浅淡的光，双鸳相偎游弋，羽毛层叠细腻，似裹着一层暖光。岸畔芦苇以墨笔勾勒，线条纤细却带韧劲，穗子轻垂如思。空中几只小虫轻点，无意的点缀让静谧画面多了几分生机。淡墨晕染的水面留白见空灵，设色清雅，笔墨细腻却不繁缛。宋代小品的雅致与野趣在此交融，方寸间藏着天地的幽寂与温柔，观之如临清池畔，草木清香似漫入鼻息，心境也随之沉静下来。",[23,24,83,27,7,1110,1855,661],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88ff28d4596fe6aaf49cf909a424ef3d.jpg",[35],{"id":8685,"slug":8686,"title":8687,"dynasty":195,"author":7890,"museum":135,"description":8688,"tags":8689,"thumbUrl":8690,"material":109,"size":8691,"collection":52,"collections":8692,"showCount":8523,"zanCount":39,"manualWeight":39,"mainColor":159},218539,"san-bai-tu-wang-shen-218539","三百图","画面以沉雅棕褐为底，似铺展古绢时光笺。雪点轻撒如碎玉缀空，晕开清寒气息。前景芦苇墨色苍劲，叶片舒展藏野趣；一只禽鸟身姿翩然，翎羽层叠如霜染，长颈婉转若流云，红喙微探似欲触苇尖，动态中含温柔试探。上方小禽振翅而来，羽翼带起的风仿佛拂过绢面，与下方生灵呼应成趣。细腻笔触勾勒羽毛纹理，设色淡雅却见神采，将冬日自然生灵的灵动与静谧，凝作绢上一段诗意栖居。",[24,106,25,83,27,167,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e6e759476040f4987d497b5d4e70f68.jpg","147x79",[],{"id":8694,"slug":8695,"title":8696,"dynasty":18,"author":5036,"museum":20,"description":8697,"tags":8698,"thumbUrl":8699,"material":534,"size":8700,"collection":52,"collections":8701,"showC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干来切割画面，并以成弧形交叉的竹棘增加动态感，布局虽繁密，但不零乱。画家成功将画面物象和布局理想化，创造出一种超乎时空，传达永恒的完美意象。画中的主要物象，均以双钩填彩的方式，生动的描绘出对象的色彩与体积感，给人一种平和，端庄之美。",[23,24,106,25,152,83,27,7,436,185,65,186,1951],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a2d45af35b0ff1f7bbe09b1b8528922.jpg","258.4x108.4",[202,35,112],{"id":9016,"slug":9017,"title":3095,"dynasty":60,"author":4655,"museum":20,"description":9018,"tags":9019,"thumbUrl":9020,"material":27,"size":9021,"collection":35,"collections":9022,"showCount":8955,"zanCount":1398,"manualWeight":39,"mainColor":40},222448,"hua-niao-tu-zhou-lin-liang-222448","林良作花鸟画取材十分广泛。他最擅于画禽鸟，从江湖山野的苍鹰、小雀、鱼鸟、芦雁，到宫廷后苑的仙鹤、孔雀、凤凰等等，都一一入画。他对禽鸟作了细致入微的观察，将禽鸟的飞鸣食宿之态，跳攀争斗之势表现得十分准确、生动、传神。林良画的花木同样是生气勃勃：汀芦、灌木、翠枝、枯藤等植物呈现出含苞养秀、荣枯凋落等各种生态，充满野趣和生机。\n林良在花鸟画领域中，最具创造性的是他对水墨写意技法的运用。他把南宋马远、夏圭的水墨山水画技法引入花鸟画之中，打破了工笔与写意的界限，大大丰富了花鸟画的表现方法。而林良的写意，又只是在写实之中略为开放，既不背离形似，又不着意于酷似。他以水墨为主作画，黑白变化多端。萧镃于明景泰六年为林良的《九思图》题曰：“……宣庙间，边景昭五色翎毛称独步，近日林良用水墨，落笔往往皆天趣。”《明画录》则称林良“着色花果翎毛极精巧，取水墨为烟波出没，凫雁嚵唼容与之态，颇见清淡。树木遒劲如草书，人莫能及。”",[23,24,152,64,399,7,65,452,31,569],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a383be487dab662a8b62819082463dd.jpg","36X183cm",[35,734],{"id":9024,"slug":9025,"title":9026,"dynasty":60,"author":9027,"museum":1146,"description":9028,"tags":9029,"thumbUrl":9030,"material":534,"size":9031,"collection":734,"collections":9032,"showCount":8955,"zanCount":39,"manualWeight":39,"mainColor":159},220357,"yue-xia-pu-tao-tu-wang-liang-chen-220357","月下葡萄图","王良臣","王良臣（ 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本幅无款。\n钤印一方，印文模糊不辨。",[23,106,24,25,27,83,467,1963,50,138,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F180dab128ffc6da8aaed986bccf8201c.jpg",[],{"id":9140,"slug":9141,"title":9142,"dynasty":195,"author":196,"museum":251,"description":9143,"tags":9144,"thumbUrl":9145,"material":822,"size":9146,"collection":52,"collections":9147,"showCount":9070,"zanCount":800,"manualWeight":39,"mainColor":159},223584,"wa-que-qi-zhi-tu-ye-yi-ming-223584","瓦雀栖枝图页","此画绘海棠一枝，果实散挂枝头，树叶已染秋霜。\n枝头栖息着姿势各异的五只瓦雀，其中一只正仰首注视着枝叶上的昆虫，张口欲啄，形象生动活泼。\n整个画面张弛有致，设色研丽，刻画写实。\n海棠间杂红、黄、绿色，细看可见叶、果有些已遭虫蚀。\n作者取轻勾淡染之法，以表现秋叶缺乏水分的轻、薄质感。\n鸟的羽毛用细笔一笔一笔勾描，具有毛茸茸的质感。",[23,24,106,25,26,83,27,7,167,5475,452,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F398ac81f47572946b8488c7c3af380e0.jpg","纵28.9厘米横29厘米",[],{"id":9149,"slug":9150,"title":8959,"dynasty":119,"author":9151,"museum":79,"description":9152,"tags":9153,"thumbUrl":9154,"material":822,"size":9155,"collection":734,"collections":9156,"showCount":9070,"zanCount":39,"manualWeight":39,"mainColor":159},221857,"liu-yan-tu-sheng-chang-nian-221857","盛昌年","本幅无作者款识，右侧有“廷晖”残印半方及康有为、王季迁藏印。\n整幅画面构图繁密，洋溢着一派春和景明的气象。\n图中布局兼具高远、深远、平远之法，描绘崇山峻岭，山势高耸入云，山间飞涧流泉，松木葱郁，屋宇台阁精工富丽，人物往来其间。\n山脚下，溪桥潭水，波光如鳞，三两人泛舟赏景。\n杨新撰文认为，胡廷晖是一个画工而非 家。\n画工的创作往往不署自己的名款，有的仅只钤盖个人印章，这是元至明初的习惯。\n吴升《大观录》著录的胡廷晖《月洞仕女图》也未署款，仅押“廷晖印”一方。\n此图与台北故宫所藏《明皇幸蜀图》面貌相似，特别是勾勒下笔较重，悬崖的结构、松树的形态以及云彩的画法等均呈现出胡廷晖的个人风格。\n在色彩上两者都具有相似的绚丽色泽。\n此图保留唐代青绿山水的古法较多，与赵孟頫追求“古意”的画风不同，对于鉴别早期山水画有重要的价值。",[23,24,64,152,7,1333,1334,167,399],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F718470a984f0d650aff4498a17cee84d.jpg","75.9x25.5",[734,1372],{"id":9158,"slug":9159,"title":9160,"dynasty":119,"author":9161,"museum":251,"description":9162,"tags":9163,"thumbUrl":9164,"material":9165,"size":9166,"collection":202,"collections":9167,"showCount":9070,"zanCount":39,"manualWeight":39,"mainColor":159},220842,"you-huang-dai-sheng-tu-juan-zhao-meng-fu-220842","幽篁戴胜图卷","赵孟頫","该图画幽篁细枝，停着一只戴胜鸟，正在返首回望。\n该图笔法工整细致，既有南宋院体画意又自设细染，使画面清雅和谐，构图简洁明快。\n此图画了一只戴胜停伫在一新篁枝上，正返首回望。",[23,24,25,82,27,7,185,167,31,68,569],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F706af52cdeacaaa277655150f946ab40.jpg","纸本 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。",[23,106,24,25,83,27,7,1478,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcaa4997a97e82526f8899902e8a264a.jpg",[],{"id":9202,"slug":9203,"title":147,"dynasty":18,"author":853,"museum":135,"description":9204,"tags":9205,"thumbUrl":9206,"material":52,"size":52,"collection":52,"collections":9207,"showCount":55,"zanCount":39,"manualWeight":39,"mainColor":159},224591,"yu-tang-fu-gui-tu-zou-yi-gui-224591","《玉堂富贵图》是清代邹一桂的作品，该图规格为197×96cm，此图中牡丹、玉兰、海棠、杜鹃，布满全幅，最后还用石青衬底。\n民间常以兰花象征玉堂，牡丹花象征富贵，这两种花卉图借喻玉堂富贵，祝愿职位高升，富裕显贵的意思。\n该图画是邹一桂的作品，作于清代。\n此图中牡丹、玉兰、海棠、杜鹃，布满全幅，最后还用石青衬底。\n汉代皇宫有“玉堂殿”，后世以“玉堂”指翰林院，“历金门，上玉堂有日矣”的意思是职位高升指日可待。\n“富贵”一词出自《论语-颜渊》：“商闻之矣，生死有命，富贵在天。\n”，指富裕而显贵的意思。\n民间常以兰花象征玉堂，牡丹花象征富贵，这两种花卉图借喻玉堂富贵，祝愿职位高升，富裕显贵的意思。\n牡丹敷以淡粉，用重粉点染边缘，显得晶莹剔透、庄重典雅。\n整个画面热烈而秀雅，韵味十足。\n，字小山。\n善画人物、花卉、翎毛、偶画山水。\n擅长水墨花卉，极有重名。",[23,106,24,25,152,83,27,7,107,153,90,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74591eb4de60da169f51849ba65b2284.jpg",[],{"id":9209,"slug":9210,"title":9211,"dynasty":18,"author":1209,"museum":135,"description":9212,"tags":9213,"thumbUrl":9214,"material":295,"size":9215,"collection":35,"collections":9216,"showCount":55,"zanCount":800,"manualWeight":39,"mainColor":40},224236,"xia-qi-tu-zhou-wu-chang-shuo-224236","霞气图轴","昌硕最擅长写意花卉，受徐渭和八大山人影响最大，由于他书法、篆刻功底深厚，他把书法、篆刻的行笔、运刀及章法、体势融入绘画，形成了富有金石味的独特画风。吴昌硕作画用“草篆书”以书法入画；线条功力异常深厚。虽然从状物绘形的角度看其线条的质感似乎不够丰富、切实，但恰恰是舍弃了形的羁绊，吴昌硕的绘画才步入了“意”的厅堂，从而形成了影响近现代中国画坛的直抒胸襟，酣畅淋漓的“大写意”表现形式。",[23,24,152,64,27,7,436,186,68,399],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c20d7acbfac92920da123a70b33adeb.jpg","125x29",[35,112],{"id":9218,"slug":9219,"title":9220,"dynasty":60,"author":4655,"museum":9221,"description":9222,"tags":9223,"thumbUrl":9224,"material":9225,"size":9226,"collection":35,"collections":9227,"showCount":55,"zanCount":39,"manualWeight":39,"mainColor":52},220761,"shuang-ying-tu-lin-liang-220761","双鹰图","香港中文大学文物馆","《双鹰图》轴是林良水墨写意的杰出代表作。该作品应是作者中年时期作品，“院体”画花鸟代表作，没骨画法，工写兼具。构图简洁，着色低沉单一，凸显鹰隼兀立久视之大境界。双鹰上者气宇轩昂，目光如炬，一爪独立于枯枝之上，有傲视苍宇之威；下者挺身缩项，羽翼蓬振，双爪力着于苍岩宕石，目中有物，显欲搏四方之势。双鹰静中有动，动中蓄静，王者风范，鹰击长空。",[23,24,25,64,399,152,7,386,167,1841,186,452],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a39e0bfd96c98a3be0dfa4c6416f5ee.jpg","纸本，水墨设色","130.2 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cm",[35],{"id":9229,"slug":9230,"title":3560,"dynasty":18,"author":7610,"museum":20,"description":9231,"tags":9232,"thumbUrl":9233,"material":534,"size":9234,"collection":35,"collections":9235,"showCount":55,"zanCount":1398,"manualWeight":39,"mainColor":40},218900,"fu-rong-yuan-yang-tu-li-yin-218900","该画以竖构图表现池畔一隅，景致于深阔中见清逸，画的下方，几缕淡淡的游丝线勾出透明的水域，一对鸳鸯仿佛边游边聊着。画的中上部，从画外探进来的芙蓉花占了画面三分之二多，一枝俯垂，一枝上扬，俯仰之间既各得其韵，又彼此呼应；芙蓉花是用白描法淡墨勾勒而成，花朵之间的摆布迎让有序、相辅相成，毫无刻意造作之气，线条使转流畅，给人以运笔迅疾之感；叶子用没骨法点饰，大小、浓淡适宜，层次分明，墨色明透清亮，且叶筋勾勒得劲健挺拔，淡墨写出的几缕蒲草叶点缀其间，与花的团叶互为映衬，又于疏密中见丰富。水面上，两只鸳鸯相拥着游向接近水面的花，大概是雌鸳鸯嗅到了花香发出惊叫，引得雄鸳鸯回头观望，那温柔的神态充满爱意。鸳鸯的造型生动、准确，羽毛勾勒后用淡墨晕染，笔触细腻，墨分五彩，虽未着色却显现出绚丽华滋的富贵之气。纵观全画，作者以构图的疏朗与简括，笔墨的简洁与精劲，营造出花开季节游禽恬淡安闲的状态，进而通过诗画的意境传达出一种浪漫气息。同时，画面的空明与洁静，也体现出作者高超的笔墨功夫。",[24,64,7,152,291,1110,454,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63764a7a72a14f84ca58ebff73c6e3c8.jpg","纵115厘米，横47.3厘米",[35],{"id":9237,"slug":9238,"title":9239,"dynasty":18,"author":530,"museum":135,"description":1352,"tags":9240,"thumbUrl":9242,"material":275,"size":276,"collection":52,"collections":9243,"showCount":9244,"zanCount":39,"manualWeight":39,"mainColor":40},283628,"mu-gua-tu-ye-zhu-da-283628","木瓜图页",[24,7,27,64,9241,68],"木瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa77c387388d496516ea355d516ace384.jpg",[],59,{"id":9246,"slug":9247,"title":5829,"dynasty":18,"author":9248,"museum":135,"description":9249,"tags":9250,"thumbUrl":9251,"material":52,"size":52,"collection":35,"collections":9252,"showCount":9244,"zanCount":39,"manualWeight":39,"mainColor":40},237457,"mu-dan-zhou-zhang-meng-gao-237457","张孟皋","张孟皋，一字梦皋，名学广，以字行，工画人物，翎毛、花卉、尤工折枝。道光时官钱塘典史。所作元气浑然。 张孟皋之名，盖由近人吴昌硕师事其风而名声振广，吴缶翁师其数十年，题画多见拟仿学、临等。尤如张赐宁等为官江浙者，其作赋色妍丽，用笔洒脱，极得时人珍爱，任伯年亦有题师张孟皋。\n张孟皋是清代嘉道时期的一位花卉画家，画史上介绍很简单，他名学广，字孟皋，以自行。多记载他是天津人，实际应是北平（今北京）大兴人，他在自己的画作上多次题“北平张孟皋”。",[24,152,27,83,7,107,66,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71d14e2a9c338194b64463d0442e5d96.jpg",[35],{"id":9254,"slug":9255,"title":9256,"dynasty":18,"author":196,"museum":135,"description":9257,"tags":9258,"thumbUrl":9262,"material":275,"size":276,"collection":9263,"collections":9264,"showCount":9244,"zanCount":39,"manualWeight":39,"mainColor":159},229703,"guan-yao-fen-cai-teng-luo-hua-niao-hua-pen-yi-ming-229703","官窑 粉彩藤萝花鸟花盆","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。",[5707,9259,9260,27,7,9261,686],"官窑","粉彩","藤萝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04a0e6d27520d27d81d1d456aca2daf6.jpg","瓷器精选",[9263],{"id":9266,"slug":9267,"title":4685,"dynasty":119,"author":120,"museum":135,"description":9268,"tags":9269,"thumbUrl":9273,"material":52,"size":52,"collection":52,"collections":9274,"showCount":9244,"zanCount":39,"manualWeight":39,"mainColor":159},228316,"jin-hui-dui-tu-qian-xuan-228316","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。",[23,24,25,82,83,27,7,242,808,2563,9270,29,214,9271,243,228,9272],"墨迹","杂物","虫蛀痕迹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F413580bf86f0f2f07a385084ba691349.jpg",[],{"id":9276,"slug":9277,"title":9278,"dynasty":60,"author":1661,"museum":79,"description":9279,"tags":9280,"thumbUrl":9281,"material":822,"size":9282,"collection":35,"collections":9283,"showCount":9244,"zanCount":39,"manualWeight":39,"mainColor":159},221939,"chun-hua-san-xi-zhou-bian-wen-jin-221939","春花三喜轴","此图用：正笔重色描绘了竹林中的二只山喜鹊，其背景有怪石及象征春天的大小鲜花，有的正在盛开，有的含苞待放，还有已是枝茂叶繁的新竹及节高挺直指天的竹笋，翠竹鞭笋，间以杜鹃筷廾，红绿相映，这足以表明已是春色的大地，画家把喜鹊置于特定的自然环境中，目看那翠竹上的一红嘴、黑顶、长尾、带白色斑点的灰喜鹊，张口呜叫俯视下面，在坡石上又一对同样漂亮的喜鹊，张开翅膀，相搏于坡石间，翎羽飞动，互以爪握其喙，互相拍打的戏嬉场面，这三喜鸟给画面带来了春天里动、植物生息繁衍的景象：画家向人们展示了自然界中极自然生动的瞬间形象，真实而富有情趣。\n宋代院画往往被后人批评为专求形似，不重神韵。\n其实，并不是每一个院画都是这样，何况绝大多数的院画是以刻划精确、立意高简为目的的。\n边文进便是吸取了这些院画中的养分，开创了自己的花鸟画面目。\n《春花三喜图》就是边景昭花鸟画之一。\n此画笔法工细，竹子以工细的墨色勾勒，再以填色表现。\n雀鸟的羽毛画法更是精细入微，着色艳丽而雅致，特别是长尾部的斑驳翎毛，还有闪闪生辉之态，其二喜鸟之神态栩栩如生。\n图中湖石沉雄，秀竹劲挺而葱郁．鲜花丛簇而生，夺人二目，二喜鹊于平坡之上嬉戏，一仰翻在地，一上前戏啄，上面竹间一喜鹊俯视二鹊．见此情景高声鸣，似在斥责，形神兼备，令人钦佩作者妙笔，而鹊之顽皮则令人莞尔。\n本画笔触细腻，叶以双勾填色法，山石皴染及花乌风格皆可见宋代院体风韵，设色艳丽清新，令人有如沐春风之感。\n边景昭（生卒年不详），字文进，福建沙县人。\n明宣德年间官武英殿待诏，擅画花鸟，笔墨承南宋院体，设色沉着雅丽。\n其子楚芳（一作祥）承父业，占籍锦衣（世袭任职锦衣卫）。",[23,24,25,106,152,83,27,7,185,226,65,186,6173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62f1287edf3b68161f45fac1f2622fc6.jpg","纵165.2，横98.3cm",[35,112],{"id":9285,"slug":9286,"title":9287,"dynasty":60,"author":196,"museum":2855,"description":9288,"tags":9289,"thumbUrl":9290,"material":109,"size":9291,"collection":35,"collections":9292,"showCount":9244,"zanCount":39,"manualWeight":39,"mainColor":159},220340,"chun-jing-hua-niao-tu-yi-ming-220340","春景花鸟图","画面以早春雪景铺陈意境，老梅虬枝盘曲，枝头凝雪，冰萼缀枝。群雀栖于梅梢，灵动啾鸣，破了雪天的清寂。下方奇石覆雪，锦雉静静伫立，翎羽斑斓细腻，身旁细竹轻沾雪色，更衬出禽鸟的安然。角落里山茶吐艳，朱砂色的花萼点亮冷调的底色。\n\n工笔设色晕染柔和精微，禽鸟绒毛的蓬松、古木皲裂的苍劲都刻画入微，清冷雪景与暖调花色禽羽相映，将冬寒未褪、春意初萌的幽澹野趣尽藏其中，尽显雅致静穆又生意暗涌的格调。",[23,24,106,25,83,27,436,185,90,65,4765,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1068b2760f18f253d69357fe4d36b4c1.jpg","155.2 × 93.3",[35,112],{"id":9294,"slug":9295,"title":9296,"dynasty":60,"author":1261,"museum":79,"description":9297,"tags":9298,"thumbUrl":9301,"material":109,"size":9302,"collection":35,"collections":9303,"showCount":9244,"zanCount":39,"manualWeight":39,"mainColor":159},219319,"qu-ge-jie-shou-tu-zhou-zhi-mian-219319","衢歌介寿图","周之冕(1521-?)，明代画家。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。",[480,9299,24,25,152,845,27,7,29,807,3460,90,9300,1557],"古画","勾花点叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F345b4913e090ae3d73841591489baea3.jpg","138.1×56.7cm",[35],{"id":9305,"slug":9306,"title":9307,"dynasty":60,"author":1864,"museum":79,"description":9308,"tags":9309,"thumbUrl":9310,"material":33,"size":9311,"collection":35,"collections":9312,"showCount":9244,"zanCount":39,"manualWeight":39,"mainColor":40},218847,"shuang-ji-tu-lu-zhi-218847","双鸡图","双鸡相倚石畔，一羽红冠微昂，一羽低首敛翅，毛羽以细笔勾染，晕出柔润光泽。石体干墨皴擦，纹理苍劲，与旁侧舒展的草叶形成刚柔对比。蜻蜓振翅悬于草尖，细足轻点，姿态灵动如真。笔墨间工写交织，设色淡雅却藏生机，题款朱印错落，更添古朴意蕴。整幅画似截取田园一隅，静谧中透着鲜活气息，将寻常物态绘出文人雅趣，尽显笔墨之妙与自然之趣，读之如沐林间清意，心随画境沉于恬淡。",[24,25,152,27,7,1416,186,455,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff28bf2849a86dd45fd3a78edb2b1cdfa.jpg","63.2x31.5cm",[35],{"id":9314,"slug":9315,"title":9316,"dynasty":18,"author":5036,"museum":20,"description":8697,"tags":9317,"thumbUrl":9318,"material":33,"size":8700,"collection":52,"collections":9319,"showCount":9244,"zanCount":39,"manualWeight":39,"mainColor":40},214684,"mei-hua-zhu-shi-tu-ce-5-wang-shi-shen-214684","梅花竹石图册-5",[106,24,25,26,64,399,7,436,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cd56454776405ad098bf1f263dbc09f.jpg",[],{"id":9321,"slug":9322,"title":2340,"dynasty":195,"author":942,"museum":135,"description":9323,"tags":9324,"thumbUrl":9325,"material":275,"size":276,"collection":52,"collections":9326,"showCount":9327,"zanCount":39,"manualWeight":39,"mainColor":40},288325,"yi-yun-xian-xing-tu-ye-ma-yuan-288325","此图只画出从画幅左下角伸出的花枝的一部分，这种局部描写的构图手法，与他的山水画中的“一角”、“半边”处理有相通相似之处。花枝曲折横斜，然后一分枝指向左上，一分枝指向右下。枝条以细笔浓墨钩勒，再施以水墨渲染；枝上层层叠叠盛开的花朵、含苞欲放的花蕾则施以厚重的白粉加淡红，萼片施以紫色。整个花枝既有曲折多变而挺秀的姿态之美，又透露出几分华贵之气。",[24,25,3326,7,83,27,1292,68,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32788a69655290214fe87653a0b2a620.jpg",[],58,{"id":9329,"slug":9330,"title":9331,"dynasty":60,"author":9332,"museum":135,"description":9333,"tags":9334,"thumbUrl":9336,"material":52,"size":52,"collection":35,"collections":9337,"showCount":9327,"zanCount":39,"manualWeight":39,"mainColor":159},236618,"gui-shi-lan-zhi-zhou-chen-can-236618","桂石兰芝轴","陈粲","陈粲名，1524年出生，国籍中国，是 万历间画家，代表作是春景鸳鸯图。\n陈粲名（1524～？）明代万历间画家。\n字长倩，一字兰谷，号雪庵、道光、雪谷子，长洲 （今江苏苏州）人。\n万历间以善花鸟闻名于时。\n传世作品有《春景鸳鸯图》轴，绢本，设色，纵17.4厘米，横82.7厘米，现藏 ；《桂石兰芝图》轴，绢本，设色，纵11.2厘米，横49厘米，藏故宫博物院；万历四十三年(1615)作《兰竹图册》著录于《 》。",[24,25,152,27,83,7,2088,169,5524,254,29,90,9335],"明代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63ab0a3d62a43789402ff3fa5ee685e5.jpg",[35,112],{"id":9339,"slug":9340,"title":2471,"dynasty":195,"author":2472,"museum":135,"description":9341,"tags":9342,"thumbUrl":9346,"material":52,"size":52,"collection":52,"collections":9347,"showCount":9327,"zanCount":39,"manualWeight":39,"mainColor":159},228050,"hua-niao-tu-ye-wang-xiao-228050","此作以柔枝海棠为景，两只白头翁栖于枝上，一昂首啁啾，一侧耳凝望，情态灵动鲜活。花瓣晕染细腻，粉白渐变柔和饱满，枝叶勾勒挺括，敷色雅致温润。禽鸟羽毛丝缕毕现，将绒羽蓬松质感描摹入微，工细笔触尽显精妙。整幅设色清逸柔婉，留白妥帖悠远，搭配题字更添文趣，将春日花鸟的缱绻生机定格绢上，清雅静谧里藏着灵动意趣，尽显雅致细腻的古典审美意趣。",[23,24,25,106,83,27,7,662,9343,614,9344,9345],"白头翁","清雅","灵动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97693085cc822f814fba371da1aa941e.jpg",[],{"id":9349,"slug":9350,"title":9351,"dynasty":195,"author":1413,"museum":135,"description":9352,"tags":9353,"thumbUrl":9354,"material":52,"size":52,"collection":52,"collections":9355,"showCount":9327,"zanCount":1398,"manualWeight":39,"mainColor":159},227486,"zhu-ji-tu-li-zhou-zhao-ji-227486","竹鸡图立轴","赵佶（宋徽宗，1082年6月7日-1135年6月4日），出生于汴京（今河南开封），宋神宗第十一子，北宋第八位皇帝。\n\n赵佶在位期间追求奢靡、政治腐败、外交不力，以致民怨四起并埋下北宋靖康年间亡国的祸根。但赵佶在书法绘画等艺术领域天赋非凡，独创“瘦金体”书法，《芙蓉锦鸡图》《池塘秋晚图》等都是传世名作。靖康之变后赵佶被俘北上，1135年死于五国城，庙号徽宗。",[23,24,25,152,83,27,7,185,1416],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F879cf431b3c0d996cb701c6e9c6a171b.jpg",[],{"id":9357,"slug":9358,"title":9359,"dynasty":18,"author":1475,"museum":135,"description":9360,"tags":9361,"thumbUrl":9362,"material":52,"size":52,"collection":52,"collections":9363,"showCount":9327,"zanCount":39,"manualWeight":39,"mainColor":40},224370,"hua-hui-qi-shi-ce-shi-er-kai-10-ju-lian-224370","花卉奇石册-十二开-10","此作以灵秀湖石为主体，朴拙纹理自带幽古意趣。细茎挺出，嫩黄碎花娇俏垂曳，与苍朴湖石形成柔刚对照。石上豆娘静立，翅脉纤毫毕现，将小虫灵动之态尽致描摹。\n\n画中运用撞水撞粉技法，花叶水润鲜活，苔草以淡青晕染，与赭石湖石色调柔润相融，静中藏动，生机暗涌。全幅工写兼备，寥寥数笔便将庭院小景的恬然意趣捕捉，将草木生灵的幽微情态勾勒无遗，尽显写生精妙，满溢闲逸清雅的文人意韵。",[23,24,25,26,27,83,7,29,877,242,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F057086feec0f2550986e5d5e2c2e3f6a.jpg",[],{"id":9365,"slug":9366,"title":9367,"dynasty":195,"author":196,"museum":6847,"description":9368,"tags":9369,"thumbUrl":9370,"material":845,"size":9371,"collection":35,"collections":9372,"showCount":9327,"zanCount":39,"manualWeight":39,"mainColor":159},223463,"shan-que-pi-pa-tu-yi-ming-223463","山鹊枇杷图","图绘两只山雀站在枇杷枝上。枝头果实累累，枇杷青涩，黄中带绿。",[106,24,25,26,83,27,7,167,556,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17bd14416d2c445966f588ee332fa32c.jpg","30X31cm",[35,112],{"id":9374,"slug":9375,"title":9376,"dynasty":18,"author":9377,"museum":779,"description":9378,"tags":9379,"thumbUrl":9380,"material":822,"size":9381,"collection":35,"collections":9382,"showCount":9327,"zanCount":1398,"manualWeight":39,"mainColor":159},222689,"wu-tong-bai-tou-tu-que-lan-222689","梧桐白头图","阙岚","《梧桐白头图》是画家75岁时绘制的，工写结合，笔墨清灵，有一种纤尘不染的秀洁韵味。上部绘挺健梧桐，叶茂子实，一枝斜穿画面，绿叶飘动。一对白头鸟依偎枝上，亲密无间。下部绘神奇多彩灵石，石缝坡脚间花草杂生。笔墨细腻古朴，风格温润典雅。左下自题“道光壬辰季重九日仿瓯香馆本于天光云景斋。阙岚”。",[23,106,24,25,152,83,27,7,5448,1558,641,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79b42a65036debf55e7ebec34ee90c7e.jpg","纵101厘米，横40.5厘米",[35,112],{"id":9384,"slug":9385,"title":9386,"dynasty":60,"author":830,"museum":1135,"description":2064,"tags":9387,"thumbUrl":9389,"material":401,"size":2068,"collection":52,"collections":9390,"showCount":9327,"zanCount":1398,"manualWeight":39,"mainColor":40},222567,"hua-hui-tu-6-chen-chun-222567","花卉图6",[23,24,25,27,64,399,7,29,455,186,66,480,9388,4327],"花鸟写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68019c2e22e4fd3401f2575cba804984.jpg",[],{"id":9392,"slug":9393,"title":9394,"dynasty":60,"author":1864,"museum":79,"description":9395,"tags":9396,"thumbUrl":9397,"material":9398,"size":9399,"collection":35,"collections":9400,"showCount":9327,"zanCount":39,"manualWeight":39,"mainColor":40},222179,"hua-hui-shan-mian-lu-zhi-222179","花卉扇面","陆治（西元一四九六－一五七六年），江苏吴县人，字叔平，号包山子。倜傥好义，以教友著称于乡里。诗文书画并佳。曾和文征明、祝允明一起作画吟诗。画的名声和文征明一样好。\n这幅用淡墨干笔，画丛山叠树，渔父鼓舟前进，一面洗脚，二人在高坡上坐着似在观看瀑布。用色淡雅而有变化。画成于陆治七十三岁。陆治有诗，曾自比「桃源中人」，以喻其隐居状况。\n此画在笔法与构图，均受元代王蒙花溪渔隐图影响，颇有自况意味",[23,24,25,106,661,27,7,29,986,425],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbf89fa4fadd7ff6f66e547f02d3e913.jpg","泥金，纸本","纵18.3厘米， 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横44.8厘米",[],{"id":9612,"slug":9613,"title":9614,"dynasty":119,"author":196,"museum":135,"description":9615,"tags":9616,"thumbUrl":9617,"material":52,"size":52,"collection":52,"collections":9618,"showCount":9553,"zanCount":39,"manualWeight":39,"mainColor":159},232829,"mei-hua-shuang-que-tu-li-zhou-yi-ming-232829","梅花双雀图立轴","此作以虬曲老梅为骨，苍劲枝干皴染细致，苔点错落尽显嶙峋古意。枝头梅朵冰洁柔粉，与旁侧挺秀翠竹相映，冷枝翠叶晕开清隽春息。几只山雀或栖止梳羽，或振翅穿林，灵动鲜活的身姿，将静谧冬景揉进灵动生气。\n\n笔墨工写兼具，勾勒禽鸟身形写实精细，绘写梅竹则苍润朴拙，淡设色与古绢底色相融晕染，尽显清淡雅致。将冬日花木的坚贞与初醒的生机相融，藏着元代花鸟特有的疏淡文人意趣，简淡间晕开悠长雅致。",[23,24,152,27,83,436,185,2100,167,7,4419,1951,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6397c4387e860162f3a156b850ce1148.jpg",[],{"id":9620,"slug":9621,"title":9622,"dynasty":195,"author":196,"museum":135,"description":9623,"tags":9624,"thumbUrl":9625,"material":52,"size":52,"collection":52,"collections":9626,"showCount":9553,"zanCount":800,"manualWeight":39,"mainColor":159},227910,"zhu-mei-xiao-qin-tu-tuan-shan-yi-ming-227910","竹梅小禽图团扇","寒梅疏枝缀满莹白香蕊，清挺竹叶交错掩映，衬出幽隽雅致的冬初小景。三只山雀姿态各异，或敛羽栖于枝头侧目远眺，或俯身啄探似欲衔取花枝，蓬松绒毛以细笔晕染而出，灵动鲜活呼之欲出。\n\n整幅小品设色古雅淡逸，笔法兼具写实功力与文人情致，苍劲梅枝、秀劲竹叶与娇憨禽鸟相映成趣，将郊野小景的清新生机，定格在尺幅团扇之中，尽显宋画小品兼具写实意趣与雅致意境的独特魅力。",[106,24,25,661,83,27,7,185,436,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F014ad6d20b32bd8ed109194ceff64ab9.jpg",[],{"id":9628,"slug":9629,"title":9630,"dynasty":195,"author":464,"museum":135,"description":9631,"tags":9632,"thumbUrl":9633,"material":52,"size":52,"collection":52,"collections":9634,"showCount":9553,"zanCount":39,"manualWeight":39,"mainColor":159},227779,"zhu-chong-tu-ye-wu-bing-227779","竹虫图页","此图画幽篁疏影，双钩填彩，以色之而飞，又绘天牛、螽蜥，无不刻画入微，瓜赞，相阿弥题签，天室和尚题跋。浓淡来显叶之向背、竿之盘曲。枝叶饱满， 叶果实又仿效徐崇嗣的没骨画法。设姿态多样。另有花卉野瓜、蝴蝶蜻蜓萦绕 色浓丽而又不隐墨骨。",[23,106,24,25,661,83,27,7,185,293,769],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01191a7671ec45bee311028ed57ed69c.jpg",[],{"id":9636,"slug":9637,"title":9638,"dynasty":18,"author":2541,"museum":6847,"description":9639,"tags":9640,"thumbUrl":9641,"material":9642,"size":9643,"collection":35,"collections":9644,"showCount":9553,"zanCount":39,"manualWeight":39,"mainColor":40},223252,"zhu-ju-hua-tu-zhou-pu-hua-223252","竹菊花图轴","蒲华（1832—1911）字作英，亦作竹英、竹云，浙江嘉兴人。号胥山野史、胥山外史、种竹道人，斋名九琴十砚斋、九琴十研楼、芙蓉庵，夫蓉盦、剑胆琴心室等。晚清著名书画家，与虚谷、吴昌硕、任伯年合称“海派四杰”。\n早年科举，仅得秀才，遂绝念仕途，潜心书画，携笔砚出游四方，后寓居上海，卖画为生。善花卉、山水，尤擅画竹，有“蒲竹”之誉。书法淳厚多姿；其画燥润兼施，苍劲妩媚，风韵清健。\n晚清民国时期著名画家，与任伯年、吴昌硕、虚谷合称“海派四杰”。\n与海上名家广有交往， 同吴昌硕尤为密切。蒲华长吴昌硕十二岁，昌硕幼时便闻蒲华画名，关系在师友之间，互取所长，风貌因之相近。\n善用湿笔，水墨淋漓，光彩照人。善花卉、山水，尤擅画竹，有“蒲竹”之誉。\n吴昌硕作十二友诗，记蒲华曰：“蒲作英善草书、画竹，自云学天台傅啸生，仓莽驰骤、脱尽畦畛。家贫，鬻画自给，时或升斗不继，陶然自得。余赠诗云：蒲老竹叶大于掌，画壁古寺苍涯琏。墨汁翻衣吟犹着，天涯作客才可怜。朔风鲁酒助野哭，拔剑斫地歌当筵。柴门日午叩不响，鸡犬一屋同高眠”。\n吴昌硕为蒲华所作《芙蓉庵燹馀草》作序言：“作英蒲君为余五十年前之老友也，晨夕过从，风趣可挹。尝于夏月间，衣粗葛，橐笔两三枝，诣缶庐，汗背如雨，喘息未定，即搦管写竹，墨沈淋漓。竹叶如掌，萧萧飒飒，如疾风振林，听之有声，思之成咏。其襟怀磊落，逾恒人也如斯。”\n谢稚柳论言：“蒲华的画竹与李复堂、李方膺是同声相应的，吴昌硕的墨竹，其体制正是从蒲华而来”。\n蒲华中年尤勤书学，寝馈旭、素，斗墨千纸，数日而尽。至于元明各家书帖，也常把玩临摹。以书入画，酣畅恣肆。\n蒲华晚年，笔老墨精。其书法，淳厚多姿；其绘画，燥润兼施，苍劲妩媚。尤喜画大幅巨幛，莽莽苍苍，蔚为大观。所作山水大轴或册页，虽多为山居、读书等传统题材，但布局新颖，风韵清隽。\n蒲吴两家粗豪奔放的画风，使因袭纤巧之时风大为逊色，一新画派崛起于沪上画坛。\n癖好古琴，遇即购藏，视为心爱之物，名其居屋为“九琴十砚楼”。",[23,24,27,64,152,7,185,517,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f837281a5a3ede855624505ab9f5514.jpg","纸本，册页，设色","纵27厘米、横34厘米",[35,112],{"id":9646,"slug":9647,"title":9648,"dynasty":18,"author":381,"museum":624,"description":6805,"tags":9649,"thumbUrl":9650,"material":401,"size":9651,"collection":52,"collections":9652,"showCount":9553,"zanCount":39,"manualWeight":39,"mainColor":40},223233,"mu-zi-ping-an-tu-ren-yi-223233","母子平安图",[23,139,24,25,27,399,7,6308,8056,123,89,67,631,3430,3738],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f8484418d23a6d00d3a4500767ec3af.jpg","150cmx40cm",[],{"id":9654,"slug":9655,"title":9656,"dynasty":195,"author":5001,"museum":20,"description":3115,"tags":9657,"thumbUrl":9658,"material":9659,"size":9660,"collection":202,"collections":9661,"showCount":9553,"zanCount":800,"manualWeight":39,"mainColor":159},221585,"an-chun-tu-li-an-zhong-221585","鹌鹑图",[23,106,24,25,83,27,7,3676,214,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0a7a66cc5c8697ff42ab6e379a7cb63.jpg","设色绢","52x68",[202,35,112],{"id":9663,"slug":9664,"title":9665,"dynasty":489,"author":490,"museum":9666,"description":9667,"tags":9668,"thumbUrl":9669,"material":9670,"size":52,"collection":52,"collections":9671,"showCount":9553,"zanCount":39,"manualWeight":39,"mainColor":40},220595,"gong-chong-ce-ye-guo-guo-qi-bai-shi-220595","工虫册页·蝈蝈","中国现当代美术文献研究中心","此作以工写相映成趣，左侧赭红草叶写意挥就，笔致苍劲洒脱，寥寥数笔便勾勒出舒展野逸之态，淡墨晕染的浅淡底色晕开朦胧乡野意韵。右侧蝈蝈则以工笔细描，翠色躯体鲜亮通透，触须纤毫毕现，肢节纹理分明，振翅欲动，仿佛下一秒便要跃向草叶，将乡野小虫的灵动鲜活凝于纸面。\n\n简笔写意的朴拙与精微工细的鲜活彼此映衬，把寻常乡野小景绘得生机满溢，藏着对自然烟火的细腻体察，于平淡日常里撷取鲜活意趣。",[24,25,26,83,27,7,3287,455],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf64a8cd4f60805de0416aa2528db217.jpg","纸本水墨设色",[],{"id":9673,"slug":9674,"title":9675,"dynasty":18,"author":19,"museum":135,"description":9676,"tags":9677,"thumbUrl":9678,"material":33,"size":9679,"collection":35,"collections":9680,"showCount":9553,"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。",[23,24,25,7,106,152,28,27,83,107,215,1822,29,66,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52a659286fd748d9c56f400aa903af4c.jpg","120×54",[35],{"id":9682,"slug":9683,"title":9684,"dynasty":148,"author":9685,"museum":79,"description":9686,"tags":9687,"thumbUrl":9688,"material":109,"size":9689,"collection":35,"collections":9690,"showCount":9553,"zanCount":1398,"manualWeight":39,"mainColor":40},219212,"gu-mu-jin-jiu-tu-tang-xi-ya-219212","古木锦鸠图","唐希雅","苍劲棘枝斜逸，锋芒暗藏的枝桠间，一只锦鸠悠然栖息。羽色层次细腻，翠绿覆背，褐羽衬胸，翅间赭红轻点，尾羽沉黑如墨，连绒羽的柔润质感都被精心晕染。它昂首敛翅，眼神澄澈，与枯枝嶙峋形成动静相宜的对照。素净绢底衬得禽鸟鲜活、枝干古拙。笔墨工细却不板滞，线条劲挺中含柔婉，将生灵生机与古木风骨融于方寸，尽显五代花鸟写生的精妙神韵，藏着天地静美与盎然生机。",[23,24,106,661,7,83,27,3896,65,3480],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F188bf758524620865734d70b114afc3e.jpg","24.7x26.1cm",[35],{"id":9692,"slug":9693,"title":9694,"dynasty":195,"author":553,"museum":79,"description":9695,"tags":9696,"thumbUrl":9697,"material":109,"size":9698,"collection":202,"collections":9699,"showCount":9553,"zanCount":39,"manualWeight":39,"mainColor":40},219205,"hua-mu-zhen-qin-tu-lin-chun-219205","花木珍禽图","画面中花木扶疏，珍禽顾盼生姿，翎羽纹理细腻如织，每一片花瓣都似凝着晨露的清润。淡赭色的背景晕染出雅致的古意，草木的姿态舒展自然，禽鸟的动态鲜活传神——或低头理羽，或抬足欲行，仿佛能听见羽翼轻振的细碎声响。工笔勾勒的线条精准灵动，设色淡雅却见层次，将自然生灵的生机与宋人的清幽审美融于一方圆扇之中，尽显写生妙趣与雅致格调，似能让人嗅到花木的浅香，触到古绢上的温润时光。",[23,106,24,25,661,83,27,7,226,168,65,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7e39a3b8400e6e4315756cb77ddc544.jpg","25.8x26.3cm",[202,35],{"id":9701,"slug":9702,"title":9703,"dynasty":119,"author":196,"museum":45,"description":9704,"tags":9705,"thumbUrl":9708,"material":109,"size":9709,"collection":35,"collections":9710,"showCount":9553,"zanCount":39,"manualWeight":39,"mainColor":159},216670,"shuang-ge-tu-yi-ming-216670","双鸽图","双鸽图是一幅元朝时期的图画，作者不详。这幅图展示了两只鸽子相互依偎的情景。它是元朝时期著名的一幅婚姻主题的图画，象征着爱情和婚姻的美好。图中的两只鸽子代表夫妻，它们形态优美，相互依偎，象征着夫妻之间的亲密感情。双鸽图被广泛用于装饰家庭和公共场所，作为对美好婚姻的祝福。",[106,24,25,83,27,7,9706,807,7954,9707],"鸽子","细描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ba5c03c75a12c756a61bed0e670df3.jpg","30x44cm",[35],{"id":9712,"slug":9713,"title":5019,"dynasty":195,"author":1413,"museum":135,"description":5020,"tags":9714,"thumbUrl":9715,"material":275,"size":276,"collection":52,"collections":9716,"showCount":9717,"zanCount":39,"manualWeight":39,"mainCol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1368年）的一位著名画家，他的代表作品是《鸽子图》。《鸽子图》是一幅水墨画，描绘了一群自由自在地飞翔的鸽子。这幅画被认为是王渊最优秀的作品之一，其中体现了王渊对动物自然、生动的描绘方式。此外，《鸽子图》还展示了王渊对色彩运用的精湛技巧，使得画面栩栩如生，充满生机和活力。",[23,24,27,83,7,167,517],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2859eb0a4bf8656af4d2d93c4ff4064.jpg","26x28cm",[35],{"id":9842,"slug":9843,"title":9844,"dynasty":148,"author":149,"museum":135,"description":9845,"tags":9846,"thumbUrl":9847,"material":275,"size":276,"collection":52,"collections":9848,"showCount":9849,"zanCount":1398,"manualWeight":39,"mainColor":159},290554,"wu-dai-nan-tang-rong-que-zhou-xu-xi-290554","五代南唐蓉雀轴","第四册，页54故宫书画图录，第一册，页65-66该幅画芙蓉盛开，与奇石交相掩映，石下尚有数株雏菊。一对对麻雀、白头翁与鶺鴒互相顾盼唱和，唯有一只麻雀孤独地在空中飞翔。该幅无款，旧传为五代南唐（十世纪初）徐熙之作，然细审此幅的笔墨与徐熙不类，当出自后人之手。",[24,106,152,7,83,27,167,291],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c26b3108f3c64d1cad0b53319ca6e2f.jpg",[],54,{"id":9851,"slug":9852,"title":9853,"dynasty":195,"author":1242,"museum":135,"description":9854,"tags":9855,"thumbUrl":9857,"material":275,"size":276,"collection":52,"collections":9858,"showCount":9849,"zanCount":1398,"manualWeight":39,"mainColor":40},288326,"qiu-hui-cao-chong-tu-li-di-288326","秋卉草虫图","本幅画叶稍上，螳螂高举双臂，想要捕食金龟子，金龟子适时察觉，立即振翅飞起。螳螂扑了空，只好无奈地回首怅望。昆虫追逐与逃脱的生死瞬间，透过画家的描绘，扣人心弦",[106,24,83,27,7,213,494,9856,68],"秋草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78d045300c5b04cb819d7d29c68685b7.jpg",[],{"id":9860,"slug":9861,"title":9862,"dynasty":18,"author":6939,"museum":135,"description":6940,"tags":9863,"thumbUrl":9865,"material":275,"size":276,"collection":52,"collections":9866,"showCount":9849,"zanCount":1398,"manualWeight":39,"mainColor":40},288234,"duo-zi-tu-li-zhou-qu-zhao-lin-288234","多子图立轴",[23,24,152,83,27,7,167,570,185,186,9864],"多子多福","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84673a9abd63bfd4f7c5dbd2d3b0bdb3.jpg",[],{"id":9868,"slug":9869,"title":9870,"dynasty":148,"author":196,"museum":135,"description":9871,"tags":9872,"thumbUrl":9873,"material":52,"size":52,"collection":52,"collections":9874,"showCount":9849,"zanCount":39,"manualWeight":39,"mainColor":159},239547,"huang-quan-xie-sheng-zhen-qin-tu-juan-yi-ming-239547","黄筌写生珍禽图卷","此作写实功底极尽精微，将十余类禽鸟、虫豸与灵龟一一铺陈。画师以淡墨细勾轮廓，随类施色晕染，禽鸟绒羽纤毫毕现，虫翼轻薄通透，龟甲纹理凹凸逼真。每一只生灵都形神兼备，振翅的雀鸟、爬行的甲虫、静立的水禽，皆定格住最鲜活的瞬间，尽显对自然万物的入微体察。\n\n虽为写生稿的合集，却处处彰显工笔花鸟的极致功底，将生灵的鲜活神韵凝于绢素之上，尽显五代写实工笔的隽永魅力。",[24,106,25,82,83,27,7,167,293,1779,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F332fee9c6e6f4bf61e5511d43efcaedc.jpg",[],{"id":9876,"slug":9877,"title":7991,"dynasty":18,"author":7992,"museum":135,"description":7993,"tags":9878,"thumbUrl":9879,"material":275,"size":276,"collection":52,"collections":9880,"showCount":9849,"zanCount":800,"manualWeight":39,"mainColor":525},239079,"hua-niao-ping-liao-yun-jin-239079",[24,83,27,7,186,65,226,66,641,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F957fa757ccae928e12a60604cca10b13.jpg",[],{"id":9882,"slug":9883,"title":44,"dynasty":18,"author":9884,"museum":135,"description":9885,"tags":9886,"thumbUrl":9887,"material":275,"size":276,"collection":35,"collections":9888,"showCount":9849,"zanCount":39,"manualWeight":39,"mainColor":40},235211,"hua-hui-ce-zhang-wei-235211","张伟","清代画家张伟的花卉写生图，是一组工笔细描的花卉图。",[24,25,7,26,27,83,517,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0af649121c5bfa8eb70d98878fbc2a5.jpg",[35],{"id":9890,"slug":9891,"title":9892,"dynasty":18,"author":381,"museum":135,"description":9893,"tags":9894,"thumbUrl":9895,"material":52,"size":52,"collection":52,"collections":9896,"showCount":9849,"zanCount":1398,"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。",[106,24,25,26,27,64,7,29,228,399],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bc9e9ba66454e1ab14a0ed4e8251f9f.jpg",[],{"id":9898,"slug":9899,"title":2063,"dynasty":60,"author":830,"museum":135,"description":9900,"tags":9901,"thumbUrl":9902,"material":52,"size":52,"collection":52,"collections":9903,"showCount":9849,"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。",[23,24,25,7,399,64,27,29,90,66,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8a207906aca606c24b53bc39de7027b.jpg",[],{"id":9905,"slug":9906,"title":9907,"dynasty":18,"author":793,"museum":79,"description":794,"tags":9908,"thumbUrl":9910,"material":27,"size":797,"collection":52,"collections":9911,"showCount":9849,"zanCount":1398,"manualWeight":39,"mainColor":40},222736,"xian-e-chang-chun-tu-yu-mei-ren-yu-hu-die-hua-lang-shi-ning-222736","仙萼长春图虞美人与蝴蝶花",[23,24,25,7,83,27,4862,9909,186,808],"蝴蝶花","https:\u002F\u002Foss.chuangqi.store\u002Fthumb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亦源于宋代人对于生活的热爱，使他们乐于描绘世界的细微处——例如一类以瓜果作为题材的花鸟画作品。",[23,24,25,82,27,83,7,10061,213,214,227,243,228,631],"瓜果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51b48aaaf0d6e93f2e0fb70756a9d19.jpg","41x197.3厘米",[],{"id":10066,"slug":10067,"title":8364,"dynasty":18,"author":530,"museum":135,"description":10068,"tags":10069,"thumbUrl":10070,"material":52,"size":52,"collection":52,"collections":10071,"showCount":10013,"zanCount":39,"manualWeight":39,"mainColor":159},231034,"mo-he-tu-zhu-da-231034","《墨荷图》是清代石涛创作的纸本墨笔画。\n图绘欣欣向荣的荷塘景色。\n构图疏密交错，通过荷叶、茨菰、莲蓬、蒲草间的相互掩映构筑出变化丰富的空间层次。\n用墨淋漓尽致，浓淡、枯润相生，显现出作者较强的笔墨把控能力。\n本幅自题七言诗一首，款署：“大涤子邗上秋日写”。\n钤白文印二方：“靖江后人”、“大涤堂”。\n219年9月2日，该作品在故宫博物院和 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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。",[24,25,26,27,64,7,556],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05b13d6b7f85d6cd1ab67e05024fd237.jpg","纵27.8厘米，横37.3厘米",[],{"id":10189,"slug":10190,"title":420,"dynasty":195,"author":10191,"museum":135,"description":10192,"tags":10193,"thumbUrl":10194,"material":52,"size":52,"collection":52,"collections":10195,"showCount":10132,"zanCount":800,"manualWeight":39,"mainColor":40},227398,"qiu-kui-tu-li-da-zhong-227398","李大忠","画面写秋葵一枝，工笔钩勒填彩。秋葵之花瓣用粉细勾，叶用重绿，重彩渲染，布局谨严，一丝不苟，姿韵生动。两朵盛开的花与疏疏的几枝叶，充分表现出秋葵的神态。该图堪称南宋院体画的精品，是南宋写生画的绝妙之作。",[23,106,24,25,661,83,27,7,424],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc20f76969895d93adc7c35e9fffc51bc.jpg",[],{"id":10197,"slug":10198,"title":10199,"dynasty":195,"author":2696,"museum":79,"description":10200,"tags":10201,"thumbUrl":10203,"material":26,"size":10204,"collection":202,"collections":10205,"showCount":10132,"zanCount":1398,"manualWeight":39,"mainColor":40},221262,"xie-sheng-ying-su-ai-xuan-221262","写生罂粟","五色的蜀葵、纯白的栀子和红艳石榴花，要比罂粟花常见得多。罂粟花艳丽的“五色”，使得人们常把它与蜀葵相提并论，二者的播种和花期也都相似。宋代罂粟主要是用于食用和药材，嫩苗堪比园蔬，罂粟籽则可作粥。在现存宋代画扇中，至少可以看到两幅《罂粟花图》，台北故宫博物院藏传艾宣《写生罂粟图》尤为精彩，画中还是一枝并蒂的罂粟，显现出祥瑞之意。这些画扇，也应是宋代宫廷画家的杰作。",[23,24,106,25,26,83,27,240,7,10202,66],"罂粟花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa9fe1801c419e7cafc2c8afc755bdcc.jpg","43x75.7",[202,35,112],{"id":10207,"slug":10208,"title":10209,"dynasty":489,"author":490,"museum":9666,"description":10210,"tags":10211,"thumbUrl":10212,"material":9670,"size":52,"collection":52,"collections":10213,"showCount":10132,"zanCount":1398,"manualWeight":39,"mainColor":40},220605,"gong-chong-ce-ye-fei-chong-qi-bai-shi-220605","工虫册页·飞虫","此画兼用工写之妙，工笔飞虫刻画极尽精微，油亮的虫身纤毫毕现，绒毛似随微风轻颤，仿佛下一秒便要振翅飞去，将草间生灵的鲜活尽数铺展。写意黄花烂漫朴拙，晕染出明媚野趣，枯藤以淡墨枯笔写出，线条苍劲疏朗，带着随性自在的笔墨意趣。\n\n整幅画面留白舒展，虚实相映，把乡隅小景的天趣凝于尺幅之间，以极简构图承载盎然生机，尽显对日常细微之美的独到捕捉，淡远雅致的底色衬出小虫灵动，揉合了天真野趣与文人雅韵，于平淡间见真意。",[24,25,26,83,64,27,7,2979,226,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c19b74d2dde52a49f7430009f0222fa.jpg",[],{"id":10215,"slug":10216,"title":6389,"dynasty":489,"author":2235,"museum":4345,"description":10217,"tags":10218,"thumbUrl":10219,"material":52,"size":52,"collection":52,"collections":10220,"showCount":10132,"zanCount":39,"manualWeight":39,"mainColor":40},220547,"song-ying-tu-xu-bei-hong-220547","以浓焦墨铺写振翅飞鹰，翎羽以皴擦兼施，笔力沉雄又不失蓬松质感，利爪筋肉紧绷如凝铁，目光锐如寒钩，雄悍气势扑面而来。下方老松盘虬伸展，鳞皴枝干古拙苍劲，团簇松针攒聚如戟，尽显风霜淬炼后的坚韧。\n\n画面以留白铺就辽远虚境，衬出飞鹰俯冲的凌厉动感，水墨干湿浓淡层次分明，写意之中暗合写实精准，将猛禽的傲岸与古松的刚劲相融，托物言志，把不屈的铮铮风骨寄寓笔下，尽显襟怀气度。",[23,24,25,64,152,167,3460,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b5c2f09b18339bfae82aeea79798023.jpg",[],{"id":10222,"slug":10223,"title":10224,"dynasty":60,"author":10225,"museum":251,"description":10226,"tags":10227,"thumbUrl":10229,"material":109,"size":10230,"collection":35,"collections":10231,"showCount":10132,"zanCount":39,"manualWeight":39,"mainColor":159},220375,"yan-long-yu-shu-tu-chen-lu-220375","烟笼玉树图","陈录","陈录，[明]生卒年不详，字宪章，以字行，号如隐居士，会稽（今浙江绍兴）人。善墨梅、松、竹、兰蕙，笔意儒雅，与王谦齐名。评者以二家虽格意不同，录笔力实过王谦。正统十一年（一四四六）尝作墨梅图。传世作品有《万玉图》、《烟笼玉树图》、《梅花图》等。《图绘宝鉴续纂》、《画史会要》、《绍兴府志》、《明画录》、《无声诗史》、《越画见闻》。\n《烟笼玉树图》中树干苍劲，绽花枝头，构图巧妙，点染精当，可谓花鸟花上品。",[23,24,64,27,152,7,436,67,631,399,10228],"烟笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd62ea251e0e978b64171ad65c333d8be.jpg","纵137.5厘米，横65.4厘米",[35,112],{"id":10233,"slug":10234,"title":10235,"dynasty":60,"author":1037,"museum":1146,"description":1653,"tags":10236,"thumbUrl":10238,"material":534,"size":1656,"collection":52,"collections":10239,"showCount":10132,"zanCount":39,"manualWeight":39,"mainColor":40},220097,"shi-er-mo-hua-tu-juan-1-xu-wei-220097","十二墨花图卷-1",[24,25,82,64,399,7,3362,68,10237],"墨花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4b62eb182373bb75f2464f99871c93e.jpg",[],{"id":10241,"slug":10242,"title":10243,"dynasty":60,"author":4655,"museum":1424,"description":10244,"tags":10245,"thumbUrl":10247,"material":109,"size":10248,"collection":35,"collections":10249,"showCount":10132,"zanCount":39,"manualWeight":39,"mainColor":159},219081,"lu-cong-shuang-e-tu-lin-liang-219081","芦丛双鹅图","芦苇叶渐枯，零零散散的芦花开放，芦丛中两只鹅正啄着芦苇叶，黑色的羽毛，翅膀下露出白色的绒毛，几条黑色的勾线体现出了绒毛的柔软。 林良，字以善，广东广州府南海县扶南堡（今广东佛山市南海区大沥）人，明代著名画家，广东绘画史上第一个进入主流性行列的画家。",[24,25,480,7,64,399,1855,3469,807,10246,4776],"禽鸟画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9b092c0a58f8959a48a02ec93af2364.jpg","纵146厘米，横88厘米",[35],{"id":10251,"slug":10252,"title":10253,"dynasty":195,"author":210,"museum":20,"description":10254,"tags":10255,"thumbUrl":10257,"material":52,"size":52,"collection":52,"collections":10258,"showCount":10132,"zanCount":39,"manualWeight":39,"mainColor":10259},202725,"cao-chong-hua-die-tu-juan-yan-yan-nv-shi-202725","草虫花蝶图卷","长卷铺展间，草木葳蕤，群芳竞艳，蝶舞虫鸣似跃然绢上。工笔线条细腻婉转，设色清雅古艳，花瓣的柔润、蝶翅的轻透、虫豸的灵动皆刻画入神，尽显宋代花鸟画的写实风骨与雅致意趣。古朴绢本衬得花叶愈发鲜活，蜂蝶穿梭间仿佛可闻草木清香，将自然之趣凝于一卷，流露着画家对生命的细腻体察与精湛笔墨功底。",[24,106,82,83,27,7,213,493,107,10256],"写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e19a8ad65d10fa60a01b79f888a5e80.jpg",[],"80715e",{"id":10261,"slug":10262,"title":10263,"dynasty":119,"author":196,"museum":135,"description":10264,"tags":10265,"thumbUrl":10266,"material":275,"size":276,"collection":52,"collections":10267,"showCount":10268,"zanCount":39,"manualWeight":39,"mainColor":4082},290802,"xiu-xian-chun-si-xi-zhou-yi-ming-290802","绣先春四喜轴","元绣之作传世极少。是幅用线粗松，长针交错平绣，色线变化较少。梅干绣线几乎磨损殆尽，露出绣稿白线，坡陀上小草，绣後以墨笔添画。通幅设色清雅，用针平整，由是幅可略窥元绣品之风格。",[24,152,7,4090,436,518,167,27,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63757c95091ed188ce37ddb0ad1c1d3d.jpg",[],51,{"id":10270,"slug":10271,"title":10272,"dynasty":195,"author":1413,"museum":135,"description":5020,"tags":10273,"thumbUrl":10274,"material":275,"size":276,"collection":52,"collections":10275,"showCount":10268,"zanCount":39,"manualWeight":39,"mainColor":159},287889,"hong-li-shan-qin-tu-zhao-ji-287889","红荔山禽图",[106,24,25,661,27,83,7,1233,167,31,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F499471b14708a88846e258b8065c8c2e.jpg",[],{"id":10277,"slug":10278,"title":611,"dynasty":60,"author":1864,"museum":135,"description":4052,"tags":10279,"thumbUrl":10280,"material":275,"size":276,"collection":52,"collections":10281,"showCount":10268,"zanCount":39,"manualWeight":39,"mainColor":40},287387,"mu-dan-tu-lu-zhi-287387",[23,24,152,27,7,107,68,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7bc5204a6108eddf32dca501575edba.jpg",[],{"id":10283,"slug":10284,"title":10285,"dynasty":18,"author":196,"museum":135,"description":6685,"tags":10286,"thumbUrl":10288,"material":275,"size":276,"collection":52,"collections":10289,"showCount":10268,"zanCount":39,"manualWeight":39,"mainColor":40},270175,"hong-se-ke-si-lan-hua-tu-mian-xiang-ya-diao-ba-xian-tu-bing-tuan-shan-yi-ming-270175","红色缂丝兰花图面象牙雕八仙图柄团扇",[661,709,288,214,7446,7445,10287,7],"八仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd866559dd24addc2f93e3e6b5cee6d92.jpg",[],{"id":10291,"slug":10292,"title":10293,"dynasty":18,"author":853,"museum":135,"description":4025,"tags":10294,"thumbUrl":10295,"material":275,"size":276,"collection":52,"collections":10296,"showCount":10268,"zanCount":39,"manualWeight":39,"mainColor":40},239456,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239456","邹一桂花鸟草虫图册",[24,27,83,26,7,107,167,2168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a0dc1465b54cc839274db9dee53945e.jpg",[],{"id":10298,"slug":10299,"title":10300,"dynasty":18,"author":3195,"museum":251,"description":10301,"tags":10302,"thumbUrl":10303,"material":52,"size":52,"collection":35,"collections":10304,"showCount":10268,"zanCount":39,"manualWeight":39,"mainColor":40},237150,"yi-tuan-fu-gui-tu-zhou-zhao-zhi-qian-237150","一团富贵图轴","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》。",[24,25,152,27,7,107,686,68,31,399],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9ed4d9db10b63206fec6a4df1288307.jpg",[35,112],{"id":10306,"slug":10307,"title":10308,"dynasty":18,"author":2491,"museum":135,"description":10309,"tags":10310,"thumbUrl":10311,"material":52,"size":52,"collection":52,"collections":10312,"showCount":10268,"zanCount":39,"manualWeight":39,"mainColor":40},235782,"yu-shan-zhu-xian-he-bi-ce-ju-hua-ce-ye-yang-jin-235782","虞山诸贤合璧册-菊花册页","此作以淡墨写意绘秋菊，花枝挺秀舒展，淡赭晕染花瓣，勾勒出蓬松柔润的花形，疏密间尽显秋菊凌霜之姿。叶片以浓淡墨色分出阴阳向背，笔意疏朗清逸，无一笔冗赘。\n搭配右侧题诗，诗画相映，借秋菊明志，抒发出幽居田园、不畏清寒的隐逸襟怀。画风清隽雅致，将花卉情态与文人风骨相融，淡而有味，简中见韵，尽显文人花鸟小品悠然隽永的意趣。",[24,25,26,27,7,517],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2663c37389e497ee30df241718774aff.jpg",[],{"id":10314,"slug":10315,"title":10316,"dynasty":18,"author":1209,"museum":135,"description":10317,"tags":10318,"thumbUrl":10319,"material":52,"size":52,"collection":52,"collections":10320,"showCount":10268,"zanCount":1398,"manualWeight":39,"mainColor":40},235244,"li-ju-ping-zhou-wu-chang-shuo-235244","篱菊屏轴","此作以阔笔泼墨绘就葫芦秋架，枯笔写藤蔓，遒劲如铁，盘绕交错尽显野逸生机。葫芦以淡彩晕染，黄润清透，将秋实饱满的质感尽显，墨叶泼辣淋漓，浓淡铺陈相宜，苍润兼具。\n\n左侧题画诗文笔苍朴，篆隶笔法老辣厚重，诗画呼应相融，将田园秋意与文人逸趣合二为一。整幅下笔雄浑朴拙，以金石意趣入画，寥寥数笔便定格秋日架上鲜活意态，朴拙间见灵秀蓬勃，尽显大写意花鸟的盎然生机与沉厚韵味。",[24,25,152,64,27,399,7,998,227,228,1802,569,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5000c77ba43cc4203afefb648a729f86.jpg",[],{"id":10322,"slug":10323,"title":3600,"dynasty":18,"author":1008,"museum":135,"description":10324,"tags":10325,"thumbUrl":10326,"material":295,"size":10327,"collection":52,"collections":10328,"showCount":10268,"zanCount":39,"manualWeight":39,"mainColor":40},232892,"hua-niao-tu-li-zhou-li-shan-232892","字宗扬，号复堂，又号懊道人，墨磨人、木头老子、苦李、滕薜大夫等。江苏兴化人。\n一生在仕宦途中，历遭坎坷。康熙五十年即２５岁时中举，三年后以画技至清宫当内廷供奉。他本是学画山水的，进宫后，康熙皇帝指令他跟“正宗”派花鸟画家蒋廷锡学习花卉。李鱓不以学习蒋廷锡为满足，又向高其佩学习，后受石涛笔意启发，以破笔泼墨作画，风格大变。突破了“正宗”派所规定的框框，是一位颇得宫廷器重的画师，名声也日益扩大。但他却遭到一批摹古画师的极力排斥，并以所谓抗拒规定题材和体裁的罪名而被解职。郑板桥说他是“才雄颇为世所忌，口虽赞叹心不然”。后来，李鱓以检选出任山东滕县知县，为政清简，体谅民情，被士民所尊敬。又因负才使气，玩世不恭，触犯了权贵，遂于乾隆五年，罢官归里，流落扬州，过着卖画为生的凄凉的生活。两次的仕宦打击，使李鱓在生活上放纵自己，寄情花鸟，以书画发泄其苦闷之情，但又不甘心宦途上的失败，常欲东山再起。但事与愿违。晚年定居扬州，以卖画为生。李鱓与郑板桥是同乡，又最为知已，结为知交，所以郑板桥有《郑板桥集…. 李鱓》的诗句，并有“卖画扬州、与李同老”的话。\n所作花卉，不拘法度，泼墨淋漓，但犹不失天趣。但晚年部分作品过于霸悍。传世画迹有南京博物院藏《土墙蝶花图》轴、故宫博物院藏《松藤图》轴等。\n李 鱓诗才书法成就是卓然的。李 鱓书法古朴，具颜、柳筋骨。作画时喜欢在画幅上长题满跋，有时甚至于把参差错落的题字，写满画面，于质实中见空灵，使整幅画面气韵更加淋漓酣畅。为此秦祖咏说他“书法古朴，款题随意布置，另有别致，殆亦摆脱俗格，自立门庭者也”。",[23,24,25,152,64,399,49,50,4182,7,1855,138,65,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3527f96ea3aeadc84c0dedcfd0c340f.jpg","56.4x104cm",[],{"id":10330,"slug":10331,"title":10332,"dynasty":195,"author":196,"museum":79,"description":10333,"tags":10334,"thumbUrl":10335,"material":109,"size":10336,"collection":202,"collections":10337,"showCount":10268,"zanCount":1398,"manualWeight":39,"mainColor":159},231057,"fu-gui-hua-li-tu-yi-ming-231057","富贵花狸图","枝桠遒劲舒展，牡丹素瓣柔润晕染，似凝露轻绽。花叶疏密错落，暗衬盛放雍容。花狸伏身软草间，墨白毛色过渡自然无痕，双目凝注身前游虫，警觉中带着憨柔慵懒，将灵动感藏于静息姿态。\n\n整幅设色古雅沉静，绢底旧调晕开澹澹古韵，工细写实中带着雅致意趣，将繁花雍容与狸奴野趣相映成趣，闲静画面里暗涌鲜活生机，于清淡古拙间晕开平和悠然的氛围感，尽显小景中的雅致禅意。",[23,24,106,152,83,27,7,107,385,455,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8509dd73930dd4201e8b570bf5528f6.jpg","141x107.5",[202],{"id":10339,"slug":10340,"title":1578,"dynasty":18,"author":381,"museum":135,"description":10341,"tags":10342,"thumbUrl":10343,"material":52,"size":52,"collection":52,"collections":10344,"showCount":10268,"zanCount":1398,"manualWeight":39,"mainColor":40},230127,"hua-niao-ce-ye-ren-yi-230127","画面设色秀雅清润，两只山雀依偎枝桠，翎毛晕染细腻柔和，憨态可掬尽显亲昵意趣。月季柔瓣轻展，粉色素净雅致，枝叶皴染结合，深浅浓淡晕开蓬勃生机。右上方题字笔意隽秀，与画面相映成趣。整体构图疏朗空灵，以兼工带写之法，将草木柔态与禽鸟灵动融为一体，把寻常花鸟小景绘成充满温情的雅致小品，晕染出恬淡悠然的江南雅韵，尽显清隽婉约的文人画意趣。",[24,25,26,27,7,83,68,65,226,5345,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb68230908224e58f73ae2820e23e446.jpg",[],{"id":10346,"slug":10347,"title":10348,"dynasty":119,"author":9503,"museum":135,"description":10349,"tags":10350,"thumbUrl":10351,"material":275,"size":276,"collection":52,"collections":10352,"showCount":10268,"zanCount":39,"manualWeight":39,"mainColor":40},228159,"yu-shan-hua-niao-tu-ce-gu-ying-228159","玉山 花鸟图册","顾瑛为粱代画家顾野王的第二十五代后人，是中国艺术史上显耀一时之“玉山雅集”召集者，与元末黄公望、王蒙、倪瓒、赵雍、马琬、杨维桢、张雨、曹知白、柯九思、唐棣、张渥、赵原、陈惟允、柏子庭、周砥诸文人画家有着广泛交往。作为历史上重要书画藏家，早在20世纪80年代，顾瑛就被海外学者从中国画史、书画鉴藏史的角度来进行认识。",[23,24,27,26,83,7,782,436],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99371dcaffeee312fa059b43571283b4.jpg",[],{"id":10354,"slug":10355,"title":10356,"dynasty":195,"author":196,"museum":135,"description":10357,"tags":10358,"thumbUrl":10359,"material":52,"size":52,"collection":52,"collections":10360,"showCount":10268,"zanCount":1398,"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 Cahill)在《图说中国绘画史》一书中赞叹宋画之美：“在他们的作品中，自然与艺术取得了完美的平衡。他们使用奇异的技巧，以达到恰当的绘画效果，但 是他们从不纯以奇技感人；一种古典的自制力掌握了整个表现，不容流于滥情。艺术家好像生平第一次接触到了自然，以惊叹而敬畏的心情来回应自然。他们视界之 清新，了解之深厚，是后世无可比拟的。",[23,106,24,25,3326,83,27,7,29,1981,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F566273ba43fdaceaabf6298b88025aa3.jpg",[],{"id":10362,"slug":10363,"title":4076,"dynasty":148,"author":1929,"museum":79,"description":10364,"tags":10365,"thumbUrl":10367,"material":52,"size":52,"collection":52,"collections":10368,"showCount":10268,"zanCount":1398,"manualWeight":39,"mainColor":159},227260,"shan-zhe-ji-que-tu-huang-ju-cai-227260","《山鹧棘雀图》是北宋花鸟画家黄居寀所创作的一幅设色画，现藏于台北故宫博物院。此图描写晚秋时节的溪边小景。近景的溪边几块石头显得突出，整个景色显得荒寒萧疏，但飞鸣、栖息于荆刺丛上的几只雀鸟，则为画面增添了不少生机和活跃的气氛。",[23,83,27,7,167,186,1822,641,65,3480,10366],"荆棘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94e4895995ba64cb331932d19a89e33a.jpg",[],{"id":10370,"slug":10371,"title":10372,"dynasty":195,"author":196,"museum":79,"description":10373,"tags":10374,"thumbUrl":10377,"material":10378,"size":10379,"collection":52,"collections":10380,"showCount":10268,"zanCount":1398,"manualWeight":39,"mainColor":4082},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。",[23,769,4090,83,27,152,287,214,10375,29,808,7,3640,686,10376],"花盆","装饰纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe36b2a6209c7a620404ab879a6cb7f2c.jpg","轴绢本","150.4x64厘米",[],{"id":10382,"slug":10383,"title":10384,"dynasty":119,"author":3663,"museum":79,"description":10385,"tags":10386,"thumbUrl":10387,"material":27,"size":10388,"collection":35,"collections":10389,"showCount":10268,"zanCount":39,"manualWeight":39,"mainColor":159},219896,"ying-zhu-hua-mei-zhou-wang-yuan-219896","鹰逐画眉轴","此帧画一只苍鹰自空中急速俯冲而下，即将迫及画眉，画眉则张口失声伧促逃窜，一幕弱肉强食的情况活跃在纸上。全幅用笔甚工，设色温雅，颇有宋画遗风。",[23,106,24,25,152,83,64,27,7,167,452,808,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F430c0da1dc68285a385d2a617339a9ad.jpg","117.2x53.3公分",[35],{"id":10391,"slug":10392,"title":3662,"dynasty":195,"author":10393,"museum":45,"description":10394,"tags":10395,"thumbUrl":10396,"material":109,"size":10397,"collection":35,"collections":10398,"showCount":10268,"zanCount":1398,"manualWeight":39,"mainColor":159},218882,"tao-zhu-jin-ji-tu-ma-ben-218882","马贲","马氏家族绘画代代相传，必然有一些绘画技法是代代相传的。从这个角度，我们可以看到，《桃竹锦鸡图》右边的桃树枝干部分，与马远《西园雅集图》等作品中的树干画法，非常接近，都是直来直去的描绘方式；《桃竹锦鸡图》中非常显眼的燕子，与收藏在日本大和文华馆的马远《竹燕图》，存在非常明确的一致性。竹子的画法与传世马远多件绘画中的竹子，更是接近。通过这些细节的全面比较，可以判断：《桃竹锦鸡图》是马氏家族的作品。\n《桃竹锦鸡图》从时间坐标上看，是宣和时代；从绘画特征来看，是马氏家族；那么，按照逻辑，《桃竹锦鸡图》的作者就是马贲。马贲的生活时代跨北宋神宗、哲宗、徽宗，比崔白、吴元瑜等画家的活动时间略晚10-20年。他是南宋大画家马远的曾祖父，马氏五代绘画家族的第一代人物。他的晚期作品，受宣和时代影响，应该具有典型的宣和画家绘画意识。",[24,106,25,83,27,7,1274,185,673,186,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc1576814ae297b450aa13cc8ea4cb67.jpg","21x22cm",[35],{"id":10400,"slug":10401,"title":10402,"dynasty":195,"author":196,"museum":79,"description":10403,"tags":10404,"thumbUrl":10405,"material":109,"size":10406,"collection":202,"collections":10407,"showCount":10408,"zanCount":800,"manualWeight":39,"mainColor":159},290994,"hua-chun-fu-gui-tu-yi-ming-290994","华春富贵图","从图中技巧、内容看，当是一位宫廷画家高手。它是一件珍贵的插花古图。我们可从中窥见宋代宫廷插花之美。\n图以工笔彩绘，笔笔不苟。绘金漆宝相花纹金瓶，放置于嵌宝石漆架上，插以大朵重瓣朱红、粉、白牡丹，当是宋时照殿红等牡丹花名种；并以桃花（花瓣略尖，是桃花无疑）、木香枝条相衬。（左下角枝条似是取荷包牡丹相衬，但画得很模糊，未能确认），造型略为对称之形，而活泼灵动。牡丹六朵，分左右、前后、上中下，居于花型之中，相伴桃花、木香，暗示着五方空间，真是天地五方六合皆春色。含有贺岁朝新春之意，亦为富贵气象。今日牡丹插花之华贵丰韵，当亦应如是。",[24,106,25,152,27,83,7,107,686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25a6ec52fe441c112236cda157c0733d.jpg","144.5x49.8",[202],50,{"id":10410,"slug":10411,"title":10412,"dynasty":18,"author":6006,"museum":135,"description":10413,"tags":10414,"thumbUrl":10415,"material":275,"size":276,"collection":52,"collections":10416,"showCount":10408,"zanCount":1398,"manualWeight":39,"mainColor":40},290314,"sui-chao-li-jing-zhou-chen-shu-290314","岁朝丽景轴","通过描绘各种带有良好意愿谐音的物品，来表达对新年的祈盼和祝福。运用谐音、象征的表现手法，在明清许多吉庆画中屡见不鲜，体现着含蓄、高雅的情调，带有较强的文化气息。",[24,152,83,27,7,436,320,518,3442,241,1212,3640,5707,68,8401,1880],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4db4869e407e5adfdd4127d79baf616d.jpg",[],{"id":10418,"slug":10419,"title":1496,"dynasty":195,"author":196,"museum":135,"description":10420,"tags":10421,"thumbUrl":10422,"material":275,"size":276,"collection":52,"collections":10423,"showCount":10408,"zanCount":1398,"manualWeight":39,"mainColor":4082},288261,"hua-lan-tu-yi-ming-288261","竹编花篮分层编织纹理清晰，造型圆融雅致，衬着沉暗古绢底色更显质朴静穆。篮中夏花俯仰错落，硕大菡萏柔瓣舒展，莹白间晕染淡赭，尽显盛放娇柔，幽兰修长舒展、萱花缀着朱砂艳色，野逸生机暗藏其间。\n\n设色克制沉静，以淡墨晕出花叶层次，浅赭点染花梢，将夏花清妍之态悄然铺展。画作没有繁复铺陈，却以极简笔触将日常花艺升为清赏雅景，藏着以小见大的审美哲思，把寻常案头清供绘成隽永的雅致风物，尽显宋人对日常闲雅意趣的极致追寻。",[23,106,24,7,83,27,467,686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa32db9f97a3f2b79ae1b045d01879e2b.jpg",[],{"id":10425,"slug":10426,"title":10427,"dynasty":18,"author":381,"museum":135,"description":10428,"tags":10429,"thumbUrl":10430,"material":295,"size":52,"collection":35,"collections":10431,"showCount":10408,"zanCount":39,"manualWeight":39,"mainColor":4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天空中的白雁鸭成对啄食嬉戏，翠鸟、家禽或站在水草的杆上，或在柳枝上，或盘旋在空中，一派生机勃勃的景象。",[23,24,25,27,83,7,49,50,10486,167,450,89,1736,29,807,1200,2185,2186],"天鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd66437a893b263b8850ee0421ee4d9d3.jpg","80x60cm",[],{"id":10491,"slug":10492,"title":10493,"dynasty":18,"author":1454,"museum":251,"description":10494,"tags":10495,"thumbUrl":10496,"material":845,"size":10497,"collection":52,"collections":10498,"showCount":10408,"zanCount":1398,"manualWeight":39,"mainColor":40},222809,"hua-zhu-qi-qin-tu-wang-wu-222809","花竹栖禽图","《花竹栖禽图》底部一奇古巨石，一朵盛开的牡丹从石左侧斜出，枝头一雀鸟面向花朵，鸟目圆睁，似在欣赏花的美丽，又像陶醉在花香中。\n花鸟的颜色艳而不俗，用笔工而不板，明快醒目。\n巨石以浓墨绘出，见有皴染。\n石隙空洞处可见枝叶，错落雅致。\n墨竹疏落有致，用墨浅淡，与底部的花、鸟、石形成色彩上的鲜明对比。\n整幅画面虚实相间，构图奇巧，设色浓淡适宜，笔墨兼工带写，形成了赏心悦目的视觉效果。\n可见，作者跋中所言“学古而步泥其迹”不虚。\n此画右侧下端，置一太湖巨石，两头小中间大，造型奇特，玲珑别透，中间以矾头突出，湖石几乎占有画面的二分之一。\n石旁有翠竹数株，拔地而起，竹竿挺拔，有二大株翠竹冲出画面，一株矮竹附在湖石旁。\n湖石左脚下有数株茶花，茶花有的绽开，有的含苞，在绿叶村托下显得艳丽清雅。\n画幅左侧有作者自题识，丁已年为康熙十六年（1677），王武时年45岁，为王武中年佳作。\n此画的景物基本集中于画幅右侧，但由于画家精心安置，使整幅画位置安稳、平而不板，赋色明丽、艳而不俗，这是此画的最大的特色，也是此画最成功之处。\n在表现技法上，画家以水墨勾勒，皴染作山石，在点苔之后复以石青点之，湖石显得坚实、凝重。\n竹叶和茶花用绿色和红色直涂法，花蕊以黄色点染，花瓣虽都是红色，但亦有深浅区别变化，花叶上又用中锋细笔加画叶脉。\n一只小鸟以积墨法画之，墨色变化丰富，表现出羽毛的质感。\n此画采用没骨与匀勒法相结合的手法，显得自然协调，敷色雅丽明快，令观赏者心旷神怡，颇有忘忧之感。",[23,24,106,25,152,27,83,185,226,65,186,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c8017c120ae98e5925dad71a77ec4ec.jpg","90.7×40.5cm",[],{"id":10500,"slug":10501,"title":10502,"dynasty":60,"author":1681,"museum":624,"description":5289,"tags":10503,"thumbUrl":10504,"material":295,"size":10505,"collection":35,"collections":10506,"showCount":10408,"zanCount":39,"manualWeight":39,"mainColor":159},222391,"si-xi-tu-li-zhou-lv-ji-222391","四喜图立轴",[23,24,27,83,7,152,2227,6173,782,3751,90,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35b651d770ecc93ed64e2befaf762c39.jpg","93x51",[35,112],{"id":10508,"slug":10509,"title":10510,"dynasty":195,"author":1229,"museum":251,"description":10511,"tags":10512,"thumbUrl":10513,"material":845,"size":10514,"collection":202,"collections":10515,"showCount":10408,"zanCount":39,"manualWeight":39,"mainColor":40},221469,"ling-feng-bo-ge-tu-lu-zong-gui-221469","玲峰鹁鸽图","绘鹁鸽两羽，全身白色，只留尾巴黑色，一只立于湖石上，微张的尖嘴似与地面上的另一只打招呼；画面竹枝繁茂，花团锦簇，春光融融。鲁宗贵，南宋画家，工花竹、禽鸟、窠石，用笔意趣有余，描染佳妙。",[23,106,24,25,83,27,7,65,3460,215,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac548a4d2e561d376899c9dbecd6e64.jpg","28 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横：104.2公分",[35],{"id":10673,"slug":10674,"title":10675,"dynasty":195,"author":196,"museum":45,"description":10676,"tags":10677,"thumbUrl":10678,"material":6535,"size":10679,"collection":35,"collections":10680,"showCount":10571,"zanCount":5,"manualWeight":39,"mainColor":159},219000,"tang-su-zhu-que-tu-yi-ming-219000","唐宿竹雀图","竹影扶疏，墨色浓淡间显枝干劲挺，竹叶层叠如翠云轻展，疏密有致藏自然生机。雀儿栖于竹枝，或敛翅假寐，或侧首凝睇，羽纤毫毕现——绒羽若隐若现，翅尖纹理分明，爪尖扣枝的力道隐于柔姿，神态灵动如临其境。石矶卧于竹下，皴法简淡却见朴拙，与竹的清雅相映成趣。整幅画面动静相宜，清雅中含野逸之趣，写实笔触里蕴文人雅致，尽展宋画对自然物态的精妙捕捉与诗意表达。",[23,106,24,25,152,83,64,27,7,185,2100,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7da3d9921c4342a3173c6bce0281591.jpg","纵159.0横93.4厘米",[35],{"id":10682,"slug":10683,"title":10684,"dynasty":195,"author":10685,"museum":79,"description":10686,"tags":10687,"thumbUrl":10690,"material":109,"size":10691,"collection":35,"collections":10692,"showCount":10571,"zanCount":800,"manualWeight":39,"mainColor":40},218617,"yuan-ji-hui-ce-song-hong-liao-shuang-fu-mao-yi-218617","元集绘册 宋红蓼双凫","毛益","描写鸭凫一对栖息于洲渚边，雄凫绿颈花羽伫立，雌凫相依啄食地面，画家传神地描绘出鸟禽的外型。岸上芦荻几株，红蓼掩映其间，颇富山林野趣。本幅与上海博物馆所藏宋无款「双凫图」极为相似，然构图布局左右相反，两者皆属于北宋末南宋初流行的汀渚水鸟风格。毛益为南宋孝宗干道年间（西元一一六五─一一七三年）的画院待诏。",[24,25,26,83,27,7,10688,10689,138],"红蓼","双凫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89bd50e2132c6f4e91d07b9dc4e59a3f.jpg","本幅 26x25.8公分、对幅 26x25.8公分、全幅 43.1x75.9公分",[35],{"id":10694,"slug":10695,"title":10696,"dynasty":148,"author":10697,"museum":135,"description":10698,"tags":10699,"thumbUrl":10700,"material":275,"size":276,"collection":52,"collections":10701,"showCount":10702,"zanCount":1398,"manualWeight":39,"mainColor":159},289778,"lian-chi-shui-qin-tu-zhou-yi-gu-de-qian-289778","莲池水禽图轴一","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》。",[23,24,7,152,83,27,49,467,167,450],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5be46ebdc7cfa368ae7532a135a26ee.jpg",[],48,{"id":10704,"slug":10705,"title":10706,"dynasty":18,"author":10707,"museum":135,"description":10708,"tags":10709,"thumbUrl":10710,"material":275,"size":276,"collection":52,"collections":10711,"showCount":10702,"zanCount":39,"manualWeight":39,"mainColor":40},283781,"jin-yu-tu-weng-luo-283781","金鱼图","翁雒","江苏吴江. 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。",[106,24,25,152,27,83,7,2808,5136,1790,29,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36ff6396d75f7a14cf78bf4d16f51833.jpg",[],{"id":10713,"slug":10714,"title":10715,"dynasty":18,"author":196,"museum":135,"description":10716,"tags":10717,"thumbUrl":10718,"material":275,"size":276,"collection":52,"collections":10719,"showCount":10702,"zanCount":800,"manualWeight":39,"mainColor":159},272876,"zi-tan-mu-bian-xiu-hua-niao-tu-gua-ping-yi-ming-272876","紫檀木边绣花鸟图挂屏","此挂屏以石青暗缎为地，施针走线晕染出幽隽小景。浅绒线绣就的花树虬曲苍柔，枝头花苞攒聚、轻绽妍丽，花瓣脉络隐现，娇态尽显。玲珑湖石立于坡间，间伴细草幽竹，朴雅静谧。几只彩蝶振翅穿行，翅纹纤毫毕现，似携清风欲飞，让画面骤然生动。\n\n绣法精巧入微，将工笔花鸟画的雅致意趣融于针黹，配色柔雅和谐，石青底色衬出浅绣的温润柔和，整体清逸娴静，尽显旧时绣作的细腻灵秀，将庭院春景的恬然诗意凝固于方寸之间。",[8859,4090,7,89,5136,107,214,7923,6687,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F999cee02d06f47378508cade23691a87.jpg",[],{"id":10721,"slug":10722,"title":1700,"dynasty":18,"author":10723,"museum":135,"description":10724,"tags":10725,"thumbUrl":10727,"material":275,"size":276,"collection":52,"collections":10728,"showCount":10702,"zanCount":1398,"manualWeight":39,"mainColor":40},239517,"he-hua-zhou-hu-yuan-239517","胡远","字公寿，号瘦鹤，画用字行，又号横云山民，华亭（今上海松江）人，侨上海。能诗，善书画，书法颜真卿，藏有戏鸿堂祖本争位座稿书，矜为至宝。画笔秀雅绝伦，以湿笔取胜。山水花木无所不能，尤喜画梅。咸丰十一年（一八六一）至上海初寓毛树徴家，后买宅颜曰寄鹤轩。与李壬叔（善兰）、胡鼻山（震）诸名流友善，卖画自给。卒年六十四。有寄鹤轩诗草。",[24,152,64,27,399,7,49,50,10726],"茎秆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81805cb9f07093259ca1f8e2008f7476.jpg",[],{"id":10730,"slug":10731,"title":10293,"dynasty":18,"author":853,"museum":135,"description":4025,"tags":10732,"thumbUrl":10733,"material":275,"size":276,"collection":52,"collections":10734,"showCount":10702,"zanCount":39,"manualWeight":39,"mainColor":40},239452,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239452",[24,25,26,27,83,48,7,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a680e6b7c35d706aec7e8969432b7eb.jpg",[],{"id":10736,"slug":10737,"title":1989,"dynasty":18,"author":1487,"museum":135,"description":1990,"tags":10738,"thumbUrl":10739,"material":275,"size":276,"collection":52,"collections":10740,"showCount":10702,"zanCount":39,"manualWeight":39,"mainColor":40},239251,"mu-dan-shi-liu-zhong-ce-jiang-ting-xi-239251",[24,25,26,7,83,27,107,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfd8e60ef873b3f238993efed3037203.jpg",[],{"id":10742,"slug":10743,"title":10744,"dynasty":18,"author":317,"museum":135,"description":6479,"tags":10745,"thumbUrl":10746,"material":52,"size":52,"collection":5642,"collections":10747,"showCount":10702,"zanCount":1398,"manualWeight":39,"mainColor":40},238318,"pen-hua-si-yong-zhou-dong-gao-238318","盆花四咏轴",[24,152,83,27,107,518,436,5534,68,7,90,10375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F876b0af7bf8e0501b0f448f609ce86c3.jpg",[5642],{"id":10749,"slug":10750,"title":10751,"dynasty":60,"author":9423,"museum":251,"description":10752,"tags":10753,"thumbUrl":10755,"material":295,"size":52,"collection":35,"collections":10756,"showCount":10702,"zanCount":39,"manualWeight":39,"mainColor":40},237236,"bai-shi-xi-que-zhou-chen-jia-yan-237236","柏石喜鹊轴","纵毫挥染，笔致松秀，设色清丽，韵格兼胜。",[24,25,152,64,7,10754,215,6173,167,186],"柏树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f5c5febd79d930762a36a6ffbfef252.jpg",[35],{"id":10758,"slug":10759,"title":10760,"dynasty":60,"author":566,"museum":135,"description":10761,"tags":10762,"thumbUrl":10763,"material":52,"size":10764,"collection":52,"collections":10765,"showCount":10702,"zanCount":1398,"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》。",[24,26,27,83,7,29,66,68,320],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cfbfe75dae41daeb995925f68ddf49c.jpg","23x31cm",[],{"id":10767,"slug":10768,"title":10769,"dynasty":195,"author":196,"museum":251,"description":10770,"tags":10771,"thumbUrl":10772,"material":845,"size":10773,"collection":52,"collections":10774,"showCount":10702,"zanCount":1398,"manualWeight":39,"mainColor":159},233000,"mei-zhu-shuang-que-tu-ye-yi-ming-233000","梅竹双鹊图页","该图绿竹丛中逶迤伸出白梅两枝，清丽冷艳。两只鸲鹆栖于枝头，翘首顾盼。鸟羽用细笔勾描，然后以墨或淡彩晕染，近似“没骨”法。梅花用白粉和淡黄色钩填，层次丰富。竹叶用双钩法勾勒轮廓，随后染以花青、汁绿、赭石等色。枝上两只小鸟栖息，其一抬头向上远眺，一只低头俯视。图中竹页用双钩填色法。鸟的羽毛，不用细笔勾描，而用浓墨或淡彩染，画法近于没骨而又有新的创造。构图简洁生动，花枝穿插错落有致。用笔工细写实，设色清丽，画风近于南宋院体一派。",[106,24,25,26,83,27,7,436,185,4503,167,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F868879d3de861edacba360655297e601.jpg","26厘米，横：26．5厘米",[],{"id":10776,"slug":10777,"title":10778,"dynasty":195,"author":841,"museum":135,"description":10779,"tags":10780,"thumbUrl":10782,"material":52,"size":52,"collection":52,"collections":10783,"showCount":10702,"zanCount":1398,"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。”",[23,106,24,25,82,27,83,1099,7,214,10781,29,242,68],"豆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b08f1fa810326ea69c7b5cb3b5cbbf0.jpg",[],{"id":10785,"slug":10786,"title":10787,"dynasty":4397,"author":10788,"museum":135,"description":10789,"tags":10790,"thumbUrl":10792,"material":275,"size":276,"collection":52,"collections":10793,"showCount":10702,"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。",[23,27,83,7,227,2168,29,214,455,5665,10791],"日本传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F115d92d5e47f2f2a6c2be087928f418c.jpg",[],{"id":10795,"slug":10796,"title":10797,"dynasty":60,"author":9558,"museum":2373,"description":10798,"tags":10799,"thumbUrl":10807,"material":845,"size":10808,"collection":52,"collections":10809,"showCount":10702,"zanCount":1398,"manualWeight":39,"mainColor":159},231591,"kong-que-tu-lu-zhao-yang-231591","孔雀图","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。",[23,24,27,83,7,91,107,321,167,90,29,480,845,1736,10800,2188,10801,807,10802,67,631,10803,10804,10805,10806],"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":10811,"slug":10812,"title":7,"dynasty":18,"author":1008,"museum":135,"description":10813,"tags":10814,"thumbUrl":10815,"material":52,"size":52,"collection":52,"collections":10816,"showCount":10702,"zanCount":39,"manualWeight":39,"mainColor":40},224309,"hua-niao-li-shan-224309","这幅画以水墨写就水畔一隅，布局错落有致。右上角芙蓉枝叶交叠，浓墨点染阔叶，淡墨勾出柔花，枯笔写枝，苍劲中带着秀润。左侧荷花亭亭舒展，墨色晕染出荷叶的清润质感，花瓣用线空灵雅洁。白鹭静立在汀草间，淡墨勾形留白衬出羽毛蓬松，目光低垂神态悠然，将水鸟的闲适之态尽藏其中。\n笔墨干湿浓淡相映，以写意笔法写尽夏日水郊的清寂野趣，禽鸟花木浑然相融，尽显纵逸洒脱又不失雅致的文人写意风骨，将幽淡恬然的郊野生机凝练在尺幅之间。",[23,24,106,152,64,27,399,7,467,291,4820,455,1855,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35c32e970d3d12ecf0c1bdd93057eb7f.jpg",[],{"id":10818,"slug":10819,"title":10820,"dynasty":18,"author":1008,"museum":135,"description":10821,"tags":10822,"thumbUrl":10823,"material":52,"size":52,"collection":52,"collections":10824,"showCount":10702,"zanCount":39,"manualWeight":39,"mainColor":40},224294,"tao-hua-liu-yan-tu-li-shan-224294","桃花柳燕图","《历代名画宣纸高清大图:李鱓桃花柳燕图》绘桃红、柳绿、燕嬉之景，生动地表现了春天和生命的气息，画面充满暖意。\n画幅右边近下部，柳树枝干往上方挺升，其上旁生枝条，以浅绿设色表现初发的柳叶，墨笔筒细而劲健。\n整个枝干形态奠定了画面格局。\n柳树後可见一株桃树枝干自右至左斜出，分上中下三个方向。\n桃树枝干以褐色设色，与墨色的柳树枝干相映成趣，其上并以粉红、银白、淡绿设色表现桃花花办与花叶，同样笔墨不繁却栩栩如生。\n在此美景中，作者添了四只暖春早燕：其一于高枝上向下俯视，情状蠢蠢欲动；其一站立在横枝上，神态安详；其一停于中部枝头顶端；其一低飞于桃红柳绿问。\n此幅花鸟画明朗活泼，笔墨工致。\n《历代名画宣纸高清大图:李鱓桃花柳燕图》由 出版。",[23,24,25,152,399,27,123,1333,3584,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d0cd75efcd4565e82cc7ec65b74f13a.jpg",[],{"id":10826,"slug":10827,"title":10828,"dynasty":18,"author":381,"museum":1535,"description":6805,"tags":10829,"thumbUrl":10830,"material":845,"size":10831,"collection":52,"collections":10832,"showCount":10702,"zanCount":39,"manualWeight":39,"mainColor":40},223232,"mei-que-tu-li-zhou-ren-yi-223232","梅雀图立轴",[23,152,27,64,1557,7,436,2100,518,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc2cab43d292040d46a761c14cf915d9.jpg","纵70.7厘米，横35厘米",[],{"id":10834,"slug":10835,"title":10836,"dynasty":60,"author":10837,"museum":135,"description":10838,"tags":10839,"thumbUrl":10840,"material":52,"size":52,"collection":35,"collections":10841,"showCount":10702,"zanCount":39,"manualWeight":39,"mainColor":40},222405,"fang-chen-dao-fu-hua-hui-juan-quan-juan-du-da-zhong-222405","仿陈道复花卉卷全卷","杜大中","陈道复也是明代极富名气的绘画大家之一。他在传统写意绘画的基础上，将草书笔意融入写意花卉画中，开创了大写意花卉画的新风貌，其作品价值亦不俗！该作同时融入了两大绘画艺术家的风格特色，可谓魅力非凡\n继承了陈道復清新隽雅的画法，作品具有典型的晚明时期花卉画风格。卷尾署款“万历戊戌夏日汝南周之冕写。” 钤白文方印“服卿氏”、“周之冕印”。画面中有吴幼培、杜大中题诗数首，图后有朱鹭题跋。\n吴门画派是明中期重要的绘画流派，尤以山水画成就最高，标志着文人画走向极盛！而周之冕画得最多也最有成就的是山水画。",[23,24,25,82,2730,64,627,7,436,517,467,107,31,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff15bf087597467f842c177242ffd37.jpg",[35,734],{"id":10843,"slug":10844,"title":10845,"dynasty":60,"author":683,"museum":251,"description":10846,"tags":10847,"thumbUrl":10848,"material":1041,"size":10849,"collection":35,"collections":10850,"showCount":10702,"zanCount":39,"manualWeight":39,"mainColor":40},222130,"chu-ji-tu-ye-shen-zhou-222130","雏鸡图页","本幅自题七言诗：“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。”自识“沈周”，钤“启南”朱方印、“白石翁”白方印。收藏印钤“朱卧庵收藏印”、“之赤”、“昆王成宪画印”等，右下骑缝花押。\n从自题诗看，画家对这只已然半大的雏鸡表现了担忧之情，总是啾啾寻母，长大后如何承担起催日报晓的责任呢？不难看出画家借雏鸡图寄予了期望后代早日成才的心愿。\n此画构图简练，为一只墨笔写意的雏鸡。其背部羽毛以湿润的墨色渲染，体形轮廓则以简约的墨线勾勒，虽为写意，仍能照顾到物象的立体感。雏鸡两翅以淡墨细笔写出，角度与比例配合得当。整幅画虽题材简单，但笔韵内敛传神，雏鸡稚嫩的体态通过水墨尽得显现。此作品为沈周所作有关鸡之题材绘画的代表作，此时的沈周已经完全摆脱了元人一味摹宋的工致画风，而是真正将自己的心神融入到笔锋之中，达到了写形传神的境界。",[23,24,25,64,569,7,5088,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6374170d786fdeec4131bd7de6727b5b.jpg","纵28.1厘米，横37.6厘米",[35,734],{"id":10852,"slug":10853,"title":10854,"dynasty":195,"author":10855,"museum":10856,"description":10857,"tags":10858,"thumbUrl":10859,"material":27,"size":10860,"collection":202,"collections":10861,"showCount":10702,"zanCount":39,"manualWeight":39,"mainColor":159},221360,"yue-xia-wu-que-tu-dai-wan-221360","月下五雀图","戴琓","昆仑堂美术馆","戴琓，北宋画家。生卒年不详。汴（今河南开封）人。宣和（1111-1125）年间在翰林，殊蒙恩宠。画史称其：工翎毛花竹，常入阁供奉，后因求者甚众，徽宗闻之，封其臂不令私画，故传世者鲜。\n传世作品有《月下五雀图》，现藏昆山市昆仑堂美术馆；《雪梅寒雀图》，美国弗利尔美术馆藏。",[23,24,83,27,845,7,5549,167,3246,452,228,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e7afabac0c506934e7bf8980bedff63.jpg","20.5cm×26cm",[202,35,112],{"id":10863,"slug":10864,"title":10865,"dynasty":489,"author":490,"museum":995,"description":10866,"tags":10867,"thumbUrl":10868,"material":1001,"size":52,"collection":52,"collections":10869,"showCount":10702,"zanCount":1398,"manualWeight":39,"mainColor":40},220582,"xian-tao-qi-bai-shi-220582","仙桃","此作用色鲜亮泼辣，两枚寿桃以朱砂铺陈桃身，晕染出熟透的红润，留白与藤黄轻点桃腹，尽显饱满甜熟的质感，鲜活仿佛将欲滴浆。\n\n浓墨挥写桃叶藤蔓，线条苍劲老拙，墨色干湿浓淡富于层次，与暖艳的桃色形成鲜明对比，艳而不俗，厚重灵动兼具。扇面形制之下布局疏密得当，硕果垂坠于枝桠，暗含丰盈吉祥的意趣。\n题字笔墨雄健朴拙，与画面笔意融为一体，整幅小品简括大气，寥寥数笔便将物象生机与祝福意蕴尽皆抒发，尽显写意精髓。",[489,24,661,27,399,7,241,228,68,569],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcecf3a3089bcebf91a06cfe9e353c2e9.jpg",[],{"id":10871,"slug":10872,"title":10873,"dynasty":195,"author":1413,"museum":79,"description":10874,"tags":10875,"thumbUrl":10877,"material":109,"size":52,"collection":35,"collections":10878,"showCount":10702,"zanCount":39,"manualWeight":39,"mainColor":40},219224,"li-peng-qiu-zhan-zhao-ji-219224","栗蓬秋绽","墨叶扶疏间，栗蓬携尖刺静绽，外壳微裂处，嫩实隐现如珠。工笔细描的叶片脉络分明，墨色晕染出苍劲与柔润的层次，枝干线条如篆如隶，藏着书法般的骨力。秋意凝于绢素，既有院体画的精工写实，又含文人画的雅致韵致。一笔一画皆见对自然物态的深察，从刺尖的锋芒到叶脉的转折，皆细致入微，尽显宋画格物致知的精神，让秋之栗蓬的生机与静美，在方寸扇面间流转不息。",[23,1099,24,25,661,83,27,7,10876,228,452,68],"栗蓬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc547c3110157d019ed1ea0f90ee3b260.jpg",[35],{"id":10880,"slug":10881,"title":10882,"dynasty":195,"author":8623,"museum":1146,"description":10883,"tags":10884,"thumbUrl":10885,"material":109,"size":10886,"collection":112,"collections":10887,"showCount":10702,"zanCount":39,"manualWeight":39,"mainColor":4082},219199,"mei-que-shuang-e-tu-wang-ning-219199","梅鹊双鹅图","此图构图新颖,一支细长的枝杈贯穿全图,分叉垂直树干而上,树冠顶端有两只可爱的喜鹊停留.",[24,106,25,152,83,27,7,436,4503,3469,1951,185,167,1713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F381ee136b10d1f54c70e4e73a1c7fac0.jpg","168.5x93.4",[112],{"id":10889,"slug":10890,"title":706,"dynasty":195,"author":196,"museum":79,"description":10891,"tags":10892,"thumbUrl":10893,"material":109,"size":10894,"collection":35,"collections":10895,"showCount":10702,"zanCount":1398,"manualWeight":39,"mainColor":159},218863,"ke-si-hua-niao-zhou-yi-ming-218863","通经断纬的缂丝工艺，将荷塘清景织入方寸丝帛。墨绿丝线层叠出荷叶丰腴肌理，脉络宛然如活；粉白与淡红交织的荷花，或半绽含露，或含苞待放，姿态温婉。蜻蜓振翅悬于荷间，翅翼薄透感借丝线疏密巧妙呈现，仿佛下一秒便点破水面涟漪。水鸟嬉戏碧波，尾羽轻扫，漾开的细纹用浅蓝丝线勾勒，柔婉灵动。整幅作品清幽静谧，尽显宋人的雅致审美，每缕丝缕凝注匠人心血，于无声处传递自然生机与工艺之妙，是宋代缂丝艺术中含蓄隽永的佳作。",[709,27,7,467,292,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbe16873c733f5f22048f0f9f3cffd96.jpg","75.8x81.7cm",[35],{"id":10897,"slug":10898,"title":10899,"dynasty":18,"author":1209,"museum":135,"description":1508,"tags":10900,"thumbUrl":10901,"material":275,"size":276,"collection":52,"collections":10902,"showCount":158,"zanCount":39,"manualWeight":39,"mainColor":40},290423,"shan-hu-zhu-tu-wu-chang-shuo-290423","珊瑚珠图",[23,24,106,25,152,27,7,2873,580,186,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2766eac4a62e51b7669d8120e882a655.jpg",[],{"id":10904,"slug":10905,"title":10906,"dynasty":60,"author":1681,"museum":135,"description":10907,"tags":10908,"thumbUrl":10909,"material":275,"size":276,"collection":52,"collections":10910,"showCount":158,"zanCount":39,"manualWeight":39,"mainColor":159},290150,"qiu-lu-fu-rong-tu-lv-ji-290150","秋鹭芙蓉图","画中芙蓉花开正盛，摇曳的残荷与挺拔的莲蓬示意着秋天的到来。柳树从画面右侧突兀而入，枝叶茂盛挺拔，枝上柳叶繁而不乱，疏密得当，层次分明。画中三只白鹭，或栖止，或飞翔，上下呼应，造型准确，形态生动。其中一只栖息在岸边，正回过头向着空中飞翔着的同伴鸣叫，而空中的一只似乎也听到了呼唤，正盘旋而下，与伙伴会合，另一只仿佛也正寻见叫声紧跟而下。三只白鹭所连接起来的弧形曲线与柳枝弯曲的线条相对应，在画面上形成了强烈的动感。",[24,106,7,83,27,4820,291,49,167,1333],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb9262e1e5ebf6b0387a9924cedf7acc.jpg",[],{"id":10912,"slug":10913,"title":10914,"dynasty":119,"author":1603,"museum":135,"description":10915,"tags":10916,"thumbUrl":10917,"material":275,"size":276,"collection":52,"collections":10918,"showCount":158,"zanCount":1398,"manualWeight":39,"mainColor":159},289966,"hu-lu-hua-ping-chen-lin-289966","葫芦花瓶","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[23,24,106,152,83,27,7,686,29,518,1606],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3986e6cdba5c8fe3cba11a642ea6fec6.jpg",[],{"id":10920,"slug":10921,"title":10922,"dynasty":148,"author":2531,"museum":135,"description":9082,"tags":10923,"thumbUrl":10924,"material":275,"size":276,"collection":52,"collections":10925,"showCount":158,"zanCount":39,"manualWeight":39,"mainColor":159},289771,"zhu-lin-bo-ge-tu-wei-zuo-huang-quan-289771","竹林鹁鸽图（伪作）",[23,24,25,7,152,83,27,185,167,9706],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c829119b7ec6055354e9e93d522d247.jpg",[],{"id":10927,"slug":10928,"title":10929,"dynasty":148,"author":10930,"museum":135,"description":10931,"tags":10932,"thumbUrl":10934,"material":275,"size":276,"collection":52,"collections":10935,"showCount":158,"zanCount":1398,"manualWeight":39,"mainColor":159},287651,"zhu-mei-han-que-tu-huang-quan-287651","竹梅寒雀圖","黃筌","雪寒中，朱连雀、桑鳲、八哥、麻雀栖于梅竹枝蔓中，此项题材、布景，可见于《边文进三友百禽》。从画幅横大于纵，与一般立轴纵大于横，有所不同，或许原本为一大画幅，因残破割裂而成者。画中绿竹竿，每节以重笔勾勒，连节处虚空，这种画法，亦见于边氏作风。八哥羽毛，其墨黑如碳，一般是以灯炱加胶所成，枝干留有残雪，用破笔沾白粉戳出，其法亦见于吕纪诸画中。就风格论，该画出于明人，为边文进、吕纪一系画家所作。",[23,106,24,83,27,7,436,185,167,2100,10933],"寒景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa14118190dbdfe894df2a5227c61b998.jpg",[],{"id":10937,"slug":10938,"title":10939,"dynasty":60,"author":830,"museum":135,"description":5838,"tags":10940,"thumbUrl":10941,"material":275,"size":276,"collection":52,"collections":10942,"showCount":158,"zanCount":39,"manualWeight":39,"mainColor":40},235803,"luo-hua-you-yu-tu-shan-chen-chun-235803","落花游鱼图扇",[661,27,64,399,7,186,123,357,6906,3738],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b063b4f738948ec89dde7314392fb68.jpg",[],{"id":10944,"slug":10945,"title":10946,"dynasty":18,"author":196,"museum":135,"description":10947,"tags":10948,"thumbUrl":10949,"material":275,"size":276,"collection":52,"collections":10950,"showCount":158,"zanCount":39,"manualWeight":39,"mainColor":40},235609,"niu-shi-hui-he-ya-tu-zhou-yi-ming-235609","牛石慧荷鸭图轴","此作用水墨写就秋塘小景，留白空阔清寂。以淋漓泼墨挥写荷叶，浓淡层叠，枯湿相济：舒展的大叶墨色沉浑尽显饱满生机，残荷则笔意简劲，自带清秋萧疏之态。\n\n游鸭以焦墨勾定轮廓，淡墨晕染羽色，憨然浮于水面，俯仰间野趣自生。水面仅以细碎墨点、短线轻勾，清浅灵动，衬出水塘的空静。右上角题字笔力苍朴，与画面浑融一体。\n\n整幅不作繁复刻画，却以极简笔墨尽抒秋塘疏朗雅逸之致，以形写神，尽显写意水墨以少胜多的精妙意趣。",[24,152,64,7,467,1168,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3338331e1a2764fd325c249421dcbcf6.jpg",[],{"id":10952,"slug":10953,"title":10954,"dynasty":18,"author":5324,"museum":135,"description":10955,"tags":10956,"thumbUrl":10957,"material":52,"size":52,"collection":52,"collections":10958,"showCount":158,"zanCount":39,"manualWeight":39,"mainColor":40},234520,"hua-niao-wan-shan-zhu-cheng-234520","花鸟纨扇","朱偁[清]（1826—1900，一作1826—1899）清代画家，早岁名琛，后更今名，字梦庐，号觉未，别署鸳湖散人、玉溪外史、玉溪钓者、鸳湖画史、胥山樵叟，浙江嘉兴人。熊弟。工花鸟，初法张熊，暇辄借临，熊自视几不能辨。及王礼得名以超脱胜张熊之工细，遂改从礼，兼得张画之华瞻工细与王画之超脱飘逸，神似华喦，成为名家，在上海书画界享有盛誉。题字款识，莫不酷似。晚年精进，惜未脱霸气。间仿华岩亦得其神似，卒年七十五（一作七十四）。\n事迹收录于《海上墨林》、《桐阴复志》、《近代六十名家画传》 。",[24,25,661,27,83,7,186,65,29,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29f6db911ad00282fc6ef5a8e0e78eae.jpg",[],{"id":10960,"slug":10961,"title":59,"dynasty":18,"author":2441,"museum":251,"description":2442,"tags":10962,"thumbUrl":10963,"material":412,"size":52,"collection":52,"collections":10964,"showCount":158,"zanCount":39,"manualWeight":39,"mainColor":40},234314,"hua-niao-ce-ma-yuan-yu-234314",[24,27,7,107,26,399],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf1894feeb0c60b378b1fc1eb0e4de89.jpg",[],{"id":10966,"slug":10967,"title":9742,"dynasty":60,"author":10968,"museum":135,"description":10969,"tags":10970,"thumbUrl":10971,"material":412,"size":52,"collection":52,"collections":10972,"showCount":158,"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。",[23,24,82,25,83,27,7,29,49,107,516,286,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb24494b2d5604dc9bc0f9237bdad182.jpg",[],{"id":10974,"slug":10975,"title":10976,"dynasty":195,"author":553,"museum":251,"description":10977,"tags":10978,"thumbUrl":10979,"material":1595,"size":10980,"collection":52,"collections":10981,"showCount":158,"zanCount":1398,"manualWeight":39,"mainColor":159},234009,"pu-tao-cao-chong-tu-ye-lin-chun-234009","葡萄草虫图页","图绘葡萄累累垂挂，蜻蜓、螳螂、蝈蝈、蝽象伏于藤蔓绿叶间，画家以小幅的画面抒写了一幅生机盎然的田园景致。昆虫以双勾填彩法绘制，用线刚柔相济，既准确地勾勒出秋虫或动或静的各种体态和神情，又将昆虫翅膀的轻薄或外壳的坚硬等不同的质感表露无遗，显示出作者敏锐的观察力和精于细节表现的绘画功底。在色彩上，敷色轻淡，深得造化之妙，葡萄藤的藤尖点染红色以示其新生初发之嫩，叶子的边缘略以褐色渲染，表明叶片饱经浓霜重露之貌。这种合乎自然规律的晕染与其求实写真的线条相得益彰，具有宋代院体工笔画的鲜明特色。",[24,106,25,7,661,83,27,2912,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F749b5dc78e09cc13d321b8999ca74329.jpg","纵26.2厘米，横27厘米",[],{"id":10983,"slug":10984,"title":10985,"dynasty":195,"author":2152,"museum":135,"description":10986,"tags":10987,"thumbUrl":10988,"material":52,"size":52,"collection":52,"collections":10989,"showCount":158,"zanCount":39,"manualWeight":39,"mainColor":159},227714,"wu-niao-tu-mu-xi-227714","乌鸟图","牧溪的作品在日本的地位非常高，很多画友们形容他在国内的名气不怎么大。那是因为他的大部分作品流传到了日本，所以他的绘画在日本的艺术界堪称神作。\n\n好的作品流传到了国外，在国内与众多古代画家相比自然就不占优势了，所以牧溪在国内感觉不怎么受待见。\n但真正研究古画的人，看过了牧溪的作品之后形容他的艺术绘画成就超过了八大山人，八大山人朱耷的作品甚至有可能是模仿了牧溪。\n\n南宋牧溪的作品有多牛？下面我们一起来欣赏一下这一张被美国克里夫兰艺术博物馆珍藏着的《乌鸟》图。\n这一张作品的绘画还是一如既往的牧溪的绘画风格，简单而且不多用笔，画法也是十分的简单。但作品经过了几百年之后，大家看到了牧溪的作品真的是称赞不绝于口。\n\n南宋牧溪的这幅神作：画鸟不画其首，笔墨又飒又寂寥！\n先不评画，很多人看到了这一张作品之后，看到了画中那一只“无头”乌鸟之后留言：为构图真的是绝了，牧溪当时是怎么画出来的，很想知道他在什么样的环境之下创作出来的。\n\n这笔法，真的是又飒又寂寥！有些作品真的是凭意境取胜，别不服古人，现代人真的很难画出来。\n\n不知道大家看这一张牧溪的小鸟图感觉怎么样，真可以说是国画艺术的天花板了吧。画面中乌鸟不见其首，很明显是躲在了自己的翅膀之下，它懒得起飞，整个意境感很强。\n\n本来作品就够寂寥了，再加上作品的右下边有大面积的留白，画面更显得空寂了。这构图，随笔点墨而成，意思简单，不费妆缀。\n\n绘画的细节可以说是质朴到了极点，不该多的东西一样也不多，该少的东西也不会偷懒不画。简单的笔墨，但牧溪的作品给人一种素，空寂，清高雅致的感觉，相信文人墨客都喜欢这一类的作品吧。",[24,25,64,399,7,167,4419,3480],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2fa3546d9a7f85189bc229558c77b1b.jpg",[],{"id":10991,"slug":10992,"title":10993,"dynasty":18,"author":1475,"museum":135,"description":10994,"tags":10995,"thumbUrl":10996,"material":52,"size":52,"collection":52,"collections":10997,"showCount":158,"zanCount":39,"manualWeight":39,"mainColor":40},224377,"hua-hui-qi-shi-ce-shi-er-kai-7-ju-lian-224377","花卉奇石册-十二开-7","此帧小品清隽雅致，以淡墨皴写湖石，瘦透间带玲珑孔洞，苍朴石色晕染出经年古意，苔迹隐现似藏时光痕迹。石畔新抽的嫩株以没骨晕染，心形叶片从墨绿到浅碧过渡柔润通透，细劲叶脉勾勒出鲜活生机。\n\n两只丹红斑黑的瓢虫悄悄栖止，一在叶端一在石巅，静中生趣，将幽寂小景晕开鲜活意趣。全画笔简意足，设色秀雅柔和，把案头清供的恬然闲趣尽数铺陈，尺幅虽小，却将文人雅室的幽谧诗意凝于画面，尽显雅致侘寂的小帧佳韵。",[23,24,25,26,27,68,7,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6982ad98498646a071e78689c3bf1bf.jpg",[],{"id":10999,"slug":11000,"title":11001,"dynasty":195,"author":841,"museum":306,"description":11002,"tags":11003,"thumbUrl":11004,"material":1595,"size":11005,"collection":35,"collections":11006,"showCount":158,"zanCount":39,"manualWeight":39,"mainColor":159},221190,"xue-mei-tu-ye-ma-lin-221190","雪梅图页","《雪梅图》中梅花枝条从左上角斜逸而出，伸向右下角，枝条纤细有骨力。梅花以墨线勾勒，浓墨点出花苞，枝条上和花瓣上尤有雪痕。整体观之，疏影横斜，暗香浮动，耐人揣摩",[23,106,24,25,661,27,7,436,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9feb1bb92a02678ce933bdbe405dd03d.jpg","30x31",[35,112],{"id":11008,"slug":11009,"title":11010,"dynasty":60,"author":4655,"museum":9221,"description":11011,"tags":11012,"thumbUrl":11013,"material":6535,"size":11014,"collection":35,"collections":11015,"showCount":158,"zanCount":39,"manualWeight":39,"mainColor":159},219333,"gu-song-shuang-que-tu-lin-liang-219333","古松双鹊图","在这幅画中，两只喜鹊爬上一根松枝，寓意吉祥。 笔墨笔墨爽朗，为后世水墨花鸟画的发展树立了典范。",[23,24,64,399,152,7,782,4503,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5813e37306a3d1eca136d2b6f4a716c.jpg","纵140横75厘米",[35],{"id":11017,"slug":11018,"title":11019,"dynasty":195,"author":196,"museum":45,"description":11020,"tags":11021,"thumbUrl":11022,"material":109,"size":52,"collection":35,"collections":11023,"showCount":158,"zanCount":39,"manualWeight":39,"mainColor":159},218622,"dou-que-tu-yi-ming-218622","斗雀图","翅羽翻飞如墨染云团，喙爪相搏间迸出野性张力。两只雀鸟凝眸对峙，每根翎毛都透着较劲的劲儿——墨色浓淡勾绒羽之软，焦墨点染翅尖之利，连尾羽弧度都带着不甘示弱の倔强。旁侧野菊舒蕊，兰叶斜欹，石苔细点铺就，似能闻露水滴落轻响。静穆草木与躁动生灵相映，恰是宋代小品妙趣：笔墨简劲却藏入微观察，将小生灵瞬间酣斗定格为古绢上鲜活永恒。泛黄绢色里时光凝住，只留这场雀鸟嬉戏，在雅致构图中透出自然生趣与生命蓬勃。\n\n（注：此处の为日式助词？不，换回来，用“的”更合适。修改：连尾羽弧度都带着不甘示弱的倔强。）\n\n调整后：\n\n翅羽翻飞如墨染云团，喙爪相搏间迸出野性张力。两只雀鸟凝眸对峙，每根翎毛都透着较劲的劲儿——墨色浓淡勾绒羽之软，焦墨点染翅尖之利，连尾羽弧度都带着不甘示弱的倔强。旁侧野菊舒蕊，兰叶斜欹，石苔细点铺就，似能闻露水滴落轻响。静穆草木与躁动生灵相映，恰是宋代小品妙趣：笔墨简劲却藏入微观察，将小生灵瞬间酣斗定格为古绢上鲜活永恒。泛黄绢色里时光凝住，只留这场雀鸟嬉戏，在雅致构图中透出自然生趣与生命蓬勃。\n\n完美，符合所有要求。\u003C\u002Fthink_never_used_51bce0c785ca2f68081bfa7d91973934>翅羽翻飞如墨染云团，喙爪相搏间迸出野性张力。两只雀鸟凝眸对峙，每根翎毛都透着较劲的劲儿——墨色浓淡勾绒羽之软，焦墨点染翅尖之利，连尾羽弧度都带着不甘示弱的倔强。旁侧野菊舒蕊，兰叶斜欹，石苔细点铺就，似能闻露水滴落轻响。静穆草木与躁动生灵相映，恰是宋代小品妙趣：笔墨简劲却藏入微观察，将小生灵瞬间酣斗定格为古绢上鲜活永恒。泛黄绢色里时光凝住，只留这场雀鸟嬉戏，在雅致构图中透出自然生趣与生命蓬勃。",[23,106,24,25,83,27,7,2100,517,186,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba0aefe9c75944a321bf250100378bff.jpg",[35],{"id":11025,"slug":11026,"title":2880,"dynasty":195,"author":305,"museum":79,"description":7139,"tags":11027,"thumbUrl":11028,"material":275,"size":276,"collection":52,"collections":11029,"showCount":11030,"zanCount":39,"manualWeight":39,"mainColor":40},290311,"sui-chao-tu-zhou-zhao-chang-290311",[106,24,25,152,83,27,7,107,518,186,31,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb52957ae581f17b47d34d35a52e539e8.jpg",[],46,{"id":11032,"slug":11033,"title":2880,"dynasty":60,"author":1661,"museum":135,"description":11034,"tags":11035,"thumbUrl":11036,"material":275,"size":276,"collection":52,"collections":11037,"showCount":11030,"zanCount":1398,"manualWeight":39,"mainColor":40},290307,"sui-chao-tu-zhou-bian-wen-jin-290307","边文进，字景昭，福建沙县人。诸画史皆谓为陇西（今甘肃）人。盖边姓旧出陇西，题款或署其故郡，遂至传讹。与吕纪齐名。\n永乐（一四○三至一四二四）间召至京师授武英殿待诏。至宣德（一四二六至一四三五）间仍供事内殿。为人夷旷洒落，善绘事，尤精于花鸟。花之娇藉，不但钩勒有笔，其用墨无不合宜。宋、元之后殆其人矣。有三友百泰图见故宫名画集。《图绘宝鉴续纂、沙县志、延平县志、明画录、无声诗史、四友斋丛说》。所画的翎毛与蒋子诚的人物、赵廉的虎，曾被称为“禁中三绝”。",[24,106,152,27,7,83,436,782,518,7083,68,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ab93eeb8b340c282d279f6ec88b49db.jpg",[],{"id":11039,"slug":11040,"title":11041,"dynasty":18,"author":196,"museum":135,"description":7921,"tags":11042,"thumbUrl":11045,"material":275,"size":276,"collection":52,"collections":11046,"showCount":11030,"zanCount":1398,"manualWeight":39,"mainColor":40},270159,"zhe-se-sha-xiu-qiu-hai-tang-hua-tu-mian-wu-mu-diao-hua-bing-tuan-shan-yi-ming-270159","赭色纱绣秋海棠花图面乌木雕花柄团扇",[661,7,11043,11044,7923,7445,6687,4054],"秋海棠","纱绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F820052132890f2b23ca53cf203398173.jpg",[],{"id":11048,"slug":11049,"title":4877,"dynasty":18,"author":4878,"museum":135,"description":11050,"tags":11051,"thumbUrl":11052,"material":52,"size":52,"collection":52,"collections":11053,"showCount":11030,"zanCount":39,"manualWeight":39,"mainColor":40},239087,"si-ji-hua-hui-ping-zhang-xiong-239087","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",[24,25,152,27,7,436,185,518,65,186,18],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ce344acb81c42a71b0d0c6bdde720fd.jpg",[],{"id":11055,"slug":11056,"title":2490,"dynasty":18,"author":2491,"museum":135,"description":2492,"tags":11057,"thumbUrl":11058,"material":275,"size":276,"collection":52,"collections":11059,"showCount":11030,"zanCount":39,"manualWeight":39,"mainColor":40},239061,"shan-shui-hua-niao-ce-yang-jin-239061",[24,25,26,64,7,436,65,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe891ac60b5d32342d48e1d85f1585b35.jpg",[],{"id":11061,"slug":11062,"title":11063,"dynasty":18,"author":317,"museum":135,"description":11064,"tags":11065,"thumbUrl":11066,"material":275,"size":276,"collection":35,"collections":11067,"showCount":11030,"zanCount":39,"manualWeight":39,"mainColor":40},238386,"dong-gao-tao-li-yi-shou-tu-xiao-ce-dong-gao-238386","董诰陶篱益寿图小册","董诰（1740—1818年），字雅伦，号蔗林，清浙江富阳人。乾隆二十八年（1763年）进士，官至内阁学士，充四库馆副总裁。甚得高宗、仁宗宠遇。朝廷编修，多有由其主持者。善画。谥文恭。著有《满洲源流考》、《高宗实录》等。",[24,25,26,27,83,7,517,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0eb8691a4eb4254aa7a1767cfe05698c.jpg",[35,112],{"id":11069,"slug":11070,"title":11071,"dynasty":18,"author":317,"museum":135,"description":3823,"tags":11072,"thumbUrl":11073,"material":275,"size":276,"collection":786,"collections":11074,"showCount":11030,"zanCount":39,"manualWeight":39,"mainColor":40},238331,"hua-hong-li-si-ji-lan-shi-yi-ce-dong-gao-238331","画弘历四季兰诗意册",[24,25,26,27,83,436,254,686,569,68,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9557078f5bed9b33308411e988eb0b40.jpg",[786,112],{"id":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，水墨","纵91.8cm，横49.5cm",[],{"id":11093,"slug":11094,"title":59,"dynasty":18,"author":793,"museum":251,"description":4926,"tags":11095,"thumbUrl":11096,"material":1595,"size":4929,"collection":52,"collections":11097,"showCount":11030,"zanCount":1398,"manualWeight":39,"mainColor":40},232972,"hua-niao-ce-lang-shi-ning-232972",[24,25,26,83,27,31,68,7,226,228,358,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb51a29033cad5a16e9df56e5c4465f8c.jpg",[],{"id":11099,"slug":11100,"title":11101,"dynasty":119,"author":120,"museum":45,"description":11102,"tags":11103,"thumbUrl":11104,"material":845,"size":11105,"collection":52,"collections":11106,"showCount":11030,"zanCount":1398,"manualWeight":39,"mainColor":159},232831,"xie-sheng-cao-chong-tu-juan-qian-xuan-232831","写生草虫图卷","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。",[23,24,25,82,27,83,240,7,213,227,228,29,242,808,68,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b6e400748db309145ac39941fe71144.jpg","34x310厘米",[],{"id":11108,"slug":11109,"title":11110,"dynasty":60,"author":196,"museum":135,"description":11111,"tags":11112,"thumbUrl":11113,"material":845,"size":11114,"collection":52,"collections":11115,"showCount":11030,"zanCount":678,"manualWeight":39,"mainColor":159},232605,"zhu-zhi-tang-lang-tu-ye-yi-ming-232605","竹枝螳螂图页","古人认为，螳螂是饮风食露的草虫，于深秋产卵，在芒种初候阴气产生时破壳生长。",[24,27,83,185,494,186,68,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc943d63001ea01c7ad8a4d2c85125971.jpg","23×239cm",[],{"id":11117,"slug":11118,"title":11119,"dynasty":60,"author":683,"museum":135,"description":11120,"tags":11121,"thumbUrl":11122,"material":52,"size":52,"collection":52,"collections":11123,"showCount":11030,"zanCount":39,"manualWeight":39,"mainColor":40},228838,"lian-hua-dou-jia-tu-ce-shen-zhou-228838","莲花豆荚图册","此作用笔松秀淡逸，以清浅墨色晕染果实，晕化柔和雅致，墨色层次疏淡清润，墨点点缀其上，朴拙天真，尽得果实鲜活意态。枝叶以枯淡墨线勾勒，笔致苍劲随性，不求描摹工细，却将叶片舒展之姿尽显，枯荣之态暗含其间。\n画面留白开阔疏朗，以简驭繁，尽显文人写意的简淡风骨，将日常乡野小景，绘出悠然清逸的林下意趣，平淡之中藏着天真雅致的文人心境，笔底全是松弛自在的闲适之味。",[23,106,24,25,26,64,7,5848,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6db9f55c64cddb22c8eac5284a05317e.jpg",[],{"id":11125,"slug":11126,"title":552,"dynasty":148,"author":1776,"museum":135,"description":11127,"tags":11128,"thumbUrl":11129,"material":52,"size":52,"collection":52,"collections":11130,"showCount":11030,"zanCount":39,"manualWeight":39,"mainColor":159},227439,"pi-pa-shan-niao-tu-huang-quan-227439","宋徽宗名下流传至今的绘画作品面貌多样，既有雍容典雅的重彩工笔，也有古拙朴茂的粗笔水墨。所以历来对其真伪归属多有争论可谓画史的一段公案，一般认为工丽细致的院体风格是他人代笔或是御题画，而朴拙一路则是徽宗亲笔真迹。现藏于北京故宫博物院的《枇杷山鸟图》是学界一致公认的宋徽宗赵佶的真迹之一。本画为绢本设色，纵22.6厘米，横24.5厘米，画上题有“天下一人”的御笔花押。此幅《枇杷山鸟图》设色极淡，又因年代久远几乎不能分辨，看上去就如同单纯的水墨画一般。画中景物工写相参，渲染精细，犹如黑白老照片，在宋代绘画中别具一格。",[23,106,24,25,83,27,7,556,7033,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43bc94a04488f0b800bfb8c8250fa6ac.jpg",[],{"id":11132,"slug":11133,"title":11134,"dynasty":148,"author":2531,"museum":135,"description":11135,"tags":11136,"thumbUrl":11137,"material":275,"size":276,"collection":52,"collections":11138,"showCount":11030,"zanCount":39,"manualWeight":39,"mainColor":159},226153,"xie-sheng-zhen-qin-quan-juan-huang-quan-226153","写生珍禽全卷","黄筌是五代时期最有名的宫廷画家，一个在前蜀、后蜀画院任职40年的大画家，入宋后，又得到宋太祖的激赏。入宋百年一直把他的笔法当作画院画家作画的模范。宋代《宣和画谱卷十八》记载：“祖宗以来，图画院之较艺者，必以黄筌父子笔法为程序……”\n黄筌画出来的画，上自皇帝下至走卒，没有不连声赞叹的。而他留下来的这幅画稿《写生珍禽图卷》，也同样是技巧精湛、内涵丰实、人人叹服的绝世之作。\n这幅画中，画了24只小生物，都是珍禽异鸟。它们在皇宫中受到细心的养护，品种优良，造型独特，有的五彩斑斓，眩人耳目。黄筌在宫中画院任职，能够利用画院的便利条件，观察这些珍禽异鸟，而把它们揽入他的绢素中。\n也许有人会说这幅画没有意境，没有布局章法，鸟、虫都自顾自的，没有交集。其实没布局是有其道理的，因为这是画稿嘛，不是完整独立的画作，只是针对个别鸟虫而画，初学者基本上能掌握住这些生物的外形、动态就行。\n这24只小生命像图鉴般被安置在一方小小绢布上，不但不见拥挤、单调，反倒觉得谐和热闹，视觉上也很赏心悦目。",[23,24,106,82,83,27,240,7,167,2100,1779,242,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc941f2cb06acdd7b030fbea827f9f0e.jpg",[],{"id":11140,"slug":11141,"title":11142,"dynasty":18,"author":1475,"museum":135,"description":11143,"tags":11144,"thumbUrl":11145,"material":52,"size":52,"collection":52,"collections":11146,"showCount":11030,"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。",[23,24,25,26,27,83,7,518,186,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe76c2edb1768b60a8a2314d604f95911.jpg",[],{"id":11148,"slug":11149,"title":11150,"dynasty":60,"author":61,"museum":79,"description":11151,"tags":11152,"thumbUrl":11153,"material":27,"size":11154,"collection":35,"collections":11155,"showCount":11030,"zanCount":39,"manualWeight":39,"mainColor":40},222138,"fu-rong-hua-tu-sun-ke-hong-222138","芙蓉花图","孙克弘，晚明时士夫画家，官至汉阳知府，多才艺，山水、花鸟、人物、仙佛无不擅长，万历时极享盛誉。此扇写溪头景色，芙蓉正开，芦花染赭，参差掩映，野趣可人。",[23,24,661,27,7,291,66,4327],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F603131f0ebc82cf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刻画生动，鸟兽造型精准。 兰花的叶子像水草一样飘扬，很有装饰性。 虽然不能确定是李安忠所绘，但也是宋元时期的杰作。",[23,106,24,25,152,83,27,7,167,186,455,226,3480,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac72a55ea3763e691c05bcb488667755.jpg","纵96横43.8厘米",[202,35,112],{"id":11196,"slug":11197,"title":11198,"dynasty":195,"author":1838,"museum":2855,"description":11199,"tags":11200,"thumbUrl":11201,"material":109,"size":11202,"collection":35,"collections":11203,"showCount":11030,"zanCount":39,"manualWeight":39,"mainColor":40},219088,"xue-qin-tu-cui-bai-219088","雪禽图","这幅画的是河岸边树杆折断，一旁杂草叶片已枯黄，藤杆上覆盖着一层薄雪，一只灰北白肚鸟儿立于细藤上，尾翎修长，扭头尖喙咬住羽毛，半眯的眼睛似乎在沉睡中。",[24,25,661,7,83,27,65,452,2858,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3706dae6af508fd6c7d4846d57c4de27.jpg","23.5x22.2cm",[35],{"id":11205,"slug":11206,"title":11207,"dynasty":119,"author":447,"museum":2373,"description":11208,"tags":11209,"thumbUrl":11211,"material":109,"size":52,"collection":35,"collections":11212,"showCount":11030,"zanCount":1398,"manualWeight":39,"mainColor":159},219067,"ying-sun-tu-ren-ren-fa-219067","鹰隼图","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。",[106,24,83,27,152,2227,11210,1841,6155,29,90,7],"隼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81e640e66b80da72ad388df45295a7d4.jpg",[35],{"id":11214,"slug":11215,"title":11216,"dynasty":18,"author":11217,"museum":368,"description":11218,"tags":11219,"thumbUrl":11220,"material":109,"size":11221,"collection":35,"collections":11222,"showCount":11030,"zanCount":800,"manualWeight":39,"mainColor":159},219032,"tao-que-tu-xia-wen-xuan-219032","桃雀图","夏文铉","绢本泛黄如时光沉淀的暖光，数只雀鸟或栖枝梳羽，或振翅欲飞，羽色赭褐与墨黑相间，神态鲜活灵动。梅枝疏朗横斜，淡粉花瓣点染梢头，似携清寒暗香；松针苍劲如笔，与柔枝相映成趣。画面留白开阔，笔墨简淡却意韵悠长，将禽鸟的生趣与花木的清雅融于一方素绢，尽显文人画的雅致风骨。观之令人心宁神悦，仿佛触到了春日的轻暖气息，于细微处见生机，于简淡中藏深情，是一幅兼具意趣与格调的佳作。",[23,106,24,25,83,27,7,123,5475,3460],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F282866ed8d516c58dc487f5bdc68d7c8.jpg","纵39.1横26.5厘米",[35],{"id":11224,"slug":11225,"title":11226,"dynasty":195,"author":196,"museum":79,"description":11227,"tags":11228,"thumbUrl":11229,"material":109,"size":11230,"collection":202,"collections":11231,"showCount":11030,"zanCount":39,"manualWeight":39,"mainColor":159},218692,"an-he-tu-yi-ming-218692","安和图","在秋天的风景中，草和叶子变黄，野高粱的茎上长满了穗子。在茎叶下，五只鹌鹑在其中休息，而另外四只鸟则在上面栖息，为自己的羽毛做准备或啄食谷物。虽然这幅画没有作者的签名，但构图合理，所有物体都栩栩如生，所以它一定是出自艺术家之手。鹌鹑的造型与北宋崔訢的《七夕鹌鹑图》相似，而高粱则与明代陆机的《草花野禽图》相似，但《草花野禽图》的笔法显然更富变化，而这幅画则具有南宋的流畅细腻风格。它也被称为 安和，因为 鹑 和 安、和 和 和 是同音字，使它成为一部吉祥之作。",[23,24,25,106,83,27,7,1855,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8456b5937e15cbbc97e3c44852831d14.jpg","105.4x51.6",[202],{"id":11233,"slug":11234,"title":11235,"dynasty":60,"author":683,"museum":2373,"description":2374,"tags":11236,"thumbUrl":11237,"material":534,"size":52,"collection":52,"collections":11238,"showCount":11030,"zanCount":39,"manualWeight":39,"mainColor":40},214921,"mo-hua-ce-6-shen-zhou-214921","墨花册-6",[23,24,64,26,7,243,66,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F743de8157bbf41abd69a8e9238bbd3b2.jpg",[],{"id":11240,"slug":11241,"title":11242,"dynasty":18,"author":1487,"museum":135,"description":1990,"tags":11243,"thumbUrl":11244,"material":275,"size":276,"collection":52,"collections":11245,"showCount":11246,"zanCount":39,"manualWeight":39,"mainColor":40},290317,"hua-sui-chao-tu-zhou-jiang-ting-xi-290317","画岁朝图轴",[24,152,106,25,27,83,7,107,518,5524,1212,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0ccadc1ef0f0c75e51a73bcab26a1f7.jpg",[],45,{"id":11248,"slug":11249,"title":11250,"dynasty":18,"author":381,"museum":135,"description":6805,"tags":11251,"thumbUrl":11252,"material":275,"size":276,"collection":52,"collections":11253,"showCount":11246,"zanCount":39,"manualWeight":39,"mainColor":40},287931,"teng-hua-ying-wu-ren-yi-287931","藤花鹦鹉",[24,661,83,27,7,3572,856,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f64c4d32fd0519c29062015ed843b48.jpg",[],{"id":11255,"slug":11256,"title":611,"dynasty":148,"author":11257,"museum":79,"description":11258,"tags":11259,"thumbUrl":11260,"material":275,"size":276,"collection":52,"collections":11261,"showCount":11246,"zanCount":800,"manualWeight":39,"mainColor":159},287656,"mu-dan-tu-teng-chang-you-287656","滕昌佑","滕昌佑，唐末五代画家。字胜华，本为吴（治今江苏苏州）人。唐广明元年十二月（公元881年）初黄巢起义军攻克长安，避乱随唐僖宗入蜀，卒年八十五。以文学从事。",[23,106,24,25,7,83,27,107,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff781bc47a080c289d7ae5eef5dcef720.jpg",[],{"id":11263,"slug":11264,"title":3224,"dynasty":18,"author":2441,"museum":135,"description":8115,"tags":11265,"thumbUrl":11266,"material":275,"size":276,"collection":35,"collections":11267,"showCount":11246,"zanCount":39,"manualWeight":39,"mainColor":40},239398,"hua-niao-tu-ce-ma-yuan-yu-239398",[24,25,26,64,27,7,436,254,569],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbbf29bd90c79214ba6d288bab877f2a.jpg",[35,112],{"id":11269,"slug":11270,"title":11271,"dynasty":18,"author":1209,"museum":135,"description":10018,"tags":11272,"thumbUrl":11273,"material":52,"size":52,"collection":35,"collections":11274,"showCount":11246,"zanCount":1398,"manualWeight":39,"mainColor":40},239223,"mo-mei-zhou-wu-chang-shuo-239223","墨梅轴",[24,25,152,64,7,436,68,569],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F616f4702c3bcf964d4d3612a77d98457.jpg",[35,734],{"id":11276,"slug":11277,"title":11278,"dynasty":18,"author":317,"museum":135,"description":3823,"tags":11279,"thumbUrl":11280,"material":275,"size":276,"collection":35,"collections":11281,"showCount":11246,"zanCount":1398,"manualWeight":39,"mainColor":40},238354,"hua-hui-xiao-ce-dong-gao-238354","花卉小册",[24,25,26,27,7,436,68,569],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34d50c13f022c4472099b3f84f506d57.jpg",[35,112],{"id":11283,"slug":11284,"title":11285,"dynasty":18,"author":1487,"museum":251,"description":11286,"tags":11287,"thumbUrl":11288,"material":52,"size":11289,"collection":35,"collections":11290,"showCount":11246,"zanCount":1398,"manualWeight":39,"mainColor":159},236196,"hua-mei-hua-xuan-ye-shu-fan-zhou-xi-hu-shi-cheng-shan-jiang-ting-xi-236196","画梅花玄烨书泛舟西湖诗成扇","蒋廷锡（1669—1732），字酉君、杨孙，号南沙、西谷，又号青桐居士，江苏常熟人，是清朝康熙、雍正时期官员、画家。",[24,25,661,436,569,7,27,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefea21cbd916e8e96569fa9ba15061da.jpg","纵34厘米，横56厘米",[35,112],{"id":11292,"slug":11293,"title":11294,"dynasty":18,"author":11295,"museum":135,"description":11296,"tags":11297,"thumbUrl":11298,"material":275,"size":276,"collection":52,"collections":11299,"showCount":11246,"zanCount":39,"manualWeight":39,"mainColor":40},236083,"ju-shi-hai-tang-tu-zhou-shen-huan-236083","菊石海棠图轴","沈焕","沈焕，字章明，上海人。工花卉，得徐、黄没骨法。",[24,25,152,27,83,7,517,169,662],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fa445bd5dc1caf7216292e7c19a92e9.jpg",[],{"id":11301,"slug":11302,"title":11303,"dynasty":195,"author":196,"museum":135,"description":11304,"tags":11305,"thumbUrl":11306,"material":52,"size":52,"collection":52,"collections":11307,"showCount":11246,"zanCount":39,"manualWeight":39,"mainColor":40},227832,"cong-ju-tu-ye-yi-ming-227832","丛菊图页","《丛菊图页》是南宋画家佚名创作的一幅绢本设色画。\n本幅无款。\n鉴藏印钤“□藤仙馆书画”、“云谷”、“□华宝有”，另有一印残。\n图绘秋菊一丛，红白相间，繁枝茂叶，生机勃发，不见肃杀秋意。\n花瓣用中锋细笔勾描，再以朱红或白粉晕染；花蕊用细笔点出；茂密的叶片或用赭石、或略入汁绿、或稍加藤黄染出，以示老嫩不同的色彩。\n花之欲开、盛开、将残，叶之翻卷及明暗向背，刻画得恰到好处。\n画风工致细腻，构图丰满，繁而不乱，密而不窒，设色艳而不俗，为南宋写生画佳作。",[23,106,24,25,26,83,27,7,517,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5312cc31255d3afb48112f73e8e7a3f.j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mainColor":159},228319,"san-you-si-xi-tu-bian-jing-zhao-228319","三友四喜图","此作用全景铺陈开卷，松挺竹劲梅娇，聚成岁寒三友之姿，群雀翔集枝梢，啾唧喧闹间衬出林野生机。四只喜鹊或栖或飞，墨白羽色鲜亮醒目，于群鸟中格外灵动。\n\n画师落笔精工写实，禽鸟翎毛细密柔润，根根分明；松竹梅的枝干皴擦细致，苍秀兼具。整幅画面动静交织，既见院体花鸟的细腻工致，又借三友暗喻君子风骨，以喜鹊托举祥瑞吉意，将雅致品格与喜庆意蕴融于一卷。",[23,24,83,27,7,167,185,436,782,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a9c628ba03bd30ead976aed52184f75.jpg",[],{"id":11437,"slug":11438,"title":11439,"dynasty":18,"author":1475,"museum":135,"description":11440,"tags":11441,"thumbUrl":11442,"material":52,"size":52,"collection":52,"collections":11443,"showCount":11366,"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。",[23,24,26,27,83,68,186,29,517,167,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c03336a008070491717018219acd353.jpg",[],{"id":11445,"slug":11446,"title":11447,"dynasty":18,"author":196,"museum":306,"description":11448,"tags":11449,"thumbUrl":11450,"material":295,"size":11451,"collection":52,"collections":11452,"showCount":11366,"zanCount":39,"manualWeight":39,"mainColor":159},223579,"yu-lan-kong-que-tu-yi-ming-223579","玉兰孔雀图","两只彩绘蓝羽孔雀，其中三只比湖石还多，宽大的尾巴在湖中显得更加美丽动人，有一点点蓝色像宝石一样立在上面，另一只藏在边石里 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[2]\n画中还有签名画押，据说是天下一人四字拼合而成。",[24,7,83,27,291,517,673,214,31,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53ed80cbf2e91b8137c11c7a56795b76.jpg",[],{"id":11513,"slug":11514,"title":10293,"dynasty":18,"author":853,"museum":135,"description":4025,"tags":11515,"thumbUrl":11516,"material":275,"size":276,"collection":52,"collections":11517,"showCount":11504,"zanCount":39,"manualWeight":39,"mainColor":40},239457,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239457",[24,26,83,27,7,289,227,228,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F890b258d7b2179aca0ace409e4e02f1c.jpg",[],{"id":11519,"slug":11520,"title":1989,"dynasty":18,"author":1487,"museum":135,"description":1990,"tags":11521,"thumbUrl":11522,"material":275,"size":276,"collection":52,"collections":11523,"showCount":11504,"zanCount":39,"manualWeight":39,"mainColor":40},239244,"mu-dan-shi-liu-zhong-ce-jiang-ting-xi-239244",[24,25,26,83,27,7,107,214,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee8cd875f8ac880b48dbab7264c27a44.jpg",[],{"id":11525,"slug":11526,"title":952,"dynasty":18,"author":530,"museum":135,"description":1352,"tags":11527,"thumbUrl":11528,"material":275,"size":276,"collection":52,"collections":11529,"showCount":11504,"zanCount":39,"manualWeight":39,"mainColor":40},237938,"za-hua-ce-zhu-da-237938",[24,25,26,64,569,399,7,213,66,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefc62b03cb8e858aebb63969a5919883.jpg",[],{"id":11531,"slug":11532,"title":11533,"dynasty":60,"author":11534,"museum":251,"description":11535,"tags":11536,"thumbUrl":11537,"material":295,"size":11538,"collection":35,"collections":11539,"showCount":11504,"zanCount":39,"manualWeight":39,"mainColor":40},236756,"mo-lan-tu-zhou-tian-qiu-236756","墨兰图","周天球","此图画墨兰一束，姿态婀娜，充满生意。兰叶潇洒舒展，穿插有致；花瓣随意点簇，淡雅秀美。行笔多转折，以中、侧笔锋互换，笔势一波三折，有挺有转，有断有续，有收有纵，清爽而秀雅，变化多端，生动地表现了兰草的质感和风韵，格调清新幽雅。",[24,25,64,254,186,7,627],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cf749fc13e7e1f98c4ffdd275619602.jpg","纵83cm，横33.5cm",[35,734],{"id":11541,"slug":11542,"title":5035,"dynasty":60,"author":11543,"museum":135,"description":11544,"tags":11545,"thumbUrl":11546,"material":412,"size":52,"collection":35,"collections":11547,"showCount":11504,"zanCount":39,"manualWeight":39,"mainColor":159},236125,"mei-hua-tu-zhou-chen-hui-236125","陈惠","“闻道梅花圻晓风，雪堆遍满四山中”，冬天的时节，又见梅花朵朵绽放，不由得把目光转向了一幅古画，名为《梅花图》(见图)。虽说冬季是个萧杀的季节，若是与寒冬腊月的一枝梅相遇，那心中的温暖与明朗是可想而知的。",[24,25,152,64,7,436,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71011ba15aabee3e3a21cf3aa2c9c2e9.jpg",[35,112],{"id":11549,"slug":11550,"title":11551,"dynasty":18,"author":11552,"museum":135,"description":11553,"tags":11554,"thumbUrl":11555,"material":275,"size":276,"collection":52,"collections":11556,"showCount":11504,"zanCount":1398,"manualWeight":39,"mainColor":40},234846,"hua-hui-tuan-shan-mian-mou-su-yun-234846","花卉团扇面","缪素筠","缪嘉蕙，清女。字素筠，昆明人，适同邑陈氏。光绪（一八七五至一九零八）中叶，慈禧太后忽怡情翰墨，学绘花卉，又作擘窠大字，常书福寿等字以赐大臣等。思行一二代笔妇人，乃诏各省觅之。时嘉蕙随夫宦蜀，夫死子幼，归滇，以弹琴、卖画为活。工翎毛、花卉，秀逸清雅，小楷亦楚楚合格。四川督抚乃驿送之京师。慈禧如试大喜，置诸左右，朝夕不离。并免其跪拜，赏三品服色，月奉二百金，遂为福昌殿供奉。自是慈禧所赏大臣花卉扇轴等物，均嘉蕙手笔。供奉而外伤产力所作，都人士兼金争购。卒年七十七。人称缪姑太。",[24,661,27,83,7,107,185,214,68,6687],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F019ffadf7fde2d722aa6a37981cc8565.jpg",[],{"id":11558,"slug":11559,"title":11560,"dynasty":18,"author":11561,"museum":135,"description":11562,"tags":11563,"thumbUrl":11564,"material":412,"size":52,"collection":35,"collections":11565,"showCount":11504,"zanCount":1398,"manualWeight":39,"mainColor":40},234276,"hua-guo-ce-wang-yun-234276","花果册","王云","王云，字汉藻，号清痴，一字雯庵，号竹里，江苏高邮人。斌子。楼台、人物近似仇英，康熙时驰名江、淮。写意山水，得沈周遗意。于朝，圣祖赏逾等。",[24,25,26,27,7,226,986,425,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff85e8fad369e11d4e7fbdfa5edef96eb.jpg",[35],{"id":11567,"slug":11568,"title":11569,"dynasty":195,"author":1413,"museum":251,"description":1545,"tags":11570,"thumbUrl":11571,"material":1595,"size":1548,"collection":52,"collections":11572,"showCount":11504,"zanCount":39,"manualWeight":39,"mainColor":159},232979,"fu-rong-jin-ji-tu-zhou-zhao-ji-232979","芙蓉锦鸡图轴",[24,106,152,83,27,7,291,673,214,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5116d76afa37a92bf68862f475326df6.jpg",[],{"id":11574,"slug":11575,"title":11576,"dynasty":195,"author":464,"museum":135,"description":11577,"tags":11578,"thumbUrl":11579,"material":275,"size":276,"collection":52,"collections":11580,"showCount":11504,"zanCount":1398,"manualWeight":39,"mainColor":40},230951,"liu-kai-jian-zi-tu-wu-bing-230951","榴开见子图","吴炳（公元12世纪），生卒年不详，毗陵武阳（今江苏常州）人，南宋光宗绍熙年间（1190-1194年）任画院待诏，是南宋院体花鸟画的代表性画家。\n代表作有《竹雀图》《写生荷花图（出水芙蓉图）》《罂粟图》《宝珠玉蝶图》《春池睡鸭图》《山茶鹁鸽图》等。",[24,106,25,83,27,7,570,65,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e9a16b335fa694e452ac55b07eb10c5.jpg",[],{"id":11582,"slug":11583,"title":11584,"dynasty":195,"author":11585,"museum":135,"description":11586,"tags":11587,"thumbUrl":11588,"material":52,"size":52,"collection":52,"collections":11589,"showCount":115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原本应该是一种具有实用功能的扇形面条，但后来以相册的形式转化为草图。 全幅双钩挂满，写有一株蜀葵（古称木槿），花苞无数，第二次绽放，布局和姿态自然生动。 比如花瓣的钩子和叶子的锯齿筋，笔刷都一展身手。 枝条、花萼、叶背也染上了青绿色和多汁的绿色，翻到一旁时，显得十分美丽和真实。 虽非作者印章，但画风具有宋代庭院花画的清秀特点，应该出自南宋画院专家之手。",[23,106,24,25,83,27,7,226,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb3504db8c782a0bf56ff3d8e7afbe96.jpg",[],{"id":11598,"slug":11599,"title":11600,"dynasty":148,"author":1929,"museum":135,"description":11601,"tags":11602,"thumbUrl":11603,"material":52,"size":52,"collection":52,"collections":11604,"showCount":11504,"zanCount":39,"manualWeight":39,"mainColor":159},227261,"hua-hui-xie-sheng-tu-ce-huang-ju-cai-227261","花卉写生图册","黄居寀(933—?),字伯鸾,成都(今属四川)人,五代后蜀名画家黄筌季子。擅绘花竹禽鸟,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。乾德三年(965)随蜀主降宋,进京供职宫廷,仍授翰林待诏,负责收罗和鉴定名画,淳化四年(993)曾出使成都府。太宗尤加宠遇,委以搜访名画、诠定品目只重责。",[106,24,25,26,27,83,7,29,214,240,517],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc391f878cf5f9eadb56dcc0c84f4c326.jpg",[],{"id":11606,"slug":11607,"title":11608,"dynasty":18,"author":237,"museum":135,"description":11609,"tags":11610,"thumbUrl":11611,"material":52,"size":52,"collection":52,"collections":11612,"showCount":11504,"zanCount":39,"manualWeight":39,"mainColor":159},224184,"hua-niao-cao-chong-tu-ba-03-hua-yan-224184","花鸟草虫图八-03","此作兼工带写，以淡逸之笔绘就秋日常景。瓜藤迤逦缠绕，墨竹穿插其间，劲挺竹叶以浓墨挥写，尽显清刚意态。没骨晕染的瓜叶鲜活舒展，浓淡过渡自然。赭色螳螂静伏叶间，秋虫攀附艳色黄花，草虫刻画细腻逼真，灵动如生。\n右上角题诗呼应画境，将秋野闲逸之趣融于诗画。整体设色柔和雅致，笔意松灵秀逸，把寻常小景晕染出诗意禅味，尽显文人写意的空灵隽秀，将秋日郊野的生机野趣娓娓道来。",[23,24,25,26,27,7,213,185,7648,425,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c969a769d5bae547a54eea345c4adb1.jpg",[],{"id":11614,"slug":11615,"title":11616,"dynasty":18,"author":11617,"museum":779,"description":11618,"tags":11619,"thumbUrl":11621,"material":256,"size":11622,"collection":35,"collections":11623,"showCount":11504,"zanCount":39,"manualWeight":39,"mainColor":159},222806,"hua-niao-zhen-qin-tu-you-cui-222806","花鸟珍禽图","尤萃","图绘山脚坡石之间，流溪如练，天竹数丛，卓秀多姿。野生蔷薇，随风摇曳。丛丛簇簇的幽兰，各放馨香。树下一双美雉，悠然唱和，美丽动人。石后文杏高耸，繁花缀满枝头，鹦鹉停息树梢，双燕穿飞花间。一个鸟语花香的世界。",[23,24,25,83,27,7,436,65,11620,90,226,66],"雉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1c8d78323e1e166ec5d52532c3a4c51.jpg","纵196.7cm，横96.5cm",[35,112],{"id":11625,"slug":11626,"title":11627,"dynasty":18,"author":793,"museum":79,"description":794,"tags":11628,"thumbUrl":11629,"material":27,"size":797,"collection":52,"collections":11630,"showCount":11504,"zanCount":39,"manualWeight":39,"mainColor":40},222728,"xian-e-chang-chun-tu-hai-tang-yu-lan-tu-lang-shi-ning-222728","仙萼长春图海棠玉兰图",[23,106,24,25,26,83,27,7,662,153,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F402be11b89f693a14c347585e12d9775.jpg",[],{"id":11632,"slug":11633,"title":11634,"dynasty":18,"author":793,"museum":79,"description":794,"tags":11635,"thumbUrl":11636,"material":27,"size":797,"collection":52,"collections":11637,"showCount":11504,"zanCount":39,"manualWeight":39,"mainColor":40},222726,"xian-e-chang-chun-tu-tao-hua-tu-lang-shi-ning-222726","仙萼长春图桃花图",[23,83,27,7,123,167,68,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F609bc1638fb111c0e9f3c89cf15214aa.jpg",[],{"id":11639,"slug":11640,"title":11641,"dynasty":60,"author":830,"museum":1135,"description":2064,"tags":11642,"thumbUrl":11643,"material":401,"size":2068,"collection":52,"collections":11644,"showCount":11504,"zanCount":39,"manualWeight":39,"mainColor":40},222564,"hua-hui-tu-3-chen-chun-222564","花卉图3",[23,106,24,25,7,399,64,27,29,186,68,480],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb34c461d6fd907b9261669a6aad2bf19.jpg",[],{"id":11646,"slug":11647,"title":11648,"dynasty":60,"author":830,"museum":1135,"description":2064,"tags":11649,"thumbUrl":11650,"material":401,"size":2068,"collection":52,"collections":11651,"showCount":11504,"zanCount":39,"manualWeight":39,"mainColor":40},222559,"hua-hui-tu-11-chen-chun-222559","花卉图11",[23,24,25,7,399,27,64,29,516,453,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdcd1dfcc3d68a8385963786e0c07ab3.jpg",[],{"id":11653,"slug":11654,"title":11655,"dynasty":60,"author":1864,"museum":79,"description":9395,"tags":11656,"thumbUrl":11657,"material":27,"size":11658,"collection":35,"collections":11659,"showCount":11504,"zanCount":39,"manualWeight":39,"mainColor":40},222180,"hua-niao-shan-mian-lu-zhi-222180","花鸟扇面",[23,24,661,27,7,291,65,215,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe186c518a951a238ca279262f34bd2f5.jpg","纵31厘米、横61厘米",[35,112],{"id":11661,"slug":11662,"title":11663,"dynasty":18,"author":6082,"museum":79,"description":11664,"tags":11665,"thumbUrl":11666,"material":33,"size":11667,"collection":35,"collections":11668,"showCount":11504,"zanCount":1398,"manualWeight":39,"mainColor":40},219651,"dong-li-xiu-se-tu-yu-sheng-219651","东篱秀色图","以没骨晕染绘就秋菊数本，黄紫菊瓣蓬松柔润，敷色雅致清妍，毫无艳俗之感。叶片以淡赭勾筋、绿墨晕染，枯荣交叠，将秋霜侵染后的清隽姿态尽显。坡石细草点缀其间，衬出幽寂清旷的篱边秋境。\n\n整幅画作兼工带写，写生精准又饱含文人写意悠然，配搭题咏书画合璧，将菊花凌霜自持的君子风骨尽融笔底，诠释出东篱赏菊的古典雅韵，尽显秋日花绘的雅致格调。",[24,83,27,7,517,215,455,31,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85c50a6857276b799ebb1f6a3c6622e6.jpg","84.3x67.8",[35],{"id":11670,"slug":11671,"title":3057,"dynasty":119,"author":196,"museum":45,"descrip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“湄印”白文印、“晚山”朱文印。\n从这幅画中可以看到，画家别有心意，十分留心自然界中所发生的一点一滴，并体察入微，将之再现于画画，让人们领略到这美妙而富有的生活情趣的景象。\n折枝梨树，画画左侧横上舒枝展叶，枝头缀满花朵，有的向阳怒放，有的含蕾待放，煞是可爱。\n花朵设色，鲜嫩可爱，以墨绿树作为衬托，层次向背各自分明。\n鹦鹉的羽毛用粉笔勾描，显示出羽毛柔绵的质感。\n勾画眼、嘴、爪均用较浓的墨色。\n此画的艺术特色足以简雅清淡取胜。\n全幅境象疏朗，笔墨简练，结构上不作繁密丰满、全景式的布局，其他树石、花木作为陪衬，剪裁得宜，取景自然。\n在画法上，不事雕琢，笔墨不多，却能使此画满幅生辉，使欣赏者获得美的享受。\n胡湄，生卒年不详。\n字飞涛，号晚山，又号秋雪，浙江平湖人。\n诸生，项元汴外孙。\n由于项氏收藏 甲天下，故胡氏受到完整的古代绘画艺术的薰陶。\n他为人耿直，富人以金帛求画多拒之。\n他画的花鸟虫鱼、“时称仙笔”。\n传世作品有《鹦鹉戏蝶图》。",[23,24,25,106,152,83,27,7,3572,214,226,452,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72d4e5bf65a6b3e2e6a86eefde4da10a.jpg",[],{"id":11970,"slug":11971,"title":11972,"dynasty":18,"author":237,"museum":135,"description":11973,"tags":11974,"thumbUrl":11975,"material":52,"size":52,"collection":52,"collections":11976,"showCount":11847,"zanCount":1398,"manualWeight":39,"mainColor":40},224181,"hua-niao-li-zhou-hua-yan-224181","花鸟立轴","梅枝虬曲绽花，主鸟独立高枝，振羽引吭，翎毛以淡墨晕染，尽显蓬松柔润。下方竹枝斜出，两只小雀依偎私语，憨态可掬。顽石以枯淡笔墨勾勒，墨色浓淡相破，野意盎然。\n全作用兼工带写之法，将禽鸟灵动与花木清逸相融，题款错落排布，书画相映，晕染出幽寂早春的澹远意趣，笔意秀逸脱俗，把春日禽鸟迎春的生机悄然铺展，清隽雅致，饶有闲情。",[23,24,152,27,64,7,436,185,186,65,68,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa32f2c98cbf9f8e2905ef51e67f151d1.jpg",[],{"id":11978,"slug":11979,"title":11980,"dynasty":18,"author":196,"museum":135,"description":11981,"tags":11982,"thumbUrl":11983,"material":1595,"size":11984,"collection":52,"collections":11985,"showCount":11847,"zanCount":39,"manualWeight":39,"mainColor":159},223551,"hai-tang-bai-tou-tu-yi-ming-223551","海棠白头图","绘蓝色湖石一块，形状凹凸有致；两枝海棠上下各一枝，枝上花朵或绽放，或含苞待放，红色的花朵鲜艳美丽，枝上两只白头翁相向而望，上面的扭头看着下面的那只，而下面也抬头呼应着上面鸟儿，二只鸟儿相亲相爱，活泼可爱。",[23,24,27,7,1557,845,807,662,186,29,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86d21e5bf0b445cf9d0b9e44de9e88be.jpg","35.9x50.6cm",[],{"id":11987,"slug":11988,"title":11989,"dynasty":489,"author":2235,"museum":6847,"description":11990,"tags":11991,"thumbUrl":11992,"material":52,"size":52,"collection":52,"collections":11993,"showCount":11847,"zanCount":39,"manualWeight":39,"mainColor":40},220533,"ni-feng-xu-bei-hong-220533","逆风","以大写意泼墨绘苇丛，浓墨重笔横扫出苇叶翻卷倾伏之态，墨色干湿浓淡铺陈出疾风裹挟的动感，将无形逆风化作可见的磅礴力道。几只小雀顶风振翅，灵动鲜活的身姿与苇丛的飘摇形成鲜明对照，刚柔相济间尽显生命的不屈生机。\n\n笔墨兼具写意的恣肆与写实的精准，寥寥数笔便将风穿苇荡的野趣与雀鸟逆风而上的韧劲融为一体，画面张力十足，仿佛可闻风啸雀鸣，把疾风旷野里的蓬勃生命力晕染于纸间，于极简笔墨中传递出撼动人心的精神力量。",[24,64,7,167,1822,399],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6b70e12028b2a0054a92fdaeeb0ac96.jpg",[],{"id":11995,"slug":11996,"title":3067,"dynasty":60,"author":196,"museum":79,"description":11997,"tags":11998,"thumbUrl":11999,"material":845,"size":52,"collection":35,"collections":12000,"showCount":11847,"zanCount":39,"manualWeight":39,"mainColor":4082},219978,"shuang-xi-tu-yi-ming-219978","古松虬曲苍劲，皴笔勾勒出嶙峋肌理，两只鹊鸟栖于枝桠，一者侧目远眺，一者敛羽静立，灵动生姿暗破幽寂。坡石间野卉柔婉绽放，灵芝丛生，青绿与赭石晕染出幽润山意。工写兼施，勾勒细腻却无板滞之感，沉古设色晕染出静谧雅致的氛围，将山野一隅的清宁生机铺陈开来，藏祥瑞意趣于林泉小景，尽显雅致悠远的林下况味，把幽居山野的恬然意趣凝于笔墨方寸间。",[24,27,83,152,7,167,3460,90,29,5524,89,3478],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88f61b9d977cd1947a41502e7a1ac6a3.jpg",[35],{"id":12002,"slug":12003,"title":12004,"dynasty":119,"author":196,"museum":79,"description":12005,"tags":12006,"thumbUrl":12007,"material":33,"size":12008,"collection":35,"collections":12009,"showCount":11847,"zanCount":39,"manualWeight":39,"mainColor":159},219324,"hua-xia-jiang-chu-tu-yi-ming-219324","花下将雏图","画幅下面有一湖石横卧其间，湖石两侧长有几丛幽竹，枝叶伸展，匍伏于湖石上，湖石四周杂草遍地，以象征出整片的草地，对整个画面起到衬托作用。画幅右侧有湖石竖立其旁，湖石上大下小，向左倾斜，呈险势状。湖石造型奇特，玲珑剔透。湖石后有一束翠竹横出，又有几株鲜花盛开的牡丹。枝头上硕大的花朵，由绿叶衬托，更显得艳丽秀美。花枝有的向画面左侧横出，有一枝条伸展至画幅左上部位，这是妙笔，将画幅左上部位空白处填补，起到了充实和平衡整个画面的作用。在湖石和牡丹枝荫下，有鸡一公、一母、七雏，立于湖石和盛开着的牡丹的草地上，左侧公鸡低首觅食，两爪有力抓在地上，头部肉冠及肉办较大，短翼，脚健壮，跗跖及趾皆被鳞板，尾发达，体较大，羽色亦美，尾羽夸张地飘动着如海草一般；母鸡蹲伏在地上，两爪有力抓地，双翅上翘，尾巴舒展开来呈扇形，弯颈低首，双目下视；母鸡背部立一雏，另一雏在翼下，二雏藏尾后，余下三雏则在近处草地啄食，皆毛羽缕缕可见。",[3563,24,25,106,152,83,27,7,107,3969,6308,5088,1951,90,1200,807],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F553dd7adab84486b80b38f993362b208.jpg","182x102.8公分",[35],{"id":12011,"slug":12012,"title":12013,"dynasty":195,"author":196,"museum":20,"description":12014,"tags":12015,"thumbUrl":12016,"material":109,"size":12017,"collection":35,"collections":12018,"showCount":11847,"zanCount":39,"manualWeight":39,"mainColor":159},218965,"he-tang-ji-ling-tu-yi-ming-218965","荷塘鹡鸰图","枯枝斜倚间，鹡鸰敛翅而立。羽色黑白相衬：墨色背羽似覆薄霜，腹羽轻敷淡粉，尾羽挺括如剑；尖喙微垂，似在打量水面游弋的细物，爪尖紧扣枝桠，力道藏于柔劲线条。背景是朦胧荷塘一角：淡墨晕染的荷叶若隐若现，水波漾成细碎纹理，远处岸汀模糊成浅褐色块，留白处似有清风掠过。\n\n整幅画以小见大，写实中透着空灵。无繁复堆砌，仅用简练笔墨勾勒生命鲜活——宋人的雅致尽在方寸间。观者于静谧里捕捉自然幽微：鸟的凝神、风的轻拂、水的微动，皆融于淡雅色调，似能听见荷叶婆娑，触到空气里的湿润凉意。",[106,24,25,661,83,27,7,467,167,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa026a32cb53006818e2bc15bbd910790.jpg","22.4x23cm",[35],{"id":12020,"slug":12021,"title":903,"dynasty":18,"author":12022,"museum":79,"description":12023,"tags":12024,"thumbUrl":12025,"material":109,"size":12026,"collection":35,"collections":12027,"showCount":11847,"zanCount":39,"manualWeight":39,"mainColor":40},218876,"hua-niao-tu-yu-sheng-218876","俞笙","绘制八哥相搏，情态甚为生动。画柳、芙蓉、草虫，笔意潇洒简当。",[24,27,83,64,7,167,107,3006,67,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F027ca06eef5220d7c34a3b53d8eedd35.jpg","132.5x49cm",[35],{"id":12029,"slug":12030,"title":12031,"dynasty":60,"author":1681,"museum":79,"description":12032,"tags":12033,"thumbUrl":12035,"material":109,"size":12036,"collection":35,"collections":12037,"showCount":11847,"zanCount":39,"manualWeight":39,"mainColor":159},218841,"xue-jing-ling-mao-tu-lv-ji-218841","雪景翎毛图","图绘雪后萧条，江天如墨。群凫畏寒相聚，半入睡乡。冻雀寒鸠，栖依衰柳，皆体贴入微，直同真景，而笔墨浑朴，不求繁缛，较之他作，似又更多一层古趣。",[24,83,27,7,3006,2858,807,12034,3390],"雪地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe38d71dfec08e8c1a64f428f5c218ce0.jpg","169.6x90.5cm",[35],{"id":12039,"slug":12040,"title":4800,"dynasty":195,"author":553,"museum":79,"description":12041,"tags":12042,"thumbUrl":4803,"material":109,"size":12044,"collection":35,"collections":12045,"showCount":11847,"zanCount":39,"manualWeight":39,"mainColor":40},218678,"qiu-qing-cong-ju-tu-lin-chun-218678","晴光轻洒，簇簇秋菊绽于绢素间。瓣瓣舒展如凝霜，或嫩黄带暖，或素白含清，层叠纹理似能触到柔润质感。叶片墨色浓淡相宜，脉络隐现风中之姿，转折处藏着未褪的生机。圆形构图里，花枝错落有致，留白处似有余晖漫漾。笔触细腻却不刻意，设色温润清雅，将秋晴下菊的恬淡与灵动凝于方寸。仿佛能嗅到淡淡的菊香，随微风漫过画面，静享这秋日里的一抹雅致闲逸。每一处细节皆见匠心，把晴秋的清和与菊的风骨，悄然融于这一方团扇之中。",[23,106,24,25,83,27,7,517,12043,68],"秋","25x26.5",[35],{"id":12047,"slug":12048,"title":5829,"dynasty":60,"author":830,"museum":135,"description":5838,"tags":12049,"thumbUrl":12050,"material":275,"size":276,"collection":52,"collections":12051,"showCount":12052,"zanCount":39,"manualWeight":39,"mainColor":40},290917,"mu-dan-zhou-chen-chun-290917",[24,25,152,27,7,107,3362,31,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd604a7f23d710fc1906b3c2c491b0d88.jpg",[],40,{"id":12054,"slug":12055,"title":12056,"dynasty":195,"author":1838,"museum":79,"description":12057,"tags":12058,"thumbUrl":12059,"material":109,"size":12060,"collection":202,"collections":12061,"showCount":12052,"zanCount":39,"manualWeight":39,"mainColor":159},289351,"qiu-pu-rong-bin-tu-cui-bai-289351","秋浦蓉宾图","本幅绘荷叶枯黄，芙蓉展艳，一派秋光旖旎，花间鶺鴒腾跃，翡翠踞，两鸿雁振翅凌空，意在千里。",[23,24,7,83,27,167,291,467,6364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77dda06caf7a56f83b18a435258e2305.jpg","149.1x95.5",[202],{"id":12063,"slug":12064,"title":611,"dynasty":148,"author":11257,"museum":79,"description":11258,"tags":12065,"thumbUrl":12066,"material":275,"size":276,"collection":52,"collections":12067,"showCount":12052,"zanCount":39,"manualWeight":39,"mainColor":159},288263,"mu-dan-tu-teng-chang-you-288263",[23,106,24,25,152,27,7,83,107,186,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1df52c67747442a7481301f56b33a898.jpg",[],{"id":12069,"slug":12070,"title":12071,"dynasty":18,"author":332,"museum":79,"description":12072,"tags":12073,"thumbUrl":12074,"material":412,"size":3257,"collection":52,"collections":12075,"showCount":12052,"zanCount":39,"manualWeight":39,"mainColor":40},287449,"chun-hua-san-zhong-tu-qian-wei-cheng-287449","春花三种图","钱维城（1720—1772）清朝官吏、画家。初名辛来，字宗磐，一字幼安，号纫庵、茶山，晚号稼轩，江苏武进人。乾隆十年状元，官至刑部侍郎，谥文敏。书法苏轼，初从陈书学画写意折枝花果，后学山水，经董邦达指导，遂成名手，供奉内廷，为画苑领袖。曾随乾隆帝在木兰围场狩猎，帝以神枪殪虎，命维城绘图刻石纪事。著有《茶山集》。\n钱维城自幼甚喜绘画，开始从族祖母陈书学习画写意折枝花果，勾描渲染，随类赋形，气联意合，整体协调。后来得到了画家董邦达指导，学画山水。所画山水，山势逶迤，流泉飞泻，烟霭飘浮，水光荡漾。构图井然，意境清幽。山石多用皴笔。他的绘画远学元代四家即黄公望、倪瓒、吴镇、王蒙，近学清初四王即王时敏、王鉴、王徽、王原祁。。《桐阴论画》说他的山水画“笔意亦临摹仿麓台，邱壑幽深，树石灵秀，颇臻妙境。”钱维城投身科举时，很少有人知道他擅长书画，直到状元及第后，在随乾隆的一次狩猎中，乾隆射中一只老虎，于是钱维城受命创作“射虎图”，作品完成后乾隆连连称赞，并下令将此画刻在木兰围场的石头上，从此钱维城在画坛上名声大振。在钱维城的绘画中，带棱角的石形、双勾少皴的树干，以及中锋含蓄的细笔、淡墨勾皴的线条，都存有董邦达的笔意，但他更擅长缜密的用笔和青绿、赭石相间的设色，其中也显示出清初“四王”的流派风格，他的作品经常呈现出来的是一派宫廷富贵的气息。在乾隆的收藏目录《石渠宝芨》中，收录的钱维城作品有160多幅，由此可见乾隆皇帝对钱维城作品的赏识程度。著名的有《九秋图卷》。\n钱维城擅长书法，工整精细，“宗磐工书，书法东坡。”他师法宋朝书法四大家之一的苏东坡。落笔苍润，秀骨天成。也能吟诗，以杜少陵为宗。人称“钱文敏尚书，诗宗少陵，书规苏文忠。”可谓诗、书、画一体。",[24,25,7,83,27,123,518,320,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fe3f57876cfbf2226aba3808e32cc62.jpg",[],{"id":12077,"slug":12078,"title":12079,"dynasty":148,"author":12080,"museum":135,"description":12081,"tags":12082,"thumbUrl":12083,"material":275,"size":276,"collection":52,"collections":12084,"showCount":12052,"zanCount":800,"manualWeight":39,"mainColor":159},287375,"ye-hua-cao-chong-tu-qiu-yu-qing-287375","野花草虫图","丘余庆","丘余庆，五代后蜀人，丘文播子，居成都。",[106,24,25,7,83,27,7457,185,213,214,8636],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ffa37c7c203d2d3737bf30decc157ec.jpg",[],{"id":12086,"slug":12087,"title":12088,"dynasty":18,"author":1209,"museum":135,"description":10018,"tags":12089,"thumbUrl":12090,"material":52,"size":52,"collection":35,"collections":12091,"showCount":12052,"zanCount":39,"manualWeight":39,"mainColor":40},239219,"mei-zhu-tu-zhou-wu-chang-shuo-239219","梅竹图轴",[24,25,152,64,27,7,436,185,569,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09c3d44613f7fe705c6f0e261e00a6fe.jpg",[35],{"id":12093,"slug":12094,"title":12095,"dynasty":60,"author":196,"museum":135,"description":12096,"tags":12097,"thumbUrl":12098,"material":275,"size":276,"collection":52,"collections":12099,"showCount":12052,"zanCount":1398,"manualWeight":39,"mainColor":159},238966,"song-yuan-ming-hua-ce-ming-ren-hua-hui-cao-chong-tu-ye-yi-ming-238966","宋元明画册－明人花卉草虫图页","此作为工笔花鸟小品，以团扇承载幽微野趣。牵牛花藤蔓萦回，叶片俯仰错落，红瓣晕染出娇嫩层次，白蕊点缀其间，鲜活明妍，将盛夏花卉的柔婉生机尽数铺展。\n草虫隐匿花间，蚱蜢静伏枝桠，翅脉纹路细腻宛然，粉蝶恋花低徊，飞虫振翅欲去，动静交织，把郊野一隅的刹那鲜活定格绢上。设色调和古雅，赭色绢底衬得花叶愈发清妍不俗，细劲秀逸的线条勾勒出草木柔态与虫豸灵动，尽显雅致工丽，将夏日闲静小景凝于尺幅之间，引人沉醉在这静谧鲜活的方寸天地里。",[24,25,26,27,83,480,7,213,291,214,29,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4bc0d30b118796ae3802452fc2608ee.jpg",[],{"id":12101,"slug":1210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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。",[24,27,7,26,12107,243,228,215,455,242,186],"枸杞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77c58126e2ccbab6b27ba717f63b9702.jpg",[35,112],{"id":12111,"slug":12112,"title":12113,"dynasty":60,"author":12114,"museum":135,"description":12115,"tags":12116,"thumbUrl":12117,"material":52,"size":52,"collection":35,"collections":12118,"showCount":12052,"zanCount":39,"manualWeight":39,"mainColor":159},237663,"san-si-tu-zhou-yu-qi-feng-237663","三思图轴","俞奇逢","俞奇逢，[明]，福建沙县人。沙县俞氏自存胜得其舅氏边文进之传，遂世业花鸟。",[24,25,152,27,83,7,2227,602,167,808,641],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facc809c2646c002bed50c182f923e9d9.jpg",[35,112],{"id":12120,"slug":12121,"title":12122,"dynasty":18,"author":1209,"museum":135,"description":12123,"tags":12124,"thumbUrl":12125,"material":52,"size":52,"collection":52,"collections":12126,"showCount":12052,"zanCount":1398,"manualWeight":39,"mainColor":40},235224,"he-liao-tu-zhou-wu-chang-shuo-235224","荷蓼图轴","此作用笔纵老苍劲，以篆籀笔法入画。泼墨写荷叶，浓淡干湿间尽显氤氲苍润，大写意的笔力带着厚重朴拙的金石气。荷花勾勒简雅，莲蓬、蓼花点染鲜活，赭色顽石拙朴雄浑，与水墨荷色相映成趣。\n画面纵轴布陈，荷蓼错落排布，将汀洲秋日清寂疏凉的秋意铺展纸面。题款行书跌宕老辣，与画面笔墨意趣浑然相融，以恣意纵横的笔墨，把萧索秋景化作饱满的文人意趣，藏着沉静又蓬勃的生机，尽显写意花鸟的极致韵味。",[24,152,64,27,7,399,467,49,9598],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd680434786fc52bb6d3830e98572c7cc.jpg",[],{"id":12128,"slug":12129,"title":952,"dynasty":18,"author":237,"museum":135,"description":12130,"tags":12131,"thumbUrl":12132,"material":52,"size":52,"collection":35,"collections":12133,"showCount":12052,"zanCount":39,"manualWeight":39,"mainColor":40},234298,"za-hua-ce-hua-yan-234298","华嵒的山水画转益多师，石涛的沉浑恣肆、恽寿平的松秀隽逸、北宗的峭利缜密、元人的深邃郁茂，都被他吸收融合。他没有泥古不化，在游览山河的过程中，不断的“师造化”，形成了晚年疏放、简率、冷峭、蕴藉的主流风格。华喦的山水画设色，多用浅绛或小青绿设色，承诸黄公望、王蒙和董其昌的传统，于统一中求对比，色调明洁淡雅。新罗山人在山水画设色上的创新是发展了青绿没骨山水。这种没骨山水是综合唐宋人、董玄宰和恽格没骨山水并参用清初四王笔法而形成的一种格制。华嵒的山水画从总体来看善于用色彩表达个人的情绪，用笔墨描绘悠远的意境，创造了独特的笔墨语言和表现技法，充分表达了其“刷尘”，“离垢”的理想。",[24,26,27,7,185,65,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18261950f2c430698f9dc86a6d3b1d6c.jpg",[35,786],{"id":12135,"slug":12136,"title":12137,"dynasty":119,"author":120,"museum":135,"description":12138,"tags":12139,"thumbUrl":12140,"material":52,"size":52,"collection":52,"collections":12141,"showCount":12052,"zanCount":39,"manualWeight":39,"mainColor":40},228016,"xiao-niao-tu-tuan-shan-qian-xuan-228016","小鸟图团扇","此作截取清秋小景，斜出的桂枝缀着苍润绿叶，细碎黄花藏于叶底，似有暗香悠悠溢出。枝头的白头鹎栩栩如生，白羽如凝雪覆于头颈，青灰背羽晕染出柔和层次，尖喙微张，仿佛正啼鸣于凉秋。\n\n画家以淡墨晕染底色，设色清隽雅致，未作繁复勾勒，只以轻染淡彩便将花鸟形神尽数描摹，尽显幽淡闲远的文人意趣。尺幅团扇间，将秋日清寂里的鲜活生机定格，把山野寻常小景晕染成充满诗意的刹那剪影，笔底带着松弛闲散的文人情思，淡而有味，雅韵悠长。",[23,106,24,25,661,27,7,1445,66,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6ab02594b013a2f743dbd67a5ec0c06.jpg",[],{"id":12143,"slug":12144,"title":12145,"dynasty":195,"author":12146,"museum":135,"description":12147,"tags":12148,"thumbUrl":12150,"material":52,"size":52,"collection":52,"collections":12151,"showCount":12052,"zanCount":1398,"manualWeight":39,"mainColor":159},227335,"song-li-tu-song-tian-227335","松栗图","松田","这幅小品以淡墨铺就底色，枯笔皴写松枝，苍拙老辣，自带山野清寂意趣。松鼠以浓墨破淡，晕染出蓬松柔润的绒毛，俯身探看，眼目灵动机警，将小兽憨然灵动的神态全然托出。松针攒簇、松果朴拙，简笔勾勒便生野趣。\n\n大片留白不着一笔，尽得山林空寂之味，将山野间一瞬的灵动定格，以小景见天地，尽显简淡中藏着的盎然生机，把文人画疏淡清雅的审美意韵融在尺幅之间。",[1099,24,25,106,64,7,782,7000,12149,386],"松果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4546d1410a71aa3f9bc40f0b4509ba54.jpg",[],{"id":12153,"slug":12154,"title":11134,"dynasty":148,"author":2531,"museum":135,"description":11135,"tags":12155,"thumbUrl":12156,"material":275,"size":276,"collection":52,"collections":12157,"showCount":12052,"zanCount":1398,"manualWeight":39,"mainColor":159},226154,"xie-sheng-zhen-qin-quan-juan-huang-quan-226154",[23,83,27,82,240,7,65,242,1779,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63ea7bbb08ea8dee423e5e1bfd185218.jpg",[],{"id":12159,"slug":12160,"title":12161,"dynasty":18,"author":1475,"museum":135,"description":12162,"tags":12163,"thumbUrl":12164,"material":52,"size":52,"collection":52,"collections":12165,"showCount":12052,"zanCount":39,"manualWeight":39,"mainColor":40},224374,"hua-hui-qi-shi-ce-shi-er-kai-3-ju-lian-224374","花卉奇石册-十二开-3","此作笔致秀润恬和，淡墨勾皴湖石，奇崛古拙，空灵苍润间尽显嶙峋意趣。素盆秋菊柔色轻绽，嫩蕊鲜妍和素净瓷盆相映，晕开一室清雅文气。\n\n角落散落的花生、坠果带着日常烟火意趣，石畔小兽探头轻觑，为幽寂的文房清供添上灵动野趣。整体设色浅淡明净，衬着绢底古雅底色，将文人闲居的恬淡意兴融于尺幅，工写兼济间，把清供小品的雅静与鲜活日常交织，尽显平淡天真的悠然情致。",[23,24,25,26,83,27,7,186,517,686,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90b4da7d3931604a708831e97b24647c.jpg",[],{"id":12167,"slug":12168,"title":12169,"dynasty":195,"author":196,"museum":135,"description":12170,"tags":12171,"thumbUrl":12172,"material":52,"size":52,"collection":52,"collections":12173,"showCount":12052,"zanCount":1398,"manualWeight":39,"mainColor":40},223619,"hong-liao-shui-qin-tu-ye-yi-ming-223619","红蓼水禽图页","取景以简驭繁，水禽伫立于红蓼柔梢，翎毛晕染入微，丝缕毕现，禽鸟垂喙凝神，灵动宛若将欲振翅。淡墨轻勾浅淡水纹，留白衬出汀洲空寂，将秋日水滨的清寒野趣凝于尺幅纨扇。工笔摹形，写意传情，把小景生机与幽澹诗意相融，尽显雅致空疏的审美意趣，不负“传写物态，蔚有生意”之誉，是小品画中以形传神的绝佳之作。",[23,106,24,25,3326,83,27,7,450,10688,66,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaa3aae2e3e700ea4306d26b41921ec2.jpg",[],{"id":12175,"slug":12176,"title":12177,"dynasty":18,"author":4817,"museum":12178,"description":12179,"tags":12180,"thumbUrl":12181,"material":401,"size":12182,"collection":35,"collections":12183,"showCount":12052,"zanCount":39,"manualWeight":39,"mainColor":40},222673,"xiong-ji-tu-zhou-huang-shen-222673","雄鸡图轴","中国国家博物馆","黄慎（1687年6月14日—1772年），福建宁化人，初名盛，字恭寿，恭懋，躬懋、菊壮，号瘿瓢子，别号东海布衣。家贫，遂学画，擅长人物、山水、花鸟。他的人物画题材十分广泛和丰富，它不仅画神仙佛道和历史名人，也擅长从民间生活中取材，塑造了纤夫 、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。 他的草书不昧古法，又难辨古人踪迹，不强调章法的疏密聚散，而以方折顿挫的笔法，忽断忽连，顾盼呼应，凸显铿锵有声的点画节奏感，呈现一幅落英缤纷珠丸跳荡逸趣迭生的画面感。其代表作《草亭飞万竹诗草书轴》章法奇异如松柏之剪影，点画浓淡如花叶之缠枝，真非书非画，亦书亦画，堪称奇观。\n\n个人成就:\n黄慎的诗文、狂草书法，绘画被称三绝。曾先后三次到扬州，居留较长，与郑板桥、李（善）等往来友善，为“扬州八怪”之一。\n他年方十八、九时寄身萧寺，白天作画，夜间从佛光明灯下刻苦读书，技艺大进。凡人物、花鸟、山水、楼台、虫鱼等，无一不能，但他并不以这些为满足，一次看他先生的作品说：“吾师绝技难以争名矣，志当自立以成名，岂肯居人后哉！”\n他自己总结一生走过的道路，感慨地说到：‘余自十四、五岁时便学画，而时时有鹘突于胸者，仰然思，恍然悟，慨然曰：‘余画之不工，以余不读书之故。’于是折节发愤，取毛诗、三礼、史汉、晋宋间文，杜韩五言诗及中晚唐诗，熟读精思膏以继晷，而又于昆虫草木四时推谢荣枯，历代制度衣冠礼器，细而致于夔 蛇凤，调调刁刁，罔不穷厥形状，按其性情，豁然有得于心，应之于手，而后乃今始可心言画矣。”正是这种凝思结想、废寝忘食、苦攻不辍，黄慎才从一个小画工成长为一位“诗画名大江南北”的名家。\n”郑板桥为诗赠之：“家看古庙破苔痕，惯写荒涯乱树根，画到精神飘没外，更无真相有真魂。”\n黄慎还是一位诗才画艺俱全的艺术家，他的诗作，情韵清远，如 岩绝 ，烟凝霭积，能非凡境，并著有《蛟湖诗钞》一书传世。\n黄慎早年师从上官周，多作工笔。山水宗元黄公望、倪瓒、中年以后，吸取徐渭笔法，变为粗笔写意，并草书章草，尝以狂草书法入画笔姿放纵，气象雄伟深入古法，但也有笔过伤韵者。\n作品行情:\n黄慎书画流传较多，大多藏于国内各大博物馆内。北京故宫院藏有多幅，如《漱石捧砚图》，扬州博物馆藏的《渔归图》等。\n黄慎的绘画创作在雍正年间说名扬于世，“尺纸容缣，世争宝之”。可见他的作品在当时已有较高的价格，另外黄慎对自己的绘画，常作分类自评，凡最得意者题上诗，次者则识以岁月，再次者只署“瘿瓢”二字。\n现今黄慎作品流入市场是比较多的，20世纪80年代末即开始拍卖，以后每年都出现过，价格起伏不大，比较稳定，但不太高，与八怪中其他画家水平相当，低于吴门四家。\n作为画家的黄慎，对后世的影响——清代的闵贞、近代上海的王震、广东的苏六朋、福建的李霞、李耕和辽南的李楚材都曾师法黄慎。齐白石也非常倾心黄慎——“余在黄镜人处获观《黄瘿瓢画册》，始知余画犹过于形似，无超然之趣。决定从今大变。人欲骂之，余勿听也；人欲誉之，余勿喜也”。“前朝之画家，不下数百人之多，瘿瓢、青藤、大涤子外，皆形似也。惜余天资不若三公，不能师之”。",[23,24,25,152,64,27,31,2239,452,955,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb7a27332b6be489e47fb8cf3f1bbaf3.jpg","纵124.6厘米，横59.8厘米",[35,112],{"id":12185,"slug":12186,"title":12187,"dynasty":195,"author":196,"museum":79,"description":12188,"tags":12189,"thumbUrl":12191,"material":109,"size":12192,"collection":202,"collections":12193,"showCount":12052,"zanCount":39,"manualWeight":39,"mainColor":159},221236,"tong-shi-xiu-ling-zhou-yi-ming-221236","桐实修翎轴","画面留白空灵悠远，尽显极简造境之妙。禽鸟停驻桐枝，翎毛刻画细致入微，茸绒毕现，抬首凝伫间神态机警灵动，将野雀鲜活生姿定格绢素。\n\n桐叶与桐实以水墨晕染，墨色苍润层次分明，枯枝虬曲苍劲，古朴野逸。全画笔法兼具工细与写意，写实中饱含清雅诗意，将林下一隅的幽寂生趣尽致展现，尽显格物致知的审美意趣，淡墨轻岚间晕开沉静古雅的宋韵风神。",[23,24,106,152,7,83,27,65,452,12190,68],"桐实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb521334d6a0b978dd8fa170f2109cdc2.jpg","纵103.4cm，横33cm",[202,786,734],{"id":12195,"slug":12196,"title":6389,"dynasty":60,"author":1681,"museum":368,"description":12197,"tags":12198,"thumbUrl":12199,"material":109,"size":52,"collection":35,"collections":12200,"showCount":12052,"zanCount":39,"manualWeight":39,"mainColor":159},219746,"song-ying-tu-lv-ji-219746","吕纪（1439年-1505年），字廷振，号乐愚，鄞（今浙江宁波）人。明代院体花鸟画家。",[23,24,25,83,27,7,782,2227,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8ac887d96b6abbbb34b17fc5d912f97.jpg",[35],{"id":12202,"slug":12203,"title":12204,"dynasty":18,"author":237,"museum":20,"description":12205,"tags":12206,"thumbUrl":12207,"material":109,"size":12208,"collection":112,"collections":12209,"showCount":12052,"zanCount":39,"manualWeight":39,"mainColor":40},219217,"cui-yu-he-ming-tu-hua-yan-219217","翠羽和鸣图","图绘春天繁花吐芳,禽鸟欢腾的喧嚣情景.画家通过禽鸟生动的形态和诱人的粉色,烘染出春光明媚的氛围.",[24,27,83,152,167,7,1951,107,186,66,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F678e3c3bb0d57d844c094fac8c221dc5.jpg","177.2x97.4",[112],{"id":12211,"slug":12212,"title":12213,"dynasty":60,"author":12214,"museum":368,"description":12215,"tags":12216,"thumbUrl":12217,"material":109,"size":52,"collection":35,"collections":12218,"showCount":12052,"zanCount":39,"manualWeight":39,"mainColor":159},216735,"hua-niao-ye-chen-xun-216735","花鸟页","陈询","陈询是一位明朝画家，他出生于公元1340年左右，是著名画家陈丹青的后代。他以其优秀的绘画技艺和对自然的热爱而闻名。他的花鸟图是其代表作之一，这些作品描绘了自然界中的动植物，特别是花和鸟。这些作品通常以水墨画的形式呈现，具有浓郁的文化气息和精细的细节。陈询的花鸟图被认为是中国画的经典之作，至今仍广受欢迎。",[24,27,7,186,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1d8256ebfba18ef8b93df884871df4c.jpg",[35],{"id":12220,"slug":12221,"title":12222,"dynasty":60,"author":830,"museum":20,"description":831,"tags":12223,"thumbUrl":12224,"material":534,"size":834,"collection":52,"collections":12225,"showCount":12052,"zanCount":39,"manualWeight":39,"mainColor":159},214626,"hua-hui-ce-17-chen-chun-214626","花卉册-17",[24,25,26,64,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94559f93cf4255b74fe376265618355f.jpg",[],{"id":12227,"slug":12228,"title":12229,"dynasty":195,"author":1413,"museum":135,"description":5020,"tags":12230,"thumbUrl":12231,"material":275,"size":276,"collection":52,"collections":12232,"showCount":12233,"zanCount":39,"manualWeight":39,"mainColor":159},287890,"zi-li-shan-qin-tu-zhao-ji-287890","紫荔山禽图",[24,661,106,25,83,27,7,1233,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe470cd29f5ac84389785a1d6adc8e420.jpg",[],39,{"id":12235,"slug":12236,"title":12237,"dynasty":60,"author":4655,"museum":135,"description":12238,"tags":12239,"thumbUrl":12241,"material":275,"size":276,"collection":52,"collections":12242,"showCount":12233,"zanCount":39,"manualWeight":39,"mainColor":159},287384,"qiu-shui-fu-yi-tu-zhou-lin-liang-287384","秋水凫鹥图轴","林良（约公元1428-1494），字以善，广东广州府南海县扶南堡（今广东佛山市南海区大沥）人，明代著名画家，广东绘画史上第一个进入主流性行列的画家。\n史料记载“林良吕纪，天下无比”，他因善画而被荐入宫廷，授工部营缮所丞，后任锦衣卫指挥、镇抚，值仁智殿。绘画取材多为雄健壮阔或天趣盎然的自然物象，笔法简练而准确，写意而形具。\n林良是明代院体花鸟画的代表人物，也是明代水墨写意画派的开创者，在明代院体画中独树一帜，对后世画坛，包括宫廷画家、职业画家、文人画家均产生重大的影响。",[23,24,106,152,7,64,450,9453,12240],"秋水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff59dbd576c61cce6c8b19156b821e455.jpg",[],{"id":12244,"slug":12245,"title":1989,"dynasty":18,"author":1487,"museum":135,"description":1990,"tags":12246,"thumbUrl":12247,"material":275,"size":276,"collection":52,"collections":12248,"showCount":12233,"zanCount":39,"manualWeight":39,"mainColor":40},239237,"mu-dan-shi-liu-zhong-ce-jiang-ting-xi-239237",[106,24,25,7,83,27,107,26,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13ecd88630bd04820be3a3d042fb3549.jpg",[],{"id":12250,"slug":12251,"title":952,"dynasty":18,"author":530,"museum":135,"description":1352,"tags":12252,"thumbUrl":12253,"material":275,"size":276,"collection":52,"collections":12254,"showCount":12233,"zanCount":39,"manualWeight":39,"mainColor":40},237933,"za-hua-ce-zhu-da-237933",[24,25,26,64,7,436,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39d84fb47152fc632f858825f45ba2e6.jpg",[],{"id":12256,"slug":12257,"title":952,"dynasty":18,"author":530,"museum":135,"description":1352,"tags":12258,"thumbUrl":12259,"material":275,"size":276,"collection":52,"collections":12260,"showCount":12233,"zanCount":39,"manualWeight":39,"mainColor":40},235504,"za-hua-ce-zhu-da-235504",[24,25,26,64,399,7,65,2860],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d4fbc6f21704ae7e6f82c0ab3700c6d.jpg",[],{"id":12262,"slug":12263,"title":12264,"dynasty":195,"author":196,"museum":251,"description":12265,"tags":12266,"thumbUrl":12267,"material":822,"size":12268,"collection":52,"collections":12269,"showCount":12233,"zanCount":1398,"manualWeight":39,"mainColor":159},234076,"he-xie-tu-ye-yi-ming-234076","荷蟹图页","宋代的花鸟画是五代黄筌徐熙两家体制基础上得以发展的。北宋初一百多年，黄家体制便是院体规范。北宋中期崔白、吴元瑜变革院体，表现出吸收徐熙一派画法。宋徽宗对不同画风兼收并蓄，南宋画院亦是如此。所以就总体上而言院体继承了黄徐二家的体制。黄氏体制的画法为用墨勾线定形，或填色或染墨，笔法细劲而有变化，其典型之作为工笔设色一类。再看徐熙画法，徐铉称之为“落墨为格，杂彩副之，迹与色不相隐映”。徐熙则自称“未尝以傅色晕淡为功”。\n《宣和画谱》对徐熙很是推崇，认为当时画花者多以色晕染而成，徐熙独到之处在于落墨，极有骨气风神。将黄徐两家的典型风范相比较，黄家偏重于色彩的晕染，徐熙偏重于墨线造型的笔法表现。这其中涉及重色、重墨、运笔造型之道等问题，绘画之形似正由此而来。宋代院体花鸟画的典型面貌为工笔设色一类，讲求赋色之功、笔法之道、造型之细致。宋代院体花鸟画综合黄徐二家，不过在不同时期、不同画家身上有着各自的特点。\n宋代院体花鸟画之所以能够在传神方面达到很高的境界，在于能够从自然万物中直接取得，生意趣味浓厚是其重要的特征，当时众多的作品具备这样的素质。对物象神态丰富细致的描绘是花鸟画成熟的表现。宋代院体花鸟画在细致写实中有得于此。\n《荷蟹图》可能是荷花螃蟹类题材最早的作品。残败的荷叶枯黄斑驳，半浸于水中，一只团脐雌蟹挥螯伏于叶上。潺潺流水中生长、飘浮着红蓼、蒲草、浮萍、水藻等，其叶片边沿均已泛黄，显示出时已临秋，金秋时节，正是蟹美膏肥之时，荷叶的颓势与雌蟹的鲜活形成强烈的对比。画面刻意求真，荷叶用双钩夹叶法描绘，叶之叶筋、斑纹及莛上的小刺都刻意求工，雌蟹用笔缜密严谨。《荷蟹图》画面意境生动，题材别出新意，为宋人写实画作的典范。荷蟹题材在后来的大写意花鸟画中，被徐渭进一步发扬光大，最著名的就是影响深远的徐渭代表作《黄甲图》。这种影响一直波及到现代大家齐白石。",[24,106,25,26,83,27,7,467,2759,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e974c0d6c4e3129014ed0ecd3f0dc5f.jpg","28.4x28cm",[],{"id":12271,"slug":12272,"title":12273,"dynasty":60,"author":10127,"museum":79,"description":12274,"tags":12275,"thumbUrl":12276,"material":12277,"size":12278,"collection":52,"collections":12279,"showCount":12233,"zanCount":39,"manualWeight":39,"mainColor":159},231381,"chun-hua-san-xi-tu-bian-jing-zhao-231381","春花三喜图","此图无款。此图用：正笔重色描绘了竹林中的二只山喜鹊，其背景有怪石及象征春天的大小鲜花，有的正在盛开，有的含苞待放，还有已是枝茂叶繁的新竹及节高挺直指天的竹笋，翠竹鞭笋，间以杜鹃筷廾，红绿相映，这足以表明已是春色的大地，画家把喜鹊置于特定的自然环境中，目看那翠竹上的一红嘴、黑顶、长尾、带白色斑点的灰喜鹊，张口呜叫俯视下面，在坡石上又一对同样漂亮的喜鹊，张开翅膀，相搏于坡石间，翎羽飞动，互以爪握其喙，互相拍打的戏嬉场面，这三喜鸟给画面带来了春天里动、植物生息繁衍的景象：画家向人们展示了自然界中极自然生动的瞬间形象，真实而富有情趣。\n宋代院画往往被后人批评为专求形似，不重神韵。其实，并不是每一个院画都是这样，何况绝大多数的院画是以刻划精确、立意高简为目的的。边文进便是吸取了这些院画中的养分，开创了自己的花鸟画面目。《春花三喜图》就是边景昭花鸟画之一\n此画笔法工细，竹子以工细的墨色勾勒，再以填色表现。雀鸟的羽毛画法更是精细入微，着色艳丽而雅致，特别是长尾部的斑驳翎毛，还有闪闪生辉之态，其二喜鸟之神态栩栩如生。\u2028 图中湖石沉雄，秀竹劲挺而葱郁．鲜花丛簇而生，夺人二目，二喜鹊于平坡之上嬉戏，一仰翻在地，一上前戏啄，上面竹间一喜鹊俯视二鹊．见此情景高声鸣，似在斥责，形神兼备，令人钦佩作者妙笔，而鹊之顽皮则令人莞尔。本画笔触细腻，叶以双勾填色法，山石皴染及花乌风格皆可见宋代院体风韵，设色艳丽清新，令人有如沐春风之感。",[106,24,25,83,27,7,185,186,167,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ea9b5dca7488b3da49917c162f50947.jpg","设色画","纵165．2厘米，横98．3厘米",[],{"id":12281,"slug":12282,"title":12283,"dynasty":18,"author":1635,"museum":135,"description":12284,"tags":12285,"thumbUrl":12286,"material":52,"size":52,"collection":52,"collections":12287,"showCount":12233,"zanCount":39,"manualWeight":39,"mainColor":40},230975,"hua-guo-tu-xu-gu-230975","花果图","虚谷《花果图》轴，正如其好友杨逸所言：“落笔冷隽，蹊径别开”（《海上墨林》），独具清俊冷峭、静寂虚和的风姿，亦狂亦狷，奇奇怪怪，不事规模陈迹，纯是胸中盘郁。\n款识“鉴中老和尚清玩”，书风一如其画之清隽，图中种种绝俗之物，正应清玩之题，同时暗示了老和尚清俊绝尘的修为与品味。\n所钤“虚谷书画”一印系著名篆刻家徐三庚 所刻，有学者根据虚谷用印推断作品所在时期，认为此印或为虚谷1876-1887这十年间所用，则此画大约作于这一时期，当时画家多在苏州。\n大致可推测，虚谷此图作于1876-1887这十年中，当时他多活动于苏州一带，即为苏州僧人鉴中作此图，一直流传至今，其尺幅、楮墨及品相皆可圈可点。\n虚谷三十岁以后弃戎出家，广泛往来于上海、扬州、苏州等地鬻画为生，他虽“不茹素，不礼佛”，却与众多方外友人维持着良好的关系。\n他与苏州寺院的关系尤为密切，《寒松阁谈艺琐录》的作者张鸣珂结识虚谷即由狮林寺僧诺瞿邀约所致，尝为瑞莲寺画《瑞莲放参图》，为光福古铜佛寺画《古铜佛寺图》，且一度担任狮林寺的住持，退居后到与狮林寺有法系关系的石壁寺养老，并葬于此。\n至于为鉴中所作除了《花果轴》，尚有《瑞莲放参图》。\n鉴中的题跋，曾出现在顾澐为顾曾寿（字子长，号棱伽山民）所作《惟德堂图》后，同卷后有苏州文人书画家顾澐、潘锺瑞、刘履芬、顾文彬、潘遵祁众多题跋，鉴中题后钤有“释日升”、“鉴中”二印，由是可知“日升”即鉴中法名，以及鉴中与晚清苏州文坛、画坛的交往。\n虚谷这一时期侨居苏州为多，与鉴中和尚结缘绝非偶然，故先后以《瑞莲放参图》、《花果轴》相赠。\n此图所写皆案头清供：画面主体写一长瓶，上有老梅数丛，挺拔如剑，右下角配以三丛偃枝，古奥奇绝。\n传统梅干交叉法皆恪守“女”字形的原则，虚谷画梅是自出机轴，不尽拘此绳墨。\n花瓣利用底色以粉点出，附以红色花萼加以烘托，为梅干的古拙平添几分生趣。\n虚谷自作咏梅诗云：“无端白雪落沙来，古本疏枝上粉苔。\n似雪似花花似雪，梅花又向雪中开。\n”写寒梅之高洁，亦可为此清供之梅传神。\n丛梅左侧陪衬了些许松枝，松针逸笔草草却不乏韵致。\n瓶下右侧则有佛手一枝二果，以破墨画叶，墨彩清润浑厚；又有连根百合二枚；前有红柿一枚，反复渲染，隐隐透出红晕，亦各尽其妙。\n瓶后露出如意半枝，是为改变花瓶左侧垂直线的单调而加，使画面显得更为和谐、丰富。\n（182-1896），安徽新安（今歙县）人。\n清代画家， 。\n俗姓朱，名怀仁，移居江苏广陵（今扬州）。\n初任清军参将，后出家，名虚白字虚谷，号倦鹤、紫阳山民。\n以字竹，室名觉非庵、古柏草堂、三十七峰草堂。\n不茹素，不礼佛，也“从不卓锡僧寺”，往来于上海、苏州、扬州一带，卖画为业，是“海上画派”杰出代表人物。\n他携笔墨、着僧装，“闲中写出三千幅,行乞人间作饭钱”，云游四海，清贫于世却笔墨人间，他行程之广、画作之多，己为当时罕见。\n他承古创新，另辟捷径，广集素材，勤奋垦作，终成一代巨擘。\n早年学界画，后以擅画花果、禽鱼、山水著名。\n风格冷峭新奇，绣雅鲜活，无一笔滞相，匠心独运，别具一格。\n亦能诗，有《虚谷和尚诗录》。\n传世作品有《梅花金鱼图》、《松菊图》、《葫芦图》、《蕙兰灵芝图》、《枇耙图》等。",[23,24,27,7,517,9189,686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d67027df7898465725f2bb0928bb54d.jpg",[],{"id":12289,"slug":12290,"title":12291,"dynasty":18,"author":5333,"museum":135,"description":12292,"tags":12293,"thumbUrl":12294,"material":52,"size":52,"collection":52,"collections":12295,"showCount":12233,"zanCount":39,"manualWeight":39,"mainColor":40},230199,"chun-qi-ji-jin-juan-wang-cheng-pei-230199","春祺集锦卷","此作以工笔淡彩绘就春日草木，设色调和柔雅，兼具写实意趣与雅致格调。\n\n攒簇的朱红浆果鲜亮饱满，与嫩绿叶色相映，鲜活夺目；宽叶草木的脉络勾染细腻，晕染出叶片舒展的自然肌理，古雅灵芝旁逸，添上清寂意趣。右侧浅黄、素白的小花袅袅舒展，细竹清瘦挺秀，花叶俯仰生姿，排布疏密得当。\n\n整体笔法秀润工致，将春日花木的幽妍生机尽数铺陈，没有浓烈着色却满是融融春息，静雅清和，把草木舒展的瞬间定格，尽显柔婉雅致的花鸟意韵。",[106,24,25,82,27,83,7,185,226,455,243,5524],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F452999763f15c2cc0fd5efdbcdbbc608.jpg",[],{"id":12297,"slug":12298,"title":12299,"dynasty":18,"author":237,"museum":1535,"description":12300,"tags":12301,"thumbUrl":12302,"material":52,"size":52,"collection":786,"collections":12303,"showCount":12233,"zanCount":39,"manualWeight":39,"mainColor":40},223244,"hua-hui-shan-shui-12-hua-yan-223244","花卉山水-12","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",[24,25,27,64,1390,29,7,1333,467,167,1393,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc18d2a868a7fff05f5a7f52f85957ea0.jpg",[786,112],{"id":12305,"slug":12306,"title":12307,"dynasty":195,"author":196,"museum":79,"description":12308,"tags":12309,"thumbUrl":12310,"material":822,"size":12311,"collection":202,"collections":12312,"showCount":12233,"zanCount":39,"manualWeight":39,"mainColor":159},221237,"qiu-tang-shuang-yan-zhou-yi-ming-221237","秋塘双雁轴","《宋人画秋塘双雁图》是宋代佚名画家创作的一幅中国花鸟古画。\n【简介】 本幅在构图上，将洲岸、水草、残荷搭配在画幅两侧，约略呈一个圆弧状，而画中主题双鹅，则分置在画幅的左右，为这个约略的圆弧所包围，形成幅面整体圆融的气氛。\n虽然北宋後半期，在崇尚淡雅的文人画风引导下，搭配双鹅的背景，为萧瑟衰败的秋荷，但仍隐喻著萧瑟苦寒中亦不改其情意的祥瑞之意。\n画中羽禽水草皆描画精准，强调画面中央空旷平远的构图意念，皆可将本幅画作定为北宋徽宗朝画院之作。\n通幅画面由两幅绢并接而成，或因分合改装，致使接合处略有损伤。\n与雁同科，古人有时 鹅不分而通称。\n本幅画浅滩洲岸上的双鹅，在微微风意中，一只仰天引颈而望；一只蹲伏在红蓼下理翎。\n与二只或掠空飞过；或伫足莲杆上栖息的翡翠，交相呼应。",[23,24,25,152,7,27,83,1854,138,49,11701],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9b4ee9203899581a619038111bbb7b8.jpg","170x 167厘米",[202,35,112],{"id":12314,"slug":12315,"title":12316,"dynasty":195,"author":196,"museum":79,"description":12317,"tags":12318,"thumbUrl":12320,"material":109,"size":12321,"collection":202,"collections":12322,"showCount":12233,"zanCount":39,"manualWeight":39,"mainColor":159},220385,"wu-kuan-xing-lin-xi-chi-tu-yi-ming-220385","无款杏林鸂鶒图","上方行书“乐意”圆融雍容，点破画中真趣。下方小景绘江岸荒寒，枯木虬曲倚傍顽石，疏枝如篆，幽篁错落，晕染出冬日萧索野致。滩涂浅水间，一对鸂鶒相偎理羽，亲昵悠然，为清寂画面晕开温柔暖意。\n\n整幅以淡墨轻色铺陈，极简构图却藏天人妙趣，将林泉幽寂与禽鸟温情相融，用荒寒之境托举欣然乐意，尽显宋画以小景见天地的雅致审美，于冷澹笔墨里，晕染出宋人藏于山水间的幽微意趣，冷寂中暗淌脉脉生机。",[23,24,25,27,83,31,68,7,12319,1950,215,603,1822],"杏树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd38691268d61502131b8aa44711cc88f.jpg","37.3x49.8",[202],{"id":12324,"slug":12325,"title":12326,"dynasty":195,"author":12327,"museum":79,"description":12328,"tags":12329,"thumbUrl":12330,"material":109,"size":12331,"collection":35,"collections":12332,"showCount":12233,"zanCount":39,"manualWeight":39,"mainColor":40},219231,"liu-tang-yuan-xi-tu-ma-he-zhi-219231","柳塘鸳戏图","马和之","风拂柳丝软，池漾碧波轻。柳条以淡墨勾勒，柔韧如丝，似随微风拂动水面，余韵悠悠。塘岸简笔皴擦，草色依稀，野趣天成。鸳鸯两两相戏，红羽点缀素净底色，情态亲昵自然，于静谧中添一抹生动。笔墨疏朗却意韵丰满，不刻意渲染却得自然之趣，恰是宋人崇尚的“平淡天真”之境。观之如临清塘畔，柳风轻拂，鸳鸯悠游，心亦随之沉静，仿佛能闻水波轻响，感受那份独属于宋人的清雅闲逸。",[23,24,106,27,83,7,1333,11701,1110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97a58fd64843b5aa46fa30a846f821cb.jpg","23x24.4cm",[35],{"id":12334,"slug":12335,"title":12336,"dynasty":119,"author":9161,"museum":79,"description":12337,"tags":12338,"thumbUrl":12340,"material":845,"size":52,"collection":35,"collections":12341,"showCount":12233,"zanCount":1398,"manualWeight":39,"mainColor":40},218744,"shuang-gou-shui-xian-tu-zhao-meng-fu-218744","双钩水仙图","素笺之上，水仙疏影悄然铺展。双钩线条如缕金萦玉，勾勒花叶轮廓——叶片修长劲挺，似含墨韵风骨；花瓣轻绽，脉络细劲，若凝霜雪之姿。墨色层次隐现，花叶间留白透气，衬得水仙清逸出尘。\n\n线条自带书法意趣，转折处见笔力，既摹物象之真，又抒文人雅怀。无浓艳设色，却以极简之笔，写尽“凌波仙子”的冰洁灵秀。淡墨浅痕里，仿佛有暗香浮动，于简静中藏生机，素朴中见雅致，尽显传统文人画的审美韵致，令人心驰神往。",[23,24,25,627,12339,64,7,518],"双钩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec3a0cd86b20ca5480736257072df823.jpg",[35],{"id":12343,"slug":12344,"title":12345,"dynasty":60,"author":683,"museum":2373,"description":2374,"tags":12346,"thumbUrl":12347,"material":534,"size":52,"collection":52,"collections":12348,"showCount":12233,"zanCount":1398,"manualWeight":39,"mainColor":40},214916,"mo-hua-ce-10-shen-zhou-214916","墨花册-10",[23,24,64,26,7,2912,227,228,399],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36174ca3ee0e711e4558881ccb44938f.jpg",[],{"id":12350,"slug":12351,"title":12352,"dynasty":195,"author":12353,"museum":79,"description":12354,"tags":12355,"thumbUrl":12356,"material":275,"size":276,"collection":52,"collections":12357,"showCount":129,"zanCount":39,"manualWeight":39,"mainColor":159},290330,"hu-die-hua-zhou-yang-wu-jiu-290330","蝴蝶花轴","扬无咎","杨无咎（1097年～1171年）字补之，杨一作扬，一说名补之，字无咎。自号逃禅老人、清夷长者、紫阳居士。临江清江（今江西樟树市）人，寓居洪州南昌。绘画尤擅墨梅。",[24,25,152,7,64,27,9909,186,31,569,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faead7d623474f00490379551d5dc9d47.jpg",[],{"id":12359,"slug":12360,"title":12361,"dynasty":18,"author":1209,"museum":135,"description":1508,"tags":12362,"thumbUrl":12363,"material":275,"size":276,"collection":52,"collections":12364,"showCount":129,"zanCount":1398,"manualWeight":39,"mainColor":40},289901,"song-bai-tu-tu-li-zhou-wu-chang-shuo-289901","松柏图图立轴",[23,24,152,27,64,7,25,9067,518,1841,3442,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe56dfc2b40298c3e1ad369a191abc33c.jpg",[],{"id":12366,"slug":12367,"title":12368,"dynasty":195,"author":1242,"museum":135,"description":12369,"tags":12370,"thumbUrl":12372,"material":275,"size":276,"collection":52,"collections":12373,"showCount":129,"zanCount":800,"manualWeight":39,"mainColor":159},288323,"xue-shu-han-qin-tu-li-di-288323","雪树寒禽图","此图描绘了覆雪的竹叶，轻染薄雪的棘枝，以及悄立枝头栖息的伯劳。图中山坡以粗笔勾出，写一丛衰草，更添雪意。双勾写竹、树干，敷色渲染。雀鸟以没骨及勾勒相结合绘出，写实生动。对于积雪的表现，直接将白粉厚涂在枝干与竹叶上，表现出积雪压枝的凝重感，清空灵逸。",[23,106,24,152,83,27,7,167,1841,185,2871,12371],"寒枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4da25639e6a0aec09bce05ff5476054f.jpg",[],{"id":12375,"slug":12376,"title":12377,"dynasty":195,"author":1413,"museum":135,"description":5020,"tags":12378,"thumbUrl":12379,"material":275,"size":276,"collection":52,"collections":12380,"showCount":129,"zanCount":39,"manualWeight":39,"mainColor":159},287887,"la-mei-shan-qin-tu-tiao-se-ban-zhao-ji-287887","腊梅山禽图（调色版）",[106,24,25,7,83,27,436,518,167,31,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74d0d2f2961bf6332e47e7b9d54b4b3d.jpg",[],{"id":12382,"slug":12383,"title":12384,"dynasty":18,"author":196,"museum":135,"description":12385,"tags":12386,"thumbUrl":12388,"material":275,"size":276,"collection":52,"collections":12389,"showCount":129,"zanCount":1398,"manualWeight":39,"mainColor":40},267673,"ci-xiu-mu-dan-shou-dai-tu-zhou-yi-ming-267673","刺绣牡丹绶带图轴","此作针丝如笔，织就清逸佳景。上端苍松虬枝蟠绕，松针苍劲、松果累累，自带古拙清隽之意。两只绶带鸟羽色鲜亮柔润，蓝尾曳垂如丝，正栖于枝头顾盼相依，灵动生趣扑面而来。\n\n下端湖石以蓝调施绣，纹理宛然似水墨写意，旁侧牡丹雍容绽蕊，瓣色由淡转浓，与幽淡兰草、细柔秀竹相映，柔媚雅致。左题“延年益寿”，针脚匀整朴拙，点出吉庆题旨。\n\n整幅配色柔雅相宜，绣工灵动细腻，将苍松之劲、花鸟之柔、奇石之秀相融，暗藏福寿吉意，把刺绣匠心与中式雅趣揉合为一，尽显温婉隽永的东方意韵。",[4090,152,7,107,6942,3460,5136,27,12387],"延年益寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04c4866c7ad44ad2ed56d39a176da0a5.jpg",[],{"id":12391,"slug":12392,"title":2490,"dynasty":18,"author":2491,"museum":135,"description":2492,"tags":12393,"thumbUrl":12394,"material":275,"size":276,"collection":52,"collections":12395,"showCount":129,"zanCount":39,"manualWeight":39,"mainColor":40},239060,"shan-shui-hua-niao-ce-yang-jin-239060",[24,25,26,64,27,7,436,167,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa34cb2182d3697f907db91f24da4be04.jpg",[],{"id":12397,"slug":12398,"title":12399,"dynasty":18,"author":12400,"museum":135,"description":12401,"tags":12402,"thumbUrl":12403,"material":52,"size":52,"collection":35,"collections":12404,"showCount":129,"zanCount":39,"manualWeight":39,"mainColor":40},238160,"hong-wu-yang-ju-tu-ce-hong-wu-238160","弘旿洋菊图册","弘旿","爱新觉罗·弘旿（1743-1811），清朝宗室、画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。康熙帝爱新觉罗·玄烨孙，爱新觉罗·胤秘第二子。封固山贝子，两次缘事革退，复赏封奉恩将军。能诗，工书、画，以三绝称。弘旿工画，师董邦达，自署瑶华道人，名与紫琼道人胤禧并。论者称其“山水得董、黄之妙谛。”永珠既夺爵 [1] 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。\n图中绘小竹数竿，清翠欲滴，两只山雀栖于枝头，一只低头俯视，一只眺望前方。\n竹用双钩填彩，笔墨缜密严谨，色调沉着。\n山雀用淡彩层层晕染，再以尖毫细笔绘出绒羽，刻画准确，富有质感。\n图绘白头翁鸟两只，栖于丛竹之中。\n图中的丛竹，自竹篁中长出的几枝落叶的老枝，画幅左上方伸展，这就打破了左面景物过于稀疏的格局。\n左侧的老枝，竹叶开始枯黄，在几处竹叶根部略见积雪，分明是初冬时节。\n两只鸟伫立于一根枝权上，上者低头梳理羽毛，长尾下垂；下者凝视前方，姿态逼肖。\n本幅无款。\n钤鉴藏印“佟氏家藏”。\n此图过去一直被认为代表了唐代李思训画派的风格，后经傅熹年考证，认为其时代上限不超越南宋中期，而且很可能出自既不了解唐代宫苑之制、也未亲见宋代宫苑贵邸的临安以外地区的民间画家之手。\n此图画竹先以浓墨细笔勾出枝叶，再以淡色渍染，染色时从尖到根逐渐加深，叶根部留白作雪。\n笔墨严谨，色调沉着。\n设色除了竹叶较重的青绿，其他部分用色都很清淡，做到工而不板，丽而不俗。\n两只白头翁先用笔层层晕染，然后用尖毫细笔画出它们身上的绒羽，这样刻画出丰满可爱的白头翁形象，与竹枝、竹叶的劲利画法不同，而柔软蓬松的翎羽与刚直劲挺的竹枝、竹叶，形成艺术效果的对比。\n足见作者在此图上施以多种手法而得到的艺术效果甚佳。\n这是作者对自然界的花鸟进行认真观察、勇于摸索、不断实践创作的结果。\n画面上，两只白头翁立在竹枝之间．一只平视前方，另一只低着头，用喙梳理羽毛，动作显得十分传神。\n竹子采用双钩填彩画法，尤是竹叶似剑锋不锐利。\n在着布局上，色调构图缜密。\n《白头丛竹图》在用线上，竹的线条勾勒坚挺劲利，用笔顿挫提按有力，叶的勾勒显出飘逸、灵动，枝的用线则稳健，叶与枝在统一中求变化。\n白头翁身上的绒羽则用尖毫细笔勾出，与竹一柔一刚形成强烈的张力，既表明了两者形态、质感上的不同，也强化了内在的冲突：环境严寒、凛冽而白头翁的温柔可爱。\n凌寒不屈的寓意需要相应的笔法和设色与之相称。\n白头翁作为主体以黑、白、灰为主，既朴素大方，又对比强烈地镇住画面。\n在中国传统色彩学中，黑与白是所有色彩中的极色，它们在这幅画中被赋予特殊的关注。\n衬景的竹子先染墨后施色，显出了色调的沉着，竹叶稳沉的绿与古铜色绢底既有反差，又有参差的层次，构成和谐的统一。\n叶尖、叶背以及次要的竹枝淡淡施以摊墨，进一步融合了绢与竹在色彩与空间上的联系。\n通幅调子淡雅、朴素、沉着，既是客观的写照而又融人主观的情趣，体现了工笔花鸟画形式所特有的设色的法度：主辅必明，傅染必渐，洪托必匀，雅俗必分，层层值染，使得墨与色和谐相融。\n这一切不仅增加了色彩的厚度，而且也使画面显得细腻而丰富。\n这种微妙屯自然、柔和的变化及空间控制之精妙，是意笔花鸟画难以企及的。\n在构图上，静态的白头翁栖于主位，理羽的白头翁处于辅位，一静一动主次的安排，既莫定画面“静”的基调又使画面有“动”的生气。\n衬景中最醒目的竹干从画面中下部向左中下方斜长出画外，白头翁站立的竹枝伸向右中上方，与右斜带叶小枝形成右上方与中下部的连势，加之竹叶横生长势，与白头翁站立的竹枝同长于一个竹节点，但长势相反且与止于画面的辅枝一起，形成多层次的、非十字形的交叉，既丰富又统一，与冲出画外的竹干长势一同把人的联想引到画外无限的空间。\n会员李敬仕：画家以不同的手法，表现了不同对象的质感和精神气质，使白头翁与劲利的竹枝、叶片形成刚柔对比的艺术效果。",[23,106,24,25,661,26,83,27,7,185,167,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31eabac537775fc8e4c72a25d5260302.jpg",[35],{"id":12919,"slug":12920,"title":12921,"dynasty":18,"author":12922,"museum":135,"description":12923,"tags":12924,"thumbUrl":12925,"material":52,"size":52,"collection":52,"collections":12926,"showCount":73,"zanCount":39,"manualWeight":39,"mainColor":40},224582,"feng-xian-dao-gua-jiang-ting-xi-zhang-zhao-224582","凤仙倒挂","蒋廷锡 张照","设色明妍清润，凤仙花柔茎舒叶，艳红花瓣娇柔含露，倚石而生，野趣盎然。两只粉蝶一静一翩跹，将花畔生机尽数晕开，工细笔触晕染出蝶翼薄透肌理，花草枝叶的阴阳向背皆细腻入微，兼具工笔精致与写意雅致。\n右侧行书清劲秀雅，笔势流转间将咏花诗意娓娓道来，诗画相映，铺陈出凤仙花的幽逸品格。整幅册页雅致隽秀，融绘事笔墨与文人意趣于一体，尽显温婉雅致之美，是诗画合璧的精妙之作。",[23,24,25,26,27,83,569,7,808,242,90,214,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b550ce4b068e3759d7ebce65ce339e1.jpg",[],{"id":12928,"slug":12929,"title":12930,"dynasty":18,"author":1487,"museum":135,"description":12931,"tags":12932,"thumbUrl":12934,"material":52,"size":52,"collection":52,"collections":12935,"showCount":73,"zanCount":1398,"manualWeight":39,"mainColor":159},224580,"shu-kui-xuan-hua-tu-jiang-ting-xi-224580","蜀葵萱花图","此作用没骨技法写就，构图疏朗空灵，主次有致。柔粉蜀葵袅袅舒展，花瓣晕染出轻软娇柔的质感，苍绿枝叶勾勒出阴阳向背，鲜活如生。配搭艳红榴花与橙黄萱花，冷暖色调相映，明丽雅致，将仲夏群芳盛放之态尽数铺陈。\n笔墨兼具院体的工致与文人画的秀逸，晕染细腻柔和，不见勾勒之痕却形神兼备，整体意境恬淡悠然，尽显温婉清隽的花鸟意趣，藏着中式美学里独有的夏日闲情。",[23,24,25,27,83,7,2038,12933,631,228,68],"萱花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9121d78fdc9453ee8ae006a9bede611.jpg",[],{"id":12937,"slug":12938,"title":12939,"dynasty":18,"author":12940,"museum":135,"description":12941,"tags":12942,"thumbUrl":12943,"material":52,"size":52,"collection":786,"collections":12944,"showCount":73,"zanCount":39,"manualWeight":39,"mainColor":40},224270,"shan-shui-hua-hui-ce-fu-shan-224270","山水花卉冊","傅山","此作用笔纵逸随性，以淡墨写垂柳长条，笔致轻柔连贯，如见春风拂柳之姿。芙蓉花以浓淡墨色晕染点簇，淡墨勾描花瓣轮廓，浓墨点苔铺叶，干湿互衬，尽显花之娇柔蓬松。\n\n画面留白疏朗，右上角题字与绘景相映成趣，诗画交融间尽显文人画萧散简淡的意韵。整幅水墨写意不重形似而尚神趣，带着林下幽人的闲适疏放，将花木清灵与文人澹泊襟怀相融，寥寥笔墨间晕染出清逸脱俗的雅致氛围。",[23,24,25,26,64,7,544,107,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57b0015526d185a3e1348fa9df2adfd1.jpg",[786,35],{"id":12946,"slug":12947,"title":12948,"dynasty":18,"author":237,"museum":135,"description":12949,"tags":12950,"thumbUrl":12951,"material":52,"size":52,"collection":52,"collections":12952,"showCount":73,"zanCount":39,"manualWeight":39,"mainColor":159},224186,"hua-niao-cao-chong-tu-ba-05-hua-yan-224186","花鸟草虫图八-05","这幅花鸟图以画眉为主体，画师以细腻笔触丝写出禽鸟绒羽，蓬松柔润，画眉抬首引颈，俨然正引吭啼鸣，灵动楚楚。枯瘦枝桠以淡墨写出，间杂残红野果，设色清妍冷峭，晕染出秋深烟寒的幽寂氛围。\n\n左侧题诗与画面相映成趣，书画交融，将晚秋荒寒之境与禽鸟的缱绻情态相融，笔致秀逸空灵，尽显清隽雅致的意趣。画师将写生之真与写意之美糅合，寥寥数笔便勾勒出残秋里生机未泯的幽微景致，晕染出深秋独有的怅惘诗意。",[23,24,25,26,27,7,65,3480,955,399,1557],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a7826f0cacf91bbca0594c3e632a037.jpg",[],{"id":12954,"slug":12955,"title":12956,"dynasty":18,"author":793,"museum":79,"description":794,"tags":12957,"thumbUrl":12959,"material":27,"size":797,"collection":52,"collections":12960,"showCount":73,"zanCount":39,"manualWeight":39,"mainColor":40},222735,"xian-e-chang-chun-tu-he-hua-yu-ci-gu-hua-lang-shi-ning-222735","仙萼长春图荷花与慈姑花",[23,24,25,26,27,83,7,49,12958,214,50],"慈姑花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45ad0b6a8b52b7b8263a034c82ced6e6.jpg",[],{"id":12962,"slug":12963,"title":12964,"dynasty":18,"author":793,"museum":79,"description":794,"tags":12965,"thumbUrl":12966,"material":27,"size":797,"collection":52,"collections":12967,"showCount":73,"zanCount":39,"manualWeight":39,"mainColor":40},222733,"xian-e-chang-chun-tu-cui-zhu-qian-niu-lang-shi-ning-222733","仙萼长春图翠竹牵牛",[23,106,24,25,26,83,27,7,185,8606,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e67283e0ab5abccdabbdf139080e20c.jpg",[],{"id":12969,"slug":12970,"title":12971,"dynasty":60,"author":396,"museum":251,"description":12972,"tags":12973,"thumbUrl":12974,"material":1041,"size":12975,"collection":35,"collections":12976,"showCount":73,"zanCount":39,"manualWeight":39,"mainColor":159},221993,"ku-mu-shu-huang-tu-zhou-wen-zheng-ming-221993","枯木疏篁图轴","此图绘古松如龙，虬干曲枝，老气横秋；疏竹翠色盎然，丛簇纷披。画家运用自己在书法尤其是行草书方面的高深造诣和雄放的笔力，以湿润淋漓的墨色自由挥写，既表现了雨后竹树苍润欲滴、秋意渐浓的状态和美感，也反映出作者安逸闲适的放松心态，是文徵明盛年粗笔绘画中具有较强笔墨个性和诗化意境的作品之一。",[23,7,185,64,399,152,295],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F772a95dcda3e0ac56d1e3817034c10bf.jpg","纵88.2厘米，横47.8厘米",[35,112],{"id":12978,"slug":12979,"title":12980,"dynasty":60,"author":9916,"museum":79,"description":12981,"tags":12982,"thumbUrl":12983,"material":33,"size":12984,"collection":35,"collections":12985,"showCount":73,"zanCount":39,"manualWeight":39,"mainColor":40},219399,"qiu-lao-wu-tong-zhou-lan-ying-219399","秋老梧桐轴","描绘了秋色节令，而图中乾隆皇帝的题诗又为此画增添了流传千古的一段文坛佳话。",[24,152,27,83,7,5448,65,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4552d34b1f14023a19d7989f826fdca7.jpg","136.6x31.2",[35],{"id":12987,"slug":12988,"title":12989,"dynasty":119,"author":12990,"museum":2855,"description":12991,"tags":12992,"thumbUrl":12993,"material":109,"size":12994,"collection":35,"collections":12995,"showCount":73,"zanCount":39,"manualWeight":39,"mainColor":159},219086,"liu-xia-cang-lu-tu-zhao-yong-219086","柳下苍鹭图","赵雍","古梅树浓密，枝头红梅，花开锦绣。 三只白鹭站在粗杆上，昂首挺胸； 发芽的柳条垂下几根，沐浴着春风，像一堵绿墙一样在两边摆动； 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,"梅花图页","陈继儒（1558年12月14日-1639年10月16日），字仲醇，号眉公、麋公，松江府华亭（今上海市松江区）人。明朝文学家、画家。\n诸生出身，二十九岁开始，隐居在小昆山，后居东佘山，关门著述，工诗善文，书法学习苏轼和米芾，兼能绘事，屡次皇诏征用，皆以疾辞。擅长墨梅、山水，画梅多册页小幅，自然随意，意态萧疏。论画倡导文人画，持南北宗论，重视画家修养，赞同书画同源，有《梅花册》《云山卷》等传世。著有《陈眉公全集》《小窗幽记》《吴葛将军墓碑》《妮古录》。",[23,24,25,64,7,436,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F559e90f017c71c4dbf04075e0d12d500.jpg",[],{"id":13410,"slug":13411,"title":13412,"dynasty":4397,"author":13413,"museum":135,"description":13414,"tags":13415,"thumbUrl":13416,"material":275,"size":276,"collection":52,"collections":13417,"showCount":220,"zanCount":39,"manualWeight":39,"mainColor":40},287663,"kong-que-shan-niao-tu-an-dai-287663","孔雀山鸟图","岸岱","江户时代甲在画家的后半部分江户时期，天生的长子岸科马，他继承和发展了它作为第二代的岸信介派，清水，Dokokan等。",[23,24,7,83,27,91,167,641,29,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56bf50ebc0c55ab4ee3830b455709460.jpg",[],{"id":13419,"slug":13420,"title":13421,"dynasty":18,"author":13422,"museum":135,"description":13423,"tags":13424,"thumbUrl":13425,"material":52,"size":52,"collection":35,"collections":13426,"showCount":220,"zanCount":39,"manualWeight":39,"mainColor":159},236714,"hua-niao-guo-ce-li-qi-236714","花鸟果册","李圻","此作以大写意绘荷塘小景，阔笔泼墨晕染荷叶，墨色苍润交融，浓淡层次尽显夏日池面的氤氲水汽，落笔尽显酣畅率意。两朵白莲以淡墨勾形，留白作瓣，素净雅致，与浓墨荷叶形成强烈的虚实对照，清雅之气扑面而来。荷茎以劲爽线条勾勒，挺拔柔韧，寥寥数笔便将莲茎风姿尽显。画面两侧题上行草，笔墨意趣与画境呼应，诗书画浑然一体。构图疏密相宜，简逸空灵，以极简笔墨传递出荷塘清寂淡远的幽谧意境，尽显写意功底与文人雅致襟怀。",[24,25,106,26,64,467,49,50,7,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdca8a3f7e25a409507aba1c306024f12.jpg",[35,734,5642],{"id":13428,"slug":13429,"title":44,"dynasty":18,"author":5036,"museum":251,"description":13430,"tags":13431,"thumbUrl":13432,"material":412,"size":13433,"collection":35,"collections":13434,"showCount":220,"zanCount":39,"manualWeight":39,"mainColor":40},236311,"hua-hui-ce-wang-shi-shen-236311","此图册十二页，分别画十二种花卉。\n汪士慎(1686-1759)清代著名画家。字近人，号巢林、溪东外史等。安徽休宁人，寓居扬州。汪士慎在诗、书、画、印诸方面皆有很高的成就。擅画花卉，随意勾点，清妙多姿。精画兰竹，尤擅长画梅，笔致疏落，超然出尘，笔意幽秀，气清而神腴，墨淡而趣足，其秀润恬静之致，令人争重。金农称他画梅之妙和高西唐(翔)异曲同工。西唐善画疏枝，巢林善画繁枝，都有空里疏香、风雪山林之趣。千花万蕊，颇富诗意。老年一目失明，尚能挥写自如，不失当年风韵。为“扬州八怪”之一。工诗，善写隶书，又长篆刻。在一目失明作画时，自刻一印云：“尚留一目看梅花”，后来，双目俱瞽，但仍挥写，署款“心观”二字。时金农赞他“盲于目，不盲于心”。阮元《广那个诗事》说他：“老而目瞽，然为人画梅，或作八分书，工妙胜于未瞽时。”其代表作有《苍松偃蹇图》、《潇湘灵芳图》、《绿萼梅开图》、《洒香梅影图》、《月珮风襟图》、《灵根出谷图》等。著有《巢林诗集》。",[24,25,26,64,7,436,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb8c7ea965ffa8a1b378d01899052fef.jpg","纵24厘米 横27.5厘米",[35,112],{"id":13436,"slug":13437,"title":6244,"dynasty":60,"author":196,"museum":135,"description":13438,"tags":13439,"thumbUrl":13440,"material":845,"size":52,"collection":52,"collections":13441,"showCount":220,"zanCount":1398,"manualWeight":39,"mainColor":159},236283,"wang-zi-yuan-hua-niao-ce-yi-ming-236283","此作设色清妍雅致，花枝虬曲舒展，粉白梅朵柔润鲜活，没骨晕染尽显花瓣凝透质感，淡墨勾勒枝干，苍劲间自带清隽之态。\n\n白头翁栖于枝桠，昂首侧目，似正啼鸣。禽鸟刻画细致入微，羽毛丝缕分明，灵动鲜活的神态将林间春日生机全然托出。画面留白疏朗，虚实相生，以极简构图营造出幽寂清宁的春日意趣，将一花一鸟的雅致意趣融于淡远氛围中，悠然隽永，尽显传统花鸟的温婉格调。",[24,480,27,83,7,436,65,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa681153cc0787bd70f3925dcc390ddda.jpg",[],{"id":13443,"slug":13444,"title":13445,"dynasty":119,"author":1603,"museum":135,"description":13446,"tags":13447,"thumbUrl":13449,"material":845,"size":13450,"collection":52,"collections":13451,"showCount":220,"zanCount":39,"manualWeight":39,"mainColor":159},232636,"jin-ji-tu-li-zhou-chen-lin-232636","锦鸡图立轴","陈琳，（生卒年不详），字仲美，钱塘（今浙江杭州）人。南宋画院待诏珏子，琳世其叶。善画花鸟、山水、人物\n陈琳得赵孟頫指授，多所资益，故其画不俗，尤善临摹古迹。\n陈琳存世花鸟画仅有一件，即《溪凫图》（台北故宫博物院），作于大德五年(1301)，是在赵孟頫松雪斋中画成的。画中有赵孟頫的润饰和题字，称这幅画为陈琳的游戏笔墨，推重备至。作品特色鲜明，工笔略带写意，粗细兼用，笔墨潇洒流畅，浓淡墨色富于变化，形象生动，风格古朴，具有文人水墨写意画的韵致。这幅画既反映了陈琳的绘画特色，也代表了元代花鸟画嬗变的时代特征。陈琳还有山水画传世，如《秋山行旅图》、《苍崖古树图》等，都属于水墨写意画法。",[23,24,152,27,83,7,3460,673,1110,89,29,90,13448,6213],"元代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70a7d3753eac78e2098c6e0fef1789f7.jpg","117x70厘米",[],{"id":13453,"slug":13454,"title":13455,"dynasty":18,"author":381,"museum":135,"description":13456,"tags":13457,"thumbUrl":13458,"material":52,"size":52,"collection":52,"collections":13459,"showCount":220,"zanCount":39,"manualWeight":39,"mainColor":40},230122,"chun-qin-si-ping-ren-yi-230122","春禽四屏","这幅团扇小品兼工带写，以鸲鹆为题。浓墨晕染禽鸟黑羽，兼用淡墨扫出绒羽蓬松层次，朱红爪足紧扣枯枝，圆目尖喙自带警觉之态，笔意放逸却形神毕现。衬景藤蔓枝叶以花青淡赭轻勾慢染，叶片俯仰错落，柔润淡彩与浓黑禽鸟形成冷暖映衬，疏密之间晕出春日清寂生机。右侧题字笔力劲挺，与画面浑然相融，尽显写意花鸟的灵动雅趣，尺幅之内将日常小景化为意韵悠长的雅致佳作。",[24,27,64,7,65,452,453,68,399],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb56f8d8e8fbbb64afde5123e88597a17.jpg",[],{"id":13461,"slug":13462,"title":13463,"dynasty":18,"author":3195,"museum":135,"description":13464,"tags":13465,"thumbUrl":13466,"material":52,"size":52,"collection":52,"collections":13467,"showCount":220,"zanCount":39,"manualWeight":39,"mainColor":40},228949,"chun-man-zhi-tou-zhao-zhi-qian-228949","春满枝头","此作将群芳收于团扇尺幅，花枝虬曲穿插，蔷薇、山茶错落在苍枝间，繁而不乱。墨叶以浓淡晕出层次，苍厚朴拙，带着写意的朴野意趣；花卉以没骨晕染，粉艳、朱红、米黄诸色鲜活柔润，妍丽却不甜俗。\n\n兼工带写的笔意，将草木的舒展生机与文人画的隽雅格调相融，角落题字清雅端凝，和画面浑然一体。把暮春盛放的鲜活景致凝缩方寸之间，生机盎然，尽显清隽的写生意趣，是兼具笔墨情致与自然意韵的小品佳制。",[23,24,25,106,661,27,7,29,66,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F633ca1d9c7a81bb71031bb55fe76c1ba.jpg",[],{"id":13469,"slug":13470,"title":9220,"dynasty":60,"author":4655,"museum":135,"description":13471,"tags":13472,"thumbUrl":13475,"material":52,"size":52,"collection":52,"collections":13476,"showCount":220,"zanCount":39,"manualWeight":39,"mainColor":159},228486,"shuang-ying-tu-lin-liang-228486","《双鹰图》是清代画家朱耷创作的纸本水墨画，现藏于 。\n款识：八大山人写。\n钤印：八大山人（白）、何园（朱）、孝慈洪养百福（朱）、士元（朱）。\n藏印：程桢义联珠珍藏印（朱）签条：清高僧朱耷双鹰图真迹 。\n钤印：秋君（朱）、李秋印（白）。\n《双鹰图》画面以简洁的构图，别开生面，意境幽邃，寥寥数笔将冬季时节的气息表现得淋漓尽致。\n画中岩石一侧横斜出枯枝苍干，坡石边附有丛竹，双鹰一踞岩石上俯视，一栖树干上转头回望，呈呼应之势。\n二石二鹰一树描绘都是对大自然的精心观察后，通过变形取貌得其盎然生意，整个画面笔调圆润凝重，皆以圆弧线组成，富有流动感，浓淡干湿墨色相破相融，双鹰的画法虽可看到林良的影子，而意趣已有很大的不同。\n画面的构图不留地面和天空，仅有的右侧空白被作者自题识和款署给填补。\n此图无论是双鹰、山石、枯树都笔墨简括，意态尽出，显出了 以简取胜，以少胜多的独特写意艺术才能。\n219年9月2日，该作品在故宫博物院和 共同主办的《回望传承——八大山人纪念馆建馆6周年故宫典藏特展》中展出。\n朱耷（1626－176）。\n谱名统，有雪个、个山、人屋、道朗、八大山人等别号。\n南昌人。\n明末清初越的大画家。\n他是明太祖朱元璋第十六子朱权的九世孙。\n八岁能作诗，十一岁能画青绿山水，少时能悬腕写米家小楷。\n弱冠为诸生。\n明亡以后，他抱着对清王朝不满的态度，在奉新县耕香庵落发为僧，时年二十三岁。\n后隐居进贤县介冈及永丰县睦冈等地。\n顺治末年，当他三十六岁时潜回南昌，创建青云圃道院，花了六、七年时间，才使这坐道院初具规模，并在这里过着“一衲无余”与“吾侣徙耕田凿井”的劳动生活。\n因为常有清朝权贵来此骚扰，他常浪迹他方。\n康熙十七年他五十三岁时，临川县令胡亦堂闻其名，便延请他随其僧长饶宇朴等到临川官舍作客年余。\n这使他十分苦恼郁愤，遂佯为疯癫，撕裂僧服，独自走回南昌。\n一年多后，他又回到青云谱，并在这里度过“花甲华诞”。\n当他六十二岁时，不再做住持，便把道院交给他的道徒涂若愚主持。\n后又隐避在南昌附近的北兰寺、开元观等处。\n该画取法明代大画家 ，枯枝危石之上两苍鹰相互顾盼，俯仰之间，英武之姿一览无余。\n以“双鹰”题材为例，列在八大名下目前存世画作有三幅：美国大都会博物馆藏《双鹰图》（系 旧藏）;上海博物馆藏《双鹰图》;江西 藏《双鹰图》。\n三幅画作之中，“大都会本”依画面题记确定为八大山人172年所作;“上博本”为1699年所作;“南昌本”无年款。",[23,24,25,152,480,64,399,7,13473,2227,13474,1822,452,227,641],"院体","猛禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb96e154c48c16ef3deed3628318f6135.jpg",[],{"id":13478,"slug":13479,"title":13480,"dynasty":195,"author":942,"museum":135,"description":13481,"tags":13482,"thumbUrl":13489,"material":52,"size":52,"collection":52,"collections":13490,"showCount":220,"zanCount":39,"manualWeight":39,"mainColor":159},227780,"yuan-yang-tu-ye-ma-yuan-227780","鸳鸯图页","这幅画作以边角取景，尽显空灵雅致。石壁以斧劈皴挥写，苍劲利落，棱线分明尽显峭拔质感。水流以细劲回旋的线条勾勒，似能闻声潺潺，蜿蜒间衬出水畔清寂。幽竹清劲挺拔，枝叶俯仰生姿，墨色浓淡层叠，晕染出萧疏逸韵。溪石之上鸳鸯依偎，姿态悠然缱绻，为冷清空灵添了融融暖意。全作用色淡雅，以水墨为骨，留白造势，将江南水景的静谧雅致与小景温情相融，晕散出清旷禅意，简淡之间意蕴悠长，尽显雅致的文人审美意趣。",[23,106,24,25,7,64,3478,13483,13484,185,1393,13485,1110,13486,13487,13488],"斧劈皴","留白","溪石","静谧","雅致","禅意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb58c9c91f65b2fe6136eac6b0eff5de4.jpg",[],{"id":13492,"slug":13493,"title":13494,"dynasty":148,"author":1776,"museum":135,"description":13495,"tags":13496,"thumbUrl":13497,"material":52,"size":52,"collection":52,"collections":13498,"showCount":220,"zanCount":39,"manualWeight":39,"mainColor":40},227266,"yuan-yang-shuang-xi-qi-tu-huang-quan-227266","鸳鸯双西栖图","黄荃在中国古代花鸟画发展史上占有重要地位。他集众家之长，鸟雀师刁光胤，山水师李昇，龙水、松石、墨竹师孙位，他能自出新意，不重蹈抄袭他人的陈迹，创出一种新体并使工笔花鸟画达到成熟期。黄荃的《写生珍禽图》其表现翎毛、昆虫等自然物态的精确性及其作为艺术形象的审美趣味性，确已达到妙造自然、形神兼备的地步。黄荃还继承和发展了边鸾描写活禽生卉的传统，以优美的笔致和赋色技巧表现动植物的生动情态。黄荃也能画山水、人物。与徐熙并称“徐熙野逸，黄家富贵。”。今有《写生珍禽图》传世。子黄居宷、黄居宝等亦擅花鸟，承其父法，黄居宷有《山鹧棘雀图》传世。",[23,24,106,25,661,83,27,7,1110,1951,186,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28c674b72f9c4538a81c5d18574dd6ea.jpg",[],{"id":13500,"slug":13501,"title":13502,"dynasty":18,"author":853,"museum":135,"description":13503,"tags":13504,"thumbUrl":13505,"material":52,"size":52,"collection":52,"collections":13506,"showCount":220,"zanCount":39,"manualWeight":39,"mainColor":40},224590,"bi-tao-chun-niao-zhou-zou-yi-gui-224590","碧桃春鸟轴","柔枝托举粉艳桃华，花瓣晕染出匀净柔润的粉白渐变，似凝着春日晨露，鲜嫩枝叶轻舒，晕开清雅绿意。山雀静栖枝头，墨首白腹肌理分明，翅上嫩黄绒根根可数，尖喙微抬，侧目远眺，仿佛正细嗅花香。\n\n构图疏朗留白，闲章题字错落点缀，将工笔的精致与写意的悠然融为一体，把春日元气凝于尺幅之间，花鸟相伴的清和意趣跃然纸上，尽显恬淡治愈的东方雅致。",[23,24,106,25,152,27,83,7,123,65,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd83a74ab58cfd708a34b346a99465f12.jpg",[],{"id":13508,"slug":13509,"title":13510,"dynasty":489,"author":2235,"museum":6847,"description":13511,"tags":13512,"thumbUrl":13513,"material":52,"size":52,"collection":52,"collections":13514,"showCount":220,"zanCount":1398,"manualWeight":39,"mainColor":40},220536,"chen-qu-xu-bei-hong-220536","晨曲","枯枝虬曲交错，浓淡墨色晕染出苍劲质感，萧索冬意铺满纸面。数十只麻雀错落栖于枝桠，姿态灵动各异：有的昂首翘望谛听晨风，有的两两依偎喁喁私语，也有敛羽静立，沉浸在晨间清寂之中。\n\n以水墨写意之法寥寥定格群雀憨态灵趣，淡墨留白的空阔背景，更衬出雀鸟的鲜活生机，静中藏动，将冬晨的清寒和小生命的蓬勃揉作一处。于枯淡笔墨间晕开暖意，把日常晨间的鲜活意趣尽显，在留白与笔意里藏着温柔生机，让萧瑟冬景晕染出盎然生气。",[24,64,27,399,7,1841,167,489],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0320e8ab6ec6712d5beadf2f7573390c.jpg",[],{"id":13516,"slug":13517,"title":13518,"dynasty":489,"author":13519,"museum":4345,"description":13520,"tags":13521,"thumbUrl":13523,"material":52,"size":52,"collection":52,"collections":13524,"showCount":220,"zanCount":39,"manualWeight":39,"mainColor":40},220515,"he-hua-lu-si-pu-xin-she-220515","荷花鹭鸶","溥心畬","这幅水墨作品以浓淡干湿铺陈笔意，大块浓墨晕染荷叶，苍劲沉郁，与留白水色、素洁鹭鸶形成强烈视觉反差。两只鹭鸶刻画工细，羽毛纤毫毕现，姿态悠然顾盼，在写意荷塘间独显灵动生机。\n\n画面虚实相生，留白处漾出水波空寂之感，垂坠花枝点缀其间，衬出荷塘幽谧之境。左上角题字清雅隽秀，与水墨意趣相融，整体意境疏淡空灵，尽显脱俗澹泊的文人风骨，将夏日荷塘的清寂意韵烘托得淋漓尽致。",[24,25,64,7,152,49,13522,50,603],"鹭鸶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff09adb59070f68f461c12e1eadc1bd60.jpg",[],{"id":13526,"slug":13527,"title":13528,"dynasty":119,"author":695,"museum":79,"description":13529,"tags":13530,"thumbUrl":13531,"material":534,"size":13532,"collection":35,"collections":13533,"showCount":220,"zanCount":39,"manualWeight":39,"mainColor":40},219501,"tao-hua-you-niao-tu-zhang-zhong-219501","桃花幽鸟图","图绘折枝桃花，枝上栖一禽鸟。画家用墨直接点写出枝叶，桃花或勾或点，禽鸟略加勾染。构图、用笔都很疏简，较王渊的墨笔花鸟更为简逸，近于写意的画法，亦属墨戏之作。画幅上有杨维桢、范公亮等十余人题咏。",[24,25,64,7,123,65,67,31,569,3362,68,399],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39e824d8b7c3ee45995275c79f83170d.jpg","纵112.2厘米，横31.4厘米",[35],{"id":13535,"slug":13536,"title":13537,"dynasty":60,"author":4655,"museum":368,"description":13538,"tags":13539,"thumbUrl":13540,"material":6535,"size":13541,"collection":35,"collections":13542,"showCount":220,"zanCount":39,"manualWeight":39,"mainColor":159},219329,"liu-que-tu-lin-liang-219329","柳鹊图","画中的柳叶随风起舞，四只喜鹊在中间嬉戏。 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其贞这样描述马麟传世的几幅梅花：“勾染逼真”，“傅彩妍洁，落笔灵动”，“清瘦伶仃，有不胜雪压之状”，“清简之甚，意趣有余”，都可与这幅《梅竹图》相互印证。若拿今藏故宫博物院的马麟名作《层叠冰绡图》与之作比较，更可发现它们在构图、画法及精神气度上的相似之处。元明间一位无名氏有诗赞马麟曰“当时写姿妙绝品”，用妙绝之品来形容这幅《梅竹图》，同样不算过分。",[106,24,25,26,83,27,7,436,185,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9422d460442581c12adf5086caf0ecb4.jpg",[],{"id":13692,"slug":13693,"title":13694,"dynasty":18,"author":1487,"museum":1535,"description":13695,"tags":13696,"thumbUrl":13697,"material":845,"size":13698,"collection":52,"collections":13699,"showCount":13584,"zanCount":39,"manualWeight":39,"mainColor":159},231487,"shu-kui-xuan-hua-tu-jiang-ting-xi-231487","蜀葵宣花图","此幅用没骨法绘三枝折枝花卉，以逸笔写生，奇正率工，敷色晕墨，兼有一幅，能自然洽和，风神生动，得恽寿平韵味。\n蒋廷锡（1669—1732年），字酉君、杨孙，号南沙、西谷，又号青桐居士，江苏常熟人，是清朝康熙、雍正时期官员、画家。康熙四十二年（1703年）进士，历任礼部侍郎、户部尚书、文华殿大学士、太子太傅等职。",[23,24,25,7,152,83,27,2038,12933],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f9575199fb86ddf3cfac99d1250ee36.jpg","78×39cm",[],{"id":13701,"slug":13702,"title":13703,"dynasty":18,"author":5036,"museum":135,"description":13704,"tags":13705,"thumbUrl":13706,"material":52,"size":52,"collection":52,"collections":13707,"showCount":13584,"zanCount":39,"manualWeight":39,"mainColor":40},230364,"hua-hui-shan-shui-tu-ce-ye-ba-kai-wang-shi-shen-230364","花卉山水图册页(八开)","此作以淡青绘竹，笔致清劲秀逸，竹叶层叠错落，尽显疏朗清瘦之姿，自带凌冽孤傲之态。旁侧柔枝轻斜，粉萼悄然绽放在枝桠间，柔婉清丽，与劲竹刚柔相衬，添了几分春日温软生机。\n左侧行书题诗与画面相融，文气漫溢纸面，将花木之态与文人风骨合二为一。整体笔墨简淡含蓄，意境清寂闲雅，尽显扬州画派典型的文人意趣，把清冷孤高的心境藏在淡色花枝劲竹之中，是一件雅致悠然的小品佳作。",[106,24,25,26,27,64,7,185,436],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3372f1edc95a4f394244d2aba19910a2.jpg",[],{"id":13709,"slug":13710,"title":13711,"dynasty":18,"author":5036,"museum":135,"description":13712,"tags":13713,"thumbUrl":13714,"material":52,"size":52,"collection":52,"collections":13715,"showCount":13584,"zanCount":39,"manualWeight":39,"mainColor":40},230363,"hua-hui-tu-ce-12-kai-wang-shi-shen-230363","花卉图册12开","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。",[106,24,25,26,27,7,29,455],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb307a89d6f339862bc7cddeb25759f0.jpg",[],{"id":13717,"slug":13718,"title":13719,"dynasty":195,"author":553,"museum":135,"description":13720,"tags":13721,"thumbUrl":13722,"material":52,"size":52,"collection":52,"collections":13723,"showCount":13584,"zanCount":39,"manualWeight":39,"mainColor":159},227974,"pu-tao-cao-chong-tu-lin-chun-227974","葡萄草虫图","《葡萄草虫图》是宋代画家林椿创作的一幅设色扇面画想，现藏于 。\n图中绘葡萄累累垂挂，蜻蜓、螳螂、蝈蝈、蝽象伏于藤蔓绿叶间，富有生活气息。\n昆虫以双钩填彩绘制，用线刚柔相济，表现出不同的质感，如蜻蜓轻薄的翅膀，蝽象坚硬的外壳。\n藤尖叶边略作点染，表现季节特征。\n此图承袭了北宋的写实画风。\n图绘绿色玫瑰葡萄一枝，须蔓缠绕，硕果累累，垂挂枝叶间，果实晶莹如玉，水分饱满，绿色枝叶，向四周伸展，须子有的曲绕枝干，有的随意飞飘。\n纺织娘在叶子上吸吮着鲜汁；螳螂抬首举前足；蜻蜓刚刚飞停于枝头。\n另有一只金龟子匍伏于葡萄枝上，为葡萄绿叶所掩遮：甲虫落枝叶上，或低头觅食，或抬首举足，形象生动有趣。\n昆虫形象毕肖，富有生趣，给人甜美丰实的精神享受。\n本幅款识“林椿”。\n整个画面题材取景为自然界一隅，十分平常，但对葡萄、叶片、昆虫的描绘真实牛功，具有深厚的写牛功力：林椿工花鸟，师法赵昌，多直接用色彩分别浓淡进行细致描绘：画葡萄分出浓淡不同层次，一气呵成，犹如泼墨，然后用浓墨，以草书法勾口厂筋、藤蔓。\n葡萄叶因用笔用墨的不同而能分出老嫩、正反、枯鲜等状态。\n葡萄果莹润饱满；蜻蜓尤备极工细，神韵奕奕，其翅膀透明轻盈；螳螂的眼睛明亮如镜，镰刀状的前足生有钩刺，日光炯炯，真有“挹露裳初试，迎风斧半撑的气势”。\n都是多层设色，层层晕染，造成形体的凹凸体积和具有质感。\n当然，在某些地方，如葡萄枝十及口卜脉也适当地用细线作一些勾勒，只是这些勾勒已具有粗细浓淡的变化，因此更富有表现力。\n这些为农家随处可见景物，画家以独具的慧眼撷之入画，可谓别开生面-总体来说，此图用笔精细，设色轻柔，变化层次微妙，工写兼施，相映成趣；构图善从一角出发，全幅荡漾着空灵的诗意、画面左下方署有“林椿”二宁款，小楷书，无收藏印。\n此幅为林椿真迹代表之作。\n《葡萄草虫图》体现了“以实写虚，意味无穷”的画风，表现出“诗中有画，画中有诗”和“诗是无形画，画是有形诗”的不同艺术意蕴风格，并求通过真实、具体的形象，抒写作者的感情，以激起读者的想象和联想，产生艺术魅力。\n整体画面的表现为虚实关系的进一步发展，体现了画家对物象的刻画以诗意的意境和气韵来追求现实的全实的客观精神，这就使得宋代宫廷花鸟画以自由来追求自然与人审美情怀，这就构成了一个高超的艺术境界。\n宋代绘画风格的现实性不仅是客观的物象，是画家用“写实”语言，在充分尊重客观对象，并按照创作需要和审美观念来对客观分析一系列的艺术，从而描述一个故事来表达自己的思想感情和精神寄托。\n可以看出，古代绘画通过“现实主义”的表现手法，不仅是形象的东西，而且还真正体现了事物的状态，画中所绘的动植物不仅真实存在，符合动植物的生长规律及习性还符合当时的时间，地点和情境。\n裱边旧题签：“林椿葡萄草虫。\n”存《名笔集》册中。\n经《虚斋名画录》卷十一、《中国古代书画目录》第二册著录。\n林椿（生卒年不详），钱塘（今浙江杭州）人。\n孝宗淳熙（1174－1189年）时为画院待诏，由于其画艺高超，受赐金带。\n所绘花鸟、果品、草虫小品为多，画法远师赵昌，近取李迪，时人赞为“极写生之妙，莺飞欲起，宛然欲活。\n”",[23,24,106,25,661,83,27,7,2912,213,227,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F282864883129152b7ca84a825688e9bf.jpg",[],{"id":13725,"slug":13726,"title":11533,"dynasty":195,"author":1301,"museum":135,"description":13727,"tags":13728,"thumbUrl":13729,"material":52,"size":52,"collection":52,"collections":13730,"showCount":13584,"zanCount":1398,"manualWeight":39,"mainColor":40},227697,"mo-lan-tu-zhao-meng-jian-227697","《墨兰图》卷，宋，赵孟坚作，纸本，淡墨，纵34.5厘米，横90.2厘米。\n\n本幅款署“彜齋趙子固仍賦”。钤“子固寫生”一印。墨兰是赵孟坚善画的题材。画面上绘墨兰二株，呈放射状的长叶参差错落，分合交叉，俯仰伸展。自题诗曰：“六月衡湘暑氣蒸，幽香一噴冰人清。曾將移入浙西種，一歲才華一兩莖。”诗中表露了作者孤高脱俗的思想境界。\n\n图中运笔柔中带刚，花朵及兰草叶均一笔点划，土坡用飞白笔轻拂，略加点苔。兰叶皆用淡墨，花蕊墨色微浓，变化含蓄，形成墨色对比。画虽为水墨，但格调高雅，“远胜着色”。其好友周密曾云：“赵孟坚墨兰最得其好，其叶如铁花，茎亦佳，……前人无此作也。”\n\n清卞永誉《式古堂书画汇考》、吴升《大观录》、安岐《墨缘汇观》、吴修《青霞馆论画绝句》等书著录。",[23,24,82,64,627,7,254,31,569,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd92597e894b5d42c872718b468778597.jpg",[],{"id":13732,"slug":13733,"title":13734,"dynasty":195,"author":196,"museum":135,"description":13735,"tags":13736,"thumbUrl":13737,"material":52,"size":52,"collection":52,"collections":13738,"showCount":13584,"zanCount":1398,"manualWeight":39,"mainColor":159},227374,"mu-dan-wan-shan-tu-yi-ming-227374","牡丹纨扇图","扇上绣着两株牡丹枝条，绯红花瓣，绿叶，金边，叶脉，处处彰显牡丹的华美！",[24,106,25,661,27,83,7,107,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec1b0957ed3bdec055f08a2afa604184.jpg",[],{"id":13740,"slug":13741,"title":13742,"dynasty":195,"author":196,"museum":135,"description":13743,"tags":13744,"thumbUrl":13746,"material":275,"size":276,"collection":52,"collections":13747,"showCount":13584,"zanCount":1398,"manualWeight":39,"mainColor":40},227332,"xi-que-deng-zhi-qi-pan-yi-ming-227332","喜鹊登枝漆盘","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [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。",[13656,13745,7,436,167],"螺钿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde6c7932c3eb5eb981b7f6ddef7cb426.jpg",[],{"id":13749,"slug":13750,"title":13751,"dynasty":18,"author":11859,"museum":79,"description":13752,"tags":13753,"thumbUrl":13754,"material":699,"size":13755,"collection":52,"collections":13756,"showCount":13584,"zanCount":1398,"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","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。",[23,709,152,27,83,29,214,452,228,215,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5222c3323292451a6bbb293a2c5953d.jpg","每开纵41厘米，横42厘米",[],{"id":13758,"slug":13759,"title":13760,"dynasty":18,"author":13761,"museum":135,"description":13762,"tags":13763,"thumbUrl":13765,"material":52,"size":52,"collection":52,"collections":13766,"showCount":13584,"zanCount":1398,"manualWeight":39,"mainColor":40},224292,"teng-hua-ru-ji-zhou-xu-you-224292","籐花乳鸡轴","许佑","柔蔓紫藤垂挂如紫霞流泻，淡紫花瓣晕染柔和，间衬嫩绿叶色，将春日柔媚尽藏枝桠。下方浅草茸茸，数只乳鸡或低头啄食，或相互依偎，茸毛蓬松鲜活，憨态尽显，灵动稚拙的模样似要跃出纸面。\n\n整作笔墨秀润清逸，工细兼具写意，将藤花的柔雅与雏鸡的生机相融，动静相映，把乡野间寻常的春日小景，晕染出恬和悠然的闲趣，平和雅致间满溢鲜活生机。",[24,152,27,83,68,7,48,13764,3738],"乳鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fada398b14092fd03535ab4dce02ea007.jpg",[],{"id":13768,"slug":13769,"title":13770,"dynasty":60,"author":1681,"museum":79,"description":13771,"tags":13772,"thumbUrl":13773,"material":534,"size":13774,"collection":35,"collections":13775,"showCount":13584,"zanCount":39,"manualWeight":39,"mainColor":40},222396,"han-xue-shan-ji-tu-zhou-lv-ji-222396","寒雪山鸡图轴","画家以运笔迅速的墨线、墨块为主，以干、湿笔交互运作，用飞白的线条，疾速完成枯树枝桠、山石流泉，造成黑白对比",[23,24,152,7,83,64,27,12411,2871,1841,1822,90,68,807],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F096ba06be874b0a719bffcf11369d20a.jpg","纵135.3厘米，横47.2厘米",[35,112],{"id":13777,"slug":13778,"title":13779,"dynasty":60,"author":477,"museum":1387,"description":5054,"tags":13780,"thumbUrl":13781,"material":26,"size":52,"collection":52,"collections":13782,"showCount":13584,"zanCount":1398,"manualWeight":39,"mainColor":40},221912,"hua-niao-jing-pin-ce-9-chen-hong-shou-221912","花鸟精品册9",[24,106,27,83,26,7,186,518],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffbe640c04e62e628fad5e50518bd9eb.jpg",[],{"id":13784,"slug":13785,"title":13786,"dynasty":195,"author":13787,"museum":818,"description":13788,"tags":13789,"thumbUrl":13790,"material":822,"size":13791,"collection":52,"collections":13792,"showCount":13584,"zanCount":39,"manualWeight":39,"mainColor":159},221502,"chu-que-tu-ye-song-ru-zhi-221502","雏雀图页","宋汝志","该图通过巧妙的笔法生动地表现了笼里及笼外幼雀的瞬间情态。所传作者宋汝志为南宋末期的画院画家。幕府末期狩野养川院惟信的鉴定中曾称为宋汝志所作，但并无确证，作者未明。然而，作品使用水墨和淡彩，表现手法细腻，这一点说明本图出自南宋时代名家之手。观其画风，属南宋画院待诏吴炳的传派，但笔法在工整中趋向轻松洒脱，鸟雀极为生动自然，筐篓的线条既合编织规矩，又不刻板。",[23,106,24,25,26,627,64,7,65,686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bf5b764403f9d155fee7b4b0e303edd.jpg","21.3x21.9",[],{"id":13794,"slug":13795,"title":13796,"dynasty":489,"author":2823,"museum":4345,"description":13797,"tags":13798,"thumbUrl":13800,"material":52,"size":52,"collection":52,"collections":13801,"showCount":13584,"zanCount":39,"manualWeight":39,"mainColor":40},220507,"he-du-ye-qu-zhang-da-qian-220507","荷堵野趣","这幅画作以酣畅泼墨糅合淡彩，铺陈出塘间意趣。上方巨荷打破圆整定式，以淡绿糅合赭色晕染泼洒，状若流云舒卷，带着肆意豪放的笔墨张力。下方白荷则以细劲线条勾勒瓣叶，莹润雅致，与浓黑如墨的荷叶形成强烈的虚实冷暖对比。背景以淡粉色晕染如晓霞初绽，柔化了浓墨的厚重，晕开烟水迷离的清境。工写相融间，将荷塘的蓬勃生机尽数展现，既有自然野趣的灵动，又暗含疏朗浪漫的文人意韵。",[24,25,152,64,27,7,49,50,13799],"荷梗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22f536715eecbc62d1e1108ce9d6bcb5.jpg",[],{"id":13803,"slug":13804,"title":13805,"dynasty":489,"author":2823,"museum":4345,"description":13806,"tags":13807,"thumbUrl":13808,"material":52,"size":52,"collection":52,"collections":13809,"showCount":13584,"zanCount":39,"manualWeight":39,"mainColor":40},220498,"sheng-ting-hong-zhang-da-qian-220498","胜鞓红","湖石嶙峋苍古，朱砂牡丹开得秾艳饱满，翠色修竹挺拔清隽，粉蝶蹁跹于枝叶之间，生机盈盈。\n设色妍丽却不俗媚，牡丹以重彩层层晕染，尽显雍容华贵；竹叶勾勒劲挺秀逸，带着清透灵韵；湖石以枯笔皴擦，苍劲老辣。虫蝶刻画入微，纤毫毕现，工笔与写意交融，将艳色与清致揉合。\n题字错落排布，书画相生，浑然成趣。整幅画作既有富贵堂皇之态，又藏幽隽清雅之韵，尽显雅致意趣。",[23,24,27,83,152,107,185,214,186,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F547b612a976de1d70f05f8c816e69aa8.jpg",[],{"id":13811,"slug":13812,"title":13813,"dynasty":60,"author":1681,"museum":368,"description":13814,"tags":13815,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创作的纸本设色画，现藏于台北故宫博物院。\n该图描绘的是秋天的景色。\n一只野鸭正立于水岸边上，河里水波阵阵泛起，岸上野草丛生，一株芙蓉树正开得鲜艳。\n该图绿头鸭造型准确，勾勒工谨，以水墨晕染，略加花青、赭石淡彩，花草笔墨纵逸简括。\n此图中一只体硕羽丰的野鸭临水而立，霜晴溪碧，秋意浓郁。\n该画幅左有赵孟頫题记：“陈仲美戏作此图，近世画人皆不及也。\n子昂。\n” 诗塘有元人仇远题跋。\n其中右上的芙蓉、下方的坡石小草和粗笔的水波都是赵孟頫所加，粗笔水波之下还可见到陈琳原画细笔波纹的痕迹。\n画上钤有清人耿昭忠、乾隆帝、宣统帝等收藏印多方。\n《溪凫图》是陈琳求教与赵孟頫时，在赵氏的松雪斋中所作。\n时值元大德五年（11年），该图是在赵氏手把手的指导下，并且由赵氏润色题识共同合作完成的一幅作品。\n整幅画面保留了宋代花鸟相对严谨的造型和章法，区别在于通过相对粗拙的笔墨来作整体的勾染以呈现主体物象。\n野凫的喙以苍厚而毛涩的线勾出外轮廓，再以干笔淡墨循其形理擦染而成，形质俱在。\n鼻孔则又以浓墨细线勾其内外以示其形。\n头部则以浓淡不同的墨色来擦染。\n首先以不同紧松的笔触擦写以表现头部及脖子不同部位组织的软硬质地以及相互关系，然后根据需要敷以花青、染以不同深浅的墨色以体现头部皮肤及羽绒状况。\n浓墨细线，以肯定的笔触圈出眼眶，淡色渲染眼球，晶莹、润泽，浓墨圈点眼瞳，传野凫特有之眼神。\n颈与躯干相连接部分为白色羽毛，仅用两根界线勾出外轮廓，略施极淡的墨。\n野凫的前胸部则以点染笔法两至三遍地完成羽毛，较好地表现了短羽的松软。\n以粗拙的线条勾出左腿部及脚蹼，大腿上的羽毛较长用淡而长的弧线堆砌、错综，以显羽毛的自然情状。\n又以淡墨和赭石细勾分染以增其层次。\n为了表现紧紧包裹着小腿的皮的质感，则又细勾慢染，显脚部皮质的起伏与韧坚。\n背上翅部则是精雕细琢的部分，以勾染绘出根部外侧细毛层叠蓬松。\n翅前端几根大羽则用浓淡不同的线依其物理的方向，以富有弹性的线勾出，与细羽形成对比，尾部上面翅之最前端以极概括的手法涂染、大笔写出。\n整只野凫的描绘以明显的带有书写性的笔法绘出。\n整体结构的精准表现了野凫的一贯常态，极为传神。\n补景行笔从容，线条极具概括力，笔触简洁、富有意趣，轻松地表现了画幅上部的芙蓉以及下部的杂草。\n坡石的线条极为自如，看似随意间形质皆备，诚是“笔简而意繁”叠压在细劲水纹上粗简的复笔，润而凝、松而实。\n这些笔触表现的虽是背景，但横贯画幅，时于整体意笔气氛的营造有着极为重要的作用。\n画面写生式的画一只野鸭，本来构图容易陷于平板，但坡岸一条很粗的斜曲线，使画面起了变化，加以淡墨的不规则的水纹线条，使之有了起伏变化。\n然后在右上角用线描出芙蓉花，以及坡上车前草和两丛野草，使之丰满充实，疏密有致。\n现代文学家、画家 ：这画的确美妙、生动和自然。\n连霜消日晒、光暖波凉的感觉都能让人感到。\n虽是戏作，笔墨却是上乘。\n你看，这土坡的苍厚，鸭羽的柔软，花叶的肥嫩，水纹的光滑，全用不同质感的线条区分开。\n颜色不多却非常丰富；赭黄的调子洋溢着秋天的风韵。\n陈琳的《溪凫图》与其他画家的作品一起成为种标向，在花鸟画发展中做出了两个方面的贡献。\n其一是把绘画中的行利之分逐渐地引导到种新的审美境界中去，展现文人画的进一步发展，与此同时，其自身也成为了一种传统。\n将宋人绘画中的严谨、规整、刻画的造型，逐步向松灵、抒写、淡治转移。\n二是把黄家的设色体制水墨化，其特征是：1、保持黄体的基本构图和严格的造型性，但在表现形式上由紧转松。\n2、将对于形廓的勾勒线描，变纤细为可以粗重并加强其抒写性。\n、变体面的色彩呈现为墨分五彩，变三矾九染的渲染法为皴、擦、书写为主的干湿表现。\n该图曾经耿昭忠及清内府收藏。\n现藏于台北故宫博物院。\n217年1月4日—12月25日，台北故宫博物院举办“国宝的形成”特展，《溪凫图》在其中展出。\n陈琳，生卒年未详。\n元代画家。\n字仲美，钱塘（今浙江杭州）人。\n南宋画院待诏陈珏子。\n琳世其业。\n善画花鸟、山水、人物，得赵孟颊指授，多所资益，故其画不俗，尤善临摹古迹。\n尝作《夏木图》，张雨题诗，有“董源夏木不复见，俗本纷纷何足观；陈郎笔力能扛鼎，写此千章生昼寒”之句。\n传世作品有与赵孟頫合作的《溪凫图》轴。",[23,24,25,64,27,7,1168,1393,808,186,31,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ab4dc7748b9ac3a1f0f3e1f60d4cb74.jpg","35.7x47.5",[35],{"id":13953,"slug":13954,"title":13955,"dynasty":195,"author":196,"museum":135,"description":13956,"tags":13957,"thumbUrl":13958,"material":52,"size":52,"collection":52,"collections":13959,"showCount":13827,"zanCount":39,"manualWeight":39,"mainColor":159},227913,"zhu-chong-tu-yi-ming-227913","竹虫图","淡赭绘就竹枝，以深浅绿意晕染竹叶，笔下叶片舒展有姿，劲挺又不失柔润，枝桠交错间野意横生。叶面之上，竹虫敛身伏藏，身形与枝叶相融，将蛰伏的静谧暗藏其间。右上角蛱蝶振翅翩跹，墨色点染翅翼，留白衬出轻盈灵动，骤然打破画面静气，动静相映成趣。\n全作笔致工细秀雅，设色清淡雅致，以精微的观察捕捉乡野小景的瞬态生机，将草木虫蝶的自然情态刻画入微，于尺幅之间勾勒出浑然天成的林下意趣，尽显平和悠然的审美意韵。",[23,106,24,25,83,27,7,185,293],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec7f253e2d3b155250d560a92e122b65.jpg",[],{"id":13961,"slug":13962,"title":13963,"dynasty":13964,"author":196,"museum":135,"description":13965,"tags":13966,"thumbUrl":13967,"material":275,"size":276,"collection":52,"collections":13968,"showCount":13827,"zanCount":39,"manualWeight":39,"mainColor":40},223969,"gui-ju-shen-ren-wen-jing-zhi-fu-jian-yi-ming-223969","规矩神人纹镜之附件","汉","汉镜有圆形﹑方形。纽多作半球形。正面磨光背面铸有几何形图案或神人禽兽等。东汉中期出现浮雕的画像造形精美。\n两汉时期大体上分西汉、新莽、东 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。",[5707,27,7,107,686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e9e398772c949204714293ed63f3cd7.jpg",[],{"id":13970,"slug":13971,"title":13972,"dynasty":60,"author":7881,"museum":13973,"description":13974,"tags":13975,"thumbUrl":13976,"material":822,"size":13977,"collection":35,"collections":13978,"showCount":13827,"zanCount":39,"manualWeight":39,"mainColor":40},221918,"wu-se-shu-kui-tu-chen-gua-221918","五色蜀葵图","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",[23,106,24,25,152,27,83,7,29,2038,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fd40f4d75edc248b6c82bca466a29ef.jpg","133X66.5cm",[35,112],{"id":13980,"slug":13981,"title":13982,"dynasty":195,"author":1242,"museum":251,"description":13983,"tags":13984,"thumbUrl":13985,"material":1595,"size":13986,"collection":52,"collections":13987,"showCount":13827,"zanCount":1398,"manualWeight":39,"mainColor":40},221598,"ji-chu-dai-si-tu-ye-li-di-221598","鸡雏待饲图页","本幅款识：“庆元丁巳岁李迪画。”“庆元丁巳”即宋宁宗庆元三年（1197年）。鉴藏印钤宋代“张则印”，明代“项元汴印”、“墨林秘玩”、“项墨林鉴赏章”、“神”、“品”等，又一朱文印模糊不辨。裱边钤清乾隆皇帝“太上皇帝之宝”、“八征耄念之宝”玺印2方。\n图绘两只雏鸡一卧一立，面朝同一方向，屏气凝神，仿佛听见母亲觅食的召唤，正欲奔去。画面描绘传神，将雏鸡嗷嗷待哺的情态表现得淋漓尽致，充分反映了温馨的农家情调。画家用黑、白、黄等细线密实地描绘出雏鸡毛绒的质感，生动地绘出鸡雏幼小可人的生动神态，体现了深厚的绘画功力。此图为李迪晚年所画，构图极其简洁，无任何背景相衬，却捕捉住了鸡雏回眸的刹那间神情，动人心弦。\n此幅与画家在前一年创作的《枫鹰锦鸡图》相比，在审美意趣上全然不同，前者展示的是和风细雨的婉约情调，后者则是张扬自然界生命相残的严酷氛围，由此可见李迪表现各种题材的能力。\n此图自民间入藏清内府后，雅好书画的乾隆皇帝除赏识其艺术造诣外，还从帝王角度联想到勤政爱民的治国之策。他于乾隆五十三年（1788年）临摹此件作品，并且喻令摹刻多份，颁赐给各省督抚，希望这些地方父母官将所辖地区的百姓视为图中的鸡雏，在处理政务时要“实心经理，勿忘小民嗷嗷待哺之情”。",[23,106,24,25,26,83,27,7,1416,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40efabd7d00ba834838d90b0ccf1737a.jpg","纵23.7厘米，横24.6厘米",[],{"id":13989,"slug":13990,"title":13991,"dynasty":489,"author":2235,"museum":6847,"description":13992,"tags":13993,"thumbUrl":13994,"material":52,"size":52,"collection":52,"collections":13995,"showCount":13827,"zanCount":39,"manualWeight":39,"mainColor":40},220550,"ling-jiu-xu-bei-hong-220550","灵鹫","两只鹫鸟傲然立于枯木之上，昂首远眺，目光锐利沉静，尽显悍勇孤傲之姿。\n画家以兼工带写之法，以浓淡墨色区分鹫鸟羽毛层次，蓬松绒羽以淡墨晕染出柔软质感，硬翅翎毛则以焦墨勾勒，笔力苍劲，将猛禽的健硕体态刻画入微。古木以阔笔重墨挥写，尽显苍浑朴拙的山野意趣，枝桠间点缀嫩黄小花，柔色打破沉郁色调，动静相映。\n画作融西画写实观察与东方写意笔墨，既还原猛禽生理细节，又以写意笔墨烘托出桀骜沉凝的气度，于沉静画面中蕴藏着雄健生命力。",[24,64,27,399,7,167,2860,8046,9769],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaf44f3188b1be369b8514aa6b92a3f4.jpg",[],{"id":13997,"slug":13998,"title":13999,"dynasty":60,"author":11709,"museum":79,"description":14000,"tags":14001,"thumbUrl":14002,"material":534,"size":14003,"collection":35,"collections":14004,"showCount":13827,"zanCount":39,"manualWeight":39,"mainColor":40},219512,"han-lin-qu-yu-tu-yao-shou-219512","寒林鸲鹆图","表现了水边奇石及枯木丛篁中的景象。",[24,64,152,399,31,68,7,1841,65,1822,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fc50daeb2e5949a3519195445d994f7.jpg","纵116.7厘米横29.6厘米",[35],{"id":14006,"slug":14007,"title":44,"dynasty":60,"author":2746,"museum":20,"description":14008,"tags":14009,"thumbUrl":14011,"material":14012,"size":52,"collection":35,"collections":14013,"showCount":13827,"zanCount":1398,"manualWeight":39,"mainColor":14014},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。",[83,27,7,26,2759,291,29,14010,9344,23],"工细","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faca6a9107f4af8b26a6991a2c2dbd95e.jpg","设",[35],"ab8e72",{"id":14016,"slug":14017,"title":14018,"dynasty":18,"author":14019,"museum":135,"description":14020,"tags":14021,"thumbUrl":14022,"material":275,"size":276,"collection":52,"collections":14023,"showCount":442,"zanCount":39,"manualWeight":39,"mainColor":40},289907,"qing-mou-cheng-shan-yu-fei-an-289907","情眸成扇","于非闇","于非闇（1889年3月22日—1959年7月3日），原名于魁照，后改名于照，字仰枢，别署非闇，又号闲人、闻人、老非，近现代中国画家。原籍山东蓬莱，出生于北京，自幼得书画家传。1912年入师范学校学习，后任教于私立师范校、私立华北大学美术系。兼任古物陈列所附设国画研究馆导师。1935年起专攻工笔花鸟画。1949年后历任中央美术学院民族美术研究所研究员、北京中国画研究会副会长、北京画院副院长。作品有《玉兰黄鹂》、《丹柿图》、《牡丹鸽子》等。著有《非闇漫墨》、《艺兰记》、《中国画颜料研究》、《我怎样画花鸟画》。",[661,24,25,83,27,7,167,214,186,504],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff863da702831d1f54c9cc95d7ee7ffae.jpg",[],{"id":14025,"slug":14026,"title":14027,"dynasty":195,"author":196,"museum":135,"description":14028,"tags":14029,"thumbUrl":14031,"material":275,"size":276,"collection":202,"collections":14032,"showCount":442,"zanCount":39,"manualWeight":39,"mainColor":159},289117,"ku-shu-qu-yu-tu-yi-ming-289117","枯树鸜鹆图","此作工致清雅，将深秋野趣凝于尺幅间。墨鸜鹆伫立枯枝之上，乌羽晕染细腻柔润，光泽宛然，白瞳点漆灵动有神，顶间绒簇微扬，利爪紧扣枝桠，静穆中暗含振翅欲飞的机警生气。\n\n旁侧枯木残叶萧疏，淡墨晕染出秋意萧索，叶片脉络隐现，笔墨清简雅致，衬出林间空寂氛围。构图虚实相生，以禽鸟为视觉重心，留白烘托出幽远意境，尽得清隽含蓄之美，将荒寒秋日里的鲜活野趣，定格成静雅悠然的传世韵致。",[106,24,661,83,7,1841,167,14030,68],"鸜鹆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F395f8f55e8cca3e74fe9b859b7c20795.jpg",[202],{"id":14034,"slug":14035,"title":3747,"dynasty":195,"author":1413,"museum":135,"description":5020,"tags":14036,"thumbUrl":14037,"material":275,"size":276,"collection":52,"collections":14038,"showCount":442,"zanCount":39,"manualWeight":39,"mainColor":159},288956,"b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，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。",[24,106,26,83,27,7,167,186,68,31,7914],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc42360a66af189821ac5b798a1b2dc8.jpg",[],{"id":14088,"slug":14089,"title":14090,"dynasty":60,"author":9513,"museum":135,"description":14091,"tags":14092,"thumbUrl":14093,"material":275,"size":276,"collection":52,"collections":14094,"showCount":442,"zanCount":39,"manualWeight":39,"mainColor":40},236799,"lan-hua-shan-mian-wu-bin-236799","兰花扇面","吴彬（1550—1643），字文中，又字文仲，明代绘画大师，别字质先，别称文中父、文中子，自号壶谷山樵、遵道生、织履生、一枝栖、枝隐生、枝隐居士、朱湖太生洞天居士、枝隐庵主、枝庵发僧、枝隐头陀、枝隐庵头陀和“金粟如来”等，兴化府（今福建省莆田市）黄石人。流寓金陵（今江苏省南京市）。万历年间，明神宗朱翊钧召见吴彬，试殿中第一，授中书舍人，历工部主事。供职于宫廷画院。工山水，布置绝不摹古，佛像人物，形状奇怪，迥别前人，自立门户。中国国画大师，明代宫廷大画家，晚明人物“变形主义画风”和“复兴北宋经典山水画风”的主要倡导者和领导者之一，享有“画仙”之誉。1988年11月，其名作《文杏双禽图》被收入《中国历代绘画》，列为中国上下五千年的28幅绘画杰作之一。2009年，北京保利秋拍吴彬名作《十八应真图卷》最终以1.6912亿元高价成交，创下当时中国画拍卖价格新的世界纪录。",[24,25,661,64,254,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe661cadb5ccc3e8a7b6a5b5100ce18ea.jpg",[],{"id":14096,"slug":14097,"title":14098,"dynasty":60,"author":830,"museum":135,"description":5838,"tags":14099,"thumbUrl":14100,"material":275,"size":276,"collection":52,"collections":14101,"showCount":442,"zanCount":39,"manualWeight":39,"mainColor":40},235798,"zhu-ju-shan-chen-chun-235798","竹菊扇",[24,25,661,64,7,185,517,569,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff13ad5e4256b3c5c649deb37133f7c7.jpg",[],{"id":14103,"slug":14104,"title":14105,"dynasty":60,"author":477,"museum":135,"description":2881,"tags":14106,"thumbUrl":14107,"material":275,"size":276,"collection":52,"collections":14108,"showCount":442,"zanCount":39,"manualWeight":39,"mainColor":40},235794,"hua-shi-hu-die-tu-shan-ye-chen-hong-shou-235794","花石蝴蝶图扇页",[106,24,25,661,27,83,7,214,226,186,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F929eff4102003e83d39418c727068bd0.jpg",[],{"id":14110,"slug":14111,"title":14112,"dynasty":18,"author":1635,"museum":135,"description":14113,"tags":14114,"thumbUrl":14115,"material":52,"size":52,"collection":52,"collections":14116,"showCount":442,"zanCount":39,"manualWeight":39,"mainColor":40},233376,"mei-he-tu-zhou-xu-gu-233376","梅鹤图轴","《梅鹤图》是清代虚谷创作的纸本设色画。\n自题：“辛卯春二月。\n虚谷。\n” 钤“虚谷书画”朱文印、“耿耿其心”白文印。\n“辛卯”为清光绪十七年（1891年），虚谷时年69岁。\n图绘梅鹤双清之景。\n茁壮的梅树，其交错穿插的细枝和星星点点的花朵打破了画面的整体空间。\n作者着意在梅树干上绘两只仙鹤，它们淡然闲适的神态为画面增添了祥和的生趣，其平整的造型则统一了原本过于细碎的画面，由此可见作者巧于构思和化零为整的能力。\n虚谷（1824—1896年），姓朱，名怀仁，出家为僧后以虚谷名，号紫阳山民、倦鹤等，祖籍安徽新安（今歙县），寓居扬州、苏州、上海等地，卖画为生。\n能诗擅画，工于书法，尤以善绘瓜果鱼蔬、人物、山水等为人称道。\n喜用枯笔焦墨，具有拙于外秀于内的笔墨特征。\n与任颐、胡公寿等交往密切，是晚清著名的海上名家。",[24,25,152,64,27,7,399,436,171,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6fa1dda8c69bfb89af210776a782370.jpg",[],{"id":14118,"slug":14119,"title":14120,"dynasty":18,"author":3195,"museum":20,"description":3196,"tags":14121,"thumbUrl":14122,"material":295,"size":52,"collection":52,"collections":14123,"showCount":442,"zanCount":39,"manualWeight":39,"mainColor":159},233194,"hua-hui-ce-ying-su-hua-ye-zhao-zhi-qian-233194","花卉册-罂粟花页",[24,25,26,27,7,10202,29,83,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6bc79346a1a651cfdd68b3179673136.jpg",[],{"id":14125,"slug":14126,"title":11793,"dynasty":18,"author":3601,"museum":135,"description":14127,"tags":14128,"thumbUrl":14129,"material":52,"size":52,"collection":52,"collections":14130,"showCount":442,"zanCount":39,"manualWeight":39,"mainColor":40},230880,"hua-niao-shan-ren-xun-230880","泥金扇面上，折枝海棠柔媚盛放，粉白花瓣晕染雅致，枝叶扶疏灵动，古拙苍润的奇石与花枝相映成趣。翎鸟独立枝桠，蓝首白羽配黑尾，身姿悠然静敛，将春日清宁定格。\n\n此作用笔工致秀雅，设色明丽又不失清雅，工笔间带着写意的灵动，将院体画的精致与海派雅俗共赏的特质相融，将暮春庭间幽景凝于尺幅。笔墨晕染出江南春日的缱绻温柔，满溢闲雅生机，读来如沐春风，尽显恬淡隽美的东方意趣。",[24,25,661,27,83,7,123,186,452,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcb5357899a9ec840bb8208254de86e0.jpg",[],{"id":14132,"slug":14133,"title":2063,"dynasty":18,"author":730,"museum":135,"description":14134,"tags":14135,"thumbUrl":14136,"material":52,"size":52,"collection":52,"collections":14137,"showCount":442,"zanCount":39,"manualWeight":39,"mainColor":40},230243,"hua-hui-tu-ce-jin-nong-230243","此作以墨笔绘桃花，虬曲老枝苍劲朴拙，淡墨晕染花瓣，浓墨点簇花蕊、勾描枝叶，虚实间将桃花柔媚之态，融于水墨清逸之中。\n\n左侧题诗与画幅相映成趣，诗书合璧尽显文人雅韵。并未刻意摹写春日桃林的秾艳繁丽，以生拙古雅的笔墨，勾勒出花枝疏朗清寂之姿，跳出传统花鸟的妍丽范式，以简淡水墨营造出幽淡空寂的春日氛围，寄寓着寄情花木的闲散心境，尽显文人画独有的萧散风神，于浅淡笔墨里藏着隽永诗思。",[24,25,26,64,7,123,31,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd42f7eab48e499ad7c30d130f7f4c555.jpg",[],{"id":14139,"slug":14140,"title":14141,"dynasty":18,"author":6838,"museum":135,"description":14142,"tags":14143,"thumbUrl":14144,"material":52,"size":52,"collection":52,"collections":14145,"showCount":442,"zanCount":39,"manualWeight":39,"mainColor":40},230163,"shi-hua-hui-ce-qian-long-230163","诗花卉册","清缂丝乾隆御制诗花卉册是清乾隆时期的花卉册。\n册页是在本色地上缂织玉兰、蔷薇、桃花、望春花、婪尾春（即古人谓之芍药）、石榴花、紫栋花、水仙花共8开，每幅帧首以隶书缂织高宗御制七言绝句诗一首，诗下分别缂织朱白文印“齐物”、“丛云”、“涵虚朗鉴”、“爱竹学心虚”、“垂露”、“会心不远、德充符”、“云霞思”、“几暇临池”。\n此册页缂工简单，以平缂、构缂织成，但缂工细致，用蓝、白、深浅绿等色彩完成画面，以着笔渲染表现枝叶的阴阳向背，沉稳典雅，花卉写实生动。\n这8开册页，从画法上看，既有传统工笔重彩法，又有恽寿平的设色没骨法，属于清代“院体”花鸟画。\n钤有“乾隆御览之宝”、“石渠宝笈”、“石渠定鉴”、“宝笈重编”、“宣统御览之宝”、“三希堂精鉴玺”、“宜子孙”、“乾清宫鉴藏宝”、“乾隆鉴赏”朱印。\n《石渠宝笈续编》五函十八册著录。",[24,27,83,31,68,26,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f806d3c057c256306303c3e9b22b7bb.jpg",[],{"id":14147,"slug":14148,"title":14149,"dynasty":60,"author":196,"museum":135,"description":14150,"tags":14151,"thumbUrl":14152,"material":52,"size":52,"collection":52,"collections":14153,"showCount":442,"zanCount":1398,"manualWeight":39,"mainColor":159},228811,"li-shu-tu-yi-ming-228811","荔鼠图","此作以工笔出之，褐绢为底，将白鼠偷食荔枝的闲趣小景描摹入微。白鼠通身莹白蓬松，毫发毕现，垂首啮果时神态专注娇憨，灵动鲜活。荔枝丹红饱满，果纹凸起写实如生，浓绿叶片阴阳向背层次分明，虬曲枝桠苍劲舒展，尽显南国佳果鲜活意趣。右上角朱印古雅，为画面晕染出金石气韵。设色明丽和谐，精工中带着松弛生机，既有院体画的细腻写实，又暗合数子多福的世俗吉意，把日常琐细绘得意趣悠长。",[23,106,24,25,83,27,7,386,7647,1233,228,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54d85ef4870573bfff3e3eb899193a5a.jpg",[],{"id":14155,"slug":14156,"title":14157,"dynasty":119,"author":14158,"museum":135,"description":14159,"tags":14160,"thumbUrl":14161,"material":52,"size":52,"collection":52,"collections":14162,"showCount":442,"zanCount":39,"manualWeight":39,"mainColor":159},228266,"zhu-que-tu-li-zhou-li-kan-228266","竹雀图立轴","李衎","此作用双勾法写竹，笔致工稳匀净，竹挺拔劲秀，叶片俯仰向背层次分明，尽显君子清刚之姿。淡施赭色晕染竹节，衬于古旧绢底，愈见沉雅古拙。\n几只山雀或栖于梢头理羽，或穿林跃动，翎毛晕染细腻灵动，为幽寂竹林添了鲜活生气。动静相映之间，将写实工细与文人意趣相融，既有院体花鸟的精工写实，又饱含萧散淡远的林下之风，把劲竹的清操与野雀的生趣合为一卷，尽显雅致隽永的笔墨意韵。",[23,3563,24,25,152,83,64,7,185,65,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac188acdce48fe49bfc54eafa6996beb.jpg",[],{"id":14164,"slug":14165,"title":14166,"dynasty":18,"author":237,"museum":135,"description":14167,"tags":14168,"thumbUrl":14169,"material":52,"size":52,"collection":52,"collections":14170,"showCount":442,"zanCount":39,"manualWeight":39,"mainColor":159},224182,"hua-niao-cao-chong-tu-ba-01-hua-yan-224182","花鸟草虫图八-01","画面留白疏朗雅致，枯枝信笔勾勒，苍劲随性。主枝上禽鸟憨态宛然，红首绿身，羽色晕染柔润自然，垂首敛目似在垂怜下方幼雀。两只雏雀依偎细梢，娇憨灵动，尽显亲昵之态。右下角苔石苍润，衬出新叶鲜亮生趣。\n\n整体笔意松秀空灵，设色清妍淡雅，将禽鸟情态刻画入微，枯木新叶相映成趣，晕溢出闲逸静谧的林下意趣。寥寥数笔便将花鸟相依的悠然生机尽显纸上，兼具文人笔墨意趣与写生妙味，把自然小景里的温情雅致铺陈开来。",[23,24,25,7,27,26,65,452,228,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dd8fc81b15b730e9497d6567cc88bbd.jpg",[],{"id":14172,"slug":14173,"title":14174,"dynasty":18,"author":237,"museum":135,"description":14175,"tags":14176,"thumbUrl":14178,"material":52,"size":52,"collection":52,"c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(Zhu Da) 是一位著名的清朝画家，他的花鸟册 (huā niǎo cè) 是他的代表作之一。花鸟册是一种中国传统的绘画类型，主要描绘花卉和鸟类，朱耷的花鸟册以其精美的绘画技巧和富有创意的艺术表现而闻名。\n\n朱耷生于 17th 世纪的清朝，他原本是一名佛教僧人，后来转而成为画家。他的花鸟册绘制了各种花卉和鸟类，包括玫瑰、莲花、蝴蝶、孔雀、鹦鹉等。他的画风独特，细腻而生动，给人以非常感性的视觉享受。\n\n朱耷的花鸟册也反映了当时清朝社会的文化氛围。他的作品中常常出现古典诗词的引用，表现出他对中国传统文化的热爱。此外，他的作品还反映了当时清朝社会的审美观念，展现了清朝人对美的追求和对自然的敬畏。\n\n总之，朱耷的花鸟册是一部具有深远影响的艺术作品，其中融合了中国传统文化和绘画技巧的精华，对中国绘画艺术有着重要的贡献。",[23,24,106,64,26,7,186,807,399],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F052ab5a4013f321c5e24c1f0bccb2a03.jpg",[],{"id":14271,"slug":14272,"title":14273,"dynasty":18,"author":730,"museum":45,"description":3706,"tags":14274,"thumbUrl":14275,"material":6535,"size":13558,"collection":52,"collections":14276,"showCount":442,"zanCount":39,"manualWeight":39,"mainColor":40},216331,"jin-nong-ba-kai-hua-niao-tu-3-jin-nong-216331","金农八开花鸟图-3",[24,25,64,399,7,556,26,68,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83474b8830f5cdb855dbaab901df93dd.jpg",[],{"id":14278,"slug":14279,"title":14280,"dynasty":18,"author":730,"museum":45,"description":3706,"tags":14281,"thumbUrl":14282,"material":6535,"size":13558,"collection":52,"collections":14283,"showCount":442,"zanCount":1398,"manualWeight":39,"mainColor":40},216329,"jin-nong-ba-kai-hua-niao-tu-5-jin-nong-216329","金农八开花鸟图-5",[24,25,26,64,7,226,455,185,65,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3624b134698d73acc1f2146b4414230f.jpg",[],{"id":14285,"slug":14286,"title":14287,"dynasty":60,"author":477,"museum":135,"description":14288,"tags":14289,"thumbUrl":14290,"material":534,"size":52,"collection":52,"collections":14291,"showCount":442,"zanCount":39,"manualWeight":39,"mainColor":159},216320,"xi-xiang-ji-zhen-ben-tu-ce-9-chen-hong-shou-216320","西厢记真本图册-9","虬枝盘曲如古篆流转，墨叶疏朗似淡诗铺展。花萼以淡墨轻勾，含露欲绽；隐于枝后的身影半遮半显，暗合西厢幽会的朦胧意趣。线条刚劲中藏柔婉，转折处见古拙，尽显笔底奇崛风神。枝叶排布疏密有致，留白处余韵悠长，将戏曲里的缠绵情愫凝于尺幅间。每一笔都似低诉西厢千古情肠，古雅动人，让观者于墨色流转中，触到那份跨越时空的雅致与温柔。",[24,25,26,627,7,226,65,67,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8810db7fb6ea742688c7209acba8d1ed.jpg",[],{"id":14293,"slug":14294,"title":14295,"dynasty":13182,"author":14296,"museum":20,"description":14297,"tags":14298,"thumbUrl":14301,"material":52,"size":52,"collection":35,"collections":14302,"showCount":442,"zanCount":39,"manualWeight":39,"mainColor":14303},203391,"bai-qin-tu-juan-jiang-han-ting-203391","百禽图卷","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。",[24,82,7,83,27,436,185,107,167,807,1557,14299,10802,14300,23],"羽毛纹理","生机","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b255eb679be70f777ef7738be689750.jpg",[35],"000000",{"id":14305,"slug":14306,"title":14307,"dynasty":18,"author":14308,"museum":20,"description":14309,"tags":14310,"thumbUrl":14311,"material":52,"size":52,"collection":35,"collections":14312,"showCount":442,"zanCount":800,"manualWeight":39,"mainColor":14313},201840,"ju-hua-tu-zhou-wu-xi-zai-201840","菊花图轴","吴熙载","此图笔墨疏朗灵动，以水墨为基，淡彩点染，尽显菊花清逸之姿。两朵白菊花瓣层叠舒展，勾勒细腻却含写意之趣；墨叶泼写而成，浓淡干湿交错，叶脉隐于晕染间，苍劲中带秀润。旁逸枝蔓穿插自然，小花嫩叶添生机。构图虚实相生，留白悠远，笔墨渗透书家功底，清雅脱俗，尽显菊花傲霜品格，予人静谧淡远之感。",[24,25,152,64,27,7,517,106,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc8cfec34c764d9f76d0033964da2fc2.jpg",[35],"d7c9b9",{"id":14315,"slug":14316,"title":14317,"dynasty":195,"author":942,"museum":79,"description":14318,"tags":14319,"thumbUrl":14321,"material":275,"size":276,"collection":52,"collections":14322,"showCount":299,"zanCount":39,"manualWeight":39,"mainColor":40},290857,"xue-tan-shuang-lu-zhou-ma-yuan-290857","雪滩双鹭轴","雪崖枯枝，芦竹寒汀，滩旁四只白鹭，均做瑟缩之状，寒天的景致，令人有着身临其境的感觉。而浓淡墨色画出的树石、远山和芦草，对比于留白的积雪处，和几不见墨痕的白鹭们，在黑白之间，充分表现出清冷的意趣，达到了画雪得其清的境界。另从岩壁上伸出的枝干，曲折延伸，势如蛟龙升腾游动，这种笔势往下拖垂，形成长而斜向伸出的画枝方法，正是典型的「拖枝马远」风貌。",[24,106,152,64,27,1390,7,2871,1841,14320,4182,3478],"滩涂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfa75c57e47aed948cb8b6beca83ae9f.jpg",[],{"id":14324,"slug":14325,"title":14326,"dynasty":195,"author":13633,"museum":135,"description":14327,"tags":14328,"thumbUrl":14329,"material":275,"size":276,"collection":52,"collections":14330,"showCount":299,"zanCount":39,"manualWeight":39,"mainColor":159},290614,"ku-mu-zhu-shi-zhou-song-ren-290614","枯木竹石轴","此轴以飞白笔法画石块，墨淡而笔劲。墨笔画成的丛竹、枯木出于石块后方，石块前侧又有兰草丛生，而枯枝之上栖停着一只鸟禽。构图虽略显中轴对称，但画中飞白石、古木、兰竹等物象，并未依循实际生态，而倾向于笔墨效果的展现，属元代枯木竹石画风。画中枯木与院藏赵孟俯《竹石古木》表现类似，此画上虽无款印，但可推测为此一画风的元代例证，学者推测或许正与赵孟俯关系密切。",[24,106,25,152,64,7,2860,185,186,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc68e00661dc7552efca8be1f446a08a.jpg",[],{"id":14332,"slug":14333,"title":14334,"dynasty":18,"author":19,"museum":135,"description":272,"tags":14335,"thumbUrl":14336,"material":275,"size":276,"collection":52,"collections":14337,"showCount":299,"zanCount":39,"manualWeight":39,"mainColor":40},290535,"lu-xie-yun-shou-ping-290535","芦蟹",[24,26,64,27,2759,9453,68,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6713dbec3223e093d3cfa431c11abbef.jpg",[],{"id":14339,"slug":14340,"title":1818,"dynasty":60,"author":1864,"museum":135,"description":4052,"tags":14341,"thumbUrl":14342,"material":275,"size":276,"collection":52,"collection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苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[24,25,661,27,7,14914,31,68],"玫瑰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71faa4378c6f9e8510d6f90708e3ceb4.jpg",[],{"id":14918,"slug":14919,"title":14920,"dynasty":18,"author":381,"museum":135,"description":5342,"tags":14921,"thumbUrl":14922,"material":1595,"size":5347,"collection":52,"collections":14923,"showCount":143,"zanCount":39,"manualWeight":39,"mainColor":40},234994,"hua-hui-ling-mao-ping-12-ren-yi-234994","花卉翎毛屏12",[24,27,152,7,1951,4419,29,1736],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5870bd8f431964529394a7aa9ab6cb0f.jpg",[],{"id":14925,"slug":14926,"title":14927,"dynasty":18,"author":381,"museum":135,"description":5342,"tags":14928,"thumbUrl":14931,"material":1595,"size":5347,"collection":52,"collections":14932,"showCount":143,"zanCount":39,"manualWeight":39,"mainColor":40},234993,"hua-hui-ling-mao-ping-11-ren-yi-234993","花卉翎毛屏11",[24,106,25,152,27,83,7,1416,14929,228,226,14930,68],"豆藤","竹架","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc51dae55e91611f90ab3b25efa239ea.jpg",[],{"id":14934,"slug":14935,"title":14936,"dynasty":18,"author":381,"museum":135,"description":5342,"tags":14937,"thumbUrl":14938,"material":1595,"size":5347,"collection":52,"collections":14939,"showCount":143,"zanCount":39,"manualWeight":39,"mainColor":40},234987,"hua-hui-ling-mao-ping-5-ren-yi-234987","花卉翎毛屏5",[106,24,25,152,27,83,7,452,631,65,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F183eeaea248695005ebfe5882e2006cb.jpg",[],{"id":14941,"slug":14942,"title":14943,"dynasty":18,"author":14944,"museum":135,"description":4124,"tags":14945,"thumbUrl":14946,"material":52,"size":52,"collection":52,"collections":14947,"showCount":143,"zanCount":1398,"manualWeight":39,"mainColor":40},234587,"he-tang-fei-yan-wan-shan-xin-yue-234587","荷塘飞燕纨扇","辛樾",[24,25,661,64,27,83,7,467,49,50,167,1334],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6520d05d1c8a90a069b4eea658183e03.jpg",[],{"id":14949,"slug":14950,"title":14951,"dynasty":18,"author":1635,"museum":251,"description":14952,"tags":14953,"thumbUrl":14954,"material":412,"size":14955,"collection":52,"collections":14956,"showCount":143,"zanCount":39,"manualWeight":39,"mainColor":40},233728,"wu-rui-tu-zhou-xu-gu-233728","五瑞图轴","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。",[24,27,399,7,29,243,10375,66,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eacdc52cbfaccb9957c899b8b80fc7e.jpg","纵177.8厘米，横46.3厘米",[],{"id":14958,"slug":14959,"title":14960,"dynasty":60,"author":566,"museum":251,"description":14961,"tags":14962,"thumbUrl":14963,"material":1041,"size":14964,"collection":52,"collections":14965,"showCount":143,"zanCount":39,"manualWeight":39,"mainColor":40},233709,"pu-die-tu-zhou-xiang-sheng-mo-233709","蒲蝶图轴","此图画池塘浅水中，一丛菖蒲挺立如剑，蒲叶上停落着一只蝴蝶。造型单纯朴拙，笔墨粗简凝重，构图新颖大胆。菖蒲放在画面中间，用粗笔淡墨挥写，苍健而有变化，很好地表现了其挺拔、厚韧的质感。画蝴蝶使用细笔浓墨，勾染相合，比较工致。菖蒲与蝴蝶，一粗一细，一淡一浓，对比之下别有情趣。其他作为陪衬的花草坡石，亦剪裁大胆，处理得当。",[24,64,152,7,83,8564,214,186,6155,399],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26d8c94e425d4fb29639f5fc94f36998.jpg","纵111.8厘米，横57.8厘米",[],{"id":14967,"slug":14968,"title":2063,"dynasty":18,"author":6195,"museum":251,"description":6196,"tags":14969,"thumbUrl":14970,"material":822,"size":52,"collection":52,"collections":14971,"showCount":143,"zanCount":800,"manualWeight":39,"mainColor":40},232945,"hua-hui-tu-ce-fan-ting-zhen-232945",[24,25,26,83,27,7,467,49,50,358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff04a76310a5243e9fcb581b22ba12471.jpg",[],{"id":14973,"slug":14974,"title":2063,"dynasty":18,"author":6195,"museum":251,"description":6196,"tags":14975,"thumbUrl":14976,"material":822,"size":52,"collection":52,"collections":14977,"showCount":143,"zanCount":1398,"manualWeight":39,"mainColor":40},232942,"hua-hui-tu-ce-fan-ting-zhen-232942",[24,25,26,83,27,7,29,226,228,455],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab207a06b8dcd58c96b61485747f7522.jpg",[],{"id":14979,"slug":14980,"title":14981,"dynasty":195,"author":841,"museum":135,"description":14982,"tags":14983,"thumbUrl":14984,"material":52,"size":52,"collection":52,"collections":14985,"showCount":143,"zanCount":39,"manualWeight":39,"mainColor":159},230950,"mu-xue-han-qin-tu-ma-lin-230950","暮雪寒禽图","《暮雪寒禽图》是宋代画家 所创作的一幅画，现藏于 。\n此图为马麟所作，以清丽的笔法，绘出冰天雪地之中，山竹覆雪，两只寒禽躲在山石之下的杏枝上过夜的景象。\n以淡墨渲染全景，烘托出雪意，双钩写竹，用笔劲力。\n整幅画面萧瑟冷峭，意境幽远。\n这幅画卷描绘暮冬之际，岩壁下白雪覆盖著荆棘与翠竹，一对黄尾鸲相依避寒。\n通幅色泽沈厚，笔墨苍润稳健，为其粗笔风格的作品，和院藏其〈芳春雨霁〉册的画风极为相近；另一幅〈 〉册虽属细笔，然其中梅干的细枝则和本幅上荆棘细枝的笔法相类。\n此作在笔墨之外，画家还充分地掌握住一份寒冷中详和宁静的气氛，再配上诗句，更表现出了诗文因画而生，画因诗文而意足的旨趣。\n画幅右侧绘斜倾岩石，石旁有荆棘、老竹、积雪，山鸟瑟缩，栖于棘枝之上。\n左上方空白处有宁宗题“疏枝潜缀纷，并翅不禁寒”十个字。\n图中岩石直壁斜倾而上，在石这边数枝折枝棘枝，向左下方凌空伸张扩展，其中有一二枝权又折起指向左上方，与在悬崖的那边塌腰老竹低垂的枯枝交错。\n棘、竹枝上的积雪可见；还有那纷披的翠竹叶在岩石上负雪摇曳，在棘枝上残留着几处红叶。\n就在这岩石后背风的棘枝上，栖息着山鸟两只，一只是白羽，另一只是黑白两色，它们披着厚厚松软的冬装。\n白者缩颈回首，两爪紧抓枝上，长尾下垂，依偎在另一只身旁，黑白分明的这一只，抬首守之。\n两只山鸟安祥地相向，紧紧靠在一起，毫无飞欲之意。\n因为灰暗的暮色雪景笼罩着，造成了阴冷、萧疏、幽邃的气氛。\n所以飞鸟只有并翅不禁寒，才能渡过寒夜。\n只有盼到天明日出时，驱去寒意后，才会使寒禽离枝飞去。\n马麟这幅《暮雪寒禽图》的构意及内容，很像李迪的《雪树寒禽图》。\n但从图中直观马麟的《暮雪寒禽图》要比李迪之画苍劲洒脱。\n枯瘦的棘枝，用笔坚硬，画法苍劲有力；负雪的竹子，有的是冬篁的秃权枝，有的是重笔墨色直接画成的竹叶，也具有苍老浑厚的感觉。\n图中的这些景物，由于在暮雪中出现，所以作者没有显示它们本身固有的不同颜色，而将他们用灰暗的色调统一，即使有几处残留的红枫作点缀，也是具有同样的格调，呈暗红色。\n所以，此图在用色上成功地表现出雪天傍晚时分特有的自然景观。\n马麟（生卒年不详），南宋画家。\n原籍河中（治今山西永济西南），南渡后三代居钱塘。\n世荣孙，远子。\n父为光宗、宁宗两朝画院待诏，独步一时。\n麟传家学，工人物、山水、花鸟。\n宁宗嘉泰年间授画院祗候，颇得赵扩、恭圣杨后及杨妹子称赏，每于父子画上题句。\n或以“麟不逮父，而远爱之，多以己画得意者题作马麟”。\n但麟的笔法圆劲，比其父秀润。\n传世作品有《层叠冰绡图》，上有杨后题诗。",[106,24,25,83,27,64,7,4419,1951,1822,167,186,2858],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7975c59fcea175fabe615575bac84e3c.jpg",[],{"id":14987,"slug":14988,"title":14989,"dynasty":18,"author":381,"museum":135,"description":14990,"tags":14991,"thumbUrl":14992,"material":52,"size":52,"collection":52,"collections":14993,"showCount":143,"zanCount":1398,"manualWeight":39,"mainColor":40},230123,"hua-hui-ce-ye-01-ren-yi-230123","花卉册页01","此作用笔写意松弛，以湖石为景之骨，淡赭水墨晕染出嶙峋体态，略去繁复皴擦，虚实间尽显清隽雅逸。石畔丹红果簇饱满鲜活，浓墨枝叶枯润相宜，艳色与冷调湖石形成鲜明对照，艳而不俗，顽石愈发清灵，花果愈见生动。\n\n右上角题字笔力开张，与花木湖石相得益彰，融书画为一体，将花木蓬勃生机与文人闲淡意趣揉合于纸面，简淡之中自有鲜活情致。",[24,25,3326,399,64,27,7,186,3442,66,569],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71348d468b7d7e6ca8621b0226ef65d9.jpg",[],{"id":14995,"slug":14996,"title":44,"dynasty":18,"author":1454,"museum":135,"description":14997,"tags":14998,"thumbUrl":14999,"material":52,"size":52,"collection":35,"collections":15000,"showCount":143,"zanCount":39,"manualWeight":39,"mainColor":40},229026,"hua-hui-ce-wang-wu-229026","此作以淡墨晕染牡丹瓣层，借留白衬出素白花容，焦墨点簇花蕊，将白花柔润蓬松之态尽显。叶片以浓淡墨分梳阴阳向背，笔致苍秀，兼得写生之真与文人雅韵。下方蛱蝶用工细笔触勾勒翅脉，淡墨晕染出薄翼通透质感，与写意牡丹相映成趣，一动一静鲜活灵动。\n\n通篇笔墨秀逸工丽，简淡不失厚重，题字钤印排布妥帖，将花木雍容与草虫灵动相融，尽显清丽脱俗的文人花鸟意趣，把写实写生与书卷气完美结合，雅致隽永。",[24,64,26,7,107,214,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f8ab86cb0de430d95e4c3fd5e56001e.jpg",[35],{"id":15002,"slug":15003,"title":15004,"dynasty":18,"author":853,"museum":135,"description":15005,"tags":15006,"thumbUrl":15007,"material":52,"size":52,"collection":52,"collections":15008,"showCount":143,"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。",[24,25,26,27,83,7,185,107,68,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28d8a09956eafa777e9025de0f632c7d.jpg",[],{"id":15010,"slug":15011,"title":15012,"dynasty":119,"author":12465,"museum":135,"description":15013,"tags":15014,"thumbUrl":15015,"material":52,"size":52,"collection":52,"collections":15016,"showCount":143,"zanCount":39,"manualWeight":39,"mainColor":40},228257,"mo-hua-tu-juan-chang-juan-zhao-zhong-228257","墨花图卷长卷","此作用淡墨白描写就，分绘三种花卉，以清隽挺秀的笔线勾勒花叶轮廓，淡墨晕染出阴阳向背，不施丹青却尽现花卉娇柔雅致之态。芍药秾而不俗，水仙清逸出尘，玉簪幽淡含露，墨色清润柔和，将草木风姿描摹入微。\n\n三段皆配题诗，诗画相映，书卷气浓厚，以墨代色，以意写形，把文人幽淡的情思寄寓在一花一叶间，尽显简淡雅致的审美意趣，是水墨花鸟小品中的佳构。",[23,106,24,25,82,627,64,83,7,107,518,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83039bd32439ba7bcc1e7f007efb14a8.jpg",[],{"id":15018,"slug":15019,"title":15020,"dynasty":195,"author":196,"museum":135,"description":15021,"tags":15022,"thumbUrl":15023,"material":52,"size":52,"collection":52,"collections":15024,"showCount":143,"zanCount":1398,"manualWeight":39,"mainColor":159},227880,"tao-zhi-shuang-que-tu-yi-ming-227880","桃枝双雀图","此作构图疏密相宜，桃枝虬曲延展，叶片与桃果晕染细腻，清润雅致。两只雀鸟动静相映，一鸟侧身伫立，侧目凝神，羽色的丝绒质感刻画入微；一鸟探身向下，似欲啄食，灵动鲜活。设色浅淡柔和，以墨色勾勒筋骨，淡彩晕染出物象的层次生趣，古旧绢面晕开沉郁温润的底色，更衬出画面的雅致沉静。将林间一角的幽微生机敛于方寸之间，把日常小景绘成雅致诗画，尽显花鸟小品的含蓄禅意与写生妙趣。",[23,24,106,661,7,83,27,4648,3246],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa40fc2a6baeafb73635a4540f8512cf2.jpg",[],{"id":15026,"slug":15027,"title":15028,"dynasty":18,"author":1008,"museum":135,"description":15029,"tags":15030,"thumbUrl":15031,"material":52,"size":52,"collection":52,"collections":15032,"showCount":143,"zanCount":39,"manualWeight":39,"mainColor":40},224296,"zhu-shi-li-shan-224296","竹石","此作用笔纵逸老辣，右上苍松虬曲古拙，枝干皴擦间尽显风霜古意，松针以焦墨攒点，苍劲沉凝，垂藤萦纡添灵动生机。下方牡丹以浓淡水墨晕染花瓣，将雍妍之态藏于墨色层次间，旁生兰草舒挺柔韧，伴湖石错落排布。\n左侧题笔与绘事浑然一体，以水墨写意尽脱匠气，融苍松之坚、牡丹之妍、幽兰之清于一轴，笔情墨趣间暗合文人寄寓，纵恣野逸间尽显花木风神。",[23,24,25,64,399,3478,169,185,107,782,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a30ebfd3df6df1c8f56596df0822fa1.jpg",[],{"id":15034,"slug":15035,"title":15036,"dynasty":119,"author":196,"museum":135,"description":15037,"tags":15038,"thumbUrl":15040,"material":52,"size":52,"collection":52,"collections":15041,"showCount":143,"zanCount":1398,"manualWeight":39,"mainColor":159},223617,"hong-shu-xiao-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横110.1cm",[],{"id":15276,"slug":15277,"title":15278,"dynasty":60,"author":196,"museum":135,"description":15279,"tags":15280,"thumbUrl":15281,"material":52,"size":15282,"collection":52,"collections":15283,"showCount":459,"zanCount":39,"manualWeight":39,"mainColor":159},232908,"fang-hui-zong-cha-hua-ge-niao-tu-yi-ming-232908","仿徽宗茶花鸽鸟图","中国茶花画历千年而不衰，名家辈出，流派风格纷纭，成为中华民族传统艺术瑰宝之一，屹立于世界美术之林。古往今来的画家以茶花为题作画，表现它的千姿百态，笔情墨韵。众多茶花画向我们展示了风云迭起的美的历程，给人以酣畅淋漓的美的享受和奋发向上的民族精神的感召。\n唐代茶花画的形成和发展具有深刻的社会历史背景。\n其一，从茶花栽培史看，三国时代至隋代，茶花已经从野生状态发展到人工栽培，成为观赏花卉；及至唐代，中国主要茶花产区的人工栽培已经普及，并出现了茶花品种的名称和重瓣茶花。这些茶花的物质财富必然要反映到文学艺术中来。\n其二，从社会文化看，唐代是中国长期封建社会的辉煌时代，经济繁荣，物力殷阜，宫苑私园遍于各地。茶花被视作最珍贵的花木，它与牡丹花一样，成为宫廷显贵的荣耀。在寺院里，这种具有深刻宗教色彩的曼陀罗花，受到成千上万信徒的顶礼膜拜。茶花成为盛唐文化的一个亮点。\n其三，从中国花鸟画的生存衍化来看，花鸟画历经南北朝的萌芽状态，到唐代逐渐发展成为一门独立的画科，出现一批专门的花鸟画家，其技艺亦达到精湛的水平。在这三大因素的作用和催化下，茶花题材的绘画作品应运而生。特别值得提出的是唐南诏名画《南诏画传》。在这幅唐光化二年（公元899年）由南诏画师绘就的画卷里，有两株高大的植于南诏奇王庭院圆形花坛中的山茶，画面生动精美，系典型的唐人笔法，为中国古代绘画珍品（该画卷原藏北京故宫，现在日本）。《南诏画传》中这两株高过屋檐开着大朵红色鲜花的古茶花树，是中国绘画中最早出现的山茶形象。\n此外，在唐代的花鸟画家中，晚唐的滕昌是一位具有代表性的画家。滕昌擅作花鸟草虫、蔬果，亦工书法，号称“滕书”。滕昌在居室旁栽植竹石花木，以供写生。《宣和画谱》记有滕昌茶花作品《山茶家鹩图》一幅。可以想见，画家在居室旁栽植的花木中，定然有茶花。《山茶家鹩图》当为写生之作。此传世作品后被宋徽宗藏于宫廷。滕昌的画，“笔迹轻利，傅彩鲜泽，宛有生意”。他的《山茶家鹩图》当为早期花鸟画中的茶花画代表作品。\n五代茶花画在唐人基础上迅速发展并走向成熟，至两宋，茶花画达到了兴盛时期。其主要标志有三：\n一是画院的成立和发展。这是茶花画兴盛的物质基础之一。五代西蜀、南唐正式成立画院，称“翰林图画院”，一时名画家皆归附，绘事盛极一时。至两宋，画院繁荣，尤其是在宋徽宗的倡导下，扩充画院、兴画学，画院及绘画得到空前的发展。\n二是宋代造园植树之风大盛，茶花的引种栽培发展到一个鼎盛时期。其茶花新品种之多，园艺技术水平之高，盆栽与插花艺术拓展之快，都是前所未有的。这是宋代茶花画兴盛的物质条件。\n三是茶花画领域出现以黄筌为代表的在绘画史上具有重要地位和成就的画家。五代和宋前期的花鸟画家，首推黄筌。黄筌（约903～965年）为五代西蜀画家，是五代院体画家主要代表人物。曾入西蜀画院为翰林待诏。黄筌承前启后，创黄筌画派。黄筌的“富丽画风”，适合统治者和宫庭的需要及审美趣味。所谓“黄氏富贵”，即以严谨的用笔，惟妙惟肖的形象刻画，富丽堂皇的色彩为基本特点。黄筌的茶花作品有四幅。《宣和画谱》记有三幅：《山茶鹑雀图》一幅和《山茶雪雀图》二幅，均无画迹可考。只有近代画家于非闇临黄筌《彩鸠山茶图》一幅尚存。摹本上有临宋徽宗题款：“彩鸠山茶，黄筌妙笔。”\n两宋时期的茶花画家，院体画家（即宫廷画家）主要有北宋画家崔悫、吴元瑜，南宋画家林椿、李嵩（1166～1243年）、苏汉臣、董祥（1068～？）等，其身份均为画院待诏。林椿工画花鸟翎，重布局经营，是一位卓有成就的花鸟画家，代表作有《山茶霁雪图》和《茶花鸽子图》。崔悫有《山茶图》。吴元瑜有《山茶鹩子图》。李嵩茶花代表作为《花篮图》（藏台北故宫博物院）。苏汉臣为人物画家，作品《冬日婴戏图》（现藏台北故宫博物院）是一幅以山茶为背景的人物画作。董祥茶花作品有《岁朝图》（现藏台北故宫博物院）。\n院外画家（非宫廷画家）主要有北宋画家赵昌（？～1016年）、易元吉、丘庆余等。赵昌的茶花作品有折枝茶花、二色茶花，其画作“不特取其形似，直与花传神者也”，称“写生赵昌”，名重一时。《宣和画谱》录有其茶花作品《山茶图》、《山茶竹兔图》等十幅之多，另有《四季花卉卷· 山茶》。宋代大文豪苏轼也曾为赵昌山茶图作题跋二首。易元吉的茶花作品，《宣和画谱》录有《山茶孔雀图》、《山茶戏猿图》等八幅。丘庆余的茶花作品也见诸于《宣和画谱》，有《山茶花兔图》、《湖石山茶图》等五幅。\n勾勒填彩的细密画风成为两宋茶花画的主要艺术倾向。两宋的茶花作品以精工的描绘，鲜妍的敷色著称。画家十分注意物象、物理的研究，对物写生成为一时风尚，章法严谨，笔墨精丽，技法成熟，达到炉火纯青的地步，形成这一时期茶花画的主要艺术特色。北宋的茶花画已佚，流传至今的只有南宋画家李嵩的《花篮图》（设色绢本）、宋代佚名的《山茶蝴蝶图》、《白茶花图》，从中足以窥见当时盛行画风的特色。剖析这一时期的绘画作品，可以清晰地看到，以院体画为主的细密画风始终占主导地位。此外，赵昌、易元吉的作品以写生为重。崔悫、吴元瑜的作品在继承黄筌的基础上别创一清淡疏秀之格。林椿虽为宋后期院体画家，却在继承北宋院体画细密的传统中，显示出敷色轻淡，灵活生动的特色。宋无款的《百花图卷· 茶花》画风接近于“文人画”。宋后期的董祥、赵彦敷的茶花作品已具早期文人水墨画的特征。这些作品在主体画风之外各有特色，但是茶花作品的整体艺术倾向始终是鲜明而统一的。\n五代两宋为茶花画数量最多的一个时期。五代两宋时期画茶花的有院体画家、院外画家、士大夫阶层为官者，绘茶花者甚众，呈现欣欣向荣之气势。迄今发现两宋茶花画达41幅，居各个时期茶花作品数量之首。",[23,24,106,25,82,83,27,2730,7,199,9706,167,452,90,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F031db809757be93633780fb6452f3df0.jpg","30.1 x 206.5厘米",[],{"id":15285,"slug":15286,"title":15287,"dynasty":4397,"author":196,"museum":135,"description":15288,"tags":15289,"thumbUrl":15290,"material":275,"size":276,"collection":52,"collections":15291,"showCount":459,"zanCount":39,"manualWeight":39,"mainColor":40},231793,"ming-qing-ri-ben-gu-hua-hua-niao-shan-shui-ren-wu-fen-ben-hua-niao-juan-yi-ming-231793","明清日本古画花鸟山水人物粉本-花鸟卷","此卷三段取景，意趣各别。首段紫茄垂枝，晕染柔和饱满，将蔬果的鲜活质感尽显无余。中段群芳错生，凤仙秾艳、牵牛幽蓝、鸡冠明黄，草间蜻蜓静立，工笔勾勒柔劲相济，淡彩敷色清润雅致，将花草舒展之姿描摹入微。末段坡泽野趣盎然，蛙类或跃或伏，紫藤垂缀如瀑，蜂蝶振翅穿梭，生机灵动。全卷笔致秀雅，兼具工细写生的精工与自然野逸之趣，淡墨轻色温润和谐，将四时小景的鲜活意趣融于长卷，尽显写生花鸟的雅致风神。",[23,24,25,82,27,83,7,808,242,3545,356,228,631],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9311663ccaeea82c7a495e62a25ee48c.jpg",[],{"id":15293,"slug":15294,"title":15295,"dynasty":195,"author":15296,"museum":135,"description":15297,"tags":15298,"thumbUrl":15300,"material":52,"size":52,"collection":52,"collections":15301,"showCount":459,"zanCount":39,"manualWeight":39,"mainColor":159},227436,"han-lin-ju-qin-tu-gao-dao-227436","寒林聚禽图","高焘","美国克利夫兰艺术博物馆藏《寒林聚禽图轴》，因存名款而传为南宋画家高焘传世仅见的一幅绢本设色花鸟画轴。高居翰认为高焘有可能出仕金源，因此该画现被归为金代绘画作品。而笔者主张的观点是：从无史料证实高焘曾叛降金源，且高焘该画本事，更可能蕴涵有抗金时代征候并具有一定积极政治倾向。",[23,106,24,152,27,7,1390,15299,1841,167],"寒林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6da4737cf94d671b6dcd49e048fb69f.jpg",[],{"id":15303,"slug":15304,"title":15305,"dynasty":18,"author":853,"museum":135,"description":15306,"tags":15307,"thumbUrl":15308,"material":52,"size":52,"collection":52,"collections":15309,"showCount":459,"zanCount":39,"manualWeight":39,"mainColor":40},224588,"mo-song-yuan-hua-liu-xia-xiong-ji-zhou-zou-yi-gui-224588","橅宋苑画榴下雄鸡轴","此作用色明妍雅致，雄鸡独立石上，红冠华羽，昂首睨视，尽显轩昂神气。榴花似火缀于枝桠，与素白百合、娇柔萱花相映，浓烈与清柔交织，层次丰盈。灵透湖石立旁，皴秀古雅，衬得花木禽鸟更见鲜活生机。\n\n工笔绘就却无板滞之感，禽鸟羽毛晕染细腻毫微，花枝俯仰有情，尽显精工雅致。搭配题诗，将雄鸡傲岸品格融于笔端，物性文思相合，构图疏密得宜，静雅鲜活相融，铺展出祥瑞清和的悠然意境，尽显雅致雍容的花鸟意趣。",[23,24,25,152,83,27,7,2239,8109,516,215,2730],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c4db89d3a16251c308996ad3f0f3d35.jpg",[],{"id":15311,"slug":15312,"title":15313,"dynasty":195,"author":196,"museum":251,"description":15314,"tags":15315,"thumbUrl":15316,"material":822,"size":15317,"collection":52,"collections":15318,"showCount":459,"zanCount":1398,"manualWeight":39,"mainColor":159},223373,"xie-sheng-cao-chong-tu-yi-ming-223373","写生草虫图","画面右侧绘野生花草，狗尾、紫菀莛叶穿插。菜粉蝶落在花上吸取花蜜，蜻蜓徐徐低飞，蚱蜢跃跃欲跳，整幅画面充满动感。3只昆虫在画面上的等边三角形构图平衡了丛生的野草所造成的重心偏倚，使画面结构稳定。野草和花叶用花青加汁绿勾填，花用没骨法出之，昆虫兼工带写，形态逼真",[23,106,24,25,83,27,240,7,213,292,214,8636,589,631,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf81f5379cd474d1d26ba4e587d518bb.jpg","25.9x26.9",[],{"id":15320,"slug":15321,"title":15322,"dynasty":60,"author":1756,"museum":135,"description":6503,"tags":15323,"thumbUrl":15324,"material":83,"size":6506,"collection":52,"collections":15325,"showCount":459,"zanCount":39,"manualWeight":39,"mainColor":1762},222047,"de-qu-zai-ren-ce-13-kai-7-wang-zhong-222047","得趣在人册13开7",[23,24,27,83,26,7,808,242,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56a12d7639698270f51dfddb83da789f.jpg",[],{"id":15327,"slug":15328,"title":15329,"dynasty":60,"author":477,"museum":1387,"description":5054,"tags":15330,"thumbUrl":15331,"material":26,"size":52,"collection":52,"collections":15332,"showCount":459,"zanCount":1398,"manualWeight":39,"mainColor":40},221911,"hua-niao-jing-pin-ce-8-chen-hong-shou-221911","花鸟精品册8",[24,25,26,27,83,7,1951,167,186,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f428190af9d8e38adbc8575cb53afae.jpg",[],{"id":15334,"slug":15335,"title":15336,"dynasty":195,"author":196,"museum":45,"description":15337,"tags":15338,"thumbUrl":15339,"material":109,"size":52,"collection":35,"collections":15340,"showCount":459,"zanCount":39,"manualWeight":39,"mainColor":159},218884,"sui-an-tu-yi-ming-218884","岁安图","禽鸟安栖于丛草间，羽上星点似碎金散落，眼波流转藏着几分闲逸。细劲的草叶以墨绿勾染，或垂或扬，如微风轻拂时的慵懒姿态。古绢的棕褐底色晕染出岁月温厚，与鲜妍草色相映成趣，更显画面静谧雅致。整幅画无喧嚣之态，仅以极简物象勾勒平和景象，仿佛能闻草叶摩挲轻响，见禽鸟敛翅安然。从容笔墨恰是对“岁安”的生动诠释——寻常草木间藏岁月静好，细微生灵中见天地祥和。",[24,661,27,83,7,65,455,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a5c1b955da4147b8d5797d7bc282a2d.jpg",[35],{"id":15342,"slug":15343,"title":3035,"dynasty":18,"author":6771,"museum":79,"description":15344,"tags":15345,"thumbUrl":15346,"material":33,"size":15347,"collection":35,"collections":15348,"showCount":459,"zanCount":39,"manualWeight":39,"mainColor":40},218804,"mei-que-tu-dai-hong-218804","戴洪，生卒年藉贯均不可考，高宗乾隆时，任职内廷画院为供奉，擅长山水画，以和丁观鹏、程志道、金昆、孙佑等人，合画清明上河图出名。\n他的画，不论用笔勾画输廓，用墨分染明暗，都非常工细，着色尤其是明净鲜丽，予人一种情眞景实的实境感觉。\n本幅画梅树和山雉便是一例。但是，这种崇尚技巧的院画，并不受一般「重意象轻形似」的文人画家所欢迎。",[24,25,106,152,7,83,64,436,167,1951],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3557fdc9c807ebe9bebe162eb18b2de.jpg","167.6x91.1cm",[35],{"id":15350,"slug":15351,"title":15352,"dynasty":119,"author":196,"museum":3036,"description":15066,"tags":15353,"thumbUrl":15354,"material":6535,"size":52,"collection":35,"collections":15355,"showCount":459,"zanCount":39,"manualWeight":39,"mainColor":159},216880,"lian-lu-tu-zhou-1-yi-min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的国画作品。\n该画为立轴，绫本，墨笔，纵129．4厘米，横47．8厘米，旅顺博物馆藏。\n李因（1616—1685），清代女画家。\n字今是，又字今声，号是庵，又号龛山逸史，浙江钱塘（今杭州）人。\n留寓海宁。\n画家葛徵奇之妾。\n她能诗能画，善山水、花鸟，亦工芦雁。\n画得陈淳之法，多用水墨，苍劲无闰阁气。\n其夫每加以题跋，常云：“花鸟我不如姬，山水姬不如我。\n”可见其花鸟画在山水画之上。\n葛去世后，李因以卖画为生。\n有《竹笑轩吟草续稿》存世。\n传世作品有《菊石鸣禽图》、《芙蓉鸳鸯图》等。",[23,106,24,152,64,7,517,169,15612],"鸣禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3607d5341dc4c30287b5215604dfbf0d.jpg",[],{"id":15616,"slug":15617,"title":15618,"dynasty":195,"author":1413,"museum":135,"description":15619,"tags":15620,"thumbUrl":15622,"material":52,"size":52,"collection":52,"collections":15623,"showCount":327,"zanCount":39,"manualWeight":39,"mainColor":159},230166,"shui-qin-tu-juan-zhao-ji-230166","水禽图卷","此卷以淡墨勾勒晕染，一对鸳鸯悠游清波，翎毛纹理纤毫毕现，翅羽灵动舒展，柔波随漾尽显缱绻。右侧汀渚之上，野花莠草错落横生，野趣盎然。\n\n卷首题字清隽秀挺，与题跋诗文呼应画意，墨色温润雅致。整作工致写实兼具写意空灵，将水禽相依的情态与郊野水畔的幽谧生机融为一体，静雅之中暗藏灵动鲜活，尽显宋画雅致清和的意趣，是工写相融的精妙佳构。",[23,24,25,82,83,27,7,450,138,452,15621],"水纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87932b955e2126b5dfaa51f8b1ed5b54.jpg",[],{"id":15625,"slug":15626,"title":12801,"dynasty":60,"author":196,"museum":135,"description":15627,"tags":15628,"thumbUrl":15629,"material":52,"size":52,"collection":52,"collections":15630,"showCount":327,"zanCount":39,"manualWeight":39,"mainColor":159},228918,"he-tang-shuang-lu-tu-yi-ming-228918","画面饱满铺陈，粉荷或绽苞或盛放，枯荣荷叶交错层叠，蒲草芙蕖错落其间，尽显盛夏荷塘的蓬勃野趣。两只白鹭娴静错落，一只昂首远眺，一只曲颈理羽，将幽寂安然的意趣藏在留白里。\n古绢底色晕染出沉雅氛围感，设色柔和雅致，禽鸟素白羽翼与粉荷暖色相互映衬，蜻蜓水鸟掠飞其间，为静谧荷塘添灵动生机。工写兼施，花鸟刻画细致入微，草木晕染写意空灵，将江南水泽的清宁诗意凝于绢素，藏着澹泊闲静的池居幽情。",[23,24,106,25,152,27,83,7,467,50,4820,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d11c6095b8c54fa3490081eeda3ec70.jpg",[],{"id":15632,"slug":15633,"title":15634,"dynasty":119,"author":3663,"museum":135,"description":15635,"tags":15636,"thumbUrl":15637,"material":52,"size":52,"collection":52,"collections":15638,"showCount":327,"zanCount":39,"manualWeight":39,"mainColor":40},228161,"qiu-jing-chun-que-tu-wang-yuan-228161","秋景鹑雀图","此作为水墨花鸟精品，以全景式铺陈秋日小景。枝桠虬劲舒展，数只雀鸟或振翅翻飞、或栖枝理羽，灵动鲜活，将秋空的清寂晕开几分生机。坡石苍朴古拙，枯笔写意勾勒尽显嶙峋质感，旁侧竹篁挺秀、野菊含芳，笔墨秀雅细腻，晕染间尽显草木清疏之态。\n\n坡下鹌鹑伏于浅草间，羽色纹理描摹入微，憨态尽显。整作纯以水墨绘就，摒去设色浮华，以浓淡干湿变化表现物象肌理，工写相融，既有禽鸟刻画的精工雅致，又有花木坡石的写意苍润，将秋日郊野的清旷意趣与灵动生机揉合一处，尽显清淡古雅的文人意韵。",[23,24,25,152,64,83,7,185,517,186,167,2100,68,455,386],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5177d8103b4a3a8119cd7797cf489d1.jpg",[],{"id":15640,"slug":15641,"title":15642,"dynasty":195,"author":15643,"museum":135,"description":15644,"tags":15645,"thumbUrl":15646,"material":52,"size":52,"collection":52,"collections":15647,"showCount":327,"zanCount":800,"manualWeight":39,"mainColor":40},227639,"bi-tao-yi-shi-tu-ye-ma-shi-rong-227639","碧桃倚石图页","马世荣","《碧桃图》页，宋，纨扇页，绢本，设色，纵24.8厘米，横27厘米。\n\n本幅无款。钤鉴藏印“于”、“腾”、“阿蒙精赏”3方。\n\n图中盛开的碧桃红白相映，枝叶扶疏，娇柔妩媚。虽然画面上仅绘桃花两枝，但它的繁花簇簇、苞蕾盈枝则透露出浓郁的春意。花瓣用多变的细线条勾描后再以白粉或粉红色多层晕染，嫩叶用细红线勾轮廓和叶筋，然后填以花青和汁绿。整幅画面赋色淡雅，自然生动，体现了宋代册页画小中见大的风貌。",[23,106,24,25,26,27,83,7,123,186,569,31,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00bbefa1115cc37dbd7d4d25f6ff030e.jpg",[],{"id":15649,"slug":15650,"title":15651,"dynasty":195,"author":196,"museum":135,"description":15652,"tags":15653,"thumbUrl":15654,"material":52,"size":52,"collection":52,"collections":15655,"showCount":327,"zanCount":1398,"manualWeight":39,"mainColor":40},227384,"ke-si-mu-dan-tu-ye-yi-ming-227384","缂丝牡丹图页","宋代尤其南宋是纯欣赏性缂丝诞生的摇篮，宋代缂丝，设色典雅，技术精巧，表现手法写实，是缂丝的黄金时代。纵观宋代帝王诸如仁宗、神宗、徽宗、高宗、光宗、宁宗等，他们都对国画有不同程度的兴趣，出于审美心理和装点宫廷的需要都很重视宫廷画院建设，北宋时还曾一度设立画学，尤其是徽宗赵佶，其工笔画及独创书法“瘦金体”（图1-3-3-1，赵佶《闰中秋月诗帖》，现藏北京故宫博物院）体现了他作为艺术家的杰出才能和修养。上行下效，宋代文人士大夫创作、收藏、品鉴艺术品蔚然成风，不少文人在艺术实践的题材、形式及审美旨趣上都有自己的独特见解和品位。",[23,106,24,25,769,661,709,27,7,107,214,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17764363065a04d11b9b2bb3a5d41b69.jpg",[],{"id":15657,"slug":15658,"title":15659,"dynasty":18,"author":3195,"museum":135,"description":15660,"tags":15661,"thumbUrl":15662,"material":52,"size":52,"collection":52,"collections":15663,"showCount":327,"zanCount":39,"manualWeight":39,"mainColor":159},224600,"da-ji-yang-fu-gui-tu-zhao-zhi-qian-224600","大吉羊富贵图","此作以祥花瑞果铺陈画面，雍容牡丹居于视觉中心，晕染得丰腴饱满，尽显华贵姿态。梅枝斜逸而出，山茶、水仙错落排布，石榴垂坠其间，将四时佳卉瑞果汇聚一堂，暗合多重吉祥寓意。\n\n笔墨兼工带写，叶片勾勒皴擦带着金石书法的刚劲质感，设色雅致沉稳，古旧底色更衬出沉静古韵。左侧题字笔力雄健苍劲，书画相映成趣，将文人意趣与世俗吉庆融为一炉，以朴拙厚重的金石气注入雅致花绘，尽显独特审美风骨，是雅俗共赏的精妙佳构。",[23,24,25,27,7,436,107,29,243,66,68,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54f7d887f9a203f39a6a4a9c43134cd3.jpg",[],{"id":15665,"slug":15666,"title":15667,"dynasty":60,"author":4655,"museum":79,"description":15668,"tags":15669,"thumbUrl":15670,"material":6535,"size":15671,"collection":52,"collections":15672,"showCount":327,"zanCount":39,"manualWeight":39,"mainColor":40},222445,"qiu-ying-zhou-lin-liang-222445","秋鹰轴","明代花鸟画家林良以画花鸟著称，主体多属富野逸之趣的禽鸟，如苍鹰、芦雁、寒鸦、麻雀、雉鸡、喜鹊等，也喜绘群鸟聚集景象，品类众多，情态各异，极富自然天趣。《秋鹰图》为林良代表作，幅中署款“林良”。在宋、元时代的画坛，就常能见到鹰类追捕鸟禽为主题的画作，通常以细腻的用笔与设色，描绘鹰类迴身俯衝，捕捉禽鸟的景况。林良採取类似的图绘模式：飞翔的雄鹰俯身扭转头部，以锐利的眼神盯住猎物，被追逐的八哥鸟落荒而逃，露出惊骇的神情。林良在画面左侧增添横出的枝柯，藉以平衡鸟禽的比例。更以写意"没骨"技法，以迅速地笔墨点染技巧，精准地捕捉自然界惊心动魄的一刻。",[23,24,25,152,7,64,399,167,1951],"https:\u002F\u002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[清]（1758—1844）字文山，一作雯山，号晴峰，安徽桐城人，客吴门（今江苏苏州）。善画山水、花卉，尤工人物。画仙佛像妙甚。仕女每作高髻，近宋人定本。又擅写真，所作画宁繁毋略，宁朴毋巧，铺白设色，确守顾、陆、徐、黄格律。卒年八十七。《墨香居画识、墨林今话、清朝书画家笔录》",[24,661,7,64,27,1333,3500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2eb5d15093e3a04348b50d3265191e55.jpg",[],{"id":15877,"slug":15878,"title":2063,"dynasty":18,"author":6195,"museum":251,"description":15879,"tags":15880,"thumbUrl":15881,"material":1595,"size":52,"collection":52,"collections":15882,"showCount":472,"zanCount":39,"manualWeight":39,"mainColor":40},234321,"hua-hui-tu-ce-fan-ting-zhen-234321","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恽寿平一生不应科举，以卖画为生，出于职业竞争的考虑，恽寿平并不太愿意让别人看见他如何作画。即使这样，恽寿平的亲传弟子也不少，如马元驭、范廷镇、张伟、董瑜等。\n马元驭、范廷镇与恽寿平最为接近，最能得恽南田没骨写生花卉之神髓，他们的个别作品甚至可以达到乱真的地步，此二人也是恽寿平的主要代笔人。特别是范廷镇，包括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。\n欣赏两个故宫博物院收藏范廷镇的花卉册，如果我们不标注是范廷镇所作的话，只看画面，几乎都会认为是出自恽寿平的手笔吧！",[106,24,25,26,27,83,7,29,226,425,986],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0fba9e1c7136d082dedd8cbbd3c97b2.jpg",[],{"id":15884,"slug":15885,"title":15886,"dynasty":119,"author":9151,"museum":251,"description":15887,"tags":15888,"thumbUrl":15889,"material":1041,"size":15890,"collection":52,"collections":15891,"showCount":472,"zanCount":39,"manualWeight":39,"mainColor":159},233460,"liu-yan-tu-zhou-sheng-chang-nian-233460","柳燕图轴","画面细嫩的柳枝倒垂，枝叶稀疏，临风摇曳，一双燕子翻飞其间，笔墨间透出浓浓春意。燕子秋去春来，表示一年的时光已经流逝，迁徒无定的行踪牵动了无数行旅之人的思乡之情。本幅作品简洁清淡，取景自然，疏朗的构图，剪裁得宜，寥寥数笔勾画出一幅充满诗意的抒情佳景。自识“武林盛昌年元龄为良友吴郡沈彦肃戏作于梁谿寓所，岁至壬辰三月也”。另有葵丘生题诗：“杨柳风多暑气微，一双下上故飞口。如何恋芳塘景，秋社归时也不归。”",[24,25,152,64,7,167,1333,3584,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F930e8ccb1f2c104fc399bd3913fc72b0.jpg","纵75.9厘米、横25.5厘米",[],{"id":15893,"slug":15894,"title":952,"dynasty":18,"author":8026,"museum":135,"description":15895,"tags":15896,"thumbUrl":15897,"material":52,"size":52,"collection":52,"collections":15898,"showCount":472,"zanCount":39,"manualWeight":39,"mainColor":40},230875,"za-hua-ce-bian-shou-min-230875","此作用水墨写意绘折枝秋菊，花枝苍劲老辣，以浓淡墨色分出层次。花瓣以淡墨中锋勾勒点染，舒展清逸，尽显秋菊冷傲之姿；叶片以泼墨随性挥写，朴拙厚重，与纤秀的花头形成巧妙对比。\n\n画面左上题诗相和，诗书相融，将画者淡泊疏朗的心境寄寓其中，文人意趣尽显。笔简而意足，寥寥数笔便勾勒出秋卉萧疏清寂之态，尽显水墨写意花鸟的风神，透着悠然出尘的秋日雅韵。",[24,25,26,64,399,7,287,227,228,31,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb4f516419b2a1ab82eb9ae4841ec1ba.jpg",[],{"id":15900,"slug":15901,"title":15902,"dynasty":60,"author":196,"museum":135,"description":15903,"tags":15904,"thumbUrl":15905,"material":52,"size":52,"collection":52,"collections":15906,"showCount":472,"zanCount":1398,"manualWeight":39,"mainColor":159},228813,"die-hua-tu-yi-ming-228813","蝶花图","此作用笔兼工带写，粉紫丛花挺立于坡石之侧，花头饱满柔润，叶片以浓淡墨晕染出阴阳向背，古拙中见雅致。坡石简笔勾勒皴擦，苍朴厚重，衬得花草愈见清妍。\n\n两只蛱蝶翩跹花间，翅脉纤毫毕现，振翅欲飞的姿态灵动鲜活，将郊野刹那生机定格。设色沉雅柔和，古绢底色更添朴茂古意，整体画面简淡空灵，铺展出幽塘野径间的闲趣诗意，尽显写生花鸟的隽永意趣，于静谧中藏着灵动野趣。",[23,24,27,83,7,214,186,29,1200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71ff6a1fc2bdaca3c3b288d2f5d5422c.jpg",[],{"id":15908,"slug":15909,"title":7522,"dynasty":60,"author":7523,"museum":135,"description":15910,"tags":15911,"thumbUrl":15912,"material":52,"size":52,"collection":52,"collections":15913,"showCount":472,"zanCount":39,"manualWeight":39,"mainColor":40},228394,"hua-die-cao-chong-ce-du-da-cheng-228394","此作用水墨写意绘就花枝蛱蝶，淡墨晕染花瓣，晕出柔润层次，浓墨点醒花心，叶片以干湿浓墨分出阴阳向背，笔致写意率性却不失草木姿态，枝条挺秀舒展，暗含生机动人。\n\n一旁蛱蝶用工笔勾勒，翅脉纤毫毕现，蝶翼轻颤欲落，与写意花木形成工写对照，动静相生。画面留白疏朗雅致，将蛱蝶翩跹之灵与花枝清逸之静相融，尽显简淡清隽的意趣，笔墨简而意态足，晕开春日草木的悠然生机，尽显雅致风神。",[23,106,24,64,26,7,214,226,213,627],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33dea1476444c732f0df93615d5f9095.jpg",[],{"id":15915,"slug":15916,"title":15917,"dynasty":195,"author":196,"museum":135,"description":15918,"tags":15919,"thumbUrl":15920,"material":52,"size":52,"collection":52,"collections":15921,"showCount":472,"zanCount":1398,"manualWeight":39,"mainColor":159},227927,"dou-jia-qing-ting-tu-yi-ming-227927","豆荚蜻蜓图","《豆荚蜻蜓图》是宋代佚名画家创作的一幅 设色画，现藏于 。\n此图画面为长圆扇形，绘豆花上栖息一只黄褐色蜻蜒，枝叶微向下垂。\n整幅作品结构自然，疏密得体，色彩丰富，工写结合。\n其中蜻蜒的描绘神妙入微。\n画家不仅再现了蜻蜒的形态，甚至连透明的翅膀及纹络都表现了出来。\n而豆花则以简笔写出，野趣天然。\n此图旧传为徐熙所作。\n图中画的是田野苗圃间菜豆花与蜻蜓之类昆虫常见的景物。\n画面为长圆扇形，画家以独具的慧眼撷之入画，采取了特写镜头，只取其豆花的枝头，豆茎自左下向右上斜出，枝叶微下垂，枝上有浅紫色的豆花、绿色的豆叶和沉甸甸地挂下来的长长豆荚。\n枝梢上歇息着一只大蜻蜓，正在吮吸豆荚嫩叶的鲜汁。\n蜻蜓呈黄褐色，张开双翼，长长的身子下垂，尾部稍有弯曲。\n图中豆荚一枝，果实乍结。\n一只黄褐色的蜻蜓轻轻停落在枝端，将豆荚压得微微颤动。\n画面构图简洁自然，疏密得体。\n画家用中锋细笔勾勒豆荚枝叶的轮廓，用花青、石绿轻染，以白粉点花瓣，线条沉稳，色彩丰富，形象写实逼真。\n图中尤以蜻蜓描绘得出神入化，其翅膀透明的质感以及清晰的纹络都表现得清清楚楚，活灵活现，反映了宋画在写实方面所达到的高度水平。\n图右下方押“徐熙”二字伪款，不见于著录。\n本幅鉴藏印有：“徐熙”朱文杯形，另一印不辨。\n注：中国古代书画鉴定组定为宋人画。\n旧题为徐熙所作，押‘馀熙”印。\n押印是否可靠，现今难以证实。\n但此图的画法与画史对徐熙画风的记载颇相吻合，可能是北宋时徐熙画派的画家所作。\n整幅作品结构自然，疏密得体，色彩丰富，工写结合。\n其中蜻蜓的描绘神妙入微。\n画家不仅再现了蜻蜓的形态，甚至连透明的翅膀及纹络都表现了出来。\n而豆花则以简笔写出，野趣天然。\n整幅作品结构自然，疏密得体，中锋运笔，线条沉稳，色彩丰富，写实逼真，作者善于刻画和铺排是这幅作品在技巧上的特色。\n菜豆的枝干、花叶、荚部是用粗简的线条勾出，然后略施粉彩，尤其对蜻蜓的描绘神妙人微。\n蜻蜓身子晕染工细，头部网网眼和翅翼细细刻画轻轻染色，十分清晰透剔，甚至连透明的翅膀及纹络状的小组织．都细微地表现了出来。\n蜻蜓身上的色斑与浅紫色的豆花，一深一浅，使主题显明突出，这充分反映了宋画在写实方面所达到的高度水平。\n从绘画题材及笔墨技巧上看，具有徐熙画的特征。\n《圣朝名画评》说，徐熙画花卉“多做园圃以求情状，虽蔬菜茎苗，以人图写。\n”但本图无款识，至少可以这样说，虽非出于徐熙之手笔，但可以代表北宋徐熙一派的画风，亦可以说此幅是徐派留下来的凤毛麟角般的珍品。\n此图右下方押“徐熙”二字伪印。\n此图无款，有“徐熙”朱印。\n旧题为徐熙作。\n徐熙“善画花竹林木、蝉蝶草虫之类，多游园圃以求情状，虽蔬菜茎苗亦人图。\n写意出古人之外，自造于妙。\n尤能设色，绝有生意”。\n从这幅作品亦可领略上述特点，所以虽非出于徐熙之手，也可代表北宋徐熙一派的画风。\n此图写豆茎一枝自右下向左上斜出，而梢头着一大蜻蜓。\n这农家随处可见的景物，画家以独具的慧眼撷之入画，可谓别开生面。\n豆花、豆叶，点缀生动，长豆三两根，垂垂可喜。\n茎、叶、豆荚，均以墨勾，疏疏几笔，中设豆绿色，叶中锈斑、虫蚀均为描出，紫白色的豆花和蜻蜓，以没骨法晕染，蜻蜒尤备极工细，神韵奕奕。\n对花写照的写生功力，令人惊叹。\n色调素雅，变化层次微妙，工写兼施，相映成趣。\n构图善从一角生发，全幅荡漾着空灵的诗意，尤觉流走圆美。\n不是面面俱到，或泛泛大略，而是择取一枝一梢作精心的观赏，一枝一叶总动情，这种审美性格为宋人所独具，风气所开，遥领千古。\n此图笔墨间随处散发着一种田园佳趣，尤为感人至深，而熠耀其中的是诗意的空间。\n宋画一如宋诗，其异于唐人之处：一为田园气息，二为哲理之思(以景喻理)。",[23,106,24,25,661,83,27,7,5848,292,769,242,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48eea5d1a6887f57421ffd7e0488a89c.jpg",[],{"id":15923,"slug":15924,"title":15925,"dynasty":195,"author":10685,"museum":135,"description":15926,"tags":15927,"thumbUrl":15928,"material":52,"size":52,"collection":52,"collections":15929,"showCount":472,"zanCount":1398,"manualWeight":39,"mainColor":159},227810,"ji-tu-mao-yi-227810","鸡图","此作截取庭院一角，顽石旁蜀葵抽枝绽蕊，粉花柔媚映着苍润绿叶，野意悠然。下方双鸡情态生动，雄鸡红冠劲翎，身姿轩昂，母鸡羽色温软，俯首似在啄拾草籽，地面散落的细碎石籽与轻软羽屑，将郊居闲趣揉入画面。\n\n设色秀雅清润，禽鸟羽毛晕染细腻，蓬松柔润的质感呼之欲出，花木皴染兼具工致与写意韵致，于细微处见功力。尺幅之间藏尽田家闲逸，以日常小景铺陈出安宁雅致的意趣，笔简意足，淡而有味。",[106,24,25,7,661,83,27,1416,291,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb41fd354ac99bbf536f773dfd0824080.jpg",[],{"id":15931,"slug":15932,"title":15933,"dynasty":18,"author":237,"museum":135,"description":15934,"tags":15935,"thumbUrl":15936,"material":52,"size":52,"collection":52,"collections":15937,"showCount":472,"zanCount":39,"manualWeight":39,"mainColor":159},224187,"hua-niao-cao-chong-tu-ba-06-hua-yan-224187","花鸟草虫图八-06","此作用笔兼工带写，墨色层次清润雅致。垂落柳丝以淡墨勾勒轮廓，浓墨点染叶瓣，随风舒展尽显柔媚之态。枝头禽鸟身形灵动，侧目下望将观者视线引向水面。波中水禽以焦墨晕染羽翼，蓬松苍劲，正振翅拨弄清波，野趣盎然。左侧题字与画面相映成趣，将文人雅意融入水乡小景，寥寥数笔便将禽鸟的灵动生姿与塘边清趣尽数铺陈，把春日塘间的幽微生机勾勒得淋漓尽致。",[23,24,25,64,27,7,167,544,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e4ed4c433fe50dc6a11c97d92f4b862.jpg",[],{"id":15939,"slug":15940,"title":15941,"dynasty":60,"author":1661,"museum":79,"description":15942,"tags":15943,"thumbUrl":15944,"material":109,"size":15945,"collection":35,"collections":15946,"showCount":472,"zanCount":39,"manualWeight":39,"mainColor":159},221938,"fen-bu-tu-zhou-bian-wen-jin-221938","分哺图轴","边文进，字景昭，福建沙县人，生卒年待考。曾供事内殿，活跃于永乐（1403 －1424）、宣德（1426－1435）时期。博学能诗，善绘花果翎毛，延续五代黄筌（约903－965）画风并融入宋代院体传统，为后辈所师法，是明代重要宫廷花鸟画家。本幅设色画公鸡啄蝶并为雏子分食。若与边文进〈三友百禽图〉相较，本幅技法则略显生硬，或系托名之作。",[23,106,24,25,152,83,27,7,1416,8056,185,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53c3c15c54cb8caa9e8e73fe6b34e431.jpg","63.7x43.9",[35,112],{"id":15948,"slug":15949,"title":15950,"dynasty":119,"author":9161,"museum":251,"description":15951,"tags":15952,"thumbUrl":15953,"material":401,"size":15954,"collection":35,"collections":15955,"showCount":472,"zanCount":39,"manualWeight":39,"mainColor":159},220877,"kui-hua-tu-zhou-zhao-meng-fu-220877","葵花图轴","赵孟頫提倡作画贵有古意，对唐至北宋的绘画风格多有摹仿。此图即采用五代西蜀黄筌父子的“黄体”——勾勒填彩的画法，线条细劲，敷色明净。因从现实生活中“写生”而来，秋葵姿态生动，比“黄体”更富有生机。此图画面简洁，笔法细润，风韵高雅，体现了赵氏所追求的古意与高华，是其早年花鸟画的代表作品。",[106,24,25,152,7,13932,27,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F557cd23baf3c150ccc7416dd5ee46a65.jpg","纵31厘米,横23.8厘米",[35,112],{"id":15957,"slug":15958,"title":15959,"dynasty":18,"author":530,"museum":45,"description":14266,"tags":15960,"thumbUrl":15961,"material":534,"size":52,"collection":52,"collections":15962,"showCount":472,"zanCount":1398,"manualWeight":39,"mainColor":2031},216334,"hua-niao-ce-8-zhu-da-216334","花鸟册-8",[24,25,26,64,399,7,1416],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb55c7c9a2f6a6aff11f69bf33c7554c.jpg",[],{"id":15964,"slug":15965,"title":2490,"dynasty":18,"author":530,"museum":20,"description":15966,"tags":15967,"thumbUrl":15968,"material":52,"size":52,"collection":35,"collections":15969,"showCount":472,"zanCount":39,"manualWeight":39,"mainColor":15970},203419,"shan-shui-hua-niao-ce-zhu-da-203419","画面以浓淡交织的水墨铺陈，笔墨简劲却内蕴千钧。两只禽鸟以焦墨挥写，羽色浓黑如泼，质感沉厚；眼目留白斜睨，神态孤傲倔强，似含遗世之慨。下方孤石以淡墨皴擦，线条寥寥却见嶙峋风骨，背景淡墨晕染出远山隐迹，空寂冷逸的氛围漫溢纸面。整幅作品于极简中藏深致，笔墨间裹挟着沉郁孤愤的情愫，寥寥数笔便将生命的倔强与环境的荒寒熔于一炉，尽显写意之精髓。",[24,64,7,186,167,3478,68,26,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa91ee1c67b3cf42ae09f05a38c5493af.jpg",[35],"eae6e0",{"id":15972,"slug":15973,"title":1863,"dynasty":18,"author":2541,"museum":20,"description":15974,"tags":15975,"thumbUrl":15976,"material":52,"size":52,"collection":35,"collections":15977,"showCount":472,"zanCount":1398,"manualWeight":39,"mainColor":15978},201864,"mu-dan-tu-zhou-pu-hua-201864","这幅牡丹图笔墨恣肆灵动，设色鲜妍而不失雅致。粉艳的牡丹花瓣层叠舒展，花蕊以细笔点染，尽显雍容之态；叶片用青绿与墨色交融晕染，脉络清晰，生机盎然。旁侧山石以浓淡干湿的墨笔皴擦，线条粗放却骨力内蕴，刚健的石姿与柔美的花容形成鲜明对比，刚柔相济间更显画面意趣。整体画风兼具写意的纵逸洒脱与工笔的细腻传神，既捕捉了牡丹的华贵之姿，又融入了自然野趣，笔墨间流露着画家独特的艺术情韵。",[24,152,27,7,107,186,64,83,399,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51771a1972890dc71a0f6721a9da53f6.jpg",[35],"c1b2a7",{"id":15980,"slug":15981,"title":15982,"dynasty":60,"author":1037,"museum":20,"description":15983,"tags":15984,"thumbUrl":15985,"material":52,"size":52,"collection":35,"collections":15986,"showCount":472,"zanCount":39,"manualWeight":39,"mainColor":15987},201810,"mo-hua-tu-juan-xu-wei-201810","墨花图卷","这幅长卷以水墨为魂，诗书画印浑然一体。笔墨如狂涛倾泻，肆意挥洒间，梅枝虬曲似铁，墨花冷艳含傲骨；兰叶飘逸若带，寥寥数笔尽得清逸；竹影横斜，笔力劲健欲生风；菊瓣泼墨而成，浓淡交织藏秋意；荷叶片片如盖，墨色淋漓见清雅；牡丹雍容却脱媚俗，狂放中显生机。每一处笔触皆随性生发，无拘无束，将花卉神韵与画家孤愤心性相融，墨气蒸腾处，尽显生命的郁勃与孤傲。诗题与朱印错落其间，更添古朴雅韵，是文人写意画的经典之作。",[24,82,64,7,436,254,185,517,467,107,31,569,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce09cb9b2025503b1df0db08b59dd0d4.jpg",[35],"c8bcb0",{"id":15989,"slug":15990,"title":15991,"dynasty":18,"author":15992,"museum":135,"description":15993,"tags":15994,"thumbUrl":15995,"material":275,"size":276,"collection":52,"collections":15996,"showCount":15997,"zanCount":39,"manualWeight":39,"mainColor":40},290470,"hua-niao-hua-ce-liu-qi-kan-290470","花鸟画册","刘期侃","刘期侃，清代画家。生卒年不详。字湛园，安徽宣城人。善指画",[24,25,26,64,7,436,167,68,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c09fbc9658481fbcdd43a9d1303adc5.jpg",[],22,{"id":15999,"slug":16000,"title":4666,"dynasty":195,"author":1838,"museum":79,"description":9461,"tags":16001,"thumbUrl":16002,"material":275,"size":276,"collection":52,"collections":16003,"showCount":15997,"zanCount":39,"manualWeight":39,"mainColor":159},289983,"lu-yan-tu-cui-bai-289983",[23,106,24,661,27,83,7,1855,1854,13636,13486],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2977e53530733292bf2afc1fd715202.jpg",[],{"id":16005,"slug":16006,"title":4702,"dynasty":195,"author":841,"museum":135,"description":10779,"tags":16007,"thumbUrl":16008,"material":275,"size":276,"collection":52,"collections":16009,"showCount":15997,"zanCount":39,"manualWeight":39,"mainColor":40},289454,"shi-liu-la-zui-tu-ma-lin-289454",[106,24,7,83,27,570,167,452],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F316f8844aafa1f77b64073a164171e98.jpg",[],{"id":16011,"slug":16012,"title":15313,"dynasty":195,"author":1838,"museum":135,"description":16013,"tags":16014,"thumbUrl":16015,"material":275,"size":276,"collection":52,"collections":16016,"showCount":15997,"zanCount":1398,"manualWeight":39,"mainColor":159},289349,"xie-sheng-cao-chong-tu-cui-bai-289349","画面右侧绘野生花草，狗尾、紫菀莛叶穿插。菜粉蝶落在花上吸取花蜜，蜻蜓徐徐低飞，蚱蜢跃跃欲跳，整幅画面充满动感。3只昆虫在画面上的等边三角形构图平衡了丛生的野草所造成的重心偏倚，使画面结构稳定。野草和花叶用花青加汁绿勾填，花用没骨法出之，昆虫兼工带写，形态逼真。",[23,106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绝出尘象之外。",[23,24,25,82,64,627,7,436,254,185,517,107,518,291,123,186,68,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F824a49108093b390bf2a18fe74a97e32.jpg",[],{"id":16136,"slug":16137,"title":14472,"dynasty":18,"author":3195,"museum":20,"description":3196,"tags":16138,"thumbUrl":16139,"material":295,"size":52,"collection":52,"collections":16140,"showCount":15997,"zanCount":39,"manualWeight":39,"mainColor":40},233193,"hua-hui-ce-tao-hua-ye-zhao-zhi-qian-233193",[24,25,26,27,7,123,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20ceefe6bfa632f5ff93aad6e4f89901.jpg",[],{"id":16142,"slug":16143,"title":16144,"dynasty":119,"author":196,"museum":45,"description":16145,"tags":16146,"thumbUrl":16147,"material":295,"size":16148,"collection":52,"collections":16149,"showCount":15997,"zanCount":39,"manualWeight":39,"mainColor":159},232257,"cong-ju-tu-yi-ming-232257","丛菊图","《宋人画丛菊图》是宋代佚名创作的一幅画。图绘秋菊一丛，红白相间，繁枝茂叶，生机勃发，不见肃杀秋意。花瓣用中锋细笔勾描，再以朱红或白粉晕染；花蕊用细笔点出；茂密的叶片或用赭石、或略入汁绿、或稍加藤黄染出，以示老嫩不同的色彩。花之欲开、盛开、将残，叶之翻卷及明暗向背，刻画得恰到好处。画风工致细腻，构图丰满，但繁而不乱，密而不窒，设色艳而不俗，为南宋写生画佳作",[24,106,25,3563,152,27,83,7,287,90,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25f51eb89e89e998efcbce918c58e349.jpg","35x36cm",[],{"id":16151,"slug":16152,"title":16153,"dynasty":60,"author":10127,"museum":135,"description":16154,"tags":16155,"thumbUrl":16156,"material":52,"size":52,"collection":52,"collections":16157,"showCount":15997,"zanCount":39,"manualWeight":39,"mainColor":159},231944,"qi-que-tu-bian-jing-zhao-231944","栖雀图","边景昭，字文进，明代宫廷花鸟画家。福建延平府沙县（今福建沙县）人，祖籍陇西（今属甘肃）人，生卒年不详。永乐年间（1403-1442）任武英殿待诏，至宣德时（1426-1435）仍供奉内廷。后为翰林待诏，常陪宣宗朱瞻基作画。他为人旷达洒落，且博学能诗。他继承南宋“院体”工笔重彩的传统，其作品工整清丽，笔法细谨，赋色浓艳，高雅富贵。有“花之妖笑，鸟之飞鸣，叶之蕴藉，不但勾勒有笔，其用笔墨无不合宜”之说。边景昭的墨线气力十足，变化丰富，精谨细微，柔韧相宜。\n边景昭的花鸟画以工笔重彩法见长，传统渊源无疑来自宋代“院体”，如清方薰《山静居画论》评：“边鸾（应作边景昭）、吕纪、林良、戴进，纯以宋院题为法，精工毫素、魄力甚伟，黄（笙）、赵（昌）、崔（白）、徐（熙）之作，犹可想见。”明李开先《中麓画品》更具体的指出：“边景昭其源出于李安忠。”清顾复《平生壮观》记边氏《聚禽图》时也指出：“得黄要叔父子遗意。”黄要叔父子即北宋初黄筌及其子黄居采，所创工笔重彩花鸟画风，成为宋初“院体”标准体制；",[23,480,24,25,106,83,27,7,65,452,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66cd108c88026e1927f3fdb31455cb6c.jpg",[],{"id":16159,"slug":16160,"title":16161,"dynasty":195,"author":196,"museum":79,"description":16162,"tags":16163,"thumbUrl":16164,"material":109,"size":16165,"collection":202,"collections":16166,"showCount":15997,"zanCount":39,"manualWeight":39,"mainColor":159},231054,"cui-zhu-ling-mao-tu-yi-ming-231054","翠竹翎毛图","《宋人翠竹翎毛图轴》是宋代画作，作者佚名，采用南唐后主李煜金错刀的手法，是一幅花鸟图轴，表达了宋代绘画所谓“写生”的精义。此画幅对生态有着深刻的观察和了解，是一幅形神皆兼的写实作品；在构图上以近景为主，各景物均匀地分布在画面中，具有前后的空间感。这幅画的笔墨质朴，除了部分细枝外，都以先钩轮廓线再填染颜色的“双钩填彩法”画成，行笔有很多起伏提顿的地方，其中以坡石和竹叶的轮廓线最为明显。而竹叶部份，采用特别的颤动式的线条，整体用笔方面，起伏变化较明显，偏向于南宋的风格。",[23,106,24,25,83,27,7,1736,185,167,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F551ae374ee32752aeb4c0996f85ae3d1.jpg","185×109.9厘米",[202],{"id":16168,"slug":16169,"title":16170,"dynasty":18,"author":16171,"museum":135,"description":16172,"tags":16173,"thumbUrl":16174,"material":52,"size":52,"collection":52,"collections":16175,"showCount":15997,"zanCount":39,"manualWeight":39,"mainColor":40},230889,"xiong-ji-ju-shi-tu-li-shi-zhuo-230889","雄鸡菊石图","李世倬","这幅水墨写意之作，以雄鸡为主体，踞石而立。铁爪紧扣岩块，冠髯抖擞，尾羽如墨色长剑斜斜舒展，笔意纵逸苍劲，以浓淡墨色晕染出羽毛蓬松肌理，寥寥数笔便将雄鸡骄悍英武之态尽显，形神兼备。\n\n旁侧秋菊斜枝而出，墨花点染间浓淡错落，枯涩枝桠衬出晚秋清逸萧疏的意韵，与雄鸡的刚健相得益彰。右上角行书题诗，笔墨与画意相映，添就悠长文人意趣。\n\n整作笔力苍浑兼具秀润，以极简水墨写尽物象风神，将禽鸟野逸与花草清隽相融，借物抒怀，把秋日生机与雄鸡傲骨铺陈纸上，尽显写意花鸟以形写神的妙处。",[23,106,24,25,152,64,7,2239,517,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab4355cfcff03a1ce87b1b057424bf8d.jpg",[],{"id":16177,"slug":16178,"title":4408,"dynasty":18,"author":1008,"museum":135,"description":16179,"tags":16180,"thumbUrl":16181,"material":52,"size":52,"collection":52,"collections":16182,"showCount":15997,"zanCount":39,"manualWeight":39,"mainColor":40},230293,"hua-niao-ce-shi-kai-li-shan-230293","此作用笔放逸老辣，以泼墨晕染荷叶，浓淡干湿一气呵成，淋漓间尽显叶片舒展厚重的质感。荷花花苞则以焦墨勾边，淡墨晕染花瓣，妍雅秀润，与荷叶的苍劲朴拙形成鲜明反差，寥寥数笔便勾勒出夏荷出尘之姿。\n\n画面搭配题诗与朱印，书画印浑然一体。书法朴拙跌宕，与水墨荷花相映成趣，将文人意趣与花鸟神韵相融，以简驭繁，尽显写意酣畅情致，把荷花清逸风骨与自身疏朗襟怀尽数诉诸笔端，是笔墨性情与物象神韵完美契合的写意佳作。",[24,25,106,26,64,7,49,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e2b5537a93897bce1aaae99efc57378.jpg",[],{"id":16184,"slug":16185,"title":16186,"dynasty":195,"author":196,"museum":135,"description":16187,"tags":16188,"thumbUrl":16189,"material":52,"size":52,"collection":52,"collections":16190,"showCount":15997,"zanCount":800,"manualWeight":39,"mainColor":40},227883,"ju-zhi-qi-que-tu-yi-ming-227883","橘枝栖雀图","此作以精妙工笔绘就一隅小景，折枝垂挂硕实，苍嫩叶片交错枯润，尽显四时意态。枝头雀鸟侧身回望，翎毛细笔丝染，绒羽蓬松柔润，尖喙双目传神，机警灵动的情态跃然绢上。\n\n设色清淡秀雅，以赭石淡晕底色，敷色薄而清透，橘子的莹润饱满、枝叶的错落枯荣被细腻呈现。画面简而不空，静中藏动，尽显对日常小景的诗意捕捉，将山野间的幽微生机凝于尺幅之中，暗含平和雅致的东方意趣。",[23,106,24,25,83,27,7,2323,2100,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dc28cde67f818c1de2943a9abaf3b21.jpg",[],{"id":16192,"slug":16193,"title":16194,"dynasty":195,"author":8679,"museum":135,"description":16195,"tags":16196,"thumbUrl":16197,"material":52,"size":52,"collection":52,"collections":16198,"showCount":15997,"zanCount":39,"manualWeight":39,"mainColor":159},227778,"yuan-yang-tu-wan-shan-zhang-mao-227778","鸳鸯图纨扇","《双鸳鸯图》页，宋，张茂绘，纨扇页，绢本，设色，纵24.4厘米，横18.3厘米。\n\n本幅款识：“张茂”。\n\n此图选取水景局部：一丛芦苇蓼草探入画面，枝叶稀疏，叶留残雪。一对鸳鸯破水而行，游向苇丛。一只鹡鸰轻栖于苇杆，与俯冲而下的另一只遥相呼应。画面中、上部大片空白，使人联想到广阔水域的浩渺烟波，在构图上颇得小景见大之妙。\n\n画面构图简洁疏朗，浸透出丝丝寒意。气氛祥和宁静，寓意寒不异心。画家仅在鸳鸯游曳处画出几笔水波纹，既表现出鸳鸯的动感，又反映出水面的荡漾。在以鸳鸯为主题创造出安谧幸福的情境之余，又添绘相呼相随的小鸟二\n只，它们的顾盼关系使得上半部画面更加充实生动。\n\n芦苇用墨双勾，笔触挺拔劲健。禽鸟体形虽小，但一笔不苟，清晰工致，功力非凡。\n\n存《纨扇画》册中。《石渠宝笈初编》著录。",[23,106,24,25,661,83,27,7,1110,1855,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ab6dc118a52cfd44c31806284697cf7.jpg",[],{"id":16200,"slug":16201,"title":16202,"dynasty":18,"author":16203,"museum":135,"description":16204,"tags":16205,"thumbUrl":16206,"material":52,"size":52,"collection":52,"collections":16207,"showCount":15997,"zanCount":39,"manualWeight":39,"mainColor":40},224200,"fu-rong-lu-yan-tu-zhou-qiu-jian-224200","芙蓉芦雁图轴","丘鉴","此作兼工带写，空中芦雁振翼俯冲，滩涂三雁昂首和鸣，翎毛纤毫毕现，将雁群互动的鲜活瞬间定格。芙蓉临水盛放，粉瓣柔润饱满，苇草舒展随风曳动，野菊点缀坡岸晕染秋意。\n\n设色雅致柔和，花叶层次晕染自然，禽鸟姿态灵动逼真，恍若能闻雁唳破空。坡岸皴笔简淡，衬出水畔秋日清寂野趣，取景浑然天成，将汀渚生机与秋日闲逸融为一体，写实之中尽显雅致灵韵。",[23,24,25,152,83,27,7,139,291,14524,1855,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F741d4deda5f2329d3547762bc74961e0.jpg",[],{"id":16209,"slug":16210,"title":16211,"dynasty":60,"author":196,"museum":135,"description":16212,"tags":16213,"thumbUrl":16214,"material":52,"size":52,"collection":52,"collections":16215,"showCount":15997,"zanCount":39,"manualWeight":39,"mainColor":159},223608,"zhu-xia-shuang-que-tu-ce-yi-ming-223608","竹下双雀图册","此作用笔工写兼具，淡墨勾勒枯竹枝梢，皴绘坡石，萧疏寒竹自带荒冬清寂之气。两只雀鸟造型写实入微，细笔晕染出绒羽蓬松层次，一只昂首引颈似在啼鸣，灵动有神，一只垂首敛目似在啄望，姿态闲适。双雀动静相映，鲜活尽显。\n\n画面留白素净，将冬日林间的幽寂氛围烘托得恰到好处，简淡笔触却形神兼备，把小雀的灵动意态与寒竹的清疏之景相融，尽显雅致空灵的花鸟意趣，寥寥数笔便将一隅小景勾勒得鲜活动人，藏着清冷又生动的冬日闲趣。",[23,480,24,25,106,26,83,27,7,185,2100,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5d0839b8720fe733bc22d19217037bd.jpg",[],{"id":16217,"slug":16218,"title":16219,"dynasty":195,"author":196,"museum":79,"description":16220,"tags":16221,"thumbUrl":16222,"material":822,"size":16223,"collection":52,"collections":16224,"showCount":15997,"zanCount":1398,"manualWeight":39,"mainColor":159},223517,"sang-guo-shan-niao-tu-yi-ming-223517","桑果山鸟图","此图有宫廷画院的工丽之风，却多了几分粗犷率真。画面取一斜伸桑枝，在一细劲的枝条上站立一只山鸟，憨态可掬，嘴里还叼着桑葚，表情很有几分稚趣",[23,106,24,25,83,27,7468,9189,65,7,452,425,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1693f8902501da32c2e9093c661caa4.jpg","纵25.2厘米 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珐瑯彩山茶梅花碗","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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日本画家。名等杨，又称雪舟等杨。生于备中赤浜（今冈山县总社市）。曾入相国寺为僧，可能随同寺的山水画家周文学过画。作品广泛吸收中国宋元及唐代绘画风范。后被维也纳世界和平大会通过决定公认他为世界文化名人。",[23,24,27,83,3460,107,167,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff786dfaab4c789f09b02ecc5404306e5.jpg",[],{"id":17245,"slug":17246,"title":13480,"dynasty":195,"author":942,"museum":135,"description":17247,"tags":17248,"thumbUrl":17249,"material":52,"size":52,"collection":52,"collections":17250,"showCount":16995,"zanCount":39,"manualWeight":39,"mainColor":159},227830,"yuan-yang-tu-ye-ma-yuan-227830","此作用边角取景，以对角构图拉开悠远意境。劲挺的墨笔写竹枝，竹叶攒聚有致，清健爽利尽显竹之风骨。溪岸山石以大斧劈皴挥扫，棱角方硬苍劲，带着冷峭的质感。\n婉转的细线勾出溪间波涡，将水流的迂回急缓藏于笔底，澄澈空明的水色晕染出幽寂氛围。石上鸳鸯恬然依偎，柔婉的情态和冷硬的景致刚柔相济，以小见大，在尺幅之间铺展出水乡清寂的诗意，将精工写实与空灵禅意相融，尽显幽隽雅致的山水情致。",[23,24,25,26,27,83,185,1393,1110,186,7,1390],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97ebd908d08df5f45d3c4cabb273658b.jpg",[],{"id":17252,"slug":17253,"title":8959,"dynasty":195,"author":10685,"museum":135,"description":17254,"tags":17255,"thumbUrl":17256,"material":52,"size":52,"collection":52,"collections":17257,"showCount":16995,"zanCount":39,"manualWeight":39,"mainColor":159},227809,"liu-yan-tu-mao-yi-227809","这幅小品以虚实相生铺陈春景。右畔老柳虬曲苍劲，墨色浓深尽显枝干肌理，柔细柳绦随风漫卷，笔触轻丽流逸，如见春风穿拂。枝头宿鸟两两相依，勾勒简练却灵动传神，各有情态。左侧留白空灵幽远，一只春燕振翅斜穿，破虚而来，让静景生出灵动生气。\n\n全作以水墨晕染，淡赭绢底晕化出暮春烟霭，仅以墨色轻重分出物象层次，无繁复设色。将宋人对春日的细微体察藏于简淡笔墨间，留白处似有春意在流动，仿佛能耳闻燕语呢喃、柳丝簌簌，把郊野寻常春景，晕染出悠远清和的诗意，尽显宋代小品画的雅致意趣。",[24,25,661,27,7,3006,3584,167,186,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd706605ac2a870d038a49e2b48362bc8.jpg",[],{"id":17259,"slug":17260,"title":226,"dynasty":18,"author":2616,"museum":135,"description":17261,"tags":17262,"thumbUrl":17263,"material":52,"size":52,"collection":52,"collections":17264,"showCount":16995,"zanCount":800,"manualWeight":39,"mainColor":40},226644,"hua-pu-ru-226644","出身皇室的溥儒（溥心畲），除了自身的天赋才华，从小接受严格的正统教育，加上皇室有大量的书画收藏得以临摹，绘画创作得力诗词文的涵养，使他成为诗、书、画三绝的代表性画家，30年代中期与张大千（1899-1983）齐名，享有「南张北溥」的美誉，移居台湾后，与张大千、黄君璧三人同属台湾画坛中的最杰出的国画大师，被大众称为「渡海三家」，溥儒的山水画宗法宋元，风格淡雅，艺术家重视线条的?画，总呈现出和谐宁静的气氛。 〈山水〉是溥儒1945年的作品，风景自古是文人喜爱的绘画题材，艺术家从小浸淫汉学儒家思想，笔墨功力扎实，善于形塑令人向往的文人境界，〈山水〉流露出雅致的古典气息，画作属纸本立轴。题识： 「尺素生秋水，苍然浦漵分，尚含千峰雨，疑落万峰云。江上鸣瑶瑟，岩前忆隐君。青猿声断续，应是隔溪闻。」 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。灯下睇观，觉小雷、大雷、紫溪、白岳一段，忽移于尺幅间矣。”又云：“是古人笔，不是时派。时派即钟谭诗也。”小印模糊，误视会公为洽公，圻后即以洽公行，咸知己也。 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，横：24.2cm",[],{"id":18535,"slug":18536,"title":2063,"dynasty":18,"author":6195,"museum":251,"description":6196,"tags":18537,"thumbUrl":18538,"material":822,"size":52,"collection":52,"collections":18539,"showCount":348,"zanCount":1398,"manualWeight":39,"mainColor":40},232946,"hua-hui-tu-ce-fan-ting-zhen-232946",[24,83,27,7,26,29,227,228,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9b7096fc476d30387be59b262e27467.jpg",[],{"id":18541,"slug":18542,"title":2227,"dynasty":195,"author":16028,"museum":5769,"description":18543,"tags":18544,"thumbUrl":18545,"material":295,"size":52,"collection":52,"collections":18546,"showCount":348,"zanCount":39,"manualWeight":39,"mainColor":159},231492,"ying-li-you-231492","善画頭，筿长于鹰鹘，精神态度，曲尽其妙。世所作多搏搦狐兔凫鹭之属，流血淋漓，颇乖好生之意。猷尽反之。学画二鹰坐于枯株之上，貌甚闲暇，略无鸷猛惨烈之状，而不失英姿劲气，可尚也。《画继》",[24,106,25,83,27,7,167,386,1841],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc548a4d2d416a195470fd81f3d0e166.jpg",[],{"id":18548,"slug":18549,"title":13029,"dynasty":119,"author":196,"museum":135,"description":18550,"tags":18551,"thumbUrl":18552,"material":275,"size":276,"collection":52,"collections":18553,"showCount":348,"zanCount":39,"manualWeight":39,"mainColor":4082},230892,"fang-cui-bai-dan-feng-niao-que-tu-yi-ming-230892","这件作品画的是秋天枫叶之中的三只山雀，从画风看，确实沿袭了宋代花鸟画的画法且工细有过之而无不及。如果此画确系元代以后的作品，而崔白是否画过《丹枫鸟鹊图》则不得而知，那么就无法知道此作是临摹崔白的《丹枫鸟鹊图》还是仿崔白的画法而作。将此画定为宋代画家崔白的作品，是清末民初的张荫椿，图为此画题签：“宋崔白《丹枫鸟鹊图》”。张荫椿（1869-1922），字砚孙，杭州人。清光绪癸卯进士，韱分度支部福建司主事。近代著名民主革命家、古文经学家、思想家章太炎的妹夫，画家张大壮之父，精鉴别、富收藏，工书法，与罗振玉、王国维友善。张荫椿父名张景云，字倬五，号寅伯，光绪壬午（1882）科举人。《清代硃卷集成·张景云乡试硃卷》履历部分记：“浙江杭州府钱塘县廪贡生，民籍。……住丰乐桥皮市巷口。”《清代硃卷集成·张荫椿会试硃卷》履历部分记：“浙江杭州府钱塘县学附生，民籍。……住省垣丰乐桥上皮市巷口。”",[24,25,83,27,7,13098,167,4503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66445e775736d669ef403893f6caa10a.jpg",[],{"id":18555,"slug":18556,"title":18557,"dynasty":60,"author":1681,"museum":135,"description":18558,"tags":18559,"thumbUrl":18561,"material":52,"size":52,"collection":52,"collections":18562,"showCount":348,"zanCount":39,"manualWeight":39,"mainColor":159},228370,"yan-bo-lu-si-tu-lv-ji-228370","烟波鹭鸶图","暮月浮空，烟柳垂曳，江色晕成一片朦胧柔澹。两只鹭鸶踞于汀石之上，一只昂首引颈远眺烟水深处，一只敛羽静憩，姿态悠然生动。\n\n画作兼工带写，禽鸟羽翼晕染细腻，绒羽蓬松质感宛然可见，水岸渚石以水墨破晕，苍润写意。柳条轻拂间，漾开江晚景致的空寂萧疏，写实工致与水墨意趣相融，将江渚暮色的清寂野韵尽数铺展，晕开澹泊悠远的诗意，尽显幽谧雅致的晚江闲趣。",[23,24,27,83,7,13522,18560,186,5549,1855,152],"烟波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8e99361f9eb6549e3533363dcac0288.jpg",[],{"id":18564,"slug":18565,"title":18566,"dynasty":195,"author":196,"museum":135,"description":18567,"tags":18568,"thumbUrl":18569,"material":52,"size":52,"collection":52,"collections":18570,"showCount":348,"zanCount":39,"manualWeight":39,"mainColor":159},227906,"qiu-shu-qu-yu-tu-yi-ming-227906","秋树鸜鹆图","此作以团扇形制铺陈秋意，浓墨绘就禽鸟，羽翼晕染层次分明，玄色翎毛光泽宛然，顶间细羽轻耸，目光锐而不厉，爪紧扣枯枝，静立间暗含灵动生机。旁侧秋树枯淡萧疏，枝叶以浅赭晕染，枯涩苍劲的枝干与浓黑禽鸟形成鲜明的色形对比。\n\n整幅笔意工细写实，将秋日林间的清寂氛围烘托尽致，于尺幅之间藏着雅致悠远的意境，尽显对自然生趣的细致体察，把禽鸟的慵懒幽闲与秋意的萧索柔和相融，是小品中的精妙之制。",[23,24,25,661,27,83,7,1951,167,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34fcea6e0955e2524931f7f5c1713d17.jpg",[],{"id":18572,"slug":18573,"title":18574,"dynasty":18,"author":237,"museum":135,"description":18575,"tags":18576,"thumbUrl":18577,"material":52,"size":52,"collection":52,"collections":18578,"showCount":348,"zanCount":39,"manualWeight":39,"mainColor":159},224179,"shu-shu-gui-qin-tu-hua-yan-224179","疏树归禽图","此作以灵动笔墨绘就暮秋小景，枯干疏枝间，两只禽鸟相偎理羽，亲昵悠然，下方赤羽朱雀振翅穿掠，生机暗涌。竹叶清劲舒展，丹红叶蕊点染秋色，水墨晕染的苔石衬出清冷秋韵。\n\n笔意兼工带写，禽鸟羽色晕染细腻柔润，枝叶则以写意之笔率性挥洒，设色妍雅柔和，冷暖色调相映成趣。留白疏朗悠然，将暮色归禽的安闲意趣缓缓铺展，兼具文人画的秀逸格调与写生鲜活之态，晕染出深秋暮色里的淡然诗意。",[23,24,25,27,7,168,65,185,955,90,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6562933f06d277d64e828ddb05214ca5.jpg",[],{"id":18580,"slug":18581,"title":18582,"dynasty":195,"author":196,"museum":79,"description":18583,"tags":18584,"thumbUrl":18586,"material":18587,"size":18588,"collection":52,"collections":18589,"showCount":348,"zanCount":39,"manualWeight":39,"mainColor":159},223439,"song-ke-si-wen-zhi-zhou-yi-ming-223439","宋缂丝文雉轴","整作雅致清隽，以缂丝之技复刻院体花鸟意趣。文雉傲然独立于奇石之上，翎羽以细缂勾勒，素洁莹润，顶间绒羽灵动，目光悠然似望林泉。幽竹斜探出石畔，兰叶舒展柔婉，灵芝倚石而生，晕染出林下清寂绝尘的闲趣。\n\n石身以深浅蓝褐织就层叠肌理，禽鸟草木设色柔雅沉静，将丝织的温婉与工笔的精细相融。静穆之中暗生机趣，尽显宋人雅致含蓄的审美意趣，把林泉幽致的东方意境凝于尺幅绢面之上。",[23,106,24,25,152,27,7,709,18585,1822,186,2066,769],"雉鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F712ba41c929197839da6fa18ad2039c4.jpg","緙絲","71.8厘米",[],{"id":18591,"slug":18592,"title":424,"dynasty":18,"author":4817,"museum":79,"description":18593,"tags":18594,"thumbUrl":18595,"material":5953,"size":18596,"collection":52,"collections":18597,"showCount":348,"zanCount":39,"manualWeight":39,"mainColor":159},222628,"qiu-kui-huang-shen-222628","黄慎（1687年6月14日—1772年），福建宁化人，初名盛，字恭寿，恭懋，躬懋、菊壮，号瘿瓢子，别号东海布衣。家贫，遂学画，擅长人物、山水、花鸟。他的人物画题材十分广泛和丰富，它不仅画神仙佛道和历史名人，也擅长从民间生活中取材，塑造了纤夫 、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。 他的草书不昧古法，又难辨古人踪迹，不强调章法的疏密聚散，而以方折顿挫的笔法，忽断忽连，顾盼呼应，凸显铿锵有声的点画节奏感，呈现一幅落英缤纷珠丸跳荡逸趣迭生的画面感。其代表作《草亭飞万竹诗草书轴》章法奇异如松柏之剪影，点画浓淡如花叶之缠枝，真非书非画，亦书亦画，堪称奇观。",[23,24,27,7,26,29,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2d3d35648681b608bad9800279f0f3d.jpg","29.5x36.6",[],{"id":18599,"slug":18600,"title":18601,"dynasty":60,"author":7523,"museum":79,"description":7524,"tags":18602,"thumbUrl":18603,"material":295,"size":7527,"collection":52,"collections":18604,"showCount":348,"zanCount":39,"manualWeight":39,"mainColor":40},222440,"hua-die-cao-chong-8-du-da-cheng-222440","花蝶草虫8",[23,24,64,83,627,7,213,214,242,226,455],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3482b99c9a114f587fe2de4568df48a7.jpg",[],{"id":18606,"slug":18607,"title":18608,"dynasty":60,"author":7523,"museum":79,"description":7524,"tags":18609,"thumbUrl":18610,"material":295,"size":7527,"collection":52,"collections":18611,"showCount":348,"zanCount":39,"manualWeight":39,"mainColor":40},222436,"hua-die-cao-chong-3-du-da-cheng-222436","花蝶草虫3",[23,24,25,64,83,627,7,213,214,226,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1a347739aaed6c58c2cf28ca8269f81.jpg",[],{"id":18613,"slug":18614,"title":18615,"dynasty":60,"author":477,"museum":1387,"description":5054,"tags":18616,"thumbUrl":18617,"material":26,"size":52,"collection":52,"collections":18618,"showCount":348,"zanCount":39,"manualWeight":39,"mainColor":40},221900,"hua-niao-jing-pin-ce-11-chen-hong-shou-221900","花鸟精品册11",[24,25,26,27,83,7,436,186,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dc4bafdc0537e2d279551e5f8a01346.jpg",[],{"id":18620,"slug":18621,"title":18622,"dynasty":60,"author":477,"museum":45,"description":478,"tags":18623,"thumbUrl":18624,"material":109,"size":482,"collection":52,"collections":18625,"showCount":348,"zanCount":39,"manualWeight":39,"mainColor":40},220226,"hua-niao-cao-chong-xie-sheng-ce-dan-jie-wu-chen-chen-hong-shou-220226","花鸟草虫写生册-丹洁无尘",[23,106,24,25,26,83,27,7,214,291,228,631,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3014485fbd602bc596fe511ee39155e.jpg",[],{"id":18627,"slug":18628,"title":18629,"dynasty":119,"author":3663,"museum":79,"description":18630,"tags":18631,"thumbUrl":18632,"material":109,"size":4596,"collection":52,"collections":18633,"showCount":348,"zanCount":39,"manualWeight":39,"mainColor":159},219117,"hua-hui-ce-hua-die-qing-ting-wang-yuan-219117","花卉册-花蝶蜻蜓","浅赭底色如晕开的旧墨笺，铺展一方清宁小景。蜻蜓振翅悬停，薄翼以细劲线条勾勒，似笼着晨雾的纱，复眼点染灵动；两只粉蝶栖于花侧，翅脉轻描，姿态悠然。下方花卉枝叶交错，花瓣淡彩晕染，紫蕊黄瓣相映成趣，叶片墨色浓淡有致，藏着自然生趣。整幅画工写相济，不刻意炫技，却于细微处见匠心，将草木虫豸的闲雅之态凝于尺幅。似能闻花间轻响，触风里软意，是元人笔下独有的清逸温婉，把寻常小景酿成了耐品的诗意。",[23,106,24,25,26,27,83,7,29,214,292],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3377cf4cbdf594fdf0f04f0c249d8ce.jpg",[],{"id":18635,"slug":18636,"title":18637,"dynasty":119,"author":3663,"museum":79,"description":18638,"tags":18639,"thumbUrl":18640,"material":109,"size":4596,"collection":52,"collections":18641,"showCount":348,"zanCount":39,"manualWeight":39,"mainColor":40},216754,"hua-hui-ce-shui-xian-wang-yuan-216754","花卉册-水仙","水仙攒簇，瓣白蕊黄，纤叶劲挺如剑，兼具水墨苍劲与工笔细腻。一只粉蝶翩跹于侧，翅翼轻颤似欲落，为静穆画面添几分生动意趣。背景淡赭铺陈，衬以深青墨块，虚实相生间更显花姿孤洁。笔墨兼工带写，花叶勾勒精准却不失灵动，古雅设色与简淡构图暗合文人清逸之思。整幅画于细微处见匠心，清雅空灵如沐春风，尽显花木自然神韵与画者笔墨情致，寥寥数笔便将水仙的孤高与生机凝于尺幅之间。",[23,24,25,26,27,7,518,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa61e07edb91f812267058fdf2d606136.jpg",[],{"id":18643,"slug":18644,"title":18645,"dynasty":60,"author":4087,"museum":45,"description":18646,"tags":18647,"thumbUrl":18649,"material":33,"size":52,"collection":52,"collections":18650,"showCount":348,"zanCount":39,"manualWeight":39,"mainColor":40},216267,"han-xi-meng-xiu-song-yuan-ming-ji-ce-chun-niao-tu-han-xi-meng-216267","韩希孟绣宋元名迹册·鹑鸟图","韩希孟（1740年 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1813年）是一位中国画家，他的艺术风格主要受汉画的影响，他的作品风格独特，充满了生活气息。他的作品《韩希孟绣宋元名迹册·鹑鸟图》是他的经典作品之一，这幅画描绘了一只鹑鸟在花丛中的样子。在这幅画中，鹑鸟的羽毛明亮而有光泽，给人一种活力和自然的感觉。同时，这幅画还很注重细节，每个花朵和草叶都很精确地画出来，使得整幅画看起来更加生动。",[4090,27,2730,3326,7,18648,31,3442],"鹑鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff07034368db54b811db721de4064c826.jpg",[],{"id":18652,"slug":18653,"title":18654,"dynasty":18,"author":3419,"museum":2451,"description":18655,"tags":18656,"thumbUrl":18657,"material":33,"size":52,"collection":52,"collections":18658,"showCount":348,"zanCount":39,"manualWeight":39,"mainColor":40},214817,"shan-shui-hua-hui-tu-ce-3-gao-feng-han-214817","山水花卉图册-3","高凤翰（1762-1843）是一位著名的清代画家，他的主要作品是山水花卉图册。高凤翰生于江苏省的吴县，他曾在杭州学习画画，后来进入了江南画派。他的画风独特，被称为“高氏画法”，以其精细、细腻的线条和浓郁的色彩闻名。\n\n高凤翰的山水花卉图册是他的代表作之一，包括了许多精美的山水画作品。这些作品描绘了自然风光，包括山峦、河流、湖泊、树木、花草等。高凤翰的山水画作品经常带有浓厚的写意气息，表现出自然之美。他的画作还常常加入人物、建筑、动物等元素，使得作品更加丰富多彩。\n\n高凤翰的山水花卉图册在当时颇受欢迎，并且被视为江南画派的杰出代表作。他的作品被认为是清代山水画发展的重要贡献，对后世的山水画家也产生了很大的影响。",[24,64,27,26,49,50,7,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1390e062dcc9a31e1c77611f2c4c8842.jpg",[],{"id":18660,"slug":18661,"title":18662,"dynasty":18,"author":1787,"museum":20,"description":18663,"tags":18664,"thumbUrl":18665,"material":52,"size":52,"collection":52,"collections":18666,"showCount":348,"zanCount":39,"manualWeight":39,"mainColor":18667},203468,"hua-hui-ce-shi-kai-yun-bing-203468","花卉册十开","此帧花卉以没骨法绘就，朱红牡丹嫣然绽放，花瓣层叠间色阶过渡细腻，如凝晨露之润。翠叶以墨绿晕染，叶脉婉转隐现，枝干用笔简洁却见风骨，秀逸中含遒劲。设色明丽而不失清雅，承恽派写生之韵，将牡丹的雍容华贵与枝叶的清劲挺秀相衬，鲜活展现春日花事的生机盎然。画面留白疏朗，于方寸册页间藏自然意趣，尽显作者对花鸟情态的精准捕捉与文人审美之融合，读来如沐春风，悦目怡心。",[24,25,26,27,28,7,107,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96659e821af8e162b03e31f0b2dd5524.jpg",[],"c3a885",{"id":18669,"slug":18670,"title":18671,"dynasty":13182,"author":2235,"museum":20,"description":18672,"tags":18673,"thumbUrl":18674,"material":52,"size":52,"collection":35,"collections":18675,"showCount":348,"zanCount":39,"manualWeight":39,"mainColor":18676},203077,"mao-shi-pi-pa-tu-zhou-xu-bei-hong-203077","猫石枇杷图轴","憨态可掬的猫蜷卧于嶙峋石上，黑白毛色以墨色浓淡晕染，层次分明，双目灵动有神；旁侧枇杷枝桠舒展，墨叶苍劲，橙黄果实鲜亮饱满，设色明快。石头以大写意笔触挥写，线条粗犷洒脱，与猫的细腻刻画形成对比，兼具中西画之所长——猫的造型写实生动，石与枇杷则尽显写意神韵。笔墨简练却形神兼备，画面生机盎然，意趣横生，尽显对生活细节的捕捉与艺术表现力。",[24,25,152,385,556,169,64,27,399,7174,386,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d6695b3eee8f7d17e4dfd3db012c9c4.jpg",[35],"c5b5a1",{"id":18678,"slug":18679,"title":18680,"dynasty":13182,"author":2235,"museum":20,"description":18681,"tags":18682,"thumbUrl":18683,"material":52,"size":52,"collection":35,"collections":18684,"showCount":348,"zanCount":39,"manualWeight":39,"mainColor":18685},202826,"ti-hu-tu-zhou-xu-bei-hong-202826","鹈鹕图轴","四只鹈鹕错落而立，墨色浓淡交织勾勒出健硕身躯。大块焦墨晕染羽翼，质感厚重蓬松；颈部与喙部以简练线条勾勒，形神兼备。有的昂首天际似欲振翅，有的垂首理羽姿态闲适，动静之间尽显生机。背景芦苇以淡墨写意挥洒，笔触疏朗，与主体浓墨形成虚实对比，空濛悠远。整幅以水墨为基调，融传统笔墨韵味与现代生动写实，既见画家对生命的细致观察，又显艺术匠心，将鹈鹕憨态野趣表现得淋漓尽致。",[24,64,7,152,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1198fd2ccce91e80b02b45e3a25551d4.jpg",[35],"d4c39d",{"id":18687,"slug":18688,"title":18689,"dynasty":18,"author":18690,"museum":20,"description":18691,"tags":18692,"thumbUrl":18693,"material":52,"size":52,"collection":35,"collections":18694,"showCount":348,"zanCount":39,"manualWeight":39,"mainColor":18695},201831,"pu-tao-tu-zhou-xu-fang-201831","葡萄图轴","许昉","藤蔓虬曲缠绕，如逸态横生；墨叶或浓泼或淡染，层叠有致，苍润鲜活。串串葡萄饱满沉实，墨色莹润似含露，尽显丰硕之态。下方孤石皴擦古拙，纹理分明，与柔蔓鲜果刚柔相衬。全卷以水墨写就，笔意洒脱灵动，墨韵丰富多变，清雅中透着生机，尽显传统花鸟之雅韵，笔墨精妙，意趣盎然。",[24,64,7,2912,186,152,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e3eee7c39fa6d04e4a8d96770a1f347.jpg",[35],"a6998b",{"id":18697,"slug":18698,"title":18699,"dynasty":18,"author":18700,"museum":20,"description":18701,"tags":18702,"thumbUrl":18703,"material":52,"size":52,"collection":35,"collections":18704,"showCount":348,"zanCount":39,"manualWeight":39,"mainColor":18705},201742,"gu-mu-ying-que-tu-zhou-zhang-mu-201742","古木鹰雀图轴","张穆","苍劲古木枝干虬曲，皴笔皴擦出斑驳纹理，尽显岁月风霜。雄鹰敛翅栖于枝端，羽翮以细笔晕染，斑纹疏密有致，利爪紧扣枝干，锐目凝视下方，气势沉雄肃穆。低飞的小雀羽翼轻捷，与猛禽的威严肃穆形成鲜明反差，动静之间张力暗生。画面以水墨为主，设色淡雅却韵致十足，工写结合的技法将禽鸟神态与古木风姿巧妙融合，既见工笔的细腻写实，又得写意的苍劲洒脱，传统花鸟的笔墨意趣尽显其间。",[24,64,27,7,83,3478,167,1951,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9cfd10f84a9aacac95a052290f8fcff.jpg",[35],"beaf9c",{"id":18707,"slug":18708,"title":18709,"dynasty":18,"author":19,"museum":20,"description":18710,"tags":18711,"thumbUrl":18712,"material":52,"size":52,"collection":35,"collections":18713,"showCount":348,"zanCount":39,"manualWeight":39,"mainColor":18714},201728,"qiu-hua-mao-die-tu-zhou-yun-shou-ping-201728","秋花猫蝶图轴","秋草纤柔间，白猫茸毛蓬松，墨蝶轻舞引其注目，憨态可掬。花叶以淡彩晕染，无需勾勒而形神兼备；顽石以枯笔皴擦，墨色层次分明。整幅画笔墨细腻，设色清雅，将猫的慵懒、蝶的轻盈与花草的生机相融，尽显闲庭秋趣。画面气韵生动，兼具工笔之精致与写意之传神，传递出悠然恬淡的秋日氛围。",[24,7,27,385,493,186,9856,83,3478,291,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d6f6676bdf8b1ee5183a8c105dcf9ef.jpg",[35],"beb097",{"id":18716,"slug":18717,"title":18718,"dynasty":18,"author":18719,"museum":135,"description":18720,"tags":18721,"thumbUrl":18722,"material":275,"size":276,"collection":52,"collections":18723,"showCount":205,"zanCount":39,"manualWeight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24,25,26,27,83,7,123,67,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84c35963c6e683461725a955fceeb37b.jpg",[],{"id":19034,"slug":19035,"title":5759,"dynasty":18,"author":5760,"museum":135,"description":5761,"tags":19036,"thumbUrl":19037,"material":52,"size":52,"collection":52,"collections":19038,"showCount":205,"zanCount":39,"manualWeight":39,"mainColor":40},234367,"lin-jiang-ting-xi-hua-hui-ce-jiang-shu-234367",[24,25,26,27,83,2730,7,29,243,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea0728567f0f0573e343468c07c62a75.jpg",[],{"id":19040,"slug":19041,"title":19042,"dynasty":60,"author":19043,"museum":135,"description":19044,"tags":19045,"thumbUrl":19046,"material":52,"size":52,"collection":52,"collections":19047,"showCount":205,"zanCount":39,"manualWeight":39,"mainColor":40},234214,"zhang-yan-mo-hua-juan-zhang-yan-234214","张彦墨花卷","张彦","张彦（？－？），字伯美，号无诤道人，嘉定（今属上海市）人，一作江苏苏州人，明朝画家。\n万历四十一年（1631年）作《山水图》，著录于《退庵题跋》\n崇祯二年（1629年）作《寒林钟馗图》，著录于《爱日吟庐书画录》\n传世作品有《山径携琴图》轴，现藏南京博物院\n崇祯十年作《松溪放舟图》轴图录于《中国名画宝鉴》\n崇祯十二年（1639）作《设色山水图》卷著录于《中国书画家印鉴款识》；同年作《雪景梅花图》轴，纸本，设色，现藏苏州市博物馆",[23,24,25,82,64,627,7,436,254,185,517,467,107,291,286,518],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff41ab333b99a0d13328d654b652e75f6.jpg",[],{"id":19049,"slug":19050,"title":8422,"dynasty":18,"author":16461,"museum":135,"description":19051,"tags":19052,"thumbUrl":19054,"material":52,"size":52,"collection":52,"collections":19055,"showCount":205,"zanCount":39,"manualWeight":39,"mainColor":40},234117,"hua-guo-juan-yuan-jiang-234117","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。",[24,25,106,82,27,64,83,7,241,19053,49,107,286,291,518,516,436,254,185,517,243,29,66,68],"西瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18aa0380b6630459be1fef1dc09c8650.jpg",[],{"id":19057,"slug":19058,"title":19059,"dynasty":195,"author":196,"museum":251,"description":19060,"tags":19061,"thumbUrl":19062,"material":822,"size":19063,"collection":52,"collections":19064,"showCount":205,"zanCount":39,"manualWeight":39,"mainColor":159},234006,"shui-xian-tu-ye-yi-ming-234006","水仙图页","水仙（Narcissus tazettaL. var. chinensis Roem. ）又名中国水仙，是多花水仙的一个变种。是石蒜科多年生草本植物。水仙的叶由鳞茎顶端绿白色筒状鞘中抽出花茎（俗称箭）再由叶片中抽出。一般每个鳞茎可抽花茎1-2枝，多者可达8-11枝，伞状花序。花瓣多为6片，花瓣末处呈鹅黄色。花蕊外面有一个如碗一般的保护罩。鳞茎卵状至广卵状球形，外被棕褐色皮膜。叶狭长带状，蒴果室背开裂。水仙性喜温暖、湿润，花期在春季。\n作为中国传统观赏花卉的水仙，原种为唐代从意大利引进，是法国多花水仙的变种，在中国已有一千多年栽培历史，经上千年的选育而成为世界水仙花中独树一帜的佳品，为中国十大传统名花之一。因为鳞茎生得颇象洋葱、大蒜、故六朝时称“雅蒜”、宋代称“天葱”。之后，人们还给她取了不少巧妙、美丽的名字，如金盏、银台、俪兰、雅客、女星等等。水仙花早在宋代就已受人注意和喜爱。\n南宋佚名《水仙图》只画了一株水仙，一花五叶。画面的中心水仙花盛开，清新可人，叶片四展而不零乱，飘逸潇洒，并将画面分割成五部分，花蕊正好位于最能够吸引目光的黄金分割位置，凸显全画的核心。花瓣以尖细之笔勾勒轮廓，再染白粉，花蕊以橘黄点染，设色淡雅清逸。《水仙图》可谓是着笔简洁而韵味无穷，是南宋院体花鸟画的精品。\n南宋佚名《水仙图》无款印。裱边旧题签：“赵子固写生水仙”。赵子固即赵孟坚，中国南宋画家。生于庆元五年（1199），卒于景定五年（1264），一说卒于咸淳三年（1267）。字子固，号彝斋；宋宗室，为宋太祖十一世孙，汉族，海盐广陈（今嘉兴平湖广陈）人。曾任湖州掾、转运司幕、诸暨知县、提辖左帑。工诗善文，家富收藏，擅梅、兰、竹、石，尤精白描水仙；其画多用水墨，用笔劲利流畅，淡墨微染，风格秀雅，深得文人推崇。有书法墨迹《自书诗卷》，绘画《墨兰图》、《墨水仙图》、《岁寒三友图》等传世，著《彝斋文编》4卷。",[24,106,25,7,83,27,518],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba119f21392b89dbae54545959e6887a.jpg","24.6x26cm",[],{"id":19066,"slug":19067,"title":3399,"dynasty":18,"author":730,"museum":306,"description":3400,"tags":19068,"thumbUrl":19069,"material":2893,"size":3403,"collection":52,"collections":19070,"showCount":205,"zanCount":39,"manualWeight":39,"mainColor":40},233863,"mei-hua-ce-jin-nong-233863",[106,24,25,26,627,64,7,436],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe90b2f39543d56400d5072e3c24150e.jpg",[],{"id":19072,"slug":19073,"title":11271,"dynasty":60,"author":8390,"museum":251,"description":19074,"tags":19075,"thumbUrl":19076,"material":295,"size":19077,"collection":52,"collections":19078,"showCount":205,"zanCount":39,"manualWeight":39,"mainColor":159},233818,"mo-mei-zhou-liu-shi-ru-233818","刘世儒，生卒不详，主要活动于明代正德、嘉靖(1506—1566)间。字继相，号雪湖，山阴(今浙江绍兴)人。善画梅，宗法王冕，学之不倦，终成名手。柔密疏简，俱臻其妙。尤工雪梅，冰肌玉骨，清劲俊拔，令人绝倒。图中描绘一株梅树，老干劲峭，断缺处以意笔为之犹如龙爪腾空。一带薄雾淡如轻纱，横亘于画幅中部，烟笼玉树，暗香浮动。",[24,25,152,64,7,436],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43760b8de4af0b7812965f732d25d9ee.jpg","纵180.5厘米横100.4厘米",[],{"id":19080,"slug":19081,"title":19082,"dynasty":195,"author":841,"museum":251,"description":19083,"tags":19084,"thumbUrl":19085,"material":1595,"size":19086,"collection":52,"collections":19087,"showCount":205,"zanCount":39,"manualWeight":39,"mainColor":159},233198,"ju-lv-tu-ye-ma-lin-233198","橘绿图页","图中橘子由绿转黄，满压枝头。画家以粗细匀整的用笔流畅地勾画出橘叶的外形轮廓，并以黄绿色填涂叶面，叶片虽然不多，但其充满生命力的色彩为画面增添了几许活力，而侧、转、反、正的种种姿态又为全图带来灵动的节律。橘子的画法一改平涂晕染，直接以笔着色粉戳染成形，从而生动地表现出橘皮粗糙不平的质感。虽然画作历经磨损，许多白色粉点已经剥落，并露出了黄色的绢底，但仍然可见马麟的非凡技艺。\n橘子又称香圆，寓团圆之意。台北故宫博物院藏南宋画院画家林椿创作的一幅《橙黄橘绿图》与本幅在构图及橘、叶的表现技法上均相同，可见此类题材及画法在南宋画院较为普遍。",[106,24,25,83,27,7,2323,228,452],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c205a8ffc34c15b750b08bc5bfa96be.jpg","纵23厘米，横23.5厘米",[],{"id":19089,"slug":19090,"title":19091,"dynasty":18,"author":237,"museum":251,"description":19092,"tags":19093,"thumbUrl":19095,"material":412,"size":19096,"collection":52,"collections":19097,"showCount":205,"zanCount":39,"manualWeight":39,"mainColor":40},233196,"qiu-shu-dou-qin-tu-zhou-hua-yan-233196","秋树斗禽图轴","此图绘古树一株，枝上藤萝缠绕，黄叶飘零，一派深秋之景。一只黑色的鸜鵒（音瞿欲，俗称八哥）倒挂枝头，注视着正在空中相斗的另外两只，它们争斗激烈，情节颇为有趣，增强了画作的生活气息和生动感。\n全幅用笔灵活清新，枯枝、藤萝用率笔写意，翎毛用兼工带写之法，虚实结合，为华氏大写意画之代表作。",[24,25,152,27,64,399,7,4419,1951,167,807,67,4365,2827,7175,19094],"斗禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52808a81b496ddbe9081578a515878f7.jpg","纵117厘米，横54.3厘米",[],{"id":19099,"slug":19100,"title":2063,"dynasty":18,"author":6195,"museum":251,"description":6196,"tags":19101,"thumbUrl":19102,"material":822,"size":52,"collection":52,"collections":19103,"showCount":205,"zanCount":39,"manualWeight":39,"mainColor":40},232943,"hua-hui-tu-ce-fan-ting-zhen-232943",[24,25,106,7,107,27,28,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd6bba090af366abeabd6fe7f40c3a9d.jpg",[],{"id":19105,"slug":19106,"title":19107,"dynasty":4397,"author":19108,"museum":135,"description":19109,"tags":19110,"thumbUrl":19113,"material":275,"size":276,"collection":52,"collections":19114,"showCount":205,"zanCount":39,"manualWeight":39,"mainColor":40},231786,"ming-qing-ri-ben-gu-hua-fen-ben-niao-shou-xi-hua-juan-he-guo-xiao-zhai-231786","明清日本古画粉本-鸟兽戏画卷","河锅晓斋","河鍋曉齋是日本幕末至明治時期的浮世絵師。評論家認為他是「一個獨立的帶有個人主義的，可能是傳統日本畫的最後大師」。",[23,24,25,82,627,64,83,6403,1189,19111,19112,385,65,168,90,455,808,386,85,7],"蛙","狮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1999d93bfc618f73b31dacf8332bcf76.jpg",[],{"id":19116,"slug":19117,"title":19118,"dynasty":4397,"author":19119,"museum":135,"description":19120,"tags":19121,"thumbUrl":19123,"material":275,"size":276,"collection":52,"collections":19124,"showCount":205,"zanCount":39,"manualWeight":39,"mainColor":40},231756,"ruo-fa-shi-tu-ping-di-1-ping-xia-cun-guan-shan-231756","弱法师图屏 第1屏","下村观山","下村观山 1873-1930 (明治六-昭和五)58岁。本名晴三郎。和歌山县和歌山市生人,少时问业藤岛常兴.狩野芳崖,后专师桥本雅邦,东京美术学校毕业。",[23,93,27,83,19122,436,7953,7],"金箔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bbedc44d1bf5a58dd8dda8357ef6692.jpg",[],{"id":19126,"slug":19127,"title":19128,"dynasty":4397,"author":196,"museum":135,"description":19129,"tags":19130,"thumbUrl":19131,"material":275,"size":276,"collection":52,"collections":19132,"showCount":205,"zanCount":39,"manualWeight":39,"mainColor":40},230530,"gu-hua-mo-ben-xia-gui-deng-tu-juan-yi-ming-230530","古画模本（夏圭等图卷）","此卷分两处景致，左端冷月悬于寒空，孤梅瘦枝横斜水岸，江石清寂，恍见幽人凭立，萧寒淡远，尽得隐逸清疏之致。右端以没骨法绘白花柔枝，晕染轻透，花瓣莹润如凝霜雪，浅蓝枝叶衬出雅致隽秀。旁题行书小诗，诗画相融，笔意简淡却藏雅人幽情，将爱花赏梅的闲逸心境织入笔墨，清寂空濛与柔婉清雅相映，尽显古典雅致的文人情致。",[23,24,25,82,27,83,7,1390,85,168,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ea6b17bd705e743fcc1bac8c1e8fa4d.jpg",[],{"id":19134,"slug":19135,"title":19136,"dynasty":4397,"author":196,"museum":135,"description":19137,"tags":19138,"thumbUrl":19139,"material":52,"size":52,"collection":52,"collections":19140,"showCount":205,"zanCount":39,"manualWeight":39,"mainColor":40},230522,"fang-gu-shan-shui-dong-wu-fen-ben-shou-ye-jia-tu-juan-yi-ming-230522","仿古山水动物粉本(狩野家图卷)","此作以工写相融之笔绘就水畔闲景，一对鸳鸯依偎石间，雄鸟羽色妍秀，翎毛晕染精微，绒绒肌理宛然可见，雌鸟素朴温婉，二者亲昵缱绻，尽显静好之态。旁侧芍药轻绽，粉花柔叶勾勒秀雅，设色清润柔和。坡石以淡墨晕染虚化，留白衬出水泽空濛，将院体花鸟的精工细腻，与文人写意的淡逸糅合一处，把缱绻温情藏在幽寂小景里，静雅恬然，晕染出东方花鸟独有的诗意韵致。",[23,24,27,83,1110,107,90,7,808,1856],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc9d5f83429ae56c7ef5eae540e6bcdd.jpg",[],{"id":19142,"slug":19143,"title":19144,"dynasty":18,"author":730,"museum":135,"description":19145,"tags":19146,"thumbUrl":19147,"material":52,"size":52,"collection":52,"collections":19148,"showCount":205,"zanCount":39,"manualWeight":39,"mainColor":40},230233,"ce-ye-ba-kai-jin-nong-230233","册页八开","本幅以极简构图层叠春景意境，垂柳叶丝以淡墨晕染，袅袅拂动，柔媚尽现春日缱绻；下方桃枝枯淡勾勒，浅墨晕开花瓣，初绽芳华娇柔含露。\n\n书画相映成趣，题诗借春景抒怀，将暮春春愁融于淡墨景致。笔意简淡疏朗，脱却繁饰，留白空灵雅致，于浅淡笔墨晕染出江南春深的幽寂怅惘，尽显文人画诗韵墨香的隽永格调，以极简构图传递悠长闲愁，尽得雅致冲淡之美。",[24,25,26,64,7,1333,1274,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc76b0d11efcdac5bfcb9c16040224db3.jpg",[],{"id":19150,"slug":19151,"title":19152,"dynasty":60,"author":477,"museum":135,"description":2881,"tags":19153,"thumbUrl":19154,"material":275,"size":276,"collection":52,"collections":19155,"showCount":205,"zanCount":39,"manualWeight":39,"mainColor":40},228289,"lin-ting-qing-hua-tu-shan-chen-hong-shou-228289","林亭清话图扇",[24,25,661,64,7,186,436,517,518,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5729e6e2e3e83f03d795a0edb6b54a82.jpg",[],{"id":19157,"slug":19158,"title":19159,"dynasty":195,"author":196,"museum":135,"description":19160,"tags":19161,"thumbUrl":19162,"material":52,"size":52,"collection":52,"collections":19163,"showCount":205,"zanCount":1398,"manualWeight":39,"mainColor":40},227938,"an-chun-tu-tuan-shan-ye-yi-ming-227938","鹌鹑图团扇页","此作以精微工笔写就，细笔丝毛将鹌鹑的羽色层次尽现，蓬松绒羽间兼具挺括质感，鹌鹑侧目远眺，身姿沉稳灵动，将野禽机警的天性传神勾勒。背景淡晕草叶，虚淡朦胧，以衬实主，将秋日郊野的清寂野趣悄然铺陈。\n\n古绢色泽沉郁，却难掩笔墨精妙，以小景见天地，尽显对自然物性的细致体察。整幅画面简净含蓄，萧疏静谧的意境呼之欲出，淡墨轻色间，藏着雅致内敛的古典意趣。",[23,106,24,25,661,7,83,27,3676],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafc2445a1615daab5107d7a131a57600.jpg",[],{"id":19165,"slug":19166,"title":16027,"dynasty":195,"author":16028,"museum":135,"description":19167,"tags":19168,"thumbUrl":19169,"material":52,"size":52,"collection":52,"collections":19170,"showCount":205,"zanCount":39,"manualWeight":39,"mainColor":159},227409,"ying-gu-tu-ye-li-you-227409","宋代画家李游，长于雄鹰，有灵性的态度和优秀的音乐。 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山西太原人。明清时期道家思想家、书法家、医学家。\n傅山自称为老庄之徒，他自己也在很多场合与作品中反复强调、自陈：“老夫学老庄者也”、“我本徒蒙庄”、“吾师庄先生”、“吾漆园家学”。自觉继承道家学派的思想文化。他对老庄的“道法自然”、“无为而治”、“泰初有无”、“隐而不隐”等命题，都作了认真的研究与阐发，对道家传统思想作了发展 ,常以老庄之徒自居。\n傅山于学无所不通，经史之外，兼通先秦诸子，又长于书画医学。北京大学教授、引碑入草开创者的李志敏评价：“傅山的草书圈眼多，繁而不乱，于郁勃浑脱之中，又有逸岩之态”。 著有《霜红龛集》等。一些武侠小说里，傅山被描写为武侠高手。他是著名的道家学者，哲学、医学、内丹、儒学、佛学、诗歌、书法、绘画、金石、武术、考据等无所不通。他被认为是明末清初保持民族气节的典范人物。\n傅青主与顾炎武、黄宗羲、王夫之、李颙、颜元一起被梁启超称为“清初六大师”。著有《傅青主女科》《傅青主男科》等传世之作，在当时有“医圣”之名。《清史稿》卷五百一有传。",[24,25,152,64,3478,1951,167,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa98462ef39975b740790320e8961aa39.jpg",[734],{"id":19551,"slug":19552,"title":44,"dynasty":60,"author":61,"museum":135,"description":15233,"tags":19553,"thumbUrl":19554,"material":275,"size":276,"collection":52,"collections":19555,"showCount":279,"zanCount":39,"manualWeight":39,"mainColor":40},237686,"hua-hui-ce-sun-ke-hong-237686",[24,25,26,64,569,7,29,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88818b5938dd1a8187c4b8091e26fe0b.jpg",[],{"id":19557,"slug":19558,"title":59,"dynasty":60,"author":4257,"museum":135,"description":4258,"tags":19559,"thumbUrl":19560,"material":52,"size":52,"collection":52,"collections":19561,"showCount":279,"zanCount":39,"manualWeight":39,"mainColor":40},237668,"hua-niao-ce-ling-bi-zheng-237668",[24,25,26,106,27,7,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb68c60feed082d7eaab4971b15b8c293.jpg",[],{"id":19563,"slug":19564,"title":44,"dynasty":60,"author":566,"museum":1535,"description":6885,"tags":19565,"thumbUrl":19566,"material":722,"size":6888,"collection":52,"collections":19567,"showCount":279,"zanCount":39,"manualWeight":39,"mainColor":40},237443,"hua-hui-ce-xiang-sheng-mo-237443",[24,25,26,569,64,436,68,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d8eed9bc0b52509a6e8cb158cf8aee5.jpg",[],{"id":19569,"slug":19570,"title":6611,"dynasty":18,"author":1165,"museum":251,"description":6612,"tags":19571,"thumbUrl":19572,"material":412,"size":52,"collection":52,"collections":19573,"showCount":279,"zanCount":1398,"manualWeight":39,"mainColor":40},237177,"hua-niao-kun-chong-ce-zhou-quan-237177",[24,25,26,83,27,7,65,320,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e8edec439da2f56467832c622cad6d6.jpg",[],{"id":19575,"slug":19576,"title":59,"dynasty":18,"author":237,"museum":5769,"description":16788,"tags":19577,"thumbUrl":19578,"material":52,"size":6967,"collection":52,"collections":19579,"showCount":279,"zanCount":39,"manualWeight":39,"mainColor":40},236624,"hua-niao-ce-hua-yan-236624",[106,24,25,26,64,27,7,65,436,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4108df10a8f4545691f45a5a4911e4f3.jpg",[],{"id":19581,"slug":19582,"title":59,"dynasty":18,"author":2441,"museum":135,"description":2442,"tags":19583,"thumbUrl":19584,"material":52,"size":251,"collection":52,"collections":19585,"showCount":279,"zanCount":39,"manualWeight":39,"mainColor":40},236607,"hua-niao-ce-ma-yuan-yu-236607",[24,25,26,27,64,7,1416,226,455,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe81c93989c7905807254cc4c513d0a43.jpg",[],{"id":19587,"slug":19588,"title":19589,"dynasty":18,"author":14586,"museum":135,"description":14587,"tags":19590,"thumbUrl":19592,"material":275,"size":276,"collection":52,"collections":19593,"showCount":279,"zanCount":39,"manualWeight":39,"mainColor":40},235750,"shi-di-ba-ren-he-zuo-jiu-qiu-tu-zhou-wang-hui-235750","师弟八人合作九秋图轴",[24,25,152,27,83,7,1981,517,291,286,227,66,68,64,139,29,19591],"合作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e1454da1fc321a9cf26daccf2083cf8.jpg",[],{"id":19595,"slug":19596,"title":59,"dynasty":60,"author":2589,"museum":135,"description":2590,"tags":19597,"thumbUrl":19598,"material":275,"size":276,"collection":52,"collections":19599,"showCount":279,"zanCount":39,"manualWeight":39,"mainColor":40},235730,"hua-niao-ce-tan-zhi-yi-235730",[24,25,64,627,254,186,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc7a9c48fb193a4759de5f3786195065.jpg",[],{"id":19601,"slug":19602,"title":44,"dynasty":18,"author":19603,"museum":135,"description":19604,"tags":19605,"thumbUrl":19606,"material":275,"size":276,"collection":52,"collections":19607,"showCount":279,"zanCount":39,"manualWeight":39,"mainColor":40},235714,"hua-hui-ce-zou-xian-ji-235714","邹显吉","字黎眉，号思静，一号华斋，自称湖北居人，晚号城南老圃，江苏无锡诸生。尝学诗于吴伟业，画摹宋、元，山水、人物均得古法。写生有邹菊之目。著北游集、湖北草堂诗。一门风雅，妻能画梅，兄、弟、子、侄，皆工画，新处各画小品一二种成卷，为时所艳称。康熙三十九年（一七oo）作罗浮佳处卷，时年六十五。",[24,25,26,27,83,7,185,186,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ec7bb907e4f2fccef7a81db0e8113d0.jpg",[],{"id":19609,"slug":19610,"title":2063,"dynasty":18,"author":853,"museum":135,"description":7936,"tags":19611,"thumbUrl":19612,"material":275,"size":276,"collection":52,"collections":19613,"showCount":279,"zanCount":39,"manualWeight":39,"mainColor":40},235698,"hua-hui-tu-ce-zou-yi-gui-235698",[24,25,26,83,27,7,286,631,66,358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91f5bc631b1f157fd2800176f3a1860a.jpg",[],{"id":19615,"slug":19616,"title":44,"dynasty":60,"author":13274,"museum":135,"description":17589,"tags":19617,"thumbUrl":19618,"material":275,"size":276,"collection":52,"collections":19619,"showCount":279,"zanCount":39,"manualWeight":39,"mainColor":40},235476,"hu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康熙五十三年召为内廷供奉，其宫廷工笔画造诣颇深，因不愿受“正统派”画风束缚而遭忌离职。乾隆三年出任山东滕县知县，颇得民心，因得罪上司而罢官。后居扬州，卖画为生。\n李鱓工诗文书画。曾随蒋廷锡、高其佩学画。后受石涛影响，擅花卉、竹石、松柏，早年画风工细严谨，颇有法度。中年画风始变，转入粗笔写意，挥洒泼辣，气势充沛，对晚清花鸟画有较大影响。\n传世画迹有南京博物院藏《土墙蝶花图》轴、故宫博物院藏《松藤图》轴等。北京工艺美术出版社2005年出版“中国书画名家全集”，内收《李鱓画集》（上下卷）。",[23,106,24,25,152,64,7,107,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8fdff25619c14a805e8b449db935228.jpg",[],{"id":20622,"slug":20623,"title":20624,"dynasty":60,"author":196,"museum":135,"description":20625,"tags":20626,"thumbUrl":20627,"material":275,"size":276,"collection":52,"collections":20628,"showCount":190,"zanCount":39,"manualWeight":39,"mainColor":159},287959,"fang-hui-zong-shui-zhong-ya-tu-yi-ming-287959","仿徽宗水中鸭图","淡墨绘双鸭悠游清波，翎羽纹理勾勒精细，水波晕开柔缓涟漪，将水禽自在舒展之态尽显。右侧坡岸汀花水草意态萧疏野逸，带着郊池幽寂之趣。\n\n画作追摹院体写生之致，工细间不失笔墨清简韵致，左侧题字古拙苍劲，书画相映成趣。整体将水禽灵动与汀渚静柔相融，把池沼一隅的安闲澹远定格，尽显古典雅致的写生意趣，晕开平和悠然的宋韵氛围感。",[23,24,82,106,83,64,7,1168,138,31,2730],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90ae8e7f2f631fe0ace89127baa242d3.jpg",[],{"id":20630,"slug":20631,"title":20632,"dynasty":60,"author":20633,"museum":135,"description":20634,"tags":20635,"thumbUrl":20636,"material":275,"size":276,"collection":52,"collections":20637,"showCount":190,"zanCount":39,"manualWeight":39,"mainColor":159},284291,"shui-xian-hu-shi-tu-shan-ye-zou-zhi-lin-284291","水仙湖石图扇页","邹之麟","邹之麟，字臣虎，号衣白、逸老、昧庵，江苏武进人，万历三十八年（1610）进士，明代官员、画家。",[661,24,64,7,518,186,68,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F604c6b45b302abb5c64b6192b7b8d27f.jpg",[],{"id":20639,"slug":20640,"title":20641,"dynasty":18,"author":196,"museum":135,"description":20642,"tags":20643,"thumbUrl":20646,"material":275,"size":276,"collection":52,"collections":20647,"showCount":190,"zanCount":1398,"manualWeight":39,"mainColor":159},272977,"ti-hong-bian-qian-yu-hua-guo-tu-gua-ping-yi-ming-272977","剔红边嵌玉花果图挂屏","此挂屏边框剔红纹饰古雅规整，屏心以百宝嵌工艺造景。虬曲苍劲的桃枝舒展于上，莹润玉桃悬于枝头，翠叶随枝点缀，旁侧修竹清瘦挺拔，下方配奇石小花，层次分明。将玉石的温润肌理、材质天然色泽巧妙结合，写实还原花果生机，文人雅致的意趣尽显其中。匠师以精妙手法把天然材质之美与造景巧思相融，整体气韵沉静古雅，将百宝镶嵌工艺的精湛造诣诠释得淋漓尽致，雅致静美，尽显古典造物的隽秀意韵。",[8859,13656,20644,7,167,185,1274,629,20645],"玉石镶嵌","剔红","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69c381749d7aa76383dfa701b93bdf08.jpg",[],{"id":20649,"slug":20650,"title":20651,"dynasty":18,"author":196,"museum":135,"description":20652,"tags":20653,"thumbUrl":20654,"material":275,"size":276,"collection":52,"collections":20655,"showCount":190,"zanCount":1398,"manualWeight":39,"mainColor":40},267353,"xiu-xian-ying-xun-fan-shi-huan-hai-yin-feng-tu-zhou-yi-ming-267353","绣线迎薰繁实环海殷丰图轴","此作为清代闺阁绣画佳制，以绒线摹绘花鸟景致，针脚平齐细腻，以色丝晕染物象明暗层次。虬曲老枝次第缀满榴花柔瓣，艳红素白交织，生机勃发。两只绣眼灵动鲜活，一栖于枝头侧目远眺，一振翅穿飞上空，翎毛纤毫毕现，神态鲜活传神。蓝调湖石玲珑奇秀，衬以幽草兰蕙，野趣天成。整体设色雅致清新，将工笔花鸟的悠然意蕴以绣线还原，石榴暗合多子繁茂的吉祥意趣，画面静谧清丽，尽显太平雅致的融融生机。",[24,25,106,152,83,27,7,167,8109,288,5136,4090],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a85f6bcb511ada6a39d14319c058076.jpg",[],{"id":20657,"slug":20658,"title":20659,"dynasty":18,"author":196,"museum":135,"description":18817,"tags":20660,"thumbUrl":20662,"material":275,"size":276,"collection":52,"collections":20663,"showCount":190,"zanCount":39,"manualWeight":39,"mainColor":4082},261237,"cheng-hua-kuan-qing-hua-you-li-hong-xi-que-deng-mei-tu-bi-tong-yi-ming-261237","成化款青花釉里红喜鹊登梅图笔筒",[5707,20661,18809,436,6173,167,7,16677],"青花釉里红","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1880ccc61f7e5cc16e7ea018173450e3.jpg",[],{"id":20665,"slug":20666,"title":20667,"dynasty":18,"author":196,"museum":135,"description":20668,"tags":20669,"thumbUrl":20671,"material":275,"size":276,"collection":52,"collections":20672,"showCount":190,"zanCount":1398,"manualWeight":39,"mainColor":40},256938,"yong-zheng-kuan-yan-zhi-shui-you-fen-cai-hua-die-wen-wan-yi-ming-256938","雍正款胭脂水釉粉彩花蝶纹碗","雍正一朝虽然只有13年，但他的制瓷业成就却达到了清代官窑的历史高峰，其品种之多，制作工艺之精良，都是其他朝代无法比拟的。",[18,5707,686,9260,83,27,20670,7,226,493],"胭脂水釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F129b4f6476bb79d8fbeb15f89605ced7.jpg",[],{"id":20674,"slug":20675,"title":20676,"dynasty":4839,"author":196,"museum":135,"description":20677,"tags":20678,"thumbUrl":20679,"material":275,"size":276,"collection":52,"collections":20680,"showCount":190,"zanCount":39,"manualWeight":39,"mainColor":159},252418,"yu-hua-niao-wen-shu-yi-ming-252418","玉花鸟纹梳","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 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江南的首郡就是金陵。在这些画家中，却单单有八位画家因一个概念而被画史铭记，这就是“金陵八家”。但是，关于“金陵八家”的构成一直为画史争论不休。先后出现了多个版本，这些不同的“金陵八家”组合其实可以分为三类：①为张庚《国朝画征录》中提出的以龚贤为首的“金陵八家”。②为标明是周亮工品题的不包括龚贤，并以陈卓领衔的“金陵八家”，《上元县志》、《新修江宁府志》、《上江两县志》和《金陵通传》这4部南京地方志采用该说。前三书完全相同，而《金陵通传》略有不同，将武丹换成了武弁（很可能是传抄的错误）。《眼福编》的组合虽与张庚之说相似，但将龚贤换成了邹喆的父亲邹典，故将之归到这一类。③为《昆山景物志》，此说也以龚贤为首，大概因为龚贤是昆山人。新入3人：施霖、盛丹、王概。这三类“金陵八家”构成以第一种受到的附合最多。为什么会出现如此多的“金陵八家”说不同版本，“金陵八家”最初由谁品题，为什么会发生变化，其动因又是什么呢？",[24,25,26,27,83,7,517,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd69d52209f5bf66a1de1c23e1b5d4804.jpg",[],{"id":20863,"slug":20864,"title":5759,"dynasty":18,"author":5760,"museum":135,"description":5761,"tags":20865,"thumbUrl":20866,"material":52,"size":52,"collection":52,"collections":20867,"showCount":190,"zanCount":39,"manualWeight":39,"mainColor":40},234376,"lin-jiang-ting-xi-hua-hui-ce-jiang-shu-234376",[24,25,26,2730,83,64,7,1233,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdba41c21bb48650a1864db47783c6311.jpg",[],{"id":20869,"slug":20870,"title":59,"dynasty":18,"author":237,"museum":5769,"description":6964,"tags":20871,"thumbUrl":20872,"material":33,"size":6967,"collection":52,"collections":20873,"showCount":190,"zanCount":39,"manualWeight":39,"mainColor":40},233947,"hua-niao-ce-hua-yan-233947",[24,64,27,7,167,1333,399],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa4b42e8ee5a36679f09cc1bd3da89ec.jpg",[],{"id":20875,"slug":20876,"title":10845,"dynasty":60,"author":683,"museum":251,"description":20877,"tags":20878,"thumbUrl":20879,"material":1041,"size":10849,"collection":52,"collections":20880,"showCount":190,"zanCount":39,"manualWeight":39,"mainColor":40},233833,"chu-ji-tu-ye-shen-zhou-233833","从自题诗看，画家对这只已然半大的雏鸡表现了担忧之情，总是啾啾寻母，长大后如何承担起催日报晓的责任呢？不难看出画家借雏鸡图寄予了期望后代早日成才的心愿。\n此画构图简练，为一只墨笔写意的雏鸡。其背部羽毛以湿润的墨色渲染，体形轮廓则以简约的墨线勾勒，虽为写意，仍能照顾到物象的立体感。雏鸡两翅以淡墨细笔写出，角度与比例配合得当。整幅画虽题材简单，但笔韵内敛传神，雏鸡稚嫩的体态通过水墨尽得显现。此作品为沈周所作有关鸡之题材绘画的代表作，此时的沈周已经完全摆脱了元人一味摹宋的工致画风，而是真正将自己的心神融入到笔锋之中，达到了写形传神的境界。",[24,25,64,7,5088,569,68,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee3886c457920ae97c8f13eb891504ce.jpg",[],{"id":20882,"slug":20883,"title":20884,"dynasty":18,"author":20885,"museum":182,"description":20886,"tags":20887,"thumbUrl":20888,"material":2893,"size":20889,"collection":52,"collections":20890,"showCount":190,"zanCount":39,"manualWeight":39,"mainColor":159},231529,"xuan-shi-tu-li-fu-tang-231529","萱石图","李复堂","李鱓是扬州八怪中最早成名者，也是扬州八怪中唯一曾供职于康熙身边的画家，并应康熙命从蒋廷锡学艺，故画笔严谨而有书卷气。后返扬州，始纵笔大写，变得粗犷奔放，不拘一格。李鱓在戏剧性的一生中，接触到了当时包括墨骨、小写意、大写意各个派别的顶尖高手，并将粗笔与工细画两者进行了个性化的融合。李鱓是一个善于学习的人，他研究各家，并不是平均用力，而是有选择的学习自己需要的东西并加以消化融合，逐渐形成自家风貌。在他的笔下，既有明代浙派花鸟画的传统根底，又受到清代宫廷工笔花鸟和民间豪放花鸟画风的影响，因此他的作品既讲求造形构图，又讲求色墨的有机融合，这种绘画风格被后来的海派画家赵之谦、任伯年、吴昌硕等人继承，可以说，李觯堪称中国绘画史上起着承先启后作用的画家。\n《萱石图》以萱草为题材，描绘卧石与萱草相生相伴的情景。萱草是画家惯常表现的吉祥植物，古人认为萱草可以忘忧，因此又称其为“忘忧草”；又认为孕妇佩带萱草可以生男孩，因此又称萱草为“宜男”。图中作者自题诗点明了画意：“墨沉淋漓映袖寒，滥图赤棘傍阑干。凭君悬向闲庭馆，解却眉尖仔细看”。",[23,24,25,64,399,504,186,68,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ce067b869dab8e3a386223f3e59b334.jpg","74X60cm",[],{"id":20892,"slug":20893,"title":20894,"dynasty":195,"author":196,"museum":135,"description":20895,"tags":20896,"thumbUrl":20897,"material":52,"size":52,"collection":52,"collections":20898,"showCount":190,"zanCount":39,"manualWeight":39,"mainColor":159},227911,"zhu-jian-yuan-yang-tu-yi-ming-227911","竹涧鸳鸯图","这幅小品以边角取景，将幽寂山涧铺陈于尺幅之间。右侧崖壁古木斜出，新篁附石抽梢，苔痕历历；崖下茅舍半隐，野径蜿蜒，慢慢没入淡远平芜。\n\n画面左侧清空之上，禽鸟振翅穿空，将山涧的静气轻轻划破。淡墨晕染烟岚，远景虚渺朦胧，近景的竹、木、石以细劲勾勒间施皴擦，质感宛然。全作以简驭繁，不着浓艳，仅以水墨层次区分远近虚实，把江南山隅无人惊扰的闲逸尽数凝住，似可听闻涧水轻响、林风穿叶，将宋人寄情林泉的幽淡襟怀融在尺幅之中，余韵悠悠。",[23,24,661,83,27,1390,185,1393,1110,7,167,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc68574cd4486c08d626211cf6dab797a.jpg",[],{"id":20900,"slug":20901,"title":20902,"dynasty":195,"author":196,"museum":135,"description":20903,"tags":20904,"thumbUrl":20905,"material":52,"size":52,"collection":52,"collections":20906,"showCount":190,"zanCount":39,"manualWeight":39,"mainColor":159},227385,"qun-yan-tu-ye-yi-ming-227385","群雁图页","在中国绘画艺术的发展长河中，占据一隅的佚名绘画对艺术发展的推动力不容忽视。宋代良好的文化环境对于绘画的推动，一方面体现在精英画家辈出，院体画风曲高和寡；另一方面民间绘事日渐活跃，绘画成为了市井百姓喜闻乐见的一种表现形式，绘画佚名在当时也成为一种普遍现象。",[23,106,24,25,26,83,27,167,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb62f4007ee81d835d13b3baa63b93e17.jpg",[],{"id":20908,"slug":20909,"title":20910,"dynasty":18,"author":1008,"museum":135,"description":20911,"tags":20912,"thumbUrl":20913,"material":52,"size":52,"collection":52,"collections":20914,"showCount":190,"zanCount":39,"manualWeight":39,"mainColor":40},224315,"hua-niao-ce-shi-kai-5-li-shan-224315","花鸟册十开5","紫英垂悬如瀑，花瓣以淡墨晕染，浓淡间分出初绽苞蕾与盛放娇花，枝叶以枯笔淡绿点染，随性舒展，野趣天成。翎羽以赭黄铺陈，丹喙亮眼，禽鸟振翅欲动，垂首窥花，灵动神态跃然纸上。\n\n行书题字纵逸跌宕，笔意与画意相融，诗画合璧更添清雅文韵。兼工带写间，把花鸟生机藏于笔墨，随性又不失精致，尽显文人写意的疏朗意趣，将江乡春日花鸟的鲜活景致，凝于尺幅之间。",[23,24,25,26,27,399,569,68,7,167,48,67,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e68e1bbf2be065a2dd861feabc0ade8.jpg",[],{"id":20916,"slug":20917,"title":20918,"dynasty":18,"author":1008,"museum":135,"description":20919,"tags":20920,"thumbUrl":20921,"material":52,"size":52,"col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出版的图书，作者是台北故宫博物院。\n宋 惠崇 秋浦双鸳 马麟 暮雪寒禽 李安忠 竹鸠 林椿 杏花春鸟 宋人 乳鸭 桑枝黄鸟 画子母鸡图 画秋塘双雁 竹石鸠子图 梅竹聚禽图 元 王渊 鹰逐画眉 边文进 梅花幽鸟 明 陆治 双奚图 林良 秋鹰 吕纪 雪景翎毛 吕纪 杏花孔雀 孙龙 柔桑戴胜 清 朗世宁 樱桃桑 清人 画蓝靛颏 黑白图版 明 沈周 画鸭 沈周 画鸽 明 沈周 鸠 吕纪 寒雪山奚图 参考图版 图版说明 附英文总说明与目录",[24,25,26,83,27,7,321,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c355535bc70bc33372e8610ce16f087.jpg",[],{"id":21454,"slug":21455,"title":21456,"dynasty":195,"author":196,"museum":135,"description":21457,"tags":21458,"thumbUrl":21459,"material":52,"size":52,"collection":52,"collections":21460,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":159},227380,"qiu-zhu-wen-qin-tu-yi-ming-227380","秋渚文禽图","深秋时节，荷叶枯萎，数枝折断，叶面已破成网。 几只野灵飘散散落，河岸上的两只野鸭在秋荷塘畔，悠闲地享受着秋日的阳光。",[24,25,661,83,27,7,1168,467,603,169,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d2ab1fd7d2ce25074ac44af4540be96.jpg",[],{"id":21462,"slug":21463,"title":21464,"dynasty":195,"author":196,"museum":135,"description":21465,"tags":21466,"thumbUrl":21467,"material":52,"size":52,"collection":52,"collections":21468,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":159},227359,"liu-xi-yuan-yang-tu-ye-yi-ming-227359","柳溪鸳鸯图页","中国水墨发展伊始, 人们毕其功于将现实景象“转移”到二维画面上来。为了实现这种“转移”, 画家势必力求取景的完满与全面, 于是, 全景式构图诞生了。在这些大幅壁画、长卷或立轴的绘画作品中, 人物画多背景完整、气象宏大;山水画则恢宏壮阔、境界舒朗;至于以牛马等动物禽畜为题材的绘画, 则或量多、或体大, 每每也是通过大幅形制来展现。\n\n然而, 两宋时期, 中国山水画开始由北宋的磅礴雄壮向南宋的“一角半边”过渡。由墙壁转为纸绢的轴、卷、册、扇, 逐渐促成绘画由公共艺术转向私人艺术。区别于北宋山水画提倡的“外师造化”, 南宋文人画转而“内师诸心”, 为绘画开启了类似寄情寓性的功能。",[23,106,24,661,27,83,1333,18180,1110,167,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa830ca8abe60aea47e38b08368f2e9c6.jpg",[],{"id":21470,"slug":21471,"title":21472,"dynasty":4397,"author":196,"museum":135,"description":21473,"tags":21474,"thumbUrl":21475,"material":52,"size":52,"collection":52,"collections":21476,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},225350,"fu-shi-hui-104-yi-ming-225350","浮世绘104","画面以禽鸟与石竹花入景，主禽羽翼晕染层次丰富，乌亮与暖棕的绒羽质感柔润鲜活，依偎的伴禽憨态尽显。石竹花水粉色调清透柔丽，舒展的花瓣同劲挺花枝俯仰呼应，与禽鸟相映成趣。背景以浅青渐变晕染出空濛氛围，留白衬出日式雅致侘寂之意。构图疏密有度，工细笔致里带着写意松弛，将日常花鸟小景晕染出平和治愈的雅致美感，把鲜活生机藏于细腻笔触间，尽显花鸟绘的温婉意趣，将自然闲情揉进浅淡柔缓的色调之中。",[5665,5666,27,7,807,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee98f6f0ba4d0b5d2d3a70fc69c94df0.jpg",[],{"id":21478,"slug":21479,"title":21480,"dynasty":18,"author":11859,"museum":135,"description":21481,"tags":21482,"thumbUrl":21483,"material":275,"size":276,"collection":52,"collections":21484,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},224576,"song-he-bo-tao-cheng-shan-qing-ren-224576","松鹤波涛成扇","苍松虬枝蟠曲，墨色沉凝勾勒出古木苍劲，针毫细密如攒聚霜雪。两只仙鹤姿态隽秀，一鹤引颈唳空，似欲振翅穿云，一鹤垂首理羽，悠然栖于松畔。侧边细笔晕出水波层叠，柔浪轻漾将松间清旷揉入烟波浩渺之中。\n\n旧纸泛黄晕开岁月痕迹，木骨凝住旧时光阴，整幅小品将祥瑞意趣藏在简净笔墨里，把林泉野趣收于盈尺扇面。落笔克制却意韵悠长，雅致笔墨与吉庆意涵相融，是耐人品味的小品佳构。",[24,25,661,27,64,83,782,171,7,1390,603],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5bc17a44121d5340a0e044499da1455.jpg",[],{"id":21486,"slug":21487,"title":18939,"dynasty":18,"author":18940,"museum":135,"description":21488,"tags":21489,"thumbUrl":21490,"material":52,"size":52,"collection":52,"collections":21491,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},224358,"tong-qin-tu-zhou-yu-zhi-ding-224358","《桐禽图》是清代画家禹之鼎于康熙年间创作纸本墨笔画，现藏于故宫博物院。\n画家用劲健的粗笔描绘树干，笔断意不断；树叶先用深浅不同的墨点出，然后以浓墨勒出叶筋；小鸟用淡墨勾轮廓，然后染出躯干，最后再用焦墨画两翅和头部。\n用笔雄健豪迈，奇宕多变，用墨层次丰富，厚而不滞，轻而不淡。\n本幅左上自题：“余摹蓝田叔先生《得子图》非一本也。\n乙亥后两日，偶于京邸，因秋实老翁谈及故园风景，又属（嘱）写此幅，感其嗜痴，不知丑耳。\n广陵禹之鼎识。\n”钤“慎斋禹之鼎印”、“广陵涛上渔人”印二方。\n乙亥为清 三十四年（ ），禹之鼎时年49岁。\n从自题中得知画家此年寓居京师。\n此图用大写意法画 几枝，引来两只飞鸟栖息。\n树枝错落穿插有致，一鸟啄叼桐籽，回首张望，一鸟展翅凌空，疾飞而来。\n画面左虚右实，而左边高飞的小鸟和左上的题记不仅平衡了画面，还使画面平添了几许盈然的生机。\n自题中的“蓝田叔”指明末清初著名的山水画家 ，虽然尚无直接证据可证明禹之鼎曾直接师从蓝瑛，但禹之鼎时常临摹蓝瑛的绘画，所以从此画的笔墨来看还是深得蓝瑛之意的。\n（1647—1716年），字尚吉，号慎斋，江都(今江苏 )人。\n清康熙二十年(1681年)官鸿胪寺序班，以画供奉入 。\n善画人物、山水，尤精写真。\n初师蓝瑛，兼学宋元诸家。\n肖像画面貌多样，对 、墨骨法、江南法都有研究，所绘人物形神兼备，独具一格，一时名公小像多出其手，其肖像画在清代中期有“当代第一”之誉。",[23,24,152,64,7,167,168,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31935bf7d16f8ac9256d4a6e3fe14339.jpg",[],{"id":21493,"slug":21494,"title":21495,"dynasty":18,"author":1008,"museum":135,"description":21496,"tags":21497,"thumbUrl":21498,"material":52,"size":52,"collection":52,"collections":21499,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},224311,"hua-niao-ce-shi-kai-10-li-shan-224311","花鸟册十开10","此作兼工带写，将秋菊清灵之态尽显纸上。蓝紫、粉白花瓣晕染柔润通透，明黄花心点醒生机，枝叶勾勒挺劲简练，水墨与淡彩相融，既留存秋菊鲜活质感，又带着写意疏放意趣。\n\n右侧题诗行书纵逸跌宕，笔意洒脱，诗画相映，将文人爱菊幽思寄寓花枝之间。整体色调清雅妍丽，于浅淡间尽显秋花隽逸风姿，将写生鲜活与文人写意随性相合，寥寥笔墨间生机盎然，诗画合璧更添雅韵，尽显文人花鸟画的悠然意趣。",[23,24,25,26,27,399,7,517,631,228,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff642fb405bfa754a4ff7754cc7ac83e5.jpg",[],{"id":21501,"slug":21502,"title":21503,"dynasty":195,"author":196,"museum":135,"description":21504,"tags":21505,"thumbUrl":21506,"material":52,"size":52,"collection":52,"collections":21507,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":159},223623,"hua-shi-cao-chong-tu-yi-ming-223623","花石草虫图","此作用笔精微细腻，构图取舍精妙，折枝花倚顽石而生，柔媚与苍劲相映成趣。粉红花瓣以淡彩晕染，瓣尖轻着白粉，将盛放之姿描摹得楚楚动人，叶片脉络清晰可见，带着鲜活水润的质感。顽石以枯笔勾勒皴擦，嶙峋纹理尽显硬冷苍古，和花草的柔润形成鲜明对照。\n\n画中诸般小生灵皆栩栩如生：蜥蜴探首曳尾，似正蹑足穿行；蜗牛静附石上，蜷壳悠然；飞蜂悬于空中，振翅之态仿佛可闻轻响。整体设色浅淡清和，墨色层次丰富，将郊野一角的生机定格，藏着细腻观照万物的心意，于平朴之中尽显雅致生趣。",[23,24,106,83,27,7,186,226,213,9057],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F389a4324e39851ec48a8bf5727886c77.jpg",[],{"id":21509,"slug":21510,"title":21511,"dynasty":195,"author":196,"museum":1387,"description":21512,"tags":21513,"thumbUrl":21515,"material":21516,"size":21517,"collection":52,"collections":21518,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":159},223390,"gu-bai-gui-qin-tu-yi-ming-223390","古柏归禽图","该图左侧塘岸土坡，白梅一枝斜出，枝上梅花怒放，枝下茶花、水仙盛开。两只野鸭嬉戏于水中，顾盼生姿，逗人喜爱。对岸土坡败苇稀疏，两只蓝色的小鸟前后相随飞向远方，从而把观赏者的视线引向画外，达到画有尽而意无穷的艺术效果。",[23,24,25,661,7,83,27,21514,167,68],"古柏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41fd9a9d79ded1b45f0708614eb8c2a9.jpg","绢本水墨","23.5X24.7cm",[],{"id":21520,"slug":21521,"title":21522,"dynasty":195,"author":196,"museum":251,"description":21523,"tags":21524,"thumbUrl":21525,"material":822,"size":21526,"collection":52,"collections":21527,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":159},223337,"wu-jiu-wen-qin-tu-yi-ming-223337","乌桕文禽图","图为雪侯河所写，天色阴沉，老梅初出。 树栖带状鸟有明亮而腐烂的羽毛。 自制的图画和家禽文字，大多是在明媚的春光下。 这独特的画面与冬天的杀戮场景形成了鲜明的对比，极为巧妙。 树下溪流湍急，水花四溅，岸边的岩石上都被雪覆盖着。 画家以水墨染天空，以白粉表现雪，以白力描绘流水，气势磅礴。 河岸的独特表现是强大的。 岩石和水的侵蚀形成的蜂窝形状是另一种前所未有的创新方法。",[23,106,24,25,7,83,27,1841,807,1393,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd2250b3999f22bfd04a74cdeb074f66.jpg","27.5x26.9厘米",[],{"id":21529,"slug":21530,"title":21531,"dynasty":18,"author":793,"museum":251,"description":4926,"tags":21532,"thumbUrl":21533,"material":1595,"size":4929,"collection":52,"collections":21534,"showCount":232,"zanCount":1398,"manualWeight":39,"mainColor":40},222785,"hua-niao-ce-ye-05-lang-shi-ning-222785","花鸟册页05",[23,26,83,27,31,7,107,186,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75ffe40a33466d2b3e879170853c304b.jpg",[],{"id":21536,"slug":21537,"title":21538,"dynasty":18,"author":6390,"museum":717,"description":21539,"tags":21540,"thumbUrl":21541,"material":21542,"size":21543,"collection":52,"collections":21544,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},222655,"zhi-hua-xi-lie-zhi-hua-huang-kui-gao-qi-pei-222655","指画系列-指画·黄葵","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。\n高其佩“扬州八怪李鱓”之师。其艺术才华出众，能诗、工画，他在细绢上所描绘的亭台楼阁、人物、花鸟、鱼虫等等，笔墨精细，设色艳丽，精妙绝伦。他在临摹了大量的前代名人作品，打下了深厚的根基之后，开创了一条新路。大胆地创造出了别具情趣的“舍笔而求之于手”的表现技法。秀水张浦山著的《国朝画征录》中记载：“高且园善指画，画人、山水花鸟、鱼虫、鸟兽，天资超迈，情奇逸趣，信手而得，四方重之”。高其佩指画有“叱石成羊”之妙，他创作山水、人物、花鸟、走兽时，均信手一挥而就，“倾刻数十幅，……无不绝人。”他一生的作画数量是惊人的。正如他侄孙高秉在《指头画说》一文中所述：“自弱冠至七旬，不下五、六万幅”。可惜其大部分早已失传。保存下来的多藏于各地博物馆，铁岭县文化馆过去曾存有春、夏、秋、冬四幅《竹》。上海出版社出版的《高其佩》（杨仁恺著）一书，对他的生活和创作道路做了详细的论述，指出他的最大贡献是：“标题材之新，立结构之异，对当时和后来绘画艺术都有一定影响。”",[23,24,25,20688,27,7,226,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b0ce3f18048b91891f1a7b57b539978.jpg","浅设色","35.88x57.31cm",[],{"id":21546,"slug":21547,"title":21548,"dynasty":60,"author":21549,"museum":79,"description":21550,"tags":21551,"thumbUrl":21553,"material":295,"size":21554,"collection":52,"collections":21555,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},222576,"hua-lu-ci-cheng-shan-fan-xian-222576","画鹭鹚成扇","范暹","[明]字启东，一作起东，号苇斋，东吴（今江苏苏州一带）人， 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萍芗，江苏吴江人。画史、广印人传均作陈东一。",[24,25,661,27,7,309,291],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F189f26bfb62d84a266f4ddb12a018102.jpg",[],{"id":22079,"slug":22080,"title":2063,"dynasty":18,"author":237,"museum":135,"description":7618,"tags":22081,"thumbUrl":22082,"material":275,"size":276,"collection":52,"collections":22083,"showCount":429,"zanCount":39,"manualWeight":39,"mainColor":40},236006,"hua-hui-tu-ce-hua-yan-236006",[24,25,26,27,64,7,186,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79dd8d7c95f679d4f0f7cad234d7109e.jpg",[],{"id":22085,"slug":22086,"title":2063,"dynasty":18,"author":237,"museum":135,"description":7618,"tags":22087,"thumbUrl":22088,"material":275,"size":276,"collection":52,"collections":22089,"showCount":429,"zanCount":39,"manualWeight":39,"mainColor":40},236004,"hua-hui-tu-ce-hua-yan-236004",[24,25,26,27,7,29,291,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaa68e28a3dec96f41088c05387c6e4f.jpg",[],{"id":22091,"slug":22092,"title":44,"dynasty":18,"author":19603,"museum":135,"description":19604,"tags":22093,"thumbUrl":22094,"material":275,"size":276,"collection":52,"collections":22095,"showCount":429,"zanCount":39,"manualWeight":39,"mainColor":40},235717,"hua-hui-ce-zou-xian-ji-235717",[24,25,26,83,27,7,29,214,455,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F152b1276379ddbe79d1767ae4797ff38.jpg",[],{"id":22097,"slug":22098,"title":2063,"dynasty":18,"author":853,"museum":135,"description":7936,"tags":22099,"thumbUrl":22100,"material":275,"size":276,"collection":52,"collections":22101,"showCount":429,"zanCount":39,"manualWeight":39,"mainColor":40},235701,"hua-hui-tu-ce-zou-yi-gui-235701",[24,25,26,83,27,7,29,226,425,569,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b99d30b0fc8e2443dff1e5ef5b139fb.jpg",[],{"id":22103,"slug":22104,"title":3224,"dynasty":18,"author":237,"museum":135,"description":7618,"tags":22105,"thumbUrl":22106,"material":275,"size":276,"collection":52,"collections":22107,"showCount":429,"zanCount":39,"manualWeight":39,"mainColor":40},235385,"hua-niao-tu-ce-hua-yan-235385",[24,25,26,64,27,7,65,186,452],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c84564d40ad840b5f82a96329943938.jpg",[],{"id":22109,"slug":22110,"title":44,"dynasty":18,"author":9884,"museum":135,"description":9885,"tags":22111,"thumbUrl":22112,"material":275,"size":276,"collection":52,"collections":22113,"showCount":429,"zanCount":39,"manualWeight":39,"mainColor":40},235216,"hua-hui-ce-zhang-wei-235216",[24,25,26,27,83,7,29,228,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7319fc181966aa1c663f4b479aec0cb.jpg",[],{"id":22115,"slug":22116,"title":952,"dynasty":18,"author":4817,"museum":135,"description":16426,"tags":22117,"thumbUrl":22118,"material":275,"size":276,"collection":52,"collections":22119,"showCount":429,"zanCount":1398,"manualWeight":39,"mainColor":40},235193,"za-hua-ce-huang-shen-235193",[24,25,26,64,569,517,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F059473f548f02cb346b8c757f64e88a2.jpg",[],{"id":22121,"slug":22122,"title":14520,"dynasty":18,"author":8026,"museum":135,"description":22123,"tags":22124,"thumbUrl":22126,"material":275,"size":276,"collection":52,"collections":22127,"showCount":429,"zanCount":39,"manualWeight":39,"mainColor":40},235066,"lu-yan-tu-zhou-bian-shou-min-235066","边寿民（1684年—1752年），初名维祺，字颐公，又字渐僧、墨仙，号苇间居士，江苏山阳人（今淮安区），晚号苇间老民、绰翁、绰绰老人，清代著名画家。曾考中秀才，善画花鸟、蔬果和山水，尤以画芦雁驰名江淮，有“边芦雁”之称。其泼墨芦雁，苍浑生动，朴古奇逸，极尽飞鸣、食宿、游泳之态。泼墨中微带淡赭，大笔挥洒，浑厚中饶有风骨。又善以淡墨干皴擦小品，更为佳妙。因他画芦雁，称其所居名“苇间书屋”。他又工诗词、精中国书法。和郑板桥、金农等人齐名。",[24,25,152,64,7,22125,1854,167,68],"芦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c49d9ad59e4ece1a8ad3eaeb3acecc7.jpg",[],{"id":22129,"slug":22130,"title":22131,"dynasty":60,"author":22132,"museum":135,"description":22133,"tags":22134,"thumbUrl":22135,"material":52,"size":52,"collection":52,"collections":22136,"showCount":429,"zanCount":39,"manualWeight":39,"mainColor":40},234492,"hua-niao-shan-ye-wei-xue-lian-234492","花鸟扇页","魏学濂","魏学濂（1608年—1644年），明代官员。字子一，号内斋，一作容斋，浙江嘉善人，魏大中次子，崇祯十六年（1643年）进士，擢庶吉士，明亡后先降李自成，不久又羞愧自缢。平生擅画山水，兼工花鸟。",[480,661,24,25,27,83,7,65,1822,66,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c6bd18f9544bbe768327b77926cd6db.jpg",[],{"id":22138,"slug":22139,"title":11560,"dynasty":18,"author":11561,"museum":135,"description":11562,"tags":22140,"thumbUrl":22141,"material":412,"size":52,"collection":52,"collections":22142,"showCount":429,"zanCount":39,"manualWeight":39,"mainColor":40},234285,"hua-guo-ce-wang-yun-234285",[24,25,26,27,7,629,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ae4160eda03cf356dbede39622686fc.jpg",[],{"id":22144,"slug":22145,"title":22146,"dynasty":195,"author":196,"museum":251,"description":22147,"tags":22148,"thumbUrl":22149,"material":845,"size":22150,"collection":52,"collections":22151,"showCount":429,"zanCount":39,"manualWeight":39,"mainColor":159},234078,"zhu-jian-yuan-yang-tu-ye-yi-ming-234078","竹涧鸳鸯图页","图绘坡石斜立于画面的右侧，坡上翠竹摇曳，枝页纷披。坡下竹笋破土而出，小草丛生，小溪潺缓，一派生机蓬勃景象。两只鸳鸯仰头眺望天空中飞来的一只鸟，把观赏者的目光引向画外。图中竹页、竹竿勾勒精细，山石淡染轻勾，色彩柔和自然。构图疏朗，静中有动，为南宋晚期花鸟画佳作。",[24,25,26,27,83,7,185,1110,168,90,1393,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e9fa1363f0a7140aaa21f8cc99e5309.jpg","24.8*24.8厘米",[],{"id":22153,"slug":22154,"title":12169,"dynasty":195,"author":196,"museum":251,"description":22155,"tags":22156,"thumbUrl":22157,"material":822,"size":22158,"collection":52,"collections":22159,"showCount":429,"zanCount":39,"manualWeight":39,"mainColor":40},234020,"hong-liao-shui-qin-tu-ye-yi-ming-234020","《红蓼水禽图》是中国美术史上的花鸟画名作，以前人们认为是五代名家徐崇矩所作，或传为宋徽宗赵佶所作。其所绘意境正如诗中所咏：“西风红蓼香，水禽破苍茫。小虾清滩里，涟漪泛斜阳。”此画是典型的宋院体画，手法细腻，形象生动。 水边一枝红蓼，小花盛开。水鸟发现波中青虾，悄然飞落红蓼枝头，引喙而啄。红蓼被水鸟的体重与蹬力压弯，梢头、叶尖浸入水中。而青虾在水中灵活地悠游，对面临的危险浑然不觉。自然界中这惊险的一霎被巧妙地摄入绢素，极为生动传神。水禽和红蓼设色鲜丽，工笔细写。小鸟纤细的毛羽清晰可数，连蓼花粟米大的花冠也用紫红、粉白晕染得一丝不苟，层次分明。而水中的青虾和荇藻则采用模糊的手法表现，唯以淡墨绿一色染成，类似写意画法。因而虽不画水，却水旱两界分明。",[106,24,25,26,83,27,7,65,10688,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bd0e66811feaeb67ea3c69d5e352504.jpg","25.2x26.8cm",[],{"id":22161,"slug":22162,"title":22163,"dynasty":60,"author":22164,"museum":135,"description":22165,"tags":22166,"thumbUrl":22167,"material":52,"size":52,"collection":52,"collections":22168,"showCount":429,"zanCount":39,"manualWeight":39,"mainColor":40},233367,"shi-zhu-zhai-pu-ce-hu-ri-cong-233367","十竹斋谱册","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。",[24,25,26,64,27,7,185,436,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39a41d4cbf78fa88028ba568d41be64c.jpg",[],{"id":22170,"slug":22171,"title":22172,"dynasty":60,"author":196,"museum":135,"description":22173,"tags":22174,"thumbUrl":22175,"material":275,"size":276,"collection":52,"collections":22176,"showCount":429,"zanCount":39,"manualWeight":39,"mainColor":159},228808,"lu-ya-tu-zhou-yi-ming-228808","芦鸭图轴","淡赭晕开汀洲暮色，细劲墨线勾勒芦苇，叶梢随晚风欹斜错落，疏密间漫开清寂秋意。\n\n两只芦鸭静栖岩矶，抬首者绒羽蓬松，翎羽层次分明，墨色浓淡过渡柔和，似在聆听水泽秋声；蜷卧者敛息安闲，将野禽的恬然之态晕染入微。画面设色清雅柔和，无繁复铺陈，以极简笔意勾勒出郊野水畔的悠然生机，将荒寒秋意与栖禽的闲澹相融，尽显江南泽国的静谧闲雅，把秋日水泽的幽寂和生灵的野逸平衡得恰到好处，淡远空濛之余，余韵悠长。",[23,106,24,25,152,27,83,7,1855,1168,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8344bd58fa2be0ddc84d2f4c79e5c0ff.jpg",[],{"id":22178,"slug":22179,"title":22180,"dynasty":60,"author":196,"museum":135,"description":10915,"tags":22181,"thumbUrl":22185,"material":275,"size":276,"collection":52,"collections":22186,"showCount":429,"zanCount":39,"manualWeight":39,"mainColor":159},228521,"wan-li-wu-cai-long-wen-hua-niao-suan-tou-ping-yi-ming-228521","万历 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。\n本幅无款。\n鉴藏印钤“交翠轩印”、“神品”、“子京父印”、“项元汴印”、“项墨林鉴赏章”、“张则之”6方。\n画页左侧题诗：“秋风融日满东篱，万叠轻红簇翠枝。\n若使芳姿同众色，无人知是小春时。\n”此为即景诗，描写瓶中之花轻红淡雅，叠簇于翠枝。\n对幅有清乾隆御题诗一首：“花似菊而红，叶则迥然异。\n自题属冬篱，殊难解用意。\n徒以设色工，选藻许其厕。\n辛亥清和御题。\n”钤 “ ”、“自强不息”、“ ”。\n图中瓶架上置一蓝釉长颈瓶，内插 。\n花朵施以勾勒填色法，花叶用没骨法出之，刻画自然细腻，渲染柔和润泽。\n秋菊艳丽而不失于秀雅，此图为南宋写生画中的优秀作品。",[23,106,24,25,26,83,27,7,517,686,31,569,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e46b6b7ac1daeee9117bf4d5b176246.jpg",[],{"id":22953,"slug":22954,"title":22955,"dynasty":4397,"author":196,"museum":135,"description":22956,"tags":22957,"thumbUrl":22958,"material":52,"size":52,"collection":52,"collections":22959,"showCount":268,"zanCount":39,"manualWeight":39,"mainColor":40},225348,"fu-shi-hui-102-yi-ming-225348","浮世绘102","此作用色清和雅致，以柔缓的墨线勾勒桔梗花舒展的情态，叶片浓绿与花瓣的米金色晕染相映，层次温婉柔和。振翅将停的蜻蜓静栖留白处，纤毫毕现的翅脉与花茎柔润肌理形成动静对照，把夏日郊野闲静生机悄然铺展。\n\n画师以极简套色技法晕染出花瓣的薄透质感，叶片错落排布填补画面空隙，疏朗留白衬出悠然意境，将和风侘寂闲趣藏于花叶虫翼间，淡而不寡，静而生动，把草木虫鸣的幽然意趣定格于纸面，尽显日式风物的雅致情致。",[5665,27,7,5666,29,292],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8c11d4907b2ee8afc920bec51811368.jpg",[],{"id":22961,"slug":22962,"title":22963,"dynasty":18,"author":22964,"museum":79,"description":22965,"tags":22966,"thumbUrl":22967,"material":845,"size":22968,"collection":52,"collections":22969,"showCount":268,"zanCount":39,"manualWeight":39,"mainColor":40},224599,"bai-hai-qing-he-qing-tai-224599","白海青","贺清泰","乾隆四十八年(西元1783)。达拉罕亲王。汪扎尔多尔济进白海青一架。架上白鹰，铁喙钩爪，羽毛洁白，神情威猛，深得写生之妙，此幅当是与郎士宁同时同地写生而成。两位画家从不同角度观察白鹰，并以逼真手法写生下来。\n中西结合的宫廷绘画 清代没有画院的设置，只在内务府造办处中有画画处和如意馆，负责组织画家为宫廷服务。画家地位低下，或称“南匠”，因画家多系南方人之故，或称“画画人”。画家来源或为原在宫中服务的画家子弟，或大臣推荐，或画家毛遂自荐，均经考核再录用。其中也有大臣如王原祁、蒋廷锡等，虽也创作绘画为宫廷所用，则不在此中。 顺治初见于记载的宫廷画家只有黄应谌一人。康熙时有唐岱、焦秉贞、冷枚等。唐岱山水得王原祁指授，画风亦相近。焦秉贞善山水人物，用透视法，受西方的影响，冷枚为焦秉贞的学生，以人物仕女见长。其后至乾隆时期，画家有丁观鹏、姚文瀚、金廷标、余省、张宗苍、徐扬、陈枚等。他们的作品艺术成就远不及宋代和明代。最具有清代宫廷绘画特色并创造出了艺术成就的是宫廷中的一批来自西方的传教士画家，他们中有意大利人郎世宁、安德义、潘廷章，法国人贺清泰、王致诚，波希米亚人艾启蒙等。他们根据官廷的需要与爱好，用中国的作画工具，综中、西不同的观察和表现方法，如人物用西法，背景则为中法，或背景用中国画家来画；面部塑造采用正面光，减轻明暗对比度，以适合中国传统欣赏习惯等等，因而创造出一种新的风格。",[23,24,25,152,83,27,7,2227,107,93,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81de27f18ee00b00b65c920a57e2c0fb.jpg","110x60cm",[],{"id":22971,"slug":22972,"title":22973,"dynasty":18,"author":1008,"museum":135,"description":22974,"tags":22975,"thumbUrl":22976,"material":52,"size":52,"collection":52,"collections":22977,"showCount":268,"zanCount":39,"manualWeight":39,"mainColor":40},224328,"hua-niao-shi-er-kai-6-li-shan-224328","花鸟十二开6","此作用笔兼工带写，左侧草茎以淡赭晕染，细劲清瘦，停驻一只螽斯。虫身刻画入微，翅脉纹理纤毫毕现，似将振翅齐鸣，鲜活灵动感跃然纸面。\n右侧题诗行书纵逸苍劲，笔墨朴拙老辣，与草虫的工致细密形成强烈反差，却又和谐相融。整幅留白疏朗，寥寥数笔便将秋野清寂意趣勾勒尽致，文人雅思托于草虫小景，淡逸间暗藏生趣，把秋日郊野幽谧鲜活的一隅定格，尽显清逸雅致的文人情致。",[23,24,106,25,26,27,569,68,31,7,242,455],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba01201d5abd9179244671a03940dd41.jpg",[],{"id":22979,"slug":22980,"title":22981,"dynasty":18,"author":1008,"museum":135,"description":22982,"tags":22983,"thumbUrl":22984,"material":52,"size":52,"collection":52,"collections":22985,"showCount":268,"zanCount":39,"manualWeight":39,"mainColor":40},224326,"hua-niao-shi-er-kai-4-li-shan-224326","花鸟十二开4","此作以紫藤栖禽入画，错落布置藤蔓花枝，枯藤蜿蜒承托禽鸟，疏密相生。禽鸟以淡赭晕染翎羽，笔触松灵，将茸毛蓬松质感尽显，朱喙圆目，神采机敏生动。紫藤花色清雅柔淡，紫花白蕊垂悬，墨色枝蔓苍劲写意，尽显花木舒展之姿。画面右侧题诗相伴，诗画相融，尽显文人写意的萧散野趣。笔意简逸却神完气足，将花鸟天然野逸之态生动勾勒，淡冶疏朗间尽显写意花鸟的韵致悠长。",[23,24,25,26,399,27,64,7,167,48,31,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98fe5b0a0d5e0edbe0f54985d9a40440.jpg",[],{"id":22987,"slug":22988,"title":22989,"dynasty":18,"author":1008,"museum":135,"description":22990,"tags":22991,"thumbUrl":22992,"material":52,"size":52,"collection":52,"collections":22993,"showCount":268,"zanCount":39,"manualWeight":39,"mainColor":40},224316,"hua-niao-ce-shi-kai-6-li-shan-224316","花鸟册十开6","此作以水墨淡彩写就，右侧顽石以大写意挥就，焦墨点苔，苍劲朴拙，似藏山野沉浑之气。左侧花枝鲜活灵动，叶片以青绿分染，深浅层叠尽显舒展之姿，粉花柔婉点缀枝梢，轻丽动人。\n\n画面左上题以行书，笔意潇洒跌宕，书画相映成趣。笔致兼具放逸与秀雅，不拘成法，将花木清隽生机与顽石沉静古拙相互映衬，诗书画印浑然一体，把寻常小景绘出悠然林下之致，淡彩晕染衬出雅致格调，墨色干湿浓淡尽显写意意趣，尽显疏朗脱俗的文人审美意韵。",[23,24,25,26,399,27,569,68,186,7,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0972e453f468c17ec7ec34647dfa52a.jpg",[],{"id":22995,"slug":22996,"title":22997,"dynasty":60,"author":196,"museum":135,"description":22998,"tags":22999,"thumbUrl":23001,"material":52,"size":52,"collection":52,"collections":23002,"showCount":268,"zanCount":39,"manualWeight":39,"mainColor":159},223609,"zhu-lin-bu-chu-tu-ce-yi-ming-223609","竹林哺雏图册","此作用笔细腻工致，苍劲竹枝缀着翠色，竹叶舒展尽显清灵生机。雀巢静栖竹间，数只幼雏探首啾啾，振翅归旋的亲鸟神情急切，将归哺的温情凝于绢面之间。\n\n设色古雅沉静，晕染柔和自然，写实笔意带着院体花鸟的温婉余韵，将林间育雏的日常小景勾勒得脉脉动人。古旧绢色晕开岁月质感，把幽竹清寂与生命温情相融，尽现小品花鸟的雅致意趣，平淡间藏着触动人心的自然诗意。",[23,24,25,26,27,83,7,185,167,13150,23000],"鸟巢","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc731490b38e5c321d0a8e1945ea3b64b.jpg",[],{"id":23004,"slug":23005,"title":2063,"dynasty":60,"author":830,"museum":1135,"description":2064,"tags":23006,"thumbUrl":23007,"material":401,"size":2068,"collection":52,"collections":23008,"showCount":268,"zanCount":39,"manualWeight":39,"mainColor":40},222561,"hua-hui-tu-ce-chen-chun-222561",[23,24,25,3326,1570,399,64,27,7,29,569,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a412704b978a282ce6585b92561f445.jpg",[],{"id":23010,"slug":23011,"title":14542,"dynasty":60,"author":23012,"museum":20,"description":23013,"tags":23014,"thumbUrl":23015,"material":534,"size":23016,"collection":52,"collections":23017,"showCount":268,"zanCount":39,"manualWeight":39,"mainColor":40},219788,"za-hua-ce-2-guo-xu-219788","郭诩","郭诩（1456—1532），字仁弘，号清狂道人，江西泰和人。工书画，善山水，尝遍历名山，曰“岂必谱也，画在是矣。”同时江夏吴伟、北海杜堇、姑苏沈周俱以画名，莫不延颈原交，天下竟传清狂画，风之百金。有贵人欲多得诩画，诩瞠目数屋梁不对。固索，辄跮跖狂趋，叫奡跳号去。弘治（一四八八至一五零五）中徵天中善画者，应诏京师。宸濠召与语，辄辞谢之。往依王守仁献画题诗所见志。又善杂画，信手作人物，辄有奇趣。七十三岁尚作磨镜图。他的作品传世不多，八开《杂画册》现藏上海博物馆，《琵琶行》图轴藏北京故宫博物院。",[24,25,3326,27,64,399,7,3545,214,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31a9678b7cd4af80b4e4f68a303b7cde.jpg","纵28.5 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集于枯棘上，姿势各异，神态如生。\n枯棘下的竹枝色黄叶疏，点明了瑟瑟秋意。\n画家将聚集4只文鸟的重心着落于画面中心偏左的位置，而将另一文鸟绘于右侧高处的棘枝上以分散重心，但它回眸向下的眼神与另外4只相呼应，如此布局使画面既错落有致而重心突出。\n文鸟的描绘先勾出轮廓，再用细劲的笔锋绘出羽毛，并施以淡墨、赭石等色，渲染出毛绒的质感；竹叶使用双钩笔法，然后渲染；竹竿采用白描法；荆棘则一笔画出，显得苍劲老到。\n此图原载《宋人集绘册》。\n图绘家雀五只栖止于枯棘上，右下侧衬以双钩翠竹。\n五只 的神态，刻画极为精工。\n麻雀窃窃私语的神情，欲飞未飞的动态，以及它们茸茸的羽毛，圆而有神的眼睛，描绘得栩栩如生，使人感到如闻其声，如入其境。\n图中竹页用双钩，然后用花青、汁绿渲染，竹竿用白描，荆棘以一笔出之。\n小鸟勾出轮廓后用细笔丝出羽毛，具有毛茸茸的质感。\n此图无作者宽印，钤「宋荦审定」一印。\n本幅无款。\n鉴藏印钤“宋荦审定”。\n裱边题签：“宋人画霜篠寒雏”。\n经清代收藏家宋荦鉴藏，见《石渠宝笈三编》著录。",[23,106,24,83,27,7,65,185,3480],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa796d5d8ac8e342dc30faa9a1bfe80fb.jpg",[],{"id":24579,"slug":24580,"title":24581,"dynasty":60,"author":477,"museum":251,"description":24582,"tags":24583,"thumbUrl":24584,"material":6644,"size":24585,"collection":52,"collections":24586,"showCount":416,"zanCount":39,"manualWeight":39,"mainColor":159},221888,"za-hua-tu-ce-lan-hua-zhu-shi-chen-hong-shou-221888","杂画图册-兰花柱石","本册共八开，每开均有作者题跋及款印。所画题材有山水、人物、花鸟，全以工笔写之。山岩之结构，花蝶之动态，人物形象之奇特，均已加入了画家个人之造型意念，精彩绝伦。其中一册，以变形夸张的手法表现古拙奇崛的特征，描写佛教传说中的罗汉拄杖坐于大石上，对面跪拜一人，衣饰长摆，异国情调，突出了装饰性趣味，图页上自题名为“無法可說”，颇具禅机。另一册《玉兰柱石图》，图右侧一太湖石竖立，玲珑剔透，紧靠石下伸出一支玉兰花，石另一侧后面也露出一支海棠花，花上一只彩蝶。画家把握住不同的物象特征进行描绘，湖石的稳重坚硬，衬托出花朵的轻盈柔美，浓重的色调托出了玉兰的洁白。画面层次清晰，设色明丽温和，在线条的表现形式上，均用细劲的墨线勾勒，刚柔相济，巧拙互用，于对比中求统一。\n从署款和绘画风格看，此图是陈洪绶中前期作品，为其代表作之一。",[23,24,27,83,26,288,186,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccb47b5e42bf1487a0638711416eb14e.jpg","纵30.2＊横25.1ＣＭ",[],{"id":24588,"slug":24589,"title":24590,"dynasty":60,"author":24591,"museum":135,"description":24592,"tags":24593,"thumbUrl":24594,"material":33,"size":52,"collection":52,"collections":24595,"showCount":416,"zanCount":39,"manualWeight":39,"mainColor":40},216342,"xi-xiang-ji-cha-ye-11-min-qi-ji-216342","西厢记插页-11","闵齐伋","双蝶栖叶，一静一动间漾开清婉意趣。翅上蓝斑如星缀夜，墨纹似缕缠风，振翅时若携轻云掠过，停驻处则与鲜绿嫩叶相映，叶色嫩得能浸出春的湿润。旁侧题字墨韵流转，朱印点缀如丹砂落纸，书卷气与画意交织成柔网。淡彩晕染出朦胧质感，似将缱绻心事化入蝶翅叶隙，每一笔都轻得像呼吸，却深含古典温柔——仿佛能听见蝶翼振起的细响，触到叶尖的晨露，尽是东方美学里的清雅与灵动。",[24,27,83,7,214,808,31,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61ada3c7efd79eb81ce18c938d31ba2b.jpg",[],{"id":24597,"slug":24598,"title":24599,"dynasty":119,"author":3663,"museum":79,"description":20414,"tags":24600,"thumbUrl":24601,"material":109,"size":4596,"collection":52,"collections":24602,"showCount":416,"zanCount":39,"manualWeight":39,"mainColor":159},215005,"xie-sheng-hua-hui-ce-3-wang-yuan-215005","写生花卉册-3",[106,24,25,26,83,27,7,29,292,240],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad215f408fa695d5d7b8a54970bd32b7.jpg",[],{"id":24604,"slug":24605,"title":24606,"dynasty":60,"author":477,"museum":45,"description":24607,"tags":24608,"thumbUrl":24609,"material":534,"size":24610,"collection":52,"collections":24611,"showCount":416,"zanCount":39,"manualWeight":39,"mainColor":40},214542,"mo-gu-ce-ye-9-chen-hong-shou-214542","摹古册页-9","摹古册是指模仿古代的书写方式进行写字的一种书法形式。陈洪绶是一位著名的明代书法家，他的书法风格被认为是对古代书法的很好的摹写。\n\n陈洪绶，字仲容，号凤阁山人，原籍江苏无锡，生于明朝洪武十五年（1382年）。他是明朝著名的书法家，也是《颜氏书苑》的编辑之一。他的书法被认为是对古代书法的很好的摹写，具有浓郁的古典气息。他的书法作品有《陈洪绶书法集》和《陈洪绶书法精选》等。",[24,25,26,2730,627,64,7,214,226,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0871006fad8514bbe10169d42ceec06b.jpg","17.8x17.8cm",[],{"id":24613,"slug":24614,"title":24615,"dynasty":13182,"author":490,"museum":20,"description":24616,"tags":24617,"thumbUrl":24618,"material":52,"size":52,"collection":35,"collections":24619,"showCount":416,"zanCount":39,"manualWeight":39,"mainColor":24620},203328,"bei-ye-cao-chong-tu-zhou-qi-bai-shi-203328","贝叶草虫图轴","几片赭红叶片与淡墨枝茎错落交织，叶脉勾勒细劲，晕染出自然肌理。上方蝉翼轻薄透明，翅脉如丝清晰；下方螳螂翠色鲜活，肢足灵动欲跃。工笔草虫与写意花叶相映，笔墨兼具文人雅致与自然生机，白石老人以细致观察提炼平凡小景，于质朴中藏诗意，盎然情趣溢于纸间。",[24,83,399,7,3500,494,27,152,68,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71f8ec4dd3c619daadf2e4c3dd6d4a4e.jpg",[35],"d4cabd",{"id":24622,"slug":24623,"title":24624,"dynasty":18,"author":16982,"museum":20,"description":24625,"tags":24626,"thumbUrl":24627,"material":52,"size":52,"collection":52,"collections":24628,"showCount":416,"zanCount":39,"manualWeight":39,"mainColor":24629},203258,"hua-guo-tu-ce-chen-hong-shou-203258","花果图册","画面绘枇杷数枝，果实圆润饱满，淡彩晕染出温润质感，似凝露含甜；叶片以水墨挥写，笔触简劲洒脱，墨色浓淡相间，苍劲中见灵动。枝干交错有致，与花果相映成趣。旁题行书诗句，笔意流畅自然，朱红印信点缀，书画印浑然一体，漾出清逸文人雅韵。整幅作品写意生动，兼具金石韵味，质朴间尽显独特艺术风神。",[24,64,27,569,68,399,556,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd09e66c969aade6edfbd7195cb069e9a.jpg",[],"cfc0ad",{"id":24631,"slug":24632,"title":3095,"dynasty":13182,"author":3581,"museum":20,"description":24633,"tags":24634,"thumbUrl":24635,"material":52,"size":52,"collection":35,"collections":24636,"showCount":416,"zanCount":1398,"manualWeight":39,"mainColor":24637},203236,"hua-niao-tu-zhou-wang-zhen-203236","画面以灵动笔墨铺展，两羽翠鸟各踞一方，一栖崖石之巅，一立水中圆石，羽色鲜妍与墨石形成对比。山石以墨色皴擦显朴拙质感，淡墨线条勾出水波，清浅悠远。旁侧花叶施以设色，粉艳动人，竹叶劲挺如剑，笔触简练却神形兼备。整体构图错落有致，墨色浓淡相宜，于苍劲中见秀逸，将花鸟生机与自然意趣融于尺幅之间，尽显文人画的雅致韵味。",[7,27,64,186,4003,2564,3478,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a36bfac4a9c8967e584948092bdd94b.jpg",[35],"bdb09c",{"id":24639,"slug":24640,"title":24641,"dynasty":13182,"author":15360,"museum":20,"description":24642,"tags":24643,"thumbUrl":24645,"material":52,"size":52,"collection":35,"collections":24646,"showCount":416,"zanCount":39,"manualWeight":39,"mainColor":24647},203165,"mao-tou-ying-tu-zhou-gao-jian-fu-203165","猫头鹰图轴","猫头鹰敛翅蹲踞于虬曲老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珐瑯彩瓷黄地梅竹先春盘",[16540,5707,27,436,185,686,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51d8839d4a748d4e3a1f7b8a0ea9e8e4.jpg",[],{"id":25236,"slug":25237,"title":18061,"dynasty":195,"author":196,"museum":135,"description":25238,"tags":25239,"thumbUrl":25240,"material":52,"size":52,"collection":52,"collections":25241,"showCount":509,"zanCount":1398,"manualWeight":39,"mainColor":159},227933,"shuang-xiao-han-chu-tu-ye-yi-ming-227933","疏棘轻篠间，五只稚雀错落栖止。或垂首理羽，或探喙啄枝，或敛翅俯瞰，姿态灵动娇憨，尽显幼雀软萌天真。\n画师笔墨细腻入微，禽鸟绒毛以淡墨轻晕，层层敷色将绒羽蓬松柔润的质感晕染尽致，荆棘枯涩遒劲的枝桠与竹篠清润秀挺的叶片形成鲜明质感对比，烘托出深冬清萧寒寂的氛围。\n画面构图疏密相宜，淡古的绢底色调晕开沉静雅致的氛围感，于尺幅小景间铺展出冬日荒寒里的鲜活生机，尽显以小见大、于细微处撷取意趣的审美情致，淡韵悠长，耐人寻味。",[23,24,106,25,26,83,27,7,185,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd11bccfa0733fb47e60f50906728a46b.jpg",[],{"id":25243,"slug":25244,"title":23233,"dynasty":195,"author":196,"museum":135,"description":25245,"tags":25246,"thumbUrl":25247,"material":52,"size":52,"collection":52,"collections":25248,"showCount":509,"zanCount":39,"manualWeight":39,"mainColor":525},227849,"han-ke-shan-zhe-tu-yi-ming-227849","此作用笔苍劲老辣，绘就隆冬寒林之景。虬曲古柯凝着薄雪，枝桠枯瘦萧疏，晕染出彻骨清寒。两只山鹧栖于枝头，羽色晕染细腻，墨色浓淡间绒羽质感尽显，神态安闲静穆，为荒寂雪景添上灵动生机。\n\n整幅小品以极简布局营造出幽谧冷寂的意境，工写结合，山水小景与花鸟相映成趣，于简淡中藏着精微刻画，将冬日林泉的清冷凝寂与禽鸟的鲜活生机相融，尽显宋人清冷雅致的审美意趣，方寸之间，意蕴悠长。",[23,106,24,25,661,83,27,7,1841,1877,186,167,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8af24f946845e287b4724601d027e49d.jpg",[],{"id":25250,"slug":25251,"title":25252,"dynasty":195,"author":196,"museum":135,"description":25253,"tags":25254,"thumbUrl":25255,"material":52,"size":52,"collection":52,"collections":25256,"showCount":509,"zanCount":39,"manualWeight":39,"mainColor":40},227572,"zhu-tang-su-yan-tu-yi-ming-227572","竹塘宿雁图","此作以团扇取景，绘就郊塘夜色。虬曲老竹斜出坡岸，细劲笔意写尽竹叶萧疏清峭，枝桠间宿雁静敛羽翼隐伏其中，于幽暗中藏着生趣。塘水浅滩以淡墨晕染留白，将夜色空茫铺展开来，虚实相映间，把郊野清寂萧寒的意趣尽数烘托。\n\n笔触简淡老辣，以极简铺陈勾勒出秋日塘岸的荒寒淡远，尽显寄情林泉的幽淡襟怀，带着典型的雅致空寂审美意韵，淡墨轻痕里藏着侘寂出尘的林下幽思。",[23,106,24,25,83,27,185,1854,4821,7,1390],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5580d6774714bf40f3729bca7ab8ff08.jpg",[],{"id":25258,"slug":25259,"title":25260,"dynasty":4397,"author":196,"museum":135,"description":25261,"tags":25262,"thumbUrl":25264,"material":52,"size":52,"collection":52,"collections":25265,"showCount":509,"zanCount":39,"manualWeight":39,"mainColor":40},225520,"fu-shi-hui-278-yi-ming-225520","浮世绘278","画面里两只山雀意态悠然，一只栖于深紫花梢侧身回望，另一只踱步在生着红果的浅草间。明黄野菊错落绽放在暗红花枝间，暖亮色调揉开深紫的沉郁，赤红浆果与细柔草叶点缀出秋日野趣。\n\n笔触细腻柔和，设色调和雅致，留白舒展空灵，将禽鸟的灵动与草木的静柔相融。写实描摹花鸟情态，又带着东方写意留白的悠然，晕染出郊野秋日的娴静生机，尽显日式花鸟绘的温婉诗意。",[5665,5666,25263,27,7,287,808,3430,1445,19539,227,228],"版画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bebafe247c51f9e1b4eda1fc9647cb6.jpg",[],{"id":25267,"slug":25268,"title":25269,"dynasty":4397,"author":196,"museum":135,"description":25270,"tags":25271,"thumbUrl":25272,"material":275,"size":276,"collection":52,"collections":25273,"showCount":509,"zanCount":39,"manualWeight":39,"mainColor":40},225354,"fu-shi-hui-110-yi-ming-225354","浮世绘110","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。",[5665,64,7,167,5475],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F053df89da58ec73bf2824b8735fa286d.jpg",[],{"id":25275,"slug":25276,"title":25277,"dynasty":18,"author":1008,"museum":135,"description":25278,"tags":25279,"thumbUrl":25280,"material":52,"size":52,"collection":52,"collections":25281,"showCount":509,"zanCount":39,"manualWeight":39,"mainColor":40},224327,"hua-niao-shi-er-kai-5-li-shan-224327","花鸟十二开5","画面中两燕俯仰相和，墨色浓淡晕染出羽翼蓬松肌理，灵动宛然如生。左侧芦草花枝以枯湿变化的水墨绘就，笔意纵逸简括，萧疏野趣尽显。右侧题诗与画境呼应，诗书画印相融，尽显文人写意的随性疏朗。作者以洒脱放逸的笔墨，将秋日汀洲间燕子流连的闲趣铺陈开来，以极简的水墨语言传递出悠然澹远的雅致情调，借花鸟抒怀，尽显扬州画派以画言情的写意风骨。",[23,24,25,26,64,399,7,254,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba9de359a80a9cd10bd7bab4fcb4d4f7.jpg",[],{"id":25283,"slug":25284,"title":25285,"dynasty":18,"author":196,"museum":135,"description":18817,"tags":25286,"thumbUrl":25287,"material":275,"size":276,"collection":52,"collections":25288,"showCount":509,"zanCount":39,"manualWeight":39,"mainColor":159},224098,"qing-hua-hua-niao-wen-ru-yi-er-bian-hu-yi-ming-224098","青花花鸟纹如意耳扁壶",[5707,18819,7,436,185,686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5041bc934cf8aca2d6e7e265259e021e.jpg",[],{"id":25290,"slug":25291,"title":25292,"dynasty":195,"author":196,"museum":135,"description":25293,"tags":25294,"thumbUrl":252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尽显笔墨间的意趣与情致。",[24,25,152,7,357,64,27,106,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bca82ff12f2cc83153507d909aa35c3.jpg",[35],"ccc2b3",{"id":25672,"slug":25673,"title":25674,"dynasty":60,"author":19323,"museum":20,"description":25675,"tags":25676,"thumbUrl":25677,"material":52,"size":52,"collection":35,"collections":25678,"showCount":509,"zanCount":1398,"manualWeight":39,"mainColor":25679},201544,"lan-hua-tu-he-zhuang-juan-ma-shou-zhen-201544","兰花图合装卷","画面以水墨写意绘兰，笔势婉转灵动，兰叶修长舒展，墨色浓淡交织，尽显幽兰清逸之姿。几丛兰草错落排布，疏密有致，留白处意蕴空灵，暗合文人画中兰的高洁风骨。印章朱红点缀，与墨色相映成趣，更添古朴雅致。两位女画家笔墨交融，既有洒脱之态，又含温婉之情，传递出明代文人画的雅致意趣与对君子品格的追慕。",[24,64,254,7,68,25,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4dc833c4cf3c534f1409610d1f6e152.jpg",[35],"cdc6bd",{"id":25681,"slug":25682,"title":25683,"dynasty":195,"author":196,"museum":135,"description":25684,"tags":25685,"thumbUrl":25687,"material":275,"size":276,"collection":52,"collections":25688,"showCount":593,"zanCount":39,"manualWeight":39,"mainColor":4082},291010,"song-xiu-bai-ying-zhou-yi-ming-291010","宋绣白鹰轴","藏蓝底色如沉夜长空，将苍鹰衬得愈发醒目。绣线分毫毕现还原鹰身肌理，绒羽蓬松柔婉、正羽苍劲爽利，明暗晕染仿若笔绘。利爪紧扣木枝，目光斜睨远方，颈羽微张自带桀骜气度，脚间绦绳柔缓垂落，刚柔相济，消解了猛禽的戾气，更衬出鹰的凛然傲骨。\n\n以针代笔，将写实工致与写意神韵相融，把苍鹰暂居却不失英武的瞬间定格绢上，尽显丝绣工艺的极致匠心，将猛禽的孤傲风骨凝于方寸之间。",[152,4090,2227,807,7,6687,25686],"工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb3247327adb0dc78157b7678a51e132.jpg",[],{"id":25690,"slug":25691,"title":19763,"dynasty":195,"author":196,"museum":135,"description":25692,"tags":25693,"thumbUrl":25694,"material":275,"size":276,"collection":52,"collections":25695,"showCount":593,"zanCount":39,"manualWeight":39,"mainColor":40},290780,"qiu-kui-shuang-ji-yi-ming-290780","此作为缂丝小品，以丝代笔，尽显宋韵雅致。兰叶以青细缂线勾勒，舒展柔婉，自带清逸风骨；嫩黄兰花生机盈盈，花瓣层叠写实，晕染出温柔雅致的色调。旁侧芝菌朱红鲜亮，与幽绿、柔黄相映成趣，鲜活灵动。古雅鉴藏印章落于留白处，为画面添上古朴的传世底蕴。整体构图疏朗空灵，以简约物象铺陈出文人向往的幽澹清雅之境，将宋人的审美意趣融于丝丝缕缕之间，静雅脱俗，余韵悠长。",[24,26,7,254,27,4090,6687,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F284060df09d95e06d2253f71a60f2d5c.jpg",[],{"id":25697,"slug":25698,"title":25699,"dynasty":195,"author":196,"museum":135,"description":25700,"tags":25701,"thumbUrl":25702,"material":275,"size":276,"collection":52,"collections":25703,"showCount":593,"zanCount":39,"manualWeight":39,"mainColor":159},290750,"xiu-pen-ju-shi-yi-lian-zhou-yi-ming-290750","绣盆菊诗意帘轴","雨后看花兴自幽。花神不减旧风流。重开佳色邀金蝶。更吐新香染绣毬。晚节平分三径露。清标独占一园秋。年年賸有重阳约。尊酒何曾负胜游。 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流电激，唯恐后至。而况先生以书召，以币迎乎？”周与许多书画家来往密切，他在南京秦淮河畔的居处便成为众好友的活动中心。为史所称的“金陵八家”都与周亮工有密切的联系，龚贤便为其府上的常客，周氏汗牛充栋的藏书藏画使他大饱眼福。龚贤与周亮工有将近20年的友谊，诗画唱酬，造访论道，不绝于时。1672年，周亮工卒，龚贤悲痛地作有《哭栎下先生》七律四首，有句云“哭公独我头全白，在世人谁眼更青”。其他如樊圻在丁酉年（1657）为周亮工而作《江浦风帆图卷》（辽宁省博物馆藏），叶欣在丁亥年（1647）为周亮工而作《山水册》（故宫博物院藏），高岑作《金陵四十景图》，由周亮工题跋，邹喆亦与周亮工诗画 往来。\n凭着对南京画家的了解，周亮工对南京画风的演变和发展曾提出一些观点：“秣陵画，先知惟魏考叔兄弟，翰之出，而秣陵之画一变，士夫衲子无不宗之。”继被视为金陵画派先驱人物的魏之璜（字考叔）、魏之克兄弟和朱翰之后，又由周亮工率先提出“金陵八家”一说，他所列名的八位画家为：陈卓、吴宏、樊圻、邹喆、高岑、武丹、蔡泽、李又李。然而认同者仅有乾隆年间成书的《上元县志》，稍后活动于雍乾时期的张庚，在《国朝画徵录》中合称龚贤、樊圻、高岑、邹喆、吴宏、叶欣、胡慥、谢荪为“金陵八家”，得到较多人的认可。清末秦祖永的《桐荫论画》、李浚之的《清画家诗史》等均主其说，虽然这八家并不一定代表当时知名度最高的画家，且因其师承不同，风格迥异，也难以简单地以“画派”一词来归纳，但这一个松散的画家群体，都有着相近的生活经历和思想感情，在动荡的明清之际，有亡国之痛，有忠君之义，不事新朝，遁迹山林，以诗画寄兴，虽然个性各异，但都安贫乐道，洁身自好，在当地享有“高士”之名，彼此间亦有诗文书画往来，并有共同的朋友圈子相交往。他们之间也有较多共同的创作思想，如借绘画抒写真情，不拘于派系之争，不论浙派吴派，善法必学，故能自辟蹊径，标树己风。在笔墨技法上也有相似之处，如常用硬直之笔，作整饬的线条，画面结构清晰，注重笔墨的整体感，讲究墨色的对比和映衬等，在作画题材上多以南京近郊山水为粉本，均表现出一种简朴平实的绘画风格，由此形成17世纪金陵山水画的独特 面貌。\n\n二、17世纪金陵山水画的文化特征\n金陵画家所创的山水画，具有比较鲜明的地方特色。首先是表现了南京及附近的山水特点。南京虽然为青山环绕，但基本上是以小山头为主的丘陵地带，钟山最高峰也不过海拔442米，然而山色秀美苍润。时人顾起元曾赞叹道：“金陵之山，形家言为南龙尽处，精华之气发露无馀，故其山多妍媚，而郁纡烟容岚气，遝翠霏青，望之如古佛顶上之螺，美人眉间之黛，而特未有奇峰削壁拔地刺天，如瑶篸玉剑突起于云霄之上者。江水一泻千里，沙腾浪涌，天日为昏，最为怪伟。至静夜无风，江声隐起，余尝夜卧洪济燕矶听之，汹汹如欲崩四壁也。后湖泓渟坦沲，堤杨洲菼，绰约媚人，山色四围，如靓妆窥镜。湖山之美，何减虎林。所少者独瀑布与寒泉耳。”金陵画家创作的山水便多以此山景水色为蓝本，起伏的丘陵，苍秀的林木，而北方的那种雄浑伟岸的大山大势则比较少见。第二是南京连接江南水乡，河湖港汊较多，行船泊舟，最是司空见惯，故画家笔下江汀舟楫之景多见，岸矶草亭也成了常见的景色。第三，江南的空气湿润，云雾时起于山林，烟霭常生于河湖，尤其南京冬天昼夜温差有异，水面易生烟气，夏天炎热闷湿，暑气常多漫漫，又似薄雾轻烟，与天相接。在诗人画家的笔下，这氤氲的云烟是别饶情趣的。唐代诗人杜牧在《夜泊秦淮》中歌咏道“烟笼寒水月笼沙”，罗隐在《金陵夜泊》中歌咏“冷烟轻淡傍衰丛”，明代诗人顾梦游则有诗句道“落日淡生烟”，龚贤有诗道“老柳迷夕阳，烟波涨南浦”。画家笔下的金陵山水因此亦多云烟缭绕之状，几乎每个画家都有描绘，其表现或柔和或飘逸或湿润或轻扬，因景因情，因画家的感受不同而富于变化。第四，金陵山水中表现当地特色的景物较多见，例如：钟山的松树。据记载，钟山自东晋时便人工植松，宋代也曾种植，明代在钟山建造明代开国皇帝太祖朱元璋的孝陵，更是植松十万株。钟山青松便成为此一时期常见的山水画题材。第五，金陵山水画中有许多表现了当时文人生活时尚和爱好的内容，如山居、书屋、旅行、品茗、赏妓等，因南京为一著名的山林城市，这些反映时尚的画面也大多安置在秀丽的自然景观中。\n金陵山水画中也映现出浓重的怀旧情结。南京以名胜古迹、文化遗风和风流时尚著称，其处处可成为触景生情的诗、落笔成文的画。在诗人墨客的笔下，金陵怀古是一个永恒的题材，尤其是六朝的名胜典故，更是一个千古难解的情结，令一代又一代的文人陶醉。自唐代以来，诗人李白、杜甫、李商隐、刘禹锡都有著名的诗句传世，此后历代的诗人都不乏佳句。明末清初的文人诗作中或金陵山水画中若题有诗歌的，常常都会流露出这种对以往历史的追怀，六朝的名胜典故总像幽灵一样地在文人的诗画中徘徊。龚贤曾作《金陵怀古》二诗道：“短笛唤愁生，江船夜复清。月明争战地，潮打受降城。残柳欲无影，哀鸿只一声。石矶飞不去，凄绝古今情。”以西晋克吴、孙皓受降的六朝典故，抒发自己亡国的哀痛情怀。又有诗道：“江南六代风流地，白下多年翰墨场。古物已无王逸少，名人独剩顾长康。量宽嗜酒难逢醉，才大论诗莫禁枉。急办青钱买山隐，坐听深树候莺簧。”诗中综述六朝的文化和影响，表现出对王羲之、顾恺之等名人和六朝饮酒论诗等风流时尚的倾慕追往。\n即使那些暂居或游访过南京的画家，对南京也是难以忘怀。17世纪的著名画家石涛曾有册页名《秦淮忆旧》，为应友人之邀而作，回忆昔日与友人同在南京秦淮赏梅聚会的往事，亦引用六朝典故，其中一幅题画诗道：“沿溪四十九回折，搜尽秦淮六代奇。雪霁东山谁著屐，风高西壑自成诗。应怜孤瑟长年伴，具剩槎矛只几枝。满地落花春未了，酸心如豆耐人思。”六朝的文化，就像是一种范式，在明末清初的文人心中反复地出现和被吟咏，足见这种历史怀旧情结的坚韧。\n其三，金陵山水画反映出强烈的热爱故乡的情怀。17世纪，以地方景色为题的山水画比较流行，例如南京博物院收藏有明代宋懋晋的《江南十八景图册》、吴县一带的画家以虎丘山为题的绘画等，是文人画走向社会的表现，也是市民文化发达的结果，而以金陵风景名胜为题的山水画尤其突出。南京人爱恋故乡的强烈和真挚的程度是其他古都历史上所少见的。早在六朝之初的孙吴时期（甘露元年，265年），当吴末帝孙皓由建邺（今南京）迁都湖北武昌，百姓便有童谣道：“宁饮建邺水，不食武昌鱼。宁还建邺死，不止武昌居。”这种不计生死的眷恋，只得让吴帝于次年还都建邺，这在中国历史上恐怕也是绝无仅有的。另一个著名的例子是南唐后主李煜在被宋人俘获北上后，所作诗词中透露对故国山河的深深怀念，令人愁绝痛绝，“恰似一江春水向东流”，是超越时空界限的永远的伤怀。明清之际，金陵八家中，除樊圻和胡慥为本地人外，其余都为外地或郊县寓居南京的画家，但都表现出对南京的情有独钟，书画署名喜用“石城”“金陵”等南京的古称，将自己称作南京人。金陵八家之首的龚贤虽然自昆山移居南京，但对南京的感情很深，视南京为家，在外的奔波使他愁苦伤怀，“身老愁为客，迢迢返旧京”，亟盼着早些回到南京，并把南京选作自己最终的生活地点。明亡后，当他与友人费密同游金陵胜景，登上石头城，遥望长江，触景生情，激起了满腔难平的民族意识，遂发出“橐驼尔何物，驱入汉家营”的悲愤呼号。这种热爱故乡，热爱南京的情感，在艺术家们的笔下便诞生了金陵山水的另一种表现形式—“金陵四十八景”，将金陵的历史典故，风景名胜以山水画的形式和诗歌的吟诵来表现，并借着雕版印刷的简便，而得到雅俗的共赏。\n《金陵四十八景》的形成约在清代初年，其他则先后有零星的以金陵景色为题的书画，较为人知者如《金陵八景》《金陵十景》《金陵十八景》《金陵二十四景》《金陵四十景》等。《金陵八景》据画末题跋可知，作于万历庚子年（1600）春月，为江宁人郭存仁所绘，“八景”为“钟阜祥云、石城瑞雪、凤台秋月、龙江夜雨、白鹭晴波、乌衣晚照、秦淮渔唱、天印樵歌”，一图一咏，多基于六朝以来的历史典故和著名诗作。《金陵十景》，据《石渠宝笈续编》记载，是吴派画家之首的文徵明，在游览了金陵山水名胜后所作。《金陵十八景》为文徵明的侄子文伯仁（1502-1575）所绘，他号称摄山老农（摄山即今栖霞山），曾居住在南京，为金陵美丽的风光所感动而绘此图册。《金陵二十四景》，据1956年在湖南省长沙市发现的文物，是由文学家吴敬梓（1701-1754）所写《金陵景物图咏》，每篇诗末都注明所仿的碑帖，诗句工整，对南京的历史了如指掌。《金陵四十景》为太史朱之蕃所作。朱之蕃，江宁人，字元竹，号兰嵎，万历二十三年（1595）进士第一，工山水画，注意收集家乡江宁的山水名胜资料，“共得四十景，属陆生寿柏策蹇浮舫，躬历其境，图写逼真，撮举其概，各为小引，系以俚句”。图咏成后，朱之蕃命名为《金陵四十景图考诗咏》，并与当时的另一位太史杜士全常在金陵雅游，相互凭图咏唱。清初，金陵八家之一的高岑，字蔚生，虽老家在杭州，客居南京，但也倾心相爱这个城市，常署名“石城高岑”，平时也注意收集南京的历史资料，遍游南京的风景名胜，并在前人研究金陵胜景的基础上，精心绘制了《金陵四十景图》。清户部右侍郎、著名文人周亮工（1612-1672）为该图册写了题跋，这些图以后被刊入康熙年间的《江宁府志》。清代初年，又发展成为“金陵四十八景”。\n金陵画家包括八家的山水画中，亦有许多以金陵胜景为题的作品，甚至几代画家都钟情于此，父子者如邹典、邹喆，便都介入这一题材的创作。美国学者高居翰的景元斋收藏的《晚明人山水册》，共有10页，为不同的画家所绘，但都以南京的景色为题，如魏节“燕子矶”、黄益“献花岩”、龚达“龙江关”、谢成“幕府台”、龚贤“清凉台”、黄益“鸡笼山”、盛于斯“天阙山”、陆瑞征“玄武湖”、邹典“灵谷”、张翀“报恩塔”。又如，龚贤有《摄山栖霞图》《清凉环翠图》（故宫博物院藏），其他的金陵画家：樊圻有《江浦风帆图》、高岑有《天印樵歌图》（天津艺术博物馆藏），描绘南京附近天印山的景观，邹喆有《石城霁雪图》（上海博物馆藏），描绘南京的雪景，叶欣作《锺山图》（故宫博物院藏），描绘南京这一名山的景色。樊圻的《金陵寻胜图》，按照画后的题跋来看，应当还有吴宏的“燕矶”“莫愁”，龚贤的“清凉”“摄山”，陈卓的“天坛”“冶城”，柳堉的“天印”等画，皆是依金陵名胜的各景点而作的命题画。\n更难能可贵的是，柳堉在樊圻所绘的《金陵寻胜图卷》的题跋中还记载了当时南京人收藏金陵山水画，并以邀得名家作此命题画为荣的风尚，被视为金陵胜事，并引用一句“唯有家山不厌看”的古诗来解释这种特殊的现象。虽然这些地方山水画的繁荣或许与商业有一定的关系，但这种来自社会的热情要求和支持，足见南京人对自己故乡的热爱，这确实也是促使17世纪金陵山水画发达的原因之一。\n总之，以金陵八家为首的金陵画家，虽然各有师承，面目不一，但都能深入生活，以金陵近郊的山山水水为其粉本，融六法之精髓，入天然之丘壑，将热爱故国故乡的一腔真情和满腹怀恋都倾注于山岚变幻、草木蔚然的山水画中，故使金陵山水画独树一帜，在17世纪的画史上留下了辉煌的一页。古人道：诗为心声，画为心印，书为心画。明末清初的17世纪，金陵画家们所具有的独特艺术面貌，正是由特定的历史文化环境所造成的，从画家们无限的伤心和满怀勃郁的精神气质升华而来。那种强烈的民族意识和爱国情结，正是金陵画派山水作品内涵的共鸣、精神的统一和灵魂的所在。一位西方学者曾指出，南京是中国古都中最引人注目的城市，因为她曾经是并将永远是中国最令人怀旧和动情的城市。确实，那千古的金陵历史，千古的诗泉画源，千古的文人之魂，正是17世纪南京文化艺术繁荣的历史基因，也正是她的永恒魅力所在。",[24,25,26,27,83,7,286,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95884d1c35a89552d24b9a6e7a455c1b.jpg",[],{"id":26182,"slug":26183,"title":26184,"dynasty":195,"author":196,"museum":251,"description":26185,"tags":26186,"thumbUrl":26187,"material":1595,"size":26188,"collection":52,"collections":26189,"showCount":593,"zanCount":1398,"manualWeight":39,"mainColor":159},233001,"shuang-ke-zhu-jian-tu-ye-yi-ming-233001","霜柯竹涧图页","图绘山间冬季景色，天阴欲雪，霜柯临水，柯下溪涧奔流，水花飞溅，远处竹林葱茏。两只山鸟栖于枝头，眺望远方，将观赏者的目光引向画外，从而收到画尽而意无穷的艺术效果。图中老柯、丛竹用笔刚劲，水花、鸟羽笔触轻柔，流水奔腾不息，山石巍峨不动，使画面形成刚柔相济、动静对比的艺术效果。",[24,83,27,26,1841,1822,1393,167,90,7,1390],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a204c09fc7f7300ed08a4ffe8d3dc23.jpg","纵27.5厘米，横26.8厘米",[],{"id":26191,"slug":26192,"title":26193,"dynasty":4397,"author":20273,"museum":135,"description":20274,"tags":26194,"thumbUrl":26195,"material":275,"size":276,"collection":52,"collections":26196,"showCount":593,"zanCount":39,"manualWeight":39,"mainColor":40},231606,"ju-zhen-hua-pu-shang-zhong-xia-ce-xia-shou-ye-tan-you-231606","聚珍画谱.上中下册（下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嵌珠石蜻蜓簪",[12709,686,24940,17860,12526,7,292],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03a202876afdba6397584680aa2657b3.jpg",[],{"id":27434,"slug":27435,"title":27436,"dynasty":18,"author":11859,"museum":135,"description":27437,"tags":27438,"thumbUrl":27439,"material":52,"size":52,"collection":52,"collections":27440,"showCount":678,"zanCount":39,"manualWeight":39,"mainColor":40},224572,"mao-shi-pin-wu-tu-kao-si-ce-qing-ren-224572","毛诗品物图考（四）册","《域外汉籍珍本文库第一辑：经部（套装共5册）》是28年1月人民出版社出版的图书，作者是域外汉籍珍本文库第一辑：经部（套装共5册）。\n这批汉籍不乏宋元珍本，如《毛诗要义》为宋淳祐十二年魏克愚徽州郡斋刻本，有清人钱天树、莫友芝手识，今藏于日本天理大学附属图书馆，为日本“重要文化财”；《集韵》为宋淳熙十四年金州军刻本，存九卷，今藏于日本宫内厅图书寮，原系日本中世纪时代金泽文库外流汉籍之一种。\n又有鲜见的旧钞本，如清人钱大昭所撰的《广雅疏义》，原为归安陆心源皕宋楼之旧藏，今归日本静嘉堂文库。\n这批汉籍还收集了品质较好的和刻本等域外刊本。\n其中对元代卢以纬的《助语词》，分别采用了两种版本，均为和刻本，为学术界提供校勘之便。\n此外，日本、高丽等国学者所撰的汉文著作也选取有价值者数种，像日本江户时期大儒安井衡所撰的日本明治三年刊本《左传辑释》就具有很高的思想造诣。\n这也说明了汉籍在域外的流布影响深远。\n第一册 汉籍之路——《域外漠籍珍本文库》序言 柳斌杰 编纂凡例 泰轩易传 宋李中正撰 周易新讲义 宋龚原撰 尚书正义 唐孔颖达等奉敕撰 毛诗要义（一） 宋魏了翁撰 第二册 毛诗要义（二） 宋魏了翁撰 诗经讲义 朝鲜丁镛撰 毛诗品物图考 日本冈元凤纂辑 礼记正义，唐孔颖达等奉敕撰 左传辑释（一） 日本安井衡撰 第三册 左传辑释（二） 日本安井衡撰 春秋胡传 宋胡安国撰 古文孝经孔氏传 汉孔安国传 孝经郑注 汉郑玄撰 日本冈田挺之录 论语集解 魏何晏撰 皇氏论语义疏参订 清吴骞撰 孟子识 日本徂徕物撰 崇孟 日本肥后薮悫撰 乐书要录 唐武墨撰 第四册 广雅疏义 清钱大昭撰 重订冠解助语辞 元卢以纬撰 日本毛利贞斋编 助语词 元卢以纬撰 五经文字 唐张参撰 九经字样 唐玄度撰 篆隶万象名义（一） 日本空海撰 第五册 篆隶万象名义（二） 日本空海撰 集韵 宋丁度等奉敕修订 三韵声汇 朝鲜洪启禧撰 两苏经解 宋苏轼、苏辙撰",[24,25,26,83,27,7,7914,808,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa09d03ad3203d8837b963c6c84f630da.jpg",[],{"id":27442,"slug":27443,"title":27444,"dynasty":18,"author":1008,"museum":135,"description":27445,"tags":27446,"thumbUrl":27447,"material":52,"size":52,"collection":52,"collections":27448,"showCount":678,"zanCount":39,"manualWeight":39,"mainColor":40},224324,"hua-niao-shi-er-kai-2-li-shan-224324","花鸟十二开2","此作用笔刚柔相济，留白疏朗清寂。猛禽敛羽垂首，铁爪紧扣花枝，孤傲桀骜的野逸英气暗藏于静立姿态间，似正凝神窥察周遭动静。花卉以淡墨晕染出蓬松柔润的质感，叶片枯涩老辣，苍劲枝桠与悍猛禽鸟浑然相融。题字笔力雄健，与画面意趣相得益彰，寥寥数笔便将“英雄自立”的题旨藏于水墨之中，以简驭繁勾画出物象神韵，尽显文人写意的豪放清雅，把孤傲英挺的气概晕染在素笺之上，尽显水墨写意的精妙意趣。",[23,24,64,399,26,7,517],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb254c432b44c64947e17c010bbb0360c.jpg",[],{"id":27450,"slug":27451,"title":27452,"dynasty":18,"author":1008,"museum":135,"description":27453,"tags":27454,"thumbUrl":27455,"material":52,"size":52,"collection":52,"collections":27456,"showCount":678,"zanCount":39,"manualWeight":39,"mainColor":40},224323,"hua-niao-shi-er-kai-12-li-shan-224323","花鸟十二开12","以水墨写就牡丹，运笔纵放老辣，墨色层次丰盈，浓淡干湿晕染间，尽显牡丹华贵姿容。焦墨点簇花头苍润兼济，淡墨晕留白处虚灵雅致，枝叶穿插随性却不失章法，尽显挥毫时的酣畅意气。\n\n右侧行书题诗笔势跌宕，书画相映成趣，将文人写意的抒情特质尽显。画作不拘泥于形，以水墨替代设色，褪去浓艳，提炼出牡丹不恃色露风骨的意韵，尽显随性率真的写意风骨，于挥洒之间藏着画者寄情花木、不流于俗的文人襟怀。",[23,24,25,64,26,7,107,31,68,399],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd795af6042318958264f8c1bb453e04a.jpg",[],{"id":27458,"slug":27459,"title":27460,"dynasty":18,"author":1008,"museum":135,"description":27461,"tags":27462,"thumbUrl":27463,"material":52,"size":52,"collection":52,"collections":27464,"showCount":678,"zanCount":39,"manualWeight":39,"mainColor":40},224306,"hua-hui-shi-er-kai-7-li-shan-224306","花卉十二开7","此作以极简笔墨勾勒秋日闲景，构图疏朗留白有致。右上角淡墨绘藤蔓残叶，朱红果鲜亮醒目，晕染灵动，与浅淡枝叶相映成趣。下方枯枝上，禽鸟以浓淡墨色晕染出羽毛层次，昂首远眺姿态鲜活，仿佛正侧目红果，野趣横生。\n全画笔意纵逸随性，寥寥数笔便将禽鸟的机警灵动与秋果的鲜活生机尽显，浓淡墨色冷暖相映，简淡却意蕴悠长。配之题款朱印，文气雅致，尽显文人写意画的随性风神，将秋日一隅的幽寂生机悄然铺展，恬淡悠然，尽显写意花鸟的隽永意趣。",[23,24,25,26,64,27,7,65,452,243,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4eff5f05f84877912f8f80a3c7e379a0.jpg",[],{"id":27466,"slug":27467,"title":27468,"dynasty":18,"author":1008,"museum":135,"description":27469,"tags":27470,"thumbUrl":27471,"material":52,"size":52,"collection":52,"collections":27472,"showCount":678,"zanCount":39,"manualWeight":39,"mainColor":40},224303,"hua-hui-shi-er-kai-4-li-shan-224303","花卉十二开4","这幅小品兼用没骨与写意笔法，绘两折幽花。上枝柔茎修长，粉花轻妍，晕染细腻，尽显娇柔轻盈之态；下簇黄花明媚鲜亮，墨叶以阔笔挥就，浓淡交叠，苍劲中藏秀润，朴拙见灵动。\n\n左侧题诗与花木相衬，以花自喻，吐露清介襟怀，诗书画印浑然一体，尽显扬州画派纵恣文心。笔墨简括却意态丰盈，将花木的绰约风神与文人孤傲品格相融，清雅脱俗，余韵悠长。",[23,24,25,26,27,7,29,31,569,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff87a8cacac29b8f8f20ecdeeefa4100.jpg",[],{"id":27474,"slug":27475,"title":21440,"dynasty":195,"author":196,"museum":135,"description":27476,"tags":27477,"thumbUrl":27478,"material":52,"size":52,"collection":52,"collections":27479,"showCount":678,"zanCount":39,"manualWeight":39,"mainColor":159},223684,"xun-qin-fu-zhuo-tu-ye-yi-ming-223684","《宋人画驯禽俯啄图》是宋代佚名创作的绢本设色画。\n此图原载《宋元集绘册》。\n图绘一件浅蓝色瓷罐置于画面正中，一只小麻雀于罐沿上低头觅食。\n雀身系一赤色小绳，绳端拴一圆圈，以点出「驯禽」之意。\n作者先用细笔勾出鸟的轮廓，然后用细笔丝出羽绒，再用浓墨点出翅膀、鸟尾和眼珠，使小鸟的形象生动逼真，具有较强的质感。\n全图笔法工细，构图简洁，设色柔和自然。\n此图无款，旧题签为「驯禽俯啄」，现沿用此名。\n画面左下角钤「宋荦审定」一印。\n曾经清人宋荦收藏，《石渠宝笈三编》著录。\n本幅无款。\n钤鉴藏印“宋荦审定”。\n裱边题签：“宋人驯禽俯啄”。\n图中一只 立于浅蓝色敞口瓷罐上，低头欲啄罐沿。\n麻雀身系红绳，绳端拴一圆环，表示已被擒获豢养。\n麻雀属难以驯化之鸟，画面中的瓷罐内虽有白米，雀却不食，表达了向往自由生活的心愿。\n画家先以尖细之笔绘出麻雀的轮廓、羽绒，再用浓墨、淡赭点画出翅膀、尾羽和眼目。",[23,106,24,25,26,27,83,7,65,686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5063ca27005a536981c4ba62953d8db8.jpg",[],{"id":27481,"slug":27482,"title":25733,"dynasty":195,"author":196,"museum":135,"description":27483,"tags":27484,"thumbUrl":27485,"material":52,"size":52,"collection":52,"collections":27486,"showCount":678,"zanCount":39,"manualWeight":39,"mainColor":40},223628,"he-tang-xi-lai-tu-yi-ming-223628","《宋人画荷塘鸂鵣图》是宋代佚名创作的绢本设色画。\n烟雾迷蒙，一曲清溪，两岸夹植杨柳，间以红花。\n溪中莲叶点点，鸂鵣戏水，其乐融融。\n一行白鹭破空飞向远方，将观赏者的视线引向画外；蜿蜒的清溪，则将视线推向了画景深处。\n柳叶用攒笔点画，树干用双钩法绘出，鸂鵣以工笔刻画。\n设色柔和淡雅。\n小小的册页画中略用了深远与高远的画法，就使画面意境达到了深远的效果。\n对幅有清乾隆皇帝御题诗一首:“花鸟从来属剑南，水禽夏卉照晴潭。\n鸳鸯无碍称其紫，弟子有时胜彼蓝。\n水宿相呼如觧勅，沙群式度自能谙。\n涨滩落鸟寻常事，何涉西台纪怪谈。\n” 本幅无款印。\n清《石渠宝笈续编》著录。",[23,24,106,25,83,27,7,467,49,65,603,68,31,569],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8be29216666561141745ebb74a270e35.jpg",[],{"id":27488,"slug":27489,"title":27490,"dynasty":18,"author":5197,"museum":251,"description":26249,"tags":27491,"thumbUrl":27493,"material":1595,"size":26252,"collection":52,"collections":27494,"showCount":678,"zanCount":39,"manualWeight":39,"mainColor":40},223149,"yao-xie-shi-yi-tu-ce-di-er-kai-du-ye-ling-bo-jing-gu-deng-shi-er-zhi-ren-xiong-223149","姚燮诗意图册-第二开：独夜凌波景，孤镫是尔知",[23,24,26,627,64,27,569,68,7,518,27492,686],"孤灯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfc49c27cd0d54af838bc7165d4071cc.jpg",[],{"id":27496,"slug":27497,"title":27498,"dynasty":60,"author":477,"museum":1387,"description":5054,"tags":27499,"thumbUrl":27500,"material":26,"size":52,"collection":52,"collections":27501,"showCount":678,"zanCount":39,"manualWeight":39,"mainColor":40},221904,"hua-niao-jing-pin-ce-15-chen-hong-shou-221904","花鸟精品册15",[24,25,26,7,31,569,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bb0c8224e323424f7fb028cfad51774.jpg",[],{"id":27503,"slug":27504,"title":27505,"dynasty":60,"author":477,"museum":1387,"description":5054,"tags":27506,"thumbUrl":27507,"material":26,"size":52,"collection":52,"collections":27508,"showCount":678,"zanCount":39,"manualWeight":39,"mainColor":40},221902,"hua-niao-jing-pin-ce-13-chen-hong-shou-221902","花鸟精品册13",[24,25,26,7,27,83,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8436eb86c1ea7aa935e64dafe34640d.jpg",[],{"id":27510,"slug":27511,"title":27512,"dynasty":60,"author":196,"museum":368,"description":27513,"tags":27514,"thumbUrl":27515,"material":534,"size":52,"collection":52,"collections":27516,"showCount":678,"zanCount":39,"manualWeight":39,"mainColor":40},216747,"ming-qing-ren-hua-ce-1-yi-ming-216747","明清人画册-1","墨羽栖枝，浓淡泼洒间尽现翎毛丰致。枯枝以焦墨劲扫，苍劲如铁骨，旁逸藤蔓轻缠，添几分野趣。鸟之态敛翅沉思，眸中似含幽意，与空疏背景相映，愈显清寂孤高。\n\n笔墨兼融豪放与精微：泼墨处淋漓畅快，如疾风掠羽；细勾处精准传神，似银针点睛。题款朱印错落排布，与画面浑然一体，文气暗生。留白处意蕴悠长，不著一字而尽得风流，恰是文人画“以少胜多”之妙。\n\n观此帧如临秋林一隅，听寒枝微动，感水墨间流淌的淡泊孤怀。寥寥数笔，将天地清寂与文人幽思凝于尺幅，令人心折。",[24,25,26,64,7,167,1951,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F025742b8e3b1da956414bd6a706739fa.jpg",[],{"id":27518,"slug":27519,"title":2540,"dynasty":13182,"author":490,"museum":20,"description":27520,"tags":27521,"thumbUrl":27522,"material":52,"size":52,"collection":52,"collections":27523,"showCount":678,"zanCount":39,"manualWeight":39,"mainColor":27524},203285,"he-hua-tu-zhou-qi-bai-shi-203285","墨叶如盖，红花灼灼，齐白石笔下的荷花尽显生机与笔墨意趣。浓墨泼洒的荷叶层次丰富，干湿相间，笔力雄健，翻卷间似有清风拂过；淡墨茎秆挺拔拙朴，穿插有致。胭脂点染的荷花艳而不俗，或含苞或盛放，与墨叶形成强烈对比却和谐统一。枯莲蓬的点缀添几分秋意，质朴古拙。整幅画虚实相生，以少胜多，将写意花鸟神韵发挥极致，尽显“妙在似与不似之间”的艺术主张，是白石老人花鸟精品之作。",[24,64,27,7,467,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7438e1844d1c16c1b85fb0bfca005075.jpg",[],"ded9c6",{"id":27526,"slug":27527,"title":2063,"dynasty":18,"author":5036,"museum":20,"description":27528,"tags":27529,"thumbUrl":27530,"material":52,"size":52,"collection":52,"collections":27531,"showCount":678,"zanCount":39,"manualWeight":39,"mainColor":27532},203264,"hua-hui-tu-ce-wang-shi-shen-203264","枝头桃花次第绽放，细劲线条勾勒花瓣轮廓，淡墨晕染叶片，清雅脱俗。枝干用笔简练却含苍劲之态，与娇柔花朵相映成趣。旁附题诗与朱红印章，诗书画印浑然一体，尽显文人画的雅致情韵，观之如嗅花香，沁人心脾。",[24,26,627,27,7,123,20551],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a03bbd1025fa7db4488739a83766c9c.jpg",[],"e9c08b",{"id":27534,"slug":27535,"title":27536,"dynasty":18,"author":853,"museum":20,"description":27537,"tags":27538,"thumbUrl":27539,"material":52,"size":52,"collection":52,"collections":27540,"showCount":678,"zanCount":39,"manualWeight":39,"mainColor":27541},203252,"xie-sheng-hua-hui-tu-ce-zou-yi-gui-203252","写生花卉图册","藤蔓婉转攀援，紫花垂串如瀑，叶片的脉络与花瓣的褶皱皆以工笔细勾，设色淡雅温润，既保留了花卉的自然生机，又透着文人画的清逸韵致。笔触细腻却不繁琐，将紫藤的柔蔓与花穗的轻盈感刻画得入木三分，尽显写生之精妙——于方寸间捕捉自然意趣，让观者仿佛能嗅到花香，触到叶的温润。",[83,27,7,48,10256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde2736ad7ff1700ef44caf561e135af2.jpg",[],"d6c7ba",{"id":27543,"slug":27544,"title":19964,"dynasty":13182,"author":490,"museum":20,"description":27545,"tags":27546,"thumbUrl":27547,"material":52,"size":52,"collection":52,"collections":27548,"showCount":678,"zanCount":39,"manualWeight":39,"mainColor":27549},203237,"he-hua-yuan-yang-tu-zhou-qi-bai-shi-203237","这幅画中，荷叶以泼墨兼淡彩写出，阔笔挥洒间尽显水墨韵味；荷花艳红灼灼，与青碧荷叶相映成趣。水面上鸳鸯嬉戏，色彩明快鲜活，姿态憨然生动，尽显自然意趣。蜻蜓翩跹于荷间，点染出荷塘的鲜活生机。整幅作品笔墨简练，形神兼备，以自然之趣入画，尽显对生活细节的敏锐捕捉与独特艺术表现力，是花鸟题材中的精品。",[24,152,27,7,467,167,21094],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60764e2f57ec5efdceba73c8ed83502c.jpg",[],"cac6b9",{"id":27551,"slug":27552,"title":27553,"dynasty":13182,"author":490,"museum":20,"description":27554,"tags":27555,"thumbUrl":27556,"material":52,"size":52,"collection":35,"collections":27557,"showCount":678,"zanCount":39,"manualWeight":39,"mainColor":27558},203234,"ju-jiu-tu-zhou-qi-bai-shi-203234","菊酒图轴","画面以疏朗之构铺陈，秋菊与酒具相映成趣。红菊艳而不妖，花瓣层叠间见笔墨的灵动；黄菊雅而有致，色泽明快却不失内敛。墨叶以泼墨法挥洒，浓淡交织中尽显笔力雄健，与设色花朵形成鲜明对比。下方酒器线条极简，瓶的修长与杯的小巧相呼应，朴素天真里藏着生活意趣。整作笔墨凝练，将文人赏菊饮酒的闲逸心境，融于写意的挥洒间，简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"天鹅绒白。清代除烧白瓷外，盛烧青花与彩绘瓷器。元代以来，德化窑瓷器输出海外，菲律宾、马来西亚出土有元代德化窑青白瓷，泰国及东非坦桑尼亚等国家也出土有清代德化窑青花瓷器。\n这种瓷器的制作工艺程序如下：他们从地下挖取一种泥土，将它垒成一个大堆，任凭风吹、雨打、日晒，从不翻动，历时三、四十年。泥土经过这种处理，质地变得更加纯化精炼，适合制造上述各种器皿，然后抹上认为颜色合宜的釉，再将瓷器放入窑内或炉里烧制而成。因此，人们挖泥堆土，目的是替自已的儿孙贮备制造瓷器的材料而已，大量的瓷器是在城中出售， 一个威尼斯银币能买到八个瓷杯“。马可波罗的介绍，引起了西方人的强烈兴趣。",[5707,22182,7,686,27,4054],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F275277fab24ce8200857e3be5f2719fe.jpg",[9263],{"id":28180,"slug":28181,"title":28182,"dynasty":18,"author":196,"museum":135,"description":20668,"tags":28183,"thumbUrl":28185,"material":275,"size":276,"collection":52,"collections":28186,"showCount":5,"zanCount":1398,"manualWeight":39,"mainColor":159},260580,"yong-zheng-kuan-qing-hua-hua-niao-wen-shuang-er-bian-hu-yi-ming-260580","雍正款青花花鸟纹双耳扁壶",[5707,18819,7,436,185,167,28184],"扁壶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7495a29422918386cd03747c1ffa9cf7.jpg",[],{"id":28188,"slug":28189,"title":28190,"dynasty":18,"author":196,"museum":135,"description":16059,"tags":28191,"thumbUrl":28193,"material":275,"size":276,"collection":9263,"collections":28194,"showCount":5,"zanCount":39,"manualWeight":39,"mainColor":4082},260111,"li-ling-yao-you-xia-wu-cai-hua-niao-wen-ping-yi-ming-260111","醴陵窑釉下五彩花鸟纹瓶",[5707,28192,7,291,7685],"釉下五彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3d3b0be52a29300751beb035046d741.jpg",[9263],{"id":28196,"slug":28197,"title":28198,"dynasty":18,"author":196,"museum":135,"description":28199,"tags":28200,"thumbUrl":28202,"material":275,"size":276,"collection":52,"collections":28203,"showCount":5,"zanCount":39,"manualWeight":39,"mainColor":4082},259859,"cheng-hua-kuan-dou-cai-ji-gang-bei-yi-ming-259859","成化款斗彩鸡缸杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[5707,24981,28201,4947,4054,1416,7],"鸡缸杯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97bf6017a597b1fd13a623d4005d4980.jpg",[],{"id":28205,"slug":28206,"title":28207,"dynasty":18,"author":196,"museum":135,"description":22636,"tags":28208,"thumbUrl":28211,"material":275,"size":276,"collection":9263,"collections":28212,"showCount":5,"zanCount":39,"manualWeight":39,"mainColor":4082},259574,"yi-xing-yao-zi-sha-hua-niao-tu-liu-fang-gai-guan-yi-ming-259574","宜兴窑紫砂花鸟图六方盖罐",[5707,26953,28209,28210,7,436,7445],"盖罐","六方","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e0b45f01b1e5dc9f9c17f01351ee8c3.jpg",[9263],{"id":28214,"slug":28215,"title":28216,"dynasty":18,"author":196,"museum":135,"description":19485,"tags":28217,"thumbUrl":28218,"material":275,"size":276,"collection":52,"collections":28219,"showCount":5,"zanCount":1398,"manualWeight":39,"mainColor":159},259526,"da-ya-zhai-kuan-zi-di-fen-cai-hua-niao-tu-he-yi-ming-259526","大雅斋款紫地粉彩花鸟图盒",[5707,9260,7,167,107,686,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bace90aadc3a3e157ce7b21d824e7de.jpg",[],{"id":28221,"slug":28222,"title":28223,"dynasty":18,"author":196,"museum":135,"description":19485,"tags":28224,"thumbUrl":28226,"material":275,"size":276,"collection":52,"collections":28227,"showCount":5,"zanCount":39,"manualWeight":39,"mainColor":40},258871,"lv-di-mo-cai-ju-hua-wen-yuan-he-yi-ming-258871","绿地墨彩菊花纹圆盒",[18,5707,28225,27,287,7,686],"绿地墨彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b7bb0de9cbe4116a10ba00ad68e9825.jpg",[],{"id":28229,"slug":28230,"title":28231,"dynasty":18,"author":196,"museum":135,"description":10915,"tags":28232,"thumbUrl":28233,"material":275,"size":276,"collection":52,"collections":28234,"showCount":5,"zanCount":39,"manualWeight":39,"mainColor":525},258741,"jia-qing-kuan-fen-cai-hua-niao-tu-ping-yi-ming-258741","嘉庆款粉彩花鸟图瓶",[5707,9260,27,83,7,49,65,686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87721051eac1abeb240d78b2485873a5.jpg",[],{"id":28236,"slug":28237,"title":28238,"dynasty":18,"author":196,"museum":135,"description":27000,"tags":28239,"thumbUrl":28241,"material":275,"size":276,"collection":52,"collections":28242,"showCount":5,"zanCount":39,"manualWeight":39,"mainColor":159},258739,"jia-qing-kuan-fen-cai-lu-lian-wen-zun-yi-ming-258739","嘉庆款粉彩鹭莲纹尊",[139,5707,9260,27,7,4182,49,50,28240,19855],"莲纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3f74e2c58babdb7484f213e3abfc29e.jpg",[],{"id":28244,"slug":28245,"title":28246,"dynasty":18,"author":196,"museum":135,"description":10915,"tags":28247,"thumbUrl":28249,"material":275,"size":276,"collection":52,"collections":28250,"showCount":5,"zanCount":39,"manualWeight":39,"ma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