[{"data":1,"prerenderedAt":287},["ShallowReactive",2],{"subject-hua-zhi":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},569,"hua-zhi","花枝","花枝画高清赏析","精选中国历代花枝题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72dce6c05ee3a6261718b6a2739096a2.jpg",0,19,[14,42,65,79,96,117,134,143,156,166,174,195,205,214,229,237,249,257,274],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":34,"material":35,"size":36,"collection":37,"collections":38,"showCount":39,"zanCount":40,"manualWeight":11,"mainColor":41},219872,"er-shi-si-fan-hua-xin-feng-tu-mu-dan-yu-liu-hua-dong-gao-219872","二十四番花信风图-牡丹与柳花","清","董诰","台北故宫博物院","古人认为春风守信，如期而来，催开百花，称为“花信风”。春天自“小寒”到“谷雨”经历四个月，共八节气，每五天为一候，前后为二十四番花信风，以梅花居首，楝花居末。此套《画二十四番花信风图》册页十二开，共二十四幅，画二十四番花信风。",[23,24,25,26,27,28,29,30,7,31,32,33],"名画","国画","书画","册","设色","工笔","牡丹","柳花","柳叶","枝干","题款","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb09a9f572835af6efd69b2ef51c9f79a.jpg","纸本,设色","20x14.2厘米","",[],246,1,"BDBDBD",{"id":43,"slug":44,"title":45,"dynasty":46,"author":47,"museum":48,"description":49,"tags":50,"thumbUrl":58,"material":59,"size":60,"collection":61,"collections":62,"showCount":63,"zanCount":40,"manualWeight":11,"mainColor":64},216730,"hua-niao-tu-lv-ji-216730","花鸟图","明","吕纪","大英博物馆","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》。",[51,24,28,27,52,53,54,55,56,7,57],"高清","花鸟","柳树","鸭子","飞鸟","水面","树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc9c824b65ade19907e1c12b75fb4b1.jpg","绢本,设色","200x102.8cm","花鸟画精选",[61],185,"795548",{"id":66,"slug":67,"title":68,"dynasty":46,"author":47,"museum":20,"description":69,"tags":70,"thumbUrl":75,"material":59,"size":76,"collection":61,"collections":77,"showCount":78,"zanCount":11,"manualWeight":11,"mainColor":64},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。",[24,25,71,28,27,52,72,73,74,7],"立轴","梅","鸟","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6167804c0c9e5cfe350a337b21ab551e.jpg","137.4x42cm",[61],87,{"id":80,"slug":81,"title":82,"dynasty":46,"author":83,"museum":84,"description":85,"tags":86,"thumbUrl":90,"material":91,"size":92,"collection":93,"collections":94,"showCount":95,"zanCount":40,"manualWeight":11,"mainColor":41},235686,"shan-shui-hua-hui-ce-xiang-sheng-mo-235686","山水花卉册","项圣谟","藏地不详","项圣谟，初字逸，后字孔彰，号易庵，别号有胥山樵、存存居士、醉风人、大酉山人、莲塘居士、烟波钓徒、松涛散仙、逸叟、狂吟客、鸳湖钓叟、不夜楼中士等等，浙江嘉兴人。",[24,25,26,27,52,7,87,88,89],"花朵","叶子","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1058fce6fc406a605fe3444ec1a25c9.jpg","未知","Xcm*Xcm","山水画精选",[93],69,{"id":97,"slug":98,"title":99,"dynasty":46,"author":100,"museum":20,"description":101,"tags":102,"thumbUrl":112,"material":113,"size":114,"collection":37,"collections":115,"showCount":116,"zanCount":40,"manualWeight":11,"mainColor":41},222571,"hua-hui-shan-mian-chen-chun-222571","花卉扇面","陈淳","陈淳，1483年生，1544年逝世（另一种说法是1482—1539），长洲（今江苏苏州）人。字道复，后以字行，更字复甫，号白阳，又号白阳山人。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。在绘画史上，陈淳与徐渭并称为“白阳、青藤”， 陈淳的绘画当属文人隽雅一路的，即“白阳”一派画家。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。\n陈淳中年以后间作山水，技法学米友仁、高克恭，多以江南风景为题材，手法简练，极具文人生活情趣，文徵明曾微笑着说：“吾道复举业师耳，渠书、画自有门径，非吾徒也。”存世作品有《红梨诗画图》《山茶水仙图》《葵石图》《罨画图》等。其子陈括继承父风、擅花卉。\n陈淳绘山水，效法米友仁、高克恭，水墨淋漓，颇得氤氲之气。他的泼墨之功，往往见于画烟云之中。在写意花卉方面，陈淳独得玄门，笔法挥洒自如，富有疏朗轻健的风姿，用墨设色，则如徐沁所谓“浅色淡墨之痕俱化矣！”王世贞在《州续稿》中说：“胜国（元朝）以来，写花卉者无如吾吴郡，而吴郡自沈启南（周）后，无如陈道确，陆叔平（治）”。近代画家如蒲华、吴昌硕、齐白石等，在诗文题书画中，都对陈淳做出了极高的评价。明万历年间即有人曾评价过陈淳在花卉方面的造诣和声誉都超过了文征明，成为继沈周之后的吴门大家。明清以来画家，尤其在花鸟画方面，受他的影响很深。他与徐渭齐名，人称“青藤白阳”。现存的陈淳作品大部分均在博物馆收藏，民间甚少得见。",[51,24,25,103,104,105,27,106,107,7,108,109,110,111],"扇面","写意","水墨","行书","花卉","花叶","写意花鸟","笔墨","题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77b227089b3a30105cdc5394e4006f97.jpg","纸本，泥金","纵18.6厘米横54.1厘米",[],47,{"id":118,"slug":119,"title":120,"dynasty":18,"author":121,"museum":84,"description":122,"tags":123,"thumbUrl":131,"material":91,"size":92,"collection":37,"collections":132,"showCount":133,"zanCount":40,"manualWeight":11,"mainColor":41},230210,"hua-niao-ce-ye-lang-shi-ning-230210","花鸟册页","郎世宁","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。",[51,23,24,25,124,28,27,125,126,52,57,7,127,128,129,32,130,106,89],"册页","中西合璧","写实","红花","白花","绿叶","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd86884ab1f15d686ff36b410f28ce7da.jpg",[],17,{"id":135,"slug":136,"title":137,"dynasty":18,"author":19,"museum":84,"description":138,"tags":139,"thumbUrl":140,"material":91,"size":92,"collection":37,"collections":141,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":41},238788,"hua-hui-xiao-ce-dong-gao-238788","花卉小册","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），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”。",[24,25,26,27,28,52,72,107,7,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fa98bc9fef8c58187d59a109deb5c61.jpg",[],10,{"id":144,"slug":145,"title":146,"dynasty":18,"author":121,"museum":147,"description":148,"tags":149,"thumbUrl":152,"material":153,"size":154,"collection":37,"collections":155,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":41},222786,"hua-niao-ce-ye-06-lang-shi-ning-222786","花鸟册页06","北京故宫博物院","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。",[51,24,25,52,124,28,27,126,125,150,7,74,107,151],"兰花","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cfbd368ce8a13d8f1c449151eb2224a.jpg","绢本，设色","纵32.6厘米，横28.6厘米",[],{"id":157,"slug":158,"title":159,"dynasty":18,"author":160,"museum":84,"description":161,"tags":162,"thumbUrl":163,"material":91,"size":92,"collection":37,"collections":164,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":41},238853,"mian-yi-hua-hui-xiao-ce-mian-yi-238853","绵亿花卉小册","绵亿","绵亿（1764年9月10日－1815年4月14日），直隶省顺天府大兴县（今北京市）人，清高宗弘历之孙，荣纯亲王永琪第五子，母侧福晋索绰罗氏，左都御使观保之女。",[24,25,26,105,27,52,72,7,89],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c9d2add75aa8c6b7388eec0232f4f0.jpg",[],8,{"id":167,"slug":168,"title":137,"dynasty":18,"author":19,"museum":84,"description":138,"tags":169,"thumbUrl":171,"material":91,"size":92,"collection":37,"collections":172,"showCount":173,"zanCount":11,"manualWeight":11,"mainColor":41},238810,"hua-hui-xiao-ce-dong-gao-238810",[24,25,26,27,28,107,7,88,170],"花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c5172d8c64b037f0cff9619f760f867.jpg",[],7,{"id":175,"slug":176,"title":177,"dynasty":18,"author":178,"museum":84,"description":179,"tags":180,"thumbUrl":191,"material":91,"size":92,"collection":37,"collections":192,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":194},242061,"yin-du-jin-qian-bao-shi-hai-tang-wen-hua-zhi-yi-ming-242061","银镀金嵌宝石海棠纹花枝","佚名","以银镀金为骨，深浅点翠晕出海棠枝叶，湖蓝与宝蓝层次分明，宛若将春日枝头的鲜活凝于发间。粉润玉石、莹白珠串错落点缀枝桠，与鎏金花蕾相映成趣，柔婉雅致中带着灵动生机。\n花丝攒起精巧架构，点翠的莹润光泽配珠宝明润质感，将中式妆饰的华贵与清雅揉合一处。匠人以细腻工法，把海棠盛放前的柔媚鲜活定格成发间饰品，藏着旧时闺阁的春日意趣，尽显传统首饰工艺的精妙匠心。",[181,182,183,184,7,185,186,187,188,189,190],"清代","银镀金","嵌宝石","海棠纹","饰品","镶嵌","雕刻","银器","金器","金属工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a2da29e258ef53e51e75fe4bf17d07b.jpg",[],6,"FFFFFF",{"id":196,"slug":197,"title":198,"dynasty":46,"author":199,"museum":84,"description":200,"tags":201,"thumbUrl":203,"material":37,"size":37,"collection":37,"collections":204,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":41},236549,"hua-niao-ce-tang-zhi-yin-236549","花鸟册","唐志尹","唐志尹[清]字相五，江苏扬州人，住姜堰。一作字聘三，海陵（今泰州）人。志契弟。花鸟得吕纪、王偕之传。所居万竹园，冒襄、蓝瑛辈尝过访之。康熙（一六六二至一七二二）初年八十余。与侄日昌，兄志契时称三唐。《泰州志、无声诗史、图绘宝鉴续纂、画史会要》",[24,202,26,28,27,52,72,73,7],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1eae2629affceb483d168e612852592.jpg",[],{"id":206,"slug":207,"title":198,"dynasty":46,"author":199,"museum":84,"description":200,"tags":208,"thumbUrl":212,"material":37,"size":37,"collection":37,"collections":213,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":41},236545,"hua-niao-ce-tang-zhi-yin-236545",[24,28,27,26,52,73,209,7,210,211],"月季","枝叶","小虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22154a19b4a6b8f310af6db26246b4aa.jpg",[],{"id":215,"slug":216,"title":217,"dynasty":218,"author":178,"museum":84,"description":219,"tags":220,"thumbUrl":227,"material":91,"size":92,"collection":37,"collections":228,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":64},223858,"que-rao-hua-zhi-wen-jing-yi-ming-223858","雀饶花枝纹镜","唐","唐代是中国古代铜镜制造的鼎盛时期，唐镜不仅继承了汉魏的文化传统，而且吸收了边疆民族的艺术成就，同时对外来（主要是波斯、印度）文化中的优秀部分也兼收并蓄，融汇一体，构图更加精细，使铜镜艺术达到了一个新的高峰。铸镜业是唐代最精细的工艺，每逢八月五日（唐玄宗生日）人们都将铜镜作为礼品送人，祝福长寿，这一天被定名为“千秋金鉴节”（金鉴指铜镜）。",[221,222,187,223,224,7,55,225,226],"唐代","铜制","铸造","雀","纹饰","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a563f0ce4fd6991368b2310e3230519.jpg",[],{"id":230,"slug":231,"title":137,"dynasty":18,"author":19,"museum":84,"description":138,"tags":232,"thumbUrl":234,"material":91,"size":92,"collection":37,"collections":235,"showCount":236,"zanCount":11,"manualWeight":11,"mainColor":41},238800,"hua-hui-xiao-ce-dong-gao-238800",[24,25,26,27,28,52,233,7,108],"桃花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe353806db5f74718e6ad7fdae32f84a0.jpg",[],5,{"id":238,"slug":239,"title":240,"dynasty":241,"author":178,"museum":84,"description":242,"tags":243,"thumbUrl":246,"material":91,"size":92,"collection":37,"collections":247,"showCount":248,"zanCount":40,"manualWeight":11,"mainColor":41},230760,"jia-xiang-qian-hua-zhi-yi-ming-230760","假镶嵌花枝","不详","此件花枝以铜胎鎏金塑就莲形，舒展的花瓣带着柔婉弧度，鎏金蒙着岁月薄翳仍晕着暖润光泽。残存的点翠嵌饰凝着澄澈湖色，与鎏金相衬，依稀可见当年明丽鲜活。\n\n残缺未折损其美，反倒添了时光沉淀的温婉韵味。它曾斜簪鬓间，晕开闺阁日常里的清雅致趣，藏着古时女儿家对美的细腻追求，将寻常晕染出诗意。如今静立，似仍带着旧时脂粉余温，静静诉说东方古早的妆饰美学。",[185,244,245,7],"金属","假镶嵌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0bd71a11b23847633aa1fadfc60b078.jpg",[],4,{"id":250,"slug":251,"title":252,"dynasty":218,"author":178,"museum":84,"description":219,"tags":253,"thumbUrl":255,"material":91,"size":92,"collection":37,"collections":256,"showCount":248,"zanCount":11,"manualWeight":11,"mainColor":64},223854,"wu-yan-hua-zhi-wen-jing-yi-ming-223854","舞燕花枝纹镜",[221,222,187,254,7,226],"燕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F789d567a68255b29a0e437444abce13d.jpg",[],{"id":258,"slug":259,"title":260,"dynasty":241,"author":178,"museum":84,"description":261,"tags":262,"thumbUrl":272,"material":91,"size":92,"collection":37,"collections":273,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":41},289142,"marcantonio-franceschini-allegorical-figure-yi-ming-289142","Marcantonio Franceschini--Allegorical Figure","圆形拱顶托举着缥缈天界，中心少女与独角兽相依，仰首望空神色虔诚安宁，独角兽垂首亲昵，将纯洁寓意藏进相依的温柔里。右侧侍女持花回眸，柔缓线条勾勒出曼妙体态，眉眼流转间带着恭谨柔婉。下方孩童捧瓶憨坐，稚嫩神态为画面添上鲜活暖意。\n\n淡墨晕染铺陈明暗，衣袂褶皱蓬松舒展，云絮将人物托举于虚空，笔触细腻又不失松弛韵律，将神性圣洁与古典柔美元气晕开在纸面，人物间的无声呼应织就静谧庄重的氛围感，把寓言的悠远诗意娓娓道来。",[263,264,265,266,267,268,269,7,270,271],"素描","淡彩","寓言主题","独角兽","女性","孩童","云","西洋画","古典风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F442d3044d6b6fbea88f7b5d558d8f18c.jpg",[],{"id":275,"slug":276,"title":277,"dynasty":18,"author":278,"museum":279,"description":280,"tags":281,"thumbUrl":284,"material":37,"size":37,"collection":61,"collections":285,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":286},201372,"hua-shan-ye-xin-201372","画扇","叶欣","上海博物馆","扇面之上，虬枝横斜，繁花绽处粉白相映，叶片脉络清晰可见。一只禽鸟独立枝间，翎羽层次细腻，翅上蓝纹如染，姿态悠然望向上方轻飞的小虫，生趣暗生。笔墨工致，设色淡雅温润，与古旧扇面底色交融，尽显传统花鸟的婉约意韵。方寸之间，疏密得宜，将自然生机凝于扇骨开合之际，足见匠心。",[103,52,28,27,55,7,264,282,283,51],"细腻","禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82986b2461810b81a976caeefc9ab4a3.jpg",[61],"d2ad95",1777535721165]