[{"data":1,"prerenderedAt":345},["ShallowReactive",2],{"subject-li-hua":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},616,"li-hua","梨花","梨花画高清赏析","精选中国历代梨花题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb19dfa93467a29440ee058be5abaf47.jpg",0,23,[14,42,60,83,100,116,131,146,172,185,197,210,221,233,244,253,263,277,290,302,314,325,333],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":33,"material":34,"size":35,"collection":36,"collections":37,"showCount":39,"zanCount":40,"manualWeight":11,"mainColor":41},220996,"hua-hui-tu-ce-li-hua-yun-shou-ping-220996","花卉图册·梨花","清","恽寿平","美国纳尔逊阿特金斯艺术博物馆","《花卉图册》绘有荷花、梨花、水仙、桃花、山矾、罂粟、茶蘼、金萱石榴、牵牛、双凤、桂枝及雁来红等十二种花。画用新没骨法，不用墨线钩勒，而直接着色点染而成。点色的用笔很洒脱、飘逸。十二种花，各具姿色。色彩艳而不俗，色调的表情是清丽和冷艳，在秀雅之中含有一种凛然难犯的韵味。画册中，作者或题名或赋诗，那秀劲古逸、和婉密丽的书体，与这种艳雅的画风相结合，相得益彰，更具魅力。该图册是恽寿平绘画中的精品。\n恽寿平（1633—1690），初名格，字寿平，号南田，武进（江苏常州）人。其诗格超逸，书法遒劲，擅长山水画，尤精没骨花卉画，画笔生动。",[23,24,25,26,27,28,29,30,7,31,32],"高清","国画","书画","名画","册","没骨","设色","花鸟","枝叶","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5ced6b3440393ea70433c90398c4a22.jpg","纸本 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从技术上讲，梨花被涂成白色，茎是浅绿色； 鹦鹉是用每一根粗毛笔画出来的，丝绸蓬松，身体圆润，非常可爱！",[23,26,24,25,51,29,30,7,109,32],"鹦鹉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58717acba13d2d5091e6b0c695bb5c0e.jpg","绢本，设色","27.6x27.6cm",[],174,3,{"id":117,"slug":118,"title":119,"dynasty":18,"author":120,"museum":121,"description":122,"tags":123,"thumbUrl":126,"material":127,"size":128,"collection":56,"collections":129,"showCount":130,"zanCount":115,"manualWeight":11,"mainColor":41},289748,"li-hua-ye-yue-tu-zhou-zou-yi-gui-289748","梨花夜月图轴","邹一桂","藏地不详","邹一桂（1688-1772），清代画家。字元褒，号小山、二知、让卿、乡森子，江苏无锡人。雍正五年(1727)进士，官至礼部侍郎。擅工笔花卉。尝作《百花》卷，各系一诗。传世作品有《白梅山茶图》、《太古云岚图》、《水仙红梅图》等。",[24,26,124,51,29,30,7,125,32],"立轴","明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff5dcc5f61ef2890fee967d4bf94603b.jpg","未知","Xcm*Xcm",[],108,{"id":132,"slug":133,"title":134,"dynasty":46,"author":135,"museum":136,"description":137,"tags":138,"thumbUrl":140,"material":141,"size":142,"collection":36,"collections":143,"showCount":144,"zanCount":11,"manualWeight":11,"mainColor":145},220315,"li-hua-shuang-jiu-tu-yu-yuan-220315","梨花双鸠图","虞沅","辛辛那提艺术博物馆","陶渊明的诗作在清新自然的氛围中营造了一种恬淡宁静、纯朴自然的境界，这正是老庄艺术境界与人生境界的合一。钱选追慕陶渊明式的的隐逸生活，他曾画了多幅《归去来图》以示对陶潜的景仰之情，画中曾经题诗：“衡门植五柳，东篱采丛菊。长啸有余清，无奈酒不足。当世宜沈酣，作色召侮辱。乘兴赋归欤，千载一辞独。”钱选的传世作品《柴桑翁像》卷描绘陶渊明头戴明纱巾，脚着木屐，携杖款款而行的样子。画中题道：“晋陶渊明得天真之趣，无青州从事而不可陶写胸中磊落，尝命童子佩酒以随，故时人模写之。余不敏，亦写此以况。”可见钱选是借陶渊明来书写胸臆，仿陶潜之隐逸，寻道老庄，建自身之心隐，表达对陶潜自喻的隐居素志和平淡生活情趣的田园生活的向往，钱选在生活和绘画创作中极力营造心目中“桃花源”，一个平和、繁华但又远离尘世，隐心俗世之外，又从世外深情俯视人间之境。",[23,24,25,124,51,29,30,7,139],"鸠鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f327fd3c66d28a0a0a4df196d628d00.jpg","绢本,设色","97cm×30.2cm",[36],75,"795548",{"id":147,"slug":148,"title":149,"dynasty":104,"author":150,"museum":121,"description":151,"tags":152,"thumbUrl":166,"material":167,"size":168,"collection":169,"collections":170,"showCount":171,"zanCount":99,"manualWeight":11,"mainColor":41},221275,"li-hua-shi-huang-ting-jian-221275","梨花诗","黄庭坚","原诗共20首诗，本帖缺失。题头序：梨花诗，外甥孙莘老以梨花唱和诗寄余索和，夫诗生于情，不情而何以诗？余自黔还戎多日，苦思情由何生？虽然，抚景伤时，不能已也，遂步韵如左。 山谷道人黄庭坚。",[23,25,94,69,153,7,154,155,156,157,158,159,160,161,162,163,164,165],"行书","蜂","庭院","雪","月","春","花","亭","燕","水","风","香","影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee9aa84b78c39a13f5b32c23ac63de5b.jpg","行楷，碑帖拓本","29X272cm","书法精选",[169],74,{"id":173,"slug":174,"title":175,"dynasty":46,"author":176,"museum":177,"description":178,"tags":179,"thumbUrl":180,"material":181,"size":182,"collection":56,"collections":183,"showCount":184,"zanCount":99,"manualWeight":11,"mainColor":145},231484,"li-hua-tu-chen-hong-shou-231484","梨花图","陈洪绶","私人收藏","陈洪绶号曰老莲，章侯其字也，先祖原居河南许昌，南宋时随高宗南迁，定居于浙江诸暨枫桥镇。陈洪绶在少年时代即显示出在绘画艺术的天授之才，著名画家蓝瑛、孙杕看到陈洪绶十岁时的画作，惊叹道：“使斯人画成，道子、子昂均当北面，我辈尚敢措笔乎！”又曰：“此天授也”。此后陈随蓝、孙两师学习，继而研习、临摹古代大师传世之作，师法唐人，兼学宋元诸名家，人物、山水、花鸟无所不学，他的艺术天分加上勤学苦练使他很早就在画坛声名大振。 陈洪绶生活在晚明时期，朝廷极度腐败，文化方面却呈现出多变而丰富的面貌，陈洪绶是彼时最具强烈个性的艺术巨匠，在绘画的各个题材中均有独特的创造性，并影响中国绘画数百年，流风至今不衰。\n陈洪绶的这件《梨花图》绘于绢本，纵76公分，横26公分，题款：老莲洪绶画。虽未署年款，据陈洪绶传世的其它创作于深柳读书堂的作品及《梨花图》的风格推断，这件作品应创作于十七世纪三十年代中期，那时陈洪绶年龄近四十，绘画技巧已然十分纯熟。画面高低变化，巧妙地丰富了画面的视觉效果。陈洪绶的花鸟画作品，体现了他的精神品位，在构图和造型上都打破了传统样式的束缚，有古拙之趣，造型新颖、拙朴率真，这是在继承传统的基础上显现出的强烈个人风格风貌。其花鸟画表现手法，受宋代院体画风的影响，造型严谨，工笔双钩，设色艳丽，由此汲取艺术精华并发展而来。又受明末大写意花鸟画的影响，用笔洒脱灵动，兼工带写，水墨交融。这件《梨花图》既是画家长期写生锤炼的结晶，也是宋代花鸟画的神韵所在。因陈洪绶花鸟绘画具有高度的装饰性，所以类似《梅花图》这样的题材在当时必定广受欢迎。",[23,24,25,124,51,29,30,7,92,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ed725b25d09198789d5bf2f2832ed81.jpg","纸本","76×26 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