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花卉十开图册记录了项圣谟观察花卉的细节和特征，并以精细的线条和色彩描绘出来。这部作品中的图画包括了各种不同种类的花卉，如牡丹、荷花、菊花等。这些图画不仅精美绝伦，而且还能够展现出项圣谟对花卉的深刻理解和观察。",[23,24,78,59,79,61,30,31,60,32,7,41,35,38,36,80,81,82],"册","工笔","石榴","孤石","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f238b574b7e294422560d3e7833b4b0.jpg","绢本,设色","",[45],1280,21,{"id":90,"slug":91,"title":92,"dynasty":93,"author":94,"museum":95,"description":96,"tags":97,"thumbUrl":100,"material":84,"size":101,"collection":45,"collections":102,"showCount":103,"zanCount":104,"manualWeight":11,"mainColor":49},218550,"lan-hua-tu-li-song-218550","篮花图","宋","李嵩","藏地不详","篮中兰草姿态天然，素瓣轻舒似含清露，翠茎挺拔与垂落的花茎相映成趣。篮身纹理细密如织，经纬交错间见匠心，仿佛能触到竹篾的微凉。白花疏朗有致，或绽或敛，纤柔的藤蔓蜿蜒而出，添了几分野逸。沉褐底色晕染着时光的斑驳，更衬出花叶的洁净。笔致工细却不刻板，每一缕篮纹、每一片花瓣皆生动传神，清逸雅致的气息漫溢画面，如幽谷之风拂面，尽显宋画写实妙趣与诗意禅味。",[58,24,29,79,59,60,7,98,99],"器","宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8408f396186afc2fca5cf5309eee9a8.jpg","26x23",[45],889,14,{"id":106,"slug":107,"title":108,"dynasty":54,"author":109,"museum":75,"description":110,"tags":111,"thumbUrl":112,"material":43,"size":85,"collection":45,"collections":113,"showCount":114,"zanCount":115,"manualWeight":11,"mainColor":69},216366,"jing-ji-cong-lan-tu-zheng-ban-qiao-216366","荆棘从兰图","郑板桥","郑板桥是一位著名的清朝画家，他创作的《荆棘丛兰图》是一幅工笔画作品，以荆棘丛生的兰花为主题。这幅画用精细的笔法勾勒出了兰花的各个细节，如花瓣、花茎、花药和荆棘。整幅画给人以自然美的感受，同时也体现出了郑板桥在工笔画技法上的精湛技艺。",[23,24,29,28,25,26,30,31,61,7,33,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd1b681b72b4ba6f2e49e8cac42d39fb.jpg",[45],816,7,{"id":117,"slug":118,"title":119,"dynasty":18,"author":120,"museum":121,"description":122,"tags":123,"thumbUrl":127,"material":84,"size":85,"collection":45,"collections":128,"showCount":129,"zanCount":130,"manualWeight":11,"mainColor":49},219749,"chun-feng-jia-die-tu-chen-hong-shou-219749","春风蛱蝶图","陈洪绶","上海博物馆","陈洪绶（1598-1652年），字章侯，号老莲，别号老迟、悔迟，浙江诸暨人。此图作于顺治八年（1651)，画赠老友戴茂齐。所绘山雀、竹枝、海棠、水仙、蛱蝶、怪石、梨花，设色妍丽，富有装饰意味。卷末有作者自题，据此可知：是年秋天，画家曾以一金购得文徵明画一幅，戴茂齐喜之，遂赠之。后数日，友人丁秋平之子病重，陈氏借戴一金，赠以资汤药。孟冬，画家又作《博古叶子》一本赠戴，时家中乏米，借戴一金，故作此卷酬之。",[24,29,28,59,79,124,61,30,60,32,7,33,39,125,126,81],"白描","蝴蝶","鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35f9e4cf48118d09a7f3ae27d2908752.jpg",[45],712,10,{"id":132,"slug":133,"title":134,"dynasty":93,"author":135,"museum":136,"description":137,"tags":138,"thumbUrl":144,"material":43,"size":145,"collection":45,"collections":146,"showCount":147,"zanCount":148,"manualWeight":11,"mainColor":69},218639,"mo-lan-tu-zheng-si-xiao-218639","墨兰图","郑思肖","日本大阪市立美术馆","这是一幅描绘两朵兰花的画，闲适而优雅，有一种侵入性的清晰。叶子是对称的，但花只在左边，重心稍微向左倾斜。叶子不多，但不是孤零零的散落，笔法轻重不一，大小不一，通篇使用淡墨，使画作更加优雅柔美。这幅画延续了南宋的写实风格，开创了元代文人画的先河。叶子分两组画，每组有三片叶子，笔法与图中对称，略带左右强调。笔触有轻有重，笔触准确。剑身略宽，给人以丰富和艳丽的美感。位于长叶子之间的短叶子，仍然用同样明亮的墨水和笔触绘制。画的是两朵花，一朵是盛开的四片花瓣，一朵是含苞待放的两片花瓣。两片长而弯曲的叶子被放在画框的底部中心，环绕着它们，这就是画的眼睛。花瓣也很饱满，笔触与画叶子的笔触相同。花蕊是用浓墨勾勒出来的，花的描绘方式是其他画作中所没有的。",[23,58,25,26,139,7,140,40,141,142,143],"文人画","简笔","墨笔","文人花卉","水墨花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f9c1a31515452db9f01aafbc38687bb.jpg","34.3x59.6",[45],570,12,{"id":150,"slug":151,"title":152,"dynasty":54,"author":109,"museum":153,"description":154,"tags":155,"thumbUrl":157,"material":158,"size":85,"collection":45,"collections":159,"showCount":161,"zanCount":162,"manualWeight":11,"mainColor":69},223294,"lan-zhu-tu-zheng-ban-qiao-223294","兰竹图","美国克利夫兰艺术博物馆","郑板桥（1693年－1766年），原名郑燮，字克柔，号理庵，又号板桥，人称板桥先生，江苏兴化人，祖籍苏州。清代书画家、文学家。\n康熙秀才，雍正十年举人，乾隆元年（1736年）进士。官山东范县、潍县县令，政绩显著，后客居扬州，以卖画为生，为“扬州八怪”重要代表人物。\n郑板桥一生只画兰、竹、石，自称“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”。其诗书画，世称“三绝”，是清代比较有代表性的文人画家。代表作品有《修竹新篁图》《清光留照图》《兰竹芳馨图》《甘谷菊泉图》《丛兰荆棘图》等，著有《郑板桥集》。\n郑板桥书法，用隶体掺入行楷，自称“六分半书”，人称“板桥体”。其画，多以兰草竹石为主，兰竹几成其心灵的郑板桥的书法艺术，在中国书法史上是独树一帜的。\n由他23岁写的《小楷欧阳修《秋声赋》和30岁写的《小楷范质诗》推知，板桥早年学书从欧阳询人手。其字体工整秀劲，但略显拘谨：这与当时书坛盛行匀整秀媚的馆阁体，并以此作为科举取士的标准字体有关。对此，郑板桥曾说：“蝇头小楷太匀停，长恐工书损性灵。”在他40岁中进士以后就很少再写了。郑板桥书法最被称道的是“六分半书”，即以“汉八分”（隶书的一种）杂人楷、行、草而独创一格的“板桥体”。\n“六分半”书，是郑板桥对自己独创性书法的一种谐谑称谓。隶书中有一种笔画多波磔的“八分书”，所谓“六分半”，其意大体是隶书，但掺杂了楷，行、篆、草等别的书体。《行书曹操诗》轴（如同，现藏扬州博物馆）可视为“六分半”体的代表作。此件写曹操《观沧海》诗，幅面很大，平均每宇有10平方厘米以上，字体隶意颇浓，兼有篆和楷；形体扁长相间，宅势以方正为主而略有摆宕。拙朴扩悍，恰与曹诗雄伟阔大的风格相似。郑板桥曾在《赠潘桐冈》诗中称道自己的书法：“吾曹笔阵凌云烟，扫空氛翳铺青天。一行两行书数字，南箕北斗排星躔。”\n郑板桥书法作品的章法也很有特色，他能将大小、长短、方圆、肥瘦、疏密错落穿插，如“乱石铺街”，纵放中含着规矩。看似随笔挥洒，整体观之却产生跳跃灵动的节奏感。如作于乾隆二十七年的《行书论书》横幅，时已七十高龄，乃晚年佳作。大意是说苏东坡喜用宣城诸葛氏齐锋笔，写起来十分如意，后来改用别的笔，就手心不相应。板桥自己喜用泰州邓氏羊毫笔，写起来婉转飞动，无不如意。于是把泰州邓氏羊毫比作宣城诸葛齐锋，最后说：“予何敢妄拟东坡?而用笔作书皆爱肥不爱瘦，亦坡之意也。”整幅作品结字大大小小，笔划粗粗细细，态势欹欹斜斜，点画、提按、使转如乐行于耳，鸟飞于空，鱼游于水，在一种态情任意的节律中显露着骨力和神采：清人何绍基说他的字“间以兰竹意致，尤为别]趣”。从这件作晶的章法、结体和笔画，不准看出他“波磔奇古形翩翩”的兰竹娄神。\n郑板桥出身于书香门第，康熙末年中秀才，雍正十年中举人，乾隆元年中进士，五十岁起先后任山东范县、潍县知县计十二年。“得志加泽于民”的思想，使得他在仕途对连年灾荒的平民百姓采取了“开仓赈贷”“捐廉代输”等举措，这引起了贪官污吏、恶豪劣绅的不满，被贬官。之后，他靠卖画维持生活。郑板桥的一生，经历了坎坷，饱尝了酸甜苦辣，看透了世态炎凉，他敢于把这一切都糅进他的作品中。郑板桥的题画诗已摆脱传统单纯的以诗就画或以画就诗的窠臼，他每画必题以诗，有题必佳，达到“画状画之像”“诗发难画之意”，诗画映照，无限拓展画面的广度，郑板桥的题画诗是关注现实生活的，有着深刻的思想内容，他以如枪似剑的文字，针砭时弊，正如他在《兰竹石图》中云：“要有掀天揭地之文，震电惊雷之字，呵神骂鬼之谈，无古无今之画，固不在寻常蹊径中也。\n①瘦劲竹子画：郑板桥画竹，“神似坡公，多不乱，少不疏，脱尽时习，秀劲绝伦”。《清代学者像传》说他一生的三分之二岁月都在为竹传神写影，自己曾有诗写道：“四十年来画竹枝，日间挥写夜间思，冗繁削尽留清瘦，画到生时是熟时”。后来他说：“凡吾画竹，无所师承，多得于纸窗粉壁日光月影中耳”。他通过观察和艺术创作的实践，提炼出“眼中之竹”、“胸中之竹”、“手中之竹”的理论。“眼中之竹”是自然实景，是对自然的观察和从中体验画意；“胸中之竹”是艺术创作时的构思；“手中之竹”是艺术创作的实现。他把主观与客观、现象与想象、真实与艺术有机地融为一体，创造了师承自然，而又高于自然的境界。\n自然之竹是客观存在的，画家看到眼里的竹已经和自然之竹有所区别了，然后要进行加工、主观处理，形成胸中之竹，这就是所说的意在笔先，等落到纸上，转化为手中之竹，“手中之竹”说的是画家所创出的一个“第二自然”，胸中之竹和手中之竹都是眼中之竹的升华，概括说就是画家把眼睛看到的客观形象，经过大脑的意象处理，最终经过技术加工物化为典型的艺术形象，是艺术创作的过程。\n当郑板桥任山东潍县知县，曾作过一幅画《潍县署中画竹呈年伯包大中丞括》，画中的竹子不再是自然竹子的“再现”，这诗题，不再是无感而发的诗题，透过画和诗，使人们联想到了板桥的人品，他身为知县，从衙斋萧萧的竹声，联想到百姓困苦疾声，说明他心中装着百姓，情感链系在百姓身上。这时画中的竹叶有了形象的扩展，郑板桥开仓赈贷，救济灾民的场景一幕幕地浮现在人们脑海里，“凝固的瞬间”在观众的脑海里变成了无限延续的故事，好似极富感染力的小说、影片那样，扣人心弦，发人深思。寥寥几笔竹叶，简练几句诗题，让人倍感作品中蕴藏着的深刻的思想、浓浓的情意。再有几幅是郑板桥被贬官后离开潍县，三头毛驴一车书，两袖清风而去，临行前后作的画，其一画竹图题云：“乌纱掷去不为官，囊囊萧萧两袖寒，写取一枝清瘦竹，秋风江上竹渔竿”，借竹抒发了他弃官为民、淡泊名利、享受人生的平静心态，其二《竹石图》画幅上三两枝瘦劲的竹子，从石缝中挺然后立，坚韧不拔，遇风不倒，郑板桥借竹抒发了自己洒脱、豁达的胸臆，表达了勇敢面对现实，绝不屈服于挫折的人品，竹子被人格化了，此时，“诗是无形画，画是有形诗”。类似的还有《墨竹图》《竹图》，这几幅墨竹图，都是借竹子抒发他遭贬官后，越发洒脱。郑板桥所画竹子和题画诗，大多是借竹缘情，托物言志，抒发了“衙斋卧听萧萧竹，疑是民间疾苦声”的情怀，表现出“立根原在乱岩中，任尔东西南北风”的坚劲，表达出“写取一枝清瘦竹，乌纱掷去不为官”的气节和气概，凡竹子的高风亮节，坚贞正直，高雅豪迈等气韵，都被他表现得淋漓尽致。这正是郑板桥作品不同于传统花鸟画之处，不同于前人之处。传统的兰竹大多数表现为欣赏性的、娱乐性的主题，画面主要追求自然形象的真与美、绘画技能的高与低、笔墨运用的娴熟与雅俗，而到了郑板桥的笔下，除了达到这些技能技巧外，题画诗还赋予这题材新的思想内容和深邃意境，使花鸟画亦能产生思想性、抒情性，给人以深刻的感受。\n郑板桥画竹独特，画石亦如此。自然界再无情的石头在他笔下也活了，如《柱石图》中的石头，这也是前人画中常用题材，但很少把它作为主体形象来表现的。而郑板桥在画幅中央别具一格地画了一块孤立的峰石，却有直冲云霄的气概，四周皆空没有背景。画上四句七言诗：“谁与荒斋伴寂寥，一枝柱石上云霄，挺然直是陶元亮，五斗何能折我腰。”诗点破了画题，一下子将石头与人品结合到一块儿，可谓“画不足而题足之，画无声而诗声之。诗画互相为用，开后人无数法门。”板桥借挺然坚劲的石头，赞美陶渊明。板桥赞美他刚直不阿、品格高尚的人格，同时似乎也有吐露他自己同样遭遇及气度的意思。画中的石头代表了人物形象，蕴藏着刚直不阿、气宇轩昂的品质，使人感到，此处画石头比画人更有意味，更能揭示深刻含义。\n③兰花图：郑板桥还有很多以兰花为主题的画，也表现了一些新的内容，借题画诗发挥，寓意对各种各样事物的看法。如：有的借兰花特征，透溢出做人胜不骄、败不馁，持平常心态的胸臆，题画诗云：“兰花与竹本相关，总在青山绿水间，霜雪不凋春不艳，笑人红紫作客顽。”由兰花让人产生联想，做人要像兰花一样幽静、持久、清香，不浮不躁，不争艳。咫尺画幅，拓展无限之大，意境深邃。又如：有的借一丛丛兰花，夹着一些荆棘的自然现象，抒君子能宽容小人之大度的气质。《荆棘丛兰石图》题画诗云：“不容荆棘不成兰，外道天魔冷眼看，看到鱼龙都混杂，方知佛法浩漫漫。”另一幅《荆棘丛兰石图》题云：“满幅皆君子，其后以荆棘终之何也？盖君子能容纳小人，无小人亦不能成君子，故棘中之兰，其花更硕茂矣。”板桥匠心独运，兰花中穿插几枝荆棘，画兰花与荆棘共存，表达了遇有小人，虚怀若谷、和睦共处，“历经磨练，方成英雄”的宽宏大量之胸怀，读画者亦受益匪浅。越读越感简单的植物具有高深的意境，乐趣无穷。纵观郑板桥笔下所画的兰竹石，细品题画诗，我们不难看出，他喜画兰竹石的缘由，正如他所云：“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”，而“为四美也”。“有兰有竹有石，有节有香有骨”。在他眼中，兰竹石，能代表人坚贞不屈，正直无私，坚韧不拔，心地光明，品格高洁等品格，因而其题画诗的字字句句，托物言志，意境深远。\n④题画诗：题画诗在他笔下，除了在内容上有思想性，抒情性以外，在形式上还更具有艺术性、趣味性。题画诗能充分体现“书画同源”“用笔同法”的艺术趣味，而传统画家的题款跋文，大多题于画的空白处，与画面起平衡作用，但“扬州八怪”的题款已脱传统国画以及“文人画”题款、题诗的窠臼，特别是郑板桥将书法与画糅合在一起，还成了共同表现形象的特殊手法，彼此关系不分割。如《兰石图》，郑板桥别具匠心地将诗句用书法的形式，真草隶篆融为一体，大大小小，东倒西歪，犹如“乱石铺街”地题于石壁上，代替了画石所需的皴法，产生了节奏美、韵律美，又恰到好外地表现了石头的立体感、肌理美，比单纯用皴法表现立体感更具有意趣。这倒成了不可或缺的表现方法，既深刻揭示兰花特征，寓意高尚人品的意境美，又有书法艺术替代皴法的艺术美。让人在观画时既享受到画境、诗境的意境美，又能享受到书法艺术的形式美，沉浸在诗情画意中。另在许多兰竹石的画幅上，他题诗的形式变化多端，不守成规，不拘一格，自然成趣，达到书佳、行款得体，画亦随之增色。所谓行款得体，即是视画面的实际，进行构思，讲究构图的形式美，因而他将题画诗或长题于侧，或短题于上下，或纵题、或横题、或斜题、或贯穿于兰竹之间、藤叶之间，断断续续地题，观其形态，参差错落，疏密有致。是书也是题，是画也是诗，是诗也是画，欣赏每幅画中题画诗，既是绝妙的书法再现，也是将书画相映成趣的综合艺术，书题与画面有机地交融在一起，构成了统一的诗情画意，给人以综合的完美的艺术享受。\n郑板桥情系百姓，与民同忧。乾隆六年（1741年）春，因科举及第考中进士的郑板桥被派往山东范县任县令，开始了他长达12年的官宦生涯。他为官力求简肃，视排衙喝道之类的礼仪为桎梏。为察看民情、访问疾苦，他常不坐轿子，不许鸣锣开道，不许打“回避”“肃静”的牌子，身着便服，脚穿草鞋到乡下察访。即便夜间去查巡，也仅差一人提着写有“板桥”二字的灯笼引路。因为他常常微服“陇上闲眠看耦耕”，以致“几回大府来相问”，竟找不到他的人影子。\n对于百姓的疾苦，他时时刻刻都挂在心上。他一生善于画竹，尤其善于据竹写诗。在潍县任县令时，他的顶头上司、山东巡抚包括向他索求书画，他画了拿手的竹子，并在上面题诗一首：“衙斋卧听萧萧竹，疑是民间疾苦声。些小吾曹州县吏，一枝一叶总关情。”\n乾隆十一年（1746年），郑板桥调署潍县，在潍县任上七年，竟有五年发生旱蝗水灾，生民涂炭，哀鸿遍野。他一面向朝廷据实禀报灾情，请求赈济；一面以工代赈，兴修城池道路，招收远近饥民赴工就食，并责令邑中大户轮流在道边开厂煮粥，供妇孺耄耋充饥。同时，责令囤积居奇者迅速将积粟按通常价格卖给饥民。他自己也节衣缩食，为饥民捐出官俸。在最危急之时，他毅然决定打开官仓放粮。乾隆十七年（1752年），他愤然辞官，回到故乡江苏兴化定居",[24,29,156,25,7,33,81],"立轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F681d28d4f5f08cb75a05b07ab8eceef3.jpg","水墨纸本",[45,160],"水墨画精选",547,2,{"id":164,"slug":165,"title":166,"dynasty":167,"author":168,"museum":169,"description":170,"tags":171,"thumbUrl":175,"material":85,"size":85,"collection":85,"collections":176,"showCount":177,"zanCount":162,"manualWeight":11,"mainColor":69},220453,"hua-niao-ce-ye-pan-tian-shou-220453","花鸟册页","民国","潘天寿","中国美术学院美术馆","这套册页诗书画印浑然天成，十余开铺陈开山野清趣。以浓墨大写鸲鹆，骨力雄健朴拙，墨色厚重凝练尽显沉郁气度；转而写幽花野卉，荷瓣清逸、牵牛含露，水墨晕染虚实相生，将草木舒展之态藏于简括笔意中。\n题跋笔势跌宕，篆隶金石气融于画中，以书入画，线条刚柔相济。每开或绘禽鸟踞枝，或写丛篁蔬果，删繁就简留白疏密得宜，把林泉间的清寂生机缓缓铺展，文人雅致与写意野趣交融无间，笔底带着山野间的灵动意趣，尽显大写意花鸟的诗画交融之妙。",[23,24,29,78,25,59,31,26,61,60,32,7,33,41,39,172,173,81,174],"乌鸦","果实","荷叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1977491dcb09096c6f919e88e1d5b78a.jpg",[],429,{"id":179,"slug":180,"title":181,"dynasty":54,"author":109,"museum":95,"description":154,"tags":182,"thumbUrl":183,"material":184,"size":185,"collection":45,"collections":186,"showCount":188,"zanCount":189,"manualWeight":11,"mainColor":69},223293,"lan-tu-li-zhou-1-zheng-ban-qiao-223293","兰图立轴1",[23,24,156,25,7,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff57039f31b151a503cb5a4f3d5ae523c.jpg","纸本，水墨","182x57cm",[45,160,187],"书法精选",427,6,{"id":191,"slug":192,"title":193,"dynasty":18,"author":19,"museum":194,"description":195,"tags":196,"thumbUrl":197,"material":43,"size":198,"collection":45,"collections":199,"showCount":200,"zanCount":201,"manualWeight":11,"mainColor":69},220099,"shi-er-mo-hua-tu-juan-xu-wei-220099","十二墨花图卷","美国弗利尔美术馆","此卷徐渭充分发挥了其高超的水墨表现力，以狂放的笔触，淋漓的水墨，变化多端的笔锋，泼墨、焦墨、破墨、双勾并用，寥寥数笔即勾画出了各种花卉的特征，简约却颇具神采。",[23,58,24,29,28,25,61,31,30,32,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e6906eeb6ef87e0a0207882c285c054.jpg","全卷32.8cm×544cm",[45],407,3,{"id":203,"slug":204,"title":205,"dynasty":18,"author":206,"museum":95,"description":207,"tags":208,"thumbUrl":209,"material":85,"size":85,"collection":85,"collections":210,"showCount":211,"zanCount":162,"manualWeight":11,"mainColor":69},230882,"lan-hua-tu-zhou-zhou-tian-qiu-230882","兰花图轴","周天球","《明陈元素兰花图轴》是明朝陈元素所创作的画作。\n陈元素，生卒年不详，字古白，长洲(今江苏苏州)人。\n早负才名，工诗文、书画。\n擅山水，尤善墨兰。\n此画兰叶偃仰，墨花横溢，超然出尘，得文徵明之秀媚，而更气厚力沉。\n明谓王榖祥、周天球所不及。",[58,24,29,156,25,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c31f43667a27327d9f6e11d682c75a8.jpg",[],296,{"id":213,"slug":214,"title":215,"dynasty":216,"author":217,"museum":218,"description":219,"tags":220,"thumbUrl":221,"material":222,"size":223,"collection":45,"collections":224,"showCount":225,"zanCount":115,"manualWeight":11,"mainColor":69},221703,"lan-tu-xue-chuang-221703","兰图","元","雪窗","日本京都国立博物馆","简洁而秀逸的兰花，生于幽谷，遗世独立，清雅高洁。在历朝历代文人雅士的笔下，以兰花为表现对象的作品比比皆是。 画兰究竟始于何时已无法考证。《全唐诗》载有牟融《山寺律僧画兰竹》诗。查阅 唐宋绘画史专著，未见有关唐宋画家画兰的记载。史传宋杨补之画过兰花，但作品没有流传下来。有作品流传的画兰名家，当以徐禹功、赵孟坚、郑思肖为最早。其次如赵孟頫、赵雍、王英孙、释道隐、释明雪窗、李至规等亦擅画兰。\n释明雪窗 （？－约1352），元代僧人，画家，以画兰花闻名于世。俗姓曹，号雪窗，法号普明，通称明雪窗，松江（今属上海市）人，在平江出家。至元四年（1338）曾为平江虎丘云岩寺主持，后改为承天能仁主持。精于针灸，擅画兰。与释柏子庭齐名，时称“家家恕斋（班惟志）字，户户雪窗兰”。\n四海出家，同称释氏，中国佛教的出家人都姓释迦牟尼的“释”。在中国美术史上，都把这位元代画兰高僧称为“释明雪窗”，其实应该和石涛、髡残一样，把他称为“明雪窗”。雪窗和尚的画和他的名字一样，在今天鲜为人知，但在大师辈出的元代，雪窗和尚的兰花可谓是家喻户晓，我们无法想象“家家恕斋字，户户雪窗兰”所描述的是一种怎样的景象。\n元人孔齐撰《至正直记》（又名《静斋至正直记》、《静斋类稿》）是作者避兵四明时写的一部见闻杂记，内容包括当时政治、经济状况，器物制作情况，文学、艺术成就和当时的人文社会习俗，是一部很有资料价值的笔记。《至正直记》卷二有《画兰法》一文，记载了一位名叫郎玄隐的道士向孔齐传授明雪窗画兰技法，这些方法和今天画兰教科书里的方法并无二致。",[23,24,29,25,60,7,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41c046834cdc068347a37c68ff699feb.jpg","绢本","32.9 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郑汴，字克柔，号板桥，江苏兴化人。以诗书画“三绝”著称于世，尤善兰竹，题竹诗多达一百余首。所作每画必题，常以诗跋补其意，款式光怪陆离，别具风致，画史少见。为扬州画派领袖。徐悲鸿先生评价其为“中国近三百年来最卓绝人物之一”。\n郑板桥（1693～1765）中国清代画家，书法家，文学家。字克柔，号板桥，江苏兴化人，生于1693年，卒于1765年，康熙秀才、雍正举人、乾隆进士。客居扬州，以卖画为生。为“扬州八怪”之一，其诗、书、画世称“三绝”，画擅兰竹。其一生经历丰富，风雨坎坷，关于其的许多故事被保存下来流传于世，至今为人们所津津乐道。其一直所坚持的民本刚直的思想也影响着后来者。",[23,24,25,26,31,7,33,81,61,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac1a241fb86617dacfcaeedfab80d448.jpg","纸本·墨色","纵91.3cm横51cm",[45,160,187],203,{"id":323,"slug":324,"title":325,"dynasty":54,"author":326,"museum":327,"description":328,"tags":329,"thumbUrl":331,"material":84,"size":332,"collection":45,"collections":333,"showCount":334,"zanCount":248,"manualWeight":11,"mainColor":69},219529,"sui-chao-tu-yun-shou-ping-wang-hui-da-chong-guang-yang-jin-219529","岁朝图","恽寿平王翚笪重光杨晋","台北故宫博物院","四人联袂共绘，将岁朝清供融于一帧。松针攒簇挺劲，尽显凌霜坚姿，翠竹疏枝摇曳，清韵自生；山茶柔瓣晕染温润，梅枝横斜疏花缀枝，水仙舒展冰姿玉骨，南天竹丹实累累，点染出新年吉庆。\n\n笔墨兼具没骨设色的雅致柔润与勾勒皴擦的苍劲秀逸，融四家所长，各尽其意却浑然一体。花木俯仰错落，冷暖色调相映，清刚与妍柔相融，暗合岁朝迎新的吉庆意趣，将文人清雅审美与岁时雅俗交融，淡墨轻色间，尽显岁朝清供的隽永意韵。",[58,24,29,156,59,60,34,32,7,39,30,61,330],"传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F625da687a11dea55340262634b2ab88f.jpg","80.7x50.4公分",[45],195,{"id":336,"slug":337,"title":338,"dynasty":167,"author":339,"museum":169,"description":340,"tags":341,"thumbUrl":345,"material":85,"size":85,"collection":85,"collections":346,"showCount":347,"zanCount":201,"manualWeight":11,"mainColor":69},220578,"huang-bin-hong-ben-hua-niao-shan-shui-ce-ye-huang-bin-hong-220578","黄宾虹本花鸟山水册页","黄宾虹","此作以分段折枝花鸟铺陈，各景花木情态自具：牡丹秾艳娇柔，梅枝清癯疏朗，铃兰、山茶各见风姿。以淡彩晕染花萼枝叶，勾勒轻简见笔力，兼具写生之真与写意之逸，既有青藤白阳的纵逸笔意，又自出机杼。题跋书法与花木相映成趣，诗画交融，晕染淡雅却筋骨暗蕴，艳而不俗，淡而不薄，将花木的柔媚与文人画的清雅风骨相融，尽显明清逸格画韵的余味，笔底漾着沉静文心，是极具文人雅致的花鸟小品佳作。",[23,24,29,78,59,79,31,61,60,36,38,41,342,37,39,7,343,344],"月季","墨","纸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaf98760b63f1afddbdee99352c5f94a.jpg",[],168,{"id":349,"slug":350,"title":351,"dynasty":93,"author":352,"museum":75,"description":353,"tags":354,"thumbUrl":356,"material":84,"size":357,"collection":45,"collections":358,"showCount":359,"zanCount":259,"manualWeight":11,"mainColor":49},216099,"xuan-lan-tu-lin-chun-216099","萱兰图","林椿","萱兰图是中国宋朝画家林椿的代表作之一。这幅画描绘了一座庭院里的萱兰花。萱兰花是中国传统园林艺术中的一种常见植物，它有着精致的花朵和引人注目的花瓣。在萱兰图中，林椿用精细的笔触和细腻的色彩描绘了萱兰花的各个细节，使这幅画充满了生命力和魅力。此外，萱兰图还描绘了庭院里的山水景观，包括山峰、岸边和树木。整幅画浑然一体，充满了和谐和自然的气息。萱兰图是中国宋朝画家创作的杰作，是中国艺术史上的瑰宝。",[58,24,29,60,79,59,355,7,61],"萱草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d2708522fbaf48375edc1d0d665366d.jpg","34.3x27.3cm",[45],165,{"id":361,"slug":362,"title":363,"dynasty":216,"author":364,"museum":365,"description":366,"tags":367,"thumbUrl":370,"material":256,"size":371,"collection":160,"collections":372,"showCount":373,"zanCount":248,"manualWeight":11,"mainColor":49},220777,"ku-mu-zhu-shi-tu-wu-zhen-220777","枯木竹石图","吴镇","浙江省博物馆","元吴镇所绘的《枯木竹石图》画的山中古木竹石， 藏巧于拙。近处古木枝桠遒劲，非常古雅清逸；石头尖峭如削。在构图上的确鬼斧神工,技高一筹。另外,此图在设色用笔上也足能代表吴镇的风格。枯木竹石图在好几个朝代都有画家的画作，也是中国山水画的常用名词。是作者以枯木（以物）抒情的一种表现手法，图中画的是扭曲干枯的枯树，挣扎着向外伸展，表现了作者坚硬顽强的性格，怪石与枯木皆用清淡、空灵、松散的笔墨似勾似擦，虽笔墨不多，却与其傲岸豪放的性格相一致，抒写了作者胸中的磊落不平。\n吴镇十八九岁开始学画，年轻时游历杭州，吴兴，饱览太湖风光。开眼界，长见识，大自然的真山真水，启迪了他创作灵感。其工诗文书法，绘画题材多为渔父、古木、竹石之类，善画山水、梅花。草书学巩光，山水师法董源、巨然而又独出机杼，以雄强笔法辅以丰富墨法，自有一种苍茫沉郁、古厚纯朴之气。精写竹，师李衎，晚年则专写墨竹。墨竹宗文同，为文同后又一大家。善于用墨，淋漓雄厚，为元人之冠。兼工墨花，亦能写真。同以竹掩其画，镇以画掩其竹。其画虽势不能夺，唯以佳纸笔投之，欣然就几，随所欲为，乃可得也。诗词风格简劲奇拔，感情真挚，常以比兴自吐胸臆，接近陶潜诗风，外示平淡而内实郁愤。书法能结合王羲之和怀素之长而自具面目。每作画往往题诗文于其上，或行或草，墨沈淋漓，诗、书、画相映成趣，时人号为“三绝”。其画风对明清山水画的发展，有较大影响。他与王蒙、黄公望、倪瓒齐名，并称为元四家。\n吴镇画山水喜用湿墨，其实吴镇未尝不善用干墨，在吴镇传世几十余幅墨竹中，几乎全是用干墨画的，均取得了良好的效果。之所以吴镇在山水画中多用湿墨，这与吴镇欲借山水画表达的境界有极大的关系。北宋山水画追求一种可游、可居之景，用笔用墨都服从于山水真实体感的表达；而元人则以山水为媒，追求一种有我之景，笔墨除用表现形体外，更是充作了情感流露的媒介。在元四家中吴、倪均以画水著称，倪喜用干墨，吴则喜用湿墨。倪用干墨草草点染，创造一种荒芜、澹泊之境；吴则用湿墨，渲染出一种凄清、静穆之境。细观吴镇每一幅山水画，都给人以“水墨淋漓幛犹湿”的感觉。无论是山、树、水，还是船、渔父、房屋，无论是近景，还是远景，均如淋浴在水中，从而更使远方景物有千里之遥，营造了一种凄清、幽旷、寂寥的艺术氛围。",[23,58,24,25,368,26,369,33,294,7],"皴法","枯木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5797621a7b1b78697492ac6ae81f2540.jpg","纵103.3厘米 横33.3厘米",[160,246],156,{"id":375,"slug":376,"title":377,"dynasty":93,"author":378,"museum":95,"description":379,"tags":380,"thumbUrl":381,"material":382,"size":383,"collection":85,"collections":384,"showCount":385,"zanCount":11,"manualWeight":11,"mainColor":49},223466,"hua-lan-tu-yi-ming-223466","花篮图","佚名","笔重，小花篮五彩，竹篮内荷花兰花盛开，竹丝，趋瘦高大，工笔画重，小花篮 满丝，钥匙空，露出荷花； 荷花自然展开，片片白红相间，娇艳欲滴，犹如荷花的芬芳。 这张图强调颜色，勾勒出图案，是素描笔画的一个很好的例子。",[23,58,24,29,79,59,60,98,7,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffed81165b01055d89197d62fd13fc09c.jpg","绢本设色","19.1cm×26.5cm",[],153,{"id":387,"slug":388,"title":389,"dynasty":54,"author":390,"museum":95,"description":391,"tags":392,"thumbUrl":393,"material":306,"size":307,"collection":85,"collections":394,"showCount":395,"zanCount":11,"manualWeight":11,"mainColor":69},290384,"lan-hua-tu-juan-yun-xiang-290384","兰花图卷","韵香","女道士。能书擅画，尤擅画兰。主要作品有《空山听雨图册》",[23,58,24,29,28,25,7,81,61,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F346cbb87cd3ed3e666639bdd70f910b5.jpg",[],144,{"id":397,"slug":398,"title":399,"dynasty":54,"author":109,"museum":400,"description":401,"tags":402,"thumbUrl":403,"material":85,"size":85,"collection":45,"collections":404,"showCount":395,"zanCount":162,"manualWeight":11,"mainColor":69},237887,"zheng-xie-lan-shi-zhou-zheng-ban-qiao-237887","郑燮兰石轴","重庆中国三峡博物馆","此展品为清代的书画，此轴以水墨绘石上兰竹。笔墨洒脱，竹枝新发，兰草妙曼。山石以侧锋勾勒，微微点苔。布局疏密相间，别致雅趣。",[24,25,156,7,81,30,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7491c7eb56947056680423de9cd451ae.jpg",[45,160],{"id":406,"slug":407,"title":408,"dynasty":18,"author":409,"museum":95,"description":410,"tags":411,"thumbUrl":420,"material":85,"size":85,"collection":85,"collections":421,"showCount":422,"zanCount":248,"manualWeight":11,"mainColor":69},228271,"er-shi-si-fan-hua-xin-tu-juan-wei-zhi-ke-228271","二十四番花信图卷","魏之克","此作用没骨法写群芳次第铺展，艳红山茶花、柔粉芙蓉、明黄牵牛、素白水仙等错落排布，将四季花信的娇美姿态尽揽卷中。\n\n敷色妍丽清润，花叶晕染细腻自然，花瓣的柔润肌理、叶片的明暗层次皆被精微呈现。勾勒线条纤秀柔和，不着笔痕却见风骨。构图舒展疏朗，一花一叶各含生机，毫无拥塞之感，将文人意趣融于写生之中，整卷清新雅致，如将春日烂漫温柔铺陈眼前，观之如沐东风，尽现写生花鸟的雅致意韵。",[23,24,29,28,79,59,60,32,7,36,37,38,39,342,412,413,414,415,416,417,40,418,419,61],"杜鹃","百合","山茶","海棠","栀子","茉莉","枝叶","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fcbf65ccf427d0eec788db6bcfcdb78.jpg",[],137,{"id":424,"slug":425,"title":426,"dynasty":54,"author":55,"museum":20,"description":427,"tags":428,"thumbUrl":430,"material":222,"size":431,"collection":45,"collections":432,"showCount":433,"zanCount":248,"manualWeight":11,"mainColor":69},220973,"shuang-qing-tu-yun-shou-ping-220973","双清图","本幅是恽寿平55岁时所作。以“双清”为画名是因为梅花以“众芳摇落独暄妍”的品格而水仙以淡色疏香和清气逼人的特性同被视为传统绘画题材中的“清物”。此图以淡花青晕染绢地，烘托双清的花色。梅树苍干繁枝，横斜取势，其花瓣法南宋扬无咎的画法，即以墨笔圈线为瓣，线条雅秀雄健，勾勒出花之勃勃生机。水仙法元人赵孟坚的白描笔韵，叶片用笔富于急迟、粗细、顿折诸变化，花儿或仰或俯，或张或合，亦变化多端。作者以活泼多变的表现技法成功地展示出梅花、水仙暗香浮动的美感。全图不刻意求工、求似，唯求自然天趣，揭示出恽寿平一向所追求的平淡超逸的审美意趣。",[23,24,29,156,59,60,429,32,7,61],"没骨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8da6c06676028e116b16baef378dbe92.jpg","纵88.5cm，横54cm",[45,66],135,{"id":435,"slug":436,"title":437,"dynasty":18,"author":19,"museum":95,"description":438,"tags":439,"thumbUrl":440,"material":85,"size":85,"collection":85,"collections":441,"showCount":442,"zanCount":248,"manualWeight":11,"mainColor":69},228760,"shi-er-mo-hua-shi-hua-tu-juan-xu-wei-228760","十二墨花诗画图卷","此作用淋漓水墨写尽草木风神，以书入画，笔锋纵恣老辣。长卷铺展，一花一诗相生相融，浓墨泼洒见花枝繁盛，淡墨勾勒显枝叶清灵，干湿浓淡间，四时花木的野逸之态跃然纸上。\n逸笔草草不拘形似，却将花木的疏狂生机、清寂之姿尽数展露，以极简笔墨传递蓬勃意趣，将文人疏放心境寄情于一花一叶，笔墨间满是狂放不羁的风骨，尽显大写意水墨的写意真髓。",[23,24,29,28,25,26,61,31,32,7,33,41,35,36,39,37,342,81,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80ebde713ecf78a9dd05b8f4040f76c2.jpg",[],114,{"id":444,"slug":445,"title":446,"dynasty":18,"author":447,"museum":327,"description":448,"tags":449,"thumbUrl":452,"material":43,"size":453,"collection":85,"collections":454,"showCount":455,"zanCount":162,"manualWeight":11,"mainColor":69},290891,"zhi-lan-yu-shu-zhou-shen-zhou-290891","芝兰玉树轴","沈周","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文， 青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[58,24,29,156,25,60,81,7,450,451,30,61],"灵芝","玉树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52d8db4644e33e6d7d4ebeeb78d46c3f.jpg","135.1x55.8",[],109,{"id":457,"slug":458,"title":459,"dynasty":54,"author":460,"museum":95,"description":461,"tags":462,"thumbUrl":464,"material":85,"size":85,"collection":45,"collections":465,"showCount":466,"zanCount":235,"manualWeight":11,"mainColor":69},234366,"lin-jiang-ting-xi-hua-hui-ce-jiang-shu-234366","临蒋廷锡花卉册","蒋淑","蒋淑，蒋廷锡之女。蒋淑不仅得其父亲蒋廷锡的指点，而且经常以其父的作品为学习范本。《临蒋廷锡花卉图册》便是她临摹蒋廷锡花卉的代表作，用笔设色均有其父的画风神韵。每开也均有蒋廷锡题诗，赞美之辞溢于言表。 一股“我闺女棒棒哒”的自豪溢出来了～\n蒋淑（生卒年不详），清代杰出女性画家，从其画作上判断她大致生活于清康熙至雍正年间，字又文，江苏常熟人。蒋廷锡女，华亭王敬妻。其父蒋廷锡官至大学士，闲暇之余以逸笔作写生花卉，机趣天然。蒋淑自幼秉承家教，亦以擅绘花鸟著称。",[24,29,78,59,463,60,7,61],"临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e08f4453ea59c906d1aecbc008de815.jpg",[45],106,{"id":468,"slug":469,"title":470,"dynasty":93,"author":471,"museum":327,"description":472,"tags":473,"thumbUrl":475,"material":222,"size":476,"collection":477,"collections":478,"showCount":479,"zanCount":248,"manualWeight":11,"mainColor":49},221344,"la-mei-shan-qin-tu-zhou-zhao-ji-221344","腊梅山禽图轴","赵佶","画面构图十分简约，两丛开花的萱草，一株劲秀挺拔的腊梅；几朵绽放的梅花，枝头上还蜷缩着两只依偎在一起的白头翁。\n画家笔墨细致。萱草、梅树、花朵的轮廓，都用工细线条勾勒，树杆的质感用干墨渲染皴擦，花朵则施以明艳的黄色，是典型的院体工笔。但是疏朗的梅枝，分明有着文人画的韵味。\n两只挤在一起的白头翁最为传神，鸟头都朝向左前方，呼应着左边的留白。身体成交叉向，两只鸟眼圆溜溜，显得机警而敏感，似乎一有风吹草动，随时就要腾空而去。",[23,24,58,156,79,59,60,32,7,474,61,30,31],"山禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3dbda2c89bcfa6df1b60effce2a1968.jpg","82.8x52.8cm","宋画精选",[477,45,66],105,{"id":481,"slug":482,"title":483,"dynasty":93,"author":378,"museum":327,"description":484,"tags":485,"thumbUrl":488,"material":84,"size":489,"collection":45,"collections":490,"showCount":491,"zanCount":162,"manualWeight":11,"mainColor":69},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。",[58,24,29,78,59,60,7,486,61,487],"花","刺绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9056d18793811b531cba23d39e80e11f.jpg","23.1x21.1cm",[45],104,{"id":493,"slug":494,"title":495,"dynasty":54,"author":496,"museum":95,"description":497,"tags":498,"thumbUrl":503,"material":306,"size":307,"collection":85,"collections":504,"showCount":505,"zanCount":248,"manualWeight":11,"mainColor":69},289921,"sui-chao-ji-xiang-ru-yi-tu-chen-shu-289921","岁朝吉祥如意图","陈书","陈书（1660～1736）字南楼，号上元弟子，晚号南楼老人，秀水（今浙江嘉兴）人，适海监钱纶光，善画花鸟虫草，家贫，卖画自给，教子甚严。以长子钱陈群诰封太淑人。\n陈书擅长人物、山水、花卉，书法也秀丽遒劲，诗文颇为精通。她成年后嫁于钱纶光为妻，钱氏为嘉兴望族，惜乎她的丈夫很早就离开了人间。她只能勤俭持家，夜来纺纱织布，苦度岁月，对于子女的教育从不放松，教子读经吟诗至深夜。其子钱陈群在她的精心培育下，在清康熙六十年中了进士，进入朝廷担任侍读学士等官职。陈书教子成名，自己画了一幅“夜纺授经图”，此图描绘夜深人静一边纺纱，一边教子读经，神态毕俱。这幅面得皇帝的赞赏，并题诗二首在画上，当时乾隆皇帝带头题诗称道这幅画，那些高官名人也纷纷题诗歌颂之。这幅令人瞩目的“夜纺授经图”，后来刻在石上，嵌在嘉兴中山路钱氏故居壁间，笔者曾见其拓本，原作是否存在，已不得而知。但其刻石仍保存在钱氏后裔手中。因在扩展中山路时有人看到其石刻完好地嵌在墙间，现钱氏故居已拆除，其旧址即现在中国银行嘉兴支行这块地基上。\n陈书在书画方面的造诣很高，笔墨娴雅，结构严谨。当时书画家评论她画的人物称得上逸品，画的山水、花卉称为神品，可见对她的评价相当高。陈书的子孙受她的影响也能书画，在笔墨技法上很像她，可以说一门数代继承家风。她的作品曾为清代皇室珍藏，流传民间也不少。嘉兴博物馆藏有她的花卉真迹，笔者在杭州、苏州、扬州等地也看到过她的作品。她的诗为人们所重视，《复庵吟稿》收集了她诗作的精华，流传至今。",[24,29,156,59,79,60,32,36,7,499,500,501,30,61,502],"柿子","桃","瓷瓶","吉祥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38029323e05c021e6acdaff4db1b6ef7.jpg",[],102,{"id":507,"slug":508,"title":509,"dynasty":54,"author":302,"museum":95,"description":510,"tags":511,"thumbUrl":512,"material":243,"size":513,"collection":45,"collections":514,"showCount":515,"zanCount":11,"manualWeight":11,"mainColor":69},233679,"yuan-ji-lan-zhu-ce-mei-lan-shi-shi-tao-233679","原济兰竹册－梅兰石","石涛的花鸟、兰竹，不拘成法，自抒胸臆，笔墨爽利峻迈，淋漓清润，极富个性。石涛还讲求气势。他笔情恣肆，淋漓洒脱，不拘小处瑕疵，作品具有一种豪放郁勃的气势，以奔放之势见胜。郑板桥在《板桥题画》中云：“石涛善画，盖有万种，兰竹其余事也。”可见他对石涛的兰竹之作评级最高。此石涛《兰竹册》为故宫馆藏精品，计十八开，以兰为主，配以竹、石、梅等。",[24,29,78,25,31,30,61,32,7,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5adcbe7ff4a237a50f27c41a03aba237.jpg","纵43.2cm，横30.2cm",[45],100,{"id":517,"slug":518,"title":519,"dynasty":18,"author":520,"museum":95,"description":521,"tags":522,"thumbUrl":523,"material":85,"size":85,"collection":85,"collections":524,"showCount":525,"zanCount":248,"manualWeight":11,"mainColor":69},234215,"chen-qin-zhu-lan-ju-shi-juan-chen-qin-234215","陈芹竹兰菊石卷","陈芹","陈芹，生于1515年，卒年不详。字子野，号横崖，上元（南京）人，为安南国（越南）王后代，永乐年间来中国避战乱。擅长绘画，山水花卉竹枝均能，传世作品有《为佩庭作竹石图》（现藏故宫博物院）、《修篁文石图》（现藏南京博物馆）等。工书法，师钟繇，二王，尤善章草。《自书诗》行书册古雅畅达，妍媚洒脱，含章草意态。",[23,58,24,29,28,25,31,30,33,7,41,294],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb05f0ec9be94c42d09d7d995a4450e60.jpg",[],95,{"id":527,"slug":528,"title":529,"dynasty":54,"author":530,"museum":531,"description":532,"tags":533,"thumbUrl":537,"material":222,"size":538,"collection":85,"collections":539,"showCount":525,"zanCount":235,"manualWeight":11,"mainColor":69},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。",[23,24,79,59,60,126,486,534,535,36,7,536],"树枝","叶子","清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81b6aab8d5cdb347668d913e6a8ccedc.jpg","139X41CM",[],{"id":541,"slug":542,"title":543,"dynasty":18,"author":19,"museum":194,"description":195,"tags":544,"thumbUrl":545,"material":43,"size":198,"collection":85,"collections":546,"showCount":525,"zanCount":11,"manualWeight":11,"mainColor":69},220101,"shi-er-mo-hua-tu-juan-4-x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（1812-？）本名张槃，河北定兴人，工篆隶书法，尤精画鸟。（清）原名柞枝，字小蓬（一作小槃），号圆腹道人，直隶定兴人。官山东武定同知。工篆、隶。放情诗酒，余事作花鸟，备极精能，亦能山水。光绪二年（1876）尝客袁浦作红药双鹑图。性简傲，乞其画者必择人而予。",[24,29,554,59,60,342,7,61],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0e694aee14afb2a0093a45ad78f3bea.jpg",[],92,{"id":559,"slug":560,"title":561,"dynasty":18,"author":19,"museum":95,"description":562,"tags":563,"thumbUrl":564,"material":85,"size":85,"collection":85,"collections":565,"showCount":557,"zanCount":11,"manualWeight":11,"mainColor":69},228761,"shi-er-yue-hua-hui-tu-quan-juan-xu-wei-228761","十二月花卉图全卷","此作用笔纵逸狂放，以水墨晕染替代敷色，浓淡干湿间尽显花卉神韵。牡丹苍润饱满，墨色浓沉见雍容；蜀葵疏朗清劲，淡墨勾勒存清雅，水草兰叶信笔挥洒，野趣横生。\n\n诗画相生相伴，题诗与笔墨意境交融，将文人的疏放心性寄寓于一花一草之中，脱略形似而独尚神韵，以极简的水墨语言写尽花木风骨情态，尽显大写意花鸟的淋漓意趣，是笔墨性情与文人情思完美合一的典范。",[23,24,29,28,25,60,36,37,7,61,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f4e8f11f67d43edc105e9c7369bf569.jpg",[],{"id":567,"slug":568,"title":569,"dynasty":18,"author":19,"museum":20,"description":570,"tags":571,"thumbUrl":572,"material":256,"size":573,"collection":85,"collections":574,"showCount":575,"zanCount":248,"manualWeight":11,"mainColor":69},233727,"mo-hua-juan-xu-wei-233727","墨花卷","本幅水墨花卉十六段，其顺序是：牡丹、梅花、竹石、玉簪、绣球、萱草、荷花、石榴、芙蓉、秋海棠、菊花、秋葵、双勾竹、水仙、茶花、梅花每段自题七绝一首。末端自题诗。款：“万历五年重九为从子十郎君戏作于木瓜桥之花园馆，金晶山人”印“文长”“两溟渔鸣”白方。引首自书“识得东风”后幅吴俊卿题记。",[24,29,28,25,26,30,31,61,32,7,33,41,35,40,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3841d2a97c07af3531a1bd134c1503b.jpg","纵30cm横54.7cm",[],91,{"id":577,"slug":578,"title":579,"dynasty":93,"author":580,"museum":95,"description":581,"tags":582,"thumbUrl":589,"material":85,"size":85,"collection":85,"collections":590,"showCount":591,"zanCount":162,"manualWeight":11,"mainColor":49},227509,"zhuang-jing-shi-nv-tu-su-han-chen-227509","妆靓仕女图","苏汉臣","《妆靓仕女图》是宋代画家苏汉臣创作的一幅绢本扇面画。",[23,58,24,29,554,59,79,583,584,585,7,586,587,588],"人物","美人","仕女","器物","妆饰","室内陈设","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54e31d25805d2c3d737c9b6538502ea6.jpg",[],90,{"id":593,"slug":594,"title":595,"dynasty":54,"author":302,"museum":95,"description":596,"tags":597,"thumbUrl":598,"material":306,"size":307,"collection":85,"collections":599,"showCount":600,"zanCount":11,"manualWeight":11,"mainColor":49},224528,"mu-dan-lan-hua-tu-zhou-shi-tao-224528","牡丹兰花图轴","石涛的花鸟、兰竹，多用水墨写意法，行笔爽利，用墨淋漓简练，给人以清峻、挺拔、浑厚之感。石涛的兰竹画为中国画史中的一绝。图中兰叶瘦劲，浓墨托出，交迭穿插，兰花散发出幽香。",[23,58,24,29,156,25,26,30,61,60,36,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde9163948f16c605409d424d9bc05e56.jpg",[],86,{"id":602,"slug":603,"title":604,"dynasty":93,"author":135,"museum":605,"description":606,"tags":607,"thumbUrl":608,"material":43,"size":609,"collection":45,"collections":610,"showCount":611,"zanCount":248,"manualWeight":11,"mainColor":69},218640,"qiu-lan-tu-quan-juan-zheng-si-xiao-218640","秋兰图全卷","耶鲁大学艺术博物馆","这幅画描绘了一棚无根的兰花，只有几片叶子，其中两片叶子细长而美丽，右边的兰花盛开，芳香四溢。",[23,24,29,28,25,26,7,30,31,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff50b81ebe46546096d829c3ee4a31f63.jpg","23.2x55.6",[45],85,{"id":613,"slug":614,"title":615,"dynasty":18,"author":616,"museum":617,"description":618,"tags":619,"thumbUrl":620,"material":621,"size":622,"collection":45,"collections":623,"showCount":624,"zanCount":248,"manualWeight":11,"mainColor":49},222661,"guo-se-tian-xiang-tu-ma-yi-222661","国色天香图","马逸","南京博物院","《国色天香图》是一幅富丽堂皇的工笔重彩花卉图。图中的牡丹花开娇艳，明丽动人，色彩丰富饱满，姿态优雅，设色极其讲究，勾线细致圆润。\n而花下奇石则用积墨与淡墨晕染相结合绘出，以石绿、石青略染。兰花以重粉罩染，胭脂点蕊，素雅动人。地面以淡彩渲染，营造出空间的伸缩感。《国色天香图》堪称“中国牡丹第一图”，是中国古代牡丹绘画最杰出的作品。",[23,24,58,79,59,60,36,7,81,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59572009fd6e71cd365f81d2e0b28489.jpg","绢本，设色","纵101.7厘米，横49.5厘米",[45,66],82,{"id":626,"slug":627,"title":628,"dynasty":93,"author":378,"museum":95,"description":629,"tags":630,"thumbUrl":631,"material":85,"size":85,"collection":85,"collections":632,"showCount":633,"zanCount":11,"manualWeight":11,"mainColor":69},227377,"qiu-lan-zhan-rui-tu-yi-ming-227377","秋兰绽蕊图","图绘秋兰数茎，兰叶修长劲挺，兰花吐蕊，清丽雅逸。对开有清乾隆御题诗一首：“写兰反楚辞，亦足终古矣。底识其为秋，疏叶濩冷蕊。意出常人表，或远代其子。”钤“八征耄念之宝”、“自强不息”、“太上皇帝之宝”等玺印。",[23,24,29,554,59,60,7,31,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F656591bb10af68e7bd8abcd88003f28a.jpg",[],81,{"id":635,"slug":636,"title":637,"dynasty":54,"author":55,"museum":95,"description":638,"tags":639,"thumbUrl":640,"material":306,"size":307,"collection":85,"collections":641,"showCount":642,"zanCount":11,"manualWeight":11,"mainColor":69},239428,"shan-shui-hua-hui-ce-yun-shou-ping-239428","山水花卉册","恽南田（1633年—1690年），即恽寿平，原名格，字寿平，后以字行，改字正叔，号南田，别号云溪外史，晚居城东，号东园草衣，后迁居白云渡，号白云外史，明末清初著名书画家，常州画派的开山祖师，后来成为清六家之一。",[24,29,78,25,61,40,7,486],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc85e8012f3111300931545cad71dfeb4.jpg",[],78,{"id":644,"slug":645,"title":646,"dynasty":54,"author":647,"museum":95,"description":648,"tags":649,"thumbUrl":650,"material":85,"size":85,"collection":187,"collections":651,"showCount":652,"zanCount":11,"manualWeight":11,"mainColor":69},238316,"dong-gao-tang-hua-si-yong-zhou-dong-gao-238316","董诰唐花四咏轴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将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[24,29,156,79,59,60,36,342,39,7,98,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F265a9b103f69a3bf5301103660d3bc32.jpg",[187],73,{"id":654,"slug":655,"title":656,"dynasty":54,"author":657,"museum":95,"description":658,"tags":659,"thumbUrl":661,"material":184,"size":85,"collection":85,"collections":662,"showCount":663,"zanCount":11,"manualWeight":11,"mainColor":69},234129,"hua-hui-tu-juan-zhu-da-234129","花卉图卷","朱耷","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。",[23,24,25,28,26,33,7,294,486,173,82,660],"蜂巢","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F488c99931bac41583c1af07fdb126a07.jpg",[],72,{"id":665,"slug":666,"title":667,"dynasty":18,"author":239,"museum":95,"description":668,"tags":669,"thumbUrl":670,"material":85,"size":85,"collection":85,"collections":671,"showCount":663,"zanCount":248,"manualWeight":11,"mainColor":69},228872,"lan-zhu-tu-juan-wen-zheng-ming-228872","兰竹图卷","此卷以水墨写就兰竹，通幅铺陈疏密有致。墨竹或劲挺纵逸，或垂叶萧萧，以浓淡墨色区分前后层次，尽显风过篁林的灵动之态。兰草随势穿插于竹石间，笔致柔婉舒展，暗香幽然自生。\n\n卷尾行书题跋笔意秀雅流畅，与画境相得益彰，书画合璧尽显文人雅致。全作用笔清劲秀逸，以极简水墨托出兰竹君子清介之姿，将画者冲淡平和的襟怀寄于毫端，萧散清逸的幽致扑面而来，尽显文人写意的风雅意趣。",[23,58,24,29,28,25,30,7,33,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd83d42f07b1f36ad1f0ed4b8c48e3d8b.jpg",[],{"id":673,"slug":674,"title":675,"dynasty":54,"author":676,"museum":617,"description":677,"tags":678,"thumbUrl":679,"material":59,"size":680,"collection":45,"collections":681,"showCount":682,"zanCount":248,"manualWeight":11,"mainColor":69},220143,"leng-yan-you-xiang-tu-li-shan-220143","冷艳幽香图","李鱓","李鱓（1686—1762），清代画家，江苏兴化人。字宗扬，号复堂、懊道人。康熙五十四年（1715年）举人，官滕县、临淄知县。擅花鸟、山水。绘画师法沈周、林良、陈淳、徐渭、恽寿平、石涛、高其佩、蒋廷锡等人。李鱓比较重视生活感受与传统技法的结合，熟练使用自己领悟到的笔墨，善于发挥水的特性，“水墨融成奇趣”，大胆发挥鲜艳色彩和白粉的特性，将粗笔画法与工细画法结合，形成“纵横驰骋，不拘绳墨而独得天趣”“随意布置，另有别趣”的写意花鸟画风，笔墨雄健劲拔，设色淡雅。他的绘画对吴熙载、赵之谦、吴昌硕等人产生了深远影响。李鱓亦擅书法，用笔古朴豪宕、洒脱自然。从南京博物院藏《冷艳幽香图》中的题跋可见李鱓书法的一些审美意趣和风格特色。",[23,24,29,28,59,25,26,60,32,7,35,41,126,268,61,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F776535ffcb2a3e1e219ec108c1aebfe7.jpg","纵34.5厘米、横362厘米",[45],71,{"id":684,"slug":685,"title":686,"dynasty":54,"author":252,"museum":20,"description":687,"tags":688,"thumbUrl":689,"material":243,"size":690,"collection":45,"collections":691,"showCount":692,"zanCount":248,"manualWeight":11,"mainColor":69},237637,"mei-hua-lan-shi-tu-zhou-wang-shi-shen-237637","梅花兰石图轴","款署：“庚戌仲秋近人慎写于寿萱堂中。”钤“士慎”白文印。鉴藏印有：“白门李氏珍藏”朱文印。\n“庚戌”为清雍正八年（1730年），作者时年45岁，正是其艺术日臻成熟期。\n图绘春风中兰叶翻飞、梅花初绽的景致。拳石、梅树和丛兰以豪放的笔墨一挥而就，淋漓酣畅的墨气与梅兰旺盛勃发的生命力相符相合。梅花以工细的线条勾勒，俏丽的花姿显现出梅树清幽典雅的风韵和“空里疏香”的诗意。",[24,29,156,25,60,32,7,81,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff48e794336aa1087c4c94cc1fc7e8274.jpg","纵138.4厘米，横44.4厘米",[45,160],66,{"id":694,"slug":695,"title":696,"dynasty":18,"author":447,"museum":697,"description":698,"tags":699,"thumbUrl":700,"material":701,"size":702,"collection":85,"collections":703,"showCount":704,"zanCount":11,"manualWeight":11,"mainColor":69},222099,"si-ji-hua-hui-juan-shen-zhou-222099","四季花卉卷","美国大都会艺术博物馆","此卷绘各色花卉，用笔不斤斤于形似，得花之天趣，开以后白阳，青藤花卉大写意之法门。沈周出身诗书门第，幼受严训，师承大家，饱览祖传的书画名迹，又周游名山大川，这些优厚条件，对他一生的创作，有莫大的裨益和帮助。沈周画的梅、兰、菊、竹传统文人画题，变化多样，运用彩色没骨画法，创出新颖的文人花鸟画。对后期的花卉画家影响深远。\n沈周（1427-1509），字启南，号石田，晚号白石翁，明代画家，书法家，文学家，医学家，长洲（今江苏苏州）人。出身富裕的书香绘画世家，少时师从陈宽学习诗文，青年时期师从伯父沉贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。与文征明、唐寅、仇英并称「明四家」，是吴门画派的创始人。他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。",[23,24,29,28,59,79,60,32,7,41,36,37,38,39,342,30,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f527202709f0b8a75e4edc90151d183.jpg","纸本水墨","27.5 X504.8厘米",[],63,{"id":706,"slug":707,"title":708,"dynasty":18,"author":709,"museum":95,"description":710,"tags":711,"thumbUrl":714,"material":85,"size":85,"collection":45,"collections":715,"showCount":716,"zanCount":11,"manualWeight":11,"mainColor":49},236618,"gui-shi-lan-zhi-zhou-chen-can-236618","桂石兰芝轴","陈粲","陈粲名，1524年出生，国籍中国，是 万历间画家，代表作是春景鸳鸯图。\n陈粲名（1524～？）明代万历间画家。\n字长倩，一字兰谷，号雪庵、道光、雪谷子，长洲 （今江苏苏州）人。\n万历间以善花鸟闻名于时。\n传世作品有《春景鸳鸯图》轴，绢本，设色，纵17.4厘米，横82.7厘米，现藏 ；《桂石兰芝图》轴，绢本，设色，纵11.2厘米，横49厘米，藏故宫博物院；万历四十三年(1615)作《兰竹图册》著录于《 》。",[24,29,156,59,79,60,712,294,450,7,40,268,713],"桂","明代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63ab0a3d62a43789402ff3fa5ee685e5.jpg",[45,66],58,{"id":718,"slug":719,"title":720,"dynasty":18,"author":721,"museum":20,"description":722,"tags":723,"thumbUrl":724,"material":256,"size":725,"collection":85,"collections":726,"showCount":716,"zanCount":248,"manualWeight":11,"mainColor":69},222388,"mo-lan-tu-zhou-wen-peng-222388","墨兰图轴","文彭","图中以水墨画兰花两丛荆棘二枝。以渴笔淡写荆棘卷曲、兰叶舒畅之姿，并以水墨草点兰花偃仰、互相交织之状，节奏感强，和自题草书“月摇庭下珂，风递谷中香”融为一体。\n作者用水墨画土坡上兰花两丛，兰花正侧偃仰，均五办为则，如蝶起舞，或敞办盛开，或含苞待放，叶丛柔嫩舒展，十分俊爽。另有二枝荆棘，在丛兰间卷曲向上生长，与舒展的兰花交织在一起，产生和谐的节奏感，并和自题的草书“月摇庭下珂，风递谷中香”融为一体。\n兰、梅、竹、菊“四君子”是我国文人画的传统题材，落笔时，这四者可分可合，亦可单独成画幅，但都赋予对象以人格，象征高洁的品格和正直、坚韧、乐观等精神、具体说，兰为“王者之香”，画兰，须写其清雅幽香，洁身自好。文彭擅画兰、竹，此《兰花图》轴，是他的代表作之一。\n作者所画的兰花、叶子用笔自如，或粗或细，行笔住行顿挫有力，节奏感强，具有一种古拙、朴厚的趣味。所画荆棘，用笔具有一种内涵的力量，这种力量忽轻忽重，行笔的速度忽快忽慢，由此而产生的一种优美动人的节奏，所以在文氏笔下的荆棘表现出曲折向上，生意盎然的神态。所画的兰花，花以淡墨为办，浓墨点心，叶用笔流畅，显出临风飘动，活泼自然。画家将兰花与荆棘为伍，笔意贯穿，墨色停匀。土坡用简洁的干笔，侧锋皴擦，更见明快爽朗。此画作者以书法入画，故此画具有书家笔法的节奏、韵律，轻重徐疾、提按顿挫富有变化，文彭此图可谓诗书画契合无间，表现了文人画家的气质和神采，给人以艺术美的享受。",[23,24,29,156,25,7,30,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd67f08bd86808aad80c5ec02566e21c2.jpg","纵65厘米，横31．2厘米",[],{"id":728,"slug":729,"title":730,"dynasty":18,"author":731,"museum":20,"description":732,"tags":733,"thumbUrl":734,"material":735,"size":85,"collection":85,"collections":736,"showCount":737,"zanCount":11,"manualWeight":11,"mainColor":69},234995,"lan-zhu-zhou-chen-yuan-su-234995","兰竹轴","陈元素","陈元素，生卒年不详，明代书画家。字古白、孝平、金刚，号素翁、处廓先生，私谥贞文先生，南直隶苏州府长洲（今江苏苏州）人，万历诸生。早负才名，工诗文，尤善书法，楷书法欧阳，草入二王之室，工山水，尤善写兰，得文征明之秀媚。有《古今名将传》、《南牅日笺》。",[58,24,29,156,25,7,81,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f282cae8acc7a40f7ae7ffdf6630dba.jpg","纸本 ，设色",[],57,{"id":739,"slug":740,"title":741,"dynasty":54,"author":742,"museum":95,"description":743,"tags":744,"thumbUrl":745,"material":85,"size":85,"collection":85,"collections":746,"showCount":747,"zanCount":11,"manualWeight":11,"mainColor":69},230854,"lan-zhu-shi-tu-zhu-sheng-230854","兰竹石图","诸昇","淡墨晕染坡岸，焦墨点苔点缀，寥寥数笔便勾勒出幽寂崖畔的清冷底色。兰叶以中锋挥就，笔势柔韧舒展，或斜曳迎风，或挺拔舒展，如君子立世，清劲洒脱。\n\n兰花以浓墨点簇，隐于叶隙之间，含而不发，暗合雅士含蓄内敛的品格。整幅画作以水墨浓淡铺陈层次，简淡疏朗，以少胜多，不着艳色，却恍见空谷幽兰暗香浮动，将兰草孤高清逸之态尽数彰显，尽显文人借物抒怀的写意意趣，把水墨的空灵雅致渲染到极致。",[24,29,25,26,7,33,81,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a4634c9d1a59b7eb1c6b4e3b1a07df0.jpg",[],56,{"id":749,"slug":750,"title":751,"dynasty":18,"author":752,"museum":95,"description":753,"tags":754,"thumbUrl":756,"material":85,"size":85,"collection":85,"collections":757,"showCount":758,"zanCount":248,"manualWeight":11,"mainColor":69},234176,"hua-hui-juan-lu-zhi-234176","花卉卷","鲁治","鲁治，号岐云，东吴人。善画花卉、翎毛。设色妍丽，得宋人之法。广东省博物馆藏《百花图卷》。",[23,24,29,28,79,59,60,32,7,33,41,36,37,38,39,342,755],"荷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3035c745deb8cf52d925ad006c15ad2b.jpg",[],55,{"id":760,"slug":761,"title":762,"dynasty":54,"author":676,"museum":121,"description":763,"tags":764,"thumbUrl":765,"material":256,"size":766,"collection":85,"collections":767,"showCount":758,"zanCount":11,"manualWeight":11,"mainColor":69},231561,"lan-zhu-tu-ce-li-shan-231561","兰竹图册","李鱓 （1686-1762），清代书画家。曾为宫廷作画，后任滕县知县，为政清简，以忤大吏罢归。在扬州卖画。为扬州八怪之一。擅画花卉虫鸟，初师蒋廷锡，画法工致；又师高其佩，进而趋向粗笔写意，并取法林良、徐谓、朱耷，落笔劲健，纵横驰骋，不拘绳墨而有气势，有时使用重色或彩墨结合，颇得天趣。因在扬州见石涛作品，遂用破笔泼墨作画，风格一变。传世作品有《五松图》《芭蕉萱石图》和《墨荷图》等。\n李鱓工诗文书画。曾随蒋廷锡、高其佩学画。后又受石涛影响，擅花卉、竹石、松柏，早年画风工细严谨，颇有法度。中年始转入粗笔写意，大胆泼辣，挥洒自如，感情充沛，富有气势。他大大拓展了写意花鸟画的表现领域，大自然中的花草树木，人们日常生活的各种用具，乃至向来不登大雅之堂的农家食用之物如桑、蚕、破芭蕉扇之类，也一一摄入画中，其题材之广泛多样远远超过了前人。\n其写意花鸟画，努力学习石涛破笔泼墨的画法，酣畅淋漓，笔墨奔放，富有动感，充分表达了作者的创作激情。同时，他又吸取了没骨花卉的表现方法，工细严谨，色墨淡雅，变化丰富，形体富于立体感，在作画时，他经常能做到二者并用，自然浑融，灵活多变，具有较强的艺术表现力。\n在扬州八怪中，李鱓是受到清末批评家猛烈批评的一位，主要指责他脱离传统，笔墨缺乏蕴藉含蓄，有“霸悍之气”、“失之于犷”等。纵观李鱓一生创作，他是一位富有独创才能的画家。",[24,29,78,25,26,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9b1e16345a5ca07089cab1d16f3637f.jpg","纵189．7厘米，横63．4厘米",[],{"id":769,"slug":770,"title":134,"dynasty":93,"author":135,"museum":95,"description":771,"tags":772,"thumbUrl":773,"material":85,"size":85,"collection":85,"collections":774,"showCount":775,"zanCount":11,"manualWeight":11,"mainColor":69},227293,"mo-lan-tu-zheng-si-xiao-227293","《元郑思肖墨兰图》是元代画家郑思肖所创作的一幅写意水墨画，现为日本大阪市立美术馆藏。该作也是作者留下的传世作品，也是反映他创作思想和艺术造诣的代表作。该作是一幅非常抒情的文人写意水墨画，描绘出兰的野逸、不畏风霜，孤高自傲，无人花自馨的高尚品格。作者借笔墨抒发胸中逸气，是自我思想品格的写照。",[23,24,29,28,25,7,30,31,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6c729b870cc6b268814e99c4e289b7d.jpg",[],54,{"id":777,"slug":778,"title":779,"dynasty":54,"author":378,"museum":95,"description":780,"tags":781,"thumbUrl":782,"material":85,"size":85,"collection":160,"collections":783,"showCount":784,"zanCount":248,"manualWeight":11,"mainColor":69},236420,"yuan-ji-zhu-lan-tu-zhou-yi-ming-236420","原济竹兰图轴","石涛（1642年－1708年），清初画家，原姓朱，名若极，广西桂林人，祖籍安徽凤阳，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等。南明元宗朱亨嘉之子，与弘仁、髡残、朱耷合称“清初四僧”。石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》，《搜尽奇峰打草稿图》，《山水清音图》，《竹石图》等。著有《苦瓜和尚画语录》。名言有“”一画论‘、“搜尽奇峰打草稿”，‘笔墨当随时代’等。",[24,156,25,33,7,61,536],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffbbf2516dddb2cd2d26eee2b4d6cb66.jpg",[160,246],50,{"id":786,"slug":787,"title":788,"dynasty":54,"author":789,"museum":95,"description":790,"tags":791,"thumbUrl":792,"material":306,"size":307,"collection":85,"collections":793,"showCount":794,"zanCount":248,"manualWeight":11,"mainColor":795},289982,"lan-xiang-si-shi-tu-li-zhou-wu-chang-shuo-289982","兰香四时图立轴","吴昌硕","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[23,58,24,29,156,25,7,40,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0c2e395e8d4c3fc58a6078ffd425cf9.jpg",[],49,"FFFFFF",{"id":797,"slug":798,"title":799,"dynasty":54,"author":789,"museum":95,"description":790,"tags":800,"thumbUrl":803,"material":306,"size":307,"collection":85,"collections":804,"showCount":794,"zanCount":11,"manualWeight":11,"mainColor":69},289897,"shao-yao-hua-tu-li-zhou-wu-chang-shuo-289897","芍药花图立轴",[23,24,156,29,60,59,25,801,802,7,26],"芍药","怪石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F638a5068b7ac56ff2e9203da3945361f.jpg",[],{"id":806,"slug":807,"title":808,"dynasty":54,"author":809,"museum":95,"description":810,"tags":811,"thumbUrl":812,"material":306,"size":307,"collection":85,"collections":813,"showCount":794,"zanCount":11,"manualWeight":11,"mainColor":69},239543,"lan-hua-shan-zhang-sheng-fu-239543","兰花扇","张升福","此作用水墨写意绘就兰石，兰叶以书法笔意挥写，墨线抑扬顿挫、穿插错落，将兰叶舒展之姿勾勒得灵动清雅，寥寥数笔便让芝兰柔润风骨尽显。淡墨点染兰花，花瓣简约却形神兼备，隐有暗香浮动之意。\n配景湖石以淡墨皴擦留白，写意出嶙峋之态，衬出芝兰幽生于岩畔的逸致。右侧题字行书隽秀，笔墨与题识相互映衬，整体简淡萧疏，将兰花高洁脱俗的品格寄寓水墨之中，尽显清幽雅致，意韵悠长。",[24,29,554,25,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b98f44aa997e5edf16a17681698160e.jpg",[],{"id":815,"slug":816,"title":817,"dynasty":54,"author":647,"museum":95,"description":818,"tags":819,"thumbUrl":820,"material":306,"size":307,"collection":286,"collections":821,"showCount":822,"zanCount":11,"manualWeight":11,"mainColor":69},238331,"hua-hong-li-si-ji-lan-shi-yi-ce-dong-gao-238331","画弘历四季兰诗意册","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），首席军机大臣，上书房总师傅，钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，赠太傅，赐谥号文恭，入祀贤良祠。嘉庆亲写哀诗“只有文章传子侄，绝无货币置田庄”，并亲自拨款建立“董公祠”。",[24,29,78,59,79,32,7,98,31,61,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9557078f5bed9b33308411e988eb0b40.jpg",[286,66],46,{"id":824,"slug":825,"title":826,"dynasty":54,"author":378,"museum":95,"description":827,"tags":828,"thumbUrl":829,"material":85,"size":85,"collection":85,"collections":830,"showCount":822,"zanCount":248,"manualWeight":11,"mainColor":69},234225,"lan-zhu-juan-yi-ming-234225","兰竹卷","此作用水墨写意挥洒兰竹，尽显草木清魂。中锋走笔写竹干，枯湿浓淡区分老干新篁，笔力沉厚见挺劲；焦墨撇写竹叶，聚散疏密如惊风穿林，欹斜之中自带着清刚傲骨。兰叶以淡墨舒卷，笔致柔婉修长，与劲竹刚柔相映，芝石以破墨晕染，静立草木之侧，更衬幽逸。\n\n长卷铺陈间虚实相生，留白空灵如江上烟岚，兰竹俯仰顾盼，似有风过林动，清韵暗生。笔墨简淡而意态丰盈，将林下幽人的疏旷襟怀藏于毫锋，尽显文人画重韵尚简的雅趣风骨。",[23,24,29,28,25,7,33,81,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9161ab891439c39cd6b1c0c97e0f882.jpg",[],{"id":832,"slug":833,"title":834,"dynasty":54,"author":835,"museum":95,"description":836,"tags":837,"thumbUrl":838,"material":306,"size":307,"collection":45,"collections":839,"showCount":840,"zanCount":11,"manualWeight":11,"mainColor":69},239398,"hua-niao-tu-ce-ma-yuan-yu-239398","花鸟图册","马元驭","马元驭（1669—1722）清代画家。字扶羲，号栖霞，又号天虞山人，江苏常熟人。\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。",[24,29,78,25,59,60,32,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbbf29bd90c79214ba6d288bab877f2a.jpg",[45,66],45,{"id":842,"slug":843,"title":844,"dynasty":18,"author":74,"museum":95,"description":845,"tags":846,"thumbUrl":847,"material":306,"size":307,"collection":85,"collections":848,"showCount":849,"zanCount":11,"manualWeight":11,"mainColor":69},287750,"hua-hui-shi-kai-he-tu-xiang-sheng-mo-287750","花卉十开(合图)","项圣谟，初字逸，后字孔彰，号易庵，别号有胥山樵、存存居士、醉风人、大酉山人、莲塘居士、烟波钓徒、松涛散仙、逸叟、狂吟客、鸳湖钓叟、不夜楼中士等等，浙江嘉兴人。",[24,58,78,79,59,60,40,32,7,41,35,36,80,38,39,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7dc877eba84263d9e3018bb06e2fb25.jpg",[],44,{"id":851,"slug":852,"title":853,"dynasty":54,"author":854,"museum":95,"description":855,"tags":856,"thumbUrl":857,"material":85,"size":85,"collection":85,"collections":858,"showCount":849,"zanCount":11,"manualWeight":11,"mainColor":69},230242,"hua-hui-ce-liu-kai-jin-nong-230242","花卉册六开","金农","此作以淡墨轻勾花形，敷色浅淡清润，将花卉柔婉之态晕染尽致。叶片以枯涩苍劲的墨线勾勒叶脉，淡青晕染叶面，朴拙之中不失秀灵。题字古雅厚朴，金石意趣与画面浑然相融。整体构图疏朗空寂，摒弃繁复修饰，尽显文人画简淡野逸之致。寥寥数笔便捕捉住花草清寂神韵，以极简的笔墨传递出沉静内敛的古拙之美，将文人高逸品格寄寓在一花一叶之间，平淡中见奇崛，清疏里藏雅意。",[24,25,59,78,40,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d028cce8fba0f93a54076616de43b82.jpg",[],{"id":860,"slug":861,"title":862,"dynasty":54,"author":863,"museum":95,"description":864,"tags":865,"thumbUrl":866,"material":256,"size":85,"collection":45,"collections":867,"showCount":849,"zanCount":11,"manualWeight":11,"mainColor":69},220249,"die-lian-hua-tu-zhou-xian-220249","蝶恋花图","周闲","周闲（1820年—1875年），字存伯，一字小园，号范湖居士，浙江秀水（今嘉兴）人，晚清著名词人、篆刻家、海上画派名家。\n严迪昌《清词史》称周闲足与鸦片战争时期诗史型诗人贝青乔并驾齐驱。咸丰三年，佐戎幕剿灭嘉定小刀会，以功赐六品官。同治三年，官新阳令、候补知州同知。同治五年，因事与大吏龃龉，遭革职，隐居吴市，假笔墨以自娱。晚年寓居上海。\n善画花卉蔬果，远师陈淳、恽寿平、李鱓，近参任熊，笔致雄浑秀腴。《嘉兴府志》称：“其画浓部密致，似宋人”。与任熊、姚燮、胡公寿为艺文挚友，同蒋春霖、任薰、任颐、吴大徵、吴昌硕、张之万等交游密切。善篆刻，富金石派学养。喜用行楷，气韵朴厚。作品有《任处士传》、《范湖草堂词》等。见《海上墨林》、《广印人传》、《清画家诗史》、《金石家书画集》、吴大澂《愙斋日记》、人民文学出版社《近代词史》。",[23,24,29,59,60,7,125,81,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcfb731c7098f88507a9128e18726ce4.jpg",[45],{"id":869,"slug":870,"title":134,"dynasty":18,"author":206,"museum":20,"description":871,"tags":872,"thumbUrl":873,"material":256,"size":874,"collection":45,"collections":875,"showCount":876,"zanCount":11,"manualWeight":11,"mainColor":69},236756,"mo-lan-tu-zhou-tian-qiu-236756","此图画墨兰一束，姿态婀娜，充满生意。兰叶潇洒舒展，穿插有致；花瓣随意点簇，淡雅秀美。行笔多转折，以中、侧笔锋互换，笔势一波三折，有挺有转，有断有续，有收有纵，清爽而秀雅，变化多端，生动地表现了兰草的质感和风韵，格调清新幽雅。",[24,29,25,7,81,60,124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cf749fc13e7e1f98c4ffdd275619602.jpg","纵83cm，横33.5cm",[45,160],43,{"id":878,"slug":879,"title":215,"dynasty":54,"author":390,"museum":95,"description":880,"tags":881,"thumbUrl":882,"material":256,"size":883,"collection":85,"collections":884,"showCount":876,"zanCount":248,"manualWeight":11,"mainColor":69},223372,"lan-tu-yun-xiang-223372","清代女道士，无锡人，生卒年不详，俗姓王，名静莲，一名岳莲。自幼出家于惠山福慧双修庵，后自度为女道士。因慕明末秦淮八艳之一卞玉京为人，故取号玉井道人，又号清微道人。韵香能书擅画，尤擅画兰。韵香收藏有《空山听雨图册》，韵香将此图册视为生家性命，因图册佚失，她特地请画家文人重新作图题诗，不料图册再度佚失，韵香因此遭受打击，心灰意懒，不久即离开了人世。韵香死后，《空山听雨图册》几经流转，散而复聚，最后归于无锡博物院。\n《空山听雨图册》外尺寸为横25.5厘米×纵36.5厘米，每开画心尺寸不一，其名称缘于清代金石书画家奚冈为韵香所作《空山听雨图》。今图册中有吴让之所题隶书“空山听雨图”，并跋云：“清微道人有奚铁生所画空山听雨图，生平寄意在此，乞一时名贤题咏……”奚冈所作《空山听雨图》原作佚去，奚冈生卒年为1746—1803年，此图的创作年代不会晚于1803年。无锡博物院所收藏的《空山听雨图》共有5开，吕培一开，作于壬申（1821年）首夏。许乃谷一开，未署年款，落款注明“清微道人属写”。沈梧两开，分别作于同治甲子（1864）年、乙丑（1865）年。叶衍兰一开，作于光绪丁丑（1877）年。沈叶二图当为后世藏家追慕前贤，作图以示敬仰之意。吕培所作为浅设色，许乃谷所作为水墨，二人均用米家云山图写之，水渚烟树小阁，濛潆凄迷。奚冈原作虽不可见，从吕许二人所作云山图可以想象原作大致面貌。\n《空山听雨图》有上百人题咏，其中刘墉一开，其题咏不会晚于刘墉卒年1804年。洪亮吉、赵怀玉同题于一开，分别为1804年和1805年。刘洪赵这二开当为《空山听雨图》未佚失前的原有题咏。（赵钦仁辑）",[23,58,24,29,28,25,7,81,31,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F098d109487c7c07d1876d37c94f78122.jpg","28x383厘米",[],{"id":886,"slug":887,"title":888,"dynasty":18,"author":378,"museum":95,"description":889,"tags":890,"thumbUrl":891,"material":306,"size":307,"collection":85,"collections":892,"showCount":893,"zanCount":11,"manualWeight":11,"mainColor":69},235558,"wen-chu-lan-shi-shan-mian-yi-ming-235558","文俶兰石扇面","金笺素底之上，淡绿绘就兰叶，萦拂舒展，尽显摇曳灵韵。粉白轻晕兰花，清润柔雅，与枯拙苍劲的顽石相映成趣。棘枝细草点缀其间，更衬出芝兰孤高出尘。\n\n全幅笔墨简净清逸，以简驭繁，将林下幽娴之趣凝于尺幅扇面间，闲淡笔意晕开清雅风骨，尽展幽兰自持高洁的品格，静穆悠远，余韵绵长。",[24,29,554,59,79,7,294,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F503ca5f64cd9854bbf2c310af2ea2948.jpg",[],42,{"id":895,"slug":896,"title":897,"dynasty":18,"author":898,"museum":20,"description":899,"tags":900,"thumbUrl":901,"material":243,"size":902,"collection":85,"collections":903,"showCount":904,"zanCount":11,"manualWeight":11,"mainColor":69},234851,"lan-zhu-shui-xian-tu-ma-shou-zhen-234851","兰竹水仙图","马守真","作者以娴熟的笔墨勾画出清风吹拂下兰、竹摇曳的形貌。兰、竹是妓女画家们最热衷描绘的题材。其因：第一，兰、竹与松、梅被历代文人赞美为画中的“四君子”，通过表现有君子风范的兰、竹 可以标示出画家自身的高洁情怀；第二，兰的清幽、竹的虚静均能映衬出妓女们的某种特殊心态；第三，也是最为关键的一点，即绘画为文人雅士与青楼女子交流的一项文化内容，兰、竹形象简单，创作时所需的时间较短，纵情涂抹三二枝便可形完气足，以助一时之兴。因此，在明代涌现出众多以擅绘兰、竹闻名的妓女画家，马守真是其中的佼佼者。马守真以画兰之精、之专而扬名江南，因此自号“湘兰”。\n马守真在兰、竹创作上不重视对兰、竹外在形态的细致刻画，而重在写出兰、竹的内涵精神，聊以抒发心中之逸气。因此，她从用笔、施墨到构图都极其随意，但内藏机巧，不失韵味。她笔下的具飘逸野趣的兰、竹不同于文俶等闺秀画家精工细描的庭院中的闲花静草，而与男性文人画家、尤其是“吴门画派”中文徵明等人的花卉艺术有更多相近之处，反映了妓女对男性文人画家的迎合及师承关系。",[24,29,25,26,7,33,39,81,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa023505e604a1f2ec2adedadc3d6df7b.jpg","纵83.5厘米，横47.2厘米",[],40,{"id":906,"slug":907,"title":908,"dynasty":18,"author":239,"museum":20,"description":909,"tags":910,"thumbUrl":911,"material":912,"size":913,"collection":85,"collections":914,"showCount":904,"zanCount":11,"manualWeight":11,"mainColor":49},234133,"wen-zheng-ming-lin-song-xue-lan-shi-juan-wen-zheng-ming-234133","文徵明临松雪兰石卷","画幽兰一丛,小竹一枝,生于坡石之间,点缀以荆棘杂草",[23,24,29,28,25,31,463,61,7,33,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56557e2a2e1aa0a998c2c9f99a8dcc16.jpg","纸本,墨笔","纵28厘米,横62.5厘米",[],{"id":916,"slug":917,"title":918,"dynasty":54,"author":378,"museum":95,"description":919,"tags":920,"thumbUrl":925,"material":306,"size":307,"collection":85,"collections":926,"showCount":927,"zanCount":248,"manualWeight":11,"mainColor":69},270163,"xue-qing-se-chou-xiu-lan-hua-tu-mian-hei-qi-diao-hua-bing-tuan-shan-yi-ming-270163","雪青色绸绣兰花图面黑漆雕花柄团扇","绸缎，泛指丝织物。古时多是有钱人家作为衣物，其颜色光滑亮丽，五彩缤纷。《儿女英雄传》第二回：“大凡到工的官儿们送礼，谁不是缂绣、呢羽、绸缎、皮张，还有玉玩、金器、朝珠、洋表的？” 老舍《四世同堂》四九：“他看不起绸缎的衣服，与文雅的态度，可又有点自惭形秽。”",[554,487,7,921,922,923,924,79],"布料","木质","漆器","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e27f929a3fe13987b6a3650e8ab9ca9.jpg",[],38,{"id":929,"slug":930,"title":931,"dynasty":54,"author":932,"museum":95,"description":933,"tags":934,"thumbUrl":935,"material":85,"size":85,"collection":45,"collections":936,"showCount":927,"zanCount":248,"manualWeight":11,"mainColor":69},238033,"bai-ding-lan-shi-ce-bai-ding-238033","白丁兰石册","白丁","白丁为云南人，明楚藩之裔，僧人。晚年为香海庵僧人本元当司书，八十余岁，殁于昆明。明亡，披剃游滇，居无定所。攻写兰，抒其心画，当与郑思肖、赵孟坚旷世同珍。亦能急就印章，自录一谱。本元曾为之序，今失。郑燮（郑板桥）谓其作画，不令人见，画毕微乾，用水喷噀，其细如雾。笔墨之痕，因兹化去。人以郑燮画兰学白丁，郑燮云：石涛和尚客扬州数十年，见其兰幅极多，学一半，撇一半，未尝全学也。诗曰：“十分学七要抛三，各有灵苗各自探。当面石涛还不学，何能万里学云南。” 《板桥集》、《书画纪略》、《滇南书画录》",[58,24,29,78,25,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54a27f24753f601b614b775dd8f1accc.jpg",[45],{"id":938,"slug":939,"title":940,"dynasty":216,"author":941,"museum":153,"description":942,"tags":943,"thumbUrl":945,"material":184,"size":85,"collection":160,"collections":946,"showCount":927,"zanCount":11,"manualWeight":11,"mainColor":69},220871,"zhu-shi-you-lan-tu-juan-zhao-meng-fu-220871","竹石幽兰图卷","赵孟頫","首先，观察此幅赵孟頫《竹石幽兰图》卷，给人的感觉是绘画飘逸如风，笔墨挥洒自如，构图结构恰当。款识与落款，看似与赵孟頫书风大相径庭，疑似后添所为。经认真详查，款识与落款确为后添，墨气与绘画迥异，墨色也游离于绘画之外。其次，观察绘画作品，十足的赵孟頫笔触所为，用飞白勾画窠石轮廓，用撇捺笔划书写竹叶，用中锋逆笔迅疾书写兰花。正如赵孟頫所言：石如飞白木如籀，写竹还需八法通。若也有人能会此，方知书画本来同。　　 由于此幅作品断开，似有拼接痕迹，款识后添当为后人重新题写。“孟頫为善夫写”，推论是为顾善夫而画。展览方图录结论：据清代程祖庆《吴郡金石目》记载此幅作品赵孟頫题字：顾善夫以公至都，将南迁，用此纸求画，乃为作此图，子昂。新的研究结果已证实此卷并非《吴郡金石目》所著录的赵孟頫为顾信所画的那幅，两个题字亦不同。\n展览方认为，这幅赵孟頫《竹石幽兰图》卷，上面虞集题诗，与《道园学古录》卷二十九中虞集题赵孟頫《兰石图》四首之一，还原了此幅作品的原貌。\n笔者查阅几位老先生的访美读画笔记，结论如下：纸本水墨。左右各拚一条，下部再拚一窄长条，由四纸拚成，在名家作品中为仅见。老笔纵横，至精之品。后有韩性、西夏昂吉、赵奕、仇远、虞集、陈基、姚广孝等题。又张渥题，字学赵，与上博访戴图上款字少异。此必真。\n从绘画方面看，此幅《竹石幽兰图》卷，应属真迹无疑。但是，还要从文献上找到证据，展览方只从元末明初《道园学古录》虞集的诗集证实是赵孟頫《兰石图》。\n为进一步找到贴近赵孟頫的时代，要从韩性、仇远、张渥等元代名人查找。经查仇远在自己《山村遗集》明确记载题赵松雪《竹石幽兰图》，仇远与赵孟頫同属一个时代，当然是最可信的著录。元代名士顾瑛的《草堂雅集》卷十一记载于立题诗，《题子昂兰石》虽然名不相同，诗文完全一致，题兰石也就是竹石幽兰。在元代顾瑛《草堂雅集》卷七，记载张渥《题赵翰林墨兰》，诗文也是完全一致，此幅绘画是描绘竹石幽兰，题墨兰字义上也可以相通。　　 至此，将赵孟頫《竹石幽兰图》卷出处，历代著录记载情况基本搞清楚了，还原一幅赵孟頫精彩作品的真相。在判断一幅古人的作品时，不能为某些瑕疵蒙蔽，而是找出事实真相。此幅作品明显有被割断痕迹，上面题识、落款又是明显后添，那就要去伪存真找出真相，不能湮灭一件优秀的作品。",[23,58,24,29,28,944,31,30,124,33,294,7,61],"水墨画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf614e4a0ea6966b60de3926e9843bdd.jpg",[160,246],{"id":948,"slug":949,"title":950,"dynasty":93,"author":378,"museum":95,"description":951,"tags":952,"thumbUrl":955,"material":306,"size":307,"collection":85,"collections":956,"showCount":957,"zanCount":248,"manualWeight":11,"mainColor":49},290322,"ke-si-sui-chao-hua-niao-zhou-yi-ming-290322","缂丝岁朝花鸟轴","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”。",[24,58,29,156,953,60,954,32,7,268,59,79],"缂丝","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc01a199b6c4b8dc9f284a9eced47ff57.jpg",[],37,{"id":959,"slug":960,"title":961,"dynasty":216,"author":962,"museum":95,"description":963,"tags":964,"thumbUrl":971,"material":306,"size":307,"collection":85,"collections":972,"showCount":973,"zanCount":11,"manualWeight":11,"mainColor":49},290148,"zhi-lan-shi-tu-ke-luo-ban-huang-gong-wang-290148","芝兰室图 （珂罗版）","黄公望","黄公望（1269年9月12日—1354年11月10日） ，元代画家。自称浙东平阳人。陶宗仪《辍耕录》称其“本姓陆”，出继温州平阳黄氏为义子，因改姓黄，名公望，字子久，号一峰、大痴道人等。\n黄公望曾任中台察院掾吏，一度入狱；后加入全真教，往来杭州、松江等地卖卜；晚年居住杭州筲箕泉，元顺帝至正十四年（1354年）十月二十五日逝世，享年八十六岁。\n黄公望工书法，通音律，善诗词散曲。尤擅画山水，曾得赵孟頫指授，宗法董源、巨然、荆浩、关仝、李成等。水墨、浅绛俱作，以草籀奇字法入画，气势雄秀，笔简神完，自成一家，得“峰峦浑厚，草木华滋”之评。名列“元四家”（黄公望、吴镇、倪瓒、王蒙）之首。传世画作有《富春山居图》《水阁清幽图》《天池石壁图》《九峰雪霁图》《富春大岭图》等。著有画论《写山水诀》。",[23,24,25,965,368,268,966,967,968,969,970,30,61,7],"山水","树木","山居","亭","小桥","流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19cc32f6b467d1055b76d9b1b43ef70e.jpg",[],36,{"id":975,"slug":976,"title":977,"dynasty":18,"author":239,"museum":20,"description":978,"tags":979,"thumbUrl":980,"material":243,"size":981,"collection":85,"collections":982,"showCount":973,"zanCount":11,"manualWeight":11,"mainColor":69},234198,"wen-zheng-ming-zhu-lan-shi-juan-wen-zheng-ming-234198","文徵明竹兰石卷","图中兰叶、兰花以淡墨描绘，墨色温润，行笔轻盈流利，行转有致。竹子则以浓墨出之，劲健潇洒。对衬景的描写，作者亦颇具匠心，如坡角土石皆以干笔勾画、皴擦，再以荆棘穿插其间，卷尾一段溪流淙淙，都显示出环境的荒率冷寂，从而愈发衬托出兰、竹高雅清芬、不从流俗的品格，突出了传统文人赋予兰竹的人格精神。作者在自题中言道:此图意在师法宋元时期善画兰竹的诸位文人画大师们的画法。观此图，作者直以行草书、“飞白”笔法入画，正是深得赵孟頫“石如飞白木如籀，写竹还于八法通”的艺术理论及创作实践的神髓。在如此鸿篇巨制中，作者尽情浑洒，充分表现出了笔墨的逸趣，是一幅典型的文人画佳作。",[23,24,29,28,25,124,30,31,33,7,294,81,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F259e5f9be7af848c6938d0974347ee0a.jpg","纵26.8厘米，横730厘",[],{"id":984,"slug":985,"title":986,"dynasty":54,"author":987,"museum":95,"description":988,"tags":989,"thumbUrl":990,"material":85,"size":85,"collection":85,"collections":991,"showCount":973,"zanCount":11,"manualWeight":11,"mainColor":69},224376,"hua-hui-qi-shi-ce-shi-er-kai-6-ju-lian-224376","花卉奇石册-十二开-6","居廉","此小品清逸雅致，构图疏密相宜。主石瘦透空灵，以水墨晕染出嶙峋肌理，通透孔洞尽显怪石清奇之态，石上菖蒲青绿鲜活，柔叶劲挺，生机跃然纸面。右下角小石块缀生细草，与主石菖蒲呼应，平衡画面更添野趣。\n\n设色淡朴雅致，赭色勾勒石纹衬出底色古拙，水墨干湿互用，将石之坚硬与草之柔润对比鲜明。笔简意足，藏幽居赏玩的悠然心境于尺幅，尽显文人案头清供的闲逸雅趣。",[23,24,29,78,59,79,81,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcee3360256c0b1e325bd7e4e054ad8bc.jpg",[],{"id":993,"slug":994,"title":995,"dynasty":18,"author":996,"museum":95,"description":997,"tags":998,"thumbUrl":999,"material":85,"size":85,"collection":85,"collections":1000,"showCount":1001,"zanCount":11,"manualWeight":11,"mainColor":69},235994,"hua-lan-tu-ye-chou-ying-235994","画兰图页","仇英","此作用淡墨写兰，以简驭繁。右幅兰叶以清浅墨线勾勒，笔致舒展灵动，似有柔风穿叶而过，将兰叶的劲挺与飘逸融为一体。隐于叶间的兰花淡晕轻染，含蓄雅致，不见张扬。左幅留白铺陈，以虚衬实，把视线尽数引向幽草，营造出空寂疏朗的意境，尽显清远淡逸的文人意趣。墨色浅淡匀净，无浓墨重彩，全凭线条的抑扬顿挫传递草木清灵生机，将幽兰孤高娴静的品性藏于笔墨之中，于留白与淡绘之间，晕开悠悠诗意。",[24,29,78,25,79,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37172fe4b311f06c3240d00995e6cae2.jpg",[],34,{"id":1003,"slug":1004,"title":1005,"dynasty":54,"author":789,"museum":95,"description":1006,"tags":1007,"thumbUrl":1008,"material":85,"size":85,"collection":85,"collections":1009,"showCount":1010,"zanCount":248,"manualWeight":11,"mainColor":49},234703,"she-se-hong-mei-lan-hua-shan-mian-wu-chang-shuo-234703","设色红梅兰花扇面","香骚遗意。老缶又涂于禅甓轩。缶（朱文） 迢迢雁落沙连海，滑滑禽言树抱轩。天似穹庐梅古雪，一年好事半淞园。躄一足如仙隔尘，澹云微雨去寻春。几生修到梅知否，临笑无端见美人。半淞园看梅。沽酒怡白云，吹笛坐黄犊。江花泊岸红，山雨下庭绿。题画。壶叟属书。丙寅夏，吴昌硕年八十三。苦铁良铁也。《周礼》：典丝……则受良工而藏之……郑云：良当作苦，则苦亦良矣。大聋。吴昌石（朱文）　苦铁（白文）",[24,29,554,59,60,32,7,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa22462af8c7db2282cd725846a281295.jpg",[],33,{"id":1012,"slug":1013,"title":1014,"dynasty":18,"author":731,"museum":95,"description":1015,"tags":1016,"thumbUrl":1017,"material":85,"size":85,"collection":187,"collections":1018,"showCount":68,"zanCount":11,"manualWeight":11,"mainColor":69},237692,"lan-hua-zhou-chen-yuan-su-237692","兰花轴","此画兰叶偃仰，墨花横溢，超然出尘，得文徵明之秀媚，而更气厚力沉。明谓王榖祥、周天球所不及。",[24,29,156,25,7,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39b3d1371231d23485ff81501fc628a7.jpg",[187],{"id":1020,"slug":1021,"title":1022,"dynasty":54,"author":1023,"museum":95,"description":1024,"tags":1025,"thumbUrl":1026,"material":85,"size":85,"collection":85,"collections":1027,"showCount":1028,"zanCount":11,"manualWeight":11,"mainColor":69},234672,"wu-rui-tu-shan-mian-ni-can-234672","五瑞图扇面","倪燦","倪灿，清初学者、史志目录学家。字闇公，号雁园，江苏省江宁府上元县人。\n其先居钱塘（今浙江杭州）。诸生。康熙六年（1667）中举，十八年（1679）召试博学鸿儒，倪灿中榜，为一等二名，官授翰林院检讨。受荐修《明史》，作《明史艺文志·序》，与姜宸英《刑法志·序》，并称杰作。他鉴于《明史艺文志·序》以专收明一代著述为限，未能补救宋、辽、金、元四朝艺文志所缺，数百年文化史，残缺不全，依据黄虞稷《千顷斋书目》，就补辑宋人所撰“四部”图书“六百七十八家、一万二千七百四十二卷”。与黄虞稷灿哥共同修撰《宋史艺文志补》1卷。鉴于辽金元三史原先都没有纂修艺文志，又编纂《补辽金元艺文志》1卷，由卢文弨校订。对考定宋辽金元各代的学术源流，有很大帮助。开启了清代学者补修史志的工作，于是从补辽、金、元三代入手而蔚为一时风气。自此之后，补成史志目录达20余种。工于诗文，书法则秀绝一时。",[24,554,59,79,60,486,173,7,535],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fddc3a7fa3144440dbe0ce07a52adf0.jpg",[],31,{"id":1030,"slug":1031,"title":1032,"dynasty":18,"author":19,"museum":20,"description":1033,"tags":1034,"thumbUrl":1035,"material":701,"size":1036,"collection":85,"collections":1037,"showCount":1028,"zanCount":11,"manualWeight":11,"mainColor":69},233468,"ren-wu-hua-hui-ce-xu-wei-233468","人物花卉册","该册十八页，其中画十五页，分别作写意山水人物、写生花卉，内容有婴戏、对弈、牡丹、兰花、稻穗螃蟹等等。笔墨简括豪放，随意自然。选其二页，可窥真趣。",[24,29,78,25,7,81,61,463],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab684c1f0d51b50b3c8334384a777334.jpg","纵26.9厘米 横38.3厘米",[],{"id":1039,"slug":1040,"title":134,"dynasty":93,"author":1041,"museum":95,"description":1042,"tags":1043,"thumbUrl":1044,"material":85,"size":85,"collection":85,"collections":1045,"showCount":1028,"zanCount":248,"manualWeight":11,"mainColor":69},227697,"mo-lan-tu-zhao-meng-jian-227697","赵孟坚","《墨兰图》卷，宋，赵孟坚作，纸本，淡墨，纵34.5厘米，横90.2厘米。\n\n本幅款署“彜齋趙子固仍賦”。钤“子固寫生”一印。墨兰是赵孟坚善画的题材。画面上绘墨兰二株，呈放射状的长叶参差错落，分合交叉，俯仰伸展。自题诗曰：“六月衡湘暑氣蒸，幽香一噴冰人清。曾將移入浙西種，一歲才華一兩莖。”诗中表露了作者孤高脱俗的思想境界。\n\n图中运笔柔中带刚，花朵及兰草叶均一笔点划，土坡用飞白笔轻拂，略加点苔。兰叶皆用淡墨，花蕊墨色微浓，变化含蓄，形成墨色对比。画虽为水墨，但格调高雅，“远胜着色”。其好友周密曾云：“赵孟坚墨兰最得其好，其叶如铁花，茎亦佳，……前人无此作也。”\n\n清卞永誉《式古堂书画汇考》、吴升《大观录》、安岐《墨缘汇观》、吴修《青霞馆论画绝句》等书著录。",[23,24,28,25,124,60,7,30,31,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd92597e894b5d42c872718b468778597.jpg",[],{"id":1047,"slug":1048,"title":1049,"dynasty":18,"author":1050,"museum":95,"description":1051,"tags":1052,"thumbUrl":1053,"material":306,"size":307,"collection":85,"collections":1054,"showCount":1055,"zanCount":11,"manualWeight":11,"mainColor":69},236799,"lan-hua-shan-mian-wu-bin-236799","兰花扇面","吴彬","吴彬（1550—1643），字文中，又字文仲，明代绘画大师，别字质先，别称文中父、文中子，自号壶谷山樵、遵道生、织履生、一枝栖、枝隐生、枝隐居士、朱湖太生洞天居士、枝隐庵主、枝庵发僧、枝隐头陀、枝隐庵头陀和“金粟如来”等，兴化府（今福建省莆田市）黄石人。流寓金陵（今江苏省南京市）。万历年间，明神宗朱翊钧召见吴彬，试殿中第一，授中书舍人，历工部主事。供职于宫廷画院。工山水，布置绝不摹古，佛像人物，形状奇怪，迥别前人，自立门户。中国国画大师，明代宫廷大画家，晚明人物“变形主义画风”和“复兴北宋经典山水画风”的主要倡导者和领导者之一，享有“画仙”之誉。1988年11月，其名作《文杏双禽图》被收入《中国历代绘画》，列为中国上下五千年的28幅绘画杰作之一。2009年，北京保利秋拍吴彬名作《十八应真图卷》最终以1.6912亿元高价成交，创下当时中国画拍卖价格新的世界纪录。",[24,29,554,25,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe661cadb5ccc3e8a7b6a5b5100ce18ea.jpg",[],29,{"id":1057,"slug":1058,"title":1059,"dynasty":54,"author":1060,"museum":1061,"description":1062,"tags":1063,"thumbUrl":1064,"material":85,"size":85,"collection":85,"collections":1065,"showCount":1055,"zanCount":11,"manualWeight":11,"mainColor":69},220463,"lan-shi-chen-shi-ceng-220463","兰石","陈师曾","Indianapolis 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著有《霜红龛集》等。一些武侠小说里，傅山被描写为武侠高手。他是著名的道家学者，哲学、医学、内丹、儒学、佛学、诗歌、书法、绘画、金石、武术、考据等无所不通。他被认为是明末清初保持民族气节的典范人物。\n傅青主与顾炎武、黄宗羲、王夫之、李颙、颜元一起被梁启超称为“清初六大师”。著有《傅青主女科》《傅青主男科》等传世之作，在当时有“医圣”之名。《清史稿》卷五百一有传。",[24,29,156,25,7,1073,61],"芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5c35d01ea4392d55c4239ad5cde0d02.jpg",[45],28,{"id":1078,"slug":1079,"title":1080,"dynasty":18,"author":206,"museum":95,"description":1081,"tags":1082,"thumbUrl":1083,"material":256,"size":1084,"collection":85,"collections":1085,"showCount":1076,"zanCount":11,"manualWeight":11,"mainColor":49},234163,"zhou-tian-qiu-cong-lan-zhu-shi-juan-zhou-tian-qiu-234163","周天球丛兰竹石卷","周天球,字公瑕，号幼海，又号六止居士，江苏太仓人。善画写意兰草，在文徵明门下学习书法，文徵明赞其：“他日得吾笔者，周生也。”晚年独创书风，当时丰碑大碣皆出自他手。于《心经》气脉贯通，工稳有致，峻厚妍秀，温润苍劲。是谓经典。",[23,58,24,29,28,25,31,61,30,7,33,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa44acfd326529873a27f79f238cb93b7.jpg","纵28.3cm，横56.8cm",[],{"id":1087,"slug":1088,"title":1089,"dynasty":54,"author":1090,"museum":95,"description":1091,"tags":1092,"thumbUrl":1093,"material":85,"size":85,"collection":85,"collections":1094,"showCount":1076,"zanCount":11,"manualWeight":11,"mainColor":69},230168,"lan-zhu-ming-qin-tu-hua-yan-230168","兰竹鸣禽图","华嵒","此作工写相融，意趣悠然。上端禽鸟俯身垂首，似将啄饮，羽色以淡赭晕染，蓬松柔润，神态灵动鲜活。旁侧枯枝缀浅叶，墨色清透疏朗，衬得禽鸟愈发温婉生趣。\n\n下方坡石以泼墨写意，淡绿晕染衬出苍润苔痕，兰草、新竹生于石畔，笔致秀逸舒展，墨色虚实相生，尽显草木清姿。整卷以清浅淡远的色调，将生灵意趣与林下幽寂融为一体，笔墨兼具雅致与野趣，尽显文人写意画的空灵韵味。",[23,24,29,156,60,25,59,33,7,954,81,79,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcb95074029fc5bb85e91a524cb89d6a.jpg",[],{"id":1096,"slug":1097,"title":1098,"dynasty":54,"author":302,"museum":95,"description":1099,"tags":1100,"thumbUrl":1101,"material":85,"size":85,"collection":85,"collections":1102,"showCount":1076,"zanCount":11,"manualWeight":11,"mainColor":69},224530,"li-pu-yi-pei-juan-shi-tao-224530","醴浦遗佩卷","以水墨绘就兰竹顽石，起手野兰配淡墨牡丹，焦墨兰叶纵逸跌宕如虬龙逶迤，花瓣含露，幽姿绰约。中段蕙兰丛生繁花绽枝，笔意渐趋简淡，与疏竹交错，清寂之致尽显。末段兰草倚石而生，苔痕皴染古雅，顽石朴拙苍劲。\n\n全卷以草书笔意入画，墨色干湿浓淡互衬，一气呵成。题识榜书朴茂雄浑，与画作清逸互为表里，将兰之幽贞、石之古厚融为一体，绘写出幽兰遗世独立、如佩环叮咚的清逸风骨，墨痕间满溢疏淡幽远的林下风致，尽显文人以物明志的清雅意趣。",[23,24,29,28,25,7,33,81,30,61,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe167157fb1e1c6dcb8e7e354c9d500e8.jpg",[],{"id":1104,"slug":1105,"title":1106,"dynasty":18,"author":1107,"museum":20,"description":1108,"tags":1109,"thumbUrl":1127,"material":1128,"size":1129,"collection":187,"collections":1130,"showCount":1076,"zanCount":11,"manualWeight":11,"mainColor":69},222354,"zi-shu-ci-juan-tang-yin-222354","自书词卷","唐寅","此为唐寅所作词并自书，分《集贤宾》、《锦衣公子》、《山坡羊》三组曲牌，共24首。 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（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。",[24,29,156,25,60,32,33,7,294,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8537edec523b3144ca08d3569009d41e.jpg",[],{"id":1316,"slug":1317,"title":152,"dynasty":18,"author":239,"museum":20,"description":1318,"tags":1319,"thumbUrl":1320,"material":1321,"size":85,"collection":85,"collections":1322,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":69},234141,"lan-zhu-tu-wen-zheng-ming-234141","文征明（1470-1559），世称“文衡山”，明代画家、书法家、文学家。生于明宣宗成化六年，卒于明世宗嘉靖三十八年，年九十岁。在诗文上，与祝允明、唐伯虎、徐真卿并称“吴中四才子”。在画史上与沈周、唐伯虎、仇英合称“吴门四家”。",[23,24,29,25,124,31,61,7,33,81,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd54efcd564c78baf1fe43aa7a6391a66.jpg","纸本，设色",[],{"id":1324,"slug":1325,"title":1326,"dynasty":54,"author":1327,"museum":95,"description":1328,"tags":1329,"thumbUrl":1330,"material":85,"size":85,"collection":85,"collections":1331,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":49},230358,"sui-han-san-you-tu-zhou-fan-qi-230358","岁寒三友图轴","樊圻","枯梅清枝斜出，苍劲瘦硬，花苞轻缀，暗蕴幽芳。丹红山茶花晕染柔润，鲜翠枝叶错落生姿，浓黑泼墨湖石与之相映，冷暖明暗碰撞，艳而不俗，拙而不僵。下方水仙挺秀舒展，冰姿玉洁，与湖石皴擦出的奇崛顽态相得益彰。\n全画工写兼施，笔致秀雅含蓄，将冬日清友齐聚尺素，把岁暮天寒里的融融春意暗藏其间，既有文人画的清逸格调，又鲜活晕透出明丽生机，让观者于画中品味隆冬清妍风骨，静赏幽然雅集意趣。",[23,24,29,156,59,60,32,7,33,81,61,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F504a4ddf8e1f808198416479420c9b74.jpg",[],{"id":1333,"slug":1334,"title":1335,"dynasty":54,"author":378,"museum":95,"description":951,"tags":1336,"thumbUrl":1338,"material":306,"size":307,"collection":85,"collections":1339,"showCount":1340,"zanCount":11,"manualWeight":11,"mainColor":69},267335,"ke-si-zi-lan-tu-zhou-yi-ming-267335","缂丝紫蓝图轴",[24,29,156,953,59,79,7,1337,61],"湖石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62e52869ca0fd49b166cf8c94af970b8.jpg",[],20,{"id":1342,"slug":1343,"title":1344,"dynasty":54,"author":1345,"museum":20,"description":1346,"tags":1347,"thumbUrl":1350,"material":1128,"size":1351,"collection":187,"collections":1352,"showCount":1340,"zanCount":11,"manualWeight":11,"mainColor":69},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。",[156,31,30,968,7,33,1111,1348,1120,1349,486,1118],"山光","波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3553d66abb03032c0de31ff38bc875ed.jpg","纵129厘米，横56.8厘米",[187],{"id":1354,"slug":1355,"title":1356,"dynasty":18,"author":1357,"museum":95,"description":1358,"tags":1359,"thumbUrl":1360,"material":306,"size":307,"collection":85,"collections":1361,"showCount":1340,"zanCount":11,"manualWeight":11,"mainColor":69},237836,"zhu-lan-shi-shan-xiang-yuan-bian-237836","竹兰石扇","项元汴","项墨林（1525—1590），原名项元汴，字子京，号墨林，别号墨林山人、墨林居士、香严居士、退密庵主人、退密斋主人、惠泉山樵、墨林嫩叟、鸳鸯湖长、漆园傲吏等，浙江嘉兴人。明国子生，为项忠后裔，为明代著名收藏家、鉴赏家。\n少即英敏，博雅好古，绝意仕进。当时风雅之士来嘉兴必访项元汴，名画家文彭、文嘉等与项元汴交往尤密。明万历年间神宗朱翊钧闻其名，特赐玺书征他出来做官，不赴。\n项元汴所藏书法、名画以及鼎彝玉石，甲于海内。项元汴精于鉴赏，辨别真赝，析及毫发，当时无人可比。与项同时代的人记载：“项氏所藏如顾恺之《女史箴图》等，不知其数，观者累月不能尽也。其他墨迹及古彝器尤多。其家累世富厚，不惜重赀以购，故江南故家宝藏皆入其手。”他遴选能工巧匠制作的各种器具，凡几榻架柜奁盒等，镌以铭识，都极精巧，如同秦汉之物。清顺治二年（1645）闰六月，清兵攻破嘉兴府城，其藏品被千夫长汪六水所劫掠，散失殆尽，存世的藏品多归于皇宫，现仍藏于故宫博物院和其他博物馆。\n项元汴曾获一古琴，上刻“天籁”两字，故将其储藏之所取名“天籁阁”，并镌有天籁阁、项墨林等印，凡藏品都钤有印记，往往满纸满幅。项氏以天籁阁名传后世，阁早已毁，今城内建设街道天籁里即以天籁阁命名。\n项元汴工绘画兼擅书法。山水学元代黄公望、倪瓒，笔致疏秀，神合处辄臻胜境，书法出入唐智永、元赵孟頫。刊有《天籁阁帖》，著有《墨林山人诗集》等。",[24,29,554,25,33,7,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9a954d83db86fd34091f955857d0069.jpg",[],{"id":1363,"slug":1364,"title":1365,"dynasty":18,"author":74,"museum":95,"description":845,"tags":1366,"thumbUrl":1367,"material":306,"size":307,"collection":85,"collections":1368,"showCount":1340,"zanCount":11,"manualWeight":11,"mainColor":49},236814,"song-zhu-shi-shan-xiang-sheng-mo-236814","松竹石扇",[554,25,368,34,33,294,7,30,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8cd6951a13d0417c0924d7867b83608.jpg",[],{"id":1370,"slug":1371,"title":1372,"dynasty":54,"author":1373,"museum":20,"description":1374,"tags":1375,"thumbUrl":1381,"material":621,"size":1382,"collection":85,"collections":1383,"showCount":1340,"zanCount":248,"manualWeight":11,"mainColor":69},232971,"hua-niao-ce-lang-shi-ning-232971","花鸟册","郎世宁","此图册分别描绘了牡丹、兰花、罂粟、萱草、荷花、梅花等艳丽多姿的花卉和体态生动的蝶、鸟。构图上取法中国传统花鸟画的格局，以虚托实，注重对所绘物象的突出。在表现技法上，则充分发挥了欧洲绘画注重明暗及透视的特点，以工致细腻的笔触，刻画出花瓣、叶片以及鸟雀的羽毛质感和体积感，呈现出与传统的中国花鸟画迥然不同的艺术风貌。这种“中西合璧”的画风成为清代宫廷绘画艺术的一大特色，受到了清皇室的青睐。",[58,24,29,78,79,59,1376,7,294,1377,60,1378,1379,1380],"中西合璧","枝干","写实","笔墨","光影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f6041cf4527a2b11a1a31782ac66d2a.jpg","纵32.6厘米，横28.6厘米",[],{"id":1385,"slug":1386,"title":1387,"dynasty":54,"author":1388,"museum":95,"description":1389,"tags":1390,"thumbUrl":1391,"material":306,"size":307,"collection":85,"collections":1392,"showCount":1340,"zanCount":11,"manualWeight":11,"mainColor":69},230928,"lan-shi-tu-wang-wu-230928","兰石图","王武","王武，1632年生，1690年逝世，吴县（今江苏苏州）人。字勤中，晚号忘庵，又号雪颠道人。明代画家王鏊六世孙，精鉴赏，富收藏，擅画花鸟，风格工整秀丽，正如王时敏所云：“神韵生动，应在妙品中。”为清初院画的名家。亦擅诗文。传世作品有《水仙柏石图》、《红杏白鸽图》、《鸳鸯白鹭图》等。",[24,29,554,25,59,26,7,294,30,31,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818304cde9ff66cdef25c7b98f674d5b.jpg",[],{"id":1394,"slug":1395,"title":1396,"dynasty":54,"author":1397,"museum":327,"description":1398,"tags":1399,"thumbUrl":1400,"material":84,"size":1401,"collection":45,"collections":1402,"showCount":1340,"zanCount":248,"manualWeight":11,"mainColor":69},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。",[24,29,156,59,79,7,294,486,60,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1714595b0e9a244bb7084d7d086642de.jpg","159.2x71.1",[45],{"id":1404,"slug":1405,"title":1406,"dynasty":54,"author":1407,"museum":95,"description":1408,"tags":1409,"thumbUrl":1410,"material":306,"size":307,"collection":85,"collections":1411,"showCount":1412,"zanCount":11,"manualWeight":11,"mainColor":69},287971,"qiu-lan-wen-shi-tu-li-zhou-luo-pin-287971","秋兰文石图立轴","罗聘","此图绘兰花和文石，画家在运用墨色和线条方面有独到之处，简练的线条，圆劲而宽厚，硬如铁画，柔如棉条，准确地勾画了兰花和文石。\n《秋兰文石图》构图简练，怪石以焦墨勾出，通体以墨彩晕染，厚重凝炼。秋兰则舍弃了当时所盛行的水墨撇写之法，而以双钩白描绘出，略施淡墨，写出兰丛繁茂之貌，以浓墨点提花心及地面野菜。兰之高洁晶莹与石之坚实沉稳形成鲜明对照，使画面自有一种超凡脱俗的灵动之感。",[23,24,156,25,7,81,30,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9341f5bd9cf62305f811fc5dbc383bc.jpg",[],19,{"id":1414,"slug":1415,"title":1416,"dynasty":18,"author":1357,"museum":95,"description":1358,"tags":1417,"thumbUrl":1418,"material":306,"size":307,"collection":85,"collections":1419,"showCount":1412,"zanCount":11,"manualWeight":11,"mainColor":69},236368,"lan-zhu-shan-xiang-yuan-bian-236368","兰竹扇",[58,24,29,554,25,7,33,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F617b711c1e97eefe1c21c4248da33717.jpg",[],{"id":1421,"slug":1422,"title":1423,"dynasty":18,"author":239,"museum":95,"description":1424,"tags":1425,"thumbUrl":1426,"material":306,"size":307,"collection":85,"collections":1427,"showCount":1412,"zanCount":11,"manualWeight":11,"mainColor":69},235269,"wen-zheng-ming-zhu-shi-shan-ye-wen-zheng-ming-235269","文徵明竹石扇页","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。\n文徵明曾学文于吴宽，学书法于李应祯，学画于沈周，生平九次参加乡试均不中。嘉靖二年（1523年），以岁贡生参加吏部考试，被授予翰林院待诏之职。嘉靖五年（1526年），文徵明辞官归乡，专事创作。\n嘉靖三十八年（1559年）二月二十，文徵明去世，享年九十。其弟子私谥贞献。\n文徵明诗、文、书、画无一不精，人称“四绝”，其与沈周共创“吴派”。在画史上与沈周、唐寅、仇英合称“明四家”。在文学上，与祝允明、唐寅、徐祯卿并称“吴中四才子”。",[24,29,554,25,33,294,7,61,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6186efbb9a6f3d103b50c388b1fb58e8.jpg",[],{"id":1429,"slug":1430,"title":751,"dynasty":18,"author":1196,"museum":121,"description":1431,"tags":1432,"thumbUrl":1433,"material":85,"size":85,"collection":45,"collections":1434,"showCount":1412,"zanCount":248,"manualWeight":11,"mainColor":1435},201724,"hua-hui-juan-chen-chun-201724","水墨写就的长卷中，四时花卉次第铺展。兰草疏茎淡叶，姿态清雅；菊丛繁枝密蕊，野趣盎然；牡丹雍容绽放，墨色浓淡相宜；另有团簇花枝，叶片苍劲，花瓣柔润。笔墨简逸灵动，浓墨勾枝，淡墨晕瓣，干湿相生间尽显花木神韵。题跋与花卉错落相映，诗书一体，流露文人雅韵。不刻意求工，却神形兼备，气韵生动。",[24,28,25,60,7,41,36,61,29,1379,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9773f2151bb2cfa144b27ecf3c52764.jpg",[45],"c6bdb7",{"id":1437,"slug":1438,"title":1439,"dynasty":54,"author":378,"museum":95,"description":1440,"tags":1441,"thumbUrl":1445,"material":306,"size":307,"collection":85,"collections":1446,"showCount":48,"zanCount":248,"manualWeight":11,"mainColor":69},273096,"xiu-hua-gua-ping-yi-ming-273096","绣花挂屏","此件绣作以针艺摹绘雅景，配色清和柔婉，石青与浅粉绣出湖石温润层次，细密排布的绣线让寿桃饱满莹润，枝叶舒展灵动，枝桠间停驻小雀暗生意趣。\n\n右上角御题配朱红玺印，为绣品添了端雅的宫廷气度，将祝寿的吉庆寓意藏在清逸构图中。绢面因年月晕开旧色，却更衬绣线沉静耐看，针线穿引间把院体画意与刺绣巧思相融，藏着旧时光里的雅致匠心，是兼具审美与吉庆意涵的精巧之作。",[1442,487,60,59,1443,7,81,954,1444,61,921,79],"挂屏","寿桃","祥云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff41e7efa65dbc4c2c2be984c8d10c85c.jpg",[],{"id":1448,"slug":1449,"title":1450,"dynasty":18,"author":898,"museum":20,"description":1451,"tags":1452,"thumbUrl":1453,"material":256,"size":85,"collection":85,"collections":1454,"showCount":48,"zanCount":248,"manualWeight":11,"mainColor":69},234122,"lan-shi-tu-juan-ma-shou-zhen-234122","兰石图卷","中国古代女性画家的作品，虽然其艺术语言尚未超越男性画家，却始终是美术史中的一个重要组成部分。尤其明清两代女性绘画的空前发展，使她们在各自的才艺表述中，散发着独特魅力。其中明代马守真便是最为卓越而富有才情的女画家之一。\n马守真（1548-1604），小字玄儿、又字月娇，自号“湘兰”，因家中排行第四，人称“四娘”。幼年时沦落风尘的马湘兰，天资聪慧，多才多艺，且能诗善画，一生以兰花、竹、石、灵芝、水仙等为题创作了许多作品。在她以兰花为主题的传世作品中，有真亦有伪，且早期与晚期的画风也不尽相同，水平自然亦有高低。其间，马守真在1598年五十岁时所作的《兰石图》（图一）（现藏中国国家博物馆），堪称她绘画成熟期的经典之作。是图描绘了草坡之上的一丛野生兰，只见兰叶随意舒展、花儿含羞怒放、身后有修竹为伴，亦随风轻轻舞动。兰花伴以湖石、润笔勾出，与信手点染的苔草相映成趣。画家以没骨之法、细线勾勒出的兰叶，行笔劲挺流畅、张显了兰花恣意生长、野趣盎然。图中左上有画家款识：“戊戍仲冬日写”、“湘兰马守真”，钤印“湘兰”、“守真玄玄子”二方。图中右下有“曾藏锡芝兰堂”等收藏印二方。\n从湘兰所画兰花的笔法来看，她更多承袭了南宋赵孟坚（1199—1264） 的水墨兰花风格。曹寅评其画云：“兰法子固，竹法仲姬，俱能袭其韵。”赵孟坚，字子固、南宋宗室。他工诗善画，是兼具贵族、士夫与文人身份的画家。他首创的墨兰，“清而不凡、秀而雅淡”,深得后世文人推崇（图二）。万历三十二年（1604），湘兰在她五十七岁临终那一年画的《兰花图》卷（上海博物馆藏）（图三） 款题中写道：“甲辰夏日，在松院仿赵子固画兰赠彦可兄，湘兰马守真。”足见对赵孟坚画兰之风的追随。此画卷分为两段：前段双勾、后段水墨写意，浓淡变化，颇多意趣。画卷开首有杨法所题变体篆书云：“咀嚼兰蕙”。如果说赵孟坚笔下的兰花盛开，犹如翩翩起舞的彩蝶、春风得意，那么湘兰笔下的兰花则更像是娴静的少女，多了几分柔媚与清幽。\n湘兰一生画了很多兰花，水墨居多，而少颜色，如《兰花图》扇面（图四）、《兰石图》卷（故宫博物院藏）、《兰竹石图》轴等传世佳作。后人评：“其墨兰一派，潇洒恬雅，极有风韵”。图中兰花的左右，往往伴有湖石、墨竹、水仙、灵芝等清雅之物。湖石或润笔或皴擦、简淡天成，瘦竹则疏朗有致，与幽兰相应成趣。画风给人的感觉更像是一个文人士大夫的作品，而难想像乃出自金陵花街柳巷的一风尘女子之手。\n湘兰专注于兰，为此还特意在秦淮河畔边盖了一座小楼，栽满兰花，名为“幽兰馆”。她所喜好的兰花，也正是历代文人画家所热衷的“君子”题材。宋末元初的诗人画家郑思肖（1241-1318） 专绘“露根兰”，谓之“纯是君子，绝无小人”，以寄托亡国之恨。兰花由此被赋予了极强的人格意义，成为品德高洁的君子象征。明代苏州吴门大家文征明尤爱画兰，留有许多兰花竹石逸品，如《兰竹图》（台北故宫博物院藏）（图五）。陈元素周天球等江南文人亦以描绘清幽而芬芳的兰花为乐事（图六）。作为“秦淮八艳”之一的名妓，湘兰“性情轻侠”，为人豪爽，慕名求访者甚多，这其中自然不乏江浙地区的文人雅士、风流才子。而画兰之风在晚明江南一带的日渐昌盛，不能不说对马守真产生了重要影响。\n湘兰“姿首如常人”、相貌并不出众，但是她胜在才情，“神情开涤，濯濯如春柳早莺，吐辞流盼、巧伺人意”。她不仅善于绘事而且工于诗文，常常在兰绘图中自题诗句，留下“一叶幽兰一箭花，孤单谁惜在天涯”、“何处风来气似兰，帘前小立耐春寒”等诸多佳句。与文人士夫借物抒情，集文学、书法、绘画的艺术表达为一体的情趣相契合，湘兰画的兰花，也是“画中有诗”、“诗中有画”，充满了书卷气。\n文人画的产生与兴盛，在相当程度上是出于厌世的隐遁心理，寄情笔墨以寻求内心平衡。晚明时局动荡，又多了这样前途渺茫的文人画家。江南文人更以描写“梅兰竹菊”等水墨写意自娱，籍以淡薄名利甚至逃避险恶仕途。尽管湘兰的兰花与文人笔下的兰花有诸多相似之处，但是对于一个烟花女子来说，她画兰，显然与文人画兰潜藏着仕途失意与不满的政治诉求没有太多关系。除了自身的喜爱，更多的应该是对当时文人圈时尚的某种迎合以及自我人格的标榜。\n正如湘兰的诗句：“空谷幽兰独自香，任凭蝶妒与蜂狂”、“绝壁悬崖喷异香”，借兰花标榜自己的孤芳傲世而别于欢场中人。不仅如此，湘兰还独创有一叶兰，仅一抹斜叶，托着一朵兰花，以体现兰花清幽空灵，仿佛又带有一丝哀怨与孤寂，来倾诉自己的无依之情。清香的幽兰，暗自吐芳，也是画家一生的写照：湘兰在二十四岁时相识长洲（今苏州） 才子王穉登，并为他痴守一生、孤单终老。二人经常以兰花为题，诗文书画互动，出现在湘兰的作品中。王穉登曾以“一枝写出湘皋影，仿佛凌波解佩人”，将湘兰画中兰花比作她本人，赞其超凡脱俗与清高品质。就在抱病赶往姑苏为穉登置办七十寿筵返回金陵之后，湘兰一病不起，于是燃灯拜佛、沐浴更衣、端坐而逝。王穉登悲痛之余写下挽诗：“歌舞当年第一流，姓名赢得满青楼，多情未了身先死，化作芙蓉也并头。”可以说，湘兰如此执着于兰花的写照，与落魄文人王穉登的情感纠葛不无关系。值得一提的是，同时代的另一位女画家薛素素也是画兰高手，也曾与王穉登有过交集。\n湘兰的绘画，有着浓浓的文人情怀。比起文人画兰张显的自我意识与个性，她的兰花则多了几分女性的温婉与秀雅，也多了几分哀怨与孤寂。湘兰的传世作品数量极多，民间多于官方，虽然真伪混杂，却足见世人对她的喜爱。作为身份卑微的青楼女子，湘兰的兰花风格占据不了画坛主导，却也独具幽芳，惹人怜爱，同时成为一个特定时代与文化的折射，并对后世的墨兰创作带来了深远影响。",[24,29,28,25,124,7,294,1291],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffab683345673a977ba6b3af4ea9c4edd.jpg",[],{"id":1456,"slug":1457,"title":1458,"dynasty":93,"author":1459,"museum":20,"description":1460,"tags":1461,"thumbUrl":1471,"material":256,"size":1472,"collection":187,"collections":1473,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":69},221561,"cheng-nan-chang-he-shi-juan-quan-juan-di-yi-duan-zhu-xi-221561","城南唱和诗卷全卷第一段","朱熹","《城南唱和诗卷》，对章草笔意的运用达到了随心所欲、挥洒自如的境界。杨维桢把晋唐楷法和汉隶、章草、今草笔法融合在一起，故独有奇拙、古朴的趣味。所谓“矫杰横发”（李东阳）“狂怪不经”（徐有贞）“大将班师，三军奏凯。破斧缺斨，例载而归”（吴宽）就是指杨维桢书风中豪迈雄强、形态怪异、用笔粗放的特点。而这种激越奔放的气势，刀斫斧劈的雄强，正是筑基于章草笔法的渗入。\n此诗卷是朱熹为和张栻城南诗20首所作。张栻，字敬夫，号轩，张浚之子、宋代著名学者。居谭州（今长沙）。构城南书院，城南有风景20处、故题诗20首。朱孝宗乾道三年（公元1167年）八月，朱熹与张南轩游城市诸胜景，和南轩二十咏。时年朱熹38岁，此诗卷书写年代则较晚。此卷书法笔墨精妙，萧散简远，笔意从容，灵活自然，为朱熹传世佳作。明陆简《朱熹城甫唱和诗帖跋》云：“紫阳夫子平生讲道之功日不暇给，而于辞翰游戏之事亦往柱精诣绝人。评书家谓其书郁有道义之气、固耳。”",[23,31,30,28,1462,61,1463,1464,1120,1119,1465,968,294,1466,41,7,712,1467,1125,1126,37,1468,34,1117,1469,1470,33,32],"墨迹","山","水","月","林","江","舟","海","溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcb576060bbf9033850da273c683961f.jpg","纵31.5厘米横275.5厘米",[187],{"id":1475,"slug":1476,"title":1477,"dynasty":54,"author":252,"museum":20,"description":1478,"tags":1479,"thumbUrl":1480,"material":85,"size":85,"collection":85,"collections":1481,"showCount":1482,"zanCount":11,"manualWeight":11,"mainColor":69},236587,"lan-mei-ce-wang-shi-shen-236587","兰梅册","汪士慎（1686—1759）清代著名画家，书法家。字近人，号巢林、溪东外史等，汉族，安徽休宁人，寓居扬州。\n工分隶，善画梅，神腴气清，墨淡趣足。暮年一目失明，仍能为人作书画，自刻一印云：“尚留一目看梅花”，后来，双目俱瞽，但仍挥写，署款“心观”二字。有《巢林集》。与罗聘、李方膺、李鱓、金农、黄慎、高翔和郑燮并称”扬州八怪“。",[24,29,78,25,60,32,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdff9be90f87a50342bb3940f357e6e12.jpg",[],17,{"id":1484,"slug":1485,"title":1486,"dynasty":54,"author":1487,"museum":95,"description":1488,"tags":1489,"thumbUrl":1490,"material":85,"size":85,"collection":85,"collections":1491,"showCount":1482,"zanCount":248,"manualWeight":11,"mainColor":69},234593,"wang-zhen-sheng-hong-lan-wan-shan-wang-zhen-sheng-234593","王振声红兰纨扇","王振声","扇面画的历史源流，据张彦远《历代名画记》记载，三国时，曹操就有请杨修为其画扇的故事。到了唐代画扇之风更为盛行，当时的扇子还是圆形的，故称团扇。宋代宫廷画家更是画扇成风，且留下扇面画也很多，扇子的形制出现了芭蕉形的扇子。集书法、绘画于一扇，则始于明代，这是因为折扇形式的出现。国人历来都有这种习性，一件实用品总要给它艺术化，扇面画就是这样经过明清书画家的匠心经营，从而逐步确定了其作为一种独特的艺术品种而广泛普及、流传下来，继而也逐步形成了扇面画独立的审美体系。及至清代、民国，扇面画都是书画家乐于染翰和文人雅士乐于把玩、收藏的艺术品。",[24,554,59,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85b64a71ca1470dee2c024a78d44973e.jpg",[],{"id":1493,"slug":1494,"title":1495,"dynasty":54,"author":789,"museum":95,"description":790,"tags":1496,"thumbUrl":1498,"material":306,"size":307,"collection":85,"collections":1499,"showCount":1500,"zanCount":11,"manualWeight":11,"mainColor":69},290007,"xiang-cao-yuan-shu-jing-xin-wu-chang-shuo-290007","香草园蔬镜心",[554,24,29,59,1497,7,30,61],"蔬果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946b8116a6db47c791b928fc7b1bedce.jpg",[],16,{"id":1502,"slug":1503,"title":1387,"dynasty":54,"author":1504,"museum":95,"description":1505,"tags":1506,"thumbUrl":1508,"material":306,"size":307,"collection":85,"collections":1509,"showCount":1500,"zanCount":11,"manualWeight":11,"mainColor":69},288353,"lan-shi-tu-jiang-pu-288353","蒋溥","蒋溥（1708—1761年），大学士蒋廷锡长子，字质甫，号恒轩，江苏常熟人，清朝大臣，画家，善画花卉，深得家传。雍正八年二甲第一名进士，官至东阁大学士兼户部尚书。性情宽厚而警敏，任职后，精心奉职，勤于政事，是乾隆时期的重臣，亦是蒋派花鸟画艺术的重要代表。\n乾隆二十六年（1761）四月，病逝于任上。乾隆皇帝亲临祭奠，加赠太子太保，谥曰文恪，入祀贤良祠。",[24,29,156,59,79,60,36,7,81,1290,1507],"蜻蜓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0350f5ed0f80f346627b44ec05cfd1de.jpg",[],{"id":1511,"slug":1512,"title":817,"dynasty":54,"author":647,"museum":95,"description":818,"tags":1513,"thumbUrl":1514,"material":306,"size":307,"collection":85,"collections":1515,"showCount":1500,"zanCount":11,"manualWeight":11,"mainColor":69},238334,"hua-hong-li-si-ji-lan-shi-yi-ce-dong-gao-238334",[24,29,78,59,79,60,7,40,61,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F736fc932fd3131df73497c0c9c02a3ce.jpg",[],{"id":1517,"slug":1518,"title":1519,"dynasty":54,"author":1520,"museum":20,"description":1521,"tags":1522,"thumbUrl":1523,"material":85,"size":85,"collection":85,"collections":1524,"showCount":1500,"zanCount":11,"manualWeight":11,"mainColor":69},234468,"gao-mu-yuan-shui-tie-luo-shen-zhen-lin-234468","高木远水贴落","沈振麟","沈振[清]字凤池，一作凤墀，吴县（今江苏苏州）人。工写照，兼善写生，及山水、人物，各臻其妙。供奉内廷。\n慈禧太后赐御笔“传神妙手”区额。尝奉勅画马便面二叶，各有宣宗御题三字一曰“飞霞骢”，一曰“翔玉骢”，钤有道光御用方玺。又百鸽图每页书签各名，尽绘物之妙。《寒松阁谈艺琐录、瓯钵罗室书画过目考》",[24,59,79,7,81,61,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F949c6bc60908770b8bcf72c3ec9de469.jpg",[],{"id":1526,"slug":1527,"title":1528,"dynasty":18,"author":239,"museum":20,"description":1529,"tags":1530,"thumbUrl":1531,"material":1532,"size":1533,"collection":85,"collections":1534,"showCount":1500,"zanCount":11,"manualWeight":11,"mainColor":69},234130,"wen-zheng-ming-za-hua-si-duan-juan-wen-zheng-ming-234130","文徵明杂画四段卷","一、兰花小鸟。款识：[征明]钤印：[文征明印]白方、[征仲]朱方\n二、花鸟 款识：[落叶萧萧苦竹深，茆檐斜日唤双禽。棘丛岂是棲身地，三月春风满上林。征明。]钤印：[文征明印]白鞍钢、[征仲]朱方\n三、观瀑 款识[征明]钤印：[文征明印]白方、[征仲]朱方\n四、柏石 自题：[古石棱竞玄玉，乔柯偃蹇苍虬。着个修篁带雨，分明铁网琳球。征明。]钤印：[文征明印]白方、[征仲]朱谠",[23,24,29,28,25,124,31,61,965,60,583,34,33,294,82,126,32,7,970],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf293294d9a450f075036e4b99807eab.jpg","纸本 墨笔","每段 纵32.6厘米 横50.8厘米",[],{"id":1536,"slug":1537,"title":1538,"dynasty":54,"author":551,"museum":95,"description":552,"tags":1539,"thumbUrl":1541,"material":306,"size":307,"collection":85,"collections":1542,"showCount":1543,"zanCount":11,"manualWeight":11,"mainColor":69},239063,"lan-shi-wan-shan-zhang-pan-239063","兰石纨扇",[24,29,554,79,59,7,81,1540,60],"枯枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47ddf6b69090b1f2e7a17e0250ffe73b.jpg",[],15,{"id":1545,"slug":1546,"title":817,"dynasty":54,"author":647,"museum":95,"description":818,"tags":1547,"thumbUrl":1548,"material":306,"size":307,"collection":85,"collections":1549,"showCount":1543,"zanCount":11,"manualWeight":11,"mainColor":69},238333,"hua-hong-li-si-ji-lan-shi-yi-ce-dong-gao-238333",[58,24,29,78,59,79,60,7,41,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F511211c378684cb609b6a50a9367c72d.jpg",[],{"id":1551,"slug":1552,"title":1553,"dynasty":54,"author":1554,"museum":95,"description":1555,"tags":1556,"thumbUrl":1557,"material":306,"size":307,"collection":85,"collections":1558,"showCount":1543,"zanCount":11,"manualWeight":11,"mainColor":69},237803,"lan-hua-zhu-shi-shan-ye-qi-zhi-jia-237803","兰花竹石扇页","祁豸佳","字止祥，号雪瓢，山阴（今浙江绍兴）人。彪佳（1602至1645）弟。天启七年（1627年）举人，仕吏部司务。明亡后，当局礼聘，却之，与董瑒、王雨谦、陈洪绶、罗坤等结“云门十子”社，日与老衲蒲团相对，谈世外烟霞。甲申（1644）后，隐梅市卖画代耕。字学董其昌，而乏其秀韵。山水仿沈周，气势淋漓，笔力挺拔，自有一种不可羁勒之概。间作花卉，亦多逸致，诗文词皆有致，至於歌、弈、图章，百戏俱善。康熙八年（1669）作山水图。",[24,29,554,25,7,33,294],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc762726d089f8f622ddf88813fc4776c.jpg",[],{"id":1560,"slug":1561,"title":1562,"dynasty":18,"author":1563,"museum":95,"description":1564,"tags":1565,"thumbUrl":1566,"material":85,"size":85,"collection":85,"collections":1567,"showCount":1543,"zanCount":11,"manualWeight":11,"mainColor":69},234214,"zhang-yan-mo-hua-juan-zhang-yan-234214","张彦墨花卷","张彦","张彦（？－？），字伯美，号无诤道人，嘉定（今属上海市）人，一作江苏苏州人，明朝画家。\n万历四十一年（1631年）作《山水图》，著录于《退庵题跋》\n崇祯二年（1629年）作《寒林钟馗图》，著录于《爱日吟庐书画录》\n传世作品有《山径携琴图》轴，现藏南京博物院\n崇祯十年作《松溪放舟图》轴图录于《中国名画宝鉴》\n崇祯十二年（1639）作《设色山水图》卷著录于《中国书画家印鉴款识》；同年作《雪景梅花图》轴，纸本，设色，现藏苏州市博物馆",[23,24,29,28,25,124,60,32,7,33,41,35,36,37,342,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff41ab333b99a0d13328d654b652e75f6.jpg",[],{"id":1569,"slug":1570,"title":1571,"dynasty":54,"author":1572,"museum":95,"description":1573,"tags":1574,"thumbUrl":1577,"material":85,"size":85,"collection":85,"collections":1578,"showCount":1543,"zanCount":11,"manualWeight":11,"mainColor":69},234117,"hua-guo-juan-yuan-jiang-234117","花果卷","袁江","清代康熙至乾隆时期，我国东南的扬州地区，由于商品经济的发展，涌现出了一批追求个性解放，锐意创新的画家群体，这就是画史上称之“扬州画派”，或曰“扬州八怪”。在这个画派中，除了拥有人数众多名震画坛的山水、花鸟和人物画家之外，还出现了一批界画作家，如李寅，颇峰、袁江、袁帽，颇岳等，而袁江、袁耀则是这批楼阁界画的佼佼者，他们成就最大，名望最高，把我国传统的界画技法发展到了一个新的高度，并对后世产生了深远的影响。\n关于袁江的生卒，由于画史无记载，我们只能在袁氏的作品中寻找。据笔者所知，袁江现存最早有纪年的作品是画于康熙三十二年(公元1693年)，最晚的作品画于乾隆八年(公元1743年)，学者以此推测他大约生于康熙十年(公元1671年)前后，卒于乾隆八年，或稍后一、二年之内。他早年生活在“千家养女先教曲，十里栽花算种田”，“夜桥灯火连星汉，水郭帆樯近斗牛”的繁华城市扬州，以后他又到过江宁(今江苏南京)、会稽(今浙江绍兴)。又根据袁江《花鸟图》二幅(藏故宫博物院)的署款“癸卯二月古榕袁江画”，他可能还到过福州，因为“榕”是福州市的别称。又据袁江传世真迹《瞻园图》判断，袁江可能还在南京生活过一段时间，\n因为瞻园是明太祖朱元璋的大将徐达的府第，(位于南京市)。雍正二年(公元1724年)，他北上抵京师(北京)作画，郭味蕖记载他在画中的自题：“在燕台作此图”就是佐证。大至到了晚年，袁江又回到家乡扬州，从他署有年款的“邗上袁江”的大量作品看就能证明这一点，因“邗”即今名的扬州市，(见《左传·哀》九年：“秋，吴城邗，沟通江淮”)。谈到袁江山水楼阁画的师承，文献记载极少，李斗《扬州画舫录》说他“初学仇十洲”，面仇英之画，近师周臣，远“摹唐来人之画，皆能夺真”，由此推之，袁江的画上溯可至唐代的李思训、李昭道父子以及赵伯驹和赵伯骑兄弟。袁江工整细致，设色浓丽的楼阁界画风格，确有仇英的遗韵。又据《画人补遗》记载：“中年得无名氏所临古人画稿”，这“无名氏”又是谁?学术界说法不一，而据有的学者推测，它应该是来人名迹，因为从袁江的山水画中，可以看出有北宋范宽，郭熙，李成、阎次平以及南宋的马远、夏圭等人的画法和遗风。在经营位置上，他又吸收了元明以来山水画的长处，予以融合变化，形成自己的特色。他学“院体”，但又脱去院画中纤弱之笔和艳俗之弊，变为凝炼厚重、工致妍美、艳而不俗的风格。袁江的楼阁界画，更是继承了唐李思训父子，宋赵伯驹兄弟和郭熙以来界画的传统以及元代王振鹏等楼阁画用笔严谨．精雕细刻的画风，并加以发扬光大。",[24,29,58,28,59,25,79,60,1575,1576,755,36,342,37,39,413,32,7,33,41,173,40,418,61],"桃子","西瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18aa0380b6630459be1fef1dc09c8650.jpg",[],{"id":1580,"slug":1581,"title":1582,"dynasty":54,"author":1583,"museum":20,"description":1584,"tags":1585,"thumbUrl":1589,"material":1590,"size":1591,"collection":85,"collections":1592,"showCount":1543,"zanCount":248,"manualWeight":11,"mainColor":69},233720,"hua-wang-yu-yan-xie-lan-tu-xiang-pan-gong-shou-bu-tu-zhou-ren-xiong-233720","画王玉燕写兰图像潘恭寿补图轴","任熊","任熊（1823年7月19日—1857年11月23日），字渭长，一字湘浦，号不舍，浙江萧山人，清代晚期著名画家，“海派”艺术的代表人物之一。\n幼时家贫，跟塾师学画人像，后寓居苏州、上海以卖画为生。曾流浪到宁波。曾居于挚友周闲之范湖草堂三年，并得遇著名文人姚燮，在其家“大梅山馆”学画，深得宋人笔法。任熊是绘画全才，人物、花卉、山水、翎毛、虫鱼、走兽，无一不精。画法宗陈洪绶，与弟任薰，儿子任预、侄任颐合称“海上四任”，又与朱熊、张熊合称“沪上三熊”。概述图为任熊自画之像。\n代表作有为著名词人与画家周闲所绘之《范湖草堂图》、以及由周闲等题跋之《十万图册》等。",[24,29,156,59,79,583,7,1586,81,41,1587,343,344,1588,30,31,61],"树","笔","砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb520acac6950d49e8cce35de80872eb2.jpg","纸本,设墨","111.5cm×41.6cm",[],{"id":1594,"slug":1595,"title":1596,"dynasty":54,"author":302,"museum":95,"description":510,"tags":1597,"thumbUrl":1598,"material":243,"size":513,"collection":85,"collections":1599,"showCount":1543,"zanCount":11,"manualWeight":11,"mainColor":69},233687,"yuan-ji-lan-zhu-ce-lan-shi-shi-tao-233687","原济兰竹册－兰石",[24,29,78,25,7,294,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b386c4c2ab9e8e8da4c2020c0e60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一体，尽显文人写意的随性洒脱。\n全作用笔简逸灵动，以极简笔墨捕捉花木神韵，不着繁复修饰却将生机藏于毫端，把水墨晕染的通透雅致与自然意趣融为一体，尽显写意花鸟画的笔墨情致。",[24,29,78,25,59,60,36,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac68ac02b5d7cfaf39a4affbdb7eadcb.jpg",[45],{"id":1758,"slug":1759,"title":1477,"dynasty":54,"author":252,"museum":20,"description":1478,"tags":1760,"thumbUrl":1761,"material":85,"size":85,"collection":85,"collections":1762,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":69},236580,"lan-mei-ce-wang-shi-shen-236580",[24,29,78,25,124,60,7,81,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc75afab0c0c8808e41e6f709b7058276.jpg",[],{"id":1764,"slug":1765,"title":1655,"dynasty":54,"author":1090,"museum":95,"description":1766,"tags":1767,"thumbUrl":1768,"material":306,"size":307,"collection":85,"collections":1769,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":69},236011,"hua-hui-tu-ce-hua-yan-236011","华岩（1682～1756），一作华嵒，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、离垢居士等，老年自喻“飘篷者”，福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。\n自幼酷爱绘画，后因家贫失学，备受世俗冷落，康熙四十二年（1703）华氏家族重建祠堂，曾因替正厅画壁画，乡绅看不起他，群起反对，最后偷自进祠堂，画上“高山云鹤”、“水国浮牛”、“青松悬崖”和“倚马题诗”四幅画，愤而离乡飘泊，流寓于杭州，结交了很多文人学士，眼界大开。36岁时曾北上入都，“得交当路巨公，名闻于上”，但并不得意，据戴熙《习苦斋画絮》载：“华秋岳自奇其画，游京师无问者。一日有售赝画者，其裹华笔也，华见而太息出都。”他的中晚年一直频繁往来于杭州、扬州，以卖画为生。在扬州他结识了金农、高翔、李鱓、郑板桥及盐商巨子马曰琯、马曰璐兄弟，彼此交流切磋，诗画酬答，使其绘画修养得到多方面的拓展，成为扬州画派的代表人物之一。",[24,29,78,59,60,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf90081ef68bf8da97223c9b29314223.jpg",[],{"id":1771,"slug":1772,"title":1773,"dynasty":54,"author":1774,"museum":95,"description":1775,"tags":1776,"thumbUrl":1778,"material":306,"size":307,"collection":45,"collections":1779,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":69},235947,"zhi-hua-za-hua-ce-gao-qi-pei-235947","指画杂画册","高其佩","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。\n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。",[24,29,78,1777,25,7],"指画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdb827e19df38030a059a4095e5043dc.jpg",[45],{"id":1781,"slug":1782,"title":1783,"dynasty":18,"author":239,"museum":95,"description":1424,"tags":1784,"thumbUrl":1785,"material":306,"size":307,"collection":85,"collections":1786,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":69},235271,"wen-zheng-ming-lan-shi-shan-ye-wen-zheng-ming-235271","文徵明兰石扇页",[58,24,29,554,25,31,61,7,294],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facb70d446d4d9f46a87ce5ceae154c78.jpg",[],{"id":1788,"slug":1789,"title":1790,"dynasty":54,"author":1791,"museum":95,"description":1488,"tags":1792,"thumbUrl":1793,"material":85,"size":85,"collection":85,"collections":1794,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":69},234588,"shi-wan-shan-li-yu-lan-234588","石纨扇","李育兰",[24,29,554,25,7,294,81,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6059cd8caec6e0d78faafc2b169a37c8.jpg",[],{"id":1796,"slug":1797,"title":1798,"dynasty":18,"author":1799,"museum":95,"description":1800,"tags":1801,"thumbUrl":1802,"material":85,"size":85,"collection":85,"collections":1803,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":69},234546,"mo-lan-shan-bi-su-su-234546","墨兰扇","薜素素","薛素素，字素卿，又字润卿，明代画家。她工小诗，能书，作黄庭小楷。尤工兰竹，不笔迅捷，兼擅白描大士、花卉、草虫、各具意态，工刺绣。又喜驰马挟弹，百不失一，自称女侠。后为李征蛮所娶。所著诗集名《南游草》。",[24,554,25,7,61,30,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda0cf4b17cd0b3aa521b9ef694395015.jpg",[],{"id":1805,"slug":1806,"title":1807,"dynasty":54,"author":302,"museum":95,"description":510,"tags":1808,"thumbUrl":1809,"material":243,"size":513,"collection":85,"collections":1810,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":69},233692,"yuan-ji-lan-zhu-ce-zhu-lan-shi-po-shi-tao-233692","原济兰竹册－竹兰石坡",[24,29,78,25,7,33,294],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c88861d0864e685181fe2408ea90707.jpg",[],{"id":1812,"slug":1813,"title":1814,"dynasty":54,"author":378,"museum":95,"description":1815,"tags":1816,"thumbUrl":1820,"material":306,"size":307,"collection":85,"collections":1821,"showCount":1822,"zanCount":11,"manualWeight":11,"mainColor":69},270178,"hong-se-chou-tie-rong-hua-hui-tu-mian-jin-qi-bing-tuan-shan-yi-ming-270178","红色绸贴绒花卉图面金漆柄团扇","这把团扇朱红地子温润沉敛，贴绒花饰鲜活灵动。幽兰舒叶展姿，自带空谷清寂之态，水仙冰瓣轻绽，似携凌波暗香，月季秾艳娇柔，将清雅与明媚相融无间。\n\n扇骨金漆錾纹细腻精巧，如意形饰片绘缠枝小花，晕色柔婉复古，柄身纹饰雅致，尾缀流苏柔滑垂曳，凭添灵动意趣。\n\n整器以贴绒工艺晕染花容，髹漆装饰尽显华贵，配色浓淡相宜，将闺阁柔婉意趣与精湛工艺相融，藏着东方雅致美学的脉脉余韵。",[554,98,921,1817,7,39,36,1818,1819],"贴绒","金漆","琺瑯器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dd6c0a4bdc59b63256cb04f4972795f.jpg",[],11,{"id":1824,"slug":1825,"title":1826,"dynasty":54,"author":378,"museum":95,"description":1827,"tags":1828,"thumbUrl":1831,"material":306,"size":307,"collection":85,"collections":1832,"showCount":1822,"zanCount":11,"manualWeight":11,"mainColor":69},258854,"tong-zhi-kuan-huang-di-fen-cai-lan-hua-wen-bei-yi-ming-258854","同治款黄地粉彩兰花纹杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[536,1829,1830,59,7,98],"陶瓷","粉彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc763476d0c248cf44d728f04e9241710.jpg",[],{"id":1834,"slug":1835,"title":1836,"dynasty":54,"author":1837,"museum":95,"description":1838,"tags":1839,"thumbUrl":1844,"material":306,"size":307,"collection":85,"collections":1845,"showCount":1822,"zanCount":11,"manualWeight":11,"mainColor":69},241061,"yi-men-ge-ti-shu-ji-shan-hua-he-juan-liu-wei-tan-241061","一门各体书及扇画合卷","刘位坦","清著名藏书家、书画家。字宽夫，号后园。顺天大兴（今属北京）人。道光五年（1825）拔贡生，咸丰元年（1851）以御史出守湖南辰州府，咸丰八年乞归。家收藏的碑帖拓本极富，典籍、金石、书画，无不收罗。后迁居孙承泽遗址，在城中广济寺建书室，因得到汉代河间献王刘德君子馆砖，遂名其居室为“君子馆砖馆”，又名“砖祖斋”又因所居孙退谷旧园后，作一联“君子馆砖馆，孙公园后园”。",[23,28,554,29,1840,31,1841,1842,1843,79,59,61,60,965,36,755,39,38,342,7,33,40],"楷书","草书","篆书","隶书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0646519a86aa98f1749e23a2fe9d187d.jpg",[],{"id":1847,"slug":1848,"title":1596,"dynasty":54,"author":302,"museum":95,"description":510,"tags":1849,"thumbUrl":1850,"material":243,"size":513,"collection":85,"collections":1851,"showCount":1822,"zanCount":11,"manualWeight":11,"mainColor":69},233691,"yuan-ji-lan-zhu-ce-lan-shi-shi-tao-233691",[24,25,78,7,81,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e224dbd84a4eb93b5effb45a3ce2c52.jpg",[],{"id":1853,"slug":1854,"title":1596,"dynasty":54,"author":302,"museum":95,"description":510,"tags":1855,"thumbUrl":1856,"material":243,"size":513,"collection":85,"collections":1857,"showCount":1822,"zanCount":11,"manualWeight":11,"mainColor":69},233686,"yuan-ji-lan-zhu-ce-lan-shi-shi-tao-233686",[24,29,78,25,7,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcface694a307906f45bdc6019882cf45.jpg",[],{"id":1859,"slug":1860,"title":1861,"dynasty":18,"author":120,"museum":95,"description":1862,"tags":1863,"thumbUrl":1864,"material":43,"size":85,"collection":85,"collections":1865,"showCount":1822,"zanCount":11,"manualWeight":11,"mainColor":49},216318,"xi-xiang-ji-zhen-ben-tu-ce-5-chen-hong-shou-216318","西厢记真本图册-5","墨线如铁线盘桓，勾出虬枝的苍劲与兰草的疏朗。枝叶俯仰间藏着西厢故事的幽微情愫，风致漫过纸面。题字与物象相映，留白处漾着旧时光的清浅余韵。笔力沉雄却含柔婉，每道线条凝着古典韵致，将戏曲里的婉转心事，化作纸上静穆与灵动。画面简淡却见深致，似能听见古院私语，触到旧年温润气息。虬曲枝干、舒展兰叶，皆成故事注脚，在墨色里流转着永恒的古典浪漫。那些隐于线条间的细腻心绪，让静止的画面泛起涟漪，引观者坠入西厢的婉转情境中。",[24,29,78,124,25,7,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c90d054f46ef51244aa9561650f25d7.jpg",[],{"id":1867,"slug":1868,"title":656,"dynasty":18,"author":1196,"museum":121,"description":1869,"tags":1870,"thumbUrl":1871,"material":85,"size":85,"collection":45,"collections":1872,"showCount":1822,"zanCount":11,"manualWeight":11,"mainColor":1873},201795,"hua-hui-tu-juan-chen-chun-201795","这幅花卉图卷以水墨写意入笔，笔墨纵横恣肆，气韵生动。枝蔓花卉以浓淡干湿的墨色变化铺陈，线条洒脱不拘，如梅枝苍劲、兰叶飘逸、荷叶舒展，皆在寥寥数笔间尽显神韵。画面不重形似而尚意趣，一花一叶透着文人清雅风骨，墨色淋漓处见生机，留白间藏余韵，将自然草木情态与画家逸兴融为一体，尽显写意花鸟的灵动疏放之美。",[24,28,25,60,32,7,33,41,35,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b7eb71a5de54d509ffccb7ce7bcbfe4.jpg",[45],"000000",{"id":1875,"slug":1876,"title":1877,"dynasty":54,"author":378,"museum":95,"description":1878,"tags":1879,"thumbUrl":1881,"material":306,"size":307,"collection":85,"collections":1882,"showCount":130,"zanCount":248,"manualWeight":11,"mainColor":49},289918,"an-chun-hua-hui-tu-ye-yi-ming-289918","鹌鹑花卉图页","此作工致秀雅，两只鹌鹑动静相映，一只垂首似啄食小憩，一只昂首远眺，绒羽以细笔丝描晕染，蓬松柔润的质感尽显。\n\n周遭花木错落生姿，鸢尾挺秀、紫菊柔婉，垂枝缀着猩红浆果，枝叶舒展间带着野趣生机，敷色妍丽古雅，勾勒细劲流畅，将草木舒展之态描摹入微。\n\n右上角题字清雅，书画相映，为画面更添文韵。整幅构图疏密相宜，一隅小景藏着悠然生机，既见写生的细腻用心，又暗合安居顺遂的吉祥意趣，尽显小品花鸟的雅致意趣。",[24,29,60,78,59,79,1880,7,41,40],"鹌鹑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaa6116da5772b353e3913c7125a9981.jpg",[],{"id":1884,"slug":1885,"title":1886,"dynasty":54,"author":109,"museum":95,"description":1887,"tags":1888,"thumbUrl":1889,"material":306,"size":307,"collection":85,"collections":1890,"showCount":130,"zanCount":11,"manualWeight":11,"mainColor":69},288025,"jing-ji-cong-lan-tu-juan-zheng-ban-qiao-288025","荆棘从兰图卷","郑板桥（1693年－1766年），原名郑燮，字克柔，号理庵，又号板桥，人称板桥先生，江苏兴化人，祖籍苏州。清代书画家、文学家。\n康熙秀才，雍正十年举人，乾隆元年（1736年）进士。官山东范县、潍县县令，政绩显著，后客居扬州，以卖画为生，为“扬州八怪”重要代表人物。\n郑板桥一生只画兰、竹、石，自称“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”。其诗书画，世称“三绝”，是清代比较有代表性的文人画家。代表作品有《修竹新篁图》《清光留照图》《兰竹芳馨图》《甘谷菊泉图》《丛兰荆棘图》等，著有《郑板桥集》。",[23,24,29,28,30,1842,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b83e9d9aeeb935548a44e4fd0d114c1.jp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咸丰三年（1853）太平天国克扬州，迁邵伯，又迁郭村，逾年返扬。有请画南北斗星君像，乃诣蕃厘观图其塑像为稿本，其虚心若此。篆刻效法汉印，为画名所掩。卒年八十四。",[24,29,78,59,79,583,584,98,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F803640d40fe0de4cb384adedf2f7f9cd.jpg",[],{"id":1946,"slug":1947,"title":1948,"dynasty":54,"author":1949,"museum":95,"description":1950,"tags":1951,"thumbUrl":1952,"material":85,"size":85,"collection":85,"collections":1953,"showCount":130,"zanCount":11,"manualWeight":11,"mainColor":69},234517,"san-jun-zi-tu-ce-ye-kong-yu-qi-234517","三君子图册页","孔毓圻","孔毓圻（1657―1723）：字钟在，又字翊宸，号兰堂。山东曲阜人。孔子的第67代嫡长孙。\n康熙六年（1667），袭封衍圣公。九年（1670），授光禄大夫，十五年（1676），晋阶太子少师。\n好诗文，工擘窠大字，善画墨兰，得元人赵孟頫之旨。卒谥恭悫。有《兰堂集》、《幸鲁盛典》。妻方氏，江苏昆山人，山东按察副使方恒女，工诗，善画。\n《清史稿》列传二百七十儒林四：毓圻，字钟在。方幼，年十一，朝京师。圣祖召见瀛台，礼度如成人，奏对称旨。越二年，上幸学，召毓圻陪祀，太皇太后召入见，赐坐，问家世，具以对，赐茶及克食。辞出，命内臣送至宫门外，传谕从官善辅翼之。上御殿，毓圻从诸大臣朝参，及退，命自御道行，逡巡辞，上敦谕之，乃趋出。加太子少师。二十三年，上东巡，释奠孔子庙，留曲柄黄盖。谒林，周览遗迹，每事问，毓圻谨以对。因请扩林地，置守卫，除租赋，设百户，官秩视卫守备，皆许之。毓圻辑《幸鲁盛典》以进，复奏请重修孔子庙，白巡抚及河道总督，免县人河工应役。雍正元年，世宗命追封先圣五代王爵。十月，毓圻诣阙谢，疾作，上命医诊视，赐参饵。十一月，卒於京师，上遣内大臣奠茶酒。丧归，命皇三子及庄亲王允禄临奠，行人护行，赐葬，谥恭悫。毓圻工书，爱兰，自号曰兰堂。子传铎袭。在孔林东北处，有一座立有御碑亭的墓即为孔毓圻的墓葬。墓前有石碑1通，篆书“光禄大夫太子少师六十七世袭封衍圣公恭悫（què）先生墓”，由光禄大夫兼工部尚书、云间王顼（xū）龄篆。",[24,29,78,25,81,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce159a03d011e46275886933ef2f5682.jpg",[],{"id":1955,"slug":1956,"title":1957,"dynasty":54,"author":302,"museum":95,"description":510,"tags":1958,"thumbUrl":1959,"material":243,"size":513,"collection":85,"collections":1960,"showCount":130,"zanCount":11,"manualWeight":11,"mainColor":69},233682,"yuan-ji-lan-zhu-ce-po-shi-lan-cao-shi-tao-233682","原济兰竹册－坡石兰草",[24,29,78,25,7,81,61,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F542666f0feb5f13e36b289e2702f417f.jpg",[],{"id":1962,"slug":1963,"title":205,"dynasty":1964,"author":1965,"museum":121,"description":1966,"tags":1967,"thumbUrl":1968,"material":85,"size":85,"collection":45,"collections":1969,"showCount":130,"zanCount":11,"manualWeight":11,"mainColor":1970},203404,"lan-hua-tu-zhou-bai-jiao-203404","近代","白蕉","这幅兰花图轴笔墨简淡却气韵生动。白蕉以行草笔意入画，兰叶线条刚柔相济，飘逸自然，兼具书法的灵动与绘画的意趣；花朵淡墨点染，清雅含蓄，尽显兰之幽姿。画面构图疏朗，留白有致，题跋书法与兰草笔墨呼应，诗书画印融为一体，尽显文人画的清雅品格，是写意兰草的典范之作。",[24,25,7,30,61,60,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81de9de7f4cc7c534228c4be48f0d61a.jpg",[45],"dad0b2",{"id":1972,"slug":1973,"title":751,"dynasty":18,"author":19,"museum":121,"description":1974,"tags":1975,"thumbUrl":1976,"material":85,"size":85,"collection":45,"collections":1977,"showCount":130,"zanCount":248,"manualWeight":11,"mainColor":1978},201547,"hua-hui-juan-xu-wei-201547","这幅花卉卷以泼墨大写意笔法挥就，笔墨狂放如草书，墨色浓淡干湿交织，荷叶阔绰、菊花疏朗、竹枝劲挺、兰草幽逸，藤蔓缠绕间野趣横生。花叶形态不拘工细描摹，却于苍劲淋漓中尽显神韵，每笔皆倾注画家孤傲之气，打破传统花鸟拘囿，以写意之境传递生命野逸与不屈。诗书印相映成趣，尽显文人画气韵风骨，堪称明代花鸟大写意典范。",[24,29,28,25,60,35,41,33,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92340cebbbeae779e6cc5cfcf1f1f0d4.jpg",[45],"9c8f81",{"id":1980,"slug":1981,"title":1798,"dynasty":18,"author":731,"museum":95,"description":732,"tags":1982,"thumbUrl":1983,"material":306,"size":307,"collection":85,"collections":1984,"showCount":274,"zanCount":11,"manualWeight":11,"mainColor":69},237942,"mo-lan-shan-chen-yuan-su-237942",[554,24,25,7,30,61,26,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b3719c58dbe8d7051f4e0605e531110.jpg",[],{"id":1986,"slug":1987,"title":1477,"dynasty":54,"author":252,"museum":20,"description":1478,"tags":1988,"thumbUrl":1989,"material":85,"size":85,"collection":85,"collections":1990,"showCount":274,"zanCount":11,"manualWeight":11,"mainColor":69},236585,"lan-mei-ce-wang-shi-shen-236585",[24,29,78,124,25,7,81,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a76fa9be9e56523ac0fc97e401588f4.jpg",[],{"id":1992,"slug":1993,"title":1477,"dynasty":54,"author":252,"museum":20,"description":1478,"tags":1994,"thumbUrl":1995,"material":85,"size":85,"collection":85,"collections":1996,"showCount":274,"zanCount":11,"manualWeight":11,"mainColor":69},236584,"lan-mei-ce-wang-shi-shen-236584",[58,24,29,78,124,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff652098a2538e491a2e6680049b33205.jpg",[],{"id":1998,"slug":1999,"title":1477,"dynasty":54,"author":252,"museum":20,"description":1478,"tags":2000,"thumbUrl":2001,"material":85,"size":85,"collection":85,"collections":2002,"showCount":274,"zanCount":11,"manualWeight":11,"mainColor":69},236581,"lan-mei-ce-wang-shi-shen-236581",[24,29,78,25,124,32,7,30,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26ddf80ca4d2e53cd16cbdccfbc710c3.jpg",[],{"id":2004,"slug":2005,"title":2006,"dynasty":54,"author":302,"museum":95,"description":510,"tags":2007,"thumbUrl":2008,"material":243,"size":513,"collection":85,"collections":2009,"showCount":274,"zanCount":11,"manualWeight":11,"mainColor":69},233683,"yuan-ji-lan-zhu-ce-lan-zhu-shi-shi-tao-233683","原济兰竹册－兰竹石",[24,29,78,25,31,61,368,7,33,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F635dcd1c255c153d2eb6030b17e88b3e.jpg",[],{"id":2011,"slug":2012,"title":2013,"dynasty":18,"author":2014,"museum":95,"description":2015,"tags":2016,"thumbUrl":2017,"material":85,"size":85,"collection":85,"collections":2018,"showCount":274,"zanCount":248,"manualWeight":11,"mainColor":69},233251,"shi-zhu-zhai-pu-ce-hu-ri-cong-233251","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。",[24,29,78,124,25,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5231aa42ae5e14010d10a4f2bdf01a2c.jpg",[],{"id":2020,"slug":2021,"title":762,"dynasty":54,"author":2022,"museum":121,"description":2023,"tags":2024,"thumbUrl":2025,"material":85,"size":85,"collection":160,"collections":2026,"showCount":274,"zanCount":11,"manualWeight":11,"mainColor":2027},203300,"lan-zhu-tu-ce-zheng-xie-203300","郑燮","这幅画作以水墨写兰，笔墨简劲洒脱。兰叶以焦墨挥写，线条如屈铁盘丝，又含行书撇捺之韵，转折处见骨力；兰花用淡墨点染，姿态清雅，顾盼有情。右侧题款与朱印相映，诗书画印浑然一体，尽显文人画意趣。墨色浓淡相宜，虚实相生，将兰草幽姿逸韵表现得淋漓尽致，传递出清逸高洁的文人品格，于简淡中见精神，疏朗中藏情致。",[25,29,7,31,61,26,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c27abfc3ebb49823e795780d6ca39f2.jpg",[160],"ddcdbd",{"id":2029,"slug":2030,"title":2031,"dynasty":54,"author":302,"museum":121,"description":2032,"tags":2033,"thumbUrl":2035,"material":85,"size":85,"collection":85,"collections":2036,"showCount":274,"zanCount":11,"manualWeight":11,"mainColor":2037},203185,"hua-hui-shan-shui-tu-ce-shi-tao-203185","花卉山水图册","这两幅花卉册页，以水墨写意入笔，尽显笔墨灵动之趣。兰草疏叶淡花，墨色层次清雅，题款行书流畅，与兰之飘逸相契，文画交融见文人雅趣；菊花淡墨勾瓣，浓叶衬花，枝干苍劲，花蕊点染细腻，姿态傲岸，传递凌霜之气。画面构图简括却意蕴悠长，笔势纵逸中见法度，将花卉神韵与书法意趣浑然一体，展现出“我自用我法”的艺术个性，于简约中藏万千气象。",[24,29,78,25,60,31,26,7,41,2034],"文人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F636091cf10df30d7002b14e0adfa5f27.jpg",[],"cfc6b7",{"id":2039,"slug":2040,"title":2041,"dynasty":1964,"author":168,"museum":121,"description":2042,"tags":2043,"thumbUrl":2045,"material":85,"size":85,"collection":45,"collections":2046,"showCount":274,"zanCount":11,"manualWeight":11,"mainColor":2047},203149,"pen-lan-tu-zhou-pan-tian-shou-203149","盆兰图轴","盆兰劲叶以雄健墨线挥就，浓淡交错间挺括如剑；淡粉兰花疏疏点缀，清雅藏于墨韵。下方黑鸟朴拙蹲踞，浓墨块面塑身形，喙爪寥寥数笔却神态毕肖。构图奇崛，留白开阔，动静相映间尽显生机。笔墨苍劲中含雅致，将文人意趣与现代构图相融，简洁处见雄浑张力，是自然灵趣与艺术风骨的凝练表达。",[24,29,60,25,59,7,126,1379,2044,23],"构图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F106d01bfdba2829188ac06ff7ca16b58.jpg",[45],"c9c4bb",{"id":2049,"slug":2050,"title":2051,"dynasty":54,"author":2052,"museum":121,"description":2053,"tags":2054,"thumbUrl":2055,"material":85,"size":85,"collection":45,"collections":2056,"showCount":274,"zanCount":11,"manualWeight":11,"mainColor":2057},201612,"lan-shi-mei-hua-tu-zhou-chen-zhuan-201612","兰石梅花图轴","陈撰","墨笔写梅，枝虬劲而花疏朗，风骨暗藏；孤石以淡墨晕染，皴擦间见朴拙之态。兰叶修长婉转，线条灵动如舞，与梅石相映成趣。整幅画作简淡空灵，笔墨洗练却意韵悠长，将梅之傲、兰之幽、石之坚融于一纸，尽显清雅孤高的文人意趣，观之如沐清风，心凝神远。",[24,25,60,32,7,81,156,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb73b8efa989ac9d4b64443852f69ecc5.jpg",[45],"c9baaa",{"id":2059,"slug":2060,"title":2061,"dynasty":54,"author":378,"m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作品流传极少，有人得其片纸，珍如拱璧。",[24,29,554,25,33,7,30,61,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20f6b181f99b7774ac392a39807b244b.jpg",[],{"id":2090,"slug":2091,"title":1743,"dynasty":54,"author":2092,"museum":95,"description":2093,"tags":2094,"thumbUrl":2095,"material":306,"size":307,"collection":85,"collections":2096,"showCount":2066,"zanCount":11,"manualWeight":11,"mainColor":69},235715,"hua-hui-ce-zou-xian-ji-235715","邹显吉","字黎眉，号思静，一号华斋，自称湖北居人，晚号城南老圃，江苏无锡诸生。尝学诗于吴伟业，画摹宋、元，山水、人物均得古法。写生有邹菊之目。著北游集、湖北草堂诗。一门风雅，妻能画梅，兄、弟、子、侄，皆工画，新处各画小品一二种成卷，为时所艳称。康熙三十九年（一七oo）作罗浮佳处卷，时年六十五。",[24,29,78,59,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa845dd65bd69c0d7e8bd8a0630e52882.jpg",[],{"id":2098,"slug":2099,"title":1743,"dynasty":18,"author":2100,"museum":95,"description":2101,"tags":2102,"thumbUrl":2103,"material":306,"size":307,"collection":85,"collections":2104,"showCount":2066,"zanCount":11,"manualWeight":11,"mainColor":69},235474,"hua-hui-ce-qi-xun-235474","戚勋","戚勋 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供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。",[24,554,25,33,7,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6234814c99876de84d31582731ba04a7.jpg",[],{"id":2199,"slug":2200,"title":2201,"dynasty":54,"author":1090,"museum":95,"description":1766,"tags":2202,"thumbUrl":2203,"material":306,"size":307,"collection":85,"collections":2204,"showCount":115,"zanCount":11,"manualWeight":11,"mainColor":69},235059,"za-hua-ce-hua-yan-235059","杂画册",[24,29,78,25,60,126,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d93adda89a07e576ad752b8deb0d09c.jpg",[],{"id":2206,"slug":2207,"title":1743,"dynasty":18,"author":2100,"museum":95,"description":2208,"tags":2209,"thumbUrl":2210,"material":85,"size":85,"collection":85,"collections":2211,"showCount":115,"zanCount":11,"manualWeight":11,"mainColor":69},234268,"hua-hui-ce-qi-xun-234268","戚勋字伯屏，号羽明。明末江阴人。\n早年为诸生，崇祯十六年秋八月，授文华殿中书舍人。弘光帝即位，奉诏督饷福建，不久南京陷落。与陈明遇迎故典史阎应元为帅。城破，戚勋在壁上书写“大明文华殿中书戚勋死节之地”，自焚死。著有《留丹集》、《佩朱随笔》。",[23,24,29,78,25,31,61,40,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0033685bba334666ca8ac9ae54eca497.jpg",[],{"id":2213,"slug":2214,"title":2174,"dynasty":1964,"author":168,"museum":121,"description":2215,"tags":2216,"thumbUrl":2217,"material":85,"size":85,"collection":45,"collections":2218,"showCount":115,"zanCount":11,"manualWeight":11,"mainColor":2219},203150,"lan-shi-tu-zhou-pan-tian-shou-203150","这幅水墨兰石图，笔墨雄健老辣。兰草以劲挺线条写出，穿插有致，墨色浓淡相间，姿态舒展而富有张力；怪石用大块墨色泼染，造型古拙奇崛，与兰草形成刚柔相济之趣。构图疏密对比强烈，留白巧妙，既显空灵之境，又含苍劲之气。题字书法笔力沉厚，与画面笔墨呼应，印章点缀更添古朴。整体尽显文人画的清雅意趣与作者独特的艺术风骨。",[24,25,7,81,30,61,156,60,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365c3b771e919be81790e1b074b9d7db.jpg",[45],"c3b9ad",{"id":2221,"slug":2222,"title":2223,"dynasty":216,"author":941,"museum":121,"description":2224,"tags":2225,"thumbUrl":2226,"material":85,"size":85,"collection":160,"collections":2227,"showCount":115,"zanCount":11,"manualWeight":11,"mainColor":2228},202030,"lan-zhu-tu-he-zhuang-juan-zhao-meng-fu-202030","兰竹图合装卷","画面以水墨写意绘兰、竹与拳石，兰叶舒卷如流云，墨色层次细腻，或浓墨起笔，或淡墨收尾，柔婉中藏劲健；竹枝挺拔，竹叶寥寥数笔却见风骨，与兰草的清逸相映成趣；拳石以皴擦勾勒，纹理古拙苍劲，石隙间细草点缀，更添生机。整体构图疏朗，笔墨简淡却意韵悠长，尽显元代文人画的雅致情趣，将兰竹的君子气节与石的坚韧品格融于一纸，观之令人心生静穆，仿佛能嗅到兰草的幽芳。",[24,25,7,33,81,368,29,28,61,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffecf13c89a8c4d346ac45f908a4110d3.jpg",[160],"9f9691",{"id":2230,"slug":2231,"title":2232,"dynasty":18,"author":2233,"museum":121,"description":2234,"tags":2235,"thumbUrl":2236,"material":85,"size":85,"collection":160,"collections":2237,"showCount":115,"zanCount":11,"manualWeight":11,"mainColor":1873},201761,"zhang-fu-lan-shi-tu-juan-su-xuan-201761","张复 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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。",[922,98,1897,2633,2634,7,33,39,2635,2636,40],"嵌玉","文具","八宝纹","车式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87331bcc66a2fbd86349fb303f1f7def.jpg",[],{"id":2640,"slug":2641,"title":2642,"dynasty":54,"author":378,"museum":95,"description":2643,"tags":2644,"thumbUrl":2647,"material":306,"size":307,"collection":85,"collections":2648,"showCount":235,"zanCount":11,"manualWeight":11,"mainColor":2649},264418,"lan-se-duan-xiu-si-ze-si-ji-hua-wen-pao-liao-yi-ming-264418","蓝色缎绣四则四季花纹袍料","绣法是以绣线横排，故名。如，特点是整齐、均匀，圆润；在绣叶瓣时，在中间分开，运用斜针成倒人字形；也有绣成中间针迹相交叠的形式；也可绣成中间作一钉线的绣法。排绣针法富有变化，刺绣出的花瓣、叶瓣得体逼真，用途较广。",[921,1244,487,2645,2646,60,40,7,36,39],"缎面","团花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc80f15b65fab16fd3091b17a78fe757.jpg",[],"2A56C6",{"id":2651,"slug":2652,"title":2653,"dynasty":54,"author":378,"museum":95,"description":2654,"tags":2655,"thumbUrl":2657,"material":306,"size":307,"collection":85,"collections":2658,"showCount":235,"zanCount":248,"manualWeight":11,"mainColor":49},248483,"hong-qi-miao-jin-tao-fu-si-ji-hua-hui-wen-yuan-pan-yi-ming-248483","红漆描金桃蝠四季花卉纹圆盘","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。",[923,2266,500,2656,40,32,7,33,41,98],"蝠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3303cabda72145422e13399597aa615b.jpg",[],{"id":2660,"slug":2661,"title":2662,"dynasty":54,"author":2663,"museum":95,"description":2664,"tags":2665,"thumbUrl":2666,"material":306,"size":307,"collection":85,"collections":2667,"showCount":235,"zanCount":11,"manualWeight":11,"mainColor":69},239541,"shi-cui-zhu-shan-jiang-que-lan-239541","石翠竹扇","蒋確兰","此帧以湖石为骨，左植翠竹，右纫幽兰，疏密排布贴合扇面形制，雅致妥帖。湖石以泼墨写意，皴擦间墨色浓淡层次分明，尽显朴拙苍劲的嶙峋之态。翠竹以淡墨写竿，浓墨点染竹叶，清挺有节，自带疏朗清气。兰叶以细劲墨线挥写，穿插舒展若临风摇曳，花朵轻勾淡晕，幽柔清雅。右上角题款笔意萧散，与画面气息浑然相融。全作用水墨为主，淡彩轻施，将兰之幽、竹之劲、石之朴揉合一处，暗合君子比德的文人心趣，寥寥笔墨尽抒林下清逸襟怀。",[536,58,24,29,554,25,124,81,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fceb190df75efaba0195a1f0598d696.jpg",[],{"id":2669,"slug":2670,"title":2479,"dynasty":18,"author":2480,"museum":95,"description":2671,"tags":2672,"thumbUrl":2673,"material":306,"size":307,"collection":85,"collections":2674,"showCount":235,"zanCount":11,"manualWeight":11,"mainColor":69},239263,"shu-hua-tu-ce-cheng-min-239263","这幅水墨兰草以简驭繁，尽显文人意趣。以浓淡变化的墨色写兰叶，笔势灵动舒展，如沐春风轻曳，线条韧而不僵，斜逸挺劲间，将兰叶婀娜之态尽付笔端。\n\n寥寥数笔点染兰花，墨色深浅勾衬花形，娇柔清雅跃然纸上。构图疏密相宜，留白开阔空灵，营造出幽谧清寂的氛围。\n\n整幅作品以兰寄情，将君子高洁出尘、淡泊自持的襟怀融于笔墨，不着一字而尽得风流，虽尺幅小巧，却意蕴悠长，尽显水墨小品的雅致格调。",[24,25,60,7,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5bf6982e5eb48dc9064cb5b5c3d0429.jpg",[],{"id":2676,"slug":2677,"title":1271,"dynasty":18,"author":378,"museum":95,"description":1926,"tags":2678,"thumbUrl":2679,"material":85,"size":85,"collection":85,"collections":2680,"showCount":235,"zanCount":11,"manualWeight":11,"mainColor":69},236763,"zhou-tian-qiu-mo-lan-tu-ce-yi-ming-236763",[24,29,58,78,25,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c1e19d3c3ded6118071a889bc7a849a.jpg",[],{"id":2682,"slug":2683,"title":1271,"dynasty":18,"author":378,"museum":95,"description":1926,"tags":2684,"thumbUrl":2685,"material":85,"size":85,"collection":85,"collections":2686,"showCount":235,"zanCount":11,"manualWeight":11,"mainColor":69},236762,"zhou-tian-qiu-mo-lan-tu-ce-yi-ming-236762",[24,29,58,78,25,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeed8cb1c4f91e29eb7470cb038fd3c3.jpg",[],{"id":2688,"slug":2689,"title":1271,"dynasty":18,"author":378,"museum":95,"description":1926,"tags":2690,"thumbUrl":2691,"material":85,"size":85,"collection":85,"collections":2692,"showCount":235,"zanCount":11,"manualWeight":11,"mainColor":69},236760,"zhou-tian-qiu-mo-lan-tu-ce-yi-ming-236760",[58,24,29,78,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce6d0c7b8a3183c63c3a0314953f74fd.jpg",[],{"id":2694,"slug":2695,"title":1271,"dynasty":18,"author":378,"museum":95,"description":1926,"tags":2696,"thumbUrl":2697,"material":85,"size":85,"collection":85,"collections":2698,"showCount":235,"zanCount":11,"manualWeight":11,"mainColor":69},236758,"zhou-tian-qiu-mo-lan-tu-ce-yi-ming-236758",[58,24,29,78,25,7,81,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff526eb92dd36f9b3394b062db8d28daf.jpg",[],{"id":2700,"slug":2701,"title":2702,"dynasty":54,"author":378,"museum":95,"description":2703,"tags":2704,"thumbUrl":2705,"material":85,"size":85,"collection":85,"collections":2706,"showCount":235,"zanCount":11,"manualWeight":11,"mainColor":69},235886,"yuan-ji-hua-hui-tu-ce-yi-ming-235886","原济花卉图册","此作用笔极简却意趣悠长，以淡墨挥写兰叶，线条劲挺舒展如迎风摇曳，带着清刚之姿，淡墨点染花蕊，寥寥数笔便将幽兰娇俏灵动之态勾勒尽致。顽石以阔笔泼墨皴擦，墨色干湿浓淡层叠交错，枯涩笔触晕染出嶙峋肌理，朴拙厚重间尽显沉静气度。画面留白疏密相宜，虚实相生，以少胜多烘托出幽寂空灵的意境，借兰石寄寓品格，将幽兰孤高清逸的气韵与山石沉稳朴拙的质感相融，尽显文人画的雅逸风骨，藏着画者超尘绝俗的精神追求。",[24,29,58,78,25,26,7,294],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65062d2cd885f02a1cf82b4677985c92.jpg",[],{"id":2708,"slug":2709,"title":2013,"dynasty":18,"author":2014,"museum":95,"description":2015,"tags":2710,"thumbUrl":2711,"material":85,"size":85,"collection":85,"collections":2712,"showCount":235,"zanCount":248,"manualWeight":11,"mainColor":69},233249,"shi-zhu-zhai-pu-ce-hu-ri-cong-233249",[24,29,78,25,124,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F262f57344c34e4f3e43ee4cc2744d625.jpg",[],{"id":2714,"slug":2715,"title":2013,"dynasty":18,"author":2014,"museum":95,"description":2015,"tags":2716,"thumbUrl":2717,"material":85,"size":85,"collection":85,"collections":2718,"showCount":235,"zanCount":11,"manualWeight":11,"mainColor":69},233243,"shi-zhu-zhai-pu-ce-hu-ri-cong-233243",[24,29,78,124,2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曾廷澐之子。",[54,24,29,31,124,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bb323c021d758be0a8e4ff2c28d097b.jpg",[187],{"id":2854,"slug":2855,"title":2479,"dynasty":18,"author":2480,"museum":95,"description":2856,"tags":2857,"thumbUrl":2858,"material":85,"size":85,"collection":85,"collections":2859,"showCount":201,"zanCount":11,"manualWeight":11,"mainColor":69},239267,"shu-hua-tu-ce-cheng-min-239267","此作用极简水墨绘就幽兰逸姿，中锋挥写兰叶，线条舒展劲挺，柔而带骨，于虚实枯润间尽显萧散灵动。淡墨轻勾兰瓣，浓墨点染花心，寥寥数笔便将兰花清雅柔婉之态定格纸面。\n\n构图疏密相宜，留白空灵悠远，以形写意，借幽兰芳洁之姿寄寓文人君子风骨。笔简意丰，淡远悠然，尽显林下之风雅致意趣，将文人情愫与花木风神相融，余韵绵长。",[24,25,78,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09c3b3a861a771a78317f068089c63c0.jpg",[],{"id":2861,"slug":2862,"title":2479,"dynasty":18,"author":2480,"museum":95,"description":2863,"tags":2864,"thumbUrl":2865,"material":85,"size":85,"collection":85,"collections":2866,"showCount":201,"zanCount":11,"manualWeight":11,"mainColor":69},239265,"shu-hua-tu-ce-cheng-min-239265","此作用笔极简，以淡墨勾勒湖石，留白衬出嶙峋空灵之态，枯润线条尽显硬挺质感。兰叶以中锋挥写，笔势舒展劲健，俯仰生姿，寥寥数笔便将幽兰清挺孤傲的韵致尽显。角落细碎苔草与修长兰叶形成疏密对照，画面虚实相生，清雅绝尘。\n全幅以水墨为骨，不施丹青，尽显重韵尚简之妙，借兰石托物言志，寄寓超脱世俗、守正高洁的襟怀，笔墨间晕开冲淡悠远的林下之风，是意韵悠长的写意小品佳作。",[24,29,78,25,368,7,81,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9a2bc3083f764a8425c72894ad21147.jpg",[],{"id":2868,"slug":2869,"title":637,"dynasty":54,"author":2302,"museum":95,"description":2870,"tags":2871,"thumbUrl":2872,"material":85,"size":85,"collection":85,"collections":2873,"showCount":201,"zanCount":11,"manualWeight":11,"mainColor":69},239163,"shan-shui-hua-hui-ce-chen-heng-ke-239163","此作为典型文人小品，右侧以淡墨晕染寿桃，轮廓简约却饱满莹润，浓墨勾枝，拙朴苍劲，寥寥数笔便将桃实的清灵生机尽显。左侧行书题词，笔力隽逸舒展，墨色浓淡变化自然，词句与画意相映成趣。\n\n整体构图疏朗空灵，以少胜多，水墨写意间尽显简澹天真的意趣。将花果的清雅与词作幽寂的意境相合，不着艳色，却在干湿浓淡的笔墨变化中，晕染出东方文人淡泊恬然的审美意韵，余味悠长。",[24,29,78,25,31,30,40,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a2753ad7037255f25709ae0a5269cbf.jpg",[],{"id":2875,"slug":2876,"title":931,"dynasty":54,"author":932,"museum":95,"description":933,"tags":2877,"thumbUrl":2878,"material":85,"size":85,"collection":85,"collections":2879,"showCount":201,"zanCount":11,"manualWeight":11,"mainColor":69},238035,"bai-ding-lan-shi-ce-bai-ding-238035",[24,29,58,78,25,7,294],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb351fb753680ad4ddd12bf2c964440f9.jpg",[],{"id":2881,"slug":2882,"title":1271,"dynasty":18,"author":378,"museum":95,"description":1926,"tags":2883,"thumbUrl":2884,"material":85,"size":85,"collection":85,"collections":2885,"showCount":201,"zanCount":11,"manualWeight":11,"mainColor":69},236759,"zhou-tian-qiu-mo-lan-tu-ce-yi-ming-236759",[24,29,78,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8de5afae705e0b9df92d48479b35375d.jpg",[],{"id":2887,"slug":2888,"title":2889,"dynasty":54,"author":378,"museum":95,"description":2890,"tags":2891,"thumbUrl":2892,"material":85,"size":85,"collection":85,"collections":2893,"showCount":201,"zanCount":11,"manualWeight":11,"mainColor":69},235958,"cai-jia-hua-hui-tu-ce-yi-ming-235958","蔡嘉花卉图册","此作用淡墨写兰绘石，兰叶舒展挺秀，穿插顾盼有致，笔力清劲洒脱，将幽兰柔而不折的姿态勾勒尽致。花苞隐于叶间，含露待放，古拙湖石错落布于丛兰之侧，苔点缀饰更添苍润意趣。\n\n画面留白空灵，搭配左侧题诗，诗画相映，尽显文人水墨的萧散简远。整幅画以简驭繁，以淡墨氤氲出清寂出尘的意境，借幽兰寄寓君子孤高脱俗的品格，把中式文人画的清雅高逸之风尽数铺展，笔墨寥寥却神韵具足，意韵悠长。",[24,29,78,124,25,61,7,81,82,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3de71015eb8c0bc0926ad08d809f0d86.jpg",[],{"id":2895,"slug":2896,"title":1743,"dynasty":18,"author":2897,"museum":95,"description":2898,"tags":2899,"thumbUrl":2900,"material":306,"size":307,"collection":85,"collections":2901,"showCount":201,"zanCount":11,"manualWeight":11,"mainColor":69},235266,"hua-hui-ce-wang-gu-xiang-235266","王穀祥","王谷祥（1501年－1568年），字禄之，号酉室，南直隶苏州府长洲县（今苏州）人。嘉靖八年（1529年）进士，授工部主事。历吏部员外郎，持法不阿，忤尚书汪鋐，贬真定通判。",[24,29,124,25,78,60,39,7,30,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa06241254ce5a62ce188d62da9632b4d.jpg",[],{"id":2903,"slug":2904,"title":2201,"dynasty":54,"author":2905,"museum":95,"description":2906,"tags":2907,"thumbUrl":2908,"material":306,"size":307,"collection":85,"collections":2909,"showCount":201,"zanCount":11,"manualWeight":11,"mainColor":69},235192,"za-hua-ce-huang-shen-235192","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 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