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。\n画中描写了六位衣着艳丽的贵族妇女及其侍女于春夏之交赏花游园。\n画作不设背景，以工笔重彩绘仕女五人，女侍一人，另有小狗、白鹤及辛夷花点缀其间。\n全图六个人物的主次、远近安排巧妙，景物衬托少而精。\n两只小狗、一只白鹤、一株辛黄花使原本显得孤立的人物产生了左右呼应、前后联系的关系。\n半罩半露的透明织衫，使人物形象显得丰腴而华贵。\n而用笔和线条却细劲有神，流动多姿。\n浓丽的设色，头发的钩染、面部的晕色、衣着的装饰，都极尽工巧之能事，较好地表现了贵族妇女的细腻柔嫩的肌肤和丝织物的纹饰。\n《簪花仕女图》是 贵族人物画风格的代表。\n同时也体现出贵族仕女养尊处优、无所事事、游戏于花蝶鹤犬之间的生活情态。\n画面左端开始婷婷而立的髻插芍药花的贵族仕女，浅紫色的纱衫上，有以四个斜角田宇为一组的菱纹。\n白地帔子绘有彩色云鹤，从肩后身向前胸下垂。\n她右手举着刚捕捉的蝴蝶，左手提起帔子，使它成为垂直。\n她上身往前微倾，以迎接向她跑来的小狗。\n画面左起第二位妇女身材娇小，神情庄重，身着朱红披风，外套紫色纱罩，从远处巧移莲步而来。\n发髻上插海棠花，脖子饰金质云纹项圈。\n白裙上的紫色团花，从纱衫的下面透出，显得十分艳丽。\n破子从后肩向两臂平分下垂，双手抓紧薄纱，掩着帔子，同时也紧束了宽大的衣服。\n画面左起第三位贵族女人髻插荷花，身披白花格子纱衫，胸前束朱色斜格长裙曳于地而，紫色帔子上有粉和青花枝纹样。\n她右手略向上举，反掌拈红花一枝，左手髻上取下金钗朝着右边移去，目光注视新折下来的花枝，凝神遐思，准备将它插上发髻最显眼的地方。\n在她的面前有一只举足欲行的丹顶鹤，似乎引不起她一点兴趣。\n画面左起第四位侧立着的侍女执长柄团扇，团扇上绘着盛开的牡丹，红花绿叶相衬托，格外亮丽。\n她的妆扮，有异于卷中的其他贵族仕女。\n她也有一头浓密的黑发，梳成两个十字相合的发髻，中间用红缎带把那个髻子束在一起。\n她穿的朱色菱角纹的斜领处露出一部分，白色圈花的纱带，绕过纱衫一圈之后，在腹前打了个结子。\n白色的软底鞋尖，从彩色的衬裙下露出，它的形制不同于其他几位贵族妇女所穿的重台履。\n她的表情安祥却又若有所思，在当时嬉戏场合形成鲜明的对比。\n画面左起第五位仕女，发髻上插的红瓣花枝，纱衫上有深白色的菱形纹样。\n胸下的夹撷长裙曳于地而，紫绿色的团花平均分布在鲜明的朱红的地子之上，显得典雅、富丽；经纱衫掩盖过的部分，颜色相应减退。\n紫色的帔子上，彩绘着云风纹样，往后垂了下去，她轻举右手，用纤细的食指和拇指提起贴在脖肩上的纱衫领子，似有不胜初夏闷热气候的样子。\n她左手从纱衫的侧面伸出，手指向背而嬉戏的小狗打招呼，希望小狗也来给她逗趣。\n画面左侧起最后一位是一个贵族妇女，体态丰硕，发髻高大，上插牡丹花一枝，髻前饰玉步摇，那珍珠在不停地摇晃。\n她头上的髻发和短鬓，茸茸地分披在丰满的额前和耳边，显得青春焕发。\n她圆润的而庞，浮起了淡薄的红晕；瓜子形的黛画短眉，浓淡适宜地斜峙在粉额之前，眉间金色花子的点饰如豆般大小，朱唇小到恰好与整个而庞隐隐相称，她侧身作向右倾斜的姿势，外披紫色纱罩衫，衫上的龟背纹尚隐约可辨。\n朱色的长裙上，画有斜格纹样。\n紫绿色花纹的洁白丝绸衬裙，长过纱衫，拖曳到地而上。\n右手摆向前侧，靠着纱衫；左手执纬子前伸，纬穗的摆动，逗引着小狗作戏，而小狗深通人意，它朝纬穗不停地张嘴摆尾，作出扑跳的姿态。\n在贵族仕女们嬉游处的尽头，树立着一而玲珑石。\n石后有盛开的辛夷花，紫色的花朵，陪衬着少许的绿叶。\n石头下的地上有一丛绿油油的杂草，一起点缀着视野广阔的空间。\n卷无作者款印，亦无历代题跋及观款。\n以后，当代统治阶级为了粉饰太平，提倡所谓“文治”，也正好吻合了当时人民历经战乱、渴望安宁社会的生活的心情，宴游的风气从此大开，奢侈之风成为天宝以后统治者崇尚的对象，到了贞元年间，这种风气就更为突出。\n杜牧当时这样描述：至于贞元末，风流悠绮靡。\n周昉的《簪花仕女图》正是这个时期的典型代表，画家如实的描绘了在奢靡风气支配下的唐代宫廷仕女嬉游生活的典型环境。\n最早著录此卷的是清安岐《 》，认为是唐周昉所绘，其后《石渠宝笈·续编》及《 》皆沿用该观点，俱著录为《周昉仕女图》，然近代研究亦有持异议者。\n1972年，对此图进行重新装裱时，有人发现此图系后拼接而成，较明显者为左数第二个比例较小的仕女为后嵌入，而白鹤与画左小狗亦为剪裁而来，有研究者据此认为其原为屏风画。\n作品创作的时代问题也存在争议。\n学术界主要有三种观点：唐代说、五代南唐说和宋代说。\n唐代说：唐玄宗先天二年（公元71年）八月，太平公主谋反被诛杀，其在积善坊的府邸被没收。\n寿王李瑁与杨玉环大婚前，唐玄宗将太平公主的这处宅园赐给李瑁，成为寿王府。\n上巳节后的一天，长宁公主、咸宜公主等四位贵夫人前来寿王府，杨玉环领她们到花园赏花。\n这时，年轻的宫廷画家周昉奉诏为杨玉环画像，他来到寿王府。\n李瑁将周昉引至花园中，周昉见这五位贵妇人正游玩簪花，就静静地在旁边观察。\n几日后，周昉根据当日的场景，画出了《簪花仕女图》。\n作品从当时社会的现实生活出发，将现实生活中的贵族妇女，画得雍容华贵，画出一种闲适无聊的生活本质，表现出娇、奢、雅、逸的气息和女性柔软、温腻、动人的姿态，赋予作品鲜明的时代感。\n作品渲染的快乐而又略带懒散的情绪和气氛，正是恰当地层示了属于那个时代整个贵族有闲阶级的时代气氛；在表面华丽雍容的物质繁华背后，隐藏着人物内心深深的凄寂和幽怨。\n《簪花仕女图》中作者对人物神态抓得较好，注重挖掘仕女精神上的苦闷和空虚，反映了贵族奢侈生活后面的精神困境。\n其中，有别于其他五位的那个执扇侍女，表情相当安详，默默中若有所思的神情，与其他五位仕女的神态构成了鲜明的对比，这在反映现实的同时，在一定程度上也预示出唐代后期审美意趣由宏丽转向婉约的变化。\n另外，体态动势也是表达人物内心精神的重要因素，如果把动态处理得宜，也可以加强人物精神性格的表现。\n就画中人物的姿态而高，各不相同。\n左起第一位仕女因为有摇头摆尾、深通人意的小狗在其右侧，作为逗引小狗作戏的她，侧身玉立，上身向右倾斜，右手无意识地摆向前侧，左手执拂子向前伸向小狗，接养右侧的是一位婷婷玉立披白色纱衣的仕女，她漫不经心地举养右手，用纤细的食指和拇指提起贴在脖子上的纱衫领子，似有不胜闷热气候的沉重之感。\n她左手从纱衫的侧而伸出，似乎在向背着她作戏的小狗打着招呼。\n接着就是右后方侧立着执长柄团扇的侍女，她闲静自然。\n侍女的右前方也相当于她的左侧之处，是一位持花的仕女，她右手略向上举，反掌拈红花一枝，左手从发髻上取下金钗朝右边移去，似乎要把它插在最引人注意的地方，从远处姗姗而来的是一位身材小巧的仕女，她双手紧操着薄纱，掩着帔子，紧束着宽大的衣服，作向前迈步的姿势。\n最后一位仕女右手举着一只蝴蝶，左手提着帔子，要迎接从后而向她跑过来的小狗，她上身往前微倾，头往右微侧，在丰韵之中又平添了窈窕婀娜之态。\n由此可见，作者在人物姿态的处理上，为避免相同，又不失统一，颇费心思。\n画家在全幅构图中以相等的间隔安排了几位贵族妇女，一段一段地看去，仿佛每个妇女形象从眼前一幕一幕地移动，这种构图的规律，看完了整个场景，仿佛同画面人物一起游完了庭园。\n人物之间似有联系，又似独自悠闲。\n所以《簪花仕女图》的画而完整性并不是依靠空间、时间上的一致性诉诸观者的，它是依靠人与人之间的呼应和所营造的整个闲适和谐的气氛，这样一个独特的形式传达给观者的。\n在画而中，横列的散点视线之内，多半用静穆的姿态分战了适当的位置；又把她们之中的两位妇女安置在距离较远的后方，因之增大了广阔的视野，也就扩展了空间，不至于把观者的视线囿于狭小的画而之中。\n庭园里不藉更多什物作为衬托，但它的趣味并不因此而显得单调和贫乏，反而觉得愈益接近事物的真相。\n这种构图上的独特风格，具有强烈的时代气息。\n除了画面的并序排列外，《簪花仕女图》在人物比例的处理上也出现了一种有趣的现象，观者可以发现画面左起第二个妇女的比例是按照近大远小的原则安排的。\n从她的服饰和仪态来看，她是画家为了扩展观者的视野、开拓空间，而刻意安排在较远的地方，并不是因为身份的关系“近大远小”与按身份安排人物比例两种构图方法同时出现在一张画面上的。\n《簪花仕女图》画面上独到之处是精致细腻的画笔，作者以线造型，成功地描绘了妇女身上轻柔透亮的薄纱披肩，以及薄纱下隐约可见的手臂，并自始至终毫无变化地使用定型的线描，对仕女面部和手的描制，下笔稳重准确，力求匀称，衣裙图案花纹的用笔，信笔而成，转折处若断若续，似规整但又非常流动，使通常流于对称刻版的图案，重新赋予了灵巧而生动的活力。\n至于仕女的髻发和鬓丝，精细过于毫毛，根根可数，笔笔有飞动之感。\n对人物画的手部刻画，甚是到位。\n《簪花仕女图》中的贵族仕女袒胸露臂，双手毫无遮蔽，描绘起来，实非易事。\n作者用简洁遒劲的线条，准确地表现了各种不同的手势，骨法用笔的线条对作品产生了决定性的意义。\n《簪花仕女图》的线条达到了“骨法用笔”的高度统一，使之成为独立的存在，支配着整幅画的灵魂。\n《簪花仕女图》在赋彩的技巧上，恰当地运用了复杂的色调，重复中不觉得单调。\n紫色纱衫的一再出现，即是一个突出的例子。\n紫色与花青一并涂施，历有“青间紫，不如死”之说，而此图作者对其运用，似乎不受限制和约束。\n在紫色桩上有两处用花青勾画纹样，反而觉得十分典雅，正是作者在克服色彩运用矛盾的独到之处。\n从色彩的搭配到赋彩的层次，画家用纯净透明的白色穿插在各种色彩之中，使黑、白和许多明丽的色彩相互衬托又相互制约，形成了沉着和明快相结合的矛盾统一。\n赋彩上的层次清晰，分开丝绸间的叠压关系，使之有空气流动之感。\n纱衫笼罩下的肌肤和衣裙就如一层薄雾所掩盖，因而原来的肌肤和衣裙随之改变了颜色，但它却不因此而使人离开肌肤和衣裙原有色调的联想力。\n如此，各种颜色所涂成纱衫的质感，更深刻地映入观者的脑海里。\n《簪花仕女图》是全世界范围内唯一认定的唐代仕女画传世孤本。\n除了唯一性之外，其作品的艺术价值也很高，是典型的唐代仕女画标本型作品，是能代表唐代 风格的绘画作品。\n《簪花仕女图》这种仕女画风格在当时画坛上颇为流行，极大地影响了唐末乃至以后各朝代的仕女画坛和佛教艺术 。\n该作展现了极为浓郁的时代特色和民族气息，是中国传统绘画史上非常重要的一部作品。\n1984年月，中国邮电部特别发行《簪花仕女图》特种邮票和小型张。\n此卷曾经南宋内府收藏，南宋末归 所有，元、明间流传无考，清初为梁清标、安岐收藏，后入清内府。\n1924年，末代皇帝溥仪出宫，但在此前，他用了一年时间整理了1余件举世罕见的书画作品。\n在溥仪逊位前，溥仪便以“恩赐”名义，将内府所藏珍贵字画赏赐给其弟 、溥佳，让他们利用每日下学出宫机会，用黄绫包袱将书画带出，《簪花仕女图》就在其中。\n盗运出宫的书画起初存放在醇王府内。\n1925年，在 人协助下，这批书画被运抵天津，随溥仪先后在日租界内的张园、静园收藏。\n194年，溥仪到长春做了 皇帝，这批书画被运至当时的长春伪皇宫小白楼内。\n“小白楼”是一幢二层日式钢筋水泥楼，是日本人为溥仪修的保存善本图书及古玩字画的库房，内存藏品总数约1件，对外名曰“图书馆”。\n1945年8月，日本宣布战败投降前，日本关东军准备将伪满洲国迁到通化。\n8月17日，溥仪乘飞机企图逃往日本时，被 俘获，其携带的一部分书画和珠宝由苏联红军查扣，并转交 ，几经辗转后，《簪花仕女图》藏于辽宁省博物馆。\n217年7月，辽宁省博物馆举办《艺术·生活——辽宁省博物馆研发文创作品展》，展出镇馆之宝《簪花仕女图》。\n219年1月7日至22年1月5日，该作品在辽宁省博物馆将举办大型文物特色展览“又见大唐”中展出。\n22年9月28日，厦门海丝艺术品中心推出“复现——荣宝斋木版水印中秋特展非遗交互体验展”，展出木版水印作品《簪花仕女图》。\n周昉，生卒年不详，唐代画家，字仲朗，一字景玄，京兆（今陕西省西安市）人。\n出身于仕宦之家，曾官越州长史、宣州长史别驾。\n好属文，穷丹青之妙，擅画肖像、尤工仕女，初学张萱而加以写生变化，多写贵族妇女，所作悠游闲适，容貌丰腴，衣着华丽，用笔劲简，色彩柔艳，为当时宫廷、士大夫所重，称绝一时。",[23,24,25,26,27,28,29,7,30,31,32],"高清","国画","工笔","设色","美人","鹤","狗","衣帽","饰品","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94df61ee873fdda8506e777d2dd87070.jpg","绢本","纵46厘米，横180厘米","人物画精选",[36,38],"设色画精选",15398,116,0,"795548",{"id":44,"slug":45,"title":46,"dynasty":47,"author":48,"museum":49,"description":50,"tags":51,"thumbUrl":59,"material":60,"size":61,"collection":62,"collections":63,"showCount":64,"zanCount":65,"manualWeight":41,"mainColor":66},214709,"chun-hua-tu-ba-kai-4-yun-shou-ping-214709","春花图八开-4","清","恽寿平","上海博物馆","恽寿平画了八种春天的花，包括桃花、牵牛花、牡丹、绣球、萱草、月季、樱花和鸢尾花。这幅画是在他晚年的时候画的，当时他五十三岁，虽是没骨而近乎写意，用笔已是纯青。",[23,24,52,53,26,54,55,7,56,57,58],"书画","册","花鸟","没骨","藤蔓","叶子","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F711decf5412e0d1bdf126cff504c08c8.jpg","纸本,设色","26.3x35.7","",[],2285,11,"BDBDBD",{"id":68,"slug":69,"title":70,"dynasty":71,"author":72,"museum":73,"description":74,"tags":75,"thumbUrl":83,"material":60,"size":62,"collection":84,"collections":85,"showCount":86,"zanCount":87,"manualWeight":41,"mainColor":42},216206,"feng-hua-tu-zhao-chang-216206","蜂花图","宋","赵昌","美国大都会艺术博物馆","蜂花图是赵昌的一幅画作，它来自宋朝（960年-1279年）。蜂花图是一幅绘画，它展示了一朵开放的花，周围有蜜蜂在采蜜。画中蜂花色彩明快，笔触流畅，富有装饰性。蜂花图被认为是赵昌的代表作之一。赵昌是一位著名的宋朝画家，他的作品通常以其精细的绘画技巧和生动的色彩著称。\n\n赵昌是宋朝时期的著名画家，他的蜂花图是他最著名的作品之一。赵昌以其精细的绘画技巧和生动的色彩著称，他的画作常常被认为是宋朝时期最优秀的画作之一。赵昌的蜂花图展示了一朵开放的花，周围有蜜蜂在采蜜，整幅画作充满了生机和活力。赵昌的蜂花图被认为是他的代表作之一，同时也是宋朝时期著名画作之一。",[76,24,52,77,25,26,54,7,78,79,80,81,82],"名画","长卷","蜂","枝叶","月季","印章","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F421d5c743749140ca64622b04a9065c3.jpg","花鸟画精选",[84],1789,15,{"id":89,"slug":90,"title":91,"dynasty":71,"author":92,"museum":93,"description":94,"tags":95,"thumbUrl":99,"material":100,"size":101,"collection":102,"collections":103,"showCount":104,"zanCount":105,"manualWeight":41,"mainColor":66},216083,"qiu-kui-tu-li-shi-zhong-216083","秋葵图","李士忠","台北故宫博物院","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。",[23,76,24,52,25,26,54,96,7,97,98],"秋葵","叶","枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90e4f46a0ef378e801baa321bbe7168c.jpg","绢本,设色","25x28cm","宋画精选",[102,84],1541,10,{"id":107,"slug":108,"title":109,"dynasty":110,"author":111,"museum":112,"description":113,"tags":114,"thumbUrl":118,"material":119,"size":120,"collection":102,"collections":121,"showCount":122,"zanCount":123,"manualWeight":41,"mainColor":42},221429,"mei-hua-cui-niao-tu-juan-xu-xi-221429","梅花翠鸟图卷","五代十国","徐熙","藏地不详","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。",[23,76,24,52,77,25,26,54,115,116,117,7],"梅","飞鸟","鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b7029d7b97054b08ec5392ac417022c.jpg","絹本設色","33.8cm×236.2cm",[102,84,38],1532,29,{"id":125,"slug":126,"title":127,"dynasty":128,"author":129,"museum":130,"description":131,"tags":132,"thumbUrl":138,"material":60,"size":139,"collection":84,"collections":140,"showCount":141,"zanCount":105,"manualWeight":41,"mainColor":66},216935,"hua-die-tu-zhou-qi-bai-shi-216935","花蝶图轴","民国","齐白石","北京故宫博物院","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。",[23,24,26,133,54,134,7,135,136,137,57],"水墨","立轴","蝶","螳螂","昆虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e1010a81c5646f35a6bf665ff905dca.jpg","103x41.3cm",[84],1472,{"id":143,"slug":144,"title":145,"dynasty":47,"author":146,"museum":147,"description":148,"tags":149,"thumbUrl":153,"material":154,"size":155,"collection":84,"collections":156,"showCount":157,"zanCount":65,"manualWeight":41,"mainColor":66},216924,"hua-niao-si-tiao-ping-zhu-da-216924","花鸟四条屏","朱耷","私人收藏","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!",[23,24,52,134,133,150,54,117,151,152,7],"写意","芭蕉","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F700f64005b95bf5fc9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澹雅”。此册中的花鸟更是形神兼备，清新淡雅，具有新的风貌。",[24,76,52,53,55,26,54,58,7,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F762dbd11be83006cb14a4b005d749e3d.jpg","纵32.5厘米，横25.5厘米",[],275,{"id":346,"slug":347,"title":348,"dynasty":171,"author":349,"museum":93,"description":350,"tags":351,"thumbUrl":355,"material":60,"size":356,"collection":38,"collections":357,"showCount":358,"zanCount":235,"manualWeight":41,"mainColor":66},219330,"hua-ji-zhen-ji-zhou-tang-yin-219330","画鸡真迹轴","唐寅","石上雄鸡昂首而立，羽色斑斓间透着昂然气度，恰应题中“血染红冠锦满身”之态。旁侧菊丛竞艳，红英灼灼如霞，黄蕊灿灿似金，白瓣皎皎若雪，枝叶扶疏间衬以修竹数竿，清逸之韵自生。双蝶翩跹于花间，翅影轻摇，为静景添灵动生机。整幅画作工写相济，设色淡雅却层次分明，禽鸟花卉皆形神兼备。题诗笔墨洒脱，与画面意境交融，尽显文人画“诗画同源”之妙，于方寸间藏生机与风骨，读来令人心折。",[24,52,134,26,25,352,353,354,209,7,175,81],"鸡","菊","竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ca49404492f1b40b2f4829b76583fed.jpg","119.9x30.3",[38],272,{"id":360,"slug":361,"title":362,"dynasty":71,"author":363,"museum":112,"description":364,"tags":365,"thumbUrl":366,"material":62,"size":62,"collection":62,"collections":367,"showCount":368,"zanCount":248,"manualWeight":41,"mainColor":42},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。",[23,76,24,52,53,25,26,54,117,7,82,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9548bd192610dc1989302803a5216821.jpg",[],267,{"id":370,"slug":371,"title":372,"dynasty":171,"author":373,"museum":254,"description":374,"tags":375,"thumbUrl":378,"material":100,"size":379,"collection":84,"collections":380,"showCount":368,"zanCount":289,"manualWeight":41,"mainColor":42},214701,"ping-hua-tu-chen-hong-shou-214701","瓶花图","陈洪绶","陈洪绶用菊花和霜叶画了一个瓶子，以庆祝另一个人的生日。有些学者认为，在明朝晚期没有这么大的玻璃瓶。",[23,24,52,25,26,376,353,7,82,377],"瓶","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf52640088b9212d2c81a4c6b72f18a8.jpg","174.5x98",[84],{"id":382,"slug":383,"title":384,"dynasty":47,"author":385,"museum":73,"description":386,"tags":387,"thumbUrl":388,"material":60,"size":389,"collection":62,"collections":390,"showCount":391,"zanCount":11,"manualWeight":41,"mainColor":66},216248,"jing-fu-si-qi-dong-jing-tu-9-qian-wei-cheng-216248","景敷四气冬景图-9","钱维城","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小艇沿溪兴致高，南枝春信屡相遭。还应傲得襄阳孟，何必探寻踏雪劳。钤印：得佳趣",[24,52,26,25,54,7,57,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d1b750876d25321dfc423a8a3b9d04e.jpg","21.9 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书于元初至元十九年(1282)前后，作者时年二十八岁左右。此书用笔细腻，结体端庄秀逸，笔圆墨润，筋丰骨健，给人以神定气闲，虚和宛朗。\n公元759年，杜甫为避“安史之乱”，携妻儿由陕西入四川，寓居成都，依靠四川节度使严武等亲友的接济维持生活。765年四月，严武病逝，杜甫失去依凭，于是伴同家族，离开成都，乘舟沿江东下，先是寓居夔州，在夔州（今四川奉节）住了两年左右的时间，后转徙于湘鄂之间。公元770年冬，死在由长沙到岳阳的一条破船上。\n在寓居夔州两个年头里，杜甫时年五十五岁，已处在人生之秋，眼看晚年多病，知交零落，壮志难酬，心境非常寂寞、抑郁。当此秋风萧瑟之时，不免触景生情，感发诗兴，故曰《秋兴》。\n《秋兴》八首是公元766年秋天杜甫滞留夔州时惨淡经营的一组七言律诗。这八首诗是一个完整的乐章，命意蝉联而又各首自别，时代苦难，羁旅之感，故园之思，君国之慨，杂然其中，历来被公认为杜甫抒情诗中沉实高华的艺术精品。\n《秋兴》第一首，是组诗领起之作，八诗之纲领。（《读杜心解》云：“首章，八诗之纲领也。明写秋景，虚含兴意；实拈夔府，暗提京华。”）诗人用铺天盖地的秋色将渭原秦川与巴山蜀水联结起来，寄托自己的故国之思；又用滔滔不尽的大江把今昔异代联系起来，寄寓自己抚今追昔之感。诗中那无所不在的秋色，笼罩了无限的宇宙空间；而它一年一度如期而至，又无言地昭示着自然的岁华摇落，宇宙的时光如流，人世的生命不永。",[23,77,82,377,512,513,514,515,516,517,7,518,519,81],"孤舟","夕阳","明月","秋风","江","山","树林","波浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F225a92b33186e851e63bc3e6ab6711d5.jpg","纵23.5厘米，横261.5厘米","书法精选",[522],161,{"id":526,"slug":527,"title":528,"dynasty":71,"author":529,"museum":93,"description":530,"tags":531,"thumbUrl":532,"material":100,"size":62,"collection":84,"collections":533,"showCount":524,"zanCount":289,"manualWeight":41,"mainColor":42},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。",[24,76,25,26,54,209,7,353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65cb4af11c29f63da0e9192564f9ae77.jpg",[84],{"id":535,"slug":536,"title":537,"dynasty":71,"author":538,"museum":112,"description":539,"tags":540,"thumbUrl":545,"material":34,"size":546,"collection":102,"collections":547,"showCount":548,"zanCount":180,"manualWeight":41,"mainColor":42},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。",[23,76,24,52,77,26,25,54,541,542,116,117,7,543,455,152,544],"兽","兔","浆果","草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6631c878d850cd9d6af666f057a73051.jpg","41.8x288厘米",[102,84,38],148,{"id":550,"slug":551,"title":552,"dynasty":171,"author":553,"museum":49,"description":554,"tags":555,"thumbUrl":556,"material":154,"size":557,"collection":62,"collections":558,"showCount":559,"zanCount":11,"manualWeight":41,"mainColor":66},214643,"hua-hui-ce-3-chen-chun-214643","花卉册-3","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。",[24,52,53,133,150,54,7,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f0cd2a5b5a125ab79224340a81ac92b.jpg","纵28 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26公分",[84],{"id":614,"slug":615,"title":616,"dynasty":71,"author":617,"museum":112,"description":618,"tags":619,"thumbUrl":621,"material":34,"size":622,"collection":62,"collections":623,"showCount":624,"zanCount":180,"manualWeight":41,"mainColor":42},232879,"li-nu-xian-qu-tu-juan-liang-kai-232879","狸奴闲趣图卷","梁楷","宋代画坛，因为有皇家画院的支持和倡导，各类题材的国画大多崇尚描摹精微、细致逼真的画风。这种风格将我国古代工笔画推向了顶峰，也长久以来占据主流地位。但物极必反，严整的工笔画到达极致，必定会走向散乱的写意。这一方面，梁楷可谓是我国古代写意画的开山祖师。\n梁楷是南宋著名画家，师从贾师古。贾师古以师法吴道子的写实工笔著称，而梁楷能在其基础上更胜一筹，青出于蓝。梁楷曾在宁宗朝的画院供职，他继承吴道子写实技法的画风，无疑是非常受皇帝青睐的。他常常奉皇帝诏令，画了许多细腻严整的工笔画。\n这一时期的梁楷已经享有盛名，人们见到他精妙的画作，“无不敬服”。比如《狸奴闲趣图卷》里面的猫，形态各异细腻活泼，通体的毛都纤毫毕现。更不必说周围逼真的山石、花草、蝴蝶，刻画之精细，给人如在目前之感。",[23,24,76,77,26,25,597,354,7,135,620,259,541],"石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F980cc771075692f3c9ed45d7b13dcd33.jpg","33.2x185.4厘米",[],118,{"id":626,"slug":627,"title":628,"dynasty":47,"author":629,"museum":93,"description":630,"tags":631,"thumbUrl":635,"material":636,"size":637,"collection":84,"collections":638,"showCount":639,"zanCount":11,"manualWeight":41,"mainColor":66},222775,"hua-shi-jun-quan-jin-chi-xian-zhou-lang-shi-ning-222775","画十骏犬金翅猃轴","郎世宁","画中十条品种高贵的名犬，这些名犬大都是当时周边部落首领进献给皇帝的，，均为郎世 宁写生作品。由于他深谙动物的解剖结构，所以其笔下的名犬形象非常准确，且富于立体感。在笔法上，他以细碎的小笔触来表现动物皮毛的质感，使得入 画的名犬栩栩如生。\n十条品种高贵的名犬，分别命为：苍水虬、斑锦彪、金翅猃、蓦空鹊、墨玉璃、茹黄豹、睒星狼、霜花鹞、雪爪卢、苍猊犬。其中，前九条狗都属小头长吻、腰腹收缩、四肢细劲那类品种，均为出色的擅长奔跑的猎手，敏捷强壮，速度耐力惊人，成为皇帝一行围猎时的好帮手;最后那条威猛的苍猊犬，应当是藏獒。\n从画面上看，图中的犬，无疑是由画家郎世宁所绘，因为狗采用的是西方的素描画法，造型立体具有质感，欧洲风味很足;而图画背景部分的花草坡石，讲究皴法、勾勒，追求平面的装饰效果，与动物的画法相比较，二者有很大的差异，这应当是由供奉宫廷的中国画家用传统画法补画的，但署名只有郎世宁一人。作品用中国的毛笔、纸绢和色彩，却以欧洲的绘画方式来诠释动物的结构、体积感及皮毛的质感，使得动物造形准确、生动，立体效果强。在这幅作品中骏犬的描绘用素描式的方法，通过光影明暗的变化，来达到栩栩如生的效果。但环境的描绘却遵循中国绘画的传统技法，勾、皴、点、染，兼工带写，以工为主，营造出中国花鸟画所特有的清秀明丽的韵味。\n《十骏犬》册中的每幅图都有当朝的文职大臣的题诗赋词。据史料记载，乾隆皇帝拿到时，大加赞赏，百看不厌，爱不释手。这幅册页，艺术水准相当高，郎士宁使用的是中国的软笔，却按西画的透视和光感等技巧，把犬的形态和神态表现出来，体现了高超的写生功夫和创意能力，画得相当精细，栩栩如生，立体感极强。比如犬的毛是单笔渐入，虽然用的不是画油画的油彩，却根根呈现，逼真到让人忍不住触手去摸，中国画是散点透视，西画是高光点和近光点，一点透视。这种透视效果在这两幅册页中充分体现出来。这些技法对后来中国画的发展都有很大的影响。",[134,25,26,541,632,633,634,7,259,175,81],"犬","松树","老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3d9b7654a0339edd6a81f4425fe0115.jpg","绢本 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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。",[23,76,24,52,134,25,26,54,354,209,658,7,57],"虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3caf6fb1a56d046b3a504e74b2fa9ef8.jpg","轴，绢本设色","纵99 4厘米，横54 2厘米",[102,38,663],"竹石精选",113,{"id":666,"slug":667,"title":668,"dynasty":226,"author":669,"museum":130,"description":670,"tags":671,"thumbUrl":683,"material":684,"size":685,"collection":686,"collections":687,"showCount":688,"zanCount":180,"manualWeight":41,"mainColor":66},221721,"wu-jia-he-hui-juan-zhao-yong-wang-mian-zhu-de-run-zhang-guan-fang-cong-yi-221721","五家合绘卷","赵雍 王冕 朱德润 张观 方从义","《元五家合绘》卷，元，赵雍、王冕、朱德润、张观、方从义作。\n此卷包括元代5位画家的5件绘画作品，作品尺幅相近，后人将其合裱为一卷。\n其一《松溪钓艇图》，元，赵雍作，纸本，墨笔，纵30厘米，横52.8厘米。\n款署：“至正二十年二月既望仲穆画。”钤“仲穆”、“魏国世家”。另有清乾隆皇帝御题诗及鉴藏印。至正二十年为1360年，赵雍时年72岁。图绘近岸坡石双松，孤舟钓叟，隔水平峦远岫，意境清幽，笔墨苍润。\n（二）《墨梅图》，元，王冕作，纸本，墨笔，纵31.9厘米，横50.9厘米。\n自题：“吾家洗研池头树，个个花开淡墨痕。不要人夸好颜色，只流清气满乾坤。王冕元章为良佐作。”钤“元章”、“文王子孙”。另有清乾隆皇帝御题诗及鉴藏印。画面中一枝梅花横出，枝干秀挺，花朵疏朗。以淡墨点染花瓣，再以浓墨勾点萼蕊，墨色清润，高情逸趣溢于笔端，表达了作者藉墨梅标榜清高孤洁的思想情感。\n曾经清人梁清标和清内府收藏，《石渠宝笈·续编》著录。\n（三）《松溪放艇图》，元，朱德润作，纸本，墨笔，纵31.5厘米，横52.6厘米。\n自题：“丑石半蹲山下虎，长松倒卧水中龙。试君眼力知多少，数到云峰第几重。朱泽民。”钤“朱泽民氏”。另有清乾隆皇帝御题诗及鉴藏印。\n图绘巨石怪松，孤舟徐行。画松枝用笔爽利迅捷，坡石皴法温润，人物用白描法，笔简意浓。\n曾经明沈周、清安岐收藏。\n（四）《疏林茅屋图》，元，张观作，纸本，墨笔，纵25.8厘米，横59.6厘米。\n款署：“至正戊戌八月，张观制。”另有清乾隆皇帝御题诗及安岐鉴藏印。至正戊戌为元至正十八年（1358年）。\n图画平坡老树，茅舍掩映，水阔山远，清雅控幽。树木勾点结合，错落有致，坡石用墨湿润，画风承北宋李成、郭熙一脉。\n（五）《山水图》，元，方从义作，纸本，墨笔，纵26.5厘米，横45.3厘米。\n款署：“方方壶作。” 另有清乾隆皇帝御题诗及明项元汴等多家鉴藏印。\n图画密林茅舍，小桥流水。画面景物丰满，墨色浓淡相间，笔法灵活潇洒。",[23,24,52,77,133,672,81,673,468,634,512,115,152,674,675,323,676,677,678,98,7,633,679,680,681,682,455,79],"皴法","山水","水面","渔船","远岫","岸","茅屋","枯树","岸滩","船只","山间","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ad6676a3f8f4d776bd2cf92396b87c9.jpg","纸本，墨笔","纵30cm，横52.8cm","山水画精选",[686,443],111,{"id":690,"slug":691,"title":692,"dynasty":47,"author":693,"museum":112,"description":694,"tags":695,"thumbUrl":696,"material":34,"size":697,"collection":62,"collections":698,"showCount":699,"zanCount":277,"manualWeight":41,"mainColor":42},222701,"hua-hu-die-tu-jin-yao-222701","花蝴蝶图","金钥","此作用笔工致秀润，设色清雅柔和。灵石皴染朴拙，野卉自石畔抽茎挺生，淡紫碎花垂缀梢头，圆叶绿丛铺陈其下，野趣盎然。数只蛱蝶翅纹斑斓鲜活，或栖于花枝、或振翅翩跹，将蝶之灵动与花之柔婉相融无间。画面右上角题诗配字，笔墨隽秀，书画相映成趣，晕染出悠然闲适的文人情致。整体构图错落舒展，将郊野一隅的幽微生机勾勒动人，把小品花鸟的雅致意趣尽数铺陈，尽显清和隽永的审美意韵。",[23,24,52,134,25,26,54,209,7,647,272,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9952c196199673acf5700bc014e2bd29.jpg","30x75.",[],110,{"id":701,"slug":702,"title":703,"dynasty":47,"author":704,"museum":254,"description":705,"tags":706,"thumbUrl":707,"material":100,"size":708,"collection":84,"collections":709,"showCount":699,"zanCount":277,"manualWeight":41,"mainColor":42},219043,"que-tu-tu-shen-quan-219043","鹊兔图","沈铨","画面上是初春的小河，凉风习习，梅花和茶花盛开，三只野兔和三只鸟已经感受到春天的气息，出来觅食和活动。这幅画的风格与沈铨的风格不同，尤其是画的野草和流水，与沈铨的美术风格不一致，这幅画不是沈铨的作品。",[23,24,26,25,54,541,542,116,115,468,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c22d6c57cb0a16f7d500ffac33a3533.jpg","纵140横63.8厘米",[84],{"id":711,"slug":712,"title":713,"dynasty":226,"author":185,"museum":112,"description":714,"tags":715,"thumbUrl":716,"material":62,"size":62,"collection":62,"collections":717,"showCount":718,"zanCount":11,"manualWeight":41,"mainColor":42},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。",[23,24,76,52,566,25,26,54,117,7,219,57,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e0e41ae4620431cb6be12a31d46f40a.jpg",[],108,{"id":720,"slug":721,"title":722,"dynasty":171,"author":723,"museum":93,"description":724,"tags":725,"thumbUrl":726,"material":100,"size":727,"collection":84,"collections":728,"showCount":729,"zanCount":41,"manualWeight":41,"mainColor":42},216213,"xie-sheng-tu-shang-xi-216213","写生图","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。",[24,52,25,26,54,541,597,29,116,354,7,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ae66413060d9efa0846a06cffbc58a1.jpg","84.6x61.8cm",[84],107,{"id":731,"slug":732,"title":733,"dynasty":47,"author":629,"museum":93,"description":734,"tags":735,"thumbUrl":737,"material":26,"size":738,"collection":62,"collections":739,"showCount":740,"zanCount":11,"manualWeight":41,"mainColor":66},222741,"xian-e-chang-chun-tu-02a-shao-yao-lang-shi-ning-222741","仙萼长春图-02a（芍药）","本册共十六开内容分别描绘牡丹、桃花、芍药、海棠玉兰、虞美人、蝴蝶花、黄刺玫牡丹、石竹、樱桃、罂粟、紫白丁香、百合花牡丹、翠竹牵牛、荷花慈姑花、豆花稷穗、鸡冠花、菊花等，其中有八开还画有鸟禽，整册内容与《石渠宝笈三编》著录之〈郎世宁画花卉册〉一致，对幅皆是空白，而最末一开有宋体书款「臣郎世宁恭画」，依据画风特色推测是郎世宁雍正时期的花鸟佳作。全册不仅设色精緻，构图手法也见新意。特别能于鸟禽形体姿态上有超乎传统的表现，是西法透视手法的精采成果。画中花鸟多处能够显示光影明暗，透过白色颜料提点高光的技巧也常见运用。整册画风都一再显示其与郎世宁雍正前期画风有关。",[23,24,76,25,26,54,736,7,97,98,175],"芍药","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c91a3aea82e716ab6aa9b460afb178.jpg","宽28.4公分，高33.7公分",[],106,{"id":742,"slug":743,"title":744,"dynasty":110,"author":745,"museum":254,"description":746,"tags":747,"thumbUrl":748,"material":100,"size":62,"collection":84,"collections":749,"showCount":740,"zanCount":277,"manualWeight":41,"mainColor":42},219025,"ban-jiu-tu-huang-quan-219025","斑鸠图","黄筌","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。",[23,76,24,52,53,25,26,54,116,117,7,79,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a51e04c34bcf36d6653aa90ca568823.jpg",[84],{"id":751,"slug":752,"title":753,"dynasty":110,"author":111,"museum":130,"description":754,"tags":755,"thumbUrl":757,"material":34,"size":758,"collection":62,"collections":759,"showCount":760,"zanCount":11,"manualWeight":41,"mainColor":42},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）。",[76,24,52,54,25,26,756,453,57,7,81],"豆荚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F880a27b634787e986672e82222fc17bb.jpg","纵27厘米，横23厘米",[],105,{"id":762,"slug":763,"title":764,"dynasty":71,"author":185,"museum":93,"description":765,"tags":766,"thumbUrl":769,"material":100,"size":649,"collection":84,"collections":770,"showCount":771,"zanCount":277,"manualWeight":41,"mainColor":66},216599,"xiu-huang-quan-hua-hua-niao-ce-2-yi-ming-216599","绣黄筌画花鸟册-2","绣线交织出兰叶的柔婉姿态，针脚起落间，叶脉的细腻纹路清晰可见，似微风拂过便会轻颤。浅金色花簇缀于青碧草间，色泽温润雅致，与素净底色相衬，流露宋人独有的清逸审美。角落的红墨小物，色彩对比鲜明却不失和谐，为静谧画面添了几分灵动。此作以针代笔，将绘画的工致与刺绣的肌理感相融，既复刻了黄筌画派的细腻，又借丝线的质感赋予画面立体生机，仿佛能窥见宋时窗下，一缕兰香随绣线漫开的静谧时刻，尽显传统工艺与文人意趣的精妙碰撞。",[76,24,52,53,26,54,767,7,81,768],"兰","刺绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9056d18793811b531cba23d39e80e11f.jpg",[84],104,{"id":773,"slug":774,"title":775,"dynasty":71,"author":185,"museum":93,"description":776,"tags":777,"thumbUrl":779,"material":100,"size":780,"collection":102,"collections":781,"showCount":782,"zanCount":11,"manualWeight":41,"mainColor":66},218883,"xian-guan-nong-hua-tu-yi-ming-218883","仙馆秾花图","亭台楼阁错落有致，木构窗棂细密精巧，飞檐翘角带着宋式建筑的清雅韵味。阁内数人或对坐清谈，或凭栏远眺，衣袂轻扬间透着闲适散淡；阶下一人缓步小径，似在赏玩周遭景致。苍松倚石而立，枝叶遒劲，庭院间花木点缀，山石错落，笔墨细腻却不失灵动，悄然铺展宋人的雅致生活图景。画面静谧温润，细节处见匠心，仿佛能窥见千年前那方庭院里的悠然时光，尽显宋代文人雅士的生活意趣与审美追求。",[23,24,26,322,25,53,323,778,598,7,152],"楼阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F973f9d56457127b7ab4280a85457e24c.jpg","26.4x27.2",[102],102,{"id":784,"slug":785,"title":197,"dynasty":47,"author":185,"museum":319,"description":786,"tags":787,"thumbUrl":789,"material":100,"size":790,"collection":84,"collections":791,"showCount":782,"zanCount":11,"manualWeight":41,"mainColor":42},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。",[24,52,134,25,26,54,117,7,209,219,788,81],"草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72ae1b447224169fc778d51c627cec2c.jpg","60.5x34.9cm",[84],{"id":793,"slug":794,"title":795,"dynasty":71,"author":796,"museum":93,"description":797,"tags":798,"thumbUrl":804,"material":805,"size":806,"collection":62,"collections":807,"showCount":808,"zanCount":11,"manualWeight":41,"mainColor":42},231401,"xi-yuan-ya-ji-tu-liu-song-nian-231401","西园雅集图","刘松年","宋刘松年西园雅集卷绘宋代雅士高僧苏轼、黄庭坚、米芾、圆通大师等盛会于王诜西园。十六人分四组：王诜、蔡肇和李之仪围观苏轼写书法；秦观听陈景元弹阮；王钦臣观米芾题石；苏辙、黄庭坚、晁补之、张耒、郑靖老观李公麟画陶潜归去来图；刘泾与圆通大师谈无生论。西园雅集世传多个版本。\n西园为北宋驸马都尉王诜之第，当代文人墨客多雅集于此。元丰初，王诜曾邀同苏轼、苏辙、黄庭坚、米芾、蔡肇、李之仪、李公麟、晁补之、张耒、秦观、刘泾、陈景元、王钦臣、郑嘉会、圆通大师（日本渡宋僧大江定基）十六人游园。苏轼是宋代著名诗人、文学家、书画家。京中文人学士围绕在苏轼周围，拥戴他为文坛盟主。史称“西园雅集”，众人认为可与晋代王羲之“兰亭集会”相比。",[23,24,52,77,25,26,672,323,673,327,799,468,298,633,272,800,801,802,803,7],"流水","亭","乐器","饮酒","笔墨纸砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0ec0fd785b62b366399fa57e2029f4f.jpg","纸本","34×191cm",[],101,{"id":810,"slug":811,"title":812,"dynasty":171,"author":185,"museum":112,"description":813,"tags":814,"thumbUrl":816,"material":34,"size":62,"collection":84,"collections":817,"showCount":818,"zanCount":277,"manualWeight":41,"mainColor":42},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。",[24,52,53,26,25,54,117,7,79,815],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c0060be9a1a7849c84dd94d58fb96a4.jpg",[84,38],96,{"id":820,"slug":821,"title":822,"dynasty":171,"author":185,"museum":436,"description":823,"tags":824,"thumbUrl":826,"material":62,"size":62,"collection":62,"collections":827,"showCount":818,"zanCount":277,"manualWeight":41,"mainColor":42},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。",[23,24,52,77,25,26,566,54,354,825,7,117,209,647],"芙蓉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e0b54ca3ef8f0e19e5c3536b8481fe.jpg",[],{"id":829,"slug":830,"title":831,"dynasty":47,"author":832,"museum":833,"description":834,"tags":835,"thumbUrl":836,"material":34,"size":837,"collection":62,"collections":838,"showCount":839,"zanCount":235,"manualWeight":41,"mainColor":66},222679,"si-ji-hua-niao-tu-ping-2-chen-mei-222679","四季花鸟图屏2","陈枚","天津博物馆","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。",[23,24,25,26,54,117,7,219,57,210,767,419],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81b6aab8d5cdb347668d913e6a8ccedc.jpg","139X41CM",[],95,{"id":841,"slug":842,"title":843,"dynasty":226,"author":844,"museum":93,"description":845,"tags":846,"thumbUrl":847,"material":848,"size":849,"collection":38,"collections":850,"showCount":839,"zanCount":11,"manualWeight":41,"mainColor":42},221848,"zhu-lin-xian-zi-zhou-liu-guan-dao-221848","竹林仙子轴","刘贯道","刘贯道，字仲贤，生卒年不详，约为元世祖之人。善画佛道人物，又能做山水、花竹、鸟兽等。他在世的作品极少，画中人物多接近北宋传统技法，有古典风味，与南宋有明显的分别。或许是因为他出生在北方，较承袭了北宋的画法。",[23,24,52,76,134,25,26,323,27,354,175,7,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ae7dcfcc265fc0481ad92b6f1e12076.jpg","绢","该幅70x31.4公分；全幅 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。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。",[23,24,133,53,54,7,135,940],"草虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fdd5485eb18b52994d17f0f3d39c21a.jpg","27x34cm",[84],{"id":945,"slug":946,"title":947,"dynasty":171,"author":948,"museum":93,"description":949,"tags":950,"thumbUrl":951,"material":100,"size":952,"collection":84,"collections":953,"showCount":932,"zanCount":41,"manualWeight":41,"mainColor":66},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。",[23,24,134,26,25,54,175,7,135,259],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c039a1b9f0137adce7892838c9292e0.jpg","149.3x47",[84,38],{"id":955,"slug":956,"title":957,"dynasty":171,"author":185,"museum":319,"description":958,"tags":959,"thumbUrl":961,"material":100,"size":62,"collection":84,"collections":962,"showCount":932,"zanCount":11,"manualWeight":41,"mainColor":42},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。",[76,24,52,26,25,54,960,7,57,272],"鹌鹑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5cdc4849f24e6562ead882abb23c70e.jpg",[84],{"id":964,"slug":965,"title":966,"dynasty":171,"author":185,"museum":254,"description":967,"tags":968,"thumbUrl":970,"material":100,"size":971,"collection":84,"collections":972,"showCount":973,"zanCount":41,"manualWeight":41,"mainColor":42},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。",[23,76,24,52,25,26,54,969,609,7,81],"鼠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F786880bde7884db33cdeb9b80987b151.jpg","24.6x25.6cm",[84],77,{"id":975,"slug":976,"title":977,"dynasty":71,"author":185,"museum":147,"description":978,"tags":979,"thumbUrl":981,"material":100,"size":982,"collection":84,"collections":983,"showCount":984,"zanCount":11,"manualWeight":41,"mainColor":42},218949,"hua-zhu-an-chun-tu-yi-ming-218949","花竹鹌鹑图","绢本之上，墨彩交织出温润古意。数只鹌鹑或低头啄食，或侧耳呼应，羽毛纹理细腻如绒，神态憨态可掬；竹枝挺拔，叶片婆娑，藤蔓缠绕间缀着娇艳花朵，石畔幽草含露，一派生机盎然。画家以精湛写生功底，捕捉自然瞬间的灵动：鹌鹑的互动、花叶的摇曳，皆形神毕肖。整体氛围静谧雅致，似能闻见草木清香，窥见田园一隅的闲适安然，尽显宋画“格物致知”的审美意趣——于细微处见天地，于平淡中藏深情，将寻常景致绘就成耐人寻味的诗意画卷。",[24,52,77,25,26,354,960,7,117,56,272,980],"花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72f14da85deeb768a04b8571e1787dcc.jpg","33x179cm",[84],76,{"id":986,"slug":987,"title":988,"dynasty":989,"author":990,"museum":112,"description":991,"tags":992,"thumbUrl":1002,"material":501,"size":502,"collection":1003,"collections":1004,"showCount":1005,"zanCount":11,"manualWeight":41,"mainColor":42},225897,"apple-trees-in-bloom-1873-mo-nai-225897","Apple 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山谷道人黄庭坚。",[23,52,82,77,377,1013,78,324,1014,1015,1016,7,800,1017,1018,1019,1020,1021],"梨花","雪","月","春","燕","水","风","香","影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee9aa84b78c39a13f5b32c23ac63de5b.jpg","行楷，碑帖拓本","29X272cm",[522],74,{"id":1028,"slug":1029,"title":1030,"dynasty":47,"author":1031,"museum":112,"description":1032,"tags":1033,"thumbUrl":1034,"material":501,"size":502,"collection":84,"collections":1035,"showCount":1036,"zanCount":11,"manualWeight":41,"mainColor":66},235697,"hua-hui-tu-ce-zou-yi-gui-235697","花卉图册","邹一桂","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》。",[24,52,53,25,26,54,7,97,82,377,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc8572a0ccd2626980bd110f0ac70b1c.jpg",[84,38],73,{"id":1038,"slug":1039,"title":1040,"dynasty":71,"author":185,"museum":112,"description":1041,"tags":1042,"thumbUrl":1045,"material":62,"size":62,"collection":62,"collections":1046,"showCount":1036,"zanCount":41,"manualWeight":41,"mainColor":42},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。",[23,24,76,52,134,25,26,354,1043,542,1044,54,541,259,7],"雀","荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01b9287a3d30581cccc1ff161cbfb278.jpg",[],{"id":1048,"slug":1049,"title":1050,"dynasty":47,"author":1051,"museum":112,"description":1052,"tags":1053,"thumbUrl":1056,"material":501,"size":502,"collection":62,"collections":1057,"showCount":1058,"zanCount":235,"manualWeight":41,"mainColor":66},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。",[24,52,25,26,54,117,7,175,1054,1055,79,98],"红花","白花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5a9039e5f16dbbf65a5783f0a67ae17.jpg",[],72,{"id":1060,"slug":1061,"title":1062,"dynasty":47,"author":146,"museum":112,"description":1063,"tags":1064,"thumbUrl":1066,"material":440,"size":62,"collection":62,"collections":1067,"showCount":1058,"zanCount":41,"manualWeight":41,"mainColor":66},234129,"hua-hui-tu-juan-zhu-da-234129","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”。\n朱耷的绘画以水墨为多，用笔恣意纵横，浑厚酣畅，花鸟画成就突出。他在学习陈淳、徐渭等前代写意大家的同时，在绘画实践中逐渐突出用笔奇峭，构图险怪，造型夸张的特点，形成了强烈的个人风格，对后世的写意花鸟画发展产生了深远的影响。在他的花鸟画作品中，现收藏于天津博物馆的《河上花图》可谓精品中的精品。",[23,24,133,77,150,354,767,620,7,1065,259,881],"果实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F488c99931bac41583c1af07fdb126a07.jpg",[],{"id":1069,"slug":1070,"title":1071,"dynasty":71,"author":1072,"museum":93,"description":1073,"tags":1074,"thumbUrl":1080,"material":848,"size":1081,"collection":522,"collections":1082,"showCount":1083,"zanCount":11,"manualWeight":41,"mainColor":42},221206,"cai-xiang-qi-yan-jue-ju-yi-shou-wu-ju-221206","蔡襄七言绝句一首","吴琚","《七言绝句》诗文出自蔡襄《访陈处士》，它是吴琚存世唯一一件大字行书挂轴之作，也是现在所见最早的一件挂轴形式的书迹。《石渠宝笈初编》著录。上面没有署款，只鈐“云壑书印”一印，有学者认為可能是一组书屏之一。大字书轴适於悬挂欣赏，重在行气连贯与左右上下字的呼应，吴琚此轴笔势较一般小字快速而强劲，结字紧密，以倾侧取势，上下字相映带，更为强调米芾行书的特色，同时代的陆游(1125-1209)与范成大(1126-1193)都有类似风格，可见一时风气，《宋元学案》提到范成大、陆游与吴琚“引為师友”，因此也可能在书法上互相影响",[23,82,377,1075,1076,81,327,1077,1078,7,1079,116],"墨","纸","溪","垂杨","日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cbb93e387618892f877990551cbc300.jpg","98.6x55.3cm",[522],71,{"id":1085,"slug":1086,"title":1087,"dynasty":226,"author":185,"museum":93,"description":1088,"tags":1089,"thumbUrl":1091,"material":60,"size":1092,"collection":84,"collections":1093,"showCount":1094,"zanCount":277,"manualWeight":41,"mainColor":42},218835,"hua-e-xiao-jing-tu-yi-ming-218835","花鹅小景图","白鹅曲颈伫立，绒羽以细笔晕染，柔润如凝脂，尾羽纹理纤毫可见。身旁草叶疏朗，野花含露轻绽，淡紫与浅红的花瓣似携微风颤动；后方岩石以简劲笔触皴擦，苍朴质感与鹅的柔媚相映成趣。古旧纸色衬得景物愈发温润，笔触间藏着细腻生机——仿佛能听见鹅喙轻啄草叶的细碎声响，或是风拂野花的微颤。整幅小景虽简，却将自然的恬淡雅致凝于尺幅，细处见工致，疏处显意趣，尽显宋元小景画的清逸之韵。",[76,24,52,25,26,1090,7,175,259],"鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aca3e9066be932f6397474cf4d654f4.jpg","57.5x37cm",[84],69,{"id":1096,"slug":1097,"title":1098,"dynasty":71,"author":185,"museum":112,"description":1099,"tags":1100,"thumbUrl":1101,"material":62,"size":62,"collection":62,"collections":1102,"showCount":1103,"zanCount":11,"manualWeight":41,"mainColor":66},223596,"guan-shou-guan-hua-tu-yi-ming-223596","盥手观花图","庭院清寂，仕女方盥手罢，正凝睇案头花簇。画面虚实相衬，左侧留白更衬出右侧庭院的幽谧雅致。长案错落陈开花卉、妆具，器物勾勒工细古雅，尽显深闺陈设的精致意趣。\n\n仕女身姿温婉端丽，两名侍女或持团扇或奉巾侍立，情态柔婉生动，将深闺日常的闲雅意趣缓缓铺陈。设色古雅沉静，棕褐底色晕染出庭院朦胧静谧的氛围，衣袂的素净浅淡与花簇的明丽鲜活相映晕合，笔触柔润细腻。\n\n画笔致工秀含蓄，将宋人娴静内敛的审美意趣融于闺中清赏的日常里，晕开淡远悠长的东方诗意。",[23,76,24,52,26,25,323,27,490,7,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43601ebbe84e62c48f0a06a97221751c.jpg",[],68,{"id":1105,"slug":1106,"title":1107,"dynasty":47,"author":1108,"museum":130,"description":1109,"tags":1110,"thumbUrl":1117,"material":100,"size":1118,"collection":36,"collections":1119,"showCount":1103,"zanCount":11,"manualWeight":41,"mainColor":66},218523,"wang-yuan-qi-yi-ju-tu-xiang-juan-yu-zhi-ding-218523","王原祁艺菊图像卷","禹之鼎","这幅画描绘了王原祁在院子里享受一杯茶和一朵菊花。在这幅画中，留着浓密的胡须、身材略胖的王志刚大约50岁，坐在沙发上，手里拿着一杯茶，欣赏着面前的菊花。他目光专注，态度沉稳大方，体现出不同于普通文人的优雅高贵的气质。画中的桌子和沙发简洁大方，书卷摆放整齐，还有精心栽培的菊花和其他景物，这些又说明了人物的爱好和雅趣。",[23,24,52,77,25,26,323,353,7,1111,1112,1113,1114,1115,1116,82,377,81],"桌","椅","花瓶","书","盆栽","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b426879ff6f6f7c85be31d0fd4ef954.jpg","32.4x136.4",[36],{"id":1121,"slug":1122,"title":1123,"dynasty":47,"author":1124,"museum":93,"description":1125,"tags":1126,"thumbUrl":1127,"material":60,"size":1128,"collection":84,"collections":1129,"showCount":1130,"zanCount":41,"manualWeight":41,"mainColor":66},218810,"e-mo-niao-tu-yang-da-zhang-218810","额摩鸟图","杨大章","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。",[76,24,52,134,25,26,54,117,210,468,152,82,81,116,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe680768fee9dc27723523539b928bca7.jpg","149.8x101cm",[84],67,{"id":1132,"slug":1133,"title":1134,"dynasty":71,"author":185,"museum":49,"description":1135,"tags":1136,"thumbUrl":1139,"material":100,"size":1140,"collection":686,"collections":1141,"showCount":1142,"zanCount":11,"manualWeight":41,"mainColor":42},217074,"hua-wu-zui-gui-tu-yi-ming-217074","花坞醉归图","这幅画描绘了一座远山，山上各处的桃花盛开，一头驴子在山脚下的木桥上驼着醉酒的主人，向前方的小屋方向走去，后面跟着一个挑着担子的随从。",[23,24,52,188,26,673,323,327,1137,152,468,7,81,116,1138],"马","古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ef29ccb362d192e6510a542bc5044d0.jpg","23.8x25.3cm",[686],66,{"id":1144,"slug":1145,"title":1146,"dynasty":128,"author":1147,"museum":1148,"description":1149,"tags":1150,"thumbUrl":1152,"material":62,"size":62,"collection":62,"collections":1153,"showCount":1154,"zanCount":41,"manualWeight":41,"mainColor":66},220541,"san-ma-tu-yue-sheng-xu-bei-hong-220541","三马图(月升)","徐悲鸿","中央美术学院美术馆","画面构图错落雅致，上方三马各有意趣。两匹垂首缓行，鬃毛垂顺，低首啮食尽显温驯松弛，水墨晕染间将骏马肌理骨相勾勒分明。另一匹昂首提蹄，鬃尾飞扬，筋骨勃发满是奔腾的野逸生气，寥寥数笔便将骏马的灵动与劲硕全然彰显。\n\n右下角晚秋枯树以淡赭点染残叶，清冷萧疏的静气，恰好衬得骏马愈发蓬勃俊朗。左侧题字笔力苍劲，与画中笔墨融作一体。整幅落笔简劲写意，以形写神，将生灵的蓬勃生机与沉静氛围感交织，尽显写意画的含蓄韵致，把骏马神形风骨尽现笔端。",[23,76,24,52,133,26,1151,150,1137,468,7],"写实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc93e961915d8db09e0e734cbfad68664.jpg",[],64,{"id":1156,"slug":1157,"title":1158,"dynasty":171,"author":1159,"museum":254,"description":1160,"tags":1161,"thumbUrl":1162,"material":100,"size":62,"collection":84,"collections":1163,"showCount":1154,"zanCount":41,"manualWeight":41,"mainColor":42},219323,"hua-niao-tu-er-yue-zhou-219323","花鸟图(二)","月洲","梅枝横斜，粉蕊轻绽枝头，两只禽鸟或立或眺，神态悠然。下方花卉繁茂，瓣层叠如绒，色泽温润；长尾羽禽羽翼绯红，与素白花朵相映成趣，墨枝青叶绿意交错，野趣自生。笔触细腻处见工致，设色淡雅中藏灵动，禽鸟憨态、花木生机跃然绢上，尽显自然意趣与文人雅致。岁月虽为绢面添了斑驳，却未减画面里静谧的生机流转，似能闻得花鸟间的轻语，触到时光里的温柔回响，将自然之美与文人情韵凝于方寸之间。",[23,24,76,134,25,26,54,115,354,353,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6ce9a7674e5a9e4c068dd1387796361.jpg",[84],{"id":1165,"slug":1166,"title":1167,"dynasty":171,"author":1168,"museum":93,"description":1169,"tags":1170,"thumbUrl":1172,"material":1173,"size":1174,"collection":84,"collections":1175,"showCount":1176,"zanCount":41,"manualWeight":41,"mainColor":42},221939,"chun-hua-san-xi-zhou-bian-wen-jin-221939","春花三喜轴","边文进","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）。",[23,24,52,76,134,25,26,54,354,7,117,175,1171],"喜鹊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62f1287edf3b68161f45fac1f2622fc6.jpg","绢本设色","纵165.2，横98.3cm",[84,38],59,{"id":1178,"slug":1179,"title":1180,"dynasty":171,"author":865,"museum":147,"description":1181,"tags":1182,"thumbUrl":1183,"material":60,"size":1184,"collection":62,"collections":1185,"showCount":1186,"zanCount":277,"manualWeight":41,"mainColor":872},216261,"ming-za-hua-ce-4-wang-zhong-216261","明杂画册-4","汪中指的是汪建中（1501-1593年），他是明朝时期的一位著名画家。明杂画册是指他绘制的一组绘画作品集，通常指其中一部名为《汪中杂画册》的作品。《汪中杂画册》是一部非常著名的画册，由汪建中在明朝末期绘制而成。它共有24册，收录了许多他的绘画作品，包括花卉、山水、虫鸟、人物等。这些作品都非常精美，被认为是中国画史上的杰作。《汪中杂画册》目前被认为是中国明朝时期最重要的画册之一，并被认为是中国画史上的经典之作。",[24,26,25,53,175,54,353,259,209,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1ab5d750f60cfb64615b60a29b53388.jpg","30x27cm",[],57,{"id":1188,"slug":1189,"title":1190,"dynasty":71,"author":1191,"museum":93,"description":1192,"tags":1193,"thumbUrl":1194,"material":100,"size":1195,"collection":102,"collections":1196,"showCount":1197,"zanCount":41,"manualWeight":41,"mainColor":66},219205,"hua-mu-zhen-qin-tu-lin-chun-219205","花木珍禽图","林椿","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。",[23,76,24,52,188,25,26,54,7,468,117,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7e39a3b8400e6e4315756cb77ddc544.jpg","25.8x26.3cm",[102,84],56,{"id":1199,"slug":1200,"title":1050,"dynasty":47,"author":1051,"museum":112,"des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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。",[23,76,24,52,134,25,26,54,116,175,259,7,1280,117],"枯枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac72a55ea3763e691c05bcb488667755.jpg","纵96横43.8厘米",[102,84,38],{"id":1285,"slug":1286,"title":1287,"dynasty":71,"author":1288,"museum":112,"description":1289,"tags":1290,"thumbUrl":1291,"material":62,"size":62,"collection":62,"collections":1292,"showCount":1293,"zanCount":41,"manualWeight":41,"mainColor":42},227831,"she-xiang-tu-mao-song-227831","麝香图","毛松","洞石旁蜀葵柔枝舒展，粉白淡紫的花晕漾开雅致生机，藏在花枝间的禽鸟敛羽小憩，暗生幽趣。狸奴踞坐于地，蓬松白毛似覆软雪，琥珀眼眸凝向幼崽，神态温静慵懒。三只乳猫两两嬉闹，稚拙灵动的憨态被描摹入微。\n\n设色秀妍清雅，笔致工细却不失灵韵，以圆形构图收拢庭院景致，将母猫育幼的日常温情定格成一方温柔剪影，把宋人的细腻闲情晕开在绢素之上，平和松弛的烟火暖意漫溢其间，尽显雅致柔和的审美意趣，将寻常里的治愈温情留存至今。",[23,76,24,52,188,25,26,597,541,7,175,455],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6e654708b44e5b560820fa536d6656d.jpg",[],45,{"id":1295,"slug":1296,"title":1297,"dynasty":989,"author":1298,"museum":112,"description":1299,"tags":1300,"thumbUrl":1304,"material":501,"size":502,"collection":1003,"collections":1305,"showCount":1293,"zanCount":41,"manualWeight":41,"mainColor":579},226147,"shang-ren-ge-ao-er-ge-ji-sai-xiao-han-si-huo-er-bai-yin-226147","商人格奥尔格·吉塞","小汉斯·霍尔拜因","小汉斯·荷尔拜因（约1497年-1543年11月29日以前）是德国画家，最擅长油画和版画，是欧洲北方文艺复兴时代的艺术家。其代表作有：木版画《死神之舞》",[994,1151,323,1076,1301,1302,1303,32,30,7],"笔","书籍","金属器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a694ea2d89efc2767401182cad29d48.jpg",[1003],{"id":1307,"slug":1308,"title":1309,"dynasty":47,"author":185,"museum":93,"description":1310,"tags":1311,"thumbUrl":1315,"material":60,"size":1316,"collection":38,"collections":1317,"showCount":1293,"zanCount":11,"manualWeight":41,"mainColor":66},219370,"wu-kuan-hua-yin-wo-quan-zhou-yi-ming-219370","无款花阴卧犬轴","花阴覆处，湖石嶙峋，几丛花草点缀其间，生机暗涌。群犬嬉戏成趣：一犬蜷身侧卧，颈间红绳系铃，眸光慵懒似梦；旁侧幼犬挤卧亲昵，绒毛软嫩如棉，另有小犬蹒跚学步，爪印浅浅印于草间。湖石皴法细腻，纹理毕现；花草设色淡雅，与犬之墨韵相映成趣。整幅画无喧嚣之态，唯有闲居之暖，似将时光凝于花阴下，藏住一段温柔的日常。笔触柔润却不失精准，将犬的憨态与场景的静谧融于一体，尽显生活中的细碎温情，让人观之忘俗。",[24,26,25,134,541,632,1312,175,7,647,1313,1314],"幼犬","阴景","多犬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4e148e8acfd6744eb02cf49cd8a5dd6.jpg","123.3x153.7",[38],{"id":1319,"slug":1320,"title":1321,"dynasty":47,"author":1031,"museum":112,"description":1322,"tags":1323,"thumbUrl":1324,"material":501,"size":502,"collection":62,"collections":1325,"showCount":1326,"zanCount":41,"manualWeight":41,"mainColor":66},239454,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239454","邹一桂花鸟草虫图册","邹一桂（1688-1772），清代画家。字元褒，号小山、二知、让卿、乡森子，江苏无锡人。雍正五年(1727)进士，官至礼部侍郎。擅工笔花卉。尝作《百花》卷，各系一诗。传世作品有《白梅山茶图》、《太古云岚图》、《水仙红梅图》等。",[24,52,53,25,26,54,940,209,7,259,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F384bf1f79890e720543b7671782cefef.jpg",[],44,{"id":1328,"slug":1329,"title":1330,"dynasty":47,"author":1331,"museum":49,"description":1332,"tags":1333,"thumbUrl":1334,"material":154,"size":1335,"collection":36,"collections":1336,"showCount":1326,"zanCount":41,"manualWeight":41,"mainColor":66},219419,"jin-gu-yuan-tu-zhou-hua-nie-219419","金谷园图轴","华喦","华喦（yán）的笔墨既有继承传统的一面，又重视写生，构图大胆新颖。他所刻画的艺术形象鲜活生动，用笔干湿浓淡灵活多变，表现力强。是图，华岩重构了西晋石崇所建别墅金谷园，潇洒淋漓的笔墨与烂漫的花草使奢华的园林带有了些许文人气韵。",[24,134,26,25,323,673,598,152,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F900b496b8d7d1df5eea57bd7f71090a2.jpg","纵178.7 厘米 横94.4 厘米",[36],{"id":1338,"slug":1339,"title":1340,"dynasty":47,"author":1341,"museum":112,"description":1342,"tags":1343,"thumbUrl":1344,"material":402,"size":62,"collection":84,"collections":1345,"showCount":1346,"zanCount":11,"manualWeight":41,"mainColor":66},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。",[24,52,53,26,54,7,258,97,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff85e8fad369e11d4e7fbdfa5edef96eb.jpg",[84],43,{"id":1348,"slug":1349,"title":309,"dynasty":71,"author":185,"museum":112,"description":1350,"tags":1351,"thumbUrl":1352,"material":62,"size":62,"collection":62,"collections":1353,"showCount":1346,"zanCount":277,"manualWeight":41,"mainColor":66},227387,"shu-kui-yi-ming-227387","此画选自《宋人收藏绘本》。 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。",[23,76,24,52,25,26,54,7,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb3504db8c782a0bf56ff3d8e7afbe96.jpg",[],{"id":1355,"slug":1356,"title":1357,"dynasty":47,"author":1358,"museum":1359,"description":1360,"tags":1361,"thumbUrl":1363,"material":636,"size":1364,"collection":84,"collections":1365,"showCount":1346,"zanCount":41,"manualWeight":41,"mainColor":42},222806,"hua-niao-zhen-qin-tu-you-cui-222806","花鸟珍禽图","尤萃","安徽省博物馆","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。",[23,24,52,25,26,54,115,117,1362,152,7,79],"雉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1c8d78323e1e166ec5d52532c3a4c51.jpg","纵196.7cm，横96.5cm",[84,38],{"id":1367,"slug":1368,"title":1321,"dynasty":47,"author":1031,"museum":112,"description":1322,"tags":1369,"thumbUrl":1370,"material":501,"size":502,"collection":62,"collections":1371,"showCount":1372,"zanCount":41,"manualWeight":41,"mainColor":66},239453,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239453",[25,26,54,7,97,98,81,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F710b3a5b340fe224e86cc6619d357ad7.jpg",[],42,{"id":1374,"slug":1375,"title":1376,"dynasty":47,"author":497,"museum":112,"description":498,"tags":1377,"thumbUrl":1378,"material":501,"size":502,"collection":62,"collections":1379,"showCount":1380,"zanCount":11,"manualWeight":41,"mainColor":66},238417,"xiu-gu-cong-fang-tu-ce-dong-gao-238417","绣谷丛芳图册",[24,52,76,53,26,25,54,7,79,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8763ad1a0827aa8984cd36e4279b56ec.jpg",[],41,{"id":1382,"slug":1383,"title":1384,"dynasty":47,"author":1385,"museum":112,"description":1386,"tags":1387,"thumbUrl":1388,"material":62,"size":62,"collection":62,"collections":1389,"showCount":1380,"zanCount":11,"manualWeight":41,"mainColor":66},224205,"ying-wu-xi-die-tu-hu-mei-224205","鹦鹉戏蝶图","胡湄","《鹦鹉戏蝶图》是画家胡湄所作的一幅画，现藏于上海博物馆。\n此画中的花鸟仿宋人笔，工笔重色，细致艳丽。\n梅花之沉稳雅致与鹦鹉之灵动飞扬成对比，造型精确、形态生动。\n花朵胭脂设色，鲜嫩娇美，墨绿树叶作为衬托，层次向背各自分明。\n鹦鹉的羽毛用白粉工笔勾描，质感柔绵，整幅画无一懈笔，青铜架上的绿锈、红霉均细致地得到表现。\n在和煦的阳光下，大地一片清新蓊郁，在村宅的一隅，一枝怒放的梨花，张开笑脸，散发出阵阵清香，这时两只斑灿美丽的蝴蝶向飘落的梨花追逐，一只原系立于铜架上的鹦鹉反身而下，全力地扑向彩蝶，形态生动。\n署款“晚山胡湄写”。\n钤 “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》。",[23,24,52,76,134,25,26,54,467,209,7,219,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72d4e5bf65a6b3e2e6a86eefde4da10a.jpg",[],{"id":1391,"slug":1392,"title":1393,"dynasty":47,"author":385,"museum":93,"description":1394,"tags":1395,"thumbUrl":1400,"material":1401,"size":1402,"collection":84,"collections":1403,"showCount":1380,"zanCount":277,"manualWeight":41,"mainColor":66},222693,"xin-shao-ru-yi-tu-zhou-qian-wei-cheng-222693","新韶如意图轴","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。",[23,24,52,134,26,25,376,1396,1397,1398,115,1399,7,490,81],"盆","灵芝","柿子","松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c76e4882c3861113c1dfe14fc016849.jpg","纸本水墨","105.2x55.9厘米",[84,38],{"id":1405,"slug":1406,"title":1407,"dynasty":47,"author":1408,"museum":112,"description":1409,"tags":1410,"thumbUrl":1411,"material":62,"size":62,"collection":62,"collections":1412,"showCount":1413,"zanCount":41,"manualWeight":41,"mainColor":66},230199,"chun-qi-ji-jin-juan-wang-cheng-pei-230199","春祺集锦卷","汪承霈","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。",[76,24,52,77,26,25,54,354,7,259,1065,1397],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F452999763f15c2cc0fd5efdbcdbbc608.jpg",[],39,{"id":1415,"slug":1416,"title":1417,"dynasty":989,"author":1418,"museum":112,"description":1419,"tags":1420,"thumbUrl":1425,"material":501,"size":502,"collection":1003,"collections":1426,"showCount":1413,"zanCount":41,"manualWeight":41,"mainColor":42},225766,"imperial-fritillaries-in-a-copper-vase-1887-fan-gao-225766","Imperial Fritillaries in a Copper Vase 1887","梵高","文森特·威廉·梵高（Vincent Willem van Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[994,1421,26,1422,7,1423,490,1424],"后印象派","静物","铜制","台面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fed36cbf8bf4db654071c4d067686a2.jpg",[1003],{"id":1428,"slug":1429,"title":1430,"dynasty":47,"author":1431,"museum":112,"description":1432,"tags":1433,"thumbUrl":1435,"material":501,"size":502,"collection":62,"collections":1436,"showCount":1437,"zanCount":41,"manualWeight":41,"mainColor":66},239059,"shan-shui-hua-niao-ce-yang-jin-239059","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。",[24,52,53,133,1434,54,7,97,98,81],"白描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc63e6e415ef05404b5373e9472d91023.jpg",[],35,{"id":1439,"slug":1440,"title":1441,"dynasty":171,"author":185,"museum":112,"description":1442,"tags":1443,"thumbUrl":1444,"material":501,"size":502,"collection":62,"collections":1445,"showCount":1437,"zanCount":41,"manualWeight":41,"mainColor":42},228809,"hua-niao-tu-ce-yi-ming-228809","花鸟图册","以赭色绢面为底，绘就郊野秋光。蓝花明妍澄澈，黄花柔婉轻绽，阔叶舒展带露，棘枝斜斜挑立，野卉错落交织，自呈生趣。一只蜻蜓振翅悬停半空，翅脉纤毫毕现，似正贪恋花间清芬，草叶之下还隐有小虫静伏，幽微生机暗涌其间。\n设色清妍古雅，勾勒工稳精细，花叶向背、虫翼薄透皆写实入微，既有院体花鸟的雅致工整，又带着郊野的疏野天然，将秋日荒闲里的细碎生机凝于绢上，淡朴中藏精妙，笔底暗蕴着对幽逸野趣的脉脉倾心。",[24,26,25,53,54,7,97,98,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F111fb455a724f674c275d32dfc9429e3.jpg",[],{"id":1447,"slug":1448,"title":1264,"dynasty":171,"author":1449,"museum":112,"description":1450,"tags":1451,"thumbUrl":1452,"material":62,"size":62,"collection":62,"collections":1453,"showCount":1454,"zanCount":41,"manualWeight":41,"mainColor":66},237673,"hua-niao-ce-ling-bi-zheng-237673","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》",[24,52,53,26,25,54,117,7,219,57,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd19c88dd409fb513d29e61df5f1d5f60.jpg",[],34,{"id":1456,"slug":1457,"title":1458,"dynasty":71,"author":185,"museum":112,"description":1459,"tags":1460,"thumbUrl":1461,"material":62,"size":62,"collection":62,"collections":1462,"showCount":1463,"zanCount":11,"manualWeight":41,"mainColor":1206},227834,"zheng-qin-tu-ye-yi-ming-227834","争禽图页","折枝山茶斜斜铺展，莹白花朵团簇绽放，叶片晕染出浓淡层次，尽显阴阳向背的苍润生机。两只禽鸟打破静谧，一鸟振翅俯冲，姿态凌厉，细枝上的小雀瑟缩避让，将枝头争闹的瞬间精准定格。\n\n全作用笔精细入微，禽鸟纤毫毕现，山茶设色清润雅致，淡绢底色更衬古雅气韵。以小幅尺幅定格春日花鸟间的刹那灵动，把自然生趣凝练于方寸之间，尽显写生格物、以小见大的精妙造诣，生机满溢，意趣悠长。",[23,76,24,52,188,26,25,54,116,7,97,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7afa4755efb0dfc6d21d7a5d1a31d71.jpg",[],33,{"id":1465,"slug":1466,"title":1467,"dynasty":989,"author":1418,"museum":112,"description":1419,"tags":1468,"thumbUrl":1472,"material":501,"size":502,"collection":1003,"collections":1473,"showCount":1463,"zanCount":41,"manualWeight":41,"mainColor":66},225820,"sprig-of-flowering-almond-in-a-glass-march-fan-gao-225820","Sprig of flowering almond in a glass (March - 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"dynasty":47,"author":1242,"museum":112,"description":1548,"tags":1549,"thumbUrl":1550,"material":501,"size":502,"collection":62,"collections":1551,"showCount":1544,"zanCount":11,"manualWeight":41,"mainColor":66},235603,"hua-hui-ce-wang-wu-235603","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。",[24,52,53,26,25,54,1399,7,81,377],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5203f98c5bc6b88482bddebc1961fe00.jpg",[],{"id":1553,"slug":1554,"title":1555,"dynasty":171,"author":373,"museum":112,"description":1496,"tags":1556,"thumbUrl":1557,"material":501,"size":502,"collection":62,"collections":1558,"showCount":1559,"zanCount":41,"manualWeight":41,"mainColor":42},236673,"hua-die-shan-mian-chen-hong-shou-236673","花蝶扇面",[815,24,52,188,25,26,54,7,135,175,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b54cb9209504cd4723c9d1cce8320d5.jpg",[],27,{"id":1561,"slug":1562,"title":1563,"dynasty":47,"author":267,"museum":112,"description":1564,"tags":1565,"thumbUrl":1568,"material":1269,"size":1569,"collection":62,"collections":1570,"showCount":1571,"zanCount":41,"manualWeight":41,"mainColor":66},234993,"hua-hui-ling-mao-ping-11-ren-yi-234993","花卉翎毛屏11","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。",[24,76,52,134,26,25,54,352,1566,57,7,1567,81],"豆藤","竹架","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc51dae55e91611f90ab3b25efa239ea.jpg","149 x 61 cm",[],26,{"id":1573,"slug":1574,"title":1030,"dynasty":47,"author":1575,"museum":130,"description":1576,"tags":1577,"thumbUrl":1578,"material":1173,"size":62,"collection":62,"collections":1579,"showCount":1571,"zanCount":11,"manualWeight":41,"mainColor":66},232942,"hua-hui-tu-ce-fan-ting-zhen-232942","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。",[24,52,53,25,26,54,58,7,57,259],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab207a06b8dcd58c96b61485747f7522.jpg",[],{"id":1581,"slug":1582,"title":1583,"dynasty":47,"author":185,"museum":112,"description":1584,"tags":1585,"thumbUrl":1588,"material":501,"size":502,"collection":62,"collections":1589,"showCount":1571,"zanCount":41,"manualWeight":41,"mainColor":42},229263,"hua-fa-lang-sui-chao-tu-ping-yi-ming-229263","画珐瑯岁朝图瓶","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 ，錾胎珐琅的制作中心也在广州，透明珐琅器也以广州出产的最为著名。",[419,1586,1587,26,115,7,258,490],"珐琅器","画珐琅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99f9079f3aad1377f2871d45400df1ad.jpg",[],{"id":1591,"slug":1592,"title":1593,"dynasty":226,"author":1594,"museum":112,"description":1595,"tags":1596,"thumbUrl":1597,"material":62,"size":62,"collection":62,"collections":1598,"showCount":1571,"zanCount":41,"manualWeight":41,"mainColor":66},228257,"mo-hua-tu-juan-chang-juan-zhao-zhong-228257","墨花图卷长卷","赵衷","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。",[23,76,24,52,77,1434,133,25,54,210,297,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83039bd32439ba7bcc1e7f007efb14a8.jpg",[],{"id":1600,"slug":1601,"title":1602,"dynasty":226,"author":1603,"museum":130,"description":1604,"tags":1605,"thumbUrl":1607,"material":34,"size":1608,"collection":62,"collections":1609,"showCount":1610,"zanCount":41,"manualWeight":41,"mainColor":42},233823,"hua-zhu-jin-ji-tu-zhou-wang-yuan-233823","花竹锦鸡图轴","王渊","王渊（生卒年不详），字若水，号澹轩，浙江杭州人。他一生不仕，专擅墨笔花鸟、竹石。画意蕴藉清润、幽静深秀。",[76,24,134,25,26,54,354,7,1606,116,175],"锦鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd36673eec219f9e862caec47a108a50c.jpg","纵175.7cm; 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－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。",[23,76,24,52,134,25,26,54,352,1682,354,7],"小鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53c3c15c54cb8caa9e8e73fe6b34e431.jpg","63.7x43.9",[84,38],{"id":1687,"slug":1688,"title":1264,"dynasty":171,"author":1449,"museum":112,"description":1450,"tags":1689,"thumbUrl":1690,"material":62,"size":62,"collection":62,"collections":1691,"showCount":1692,"zanCount":11,"manualWeight":41,"mainColor":66},237672,"hua-niao-ce-ling-bi-zheng-237672",[24,52,53,26,25,54,7,79,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4a907003859e746d2a89f93c17d00e1.jpg",[],22,{"id":1694,"slug":1695,"title":1696,"dynasty":171,"author":1697,"museum":112,"description":1698,"tags":1699,"thumbUrl":1701,"material":62,"size":62,"collection":62,"collections":1702,"showCount":1692,"zanCount":41,"manualWeight":41,"mainColor":42},236838,"hua-shi-yuan-yang-zhou-lv-tang-236838","花石鸳鸯轴","吕棠","《吕棠花石鸳鸯图轴》是明代吕棠创作的绢本设色画。\n无款署，钤“竹村”、“吕氏怀芳”。\n此幅图追随吕纪粗笔花鸟风格绘制。\n山石用宋人“大斧劈”皴法，笔墨简练纯熟。\n以山花红叶点缀其间，色彩对比强烈。\n水边鸳鸯羽毛鲜艳，神态安详，使画面充满喜悦和平的气氛。\n作品从题材到技法都为明代院画的典型风格，虽年深日久，屡经揭裱，色墨脱落，但仍可想见其当时的富丽典雅。",[24,52,134,26,25,54,1700,175,7,259],"鸳鸯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb985c8407b206ecd0d907e24d3bf6da.jpg",[],{"id":1704,"slug":1705,"title":1264,"dynasty":171,"author":1539,"museum":112,"description":1540,"tags":1706,"thumbUrl":1708,"material":501,"size":502,"collection":62,"collections":1709,"showCount":1692,"zanCount":41,"manualWeight":41,"mainColor":66},235736,"hua-niao-ce-tan-zhi-yi-235736",[24,52,53,133,150,54,1707,79,7,81],"石榴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F496762f6770435afc3596956a8dffd28.jpg",[],{"id":1711,"slug":1712,"title":1713,"dynasty":226,"author":487,"museum":112,"description":1714,"tags":1715,"thumbUrl":1716,"material":62,"size":62,"collection":62,"collections":1717,"showCount":1692,"zanCount":41,"manualWeight":41,"mainColor":42},228175,"tong-xi-tu-qian-xuan-228175","童戏图","古柳垂荫，榴花绽艳，庭院间三个稚童正嬉游作乐。矮凳上狸奴蜷卧，一孩童伸指逗弄，身侧同伴探首凝神，满眼好奇。最后小童攥着花枝蹑步而来，似要悄然加入嬉玩。\n\n整幅画笔法工细柔婉，设色古澹沉静，将幼童的娇憨鲜活尽数铺展。花木湖石衬出悠然闲趣，把孩童嬉游的日常瞬景定格，晕开旧时光里的融融暖意，尽显婴戏画的温婉雅致，将稚拙童趣藏进古雅绢色之中。",[23,24,76,52,134,26,25,323,468,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb9b5cb209a420e718e41ff884f85df8.jpg",[],{"id":1719,"slug":1720,"title":338,"dynasty":47,"author":497,"museum":112,"description":498,"tags":1721,"thumbUrl":1722,"material":501,"size":502,"collection":62,"collections":1723,"showCount":1724,"zanCount":11,"manualWeight":41,"mainColor":66},238349,"hua-hui-ce-dong-gao-238349",[76,24,52,53,26,25,58,7,97,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8e4abae61be2ea347057d04631ec90e.jpg",[],21,{"id":1726,"slug":1727,"title":1264,"dynasty":171,"author":1449,"museum":112,"description":1450,"tags":1728,"thumbUrl":1729,"material":62,"size":62,"collection":62,"collections":1730,"showCount":1724,"zanCount":11,"manualWeight":41,"mainColor":66},237666,"hua-niao-ce-ling-bi-zheng-237666",[24,52,53,26,25,54,7,97,98,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ae3543ad9fc93aac2600c3c971d6e62.jpg",[],{"id":1732,"slug":1733,"title":1734,"dynasty":47,"author":1735,"museum":112,"description":1736,"tags":1737,"thumbUrl":1738,"material":62,"size":62,"collection":62,"collections":1739,"showCount":1724,"zanCount":41,"manualWeight":41,"mainColor":66},235295,"hua-niao-ce-fang-zhou-yuan-jiang-235295","花鸟册方轴","袁江","此作用笔兼具工细与写意之妙，枝间禽鸟造型写实传神，以淡赭晕染躯体，细笔丝出绒羽肌理，昂首引吭的姿态将啼鸣瞬间定格，灵动鲜活。\n\n粉艳海棠柔枝斜出，花瓣以脂水晕染，从瓣尖到瓣根渐次褪淡，叶片以浓淡墨色分出阴阳向背，娇柔雅致。素净绢底衬出花木禽鸟，留白清寂悠然，将春日枝间啼鸣的闲逸氛围尽显笔端，尽显传统花鸟的诗意意趣。",[24,52,53,25,26,54,117,7,219,57,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc14114421003c2cbab785058178e601f.jpg",[],{"id":1741,"slug":1742,"title":1743,"dynasty":47,"author":253,"museum":112,"description":1744,"tags":1745,"thumbUrl":1746,"material":62,"size":62,"collection":62,"collections":1747,"showCount":1724,"zanCount":41,"manualWeight":41,"mainColor":42},234417,"tang-shang-bai-tou-dan-ye-jiang-ting-xi-234417","堂上白头单页","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。",[24,52,53,26,25,54,117,7,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F115a4427e2d551d43ce1b52894609ebd.jpg",[],{"id":1749,"slug":1750,"title":1751,"dynasty":989,"author":185,"museum":112,"description":1752,"tags":1753,"thumbUrl":1757,"material":501,"size":502,"collection":62,"collections":1758,"showCount":1724,"zanCount":41,"manualWeight":41,"mainColor":66},225579,"fu-shi-hui-69-yi-ming-225579","浮世绘69","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。",[1754,1755,26,323,27,7,32,1756],"浮世绘","木刻","发饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a15958ed7aefd3db02d4a856c7fd6ad.jpg",[],{"id":1760,"slug":1761,"title":1762,"dynasty":47,"author":1763,"museum":130,"description":1764,"tags":1765,"thumbUrl":1770,"material":1771,"size":1772,"collection":522,"collections":1773,"showCount":1774,"zanCount":41,"manualWeight":41,"mainColor":66},240043,"xing-shu-yuan-ren-shi-zhou-liang-shi-zheng-240043","行书元人诗轴","梁诗正","释文：\n每忆城西路，曾来好画亭。兰花经雨白，野竹入云青。\n波影浮春砌，山光扑昼扃。褰衣对萝薜，凉月照人醒。\n元人一律。梁师正。\n款署 “梁诗正”，钤“梁诗正”白文印、“薌林”朱文印。引首钤“十二楼前侍从印”朱文椭圆形印。\n此幅书元王士熙《题玩芳亭五首》之一。梁诗正书法初学柳公权，后参以赵孟頫、文徵明，晚年师法颜真卿、李邕。此作笔画伸展，结字严紧，骨力矫健，集众家之长，得雍容俊拔之态。",[134,377,82,800,767,354,514,1766,1767,1768,7,1769],"山光","云","波","雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3553d66abb03032c0de31ff38bc875ed.jpg","纸本，行书","纵129厘米，横56.8厘米",[522],20,{"id":1776,"slug":1777,"title":1778,"dynasty":47,"author":497,"museum":112,"description":498,"tags":1779,"thumbUrl":1780,"material":501,"size":502,"collection":62,"collections":1781,"showCount":1774,"zanCount":41,"manualWeight":41,"mainColor":66},238398,"xuan-jin-lu-fang-tu-ce-dong-gao-238398","绚锦胪芳图册",[76,24,52,53,26,25,54,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7eeca67b62547eece16e85a7ae62b7a.jpg",[],{"id":1783,"slug":1784,"title":1778,"dynasty":47,"author":497,"museum":112,"description":498,"tags":1785,"thumbUrl":1786,"material":501,"size":502,"collection":62,"collections":1787,"showCount":1774,"zanCount":41,"manualWeight":41,"mainColor":66},238397,"xuan-jin-lu-fang-tu-ce-dong-gao-238397",[24,52,53,26,25,54,7,97,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eff07e312fd939963256b8d34f05660.jpg",[],{"id":1789,"slug":1790,"title":1791,"dynasty":47,"author":1792,"museum":112,"description":1793,"tags":1794,"thumbUrl":1795,"material":501,"size":502,"collection":62,"collections":1796,"showCount":1774,"zanCount":41,"manualWeight":41,"mainColor":66},237835,"tian-zhong-jing-ying-tu-shan-ye-yun-huai-ying-237835","天中景映图扇页","恽怀英","图绘牡丹、枇杷等各色花果，它们以五彩染就，不见笔痕，色调巧妙搭配，浓淡变化自然，脱去尘俗，于妍丽中见秀雅，粉墨中露清姿，颇得恽寿平花鸟画灵秀天趣之美，呈现出一派喜庆祥和的景象，与作者自题“喜写”的意愿相契合。",[188,26,25,54,7,57,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6f440ef47ec15b743171c3ffaf0a7e3.jpg",[],{"id":1798,"slug":1799,"title":1264,"dynasty":171,"author":1539,"museum":112,"description":1540,"tags":1800,"thumbUrl":1801,"material":501,"size":502,"collection":62,"collections":1802,"showCount":1774,"zanCount":41,"manualWeight":41,"mainColor":66},235724,"hua-niao-ce-tan-zhi-yi-235724",[24,52,53,133,26,54,175,7,259],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68fa4f245f339557ddc51c8d1503cc52.jpg",[],{"id":1804,"slug":1805,"title":1806,"dynasty":47,"author":1807,"museum":93,"description":1808,"tags":1809,"thumbUrl":1810,"material":100,"size":1811,"collection":84,"collections":1812,"showCount":1774,"zanCount":11,"manualWeight":41,"mainColor":66},219382,"hua-shi-pen-lan-tu-wang-jian-219382","花石盆兰图","王鉴","玲珑石上置天蓝釉色盆器，下有同色盆托。蕙兰集生种于盆中，花萼直立，一茎数朵，浅黄绿色，香气浓郁。下用奇石为花台，月季花、万寿菊、剪秋罗等诸种秋卉杂生，呈现园林野逸生趣。春花为兰，秋花为蕙。明清时期兰艺栽培进入兴盛时期，品种不断增加，成为大众观赏之物。画上款署「甲戌（1634）夏日写，王鉴」，并钤「知如、王鉴之印」。与清初「正统派」画家王鉴同名，但画风不同，作者生卒年无可考。上为乾隆三十六年（1771）御制题画诗，内容贴切，表现出紧密的诗画关系。",[24,52,134,26,25,767,620,7,54,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1714595b0e9a244bb7084d7d086642de.jpg","159.2x71.1",[84],{"id":1814,"slug":1815,"title":1778,"dynasty":47,"author":497,"museum":112,"description":498,"tags":1816,"thumbUrl":1817,"material":501,"size":502,"collection":62,"collections":1818,"showCount":1819,"zanCount":41,"manualWeight":41,"mainColor":66},238399,"xuan-jin-lu-fang-tu-ce-dong-gao-238399",[24,76,53,26,25,54,7,258,97,1267,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F395e6d198b4cc90f8116f4650ee4bab9.jpg",[],19,{"id":1821,"slug":1822,"title":1823,"dynasty":47,"author":1824,"museum":112,"description":1825,"tags":1826,"thumbUrl":1827,"material":501,"size":502,"collection":84,"collections":1828,"showCount":1819,"zanCount":41,"manualWeight":41,"mainColor":66},237706,"qiu-sui-hua-niao-ce-qiu-sui-237706","裘穟花鸟册","裘穟","清，钱塘(今杭州)人。焕子，艺术家，代表作《图绘宝鉴续纂》等。",[24,52,53,26,25,377,81,54,116,7,258],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84c711f99e8ebe27be62a1b260c9970c.jpg",[84,38],{"id":1830,"slug":1831,"title":1264,"dynasty":171,"author":1539,"museum":112,"description":1540,"tags":1832,"thumbUrl":1833,"material":501,"size":502,"collection":62,"collections":1834,"showCount":1819,"zanCount":41,"manualWeight":41,"mainColor":66},235735,"hua-niao-ce-tan-zhi-yi-235735",[76,24,52,53,26,25,54,1065,57,7,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad45b73f0049a14d3550d1815206b117.jpg",[],{"id":1836,"slug":1837,"title":1838,"dynasty":47,"author":1839,"museum":112,"description":1840,"tags":1841,"thumbUrl":1843,"material":62,"size":62,"collection":62,"collections":1844,"showCount":1819,"zanCount":41,"manualWeight":41,"mainColor":66},234594,"yao-yuan-zhi-hua-guo-wan-shan-yao-yuan-zhi-234594","姚元之花果纨扇","姚元之","姚元之（1773—1852）清代官员、书画家。字伯昂，号荐青，又号竹叶亭生，晚号五不翁，安徽桐城人。嘉庆十年进士，官至左都御史、内阁学士。善画人物、果品、花卉，书法尤精隶书。姚元之与崔旭、梅成栋皆出自清代著名诗人张问陶（号船山）门下，合称“张门三才子”。",[24,52,188,54,25,26,353,7,1842,419],"果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58b7f49ead7bc1e1fb50db9fb958b0b2.jpg",[],{"id":1846,"slug":1847,"title":1848,"dynasty":71,"author":185,"museum":130,"description":1849,"tags":1850,"thumbUrl":1851,"material":636,"size":1852,"collection":62,"collections":1853,"showCount":1819,"zanCount":41,"manualWeight":41,"mainColo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一个花瓶，跟在后面。 老人和两个少年，一副活泼的姿态，热切地相互呼应。 整幅画淡漠，充满野趣。 作者用双勾填彩竹，用白粉点花，用浓墨去山石，用淡墨擦。\n此图描绘的是陶渊明和采菊的故事。",[24,52,76,53,25,26,323,7,468,175,152,455],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa3829cc71d2b5bb96c58a1efbea7b43.jpg","24.1x25.2厘米",[],{"id":1855,"slug":1856,"title":7,"dynasty":47,"author":1857,"museum":112,"description":1858,"tags":1859,"thumbUrl":1860,"material":62,"size":62,"collection":62,"collections":1861,"showCount":1819,"zanCount":277,"manualWeight":41,"mainColor":66},226644,"hua-pu-ru-226644","溥儒","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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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》。",[24,52,53,26,7,1842,79,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6b2598b5dfceaa9fca8709cd1d0c074.jpg",[],{"id":2237,"slug":2238,"title":2239,"dynasty":47,"author":185,"museum":112,"description":2240,"tags":2241,"thumbUrl":2243,"material":501,"size":502,"collection":62,"collections":2244,"showCount":2207,"zanCount":11,"manualWeight":41,"mainColor":66},229964,"yin-du-jin-qian-zhu-hua-die-er-wa-chai-yi-ming-229964","银镀金嵌珠花蝶耳挖钗","此钗取花蝶为韵，粉碧玺花瓣柔婉层叠，主珠莹润似晨露，碎珠如星子错落点缀。点翠鲜绿叶片舒展，衬得花团愈发生机灵动。银镀金底托将珠石托举，清透宝玉与鎏金光泽相映，华贵又不失清雅。\n\n它将装饰与实用相融，钗身兼具耳挖之用，是闺阁妆饰里藏着的巧思。整体清丽柔婉，尽显细作首饰的精巧工致，把闺中女子的雅致意趣凝于方寸之间，藏着旧时妆匣里的温柔心事。",[419,2242,422,7,135,31,490,26],"银镀金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f692ed659154c939cd4f4c89764e314.jpg",[],{"id":2246,"slug":2247,"title":2248,"dynasty":989,"author":185,"museum":112,"description":2249,"tags":2250,"thumbUrl":2251,"material":62,"size":62,"collection":62,"collections":2252,"showCount":2207,"zanCount":11,"manualWeight":41,"mainColor":66},225351,"fu-shi-hui-105-yi-ming-225351","浮世绘105","浅湖蓝带颗粒感的底色晕开沉静氛围，暖黄色线瓣菊舒展绽放，细长花瓣从花心呈放射状铺陈，辅以淡色阴影勾勒蓬松花型，柔润中带着舒展的锐气。墨绿叶片棱角分明，与柔媚花型刚柔相济。\n\n画面疏密有致，上方留白透气，下方花簇饱满错落，朱红印章点缀右侧，平衡青黄色调，添了一抹醒目的暖意。整体风格清雅悠然，以简洁套色定格秋菊孤高的意趣，将秋日花草的闲静风骨藏在柔婉的笔色里。",[1754,1755,26,353,7,79,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F954596b9cdaa8458eeb612b2008726e6.jpg",[],{"id":2254,"slug":2255,"title":2256,"dynasty":171,"author":185,"museum":73,"description":2257,"tags":2258,"thumbUrl":2260,"material":34,"size":2261,"collection":62,"collections":2262,"showCount":2207,"zanCount":11,"manualWeight":41,"mainColor":42},223382,"mai-hua-tu-ce-ye-yi-ming-223382","卖花图册页","为了更好将花卖出去，这些走街串巷的花贩还会边走边唱歌，不断吆喝。",[23,24,53,26,25,323,54,7,2259],"市井","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53a05a179c51179f88150a902c20ff9b.jpg","24.4×19.7",[],{"id":2264,"slug":2265,"title":2266,"dynasty":47,"author":2267,"museum":93,"description":2268,"tags":2269,"thumbUrl":2274,"material":805,"size":2275,"collection":522,"collections":2276,"showCount":65,"zanCount":41,"manualWeight":41,"mainColor":66},240710,"shi-juan-liu-yong-240710","诗卷","刘墉","本幅为刘墉书写杜甫诗句之手卷，书于水红色、钩金花的纸张上，十分别致。起始的一首诗题名为“缚鸡行”，叙述小仆绑着鸡要到市中去卖，引起了诗人对人、鸡、虫三者间的一些感概，内容颇有意趣。至于在书法方面，圆润婉转的字体，看似柔软无骨，实际上却是将劲道隐藏于丰厚的外貌中，相当的内敛，前人评论刘墉的书法为棉里裹针，应即此意了。",[23,82,377,77,81,514,673,516,2270,229,2271,2272,1019,2273,1767,7],"梅花","星","火","夜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb205c3850b765c4e2b6b30fd470f7041.jpg","金笺22.5x232cm",[522],{"id":2278,"slug":2279,"title":2280,"dynasty":47,"author":2281,"museum":112,"description":2282,"tags":2283,"thumbUrl":2284,"material":62,"size":62,"collection":62,"collections":2285,"showCount":65,"zanCount":41,"manualWeight":41,"mainColor":66},238286,"hua-qia-xuan-yuan-tu-ce-huang-yue-238286","化洽翾蜎图册","黄钺","黄钺（1750年9月5日-—1841年8月16日），字左田，又名左君，号壹斋、左庶子，安徽芜湖人，清朝大臣，历仕乾隆、嘉庆、道光三朝。是著名的教育家、画家、艺术评论家。\n黄钺师法韩愈、苏轼、黄庭坚三人。 [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。",[24,26,25,53,54,137,56,57,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafa72f9c2a7381c06940029ca79ece53.jpg",[],{"id":2287,"slug":2288,"title":1340,"dynasty":47,"author":1341,"museum":112,"description":1342,"tags":2289,"thumbUrl":2290,"material":402,"size":62,"collection":62,"collections":2291,"showCount":65,"zanCount":41,"manualWeight":41,"mainColor":66},234282,"hua-guo-ce-wang-yun-234282",[24,52,53,26,25,54,7,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F312d93e1c96a34a8af1e9144398b63ad.jpg",[],{"id":2293,"slug":2294,"title":2295,"dynasty":47,"author":185,"museum":112,"description":1584,"tags":2296,"thumbUrl":2300,"material":501,"size":502,"collection":62,"collections":2301,"showCount":65,"zanCount":41,"manualWeight":41,"mainColor":42},229212,"qian-long-kuan-tong-tai-hua-fa-lang-fang-dou-cai-hua-die-wen-yuan-gai-guan-yi-ming-229212","乾隆款 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1887",[994,323,7,2096,1421,26,2307],"笔触","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58955527f52f655fe8733790faa22c40.jpg",[1003],{"id":2311,"slug":2312,"title":2313,"dynasty":71,"author":185,"museum":112,"description":2314,"tags":2315,"thumbUrl":2316,"material":62,"size":62,"collection":62,"collections":2317,"showCount":65,"zanCount":41,"manualWeight":41,"mainColor":42},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。",[23,24,76,25,26,54,175,7,940,1964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F389a4324e39851ec48a8bf5727886c77.jpg",[],{"id":2319,"slug":2320,"title":2321,"dynasty":47,"author":2322,"museum":2323,"description":2324,"tags":2325,"thumbUrl":2327,"material":2328,"size":2329,"collection":62,"collections":2330,"showCount":65,"zanCount":41,"manualWeight":41,"mainColor":66},222655,"zhi-hua-xi-lie-zhi-hua-huang-kui-gao-qi-pei-222655","指画系列-指画·黄葵","高其佩","美国纳尔逊阿特金斯艺术博物馆","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。”",[23,24,52,2326,26,54,7,57],"指画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b0ce3f18048b91891f1a7b57b539978.jpg","浅设色","35.88x57.31cm",[],{"id":2332,"slug":2333,"title":2334,"dynasty":226,"author":1603,"museum":93,"description":2335,"tags":2336,"thumbUrl":2337,"material":100,"size":2338,"collection":62,"collections":2339,"showCount":65,"zanCount":41,"manualWeight":41,"mainColor":66},214998,"xie-sheng-hua-hui-ce-10-wang-yuan-214998","写生花卉册-10","此画册有王渊绘画手法，但元代气息不足，可视为明清之际的王渊款花卉画。此套图册花鸟极其工细，勾勒精致，色彩鲜艳、古拙",[24,53,26,25,54,297,7,57,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba40f6328600aaed1a6515bcf707589a.jpg","25.9x23.6cm",[],{"id":2341,"slug":2342,"title":2343,"dynasty":71,"author":185,"museum":93,"description":2344,"tags":2345,"thumbUrl":2346,"material":100,"size":2347,"collection":102,"collections":2348,"showCount":105,"zanCount":41,"manualWeight":41,"mainColor":42},287644,"hua-zhu-ling-mao-zhou-yi-ming-287644","花竹翎毛轴","此作尽显院体花鸟的清雅意趣。枯木缀着柔枝新花，淡彩晕染出花瓣枝叶的明暗向背，于沉暗绢底愈显秀润。两只禽鸟振翅穿林，翩然姿态打破花木静穆，坡石下幽竹斜曳、野卉丛生，几只禽鸟敛羽安栖，一动一静相映成趣。\n\n整作构图疏密有致，上部繁枝与留白虚实相济，刻画入微却毫无匠气。画师以细腻笔致摹写生灵情态，将春日林野间的清宁生机凝于尺幅，尽显格物的极致追求，内敛沉静的古典雅韵满溢绢素。",[24,76,134,54,25,26,7,354,116,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a730f93f844033cc5ff43faa7d94971.jpg","165.8x99.7",[102],{"id":2350,"slug":2351,"title":2352,"dynasty":47,"author":185,"museum":112,"description":2353,"tags":2354,"thumbUrl":2361,"material":501,"size":502,"collection":62,"collections":2362,"showCount":105,"zanCount":11,"manualWeight":41,"mainColor":579},241842,"yin-du-jin-dian-cui-qian-zhu-shi-feng-yi-ming-241842","银镀金点翠嵌珠石凤","点翠凤羽晕开沉静宝蓝，似将晴空裁作衣袂，勾勒彩凤翩然欲飞之姿。粉碧玺雕就盛放牡丹，莹润水色凝着柔婉春意，与凤身桃色碧玺遥遥相映。米珠串作凤尾流苏，轻摇间恍若环佩叮咚，累丝鎏金肌理细腻如鳞，把华贵藏进分毫细节里。\n\n整器揉合点翠、累丝、镶宝工艺，将禽鸟灵动仙气与闺阁妆饰的富丽雅致相融，方寸之间凝着旧时匠人的极致心血，藏着古时妆造里的浪漫匠心。",[419,2242,425,2355,2356,2357,7,31,421,420,2358,2359,2360],"嵌珠石","凤","珠石","嵌宝","工艺","清代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd116ffde1a9086a054a25aa680948436.jpg",[],{"id":2364,"slug":2365,"title":2366,"dynasty":171,"author":2367,"museum":112,"description":2368,"tags":2369,"thumbUrl":2373,"material":805,"size":62,"collection":522,"collections":2374,"showCount":105,"zanCount":41,"manualWeight":41,"mainColor":66},240510,"gu-wen-cai-lian-shi-juan-gu-wen-240510","顾问采莲诗卷","顾问","顾问 蕲州人（今属湖北蕲春蕲州）人。明代著名思想家、哲学家和教育家。嘉靖十六年丁酉，举于乡。十七年戊戌（1538）进士正德六年（1511）十一月初八日生，万历十九年（1591）正月十四日卒，享年八十一岁。\n嘉靖十七年（1538）进士，弟弟 兄弟二人均为进士；均为官清正廉洁，世称“天下清绝，顾问顾阙”；均为当时著名的理学家，并称“二顾”",[23,377,82,77,133,81,2370,2371,1018,2372,513,514,7],"荷花","莲","舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb80a27c5c975ea3de6f654cd791c25ad.jpg",[522],{"id":2376,"slug":2377,"title":2378,"dynasty":47,"author":910,"museum":112,"description":2379,"tags":2380,"thumbUrl":2381,"material":501,"size":502,"collection":62,"collections":2382,"showCount":105,"zanCount":41,"manualWeight":41,"mainColor":66},239111,"hua-hui-ce-8-yu-sheng-239111","花卉册8","余省（1692年—1767年） ，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。",[24,52,53,133,150,81,54,58,7,97,258],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F736eaaa09be53901a8b5639aefa928a1.jpg",[],{"id":2384,"slug":2385,"title":1030,"dynasty":47,"author":1031,"museum":112,"description":1032,"tags":2386,"thumbUrl":2387,"material":501,"size":502,"collection":62,"collections":2388,"showCount":105,"zanCount":41,"manualWeight":41,"mainColor":66},235701,"hua-hui-tu-ce-zou-yi-gui-235701",[24,52,53,25,26,54,58,7,97,377,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b99d30b0fc8e2443dff1e5ef5b139fb.jpg",[],{"id":2390,"slug":2391,"title":2392,"dynasty":989,"author":185,"museum":112,"description":2393,"tags":2394,"thumbUrl":2395,"material":62,"size":62,"collection":62,"collections":2396,"showCount":105,"zanCount":41,"manualWeight":41,"mainColor":42},225355,"fu-shi-hui-111-yi-ming-225355","浮世绘111","这幅花绘以罂粟为主题，错落舒展的花枝打破平寂画面，苍劲墨线勾勒叶片筋脉，带着粗粝朴拙的质感。暖调淡色晕染花瓣，边缘以浓墨复勾，柔媚花姿添上几分桀骜古意。古旧底色晕开岁月沉韵，将娇妍花态与浮世绘版画特质相融。\n没有繁复布景，却将草木舒展的原生张力尽显。笔触简净凝练，以色墨浓淡层次，晕开盛放、初绽、含苞的不同情态，将春日罂粟盛放的瞬间定格为雅致风物，带着沉静的江户余韵，于简素之中见精妙意趣。",[1754,1755,26,54,7,57,52,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e41bc6c0e7f405c1ffe508554212812.jpg",[],{"id":2398,"slug":2399,"title":2400,"dynasty":226,"author":1603,"museum":93,"description":2401,"tags":2402,"thumbUrl":2403,"material":100,"size":2338,"collection":62,"collections":2404,"showCount":105,"zanCount":41,"manualWeight":41,"mainColor":42},216756,"hua-hui-ce-hua-die-wang-yuan-216756","花卉册-花蝶","温润的棕褐底色晕开古雅氛围，两只蝴蝶成为画面的灵动焦点。上方蝶儿振翅翩跹，翅间纹理细腻如织，似携着若有若无的花香掠过；下方蝶儿轻栖于朦胧花间，翅色柔和，与周围淡墨晕染的花叶相映成趣。背景花卉以写意笔法勾勒，墨色深浅交织如薄雾笼枝，既衬出蝴蝶的鲜活，又添含蓄之美。整幅画于沉静中藏生机，仿佛能听见蝶翼轻振的微响，笔墨间尽是自然意趣与古典韵致。",[23,24,25,26,54,7,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd32c28658a7a163e555d215f0aa6ec3d.jpg",[],{"id":2406,"slug":2407,"title":2408,"dynasty":18,"author":185,"museum":112,"description":2409,"tags":2410,"thumbUrl":2415,"material":501,"size":502,"collection":62,"collections":2416,"showCount":2417,"zanCount":41,"manualWeight":41,"mainColor":42},244077,"jia-die-chuan-hua-wen-jing-yi-ming-244077","蛱蝶穿花纹镜","中国铜镜的制作和使用具有悠久的历史，根据考古发掘，年代最早的铜镜为4000多年前的齐家文化。从齐家文化至西周末春秋早期制作的铜镜，多以纹饰简单、形体小、种类少。此一时期为中国铜镜制作早期阶段。\n春秋中晚期开始，我国铜镜制作和使用就发展起来了，特别是战国时期，铜镜的种类复杂，题材广泛，制作工艺精细，包括此时期铜镜的合金成分，其锡含量是最适合铜镜的使用，这些充分反应了铜镜在此时期制作技术已达到成熟阶段。汉代开始铜镜得到了进一步的发展，这时期的铜镜出现了新的类型，铭纹也正逐渐成为铜镜的纹饰组成部分，反映了汉代铸镜业的发达及铜镜商品化的发展。\n隋唐时期是中国铜镜高度发展时期，此时的铜镜突破了以往圆形与方形的传统形式，出现了菱花形、葵花形铜镜。特别是盛唐时期铜镜工艺精湛，著名的瑞兽葡萄镜更是闻名于世，这一时期铜镜发展达到了顶峰。\n从唐末，五代起中国的铜镜艺术日趋衰落，宋、金、元时期的铜镜，从造型、纹饰和合金成分上都有不同于传统铜镜的特点。明，清时期虽然铜镜还在人们日常生活当中使用，但到清代中后期随着玻璃的使用，铜镜逐渐退出了历史舞台。当今虽然不再有人使用铜镜整装容，但古代铜镜给予我们的除了收藏价值，还有对古代形制、纹饰、铭文、艺术、制作工艺、成分等等的研究价值。中历收藏品鉴定中心，为我国合法第三方专业鉴定平台，证书得到了专业人士及社会各界的高度认可，藏品鉴定可咨询。",[2411,2412,1423,2413,2414,209,7,54],"唐代风格","青铜器","雕刻","浮雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F963213458c0cd8ccf73cf9fbfef1f9ec.jpg",[],9,{"id":2419,"slug":2420,"title":2421,"dynasty":171,"author":2422,"museum":112,"description":2423,"tags":2424,"thumbUrl":2427,"material":501,"size":502,"collection":62,"collections":2428,"showCount":2417,"zanCount":41,"manualWeight":41,"mainColor":66},241149,"xin-chun-deng-shi-han-zhu-zhan-ji-241149","新春等诗翰","朱瞻基","明宣宗朱瞻基（1399年3月16日－1435年1月31日），号长春真人，明成祖朱棣之孙，明仁宗朱高炽长子，明朝第五位皇帝（1425年5月29日-1435年1月31日在位）、书画家，年号“宣德”。\n明宣宗朱瞻基生于北平燕王府。幼年聪颖，深得祖父朱棣喜爱。永乐九年（1411年），册立为皇太孙，多次跟随明成祖朱棣征讨蒙古。洪熙元年（1425年）即位。宣德元年（1426年），平定汉王朱高煦叛乱。在政治上，重视整顿吏治和财政，提升内阁地位，任用“三杨”、蹇义、夏原吉等；教导宦官读书参政。经济上，实行休养生息，缓和社会矛盾的措施。对外关系上，进行第七次郑和下西洋；停止用兵交趾；于宣德三年（1428年）出塞，并修建永宁、隆庆诸城。明宣宗的一系列措施使得社会经济空前的发展，与其父明仁宗统治时期合称“仁宣之治”。同时明宣宗在书画方面极有造诣，翰墨图书，极为精致。“点墨写生，遂与宣和（宋徽宗）争胜”，书法能于圆熟之外见遒劲。工于绘事，山水、人物、走兽、花鸟、草虫均佳，曾钤“广运之宝“、”武英殿宝”及“雍熙世人”等印章。\n宣德十年（1435年），明宣宗去世，终年三十六岁，庙号宣宗，谥号宪天崇道英明神圣钦文昭武宽仁纯孝章皇帝，葬于景陵。著《明宣宗御制乐府》一卷，至今已佚，存词二首。传位长子朱祁镇。",[23,82,377,77,81,1014,1015,1019,7,517,1018,2425,1767,1079,2426],"天","地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7be7a94c8a0c1162eee63a9d2c0330ac.jpg",[],{"id":2430,"slug":2431,"title":338,"dynasty":47,"author":1641,"museum":112,"description":2432,"tags":2433,"thumbUrl":2434,"material":501,"size":502,"collection":62,"collections":2435,"showCount":2417,"zanCount":41,"manualWeight":41,"mainColor":66},239091,"hua-hui-ce-ma-yuan-yu-239091","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。\n画传家法，而气韵超逸突过乃父。赋性落拓，纵酒逞笔，乃益豪放。写生得恽寿平亲传，又与蒋廷锡讨论六法，故没骨画益工，神韵飞动，不拘陈迹。元驭自以为得沈周、陆治遗意，其超纵处诚有陆氏风规，而老健远逊石田，盖能品也。兴至之作，逸笔尤佳，多用水墨。书亦隽雅。卒年五十四。",[24,52,53,26,25,54,259,7,136,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9457b8e43099b500bd10beb99e0bbaa1.jpg",[],{"id":2437,"slug":2438,"title":2439,"dynasty":171,"author":2440,"museum":112,"description":2441,"tags":2442,"thumbUrl":2443,"material":501,"size":502,"collection":62,"collections":2444,"showCount":2417,"zanCount":41,"manualWeight":41,"mainColor":66},236297,"hua-shi-shan-ye-zhang-cheng-long-236297","花石扇页","张成龙","张成龙[明]，字白云，大梁（今河南开封）人。善山水，临摹名画，久而弥化。",[24,52,188,133,7,620,354,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumb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这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[420,421,2821,2822,2356,7,490],"鎏金","錾刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb82a97cc7fc9a52b27d6d7c8e4e2be9.jpg",[],{"id":2826,"slug":2827,"title":2828,"dynasty":47,"author":185,"museum":112,"description":2542,"tags":2829,"thumbUrl":2832,"material":501,"size":502,"collection":62,"collections":2833,"showCount":235,"zanCount":41,"manualWeight":41,"mainColor":579},242007,"yin-du-jin-qian-cui-hua-bi-xi-tao-wen-zan-yi-ming-242007","银镀金嵌翠花碧玺桃纹簪",[419,31,2242,2830,586,424,2413,2831,7],"翠","桃纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd29a2a9353a5ffe84963b44a0bd2b1c.jpg",[],{"id":2835,"slug":2836,"title":2837,"dynasty":47,"author":2838,"museum":112,"description":2839,"tags":2840,"thumbUrl":2844,"material":501,"size":502,"collection":62,"collections":2845,"showCount":235,"zanCount":41,"manualWeight":41,"mainColor":66},241692,"qi-yan-shi-zi-tiao-yin-zhi-241692","七言诗字条","胤祉","爱新觉罗·胤祉（1677年3月23日—1732年7月10日），清朝宗室，清圣祖爱新觉罗·玄烨第三子，清世宗爱新觉罗·胤禛异母兄，生母荣妃马佳氏。",[82,52,1907,133,2841,1767,2842,7,2843,1079,2271],"虹","春风","宫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67673758148f0daba46e97efa98cd229.jpg",[],{"id":2847,"slug":2848,"title":2849,"dynasty":47,"author":2850,"museum":112,"description":2851,"tags":2852,"thumbUrl":2866,"material":501,"size":502,"collection":62,"collections":2867,"showCount":235,"zanCount":41,"manualWeight":41,"mainColor":66},241359,"shi-ping-wang-chun-ling-241359","诗屏","王春龄","此作用红格缠枝花边笺纸书写，格调雅致。小楷清隽端秀，点画工稳匀净，排布舒朗利落，墨色妍润沉静，尽显扎实笔墨功底。\n内容为题咏古玉与暮春感怀的自作绝句，将文士摩挲古物的幽然心曲、伤春惜景的缱绻清愁落于毫端，书文相融，笔底自带冲淡娴雅的书卷气。方寸之间藏尽清儒的审美意趣，是一件书文俱佳的小品佳作。",[1907,82,81,514,513,2673,2853,7,2854,517,2855,2856,1019,1015,2087,2857,2757,2858,2859,1018,2860,2861,2862,2863,2864,2865],"杨柳","田","桐","鸦","陌","晓莺","晴日","金","细花","露","土","荆山","古玉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2cb452b73b016f82b7badd8b2556069.jpg",[],{"id":2869,"slug":2870,"title":2871,"dynasty":171,"author":2872,"museum":112,"description":2873,"tags":2874,"thumbUrl":2876,"material":805,"size":62,"collection":522,"collections":2877,"showCount":235,"zanCount":11,"manualWeight":41,"mainColor":66},241087,"you-chong-hua-si-shi-juan-chen-yi-241087","游崇化寺诗卷","陈沂","陈沂（一四六九-一五三八）[明]，字号：宗鲁、鲁南、石亭、小坡。 浙江鄞县(今浙江宁波)人，擅长书法及山水，以医籍居南京。\n陈沂（一四六九-一五三八）[明]，字号：宗鲁、鲁南、石亭、小坡 浙江鄞县(今浙江宁波)人，擅长书法及山水，以医籍居南京。初学宗鲁﹝应系初字宗鲁之讹﹞，后改鲁南，号石亭。少年时慕苏轼学行，因号小坡。正德十二年进士，官编修，嘉靖中以行太仆卿致仕。工诗文书画，与顾璘、王韦称“金陵三俊”。相传他在六七岁时就能模仿前人画迹。年长，好画山水，在翰林院时与名画家文徵明为同僚友好，经常切磋研讨，对于技法有进一步的提高。他在做官的历程中，对于所经历的名山大川，都留心观察，临写成为画卷。",[171,377,82,77,115,517,1767,1018,2875,7,81],"寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b1e28fdcdfbbedc46c7f43d9be018d6.jpg",[522],{"id":2879,"slug":2880,"title":2881,"dynasty":47,"author":185,"museum":112,"description":2882,"tags":2883,"thumbUrl":2885,"material":501,"size":502,"collection":62,"collections":2886,"showCount":235,"zanCount":41,"manualWeight":41,"mainColor":66},238583,"ge-pu-tu-ce-yi-ming-238583","鸽谱图册","左幅墨羽信鸽，翎羽泛着幽绿虹彩，一只昂首远眺，一只垂首理羽，红爪素尾立于浅草，情态悠然舒展。右幅粉褐羽色的灵禽，一只低首轻喙打理颈羽，一只侧目凝望同伴，柔羽晕染细腻逼真，旁侧缀以蓝花青枝，点染出清雅致趣。\n整幅画作工笔精细写实，将灵禽的体态神韵尽数勾勒，设色明丽柔和，既有院体花鸟的精工雅致，又兼具写生的鲜活意趣，把信鸽恬然的日常情态定格于纸面，晕染出静谧悠然的生趣，尽显传统禽鸟写生的精妙造诣，仿若能窥见庭院间灵禽嬉游的闲适瞬间。",[24,52,53,25,26,54,2884,259,7],"鸽子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01141859b158c64ae19280d695fe3455.jpg",[],{"id":2888,"slug":2889,"title":1030,"dynasty":47,"author":2503,"museum":112,"description":2504,"tags":2890,"thumbUrl":2891,"material":501,"size":502,"collection":62,"collections":2892,"showCount":235,"zanCount":41,"manualWeight":41,"mainColor":42},238496,"hua-hui-tu-ce-jiang-pu-238496",[24,52,53,26,25,54,58,7,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe505bb779d3f2b48ac415c9e1ae624b7.jpg",[],{"id":2894,"slug":2895,"title":2764,"dynasty":47,"author":2765,"museum":112,"description":2896,"tags":2897,"thumbUrl":2898,"material":62,"size":62,"collection":84,"collections":2899,"showCount":235,"zanCount":41,"manualWeight":41,"mainColor":66},236713,"hua-niao-guo-ce-li-qi-236713","此作为水墨牡丹，以淡墨晕染花瓣，轻勾轮廓将牡丹舒展柔美的姿态尽显，不见艳色却暗蕴雍容之态。挺秀的花枝搭配皴擦细致的叶片，墨色浓淡错落，层次分明，将叶片舒展的质感生动呈现。\n\n右侧行书题款与画作相映成趣，诗画交融，文气雅致清逸。整体以极简笔墨营造出冲淡脱俗的意趣，未刻意描摹富贵之态，转而将文人雅致藏入清寂水墨之中，尽显小品写意花鸟以少胜多的韵味，寄托着创作者淡泊出尘的审美追求。",[24,52,53,133,54,7,97,1842],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74705150e4cbecf2e914a3f9df14eed1.jpg",[84,443,522],{"id":2901,"slug":2902,"title":2903,"dynasty":47,"author":832,"museum":112,"description":2904,"tags":2905,"thumbUrl":2908,"material":501,"size":502,"collection":62,"collections":2909,"showCount":235,"zanCount":41,"manualWeight":41,"mainColor":66},234942,"yue-man-qing-you-ce-chen-mei-234942","月漫清游册","《月曼清游图》册描绘的是宫廷嫔妃们一年12个月的深宫生活：正月“寒夜探梅”、二月“杨柳荡千”、三月“闲亭对弈”、四月“庭院观花”、五月“水阁梳妆”、六月“碧池采莲”、七月“桐荫乞巧”、八月“琼台玩月”、九月“重阳赏菊”、十月“文窗刺绣”、十一月“围炉博古”、十二月“踏雪寻诗”。通过这一幅幅生动的画面体现了宫廷生活与民间生活的密切关联。嫔妃们的活动内容，在民间生活中均习以为常，只不过由于宫廷的特殊地位，而令这些活动从内容到形式都具有更加富贵、繁琐及典制化的特点。\n作者在人物创作的审美取向上有别于唐代张萱、周昉笔下体态丰腴的嫔妃形象，而以明代唐寅、仇英笔下的仕女画为审美标准，追求秀润飘逸的情致。画家以工细流畅的线条和亮丽鲜活的色彩将嫔妃们描绘成身材修长、体态轻盈、“倚风娇无力”之貌。她们三五成群地行进在以界画表现的亭台楼阁内或是细笔勾染皴点的花石下。富贵闲逸的宫苑生活令她们的物质生活十分充足，也使她们的精神世界极度贫乏。在技法上，此图所绘人物造型生动准确，笔致工细严谨，源于宋代院体画风。图中的楼台房室建筑则采用西洋焦点透视法绘成，根据图中透视线斜度的变化，可以准确地推求出灭点的具体位置，从而加强了平面画幅的立体、纵深效果，在有限的画面上扩展出无限的空间。此图册于乾隆三年（1738年）绘成后深得乾隆皇帝的赞赏。\n乾隆帝于六年谕令皇宫“造办处”的优秀匠人，如擅镶嵌技艺的常存，擅牙雕工艺的陈祖章、陈观泉父子及顾彭年、萧汉振等，以陈枚的这本图册为画稿，用象牙、玉石等进行雕刻。匠人们精雕细琢，密切结合牙雕和镶嵌的技艺特点，令画面层次分明，富有立体感。这件雕有103人的牙雕精品被称作“百美图”。乾隆皇帝在为它题写诗文时将其正式定名为《月曼清游》。",[76,24,52,53,25,26,377,81,323,27,778,324,7,152,2906,2907,329],"台阶","木门","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F971dc2805e162439107ddbd1fac2ad36.jpg",[],{"id":2911,"slug":2912,"title":2913,"dynasty":989,"author":2914,"museum":112,"description":2915,"tags":2916,"thumbUrl":2918,"material":501,"size":502,"collection":62,"collections":2919,"showCount":235,"zanCount":41,"manualWeight":41,"mainColor":66},232558,"mi-lai-si-102-yue-han-ai-fu-li-te-mi-lai-si-232558","米莱斯102","约翰·埃弗里特米莱斯","John Everett Millais十九世纪英国画家，是拉斐尔前派的三个创始人中年龄最小、才华最高的一位，其它两位是亨特和布朗。其油画《基督在自己父母家中》(1850)中体现了该派精神，以画风细腻著称。\n米莱斯是拉斐尔前派中最有才华的一个。他出生于南埃普顿，幼年就表现出非凡的绘画才能。10岁时，他的绘画就获得了艺术协会颁发的银质奖章。据说当时他的个子还没有讲台高，只能站在凳子上领奖。两年后，他的天赋为马丁·希伊勋爵发现，转入皇家美术学院的附属学校(希伊后来是皇家美术学院院长)，以后又转入皇家美术学院，以后又多次获奖，并在18岁那年获得金质奖章，是学院公认的高材生。",[1434,323,7,647,29,514,2917],"线描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9afb0d5ebec280c97564b5495f65410.jpg",[],{"id":2921,"slug":2922,"title":2923,"dynasty":989,"author":2924,"museum":112,"description":2925,"tags":2926,"thumbUrl":2932,"material":501,"size":502,"collection":62,"collections":2933,"showCount":235,"zanCount":41,"manualWeight":41,"mainColor":66},232319,"a-er-ma-46-lao-lun-si-a-er-ma-ta-de-ma-232319","阿尔玛46","劳伦斯·阿尔玛-塔德玛","劳伦斯·阿尔玛-塔德玛（Lawrence Alma-Tadema, 1836年1月8日—1912年6月25日）是英国维多利亚时代的知名画家，他的作品以豪华描绘古代世界（中世纪前）而闻名。\n生于荷兰的德龙赖普（Dronrijp），他的父亲彼得·塔德玛（Pieter Tadema）是一名公证人，在他4岁时便去世了。阿尔玛是他教父的名字，他的生母是他父亲的第二名妻子，家庭人口相当众多。家里原准备让他继承父业，但他表现出了对艺术的强烈偏好，因此将他送至安特卫普，在1852年进入了那里的艺术学院，并在亨德利克·利思（Hendrik Leys）的画室学习。",[76,994,26,2927,323,27,2928,2929,2930,2745,7,2931],"新古典主义","大海","水池","石砌平台","古典服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F680dd60068cd691bcb89c86ea7b8bd6c.jpg",[],{"id":2935,"slug":2936,"title":2937,"dynasty":47,"author":2938,"museum":130,"description":2939,"tags":2940,"thumbUrl":2941,"material":60,"size":2942,"collection":62,"collections":2943,"showCount":235,"zanCount":41,"manualWeight":41,"mainColor":66},216229,"shi-jun-quan-tu-5-ai-qi-meng-216229","十骏犬图-5","艾启蒙","图为乾隆皇帝在宫中豢养的欧洲纯种猎犬画像。作者以西方的素描技法，运用解剖学，以短细的笔触一丝不苟地刻画出猎犬健美的体态和皮毛的质感，具有极强的写实性。每幅图的对开上均标明犬名，对宫廷御用犬的研究具有极高的史料价值。图中的衬景山水是中国画家创作的。中西画家携手创作是乾隆朝宫廷绘画的一大特色。\u2028　　款署：“臣艾启蒙恭绘。”钤“臣艾启蒙”白文印、“恭画”朱文印。每图对开页有嵇璜书写的乾隆朝大学士汪由敦和梁诗正撰写的题赞。鉴藏印有“乾隆鉴赏”、“宜子孙”等。\u2028　　此图旧藏紫禁城内的乐寿堂。《石渠宝笈》著录。",[23,419,24,25,26,53,541,673,468,620,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecc471e2afe2ca9b321efcbf5d83bc5b.jpg","纵24.5厘米，横29.3厘米",[],{"id":2945,"slug":2946,"title":2947,"dynasty":47,"author":2948,"museum":49,"description":2949,"tags":2950,"thumbUrl":2951,"material":62,"size":62,"collection":62,"collections":2952,"showCount":235,"zanCount":41,"manualWeight":41,"mainColor":2953},202584,"mo-mei-gao-qing-tu-zhou-tang-yi-fen-202584","墨梅高情图轴","汤贻汾","老干以雄健笔力挥写，墨色浓淡相济，干湿互渗间尽显虬曲苍劲之态，似经霜雪洗礼而傲骨铮铮。枝头寒梅以疏朗笔触点染，花瓣简括却含韵致，淡墨勾蕊更添灵动，仿佛暗香浮动于尺幅。旁题行书笔意流畅，与梅枝的苍劲风骨相映成趣，诗书画印浑然一体，将梅的孤傲高洁与文人雅怀凝于笔墨之间，尽显清雅脱俗的文人画韵致。",[24,133,115,377,81,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bb4509608f944de1b7b8015f7438def.jpg",[],"e2d3c9",{"id":2955,"slug":2956,"title":2957,"dynasty":47,"author":704,"museum":49,"description":2958,"tags":2959,"thumbUrl":2960,"material":62,"size":62,"collection":62,"collections":2961,"showCount":235,"zanCount":41,"manualWeight":41,"mainColor":2962},202377,"kong-que-tu-zhou-shen-quan-202377","孔雀图轴","画面中两只孔雀栖于嶙峋山石间，一只尾羽铺展如扇，眼状斑纹精致繁复，色彩明丽却不失沉稳；另一只昂首伫立，姿态娴雅，羽色层次丰富。山石以皴法勾勒，纹理苍劲，旁侧花卉枝叶细腻，与孔雀的华美形成呼应。画家以工笔技法细致描摹，线条精准流畅，设色浓淡相宜，将孔雀的灵动与山石的朴拙巧妙融合，尽显自然生机与典雅意趣。",[25,26,54,2519,152,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ed6ad28b7cd2a0f181cfdd92008898b.jpg",[],"aba090",{"id":2964,"slug":2965,"title":2966,"dynasty":47,"author":464,"museum":49,"description":2967,"tags":2968,"thumbUrl":2970,"material":62,"size":62,"collection":62,"collections":2971,"showCount":235,"zanCount":41,"manualWeight":41,"mainColor":2972},202094,"hai-tang-cao-chong-tu-zhou-ren-xun-202094","海棠草虫图轴","画面以孤石为骨，皴擦间见古拙纹理；海棠花叶设色清雅，蓝绿叶片层叠有致，粉白花朵娇柔含露；藤蔓垂挂紫蓝小花，点缀其间更显生机。草虫刻画工细入微，翅脉清晰如缕，姿态鲜活欲飞，似闻虫鸣之声。用笔兼工带写，线条婉转灵动，设色明丽雅致，将花草虫石的自然意趣凝于立轴之中，尽显工笔花鸟的细腻韵味与生机盎然之态。",[24,52,134,26,54,175,2969,25,7],"海棠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85425bf439bb8c0433ee37f769b68493.jpg",[],"cbbeaf",{"id":2974,"slug":2975,"title":2976,"dynasty":171,"author":185,"museum":112,"description":2977,"tags":2978,"thumbUrl":2982,"material":501,"size":502,"collection":62,"collections":2983,"showCount":180,"zanCount":41,"manualWeight":41,"mainColor":579},251488,"bai-yu-tou-diao-long-chuan-hua-tu-cha-ping-yi-ming-251488","白玉透雕龙穿花图插屏","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。\n以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n玉器经历7000多年的发展，从简单的装饰品发展到古代宗教祭拜、礼仪用品，再到象征高尚道德品质的装饰品，最后上升为丰富的艺术鉴赏作品，深入反映了不同历史时期的社会发展演变过程。",[815,2979,2980,2981,7,2413],"玉石","透雕","龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F115edaf3e9cda2be0dbd611cdccecf6e.jpg",[],{"id":2985,"slug":2986,"title":2987,"dynasty":47,"author":185,"museum":112,"description":2988,"tags":2989,"thumbUrl":2992,"material":501,"size":502,"collection":62,"collections":2993,"showCount":180,"zanCount":41,"manualWeight":41,"mainColor":579},248572,"miao-cai-qi-hua-die-wen-fang-he-yi-ming-248572","描彩漆花蝶纹方盒","清代文物。旧时用于存放食物或饰品之用,根据材质价值不同。清宫旧藏",[2990,2991,26,7,135,490],"漆器","描彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94b7805c23fdbe09d5f26fbc32a562c7.jpg",[],{"id":2995,"slug":2996,"title":2809,"dynasty":47,"author":185,"museum":112,"description":2542,"tags":2997,"thumbUrl":3002,"material":501,"size":502,"collection":62,"collections":3003,"showCount":180,"zanCount":41,"manualWeight":41,"mainColor":42},245393,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法若真父亲法寰学识渊博，尤爱好研究经史，对《四书》、《春秋》颇有见解，著作很多，声名一时，他辞官职返乡，在城南怡云岭设学馆，以授徒讲学为业，在胶州造就了大批有用之才。",[82,134,377,133,81,516,259,7,2733,2734,3011],"馬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bf3b01a8998f7e9c0096c9510231ca6.jpg",[],{"id":3015,"slug":3016,"title":2266,"dynasty":47,"author":3017,"museum":112,"description":3018,"tags":3019,"thumbUrl":3023,"material":805,"size":62,"collection":522,"collections":3024,"showCount":180,"zanCount":41,"manualWeight":41,"mainColor":66},240707,"shi-juan-zhou-shao-xing-240707","周绍行","此作用狂草挥就，笔墨跌宕恣肆，线条枯湿浓淡变幻万千，提按顿挫间尽展随性意气。字形大小错落、欹正相生，字势连绵缠绕如惊蛇走虺，满纸氤氲着淋漓云烟。\n\n行气舒张贯通毫无滞碍，将胸中豪情尽数倾泻笔端，纵逸挥洒处带着不羁文人气韵。枯笔苍茫与浓墨厚重相映，时而奔放驰骋时而萦回转合，字字连绵却不失章法，视觉张力强烈，将草书抒情写意的特质发挥到极致，尽显书写时的酣畅快意，是极具个性的抒情书法佳构。",[23,82,77,377,3020,81,516,1015,1019,3021,2273,3022,354,1399,7,2633,2372,517,1018,1767,1769,1014,115,767,353],"草书","秋","梧桐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e5d7c59fb8156f7154249e96fd8df63.jpg",[522],{"id":3026,"slug":3027,"title":1030,"dynasty":47,"author":2503,"museum":112,"description":2504,"tags":3028,"thumbUrl":3029,"material":501,"size":502,"collection":62,"collections":3030,"showCount":180,"zanCount":11,"manualWeight":41,"mainColor":42},238495,"hua-hui-tu-ce-jiang-pu-238495",[24,26,25,53,54,7,97,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56fd414f405ccc1a317b56e8cc143af7.jpg",[],{"id":3032,"slug":3033,"title":1823,"dynasty":47,"author":1824,"museum":112,"description":1825,"tags":3034,"thumbUrl":3035,"material":501,"size":502,"collection":62,"collections":3036,"showCount":180,"zanCount":41,"manualWeight":41,"mainColor":66},237710,"qiu-sui-hua-niao-ce-qiu-sui-237710",[24,52,53,25,26,377,81,7,353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd885e7dba570af530b8401b8c7e1493b.jpg",[],{"id":3038,"slug":3039,"title":3040,"dynasty":171,"author":185,"museum":112,"description":3041,"tags":3042,"thumbUrl":3043,"material":501,"size":502,"collection":62,"collections":3044,"showCount":180,"zanCount":41,"manualWeight":41,"mainColor":66},236679,"jiang-qi-hua-niao-shan-yi-ming-236679","姜起花鸟扇","此作以没骨法晕染设色，色调古雅淡逸。枝梢缀满粉红花苞与嫩叶，戴胜栖于细枝，昂首啼鸣，羽翼纹理细致入微，灵动鲜活。左下角野花萋萋，蛱蝶振翅穿花，小虫隐于草间，将春日郊野生机凝于尺幅间。\n\n画面留白疏朗，虚实相生，衬出幽寂清宁的意境。笔墨秀润简净，花鸟草虫形神兼备，尽显小品画作的隽永意趣，把春日野趣悄然定格，雅致动人，带着内敛沉静的文人雅韵。",[188,25,26,54,117,7,219,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F731e2dfce06617083b731a1161150a35.jpg",[],{"id":3046,"slug":3047,"title":338,"dynasty":47,"author":3048,"museum":112,"description":3049,"tags":3050,"thumbUrl":3051,"material":501,"size":502,"collection":62,"collections":3052,"showCount":180,"zanCount":41,"manualWeight":41,"mainColor":66},234780,"hua-hui-ce-wang-lu-234780","王露","王昙（1760～1817）诗人清代。又名良士，字仲瞿。秀水（今浙江嘉兴）人。当地有瓶山，因以瓶山自号。乾隆五十九年举人。会试不第，白衣终身，著有《烟霞万古楼文集》等。时人将他与常州诗人黄仲则诗合刻，题曰“乾隆二仲”。王昙与孙原湘、舒位并称“后三家”或“江左三君”。",[24,133,53,150,58,79,7,97,98,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe05c413b751b04685bbdc3a90dafb5fb.jpg",[],{"id":3054,"slug":3055,"title":3056,"dynasty":171,"author":3057,"museum":112,"description":3058,"tags":3059,"thumbUrl":3060,"material":62,"size":62,"collection":62,"collections":3061,"showCount":180,"zanCount":41,"manualWeight":41,"mainColor":66},233303,"shi-zhu-zhai-pu-ce-hu-ri-cong-233303","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。",[24,52,53,26,25,81,54,57,7,1065,647],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14a6c616ab72d83fa9cf7810006945e3.jpg",[],{"id":3063,"slug":3064,"title":3065,"dynasty":47,"author":185,"museum":112,"description":3066,"tags":3067,"thumbUrl":3068,"material":501,"size":502,"collection":62,"collections":3069,"showCount":180,"zanCount":41,"manualWeight":41,"mainColor":42},229472,"yong-zheng-fa-lang-cai-ci-zhi-xian-zhu-shou-tu-wan-yi-ming-229472","雍正 珐瑯彩瓷芝仙祝寿图碗","瓷器是由瓷石、高岭土、石英石、莫来石等烧制而成，外表施有玻璃质釉或彩绘的物器。瓷器的成形要通过在窑内经过高温（约1280℃～1400℃）烧制，瓷器表面的釉色会因为温度的不同从而发生各种化学变化，是中华文明展示的瑰宝。\n中国是瓷器的故乡，瓷器是古代劳动人民的一个重要的创造。谢肇淛在《五杂俎》记载：“今俗语窑器谓之磁器者，盖磁州窑最多，故相延名之，如银称米提，墨称腴糜之类也。”当时出现的以“磁器”代窑器是由磁州窑产量最多所致。这是迄今发现最早使用瓷器称谓的史料。",[2703,2051,26,28,354,7,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53dc336dd42486bbc2304b3315207c4c.jpg",[],{"id":3071,"slug":3072,"title":3073,"dynasty":47,"author":185,"museum":112,"description":3074,"tags":3075,"thumbUrl":3078,"material":501,"size":502,"collection":62,"collections":3079,"showCount":180,"zanCount":41,"manualWeight":41,"mainColor":1206},229115,"tao-liao-hua-die-bi-yan-hu-yi-ming-229115","套料花蝶鼻烟壶","鼻烟壶指的是盛鼻烟的容器，小可手握，便于携带。明末清初，鼻烟传入中国，鼻烟盒渐渐东方化，产生了鼻烟壶。\n人们嗜用鼻烟的习惯几近绝迹，但鼻烟壶却作为一种精美艺术品流传下来，而且长盛不衰，被誉为“集中各国多种工艺之大成的袖珍艺术品”。\n中国鼻烟壶，作为精美的工艺品，采用瓷、铜、象牙、玉石、玛瑙、琥珀等材质，运用青花、五彩、雕瓷、套料、巧作、内画等技法，汲取了域内外多种工艺的优点，被雅好者视为珍贵文玩，在海内外皆享有盛誉。\n在世界上，中国素有「烟壶之乡」的称誉，其中鼻烟壶以其精巧卓绝的制作技术，被称为「集多种工艺之大成于一身的袖珍艺术品」。鼻烟壶为盛装鼻烟之容器，鼻烟系一种烟草制品，原为西洋之物，明末清初自欧洲传入中国后，加工转化后成为粉末状药材，吸闻之后不但具有明目避疫的功效，吸闻鼻烟在各阶层更是蔚为风尚，且迅速地融入了中国的艺术风格，发展出匠心独运的各式鼻烟壶，在清代美学工艺上大放异彩，成为清代艺术的重要标志之一。",[419,3076,2413,3077,7,135,490],"套料","玻璃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0d9b192293c2275ebd675e7378952a5.jpg",[],{"id":3081,"slug":3082,"title":3083,"dynasty":171,"author":2422,"museum":112,"description":3084,"tags":3085,"thumbUrl":3086,"material":501,"size":502,"collection":62,"collections":3087,"showCount":180,"zanCount":41,"manualWeight":41,"mainColor":42},228887,"shu-hua-he-bi-ce-zhu-zhan-ji-228887","书画合璧册","明宣宗朱瞻基（1399年3月16日－1435年1月31日），号长春真人，明成祖朱棣之孙，明仁宗朱高炽长子，明朝第五位皇帝（1425年5月29日-1435年1月31日在位）、书画家，年号“宣德”。",[52,53,377,26,514,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6cbc72571379c57a119e253bc58a4c0.jpg",[],{"id":3089,"slug":3090,"title":3091,"dynasty":989,"author":185,"museum":112,"description":3092,"tags":3093,"thumbUrl":3094,"material":62,"size":62,"collection":62,"collections":3095,"showCount":180,"zanCount":41,"manualWeight":41,"mainColor":42},225551,"fu-shi-hui-16-yi-ming-225551","浮世绘16","沉黑底色铺就幽谧基调，浅银细线勾勒蔷薇枝蔓，将虬曲柔蔓舒展的姿态晕开。两朵粉蔷薇晕染柔润，在暗色里明丽清新，花苞含露待放，添了几分娇柔。枝头雀鸟以淡彩晕染羽色，米黄暖橙层层过渡，尾羽晕开青褐渐变，神态警觉灵动，爪紧扣枝桠，将生机凝于方寸之间。\n\n创作者以阴刻留白搭配淡彩晕染，克制雅致。画面简净却意韵悠长，将花鸟幽寂柔美的东方意境铺展，晕生出闲淡雅致的侘寂之美。",[1754,1755,26,54,117,7,219,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1f655a8a17ee48b68326738bd13ae84.jpg",[],{"id":3097,"slug":3098,"title":3099,"dynasty":989,"author":185,"museum":112,"description":1752,"tags":3100,"thumbUrl":3102,"material":501,"size":502,"collection":62,"collections":3103,"showCount":180,"zanCount":41,"manualWeight":41,"mainColor":66},225480,"fu-shi-hui-238-yi-ming-225480","浮世绘238",[1754,1755,26,323,27,28,259,7,3101],"纸折物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7159504ec6d02f7d2b6a638c3a9628c1.jpg",[],{"id":3105,"slug":3106,"title":3107,"dynasty":47,"author":3108,"museum":112,"description":3109,"tags":3110,"thumbUrl":3111,"material":62,"size":62,"collection":62,"collections":3112,"showCount":180,"zanCount":41,"manualWeight":41,"mainColor":1206},224420,"shu-hua-shi-liu-kai-6-wang-shi-min-224420","书画十六开-6","王时敏","此作以没骨兼工带写绘就仲夏小景，淡墨轻勾萱草茎叶，敷色清妍温雅。萱花盛放与残颓相济，尽显芳华将歇的柔婉之态。草间粉蝶轻栖振翅，大蛱蝶翩跹而来，翅脉纤毫毕现，灵动之姿跃然纸上，将虫蝶的鲜活意态定格于纸面。赭色底纸晕染出古雅氛围，题字娟秀、印文朱红，融诗书画印为一炉。整体清逸静雅，将幽隅小景绘得生机盎然，兼具写生之真与文人隽雅意趣，笔底尽是闲淡天真的幽居雅趣。",[23,24,52,53,26,25,54,209,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F555ea6c7ce84246a6a8bd5688afe0ae9.jpg",[],{"id":3114,"slug":3115,"title":3116,"dynasty":47,"author":3117,"museum":112,"description":3118,"tags":3119,"thumbUrl":3121,"material":501,"size":502,"collection":62,"collections":3122,"showCount":180,"zanCount":41,"manualWeight":41,"mainColor":579},224142,"nagasena-tang-ka-224142","Nagasena","唐卡","唐卡（Thang-ga）也叫唐嘎，唐喀，系藏文音译，指用彩缎装裱后悬挂供奉的宗教卷轴画。唐卡是藏族文化中一种独具特色的绘画艺术形式，题材内容涉及藏族的历史、政治、文化和社会生活等诸多领域，传世唐卡大都是藏传佛教和本教作品。\n唐卡是藏族文化中一种独具特色的绘画艺术形式。具有鲜明的民族特点、浓郁的宗教色彩和独特的艺术风格，用明亮的色彩描绘出神圣的佛的世界；颜料传统上是全部采用金、银、珍珠、玛瑙、珊瑚、松石、孔雀石、朱砂等珍贵的矿物宝石和藏红花、大黄、蓝靛等植物为颜料以示其神圣。这些天然原料保证了所绘制的唐卡色泽鲜艳，璀璨夺目，虽经几百年的岁月，仍是色泽艳丽明亮。因此被誉为中国民族绘画艺术的珍品，被称为藏族的”百科全书”也是中华民族民间艺术中弥足珍贵的非物质文化遗产。\n传统唐卡的绘制要求严苛、程序极为复杂，必须按照经书中的仪轨及上师的要求进行，包括绘前仪式、制作画布、构图起稿、着色染色、勾线定型、铺金描银、开眼、缝裱开光等一整套工艺程序。制作一幅唐卡用时较长，短则半年完成，长则需要十余年。",[3117,26,25,1954,323,468,7,28,3120,1018],"猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb9875e2c49ef62e40f445d87de1c17d.jpg",[],{"id":3124,"slug":3125,"title":3126,"dynasty":47,"author":185,"museum":112,"description":3127,"tags":3128,"thumbUrl":3130,"material":60,"size":62,"collection":62,"collections":3131,"showCount":180,"zanCount":41,"manualWeight":41,"mainColor":66},215878,"qing-dai-xing-fa-ji-lu-tu-ce-7-yi-ming-215878","清代刑罚记录图册-7","画面定格清代刑罚的一幕，人物动态交织出压抑氛围。身着绿袍者手势威严，似在发号施令；旁立者持物凝视，神色凝重。三名执刑者跪伏在地，合力按住受刑者手足，动作间透着执行的专注。受刑者蜷缩红垫之上，身形紧绷，似承剧痛。人物服饰色彩分明，蓝、紫、棕长袍与官帽相映，尽显清代风貌。右侧绿桌配白瓶鲜花，柔美景物与肃穆刑罚形成微妙反差，更衬出画面张力。画作细节生动，从神态到动作肌理皆细致描摹，将彼时场景的真实与沉重传递出来，引人深思。",[24,25,26,323,1514,1113,7,53,3129],"刑罚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e2a2a68d201b8b0452b989b9313b997.jpg",[],{"id":3133,"sl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and white porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[2051,3147,3148,7,135,419,2535],"青花","开片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51d419ce37d1db6a43992b892441ac05.jpg",[],{"id":3152,"slug":3153,"title":3154,"dynasty":47,"author":185,"museum":112,"description":1885,"tags":3155,"thumbUrl":3157,"material":501,"size":502,"collection":62,"collections":3158,"showCount":277,"zanCount":41,"manualWeight":41,"mainColor":66},256580,"wu-cai-hua-niao-tu-bang-chui-ping-yi-ming-256580","五彩花鸟图棒槌瓶",[419,2051,3156,26,54,117,7,219,209,647,490],"五彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbae10d0f7c76fc2849b13096f072e7f0.jpg",[],{"id":3160,"slug":3161,"title":3162,"dynasty":171,"author":185,"museum":112,"description":2977,"tags":3163,"thumbUrl":3164,"material":501,"size":502,"collection":62,"collections":3165,"showCount":277,"zanCount":41,"manualWeight":41,"mainColor":42},251285,"bai-yu-tou-diao-ji-hua-tu-yuan-pei-yi-ming-251285","白玉透雕鸡花图圆佩",[815,2979,2980,352,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8470e26c64340201722aa81af9adae4a.jpg",[],{"id":3167,"slug":3168,"title":3169,"dynasty":47,"author":185,"museum":112,"description":2988,"tags":3170,"thumbUrl":3173,"material":501,"size":502,"collection":62,"collections":3174,"showCount":277,"zanCount":41,"manualWeight":41,"mainColor":42},247694,"dui-cai-ping-guo-wen-he-yi-ming-247694","堆彩苹果纹盒",[47,3171,2413,2990,3172,7,97,490],"堆彩","苹果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7173dc63f5c83fd9012b5e492efc0841.jpg",[],{"id":3176,"slug":3177,"title":3178,"dynasty":47,"author":3179,"museum":112,"description":3180,"tags":3181,"thumbUrl":3184,"material":501,"size":502,"collection":62,"collections":3185,"showCount":277,"zanCount":41,"manualWeight":41,"mainColor":66},241360,"ti-hua-shi-zhou-ruan-yuan-241360","题画诗轴","阮元","字伯元，号芸台、雷塘庵主、揅经老人、怡性老人 ，江苏扬州仪征人。清朝中期官员、经学家、训诂学家、金石学家 。\n阮元为乾隆五十四年（1789年）进士，先后在礼部、兵部、户部、工部供职，并出任山东、浙江学政，浙江、江西、河南巡抚及漕运总督、湖广总督、两广总督、云贵总督等职。身历乾隆、嘉庆、道光三朝，所至之处，以提倡学术、振兴文教为自任，勤于军政，治绩斐然。晚年官拜体仁阁大学士，致仕后加官至太傅。道光二十九年（1849年），阮元去世，年八十六。获赐谥号“文达”。\n阮元提倡朴学，曾罗致学者编书刊印，主编《经籍籑诂》，校刻《十三经注疏》，汇刻《皇清经解》等，于数学、天算、舆地、编纂、金石、校勘等方面亦多有建树 ，史称其“身历乾、嘉文物鼎盛之时，主持风会数十年，海内学者奉为山斗焉” ，是乾嘉学派晚期代表人物，也被认为是扬州学派的柱石。生平著述丰撰有《揅经室集》《十三经注疏校勘记》等三十余种著述传世。",[52,134,377,133,81,115,28,517,7,3182,3183],"阁","院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf51e02c7b1de75d4deb62ba52ddefff.jpg",[],{"id":3187,"slug":3188,"title":3189,"dynasty":47,"author":3190,"museum":112,"description":3191,"tags":3192,"thumbUrl":3203,"material":501,"size":502,"collection":62,"collections":3204,"showCount":277,"zanCount":41,"manualWeight":41,"mainColor":66},241206,"li-zhang-ji-jue-ju-zhou-wu-kai-sheng-241206","李长吉绝句轴","吴闿生","吴镇（1280年—1354年），字仲圭，号梅花道人，浙江嘉兴人。元代画家、书法家、诗人。\n吴镇擅画山水、梅花、竹石，与黄公望、倪瓒、王蒙合称“元四家”。\n由于吴镇以董巨起家，其画中山、石、树、水、房屋、小桥都显得格外宁静、平和，但吴镇有时也着意打破这种气氛，使宁静中增几分动荡，那就是近景大树和山石的表现，特别是三两棵树的表现尤其明显。如果说吴画山、石、水、小桥、屋舍、群树的表现乃至整体气息是以董巨面目出现的话，那么其局部的大树则主要是以马夏的面目出现的。结构布局上立于近景，形象表现上夸张变形，树种的选择上以松柏寓人格。这种形象的树出现在平和、宁静的境界里显得格外突出。它们或直立挺拔、俯势向上；或倚斜偃蹇、欲倒还立；或技条倒挂、曲折盘桓。而且吴镇对大树的形象也是情有独钟的，几乎每幅山水画均有此类形象。这一个个形象频繁出现于其笔下，有何深刻含义？如果联系一下元代的民族岐视政策，联系一下同样比邻而居，盛氏求画者门限为穿，自家之门阒然的事实，或许透露出个中消息。在大树的塑造上，如果把吴镇放在“元四家”其他三家中做一比较，吴镇的独特个性尤能充分展现。黄公望、王蒙为了表现高士的居住环境，用平和、冷静的笔触画群山诸峰，力量均匀，气势平缓，树木郁郁葱葱，均为山的点缀，很少突出某一大树。倪瓒、吴镇在景物取舍上有极强的一致性，均喜画几棵树。倪瓒的树是纤细、弱小的，树干上长出几条树枝，枝上顶着几片叶子，立在空旷的荒野里显得孤独而又凄凉。而且倪瓒的树往往是叫不出名字的，并无具体所指；吴镇在树的种类上往往是有选择的，他最喜欢选取被赋予隐逸人格象征的古松来充实画面。在近景中吴镇很少画杂树而是喜爱强调几棵大树，个个粗壮而枝叶茂密，富有顽强的生命力。",[82,134,377,81,1018,354,7,1015,117,620,2862,353,517,1019,3193,767,2087,3194,3195,3196,516,2372,1014,513,3197,468,3198,3199,3200,3201,1301,3202],"木","杜","雁","桥","孤云","苔","黄","绿","钩","砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94389ea4a9f9f206dbf7cb997ca6384e.jpg",[],{"id":3206,"slug":3207,"title":2727,"dynasty":47,"author":3208,"museum":112,"description":3209,"tags":3210,"thumbUrl":3215,"material":501,"size":502,"collection":62,"collections":3216,"showCount":277,"zanCount":41,"manualWeight":41,"mainColor":66},240888,"shi-zhou-tang-ying-240888","唐英","唐英（1682-1756年），清代陶瓷艺术家，能文善画，兼书法篆刻且又精通制瓷。沈阳人，隶属汉军正白旗，雍正六年（1728年）奉命任景德镇御窑厂协理官，乾隆元年（1736年）起先后管理淮安关及九江关并兼理窑务，直至二十一年（其中十五、十六两年一度中止）。",[52,82,134,377,81,1015,517,2425,3211,3212,1399,7,2733,3213,3214],"竹林","雲","青山","鐘磬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bd423859685711d326acb32c007d9b8.jpg",[],{"id":3218,"slug":3219,"title":2266,"dynasty":47,"author":3220,"museum":130,"description":3221,"tags":3222,"thumbUrl":3225,"material":3226,"size":3227,"collection":522,"collections":3228,"showCount":277,"zanCount":41,"manualWeight":41,"mainColor":66},240703,"shi-juan-cha-ji-zuo-240703","查继佐","释文：\n一片山花落笔床，石桥寺里最清凉。寄书河上神明宰，玉帛朝回望帝乡。为政心闲物自闲，一州横制浙江湾。百花仙酝能留客，野屐同登竹外山。不将富贵碍高情，树里南湖一片明。杭越风光诗酒主，琵琶起舞换新声。愿得相从一问师，论交却忆十年时。轻舟共泛花边水，南国争传五字诗。西湖清宴不知回，雨过南山积翠来。近得麻湖书信否，五云多处是三台。英雄见事若通神，不薄今人爱古人。蚤晚得为同舍旅，道光谁不仰清尘。燕蹴飞花落舞筵，蓝田日暖玉生烟。河边淑气迎芳草，琴瑟同谐愿百年。心在重霄鬓未华，不知春思落谁家。城中车马应无数，阁道回看上苑花。生平诗誉复谁过，银箭金壶漏水多。内史笔锋光案牍，江南江北望烟波。苏小门前柳万条，酒醒时得广离骚。无劳海上寻仙客，王母新开一树桃。朝野俱欢庆寿晖，山光物态弄春辉。雄如宝剑冲牛斗，再为苍生入翠微。才子襟期本上清，黄云捧日瑞升平。东风小饮人皆醉，试向文园问长卿。右集唐十二绝为石翁张老师寿。治门生钓史查继佐书并政。\n款署：“右集唐十二绝为石翁张老师寿。治门生钓史查继佐书并政。”钤“查继佐印”白文印、“伊璜氏”朱文印，引首印为“紫微房”朱文印。\n此书是查继佐自集唐诗十二首为老师祝寿而作，当中每一首七言绝句都是从四首唐诗中分别选取一句，组合成为一首。整件作品共涉及36位唐代诗人的48首诗， 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合称「四王吴恽」或称「清初六家」，为清代正统派绘画代表。\n\n该画为吴历应友人侯大年（约1641-约1710）之命所作，并以友人之号「凤阿」命名，绘于康熙十六年（1677）之后，为吴氏中晚年之作。画面山峦起伏，高树竹丛、屋舍数间，屋前小桥流水，一人策杖过桥。整幅作品尺幅虽不大，却构图繁密，墨色苍润，流露对笔墨的追求与讲究，是吴历的精品。事实上，吴历与侯大年交谊深厚，曾应命绘制多幅《凤阿山房图》，以表达侯氏「述祖德，守先业」并归隐的志向，然而凤阿山房终未建成。据记载，侯大年在吴历绘制完立轴后，另请他绘制小册并请诸友题咏，正是此册。全册共分上、下两册，引首朱彝尊　(1629-1709) 书「凤阿山房」，后有吴历、朱彝尊、姜宸英、梁佩兰、宋骏业、王撰、陆遵、梅庚、钱大昕等六十六家诗题，其中陆遵、梅庚补图并题诗。吴历此作无疑是全册点睛之笔，见证了他与侯大年的交谊。",[23,24,52,82,53,1907,377,81,673,3364,354,7,1399,26],"房屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec01786d56332259547002aace0ff68a.jpg","水墨,设色,纸本,册页","18×34.5厘米",[],{"id":3370,"slug":3371,"title":3372,"dynasty":47,"author":3373,"museum":49,"description":3374,"tags":3375,"thumbUrl":3376,"material":62,"size":62,"collection":62,"collections":3377,"showCount":277,"zanCount":41,"manualWeight":41,"mainColor":3378},202121,"mei-hua-jing-xin-jin-lian-202121","梅花镜心","金湅","画面中，老干以浓淡相宜的水墨写就，笔触苍劲如铁，虬曲盘折间尽显古木风霜；新枝疏朗，细劲若弦，错落有致。橙色梅花点缀枝头，设色明艳却不艳俗，与墨枝相映成趣，似有暗香浮动。枝间留白恰到好处，空灵悠远，尽显梅之高洁孤傲，蕴含文人画特有的清雅意趣。",[24,133,26,115,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb28f9b563725bbcbe061c2683fcc73fe.jpg",[],"d8c7b2",{"id":3380,"slug":3381,"title":3382,"dynasty":47,"author":3383,"museum":49,"description":3384,"tags":3385,"thumbUrl":3386,"material":62,"size":62,"collection":62,"collections":3387,"showCount":277,"zanCount":41,"manualWeight":41,"mainColor":3388},201822,"lan-zhu-tu-zhou-zhao-jiu-ding-201822","兰竹图轴","赵九鼎","墨笔兰竹相映，气韵清雅。兰叶以中锋细线写就，柔韧舒展如流云；小花疏落，幽芳暗蕴。竹枝挺劲，竹叶撇捺间墨色浓淡相宜，尽显劲节之姿。画面留白疏密有致，枝干花叶错落生姿，笔墨洒脱自然，传递出兰竹的君子品格，尽显文人画的空灵意趣。",[24,133,767,354,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc12abb05a971ba19d2448fb3d12e2ff.jpg",[],"e0d2c1",{"id":3390,"slug":3391,"title":3392,"dynasty":47,"author":1521,"museum":49,"description":3393,"tags":3394,"thumbUrl":3396,"material":62,"size":62,"collection":62,"collections":3397,"showCount":277,"zanCount":41,"manualWeight":41,"mainColor":3398},201589,"he-hua-tu-zhou-jin-nong-201589","荷花图轴","笔意简淡却含逸趣，两茎荷花亭亭玉立，茎秆挺拔，花瓣以寥寥数笔勾勒，墨色层次浅淡，尽显清绝之姿。旁题古雅隶书，笔力苍劲，与荷花的疏朗气韵相映成趣，似能消弭暑热，带来沁心凉意。整幅画作不事雕琢，却于质朴中见真意，尽显文人画的空灵与禅意。",[133,1434,2370,3395,81,7],"隶书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6acaa3d9083a7debcc846d17641eb9e.jpg",[],"a89a8a",{"id":3400,"slug":3401,"title":3402,"dynasty":47,"author":185,"museum":112,"description":3145,"tags":3403,"thumbUrl":3404,"material":501,"size":502,"collection":62,"collections":3405,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":66},261498,"qing-hua-hua-die-tu-bi-tong-yi-ming-261498","青花花蝶图笔筒",[2051,3147,7,209,54,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad064cb3a7fd82bbcf17c545ba81fad9.jpg",[],{"id":3407,"slug":3408,"title":3409,"dynasty":47,"author":185,"museum":112,"description":3410,"tags":3411,"thumbUrl":3414,"material":501,"size":502,"collection":62,"collections":3415,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":579},258969,"da-ya-zhai-kuan-ou-he-di-fen-cai-hua-niao-tu-hua-pen-yi-ming-258969","大雅斋款藕荷地粉彩花鸟图花盆","藕荷釉地匀净莹润，如揽入暮色烟霞。粉彩敷色鲜活灵动，一侧折枝山茶柔蔓舒展，胭脂花瓣层叠晕染，翠叶相衬，饱满动人；另一侧嫩黄花团攒簇，羽禽俏立枝头，羽色晕染细腻，身姿灵动似将侧目啼鸣。口沿青花回纹规整雅致，为柔媚花鸟添了几分端庄沉静。整器设色明丽和谐，笔触工致细腻，把庭院小景的生机雅致凝于瓷间，尽显制瓷工巧，藏着旧时院落的温柔意趣。",[419,2051,2203,26,54,7,117,3412,3413],"藕荷地","大雅斋风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3c96104d1540e4a4dd8541288b56f0e.jpg",[],{"id":3417,"slug":3418,"title":3419,"dynasty":47,"author":185,"museum":112,"description":3420,"tags":3421,"thumbUrl":3422,"material":501,"size":502,"collection":62,"collections":3423,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":42},258885,"yong-qing-chang-chun-kuan-lan-di-fen-cai-hua-niao-tu-mei-hua-shi-hua-pen-yi-ming-258885","永庆长春款蓝地粉彩花鸟图梅花式花盆","此器以霁蓝为地，匀净沉邃，将粉彩花鸟衬得鲜亮灵动。梅花花口婉转秀雅，浅腹下承四矮足，器形柔润舒展。外壁绘就林间小景，山茶绽艳，梅枝缀蕊，禽雀或栖于枝头私语，或振翅穿林掠叶。翎毛晕染细腻柔润，花叶脉络勾勒清晰，设色明丽妍秀，写实工致间漾满自然生趣。内壁施松石绿釉，莹润清新，与外壁宝蓝底色相映成趣，尽显粉彩华丽雅致的典型风韵。匠者将精巧工笔与雅致审美融于一器，是兼具陈设与赏玩价值的文房清供佳器。",[47,2203,26,54,117,7,115,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e3f02ee3ed207350bab167f3b800aee.jpg",[],{"id":3425,"slug":3426,"title":3427,"dynasty":47,"author":185,"museum":112,"description":3428,"tags":3429,"thumbUrl":3431,"material":501,"size":502,"collection":62,"collections":3432,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":66},258259,"you-li-hong-hua-die-wen-bi-tong-yi-ming-258259","釉里红花蝶纹笔筒","宋代是传统制瓷工艺发展史上一个非常繁荣昌盛的时期。现时已发现的古代陶瓷遗址分布于全国170个县。其中有宋代窑址的就有130个县，占总数的75%。\n陶瓷史家通常将宋代陶瓷窑大致概括为6个瓷窑系，它们分别是：北方地区的定窑系、耀州窑系、钧窑系和磁州窑系；南方地区的龙泉青瓷系和景德镇的青白瓷系。这些窑系一方面具有因受其所在地区使用原材料的影响而具有的特殊性，另一方面又有受帝国时代的政治理念、文化习俗、工艺水平制约而具有的共同性。\n从造型的角度分析，宋瓷的器形较之前代更为丰富多彩，几乎包括了人民日常生活用器的大部分：碗、盘、壶、罐、盒、炉、枕、砚与水注等，其中最为多见的是玉壶春瓶。总的说来，民间用瓷的造型大部分是大方朴实、经济耐用；而宫廷用瓷则端庄典雅、雍容华贵。最能反映皇家气派的是哥、官、钧、汝与定窑口烧制的贡瓷，最能体现百姓喜乐的是磁州、耀州窑口烧制的民间瓷品。\n从纹饰上讲，宋瓷的纹饰题材表现手法都极为丰富独特。一般情况下，龙、凤、鹿、鹤、游鱼、花鸟、婴戏、山水景色等常作为主体纹饰而突现在各类器形的显著部位，而回纹、卷枝卷叶纹、云头纹、钱纹、莲瓣纹等多用作边饰间饰，用以辅助主题纹饰。工匠们用刻、划、剔、画和雕塑等不同技法，在器物上把纹样的神情意态与胎体的方圆长短巧妙结合起来，形成审美与实用的统一整体，令人爱不释手。如婴戏纹，或于碗心、或于瓶腹，将肌肤稚嫩，情态活泼的童子置于花丛之中，或一或二，或三五成群，攀树折花，追逐嬉戏，真切动人，生活气息甚为浓厚。",[2051,3430,7,135,54,419,26],"釉里红","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68cc9931506e45fdc74efedee8b5c295.jpg",[],{"id":3434,"slug":3435,"title":3436,"dynasty":47,"author":185,"museum":112,"description":3437,"tags":3438,"thumbUrl":3439,"material":501,"size":502,"collection":62,"collections":3440,"showCount":11,"zanCount":41,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卉蜿蜒舒展，蝙蝠纹穿梭花间，蝠纹与宝相花交相辉映，暗合洪福齐天的美好祈愿。\n\n珐琅釉色鲜亮饱满，蓝褐柔粉晕染层次分明，填色匀净细腻，掐丝婉转利落，尽显工艺精湛水准。器型饱满端庄，富丽纹饰搭配明快釉色，将器物的雍容华贵尽数展现，是传统吉祥意涵与珐琅工艺融合的经典之作。",[419,1587,1586,3508,3509,26,3001,7,490],"蝙蝠纹","穿花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c7de9ae2538e8882d17d82925b279c6.jpg",[],{"id":3513,"slug":3514,"title":3515,"dynasty":47,"author":185,"museum":112,"description":3516,"tags":3517,"thumbUrl":3520,"material":501,"size":502,"collection":62,"collections":3521,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":42},248923,"qian-li-kuan-hei-qi-qian-luo-dian-hua-die-wen-yuan-pan-yi-ming-248923","千里款黑漆嵌螺钿花蝶纹圆盘","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。",[2990,3518,419,54,7,135,3519,490,26],"嵌螺钿","圆盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c1770c689640df526826cfb04ad69e7.jpg",[],{"id":3523,"slug":3524,"title":3525,"dynasty":47,"author":185,"museum":112,"description":2988,"tags":3526,"thumbUrl":3528,"material":501,"size":502,"collection":62,"collections":3529,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":42},248608,"ti-hong-gua-die-wen-he-yi-ming-248608","剔红瓜瓞纹盒",[47,2990,3527,2413,609,135,7],"剔红","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ce4604712725e5f9e2dca507fb909a5.jpg",[],{"id":3531,"slug":3532,"title":3533,"dynasty":171,"author":185,"museum":112,"description":3534,"tags":3535,"thumbUrl":3536,"material":501,"size":502,"collection":62,"collections":3537,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":579},246089,"ti-hong-long-chuan-hua-wen-chang-fang-he-yi-ming-246089","剔红龙穿花纹长方盒","雕漆,是漆工艺中的一个品种,是中国漆器特有的装饰技法,是在油光漆兑入入漆颜料,数十层乃至上百层地髹涂在用漆封闭处理过的胎骨上,每天只能髹涂二至三道,髹涂下道漆不可等上道漆干透,否则漆层容易缺脱,这样逐层累积到需要的厚度,用刀剔刻出浮雕花纹,表现层次与质地的美感.",[2990,3527,2413,2981,7,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F494eeebd3fa8bbf6ad1c057ae9506a48.jpg",[],{"id":3539,"slug":3540,"title":3541,"dynasty":47,"author":185,"museum":112,"description":3542,"tags":3543,"thumbUrl":3547,"material":501,"size":502,"collection":62,"collections":3548,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":42},245566,"jin-lou-hua-qian-song-shi-cui-pian-xiang-nang-yi-ming-245566","金镂花嵌松石翠片香囊","以累丝技法织就金地，柔金丝缕缠出细密温婉的肌理，如意形轮廓圆润雅致。囊面錾刻折枝花卉，松石与翠片错落镶嵌晕染花叶层次，莹润珊瑚珠点缀串绳，金辉与石色冷暖相映，贵而不奢。\n它既是贮香随身的雅器，又是腰间点缀的饰物，将金细工艺的灵秀与雅致审美相融，静静诉说着旧时精巧的随身意趣，尽显传统细金工艺的匠心造诣。",[419,421,3544,424,3545,3546,7,31],"镂花","松石","翠片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f38313b5653ef28f5d42aacd53064fa.jpg",[],{"id":3550,"slug":3551,"title":3552,"dynasty":47,"author":185,"museum":112,"description":2542,"tags":3553,"thumbUrl":3557,"material":501,"size":502,"collection":62,"collections":3558,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":579},242063,"yin-du-jin-qian-bao-shi-hua-pen-xing-zan-yi-ming-242063","银镀金嵌宝石花盆形簪",[419,2242,3554,3555,2785,7,2721,31,3556,424],"嵌宝石","珐琅","镀金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ce69b766f896713553f71ca48879ab7.jpg",[],{"id":3560,"slug":3561,"title":583,"dynasty":47,"author":185,"museum":112,"description":3562,"tags":3563,"thumbUrl":3564,"material":501,"size":502,"collection":62,"collections":3565,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":66},241934,"bi-xi-xiang-bao-shi-hua-yi-ming-241934","以各色宝石攒簇成鬓间芳华，鹅黄碧玺雕琢主花，莹润清透如将开未绽的春棠，细小米珠点缀花芯，似凝着晨露的星子。粉碧玺花苞娇柔半绽，翡翠裁为叶片，脉络灵动鲜活，翠色衬得花颜愈显明妍。\n\n簪杆鎏金沉稳雅致，红绒缠缚衔接处，柔化了金玉珠宝的冷硬贵气。整体排布错落自然，将天然宝石的清灵质感与攒镶工艺的精巧相融，藏着旧时妆造里的温婉意趣，把春日凝于发梢，是将雅致揉进日常的精巧饰物。",[419,31,586,587,424,2413,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa907fc6b0c83e68cdb3a5c5cd85874a.jpg",[],{"id":3567,"slug":3568,"title":583,"dynasty":47,"author":185,"museum":112,"description":3569,"tags":3570,"thumbUrl":3571,"material":501,"size":502,"collection":62,"collections":3572,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":66},241927,"bi-xi-xiang-bao-shi-hua-yi-ming-241927","这枚花簪以粉碧玺裁作菊瓣，层叠舒展如秋花盛放，柔润石色晕开胭脂暖调。花蕊攒缀细米珠，灵动鲜活，点翠底托晕开幽蓝光泽，与粉碧玺相映成趣。绿料器摹作叶片脉络分明，点缀各色小饰错落生姿。鎏金簪杆挺括雅致，将玉石、点翠、累珠工艺相融，把宝石清透华贵与花植天趣生机糅合一处，藏着旧时闺阁的雅致意趣，静赏可见精工造物里的柔美匠心。",[31,586,587,7,209,424],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe24e761f12a62c0a23c696c0fb6b8092.jpg",[],{"id":3574,"slug":3575,"title":3576,"dynasty":47,"author":185,"museum":112,"description":3577,"tags":3578,"thumbUrl":3580,"material":501,"size":502,"collection":62,"collections":3581,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":3582},241728,"cui-hua-die-bei-yun-yi-ming-241728","翠花蝶背云","这件饰品玉色浓翠莹润，匀净鲜亮。以整片荷叶为底形，浮雕兼透雕琢磨出花蝶依偎的景致。叶脉舒展婉转，蝶翼纹路细腻灵动，花瓣轻绽柔婉，生机暗含其间。构图饱满却通透留白相宜，将料色之美与雕刻之工相融，借荷叶蝴蝶暗合吉祥意趣，尽显小件玉雕工料俱佳的雅致风韵，温婉古韵扑面而来。",[419,2979,2413,31,54,3579,7,135,25],"翠色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ef75bc0367a25302a9ef9bfb1337275.jpg",[],"0D904F",{"id":3584,"slug":3585,"title":3586,"dynasty":171,"author":3587,"museum":112,"description":3588,"tags":3589,"thumbUrl":3595,"material":501,"size":502,"collection":62,"collections":3596,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":66},241536,"qi-lv-ye-lin-shu-xue-241536","七律页","林叔学","此作用笔温润灵动，提按转合自然舒展，牵丝映带间暗含韵律，点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