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大写意方式绘牡丹、芍药、葡萄、芭蕉，以兼工带写绘桂花叶和松树，以烘托方式绘竹子、岩石和雪中梅花。从画卷末尾的自述中可以看出，艺术家是用物品来表达她胸中的郁闷。该卷的风格简洁明了，风格轻快，不急不躁。",[23,24,25,26,27,28,29,30,31,7,32,33,34,35,36,37,38,39,40,41],"高清","国画","水墨","写意","大写意","长卷","书画","书法","行书","竹","松","荷","牡丹","芙蓉","桃花","水仙","花卉","兰","菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b359a71dcaf3445be4bdab0f5d74d69.jpg","纸本,水墨","29.9x1081.7","花鸟画精选",[45],3030,18,"795548",{"id":51,"slug":52,"title":53,"dynasty":54,"author":55,"museum":56,"description":57,"tags":58,"thumbUrl":66,"material":67,"size":68,"collection":69,"collections":70,"showCount":72,"zanCount":73,"manualWeight":11,"mainColor":49},221429,"mei-hua-cui-niao-tu-juan-xu-xi-221429","梅花翠鸟图卷","五代十国","徐熙","藏地不详","圖繪梅花翠鳥，滿樹梅花開放，粉色的茶花間插其中，鳥兒立於枝頭嬉戲，原來冬天可以這麼美！徐熙，五代南唐畫家，金陵（今南京）人，一說鍾陵（今江西進賢）人。出身於「江南名族」。生於唐僖宗光啓年間，後在開寶末年（公元975）隨李後主歸宋，不久病故。一生未官，郭若虛稱他爲「江南處士」。沈括說他是「江南布衣」。其性情豪爽曠達，志節高邁，善畫花竹林木，蟬蝶草蟲，其妙與自然無異。後人將其與後蜀黃筌並稱爲「黃徐」，有「黃家富貴，徐熙野逸」之評，爲五代、宋初花鳥畫的兩大流派之代表。」\n宋代沈括形容徐熙畫「以墨筆爲之，殊草草，略施丹粉而已，神氣迥出，別有生動之意」(《夢溪筆談》)。宋代《德隅齋畫品》中著錄徐熙《鶴竹圖》，謂其畫竹「根幹節葉皆用濃墨粗筆，其間櫛比，略以青綠點拂，而其梢蕭然有拂雲之氣」。米芾又謂他畫花果有時用澄心堂紙，用絹則「其紋稍粗如布」。這種題材和畫法都表現他作爲江南處士的情懷和審美趣味，與妙在賦彩、細筆輕色的「黃家富貴」不同，﹝指黃筌與黃居寀父子﹞而形成另一種獨特風格，被宋人稱爲「徐熙野逸」。然而《圖畫見聞志》中記徐熙爲南唐宮廷所繪的「鋪殿花」、「裝堂花」，於「雙縑幅素上畫叢豔疊石，傍出藥苗，雜以禽鳥蜂蟬之妙」，「意在位置端莊，駢羅整肅，多不存生意自然之態」。這種富有裝飾性的繪畫，也構成了徐熙繪畫的另一風貌。",[23,59,24,29,28,60,61,62,7,63,64,65],"名画","工笔","设色","花鸟","飞鸟","鸟","花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b7029d7b97054b08ec5392ac417022c.jpg","絹本設色","33.8cm×236.2cm","宋画精选",[69,45,71],"设色画精选",1532,29,{"id":75,"slug":76,"title":77,"dynasty":18,"author":78,"museum":79,"description":80,"tags":81,"thumbUrl":87,"material":88,"size":89,"collection":45,"collections":90,"showCount":91,"zanCount":92,"manualWeight":11,"mainColor":93},216202,"hua-hui-shi-kai-tu-ce-xiang-sheng-mo-216202","花卉十开图册","项圣谟","私人收藏","花卉十开图册是明朝项圣谟的一部著作，收录了十张以花卉为主题的图画。项圣谟是明朝时期著名的绘画家，他的作品被誉为中国古代花卉画的杰作。 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。",[23,24,82,61,60,83,30,31,62,7,40,41,34,37,35,84,85,86],"册","印章","石榴","孤石","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f238b574b7e294422560d3e7833b4b0.jpg","绢本,设色","",[45],1280,21,"BDBDBD",{"id":95,"slug":96,"title":97,"dynasty":18,"author":98,"museum":99,"description":100,"tags":101,"thumbUrl":106,"material":88,"size":107,"collection":108,"collections":109,"showCount":110,"zanCount":111,"manualWeight":11,"mainColor":49},216996,"sui-chao-tu-tang-yin-216996","岁朝图","唐寅","台北故宫博物院","这幅画描绘的是元旦期间隐居在梅州山村，在节日前放松的情景。",[24,29,102,61,60,7,103,104,32,105],"立轴","人物","山石","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fde0a52080c0f595740ed450c1c4367.jpg","125x49.7","人物画精选",[108,71],1119,6,{"id":113,"slug":114,"title":115,"dynasty":18,"author":116,"museum":99,"description":117,"tags":118,"thumbUrl":120,"material":121,"size":122,"collection":45,"collections":123,"showCount":124,"zanCount":125,"manualWeight":11,"mainColor":93},214361,"ping-zhong-la-mei-tu-shen-zhou-214361","瓶中蜡梅图","沈周","沈周是一个慷慨大方的人。他能写诗和书法，也善于绘画，山水、花果、鸟、鱼、动物、人物，他都了如指掌，他的作品有一种稚拙的形态，笔触钝而有力，墨色浓重，给人一种厚重感和力量感，有古人的趣味。在这幅《瓶中蜡梅》中，梅花的茎部被用笔触画出，就像山水中的一棵树，显示出它冷峻的姿态。",[23,24,29,102,61,62,7,119,83,31],"器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf9e9b4c56979665467b25f96882b252.jpg","纸本,设色","140.6x31.6",[45],1021,4,{"id":127,"slug":128,"title":129,"dynasty":130,"author":131,"museum":132,"description":133,"tags":134,"thumbUrl":137,"material":138,"size":139,"collection":45,"collections":140,"showCount":141,"zanCount":142,"manualWeight":11,"mainColor":93},223230,"mei-hua-shi-nv-tu-ren-yi-223230","梅花仕女图","清","任颐","浙江省博物馆","任颐（1840年－1895年），即任伯年，初名润，字次远，号小楼，后改名颐，字伯年，别号山阴道上行者、寿道士等，以字行，浙江山阴航坞山（今杭州市萧山区瓜沥镇）人，清末著名画家。\n自幼随父卖画，后从任熊、任薰学画，后居上海卖画为生。在“四任”之中，成就最为突出，是“海上画派”中的佼佼者，“海派四杰”之一。任伯年的绘画发轫于民间艺术，技法全面，山水、花鸟、人物等无一不能。重视写生，又融汇诸家法，并吸取水彩色调之长，勾皴点染，格调清新。\n其人物画，早年从陈洪绶法出，形象夸张，富装饰效果。如故宫博物院藏《干莫炼剑图》轴。后练习铅笔速写后，变得较为奔逸，如故宫博物院藏《风尘三侠图》轴等。其写照技艺，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。\n海派中的佼佼者，其绘画发源于民间，重视继承传统，吸收西画技法，形成风姿多采的独特画风，在“四任”中成就最为突出。 　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[23,24,61,103,135,7,136,25,29],"美人","仕女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09824e74b525459649eeeeac703e697c.jpg","纸本设色","103 1cmx36 6cm",[45,71],967,2,{"id":144,"slug":145,"title":146,"dynasty":130,"author":147,"museum":79,"description":148,"tags":149,"thumbUrl":150,"material":43,"size":89,"collection":151,"collections":152,"showCount":153,"zanCount":154,"manualWeight":11,"mainColor":93},216223,"han-mei-yi-zhi-hua-jin-nong-216223","寒梅一枝画","金农","金农（1862年－1930年）是清朝时期的画家，他以绘画寒梅花闻名。寒梅是一种以果实为名的花卉，它在冬季开花，而且十分耐寒，因此被称为寒梅。金农的画作中，寒梅通常是独自绽放的一朵花，或者是和其他花卉搭配使用。他的画风细腻，笔触细腻，很擅长描绘花卉的细微差别，并能真实地再现花朵的美丽和优雅。",[23,24,29,28,25,7,62,83,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11daab6d07b3e27d2714aa4ecfc5eece.jpg","水墨画精选",[151],963,10,{"id":156,"slug":157,"title":158,"dynasty":130,"author":159,"museum":160,"description":161,"tags":162,"thumbUrl":165,"material":43,"size":166,"collection":45,"collections":167,"showCount":168,"zanCount":111,"manualWeight":11,"mainColor":93},214687,"mei-hua-zhu-shi-tu-ce-wang-shi-shen-214687","梅花竹石图册","汪士慎","上海博物馆","汪士慎（1785-1842）是清代著名画家，他的《梅花竹石图册》是他的一部杰作。\n\n这本图册包含了许多描绘梅花、竹子和石头的精美图画。汪士慎以其精湛的绘画技巧和对自然的热爱，捕捉了这些自然元素的精髓。他的作品常常被赞赏为具有浓郁的内涵和细腻的笔触。\n\n汪士慎的《梅花竹石图册》被认为是中国画的经典之作，并且被广泛收藏和展览。它们不仅展示了汪士慎的艺术才华，也提醒人们认识到自然界的美丽和精妙。",[24,29,82,25,163,7,32,164,83],"白描","石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F775e1c19a55ed4a95fa31138be1fa875.jpg","纵25 厘米 横31.5 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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。在绘画史上，陈淳与徐渭并称为“白阳、青藤”， 陈淳的绘画当属文人隽雅一路的，即“白阳”一派画家。\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。\n陈淳中年以后间作山水，技法学米友仁、高克恭，多以江南风景为题材，手法简练，极具文人生活情趣，文徵明曾微笑着说：“吾道复举业师耳，渠书、画自有门径，非吾徒也。”存世作品有《红梨诗画图》《山茶水仙图》《葵石图》《罨画图》等。其子陈括继承父风、擅花卉。\n陈淳绘山水，效法米友仁、高克恭，水墨淋漓，颇得氤氲之气。他的泼墨之功，往往见于画烟云之中。在写意花卉方面，陈淳独得玄门，笔法挥洒自如，富有疏朗轻健的风姿，用墨设色，则如徐沁所谓“浅色淡墨之痕俱化矣！”王世贞在《州续稿》中说：“胜国（元朝）以来，写花卉者无如吾吴郡，而吴郡自沈启南（周）后，无如陈道确，陆叔平（治）”。近代画家如蒲华、吴昌硕、齐白石等，在诗文题书画中，都对陈淳做出了极高的评价。明万历年间即有人曾评价过陈淳在花卉方面的造诣和声誉都超过了文征明，成为继沈周之后的吴门大家。明清以来画家，尤其在花鸟画方面，受他的影响很深。他与徐渭齐名，人称“青藤白阳”。现存的陈淳作品大部分均在博物馆收藏，民间甚少得见。",[23,24,29,102,25,62,7,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c4232f4f2ae738877a1f8edd9442b7c.jpg","72.8x35",[45,151],345,{"id":348,"slug":349,"title":350,"dynasty":130,"author":351,"museum":352,"description":353,"tags":354,"thumbUrl":356,"material":357,"size":358,"collection":45,"collections":359,"showCount":360,"zanCount":361,"manualWeight":11,"mainColor":93},220999,"hua-hui-tu-ce-sui-han-san-you-tu-yun-shou-ping-220999","花卉图册·岁寒三友图","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。",[23,24,59,29,82,355,61,62,33,32,7],"没骨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb29a40cff960843c68f7263ecdb0bd8e.jpg","纸本 设色","24.5×29.3cm",[45,71],326,5,{"id":363,"slug":364,"title":365,"dynasty":130,"author":225,"museum":20,"description":366,"tags":367,"thumbUrl":368,"material":369,"size":370,"collection":45,"collections":371,"showCount":372,"zanCount":253,"manualWeight":11,"mainColor":93},224219,"sui-chao-qing-gong-tu-wu-chang-shuo-224219","岁朝清供图","岁朝指农历元旦，历代画家特别是文人画家都喜欢在这一天绘制《岁朝清供图》，作为新年伊始的首幅作品。吴昌硕作为一名文人画家，也几乎每年都画《岁朝清供图》，且多所变化，其最大的特点是很少取材于牡丹，他在《缶庐别存》中有一段话披露了其用意，文曰：“己丑除夕，闭门守岁，呵冻作画自娱。凡岁朝图多画牡丹，以富贵名也。予穷居海上，一官如虱，富贵花必不相称，故写梅取有出世姿，写菊取有傲霜骨，读书短檠，我家长物也，此是缶庐中冷淡生活。”此段话写于1889年，而在这幅1915年的《岁朝清供图》中仍然不见牡丹形象，其时吴氏的生活已有了极大改善，但仍不画牡丹，可见其富贵不移初志的高雅人格与画品。\n此图以瓶梅、水仙、蒲草、秀石诸品组合而成，并置于瓶盆等器物中，以示为案头清供之物。物品高下低昂、错落有致地安排于画面，并以右高左低的对角形式排列，左上角和右下角分别配以题识和印章，这是吴昌硕花卉画中常用的构图形式。画面左上角自题：“岁朝清供。岁朝写案头花，象古人所作岁时物之迁流也，兹拟其意。乙卯岁寒吴昌硕。”\n此图信手挥洒，真情流溢笔端。高颈古瓶中的一枝红梅，以及翠绿的水仙，纷披的蒲草，皆得其大意，笔法隽逸洒脱，极具清逸雅淡之气。用墨、设色也恰到好处，用墨浓淡相宜，设色俏丽鲜艳，雅妍相兼，双勾敷色的水仙花，更体现了吴氏晚年运笔遒劲古拙的独特风韵。",[23,24,29,102,61,25,31,83,26,62,7,38,85,228,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe60ee9f04eb4937057270e254c03e2aa.jpg","纸本，设色","纵151.6厘米，横80.7厘米",[45,71],321,{"id":374,"slug":375,"title":376,"dynasty":173,"author":174,"museum":377,"description":378,"tags":379,"thumbUrl":381,"material":216,"size":382,"collection":69,"collections":383,"showCount":384,"zanCount":314,"manualWeight":11,"mainColor":49},221184,"mei-hua-shuang-que-tu-ma-lin-221184","梅花双雀图","日本京都国立博物馆","《中国历代精品梅兰竹菊(卷一):梅卷》介绍了梅花具有顶风凌雪、先春而发的高尚品格，颇可象征刚正忠贞、横而不流的人格，因此也就自然成为文人骚客反复咏叹的对象。\n在中国文学史上，对梅花的咏赞往往都寓托了作者深远的精神内涵，如陈同甫之诗云“疏枝横玉瘦，小萼点珠光”，是赞美梅花的清贵高古；陆放翁云“当年走马锦城西，曾为梅花醉似泥”，表达出对梅的喜爱之情已臻如痴如醉之境；谢枋得在抗元失败后，隐居武夷，作诗称“几生修得到梅花”，更是以梅花坚贞的品格自期。\n同样，在中国画创作中，梅也是一个重要的题材，它与兰、竹、菊合称为“四君子”。\n并逐渐成为中国花鸟画基本功训练的重要内容，尤其是在意笔花鸟画兴起之后，但凡有成就者，几乎没有不擅长梅、兰、竹、菊的。",[23,24,29,59,82,60,61,62,7,380],"雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa49bdbf46314f2ed5ab10d9d675a4e7b.jpg","纵28厘米，横29厘米",[69,45,71],311,{"id":386,"slug":387,"title":388,"dynasty":173,"author":257,"museum":99,"description":389,"tags":390,"thumbUrl":392,"material":88,"size":89,"collection":69,"collections":393,"showCount":394,"zanCount":125,"manualWeight":11,"mainColor":49},220213,"mei-hua-shan-cha-tu-yi-ming-220213","梅花山茶图","此幅绘腊梅，山茶，麻雀。设色雅丽，笔墨造型古拙，唯用笔布置更接近陈洪绶、王武画格，故宋画气息不足。",[23,24,29,60,61,62,7,391,64],"山茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1719fc6f38b792b19b924b5c41056d6.jpg",[69,45],307,{"id":396,"slug":397,"title":398,"dynasty":173,"author":399,"museum":400,"description":401,"tags":402,"thumbUrl":407,"material":88,"size":408,"collection":108,"collections":409,"showCount":410,"zanCount":142,"manualWeight":11,"mainColor":411},216984,"lin-he-jing-tan-mei-tu-ma-yuan-216984","林和靖探梅图","马远","出光美术馆","这幅画描绘了林和靖在月下欣赏梅花的情景。这幅画的构图是马远一贯的风格，梅花从枝头倾泻而下，岩石山体方正而陡峭。笔触强烈而精致，意境和谐而安详。",[23,59,24,103,403,7,404,61,405,406],"山水","明月","皴法","安详","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb9ea9d952366cb765ccc6fbfc869219.jpg","25.5x36.6",[108],293,"37474F",{"id":413,"slug":414,"title":415,"dynasty":130,"author":416,"museum":56,"description":417,"tags":418,"thumbUrl":419,"material":420,"size":421,"collection":45,"collections":422,"showCount":423,"zanCount":314,"manualWeight":11,"mainColor":93},239446,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239446","邹一桂花鸟草虫图册","邹一桂","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。",[24,59,29,82,60,61,7,64,83,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F031b48b273c29caa21ee18f0cd382bb4.jpg","未知","Xcm*Xcm",[45,71],292,{"id":425,"slug":426,"title":427,"dynasty":18,"author":428,"museum":20,"description":429,"tags":430,"thumbUrl":433,"material":88,"size":434,"collection":45,"collections":435,"showCount":436,"zanCount":142,"manualWeight":11,"mainColor":49},216937,"mei-hua-shuang-qin-juan-chen-ji-ru-216937","梅花双禽卷","陈继儒","梅花双禽卷是中国明朝时期陈继儒所作的一幅山水画。这幅画描绘了两只居于梅花树下的雄鹰，它们正在寻找猎物。画中的景象十分写实，雄鹰的羽毛细腻而生动，而梅花树下的草地也非常逼真。梅花双禽卷被认为是陈继儒最杰出的作品之一，并被誉为“中国画史上的经典之作”。",[23,24,28,61,62,7,64,30,83,431,432],"枝干","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F026b7f00452e9bbd679851fd52e23c4e.jpg","纵32.5cm，横256.5cm",[45],277,{"id":438,"slug":439,"title":440,"dynasty":130,"author":441,"museum":20,"description":442,"tags":443,"thumbUrl":444,"material":445,"size":446,"collection":45,"collections":447,"showCount":448,"zanCount":253,"manualWeight":11,"mainColor":93},216100,"song-mei-tu-hong-ren-216100","松梅图","弘仁","此卷分前后两段。前段画末有弘仁书写的程守蚀庵《省静堂集·一年诗》中的七言绝句《遍阅山中诸碑》，款署：“丙申春日偶写揭蚀庵集因一绝。渐江学人。”钤“渐江僧”白文印。\n前段图绘虬龙盘曲的苍松和棱角分明的怪石。弘仁的松石是对黄山松石的真实写照，石涛言：“公游黄山最久，故得黄山之真性情也，即一木一石，皆黄山本色。”图中的松石以粗犷霸悍的行笔、淋漓酣畅的施墨表现，具有弘仁晚年豪放洒脱的画风特点，简洁的构图体现出诗意中的空寂。\n后段图绘水墨梅花。梅不畏严寒、高标独立的精神正是作者所追求的人生品格。弘仁一生最喜画梅，自号“梅花古衲”，创作出大量以梅为主题的佳作，此卷便是其中之一。图中的梅枝如曲铁，婉转中呈现刚毅不屈之态。其简约的格局，精谨的笔墨，结构出一派纯净、幽旷而又俊逸的意境。",[23,24,29,28,25,405,30,83,33,7,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fadfb3b3275d62e25c91b495f8cfe05.jpg","绢本,设色,水墨","前段设色，纵27.8厘米，横269.7厘米；后段墨笔，纵27.8厘米，横86.7厘米",[45],275,{"id":450,"slug":451,"title":452,"dynasty":130,"author":225,"museum":56,"description":453,"tags":454,"thumbUrl":455,"material":89,"size":89,"collection":89,"collections":456,"showCount":457,"zanCount":314,"manualWeight":11,"mainColor":458},224215,"mo-mei-wu-chang-shuo-224215","墨梅","此作用笔以篆籀之法写梅干，顿挫老辣，枝桠如屈铁盘虬，尽现老梅饱经霜雪的嶙峋傲骨。淡墨圈点花朵，疏密错落缀于枝梢，素洁清雅，如暗香盈盈浮动。\n\n左上题诗行书挥洒，笔意与梅枝苍劲意趣呼应，诗书画印浑融一体。全幅以水墨写意，留白空灵疏朗，苍润相生，刚柔并济，将寒梅孤高清逸的品格尽显无余，寥寥笔墨间，既有金石书法的雄强骨力，又饱含文人淡泊出尘的雅致意韵。",[23,24,29,102,25,62,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc4cd64462b75de0e38b9506dffabba6.jpg",[],274,"FFFFFF",{"id":460,"slug":461,"title":462,"dynasty":18,"author":463,"museum":20,"description":464,"tags":465,"thumbUrl":468,"material":469,"size":470,"collection":45,"collections":471,"showCount":472,"zanCount":125,"manualWeight":11,"mainColor":93},222416,"bai-hua-tu-zhou-zhi-mian-222416","百花图","周之冕","是图有作者自识：“萬曆壬寅(1602年)秋日寫，汝南周之冕。”系周之冕的晚年之作。该图勾画了四季花卉，其中木本花卉多为折枝。画家将吴派的写意山水笔墨转化为花鸟画的造型语言，形成了勾花点叶派。画家以写意的手法勾写或涂抹出花叶、枝干，随意之中透露着明快和清雅，反映出文人画家淡泊不羁的胸臆。\n清《石渠宝笈·三编》著录。",[23,24,29,61,60,62,28,7,37,466,39,467,431],"玉兰","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4a3ecd116129eeb96dfb86398c9a098.jpg","纸本，墨笔","纵31.5厘米，横706厘米",[45,71],273,{"id":474,"slug":475,"title":476,"dynasty":130,"author":147,"museum":56,"description":477,"tags":478,"thumbUrl":479,"material":89,"size":89,"collection":89,"collections":480,"showCount":481,"zanCount":253,"manualWeight":11,"mainColor":93},230238,"mei-hua-tu-ce-ye-9-jin-nong-230238","梅花图册页-9","此作用枯笔焦墨写老干，如铁铸横斜，皴擦出斑驳苍古的肌理，尽显梅枝饱经霜雪的虬劲风骨。淡墨圈瓣点蕊，繁花开处疏密错落，留白铺陈出清寂空阔的意境，无半分艳冶之态。\n\n以书入画，笔意朴拙古雅，将梅花疏淡冷逸之姿，与清冷高洁的品格融为一体。墨色浓淡交织，淡写繁花、重绘老干，明暗相生间勾勒出冬梅凌霜绽放的清逸之态，寥寥笔墨便把孤高脱俗的隐逸襟怀寄寓其中。",[23,24,29,82,25,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93535ffaf23a10cb1e78f850f322be37.jpg",[],264,{"id":483,"slug":484,"title":485,"dynasty":486,"author":487,"museum":56,"description":488,"tags":489,"thumbUrl":493,"material":420,"size":421,"collection":89,"collections":494,"showCount":495,"zanCount":253,"manualWeight":11,"mainColor":93},231826,"hua-yuan-shi-nv-tu-zhou-shang-cun-song-yuan-231826","花园仕女图轴","不详","上村松园","上村松园（1875——1949）生于京都，她是明治、大正、昭和时期十分活跃的女画家，她以日本画的传统手法为基础描绘出格调高的美女画，她画的美人惟妙惟肖、出神入化，受到人们的好评。12岁小学毕业后进入日本刚刚成立不久的绘画学校。后相继师事铃木松年、幸野梅岭、竹内栖凤等大师。15岁时以作品《四季美人图》参展第三次内国劝业博览会，获得一等褒奖，被传为京都天才少女。",[23,24,29,102,60,61,103,135,490,491,83,7,492],"服饰","布料","花瓣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a3c759e4883325592f1223e2b185251.jpg",[],262,{"id":497,"slug":498,"title":499,"dynasty":18,"author":19,"museum":20,"description":500,"tags":501,"thumbUrl":505,"material":469,"size":506,"collection":507,"collections":508,"showCount":509,"zanCount":314,"manualWeight":11,"mainColor":93},222231,"mo-hua-jiu-duan-tu-juan-xu-wei-222231","墨花九段图卷","此图绘水墨写意四季花卉。每段均有自题七绝一首。画面上，画家充分发挥了水墨的表现力，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。从徐渭自书诗并题记，知此画是作者在浓郁的创作激情中以酣畅的笔墨挥洒而就。此图堪称徐渭水墨写意花卉的佳作。",[23,24,29,28,25,27,502,30,62,7,40,32,41,34,85,39,503,504,104],"题跋","竹叶","藤蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2e0e76186d34ba6f0466cc88cfd916f.jpg","纵46.6厘米，横625厘米","山水画精选",[507,151],253,{"id":511,"slug":512,"title":513,"dynasty":18,"author":187,"museum":20,"description":514,"tags":515,"thumbUrl":518,"material":88,"size":519,"collection":108,"collections":520,"showCount":521,"zanCount":142,"manualWeight":11,"mainColor":49},219628,"shi-nv-tu-chen-hong-shou-219628","仕女图","陈洪绶（1599~1652），明末清初著名书画家、诗人。字章侯，幼名莲子，一名胥岸，号老莲，晚号老迟、悔迟，又号悔僧、云门僧。\n他的作品荒诞而深情，鲁迅先生对之极为推崇，认为“老莲的画，一代绝作”。\n陈洪绶是明代著名的人物画家，他在人物画中对女性形象有着独特的关注视点，在造型方面追 求高古奇骇的古拙之美，在色墨运用上崇尚淡彩的雅丽之美。\n他笔下的女性人物形象既具备了明清 时期女性纤弱清秀的时代气质，又通过“诗画相生”的艺术表达体现出中国文人画家的精神特质， 对后世女性人物形象塑造，乃至人物画的发展都产生了深刻影响。",[23,24,60,61,103,135,85,7,516,491,517],"衣帽","饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ebe8c0fcec8f056598c9426139fbf89.jpg","纵173.5横95.3厘米",[108,71],249,{"id":523,"slug":524,"title":525,"dynasty":130,"author":526,"museum":56,"description":527,"tags":528,"thumbUrl":529,"material":89,"size":89,"collection":89,"collections":530,"showCount":531,"zanCount":125,"manualWeight":11,"mainColor":49},229041,"xi-huang-shang-ren-hua-niao-tu-ce-pu-ru-229041","羲皇上人花鸟图册","溥儒","此作为工笔小帧，虬曲梅枝缀满初绽花苞，粉白柔瓣轻晕胭脂色，深浅层叠间漾开融融春意。\n\n一只禽鸟振翅俯身，羽色晕染细腻写实，翅尖微张、爪部轻抬，将探花一瞬的灵动意态定格。古旧绢底晕开沉褐底色，愈发衬得花鸟鲜活清隽。笔致秀逸温婉，既得院体花鸟精工之妙，又裹挟文人画疏澹雅逸，将春日闲趣藏入古雅底色，把禽鸟探春的幽恬意韵勾勒入微，淡而不寡，静中生趣。",[24,29,82,61,60,62,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88269039c0cef8c5cb52798546158853.jpg",[],247,{"id":533,"slug":534,"title":535,"dynasty":130,"author":536,"museum":20,"description":537,"tags":538,"thumbUrl":539,"material":540,"size":541,"collection":45,"collections":542,"showCount":543,"zanCount":253,"manualWeight":11,"mainColor":93},220392,"mei-zhu-tu-juan-shi-tao-220392","梅竹图卷","石涛","诗文与画作的有机结合不仅增添了文人画的书卷气息，同时也展示了作者于画艺之外的诗文功底和精湛的书法造诣。图中所绘梅竹或细笔勾勒，或阔笔勾斫，线条于方圆结合中秀拙相生。其多样的笔法与酣畅淋漓的施墨在半生半熟的纸质上达到了湿润而不漫漶的笔墨效果，堪称石涛晚年的写意画佳作。",[23,24,29,28,25,405,30,83,7,32,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F440c586308456b8200d8bd68ac0e8093.jpg","纸本","纵34.2厘米，横194.4厘米",[45],232,{"id":545,"slug":546,"title":547,"dynasty":173,"author":174,"museum":548,"description":549,"tags":550,"thumbUrl":556,"material":88,"size":557,"collection":45,"collections":558,"showCount":559,"zanCount":253,"manualWeight":11,"mainColor":49},219276,"xue-an-yuan-yang-tu-ma-lin-219276","雪岸鸳鸯图","耶鲁大学艺术博物馆","枯木虬枝横斜，皴擦间藏着岁月的肌理，寒梅疏花点点，似是雪夜里悄然绽放的星子。滩头双鸳相偎，绒羽层叠如软云，翅尖墨色晕染，静卧间漫出暖融的依偎。枝上雀鸟敛翅，瞳仁如豆，似在聆听风过梅梢的轻响。雪岸清寂，却因这几处生灵的动静相映，添了几分温润的生气。淡赭铺就的寒汀，与浓墨点染的枝干相衬，工致笔触里藏着写意的疏朗，宋人的雅致与对生命的细腻观照，尽在这方寸画卷里流转，每一处留白都似凝着冬日的清寒，却又裹着一丝不易察觉的暖。",[23,24,59,60,61,62,551,7,552,64,553,554,555,63],"鸳鸯","树","雪","岸","枯木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a755de7d0ae42e6354319de9befc494.jpg","188.5cmx99.8cm",[45,71,69],226,{"id":561,"slug":562,"title":563,"dynasty":18,"author":187,"museum":99,"description":564,"tags":565,"thumbUrl":566,"material":88,"size":567,"collection":89,"collections":568,"showCount":569,"zanCount":142,"manualWeight":11,"mainColor":93},290313,"sui-chao-tu-zhou-chen-hong-shou-290313","岁朝图轴","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[24,59,29,102,61,60,62,7,391,466,119,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe43f471122fe189fc01200784df42f1f.jpg","90.2x41.1",[],225,{"id":571,"slug":572,"title":573,"dynasty":173,"author":174,"museum":20,"description":574,"tags":575,"thumbUrl":576,"material":178,"size":577,"collection":69,"collections":578,"showCount":579,"zanCount":314,"manualWeight":11,"mainColor":93},221180,"ceng-die-bing-xiao-tu-zhou-ma-lin-221180","层叠冰绡图轴","图中所画两枝梅花据称为绿萼梅，是梅花中的名贵品种。枝干细秀劲挺，花朵繁密俏媚，皆以双勾填色法绘之。画法精细，层次鲜明，枝干的转折，花朵的向背，处理得面面俱到。\n在绢素上画疏枝绿萼白梅两枝，枝瘦花繁，一枝高昂扬起，伸至画面右中部，枝疏花密，花朵绽开；一枝低垂叶艳，由画幅右侧横出，伸展画幅中部与另一挺拔高枝相呼应。两枝枝干清瘦如铁。\n本幅款识：“臣马麟。”另有宋宁宗皇后杨氏题“层叠冰绡”，并题诗：“浑如冷蝶宿花房。拥抱檀心忆旧香。开到寒梢尤可爱，此般必是汉宫妆。赐王提举：”钤“杨蛙之章”、“丙子刊宁翰墨”朱文。\n鉴藏印有：“项元汴印”朱文、“墨林山人”白文、“项氏子京”白文、“楠李项氏之家宝玩”朱文、“项墨林鉴赏章”白文、“项子京家珍藏”朱文、“墨林秘玩”朱文、“商丘宋荦审定真迹“朱文、“汝修”白文、”顾氏口阁珍藏”朱文、“典礼纪察司印”朱文半印，另一方印文不辨。\n地轴裱有题记：“嘉靖丙寅秋，用四十五金得于妻弟陆氏，共二幅，共直百金。顾从德记”“宋马麟《层叠冰绡图》。明项元汴清秘。用前价得藏于天籁阁”。钤“墨林山人”白文、“子京父印”朱文。裱边钤“教育部点验之章”朱文。",[23,24,29,102,60,61,7,30,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0b5f8ab1f8c9f8f0a1fb245c1b08d17.jpg","纵101.7cm，横49.6cm",[69,45,71],219,{"id":581,"slug":582,"title":583,"dynasty":18,"author":584,"museum":585,"description":586,"tags":587,"thumbUrl":589,"material":88,"size":590,"collection":108,"collections":591,"showCount":579,"zanCount":314,"manualWeight":11,"mainColor":49},219544,"xun-mei-tu-chou-ying-219544","寻梅图","仇英","大英博物馆","仇英博取众长，多学于赵伯驹、刘松年，发展了南宋李唐、刘松年、马远、夏圭的'院体画'传统，集前人之大成，形成自己独特的艺术风格。他在山水、花卉、界画、人物、仕女等素材方面造诣极高，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为'明四家'。",[23,59,24,60,61,103,135,7,588,104],"老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbaa20363f9665e27d71a3435ec5364b.jpg","102.7x50.7厘米",[108],{"id":593,"slug":594,"title":595,"dynasty":18,"author":463,"museum":56,"description":596,"tags":597,"thumbUrl":599,"material":420,"size":421,"collection":89,"collections":600,"showCount":601,"zanCount":182,"manualWeight":11,"mainColor":49},287613,"si-shi-hua-niao-tu-zhou-zhi-mian-287613","四时花鸟图","周之冕（1521—？）明代杰出画家，字服卿，号少谷，长洲（今江苏苏州）人。卒年不详，活跃于万历年间。擅花鸟，注重观察体会花鸟形貌神情，及禽鸟的饮啄、飞止等种种动态。善用勾勒法画花，以水墨点染叶子，画法兼工带写，人称勾花点叶法。所作花鸟，形象真实，意态生动，颇有影响。写意花鸟，最有神韵。设色亦鲜雅，家畜各种禽鸟，详其饮啄飞止，故动笔具有生意 。特以嗜酒落魄，不甚为世重耳。又善古隶。",[23,24,28,61,60,62,7,32,35,36,37,63,331,39,598],"柳枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784a8955d2b4f0279d0683708db84ee1.jpg",[],216,{"id":603,"slug":604,"title":605,"dynasty":173,"author":295,"museum":606,"description":607,"tags":608,"thumbUrl":610,"material":88,"size":611,"collection":45,"collections":612,"showCount":613,"zanCount":253,"manualWeight":11,"mainColor":49},219138,"mei-que-tu-zhao-ji-219138","梅雀图","日本东京国立博物馆","枝桠遒劲，凝着早春的清寒，几簇白梅点缀其间，花瓣薄如蝉翼，花蕊纤毫毕现，似有暗香浮动。一只麻雀敛翅而立，羽色层次分明，从褐棕的背羽到浅黄的腹羽，过渡细腻如天然；墨点的眼珠炯炯有神，喙尖微挑，仿佛正细嗅梅香。古雅的底色衬得生灵与花枝愈发鲜活，笔意工致却不刻板，枝桠的顿挫、羽毛的丝缕、花瓣的晕染，皆藏着对自然的敬畏与细腻感知。静穆中透着生机，仿佛能听见风过枝桠的轻响，看见雀儿转颈的灵动，将转瞬的雅致凝为永恒，尽显笔墨间的生趣与文人清逸。",[23,24,59,29,60,61,609,62,7,380],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51843aee1c6bdffdd691d63bea2ddcbd.jpg","23.0×24.2cm",[45],214,{"id":615,"slug":616,"title":97,"dynasty":130,"author":617,"museum":99,"description":618,"tags":619,"thumbUrl":621,"material":88,"size":622,"collection":45,"collections":623,"showCount":624,"zanCount":253,"manualWeight":11,"mainColor":93},219529,"sui-chao-tu-yun-shou-ping-wang-hui-da-chong-guang-yang-jin-219529","恽寿平王翚笪重光杨晋","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。",[59,24,29,102,61,62,33,7,40,38,30,83,620],"传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F625da687a11dea55340262634b2ab88f.jpg","80.7x50.4公分",[45],195,{"id":626,"slug":627,"title":628,"dynasty":18,"author":629,"museum":99,"description":630,"tags":631,"thumbUrl":632,"material":633,"size":634,"collection":45,"collections":635,"showCount":624,"zanCount":253,"manualWeight":11,"mainColor":49},214733,"mei-hua-tu-lu-fu-214733","梅花图","陆复","这幅《雪梅图》是元末王冕画法的衍生品，略有不同。枝干用飞白涂抹，然后用淡墨勾勒，花瓣则用油脂沾染，轻轻勾勒，红色的花蕊也被晒干，增强了梅花的优雅精神。",[24,102,61,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4128fe7627228b3bb64d50437c275998.jpg","绢本,水墨","205.3x108.7",[45],{"id":637,"slug":638,"title":639,"dynasty":173,"author":295,"museum":352,"description":640,"tags":641,"thumbUrl":642,"material":88,"size":89,"collection":69,"collections":643,"showCount":644,"zanCount":142,"manualWeight":11,"mainColor":93},219112,"si-qin-tu-zhao-ji-219112","四禽图","枝桠横斜间，禽鸟各呈姿态：或敛翅静栖于梅梢，羽翎纹理纤毫毕现；或侧首凝睇，眼神藏着未语的灵秀；或振翅欲飞，翅尖似带起微风轻响。淡墨勾枝，浅彩点花，笔意清逸如春风拂过，花枝摇曳间，暗香仿佛浮动。\n\n行间题字与朱印错落，墨迹温润与朱砂明艳交织，似时光屐痕，与花鸟相映成趣，更添古雅之韵。每一笔透着对自然的敬畏，每处细节藏着文人闲情——不刻意雕琢，却于平淡中见真味，将生机与静谧凝于尺幅。\n\n整卷如流动的诗画，春日灵趣与岁月沉淀融于一体，读来心远尘嚣，仿佛置身鸟语花香的清境，忘却俗事纷扰。",[24,28,60,163,62,64,7,32,83,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c879664cc93247940a1bf71e75def95.jpg",[69,45],192,{"id":646,"slug":647,"title":648,"dynasty":54,"author":649,"museum":650,"description":651,"tags":652,"thumbUrl":654,"material":88,"size":89,"collection":108,"collections":655,"showCount":656,"zanCount":125,"manualWeight":11,"mainColor":49},219590,"xiu-zhu-mei-ren-tu-zhou-wen-ju-219590","修竹美人图","周文矩","圣路易斯艺术博物馆","幽庭春深，修竹亭亭映着绽蕊花枝。仕女发髻高绾，衣袂轻垂，静立凝望稚童，眉梢眼底浸着世家深宅的温婉闲静。红衣稚童攀折花枝，鲜活灵动的身影，恰好衬出仕女的娴柔静穆。\n\n笔墨苍润清逸，淡墨晕染竹木，细劲线条勾勒人物体态，设色古雅柔和，将深闺春日里闲散静好的日常晕染开来，把缱绻柔婉的东方诗意藏在花木竹石间，尽现古典雅致的闺中幽情。",[23,24,29,102,60,61,103,135,653,32,7],"孩童","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3506e1a0eb430a5f568336d083e69bc2.jpg",[108],188,{"id":658,"slug":659,"title":660,"dynasty":130,"author":147,"museum":661,"description":662,"tags":663,"thumbUrl":664,"material":665,"size":666,"collection":45,"collections":667,"showCount":668,"zanCount":11,"manualWeight":11,"mainColor":93},233867,"mei-hua-ce-jin-nong-233867","梅花册","美国大都会艺术博物馆","金农（1687—1764），字寿门，号冬心，又号稽留山民、曲江外史、昔耶居士等，浙江仁和（杭州）人。金农一生用过很多号、别号，印记也很多，据秦岭云考证，金农号有：冬心、司农、吉金、竹泉、古泉、老丁、耻春亭翁、寿道士、稽留山民、曲江外史、昔耶居士、莲身居士、龙梭仙客、金二十六郎、仙坛扫花人、金牛湖上诗老、百二砚田富翁、心出家庵粥饭僧、金牛、金吉金（苏伐罗吉苏伐罗）、枯梅庵主、龙梭仙馆旧客、荆蛮民、小善庵主、老金、惜花人、之江钓师、三朝老民、十九松长者、朱阳馆主、纸裘老生。所钤印记有：寿、农、寿门、古泉、金农、竹泉金吉金、莲身居士、金农之印、金吉金之印、冬心先生、金老丁、生于丁卯、金农印信、金寿门氏、努力加餐饭、寿道士、明月入怀、乐此不疲、布衣雄世。某些字号、印章颇具生活气息，其晚年多用佛门别号。",[24,29,82,25,62,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbe7cac7b0e706ab10260032bfba2d34.jpg","纸本墨笔","25.4cm ×29.8cm",[45],184,{"id":670,"slug":671,"title":672,"dynasty":173,"author":399,"museum":99,"description":673,"tags":674,"thumbUrl":677,"material":88,"size":678,"collection":45,"collections":679,"showCount":680,"zanCount":11,"manualWeight":11,"mainColor":93},219203,"mei-zhu-shan-zhi-tu-ma-yuan-219203","梅竹山雉图","此图突出一个“简”，着墨甚少，然而笔精墨妙。图中梅树一棵，翠竹一枝，孤石一块，以简练的笔法画之，虽梅枝不多，怒张而有放射之态；翠竹柔姿与梅媲美；作者以浓墨大斧劈及丁头鼠尾画法相结合，石块质坚、方硬。只有图中的山雉，作者用笔精练，神彩俱牛，雄雉身上的背羽部分黑斑点，在银光闪烁的白羽上更黑更突出红脸上的黑眼，显得很有神态，黑颈白肚中夹着红色的胸羽，是画面中最能令人注目的视点。一只小小雌雉依偎在旁，更显雄者的威武，虽只有这一对雉，却使画面点缀得有声有色。",[23,24,59,29,609,61,60,25,405,32,7,675,85,676,62],"山雉","枯枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eef8b55514c8cfe1d3ed17f0508b497.jpg","纵24.1厘米，横25.2厘米",[45,69],179,{"id":682,"slug":683,"title":209,"dynasty":130,"author":210,"museum":20,"description":684,"tags":685,"thumbUrl":686,"material":216,"size":687,"collection":89,"collections":688,"showCount":689,"zanCount":253,"manualWeight":11,"mainColor":49},234328,"song-mei-shuang-he-tu-shen-quan-234328","此画为作者晚年之作，笔触细致工整，造型生动准确，技法出自明代而又极具个人风格，笔墨工致，敷色浓艳，注重渲染，形象逼真，富有立体感。劲健、流畅的线条，细密的局部勾画，完美的画面构图，令人难以看出此乃年已古稀之人的手笔。",[24,29,59,102,60,61,62,33,7,213,104,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36593b35e7fbbcd65293d043000633a0.jpg","191cm×98.3cm",[],177,{"id":691,"slug":692,"title":693,"dynasty":173,"author":257,"museum":99,"description":694,"tags":695,"thumbUrl":699,"material":88,"size":89,"collection":69,"collections":700,"showCount":689,"zanCount":142,"manualWeight":11,"mainColor":49},218967,"la-mei-han-qin-tu-yi-ming-218967","腊梅寒禽图","寒汀疏影里，腊梅枝桠斜逸，点点白花似凝着清霜，在冷寂中透出淡香。岸畔山茶红萼灼灼，与枯瘦的梅枝相映，暖了一帧冬景。两只水禽悠游浅波，羽色素净，颈间一抹白如落雪，姿态闲逸得像在细品风的轻语。远处山影淡如烟岚，天际归鸟三两，更衬出天地的旷远。\n\n笔墨细腻却不刻意，草木的情态、水禽的姿态皆得自然之趣。宋人的心境藏在这帧画里：于寻常冬景中撷取宁静与生机，让清寂时光浸着温润诗意——没有浓墨重彩的渲染，却以极简的笔触，将冬的清寒与生命的从容，凝成了可触摸的温润。",[23,59,24,29,60,61,62,7,696,85,697,698],"禽","水面","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6a6138737b9901f57872732e5659ef9.jpg",[69,45],{"id":702,"slug":703,"title":704,"dynasty":18,"author":705,"museum":99,"description":706,"tags":707,"thumbUrl":710,"material":88,"size":89,"collection":45,"collections":711,"showCount":712,"zanCount":11,"manualWeight":11,"mainColor":49},219462,"hua-niao-tu-lu-zhi-219462","花鸟图","陆治","虬曲苍劲的老梅盘错伸展，柔粉新花缀满枝桠，垂拂的柳丝轻曳，晕开春日的软柔生机。两只白羽鹦鹉或栖或飞，姿态悠然闲适，绿羽鹦鹉俯身探向花枝，翠色翎毛鲜妍亮眼，鲜活灵动。\n\n画作兼取院体工致与文人雅意，墨笔勾勒梅骨古拙苍劲，禽鸟晕染细腻写实，设色柔丽雅致。将花木的清隽幽淡与禽鸟的鲜活灵韵相融，动静交织间，晕开春日独有的悠然闲情，尽显明丽雅致的花鸟意趣。",[24,29,60,61,62,64,708,63,7,709,65,83],"鹦鹉","树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff60450a7cb42a9f747df8719efb27c47.jpg",[45],172,{"id":714,"slug":715,"title":716,"dynasty":130,"author":717,"museum":56,"description":718,"tags":719,"thumbUrl":729,"material":420,"size":421,"collection":89,"collections":730,"showCount":731,"zanCount":142,"manualWeight":11,"mainColor":49},290019,"qian-long-di-sui-chao-xing-le-tu-zhou-lang-shi-ning-290019","乾隆帝岁朝行乐图轴","郎世宁","郎世宁（Giuseppe Castiglione，1688.7.19-1766.7.16），原名朱塞佩·伽斯底里奥内，圣名若瑟，天主教耶稣会修士、画家，意大利米兰人。\n1715年（清康熙五十四年）来中国传教，随即入皇宫任宫廷画家，历经康熙、雍正、乾隆三朝，在中国从事绘画50多年，并参加了圆明园西洋楼的设计工作，为清代宫廷十大画家之一。 郎世宁擅绘骏马、人物肖像、花卉走兽，风格上强调将西方绘画手法与传统中国笔墨相融合，受到皇帝的喜爱，也极大地影响了康熙之后的清代宫廷绘画和审美趣味。\n其主要作品有《十骏犬图》《百骏图》《乾隆大阅图》《瑞谷图》《花鸟图》《百子图》《聚瑞图》《仙萼长春图册》《心写治平图》（《乾隆帝后妃嫔图卷》）等。",[23,24,102,61,60,720,103,721,722,723,724,7,725,726,727,728],"界画","楼阁","庭院","雪山","松树","雪景","岁朝行乐","宫廷","欢乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c7cec0bd92f397ff05871378734d78.jpg",[],171,{"id":733,"slug":734,"title":735,"dynasty":130,"author":147,"museum":56,"description":736,"tags":737,"thumbUrl":739,"material":540,"size":740,"collection":45,"collections":741,"showCount":742,"zanCount":142,"manualWeight":11,"mainColor":93},222707,"mei-hua-tu-li-zhou-jin-nong-222707","梅花图立轴","水墨绘梅树枝杆，中间淡墨皴染，外部浓墨晕染，粗壮遒劲；古梅细枝繁多，每一枝枝头皆花朵绽放，红色花朵娇艳欲滴，红花丛中绿叶渐渐长开，一个春天即将到来。",[23,24,29,102,25,61,7,431,738,30,83],"梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5d44ddc3ccfb0f322631c48caa18fc7.jpg","61cmx33cm",[45,71],170,{"id":744,"slug":745,"title":746,"dynasty":130,"author":225,"museum":56,"description":747,"tags":748,"thumbUrl":751,"material":420,"size":421,"collection":89,"collections":752,"showCount":753,"zanCount":11,"manualWeight":11,"mainColor":93},289915,"sui-chao-qing-gong-tu-li-zhou-wu-chang-shuo-289915","岁朝清供图立轴","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》。",[24,59,29,102,25,61,62,7,38,85,749,30,83,228,39,750],"器物","盆栽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30fcfb6589c3a3e4729c4a0a67ce3c16.jpg",[],169,{"id":755,"slug":756,"title":757,"dynasty":173,"author":257,"museum":20,"description":758,"tags":759,"thumbUrl":760,"material":216,"size":761,"collection":69,"collections":762,"showCount":763,"zanCount":142,"manualWeight":11,"mainColor":49},223519,"mei-zhu-shuang-que-tu-yi-ming-223519","梅竹双雀图","绿竹丛中逶迤伸出白梅两枝，清丽冷艳。两只鸲鹆栖于枝头，翘首顾盼。鸟羽用细笔勾描，然后以墨或淡彩晕染，近似“没骨”法。梅花用白粉和淡黄色勾填，层次丰富。竹叶用双勾法勾勒轮廓，再染以花青、汁绿、赭石等色。",[23,24,29,62,60,61,7,32,380,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F478d67e9c8453c0f58a076b0bb58b8c1.jpg","26x26.5厘米",[69,45,71],168,{"id":765,"slug":766,"title":767,"dynasty":173,"author":257,"museum":99,"description":768,"tags":769,"thumbUrl":776,"material":88,"size":89,"collection":69,"collections":777,"showCount":778,"zanCount":314,"manualWeight":11,"mainColor":49},220204,"bo-gu-tu-yi-ming-220204","博古图","博古是杂画的一种，后人将图画在器物上，形成装饰的工艺品，泛称“博古”。如“博古图”加上花卉、果品作为点缀而完成画幅的叫“花博古”。 北宋大观宋徽宗命大臣编绘宣和殿所藏古器，修成《宣和博古图》三十卷。后人因此将绘有瓷、铜、玉、石等古代器物的图画，叫做“博古图”，有时以花卉、果品等装饰点缀。“博古图”有博古通今、崇尚儒雅之寓意，常用于书香门第或官宦人家的宅第装饰，这也造成了其在艺术品投资领域中不俗的地位。",[23,24,29,61,60,103,33,164,7,770,749,722,653,771,772,773,774,775],"古物","文人","桌案","古玩","平台","花木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e71958042d8dd75fd60dcfa63880052.jpg",[69,108],164,{"id":780,"slug":781,"title":782,"dynasty":173,"author":295,"museum":783,"description":784,"tags":785,"thumbUrl":786,"material":178,"size":787,"collection":69,"collections":788,"showCount":789,"zanCount":142,"manualWeight":11,"mainColor":93},221328,"wu-se-ying-wu-tu-zhao-ji-221328","五色鹦鹉图","美国波士顿博物馆","《五色鹦鹉图》是北宋时期宋徽宗 创作的一幅绢本设色画，现收藏于美国波士顿美术馆。\n此图为横卷，画中一只鹦鹉立于一斜枝上，鹦鹉得意自适，似与人语，俏姿可掬。\n正是春光明媚之时，杏枝抽条，白花朵朵，欣欣日上。\n此图是一幅写实性的小品，可以看出徽宗“妙体众形”的深厚功力。\n此卷既有图，又有题句和跋，为赵佶的三绝珍品。\n卷首有清宋荦隶书题款，前段为宋徽宗咏鹦鹉诗一首并序：五色鹦鹉来自岭表，养之禁御，驯服可爱，飞鸣自适，往来于苑囿间。\n方中春，繁杏遍开，翔翥其上，雅诧容与，自有一种态度。\n纵目观之，宛胜图画，因赋是诗焉。\n天产乾犀此异禽，遐陬来贡九重深。\n体全五色非凡质，惠吐多言更好音。\n飞翥似怜毛羽贵，徘徊如饱稻粱心。\n缃膺绀趾诚端雅，为赋新篇步武吟。\n御制御画并书（仅存“制”、“并” 二字及画押）。\n后半部分则画一红颈鹦鹉立千杏枝之上。\n杏花正在盛开，饱满的杏花在枝头次第开放，热烈浓郁，营造出春意盎然、欢快喜悦的精神氛围。\n画卷上钤有元文宗“天历之宝”印，清初戴明说、宋荦藏印及清乾降、嘉庆内府鉴藏印。\n赵佶不是一位好皇帝，然而当时的政治制度以及他统治者的政治地位极大地影响了艺术的发展。\n他痴迷于艺术，并且把自己的爱好推广到社会中，造成一种社会文化现象，使北宋文化在宋徽宗时期创造了一段辉煌，尤其是工笔花鸟画的发展在宋代达到了古代花鸟画历史的顶峰，并开创了花鸟画创作的新时代，对后世的花鸟画产生了深远的影响，《五色鹦鹉图》就是一幅典型的花鸟画。\n据说，宋徽宗在御花园内见一只贡自岭表的别致鹦鹉飞鸣于杏枝间，姿态煞是可爱，遂御笔彩绘，复作诗并序，画了《五色鹦鹉图》。\n在充满了道教神仙思想的徽宗看来，描绘祥瑞之物的工笔花鸟画不但是艺术创作，还是祈祷国家和民族福祉的独特形式，也是治理国家的一种手段。\n他要在大自然中发现那些预示国家运兆的祥禽瑞草，并把它们图绘下来。\n画中的五色鹦鹉的毛色恰好与社稷坛供奉的五色土相近，“五色”为青黄赤白黑，象征着五个方位，亦象征天下。\n宋徽宗正是想用“五色”向诸朝臣表明此系“天产”、“异禽、“非凡质”、乃“样瑞”也。\n宋徽宗羡慕此鸟的“飞鸣自适”，实际是“自由”，这是这位帝王想得都得不到的。\n全枝式构图是花鸟画常见的一种构图方式，即画幅的主要部位摆布几枝全株花木，配以禽鸟或草虫，或烘云托月为其背景。\n花木枝干参差交错，叶片层叠枞深，疏密有致。\n花木下部不露脚根，也不用画山石土坡，使画面的主体物更加突出，重点更为集中。\n《五色鹦鹉图》就是全枝式构图的一个典型代表，画中色彩斑斓的鹦鹉栖息在杏花枝头，营造出一种宁静欢愉的境界。\n这张画是一幅重彩，重彩画画成浓重是方便的，但画得很清灵、透明是不容易的。\n这张画的颜色设计很调和，技巧上厚薄把握得很好。\n在墨的底子上用石绿，因石绿为矿物质颜料，画上容易出现粉气，但它没有这种粉气。\n指鹦鹉背部这一块很淡很薄，笔法显得很生动。\n树枝的勾线很结实，用笔富有变化。\n下笔较重，微露钉头，从上往下勾，如果笔法一样是很死板的，但太不相类又不能成为贯通的一枝，而此画树杆中的钉子头有些明显，有些不明显，很随意，有一种自然变化之妙在其中。\n此图杏树枝条多以淡墨勾勒轮廓，再以极细微多尖锐墨点点苔，枝头嫩绿的叶芽隐隐透出，突出了春天枝条初发生机的柔韧感和树枝坚硬的质地感，枝条安排疏密有致，详略得当。\n杏花或侧或卧，或正或背，或大或小，或蓓蕾初成，或繁华正开，或团簇，或散落，极尽姿态。\n画家先以淡墨勾出花瓣、花蕊轮廓，然后再以白粉层层渲染，花萼则略加勾勒，然后以浅绿敷色，层层包裹，更加映衬突出杏花的繁茂、饱满和热烈，花气鲜嫩浓郁，姿态各异，若从绢上跃然生出。\n鹦鹉为全幅刻画的重点所在，亦是画家着重关注的对象，画中鹦鹉眼睛大而有神，正炯炯注视眼前繁茂的杏花，似乎为欢快的春天气氛所吸引，呈现出欢愉的表情。\n眼睛以生漆点之，呼之欲活，确实倍见精彩。\n鹦鹉羽毛呈五色，黑、灰、红、绿，鲜丽耀日，头呈黑灰色，脖颈呈深红色，翅羽、尾羽呈浅绿色，鲜艳明快的羽毛呈亮色调，为画面增添了温暖的基调。\n鹦鹉露出一足紧紧抓住杏枝，另一足微露脚爪，当为俯视鹦鹉角度所看到的情形，更突出了鹦鹉站立枝头的别样姿态。\n鹦鹉足角质鳞片也悄然画出，不同于羽毛及所立杏枝的质感，更见画家观察的精细，让人不由得驻足留意观赏。\n此画曾著录于《宋中兴馆阁储藏图画记》、吴升《大观录》、《石渠宝笈初编》（卷二十四）诸书中，为《宣和睿览集》中的存世画迹。\n此卷在元代经文宗收藏，明末清初为戴名世所收，又经宋荦收藏，乾隆时收入内府。\n民国初年为山本悌二郎所收，流入日本，著于《澄怀堂书画目录》中。\n山本卒后，他所收藏的《杏花鹦鹉图》不久即流入美国，为波士顿美术馆所收。\n212年11月2日至21年1月日，上海博物馆开展了“翰墨荟萃—美国收藏中国五代宋元书画珍品展”，《五色鹦鹉图》在这次展览中展出。\n217年7月2日，日本东京都美术馆开展了“波士顿美术馆至宝展”，《五色鹦鹉图》在这次展览中展出。\n赵佶（182－115），即宋徽宗，北宋皇帝。\n神宗第十一子，哲宗弟，在位25年。\n即位前历任镇宁军节度使，平江、镇江军节度使等职，先后封宁国公、遂宁郡王、端王。\n崇信道教，自号“教主道君皇帝”。\n南宋绍兴五年（115年），死于五国城（今黑龙江依兰）。\n其书法、绘画颇有造诣，书法自成一家，称“瘦金体”，兼及狂草。\n绘画重写生，尤长花鸟画，存世有《芙蓉锦鸡图》、《池塘秋晚图》。\n并能诗词，著有《宣和宫词》卷，已佚。",[23,59,24,29,28,60,61,62,7,708,30,31,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250806d5c1a5a740cd7a94908d9dccc4.jpg","纵：53.3，横：125.1厘米",[69,45,71],163,{"id":791,"slug":792,"title":793,"dynasty":173,"author":794,"museum":99,"description":795,"tags":796,"thumbUrl":801,"material":178,"size":802,"collection":69,"collections":803,"showCount":804,"zanCount":125,"manualWeight":11,"mainColor":49},221380,"huo-lang-tu-su-han-chen-221380","货郎图","苏汉臣","画面上描绘一位走乡串村的老货郎，推着小货车，走到一棵老梅树下的空旷场院上，货郎的到来，给孩子们带来了极大的快乐：货郎车上挂满了木叉、们‘耙，帽子、围巾、布兜、小风车、拨浪鼓、花篮、糖葫芦、花灯笼，各种佩饰等，品种繁多，琳琅满日。连货郎肩上、腰间、背后都有货物。由于货郎的到来，引来了四面八方的孩子，欣喜若狂地在货车周围戏耍。靠近货郎的一个背着小弟弟的男娃子，好像刚刚跑到这里，眼巴巴地瞧着货郎车上的东西，似有想买又没有买到的样子，所以老货郎的目光投向了这个背着弟弟而迟到的男娃子，停止了车，一手撒把指着小花鼓招引孩子：在车轮旁两个小孩，由于买到了喜爱的玩物，离开货车转身就跑，其中大的孩子手持糖葫芦满面笑容，兴高彩烈的样子。另一个小的孩子满心欢跳，一不小心，仰面跌了一个大跟斗，但是双眼还在找他喜爱的玩具。车头前又有两个站着的孩子，头上、身上戴着佩饰的那个孩子，一手指着货郎车的东西，似在告诉另一个孩子什么玩具好。头戴帽子穿着长袍的孩子，举起双手摇摆着，似有不让货郎车走开的意思。",[23,24,59,60,61,103,797,7,798,517,799,800,39],"儿童","植物","日用品","衣冠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdca69375cfc2c3f744733e8fa2fb6541.jpg","纵159.2厘米，横97厘米",[69,108,71],161,{"id":806,"slug":807,"title":808,"dynasty":173,"author":295,"museum":809,"description":810,"tags":811,"thumbUrl":812,"material":88,"size":813,"collection":45,"collections":814,"showCount":815,"zanCount":314,"manualWeight":11,"mainColor":49},219170,"la-mei-shuang-qin-tu-zhao-ji-219170","腊梅双禽图","四川博物馆","描绘两只山雀栖止于梅树枝头，梅花含苞欲放，仅一朵绽开花蕾。梅之清韵与枝头的小鸟相映成趣，花鸟优美动人。全画以细劲的笔致、单纯秀雅的色调精妙入微地刻画花鸟形象，梅花轻柔美丽，山雀毛羽似泛光泽，其情态特征精细入微。",[23,59,24,29,60,61,62,7,64,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54ef81c59e68fc11da552ce3e803576c.jpg","纵25.8厘米，横26.1厘米",[45],157,{"id":817,"slug":818,"title":819,"dynasty":173,"author":399,"museum":160,"description":820,"tags":821,"thumbUrl":828,"material":88,"size":829,"collection":507,"collections":830,"showCount":831,"zanCount":253,"manualWeight":11,"mainColor":49},218237,"xue-ji-guan-mei-tu-ma-yuan-218237","雪屐观梅图","马远，号钦山。其祖父、伯父、父亲、兄弟均为南宋画院画家。他对花鸟、山水、人物都很擅长，尤以山水画的成就最为突出。在光宗、宁宗年间，他任画院待诏。学李唐，画山石用大斧劈皴，并创长斧劈皴，用笔凝重。构图上，一变五代、北宋以来的“全景式”，喜欢采用边角式的构图，或峭峰直上不见顶，或绝壁直下不显脚，人称“马一角”。《雪屐观梅图》画面的重心在左下角，水滩、苍松、老梅与人物集中与此。远处雪山只是以大斧劈皴刷扫，干净利落，与近处的巨石遥相呼应。",[24,59,822,823,824,725,825,7,103,826,827],"山水画","大斧劈皴","边角构图","苍松","巨石","水滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3179ad18bc15bc6742fc5df6ed494cdd.jpg","纵16.3 厘米，横100.9厘米",[507],154,{"id":833,"slug":834,"title":835,"dynasty":173,"author":836,"museum":56,"description":837,"tags":838,"thumbUrl":839,"material":216,"size":840,"collection":69,"collections":841,"showCount":842,"zanCount":11,"manualWeight":11,"mainColor":49},221404,"bai-miao-shi-nv-tu-li-gong-lin-221404","白描仕女图","李公麟","李公麟（1049～1106），舒州(今安徽桐城)人，宋代杰出画家。字伯时，号龙眠居士，享年五十七岁。熙宁三年（公元1070年）进士。李龙眠即李公麟，字伯时，安徽桐城人，因桐城县北有一龙眠山，李公麟曾长居于山下，所以又自号龙眠居士或龙眠山人。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[23,24,29,59,163,103,135,721,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f89ca0cf650498658e9f6d3c15a75dd.jpg","30x30厘米",[69,108,151],153,{"id":844,"slug":845,"title":846,"dynasty":198,"author":199,"museum":661,"description":847,"tags":848,"thumbUrl":849,"material":633,"size":850,"collection":45,"collections":851,"showCount":842,"zanCount":11,"manualWeight":11,"mainColor":49},214295,"han-mei-tu-wang-mian-214295","寒梅图","元代画家王冕（1280-1329）是中国古代著名的画家，他的《寒梅图》是其代表作之一。\n\n《寒梅图》描绘了一棵寒梅树，树上只有几朵花开，周围是一片荒芜的冬景。王冕在画中运用了凝重的笔墨和写意的造型，勾勒出了寒梅树的茂盛与脆弱，以及冬天的荒凉。\n\n《寒梅图》被认为是王冕写意山水画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《寒梅图》也是收藏家们青睐的经典之作。\n\n王冕的《寒梅图》是一幅描绘冬天荒凉的画作，但它却带给人们对生命的启示。寒梅树在荒凉的冬季依然绽放，它的坚韧与生命力激发了人们对生命的尊重与感悟。王冕的《寒梅图》不仅是一幅精美的画作，更是一首关于生命的诗篇。",[23,24,29,102,25,30,31,7,588,709,432,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74eb37c58ada5991af17df8bfe595f82.jpg","113x50.2",[45],{"id":853,"slug":854,"title":563,"dynasty":18,"author":705,"museum":56,"description":855,"tags":856,"thumbUrl":858,"material":420,"size":421,"collection":89,"collections":859,"showCount":860,"zanCount":314,"manualWeight":11,"mainColor":93},290309,"sui-chao-tu-zhou-lu-zhi-290309","陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因先世由汴徙居吴之包山梅梁里，遂自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[59,24,29,102,61,62,7,38,35,119,30,83,857],"日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5facffa84a62716f2f574fdad24943d6.jpg",[],152,{"id":862,"slug":863,"title":864,"dynasty":130,"author":351,"museum":56,"description":865,"tags":866,"thumbUrl":870,"material":420,"size":421,"collection":89,"collections":871,"showCount":872,"zanCount":253,"manualWeight":11,"mainColor":93},290531,"wan-heng-xiang-xue-zhou-yun-shou-ping-290531","万横香雪轴","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。",[24,102,59,403,7,721,867,868,869,588,30,83,61,405],"小桥","流水","孤舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F908e37e2018eaa4c032769f68c2bc093.jpg",[],150,{"id":874,"slug":875,"title":738,"dynasty":18,"author":463,"museum":99,"description":876,"tags":877,"thumbUrl":878,"material":540,"size":879,"collection":89,"collections":880,"showCount":881,"zanCount":11,"manualWeight":11,"mainColor":93},222412,"mei-hua-zhou-zhi-mian-222412","周之冕（1521—？）明代杰出画家，字服卿，号少谷，长洲（今江苏苏州）人。卒年不详，活跃于万历年间。擅花鸟，注重观察体会花鸟形貌神情，及禽鸟的饮啄、飞止等种种动态。善用勾勒法画花，以水墨点染叶子，画法兼工带写，人称勾花点叶法。所作花鸟，形象真实，意态生动，颇有影响。写意花鸟，最有神韵。设色亦鲜雅，家畜各种禽鸟，详其饮啄飞止，故动笔具有生意 。特以嗜酒落魄，不甚为世重耳。又善古隶。\n有明以来写花草者，无如吴郡，而吴郡自沈周之后，无如陈道复（1483—1544）陆叔平（1496—1576）然道复妙而不真，叔平真而不妙，周之冕似能兼之。周之冕采陈道复、陆治二家之长，为吴门画派重要画家。\n万历三十年（1602）作《竹石雄鸡图》轴和《百花图》卷，现藏故宫博物院；（1601）作 桃柳春燕图 手卷；《桂树榴雀图》轴藏南京博物院；万历十三年（1585）作《芙蓉凫鸭》图轴藏上海博物馆；十五年（1587）作《芙蓉双凫图》轴藏沈阳故宫博物院；三十年作《墨花图》卷藏天津市艺术博物馆；同年作《杏花锦鸡图》轴藏苏州市博物馆；二十四年作《梅花野雉图》轴藏辽宁省博物馆。",[23,24,29,609,25,62,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dbd89ea65005058bae7f1df5879f312.jpg","58x55.6厘米",[],147,{"id":883,"slug":884,"title":628,"dynasty":130,"author":147,"museum":885,"description":886,"tags":887,"thumbUrl":888,"material":88,"size":889,"collection":45,"collections":890,"showCount":891,"zanCount":253,"manualWeight":11,"mainColor":49},218859,"mei-hua-tu-jin-nong-218859","南京博物院","老干虬曲如铁，以浓墨劲笔勾勒，线条古拙苍劲，尽显梅树历经风霜的坚韧风骨。枝头繁花疏朗，或含苞待放，或悄然绽放，淡墨点染间透着清雅之韵，与深褐枝干形成鲜明对比，更衬出梅的冰清玉洁。右侧题跋以金农标志性的漆书书就，笔力沉厚，字体方整古朴，笔墨与画面意境交融，文气盎然。整幅作品不拘泥于形似，而重神韵，于简淡中见精神，传递出梅的孤傲品格与文人的清雅风骨，尽显扬州八怪特有的艺术个性，将文人画的意趣与梅的精神完美融合。",[23,24,29,102,25,7,62,31,588],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ee7b4e0d4c7ca7b49524552eb1cc5da.jpg","41x130cm",[45],144,{"id":893,"slug":894,"title":895,"dynasty":198,"author":199,"museum":56,"description":896,"tags":897,"thumbUrl":898,"material":89,"size":89,"collection":89,"collections":899,"showCount":900,"zanCount":11,"manualWeight":11,"mainColor":49},228265,"yue-xia-mei-hua-tu-wang-mian-228265","月下梅花图","古梅老干盘虬苍劲，如铁铸凝霜，却自枯槎间抽发柔枝，繁花轻缀如堆雪团玉。左上角圆月晕出朦胧暖光，将夜色晕化，清辉漫过梅枝，冷艳花影与溶溶月色缠织，把孤高疏淡的意境烘托到极致。\n\n以顿挫老辣的水墨写枝，尽显梅树硬骨，淡墨圈花留白，衬出花瓣冰清玉洁，笔简意足。题诗与画意相融，诗书画印浑然一体，尽显文人雅致风骨。将梅花凌霜傲雪的君子品格，与画者淡泊襟怀藏在尺幅清景之中，暗香似随月色浮动，观之便觉心神澄澈。",[23,24,29,102,25,7,404,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b72dd09d14af6300a2dd92f27a517ef.jpg",[],142,{"id":902,"slug":903,"title":904,"dynasty":130,"author":905,"museum":56,"description":906,"tags":907,"thumbUrl":911,"material":89,"size":89,"collection":89,"collections":912,"showCount":913,"zanCount":125,"manualWeight":11,"mainColor":49},229035,"yue-man-qing-you-tu-ce-chen-mei-229035","月曼清游图册","陈枚","此作工致细腻，庭院春梅如云盛放，元宵宫灯悬于枝梢檐下，晕开融融暖意。楼下女眷三两围聚，私语笑谈，情态温婉柔媚；楼上闺人凭窗远眺，共赏灯景。设色明妍柔丽，线条精细雅致，将深闺女子元宵嬉游的闲雅意趣尽数铺展，仕女的温婉仪容、娇柔神态刻画入微，带着院体画的精致考究，晕染出古典深闺的春日雅兴，尽显清代仕女画的典雅意韵。",[23,59,24,82,60,61,103,136,135,7,908,722,721,909,910],"宫灯","闲雅","仕女画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029ff8b8e58621845ff72b54766a782f.jpg",[],141,{"id":915,"slug":916,"title":917,"dynasty":130,"author":187,"museum":56,"description":918,"tags":919,"thumbUrl":920,"material":89,"size":89,"collection":89,"collections":921,"showCount":922,"zanCount":314,"manualWeight":11,"mainColor":49},236479,"sui-chao-qing-gong-zhou-chen-hong-shou-236479","岁朝清供轴","此作以案头清供入画，古雅沉静。方口铜尊中，梅枝虬曲错落，寒英素洁，山茶艳红似燃，细竹扶疏添清逸。旁侧虬奇古松配立湖石，置于案几，与瓶花相映成趣。\n\n用笔凝练挺劲，设色沉厚朴雅，敷色淡而不薄，艳而不俗，将文人岁朝清赏的闲逸意趣藏于笔墨间，暗合新春纳祥的美好祈愿，尽显高古雅致的文人气韵。",[24,61,60,102,7,32,119,104,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F465176e9d66122bb4dbf941bf6e2e4e0.jpg",[],139,{"id":924,"slug":925,"title":926,"dynasty":18,"author":187,"museum":160,"description":927,"tags":928,"thumbUrl":932,"material":88,"size":933,"collection":108,"collections":934,"showCount":935,"zanCount":253,"manualWeight":11,"mainColor":49},219416,"yin-jiu-du-shu-tu-zhou-chen-hong-shou-219416","饮酒读书图轴","图绘一位文士头戴乌帽身穿朱衣，手持把杯，坐对书卷。长几上瓶插梅花竹叶，\n笔墨皆清劲。画面取斜向构图，布局大胆新奇。此图作于崇祯十六年癸未（1643），作者时年46岁。本年，明王朝已经处于风雨飘摇之际，陈洪绶只好南归。此图即作于舟泊天津杨柳青之时。图中有孔尚任题跋四则，不仅谈到购藏此图的经历，同时对于补充孔氏生平经历具有重要的史料价值。",[24,102,61,103,7,119,30,83,929,930,516,931],"纸","墨","典籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd899a507a555b78db6a6bc70bf72310f.jpg","纵100.8厘米，横49.4厘米",[108],138,{"id":937,"slug":938,"title":939,"dynasty":18,"author":940,"museum":56,"description":941,"tags":942,"thumbUrl":949,"material":89,"size":89,"collection":89,"collections":950,"showCount":951,"zanCount":253,"manualWeight":11,"mainColor":93},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。",[23,24,29,28,60,61,62,7,40,35,36,37,38,943,944,945,391,946,947,948,39,467,432,83],"月季","杜鹃","百合","海棠","栀子","茉莉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fcbf65ccf427d0eec788db6bcfcdb78.jpg",[],137,{"id":953,"slug":954,"title":955,"dynasty":130,"author":956,"museum":99,"description":957,"tags":958,"thumbUrl":960,"material":121,"size":961,"collection":45,"collections":962,"showCount":951,"zanCount":361,"manualWeight":11,"mainColor":93},218994,"gou-tu-shen-zhen-lin-218994","狗图","沈振麟","这是一幅站在竹子和梅花树下的京巴，姿态呆萌，系金钟，想必是宫廷犬的家族。描写敏感而写实，可能受到西方绘画风格的影响。",[24,61,60,959,7,32,102,540],"兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f54e80e7dec55c15cb031502a3d45e4.jpg","纵92.8横75.6厘米",[45],{"id":964,"slug":965,"title":966,"dynasty":173,"author":399,"museum":20,"description":967,"tags":968,"thumbUrl":970,"material":299,"size":971,"collection":69,"collections":972,"showCount":973,"zanCount":142,"manualWeight":11,"mainColor":49},221529,"mei-shi-xi-fu-tu-ma-yuan-221529","梅石溪凫图","本幅款署“馬遠”。钤藏印：“ 潞王之寶”、“茅林心賞”、“阿蒙”、“于騰私印”。\n图中画山崖侧立，腊梅倒垂，薄雾蒙蒙的涧水中，一群野鸭正在游戏。山石以斧劈皴法画之，方硬峭拔，与用笔轻快、毛羽松蓬的野鸭形成鲜明的对比。倒垂曲折的枝条是马远特有的画法，故有“拖枝马远”之称。画面呈典型的对角线式构图，岩石、梅树都偏居画面的左上部分，梅树枝条的走势更强调了此种布局的形式感，右下方的野鸭既起到了平衡画面的作用，又是全图的点睛之笔，一幅“春江水暖鸭先知”的景象，无限生趣，跃然绢素。",[23,24,29,82,25,61,405,7,85,868,969,63,62,83],"水鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae794f0f7f856fe10e8845520e5badc4.jpg","纵26.7厘米，横28.6厘米",[69,45,71],136,{"id":975,"slug":976,"title":977,"dynasty":173,"author":978,"museum":979,"description":980,"tags":981,"thumbUrl":984,"material":88,"size":89,"collection":45,"collections":985,"showCount":973,"zanCount":253,"manualWeight":11,"mainColor":986},218889,"mei-hua-shuang-que-tu-tang-zheng-zhong-218889","梅花双鹊图","汤正仲","上海龙美术馆","虬干盘结如铁，皴擦间尽现老木苍劲之姿；新梢斜逸若剑，挺秀中暗藏生机。素蕊攒枝，以圈花点蕊之法写就，清疏淡雅如覆薄雪，暗香似欲溢出纸面。双鹊栖于枝间，一俯一仰顾盼有情，羽翼细墨勾勒与梅枝粗放形成呼应，添几分灵动暖意。整幅画以墨骨立形，淡彩敷色，既承扬派墨梅清逸，又融自家笔意沉厚。寒梅高洁品格与双鹊吉祥意趣交织，冬日清寂中晕开一抹生机，尽显宋人花鸟画雅致韵致与文人情怀。",[59,24,29,102,60,61,62,7,982,63,983,588],"鹊","枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15447dc3a3314b0bcbd372dc5a108d12.jpg",[45],"F48FB1",{"id":988,"slug":989,"title":990,"dynasty":130,"author":225,"museum":56,"description":991,"tags":992,"thumbUrl":993,"material":89,"size":89,"collection":45,"collections":994,"showCount":995,"zanCount":253,"manualWeight":11,"mainColor":93},239029,"hong-mei-juan-wu-chang-shuo-239029","红梅卷","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》。",[24,28,25,61,7,30,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09767ee0d5b587971ce9dfadc909df1f.jpg",[45,71],135,{"id":997,"slug":998,"title":999,"dynasty":130,"author":351,"museum":20,"description":1000,"tags":1001,"thumbUrl":1002,"material":178,"size":1003,"collection":45,"collections":1004,"showCount":995,"zanCount":253,"manualWeight":11,"mainColor":93},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。",[23,24,29,102,61,62,355,7,40,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8da6c06676028e116b16baef378dbe92.jpg","纵88.5cm，横54cm",[45,71],{"id":1006,"slug":1007,"title":1008,"dynasty":130,"author":717,"museum":99,"description":1009,"tags":1010,"thumbUrl":1016,"material":88,"size":1017,"collection":45,"collections":1018,"showCount":995,"zanCount":125,"manualWeight":11,"mainColor":93},218854,"san-yang-kai-tai-tu-lang-shi-ning-218854","三羊开泰图","其画风中融合特殊中西笔触，尤其是运用写实画派光影透视技巧，郎氏画作特别讨喜尤受皇帝欣赏。\n三羊开泰用于岁首祝福时，人们也常用“三羊”来代替“三阳”，把“三阳开泰”写成“三羊开泰”，乃取其谐音而已。根据泰卦的释义，“三阳开泰”的引申意思，则有好运即将降临之意。\n拿“三羊”来代替“三阳”，除了“羊”与“阳”两字谐音而外，也还有寓有更隐蔽的深层的文化含义。",[23,1011,24,60,61,1012,1013,1014,959,7,32,164,1015,798,102],"清代","中西合璧","写实","羊","草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4b031b067e2d9172399a90dab58307e.jpg","横60厘米 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Chinese University of Hong Kong Library","此作以跨页小品写就，水墨清简疏淡。左侧修竹瘦劲挺拔，寥寥数笔写出竹叶翩然之姿，清峻孤高自带霜节。右侧梅枝横斜而出，淡墨圈花，花苞轻绽，冷香暗浮于留白之中。\n\n画面以少胜多，将竹之劲节与梅之清癯相融，寥寥逸笔尽显岁寒二友的君子风骨。题款墨色苍劲古雅，朱印点染提亮，文人情趣浑然天成。整幅淡墨浅痕却余韵悠长，把东方水墨的留白意趣藏在疏枝瘦叶之间，清冷雅致，尽显写意之妙。",[23,24,29,82,25,7,32,83,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9928a3a570439bf1c01d26bb75a5c21e.jpg","Ink and colour on paper",[],126,{"id":1053,"slug":1054,"title":97,"dynasty":173,"author":257,"museum":99,"description":1055,"tags":1056,"thumbUrl":1058,"material":88,"size":1059,"collection":45,"collections":1060,"showCount":1051,"zanCount":253,"manualWeight":11,"mainColor":49},219277,"sui-chao-tu-yi-ming-219277","岁朝，指一岁之始，历代画家作该图，含有元旦开笔，预祝一年万事吉利之意。本幅绘拳石临流，雉鸡一对，麻雀数只，山茶旁生于老梅干后，绿竹新生于回流之上。水仙、红茶、白梅等花上下分别盛开，色调朱白相映，通幅设色浓而不艳，一派和熙春色。旧传为宋人之作，然笔触色调皆不类，疑是明人学吕纪画风。",[23,59,24,29,102,60,61,62,7,32,64,1057,104,39],"雉鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24ebc914f3148654b0f6a2722ee6abfa.jpg","164.2x80.3",[45],{"id":1062,"slug":1063,"title":1064,"dynasty":486,"author":257,"museum":661,"description":1065,"tags":1066,"thumbUrl":1069,"material":88,"size":1070,"collection":108,"collections":1071,"showCount":1051,"zanCount":253,"manualWeight":11,"mainColor":49},218314,"fang-yuan-zui-yue-tu-yi-ming-218314","芳园醉月图","月夜清辉漫洒芳园，嶙峋山石旁花木扶疏，枝桠间繁花如雪，月下更显幽逸。园内人影错杂，或围坐醉谈，或信步寻幽，或凭栏浅笑，动静交织成一派闲适图景。小桥卧波，流水潺潺，石径蜿蜒穿林，远处奇峰隐现于月色朦胧中，添了几分旷远之致。人物衣袂轻扬，神态鲜活，生动勾勒出园居宴乐的融融暖意。笔墨细腻温婉，设色淡雅清和，山石皴染见古意，花木点描显灵秀，构图疏密得宜，将园林的清幽之境与人间的欢悦之情相融相契，尽展古典雅韵与生活意趣。",[59,24,29,102,61,60,103,867,868,104,1067,404,7,1068],"树木","园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a5dcf17369c07d5993485e20a0c645b.jpg","155.5x102.3",[108],{"id":1073,"slug":1074,"title":605,"dynasty":173,"author":257,"museum":99,"description":1075,"tags":1076,"thumbUrl":1077,"material":88,"size":1078,"collection":45,"collections":1079,"showCount":1080,"zanCount":314,"manualWeight":11,"mainColor":49},219236,"mei-que-tu-yi-ming-219236","图绘细雪飘花，山喜鹊一双，倚偎于梅梢上。梅枝勾勒，线条精整，画中梅，圈瓣以淡墨细线为之，外围复以白粉提醒，萼则以胭脂红敷染，色彩搭配，虽不繁复，令人有如于雪光下，见清雅君子，一尘不染。宋人作画重理，画花尤重写生，此幅足为一例。前人论画梅，枝干交错之法，有如「女」字，此幅虽为写生一枝，亦于此法符合。",[23,24,29,62,60,61,7,380,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32ee8eb63474c1ac957d63dde5b26a63.jpg","25.5x29cm",[45],124,{"id":1082,"slug":1083,"title":1084,"dynasty":130,"author":1085,"museum":99,"description":1086,"tags":1087,"thumbUrl":1088,"material":1089,"size":1090,"collection":45,"collections":1091,"showCount":1092,"zanCount":11,"manualWeight":11,"mainColor":93},222807,"zhu-xia-hong-mei-wang-wu-222807","竹下红梅","王武","王武，1632年生，1690年逝世，吳縣（今江蘇蘇州）人。字勤中，晚號忘庵，又號雪顛道人。明代畫家王鏊六世孫，精鑑賞，富收藏，擅畫花鳥，風格工整秀麗，正如王時敏所云：“神韻生動，應在妙品中。”為清初院畫的名家。亦擅詩文。傳世作品有《水仙柏石圖》、《紅杏白鴿圖》、《鴛鴦白鷺圖》等。",[23,24,29,82,61,60,62,32,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe28b7f42c49990357f197784cca3d392.jpg","紙","27.9×36.3",[45,71],121,{"id":1094,"slug":1095,"title":1096,"dynasty":18,"author":318,"museum":99,"description":1097,"tags":1098,"thumbUrl":1100,"material":88,"size":1101,"collection":45,"collections":1102,"showCount":1092,"zanCount":142,"manualWeight":11,"mainColor":49},221937,"san-you-bai-qin-tu-bian-wen-jin-221937","三友百禽图","《三友百禽图》描绘了初冬时节，百禽嬉戏于松竹梅之间的场景，画中禽鸟或飞翔，或栖息，或嬉戏，或高瞻远瞩，或转首探望，或自理羽毛，无一重复，整个画面气氛热闹欢快，一派生机勃勃。\n此图中各个禽鸟的动姿刻画得生动活泼，诸鸟细致入微的描绘，使大多鸟类品种可辨，布满全幅的构图，呈现“茂密”的特点，画风工细精微又富装饰性，堪称边景昭最具宫廷花鸟特色的佳作。\n《三友百禽图》中以松、竹、梅和坡石为主要架构，其间穿插近百只禽鸟于枝头、坡上、空中等处。画面下部绘有数块峻峭的山石，在坡石缝隙之间，只见一截老松弯卧，树干表面显得沧桑嶙峋；在老松一侧两株粗壮的翠竹凛然耸起，直入画外，上不见其端顶，下不着其根部，在两棵竹子之间，一枝幼竹迎而立，竹叶繁密；在画面左上角，古老的梅干斜逸而出，茁壮的梅枝低垂，白色梅花凌寒怒放；梅竹之后，又有苍翠的松枝隐现其间。",[23,24,60,61,102,62,33,32,7,64,63,85,431,1099],"岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cb578f9fef886db366ada747d3fe3e2.jpg","纵152.2厘米，横78.1厘米",[45,71],{"id":1104,"slug":1105,"title":735,"dynasty":130,"author":225,"museum":56,"description":747,"tags":1106,"thumbUrl":1107,"material":420,"size":421,"collection":89,"collections":1108,"showCount":1109,"zanCount":253,"manualWeight":11,"mainColor":93},289981,"mei-hua-tu-li-zhou-wu-chang-shuo-289981",[23,24,102,25,61,7,33,85,62,30,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F064a0d9d4e3f29549f1c436bae20a6d3.jpg",[],120,{"id":1111,"slug":1112,"title":1113,"dynasty":130,"author":159,"museum":20,"description":1114,"tags":1115,"thumbUrl":1116,"material":369,"size":1117,"collection":45,"collections":1118,"showCount":1109,"zanCount":11,"manualWeight":11,"mainColor":93},236382,"mei-hua-tu-zhou-wang-shi-shen-236382","梅花图轴","图绘一株生机盎然的梅树，盛开的梅花洁白无瑕，交错的枝干扶摇向上，表现了梅作为花中君子具有“不恋世间佳丽地，独上寒山称骄子”的高逸之气。此图梅花以淡墨勾轮廓，线条工细，梅干以浓墨一挥而就，墨气淋漓。干与花巧妙地形成黑与白的对比，令简约的画面不失层次的变化。",[24,102,25,7,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febe0c491bd8337e9c24d78ad0b1bcf11.jpg","纵93.4厘米，横52.9厘米",[45,71],{"id":1120,"slug":1121,"title":1122,"dynasty":18,"author":257,"museum":79,"description":1123,"tags":1124,"thumbUrl":1125,"material":88,"size":1126,"collection":45,"collections":1127,"showCount":1128,"zanCount":11,"manualWeight":11,"mainColor":49},216673,"mei-hua-xiao-niao-tu-yi-ming-216673","梅花小鸟图","梅花小鸟图是明朝时期的一幅著名图画，作者佚名。这幅图画描绘了一只小鸟停在一棵梅花树上，周围是一片茂密的树林。图画中使用了精致的线条和细腻的色彩，捕捉了小鸟和树林的美妙景象。这幅图画被认为是明朝时期图画艺术的杰作，具有极高的艺术价值。",[24,29,609,61,60,62,7,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef71e1b2dede42b0a2dc0768e23aa09f.jpg","24.5x25cm",[45],118,{"id":1130,"slug":1131,"title":1132,"dynasty":130,"author":225,"museum":56,"description":1133,"tags":1134,"thumbUrl":1135,"material":89,"size":89,"collection":89,"collections":1136,"showCount":1137,"zanCount":11,"manualWeight":11,"mainColor":93},239284,"mei-hua-zhou-wu-chang-shuo-239284","梅花轴","此作用篆籀笔法写梅枝，老干如铁铸横斜，运笔顿挫生辣，尽显金石古拙之趣。淡墨圈花，留白缀出冰蕊琼华，繁枝错落疏密得宜，将梅的苍劲清妍揉为一体。\n\n右侧题字笔势酣畅，与梅枝刚健呼应，笔墨浓淡相生，把傲雪凌霜的品格寄于笔端，清雅风骨与雄强笔力相融，在水墨间晕染出盎然生机与文人孤高意趣，尽显大写意花卉的淋漓意韵。",[24,29,102,25,26,7,83,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd96f5289d271ae643a842746503256f.jpg",[],116,{"id":1139,"slug":1140,"title":1141,"dynasty":130,"author":905,"museum":56,"description":1142,"tags":1143,"thumbUrl":1145,"material":89,"size":89,"collection":89,"collections":1146,"showCount":1147,"zanCount":125,"manualWeight":11,"mainColor":986},229032,"yue-man-qing-you-tu-chen-mei-229032","月曼清游图","《月曼清游图》册，清，陈枚绘，绢本，设色，共12开，每开纵7cm，横1.8cm。\n此画册落款“臣陈枚恭画”，钤“臣枚”印1方。\n每开均配有清代梁诗正的行草体墨题，款“乾隆岁在戊午秋九月朔臣梁诗正敬题”， 戊午为乾隆三年（178年）。\n钤清高宗弘历“乾隆御览之宝”、“古希天子”、“乐善堂图书记”等印共6方。\n《月曼清游图》册描绘的是宫廷嫔妃们一年12个月的深宫生活：正月“寒夜探梅”、二月“杨柳荡千”、三月“闲亭对弈”、四月“庭院观花”、五月“水阁梳妆”、六月“碧池采莲”、七月“桐荫乞巧”、八月“琼台玩月”、九月“重阳赏菊”、十月“文窗刺绣”、十一月“围炉博古”、十二月“踏雪寻诗”。\n通过这一幅幅生动的画面体现了宫廷生活与民间生活的密切关联。\n嫔妃们的活动内容，在民间生活中均习以为常，只不过由于宫廷的特殊地位，而令这些活动从内容到形式都具有更加富贵、繁琐及典制化的特点。\n作者在人物创作的审美取向上有别于唐代张萱、周昉笔下体态丰腴的嫔妃形象，而以明代唐寅、仇英笔下的仕女画为审美标准，追求秀润飘逸的情致。\n画家以工细流畅的线条和亮丽鲜活的色彩将嫔妃们描绘成身材修长、体态轻盈、“倚风娇无力”之貌。\n她们三五成群地行进在以界画表现的亭台楼阁内或是细笔勾染皴点的花石下。\n富贵闲逸的宫苑生活令她们的物质生活十分充足，也使她们的精神世界极度贫乏。\n在技法上，此图所绘人物造型生动准确，笔致工细严谨，源于宋代院体画风。\n图中的楼台房室建筑则采用西洋 绘成，根据图中透视线斜度的变化，可以准确地推求出灭点的具体位置，从而加强了平面画幅的立体、纵深效果，在有限的画面上扩展出无限的空间。\n此图册于乾隆三年（178年）绘成后深得乾隆皇帝的赞赏。\n乾隆帝于六年谕令皇宫“造办处”的优秀匠人，如擅镶嵌技艺的常存，擅牙雕工艺的陈祖章、陈观泉父子及顾彭年、萧汉振等，以陈枚的这本图册为画稿，用象牙、玉石等进行雕刻。\n匠人们精雕细琢，密切结合牙雕和镶嵌的技艺特点，令画面层次分明，富有立体感。\n这件雕有1人的牙雕精品被称作“百美图”。\n乾隆皇帝在为它题写诗文时将其正式定名为《月曼清游》。",[60,61,720,135,103,7,119,83,490,721,1144],"室内陈设","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e6e1bafcf4e74f158449349167ce92e.jpg",[],115,{"id":1149,"slug":1150,"title":1151,"dynasty":18,"author":19,"museum":56,"description":1152,"tags":1153,"thumbUrl":1154,"material":89,"size":89,"collection":89,"collections":1155,"showCount":1156,"zanCount":253,"manualWeight":11,"mainColor":93},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。",[23,24,29,28,25,26,83,31,7,40,32,41,34,35,38,36,943,85,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80ebde713ecf78a9dd05b8f4040f76c2.jpg",[],114,{"id":1158,"slug":1159,"title":1160,"dynasty":18,"author":1161,"museum":258,"description":1162,"tags":1163,"thumbUrl":1165,"material":299,"size":1166,"collection":45,"collections":1167,"showCount":1156,"zanCount":253,"manualWeight":11,"mainColor":49},222401,"shi-tou-e-tu-lv-ji-222401","狮头鹅图","吕纪","该画作工笔设色绘白鹅踱步于梅树之下，树干古拙，花蕾点点，侧有玲珑剔透的太湖石，石旁花卉丛生。鹅身用笔轻柔，赋色细腻。左上角有吕纪单款，并钤印章。该作品无论在画幅尺寸还是构图气势上都给人一种“大”的感觉，让人在百步之外都能感受到一种强烈的艺术气息。",[23,24,29,60,61,62,7,1164],"鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46ef3147a069d98f929795d817ad87ed.jpg","纵191厘米，横104厘米",[45,71],{"id":1169,"slug":1170,"title":1171,"dynasty":173,"author":399,"museum":377,"description":1172,"tags":1173,"thumbUrl":1174,"material":216,"size":1175,"collection":69,"collections":1176,"showCount":1156,"zanCount":11,"manualWeight":11,"mainColor":49},221528,"lin-he-jing-mei-hua-tu-ma-yuan-221528","林和靖梅花图","孤山已无吟诗处，\n西湖仍有处处枝。\n疏影高士横卧看，\n红日半斜香风迟。",[23,24,29,25,61,60,405,103,403,7,404,164,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcda8f28fa7dbe93178e2179ff242a9b.jpg","24.5×38.6cm",[69,45,151],{"id":1178,"slug":1179,"title":1180,"dynasty":130,"author":159,"museum":160,"description":161,"tags":1181,"thumbUrl":1182,"material":43,"size":166,"collection":89,"collections":1183,"showCount":1156,"zanCount":253,"manualWeight":11,"mainColor":93},214688,"mei-hua-zhu-shi-tu-ce-1-wang-shi-shen-214688","梅花竹石图册-1",[24,29,82,25,31,83,7,32,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b9c33e7f7afa822865810bf8fc4aaad.jpg",[],{"id":1185,"slug":1186,"title":1187,"dynasty":18,"author":463,"museum":56,"description":596,"tags":1188,"thumbUrl":1189,"material":420,"size":421,"collection":89,"collections":1190,"showCount":1191,"zanCount":142,"manualWeight":11,"mainColor":93},287867,"qun-ying-tu-xiu-tu-juan-quan-juan-zhou-zhi-mian-287867","群英吐秀图卷全卷",[23,59,24,28,61,60,62,7,34,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9376170452f4611e36c408f82f4d059d.jpg",[],113,{"id":1193,"slug":1194,"title":1195,"dynasty":18,"author":1161,"museum":1196,"description":1197,"tags":1198,"thumbUrl":1200,"material":216,"size":1201,"collection":45,"collections":1202,"showCount":1191,"zanCount":11,"manualWeight":11,"mainColor":49},222402,"xue-mei-ji-qin-tu-li-zhou-lv-ji-222402","雪梅集禽图立轴","天津博物馆","吕纪主要是以工整精丽的院体传统作画，造型准确，设色鲜艳。但也能画活泼生动兼工带写的花鸟画。他的画生动，笔墨清新，是当时与边景昭、林良齐名的花鸟名家。",[23,24,29,102,60,61,62,7,331,1199,104],"雪梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14e407cc061f6c00f1c4b4a682ce1be3.jpg","192cmx110cm",[45,71],{"id":1204,"slug":1205,"title":1206,"dynasty":198,"author":1207,"museum":20,"description":1208,"tags":1209,"thumbUrl":1218,"material":469,"size":1219,"collection":507,"collections":1220,"showCount":1221,"zanCount":314,"manualWeight":11,"mainColor":93},221721,"wu-jia-he-hui-juan-zhao-yong-wang-mian-zhu-de-run-zhang-guan-fang-cong-yi-221721","五家合绘卷","赵雍 王冕 朱德润 张观 方从义","《元五家合绘》卷，元，赵雍、王冕、朱德润、张观、方从义作。\n此卷包括元代5位画家的5件绘画作品，作品尺幅相近，后人将其合裱为一卷。\n其一《松溪钓艇图》，元，赵雍作，纸本，墨笔，纵30厘米，横52.8厘米。\n款署：“至正二十年二月既望仲穆画。”钤“仲穆”、“魏国世家”。另有清乾隆皇帝御题诗及鉴藏印。至正二十年为1360年，赵雍时年72岁。图绘近岸坡石双松，孤舟钓叟，隔水平峦远岫，意境清幽，笔墨苍润。\n（二）《墨梅图》，元，王冕作，纸本，墨笔，纵31.9厘米，横50.9厘米。\n自题：“吾家洗研池头树，个个花开淡墨痕。不要人夸好颜色，只流清气满乾坤。王冕元章为良佐作。”钤“元章”、“文王子孙”。另有清乾隆皇帝御题诗及鉴藏印。画面中一枝梅花横出，枝干秀挺，花朵疏朗。以淡墨点染花瓣，再以浓墨勾点萼蕊，墨色清润，高情逸趣溢于笔端，表达了作者藉墨梅标榜清高孤洁的思想情感。\n曾经清人梁清标和清内府收藏，《石渠宝笈·续编》著录。\n（三）《松溪放艇图》，元，朱德润作，纸本，墨笔，纵31.5厘米，横52.6厘米。\n自题：“丑石半蹲山下虎，长松倒卧水中龙。试君眼力知多少，数到云峰第几重。朱泽民。”钤“朱泽民氏”。另有清乾隆皇帝御题诗及鉴藏印。\n图绘巨石怪松，孤舟徐行。画松枝用笔爽利迅捷，坡石皴法温润，人物用白描法，笔简意浓。\n曾经明沈周、清安岐收藏。\n（四）《疏林茅屋图》，元，张观作，纸本，墨笔，纵25.8厘米，横59.6厘米。\n款署：“至正戊戌八月，张观制。”另有清乾隆皇帝御题诗及安岐鉴藏印。至正戊戌为元至正十八年（1358年）。\n图画平坡老树，茅舍掩映，水阔山远，清雅控幽。树木勾点结合，错落有致，坡石用墨湿润，画风承北宋李成、郭熙一脉。\n（五）《山水图》，元，方从义作，纸本，墨笔，纵26.5厘米，横45.3厘米。\n款署：“方方壶作。” 另有清乾隆皇帝御题诗及明项元汴等多家鉴藏印。\n图画密林茅舍，小桥流水。画面景物丰满，墨色浓淡相间，笔法灵活潇洒。",[23,24,29,28,25,405,83,403,552,588,869,7,104,697,1210,103,1211,554,1212,431,65,724,1213,1214,1215,1216,1217,467],"渔船","远岫","茅屋","枯树","岸滩","船只","山间","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ad6676a3f8f4d776bd2cf92396b87c9.jpg","纵30cm，横52.8cm",[507,151],111,{"id":1223,"slug":1224,"title":1225,"dynasty":173,"author":1226,"museum":160,"description":1227,"tags":1228,"thumbUrl":1229,"material":88,"size":1230,"collection":45,"collections":1231,"showCount":1232,"zanCount":11,"manualWeight":11,"mainColor":49},219281,"mei-zhu-han-qin-tu-lin-chun-219281","梅竹寒禽图","林椿","《梅竹寒禽图》在不满方尺的画面上截取梅竹支干的局部，表现了梅树的老硬和竹簧丛生的气势。画中有一寒莺栖立梅梢，处于此画的显著地位，禽鸟的刻划柔和。在技法上梅枝用笔苍劲，竹枝叶勾撇笔力坚挺，从而使整体画法显得刚柔相济。画上有楷书林椿题款，是为难得的宋代有款之迹。",[59,24,29,609,62,60,61,7,32,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdab319fa906b174b4282f08d0d10130a.jpg","纵24.8厘米，横26.9厘米",[45],110,{"id":1234,"slug":1235,"title":1236,"dynasty":130,"author":210,"museum":585,"description":1237,"tags":1238,"thumbUrl":1240,"material":88,"size":1241,"collection":45,"collections":1242,"showCount":1232,"zanCount":142,"manualWeight":11,"mainColor":49},219043,"que-tu-tu-shen-quan-219043","鹊兔图","画面上是初春的小河，凉风习习，梅花和茶花盛开，三只野兔和三只鸟已经感受到春天的气息，出来觅食和活动。这幅画的风格与沈铨的风格不同，尤其是画的野草和流水，与沈铨的美术风格不一致，这幅画不是沈铨的作品。",[23,24,61,60,62,959,1239,63,7,552,65],"兔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c22d6c57cb0a16f7d500ffac33a3533.jpg","纵140横63.8厘米",[45],{"id":1244,"slug":1245,"title":1246,"dynasty":130,"author":1247,"museum":1248,"description":1249,"tags":1250,"thumbUrl":1251,"material":121,"size":1252,"collection":45,"collections":1253,"showCount":1232,"zanCount":142,"manualWeight":11,"mainColor":49},218733,"mei-zhu-chun-yin-tu-hua-yan-218733","梅竹春音图","华嵒","安徽省博物馆","这幅画描绘了一块形状奇特的湖石，靠着湖石生长的翠竹棚，枝条修长，叶子翠绿繁茂，枝头上有两只鸟儿相望；一枝梅花从上往下画，枝头上的花朵灿烂开放，枝头上的鸟儿张着嘴叫，尾巴上的羽毛色彩斑斓，十分可爱。",[23,24,29,102,61,60,26,7,32,64,62,85,83,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b3608b75058516a170e9b3e032d2de3.jpg","132.5×45.5cm",[45],{"id":1255,"slug":1256,"title":1257,"dynasty":173,"author":399,"museum":56,"description":1258,"tags":1259,"thumbUrl":1262,"material":420,"size":421,"collection":89,"collections":1263,"showCount":1264,"zanCount":142,"manualWeight":11,"mainColor":93},288422,"yue-xia-shang-mei-tu-ma-yuan-288422","月下赏梅图","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。\n出身绘画世家，南宋宋光宗、宋宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[609,24,29,25,403,7,404,103,405,1260,1261],"闲适","赏梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F083183b331935fb1ed4c1a0c68b8dcc9.jpg",[],109,{"id":1266,"slug":1267,"title":97,"dynasty":130,"author":416,"museum":56,"description":417,"tags":1268,"thumbUrl":1271,"material":420,"size":421,"collection":89,"collections":1272,"showCount":1264,"zanCount":11,"manualWeight":11,"mainColor":93},288272,"sui-chao-tu-zou-yi-gui-288272",[24,59,102,29,25,61,60,62,7,33,1269,119,1270,83,30],"蟹","盆景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b31be5ac75272346afebc37aa3b5b24.jpg",[],{"id":1274,"slug":1275,"title":1276,"dynasty":173,"author":295,"museum":99,"description":1277,"tags":1278,"thumbUrl":1279,"material":88,"size":1280,"collection":45,"collections":1281,"showCount":1282,"zanCount":11,"manualWeight":11,"mainColor":49},219243,"la-mei-shan-qin-tu-zhao-ji-219243","蜡梅山禽图","画中有蜡梅一枝，自右下方向左上方挺生，枝细瘦，却用双线勾成，并略加晕染，勾出结节。蜡梅花用勾线填色法画成，疏朗地缀于枝头。一对白头翁安逸地栖于枝上，形态各异，用笔精炼准确，形象生动。",[23,24,29,102,60,61,62,7,331,38,83,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e78e323c8fc6210fddf024e14353a71.jpg","纵83.3横53.3厘米",[45,69,71],108,{"id":1284,"slug":1285,"title":1286,"dynasty":173,"author":399,"museum":1287,"description":1288,"tags":1289,"thumbUrl":1290,"material":88,"size":1291,"collection":45,"collections":1292,"showCount":1282,"zanCount":142,"manualWeight":11,"mainColor":411},218913,"mei-shi-tu-ma-yuan-218913","梅石图","伯克利艺术博物馆","这幅画描绘了一棵老梅树从深谷野塘边的一块巨大岩石中探出头来，一只野凫藏在水草中。岩石的凿刻和梅树的拖曳枝条都是马远的绘画风格。",[23,59,24,29,25,61,403,7,85,983,588,60,405],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2985d0d4a51d33cf93ad74d8c4c3a87b.jpg","横46.99纵80.01cm",[45,507],{"id":1294,"slug":1295,"title":1296,"dynasty":18,"author":463,"museum":56,"description":1297,"tags":1298,"thumbUrl":1300,"material":89,"size":89,"collection":45,"collections":1301,"showCount":1303,"zanCount":11,"manualWeight":11,"mainColor":93},236454,"mei-cha-yuan-yang-zhou-zhou-zhi-mian-236454","梅茶鸳鸯轴","周之冕（生卒年不详），“活跃与嘉靖、万历年间”（据《式古堂书画汇考》卷三十七中所载《周复卿小斋雅致图》中署年“万历甲戌（1574）八月朔”，可将之生卒年具体只嘉靖、万历间。）字服卿，号少谷，长洲(今江苏苏州)人。专擅花鸟画，家中饲养禽鸟，以求在画中得其神韵和形态。花卉则采陈淳、陆治之长，兼工带写，设色鲜妍，自成一家。周之冕与同时代的苏州画家们开创了勾花点叶派，在花鸟画坛上影响了明末及清代的笔墨风格。",[24,29,102,61,62,7,1299,551],"茶花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24f8f5cd312ad0f599e1c1adbc8ba6c3.jpg",[45,71,1302],"书法精选",107,{"id":1305,"slug":1306,"title":1307,"dynasty":54,"au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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。",[24,29,82,61,62,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafbf2e23316e1383346d504dafb8bee8.jpg",[],100,{"id":1381,"slug":1382,"title":1383,"dynasty":130,"author":536,"museum":56,"description":1384,"tags":1385,"thumbUrl":1386,"material":469,"size":1387,"collection":45,"collections":1388,"showCount":1379,"zanCount":11,"manualWeight":11,"mainColor":93},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。",[24,29,82,25,31,30,83,7,40,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5adcbe7ff4a237a50f27c41a03aba237.jpg","纵43.2cm，横30.2cm",[45],{"id":1390,"slug":1391,"title":1392,"dynasty":173,"author":399,"museum":99,"description":1393,"tags":1394,"thumbUrl":1395,"material":88,"size":1396,"collection":507,"collections":1397,"showCount":1379,"zanCount":314,"manualWeight":11,"mainColor":49},218689,"tan-mei-tu-ma-yuan-218689","探梅图","这幅大画来自张大千的旧藏，丝绸已经破损，但仔细观察笔触，它是由明代浙江画派的画家所作。",[23,24,25,405,102,403,7,103,1213,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cdfc40fea4f0be200f77555498f468f.jpg","192x99.6",[507],{"id":1399,"slug":1400,"title":1401,"dynasty":18,"author":1161,"museum":99,"description":1402,"tags":1403,"thumbUrl":1405,"material":88,"size":1406,"collection":45,"collections":1407,"showCount":1408,"zanCount":11,"manualWeight":11,"mainColor":49},218787,"xian-chun-si-xi-tu-lv-ji-218787","先春四喜图","梅枝苍劲，皴痕间晕开早春的暖意——淡粉花萼次第舒展，艳红山茶点缀其间，为清寒添了几分热烈。四只喜鹊姿态各异：或立于枝巅梳理羽翼，或俯身探看枝干纹理，或两两相望似在私语，灵动身影让静谧画面骤然鲜活。鸟羽的黑白分明，与花的柔粉、叶的浅绿相映成趣，绢本暖黄底色更衬出雅致与喜庆。工笔细描的鸟羽纹理、花瓣脉络，与写意勾勒的枝干苍劲形成巧妙平衡，将吉祥意趣藏进每一处生动细节。整幅画似有春风拂面，让人心头漾起融融暖意。",[24,29,102,60,61,62,7,64,1404],"喜鹊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc55ecd4d03ee71fbc7cd4b5d506fd18.jpg","139.8x49.2cm",[45],99,{"id":1410,"slug":1411,"title":1412,"dynasty":130,"author":159,"museum":160,"description":161,"tags":1413,"thumbUrl":1414,"material":43,"size":166,"collection":89,"collections":1415,"showCount":1416,"zanCount":142,"manualWeight":11,"mainColor":93},214686,"mei-hua-zhu-shi-tu-ce-3-wang-shi-shen-214686","梅花竹石图册-3",[24,29,82,25,7,32,85,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F789cbb5f9f7a7413c78364ba6bcf38e4.jpg",[],98,{"id":1418,"slug":1419,"title":1420,"dynasty":173,"author":794,"museum":56,"description":1421,"tags":1422,"thumbUrl":1426,"material":420,"size":421,"collection":89,"collections":1427,"showCount":1428,"zanCount":11,"manualWeight":11,"mainColor":49},287575,"dong-ri-xi-ying-tu-su-han-chen-287575","冬日戏婴图","图中画二童婴在庭园嬉戏。男孩左手拿着一根美丽的孔雀毛，女孩右手持一面绣花的小锦旗来回摇摆，逗着跟随着他们来回跑的小猫。画中描绘的虽然是冬景，但是花园中翠竹青青，茶花、梅花竞相开放。儿童形象富而不骄，华而不贵，充满宋代城市中的世俗生活情趣。整幅画面作者用笔工整细致，设色艳丽。技法纯熟，形神兼备。",[59,24,102,61,60,103,653,7,32,391,1423,1424,1425],"猫","冬日","戏婴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56f4da80266afbaa0934659384b709df.jpg",[],96,{"id":1430,"slug":1431,"title":440,"dynasty":130,"author":225,"museum":1196,"description":1432,"tags":1433,"thumbUrl":1434,"material":138,"size":1435,"collection":45,"collections":1436,"showCount":1428,"zanCount":11,"manualWeight":11,"mainColor":93},224223,"song-mei-tu-wu-chang-shuo-224223","松树倾斜，画面苍劲，树干稍写皴擦，尽显斑驳质感；松枝斜披，干笔勾枝，浓墨勾画松针。梅干多取直势，稍加润泽，小枝横陈，意境空潆深远。梅花点写，错落纷陈。全图笔势如龙飞，舒放自如，有意在笔先之妙。",[23,24,29,102,25,61,62,33,7,83,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F394f15aa9a6c228570b112034349569c.jpg","纵135.6厘米，横67.8厘米",[45,71],{"id":1438,"slug":1439,"title":269,"dynasty":130,"author":717,"museum":20,"description":1440,"tags":1441,"thumbUrl":1442,"material":299,"size":1443,"collection":45,"collections":1444,"showCount":1428,"zanCount":253,"manualWeight":11,"mainColor":93},222781,"hua-niao-ce-ye-lang-shi-ning-222781","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。",[23,59,24,29,82,60,61,62,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1a60274f5f3dad5f48ce75b5aa1af22.jpg","纵32.6厘米，横28.6厘米",[45,71],{"id":1446,"slug":1447,"title":1448,"dynasty":130,"author":905,"museum":1196,"description":1449,"tags":1450,"thumbUrl":1452,"material":178,"size":1453,"collection":89,"collections":1454,"showCount":1428,"zanCount":253,"manualWeight":11,"mainColor":93},222684,"si-ji-hua-niao-tu-ping-7-chen-mei-222684","四季花鸟图屏7","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。",[23,24,61,60,62,7,1451,64,709,1099,214,86],"菊花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcaf378e4fccac3e55f9b45892458c5c.jpg","139X41CM",[],{"id":1456,"slug":1457,"title":1458,"dynasty":130,"author":147,"museum":56,"description":1459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134.5厘米. 横: 33.6厘米",[45,71],{"id":1474,"slug":1475,"title":1476,"dynasty":18,"author":98,"museum":20,"description":1477,"tags":1478,"thumbUrl":1479,"material":1480,"size":1481,"collection":507,"collections":1482,"showCount":1463,"zanCount":142,"manualWeight":11,"mainColor":93},222359,"guan-mei-tu-zhou-tang-yin-222359","观梅图轴","画作表现一位高士袖手立于溪桥之上，身后的山崖边两树梅花含苞待放，与作者所题诗意十分吻合。全幅构图汲取南宋院体风格，险中求胜，山石树木的勾勒粗细得当，晕染多于皴擦，清健爽利的笔致和幽静的背景营造突出了主体人物的高洁形象。人物的线描细劲流畅，造型清俊儒雅。从此作的创作风格上看，应是唐寅中年以后的作品。\n此图曾经清代毕沅等人鉴藏。",[23,24,29,102,25,405,31,7,104,103,1213,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F709e091fe9b41a1555692ca92f23e3f6.jpg","纸本，淡设色","纵108.6厘米，横34.5厘米。",[507,151],{"id":1484,"slug":1485,"title":583,"dynasty":18,"author":1486,"museum":99,"description":1487,"tags":1488,"thumbUrl":1491,"material":88,"size":1492,"collection":507,"collections":1493,"showCount":1463,"zanCount":314,"manualWeight":11,"mainColor":49},217059,"xun-mei-tu-zhu-duan-217059","朱端","朱端，字克正，海盐人，出身渔樵，弘治末入宫，正德时期（1506－1521）直仁智殿，官「锦衣指挥」，曾获赐「钦赐一樵图书」，遂更号「一樵」。\n\n朱端的山水画取法郭熙（约1020-约1100）、马远。全幅采取半边的构图型式，以左方占据画面约二分之一高的双松为骨干，框出策杖撑伞的老翁和两位童子，他们正准备渡江至对岸的赏梅。冬天踏雪寻梅，一直被视为文人雅趣，从弘治时期（1488－1505）开始，这一类诗意图像逐渐增加，题材的转变似乎也反映了宫廷皇帝品味的变化。",[24,29,403,102,405,25,61,103,867,868,85,63,33,7,1489,1490,552],"亭","山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674c65022384eae968e9c438b4fd0ecb.jpg","145x66cm",[507],{"id":1495,"slug":1496,"title":1497,"dynasty":130,"author":905,"museum":1196,"description":1449,"tags":1498,"thumbUrl":1499,"material":178,"size":1453,"collection":89,"collections":1500,"showCount":1501,"zanCount":253,"manualWeight":11,"mainColor":93},222685,"si-ji-hua-niao-tu-ping-8-chen-mei-222685","四季花鸟图屏8",[23,24,29,102,60,61,62,7,391,64,431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff120bb949e796c509e974641e34be539.jpg",[],94,{"id":1503,"slug":1504,"title":1505,"dynasty":173,"author":1506,"museum":650,"description":1507,"tags":1508,"thumbUrl":1509,"material":88,"size":1510,"collection":69,"collections":1511,"showCount":1501,"zanCount":11,"manualWeight":11,"mainColor":49},219105,"cang-ying-bu-zhi-tu-huang-ju-shi-219105","苍鹰捕雉图","黄居宩","画在山坡上，青竹高大，桃枝顶绿叶萌芽，桃花盛开； 下方，一只老鹰将野鸡按在脚下，野鸡五颜六色的羽毛在被捕获后瞬间炸开。 ，张开的喙似乎受到惊吓并尖叫着求救。",[23,59,24,29,102,60,61,62,7,32,85,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a9d6f070400e1b1a33505d902eaa96.jpg","纵142.2横78.7厘米",[69,45],{"id":1513,"slug":1514,"title":1515,"dynasty":130,"author":257,"museum":56,"description":1516,"tags":1517,"thumbUrl":1519,"material":88,"size":1520,"collection":108,"collections":1521,"showCount":1501,"zanCount":314,"manualWeight":11,"mainColor":49},218281,"ting-yuan-chun-se-tu-yi-ming-218281","庭苑春色图","画面铺展雅致庭苑景致，暖棕底色晕染时光温润。端坐的女子轻抱琵琶，指尖似凝住弦上余韵，眉眼神情专注而娴静；旁侧侍女俯身案前，动作轻柔如春风拂过，案上器物错落，笼中雀鸟似待和鸣。枝间梅花疏影横斜，点点春意悄然入画，与古朴陈设相映成趣。细腻笔触勾勒人物情态，器物细节精致传神，将春日庭苑里的闲适雅致娓娓道来，尽显古典生活的温婉诗意，仿佛能闻得弦音与花香交织，静享一段时光的从容。",[23,24,61,60,720,103,135,721,7,119,1518,722],"乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029dbcde4f6cb854e31576e88c28885e.jpg","24x24",[108],{"id":1523,"slug":1524,"title":1525,"dynasty":130,"author":1526,"museum":885,"description":1527,"tags":1528,"thumbUrl":1530,"material":121,"size":1531,"collection":108,"collections":1532,"showCount":1501,"zanCount":142,"manualWeight":11,"mainColor":93},216737,"tan-zhu-tu-huang-shen-216737","探珠图","黄慎","这些人物以狂野的斜体线条生动地呈现出来。笔触干净而流畅，无论是下龙取珠的老人还是婀娜多姿的女仙，都很好地表达了性格的刚强和形式的力量之间的对比。通过大面积的水墨渲染，云朵和波浪显露出来，创造出一种奇怪的危险气氛和一个充满勇气的世界。",[23,24,29,59,102,25,61,103,26,1025,7,1529],"龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20d0167c87aa5f07e7434b67578e3bc7.jpg","纵185厘米，横107厘米",[108],{"id":1534,"slug":1535,"title":1536,"dynasty":198,"author":1537,"museum":56,"description":1538,"tags":1539,"thumbUrl":1540,"material":89,"size":1541,"collection":89,"collections":1542,"showCount":1543,"zanCount":142,"manualWeight":11,"mainColor":49},231513,"hua-niao-tu-juan-wang-yuan-231513","花鸟图卷","王渊","王渊是元代著名花鸟画家，字若水，号澹轩，浙江杭州人。生卒年不祥，据陶宗仪《辍耕录》卷七记载，他“幼时获侍赵魏公（赵子昂）故多得指教，所以傅色特妙。天历中（1328—1330年），画集庆龙翔寺两庑壁”。其年龄要比赵子昂小，赵子昂生于南宋理宗宝佑二年（1254年），应活跃在1254年以后，从他的传世作品所签年款来看，多在元朝惠宗至正三年到九年，即1343—1349年，元朝灭亡于至正二十八年（1368年），也有文献记载，在至正二十六年（1366年）曾作《萱花白头图》。可见他从事艺术活动在元代中后期，他的卒年可能在元朝灭亡之前，或在明朝初年。\n王渊的花鸟、古木竹石、梅兰等题材绘画，在继承五代、两宋传统花鸟画的基础上，又有了新的发展和明显的变化，取得显著的成就，在中国美术史上占有重要的地位。他的表现手法属“黄家富贵”体。唯舍色彩而取水墨，通过勾勒和水墨晕染区别浓淡向背，造型极精严，神态亦颇生动，作到“墨具五色”的艺术效果。同钱选一样，王渊在花鸟画创作上起到了承前启后的作用。\n王渊的花鸟画给人以接近气势磅礴的感觉。我们不得不感叹这位画家令人惊羡的艺术造诣，同时又被其画中别样的意境所打动。",[23,24,59,28,60,61,30,83,62,7,35,32,85,37,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f04e0e5eaa4a4d2e89e6b687fe212f7.jpg","95.9×50.6 厘米",[],93,{"id":1545,"slug":1546,"title":1547,"dynasty":18,"author":1161,"museum":377,"description":1548,"tags":1549,"thumbUrl":1550,"material":216,"size":1551,"collection":89,"collections":1552,"showCount":1543,"zanCount":142,"manualWeight":11,"mainColor":49},222395,"si-ji-hua-niao-tu-dong-lv-ji-222395","四季花鸟图-冬","吕纪（1429～1505），字廷振，号乐愚，鄞（今浙江宁波）人。明代画家。\n其花鸟初师边景昭，又学林良，并广泛师法唐宋诸家，所作有工笔重彩和水墨写意两种画法，前者描绘精工，色彩富丽，法度谨严；后者粗笔挥洒，随意点染，简练奔放，富有气势和动感。其山水宗法马远、夏圭，以大斧劈皴画山石，苍劲有力。人物亦法南宋院体，衣纹线条简练顿挫。初学边景昭工笔法，亦受林良水墨法影响，后临仿唐宋诸家名迹，遂自成一体，独步当代。其花鸟画风呈两种面貌，一作工笔重彩，精工富丽，多绘凤鹤、孔雀、鸳鸯之类，辅以树木坡石、滩渚流泉背景，既具法度，又富生气。另一类为水墨写意画，粗笔挥洒，简练奔放，接近林良的风格。他亦兼善人物、山水，宗法南宋马远、夏圭画法。他的花鸟画风在当时宫廷内外影响甚大，继承者不乏其人。\n明弘治年间，入值仁智殿，官至锦卫指挥使，是明代与边景昭、林良齐名的院体花鸟画代表画家。其绘画风格可分为两大类，一类是以水墨为主略淡彩，用笔较为豪纵，另一类则是设色浓丽，用和工致，具有富丽的宫廷装饰趣味。吕纪由水墨淡色画转为工笔重设色画，更直接的原因是为了适应不同皇帝的不同口味，具体说来就是弘治皇帝朱祐樘的欣赏口味不同于他的父辈成化皇帝朱见深，从而造成了吕纪多画凤凰、雉鸡、仙鹤、孔雀、鸳鸯之类，杂以花木草石，具有生气。工笔着色与水墨写意能，并善于将两体结合。吕纪初学唐宋各家和同时代的边景昭，后形成自己的风格。他的花鸟设色鲜艳，生气奕奕，被称为明代花鸟画第一家。据说吕纪在画作上常用寓意手法对皇帝劝谏，皇帝知其用心，曾说：“工执艺事以，谏吕纪有之。”其代表作品有《新春双雉图》《桂花山禽图》《残荷鹰鹭图》《秋鹭芙蓉图》《五德大吉图》 《狮头鹅图》等。\n吕纪，1477年生，鄞州（今浙江宁波）人。字廷振，号乐愚，弘治间（1488-1505）供事仁智殿，弘治间征入宫廷，为宫廷作画，供奉仁智殿，官锦衣卫指挥。擅画临古花鸟，初学边景昭，后研习唐宋诸家名作，继承两宋“院体”，以工笔重彩，又在水墨写意方面受林良影响。\n远宗南宋院体格，廷续了黄筌工整细致的画风及钩勒笔法，并予以发扬，多以凤凰、仙鹤、孔雀、鸳鸯之类鸣禽为题材，杂以浓郁花树，画面绚丽。亦作粗笔水墨写意者，笔势劲健奔放，与林良相近，与边景昭同为明代院体花鸟画中的临古派代表。传世作品有《桂菊山禽图》《榴花双莺图》《雪景翎毛图》《浴凫图》等。除画花鸟外，偶尔也画人物山水。他主要是以工整精丽的院体传统作画，造型准确，设色鲜艳。但也能画活泼生动兼工带写的花鸟画。他的画生动，笔墨清新，是当时与边景昭、林良齐名的花鸟名家。他作画时，常以寓意手法规谏皇帝，故明孝宗曾说：“工执艺事从谏，吕纪有之”。他是与边景昭、林良齐名的院体花鸟画代表作家。《狮头鹅图》，绢本，设色。纵191厘米，横104厘米。工笔画狮头鹅，侧身曲颈回顾古梅，鹅身洁白如玉，眼睛刻划有神，形象生动。古梅干枝苍劲，生机勃勃。树下衬以太湖石、月季花，石后有双勾竹隐露，色彩艳丽，衬托出狮头鹅之白身红冠。是明代院体花鸟画的杰作。款署“吕纪”。现藏辽宁省博物馆。\n《榴花双莺图》写石榴一枝，蘩花盛开，一对黄鹂栖于枝头，一上一下，鸣啼相应，神态活泼。工笔重彩，钩勒填色，绚丽多彩为明代中期院体画的典型风格。\n相比画家，吕纪的另一个身份更令人吃惊——历经明代成化、弘治、正德三代，官至锦衣卫指挥使(秘密警察头目)。吕纪的花鸟绘画，水墨淋漓，气势宏大，甚至是日本屏风画的来源之一。《柳荫双鸭图》和《幽涧双鹭图》曾在日本出版的《听松清鉴》中著录，郑振铎在上世纪四十年代遍访流传在海外的中国名画，并在其所编的《域外所藏中国名画》中收录。吕纪的两幅作品不仅是明代全景花鸟画的杰作，也是中国绘画影响日本绘画的证据代表作。",[23,24,59,102,60,61,62,7,32,1099,1213,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf95f29adc2d1bbf6024f906d309a0a3.jpg","176.0×100.8",[],{"id":1554,"slug":1555,"title":1556,"dynasty":18,"author":318,"museum":99,"description":1557,"tags":1558,"thumbUrl":1559,"material":88,"size":1560,"collection":45,"collections":1561,"showCount":1543,"zanCount":11,"manualWeight":11,"mainColor":93},216775,"mei-hua-you-niao-tu-bian-wen-jin-216775","梅花幽鸟图","边文进（活动于1403-1428），字景昭，福建沙县人。永乐朝宫廷画家，至宣德年间被授与武英殿待诏官衔。善画花果翎毛，为明初宫廷画家中花鸟画最著名画家，并与善画山水人物的蒋子诚、画虎的赵廉并称「禁中三绝」。\n本幅为〈历代名绘册〉其中一开，描绘盛开白梅，并有一黄眉鵐栖于梅枝上，引颈顾盼。梅枝由左向画幅右侧伸出，曲虬横错，白梅盛开与将开的花苞倚侧枝头，并局部施以白线条勾勒花瓣型态，虽花朵颜料有些脱落，仍可略窥白梅盛开风华。枝头黄眉鵐鸟羽描绘精细，并呈现松活充盈之效。画幅左侧有「景昭」二字，提示画家身份，然似有涂抹痕迹。与院藏另一件边文进〈三友百禽〉相比，梅枝用笔略有相近之处，或许为时间相差不远的学仿者之作。此画整体承接宋代院画折枝花鸟的构图之趣以及优雅娴静气氛，与〈三友百禽〉所显示的喧闹气氛颇不相同，可丰富对明初宫廷花鸟画面貌的认识。",[23,24,59,29,609,60,61,62,7,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F242a8a95847e379f0a5854c0f83e0499.jpg","23.8x24.7cm",[45],{"id":1563,"slug":1564,"title":1565,"dynasty":198,"author":199,"museum":56,"description":1566,"tags":1567,"thumbUrl":1569,"material":420,"size":421,"collection":89,"collections":1570,"showCount":1571,"zanCount":253,"manualWeight":11,"mainColor":93},238126,"yuan-wu-jia-he-hui-juan-wang-mian-238126","元五家合绘卷","王冕（1310年～1359年），字元章，号煮石山农，亦号食中翁、梅花屋主等，浙江省绍兴市诸暨枫桥人，元末著名画家、诗人、篆刻家。他出身贫寒，幼年替人放牛，靠自学成才。\n王冕性格孤傲，鄙视权贵，诗作多同情人民苦难、谴责豪门权贵、轻视功名利禄、描写田园隐逸生活之作。有《竹斋集》3卷，续集2卷。一生爱好梅花，种梅、咏梅，又攻画梅。所画梅花花密枝繁，生意盎然，劲健有力，对后世影响较大。存世画迹有《南枝春早图》《墨梅图》《三君子图》等。能治印，创用花乳石刻印章，篆法绝妙。《明史》有传。",[23,24,29,28,25,405,31,83,30,403,33,7,869,103,1067,868,85,1489,1568],"渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029566587ccdec17dc1f9ed58bc5e401.jpg",[],91,{"id":1573,"slug":1574,"title":1575,"dynasty":18,"author":19,"museum":20,"description":1576,"tags":1577,"thumbUrl":1578,"material":540,"size":1579,"collection":89,"collections":1580,"showCount":1571,"zanCount":253,"manualWeight":11,"mainColor":93},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。",[24,29,28,25,26,30,31,83,7,40,32,41,34,39,467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3841d2a97c07af3531a1bd134c1503b.jpg","纵30cm横54.7cm",[],{"id":1582,"slug":1583,"title":1584,"dynasty":173,"author":1585,"museum":307,"description":1586,"tags":1587,"thumbUrl":1588,"material":88,"size":1589,"collection":45,"collections":1590,"showCount":1591,"zanCount":142,"manualWeight":11,"mainColor":49},218925,"yuan-yang-za-qin-tu-han-you-218925","鸳鸯杂禽图","韩佑","这幅画上画着密密麻麻的梅花和山茶花，表达了冬天的精致。一对鸳鸯依偎在萧瑟的坡岸上，为画面增添了一丝温情。这幅画据说是宋代的韩佑所作，但山石的风格是明代画院的风格，官方网站将其定为15至16世纪。",[59,24,29,102,60,61,62,7,551,331,39,431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc9960809d93f2f94c401c8fe943f369.jpg","154x94.2cm",[45],89,{"id":1593,"slug":1594,"title":1595,"dynasty":18,"author":98,"museum":20,"description":1596,"tags":1597,"thumbUrl":1598,"material":469,"size":1599,"collection":89,"collections":1600,"showCount":1601,"zanCount":11,"manualWeight":11,"mainColor":93},222335,"mo-mei-tu-zhou-tang-yin-222335","墨梅图轴","此幅以枯笔焦墨画梅花枝干，皴擦纹理，表现梅枝苍劲虬曲的姿态；以浓淡相间的水墨点画花朵，以谨细之笔画出花蕊，笔法刚健清逸，表现出梅花清丽脱俗的风貌。画面中间的梅花风姿绰约，右上的题诗洒脱清秀，左下的印章工稳典雅，三者浑然一体，相得益彰。\n本幅自题：“黄金布地梵王家，白玉成林腊后花。对酒不妨还弄墨，一枝清影写横斜。□堂看梅和王少傅韵。吴趋唐寅。",[59,24,29,102,25,7,30,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0239c6bbe3e5d4ec00d78c8e1005a79.jpg","纵96厘米，横36厘米",[],88,{"id":1603,"slug":1604,"title":1605,"dynasty":18,"author":1161,"museum":132,"description":1606,"tags":1607,"thumbUrl":1609,"material":216,"size":1610,"collection":45,"collections":1611,"showCount":1612,"zanCount":253,"manualWeight":11,"mainColor":49},222399,"mei-cha-zhi-que-tu-lv-ji-222399","梅茶雉雀图","此图描绘的是着色雪景，寒意茫茫，坡石上，有白梅老干欹曲，双雉栖息干上，一正一反，侧首相互呼应，形态生动。树根处，隐隐露出兰叶丛草，梅枝虬曲凌 空，花朵疏密散聚，气势飞动，更添无限寒意。数雀聚集栖于上部梅枝之上，山茶红映其间，正如《无声诗史》所评设色鲜丽，生气奕弈。远处岗阜覆雪，涧水 曲流，冷壑荒寂。此画属于工笔重彩一体，色彩浓重妍丽，覆雪山石皴染结合，明暗对比强烈，造成雪景冷雪之意境。",[23,24,29,102,61,60,62,7,391,1057,1608,588,1099],"鸟雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34babdb1d62fbd1860bbd9300b314237.jpg","97.8X183.1",[45,71],87,{"id":1614,"slug":1615,"title":1616,"dynasty":18,"author":1161,"museum":99,"description":1617,"tags":1618,"thumbUrl":1620,"material":88,"size":1621,"collection":45,"collections":1622,"showCount":1612,"zanCount":11,"manualWeight":11,"mainColor":49},218789,"chun-xi-tu-lv-ji-218789","春喜图","疏梅横斜，数羽雏鸟栖于枝间，啾鸣似唤春声。老干虬曲，山鹧羽色斑斓，立于石畔枝上，姿态雍容闲雅。靛蓝山石衬暖褐禽羽，白梅与粉花点染其间，清妍与厚重相映。笔墨工致细腻，禽鸟神态鲜活，花木情态毕肖。全图春意氤氲，生机流转，于工笔间见灵动韵致，尽显春日雅趣与自然生机。",[24,29,102,60,61,62,7,64,104,1619],"花枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6167804c0c9e5cfe350a337b21ab551e.jpg","137.4x42cm",[45],{"id":1624,"slug":1625,"title":1626,"dynasty":18,"author":705,"museum":56,"description":855,"tags":1627,"thumbUrl":1629,"material":420,"size":421,"collection":89,"collections":1630,"showCount":1631,"zanCount":11,"manualWeight":11,"mainColor":49},283633,"mei-hua-kong-que-tu-li-zhou-lu-zhi-283633","梅花孔雀图立轴",[23,59,24,29,102,62,61,60,7,1628],"孔雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F348bcac60141f1be81731be09cbd4419.jpg",[],86,{"id":1633,"slug":1634,"title":1635,"dynasty":54,"author":1636,"museum":56,"description":1637,"tags":1638,"thumbUrl":1641,"material":89,"size":89,"collection":89,"collections":1642,"showCount":1631,"zanCount":314,"manualWeight":11,"mainColor":49},227262,"xue-jing-ba-jiao-han-que-tu-huang-ju-cai-227262","雪景芭蕉寒雀图","黄居寀","麻雀是我们生活中常见的鸟类，身形娇小，机敏灵活，却也憨态可掬，更因为打不倒的顽强生命力，在画家们的笔下，散发出了生机勃勃的魅力，一幅花鸟画中，因为麻雀的构成，顿时“活”了起来，因此国画麻雀也相当受画家和收藏者们喜爱",[23,59,24,29,102,61,62,60,725,1639,1640,7,36],"芭蕉","寒雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F267d2fc6d76d34d83a59c288d428c4e8.jpg",[],{"id":1644,"slug":1645,"title":1646,"dynasty":130,"author":1647,"museum":585,"description":1648,"tags":1649,"thumbUrl":1657,"material":88,"size":1658,"collection":108,"collections":1659,"showCount":1631,"zanCount":253,"manualWeight":11,"mainColor":93},219558,"chun-jie-mo-jing-tu-xu-ting-kun-219558","春节磨镜图","徐廷琨","深宅巷口寒梅初绽，年意漫溢在古雅院墙间。老匠人俯身转轴磨镜，铜轮轻转，正将镜面拭得锃亮。仕女携稚子围拢观望，孩童们或捧起面具把玩，或躲在朱门后探头窥看，更有小顽童踮脚逗趣，把岁朝的松弛鲜活尽数铺展。朱红楹联衬着素淡院墙，冷枝与暖色调相映，笔触细腻温婉，将市井年俗的温情揉进淡墨浅彩里，把巷陌间的年节烟火定格，晕开旧时光里独有的团圆暖意。",[23,24,61,60,102,103,1650,797,1651,7,1652,1653,1654,1655,1656],"老人","妇女","对联","磨镜工具","房屋","石头","杂草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3b293983689f1320abb018c4c354e19.jpg","53x109cm",[108,71],{"id":1661,"slug":1662,"title":1663,"dynasty":18,"author":1161,"museum":377,"description":1548,"tags":1664,"thumbUrl":1666,"material":216,"size":1551,"collection":89,"collections":1667,"showCount":1668,"zanCount":253,"manualWeight":11,"mainColor":49},222393,"si-ji-hua-niao-tu-chun-lv-ji-222393","四季花鸟图-春",[23,24,59,60,61,62,7,64,551,104,709,102,1665],"开花树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2342faa17d4f14661d3abe4bf10e5735.jpg",[],85,{"id":1670,"slug":1671,"title":563,"dynasty":18,"author":1672,"museum":56,"description":1673,"tags":1674,"thumbUrl":1676,"material":420,"size":421,"collection":89,"collections":1677,"showCount":1678,"zanCount":253,"manualWeight":11,"mainColor":49},290312,"sui-chao-tu-zhou-tao-cheng-290312","陶成","陶成（生卒年未详），字孟学，号雪湖仙人，宝应（今江苏宝应）人。成化七年（1471年）举人。生性疏狂，多才艺，诗文古朴。书善四体，善画花鸟人物，山水多用青绿，浓丽蔚拔，喜作勾勒，竹兔与鹤鹿均妙，随意画山水、花鸟、人物，都非常接近南宋人。芙蓉称为神品，为世人所珍藏。\n陶成的绘画、书法造诣极高，与沈周、文徼明、唐寅、仇英“明四家”并称于世，有人甚至把他列于唐伯虎之上。明代文学家，书画鉴赏家李开先对陶成推崇备至、评价甚高。他的《中麓画晶》分明代画家为五等，陶成就雄冠其首。明韩昂《图绘宝鉴续编》云，陶成”书工篆隶直草，诗人奇古，画山川多用青绿，尤喜作钩勒，竹、兔与鸹、鹿，皆妙。 由其胸中洒然也”。明十才子之一李梦阳在其《观序上人所藏陶成画菊石歌》中，称赞陶成的菊花、岩石画远远超出了当时的菊石专家计汝和、徐霖。诗中说： “陶生画菊石，潦草笔有力…近时名手计汝和，此生笔力方之过。江柬徐霖学画石，效颦差胜王与何。”故而有这样的说法： “得黄金百不如云湖画一幅。”",[24,29,102,59,61,62,33,7,1675,83,30,31,119],"青铜器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf77270b17ed20c031bfe4c49651301a.jpg",[],84,{"id":1680,"slug":1681,"title":1682,"dynasty":54,"author":1636,"museum":56,"description":1683,"tags":1684,"thumbUrl":1686,"material":420,"size":421,"collection":89,"collections":1687,"showCount":1688,"zanCount":11,"manualWeight":11,"mainColor":49},290142,"hui-qin-tu-huang-ju-cai-290142","会禽图","黄居寀[cǎi]（933年—993年后），字伯鸾，成都（今属四川）人，五代十国名画家黄筌第三子。善画花竹、翎毛，为西蜀翰林待诏。蜀亡入宋，得宋太宗礼遇，黄家画法遂成宋初画院评画的标准。精于勾勒，用笔劲挺工稳，填彩浓厚华丽，其园竹翎毛形象逼真，妙得自然；怪石山水超过乃父，与父同仕后蜀，为翰林待诏，入宋仍任翰林待诏。尝合作殿廷墙壁，宫闱屏幛，不可胜记。",[59,24,29,102,60,61,62,63,7,391,1685,331,39],"奇石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5f43a7cf6d1c9220be37682f0c14340.jpg",[],83,{"id":1690,"slug":1691,"title":1692,"dynasty":130,"author":257,"museum":20,"description":1693,"tags":1694,"thumbUrl":1700,"material":89,"size":89,"collection":108,"collections":1701,"showCount":1702,"zanCount":142,"manualWeight":11,"mainColor":49},238431,"fu-gui-sui-chao-tu-zhou-yi-ming-238431","福贵岁朝图轴","孩童们有的手举鱼、龙等各种形象的彩灯；有的胆大的孩子点燃炮竹，周围孩子掩耳观望；有的孩子登高折梅枝，树下的孩子将花枝插入瓶中，寓意岁岁平安；湖面已结冰，孩子们在冰面滑动冰车，打打闹闹，不小心滑倒还哈哈大笑；还有孩子吹拉弹唱，奏响乐器，妙趣横生。欢度佳节的喜气跃然纸上，仿佛能听到孩子们嬉闹的笑声。",[24,61,60,103,721,1489,7,653,1695,1696,1518,1529,1697,1698,1699],"彩灯","炮竹","鱼","喜乐","岁朝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60d8b1d3424982278598217ea629c0f2.jpg",[108,71],81,{"id":1704,"slug":1705,"title":1706,"dynasty":130,"author":225,"museum":56,"description":747,"tags":1707,"thumbUrl":1708,"material":420,"size":421,"collection":89,"collections":1709,"showCount":1710,"zanCount":142,"manualWeight":11,"mainColor":93},235463,"hong-mei-tu-zhou-wu-chang-shuo-235463","红梅图轴",[24,26,61,83,30,7,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ee665f6d35f02aab575c4b2632afd6a.jpg",[],80,{"id":1712,"slug":1713,"title":1714,"dynasty":18,"author":187,"museum":160,"description":1715,"tags":1716,"thumbUrl":1717,"material":178,"size":1718,"collection":45,"collections":1719,"showCount":1710,"zanCount":253,"manualWeight":11,"mainColor":93},221895,"mei-hua-xiao-niao-chen-hong-shou-221895","梅花小鸟","此图虽为花鸟，却有山水格局。勾皴之石较为丰富，与梅树虬劲的老干浑然一体；红树有虫啮之痕，与树后精整的双钩之竹相映成趣；梅枝与小鸟，在大片空白的衬托下，成为鲜明的画眼。由此而营造了一种静中有动，清寒澄爽的意境。画梅颇有蓝瑛意趣，而气息雅于其师。藏上海博物馆。\n陈洪绶（1598-1652)，字章侯，号老莲，诸砰枫桥（今属浙江）人。出生干没落官宦之家的陈洪绶能诗，擅书画，尤长于绘画。人物、山水、花鸟、走兽无所不精，是明末淸初最著名的画家之一。初学蓝瑛，师法唐人，兼有李公麟、赵孟频之妙。运笔旋转，一气呵成，具有鲜明独特的风格。花鸟画渊源两宋，颇有奇趣。",[24,29,62,61,60,7,63,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8b5794e3e57e740d6a66c2ddcd1a652.jpg","22.2x21cm",[45,71],{"id":1721,"slug":1722,"title":1723,"dynasty":130,"author":1724,"museum":56,"description":1725,"tags":1726,"thumbUrl":1727,"material":89,"size":89,"collection":1302,"collections":1728,"showCount":1729,"zanCount":11,"manualWeight":11,"mainColor":93},238322,"dong-gao-tang-hua-si-shou-zhou-dong-gao-238322","董诰唐花四首轴","董诰","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），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”。",[24,29,59,102,61,60,62,35,38,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2caff1096bf7a8b9b6a2535c27b18a0c.jpg",[1302],78,{"id":1731,"slug":1732,"title":1733,"dynasty":130,"author":1734,"museum":56,"description":1735,"tags":1736,"thumbUrl":1737,"material":420,"size":421,"collection":89,"collections":1738,"showCount":1729,"zanCount":253,"manualWeight":11,"mainColor":93},230976,"tan-mei-shi-nv-tu-fei-dan-xu-230976","探梅仕女图","费丹旭","本图以采梅仕女为主景，她立于溪石上，左手抱着梅干，右手举起正欲攀花，姿态自然生动，十分传神。仕女用细笔勾成，笔墨细柔，设色淡雅，面容俊俏，身材婀娜，充分体现出费丹旭仕女图的美学特征。",[23,24,61,60,135,103,7,85,868],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ebadd248a4abef29f28af2255c5ade4.jpg",[],{"id":1740,"slug":1741,"title":197,"dynasty":130,"author":147,"museum":20,"description":1742,"tags":1743,"thumbUrl":1744,"material":469,"size":1745,"collection":45,"collections":1746,"showCount":1729,"zanCount":253,"manualWeight":11,"mainColor":93},222706,"mo-mei-tu-jin-nong-222706","本幅自题：“香雨三兄良友以前明内库纸乞予画江梅小直幅。因仿元人王元章法。奉其教益，茶熟香温时定多物外之赏也。并题一诗：砚水生冰墨半干，画梅须画晚来寒。树无丑态香沾袖，不爱花人莫与看。稽留山民金农，时年七十。\n本幅绘梅花离离疏影，生气盎然。以湿润的淡墨写枝干，以细笔勾画花蕊。整幅画面悠然淡雅。",[23,24,29,25,102,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7967e3dda2c9b321a8c00cdad902d330.jpg","纵117厘米，横43.6厘米",[45,71],{"id":1748,"slug":1749,"title":1750,"dynasty":18,"author":1751,"museum":99,"description":1752,"tags":1753,"thumbUrl":1755,"material":88,"size":1756,"collection":45,"collections":1757,"showCount":1729,"zanCount":11,"manualWeight":11,"mainColor":93},219378,"shuang-xi-tu-wang-wei-lie-219378","双喜图","王维烈","王维烈，字无竞，吴郡（今江苏苏州）人，游周之冕之门，明代苏州画家。",[24,29,61,60,62,7,64,1754,431,1655],"红花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4a7e80f45c240fc050ed87c323beb18.jpg","85×39cm",[45],{"id":1759,"slug":1760,"title":1113,"dynasty":130,"author":147,"museum":56,"description":1761,"tags":1762,"thumbUrl":1764,"material":540,"size":740,"collection":45,"collections":1765,"showCount":1766,"zanCount":11,"manualWeight":11,"mainColor":93},222708,"mei-hua-tu-zhou-jin-nong-222708","金农（1687年—1763年），字寿门、司农、吉金，号冬心先生、稽留山民、曲江外史、昔耶居士等，因其人生历经康熙、雍正、乾隆三朝，所以自封“三朝老民”的闲号，钱塘（今浙江杭州）人，布衣终身。清代书画家，扬州八怪之首。\n他好游历，卒无所遇而归。晚寓扬州，卖书画自给。嗜奇好学，工于诗文书法，诗文古奥奇特，并精于鉴别。书法创扁笔书体，兼有楷、隶体势，时称“漆书”。五十三岁后才工画。其画造型奇古，善用淡墨干笔作花卉小品，尤工画梅。\n代表作有《东萼吐华图》《空捍如洒图》《腊梅初绽图》《玉蝶清标图》《铁轩疏花图》《菩萨妙相图》《琼姿俟赏图》等。著有《冬心诗集》《冬心随笔》《冬心杂著》等\n\n书法成就:\n金农是扬州八怪的核心人物。他在诗、书、画、印以及琴曲、鉴赏、收藏方面都称得上是大家。金农从小研习书文，文学造诣很高。浓厚的学养使他居于“扬州八怪”之首。\n但是金农天性散淡，他的书法作品较扬州八怪中的其他人来说，传世作品数量是非常少的。他生活在康、雍、乾三朝，因此他给自己封了个“三朝老民”的闲号。金农初不以工书为念，然书法造诣却在“扬州八怪”中成为最有成就的一位，特别是他的行书和隶书均有着高妙而独到的审美价值。\n他的隶书早年是“墨守汉人绳墨”的，风格规整，笔划沉厚朴实，其笔划未送到而收锋，结构严密，多内敛之势，而少外拓之姿，具有朴素简洁风格，金农的书法艺术以古朴浑厚见长。他首创的“漆书”，是一种特殊的用笔用墨方法。“金农墨”浓厚似漆，写出的字凸出于纸面。所用的毛笔，象扁平的刷子，蘸上浓墨，行笔只折不转，象刷子刷漆一样。这种方法写出的字看起来粗俗简单，无章法可言，其实是大处着眼，有磅礴的气韵。\n最能反映金农书法艺术境界的是他的行草。他将楷书的笔法、隶书的笔势、篆书的笔意融进行草，自成一体，别具一格。其点画似隶似楷，亦行亦草，长横和竖钩都呈隶书笔形，而撇捺的笔姿又常常近于魏碑，分外苍劲、灵秀。尤其是那些信手而写的诗稿信札，古拙淡雅，有一种真率天成的韵味和意境，令人爱不释手。 金农的行书从其早期开始就不入常格，而以碑法与自家的“漆书”法写成的行草书，用笔率真，随心所欲，点画浪藉而又笔墨醇厚，粗头烂服之间，透出苍逸稚拙之趣，令人叹服；其“写经雕版”式的楷书，似乎与民间书法一脉相通，没有轻重的线条变化和圆润的转折用笔，也没有提顿中的波挑，以均匀的线条和方硬的转折，书写出类似单线体美术字的书体，却又具有器形文字般的古茂，其书法的启迪意义非常深远。传世书迹有《度量如海帖》，今流入日本。《盛仲交赞》，绢本漆书。\n\n绘画成就:\n年五十始从事于画，涉笔即古，脱尽画家之习，良由所见古迹多也。初写竹师石室老人，号稽留山民，继画梅师白玉蟾，号昔邪居士。画佛号心出家盦粥饭僧。又画马自谓得曹、韩法，赵王孙不足道也。其山水花果布置幽奇，点染闲冷，非复尘世间所睹，盖皆意为之。问之则曰贝多龙窠之类也。他画梅，自称“江路野梅”、要求“天大寒时香千里”，画马题道：“今予画马，苍苍凉凉，有顾影酸嘶自怜之态，其悲跋涉之劳乎？世无伯乐，即遇其人，亦去暮矣？吾不欲求知于风尘漠野之间也。”足见其怀才不遇的心情。他在一册页上画一士大夫高卧四面通风的水池亭中，题曰：“风来四面卧当中”。逍遥自在，不及世事，亦以“清高”自居。金农申言要把自己“平生高岸之气”，一一见之画中。“以抒不平鸣”。在一幅《墨竹图》中，他竟然直书：“磨墨五升，画此狂竹，不钓阳鲚，而钓诸侯也。” 喜画瘦竹，说“画竹宜瘦，瘦多寿，自然饱风霜耳”。每画毕，必有题记，如“虚心高节，挺立不屈，久而不改其操，竹之美德也。”《雨后修篁图》题诗曰：“雨后修篁分外青，萧萧如在过溪亭。世间都是无情物，只有秋声最好听。”\n所画人物造型奇古夸张，笔法古拙简练，形象鲜明突出；山水构图别致，随意挥写点染，简朴疏秀 ；其梅、竹用笔奇拙 ，凝练厚重 。书法从《天发神谶碑》、《禅国山碑》、《谷郎碑》变化而出，运笔扁方，竖轻横重，别具奇趣，风格独特，自谓漆书。金农的书画在当时享誉很高 ，为扬州八怪之一 。有《山水人物册》、《月华图》、《携杖图》、《东萼吐华图》、《墨竹图》等传世。著《冬心诗集》、《冬心随笔》、《冬心杂著》等。",[23,24,102,25,26,7,431,85,83,30,1763],"漆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa7b6c67932d0a5c269f78907c8a7ade.jpg",[45,71],77,{"id":1768,"slug":1769,"title":1770,"dynasty":198,"author":257,"museum":99,"description":1771,"tags":1772,"thumbUrl":1774,"material":88,"size":1775,"collection":45,"collections":1776,"showCount":1766,"zanCount":11,"manualWeight":11,"mainColor":49},216210,"san-yang-kai-tai-tu-yi-ming-216210","三阳开泰图","三阳开泰图 中有三只羊的图像。这三只羊代表着三阳的出现，是象征和平、繁荣的象征。根据传统，三只羊通常被描绘成站立在一起、头朝上的形态，表示他们正在向天空中的女娲献上膜拜。\n\n这三只羊可能会有不同的造型，但通常都是描绘成充满活力、生机勃勃的样子。他们的毛发通常是乌黑色或棕色，身体健硕，眼神炯炯有神。在三阳开泰图 中，这三只羊是象征着繁荣的重要元素，也是艺术家用来传达历史意义和文化价值的重要工具。",[24,59,1773,60,61,1014,7,32,164,959],"元代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102a2a7077a6eff7a42cc886854ac759.jpg","163.5x100cm",[45],{"id":1778,"slug":1779,"title":1780,"dynasty":18,"author":340,"museum":160,"description":1781,"tags":1782,"thumbUrl":1783,"material":43,"size":1784,"collection":89,"collections":1785,"showCount":1766,"zanCount":11,"manualWeight":11,"mainColor":93},214622,"hua-hui-ce-19-chen-chun-214622","花卉册-19","陈淳（1483—1544），字道复,后以字行,更字复甫,号白阳,又号白阳山人，江苏苏州人。曾从文徵明学画，但是不拘于师法，山水、花卉自具门径。花卉善写意，淡墨浅色，生动有致。与徐渭并称“青藤白阳”，代表明中期水墨写意花鸟画的新格调，是吴门画派的代表画家。\n用笔简洁，笔势潇洒，行笔迅疾，许多花卉草虫仅用深浅浓淡的不同墨色，却能完整地表达出物象的形状及立体效果，富有生意，具有强烈的笔墨情趣。",[24,29,59,82,25,26,62,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b278267b998a115bffa6c856ead4911.jpg","纵28 厘米 横37.9 厘米",[],{"id":1787,"slug":1788,"title":1789,"dynasty":198,"author":257,"museum":56,"description":1790,"tags":1791,"thumbUrl":1793,"material":420,"size":421,"collection":89,"collections":1794,"showCount":1795,"zanCount":253,"manualWeight":11,"mainColor":49},290067,"you-yuan-shi-nv-tu-yi-ming-290067","游园仕女图","湖石清奇嶙峋，梅枝缀着初绽的花苞，棕榈幽立，朱栏回环圈住一院春柔。主仆二人缓步游赏，仕女罗裙曳地，执扇抬首凝睇花枝，静嗅春信，侍女垂目紧随，姿态恭谨低柔。\n\n整作设色调古雅沉静，笔触细秀温婉，以淡墨轻彩晕染出深闺庭院的幽寂，将深闺女子探春的闲静情态藏在无言的游园片段里。没有喧嚷盛景，只借极简园景烘托出娴静疏离的闺中春日氛围，将仕女含蓄的春思融在无言的抬首凝望中，尽显元代工笔雅致内敛的特质，晕开古典闺苑的幽柔诗意。",[24,609,61,60,103,135,7,1792,722,910],"湖石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3619554a1b63843503db4e649a80a6f3.jpg",[],76,{"id":1797,"slug":1798,"title":1799,"dynasty":18,"author":1800,"museum":258,"description":1801,"tags":1802,"thumbUrl":1804,"material":369,"size":1805,"collection":45,"collections":1806,"showCount":1795,"zanCount":314,"manualWeight":11,"mainColor":93},222522,"mei-cha-shan-que-tu-zhu-zhu-222522","梅茶山雀图","朱竺","图绘梅、茶花、山雀的花鸟图。雀站立于茶树枝上，昂头望着上方的红茶花和金色梅花，神态专注；梅枝自然伸展，朵朵梅花点缀其上；茶花争相绽放，一抹红色美艳动人。朱竺，号君实，明代画家，工山水，亦能花鸟、人物。",[23,24,29,102,61,60,83,7,391,1803,62,85],"山雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff27021c8b1604adccb8eb0607990f6.jpg","119.3x39.6cm",[45,71],{"id":1808,"slug":1809,"title":1810,"dynasty":130,"author":159,"museum":160,"description":161,"tags":1811,"thumbUrl":1812,"material":43,"size":166,"collection":89,"collections":1813,"showCount":1795,"zanCount":11,"manualWeight":11,"mainColor":93},214680,"mei-hua-zhu-shi-tu-ce-8-wang-shi-shen-214680","梅花竹石图册-8",[59,24,29,82,25,7,30,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a8e419cb950121bdd96f39dcd6d2a1d.jpg",[],{"id":1815,"slug":1816,"title":1817,"dynasty":198,"author":257,"museum":99,"description":1818,"tags":1819,"thumbUrl":1820,"material":88,"size":1821,"collection":108,"collections":1822,"showCount":1823,"zanCount":314,"manualWeight":11,"mainColor":49},290745,"mei-hua-shi-nv-zhou-yi-ming-290745","梅花仕女轴","此幅画作，梅花树下，一名身形窈窕的美人，正手持铜镜，专注地妆扮着自己。身侧，并点缀了奇石和水仙花。全画的情境，被塑造得无比恬静而优雅。\n美人额间所装饰的梅花形“花钿”，似乎是整张画中最引人注目的焦点。唐代徐坚的《初学记》曾记载，南朝宋武帝（420－422在位）的女儿寿阳公主，某一日，在含章殿屋檐下休息假寐时，刚好有朵梅花掉落到她的额头上。当公主醒来起身，这朵梅花居然还停留在额间。此情此景，被宫中的女眷们看见，均大表赞赏，甚至纷纷起而仿效，掀起一股“梅花妆”的流行风潮。",[24,102,61,60,103,135,136,7,38,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfc4a265b52f01bd880e3e8c0aac9848.jpg","131.4x63",[108],75,{"id":1825,"slug":1826,"title":1827,"dynasty":130,"author":257,"museum":56,"description":1828,"tags":1829,"thumbUrl":1831,"material":420,"size":421,"collection":89,"collections":1832,"showCount":1823,"zanCount":11,"manualWeight":11,"mainColor":93},230348,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-230348","雍正十二月行乐图轴","水岸楼台层叠错落，奇石流泉蜿蜒在庭院间。近舍里宾朋凭栏谈笑，空场间人群簇立，围观高架旁的杂艺演出。远景烟波轻笼水乡，屋舍连片沿水岸铺展，拱桥上行人摩肩接踵，新梅缀枝，漫染融融春意。\n\n整作工笔细腻温婉，以淡彩晕染出雅致底色，将苑囿闲情与江南市井的喧闹烟火相融，疏密有致的构图里，铺陈出春日佳节松弛鲜活的盛景，尽揽雅致祥和的岁时意趣。",[24,61,60,720,103,721,1489,867,868,1067,7,722,1830],"人群","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2627069d8464d638cd4130d2f3b07cf.jpg",[],{"id":1834,"slug":1835,"title":1836,"dynasty":130,"author":131,"museum":1837,"description":1838,"tags":1839,"thumbUrl":1842,"material":1843,"size":89,"collection":89,"collections":1844,"showCount":1823,"zanCount":11,"manualWeight":11,"mainColor":93},220464,"tao-hua-yuan-ren-yi-220464","桃花源","亚瑟·M·赛克勒美术馆","淡墨勾皴层叠岩壁，浅晕青绿晕开山岚清润。老樵负斧驻足，抬首凝望漫山繁花。苍劲虬枝缀满素色花团，如堆雪覆枝，将山野晕染出朦胧柔婉。幽寂山石隐在花影石隙，似藏着无人惊扰的洞天。\n人物衣褶简括灵动，抬首的怔忡神态宛然在目，将误入世外山境的沉醉凝于笔端。淡墨写意晕出空寂悠远的山野氛围，清简笔墨铺展出世外天地的悠然意趣，把隐逸避世的幽韵尽数融在这尺幅之中。",[23,24,102,61,1840,103,403,7,104,1067,868,1841],"兼工带写","拐杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc2b3db8d3cbb318979a7513a7d5b907.jpg","纸本水墨",[],{"id":1846,"slug":1847,"title":1848,"dynasty":173,"author":174,"museum":56,"description":1849,"tags":1850,"thumbUrl":1852,"material":420,"size":421,"collection":89,"collections":1853,"showCount":1854,"zanCount":11,"manualWeight":11,"mainColor":49},288933,"mei-hua-xiao-qin-tu-ma-lin-288933","梅花小禽图","马麟，麟一作驎，钱塘（今浙江杭州）人。南宋画家。马世荣之孙，马远之子。\n生卒年不详。其父马远是宋光宗、宋宁宗两朝（1190～1224）画院待诏，马麟画承家学，擅画人物、山水、花鸟，用笔圆劲，轩昂洒落，画风秀润处过于乃父。宁宗嘉泰间（1201～1204）授画院祗候，颇得宁宗赵扩、恭圣皇后杨氏及杨妹子称赏，每于父子画上题句。在《层叠冰绡图》中题诗云：“浑如冷蝶宿花房，拥抱檀心忆旧香。开到寒梢尤可爱，此般必是汉宫妆。”",[59,24,29,1851,60,7,63],"花鸟画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F409ebebdf13e9db3de88b59744e8ff28.jpg",[],74,{"id":1856,"slug":1857,"title":1858,"dynasty":130,"author":1859,"museum":20,"description":1860,"tags":1861,"thumbUrl":1862,"material":469,"size":1863,"collection":45,"collections":1864,"showCount":1854,"zanCount":142,"manualWeight":11,"mainColor":93},237621,"gu-mei-tu-zhou-zhu-da-237621","古梅图轴","朱耷","图绘一株古梅树，根部无土，树心中空，旁枝上数朵梅花盛开，显示出顽强的生命力。根据画中的自题诗：“梅花画里思思肖”而知，此图是朱耷仿宋遗民画家郑思肖画兰不着土、以暗示国土为异族人所夺之意的画作，表达了他对明朝的怀念之情。图中用笔苍健有力，线条粗犷，多方硬曲折。施墨枯润结合，富有表现力。此图是朱耷中年时期的代表作。\n本幅朱耷自题三首，分别款署：“驴屋驴书”，钤“字日年”朱文印；“壬小春又题”，钤“驴”朱文印；“夫婿殊驴”。“壬小春”是指清康熙二十一年（1682年），朱耷时年57岁。\n幅下有罗朝汉题记。鉴藏印有“惠祖斋”朱文印、“大兴刘铨福家世守印”白文印。",[24,29,102,25,26,7,588,30,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d898d1a97529363294d5d7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专124 (18)岁寒三友图古画邮票全套面值: 2元邮票规格: 5.9651.46mm: P12印刷机构: 瑞士哥瓦锡厂印刷版别: 影写版: 影写版邮票纸整张枚数: 5(15)枚相关资料: 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色彩鲜艳明快，笔墨工整。",[24,59,29,102,60,61,103,403,7,119,516,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe16ec146f1085c0dfe8356014a6f5971.jpg","纵119.7横61.5厘米",[108],{"id":2036,"slug":2037,"title":2038,"dynasty":130,"author":2039,"museum":56,"description":2040,"tags":2041,"thumbUrl":2042,"material":420,"size":421,"collection":89,"collections":2043,"showCount":2044,"zanCount":11,"manualWeight":11,"mainColor":93},236381,"mei-hua-shi-nv-tu-shan-ren-xiong-236381","梅花仕女图扇","任熊","任熊，男，（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。",[24,29,609,61,60,103,135,7,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff58566bf7ec75673652b28d8a30e1d02.jpg",[],67,{"id":2046,"slug":2047,"title":2048,"dynasty":173,"author":257,"museum":99,"description":2049,"tags":2050,"thumbUrl":2052,"material":89,"size":89,"collection":69,"collections":2053,"showCount":2044,"zanCount":253,"manualWeight":11,"mainColor":49},231056,"dong-ri-ying-xi-tu-yi-ming-231056","冬日婴戏图","深冬庭院里，梅枝缀满玉蕊，竹影清疏横斜，山茶燃着点点艳红，揉化了凛冬寒意。\n\n梳着双丫髻的女娃牵着小同伴，两人的目光齐齐追着脚边扑跃的花狸猫，小男娃手里的兔形花灯险些坠地，稚拙娇憨的神态被刻画得活灵活现。\n\n整幅设色柔润雅致，工笔写实细腻，孩童软绵的衣料褶皱，狸猫蓬松的皮毛，花木的鲜活情态都一一晕染真切，将冬日里稚童嬉游的融融温情铺陈开来，把萧索寒冬晕成了满纸天真暖意，恰似一帧鲜活的冬日闲趣剪影。",[23,24,59,60,61,103,7,32,1423,516,119,2051],"婴戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F758a8c0d4776f0fd17509254b24ed5ae.jpg",[69],{"id":2055,"slug":2056,"title":2057,"dynasty":130,"author":159,"museum":20,"description":2058,"tags":2059,"thumbUrl":2060,"material":469,"size":2061,"collection":45,"collections":2062,"showCount":2063,"zanCount":253,"manualWeight":11,"mainColor":93},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。",[24,29,102,25,62,7,40,85,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff48e794336aa1087c4c94cc1fc7e8274.jpg","纵138.4厘米，横44.4厘米",[45,151],66,{"id":2065,"slug":2066,"title":2067,"dynasty":198,"author":257,"museum":548,"description":2068,"tags":2069,"thumbUrl":2070,"material":88,"size":2071,"collection":108,"collections":2072,"showCount":2063,"zanCount":11,"manualWeight":11,"mainColor":93},218468,"mei-zhu-shi-nv-tu-yi-ming-218468","梅竹仕女图","淡墨晕染开古雅绢本的温润底色，素衣仕女伫立坡岸。云鬓轻挽，身姿婉约，似凝眸梅枝间疏影横斜，又若静听竹梢上风声细语。老梅虬枝盘曲，新蕊隐现；修竹挺秀，竹叶婆娑，与梅枝相映成趣。画面构图疏朗，留白得宜，墨色浓淡相宜。笔意细腻却不繁缛，线条流畅中含含蓄。仕女眉宇间的淡淡情思，与梅竹的清逸孤高相契，融成一片幽远沉静的意境。古典雅致的韵致流淌其间，仿佛能触到绢丝上的时光温度，窥见文人笔下的温婉灵秀，尽展东方美学的含蓄之美与悠然情致。",[23,24,29,609,61,103,135,7,32,85,60,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f37405abe06d3ec65e0911fa250c43.jpg","22.86x22.23",[108],{"id":2074,"slug":2075,"title":2076,"dynasty":130,"author":159,"museum":160,"description":161,"tags":2077,"thumbUrl":2078,"material":43,"size":166,"collection":89,"collections":2079,"showCount":2063,"zanCount":11,"manualWeight":11,"mainColor":93},214685,"mei-hua-zhu-shi-tu-ce-4-wang-shi-shen-214685","梅花竹石图册-4",[24,29,82,25,7,431,83,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbde73194740c744ed0cccc189c29a405.jpg",[],{"id":2081,"slug":2082,"title":2083,"dynasty":130,"author":159,"museum":160,"description":161,"tags":2084,"thumbUrl":2085,"material":43,"size":166,"collection":89,"collections":2086,"showCount":2087,"zanCount":11,"manualWeight":11,"mainColor":93},214683,"mei-hua-zhu-shi-tu-ce-6-wang-shi-shen-214683","梅花竹石图册-6",[24,29,82,25,7,32,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bfa4b0d7106259f2be1cfe79e73ecbc.jpg",[],65,{"id":2089,"slug":2090,"title":2091,"dynasty":130,"author":2092,"museum":99,"description":2093,"tags":2094,"thumbUrl":2095,"material":88,"size":2096,"collection":108,"collections":2097,"showCount":2098,"zanCount":142,"manualWeight":11,"mainColor":49},219391,"qu-juan-gui-wen-shan-shui-tu-huang-ying-chen-219391","祛倦鬼文山水图","黄应谌","庭院凉亭中一人坐打瞌睡，亭外似一人迤迤然而来，带着奇异的氛围，却原来是倦鬼。作者于清顺治庚子（1660）春日画明申时行（1535-1614）〈袪倦鬼文〉文意，并书写原文于幅上。文中叙述整理手稿时，常因困倦而荒废数月，而前人有「困意则鬼入之」之说，乃撰文驱逐倦鬼，却于打瞌睡间见倦鬼前来说明如本身神定而无移，鬼又如何能入侵之理，因有所领悟，并表示感谢。",[24,29,59,61,60,403,103,1489,33,164,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ed4e0d57e2761d2ab147a7ee51a2f7e.jpg","163.8x219cm",[108],64,{"id":2100,"slug":2101,"title":2102,"dynasty":18,"author":2103,"museum":585,"description":2104,"tags":2105,"thumbUrl":2106,"material":88,"size":89,"collection":45,"collections":2107,"showCount":2098,"zanCount":11,"manualWeight":11,"mainColor":49},219323,"hua-niao-tu-er-yue-zhou-219323","花鸟图(二)","月洲","梅枝横斜，粉蕊轻绽枝头，两只禽鸟或立或眺，神态悠然。下方花卉繁茂，瓣层叠如绒，色泽温润；长尾羽禽羽翼绯红，与素白花朵相映成趣，墨枝青叶绿意交错，野趣自生。笔触细腻处见工致，设色淡雅中藏灵动，禽鸟憨态、花木生机跃然绢上，尽显自然意趣与文人雅致。岁月虽为绢面添了斑驳，却未减画面里静谧的生机流转，似能闻得花鸟间的轻语，触到时光里的温柔回响，将自然之美与文人情韵凝于方寸之间。",[23,24,59,102,60,61,62,7,32,41,64,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6ce9a7674e5a9e4c068dd1387796361.jpg",[45],{"id":2109,"slug":2110,"title":2111,"dynasty":18,"author":187,"museum":56,"description":2112,"tags":2113,"thumbUrl":2114,"material":89,"size":89,"collection":89,"collections":2115,"showCount":2116,"zanCount":253,"manualWeight":11,"mainColor":49},237908,"ting-qin-zhou-chen-hong-shou-237908","听琴轴","《陈洪绶听琴轴》是明代画家陈洪绶创作的一幅绫本设色画，该画现藏于 。\n款署：“枫溪弗迟老人陈洪绶写于定香桥畔。\n”钤“字章侯”白文印。\n图绘一端庄文弱的女子在专心抚琴的场景。\n其优美的琴音吸引了周围的人，侍女驻足恭听，不愿打扰动听的旋律；男子侧耳静听，不愿落掉每一个音符。\n“弹”与“听”构成了画作的主题，也表达了文人所向往的一种娱乐情趣和他们日常的家居生活状态。\n此幅所绘人物形象古拙，线描造型准确传神，显现出作者深厚的艺术功底和既写实又独具韵味的笔墨特点，是其仕女人物画的代表作之一。",[24,29,59,102,61,60,163,103,135,1518,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f517614b1bbd46132ab010b3fe9ea3e.jpg",[],63,{"id":2118,"slug":2119,"title":2120,"dynasty":130,"author":416,"museum":20,"description":2121,"tags":2122,"thumbUrl":2123,"material":89,"size":89,"collection":45,"collections":2124,"showCount":2116,"zanCount":11,"manualWeight":11,"mainColor":93},236194,"hua-mei-hua-zhang-zhao-shu-shi-cheng-shan-zou-yi-gui-236194","画梅花张照书诗成扇","邹一桂（1688年－1772年）清代官员，画家。字原褒，号小山，又号让卿，晚号二知老人，江苏无锡人。雍正五年二甲第一名进士，授翰林院编修。历官云南道监察御史、贵州学政、太常寺少卿、大理寺卿、礼部侍郎，官至内阁学士。擅画花卉，学恽寿平画法，风格清秀。曾作《百花卷》，每种赋诗，一经进呈，皇上亦赐题绝句百篇，一桂复写一卷，恭录御制于每种之前，而书己作于后，藏于家。著有《小山画谱》、《大雅续稿》。",[24,29,609,61,62,7,30,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F899e5ea3cc711760373bed9285838479.jpg",[45,71],{"id":2126,"slug":2127,"title":2128,"dynasty":18,"author":705,"museum":56,"description":2129,"tags":2130,"thumbUrl":2131,"material":89,"size":89,"collection":89,"collections":2132,"showCount":2116,"zanCount":11,"manualWeight":11,"mainColor":49},228465,"kong-que-mei-hua-tu-zhou-lu-zhi-228465","孔雀梅花图轴","虬曲老梅横斜错落，红白两色梅花次第绽放在柔枝之上，冷艳娇柔间衬出古木苍劲朴拙。两只孔雀栖于枝头，一仰一顾，翠色绒羽晕染细腻，眼状翎斑层叠分明，华贵翎羽舒展下垂，姿态悠然又灵动传神，尽显瑞禽雍容气度。\n\n画作兼工带写，以工笔精绘孔雀肌理，写意铺陈梅枝古态，冷暖色调交融和谐，将春日生机与祥瑞意趣藏于笔墨之间，暗合咏颂长寿的美好寄寓，是兼具雅致文心与吉祥意涵的精妙之作。",[23,24,29,102,60,61,62,1628,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41e3d407997aaad3691b913985c7aa58.jpg",[],{"id":2134,"slug":2135,"title":2136,"dynasty":130,"author":717,"museum":99,"description":2137,"tags":2138,"thumbUrl":2139,"material":216,"size":2140,"collection":507,"collections":2141,"showCount":2116,"zanCount":11,"manualWeight":11,"mainColor":986},222761,"shi-er-yue-ling-tu-2-yue-lang-shi-ning-222761","十二月令图（2月）","清院本版的“赏花”图是清佚名版《行乐图》中没有的，显然是新增的时令图，替换清佚名版的《三月赏桃图》。笔者将其命名为“赏花”，是根据其主景（近景）确定的。其文字介绍也说：“画中描绘了树木渐茂，百花竞放，人们在连绵的细雨中执伞顶笠，赏花、消遣的景象。”如果将其命名为“赏桃”，显然名不符实。其余时令图与《雍正十二月行乐图》的十一种图基本相同。说“基本相同”是因为也有不同之处，下面分别说明。\n1、在《行乐图》之《正月观灯图》中，雍正站在廊式围墙的大门间。在《月令图》之《正月观灯图》中，雍正站在围墙大门右边的廊下。\n2、在《月令图》之《二月踏青图》中，雍正前后的栏杆、围墙与《行乐图》之《二月踏青图》的不同。\n3、在《月令图》之《三月流觞图》中，其溪流右边的楼阁与《行乐图》之《四月流觞图》的不同。\n4、在《月令图》之《五月竞舟图》中，主要是雍正位于的高台凉亭与《行乐图》之《五月竞舟图》的不同。\n5、在《月令图》之《六月纳凉图》中，主要是雍正位于的高台楼阁与《行乐图》之《六月纳凉图》的不同。\n6、在《月令图》之《七月乞巧图》中，主要是雍正所处的房屋后面的树木、雾霭与《行乐图》之《七月乞巧图》的不同。\n7、在《月令图》之《八月赏月图》中，主要是雍正位于的高台楼阁的四周树木、山石与《行乐图》之《八月赏月图》的不同。\n8、在《行乐图》之《九月赏菊图》中，雍正所处房屋的月亮门前是石墙填土的高台院子。在《月令图》的《九月赏菊图》中，雍正所处房屋的月亮门前不是高台，而是山石低岸。\n9、在《行乐图》之《十月画像图》中，雍正所处房屋与对面房屋的通道没有栏杆。在《月令图》的《十月画像图》中，则有红色栏杆。\n10、在《行乐图》之《十一月参禅图》中，雍正所处房屋中有一排字画，靠墙的花几上有一件插了花的青铜觚，门口有一只雌孔雀。这些内容在《月令图》的《十一月参禅图》中都没有。\n11、在《行乐图》之《腊月赏雪图》中，鹿场左侧有九曲桥与对面相通。在《月令图》的《腊月赏雪图》中则没有",[23,59,24,60,61,720,403,721,103,722,104,1067,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa9bcf35cca2199d5fa9312b5a8a3e68.jpg","188.2*102.2cm",[507,71],{"id":2143,"slug":2144,"title":2145,"dynasty":18,"author":116,"museum":661,"description":2146,"tags":2147,"thumbUrl":2148,"material":1843,"size":2149,"collection":89,"collections":2150,"showCount":2116,"zanCount":11,"manualWeight":11,"mainColor":93},222099,"si-ji-hua-hui-juan-shen-zhou-222099","四季花卉卷","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。",[23,24,29,28,61,60,62,7,40,41,35,36,37,38,943,30,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f527202709f0b8a75e4edc90151d183.jpg","27.5 X504.8厘米",[],{"id":2152,"slug":2153,"title":2154,"dynasty":173,"author":2155,"museum":661,"description":2156,"tags":2157,"thumbUrl":2158,"material":299,"size":2159,"collection":69,"collections":2160,"showCount":2116,"zanCount":11,"manualWeight":11,"mainColor":49},221316,"mei-xi-pu-bu-tu-ce-ye-cui-que-221316","梅溪瀑布图册页","崔悫","《梅溪瀑布图》传为北宋画家崔悫所作。无款。裱边题签“崔慤梅溪瀑布”。\n图绘山涧湍急，水花四溅。水边山石上有一株老梅，虬曲盘折，梅花开满枝头。枝上停着几只雀鸟，空中还有一只雀鸟飞来。",[23,59,24,29,82,60,61,403,7,32,868,2011,63,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46eeace5004b00d7ed1b1eb2e6c2cf42.jpg","24.7×22.2cm",[69,45,71],{"id":2162,"slug":2163,"title":2164,"dynasty":130,"author":147,"museum":56,"description":2165,"tags":2166,"thumbUrl":2167,"material":420,"size":421,"collection":89,"collections":2168,"showCount":2169,"zanCount":11,"manualWeight":11,"mainColor":49},288390,"mei-hua-tu-lian-li-zhou-jin-nong-288390","梅花图联立轴","金农（1687年—1763年），男，字寿门、司农、吉金，号冬心先生、稽留山民、曲江外史、昔耶居士等，因其人生历经康熙、雍正、乾隆三朝，所以自封“三朝老民”的闲号，钱塘（今浙江杭州）人，布衣终身。清代书画家，扬州八怪之首。\n他好游历，卒无所遇而归。晚寓扬州，卖书画自给。嗜奇好学，工于诗文书法，诗文古奥奇特，并精于鉴别。书法创扁笔书体，兼有楷、隶体势，时称“漆书”。五十三岁后才工画。其画造型奇古，善用淡墨干笔作花卉小品，尤工画梅。\n代表作有《东萼吐华图》《空捍如洒图》《腊梅初绽图》《玉蝶清标图》《铁轩疏花图》《菩萨妙相图》《琼姿俟赏图》等。著有《冬心诗集》《冬心随笔》《冬心杂著》等。",[23,24,102,62,7,25,61,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18a90a4baed7675ccdbb4e7b13fa224e.jpg",[],62,{"id":2171,"slug":2172,"title":2173,"dynasty":173,"author":257,"museum":99,"description":2174,"tags":2175,"thumbUrl":2176,"material":88,"size":2177,"collection":69,"collections":2178,"showCount":2169,"zanCount":11,"manualWeight":11,"mainColor":49},223520,"mei-zhu-ju-qin-tu-yi-ming-223520","梅竹聚禽图","此幅《梅竹聚禽图》的构图严谨，并且重视描绘物象的准确性，符合徽宗画院注重观察写生、讲究师承法度的标准，是一件能够代表“宣和体”的佳作。画面中央，画梅树一株，枝干弯曲而上，后方衬以翠竹棘条，有伯劳、绿鸠、鹌鹑等鸟禽栖身其间。整幅画的构图以S形屈曲的梅干来切割画面，并以成弧形交叉的竹棘增加动态感，布局虽繁密，但不零乱。画家成功将画面物象和布局理想化，创造出一种超乎时空，传达永恒的完美意象。画中的主要物象，均以双钩填彩的方式，生动的描绘出对象的色彩与体积感，给人一种平和，端庄之美。",[23,24,59,29,102,60,61,62,7,32,64,85,588],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a2d45af35b0ff1f7bbe09b1b8528922.jpg","258.4x108.4",[69,45,71],{"id":2180,"slug":2181,"title":2182,"dynasty":18,"author":428,"museum":56,"description":2183,"tags":2184,"thumbUrl":2185,"material":420,"size":421,"collection":45,"collections":2186,"showCount":2187,"zanCount":253,"manualWeight":11,"mainColor":93},237537,"mei-hua-dui-ti-tu-ce-chen-ji-ru-237537","梅花对题图册","陈继儒（1558年12月14日-1639年10月16日），字仲醇，号眉公、麋公，松江府华亭（今上海市松江区）人。明朝文学家、画家。\n诸生出身，二十九岁开始，隐居在小昆山，后居东佘山，关门著述，工诗善文，书法学习苏轼和米芾，兼能绘事，屡次皇诏征用，皆以疾辞。擅长墨梅、山水，画梅多册页小幅，自然随意，意态萧疏。论画倡导文人画，持南北宗论，重视画家修养，赞同书画同源，有《梅花册》《云山卷》等传世。著有《陈眉公全集》《小窗幽记》《吴葛将军墓碑》《妮古录》。",[24,29,82,25,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fe663b1fb3979ba9855c154842e6048.jpg",[45,151],61,{"id":2189,"slug":2190,"title":2191,"dynasty":130,"author":225,"museum":56,"description":2192,"tags":2193,"thumbUrl":2194,"material":89,"size":89,"collection":89,"collections":2195,"showCount":2187,"zanCount":253,"manualWeight":11,"mainColor":93},235234,"tie-chou-shan-hu-zhou-wu-chang-shuo-235234","铁绸珊瑚轴","此作用篆籀笔法绘梅枝，虬曲苍劲如铁铸铜凝，尽显老梅饱经风霜的嶙峋气度。红梅以胭脂参墨没骨点就，花瓣饱满浓艳，错落缀于枯槎之间，冷艳与热烈相融，生机勃发。背景湖石以大写意泼墨晕染，墨色干湿浓淡层次丰富，以虚衬实，愈发衬出梅之疏俏清妍。\n题字笔力雄健朴拙，与画面苍莽气息浑然一体，诗书画印相映成趣，将文人风骨与梅花傲雪品格融为一体，尽显冷香傲骨的精神气韵。",[24,29,102,25,61,62,7,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F322dcd8a21fae752f041792747a7c8e3.jpg",[],{"id":2197,"slug":2198,"title":2199,"dynasty":486,"author":257,"museum":56,"description":2200,"tags":2201,"thumbUrl":2203,"material":89,"size":89,"collection":89,"collections":2204,"showCount":2187,"zanCount":253,"manualWeight":11,"mainColor":93},231665,"ying-hua-mo-mei-tu-li-zhou-yi-ming-231665","樱花墨梅图立轴","此作上下分绘花姿，意趣迥异却相得益彰。上方设色绘樱花，柔枝舒展，素白花瓣晕染清透，嫩红芽蕊点缀其间，将春日花绽的柔妍雅致尽皆展现，侧旁题字更添悠然文心。下幅以水墨写梅，苍劲老枝皴擦得宜，浓淡墨色区分枝干层次，淡墨圈花点蕊，清冷疏朗，尽显冬梅孤高清癯的风骨。工笔与写意相融，妍丽与清寂相映，尽显文人绘事里的雅致情致。",[23,24,29,102,25,61,62,2202,7],"樱花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F410c154b6bd5a5b3bc828f84a37afb21.jpg",[],{"id":2206,"slug":2207,"title":1392,"dynasty":18,"author":187,"museum":160,"description":2208,"tags":2209,"thumbUrl":2211,"material":88,"size":2212,"collection":45,"collections":2213,"showCount":2187,"zanCount":11,"manualWeight":11,"mainColor":49},220339,"tan-mei-tu-chen-hong-shou-220339","陈洪绶（1598-1652年），字章侯，号老莲，甲申（1644年）后号悔迟、老迟等，浙江诸暨人。通诗文，有《宝纶堂集》十卷传世。工书善画，人物、花鸟、山水皆能，尤以人物画为后世所重。初师蓝瑛，后取法李公麟、赵孟頫，所作人物，造型夸张变形，高古伟岸，运笔旋转，一气呵成，线条凝练遒劲，设色古拙，形成了高古静穆的独特画风。此图树石工笔水墨（色）相间，绘三人一马行至岸边，驻足停留，线条劲健利索，树杈枝干翻挺矫健，枝叶繁茂，给人以清幽深邃之感。",[23,24,29,102,60,61,103,2210,7,403,552,1099,868],"马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a13b3619cb9ad6a25f7b080296fabf4.jpg","纵131.3厘米，横49.0厘米",[45,71],{"id":2215,"slug":2216,"title":2217,"dynasty":130,"author":159,"museum":160,"description":161,"tags":2218,"thumbUrl":2219,"material":43,"size":166,"collection":89,"collections":2220,"showCount":2187,"zanCount":11,"manualWeight":11,"mainColor":93},214681,"mei-hua-zhu-shi-tu-ce-7-wang-shi-shen-214681","梅花竹石图册-7",[59,24,29,82,25,7,164,405],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c58016e3a0117c9d9116da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× 93.3",[45,71],{"id":2288,"slug":2289,"title":2290,"dynasty":130,"author":159,"museum":160,"description":161,"tags":2291,"thumbUrl":2292,"material":121,"size":166,"collection":89,"collections":2293,"showCount":2267,"zanCount":11,"manualWeight":11,"mainColor":93},214684,"mei-hua-zhu-shi-tu-ce-5-wang-shi-shen-214684","梅花竹石图册-5",[59,24,29,82,25,26,62,7,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cd56454776405ad098bf1f263dbc09f.jpg",[],{"id":2295,"slug":2296,"title":2297,"dynasty":18,"author":2298,"museum":56,"description":2299,"tags":2300,"thumbUrl":2301,"material":420,"size":421,"collection":89,"collections":2302,"showCount":2303,"zanCount":11,"manualWeight":11,"mainColor":411},287647,"kong-que-tu-zhou-gao-qing-ju-bu-lu-zhao-yang-287647","孔雀图轴-高清局部","卢朝阳","字遇之，又字应时，号慎斋，山西太原府河曲县人，军籍，明朝政治人物。",[23,24,62,102,61,7,1628,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4982b2abe9dcc22adbc2324d5492b51a.jpg",[],56,{"id":2305,"slug":2306,"title":2307,"dynasty":130,"author":441,"museum":56,"description":2308,"tags":2309,"thumbUrl":2310,"material":89,"size":89,"collection":507,"collections":2311,"showCount":2303,"zanCount":253,"manualWeight":11,"mainColor":93},237613,"hong-ren-mei-hua-zhou-hong-ren-237613","弘仁梅花轴","弘仁（1610-1664），明代著名画家，俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后，于福建武夷山出家为僧，字渐江，号梅花古衲。安徽歙县人。为清初四画僧之一。擅画山水，初学宋人，晚法萧云从、倪瓒等，笔法清刚简逸，意趣高洁俊雅。尤好绘黄山松石，为“新安画派”创始人，和查士标、孙逸、汪之瑞等四人并称“新安四大家”。兼写梅竹，工诗。存世作品有《枯槎短荻图》《西岩松雪图》《黄海松石图》等，著有《画偈》。",[24,29,102,163,25,7,83,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa05d4f75e8c0b7583181dee88bfbac1e.jpg",[507,151],{"id":2313,"slug":2314,"title":2315,"dynasty":198,"author":257,"museum":56,"description":2316,"tags":2317,"thumbUrl":2318,"material":89,"size":89,"collection":89,"collections":2319,"showCount":2303,"zanCount":11,"manualWeight":11,"mainColor":49},232829,"mei-hua-shuang-que-tu-li-zhou-yi-ming-232829","梅花双雀图立轴","此作以虬曲老梅为骨，苍劲枝干皴染细致，苔点错落尽显嶙峋古意。枝头梅朵冰洁柔粉，与旁侧挺秀翠竹相映，冷枝翠叶晕开清隽春息。几只山雀或栖止梳羽，或振翅穿林，灵动鲜活的身姿，将静谧冬景揉进灵动生气。\n\n笔墨工写兼具，勾勒禽鸟身形写实精细，绘写梅竹则苍润朴拙，淡设色与古绢底色相融晕染，尽显清淡雅致。将冬日花木的坚贞与初醒的生机相融，藏着元代花鸟特有的疏淡文人意趣，简淡间晕开悠长雅致。",[23,24,102,61,60,7,32,380,63,62,983,588,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6397c4387e860162f3a156b850ce1148.jpg",[],{"id":2321,"slug":2322,"title":2323,"dynasty":173,"author":257,"museum":56,"description":2324,"tags":2325,"thumbUrl":2326,"material":89,"size":89,"collection":89,"collections":2327,"showCount":2303,"zanCount":142,"manualWeight":11,"mainColor":49},227910,"zhu-mei-xiao-qin-tu-tuan-shan-yi-ming-227910","竹梅小禽图团扇","寒梅疏枝缀满莹白香蕊，清挺竹叶交错掩映，衬出幽隽雅致的冬初小景。三只山雀姿态各异，或敛羽栖于枝头侧目远眺，或俯身啄探似欲衔取花枝，蓬松绒毛以细笔晕染而出，灵动鲜活呼之欲出。\n\n整幅小品设色古雅淡逸，笔法兼具写实功力与文人情致，苍劲梅枝、秀劲竹叶与娇憨禽鸟相映成趣，将郊野小景的清新生机，定格在尺幅团扇之中，尽显宋画小品兼具写实意趣与雅致意境的独特魅力。",[59,24,29,609,60,61,62,32,7,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F014ad6d20b32bd8ed109194ceff64ab9.jpg",[],{"id":2329,"slug":2330,"title":2331,"dynasty":173,"author":257,"museum":56,"description":2332,"tags":2333,"thumbUrl":2334,"material":178,"size":2335,"collection":69,"collections":2336,"showCount":2303,"zanCount":253,"manualWeight":11,"mainColor":49},219049,"xun-mei-fang-you-tu-yi-ming-219049","寻梅访友图","2012年6月3日，北京保利古代书画夜场，南宋佚名《寻梅访友图》同样也争夺激烈，最终以超出估价80多倍的880万落槌，该作品之前估价为RMB: 50,000-100,000。",[23,59,24,29,61,405,403,588,1489,868,103,2210,83,104,867,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1279c5adc874b1dfa7d108c60362dd6b.jpg","24×24.5",[69],{"id":2338,"slug":2339,"title":2340,"dynasty":130,"author":225,"museum":56,"description":747,"tags":2341,"thumbUrl":2342,"material":420,"size":421,"collection":45,"collections":2343,"showCount":2344,"zanCount":253,"manualWeight":11,"mainColor":93},235195,"hua-hui-ce-wu-chang-shuo-235195","花卉册",[59,24,29,82,25,61,7,62,83,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f37309801ecded7fc20ed764eeb56d7.jpg",[45],55,{"id":2346,"slug":2347,"title":2348,"dynasty":18,"author":2349,"museum":56,"description":2350,"tags":2351,"thumbUrl":2353,"material":89,"size":89,"collection":89,"collections":2354,"showCount":2344,"zanCount":253,"manualWeight":11,"mainColor":93},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》。",[23,24,29,28,60,61,62,7,40,32,41,35,36,37,38,943,2352],"荷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3035c745deb8cf52d925ad006c15ad2b.jpg",[],{"id":2356,"slug":2357,"title":2358,"dynasty":18,"author":187,"museum":661,"description":2359,"tags":2360,"thumbUrl":2361,"material":88,"size":89,"collection":89,"collections":2362,"showCount":2344,"zanCount":253,"manualWeight":11,"mainColor":93},218022,"za-hua-ce-8-chen-hong-shou-218022","杂画册-8","陈洪绶是明朝时期著名的画家。他最著名的作品是他的杂画册，其中包含了许多精美的花鸟画和山水画。陈洪绶的杂画册是明朝时期最著名的画册之一，并被认为是中国画的杰出代表作之一。\n\n陈洪绶的杂画册中包含了多幅优美的花鸟画，其中包括了各种鸟类、花卉和动物。这些画作都是陈洪绶对自然界的精确再现，并且富有生命力。此外，陈洪绶还创作了许多优美的山水画，其中包含了各种山川、河流、湖泊和其他自然景观。这些画作也是陈洪绶对自然界的精确再现，并且富有感染力。\n\n总的来说，陈洪绶的杂画册是一部杰出的画册，其中包含了许多优美的花鸟画和山水画，是中国画的杰出代表作之一。陈洪绶的画风精细而细腻，他对自然界的描绘充满生命力和感染力，使他的作品在艺术史上占有重要地位。",[59,24,29,82,60,61,62,7,64,983,588,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3872c863e7a4d020187cfd8dc2c8c712.jpg",[],{"id":2364,"slug":2365,"title":1595,"dynasty":130,"author":225,"museum":56,"description":2366,"tags":2367,"thumbUrl":2368,"material":89,"size":89,"collection":45,"collections":2369,"showCount":5,"zanCount":253,"manualWeight":11,"mainColor":93},239112,"mo-mei-tu-zhou-wu-chang-shuo-239112","吴昌硕（1844—1927）原名俊，又名俊卿，中年以后更字昌硕，亦署仓硕、仓石、苍石、昌石，69岁后以字行，别号缶庐、苦铁、大聋等，浙江安吉人吴昌硕是近代中国最杰出的艺坛巨匠之一，他以诗、书、画、印四绝享誉海内外，对于近百年来中国传统书画篆刻艺术的走向影响深远。本次展览共汇聚了吴昌硕先生书法、绘画、篆刻、诗文信札等代表性作品170件，尤其是浙江省博物馆馆藏的吴昌硕书画精品，可谓“倾巢而出”，是近年来国内吴昌硕艺术作品一次较大规模的集中展示。",[24,29,102,25,7,588,30,83,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57278f7c874bcd2afc57071bfc181d8f.jpg",[45,1302],{"id":2371,"slug":2372,"title":2373,"dynasty":486,"author":257,"museum":661,"description":2374,"tags":2375,"thumbUrl":2376,"material":121,"size":2377,"collection":108,"collections":2378,"showCount":5,"zanCount":253,"manualWeight":11,"mainColor":49},218316,"ri-ben-du-tang-tian-shen-tu-yi-ming-218316","日本· 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plum orchard after Hiroshige (October - November )","梵高","文森特·威廉·梵高（Vincent Willem van Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[59,2583,2584,61,2585,7,709,432,2586,1067,39],"临摹","油画","浮世绘风格","绿地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46ec6e59d5fc227dc0435a3c28cad1ec.jpg","油画精选",[2588],{"id":2591,"slug":2592,"title":2593,"dynasty":130,"author":131,"museum":258,"description":133,"tags":2594,"thumbUrl":2595,"material":178,"size":2596,"collection":89,"collections":2597,"showCount":2566,"zanCount":11,"manualWeight":11,"mainColor":93},223232,"mei-que-tu-li-zhou-ren-yi-223232","梅雀图立轴",[23,102,61,25,1840,62,7,380,38,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc2cab43d292040d46a761c14cf915d9.jpg","纵70.7厘米，横35厘米",[],{"id":2599,"slug":2600,"title":2601,"dynasty":18,"author":2602,"museum":56,"description":2603,"tags":2604,"thumbUrl":2605,"material":89,"size":89,"collection":45,"collections":2606,"showCount":2566,"zanCount":11,"manualWeight":11,"mainColor":93},222405,"fang-chen-dao-fu-hua-hui-juan-quan-juan-du-da-zhong-222405","仿陈道复花卉卷全卷","杜大中","陈道复也是明代极富名气的绘画大家之一。他在传统写意绘画的基础上，将草书笔意融入写意花卉画中，开创了大写意花卉画的新风貌，其作品价值亦不俗！该作同时融入了两大绘画艺术家的风格特色，可谓魅力非凡\n继承了陈道復清新隽雅的画法，作品具有典型的晚明时期花卉画风格。卷尾署款“万历戊戌夏日汝南周之冕写。” 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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。",[24,29,82,25,62,7,64,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe891ac60b5d32342d48e1d85f1585b35.jpg",[],{"id":2708,"slug":2709,"title":2710,"dynasty":130,"author":1724,"museum":56,"description":2711,"tags":2712,"thumbUrl":2713,"material":420,"size":421,"collection":507,"collections":2714,"showCount":2678,"zanCount":11,"manualWeight":11,"mainColor":93},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”。",[24,29,82,61,60,7,40,119,31,83,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9557078f5bed9b33308411e988eb0b40.jpg",[507,71],{"id":2716,"slug":2717,"title":2718,"dynasty":173,"author":2719,"museum":20,"description":2720,"tags":2721,"thumbUrl":2723,"material":121,"size":2724,"collection":108,"collections":2725,"showCount":2678,"zanCount":11,"manualWeight":11,"mainColor":93},219623,"xi-hu-yin-qu-tu-qian-xuan-219623","西湖吟趣图","钱选","钱选（1239—1299），宋末元初时期的遗民画家，字舜举，号玉潭，晚年更号溪翁，吴兴（今浙江省湖州市）人。南宋景定（1260—1264年）年间乡贡进士，入元后隐居不仕，寄情于山水书画。画学颇为庞杂，花鸟、山水、人物无一不精，且成就极高，当时有“老钱丹青当世无”的美誉。元初，与赵孟頫、王子中、陈式等人并称“吴兴八俊”。",[23,24,29,28,61,60,31,83,103,403,85,7,213,2722],"书桌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ac8c107ddfec1798c83c917d3f07d59.jpg","纵25cm，横72.5cm",[108],{"id":2727,"slug":2728,"title":2729,"dynasty":18,"author":2730,"museum":79,"description":2731,"tags":2732,"thumbUrl":2733,"material":88,"size":2734,"collection":45,"collections":2735,"showCount":2678,"zanCount":253,"manualWeight":11,"mainColor":49},219314,"jin-ji-han-mei-tu-bian-jing-zhao-219314","锦鸡寒梅图","边景昭","寒石之上，锦鸡敛翅静立，翎羽如锦绣裁就，红腹似霞晕染，连绒羽的细绒都清晰可见，仿佛能触到那柔软的质感。旁侧枯枝斜逸，梅蕊初绽，素白的花与苍劲的枝桠相映，冷寂中透出雅致。沉郁的底色如古砚磨出的墨晕，将禽鸟的鲜活托得愈发分明，梅香似随微风漫开，清寒里藏着脉脉生机。笔触细腻入微却不板滞，色彩浓淡相宜，既有工笔的精致写实，又含写意的空灵意境，于冬日的静谧中，绘就一份鲜活与雅致，似能听见锦鸡轻啄梅瓣的微响，冷冽中溢出温情。",[24,29,62,60,61,7,64,85,983,588],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5ec3c9a9636678fe8757ecb09c33f89.jpg","38.5x32.8cm",[45],{"id":2737,"slug":2738,"title":2739,"dynasty":198,"author":257,"museum":99,"description":2740,"tags":2741,"thumbUrl":2745,"material":88,"size":2746,"collection":108,"collections":2747,"showCount":2748,"zanCount":11,"manualWeight":11,"mainColor":49},290786,"chun-jing-huo-lang-tu-zhou-yi-ming-290786","春景货郎图轴","货郎图自宋代以降，常被画家引为表现主题。此幅无名款，画春日郊园中，桃花初绽，新柳泛绿，杂草野卉丛生於小溪石畔。柳荫下停放一货担，架上满置鸟笼，笼中鸟色品种殊异，四周并缀有各式童玩。货郎二人，一人手执鹦鹉兜售，另一妇人携二童立于担前，举手雀跃作欲索取状。人物设色妍雅，神情活泼生动，表现出古代农业社会纯朴闲适的生活情态。",[59,24,102,61,103,60,135,653,2742,7,2743,2744,119],"柳","货郎","市井","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbac3d16ea3f794f22ec38440af84d107.jpg","196.8x104.3",[108],45,{"id":2750,"slug":2751,"title":2752,"dynasty":130,"author":2753,"museum":56,"description":2754,"tags":2755,"thumbUrl":2756,"material":420,"size":421,"collection":45,"collections":2757,"showCount":2748,"zanCount":11,"manualWeight":11,"mainColor":93},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。",[24,29,82,25,61,62,7,40,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbbf29bd90c79214ba6d288bab877f2a.jpg",[45,71],{"id":2759,"slug":2760,"title":2761,"dynasty":130,"author":225,"museum":56,"description":2366,"tags":2762,"thumbUrl":2763,"material":89,"size":89,"collection":45,"collections":2764,"showCount":2748,"zanCount":253,"manualWeight":11,"mainColor":93},239223,"mo-mei-zhou-wu-chang-shuo-239223","墨梅轴",[24,29,102,25,62,7,83,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F616f4702c3bcf964d4d3612a77d98457.jpg",[45,151],{"id":2766,"slug":2767,"title":2768,"dynasty":130,"author":1724,"museum":56,"description":2711,"tags":2769,"thumbUrl":2770,"material":420,"size":421,"collection":45,"collections":2771,"showCount":2748,"zanCount":253,"manualWeight":11,"mainColor":93},238354,"hua-hui-xiao-ce-dong-gao-238354","花卉小册",[24,29,82,61,62,7,83,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34d50c13f022c4472099b3f84f506d57.jpg",[45,71],{"id":2773,"slug":2774,"title":2775,"dynasty":130,"author":2776,"museum":20,"description":2777,"tags":2778,"thumbUrl":2779,"material":89,"size":2780,"collection":45,"collections":2781,"showCount":2748,"zanCount":253,"manualWeight":11,"mainColor":49},236196,"hua-mei-hua-xuan-ye-shu-fan-zhou-xi-hu-shi-cheng-shan-jiang-ting-xi-236196","画梅花玄烨书泛舟西湖诗成扇","蒋廷锡","蒋廷锡（1669—1732），字酉君、杨孙，号南沙、西谷，又号青桐居士，江苏常熟人，是清朝康熙、雍正时期官员、画家。",[24,29,609,7,31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设色","纵196.7cm，横96.5cm",[45,71],{"id":2907,"slug":2908,"title":2909,"dynasty":130,"author":257,"museum":79,"description":2910,"tags":2911,"thumbUrl":2914,"material":88,"size":2915,"collection":45,"collections":2916,"showCount":2876,"zanCount":253,"manualWeight":11,"mainColor":49},218954,"shou-dai-jin-ji-tu-yi-ming-218954","绶带锦鸡图","锦鸡立于古桩，羽色斑斓：颈间鳞纹细密如织，朱红尾羽迤逦垂落，身姿卓然带贵气。枝头绶带鸟或栖或嬉，翅羽轻展时神态灵动，似有细语在梅间。寒梅绽雪般素白，竹影疏斜着青绿，与棕褐绢底相映成趣，古雅中藏生机。工笔线条细劲如丝，勾勒禽鸟之态、花木之姿皆栩栩如生；设色温润含蓄，红与白、青与褐的层次里，晕染出清逸韵致。整幅画融富贵吉祥于宁静之境，动静相宜间，尽显传统花鸟的雅致与意趣。",[24,29,60,61,62,2912,2913,64,7,32,39,431],"锦鸡","绶带鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F575939c4968d07c9264ca108a1481a65.jpg","79x36cm",[45],{"id":2918,"slug":2919,"title":2920,"dynasty":18,"author":2921,"museum":160,"description":2922,"tags":2923,"thumbUrl":2931,"material":121,"size":2932,"collection":89,"collections":2933,"showCount":2876,"zanCount":253,"manualWeight":11,"mainColor":93},214665,"san-jue-tu-7-yao-shou-214665","三绝图-7","姚绶","姚绶（1536年－1627年）是中国明朝时期著名的画家、书法家和诗人。他在明朝末年和清朝初年期间活跃，是中国古代四大书法家之一。姚绶的“三绝图册”是他的代表作之一，是他在晚年创作的一组绘画作品集。\n\n“三绝图册”共有三册，分别为“绝境图册”、“绝岭图册”和“绝川图册”。这三册作品均采用水墨画的方式，描绘了天山、岭川、峡谷等山水风光。姚绶的绘画风格具有浓郁的民族特色，笔墨简洁而凌厉，构图巧妙，色彩明快。这三册作品被认为是中国古代山水画的精品，被广泛收藏和展览。",[24,61,2924,403,62,724,588,1015,1655,2925,63,2926,7,2927,2928,2929,2930],"青绿","兔子","溪流","坡地","小景","设色山水","花鸟草虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa54f0685222a43fdbe009095cf200829.jpg","纵31.2 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号乌目山人，耕烟散人，又号耕烟外史，剑门樵客，清晖老人，室名清晖阁，江苏常熟人。王翚祖上几代均染指丹青。四世祖王伯臣擅长花鸟，师崔白画风，祖父王载仕山水花鸟皆擅，父亲王云客专攻山水，画风秀雅。王翚幼喜丹青，十六岁时拜同乡张珂为师，后入王鉴、王时敏之门，遍临他们所藏宋、元名迹，在承袭传统的基础上，又外师造化，逐渐形成了华滋清逸的画风，当时的名公巨卿、文人学士争相交之。六十岁时以布衣征召供奉内廷，主持绘制康熙《南巡图》，被赐“山水清晖”，为清初“虞山派”领袖。著有《清晖画跋》，辑有《清晖赠言》、《清晖赠贻尺牍》，与恽寿平合著《画筌评》。",[59,24,29,102,25,61,33,32,7,404,30,83,60,405,3006],"水波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3351e99781cdb65f9a423bfdf5e44492.jpg",[151,1302],{"id":3010,"slug":3011,"title":3012,"dynasty":130,"author":1247,"museum":56,"description":3013,"tags":3014,"thumbUrl":3015,"material":89,"size":89,"collection":89,"collections":3016,"showCount":2982,"zanCount":253,"manualWeight":11,"mainColor":93},224181,"hua-niao-li-zhou-hua-yan-224181","花鸟立轴","梅枝虬曲绽花，主鸟独立高枝，振羽引吭，翎毛以淡墨晕染，尽显蓬松柔润。下方竹枝斜出，两只小雀依偎私语，憨态可掬。顽石以枯淡笔墨勾勒，墨色浓淡相破，野意盎然。\n全作用兼工带写之法，将禽鸟灵动与花木清逸相融，题款错落排布，书画相映，晕染出幽寂早春的澹远意趣，笔意秀逸脱俗，把春日禽鸟迎春的生机悄然铺展，清隽雅致，饶有闲情。",[23,24,102,61,25,62,7,32,85,64,83,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa32f2c98cbf9f8e2905ef51e67f151d1.jpg",[],{"id":3018,"slug":3019,"title":3020,"dynasty":130,"author":3021,"museum":99,"description":3022,"tags":3023,"thumbUrl":3026,"material":1843,"size":3027,"collection":45,"collections":3028,"showCount":2982,"zanCount":142,"manualWeight":11,"mainColor":93},222693,"xin-shao-ru-yi-tu-zhou-qian-wei-cheng-222693","新韶如意图轴","钱维城","钱维城（1720—1772）清朝官吏、画家。初名辛来，字宗磐，一字幼安，号纫庵、茶山，晚号稼轩，江苏武进人。乾隆十年状元，官至刑部侍郎，谥文敏。书法苏轼，初从陈书学画写意折枝花果，后学山水，经董邦达指导，遂成名手，供奉内廷，为画苑领袖。曾随乾隆帝在木兰围场狩猎，帝以神枪殪虎，命维城绘图刻石纪事。著有《茶山集》。\n钱维城自幼甚喜绘画，开始从族祖母陈书学习画写意折枝花果，勾描渲染，随类赋形，气联意合，整体协调。后来得到了画家董邦达指导，学画山水。所画山水，山势逶迤，流泉飞泻，烟霭飘浮，水光荡漾。构图井然，意境清幽。山石多用皴笔。他的绘画远学元代四家即黄公望、倪瓒、吴镇、王蒙，近学清初四王即王时敏、王鉴、王徽、王原祁。。《桐阴论画》说他的山水画“笔意亦临摹仿麓台，邱壑幽深，树石灵秀，颇臻妙境。”钱维城投身科举时，很少有人知道他擅长书画，直到状元及第后，在随乾隆的一次狩猎中，乾隆射中一只老虎，于是钱维城受命创作“射虎图”，作品完成后乾隆连连称赞，并下令将此画刻在木兰围场的石头上，从此钱维城在画坛上名声大振。在钱维城的绘画中，带棱角的石形、双勾少皴的树干，以及中锋含蓄的细笔、淡墨勾皴的线条，都存有董邦达的笔意，但他更擅长缜密的用笔和青绿、赭石相间的设色，其中也显示出清初“四王”的流派风格，他的作品经常呈现出来的是一派宫廷富贵的气息。在乾隆的收藏目录《石渠宝芨》中，收录的钱维城作品有160多幅，由此可见乾隆皇帝对钱维城作品的赏识程度。著名的有《九秋图卷》。\n钱维城擅长书法，工整精细，“宗磐工书，书法东坡。”他师法宋朝书法四大家之一的苏东坡。落笔苍润，秀骨天成。也能吟诗，以杜少陵为宗。人称“钱文敏尚书，诗宗少陵，书规苏文忠。”可谓诗、书、画一体。",[23,24,29,102,61,60,3024,3025,2000,228,7,33,65,119,83],"瓶","盆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c76e4882c3861113c1dfe14fc016849.jpg","105.2x55.9厘米",[45,71],{"id":3030,"slug":3031,"title":1351,"dynasty":130,"author":225,"museum":56,"description":2366,"tags":3032,"thumbUrl":3033,"material":89,"size":89,"collection":45,"collections":3034,"showCount":3035,"zanCount":11,"manualWeight":11,"mainColor":93},239219,"mei-zhu-tu-zhou-wu-chang-shuo-239219",[24,29,102,25,61,62,7,32,31,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09c3d44613f7fe705c6f0e261e00a6fe.jpg",[45],40,{"id":3037,"slug":3038,"title":3039,"dynasty":130,"author":1859,"museum":56,"description":3040,"tags":3041,"thumbUrl":3042,"material":420,"size":421,"collection":89,"collections":3043,"showCount":3044,"zanCount":11,"manualWeight":11,"mainColor":93},237933,"za-hua-ce-zhu-da-237933","杂画册","朱耷（1626年—约1705年），原名朱统𨨗，字刃庵，号八大山人、雪个、个山、人屋、道朗等，出家时释名传綮，汉族，江西南昌人 。明末清初画家，中国画一代宗师。",[24,29,82,25,62,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39d84fb47152fc632f858825f45ba2e6.jpg",[],39,{"id":3046,"slug":3047,"title":513,"dynasty":173,"author":836,"museum":56,"description":3048,"tags":3049,"thumbUrl":3051,"material":420,"size":421,"collection":89,"collections":3052,"showCount":3053,"zanCount":11,"manualWeight":11,"mainColor":49},289118,"shi-nv-tu-li-gong-lin-289118","李公麟（1049～1106），北宋舒州（今属安徽桐城）人，宋代杰出画家。字伯时，号龙眠居士、龙眠山人，享年五十七岁。熙宁三年（公元1070年）进士。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[24,59,163,103,135,721,7,722,3050,136,720],"屏风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb33af21ee25f2aae5b718472616b4b91.jpg",[],38,{"id":3055,"slug":3056,"title":3057,"dynasty":173,"author":295,"museum":56,"description":3058,"tags":3059,"thumbUrl":3060,"material":420,"size":421,"collection":89,"collections":3061,"showCount":3053,"zanCount":11,"manualWeight":11,"mainColor":49},287887,"la-mei-shan-qin-tu-tiao-se-ban-zhao-ji-287887","腊梅山禽图（调色版）","宋徽宗赵佶（1082年11月2日-1135年6月4日）[6]，号宣和主人，宋朝第八位皇帝（1100年2月23日-1126年1月18日在位），书画家。宋神宗第十一子、宋哲宗之弟。先后被封为遂宁王、端王。哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”，并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[59,24,29,62,60,61,7,38,63,30,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74d0d2f2961bf6332e47e7b9d54b4b3d.jpg",[],{"id":3063,"slug":3064,"title":2701,"dynasty":130,"author":2702,"museum":56,"description":2703,"tags":3065,"thumbUrl":3066,"material":420,"size":421,"collection":89,"collections":3067,"showCount":3053,"zanCount":11,"manualWeight":11,"mainColor":93},239060,"shan-shui-hua-niao-ce-yang-jin-239060",[24,29,82,25,61,62,7,63,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa34cb2182d3697f907db91f24da4be04.jpg",[],{"id":3069,"slug":3070,"title":3071,"dynasty":173,"author":257,"museum":56,"description":3072,"tags":3073,"thumbUrl":3074,"material":420,"size":421,"collection":89,"collections":3075,"showCount":3076,"zanCount":253,"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”。",[24,59,29,102,2979,62,63,7,40,104,61,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc01a199b6c4b8dc9f284a9eced47ff57.jpg",[],37,{"id":3078,"slug":3079,"title":3080,"dynasty":18,"author":705,"museum":20,"description":3081,"tags":3082,"thumbUrl":3083,"material":540,"size":89,"collection":507,"collections":3084,"showCount":3076,"zanCount":11,"manualWeight":11,"mainColor":93},236987,"hua-hui-ye-lu-zhi-236987","花卉页","陆治（1496－1576），字叔平，明代画家。吴县（今江苏苏州）人，因居包山，自号包山。倜傥嗜义，以孝友称。",[24,29,82,61,60,62,39,7,37,467,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbb017c605de4f65bc281040c9883b33.jpg",[507,71],{"id":3086,"slug":3087,"title":3088,"dynasty":18,"author":705,"museum":1363,"description":855,"tags":3089,"thumbUrl":3090,"material":178,"size":3091,"collection":89,"collections":3092,"showCount":3076,"zanCount":11,"manualWeight":11,"mainColor":93},231942,"shui-xian-mei-shi-tu-lu-zhi-231942","水仙梅石图",[23,59,24,29,82,25,61,405,38,7,85,404,1213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5587bc15a5e71aa8fa86fc5985d68c8b.jpg","58×44cm",[],{"id":3094,"slug":3095,"title":3096,"dynasty":173,"author":3097,"museum":56,"description":3098,"tags":3099,"thumbUrl":3100,"material":3101,"size":3102,"collection":1302,"collections":3103,"showCount":3076,"zanCount":142,"manualWeight":11,"mainColor":93},221447,"mo-mei-tu-juan-wang-yan-sou-221447","墨梅图卷","王严叟","此作用淡墨铺陈枝梢，浓墨勒就老干，冰梅错落点缀枝间，清瘦疏朗，将冬梅凌霜独放的冷峭风骨尽显。水墨晕染极简却意韵悠长，寥寥数笔便勾勒出寒梅孤高清雅之姿。\n全卷书画合璧，后随行书题咏，笔致萧散跌宕，与画中梅枝交相呼应，诗画相融，尽显宋时文人以梅寄情、托物言志的清雅意趣。",[23,24,29,28,25,7,30,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3709fa9b3144c90f5b83acbe6ae1023.jpg","绢布","26.9X161厘米",[1302],{"id":3105,"slug":3106,"title":3107,"dynasty":18,"author":3108,"museum":20,"description":3109,"tags":3110,"thumbUrl":3111,"material":2275,"size":3112,"collection":1302,"collections":3113,"showCount":3076,"zanCount":11,"manualWeight":11,"mainColor":93},220963,"qi-lv-shi-dong-qi-chang-220963","七律诗","董其昌","82岁自书诗帖卷行楷七律，崇祯九年丙子(1636)夏，朝鲜笺本尺寸：30X251cm，故宫博物院藏。",[23,59,24,29,28,31,30,83,61,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff585a41d024b15fd0fb7f7b54fdad52b.jpg","30X251cm",[1302],{"id":3115,"slug":3116,"title":3117,"dynasty":18,"author":2103,"museum":585,"description":3118,"tags":3119,"thumbUrl":3120,"material":88,"size":89,"collection":45,"collections":3121,"showCount":3076,"zanCount":11,"manualWeight":11,"mainColor":49},219325,"hua-niao-tu-yi-yue-zhou-219325","花鸟图(一)","枯枝虬曲如铁，却绽几点新红，似冬末春初的暖意悄然浸来。枝上双禽相顾，羽色黑白分明，灵动如生；坡前雉鸡敛翅，尾羽拖曳如绢，斑驳羽纹间藏着野趣。花木与禽鸟相契，笔墨工致处见羽毛肌理，写意处显枝干苍劲，松针细劲，山石朴拙，似能听见枝间轻啼，嗅到草间清芬。整幅画面古雅静谧，生机暗涌，将自然之趣凝于绢素，尽显传统花鸟的意韵悠长。",[23,24,29,102,60,61,62,7,588,2901,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F095ebf46cf6c15794eea3c98ab045de1.jpg",[45],{"id":3123,"slug":3124,"title":3125,"dynasty":198,"author":3126,"museum":99,"description":3127,"tags":3128,"thumbUrl":3129,"material":88,"size":89,"collection":108,"collections":3130,"showCount":3076,"zanCount":11,"manualWeight":11,"mainColor":93},218743,"song-mei-shi-nv-tu-sheng-mao-218743","松梅仕女图","盛懋","尺幅间松枝如铁，梅蕊凝霞，暗香似绕绢素。仕女凭石闲坐，衣袂轻垂，眸光柔落梅梢，似细品松风与寒香交织的清韵。笔墨兼工带写，松针疏密见劲健，梅朵点染含娇妍，仕女姿态温婉，神情娴静，与松梅冷艳相映成趣。题跋墨痕与淡彩相融，更添古雅。整体意境清幽淡远，如无声诗行，道尽文人心中的雅致闲逸，时光仿佛在此停驻，只余松梅与佳人的悠然对语。",[23,24,29,82,61,103,33,7,135,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc96448930cd424db7a671f6805711b6a.jpg",[108],{"id":3132,"slug":3133,"title":3134,"dynasty":173,"author":3135,"museum":606,"description":3136,"tags":3137,"thumbUrl":3138,"material":88,"size":3139,"collection":108,"collections":3140,"showCount":3076,"zanCount":253,"manualWeight":11,"mainColor":49},218455,"zhou-ren-xing-tu-wang-hui-218455","舟人形图","王辉","淡墨晕染的水面微澜轻漾，一叶扁舟浮行其间。舟中之人凭舷而坐，衣袂垂落，神态悠然，似静听风吟，又或凝视水中云影。岸畔垂柳枝条披拂，几枝缀蕊梅枝斜出，添了清逸之趣。远处山峦轮廓柔和，与天际轻烟相融，浑然一体。简淡笔墨勾勒物象，却于留白处藏尽幽远之境，尽显宋人山水的诗意哲思——天地间人如芥子，却能与自然相契，寻得内心的安宁。整幅画以含蓄笔触铺陈意境，每一处细节都透着东方美学的雅致，将观者引入那片静谧辽远的烟波世界里。",[23,24,29,59,60,61,103,869,403,2742,7,868,63,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb655b285914c169055a1a989003a11c.jpg","19.3x19.0",[108],{"id":3142,"slug":3143,"title":3144,"dynasty":486,"author":257,"museum":56,"description":3145,"tags":3146,"thumbUrl":3147,"material":420,"size":421,"collection":89,"collections":3148,"showCount":3149,"zanCount":11,"manualWeight":11,"mainColor":986},287924,"zhong-qiu-tie-yi-ming-287924","中秋帖","此作用笔极简，枯瘦梅枝苍劲老辣，寥寥枝桠斜斜舒展，数朵墨梅轻绽枝头，淡墨勾瓣，清灵雅致，尽现寒梅疏淡傲骨之姿。\n\n满幅朱红鉴藏印方圆错落排布，金石质感的厚重朱砂，与清隽墨色相映成趣，将文人画的清冷风骨，与辗转递藏的岁月底蕴相融。朱墨之间，花木的幽远意趣与典藏的风雅厚重交织，淡远高古的悠然意境扑面而来，尽显传统书画藏玩交融的别致韵味。",[24,29,62,7,163,25,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d82e2f75d477218ca64ea6643900b84.jpg",[],36,{"id":3151,"slug":3152,"title":3153,"dynasty":130,"author":257,"museum":56,"description":3154,"tags":3155,"thumbUrl":3157,"material":420,"size":42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。\n该画作画面人物纤细娇弱，娟秀清丽，刻画细致工整，具典型的费氏风格。\n环境则以逸笔写出，淡彩晕染，墨笔勾皴，空灵秀润，以衬托出中心人物。\n费丹旭（182—185年），字子苕，号晓楼、环溪生、偶翁，乌程（今浙江湖州）人。\n自幼从父珏（芝原）习画，擅绘仕女，笔致轻灵淡雅，颇得女性娟秀之美、柔弱之态。\n工于肖像，以如镜取影、情神酷肖为人称道。\n亦能山水、花卉，取法恽寿平，笔墨洁净清丽，具闲散意趣。\n长年流寓上海、江浙一带，交游于文士间，艺术修养广博深邃。",[24,29,60,61,135,7,553,867,85,588,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41e746477fca8a1d104025dece421627.jpg",[],{"id":3186,"slug":3187,"title":605,"dynasty":130,"author":131,"museum":258,"description":133,"tags":3188,"thumbUrl":3189,"material":138,"size":2596,"collection":89,"collections":3190,"showCount":3149,"zanCount":11,"manualWeight":11,"mainColor":93},223231,"mei-que-tu-ren-yi-223231",[23,24,29,102,61,25,62,7,64,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4b46401bef043423b368b688dbe0e57.jpg",[],{"id":3192,"slug":3193,"title":3194,"dynasty":18,"author":187,"museum":56,"description":3195,"tags":3196,"thumbUrl":3197,"material":216,"size":3198,"collection":89,"collections":3199,"showCount":3149,"zanCount":11,"manualWeight":11,"mainColor":49},221881,"ren-wu-tu-zhou-chen-hong-shou-221881","人物图轴","画面中的主人公身着宽松长袍，身姿硕健，手持梅花与灵芝，悠然自得，用笔遒劲挺拔，形体造型夸张，塑造人物古朴，形象地表现出主人公遗世独立的精神面貌。 [1] 题识：“老迟洪绶画于狮子林。” 钤“陈洪绶印”白文印，“章侯氏”朱文印。陈洪绶（1598—1652）， 字章侯，号老莲、老迟，晚号悔迟、云门僧等。诸暨（今浙江诸暨）人。善山水、花鸟，尤精人物，世所罕及。与崔子忠齐名，称“南陈北崔”。",[23,24,29,102,60,61,103,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6430abb4d4cf493e0e01578a4f3f6554.jpg","纵118厘米，横55厘米",[],{"id":3201,"slug":3202,"title":3203,"dynasty":173,"author":257,"museum":99,"description":3204,"tags":3205,"thumbUrl":3207,"material":88,"size":89,"collection":108,"collections":3208,"showCount":3149,"zanCount":253,"manualWeight":11,"mainColor":49},219172,"shan-yang-tu-yi-ming-219172","山羊图","粉面朱唇的稚子端坐羊背，衣袂鲜妍如霞，手中轻挥短鞭。群羊毛色胜雪，犄角宛转似玉，或驰于坡前，或驻于石畔，或低头嗅草，姿态灵动如生。背景松枝虬劲，梅蕊初绽，墨色浓淡间晕染出清寂古意。线条工细若蚕丝，衣纹褶皱、羊身毫毛皆刻画入微；设色沉敛温润，赭石与石青相映，既见宋画的雅致，又藏孩童嬉戏的稚趣。动静相宜间，似能听见羊蹄踏石的轻响，稚子清脆的笑声，将寻常生活的闲情，凝作千年不褪的画卷。",[24,29,59,60,61,3206,103,33,7,104,698],"山羊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00d784dda5b0462addae6b69112b558a.jpg",[108],{"id":3210,"slug":3211,"title":3212,"dynasty":130,"author":257,"museum":1309,"description":3213,"tags":3214,"thumbUrl":3216,"material":88,"size":3217,"collection":108,"collections":3218,"showCount":3149,"zanCount":11,"manualWeight":11,"mainColor":49},218426,"zhong-kui-tu-yi-ming-218426","钟馗图","苍树虬枝旁，柳丝轻垂如帘，梅蕊点点绽于枝头。宽袍大袖的身影伫立其间，手持梅枝似在凝神细赏。笔墨简练却生动传神，衣纹线条婉转流畅，勾勒出人物雍容气度——昔日驱邪判官，此刻化作赏梅雅士，威严之余添了几分文人闲逸。背景疏草与古木相映，浅褐底色晕染出古朴雅韵，细节处见匠心。作品打破传统钟馗刻板印象，以清雅之境赋予神祇新的情致，于简淡中藏深意，尽显传统绘画的意趣与韵味。",[24,61,60,103,7,3215,63,698],"柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29d9821f588ead48b6f3e9bad8a5520a.jpg","71x30",[108],{"id":3220,"slug":3221,"title":3222,"dynasty":130,"author":257,"museum":56,"description":3223,"tags":3224,"thumbUrl":3227,"material":420,"size":421,"collection":89,"collections":3228,"showCount":3229,"zanCount":253,"manualWeight":11,"mainColor":49},273086,"mu-bian-xiu-mei-hua-tu-ping-yi-ming-273086","木边绣梅花图屏","这对挂屏以刺绣摹绘花鸟意趣，左侧虬梅斜出，蓓蕾轻绽，竹影清疏间青鸟振翅穿飞，生机跃然绣面；右侧折枝错落，菊瓣舒展柔婉，幽禽静栖枝头，尽显娴静秋意。\n\n绣线晕染自然细腻，配色清雅柔和，针脚匀净细密，将花木柔态、禽鸟灵动一一摹尽，兼具文人水墨的淡远意趣与闺阁绣艺的精巧工致。红木装框配织锦镶边，古雅沉静，将四时清景凝于尺幅之上，静动相映，尽显雅致韵味，是民间刺绣中的精巧之作。",[2471,3225,3226,62,63,7,32,41,61,491],"绣品","挂屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8df9601fe3b0934c9c34174ffa6f899a.jpg",[],35,{"id":3231,"slug":3232,"title":3233,"dynasty":130,"author":257,"museum":56,"description":3234,"tags":3235,"thumbUrl":3237,"material":420,"size":421,"collection":89,"collections":3238,"showCount":3229,"zanCount":253,"manualWeight":11,"mainColor":3239},267782,"ou-he-se-mei-zhu-hai-tang-wen-er-se-duan-yi-ming-267782","藕荷色梅竹海棠纹二色缎","藕荷底色晕开沉静柔雅，浅调花饰似月色落于其上。梅朵清雅凝绽、修竹疏朗横斜、海棠柔枝缀花，三类花木错落铺陈，将傲岸、清逸与娇柔融于一方织物之上。\n暗纹竖棱隐于缎面，让整体更添肌理层次，二色织绣让花叶明暗柔和过渡，针脚细密不见匠气，将文人钟情的花木意趣藏入经纬之间，把中式含蓄雅致的审美融于日用织锦，尽显旧时织造工艺的细腻工巧。",[491,3236,7,32,946],"缎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cb7f65419f7f557bc78251b15d4df25.jpg",[],"9C27B0",{"id":3241,"slug":3242,"title":3243,"dynasty":18,"author":3244,"museum":3245,"description":3246,"tags":3247,"thumbUrl":3249,"material":121,"size":89,"collection":108,"collections":3250,"showCount":3229,"zanCount":11,"manualWeight":11,"mainColor":93},218490,"ri-ben-gao-shi-guan-mei-tu-zhuo-zong-deng-yang-218490","日本· 高士观梅图","拙宗等杨","九州国立博物馆","圆幅之中，枯梅虬枝如铁，疏影横斜间藏着冬日的幽韵。岩畔高士衣袂翩然，凝眸枝桠的姿态，似与梅魂相接——是沉醉于含苞待放的清趣，还是默然体悟天地的空寂？远处山影淡若烟霭，近石嶙峋衬出梅的风骨，留白处漾着悠远的禅意。笔墨简劲却含深情，将文人观梅时的孤高清雅与物我相融的心境，凝成了这方静谧而隽永的画面，让人一眼便坠入那片清寒又诗意的天地。",[24,29,3248,25,405,103,7,85,588,403],"团扇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6465c326a8271c018f825f86db6350b.jpg",[108],{"id":3252,"slug":3253,"title":3254,"dynasty":173,"author":257,"museum":160,"description":3255,"tags":3256,"thumbUrl":3257,"material":89,"size":89,"collection":69,"collections":3258,"showCount":3229,"zanCount":125,"manualWeight":11,"mainColor":3259},201548,"ge-le-tu-juan-yi-ming-201548","歌乐图卷","画卷铺陈宋代闲适宴乐之景，庭院间虬枝缀花之木与青竹、怪石相映，景致清雅。男子持乐器奏乐，红衣女子或凝神倾听、或轻执器物互动，孩童稚态可掬，众人神情姿态生动传神。画作以工笔见长，线条细腻流畅，衣纹勾勒精准，设色典雅沉稳，将宴乐场景的悠然氛围尽显无遗，体现宋代绘画的精致匠心与艺术韵味。",[60,61,103,1518,722,32,85,135,653,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10f7c94786ca092c3352478aabf9437e.jpg",[69],"745f47",{"id":3261,"slug":3262,"title":172,"dynasty":173,"author":174,"museum":56,"description":1849,"tags":3263,"thumbUrl":3264,"material":420,"size":421,"collection":89,"collections":3265,"showCount":3266,"zanCount":253,"manualWeight":11,"mainColor":49},288731,"mei-zhu-tu-ye-ma-lin-288731",[23,24,29,82,60,61,62,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0822ea395a04d6c49a50e88c75a309e2.jpg",[],34,{"id":3268,"slug":3269,"title":3270,"dynasty":18,"author":3271,"museum":1196,"description":3272,"tags":3273,"thumbUrl":3274,"material":3275,"size":3276,"collection":45,"collections":3277,"showCount":3266,"zanCount":142,"manualWeight":11,"mainColor":49},222051,"bing-hun-leng-rui-tu-wang-qian-222051","冰魂冷蕊图","王谦","用墨笔截取倒垂老梅，枝干劲健挺拔，梅花双勾而成，繁花密蕊，清奇可爱。 以淡墨晕染绢地，更衬托出梅花凄厉冷艳的姿色。 作品画格雄健，与晚明及清代梅花作品风格迥然相异。",[23,24,59,29,25,26,7,85,431,432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00fb28109c7cdb6700ac5749c89e75c4.jpg","绢本墨笔","纵186cm，横111cm",[45,71],{"id":3279,"slug":3280,"title":3281,"dynasty":173,"author":1898,"museum":20,"description":3282,"tags":3283,"thumbUrl":3284,"material":178,"size":3285,"collection":69,"collections":3286,"showCount":3266,"zanCount":253,"manualWeight":11,"mainColor":93},221467,"xue-mei-tu-juan-quan-juan-yang-wu-jiu-221467","雪梅图卷全卷","《雪梅图》是宋代扬无咎创作的绢本水墨画，现为 收藏。\n此图以简练的笔法，画一枝偃仰姿纵的“野梅”和翠竹。\n作者用笔疾速，枝干着墨比较粗放，有些地方留有“飞白”，即不经意地在绢上造成的空白效果，非常巧妙地表现出树皮斑驳的质感；花朵用笔圆润细巧，花蕊娇嫩；竹叶下垂，只在叶子的下部用浓墨勾出一半轮廓。\n为了更好地衬托积雪的效果，画家用淡淡的墨色将绢地满涂，仅仅只留出积雪的部位，阴霾逼人的寒气便得到了很充分的渲染。\n此图为长卷，描绘雪天绽廾的梅花：墨笔画一枝凌空偃仰恣纵的野梅，图巾仪截取梅花树的一部分，重写枝十，淡点梅花-枝干有取有舍，疏密得官，苍劲挺拔，穿插有致-夹杂着儿簇竹口十，雪竹从画幅的左上角向右下方斜伸、疏竹枝叶及梅枝花办』：半爪残雪，借天色烘出一片清光傲寒之气洋溢画外。\n本幅钤“草玄之裔”、“补之”“逃禅”朱文印三方。\n本幅南宋曾觌题诗： 笔端造化出天巧，写出江南雪压枝。\n谁道春归无觅处．横斜全似越溪时。\n题记“扬补之得墨梅三昧，山谷道人叹日：‘如嫩寒清晓行孤山篱落间，但欠香耳。\n’则笔端春色之妙，此言尽矣。\n海野老农”。\n钤“子子孙孙其永宝用”朱文。\n鉴藏印有：“崇信军节度使之印”朱文。\n吴廷二方，高士奇五方，清乾隆、嘉庆、宣统内府藏印十方。\n引首有清乾隆御书“孤山香雪”行书4字，又在前隔水题诗一首。\n后隔水有清高士奇跋、印。\n纸尾有元止止道人、顾德璋、唐幼明、李升，明吴勤、李澄之、吴宽跋，清高士奇十跋。\n诸家印鉴及吴延鉴藏印共三十九方。\n扬无咎擅画梅、竹、松、石等，也能画人物，师李公麟。\n但他目前只有墨梅作品传世，“四梅花图”与“雪梅图”均藏故宫博物院。\n扬无咎为画梅，曾在庭院中植梅树，“大如数间屋，苍皮藓斑，繁花如簇”，他时时观察、写照，并得出“交枝而花繁累累，分梢而萼蕊疏疏”的理论。\n他画梅花，用细笔墨线圈出花瓣，更见梅花“疏影横斜”的风致。\n据传宋徽宗看到他画的梅花，曾笑道扬无咎画的是乡村中的梅花，扬无咎便自署画梅为“奉敕村梅”。\n除擅画外，扬无咎亦工书，学欧阳询，很有心得。\n工诗词，著有《逃禅词》。\n此图全幅以淡墨烘小，浓墨写枝，细笔勾花，用以表现“万花敢向雪中廾’’的意境-全图川笔劲逸，画法与《四梅花卷》用笔稍有不同，布景舒朗清新-背景从上至下，从左到右，均以淡墨铺染，与枝干重下孑一侧的画法相结合，从而烘托出枝卜L的积雪，同时也映衬小朵朵梅花鲜明灿烂，一雪茫茫，花枝俏丽，呈现十无尽的叫：意．山于作者非常讲究人格修养及笔墨素养，所以，他画的梅花高标清韵，正是他高沾情操的写照：此卷墨色野梅，能作成疏影横斜之态，义间以竹口卜披拂，义皆宁以形状，不施一粉而雪景澹然。\n画面』二展示的不仪是梅花姿态，而是一种“嫩寒清晓，行孤山篱落间”的梅花境界。\n从此画可窥见作者对雪中梅花“高洁”品格的喜爱和作这幅画寸的内心情感。\n全图用笔简逸，与《四梅花图》卷的用笔又有变化，布景舒朗清新，很富有杭州孤山篱落间那种“疏影横斜”，“暗香浮动”的诗意。\n梁济海 经《中国古代书画图目》十九、《 》上册、《中国美术全集·绘画编》4、《宋扬无咎雪梅图》、《艺苑掇英》1979年第1期、《故宫博物院藏文物珍品全集·晋唐两宋绘画·花鸟走兽卷》、《故宫博物院藏品大系·绘画编》2等影印；《石渠宝笈·初编》、《 》卷十四、《江村销夏录》卷三、《江村书画目》、《故宫已陕书画目》、《国宝沉浮录》、《中国古代书画目录》第二册著录。\n扬无咎(197～1169年)，字补之，号逃禅老人、清夷长者，清江(今属江西)人，寓居南昌。\n自称为东汉文学家扬雄之后，故其姓氏从“手”而不从“木”。\n南宋高宗时因不满秦桧专权，累征不起，一生没有做官，是一位藐视权贵的画家。\n他工诗词，擅书画。\n其书学欧阳询，画师华光仲仁。\n伸仁偶于月夜见窗间梅影，创为墨梅。\n扬无咎继承其法，所作梅花多取材于山间水滨、疏枝冷蕊、清寒野逸，一反院画之“宫梅”格调，故被戏称为“村梅”，开创了墨梅新派，对当时和后世均有较大影响。\n著有《逃禅词》一卷。",[23,59,24,29,28,25,31,7,553,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3988218e54f77fb99d01fef5567a2244.jpg","27x64.",[69,45],{"id":3288,"slug":3289,"title":3290,"dynasty":130,"author":2551,"museum":160,"description":3291,"tags":3292,"thumbUrl":3293,"material":43,"size":89,"collection":89,"collections":3294,"showCount":3266,"zanCount":11,"manualWeight":11,"mainColor":93},214691,"hua-hui-ce-2-luo-pin-214691","花卉册-2","罗聘（1733年－1799年）是一位清代的画家，他的花卉册是一本记录花卉的画册，其中包含了许多精美的花卉画作。这本画册是由罗聘亲手绘制并装帧而成，并由他的学生赠送给他。罗聘是一位非常有才华的画家，他的花卉册中的画作非常生动，能够很好地展现出花卉的美丽和优美。\n\n这本画册是一件非常珍贵的艺术品，对于研究罗聘的艺术风格和清代花卉画艺术有着重要的意义。",[24,25,82,7,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c7e6a451a2693ab72bd7a19992e0857.jpg",[],{"id":3296,"slug":3297,"title":3298,"dynasty":130,"author":3299,"museum":56,"description":3300,"tags":3301,"thumbUrl":3302,"material":420,"size":421,"collection":45,"collections":3303,"showCount":3304,"zanCount":253,"manualWeight":11,"mainColor":93},239154,"shan-shui-hua-hui-ce-chen-heng-ke-239154","山水花卉册","陈衡恪","陈师曾（1876年3月12日—1923年9月17日），男，原名衡恪，字师曾，号朽道人、槐堂，江西南昌义宁（今江西修水）人，著名美术家、艺术教育家。\n陈师曾出身书生门第，祖父是湖南巡抚陈宝箴，父亲是著名诗人陈三立。1902年东渡日本留学，1909年回国，任江西教育司长。从1911年2月至1913年4月，他受南通张謇之邀，至通州师范学校（今南通师范学校）任教，专授博物课程。1913年又赴长沙第一师范任课，后至北京任编审员之职。先后兼任北京女子高等师范学校、北京高等师范学校、北京美术专门学校教授。1923年9月为奔母丧回南京，不幸染病逝世，终年仅47岁。",[24,29,82,61,25,30,83,7,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ef877738ff31c16dc13027b98f191b9.jpg",[45,507,71],33,{"id":3306,"slug":3307,"title":2391,"dynasty":18,"author":3308,"museum":56,"description":3309,"tags":3310,"thumbUrl":3311,"material":89,"size":89,"collection":89,"collections":3312,"showCount":3304,"zanCount":253,"manualWeight":11,"mainColor":93},237675,"hua-niao-ce-ling-bi-zheng-237675","凌必正","[明]字贞卿，一字蒙求，号约庵，太仓（今江苏太仓）人。崇祯四年（一六三一）进士，官至广西副使。善山水，设色妍雅，位置精密，接轸宋人。间画花鸟，尚欠超逸生动之致。《太仓州志、无声诗史、桐阴论画》",[24,29,82,61,60,25,7,62,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F359d5c55d4ebcc585ed4026001545636.jpg",[],{"id":3314,"slug":3315,"title":3316,"dynasty":130,"author":225,"museum":56,"description":3317,"tags":3318,"thumbUrl":3319,"material":89,"size":89,"collection":89,"collections":3320,"showCount":3304,"zanCount":253,"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）",[24,29,609,61,62,7,40,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa22462af8c7db2282cd725846a281295.jpg",[],{"id":3322,"slug":3323,"title":660,"dynasty":130,"author":147,"museum":661,"description":662,"tags":3324,"thumbUrl":3325,"material":665,"size":666,"collection":89,"collections":3326,"showCount":3304,"zanCount":11,"manualWeight":11,"mainColor":986},233868,"mei-hua-ce-jin-nong-233868",[24,29,82,163,25,62,7,588,431,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb34432e0d3f92f887635aac9010c975.jpg",[],{"id":3328,"slug":3329,"title":3330,"dynasty":173,"author":399,"museum":56,"description":1258,"tags":3331,"thumbUrl":3333,"material":420,"size":421,"collection":89,"collections":3334,"showCount":3335,"zanCount":11,"manualWeight":11,"mainColor":49},289365,"yao-yue-jiu-mei-tu-ma-yuan-289365","邀月就梅图",[609,24,59,7,404,403,103,104,25,405,3332],"清雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F042efd55f24860f7a9c20cfd921d1aff.jpg",[],32,{"id":3337,"slug":3338,"title":3339,"dynasty":130,"author":1362,"museum":56,"description":3340,"tags":3341,"thumbUrl":3343,"material":420,"size":421,"collection":89,"collections":3344,"showCount":3335,"zanCount":253,"manualWeight":11,"mainColor":93},288830,"mei-hua-mu-dan-shi-hua-juan-gao-feng-han-288830","梅花牡丹诗画卷","高凤翰（1683—1749年），字西园，号南村，自号南阜山人，山东胶州人。曾任安徽歙县县丞，去官后流寓扬州。擅画山水、花卉。山水师法宋人，近赵令穰、郭熙一派。55岁左右，右手病疫改用左手，更号“尚左生”刻印“丁巳残人”。其画具有宋人雄浑之神，元人静逸之气。秦祖永《桐荫论画》评道：“离奇超妙，脱尽笔墨畦径，法备趣足，虽不规规于法，而实不离于法。”",[23,59,24,29,28,25,62,7,35,3342,30],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1137d6b12560322e8e67b8b86649204c.jpg",[],{"id":3346,"slug":3347,"title":3348,"dynasty":18,"author":428,"museum":56,"description":2183,"tags":3349,"thumbUrl":3350,"material":420,"size":421,"collection":89,"collections":3351,"showCount":3335,"zanCount":11,"manualWeight":11,"mainColor":93},288045,"mei-hua-tu-ye-chen-ji-ru-288045","梅花图页",[23,24,29,25,62,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F559e90f017c71c4dbf04075e0d12d500.jpg",[],{"id":3353,"slug":3354,"title":3355,"dynasty":173,"author":836,"museum":56,"description":3356,"tags":3357,"thumbUrl":3358,"material":420,"size":421,"collection":89,"collections":3359,"showCount":3335,"zanCount":253,"manualWeight":11,"mainColor":93},287537,"shu-chuan-tu-shou-juan-li-gong-lin-287537","蜀川图手卷","画面从传统的长江发源地汶山、岷山画起，经茂州、石泉、永康军、青城山、成都城区、双流、新津、彭山、龙安、眉州、青神，后大跨越式地跨过嘉州、叙州、泸州、渝州、涪州，后接忠州、梁山、万州、云安、夔州、巫山县结束。\n这件长卷对巴蜀地区建筑形式、历史地理、历史文化研究有一定参考价值。",[23,59,24,29,28,25,163,31,83,7,403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b157ace959ea92bd68e1cf5dffe387f.jpg",[],{"id":3361,"slug":3362,"title":3363,"dynasty":130,"author":257,"museum":56,"description":3364,"tags":3365,"thumbUrl":3368,"material":420,"size":421,"collection":89,"collections":3369,"showCount":3335,"zanCount":11,"manualWeight":11,"mainColor":49},270502,"la-mei-hua-shu-pen-jing-yi-ming-270502","腊梅花树盆景","此盆景以虬曲古枝摹写寒梅傲骨，苍褐枝干蜿蜒舒展，自带岁月浸养的古拙意趣。黄玉裁就的花瓣凝润如蜜，层层吐蕊，晕开暖融融的冬日生机；白石雕成的素花莹洁似雪，清雅柔润，与黄梅相映成趣，明暗错落间尽显雅致。\n\n珐琅彩花盆釉色鲜亮明丽，缠枝花卉纹饰繁而不俗，华贵雅致。盆间配搭小石，点缀枝叶，将天工原石与匠心工艺相融，把寒梅凌霜盛放之态定格案头，既有文人爱梅的清隽意韵，又尽显造办技艺的极致精巧，藏着旧时造物的顶尖审美。",[1270,7,39,3366,3367],"珐琅器","玉石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbe851f8f4fc38fdc6871dcc27a42b19.jpg",[],{"id":3371,"slug":3372,"title":2340,"dynasty":130,"author":159,"museum":20,"description":3373,"tags":3374,"thumbUrl":3375,"material":369,"size":3376,"collection":45,"collections":3377,"showCount":3335,"zanCount":11,"manualWeight":11,"mainColor":93},236311,"hua-hui-ce-wang-shi-shen-236311","此图册十二页，分别画十二种花卉。\n汪士慎(1686-1759)清代著名画家。字近人，号巢林、溪东外史等。安徽休宁人，寓居扬州。汪士慎在诗、书、画、印诸方面皆有很高的成就。擅画花卉，随意勾点，清妙多姿。精画兰竹，尤擅长画梅，笔致疏落，超然出尘，笔意幽秀，气清而神腴，墨淡而趣足，其秀润恬静之致，令人争重。金农称他画梅之妙和高西唐(翔)异曲同工。西唐善画疏枝，巢林善画繁枝，都有空里疏香、风雪山林之趣。千花万蕊，颇富诗意。老年一目失明，尚能挥写自如，不失当年风韵。为“扬州八怪”之一。工诗，善写隶书，又长篆刻。在一目失明作画时，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。时金农赞他“盲于目，不盲于心”。阮元《广那个诗事》说他：“老而目瞽，然为人画梅，或作八分书，工妙胜于未瞽时。”其代表作有《苍松偃蹇图》、《潇湘灵芳图》、《绿萼梅开图》、《洒香梅影图》、《月珮风襟图》、《灵根出谷图》等。著有《巢林诗集》。",[24,29,82,25,62,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb8c7ea965ffa8a1b378d01899052fef.jpg","纵24厘米 横27.5厘米",[45,71],{"id":3379,"slug":3380,"title":3381,"dynasty":18,"author":257,"museum":56,"description":3382,"tags":3383,"thumbUrl":3385,"material":178,"size":89,"collection":89,"collections":3386,"showCount":3335,"zanCount":253,"manualWeight":11,"mainColor":49},236283,"wang-zi-yuan-hua-niao-ce-yi-ming-236283","王子元花鸟册","此作设色清妍雅致，花枝虬曲舒展，粉白梅朵柔润鲜活，没骨晕染尽显花瓣凝透质感，淡墨勾勒枝干，苍劲间自带清隽之态。\n\n白头翁栖于枝桠，昂首侧目，似正啼鸣。禽鸟刻画细致入微，羽毛丝缕分明，灵动鲜活的神态将林间春日生机全然托出。画面留白疏朗，虚实相生，以极简构图营造出幽寂清宁的春日意趣，将一花一鸟的雅致意趣融于淡远氛围中，悠然隽永，尽显传统花鸟的温婉格调。",[24,3384,61,60,62,7,64,82],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa681153cc0787bd70f3925dcc390ddda.jpg",[],{"id":3388,"slug":3389,"title":235,"dynasty":173,"author":236,"museum":56,"description":3390,"tags":3391,"thumbUrl":3392,"material":89,"size":89,"collection":89,"collections":3393,"showCount":3335,"zanCount":11,"manualWeight":11,"mainColor":93},227698,"sui-han-san-you-tu-zhao-meng-jian-227698","洁净的扇面上，作者绘松、竹、梅折枝，以墨笔画上一株饱结花朵、苞蕾的梅枝，继而交错、绕夹着如星芒般的松针与墨影般的竹叶，将它们横斜置于画面中央，以松针的灰和墨竹的黑来衬托出梅花的白。松叶如钢针，竹叶如刀剑，更表现出梅花的傲骨冰心。整个画面笔墨秀丽，清绝幽雅，意趣横生。这幅《岁寒三友图》通过对画面的安排，明确表达出作者刚正、坚贞的气节。画扇的右上方钤“子固”白文印。\n\n用笔上，画中的梅花以淡墨衬染着用细笔，浓墨所圈钩的花瓣、松针用笔尖挺劲拔，墨竹以中锋运使，挺劲有力。松、竹、梅画法各异，充满韵致，是幅极具精神的南宋小品。赵孟坚的作品一笔一画都注意书法与画法的结合，可以代表宋末文人画的艺术特色。",[23,24,29,609,163,25,33,32,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F999c0b646b9a079331a43aabd414c35c.jpg",[],{"id":3395,"slug":3396,"title":3397,"dynasty":173,"author":257,"museum":56,"description":3072,"tags":3398,"thumbUrl":3399,"material":420,"size":421,"collection":89,"collections":3400,"showCount":3401,"zanCount":11,"manualWeight":11,"mainColor":49},290288,"ke-si-hua-niao-zhou-yi-ming-290288","缂丝花鸟轴",[24,29,102,2979,61,62,63,7,38,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd9eaed6bd4fb75bfc64e743a948bfe8.jpg",[],31,{"id":3403,"slug":3404,"title":3405,"dynasty":173,"author":794,"museum":56,"description":3406,"tags":3407,"thumbUrl":3409,"material":420,"size":421,"collection":89,"collections":3410,"showCount":3401,"zanCount":253,"manualWeight":11,"mainColor":49},288531,"huo-lang-tu-zhou-su-han-chen-288531","货郎图轴","苏汉臣，北宋末南宋初画家。生卒年不详。汴梁（今河南开封）人，一说为钱塘（今浙江杭州）人。曾为北宋宣和画院待诏，南渡后又复职，隆兴初画佛像称旨，任承信郎。",[23,24,61,60,103,653,2743,7,749,3408],"市井生活","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff24f896d44e3017c883d9d0ce70a15df.jpg",[],{"id":3412,"slug":3413,"title":3414,"dynasty":130,"author":257,"museum":56,"description":3415,"tags":3416,"thumbUrl":3420,"material":420,"size":421,"collection":89,"collections":3421,"showCount":3401,"zanCount":253,"manualWeight":11,"mainColor":93},272898,"zi-tan-mu-bian-mi-se-chou-di-xiu-hua-niao-tu-wei-ping-yi-ming-272898","紫檀木边米色绸地绣花鸟图围屏","紫檀木框架沉稳雅致，衬得绣面愈显清丽脱俗。十二扇屏各自成景又浑然相融，绣线晕染出松石苍润古拙，花枝柔婉舒展，或绽露芳华，或含苞轻垂。禽鸟姿态灵动悠然，或伫立观荷，或栖于枝梢梳羽，游凫嬉于清波，野趣横生。\n\n米绸底色温婉柔和，蓝白绣线层次细腻，凭借精巧针法晕染出明暗虚实，将草木花鸟的生机尽数勾勒。针线起落间藏着细腻匠心，把雅致娴静的意趣融于方寸绣面，是绣艺与木器工艺相融的佳制，尽显中式栖居的清雅韵致。",[3417,3418,491,2471,62,61,60,34,7,35,63,213,3419],"围屏","木质","鸭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce5c6afedc51bc5f657d99375938e2b1.jpg",[],{"id":3423,"slug":3424,"title":3425,"dynasty":18,"author":116,"museum":56,"description":3426,"tags":3427,"thumbUrl":3428,"material":89,"size":89,"collection":89,"collections":3429,"showCount":3401,"zanCount":11,"manualWeight":11,"mainColor":93},239935,"wen-zheng-ming-mei-zhu-xuan-ba-wei-juan-shen-zhou-239935","文徵明梅竹轩跋尾卷","此作为行书题跋，笔墨圆厚灵动，点画舒展温润，章法疏朗匀净，既有晋唐行书的隽逸意趣，又带着吴门书家独有的温雅气质。\n\n题字忆述与旧友三十余年的深挚交情，文辞冲淡真挚，将故友的清雅风骨与二人的知交情谊藏于笔墨流转间。书与文相融相合，尽显江南文人的淡泊襟怀，是兼具书法审美价值与人文意趣的难得佳作。",[29,28,30,31,7,32,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F109c328737649499e37c0eeb2fb55101.jpg",[],{"id":3431,"slug":3432,"title":172,"dynasty":173,"author":174,"museum":56,"description":3433,"tags":3434,"thumbUrl":3435,"material":178,"size":288,"collection":89,"collections":3436,"showCount":3401,"zanCount":142,"manualWeight":11,"mainColor":49},231501,"mei-zhu-tu-ye-ma-lin-231501","《梅竹图》就是一幅意境幽远的佳作。图为已故名画家、书画鉴藏家唐云所藏，画寒梅数枝，横斜劲挺，其间绿竹穿差，偃仰扶疏，顾盼生情。造型精准，设色明丽，笔法秀朗，虽然画面简单，但因为在疏密、错落、主宾诸方面经过十分经意的安排，故在在恰到好处，着墨不多而生机满幅。\n可见，马麟不仅有敏锐的观察把握自然美的能力，更有诗人般的取舍剪裁能力；他有精准的造型手段，不仅能恰到好处摹写对象的形质，更能生动地凸现其风姿神采，并且务求简炼而意趣自足。清初鉴藏家吴升、吴其贞这样描述马麟传世的几幅梅花：“勾染逼真”，“傅彩妍洁，落笔灵动”，“清瘦伶仃，有不胜雪压之状”，“清简之甚，意趣有余”，都可与这幅《梅竹图》相互印证。若拿今藏故宫博物院的马麟名作《层叠冰绡图》与之作比较，更可发现它们在构图、画法及精神气度上的相似之处。元明间一位无名氏有诗赞马麟曰“当时写姿妙绝品”，用妙绝之品来形容这幅《梅竹图》，同样不算过分。",[59,24,29,82,60,61,62,7,32,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9422d460442581c12adf5086caf0ecb4.jpg",[],{"id":3438,"slug":3439,"title":3440,"dynasty":130,"author":159,"museum":56,"description":3441,"tags":3442,"thumbUrl":3443,"material":89,"size":89,"collection":89,"collections":3444,"showCount":3401,"zanCount":11,"manualWeight":11,"mainColor":93},230364,"hua-hui-shan-shui-tu-ce-ye-ba-kai-wang-shi-shen-230364","花卉山水图册页(八开)","此作以淡青绘竹，笔致清劲秀逸，竹叶层叠错落，尽显疏朗清瘦之姿，自带凌冽孤傲之态。旁侧柔枝轻斜，粉萼悄然绽放在枝桠间，柔婉清丽，与劲竹刚柔相衬，添了几分春日温软生机。\n左侧行书题诗与画面相融，文气漫溢纸面，将花木之态与文人风骨合二为一。整体笔墨简淡含蓄，意境清寂闲雅，尽显扬州画派典型的文人意趣，把清冷孤高的心境藏在淡色花枝劲竹之中，是一件雅致悠然的小品佳作。",[59,24,29,82,61,25,62,32,7],"https:\u002F\u002Foss.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[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。",[3451,3452,62,7,63],"漆器","螺钿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde6c7932c3eb5eb981b7f6ddef7cb426.jpg",[],{"id":3456,"slug":3457,"title":3458,"dynasty":130,"author":3459,"museum":3460,"description":3461,"tags":3462,"thumbUrl":3465,"material":178,"size":3466,"collection":89,"collections":3467,"showCount":3401,"zanCount":11,"manualWeight":11,"mainColor":49},223068,"hong-lou-meng-54-sun-wen-223068","红楼梦54","孙温","旅顺博物馆","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[23,60,61,720,103,721,867,32,7,1489,553,2668,3463,3464],"伞","窗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F173a90b3a55ee52d258dbd1f30861e2f.jpg","纵43.3厘米、横76.5厘米",[],{"id":3469,"slug":3470,"title":3471,"dynasty":130,"author":147,"museum":1196,"description":1761,"tags":3472,"thumbUrl":3474,"material":178,"size":3475,"collection":89,"collections":3476,"showCount":3401,"zanCount":253,"manualWeight":11,"mainColor":49},222709,"yan-dao-ren-mei-hua-ge-jin-nong-222709","檐道人梅花歌",[23,29,30,102,3473,83,7],"隶书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87e8b2be5a26c1593983f801884d2858.jpg","122x40.7",[],{"id":3478,"slug":3479,"title":3480,"dynasty":18,"author":1486,"museum":99,"description":3481,"tags":3482,"thumbUrl":3483,"material":88,"size":3484,"collection":71,"collections":3485,"showCount":3401,"zanCount":11,"manualWeight":11,"mainColor":49},219356,"xun-mei-tu-zhou-zhu-duan-219356","寻梅图轴","朱端，字克正，海盐人，出身渔樵，弘治末入宫，正德时期（1506－1521）直仁智殿，官「锦衣指挥」，曾获赐「钦赐一樵图书」，遂更号「一樵」。朱端的山水画取法郭熙（约1020-约1100）、马远。全幅采取半边的构图型式，以左方占据画面约二分之一高的双松为骨干，框出策杖撑伞的老翁和两位童子，他们正准备渡江至对岸的赏梅。冬天踏雪寻梅，一直被视为文人雅趣，从弘治时期（1488－1505）开始，这一类诗意图像逐渐增加，题材的转变似乎也反映了宫廷皇帝品味的变化。",[24,29,102,822,61,405,403,7,103,588,104,1067,867,676],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8adaba5994f15c5c5b21bc71be0d1b10.jpg","208.3x124.5",[71],{"id":3487,"slug":3488,"title":2391,"dynasty":18,"author":3489,"museum":56,"description":3490,"tags":3491,"thumbUrl":3492,"material":420,"size":421,"collection":89,"collections":3493,"showCount":3494,"zanCount":11,"manualWeight":11,"mainColor":93},235739,"hua-niao-ce-tan-zhi-yi-235739","谈志伊","谈志伊，字公望，号学山，一字思重，无锡人，明代画家。",[24,29,82,60,61,62,7,63,431,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2685cf988a45bc4025b950c37cac040e.jpg",[],30,{"id":3496,"slug":3497,"title":3498,"dynasty":198,"author":257,"museum":99,"description":3499,"tags":3500,"thumbUrl":3501,"material":88,"size":3502,"collection":45,"collections":3503,"showCount":3494,"zanCount":11,"manualWeight":11,"mainColor":49},218784,"bai-xiang-yan-qing-zhou-yi-ming-218784","百祥衍庆轴","红衣人物骑羊缓行，衣袂轻扬间透着悠然意趣。群羊或奔或卧，或抵角嬉戏，姿态鲜活如临其境，百只灵畜聚首暗合“百祥”之寓。苍松虬劲，枝桠舒展如盖；梅枝疏影横斜，点点花苞隐现，为画面添了几分清逸古雅。整幅画以灵动笔触绘就一派吉庆祥和的盛景，松梅相映衬出衍庆绵长，尽显传统民俗中对美好生活的殷殷祈愿，笔墨间藏着岁月沉淀的温润与厚重，将质朴的祝福凝于绢素之上，流转千年仍动人心弦。",[24,29,102,61,60,103,959,33,7,1773,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04ccc5d8dab1d863025e1345af25e34f.jpg","102.9x65cm",[45],{"id":3505,"slug":3506,"title":3507,"dynasty":130,"author":257,"museum":56,"description":3508,"tags":3509,"thumbUrl":3510,"material":89,"size":89,"collection":89,"collections":3511,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":93},238663,"hong-wu-ning-shou-gong-ming-bing-sui-chao-tu-ce-yi-ming-238663","弘旿宁寿宫铭并岁朝图册","此作绘就岁寒三友，苍松虬枝盘曲，鳞皴老干古意盎然，攒簇松针如青锋聚簇，自带凌霜气度。梅枝柔婉舒展，冰洁花瓣轻绽，嫩蕊含香，暗合报春之意。新竹清劲挺拔，翠叶疏朗错落，清逸雅致。\n整幅设色淡净明润，工写兼具，以浅淡底色托出三友清隽风骨，将文人君子凌寒不屈、清雅自持的襟怀寄寓其间，冷寂冬日里尽显盎然生机，是借物抒怀的雅致佳构。",[24,29,82,61,60,33,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0fdff51fb680225db2add3680dd568a.jpg",[],{"id":3513,"slug":3514,"title":1595,"dynasty":130,"author":2522,"museum":56,"description":3515,"tags":3516,"thumbUrl":3517,"material":89,"size":89,"collection":89,"collections":3518,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":93},235634,"mo-mei-tu-zhou-li-fang-ying-235634","此作用笔老辣朴拙，枯苍梅干以顿挫浓墨写就，虬曲倔强，斜逸枝桠舒展灵动，尽显古梅饱经风霜却傲然不屈之态。淡墨圈点梅花，清气盈盈，简淡脱俗，宛若清寒之中悄然绽露芳华。\n\n画面留白疏朗空灵，配上行书题诗，诗画相融，将自身狷介风骨寄寓于梅中，以梅明志，尽显文人画借物抒怀的意趣，寥寥数笔便把梅花的清逸高格勾勒尽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[2] 珐琅依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。其中掐丝珐琅器就是俗称的“景泰蓝”，15世纪中期明代景泰年间的制品尤为著称，故有景泰蓝之称。\n清代，西洋珐琅从广州传入中国，广州生产的珐琅俗称“广珐琅”，是朝廷的贡品，其中最著名的是画珐琅 ，錾胎珐琅的制作中心也在广州，透明珐琅器也以广州出产的最为著名。",[1011,3366,3737,61,7,65,3738,119],"画珐琅","枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99f9079f3aad1377f2871d45400df1ad.jpg",[],{"id":3742,"slug":3743,"title":3744,"dynasty":18,"author":3745,"museum":56,"description":3746,"tags":3747,"thumbUrl":3748,"material":89,"size":89,"collection":89,"collections":3749,"showCount":3690,"zanCount":11,"manualWeight":11,"mainColor":93},228966,"si-ji-feng-jing-ce-ye-xiao-yun-cong-228966","四季风景册页","萧云从","此作用浅绛青绿晕染山峦，层叠崖岫以苔点晕出苍润生机，山坳隐见红墙古寺，飞瀑穿林汇作浅溪，板桥引渡，丹鹤独立溪畔，晕开清寂仙气。\n\n右侧老梅虬枝缀花，树下三文士凭坐观览，或低语或凝思，将雅集幽闲融于林泉丘壑。右上角题诗与画境呼应，以书法点出寻梅高士的林下襟怀。\n\n笔墨简淡秀雅，设色明润柔和，整体意境清旷出尘，将山水灵秀与文人雅趣相融，尽显淡远闲逸之美，把春日寻幽的雅兴定格在尺幅之间，淡而弥远，韵致悠长。",[24,61,405,82,403,103,867,868,7,213,721,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6394ee68fb4f16fd1443886e59691153.jpg",[],{"id":3751,"slug":3752,"title":3753,"dynasty":130,"author":257,"museum":99,"description":3754,"tags":3755,"thumbUrl":3756,"material":88,"size":89,"collection":89,"collections":3757,"showCount":3690,"zanCount":11,"manualWeight":11,"mainColor":93},215194,"sheng-ping-le-shi-tu-ce-10-yi-ming-215194","升平乐事图册-10","升平乐事图册是一部描绘升平乐事的图册，它是一部描述清朝时期升平乐事的图册。升平乐事是一种演出形式，通常在清朝皇帝登基或加冕时举行。这部图册记录了当时的升平乐事，包括演出的服装、舞蹈、音乐和道具等细节。",[24,82,61,60,103,135,653,552,7,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dc7f1602648ee0adcb4a7a28e023748.jpg",[],{"id":3759,"slug":3760,"title":3761,"dynasty":173,"author":174,"museum":56,"description":1849,"tags":3762,"thumbUrl":3764,"material":420,"size":421,"collection":89,"collections":3765,"showCount":3766,"zanCount":11,"manualWeight":11,"mainColor":49},289881,"mei-zhu-an-chun-tu-ma-lin-289881","梅竹鹌鹑图",[23,59,24,29,102,61,60,62,7,32,3763,725,104],"鹌鹑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd99cd98ba5fbef7a7a832aad92ca642.jpg",[],25,{"id":3768,"slug":3769,"title":3770,"dynasty":18,"author":3771,"museum":56,"description":3772,"tags":3773,"thumbUrl":3774,"material":420,"size":421,"collection":89,"collections":3775,"showCount":3766,"zanCount":253,"manualWeight":11,"mainColor":49},289805,"ta-xue-xun-mei-tu-wang-e-289805","踏雪寻梅图","王谔","绘高士踏雪访梅之雅事。整幅构图师郭熙景式，枯树画法也仿郭熙的蟹爪，而山石皴法则用小斧劈，峦头灌木双学于范宽",[59,24,102,25,405,403,725,103,1213,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3eb580310d9ccdf1ea2d63f2bb4390c.jpg",[],{"id":3777,"slug":3778,"title":3779,"dynasty":173,"author":295,"museum":56,"description":3780,"tags":3781,"thumbUrl":3782,"material":420,"size":421,"collection":89,"collections":3783,"showCount":3766,"zanCount":11,"manualWeight":11,"mainColor":49},288547,"la-mei-shan-qin-tu-zhao-ji-288547","腊梅山禽图","《腊梅山禽图》其绘有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，一只鸟扭首顾望枝上的梅花，另一只缩颈微昂首前望，俱皆生动传神。\n画家笔墨细致。兰草、梅树、花朵的轮廓，都用工细线条勾勒，枝干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。",[24,62,60,7,38,63,30,2990,83,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F968f64653325930c3b4a31126621e82a.jpg",[],{"id":3785,"slug":3786,"title":3787,"dynasty":173,"author":3788,"museum":56,"description":3789,"tags":3790,"thumbUrl":3792,"material":420,"size":421,"collection":89,"collections":3793,"showCount":3766,"zanCount":253,"manualWeight":11,"mainColor":93},288406,"huo-lang-tu-qi-er-li-song-288406","货郎图其二","李嵩","这是一幅人物风俗画卷，画面上货郎肩挑杂货担，不堪重负的弯着腰，欢呼雀跃的儿童奔走相告，喜悦之情溢于言表。货担上物品繁多，不胜枚举，从锅碗盘碟、儿童玩具到瓜果糕点，无所不有。在商品流通尚不够发达的南宋时期，货郎们走街串巷，一副货担就是一个小小的百货店，货郎们不仅为偏僻的乡村带来所需的货物，也带来各种新奇的见闻，货郎的到来往往象节日般热闹，李嵩在图中就描绘了这样一幅场景。画家借助货郎这一题材表现了南宋市井生活的一个侧面，那些令人眼花缭乱的物品，虽然今天有很多已不明其用途，但却真实地记录了南宋百姓的生活方式，是民俗学家不可多得的珍贵史料。",[609,24,103,60,3408,7,749,3791],"生活气息","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54dd18d13c7fe9bf2daea56c9d25b64c.jpg",[],{"id":3795,"slug":3796,"title":3797,"dynasty":130,"author":257,"museum":56,"description":3798,"tags":3799,"thumbUrl":3802,"material":420,"size":421,"collection":89,"collections":3803,"showCount":3766,"zanCount":253,"manualWeight":11,"mainColor":93},265608,"xue-hui-se-duan-di-zhi-mei-mu-dan-tao-hua-lan-hua-wen-tao-yi-ming-265608","雪灰色缎地枝梅牡丹桃花兰花纹绦","经线提花锦的组织结构和纹样都十分复杂，舞人动物纹锦的纹样横贯全幅，充分反映了当时已有了先进的提花织造技术。精美的刺绣品共有17种纹样，构图大，讲究对称、平衡，色彩配合恰当，给人以端庄典雅、富丽堂皇的美感。纹样内容充满神话色彩，鲜明地反映了楚文化的浪漫主义特色。墓中出土的衣袍为直据，是当时贵族中最流行的一种服式。这批先秦织物的出土，为深入研究我国古代纺织史提供了珍贵的实物资料。",[491,517,3800,7,40,35,37,39,3801],"织绣","绦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F682cb286d2e9772da5b52b0d7e216ce9.jpg",[],{"id":3805,"slug":3806,"title":3807,"dynasty":18,"author":340,"museum":56,"description":3808,"tags":3809,"thumbUrl":3810,"material":420,"size":421,"collection":89,"collections":3811,"showCount":3766,"zanCount":11,"manualWeight":11,"mainColor":93},238060,"mei-lan-zhu-shan-ye-chen-chun-238060","梅兰竹扇页","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。",[609,24,25,26,62,7,40,32,30,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63542c020985ced6481b981062ae7c7f.jpg",[],{"id":3813,"slug":3814,"title":3815,"dynasty":130,"author":3816,"museum":20,"description":3817,"tags":3818,"thumbUrl":3821,"material":89,"size":89,"collection":45,"collections":3822,"showCount":3766,"zanCount":253,"manualWeight":11,"mainColor":93},236189,"hua-mei-xi-fan-ting-liang-shi-zheng-shu-feng-guan-long-jing-ti-ming-cheng-shan-sun-you-236189","画梅溪泛艇梁诗正书奉观龙井题名成扇","孙祐","孙佑[清]佑一作祜。江苏人。\n山水宗娄东（王原祁）乾隆（一七三六至至一七九五）时供奉内廷，曾同陈枚，金昆、戴洪、程志道绘清明上河图，乾隆六年（一七四一）与周昆、丁观鹏合作汉宫春晓图卷。《熙朝名画录、国（清）朝画徵录》",[609,24,29,61,60,403,7,3819,3820,867,724,104,103,30,31],"溪","艇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b354b57fa498851ae8a5f5ae8d64860.jpg",[45,71],{"id":3824,"slug":3825,"title":3826,"dynasty":130,"author":905,"museum":20,"description":3827,"tags":3828,"thumbUrl":3829,"material":299,"size":3830,"collection":89,"collections":3831,"showCount":3766,"zanCount":11,"manualWeight":11,"mainColor":49},234295,"yue-man-qing-you-ce-chen-mei-234295","月漫清游册","《月曼清游图》册描绘的是宫廷嫔妃们一年12个月的深宫生活：正月“寒夜探梅”、二月“杨柳荡千”、三月“闲亭对弈”、四月“庭院观花”、五月“水阁梳妆”、六月“碧池采莲”、七月“桐荫乞巧”、八月“琼台玩月”、九月“重阳赏菊”、十月“文窗刺绣”、十一月“围炉博古”、十二月“踏雪寻诗”。\n通过这一幅幅生动的画面体现了宫廷生活与民间生活的密切关联。嫔妃们的活动内容，在民间生活中均习以为常，只不过由于宫廷的特殊地位，而令这些活动从内容到形式都具有更加富贵、繁琐及典制化的特点。\n作者在人物创作的审美取向上有别于唐代张萱、周昉笔下体态丰腴的嫔妃形象，而以明代唐寅、仇英笔下的仕女画为审美标准，追求秀润飘逸的情致。画家以工细流畅的线条和亮丽鲜活的色彩将嫔妃们描绘成身材修长、体态轻盈、“倚风娇无力”之貌。她们三五成群地行进在以界画表现的亭台楼阁内或是细笔勾染皴点的花石下。富贵闲逸的宫苑生活令她们的物质生活十分充足，也使她们的精神世界极度贫乏。\n在技法上，此图所绘人物造型生动准确，笔致工细严谨，源于宋代院体画风。图中的楼台房室建筑则采用西洋焦点透视法绘成，根据图中透视线斜度的变化，可以准确地推求出灭点的具体位置，从而加强了平面画幅的立体、纵深效果，在有限的画面上扩展出无限的空间。\n此图册于乾隆三年（1738年）绘成后深得乾隆皇帝的赞赏。乾隆帝于六年谕令皇宫“造办处”的优秀匠人，如擅镶嵌技艺的常存，擅牙雕工艺的陈祖章、陈观泉父子及顾彭年、萧汉振等，以陈枚的这本图册为画稿，用象牙、玉石等进行雕刻。匠人们精雕细琢，密切结合牙雕和镶嵌的技艺特点，令画面层次分明，富有立体感。这件雕有103人的牙雕精品被称作“百美图”。乾隆皇帝在为它题写诗文时将其正式定名为《月曼清游》。",[24,29,82,60,61,103,135,7,721,31,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f2494860570445bcd18e06e11d86184.jpg","纵37厘米，横31.8厘米",[],{"id":3833,"slug":3834,"title":2968,"dynasty":198,"author":257,"museum":56,"description":3835,"tags":3836,"thumbUrl":3837,"material":89,"size":89,"collection":89,"collections":3838,"showCount":3766,"zanCount":11,"manualWeight":11,"mainColor":49},230901,"gao-shi-guan-mei-tu-yi-ming-230901","画面以高远之境铺展，近岸怪石层叠，古松虬曲苍劲，老梅疏枝横斜，暗孕花苞。林下高士凭石闲坐，静静凝望寒梅，意态萧散出尘。\n\n中景薄雾轻笼水村山榭，淡墨晕化开空濛水汽，虚虚实实间晕染出幽寂氛围。远景危峰削立，隐没在烟岚之中，墨色清浅简淡。\n\n全作用笔老辣简练，枯湿浓淡相映，以简淡笔墨勾勒出林泉冬景，尽显尚意之风，将文人幽赏的雅趣与出世忘俗的襟怀融于淡墨轻岚间。",[24,102,25,405,403,7,33,103,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb1d405c0d739c732ba9240f8397c91b.jpg",[],{"id":3840,"slug":3841,"title":3842,"dynasty":130,"author":3459,"museum":3460,"description":3461,"tags":3843,"thumbUrl":3846,"material":178,"size":3466,"collection":89,"collections":3847,"showCount":3766,"zanCount":11,"manualWeight":11,"mainColor":93},222884,"hong-lou-meng-9-sun-wen-222884","红楼梦9",[23,24,61,60,720,103,721,135,516,7,3844,930,929,3845,1489],"笔","砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26646dcb54d322d9a32c26b4994b0b51.jpg",[],{"id":3849,"slug":3850,"title":1770,"dynasty":173,"author":3851,"museum":307,"description":3852,"tags":3853,"thumbUrl":3854,"material":88,"size":3855,"collection":45,"collections":3856,"showCount":3766,"zanCount":11,"manualWeight":11,"mainColor":411},219120,"san-yang-kai-tai-tu-yi-yuan-ji-219120","易元吉","虬干盘曲如铁，疏枝缀雪梅点点，似有暗香浮动于古雅底色间。三畜情态各殊——卧者昂首似听风语，软毛覆身藏着慵懒暖意；立者凝眸若待春声，犄角弯转如流云舒展；侧转者鬃毛微拂，与同伴犄角轻触，灵趣暗生。\n\n笔墨古拙温润，晕染间见肌理：羊的绒毛柔中带韧，树的皴纹苍劲含情。“三阳”谐音藏吉意，冬寒未褪时，生机已在虬枝与羊影里悄然酝酿。整幅画如一首无声的早春诗，雅致中藏着对时序流转的温柔期许，尽显宋画的含蓄与意韵。",[24,59,102,60,61,959,1014,552,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F839d31457b96c63f4eca241315b5292d.jpg","纵148.5cm,横74cm",[45],{"id":3858,"slug":3859,"title":605,"dynasty":130,"author":3860,"museum":99,"description":3861,"tags":3862,"thumbUrl":3863,"material":121,"size":3864,"collection":45,"collections":3865,"showCount":3766,"zanCount":11,"manualWeight":11,"mainColor":93},218804,"mei-que-tu-dai-hong-218804","戴洪","戴洪，生卒年藉贯均不可考，高宗乾隆时，任职内廷画院为供奉，擅长山水画，以和丁观鹏、程志道、金昆、孙佑等人，合画清明上河图出名。\n他的画，不论用笔勾画输廓，用墨分染明暗，都非常工细，着色尤其是明净鲜丽，予人一种情眞景实的实境感觉。\n本幅画梅树和山雉便是一例。但是，这种崇尚技巧的院画，并不受一般「重意象轻形似」的文人画家所欢迎。",[24,29,59,102,62,60,25,7,63,588],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3557fdc9c807ebe9bebe162eb18b2de.jpg","167.6x91.1cm",[45],{"id":3867,"slug":3868,"title":3869,"dynasty":3558,"author":3870,"museum":160,"description":3871,"tags":3872,"thumbUrl":3873,"material":89,"size":89,"collection":45,"collections":3874,"showCount":3766,"zanCount":11,"manualWeight":11,"mainColor":3875},202856,"mei-hua-shou-dai-tu-zhou-qi-bai-shi-202856","梅花绶带图轴","齐白石","这幅画作以墨笔绘梅，枝干虬曲苍劲，墨色浓淡交错，尽显老干新枝的生机；花朵圈点简约，朴拙中藏雅趣。绶带鸟以朱砂设色，羽色明艳，长尾飘逸，姿态亲昵似私语，与墨梅的素雅形成鲜明对比，动静相生。笔墨简练却神形兼备，融文人意趣与民间质朴于一体，画面清新自然，满溢生活情味，尽显独特艺术风貌。",[24,29,62,25,61,7,63,83,31,23],"https:\u002F\u002Foss.chuangqi.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绝出尘象之外。",[23,24,29,28,25,163,62,7,40,32,41,35,38,36,37,85,83,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F824a49108093b390bf2a18fe74a97e32.jpg",[],{"id":4105,"slug":4106,"title":660,"dynasty":130,"author":147,"museum":661,"description":662,"tags":4107,"thumbUrl":4108,"material":665,"size":666,"collection":89,"collections":4109,"showCount":4044,"zanCount":11,"manualWeight":11,"mainColor":93},233861,"mei-hua-ce-jin-nong-233861",[24,29,82,25,163,7,30,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F934177b8030c4d46405a94c29707459e.jpg",[],{"id":4111,"slug":4112,"title":660,"dynasty":130,"author":147,"museum":661,"description":662,"tags":4113,"thumbUrl":4114,"material":665,"size":666,"collection":89,"collections":4115,"showCount":4044,"zanCount":11,"manualWeight":11,"mainColor":93},233860,"mei-hua-ce-jin-nong-233860",[24,29,25,7,82,30,452],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F178f4a4101475ce88b30fc2920bd42aa.jpg",[],{"id":4117,"slug":4118,"title":1113,"dynasty":130,"author":4119,"museum":56,"description":4120,"tags":4121,"thumbUrl":4122,"material":540,"size":4123,"collection":89,"collections":4124,"showCount":4044,"zanCount":11,"manualWeight":11,"mainColor":93},232893,"mei-hua-tu-zhou-wu-yan-ru-232893","吴彦儒","所画梅花皆疏枝瘦朵，别具气韵，有露冷风清之致，与汪士慎所绘的繁枝梅花相比可谓各领风骚。",[23,24,29,102,25,7,588,31,30,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55ee64b408a7fa0e64c57bda2c32bf75.jpg","56.4x104cm",[],{"id":4126,"slug":4127,"title":1392,"dynasty":130,"author":2029,"museum":56,"description":4128,"tags":4129,"thumbUrl":4130,"material":89,"size":89,"collection":89,"collections":4131,"showCount":4044,"zanCount":11,"manualWeight":11,"mainColor":49},230872,"tan-mei-tu-leng-mei-230872","此作以冬日寻梅铺陈景致，主仕女身着宝蓝团花长袄，容色温婉端凝，侍童撑伞随侍身侧，另有侍女捧炉趋前，暗递融融暖意。寒梅虬枝缀满繁花，淡赭远山衬着素朴亭台，苍劲皴石古拙静立，设色雅致沉稳，勾勒细腻写实。将深闺仕女探春寻幽的闲情逸趣，融于萧寒冬景，冷暖色调交织，既绘就隆冬清寂况味，又晕染出闺中雅游的温婉意韵，写实工细间尽显雅致情致，把仕女矜贵闲适的情态，与冬日园林的清寒雅致完美糅合，静穆中暗藏鲜活的闺中闲趣。",[23,24,61,60,103,135,653,7,403,104,721,516],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaafd8ade9438d3959f176e539370fad.jpg",[],{"id":4133,"slug":4134,"title":4135,"dynasty":18,"author":2458,"museum":1196,"description":4136,"tags":4137,"thumbUrl":4138,"material":540,"size":4139,"collection":45,"collections":4140,"showCount":4044,"zanCount":11,"manualWeight":11,"mainColor":49},220401,"mei-yue-hui-ying-tu-chen-lu-220401","梅月辉映图","此幅《梅月辉映图》写倒垂梅一株，枝由右上角出，主干弧形弯曲，构成梅枝总的动势。小枝则有穿插、变化，形成枝蕊参差交错、俯仰顾盼，梅花烂漫怒放的景象，图中以没骨写干，双钩圈花，淡墨渲染背景，突出千条万玉、花团锦簇的视觉的效果。",[23,24,29,59,102,25,7,404,588,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75ccb4e9ed68ba2b036805e6a57cbb30.jpg","223cm 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买春梅苑","鲁宗贵，钱塘（今浙江省杭州）人，南宋画家。工花竹、禽鸟、窠石，用笔意趣有余，描染佳妙，尤长于写生，鸡雏乳鸭，颇有生意。传世作品有《春韵鸣喜图》。",[24,29,82,61,31,83,403,103,7,1489,867,868,1260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ad15f308e18ebb9211341caaa5a1ba7.jpg",[],{"id":4169,"slug":4170,"title":2447,"dynasty":173,"author":2448,"museum":56,"description":4171,"tags":4172,"thumbUrl":4173,"material":420,"size":421,"collection":89,"collections":4174,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":93},289332,"guan-mei-du-shu-tu-li-tang-289332","李唐（1066—1150），南宋画家。字晞古，河阳三城（今河南孟州）人。初以卖画为生， 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,常以老庄之徒自居。\n傅山于学无所不通，经史之外，兼通先秦诸子，又长于书画医学。北京大学教授、引碑入草开创者的李志敏评价：“傅山的草书圈眼多，繁而不乱，于郁勃浑脱之中，又有逸岩之态”。 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。",[30,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F697fdf534e19e9af2a38d1f1b39f2e67.jpg",[],{"id":4555,"slug":4556,"title":4557,"dynasty":198,"author":4558,"museum":20,"description":4559,"tags":4560,"thumbUrl":4561,"material":89,"size":89,"collection":1302,"collections":4562,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":49},239574,"meng-mei-hua-chu-shi-bing-xu-juan-yang-wei-zhen-239574","梦梅花处诗并序卷","杨维桢","杨维桢（1296年－1370年），字廉夫，号铁崖、铁笛道人，又号铁心道人、铁冠道人、铁龙道人、梅花道人等，晚年自号老铁、抱遗老人、东维子。绍兴路诸暨州枫桥全堂（今浙江省诸暨市枫桥镇全堂村）人。元末明初诗人、文学家、书画家。\n杨维桢自幼聪颖，其父杨宏对他寄予厚望。泰定四年（1327年）中进士，放天台县尹，因惩治作恶县吏，遭奸吏报复免官。后任职钱清盐场，因请求减轻盐税被斥为忤上，以至十年不调。后官至建德路总管府推官，继升江西儒学提举。元末避乱居富春山，后迁居钱塘（今杭州）。张士诚居浙西时屡召不赴，后徙松江，从此遨游山水，以声色自娱，东南才俊之士登门求教不绝。\n杨维桢的诗，最富特色的是他的古乐府诗，既婉丽动人，又雄迈自然，史称“铁崖体”，极为历代文人所推崇。有称其为“一代诗宗”、“标新领异”的，也有誉其“以横绝一世之才，乘其弊而力矫之”的，当代学者杨镰更称其为“元末江南诗坛泰斗”。他著述等身，行于世的著作有《春秋合题着说》《史义拾遗》《东维子文集》《铁崖古乐府》《丽则遗音》《复古诗集》等近二十种。\n书法以行草最工，笔势岩开，有“大将班师，三军奏凯，破斧缺牖，例载而归”之势，传世作品有楷书《周上卿墓志铭》，行书《张氏通波阡表》《真镜庵募缘疏卷》《鬻字窝铭》《城南唱和诗卷》《元夕与妇饮诗》、草书《梦游海棠城诗卷》《竹西草堂记卷》《致理斋尺牍》《晚节堂诗》《沈生乐府序》等，其余墨迹则多见于书札及书画题跋之中。",[23,59,24,29,28,31,3342,30,83,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dba1c2281f0ebb989c9b515e65ee06d.jpg",[1302],{"id":4564,"slug":4565,"title":4566,"dynasty":130,"author":4567,"museum":56,"description":4568,"tags":4569,"thumbUrl":4570,"material":420,"size":421,"collection":89,"collections":4571,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":93},236723,"gai-qi-xi-xi-tan-mei-tu-shan-ye-gai-qi-236723","改琦西溪探梅图扇页","改琦","改琦（1773年－1828年），字伯蕴，号香伯，一号七芗，又号玉壶外史，江苏华亭（今上海市松江区）人，祖籍北京宛平，是清代中期的画家。\n先世为西域人，祖父改光宗曾任寿春镇总兵。改琦多才多艺，尤善绘画，其人物画被认为是嘉道后最工者，其画受李公麟、赵孟𫖯、唐寅、陈洪绶等影响，花草竹等画也擅长。曾绘《红楼梦图》。",[609,24,61,60,7,869,103,104,1067,868],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F631bf6ee9e5a21de7850f20fcb2ca7ba.jpg",[],{"id":4573,"slug":4574,"title":4575,"dynasty":18,"author":4576,"museum":56,"description":4577,"tags":4578,"thumbUrl":4579,"material":420,"size":421,"collection":89,"collections":4580,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":93},235368,"xue-mei-yuan-yang-tu-zhou-wang-li-235368","雪梅鴛鴦图軸","王醴","图绘雪景寒江，两只鸳鸯站岸边梳理羽毛。一株老梅，枝条繁茂，花开带雪，分外妖娆。雪竹挺立，小雀瑟栖于上。鸳鸯造型优美，色墨交融；梅树用笔老辣，用墨焦重，梅花清新淡雅，整个背景以淡墨渲染，留白以表雪意。",[24,29,102,61,62,60,553,7,551,64,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71ea2b246537e2b6d8f057e80a51eba4.jpg",[],{"id":4582,"slug":4583,"title":660,"dynasty":130,"author":147,"museum":661,"description":662,"tags":4584,"thumbUrl":4585,"material":665,"size":666,"collection":89,"collections":4586,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":93},233858,"mei-hua-ce-jin-nong-233858",[24,29,82,163,25,62,7,30,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F697b9b210a11113f3a2283868babba80.jpg",[],{"id":4588,"slug":4589,"title":583,"dynasty":130,"author":159,"museum":56,"description":4590,"tags":4591,"thumbUrl":4592,"material":540,"size":4593,"collection":89,"collections":4594,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":93},231546,"xun-mei-tu-wang-shi-shen-231546","汪士慎（1686-约1762），清代书画家、篆刻家。字近人，号巢林、溪东外史、左盲生、天都寄客，安徽歙县人，一作安徽休宁人，流寓江苏扬州。精篆刻、隶书，擅画花卉，尤擅画梅，笔墨疏落清劲，气清而神腴，墨淡而趣足，具有秀润恬静之致，与李方膺“铁干铜皮”形成鲜明对比。与金农、华品山等友善，为扬州八怪之一。\n汪士慎极爱梅花，擅长画梅竹，工于篆刻与八分书。人们评论他的梅竹说：“宠梅念竹有真意，剪水断冰无俗痕。”汪士慎跟金农、高翔、罗聘，被时人称为四大画梅高手。\n这幅《梅花》清淡秀雅，瘦劲姿媚，让我们看到了他画梅花的独特风格。汪士慎留世的梅花作品，其枝、花并不太繁，而以疏朗清瘦见长，给人一种疏影潇洒、冷香四溢的感觉。",[23,24,29,102,25,30,31,83,7,431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcebaace359b8eb216fa28c0c02b7b725.jpg","63x160厘米",[],{"id":4596,"slug":4597,"title":4598,"dynasty":173,"author":4599,"museum":20,"description":4600,"tags":4601,"thumbUrl":4609,"material":540,"size":4610,"collection":1302,"collections":4611,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":93},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。”",[23,31,30,28,4602,83,1490,1025,3592,553,4603,1489,164,4604,41,40,4605,4606,3597,3598,36,4607,33,3590,4608,3819,32,7],"墨迹","月","林","桂","江","舟","海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcb576060bbf9033850da273c683961f.jpg","纵31.5厘米横275.5厘米",[1302],{"id":4613,"slug":4614,"title":1706,"dynasty":3558,"author":4615,"museum":160,"description":4616,"tags":4617,"thumbUrl":4619,"material":89,"size":89,"collection":45,"collections":4620,"showCount":48,"zanCount":253,"manualWeight":11,"mainColor":4621},202811,"hong-mei-tu-zhou-chen-shi-ceng-202811","陈师曾","墨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X 23 CM X 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，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[24,29,1011,102,25,26,405,33,32,7,403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffac38c6f80e4e9a7a350830e3894455.jpg",[],{"id":5110,"slug":5111,"title":4424,"dynasty":130,"author":5112,"museum":56,"description":5113,"tags":5114,"thumbUrl":5115,"material":89,"size":89,"collection":89,"collections":5116,"showCount":5045,"zanCount":11,"manualWeight":11,"mainColor":93},234668,"mei-zhu-shan-ye-xu-qi-234668","徐琪","徐琪（1849～1918），字玉可、花农，号俞楼，室名玉可盦、九芝仙馆、香海盦、青琅玕馆等，浙江杭州人。光绪六年进士，授编修，历官山西乡试副考官，广东学政、官至兵部侍郎。俞樾弟子。工诗词、书画，善花卉，神似恽南田，著述甚丰。",[24,29,609,61,60,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1be9d9bfb423e714147a62ce9fa58179.jpg",[],{"id":5118,"slug":5119,"title":2391,"dynasty":130,"author":1247,"museum":5096,"description":5120,"tags":5121,"thumbUrl":5122,"material":121,"size":5100,"collection":89,"collections":5123,"showCount":5045,"zanCount":11,"manualWeight":11,"mainColor":93},233949,"hua-niao-ce-hua-yan-233949","华喦（同“岩”）（1682~1756)，一作华岩，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、白沙道人、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、李鳝、郑板桥及盐商巨子马曰管、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。\u2028 华岩一生贫困，金农在《画竹题记》提到:汀洲华岩秋岳，……尝画兰草纸卷，卷有五丈者，一炊饭顷便能了事，清而不媚，恍闻幽香散空谷之中，…… 余恨不能踵其后尘也。乾隆十七年(1752)，回到杭州旧居解弢馆。乾隆二十一年卒，有《离垢集》5卷。",[24,29,82,61,62,63,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94fd54133a0f6a38efa9e9bbcff52f16.jpg",[],{"id":5125,"slug":5126,"title":5127,"dynasty":18,"author":3717,"museum":56,"description":5128,"tags":5129,"thumbUrl":5130,"material":420,"size":421,"collection":89,"collections":5131,"showCount":5045,"zanCount":11,"manualWeight":11,"mainColor":93},228911,"da-shi-xiang-shi-er-ding-yun-peng-228911","大士像（十二）","天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 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。",[24,29,163,4157,103,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12f8b57923f0d9d9baf6d5b6213e862c.jpg",[],{"id":5133,"slug":5134,"title":5135,"dynasty":18,"author":98,"museum":258,"description":5136,"tags":5137,"thumbUrl":5138,"material":540,"size":5139,"collection":89,"collections":5140,"showCount":5045,"zanCount":11,"manualWeight":11,"mainColor":93},222334,"wu-men-bi-shu-shi-zhou-tang-yin-222334","吴门避暑诗轴","释文：\n吴门避暑\n吴门避暑不愁难，绿柳荫浓画舫宽。\n石首鲜呈黄蜡面，杨梅肥绽紫金丸。\n密遮竹叶凉冰檐，散插榴花角黍盘。\n忽报洗天风雨至，一时龙挂万人看。",[23,31,30,83,7,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39006ef32cd0146555aa989f7ec5bcaa.jpg","纵138.2厘米 横31厘米",[],{"id":5142,"slug":5143,"title":5144,"dynasty":130,"author":1526,"museum":885,"description":5145,"tags":5146,"thumbUrl":5149,"material":540,"size":5150,"collection":108,"collections":5151,"showCount":5045,"zanCount":11,"manualWeight":11,"mainColor":93},220151,"he-jing-shang-mei-tu-huang-shen-220151","和靖赏梅图","黄慎先生对自己的绘画，常作分类自评，凡最得意者题上诗，次者则识以岁月，再次者只署“瘿瓢”二字，《和靖赏梅图》。为其得意之作。图中画一叟一童正在赏梅，衣褶勾染并施、兼方带圆，面部须眉信笔写出，细笔复线，体现了画家不拘成法，灵活多变的绘画风格。",[23,24,29,25,61,26,103,5147,5148,7],"老者","童子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4658446ea8e14ae530736988ae721fe2.jpg","纵122厘米，横67厘米",[108],{"id":5153,"slug":5154,"title":2391,"dynasty":130,"author":1859,"museum":160,"description":5155,"tags":5156,"thumbUrl":5157,"material":89,"size":89,"collection":45,"collections":5158,"showCount":5045,"zanCount":11,"manualWeight":11,"mainColor":5159},203295,"hua-niao-ce-zhu-da-203295","画面以极简水墨绘就，虬曲的老树扎根孤石旁，枝干如铁线盘结，苍劲中藏倔强。疏落梅花点缀枝头，淡墨晕染花瓣，轻勾花蕊，清雅里透着冷寂。两方朱红印章错落，与素净水墨形成鲜明对比，添几分古雅。构图空灵，笔墨凝练，于极简中见深远，尽显孤傲超逸心境，似将天地清寒孤寂凝缩在这方册页间。",[24,29,82,25,62,7,83,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cc2a696e4c16e09b895ce46839e6655.jpg",[45],"dccab2",{"id":5161,"slug":5162,"title":5163,"dynasty":130,"author":147,"museum":160,"description":5164,"tags":5165,"thumbUrl":5166,"material":89,"size":89,"collection":45,"collections":5167,"showCount":5045,"zanCount":11,"manualWeight":11,"mainColor":5168},203257,"he-bi-tu-ce-jin-nong-203257","合璧图册","梅枝以枯笔写就，苍劲中带逸气，疏花淡墨点染，留白处藏暗香浮动之韵；水亭古朴，蓝点错落似波光，竹丛淡墨勾描，衬出林间清寂。笔墨简括却意趣盎然，取境自然，于极简中见深致，尽显文人画的清雅淡泊，观之若置身幽境，心随画静。",[24,25,82,7,32,1489,62,403,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe71ca74506906e7fb9c0199aedc4c0be.jpg",[45],"d5cbc1",{"id":5170,"slug":5171,"title":5172,"dynasty":130,"author":5173,"museum":56,"description":5174,"tags":5175,"thumbUrl":5176,"material":420,"size":421,"collection":89,"collections":5177,"showCount":5178,"zanCount":11,"manualWeight":11,"mainColor":93},289912,"hua-niao-tu-ce-6-zhen-hu-jiu-si-289912","花鸟图册6帧","胡九思","字默轩，吴县（江苏苏州）人。桂子。",[24,29,82,163,25,62,7,30,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b94fe3269aa6e1edbb0a3352ea775cc.jpg",[],13,{"id":5180,"slug":5181,"title":5182,"dynasty":173,"author":257,"museum":56,"description":5183,"tags":5184,"thumbUrl":5185,"material":420,"size":421,"collection":89,"collections":5186,"showCount":5178,"zanCount":11,"manualWeight":11,"mainColor":93},288728,"hong-mei-kong-que-tu-yi-ming-288728","红梅孔雀图","水岸一隅，苍松虬曲古雅，红梅初绽带霜，竹影清疏横斜。两只孔雀动静相宜，一栖于松干缓理彩羽，翎毛细纹纤毫毕现；一信步汀洲，姿态闲雅悠然。\n\n全作用色沉稳清雅，花木禽鸟皆以精工写就，晕染细腻写实，又兼具文人写意的幽远意境。画面疏密得当，枯润有致，将院体工笔的精致与林下野趣相融。静穆景致藏着盎然生机，于尺幅之间铺展出雅致隽永的审美意趣，尽显花鸟写生的精妙造诣。",[23,24,59,29,62,60,61,7,33,32,1628,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a71b37b702414802eb33400b6285b76.jpg",[],{"id":5188,"slug":5189,"title":5190,"dynasty":173,"author":1898,"museum":56,"description":5191,"tags":5192,"thumbUrl":5193,"material":420,"size":421,"collection":89,"collections":5194,"showCount":5178,"zanCount":11,"manualWeight":11,"mainColor":93},288456,"xue-mei-tu-yang-wu-jiu-288456","雪梅图","此图以简练的笔法，画一枝偃仰姿纵的“野梅”和翠竹。作者用笔疾速，枝干着墨比较粗放，有些地方留有“飞白”，即不经意地在绢上造成的空白效果，非常巧妙地表现出树皮斑驳的质感；花朵用笔圆润细巧，花蕊娇嫩；竹叶下垂，只在叶子的下部用浓墨勾出一半轮廓。为了更好地衬托积雪的效果，画家用淡淡的墨色将绢地满涂，仅仅只留出积雪的部位，阴霾逼人的寒气便得到了很充分的渲染。",[23,24,59,28,29,25,62,7,553,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d7380b5642da48bacdff84a57a04aa1.jpg",[],{"id":5196,"slug":5197,"title":5198,"dynasty":130,"author":257,"museum":56,"description":3531,"tags":5199,"thumbUrl":5200,"material":420,"size":421,"collection":89,"collections":5201,"showCount":5178,"zanCount":11,"manualWeight":11,"mainColor":93},281562,"lan-di-hua-niao-mei-hua-wen-qi-bao-shao-da-ping-yi-ming-281562","蓝地花鸟梅花纹七宝烧大瓶",[4629,119,62,7,63,39,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde1dc3ac768c4290cd21b58d8a8b210e.jpg",[],{"id":5203,"slug":5204,"title":5205,"dynasty":5206,"author":257,"museum":56,"description":5207,"tags":5208,"thumbUrl":5210,"material":420,"size":421,"collection":89,"collections":5211,"showCount":5178,"zanCount":253,"manualWeight":11,"mainColor":49},251289,"he-qin-bai-yu-mei-hua-xing-huan-yi-ming-251289","褐沁白玉梅花形环","南北朝","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。\n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玉器经历7000多年的发展，从简单的装饰品发展到古代宗教祭拜、礼仪用品，再到象征高尚道德品质的装饰品，最后上升为丰富的艺术鉴赏作品，深入反映了不同历史时期的社会发展演变过程。",[5206,3367,7,5079,517,5209],"沁色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f6480d17f66f51eff7d2778b923ebe2.jpg",[],{"id":5213,"slug":5214,"title":5215,"dynasty":130,"author":257,"museum":56,"description":5077,"tags":5216,"thumbUrl":5217,"material":420,"size":421,"collection":89,"collections":5218,"showCount":5178,"zanCount":11,"manualWeight":11,"mainColor":411},249511,"kang-xi-kuan-hua-fa-lang-mei-hua-wen-yuan-he-yi-ming-249511","康熙款画珐琅梅花纹圆盒",[3737,3366,7,61,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd16d0b43b5e04cd8748956305efe2707.jpg",[],{"id":5220,"slug":5221,"title":2340,"dynasty":130,"author":2753,"museum":56,"description":2754,"tags":5222,"thumbUrl":5223,"material":420,"size":421,"collection":89,"collections":5224,"showCount":5178,"zanCount":11,"manualWeight":11,"mainColor":93},239099,"hua-hui-ce-ma-yuan-yu-239099",[24,29,82,61,62,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4faf693cf384539730b1571fd328bef.jpg",[],{"id":5226,"slug":5227,"title":5228,"dynasty":18,"author":5229,"museum":56,"description":5230,"tags":5231,"thumbUrl":5232,"material":420,"size":421,"collection":89,"collections":5233,"showCount":5178,"zanCount":11,"manualWeight":11,"mainColor":49},236693,"zhi-ji-mei-hua-shan-zhang-cui-236693","雉鸡梅花扇","张萃","此作为金笺扇面，工写兼施。虬曲梅干苍劲老辣，苔点皴染尽显风霜古意，淡色晕染梅花，瓣色清透柔丽，枝桠舒展暗合章法。坡石下雉鸡身形半掩花丛，翎羽晕染细腻，姿态安然灵动，自带野逸之趣。\n\n左上角题款笔墨清雅秀润，朱红印信点缀留白，令画面虚实相生更显和谐。整体画风明秀隽雅，兼具文人写意的疏淡意韵与院体写生的细腻工致，将春日梅间幽寂生机尽显于尺幅扇面之中。",[24,609,25,60,1057,7,709,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c53a858b847f01a0496b129b30c09f0.jpg",[],{"id":5235,"slug":5236,"title":5237,"dynasty":130,"author":5238,"museum":56,"description":5239,"tags":5240,"thumbUrl":5241,"material":420,"size":421,"collection":89,"collections":5242,"showCount":5178,"zanCount":11,"manualWeight":11,"mainColor":93},236472,"mei-zhu-you-qin-shan-ren-xun-236472","梅竹幽禽扇","任薰","任薰（1835年—1893年），字舜琴，又字阜长，其父任椿，兄任熊都是画家。少丧父，从兄学画，青年时在宁波卖画为生，1868年与任颐去苏州，后寓居苏州、上海。任颐、任预均从其习画。人物与其兄同师陈洪绶，常用高古游丝、铁线、行云流水、兰叶几种描法。任薰治学严谨，在写生、临摹上均下了苦功夫。任薰兼工人物、花鸟、山水、肖像、仕女，画法博采众长，面貌多样，富有新意。 与顾文彬子顾承相友善，曾为设计怡园。1888年54岁时双目失明，后病卒于苏州。与任熊、任颐时称“三任”，合任预为“四任”，并为海上画派代表画家之一。",[24,29,609,61,62,7,32,64,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F096af5dea5bdf2d74d283294105510ea.jpg",[],{"id":5244,"slug":5245,"title":5246,"dynasty":130,"author":4463,"museum":56,"description":5247,"tags":5248,"thumbUrl":5249,"material":89,"size":89,"collection":89,"collections":5250,"showCount":5178,"zanCount":11,"manualWeight":11,"mainColor":49},235668,"shan-shui-ping-ping-wei-yan-xue-yuan-yao-235668","山水屏-平囗艳雪","此作画境清灵雅致，雪意未消的春山间，胭红梅花生于嶙峋崖石之上，冷艳交融。画面以高远构局，层崖叠嶂间坐落两座亭台，临渊而立，将山居雅趣藏于空濛云雾中。下方板桥横跨浅溪，三两行人缓行，为幽寂山景添入烟火暖意。\n设色轻和柔润，山石以淡青晕染出积雪清寒，红梅胭红点染，冷暖相映愈显雅致。亭台勾勒工整流丽，山石皴擦兼具苍劲质感，留白的云雾拓展出山水空阔意境，将残雪初融、春信悄临的清隽诗意尽显，仿若可闻山风轻拂梅枝，静享林泉幽居的恬淡意趣。",[59,24,29,61,720,403,1489,867,103,7,104,1067],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85bb8508f0aa0b2c49b34293c6b24f3e.jpg",[],{"id":5252,"slug":5253,"title":1132,"dynasty":18,"author":5254,"museum":56,"description":5255,"tags":5256,"thumbUrl":5257,"material":89,"size":89,"collection":89,"collections":5258,"showCount":5178,"zanCount":11,"manualWeight":11,"mainColor":93},235604,"mei-hua-zhou-wang-qi-235604","王綦","此作以枯淡笔墨绘老梅，主干嶙峋斑驳，皴擦出饱经风霜的古拙质感，枝桠虬曲伸展，错落点缀素梅，清疏淡雅，将寒梅孤高凌冽的风骨尽显。\n\n画面留白肆意，配多幅题诗，书画合璧，以文心衬花魂，把文人寄寓梅中的淡泊狷介缓缓铺陈开来。淡墨写意间不见艳色，却尽是岁寒君子的清雅意韵，简笔藏深情，清冷雅致的梅之精神跃然纸上。",[24,29,102,25,7,588,65,83,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9267d35915a6580275edec3babb3d516.jpg",[],{"id":5260,"slug":5261,"title":1575,"dynasty":18,"author":5262,"museum":56,"description":5263,"tags":5264,"thumbUrl":5265,"material":89,"size":89,"collection":89,"collections":5266,"showCount":5178,"zanCount":11,"manualWeight":11,"mainColor":93},234201,"mo-hua-juan-wang-duo-234201","王铎","《墨花卷》是中国清代的一幅古画，现藏于北京故宫博物院。",[23,59,24,29,28,25,62,26,7,40,35,34,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf4d60f90bf1952b87ee06c51aba9e76.jpg",[],{"id":5268,"slug":5269,"title":146,"dynasty":130,"author":147,"museum":56,"description":5270,"tags":5271,"thumbUrl":5272,"material":89,"size":89,"collection":89,"collections":5273,"showCount":5178,"zanCount":11,"manualWeight":11,"mainColor":93},230235,"han-mei-yi-zhi-hua-jin-nong-230235","笔意清疏古拙，带着金石沉凝之气的题字，将访梅逸兴与旧游心绪相融。以袖里藏春暗合梅枝不随岁华凋残的品格，折梅入袖的雅事，呼应画中寒梅冷艳清嘉的风姿。淡墨绘就孤梅，极简构图衬出孤高疏淡风韵，诗画相生，借梅自喻，尽显清癯耿介的文人风骨。字句间漫着冷香幽韵，将赏梅、忆旧、寄怀揉作一处，淡而弥远，清而愈醇，尽显以文入画、画文同趣的扬州画派意趣。",[23,24,29,31,83,7,62,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7275f1b71fa722e04d1ac278389fe7b6.jpg",[],{"id":5275,"slug":5276,"title":5277,"dynasty":130,"author":257,"museum":56,"description":5278,"tags":5279,"thumbUrl":5281,"material":420,"size":421,"collection":89,"collections":5282,"showCount":5178,"zanCount":11,"manualWeight":11,"mainColor":49},229105,"fen-cai-huang-di-mei-que-wen-wan-yi-ming-229105","粉彩黄地梅鹊纹碗","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。",[1011,5280,2500,61,60,62,7,982,119],"粉彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a43da2647b3bd13e97a9ad5f3bed845.jpg",[],{"id":5284,"slug":5285,"title":5286,"dynasty":18,"author":705,"museum":1196,"description":5287,"tags":5288,"thumbUrl":5289,"material":540,"size":5290,"collection":89,"collections":5291,"showCount":5178,"zanCount":11,"manualWeight":11,"mainColor":93},222181,"xue-hou-fang-mei-tu-zhou-lu-zhi-222181","雪后访梅图轴","陆治（西元一四九六－一五七六年），江苏吴县人，字叔平，号包山子。倜傥好义，以教友著称于乡里。诗文书画并佳。曾和文征明、祝允明一起作画吟诗。画的名声和文征明一样好。\n这幅用淡墨干笔，画丛山叠树，渔父鼓舟前进，一面洗脚，二人在高坡上坐着似在观看瀑布。用色淡雅而有变化。画成于陆治七十三岁。陆治有诗，曾自比「桃源中人」，以喻其隐居状况。\n此画在笔法与构图，均受元代王蒙花溪渔隐图影响，颇有自况意味",[23,24,29,59,102,25,405,403,553,7,721,869,104,868,1489],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aaf80233eb812f5038cd4b1c54a09f2.jpg","76x40cm",[],{"id":5293,"slug":5294,"title":5295,"dynasty":3558,"author":5296,"museum":160,"description":5297,"tags":5298,"thumbUrl":5299,"material":89,"size":89,"collection":45,"collections":5300,"showCount":5178,"zanCount":11,"manualWeight":11,"mainColor":5301},202880,"shu-hua-cheng-shan-wu-dai-qiu-202880","书画成扇","吴待秋","扇面之上，梅枝虬曲伸展，墨笔皴擦出苍劲老干，古拙中见生机；花朵以粉、黄、白诸色点染，妍丽鲜活，与墨枝相映成趣。旁侧书法笔力遒劲，墨韵流转，与梅花图相得益彰，书画合璧，尽显文人雅趣。整幅作品笔墨灵动，设色清雅，方寸之间疏密有致，意境悠长。",[609,62,7,61,30,31,24,29,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb84cc62fca83f03839354a306dbaeebc.jpg",[45],"49524d",{"id":5303,"slug":5304,"title":5305,"dynasty":18,"author":5306,"museum":56,"description":5307,"tags":5308,"thumbUrl":5311,"material":420,"size":421,"collection":89,"collections":5312,"showCount":5313,"zanCount":11,"manualWeight":11,"mainColor":49},287390,"si-xian-xi-he-tu-zhou-liu-jun-287390","四仙戏鹤图轴","刘俊","刘俊（明），字廷伟，擅山水，入能品，人物亦佳。刘俊是明代的宫廷画家，授“锦衣都指挥”职。",[23,24,102,59,61,103,213,5309,7,5310],"神仙","戏乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77738dc25626e384db1ea3ba89e6ba20.jpg",[],12,{"id":5315,"slug":5316,"title":5317,"dynasty":130,"author":257,"museum":56,"descriptio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and white porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[2500,5320,5321,7,1404,63,62,5322],"青花釉里红","笔筒","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1880ccc61f7e5cc16e7ea018173450e3.jpg",[],{"id":5326,"slug":5327,"title":5328,"dynasty":130,"author":257,"museum":56,"description":5329,"tags":5330,"thumbUrl":5332,"material":420,"size":421,"collection":89,"collections":5333,"showCount":5313,"zanCount":11,"manualWeight":11,"mainColor":93},258407,"yong-zheng-kuan-fa-lang-cai-mei-hua-wen-wan-yi-ming-258407","雍正款珐琅彩梅花纹碗","雍正一朝虽然只有13年，但他的制瓷业成就却达到了清代官窑的历史高峰，其品种之多，制作工艺之精良，都是其他朝代无法比拟的。",[130,5331,2500,7,61,119],"珐琅彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8ec06689dc3e4d87bcba587a0b25835.jpg",[],{"id":5335,"slug":5336,"title":5337,"dynasty":130,"author":257,"museum":56,"description":5338,"tags":5339,"thumbUrl":5340,"material":420,"size":421,"collection":89,"collections":5341,"showCount":5313,"zanCount":11,"manualWeight":11,"mainColor":4307},249541,"hua-fa-lang-bing-mei-wen-gai-bei-yi-ming-249541","画珐琅冰梅纹盖杯","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。",[3737,4629,7,61,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50d5103b16abfb0a7522cba272479aaa.jpg",[],{"id":5343,"slug":5344,"title":5345,"dynasty":198,"author":5346,"museum":20,"description":5347,"tags":5348,"thumbUrl":5349,"material":540,"size":5350,"collection":1302,"collections":5351,"showCount":5313,"zanCount":253,"manualWeight":11,"mainColor":93},239670,"zhang-nan-ba-yong-shi-juan-zhao-yong-239670","鄣南八咏诗卷","赵雍","释文：\n鄣南八咏。\n天目晴雪\n雨池银水在云中，岩壑生花瑞气隆。盐虎作寒连地合，玉鳌扶冻与天通。照人错落山应瘦，向日消残树半空。独有小梅清见骨，只将真色笑春风。\n渚溪夕照\n渚溪行过少邻家，操面黄蜂趁晚衙。一片素秋清暎水，半汀红日澹迎霞。渔竿影没人争渡，牧笛声沉雁落沙。危石路头清浅处，只消新月照梅花。\n北庄梅花\n颠倒溪流险在兹，山中忽复见横枝。天生一白世无匹，花压万红春有私。疏影卧波宜入夜，暗香蒙雪幸同时。江南地暖开容易，马上逢人寄所思。\n樊坞梨园\n旧日樊川雪作团，尚余清艳后人看。一枝香湿雨初霁，千树恨多春企寒。留月只应空院落，闭门谁复倚阑干。何当载酒来花下，洗却凡妆跨素鸾。\n梅溪春涨\n玉磬峰头积雪消，紫梅花下水平桥。喷开石窦山倾倒，怒拍溪门浪动摇。连岸白沙鸥鸟下，满川红雨鳜鱼跳。黄流引入星河去，一任乘槎上碧霄。\n独松冬秀\n撞破关门山势开，树头云起唤龙来。擎天老盖高千丈，傲雪贞标压众材。岁久节根坚作玉，风生岩壑响成雷。苍颜不改只依旧，万古相期竹与梅。\n浮玉晚娇\n白玉山前叠绮纨，故将娇艳弄轻寒。天香喷散龙涎饼，国色铺交玛瑙盘。贵重万花春作主，醉逢三月日凭阑。自从李白题诗后，不许寻常子弟看。\n石埭夜航\n顺风吹送下山前，石鼓沿溪不碍船。帆影扑开沙上月，橹声摇动水中天。沧浪一曲寻秋去，玄鹤孤鸣恼夜眠。乘涉已为天下共，载云归越在何年。\n凌孟傅诗，赵仲穆书。\n钤“仲穆”印。卷前为执柔道人篆书“鄣南八咏”，卷后有刘麟、顾应祥题诗。本幅鉴藏印有“陈子受家珍藏”、“子受秘玩”等3方。\n赵雍书法结体用笔及笔画特点都恪守家法，《书史会要》记载赵孟頫：“尝为幻住庵写金刚经未半，雍足成之，其联续处，人莫能辨。”此书结体稳健，功力深厚，形体秀美，温润闲雅，具有赵书遗意。",[23,28,29,30,31,25,83,7,553,1490,1025,404,869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a6d4dc89bf03fd0211961bd3fdcc68b.jpg","纵30.8厘米, 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“春台明月”绘一派怡人春色，湖岸枝头新绿，垂柳依依，用笔细润秀媚，设色典雅。“平流涌瀑”画夏日高树掩映，茂茂森森，以独特的落墨点染，华滋苍润。“万松叠翠”写秋时寂寥之意，构图平远、空明，远景山石以简笔勾勒，林木萧疏，只有常青的柳树依然叠翠。“平岗艳雪” 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（1682—1760），字衡之，号南苹，其画远师黄筌画派，近承明代吕纪，工写花卉翎毛、走兽，以精密妍丽见长，也擅长画仕女。设色妍丽，工致精丽、赋色浓艳，极尽构梁之巧。画人物得不传之秘。注重写实，画风谨严工细，造型准确生动。尝写《花蕊夫人宫词》为图，笔意殊极巧妙。\n雍正九年（1731）沈铨应日本天皇之聘，偕弟子郑培、高钧等东渡日本，历时3年，形成“南苹派”写生画，深受日人推崇，被称为“舶来画家第一”，从习画者颇多，日本江户时代长崎画派即在其影响下形成，尤以圆山应举最为著名。归得金帛散给友朋，橐仍萧然。\n沈铨归国后声誉大震，传至京城，朝廷便下旨命沈铨作画上贡，乾隆7年作《花蕊夫人宫词意》受到好评，除此，沈铨还陆续为宫廷作吉祥寓意之画，由此沈铨及弟子童衡在中国画史上被称为宫廷画家，沈铨晚年寄居于苏州，孜孜不倦地致力于书画艺术之研究，在乾隆27年81岁的沈铨还能作《花鸟图》。1762年沈铨逝世后，从子沈天骧进新市南频府，守孝三年，继承画业，唯一入室弟子童衡离开沈宅到新市明因寺为僧，闲余作画终身。沈铨把一生献给了绘画事业，在继承院体派传统的基础上，独创了强大的南苹画派，在当时的江南独树一帜，有诗予以很高的评价“江南高手谁第一，吴兴沈生世无匹”。",[24,29,59,82,61,60,62,7,63,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e94d03c6970fba8516cc02df008b44.jpg",[],{"id":5663,"slug":5664,"title":4679,"dynasty":18,"author":4680,"museum":20,"description":5665,"tags":5666,"thumbUrl":5667,"material":369,"size":89,"collection":89,"collections":5668,"showCount":154,"zanCount":11,"manualWeight":11,"mainColor":93},234326,"mo-mei-ce-shen-hao-234326","沈颢（公元1586年~1661年后），字朗倩，号石天。江苏苏州人。补博士弟子员，性格豪放好奇。工诗文，书法真、草、隶、篆无所不能。山水近似沈周，晚年笔墨挺秀，点色清妍，深于画理。着〈画麈〉。作品有〈设色山水图轴〉。",[24,29,82,163,25,7,119,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d46d028439544fc05fc462214bcc172.jpg",[],{"id":5670,"slug":5671,"title":5672,"dynasty":18,"author":5673,"museum":56,"description":5674,"tags":5675,"thumbUrl":5676,"material":89,"size":89,"collection":89,"collections":5677,"showCount":154,"zanCount":11,"manualWeight":11,"mainColor":93},233367,"shi-zhu-zhai-pu-ce-hu-ri-cong-233367","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。",[24,29,82,25,61,62,32,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39a41d4cbf78fa88028ba568d41be64c.jpg",[],{"id":5679,"slug":5680,"title":5681,"dynasty":130,"author":5682,"museum":56,"description":5683,"tags":5684,"thumbUrl":5685,"material":89,"size":89,"collection":89,"collections":5686,"showCount":154,"zanCount":11,"manualWeight":11,"mainColor":49},230153,"mei-hua-shi-liu-yong-230153","梅花诗","刘墉","此作用笔敦实内敛，绝无锋芒外露，墨色浓郁匀净，尽显标志性的沉厚风格。字体筋骨内蕴，拙朴温润，布局整饬却暗藏灵动，字距行距匀停妥帖，通篇气息温雅端庄。\n\n以笔为梅枝，以墨凝梅香，将咏梅诗句的清癯高格，融于端稳笔墨之中，褪去妍媚浮华，尽显醇和静穆的文人意趣。诗书意境与沉浑书气相融共生，尽显老成持重的笔底风华，藏着文人骨子里的清雅底色，是清代帖学极具代表性的佳作。",[23,29,30,31,102,25,7,83,929],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c7e6f8883f1504e88ef38becdaf8ee.jpg",[],{"id":5688,"slug":5689,"title":563,"dynasty":3558,"author":4870,"museum":160,"description":5690,"tags":5691,"thumbUrl":5692,"material":89,"size":89,"collection":45,"collections":5693,"showCount":154,"zanCount":253,"manualWeight":11,"mainColor":5694},202828,"sui-chao-tu-zhou-wang-zhen-202828","虬枝盘曲的梅树绽着粉艳花苞，水仙亭亭玉立、黄蕊吐香，红果灌木缀满玛瑙似的果实，柑橘与灵芝错落案头，朴拙的瓷瓶与盆器承托生机。笔墨兼工带写，花卉蔬果设色鲜活明快，枝干用墨苍劲老辣，器物线条简约传神。整幅画以岁朝清供为题，将新春吉庆气息与文人雅趣融于一纸，鲜活景物与朴雅笔墨交织，尽显传统节庆题材的温馨与雅致，是兼具生活意趣与艺术韵味的写意佳作。",[24,29,62,61,7,38,119,26,4618,39,23],"https:\u002F\u002Foss.chuangqi.stor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正是赵佶本人。",[23,24,102,61,103,7,404,1489,5762,1518],"听琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aa89ebe350d23e5e95fc8091f4f9ea7.jpg",[],{"id":5766,"slug":5767,"title":5768,"dynasty":130,"author":257,"museum":56,"description":5769,"tags":5770,"thumbUrl":5773,"material":420,"size":421,"collection":89,"collections":5774,"showCount":182,"zanCount":11,"manualWeight":11,"mainColor":49},270511,"yin-lei-si-qian-yu-shi-bo-li-pen-yin-ye-yu-shi-cha-hua-pen-jing-yi-ming-270511","银累丝嵌玉石玻璃盆银叶玉石茶花盆景","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 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景德镇窑为我国传统窑炉中独具风格的窑。它的烧成室型呈一头大一头小的长椭圆形，近窑门处宽而高，靠近烟囱则逐渐狭窄矮小，故有"鸭蛋窑"之称，全长约15-20米，容积为300-400立方米，是以松柴为燃料，火焰长而灰分少，因不含硫或者含量极少，适宜烧还原焰，对于白瓷、青花瓷、颜色釉瓷等传统瓷的釉面呈色效果良好，可装烧高火、中火、低火的瓷坯。因窑内腔较高（最高高度不超过6米），便于装烧大件制品，适合多品种生产的条件。因此，景德镇窑（在景德镇也叫柴窑）单位公斤瓷的燃料消耗量小。另外，其结构简单，镇窑建筑速度快，基建费用少，产量大，周转期快，可以快速烧成和快速冷却，适应于景德镇附近制瓷原料的特性和瓷器的传统风格。对南方某些瓷窑来说，在控制烧成气氛和瓷器质量，以及燃料（松柴）消耗等方面，镇窑均较龙窑、阶级窑和倒焰窑等优点。",[2500,6485,6486,119,7],"刻花","青白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30fd617d357ea023168c4d270218b794.jpg",[6217],{"id":6490,"slug":6491,"title":2752,"dynasty":130,"author":2753,"museum":56,"description":2754,"tags":6492,"thumbUrl":6493,"material":420,"size":421,"collection":89,"collections":6494,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":93},239405,"hua-niao-tu-ce-ma-yuan-yu-239405",[24,29,82,25,31,83,7,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf22855b5490b2c9110b13dfa58b31ca.jpg",[],{"id":6496,"slug":6497,"title":2768,"dynasty":130,"author":1724,"museum":56,"description":2711,"tags":6498,"thumbUrl":6499,"material":420,"size":421,"collection":89,"collections":6500,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":93},238786,"hua-hui-xiao-ce-dong-gao-238786",[59,24,29,82,61,60,62,7,2000],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dafcbdb046d07b80f14cdc8fe1f7723.jpg",[],{"id":6502,"slug":6503,"title":2768,"dynasty":130,"author":1724,"museum":56,"description":2711,"tags":6504,"thumbUrl":6505,"material":420,"size":421,"collection":89,"collections":6506,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":93},238785,"hua-hui-xiao-ce-dong-gao-238785",[59,24,29,82,60,61,62,39,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F328f46a2d36b0a8789a654256d76c8e8.jpg",[],{"id":6508,"slug":6509,"title":2182,"dynasty":18,"author":428,"museum":56,"description":2183,"tags":6510,"thumbUrl":6511,"material":420,"size":421,"collection":89,"collections":6512,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":93},237541,"mei-hua-dui-ti-tu-ce-chen-ji-ru-237541",[24,29,82,25,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F733757567e0c6f013227c96f9a72188d.jpg",[],{"id":6514,"slug":6515,"title":6516,"dynasty":130,"author":6517,"museum":56,"description":6518,"tags":6519,"thumbUrl":6520,"material":89,"size":89,"collection":89,"collections":6521,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":93},237135,"shan-shui-ren-wu-ce-7-shang-guan-zhou-237135","山水人物册7","上官周","上官周（1665－1749后），福建长汀南山官坊人，原名世显，后改名周，字文佐，号竹庄，清代著名画家，终生布衣。1665年生于长汀南山官坊的一户农民家庭。山水和人物画造诣很高，门生有“扬州八怪”之一的黄慎。所著《晚笑堂画传》最为著名，成为后人临习人物画的范本，而其山水画谱长期流落民间，未见刊行。上官周自幼聪颖，治艺勤奋，学识渊博，擅长诗文、书法、篆刻，尤精于画。",[24,29,82,25,31,83,403,869,103,7,3970,868,2441],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9939f8678e0e401c8bc09686555c5070.jpg",[],{"id":6523,"slug":6524,"title":6525,"dynasty":130,"author":6526,"museum":56,"description":6527,"tags":6528,"thumbUrl":6529,"material":89,"size":89,"collection":45,"collections":6530,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":93},236711,"hua-niao-guo-ce-li-qi-236711","花鸟果册","李圻","此作用淡墨写梅枝，瘦劲苍古，蜿蜒舒展，尽显老梅遒拔之姿。圈花轻勾淡染，寥寥数笔便将寒梅疏淡清远的神韵勾勒而出，清淡雅致自带幽寂出尘之态。\n\n画面两侧配以行书题跋，笔意纵逸跌宕，书画相映，文气盎然，尽显文人画诗书画一体的意趣。全幅不施丹青，以水墨浓淡干湿营造空疏淡远的意境，暗含画者寄情于梅，追慕高洁林下之风的心境。",[24,29,82,25,31,83,7,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66d0d2caf2820dfb79b2b0716ae38ca5.jpg",[45,1302],{"id":6532,"slug":6533,"title":2391,"dynasty":18,"author":2392,"museum":56,"description":2393,"tags":6534,"thumbUrl":6535,"material":89,"size":89,"collection":89,"collections":6536,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":93},236549,"hua-niao-ce-tang-zhi-yin-236549",[24,3384,82,60,61,62,7,64,1619],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1eae2629affceb483d168e612852592.jpg",[],{"id":6538,"slug":6539,"title":2340,"dynasty":130,"author":159,"museum":20,"description":3373,"tags":6540,"thumbUrl":6541,"material":369,"size":3376,"collection":89,"collections":6542,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":93},236313,"hua-hui-ce-wang-shi-shen-236313",[59,24,29,82,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2693dc15f9f2b2a60d728dcb72d3159.jpg",[],{"id":6544,"slug":6545,"title":3725,"dynasty":18,"author":3726,"museum":56,"description":3727,"tags":6546,"thumbUrl":6547,"material":420,"size":421,"collection":89,"collections":6548,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":93},235762,"mei-hua-wen-cong-jian-shi-he-bi-ce-shao-mi-235762",[24,29,82,25,7,31,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb536b9364aa5e9661531dea7fc71e612.jpg",[],{"id":6550,"slug":6551,"title":6552,"dynasty":130,"author":257,"museum":20,"description":6553,"tags":6554,"thumbUrl":6556,"material":216,"size":6557,"collection":89,"collections":6558,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":49},234903,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234903","唐岱小园闲咏图册","唐岱（1673—1752后），字毓东，号静岩，又号默庄，满洲正蓝旗人。康熙中以荫官参领。从王原祁学画，丘壑似王原祁，远宗宋人，“泼墨淋漓，气韵生动”。康熙后期常将其召入宫中作画，品题其画为当时第一手，赐称“画状元”。\n第一开：曲径通幽。对开题：“为隔尘氛远，应怜曲径长。迂回山势抱，逦迤竹垣藏。鹤歩苔痕合，春归花气香。板桥流水外，别有读书堂。”\n第二开：芳屿围棋。对开题：“乘兴步芳屿，逍遥任所之。已看苔作席，最爱柳成帷。漫煮蒙溪茗，闲抛赌墅棋。东山称盛事，吟望寄遐思。”\n第三开：桃溪步履。对开题：“山桃开也未，杖策试探寻。好景春来遍，芳溪曲处深。明霞千树叠，傍水一枝临。何必武陵路，随缘物外心。”\n第四开：竹坞春深。对开题：“闲过山坞里，粉脱见新篁。劲节当春绿，踈竿泛籁长。萧骚寒雨夜，彷佛辋川庄。不肯裁为管，无劳引凤凰。”\n第五开：芳港闻莺。对开题：“春色堂堂去，莺声恰恰来。缗蛮听处涩，风景暗中催。长日慵摊饭，新缸喜拨醅。笙簧随分有，何必舞三台。”\n第六开：春湖涵碧。对开题：“碧水漾平湖，空明一镜铺。须眉应可鉴，尘壤杳然无。点点浮青荇，双双下白鳬。春风浴沂水，视此意何殊。”\n第七开：石坂烹云。对开题：“敲火乌卿炽，烹云玉液清。龙团曾未点，鱼目已旋生。漫说肠堪润，应知眼倍眀。披襟成小啜，孤鹤一声鸣。”\n第八开：广厦冰壶。对开题：“天伏三庚永，堂开六月凉。深深屏隔暑，叠叠簟含霜。底事挥纨扇，无劳问蔗浆。冰壶供坐卧，乐意自相忘。”\n第九开：镜水荷香。对开题：“半夜芙蓉雨，三间水月楼。清香随处度，风景一时收。干密妨鱼跃，花深隐鹭游。诗情频入座，不必问渔舟。”\n第十开：月楼夕幌。对开题：“雨洗尘氛静，天空花鸟闲。月楼开一面，夕幌卷千山。牧笛耳边过，征鸿眼里还。桂香依旧发，付与阿谁攀。”\n第十一开：兰桡独钓。对开题：“秋湖鱼怯饵，把钓事如何。绿水一竿竹，清风几领簑。蒹葭尘外老，星月个中多。夜静独归去，清光挂女萝。”\n第十二开：竹篱鹤歩。对开题：“结社松为宅，看家鹤守门。偏知人客至，不负稻粱恩。宿月精神古，梳风毛羽繁。由来好僮仆，不必贵乘轩。”\n第十三开：芦岸秋晴。对开题：“秋色知多少，芦花尽白头。战风摇夕浦，饮露亚寒洲。生意知将谢，随时未肯休。苍茫烟水里，好去弄扁舟。”\n第十四开：板桥霜迹。对开题：“隔溪亭子迥，为架板桥通。秋老碧天白，寒流枫叶红。卷帘吟夜月，着屐歩霜风。爱此双双迹，扶笻过水东。”\n第十五开：雪径梅姿。画心左下款署“唐岱恭画”。对开题：“四时花木足，最喜是园梅。傲雪三冬里，因风几朵开。清香流玉骨，冷润滴氷腮。独有幽人赏，巡檐杖策来。右《小园闲咏》十五首，雍正乙卯夏五月，宝亲王长春居士著”。梁诗正谨书。",[24,29,82,31,61,60,405,403,7,1489,721,103,553,104,1067,6555,725],"河流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F711ec21c2b74711dce512776b1b5b456.jpg","25.7×33厘米",[],{"id":6560,"slug":6561,"title":6562,"dynasty":130,"author":257,"museum":56,"description":6161,"tags":6563,"thumbUrl":6564,"material":420,"size":421,"collection":89,"collections":6565,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":49},229474,"yong-zheng-fa-lang-cai-ci-huang-di-mei-zhu-xian-chun-pan-yi-ming-229474","雍正 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致，又暗合文人雅致风骨，将花鸟情态勾勒得鲜活生动。整幅面料构图规整却不失灵趣，尽显传统丝绣工艺的匠心审美，是清代织绣精巧之作。",[491,7173,7,32,63,62,61,7174,7175],"妆花缎","织物","灵竹梅纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8784e01c2792facf3ec4ab684058d51.jpg",[],{"id":7179,"slug":7180,"title":7181,"dynasty":173,"author":257,"museum":56,"description":7182,"tags":7183,"thumbUrl":7186,"material":420,"size":421,"collection":6217,"collections":7187,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":93},259724,"ji-zhou-yao-hei-you-ti-hua-mei-ping-yi-ming-259724","吉州窑黑釉剔花梅瓶","吉州窑，是汉族传统制瓷工艺中的珍品，作为江南地区（江西吉安）一座举世闻名的综合性瓷窑，它具有浓厚的地方风格与汉民族艺术特色。吉州窑的丰富烧瓷，经验和名工巧匠对江西地区瓷业的发展提高，曾起过相当重要的促进作用。吉州古窑兴于晚唐，盛于两宋，衰于元末，因地命名，因当时永和又为东昌县治，故又名东昌窑、永和窑。吉州窑产品精美丰富，尤以黑釉瓷（亦称天目釉瓷）产品著称，其独创的“木叶天目”、“剪纸贴花天目”和“玳瑁天目”饮誉中外。洒釉、虎皮天目等也是吉州窑的标志性品种。\n卞向和在对中国陶瓷发展中对吉州窑有过认识，他指出：吉州窑在中国陶瓷发展中具有十分重要的意义，吉州窑不仅将中原的制瓷工艺溶于之中，还将吉州本地的人文情趣绘于瓷器上，并在造型，瓷的机理上有新的变化，使吉州窑成为中国瓷的重要品类，才使古代的欧洲、中东各国的王室贵族爱上吉州瓷。",[2500,7184,7,7185,3024],"剔花","黑釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F993abbc2a2a674914caa60d1efa16e05.jpg",[6217],{"id":7189,"slug":7190,"title":7191,"dynasty":130,"author":257,"museum":56,"description":6211,"tags":7192,"thumbUrl":7195,"material":420,"size":421,"collection":6217,"collections":7196,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":93},259575,"yi-xing-yao-zi-sha-lian-xin-ming-hua-niao-liu-fang-cha-ye-guan-yi-ming-259575","宜兴窑紫砂莲心铭花鸟六方茶叶罐",[2500,7193,857,7194,62,7,63],"紫砂器","茶叶罐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a4dca45403c4eabace6d18282b74c02.jpg",[6217],{"id":7198,"slug":7199,"title":7200,"dynasty":130,"author":257,"museum":56,"description":5318,"tags":7201,"thumbUrl":7203,"material":420,"size":421,"collection":89,"collections":7204,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":49},259078,"ge-you-qing-hua-mei-hua-shan-shi-tu-dan-shi-ping-yi-ming-259078","哥釉青花梅花山石图胆式瓶",[2500,5618,7202,7,104,3024],"哥釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc471aa764d2fa8c1cd0e2b333008752.jpg",[],{"id":7206,"slug":7207,"title":7208,"dynasty":130,"author":257,"museum":56,"description":5318,"tags":7209,"thumbUrl":7210,"material":420,"size":421,"collection":89,"collections":7211,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":93},259073,"qing-hua-song-zhu-mei-tu-mei-ping-yi-ming-259073","青花松竹梅图梅瓶",[2500,5618,33,32,7,1011,6474,798,5872],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d091a6306ff47d8b97e6a9f55a9abf1.jpg",[],{"id":7213,"slug":7214,"title":7215,"dynasty":130,"author":257,"museum":56,"description":7216,"tags":7217,"thumbUrl":7220,"material":420,"size":421,"collection":89,"collections":7221,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":49},258199,"bai-you-hua-hua-wen-mei-ping-yi-ming-258199","白釉划花纹梅瓶","将不含金属氧化物呈色元素的釉料施于胎骨洁白的器物上，入窑高温烧制而成的透明釉， 釉色因白润瓷胎的映衬而显出白色，现在习惯上将这种透明釉也称为白釉。\n瓷器釉料中的含铁量降低到0.75%以下，施于洁白的瓷胎上，入窑经高温烧制，就会出现白釉。严格地说，白釉是一种无色透明釉，而不是白色的釉 。白釉是瓷器传统釉色之一,真正的白釉应该是乳白色的乳浊釉,这种釉是近代才发明的。我国古代仅有元代枢府釉是失透的,其他白釉并不是白色的釉,\n白釉烧制工艺比青釉复杂，出现的时间也较青釉晚，一般瓷土和釉料，都或多或少含有一些氧化铁，器物烧出后必然呈现出深浅不同的青色来。如果釉料中的铁元素含量小于0.75%，烧出来的就会是白釉。\n白釉最早出现在汉代，比青釉瓷器晚了400多年，白釉瓷器开始是青白色的，因为瓷器中铁的含量高于1%就是青色的，少于1%就是白瓷了，所以中国白瓷经历青瓷、青白瓷、卵白釉、甜白釉、象牙白、白釉的发展过程。中国历史上白瓷产地有德化白瓷、定窑白瓷以及刑窑白瓷等。",[2500,7218,7219,7,119],"白釉","划花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F992f98b54bbf6f7e49f1a91494a38142.jpg",[],{"id":7223,"slug":7224,"title":7225,"dynasty":173,"author":257,"museum":56,"description":7226,"tags":7227,"thumbUrl":7229,"material":420,"size":421,"collection":6217,"collections":7230,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":411},256774,"ci-zhou-yao-bai-di-hei-hua-mei-ping-yi-ming-256774","磁州窑白地黑花梅瓶","磁州窑是中国传统制瓷工艺的珍品，中国古代北方最大的民窑体系，也是著名的民间瓷窑，有“南有景德，北有彭城”之说。磁州窑创烧于北宋中期，并达到鼎盛，南宋、元明清仍有延续。窑址在今河北省邯郸市峰峰矿区的彭城镇和磁县的观台镇一带，磁县宋代叫磁州，故名。\n磁州窑的匠师们吸收了传统的水墨画和书法艺术的技法，创造了具有水墨画风的白底黑绘装饰艺术，开启了中国瓷器彩绘装饰的先河。\n磁州窑品种诸多，以白地黑花（铁锈花）、刻划花、窑变黑釉最为著名。它的装饰技法突破了当时流行的五大名（官）窑（汝、官、钧、哥、定）的单色釉局限，运用了数十种丰富多彩的装饰技法。1998年3月，元代的磁州窑黑釉剔花玉壶春瓶从英国追回。",[2500,7228,119,7,39],"白地黑花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0ad307a32b4ff6ea29273bd9068af06.jpg",[6217],{"id":7232,"slug":7233,"title":7234,"dynasty":270,"author":257,"museum":56,"description":3531,"tags":7235,"thumbUrl":7236,"material":420,"size":421,"collection":89,"collections":7237,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":411},249596,"yin-shao-lan-ju-mei-he-tu-ping-yi-ming-249596","银烧蓝菊梅鹤图瓶",[3366,61,62,41,7,213,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38ae819e4f0c4a6fc20a60b096390699.jpg",[],{"id":7239,"slug":7240,"title":7241,"dynasty":130,"author":257,"museum":56,"description":7242,"tags":7243,"thumbUrl":7245,"material":420,"size":421,"collection":89,"collections":7246,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":411},248853,"hei-qi-bai-bao-qian-mei-zhu-feng-die-wen-bi-tong-yi-ming-248853","黑漆百宝嵌梅竹蜂蝶纹笔筒","笔筒： 用陶瓷、竹木、等制成的筒形插笔器具。笔筒是搁放毛笔的专用器物，据文献记载，它的材质有镏金、翡翠、紫檀和乌木，现在我们能够见到的传世器物，大多是用瓷或者是竹木制作的。具有收藏价值。",[3451,5080,61,7,32,7244,6620,5321],"蜂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaf58cb5343f32cf706d0380137c9094.jpg",[],{"id":7248,"slug":7249,"title":7250,"dynasty":130,"author":257,"museum":56,"description":3449,"tags":7251,"thumbUrl":7253,"material":420,"size":421,"collection":89,"collections":7254,"showCount":125,"zanCount":253,"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",[3451,6214,1334,7252,39,7,40,32,41,119],"蝠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3303cabda72145422e13399597aa615b.jpg",[],{"id":7256,"slug":7257,"title":7258,"dynasty":130,"author":257,"museum":56,"description":7259,"tags":7260,"thumbUrl":7268,"material":420,"size":421,"collection":89,"collections":7269,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":49},245343,"yin-mei-zhu-ren-wu-tu-long-bing-dai-gai-zhi-hu-yi-ming-245343","银梅竹人物图龙柄带盖执壶","此执壶造型华贵精巧，龙形执柄矫健灵动，龙头探向壶口，似欲衔取壶中琼浆；盖顶瑞狮盘踞，鬃毛毕现威严雄健。鎏金壶嘴提亮器物色调，冷银暖金相映，撞出雅致的视觉层次。\n\n瓜棱形壶身錾刻梅竹人物图景，梅枝清逸、竹影萧萧，其间人物鲜活传神，将文人雅会的闲逸意趣融于银器之上。錾刻工艺细腻入微，衬得画面层次分明，把方寸间的小景勾勒得生动饱满。四足稳稳承托壶身，让整体形制庄重不失灵韵，尽显清代银作工艺的精湛水准，将瑞兽吉意与文人雅景巧妙融合，是一件匠心独具的银作珍品。",[5772,7261,7262,1529,7263,7,32,103,7264,7265,7266,7267],"执壶","饮酒器","瑞狮","錾刻","鎏金","瓜棱形","文人雅会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3066668cd747814fe15f921a93728b94.jpg",[],{"id":7271,"slug":7272,"title":7273,"dynasty":130,"author":257,"museum":56,"description":7274,"tags":7275,"thumbUrl":7282,"material":420,"size":421,"collection":89,"collections":7283,"showCount":125,"zanCount":253,"manualWeight":11,"mainColor":411},241972,"yin-du-jin-qian-zhu-mei-die-zhu-ye-wen-qian-zi-yi-ming-241972","银镀金嵌珠梅蝶竹叶纹钳子","银镀金为骨，点翠晕开幽蓝梅瓣蝶翼，莹白珍珠凝作花心，朱红珊瑚点缀花苞，将岁寒清趣藏于耳畔。垂悬的竹叶点翠流苏随步履轻摇，似把竹间清风系在鬓边。冷调翠色衬得金底愈显暖润，柔润珠玉提亮雅致气色，花丝细作与点翠工艺相融，将闺阁温婉揉进方寸首饰里，尽是东方雅致意韵。",[1011,5772,5771,7276,7,6620,32,517,7277,6745,7278,7279,7280,7281],"嵌珠","银镀金","梅蝶纹","竹叶纹","珠饰","钳子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c934593b9ee179bcd731c96fcf35c64.jpg",[],{"id":7285,"slug":7286,"title":7287,"dynasty":18,"author":7288,"museum":56,"description":7289,"tags":7290,"thumbUrl":7292,"material":540,"size":89,"collection":1302,"collections":7293,"showCount":125,"zanCount":253,"manualWeight":11,"mainColor":93},241087,"you-chong-hua-si-shi-juan-chen-yi-241087","游崇化寺诗卷","陈沂","陈沂（一四六九-一五三八）[明]，字号：宗鲁、鲁南、石亭、小坡。 浙江鄞县(今浙江宁波)人，擅长书法及山水，以医籍居南京。\n陈沂（一四六九-一五三八）[明]，字号：宗鲁、鲁南、石亭、小坡 浙江鄞县(今浙江宁波)人，擅长书法及山水，以医籍居南京。初学宗鲁﹝应系初字宗鲁之讹﹞，后改鲁南，号石亭。少年时慕苏轼学行，因号小坡。正德十二年进士，官编修，嘉靖中以行太仆卿致仕。工诗文书画，与顾璘、王韦称“金陵三俊”。相传他在六七岁时就能模仿前人画迹。年长，好画山水，在翰林院时与名画家文徵明为同僚友好，经常切磋研讨，对于技法有进一步的提高。他在做官的历程中，对于所经历的名山大川，都留心观察，临写成为画卷。",[18,31,30,28,7,1490,3592,1025,7291,65,83],"寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b1e28fdcdfbbedc46c7f43d9be018d6.jpg",[1302],{"id":7295,"slug":7296,"title":7297,"dynasty":130,"author":7298,"museum":56,"description":7299,"tags":7300,"thumbUrl":7301,"material":420,"size":421,"collection":89,"collections":7302,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":93},240630,"mei-hua-shi-juan-gu-ling-240630","梅花诗卷","顾苓","顾苓（1609~1682年后）字云美、一字员美，号塔影园客、荆蛮、浊斋居士，明遗民，篆刻取法文彭，有时誉，工隶书，取法《夏承碑》。",[23,28,29,30,31,2404,25,83,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45ff0561728ca116be32ed714cf08a94.jpg",[],{"id":7304,"slug":7305,"title":7306,"dynasty":130,"author":7307,"museum":56,"description":7308,"tags":7309,"thumbUrl":7310,"material":89,"size":89,"collection":1302,"collections":7311,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":93},239850,"chu-xi-jian-mei-he-gong-fu-yun-ye-dong-guo-hua-239850","除夕见梅和功甫韵页","董国华","董国华（1773－1850）清代官员、诗人。江苏吴县（今苏州）人，字荣若，号琴南。据钱庆曾《竹汀居士年谱续编》，董氏曾在乾隆五十八年（1793）紫阳书院受业于钱大昕门下。嘉庆十三年（1808）进士，自号清闲居士，又号绿溪渔隐，道光间官至广东雷琼道。致仕归，历主云间书院，紫阳书院讲习，工诗文，词尤婉约。有《云寿堂文集》、《诗集》、《词钞》、《绿溪笔谈》、《海南笔记》等。",[30,29,82,31,83,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fa372afe99d3432cc158f6841f9a8a6.jpg",[1302],{"id":7313,"slug":7314,"title":2752,"dynasty":130,"author":2753,"museum":56,"description":2754,"tags":7315,"thumbUrl":7316,"material":420,"size":421,"collection":89,"collections":7317,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":93},239406,"hua-niao-tu-ce-ma-yuan-yu-239406",[24,29,82,25,31,83,62,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cf9c85db60a26ba509499717a4ced69.jpg",[],{"id":7319,"slug":7320,"title":7321,"dynasty":130,"author":257,"museum":56,"description":7322,"tags":7323,"thumbUrl":7324,"material":89,"size":89,"collection":89,"collections":7325,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":93},239283,"hou-qi-zhi-hua-hua-niao-ce-yi-ming-239283","后祺指画花鸟册","以指代笔，墨色清逸疏淡。梅枝虬曲苍劲，苔点晕染老干风霜，枝头繁花轻绽，淡墨圈瓣留白，尽显冰洁孤高之姿。旁侧新竹劲挺，寥寥数笔勾勒枝叶，清瘦舒展自带君子风骨。\n\n行书题跋率意朴拙，笔势与画意浑然相融，诗画合璧，将冬梅凌雪、新竹清雅的意趣尽铺纸面。全幅未施浓色，仅以墨色浓淡分出层次，以简驭形，把文人画以情抒怀的特质淋漓展现，尽显清冷疏朗的文人雅韵。",[24,29,82,4334,25,62,7,32,83,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fc146a9f0e95bd8233ee88dcbe04d91.jpg",[],{"id":7327,"slug":7328,"title":2768,"dynasty":130,"author":1724,"museum":56,"description":2711,"tags":7329,"thumbUrl":7330,"material":420,"size":421,"collection":89,"collections":7331,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":93},238793,"hua-hui-xiao-ce-dong-gao-238793",[24,29,82,61,60,62,7,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F150b2fc644f26756335687c634ae6d84.jpg",[],{"id":7333,"slug":7334,"title":4679,"dynasty":18,"author":4680,"museum":56,"description":4681,"tags":7335,"thumbUrl":7336,"material":420,"size":421,"collection":89,"collections":7337,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":93},237026,"mo-mei-ce-shen-hao-237026",[24,29,82,25,7,30,83,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0394cd2b25b998249b6f7b7b4250338.jpg",[],{"id":7339,"slug":7340,"title":7341,"dynasty":130,"author":7342,"museum":56,"description":7343,"tags":7344,"thumbUrl":7345,"material":89,"size":89,"collection":89,"collections":7346,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":93},236589,"shan-shui-ce-cha-shi-biao-236589","山水册","查士标","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。",[24,29,82,25,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674885bf93ce99297cef1508984c4c0d.jpg",[],{"id":7348,"slug":7349,"title":3725,"dynasty":18,"author":3726,"museum":56,"description":3727,"tags":7350,"thumbUrl":7351,"material":420,"size":421,"collection":89,"collections":7352,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":93},235763,"mei-hua-wen-cong-jian-shi-he-bi-ce-shao-mi-235763",[24,29,82,25,31,83,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12145baf595c84674aafe4e1e47bf516.jpg",[],{"id":7354,"slug":7355,"title":3725,"dynasty":18,"author":3726,"museum":56,"description":3727,"tags":7356,"thumbUrl":7357,"material":420,"size":421,"collection":89,"collections":7358,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":93},235756,"mei-hua-wen-cong-jian-shi-he-bi-ce-shao-mi-235756",[24,29,82,25,31,83,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6757ab27764a706bf572d0ac336cb213.jpg",[],{"id":7360,"slug":7361,"title":3725,"dynasty":18,"author":3726,"museum":56,"description":3727,"tags":7362,"thumbUrl":7363,"material":420,"size":421,"collection":89,"collections":7364,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":93},235755,"mei-hua-wen-cong-jian-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、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。",[24,29,82,25,7,83,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1185f36f7d159f995e9f5c9b16298389.jpg",[],{"id":7385,"slug":7386,"title":7387,"dynasty":18,"author":5673,"museum":56,"description":5674,"tags":7388,"thumbUrl":7389,"material":89,"size":89,"collection":89,"collections":7390,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":93},233645,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233645","十竹斋五色笺谱册",[24,29,82,61,6591,7,85,404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cc8a1897fe637bbcb526c68ebe6122c.jpg",[],{"id":7392,"slug":7393,"title":5672,"dynasty":18,"author":5673,"museum":56,"description":5674,"tags":7394,"thumbUrl":7395,"material":89,"size":89,"collection":89,"collections":7396,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":93},233370,"shi-zhu-zhai-pu-ce-hu-ri-cong-233370",[24,29,82,25,61,62,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaa4c23738ccaed6b309ed3962a38dc9.jpg",[],{"id":7398,"slug":7399,"title":5672,"dynasty":18,"author":5673,"museum":56,"description":5674,"tags":7400,"thumbUrl":7401,"material":89,"size":89,"collection":89,"collections":7402,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":93},233275,"shi-zhu-zhai-pu-ce-hu-ri-cong-233275",[24,29,82,25,61,32,7,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb26e2562f9f55e2c820f4aad50bcad1.jpg",[],{"id":7404,"slug":7405,"title":7406,"dynasty":486,"author":7407,"museum":56,"description":7408,"tags":7409,"thumbUrl":7410,"material":420,"size":421,"collection":89,"collections":7411,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":93},231809,"xiao-xian-he-ge-tu-juan-ku-tian-zheng-heng-231809","消闲和歌图卷","堀田正衡","日本江户时代后期大名，下野国佐野藩2代藩主。初代藩主堀田正敦五子。1796年拜谒将军德川家齐，同年叙任从五位下左京亮，后改任摄津守。1832年父亲去世后继承家督。1834年就任奏者番。1836年就任若年寄。1843年升为从四位下。1854年去世，享年60岁，因长子正修早世，由正修之子正颂继承。",[23,24,29,28,25,61,30,31,3342,83,403,32,35,103,1489,63,34,40,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f4a4761228232d6ada81f5879defb21.jpg",[],{"id":7413,"slug":7414,"title":7415,"dynasty":130,"author":257,"museum":56,"description":5769,"tags":7416,"thumbUrl":7418,"material":420,"size":421,"collection":89,"collections":7419,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":93},230080,"cui-yu-shan-hu-zhu-mei-zan-yi-ming-230080","翠玉珊瑚竹梅簪",[1011,517,5079,3367,7417,32,7],"珊瑚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37dbb493b39739c19d13eca020ea5b21.jpg",[],{"id":7421,"slug":7422,"title":7423,"dynasty":173,"author":257,"museum":56,"description":3531,"tags":7424,"thumbUrl":7426,"material":420,"size":421,"collection":89,"collections":7427,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":93},226683,"hua-ping-yi-ming-226683","花瓶",[173,2500,6485,7,7425],"开片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44ba7c9cc076565d63f00e261db6902f.jpg",[],{"id":7429,"slug":7430,"title":7431,"dynasty":130,"author":3903,"museum":99,"description":7432,"tags":7433,"thumbUrl":7434,"material":61,"size":7435,"collection":89,"collections":7436,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":93},222702,"zhong-kui-tan-mei-zhou-jin-ting-biao-222702","锺馗探梅轴","该幅画钟馗戴笠，背束梅花一捆，撷衣欲行经雪桥；后一人口衔梅枝，手撑破伞随之。清代，钟馗已晋身为五月花神，但仍有少数画家，钟爱描绘钟馗于雪天探梅的雅兴，聊以“借景抒怀”。金廷标此作，当即欲藉婡冄頭助钟條进士访梅的情境，隐喻画中人孤高不群的内在性格。",[23,24,61,60,102,103,7,553,867,1213,104,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e25e9673e9682cbb2e7dc8bb0feca86.jpg","154.6×78.9公分",[],{"id":7438,"slug":7439,"title":7440,"dynasty":130,"author":1526,"museum":258,"description":7441,"tags":7442,"thumbUrl":7443,"material":540,"size":7444,"collection":89,"collections":7445,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":93},222669,"peng-mei-tu-huang-shen-222669","捧梅图","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 、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。\n黄慎擅长人物、山水、花鸟，并以人物画最为突出，题材多为神仙佛道和历史人物，也有一些现实生活中的形象，多从民间生活取材，不少作品塑造了纤夫、乞丐，流民、渔民等下层人物形象，如《群乞图》取材现实生活，描写灾荒年中，乞丐们流落街头，受人欺凌的悲惨画面，表现出他对人民疾苦的同情。画神仙佛道如《醉民图》，多操大幅，用笔设色，泼辣大胆，于迷离扑朔中见形象神韵。描绘文人生活的有《东坡玩砚图》，用笔迅疾，衣纹顿挫，线条硬折，墨公浓淡相间，人物轩昂、富有气势，为其成熟后的代表画风。\n他的花鸟画宗法徐渭，亦纵逸泼辣挥洒自如，如《瓶梅图》《菊蟹图》等。他的山水虽“不以山水名”，但山水画有一定的造诣，大幅和小景都各尽其妙，潇洒有致，山水代表作如《渔归图》，两株柳树，“姿态婀娜劲挺，耸立奇峭山岩，淡墨轻赭横扫出沙滩，中景两只渔船，一笔勾出船舷，船中人物，神态右辨，画面左角草书题画诗三行，诗、书、画、印紧相配合，自然贴切。\n黄慎擅草书，书法学“二王”，更得怀素笔意，从章草脱化而出，其栖劲运笔亦用于绘画之中，故画面多干枯、飞白和迅疾之迹，黄慎的草书，点画纷披，散而序，评者说它象疏景横斜，苍藤盘结，具有“字中有画”之趣，他的书法出于章草，颇难认识，故而仿效者不多，但他不趋时尚，敢于标新立异。 他的草书不昧古法，又难辨古人踪迹，不强调章法的疏密聚散，而以方折顿挫的笔法，忽断忽连，顾盼呼应，凸显铿锵有声的点画节奏感，呈现一幅落英缤纷珠丸跳荡逸趣迭生的画面感。其代表作《草亭飞万竹诗草书轴》章法奇异如松柏之剪影，点画浓淡如花叶之缠枝，真非书非画，亦书亦画，堪称奇观。\n\n个人成就:\n黄慎的诗文、狂草书法，绘画被称三绝。曾先后三次到扬州，居留较长，与郑板桥、李（善）等往来友善，为“扬州八怪”之一。\n他年方十八、九时寄身萧寺，白天作画，夜间从佛光明灯下刻苦读书，技艺大进。凡人物、花鸟、山水、楼台、虫鱼等，无一不能，但他并不以这些为满足，一次看他先生的作品说：“吾师绝技难以争名矣，志当自立以成名，岂肯居人后哉！”\n他自己总结一生走过的道路，感慨地说到：‘余自十四、五岁时便学画，而时时有鹘突于胸者，仰然思，恍然悟，慨然曰：‘余画之不工，以余不读书之故。’于是折节发愤，取毛诗、三礼、史汉、晋宋间文，杜韩五言诗及中晚唐诗，熟读精思膏以继晷，而又于昆虫草木四时推谢荣枯，历代制度衣冠礼器，细而致于夔 蛇凤，调调刁刁，罔不穷厥形状，按其性情，豁然有得于心，应之于手，而后乃今始可心言画矣。”正是这种凝思结想、废寝忘食、苦攻不辍，黄慎才从一个小画工成长为一位“诗画名大江南北”的名家。\n”郑板桥为诗赠之：“家看古庙破苔痕，惯写荒涯乱树根，画到精神飘没外，更无真相有真魂。”\n黄慎还是一位诗才画艺俱全的艺术家，他的诗作，情韵清远，如 岩绝 ，烟凝霭积，能非凡境，并著有《蛟湖诗钞》一书传世。\n黄慎早年师从上官周，多作工笔。山水宗元黄公望、倪瓒、中年以后，吸取徐渭笔法，变为粗笔写意，并草书章草，尝以狂草书法入画笔姿放纵，气象雄伟深入古法，但也有笔过伤韵者。\n作品行情:\n黄慎书画流传较多，大多藏于国内各大博物馆内。北京故宫院藏有多幅，如《漱石捧砚图》，扬州博物馆藏的《渔归图》等。\n黄慎的绘画创作在雍正年间说名扬于世，“尺纸容缣，世争宝之”。可见他的作品在当时已有较高的价格，另外黄慎对自己的绘画，常作分类自评，凡最得意者题上诗，次者则识以岁月，再次者只署“瘿瓢”二字。\n现今黄慎作品流入市场是比较多的，20世纪80年代末即开始拍卖，以后每年都出现过，价格起伏不大，比较稳定，但不太高，与八怪中其他画家水平相当，低于吴门四家。\n作为画家的黄慎，对后世的影响——清代的闵贞、近代上海的王震、广东的苏六朋、福建的李霞、李耕和辽南的李楚材都曾师法黄慎。齐白石也非常倾心黄慎——“余在黄镜人处获观《黄瘿瓢画册》，始知余画犹过于形似，无超然之趣。决定从今大变。人欲骂之，余勿听也；人欲誉之，余勿喜也”。“前朝之画家，不下数百人之多，瘿瓢、青藤、大涤子外，皆形似也。惜余天资不若三公，不能师之”。",[23,24,29,25,26,102,31,103,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd778e0836a6ad07faf43424193f69955.jpg","纵124厘米，横65厘米",[],{"id":7447,"slug":7448,"title":7449,"dynasty":130,"author":257,"museum":99,"description":7450,"tags":7451,"thumbUrl":7453,"material":121,"size":89,"collection":89,"collections":7454,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":93},217030,"li-dai-ming-ren-tu-xiang-ce-4-yi-ming-217030","历代名人图像册-4","《历代名人图像册》是清朝时期的一部著名图书。它记录了中国历史上许多著名人物的生平事迹和照片。这本书是由佚名编著的，出版于清朝末年。\n\n《历代名人图像册》共分为五卷，每卷都以一个主题为线索，按时间顺序记录了许多著名人物的生平事迹和照片。其中，第一卷记录了中国古代的著名人物，第二卷记录了中国近代的著名人物，第三卷记录了中国现代的著名人物，第四卷记录了世界各国的著名人物，第五卷记录了清朝时期的著名人物。\n\n《历代名人图像册》是一部非常有价值的参考书，对于了解中国历史和文化有着重要的意义。这本书在当时是非常受欢迎的，并且至今仍被广泛使用。",[24,61,103,7,82,29,7452,39],"设色人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2b14adac75a4e5c228f053c59b42e23.jpg",[],{"id":7456,"slug":7457,"title":7458,"dynasty":130,"author":7459,"museum":20,"description":7460,"tags":7461,"thumbUrl":7463,"material":121,"size":7464,"collection":89,"collections":7465,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":49},216225,"shi-jun-quan-tu-9-ai-qi-meng-216225","十骏犬图-9","艾启蒙","图为乾隆皇帝在宫中豢养的欧洲纯种猎犬画像。作者以西方的素描技法，运用解剖学，以短细的笔触一丝不苟地刻画出猎犬健美的体态和皮毛的质感，具有极强的写实性。每幅图的对开上均标明犬名，对宫廷御用犬的研究具有极高的史料价值。图中的衬景山水是中国画家创作的。中西画家携手创作是乾隆朝宫廷绘画的一大特色。\u2028　　款署：“臣艾启蒙恭绘。”钤“臣艾启蒙”白文印、“恭画”朱文印。每图对开页有嵇璜书写的乾隆朝大学士汪由敦和梁诗正撰写的题赞。鉴藏印有“乾隆鉴赏”、“宜子孙”等。\u2028　　此图旧藏紫禁城内的乐寿堂。《石渠宝笈》著录。",[23,24,59,29,60,61,959,7462,7,32,104,1067],"犬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e0a9834bb157877008683c340aacada.jpg","纵24.5厘米，横29.3厘米",[],{"id":7467,"slug":7468,"title":7469,"dynasty":3558,"author":3559,"museum":160,"description":7470,"tags":7471,"thumbUrl":7472,"material":89,"size":89,"collection":89,"collections":7473,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":7474},203203,"he-zuo-mei-zhu-quan-shi-tu-zhou-jiang-han-ting-203203","合作梅竹拳石图轴","画面中，老梅虬干以焦墨挥写，苍劲嶙峋，枝桠间淡粉梅花点缀，娇嫩与古拙相映成趣。数竿修竹劲挺疏朗，竹叶以劲健线条勾勒，气韵清逸。拳石以水墨皴擦晕染，块面厚重，与梅竹构成疏密有致的格局。笔墨交融间，尽显文人画的清雅意趣，梅之傲骨、竹之气节、石之坚韧，凝注君子品格。题款行书流畅洒脱，朱印点缀，更添古雅韵致。整幅作品气韵生动，墨色浓淡相宜，设色清雅，是两位画家联袂创作的佳构，尽显传统水墨的写意精神。",[24,7,32,85,25,61,405,83,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0538bfe62f5ce094f6461b3b89abac97.jpg",[],"c7bfaf",{"id":7476,"slug":7477,"title":7478,"dynasty":130,"author":7479,"museum":160,"description":7480,"tags":7481,"thumbUrl":7482,"material":89,"size":89,"collection":151,"collections":7483,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":7484},203101,"gao-jian-mei-hua-ce-gao-jian-203101","高简 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，江苏扬州仪征人。清朝中期官员、经学家、训诂学家、金石学家 。\n阮元为乾隆五十四年（1789年）进士，先后在礼部、兵部、户部、工部供职，并出任山东、浙江学政，浙江、江西、河南巡抚及漕运总督、湖广总督、两广总督、云贵总督等职。身历乾隆、嘉庆、道光三朝，所至之处，以提倡学术、振兴文教为自任，勤于军政，治绩斐然。晚年官拜体仁阁大学士，致仕后加官至太傅。道光二十九年（1849年），阮元去世，年八十六。获赐谥号“文达”。\n阮元提倡朴学，曾罗致学者编书刊印，主编《经籍籑诂》，校刻《十三经注疏》，汇刻《皇清经解》等，于数学、天算、舆地、编纂、金石、校勘等方面亦多有建树 ，史称其“身历乾、嘉文物鼎盛之时，主持风会数十年，海内学者奉为山斗焉” 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玉石、金属、木头、石头等。印章是中国传统文化的代表之一\n明代（1368～1644年）皇帝、王府之宝用玉箸篆玉印。这种篆书“笔画两头肥瘦均匀，末不出锋”，乃“篆书正宗也”（清?陈沣《摹印述》）。御宝舍两宋九叠文而直溯唐以上之玉箸篆，意味着九叠文禁锢公印的冰山已经松动。\n此外，明代内阁印用玉箸文银印，直钮，方一寸七分，厚六分；将军印用柳叶文，平羌、平蛮、征西、镇朔等将军印用螭鼎文，皆银印虎钮，方三寸三分，厚九分；其余百官印都用九叠文，铜印直钮，这类印比重最大。如故宫博物院藏明洪武二十二年（1389年）造“朵颜卫都指挥使司之印”。\n明代直钮已由两宋长方形板状钮变为上小下大的椭圆柱状，加高到8厘米左右，形成后世俗称的“印把子”。明代官印背款皆凿年款及编号。\n应该指出，两宋之时，九叠文中所谓的“九”是—个概数，极言其多，不一定确有九叠，也可能只有五叠、七叠，叠即一字中横画的层数。但明代九叠文中绝大多数确有九层横画。\n清代百官印等级区分同样十分严格，印章普遍有所增大。其字体有蒙古文楷书、满文、汉篆等。最常见的是汉满文对照同时出现在印面上，这也是清公印的一大特点。其中汉篆中，九叠文不太兴盛，出现了玉箸篆、悬针篆、柳叶篆、芝英篆等等。",[83,9041,3367,5079,1697,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62b25a270d6d6bf9bd4739b2eb30c714.jpg",[],{"id":10458,"slug":10459,"title":10460,"dynasty":130,"author":257,"museum":56,"description":9039,"tags":10461,"thumbUrl":10462,"material":420,"size":421,"collection":89,"collections":10463,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":93},276232,"mei-hua-zuo-ban-zhang-yi-ming-276232","“梅花作伴”章",[83,9041,3367,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F120e645d98f80a8672e7abe60c79fbb2.jpg",[],{"id":10465,"slug":10466,"title":10467,"dynasty":130,"author":257,"museum":56,"description":10468,"tags":10469,"thumbUrl":10470,"material":420,"size":421,"collection":89,"collections":10471,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},274622,"niao-yin-long-yi-ming-274622","鸟音笼","穹顶鎏金提笼八角而立，笼内花枝斜出，艳红蓓蕾错落点缀，翠羽小鸟俏栖枝头，仿若正将啼鸣噙在舌尖。底座錾刻缠枝花卉，纹饰饱满细腻，鎏金的柔光晕开旧时光的温润。\n\n这是融工艺与机巧的掌中雅玩，上弦便可唤起啾啾鸟鸣，将鲜活生趣凝在鎏金笼中，把匠人的奇思藏于细节。它将陈设之美与嬉玩之趣相融，静立间便流淌出往昔闲雅的生活意趣，尽显手作技艺的精妙匠心。",[119,5771,5079,64,7,857],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d2b5ee3b23b41fb90c171f6a8deacdf.jpg",[],{"id":10473,"slug":10474,"title":9062,"dynasty":130,"author":257,"museum":56,"description":9063,"tags":10475,"thumbUrl":10476,"material":420,"size":421,"collection":89,"collections":10477,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},273849,"wu-cai-bo-gu-tu-fang-la-yi-ming-273849",[857,61,9095,7,119,5079],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff24faef69e64dd608e0734aa6985d46e.jpg",[],{"id":10479,"slug":10480,"title":10481,"dynasty":130,"author":257,"museum":56,"description":9063,"tags":10482,"thumbUrl":10486,"material":420,"size":421,"collection":89,"collections":10487,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":93},273845,"hong-se-wan-shou-wu-jiang-zi-fang-la-yi-ming-273845","红色“万寿无疆”字方蜡",[10483,857,5079,7,10484,10485],"红色","文字","蜡器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63f4b5639d639e52ccd15e98aee15093.jpg",[],{"id":10489,"slug":10490,"title":10491,"dynasty":130,"author":257,"museum":56,"description":10492,"tags":10493,"thumbUrl":10495,"material":420,"size":421,"collection":89,"collections":10496,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},273571,"mu-yang-shi-rong-mian-yi-yi-ming-273571","木洋式绒面椅","敦煌285窟壁画就有两人分坐在椅子上的图像；257窟壁画中有坐方凳和交叉腿长凳的妇女；龙门莲花洞石雕中有坐圆凳妇女。这些图像生动地再现了南北朝时期椅、凳在仕宦贵族家庭中的使用情况。尽管当时的坐具已具备了椅子、凳子的形状，但因其时没有椅、凳的称谓，人们还习惯称之为“胡床”，在寺庙内，常用于坐禅，故又称禅床。唐代以后，椅子的使用逐渐增多，椅子的名称也被广泛使用，才从床的品类中分离出来。因此，论及椅、凳的起源，必须从汉魏时经印度传入的胡床谈起。\n唐代以前的“椅”字还有一种解释，作“车旁”讲，即车的围栏。其作用是人乘车时有所依靠。后来的椅子，其形式是在四足支撑的平台上安装围栏，其制当是受车旁围栏的启发，并沿用其名而称这种坐具为“椅子”了。从现存资料看，唐代已有相当讲究的椅子了。\n五代至宋，高型坐具空前普及，椅子的形式也多了起来，出现靠背椅、扶手椅、圈椅等。同时根据尊卑等级的不同，椅子的形制、质料和功能也有所区别。\n五代至两宋时期的家具大体保留着唐代遗风，只是高型家具较前更加普及了。\n椅子非常古老和简单，虽然许多世纪以来，是一个普通使用状态。在早王朝时期，他们用布或皮革、木雕覆盖椅背和椅面，但是覆盖面积均远低于21世纪的椅子，椅面有时仅离地25厘米。在古埃及时代的椅子似乎已经被极大的丰富，老式乌木、象牙雕刻、镀金的木材等都会被使用。它们被覆盖着昂贵的材料，华丽的图案和猎杀的野兽或雕刻着的俘虏数字。一般来说，地位越高的个人，他的椅子就越高越华丽，这是种荣誉的象征。",[3418,491,857,5079,62,33,7,32,63,10494],"洋式椅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69eeff5dadc10bcabdcd08b966d436d1.jpg",[],{"id":10498,"slug":10499,"title":10491,"dynasty":130,"author":257,"museum":56,"description":10492,"tags":10500,"thumbUrl":10504,"material":420,"size":421,"collection":89,"collections":10505,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},273570,"mu-yang-shi-rong-mian-yi-yi-ming-273570",[3418,491,10501,7,32,33,63,5079,10502,62,10503],"扶手椅","洋式","家具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4787e925e546d2fbb187fe718099abb.jpg",[],{"id":10507,"slug":10508,"title":10509,"dynasty":130,"author":257,"museum":56,"description":10510,"tags":10511,"thumbUrl":10512,"material":420,"size":421,"collection":89,"collections":10513,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":93},273399,"ying-mu-jin-tai-qian-mei-hua-zhu-qian-cui-ju-hua-lan-zhi-wen-ba-jing-yi-ming-273399","硬木金胎嵌梅花珠嵌翠菊花兰芝纹把镜","中国铜镜的制作和使用具有悠久的历史，根据考古发掘，年代最早的铜镜为4000多年前的齐家文化。从齐家文化至西周末春秋早期制作的铜镜，多以纹饰简单、形体小、种类少。此一时期为中国铜镜制作早期阶段。\n春秋中晚期开始，我国铜镜制作和使用就发展起来了，特别是战国时期，铜镜的种类复杂，题材广泛，制作工艺精细，包括此时期铜镜的合金成分，其锡含量是最适合铜镜的使用，这些充分反应了铜镜在此时期制作技术已达到成熟阶段。汉代开始铜镜得到了进一步的发展，这时期的铜镜出现了新的类型，铭纹也正逐渐成为铜镜的纹饰组成部分，反映了汉代铸镜业的发达及铜镜商品化的发展。\n隋唐时期是中国铜镜高度发展时期，此时的铜镜突破了以往圆形与方形的传统形式，出现了菱花形、葵花形铜镜。特别是盛唐时期铜镜工艺精湛，著名的瑞兽葡萄镜更是闻名于世，这一时期铜镜发展达到了顶峰。\n从唐末，五代起中国的铜镜艺术日趋衰落，宋、金、元时期的铜镜，从造型、纹饰和合金成分上都有不同于传统铜镜的特点。明，清时期虽然铜镜还在人们日常生活当中使用，但到清代中后期随着玻璃的使用，铜镜逐渐退出了历史舞台。当今虽然不再有人使用铜镜整装容，但古代铜镜给予我们的除了收藏价值，还有对古代形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