[{"data":1,"prerenderedAt":384},["ShallowReactive",2],{"subject-luo-hua":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},1077,"luo-hua","落花","落花画高清赏析","精选中国历代落花题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91e9b0cfca74d5347a2b8392f55e0cb0.jpg",0,35,[14,38,60,74,87,100,118,126,141,156,182,194,208,220,228,236,243,251,259,268,275,281,287,294,300,306,313,322,328,335,342,349,356,362,370],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":33,"material":34,"size":34,"collection":34,"collections":35,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},233906,"hua-hui-shan-shui-ce-yun-shou-ping-233906","花卉山水册","清","恽寿平","藏地不详","恽寿平（1633-1690年），初名格，后以字行，又字正叔，别号南田，一号白云外史、云溪外史、东园客、巢枫客、草衣生、横山樵者。江苏武进人。清代著名画家。与“四王”、吴历并称“清初六大家”。其父恽日初诗文杰出，为“复社”中人。叔父恽向（道生）为著名山水画家，自创一派。恽寿平是清朝初期最享盛名的花鸟画家。其画作多写生，人称“写生正派”；更以徐崇嗣为宗，兼取各家之长，极大的发展了没骨画。所画花卉，很少勾勒，以水墨着色渲染，用笔含蓄，画法工整，明丽简洁，天趣盎然。恽寿平不仅画作出众，风格独具，而且兼工诗书，题句清丽流畅，诗格脱俗超逸，为“昆陵六逸”之冠。恽南田《山水花卉册》八帧，其中包括山水，花鸟及情景兼容的人物，攘括了恽南田所有的画种。画中有退耕堂藏印。退耕堂为徐世昌的室名。\n恽寿平一生坎坷，饱经困苦，他幼年聪颖玲利，遭遇战乱，与兄皆被俘，与父亲失散，后遇灵隐寺方丈相救，才得以与家人团聚，归家后，发奋读书学画。经刻苦钻研，于古文、诗词、书画无不精擅。他崇尚气节，誓不应科举，少时的忧患，留下深深的创痛，一生未尝忘情。却在绘画上取得了很高的成就；恽南田曾致书王（翚）说：“格于山水，终难打破一字关，曰‘窘’，良由为古人规矩法度所束缚耳。”又说：“君独步矣！吾不为第二手也”。于是恽寿平转攻花鸟，以后山水不过偶而为之。可见其艺术抱负。《山水花卉册》中的山水，取黄公望笔法，于荒率中见秀润，尖毫勾皴，浓墨点树、高旷清淡，浸润宋元诸家，吸取王蒙、二米等人之长，渐脱刻极。40岁左右作品最为精采，如43岁的《山水花鸟册》，技法灵活多变，表达各家风貌准确，艺术已臻成熟。他的花鸟画成就最为突出，取法徐崇嗣的没骨法，他的没骨花卉，揉合了黄（筌）、徐（熙）两派技法，既重视写生，力求形似，“每画一花，必折是花插之瓶中，极力描摹，得其生香活色而后已。”又强调“与花传神”。力去华靡，追求“ 澹雅”。此册中的花鸟更是形神兼备，清新淡雅，具有新的风貌。",[23,24,25,26,27,28,29,30,31,32,7],"国画","清代","册","没骨","设色","印章","柳树","松树","鱼","明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45310b0b5b6eed41b29e10791b123347.jpg","",[],110,"BDBDBD",{"id":39,"slug":40,"title":41,"dynasty":42,"author":43,"museum":44,"description":45,"tags":46,"thumbUrl":52,"material":53,"size":54,"collection":55,"collections":56,"showCount":57,"zanCount":58,"manualWeight":11,"mainColor":59},219080,"luo-hua-you-yu-tu-yi-ming-219080","落花游鱼图","明","佚名","费城艺术博物馆","画面下部描绘了一条张着嘴的鸳鸯鱼，鱼身上有绚丽的背鳍和斑点，周围有荷叶和花朵，还有一条更低调的鲤鱼，鳞片整齐，鱼鳍挥舞，似乎正在向鸳鸯鱼游去。",[23,47,48,27,49,31,50,7,51],"书画","工笔","花鸟","荷花","荷叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadfa03c687a78c5002929fc39069b598.jpg","绢本,设色","49.3x33.5cm","花鸟画精选",[55],87,1,"795548",{"id":61,"slug":62,"title":63,"dynasty":64,"author":65,"museum":20,"description":66,"tags":67,"thumbUrl":71,"material":34,"size":34,"collection":34,"collections":72,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":59},227545,"luo-hua-you-yu-tu-juan-liu-cai-227545","落花游鱼图卷","宋","刘寀","《落花游鱼图》是北宋刘寀创作的绢本设色画，现藏于美国圣路易美术馆。\n\n此图开始先画盛开的杏花，伸向水面，向后展开，落花引来群鱼争食、或聚或散，或潜游，或上浮，或回泳，翻藻戏蒲，以示水中的畅泳自然之态。其画法全用渲染，间或用没骨法，不见钩勒，活泼生动。这种表现方法和诗情画意，独创一格，多为后人所仿效。",[68,23,69,48,27,31,50,7,70,28],"高清","长卷","水草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa408c3b0e7c06087b3ea0051b1546b89.jpg",[],77,{"id":75,"slug":76,"title":41,"dynasty":18,"author":77,"museum":20,"description":78,"tags":79,"thumbUrl":83,"material":34,"size":34,"collection":34,"collections":84,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":86},228968,"luo-hua-you-yu-tu-ma-yuan-yu-228968","马元驭","柔条垂拂牵缀艳红繁花，将暮春清韵轻轻铺展。水面之上，荇藻参差漾着细波，睡荇悬根随水轻摆，漾开空濛水色。数尾游鱼穿弋其间，摆尾逐着飘零落花，灵动悠然，把春水的生机藏在幽谧里。\n\n全作用没骨晕染，淡彩轻敷，将花叶柔润、柳条纤长的质感晕染尽致，未着一笔写水，却借藻荇与游鱼的姿态，将春水空明漾开。花随水去，鱼逐花影，把幽赏春池的闲逸融在笔底，观之便如临浅春水泽，漫生出恬然清和的诗意。",[68,23,47,80,27,49,81,7,29,82,48],"立轴","游鱼","水生植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84302d047146391e5135486d1a4f33c6.jpg",[],72,"F48FB1",{"id":88,"slug":89,"title":41,"dynasty":64,"author":90,"museum":91,"description":92,"tags":93,"thumbUrl":96,"material":53,"size":34,"collection":55,"collections":97,"showCount":98,"zanCount":58,"manualWeight":11,"mainColor":99},219309,"luo-hua-you-yu-tu-zhao-ke-fu-219309","赵克复","私人收藏","鱼儿鲜艳活泼，红花顺流而下，画面气势磅礴。 整幅画是水，不是一笔一划，而是海藻随波逐流，鱼群追逐，红花飘扬。 这是非常生动的。 所有的绘画方法都是渲染的，而不是轮廓。",[23,94,27,48,49,31,7,95],"名画","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F140f4302cb2d72fab458841216deaf68.jpg",[55],71,"37474F",{"id":101,"slug":102,"title":103,"dynasty":42,"author":104,"museum":20,"description":105,"tags":106,"thumbUrl":113,"material":114,"size":115,"collection":34,"collections":116,"showCount":117,"zanCount":11,"manualWeight":11,"mainColor":37},235803,"luo-hua-you-yu-tu-shan-chen-chun-235803","落花游鱼图扇","陈淳","陈淳（1483年—1544年），字道复，后以字行，更字复甫，号白阳，又号白阳山人，长洲（今江苏苏州）人，明代绘画大师。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。",[107,27,108,109,49,110,111,31,7,112],"扇面","水墨","写意","孤石","桃花","草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b063b4f738948ec89dde7314392fb68.jpg","未知","Xcm*Xcm",[],47,{"id":119,"slug":120,"title":41,"dynasty":64,"author":65,"museum":20,"description":121,"tags":122,"thumbUrl":123,"material":114,"size":115,"collection":34,"collections":124,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":59},289353,"luo-hua-you-yu-tu-liu-cai-289353","此图开始先画盛开的杏花，伸向水面，向后展开，落花引来群鱼争食、或聚或散，或潜游，或上浮，或回泳，翻藻戏蒲，以示水中的畅泳自然之态。其画法全用渲染，间或用没骨法，不见钩勒，活泼生动。这种表现方法和诗情画意，独创一格，多为后人所仿效。",[68,23,69,48,27,31,50,7,70,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ffa62a615216e5b528da9cf4e900f74.jpg",[],31,{"id":127,"slug":128,"title":129,"dynasty":42,"author":130,"museum":131,"description":132,"tags":133,"thumbUrl":137,"material":34,"size":138,"collection":34,"collections":139,"showCount":140,"zanCount":58,"manualWeight":11,"mainColor":59},222358,"luo-hua-shi-ce-tang-yin-222358","落花诗册","唐寅","辽宁省博物馆","《落花诗》是由沈周首唱，和者有文征明、徐帧卿、吕常、唐寅等人。唐寅落花诗率真蕴藉，经多次书写多次修改，总共形成47首之谱。人们通常认为唐寅落花诗反映了士大夫的感物伤怀的颓废情绪，其实曲解了作者本意。唐寅作落花诗时年仅35岁，离科场被黜不过5年，胸中块垒郁勃无由化解，乃借风云月露以排遣之。看似伤春，实乃抒写痛苦遭遇。\n《唐寅落花诗册》收入的三十首诗，是唐寅的和作。诗的内容反映了封建士大夫感物伤怀的颓废情绪，但是书法严谨，是唐寅的代表作品之一。 唐寅画落花图，并在图上题落花诗并非一次。每次所录诗作的数量不同，内容不同，书法风格也不尽相同，目前所知的分别藏于普林斯顿大学附属美术馆、辽宁省博物馆、中国美术馆。\n从艺术成就看，唐寅的画胜诗，诗胜字，诗书之名久为画掩。\n《落花诗》是由沈周首唱，和者有文征明、徐帧卿、吕常、唐寅等人。唐寅落花诗率真蕴藉，经多次书写多次修改，总共形成47首之谱。人们通常认为唐寅落花诗反映了士大夫的感物伤怀的颓废情绪，其实曲解了作者本意。唐寅作落花诗时年仅35岁，离科场被黜不过5年，胸中块垒郁勃无由化解，乃借风云月露以排遣之。看似伤春，实乃抒写痛苦遭遇。\n《唐寅落花诗册》收入的三十首诗，是唐寅的和作。诗的内容反映了封建士大夫感物伤怀的颓废情绪，但是书法严谨，是唐寅的代表作品之一。 [1] [1]唐寅画落花图，并在图上题落花诗并非一次。每次所录诗作的数量不同，内容不同，书法风格也不尽相同，目前所知的分别藏于普林斯顿大学附属美术馆、辽宁省博物馆、中国美术馆。\n从艺术成就看，唐寅的画胜诗，诗胜字，诗书之名久为画掩。\n落花诗墨迹的各个版本唐寅一生曾多次书写落花诗，每次所录诗作的数量不同，内容不同，书法风格也不尽相同。目前所知的有以下几个版本：\n就目前所见的唐寅落花诗真迹有四本：即苏州市博物馆藏本、普林斯顿大学附属美术馆藏本、辽宁省博物馆藏本和中国美术馆藏本。见于著录的唐寅书落花诗则有《蔬香馆法帖》、《海山仙馆藏真三刻》、《珊瑚网》等多种。",[68,94,134,135,136,47,25,108,7],"书法","行书","字帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa11f9f927e26e7749c62c6b71ab76d0.jpg","纵二十三点五厘米，横四百四十五厘米",[],29,{"id":142,"slug":143,"title":144,"dynasty":64,"author":43,"museum":145,"description":146,"tags":147,"thumbUrl":151,"material":53,"size":152,"collection":153,"collections":154,"showCount":155,"zanCount":11,"manualWeight":11,"mainColor":59},290759,"tao-zhu-shuang-fu-tu-zhou-yi-ming-290759","桃竹双凫图轴","台北故宫博物院","此作用笔兼具工致与写意之妙，古朴底色晕染出澹然春暮氛围。右侧虬曲桃枝缀满素白花苞，柔梢栖立幽禽，与劲挺青竹交错掩映，花瓣簌簌飘落，铺撒于浅草滩涂，坡石以淡墨晕皴，苍润朴拙。\n\n水面双凫姿态悠然，顾盼相随，羽毛绒羽层次细腻鲜活，粼粼水纹隐现其间。整体画面恬淡安宁，将水岸春景的幽寂野趣尽收卷中，于细微处尽显写生功力，暗合寄情林泉、观物察美的雅致意趣。",[23,49,48,27,111,148,149,150,110,7],"竹","凫","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ce05a7202359b07a2ba9cecc54873d7.jpg","163.3x103.1","宋画精选",[153],27,{"id":157,"slug":158,"title":159,"dynasty":18,"author":160,"museum":20,"description":161,"tags":162,"thumbUrl":176,"material":177,"size":178,"collection":179,"collections":180,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":86},224438,"yong-luo-hua-qi-lv-shi-wu-zhang-he-shao-ji-224438","咏落花七律十五章","何绍基","同治四年（乙丑，1865年）春书于苏州。\n何绍基的行草书融篆、隶于一炉，骏发雄强，独具面貌。\n他的篆书，中锋用笔，并能掺入隶笔，而带行草笔势，自成一格。",[68,134,135,69,7,163,164,165,166,167,168,169,170,171,172,173,174,175],"春","江","酒","雨","月","风","山","云","水","亭","舟","柳","桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a99b11b1e1294d79f91b13adc0f6273.jpg","行草","横30厘米，纵181厘米","书法精选",[179],15,{"id":183,"slug":184,"title":185,"dynasty":18,"author":186,"museum":20,"description":187,"tags":188,"thumbUrl":190,"material":191,"size":34,"collection":179,"collections":192,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":37},241379,"wu-lv-zhou-shen-sheng-qi-241379","五律轴","沈圣岐","万历时人。善书。诗余画谱有其所书。",[134,135,80,28,163,189,7,111],"夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecfa9905c2c722d08994fd79fd112cb9.jpg","纸本",[179],5,{"id":195,"slug":196,"title":197,"dynasty":18,"author":43,"museum":20,"description":198,"tags":199,"thumbUrl":205,"material":114,"size":115,"collection":34,"collections":206,"showCount":207,"zanCount":11,"manualWeight":11,"mainColor":37},262007,"dou-cai-luo-hua-liu-shui-wen-bei-yi-ming-262007","斗彩落花流水纹杯","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。",[200,201,202,7,203,204],"陶瓷","饮酒器","斗彩","流水","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F105f91510fa7c13613451640bedc93df.jpg",[],3,{"id":209,"slug":210,"title":211,"dynasty":18,"author":43,"museum":20,"description":212,"tags":213,"thumbUrl":218,"material":114,"size":115,"collection":34,"collections":219,"showCount":207,"zanCount":11,"manualWeight":11,"mainColor":37},248197,"ti-hong-luo-hua-liu-shui-wen-ru-yi-shi-he-yi-ming-248197","剔红落花流水纹如意式盒","清代文物。旧时用于存放食物或饰品之用,根据材质价值不同。清宫旧藏",[18,214,215,216,7,203,217],"漆器","雕刻","剔红","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc8370c1a6bdecc29eec644465d50447.jpg",[],{"id":221,"slug":222,"title":223,"dynasty":18,"author":43,"museum":20,"description":212,"tags":224,"thumbUrl":226,"material":114,"size":115,"collection":34,"collections":227,"showCount":58,"zanCount":11,"manualWeight":11,"mainColor":59},248295,"ti-hong-luo-hua-liu-shui-an-ba-xian-wen-yuan-he-yi-ming-248295","剔红落花流水暗八仙纹圆盒",[214,216,215,7,203,225,217],"暗八仙纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79babbd35daa12fa325149027c0c6c6f.jpg",[],{"id":229,"slug":230,"title":231,"dynasty":18,"author":43,"museum":20,"description":212,"tags":232,"thumbUrl":234,"material":114,"size":115,"collection":34,"collections":235,"showCount":58,"zanCount":11,"manualWeight":11,"mainColor":59},248268,"ti-hong-luo-hua-liu-shui-wen-qing-shi-he-yi-ming-248268","剔红落花流水纹磬式盒",[24,214,216,215,7,203,233],"器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3afb8841d4ea7b8bd2522e01fb5f7d1e.jpg",[],{"id":237,"slug":238,"title":239,"dynasty":18,"author":43,"museum":20,"description":212,"tags":240,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