[{"data":1,"prerenderedAt":154},["ShallowReactive",2],{"subject-mu-ji":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},841,"mu-ji","母鸡","母鸡画高清赏析","精选中国历代母鸡题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce0b8652ae2af3f6fc4395ea9d4d700f.jpg",0,8,[14,40,58,76,96,110,128,144],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":32,"material":33,"size":34,"collection":35,"collections":36,"showCount":37,"zanCount":38,"manualWeight":11,"mainColor":39},218818,"fu-gui-ji-qing-tu-yi-ming-218818","富贵吉庆图","清","佚名","台北故宫博物院","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。",[23,24,25,26,27,7,28,29,30,31],"国画","设色","工笔","花鸟","公鸡","雏鸡","牡丹","石头","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87b682bea290156c24b7bd4517051447.jpg","绢本,设色","138.5x69cm","花鸟画精选",[35],96,1,"BDBDBD",{"id":41,"slug":42,"title":43,"dynasty":44,"author":45,"museum":20,"description":46,"tags":47,"thumbUrl":52,"material":53,"size":54,"collection":35,"collections":55,"showCount":57,"zanCount":11,"manualWeight":11,"mainColor":39},221223,"zi-mu-ji-wang-ning-221223","子母鸡","宋","王凝","北宋王凝《子母鸡图》，原是《集古图绘》册中的一页，现藏台北故宫博物院。子母鸡图册页 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(公元11世纪)〔北宋〕江南人，生卒年不详。画院待诏，为熙宁(1068-1077)前画院高手，工画花竹、翎毛，《宣和画谱》称：“下笔有法，颇得生意。又工为鹦鹉及狮、猫等，非山林草野之所能，不唯责形象之似，亦兼取其富贵态度，自是一格，苟不能焉，终不到也。”重视写生，观察入微，用笔工整，设色绚丽，神态逼肖，形神兼备，笔力精劲，具有宋代院体画特点，作品流传甚少。《宣和画谱》著录御府藏其《绣墩狮猫图》一幅。传世作品有《子母鸡图》册页，纸本，设色，纵42.2厘米，横32.3厘米，描绘一只母鸡携群雏作啄饲状之情景，以形写神，构思巧妙，藏露倚侧，曲尽其妙，笔墨简练，韵格清新，耐人寻味。画面钤有元代顾德辉“金粟道人”、明代“侯懋功印”、清代“宣统御览之宝”和“锡山谈氏珍藏”等收藏印5枚。此图原为清宫旧藏，是故宫《集古图集》册页之一帧，《石渠宝笈初编》著录，现藏台北故宫博物院。",[48,49,23,50,26,25,24,7,51],"高清","名画","书画","小鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c311c2ad6d882cfc576c77d301c9e91.jpg","纸本，设色","纵42.2厘米，横32.3厘米",[35,56],"设色画精选",66,{"id":59,"slug":60,"title":61,"dynasty":62,"author":19,"museum":20,"description":63,"tags":64,"thumbUrl":71,"material":24,"size":72,"collection":56,"collections":73,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":75},219352,"ji-tu-yi-ming-219352","鸡图","明","红冠劲挺的雄鸡立于侧，黑羽如缎，尾翎舒展若墨染；白羽带斑的母鸡低头轻啄，身旁雏鸡憨态可掬，或蹭母翼下，或伸颈欲食，亲子温情流淌于笔端。旁侧百合悄然绽放，淡粉花瓣与嫩绿枝叶点缀，添几分雅致。古绢底色沉敛，线条细劲精准，设色温润自然——雄鸡艳红与黑羽对比鲜明，母鸡素白与雏鸡嫩黄相映成趣。无繁复布景，却以细腻笔触勾勒鸡群生动情态，既有田园恬淡，又暗合“吉（鸡）祥和合（百合）”的美好期许，尽显明代工笔花鸟的雅致意趣与生活气息。",[65,23,50,25,24,66,67,27,7,51,68,69,70],"明代","绢本","花鸟画","花卉","草丛","石块","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf02b4d3eb9621cbc675af2bd1bf32f3.jpg","",[56],59,"795548",{"id":77,"slug":78,"title":79,"dynasty":18,"author":80,"museum":81,"description":82,"tags":83,"thumbUrl":91,"material":92,"size":93,"collection":72,"collections":94,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":39},223233,"mu-zi-ping-an-tu-ren-yi-223233","母子平安图","任颐","天津博物馆","任颐（1840年－1895年），即任伯年，初名润，字次远，号小楼，后改名颐，字伯年，别号山阴道上行者、寿道士等，以字行，浙江山阴航坞山（今杭州市萧山区瓜沥镇）人，清末著名画家。\n自幼随父卖画，后从任熊、任薰学画，后居上海卖画为生。在“四任”之中，成就最为突出，是“海上画派”中的佼佼者，“海派四杰”之一。任伯年的绘画发轫于民间艺术，技法全面，山水、花鸟、人物等无一不能。重视写生，又融汇诸家法，并吸取水彩色调之长，勾皴点染，格调清新。\n其人物画，早年从陈洪绶法出，形象夸张，富装饰效果。如故宫博物院藏《干莫炼剑图》轴。后练习铅笔速写后，变得较为奔逸，如故宫博物院藏《风尘三侠图》轴等。其写照技艺，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。\n海派中的佼佼者，其绘画发源于民间，重视继承传统，吸收西画技法，形成风姿多采的独特画风，在“四任”中成就最为突出。 　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[48,84,23,50,24,85,26,7,51,86,87,88,89,69,90],"清代","写意","桃花","树木","枝干","花朵","草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f8484418d23a6d00d3a4500767ec3af.jpg","纸本设色","150cmx40cm",[],56,{"id":97,"slug":98,"title":99,"dynasty":44,"author":45,"museum":100,"description":101,"tags":102,"thumbUrl":105,"material":106,"size":107,"collection":72,"collections":108,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":39},288841,"zi-mu-ji-tu-wang-ning-288841","子母鸡图","藏地不详","王凝（公元11世纪）〔北宋〕江南人，生卒年不详，画院待诏，为熙宁(1068-1077)前画院高手。",[49,23,50,67,25,24,7,51,103,104],"温情","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a2bf0e55f242c2a44237a43bf7541f5.jpg","未知","Xcm*Xcm",[],43,{"id":111,"slug":112,"title":113,"dynasty":114,"author":19,"museum":20,"description":115,"tags":116,"thumbUrl":123,"material":124,"size":125,"collection":35,"collections":126,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":75},219324,"hua-xia-jiang-chu-tu-yi-ming-219324","花下将雏图","元","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。",[117,23,50,49,118,25,24,26,29,27,7,28,119,120,121,122],"元代","立轴","老树","山石","草木","禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F553dd7adab84486b80b38f993362b208.jpg","纸本,设色","182x102.8公分",[35],41,{"id":129,"slug":130,"title":131,"dynasty":132,"author":19,"museum":100,"description":133,"tags":134,"thumbUrl":142,"material":106,"size":107,"collection":72,"collections":143,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},288912,"giovanni-battista-piazzetta-boy-with-an-egg-girl-with-a-hen-yi-ming-288912","Giovanni 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