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、Kesi 或 Chinese silk tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[23,171,28,29,30,27,172,38,32,158,7],"缂丝","青鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6f791b5f797cb61630dfe3c3212a14b.jpg",[],88,{"id":177,"slug":178,"title":179,"dynasty":18,"author":19,"museum":155,"description":180,"tags":181,"thumbUrl":186,"material":134,"size":134,"collection":187,"collections":188,"showCount":189,"zanCount":163,"manualWeight":11,"mainColor":190},221498,"hei-wan-yi-ming-221498","黑碗","乌亮漆面如镜，莹白螺钿裁为水仙与飞虫，明暗相映愈见清隽。水仙长叶舒展如线，勾勒出柔劲风骨，花瓣凝润鲜活，似带着幽微暗香静立盘间。两只小虫振翅欲动，为静景添上灵动生机，将闲趣意韵藏于日常器物中。以漆为纸，螺钿作色，素朴间尽显文人情致，淡而不俗，静中含动，把东方雅致的极简美学融于方寸器物，尽显彼时生活里的极致风雅。",[182,183,184,7,38,62,185],"宋代","漆器","雕刻","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe335c815e89cb781442724d79068fcaf.jpg","瓷器精选",[187],86,"37474F",{"id":192,"slug":193,"title":194,"dynasty":195,"author":196,"museum":197,"description":198,"tags":199,"thumbUrl":203,"material":91,"size":204,"collection":134,"collections":205,"showCount":206,"zanCount":163,"manualWeight":11,"mainColor":96},222569,"hua-hui-tu-8-chen-chun-222569","花卉图8","明","陈淳","美国波士顿博物馆","此图册是陈淳晚年作品。卷尾自题“嘉靖庚子，余游玉山，过周氏六观草堂。主人出此册，具丹粉，欲图杂卉。留连累月，不觉盈帙，见者亦且以草本视之可也。道复志”。按照其生卒年推算， “嘉靖庚子” 陈淳应为58岁，此作亦为其是画风成熟之作。从其题跋可以得知陈淳游历数月，画作颇丰，认为此作为“草本”，可见其自觉并无刻意求工，描写大略而已。\n卷尾文彭题曰：“赵昌王友已无伦，更学徐熙更逼真。意到不论颜色似，笔端原有四时春。阅白阳杂花漫题。文彭。”充分体现了吴门花鸟画的文人雅趣，“意到不论颜色似”概括了文人写意的特征，而“漫题”也体现了题咏者的状态，反映出文人书画家的共同气质特点与审美追求。\n文人王穉登的题跋则突出了对陈淳花卉写生推崇与称赞。“写生贵在约略点染，天真烂如。不当以分葩计蕊为似，重丹叠翠为工。观此册陈道复先生所作，粉墨萧闲，意象自足，所谓千金骏骨，识者求之牝牡骊黄之外可也。”此段题跋强调了陈淳花卉写生最主要的特点，即约略点染，不求工细，而意象自足。\n卷尾的金农长跋也对陈淳“行笔绝无时蹊，设色亦未敷采炫目，画以意似而非以形似也”的风格进行梳理，论述了写意书写的源流。但这段题跋存在一些问题。其一，通篇书体较为拘谨，特别是每行末字，刻意缩减对齐，非常局促。其二，“后世临写纷纷，徒劳豪楮”中“豪”应为“毫”之误。此出自大文人之手，有些牵强。其三，“此册九叶，花草凡七，间以山水两帧。”所述并非此册，极有可能是将他处题跋移接此处所致。所以这段金农题字不足以为据，至于真伪原由的评断，是另外的话题。本文主要论及陈淳花卉写生的艺术特点，就不将此段金农的论述作为讨论的依据了。\n变化生动自然，是陈淳花卉写生的代表作。如果将此册置于陈淳传世花鸟画作品中做一纵向比对，可以发现其共性的特征集中体现在这件作品中，同时，这件作品还有一些不同于其他作品的独到之处，都统一在率意自足的书写风格之中。所以这件陈淳绘画风格成熟期的作品，总体来看，体现了陈淳如下几个方面的鲜明的艺术特点。",[23,25,26,24,200,145,28,30,62,201,7,202,41],"写意","枝叶","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F911c35cd24a96007a25681937880c5d3.jpg","32.5×57.3厘米",[],63,{"id":208,"slug":209,"title":210,"dynasty":56,"author":211,"museum":83,"description":212,"tags":213,"thumbUrl":220,"material":147,"size":221,"collection":134,"collections":222,"showCount":223,"zanCount":11,"manualWeight":11,"mainColor":96},234229,"shu-guo-juan-zhu-da-234229","蔬果卷","朱耷","从右到左勾勒出黄瓜、芋头、葱、大蒜、茄子、白菜、莲藕、梨等蔬菜水果，排列成行，都是农村常见的，有不同的 形与质，大小不一，疏密，散落。有人生感和禅意。 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