[{"data":1,"prerenderedAt":1101},["ShallowReactive",2],{"subject-kun-chong":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},284,"kun-chong","昆虫","昆虫画高清赏析","精选中国历代昆虫题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59ec1cfe5b8e73185efcb0affba950f.jpg",0,97,[14,40,62,82,110,123,139,158,185,197,214,224,236,246,258,270,284,296,310,320,331,342,353,364,374,386,403,414,425,437,450,461,473,484,493,505,513,525,535,546,556,568,578,589,595,606,615,625,636,645,653,672,683,693,704,712,722,731,743,752,759,768,774,785,791,801,812,821,827,834,846,857,864,878,889,898,906,914,923,933,944,952,962,973,981,991,1002,1009,1018,1029,1042,1052,1059,1071,1078,1086,1094],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":32,"material":33,"size":34,"collection":35,"collections":36,"showCount":37,"zanCount":38,"manualWeight":11,"mainColor":39},214864,"xie-sheng-ce-hua-yan-214864","写生册","清","华嵒","台北故宫博物院","华嵒是一位清代著名画家和艺术家。他的写生册是一本记录他写生草稿的册子，通常包含他对自然和人物的写生绘画。写生册是画家们练习和提高技巧的重要工具，因为它们能够帮助画家观察、捕捉和描绘细节。华嵒的写生册中可能包含了他对山水、花鸟、人物等的写生画作。",[23,24,25,26,27,28,29,7,30,31],"国画","清代","花鸟","工笔","设色","写生","桃子","枝叶","果实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85168c608b5f4e5ce62443e201735732.jpg","纸本,设色","","花鸟画精选",[35],2225,18,"BDBDBD",{"id":41,"slug":42,"title":43,"dynasty":44,"author":45,"museum":46,"description":47,"tags":48,"thumbUrl":56,"material":57,"size":58,"collection":35,"collections":59,"showCount":60,"zanCount":61,"manualWeight":11,"mainColor":39},220230,"hua-niao-chong-cao-xie-sheng-ce-die-dian-chun-hua-chen-hong-shou-220230","花鸟虫草写生册-蝶点春花","明","陈洪绶","私人收藏","陈洪绶的绘画，尤其是他以之驰誉艺坛的双勾设色花鸟画，其特点有三，一是造型的古拙，二是色彩的古艳，三是线条的寓迟涩于劲挺，既厚重且圆润。",[49,50,23,51,52,27,26,25,53,54,55,7],"高清","明代","书画","册","桃花","蝴蝶","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29d24e4e72e70775f7e4626a7a610564.jpg","绢本,设色","21.5×16cm",[35],1477,14,{"id":63,"slug":64,"title":65,"dynasty":66,"author":67,"museum":68,"description":69,"tags":70,"thumbUrl":77,"material":33,"size":78,"collection":35,"collections":79,"showCount":80,"zanCount":81,"manualWeight":11,"mainColor":39},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。",[49,23,27,71,25,72,73,74,75,7,76],"水墨","立轴","花","蝶","螳螂","叶子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e1010a81c5646f35a6bf665ff905dca.jpg","103x41.3cm",[35],1472,10,{"id":83,"slug":84,"title":85,"dynasty":18,"author":86,"museum":87,"description":88,"tags":89,"thumbUrl":102,"material":103,"size":104,"collection":35,"collections":105,"showCount":107,"zanCount":108,"manualWeight":11,"mainColor":109},220992,"bai-hua-tu-juan-yun-shou-ping-220992","百花图卷","恽寿平","美国大都会艺术博物馆","恽寿平的山水画造诣之高，受到历代画家的赞誉。然而，他到中年后却放弃了在山水画领域的成就，转向以画花卉为主。究其原因，历史上说法很多。",[49,23,51,90,27,91,26,25,55,92,93,94,95,53,96,97,98,99,100,101,54,7],"长卷","没骨","牡丹","百合","菊","荷花","芙蓉","月季","水仙","兰花","芍药","紫藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff29e1c97e998205c049e5c6f18799621.jpg","手卷，绢本设色","纵32厘米，横530厘米",[35,106],"设色画精选",1418,23,"F48FB1",{"id":111,"slug":112,"title":113,"dynasty":44,"author":45,"museum":87,"description":114,"tags":115,"thumbUrl":117,"material":57,"size":34,"collection":35,"collections":118,"showCount":121,"zanCount":122,"manualWeight":11,"mainColor":39},218031,"za-hua-ce-chen-hong-shou-218031","杂画册","陈洪绶是明朝时期著名的画家。他最著名的作品是他的杂画册，其中包含了许多精美的花鸟画和山水画。陈洪绶的杂画册是明朝时期最著名的画册之一，并被认为是中国画的杰出代表作之一。\n\n陈洪绶的杂画册中包含了多幅优美的花鸟画，其中包括了各种鸟类、花卉和动物。这些画作都是陈洪绶对自然界的精确再现，并且富有生命力。此外，陈洪绶还创作了许多优美的山水画，其中包含了各种山川、河流、湖泊和其他自然景观。这些画作也是陈洪绶对自然界的精确再现，并且富有感染力。\n\n总的来说，陈洪绶的杂画册是一部杰出的画册，其中包含了许多优美的花鸟画和山水画，是中国画的杰出代表作之一。陈洪绶的画风精细而细腻，他对自然界的描绘充满生命力和感染力，使他的作品在艺术史上占有重要地位。",[23,27,26,52,25,7,116,30],"红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7c5103e3f5c96e67bf35677653152a4.jpg",[35,119,120],"山水画精选","人物画精选",758,2,{"id":124,"slug":125,"title":126,"dynasty":18,"author":127,"museum":128,"description":129,"tags":130,"thumbUrl":136,"material":34,"size":34,"collection":34,"collections":137,"showCount":138,"zanCount":122,"manualWeight":11,"mainColor":39},223629,"he-hua-tu-yi-ming-223629","荷花图","佚名","藏地不详","此作用笔秀润，设色清妍雅致。粉瓣荷花亭亭舒展，晕染出柔媚鲜活的层次，荷叶或苍绿如盖、或半卷含露，墨色浓淡尽显舒展生机。枯瘦莲蓬擎立，自带幽寂禅意。池中游鱼轻摆尾鳍，黑蜂振翅悬于淡赭素色的虚空，静中藏动，将夏日荷塘的鲜活气意晕开。整幅构图疏朗空灵，以浅淡底色晕出水汽氤氲的朦胧，不见满幅堆砌的繁复，将江南莲塘的清润宁和尽数铺陈，尽显文人画的悠然意趣，把溽暑里的荷塘清韵定格在绢素之上。",[49,131,23,51,72,27,26,25,132,133,134,135,7],"名画","荷","荷叶","莲蓬","鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d474cb4c4b95102723b2afdeb3c667a.jpg",[],572,{"id":140,"slug":141,"title":142,"dynasty":143,"author":144,"museum":128,"description":145,"tags":146,"thumbUrl":151,"material":152,"size":153,"collection":34,"collections":154,"showCount":155,"zanCount":156,"manualWeight":11,"mainColor":157},288331,"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，奇正率工，敷色晕墨，兼有一幅，能自然洽和，风神生动，得恽寿平韵味。点缀坡石，偶作兰竹，亦具雅致。曾画塞外花卉70种，被视为珍宝收藏于宫廷。今有《牡丹扇面》《岁岁久安图》《桃花鹦鹉图》《竹石图》轴及《花卉图》等传世。",[23,51,52,27,26,25,55,54,253,76,7,432,150],"书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d07b787cc47539c1c123f3829eddaf8.jpg",[35,106,435],"书法精选",78,{"id":438,"slug":439,"title":440,"dynasty":18,"author":441,"museum":20,"description":442,"tags":443,"thumbUrl":446,"material":57,"size":447,"collection":35,"collections":448,"showCount":449,"zanCount":156,"manualWeight":11,"mainColor":39},219447,"qiu-cheng-sheng-zhi-zhou-chen-shu-qiu-219447","秋塍生植轴","陈书秋","秋草葳蕤间，秀穗垂曳似携风露。蜻蜓振翅掠叶，粉翅沾着晓光；彩蝶翩跹，翅间星斑如缀墨玉；蚂蚱或伏或跃，肢足纤毫毕现。近坡双鹌相倚，一者低头啄虫，羽纹细腻如织，另一侧首凝睇，眸含憨态。细菊绽蕊淡香似溢，红果点翠添秋温润。笔墨工细却不板滞，生灵姿态鲜活，草木纹理清晰，藏着对自然的深情。静中有动，恬淡里透着蓬勃生机，仿佛能听见虫鸣唧唧，风拂草叶轻响，将秋日田园意趣尽揽其中。",[23,51,72,26,27,150,25,7,338,444,54,208,445,94,253],"鹌鹑","蚂蚱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75a0fe93ad5cc02980e9601cf4c1e288.jpg","100.1x29.2",[35],66,{"id":451,"slug":452,"title":453,"dynasty":44,"author":454,"museum":128,"description":455,"tags":456,"thumbUrl":458,"material":152,"size":153,"collection":34,"collections":459,"showCount":460,"zanCount":156,"manualWeight":11,"mainColor":39},234847,"hai-tang-fu-die-tu-shan-ye-qu-yuan-jing-234847","海棠蚨蝶图扇页","瞿元镜","瞿元镜 约生于本年／常熟人。瞿世耜之子。一名镜，字端叔。常熟诸生。喜花鸟，工篆刻。明忠宣公子，父亡，十龄流落于外，人无有过而问之者，顾云美以夙谊收恤",[131,23,51,457,27,26,409,54,304,76,7,50],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F782c7e9c61bf22243ba7bc8fbc180917.jpg",[],62,{"id":462,"slug":463,"title":249,"dynasty":162,"author":163,"museum":128,"description":464,"tags":465,"thumbUrl":470,"material":34,"size":34,"collection":34,"collections":471,"showCount":472,"zanCount":11,"manualWeight":11,"mainColor":157},228316,"jin-hui-dui-tu-qian-xuan-228316","起于元，盛于清末，俗称“打翻字纸篓”，以画残破的文物片段堆栈构成画面。\n郑达甫先生被公认为此领域的唯一能手 锦灰堆 最早起源于何时，现无准确文献记载，相传是元代与赵孟頫齐名的画家钱选，在一次醉酒后兴起，将当天散落在饭桌上的下酒菜吃剩残物，如蟹脚、蚌壳、莲房、鸡翎、鱼刺等、信手绘制成一幅横卷，并挥笔题款“锦灰堆”。\n这可能是“锦灰堆”最早的历史记载。\n“锦灰堆”致力于特色陶瓷礼品研制、开发与销售。\n旗下品牌有锦瓷，锦瓷窑，泥道等。\n锦瓷只要生产红瓷，青花瓷，天目釉，茶具，格致古典，服务当下，具有深厚传统情怀的锦灰堆机构，于借礼品进而使得当下国人在器用和精神层面上回归古典，回归宁静，从而让现代人从喧嚣浮躁的盲动中找到某种心灵的归宿，达到静养身心，调节自我的目的。\n再者，通过对古代生活器用的阐扬、恢复，在更宏大的视野中，我们希望能为整个民族的精神回归作出点滴贡献。\n在推进整个古典生活场景的复原中，锦灰堆首推华丽、时尚的红瓷系列，并从功夫茶的发源地潮汕地区切入，引入此间的红头船文化和航海文化，凸显火“红”的福字主题。\n重构中国人的雅致生活 锦，绮丽繁华，天下莫此为甚。\n中国风雅的源头《诗经》，有“终南何有？有条有梅。\n君子至止，锦衣狐裘。\n”锦衣狐裘，诸侯方可穿着。\n《仪礼·聘礼》复有“皆奉玉锦束请觌”之句。\n锦为何物？《说文解字》云：锦，襄邑织文。\n《毛诗正义》则说，锦者，杂采为文。\n锦于中国人，乃成美好事物的普遍象征，遂有锦绣、锦囊、锦瑟、锦带、锦江、锦文、锦鳞，凡物着一锦字，读之立刻口齿芬芳。\n至于家国河山，古人亦以锦名之，曰锦绣河山。\n事实上，只有中国人可以用一种逍遥俯瞰的之态，描述壮丽宏大的山水，正如元代以降的山水画所表达的，“收拾河山入画图”。\n灰，则表达了古典中国人对世俗和底层生活的关注和亲密，这一点，则全非近代以前泰西诸国等级森然的社会体制所能及。\n“满面尘灰烟火色”，白乐天对一个卖炭老翁的细致描绘，恰恰说明了这一点。\n古代士大夫就是在“锦”与“灰”两端中求得心灵的平衡，从而达到中庸和无为的至高境界。\n宋末吴兴人钱选，一代画师。\n其时也，蒙元入主中国，钱选尚气节，不事新朝，特立独行，与赵孟頫辈异。\n选流连诗酒，无酒不能作画，此其雅癖之一；曾作小横卷，所绘举凡螯钤、鸡翎、莲房等食余剥剩、无用当弃之物，名之曰“锦灰堆”，此其雅癖之二。\n锦灰堆遂成一特异之画种，又称“八段锦”。\n生活零碎之物而形诸笔墨锦笺，而独放异彩，或可称怪异之三。\n钱选之作，有堪称国宝者，后多收入清宫大内，为清帝御览之宝。\n凡经御览，都为卷册，名曰《石渠宝笈》。\n钱选作品被收入《石渠宝笈初编》。\n民初海上，锦灰之堆润格攀涨，山水人物花鸟，不得专宠矣。\n所绘之物，由食余吐物，扩而及之“一页旧书、半张残帖、公文、私札、废契、短简”。\n若以当代美学考量，锦灰堆作为一种绘画门类，具有一种潜在的解构主义，可谓当代艺术潮流的远古鼻祖。\n会此意者，定当一笑。\n京城王世襄先生，亦慕钱选之高格与戏作，以“锦灰堆”名其文集。\n世襄年过九旬，于经世致用之学而外，洞彻古玩器物，举凡明家具、鹰鹞、烹饪、古建筑、蟋蟀、鸽子、竹艺、漆器等等，均深有发现。\n黄苗子遂以“玩物成家”目之。\n玩物而不丧志，其渊源幽淼，直可追溯先秦。\n《考工记》行文古雅，而凡世间百工造物，靡不涉及。\n魏晋诸子，倡而导之，经东坡等宋代诸儒，至明清而成玩物洪流矣。\n唐陆鸿渐行迹编海内而著《茶经》，后人饮茶，便得宗旨；宋人朱肱于杭州开酒坊，自酿自卖，著《北山酒经》流传于世，酒于是而得经典。\n而花草树木果树陶瓷园艺文房，乃至闺阁妆奁，人间烟火，皆入明代士大夫法眼，各种著述层出不穷。\n文震亨著《长物志》，高濂著《遵生八笺》，张岱著《陶庵梦忆》，玲琅满目，胪列不尽。\n执着于充满人情的尘世生活，是中国人典型的文化心理。\n明代变乱之前，物质的繁荣导致士大夫和普通民众的生活，在最求细节方面面达到了极致。\n庭除屋宇、园林百卉、钿光钗影、杯来盏往，余怀之《板桥杂记》所录晚明民众生活，其细致处，真是呼之欲出。\n悠闲，华美，逸乐，侠游，乃中国古代生活物质层面之四维。\n“闲者，匪徒尸居肉食，无所事事之谓。\n”高濂解释闲是一种境界，“闲可以养性，可以悦心，可以怡生安寿”。\n时乎坐陈钟鼎，几列琴书，榻排松窗之下，图展兰室之中，帘栊香霭，栏槛花妍，虽咽水餐云，亦足以忘饥永日。\n张岱论人，谓“人无癖，不可与交，以其无深情也；人无疵，不可与交，以其无真气也。\n” 张岱本人亦癖灯、癖游赏，癖器物。\n“少为纨绔子弟，极爱繁华，好精舍，好美婢，好娈童，好鲜衣，好美食，好骏马，好华灯，好烟火，好梨园，好鼓吹，好古董，好花鸟，兼以茶淫橘虐，书蠹诗魔。\n” 清代玩家自亦不少，晚明遗风，渔洋、袁枚等，接踵其后。\n然现代以来，士大夫之闲情雅致竟至泯然无迹，前人所持、所做、所饮、所餐、所观，遂成绝响，仅可于故纸堆中觅得鳞爪。\n此于国人，殊为憾事。\n前尘往事，并非定成空幻，成梦影。\n在器物层面，重构中国人古典生活方式，易于行，行远必将影响当下国人的价值认知。\n何也？一杯一盏，一花一木，一庐一室，一瓢一饮，均深蕴中国古典之价值，优雅，缠绵，温柔，富丽。\n似锦绣之质，浸俗世之情，于锦灰堆中，觅见风雅。\n1、 潮汕濒临南海，浮海可至南洋、印度、非洲海岸，乃至泰西诸国。\n这里是中西文明交流的一条重要路径——海上丝绸之路的必经之地，瓷器、丝绸、茶叶等中国固有的大宗产品从这里出口，而南洋的香料、珍宝、木材等，也远远不断，由此进入内地。\n潮汕也是古代中国人南迁之后的落脚点，所以，这里积存这丰厚的汉文化的元素。\n潮汕人很早就浮海去南洋谋生，其中，又以暹罗（泰国）居多。\n清代，此间与南洋的航运，是从中暹大米贸易开始的。\n为适应远洋航行的需要，原来有双桅、单桅之“潮州红头船”，发展成为“翘首高舷，备大桅樯三具”的远洋大帆船。\n《樟东风物记》：大型红头船长二十余丈，载重数百吨，三桅，有四帆开笑之称。\n红头船来自，源于清代之海禁。\n当时制度，凡出海之舶，须设色以辨。\n沿海省份，共设四色。\n广东在南，五行属火，用色为赤，遂“红油漆饰，青色钩字”。\n红头船不仅用朱砂油头，且以白粉油腹，头两侧画黑圈，再于船舷刻黑字。\n无形中，红头船具有了一种祛除不详的心理期待功能，融入到整个潮汕文化当中。\n红头船功夫茶具，不仅承载着这段具有强烈海洋文化特色的历史，还寄托着自生民以来就具有的祈福。\n2、功夫茶 苏辙诗曰：“闽中茶品天下高，倾身事茶不知劳。\n”此乃咏功夫茶诗也。\n功夫茶源于宋潮州府及福建的漳州、泉州。\n饮茶发展到功夫茶阶段，跟当时理学与禅宗的兴盛密不可分。\n功夫茶，茶中见性，以茶养性。\n除了水、火和冲泡这一程序性之外，功夫茶还衍生出极具形式美感的茶具。\n清俞蛟《潮嘉风月记》：“工夫茶，烹治之法，本诸陆羽《茶经》，而器具更为精致……杯盘则花瓷居多，内外写山水人物，极工致……杯小而盘如满月。\n” 锦灰堆功夫茶具，具本于宋代以降的人文传统。\n同时，亦融入时尚的造型，以适合现代人的审美。\n、红瓷 红瓷极尊贵，其制作之难亦冠各瓷之首。\n红瓷承载着吉祥、尊贵、自古就成为皇室追求的珍品。\n红瓷也是中国民间审美中至正之色，象征生命、繁衍和尊贵。\n红瓷釉料迥异于青花与青瓷等，其不耐高温的特性，使得一件红瓷的诞生很艰难。\n红瓷烧制，工艺复杂，须四次进炉：素烧，釉烧，红烧，金烧。\n每一环节不可偏差。\n尽管如此，仍是 “十窑九不成”。\n然则，更显红瓷的稀缺与珍贵。\n锦灰堆红头船红瓷功夫茶具，釉色分布匀停，光可鉴人，或蟠龙游凤，或牡丹缠枝，或花开富贵。\n而轻巧圆润，恰供清赏。\n（1）、红茶壶（鸿福） 壶，象盛器之形。\n日常不可或离之物，亦为礼器。\n古代常升华为美好之意。\n《春秋公羊传》：国子执壶浆。\n《三国志·诸葛亮传》：箪食壶浆。\n《芙蓉楼送辛渐》：一片冰心在玉壶。\n普通话，壶与“福”谐音，锦灰堆红茶壶便有了“鸿福”之意，同时，亦有“鸿鹄”之意，谓抱负远大也。\n（2）、红茶垫（托福） 茶垫又称壶托、托壶，红茶垫便可谐“福托”“托鸿福”“托福”等音。\n传统礼仪，接人待物，皆须谦逊。\n接茶、送茶之间，中华礼节，于细节中呈现。\n礼仪著于双方，也体现于每个个体，人借“托”举，“福”方永存。\n（）、福杯（吊鸿福杯） 杯，古又曰“爵”，饮器也。\n爵，象征荣誉和地位，即福禄寿喜之“禄”。\n与“福”为邻，传统抱负，合二为一。\n（4）、公杯（聚福） “大道之行也，天下为公。\n”《礼记》规定了中国人的最高社会理想。\n“公之为言公正无私也”。\n小小茶具，竟含儒家大道，此亦古人寄理想于“长物”之旨吧。\n公，也是古代爵位的最高等级。\n（5）、红茶渡（渡鸿福、鸿福渡） 渡，济也，引导也。\n这是一个暗藏禅机的词语，意蕴深厚。\n舍己渡人，方得超脱，这是佛家之道。\n若以当代社会伦理视之，此器亦公器也。\n然于公器之外，更充满英雄主义和绅士风度。\n（余可参照原文） （6）、精致小茶海 方寸之间，可容宇宙。\n海浩瀚无涯涘，在空间上以为这难以逾越，然则可以器用喻之。\n人心隔海，有渡可致。\n具物取名，古代闲情逸致之士乐此不疲，关键是，他们的想象力一如大海。\n海，又与潮汕之风俗相贯通。\n1）、大富大贵 “唯有牡丹真国色，花开时节动京城”，牡丹一直是中国富贵文化的核心意象，唐刘禹锡的诗恰好证明了这一点。\n作为花中之王，牡丹是历代文人雅士歌咏的对象。\n而龙、凤和蝶等意象的融合，则意味着一派高贵、长寿等怡人景象。\n2）、龙腾吉祥 在中国的语境中，龙一直是帝王的象征。\n当这一意象进入整个民族的心理深层结构，变成了众多行为的指南，一系列的崇拜也由此而来。\n龙也成了祈福消灾的对象。\n）、常年富贵 花团锦簇，一团和气，是古代人家最为看重的。\n等花卉图案，构成了众多居家要素，比如瓷器、锦缎。\n枝枝相连的形态暗示了中国人邻里相助和子孙繁衍的愿望，“连”也是“年”的谐音，于是便有“常年富贵”之名。\n4）、年年好运 运，行也。\n引申而为命运，“运隆祚永”是国家追求的目标，而祈求好运于一般人也变顺理成章。\n5）、6周年庆 大红的底色意味的喜气扑面而来。\n运筹红色，这正好是红瓷专家最为擅长的领域。\n黄色的五星，如暗夜繁星，耀人眼目，也如天女散花。",[49,23,51,90,26,27,25,7,253,466,467,55,54,468,31,76,469],"题跋","墨迹","杂物","虫蛀痕迹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F413580bf86f0f2f07a385084ba691349.jpg",[],59,{"id":474,"slug":475,"title":476,"dynasty":44,"author":477,"museum":20,"description":478,"tags":479,"thumbUrl":481,"material":33,"size":482,"collection":35,"collections":483,"showCount":472,"zanCount":11,"manualWeight":11,"mainColor":39},218847,"shuang-ji-tu-lu-zhi-218847","双鸡图","陆治","双鸡相倚石畔，一羽红冠微昂，一羽低首敛翅，毛羽以细笔勾染，晕出柔润光泽。石体干墨皴擦，纹理苍劲，与旁侧舒展的草叶形成刚柔对比。蜻蜓振翅悬于草尖，细足轻点，姿态灵动如真。笔墨间工写交织，设色淡雅却藏生机，题款朱印错落，更添古朴意蕴。整幅画似截取田园一隅，静谧中透着鲜活气息，将寻常物态绘出文人雅趣，尽显笔墨之妙与自然之趣，读之如沐林间清意，心随画境沉于恬淡。",[23,51,72,27,25,480,192,338,7],"鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff28bf2849a86dd45fd3a78edb2b1cdfa.jpg","63.2x31.5cm",[35],{"id":485,"slug":486,"title":487,"dynasty":18,"author":189,"museum":128,"description":488,"tags":489,"thumbUrl":490,"material":34,"size":34,"collection":34,"collections":491,"showCount":492,"zanCount":11,"manualWeight":11,"mainColor":39},224370,"hua-hui-qi-shi-ce-shi-er-kai-10-ju-lian-224370","花卉奇石册-十二开-10","此作以灵秀湖石为主体，朴拙纹理自带幽古意趣。细茎挺出，嫩黄碎花娇俏垂曳，与苍朴湖石形成柔刚对照。石上豆娘静立，翅脉纤毫毕现，将小虫灵动之态尽致描摹。\n\n画中运用撞水撞粉技法，花叶水润鲜活，苔草以淡青晕染，与赭石湖石色调柔润相融，静中藏动，生机暗涌。全幅工写兼备，寥寥数笔便将庭院小景的恬然意趣捕捉，将草木生灵的幽微情态勾勒无遗，尽显写生精妙，满溢闲逸清雅的文人意韵。",[49,23,51,52,27,26,25,55,316,7,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F057086feec0f2550986e5d5e2c2e3f6a.jpg",[],58,{"id":494,"slug":495,"title":496,"dynasty":66,"author":67,"museum":497,"description":498,"tags":499,"thumbUrl":501,"material":502,"size":34,"collection":34,"collections":503,"showCount":504,"zanCount":11,"manualWeight":11,"mainColor":39},220598,"gong-chong-ce-ye-huang-feng-qi-bai-shi-220598","工虫册页·黄蜂","中国现当代美术文献研究中心","这幅画作以简繁相映的妙趣定格乡野意韵。左侧兰叶以大写意挥就，淡赭勾染出舒展姿态，笔势疏朗写意，尽显清逸雅致。右侧两只黄蜂却以极细腻的工笔绘就，翅翼薄如蝉翼，脉络纤毫毕现，躯体斑纹鲜活饱满，振翅欲飞的灵动神态呼之欲出，仿佛下一秒就要循着草香翩然远去。\n\n简淡的写意草木与精微的写实虫豸相映成趣，文人笔墨的清雅与自然生灵的鲜活融为一体，于尺幅之间铺陈出鲜活的野趣生机，举重若轻间尽显创作功底，将日常小景晕染成耐人品味的雅致画卷。",[23,51,52,26,204,27,7,500,338],"黄蜂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff96fb49e577614dd52f34cd012446293.jpg","纸本水墨设色",[],52,{"id":506,"slug":507,"title":508,"dynasty":66,"author":67,"museum":497,"description":509,"tags":510,"thumbUrl":511,"material":502,"size":34,"collection":34,"collections":512,"showCount":504,"zanCount":11,"manualWeight":11,"mainColor":39},220596,"gong-chong-ce-ye-ma-zha-qi-bai-shi-220596","工虫册页·蚂蚱","淡赭草叶肆意纵横，看似漫不经心，实则错落有致，晕开秋日郊野的慵懒野趣。工笔精绘的蚂蚱静栖草间，翠色头颅油润鲜亮，玄色鞘翅纹理历历分明，纤细触须微颤，足爪紧扣草茎，仿佛正敛息休憩，下一刻便会振翅跃入荒草深处。\n写意荒草的简淡疏朗，将工笔秋虫的鲜活质感全然托举而出，萧索秋意与虫豸生机交织融合，把乡野日常的细碎意趣凝于尺幅之间，以极简笔墨勾勒出自然一隅的灵动诗意，尽显对乡野风物的细腻共情。",[23,51,52,26,27,7,338],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bbe682bec5240ca3a1fb0abd6f032ca.jpg",[],{"id":514,"slug":515,"title":516,"dynasty":228,"author":517,"museum":128,"description":518,"tags":519,"thumbUrl":522,"material":34,"size":34,"collection":34,"collections":523,"showCount":524,"zanCount":156,"manualWeight":11,"mainColor":39},232910,"dou-die-tu-ma-lin-232910","豆蝶图","马麟","马麟，麟一作驎，钱塘（今浙江杭州）人。南宋画家。马世荣之孙，马远之子。\n生卒年不详。其父马远是宋光宗、宋宁宗两朝（1190～1224）画院待诏，马麟画承家学，擅画人物、山水、花鸟，用笔圆劲，轩昂洒落，画风秀润处过于乃父。宁宗嘉泰间（1201～1204）授画院祗候，颇得宁宗赵扩、恭圣皇后杨氏及杨妹子称赏，每于父子画上题句。在《层叠冰绡图》中题诗云：“浑如冷蝶宿花房，拥抱檀心忆旧香。开到寒梢尤可爱，此般必是汉宫妆。”",[49,131,23,51,90,27,26,520,25,54,521,55,7,150],"宋画","豆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b08f1fa810326ea69c7b5cb3b5cbbf0.jpg",[],48,{"id":526,"slug":527,"title":528,"dynasty":228,"author":127,"museum":20,"description":529,"tags":530,"thumbUrl":532,"material":57,"size":533,"collection":35,"collections":534,"showCount":524,"zanCount":156,"manualWeight":11,"mainColor":157},218863,"ke-si-hua-niao-zhou-yi-ming-218863","缂丝花鸟轴","通经断纬的缂丝工艺，将荷塘清景织入方寸丝帛。墨绿丝线层叠出荷叶丰腴肌理，脉络宛然如活；粉白与淡红交织的荷花，或半绽含露，或含苞待放，姿态温婉。蜻蜓振翅悬于荷间，翅翼薄透感借丝线疏密巧妙呈现，仿佛下一秒便点破水面涟漪。水鸟嬉戏碧波，尾羽轻扫，漾开的细纹用浅蓝丝线勾勒，柔婉灵动。整幅作品清幽静谧，尽显宋人的雅致审美，每缕丝缕凝注匠人心血，于无声处传递自然生机与工艺之妙，是宋代缂丝艺术中含蓄隽永的佳作。",[531,27,25,132,208,7],"缂丝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbe16873c733f5f22048f0f9f3cffd96.jpg","75.8x81.7cm",[35],{"id":536,"slug":537,"title":538,"dynasty":162,"author":163,"museum":46,"description":539,"tags":540,"thumbUrl":542,"material":179,"size":543,"collection":34,"collections":544,"showCount":545,"zanCount":156,"manualWeight":11,"mainColor":157},232831,"xie-sheng-cao-chong-tu-juan-qian-xuan-232831","写生草虫图卷","此卷设色典雅，用笔精微，一花一竹，一虫一鸟，皆细致入神，工中见意，精巧传神，一丝不苟，可谓写生妙手。\n钱选（1239-1299），宋末元初著名画家，与赵孟?等合称为“吴兴八俊”。字舜举，号玉潭，又号巽峰，霅川翁，别号清癯老人、川翁、习懒翁等，湖州（今浙江吴兴）人。山水师从赵令穰，人物师从李公麟，花鸟师赵昌，青绿山水师赵伯驹。继承苏轼等人的文人画理论，提倡士气说，倡导戾家画。",[49,23,51,90,27,26,28,25,541,207,76,55,7,253,150,432],"草虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b6e400748db309145ac39941fe71144.jpg","34x310厘米",[],46,{"id":547,"slug":548,"title":549,"dynasty":143,"author":550,"museum":128,"description":551,"tags":552,"thumbUrl":554,"material":152,"size":153,"collection":34,"collections":555,"showCount":545,"zanCount":11,"manualWeight":11,"mainColor":157},226153,"xie-sheng-zhen-qin-quan-juan-huang-quan-226153","写生珍禽全卷","黄筌","黄筌是五代时期最有名的宫廷画家，一个在前蜀、后蜀画院任职40年的大画家，入宋后，又得到宋太祖的激赏。入宋百年一直把他的笔法当作画院画家作画的模范。宋代《宣和画谱卷十八》记载：“祖宗以来，图画院之较艺者，必以黄筌父子笔法为程序……”\n黄筌画出来的画，上自皇帝下至走卒，没有不连声赞叹的。而他留下来的这幅画稿《写生珍禽图卷》，也同样是技巧精湛、内涵丰实、人人叹服的绝世之作。\n这幅画中，画了24只小生物，都是珍禽异鸟。它们在皇宫中受到细心的养护，品种优良，造型独特，有的五彩斑斓，眩人耳目。黄筌在宫中画院任职，能够利用画院的便利条件，观察这些珍禽异鸟，而把它们揽入他的绢素中。\n也许有人会说这幅画没有意境，没有布局章法，鸟、虫都自顾自的，没有交集。其实没布局是有其道理的，因为这是画稿嘛，不是完整独立的画作，只是针对个别鸟虫而画，初学者基本上能掌握住这些生物的外形、动态就行。\n这24只小生命像图鉴般被安置在一方小小绢布上，不但不见拥挤、单调，反倒觉得谐和热闹，视觉上也很赏心悦目。",[49,23,131,90,26,27,28,25,147,553,149,7,150],"雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc941f2cb06acdd7b030fbea827f9f0e.jpg",[],{"id":557,"slug":558,"title":559,"dynasty":228,"author":560,"museum":128,"description":561,"tags":562,"thumbUrl":565,"material":34,"size":34,"collection":34,"collections":566,"showCount":567,"zanCount":11,"manualWeight":11,"mainColor":157},227488,"xie-sheng-hou-qin-tu-zhao-ji-227488","写生猴禽图","赵佶","赵佶，即宋徽宗，1100-1125年在位。在位时广收古物和书画，网罗画家，扩充翰林图画院，使文臣编纂《宣和书谱》、《宣和画谱》等。擅书画，真书学薛曜，自称“瘦金书”，也写狂草。绘画重视写生，以精工逼真著称，工花鸟，相传用生漆点睛，尤为生动。",[49,23,131,51,26,71,27,563,7,564,192,253,150],"猴","枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bc738dc39291aa94d5820e8dca012b6.jpg",[],45,{"id":569,"slug":570,"title":571,"dynasty":18,"author":19,"museum":128,"description":572,"tags":573,"thumbUrl":575,"material":34,"size":34,"collection":34,"collections":576,"showCount":577,"zanCount":11,"manualWeight":11,"mainColor":157},224184,"hua-niao-cao-chong-tu-ba-03-hua-yan-224184","花鸟草虫图八-03","此作兼工带写，以淡逸之笔绘就秋日常景。瓜藤迤逦缠绕，墨竹穿插其间，劲挺竹叶以浓墨挥写，尽显清刚意态。没骨晕染的瓜叶鲜活舒展，浓淡过渡自然。赭色螳螂静伏叶间，秋虫攀附艳色黄花，草虫刻画细腻逼真，灵动如生。\n右上角题诗呼应画境，将秋野闲逸之趣融于诗画。整体设色柔和雅致，笔意松灵秀逸，把寻常小景晕染出诗意禅味，尽显文人写意的空灵隽秀，将秋日郊野的生机野趣娓娓道来。",[49,23,51,52,27,25,541,370,291,574,7],"叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c969a769d5bae547a54eea345c4adb1.jpg",[],43,{"id":579,"slug":580,"title":581,"dynasty":18,"author":582,"museum":128,"description":583,"tags":584,"thumbUrl":586,"material":34,"size":34,"collection":35,"collections":587,"showCount":588,"zanCount":156,"manualWeight":11,"mainColor":39},238274,"hua-qia-xuan-yuan-tu-ce-huang-yue-238274","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。",[23,27,25,52,585,31,76,168,338,7,192],"枸杞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77c58126e2ccbab6b27ba717f63b9702.jpg",[35,106],40,{"id":590,"slug":591,"title":549,"dynasty":143,"author":550,"museum":128,"description":551,"tags":592,"thumbUrl":593,"material":152,"size":153,"collection":34,"collections":594,"showCount":588,"zanCount":156,"manualWeight":11,"mainColor":157},226154,"xie-sheng-zhen-qin-quan-juan-huang-quan-226154",[49,26,27,90,28,25,327,7,149,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63ea7bbb08ea8dee423e5e1bfd185218.jpg",[],{"id":596,"slug":597,"title":598,"dynasty":228,"author":599,"museum":128,"description":600,"tags":601,"thumbUrl":603,"material":34,"size":34,"collection":34,"collections":604,"showCount":605,"zanCount":122,"manualWeight":11,"mainColor":157},232778,"xie-sheng-zhe-zhi-tu-juan-wu-bing-232778","写生折枝图卷","吴炳","吴炳，毗陵武阳人（今江苏省常州市），南宋光宗绍熙年间(1190-1194)画院待诏。光宗皇后李氏爱其画，恩赉甚厚，赐金带。工画花鸟，元代夏文彦《图绘宝鉴》谓其画“写生折枝，可夺造化，彩绘精致富丽”。所作谨守院体画风格。画迹有《春池睡鸭图》《山茶鹁鸽图》《鸳鸯瑞莲图》《宝珠玉蝶图》《折枝绛桃图》《折枝芍药图》《鸡冠花图》《玫瑰图》《长春图》《水仙图》等43件，著录于《南宋院画录》，均“简易有生趣”，“精彩如生”。",[49,131,23,51,90,26,27,28,602,25,337,7,303,166,54],"折枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F735550480f9fac0df96afc47240de032.jpg",[],38,{"id":607,"slug":608,"title":609,"dynasty":44,"author":127,"museum":128,"description":610,"tags":611,"thumbUrl":612,"material":152,"size":153,"collection":34,"collections":613,"showCount":614,"zanCount":11,"manualWeight":11,"mainColor":157},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。",[23,27,26,52,25,73,574,278,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F111fb455a724f674c275d32dfc9429e3.jpg",[],35,{"id":616,"slug":617,"title":618,"dynasty":18,"author":619,"museum":128,"description":620,"tags":621,"thumbUrl":623,"material":34,"size":34,"collection":34,"collections":624,"showCount":614,"zanCount":11,"manualWeight":11,"mainColor":39},224582,"feng-xian-dao-gua-jiang-ting-xi-zhang-zhao-224582","凤仙倒挂","蒋廷锡 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":715,"dynasty":228,"author":127,"museum":128,"description":716,"tags":717,"thumbUrl":720,"material":34,"size":34,"collection":34,"collections":721,"showCount":108,"zanCount":156,"manualWeight":11,"mainColor":157},227927,"dou-jia-qing-ting-tu-yi-ming-227927","豆荚蜻蜓图","《豆荚蜻蜓图》是宋代佚名画家创作的一幅 设色画，现藏于 。\n此图画面为长圆扇形，绘豆花上栖息一只黄褐色蜻蜒，枝叶微向下垂。\n整幅作品结构自然，疏密得体，色彩丰富，工写结合。\n其中蜻蜒的描绘神妙入微。\n画家不仅再现了蜻蜒的形态，甚至连透明的翅膀及纹络都表现了出来。\n而豆花则以简笔写出，野趣天然。\n此图旧传为徐熙所作。\n图中画的是田野苗圃间菜豆花与蜻蜓之类昆虫常见的景物。\n画面为长圆扇形，画家以独具的慧眼撷之入画，采取了特写镜头，只取其豆花的枝头，豆茎自左下向右上斜出，枝叶微下垂，枝上有浅紫色的豆花、绿色的豆叶和沉甸甸地挂下来的长长豆荚。\n枝梢上歇息着一只大蜻蜓，正在吮吸豆荚嫩叶的鲜汁。\n蜻蜓呈黄褐色，张开双翼，长长的身子下垂，尾部稍有弯曲。\n图中豆荚一枝，果实乍结。\n一只黄褐色的蜻蜓轻轻停落在枝端，将豆荚压得微微颤动。\n画面构图简洁自然，疏密得体。\n画家用中锋细笔勾勒豆荚枝叶的轮廓，用花青、石绿轻染，以白粉点花瓣，线条沉稳，色彩丰富，形象写实逼真。\n图中尤以蜻蜓描绘得出神入化，其翅膀透明的质感以及清晰的纹络都表现得清清楚楚，活灵活现，反映了宋画在写实方面所达到的高度水平。\n图右下方押“徐熙”二字伪款，不见于著录。\n本幅鉴藏印有：“徐熙”朱文杯形，另一印不辨。\n注：中国古代书画鉴定组定为宋人画。\n旧题为徐熙所作，押‘馀熙”印。\n押印是否可靠，现今难以证实。\n但此图的画法与画史对徐熙画风的记载颇相吻合，可能是北宋时徐熙画派的画家所作。\n整幅作品结构自然，疏密得体，色彩丰富，工写结合。\n其中蜻蜓的描绘神妙入微。\n画家不仅再现了蜻蜓的形态，甚至连透明的翅膀及纹络都表现了出来。\n而豆花则以简笔写出，野趣天然。\n整幅作品结构自然，疏密得体，中锋运笔，线条沉稳，色彩丰富，写实逼真，作者善于刻画和铺排是这幅作品在技巧上的特色。\n菜豆的枝干、花叶、荚部是用粗简的线条勾出，然后略施粉彩，尤其对蜻蜓的描绘神妙人微。\n蜻蜓身子晕染工细，头部网网眼和翅翼细细刻画轻轻染色，十分清晰透剔，甚至连透明的翅膀及纹络状的小组织．都细微地表现了出来。\n蜻蜓身上的色斑与浅紫色的豆花，一深一浅，使主题显明突出，这充分反映了宋画在写实方面所达到的高度水平。\n从绘画题材及笔墨技巧上看，具有徐熙画的特征。\n《圣朝名画评》说，徐熙画花卉“多做园圃以求情状，虽蔬菜茎苗，以人图写。\n”但本图无款识，至少可以这样说，虽非出于徐熙之手笔，但可以代表北宋徐熙一派的画风，亦可以说此幅是徐派留下来的凤毛麟角般的珍品。\n此图右下方押“徐熙”二字伪印。\n此图无款，有“徐熙”朱印。\n旧题为徐熙作。\n徐熙“善画花竹林木、蝉蝶草虫之类，多游园圃以求情状，虽蔬菜茎苗亦人图。\n写意出古人之外，自造于妙。\n尤能设色，绝有生意”。\n从这幅作品亦可领略上述特点，所以虽非出于徐熙之手，也可代表北宋徐熙一派的画风。\n此图写豆茎一枝自右下向左上斜出，而梢头着一大蜻蜓。\n这农家随处可见的景物，画家以独具的慧眼撷之入画，可谓别开生面。\n豆花、豆叶，点缀生动，长豆三两根，垂垂可喜。\n茎、叶、豆荚，均以墨勾，疏疏几笔，中设豆绿色，叶中锈斑、虫蚀均为描出，紫白色的豆花和蜻蜓，以没骨法晕染，蜻蜒尤备极工细，神韵奕奕。\n对花写照的写生功力，令人惊叹。\n色调素雅，变化层次微妙，工写兼施，相映成趣。\n构图善从一角生发，全幅荡漾着空灵的诗意，尤觉流走圆美。\n不是面面俱到，或泛泛大略，而是择取一枝一梢作精心的观赏，一枝一叶总动情，这种审美性格为宋人所独具，风气所开，遥领千古。\n此图笔墨间随处散发着一种田园佳趣，尤为感人至深，而熠耀其中的是诗意的空间。\n宋画一如宋诗，其异于唐人之处：一为田园气息，二为哲理之思(以景喻理)。",[49,131,23,51,457,26,27,25,718,208,719,7,253],"豆荚","宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48eea5d1a6887f57421ffd7e0488a89c.jpg",[],{"id":723,"slug":724,"title":725,"dynasty":18,"author":418,"museum":128,"description":726,"tags":727,"thumbUrl":728,"material":152,"size":153,"collection":34,"collections":729,"showCount":730,"zanCount":11,"manualWeight":11,"mainColor":39},236474,"hua-hui-kun-chong-tu-shan-ye-yu-sheng-236474","花卉昆虫图扇页","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。",[24,23,51,457,27,25,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b47f62afde0ec5f4a961e189b752013.jpg",[],21,{"id":732,"slug":733,"title":734,"dynasty":228,"author":127,"museum":128,"description":735,"tags":736,"thumbUrl":739,"material":152,"size":153,"collection":34,"collections":740,"showCount":741,"zanCount":156,"manualWeight":11,"mainColor":742},290289,"song-xiu-ju-hua-lian-zhou-yi-ming-290289","宋绣菊花廉轴","缂（kè，同：刻）丝（英文：K’o-ssu 、Kesi 或 Chinese silk tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[131,72,737,25,94,7,27,26,738,150],"刺绣","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe95434e00c2ccf7c8a85e2b976658b32.jpg",[],20,"37474F",{"id":744,"slug":745,"title":746,"dynasty":44,"author":127,"museum":128,"description":747,"tags":748,"thumbUrl":750,"material":34,"size":34,"collection":34,"collections":751,"showCount":741,"zanCount":122,"manualWeight":11,"mainColor":157},234681,"ming-ren-hong-liao-qing-ting-wan-ye-yi-ming-234681","明人红蓼蜻蜓纨页","扇面画的历史源流，据张彦远《历代名画记》记载，三国时，曹操就有请杨修为其画扇的故事。到了唐代画扇之风更为盛行，当时的扇子还是圆形的，故称团扇。宋代宫廷画家更是画扇成风，且留下扇面画也很多，扇子的形制出现了芭蕉形的扇子。集书法、绘画于一扇，则始于明代，这是因为折扇形式的出现。国人历来都有这种习性，一件实用品总要给它艺术化，扇面画就是这样经过明清书画家的匠心经营，从而逐步确定了其作为一种独特的艺术品种而广泛普及、流传下来，继而也逐步形成了扇面画独立的审美体系。及至清代、民国，扇面画都是书画家乐于染翰和文人雅士乐于把玩、收藏的艺术品。",[23,51,457,26,27,25,749,208,253,7],"红蓼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd4dece5ebaf33ae1126c53f9846d96a.jpg",[],{"id":753,"slug":754,"title":345,"dynasty":18,"author":346,"museum":68,"description":347,"tags":755,"thumbUrl":756,"material":350,"size":34,"collection":34,"collections":757,"showCount":758,"zanCount":11,"manualWeight":11,"mainColor":39},237178,"hua-niao-kun-chong-ce-zhou-quan-237178",[23,51,52,27,26,25,7,96,338,167,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd41aa9c65a510594189b75d82abf7fce.jpg",[],19,{"id":760,"slug":761,"title":762,"dynasty":18,"author":763,"museum":128,"description":764,"tags":765,"thumbUrl":766,"material":34,"size":34,"collection":34,"collections":767,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":109},238364,"hua-hui-ce-dong-gao-238364","花卉册","董诰","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝 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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。",[24,870,871,872,873,208,7,874,875],"银镀金","翠玉","珠宝","镶嵌","饰品","簪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40787ad31774c8f309e307d1c4f9a43f.jpg",[],{"id":879,"slug":880,"title":881,"dynasty":44,"author":882,"museum":128,"description":883,"tags":884,"thumbUrl":886,"material":152,"size":153,"collection":34,"collections":887,"showCount":888,"zanCount":11,"manualWeight":11,"mainColor":39},290905,"ming-dou-ji-zhu-lang-290905","明斗鸡","朱朗","朱朗[明]字子朗，号青（一作清）溪，苏州（今江苏苏州）人。",[457,23,71,25,7,885,150],"柳枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef70421d5ccea072241370a4b88285ed.jpg",[],9,{"id":890,"slug":891,"title":892,"dynasty":18,"author":893,"museum":128,"description":894,"tags":895,"thumbUrl":896,"material":34,"size":34,"collection":34,"collections":897,"showCount":888,"zanCount":11,"manualWeight":11,"mainColor":39},224328,"hua-niao-shi-er-kai-6-li-shan-224328","花鸟十二开6","李鱓","此作用笔兼工带写，左侧草茎以淡赭晕染，细劲清瘦，停驻一只螽斯。虫身刻画入微，翅脉纹理纤毫毕现，似将振翅齐鸣，鲜活灵动感跃然纸面。\n右侧题诗行书纵逸苍劲，笔墨朴拙老辣，与草虫的工致细密形成强烈反差，却又和谐相融。整幅留白疏朗，寥寥数笔便将秋野清寂意趣勾勒尽致，文人雅思托于草虫小景，淡逸间暗藏生趣，把秋日郊野幽谧鲜活的一隅定格，尽显清逸雅致的文人情致。",[49,23,131,51,52,27,622,150,432,25,7,338],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba01201d5abd9179244671a03940dd41.jpg",[],{"id":899,"slug":900,"title":581,"dynasty":18,"author":582,"museum":128,"description":583,"tags":901,"thumbUrl":903,"material":34,"size":34,"collection":34,"collections":904,"showCount":905,"zanCount":11,"manualWeight":11,"mainColor":39},238278,"hua-qia-xuan-yuan-tu-ce-huang-yue-238278",[23,51,52,27,26,25,73,30,902,7],"蜘蛛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4d45c47b40701175fd4b732a0849277.jpg",[],8,{"id":907,"slug":908,"title":909,"dynasty":18,"author":418,"museum":128,"description":726,"tags":910,"thumbUrl":911,"material":152,"size":153,"collection":34,"collections":912,"showCount":913,"zanCount":11,"manualWeight":11,"mainColor":39},239110,"hua-hui-ce-7-yu-sheng-239110","花卉册7",[23,51,52,26,27,71,25,55,7,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2324b414e06f9eacdd2fc556d9e073b.jpg",[],7,{"id":915,"slug":916,"title":917,"dynasty":18,"author":918,"museum":128,"description":919,"tags":920,"thumbUrl":921,"material":34,"size":34,"collection":34,"collections":922,"showCount":913,"zanCount":11,"manualWeight":11,"mainColor":39},230291,"lin-lu-bao-shan-hua-ce-li-shan-230291","临陆包山画册","李善","这幅小品设色清雅柔润，淡赭晕染豆荚，将饱满绵密的肌理尽显，淡蓝铺陈叶片，墨线细勾叶脉，枯笔写就的枝蔓苍劲灵动。蝈蝈工细写实，翅脉纤毫毕现，触须轻颤欲动，将秋虫的鲜活之态凝于纸面，写意的花果与工致的草虫相映成趣。\n\n题诗与画面呼应，诗书印相融晕染出文人雅趣。画师将秋日篱边小景的生机尽数铺展，既有写生的真切生动，又不失写意的淡朴雅致，寥寥笔墨间揽尽清秋闲情，尽显传统花鸟小品的隽永意韵。",[23,51,326,27,71,25,718,76,7,622,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3038fe2fed241b071c06cc83341136e1.jpg",[],{"id":924,"slug":925,"title":926,"dynasty":18,"author":893,"museum":128,"description":927,"tags":928,"thumbUrl":931,"material":34,"size":34,"collection":34,"collections":932,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":39},224299,"hua-hui-shi-er-kai-11-li-shan-224299","花卉十二开11","此作用笔极简，以水墨写兰草，枯湿浓淡间，兰叶舒展有姿，苍劲线条带着萧疏散淡的野逸之趣。振翅的草虫是点睛之笔，羽翼纹路纤毫毕现，写实的虫豸和写意兰草形成精妙对照，将深秋里的鲜活生机定格在纸上。\n\n右侧题字笔意纵肆跌宕，与画面笔墨气息呼应，诗书画印浑然相融。画作放逸却不失精微，将文人写意的随性洒脱与写生的细腻写实巧妙结合，在萧疏秋景里晕开朴拙鲜活的意趣，尽显文人画特有的清逸格调。",[49,23,51,52,71,622,929,150,25,7,930],"草书","兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F334dc0678cadf23c41e470a0eda5e33b.jpg",[],{"id":934,"slug":935,"title":936,"dynasty":18,"author":127,"museum":128,"description":937,"tags":938,"thumbUrl":942,"material":152,"size":153,"collection":34,"collections":943,"showCount":196,"zanCount":11,"manualWeight":11,"mainColor":157},266253,"jiang-se-duan-xiu-mu-dan-die-wen-jia-chang-yi-yi-ming-266253","绛色缎绣牡丹蝶纹夹氅衣","清王朝时段推行剃发易服，顺治九年（1652），钦定《服色肩舆条例》颁行，从此废除了明朝的冠冕、礼服以及汉族的一切服饰，但满族服饰同时吸收了明朝服饰的纹理图案。明代男子一律蓄发挽髻，着宽松衣，穿长统袜、浅面鞋；清时则剃发留辫，辫垂脑后，穿瘦削的马蹄袖箭衣、紧袜、深统靴。但官民服饰一律泾渭分明。 清朝是以满族统治者为主的政权机构，满族八旗服饰随朝代的变更冲进关内。旗人的风俗习惯影响着广大的中原地区。从公服开始逐渐推向常服。",[939,940,737,92,54,941,55,7],"衣帽","布料","氅衣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbd376a8ec396bb3264acdd2241c7337.jpg",[],{"id":945,"slug":946,"title":428,"dynasty":18,"author":947,"museum":128,"description":948,"tags":949,"thumbUrl":950,"material":152,"size":153,"collection":34,"collections":951,"showCount":196,"zanCount":11,"manualWeight":11,"mainColor":39},237737,"hua-hui-tu-ce-huang-shen-237737","黄慎","黄慎（1687年6月14日—1772年），福建宁化人，初名盛，字恭寿，恭懋，躬懋、菊壮，号瘿瓢子，别号东海布衣。家贫，遂学画，擅长人物、山水、花鸟。他的人物画题材十分广泛和丰富，它不仅画神仙佛道和历史名人，也擅长从民间生活中取材，塑造了纤夫 、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。",[23,51,52,71,27,929,150,25,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9b4386037e5114487de86c6a7f60c2c.jpg",[],{"id":953,"slug":954,"title":955,"dynasty":18,"author":956,"museum":128,"description":957,"tags":958,"thumbUrl":960,"material":34,"size":34,"collection":34,"collections":961,"showCount":196,"zanCount":11,"manualWeight":11,"mainColor":39},224572,"mao-shi-pin-wu-tu-kao-si-ce-qing-ren-224572","毛诗品物图考（四）册","清人","《域外汉籍珍本文库第一辑：经部（套装共5册）》是28年1月人民出版社出版的图书，作者是域外汉籍珍本文库第一辑：经部（套装共5册）。\n这批汉籍不乏宋元珍本，如《毛诗要义》为宋淳祐十二年魏克愚徽州郡斋刻本，有清人钱天树、莫友芝手识，今藏于日本天理大学附属图书馆，为日本“重要文化财”；《集韵》为宋淳熙十四年金州军刻本，存九卷，今藏于日本宫内厅图书寮，原系日本中世纪时代金泽文库外流汉籍之一种。\n又有鲜见的旧钞本，如清人钱大昭所撰的《广雅疏义》，原为归安陆心源皕宋楼之旧藏，今归日本静嘉堂文库。\n这批汉籍还收集了品质较好的和刻本等域外刊本。\n其中对元代卢以纬的《助语词》，分别采用了两种版本，均为和刻本，为学术界提供校勘之便。\n此外，日本、高丽等国学者所撰的汉文著作也选取有价值者数种，像日本江户时期大儒安井衡所撰的日本明治三年刊本《左传辑释》就具有很高的思想造诣。\n这也说明了汉籍在域外的流布影响深远。\n第一册 汉籍之路——《域外漠籍珍本文库》序言 柳斌杰 编纂凡例 泰轩易传 宋李中正撰 周易新讲义 宋龚原撰 尚书正义 唐孔颖达等奉敕撰 毛诗要义（一） 宋魏了翁撰 第二册 毛诗要义（二） 宋魏了翁撰 诗经讲义 朝鲜丁镛撰 毛诗品物图考 日本冈元凤纂辑 礼记正义，唐孔颖达等奉敕撰 左传辑释（一） 日本安井衡撰 第三册 左传辑释（二） 日本安井衡撰 春秋胡传 宋胡安国撰 古文孝经孔氏传 汉孔安国传 孝经郑注 汉郑玄撰 日本冈田挺之录 论语集解 魏何晏撰 皇氏论语义疏参订 清吴骞撰 孟子识 日本徂徕物撰 崇孟 日本肥后薮悫撰 乐书要录 唐武墨撰 第四册 广雅疏义 清钱大昭撰 重订冠解助语辞 元卢以纬撰 日本毛利贞斋编 助语词 元卢以纬撰 五经文字 唐张参撰 九经字样 唐玄度撰 篆隶万象名义（一） 日本空海撰 第五册 篆隶万象名义（二） 日本空海撰 集韵 宋丁度等奉敕修订 三韵声汇 朝鲜洪启禧撰 两苏经解 宋苏轼、苏辙撰",[23,51,52,26,27,25,959,253,7],"楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa09d03ad3203d8837b963c6c84f630da.jpg",[],{"id":963,"slug":964,"title":965,"dynasty":18,"author":127,"museum":128,"description":966,"tags":967,"thumbUrl":971,"material":152,"size":153,"collection":34,"collections":972,"showCount":257,"zanCount":11,"manualWeight":11,"mainColor":157},261277,"wu-cai-kun-chong-zhu-ju-wen-pan-yi-ming-261277","五彩昆虫竹菊纹盘","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。",[968,969,370,94,7,970],"陶瓷","五彩","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F930dd134d5ab8c22fa1b3748f06dd64f.jpg",[],{"id":974,"slug":975,"title":976,"dynasty":44,"author":127,"museum":128,"description":977,"tags":978,"thumbUrl":979,"material":152,"size":153,"collection":34,"collections":980,"showCount":257,"zanCount":11,"manualWeight":11,"mainColor":39},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。",[457,26,27,25,327,73,220,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F731e2dfce06617083b731a1161150a35.jpg",[],{"id":982,"slug":983,"title":984,"dynasty":687,"author":127,"museum":128,"description":985,"tags":986,"thumbUrl":989,"material":152,"size":153,"collection":34,"collections":990,"showCount":257,"zanCount":11,"manualWeight":11,"mainColor":39},225496,"fu-shi-hui-254-yi-ming-225496","浮世绘254","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。",[987,27,988,55,7],"浮世绘","竹笋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff852442d68181c2b361776dac7df3328.jpg",[],{"id":992,"slug":993,"title":994,"dynasty":18,"author":127,"museum":128,"description":995,"tags":996,"thumbUrl":1000,"material":152,"size":153,"collection":34,"collections":1001,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":742},263548,"fen-cai-guo-guo-wen-bi-yan-hu-yi-ming-263548","粉彩蝈蝈纹鼻烟壶","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。",[968,997,998,970,999,7,27,738],"粉彩","鼻烟壶","蝈蝈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ea486f6c1d2d465681d07711bd06841.jpg",[],{"id":1003,"slug":1004,"title":1005,"dynasty":18,"author":127,"museum":128,"description":995,"tags":1006,"thumbUrl":1007,"material":152,"size":153,"collection":34,"collections":1008,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":742},256189,"he-cai-wu-hou-tu-bi-yan-hu-yi-ming-256189","赫彩五猴图鼻烟壶",[18,968,27,26,563,7,253,738],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa288f644c7aa123967fefa61ff60f5e0.jpg",[],{"id":1010,"slug":1011,"title":1012,"dynasty":44,"author":1013,"museum":128,"description":1014,"tags":1015,"thumbUrl":1016,"material":280,"size":34,"collection":34,"collections":1017,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":39},237051,"hua-hui-ren-wu-ce-mao-fu-guang-237051","花卉人物册","毛复光","此作以疏淡笔墨写就秋隅小景，柔枝缀着蓝晕淡赭的小花，清润雅致。一只鸣虫栖于枝茎之上，翅翼薄透如生，纤足灵动，将草虫的鲜活之态尽藏笔底。留白铺陈开来，衬得画面愈见空灵悠远，野趣横生。\n\n配题诗文与画作相映，诗画交融间晕开幽寂恬然的意韵。整体设色浅淡含蓄，笔墨秀净简逸，把秋郊闲静的意境娓娓道来，尽显文人小品画的清雅格调，于方寸之间藏着鲜活生机与清远雅致。",[23,51,52,27,25,55,7,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd676e3427161dc849851c6f72cababa2.jpg",[],{"id":1019,"slug":1020,"title":1021,"dynasty":44,"author":1022,"museum":128,"description":1023,"tags":1024,"thumbUrl":1027,"material":34,"size":34,"collection":34,"collections":1028,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":39},233607,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233607","十竹斋五色笺谱册","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。",[23,51,52,1025,27,26,25,54,7,1026],"木刻","云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ad0da78d7815fbf87cb2e11846cf2ef.jpg",[],{"id":1030,"slug":1031,"title":1032,"dynasty":18,"author":127,"museum":128,"description":1033,"tags":1034,"thumbUrl":1040,"material":152,"size":153,"collection":34,"collections":1041,"showCount":156,"zanCount":11,"manualWeight":11,"mainColor":742},267295,"dian-cui-xiang-liao-zhu-chong-ye-wen-tou-hua-yi-ming-267295","点翠镶料珠虫叶纹头花","中国妇女最偏爱的头花当属绒花，尤其是在女儿出嫁时，头上必须戴红色绒花，图火红吉利。在中国妇女中，只要条件允许，不仅婚礼喜庆日时要戴绒花，而且一年四季都愿意头戴绒花，求谐音吉祥。尤其到应时节序戴应季绒花：立春日戴春幡，清明日戴柳枝，端阳日戴艾草，中秋日戴桂花，重阳日戴茱萸，立冬日戴葫芦阳生……。清宫后妃们的头花，还有大批的绒花、绢花、绫花流存于世，这些花色彩协调，晕色层次丰富，堪称“乱真”之花。清代遗留下来的绒、绢、绫、绸等质地的头花有白、粉、桃红三晕色的牡丹花，浅黄、中黄、深黄三色的菊花，白、藕、雪青三色的月季花及粉、白相间的梅花等等，历时百年不久，仍鲜艳悦人。",[874,1035,1036,7,1037,1038,1039],"头花","点翠","花叶","料珠","珍珠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b411d96f778ac53d296feae620a65e2.jpg",[],{"id":1043,"slug":1044,"title":1045,"dynasty":18,"author":127,"museum":128,"description":1046,"tags":1047,"thumbUrl":1050,"material":152,"size":153,"collection":34,"collections":1051,"showCount":156,"zanCount":11,"manualWeight":11,"mainColor":742},265505,"ji-lan-se-duan-di-dan-cai-san-duo-hua-hui-chong-mu-dan-wen-tao-yi-ming-265505","霁蓝色缎地淡彩三多花卉虫牡丹纹绦","经线提花锦的组织结构和纹样都十分复杂，舞人动物纹锦的纹样横贯全幅，充分反映了当时已有了先进的提花织造技术。精美的刺绣品共有17种纹样，构图大，讲究对称、平衡，色彩配合恰当，给人以端庄典雅、富丽堂皇的美感。纹样内容充满神话色彩，鲜明地反映了楚文化的浪漫主义特色。墓中出土的衣袍为直据，是当时贵族中最流行的一种服式。这批先秦织物的出土，为深入研究我国古代纺织史提供了珍贵的实物资料。",[940,874,92,55,7,1048,27,1049],"石榴","绦带","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c289d60e3eedf234a0d64507c84f562.jpg",[],{"id":1053,"slug":1054,"title":113,"dynasty":18,"author":648,"museum":128,"description":649,"tags":1055,"thumbUrl":1057,"material":152,"size":153,"collection":34,"collections":1058,"showCount":156,"zanCount":11,"manualWeight":11,"mainColor":39},236280,"za-hua-ce-chen-zi-236280",[23,51,52,27,26,25,73,7,76,1056],"花苞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F395ee1fd5913de15f36985c494abc135.jpg",[],{"id":1060,"slug":1061,"title":1062,"dynasty":18,"author":127,"museum":128,"description":1063,"tags":1064,"thumbUrl":1069,"material":152,"size":153,"collection":34,"collections":1070,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":742},269639,"kang-xi-kuan-pao-zhi-pan-yun-wen-pie-kou-wan-yi-ming-269639","康熙款匏制蟠云纹撇口碗","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。",[738,1065,1066,1067,1026,370,55,54,7,970,1068],"匏制","雕刻","描金","饪食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8811ad06729159fbb02139e368c22f3.jpg",[],{"id":1072,"slug":1073,"title":1074,"dynasty":18,"author":127,"museum":128,"description":1033,"tags":1075,"thumbUrl":1076,"material":152,"size":153,"collection":34,"collections":1077,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":742},268479,"dian-cui-hua-hui-niao-die-wen-tou-hua-yi-m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