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创作的纸本设色画。\n\n每图各有 题识，分别钤“寿平”白朱文印、“正叔”朱文印、“寿平”白文印、“恽正叔”白文印、“寿平印”白文印等。\n\n每图各有乾隆皇帝题诗一首。\n\n鉴藏印有：“ 御赏之宝”、“淳化轩”、“石渠宝笈”、“臣庞元济恭藏”、“虚斋至精之品”等二十余方。\n\n本图册第三开、第十开分别署年款“乙卯秋”、“乙卯十月”。\n\n“乙卯”为清康熙十四年（1675年），此作应为恽寿平4岁时作品。\n\n此山水花卉图册分别描绘鹅群、荷花、山水、古木寒鸦、牡丹、乔柯急涧、夜雨初霁、菊花、兰花蝴蝶花、溪山行旅等。\n\n全册为作者临仿宋、元、明诸家。\n\n山水以宗董源、巨然、米芾、赵孟頫诸家为主，秀骨清幽，富有文人书卷之气。",[48,24,23,25,26,27,50,28,29,7,140,141,125],"叶子","枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F330e3e872b432c5d096fddbd7eafe407.jpg","纸本，设色","纵27.5厘米，横35.2厘米。",[33,35],1541,7,{"id":149,"slug":150,"title":151,"dynasty":18,"author":19,"museum":152,"description":153,"tags":154,"thumbUrl":159,"material":160,"size":161,"collection":33,"collections":162,"showCount":163,"zanCount":164,"manualWeight":38,"mainColor":165},220992,"bai-hua-tu-juan-yun-shou-ping-220992","百花图卷","美国大都会艺术博物馆","恽寿平的山水画造诣之高，受到历代画家的赞誉。然而，他到中年后却放弃了在山水画领域的成就，转向以画花卉为主。究其原因，历史上说法很多。",[48,24,25,71,27,28,50,29,81,7,155,83,156,79,78,117,80,119,157,116,122,158],"百合","荷花","芍药","昆虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff29e1c97e998205c049e5c6f18799621.jpg","手卷，绢本设色","纵32厘米，横530厘米",[33,35],1418,23,"F48FB1",{"id":167,"slug":168,"title":169,"dynasty":63,"author":170,"museum":171,"description":172,"tags":173,"thumbUrl":177,"material":31,"size":178,"collection":33,"collections":179,"showCount":180,"zanCount":181,"manualWeight":38,"mainColor":39},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。",[48,24,26,27,50,125,72,73,29,74,82,83,77,79,7,174,175,176],"石榴","孤石","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f238b574b7e294422560d3e7833b4b0.jpg","",[33],1280,21,{"id":183,"slug":184,"title":185,"dynasty":18,"author":19,"museum":20,"description":186,"tags":187,"thumbUrl":189,"material":27,"size":190,"collection":33,"collections":191,"showCount":192,"zanCount":193,"manualWeight":38,"mainColor":39},220990,"mu-dan-tu-yun-shou-ping-220990","牡丹图","恽寿平（1633年－1690年），初名格，字寿平，改字正叔，号南田，又号云溪外史、白云外史，武进（今江苏常州）人，清代画家。\n恽寿平生于明崇祯六年（1633年），父恽日初为复社要人。寿平八岁能咏莲，少年遭遇战乱，随父参加抗清运动，兵败后与父失散，被总督陈锦之妻收留。陈锦遇刺身亡，寿平扶灵北归时，在灵隐寺与父相遇，留寺为僧，后回乡与家人团聚。\n子恽念祖，娶西营汤氏，汤谟孙女、汤自明次女。\n生前视钱如无物，晚年贫病交迫，卒于清康熙二十九年（1690年），由好友王翚出资安葬。",[48,24,25,29,27,28,7,81,188,125],"题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b5f207c857db2c2b1912c82d5800ded.jpg","纵28.5公分 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Museum","此作以工写交融之法绘就，大写意晕染蔬果花卉：明黄葫芦腴润饱满，墨色瓜实朴拙厚重，丝瓜清透雅致，凌霄、月季柔媚鲜活，藤蔓以狂草般的笔墨肆意舒展，苍劲写意中尽得野趣生机。\n\n笔下草虫则以极精工的细笔刻画：蜻蜓翼脉纤毫毕现，螳螂举臂灵动逼真，蝴蝶振翅欲飞，将小虫的鲜活灵态尽致描摹。简逸朴拙的写意花草，搭配毫厘必现的工笔虫豸，将文人画的雅趣与乡野小景的生机融为一体，把寻常田间意趣化作耐品的丹青佳构。",[48,24,27,29,71,305,306,123,122,307,308,7,120,309,140],"葫芦","丝瓜","螳螂","蟋蟀","藤蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa55484ca9db9175f8ad8bbbb64dec7ae.jpg","color on 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的光芒。，他想買下，無奈錢不夠，因此而與丈夫趙明誠雙雙",[48,23,24,25,26,27,29,7,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d4545b75f5270a81a2bbe98ab5c0643.jpg","绢本","41×33",[129,33,35],683,{"id":372,"slug":373,"title":374,"dynasty":44,"author":45,"museum":375,"description":376,"tags":377,"thumbUrl":378,"material":31,"size":178,"collection":33,"collections":379,"showCount":380,"zanCount":232,"manualWeight":38,"mainColor":39},219178,"hong-mu-dan-tu-xu-xi-219178","红牡丹图","藏地不详","徐熙，五代南唐杰出画家，金陵（今南京）人，一说钟陵（今江西进贤）人。出身于“江南名族”。生于唐僖宗光启年间，后在开宝末年（公元975）随李后主归宋，不久病故。一生未官，郭若虚称他为“江南处士”。沈括说他是“江南布衣”。其性情豪爽旷达，志节高迈，善画花竹林木，蝉蝶草虫，其妙与自然无异。",[48,23,24,25,29,7,27,50,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ffaf2140f2c68889a42d1ec443c4e02.jpg",[33],680,{"id":382,"slug":383,"title":384,"dynasty":18,"author":385,"museum":386,"description":387,"tags":388,"thumbUrl":389,"material":27,"size":390,"collection":33,"collections":391,"showCount":392,"zanCount":393,"manualWeight":38,"mainColor":39},222691,"wan-you-tong-chun-tu-juan-qian-wei-cheng-222691","万有同春图卷","钱维城","美国波士顿博物馆","画卷以折枝的方法将生长于不同时节的几十种花卉，密密匝匝地按大小依次穿插，整齐地排列在画面中。\n以没骨法绘写花叶、花瓣，形态逼真。钱氏画风以干笔勾勒，重视烘染，笔墨浑然，用笔缜密，以青绿、赭石相间设色，极富宫廷富贵气息。\n一如其画卷的题目“万有”，他以折枝的方法将生长于不同时节的几十种花卉，密密匝匝地按大小依次穿插，整齐地排列在画面中。\n以恽寿平的没骨法绘写花叶、花瓣，形态逼真。我们可以轻松地根据花来辨别物种。",[48,24,71,27,50,29,7,117,80,79,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28df3bc101f8e21a132c570146c27eaa.jpg","36.3X787.3厘米",[33,35],647,13,{"id":395,"slug":396,"title":397,"dynasty":112,"author":113,"museum":398,"description":399,"tags":400,"thumbUrl":402,"material":31,"size":178,"collection":33,"collections":403,"showCount":404,"zanCount":11,"manualWeight":38,"mainColor":58},214834,"ke-si-mu-dan-hu-die-tu-yi-ming-214834","缂丝牡丹蝴蝶图","美国弗利尔美术馆","缂丝牡丹蝴蝶图是宋代佚名画家的一幅著名图画。这幅图画描绘了一朵牡丹花和蝴蝶在相互追逐的场景。牡丹花象征着美丽和优雅，而蝴蝶则代表着自由和转化。这幅图画结合了自然与人文的元素，展现出一种优美的意境。画中蝴蝶的细腻写实和牡丹花的浓艳色彩相得益彰，使得这幅图画在宋代颇受欢迎。",[48,24,23,25,401,29,239,27,7,122,125],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F263c73234939963e2722e8b4fcab0d10.jpg",[33],637,{"id":406,"slug":407,"title":408,"dynasty":18,"author":409,"museum":375,"description":410,"tags":411,"thumbUrl":412,"material":178,"size":178,"collection":33,"collections":413,"showCount":414,"zanCount":415,"manualWeight":38,"mainColor":39},228928,"hua-hui-hu-die-tu-juan-ma-quan-228928","花卉蝴蝶图卷","马荃","此作工写相融，以没骨法绘就群蝶，翅翼薄如蝉翼，晕染出绒毛的柔润质感，墨色浓淡相宜，黑蝶沉雅莹润，白蝶清透灵动。群蝶翩跹往复，似循着花香振翅而来，各有姿态，灵动生趣。\n\n间缀芍药、佛手数处，设色柔婉秀雅，花叶舒展自然，与蝶影相映成趣，将花底群蝶相逐的春日清景缓缓铺展。引首题字娟秀端丽，书画合璧，将闺中细腻意趣融于笔底，晕开一卷悠然雅致的花间清梦。",[48,24,25,71,27,50,73,125,29,81,122,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa61f6d45e4448610bc0d9227c8c99010.jpg",[33],537,11,{"id":417,"slug":418,"title":419,"dynasty":112,"author":420,"museum":20,"description":421,"tags":422,"thumbUrl":427,"material":205,"size":178,"collection":104,"collections":428,"showCount":429,"zanCount":349,"manualWeight":38,"mainColor":58},216963,"guan-fu-xi-ying-tu-su-han-chen-216963","灌佛戏婴图","苏汉臣","婴戏图即描绘儿童游戏时的画作，又称“戏婴图”，是中国人物画的一种。因为以小孩为主要绘画对象，以表现童真为主要目的，所以画面丰富，形态有趣。中国很早已有绘画婴孩的传统，到了唐宋时期技巧渐趋成熟，宋代更是婴戏图的黄金时期，使之成为中国绘画中极受欢迎的画类。\n\n宋代是婴戏图发展的全盛时期，不但取材多样化，而且描绘技巧高超。有的采用鲜艳颜色以衬托婴孩游玩时的愉快心情，营造热闹快乐的气氛；有的利用简洁的线描，刻划平民的市井风情。市井之民虽生于低下阶层，物质生活不甚丰富，但小孩的天真、贪吃贪玩的性情仍溢于纸上。在婴孩的形体构图方面，孩子面貌及身形比例准确，不再是“身小而貌壮”或“妇人之貌”。而且画家每每绘画小孩穿上轻纱薄衣，使观者能通过薄衣透视小孩丰满圆润的身段。婴孩面部表情亦十分丰富，喜怒哀乐活灵活现。宋代婴戏图的兴盛和成功，奠定了婴戏图的基础，亦创新了不少题材，使后世仿效之作甚多。",[24,23,25,50,27,423,7,75,424,425,426],"人物","树","假山","栏杆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc85835c28e628810548dd2c93dbfbd.jpg",[104],525,{"id":431,"slug":432,"title":433,"dynasty":18,"author":19,"museum":20,"description":21,"tags":434,"thumbUrl":435,"material":31,"size":32,"collection":178,"collections":436,"showCount":437,"zanCount":11,"manualWeight":38,"mainColor":39},214305,"mu-dan-ce-5-yun-shou-ping-214305","牡丹册-5",[24,25,23,26,27,50,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb3772de09b7a0a9f5b1dbfb42e2091f.jpg",[],516,{"id":439,"slug":440,"title":441,"dynasty":18,"author":442,"museum":443,"description":444,"tags":445,"thumbUrl":448,"material":31,"size":178,"collection":33,"collections":449,"showCount":450,"zanCount":11,"manualWeight":38,"mainColor":58},219036,"mu-dan-yu-lan-tu-jiang-ting-xi-219036","牡丹玉兰图","蒋廷锡","大英博物馆","画面铺展间，花木扶疏尽显生机。玉兰绽如雪团，缀于虬枝，禽鸟栖停顾盼生姿；牡丹热烈盛放，粉白紫三色交织，花瓣层叠如锦，墨绿叶片衬得花容更艳，一抹朱红点缀其间，添了灵动。树下顽石苍古，纹理拙趣，旁生细草闲花，柔媚与苍劲相映。工笔细腻见匠心，线条婉转，设色相宜，既有富贵雍容之态，又不失清雅灵动之韵，仿佛闻花间细语，观禽鸟轻啼，一派生机盎然的春日盛景跃然眼前。",[48,24,25,29,50,27,7,52,51,333,446,447,241,176],"枝","叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed08238660ecdcb1bd2c392c1379139b.jpg",[33],456,{"id":452,"slug":453,"title":454,"dynasty":112,"author":455,"museum":20,"description":456,"tags":457,"thumbUrl":459,"material":367,"size":460,"collection":129,"collections":461,"showCount":462,"zanCount":193,"manualWeight":38,"mainColor":58},221490,"hua-lan-tu-li-song-221490","花篮图","李嵩","图绘藤编花篮一只，竹篮编织精巧别致，里面盛满了各色鲜艳欲滴的花朵，白的、红的、粉的、淡黄的，有蜀葵、栀子、百合、广玉兰、石榴等，布置得错落有致，画家笔下一个小小的花篮，折射出的是繁花似锦的大自然，美丽而富有朝气，让人看了之后感到十分亲切，画家对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x 26.3公分",[129,33,35],454,{"id":464,"slug":465,"title":466,"dynasty":63,"author":64,"museum":319,"description":467,"tags":468,"thumbUrl":474,"material":127,"size":475,"collection":476,"collections":477,"showCount":479,"zanCount":38,"manualWeight":38,"mainColor":58},222233,"za-hua-tu-xu-wei-222233","杂花图","《杂花图》是明代画家徐渭所创作的一幅泼墨画，纸本作品，是南京博物院18件镇馆之宝中唯一一件书画作品。画中分别将牡丹、石榴、荷花，梧桐、菊花、北瓜、扁豆、紫薇、紫藤、芭蕉、梅、兰、竹共计十三种花卉绘于一卷。\n《杂花图卷》是徐渭传世的佳作，在这卷十余米的长卷中，徐渭以酣畅淋漓的“胶墨”分别绘制了牡丹、石榴、梧桐、菊花、南瓜、扁豆、紫薇、紫藤、芭蕉、梅兰竹等13种花卉蔬果。徐渭以其疾飞狂扫的豪放气势，纵横挥洒，信笔涂抹：画中牡丹含羞沾露，占尽风流；硕荷、梅兰、修竹、榴枝，笔触歪斜正侧，跌来倒去，随意点染，自如流畅。作紫藤逸笔草草、洋洋洒洒。忽而，又如狂风乍起，点线飞舞，纵横密集，线条速急癫狂。顷刻，笔住墨涸，嘎然而止，墨彩纷呈，留下满纸斑斓。体现了他用笔峭拔劲挺多变与用墨洒脱自如的艺术风格。画中尽显着交响乐一般波澜起伏的宏大乐章。时隔4个世纪，画中依然显出墨迹淫淫的湿润感。\n《杂花图》卷，全图以牡丹起首，按牡丹象征富贵，这与徐青藤的身世相左，故而他一变旧法而改以泼墨写牡丹“虽有生意，终不是此花真面目”，在这枝墨牡丹上我们确实很难寻找富贵的痕迹了。紧接着石榴一枝，充分体现了他用笔的灵动，而墨荷：则重在展示墨彩的缤纷 。梧桐以其肥硕的枝干稳住了这二小段的重心，这是全图的第一个高潮。以下菊花、扁豆、紫薇等只是逸笔草草，随意点染。就章法而言，疏密是相对而存在的，这一小段貌似不经意之笔，在全图的节奏处理上却起着关键的作用。紫藤如蛇的老干泼辣粗放，“一扫槎枒三丈绢”的气势，形成了全图的最高潮。紫藤的花叶更是水墨淋漓，走笔如飞而不乱，意犹跃出纸外。芭蕉是滋润而含蓄的，它与紫藤形成了动与静的强烈对比，貌与质的相依共存。接下来梅枝横斜傲骨铮铮，幽兰、纤竹寥寥数笔，是为尾声。艺术是相通的，我们从这卷《杂花图》中可以领略到诗的起、承、转、合，也像欣赏一部交响曲，从引子到尾声，节奏和韵味正是它们共同的内涵。我们更能通过此图触摸到青藤老人胸中激情的横流。",[48,24,25,71,68,70,72,7,174,156,469,118,470,471,472,473,75],"梧桐","南瓜","扁豆","紫薇","葡萄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2ccaec0a74bfab54d306d36724d1bcb.jpg","1053.5X30厘米","山水画精选",[476,478],"水墨画精选",448,{"id":481,"slug":482,"title":483,"dynasty":18,"author":484,"museum":375,"description":485,"tags":486,"thumbUrl":487,"material":178,"size":178,"collection":33,"collections":488,"showCount":489,"zanCount":258,"manualWeight":38,"mainColor":39},238119,"zi-teng-mu-dan-zhou-wu-chang-shuo-238119","紫藤牡丹轴","吴昌硕","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》。",[24,27,29,116,7,73,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bfc622729b6d71aea89e743af379a39.jpg",[33,35],447,{"id":491,"slug":492,"title":493,"dynasty":18,"author":494,"museum":65,"description":495,"tags":496,"thumbUrl":501,"material":205,"size":502,"collection":33,"collections":503,"showCount":504,"zanCount":258,"manualWeight":38,"mainColor":39},219288,"mu-dan-bai-tou-tu-ren-yi-219288","牡丹白头图","任颐","任颐（1840—1896），字伯年，别号山阴道上行者，清末著名画家。浙江绍兴人，寓居上海，以卖画为生，与任熊、任熏、任预并称为“海上四任”，是“海上画派”中成就最为突出者。他的绘画吸收了民间艺术的技法，人物、肖像、山水、花鸟无不精工。\n其人物画早年师法陈洪绶，造型夸张，装饰效果强，后变得较为奔逸。其花鸟画早年师法北宋诸家，后融汇了恽派、陈淳、徐渭、朱耷的写意画法，又吸收了西方水彩绘画的色调，设色淡雅，格调清新明快，对近现代花鸟画产生了深远的影响。",[48,24,25,49,27,497,29,7,498,175,499,333,51,500],"兼工带写","白头鸟","树枝","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa31c3984c898ba3c385fce26f73cd95b.jpg","纵133.5cm，横64.8cm",[33,35],437,{"id":506,"slug":507,"title":508,"dynasty":18,"author":509,"museum":94,"description":510,"tags":511,"thumbUrl":513,"material":367,"size":514,"collection":33,"collections":515,"showCount":516,"zanCount":272,"manualWeight":38,"mainColor":39},222678,"si-ji-hua-niao-tu-ping-chen-mei-222678","四季花鸟图屏","陈枚","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。",[48,24,25,50,27,7,242,512,141],"绿叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49b9c1625db6482ffad4734737f73a34.jpg","139X41CM",[33],434,{"id":518,"slug":519,"title":520,"dynasty":18,"author":19,"museum":65,"description":521,"tags":522,"thumbUrl":523,"material":143,"size":178,"collection":178,"collections":524,"showCount":525,"zanCount":258,"manualWeight":38,"mainColor":39},234300,"yun-shou-ping-hua-hui-ce-yun-shou-ping-234300","恽寿平花卉册","恽寿平（1633年-1690年），初名格，字惟大，后改字寿平，以字行。别号南田。作为明末清初著名的书画家，他开创了没骨花卉画的独画风，是常州画派的开山祖师。自小敏慧，却一生坎坷\n恽（yùn）寿平出生于官宦之家，又是书香门第，曾祖父、祖父、爹爹、叔父不是为官就是为学，从小敏慧，长相出众，8岁便有咏莲花之诗。清初遭遇战乱，年仅12岁的恽寿平随父远走浙、闽、粤几省，风餐露宿，历尽艰险。后参加了福建建宁王祈的抗清队伍。\n顺治五年（1648年），闽浙总督陈锦率六万清军强攻建宁，15岁的恽寿平坚守孤城。城陷后，与兄皆被虏至清兵营。陈锦无子，其妻见寿平聪明清秀，收为养子。恽寿平虽在总督府生活优裕，但思亲之情未绝。五年后，遇灵隐寺方丈相救，才得以与家人团聚。此后，他刻苦钻研学问，古文、诗词、书画无不精擅。",[24,25,26,28,27,73,125,7,81,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dc8ee0032281ae979767d6d432d5240.jpg",[],407,{"id":527,"slug":528,"title":185,"dynasty":112,"author":529,"museum":20,"description":530,"tags":531,"thumbUrl":532,"material":31,"size":533,"collection":33,"collections":534,"showCount":535,"zanCount":349,"manualWeight":38,"mainColor":58},219031,"mu-dan-tu-zhao-chang-219031","赵昌","湖石下的鸢尾花、兰花和灵芝，以及湖石后盛开的牡丹，让人眼前一亮。虽然丝绸已经发黄发旧，但仍有光泽的感觉。",[48,23,24,25,50,27,29,7,140,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f8b5880085e0d0be159ea0e1946d21d.jpg","143.5x59.3",[33],397,{"id":537,"slug":538,"title":539,"dynasty":63,"author":540,"museum":541,"description":542,"tags":543,"thumbUrl":546,"material":31,"size":178,"collection":33,"collections":547,"showCount":548,"zanCount":258,"manualWeight":38,"mainColor":58},219280,"feng-huang-mu-dan-tu-sun-yi-219280","凤凰牡丹图","孙忆","九州国立博物馆","凤凰顾盼生姿，翎羽层叠如锦缎铺展，青绿冠羽衬得朱喙明艳，蓝红翅羽与尾羽眼斑流转虹光，每缕纹理皆细腻入毫。牡丹雍容吐蕊，白瓣胜雪、红瓣似霞，枝叶缠络间缀细碎白花，与凤凰相映成趣。古雅绢本色调晕染出静谧祥瑞，工笔线条精准流畅，设色浓淡相宜，华贵中透着清雅。整幅画将凤凰的祥瑞之气与牡丹的富贵之姿融于一体，尽显盛世花鸟的雍容气象，笔墨间藏着对美好生活的祈愿，是工笔花鸟里兼具艺术性与寓意的佳作。",[24,25,50,27,29,544,7,81,545],"凤凰","翎毛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8785c401d091b29709625d8b0cf4c0e9.jpg",[33],379,{"id":550,"slug":551,"title":552,"dynasty":18,"author":113,"museum":375,"description":553,"tags":554,"thumbUrl":558,"material":559,"size":560,"collection":178,"collections":561,"showCount":562,"zanCount":563,"manualWeight":38,"mainColor":58},288183,"mu-dan-yu-mao-tu-ye-yi-ming-288183","牡丹与猫图页","画面以工笔细绘庭院小景，蜷卧的白猫团作软雪，顶间墨斑与尾尖玄色相映，将睡梦憨态勾勒得灵动传神，似能轻闻浅鼾。旁侧牡丹柔瓣层叠，晕染出匀净粉白，枝叶舒展间带着温婉柔媚，古拙湖石皴擦苍劲，刚柔互衬晕开雅致意趣。整体色调清和古雅，绢底肌理晕开淡旧古韵，将庭院午后悠然静谧的闲情尽数铺展，笔意细腻写实，把日常小景绘得诗意悠然。",[48,24,50,27,7,555,556,557],"猫","湖石","静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd65baef04b6a9c9fcdd55cfc5d2c2c7.jpg","未知","Xcm*Xcm",[],370,1,{"id":565,"slug":566,"title":567,"dynasty":63,"author":568,"museum":94,"description":569,"tags":570,"thumbUrl":571,"material":572,"size":573,"collection":33,"collections":574,"showCount":575,"zanCount":563,"manualWeight":38,"mainColor":39},222369,"mu-dan-tu-zhou-lu-zhi-222369","牡丹图轴","陆治","画卷绘折枝牡丹二枝，枝头各自开放花朵，棕色在前，金色略被遮挡，花朵硕大饱满，花瓣层层叠叠，中间配以鹅黄花蕊。技法上，花朵以墨晕染，再以鹅黄点缀花蕊，绿叶细笔深绿构绘叶脉，后以淡绿晕染，清新脱俗。\n陆治，字叔平，明代画家。因居包山，自号包山。善行、楷，尤通绘事，点染花鸟竹石清新自然，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。",[48,24,25,49,27,50,7,281,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd605f4b1d772948191c493247cd631c3.jpg","纸本设色","31.7x102.8厘米",[33,35],354,{"id":577,"slug":578,"title":579,"dynasty":18,"author":442,"museum":375,"description":580,"tags":581,"thumbUrl":582,"material":559,"size":560,"collection":33,"collections":583,"showCount":584,"zanCount":258,"manualWeight":38,"mainColor":39},239249,"mu-dan-shi-liu-zhong-ce-jiang-ting-xi-239249","牡丹十六种册","蒋廷锡（1669年－1732年），字酉君、杨孙，号南沙、西谷，又号青桐居士，江苏常熟人，清朝康熙、雍正时期官员、画家、文献学家、藏书家。\n蒋廷锡为康熙四十二年（1703年）进士，授翰林编修。雍正帝即位后历任礼部侍郎、户部尚书等职。雍正六年（1728年）拜文华殿大学士，仍兼理户部事，并任《明史》总裁。次年（1729年）加太子太傅。累封一等阿达哈哈番。雍正十年（1732年）卒于任内，谥号“文肃”。\n蒋廷锡在官秉公抚政、剔除积弊，声誉甚著。为人博学精敏，尤善诗画。擅长花鸟，以逸笔写生，奇正率工，敷色晕墨，兼有一幅，能自然洽和，风神生动，得恽寿平韵味。点缀坡石，偶作兰竹，亦具雅致。曾画塞外花卉70种，被视为珍宝收藏于宫廷。今有《牡丹扇面》《岁岁久安图》《桃花鹦鹉图》《竹石图》轴及《花卉图》等传世。",[24,25,26,27,50,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21e4a8c5c08aea53092bfe51363d6ad0.jpg",[33,35],327,{"id":586,"slug":587,"title":588,"dynasty":18,"author":251,"museum":65,"description":589,"tags":590,"thumbUrl":593,"material":31,"size":594,"collection":33,"collections":595,"showCount":596,"zanCount":272,"manualWeight":38,"mainColor":39},219111,"hua-niao-tu-lang-shi-ning-219111","花鸟图","此图笔法精工细腻，色调绚丽多彩，造型抽象生动，注重展现禽鸟翎毛的细腻、花叶的阴阳向背以及明暗层次的差异，具有鲜明的西洋花鸟写实画的色调。",[48,50,27,125,29,7,51,591,592,81,281],"老树","蘑菇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43bf0edaaa3f25a2c4a60fa09e4aa741.jpg","纵63.7厘米，横32.3厘米",[33],323,{"id":598,"slug":599,"title":185,"dynasty":18,"author":484,"museum":375,"description":600,"tags":601,"thumbUrl":602,"material":27,"size":178,"collection":33,"collections":603,"showCount":604,"zanCount":563,"manualWeight":38,"mainColor":605},224225,"mu-dan-tu-wu-chang-shuo-224225","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》。\n清道光二十四年（1844年）8月1日，生于浙江省孝丰县鄣吴村（今湖州市安吉县）一个读书人家。幼时随父读书，后就学于邻村私塾。10余岁时喜刻印章，其父加以指点，初入门径。\n咸丰十年（1860年）太平军与清军战于浙西，全家避乱于荒山野谷中，弟妹先后死于饥馑。后又与家人失散，替人做短工、打杂度日，先后在湖北、安徽等地流亡数年。\n同治四年（1865年），中秀才。是年，海上先辈名家任薰与周闲合作，为吴昌硕绘画像。\n同治八年（1869年），赴杭州，就学于诂经精舍，从名儒俞樾习小学及辞章。编成《朴巢印存》。\n同治十一年（1872年），赴上海，得以认识高邕之。\n光绪六年（1880年），寓吴云（平斋）两礨轩，以《篆云楼印存》请教，吴云为之删削，更名为《削觚庐印存》。识吴秋农、金心兰、顾茶村、胡三桥、方子昕等。与杨岘（见山）结为朋友。\n光绪八年（1882年），居苏州。友人荐作小吏以维持生计。与虞山沈石友结为朋友。\n光绪九年（1883年），在沪识任伯年。任伯年为作《芜菁亭长小像》。\n光绪十三年（1887年），至沪，任伯年为作《棕荫纳凉图》。\n光绪十五年（1889年），在苏州。时伯年来访，为之作《酸寒尉像》，自题诗。施旭臣、谭复堂为《缶庐诗》作序。\n光绪十六年（1890年），居上海。识吴大澄。\n光绪十八年（1892年），任伯年又为作《蕉荫纳凉图》。\n光绪十九年（1893年），在上海编选壬辰年以前所作诗三卷刊行，题名《缶庐诗》。\n光绪二十（1894年），在北京以诗及印谱赠翁同龢。中日战争爆发，参佐吴大澄戎幕，北上抗日，兵败继续为吴大澄戎幕。\n光绪二十一年（1895年），任伯年为作《棕荫忆旧图》、《山海关从军图》。十一月，任伯年病殁沪上，作诗哭之并撰联。\n光绪二十五年（1899年）十一月，得丁葆元保举，任安东县令，一月即辞去。\n致力书画\n光绪二十六年（1900年），日本河井仙郎投之于门下。\n光绪二十九年（1903年），自订润格。编选壬寅以前所作诗为《缶庐诗》第四卷，连同前刊三卷，又《别存》一卷合为一册。\n光绪三十年（1904年），移居桂和坊19号，名其斋曰“癖斯堂”。赵子云（赵云壑）投门下。\n光绪三十五年（1909年），在沪加入上海豫园书画善会。\n民国元年（1912年），至杭州与西泠诸友宴集。始以字行。\n民国二年（1913年），西泠印社成立，任社长。秋，梅兰芳来会。与王一亭结为至交。王一亭在上海商界、金融界推介吴昌硕的书画金石艺术，使其名声大振。\n民国三年（1914年），王一亭为吴昌硕在六三园举办生平第一次个展，使吴派艺术开始为日本艺界所了解和推崇。上海书画协会成立，任会长。\n民国四年（1915年），上海“题襟馆书画会”推先生为名誉会长。\n民国六年（1917年），吴昌硕继配施氏夫人在上海去世。\n民国九年（1920年），日本长崎首次展出其书画，东京文求堂继刊《吴昌硕画谱》，长崎双树园刊行《吴昌硕画帖》。诸乐三列为门弟子。\n民国十年（1921年），赴杭西泠印社宴集。《汉三老碑》被日商购去，与西泠同仁奔走呼吁，作画义卖，终募款八千大洋将碑赎回。日本朝仓文夫为范铜像。\n民国十二年（1923年），潘天寿由诸闻韵引见来谒，撰联以赠。门弟子陈师曾去世。\n民国十四年（1925年），沙孟海由王贤引列为门弟子。为已逝师友周闲遗作《花卉长卷》作引首并题。\n民国十六年（1927年）十一月二十九日，逝于上海寓所。\n民国二十二年（1933年）十一月，迁葬于浙江余杭县塘栖附近超山报慈寺西侧山麓宋梅亭畔。\n\n篆刻:\n少年时他因受其父熏陶，即喜作书，印刻。楷书始学颜鲁公，继学钟元常；隶书学汉石刻；篆学石鼓文，用笔之法初受邓石如，赵之谦等人影响，以后在临写《石鼓》中融汇变通。行书得黄庭坚、王铎笔势之欹侧，黄道周之章法，个中又受北碑书风及篆籀用笔之影响，大起大落，遒润峻险。\n吴昌硕篆刻从“浙派”入手，后专攻汉印，也受邓石如、吴让之、赵之谦等人影响，善于留白，或对角欹斜，气象峥嵘，构图块面体积感极强。刀融于笔，篆刻雄而媚、拙而朴、丑而美、古而今、变而正。上取鼎彝，下挹秦汉，以“出锋钝角”的刻刀，将钱松、吴攘之切、冲两种刀法相结合治印。\n吴昌硕在继承前人冲刀法和切刀法优秀成果的基础上，融诸家之长，在大量的篆刻创作实践中，不断探索，将冲刀和切刀两种刀法融合在一起，形成了自己的冲切结合的刀法。这种刀法灵活多变，或冲中带切，或切中带冲，甚至切中带削……这种多变的刀法，把冲刀的猛利、挺劲、爽快与切刀的含蓄、浑朴融为一体，将书意和刀意表现得淋漓尽致，使他的篆刻刀法雄浑朴茂中寓秀逸的个性化特点凸现了出来。他与厉良玉、赵之谦并称“新浙派”的三位代表人物。\n残缺刀法是吴昌硕篆刻创作中的一种常用手法。我们知道，秦汉古印大多因年深日久，水土的浸蚀，自然的风化，印面及文字线条失去了原先的平整和光洁，变得残缺不全。恰恰是这些残缺给我们以古朴、含蓄、浑厚、苍拙等特殊的审美效果，这是自然的造化使然。吴昌硕善于巧夺天工，在传统的冲、切刀法的基础上，辅之以敲、击、凿、磨或借用砂石、鞋底、钉头等，极大地丰富了篆刻艺术的表现手法，并创造性地将篆刻艺术中刀石效果产生的金石味，上升到残缺美的审美新境界。\n主要篆刻作品：《寿山老坑巧色雕狮钮》《作了天下事》《读遍千古书》《好学为福》《黑青田》《一月安东令》《湖州安吉县》《泰山残石楼》《园丁生于梅洞长于竹洞》《暴书》《千寻竹斋》《千寻竹斋》3刻《吴俊卿信印日利长寿》《安吉吴俊章》《雷浚》《鲜鲜霜中菊》《归仁里民》。\n\n绘画:\n绘画的题材以花卉为主，亦偶作山水。前期得到任颐指点，后又参用赵之谦画法，并博采徐渭、八大、石涛和扬州八怪诸家之长，兼用篆、隶、狂草笔意入画，色酣墨饱，雄健古拙，亦创新貌。其作品重整体，尚气势，认为“奔放处不离法度，精微处照顾气魄”，富有金石气。讲求用笔、施墨、敷彩、题款、钤印等的疏密轻重，配合得宜。 吴昌硕自言：“我平生得力之处在于能以作书之法作画。”\n他以篆笔写梅兰，狂草作葡萄。所作花卉木石，笔力老辣，气势雄强，布局新颖，构图也近书印的章法布白，喜取“之”字和“女”字格局，或作对角斜势。用色上似赵之谦，喜用浓丽对比的颜色，尤善用西洋红，色泽浓艳。\n吴昌硕因以“草篆书”入画，状物不求写实，形成了影响近现代中国画坛的直抒胸襟，酣畅淋漓的“大写意”笔墨形式。\n他酷爱梅花，以写大篆和草书笔法为之，墨梅、红梅兼有，画红梅水分及色彩调和恰到好处，红紫相间，笔墨酣畅。又喜作兰花，喜以或浓或淡的墨色和用篆书笔法画成，刚劲有力。画竹竿以淡墨轻抹，叶以浓墨点出，疏密相间，富有变化，或伴以松、梅、石等，成为“双清”或“三友”。菊花也是他经常入画的题材，伴以岩石，或插以高而瘦的古瓶，与菊花情状相映成趣。菊花多作黄色，亦或作墨菊和红菊。墨菊以焦墨画出，菊叶以大笔泼洒，浓淡相间。\n晚年较多画牡丹，以鲜艳的胭脂红设色，含有较多水分，再以茂密的枝叶相衬，生气蓬勃。荷花、水仙、松柏也是经常入画的题材。\n菜蔬果品如竹笋、青菜、葫芦、南瓜、桃子、枇杷、石榴等也一一入画，极富生活气息。推崇周闲果蔬风格，作品色墨并用，浑厚苍劲，对于近世花鸟画影响深远。\n主要绘画作品：《天竹花卉》《紫藤图》《墨荷图》《五月枇杷图》《杏花图》《花卉十二屏风》《梅花》《花卉四屏》《牡丹》《兰石图》《松石图》《花卉》2幅《紫藤图》《杂画册（之—、二）》《依样》《天香露图》《杞菊延年》《泥盆菊草图》《牡丹图》《牡丹水仙图》《大富贵》《佛像图》《富贵神仙图》《红梅图》2幅《蔷薇芦桔图》《秋艳图》《三千年结实》《人物》《三千年结实之桃》《神仙福寿》《石梅》《石竹图》《松梅图》《岁寒交图》《桃实图》《瓜果》《灯下观书》《姑苏丝画图》等。\n①金石气息：吴昌硕绘画艺术的第一大特色是有金石气息。所谓金石气息，指的就是钟鼎上所铸的金文与刻在石碑上的文字所具有的味道。人们常说谁谁的画作有金石气息，其实这种评论标准都是从吴昌硕的绘画风格出现以后才有的。比如，人们在谈到徐青藤、八大山人时，就从来没有听说过评价他们的画作有金石气息。\n②笔力雄浑：吴昌硕绘画艺术的第二大特色是笔力雄浑。所谓笔力雄浑，指的就是其画作中的笔触朴拙、苍茫、老辣，极具浑圆、雄强的力量感。人们常说吴昌硕绘画的气息很厚、很重，按照书画圈儿里人的说法就是“笔头子”很大。所谓“笔头子”很大，并不是说他用的毛笔很大，而指他笔下的气息非常浑厚，一笔下去，浑金璞玉，力透纸背，又意蕴丰富、气象万千。\n③设色浓丽：吴昌硕绘画艺术的第三大特色是设色浓丽。过去人们总是说中国画不能搞那么多颜色，用太多颜色容易俗气。不过，张俊东却指出，吴昌硕绘画的用墨就特别浓，设色也特别大胆，特别鲜艳和浓丽。比如，吴昌硕画过很多牡丹，很多都是大红大紫的，但是却不会让人觉得俗气，而且非常有文人的那种风骨。所以张俊东认为，中国画设色的关键不在多少，而在谁来用以及怎么去用。\n④富于变化:吴昌硕绘画艺术的第四大特色是笔法和墨法富于变化。这里边又体现在几个方面。张俊东举例介绍说，比如吴昌硕在画菊花时，可以将一朵菊花无论是正面的，侧面的，静态的，动态的，都能画得非常丰富。\n\n书法:\n吴昌硕的楷书，始学颜鲁公，隶习汉代石刻，篆学石鼓文。行书学黄庭坚、王铎。\n吴昌硕书法作品，以篆书、行草为主，晚年所书隶书，结体变长，取纵势，用笔雄浑、饱满，具有篆书痕迹，将篆、隶溶为一体，形成独特面貌。\n吴昌硕的隶书遍临《汉祀三公山碑》《张迁碑》《嵩山石刻》《石门颂》等汉碑。中年以后，博览众多金石原件及拓本，选择石鼓文为主要临摹对象。数十年间，反复钻研，故所作石鼓文凝练遒劲，风格独特。60岁后所书尤精，圆熟精悍。喜将石鼓文字集语书写对联。晚年以篆隶笔法作草书，笔势奔腾，苍劲雄浑，不拘成法。\n\n诗文:\n吴昌硕善作诗文，苦吟数十年，未尝间断。其诗文，奇崛古朴，用典较多，不甚通俗。但有些绝句纯用白描手法，活泼自然，接近口语，具有明丽俊逸的特点，风格上与民歌很相近。有些绝句则活泼自然，接近口语，时含有讽刺意味，抒发生活实感。所作题画诗寄托深远，颇有浪漫主义气息；评论前人书画，尤多独到见地。早年所作五古，有一部分含有讽刺意味，揭露了当时黑暗社会某些不平现象。他的散文作品写得不多，大都是序跋、考证和题画小品之类，写的都很朴质淳厚，平易近人。题画小品中尤多精心之作。发抒生活实感，鞭挞丑恶现象，颇能以少胜多；读时依稀与作者一灯相对，娓娓而谈，意味非常深长。",[48,23,24,25,49,27,68,29,7,73,125,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb324477af74ed2e0e3b9bd525ad134c3.jpg",[33,35],320,"FFFFFF",{"id":607,"slug":608,"title":609,"dynasty":63,"author":277,"museum":386,"description":610,"tags":611,"thumbUrl":613,"material":572,"size":614,"collection":33,"collections":615,"showCount":616,"zanCount":258,"manualWeight":38,"mainColor":39},222557,"hua-hui-tu-ce-chen-chun-222557","花卉图册","此图册是陈淳晚年作品。卷尾自题“嘉靖庚子，余游玉山，过周氏六观草堂。主人出此册，具丹粉，欲图杂卉。留连累月，不觉盈帙，见者亦且以草本视之可也。道复志”。按照其生卒年推算， “嘉靖庚子” 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。",[48,24,25,29,26,69,68,27,81,7,500,281,612],"兰草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F917a3d7d0165dfb34ce3f2d19087dabb.jpg","32.5×57.3厘米",[33,35],314,{"id":618,"slug":619,"title":620,"dynasty":112,"author":621,"museum":20,"description":622,"tags":623,"thumbUrl":631,"material":85,"size":632,"collection":33,"collections":633,"showCount":634,"zanCount":272,"manualWeight":38,"mainColor":39},218756,"xie-sheng-hua-niao-tu-mu-xi-218756","写生花鸟图","牧溪","这是一幅水墨画，画的是各种花卉、果蔬、飞禽走兽，并绘有草、坡、竹、石。用墨精到，造型准确。与北京故宫收藏的宋代百花长卷相比，水墨画更显从容，为元代王瑞雪和明代林良的水墨画打开了大门。",[48,24,25,71,68,624,69,29,81,625,75,77,7,626,51,627,628,470,629,630,78,79,80],"写生","蔬果","鱼","白菜","萝卜","莲蓬","葱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F319f1d586ad6d8f701799388a3a2ded1.jpg","44.5x1017.1cm",[33],302,{"id":636,"slug":637,"title":638,"dynasty":18,"author":19,"museum":20,"description":21,"tags":639,"thumbUrl":640,"material":31,"size":32,"collection":178,"collections":641,"showCount":634,"zanCount":11,"manualWeight":38,"mainColor":39},214304,"mu-dan-ce-2-yun-shou-ping-214304","牡丹册-2",[23,24,25,50,27,26,29,7,512],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88c4f68ab97598a41c207c5c41a0ddba.jpg",[],{"id":643,"slug":644,"title":645,"dynasty":18,"author":19,"museum":375,"description":646,"tags":647,"thumbUrl":648,"material":559,"size":560,"collection":178,"collections":649,"showCount":650,"zanCount":218,"manualWeight":38,"mainColor":39},290526,"hua-hui-zhou-yun-shou-ping-290526","花卉轴","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。",[23,24,25,49,27,50,29,7,52,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F060eeb289a0dda1a06b4c11a188ac1f7.jpg",[],301,{"id":652,"slug":653,"title":654,"dynasty":18,"author":484,"museum":375,"description":600,"tags":655,"thumbUrl":656,"material":572,"size":178,"collection":33,"collections":657,"showCount":658,"zanCount":563,"manualWeight":38,"mainColor":39},224224,"shen-xiang-ting-mu-dan-tu-wu-chang-shuo-224224","沈香亭牡丹图",[48,24,25,49,27,69,29,7,83,175,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53c9d82e7f776cb18bd2518ac5c4a852.jpg",[33,35],296,{"id":660,"slug":661,"title":662,"dynasty":18,"author":19,"museum":20,"description":21,"tags":663,"thumbUrl":664,"material":31,"size":32,"collection":178,"collections":665,"showCount":666,"zanCount":563,"manualWeight":38,"mainColor":39},214299,"mu-dan-ce-8-yun-shou-ping-214299","牡丹册-8",[24,25,26,27,28,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b8f834fe87b3d9965aaf66b4aec7480.jpg",[],295,{"id":668,"slug":669,"title":670,"dynasty":223,"author":671,"museum":65,"description":672,"tags":673,"thumbUrl":678,"material":572,"size":679,"collection":33,"collections":680,"showCount":681,"zanCount":272,"manualWeight":38,"mainColor":39},221707,"ba-hua-tu-juan-qian-xuan-221707","八花图卷","钱选","此卷以分段法描绘海棠、梨花、杏花、水仙、桃花、牡丹等8种花卉，每种相对独立，合之又成为整体。8种花卉各具姿态，偃仰向背绝无雷同，笔致柔劲，一丝不苟，敷色清雅，浓淡相宜，整幅精工而不滞板，细腻而不纤巧。本幅前右下角钤“舜举”印一方，拖尾处有元代赵孟頫题跋：“右吴兴钱选舜举所画八花真迹，虽风格似近体，而傅色姿媚殊不可得。尔来此公日酣于酒，手指颤抖难复作此。而乡里后生多仿效之，有东家捧心之弊，则此卷诚可珍也。至元廿六年九月四日同郡赵孟頫。”",[48,24,25,71,27,50,29,80,7,674,675,676,79,677,119],"海棠","栀子","梨花","梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd3daf5f7775f9a2ba3a9ee6a0616487.jpg","纵29.4厘米，横333.9厘米",[33,35],279,{"id":683,"slug":684,"title":43,"dynasty":44,"author":45,"museum":375,"description":685,"tags":686,"thumbUrl":687,"material":559,"size":560,"collection":178,"collections":688,"showCount":689,"zanCount":258,"manualWeight":38,"mainColor":58},288264,"yu-tang-fu-gui-tu-xu-xi-288264","画中上方玉兰初吐芳华，海棠飞艳溢彩，秀石之后，几丛牡丹姹紫嫣红，一只野雉正倘徉其间。该图构图方法颇具特色。从整幅图中来看，所有画面被牡丹、玉兰，海棠，禽鸟和假山石充溢，十分紧密，有明显的装饰性，使观者一望而生富丽之感。",[48,24,23,25,49,29,27,50,7,52,242,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66fe9d017d489145ac64737a1045253a.jpg",[],274,{"id":691,"slug":692,"title":693,"dynasty":18,"author":19,"museum":20,"description":21,"tags":694,"thumbUrl":695,"material":31,"size":32,"collection":178,"collections":696,"showCount":697,"zanCount":147,"manualWeight":38,"mainColor":39},214303,"mu-dan-ce-3-yun-shou-ping-214303","牡丹册-3",[24,25,29,7,50,28,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdffa0ff34f933df084b45570f27fb53d.jpg",[],271,{"id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。特以嗜酒落魄，不甚为世重耳。又善古隶。",[48,24,71,27,50,29,74,75,7,78,79,242,812,81,813],"禽鸟","柳枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784a8955d2b4f0279d0683708db84ee1.jpg",[],216,9,{"id":819,"slug":820,"title":821,"dynasty":63,"author":822,"museum":375,"description":823,"tags":824,"thumbUrl":828,"material":178,"size":178,"collection":178,"collections":829,"showCount":830,"zanCount":11,"manualWeight":38,"mainColor":58},228390,"kong-que-mu-dan-tu-yin-hong-228390","孔雀牡丹图","殷宏","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。",[48,23,24,25,825,27,50,29,826,7,240,813,241,827,812,242],"明代","孔雀","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe1384e37440b3476c7844a32e3504f3.jpg",[],202,{"id":832,"slug":833,"title":834,"dynasty":18,"author":385,"museum":20,"description":835,"tags":836,"thumbUrl":837,"material":143,"size":838,"collection":33,"collections":839,"showCount":840,"zanCount":38,"manualWeight":38,"mainColor":39},222697,"hua-chun-hua-san-zhong-zhou-qian-wei-cheng-222697","画春花三种轴","钱维城（1720 —1772）于第二次南巡时陪同南下，不但于苏州绘「借山斋」一景，稍早经过家乡常州时，亦为乾隆皇帝绘制当地名胜苏轼「舣舟亭」，颇似御用的随行写生画家。此作描绘苏州虎邱一带的景致，承续「四王」山水风格，并揉合地貌与建筑，呈现出清代宫廷正统派山水画的风貌。乾隆皇帝于虎邱所题诗句「林泉印证真亲切，秀丽从来说虎邱」，显示出他以艺术品「即景印证」的习惯，并不囿于古代名迹，当朝词臣的画作亦可添助游兴。",[48,24,25,23,49,27,50,29,81,7,52,281,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F644cd5f86ffa087cae3a9551bfee9b91.jpg","260x101.4",[33,35],194,{"id":842,"slug":843,"title":185,"dynasty":112,"author":113,"museum":171,"description":844,"tags":845,"thumbUrl":846,"material":31,"size":178,"collection":33,"collections":847,"showCount":848,"zanCount":218,"manualWeight":38,"mainColor":39},218556,"mu-dan-tu-yi-ming-218556","这幅牡丹图尽显宋人工笔花鸟的精妙意趣。花瓣层叠繁复，却以细腻线条勾勒得一丝不苟，粉白渐变间晕染出娇嫩柔润之态，花心处细微纹理亦清晰可见，足见画师对物象观察之深。叶片以浓淡不一的翠绿设色，叶脉勾勒精准，翻转向背间尽显生机，与花瓣的柔美形成刚柔呼应。古朴绢色背景更衬出牡丹的雍容雅致，无过多修饰却意境悠远。宋画重“格物”，此作于写实中蕴含诗意，将牡丹的华贵与清逸完美融合，虽为佚名之作，却不失宋代院体画的严谨与神韵，是宋代花鸟小品中的上乘之作。",[48,50,27,29,7,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59cec98d7c1e9e0929c01e3c92e11d37.jpg",[33],190,{"id":850,"slug":851,"title":852,"dynasty":112,"author":113,"museum":375,"description":853,"tags":854,"thumbUrl":855,"material":178,"size":178,"collection":178,"collections":856,"showCount":857,"zanCount":258,"manualWeight":38,"mainColor":58},227352,"fu-gui-li-mao-tu-yi-ming-227352","富贵狸猫图","宋朝人喜欢猫，原因归根于宋朝建立后，随着绝对君权的建立与官僚体制的完善，文人士大夫的社会地位有了很大提高，但也逐步失去了盛唐人那种“致君尧舜上”的历史条件。\n\n同时，宋代封建经济的发展水平远超过唐代，手工业、农业、商业的发展使得中小地主日益兴盛起来，商品经济更加活跃，城市经济繁荣发达，市民队伍迅速壮大。民众安居乐业，故而从曾经追求事业成功的“外王” 转变为重个体修养的 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erial":559,"size":560,"collection":178,"collections":991,"showCount":992,"zanCount":11,"manualWeight":38,"mainColor":39},290309,"sui-chao-tu-zhou-lu-zhi-290309","岁朝图轴","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。",[23,24,25,49,27,29,74,80,7,99,72,125,989],"日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5facffa84a62716f2f574fdad24943d6.jpg",[],152,{"id":994,"slug":995,"title":996,"dynasty":18,"author":872,"museum":997,"description":998,"tags":999,"thumbUrl":1001,"material":205,"size":178,"collection":33,"collections":1002,"showCount":992,"zanCount":563,"manualWeight":38,"mainColor":39},214821,"shan-shui-hua-hui-tu-ce-gao-feng-han-214821","山水花卉图册","日本大阪市立美术馆","高凤翰是一位清代著名的画家，他最著名的作品之一是山水花卉图册。这本图册包含了许多精美的山水和花卉画作，描绘了中国传统山水风景的美丽景色。高凤翰以其独特的画风和精湛的技巧著称，他的作品在当时颇受欢迎，并被广泛收藏。\n\n高凤翰的山水花卉图册对中国山水画的发展有着巨大的影响。他的作品描绘了中国传统山水风景，但又不拘泥于传统，注重自然与艺术的结合。他运用了自然的色彩和线条，使画面生动而富有感染力。同时，他也注重写实，力求将自然界的细节再现在画面中。高凤翰的山水花卉图册是中国山水画发展史上的一部重要作品，其中蕴含了许多独特的艺术成就。",[24,25,26,68,27,241,7,1000,81,72,125],"竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7cf54d8ff98e36838fdc0046806b6e0.jpg",[33],{"id":1004,"slug":1005,"title":1006,"dynasty":18,"author":1007,"museum":375,"description":1008,"tags":1009,"thumbUrl":1010,"material":559,"size":560,"collection":178,"collections":1011,"showCount":1012,"zanCount":563,"manualWeight":38,"mainColor":39},235132,"tao-hua-tu-zhou-zou-yi-gui-235132","桃花图轴","邹一桂","“丙戌”是清乾隆三十一年（1766年），邹一桂时年79岁。图绘在月季的衬托下斜入画面的桃树。全图笔法轻快疏秀，设色淡雅清丽，花之媚，叶之柔，充分表现了桃树的独特魅力。作者不刻意求工、求似，唯求自然天趣，揭示出平淡超逸的审美意趣，不仅表现出春回大地桃花含烟带雾的诗意，而且具有富贵长春的吉祥寓意。",[24,23,49,27,50,29,79,7,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdadd8bce962dd2da11a1ab2141bebd95.jpg",[],148,{"id":1014,"slug":1015,"title":1016,"dynasty":18,"author":1017,"museum":1018,"description":1019,"tags":1020,"thumbUrl":1023,"material":1024,"size":1025,"collection":178,"collections":1026,"showCount":1012,"zanCount":563,"manualWeight":38,"mainColor":39},231349,"sui-chao-qing-gong-tu-zhao-zhi-qian-231349","岁朝清供图","赵之谦","荣宝斋","岁朝图是中国传统绘画的重要题材之一。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》，作为新年伊始的开笔之作。据考证，绘制岁朝图的传统源自于宋代宫廷，从宋徽宗赵佶治下特别流行，主要描绘冬季花卉，如腊梅、松柏、水仙等富有吉祥寓意的花草，一并搭配冬天不易看到的花卉、草木、果实等，意味着春天即将来临，以增加节日的祥和气氛，正如此作题款所云：“富贵昌宜吉祥如意，岁朝清供也。”这其中寄托着古人对于未来一年的美好祝愿。此类岁朝图一般采取细笔写生画法，形象描绘逼真。历代画家多有描绘，在清代宫廷中更为流行，像郎世宁、陈书这样的清宫御用画家都画过类似题材。\n作为文人画家，岁朝清供这样的题材也为赵之谦所爱。此幅《岁朝清供图》即为海派大师赵之谦所作，通幅为长条型构图，描绘的草木花卉皆为案头清玩之物。画面上部描绘一高立的花架，花架上摆有一盆盛放的水仙，盆中亦有秀石与水仙相映成辉。花架下有蒲草、灵芝，寓意吉祥。画面下部绘有一圆型石盆，盆中有怒放的牡丹花。花木、盆架错落有致地安排在画面中。赵之谦将自身深厚的金石书法功底融入绘画，形成了他写意花卉的独特面貌。花架与石盆皆以带有篆籀笔意的用笔写出，廖廖数笔，笔简神完，大气十足，在花卉的描绘上颇重视细节，如牡丹花旁的绿草刚劲有力，细密有如针刺，蒲草则纷披，得其大意，可谓有粗有细、有收有放。用色上注重以色助墨，以墨醒色，花架与花盆以浓墨写出，更映衬出水仙的翠绿与牡丹的嫣红，设色俏丽鲜艳，画面效果虽强烈却不刺激。通篇予人春意融融、满室生香之感。\n从此幅《岁朝清供图》来看，赵之谦将清代两大花鸟画派，即恽寿平的没骨画法与扬州画派的写意画法相结合，并自出机杼，创造出新的风格。他在金石书法方面功力深厚，并将其入画，注重用色，在用色上讲究雅俗共赏，突破了古代文人画家所秉承的“夫画道之中，水墨为上”的原则。这些特点在海派大家吴昌硕那里得到了继承与进一步发挥。可以说，赵氏在写意花鸟画艺术上的拓展与推进，对近世花鸟画影响颇为深远，齐白石、陈师曾等北派巨匠同样受过他画作的影响。",[48,24,25,49,27,68,29,7,77,1021,175,99,125,1022],"柿子","篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bf07ea413035b2c66a5bfd228e15f97.jpg","设色纸本","135.5×30.5cm",[],{"id":1028,"slug":1029,"title":1030,"dynasty":18,"author":484,"museum":375,"description":1031,"tags":1032,"thumbUrl":1033,"material":143,"size":1034,"collection":33,"collections":1035,"showCount":1012,"zanCount":218,"manualWeight":38,"mainColor":39},224232,"gui-shou-tu-li-zhou-wu-chang-shuo-224232","贵寿图立轴","此幅描绘含露微嫩的牡丹，亭亭玉立的水仙。牡丹雍容华贵，花瓣层层叠叠，显富贵之意；淡黄色水仙花与嫩绿而修长的叶片，娇艳欲滴；似云似烟的湖石穿插于花卉中，灵动自然。画面题：神仙贵寿。",[48,24,49,29,69,27,7,140,500,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedac561ff78a78041827fca1bcbcc149.jpg","117x35cm",[33,35],{"id":1037,"slug":1038,"title":1039,"dynasty":18,"author":1040,"museum":375,"description":1041,"tags":1042,"thumbUrl":1046,"material":178,"size":178,"collection":178,"collections":1047,"showCount":1048,"zanCount":563,"manualWeight":38,"mainColor":39},234226,"hua-hui-tu-juan-zhu-da-234226","花卉图卷","朱耷","清代初期的中国画坛活跃着弘仁、髡残、朱耷、石涛四位僧人画家，画史上合称“四僧”。他们的绘画在继承传统的基础上，大胆创新，主张师法自然造化，与当时画坛正统风格相距甚远，具有鲜明的艺术风格。在这四人当中尤以朱耷的人生与艺术最具传奇色彩。\n朱耷（1626—1705），江西南昌人，为明江西宁献王朱权的九世孙。明亡后出家为僧，法名传綮，曾经使用的号有很多，最为著名的则是在他弃僧还俗后使用的“八大山人”。",[48,24,25,71,68,73,1043,125,29,7,79,1044,1045],"草书","绣球","白描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1af9b90b90faf27fd07bc9d5bfdfb023.jpg",[],146,{"id":1050,"slug":1051,"title":1052,"dynasty":18,"author":251,"museum":20,"description":1053,"tags":1054,"thumbUrl":1055,"material":559,"size":560,"collection":178,"collections":1056,"showCount":1048,"zanCount":563,"manualWeight":38,"mainColor":39},230204,"xian-e-chang-chun-tu-lang-shi-ning-230204","仙萼长春图","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。",[48,24,23,25,26,50,27,29,7,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dee7461512292d25946deeb4c5ea582.jpg",[],{"id":1058,"slug":1059,"title":185,"dynasty":112,"author":113,"museum":1060,"description":1061,"tags":1062,"thumbUrl":1064,"material":31,"size":1065,"collection":33,"collections":1066,"showCount":1067,"zanCount":563,"manualWeight":38,"mainColor":1068},218645,"mu-dan-tu-yi-ming-218645","福冈市立美术馆","沉棕底色如旧绢凝香，中央牡丹姿态雍容却不失清雅。花瓣层叠如浪，米白与浅褐的晕染间藏着淡粉的柔韵，似被时光打磨出温润质感。墨线勾出的叶片翠意内敛，叶脉纤细如丝，与花的柔婉相映成趣。整幅画作工致细腻，尽显宋画的沉静风骨，将牡丹的端庄神韵凝于方寸之间，仿佛能窥见千年之前画者笔下那一抹含蓄的生机，静谧中流淌着古雅的诗意。",[48,23,24,25,29,50,27,7,1063],"花叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7837e7613763e599f5ea1a410e470c01.jpg","26.7x31.2",[33],144,"37474F",{"id":1070,"slug":1071,"title":1072,"dynasty":18,"author":1073,"museum":278,"description":1074,"tags":1075,"thumbUrl":1076,"material":85,"size":178,"collection":33,"collections":1077,"showCount":1067,"zanCount":563,"manualWeight":38,"mainColor":39},214693,"hua-hui-ce-luo-pin-214693","花卉册","罗聘","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。",[24,25,26,68,29,81,7,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd22e30016320aef8a29832998f488225.jpg",[33],{"id":1079,"slug":1080,"title":1081,"dynasty":63,"author":1082,"museum":375,"description":1083,"tags":1084,"thumbUrl":1087,"material":178,"size":178,"collection":178,"collections":1088,"showCount":1089,"zanCount":563,"manualWeight":38,"mainColor":39},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。",[48,24,25,71,50,27,29,74,82,7,78,79,80,117,1085,155,202,674,675,1086,81,281,827,125],"杜鹃","茉莉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fcbf65ccf427d0eec788db6bcfcdb78.jpg",[],137,{"id":1091,"slug":1092,"title":1093,"dynasty":63,"author":568,"museum":20,"description":1094,"tags":1095,"thumbUrl":1098,"material":31,"size":1099,"collection":33,"collections":1100,"showCount":1101,"zanCount":563,"manualWeight":38,"mainColor":58},216221,"jin-pu-ming-chun-tu-lu-zhi-216221","锦圃鸣春图","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。",[24,25,23,49,50,27,29,826,7,240,241,1096,1097,825],"小草","白花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa50c4c81b69ff6eb527a5c62b8b31e46.jpg","纵146厘米，横89厘米",[33],134,{"id":1103,"slug":1104,"title":1105,"dynasty":18,"author":1106,"museum":398,"description":1107,"tags":1108,"thumbUrl":1109,"material":205,"size":178,"collection":33,"collections":1110,"showCount":1111,"zanCount":38,"manualWeight":38,"mainColor":39},218129,"mu-dan-chun-tu-shi-tao-218129","牡丹春图","石涛","石涛，法名原济，靖江王朱守谦十世孙，工书法，能诗文。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品。花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。",[48,24,25,68,27,29,7,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54421eb9c1a00afe897aab682510aa31.jpg",[33],128,{"id":1113,"slug":1114,"title":1115,"dynasty":18,"author":113,"museum":375,"description":1116,"tags":1117,"thumbUrl":1118,"material":559,"size":560,"collection":33,"collections":1119,"showCount":1120,"zanCount":258,"manualWeight":38,"mainColor":39},238919,"qing-ren-mu-dan-pu-ce-yi-ming-238919","清人牡丹谱册","此作以设色小笔写牡丹，花瓣水红晕染，由尖至根渐次浅淡，柔瓣舒展层叠，将初绽盛放的娇妍之态尽显无余。浓黄点染花蕊，醒目鲜活，仿若能引蜂蝶驻足。叶片以墨骨打底，敷石绿再晕赭色叶边，既有鲜嫩生机，又带着清润古雅的质感，苍劲朴拙的简笔枝干暗藏风骨。\n\n画面留白空灵雅致，仅取一花数枝，便将牡丹的华贵温婉凝于尺幅，将写实写生与写意抒情相融，尽显古典花鸟画清隽静雅的文人意趣，淡冶宜人，意韵悠长。",[24,25,26,27,50,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa2cc58af73fe9e9ebcec8d4b817842b.jpg",[33,35],127,{"id":1122,"slug":1123,"title":1124,"dynasty":18,"author":484,"museum":375,"description":600,"tags":1125,"thumbUrl":1126,"material":572,"size":1127,"collection":33,"collections":1128,"showCount":1120,"zanCount":38,"manualWeight":38,"mainColor":605},224222,"zhao-ri-hong-he-2-wu-chang-shuo-224222","朝日红荷2",[48,24,25,49,69,68,27,29,7,72],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ee70d82dd0fb7821970c9c33faebe94.jpg","93x46",[33,35],{"id":1130,"slug":1131,"title":1132,"dynasty":18,"author":19,"museum":20,"description":1133,"tags":1134,"thumbUrl":1135,"material":572,"size":178,"collection":33,"collections":1136,"showCount":1137,"zanCount":258,"manualWeight":38,"mainColor":39},220979,"ping-shan-mian-hua-ce-yun-shou-ping-220979","平扇面畫冊","扇面顧名思義就是扇子形狀的一個面，在幾何上是這樣定義何為扇形的：一條弧和經過這條弧兩端的兩條半徑所圍成的圖形叫扇形，那麼扇面是不是就是一個扇形的面呢？其實並不是。\n現多指為書畫作品的一種形式，分為摺扇和團扇。",[48,401,28,27,29,7,81,281,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec7984a13c489e6e7b3ce49166670d47.jpg",[33,35],123,{"id":1139,"slug":1140,"title":1141,"dynasty":63,"author":1142,"museum":20,"description":1143,"tags":1144,"thumbUrl":1146,"material":31,"size":1147,"collection":33,"collections":1148,"showCount":1149,"zanCount":258,"manualWeight":38,"mainColor":58},222397,"xing-hua-kong-que-tu-lv-ji-222397","杏花孔雀图","吕纪","此画属于吕纪工笔花鸟画的代表作品，右方署款「吕纪」，钤盖「四明吕廷振印」一方。画中描绘一对孔雀在杏花树下栖息的景况。位于画面中央的孔雀单脚伫立于岩石上，回首注视绽放的红色牡丹，另一只孔雀则蜷伏石上，观察地面景况。画中的孔雀、杏花、牡丹等象征着吉祥意味。杏花以白色、粉赭色系颜料敷染，牡丹花及孔雀则使用浓重的赭红色，与石青、石绿的颜料搭配，充满着富贵绮丽的装饰性。",[48,24,25,49,27,50,29,1145,826,7,175,242],"杏花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c7b2db4a8d4bb0924c74e8de14dc43d.jpg","纵203.4厘米，横110.6厘米",[33,35],122,{"id":1151,"slug":1152,"title":1153,"dynasty":223,"author":113,"museum":375,"description":1154,"tags":1155,"thumbUrl":1156,"material":178,"size":178,"collection":178,"collections":1157,"showCount":1158,"zanCount":258,"manualWeight":38,"mainColor":58},228216,"mu-dan-hua-hui-tu-zhou-yi-ming-228216","牡丹花卉图轴","以深沉绢地托举群芳，白牡丹莹洁似凝脂，红牡丹浓艳若燃霞，紫牡丹晕染出雅致柔韵。花姿或肆意盛放、或含苞颔首，俯仰之间各有姿态。叶片以细腻晕染分出阴阳向背，脉络清浅舒展，将草木柔润生机尽藏笔底。构图繁而不乱，错落排布尽显繁茂却不觉拥塞，将牡丹的雍容富贵融于清雅古拙的笔意之中，尽显花鸟写生的精湛功力，把国色天香的神韵晕染得恰到好处。",[48,23,24,25,49,50,27,7,81,512],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f44b549ecd7f5efb68ebd193de03a4a.jpg",[],121,{"id":1160,"slug":1161,"title":1162,"dynasty":18,"author":113,"museum":375,"description":1163,"tags":1164,"thumbUrl":1165,"material":178,"size":178,"collection":178,"collections":1166,"showCount":1167,"zanCount":258,"manualWeight":38,"mainColor":39},239214,"zhao-zhi-qian-mu-dan-tu-zhou-yi-ming-239214","赵之谦牡丹图轴","此作兼工带写，以淡墨绘枯木顽石，焦墨点苔晕出水墨层次。粉牡丹柔妍灵动，花瓣从淡粉晕染至绯色，金黄花芯点簇鲜活。蓝叶以没骨法晕开，色韵清透雅致。右上角行书题笔苍劲朴拙，诗画相映。\n\n花木娇柔与湖石浑朴刚硬形成鲜明对照，刚柔并济，尽显文人写意意趣，将初夏庭间牡丹倚石盛放的清寂雅致铺展开来。笔意纵逸随性，设色秀而不媚，尽显晚清写意花鸟的典型风貌，借花石传递出悠然古淡的文人情致。",[24,49,27,29,7,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff10e1ffe0de8cd4eac0f7a47ebe7cb28.jpg",[],120,{"id":1169,"slug":1170,"title":1171,"dynasty":112,"author":906,"museum":20,"description":1172,"tags":1173,"thumbUrl":1174,"material":127,"size":1175,"collection":178,"collections":1176,"showCount":1167,"zanCount":258,"manualWeight":38,"mainColor":39},221253,"mu-dan-shi-tie-ce-zhao-ji-221253","牡丹诗贴册","此作华丽富贵，疏密自然，用笔洒脱，线条粗细有致，笔势圆转流畅，书写时以手腕为轴心，少了点刚硬，多了些柔和，充分表现出了瘦金书体的婀娜之美，可能原先配有一幅双色牡丹图，作品参差错落，一气呵成，表现出了作者高度的艺术修养。",[48,23,24,25,26,911,72,909,68,7,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f35d3427d35e7def70a2f431c6cc271.jpg","34.8cm×53.3cm",[],{"id":1178,"slug":1179,"title":1180,"dynasty":18,"author":1181,"museum":375,"description":1182,"tags":1183,"thumbUrl":1184,"material":178,"size":178,"collection":178,"collections":1185,"showCount":1186,"zanCount":38,"manualWeight":38,"mainColor":39},224363,"fu-gui-bai-tou-tu-ju-lian-224363","富贵白头图","居廉","《富贵白头图》为光绪十三年（公元1887年）居廉晚年之作。\n此时居廉画风已完全成熟，因此其艺术追求和体格特点在这幅画作中有充分的体现。\n收藏于 。\n《富贵白头图》为纸本，设色，纵12.1厘米，横74.82厘米，收藏于 。\n图中所绘牡丹艳放，在春风中姹紫嫣红，争奇斗妍，引得蜜蜂、蝴蝶在花间流连嬉戏，石上停息着一双白头翁鸟，神态娴静，与喧闹的蜂蝶相映成趣。\n湖石坚实厚重，衬出花卉的秀美。\n图中偏右一侧一块硕大而玲珑剔透的太湖石兀然而立，湖石的周围一丛盛开的牡丹，姹紫嫣红，争奇斗艳，或低首沉吟，或迎风怒放，引来一群蜜蜂、彩蝶在花丛之中追逐嬉戏，流连忘返，给人一种明媚而又温暖的春天气息。\n在湖石的上端栖停着一对白头翁鸟，一俯一仰，怡然自得，与上下翻飞，喧闹不已的蜂蝶，一动一静，相映成趣，美不胜收。\n该画鸟、蜂、蝶以工笔重彩画出，形态生动。\n花朵的红色、粉色、黄色晕染，非常写实。\n敷以深浅绿叶，以浓墨和红色勾筋。\n线条圆润饱满，叶片清秀洒脱，疏密有致；设色浓淡相依，明丽艳秀。\n而花中奇石用积墨与淡墨晕染相结合绘出，素雅动人。\n在绘画技法上，整幅画作的格调极为工致，造型准确，赋色艳丽，然而却又没有丝毫单滞、艳俗之感，可算得是居氏画作中的精品。\n（1828-194），字古泉，自号隔老人，广西桂林人，占籍广东番禹（今广州），居巢之堂弟。\n善画花鸟、草虫及人物，尤以写生见长。\n初学宋光宝及孟丽堂，亦得恽南田遗意，后吸收诸家之长，自成一体。\n笔法工整，设色妍丽，在继承和发展恽南没骨画法的基础上，创造出撞水法和撞粉法，为岭南派的重要奠基人之一，“二高一陈”皆出自其门下。\n《富贵白头图》自识“丁亥”，应为光绪十三年，也即公元1887年，乃其晚年之笔。\n此时居廉画风已完全成熟，因此其艺术追求和体格特点在这幅画作中有充分的体现。",[48,24,25,49,50,27,29,7,498,122,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F575773c294369c3e892af56386f46796.jpg",[],118,{"id":1188,"slug":1189,"title":1190,"dynasty":18,"author":895,"museum":171,"description":1191,"tags":1192,"thumbUrl":1201,"material":268,"size":1202,"collection":33,"collections":1203,"showCount":1186,"zanCount":563,"manualWeight":38,"mainColor":39},223163,"bai-niao-chao-feng-qian-bu-fen-shen-quan-223163","百鸟朝凤（前部分）","长卷以四季景色变化，绘禽鸟约近三百只，树木百余棵，四季花卉绽放；天空百鸟聚集，地上百花开放，寓意天下一片详和。长卷色彩艳丽，气势恢弘，堪称国之瑰宝。沈铨，字衡之，号南苹，清代画家，其画远师黄筌画派，近承明代吕纪。",[48,24,71,50,27,29,1193,544,1194,826,242,240,677,7,1195,1196,241,1197,1198,1199,1200],"百鸟","仙鹤","翠竹","柳树","流水","繁花","祥和","四季景色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6000dd4bebda5da888f414ac55bd6c91.jpg","纵40厘米，横1600厘米",[33,35],{"id":1205,"slug":1206,"title":1207,"dynasty":18,"author":484,"museum":65,"description":944,"tags":1208,"thumbUrl":1209,"material":947,"size":948,"collection":33,"collections":1210,"showCount":1211,"zanCount":563,"manualWeight":38,"mainColor":39},236754,"mu-dan-shui-xian-tu-zhou-wu-chang-shuo-236754","牡丹水仙图轴",[24,49,68,69,7,80,175,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8e4f3d78148a5c14ce790f58f1d5d01.jpg",[33,478],115,{"id":1213,"slug":1214,"title":520,"dynasty":18,"author":19,"museum":375,"description":646,"tags":1215,"thumbUrl":1216,"material":559,"size":560,"collection":178,"collections":1217,"showCount":1211,"zanCount":563,"manualWeight":38,"mainColor":39},235082,"yun-shou-ping-hua-hui-ce-yun-shou-ping-235082",[24,25,26,27,28,73,125,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18f6cfe7b0c9fd846a94eda0dfacb50e.jpg",[],{"id":1219,"slug":1220,"title":1221,"dynasty":63,"author":64,"museum":375,"description":1222,"tags":1223,"thumbUrl":1224,"material":178,"size":178,"collection":178,"collections":1225,"showCount":1226,"zanCount":563,"manualWeight":38,"mainColor":39},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。",[48,24,25,71,68,69,125,73,74,82,75,83,77,7,80,78,117,175,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80ebde713ecf78a9dd05b8f4040f76c2.jpg",[],114,{"id":1228,"slug":1229,"title":1230,"dynasty":63,"author":1142,"museum":264,"description":1231,"tags":1232,"thumbUrl":1235,"material":268,"size":1236,"collection":178,"collections":1237,"showCount":1226,"zanCount":563,"manualWeight":38,"mainColor":58},222394,"si-ji-hua-niao-tu-qiu-lv-ji-222394","四季花鸟图-秋","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。",[48,24,50,27,29,424,500,1233,242,7,1234],"水面","鸭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1873779d421c2c6c0dad9edf14f98573.jpg","176.0×100.8",[],{"id":1239,"slug":1240,"title":1241,"dynasty":18,"author":1242,"museum":375,"description":1243,"tags":1244,"thumbUrl":1245,"material":178,"size":178,"collection":33,"collections":1246,"showCount":1247,"zanCount":258,"manualWeight":38,"mainColor":39},238193,"wan-shou-chang-chun-ce-wang-cheng-pei-238193","万寿长春册","汪承霈","汪承霈（？－1805），清朝大臣。字受时，一字春农，号时斋，别号蕉雪，汪由敦之子，浙江钱塘人，原籍安徽休宁。由敦既卒，丧终，承霈以赐祭葬入谢。傅恒为言承霈书类由敦，授兵部主事，充军机处章京。累迁郎中，除福建邵武知府。时母年八十，请军机大臣为陈情，留京供职，复补户部郎中。三十六年，师讨小金川，上命户部侍郎桂林出督饷，以承霈从。三十七年，阿尔泰、宋元俊劾桂林以金与土酋赎所掠军士，辞连承霈，命逮治。俄，事白，仍以郎中充军机处章京。累迁工部右侍郎。甘肃冒赈事发，部议凡在甘肃纳捐监生，应禁革毋许应试，及自别途出身。承霈奏人数甚多，乞开自新之路，令纳金如例，许考试及自别途出身，得旨俞允。四十年，上校射，承霈连发中的，赏花翎。调户部右侍郎。五十四年，坐监临顺天乡试失察，左迁通政使。累迁复至侍郎。",[24,27,50,29,7,175,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f9204c9b628002d3a076dd544d5ad19.jpg",[33,35],113,{"id":1249,"slug":1250,"title":1251,"dynasty":18,"author":484,"museum":375,"description":1252,"tags":1253,"thumbUrl":1254,"material":178,"size":178,"collection":178,"collections":1255,"showCount":1256,"zanCount":563,"manualWeight":38,"mainColor":39},237971,"hua-hui-tu-zhou-wu-chang-shuo-237971","花卉图轴","此作集四季名卉于一纸，错落排布，繁而不杂，生机盎然。以没骨兼写意笔法绘就，牡丹以淡粉晕染花瓣，层层叠叠尽显雍容柔媚，墨色叶片苍劲老辣，金石笔意融于勾勒点染之间，朴拙浑厚。雏菊明黄鲜亮，山茶艳红古雅，白梅冰清玉润，紫藤柔蔓轻垂，诸花神态各异却和谐共生。\n\n题跋错落点缀于花枝空隙，书画相映，金石气与文人气交融氤氲。将文人写意的清雅风骨，与世俗吉庆的美好寄寓相融，尽显独特的雅俗共赏的风韵。",[24,29,27,69,7,83,81,281,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff58e2bc2a21ad008b6c9be203089481b.jpg",[],112,{"id":1258,"slug":1259,"title":1260,"dynasty":223,"author":671,"museum":94,"description":1261,"tags":1262,"thumbUrl":1263,"material":1264,"size":1265,"collection":33,"collections":1266,"showCount":1267,"zanCount":38,"manualWeight":38,"mainColor":39},221715,"hua-niao-tu-juan-qian-xuan-221715","花鸟图卷","第一段桃花翠鸟，画一枝春桃花繁叶茂，枝头站立一只通体羽毛幽蓝的翠鸟，小鸟身体直立，极目远眺，正是鸟儿振翅起飞前的瞬间写照。第二段牡丹，画一束绿叶中，盛开着两朵淡粉的牡丹，叶子向左下微垂，似有阵阵清风掠过。第三段干枝梅，画一棵梅枝垂挂而下，错节的大小梅枝上许多梅花盛开。钱选画花鸟善于捕捉实景中最生动自然的情形，形态逼真富有情趣，此卷正是钱选这一画风的充分体现。图画设色淡雅清丽，精巧传神，洋溢着隽秀清高之美，构图虽简，但更显画家的技法精湛。\n如此形象准确，神态生动，笔力遒劲的得意之作，钱选自然要赋诗题上。在每段画的后面，都有钱选自题的七言诗一首。第一段和第三段的题诗已漫漶不能全识，第二段题诗如下：头白相看春又残，折花聊助一时欢。东君命驾归何连，犹有余情在牡丹。题诗以行楷书写，含蓄内敛、平淡天真，严谨而朴拙，颇有钟繇遗风。画卷诗情画意相得益彰，为钱选花鸟画的至精之作。卷尾署“至元甲午画于太湖之滨并题，习懒翁钱选舜举”。可知这是钱选晚年所作，正值钱选诗书画印诸艺炉火纯青之时。",[48,24,25,71,27,50,29,79,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38ccc0a162c10a33940263f3fc4a9708.jpg","纸本 设色","纵38厘米 横316.7厘米",[33,478],111,{"id":1269,"slug":1270,"title":1271,"dynasty":112,"author":1272,"museum":65,"description":1273,"tags":1274,"thumbUrl":1283,"material":127,"size":1284,"collection":178,"collections":1285,"showCount":1286,"zanCount":258,"manualWeight":38,"mainColor":39},231422,"xie-sheng-tu-fa-chang-231422","写生图","法常","法常的绘画，有不少取材于平时人们司空见惯的日常生活，但独能于平淡天真之中揭示生命意识的真谛。此卷所绘折枝花果、禽鸟、鱼虾及蔬果，笔墨简淡，平平常常，在画幅上随随便便地摆放在一起，看来就是最为常见的与我们现实生活息息相关的景象，但是卷中墨色的氤氲、排列的错综、变化的神奇，却又分明深蕴着禅机。\n这些平常物象的背后是不着笔墨的大片空白，这种“知白守黑”、“计白当黑”的处理，使得画面中本不相关联的事物各自相对独立又可合而为一，画意更为完整而富于张力，给观者以想象的空间，正所谓“于无画处皆成妙境”。整幅作品充满着一种宁静、自省、淡泊的内在精神，使观者有“万物静观皆自得”的会心感受，耐人寻味。牧溪的绘画，写生功底极深，此幅亦是“肖似形类，并得其意”（项元汴语）的形神兼备之作。",[48,24,25,71,68,624,69,29,812,1275,1276,626,1277,1278,174,81,7,156,118,75,1279,176,1280,630,1281,1282,629,241],"野鸡","麻雀","水果","桃子","芦苇","蔬菜","藕","荷叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8c560c5bf16abfce7333669f1d842b1.jpg","纵47.3厘米，横814．1厘米",[],110,{"id":1288,"slug":1289,"title":151,"dynasty":223,"author":1290,"museum":152,"description":1291,"tags":1292,"thumbUrl":1293,"material":367,"size":1294,"collection":178,"collections":1295,"showCount":1296,"zanCount":349,"manualWeight":38,"mainColor":58},232772,"bai-hua-tu-juan-wang-yuan-232772","王渊","王渊，生卒年不详，元代画家。字若水，号澹轩，一号虎林逸士，钱塘（今浙江杭州）人。\n幼习丹青，赵孟頫多指教之，故所画皆师古人，无一笔院体。山水师郭熙，花鸟画师承后蜀黄筌，先勾勒后皴染水墨，浓淡深浅，极有韵致，得写生之妙，时称“绝艺”。\n人物师唐人吴道子，一一精妙，注重线条勾勒，不讲究墨彩渲染，史称“有笔而无墨”，自成风韵。尤精墨花鸟竹石，当代绝艺。天机溢发，肖古而不泥古。",[48,23,24,71,27,50,29,7,78,155,677,80,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28c480c150ed6fe88a7f552eddcaa50d.jpg","32.1x 247.7cm",[],108,{"id":1298,"slug":1299,"title":1300,"dynasty":1301,"author":1302,"museum":1303,"description":1304,"tags":1305,"thumbUrl":1308,"material":1309,"size":1310,"collection":178,"collections":1311,"showCount":1312,"zanCount":38,"manualWeight":38,"mainColor":1068},231574,"mu-dan-he-jin-si-que-ge-shi-bei-zhai-231574","牡丹和金丝雀","不详","葛饰北斋","美国国会图书馆","这幅《牡丹和金丝雀》就是十分典型的葛饰北斋晚期花鸟画。 画面以亮丽的深蓝色为背景，前面是四朵开放得十分热烈的粉色牡丹，中间的花蕊灵动嫩白，在周围绿色的花叶衬托下显得更加娇妍欲滴。葛饰北斋将俯冲向牡丹的金丝雀画在了中央。金丝雀张开双翅，羽翼丰满光滑，富有活力，与平日养在精美鸟笼中的金丝雀截然不同。\n葛饰北斋一直被称为日本美术史上最奇特、最有才气的画家之一。他自称“画狂人”，一生留下了大量的作品，创作一直持续到他90岁去世时的前三个月。他的才能不仅在人们熟悉的风景画领域，在读本插图、花鸟画，甚至《百物语》这种妖怪画等领域都有崭新的表现。他的很多画作都令人耳目一新，深受江户市民的欢迎。",[48,1306,1307,27,29,7,242],"浮世绘","木刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3363479890ca007e42afefe258fccd82.jpg","布面油画","19.2 x 17.4 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）。明代中期文学家、书画家、戏曲家、军事家。\n徐渭曾担任胡宗宪幕僚，助其擒徐海、诱汪直。胡宗宪被下狱后，徐渭在忧惧发狂之下自杀九次却不死。后因杀继妻被下狱论死，被囚七年后，得张元忭等好友救免。此后南游金陵，北走上谷，纵观边塞阨塞，常慷慨悲歌。晚年贫病交加，藏书数千卷也被变卖殆尽，他自称“南腔北调人”，于万历二十一年（1593年）去世，年七十三\n徐渭多才多艺，在诗文、戏剧、书画等各方面都独树一帜，与解缙、杨慎并称“明代三才子”。他是中国“泼墨大写意画派”创始人、“青藤画派”之鼻祖，其画能吸取前人精华而脱胎换骨，不求形似求神似，山水、人物、花鸟、竹石无所不工，以花卉最为出色，开创了一代画风，对后世画坛（如八大山人、石涛、扬州八怪等）影响极大；书善行草，写过大量诗文，被誉为“有明一代才人”；能操琴，谙音律；爱戏曲，所著《南词叙录》为中国第一部关于南戏的理论专著。另有杂剧《四声猿》《歌代啸》及文集传世。",[24,49,68,25,29,7,75,175,72,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9487283bab61d433f887641040f025a9.jpg",[],105,{"id":1323,"slug":1324,"title":1325,"dynasty":63,"author":277,"museum":375,"description":1326,"tags":1327,"thumbUrl":1328,"material":559,"size":560,"collection":178,"collections":1329,"showCount":1321,"zanCount":11,"manualWeight":38,"mainColor":39},235799,"mu-dan-shan-chen-chun-235799","牡丹扇","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， 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横5厘米。",[23,24,25,49,27,50,29,7,1432,51,241,968],"松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5c4c0d3181e223fbb9eb02524df05a4.jpg",[],100,{"id":1437,"slug":1438,"title":1439,"dynasty":18,"author":1181,"museum":20,"description":1334,"tags":1440,"thumbUrl":1443,"material":205,"size":1338,"collection":178,"collections":1444,"showCount":1445,"zanCount":563,"manualWeight":38,"mainColor":39},220331,"cao-chong-hua-hui-hu-shi-si-ping-mu-dan-ju-lian-220331","草虫花卉湖石四屏-牡丹",[48,24,25,49,50,27,7,175,1336,81,499,1441,1442],"叶片","飞虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9405a060a876dc38c257ff27f089ad9e.jpg",[],99,{"id":1447,"slug":1448,"title":1449,"dynasty":18,"author":1450,"museum":65,"description":1451,"tags":1452,"thumbUrl":1455,"material":178,"size":178,"collection":178,"collections":1456,"showCount":1457,"zanCount":258,"manualWeight":38,"mainColor":58},234463,"qu-zhao-lin-wu-bao-heng-deng-he-hua-shuang-feng-mu-dan-tie-luo-qu-zhao-lin-234463","屈兆麟伍葆恒等合画双凤牡丹贴落","屈兆麟","屈兆麟，字仁甫，北京人，1884年18岁时，进清宫造办处如意馆听差，擅长工笔花鸟，后升至如意馆“司匠长”。在清宫如意馆做过最后一任“司匠长”的画师（1866-1937），正好赶上中国历史上由王朝到共和的翻天覆地之变。民国十三年（1924）11月，民国政府摄政内阁黄郛、冯玉祥下令，由北京警卫司令鹿钟麟、警察总监张璧、北京大学教授李煜瀛出面执行，请逊帝溥仪出宫。从此，屈兆麟结束了长达四十年的宫廷画工生涯，流入社会，靠卖画为生，成为职业画家。",[24,25,50,27,544,7,1453,1454],"花木","奇石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5d48e3fe992844b4b122f5d332d3aaf.jpg",[],98,{"id":1459,"slug":1460,"title":609,"dynasty":18,"author":1461,"museum":65,"description":1462,"tags":1463,"thumbUrl":1464,"material":268,"size":178,"collection":33,"collections":1465,"showCount":1457,"zanCount":563,"manualWeight":38,"mainColor":39},232941,"hua-hui-tu-ce-fan-ting-zhen-232941","范廷镇","范廷镇（清），字鹿畴，一作祉安，或止安，号芷庵，一号冻亭，又号乐亭，武进（今江苏常州）人。能作花卉草虫，并书法，俱效恽寿平。\n范廷镇是恽寿平的亲传弟子，最能得恽南田没骨写生花卉之神髓，他的个别作品甚至可以达到乱真的地步，也是恽寿平的主要代笔人。包括他的书法与恽寿平都十分相近，接近于形神兼备，但格调稍欠，诗文才情更是与恽寿平相差甚远。",[24,25,214,26,50,27,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4df710205e22d5669d2e2a24740a6861.jpg",[33],{"id":1467,"slug":1468,"title":1469,"dynasty":18,"author":19,"museum":375,"description":1470,"tags":1471,"thumbUrl":1472,"material":929,"size":1473,"collection":33,"collections":1474,"showCount":1475,"zanCount":38,"manualWeight":38,"mainColor":165},221001,"hua-hui-li-zhou-yun-shou-ping-221001","花卉立轴","《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。",[48,24,49,28,27,29,7,75,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb72df777f65aff6071f8368bf22ed0ab.jpg","48.5×118.5",[33,35],96,{"id":1477,"slug":1478,"title":1479,"dynasty":18,"author":113,"museum":20,"description":1480,"tags":1481,"thumbUrl":1484,"material":31,"size":1485,"collection":33,"collections":1486,"showCount":1475,"zanCount":563,"manualWeight":38,"mainColor":39},218818,"fu-gui-ji-qing-tu-yi-ming-218818","富贵吉庆图","这幅画是在七色牡丹花下画了一对公鸡和母鸡接近小鸡的场景。牡丹的画法是恽代英式的，鸡的形状也很准确，采用的是略带西方色彩的凹版画法，所以这幅画应该是清代宫廷画家的作品。",[24,27,50,29,967,1482,1483,7,500,968],"母鸡","雏鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87b682bea290156c24b7bd4517051447.jpg","138.5x69cm",[33],{"id":1488,"slug":1489,"title":1490,"dynasty":63,"author":277,"museum":375,"description":1491,"tags":1492,"thumbUrl":1493,"material":178,"size":178,"collection":178,"collections":1494,"showCount":1495,"zanCount":563,"manualWeight":38,"mainColor":39},228466,"luo-yang-chun-se-tu-chen-chun-228466","洛阳春色图","明陈淳洛阳春色图此卷绘数株盛开的牡丹，雍容华贵，以没骨法写意。\n湖石枯笔勾皴，淡墨晕染，色墨并用。\n画风疏爽秀逸，艳丽清新。\n自题：“己亥秋日，道复书并图。\n”款“道复制”，钤‘白阳山人“朱文方印、”复父氏“白文方印。\n拖尾自题草书牡丹诗。\n【名称】明 陈淳 洛阳春色图 ，横111.2厘米。\n南京博物院藏。\n（148-1544）：又作1482-159年，长洲（今江苏苏州）人。\n字道复，后以字行，更字复甫，号白阳，又号白阳山人。\n陈淳少年作画以元人为法，深受水墨写意的影响。\n他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。\n他的有些作品，所画质朴，可以看出受沈周画法的影响。\n与徐渭并称白阳青藤。\n陈氏少年作画工细，中年后笔法放纵，自立门户。\n陈淳师从文徵明，在其门下声誉最高。\n曾评其曰：“吾于道复仅举业师耳，其书画自有门径。\n” 己亥为嘉靖十八年，作者时年五十七岁。",[48,24,25,71,27,68,69,29,7,175,73,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecafa67ce26c246c916ad4fb011d6f4d.jpg",[],95,{"id":1497,"slug":1498,"title":1499,"dynasty":18,"author":251,"museum":20,"description":252,"tags":1500,"thumbUrl":1502,"material":27,"size":255,"collection":178,"collections":1503,"showCount":1495,"zanCount":38,"manualWeight":38,"mainColor":39},222749,"xian-e-chang-chun-tu-06a-lang-shi-ning-222749","仙萼长春图-06a",[48,23,24,25,26,27,50,29,1501,7],"百合花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4adacdd9409943ffa72bb6bc318274c3.jpg",[],{"id":1505,"slug":1506,"title":1507,"dynasty":18,"author":509,"museum":94,"description":510,"tags":1508,"thumbUrl":1509,"material":367,"size":514,"collection":178,"collections":1510,"showCount":1495,"zanCount":218,"manualWeight":38,"mainColor":39},222679,"si-ji-hua-niao-tu-ping-2-chen-mei-222679","四季花鸟图屏2",[48,24,50,27,29,51,333,499,140,7,82,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81b6aab8d5cdb347668d913e6a8ccedc.jpg",[],{"id":1512,"slug":1513,"title":1514,"dynasty":63,"author":64,"museum":398,"description":1515,"tags":1516,"thumbUrl":1517,"material":85,"size":1518,"collection":178,"collections":1519,"showCount":1495,"zanCount":38,"manualWeight":38,"mainColor":39},220101,"shi-er-mo-hua-tu-juan-4-xu-wei-220101","十二墨花图卷-4","此卷徐渭充分发挥了其高超的水墨表现力，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。",[48,24,25,71,68,29,69,125,72,73,7,78,82,333],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102a8eb2b6b2546b1fba3bbf5502311f.jpg","全卷32.8cm×544cm",[],{"id":1521,"slug":1522,"title":1260,"dynasty":223,"author":1290,"museum":375,"description":1523,"tags":1524,"thumbUrl":1525,"material":178,"size":1526,"collection":178,"collections":1527,"showCount":1528,"zanCount":258,"manualWeight":38,"mainColor":58},231513,"hua-niao-tu-juan-wang-yuan-231513","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。",[48,24,23,71,50,27,72,125,29,74,7,75,175,79,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f04e0e5eaa4a4d2e89e6b687fe212f7.jpg","95.9×50.6 厘米",[],93,{"id":1530,"slug":1531,"title":1532,"dynasty":112,"author":1533,"museum":20,"description":1534,"tags":1535,"thumbUrl":1536,"material":31,"size":1537,"collection":178,"collections":1538,"showCount":1528,"zanCount":563,"manualWeight":38,"mainColor":39},218578,"hua-niao-shan-shui-xiao-pin-ce-mu-dan-ma-yuan-218578","花鸟山水小品册-牡丹","马远","分别绘茶花、牡丹、葡萄、桃子，色彩鲜艳，用笔精致。山水绘山阁远眺，策杖登高，孤棹泛波，意趣悠然。",[48,23,24,25,26,50,27,29,7,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F766926073a503e1a589f642282e16710.jpg","33*19",[],{"id":1540,"slug":1541,"title":1542,"dynasty":18,"author":113,"museum":375,"description":1543,"tags":1544,"thumbUrl":1551,"material":559,"size":560,"collection":178,"collections":1552,"showCount":1553,"zanCount":563,"manualWeight":38,"mainColor":1554},273932,"hong-se-duan-xiu-zhe-zhi-mu-dan-wen-jin-tuan-shou-tian-guan-ci-fu-zi-dui-lian-yi-ming-273932","红色缎绣折枝牡丹纹金团寿天官赐福字对联","绣法是以绣线横排，故名。如，特点是整齐、均匀，圆润；在绣叶瓣时，在中间分开，运用斜针成倒人字形；也有绣成中间针迹相交叠的形式；也可绣成中间作一钉线的绣法。排绣针法富有变化，刺绣出的花瓣、叶瓣得体逼真，用途较广。",[1545,1546,1547,7,910,1548,1549,1550],"对联","刺绣","布料","天官赐福","团寿纹","折枝花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9542e314c221f238f10a3d0141d04aa1.jpg",[],92,"D50000",{"id":1556,"slug":1557,"title":1558,"dynasty":63,"author":64,"museum":375,"description":1559,"tags":1560,"thumbUrl":1561,"material":178,"size":178,"collection":178,"collections":1562,"showCount":1553,"zanCount":38,"manualWeight":38,"mainColor":39},228761,"shi-er-yue-hua-hui-tu-quan-juan-xu-wei-228761","十二月花卉图全卷","此作用笔纵逸狂放，以水墨晕染替代敷色，浓淡干湿间尽显花卉神韵。牡丹苍润饱满，墨色浓沉见雍容；蜀葵疏朗清劲，淡墨勾勒存清雅，水草兰叶信笔挥洒，野趣横生。\n\n诗画相生相伴，题诗与笔墨意境交融，将文人的疏放心性寄寓于一花一草之中，脱略形似而独尚神韵，以极简的水墨语言写尽花木风骨情态，尽显大写意花鸟的淋漓意趣，是笔墨性情与文人情思完美合一的典范。",[48,24,25,71,68,29,7,78,82,125,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f4e8f11f67d43edc105e9c7369bf569.jpg",[],{"id":1564,"slug":1565,"title":1566,"dynasty":18,"author":1567,"museum":65,"description":1568,"tags":1569,"thumbUrl":1570,"material":143,"size":178,"collection":33,"collections":1571,"showCount":1572,"zanCount":258,"manualWeight":38,"mainColor":39},237172,"hua-niao-kun-chong-ce-zhou-quan-237172","花鸟昆虫册","周铨","沈铨 （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”。",[24,23,25,26,50,27,29,7,158,281,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58fed9927c9cb8158097d1385b7448f6.jpg",[33,35],91,{"id":1574,"slug":1575,"title":1576,"dynasty":223,"author":113,"museum":20,"description":1577,"tags":1578,"thumbUrl":1579,"material":31,"size":1580,"collection":33,"collections":1581,"showCount":1572,"zanCount":38,"manualWeight":38,"mainColor":39},215139,"bing-tao-han-xiao-tu-yi-ming-215139","饼桃含笑图","绢色温润如陈年素笺，托出一枝含笑与饼桃。墨笔勾枝，线条老劲却藏柔意，枝桠间，含笑花瓣轻展，白瓣晕浅粉，似含未语的羞涩；饼桃圆润饱满，裹着淡润光泽，透着朴拙生机。叶片以淡墨晕染，脉络细腻，与枝干苍劲相映成趣。几方朱印点缀，红韵与素色交织，更显古雅。画中无喧嚣，唯有花木静美：含笑的含蓄、饼桃的憨态，在简淡笔触里凝成清雅意境，仿佛能闻见那缕若有若无的暗香，尽得宋元文人画的幽淡之味，让观者心沉于这份素净的生机里。",[48,24,25,401,50,27,29,1367,7,446,447,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb03408a7f7684830af45e313ff9f410.jpg","22.9x23.6cm",[33],{"id":1583,"slug":1584,"title":1585,"dynasty":18,"author":1181,"museum":375,"description":1586,"tags":1587,"thumbUrl":1588,"material":178,"size":178,"collection":178,"collections":1589,"showCount":1590,"zanCount":258,"manualWeight":38,"mainColor":39},238999,"fu-gui-bai-tou-tu-zhou-ju-lian-238999","富贵白头图轴","此作用湖石撑起画面骨架，瘦漏透皱，空灵奇崛。牡丹攒簇于石畔，粉娇黄雅、紫柔朱艳，花瓣晕染柔润饱满，枝叶疏密错落，尽显盛放之态。\n\n两只白头翁静立石巅，亲昵相依，另有蛱蝶逐花蹁跹，满幅皆是融融春意。设色明丽却不甜俗，没骨技法将花叶的娇柔鲜活尽致展现，湖石以勾勒皴擦带出嶙峋质感，工写相宜。\n\n祥瑞意趣藏在鲜活景致中，将春日生机与美好祈愿揉合，笔底含情，把灵秀雅致凝于尺幅间。",[24,23,49,50,27,29,7,51,122,500,968],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc5e8dafcd23c0f7abfb2e6f9f962f77.jpg",[],90,{"id":1592,"slug":1593,"title":1594,"dynasty":18,"author":409,"museum":375,"description":1595,"tags":1596,"thumbUrl":1597,"material":178,"size":178,"collection":178,"collections":1598,"showCount":1590,"zanCount":258,"manualWeight":38,"mainColor":58},228927,"bai-tou-rong-gui-tu-li-zhou-ma-quan-228927","白头荣贵图立轴","此作绘就清秋雅景，桂树虬枝斜出，繁花缀于叶间，两只白头翁栖于枝头，羽色晕染细腻，灵动悠然，似在细嗅甜香。苔石苍古朴拙，旁侧芙蓉柔花绽蕊，粉白相衬，妍丽温婉。\n\n笔触工秀兼具，禽鸟绒毛蓬松鲜活，花叶勾勒柔婉，设色明丽雅致却艳而不俗。以白头翁谐“白头”，丹桂、芙蓉寄寓荣华，将秋日生机与吉庆祈愿相融，笔底尽是温婉意趣，静赏间漫溢清和雅致的古典韵味。",[48,23,24,25,49,50,27,29,7,498,241,141,140,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa823023cfbac82a24300a34fb689b2f2.jpg",[],{"id":1600,"slug":1601,"title":567,"dynasty":18,"author":1602,"museum":1603,"description":1604,"tags":1605,"thumbUrl":1606,"material":1357,"size":1607,"collection":33,"collections":1608,"showCount":1609,"zanCount":563,"manualWeight":38,"mainColor":58},222687,"mu-dan-tu-zhou-chen-zhuo-222687","陈卓","安徽省博物馆","绘盛开牡丹数朵，姹紫嫣红，花瓣层层叠叠，绿叶繁茂；湖石立于花中，灰黑的颜色让花儿更加娇艳。图中的牡丹为典型的没骨画法。陈卓，字中立，清代画家，擅绘青绿山水，喜作青绿设色，兼工花鸟、人物。",[48,24,25,49,50,27,7,241,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe3a743980de113f98a6c8a0a9babb69.jpg","149x68cm",[33,35],89,{"id":1611,"slug":1612,"title":1613,"dynasty":223,"author":671,"museum":375,"description":1614,"tags":1615,"thumbUrl":1616,"material":559,"size":560,"collection":178,"collections":1617,"showCount":1618,"zanCount":563,"manualWeight":38,"mainColor":58},290093,"lan-hua-tu-qian-xuan-290093","篮花图","虽然精细工整,但绝不是镜子似的照搬现实,藤篮的复杂图案、花卉的舒卷姿态和排列位置,无不经过巧妙经营和提炼,来自于心与物碰撞熔铸的艺术之意象,这是应该加以明确的。",[24,29,50,27,7,99,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10cab7b8f6574051eeaabfa10382fa55.jpg",[],88,{"id":1620,"slug":1621,"title":1622,"dynasty":223,"author":113,"museum":375,"description":1623,"tags":1624,"thumbUrl":1626,"material":178,"size":178,"collection":178,"collections":1627,"showCount":1618,"zanCount":258,"manualWeight":38,"mainColor":58},232906,"ke-si-qing-niao-hu-die-tu-juan-yi-ming-232906","缂丝青鸟蝴蝶图卷","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”。",[48,239,27,50,29,71,1625,122,7,241,119],"青鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6f791b5f797cb61630dfe3c3212a14b.jpg",[],{"id":1629,"slug":1630,"title":1631,"dynasty":18,"author":1632,"museum":375,"description":1633,"tags":1634,"thumbUrl":1635,"material":178,"size":178,"collection":178,"collections":1636,"showCount":1618,"zanCount":563,"manualWeight":38,"mainColor":39},224123,"mu-dan-shui-xian-song-qian-long-224123","牡丹水仙松","乾隆","此作工写兼具，笔致温婉细腻。虬曲松枝挺劲苍古，松针以淡墨晕染，蓬松灵动，缀一枚松果更添幽寂古意。艳粉色牡丹饱满柔润，雍容舒展尽显华贵，一旁水仙莹白清雅，素淡可人。\n\n刚健的松枝搭配柔妍的花束，刚柔相济和谐雅致。设色秀润柔和，毫无艳俗之感，将院体画的精致工整与文人意趣的清雅格调相融。配题诗文寄意福寿绵长、清韵恒常，整幅以松之寿、花之妍，绘就祥瑞吉庆的美好意蕴，尽显典雅雍容的审美意趣。",[48,24,25,49,27,50,29,7,80,76,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d1e0899a4eb23c6ddb0729e24fe94e4.jpg",[],{"id":1638,"slug":1639,"title":1640,"dynasty":1301,"author":1641,"museum":375,"description":1642,"tags":1643,"thumbUrl":1647,"material":559,"size":560,"collection":178,"collections":1648,"showCount":1649,"zanCount":563,"manualWeight":38,"mainColor":58},290027,"hua-niao-tu-ping-feng-shou-ye-song-rong-shou-ye-guang-xin-290027","花鸟图屏风","狩野松荣、狩野光信","狩野光信面對新興漢系畫家的競爭，不得不奔走於豐臣家與德川家之間以取得更多委託，並透過狩野長信 (1577-1654) 與德川幕府建立的關係，成為後繼者狩野孝信取得德川家支持參與名古屋城本丸御殿製作的基礎。",[48,24,1644,29,50,27,76,7,78,1354,1645,826,242,1646,200,968],"屏风","鹰","山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F066d6aadc5c3af2e9023ff46f3b095ba.jpg",[],87,{"id":1651,"slug":1652,"title":1653,"dynasty":18,"author":484,"museum":375,"description":485,"tags":1654,"thumbUrl":1655,"material":559,"size":560,"collection":178,"collections":1656,"showCount":1649,"zanCount":11,"manualWeight":38,"mainColor":39},239525,"ju-hua-zhou-wu-chang-shuo-239525","菊花轴",[24,49,29,68,27,83,7,72,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ebcc6f54b50ae6c545c98be3383c48f.jpg",[],{"id":1658,"slug":1659,"title":1660,"dynasty":112,"author":113,"museum":20,"description":1661,"tags":1662,"thumbUrl":1663,"material":31,"size":1664,"collection":33,"collections":1665,"showCount":1649,"zanCount":258,"manualWeight":38,"mainColor":39},218861,"die-fen-hua-cong-tu-yi-ming-218861","蝶粉花丛图","画面上画着五枝月季花，枝头上的花有的开得灿烂，有的含苞待放，花瓣是红色的，花尖是粉红色的，枝头上的叶子是深绿色的，花和叶子色彩斑斓，清新漂亮，两只蝴蝶在花丛中盘旋，伴着花香翩翩起舞。这幅画的笔触和色彩与卫昇，林椿的相似，应该说是南宋画派的代表作。",[48,24,23,50,27,29,26,122,7,1063],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59d14f0dd44d2a05a8c854eb299aff6.jpg","23.6x25.2",[33],{"id":1667,"slug":1668,"title":1669,"dynasty":18,"author":1106,"museum":375,"description":1670,"tags":1671,"thumbUrl":1672,"material":559,"size":560,"collection":178,"collections":1673,"showCount":1674,"zanCount":38,"manualWeight":38,"mainColor":58},224528,"mu-dan-lan-hua-tu-zhou-shi-tao-224528","牡丹兰花图轴","石涛的花鸟、兰竹，多用水墨写意法，行笔爽利，用墨淋漓简练，给人以清峻、挺拔、浑厚之感。石涛的兰竹画为中国画史中的一绝。图中兰叶瘦劲，浓墨托出，交迭穿插，兰花散发出幽香。",[48,23,24,25,49,68,69,72,125,29,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde9163948f16c605409d424d9bc05e56.jpg",[],86,{"id":1676,"slug":1677,"title":1678,"dynasty":112,"author":420,"museum":20,"description":1679,"tags":1680,"thumbUrl":1682,"material":31,"size":1683,"collection":104,"collections":1684,"showCount":1674,"zanCount":563,"manualWeight":38,"mainColor":58},219402,"wu-rui-tu-zhou-su-han-chen-219402","五瑞图轴","本幅描绘五个孩童带着各式的面具，模仿大人们跳起「大傩舞」，傩是一种驱鬼避邪的仪式﹐主要是以扮演各种鬼怪所害怕的人物﹐以达驱鬼除邪的目的。本幅不但设色鲜艳丰富，画家更精心描绘衣服上的各种质材与花纹。画中场景设在一个置有湖石的花园，湖石以细笔皴擦质地，并以留白显示突起的棱线，地面则以排点与平行短线表现树叶与杂草，这些特点显示与弘治宫廷画家吕文英作品有相同的描绘格套，应为明代宫廷风格。",[23,24,25,49,50,27,423,1681,7,75,241,81],"孩童","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdff9ef843f31da8da3bf30cd9d26b5ab.jpg","165.5x102.5",[104],{"id":1686,"slug":1687,"title":1688,"dynasty":44,"author":1689,"museum":375,"description":1690,"tags":1691,"thumbUrl":1692,"material":559,"size":560,"collection":178,"collections":1693,"showCount":1694,"zanCount":563,"manualWeight":38,"mainColor":58},287374,"mu-dan-tu-ye-huang-quan-287374","牡丹图页","黄荃","五代时期的黄荃擅长工笔牡丹，钩花填色，富丽工巧。北宋郭若虚在《图画见闻志》中称其为“黄家富贵”。他笔下的牡丹不仅着意表现牡丹的姿态，更重视表现牡丹富贵吉祥的寓意。",[23,24,25,29,50,27,7,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc068ad0be98f133efd214bda7be63318.jpg",[],84,{"id":1696,"slug":1697,"title":185,"dynasty":63,"author":277,"museum":20,"description":1698,"tags":1699,"thumbUrl":1700,"material":205,"size":1701,"collection":33,"collections":1702,"showCount":1694,"zanCount":38,"manualWeight":38,"mainColor":39},214727,"mu-dan-tu-chen-chun-214727","这幅画是用牡丹树枝作画，用的是没骨法，笔触很活泼，又很沉稳，不过很可惜，随着时间的推移，颜料已经褪色，让人感觉略显淡薄。这些铭文质量很高，是白杨对毛笔的熟练掌握的结果。碑文写于1544年，在他的最后一年。铭文和绘画各占面板的一半，诗句通过歌唱花朵来传达 「人生行乐当及时」的意趣。",[24,25,49,69,68,27,73,72,29,7,141,140,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf5bd451f1f135ae69ce5a8dd712153b.jpg","122x33.3",[33],{"id":1704,"slug":1705,"title":454,"dynasty":112,"author":529,"museum":375,"description":1706,"tags":1707,"thumbUrl":1708,"material":559,"size":560,"collection":178,"collections":1709,"showCount":1710,"zanCount":563,"manualWeight":38,"mainColor":58},288270,"hua-lan-tu-zhao-chang-288270","赵昌，生于970-1040年，字昌之，北宋画家，广汉剑南（今四川剑阁之南）人。工书法、绘画，擅画花果，多作折枝花，兼工草虫。初师滕昌祐，后来发展出自身画风，没骨花鸟自成一派，有徐熙、黄荃遗风。在北宋时期与宋徽宗赵佶齐名，是宋代花鸟画坛的杰出画家。",[48,23,24,25,29,50,27,7,83,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2085ee9a72b9b6a9215540541abb702a.jpg",[],83,{"id":1712,"slug":1713,"title":1714,"dynasty":63,"author":277,"museum":375,"description":1715,"tags":1716,"thumbUrl":1717,"material":178,"size":178,"collection":178,"collections":1718,"showCount":1710,"zanCount":38,"manualWeight":38,"mainColor":39},235992,"chen-dao-fu-mu-dan-hua-hui-tu-zhou-chen-chun-235992","陈道复牡丹花卉图轴","《明陈道复牡丹花卉图轴》是明朝画家陈道复创作的作品，作品画折枝牡丹花，以淡墨逸笔勾写盛开的花头，以深浅不一的墨色描写枝叶，表现出牡丹摇曳春风的优美姿态，并通过题诗表达了不慕繁华、甘于清静、孤芳自赏的心境。\n【名称】明陈道复牡丹花卉图轴 【类别】纸本，墨笔 【规格】纵54.8cm，横.8cm 【年代】 【作者】 【文物现状】现藏北京故宫博物馆 该幅上部行草书自题：“春是花时节，红紫各自赋。\n勿言薄脂粉，适足表贞素。\n道复。\n”后钤“陈道复氏”、“陈淳之印”印。\n陈道复创作过许多以牡丹为主题或含有牡丹形象的绘画作品，如 藏《牡丹图卷》、《天香图扇》、《洛阳春色图卷》、《墨花十二种图卷》以及 藏《洛阳春色图卷》、《玉楼春色图卷》等等。\n这些作品多为墨笔或淡设色写意绘画，充分展示了画家在状物造型以及灵活运用水墨方面的高超技艺，正如明末大鉴赏家 为此幅作品所题云：“破一滴墨水，作种种妖妍。\n改旦暮之观，备四时之气”。\n陈道复（148--1544）明画家，初名淳，字道复，后以字行，改字复甫，号白阳山人，长洲（今江苏吴县）人。\n曾从 学书画，后不拘师法。\n书工行草。\n山水学 而笔迹放纵。\n擅写意花卉，淡墨浅色，风格疏爽，后人把他与 并称“青藤白阳”，为明代中期水墨写意花卉画创出新格调的代表人物。",[24,49,68,29,7,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78a6bc858d99429f0d210e5e62f738e6.jpg",[],{"id":1720,"slug":1721,"title":508,"dynasty":18,"author":509,"museum":375,"description":1722,"tags":1723,"thumbUrl":1726,"material":178,"size":178,"collection":178,"collections":1727,"showCount":1710,"zanCount":563,"manualWeight":38,"mainColor":39},229033,"si-ji-hua-niao-tu-ping-chen-mei-229033","此作用没骨法晕染牡丹，朱红、莹白、粉胭、鎏金的花瓣层叠柔润，将花王雍容之态尽展笔底。苍古顽石虬枝旁逸，墨色叶片浓淡相宜，衬得群芳愈发妍丽。\n\n两只春燕翩跹于空，一黑一白相映成趣，振翅姿态灵动鲜活，似携春风穿掠花间，让静雅画幅漾起融融生气。整体设色明妍雅致，工细中带着写意的松弛，将春日芳华揉入绢素，典雅娴静里满溢春日花鸟的鲜活意趣。",[48,23,24,50,27,29,7,1724,281,241,1725],"燕子","屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93c30e140c85d897bb067b888cfe4136.jpg",[],{"id":1729,"slug":1730,"title":1731,"dynasty":63,"author":1732,"museum":319,"description":1733,"tags":1734,"thumbUrl":1735,"material":1357,"size":1736,"collection":33,"collections":1737,"showCount":1738,"zanCount":563,"manualWeight":38,"mainColor":58},222661,"guo-se-tian-xiang-tu-ma-yi-222661","国色天香图","马逸","《国色天香图》是一幅富丽堂皇的工笔重彩花卉图。图中的牡丹花开娇艳，明丽动人，色彩丰富饱满，姿态优雅，设色极其讲究，勾线细致圆润。\n而花下奇石则用积墨与淡墨晕染相结合绘出，以石绿、石青略染。兰花以重粉罩染，胭脂点蕊，素雅动人。地面以淡彩渲染，营造出空间的伸缩感。《国色天香图》堪称“中国牡丹第一图”，是中国古代牡丹绘画最杰出的作品。",[48,24,23,50,27,29,7,82,175,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59572009fd6e71cd365f81d2e0b28489.jpg","纵101.7厘米，横49.5厘米",[33,35],82,{"id":1740,"slug":1741,"title":441,"dynasty":18,"author":1742,"museum":375,"description":1743,"tags":1744,"thumbUrl":1745,"material":559,"size":560,"collection":178,"collections":1746,"showCount":1747,"zanCount":38,"manualWeight":38,"mainColor":39},283786,"mu-dan-yu-lan-tu-liu-de-liu-283786","刘德六","画面取春日小景，老干虬劲舒展，满枝玉兰冰姿清雅，与下方秾艳牡丹相映成趣。湖石造型奇崛，勾勒皴擦尽显嶙峋质感，成为花木间的视觉支点。两只禽鸟一动一静，振翅的春鸟掠过花枝，另一只探于花下，为画面添就鲜活生机。\n\n此作用笔兼工带写，玉兰以淡墨写意枝干，白花轻勾淡染，尽显清逸；牡丹设色妍丽却不俗艳，花叶层次饱满鲜活。整体设色明快和谐，将春日芳菲的富贵雅致，与江南暮春的悠然意趣相融，在写实写生中晕染出文人画的娴静意韵，尽揽春日生机雅致。",[24,25,29,49,27,7,52,242,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F839a7a0acc34077c380f4ae54ab45aab.jpg",[],81,{"id":1749,"slug":1750,"title":1316,"dynasty":18,"author":1751,"museum":375,"description":1752,"tags":1753,"thumbUrl":1754,"material":127,"size":178,"collection":33,"collections":1755,"showCount":1756,"zanCount":38,"manualWeight":38,"mainColor":39},237219,"mu-dan-zhou-lu-hui-237219","陆恢","陆恢（1851—1920），清末民初著名画家。原名友恢，一名友奎，字廉夫，号狷叟，一字狷盫，自号破佛盫主人，原籍江苏吴江，居吴县（今江苏苏州）。\n幼习举子业，秀才入学试为第一，有人举报其父曾参加 从 尝过僧寺，覩十八应真像，即以纸墨画为描摹而归。后晤 旋客吴幕，得游三湘，所历既广，笔意益苍劲遒丽，古拙幽深。画山水、人物、花鸟、果品，无一不能，书工 尝作衡山记游图八幅，认为生平杰作，谓可媲美\n光绪 图中衣冠、中年归苏州，潜心绘事，考订 为清末民初江南老画师，从游者数十人。卒年七十。黄宾虹",[24,25,49,27,29,7,175,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19c6ad9cdb51e1097c313f45d064bf4.jpg",[33,35],80,{"id":1758,"slug":1759,"title":1760,"dynasty":18,"author":1761,"museum":375,"description":1762,"tags":1763,"thumbUrl":1764,"material":178,"size":178,"collection":178,"collections":1765,"showCount":1756,"zanCount":38,"manualWeight":38,"mainColor":165},224343,"she-se-mu-dan-zhou-fan-qi-224343","设色牡丹轴","樊圻","这幅作品以湖石为骨，牡丹为魂，湖石以浓墨勾勒皴擦，嶙峋苍古，朴拙沉厚，稳稳托举花株。牡丹以没骨晕染，粉瓣柔润层叠，白蕊轻透蓬松，自带雍容妍态；绿叶以汁绿晕染出阴阳向背，鲜活舒展。\n笔墨兼容工致与写意，设色秀雅沉静，将牡丹华贵与湖石清奇相融，柔刚相济。整幅画面静穆中藏生机，雅致脱俗，尽显花石相映的清幽意趣。",[48,214,24,49,27,50,29,7,175,141],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9dfde28aebea23e14127821d8f6868d.jpg",[],{"id":1767,"slug":1768,"title":1769,"dynasty":63,"author":113,"museum":1770,"description":1771,"tags":1772,"thumbUrl":1773,"material":31,"size":1774,"collection":104,"collections":1775,"showCount":1756,"zanCount":563,"manualWeight":38,"mainColor":58},218410,"ying-xi-tu-yi-ming-218410","婴戏图","圣路易斯艺术博物馆","花木扶疏的庭院里，石影横斜，稚童们的身影灵动鲜活。围坐小几的孩童或俯身凝眸，或执物细玩，憨态可掬；旁侧的孩子相互追逐，衣袂轻扬间满是天真烂漫。案上器物精巧，阶前小凳古朴，衬得画中世界雅致又充满烟火气。设色古雅温润，线条婉转细腻，将孩童的无忧时光定格成帧，仿佛能听见稚子的嬉闹声穿过岁月，漫溢着恬淡的生活意趣与对童真的脉脉咏叹。画面以细腻笔触勾勒出童真百态，古雅的色调与婉转的线条交织，将无忧岁月凝练成帧，让观者在古朴的氛围里，触摸到那份穿越时空的天真暖意。",[48,24,27,50,49,423,1681,175,242,7,99,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F875a332dd57d21a2a5dbe31d190af59f.jpg","182.2x98.1",[104],{"id":1777,"slug":1778,"title":341,"dynasty":63,"author":64,"museum":375,"description":1317,"tags":1779,"thumbUrl":1780,"material":559,"size":560,"collection":178,"collections":1781,"showCount":1782,"zanCount":563,"manualWeight":38,"mainColor":39},236014,"shui-mo-mu-dan-tu-zhou-xu-wei-236014",[23,24,25,49,68,69,29,7,140,141],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F803b9b9003c0b06152df4c09bc658910.jpg",[],79,{"id":1784,"slug":1785,"title":1786,"dynasty":18,"author":484,"museum":375,"description":600,"tags":1787,"thumbUrl":1788,"material":27,"size":178,"collection":33,"collections":1789,"showCount":1782,"zanCount":38,"manualWeight":38,"mainColor":39},224226,"mu-dan-shui-xian-zhou-wu-chang-shuo-224226","牡丹水仙轴",[48,24,25,49,27,29,7,80,125,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F751c4dca763d55c5f20268cdb50760d5.jpg",[33,35],{"id":1791,"slug":1792,"title":1793,"dynasty":18,"author":1794,"museum":1795,"description":1796,"tags":1797,"thumbUrl":1798,"material":877,"size":1799,"collection":33,"collections":1800,"showCount":1782,"zanCount":38,"manualWeight":38,"mainColor":39},222822,"mu-dan-shan-zhe-tu-zhou-mu-dan-shuang-he-xu-yang-222822","牡丹山鹧图轴(牡丹双鹤)","徐扬","辽宁省博物馆","图绘二只山鹧，一只掉于水中，另一只站在石上尾巴散开，羽毛蓬松，圆睁的眼睛似为同伴落水而焦急不已；石边牡丹花绽放，硕大的花朵，层层叠叠的花瓣，高贵典雅。",[48,24,25,49,68,50,29,7,242,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ca665cb56cece71915c2720da655165.jpg","117*55.8cm",[33],{"id":1802,"slug":1803,"title":1804,"dynasty":18,"author":736,"museum":375,"description":1805,"tags":1806,"thumbUrl":1807,"material":178,"size":178,"collection":917,"collections":1808,"showCount":1809,"zanCount":38,"manualWeight":38,"mainColor":39},238322,"dong-gao-tang-hua-si-shou-zhou-dong-gao-238322","董诰唐花四首轴","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”。",[24,25,23,49,27,50,29,7,80,74,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2caff1096bf7a8b9b6a2535c27b18a0c.jpg",[917],78,{"id":1811,"slug":1812,"title":1813,"dynasty":18,"author":736,"museum":375,"description":1814,"tags":1815,"thumbUrl":1816,"material":178,"size":178,"collection":33,"collections":1817,"showCount":1818,"zanCount":38,"manualWeight":38,"mainColor":39},238342,"si-ji-hua-hui-ce-dong-gao-238342","四季花卉册","此作以没骨法绘就春日群芳，设色柔婉清新。白牡丹花瓣晕染层叠，莹润饱满，尽显雍容之态；旁侧粉花轻绽，胭脂点染花苞，娇妍粉嫩，灵动鲜活。左侧嫩枝青叶敷色淡雅，笔致秀逸，将草木舒展之姿尽数勾勒。\n\n画面构图错落舒展，数枝花枝交织却不显拥塞，气息恬和雅致。以细腻笔触晕染花叶的柔润肌理，将春日群芳竞绽的清柔意趣定格纸面，雅致秀润，尽显传统花卉小品的隽永韵味。",[24,25,26,27,50,29,7,79,81,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66475b0ae51b2faa51d20ca589d4cd02.jpg",[33,35],77,{"id":1820,"slug":1821,"title":1786,"dynasty":18,"author":484,"museum":375,"description":485,"tags":1822,"thumbUrl":1823,"material":559,"size":560,"collection":178,"collections":1824,"showCount":1825,"zanCount":563,"manualWeight":38,"mainColor":39},239513,"mu-dan-shui-xian-zhou-wu-chang-shuo-239513",[24,49,27,29,69,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F608e8a39a2d5b5e7b4c77db06de234c4.jpg",[],76,{"id":1827,"slug":1828,"title":1829,"dynasty":18,"author":872,"museum":1603,"description":1830,"tags":1831,"thumbUrl":1832,"material":127,"size":1833,"collection":476,"collections":1834,"showCount":1835,"zanCount":38,"manualWeight":38,"mainColor":39},222634,"fu-gui-qing-gao-tu-gao-feng-han-222634","富贵清高图","高凤翰 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，右臂不仁，用左手作画，笔益苍辣，故号尚左生，归云老人，博学精艺，尤豪于诗，早为王士祯所赏识。性嗜砚，所藏至千余，大半手琢，自为铭词。因刻“丁巳残人”“尚左生”二印，官徽州绩溪县令，有政声，康熙五十九年（1720）客安邱张卯居家，张为作《南村草堂图》，西园为作《杞城别墅图》以报之，乾隆十二年（1747）为其孙攀鳞作《寒香图》卷，有《砚史》、《南阜诗抄》。卒年六十六岁。（按高凤翰生卒年，王伯敏《中国绘画史》作（16338-1719），享年八十二岁；秦岭云《杨州八家丛话》作（1863-1749）六十七岁。其说不一，待考。\n雍正十一年官泰州巡盐分司。去职后流寓扬州。工于山水，花卉，山水师法宋人，近赵令穰、郭熙一路，中年以后，到了江南，与扬州画派画家如金农、郑燮、高翔、李方膺、边寿民等相往还，画风相互影响，多作花卉树石，笔法奔放，纵逸不拘成法。亦能画人物，造型准确，神态潇洒秀逸。晚年则趋于奔放纵逸。乾隆二年丁巳右臂病发，坚持用左臂，自号后尚左先、丁巳残人，艰苦力学，书、画为之一变，生拗苍劲，更富奇趣，为时所称。传世画迹有南京博物院藏《层雪炉香图》轴、中央美术学院藏《秋山读书图》轴等。\n工书法，善篆刻，喜收藏，精鉴赏，曾收藏秦汉印章及明清名家制印至万余方，各制有谱录，又收藏砚石至千百方，并制有铭词，手书后大半自行刻凿，著有《砚史》等行世。\n亦被列为扬州八怪之一。有《南阜山人全集》等著作传于世。",[48,23,24,25,71,27,68,29,73,1043,125,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2e34057c86c9d6e4d85db7601af0f57.jpg","567.8x21.1",[476,478],75,{"id":1837,"slug":1838,"title":1839,"dynasty":18,"author":1181,"museum":375,"description":1840,"tags":1841,"thumbUrl":1843,"material":178,"size":178,"collection":178,"collections":1844,"showCount":1845,"zanCount":258,"manualWeight":38,"mainColor":39},224366,"hua-hui-si-ping-zhi-er-ju-lian-224366","花卉四屏之二","此作用笔秀雅工丽，素白牡丹以淡墨勾瓣，浅红晕染花心，柔润饱满如凝脂，尽展雍容柔媚之态。墨色叶片浓淡参差，苍润交错，衬出花之洁雅清贵。\n嶙峋湖石以水墨皴擦勾勒，孔洞玲珑古朴，刚硬质感与柔美花株相映，刚柔相济。飞蜂振翅穿行花间，灵动鲜活，为静谧花景添了盎然生机，动静之间尽显春日花下恬然意趣。\n设色明秀清雅，无艳俗之气，兼具写生之真与写意之韵，将花木情态勾勒入神，藏着悠然清逸的文人雅趣。",[48,23,24,25,49,50,27,29,7,1842,241,281],"蜜蜂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee9fa90dceefd3869dc23af99f9a1298.jpg",[],74,{"id":1847,"slug":1848,"title":1849,"dynasty":18,"author":113,"museum":375,"description":1850,"tags":1851,"thumbUrl":1853,"material":559,"size":560,"collection":178,"collections":1854,"showCount":1855,"zanCount":11,"manualWeight":38,"mainColor":58},270170,"qian-lan-se-ke-si-mu-dan-hua-die-tu-mian-wu-mu-diao-hua-bing-tuan-shan-yi-ming-270170","浅蓝色缂丝牡丹花蝶图面乌木雕花柄团扇","木雕是雕塑的一种，在我们国家常常被称为“民间工艺”。木雕可以分为立体圆雕、根雕、浮雕三大类。木雕是从木工中分离出来的一个工种，在我们国家的工种分类中为“精细木工”。\n以雕刻材料分类的民间美术品种。一般选用质地细密坚韧，不易变形的树种如楠木、紫檀、樟木、柏木、银杏、沉香、红木、龙眼等。\n木雕是以各种木材及树根为材料进行雕刻，是以传统雕刻工艺中的重要门类。木雕的历史非常悠久，在浙江余姚河姆渡文化遗址就有木雕鱼出土，这是我国木雕史上最早的实物。河南信阳战国大墓出土的木雕镇木兽，湖北云梦汉墓出土的彩雕木佣均为我国早期木雕作品。由于保存的困难，现今很难看到超过千年的木雕作品。\n两宋时期木雕作品较为多见，这时的木雕已采用组织细密的木材为载体进行制作，这就有利于木雕作品的传世。我国的一些庙宇里还保存有宋代的木雕作品。\n元明时由于海外贸易的急速发展，木材种类有所增加，许多由海外进口的硬质木材，是木雕工艺得到长足发展。\n明清期间是木雕艺术的一个辉煌时期，涌现出大量有史可考的名家、艺人及其作品，是古代木雕艺术的一个高峰。\n清末至民国年间由于政府的腐败，国力的衰退，外强的侵略，民不潦生，木雕艺术从此衰落，艺人名家也只能沦为匠人糊口度日。新中国成立后在党和国家的关怀下，民间工艺得到了保护及挖掘，木雕也重新涣发出生命，涌现出一批国家级大师。他们的作品，工艺精湛，秉承传统，立意深远，讴歌时代，体现了大师们立足传统，锐意创新，直抒重获新生的胸怀和报效国家，知遇之恩的深情。\n国家改革开放，经济腾飞，国富民强，党和国家对民间工艺的大力扶持，唤起了民众对传统工艺美术的热爱与追求。逢此盛世，民间工艺美术有了新的飞跃，木雕艺术也不例外。面对实际情况，在全国工艺品展出中，优秀作品的作者年龄偏大，年轻作者寥寥无几。",[401,239,7,122,29,27,1852,50],"木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40ff59ddc8813b983e9b27b64bbb79a1.jpg",[],73,{"id":1857,"slug":1858,"title":1859,"dynasty":18,"author":736,"museum":375,"description":1805,"tags":1860,"thumbUrl":1861,"material":178,"size":178,"collection":917,"collections":1862,"showCount":1855,"zanCount":38,"manualWeight":38,"mainColor":39},238316,"dong-gao-tang-hua-si-yong-zhou-dong-gao-238316","董诰唐花四咏轴",[24,25,49,50,27,29,7,117,80,82,99,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F265a9b103f69a3bf5301103660d3bc32.jpg",[917],{"id":1864,"slug":1865,"title":1866,"dynasty":63,"author":113,"museum":20,"description":1867,"tags":1868,"thumbUrl":1873,"material":127,"size":1874,"collection":104,"collections":1875,"showCount":1855,"zanCount":258,"manualWeight":38,"mainColor":58},237238,"ming-ren-chun-jing-huo-lang-tu-zhou-yi-ming-237238","明人春景货郎图轴","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。",[24,25,49,27,50,423,1869,1870,7,81,1871,1872],"儿童","货郎担","春景","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5ca9ee63e0c5ff0337a9862fc0de7a0.jpg","196.8x104.3",[104],{"id":1877,"slug":1878,"title":1879,"dynasty":18,"author":93,"museum":94,"description":1880,"tags":1881,"thumbUrl":1887,"material":367,"size":1888,"collection":104,"collections":1889,"showCount":1890,"zanCount":563,"manualWeight":38,"mainColor":58},222872,"chun-ge-juan-du-zhou-leng-mei-222872","春阁倦读轴","图绘一身着长裙的仕女，发髻高挽，一手支颐，一手持书，侧身倚桌案而立。其神态文静闲适中略带倦意，大家闺秀清闲寂寞的生活，刻画得细致入微。图中人物比例匀称，衣纹线条圆润流畅，可以看出画家的深厚功底。而背景的描绘也显得独具匠心，无论悬于墙上的画幅、笛子，还是膝下的小犬都不是可有可无之物，图中人物的生活情趣和身份均由此得到印证。此作如此精妙地刻画出人物的精神层面，无疑堪称人物画佳作。",[48,214,23,24,25,49,50,27,423,97,98,7,1882,1883,1884,1885,1886],"桌","凳","瓶","书卷","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F866bd4a4449c988942f5f5abcf3da75a.jpg","170x100cm",[104],71,{"id":1892,"slug":1893,"title":1894,"dynasty":112,"author":420,"museum":375,"description":1895,"tags":1896,"thumbUrl":1899,"material":559,"size":560,"collection":178,"collections":1900,"showCount":1901,"zanCount":258,"manualWeight":38,"mainColor":58},288533,"huo-lang-tu-su-han-chen-288533","货郎图","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。",[48,24,23,50,27,423,1681,1897,7,99,1898],"货郎","市井","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7455767adc67dca109f33b66a6d8714d.jpg",[],70,{"id":1903,"slug":1904,"title":1905,"dynasty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，不拘绳墨，意在青藤、白阳、竹憨之间。画梅以瘦硬见称，老干新枝 ，欹侧蟠曲。用间印有“梅花手段”，著名的题画梅诗有“不逢摧折不离奇”之句。还喜欢画狂风中的松竹。工书。能诗，后人辑有《梅花楼 诗草》，仅二十六首，多数散见于画上。",[48,24,25,49,27,29,80,7,81,69,1927,1928],"设色花鸟","花卉题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff472fcd233211bf609eb0bda41e43b4d.jpg","纵162.5厘米，横43.1厘米",[33,35],68,{"id":1934,"slug":1935,"title":1936,"dynasty":18,"author":1937,"museum":20,"description":1938,"tags":1939,"thumbUrl":1940,"material":205,"size":1941,"collection":33,"collections":1942,"showCount":1943,"zanCount":38,"manualWeight":38,"mainColor":39},218810,"e-mo-niao-tu-yang-da-zhang-218810","额摩鸟图","杨大章","画面中两只额摩鸟姿态悠然，昂首者似欲引吭，俯身者若寻幽草。翎羽纤毫毕现，颈间蓝红绒羽如霞披覆，肌理质感细腻入微。旁侧牡丹姹紫、玉兰皎洁，枝桠间燕语呢喃，石畔小雀啄食，生机盎然。青绿山石晕染温润，皴擦有致，与禽鸟花木相映成趣。上下题跋为御制诗文，笔墨苍劲，典重之气扑面而来。整幅画作工写兼备，设色妍丽却不失清雅，奇禽异卉共构一堂，既有自然生趣，亦含皇家苑囿的雍容气象，堪称清代宫廷花鸟走兽画的精品之作。",[23,24,25,49,50,27,29,51,7,424,241,72,125,242,333],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe680768fee9dc27723523539b928bca7.jpg","149.8x101cm",[33],67,{"id":1945,"slug":1946,"title":1947,"dynasty":18,"author":484,"museum":375,"description":485,"tags":1948,"thumbUrl":1949,"material":559,"size":560,"collection":178,"collections":1950,"showCount":1951,"zanCount":563,"manualWeight":38,"mainColor":39},239521,"yu-tang-fu-gui-zhou-wu-chang-shuo-239521","玉堂富贵轴",[24,29,69,68,27,7,141,140,827,72,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c73ad8ff25daf55e25f22d50c25068f.jpg",[],66,{"id":1953,"slug":1954,"title":567,"dynasty":18,"author":1017,"museum":65,"description":1955,"tags":1956,"thumbUrl":1957,"material":143,"size":1958,"collection":178,"collections":1959,"showCount":1960,"zanCount":38,"manualWeight":38,"mainColor":39},233179,"mu-dan-tu-zhou-zhao-zhi-qian-233179","本幅自题：“蓴卿仁兄屬畫。撝叔趙之謙。”图中画大石一块，旁生牡丹一株，花开灿烂，华丽富贵。赵之谦为海派著名画家，以花卉见长，初学恽南田，后去其秀媚并将书法的用笔以及金石的铿锵意味带入画中，形成气势恢弘、格局博大的个人风格。此幅作品堪称体现赵之谦典型风格的代表之作，花朵或用没骨，或用双勾，行笔快捷活泼，强调“写”而非“描”。设色浓丽，水、墨、色相交融，石块墨色浓重，质感强烈。鲜艳的色彩配合放逸的笔法，于富丽中见粗犷豪放之气。画面整体布局上密下疏，相互对比衬托，共同构成一幅完整的图画。",[24,49,27,29,7,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd33973f1c775bb45e9a83b515caadbb6.jpg","纵174.5厘米，横90.5厘米",[],65,{"id":1962,"slug":1963,"title":1964,"dynasty":18,"author":1965,"museum":375,"description":1966,"tags":1967,"thumbUrl":1971,"material":178,"size":178,"collection":33,"collections":1972,"showCount":1973,"zanCount":563,"manualWeight":38,"mainColor":39},224204,"yu-tang-fu-gui-tu-zhou-hu-mei-224204","玉堂富贵图轴","胡湄","古木虬曲苍劲，玉兰繁花堆雪，层层缀满枝头，似将春日清光尽数揽入花间。两只禽鸟栖于嶙峋湖石，锦羽斑斓灵动，姿态悠然亲昵。下方牡丹雍容盛放，丹红粉白交错晕染，与玉兰素洁相映成趣。\n\n整作工笔细腻，设色妍秀雅致，禽鸟毛羽纤毫毕现，花木俯仰含情，将写实工致与雅致意趣相融。疏密排布恰到好处，把富贵吉祥的意蕴藏在明秀春景之中，尽显传统花鸟画的典雅富丽之美。",[48,24,1968,49,50,27,1969,52,7,556,812,1871,1970],"花鸟画","古木","富贵吉祥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f895f651e90b420b94c2a3720b29703.jpg",[33],64,{"id":1975,"slug":1976,"title":1977,"dynasty":112,"author":529,"museum":20,"description":1706,"tags":1978,"thumbUrl":1979,"material":367,"size":533,"collection":178,"collections":1980,"showCount":1981,"zanCount":258,"manualWeight":38,"mainColor":58},290298,"hua-mu-dan-zhou-zhao-chang-290298","画牡丹轴",[23,24,49,27,50,29,7,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bd4bca642dcf11d1cb871a52b5b38d1.jpg",[],63,{"id":1983,"slug":1984,"title":1985,"dynasty":18,"author":113,"museum":375,"description":1986,"tags":1987,"thumbUrl":1990,"material":559,"size":560,"collection":178,"collections":1991,"showCount":1981,"zanCount":11,"manualWeight":38,"mainColor":58},272966,"zi-tan-mu-bian-cai-xiu-mu-dan-tu-gua-ping-yi-ming-272966","紫檀木边彩绣牡丹图挂屏","此作以彩绣成景，嶙峋湖石以深浅蓝阶绣线晕染，苍润沉稳，撑起画面骨架。几枝牡丹柔白舒展，花叶扶疏雅致，绣线排布细腻自然，晕色过渡柔和，将牡丹盛放的娇柔姿态尽数铺陈。角落兰草轻曳点缀，衬得画面愈发娴静悠然。整体色调清雅古淡，兼具工笔设色的雅致与刺绣工艺的肌理美感，把中式庭院的春日闲景藏于方寸之间，尽显温婉意趣，是小品绣制中的雅致佳构。",[1546,1988,1989,29,7,241,612,27,1852,1547,50],"彩绣","挂屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e474073ba64f037d4de801952086e7d.jpg",[],{"id":1993,"slug":1994,"title":1995,"dynasty":112,"author":113,"museum":20,"description":1996,"tags":1997,"thumbUrl":2006,"material":367,"size":2007,"collection":178,"collections":2008,"showCount":1981,"zanCount":38,"manualWeight":38,"mainColor":1068},223471,"xi-mao-tu-yi-ming-223471","戏猫图","本幅传为宋人所画，在庭园一角嬉戏的大小猫咪一共八只。画栏围绕，锦障高下相连，使园中彷佛别有洞天。群猫嬉戏於湖石、竹丛、桃树、牡丹之间，或静或动，生态盎然。画家观察入微，以瞳孔缩成线状的猫眼，点出了这场猫戏的时序，应该是日光强烈的日间。",[48,24,23,27,50,555,1998,29,99,7,81,1872,1999,2000,2001,2002,2003,2004,2005],"兽","宠物","庭院","桌案","鸟笼","草木","设色工笔","宋代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F944be0ae10bb40132b87c6508e80870b.jpg","139.8x100.1cm",[],{"id":2010,"slug":2011,"title":2012,"dynasty":18,"author":251,"museum":20,"description":252,"tags":2013,"thumbUrl":2015,"material":27,"size":255,"collection":178,"collections":2016,"showCount":1981,"zanCount":563,"manualWeight":38,"mainColor":39},222739,"xian-e-chang-chun-tu-01a-lang-shi-ning-222739","仙萼长春图-01a",[48,23,24,25,26,50,27,29,7,125,2014],"中西合璧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F327134945f8934e75f6ed2989c364895.jpg",[],{"id":2018,"slug":2019,"title":2020,"dynasty":63,"author":2021,"museum":152,"description":2022,"tags":2023,"thumbUrl":2024,"material":2025,"size":2026,"collection":178,"collections":2027,"showCount":1981,"zanCount":38,"manualWeight":38,"mainColor":39},222099,"si-ji-hua-hui-juan-shen-zhou-222099","四季花卉卷","沈周","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。",[48,24,25,71,27,50,29,74,82,83,7,78,79,80,117,72,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f527202709f0b8a75e4edc90151d183.jpg","纸本水墨","27.5 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张孟皋之名，盖由近人吴昌硕师事其风而名声振广，吴缶翁师其数十年，题画多见拟仿学、临等。尤如张赐宁等为官江浙者，其作赋色妍丽，用笔洒脱，极得时人珍爱，任伯年亦有题师张孟皋。\n张孟皋是清代嘉道时期的一位花卉画家，画史上介绍很简单，他名学广，字孟皋，以自行。多记载他是天津人，实际应是北平（今北京）大兴人，他在自己的画作上多次题“北平张孟皋”。",[24,49,27,50,29,7,281,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71d14e2a9c338194b64463d0442e5d96.jpg",[33],59,{"id":2100,"slug":2101,"title":2102,"dynasty":18,"author":19,"museum":375,"description":2103,"tags":2104,"thumbUrl":2105,"material":205,"size":2106,"collection":33,"collections":2107,"showCount":2108,"zanCount":38,"manualWeight":38,"mainColor":39},219990,"yao-pu-qiong-pa-tu-yun-shou-ping-219990","瑶圃琼葩图","图绘湖石一块，形状怪异；后有牡丹围绕，枝繁叶茂，枝头花朵或粉红，或红白相间，花瓣层层叠叠，层次清晰。此幅敷色生硬，或是后人摹本。",[48,24,25,29,23,49,28,27,50,7,500,1000,81,281,141],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52a659286fd748d9c56f400aa903af4c.jpg","120×54",[33],56,{"id":2110,"slug":2111,"title":2112,"dynasty":63,"author":2113,"museum":375,"description":2114,"tags":2115,"thumbUrl":2117,"material":178,"size":178,"collection":33,"collections":2118,"showCount":2119,"zanCount":38,"manualWeight":38,"mainColor":58},237577,"bai-xian-zhou-wang-wei-lie-237577","白鹇轴","王维烈","王维烈[明]花鸟在周之冕下，高阳之上。泰昌元年（一六二o）作树石孔雀图。南京博物院藏有其崇祯十三年（一六四o）作寒雀争梅图。",[24,27,50,49,29,2116,1432,1000,241,7,80,242,1969],"白鹇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7a3695a1f1f05cfc401f1714fd482ef.jpg",[33,35],55,{"id":2121,"slug":2122,"title":2123,"dynasty":63,"author":2124,"museum":375,"description":2125,"tags":2126,"thumbUrl":2127,"material":178,"size":178,"collection":178,"collections":2128,"showCount":2119,"zanCount":563,"manualWeight":38,"mainColor":39},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》。",[48,24,25,71,50,27,29,74,82,75,83,7,78,79,80,117,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3035c745deb8cf52d925ad006c15ad2b.jpg",[],{"id":2130,"slug":2131,"title":2132,"dynasty":18,"author":318,"museum":375,"description":2133,"tags":2134,"thumbUrl":2136,"material":27,"size":178,"collection":33,"collections":2137,"showCount":2138,"zanCount":38,"manualWeight":38,"mainColor":58},220145,"chang-nian-bai-zi-fu-gui-tu-li-shan-220145","长年百子富贵图","李鱓，（1686年—1756年），字宗扬，号复堂，别号懊道人、墨磨人，清康熙二十五年（1686）生，乾隆二十一年（1756）卒，江苏扬州府兴化人，明代状元宰相李春芳第六世孙。清代著名画家，“扬州八怪”之一。\n工细笔法放逸，以泼墨等画法，创作出了生动、鲜活、淋漓、奔放、形神兼备的花鸟画作品，“纵横驰骋，不拘绳墨”，以至于被后人视为“怪物”。",[48,24,25,49,27,68,69,29,1432,7,309,2135,141],"怪石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda79c3a547dcbd57a9fa5702339cdc28.jpg",[33],54,{"id":2140,"slug":2141,"title":579,"dynasty":18,"author":442,"museum":375,"description":580,"tags":2142,"thumbUrl":2143,"material":559,"size":560,"collection":178,"collections":2144,"showCount":5,"zanCount":38,"manualWeight":38,"mainColor":39},239248,"mu-dan-shi-liu-zhong-ce-jiang-ting-xi-239248",[24,25,29,26,50,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe10c20a2249c853072ea9c34d74b851b.jpg",[],{"id":2146,"slug":2147,"title":2148,"dynasty":18,"author":484,"museum":375,"description":485,"tags":2149,"thumbUrl":2150,"material":559,"size":560,"collection":178,"collections":2151,"showCount":2152,"zanCount":563,"manualWeight":38,"mainColor":39},288529,"ci-hua-ruo-lao-shi-yi-tu-zhou-wu-chang-shuo-288529","此花若老诗意图轴",[48,24,49,68,27,29,7,175,72,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f598f5c457146f401751b0950996e9f.jpg",[],52,{"id":2154,"slug":2155,"title":2156,"dynasty":112,"author":2157,"museum":278,"description":2158,"tags":2159,"thumbUrl":2162,"material":178,"size":178,"collection":178,"collections":2163,"showCount":2152,"zanCount":38,"manualWeight":38,"mainColor":2164},202725,"cao-chong-hua-die-tu-juan-yan-yan-nv-shi-202725","草虫花蝶图卷","艳艳女史","长卷铺展间，草木葳蕤，群芳竞艳，蝶舞虫鸣似跃然绢上。工笔线条细腻婉转，设色清雅古艳，花瓣的柔润、蝶翅的轻透、虫豸的灵动皆刻画入神，尽显宋代花鸟画的写实风骨与雅致意趣。古朴绢本衬得花叶愈发鲜活，蜂蝶穿梭间仿佛可闻草木清香，将自然之趣凝于一卷，流露着画家对生命的细腻体察与精湛笔墨功底。",[24,23,71,50,27,29,1336,2160,7,2161],"蝶","写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e19a8ad65d10fa60a01b79f888a5e80.jpg",[],"80715e",{"id":2166,"slug":2167,"title":185,"dynasty":63,"author":568,"museum":375,"description":987,"tags":2168,"thumbUrl":2169,"material":559,"size":560,"collection":178,"collections":2170,"showCount":2171,"zanCount":38,"manualWeight":38,"mainColor":39},287387,"mu-dan-tu-lu-zhi-287387",[48,24,49,27,29,7,125,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7bc5204a6108eddf32dca501575edba.jpg",[],51,{"id":2173,"slug":2174,"title":2175,"dynasty":18,"author":1007,"museum":375,"description":2176,"tags":2177,"thumbUrl":2178,"material":559,"size":560,"collection":178,"collections":2179,"showCount":2171,"zanCount":38,"manualWeight":38,"mainColor":39},239456,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239456","邹一桂花鸟草虫图册","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。",[24,27,50,26,29,7,242,512],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a0dc1465b54cc839274db9dee53945e.jpg",[],{"id":2181,"slug":2182,"title":2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－1884年11月18日），汉族，浙江会稽（今绍兴）人。初字益甫，号冷君；后改字撝（huī）叔，号悲庵、梅庵、无闷等。清代著名书画家、篆刻家，与吴昌硕、厉良玉并称“新浙派”的三位代表人物，与任伯年、吴昌硕并称“清末三大画家”。李志敏评价：“赵之谦学北碑自成一体。”\n赵之谦从青年时代起，就刻苦致力于经学、文字训诂和金石考据之学，取得了相当的成就。尤精书画、篆刻。赵之谦善于向前人和同时代各派名家学习，又不囿前人，勇于创新。 在绘画上，他是“海上画派”的先驱人物，其以书、印入画所开创的“金石画风”，对近代写意花卉的发展产生了巨大影响；在书法上，他是清代碑学理论的最有力实践者，其魏碑体书风的形成，使得碑派技法体系进一步趋向完善，从而成为有清一代第一位在正、行、篆、隶诸体上真正全面学碑的典范；在篆刻上，他在前人的基础上广为取法，融会贯通，以“印外求印”的手段创造性地继承了邓石如以来“印从书出”的创作模式，开辟了一个前所未有的新境界。\n赵之谦的篆刻成就巨大，对后世影响深远。近代的吴昌硕、齐白石等画家都从他处受惠良多。著有《六朝别字记》《悲庵居士文存》等，又有篆刻《二金蝶堂印存》。",[24,25,49,27,29,7,99,125,72,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9ed4d9db10b63206fec6a4df1288307.jpg",[33,35],{"id":2189,"slug":2190,"title":2191,"dynasty":112,"author":113,"museum":20,"description":2192,"tags":2193,"thumbUrl":2194,"material":31,"size":2195,"collection":129,"collections":2196,"showCount":2171,"zanCount":563,"manualWeight":38,"mainColor":58},231057,"fu-gui-hua-li-tu-yi-ming-231057","富贵花狸图","枝桠遒劲舒展，牡丹素瓣柔润晕染，似凝露轻绽。花叶疏密错落，暗衬盛放雍容。花狸伏身软草间，墨白毛色过渡自然无痕，双目凝注身前游虫，警觉中带着憨柔慵懒，将灵动感藏于静息姿态。\n\n整幅设色古雅沉静，绢底旧调晕开澹澹古韵，工细写实中带着雅致意趣，将繁花雍容与狸奴野趣相映成趣，闲静画面里暗涌鲜活生机，于清淡古拙间晕开平和悠然的氛围感，尽显小景中的雅致禅意。",[48,24,23,49,50,27,29,7,555,176,141],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8509dd73930dd4201e8b570bf5528f6.jpg","141x107.5",[129],{"id":2198,"slug":2199,"title":2200,"dynasty":112,"author":113,"museum":20,"description":2201,"tags":2202,"thumbUrl":2203,"material":31,"size":2204,"collection":129,"collections":2205,"showCount":2206,"zanCount":258,"manualWeight":38,"mainColor":58},290994,"hua-chun-fu-gui-tu-yi-ming-290994","华春富贵图","从图中技巧、内容看，当是一位宫廷画家高手。它是一件珍贵的插花古图。我们可从中窥见宋代宫廷插花之美。\n图以工笔彩绘，笔笔不苟。绘金漆宝相花纹金瓶，放置于嵌宝石漆架上，插以大朵重瓣朱红、粉、白牡丹，当是宋时照殿红等牡丹花名种；并以桃花（花瓣略尖，是桃花无疑）、木香枝条相衬。（左下角枝条似是取荷包牡丹相衬，但画得很模糊，未能确认），造型略为对称之形，而活泼灵动。牡丹六朵，分左右、前后、上中下，居于花型之中，相伴桃花、木香，暗示着五方空间，真是天地五方六合皆春色。含有贺岁朝新春之意，亦为富贵气象。今日牡丹插花之华贵丰韵，当亦应如是。",[24,23,25,49,27,50,29,7,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25a6ec52fe441c112236cda157c0733d.jpg","144.5x49.8",[129],50,{"id":2208,"slug":2209,"title":1316,"dynasty":18,"author":484,"museum":375,"description":2210,"tags":2211,"thumbUrl":2212,"material":178,"size":178,"collection":178,"collections":2213,"showCount":2206,"zanCount":38,"manualWeight":38,"mainColor":39},235221,"mu-dan-zhou-wu-chang-shuo-235221","以金石篆隶笔法挥写牡丹，枝干如屈铁苍劲老辣，尽显嶙峋骨力。墨叶以积墨破墨晕染，浓淡干湿交叠，厚重淋漓间烘托出花头的娇妍。花冠轻施胭脂淡色，水色晕开，与焦墨绿叶形成强烈浓淡对冲，艳而不俗，腴润中带着雄健气度。\n\n左侧长题诗文以古拙笔墨书就，书画浑然一体，将文人意趣与花木生机相融，老辣烂漫兼具秀润雅致，尽显大写意花鸟的风神风骨。",[24,25,49,29,7,27,73,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F127a4f127c53d3abf1eb6f939ff6861b.jpg",[],{"id":2215,"slug":2216,"title":2217,"dynasty":18,"author":2218,"museum":375,"description":2219,"tags":2220,"thumbUrl":2221,"material":559,"size":560,"collection":178,"collections":2222,"showCount":2206,"zanCount":563,"manualWeight":38,"mainColor":39},234981,"mu-dan-shan-mian-ren-xiong-234981","牡丹扇面","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。",[24,401,27,50,29,7,175,281,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ef6e39009c0679e8fbde899009d894d.jpg",[],{"id":2224,"slug":2225,"title":2226,"dynasty":112,"author":113,"museum":20,"description":2227,"tags":2228,"thumbUrl":2229,"material":31,"size":2230,"collection":33,"collections":2231,"showCount":2206,"zanCount":563,"manualWeight":38,"mainColor":39},218843,"ke-si-chun-guang-chang-shou-tu-yi-ming-218843","缂丝春光长寿图","缂丝以“通经断纬”之法织就，纹理细密若绘。画面中禽鸟翘首栖于枝间，羽色蓝绿相衬，尾羽纤长舒展，姿态灵动鲜活。枝上缀有盛放的花团，花瓣层叠晕染，色泽温润雅致，叶片脉络清晰可见，尽显春意盎然之态。整体构图疏朗有致，设色古朴淡雅，虽无作者名款，却将宋代缂丝的精湛技艺与文人审美意蕴融于一体。禽鸟与花卉相映成趣，传递出春光和煦、生机勃发的意韵，暗含长寿吉祥的美好祈愿，为宋代缂丝艺术中兼具工艺之美与寓意之深的精品。",[23,24,239,27,29,242,7,281,499,827],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F578e7e2828c11ca9b8337d3875c50e13.jpg","49x36.2cm",[33],{"id":2233,"slug":2234,"title":2235,"dynasty":18,"author":113,"museum":375,"description":2236,"tags":2237,"thumbUrl":2239,"material":559,"size":560,"collection":178,"collections":2240,"showCount":2241,"zanCount":38,"manualWeight":38,"mainColor":2242},263699,"xue-qing-se-san-duo-mu-dan-shui-xian-wen-luo-yi-ming-263699","雪青色三多牡丹水仙纹罗","雪青色调温婉沉静，绞罗地子自带通透肌理，暗纹随光影若隐若现。折枝牡丹雍容、水仙清灵，搭配三多瑞果，纹样错落排布却丝毫不显拥塞。\n\n匠者将富贵圆满与福寿吉庆的祈愿，悄然织入纱线经纬之间，没有张扬的装饰，只以暗花传递中式含蓄雅致之美。纱罗的透气质感与柔媚色调相融，尽显织绣工艺的细腻精巧，晕染出雅致隽永的东方意趣。",[1547,7,80,2067,2238],"织物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4779da539b58c52e177d22433d2dfd1.jpg",[],49,"9C27B0",{"id":2244,"slug":2245,"title":2246,"dynasty":18,"author":2247,"museum":375,"description":2248,"tags":2249,"thumbUrl":2250,"material":559,"size":560,"collection":33,"collections":2251,"showCount":2241,"zanCount":38,"manualWeight":38,"mainColor":39},238847,"mian-yi-hua-hui-xiao-ce-mian-yi-238847","绵亿花卉小册","绵亿","绵亿（1764年9月10日－1815年4月14日），直隶省顺天府大兴县（今北京市）人，清高宗弘历之孙，荣纯亲王永琪第五子，母侧福晋索绰罗氏，左都御使观保之女。",[24,25,26,50,27,29,7,79,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5c1780bad75cd0dbda28ce53512d7c8.jpg",[33,35],{"id":2253,"slug":2254,"title":2255,"dynasty":223,"author":1290,"museum":65,"description":2256,"tags":2257,"thumbUrl":2259,"material":127,"size":2260,"collection":178,"collections":2261,"showCount":2241,"zanCount":38,"manualWeight":38,"mainColor":39},233810,"mu-dan-tu-juan-wang-yuan-233810","牡丹图卷","两幅画里的杜鹃、桃花却是点虱而成，虽然只是简单的用笔，却也表现出花朵的墨色变化。这些花鸟因用水墨表现出来，显得素洁安静给人以超凡脱俗之美。王渊的画是从淡彩晕染演绎出淡彩渲染，似乎是要通过淡彩画出五色绚烂的效果。而淡彩渲染又服从于总体效果，又有了浓墨渲染便有了墨色浓淡的层次。王渊的墨彩之所以能够如此绚丽，不得不归功于另一个重要因素——纸。中国画是离不开绢和纸的，就像笔离不开墨一样。绢和纸决定了一幅画的描绘，虽然有相同处，然而在具体的用笔用墨、气质上格调上还是有本质区别的。宋以前的画一般都是用绢，绢是丝织品，透明而有光泽，不散墨，可以一遍遍的描绘，更好的塑造形象。宋以后的画包括著色画一般是用纸来完成的。纸是植物制品，而绢是丝织品，性质不同就注定用两者作画会有不一样的效果。绢的运用在绘画上做出了辉煌的贡献，已经达到了极致，而纸的使用使笔墨发生了变化，使画有了另一种味道，因此也有了流派上的变迁。元代的画纸是一种质地坚硬、半生半熟的纸，一般水墨会停留在纸面上，遵循着配合到描绘对象的写实原则，水墨落在纸上就会出现似化非化的效果，线条会有一种渴润的韵致，墨色也会更加有苍茫之感。而中国古代画家用的纸都是精心取材，按着严谨的制造程序来做的，因此无论纸还是绢都是非常好的。而现代制纸大都没那么考究，或是有些制造经验已经失传了。",[24,23,25,71,68,50,29,7,125,2258],"题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbb9ec2e52112fc99757bf6c16e4be0f.jpg","纵37.7cm、横61.6cm",[],{"id":2263,"slug":2264,"title":2265,"dynasty":18,"author":113,"museum":375,"description":2266,"tags":2267,"thumbUrl":2268,"material":559,"size":560,"collection":178,"collections":2269,"showCount":2270,"zanCount":258,"manualWeight":38,"mainColor":58},272876,"zi-tan-mu-bian-xiu-hua-niao-tu-gua-ping-yi-ming-272876","紫檀木边绣花鸟图挂屏","此挂屏以石青暗缎为地，施针走线晕染出幽隽小景。浅绒线绣就的花树虬曲苍柔，枝头花苞攒聚、轻绽妍丽，花瓣脉络隐现，娇态尽显。玲珑湖石立于坡间，间伴细草幽竹，朴雅静谧。几只彩蝶振翅穿行，翅纹纤毫毕现，似携清风欲飞，让画面骤然生动。\n\n绣法精巧入微，将工笔花鸟画的雅致意趣融于针黹，配色柔雅和谐，石青底色衬出浅绣的温润柔和，整体清逸娴静，尽显旧时绣作的细腻灵秀，将庭院春景的恬然诗意凝固于方寸之间。",[1989,1546,29,240,556,7,122,1852,1547,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F999cee02d06f47378508cade23691a87.jpg",[],48,{"id":2272,"slug":2273,"title":579,"dynasty":18,"author":442,"museum":375,"description":580,"tags":2274,"thumbUrl":2275,"material":559,"size":560,"collection":178,"collections":2276,"showCount":2270,"zanCount":38,"manualWeight":38,"mainColor":39},239251,"mu-dan-shi-liu-zhong-ce-jiang-ting-xi-239251",[24,25,26,29,50,27,7,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfd8e60ef873b3f238993efed3037203.jpg",[],{"id":2278,"slug":2279,"title":2280,"dynasty":18,"author":736,"museum":375,"description":1805,"tags":2281,"thumbUrl":2284,"material":178,"size":178,"collection":917,"collections":2285,"showCount":2270,"zanCount":563,"manualWeight":38,"mainColor":39},238318,"pen-hua-si-yong-zhou-dong-gao-238318","盆花四咏轴",[24,49,50,27,7,80,74,2282,125,29,241,2283],"盆景","花盆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F876b0af7bf8e0501b0f448f609ce86c3.jpg",[917],{"id":2287,"slug":2288,"title":2289,"dynasty":63,"author":2290,"museum":2291,"description":2292,"tags":2293,"thumbUrl":2301,"material":367,"size":2302,"collection":178,"collections":2303,"showCount":2270,"zanCount":563,"manualWeight":38,"mainColor":58},231591,"kong-que-tu-lu-zhao-yang-231591","孔雀图","卢朝阳","印第安纳波利斯艺术博物馆","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。",[48,24,27,50,29,826,7,677,242,241,81,825,367,545,2294,2295,2296,812,1453,141,827,2297,2298,2299,2300],"花卉禽鸟","传统绘画","工笔重彩","羽毛","苔点","晕染","勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee51507f3008fc01a7b7141c72840283.jpg","281x119厘米",[],{"id":2305,"slug":2306,"title":2307,"dynasty":63,"author":2308,"museum":375,"description":2309,"tags":2310,"thumbUrl":2312,"material":178,"size":178,"collection":33,"collections":2313,"showCount":2270,"zanCount":38,"manualWeight":38,"mainColor":39},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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兰花，只有头； 浅玉晶莹剔透，争奇斗艳。 风格：甲午春日、法式铁桥笔、南苹果神拳。",[48,24,50,27,29,826,52,7,500,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4e016bbc82fb27fdb86c5d508ffaae3.jpg","34.98X60",[],{"id":2401,"slug":2402,"title":2403,"dynasty":18,"author":494,"museum":375,"description":2404,"tags":2405,"thumbUrl":2406,"material":178,"size":2407,"collection":178,"collections":2408,"showCount":2390,"zanCount":38,"manualWeight":38,"mainColor":39},223227,"zhe-zhi-hua-hui-shan-mian-ren-yi-223227","折枝花卉扇面","水墨泼洒清润自在，花如薄绢，叶片浸润犹有滴洒之感。山鸡体态肥硕，脚爪甚有骨力。画面整体优雅娴静，富有美感。",[48,23,24,25,401,27,29,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6f12cd162d27310e69972efc06ba6ab.jpg","纵111.2cm，横55.4cm",[],{"id":2410,"slug":2411,"title":579,"dynasty":18,"author":442,"museum":375,"description":580,"tags":2412,"thumbUrl":2413,"material":559,"size":560,"collection":178,"collections":2414,"showCount":2415,"zanCount":38,"manualWeight":38,"mainColor":39},239244,"mu-dan-shi-liu-zhong-ce-jiang-ting-xi-239244",[24,25,26,50,27,29,7,122,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee8cd875f8ac880b48dbab7264c27a44.jpg",[],43,{"id":2417,"slug":2418,"title":2419,"dynasty":18,"author":2420,"museum":375,"description":2421,"tags":2422,"thumbUrl":2423,"material":559,"size":560,"collection":178,"collections":2424,"showCount":2415,"zanCount":563,"manualWeight":38,"mainColor":39},234846,"hua-hui-tuan-shan-mian-mou-su-yun-234846","花卉团扇面","缪素筠","缪嘉蕙，清女。字素筠，昆明人，适同邑陈氏。光绪（一八七五至一九零八）中叶，慈禧太后忽怡情翰墨，学绘花卉，又作擘窠大字，常书福寿等字以赐大臣等。思行一二代笔妇人，乃诏各省觅之。时嘉蕙随夫宦蜀，夫死子幼，归滇，以弹琴、卖画为活。工翎毛、花卉，秀逸清雅，小楷亦楚楚合格。四川督抚乃驿送之京师。慈禧如试大喜，置诸左右，朝夕不离。并免其跪拜，赏三品服色，月奉二百金，遂为福昌殿供奉。自是慈禧所赏大臣花卉扇轴等物，均嘉蕙手笔。供奉而外伤产力所作，都人士兼金争购。卒年七十七。人称缪姑太。",[24,401,27,50,29,7,75,122,125,1547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F019ffadf7fde2d722aa6a37981cc8565.jpg",[],{"id":2426,"slug":2427,"title":185,"dynasty":18,"author":872,"museum":2428,"description":2429,"tags":2430,"thumbUrl":2431,"material":127,"size":178,"collection":33,"collections":2432,"showCount":2415,"zanCount":38,"manualWeight":38,"mainColor":58},220338,"mu-dan-tu-gao-feng-han-220338","旅顺博物馆","高凤翰(1683~1749)胶州大行高氏二股十一世，扬州八怪之一。清代画家、书法家、篆刻家。又名翰，字西园，号南村，又号南阜、云阜，别号因地、因时、因病等40多个，晚因病风痹，用左手作书画，又号尚左生。汉族，山东胶州市三里河街道办事处三里河村人。雍正初，以诸生荐得官，为歙县县丞，署绩溪知县，罢归。性豪迈不羁，精艺术，画山水花鸟俱工，工诗，尤嗜砚，藏砚千，皆自为铭词手镌之。有《砚史》，《南阜集》。",[48,24,25,49,68,27,69,2045,7,500,72],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce1b1aa6b6e297e6d9b9727a35d9d796.jpg",[33],{"id":2434,"slug":2435,"title":2436,"dynasty":18,"author":113,"museum":375,"description":2437,"tags":2438,"thumbUrl":2441,"material":559,"size":560,"collection":178,"collections":2442,"showCount":2443,"zanCount":563,"manualWeight":38,"mainColor":1068},248944,"qia-si-fa-lang-yu-lan-mu-dan-tu-ping-yi-ming-248944","掐丝珐琅玉兰牡丹图瓶","景泰蓝（Cloisonne），中国的著名特种金属工艺品类之一，到明代景泰年间这种工艺技术制作达到了最巅峰，制作出的工艺品最为精美而著名，故后人称这种金属器为“景泰蓝”。景泰蓝正名“铜胎掐丝珐琅”，俗名“珐蓝”，又称“嵌珐琅”，是一种在铜质的胎型上，用柔软的扁铜丝，掐成各种花纹焊上，然后把珐琅质的色釉填充在花纹内烧制而成的器物 。因其在明朝景泰年间盛行，制作技艺比较成熟，使用的珐琅釉多以蓝色为主，故而得名“景泰蓝”。",[18,2439,2440,52,7,27,99],"掐丝珐琅","珐琅器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98da4283d898b16f976b08c63e804cb2.jpg",[],42,{"id":2445,"slug":2446,"title":2447,"dynasty":18,"author":2448,"museum":375,"description":2449,"tags":2450,"thumbUrl":2451,"material":559,"size":560,"collection":178,"collections":2452,"showCount":2443,"zanCount":38,"manualWeight":38,"mainColor":58},239084,"hua-niao-ping-liao-yun-jin-239084","花鸟屏","廖云锦","廖云锦，生卒年不详，约活动于清道光年间（1821－1850年）。字蕊珠，号织云、锦香居士，华亭（今属上海）人，袁枚女弟子。自幼从父廖古檀吟诗作画同，后归泗泾马氏。",[24,25,49,50,27,2311,29,116,7,51,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45f5bffa7312da453bc23ab23d99493e.jpg",[],{"id":2454,"slug":2455,"title":2456,"dynasty":223,"author":1290,"museum":375,"description":2457,"tags":2458,"thumbUrl":2459,"material":178,"size":178,"collection":178,"collections":2460,"showCount":2443,"zanCount":38,"manualWeight":38,"mainColor":58},228163,"hua-niao-tu-ye-wang-yuan-228163","花鸟图页","此作工写兼融，敷色清柔淡雅。枝桠苍劲古拙，梅花清逸绽放，山茶柔艳含娇，笔墨秀雅细腻，将花木妍态尽展。枝头禽鸟造型工致写实，蓝羽红腹晕染柔和灵动，抬首凝视间生机暗藏。浅淡竹叶衬于下方，愈发衬得画面清寂雅致。整幅既具院体花鸟的精工细致，又蕴含文人画的澹远意趣，褪去浓艳俗态，将春日花鸟的悠然意态晕染开来，尽显幽淡平和的雅致意境，是工笔花鸟之中别具韵致的精妙佳构。",[24,25,23,27,50,29,74,7,51,75,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27a089108778c2a97fb4773d6b972852.jpg",[],{"id":2462,"slug":2463,"title":2464,"dynasty":223,"author":113,"museum":20,"description":2465,"tags":2466,"thumbUrl":2468,"material":205,"size":2469,"collection":33,"collections":2470,"showCount":2471,"zanCount":38,"manualWeight":38,"mainColor":58},219324,"hua-xia-jiang-chu-tu-yi-ming-219324","花下将雏图","画幅下面有一湖石横卧其间，湖石两侧长有几丛幽竹，枝叶伸展，匍伏于湖石上，湖石四周杂草遍地，以象征出整片的草地，对整个画面起到衬托作用。画幅右侧有湖石竖立其旁，湖石上大下小，向左倾斜，呈险势状。湖石造型奇特，玲珑剔透。湖石后有一束翠竹横出，又有几株鲜花盛开的牡丹。枝头上硕大的花朵，由绿叶衬托，更显得艳丽秀美。花枝有的向画面左侧横出，有一枝条伸展至画幅左上部位，这是妙笔，将画幅左上部位空白处填补，起到了充实和平衡整个画面的作用。在湖石和牡丹枝荫下，有鸡一公、一母、七雏，立于湖石和盛开着的牡丹的草地上，左侧公鸡低首觅食，两爪有力抓在地上，头部肉冠及肉办较大，短翼，脚健壮，跗跖及趾皆被鳞板，尾发达，体较大，羽色亦美，尾羽夸张地飘动着如海草一般；母鸡蹲伏在地上，两爪有力抓地，双翅上翘，尾巴舒展开来呈扇形，弯颈低首，双目下视；母鸡背部立一雏，另一雏在翼下，二雏藏尾后，余下三雏则在近处草地啄食，皆毛羽缕缕可见。",[2467,24,25,23,49,50,27,29,7,967,1482,1483,591,241,2003,812],"元代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F553dd7adab84486b80b38f993362b208.jpg","182x102.8公分",[33],41,{"id":2473,"slug":2474,"title":588,"dynasty":18,"author":2475,"museum":20,"description":2476,"tags":2477,"thumbUrl":2478,"material":31,"size":2479,"collection":33,"collections":2480,"showCount":2471,"zanCount":38,"manualWeight":38,"mainColor":39},218876,"hua-niao-tu-yu-sheng-218876","俞笙","绘制八哥相搏，情态甚为生动。画柳、芙蓉、草虫，笔意潇洒简当。",[24,27,50,68,29,242,7,1196,141,1063],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F027ca06eef5220d7c34a3b53d8eedd35.jpg","132.5x49cm",[33],{"id":2482,"slug":2483,"title":2484,"dynasty":18,"author":113,"museum":375,"description":2485,"tags":2486,"thumbUrl":2487,"material":31,"size":178,"collection":178,"collections":2488,"showCount":2471,"zanCount":38,"manualWeight":38,"mainColor":58},216714,"hong-lou-meng-fu-tu-ce-8-yi-ming-216714","红楼梦赋图册-8","山石错落间，粉艳花簇点缀，绿意轻缠石畔。一女子彩衣立石侧，凝睇花影；另一人红衣闲坐石前，姿态悠然。远处屋宇半隐，草木葱茏，水光依稀，晕开清宁之境。画面设色柔婉，线条细腻，将红楼场景的雅致闲情藏于笔底。人物神情含蓄，景物相映成趣，尽显古典园林的清幽意韵与闺阁间的温婉情致，似截取书中一段静谧时光，让观者在柔美的画面里，触到那份属于红楼的细腻与诗意。",[48,24,27,50,423,97,175,7,75,1916],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c11c867ee2dca3bab7da81bc83a524a.jpg",[],{"id":2490,"slug":2491,"title":1316,"dynasty":63,"author":277,"museum":375,"description":1326,"tags":2492,"thumbUrl":2493,"material":559,"size":560,"collection":178,"collections":2494,"showCount":2495,"zanCount":38,"manualWeight":38,"mainColor":39},290917,"mu-dan-zhou-chen-chun-290917",[24,25,49,27,29,7,1043,72,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd604a7f23d710fc1906b3c2c491b0d88.jpg",[],40,{"id":2497,"slug":2498,"title":185,"dynasty":44,"author":2359,"museum":20,"description":2360,"tags":2499,"thumbUrl":2500,"material":559,"size":560,"collection":178,"collections":2501,"showCount":2495,"zanCount":38,"manualWeight":38,"mainColor":58},288263,"mu-dan-tu-teng-chang-you-288263",[48,23,24,25,49,27,29,50,7,175,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1df52c67747442a7481301f56b33a898.jpg",[],{"id":2503,"slug":2504,"title":2505,"dynasty":18,"author":1386,"museum":278,"description":2506,"tags":2507,"thumbUrl":2508,"material":31,"size":2509,"collection":35,"collections":2510,"showCount":2495,"zanCount":38,"manualWeight":38,"mainColor":39},219217,"cui-yu-he-ming-tu-hua-yan-219217","翠羽和鸣图","图绘春天繁花吐芳,禽鸟欢腾的喧嚣情景.画家通过禽鸟生动的形态和诱人的粉色,烘染出春光明媚的氛围.",[24,27,50,49,242,29,591,7,175,281,309],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F678e3c3bb0d57d844c094fac8c221dc5.jpg","177.2x97.4",[35],{"id":2512,"slug":2513,"title":579,"dynasty":18,"author":442,"museum":375,"description":580,"tags":2514,"thumbUrl":2515,"material":559,"size":560,"collection":178,"collections":2516,"showCount":2517,"zanCount":38,"manualWeight":38,"mainColor":39},239237,"mu-dan-shi-liu-zhong-ce-jiang-ting-xi-239237",[23,24,25,29,50,27,7,26,125],"https:\u002F\u002F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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。",[2720,2755,7,2756,2757,2758],"青花","萱花","长方","官窑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F906c9616fc1632de9501de565fdd5cf8.jpg","瓷器精选",[2760],{"id":2763,"slug":2764,"title":2765,"dynasty":18,"author":2766,"museum":2428,"description":2767,"tags":2768,"thumbUrl":2776,"material":367,"size":2777,"collection":178,"collections":2778,"showCount":2735,"zanCount":38,"manualWeight":38,"mainColor":58},222904,"hong-lou-meng-29-sun-wen-222904","红楼梦29","孙温","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",[48,24,50,27,423,2769,2770,2771,2772,2773,7,2774,2775],"仕女","红楼梦","宴席","室内场景","楼台亭阁","器物陈设","古典题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68d7832e0c9828dbc157eabdcb611f62.jpg","纵43.3厘米、横76.5厘米",[],{"id":2780,"slug":2781,"title":2782,"dynasty":2783,"author":2784,"museum":278,"description":2785,"tags":2786,"thumbUrl":2789,"material":178,"size":178,"collection":33,"collections":2790,"showCount":2735,"zanCount":38,"manualWeight":38,"mainColor":2791},203391,"bai-qin-tu-juan-jiang-han-ting-203391","百禽图卷","近代","江寒汀","这幅长卷铺展百禽之态，或栖枝啁啾，或振翅掠空，或啄食嬉戏，神情毕肖。笔墨兼工带写，禽鸟羽毛勾勒精细，纹理毕现；花木枝干墨色灵动，设色清雅中见艳丽。梅、竹、牡丹等景致错落，与禽鸟相映成趣，画面疏密有致，动静相宜，满溢自然生机，尽显笔墨功底与对生命的细腻体察，堪称花鸟佳作。",[24,71,29,50,27,74,75,7,242,812,497,2787,1453,2788,48],"羽毛纹理","生机","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b255eb679be70f777ef7738be689750.jpg",[33],"000000",{"id":2793,"slug":2794,"title":2795,"dynasty":63,"author":113,"museum":375,"description":2796,"tags":2797,"thumbUrl":2799,"material":559,"size":560,"collection":178,"collections":2800,"showCount":132,"zanCount":38,"manualWeight":38,"mainColor":58},288388,"shi-ba-xue-shi-tu-qi-san-yi-ming-288388","十八学士图其三","明人十八学士图，现藏台湾故宫博物院。为唐太宗时期十八学士故事类题材的衍变图式。此组《明人十八学士图》四幅连作，画中人燕居寄兴于琴棋书画，展现出文士“四艺合一”的艺术修养与高雅志趣。画家为雅集盛事，铺陈苑囿景致。挺拔高大的松、柳、梧、槐掩映，汉白石、斑竹栏杆曲护；文士悠闲从事着燃香、棋奕、展书、观画等赏玩活动。全画工笔重彩，人物面貌端严，姿态各具，尊卑主次分明，衣纹采用细劲流畅的“钉头鼠尾”描。庭园内湖石盆景纵横错陈，几榻、桌案、墩椅、画屏、雕漆、瓷铜、文房等日常用物摆设，皆以工整写实技法绘出，显现典型明代宫廷画风格。从画中器具样式，推断其创作年代应在明代中、晚期。",[24,27,50,423,76,7,826,2000,2798],"雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9e6e20f94213188cadbd79286d2ffaa.jpg",[],{"id":2802,"slug":2803,"title":2804,"dynasty":18,"author":113,"museum":375,"description":2624,"tags":2805,"thumbUrl":2809,"material":559,"size":560,"collection":178,"collections":2810,"showCount":132,"zanCount":38,"manualWeight":38,"mainColor":58},264606,"yuan-qing-se-zhi-jin-qian-cai-mu-dan-gui-hua-wen-tao-yi-ming-264606","元青色织金浅彩牡丹桂花纹绦",[1547,2626,7,2806,2807,2808],"桂花","织金","浅彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facc4ef6c2149757a9006de41e97193dc.jpg",[],{"id":2812,"slug":2813,"title":2317,"dynasty":63,"author":2814,"museum":375,"description":2815,"tags":2816,"thumbUrl":2817,"material":559,"size":560,"collection":178,"collections":2818,"showCount":132,"zanCount":563,"manualWeight":38,"mainColor":39},235729,"hua-niao-ce-tan-zhi-yi-235729","谈志伊","谈志伊，字公望，号学山，一字思重，无锡人，明代画家。",[24,25,26,50,27,29,7,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff24a476c3157793412130d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号破佛盫主人，原籍江苏吴江，居吴县（今江苏苏州）。",[24,25,49,50,27,7,2915,2916,2740,2917,140,2918,2919,99],"壶","篮","果实","木桌","盆栽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e4c18372e35b5a588fefe72981a0da5.jpg","151x39.5",[33,35],{"id":2924,"slug":2925,"title":2926,"dynasty":18,"author":1924,"museum":375,"description":2927,"tags":2928,"thumbUrl":2929,"material":559,"size":560,"collection":178,"collections":2930,"showCount":2901,"zanCount":38,"manualWeight":38,"mainColor":39},234844,"mu-dan-ling-zhi-tu-ye-li-fang-ying-234844","牡丹灵芝图页","李方膺（1695年—1755年），字虬仲，号晴江，别号秋池，抑园，白衣山人等，江南通州（今江苏南通）人。寓居金陵借园，自号借园主人。中国清代诗画家、官员，能诗，擅画松竹兰菊，尤长写梅。用笔倔强放纵，不拘成法，苍劲有致，为“扬州八怪”之一。为官刚正不阿，廉洁爱民。出身官宦之家，曾任乐安县令、兰山县令、潜山县令、代理滁州知州等职，为官时有惠政，人德之，后因遭诬告被罢官，去官后寓南京借园，自号借园主人，常往来扬州卖画。与李鱓、金农、郑燮等往来，工诗文书画，擅梅、兰、竹、菊、松、鱼等，注重师法传统和师法造化，能自成一格，其画笔法苍劲老厚，剪裁简洁，不拘形似，活泼生动。被列为扬州八怪之一。有《风竹图》《游鱼图》《墨梅图》等传世。著《梅花楼诗钞》。善画松、竹、兰、菊、梅、杂花及虫 鱼，也能人物、山水，尤精画梅。作品纵横豪放、墨气淋漓，粗头乱服 ，不拘绳墨，意在青藤、白阳、竹憨之间。画梅以瘦硬见称，老干新枝 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厘米 横925.5 厘米",[917],{"id":3091,"slug":3092,"title":3093,"dynasty":63,"author":113,"museum":375,"description":3094,"tags":3095,"thumbUrl":3099,"material":559,"size":560,"collection":178,"collections":3100,"showCount":164,"zanCount":563,"manualWeight":38,"mainColor":58},283647,"ming-xi-zong-zuo-xiang-yi-ming-283647","明熹宗坐像","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。",[24,423,50,27,3096,3097,7,100,99,3098],"帝王","龙","肖像画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ce4f3e3742391e4edb2a7aec1e35fe0.jpg",[],{"id":3102,"slug":3103,"title":3104,"dynasty":18,"author":113,"museum":375,"description":3105,"tags":3106,"thumbUrl":3109,"material":559,"size":560,"collection":178,"collections":3110,"showCount":164,"zanCount":258,"manualWeight":38,"mainColor":1068},263549,"dian-cui-hua-die-wen-tou-hua-yi-ming-263549","点翠花蝶纹头花","中国妇女最偏爱的头花当属绒花，尤其是在女儿出嫁时，头上必须戴红色绒花，图火红吉利。在中国妇女中，只要条件允许，不仅婚礼喜庆日时要戴绒花，而且一年四季都愿意头戴绒花，求谐音吉祥。尤其到应时节序戴应季绒花：立春日戴春幡，清明日戴柳枝，端阳日戴艾草，中秋日戴桂花，重阳日戴茱萸，立冬日戴葫芦阳生……。清宫后妃们的头花，还有大批的绒花、绢花、绫花流存于世，这些花色彩协调，晕色层次丰富，堪称“乱真”之花。清代遗留下来的绒、绢、绫、绸等质地的头花有白、粉、桃红三晕色的牡丹花，浅黄、中黄、深黄三色的菊花，白、藕、雪青三色的月季花及粉、白相间的梅花等等，历时百年不久，仍鲜艳悦人。",[2626,2695,3107,3108,7,122],"花蝶纹","头饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb097d8a6fa19ae837284796996faef0.jpg",[],{"id":3112,"slug":3113,"title":3114,"dynasty":18,"author":736,"museum":375,"description":1805,"tags":3115,"thumbUrl":3117,"material":178,"size":178,"collection":178,"collections":3118,"showCount":164,"zanCount":38,"manualWeight":38,"mainColor":58},238372,"dong-gao-yan-chun-hui-cai-tu-ce-dong-gao-238372","董诰延春荟彩图册",[24,25,26,50,27,29,7,81,140,3116],"蓝花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67b401de06f9cc225a228e0de738a1bc.jpg",[],{"id":3120,"slug":3121,"title":3122,"dynasty":18,"author":442,"museum":65,"description":3123,"tags":3124,"thumbUrl":3125,"material":178,"size":178,"collection":33,"collections":3126,"showCount":164,"zanCount":38,"manualWeight":38,"mainColor":39},236197,"hua-mei-shou-wan-nian-yin-zhen-shu-shi-cheng-shan-jiang-ting-xi-236197","画眉寿万年胤禛书诗成扇","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。",[401,27,50,29,75,7,122,72],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2d589b7d3952d3019df6eeb035cec4a.jpg",[33,35],{"id":3128,"slug":3129,"title":1072,"dynasty":18,"author":3130,"museum":375,"description":3131,"tags":3132,"thumbUrl":3133,"material":178,"size":178,"collection":178,"collections":3134,"showCount":164,"zanCount":563,"manualWeight":38,"mainColor":39},234788,"hua-hui-ce-jin-li-ying-234788","金礼嬴","金礼嬴（1772—1807）一作礼瀛，字云门，号五云，东桥、云门女史、会稽内史、自号昭明阁女史，一称昭明阁内史，山阴（今浙江绍兴）人，晚居钱塘（今浙江杭州）。嘉兴王昙（仲瞿）继室。幼娴翰墨，志趣高远。夫妇以诗文、书、画像商榷，志趣高远。王昙曾自撰门联云：家中有碧水丹山，妻太聪明夫太怪，门外省青磷白骨，人何寥落鬼何多。\n礼嬴性喜佳山水，吴越幽胜之区，探索殆尽。故其画得游览之助为多。佣笔自给，求者踵至而画益工。凡人物、仕女、界画楼室、山水、花卉，悉能匠心独运，妙夺古人，尤精画佛，庄严妙丽。得者宝之。画梅亦妙。书法晋、唐，兼工汉隶，诗多清灵凄婉之致，著有《秋红丈室遗诗》。卒年三十六。",[24,27,50,29,7,79,140,141,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8e60c2d75b328e598ef5c3aa3bf09fe.jpg",[],{"id":3136,"slug":3137,"title":567,"dynasty":18,"author":3138,"museum":278,"description":3139,"tags":3140,"thumbUrl":3141,"material":178,"size":178,"collection":33,"collections":3142,"showCount":164,"zanCount":563,"manualWeight":38,"mainColor":3143},201864,"mu-dan-tu-zhou-pu-hua-201864","蒲华","这幅牡丹图笔墨恣肆灵动，设色鲜妍而不失雅致。粉艳的牡丹花瓣层叠舒展，花蕊以细笔点染，尽显雍容之态；叶片用青绿与墨色交融晕染，脉络清晰，生机盎然。旁侧山石以浓淡干湿的墨笔皴擦，线条粗放却骨力内蕴，刚健的石姿与柔美的花容形成鲜明对比，刚柔相济间更显画面意趣。整体画风兼具写意的纵逸洒脱与工笔的细腻传神，既捕捉了牡丹的华贵之姿，又融入了自然野趣，笔墨间流露着画家独特的艺术情韵。",[24,49,27,29,7,175,68,50,69,48],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51771a1972890dc71a0f6721a9da53f6.jpg",[33],"c1b2a7",{"id":3145,"slug":3146,"title":3147,"dynasty":63,"author":64,"museum":278,"description":3148,"tags":3149,"thumbUrl":3150,"material":178,"size":178,"collection":33,"collections":3151,"showCount":164,"zanCount":38,"manualWeight":38,"mainColor":3152},201810,"mo-hua-tu-juan-xu-wei-201810","墨花图卷","这幅长卷以水墨为魂，诗书画印浑然一体。笔墨如狂涛倾泻，肆意挥洒间，梅枝虬曲似铁，墨花冷艳含傲骨；兰叶飘逸若带，寥寥数笔尽得清逸；竹影横斜，笔力劲健欲生风；菊瓣泼墨而成，浓淡交织藏秋意；荷叶片片如盖，墨色淋漓见清雅；牡丹雍容却脱媚俗，狂放中显生机。每一处笔触皆随性生发，无拘无束，将花卉神韵与画家孤愤心性相融，墨气蒸腾处，尽显生命的郁勃与孤傲。诗题与朱印错落其间，更添古朴雅韵，是文人写意画的经典之作。",[24,71,68,29,74,82,75,83,77,7,72,73,48],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce09cb9b2025503b1df0db08b59dd0d4.jpg",[33],"c8bcb0",{"id":3154,"slug":3155,"title":3156,"dynasty":18,"author":113,"museum":375,"description":1623,"tags":3157,"thumbUrl":3158,"material":559,"size":560,"collection":178,"collections":3159,"showCount":3160,"zanCount":38,"manualWeight":38,"mainColor":39},270173,"huang-se-ke-si-feng-qi-wu-tong-tu-tuan-shan-yi-ming-270173","黄色缂丝凤栖梧桐图团扇",[401,239,29,2696,469,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ea269a8f859a35457aaf744a288a144.jpg",[],22,{"id":3162,"slug":3163,"title":3164,"dynasty":18,"author":113,"museum":375,"description":3165,"tags":3166,"thumbUrl":3168,"material":559,"size":560,"collection":178,"collections":3169,"showCount":3160,"zanCount":563,"manualWeight":38,"mainColor":165},263974,"hong-se-di-mu-dan-he-hua-wen-hui-hui-zhi-jin-jin-yi-ming-263974","红色地牡丹荷花纹回回织金锦","《说文》：“锦，襄邑织文。从帛，金声。”即用彩色经纬丝织出各种图案花纹的纺织品，泛指具有多种彩色花纹的丝织物。锦的生产工艺要求高，织造难度大，所以它是古代最贵重的织物。“锦，金也，作之用功重，其价如金。”古人把锦看成和黄金等价。这种织物有经起花和纬起花两种，也叫经锦和纬锦。经锦是用两组或两组以上的经线同一组纬线交织。经线多的二色或三色，一色一根作为一副，如果需要更多的颜色，也可以使用牵色条的方法。纬线有明纬和夹纬；用夹纬把每副中的表经和底经分隔开，用织物正面的经浮点显花。\n用染好颜色的彩色经纬线，经提花、织造工艺织出图案的织物。中国丝织提花技术起源久远。早在殷商时代中国已有丝织物。周代丝织物中出现织锦，花纹五色灿烂，技艺臻于成熟。汉代设有织室、锦署，专门织造织锦，供宫廷享用。自汉武帝后，中国织锦通过丝绸之路传入波斯（今伊朗）、大秦（古罗马帝国）等国。三国时四川蜀锦成为主流。唐代贞观年间窦师伦的对雉、斗羊、翔凤等蜀锦图案，称为绫阳公样。在织造工艺上由经锦改进为纬锦，并出现彩色经纬线由浅入深或由深入浅的退晕手法。北宋宫廷在汴京等地建立规模庞大的织造工场，生产各种绫锦。元代是中国历史上大量生产织金锦（一种加金的丝织物）的时代，宫廷设立织染局、织染提举司，机构庞大，集中了大批优秀工匠。\n明清两代织锦生产集中在江苏南京、苏州，除了官府的织锦局外，民间作坊也蓬勃兴起，形成江南织锦生产的繁荣时期。织锦大多采用传统提花工艺和木制花楼织机，有些织锦因品种不同而有所区别。如宋锦、土家族织锦采用通经断纬工艺，即分段调换彩色纬线，使色彩更加丰富。杭锦采用铁制提花机。织锦种类有南京云锦、四川蜀锦、苏州宋锦、杭州织锦以及少数民族的黎锦、壮锦、傣锦、瑶锦、侗锦、苗锦、土家锦、爱得利斯锦等。1960年以来，中国织锦在继承、发扬传统织锦的基础上，恢复了云锦的妆花锦和蜀锦的浣花锦、锦上添花锦、八答晕锦，并生产了窗帘、沙发套、枕套、被面、台毯、靠垫、床罩、提包、民族服装用料等新品种。\n锦已有3000年以上的历史，战国、西汉以前流行以二色或三色经轮流显花的经锦，包括局部饰以挂经的挂锦、具有立体效果的凸花锦和绒锦。1959年在新疆民丰尼雅遗址发现的东汉“万年如意锦”使用绛、白、绛紫、淡蓝、渥绿五色，通幅分成十二个色条，就是汉代典型的经锦。\n纬锦是用两组或两组以上的纬线同一组经线交织。经线有交织经和夹经；用织物正面的纬浮点显花。1969年在新疆阿斯塔那发现的唐代锦袜，在大红色地上起各种禽鸟花朵和行云的图案，就属于这一种锦。\n经锦和纬锦具有不同的织造效果。经锦的纬密比较低，只用一把梭子，生产效率比较高。纬锦织造比较费时，但可以使用两把以上的梭子，容易变换色彩，色彩丰富。这两种锦在中国出现的时间都比较早。但是六朝以前织造的，以经起花为主；隋唐以后织造的，似乎以纬起花为主。\n在苏联的巴泽雷克发现一批中国战国时期的丝绸，就有用红绿二色纬线织造的纬斜纹起花的纬锦。产生于宋代前后的宋锦以地经、地纬交织成经斜组织，按结经与纹纬交织成纬斜组织。\n金元之际流行加金的丝织物——织金锦，又称“纳石失”。明清时盛行以挖花缎的彩纬多达30—40种，锦面的经、纬方向都有逐花异色的效果，是中国织锦最高水平的代表。\n锦在历史上曾用多棕多蹑机和束棕花楼机织造，现代生产采用纹版提花机。\n国家非常重视非物质文化遗产的保护，南京云锦木机妆花手工织造技艺作为中国古老的织锦技艺最高水平的代表，于2006年列入首批国家级非物质文化遗产名录。2006年5月20日，土家族织锦技艺经国务院批准列入第一批国家级非物质文化遗产名录。2007年6月8日，湖南凤凰水云织锦坊获得国家文化部颁布的首届文化遗产日奖。2009年8月《地理标志产品云锦》国家标准在南京通过国家级专家评审，同年9月成功入选联合国《人类非物质文化遗产代表作名录》。",[1547,3167,7,156,2807],"织锦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F318241f3f941ade79de1287543f75a47.jpg",[],{"id":3171,"slug":3172,"title":3173,"dynasty":18,"author":113,"museum":375,"description":3174,"tags":3175,"thumbUrl":3178,"material":559,"size":560,"collection":178,"collections":3179,"showCount":3160,"zanCount":38,"manualWeight":38,"mainColor":1068},260948,"sa-lan-you-miao-jin-feng-huang-mu-dan-wen-ping-yi-ming-260948","洒蓝釉描金凤凰牡丹纹瓶","宋代是传统制瓷工艺发展史上一个非常繁荣昌盛的时期。现时已发现的古代陶瓷遗址分布于全国170个县。其中有宋代窑址的就有130个县，占总数的75%。\n陶瓷史家通常将宋代陶瓷窑大致概括为6个瓷窑系，它们分别是：北方地区的定窑系、耀州窑系、钧窑系和磁州窑系；南方地区的龙泉青瓷系和景德镇的青白瓷系。这些窑系一方面具有因受其所在地区使用原材料的影响而具有的特殊性，另一方面又有受帝国时代的政治理念、文化习俗、工艺水平制约而具有的共同性。\n从造型的角度分析，宋瓷的器形较之前代更为丰富多彩，几乎包括了人民日常生活用器的大部分：碗、盘、壶、罐、盒、炉、枕、砚与水注等，其中最为多见的是玉壶春瓶。总的说来，民间用瓷的造型大部分是大方朴实、经济耐用；而宫廷用瓷则端庄典雅、雍容华贵。最能反映皇家气派的是哥、官、钧、汝与定窑口烧制的贡瓷，最能体现百姓喜乐的是磁州、耀州窑口烧制的民间瓷品。\n从纹饰上讲，宋瓷的纹饰题材表现手法都极为丰富独特。一般情况下，龙、凤、鹿、鹤、游鱼、花鸟、婴戏、山水景色等常作为主体纹饰而突现在各类器形的显著部位，而回纹、卷枝卷叶纹、云头纹、钱纹、莲瓣纹等多用作边饰间饰，用以辅助主题纹饰。工匠们用刻、划、剔、画和雕塑等不同技法，在器物上把纹样的神情意态与胎体的方圆长短巧妙结合起来，形成审美与实用的统一整体，令人爱不释手。如婴戏纹，或于碗心、或于瓶腹，将肌肤稚嫩，情态活泼的童子置于花丛之中，或一或二，或三五成群，攀树折花，追逐嬉戏，真切动人，生活气息甚为浓厚。",[2720,1884,3176,3177,544,7,29],"洒蓝釉","描金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa17bdecd8419504082199b7970f0d420.jpg",[],{"id":3181,"slug":3182,"title":579,"dynasty":18,"author":442,"museum":375,"description":580,"tags":3183,"thumbUrl":3184,"material":559,"size":560,"collection":178,"collections":3185,"showCount":3160,"zanCount":38,"manualWeight":38,"mainColor":39},239250,"mu-dan-shi-liu-zhong-ce-jiang-ting-xi-239250",[24,25,23,26,50,27,29,7,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b017252de5aba61ed0e98faac5f0285.jpg",[],{"id":3187,"slug":3188,"title":1039,"dynasty":63,"author":2646,"museum":375,"description":3189,"tags":3190,"thumbUrl":3191,"material":877,"size":178,"collection":178,"collections":3192,"showCount":3160,"zanCount":38,"manualWeight":38,"mainColor":39},234246,"hua-hui-tu-juan-chen-gua-234246","陈栝（生卒年未详），约活动于公元16世纪，字子正，号沱江，江苏苏州人。陈栝是 陈淳的儿子。善画花卉，笔似其父。嗜酒放浪。画擅花鸟，继其有法，而又出己意，笔致放浪而有生趣，亦能诗。先其父而亡。自元代文人画创立以写法入画以来，明代徐渭、陈道复更在花鸟中将笔迹放纵的写意画法又向前推进一步，而道复之子陈栝则更在其父基础上，将这种不拘于象的写法又发挥至极致，其勾点皴擦，随心所欲， 绝出尘象之外。",[48,24,25,71,68,1045,29,74,82,75,83,7,80,78,79,175,125,72],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F824a49108093b390bf2a18fe74a97e32.jpg",[],{"id":3194,"slug":3195,"title":1039,"dynasty":18,"author":2218,"museum":278,"description":3196,"tags":3197,"thumbUrl":3198,"material":178,"size":178,"collection":33,"collections":3199,"showCount":3160,"zanCount":563,"manualWeight":38,"mainColor":3200},202133,"hua-hui-tu-juan-ren-xiong-202133","这幅花卉长卷构图自然舒展，各类花卉次第铺陈，生机勃发。画师以工笔细描花瓣，线条灵动精准，叶片则以写意晕染，墨色层次丰富。设色明丽而不失雅致，牡丹雍容、桃花娇妍、芙蓉清雅、月季柔媚，各色花朵与翠叶相映成趣，姿态神韵毕现。整卷融工笔之精致与写意之洒脱于一体，将自然花卉的蓬勃活力与柔美风姿展现得淋漓尽致，尽显对生命与自然的热爱。",[24,71,29,50,27,7,79,78,117,48],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb97f0cdf35134a5d8f2cea43bc8fa78b.jpg",[33],"cca57d",{"id":3202,"slug":3203,"title":3204,"dynasty":18,"author":113,"museum":375,"description":3205,"tags":3206,"thumbUrl":3209,"material":559,"size":560,"collection":178,"collections":3210,"showCount":181,"zanCount":258,"manualWeight":38,"mainColor":58},270528,"zhu-bing-sha-di-dui-ling-jia-xiu-hua-niao-shi-liu-shan-yi-ming-270528","竹柄纱地堆绫加绣花鸟石榴扇","花边形扇面温婉雅致，纱底暗纹朦胧柔和，衬得堆绫绣饰愈发生动鲜活。折枝月季柔蔓舒展，粉红花瓣饱满娇嫩，层叠间晕染出盛放之态，翠羽禽鸟栖于枝梢，翎毛纤毫毕现，灵动如生。堆绫工艺让花叶禽鸟颇具立体感，辅以刺绣勾勒细节，明暗相宜，将庭院清趣凝于盈尺扇面之上。\n竹柄髹漆描金，搭配錾刻纹饰的护托，工细雅致，兼顾美观与握持实用性。整扇融多工艺于一体，配色柔丽和谐，既有工笔花鸟的文雅意趣，尽显旧时工艺精巧，晕染出温婉雅致的闺阁韵致。",[401,29,7,242,1546,3207,3208,1547],"堆绫加绣","日用品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c67ed14c11d02ff76b1345ac1ac1f52.jpg",[],{"id":3212,"slug":3213,"title":3214,"dynasty":18,"author":113,"museum":375,"description":2624,"tags":3215,"thumbUrl":3216,"material":559,"size":560,"collection":178,"collections":3217,"showCount":181,"zanCount":38,"manualWeight":38,"mainColor":2700},265423,"pin-yue-se-duan-di-dan-cai-mu-dan-ju-he-hua-wen-tao-yi-ming-265423","品月色缎地淡彩牡丹菊荷花纹绦",[1547,2626,1546,7,156,118,29,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ed40da84527dce484ddf71e9370c802.jpg",[],{"id":3219,"slug":3220,"title":3221,"dynasty":18,"author":494,"museum":375,"description":3222,"tags":3223,"thumbUrl":3224,"material":1357,"size":3225,"collection":178,"collections":3226,"showCount":181,"zanCount":38,"manualWeight":38,"mainColor":39},234990,"hua-hui-ling-mao-ping-8-ren-yi-234990","花卉翎毛屏8","任颐(1839-1896)，初名润，字伯年，一字次远，号小楼(亦作晓楼)，萧山城厢镇人。其父善画肖像，任颐自幼随之习画。人物、山水、花卉、翎毛等均有扎实功底，尤以人物画见长，他在十余岁时即能勾勒出来访者容貌，使人见其画如见其人。\n咸丰十一年(1861)，太平军占领杭州、绍兴，任颐即投笔从戎，参加太平军，掌军旗，为前驱。同治二年(1863)，太平军撤离浙江，任留居家乡；次年，移居宁波，得到任熊、任薰悉心指导。同治七年(1868)春，随任薰去苏州，是年冬，转至上海定居。从此，任颐步入新兴的上海画派之列。\n任颐画路宽拓，所画人物具有独特的风韵，更以描写风俗人情、民间传说和神话故事中人物见长，如《女娲》、《钟 馗》、《八仙》、《群仙祝寿》等作品，将艺术与现实巧妙地容贯于画面。其人物肖像画既有深厚的传统基础，又注重写生，每次外出，备有速写本，随时勾录。寓居上海后，以卖画为生，创作甚富。《钟馗》、《关河一望萧索》、《苏武牧羊》、《野塘雨后》和《三友图》等为其代表作。且其参用画意的书法亦奇惊不凡，光绪二十二年(1896)逝世。\n任伯年因是浙江山阴人，故画面署款多写山阴任颐。儿时随父学画，十四岁到上海，在扇庄当学徒，后以卖画为生。所画题材，极为广泛，人物、花鸟、山水、走兽无不精妙。他的画用笔用墨，丰富多变，构图新巧，创造了一种清新流畅的独特风格，在正统派外别树一帜。\n任颐是近代杰出画家。字伯年，号小楼，浙江山阴人，因此他的画署款多写山阴任颐。任伯年的绘画题材广泛，人物、肖像、山水、花卉、禽鸟无不擅长。用笔用墨，丰富多变，构图新巧，主题突出，疏中有密，虚实相间，浓淡相生，富有诗情画意，清新流畅是他的独特风格。任伯年的主要成就是在于人物画和花鸟画方面，往往寥寥数笔，便能把人物整个神态表现出来，着墨不多而意境深远。其线条简练沉着，有力潇洒。他常画钟馗，他笔下的钟馗心胸磊落、不怕鬼，不信邪。他的花鸟画，总是把花与鸟连在一起，禽鸟显得很突出，花卉有时只作背景，整个画面充满了诗的意境。",[24,27,29,7,51,241,83,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff93e8ad5034c82f4d1e0320042644d27.jpg","149 x 61 cm",[],{"id":3228,"slug":3229,"title":3230,"dynasty":18,"author":113,"museum":375,"description":3231,"tags":3232,"thumbUrl":3234,"material":559,"size":560,"collection":178,"collections":3235,"showCount":181,"zanCount":38,"manualWeight":38,"mainColor":39},234394,"qian-long-di-fei-yu-jia-qing-di-you-nian-xiang-zhou-yi-ming-234394","乾隆帝妃与嘉庆帝幼年像轴","此作以双层楼阁铺展深苑日常，上层朱红木构镂空雅致，紫纱轻垂掩映竹影，晕开静谧清幽。下层轩窗半启，妃嫔衣袂织绣华美，垂眸凝睇身侧幼童，眉目柔婉，漫溢出化不开的慈意。\n\n远景湖山轻晕如黛，近旁奇石立，芍药娉婷、修竹疏朗，将中式庭院的清雅意趣尽数铺陈。全画笔法工致细腻，建筑雕纹分毫毕现，人物发丝衣褶皆见匠心，色彩柔丽和谐，把深宫之中的脉脉天伦温情，定格成一帧静好隽永的时光剪影，尽显写实精妙的绘事功力。",[24,25,49,50,27,423,1916,75,1379,7,3233,426,3068,214],"窗棂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2bb53374383c49f92b0da5cb26dc45c.jpg",[],{"id":3237,"slug":3238,"title":3239,"dynasty":18,"author":3240,"museum":171,"description":3241,"tags":3242,"thumbUrl":3243,"material":367,"size":3244,"collection":178,"collections":3245,"showCount":181,"zanCount":38,"manualWeight":38,"mainColor":58},231486,"si-ji-hua-hui-tu-jiang-pu-231486","四季花卉图","蒋溥","蒋溥，江苏常熟人。廷锡子。雍正八年传胪，乾隆十八年仕至大学士。花草得其家传，随意布置，多生趣。每绘画进呈，蒙睿题有“师承家法闲图出，右相丹青有后生”之句。谥文恪。",[48,24,23,49,50,27,29,74,77,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3cae0f4cf71bdb4cba7de4487776320.jpg","98.5×60.5cm",[],{"id":3247,"slug":3248,"title":1052,"dynasty":18,"author":251,"museum":375,"description":3249,"tags":3250,"thumbUrl":3251,"material":178,"size":178,"collection":178,"collections":3252,"showCount":181,"zanCount":38,"manualWeight":38,"mainColor":39},230205,"xian-e-chang-chun-tu-lang-shi-ning-230205","此作将中西绘法相融，牡丹花瓣以精微晕染过渡色彩，从柔粉浅白渐次晕作玫红，层层叠叠如凝露含芳，饱满鲜活尽显盛放娇姿。叶片皴擦兼具明暗光影与中式笔墨意趣，叶脉舒展清晰，枝茎挺秀带着蓬勃生机。朱红鉴藏印落于素绢之上，雅致端庄，为画作更添古雅意韵。整体既得西洋画的写实质感，又留存东方花鸟的清雅意蕴，将花之雍容华贵尽数铺展于绢素之上，仿若春色凝于方寸间。",[48,23,24,25,27,50,29,7,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e4b0937087e0a16c2d15c63c187e3c.jpg",[],{"id":3254,"slug":3255,"title":1072,"dynasty":63,"author":3256,"museum":375,"description":3257,"tags":3258,"thumbUrl":3259,"material":178,"size":178,"collection":178,"collections":3260,"showCount":181,"zanCount":38,"manualWeight":38,"mainColor":39},228276,"hua-hui-ce-chen-dao-fu-228276","陈道复","这幅作品以淋漓水墨挥写湖石，苍润朴拙，留白藏尽空灵意趣。环绕花木设色清妍柔和，素白牡丹柔枝舒展、花瓣轻绽，淡粉碎花攒簇生姿，兰草劲挺修长，叶片舒展带露生机。\n笔意松秀灵动，兼工带写间糅合文人雅致，以色墨晕染烘托春日融融。花木俯仰有情，与苍润湖石形成刚柔对照，将庭间春日野趣尽显笔端，淡冶雅致中饱含闲散文心，寥寥数笔便勾勒出盎然春意，尽显水墨写意的精妙韵味。",[48,24,23,69,27,68,81,175,281,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca306f52ecfeeac584ccaa95f1e44470.jpg",[],{"id":3262,"slug":3263,"title":3264,"dynasty":63,"author":113,"museum":375,"description":3265,"tags":3266,"thumbUrl":3273,"material":559,"size":560,"collection":178,"collections":3274,"showCount":181,"zanCount":38,"manualWeight":38,"mainColor":58},223952,"qing-hua-ci-chan-zhi-mu-dan-wen-da-wan-yi-ming-223952","青花瓷缠枝牡丹纹大碗","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。",[825,2720,2755,3267,7,3268,3269,3270,3271,3272],"缠枝纹","大碗","缠枝","纹饰","釉下彩","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ce20de9692e918d6c1fdf45a0e1b413.jpg",[],{"id":3276,"slug":3277,"title":3278,"dynasty":63,"author":3279,"museum":375,"description":3280,"tags":3281,"thumbUrl":3282,"material":559,"size":560,"collection":178,"collections":3283,"showCount":107,"zanCount":38,"manualWeight":38,"mainColor":39},287388,"lin-tang-zi-wei-nv-er-jiao-tu-li-zhou-wen-cong-jian-287388","临唐子畏女儿娇图立轴","文从简","文从简（1574年—1648年）字彦可，号枕烟老人，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明曾孙，明末清初画家。\n崇祯十三年（1640年）拔贡，入清后退居林下，以书画自娱。",[48,49,24,25,23,27,29,7,2311,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F143721e8add651b65809483042b7b792.jpg",[],{"id":3285,"slug":3286,"title":1072,"dynasty":18,"author":736,"museum":375,"description":2976,"tags":3287,"thumbUrl":3288,"material":559,"size":560,"collection":178,"collections":3289,"showCount":107,"zanCount":563,"manualWeight":38,"mainColor":39},238348,"hua-hui-ce-dong-gao-238348",[24,27,50,26,81,175,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8f642fc6d4d909c54413d1a2b2737ff.jpg",[],{"id":3291,"slug":3292,"title":1072,"dynasty":18,"author":1106,"museum":375,"description":3293,"tags":3294,"thumbUrl":3295,"material":559,"size":560,"collection":178,"collections":3296,"showCount":3297,"zanCount":38,"manualWeight":38,"mainColor":39},287728,"hua-hui-ce-shi-tao-287728","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等，明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[24,25,26,27,29,7,81,125,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03ec98074d94e6ee8aa8cae0d8802d73.jpg",[],19,{"id":3299,"slug":3300,"title":3301,"dynasty":112,"author":3302,"museum":375,"description":3303,"tags":3304,"thumbUrl":3305,"material":559,"size":560,"collection":178,"collections":3306,"showCount":3297,"zanCount":38,"manualWeight":38,"mainColor":58},283631,"ling-mao-tu-zhu-ke-rou-283631","翎毛图","朱克柔","朱克柔 ，生卒年不详。幼习绘画与缂丝(也称刻丝)，积累配色和运线经验。她与定州的沈子藩等同为宋代缂丝名家。宋徽宗至高宗时期以织造缂丝著称于世，亦善画。",[23,24,25,49,27,29,545,75,242,175,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F750f0f6937d978894ba7511138e12445.jpg",[],{"id":3308,"slug":3309,"title":3310,"dynasty":18,"author":113,"museum":375,"description":2437,"tags":3311,"thumbUrl":3312,"material":559,"size":560,"collection":178,"collections":3313,"showCount":3297,"zanCount":38,"manualWeight":38,"mainColor":1068},249958,"qian-long-kuan-qia-si-fa-lang-shuang-feng-wen-jing-yi-ming-249958","乾隆款掐丝珐琅双凤纹镜",[214,2439,2440,3025,2696,7,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e432cbef8fc9b55ec1ff54ee6e7aad3.jpg",[],{"id":3315,"slug":3316,"title":1813,"dynasty":18,"author":736,"museum":375,"description":2976,"tags":3317,"thumbUrl":3318,"material":559,"size":560,"collection":178,"collections":3319,"showCount":3297,"zanCount":38,"manualWeight":38,"mainColor":39},238343,"si-ji-hua-hui-ce-dong-gao-238343",[24,25,26,27,50,29,7,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe025be11ab0a49f96075075cbf5adb5e.jpg",[],{"id":3321,"slug":3322,"title":3323,"dynasty":63,"author":2646,"museum":375,"description":3189,"tags":3324,"thumbUrl":3325,"material":877,"size":178,"collection":178,"collections":3326,"showCount":3297,"zanCount":38,"manualWeight":38,"mainColor":39},234247,"mo-hua-jiu-zhong-juan-chen-gua-234247","墨花九种卷",[48,24,25,71,68,29,69,125,7,156,116,78,117,80,119,677,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc52c46bc4e3b4ca5a9f77865bc6868ab.jpg",[],{"id":3328,"slug":3329,"title":3330,"dynasty":1301,"author":3331,"museum":375,"description":3332,"tags":3333,"thumbUrl":3334,"material":559,"size":560,"collection":178,"collections":3335,"showCount":3297,"zanCount":38,"manualWeight":38,"mainColor":58},230505,"shi-ting-shi-dai-si-ji-hua-niao-tu-ping-feng-er-ping-xue-zhou-230505","室町时代 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吉祥富贵的寓意藏于经纬之间，尽显清代织绣技艺的精巧匠心，是传统织物里兼具审美与工艺价值的精巧之作。",[1547,544,7,2807],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7de977d0908d6981570284bb0f717064.jpg",[],{"id":3487,"slug":3488,"title":3489,"dynasty":3490,"author":113,"museum":375,"description":3491,"tags":3492,"thumbUrl":3498,"material":559,"size":560,"collection":178,"collections":3499,"showCount":3477,"zanCount":38,"manualWeight":38,"mainColor":58},251969,"bai-yu-tou-diao-shuang-feng-mu-dan-wen-qian-jian-yi-ming-251969","白玉透雕双凤牡丹纹嵌件","唐","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。",[3493,2731,3494,3495,7,3496,3497],"玉石","透雕","双凤","唐代","嵌件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc43e9d805a281b8525ac3d3f03fb7600.jpg",[],{"id":3501,"slug":3502,"title":2849,"dynasty":112,"author":2850,"museum":375,"description":3503,"tags":3504,"thumbUrl":3505,"material":559,"size":560,"collection":178,"collections":3506,"showCount":3477,"zanCount":563,"manualWeight":38,"mainColor":39},238561,"mu-dan-chun-man-tu-ye-li-cong-xun-238561","杭州人。宣和（一一一九―一一二五）待诏，绍兴（一一三一―一一六二）间复宫补承直郎，赐金带。工画道释、人物、花鸟，位置不凡，传彩精妙，高出流辈。",[23,24,25,401,2085,50,27,73,125,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a16f8bd6480230e81b4a3f4a60ff8f6.jpg",[],{"id":3508,"slug":3509,"title":1072,"dynasty":18,"author":736,"museum":375,"description":2976,"tags":3510,"thumbUrl":3513,"material":559,"size":560,"collection":178,"collections":3514,"showCount":3477,"zanCount":563,"manualWeight":38,"mainColor":39},238347,"hua-hui-ce-dong-gao-238347",[24,25,26,27,50,29,7,3511,3512,81],"鸢尾","荷包牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7314ada3764358bd13472889e55703f2.jpg",[],{"id":3516,"slug":3517,"title":2317,"dynasty":18,"author":251,"museum":65,"description":2868,"tags":3518,"thumbUrl":3519,"material":1357,"size":2871,"collection":178,"collections":3520,"showCount":3477,"zanCount":563,"manualWeight":38,"mainColor":39},232970,"hua-niao-ce-lang-shi-ning-232970",[23,24,25,26,50,27,29,7,72,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46ba3f49ef4299402ca4a0e9edac5c37.jpg",[],{"id":3522,"slug":3523,"title":3524,"dynasty":112,"author":420,"museum":375,"description":3525,"tags":3526,"thumbUrl":3527,"material":559,"size":560,"collection":178,"collections":3528,"showCount":3529,"zanCount":38,"manualWeight":38,"mainColor":58},290070,"wu-rui-tu-su-han-chen-290070","五瑞图","苏汉臣（1094年―1172年），汴京（今河南开封）人，北宋画家。北宋徽宗宣和年间（1119~1125）任画院待诏，南宋高宗绍兴年间（1131~1162）复职，南宋孝宗隆兴初年（1163）任承信郎。\n苏汉臣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。师刘宗古，工画道释、人物臻妙，尤善婴孩，所画货郎图，描画精细，货物繁颐，更为特出。\n苏汉臣师从画院待诏刘宗古，所绘人物、士女及佛道宗教画，用笔工整细劲，着色鲜润。尤擅描绘婴儿嬉戏之景和货郎担，情态生动。传世作品有《秋庭戏婴图》《五瑞图》《击乐图》《婴戏图》等。",[24,423,50,27,75,7,1681],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3820eaf50dc4a9aad76b5267007325f1.jpg",[],16,{"id":3531,"slug":3532,"title":3533,"dynasty":18,"author":3240,"museum":375,"description":3534,"tags":3535,"thumbUrl":3536,"material":559,"size":560,"collection":178,"collections":3537,"showCount":3529,"zanCount":38,"manualWeight":38,"mainColor":39},288353,"lan-shi-tu-jiang-pu-288353","兰石图","蒋溥（1708—1761年），大学士蒋廷锡长子，字质甫，号恒轩，江苏常熟人，清朝大臣，画家，善画花卉，深得家传。雍正八年二甲第一名进士，官至东阁大学士兼户部尚书。性情宽厚而警敏，任职后，精心奉职，勤于政事，是乾隆时期的重臣，亦是蒋派花鸟画艺术的重要代表。\n乾隆二十六年（1761）四月，病逝于任上。乾隆皇帝亲临祭奠，加赠太子太保，谥曰文恪，入祀贤良祠。",[24,25,49,27,50,29,7,82,175,1336,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0350f5ed0f80f346627b44ec05cfd1de.jpg",[],{"id":3539,"slug":3540,"title":3541,"dynasty":18,"author":113,"museum":375,"description":3105,"tags":3542,"thumbUrl":3543,"material":559,"size":560,"collection":178,"collections":3544,"showCount":3529,"zanCount":38,"manualWeight":38,"mainColor":1068},267284,"dian-cui-feng-chui-mu-dan-wen-tou-hua-yi-ming-267284","点翠凤吹牡丹纹头花",[2626,2695,2696,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb648e566d3fe6ec313551c370a9e510.jpg",[],{"id":3546,"slug":3547,"title":3548,"dynasty":18,"author":113,"museum":375,"description":3549,"tags":3550,"thumbUrl":3553,"materi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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。",[214,2720,3551,27,50,3552,7,29],"粉彩","雉鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cc8b379b47a6cbb0affdb5e7da049bc.jpg",[],{"id":3556,"slug":3557,"title":3114,"dynasty":18,"author":736,"museum":375,"description":1805,"tags":3558,"thumbUrl":3559,"material":178,"size":178,"collection":178,"collections":3560,"showCount":3529,"zanCount":38,"manualWeight":38,"mainColor":39},238371,"dong-gao-yan-chun-hui-cai-tu-ce-dong-gao-238371",[24,27,50,26,29,7,81,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4bd016465c42603160039549ff17c5d.jpg",[],{"id":3562,"slug":3563,"title":3564,"dynasty":18,"author":113,"museum":375,"description":3565,"tags":3566,"thumbUrl":3568,"material":178,"size":178,"collection":178,"collections":3569,"showCount":3529,"zanCount":258,"manualWeight":38,"mainColor":39},238187,"wang-cheng-pei-ji-hui-ming-he-juan-yi-ming-238187","汪承霈集卉鸣和卷","此卷开篇绘幽竹亭亭，鸣虫静栖竹间，溪畔蓝花簇生，野趣盎然。清溪蜿蜒穿流过浅渚，渐入群芳盛放之景：粉菊、蓝花、红卉与素白琼英交织错落，枝叶柔曼舒展。蜻蜓振翅掠水，蛱蝶穿花翩跹，蜂虫流连芳丛，诸般小生灵衬得满卷生机浮动。全作用笔纤柔细腻，工笔淡彩晕染雅致明秀，将郊野春景的清灵意趣缓缓铺展，把花间小景的娴静生机描摹尽致，宛如将融融春日的一隅闲趣，凝于素绢之上。",[48,24,25,71,50,27,29,75,333,122,123,3567,1197,241,176,158,77,7,78,117],"蝉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946dcdc9d843fe6490645d4ecbbb0d23.jpg",[],{"id":3571,"slug":3572,"title":1316,"dynasty":18,"author":3573,"museum":375,"description":3574,"tags":3575,"thumbUrl":3576,"material":178,"size":178,"collection":178,"collections":3577,"showCount":3529,"zanCount":38,"manualWeight":38,"mainColor":58},237362,"mu-dan-zhou-yun-yuan-jun-237362","恽源濬","此作用淡墨晕染牡丹花瓣，由浅及深铺陈舒展，将花头的雍容柔婉尽数勾勒。枝叶以浓淡干湿的墨色对比表现阴阳向背，枯笔写枝苍劲老辣，褪去牡丹惯常的艳俗富贵，尽显清逸雅致。\n左侧题跋与花木相映成趣，书画合璧，以墨色代脂粉，将文人意趣融于花间，把牡丹华贵风骨转为澹泊出尘的书卷气，寥寥笔墨间便将花木的盎然生意与画者的清雅襟怀一并铺陈，清淡疏朗的留白与晕染的花叶相映，尽显写意花鸟的东方雅致意韵。",[24,25,49,68,50,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc593686ccfa194691dabe99feda5991e.jpg",[],{"id":3579,"slug":3580,"title":3581,"dynasty":18,"author":113,"museum":375,"description":3582,"tags":3583,"thumbUrl":3584,"material":205,"size":178,"collection":178,"collections":3585,"showCount":3529,"zanCount":563,"manualWeight":38,"mainColor":39},215863,"qing-dai-gong-ting-ren-wu-hua-ce-7-yi-ming-215863","清代宫廷人物画册-7","冠上羽翎轻缀，饰件精巧别致。深蓝袍服挺括有型，胸前补子绣瑞禽，羽翼舒展如生；袖口与下摆以彩线织就缠枝花卉，粉紫花瓣衬青绿叶片，雅致灵动。人物面容沉稳，眉眼间透着端庄气度，须髯修整得体，尽显清代宫廷人物的威仪与从容。画面纸色泛黄，带着时光沉淀的斑驳痕迹，线条细腻流畅，设色浓郁却不失雅致，将人物身份地位与服饰华美细节刻画得淋漓尽致，尽显清代宫廷绘画的严谨格调与精致韵味。",[24,25,26,27,50,423,100,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F013c48dd1d28c4ff283b04ce074e3e68.jpg",[],{"id":3587,"slug":3588,"title":3589,"dynasty":18,"author":786,"museum":278,"description":3590,"tags":3591,"thumbUrl":3592,"material":178,"size":178,"collection":178,"collections":3593,"showCount":3529,"zanCount":38,"manualWeight":38,"mainColor":3594},203468,"hua-hui-ce-shi-kai-yun-bing-203468","花卉册十开","此帧花卉以没骨法绘就，朱红牡丹嫣然绽放，花瓣层叠间色阶过渡细腻，如凝晨露之润。翠叶以墨绿晕染，叶脉婉转隐现，枝干用笔简洁却见风骨，秀逸中含遒劲。设色明丽而不失清雅，承恽派写生之韵，将牡丹的雍容华贵与枝叶的清劲挺秀相衬，鲜活展现春日花事的生机盎然。画面留白疏朗，于方寸册页间藏自然意趣，尽显作者对花鸟情态的精准捕捉与文人审美之融合，读来如沐春风，悦目怡心。",[24,25,26,27,28,29,7,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96659e821af8e162b03e31f0b2dd5524.jpg",[],"c3a885",{"id":3596,"slug":3597,"title":3598,"dynasty":18,"author":2218,"museum":278,"description":3599,"tags":3600,"thumbUrl":3601,"material":178,"size":178,"collection":104,"collections":3602,"showCount":3529,"zanCount":38,"manualWeight":38,"mainColor":3603},201759,"luo-shen-xiang-zhou-ren-xiong-201759","洛神像轴","画面中洛神衣袂翩跹，身姿婉约灵动，衣纹线条劲挺流畅，兼具工笔的细腻与写意的传神。裙裾间花卉点缀，与身下的花叶相映成趣，设色雅致温润，既显古典韵味，又透出灵动生气。画家以精湛笔法勾勒出洛神的温婉神韵，衣饰的繁复细节与背景的清雅花草形成对比，将神话人物的仙气与人间的柔美融为一体，尽显传统人物画的独特魅力。",[24,50,423,97,27,49,77,7,48],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0533598dc97bfa194c9c193298ada039.jpg",[104],"b69564",{"id":3605,"slug":3606,"title":185,"dynasty":18,"author":872,"museum":375,"description":2655,"tags":3607,"thumbUrl":3608,"material":559,"size":560,"collection":178,"collections":3609,"showCount":246,"zanCount":38,"manualWeight":38,"mainColor":58},288028,"mu-dan-tu-gao-feng-han-288028",[48,24,23,25,49,68,27,29,7,175,72,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e3480b82813f3e74b11e99c7467ce72.jpg",[],{"id":3611,"slug":3612,"title":3613,"dynasty":18,"author":113,"museum":375,"description":3614,"tags":3615,"thumbUrl":3617,"material":559,"size":560,"collection":178,"collections":3618,"showCount":246,"zanCount":563,"manualWeight":38,"mainColor":58},273300,"ming-huang-se-duan-xiu-hua-hui-he-bao-shi-huo-lian-yi-ming-273300","明黄色缎绣花卉荷包式火燫","荷包是中国汉族传统服饰中，人们所随身佩带的一种装零星物品的小包，后发展为爱情信物，荷包的图案有繁有简，花卉、鸟、兽、草虫、山水、人物以及吉祥语、诗词文字都有，装饰意味很浓。\n在民间荷包中，占相当比重的是香包，香包里装有香草之类的药品，包面上绣制着“五毒”，即蝎子、蛇、蜈蚣、壁虎和蟾蜍，它原是五月端午的节令物品，为了防止各种毒虫猖獗，侵害人体，人们相互馈赠，挂在衣襟或帐勾上，以避除“五毒”。就形状来看，有虎形的、鸡形的、如意形的、寿桃形的、蝙蝠形的，以取意于福、禄、寿、喜、吉祥、如意等。富有深厚民族心理基础的绣荷包，在民间文化中，显示着旺盛的生命力。",[2626,989,99,1547,3025,3616,1546,81,7],"铁器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe574cf71743a87779ee1b9e7c01cfe9f.jpg",[],{"id":3620,"slug":3621,"title":3622,"dynasty":18,"author":113,"museum":375,"description":3623,"tags":3624,"thumbUrl":3629,"material":559,"size":560,"collection":178,"collections":3630,"showCount":246,"zanCount":38,"manualWeight":38,"mainColor":165},268785,"hu-se-duan-ping-jin-xiu-long-wen-nan-mang-yi-ming-268785","湖色缎平金绣龙纹男蟒","湖色缎底清润雅致，平金绣就的龙纹矫健威严，金线随龙身走势流转，尽显华贵威仪。团寿纹与缠枝花卉错落排布，柔媚的粉牡丹点缀其间，刚柔并济中和了龙形的凛冽。绣工精妙卓绝，平金走线细密齐整，绒线晕染出花卉饱满层次，冷暖配色调和相宜，既恪守礼制规制，又带着绣匠巧思，将威严气度与柔美意趣融于一身，是传统戏服工艺中的上乘之作。",[100,3625,3626,3627,3097,7,3628,81],"蟒袍","平金绣","缎料","寿纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd710ce4d68b01ddb496981febb0f109e.jpg",[],{"id":3632,"slug":3633,"title":3634,"dynasty":18,"author":113,"museum":375,"description":3635,"tags":3636,"thumbUrl":3640,"material":559,"size":560,"collection":178,"collections":3641,"showCount":246,"zanCount":563,"manualWeight":38,"mainColor":1068},261218,"cheng-hua-kuan-hong-cai-jia-jin-mu-dan-hu-die-wen-bi-tong-yi-ming-261218","成化款红彩加金牡丹蝴蝶纹笔筒","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。",[2720,3637,3638,7,122,29,3639],"笔筒","红彩加金","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddfadc490343843484a6715fda01c68b.jpg",[],{"id":3643,"slug":3644,"title":1115,"dynasty":18,"author":113,"museum":375,"description":3645,"tags":3646,"thumbUrl":3647,"material":559,"size":560,"collection":178,"collections":3648,"showCount":246,"zanCount":38,"manualWeight":38,"mainColor":39},238931,"qing-ren-mu-dan-pu-ce-yi-ming-238931","此作虚实相映，以盛放的大红牡丹为主体，旁侧含苞的花萼与之呼应，构图疏朗清雅。花瓣以晕染之法绘就，从瓣尖的深绯渐过渡至基部柔粉，层次细腻分明，明黄花蕊鲜亮点睛，将牡丹的丰腴鲜活展露无遗。叶片以青绿晕染，叶脉勾勒细致，深浅色调交织间衬出花叶的舒展柔姿。\n画作工细中带着写意的松弛，褪去匠气，将牡丹的秾华与雅致相融，既有富贵花的雍容端庄，又不失清婉灵动的生机，尽显牡丹独有的神韵风华。",[24,25,26,50,27,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5ebf2e5c0973f151a5a34a9182ff024.jpg",[],{"id":3650,"slug":3651,"title":3652,"dynasty":18,"author":736,"museum":375,"description":2976,"tags":3653,"thumbUrl":3654,"material":559,"size":560,"collection":178,"collections":3655,"showCount":246,"zanCount":38,"manualWeight":38,"mainColor":39},238418,"xiu-gu-cong-fang-tu-ce-dong-gao-238418","绣谷丛芳图册",[24,27,50,26,29,7,81,281,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad158caacdbbc58cd1eb858434d14c95.jpg",[],{"id":3657,"slug":3658,"title":1072,"dynasty":63,"author":3659,"museum":375,"description":3660,"tags":3661,"thumbUrl":3662,"material":559,"size":560,"collection":178,"collections":3663,"showCount":246,"zanCount":38,"manualWeight":38,"mainColor":39},235475,"hua-hui-ce-qi-xun-235475","戚勋","戚勋 (明)字世臣，号曲泉。山阴(今属绍兴)人。\n善画山水、花卉，得疏野之趣。",[24,25,26,27,29,73,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bb36e3eb09986261d44138604ec048b.jpg",[],{"id":3665,"slug":3666,"title":1072,"dynasty":18,"author":3130,"museum":375,"description":3131,"tags":3667,"thumbUrl":3668,"material":178,"size":178,"collection":178,"collections":3669,"showCount":246,"zanCount":38,"manualWeight":38,"mainColor":39},234787,"hua-hui-ce-jin-li-ying-234787",[24,27,50,26,7,2806,83,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18ad6591c64ce257e53a5d8511e7dbeb.jpg",[],{"id":3671,"slug":3672,"title":3673,"dynasty":63,"author":3674,"museum":375,"description":3675,"tags":3676,"thumbUrl":3677,"material":178,"size":178,"collection":178,"collections":3678,"showCount":246,"zanCount":38,"manualWeight":38,"mainColor":39},234214,"zhang-yan-mo-hua-juan-zhang-yan-234214","张彦墨花卷","张彦","张彦（？－？），字伯美，号无诤道人，嘉定（今属上海市）人，一作江苏苏州人，明朝画家。\n万历四十一年（1631年）作《山水图》，著录于《退庵题跋》\n崇祯二年（1629年）作《寒林钟馗图》，著录于《爱日吟庐书画录》\n传世作品有《山径携琴图》轴，现藏南京博物院\n崇祯十年作《松溪放舟图》轴图录于《中国名画宝鉴》\n崇祯十二年（1639）作《设色山水图》卷著录于《中国书画家印鉴款识》；同年作《雪景梅花图》轴，纸本，设色，现藏苏州市博物馆",[48,24,25,71,68,1045,29,74,82,75,83,77,7,78,117,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff41ab333b99a0d13328d654b652e75f6.jpg",[],{"id":3680,"slug":3681,"title":3682,"dynasty":18,"author":3683,"museum":375,"description":3684,"tags":3685,"thumbUrl":3687,"material":178,"size":178,"collection":178,"collections":3688,"showCount":246,"zanCount":38,"manualWeight":38,"mainColor":39},234117,"hua-guo-juan-yuan-jiang-234117","花果卷","袁江","清代康熙至乾隆时期，我国东南的扬州地区，由于商品经济的发展，涌现出了一批追求个性解放，锐意创新的画家群体，这就是画史上称之“扬州画派”，或曰“扬州八怪”。在这个画派中，除了拥有人数众多名震画坛的山水、花鸟和人物画家之外，还出现了一批界画作家，如李寅，颇峰、袁江、袁帽，颇岳等，而袁江、袁耀则是这批楼阁界画的佼佼者，他们成就最大，名望最高，把我国传统的界画技法发展到了一个新的高度，并对后世产生了深远的影响。\n关于袁江的生卒，由于画史无记载，我们只能在袁氏的作品中寻找。据笔者所知，袁江现存最早有纪年的作品是画于康熙三十二年(公元1693年)，最晚的作品画于乾隆八年(公元1743年)，学者以此推测他大约生于康熙十年(公元1671年)前后，卒于乾隆八年，或稍后一、二年之内。他早年生活在“千家养女先教曲，十里栽花算种田”，“夜桥灯火连星汉，水郭帆樯近斗牛”的繁华城市扬州，以后他又到过江宁(今江苏南京)、会稽(今浙江绍兴)。又根据袁江《花鸟图》二幅(藏故宫博物院)的署款“癸卯二月古榕袁江画”，他可能还到过福州，因为“榕”是福州市的别称。又据袁江传世真迹《瞻园图》判断，袁江可能还在南京生活过一段时间，\n因为瞻园是明太祖朱元璋的大将徐达的府第，(位于南京市)。雍正二年(公元1724年)，他北上抵京师(北京)作画，郭味蕖记载他在画中的自题：“在燕台作此图”就是佐证。大至到了晚年，袁江又回到家乡扬州，从他署有年款的“邗上袁江”的大量作品看就能证明这一点，因“邗”即今名的扬州市，(见《左传·哀》九年：“秋，吴城邗，沟通江淮”)。谈到袁江山水楼阁画的师承，文献记载极少，李斗《扬州画舫录》说他“初学仇十洲”，面仇英之画，近师周臣，远“摹唐来人之画，皆能夺真”，由此推之，袁江的画上溯可至唐代的李思训、李昭道父子以及赵伯驹和赵伯骑兄弟。袁江工整细致，设色浓丽的楼阁界画风格，确有仇英的遗韵。又据《画人补遗》记载：“中年得无名氏所临古人画稿”，这“无名氏”又是谁?学术界说法不一，而据有的学者推测，它应该是来人名迹，因为从袁江的山水画中，可以看出有北宋范宽，郭熙，李成、阎次平以及南宋的马远、夏圭等人的画法和遗风。在经营位置上，他又吸收了元明以来山水画的长处，予以融合变化，形成自己的特色。他学“院体”，但又脱去院画中纤弱之笔和艳俗之弊，变为凝炼厚重、工致妍美、艳而不俗的风格。袁江的楼阁界画，更是继承了唐李思训父子，宋赵伯驹兄弟和郭熙以来界画的传统以及元代王振鹏等楼阁画用笔严谨．精雕细刻的画风，并加以发扬光大。",[24,25,23,71,27,68,50,29,1278,3686,156,7,117,78,80,155,74,82,75,83,2917,81,281,125],"西瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18aa0380b6630459be1fef1dc09c8650.jpg",[],{"id":3690,"slug":3691,"title":609,"dynasty":18,"author":1461,"museum":65,"description":1462,"tags":3692,"thumbUrl":3693,"material":268,"size":178,"collection":178,"collections":3694,"showCount":246,"zanCount":38,"manualWeight":38,"mainColor":39},232943,"hua-hui-tu-ce-fan-ting-zhen-232943",[24,25,23,29,7,27,28,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd6bba090af366abeabd6fe7f40c3a9d.jpg",[],{"id":3696,"slug":3697,"title":3698,"dynasty":1301,"author":113,"museum":375,"description":3699,"tags":3700,"thumbUrl":3702,"material":178,"size":178,"collection":178,"collections":3703,"showCount":246,"zanCount":38,"manualWeight":38,"mainColor":39},230522,"fang-gu-shan-shui-dong-wu-fen-ben-shou-ye-jia-tu-juan-yi-ming-230522","仿古山水动物粉本(狩野家图卷)","此作以工写相融之笔绘就水畔闲景，一对鸳鸯依偎石间，雄鸟羽色妍秀，翎毛晕染精微，绒绒肌理宛然可见，雌鸟素朴温婉，二者亲昵缱绻，尽显静好之态。旁侧芍药轻绽，粉花柔叶勾勒秀雅，设色清润柔和。坡石以淡墨晕染虚化，留白衬出水泽空濛，将院体花鸟的精工细腻，与文人写意的淡逸糅合一处，把缱绻温情藏在幽寂小景里，静雅恬然，晕染出东方花鸟独有的诗意韵致。",[48,24,27,50,1355,7,241,29,2740,3701],"动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc9d5f83429ae56c7ef5eae540e6bcdd.jpg",[],{"id":3705,"slug":3706,"title":3707,"dynasty":18,"author":3708,"museum":375,"description":3709,"tags":3710,"thumbUrl":3712,"material":559,"size":560,"collection":178,"collections":3713,"showCount":3714,"zanCount":38,"manualWeight":38,"mainColor":39},290589,"gao-zong-yu-bi-qiu-hua-shi-zhou-zhang-ruo-ai-290589","高宗御笔秋花诗轴","张若霭","张若霭[清]（1713—1746）字晴岚（读画辑略作字景采，号晴岚），室名藕香书屋，安徽桐城人。张若霭有家学，祖父张英，父亲张廷玉为雍正、乾隆朝大学士。 雍正十一年（1733）癸丑科殿试金榜中二甲一名进士，未散馆特授编修，后帝亲授内阁学士、礼部侍郎，入直南书房，官至礼部尚书，袭伯爵。",[24,49,3068,27,50,1916,1197,2000,29,7,72,125,3711],"秋花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbcc5d7aafbdc6bc856a662c88c5e026.jpg",[],14,{"id":3716,"slug":3717,"title":185,"dynasty":18,"author":1761,"museum":375,"description":3718,"tags":3719,"thumbUrl":3720,"material":559,"size":560,"collection":178,"collections":3721,"showCount":3714,"zanCount":38,"manualWeight":38,"mainColor":58},288209,"mu-dan-tu-fan-qi-288209","此画写高低两丛牡丹，中间立一奇石。画面布置灵动飞扬，呈曲线变化。牡丹以淡墨双钩，施以淡彩渲染，有“没骨”之韵。叶片描画活泼，设笔工整。以淡墨晕染，结合皴笔，体现出奇石秀逸、坚实之感。工中带写，典雅高贵。",[48,24,49,27,50,29,7,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa87ca10f75f4b5fbddf93c5348b30476.jpg",[],{"id":3723,"slug":3724,"title":3725,"dynasty":18,"author":113,"museum":375,"description":1543,"tags":3726,"thumbUrl":3733,"material":559,"size":560,"collection":178,"collections":3734,"showCount":3714,"zanCount":563,"manualWeight":38,"mainColor":165},272931,"hong-se-duan-xiu-ling-xian-zhu-shou-tu-zhuo-wei-yi-ming-272931","红色缎绣灵仙祝寿图桌围",[3727,1547,1546,50,27,423,3728,3729,1354,3730,7,677,3731,3732,29],"桌围","仙翁","童子","瑞兽","团花","祝寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a7a1e430230e6cd31b1c243b335127e.jpg",[],{"id":3736,"slug":3737,"title":3738,"dynasty":18,"author":113,"museum":375,"description":1543,"tags":3739,"thumbUrl":3741,"material":559,"size":560,"collection":178,"collections":3742,"showCount":3714,"zanCount":563,"manualWeight":38,"mainColor":39},270158,"duan-xiu-hua-niao-tu-mian-jin-bian-gu-bing-tuan-shan-yi-ming-270158","缎绣花鸟图面锦边骨柄团扇",[401,3740,29,7,242,27,50,1546,1547],"团扇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6de0eb13b3a66299e0e47d833ce0dd8.jpg",[],{"id":3744,"slug":3745,"title":3746,"dynasty":18,"author":113,"museum":375,"description":3747,"tags":3748,"thumbUrl":3752,"material":559,"size":560,"collection":178,"collections":3753,"showCount":3714,"zanCount":38,"manualWeight":38,"mainColor":58},269087,"zi-tan-bai-bao-qian-hua-lan-tu-yao-yuan-he-yi-ming-269087","紫檀百宝嵌花篮图腰圆盒","清代文物。旧时用于存放食物或饰品之用,根据材质价值不同。清宫旧藏",[3749,1852,2731,3750,458,29,74,83,7,3751],"漆器","百宝嵌","器具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6466a97ae2e5f3236e4ec3329c788baa.jpg",[],{"id":3755,"slug":3756,"title":3757,"dynasty":18,"author":113,"museum":375,"description":3758,"tags":3759,"thumbUrl":3762,"material":559,"size":560,"collection":178,"collections":3763,"showCount":3714,"zanCount":11,"manualWeight":38,"mainColor":1068},263554,"lan-se-man-cao-tuan-mu-dan-wen-an-hua-duan-yi-ming-263554","蓝色蔓草团牡丹纹暗花缎","幽蓝底色沉静雅致，缎面光泽内敛温润。团窠牡丹雍容舒展，花瓣层叠的柔态隐在肌理间，如浸了月色悄然盛放。缠枝蔓草蜿蜒萦回，将团花串起成连绵的古韵图景。暗花工艺让纹样似露还藏，在光影流转间才晕开柔缓的花影，将烂漫花意织入经纬之间。细腻平滑的缎面尽显织造匠心，把春日花事凝为静美织物，将端庄温婉的东方意韵藏于每一寸肌理，晕开旧时光里的温柔雅致。",[1547,7,3760,3761],"蔓草","暗花缎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d0a4e25f504a400430f1fb92f431c16.jpg",[],{"id":3765,"slug":3766,"title":1115,"dynasty":18,"author":113,"museum":375,"description":3767,"tags":3768,"thumbUrl":3769,"material":559,"size":560,"collection":178,"collections":3770,"showCount":3714,"zanCount":38,"manualWeight":38,"mainColor":39},238929,"qing-ren-mu-dan-pu-ce-yi-ming-238929","这帧牡丹小品以淡紫晕染花瓣，由瓣尖至瓣根渐次浅柔，层层铺展尽显饱满雍容，明黄点染花蕊，鲜亮醒目，将盛放的鲜活生机凝于笔端。枝叶勾勒精细，叶脉舒展清晰，叶片晕以苍绿糅杂嫩黄，深浅交织间漾出春日鲜活。画面留白疏朗，将牡丹的端丽雅致托举而出，没有繁复铺陈，以清润细腻的笔触晕染出花王的秾秀风姿，将工笔的妍丽与文人画的清雅融于一体，尽显温婉端庄的雅致意趣。",[24,27,50,29,7,281,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F834c74f9f702ec8f1135dd65ede4e1fd.jpg",[],{"id":3772,"slug":3773,"title":3774,"dynasty":18,"author":442,"museum":375,"description":3775,"tags":3776,"thumbUrl":3778,"material":178,"size":178,"collection":178,"collections":3779,"showCount":3714,"zanCount":38,"manualWeight":38,"mainColor":39},228957,"fang-song-ren-gou-ran-tu-ce-jiang-ting-xi-228957","仿宋人勾染图册","此作用淡墨勾勒花瓣轮廓，由外至内层层晕染，将盛放牡丹的丰腴柔润尽数铺展，花心以浓墨点簇，层次分明，把牡丹盛放时的娇妍饱满尽显无遗。枝叶笔墨干湿浓淡有别，叶片皴擦细致、叶脉清晰，挺秀枝干搭配舒展翠叶，清雅间带着端庄意韵。\n\n全幅未施丹青，纯以水墨晕染花卉神采，兼得宋画工致写实的格调和文人写意的澹泊雅致。错落排布的鉴藏印，更添古雅厚重的书卷意蕴，将工笔细腻与水墨清逸相融，把牡丹的华贵风骨敛在素净墨色中，静雅脱俗，余韵悠长。",[48,24,23,25,26,50,3777,68,29,7,125,2311],"勾染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6c010e2f237ef06f01aef610df459e6.jpg",[],{"id":3781,"slug":3782,"title":3783,"dynasty":18,"author":93,"museum":375,"description":3784,"tags":3785,"thumbUrl":3788,"material":127,"size":178,"collection":178,"collections":3789,"showCount":3714,"zanCount":38,"manualWeight":38,"mainColor":1068},217104,"bai-miao-luo-han-16-leng-mei-217104","白描罗汉-16","冷枚（约1669年—1742年），字吉臣，号金门画史，山东胶州人，焦秉贞弟子。清代宫廷画家。善画人物、界画，尤精仕女。所画人物工丽妍雅，笔墨洁净，色彩韶秀，其画法兼工带写，点缀屋宇器皿，笔极精细，亦生动有致。",[24,25,26,1045,2063,423,3786,928,929,3787,99,7,125],"笔","砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ebf8955d667d28d96f617c81f929a87.jpg",[],{"id":3791,"slug":3792,"title":3793,"dynasty":18,"author":113,"museum":375,"description":1543,"tags":3794,"thumbUrl":3795,"material":559,"size":560,"collection":178,"collections":3796,"showCount":393,"zanCount":563,"manualWeight":38,"mainColor":165},264368,"jia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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。",[48,25,72,71,1043,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef3614c1bd736af934ea47c0ff771b03.jpg",[917],{"id":4448,"slug":4449,"title":1115,"dynasty":18,"author":113,"museum":375,"description":4450,"tags":4451,"thumbUrl":4452,"material":559,"size":560,"collection":178,"collections":4453,"showCount":193,"zanCount":38,"manualWeight":38,"mainColor":39},238928,"qing-ren-mu-dan-pu-ce-yi-ming-238928","此作以冷暖撞色尽显巧思，靛蓝牡丹为画面重心，花瓣以没骨晕染铺陈，层层叠叠间晕开深浅浓淡，金蕊轻缀，将华贵揉进幽邃雅致之中，毫无艳俗之感。一旁朱红小花斜生，鲜活明媚，恰好衬出蓝牡丹的沉静雍容。\n枯干以枯笔勾勒，苍拙朴厚，新芽点缀其上暗露春机；枝叶勾勒细腻，脉络分明，柔润叶片与苍劲枝干形成质感反差，让画面静而不滞。整体笔触温润雅致，将牡丹贵气藏于清雅笔触间，内敛沉静，尽显东方绘卷独有韵致。",[23,24,25,26,27,50,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd12d517c77311ea3a256f0cebfd71a05.jpg",[],{"id":4455,"slug":4456,"title":2246,"dynasty":18,"author":2247,"museum":375,"description":2248,"tags":4457,"thumbUrl":4458,"material":559,"size":560,"collection":178,"collections":4459,"showCount":193,"zanCount":38,"manualWeight":38,"mainColor":39},238849,"mian-yi-hua-hui-xiao-ce-mian-yi-238849",[24,25,26,27,50,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3c43e279fd5aeda44487cabd897c8f0.jpg",[],{"id":4461,"slug":4462,"title":4463,"dynasty":18,"author":736,"museum":375,"description":2976,"tags":4464,"thumbUrl":4465,"material":559,"size":560,"collection":178,"collections":4466,"showCount":193,"zanCount":38,"manualWeight":38,"mainColor":39},238808,"hua-hui-xiao-ce-dong-gao-238808","花卉小册",[24,25,26,50,27,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9859786975454065ec8fba2b2fc1b66e.jpg",[],{"id":4468,"slug":4469,"title":4463,"dynasty":18,"author":736,"museum":375,"description":2976,"tags":4470,"thumbUrl":4471,"material":559,"size":560,"collection":178,"collections":4472,"showCount":193,"zanCount":38,"manualWeight":38,"mainColor":39},238794,"hua-hui-xiao-ce-dong-gao-238794",[24,23,29,27,50,74,7,81,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d4b67faeed7a9e4b97fcf64d6e35869.jpg",[],{"id":4474,"slug":4475,"title":2317,"dynasty":63,"author":4476,"museum":375,"description":4477,"tags":4478,"thumbUrl":4479,"material":178,"size":178,"collection":178,"collections":4480,"showCount":193,"zanCount":38,"manualWeight":38,"mainColor":39},236544,"hua-niao-ce-tang-zhi-yin-236544","唐志尹","唐志尹[清]字相五，江苏扬州人，住姜堰。一作字聘三，海陵（今泰州）人。志契弟。花鸟得吕纪、王偕之传。所居万竹园，冒襄、蓝瑛辈尝过访之。康熙（一六六二至一七二二）初年八十余。与侄日昌，兄志契时称三唐。《泰州志、无声诗史、图绘宝鉴续纂、画史会要》",[24,26,50,27,29,51,7,499,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11d2255d8c4cfd6eb086fd83fce3213c.jpg",[],{"id":4482,"slug":4483,"title":1072,"dynasty":18,"author":484,"museum":375,"description":485,"tags":4484,"thumbUrl":4485,"material":559,"size":560,"collection":178,"collections":4486,"showCount":193,"zanCount":38,"manualWeight":38,"mainColor":39},235199,"hua-hui-ce-wu-chang-shuo-235199",[24,25,26,27,29,7,281,72,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bfbcb3a239e834a8bdafab60052cfe4.jpg",[],{"id":4488,"slug":4489,"title":2123,"dynasty":63,"author":3826,"museum":278,"description":4490,"tags":4491,"thumbUrl":4493,"material":4494,"size":4495,"collection":178,"collections":4496,"showCount":193,"zanCount":38,"manualWeight":38,"mainColor":39},233678,"hua-hui-juan-wang-duo-233678","本幅墨笔，前隔水伊念曾题答，本幅有张囗、戴明说观款，后纸叶恭绰题记。钤“曾藏嵩山草堂”，“墨卿”，“慎得”等藏印。\n王铎（1592—1652年），字觉斯，号嵩樵、烟潭渔叟、痴仙道人等，孟津（今洛阳孟津县）人。明天启二年（1622年）进士，累官礼部尚书、东阁大学士。工诗文，能绘画。书法师钟繇、二王、颜真卿、米芾，尤得力于《淳化阁帖》，既浸淫于古法又有所创新。其书诸体悉备，最擅行、草书，笔法纵逸流畅，风格雄健险峻，是清初书法大家。刻有《拟山园帖》、《琅华馆帖》。《清史稿》有传。",[24,25,71,68,1045,50,72,29,81,7,156,2917,241,499,309,4492,175],"叶草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cbd58569f7990ba918a2a7dda226ed8.jpg","纸本墨笔","纵24.9厘米，横116厘米",[],{"id":4498,"slug":4499,"title":4500,"dynasty":112,"author":113,"museum":375,"description":4501,"tags":4502,"thumbUrl":4503,"material":178,"size":178,"collection":178,"collections":4504,"showCount":193,"zanCount":38,"manualWeight":38,"mainColor":165},227375,"mu-dan-hua-ke-si-gua-tan-yi-ming-227375","牡丹花-缂丝挂毯","“缂”之由来\n\n缂丝在宋代被称为“刻丝”“剋丝”“克丝”，明代仍延用“克丝”，而现在的“缂丝”之名是因为清代汪汲在《事务原会》中对“缂”进行的考证。他根据南朝梁顾野王的《玉篇》中“缂”的名词解释：“缂，紩也”，及后面的补文“织纬也”，理解“缂”是局部织纬的一种织造工艺。汪汲认为清代最符合织纬而成的一种特定织物就是缂丝，因为缂丝是以小梭织纬，织成之后不露经线的一种丝织品。由此汪汲用“缂丝”来补正“刻丝”“剋丝”“克丝”，并认为“缂”更恰当。",[112,239,29,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2024851cc6dae53bb8fcb93e00dd82b.jpg",[],{"id":4506,"slug":4507,"title":4508,"dynasty":18,"author":113,"museum":375,"description":4509,"tags":4510,"thumbUrl":4514,"material":559,"size":560,"collection":178,"collections":4515,"showCount":193,"zanCount":563,"manualWeight":38,"mainColor":39},223990,"yin-du-jin-qian-zhu-feng-die-mu-dan-dian-hua-yi-ming-223990","银镀金嵌珠凤蝶牡丹钿花","用金、银、玉、贝等做成的花朵状装饰品。",[2626,214,4511,4512,2696,2160,7,4513],"银镀金","嵌珠","镶嵌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1edb7dc6abe11334141a9aaca66ba18c.jpg",[],{"id":4517,"slug":4518,"title":3367,"dynasty":18,"author":895,"museum":278,"description":4519,"ta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，字曾三，号鲁亭，江苏常熟人，余珣之子，清代著名画家。曾受业于蒋廷锡。乾隆（1736—1795）时与唐岱、周鲲同祗候内廷，善花鸟、虫鱼、翎毛，间亦参用西法，赋色妍丽，尤善画蝶，工兰竹水仙，所作叠邀高宗睿题，藏于石渠宝笈。",[24,25,26,27,50,81,125,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac953455d6263d22a02dc8e5ad934128.jpg",[],{"id":5230,"slug":5231,"title":1115,"dynasty":18,"author":113,"museum":375,"description":5232,"tags":5233,"thumbUrl":5234,"material":559,"size":560,"collection":178,"collections":5235,"showCount":349,"zanCount":38,"manualWeight":38,"mainColor":39},238925,"qing-ren-mu-dan-pu-ce-yi-ming-238925","此作以没骨技法晕染牡丹，御袍黄花瓣舒展层叠，嫩黄底色晕出通透柔光，金红花蕊娇俏点睛，将盛放时的鲜活灵动尽数铺陈。一旁花苞朱红裹着乳白，初绽含娇，与盛放之花形成虚实对照，尽显花时更迭的柔婉意趣。\n\n枝叶以淡赭勾勒脉络，石绿敷色带着自然的深浅过渡，将春日枝叶的盈盈生机凝于绢上。画面留白雅致清寂，衬得牡丹贵而不俗，把御袍黄的端庄华贵诠释尽致。笔底藏着细腻工巧的温柔意韵，将牡丹盛放将放的情态定格，晕开平和静雅的春日氛围，尽显古典花鸟的雅致工丽。",[24,26,27,50,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12dca90f3903abaa887e086867f73e6b.jpg",[],{"id":5237,"slug":5238,"title":4664,"dynasty":18,"author":4665,"museum":375,"description":4666,"tags":5239,"thumbUrl":5240,"material":143,"size":178,"collection":178,"collections":5241,"showCount":349,"zanCount":38,"manualWeight":38,"mainColor":39},234278,"hua-guo-ce-wang-yun-234278",[24,25,26,27,50,7,4668],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc27e81b9b6b3addb85c44c3c4d002bc4.jpg",[],{"id":5243,"slug":5244,"title":5245,"dynasty":1301,"author":5246,"museum":375,"description":5247,"tags":5248,"thumbUrl":5250,"material":559,"size":560,"collection":178,"collections":5251,"showCount":349,"zanCount":38,"manualWeight":38,"mainColor":39},230580,"ming-qing-fang-gu-fen-ben-hua-niao-juan-1-tu-zuo-bing-guang-lin-feng-230580","明清仿古粉本花鸟卷1","土佐并光琳风","此作合装成卷，兼纳诸类绘事。起首工笔禽鸟，雄雉敷色秾丽，翎毛晕染细致，华彩毕现，雌雉朴雅写实，体态宛然，形神兼备。转而为扇面界画小品，屋宇勾描工致，人物市井排布错落，尽揽俗世烟火意趣。没骨花卉晕染柔和，枝头小雀灵动生姿。写意渡头行舟、寒林归鸦则笔墨简淡，晕开萧疏禅意。仕女图线条秀逸温婉，人物神态含蓄端丽，尽显古典闺秀韵致。卷尾花鸟与书法题跋相映成趣，整卷融工笔、写意、界画技法于一炉，兼取院体工致与文人写意意趣，尽显东方古典绘事雅致抒情的笔墨意韵。",[48,24,25,71,27,50,1045,2311,125,29,423,2828,242,78,7,2830,1916,1197,401,826,3552,1724,76,75,241,2829,97,626,5249,968,240,51,73,1022],"船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7baf0b9e253928a2066f618834c6172f.jpg",[],{"id":5253,"slug":5254,"title":5255,"dynasty":18,"author":113,"museum":375,"description":4149,"tags":5256,"thumbUrl":5257,"material":559,"size":560,"collection":178,"collections":5258,"showCount":349,"zanCount":38,"manualWeight":38,"mainColor":58},229693,"tong-zhi-guang-xu-chao-ti-he-dian-zhi-kuan-fen-cai-ci-huang-di-mu-dan-chang-fang-pen-yi-ming-229693","同治-光绪朝 「体和殿制」款 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边寿民甥。工书、画，花卉小品，清远绝俗。画用钩勒再以枯笔渍染，阴阳向背，极为明豁。写芦雁酷似其舅，又善画宜兴茶器。卒年八十七。《艺林月刊、墨林今话、墨香居画识、梧门诗话、宋元明清书画家年表附录》。",[24,25,26,68,29,125,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb558676f1f4693e404ea7daf98e51326.jpg",[],{"id":7130,"slug":7131,"title":7132,"dynasty":63,"author":7133,"museum":375,"description":7134,"tags":7135,"thumbUrl":7136,"material":559,"size":560,"collection":178,"collections":7137,"showCount":258,"zanCount":38,"manualWeight":38,"mainColor":165},237793,"shang-hua-shan-wang-sheng-237793","赏花扇","王声","此作以淡彩晕染春日雅游之景，古木盘虬抽发新绿，湖石错落地缀于庭中。两位仕女款步徐行，衣袂轻垂流转，相偕驻足望向花树，眉眼间皆是春日赏玩的悠然意趣。\n画师以细劲灵动的铁线描勾勒人物衣褶身形，温婉秀雅，布景疏密相宜，浅绛淡色晕出融融春意，将文人雅赏之趣藏于尺幅扇间。笔墨秀逸清隽，小品之中意韵绵长，尽显雅致温婉的画中风骨，将游园探春的闲淡诗意定格在方寸扇面之上，动人不已。",[24,25,401,50,27,423,7,424],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2083c16a1424453a7297df3270b0a75b.jpg",[],{"id":7139,"slug":7140,"title":7141,"dynasty":18,"author":7142,"museum":375,"description":7143,"tags":7144,"thumbUrl":7146,"material":559,"size":560,"collection":178,"collections":7147,"showCount":258,"zanCount":38,"manualWeight":38,"mainColor":39},237708,"qiu-sui-hua-niao-ce-qiu-sui-237708","裘穟花鸟册","裘穟","清，钱塘(今杭州)人。焕子，艺术家，代表作《图绘宝鉴续纂》等。",[24,25,26,50,27,29,7,140,7145,73,125],"花苞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bf2148356f74f19607f67a3868c6e45.jpg",[],{"id":7149,"slug":7150,"title":6162,"dynasty":18,"author":7151,"museum":375,"description":7152,"tags":7153,"thumbUrl":7154,"material":559,"size":560,"collection":178,"collections":7155,"showCount":258,"zanCount":38,"manualWeight":38,"mainColor":39},235416,"cai-jia-hua-hui-tu-ce-cai-jia-235416","蔡嘉","蔡嘉(1686-1779)，字松原，一字岑州，号雪堂，一号旅亭，又号朱方老民，清朝江苏丹阳人，侨居扬州。所居曰高寒旧馆。与高翔、汪士慎、朱冕为诗画友。",[24,25,23,26,27,29,7,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd753f7a7efc960089d43763d23c09de2.jpg",[],{"id":7157,"slug":7158,"title":7159,"dynasty":63,"author":7160,"museum":375,"description":7161,"tags":7162,"thumbUrl":7163,"material":178,"size":178,"collection":178,"collections":7164,"showCount":258,"zanCount":38,"manualWeight":38,"mainColor":39},233291,"shi-zhu-zhai-pu-ce-hu-ri-cong-233291","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。",[24,25,26,27,29,7,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1d31d40d267a233432ce34a083c0498.jpg",[],{"id":7166,"slug":7167,"title":7168,"dynasty":1301,"author":113,"museum":375,"description":7169,"tags":7170,"thumbUrl":7171,"material":559,"size":560,"collection":178,"collections":7172,"showCount":258,"zanCount":38,"manualWeight":38,"mainColor":39},230520,"fang-gu-ren-wu-hua-hui-fen-ben-shou-ye-jia-cang-tu-juan-yi-ming-230520","仿古人物花卉粉本(狩野家藏图卷)","此作雅致清逸，兼具禅意与生机。绘双竿翠竹挺立于月夜水畔，水墨晕染出朦胧月影，竹影垂落水面，虚实相映。竹叶以浓淡墨色写出，虚实相生，笔致简练却尽显竹之清劲洒脱，将幽寂夜色烘托得静谧空濛。\n\n画面下部设色牡丹，花头娇妍秾丽，朱砂点染花心，淡粉铺陈瓣边，配墨色苍劲的阔叶，与上部清寂的竹月形成浓淡、动静的强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