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,14407,14414,14421,14429,14437,14445,14452,14462,14468,14475,14482,14489,14498,14505,14512,14519,14526,14533,14540,14547,14554,14562,14569,14576,14583,14591,14600,14608,14615,14622,14629,14637,14644,14651,14658,14664,14673,14680,14689,14696,14711,14719,14726,14734,14741,14748,14756,14763,14770,14777,14784,14792,14799,14807,14816,14824,14830,14837,14845,14854,14861,14868,14876,14883,14890,14897,14904,14911,14918,14925,14932,14939,14946,14953,14960,14967,14976,14984,14993,15001,15008,15015,15024,15031,15039,15047],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":34,"material":35,"size":36,"collection":37,"collections":38,"showCount":39,"zanCount":40,"manualWeight":11,"mainColor":41},220230,"hua-niao-chong-cao-xie-sheng-ce-die-dian-chun-hua-chen-hong-shou-220230","花鸟虫草写生册-蝶点春花","明","陈洪绶","私人收藏","陈洪绶的绘画，尤其是他以之驰誉艺坛的双勾设色花鸟画，其特点有三，一是造型的古拙，二是色彩的古艳，三是线条的寓迟涩于劲挺，既厚重且圆润。",[23,7,24,25,26,27,28,29,30,31,32,33],"高清","国画","书画","册","设色","工笔","花鸟","桃花","蝴蝶","花卉","昆虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29d24e4e72e70775f7e4626a7a610564.jpg","绢本,设色","21.5×16cm","花鸟画精选",[37],1477,14,"BDBDBD",{"id":43,"slug":44,"title":45,"dynasty":18,"author":46,"museum":47,"description":48,"tags":49,"thumbUrl":54,"material":35,"size":55,"collection":56,"collections":57,"showCount":58,"zanCount":59,"manualWeight":11,"mainColor":60},218402,"song-zi-guan-yin-tu-yi-ming-218402","送子观音图","佚名","美国大都会艺术博物馆","这块板子描绘了头戴王冠的观音菩萨，上面有一尊变身佛。他戴着耳环、项链、手镯、手链和腰部装饰品来装饰他的整个身体。她的面容庄重、慈悲、平和，她抱着一个用珠宝装饰的美丽孩子。观音菩萨坐在狮子座上，左脚上有一朵莲花。幸运的男孩在狮子的尾巴上拜了菩萨。笔触精准，色彩优雅，画风接近丁云鹏。",[23,7,24,25,50,51,28,27,52,53],"立轴","宗教","人物","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15d664823f52846dd02b7281134809d0.jpg","120.7x60.3","人物画精选",[56],233,2,"795548",{"id":62,"slug":63,"title":64,"dynasty":18,"author":65,"museum":20,"description":66,"tags":67,"thumbUrl":74,"material":35,"size":75,"collection":37,"collections":76,"showCount":77,"zanCount":78,"manualWeight":11,"mainColor":60},218918,"fu-gui-rong-hua-tu-lv-ji-218918","富贵荣华图","吕纪","吕纪，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。",[23,68,24,25,50,28,27,69,7,29,70,71,72,73],"名画","绢本","红花","白花","绿叶","枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bcefe113f289970b9573cff9f3de1c6.jpg","49x25cm",[37],232,3,{"id":80,"slug":81,"title":82,"dynasty":18,"author":83,"museum":84,"description":85,"tags":86,"thumbUrl":91,"material":35,"size":92,"collection":37,"collections":93,"showCount":94,"zanCount":95,"manualWeight":11,"mainColor":60},216220,"fu-rong-bai-lu-tu-zheng-shi-216220","芙蓉白鹭图","郑石","台北故宫博物院","郑石的《芙蓉白鹭图》是一幅著名的绢本花鸟画。这幅画描绘了一只芙蓉花和二只白鹭鸟，画面非常精致优美。这幅画是郑石最著名的作品之一，被认为是明朝花鸟画的代表作之一。郑石是明朝时期著名的画家，他的画风清新自然，画面精致细腻，对后世艺术家产生了很大的影响。",[23,7,24,25,50,28,27,29,87,88,89,32,90],"芙蓉","白鹭","柳树","禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51b6278a19e0cd0b6464e8d5101b347b.jpg","144.4x74.3cm",[37],217,1,{"id":97,"slug":98,"title":99,"dynasty":18,"author":100,"museum":101,"description":102,"tags":103,"thumbUrl":111,"material":112,"size":112,"collection":112,"collections":113,"showCount":114,"zanCount":78,"manualWeight":11,"mainColor":60},228390,"kong-que-mu-dan-tu-yin-hong-228390","孔雀牡丹图","殷宏","藏地不详","垂柳柔条轻曳，桃枝缀满繁花，引百鸟穿梭啼鸣。孔雀身披彩翎，羽斑环环相扣明丽夺目，信步于湖石之侧，气度雍容不凡。牡丹或素洁似雪，或秾艳若霞，与苍古湖石、翠色草木交织成趣，仙鹤亭亭而立更添清贵。\n整幅画笔致工细，设色妍雅柔和，将春日园林的富贵生机铺陈眼前，把翎毛花卉的灵动雅致糅合无间，尽显吉祥富丽的美好意涵，是极具代表性的工笔花鸟佳作。",[23,68,24,25,7,27,28,29,104,105,106,107,108,109,90,110],"孔雀","牡丹","树木","柳枝","山石","花朵","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe1384e37440b3476c7844a32e3504f3.jpg","",[],202,{"id":116,"slug":117,"title":118,"dynasty":18,"author":46,"museum":101,"description":119,"tags":120,"thumbUrl":127,"material":128,"size":129,"collection":112,"collections":130,"showCount":131,"zanCount":11,"manualWeight":11,"mainColor":132},228414,"shui-yue-guan-yin-zuo-xiang-yi-ming-228414","水月观音坐像","中国雕塑是指具有中国特色且原产于中国的雕塑艺术品。中国雕塑（Chinese sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[7,24,25,27,28,51,52,121,122,123,124,125,126],"云雾","重彩","佛教题材","衣纹勾勒","祥云","装饰纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e5ec879dad57cb6f26224e6447e0ea1.jpg","未知","Xcm*Xcm",[],164,"37474F",{"id":134,"slug":135,"title":136,"dynasty":18,"author":137,"museum":84,"description":138,"tags":139,"thumbUrl":141,"material":35,"size":142,"collection":37,"collections":143,"showCount":144,"zanCount":95,"manualWeight":11,"mainColor":60},216221,"jin-pu-ming-chun-tu-lu-zhi-216221","锦圃鸣春图","陆治","这幅画描绘了两只孔雀在牡丹园里争奇斗艳，鸟儿在玉兰树上春风得意。这幅画色彩热烈，反映了陆治在山水、花鸟方面的多面性。\n陆治，明代画家，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，在吴门派画家中具有一定新意，与陈淳并重于世。",[24,25,68,50,28,27,29,104,105,106,108,140,71,7],"小草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa50c4c81b69ff6eb527a5c62b8b31e46.jpg","纵146厘米，横89厘米",[37],134,{"id":146,"slug":147,"title":148,"dynasty":18,"author":46,"museum":84,"description":149,"tags":150,"thumbUrl":152,"material":153,"size":154,"collection":112,"collections":155,"showCount":156,"zanCount":157,"manualWeight":11,"mainColor":41},223648,"guan-yin-xiang-zhou-yi-ming-223648","观音像轴","这尊观音的世俗色彩浓厚，他眼睛散放著悲愍的光芒，好像一位慈祥的母亲。他的脸形、发丝、手脚都用淡墨细笔画成，笔力稳健。可是衣纹则是用楷书抄录《法华经．普门品》的经文来表现，全文从观音菩萨左臂靠近孩童的头部开始，字字连续，字迹端秀，一丝不苟，充分表现了作者虔诚的宗教情怀。\n送子观音手抱孩童，右手拿杨柳，左手捧水碗。《法华经．普门品》教导求子心切的妇女礼拜供养观世音菩萨，便能生下福德智慧的男子，或是面貌端庄的女子。画中观音衣纹以楷书抄录经文近两千字，由观音左臂靠近孩童头部开始，字字连续秀整，反映虔诚宗教情怀。 观音及孩童面目、手脚以淡墨细笔勾勒，由人物开面、体态、发髻样式及回首姿态，该幅观音当为晚明作品。",[23,68,24,25,50,51,28,27,52,151,7],"莲花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8336ee8a1cdacdeb0cfb8d89211b8fc.jpg","白纸本","98.1x35.6公分",[],130,6,{"id":159,"slug":160,"title":161,"dynasty":18,"author":46,"museum":84,"description":162,"tags":163,"thumbUrl":168,"material":169,"size":112,"collection":56,"collections":170,"showCount":171,"zanCount":78,"manualWeight":11,"mainColor":60},217063,"ming-dai-di-hou-ban-shen-xiang-yi-ming-217063","明代帝后半身像","宪宗纯皇帝与孝贞纯皇后",[24,25,28,27,52,164,165,166,167,7],"肖像","龙","衣帽","饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcae4dd485eb0cd4eaa47ae7a14e2407c.jpg","纸本,设色",[56],120,{"id":173,"slug":174,"title":175,"dynasty":18,"author":176,"museum":101,"description":177,"tags":178,"thumbUrl":185,"material":186,"size":187,"collection":56,"collections":188,"showCount":190,"zanCount":95,"manualWeight":11,"mainColor":60},222199,"gu-dai-shi-nv-li-zhou-chou-ying-222199","古代仕女立轴","仇英","图绘后院内芭蕉高大粗壮，叶片宽大下垂，一叶叶尖和中部开裂真实自然，与湖石相依成景；两位仕女头梳高髻，手执团扇，低垂的眼睑，手托下巴，或为情所困，或他事烦恼。画右侧题“实父仇英制”和印章一枚。",[23,7,24,25,50,28,27,179,52,180,181,182,183,184],"仕女","芭蕉","庭院","石阶","栏杆","古装服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3009f0a28946d85c8a86a50a39f771cf.jpg","绢本，设色","95×38cm",[56,189],"水墨画精选",113,{"id":192,"slug":193,"title":194,"dynasty":18,"author":195,"museum":196,"description":197,"tags":198,"thumbUrl":207,"material":205,"size":208,"collection":209,"collections":210,"showCount":211,"zanCount":212,"manualWeight":11,"mainColor":41},219153,"kai-shu-qian-yi-zhai-ming-ye-shen-du-219153","楷书·谦益斋铭页","沈度","北京故宫博物院","本幅书《谦益斋铭》。笔墨妍润，风姿俊雅，为“台阁体”书法之典范。",[23,199,200,7,201,202,203,204,205,206],"书法","楷书","台阁体","工整","严谨","秀丽","纸本","墨书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F165163e619419312f72d08b1e1a284d1.jpg","纵24.4厘米，横31.3厘米","书法精选",[209],111,5,{"id":214,"slug":215,"title":216,"dynasty":18,"author":46,"museum":217,"description":218,"tags":219,"thumbUrl":222,"material":27,"size":112,"collection":56,"collections":223,"showCount":224,"zanCount":11,"manualWeight":11,"mainColor":60},219244,"zeng-zhang-tian-wang-xiang-yi-ming-219244","增长天王像","美国克利夫兰艺术博物馆","青面怒目，须髯戟张，增长天王的威严扑面而来。铠甲错金缀彩，纹饰繁复如锦，每一处云纹、兽首皆精雕细琢，尽显庄重华贵。手中长剑横陈，寒光隐现，似欲斩断世间烦恼；身侧旌旗飘曳，彩带翻飞，裹挟着风雷之势。周围护法形象各异，或嗔目咆哮，或持械拱卫，动静之间，张力十足。色彩沉厚而不失明艳，线条刚劲又含灵动，将护法神祇的勇猛与神圣刻画得入木三分，仿佛能感受到那份震慑邪魔、守护正法的磅礴力量。整幅画作既保留了宗教造像的庄严法度，又以细腻笔触赋予形象鲜活生命力，尽显传统绘画的精湛技艺与精神内涵。",[23,24,28,27,122,51,52,220,125,221,7],"兵器","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4d8acda20c1ab0fd65a2786e1df0fa2.jpg",[56],100,{"id":226,"slug":227,"title":228,"dynasty":18,"author":46,"museum":229,"description":230,"tags":231,"thumbUrl":236,"material":35,"size":237,"collection":56,"collections":238,"showCount":240,"zanCount":59,"manualWeight":11,"mainColor":60},219583,"zhen-qin-huo-lang-tu-yi-ming-219583","珍禽货郎图","印第安纳波利斯艺术博物馆","画面里货郎车层层叠叠，珍禽翎羽、精巧玩物错落排布，老者俯身递出物件，眉眼含着温煦笑意。周遭稚童各有神态，或踮脚抬首凝眸张望，或蹲坐嬉玩，灵动尽显。\n\n笔线细腻遒劲，晕染古雅柔和，将巷陌间的鲜活烟火铺展开来，把货郎营生的热闹、孩童嬉游的天真揉为一处，藏着市井日常的融融暖意，尽显世俗浮生的悠然意趣，是描摹民间烟火气的精妙之作。",[23,24,28,27,52,232,233,90,234,235,7],"孩童","货郎","器物","传统","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc1b0f675a44b3481be33a930c92e338.jpg","纵161.5横97.2厘米",[56,239],"设色画精选",98,{"id":242,"slug":243,"title":244,"dynasty":18,"author":46,"museum":101,"description":245,"tags":246,"thumbUrl":250,"material":69,"size":112,"collection":37,"collections":251,"showCount":252,"zanCount":59,"manualWeight":11,"mainColor":60},236282,"wang-zi-yuan-hua-niao-ce-yi-ming-236282","王子元花鸟册","此作清雅悠然，绶带鸟栖于梨枝之上，翎毛以细笔丝描晕染，墨色层叠尽显绒羽柔泽，蓝首醒目，长尾轻曳，姿态娴静灵动。枝头梨花绽放，淡墨勾瓣，敷色轻浅柔润，将花瓣舒展之态描摹尽致。叶片以没骨晕染，浓淡晕化间尽显春日枝叶的鲜活生机。\n\n画面构图疏朗雅致，工写相融，于细腻笔触中藏着写意的悠然意趣，将禽鸟的灵动与花木的温婉相融，笔墨间晕开春日清和的淡远意境，尽显静谧雅致的文人闲情。",[24,25,26,27,28,29,247,248,249,7],"鸟","花","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c0060be9a1a7849c84dd94d58fb96a4.jpg",[37,239],96,{"id":254,"slug":255,"title":256,"dynasty":18,"author":257,"museum":84,"description":258,"tags":259,"thumbUrl":261,"material":262,"size":263,"collection":209,"collections":264,"showCount":252,"zanCount":11,"manualWeight":11,"mainColor":41},214313,"ci-chang-shou-cai-lv-shi-wen-zheng-ming-214313","赐长寿彩缕诗","文徵明","释文：紫宸朝下锡灵丝。金水桥边拜命时。文绣自天腾五色。光华约臂结双螭。重惭潦倒随恩泽。还忝班行覩盛仪。愿得君王千万寿。日华常照衮衣垂。赐长寿彩缕。征明。",[23,7,199,260,50],"行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F353897f0799e885400bd52daa4fd9296.jpg","纸本,水墨","347.1x97.8",[209],{"id":266,"slug":267,"title":268,"dynasty":18,"author":269,"museum":84,"description":270,"tags":271,"thumbUrl":286,"material":287,"size":288,"collection":37,"collections":289,"showCount":290,"zanCount":11,"manualWeight":11,"mainColor":41},222555,"qiu-tang-hua-ya-zhou-chen-chun-222555","秋塘花鸭轴","陈淳","陈淳，1483年生，1544年逝世（另一种说法是1482—1539），长洲（今江苏苏州）人。字道复，后以字行，更字复甫，号白阳，又号白阳山人。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。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。",[23,24,50,272,27,273,29,274,275,276,277,278,7,279,90,32,280,281,282,283,284,285],"水墨","写意","荷花","莲蓬","鸭子","水草","芦苇","秋景","植物","淡彩","文人画","写意花鸟","水墨设色","明代绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57ed2c1673a772976ff5fcf779defb76.jpg","纸本设色","90.8x36.2厘米",[37,239],95,{"id":292,"slug":293,"title":294,"dynasty":18,"author":46,"museum":84,"description":295,"tags":296,"thumbUrl":297,"material":35,"size":298,"collection":56,"collections":299,"showCount":290,"zanCount":11,"manualWeight":11,"mainColor":60},216956,"guan-yin-da-shi-xiang-yi-ming-216956","观音大士像","画一僧人，以狮子为座骑。名虽为观音，当是文殊。 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陈淳应为58岁，此作亦为其是画风成熟之作。从其题跋可以得知陈淳游历数月，画作颇丰，认为此作为“草本”，可见其自觉并无刻意求工，描写大略而已。\n卷尾文彭题曰：“赵昌王友已无伦，更学徐熙更逼真。意到不论颜色似，笔端原有四时春。阅白阳杂花漫题。文彭。”充分体现了吴门花鸟画的文人雅趣，“意到不论颜色似”概括了文人写意的特征，而“漫题”也体现了题咏者的状态，反映出文人书画家的共同气质特点与审美追求。\n文人王穉登的题跋则突出了对陈淳花卉写生推崇与称赞。“写生贵在约略点染，天真烂如。不当以分葩计蕊为似，重丹叠翠为工。观此册陈道复先生所作，粉墨萧闲，意象自足，所谓千金骏骨，识者求之牝牡骊黄之外可也。”此段题跋强调了陈淳花卉写生最主要的特点，即约略点染，不求工细，而意象自足。\n卷尾的金农长跋也对陈淳“行笔绝无时蹊，设色亦未敷采炫目，画以意似而非以形似也”的风格进行梳理，论述了写意书写的源流。但这段题跋存在一些问题。其一，通篇书体较为拘谨，特别是每行末字，刻意缩减对齐，非常局促。其二，“后世临写纷纷，徒劳豪楮”中“豪”应为“毫”之误。此出自大文人之手，有些牵强。其三，“此册九叶，花草凡七，间以山水两帧。”所述并非此册，极有可能是将他处题跋移接此处所致。所以这段金农题字不足以为据，至于真伪原由的评断，是另外的话题。本文主要论及陈淳花卉写生的艺术特点，就不将此段金农的论述作为讨论的依据了。\n变化生动自然，是陈淳花卉写生的代表作。如果将此册置于陈淳传世花鸟画作品中做一纵向比对，可以发现其共性的特征集中体现在这件作品中，同时，这件作品还有一些不同于其他作品的独到之处，都统一在率意自足的书写风格之中。所以这件陈淳绘画风格成熟期的作品，总体来看，体现了陈淳如下几个方面的鲜明的艺术特点。",[23,68,24,25,7,273,272,27,29,32,249,73,109,283],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42c3b1556563313a1660bdbd2d2b3b30.jpg","32.5×57.3厘米",[],85,{"id":352,"slug":353,"title":354,"dynasty":18,"author":355,"museum":47,"description":356,"tags":357,"thumbUrl":359,"material":35,"size":360,"collection":37,"collections":361,"showCount":362,"zanCount":11,"manualWeight":11,"mainColor":60},219312,"hua-die-tu-lv-jing-fu-219312","花蝶图","吕敬甫","棕褐底色如古笺轻展，鲜妍花卉自其间漾开生机。粉白花瓣晕染淡红边缘，似沾晨露般娇嫩；翠叶柔茎交错，脉络清晰如织。彩蝶翩跹，或振翅掠花，或停瓣小憩；草虫隐于叶底，细足微蜷，灵动毕现。笔墨细腻见工致，设色淡雅含明艳，晕染自然天成。画面简而丰沛，动静相宜，将田园闲逸凝于尺幅。观之如沐清风，心随蝶影轻飏，仿佛能闻花叶簌簌、虫翅微振，尽得自然野趣与雅致情味。",[24,28,27,29,31,33,32,7,280,358],"飞虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F487bfc2f1c455b3d2ec1c663f8992c9a.jpg","101.6x53cm",[37],84,{"id":364,"slug":365,"title":366,"dynasty":18,"author":46,"museum":47,"description":367,"tags":368,"thumbUrl":370,"material":35,"size":371,"collection":56,"collections":372,"showCount":362,"zanCount":95,"manualWeight":11,"mainColor":60},218510,"wang-yuan-shuai-tu-yi-ming-218510","王元帅图","这是一幅道教的水陆画，出自明朝的一位宫廷画家之手。它原本是晚清皇帝翁同龢的收藏品，但后来传到了国外。",[24,25,7,51,28,27,52,165,369],"云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9f92abe7d417f37cf2f5565f9557e76.jpg","98.4x62.5",[56],{"id":374,"slug":375,"title":376,"dynasty":18,"author":46,"museum":101,"description":377,"tags":378,"thumbUrl":379,"material":112,"size":112,"collection":112,"collections":380,"showCount":381,"zanCount":95,"manualWeight":11,"mainColor":41},239636,"wen-zheng-ming-guo-qin-lun-ce-yi-ming-239636","文征明过秦论册","此作用笔精劲秀雅，结体端稳匀停，是极具代表性的明代小楷佳作。笔画舒展利落，起收间法度谨严，通篇排布疏朗有致，行气贯通流畅。以雅致笔墨书写史论篇章，笔墨与文辞相融，既带着台阁体的娟秀规整，又蕴含文人书法的清逸风骨，字字珠玑间尽显沉厚的帖学功底。运笔间藏露得宜，点画精致细腻，不见一丝浮滑潦草，将史论的沉郁思辨与书法的静雅气质相融，尽显书写者的从容笔力与文人心境，是书文合璧的精妙之作。",[25,199,26,200,309,272,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab6790cda2be73a7433191619dae03f7.jpg",[],80,{"id":383,"slug":384,"title":385,"dynasty":18,"author":386,"museum":84,"description":387,"tags":388,"thumbUrl":393,"material":394,"size":395,"collection":37,"collections":396,"showCount":397,"zanCount":95,"manualWeight":11,"mainColor":60},222173,"jia-he-cao-chong-tu-wu-bing-222173","嘉禾草虫图","吴炳","本幅选自「名绘集珍」册。画水稻两株，在田间婷婷伫立，成串的稻穗，已经俯首低垂。蝴蝶、花虻和蜻蜓，有的兀自在空中飞舞，有的则栖息在叶梢。由于右上方的叶子，和上方的稻穗，均溢出了画幅的边界，推测可能是表面曾经遭到污损，才由大裁小，改装成现在所看到的形式。",[23,7,24,68,28,27,29,389,390,31,391,392,280],"嘉禾","草虫","蜻蜓","蜜蜂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c3e40e787e59113179f539e535e2cfe.jpg","册页，设色","27.3 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，亦称“天门四杰”。沈、文、唐三家，不仅以画取胜，且佐以诗句题跋，就画格而言，唐，仇相接近。仇英在他的画上，一般只题名款，尽量少写文字，为的是不破坏画面美感，因此画史评价他为追求艺术境界的仙人。",[24,25,433,7,28,27,52,179,434,435,181,29],"扇面","美人","楼阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3f8f3181d7241595427cab87333c805.jpg",[],71,{"id":440,"slug":441,"title":442,"dynasty":18,"author":46,"museum":101,"description":443,"tags":444,"thumbUrl":450,"material":112,"size":112,"collection":112,"collections":451,"showCount":452,"zanCount":95,"manualWeight":11,"mainColor":60},232907,"fang-huang-quan-hua-niao-chong-die-yi-ming-232907","仿黄荃花鸟虫蝶","冬夜闻虫\n【唐】白居易\n虫声冬思苦于秋，不解愁人闻亦愁。\n我是老翁听不畏，少年莫听白君头\n冬天虫鸣，比秋天更让人发愁，即便不懂愁绪的人听了也会感到忧愁。我已经是个老人了，听了也没什么关系，年轻人就不要听了，那会让你愁白头的。",[23,7,24,25,308,28,27,445,29,446,447,448,31,449,309,199,260],"临摹","虫蝶","竹","花草","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff995cf8766f0528a866e2854e3963bca.jpg",[],64,{"id":454,"slug":455,"title":456,"dynasty":18,"author":457,"museum":84,"description":458,"tags":459,"thumbUrl":463,"material":287,"size":464,"collection":37,"collections":465,"showCount":452,"zanCount":11,"manualWeight":11,"mainColor":41},222064,"jian-qiu-luo-ji-lin-da-222064","剪秋罗鸡","林达","此图为《明林达花卉翎毛册》中的一页。林达（年代不详），字志道，号愧吾，福建莆田人。俊子。正德九年（1514）进士，历官南京吏部考功郎中。",[23,68,24,25,7,27,28,29,460,32,449,461,462],"小鸡","地面","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5ad09435dd181cbb24bac44d2945b7b.jpg","29.7×40.4cm",[37,239],{"id":467,"slug":468,"title":469,"dynasty":18,"author":46,"museum":101,"description":470,"tags":471,"thumbUrl":476,"material":128,"size":129,"collection":477,"collections":478,"showCount":479,"zanCount":11,"manualWeight":11,"mainColor":60},223921,"guan-yao-qing-hua-feng-huang-wan-yi-ming-223921","官窑 青花凤凰碗","官窑，是南宋宋高宗时期一些窑口专为宫廷烧制的瓷器，供御捡退，在当时俗称"官窑“。官窑，毛公洞第一（今 江苏扬州一带）。南宋官窑瓷器沿袭北宋风格，规整对称，宫廷气势，高雅大气，一丝不苟。因为胎土含铁量极高，手感沉重，胎土呈深黑褐色，后称”紫口铁足“。釉面沉重幽亮，釉厚如堆脂，温润如玉。釉面多层反复细刮，釉光下沉而不刺眼，纹理布局规则有致，造型庄重大方。另外”肉腐留骨“（露胎处像死人骨头，俗称”骨董“）也是那时所造。我们今天所称官窑泛指历朝官府烧造瓷器，其实，历史上仅指南宋时期烧造的瓷器，后世再无此称呼。\n官窑起自唐，有两种涵义，一是指贡器，一是指官厂。自唐代至元代（公元八世纪~十四世纪），官窑多有贡器，少有官厂，采取的形式是“官监民烧”，烧出的瓷器，“千中选十，百中选一”，进贡给统治阶级。这种瓷器就叫做贡瓷和官窑。那时，唐代在产瓷区设有司务，如唐景隆初（公元707~709年）褚绥为新平(景德镇)司务，奉诏监烧献陵祭器。宋代设监，如太平兴国年间(公元976~983年)，派殿前承旨赵仁济监理越州窑务。到了元代则设局，以提领监陶，后改为本设总管。他们烧出的“景德年制”，“枢府’等款式的瓷器，分别称为“景德窑’，“枢府窑”等。\n官窑之谓，在中国古代陶瓷史上有不同的内涵。就广义而言，是有别民窑而专为官办的瓷窑，其产品为宫廷所垄断。在宋代瓷器中，官窑即是一种专称，指北宋和南宋时在京城汴京（汴梁，今开封）和临安（今杭州）由宫廷设窑烧造的青瓷，故又有“旧官”和“新官”之分，前者为北宋官窑，后者为南宋官窑。\n官窑是在宋大观及政和年间于汴梁所造，青瓷釉色晶莹惕透，有开裂或呈冰片状，粉青紫口铁定是其特色。\n宋室南移在凤凰山下设立官窑，又称修内司官窑或内窑，郊坛下设立的郊坛下官窑，器形较多，有直径大过一尺的大型产品。\n从1128年元世祖忽必烈设置“浮梁磁局”，到二十世纪清朝覆亡，景德镇是元、明、清三代皇家瓷厂所在地，中国的官窑制度在这里延续了632年，江西景德镇也由此拥有烧造时间最长、规模最大、工艺最精巧的官办瓷厂。景德镇地下也因此存有大量因禁绝流入民间而被就地掩埋的古碎瓷，成为中国品类最完整、年代最可靠、信息最丰富的官窑遗址和“地下瓷都”。北宋官窑也称汴京官窑。相传北宋大观、政和年间，在汴京附近设立窑场，专烧宫廷用瓷器，即北宋官窑。南宋顾文荐《负暄杂录》记载："宋宣政间（宣和、政和即公元1111－1125年）京师自置窑烧造，名曰官窑"，南宋叶在其《垣斋笔衡》中对北京官窑亦有记载："政和京师自置窑烧造，名曰官窑"。当时的京师即汴京（今开封），因宋代汴京遗址已沉入地底，到今为止，尚未发掘出北宋官窑遗址，对于北宋官窑遗址缺乏考古发掘地资料和充足的文献资料的支撑，因此，时到今，关于北宋官窑遗址在何处，仍有不同说法，一般有三种说法：一说北宋官窑即为汝窑；二说否认北宋官窑的存在；三说为北宋官窑即为汴京官窑，它与南宋时的修内司官窑先后存在。\n南宋顾文荐《负睻杂录》记载：“宋宣政间（宣和、政和即公元1111~1125年）京师自置窑烧造，名曰‘官窑’”，南宋叶寘在其《垣斋笔衡》中对北京官窑亦有记载：“政和京师自置窑烧造，名曰‘官窑’”。明代《事物绀珠》、《留留青》因袭此说。当时的京师即汴京(今河南开封)，因宋代汴京遗址已沉入地下，到今为止，尚未发掘出北宋官窑遗址。对于北宋官窑遗址缺乏考古发掘地资料和充足的文献资料的支撑，因此，今关于北宋官窑遗址在何处，仍有不同说法，一般有三种说法：一说北宋官窑即为汝窑；二说否认北宋官窑的存在；三说为北宋官窑即为汴京官窑，它与南宋时的修内司官窑先后存在。支持第三种说法的人较多。\n北宋官窑传世品很少，形质与工艺与汝窑有共同处。器多仿古，主要有碗、瓶、洗等。胎体显厚，胎骨深灰、紫色或黑色，釉色有淡青、粉青、月白等，釉质莹润温雅，尤以釉面开大裂纹片著称，不同于南宋官窑和汝窑及龙泉窑瓷器。底有文钉烧痕，有“紫口铁足”的特征。",[7,472,473,474,475],"陶瓷","青花","凤凰","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bf87d4eb33e6660751b48f7f249bb87.jpg","瓷器精选",[477],63,{"id":481,"slug":482,"title":483,"dynasty":18,"author":484,"museum":101,"description":485,"tags":486,"thumbUrl":489,"material":128,"size":129,"collection":112,"collections":490,"showCount":491,"zanCount":95,"manualWeight":11,"mainColor":41},234847,"hai-tang-fu-die-tu-shan-ye-qu-yuan-jing-234847","海棠蚨蝶图扇页","瞿元镜","瞿元镜 约生于本年／常熟人。瞿世耜之子。一名镜，字端叔。常熟诸生。喜花鸟，工篆刻。明忠宣公子，父亡，十龄流落于外，人无有过而问之者，顾云美以夙谊收恤",[68,24,25,433,27,28,487,31,109,488,33,7],"海棠","叶子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F782c7e9c61bf22243ba7bc8fbc180917.jpg",[],62,{"id":493,"slug":494,"title":495,"dynasty":18,"author":46,"museum":101,"description":496,"tags":497,"thumbUrl":501,"material":128,"size":129,"collection":112,"collections":502,"showCount":503,"zanCount":59,"manualWeight":11,"mainColor":504},256800,"qing-hua-chan-zhi-lian-pi-pa-wen-ju-ban-wan-yi-ming-256800","青花缠枝莲枇杷纹菊瓣碗","青花瓷（blue 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。",[472,473,7,498,499,500,475],"缠枝莲","枇杷","菊瓣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eb1d2dd195ae5e1486a45ecc5759b93.jpg",[],59,"9C27B0",{"id":506,"slug":507,"title":508,"dynasty":18,"author":46,"museum":84,"description":509,"tags":510,"thumbUrl":511,"material":512,"size":513,"collection":112,"collections":514,"showCount":503,"zanCount":11,"manualWeight":11,"mainColor":60},223490,"ming-tai-zu-zhu-yuan-zhang-zuo-xiang-tu-zhou-yi-ming-223490","明太祖朱元璋坐像图轴","明太祖（1368－1398在位），明朝開國皇帝，姓朱，名元璋，年號洪武，濠州 (今安徽鳳陽)人。幼孤，入皇覺寺為僧，元末群雄並起，有雄才，以布衣成帝業。\n絹地彩繪太祖坐像，筆筆工整，風格嚴謹，幅面巨大，氣派堂皇。畫中皇帝頭戴烏紗折角向上巾，身著圓領織金盤龍皇袍，端坐金扶手椅，容貌豐偉，鬚短而黑，當值盛年。",[23,24,25,50,7,28,27,52,165,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa200f5ca4dc4d864c1d4c5a8a568a941.jpg","绢本设色","137x84",[],{"id":516,"slug":517,"title":518,"dynasty":18,"author":46,"museum":84,"description":519,"tags":520,"thumbUrl":526,"material":27,"size":112,"collection":239,"collections":527,"showCount":503,"zanCount":11,"manualWeight":11,"mainColor":60},219352,"ji-tu-yi-ming-219352","鸡图","红冠劲挺的雄鸡立于侧，黑羽如缎，尾翎舒展若墨染；白羽带斑的母鸡低头轻啄，身旁雏鸡憨态可掬，或蹭母翼下，或伸颈欲食，亲子温情流淌于笔端。旁侧百合悄然绽放，淡粉花瓣与嫩绿枝叶点缀，添几分雅致。古绢底色沉敛，线条细劲精准，设色温润自然——雄鸡艳红与黑羽对比鲜明，母鸡素白与雏鸡嫩黄相映成趣。无繁复布景，却以细腻笔触勾勒鸡群生动情态，既有田园恬淡，又暗合“吉（鸡）祥和合（百合）”的美好期许，尽显明代工笔花鸟的雅致意趣与生活气息。",[7,24,25,28,27,69,521,522,523,460,32,524,525],"花鸟画","公鸡","母鸡","草丛","石块","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf02b4d3eb9621cbc675af2bd1bf32f3.jpg",[239],{"id":529,"slug":530,"title":531,"dynasty":18,"author":532,"museum":84,"description":533,"tags":534,"thumbUrl":539,"material":35,"size":540,"collection":37,"collections":541,"showCount":503,"zanCount":11,"manualWeight":11,"mainColor":60},219319,"qu-ge-jie-shou-tu-zhou-zhi-mian-219319","衢歌介寿图","周之冕","周之冕(1521-?)，明代画家。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。",[7,535,24,25,50,69,27,29,32,90,536,108,537,538],"古画","松树","勾花点叶","兼工带写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F345b4913e090ae3d73841591489baea3.jpg","138.1×56.7cm",[37],{"id":543,"slug":544,"title":545,"dynasty":18,"author":46,"museum":546,"description":547,"tags":548,"thumbUrl":549,"material":35,"size":550,"collection":56,"collections":551,"showCount":503,"zanCount":95,"manualWeight":11,"mainColor":60},218521,"guan-yuan-xiang-tu-yi-ming-218521","官员像图","大英博物馆","图中画有一个官员手持笏板。这幅画的服装应该是宋代官员的服装",[24,25,28,27,52,166,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1592dd4e87d3a2396d5fedf8e80764c2.jpg","34.5x21.5",[56],{"id":553,"slug":554,"title":555,"dynasty":18,"author":269,"museum":344,"description":345,"tags":556,"thumbUrl":559,"material":287,"size":348,"collection":112,"collections":560,"showCount":561,"zanCount":95,"manualWeight":11,"mainColor":41},222567,"hua-hui-tu-6-chen-chun-222567","花卉图6",[23,24,25,27,272,273,29,32,557,449,249,7,558,284],"草","花鸟写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68019c2e22e4fd3401f2575cba804984.jpg",[],58,{"id":563,"slug":564,"title":565,"dynasty":18,"author":46,"museum":546,"description":566,"tags":567,"thumbUrl":568,"material":35,"size":112,"collection":56,"collections":569,"showCount":561,"zanCount":95,"manualWeight":11,"mainColor":60},219570,"lie-xian-tu-yi-ming-219570","列仙图","此作是道教仙官造像的经典手笔，人物分两列肃穆排布，尽显仙班整饬威仪。八位仙官仪容端方沉静，冠冕华服纹样繁丽工细，朱红石青晕染出古雅厚重的色调，衣袂间暗纹流转古朴雅致。人人手持朝笏，头覆圆光，晕出神圣清寂的气韵。背景祥云舒卷，漫出缥缈空灵的天界氛围。\n\n历经岁月，绢面虽有斑驳旧痕，却更衬设色的沉凝精妙，将天界仙僚的端严神圣凝于绢上，承载着旧时对玄穹仙班的敬畏与瑰丽想象。",[23,24,25,27,28,52,51,125,408,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4400c57ed5ee3fbe7fffc6b7e169558.jpg",[56],{"id":571,"slug":572,"title":573,"dynasty":18,"author":574,"museum":575,"description":576,"tags":577,"thumbUrl":581,"material":35,"size":582,"collection":37,"collections":583,"showCount":584,"zanCount":11,"manualWeight":11,"mainColor":60},219081,"lu-cong-shuang-e-tu-lin-liang-219081","芦丛双鹅图","林良","费城艺术博物馆","芦苇叶渐枯，零零散散的芦花开放，芦丛中两只鹅正啄着芦苇叶，黑色的羽毛，翅膀下露出白色的绒毛，几条黑色的勾线体现出了绒毛的柔软。 林良，字以善，广东广州府南海县扶南堡（今广东佛山市南海区大沥）人，明代著名画家，广东绘画史上第一个进入主流性行列的画家。",[24,25,7,29,272,273,278,578,90,579,580],"鹅","禽鸟画","水墨花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9b092c0a58f8959a48a02ec93af2364.jpg","纵146厘米，横88厘米",[37],52,{"id":586,"slug":587,"title":588,"dynasty":18,"author":46,"museum":101,"description":496,"tags":589,"thumbUrl":598,"material":128,"size":129,"collection":112,"collections":599,"showCount":600,"zanCount":11,"manualWeight":11,"mainColor":60},223935,"qing-hua-chuan-lian-long-wen-tian-qiu-ping-yi-ming-223935","青花穿莲龙纹天球瓶",[472,473,7,165,590,591,592,593,594,595,596,597],"莲","穿花","纹饰","青花技法","龙纹","缠枝莲纹","天球瓶器形","明代陶瓷风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ac7fda53cefc8f8360119a59218fabe.jpg",[],50,{"id":602,"slug":603,"title":604,"dynasty":18,"author":46,"museum":575,"description":605,"tags":606,"thumbUrl":609,"material":610,"size":611,"collection":37,"collections":612,"showCount":600,"zanCount":11,"manualWeight":11,"mainColor":132},219101,"zao-yu-tu-yi-ming-219101","藻鱼图","墨色晕染间，清浅水泽渐显。一尾大鱼摆尾游弋，鳞片层层叠叠如细网，纹理毕现；鳍翼舒展似带，姿态灵动若欲破纸而出。周遭数尾小鱼穿梭往来，或潜或浮，水藻轻曳于碧波，浮萍点点映于水面，更添生机。笔墨细腻处见鳞羽之微末，粗放处显水态之苍茫。简淡构图中藏自然野趣，虽无落款，却于动静相宜间尽显明代鱼藻画的雅致意趣——以物寄情，于寻常水族中见生命之美，于古雅绢素上留一段清逸时光。",[24,25,7,28,27,607,608],"鱼","水藻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde6dabc68c34df057f3be3974e848c64.jpg","绢本,水墨","纵188横99.1厘米",[37],{"id":614,"slug":615,"title":616,"dynasty":18,"author":617,"museum":319,"description":618,"tags":619,"thumbUrl":621,"material":35,"size":112,"collection":56,"collections":622,"showCount":623,"zanCount":95,"manualWeight":11,"mainColor":41},219891,"wang-yang-ming-xiao-xiang-cai-shi-xin-219891","王阳明肖像","蔡世新","众画师绘制王阳明的正面像，很难描绘出其两颧棱峭的面貌特征，王阳明多不满意。蔡世新年幼即从王阳明学习，非常熟悉老师的形貌特征",[24,25,7,52,28,27,620,199,309],"典籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F275b5a52018d4ba6a2ede02fa6df1460.jpg",[56],49,{"id":625,"slug":626,"title":627,"dynasty":18,"author":628,"museum":229,"description":629,"tags":630,"thumbUrl":641,"material":69,"size":642,"collection":112,"collections":643,"showCount":644,"zanCount":95,"manualWeight":11,"mainColor":60},231591,"kong-que-tu-lu-zhao-yang-231591","孔雀图","卢朝阳","这幅画描绘了一对生活在牡丹丛中巨石上的孔雀，以及杏花丛中的一对蓝丝带。 卢朝阳代代相传的作品很少。 这个有边景昭，吕纪风致，可以看出他学来的渊源。",[23,24,27,28,29,104,105,631,110,108,32,7,69,632,633,634,635,90,636,73,109,637,638,639,640],"梅花","翎毛","花卉禽鸟","传统绘画","工笔重彩","花木","羽毛","苔点","晕染","勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee51507f3008fc01a7b7141c72840283.jpg","281x119厘米",[],48,{"id":646,"slug":647,"title":648,"dynasty":18,"author":649,"museum":84,"description":650,"tags":651,"thumbUrl":653,"material":262,"size":654,"collection":209,"collections":655,"showCount":656,"zanCount":95,"manualWeight":11,"mainColor":132},214224,"gong-yan-shi-song-ke-214224","公宴诗","宋克","公宴诗是一首中国古代诗歌，作者是宋克明。公宴是中国古代的一种社交形式，通常由统治者或较高社会地位的人主办，以向与会者表示尊敬和感谢。\n\n这首诗歌描述了一场公宴的气氛和场景，表达了作者对古代文化和社会生活的热爱。根据诗歌的内容，我们可以想象出这场公宴是一个盛大而隆重的活动，充满了美食、音乐、艺术、娱乐和交流的氛围。",[23,24,25,199,50,260,652,272,7],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818c8d2b7b8096f89247b372eedeb655.jpg","111.7x32.4",[209],47,{"id":658,"slug":659,"title":660,"dynasty":18,"author":46,"museum":101,"description":661,"tags":662,"thumbUrl":665,"material":128,"size":129,"collection":477,"collections":666,"showCount":667,"zanCount":95,"manualWeight":11,"mainColor":132},254256,"de-hua-yao-bai-you-guan-yin-pu-sa-zuo-xiang-yi-ming-254256","德化窑白釉观音菩萨坐像","德化窑位于今福建德化，故名。作为著名的瓷窑，是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n德化瓷器是中华陶瓷烧造中的艺术珍品，始于宋代，明代后得到巨大发展。以白瓷塑佛像闻名。其制作细腻，雕刻精美，造型生动，体现了古代劳动人民的卓越才能和艺术创造力。\n在今福建德化，故名。是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n碗坪仑烧瓷较屈斗宫古窑址早，烧青白瓷，有的接近白釉，刻花蓖划纹装饰较多，盒子遗留甚丰，盖面所印阳纹装饰达一百余种，题材之丰富在南方地区首屈一指，南宋时有专门制作盒子的作坊，盒盖上阳文印花装饰题材丰富，有动物、花卉等近百种图案。划花间篦划纹亦较多，饰在碗、盘、瓶等器物上。\n屈斗宫元代办烧青白瓷，从南宋至元代。明代盛烧白瓷观音、达摩等塑像，胎釉浑然一体，如同白玉，被赞为"象牙白"、"奶白"或 "天鹅绒白。清代除烧白瓷外，盛烧青花与彩绘瓷器。元代以来，德化窑瓷器输出海外，菲律宾、马来西亚出土有元代德化窑青白瓷，泰国及东非坦桑尼亚等国家也出土有清代德化窑青花瓷器。\n这种瓷器的制作工艺程序如下：他们从地下挖取一种泥土，将它垒成一个大堆，任凭风吹、雨打、日晒，从不翻动，历时三、四十年。泥土经过这种处理，质地变得更加纯化精炼，适合制造上述各种器皿，然后抹上认为颜色合宜的釉，再将瓷器放入窑内或炉里烧制而成。因此，人们挖泥堆土，目的是替自已的儿孙贮备制造瓷器的材料而已，大量的瓷器是在城中出售， 一个威尼斯银币能买到八个瓷杯“。马可波罗的介绍，引起了西方人的强烈兴趣。",[7,472,51,52,663,664],"雕刻","白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff312c083ebb290befe0117ffdd19a75c.jpg",[477],43,{"id":669,"slug":670,"title":671,"dynasty":18,"author":672,"museum":101,"description":673,"tags":674,"thumbUrl":676,"material":128,"size":129,"collection":112,"collections":677,"showCount":667,"zanCount":11,"manualWeight":11,"mainColor":60},228880,"zhu-cha-shi-wen-zheng-ming-228880","煮茶诗","文徴明","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。\n文徵明曾学文于吴宽，学书法于李应祯，学画于沈周，生平九次参加乡试均不中。嘉靖二年（1523年），以岁贡生参加吏部考试，被授予翰林院待诏之职。嘉靖五年（1526年），文徵明辞官归乡，专事创作。\n嘉靖三十八年（1559年）二月二十，文徵明去世，享年九十。其弟子私谥贞献。\n文徵明诗、文、书、画无一不精，人称“四绝”，其与沈周共创“吴派”。在画史上与沈周、唐寅、仇英合称“明四家”。在文学上，与祝允明、唐寅、徐祯卿并称“吴中四才子”。",[23,25,199,260,50,7,272,309,675],"煮茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fb1d4b72435f608c2fe35218f6399b3.jpg",[],{"id":679,"slug":680,"title":681,"dynasty":18,"author":269,"museum":344,"description":345,"tags":682,"thumbUrl":683,"material":287,"size":348,"collection":112,"collections":684,"showCount":667,"zanCount":11,"manualWeight":11,"mainColor":41},222564,"hua-hui-tu-3-chen-chun-222564","花卉图3",[23,68,24,25,29,273,272,27,32,449,309,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb34c461d6fd907b9261669a6aad2bf19.jpg",[],{"id":686,"slug":687,"title":688,"dynasty":18,"author":689,"museum":546,"description":690,"tags":691,"thumbUrl":696,"material":169,"size":697,"collection":698,"collections":699,"showCount":667,"zanCount":11,"manualWeight":11,"mainColor":41},217878,"zhou-li-yuan-shang-kuan-shen-ce-hu-yu-kun-217878","周栎园上款什册","胡玉昆","层岩叠嶂以劲挺线条勾勒，皴擦间显山石嶙峋之态；山间林木疏朗，掩映幽径，远处峰岫隐现，留白处生悠远之境。左侧题跋笔意洒脱，文句含蕴哲思，诗画交融间，墨色与心境共生。山石的刚健与林木的清逸相映，题跋的禅意与山水的空灵相契，尽显传统文人画诗书画印一体的雅韵，传递出静观自然、叩问本心的清雅情怀。笔锋流转处，既有山水的雄浑气象，又藏文人的细腻思致，于尺幅间铺展一幅融视觉与心境于一体的雅致画卷。",[68,24,25,272,692,260,199,693,694,422,106,695,7],"皴法","山水","山峰","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7e4408ed38bf72fc6032dc84cddd4e5.jpg","24.7x32.3cm","山水画精选",[698],{"id":701,"slug":702,"title":703,"dynasty":18,"author":137,"museum":101,"description":704,"tags":705,"thumbUrl":709,"material":112,"size":112,"collection":112,"collections":710,"showCount":711,"zanCount":95,"manualWeight":11,"mainColor":41},233799,"li-hua-bai-yan-shan-mian-lu-zhi-233799","黎花白燕扇面","明代画家陆治的花鸟画多表现出与众不同的格调，《梨花双燕图》所展现出的境界与同时期的明代画家甚至于他自己的其他作品也完全不同。工笔与写意结合，勾勒中粗细结合，整幅画上画幅只占小部分，大部分都是题字，并有文征明的亲笔题跋。而在众多题字中尤为值得关注的就是乾隆御题，此作曾经两次被乾隆当皇上和太上皇两个时期展阅过。《梨花双燕图》构图上采用较为传统的对角线方式描绘花枝，敷色雅致，对梨花和燕子形态的描绘生动传神。画面上有作者自题诗句一首，署款“包山陆治制”，并钤有乾隆内府玺印多方。《梨花双燕图》堪称陆治花鸟画代表作。\n陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因居包山，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。",[7,433,24,25,28,27,29,706,707,708],"梨花","白燕","树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57e90a284399b9a35c0b28c400c76c4c.jpg",[],41,{"id":713,"slug":714,"title":715,"dynasty":18,"author":716,"museum":331,"description":717,"tags":718,"thumbUrl":722,"material":205,"size":723,"collection":698,"collections":724,"showCount":711,"zanCount":11,"manualWeight":11,"mainColor":41},222572,"wan-he-qiu-tao-tu-he-hao-222572","万壑秋涛图","何浩","此幅作品就画的是松树。据此笔者认为这个名叫何浩的画家，是一位明代中期与画家林良同时或略晚于林良的供职宫廷的职业画家。那么，现在又可以多出一名明朝的宫廷画家了，又可以增加一幅明朝的宫廷绘画作品了。",[23,24,25,308,272,693,692,106,108,719,121,309,7,279,720,721],"流水","山谷","植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c2dc1674f138f535644c5f04d9896db.jpg","纵27厘米、横448厘米",[698,189],{"id":726,"slug":727,"title":728,"dynasty":18,"author":46,"museum":101,"description":729,"tags":730,"thumbUrl":731,"material":128,"size":129,"collection":112,"collections":732,"showCount":733,"zanCount":95,"manualWeight":11,"mainColor":60},238966,"song-yuan-ming-hua-ce-ming-ren-hua-hui-cao-chong-tu-ye-yi-ming-238966","宋元明画册－明人花卉草虫图页","此作为工笔花鸟小品，以团扇承载幽微野趣。牵牛花藤蔓萦回，叶片俯仰错落，红瓣晕染出娇嫩层次，白蕊点缀其间，鲜活明妍，将盛夏花卉的柔婉生机尽数铺展。\n草虫隐匿花间，蚱蜢静伏枝桠，翅脉纹路细腻宛然，粉蝶恋花低徊，飞虫振翅欲去，动静交织，把郊野一隅的刹那鲜活定格绢上。设色调和古雅，赭色绢底衬得花叶愈发清妍不俗，细劲秀逸的线条勾勒出草木柔态与虫豸灵动，尽显雅致工丽，将夏日闲静小景凝于尺幅之间，引人沉醉在这静谧鲜活的方寸天地里。",[24,25,26,27,28,7,29,390,87,31,32,488],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4bc0d30b118796ae3802452fc2608ee.jpg",[],40,{"id":735,"slug":736,"title":737,"dynasty":18,"author":65,"museum":196,"description":738,"tags":739,"thumbUrl":745,"material":186,"size":746,"collection":112,"collections":747,"showCount":748,"zanCount":11,"manualWeight":11,"mainColor":60},233850,"gui-ju-shan-qin-tu-zhou-lv-ji-233850","桂菊山禽图轴","此图为工笔重彩花鸟与写意树石相结合的作品。所绘主体花鸟：绶带鸟、八哥、桂花、秋菊，均属于祥瑞、珍贵之物，寓有富贵长寿和君子节操含意，内容明显地反映了皇家的艺术和审美旨趣。\n画面的物象既真实地展现了生物的自然本性，也形象地表达了内涵的寓意。桂树干粗叶茂，枝头繁花如锦，黄色金桂似散出阵阵幽香；石畔数丛菊花，红、黄、粉、白，色彩斑斓，竞相斗艳；枝头八哥相对鸣叫，突出了其善鸣秉性；绶带鸟身姿优美，深蓝色羽毛分外夺目。花鸟绚丽的色泽和生动的情致，营造出喜庆、欢悦的气氛和吉祥、华美的意趣。\n此图画法工整鲜丽，继承了宋代“黄家富贵”的宫廷“院体”花鸟传统。同时，工笔重彩的花鸟与粗笔水墨的树石相间，也反映了吕纪兼工带写的成熟花鸟画风格。",[7,28,27,740,741,742,743,110,744,108,32],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朱文大印。",[23,24,28,27,51,52,799,800,121,801,7,221],"罗汉","海浪","神兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1fbbf336f92353f10e54e65388754bb.jpg","146.9×81.5厘米",[56],34,{"id":807,"slug":808,"title":809,"dynasty":18,"author":810,"museum":84,"description":811,"tags":812,"thumbUrl":815,"material":205,"size":112,"collection":37,"collections":816,"showCount":805,"zanCount":95,"manualWeight":11,"mainColor":41},219652,"qiu-kui-shuang-ji-tu-zhou-fan-219652","秋葵双鸡图","周蕃","此作用淡墨晕染铺陈，秋葵斜逸而出，花瓣晕开柔润淡影，掌状叶片以浓墨勾描筋络，舒展挺拔，枝梢花苞含露清气。下方双鸡依偎，以干湿变化的墨色细摹蓬松羽翎，冠爪勾勒劲挺，一只抬首侧目，一只探身藏于其后，神态警觉安然，野趣自生。全幅以水墨写意，笔意简逸苍秀，未施粉彩却形神俱足，将篱边秋日的闲雅生机尽显，把禽鸟憨态与秋花清姿相融，尽显文人画的疏淡雅致，留白里浸透悠然禅意，是水墨花鸟的精妙之作。",[7,24,25,50,272,521,813,814,309],"秋葵","鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2c031920dbfd5e8ccfc4aacb6d33eaa.jpg",[37],{"id":818,"slug":819,"title":820,"dynasty":18,"author":821,"museum":101,"description":822,"tags":823,"thumbUrl":824,"material":205,"size":112,"collection":209,"collections":825,"showCount":826,"zanCount":11,"manualWeight":11,"mainColor":41},240425,"wang-duo-shi-zhou-wang-duo-240425","王铎诗轴","王铎","王铎（1592—1652年），字觉斯（之），号十樵、嵩樵、痴庵、痴仙道人、烟潭渔叟，平阳府洪洞县（今山西省洪洞县）人 。明末清初大臣、书画家，王本仁的儿子。正如李志敏所评价：“王铎的草书纵逸，放而不流，纵横郁勃，骨气深厚”。\n天启二年（1622年），考中进士，入选庶吉士，历任太子左谕德、太子右庶子、太子詹事、南京礼部尚书。弘光政权建立，出任东阁大学士。顺治元年（1644年），跟随钱谦益投降清朝，授礼部尚书、弘文院学士、太子少保。顺治九年（1652年），病逝，享年六十一岁，安葬于河南巩义县洛河边，谥号文安。\n善于书法，与董其昌齐名，有“南董北王”之称。书法作品有《拟山园帖》和《琅华馆帖》等。绘画作品有《雪景竹石图》等。",[7,199,25,50,260,652,272,309],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38973f25a308f9343ab9f19300e7f3bb.jpg",[209],33,{"id":828,"slug":829,"title":830,"dynasty":18,"author":831,"museum":101,"description":832,"tags":833,"thumbUrl":834,"material":112,"size":835,"collection":37,"collections":836,"showCount":826,"zanCount":95,"manualWeight":11,"mainColor":60},236107,"sun-qi-mei-hua-zhou-sun-qi-236107","孙启梅花轴","孙启","此作以淡墨绢地托衬，老梅古干嶙峋遒劲，枝桠盘折如铁，横斜破壁，满缀素色梅花。作者以焦墨点苔刻画出老干的沧桑质感，浓墨写枝尽显虬劲姿态，圈花留白晕染出梅花冰肌玉骨之态，冷香暗涌纸面。\n\n画幅下方以浅淡笔墨绘拳石细草，清寂空疏，愈发烘托出冬梅凌霜孤高的品格。整幅布局空灵雅致，以极简笔触写尽文人心底的清雅意趣，笔意苍秀古拙，将梅花傲雪不屈的风骨与幽淡清逸的气韵相融，藏暗香于素绢，含清韵于笔端。",[24,25,50,272,273,631,449,557,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff51c92a8adcfb9367d4420abfbb471a7.jpg","纵156.8cm,横61.6cm",[37,239],{"id":838,"slug":839,"title":244,"dynasty":18,"author":46,"museum":101,"description":840,"tags":841,"thumbUrl":843,"material":69,"size":112,"collection":112,"collections":844,"showCount":845,"zanCount":95,"manualWeight":11,"mainColor":60},236283,"wang-zi-yuan-hua-niao-ce-yi-ming-236283","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。",[24,7,27,28,29,842,247,26],"梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa681153cc0787bd70f3925dcc390ddda.jpg",[],32,{"id":847,"slug":848,"title":849,"dynasty":18,"author":574,"museum":101,"description":850,"tags":851,"thumbUrl":854,"material":112,"size":112,"collection":112,"collections":855,"showCount":845,"zanCount":11,"manualWeight":11,"mainColor":60},228486,"shuang-ying-tu-lin-liang-228486","双鹰图","《双鹰图》是清代画家朱耷创作的纸本水墨画，现藏于 。\n款识：八大山人写。\n钤印：八大山人（白）、何园（朱）、孝慈洪养百福（朱）、士元（朱）。\n藏印：程桢义联珠珍藏印（朱）签条：清高僧朱耷双鹰图真迹 。\n钤印：秋君（朱）、李秋印（白）。\n《双鹰图》画面以简洁的构图，别开生面，意境幽邃，寥寥数笔将冬季时节的气息表现得淋漓尽致。\n画中岩石一侧横斜出枯枝苍干，坡石边附有丛竹，双鹰一踞岩石上俯视，一栖树干上转头回望，呈呼应之势。\n二石二鹰一树描绘都是对大自然的精心观察后，通过变形取貌得其盎然生意，整个画面笔调圆润凝重，皆以圆弧线组成，富有流动感，浓淡干湿墨色相破相融，双鹰的画法虽可看到林良的影子，而意趣已有很大的不同。\n画面的构图不留地面和天空，仅有的右侧空白被作者自题识和款署给填补。\n此图无论是双鹰、山石、枯树都笔墨简括，意态尽出，显出了 以简取胜，以少胜多的独特写意艺术才能。\n219年9月2日，该作品在故宫博物院和 共同主办的《回望传承——八大山人纪念馆建馆6周年故宫典藏特展》中展出。\n朱耷（1626－176）。\n谱名统，有雪个、个山、人屋、道朗、八大山人等别号。\n南昌人。\n明末清初越的大画家。\n他是明太祖朱元璋第十六子朱权的九世孙。\n八岁能作诗，十一岁能画青绿山水，少时能悬腕写米家小楷。\n弱冠为诸生。\n明亡以后，他抱着对清王朝不满的态度，在奉新县耕香庵落发为僧，时年二十三岁。\n后隐居进贤县介冈及永丰县睦冈等地。\n顺治末年，当他三十六岁时潜回南昌，创建青云圃道院，花了六、七年时间，才使这坐道院初具规模，并在这里过着“一衲无余”与“吾侣徙耕田凿井”的劳动生活。\n因为常有清朝权贵来此骚扰，他常浪迹他方。\n康熙十七年他五十三岁时，临川县令胡亦堂闻其名，便延请他随其僧长饶宇朴等到临川官舍作客年余。\n这使他十分苦恼郁愤，遂佯为疯癫，撕裂僧服，独自走回南昌。\n一年多后，他又回到青云谱，并在这里度过“花甲华诞”。\n当他六十二岁时，不再做住持，便把道院交给他的道徒涂若愚主持。\n后又隐避在南昌附近的北兰寺、开元观等处。\n该画取法明代大画家 ，枯枝危石之上两苍鹰相互顾盼，俯仰之间，英武之姿一览无余。\n以“双鹰”题材为例，列在八大名下目前存世画作有三幅：美国大都会博物馆藏《双鹰图》（系 旧藏）;上海博物馆藏《双鹰图》;江西 藏《双鹰图》。\n三幅画作之中，“大都会本”依画面题记确定为八大山人172年所作;“上博本”为1699年所作;“南昌本”无年款。",[23,24,25,50,7,272,273,29,740,852,853,765,708,776,422],"鹰","猛禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb96e154c48c16ef3deed3628318f6135.jpg",[],{"id":857,"slug":858,"title":859,"dynasty":18,"author":195,"museum":84,"description":860,"tags":861,"thumbUrl":862,"material":205,"size":863,"collection":112,"collections":864,"showCount":845,"zanCount":11,"manualWeight":11,"mainColor":41},222457,"li-shu-gui-qu-lai-ci-zhou-shen-du-222457","隶书归去来辞轴","《归去来辞》是东晋诗人陶渊明的名作，文中表达淡泊名利，追求圆满自足的田园之乐，向来是文人雅士嚮往的理想境界。此幅隶书用笔劲健，点画平齐规律，或是想要以拙朴有古意的书体，传达千载以前陶诗的意境。",[7,199,25,50,307,309,272],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff17f51da867c7f977aefcd7184026e97.jpg","52 x 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[1] 其代表作有《太湖诗卷》《箜篌引》《赤壁赋》等。所书“六体书诗赋卷”“草书杜甫诗卷”“古诗十九首”“草书唐人诗卷”及“草书诗翰卷”等皆为传世墨宝。",[199,260,992,309,7],"碑文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea117ecdc2acfc65ec3addd9779f1ecc.jpg","26.7×49.6cm",[209],25,{"id":998,"slug":999,"title":1000,"dynasty":18,"author":1001,"museum":196,"description":1002,"tags":1003,"thumbUrl":1005,"material":1006,"size":1007,"collection":112,"collections":1008,"showCount":996,"zanCount":11,"manualWeight":11,"mainColor":41},233466,"ren-wu-hua-hui-ce-xu-wei-233466","人物花卉册","徐渭","该册十八页，其中画十五页，分别作写意山水人物、写生花卉，内容有婴戏、对弈、牡丹、兰花、稻穗螃蟹等等。笔墨简括豪放，随意自然。选其二页，可窥真趣。",[24,25,7,26,272,273,309,1004],"蔬菜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0caafb8f371fd7dcde8e8540b74d402.jpg","纸本水墨","纵26.9厘米 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灰青鬲式炉之附件","“哥窑”名列宋代五大名窑，在陶瓷史上有举足轻重的地位。哥窑胎多紫黑色、铁黑色、也有黄褐色。釉为失透的乳浊釉，釉面泛一层酥光，釉色以炒米黄、灰青多见，釉面大小纹片结合。\n经染色后大纹片呈深褐色，小纹片为黄褐色，也称‘金丝铁线’“墨纹梅花片”“叶脉纹”‘文武片’等。这是传世哥窑的主要特征之一。器形有各式瓶、炉、尊、洗及碗、盆、碟等。多见仿古造型，底足制作不十分规整，釉面常见缩釉和棕眼。\n而《中国陶瓷史》这样叙述：\n造型有各式瓶、炉、洗、盘、罐等。论胎有厚薄之分，其胎质有瓷胎和砂胎两种，胎色有黑灰、深灰、浅灰、土黄多种色调，釉色也有粉青、月白、油灰、青黄各色。从时间上讲，这里应有早晚之别，从产地说也有恐非一个瓷窑的作品，情况是比较复杂的。\n记载“哥窑”的古文献主要有：元代的《至正直记》，明代的《格古要论》、《遵生八笺》，清代的《博物要览》以及明代的《浙江通志》等。但究竟哥窑窑址何在？性质如何?一直是陶瓷史研究中众说纷纭、悬而未决的问题。\n流传于世的“哥窑”经典器大多源自清宫旧藏，由于这批器物与古文献中的记载的“哥窑”特征不符，而且没有考古资料佐证，因而造成了中国陶瓷史上最大的悬疑。\n为区别于明、清文献中所记载得哥窑（龙泉章生一窑），宫中名为“哥窑”的传世品，后世鉴赏家称其为“传世哥窑”。\n由于原来被认为哥窑的龙泉黑胎开片瓷被认为是“龙泉仿官”和“龙泉官窑”，宋代似乎就不存在哥窑，文献关于哥窑的记述被认为是以讹传讹。然而，仔细研究和分析，就会发觉事情并非如此简单，其关键在于“龙泉官窑”和杭州郊坛下官窑孰先孰后的问题并未真正得到解决。由于“龙泉官窑”的立论建立在“龙泉仿官”的基础上，认为仿官是不可能的，却又与官窑相一致，自然是官窑，并认为杭州郊坛下不能满足朝廷之需，再在龙泉烧造以充不足。这一观点很自然地派生出杭州郊坛下官窑早于龙泉官窑的定论。\n然而，没有足够的考古资料证明这一观点，并由此还引发出种种疑团：郊坛下不能满足朝廷之需，为什么不就地扩充、就近扩充，而要到千里之外的龙泉建窑烧造？宋室南渡带来了北方工匠，他们惯于圆窑用煤烧造，何以能在杭州建立龙窑用柴烧造？文献关于哥窑的论述难道一定都是空穴来风吗？哥不能仿官，但官却可以仿哥，各朝各代的官窑都建立在民窑的基础上，难道就不存在官仿哥的可能吗？宋室南渡，皇帝漂泊13年，这期间南渡窑工在何处生存？如何生存？是吃皇粮还是自谋出路？这些疑问最终都聚焦在龙泉最初的黑胎开片瓷的年代和性质上，也就是说龙泉最初的黑胎开片瓷会不会是皇帝颠沛流离的十余年中北方工匠和龙泉窑工技艺结合的产物？",[7,1252,1253,1254,886,1255,1256,1257,1258,1259],"仿哥窑风格","玉石雕刻","透雕","浮雕","陶瓷附件","鹿纹","仿古工艺","明代工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F380bfd14228e4dbbb7a90be52dd9e33f.jpg",[477],{"id":1263,"slug":1264,"title":1265,"dynasty":18,"author":46,"museum":101,"description":1266,"tags":1267,"thumbUrl":1270,"material":128,"size":129,"collection":112,"collections":1271,"showCount":1245,"zanCount":11,"manualWeight":11,"mainColor":60},228522,"wan-li-qia-si-fa-lang-shuang-long-pan-yi-ming-228522","万历 掐丝珐瑯双龙盘","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[1268,1269,165,475,7,27],"掐丝","琺瑯器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1db4f8c46cea3d642d128d91083d097.jpg",[],{"id":1273,"slug":1274,"title":1275,"dynasty":18,"author":1276,"museum":196,"description":1277,"tags":1278,"thumbUrl":1284,"material":69,"size":1285,"collection":112,"collections":1286,"showCount":1287,"zanCount":95,"manualWeight":11,"mainColor":60},235011,"zhu-shi-zhou-zhu-duan-235011","竹石轴","朱端","画坡石荆棘，丛竹掩映。无他人题跋。\n朱端（生卒年不详），字克正，钦赐“一樵”印，遂自号一樵，有印章“辛酉征士”。正德年间值仁智殿，官锦衣卫指挥。画艺广博，山水、人物、花鸟兼能。",[24,25,50,7,272,447,1056,692,273,1279,634,1280,1281,1282,1283],"花鸟题材","水墨写意","竹石题材","山石皴染","竹子勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F222b4450a6f7e9156420c4b3f79c6377.jpg","纵167.4cm 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6首均见于解缙《文毅集》，其中个别诗句互有出入。\n作品创作于永乐八年（1410年），时解缙42岁，恰从遥远的边陲入京奏事。之后不久即被陷入狱，５年后惨死狱中。此卷书法纵横超逸，奔放洒脱，点划出规入矩，绝无草率牵强处。章法经营尤见匠心，全篇一气呵成，神气自备，显示出解缙驾御长卷游刃有余的不凡功力。从卷末自识中流露出解缙本人对此卷也是颇为得意的。他把这件得意之作送给祯期，祯期为解缙兄解纶之子，以书名，不失门风。\n幅后有明王穉登跋一则。钤诸家鉴藏印共25方。曾经清安岐、乾隆、嘉庆、宣统御府收藏。《平生壮观》、《墨缘汇观》、《石渠宝笈续编》、《石渠随笔》等书著录。",[23,7,199,25,308,652,309],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09d422b5d628f1482f54d5ee322fe7f7.jpg","纵34.3厘米，横472厘米",[209],16,{"id":1317,"slug":1318,"title":1319,"dynasty":18,"author":137,"museum":101,"description":1320,"tags":1321,"thumbUrl":1322,"material":128,"size":129,"collection":112,"collections":1323,"showCount":1315,"zanCount":11,"manualWeight":11,"mainColor":41},235531,"fang-ni-shan-shui-tu-shan-ye-lu-zhi-235531","仿倪山水图扇页","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。",[7,24,25,433,445,272,27,692,693,421,904,449,309],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff03a1d1c42a8e3d1c91f357d7c3bf9a8.jpg",[],{"id":1325,"slug":1326,"title":1327,"dynasty":18,"author":46,"museum":101,"description":496,"tags":1328,"thumbUrl":1333,"material":128,"size":129,"collection":112,"collections":1334,"showCount":1315,"zanCount":11,"manualWeight":11,"mainColor":60},228610,"qing-hua-shan-cha-hua-wen-ru-yi-er-bian-hu-yi-ming-228610","青花山茶花纹如意耳扁壶",[7,472,473,1329,1330,1331,1332],"山茶花纹","如意耳","扁壶","花卉纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6316710b5d583ac0f883105303a6803d.jpg",[],{"id":1336,"slug":1337,"title":1338,"dynasty":18,"author":46,"museum":101,"description":496,"tags":1339,"thumbUrl":1341,"material":128,"size":129,"collection":112,"collections":1342,"showCount":1315,"zanCount":11,"manualWeight":11,"mainColor":41},228568,"zheng-de-qing-hua-ci-a-la-bo-wen-qi-kong-hua-cha-yi-ming-228568","正德 青花瓷阿拉伯文七孔花插",[7,472,473,1163,1340,475],"阿拉伯文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c6694985f8e227cab8fce5c1a188b06.jpg",[],{"id":1344,"slug":1345,"title":1346,"dynasty":18,"author":46,"museum":101,"description":1347,"tags":1348,"thumbUrl":1350,"material":128,"size":129,"collection":112,"collections":1351,"showCount":1315,"zanCount":11,"manualWeight":11,"mainColor":60},223954,"qia-si-fa-lang-shi-xi-tu-wan-yi-ming-223954","掐丝珐瑯狮戏图碗","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[7,1187,1188,475,1349,53],"狮子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3d5366ce88475585c3deb3b8e48c7d0.jpg",[],{"id":1353,"slug":1354,"title":1355,"dynasty":18,"author":1356,"museum":101,"description":1357,"tags":1358,"thumbUrl":1360,"material":1359,"size":1361,"collection":112,"collections":1362,"showCount":1315,"zanCount":95,"manualWeight":11,"mainColor":132},222368,"yu-ri-ren-shu-tie-wang-shou-ren-222368","与日仁书帖","王守仁","王守仁（1472年10月31日－1529年1月9日），本名王云，字伯安，号阳明，浙江余姚人，汉族。明朝杰出的思想家、文学家、军事家、教育家，南京吏部尚书王华的儿子。\n弘治十二年（1499年），中进士，起家刑部主事，历任贵州龙场驿丞、庐陵知县、右佥都御史、南赣巡抚、两广总督、南京兵部尚书、左都御史等职，接连平定南赣、两广盗乱及朱宸濠之乱，获封新建伯，成为明代凭借军功封爵的三位文臣之一。嘉靖八年十一月（1529年1月9日），逝世，时年五十七。明穆宗继位，追赠新建侯，谥号“文成”。万历十二年（1584年），从祀于孔庙。\n明代心学发展的基本历程，可以归结为：陈献章开启，湛若水完善，王守仁集大成 。王守仁的阳明心学后传入了日本、朝鲜等国。其弟子极众，世称“姚江学派”。文章博大昌达，行墨间有俊爽之气。有《王文成公全书》传世。\n明宪宗成化八年（1472年），王守仁出生于浙江绍兴府余姚县一个显赫的家庭，父亲王华是成化十七年（1481年）状元，官至南京吏部尚书。\n王守仁天生有特殊的气质。他的母亲怀孕十四个月才分娩，在他诞生之前，他的祖母梦见天神衣绯玉，云中鼓吹，抱一赤子，从天而降，祖父遂为他取名为“云”，并给他居住的地方起名为“瑞云楼”。\n王守仁5岁仍不会说话，但已默记祖父所读过的书。有一高僧过其家，摸着他的头说“好个孩儿，可惜道破。”祖父根据《论语·卫灵公》所云“知及之，仁不能守之，虽得之，必失之”，为他改名为“守仁”，随后他就开口说话了。 他的父亲王华喜爱绍兴的山水，才举家离开余姚，移居绍兴。幼年的王守仁，有着良好的家世，也因此拥有一个非常优越的学习环境。\n十二岁时，王守仁正式就读书塾。十三岁，母亲郑氏去世，幼年失恃，这对他来说是一个很大的挫折。但他志存高远，心思不同常人。一次与书塾先生讨论何为天下最要紧之事，他就不同凡俗，认为“科举并非第一等要紧事”，天下最要紧的是读书做一个圣贤的人。当时国家朝政腐败，义军四起。英宗正统年间，英宗被蒙古瓦剌部所俘。这件事情在王守仁幼小的心中投下了巨大的阴影。他发誓一定要学好兵法，为国效忠。十五岁时就屡次上书皇帝，献策平定农民起义，未果。同年，他出游居庸关、山海关一月之久，纵观塞外，那时已经有经略四方之志。\n弘治元年（1488年），王守仁十七岁时，他到南昌与诸养和之女诸氏成婚，可在结婚的当天，大家都找不到他。原来这天他闲逛中遇见一道士在那里打坐，他就向道士请教，道士给他讲了一回养生术，他便与道士相对静坐忘归，直到第二天岳父才把他找回去 。\n弘治二年（1489年），王守仁十八岁时，与夫人诸氏返回余姚，船过广信，王守仁拜谒娄谅。娄谅向他讲授“格物致知”之学，王守仁甚喜。之后他遍读朱熹的著作，思考宋儒所谓“物有表里精粗，一草一木皆具至理”的学说。为了实践朱熹的“格物致知”，有一次他下决心穷竹之理，“格”了七天七夜的竹子，什么都没有发现，人却因此病倒。从此，王守仁对“格物”学说产生了极大的怀疑，这就是中国哲学史上著名的“守仁格竹”。",[23,7,199,1359,652,309],"拓本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a621a4ea04ceed4b7314b3c371ac0de.jpg","29.53×76.2cm",[],{"id":1364,"slug":1365,"title":1366,"dynasty":18,"author":46,"museum":101,"description":1367,"tags":1368,"thumbUrl":1372,"material":128,"size":129,"collection":477,"collections":1373,"showCount":1374,"zanCount":11,"manualWeight":11,"mainColor":60},256215,"long-quan-yao-qing-you-ke-hua-chan-zhi-lian-wen-mei-ping-yi-ming-256215","龙泉窑青釉刻划缠枝莲纹梅瓶","龙泉窑是中国历史上的一个名窑，宋代六大窑系。汉族传统制瓷工艺的珍品。因其主要产区在浙江省龙泉市而得名。它开创于三国两晋，结束于清代，生产瓷器的历史长达1600多年，是中国制瓷历史上最长的一个瓷窑系，它的产品畅销于亚洲、非洲、欧洲的许多国家和地区，影响十分深远。龙泉窑以烧制青瓷而闻名，在北宋早期以前的产品风格受越窑、瓯窑、婺州窑的影响，特征与三窑的产品相似。胎质较粗，胎体较厚，釉色淡青，釉层稍簿。\n1998年3月，宋代的龙泉窑青釉莲瓣纹瓶从英国追回。\n龙泉窑因在今浙江龙泉县，故名，属我国南方青瓷系统。创造于北宋早期，南宋中晚期进入鼎盛时期，至明代中叶以后渐趋衰落，传世的龙泉青瓷下限至清康熙年间，烧造历史达七、八百年之久。北宋时期的龙泉青瓷，胎骨较厚，胎土淡灰，底足露胎处见赭褐色窑红，胎微出烧，釉的玻化程度好，釉层透明，釉表光泽很强。装饰花纹较简练，常见纹样有鱼纹、蕉叶、金枝、荷花等。装饰风格趋于奔放。处于南宋鼎盛时期的龙泉青瓷，形成了自已独有的艺术风格，显示了独特的魅力。\n南宋龙泉青瓷的造型亦形成自已的风格，稳重大方，浑厚淳朴而又不失秀媚，器型丰富多样，装饰普遍采用刻花和堆塑法，颇具艺术匠心。\n元代龙泉青瓷烧造量大，风格与南宋迥异：器型高大、胎体厚重；胎色为白中带灰或淡黄；釉色为粉青带黄绿，光泽较强，釉层半透明；装饰手法多种多样，有刻、划、印、贴、塑等，以划花为主，花纹粗略，线条奔放，纹饰以云龙、飞凰、双鱼、八仙、八卦、牡丹、荷叶等为多见。此外，还大量出现汉文和八思巴文字款铭。\n明代龙泉青瓷走向衰弱，器物胎体厚重，制作粗糙，胎色为灰黄，釉层厚，透明度高，釉表光泽强，釉色有青灰、茶叶末、灰黄等几种，装饰以釉下刻花为主，亦有模印人物故事的装饰方法。\n宋代龙泉青瓷是青瓷工艺的历史高峰。其青瓷的釉色与质地之美，亦如巧夺天工的人造美玉，全世人为之倾倒。\n那么，在漫长的历史长河中，龙泉窑又经历了怎样的发展轨迹呢?朱伯谦先生在《龙泉窑青瓷》一书中曾将龙泉窑的发展归纳为开创、发展、鼎盛和衰落四个阶段：魏晋和五代十国是开创时期，瓷窑少，生产时断时续，处于就地销售断断续续的生产阶段；北宋至南宋前期是发展期，瓷窑发展快，逐渐形成一个较大的瓷窑体系；南宋后期至元代是鼎盛期，瓷窑迅速发展，青瓷质量大大提高，产品畅销国内外广大市场；明清是衰落期，尤其是明代中期以后龙泉窑处境艰难，瓷窑不断地倒闭减少，至清代晚期结束。如果说这四个阶段勾勒出了龙泉窑发展历史的整个脉络，那么，龙泉窑发展史上的三次辉煌期则是连贯发展脉络的重点和要点。",[472,7,1369,1370,595,1371,475],"青釉","刻划","梅瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79ac806abf709a3fa4aa866503f0737c.jpg",[477],15,{"id":1376,"slug":1377,"title":1378,"dynasty":18,"author":137,"museum":101,"description":1320,"tags":1379,"thumbUrl":1380,"material":128,"size":129,"collection":112,"collections":1381,"showCount":1374,"zanCount":11,"manualWeight":11,"mainColor":60},236678,"hua-shan-lu-zhi-236678","花扇",[7,24,25,68,433,272,273,29,248],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31fa27e2f570fe53a0fb0d730603d5f4.jpg",[],{"id":1383,"slug":1384,"title":1385,"dynasty":18,"author":46,"museum":101,"description":1386,"tags":1387,"thumbUrl":1390,"material":128,"size":129,"collection":112,"collections":1391,"showCount":1374,"zanCount":11,"manualWeight":11,"mainColor":60},228627,"jing-tai-kuan-qia-si-fa-lang-lu-he-chang-chun-hua-cha-yi-ming-228627","景泰款掐丝珐瑯鹿鹤长春花插","铜胎，筒状器身，口套箍七孔盖，矮圈足下镶接三狻猊形足，器身一侧镶浮雕式镀金夔龙。器内露胎，器表浅蓝釉地掐丝竹鹤双清、芭蕉、双鹿、湖石、灵芝等纹饰，简化式云纹填白，器底镀金阴刻填黑“大明景泰年制”一行无框楷书伪款。根据装饰图绘的主题与风格、掐丝末端以卷曲的方式处理、混和釉料以及简化行云纹锦地的出现等理由，应是十五世纪末十六世纪初的文物。",[7,1187,1388,1389,475,1188],"鹿","鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cb78b3dae0c49f598deb4744441d9c0.jpg",[],{"id":1393,"slug":1394,"title":1395,"dynasty":18,"author":195,"museum":196,"description":1396,"tags":1397,"thumbUrl":1402,"material":1403,"size":1404,"collection":112,"collections":1405,"showCount":1374,"zanCount":11,"manualWeight":11,"mainColor":41},222458,"jing-zhai-zhen-ye-shen-du-222458","敬斋箴页","款署“永乐十六年仲冬至日，翰林学士云间沈度书。”钤“沈民则”、“玉堂学士”、“自乐轩”3印。鉴藏印有“秦汉十印斋藏”、“张吉熊印”、“日藻珍玩”3方。\n作品乃沈度62岁时书。结字端正严谨，笔笔工致稳健，体态珠圆玉润，表现出精湛的功力，是“台阁体”的经典之作。只是因过于关注精巧与雅致，故笔墨较少变化，这也是“台阁体”千人一面、千篇一体的通病。清代书家王文治曾制诗赞曰：“沈家兄弟直词垣，簪笔俱承不次恩。端雅正宜书制诰，至今馆阁有专门。”此诗正解释了沈度为何多书“箴”、“铭”一类文体，而少见自作诗文之现象。",[23,199,200,201,1398,7,1399,1400,1401],"工整秀丽","墨迹","箴文","小楷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F024f2597b89ca22b15190bfd5394a836.jpg","纸本，楷书","纵23.8厘米，横49.4厘米",[],{"id":1407,"slug":1408,"title":1409,"dynasty":18,"author":1410,"museum":101,"description":1411,"tags":1412,"thumbUrl":1414,"material":28,"size":1415,"collection":112,"collections":1416,"showCount":1374,"zanCount":95,"manualWeight":11,"mainColor":1417},222046,"de-qu-zai-ren-ce-13-kai-6-wang-zhong-222046","得趣在人册13开6","汪中","汪中，明代画家，以翎毛、山水、人物精擅一时。汪中应人之邀作《得趣在人》册页，共十二开，工笔绘芭蕉、哺雀、舞剑等，此册技法上笔墨雅韵，意境深邃。",[23,7,24,25,26,27,28,29,247,1413,248,309],"稻穗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91d669a8b938105e367f73e7f247b2a3.jpg","30×27厘米",[],"FDD835",{"id":1419,"slug":1420,"title":1421,"dynasty":18,"author":46,"museum":101,"description":1266,"tags":1422,"thumbUrl":1428,"material":128,"size":129,"collection":112,"collections":1429,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":60},246225,"jia-jing-kuan-ti-cai-lian-tang-long-zhou-wen-he-ye-shi-pan-yi-ming-246225","嘉靖款剔彩莲塘龙舟纹荷叶式盘",[7,1423,1424,663,27,1425,1426,165,1427,274,475],"漆器","剔彩","莲塘","龙舟","荷叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5401e06e7807f981fbcd1dcc40472ca3.jpg",[],{"id":1431,"slug":1432,"title":1433,"dynasty":18,"author":1434,"museum":101,"description":1435,"tags":1436,"thumbUrl":1440,"material":112,"size":112,"collection":112,"collections":1441,"showCount":40,"zan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与明初儒释道各家学术领袖都有不错的关系。 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[1] 与陈子龙乡试同年，与沛县阎尔梅是同乡。曾参加抗清活动，兵败后隐居江淮一带。代表作有《秋江别思图》《松石图》《山水图》等等。 万寿祺为人风流倜傥，工书画，精于六书，癖嗜印章，辑有《沙门慧寿印谱》一册。其后裔第十六代后人万中华，在当今书画界也享有一定的声誉。",[7,272,1091,692,1747,309,693,536,52,108,1231,1748],"题字","峭壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2162ccf18dc85ed28b0971b24faa8c9.jpg",[],{"id":1752,"slug":1753,"title":1754,"dynasty":18,"author":1410,"museum":101,"description":1755,"tags":1756,"thumbUrl":1757,"material":128,"size":129,"collection":112,"collections":1758,"showCount":1716,"zanCount":11,"manualWeight":11,"mainColor":41},228907,"de-qu-zai-ren-ce-wang-zhong-228907","得趣在人册","汪中（1744—1794年），字容甫，江都（今属江苏扬州）人，祖籍安徽歙县。清朝时期著名的哲学家、文学家、史学家，与阮元、焦循同为“扬州学派” 的杰出代表。",[7,199,25,260,309,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc345e2f2c7cfec8f947c3d06c4c8a3e5.jpg",[],{"id":1760,"slug":1761,"title":1762,"dynasty":18,"author":46,"museum":101,"description":1763,"tags":1764,"thumbUrl":1766,"material":128,"size":129,"collection":112,"collections":1767,"showCount":1716,"zanCount":11,"manualWeight":11,"mainColor":60},228804,"luo-han-zhu-shou-tu-yi-ming-228804","罗汉祝寿图","画面上下错落铺陈，上方罗汉群像各呈神采，或清癯蔼然，或虬髯肃穆，侍童恭谨随侍，衣纹华彩层叠，晕染细腻，尽显出尘庄严。下方水府神祇率众赴贺，灵怪蛟龙环伺，云涛与浪涛交织翻涌，天际红日悬垂，铺就祥瑞恢宏的祝寿氛围。\n\n整作设色沉厚古雅，矿物颜料晕开浓郁古韵，线条刚柔相济，既绘就罗汉的超然神态，亦勾勒出水族神祇的灵动狞厉，佛道交融的贺寿主题融于尺幅之间，将仙界嘉会的雍容祥瑞尽数铺展，尽显明代宗教人物画的精工意趣。",[23,24,25,7,28,27,51,52,799,1765,125,108],"瑞兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08a9dea4989bd43ec9d2423529c0f803.jpg",[],{"id":1769,"slug":1770,"title":50,"dynasty":18,"author":1771,"museum":101,"description":1772,"tags":1773,"thumbUrl":1775,"material":112,"size":112,"collection":112,"collections":1776,"showCount":1716,"zanCount":11,"manualWeight":11,"mainColor":60},228768,"li-zhou-ni-yuan-lu-228768","倪元璐","此作笔力雄肆奇崛，纵宕老辣，尽显晚明尚新的书法风骨。行笔斩截爽利，线条粗细腾挪跳荡，枯墨苍劲斑驳，润墨沉凝厚重，视觉张力饱满。\n\n字势欹侧错落，章法大开大合，牵丝映带间行气贯通流畅。奇拙刚劲的笔致，将诗中疏狂放达的饮酒快意尽数相融，把文人磊落狷介的襟怀诉诸笔端，跳脱了传统帖学的甜熟柔媚，以雄朴硬朗的意趣，尽显独异的艺术格调，心性与笔墨完美合一，是极具代表性的晚明行书精品。",[23,199,260,652,50,309,206,1774,7],"毛笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6162d85078997d91f1626475259f0f57.jpg",[],{"id":1778,"slug":1779,"title":1780,"dynasty":18,"author":46,"museum":101,"description":496,"tags":1781,"thumbUrl":1784,"material":128,"size":129,"collection":112,"collections":1785,"showCount":1716,"zanCount":11,"manualWeight":11,"mainColor":41},228506,"qing-hua-huang-cai-zhi-zi-hua-guo-wen-pan-yi-ming-228506","青花黄彩栀子花果纹盘",[7,472,473,1782,27,475,1783,777,592],"黄彩","栀子花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0eb2d620a80487c8c6a84fdf7aed0f6a.jpg",[],{"id":1787,"slug":1788,"title":1789,"dynasty":18,"author":1790,"museum":319,"description":1791,"tags":1792,"thumbUrl":1794,"material":205,"size":1795,"collection":112,"collections":1796,"showCount":1716,"zanCount":11,"manualWeight":11,"mainColor":41},221925,"za-hua-ce-guo-xu-221925","杂画册","郭诩","郭诩（1456—1532），字仁弘，号清狂道人，江西泰和人。工书画，善山水，尝遍历名山，曰“岂必谱也，画在是矣。”同时江夏吴伟、北海杜堇、姑苏沈周俱以画名，莫不延颈原交，天下竟传清狂画，风之百金。有贵人欲多得诩画，诩瞠目数屋梁不对。固索，辄跮跖狂趋，叫奡跳号去。弘治（一四八八至一五零五）中徵天中善画者，应诏京师。宸濠召与语，辄辞谢之。往依王守仁献画题诗所见志。又善杂画，信手作人物，辄有奇趣。七十三岁尚作磨镜图。他的作品传世不多，八开《杂画册》现藏上海博物馆，《琵琶行》图轴藏北京故宫博物院。\n山水、人物，风格豪放，笔法师略，清细柔和，墨气轠然，尤是绘古人清士。题署简逸，缙绅无不重之。与吴伟齐名，为吴伟、沈周、杜堇所推重。 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。明宪宗成化二年进士，久任兵部郎，议论无所顾忌，出为南安（今江西大余）知府，律己爱物，大得民和。长于诗文，草书甚佳，被评为“颠张复出”。尝自言吾书不如诗，诗不如文，著有《东海集》。",[7,433,199,652,272,309],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F269f60513e02806f7d4a480b1e182dab.jpg",[],{"id":2020,"slug":2021,"title":2022,"dynasty":18,"author":46,"museum":101,"description":2023,"tags":2024,"thumbUrl":2025,"material":128,"size":129,"collection":112,"collections":2026,"showCount":1913,"zanCount":11,"manualWeight":11,"mainColor":41},238572,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238572","明人升平翊赞图并书赞册","此作为工笔重彩道释佳制，以虹桥殿宇铺展天界朝贺盛景。祥云翻卷簇拥腾云而来的仪卫仙官，朱栏虹桥衔接殿庭，殿宇丹楹碧瓦，端庄巍峨。\n画面左右开合有序，朝贺仙僚神态端凝雍容，仪仗罗列森然，衣袂纹饰勾染精细，衣褶流转自然。石青石绿与赤金朱红交织晕染，色调浓妍富丽，将仙班翊赞升平的庄重祥瑞尽数铺陈，尽显工笔重彩的精工造诣，把天界朝会的肃穆仪轨与华贵意趣相融无间。",[7,24,28,27,968,52,435,903,719,165,421],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8024fa21f554e5c7921c4369ae0b80ba.jpg",[],{"id":2028,"slug":2029,"title":2030,"dynasty":18,"author":2031,"museum":101,"description":2032,"tags":2033,"thumbUrl":2038,"material":128,"size":129,"collection":112,"collections":2039,"showCount":1913,"zanCount":11,"manualWeight":11,"mainColor":41},232828,"zhuan-shu-qi-wen-si-zi-jing-feng-fang-232828","篆书奇文四字经","丰坊","丰坊（1492年－1563年），字存禮，又字人翁，號南禺外史，晚年更名道生。浙江鄞县（今浙江宁波）人。明朝书法家、篆刻家、藏书家，榜眼豐熙之子。",[199,1045,26,7,2034,2035,2036,2037],"手写","古籍","篆书技法","传统书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bc58a4a52e82b78789d6d9a223426bb.jpg",[],{"id":2041,"slug":2042,"title":2043,"dynasty":18,"author":46,"museum":101,"description":1347,"tags":2044,"thumbUrl":2045,"material":128,"size":129,"collection":112,"collections":2046,"showCount":1913,"zanCount":11,"manualWeight":11,"mainColor":60},228526,"jing-tai-kuan-qia-si-fa-lang-hua-hui-mei-ping-yi-ming-228526","景泰款掐丝珐瑯花卉梅瓶",[7,1187,1188,1578,32,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77fd9ff08bb3b2e74db8e5500f2de1a6.jpg",[],{"id":2048,"slug":2049,"title":2050,"dynasty":18,"author":46,"museum":101,"description":2051,"tags":2052,"thumbUrl":2056,"material":128,"size":129,"collection":112,"collections":2057,"showCount":1913,"zanCount":11,"manualWeight":11,"mainColor":41},228518,"long-qing-long-xiang-yu-mo-yi-ming-228518","隆庆龙香御墨","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[2053,663,165,7,2054,2055],"墨","文房","描金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc0eed22f6c2c39f9f3b110d940c5cc7.jpg",[],{"id":2059,"slug":2060,"title":2061,"dynasty":18,"author":46,"museum":101,"description":496,"tags":2062,"thumbUrl":2064,"material":128,"size":129,"collection":112,"collections":2065,"showCount":1913,"zanCount":11,"manualWeight":11,"mainColor":60},228505,"qing-hua-fan-lian-yu-hu-chun-ping-yi-ming-228505","青花番莲玉壶春瓶",[7,472,473,498,2063],"瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fa335c7ed820d7779eefa5051fd769a.jpg",[],{"id":2067,"slug":2068,"title":2069,"dynasty":18,"author":46,"museum":101,"description":496,"tags":2070,"thumbUrl":2072,"material":128,"size":129,"collection":112,"collections":2073,"showCount":1913,"zanCount":95,"manualWeight":11,"mainColor":41},228500,"qing-hua-long-feng-shou-zi-gao-zu-wan-yi-ming-228500","青花龙凤寿字高足碗",[7,472,473,165,1660,2071,475],"寿字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa72203d56c2f3927a4b977b1cd2f20ae.jpg",[],{"id":2075,"slug":2076,"title":2077,"dynasty":18,"author":46,"museum":101,"description":2051,"tags":2078,"thumbUrl":2079,"material":128,"size":129,"collection":112,"collections":2080,"showCount":1913,"zanCount":11,"manualWeight":11,"mainColor":41},228499,"yong-le-guo-bao-mo-yi-ming-228499","永乐国宝墨",[7,2053,165,663,2055,1045],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06a5e618b9a1e1ef8cbd2630ce10e7e3.jpg",[],{"id":2082,"slug":2083,"title":2084,"dynasty":18,"author":2085,"museum":2086,"description":2087,"tags":2088,"thumbUrl":2089,"material":153,"size":2090,"collection":112,"collections":2091,"showCount":1913,"zanCount":11,"manualWeight":11,"mainColor":1417},222308,"nan-hua-zhen-jing-61-wang-chong-222308","南华真经61","王宠","荣宝斋","王宠（1494-1533），明代书法家，字履仁、履吉，号雅宜山人，吴县（江苏苏州）人。\n邑诸生，贡入太学。博学多才，工篆刻，善山水、花鸟。诗文声誉很高，尤以书名噪一时，书善小楷，行草尤为精妙。\n著有《雅宜山人集》，传世书迹有《诗册》《杂诗卷》《千字文》《古诗十九首》《李白古风诗卷》等。\n王宠诗文书画皆精。书法初学蔡羽，后规范晋唐，楷书师虞世南、智永；行书学王献之，融会贯通。小楷尤清，简远空灵。其名与祝允明、文征明并称。何良俊《四友斋书论》评其书：“衡山之后，书法当以王雅宜为第一。盖其书本于大令，兼人品高旷，改神韵超逸，迥出诸人上。”著有《雅宜山人集》。传世书迹较多，有《诗册》《杂诗卷》《千字文》《古诗十九首》《李白古风诗卷》等。《千字文》，纸本墨迹，行草书。此千字文，凡104行，每行字数不一，共1015字。纵28厘米，横463.6厘米。台北故宫博物院藏。《宝蕴楼书画记》著录。此篇《千字文》结体平稳，俯仰欹侧变化不大，可以窥见其师承王献之、虞世南的轨迹。此帖既有魏晋时期王氏父子风华俊丽、遒逸疏爽之姿，又具初唐时期虞世南的气秀色润、外柔内刚之气。从用笔方面来看，其行草气息平和，干净利落，一丝不苟，笔势凝重、洗练，笔画之间很少有连笔牵丝，字字独立，互不相连。综观此书作，典雅平淡，落落大方，草法严谨。\n青年时代苦读书20年，建越溪庄，设有“采芝堂”、“御风亭”、“小隐阁”、“大雅堂“、“辛夷馆”、“铁观斋”等收藏书画之所，读书练字、作画于湖上，后以诸生入国子监。藏书颇多，于书无所不窥，手写经书皆一再过。滂喜斋藏宋刻《云斋广录》有“王履吉印”、“铁观斋”朱记。又宋刻《东观余论》、元本《扬子法言》印有“雅宜山人珍藏图籍”、“古吴王氏”“王履吉印”“王宠履吉”“太原王宠”“玄微子”“辛夷馆印”“王宠”“雅宜山人”“履吉父”等。",[7,199,260,205,309,620],"https: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（1560－1595）乌程（今浙江吴兴）人。万历八年（1580）进士，工吟咏，善行、楷，绘事超然有简远之趣。卒年三十六。字号：伯念、清芝、采芝仙子，浙江湖州人。擅长行、楷书及绘画。",[7,433,199,260,1399,205],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc7171fe17d8430f6048fe9ac74e4b01.jpg",[],{"id":5881,"slug":5882,"title":1308,"dynasty":18,"author":5883,"museum":101,"description":5884,"tags":5885,"thumbUrl":5886,"material":128,"size":129,"collection":112,"collections":5887,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":41},240922,"zi-shu-shi-juan-zhao-nan-xing-240922","赵南星","赵南星（1550年4月19日—1628年1月23日），字梦白，号侪鹤，别号清都散客，北直隶真定府高邑（今河北省高邑县）人。明代后期政治家、文学家，东林党的首领之一。\n明神宗万历二年（1574年），赵南星登进士第。历任汝宁推官、户部主事、吏部考功郎中、吏部文选员外郎等职。万历二十一年（1593年），与孙鑨负责癸巳京察，触动在朝者利益，被罢黜。此后在家闲居长达二十余年。明熹宗天启三年（1623年），赵南星被重新启用，任吏部尚书。为政期间，革新吏治，整肃朝纲，风气为之一新。但随着东林党人与阉党斗争的失败，赵南星被革去官职，削籍戍代州。明思宗即位之初，即清查魏忠贤案，为其平反。天启七年十二月（1628年1月），赵南星去世，享年七十八岁。追赠太子太保，谥号“忠毅”，世称赵忠毅公。\n赵南星对明代后期政治改革提出了一些富有见地的思想主张，并勇敢地付诸实践，在当时取得明显的成效，对清明政治起了很好的作用。赵南星在文学上亦造诣颇深，作品涉及诗词，散曲等，题材种类之多为明代作家之少有。有《芳茹园乐府》等作传世。",[23,7,25,308,260,309],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92e194be605d3cee0186e81fb351cd5b.jpg",[],{"id":5889,"slug":5890,"title":5891,"dynasty":18,"author":5892,"museum":101,"description":5893,"tags":5894,"thumbUrl":5895,"material":128,"size":129,"collection":112,"collections":5896,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":41},240883,"za-shu-shi-ce-wu-kuan-240883","杂书诗册","吴宽","吴宽（1435年－1504年8月19日 ），字原博，号匏庵、玉亭主，世称匏庵先生。直隶长州（今江苏苏州）人。明代名臣、诗人、散文家、书法家。\n吴宽为明宪宗成化八年（1472年）状元，授翰林修撰，曾侍奉孝宗读书。孝宗即位，迁左庶子，预修《宪宗实录》，进少詹事兼侍读学士。官至礼部尚书，卒赠太子太保，谥号“文定”。\n吴宽的诗深厚醲郁，自成一家，著有《匏庵集》 。又擅书法，作书姿润中时出奇崛，虽规模于苏，而多所自得。",[25,26,260,199,1399,7,3479,5831],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16b7f882622f12b0a331a79d29ef1c3c.jpg",[],{"id":5898,"slug":5899,"title":2513,"dynasty":18,"author":5900,"museum":101,"description":5901,"tags":5902,"thumbUrl":5903,"material":128,"size":129,"collection":112,"collections":5904,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":41},240615,"shi-zhou-zhang-xin-240615","张忻","張忻，书法邢侗，画仿董其昌。著游夏草。著作有《清画家诗史、山左诗抄》。雍正《山东通志》卷二八之四《艺文志》收有他的《三芸馆诗草》及《归围日记》。",[7,199,25,50,260,272,309],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b24691fe76f9969fbb7100eaf2d9587.jpg",[],{"id":5906,"slug":5907,"title":5908,"dynasty":18,"author":5909,"museum":101,"description":5910,"tags":5911,"thumbUrl":5912,"material":128,"size":129,"collection":112,"collections":5913,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":60},240492,"shu-shi-zhou-jiang-ru-zhang-240492","书诗轴","姜如璋","姜如璋，字淑斋，号广平内史，胶州姜行街人，清代康熙年间著名女书法家和诗人，生于书香世家，父亲姜长植、伯兄姜器山均为当时胶东有名的书法家。",[7,199,652,50,309],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e33bac0a2f356179b8e85b26dad8631.jpg",[],{"id":5915,"slug":5916,"title":1987,"dynasty":18,"author":5917,"museum":101,"description":5918,"tags":5919,"thumbUrl":5920,"material":128,"size":129,"collection":112,"collections":5921,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":41},240386,"shi-shan-mian-zhang-han-240386","张翰","张瀚（1510—1593），字子文，号元洲，谥恭懿。明朝仁和（今浙江杭州）人。嘉靖十四年（1535）进士，授南京工部主事，历任庐州、大名知府、陕西左布政使、右副都御史、大理寺卿、刑部右侍郎、兵部侍郎、南京右都御史、工部尚书、吏部尚书。\n因与张居正朝议多不合，辞归故里，把平生所见所闻著录成《松窗梦语》，记载了明代经济、社会、文化、民情风俗等方面资料，对研究明代社会经济、商业贸易有重要参考价值。",[7,25,433,260,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81df74c1b64fb79c207a5777ffe358a4.jpg",[],{"id":5923,"slug":5924,"title":2522,"dynasty":18,"author":5925,"museum":101,"description":5926,"tags":5927,"thumbUrl":5928,"material":128,"size":129,"collection":112,"collections":5929,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":41},240376,"shi-ye-chen-xu-240376","陈叙","陈叙（1495－1574），字邦礼，号淇塘，福建莆田人。明代官吏。嘉靖十七年茅瓒榜进士。历仕兵部车驾司主事、员外郎、武选郎、车驾司郎中、潮州知府。像取自清代修《福建莆田陈氏宗谱》。",[7,25,199,260,26,272,309],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63f2aff78006357a5b17c58bb1c8cd72.jpg",[],{"id":5931,"slug":5932,"title":2513,"dynasty":18,"author":5933,"museum":101,"description":5934,"tags":5935,"thumbUrl":5936,"material":128,"size":129,"collection":112,"collections":5937,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":41},240333,"shi-zhou-zhang-yun-mei-240333","张孕美","此作用笔纵逸恣肆，以狂草挥就，线条如惊蛇走虺，提按转合间尽显笔力劲健。行气贯通无滞，字势欹侧相生，左右映带自然，将草书的抒情性发挥得淋漓尽致。\n\n章法疏密有致，右侧长列一气呵成，左侧落款紧凑呼应，虚实相映间营造出灵动空阔的布局韵律。墨色燥润相间，浓淡变化丰富，视觉节奏跌宕起伏，尽显书写时的酣畅快意，尽显晚明狂草尚态之风，将胸中意气倾注笔端，尽显文人疏放不羁的襟怀。",[7,24,25,50,652,199,309],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50e7b200188f0381cafa6ca02f6714f5.jpg",[],{"id":5939,"slug":5940,"title":5941,"dynasty":18,"author":5942,"museum":101,"description":5943,"tags":5944,"thumbUrl":5945,"material":128,"size":129,"collection":112,"collections":5946,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":41},240246,"shu-han-ce-ming-xian-240246","书翰册","明贤","此作为行书手卷，用笔灵动舒展，提按顿挫尽显法度又不失随性。笔画粗细富于变化，字势随诗句意蕴起伏开张。\n\n整幅行气连贯疏朗，字距错落间自带悠缓节奏，将致仕归乡的澹泊沉郁藏在笔墨细节里。墨色清和沉静，笔底既有恪守晋唐行书的秀逸底色，又带着明代文人特有的舒展襟怀，把诗文里的归思与襟抱，和书法的雅韵融为一体，是兼具文学意涵与笔墨美感的佳构，尽显士人温润澹远的书卷意气。",[7,199,260,272,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F630d47dcf3a8917104b118af8f052b19.jpg",[],{"id":5948,"slug":5949,"title":4202,"dynasty":18,"author":5950,"museum":101,"description":5951,"tags":5952,"thumbUrl":5953,"material":128,"size":129,"collection":112,"collections":5954,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":41},240241,"wu-lv-shi-ye-chen-yu-mo-240241","陈禹谟","陈禹谟（1548—1618年），字锡元，江苏常熟人，一作湖北彝陵人。万历间举人，历仕南京国子监学正、四川按察司佥事、贵州布政使。",[7,25,199,260,309,205,1090],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3897567181c39a85ba1c7ec45ff3339.jpg",[],{"id":5956,"slug":5957,"title":5958,"dynasty":18,"author":46,"museum":101,"description":5959,"tags":5960,"thumbUrl":5961,"material":128,"size":129,"collection":112,"collections":5962,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":60},240018,"ming-ren-bing-bu-zhi-fang-si-zha-fu-gao-juan-yi-ming-240018","明人兵部职方司劄付稿卷","这卷手稿笔墨是典型明代馆阁正楷，端雅方正，笔力匀整沉实，带着庙堂公文的规整肃穆。泛黄的古纸肌理粗糙斑驳，朱印残损晕染，边角的缺损藏着数百年辗转的风尘。\n\n它并非抒情遣兴的书画，而是带着兵戈气的军政文书，字里行间藏着晚明守土戍边的沉重心绪。从拔擢将才到筹算粮秣，从叙录军功到论功行赏，每一行笔墨都牵系着边关安危，是晚明军政时局的鲜活切片，静默诉说着远去的庙堂筹策与塞上烽烟。",[7,199,260,309,620,308,2883],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feed343f4f69c9686fb53b4762f572be4.jpg",[],{"id":5964,"slug":5965,"title":4247,"dynasty":18,"author":1979,"museum":101,"description":1980,"tags":5966,"thumbUrl":5967,"material":112,"size":112,"collection":112,"collections":5968,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":41},239896,"ming-dai-ming-ren-shen-shi-xing-deng-mo-bao-yang-yi-qing-239896",[199,260,7,308,1399],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26a9201ac555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江苏扬州一带）。南宋官窑瓷器沿袭北宋风格，规整对称，宫廷气势，高雅大气，一丝不苟。因为胎土含铁量极高，手感沉重，胎土呈深黑褐色，后称”紫口铁足“。釉面沉重幽亮，釉厚如堆脂，温润如玉。釉面多层反复细刮，釉光下沉而不刺眼，纹理布局规则有致，造型庄重大方。另外”肉腐留骨“（露胎处像死人骨头，俗称”骨董“）也是那时所造。我们今天所称官窑泛指历朝官府烧造瓷器，其实，历史上仅指南宋时期烧造的瓷器，后世再无此称呼。\n官窑起自唐，有两种涵义，一是指贡器，一是指官厂。自唐代至元代（公元八世纪~十四世纪），官窑多有贡器，少有官厂，采取的形式是“官监民烧”，烧出的瓷器，“千中选十，百中选一”，进贡给统治阶级。这种瓷器就叫做贡瓷和官窑。那时，唐代在产瓷区设有司务，如唐景隆初（公元707~709年）褚绥为新平(景德镇)司务，奉诏监烧献陵祭器。宋代设监，如太平兴国年间(公元976~983年)，派殿前承旨赵仁济监理越州窑务。到了元代则设局，以提领监陶，后改为本设总管。他们烧出的“景德年制”，“枢府’等款式的瓷器，分别称为“景德窑’，“枢府窑”等。\n官窑之谓，在中国古代陶瓷史上有不同的内涵。就广义而言，是有别民窑而专为官办的瓷窑，其产品为宫廷所垄断。在宋代瓷器中，官窑即是一种专称，指北宋和南宋时在京城汴京（汴梁，今开封）和临安（今杭州）由宫廷设窑烧造的青瓷，故又有“旧官”和“新官”之分，前者为北宋官窑，后者为南宋官窑。\n官窑是在宋大观及政和年间于汴梁所造，青瓷釉色晶莹惕透，有开裂或呈冰片状，粉青紫口铁定是其特色。\n宋室南移在凤凰山下设立官窑，又称修内司官窑或内窑，郊坛下设立的郊坛下官窑，器形较多，有直径大过一尺的大型产品。\n从1128年元世祖忽必烈设置“浮梁磁局”，到二十世纪清朝覆亡，景德镇是元、明、清三代皇家瓷厂所在地，中国的官窑制度在这里延续了632年，江西景德镇也由此拥有烧造时间最长、规模最大、工艺最精巧的官办瓷厂。景德镇地下也因此存有大量因禁绝流入民间而被就地掩埋的古碎瓷，成为中国品类最完整、年代最可靠、信息最丰富的官窑遗址和“地下瓷都”。北宋官窑也称汴京官窑。相传北宋大观、政和年间，在汴京附近设立窑场，专烧宫廷用瓷器，即北宋官窑。南宋顾文荐《负暄杂录》记载：\"宋宣政间（宣和、政和即公元1111－1125年）京师自置窑烧造，名曰官窑\"，南宋叶在其《垣斋笔衡》中对北京官窑亦有记载：\"政和京师自置窑烧造，名曰官窑\"。当时的京师即汴京（今开封），因宋代汴京遗址已沉入地底，到今为止，尚未发掘出北宋官窑遗址，对于北宋官窑遗址缺乏考古发掘地资料和充足的文献资料的支撑，因此，时到今，关于北宋官窑遗址在何处，仍有不同说法，一般有三种说法：一说北宋官窑即为汝窑；二说否认北宋官窑的存在；三说为北宋官窑即为汴京官窑，它与南宋时的修内司官窑先后存在。\n南宋顾文荐《负睻杂录》记载：“宋宣政间（宣和、政和即公元1111~1125年）京师自置窑烧造，名曰‘官窑’”，南宋叶寘在其《垣斋笔衡》中对北京官窑亦有记载：“政和京师自置窑烧造，名曰‘官窑’”。明代《事物绀珠》、《留留青》因袭此说。当时的京师即汴京(今河南开封)，因宋代汴京遗址已沉入地下，到今为止，尚未发掘出北宋官窑遗址。对于北宋官窑遗址缺乏考古发掘地资料和充足的文献资料的支撑，因此，今关于北宋官窑遗址在何处，仍有不同说法，一般有三种说法：一说北宋官窑即为汝窑；二说否认北宋官窑的存在；三说为北宋官窑即为汴京官窑，它与南宋时的修内司官窑先后存在。支持第三种说法的人较多。\n北宋官窑传世品很少，形质与工艺与汝窑有共同处。器多仿古，主要有碗、瓶、洗等。胎体显厚，胎骨深灰、紫色或黑色，釉色有淡青、粉青、月白等，釉质莹润温雅，尤以釉面开大裂纹片著称，不同于南宋官窑和汝窑及龙泉窑瓷器。底有文钉烧痕，有“紫口铁足”的特征。",[472,1369,2629,6620,7,475],"温器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b0e849bd765cb8c50970732a3eb1f60.jpg",[477],{"id":6624,"slug":6625,"title":4442,"dynasty":18,"author":46,"museum":101,"description":2114,"tags":6626,"thumbUrl":6628,"material":128,"size":129,"collection":112,"collections":6629,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":132},257610,"fang-jun-mei-gui-zi-you-pan-yi-ming-257610",[472,4444,4445,4446,6627,7],"器皿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a4444232ce3598c300a271eb793b109.jpg",[],{"id":6631,"slug":6632,"title":6633,"dynasty":18,"author":46,"museum":101,"description":1347,"tags":6634,"thumbUrl":6637,"material":128,"size":129,"collection":112,"collections":6638,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":132},257608,"lan-di-diao-hua-shuang-er-fang-ping-yi-ming-257608","蓝地雕花双耳方瓶",[472,7,4529,6635,1807,5462,105,6636,663,475],"雕花","彩釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a324c824351de6a6f438b22c4bae90b.jpg",[],{"id":6640,"slug":6641,"title":6642,"dynasty":18,"author":46,"museum":101,"description":2114,"tags":6643,"thumbUrl":6645,"material":128,"size":129,"collection":112,"collections":6646,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":132},257603,"fang-guan-you-guan-er-hu-yi-ming-257603","仿官釉贯耳壶",[472,6479,475,7,6644],"贯耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7908d4ac49c84ace281253b56e5c0504.jpg",[],{"id":6648,"slug":6649,"title":6650,"dynasty":18,"author":46,"museum":101,"description":2114,"tags":6651,"thumbUrl":6652,"material":128,"size":129,"collection":112,"collections":6653,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":132},257602,"fang-guan-you-ding-yi-ming-257602","仿官釉鼎",[472,6479,1806,475,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c98a354cbcdf661ab551941093afe17.jpg",[],{"id":6655,"slug":6656,"title":6657,"dynasty":18,"author":46,"museum":101,"description":2114,"tags":6658,"thumbUrl":6659,"material":128,"size":129,"collection":112,"collections":6660,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":60},257598,"fang-guan-you-pan-yi-ming-257598","仿官釉盘",[472,475,6479,2694,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc36aa03bca55bcb1b63564475f9f7a7.jpg",[],{"id":6662,"slug":6663,"title":6664,"dynasty":18,"author":46,"museum":101,"description":2114,"tags":6665,"thumbUrl":6666,"material":128,"size":129,"collection":112,"collections":6667,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},257594,"ji-lan-you-cong-shi-ping-yi-ming-257594","祭蓝釉琮式瓶",[7,472,475,4586],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F230c2dfba3cb1b4bade9a8775c6319ac.jpg",[],{"id":6669,"slug":6670,"title":6671,"dynasty":18,"author":46,"museum":101,"description":496,"tags":6672,"thumbUrl":6674,"material":128,"size":129,"collection":112,"collections":6675,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":60},257590,"qing-hua-ling-zhu-wen-shuang-er-bei-yi-ming-257590","青花灵竹纹双耳杯",[7,472,473,6673,1807,2424,664,592,2350],"竹纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb05512ffd9a0bfeea16d2749020503f.jpg",[],{"id":6677,"slug":6678,"title":6679,"dynasty":18,"author":46,"museum":101,"description":1367,"tags":6680,"thumbUrl":6681,"material":128,"size":129,"collection":477,"collections":6682,"showCount":11,"zanCount":11,"manualWeight":11,"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