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丰满，赋色浓丽，勾勒精细，几乎不见笔迹，似轻色染成，谓之“写生”。与江南徐熙并称“黄徐”，形成五代、宋初花鸟画两大主要流派。",[23,24,94,93,140,7,141,142,143,126],"花鸟画","枯木","育雏","温馨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1222ad8ff58aa55cef97307a7653c7f7.jpg","未知","Xcm*Xcm",[],56,1,{"id":151,"slug":152,"title":153,"dynasty":87,"author":154,"museum":137,"description":155,"tags":156,"thumbUrl":162,"material":53,"size":53,"collection":53,"collections":163,"showCount":164,"zanCount":149,"manualWeight":11,"mainColor":57},230118,"xie-sheng-hua-niao-tu-qu-zhao-lin-230118","写生花鸟图","屈兆麟","此作以工笔设色绘就庭院清秋小景，桂树新枝缀着嫩绿叶瓣与细碎繁花，枝头双雀依偎和鸣，另有群雀或振翅掠空，或伫立于朱漆栏杆，将灵雀憨态描摹得鲜活入微。\n\n下方幽石错落，阔叶草木舒展柔姿，淡色小花点缀其间，晕染出静谧雅致的庭间氛围。设色清妍柔和，线条匀净秀润，兼具院体花鸟的工致写实，又暗含文人写意的清幽意趣，将寻常庭院的花鸟日常，晕染为一方诗意盎然的雅致画境，尽显写生花鸟的细腻妙趣。",[23,24,25,124,94,93,30,95,157,158,76,7,159,160,161],"树","枝干","栅栏","石头","花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0eac61a99c9ad9c38167017ba4112f0.jpg",[],49,{"id":166,"slug":167,"title":168,"dynasty":87,"author":169,"museum":170,"description":171,"tags":172,"thumbUrl":175,"material":176,"size":177,"collection":80,"collections":178,"showCount":179,"zanCount":56,"manualWeight":11,"mainColor":115},219032,"tao-que-tu-xia-wen-xuan-219032","桃雀图","夏文铉","大英博物馆","绢本泛黄如时光沉淀的暖光，数只雀鸟或栖枝梳羽，或振翅欲飞，羽色赭褐与墨黑相间，神态鲜活灵动。梅枝疏朗横斜，淡粉花瓣点染梢头，似携清寒暗香；松针苍劲如笔，与柔枝相映成趣。画面留白开阔，笔墨简淡却意韵悠长，将禽鸟的生趣与花木的清雅融于一方素绢，尽显文人画的雅致风骨。观之令人心宁神悦，仿佛触到了春日的轻暖气息，于细微处见生机，于简淡中藏深情，是一幅兼具意趣与格调的佳作。",[23,65,24,25,94,93,30,173,7,174],"桃花","松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F282866ed8d516c58dc487f5bdc68d7c8.jpg","绢本,设色","纵39.1横26.5厘米",[80],46,{"id":181,"slug":182,"title":183,"dynasty":87,"author":88,"museum":89,"description":90,"tags":184,"thumbUrl":189,"material":93,"size":99,"collection":53,"collections":190,"showCount":191,"zanCount":11,"manualWeight":11,"mainColor":57},222737,"xian-e-chang-chun-tu-dou-hua-lang-shi-ning-222737","仙萼长春图豆花",[23,65,24,25,92,93,94,185,186,30,96,7,187,188,74,95],"写实","中西合璧","草地","石块","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf7cbebeb96400b2f7cc4f921366e047.jpg",[],37,{"id":193,"slug":194,"title":195,"dynasty":18,"author":106,"museum":89,"description":196,"tags":197,"thumbUrl":201,"material":176,"size":202,"collection":80,"collections":203,"showCount":204,"zanCount":11,"manualWeight":11,"mainColor":57},218729,"dao-tian-qiu-que-tu-yi-ming-218729","稻田秋雀图","这幅画描绘了秋日田野里的野趣。有两只鸟，一只站在斧头上，用尾巴微微向上啄食，另一只站在树枝上，向上看。鸟类描绘得栩栩如生，笔触极其细腻，玉米穗先用酒糟黄涂上明暗色，然后点上白粉，再用尖细的笔画出，草茎用较慢的笔画出，先用老绿涂抹，一半是明色，一半是暗色，略带焦黄的一端用赭石涂抹，虽然笔触和着色都很简单，但描述性极强。",[23,24,65,198,94,93,30,199,7,95,200],"扇面","稻穗","秋天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa12e0c00e97f6280d05f6a3ec26e2e3c.jpg","24x25.4",[80],29,{"id":206,"slug":207,"title":208,"dynasty":87,"author":209,"museum":137,"description":210,"tags":211,"thumbUrl":213,"material":145,"size":146,"collection":53,"collections":214,"showCount":215,"zanCount":11,"manualWeight":11,"mainColor":57},236441,"hai-tang-ma-que-shan-li-gang-236441","海棠麻雀扇","李钢","李钢，清代画家，字后安，北京人。工书善花卉，笔致清挺，有陈淳遗意。《寒松阁谈艺琐录》",[24,25,198,30,93,212,7],"海棠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F987d7197d531cd7701758f09706fa512.jpg",[],25,{"id":217,"slug":218,"title":105,"dynasty":18,"author":106,"museum":20,"description":219,"tags":220,"thumbUrl":221,"material":222,"size":223,"collection":53,"collections":224,"showCount":225,"zanCount":226,"manualWeight":11,"mainColor":115},233007,"wa-que-qi-zhi-tu-ye-yi-ming-233007","海棠一枝，果实散挂枝头，树叶已染秋霜。海棠枝头栖息着瓦雀，或缩颈养神，或整理羽毛，姿势各异，神态安适，中间一只发现头顶树叶上落有小蜂，昂首注目，张口欲啄，小蜂似发现险情，翘尾开牙，准备应对。此画面静中寓动，张弛有致，深合画理。\n麻雀常宿于檐瓦之间，故一名“瓦雀”。图中从左向右伸出海棠一枝，果实散挂枝头，树叶已染秋霜，间杂红、黄、绿色，斑斓可爱，惜叶、果有些已遭虫蚀。海棠枝头栖息着瓦雀5只，其中4只或缩颈养神，或整理羽毛，姿势各异，神态安适，唯中间一只发现头顶树叶上落有小蜂，故昂首注目，张口欲啄，小蜂似发现险情，翘尾开牙，准备应对。此画面静中寓动，张弛有致，深合画理。\n瓦雀翎毛刻画精细，高度写实。海棠取轻勾淡染之法，以表现秋叶缺乏水分的轻、薄质感。瓦雀和果、叶以枝条贯穿，若网在纲，有条不紊。细观墨笔枝条虽细，然尚以浓淡墨分出阴阳向背，富于立体感，显得刚健有力。\n此图原载《宋人集绘册》。图中画五只瓦雀，栖止于海棠枝上。花枝上果满页疏，五只瓦雀姿态各异，有的俯首下视，有的扭头回观，有的仰首注视着枝页上的小昆虫，形象生动活泼，逗人喜爱。海棠枝从画面左侧横插，参差顾盼，虬曲多姿。鸟的羽毛用细笔一笔一笔勾描，有毛茸茸的质感。此图用笔精工，设色艳丽。无款印，曾经清代收藏家宋荦珍藏，《石渠宝笈三编》著录。",[24,25,65,94,93,92,30,7,109,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b6b6fe31dde1b7c91550646cdde7825.jpg","绢本","纵28.厘米，横29.1厘米",[],18,3,{"id":228,"slug":229,"title":230,"dynasty":120,"author":231,"museum":137,"description":232,"tags":233,"thumbUrl":235,"material":145,"size":146,"collection":53,"collections":236,"showCount":237,"zanCount":11,"manualWeight":11,"mainColor":57},288917,"lin-qin-que-tu-qian-xuan-288917","林檎雀图","钱选","钱选（1239—1299），宋末元初著名画家，与赵孟頫等合称为“吴兴八俊”。字舜举，号玉潭，又号巽峰，霅川翁，别号清癯老人、川翁、习懒翁等，湖州（今浙江吴兴）人。\n南宋景定三年乡贡进士，入元不仕。工诗，善书画。画学极杂：山水师从赵令穰；人物师从李公麟；花鸟师赵昌；青绿山水师赵伯驹。人品及画品皆称誉当时。继承苏轼等人的文人画理论，提倡士气说，倡导戾家画。他提倡绘画中的“士气”，在画上题写诗文或跋语，萌芽了诗、书、画紧密结合的文人画的鲜明特色。",[65,24,25,30,93,94,7,234,126],"枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaa35cd54472546fb0cf2a81360b5a0f.jpg",[],14,{"id":239,"slug":240,"title":241,"dynasty":242,"author":106,"museum":137,"description":243,"tags":244,"thumbUrl":246,"material":145,"size":146,"collection":53,"collections":247,"showCount":248,"zanCount":11,"manualWeight":11,"mainColor":57},225354,"fu-shi-hui-110-yi-ming-225354","浮世绘110","不详","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[245,27,30,95,7],"浮世绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F053df89da58ec73bf2824b8735fa286d.jpg",[],6,{"id":250,"slug":251,"title":252,"dynasty":87,"author":253,"museum":254,"description":255,"tags":256,"thumbUrl":259,"material":53,"size":53,"collection":80,"collections":260,"showCount":149,"zanCount":11,"manualWeight":11,"mainColor":261},201991,"zhi-hua-ma-que-tu-zhou-gao-qi-pei-201991","指画麻雀图轴","高其佩","上海博物馆","以指代笔，墨韵生动。枝头群雀姿态各异，或啾啾相语，或引颈望空；空中一雀振翅俯冲，羽翼的层次感借墨色浓淡自然晕开。枝叶泼墨点染，简括传神，留白处衬出画面空灵之境。整幅作品朴拙中见精巧，率意间藏生机，尽显指画特有的天趣与花鸟情态。",[257,27,30,7,124,258,29,23],"指画","泼墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0516371733f531878ae211364fc2643d.jpg",[80],"cfc3b3",1777535725100]