[{"data":1,"prerenderedAt":4416},["ShallowReactive",2],{"subject-niao":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},288,"niao","鸟","鸟画高清赏析","精选中国历代鸟题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F106d01bfdba2829188ac06ff7ca16b58.jpg",0,469,[14,40,62,82,100,116,130,142,158,175,184,193,204,217,229,239,255,267,279,292,304,316,323,344,355,368,379,392,403,413,421,437,446,454,464,474,485,495,507,517,531,543,553,564,576,588,601,618,629,639,649,659,670,684,695,707,718,731,744,754,762,770,779,791,804,814,824,834,848,864,873,883,892,900,909,922,933,944,956,966,974,982,991,1001,1011,1018,1027,1036,1045,1054,1064,1074,1084,1093,1104,1115,1125,1134,1155,1168,1182,1194,1205,1214,1231,1240,1249,1260,1269,1279,1288,1300,1311,1320,1328,1337,1347,1357,1367,1377,1385,1395,1404,1413,1422,1432,1440,1452,1466,1483,1499,1509,1518,1529,1538,1549,1561,1570,1583,1592,1601,1608,1625,1634,1643,1651,1662,1671,1680,1690,1700,1709,1718,1728,1734,1744,1754,1764,1774,1784,1793,1807,1819,1828,1839,1847,1854,1863,1872,1881,1891,1899,1907,1915,1926,1939,1952,1962,1972,1980,1988,1995,2006,2015,2025,2035,2043,2052,2060,2071,2082,2093,2104,2113,2121,2131,2140,2151,2159,2170,2180,2188,2196,2204,2214,2224,2233,2242,2252,2260,2268,2275,2284,2294,2305,2313,2323,2332,2341,2348,2355,2366,2376,2384,2392,2400,2411,2418,2425,2434,2444,2451,2460,2468,2482,2489,2500,2506,2513,2522,2534,2542,2551,2559,2572,2579,2586,2593,2599,2605,2614,2622,2631,2640,2646,2655,2661,2667,2675,2684,2692,2702,2713,2719,2725,2731,2739,2745,2754,2763,2771,2780,2786,2795,2805,2815,2824,2835,2841,2847,2857,2869,2875,2883,2889,2897,2908,2916,2924,2935,2944,2950,2956,2962,2968,2976,2985,2993,3001,3011,3023,3034,3043,3049,3055,3062,3068,3075,3083,3095,3105,3114,3122,3132,3140,3153,3165,3174,3180,3187,3199,3211,3218,3226,3234,3244,3253,3261,3268,3276,3284,3292,3300,3309,3316,3326,3333,3342,3351,3359,3367,3378,3386,3401,3410,3420,3430,3438,3447,3453,3461,3469,3476,3482,3489,3499,3508,3530,3547,3556,3565,3572,3578,3584,3590,3599,3607,3615,3626,3637,3643,3649,3659,3667,3676,3686,3696,3705,3716,3725,3734,3740,3747,3756,3762,3769,3776,3784,3792,3800,3808,3814,3827,3834,3842,3849,3857,3865,3871,3879,3890,3898,3906,3914,3921,3930,3940,3946,3954,3962,3969,3977,3985,3994,4004,4012,4019,4027,4034,4043,4050,4056,4063,4070,4079,4087,4094,4101,4109,4117,4125,4132,4139,4147,4156,4163,4171,4179,4187,4194,4205,4214,4224,4230,4237,4243,4249,4255,4262,4270,4279,4286,4292,4298,4306,4312,4318,4324,4330,4337,4345,4351,4357,4365,4372,4379,4391,4399,4408],{"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},216663,"hua-niao-ce-sun-ke-hong-216663","花鸟册","明","孙克弘","上海博物馆","孙克弘的折枝画鸟画名重一时，是册共含牡丹、山茶、冬梅等花鸟画十六开，设色秀润清新，用墨精妙淡雅。孙克弘题引首：草木霑春。华亭克弘书。钤“雪居”朱文印、“汉阳长印”白文印。并自题“洞庭樵海张山人者，清贫守道，耻干谒人，真隐君子也。短褐一瓢，歌咏于青山白云中，消磨半生矣。兹老贫不能支吾薪水，因访余东皋雪堂，余又以贫不能为赠。聊写杂卉一册贻之。倘好事者以数斗易去，亦足为山人一箸之助也。汉阳守，华亭雪居孙克弘书并画。”",[23,24,25,26,27,28,7,29,30,31],"国画","册","设色","水墨","花鸟","花卉","枝叶","枝干","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F966c437cd22b844a3f1dd020db83444b.jpg","纸本,设色","纵31.7厘米，横61.8 厘米","花鸟画精选",[35],5957,35,"BDBDBD",{"id":41,"slug":42,"title":43,"dynasty":44,"author":45,"museum":46,"description":47,"tags":48,"thumbUrl":55,"material":56,"size":57,"collection":35,"collections":58,"showCount":59,"zanCount":60,"manualWeight":11,"mainColor":61},216771,"yu-tang-fu-gui-tu-xu-xi-216771","玉堂富贵图","五代十国","徐熙","台北故宫博物院","画玉兰、海棠、牡丹、石竹等，花蕊繁复，枝干错综，珍石下一锦鸡，均以双钩填彩方式描绘，工致秀丽。空隙又以石青敷染，画面填满色彩秾艳的景物，极富图案趣味，院藏中另有一幅传宋赵昌的「岁朝图」也是同类风格作品，称之为「铺殿花」，原本作为装饰厅堂的屏风画。画幅左下角有「金陵徐熙」款，疑是伪添的。按徐熙（约活动于西元十世纪初）钟陵（南京）人，为南唐著名的花鸟画家，画史记载他长于以墨写枝叶蕊萼，然后上色称落墨花，独具风格。",[49,23,50,51,52,25,27,53,7,54],"高清","书画","立轴","工笔","牡丹","玉兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11594ba216d09de7efa721c87d10457a.jpg","绢本,设色","112.5x38.3cm",[35],3262,47,"795548",{"id":63,"slug":64,"title":65,"dynasty":44,"author":45,"museum":66,"description":67,"tags":68,"thumbUrl":74,"material":75,"size":76,"collection":77,"collections":78,"showCount":80,"zanCount":81,"manualWeight":11,"mainColor":61},221429,"mei-hua-cui-niao-tu-juan-xu-xi-221429","梅花翠鸟图卷","藏地不详","圖繪梅花翠鳥，滿樹梅花開放，粉色的茶花間插其中，鳥兒立於枝頭嬉戲，原來冬天可以這麼美！徐熙，五代南唐畫家，金陵（今南京）人，一說鍾陵（今江西進賢）人。出身於「江南名族」。生於唐僖宗光啓年間，後在開寶末年（公元975）隨李後主歸宋，不久病故。一生未官，郭若虛稱他爲「江南處士」。沈括說他是「江南布衣」。其性情豪爽曠達，志節高邁，善畫花竹林木，蟬蝶草蟲，其妙與自然無異。後人將其與後蜀黃筌並稱爲「黃徐」，有「黃家富貴，徐熙野逸」之評，爲五代、宋初花鳥畫的兩大流派之代表。」\n宋代沈括形容徐熙畫「以墨筆爲之，殊草草，略施丹粉而已，神氣迥出，別有生動之意」(《夢溪筆談》)。宋代《德隅齋畫品》中著錄徐熙《鶴竹圖》，謂其畫竹「根幹節葉皆用濃墨粗筆，其間櫛比，略以青綠點拂，而其梢蕭然有拂雲之氣」。米芾又謂他畫花果有時用澄心堂紙，用絹則「其紋稍粗如布」。這種題材和畫法都表現他作爲江南處士的情懷和審美趣味，與妙在賦彩、細筆輕色的「黃家富貴」不同，﹝指黃筌與黃居寀父子﹞而形成另一種獨特風格，被宋人稱爲「徐熙野逸」。然而《圖畫見聞志》中記徐熙爲南唐宮廷所繪的「鋪殿花」、「裝堂花」，於「雙縑幅素上畫叢豔疊石，傍出藥苗，雜以禽鳥蜂蟬之妙」，「意在位置端莊，駢羅整肅，多不存生意自然之態」。這種富有裝飾性的繪畫，也構成了徐熙繪畫的另一風貌。",[49,69,23,50,70,52,25,27,71,72,7,73],"名画","长卷","梅","飞鸟","花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b7029d7b97054b08ec5392ac417022c.jpg","絹本設色","33.8cm×236.2cm","宋画精选",[77,35,79],"设色画精选",1532,29,{"id":83,"slug":84,"title":85,"dynasty":86,"author":87,"museum":88,"description":89,"tags":90,"thumbUrl":94,"material":95,"size":96,"collection":35,"collections":97,"showCount":98,"zanCount":99,"manualWeight":11,"mainColor":39},216924,"hua-niao-si-tiao-ping-zhu-da-216924","花鸟四条屏","清","朱耷","私人收藏","此四条屏作于其七十前后，(款字八作二折)或作风荷拳石;或作高梧疏竹;或作双凫戏于溪头，或作群鱼悠游涧中。意境静寂，动静生发。墨淡而厚，湿而毛;笔圆而劲，重而灵;苍莽朴茂之中，有清韵流衍;笔墨不多而意境丰满。荷塘一幅，以微风摇动之花叶，烘托凝重古质之拳石，雄豪活泼之气溢于画里画外。双凫一幅，极尽墨沈之灵变。禽羽之丰满润泽，仿佛若可触摸。崖石用虚淡之笔皴点，略以浓墨点苔竹，虽满纸空白，而情韵入微。所谓无处还有是也。而游鱼一幅尤佳绝，下方危石如奇峰倒立，已出人意表。其上悬崖兀起，其间秋水空阔，群鱼悠游，或伫滞水面，或倏忽水底，其状拙质，其形简古，而不失生趣。大小二十七尾，无一雷同，为八大画中绝品。八大四屏传世绝少，识者珍视之!",[49,23,50,51,26,91,27,7,92,93,73],"写意","芭蕉","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F700f64005b95bf5fc96a186eb8e59446.jpg","纸本,水墨","182.5×49cm",[35],1374,11,{"id":101,"slug":102,"title":103,"dynasty":104,"author":105,"museum":46,"description":106,"tags":107,"thumbUrl":111,"material":56,"size":112,"collection":77,"collections":113,"showCount":114,"zanCount":115,"manualWeight":11,"mainColor":61},218717,"xin-shao-hua-niao-tu-yi-ming-218717","新韶花鸟图","宋","佚名","画中山茶花、梅花、菊花和水仙花围绕着海石盛开，各种植物和叶子交相辉映，一对麻雀在一旁观望，画面十分丰富。除了画底没有鸟之外，这幅作品的构图和表达方式与宋代李迪的《花鸟图》和南唐徐熙的《玉堂富贵图》相似。宋代郭若虚的《图说》中提到，南唐时有一种用于悬挂在宫殿中的 亭花，这可能是后来明代的仿制品。",[49,69,23,50,51,52,25,27,28,108,93,109,110,7],"禽鸟","植物","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91b842f5975229d677278c15f942eb45.jpg","83.4x28.9",[77],864,21,{"id":117,"slug":118,"title":119,"dynasty":104,"author":105,"museum":46,"description":120,"tags":121,"thumbUrl":125,"material":56,"size":126,"collection":35,"collections":127,"showCount":128,"zanCount":129,"manualWeight":11,"mainColor":61},218394,"shan-cha-mei-hua-tu-yi-ming-218394","山茶梅花图","此幅绘腊梅，山茶，麻雀。设色雅丽，笔墨造型古拙，唯用笔布置更接近陈洪绶、王武画格，故宋画气息不足。",[49,23,50,51,27,52,25,122,123,7,29,124],"山茶","梅花","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1719fc6f38b792b19b924b5c41056d6.jpg","33.6x46.7",[35],833,10,{"id":131,"slug":132,"title":133,"dynasty":104,"author":134,"museum":46,"description":135,"tags":136,"thumbUrl":137,"material":33,"size":138,"collection":35,"collections":139,"showCount":140,"zanCount":141,"manualWeight":11,"mainColor":61},214815,"hua-niao-tu-zhao-chang-214815","花鸟图","赵昌","这幅以元明风格绘制的水墨花卉画",[69,23,52,25,7,73,29,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F111da4cdbebe9fd7bbaf5fcd9d2e5a34.jpg","45.8x29.5",[35],789,8,{"id":143,"slug":144,"title":145,"dynasty":44,"author":45,"museum":46,"description":146,"tags":147,"thumbUrl":153,"material":56,"size":154,"collection":35,"collections":155,"showCount":156,"zanCount":157,"manualWeight":11,"mainColor":39},218753,"xie-sheng-zhi-zi-xu-xi-218753","写生栀子","雪白的栀子花与绿叶相映成趣，麻雀站在树枝上，试图捕食被花香吸引的黄蜂。蜜蜂的发音与 封 相同，麻雀的发音与 爵 相似，所以用 爵 的谐音来表示祝贺，这是一幅成功的宫廷画。",[49,23,52,25,27,148,149,7,150,151,152],"写生","栀子","虫","叶","枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8936453d77d3d3461e49f1fe82137570.jpg","24.7x26.5",[35],744,12,{"id":159,"slug":160,"title":161,"dynasty":18,"author":162,"museum":20,"description":163,"tags":164,"thumbUrl":171,"material":56,"size":172,"collection":35,"collections":173,"showCount":174,"zanCount":129,"manualWeight":11,"mainColor":61},219749,"chun-feng-jia-die-tu-chen-hong-shou-219749","春风蛱蝶图","陈洪绶","陈洪绶（1598-1652年），字章侯，号老莲，别号老迟、悔迟，浙江诸暨人。此图作于顺治八年（1651)，画赠老友戴茂齐。所绘山雀、竹枝、海棠、水仙、蛱蝶、怪石、梨花，设色妍丽，富有装饰意味。卷末有作者自题，据此可知：是年秋天，画家曾以一金购得文徵明画一幅，戴茂齐喜之，遂赠之。后数日，友人丁秋平之子病重，陈氏借戴一金，赠以资汤药。孟冬，画家又作《博古叶子》一本赠戴，时家中乏米，借戴一金，故作此卷酬之。",[23,50,70,25,52,165,31,166,27,71,167,168,169,170,7,124],"白描","书法","兰","竹","水仙","蝴蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35f9e4cf48118d09a7f3ae27d2908752.jpg","",[35],712,{"id":176,"slug":177,"title":178,"dynasty":18,"author":19,"museum":20,"description":21,"tags":179,"thumbUrl":180,"material":33,"size":34,"collection":172,"collections":181,"showCount":182,"zanCount":183,"manualWeight":11,"mainColor":39},216657,"hua-niao-ce-7-sun-ke-hong-216657","花鸟册-7",[23,27,52,25,24,7,170,53,73,29,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff897e750bd1ed3249f4a3116da11c224.jpg",[],706,6,{"id":185,"slug":186,"title":187,"dynasty":18,"author":19,"museum":20,"description":21,"tags":188,"thumbUrl":190,"material":33,"size":34,"collection":172,"collections":191,"showCount":192,"zanCount":183,"manualWeight":11,"mainColor":39},216660,"hua-niao-ce-4-sun-ke-hong-216660","花鸟册-4",[23,50,24,25,52,27,7,189,31],"月季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F095894dcf84ab92db529b2bd1c9b78cf.jpg",[],655,{"id":194,"slug":195,"title":196,"dynasty":18,"author":19,"museum":20,"description":21,"tags":197,"thumbUrl":200,"material":33,"size":34,"collection":172,"collections":201,"showCount":202,"zanCount":203,"manualWeight":11,"mainColor":39},216659,"hua-niao-ce-5-sun-ke-hong-216659","花鸟册-5",[23,24,52,25,27,7,73,198,199,31],"树枝","叶子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc762cbbb53d0597b5436b458f6ea96.jpg",[],599,3,{"id":205,"slug":206,"title":133,"dynasty":207,"author":105,"museum":46,"description":208,"tags":209,"thumbUrl":212,"material":56,"size":213,"collection":35,"collections":214,"showCount":215,"zanCount":216,"manualWeight":11,"mainColor":61},216222,"hua-niao-tu-yi-ming-216222","元","一对锦鸡被描绘成在花朵和岩石间游动，而一对燕子和喜鹊则各自点缀着这一场景。雉鸡的羽毛鲜艳夺目，与盛开的鲜花交相辉映。这幅画的色彩斑斓和绚丽通过笔法的运用得到了加强。花和鸟的笔触相当细致，有一种优雅的品质。叶子的着色似乎是杂乱无章的，有几处已经模糊或剥落。这幅画没有标记，但仍有元代的题记。",[23,50,69,52,25,27,7,73,124,210,211,30,72],"菊花","百合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ce90ed3be06a8274a00daaccbc1bec.jpg","167.6x101.9cm",[35],520,4,{"id":218,"slug":219,"title":220,"dynasty":86,"author":221,"museum":222,"description":223,"tags":224,"thumbUrl":226,"material":56,"size":172,"collection":35,"collections":227,"showCount":228,"zanCount":203,"manualWeight":11,"mainColor":61},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。",[49,23,50,27,52,25,53,54,7,73,152,151,93,225],"草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed08238660ecdcb1bd2c392c1379139b.jpg",[35],456,{"id":230,"slug":231,"title":232,"dynasty":104,"author":134,"museum":66,"description":233,"tags":234,"thumbUrl":235,"material":172,"size":172,"collection":172,"collections":236,"showCount":237,"zanCount":238,"manualWeight":11,"mainColor":61},231852,"song-hui-zong-ti-hua-niao-tu-zhao-chang-231852","宋徽宗题花鸟图","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。\n赵昌，字昌之，北宋时期（公元11世纪)，广汉剑南（今四川剑阁之南）人，生卒年不详。性情爽直高傲，刚正不阿。时州伯邵牧争求笔迹，不肯轻与。\n工书，擅画花果，多作折枝花，兼工草虫。初师滕昌祐，后过其艺，亦效徐崇嗣“没骨法”，常于清晨朝露未干，围绕花圃观察花木神态，调色描绘，自号“写生赵昌”。当时盛行厚彩重色，而赵昌所作一片平滑，明润匀薄，活色生香。真宗大中祥符（1008-1016）间，声誉益隆。丁朱崖奉白金五百为寿，昌感其意，亲往谢之。此时，朱崖邀其至东阁，求画生菜数窠及烂瓜生果等，昌挥笔遽成而去。晚年其自矜所作，往往深藏不市，若见自家画作流落市井，则复自购以归之，故世罕传。",[49,23,50,51,52,25,27,71,168,7,124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4595cc6a353626e75beccdda5e1c00e.jpg",[],447,1,{"id":240,"slug":241,"title":242,"dynasty":86,"author":243,"museum":244,"description":245,"tags":246,"thumbUrl":250,"material":33,"size":251,"collection":35,"collections":252,"showCount":253,"zanCount":254,"manualWeight":11,"mainColor":39},219288,"mu-dan-bai-tou-tu-ren-yi-219288","牡丹白头图","任颐","北京故宫博物院","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。",[49,23,50,51,25,247,27,53,248,124,198,73,7,249],"兼工带写","白头鸟","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa31c3984c898ba3c385fce26f73cd95b.jpg","纵133.5cm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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。",[23,69,50,24,52,25,71,7,31,362],"行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F031b48b273c29caa21ee18f0cd382bb4.jpg","未知","Xcm*Xcm",[35,79],292,{"id":369,"slug":370,"title":371,"dynasty":18,"author":372,"museum":244,"description":373,"tags":374,"thumbUrl":375,"material":56,"size":376,"collection":35,"collections":377,"showCount":378,"zanCount":254,"manualWeight":11,"mainColor":61},216937,"mei-hua-shuang-qin-juan-chen-ji-ru-216937","梅花双禽卷","陈继儒","梅花双禽卷是中国明朝时期陈继儒所作的一幅山水画。这幅画描绘了两只居于梅花树下的雄鹰，它们正在寻找猎物。画中的景象十分写实，雄鹰的羽毛细腻而生动，而梅花树下的草地也非常逼真。梅花双禽卷被认为是陈继儒最杰出的作品之一，并被誉为“中国画史上的经典之作”。",[49,23,70,25,27,71,7,166,31,30,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F026b7f00452e9bbd679851fd52e23c4e.jpg","纵32.5cm，横256.5cm",[35],277,{"id":380,"slug":381,"title":382,"dynasty":18,"author":383,"museum":244,"description":384,"tags":385,"thumbUrl":389,"material":172,"size":172,"collection":35,"collections":390,"showCount":391,"zanCount":254,"manualWeight":11,"mainColor":61},239086,"he-hua-yuan-yang-zhou-zhou-zhi-mian-239086","荷花鸳鸯轴","周之冕","此图画面下部绘有一对鸳鸯，活跃在荷塘水草之中，一只雄性的徴莺，正潜水觅食，双翅合拢，羽尾上翘，伸颈张嘴，正在捕捉食物。另一只雌性站立在荷塘岸上，扭弯脖颈，双目炯炯有神，正在注视河水中正在捕食的雄性。画面的背景主要集中右上方，右侧湖石从旁伸展，湖石造型奇特，玲珑别透，湖石上面有一棵廾满花朵的花树，枝干弯曲，伸向画面左中侧。湖石旁有数株荷叶，荷茎挺拔，荷花盛开，荷叶有的平展，有的悬垂，荷叶整、残相间，另间有其水草。\n此图写湖石、荷花、鸳鹫，形象通真，生动传神。画面清秀，笔墨自然，设色艳丽。此画是周氏用勾花点叶画法画的一幅典型作品，作者把草书的笔法融汇到画法中去，运笔疾速，枝叶的穿插、花朵的安排都恰到好处。作品用笔简洁、概括，例如河岸、湖石的画法，用粗笔勾勒，只有很少的儿笔魃染，寥寥数笔却颇具形态，水面大部分空白，只以淡淡的几条水纹表现水的存在，却有动感，杂草看去似不经心之笔却错落有致。鸳鸯的造型是在写实的基础上略有变化。两只鸳鹫神态各异，但都生动自然，日似点漆，颇具精神。鸳鹫大部分以淡墨浅设色写出，颈部、背部的毛用纤细的笔法画出，根根可见，表现出画家娴熟的工笔技法。头、尾、足又巧妙地利用了生纸的性能，水墨自然晕开，甚为生动，翅膀用笔虽较硬，但由于水墨涸晕的效果，把羽毛丰满的鸳鸯形象表现得淋漓尽致。兼工.带写，别具一格。鸳整体设色浓淡得宜立体感很强。荷花采用匀花点叶法，花以线条勾出，叶子则直接落笔成形，然后以墨勾叶筋，荷花设色淡雅，清新自然。这一切都显示了画家的笔墨造形功力。",[23,69,51,27,25,52,386,387,7,388,198,28],"荷花","鸳鸯","荷叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F848b8317f95838a26d9b5f0806530d75.jpg",[35,79],272,{"id":393,"slug":394,"title":395,"dynasty":104,"author":396,"museum":66,"description":397,"tags":398,"thumbUrl":399,"material":172,"size":172,"collection":172,"collections":400,"showCount":401,"zanCount":402,"manualWeight":11,"mainColor":61},227520,"hua-niao-tu-ye-wang-xiao-227520","花鸟图页","王晓","此作取暮春一隅，柔粉海棠攒簇枝头，花瓣轻绽似带朝露，嫩绿叶脉舒张，将春深花繁的柔媚尽数铺陈。两只白头鹎栖于枝上，一俯一仰，羽色晕染细腻柔和，头顶白羽莹洁醒目，胸腹褐绿温润自然，前者昂首似在啼鸣，将禽鸟灵动憨然的情态鲜活呈现。\n画面设色明秀雅致，工细写实中兼具灵动意趣，左侧题字笔致清雅，与花叶禽鸟相映成趣，把春日里禽鸟嬉游、花团锦簇的生机雅致融于尺幅，尽显清丽隽永的宋韵意致。",[49,69,23,50,24,52,25,27,7,73,166,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9548bd192610dc1989302803a5216821.jpg",[],267,7,{"id":404,"slug":405,"title":406,"dynasty":86,"author":407,"museum":66,"description":408,"tags":409,"thumbUrl":410,"material":364,"size":365,"collection":35,"collections":411,"showCount":412,"zanCount":254,"manualWeight":11,"mainColor":39},239058,"shan-shui-hua-niao-ce-yang-jin-239058","山水花鸟册","杨晋","杨晋 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。双勾写竹、树干，敷色渲染。雀鸟以没骨及勾勒相结合绘出，写实生动。对于积雪的表现，直接将白粉厚涂在枝干与竹叶上，表现出积雪压枝的凝重感，清空灵逸。\n此图绘写寒气凛冽的深冬，天空中飘扬着霏霏絮雪，山野坡地上一枝落尽残叶的棘树在寒风中挺立。一丛修篁傍树而生，积雪的竹叶依然清翠晶亮。在这冷寂的雪天里，一只孤单的伯劳鸟，似乎倦于飞翔，在这里暂且栖息，它安详地停立在枝头上。凝视着微茫的雪色",[49,23,69,50,51,52,25,430,350,7,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1115e9ff920959c5d8924f9a138d9fa.jpg","绢本设色","纵115.7厘米，纵52.8厘米",[77,35,79],179,{"id":508,"slug":509,"title":133,"dynasty":18,"author":510,"museum":46,"description":511,"tags":512,"thumbUrl":514,"material":56,"size":172,"collection":35,"collections":515,"showCount":516,"zanCount":11,"manualWeight":11,"mainColor":61},219462,"hua-niao-tu-lu-zhi-219462","陆治","虬曲苍劲的老梅盘错伸展，柔粉新花缀满枝桠，垂拂的柳丝轻曳，晕开春日的软柔生机。两只白羽鹦鹉或栖或飞，姿态悠然闲适，绿羽鹦鹉俯身探向花枝，翠色翎毛鲜妍亮眼，鲜活灵动。\n\n画作兼取院体工致与文人雅意，墨笔勾勒梅骨古拙苍劲，禽鸟晕染细腻写实，设色柔丽雅致。将花木的清隽幽淡与禽鸟的鲜活灵韵相融，动静交织间，晕开春日独有的悠然闲情，尽显明丽雅致的花鸟意趣。",[23,50,52,25,27,7,513,72,71,198,73,31],"鹦鹉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff60450a7cb42a9f747df8719efb27c47.jpg",[35],172,{"id":518,"slug":519,"title":520,"dynasty":207,"author":521,"museum":522,"description":523,"tags":524,"thumbUrl":527,"material":56,"size":528,"collection":35,"collections":529,"showCount":530,"zanCount":11,"manualWeight":11,"mainColor":61},219260,"tao-zhu-jin-ji-tu-wang-yuan-219260","桃竹锦鸡图","王渊","山西省博物馆","画面以水墨晕染出清雅意境，锦鸡昂首伫立石间，墨笔勾勒的羽翼间，浓淡层次晕染出如锦似绣的质感，尾羽拖曳如墨色流苏。桃枝蜿蜒斜逸，嫩芽初绽；竹叶疏朗挺劲，与奇崛山石构成疏密有致的布局。几只小鸟或栖于枝头，或振翅欲飞，为静谧添上灵动一笔。\n\n笔墨融工致与写意于一体：山石以斧劈皴显苍劲厚重，花鸟以细劲线条勾形见精致。无艳丽设色，却以墨之五色绘尽自然生机——浓墨点染的枝干、淡墨晕开的花叶、干笔皴擦的岩石，干湿浓淡间尽显文人画的雅致韵致。静穆中藏着蓬勃生气，清雅里透着逸趣，似在诉说元代文人对自然的细腻观照与笔墨风骨。",[23,69,50,27,26,52,25,525,168,7,124,526],"桃","禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fade754c62acc1771f2885153f324fff0.jpg","纵162.5横133厘米",[35],169,{"id":532,"slug":533,"title":534,"dynasty":207,"author":521,"museum":535,"description":536,"tags":537,"thumbUrl":539,"material":56,"size":540,"collection":35,"collections":541,"showCount":542,"zanCount":238,"manualWeight":11,"mainColor":61},219077,"zhu-que-tu-wang-yuan-219077","竹雀图","费城艺术博物馆","三月，万物复苏，荆棘的枯叶和果实尚未脱落，杂草和绿竹已逐渐变绿，四只羽毛蓬松、身体圆润的鹌鹑在一起玩耍、进食。",[23,50,69,538,51,52,25,27,168,7,249,109],"元代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc32bae4473f9f585646637c2c7a6b60d.jpg","53x38cm",[35],160,{"id":544,"slug":545,"title":546,"dynasty":86,"author":547,"museum":46,"description":548,"tags":549,"thumbUrl":550,"material":33,"size":172,"collection":172,"collections":551,"showCount":552,"zanCount":11,"manualWeight":11,"mainColor":39},214856,"xie-sheng-ce-8-hua-yan-214856","写生册-8","华嵒","华嵒是一位清代著名画家和艺术家。他的写生册是一本记录他写生草稿的册子，通常包含他对自然和人物的写生绘画。写生册是画家们练习和提高技巧的重要工具，因为它们能够帮助画家观察、捕捉和描绘细节。华嵒的写生册中可能包含了他对山水、花鸟、人物等的写生画作。",[23,50,24,25,52,27,7,336,331,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1f47f6cc86c0d02af35246389a450d2.jpg",[],159,{"id":554,"slug":555,"title":556,"dynasty":104,"author":259,"museum":557,"description":558,"tags":559,"thumbUrl":560,"material":56,"size":561,"collection":35,"collections":562,"showCount":563,"zanCount":203,"manualWeight":11,"mainColor":61},219170,"la-mei-shuang-qin-tu-zhao-ji-219170","腊梅双禽图","四川博物馆","描绘两只山雀栖止于梅树枝头，梅花含苞欲放，仅一朵绽开花蕾。梅之清韵与枝头的小鸟相映成趣，花鸟优美动人。全画以细劲的笔致、单纯秀雅的色调精妙入微地刻画花鸟形象，梅花轻柔美丽，山雀毛羽似泛光泽，其情态特征精细入微。",[49,69,23,50,52,25,27,71,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54ef81c59e68fc11da552ce3e803576c.jpg","纵25.8厘米，横26.1厘米",[35],157,{"id":565,"slug":566,"title":567,"dynasty":104,"author":568,"museum":88,"description":569,"tags":570,"thumbUrl":573,"material":56,"size":574,"collection":35,"collections":575,"showCount":563,"zanCount":254,"manualWeight":11,"mainColor":61},218964,"li-zhi-bai-xian-tu-lin-chun-218964","荔枝白鹇图","林椿","白鹇羽毛质感细腻，墨点顶冠与素白翎毛相映成趣，尾羽舒展如流云，俯身时翅尖微颤，似欲啄取枝间荔枝。荔枝殷红如丹，果皮肌理以细笔勾出，衬着墨绿的叶，浓淡间尽显生趣。枝干虬曲，墨线老劲，与禽鸟的柔媚形成巧妙对比。绢本古雅底色上，设色温润不艳，工笔细描中藏着自然的灵动，仿佛能闻见果熟的甜香，窥见禽鸟的轻啼。整幅画于精微处见真意，是宋人对生命意趣的细腻捕捉，静穆中透着鲜活生机，尽显院体花鸟的雅致与精妙。",[23,50,69,52,25,27,571,572,7,198],"荔枝","白鹇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b7609305a0e20c4b4fa153525254ded.jpg","26x26cm",[35],{"id":577,"slug":578,"title":579,"dynasty":104,"author":580,"museum":46,"description":581,"tags":582,"thumbUrl":584,"material":56,"size":585,"collection":77,"collections":586,"showCount":587,"zanCount":11,"manualWeight":11,"mainColor":39},219144,"zhu-cong-bai-tou-weng-tu-wu-bing-219144","竹丛白头翁图","吴炳","画面中白头翁栖于竹枝，翎羽纤毫毕现，墨色晕染间绒羽柔润若触，喙爪劲挺见骨。竹丛枝叶交叠，线条清劲似铁线勾勒，翠色浅淡却透着生机，新篁嫩芽更显稚拙可爱。鸟的姿态灵动，似欲引吭或侧耳倾听，打破竹林静谧却又与清雅环境相融。画作以细腻写实之笔，精准捕捉禽鸟与植物形神，色彩淡雅温润，构图疏密有致，尽显宋代工笔花鸟的雅致韵致。方寸间藏自然生机与文人意趣，观之如置身幽篁深处，闻得禽鸣竹语，心随景静。",[49,69,23,50,583,52,25,27,168,7],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35a323ffe8ba1cd4340700718353b5a8.jpg","26.1x27.5cm",[77,35],156,{"id":589,"slug":590,"title":591,"dynasty":104,"author":105,"museum":244,"description":592,"tags":593,"thumbUrl":596,"material":597,"size":598,"collection":172,"collections":599,"showCount":600,"zanCount":203,"manualWeight":11,"mainColor":39},231540,"bai-hua-tu-juan-yi-ming-231540","百花图卷","此幅画四季花卉约60种，长近17米，堪称辉煌巨制。尾纸钤鉴藏印“棠村”、“蕉林梁氏书画之印”等，有乾隆、嘉庆、宣统鉴赏印及清内府鉴藏印多方。\n此图绘四季花卉五十余种，其中主要有梅花、山茶、牡丹、百合、芍药、海棠、萱花、含笑、碧桃、桃花、梨花、石竹花、罂粟、打破碗花、栀子、蕙兰、荷花、并蒂莲、鸡冠花、蓼花、芙蓉、扁豆花、石蒜花、桂花、菊花、山丹、牵牛花、凤仙花、蜀葵、秋葵等。\n花间分别点缀禽鸟、蜻蜓、蝴蝶、蜜蜂、蚱蜢、小鱼等，颇具自然生机和情趣。图中花卉和动物，都用细线勾描，浓淡墨多层晕染，花之娇态、层次，页之筋脉、转折、凹凸刻画得很细致。全图用笔工细，用墨于单纯中求丰富，统一中求变化，使画面富有秀雅之美。图卷首段的梅花的画法接近南宋扬无咎的风格而又有变化。这种工而不板，艳二不火的画风，开文人花鸟画的先河。画中钤有「乾隆御览之宝」、「三希堂精鉴玺」、「嘉庆御览之宝」、「宣统御览之宝」等印玺多方。无作者款印，曾经清内府收藏，《石渠宝笈三编》著録。\n画面上花鸟之间穿插自然，毫无牵强拼凑之意。其间又点缀蜂、蚊、蜻蜓、蝴蝶、游鱼、青蛙之类，显得生意盎然。全卷纯使水墨，亦加白描花卉，除卷首的梅花近似扬无咎的画法略带写意笔外，其他全用墨笔工写，以墨代色，兼勾勒墨染与白描，且融入了没骨画法，体现了宋工笔花鸟精密不苟的画风。又以单纯的水墨代替艳丽的设色，呈现出清淡典雅的情趣。一脱繁复刻板的院体末路，突破了传统花鸟画的时空限制，呈现出崭新的面貌。这种技法对元代钱选、王渊、赵衷的墨笔花卉以及后来文人水墨花卉都有一定的影响。",[49,69,23,50,70,52,25,27,594,170,595,7,53,338,339,189],"百花","蜻蜓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd98aa4ddc30bf83c5a67d1f1c11a05a.jpg","纸本","纵31.5厘米、横1679.5厘米",[],153,{"id":602,"slug":603,"title":604,"dynasty":104,"author":605,"museum":66,"description":606,"tags":607,"thumbUrl":613,"material":614,"size":615,"collection":77,"collections":616,"showCount":617,"zanCount":203,"manualWeight":11,"mainColor":61},221303,"guo-shu-shuang-qin-tu-juan-yi-yuan-ji-221303","果熟双禽图卷","易元吉","易元吉（生卒年不詳，公元11世紀左右），字慶之，湖南長沙人。北宋時期著名畫家。天資穎異，靈機深敏，尤善畫猿猴，並因此而聞名天下。古代繪畫評論家把獐猿畫看成是易元吉的專工獨詣，認為是“世俗之所不得窺其藩”的絕技。",[49,69,23,50,70,25,52,27,608,609,72,7,73,610,611,93,612],"兽","兔","浆果","草木","草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6631c878d850cd9d6af666f057a73051.jpg","绢本","41.8x288厘米",[77,35,79],148,{"id":619,"slug":620,"title":621,"dynasty":86,"author":307,"museum":46,"description":622,"tags":623,"thumbUrl":625,"material":25,"size":626,"collection":172,"collections":627,"showCount":628,"zanCount":11,"manualWeight":11,"mainColor":39},222754,"xian-e-chang-chun-tu-08b-ju-hua-lang-shi-ning-222754","仙萼长春图-08b（菊花）","本册共十六开内容分别描绘牡丹、桃花、芍药、海棠玉兰、虞美人、蝴蝶花、黄刺玫牡丹、石竹、樱桃、罂粟、紫白丁香、百合花牡丹、翠竹牵牛、荷花慈姑花、豆花稷穗、鸡冠花、菊花等，其中有八开还画有鸟禽，整册内容与《石渠宝笈三编》著录之〈郎世宁画花卉册〉一致，对幅皆是空白，而最末一开有宋体书款「臣郎世宁恭画」，依据画风特色推测是郎世宁雍正时期的花鸟佳作。全册不仅设色精緻，构图手法也见新意。特别能于鸟禽形体姿态上有超乎传统的表现，是西法透视手法的精采成果。画中花鸟多处能够显示光影明暗，透过白色颜料提点高光的技巧也常见运用。整册画风都一再显示其与郎世宁雍正前期画风有关。",[49,69,23,50,24,25,52,27,624,7,31],"菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ea32cfd2d4eabbf19626d6b6e93697f.jpg","宽28.4公分，高33.7公分",[],140,{"id":630,"slug":631,"title":632,"dynasty":86,"author":105,"museum":66,"description":633,"tags":634,"thumbUrl":636,"material":172,"size":172,"collection":172,"collections":637,"showCount":638,"zanCount":254,"manualWeight":11,"mainColor":61},230304,"fang-lin-chun-cui-zhu-hua-niao-tu-shen-se-yi-ming-230304","仿林椿翠竹花鸟图（深色）","此作用色明丽雅致，以赭色绢底托举春日景致。艳红山茶缀于虬曲枝桠，青嫩新篁挺拔舒展，柔媚花枝与劲竹相映成趣。十余只禽鸟灵动错落，或栖于枝头理羽，或两两依偎低语，羽色晕染细腻柔和，将禽鸟绒羽的鲜活质感尽数呈现。\n\n画师以工细笔触勾勒花叶禽鸟，既承袭院体花鸟的精工写实，又暗合文人画的清幽意趣，将林泉春日里花木禽鸟的自在天趣铺展在尺幅间，生机盎然中尽显闲雅静谧的林下意韵。",[49,69,23,50,70,52,25,635,27,168,7,73],"临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ae43cbb6fe15b0c90b72712f15b33f1.jpg",[],134,{"id":640,"slug":641,"title":642,"dynasty":18,"author":105,"museum":66,"description":643,"tags":644,"thumbUrl":647,"material":25,"size":172,"collection":79,"collections":648,"showCount":638,"zanCount":238,"manualWeight":11,"mainColor":61},219904,"cha-mei-san-qin-tu-yi-ming-219904","茶梅三禽图","画面章法错落，斜出的花枝贯穿画面，山茶如烈焰点染绢素，梅花似堆雪缀于枝桠，红白相映，撞色鲜活亮眼。\n\n枝上双禽依偎理羽，姿态闲静安适；石畔绶带鸟垂首啄饮，灵动生趣。湖石、幽竹与冰姿玉骨的水仙铺陈下景，衬出花木禽鸟的清隽雅致。\n\n设色妍丽不失清雅，工笔勾勒禽鸟羽毛、花瓣脉络，晕染柔和自然，写意绘就湖竹野趣，将隆冬时节的盎然生机定格，尽显院体花鸟雅致隽永的东方意趣，藏着岁末清和的鲜活生机。",[49,23,69,52,25,27,71,7,168,645,225,646],"石","水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bbd5614909282f3d3a425af305ca027.jpg",[79],{"id":650,"slug":651,"title":534,"dynasty":207,"author":521,"museum":652,"description":653,"tags":654,"thumbUrl":656,"material":95,"size":657,"collection":35,"collections":658,"showCount":638,"zanCount":203,"manualWeight":11,"mainColor":39},219062,"zhu-que-tu-wang-yuan-219062","日本大阪市立美术馆","画家在这幅画中使用了水墨，做了黑白的勾勒，描绘了竹叶的起伏、花朵和湖中不平整的石头。\n这幅画在构图和技法上与印第安纳波利斯艺术博物馆收藏的王原的《花竹山禽图》相似，但《花竹山禽图》的笔触更显年轻，可能是后来的摹本。这幅画上还刻有 摹黄筌竹雀图 的字样，构图与台北故宫的黄居寀画的鹧鸪和麻雀相似，仍保留了唐代画树下花鸟的传统，所以这幅画也许确实是仿黄筌的原作。",[69,23,655,52,165,27,168,7,170,93,480,72],"水墨画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eec035eb38ac09eb11650ff2dee6cbc.jpg","139.3x49.9cm",[35],{"id":660,"slug":661,"title":662,"dynasty":104,"author":663,"museum":46,"description":664,"tags":665,"thumbUrl":666,"material":56,"size":667,"collection":77,"collections":668,"showCount":669,"zanCount":238,"manualWeight":11,"mainColor":61},219278,"chun-shao-ming-xi-tu-lu-zong-gui-219278","春韶鸣喜图","鲁宗贵","此幅画春日山涧情景，石壁间激泉如响，巉巖上翠竹流青，梅竞妍，山雀鸣唱，野雉偎嬉，构思造境，描染俱佳，乃岁朝张挂之图画。本幅画石，皴法用笔直泻而不含蓄，且水墨淋漓，显非南宋人画法，而是明人学宋代之浙派风格。树干皴纹，也如同边文进、吕纪一系之用笔，花鸟施朱用粉，更近于吕纪风格，该院另藏有宋人”岁朝图“，构图同出一稿，树石画法更近于明人风格。",[49,23,69,50,51,52,25,27,71,122,7,93,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa28e1b378998f3d4ce72f6c73aec9810.jpg","164x77.9公分",[77,35,79],131,{"id":671,"slug":672,"title":673,"dynasty":18,"author":674,"museum":675,"description":676,"tags":677,"thumbUrl":680,"material":597,"size":681,"collection":172,"collections":682,"showCount":683,"zanCount":238,"manualWeight":11,"mainColor":39},231544,"huang-ju-dan-gui-tu-shen-zhou-231544","黄菊丹桂图","沈周","美国克利夫兰艺术博物馆","沈周（1427—1509），字启南，号石田、白石翁、玉田生、有竹居主人，明代绘画大师，吴门画派的创始人，明四家之一，长洲（今江苏苏州）人。生于明宣德二年，卒于明正德四年，享年八十二岁（虚八十三岁）。\n沈周一生家居读书，吟诗作画，优游林泉，追求精神上的自由，蔑视恶浊的政治现实，一生未应科举，始终从事书画创作，是明代中期文人画“吴派”的开创者，与文徵明、唐寅、仇英并称“明四家”。\n王渊（公元13世纪-14世纪中叶），元代画家。字若水，号澹轩，一号虎林逸士，钱塘（今浙江杭州）人。工于花鸟、人物、山水。天历年间曾与唐棣在南京龙翔寺曾画过壁画，尤精于花鸟，堪称元代花鸟画巨擘。\n《黄菊丹桂图》明沈周仿自元画家王若水之作，图绘菊花，桂树，芙蓉，翠竹。并一双飞鸟巨石，画面静雅，傅色清新，所绘繁多而布置深稳，是石田习古佳作。",[49,23,25,51,52,678,429,624,7,124,28,72,679],"皴法","丹桂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe69bac105908ae029d92cf2cc1b6e776.jpg","288.5X106.3\u002F397.1x127.4厘米",[],129,{"id":685,"slug":686,"title":687,"dynasty":104,"author":425,"museum":688,"description":689,"tags":690,"thumbUrl":691,"material":503,"size":692,"collection":77,"collections":693,"showCount":694,"zanCount":254,"manualWeight":11,"mainColor":61},221670,"shi-liu-la-zui-tu-ma-lin-221670","石榴蜡嘴图","美国大都会艺术博物馆","马麟是马远之子，生卒年不详。马麟画承家学，擅画人物、山水、花鸟，用笔圆劲，轩昂洒落，画风秀润处过于乃父。此《石榴蜡嘴》图页传为马麟所作，但据考，未确认。",[49,69,23,50,52,25,27,442,7,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b7383521319c32631aeca0f4aaf74fe.jpg","纵27.3厘米，横27.3厘米",[77,35,79],128,{"id":696,"slug":697,"title":698,"dynasty":18,"author":105,"museum":699,"description":700,"tags":701,"thumbUrl":703,"material":614,"size":704,"collection":172,"collections":705,"showCount":706,"zanCount":11,"manualWeight":11,"mainColor":39},223462,"shan-cha-hua-xiao-qin-tu-yi-ming-223462","山茶花小禽图","日本京都国立博物馆","本图描绘了一株披覆着少许薄雪的山茶花，还有一只停留枝上的小鸟。周凤的题诗中提到，山茶花彷佛象征冬天，而小鸟则象征了春天的到来。",[49,23,69,51,25,52,27,702,7,29],"山茶花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5da1382bff49e60e04c2e2c6d9f0b84.jpg","32X86",[],127,{"id":708,"slug":709,"title":710,"dynasty":104,"author":105,"museum":46,"description":711,"tags":712,"thumbUrl":714,"material":56,"size":715,"collection":35,"collections":716,"showCount":717,"zanCount":238,"manualWeight":11,"mainColor":61},219277,"sui-chao-tu-yi-ming-219277","岁朝图","岁朝，指一岁之始，历代画家作该图，含有元旦开笔，预祝一年万事吉利之意。本幅绘拳石临流，雉鸡一对，麻雀数只，山茶旁生于老梅干后，绿竹新生于回流之上。水仙、红茶、白梅等花上下分别盛开，色调朱白相映，通幅设色浓而不艳，一派和熙春色。旧传为宋人之作，然笔触色调皆不类，疑是明人学吕纪画风。",[49,69,23,50,51,52,25,27,71,168,7,713,93,28],"雉鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24ebc914f3148654b0f6a2722ee6abfa.jpg","164.2x80.3",[35],126,{"id":719,"slug":720,"title":721,"dynasty":18,"author":722,"museum":46,"description":723,"tags":724,"thumbUrl":727,"material":56,"size":728,"collection":35,"collections":729,"showCount":730,"zanCount":254,"manualWeight":11,"mainColor":61},221937,"san-you-bai-qin-tu-bian-wen-jin-221937","三友百禽图","边文进","《三友百禽图》描绘了初冬时节，百禽嬉戏于松竹梅之间的场景，画中禽鸟或飞翔，或栖息，或嬉戏，或高瞻远瞩，或转首探望，或自理羽毛，无一重复，整个画面气氛热闹欢快，一派生机勃勃。\n此图中各个禽鸟的动姿刻画得生动活泼，诸鸟细致入微的描绘，使大多鸟类品种可辨，布满全幅的构图，呈现“茂密”的特点，画风工细精微又富装饰性，堪称边景昭最具宫廷花鸟特色的佳作。\n《三友百禽图》中以松、竹、梅和坡石为主要架构，其间穿插近百只禽鸟于枝头、坡上、空中等处。画面下部绘有数块峻峭的山石，在坡石缝隙之间，只见一截老松弯卧，树干表面显得沧桑嶙峋；在老松一侧两株粗壮的翠竹凛然耸起，直入画外，上不见其端顶，下不着其根部，在两棵竹子之间，一枝幼竹迎而立，竹叶繁密；在画面左上角，古老的梅干斜逸而出，茁壮的梅枝低垂，白色梅花凌寒怒放；梅竹之后，又有苍翠的松枝隐现其间。",[49,23,52,25,51,27,725,168,71,7,72,124,30,726],"松","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cb578f9fef886db366ada747d3fe3e2.jpg","纵152.2厘米，横78.1厘米",[35,79],121,{"id":732,"slug":733,"title":734,"dynasty":18,"author":510,"museum":46,"description":735,"tags":736,"thumbUrl":740,"material":56,"size":741,"collection":79,"collections":742,"showCount":743,"zanCount":11,"manualWeight":11,"mainColor":61},219456,"jiu-an-da-ji-tu-lu-zhi-219456","久安大吉图","苍劲古木虬枝盘结，葫芦藤蔓攀援其上，累累硕果垂挂如盏，青绿叶片间点缀嫩黄，生机漫溢。枝头红羽轻栖，喙啄新晴，似与藤蔓私语。树下草间，数只鹌鹑闲步，羽纹细腻如织，憨态可掬。葫芦谐音福禄，藤蔓绵延喻长久；鹌鹑踱步藏“安”意，红鸟报喜兆吉昌。赭黄绢本为底，设色清雅却层次分明，古木苍朴与蔬果鲜活相映，禽鸟灵动与草石静谧相谐。将俗世祈愿化作笔底清欢，尽显文人画“托物言志”的雅趣，观之如沐春风，心随画境渐入平和吉庆之境。",[23,52,25,51,429,737,7,738,199,739],"葫芦","藤蔓","花鸟题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa955d93748bcf719728ffee49b118d33.jpg","189.4×81.4cm",[79],119,{"id":745,"slug":746,"title":747,"dynasty":18,"author":105,"museum":88,"description":74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些图画通常具有浓郁的艺术气息，并且富有想象力。花鸟图画的风格各异，有的呈现出绚丽多彩的色彩，有的则更加简洁和精细。花鸟图画被广泛地应用于家具、屏风、纸品等各种物品上，为人们的生活带来美感和情感的满足。",[49,23,50,25,52,27,7,29,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2ee16ee0d6aa3b7e54d2fc25984cc1c.jpg","26x22.2cm",[35],105,{"id":893,"slug":894,"title":895,"dynasty":86,"author":838,"museum":796,"description":839,"tags":896,"thumbUrl":897,"material":614,"size":845,"collection":172,"collections":898,"showCount":899,"zanCount":216,"manualWeight":11,"mainColor":39},222683,"si-ji-hua-niao-tu-ping-6-chen-mei-222683","四季花鸟图屏6",[49,23,52,25,27,338,7,124,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78822ac937e1da347d3173f152b03859.jpg",[],103,{"id":901,"slug":902,"title":903,"dynasty":86,"author":243,"museum":688,"description":904,"tags":905,"thumbUrl":906,"material":907,"size":172,"collection":172,"collections":908,"showCount":899,"zanCount":254,"manualWeight":11,"mainColor":39},220471,"dong-wu-hua-niao-ren-yi-220471","动物花鸟","此作用笔灵动写意，淡墨晕染出空濛柔润的水色背景，烘托出清寂悠然的氛围。枝上红顶雀鸟，以干湿笔墨皴擦出蓬松绒羽，朱红顶冠鲜亮醒目，将禽鸟的灵动野趣尽显无遗。下方伏于枝叶间的禽鸟探身侧目，姿态机敏鲜活。\n\n枯笔写就的老枝苍劲疏朗，叶片以浓淡墨色晕染，虚实相映，留白恰到好处。画面简淡天真，将秋意里的幽寂与小禽的生机相融，寥寥数笔，便把闲淡野逸之趣藏于笔墨间，尽显传统写意花鸟的雅致意韵。",[23,50,26,25,91,27,7,198,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3adf0c2f4c3b76213aefde5481ee095a.jpg","纸本水墨",[],{"id":910,"slug":911,"title":912,"dynasty":913,"author":914,"museum":244,"description":915,"tags":916,"thumbUrl":919,"material":33,"size":920,"collection":35,"collections":921,"showCount":899,"zanCount":238,"manualWeight":11,"mainColor":39},216936,"zhu-qin-tu-ping-qi-bai-shi-216936","竹禽图屏","民国","齐白石","篆笔古拙沉厚，墨痕间似淌商周遗韵，线条凝练如铸金石。下方禽鸟羽色简淡却神完气足，喙微张欲鸣，爪踏竹篮边缘，憨态可掬。竹篮以寥寥数笔勾廓，经纬交错处见质朴野趣。旁题书法笔势洒脱，墨色浓淡相宜，与禽鸟的鲜活、竹篮的拙朴相映成趣。整幅书画相融，于简淡中藏盎然生机，质朴里蕴文人雅逸，将日常小景化为耐人寻味的意趣，尽显笔墨与生活的交融之妙。",[49,23,26,25,917,362,31,91,7,918,166],"篆书","竹编器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94d0b158a23761978220ebb961394c51.jpg","36.5x33.2cm",[35],{"id":923,"slug":924,"title":133,"dynasty":86,"author":105,"museum":925,"description":926,"tags":927,"thumbUrl":929,"material":56,"size":930,"collection":35,"collections":931,"showCount":932,"zanCount":238,"manualWeight":11,"mainColor":61},216726,"hua-niao-tu-yi-ming-216726","美国弗利尔美术馆","花鸟图是清朝时期佚名画家创作的一类绘画作品，其中包含了许多花卉和鸟类的描绘。这类画作通常都具有鲜艳的色彩和精致的细节，描绘的花卉和鸟类也常常具有浓郁的自然气息。花鸟图被广泛地用作装饰品，被视作清朝文化中的珍宝。",[23,50,51,52,25,27,7,73,170,198,928,31],"草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72ae1b447224169fc778d51c627cec2c.jpg","60.5x34.9cm",[35],102,{"id":934,"slug":935,"title":936,"dynasty":86,"author":937,"museum":66,"description":938,"tags":939,"thumbUrl":940,"material":172,"size":172,"collection":172,"collections":941,"showCount":942,"zanCount":254,"manualWeight":11,"mainColor":943},236105,"mu-dan-shuang-shou-tu-zhou-yu-sheng-236105","牡丹双绶图轴","余省","桃花双绶图轴 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横5厘米。",[69,23,50,51,25,52,27,53,491,7,93,480],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5c4c0d3181e223fbb9eb02524df05a4.jpg",[],100,"F48FB1",{"id":945,"slug":946,"title":947,"dynasty":18,"author":948,"museum":46,"description":949,"tags":950,"thumbUrl":952,"material":56,"size":953,"collection":35,"collections":954,"showCount":955,"zanCount":11,"manualWeight":11,"mainColor":61},218787,"xian-chun-si-xi-tu-lv-ji-218787","先春四喜图","吕纪","梅枝苍劲，皴痕间晕开早春的暖意——淡粉花萼次第舒展，艳红山茶点缀其间，为清寒添了几分热烈。四只喜鹊姿态各异：或立于枝巅梳理羽翼，或俯身探看枝干纹理，或两两相望似在私语，灵动身影让静谧画面骤然鲜活。鸟羽的黑白分明，与花的柔粉、叶的浅绿相映成趣，绢本暖黄底色更衬出雅致与喜庆。工笔细描的鸟羽纹理、花瓣脉络，与写意勾勒的枝干苍劲形成巧妙平衡，将吉祥意趣藏进每一处生动细节。整幅画似有春风拂面，让人心头漾起融融暖意。",[23,50,51,52,25,27,71,7,951],"喜鹊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc55ecd4d03ee71fbc7cd4b5d506fd18.jpg","139.8x49.2cm",[35],99,{"id":957,"slug":958,"title":959,"dynasty":18,"author":105,"museum":66,"description":960,"tags":961,"thumbUrl":963,"material":614,"size":172,"collection":35,"collections":964,"showCount":965,"zanCount":254,"manualWeight":11,"mainColor":61},236282,"wang-zi-yuan-hua-niao-ce-yi-ming-236282","王子元花鸟册","此作清雅悠然，绶带鸟栖于梨枝之上，翎毛以细笔丝描晕染，墨色层叠尽显绒羽柔泽，蓝首醒目，长尾轻曳，姿态娴静灵动。枝头梨花绽放，淡墨勾瓣，敷色轻浅柔润，将花瓣舒展之态描摹尽致。叶片以没骨晕染，浓淡晕化间尽显春日枝叶的鲜活生机。\n\n画面构图疏朗雅致，工写相融，于细腻笔触中藏着写意的悠然意趣，将禽鸟的灵动与花木的温婉相融，笔墨间晕开春日清和的淡远意境，尽显静谧雅致的文人闲情。",[23,50,24,25,52,27,7,73,29,962],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c0060be9a1a7849c84dd94d58fb96a4.jpg",[35,79],96,{"id":967,"slug":968,"title":969,"dynasty":18,"author":105,"museum":675,"description":970,"tags":971,"thumbUrl":972,"material":172,"size":172,"collection":172,"collections":973,"showCount":965,"zanCount":254,"manualWeight":11,"mainColor":61},232911,"fang-qian-xuan-hua-niao-tu-yi-ming-232911","仿钱选花鸟图","钱选以花鸟画成就最高。他的成熟花鸟画，在院画基础上吸取 扬无咎 一派水墨花卉的技法，创造了新的体格。\n后人很多仿画。",[49,23,50,70,52,25,635,27,168,338,73,7,170,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e0b54ca3ef8f0e19e5c3536b8481fe.jpg",[],{"id":975,"slug":976,"title":977,"dynasty":86,"author":838,"museum":796,"description":839,"tags":978,"thumbUrl":980,"material":614,"size":845,"collection":172,"collections":981,"showCount":965,"zanCount":238,"manualWeight":11,"mainColor":39},222684,"si-ji-hua-niao-tu-ping-7-chen-mei-222684","四季花鸟图屏7",[49,23,25,52,27,71,210,7,198,726,979,225],"红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcaf378e4fccac3e55f9b45892458c5c.jpg",[],{"id":983,"slug":984,"title":985,"dynasty":86,"author":838,"museum":796,"description":839,"tags":986,"thumbUrl":988,"material":614,"size":845,"collection":172,"collections":989,"showCount":990,"zanCount":216,"manualWeight":11,"mainColor":39},222679,"si-ji-hua-niao-tu-ping-2-chen-mei-222679","四季花鸟图屏2",[49,23,52,25,27,7,73,198,199,53,167,987],"清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81b6aab8d5cdb347668d913e6a8ccedc.jpg",[],95,{"id":992,"slug":993,"title":994,"dynasty":18,"author":383,"museum":995,"description":996,"tags":997,"thumbUrl":998,"material":172,"size":999,"collection":35,"collections":1000,"showCount":990,"zanCount":11,"manualWeight":11,"mainColor":39},222415,"mei-hua-ye-zhi-tu-zhou-zhi-mian-222415","梅花野雉图","辽宁省博物馆","彩绘老干红梅，野雉栖于其上，竹石映带左右。作者周之冕江苏苏州人，善画花鸟，能的其神态；设色清雅，在陈淳、陆治之间，钩花点叶，间出新意。惟酒成癖，诚是一病。此图写生意味颇浓，构图匀称；工笔精细逼真，而无板滞痕迹，正是难能可贵之处。上有作者“丙申夏日汝南周之冕写”名款，下钤“周之冕印”、“服卿”印章二方。图的整体布局严谨，描摹惟妙惟肖，是同时期画作中的佳品。",[49,23,27,25,26,71,7,124,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dc2989106565d8ba25606cccdc69711.jpg","纵: 134.5厘米. 横: 33.6厘米",[35,79],{"id":1002,"slug":1003,"title":17,"dynasty":86,"author":1004,"museum":66,"description":1005,"tags":1006,"thumbUrl":1008,"material":364,"size":365,"collection":172,"collections":1009,"showCount":1010,"zanCount":238,"manualWeight":11,"mainColor":39},239436,"hua-niao-ce-yun-shou-ping-239436","恽寿平","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。",[23,50,24,25,26,27,7,1007,124],"芦苇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05eae777b986ef2a408940cb2ef9ae36.jpg",[],94,{"id":1012,"slug":1013,"title":1014,"dynasty":86,"author":838,"museum":796,"description":839,"tags":1015,"thumbUrl":1016,"material":614,"size":845,"collection":172,"collections":1017,"showCount":1010,"zanCount":238,"manualWeight":11,"mainColor":39},222685,"si-ji-hua-niao-tu-ping-8-chen-mei-222685","四季花鸟图屏8",[49,23,50,51,52,25,27,71,122,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff120bb949e796c509e974641e34be539.jpg",[],{"id":1019,"slug":1020,"title":794,"dynasty":207,"author":521,"museum":66,"description":1021,"tags":1022,"thumbUrl":1023,"material":172,"size":1024,"collection":172,"collections":1025,"showCount":1026,"zanCount":254,"manualWeight":11,"mainColor":61},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。",[49,23,69,70,52,25,166,31,27,71,53,168,124,339,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f04e0e5eaa4a4d2e89e6b687fe212f7.jpg","95.9×50.6 厘米",[],93,{"id":1028,"slug":1029,"title":1030,"dynasty":18,"author":948,"museum":699,"description":1031,"tags":1032,"thumbUrl":1033,"material":503,"size":1034,"collection":172,"collections":1035,"showCount":1026,"zanCount":254,"manualWeight":11,"mainColor":61},222395,"si-ji-hua-niao-tu-dong-lv-ji-222395","四季花鸟图-冬","吕纪（1429～1505），字廷振，号乐愚，鄞（今浙江宁波）人。明代画家。\n其花鸟初师边景昭，又学林良，并广泛师法唐宋诸家，所作有工笔重彩和水墨写意两种画法，前者描绘精工，色彩富丽，法度谨严；后者粗笔挥洒，随意点染，简练奔放，富有气势和动感。其山水宗法马远、夏圭，以大斧劈皴画山石，苍劲有力。人物亦法南宋院体，衣纹线条简练顿挫。初学边景昭工笔法，亦受林良水墨法影响，后临仿唐宋诸家名迹，遂自成一体，独步当代。其花鸟画风呈两种面貌，一作工笔重彩，精工富丽，多绘凤鹤、孔雀、鸳鸯之类，辅以树木坡石、滩渚流泉背景，既具法度，又富生气。另一类为水墨写意画，粗笔挥洒，简练奔放，接近林良的风格。他亦兼善人物、山水，宗法南宋马远、夏圭画法。他的花鸟画风在当时宫廷内外影响甚大，继承者不乏其人。\n明弘治年间，入值仁智殿，官至锦卫指挥使，是明代与边景昭、林良齐名的院体花鸟画代表画家。其绘画风格可分为两大类，一类是以水墨为主略淡彩，用笔较为豪纵，另一类则是设色浓丽，用和工致，具有富丽的宫廷装饰趣味。吕纪由水墨淡色画转为工笔重设色画，更直接的原因是为了适应不同皇帝的不同口味，具体说来就是弘治皇帝朱祐樘的欣赏口味不同于他的父辈成化皇帝朱见深，从而造成了吕纪多画凤凰、雉鸡、仙鹤、孔雀、鸳鸯之类，杂以花木草石，具有生气。工笔着色与水墨写意能，并善于将两体结合。吕纪初学唐宋各家和同时代的边景昭，后形成自己的风格。他的花鸟设色鲜艳，生气奕奕，被称为明代花鸟画第一家。据说吕纪在画作上常用寓意手法对皇帝劝谏，皇帝知其用心，曾说：“工执艺事以，谏吕纪有之。”其代表作品有《新春双雉图》《桂花山禽图》《残荷鹰鹭图》《秋鹭芙蓉图》《五德大吉图》 《狮头鹅图》等。\n吕纪，1477年生，鄞州（今浙江宁波）人。字廷振，号乐愚，弘治间（1488-1505）供事仁智殿，弘治间征入宫廷，为宫廷作画，供奉仁智殿，官锦衣卫指挥。擅画临古花鸟，初学边景昭，后研习唐宋诸家名作，继承两宋“院体”，以工笔重彩，又在水墨写意方面受林良影响。\n远宗南宋院体格，廷续了黄筌工整细致的画风及钩勒笔法，并予以发扬，多以凤凰、仙鹤、孔雀、鸳鸯之类鸣禽为题材，杂以浓郁花树，画面绚丽。亦作粗笔水墨写意者，笔势劲健奔放，与林良相近，与边景昭同为明代院体花鸟画中的临古派代表。传世作品有《桂菊山禽图》《榴花双莺图》《雪景翎毛图》《浴凫图》等。除画花鸟外，偶尔也画人物山水。他主要是以工整精丽的院体传统作画，造型准确，设色鲜艳。但也能画活泼生动兼工带写的花鸟画。他的画生动，笔墨清新，是当时与边景昭、林良齐名的花鸟名家。他作画时，常以寓意手法规谏皇帝，故明孝宗曾说：“工执艺事从谏，吕纪有之”。他是与边景昭、林良齐名的院体花鸟画代表作家。《狮头鹅图》，绢本，设色。纵191厘米，横104厘米。工笔画狮头鹅，侧身曲颈回顾古梅，鹅身洁白如玉，眼睛刻划有神，形象生动。古梅干枝苍劲，生机勃勃。树下衬以太湖石、月季花，石后有双勾竹隐露，色彩艳丽，衬托出狮头鹅之白身红冠。是明代院体花鸟画的杰作。款署“吕纪”。现藏辽宁省博物馆。\n《榴花双莺图》写石榴一枝，蘩花盛开，一对黄鹂栖于枝头，一上一下，鸣啼相应，神态活泼。工笔重彩，钩勒填色，绚丽多彩为明代中期院体画的典型风格。\n相比画家，吕纪的另一个身份更令人吃惊——历经明代成化、弘治、正德三代，官至锦衣卫指挥使(秘密警察头目)。吕纪的花鸟绘画，水墨淋漓，气势宏大，甚至是日本屏风画的来源之一。《柳荫双鸭图》和《幽涧双鹭图》曾在日本出版的《听松清鉴》中著录，郑振铎在上世纪四十年代遍访流传在海外的中国名画，并在其所编的《域外所藏中国名画》中收录。吕纪的两幅作品不仅是明代全景花鸟画的杰作，也是中国绘画影响日本绘画的证据代表作。",[49,23,69,51,52,25,27,71,168,726,350,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf95f29adc2d1bbf6024f906d309a0a3.jpg","176.0×100.8",[],{"id":1037,"slug":1038,"title":1039,"dynasty":18,"author":283,"museum":66,"description":1040,"tags":1041,"thumbUrl":1042,"material":52,"size":1043,"collection":35,"collections":1044,"showCount":1026,"zanCount":238,"manualWeight":11,"mainColor":291},222042,"de-qu-zai-ren-ce-13-kai-wang-zhong-222042","得趣在人册13开","汪中，明代画家，以翎毛、山水、人物精擅一时。汪中应人之邀作《得趣在人》册页，共十二开，工笔绘芭蕉、哺雀、舞剑等，此册技法上笔墨雅韵，意境深邃。",[49,69,23,50,24,25,52,27,168,7,73,286,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f74d819ae04a78f0a4642cdafcc5cd.jpg","30×27厘米",[35,79],{"id":1046,"slug":1047,"title":1048,"dynasty":18,"author":722,"museum":46,"description":1049,"tags":1050,"thumbUrl":1051,"material":56,"size":1052,"collection":35,"collections":1053,"showCount":1026,"zanCount":11,"manualWeight":11,"mainColor":39},216775,"mei-hua-you-niao-tu-bian-wen-jin-216775","梅花幽鸟图","边文进（活动于1403-1428），字景昭，福建沙县人。永乐朝宫廷画家，至宣德年间被授与武英殿待诏官衔。善画花果翎毛，为明初宫廷画家中花鸟画最著名画家，并与善画山水人物的蒋子诚、画虎的赵廉并称「禁中三绝」。\n本幅为〈历代名绘册〉其中一开，描绘盛开白梅，并有一黄眉鵐栖于梅枝上，引颈顾盼。梅枝由左向画幅右侧伸出，曲虬横错，白梅盛开与将开的花苞倚侧枝头，并局部施以白线条勾勒花瓣型态，虽花朵颜料有些脱落，仍可略窥白梅盛开风华。枝头黄眉鵐鸟羽描绘精细，并呈现松活充盈之效。画幅左侧有「景昭」二字，提示画家身份，然似有涂抹痕迹。与院藏另一件边文进〈三友百禽〉相比，梅枝用笔略有相近之处，或许为时间相差不远的学仿者之作。此画整体承接宋代院画折枝花鸟的构图之趣以及优雅娴静气氛，与〈三友百禽〉所显示的喧闹气氛颇不相同，可丰富对明初宫廷花鸟画面貌的认识。",[49,23,69,50,583,52,25,27,71,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F242a8a95847e379f0a5854c0f83e0499.jpg","23.8x24.7cm",[35],{"id":1055,"slug":1056,"title":1057,"dynasty":86,"author":1058,"museum":66,"description":1059,"tags":1060,"thumbUrl":1061,"material":172,"size":172,"collection":172,"collections":1062,"showCount":1063,"zanCount":254,"manualWeight":11,"mainColor":39},238999,"fu-gui-bai-tou-tu-zhou-ju-lian-238999","富贵白头图轴","居廉","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。",[23,69,51,52,25,27,53,7,170,249,480],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc5e8dafcd23c0f7abfb2e6f9f962f77.jpg",[],90,{"id":1065,"slug":1066,"title":1067,"dynasty":104,"author":568,"museum":244,"description":1068,"tags":1069,"thumbUrl":1071,"material":263,"size":1072,"collection":172,"collections":1073,"showCount":1063,"zanCount":254,"manualWeight":11,"mainColor":61},233002,"pi-pa-shan-niao-tu-ye-lin-chun-233002","枇杷山鸟图页","图绘江南五月，成熟的枇杷果在夏日的光照下分外诱人。一只绣眼翘尾引颈栖于枇杷枝上正欲啄食果实，却发现其上有一只蚂蚁，便回喙定睛端详，神情十分生动有趣。枇杷枝仿佛随着绣眼的动作重心失衡而上下颤动，画面静中有动，妙趣横生。绣眼的羽毛先以色、墨晕染，随后以工细而不板滞的小笔触根根刻画，表现出鸟儿背羽坚密光滑、腹毛蓬松柔软的不同质感。枇杷果以土黄色线勾轮廓，继而填入金黄色，最后以赭色绘脐，三种不同的暖色水乳交融，从而展现出枇杷果成熟期的丰满甜美。枇杷叶用笔致工整细腻的重彩法表现，不仅如实地刻画出叶面反转向背的各种自然形貌，且将叶面被虫儿叮咬的残损痕迹亦勾描晕染得一丝不苟，充分反映了宋代花鸟画在写实方面所达到的艺术水平。",[23,50,69,52,25,27,1070,7,199,31],"枇杷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7aa06bf3aa4e5e7e1763e4645676c6e.jpg","纵26.9厘米，横27.2厘米",[],{"id":1075,"slug":1076,"title":1077,"dynasty":104,"author":1078,"museum":88,"description":1079,"tags":1080,"thumbUrl":1081,"material":56,"size":1082,"collection":35,"collections":1083,"showCount":1063,"zanCount":254,"manualWeight":11,"mainColor":61},218929,"hong-ye-xiao-niao-tu-wu-yuan-yu-218929","红叶小鸟图","吴元瑜","此幅《红叶小鸟图》是现今所知的唯一署款之作，“元瑜”二字书写古拙，笔法柔中带刚。画的设色极高古，小鸟羽毛描绘精细，指爪紧握树枝，眼神灵活，舌尖颤动如发清音，状物写情生动传神，定为宋画应无疑问。而且画幅上藏印累累，包括黔宁王沐昂，著名的收藏家宋荦，近代鉴藏家吴湖帆、钱镜塘、王季迁等。虽暂时仍未查有著录，但正如杨仁恺在裱绫中所题，“画心钤明清诸家钤印，当有所据也”。",[69,23,50,27,52,25,7,979,198,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91e95be5e4206dc53f32e2bb88825d63.jpg","42x25cm",[35],{"id":1085,"slug":1086,"title":1087,"dynasty":86,"author":838,"museum":796,"description":839,"tags":1088,"thumbUrl":1090,"material":614,"size":845,"collection":172,"collections":1091,"showCount":1092,"zanCount":203,"manualWeight":11,"mainColor":39},222681,"si-ji-hua-niao-tu-ping-4-chen-mei-222681","四季花鸟图屏4",[49,52,25,27,7,1089,843,842,30],"红果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F215e604db490f4a6381ab7f2e744c172.jpg",[],89,{"id":1094,"slug":1095,"title":1096,"dynasty":86,"author":1097,"museum":46,"description":1098,"tags":1099,"thumbUrl":1101,"material":33,"size":1102,"collection":35,"collections":1103,"showCount":1092,"zanCount":254,"manualWeight":11,"mainColor":39},218805,"hua-niao-quan-shi-tu-dai-hong-218805","花鸟泉石图","戴洪","作者戴洪，生死时年藉贯均不详。高宗乾隆时，任职内廷画院供奉。擅长山水、花鸟画。他的画，以笔路纤细，着色秾丽见长，曾和程志道、金昆、孙佑等人，合画清明上河图，精美绝伦，深蒙乾隆赞赏。偶尔也画水墨山水，用笔虽较开放，但仍不脱细谨作风。",[23,25,52,51,27,7,73,249,299,1100],"流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc83a526f4a08022e9761839fce88641.jpg","185x66.3cm",[35],{"id":1105,"slug":1106,"title":1107,"dynasty":18,"author":948,"museum":46,"description":1108,"tags":1109,"thumbUrl":1111,"material":56,"size":1112,"collection":35,"collections":1113,"showCount":1114,"zanCount":11,"manualWeight":11,"mainColor":61},218789,"chun-xi-tu-lv-ji-218789","春喜图","疏梅横斜，数羽雏鸟栖于枝间，啾鸣似唤春声。老干虬曲，山鹧羽色斑斓，立于石畔枝上，姿态雍容闲雅。靛蓝山石衬暖褐禽羽，白梅与粉花点染其间，清妍与厚重相映。笔墨工致细腻，禽鸟神态鲜活，花木情态毕肖。全图春意氤氲，生机流转，于工笔间见灵动韵致，尽显春日雅趣与自然生机。",[23,50,51,52,25,27,71,7,93,1110],"花枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6167804c0c9e5cfe350a337b21ab551e.jpg","137.4x42cm",[35],87,{"id":1116,"slug":1117,"title":17,"dynasty":86,"author":547,"museum":1118,"description":1119,"tags":1120,"thumbUrl":1121,"material":33,"size":1122,"collection":35,"collections":1123,"showCount":1124,"zanCount":238,"manualWeight":11,"mainColor":39},233943,"hua-niao-ce-hua-yan-233943","美国弗瑞尔美术馆","华喦（同“岩”）（1682~1756)，一作华岩，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、白沙道人、离垢居士等，老年自喻飘篷者，福建上杭蛟洋华佳(家)人(原白砂里人)，后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称三绝，为清代杰出绘画大家，扬州画派的代表人物之一。\n自幼酷爱绘画，后因家贫失学，备受世俗冷落，康熙四十二年(1703)华氏家族重建祠堂，曾因替正厅画壁画，乡绅看不起他，群起反对，最后偷自进祠堂，画上高山云鹤、水国浮牛、青松悬崖和倚马题诗四幅画，愤而离乡飘泊，流寓于杭州，结交了很多文人学士，眼界大开。36岁时曾北上入都，得交当路巨公，名闻于上，但并不得意，据戴熙《习苦斋画絮》载:华秋岳自奇其画，游京师无问者。一日有售赝画者，其裹华笔也，华见而太息出都。他的中晚年一直频繁往来于杭州、扬州，以卖画为生。在扬州他结识了金农、高翔、李鳝、郑板桥及盐商巨子马曰管、马曰璐兄弟，彼此交流切磋，诗画酬答，使其绘画修养得到多方面的拓展，成为扬州画派的代表人物之一。\u2028 华岩一生贫困，金农在《画竹题记》提到:汀洲华岩秋岳，……尝画兰草纸卷，卷有五丈者，一炊饭顷便能了事，清而不媚，恍闻幽香散空谷之中，…… 余恨不能踵其后尘也。乾隆十七年(1752)，回到杭州旧居解弢馆。乾隆二十一年卒，有《离垢集》5卷。",[23,50,24,25,26,91,27,7,225,29,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7a15ddd053c23937374547a7f95ffdd.jpg","31.2×44.7厘米",[35],86,{"id":1126,"slug":1127,"title":1128,"dynasty":18,"author":948,"museum":699,"description":1031,"tags":1129,"thumbUrl":1131,"material":503,"size":1034,"collection":172,"collections":1132,"showCount":1133,"zanCount":238,"manualWeight":11,"mainColor":61},222393,"si-ji-hua-niao-tu-chun-lv-ji-222393","四季花鸟图-春",[49,23,69,52,25,27,71,7,387,93,198,51,1130],"开花树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2342faa17d4f14661d3abe4bf10e5735.jpg",[],85,{"id":1135,"slug":1136,"title":1137,"dynasty":18,"author":105,"museum":1138,"description":1139,"tags":1140,"thumbUrl":1150,"material":1151,"size":172,"collection":79,"collections":1152,"showCount":1153,"zanCount":238,"manualWeight":11,"mainColor":1154},220336,"kong-que-ming-wang-yi-ming-220336","孔雀明王","日本东京国立博物馆","主尊身色莹白慈悲，六臂分持莲华、鲜果、摩尼宝珠与孔雀翎，怀捧宝瓶，璎珞衣饰以金彩勾勒，尽显华贵庄严。乘骑孔雀羽翼丰美晕染细腻，翎羽层次分明，神姿昂然。背景以深褐为底，孔雀开屏式圆光环伺主尊，眼纹环饰精巧神秘。整体设色沉厚古雅，工笔细密入微，衣袂织物的柔润光泽与造像的神圣感融为一体，在静谧肃穆的氛围里，传递出密宗造像护国息灾的神圣力量，是极具代表性的佛绘精品。",[49,23,52,25,51,1141,1142,1143,7,1144,1145,1146,1147,1148,1149,28],"宗教","人物","孔雀","莲花","多臂人物","重彩","装饰图案","佛教题材","动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe61e91b9aaf3f5abd9e79c97669b37e.jpg","设色,绢本",[79],84,"37474F",{"id":1156,"slug":1157,"title":1158,"dynasty":104,"author":105,"museum":66,"description":1159,"tags":1160,"thumbUrl":1164,"material":172,"size":172,"collection":1165,"collections":1166,"showCount":1167,"zanCount":238,"manualWeight":11,"mainColor":39},221647,"yu-niao-yi-ming-221647","玉鸟","这件瑞鸟玉雕以三角随形施艺，透雕结合线刻，匠心尽显。凤鸟身姿劲挺，昂首展翼，长尾舒张如垂瀑，周遭以卷草透空作衬，虚实相生。\n\n躯干以工整阴线琢出几何羽鳞，翅羽分层刻画，纹理错落有序，将瑞鸟华美金贵的仪态凝于方寸。玉质浸透着岁月晕染的暖黄包浆，古韵盎然。整体工法细腻雅致，写实与装饰意趣相融，尽显宋时玉雕的审美意韵，把祥瑞灵禽的雍容灵动雕琢得淋漓尽致，是宋代民间玉雕精巧工法的绝佳缩影。",[1161,1162,1163,7,27],"宋代","雕刻","象牙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c89995532159690cd4cff737039313e.jpg","玉器精选",[1165],79,{"id":1169,"slug":1170,"title":1171,"dynasty":104,"author":134,"museum":66,"description":1172,"tags":1173,"thumbUrl":1179,"material":503,"size":1180,"collection":77,"collections":1181,"showCount":1167,"zanCount":238,"manualWeight":11,"mainColor":61},221372,"xie-sheng-an-chun-tu-juan-zhao-chang-221372","写生鹌鹑图卷","这是一幅描写夏天野外风景和动植物的写生画，图绘数隻鹌鹑游息于河畔翠竹丛中，或鸣叫、或张望、或憩息、或觅食，神态各异，生动多姿。河边还有三隻野鸭，树上有两隻小鸟。所绘花鸟形象逼真，画面雅致，饶有野趣。画家还特意在鹌鹑旁边画了菊花和落叶",[49,23,69,70,52,25,27,1174,168,331,7,1175,480,738,1176,610,1177,1178],"鹌鹑","溪流","坡地","野花","禽类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d0965f0ce9d418c9ffe6493a6f69f39.jpg","横301.5cm纵32.5cm",[77,35,79],{"id":1183,"slug":1184,"title":1185,"dynasty":18,"author":1186,"museum":46,"description":1187,"tags":1188,"thumbUrl":1190,"material":56,"size":1191,"collection":35,"collections":1192,"showCount":1193,"zanCount":11,"manualWeight":11,"mainColor":39},219378,"shuang-xi-tu-wang-wei-lie-219378","双喜图","王维烈","王维烈，字无竞，吴郡（今江苏苏州）人，游周之冕之门，明代苏州画家。",[23,50,25,52,27,71,7,1189,30,249],"红花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4a7e80f45c240fc050ed87c323beb18.jpg","85×39cm",[35],78,{"id":1195,"slug":1196,"title":1197,"dynasty":104,"author":1198,"museum":46,"description":1199,"tags":1200,"thumbUrl":1202,"material":56,"size":1203,"collection":77,"collections":1204,"showCount":1193,"zanCount":238,"manualWeight":11,"mainColor":61},219300,"lu-yan-tu-huang-ju-cai-219300","芦雁图","黄居寀","画中三只芦雁从姿态与翎毛、口唇，可分出其雌雄与年龄大小，年幼者在父母之旁安然入睡，公雁者为首领独居图中，形象高大粗壮，具有长者地位，雌雁者既在幼雁旁有护驾之意，又张口切切私语，含情脉脉地望着对方，这种富有家庭意识的禽鸟之态，表现得淋漓之尽。作者对画中的芦雁画法精细，特别羽毛画笔工致，华润淋漓，神态生动逼真；芦苇枝叶双勾与晕染，阴阳背向分明。整个画面主题突出，构图严正，背景简洁明了，水面、沙滩及芦苇布置及画法恰到好处。居案的绘画从写生中出，在《东斋记事》中写着：“其家多养鹰鹘，观其神俊以模写之，故得其妙。”从此芦雁图中可知，长期的写生和临摹训练带给他真实生动地描绘禽鸟的功力，其准确度不亚于动物标本式的记录。",[49,23,69,50,52,25,27,1201,1007,7,646,431],"雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1f48e78c47390b027fe23bdb5ccc424.jpg","纵144.5厘米，横93.3厘米",[77,35,79],{"id":1206,"slug":1207,"title":1208,"dynasty":86,"author":547,"museum":66,"description":1209,"tags":1210,"thumbUrl":1211,"material":364,"size":365,"collection":35,"collections":1212,"showCount":1213,"zanCount":11,"manualWeight":11,"mainColor":39},235381,"hua-niao-tu-ce-hua-yan-235381","花鸟图册","华岩（1682～1756），一作华嵒，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、离垢居士等，老年自喻“飘篷者”，福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。\n自幼酷爱绘画，后因家贫失学，备受世俗冷落，康熙四十二年（1703）华氏家族重建祠堂，曾因替正厅画壁画，乡绅看不起他，群起反对，最后偷自进祠堂，画上“高山云鹤”、“水国浮牛”、“青松悬崖”和“倚马题诗”四幅画，愤而离乡飘泊，流寓于杭州，结交了很多文人学士，眼界大开。36岁时曾北上入都，“得交当路巨公，名闻于上”，但并不得意，据戴熙《习苦斋画絮》载：“华秋岳自奇其画，游京师无问者。一日有售赝画者，其裹华笔也，华见而太息出都。”他的中晚年一直频繁往来于杭州、扬州，以卖画为生。在扬州他结识了金农、高翔、李鱓、郑板桥及盐商巨子马曰琯、马曰璐兄弟，彼此交流切磋，诗画酬答，使其绘画修养得到多方面的拓展，成为扬州画派的代表人物之一。",[23,24,25,27,168,7,124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01e4d0cc55e7ee07e955ecc27f59a38e.jpg",[35],77,{"id":1215,"slug":1216,"title":1217,"dynasty":207,"author":1218,"museum":20,"description":1219,"tags":1220,"thumbUrl":1226,"material":597,"size":1227,"collection":1228,"collections":1229,"showCount":1230,"zanCount":254,"manualWeight":11,"mainColor":39},220844,"gui-qu-lai-ci-zhao-meng-fu-220844","归去来辞","赵孟頫","大德元年，赵孟頫时年四十四岁，当时未赴太原路汾州知州之新职，正居家闲赋。此书运笔沉稳畅朗，骨肉停匀，结体紧敛虚和，堪称其中年行书风格的典范。有关本卷赵氏的署名，启功在1954年的题跋中说：“至于此卷署名‘俯’字，观者多疑之。然自用笔结字，以至纸墨印章、签题跋尾，无一不足义证其真实不虚者。故吾今将大书以补松雪传记曰：名孟頫，亦书作孟俯也。”\n释文：“归去来辞并序。余家贫，耕植不足以自给。幼稚盈室，瓶无储粟，生生所资，未见其术。亲故多劝余为长吏，脱然有怀，求之靡途。会有四方之事，诸侯以惠爱为德。家叔以余贫苦，遂见用为小邑。于时风波未息，心惮远伇。彭泽去家百里，公田之利，可以为酒，故便求之。及少日，眷然有归与之情。何则？质性自然，非矫励所得。饥冻虽切，违己交病。尝从人事，皆口腹自伇。于是怅然慷慨，深愧平生之志。犹望一稔，当敛裳宵逝。寻程氏妹丧于武昌，情在骏奔，自免去职。仲秋至冬，在官八十馀日。因事顺心，命篇曰《归去来兮》。乙巳岁十一月也。\n归去来兮！田园将芜胡不归？既自以心为形伇，奚惆怅而独悲？悟已往之不谏，知来者之可追；寔迷途其未远，觉今是而昨非。舟摇摇以轻飏，风飘飘而吹衣。问征夫以前路，恨晨光之熹微。乃瞻衡宇，载欣载奔。僮仆欢迎，稚子候门。三径就荒，松菊就（此字点去）犹存。携幼入室，有酒盈尊。引壶觞以自怡（此字点去）酌，眄庭柯以怡颜。倚南窗以寄傲，审容膝之易安。园日涉以成趣，门虽设而常关。策扶老以流憩，时矫首而遐观。云无心以出岫，鸟倦飞而知还。景翳翳以将入，抚孤松而盘桓。归去来兮！请息交以绝游。世与我而相违，复驾言兮焉求？悦亲戚之情话，乐琴书以消忧。农人告余以春及，将有事于西畴。或命巾车，或棹孤舟。既窈窕以寻壑，亦崎岖而经丘。木欣欣以向荣，泉涓涓而始流。善万物之得时，感吾生之行休。 已乎矣！寓形宇内复几时，曷不委心任去留。胡为遑遑欲何之？富贵非吾愿，帝乡不可期。怀良辰以孤往，或植杖而秐秄。登东皋以舒啸，临清流而赋诗。聊乘化以归尽，乐夫天命复何疑。",[49,50,166,70,362,1221,1222,725,624,1223,7,1224,1225],"孤松","舟","云","山","田园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48c86013046154464d778c5a0c6f7247.jpg","纵25.9 厘米，横139.4 厘米","书法精选",[1228],76,{"id":1232,"slug":1233,"title":1234,"dynasty":104,"author":105,"museum":88,"description":1235,"tags":1236,"thumbUrl":1237,"material":56,"size":1238,"collection":35,"collections":1239,"showCount":1230,"zanCount":238,"manualWeight":11,"mainColor":61},218949,"hua-zhu-an-chun-tu-yi-ming-218949","花竹鹌鹑图","绢本之上，墨彩交织出温润古意。数只鹌鹑或低头啄食，或侧耳呼应，羽毛纹理细腻如绒，神态憨态可掬；竹枝挺拔，叶片婆娑，藤蔓缠绕间缀着娇艳花朵，石畔幽草含露，一派生机盎然。画家以精湛写生功底，捕捉自然瞬间的灵动：鹌鹑的互动、花叶的摇曳，皆形神毕肖。整体氛围静谧雅致，似能闻见草木清香，窥见田园一隅的闲适安然，尽显宋画“格物致知”的审美意趣——于细微处见天地，于平淡中藏深情，将寻常景致绘就成耐人寻味的诗意画卷。",[23,50,70,52,25,168,1174,73,7,738,249,480],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72f14da85deeb768a04b8571e1787dcc.jpg","33x179cm",[35],{"id":1241,"slug":1242,"title":17,"dynasty":86,"author":1243,"museum":66,"description":1244,"tags":1245,"thumbUrl":1246,"material":172,"size":244,"collection":35,"collections":1247,"showCount":1248,"zanCount":238,"manualWeight":11,"mainColor":39},236606,"hua-niao-ce-ma-yuan-yu-236606","马元驭","马元驭（1669—1722）清代画家。字扶羲，号栖霞，又号天虞山人，江苏常熟人。",[23,50,24,25,26,27,7,198,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e74d9e1c5842148c80d29f7995d049e.jpg",[35,79],75,{"id":1250,"slug":1251,"title":1252,"dynasty":18,"author":1253,"museum":46,"description":1254,"tags":1255,"thumbUrl":1256,"material":33,"size":1257,"collection":35,"collections":1258,"showCount":1259,"zanCount":254,"manualWeight":11,"mainColor":39},219450,"xian-sui-xiang-ying-zhou-chen-gua-219450","献岁祥霙轴","陈栝","此幅绘水仙、腊梅、茶花、竹枝、文禽，山石雪景。用笔灵动，设色清雅。",[23,50,51,52,25,27,71,7,168,93],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccf87f356fe872769882685c6c3b9a98.jpg","161.6x43.1厘米",[35],74,{"id":1261,"slug":1262,"title":1263,"dynasty":86,"author":307,"museum":46,"description":622,"tags":1264,"thumbUrl":1266,"material":25,"size":626,"collection":172,"collections":1267,"showCount":1268,"zanCount":11,"manualWeight":11,"mainColor":39},222742,"xian-e-chang-chun-tu-02b-lang-shi-ning-222742","仙萼长春图-02b",[49,69,23,50,24,52,25,27,7,54,28,30,1265],"翎毛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44752a8e4622ebb38b8e513c4f4c435f.jpg",[],73,{"id":1270,"slug":1271,"title":1272,"dynasty":86,"author":1273,"museum":66,"description":1274,"tags":1275,"thumbUrl":1276,"material":364,"size":365,"collection":172,"collections":1277,"showCount":1278,"zanCount":216,"manualWeight":11,"mainColor":39},239078,"hua-niao-ping-liao-yun-jin-239078","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。",[23,50,52,25,27,7,73,124,1189,842,29,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5a9039e5f16dbbf65a5783f0a67ae17.jpg",[],72,{"id":1280,"slug":1281,"title":1282,"dynasty":18,"author":162,"museum":46,"description":1283,"tags":1284,"thumbUrl":1285,"material":56,"size":1286,"collection":172,"collections":1287,"showCount":1278,"zanCount":254,"manualWeight":11,"mainColor":61},228290,"mei-hua-shan-niao-zhou-chen-hong-shou-228290","梅花山鸟轴","推荐的明陈洪绶(1599一1652)、元杨维祯(1296一l7)及明夏昶(l88一l47)三位画家所绘的梅花山鸟、岁寒图及奇石修皇图等古画为题材，印制邮票一组。松、竹、梅夙有“岁寒三友”的称、天寒地冻，唯松柏常青；竹性耐寒，劲直中节；梅花为我国的国花，素洁清芬，高雅绝俗。选为邮票图案，不仅可阐扬中国固有文化与艺术，且可代表国人崇高的志节。志号品名: 专124 (18)岁寒三友图古画邮票全套面值: 2元邮票规格: 5.9651.46mm: P12印刷机构: 瑞士哥瓦锡厂印刷版别: 影写版: 影写版邮票纸整张枚数: 5(15)枚相关资料: 摄影者吴呈芳(1)梅花山鸟：绢本，轴，横49.6公分，纵124.公分。陈洪绶明诸暨人，生于明神宗万历二十七年，卒于清世祖顺治九年。字章侯，号老莲，又号云门僧，赋性狂散。其画人物，神态特真，时谓三百年无此笔墨，花鸟草虫，亦多精妙。(2)岁寒图：纸本，轴，横2公分，纵98.1公分。杨维祯元诸暨人，生于元成宗元贞二年，卒于明太祖洪武三年。字廉夫，号铁崖，又号铁笛道人，善书画，父杨宏，筑楼铁崖山，植梅去梯，俾其读书。明太祖征诏不赴，赋诗见志。()奇石修皇图：纸本，轴，横14.7公分，纵275.1公分。夏昶明昆山人，生于明太祖洪武二十一年，卒于宪宗成化六年。字仲昭，号自在居士，又号玉峰，举进士，为翰林院庶吉士，正统中仕至太常卿。善书，能诗，精绘事，尤工墨竹，其所作竹技，烟姿雨色，偃直疏浓，各循矩度，楷书画竹，时推第一。",[23,50,51,25,52,71,7,124,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58c74366f27a7acd6bb8197d976548e3.jpg","124.3x49.6",[],{"id":1289,"slug":1290,"title":1291,"dynasty":18,"author":1292,"museum":66,"description":1293,"tags":1294,"thumbUrl":1297,"material":172,"size":172,"collection":172,"collections":1298,"showCount":1299,"zanCount":238,"manualWeight":11,"mainColor":61},228485,"qiao-lin-bai-que-tu-juan-lin-liang-228485","乔林百雀图卷","林良","整卷以水墨挥毫，枯木槎枒间百雀各呈其态，飞栖鸣集无一雷同。劲爽墨笔勾勒禽鸟翎羽，干湿浓淡晕出绒羽蓬松质感，枯林苍劲荒疏，与群雀喧腾相映，在萧索冬日漾出盎然生趣。\n笔墨简括老辣，融院体工致与文人写意于一体，将小雀的灵动狡黠描摹入微，于长卷间铺展野逸灵动的自然意趣，尽显水墨花鸟纵逸格调，是水墨禽鸟画中极具表现力的佳构。",[49,23,50,70,26,91,27,1295,7,1296,198,249,72],"乔木","树林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f738b6a6309084a7933eb775da10da.jpg",[],71,{"id":1301,"slug":1302,"title":1303,"dynasty":86,"author":1304,"museum":1305,"description":1306,"tags":1307,"thumbUrl":1308,"material":25,"size":1309,"collection":35,"collections":1310,"showCount":1299,"zanCount":238,"manualWeight":11,"mainColor":39},220143,"leng-yan-you-xiang-tu-li-shan-220143","冷艳幽香图","李鱓","南京博物院","李鱓（1686—1762），清代画家，江苏兴化人。字宗扬，号复堂、懊道人。康熙五十四年（1715年）举人，官滕县、临淄知县。擅花鸟、山水。绘画师法沈周、林良、陈淳、徐渭、恽寿平、石涛、高其佩、蒋廷锡等人。李鱓比较重视生活感受与传统技法的结合，熟练使用自己领悟到的笔墨，善于发挥水的特性，“水墨融成奇趣”，大胆发挥鲜艳色彩和白粉的特性，将粗笔画法与工细画法结合，形成“纵横驰骋，不拘绳墨而独得天趣”“随意布置，另有别趣”的写意花鸟画风，笔墨雄健劲拔，设色淡雅。他的绘画对吴熙载、赵之谦、吴昌硕等人产生了深远影响。李鱓亦擅书法，用笔古朴豪宕、洒脱自然。从南京博物院藏《冷艳幽香图》中的题跋可见李鱓书法的一些审美意趣和风格特色。",[49,23,50,70,25,26,91,27,71,167,331,624,7,93,31,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F776535ffcb2a3e1e219ec108c1aebfe7.jpg","纵34.5厘米、横362厘米",[35],{"id":1312,"slug":1313,"title":27,"dynasty":86,"author":547,"museum":66,"description":1314,"tags":1315,"thumbUrl":1316,"material":364,"size":365,"collection":172,"collections":1317,"showCount":1318,"zanCount":254,"manualWeight":11,"mainColor":1319},224162,"hua-niao-hua-yan-224162","华喦（1682-1756），字德嵩，号秋岳、又号新罗山人、新罗生、白砂山人，别号东园生、布衣生、老年自喻“飘篷者”。福建上杭人。华少时酷爱绘画，常替人作山水、花鸟、人物故事画，还在寺堂庙祠画壁画。花鸟画最负盛名，吸收明代陈淳、周之冕、清代恽寿平诸家之长，形成兼工带写的小写意手法。既有大局的的挥洒简逸，又有细节的精微描写，如画禽鸟，能将蓬松的羽毛玲珑剔透地表现出来。敷色鲜嫩不腻，时用枯笔干墨淡彩。这种工写结合、清新俊秀的花鸟画风格，对后世产生了积极影响。",[49,23,50,25,27,7,198,646,249,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8abdb76674bf8f6b4a883e5a267d9d69.jpg",[],70,"FFFFFF",{"id":1321,"slug":1322,"title":1323,"dynasty":104,"author":105,"museum":46,"description":1324,"tags":1325,"thumbUrl":1326,"material":56,"size":172,"collection":35,"collections":1327,"showCount":1318,"zanCount":216,"manualWeight":11,"mainColor":39},218710,"shan-cha-su-niao-tu-yi-ming-218710","山茶宿鸟图","山茶敷彩浓淡相衔，花瓣层叠如染，露蕊轻绽似噙晨露；宿鸟羽纹细缜若织，绒羽软润可触，敛翅栖枝时，眸光凝定，恍与花叶私语。枝叶晕染自然，脉络隐现，墨青交织间衬得花红鸟俏。方寸小品藏天地，写实中蕴诗意：宋画的精微与雅致尽在笔端。静赏时，似闻花叶轻颤，觉鸟羽微动，古典的温润与生机漫溢开来，于清寂里见鲜活，于雅致中藏野趣，尽显宋人观物之细、写意之深。",[49,69,23,50,583,52,25,27,122,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F659d3355cd9776da0b6336002c2c162d.jpg",[35],{"id":1329,"slug":1330,"title":1331,"dynasty":86,"author":307,"museum":46,"description":622,"tags":1332,"thumbUrl":1334,"material":25,"size":626,"collection":172,"collections":1335,"showCount":1336,"zanCount":11,"manualWeight":11,"mainColor":39},222748,"xian-e-chang-chun-tu-05b-lang-shi-ning-222748","仙萼长春图-05b",[49,69,23,50,24,25,52,1333,27,7,28,198,199],"中西合璧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa2ff46c0b7d6fa3b8909b3f40b0c5a9.jpg",[],69,{"id":1338,"slug":1339,"title":1340,"dynasty":18,"author":1292,"museum":699,"description":1341,"tags":1342,"thumbUrl":1343,"material":597,"size":1344,"collection":35,"collections":1345,"showCount":1346,"zanCount":11,"manualWeight":11,"mainColor":61},222446,"mu-niao-tu-lin-liang-222446","木鸟图","林良（约公元1428-1494），字以善，广东广州府南海县扶南堡（今广东佛山市南海区大沥）人，明代著名画家，广东绘画史上第一个进入主流性行列的画家。\n史料记载“林良吕纪，天下无比”，他因善画而被荐入宫廷，授工部营缮所丞，后任锦衣卫指挥、镇抚，值仁智殿。绘画取材多为雄健壮阔或天趣盎然的自然物象，笔法简练而准确，写意而形具\n林良是明代院体花鸟画的代表人物，也是明代水墨写意画派的开创者，在明代院体画中独树一帜，对后世画坛，包括宫廷画家、职业画家、文人画家均产生重大的影响。\n明初洪武至弘治的百余年内， 占据画坛主位的是皇家画院的宫廷绘画。时代特色和风格成型主要体现在宣德、成化、弘治三朝。尤其是花鸟画， 突破“院体”程式，出现了工笔重彩、水墨写意、设色没骨等多种风格， 并有所创新。其中水墨写意的开派人物便是林良。\n他创作的“文人画化”的水墨写意花鸟画，使明代“院体”花鸟出现了新的生机。虽然在明之前也有水墨写意花鸟，但仍以勾染为主流形式，而且宋“院体”花鸟在元代仍保持着很大的影响力。\n明代的水墨写意花鸟画， 由林良开派， 以后耕耘其间者接踵而至， 如沈周、陈淳、徐渭等， 一步步将写意法推向臻境，并成为明代花鸟画最流行和最富成就的一种形式， 终汇就明清泱泱大观的写意花鸟画风。林良无疑起了先导作用。他在花鸟画的发展史上， 是不可或缺的重要人物。",[49,23,26,91,27,7,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a952a0aa9c1a5088e4461d5982c15c7.jpg","30.3×31.3",[35,472],67,{"id":1348,"slug":1349,"title":1350,"dynasty":104,"author":425,"museum":426,"description":1351,"tags":1352,"thumbUrl":1354,"material":56,"size":1355,"collection":35,"collections":1356,"showCount":1346,"zanCount":11,"manualWeight":11,"mainColor":39},219084,"can-he-yuan-yang-tu-ma-lin-219084","残荷鸳鸯图","图为荷塘岸边枯萎的荷花，两朵荷花干枯，细杆上隐约可见一层薄薄的雪花，似弯折折断； 一对鸳鸯站在岸边，羽毛鲜艳，身体匀称，一副低头的样子，似乎在寻找食物。",[69,23,50,583,25,52,331,1353,387,7,27,124,31],"残荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8148e5c307f646b726f878e7dad3e86.jpg","25.4x24.4cm",[35],{"id":1358,"slug":1359,"title":1360,"dynasty":86,"author":1361,"museum":46,"description":1362,"tags":1363,"thumbUrl":1364,"material":33,"size":1365,"collection":35,"collections":1366,"showCount":1346,"zanCount":11,"manualWeight":11,"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。",[69,23,50,51,52,25,27,7,53,429,93,166,31,72,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe680768fee9dc27723523539b928bca7.jpg","149.8x101cm",[35],{"id":1368,"slug":1369,"title":1208,"dynasty":86,"author":1370,"museum":66,"description":1371,"tags":1372,"thumbUrl":1374,"material":172,"size":172,"collection":172,"collections":1375,"showCount":1376,"zanCount":238,"manualWeight":11,"mainColor":61},230112,"hua-niao-tu-ce-wu-zhang-230112","吴璋","此作为绢本工笔小景，设色温婉雅致。石榴枝桠斜斜舒展，丹红榴花灼灼盛放，饱满的石榴绽裂果皮，紫实累累，尽显秋日生机。\n\n两只麻雀栖于细枝，一只侧目远眺，一只垂首理羽，羽色晕染细腻，绒毛细毫毕现，将禽鸟娇憨灵动之态尽数描摹。叶片的阴阳向背晕染得体，线条秀逸柔和，写实之中暗含清逸雅致的意趣，将果熟禽闲的静谧小景刻画鲜活，于方寸间尽显工笔花鸟的精巧匠心，带着悠然恬淡的闲趣韵味。",[69,23,50,52,25,1373,27,442,7,1189,843,30,987],"册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9458be09e16cb478d2d52da2905a209b.jpg",[],66,{"id":1378,"slug":1379,"title":1380,"dynasty":86,"author":307,"museum":46,"description":622,"tags":1381,"thumbUrl":1383,"material":25,"size":626,"collection":172,"collections":1384,"showCount":1376,"zanCount":11,"manualWeight":11,"mainColor":39},222750,"xian-e-chang-chun-tu-06b-lang-shi-ning-222750","仙萼长春图-06b",[49,23,69,50,52,25,168,7,1382,27],"牵牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2072284800f9c10e4b682f3d12b26bf.jpg",[],{"id":1386,"slug":1387,"title":1388,"dynasty":207,"author":1389,"museum":46,"description":1390,"tags":1391,"thumbUrl":1392,"material":33,"size":1393,"collection":35,"collections":1394,"showCount":1376,"zanCount":238,"manualWeight":11,"mainColor":39},218824,"gu-mu-shuang-jiu-tu-xie-tian-you-218824","古木双鸠图","谢天游","画面中双鸠栖于古木枝上，一鸟垂首理羽，一鸟侧颈凝睇，姿态憨然生动。鸠鸟羽色温润，墨线勾勒间晕染淡赭，颈间星斑点缀，细腻传神。古木枝干虬曲，以枯笔皴擦出苍劲质感，枝梢苔点稀疏，尽显古意。背景以淡墨轻染，留白处衬出空濛之境，与禽鸟的鲜活形成呼应。整幅画作笔墨简淡却意韵悠长，清雅中见生机，尽显文人画的疏朗雅致，仿佛能闻林间风息，静赏自然之趣。",[23,50,52,25,27,310,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cf06d60a26483cd36712d9a4fa48bc3.jpg","43.7x29.7cm",[35],{"id":1396,"slug":1397,"title":133,"dynasty":104,"author":134,"museum":46,"description":1398,"tags":1399,"thumbUrl":1401,"material":614,"size":172,"collection":35,"collections":1402,"showCount":1403,"zanCount":238,"manualWeight":11,"mainColor":61},219649,"hua-niao-tu-zhao-chang-219649","以淡墨晕染花木，浓淡间晕出花叶阴阳向背，将海棠柔润花瓣、舒展枝叶的层次尽数铺陈。静栖枝头的禽鸟刻画入微，蓬松羽毛的绒质感纤毫毕现，敛翼凝神的姿态悠然恬淡。\n\n整幅画作不着浓艳设色，却将春日花木的柔媚与禽鸟的闲适融于一纸，清雅空灵间满溢融融春意。淡笔轻勾里藏着写实的精妙，简淡笔墨晕染出静谧温柔的诗意，尽显雅致的审美意趣，将自然生机诉诸笔端，淡而愈真，简而弥远，是水墨写生花鸟中的绝佳范本。",[69,23,50,52,25,27,7,28,30,1400,31],"叶片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29d886b9329342c4d5a14bb7b5782996.jpg",[35],64,{"id":1405,"slug":1406,"title":1407,"dynasty":18,"author":1408,"museum":222,"description":1409,"tags":1410,"thumbUrl":1411,"material":56,"size":172,"collection":35,"collections":1412,"showCount":1403,"zanCount":11,"manualWeight":11,"mainColor":61},219323,"hua-niao-tu-er-yue-zhou-219323","花鸟图(二)","月洲","梅枝横斜，粉蕊轻绽枝头，两只禽鸟或立或眺，神态悠然。下方花卉繁茂，瓣层叠如绒，色泽温润；长尾羽禽羽翼绯红，与素白花朵相映成趣，墨枝青叶绿意交错，野趣自生。笔触细腻处见工致，设色淡雅中藏灵动，禽鸟憨态、花木生机跃然绢上，尽显自然意趣与文人雅致。岁月虽为绢面添了斑驳，却未减画面里静谧的生机流转，似能闻得花鸟间的轻语，触到时光里的温柔回响，将自然之美与文人情韵凝于方寸之间。",[49,23,69,51,52,25,27,71,168,624,7,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6ce9a7674e5a9e4c068dd1387796361.jpg",[35],{"id":1414,"slug":1415,"title":1416,"dynasty":86,"author":307,"museum":46,"description":622,"tags":1417,"thumbUrl":1419,"material":25,"size":626,"collection":172,"collections":1420,"showCount":1421,"zanCount":11,"manualWeight":11,"mainColor":39},222746,"xian-e-chang-chun-tu-04b-lang-shi-ning-222746","仙萼长春图-04b",[49,23,69,50,24,52,25,27,7,29,1418],"果实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fb1c18ed325a1598fb52160021a962f.jpg",[],63,{"id":1423,"slug":1424,"title":1425,"dynasty":104,"author":105,"museum":46,"description":1426,"tags":1427,"thumbUrl":1428,"material":56,"size":1429,"collection":77,"collections":1430,"showCount":1431,"zanCount":11,"manualWeight":11,"mainColor":61},223520,"mei-zhu-ju-qin-tu-yi-ming-223520","梅竹聚禽图","此幅《梅竹聚禽图》的构图严谨，并且重视描绘物象的准确性，符合徽宗画院注重观察写生、讲究师承法度的标准，是一件能够代表“宣和体”的佳作。画面中央，画梅树一株，枝干弯曲而上，后方衬以翠竹棘条，有伯劳、绿鸠、鹌鹑等鸟禽栖身其间。整幅画的构图以S形屈曲的梅干来切割画面，并以成弧形交叉的竹棘增加动态感，布局虽繁密，但不零乱。画家成功将画面物象和布局理想化，创造出一种超乎时空，传达永恒的完美意象。画中的主要物象，均以双钩填彩的方式，生动的描绘出对象的色彩与体积感，给人一种平和，端庄之美。",[49,23,69,50,51,52,25,27,71,168,7,124,310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a2d45af35b0ff1f7bbe09b1b8528922.jpg","258.4x108.4",[77,35,7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若 星挥舞着羽毛扇，一只鹿跪在他身边，嘴里叼着一朵花，鹿 与 若 谐音，代表着职业道路。中间站着的幸运星，身穿宽大的蓝袍，带着玉柄和带流苏的葫芦形皇冠，象征着运气的延续。右边是微笑着的慈祥老人--长寿星，手持绣有 福禄寿 字样的玉盘，前面是一只手持 寿 字的仙鹤，象征着长寿。",[1489,25,1141,1142,491,1490,1491,7,1492,608,1493,1494],"线绣","小桥","鹿","祥云","器物","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ea885cec07fde0e2c751ced9d734b95.jpg","194.3x111.2","人物画精选",[1497],{"id":1500,"slug":1501,"title":1502,"dynasty":18,"author":722,"museum":46,"description":1503,"tags":1504,"thumbUrl":1505,"material":503,"size":1506,"collection":35,"collections":1507,"showCount":1508,"zanCount":11,"manualWeight":11,"mainColor":61},221939,"chun-hua-san-xi-zhou-bian-wen-jin-221939","春花三喜轴","此图用：正笔重色描绘了竹林中的二只山喜鹊，其背景有怪石及象征春天的大小鲜花，有的正在盛开，有的含苞待放，还有已是枝茂叶繁的新竹及节高挺直指天的竹笋，翠竹鞭笋，间以杜鹃筷廾，红绿相映，这足以表明已是春色的大地，画家把喜鹊置于特定的自然环境中，目看那翠竹上的一红嘴、黑顶、长尾、带白色斑点的灰喜鹊，张口呜叫俯视下面，在坡石上又一对同样漂亮的喜鹊，张开翅膀，相搏于坡石间，翎羽飞动，互以爪握其喙，互相拍打的戏嬉场面，这三喜鸟给画面带来了春天里动、植物生息繁衍的景象：画家向人们展示了自然界中极自然生动的瞬间形象，真实而富有情趣。\n宋代院画往往被后人批评为专求形似，不重神韵。\n其实，并不是每一个院画都是这样，何况绝大多数的院画是以刻划精确、立意高简为目的的。\n边文进便是吸取了这些院画中的养分，开创了自己的花鸟画面目。\n《春花三喜图》就是边景昭花鸟画之一。\n此画笔法工细，竹子以工细的墨色勾勒，再以填色表现。\n雀鸟的羽毛画法更是精细入微，着色艳丽而雅致，特别是长尾部的斑驳翎毛，还有闪闪生辉之态，其二喜鸟之神态栩栩如生。\n图中湖石沉雄，秀竹劲挺而葱郁．鲜花丛簇而生，夺人二目，二喜鹊于平坡之上嬉戏，一仰翻在地，一上前戏啄，上面竹间一喜鹊俯视二鹊．见此情景高声鸣，似在斥责，形神兼备，令人钦佩作者妙笔，而鹊之顽皮则令人莞尔。\n本画笔触细腻，叶以双勾填色法，山石皴染及花乌风格皆可见宋代院体风韵，设色艳丽清新，令人有如沐春风之感。\n边景昭（生卒年不详），字文进，福建沙县人。\n明宣德年间官武英殿待诏，擅画花鸟，笔墨承南宋院体，设色沉着雅丽。\n其子楚芳（一作祥）承父业，占籍锦衣（世袭任职锦衣卫）。",[49,23,50,69,51,52,25,27,168,73,7,124,951],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62f1287edf3b68161f45fac1f2622fc6.jpg","纵165.2，横98.3cm",[35,79],59,{"id":1510,"slug":1511,"title":1512,"dynasty":18,"author":105,"museum":426,"description":1513,"tags":1514,"thumbUrl":1515,"material":56,"size":1516,"collection":35,"collections":1517,"showCount":1508,"zanCount":11,"manualWeight":11,"mainColor":61},220340,"chun-jing-hua-niao-tu-yi-ming-220340","春景花鸟图","画面以早春雪景铺陈意境，老梅虬枝盘曲，枝头凝雪，冰萼缀枝。群雀栖于梅梢，灵动啾鸣，破了雪天的清寂。下方奇石覆雪，锦雉静静伫立，翎羽斑斓细腻，身旁细竹轻沾雪色，更衬出禽鸟的安然。角落里山茶吐艳，朱砂色的花萼点亮冷调的底色。\n\n工笔设色晕染柔和精微，禽鸟绒毛的蓬松、古木皲裂的苍劲都刻画入微，清冷雪景与暖调花色禽羽相映，将冬寒未褪、春意初萌的幽澹野趣尽藏其中，尽显雅致静穆又生意暗涌的格调。",[49,23,69,50,52,25,71,168,93,7,713,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1068b2760f18f253d69357fe4d36b4c1.jpg","155.2 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年代，清代女画家，画家陈舒的曾孙女，写生写生，画如陈舒的笔法。",[49,69,23,50,70,25,52,331,332,7,859,595,1007,1615,336,1616,1617,1618,1619,612,28,646,1620,72],"水藻","白鹭","红鱼","水生植物","莲叶","小鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30ec091c195124569eded74b3cf2a78e.jpg","纸本，设色","32.2×339.2cm",[],{"id":1626,"slug":1627,"title":1628,"dynasty":207,"author":521,"museum":46,"description":1629,"tags":1630,"thumbUrl":1631,"material":95,"size":1632,"collection":35,"collections":1633,"showCount":1607,"zanCount":11,"manualWeight":11,"mainColor":61},219241,"tao-zhu-chun-qin-tu-wang-yuan-219241","桃竹春禽图","此幅画坡石桃竹，两双锦鸡楼于坡石之间。桃枝上的一双小鸟作欲飞状。枝上桃花或盛开，或含苞欲放。图中花和叶都用水墨点画而成，不用线勾。作者以深浅不同的色调，表现出阴阳向背和不同的颜色。鸟身的羽毛举涂染皴划粗细笔兼用，不作精雕细琢。全画笔墨稳练、文雅，气韵苍古，是花鸟画在元代由设色向墨笔过渡的代表性作品。",[49,23,69,51,26,52,27,525,168,7,72,124,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c252bcf6ed4c5540285f24044384b10.jpg","117.6x55公分；全幅72.5公分",[35],{"id":1635,"slug":1636,"title":1637,"dynasty":207,"author":105,"museum":46,"description":1638,"tags":1639,"thumbUrl":1640,"material":25,"size":172,"collection":79,"collections":1641,"showCount":1642,"zanCount":11,"manualWeight":11,"mainColor":61},219326,"lao-pu-qiu-rong-tu-yi-ming-219326","老圃秋容图","画面中，数丛秋菊凌霜绽放，黄蕊凝金、紫瓣含晕，叠瓣层舒间尽显妍丽之态；叶片墨绿带苍，脉络清晰如染秋霜。旁侧墨石以皴擦写就，苍劲古朴，石上苔点疏密错落，更添岁月厚重。几只麻雀或栖石巅梳理羽翅，或低空掠飞相逐，灵动身姿为静谧秋景注入鲜活生气。笔墨兼具工细与写意，设色淡雅却见精神，秋意浓而不俗，尽显文人画“逸”之韵致——仿佛能闻菊香幽幽，听雀语啾啾，于方寸绢素间藏尽老圃秋日的清旷雅趣。",[23,25,52,27,210,7,124,109,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1869d6dcdca848d4e68850d5569f1ae2.jpg",[79],53,{"id":1644,"slug":1645,"title":1646,"dynasty":18,"author":283,"museum":88,"description":284,"tags":1647,"thumbUrl":1649,"material":33,"size":288,"collection":172,"collections":1650,"showCount":1642,"zanCount":238,"manualWeight":11,"mainColor":291},216260,"ming-za-hua-ce-5-wang-zhong-216260","明杂画册-5",[23,25,52,27,7,1648,73,199],"稻穗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3b7a2d37dce367fc85ce44174fdaaf3.jpg",[],{"id":1652,"slug":1653,"title":1654,"dynasty":86,"author":1304,"museum":66,"description":1655,"tags":1656,"thumbUrl":1658,"material":597,"size":1659,"collection":172,"collections":1660,"showCount":1661,"zanCount":11,"manualWeight":11,"mainColor":39},232892,"hua-niao-tu-li-zhou-li-shan-232892","花鸟图立轴","字宗扬，号复堂，又号懊道人，墨磨人、木头老子、苦李、滕薜大夫等。江苏兴化人。\n一生在仕宦途中，历遭坎坷。康熙五十年即２５岁时中举，三年后以画技至清宫当内廷供奉。他本是学画山水的，进宫后，康熙皇帝指令他跟“正宗”派花鸟画家蒋廷锡学习花卉。李鱓不以学习蒋廷锡为满足，又向高其佩学习，后受石涛笔意启发，以破笔泼墨作画，风格大变。突破了“正宗”派所规定的框框，是一位颇得宫廷器重的画师，名声也日益扩大。但他却遭到一批摹古画师的极力排斥，并以所谓抗拒规定题材和体裁的罪名而被解职。郑板桥说他是“才雄颇为世所忌，口虽赞叹心不然”。后来，李鱓以检选出任山东滕县知县，为政清简，体谅民情，被士民所尊敬。又因负才使气，玩世不恭，触犯了权贵，遂于乾隆五年，罢官归里，流落扬州，过着卖画为生的凄凉的生活。两次的仕宦打击，使李鱓在生活上放纵自己，寄情花鸟，以书画发泄其苦闷之情，但又不甘心宦途上的失败，常欲东山再起。但事与愿违。晚年定居扬州，以卖画为生。李鱓与郑板桥是同乡，又最为知已，结为知交，所以郑板桥有《郑板桥集…. 李鱓》的诗句，并有“卖画扬州、与李同老”的话。\n所作花卉，不拘法度，泼墨淋漓，但犹不失天趣。但晚年部分作品过于霸悍。传世画迹有南京博物院藏《土墙蝶花图》轴、故宫博物院藏《松藤图》轴等。\n李 鱓诗才书法成就是卓然的。李 鱓书法古朴，具颜、柳筋骨。作画时喜欢在画幅上长题满跋，有时甚至于把参差错落的题字，写满画面，于质实中见空灵，使整幅画面气韵更加淋漓酣畅。为此秦祖咏说他“书法古朴，款题随意布置，另有别致，殆亦摆脱俗格，自立门庭者也”。",[49,23,50,51,26,91,386,388,1657,27,1007,859,7,31],"鹭鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3527f96ea3aeadc84c0dedcfd0c340f.jpg","56.4x104cm",[],51,{"id":1663,"slug":1664,"title":1665,"dynasty":86,"author":243,"museum":66,"description":1666,"tags":1667,"thumbUrl":1669,"material":172,"size":172,"collection":172,"collections":1670,"showCount":1661,"zanCount":238,"manualWeight":11,"mainColor":39},230127,"hua-niao-ce-ye-ren-yi-230127","花鸟册页","画面设色秀雅清润，两只山雀依偎枝桠，翎毛晕染细腻柔和，憨态可掬尽显亲昵意趣。月季柔瓣轻展，粉色素净雅致，枝叶皴染结合，深浅浓淡晕开蓬勃生机。右上方题字笔意隽秀，与画面相映成趣。整体构图疏朗空灵，以兼工带写之法，将草木柔态与禽鸟灵动融为一体，把寻常花鸟小景绘成充满温情的雅致小品，晕染出恬淡悠然的江南雅韵，尽显清隽婉约的文人画意趣。",[23,50,24,25,27,52,31,7,73,1668,199],"枝蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb68230908224e58f73ae2820e23e446.jpg",[],{"id":1672,"slug":1673,"title":1674,"dynasty":44,"author":1198,"museum":46,"description":1675,"tags":1676,"thumbUrl":1678,"material":172,"size":172,"collection":172,"collections":1679,"showCount":1661,"zanCount":238,"manualWeight":11,"mainColor":61},227260,"shan-zhe-ji-que-tu-huang-ju-cai-227260","山鹧棘雀图","《山鹧棘雀图》是北宋花鸟画家黄居寀所创作的一幅设色画，现藏于台北故宫博物院。此图描写晚秋时节的溪边小景。近景的溪边几块石头显得突出，整个景色显得荒寒萧疏，但飞鸣、栖息于荆刺丛上的几只雀鸟，则为画面增添了不少生机和活跃的气氛。",[49,52,25,27,72,124,299,726,7,1557,1677],"荆棘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94e4895995ba64cb331932d19a89e33a.jpg",[],{"id":1681,"slug":1682,"title":1683,"dynasty":86,"author":243,"museum":66,"description":1684,"tags":1685,"thumbUrl":1687,"material":597,"size":172,"collection":35,"collections":1688,"showCount":1689,"zanCount":11,"manualWeight":11,"mainColor":39},238963,"yang-liu-qu-yu-tu-zhou-ren-yi-238963","杨柳鸲鹆图轴","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。",[23,51,27,26,25,91,1686,7],"杨柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0c5e4f5fad3781f2b6d9d87d03ee6f2.jpg",[35,79],50,{"id":1691,"slug":1692,"title":1693,"dynasty":86,"author":1694,"museum":244,"description":1695,"tags":1696,"thumbUrl":1697,"material":614,"size":1698,"collection":172,"collections":1699,"showCount":1689,"zanCount":238,"manualWeight":11,"mainColor":39},222809,"hua-zhu-qi-qin-tu-wang-wu-222809","花竹栖禽图","王武","《花竹栖禽图》底部一奇古巨石，一朵盛开的牡丹从石左侧斜出，枝头一雀鸟面向花朵，鸟目圆睁，似在欣赏花的美丽，又像陶醉在花香中。\n花鸟的颜色艳而不俗，用笔工而不板，明快醒目。\n巨石以浓墨绘出，见有皴染。\n石隙空洞处可见枝叶，错落雅致。\n墨竹疏落有致，用墨浅淡，与底部的花、鸟、石形成色彩上的鲜明对比。\n整幅画面虚实相间，构图奇巧，设色浓淡适宜，笔墨兼工带写，形成了赏心悦目的视觉效果。\n可见，作者跋中所言“学古而步泥其迹”不虚。\n此画右侧下端，置一太湖巨石，两头小中间大，造型奇特，玲珑别透，中间以矾头突出，湖石几乎占有画面的二分之一。\n石旁有翠竹数株，拔地而起，竹竿挺拔，有二大株翠竹冲出画面，一株矮竹附在湖石旁。\n湖石左脚下有数株茶花，茶花有的绽开，有的含苞，在绿叶村托下显得艳丽清雅。\n画幅左侧有作者自题识，丁已年为康熙十六年（1677），王武时年45岁，为王武中年佳作。\n此画的景物基本集中于画幅右侧，但由于画家精心安置，使整幅画位置安稳、平而不板，赋色明丽、艳而不俗，这是此画的最大的特色，也是此画最成功之处。\n在表现技法上，画家以水墨勾勒，皴染作山石，在点苔之后复以石青点之，湖石显得坚实、凝重。\n竹叶和茶花用绿色和红色直涂法，花蕊以黄色点染，花瓣虽都是红色，但亦有深浅区别变化，花叶上又用中锋细笔加画叶脉。\n一只小鸟以积墨法画之，墨色变化丰富，表现出羽毛的质感。\n此画采用没骨与匀勒法相结合的手法，显得自然协调，敷色雅丽明快，令观赏者心旷神怡，颇有忘忧之感。",[49,23,69,50,51,25,52,168,73,7,124,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c8017c120ae98e5925dad71a77ec4ec.jpg","90.7×40.5cm",[],{"id":1701,"slug":1702,"title":1703,"dynasty":104,"author":663,"museum":244,"description":1704,"tags":1705,"thumbUrl":1706,"material":614,"size":1707,"collection":77,"collections":1708,"showCount":1689,"zanCount":11,"manualWeight":11,"mainColor":39},221469,"ling-feng-bo-ge-tu-lu-zong-gui-221469","玲峰鹁鸽图","绘鹁鸽两羽，全身白色，只留尾巴黑色，一只立于湖石上，微张的尖嘴似与地面上的另一只打招呼；画面竹枝繁茂，花团锦簇，春光融融。鲁宗贵，南宋画家，工花竹、禽鸟、窠石，用笔意趣有余，描染佳妙。",[49,69,23,50,52,25,27,7,491,249,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac548a4d2e561d376899c9dbecd6e64.jpg","28 × 52 cm",[77,35,79],{"id":1710,"slug":1711,"title":1712,"dynasty":86,"author":1713,"museum":66,"description":1714,"tags":1715,"thumbUrl":1716,"material":172,"size":172,"collection":172,"collections":1717,"showCount":60,"zanCount":11,"manualWeight":11,"mainColor":39},234520,"hua-niao-wan-shan-zhu-cheng-234520","花鸟纨扇","朱偁","朱偁[清]（1826—1900，一作1826—1899）清代画家，早岁名琛，后更今名，字梦庐，号觉未，别署鸳湖散人、玉溪外史、玉溪钓者、鸳湖画史、胥山樵叟，浙江嘉兴人。熊弟。工花鸟，初法张熊，暇辄借临，熊自视几不能辨。及王礼得名以超脱胜张熊之工细，遂改从礼，兼得张画之华瞻工细与王画之超脱飘逸，神似华喦，成为名家，在上海书画界享有盛誉。题字款识，莫不酷似。晚年精进，惜未脱霸气。间仿华岩亦得其神似，卒年七十五（一作七十四）。\n事迹收录于《海上墨林》、《桐阴复志》、《近代六十名家画传》 。",[23,50,583,25,52,27,124,7,28,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29f6db911ad00282fc6ef5a8e0e78eae.jpg",[],{"id":1719,"slug":1720,"title":1721,"dynasty":86,"author":1722,"museum":66,"description":1723,"tags":1724,"thumbUrl":1725,"material":172,"size":172,"collection":172,"collections":1726,"showCount":1727,"zanCount":11,"manualWeight":11,"mainColor":39},239087,"si-ji-hua-hui-ping-zhang-xiong-239087","四季花卉屏","张熊","张熊(1803—1886)，又名张熊祥，字寿甫，亦作寿父，号子祥，晚号祥翁，别号鸳湖外史，鸳湖老人，鸳湖老者，鸳鸯湖外史，西厢客。别署清河伯子，髯参军。室名银藤花馆。秀水（今浙江嘉兴）人，张熊年青时代就移居上海，参加各种美术活动",[23,50,51,25,27,71,168,169,7,124,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ce344acb81c42a71b0d0c6bdde720fd.jpg",[],46,{"id":1729,"slug":1730,"title":406,"dynasty":86,"author":407,"museum":66,"description":408,"tags":1731,"thumbUrl":1732,"material":364,"size":365,"collection":172,"collections":1733,"showCount":1727,"zanCount":11,"manualWeight":11,"mainColor":39},239061,"shan-shui-hua-niao-ce-yang-jin-239061",[23,50,24,26,27,71,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe891ac60b5d32342d48e1d85f1585b35.jpg",[],{"id":1735,"slug":1736,"title":1737,"dynasty":18,"author":1738,"museum":88,"description":1739,"tags":1740,"thumbUrl":1741,"material":56,"size":1742,"collection":35,"collections":1743,"showCount":1727,"zanCount":238,"manualWeight":11,"mainColor":61},219314,"jin-ji-han-mei-tu-bian-jing-zhao-219314","锦鸡寒梅图","边景昭","寒石之上，锦鸡敛翅静立，翎羽如锦绣裁就，红腹似霞晕染，连绒羽的细绒都清晰可见，仿佛能触到那柔软的质感。旁侧枯枝斜逸，梅蕊初绽，素白的花与苍劲的枝桠相映，冷寂中透出雅致。沉郁的底色如古砚磨出的墨晕，将禽鸟的鲜活托得愈发分明，梅香似随微风漫开，清寒里藏着脉脉生机。笔触细腻入微却不板滞，色彩浓淡相宜，既有工笔的精致写实，又含写意的空灵意境，于冬日的静谧中，绘就一份鲜活与雅致，似能听见锦鸡轻啄梅瓣的微响，冷冽中溢出温情。",[23,50,27,52,25,71,7,124,1598,310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5ec3c9a9636678fe8757ecb09c33f89.jpg","38.5x32.8cm",[35],{"id":1745,"slug":1746,"title":1747,"dynasty":104,"author":1748,"museum":46,"description":1749,"tags":1750,"thumbUrl":1751,"material":56,"size":1752,"collection":77,"collections":1753,"showCount":1727,"zanCount":238,"manualWeight":11,"mainColor":61},219151,"xiang-bo-tu-li-an-zhong-219151","翔鹁图","李安忠","这幅无标题的画,描绘了四只鹌鹑，它们飞翔或降落。 刻画生动，鸟兽造型精准。 兰花的叶子像水草一样飘扬，很有装饰性。 虽然不能确定是李安忠所绘，但也是宋元时期的杰作。",[49,69,23,50,51,52,25,27,72,124,225,73,1557,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac72a55ea3763e691c05bcb488667755.jpg","纵96横43.8厘米",[77,35,79],{"id":1755,"slug":1756,"title":1757,"dynasty":104,"author":1758,"museum":426,"description":1759,"tags":1760,"thumbUrl":1761,"material":56,"size":1762,"collection":35,"collections":1763,"showCount":1727,"zanCount":11,"manualWeight":11,"mainColor":39},219088,"xue-qin-tu-cui-bai-219088","雪禽图","崔白","这幅画的是河岸边树杆折断，一旁杂草叶片已枯黄，藤杆上覆盖着一层薄雪，一只灰北白肚鸟儿立于细藤上，尾翎修长，扭头尖喙咬住羽毛，半眯的眼睛似乎在沉睡中。",[23,50,583,27,52,25,7,198,430,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3706dae6af508fd6c7d4846d57c4de27.jpg","23.5x22.2cm",[35],{"id":1765,"slug":1766,"title":1767,"dynasty":104,"author":105,"museum":244,"description":1768,"tags":1769,"thumbUrl":1770,"material":503,"size":1771,"collection":172,"collections":1772,"showCount":1773,"zanCount":11,"manualWeight":11,"mainColor":39},223591,"shu-he-sha-niao-tu-ye-yi-ming-223591","疏荷沙鸟图页","图中所绘残败的荷叶表明了时当秋日，荷塘的一角，一枝枯瘦的莲蓬横出画面，鹡鸰栖止于莲梗上，侧首注视着上方的一只小蜂，其凝神专注的神态刻画得惟妙惟肖。莲梗两端的鹡鸰与莲蓬巧妙地平衡了画面，而鹡鸰目向小蜂的视线则带动观者的视线落于画面上方，这种布局使画面显得既稳定又生动。此图格调典雅，用笔精致，画风细腻，荷叶枯黄的斑点和细小的筋脉均描绘得一丝不苟。",[49,69,23,50,24,52,25,362,166,31,386,1353,7,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd83a87f455c33296c9ed4d781844a8fe.jpg","纵25厘米，横25．6厘米",[],45,{"id":1775,"slug":1776,"title":1777,"dynasty":86,"author":243,"museum":66,"description":1778,"tags":1779,"thumbUrl":1780,"material":172,"size":1781,"collection":172,"collections":1782,"showCount":1783,"zanCount":11,"manualWeight":11,"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。",[49,69,23,50,583,25,27,53,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6f12cd162d27310e69972efc06ba6ab.jpg","纵111.2cm，横55.4cm",[],44,{"id":1785,"slug":1786,"title":1787,"dynasty":104,"author":580,"museum":66,"description":1788,"tags":1789,"thumbUrl":1790,"material":364,"size":365,"collection":172,"collections":1791,"showCount":1792,"zanCount":238,"manualWeight":11,"mainColor":39},230951,"liu-kai-jian-zi-tu-wu-bing-230951","榴开见子图","吴炳（公元12世纪），生卒年不详，毗陵武阳（今江苏常州）人，南宋光宗绍熙年间（1190-1194年）任画院待诏，是南宋院体花鸟画的代表性画家。\n代表作有《竹雀图》《写生荷花图（出水芙蓉图）》《罂粟图》《宝珠玉蝶图》《春池睡鸭图》《山茶鹁鸽图》等。",[23,69,50,52,25,27,442,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e9a16b335fa694e452ac55b07eb10c5.jpg",[],43,{"id":1794,"slug":1795,"title":1796,"dynasty":18,"author":1797,"museum":66,"description":1798,"tags":1799,"thumbUrl":1805,"material":172,"size":172,"collection":172,"collections":1806,"showCount":1792,"zanCount":254,"manualWeight":11,"mainColor":61},228325,"xiang-shan-jiu-lao-tu-juan-chang-juan-xie-huan-228325","香山九老图卷（长卷）","谢环","【文物现状】现藏美国克利夫兰美术馆 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香山九老会诗序》的内容可知，对九老雅集的描绘早已有之，到了南宋时期，此题材在画院中也非常兴盛；而明代的宫廷画家在承袭南宋画院风格时，对此种具有历史典故的题材又较好的继承下来。\n对于这幅表现文人聚会的长卷，在构图上作者选择了从围墙上方往墙内俯视的角度来描。\n画中一条蜿蜒的碎石小径贯穿整个画面，形成一条横轴线，人物及景物均围绕着石径展，画面从左边开始：一身着便服的文人携一童仆正缓缓地向画面中心的厅堂走来，他似乎并不急于赴会，而是悠闲地欣赏着园内的景致。\n沿着他走的路径向右看，在石径一侧，有两人站在梅树前，一人一边指着着梅树一边好像对旁边的人说着什么，看那人恭敬的样子，也许正在聆听长者论道吧。\n再往后，便是画的中心，这是画面内容的主体：只见一宽大的厅堂里，几案分明，案上盆景、花瓶摆放有序；厅中有一桌，三个文人正围着桌子看一位长者写着什么，或是画着什么。\n四个人物的神态各不相同，均刻画精微：长者面露喜悦，挥毫泼墨；三位围观者，有的若有所思，有的凝神静观。\n堂前石径上，有一仆人正端着盘子向右行，把观者的视线引向画面的结尾部分，有两位文人正在苍松翠柏下吟诗赏画，旁边的几位童仆，有的在煮茶温酒，备办佳肴；有的在侍侯笔墨，抱琴侍立。\n整个场面以石径为主线，中间穿插以厅堂楼榭，假山叠石，古松，梅树，瑞鹤等景物，把画面的几个部分联成一个有机的整体。\n整体上看，瑞松摇曳，梅花绽放，祥鹤唳鸣，环境清幽淡远，实为人间的“桃源仙境”。\n在刻画人物形象方面，作者着重于对人物表情的描绘。\n人物布局上聚散都非常富于变化。\n笔法工整严谨，衣纹线条准确，挺拔而秀逸，极富质感，色彩鲜艳、古拙。\n在景物刻画上也非常严谨，小径上的碎石，亭台、屋宇等一笔一笔地描绘出，松柏，梅树，竹叶也细细地勾勒，显示出画家精谨细密的功夫，具有李唐、刘松年的遗风，属于院体一派。\n谢环，字庭循，明永嘉（今浙江温州）人，善画山水、人物，远承荆浩、关仝，以及南宋李唐、刘松年，近师元人。\n成祖永乐(14-1424）中征入画院。\n谢环还擅长文学，画史上说他“知学问，喜赋诗”，有《梦吟堂集》世，时人称他“清瑾有文”。\n传世作品有《 》等。",[49,23,70,25,52,1142,1800,1801,1802,1803,1804,286,7],"亭","树木","仙鹤","石径","庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3901b4a9861a664f281876e2c023104.jpg",[],{"id":1808,"slug":1809,"title":1810,"dynasty":86,"author":1811,"museum":818,"description":1812,"tags":1813,"thumbUrl":1815,"material":1816,"size":1817,"collection":35,"collections":1818,"showCount":1792,"zanCount":11,"manualWeight":11,"mainColor":61},222806,"hua-niao-zhen-qin-tu-you-cui-222806","花鸟珍禽图","尤萃","图绘山脚坡石之间，流溪如练，天竹数丛，卓秀多姿。野生蔷薇，随风摇曳。丛丛簇簇的幽兰，各放馨香。树下一双美雉，悠然唱和，美丽动人。石后文杏高耸，繁花缀满枝头，鹦鹉停息树梢，双燕穿飞花间。一个鸟语花香的世界。",[49,23,50,52,25,27,71,7,1814,93,73,29],"雉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1c8d78323e1e166ec5d52532c3a4c51.jpg","绢本 设色","纵196.7cm，横96.5cm",[35,79],{"id":1820,"slug":1821,"title":1822,"dynasty":18,"author":510,"museum":46,"description":1823,"tags":1824,"thumbUrl":1825,"material":25,"size":1826,"collection":35,"collections":1827,"showCount":1792,"zanCount":11,"manualWeight":11,"mainColor":39},222180,"hua-niao-shan-mian-lu-zhi-222180","花鸟扇面","陆治（西元一四九六－一五七六年），江苏吴县人，字叔平，号包山子。倜傥好义，以教友著称于乡里。诗文书画并佳。曾和文征明、祝允明一起作画吟诗。画的名声和文征明一样好。\n这幅用淡墨干笔，画丛山叠树，渔父鼓舟前进，一面洗脚，二人在高坡上坐着似在观看瀑布。用色淡雅而有变化。画成于陆治七十三岁。陆治有诗，曾自比「桃源中人」，以喻其隐居状况。\n此画在笔法与构图，均受元代王蒙花溪渔隐图影响，颇有自况意味",[49,23,583,25,27,338,7,249,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe186c518a951a238ca279262f34bd2f5.jpg","纵31厘米、横61厘米",[35,79],{"id":1829,"slug":1830,"title":1831,"dynasty":86,"author":105,"museum":88,"description":1832,"tags":1833,"thumbUrl":1836,"material":56,"size":1837,"collection":35,"collections":1838,"showCount":1792,"zanCount":238,"manualWeight":11,"mainColor":61},218954,"shou-dai-jin-ji-tu-yi-ming-218954","绶带锦鸡图","锦鸡立于古桩，羽色斑斓：颈间鳞纹细密如织，朱红尾羽迤逦垂落，身姿卓然带贵气。枝头绶带鸟或栖或嬉，翅羽轻展时神态灵动，似有细语在梅间。寒梅绽雪般素白，竹影疏斜着青绿，与棕褐绢底相映成趣，古雅中藏生机。工笔线条细劲如丝，勾勒禽鸟之态、花木之姿皆栩栩如生；设色温润含蓄，红与白、青与褐的层次里，晕染出清逸韵致。整幅画融富贵吉祥于宁静之境，动静相宜间，尽显传统花鸟的雅致与意趣。",[23,50,52,25,27,1834,1835,7,71,168,28,30],"锦鸡","绶带鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F575939c4968d07c9264ca108a1481a65.jpg","79x36cm",[35],{"id":1840,"slug":1841,"title":1272,"dynasty":86,"author":1273,"museum":66,"description":1274,"tags":1842,"thumbUrl":1844,"material":364,"size":365,"collection":172,"collections":1845,"showCount":1846,"zanCount":11,"manualWeight":11,"mainColor":61},239084,"hua-niao-ping-liao-yun-jin-239084",[23,50,51,52,25,635,27,1843,53,7,170],"紫藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45f5bffa7312da453bc23ab23d99493e.jpg",[],42,{"id":1848,"slug":1849,"title":395,"dynasty":207,"author":521,"museum":66,"description":1850,"tags":1851,"thumbUrl":1852,"material":172,"size":172,"collection":172,"collections":1853,"showCount":1846,"zanCount":11,"manualWeight":11,"mainColor":61},228163,"hua-niao-tu-ye-wang-yuan-228163","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。",[23,50,69,25,52,27,71,53,7,168,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27a089108778c2a97fb4773d6b972852.jpg",[],{"id":1855,"slug":1856,"title":1857,"dynasty":86,"author":547,"museum":66,"description":1858,"tags":1859,"thumbUrl":1860,"material":172,"size":172,"collection":172,"collections":1861,"showCount":1862,"zanCount":238,"manualWeight":11,"mainColor":39},224181,"hua-niao-li-zhou-hua-yan-224181","花鸟立轴","梅枝虬曲绽花，主鸟独立高枝，振羽引吭，翎毛以淡墨晕染，尽显蓬松柔润。下方竹枝斜出，两只小雀依偎私语，憨态可掬。顽石以枯淡笔墨勾勒，墨色浓淡相破，野意盎然。\n全作用兼工带写之法，将禽鸟灵动与花木清逸相融，题款错落排布，书画相映，晕染出幽寂早春的澹远意趣，笔意秀逸脱俗，把春日禽鸟迎春的生机悄然铺展，清隽雅致，饶有闲情。",[49,23,51,25,26,27,71,168,124,7,31,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa32f2c98cbf9f8e2905ef51e67f151d1.jpg",[],41,{"id":1864,"slug":1865,"title":1866,"dynasty":86,"author":547,"museum":66,"description":1867,"tags":1868,"thumbUrl":1869,"material":172,"size":172,"collection":35,"collections":1870,"showCount":1871,"zanCount":11,"manualWeight":11,"mainColor":39},234298,"za-hua-ce-hua-yan-234298","杂画册","华嵒的山水画转益多师，石涛的沉浑恣肆、恽寿平的松秀隽逸、北宗的峭利缜密、元人的深邃郁茂，都被他吸收融合。他没有泥古不化，在游览山河的过程中，不断的“师造化”，形成了晚年疏放、简率、冷峭、蕴藉的主流风格。华喦的山水画设色，多用浅绛或小青绿设色，承诸黄公望、王蒙和董其昌的传统，于统一中求对比，色调明洁淡雅。新罗山人在山水画设色上的创新是发展了青绿没骨山水。这种没骨山水是综合唐宋人、董玄宰和恽格没骨山水并参用清初四王笔法而形成的一种格制。华嵒的山水画从总体来看善于用色彩表达个人的情绪，用笔墨描绘悠远的意境，创造了独特的笔墨语言和表现技法，充分表达了其“刷尘”，“离垢”的理想。",[23,24,25,27,168,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18261950f2c430698f9dc86a6d3b1d6c.jpg",[35,1463],40,{"id":1873,"slug":1874,"title":1875,"dynasty":44,"author":868,"museum":66,"description":1876,"tags":1877,"thumbUrl":1879,"material":364,"size":365,"collection":172,"collections":1880,"showCount":1871,"zanCount":238,"manualWeight":11,"mainColor":61},226154,"xie-sheng-zhen-qin-quan-juan-huang-quan-226154","写生珍禽全卷","黄筌是五代时期最有名的宫廷画家，一个在前蜀、后蜀画院任职40年的大画家，入宋后，又得到宋太祖的激赏。入宋百年一直把他的笔法当作画院画家作画的模范。宋代《宣和画谱卷十八》记载：“祖宗以来，图画院之较艺者，必以黄筌父子笔法为程序……”\n黄筌画出来的画，上自皇帝下至走卒，没有不连声赞叹的。而他留下来的这幅画稿《写生珍禽图卷》，也同样是技巧精湛、内涵丰实、人人叹服的绝世之作。\n这幅画中，画了24只小生物，都是珍禽异鸟。它们在皇宫中受到细心的养护，品种优良，造型独特，有的五彩斑斓，眩人耳目。黄筌在宫中画院任职，能够利用画院的便利条件，观察这些珍禽异鸟，而把它们揽入他的绢素中。\n也许有人会说这幅画没有意境，没有布局章法，鸟、虫都自顾自的，没有交集。其实没布局是有其道理的，因为这是画稿嘛，不是完整独立的画作，只是针对个别鸟虫而画，初学者基本上能掌握住这些生物的外形、动态就行。\n这24只小生命像图鉴般被安置在一方小小绢布上，不但不见拥挤、单调，反倒觉得谐和热闹，视觉上也很赏心悦目。",[49,52,25,70,148,27,7,830,1878,31],"龟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63ea7bbb08ea8dee423e5e1bfd185218.jpg",[],{"id":1882,"slug":1883,"title":1884,"dynasty":104,"author":105,"museum":46,"description":1885,"tags":1886,"thumbUrl":1888,"material":56,"size":1889,"collection":77,"collections":1890,"showCount":1871,"zanCount":11,"manualWeight":11,"mainColor":61},221236,"tong-shi-xiu-ling-zhou-yi-ming-221236","桐实修翎轴","画面留白空灵悠远，尽显极简造境之妙。禽鸟停驻桐枝，翎毛刻画细致入微，茸绒毕现，抬首凝伫间神态机警灵动，将野雀鲜活生姿定格绢素。\n\n桐叶与桐实以水墨晕染，墨色苍润层次分明，枯枝虬曲苍劲，古朴野逸。全画笔法兼具工细与写意，写实中饱含清雅诗意，将林下一隅的幽寂生趣尽致展现，尽显格物致知的审美意趣，淡墨轻岚间晕开沉静古雅的宋韵风神。",[49,23,69,51,27,52,25,7,198,1887,31],"桐实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb521334d6a0b978dd8fa170f2109cdc2.jpg","纵103.4cm，横33cm",[77,1463,472],{"id":1892,"slug":1893,"title":1894,"dynasty":18,"author":948,"museum":222,"description":1895,"tags":1896,"thumbUrl":1897,"material":56,"size":172,"collection":35,"collections":1898,"showCount":1871,"zanCount":11,"manualWeight":11,"mainColor":61},219746,"song-ying-tu-lv-ji-219746","松鹰图","吕纪（1439年-1505年），字廷振，号乐愚，鄞（今浙江宁波）人。明代院体花鸟画家。",[49,23,50,52,25,27,725,351,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8ac887d96b6abbbb34b17fc5d912f97.jpg",[35],{"id":1900,"slug":1901,"title":1866,"dynasty":86,"author":87,"museum":66,"description":1902,"tags":1903,"thumbUrl":1904,"material":364,"size":365,"collection":172,"collections":1905,"showCount":1906,"zanCount":11,"manualWeight":11,"mainColor":39},235504,"za-hua-ce-zhu-da-235504","朱耷（1626年—约1705年），原名朱统𨨗，字刃庵，号八大山人、雪个、个山、人屋、道朗等，出家时释名传綮，汉族，江西南昌人 。明末清初画家，中国画一代宗师。",[23,50,24,26,91,27,7,432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d4fbc6f21704ae7e6f82c0ab3700c6d.jpg",[],39,{"id":1908,"slug":1909,"title":959,"dynasty":18,"author":105,"museum":66,"description":1910,"tags":1911,"thumbUrl":1912,"material":614,"size":172,"collection":172,"collections":1913,"showCount":1914,"zanCount":238,"manualWeight":11,"mainColor":61},236285,"wang-zi-yuan-hua-niao-ce-yi-ming-236285","此作清疏留白，蜿蜒花枝斜斜舒展，粉紫碎花攒聚枝头，墨叶苍润古雅，晕染得宜。绣眼静栖枝梢，羽色晕染细腻柔和，尖喙微抬，侧目端详下方螳螂，灵动神态呼之欲出。翠色螳螂凝立花枝之上，身姿劲挺鲜活。\n\n画面静中藏动，将林间偶遇的刹那生机定格，设色雅致柔和，妍而不俗。工写结合的笔法兼具细腻与意趣，寥寥景致却尽显自然幽微意趣，带着平和隽逸的文人意韵，把郊野小景的灵动生机晕染纸上，尽显小品花鸟的雅致格调。",[23,50,24,25,52,27,7,28,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdb8fffef29c538df923837946d854ac.jpg",[],38,{"id":1916,"slug":1917,"title":1918,"dynasty":104,"author":105,"museum":46,"description":1919,"tags":1920,"thumbUrl":1923,"material":56,"size":1924,"collection":35,"collections":1925,"showCount":1914,"zanCount":11,"manualWeight":11,"mainColor":39},219955,"xue-zhu-han-qin-tu-yi-ming-219955","雪竹寒禽图","图绘三只麻雀立积雪枝头,一枝竹叶伸出.雪用白色点,画风与李嵩,吴炳等南宋画家有一定内在联系.",[49,23,69,50,52,25,27,168,430,526,7,1921,1922],"雪景","寒枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F266a1245586b7b8927d4b28404e7793c.jpg","24.3x25.7",[35],{"id":1927,"slug":1928,"title":1929,"dynasty":44,"author":1930,"museum":244,"description":1931,"tags":1932,"thumbUrl":1934,"material":1935,"size":1936,"collection":172,"collections":1937,"showCount":1938,"zanCount":11,"manualWeight":11,"mainColor":61},221173,"na-ga-xi-na-zun-zhe-tang-ka-bu-ben-guan-xiu-221173","那伽犀那尊者（唐卡布本）","贯休","贯休(832年-912年)，俗姓姜，字德隐，婺州兰溪(今浙江省兰溪市)人。唐末五代时期前蜀画僧、诗僧。七岁出家和安寺，日读经书千字，过目不忘。唐天复间入蜀，被前蜀主王建封为禅月大师，赐以紫衣。\n天复二年（902年），黄巢起义席卷大半个中国，兵火连年，战祸惨烈。古稀之年的贯休，带着对命运和时代的切肤之悟，做出了人生中一个重大决定：“一瓶一钵垂垂老，千水千山得得来。”他从黔中（今湖南怀化）出发，经三峡，沿长江逆流而上，于次年初春到达成都，度过了人生的最后十年。",[49,69,23,50,51,25,1141,1142,608,429,27,1491,7,726,109,52,1933,339],"布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b41f5da4d64a7095b0f7c7ead52295.jpg","布本，设色","通高143厘米，宽89厘米，画心纵82厘米，横56厘米",[],37,{"id":1940,"slug":1941,"title":1942,"dynasty":86,"author":1943,"museum":1944,"description":1945,"tags":1946,"thumbUrl":1949,"material":56,"size":1950,"collection":35,"collections":1951,"showCount":1938,"zanCount":238,"manualWeight":11,"mainColor":61},218736,"liu-tang-ji-qin-tu-hu-mei-218736","柳塘集禽图","胡湄","旅顺博物馆","此画描绘了一群禽鸟在柳塘嬉戏的情景。画中几只芦雁或在岸上长鸣，或在水中畅游，或在低空中盘旋，石缝中生长出几棵小树，两只小鸟在枝丫上彼此顾盼。",[49,23,50,69,51,52,26,27,1947,7,526,1948,646,645,1801,72,1007],"柳","池塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9a65963fe55590b859fe37010d4dfd9.jpg","纵211厘米，横100厘米",[35],{"id":1953,"slug":1954,"title":1955,"dynasty":104,"author":259,"museum":66,"description":1956,"tags":1957,"thumbUrl":1959,"material":172,"size":172,"collection":172,"collections":1960,"showCount":1961,"zanCount":11,"manualWeight":11,"mainColor":39},227487,"hai-tang-bai-tou-tu-juan-zhao-ji-227487","海棠白头图卷","赵佶，即宋徽宗，1100-1125年在位。在位时广收古物和书画，网罗画家，扩充翰林图画院，使文臣编纂《宣和书谱》、《宣和画谱》等。擅书画，真书学薛曜，自称“瘦金书”，也写狂草。绘画重视写生，以精工逼真著称，工花鸟，相传用生漆点睛，尤为生动。",[49,23,50,70,52,26,27,1958,7,29,166,31],"海棠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250407a0c16f93208498d2d02f6623ad.jpg",[],36,{"id":1963,"slug":1964,"title":1965,"dynasty":86,"author":243,"museum":995,"description":1966,"tags":1967,"thumbUrl":1968,"material":1969,"size":1970,"collection":172,"collections":1971,"showCount":1961,"zanCount":11,"manualWeight":11,"mainColor":39},223231,"mei-que-tu-ren-yi-223231","梅雀图","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。",[49,23,50,51,25,26,27,71,7,72],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4b46401bef043423b368b688dbe0e57.jpg","纸本设色","纵70.7厘米，横35厘米",[],{"id":1973,"slug":1974,"title":1975,"dynasty":86,"author":547,"museum":66,"description":1976,"tags":1977,"thumbUrl":1978,"material":172,"size":172,"collection":172,"collections":1979,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},230185,"hua-niao-cao-chong-tu-ce-8-zhen-hua-yan-230185","花鸟草虫图册8帧","此帧以淡墨晕染湖石，枯槎斜出，缀着将残的花枝，清寂秋意扑面而来。四只文雀神情灵动鲜活，一只振翅回身，似在呼引枝上同伴，三雀或侧耳或抬首，亲昵相映，将秋日荒寒里的生趣尽数勾勒。\n\n设色清浅柔和，禽鸟绒羽蓬松宛然，湖石墨色苍润有层次。左侧题诗与朱红印章错落排布，留白疏密相宜，诗画相生，将萧索秋意与小雀的生机揉合，清冷中带着融融暖意，尽显隽秀雅致的笔墨意趣。",[69,23,50,24,26,25,27,124,7,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd89d3818b81f0bfd0b7ea1bf2d27ff9.jpg",[],{"id":1981,"slug":1982,"title":1983,"dynasty":86,"author":547,"museum":66,"description":1984,"tags":1985,"thumbUrl":1986,"material":172,"size":172,"collection":172,"collections":1987,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":61},224186,"hua-niao-cao-chong-tu-ba-05-hua-yan-224186","花鸟草虫图八-05","这幅花鸟图以画眉为主体，画师以细腻笔触丝写出禽鸟绒羽，蓬松柔润，画眉抬首引颈，俨然正引吭啼鸣，灵动楚楚。枯瘦枝桠以淡墨写出，间杂残红野果，设色清妍冷峭，晕染出秋深烟寒的幽寂氛围。\n\n左侧题诗与画面相映成趣，书画交融，将晚秋荒寒之境与禽鸟的缱绻情态相融，笔致秀逸空灵，尽显清隽雅致的意趣。画师将写生之真与写意之美糅合，寥寥数笔便勾勒出残秋里生机未泯的幽微景致，晕染出深秋独有的怅惘诗意。",[49,23,50,24,25,27,7,1557,979,91,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a7826f0cacf91bbca0594c3e632a037.jpg",[],{"id":1989,"slug":1990,"title":1991,"dynasty":86,"author":307,"museum":46,"description":622,"tags":1992,"thumbUrl":1993,"material":25,"size":626,"collection":172,"collections":1994,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},222733,"xian-e-chang-chun-tu-cui-zhu-qian-niu-lang-shi-ning-222733","仙萼长春图翠竹牵牛",[49,69,23,50,24,52,25,27,168,1382,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e67283e0ab5abccdabbdf139080e20c.jpg",[],{"id":1996,"slug":1997,"title":1998,"dynasty":18,"author":1999,"museum":46,"description":2000,"tags":2001,"thumbUrl":2003,"material":33,"size":2004,"collection":35,"collections":2005,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},219399,"qiu-lao-wu-tong-zhou-lan-ying-219399","秋老梧桐轴","蓝瑛","描绘了秋色节令，而图中乾隆皇帝的题诗又为此画增添了流传千古的一段文坛佳话。",[23,51,25,52,27,2002,7,29],"梧桐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4552d34b1f14023a19d7989f826fdca7.jpg","136.6x31.2",[35],{"id":2007,"slug":2008,"title":17,"dynasty":18,"author":2009,"museum":66,"description":2010,"tags":2011,"thumbUrl":2012,"material":172,"size":172,"collection":172,"collections":2013,"showCount":2014,"zanCount":11,"manualWeight":11,"mainColor":39},237673,"hua-niao-ce-ling-bi-zheng-237673","凌必正","[明]字贞卿，一字蒙求，号约庵，太仓（今江苏太仓）人。崇祯四年（一六三一）进士，官至广西副使。善山水，设色妍雅，位置精密，接轸宋人。间画花鸟，尚欠超逸生动之致。《太仓州志、无声诗史、桐阴论画》",[23,50,24,25,52,27,7,73,198,199,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd19c88dd409fb513d29e61df5f1d5f60.jpg",[],34,{"id":2016,"slug":2017,"title":2018,"dynasty":104,"author":1748,"museum":244,"description":2019,"tags":2020,"thumbUrl":2022,"material":263,"size":2023,"collection":77,"collections":2024,"showCount":2014,"zanCount":11,"manualWeight":11,"mainColor":61},221583,"bu-chu-tu-ye-li-an-zhong-221583","哺雏图页","图中寒冬中二枝芦苇业已枯败，杆上有三只鸟儿栖息，其中鸟父母嘴里叨着虫子向中间小的鸟儿走来，喂食它们的孩儿。图上芦苇叶子描画精细，正翻面和缺口自然显现；鸟儿的眼神专注，将父母对子女无私的爱自然流露出来。",[49,69,23,50,24,52,25,27,168,7,2021],"雏鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8da06ac16d1aa8ac5e037145a98372f.jpg","22.8*24cm",[77,35,79],{"id":2026,"slug":2027,"title":2028,"dynasty":104,"author":105,"museum":20,"description":2029,"tags":2030,"thumbUrl":2032,"material":56,"size":2033,"collection":35,"collections":2034,"showCount":2014,"zanCount":11,"manualWeight":11,"mainColor":61},218982,"hong-guo-lv-bei-tu-yi-ming-218982","红果绿鹎图","图中“红果”即是山楂，山楂在宋人生活中很是常见，陆游有《出游》诗写道：“行路迢迢入谷斜，系驴来憩野人家。山童负担卖红果，村女缘篱采碧花。”，写的就是诗人在出游途中，看到有人正挑着担子贩卖山楂。",[69,23,50,52,25,27,7,2031,29],"果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d2733aa2f4c00bae25f90540a4fce6f.jpg","24.1x25.1cm",[35],{"id":2036,"slug":2037,"title":959,"dynasty":18,"author":105,"museum":66,"description":2038,"tags":2039,"thumbUrl":2040,"material":614,"size":172,"collection":172,"collections":2041,"showCount":2042,"zanCount":238,"manualWeight":11,"mainColor":61},236283,"wang-zi-yuan-hua-niao-ce-yi-ming-236283","此作设色清妍雅致，花枝虬曲舒展，粉白梅朵柔润鲜活，没骨晕染尽显花瓣凝透质感，淡墨勾勒枝干，苍劲间自带清隽之态。\n\n白头翁栖于枝桠，昂首侧目，似正啼鸣。禽鸟刻画细致入微，羽毛丝缕分明，灵动鲜活的神态将林间春日生机全然托出。画面留白疏朗，虚实相生，以极简构图营造出幽寂清宁的春日意趣，将一花一鸟的雅致意趣融于淡远氛围中，悠然隽永，尽显传统花鸟的温婉格调。",[23,962,25,52,27,71,7,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa681153cc0787bd70f3925dcc390ddda.jpg",[],32,{"id":2044,"slug":2045,"title":2046,"dynasty":86,"author":243,"museum":6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－1435年1月31日），号长春真人 ，明成祖朱棣之孙，明仁宗朱高炽长子，明朝第五位皇帝（1425年5月29日-1435年1月31日在位）、书画家，年号“宣德”。\n明宣宗朱瞻基生于北平燕王府 。幼年聪颖，深得祖父朱棣喜爱。永乐九年（1411年），册立为皇太孙，多次跟随明成祖朱棣征讨蒙古。 洪熙元年（1425年）即位。宣德元年（1426年），平定汉王朱高煦叛乱。在政治上，重视整顿吏治和财政，提升内阁地位，任用“三杨”、蹇义、夏原吉等；教导宦官读书参政。经济上，实行休养生息，缓和社会矛盾的措施。对外关系上，进行第七次郑和下西洋；停止用兵交趾；于宣德三年（1428年）出塞，并修建永宁、隆庆诸城。明宣宗的一系列措施使得社会经济空前的发展，与其父明仁宗统治时期合称“仁宣之治”。同时明宣宗在书画方面极有造诣，翰墨图书，极为精致。“点墨写生，遂与宣和（宋徽宗）争胜”， 书法能于圆熟之外见遒劲。工于绘事，山水、人物、走兽、花鸟、草虫均佳，曾钤“广运之宝“、”武英殿宝”及“雍熙世人”等印章。\n宣德十年（1435年），明宣宗去世，终年三十六岁 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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。",[23,50,24,25,52,7,713,928,93,31,2166,917,27],"楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3660f3d2f11d187fa12faa414f7f4d28.jpg",[35,79],28,{"id":2171,"slug":2172,"title":17,"dynasty":18,"author":2173,"museum":66,"description":2174,"tags":2175,"thumbUrl":2177,"material":364,"size":365,"collection":172,"collections":2178,"showCount":2179,"zanCount":238,"manualWeight":11,"mainColor":39},235722,"hua-niao-ce-tan-zhi-yi-235722","谈志伊","谈志伊，字公望，号学山，一字思重，无锡人，明代画家。",[69,23,50,24,52,25,27,7,198,2176,31],"松针","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1157157ff73f55ff4b221685f7f203fc.jpg",[],27,{"id":2181,"slug":2182,"title":2183,"dynasty":104,"author":105,"museum":66,"description":2184,"tags":2185,"thumbUrl":2186,"material":172,"size":172,"collection":172,"collections":2187,"showCount":2179,"zanCount":238,"manualWeight":11,"mainColor":61},227902,"bai-mei-cui-qin-tu-yi-ming-227902","白梅翠禽图","画面取一隅枝桠，寒梅初绽，翠禽独立，将早春清寂揉进尺幅之间。禽鸟刻画入微，绒羽蓬松柔润，腹羽暖褐与翎羽浓黑相映，翼上白羽似落雪轻沾，圆目凝睇，沉静安然，将生机藏于娴静姿态里。梅花勾勒细腻，瓣边晕染浅淡墨色，花苞缀于枝梢，清润雅致。苍劲枝桠虬曲伸展，留白铺陈出空阔淡远的意境。整体色调温婉柔和，以极简物象晕染出宋人雅趣，把花鸟之态融于幽寂氛围，尽显空灵隽永的宋韵品格，将早春枝头上的轻悄生机，晕成一段淡而不散的雅致诗意。",[49,69,23,50,52,25,27,71,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86abed12ed0046a10b30eaab1a6ca674.jpg",[],{"id":2189,"slug":2190,"title":2191,"dynasty":86,"author":307,"museum":46,"description":622,"tags":2192,"thumbUrl":2194,"material":25,"size":626,"collection":172,"collections":2195,"showCount":2179,"zanCount":11,"manualWeight":11,"mainColor":39},222731,"xian-e-chang-chun-tu-zi-bai-ding-xiang-lang-shi-ning-222731","仙萼长春图紫白丁香",[49,23,50,24,52,25,27,2193,7,29,110,2136,1333],"丁香","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ffcb1593f89bbebafa1e0c5468c60b4.jpg",[],{"id":2197,"slug":2198,"title":2199,"dynasty":18,"author":162,"museum":675,"description":2200,"tags":2201,"thumbUrl":2202,"material":24,"size":172,"collection":172,"collections":2203,"showCount":2179,"zanCount":11,"manualWeight":11,"mainColor":39},221908,"hua-niao-jing-pin-ce-5-chen-hong-shou-221908","花鸟精品册5","陈洪绶（1599～1652），明末清初著名书画家、诗人，字章侯，号老莲，浙江绍兴人。其画手法简练，格调高古，享誉明末画坛，与当时的顺天崔子忠齐名，号称“南陈北崔”。花鸟工笔描绘精细，设色清丽，富有装饰味。",[23,50,27,24,52,25,168,7,124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a5d79a94653016226ac2e4980599978.jpg",[],{"id":2205,"slug":2206,"title":2207,"dynasty":104,"author":105,"museum":20,"description":2208,"tags":2209,"thumbUrl":2211,"material":56,"size":2212,"collection":35,"collections":2213,"showCount":2179,"zanCount":11,"manualWeight":11,"mainColor":61},218973,"jin-ji-zhu-que-tu-yi-ming-218973","锦鸡竹雀图","画在河岸边倾斜的石头上，翠绿的竹子、荆棘和杂草在石头堆中顽强地生长着，两只野鸭雏鸟蜷缩着脖子在石头上休息，而一对彩色的鸟儿相对站在上面的枯枝上，下面的鸟儿歪着头紧紧地盯着上面的鸟儿，专注而爱怜。",[69,23,50,52,25,27,168,2210,7,124,1801,31],"雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F654c4e85a777c9fd02c4b1bd5b7eed32.jpg","24.3x24.9cm",[35],{"id":2215,"slug":2216,"title":2217,"dynasty":86,"author":2218,"museum":66,"description":2219,"tags":2220,"thumbUrl":2221,"material":364,"size":365,"collection":172,"collections":2222,"showCount":2223,"zanCount":11,"manualWeight":11,"mainColor":39},239523,"yue-ji-zhou-cheng-zhang-239523","月季轴","程璋","程璋（1869－1938），男，原名德璋，号瑶笙，原籍安徽新安，移居江苏泰兴，后寓上海。",[23,50,51,25,52,27,189,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9cd0b8d1926ccb1d0933a7da7e9c81d.jpg",[],26,{"id":2225,"slug":2226,"title":2227,"dynasty":86,"author":243,"museum":66,"description":2228,"tags":2229,"thumbUrl":2230,"material":263,"size":2231,"collection":172,"collections":2232,"showCount":2223,"zanCount":11,"manualWeight":11,"mainColor":39},234987,"hua-hui-ling-mao-ping-5-ren-yi-234987","花卉翎毛屏5","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。",[69,23,50,51,25,52,27,198,110,7,124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F183eeaea248695005ebfe5882e2006cb.jpg","149 x 61 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用功更勤，对大自然的观察和体验也逐渐深刻。从 传世的《陆包山遗稿》来看，陆治的诗文多见纪游山 水和咏赞植物花卉之作。\n他淡泊宁静的生活状态也 同样反映在画作里。此套《山居乐事图册》即描绘了 文人山村幽居之乐，画面透出清逸脱俗的气质。\n此册共十页，内容分别为梦蝶、笼鹤、观梅、采 药、晚雅、停琴、渔父、放鸭、听雨、踏雪等文人山居 乐事。每幅皆有浓郁的山野生活气息，画法简逸，构 图多样，笔墨疏放清逸，线条苍劲挺立，意趣横生， 属画家晚年的代表作。 其中，“梦蝶”一幅是文人对庄周梦蝶的畅想。 这一经典在每个传统文人画家心中都有一个清新 可爱的画面。陆治中年以后退出仕途，隐居山间，对 庄子的道家精神极为推崇，画这样一幅册页，再自 然不过。画中，庄子团坐伏一大石而睡，安静舒适， 鬓角的发须在清风吹拂中微微扬起。\n整个人物造型 涉笔不多，却是相当传神。景物描绘也十分生动有 趣，柳条零落疏散、深深浅浅，地面上的灌木蓬勃而 浓密，两者在笔墨上形成了节奏与疏密的对比。“笼 鹤”一幅从笔墨到构图则相对中规中矩。景物刻画 细致周密，布景平稳，技法也是陆治最熟练与常见 的。“听雨”画大雨滂沱，狂风大作。雨中，一文士檐 下卧榻听雨，神情专注，体态闲适；一仆从撑伞前 行，低头躬身，行步艰难。整幅作品将风雨大作的景 象，通过淋漓的水墨与酣畅的用笔，皴染结合，充分 地表现",[23,50,24,25,1142,310,124,2300,7,225,1578,2301],"鸟笼","水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0aa8bf1b39d4b2a018b0488df291e99.jpg",[],22,{"id":2306,"slug":2307,"title":2308,"dynasty":18,"author":1738,"museum":66,"description":2309,"tags":2310,"thumbUrl":2311,"material":172,"size":172,"collection":172,"collections":2312,"showCount":2304,"zanCount":11,"manualWeight":11,"mainColor":61},231944,"qi-que-tu-bian-jing-zhao-231944","栖雀图","边景昭，字文进，明代宫廷花鸟画家。福建延平府沙县（今福建沙县）人，祖籍陇西（今属甘肃）人，生卒年不详。永乐年间（1403-1442）任武英殿待诏，至宣德时（1426-1435）仍供奉内廷。后为翰林待诏，常陪宣宗朱瞻基作画。他为人旷达洒落，且博学能诗。他继承南宋“院体”工笔重彩的传统，其作品工整清丽，笔法细谨，赋色浓艳，高雅富贵。有“花之妖笑，鸟之飞鸣，叶之蕴藉，不但勾勒有笔，其用笔墨无不合宜”之说。边景昭的墨线气力十足，变化丰富，精谨细微，柔韧相宜。\n边景昭的花鸟画以工笔重彩法见长，传统渊源无疑来自宋代“院体”，如清方薰《山静居画论》评：“边鸾（应作边景昭）、吕纪、林良、戴进，纯以宋院题为法，精工毫素、魄力甚伟，黄（笙）、赵（昌）、崔（白）、徐（熙）之作，犹可想见。”明李开先《中麓画品》更具体的指出：“边景昭其源出于李安忠。”清顾复《平生壮观》记边氏《聚禽图》时也指出：“得黄要叔父子遗意。”黄要叔父子即北宋初黄筌及其子黄居采，所创工笔重彩花鸟画风，成为宋初“院体”标准体制；",[49,962,23,50,69,52,25,27,7,198,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66cd108c88026e1927f3fdb31455cb6c.jpg",[],{"id":2314,"slug":2315,"title":2316,"dynasty":104,"author":105,"museum":46,"description":2317,"tags":2318,"thumbUrl":2320,"material":503,"size":2321,"collection":172,"collections":2322,"showCount":2304,"zanCount":238,"manualWeight":11,"mainColor":61},223517,"sang-guo-shan-niao-tu-yi-ming-223517","桑果山鸟图","此图有宫廷画院的工丽之风，却多了几分粗犷率真。画面取一斜伸桑枝，在一细劲的枝条上站立一只山鸟，憨态可掬，嘴里还叼着桑葚，表情很有几分稚趣",[49,69,23,50,52,25,2319,2031,7,27,198,151,31],"桑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1693f8902501da32c2e9093c661caa4.jpg","纵25.2厘米 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。灯下睇观，觉小雷、大雷、紫溪、白岳一段，忽移于尺幅间矣。”又云：“是古人笔，不是时派。时派即钟谭诗也。”小印模糊，误视会公为洽公，圻后即以洽公行，咸知己也。 他的仕女画幽闲静逸，神韵俱佳，特别是[清]顺治八年，即公元1651年与吴宏合作的《寇湄像》，堪称佳作。",[49,69,23,50,25,52,430,725,168,7,2441,93,27,31],"冰挂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4acd3e8fb8205ab2533358e709fef854.jpg",[],{"id":2445,"slug":2446,"title":17,"dynasty":86,"author":1243,"museum":66,"description":1244,"tags":2447,"thumbUrl":2448,"material":172,"size":244,"collection":172,"collections":2449,"showCount":2450,"zanCount":11,"manualWeight":11,"mainColor":39},236614,"hua-niao-ce-ma-yuan-yu-236614",[23,25,24,27,7,71],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3557ddc86e07372435834f20ed11b100.jpg",[],17,{"id":2452,"slug":2453,"title":2454,"dynasty":86,"author":105,"museum":66,"description":2455,"tags":2456,"thumbUrl":2458,"material":172,"size":172,"collection":172,"collections":2459,"showCount":2450,"zanCount":11,"manualWeight":11,"mainColor":39},235371,"xu-gu-ling-mao-qiu-yue-zhou-yi-ming-235371","虚谷翎毛秋月轴","以淡墨晕开清寂秋夜，圆月隐在交错枝桠间，晕出朦胧柔美的月色。枯笔皴擦的寒枝苍劲萧疏，留白错落间写尽深秋寥落。\n枝上禽鸟以浓淡墨色晕塑身形，羽翼晕染层次分明，喙爪写实灵动，孤然独立侧目远眺，将秋夜清寒孤寂的氛围拉满。右侧题字笔意清逸，与画面气韵浑然相融，整体以写意之韵藏尽文人清冷禅意，淡而不寡，简中见情，把秋夜幽谧的意境藏在水墨留白之间，尽显中式写意含蓄悠远的雅致风骨。",[23,26,51,27,2457,1557,7],"明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cd146666d8a2b641c5708f0e37d4773.jpg",[],{"id":2461,"slug":2462,"title":2463,"dynasty":86,"author":2218,"museum":66,"description":2219,"tags":2464,"thumbUrl":2466,"material":364,"size":365,"collection":172,"collections":2467,"showCount":2450,"zanCount":11,"manualWeight":11,"mainColor":39},235366,"song-yuan-tu-zhou-cheng-zhang-235366","松猿图轴",[23,50,51,25,26,52,678,2465,725,7,608,27,645],"猿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43115bb694f41ed4c625527a75b066e4.jpg",[],{"id":2469,"slug":2470,"title":2471,"dynasty":2472,"author":105,"museum":66,"description":2473,"tags":2474,"thumbUrl":2480,"material":364,"size":365,"collection":172,"collections":2481,"showCount":2450,"zanCount":11,"manualWeight":11,"mainColor":61},231643,"shi-ting-shi-dai-jiu-tu-ping-feng-di-1-ping-yi-ming-231643","室町时代 厩图屏风第1屏","不详","左侧林园寒梅绽雪，仙鹤临水伫立，石畔流泉衬出幽寂古雅的闲趣。右侧厩房内，仕女团坐低语，栏中骏马昂首腾跃，仆从正打理鞍辔，将宅邸日常的烟火气静静铺展。\n\n古旧柔和的色调晕开岁月的质感，细腻线条勾勒出骏马的矫健昂扬与仕女的温婉神态，将林泉雅致与俗世日常相融，动静交织，晕染出旧日宅邸里平和悠然的浮生图景，藏着沉缓静谧的古韵意趣。",[23,25,52,2475,2476,1142,2477,71,1100,1490,1494,1804,1801,1223,7,608,2478,2479,928],"屏风","马","鹤","小孩","围栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bdcb98befae1e2d016d8577385a6c21.jpg",[],{"id":2483,"slug":2484,"title":583,"dynasty":18,"author":674,"museum":66,"description":2485,"tags":2486,"thumbUrl":2487,"material":172,"size":172,"collection":172,"collections":2488,"showCount":2450,"zanCount":11,"manualWeight":11,"mainColor":39},228830,"shan-mian-shen-zhou-228830","此作用水墨晕染枝间禽鸟，双雀依偎栖于繁花折枝之上，翎毛以浓淡墨色细勾慢染，灵动鲜活似正低语休憩。老干苍劲朴拙，花瓣以淡墨点染，晕出柔润舒展之态，干湿墨色交织，苍润相生。尺幅虽狭，却藏无尽生趣，以极简笔墨勾勒出春日枝桠间的闲逸幽情，将文人画的简淡天真融于方寸之间，尽显写意花鸟的隽永意致，观之如沐春枝清寂雅趣。",[49,23,50,583,26,27,7,73,198,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4404ed7004430e69ae3c02ca10aad4b.jpg",[],{"id":2490,"slug":2491,"title":2492,"dynasty":18,"author":105,"museum":66,"description":2493,"tags":2494,"thumbUrl":2497,"material":172,"size":172,"collection":35,"collections":2498,"showCount":2499,"zanCount":11,"manualWeight":11,"mainColor":39},237123,"li-chen-xue-jing-hua-niao-zhou-yi-ming-237123","李辰雪景花鸟轴","落尽琼花天不惜，封他梅蕊玉无香。",[23,69,50,51,26,25,1921,27,7,2495,2496,31,52],"枯柳","梅花枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d91d86fc3db71687041c45119956c42.jpg",[35],16,{"id":2501,"slug":2502,"title":17,"dynasty":18,"author":2173,"museum":66,"description":2174,"tags":2503,"thumbUrl":2504,"material":364,"size":365,"collection":172,"collections":2505,"showCount":2499,"zanCount":11,"manualWeight":11,"mainColor":39},235728,"hua-niao-ce-tan-zhi-yi-235728",[18,26,91,24,168,7,27,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe295693c368afce72067e0a0bc3da49f.jpg",[],{"id":2507,"slug":2508,"title":2509,"dynasty":86,"author":243,"museum":66,"description":2228,"tags":2510,"thumbUrl":2511,"material":263,"size":2231,"collection":172,"collections":2512,"showCount":2499,"zanCount":11,"manualWeight":11,"mainColor":39},234991,"hua-hui-ling-mao-ping-9-ren-yi-234991","花卉翎毛屏9",[23,69,25,27,51,168,7,249,28,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e398d440e6634b38d0ec5b78aced894.jpg",[],{"id":2514,"slug":2515,"title":2516,"dynasty":86,"author":2517,"museum":66,"description":2518,"tags":2519,"thumbUrl":2520,"material":172,"size":172,"collection":172,"collections":2521,"showCount":2499,"zanCount":11,"manualWeight":11,"mainColor":39},234662,"hua-niao-tu-shan-ye-zhu-lian-234662","花鸟图扇页","朱琏","仁怀皇后朱琏 （1102年—1128年），宋钦宗赵桓的皇后，开封祥符人。\n宣和七年，钦宗即位，册封朱氏为皇后。后来金兵攻陷汴京城，俘虏徽、钦二帝，郑氏、朱氏二后，后宫宗室、大臣三千余人北归，当时正值农历四月，北方天气仍很寒冷，徽钦二帝和郑朱二后衣服都很单薄，晚上经常冻得睡不着觉。朱后当时二十六岁，艳丽多姿，经常受到金兵的调戏。据说他们到达会宁府时，金人举行了献俘仪式，命令二帝及其后妃、宗室等都到金太祖庙去行“牵羊礼”，又下令皇太后、皇后入金宫“赐浴”。朱皇后不堪污辱，当天投水自杀身亡。",[23,50,583,25,52,27,1843,7,28,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65b39af0ff0a9b58b99cb3a51736e249.jpg",[],{"id":2523,"slug":2524,"title":2525,"dynasty":18,"author":2526,"museum":244,"description":2527,"tags":2528,"thumbUrl":2530,"material":2531,"size":2532,"collection":172,"collections":2533,"showCount":2499,"zanCount":11,"manualWeight":11,"mainColor":39},234130,"wen-zheng-ming-za-hua-si-duan-juan-wen-zheng-ming-234130","文徵明杂画四段卷","文徴明","一、兰花小鸟。款识：[征明]钤印：[文征明印]白方、[征仲]朱方\n二、花鸟 款识：[落叶萧萧苦竹深，茆檐斜日唤双禽。棘丛岂是棲身地，三月春风满上林。征明。]钤印：[文征明印]白鞍钢、[征仲]朱方\n三、观瀑 款识[征明]钤印：[文征明印]白方、[征仲]朱方\n四、柏石 自题：[古石棱竞玄玉，乔柯偃蹇苍虬。着个修篁带雨，分明铁网琳球。征明。]钤印：[文征明印]白方、[征仲]朱谠",[49,23,50,70,26,165,362,31,2529,27,1142,725,168,645,225,7,71,167,1100],"山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf293294d9a450f075036e4b99807eab.jpg","纸本 墨笔","每段 纵32.6厘米 横50.8厘米",[],{"id":2535,"slug":2536,"title":2537,"dynasty":86,"author":547,"museum":66,"description":2538,"tags":2539,"thumbUrl":2540,"material":172,"size":172,"collection":172,"collections":2541,"showCount":2499,"zanCount":11,"manualWeight":11,"mainColor":61},224179,"shu-shu-gui-qin-tu-hua-yan-224179","疏树归禽图","此作以灵动笔墨绘就暮秋小景，枯干疏枝间，两只禽鸟相偎理羽，亲昵悠然，下方赤羽朱雀振翅穿掠，生机暗涌。竹叶清劲舒展，丹红叶蕊点染秋色，水墨晕染的苔石衬出清冷秋韵。\n\n笔意兼工带写，禽鸟羽色晕染细腻柔润，枝叶则以写意之笔率性挥洒，设色妍雅柔和，冷暖色调相映成趣。留白疏朗悠然，将暮色归禽的安闲意趣缓缓铺展，兼具文人画的秀逸格调与写生鲜活之态，晕染出深秋暮色里的淡然诗意。",[49,23,50,25,27,429,7,168,979,93,72],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6562933f06d277d64e828ddb05214ca5.jpg",[],{"id":2543,"slug":2544,"title":2545,"dynasty":86,"author":105,"museum":66,"description":2546,"tags":2547,"thumbUrl":2549,"material":33,"size":172,"collection":172,"collections":2550,"showCount":2499,"zanCount":238,"manualWeight":11,"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。",[23,50,24,25,52,1142,2548,53,7],"衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F013c48dd1d28c4ff283b04ce074e3e68.jpg",[],{"id":2552,"slug":2553,"title":959,"dynasty":18,"author":105,"museum":66,"description":2554,"tags":2555,"thumbUrl":2556,"material":614,"size":172,"collection":172,"collections":2557,"showCount":2558,"zanCount":11,"manualWeight":11,"mainColor":61},236287,"wang-zi-yuan-hua-niao-ce-yi-ming-236287","此帧取景幽致，坡岸之上鹌鹑昂首引吭，翎毛晕染细致入微，将绒羽蓬松柔润的质感尽显笔底。蓝菊柔枝舒展，清妍淡雅，崖畔缀满丹红小果，黑甲虫静伏枝梢，野趣横生。\n\n画作工写相融，设色古雅清淡，以极简虚淡背景托举实景，将秋日郊隅的闲逸生机凝于尺幅。禽鸟憨态可掬，花草柔婉幽妍，相映成趣。既有院体花鸟的精工写实，又暗含文人笔墨的雅致意趣，将郊野刹那鲜活意态定格为隽永画面，尽显写生花鸟的精妙意韵。",[23,50,24,52,25,27,7,624,1418,249,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb62891f8c807f28ec48f13e72eca241.jpg",[],15,{"id":2560,"slug":2561,"title":2562,"dynasty":2472,"author":2563,"museum":66,"description":2564,"tags":2565,"thumbUrl":2570,"material":364,"size":365,"collection":172,"collections":2571,"showCount":2558,"zanCount":11,"manualWeight":11,"mainColor":39},231786,"ming-qing-ri-ben-gu-hua-fen-ben-niao-shou-xi-hua-juan-he-guo-xiao-zhai-231786","明清日本古画粉本-鸟兽戏画卷","河锅晓斋","河鍋曉齋是日本幕末至明治時期的浮世絵師。評論家認為他是「一個獨立的帶有個人主義的，可能是傳統日本畫的最後大師」。",[49,23,50,70,165,26,52,2566,609,2567,2568,2569,7,429,93,225,109,608,1142,27],"猴","蛙","狮","猫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1999d93bfc618f73b31dacf8332bcf76.jpg",[],{"id":2573,"slug":2574,"title":2575,"dynasty":18,"author":283,"museum":66,"description":1040,"tags":2576,"thumbUrl":2577,"material":52,"size":1043,"collection":172,"collections":2578,"showCount":2558,"zanCount":238,"manualWeight":11,"mainColor":291},222046,"de-qu-zai-ren-ce-13-kai-6-wang-zhong-222046","得趣在人册13开6",[49,962,23,50,24,25,52,27,7,1648,73,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91d669a8b938105e367f73e7f247b2a3.jpg",[],{"id":2580,"slug":2581,"title":2403,"dynasty":86,"author":2404,"museum":244,"description":2405,"tags":2582,"thumbUrl":2583,"material":1622,"size":172,"collection":172,"collections":2584,"showCount":2585,"zanCount":238,"manualWeight":11,"mainColor":39},237177,"hua-niao-kun-chong-ce-zhou-quan-237177",[23,50,24,52,25,27,7,122,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e8edec439da2f56467832c622cad6d6.jpg",[],14,{"id":2587,"slug":2588,"title":17,"dynasty":86,"author":547,"museum":1118,"description":2589,"tags":2590,"thumbUrl":2591,"material":172,"size":1122,"collection":172,"collections":2592,"showCount":2585,"zanCount":11,"manualWeight":11,"mainColor":39},236624,"hua-niao-ce-hua-yan-236624","华喦（1682-1756），清画家。字秋岳，号新罗山人、东园生、布衣生等，福建上杭人。自幼即喜绘画，尤精花鸟。所作花鸟，多姿多态，生趣盎然，干笔枯墨间以淡彩，寓雅逸于艳丽之中，构图独出心裁，为清代中叶花鸟画之中坚，对后世扬州派、海派花鸟产生莫大影响。",[69,23,50,24,26,25,27,7,71,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4108df10a8f4545691f45a5a4911e4f3.jpg",[],{"id":2594,"slug":2595,"title":1208,"dynasty":86,"author":547,"museum":66,"description":1209,"tags":2596,"thumbUrl":2597,"material":364,"size":365,"collection":172,"collections":2598,"showCount":2585,"zanCount":11,"manualWeight":11,"mainColor":39},235389,"hua-niao-tu-ce-hua-yan-235389",[23,50,24,25,27,7,73,1557,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4724964af8175a5c1b0cbce108d96bbb.jpg",[],{"id":2600,"slug":2601,"title":17,"dynasty":86,"author":547,"museum":1118,"description":1119,"tags":2602,"thumbUrl":2603,"material":33,"size":1122,"collection":172,"collections":2604,"showCount":2585,"zanCount":11,"manualWeight":11,"mainColor":39},233950,"hua-niao-ce-hua-yan-233950",[23,24,25,26,91,27,7,198,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e8acbfb0acec1b9fe73ea2e9c49f2c6.jpg",[],{"id":2606,"slug":2607,"title":2608,"dynasty":86,"author":2609,"museum":66,"description":2610,"tags":2611,"thumbUrl":2612,"material":172,"size":172,"collection":172,"collections":2613,"showCount":2585,"zanCount":11,"manualWeigh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集于枯棘上，姿势各异，神态如生。\n枯棘下的竹枝色黄叶疏，点明了瑟瑟秋意。\n画家将聚集4只文鸟的重心着落于画面中心偏左的位置，而将另一文鸟绘于右侧高处的棘枝上以分散重心，但它回眸向下的眼神与另外4只相呼应，如此布局使画面既错落有致而重心突出。\n文鸟的描绘先勾出轮廓，再用细劲的笔锋绘出羽毛，并施以淡墨、赭石等色，渲染出毛绒的质感；竹叶使用双钩笔法，然后渲染；竹竿采用白描法；荆棘则一笔画出，显得苍劲老到。\n此图原载《宋人集绘册》。\n图绘家雀五只栖止于枯棘上，右下侧衬以双钩翠竹。\n五只 的神态，刻画极为精工。\n麻雀窃窃私语的神情，欲飞未飞的动态，以及它们茸茸的羽毛，圆而有神的眼睛，描绘得栩栩如生，使人感到如闻其声，如入其境。\n图中竹页用双钩，然后用花青、汁绿渲染，竹竿用白描，荆棘以一笔出之。\n小鸟勾出轮廓后用细笔丝出羽毛，具有毛茸茸的质感。\n此图无作者宽印，钤「宋荦审定」一印。\n本幅无款。\n鉴藏印钤“宋荦审定”。\n裱边题签：“宋人画霜篠寒雏”。\n经清代收藏家宋荦鉴藏，见《石渠宝笈三编》著录。",[49,69,23,52,25,27,7,168,1557],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa796d5d8ac8e342dc30faa9a1bfe80fb.jpg",[],{"id":3002,"slug":3003,"title":3004,"dynasty":86,"author":87,"museum":20,"description":3005,"tags":3006,"thumbUrl":3008,"material":172,"size":172,"collection":35,"collections":3009,"showCount":402,"zanCount":11,"manualWeight":11,"mainColor":3010},201609,"yu-niao-tu-zhou-zhu-da-201609","鱼鸟图轴","孤石以泼墨写就，墨气淋漓如铁，石上寒鸟敛翅缩颈，目光斜睨，似带冷眼观世之态；石下双鲤游于虚白间，鱼眼圆凸，尾鳍轻摆，却藏倔强之意。水墨写意之法简括传神，浓淡干湿互衬，留白处尽显空寂。画面无波无浪，却于极简中见沉郁，孤鸟与游鱼皆成心境外化，藏遗民之孤傲与落寞，是八大山人笔墨精髓之体现，简中含深味，淡里藏沉情。",[23,26,124,332,7,27,3007,49],"留白","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F397bdd53515dde833b98f027bcb09a8d.jpg",[35],"b3a68d",{"id":3012,"slug":3013,"title":3014,"dynasty":86,"author":105,"museum":66,"description":3015,"tags":3016,"thumbUrl":3021,"material":364,"size":365,"collection":172,"collections":3022,"showCount":183,"zanCount":11,"manualWeight":11,"mainColor":1154},268488,"dian-cui-hua-hui-niao-die-wen-tou-hua-yi-ming-268488","点翠花卉鸟蝶纹头花","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。",[3017,3018,28,53,7,3019,3020],"饰品","点翠","蝶","头饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F850c0f1224ed3ffb60975011fbbcb7f9.jpg",[],{"id":3024,"slug":3025,"title":3026,"dynasty":3027,"author":105,"museum":66,"description":3028,"tags":3029,"thumbUrl":3032,"material":364,"size":365,"collection":172,"collections":3033,"showCount":183,"zanCount":11,"manualWeight":11,"mainColor":61},244836,"niao-shou-shi-jian-yi-ming-244836","鸟首饰件","汉","汉代青铜器产生于青铜时代的晚期，在我国青铜史上占有特殊的地位，体现出独特的设计思想和特征，具有卓越的科学功能，并对当今设计有很大的启示作用。\n汉代青铜器很多都是素纹，大部分还是铸造的，也有的花纹、铭文是用錾子雕刻的。比如汉代的鎏金杯子、奁、盒、碗等用具上的花纹，多是雕刻的。\n汉代以后至唐代的铜器，铸造的花纹很多，其中有打料的铜、金、银器，并且也有了大、小焊的技术。\n西汉初期（高祖至景帝），此时的青铜器，基本为素面。其鼎主要承自秦式，但一般三足更矮。敦盒形。\n壶有大小二型并存，大型壶腹下部略呈收缩之状，腹比秦壶要鼓；小型壶的腹部较瘦长，经常铸出变形螭纹。钫此时更流行，有的做得很讲究，通腹有镶嵌绿松石的三角云纹。\n鍪和蒜头壶继续流行。日用器皿中，高灯多见，豆式熏炉盛行，带钩显琵琶形、棒形、琴形讲究的多做成鎏金、错金银、镶玉或绿松石。\n西汉中期至东汉早期（西汉武帝至东汉章帝）是西汉青铜器最发达的时期，也是汉代青铜器新风格最终形成的时期。这时期最多见的青铜用器是鼎、壶、钫、尊、熨斗、带钩、铜镜。\n灯：古代照明器具。青铜灯出现于战国时期，而盛行于汉代。最著名的当属长信宫灯了，灯的样子很多，较普通的是有圆盘，盘内有钎，盘下有柱，柱下有圈足；也有盘下作雁足状的，盘用来盛油或插烛。\n另有一种灯自铭为“行灯”，它圆盘边有把，盘下有三短足。青铜灯最富感染力的当属那些铸成人形、禽形、兽形、树形的艺术造型灯。\n博山炉：古代焚香的器具。一般炉体作圆形，用来放香料，体下有高足，有的足还铸成人形或鸟兽形；炉盖均高而尖，雕镂成山峦形上有人物、走兽，象征海上仙山“博山”，故名“博山炉”。盛行于汉代。\n樽：古代盛酒的器皿，器作圆形，直壁，有盖，腹较深，下有三兽足，旁有铺首衔环耳。\n洗：盥洗用器皿。形状象盆，圆形、宽口沿，平或圆底，腹外多有铺首衔环耳，内底常用双鱼作装饰，并多铸吉语。盛行于汉晋。\n耳杯：古代饮酒器。多漆制，称“羽觞”。铜质者，器作椭圆形，腹壁有二环耳。\n熨斗：古式熨烫衣服的工具。形状为圆腹宽口沿，有长柄，盛行于汉魏。\n东汉中晚期（和帝至献帝）青铜器又有了新的变化。此时使用较多的铜器日用品有：钟、扁壶、盆、釜、鐎斗、灯、博山炉、炉、熨斗、尊、耳杯、虎子、车马器、带钩、铜镜、玺印等。\n此时青铜器的特点是比以前轻薄、错金银技术在青铜器装饰中几乎消失，鎏金仍多，鎏金器上出现了细线阴刻云纹。",[3030,3031,2812,1162,3017,7,608],"汉代","青铜器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1643bae8878fb092643bc63fbbb62f7.jpg",[],{"id":3035,"slug":3036,"title":3037,"dynasty":18,"author":3038,"museum":66,"description":3039,"tags":3040,"thumbUrl":3041,"material":364,"size":365,"collection":172,"collections":3042,"showCount":183,"zanCount":11,"manualWeight":11,"mainColor":61},237807,"ju-an-tu-shan-ye-yu-qiao-zhi-237807","居安图扇页","郁乔枝","[明]万历（一五七三至一六二o）年间人",[23,583,52,25,27,7,210,1557,93],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d7bd409584fe4325aa36b41ba897bce.jpg",[],{"id":3044,"slug":3045,"title":17,"dynasty":18,"author":2670,"museum":66,"description":2671,"tags":3046,"thumbUrl":3047,"material":172,"size":172,"collection":172,"collections":3048,"showCount":183,"zanCount":11,"manualWeight":11,"mainColor":39},236549,"hua-niao-ce-tang-zhi-yin-236549",[23,962,24,52,25,27,71,7,1110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1eae2629affceb483d168e612852592.jpg",[],{"id":3050,"slug":3051,"title":17,"dynasty":18,"author":2670,"museum":66,"description":2671,"tags":3052,"thumbUrl":3053,"material":172,"size":172,"collection":172,"collections":3054,"showCount":183,"zanCount":11,"manualWeight":11,"mainColor":39},236547,"hua-niao-ce-tang-zhi-yin-236547",[23,50,24,26,25,91,27,7,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ba2fc4bd453ceb292c4bd0063597ba9.jpg",[],{"id":3056,"slug":3057,"title":17,"dynasty":18,"author":2670,"museum":66,"description":2671,"tags":3058,"thumbUrl":3060,"material":172,"size":172,"collection":172,"collections":3061,"showCount":183,"zanCount":11,"manualWeight":11,"mainColor":39},236545,"hua-niao-ce-tang-zhi-yin-236545",[23,52,25,24,27,7,189,1110,29,3059],"小虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22154a19b4a6b8f310af6db26246b4aa.jpg",[],{"id":3063,"slug":3064,"title":1208,"dynasty":86,"author":547,"museum":66,"description":1209,"tags":3065,"thumbUrl":3066,"material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Ware）在古时被称为“金”或“吉金”，是红铜与其他化学元素锡、铅等的合金，刚刚铸造完成的青铜器是金色，但因为出土的青铜因为时间流失产生锈蚀后变为青绿色，被称为青铜。\n青铜器的使用开始于新石器时代晚期的土耳其和伊拉克地区，及叙利亚古代TellRamad遗址出土的铜珠等。中国青铜器开始于马家窑至秦汉时期，以商周时期的器物最为精美。在中国仰韶文化早期和马家窑文化时期就已经出现。\n中国最初出现的是小型工具或饰物。夏代始有青铜容器和兵器。商中期，青铜器品种已很丰富，并出现了铭文和精细的花纹。商晚期至西周早期，是青铜器发展的鼎盛时期，器型多种多样，浑厚凝重，铭文逐渐加长，花纹繁缛富丽。随后，青铜器胎体开始变薄，纹饰逐渐简化。春秋晚期至战国，由于铁器的推广使用，铜制工具越来越少。秦汉时期，随着陶器和漆器进入日常生活，铜制容器品种减少，装饰简单，多为素面，胎体也更为轻薄。\n中国青铜器制作精美，在世界青铜器中享有极高的声誉和艺术价值，代表着中国5000多年青铜发展的高超技术与文化。\n我国商、周时代的青铜器具，不单是盛物用的容器，同时也是宗庙中的礼器。青铜器的数量可以表示出身份地位的高低，青铜器形制的大小也可以显示出权力的等级。青铜器中，最重要的器类就是鼎。远古的青铜器可以分为食器、酒器、水器、乐器四大类。食器中包括鼎、鬲等等。其中鼎是最重要的礼器。\n西周中晚期我国形成了列鼎制度，据《春秋公羊传》记载，天子用9鼎，诸侯用7鼎、卿大夫用5鼎、士用3鼎或1鼎。同时。与鼎一同出现的还有簋，通常为九鼎八簋，七鼎六簋，五鼎四簋，三鼎二簋。在西周中晚期的墓葬制度中，鼎为单数而簋为双数。青铜鼎随着时代的发展，形制也在发生变化。商代早期多为圆腹尖足，也有方鼎。到了中期出现了扁足鼎等等。商代晚期尖足鼎逐渐减少，圆腹柱足鼎开始居多，鬲鼎逐渐多了起来。《尔雅》记载“鼎之款足者，谓之鬲”。鬲鼎也称为分裆鼎，是鬲和鼎的混合体，鼎从商代开始铸有各式样的神秘纹饰，多为兽面纹，如饕餮纹、蝉纹、象纹等等，纹饰变化巧妙。容器内部铸有族徽或祖先的名字。\n青铜是铜和锡铅的合金。在中国古代早期的工艺美术中青铜工艺成为奴隶社会工艺美术的典型代表是我们的祖先对人类物质文明的巨大贡献。商周时期是中国历史上的青铜时代，它以品类丰富、造型优美、纹饰华丽、制作精巧、风格独特而著称。此时是冶炼铸造技术可以说有了突发猛进的发展，在应用上具有广泛的适用性。成为中国艺术史的一个组成部分。本文以商周时期的青铜器主要代表作品作品：《后母戊大方鼎》、《盂鼎》为例，从青铜器作为“礼器”的艺术精神与青铜器的造型、装饰艺术特点来谈谈商周青铜器艺术。\n中国古代青铜器，就使用规模、铸造工艺、造型艺术及品种而言。中国古代青铜器在世界艺术史上占有独特地位。商周时期是中国历史上的青铜时代，青铜流行于新石器时代晚期至秦汉时代。以商周器物最为精美，品种已很丰富器型多种多样，并出现了铭文和精细的花纹浑厚凝重。商周青铜器艺术装饰承接新石器时代艺术中若干精髓，经过长期绵延不断的变化，形成独特的体系，在成为中国艺术史的一个组成部分。商周时期，青铜的冶炼业作为生产力的标志而达到高峰。是中国古代青铜器发展的鼎盛时期。",[3031,2812,1162,3160,7,286,3161,3157,3162],"绹纹","瓠形","古代器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4377b2e393d76cd872b0fb26de31b46.jpg",[],{"id":3166,"slug":3167,"title":3168,"dynasty":2472,"author":105,"museum":66,"description":3169,"tags":3170,"thumbUrl":3172,"material":364,"size":365,"collection":172,"collections":3173,"showCount":278,"zanCount":11,"manualWeight":11,"mainColor":61},223733,"que-long-shi-zhong-yi-ming-223733","雀笼式钟","最早的钟原本是指古代汉族 传统的打击乐器，形状扁圆而中空，盛于春秋战国直至秦汉，多为青铜制，又叫“编钟”，自佛教传入中国后，逐渐变为一种宗教法器的代称，又叫“梵钟”或“半钟”原本叫“犍稚”又叫“信鼓”是寺院为报时、集众而敲击之用。",[2812,1162,7,2210,286,3171],"钟表","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9ed01a325d8fd7bcf5b28275750d83b.jpg",[],{"id":3175,"slug":3176,"title":3014,"dynasty":86,"author":105,"museum":66,"description":3015,"tags":3177,"thumbUrl":3178,"material":364,"size":365,"collection":172,"collections":3179,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":1154},268474,"dian-cui-hua-hui-niao-die-wen-tou-hua-yi-ming-268474",[3017,3018,28,7,3019,386,3020],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6bf6605086ac95639cd7cc51e9f20a8.jpg",[],{"id":3181,"slug":3182,"title":3014,"dynasty":86,"author":105,"museum":66,"description":3015,"tags":3183,"thumbUrl":3185,"material":364,"size":365,"collection":172,"collections":3186,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":1154},268472,"dian-cui-hua-hui-niao-die-wen-tou-hua-yi-ming-268472",[3017,3018,28,7,3019,3184],"寿纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff98ab3286ab4c18b7d5b33353b185710.jpg",[],{"id":3188,"slug":3189,"title":3190,"dynasty":3157,"author":105,"museum":66,"description":3191,"tags":3192,"thumbUrl":3197,"material":364,"size":365,"collection":172,"collections":3198,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":61},250581,"bai-yu-lou-diao-kui-feng-pei-yi-ming-250581","白玉镂雕夔凤佩","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。",[3193,3194,1162,3195,3196,608,7,3017],"玉石","镂雕","夔","凤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd25f31e7661a28e9925f382047146423.jpg",[],{"id":3200,"slug":3201,"title":3202,"dynasty":86,"author":105,"museum":66,"description":3203,"tags":3204,"thumbUrl":3209,"material":364,"size":365,"collection":172,"collections":3210,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":61},245373,"jin-chang-fang-pen-mu-shu-pen-jing-yi-ming-245373","金长方盆木树盆景","苍劲木干虬曲舒展，粉晶梅花攒簇枝头，柔润胭色将春日凝缩在枝桠间。翠羽小鸟停驻其上，为静景添上灵动生气。盆中玛瑙灵芝艳若丹霞，青玉细竹修长清雅，各色珍石相映成趣，暗合岁寒三友的风雅意涵。\n\n鎏金长盆錾刻蝠纹环绕团寿，华贵工致。这方案头盆景将文人情趣与宫廷工巧相融，把融融春意封存在案几之上，未触便觉暗香浮动，尽显旧时造物的绝妙匠心。",[987,3205,3206,123,7,299,93,3207,1162,3208,25],"金器","木质","盆景","镶嵌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68a6f0eaeabe22c7f5cb9203109a566b.jpg",[],{"id":3212,"slug":3213,"title":3117,"dynasty":3027,"author":105,"museum":66,"description":3028,"tags":3214,"thumbUrl":3216,"material":364,"size":365,"collection":172,"collections":3217,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":61},244595,"liu-jin-niao-shou-wen-shi-jian-yi-ming-244595",[3027,3119,2812,1162,608,7,3215],"饰件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F183ec34ab56a623e20653da9575c8075.jpg",[],{"id":3219,"slug":3220,"title":3221,"dynasty":86,"author":937,"museum":66,"description":3222,"tags":3223,"thumbUrl":3224,"material":364,"size":365,"collection":172,"collections":3225,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":39},239106,"hua-hui-ce-3-yu-sheng-239106","花卉册3","余省（1692年—1767年） ，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。",[23,50,24,26,91,27,7,28,29,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3205b24e45b0072ec40bf34c81630c6.jpg",[],{"id":3227,"slug":3228,"title":794,"dynasty":18,"author":3229,"museum":66,"description":3230,"tags":3231,"thumbUrl":3232,"material":172,"size":172,"collection":172,"collections":3233,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":39},234166,"hua-niao-tu-juan-cao-pu-234166","曹镤","曹镤（？－？），字良金，直隶苏州府吴江县人，民籍，明朝政治人物。应天府乡试第一百二十二名举人。弘治六年（1493年）中式癸丑科二甲第四十一名进士.曾祖曹瑾；祖父曹𤩽；父曹珵，母李氏",[49,23,50,70,25,26,247,31,362,27,72,7,198,28,249],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F483c4b66e3025fed4af1d5d6c8ef3840.jpg",[],{"id":3235,"slug":3236,"title":3237,"dynasty":86,"author":105,"museum":66,"description":3238,"tags":3239,"thumbUrl":3242,"material":364,"size":365,"collection":172,"collections":3243,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":61},229473,"yong-zheng-fa-lang-cai-ci-lan-que-zhu-shi-wan-yi-ming-229473","雍正 珐瑯彩瓷蓝鹊竹石碗","瓷器是由瓷石、高岭土、石英石、莫来石等烧制而成，外表施有玻璃质釉或彩绘的物器。瓷器的成形要通过在窑内经过高温（约1280℃～1400℃）烧制，瓷器表面的釉色会因为温度的不同从而发生各种化学变化，是中华文明展示的瑰宝。\n中国是瓷器的故乡，瓷器是古代劳动人民的一个重要的创造。谢肇淛在《五杂俎》记载：“今俗语窑器谓之磁器者，盖磁州窑最多，故相延名之，如银称米提，墨称腴糜之类也。”当时出现的以“磁器”代窑器是由磁州窑产量最多所致。这是迄今发现最早使用瓷器称谓的史料。",[3240,25,2853,286,168,645,7,3241,27],"珐琅彩","蓝鹊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20a3b1c8766febfa9cc4240e3bdf7522.jpg",[],{"id":3245,"slug":3246,"title":3247,"dynasty":2809,"author":105,"museum":66,"description":3248,"tags":3249,"thumbUrl":3251,"material":364,"size":365,"collection":172,"collections":3252,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":61},227098,"fu-jing-yi-ming-227098","凫镜","中国铜镜的制作和使用具有悠久的历史，根据考古发掘，年代最早的铜镜为4000多年前的齐家文化。从齐家文化至西周末春秋早期制作的铜镜，多以纹饰简单、形体小、种类少。此一时期为中国铜镜制作早期阶段。\n春秋中晚期开始，我国铜镜制作和使用就发展起来了，特别是战国时期，铜镜的种类复杂，题材广泛，制作工艺精细，包括此时期铜镜的合金成分，其锡含量是最适合铜镜的使用，这些充分反应了铜镜在此时期制作技术已达到成熟阶段。汉代开始铜镜得到了进一步的发展，这时期的铜镜出现了新的类型，铭纹也正逐渐成为铜镜的纹饰组成部分，反映了汉代铸镜业的发达及铜镜商品化的发展。\n隋唐时期是中国铜镜高度发展时期，此时的铜镜突破了以往圆形与方形的传统形式，出现了菱花形、葵花形铜镜。特别是盛唐时期铜镜工艺精湛，著名的瑞兽葡萄镜更是闻名于世，这一时期铜镜发展达到了顶峰。\n从唐末，五代起中国的铜镜艺术日趋衰落，宋、金、元时期的铜镜，从造型、纹饰和合金成分上都有不同于传统铜镜的特点。明，清时期虽然铜镜还在人们日常生活当中使用，但到清代中后期随着玻璃的使用，铜镜逐渐退出了历史舞台。当今虽然不再有人使用铜镜整装容，但古代铜镜给予我们的除了收藏价值，还有对古代形制、纹饰、铭文、艺术、制作工艺、成分等等的研究价值。中历收藏品鉴定中心，为我国合法第三方专业鉴定平台，证书得到了专业人士及社会各界的高度认可，藏品鉴定可咨询。",[2812,1162,286,166,917,3193,3206,7,3250],"绳结","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6af2479c91c7305cef7e17d48ba58e8f.jpg",[],{"id":3254,"slug":3255,"title":3256,"dynasty":86,"author":1304,"museum":66,"description":3257,"tags":3258,"thumbUrl":3259,"material":172,"size":172,"collection":172,"collections":3260,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":39},224306,"hua-hui-shi-er-kai-7-li-shan-224306","花卉十二开7","此作以极简笔墨勾勒秋日闲景，构图疏朗留白有致。右上角淡墨绘藤蔓残叶，朱红果鲜亮醒目，晕染灵动，与浅淡枝叶相映成趣。下方枯枝上，禽鸟以浓淡墨色晕染出羽毛层次，昂首远眺姿态鲜活，仿佛正侧目红果，野趣横生。\n全画笔意纵逸随性，寥寥数笔便将禽鸟的机警灵动与秋果的鲜活生机尽显，浓淡墨色冷暖相映，简淡却意蕴悠长。配之题款朱印，文气雅致，尽显文人写意画的随性风神，将秋日一隅的幽寂生机悄然铺展，恬淡悠然，尽显写意花鸟的隽永意趣。",[49,23,50,24,26,25,27,7,198,1418,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4eff5f05f84877912f8f80a3c7e379a0.jpg",[],{"id":3262,"slug":3263,"title":2757,"dynasty":104,"author":105,"museum":66,"description":3264,"tags":3265,"thumbUrl":3266,"material":172,"size":172,"collection":172,"collections":3267,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":61},223684,"xun-qin-fu-zhuo-tu-ye-yi-ming-223684","《宋人画驯禽俯啄图》是宋代佚名创作的绢本设色画。\n此图原载《宋元集绘册》。\n图绘一件浅蓝色瓷罐置于画面正中，一只小麻雀于罐沿上低头觅食。\n雀身系一赤色小绳，绳端拴一圆圈，以点出「驯禽」之意。\n作者先用细笔勾出鸟的轮廓，然后用细笔丝出羽绒，再用浓墨点出翅膀、鸟尾和眼珠，使小鸟的形象生动逼真，具有较强的质感。\n全图笔法工细，构图简洁，设色柔和自然。\n此图无款，旧题签为「驯禽俯啄」，现沿用此名。\n画面左下角钤「宋荦审定」一印。\n曾经清人宋荦收藏，《石渠宝笈三编》著录。\n本幅无款。\n钤鉴藏印“宋荦审定”。\n裱边题签：“宋人驯禽俯啄”。\n图中一只 立于浅蓝色敞口瓷罐上，低头欲啄罐沿。\n麻雀身系红绳，绳端拴一圆环，表示已被擒获豢养。\n麻雀属难以驯化之鸟，画面中的瓷罐内虽有白米，雀却不食，表达了向往自由生活的心愿。\n画家先以尖细之笔绘出麻雀的轮廓、羽绒，再用浓墨、淡赭点画出翅膀、尾羽和眼目。",[49,69,23,50,24,25,52,27,7,286],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5063ca27005a536981c4ba62953d8db8.jpg",[],{"id":3269,"slug":3270,"title":3271,"dynasty":104,"author":105,"museum":66,"description":3272,"tags":3273,"thumbUrl":3274,"material":172,"size":172,"collection":172,"collections":3275,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":39},223628,"he-tang-xi-lai-tu-yi-ming-223628","荷塘鸂鵣图","《宋人画荷塘鸂鵣图》是宋代佚名创作的绢本设色画。\n烟雾迷蒙，一曲清溪，两岸夹植杨柳，间以红花。\n溪中莲叶点点，鸂鵣戏水，其乐融融。\n一行白鹭破空飞向远方，将观赏者的视线引向画外；蜿蜒的清溪，则将视线推向了画景深处。\n柳叶用攒笔点画，树干用双钩法绘出，鸂鵣以工笔刻画。\n设色柔和淡雅。\n小小的册页画中略用了深远与高远的画法，就使画面意境达到了深远的效果。\n对幅有清乾隆皇帝御题诗一首:“花鸟从来属剑南，水禽夏卉照晴潭。\n鸳鸯无碍称其紫，弟子有时胜彼蓝。\n水宿相呼如觧勅，沙群式度自能谙。\n涨滩落鸟寻常事，何涉西台纪怪谈。\n” 本幅无款印。\n清《石渠宝笈续编》著录。",[49,23,69,50,52,25,27,331,386,7,646,31,166,362],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8be29216666561141745ebb74a270e35.jpg",[],{"id":3277,"slug":3278,"title":3279,"dynasty":86,"author":105,"museum":66,"description":2851,"tags":3280,"thumbUrl":3282,"material":364,"size":365,"collection":172,"collections":3283,"showCount":203,"zanCount":11,"manualWeight":11,"mainColor":943},269512,"xiang-ya-ran-diao-xi-que-shi-he-yi-ming-269512","象牙染雕喜鹊式盒",[1163,1162,3281,951,286,3092,7],"染雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7160ad8ba2c55310b8475c73ec134aa2.jpg",[],{"id":3285,"slug":3286,"title":3287,"dynasty":86,"author":105,"museum":66,"description":3288,"tags":3289,"thumbUrl":3290,"material":364,"size":365,"collection":172,"collections":3291,"showCount":203,"zanCount":11,"manualWeight":11,"mainColor":943},258741,"jia-qing-kuan-fen-cai-hua-niao-tu-ping-yi-ming-258741","嘉庆款粉彩花鸟图瓶","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[2853,2854,25,52,27,386,7,286],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87721051eac1abeb240d78b2485873a5.jpg",[],{"id":3293,"slug":3294,"title":3295,"dynasty":44,"author":105,"museum":66,"description":2928,"tags":3296,"thumbUrl":3298,"material":364,"size":365,"collection":2933,"collections":3299,"showCount":203,"zanCount":11,"manualWeight":11,"mainColor":39},256961,"yue-yao-niao-shi-bei-yi-ming-256961","越窑鸟式杯",[44,2853,3297,7,3089,1162],"青瓷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16649b613c913999066b3efbfb26450f.jpg",[2933],{"id":3301,"slug":3302,"title":3303,"dynasty":104,"author":105,"museum":66,"description":3304,"tags":3305,"thumbUrl":3307,"material":364,"size":365,"collection":2933,"collections":3308,"showCount":203,"zanCount":11,"manualWeight":11,"mainColor":1154},254524,"qiong-yao-hui-you-niao-yi-ming-254524","邛窑灰釉鸟","邛窑,中国最古老的民窑之一，是中国彩绘瓷的发源地。其价值堪比三星堆、金沙遗址，被列入国家大遗址重点保护。它始创于东晋，成熟于南朝，盛于唐，是跨越八个多世纪的中国古代陶瓷名窑。\n邛窑分布在我国的四川省境内，以青釉、青釉褐斑、青釉褐绿斑和彩绘瓷为主，始烧于南北朝衰于宋朝，时间踌度约800年的中国古代陶瓷名窑。邛窑是我国著名民间瓷窑之一。器物有各种盘、碗、罐等日用器皿，其中以丰富的小瓷俑最为生动形象，以创造了陶瓷省油灯而闻名全国。\n善于将雕塑艺术的手法运用到瓷器的造型上。纵观邛窑瓷器，雕塑艺术品特别多，例如各类大小动物，胡商俑、武士俑、劳作俑、侍女俑、役仆俑等形象都用雕塑手法作出，就是一些实用生活用具、文房用具、储盛用具等雕塑艺术的作法也处处可见。另一个巨型三彩釉陶砚台，塑成一个伸颈昂首，瞪眼张嘴的大龟，四腿塑成兽蹄形，盖用雕塑手法塑成隆起的龟背，再刻划出背纹和裙边，既实用又具有很高的艺术性。有的执壶，口部以上塑一鼻孔上翻，鼓目张嘴的人头，整齐的牙齿外露，似乎正在歌唱。有的器盖塑成一个天真的儿童，光头，昂首，两眼上视，双臂伸开，两退上翻，脚交织在一起，天真活泼，很像现在的杂技表演。瓷枕也塑造成虎形，下为一个椭圆形底板，上塑的虎，咧嘴露齿，翻鼻鼓睛；作伏卧状，背上的枕面四角圆润，前部较小，后面较大，中间略微低下，虎的前额、眉眼、皮毛和枕面以褐绿彩点画成彩斑装饰。第二，彩绘装饰十分普遍，邛窑陶瓷有单色釉、如青釉、棕黄色釉、褐黑色釉，灰白色釉。由于泥料较粗，普遍含有细沙粒，胎面普遍施化妆土，用当地原料配出浅黄、深黄、棕黄、老绿、翠绿、孔雀蓝、藏蓝、紫黄、黑色等彩在瓷器上作画，大多数是釉下彩。由于邛窑瓷器釉层稀薄，釉下彩或釉上彩不易分辨，但大多数是釉下彩。以大片圆形彩斑、联珠、多层菱形、圆圈构成的图案，有些和刻花、划花、粘贴、捏塑、模印等共同组成装饰面。最突出的是彩画。这些釉下彩绘，由于工匠有深厚的文化根底和书画艺术的功力，以没骨画的技法，率然落笔，粗悍展开，画出的花纹潇洒豪放，韵味无穷。 贴近生活的创造，四川自古以来崇尚读书，学子们多贫寒清苦，邛窑创造出省油灯，陆游说“书灯勿用铜盏，惟瓷盏最省油。蜀有夹瓷盏，注水于盏唇窍中，可省油之半。”受到士大夫文人和广大庶民百姓欢迎。这种创造为文化教育的普及提供了条件。",[1161,2853,3306,7],"灰釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64692f5e134a5f100db39d5ffe5d64e4.jpg",[2933],{"id":3310,"slug":3311,"title":3312,"dynasty":3027,"author":105,"museum":66,"description":3028,"tags":3313,"thumbUrl":3314,"material":364,"size":365,"collection":172,"collections":3315,"showCount":203,"zanCount":11,"manualWeight":11,"mainColor":61},252399,"lv-song-shi-niao-yi-ming-252399","绿松石鸟",[3030,3193,1162,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc64b2e64784d09af57cb58aeae38ba97.jpg",[],{"id":3317,"slug":3318,"title":3319,"dynasty":3320,"author":105,"museum":66,"description":3321,"tags":3322,"thumbUrl":3324,"material":364,"size":365,"collection":172,"collections":3325,"showCount":203,"zanCount":11,"manualWeight":11,"mainColor":61},250457,"yu-shuang-niao-shi-pei-yi-ming-250457","玉双鸟式佩","商","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 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如岑参、王昌龄、白居易、高适、杜甫、李商隐、刘禹锡、温庭筠、杜牧等人的诗作。个别字句与原诗略有出入。其书学颜真卿，用笔劲健、爽利，分间布白极其匀称。查家在清初遭受了文字狱之灾，当时保存查氏墨迹可能会引起杀身之祸，所以查继佐的传世作品较少，此件则更为珍贵。",[49,166,70,362,26,31,3537,3538,3539,3540,3541,73,3515,3517,429,7,1222,3520,1100,3522,2457,3542,1800,72,3147,2529,71,167,168,624],"江南","芳草","烟","雨","湖","古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36541a0829df7cb68ef275f1e2b9ee33.jpg","绫本，行书","纵450厘米，横33.3厘米",[1228],{"id":3548,"slug":3549,"title":3550,"dynasty":86,"author":105,"museum":66,"description":3551,"tags":3552,"thumbUrl":3554,"material":172,"size":172,"collection":172,"collections":3555,"showCount":254,"zanCount":11,"manualWeight":11,"mainColor":39},239281,"hou-qi-zhi-hua-hua-niao-ce-yi-ming-239281","后祺指画花鸟册","此作用指为笔，意趣朴拙天然。枯槎疏花之间，两羽禽鸟意态悠然：一伫高枝远眺，似聆风观云，一栖细梢敛羽，若梳翎小憩。淡墨晕染枝梢花叶，朴拙中带着柔润的晕化质感，淡赭轻点花蕊，晕开几分春日暖意。\n\n左侧题字笔致苍劲率意，与画面的闲散清雅相映成趣，文思画意浑然相融。全幅布局疏朗空灵，以极简笔墨勾勒幽寂小景，将禽鸟灵动与花木清逸融为一体，无需浓妆艳饰，自带着林下澹澹雅致，尽显写意花鸟以简驭繁的妙趣，把春梢间的闲散生机晕染得恰到好处。",[23,50,24,3553,26,27,7,73,198,31],"指画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F414e4c7fb2977267e4983bc7598b9ecb.jpg",[],{"id":3557,"slug":3558,"title":3559,"dynasty":18,"author":3560,"museum":66,"description":3561,"tags":3562,"thumbUrl":3563,"material":172,"size":172,"collection":172,"collections":3564,"showCount":254,"zanCount":11,"manualWeight":11,"mainColor":39},233323,"shi-zhu-zhai-pu-ce-hu-ri-cong-233323","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。",[69,23,50,24,25,27,71,7,31,2699],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d7245e22994eee55d28f737d7f67d15.jpg",[],{"id":3566,"slug":3567,"title":3559,"dynasty":18,"author":3560,"museum":66,"description":3561,"tags":3568,"thumbUrl":3570,"material":172,"size":172,"collection":172,"collections":3571,"showCount":254,"zanCount":11,"manualWeight":11,"mainColor":39},233314,"shi-zhu-zhai-pu-ce-hu-ri-cong-233314",[23,50,24,26,27,7,386,3569,31],"水波纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F490af406e427797a9c31756bc340550a.jpg",[],{"id":3573,"slug":3574,"title":3559,"dynasty":18,"author":3560,"museum":66,"description":3561,"tags":3575,"thumbUrl":3576,"material":172,"size":172,"collection":172,"collections":3577,"showCount":254,"zanCount":11,"manualWeight":11,"mainColor":39},233313,"shi-zhu-zhai-pu-ce-hu-ri-cong-233313",[23,25,24,27,168,7,124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae02d2265926aa8760b043416c565942.jpg",[],{"id":3579,"slug":3580,"title":3559,"dynasty":18,"author":3560,"museum":66,"description":3561,"tags":3581,"thumbUrl":3582,"material":172,"size":172,"collection":172,"collections":3583,"showCount":254,"zanCount":11,"manualWeight":11,"mainColor":39},233311,"shi-zhu-zhai-pu-ce-hu-ri-cong-233311",[23,50,24,26,27,31,7,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf6e93ec0ca92cd4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盆、筒杯、勺、盘、缸、甑、 釜、小壶、扁壶、茧形壶、钵、罐、钟、碗等。明器包括礼器鼎和模型明器仓、陶囤以及各种动物形象。纹饰多为变形回纹、三角纹和窝纹。陕西潼关以东地区人们的日常用陶，以灰陶为主，有罐、 壶、碗、勺、筒杯、 瓮、盒、洗、甑、釜、杯、盘、尊等。在汉代流行起来的生活用具模型，如仓、 炉、 灶、井等。大都作为明器供随葬之用。盒、盘、案、杯等，逐渐成组出现，为适应人们厚葬之需也成为祭器。猪、羊、狗、鸡等家畜家禽及圈舍、住宅等明器模型也大量流行。装饰则有弦纹、刻划的三角纹、连环纹、栉齿纹和动物纹，还有绳纹、拍印纹、模印、浮雕、涂色和彩绘等。南方的长沙地区，制陶工艺自成体系，陶盒使用普遍，陶壶无盖，鼎的三足成矮胖的兽蹄形，其他实用器皿还有壶、罐、碗、钫、、盆、釜、甑、长方炉、博山炉等。特点是坚硬厚重。殉葬明器有灶、仓、井、屋、猪圈模型等。广东地区秦汉时属南海郡，常用陶器有瓮、双耳罐、提、四联罐和五联罐、瓿、小瓿、壶、匏壶、温壶、钫、 盒、敦、 小盒、三足盒、三足罐、三足瓿、四联盒、 碗、盆、 甑、釜、鼎、豆、三足格盒等。生活用具中灰白色的印纹硬陶占多数， 有的还戳上印记，多为容器，炊器只有釜、 鼎、甑 3种。造型特别的三足器、温壶、匏壶有着明显的地方特点。印纹硬陶很讲究装饰，单是几何图案就达70多种，此外还有弦纹、 陶纹、 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汉三个阶段。汉镜纹饰的主要种类有草叶纹镜、蟠龙纹镜、百乳镜、连弧纹镜、规矩镜、多乳禽兽纹镜和变形四叶镜等。",[3030,3031,2812,1162,7,286],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24008f571ec38ab8a469e67a163f834a.jpg",[],{"id":3785,"slug":3786,"title":3787,"dynasty":3027,"author":105,"museum":66,"description":3028,"tags":3788,"thumbUrl":3790,"material":364,"size":365,"collection":172,"collections":3791,"showCount":238,"zanCount":11,"manualWeight":11,"mainColor":61},244757,"gui-feng-wen-deng-yi-ming-244757","龟凤纹灯",[3030,3031,2812,1162,1878,3196,608,7,3789],"日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff83e41a71878931892d4f11fe1e95de8.jpg",[],{"id":3793,"slug":3794,"title":3795,"dynasty":86,"author":105,"museum":66,"description":3796,"tags":3797,"thumbUrl":3798,"material":364,"size":365,"collection":172,"collections":3799,"showCount":238,"zanCount":11,"manualWeight":11,"mainColor":1154},243187,"cuo-jin-yin-gui-yi-ming-243187","错金银簋","青铜簋，为商周时期重要的青铜礼器和食器，主要盛放煮熟的黍、稷、稻、粱等食粮，作用相当于我们现在使用的大碗，人们使用工具从簋中取食。在商周礼制中，青铜簋通常在祭祀和宴飨时以偶数组合与以奇数组合的列鼎配合使用，如，天子用九鼎八簋，诸侯七鼎六簋，大夫五鼎四簋，元士三鼎二簋。\n现在所见最早的青铜簋是二里岗时期的。商代早中期，簋多为圆形，侈口、深腹、圈足；到了商代晚期，双耳簋开始增多。西周时期是簋的盛行时期，不仅出土数量增多，而且形制亦趋复杂，除双耳圈足簋外，还出现了四耳簋、三足簋、四足簋和方座簋等；西周中期后多有盖。至战国后始衰落。",[987,3031,3111,3396,3395,7,1162,2812],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F632b46f28aad96af9232929ba72585f7.jpg",[],{"id":3801,"slug":3802,"title":1866,"dynasty":86,"author":3803,"museum":66,"description":3804,"tags":3805,"thumbUrl":3806,"material":364,"size":365,"collection":172,"collections":3807,"showCount":238,"zanCount":11,"manualWeight":11,"mainColor":39},235869,"za-hua-ce-zhang-sheng-235869","章声","章声（清），字子鹤，仁和（今杭州）人。父谷工山水，善写真，声与兄长采，能绍父艺，山水尤工。所作雪山大幅，笔墨谨严，结构雄伟，乃胎息荆、关，绝无宋、元以来婉媚之习。康熙十六年（1671）尝在屏山阁作山水图。",[23,50,24,362,25,52,27,429,646,7,31,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9303646b9788a89a45e9193c3acca85.jpg",[],{"id":3809,"slug":3810,"title":3559,"dynasty":18,"author":3560,"museum":66,"description":3561,"tags":3811,"thumbUrl":3812,"material":172,"size":172,"collection":172,"collections":3813,"showCount":238,"zanCount":11,"manualWeight":11,"mainColor":39},233315,"shi-zhu-zhai-pu-ce-hu-ri-cong-233315",[23,50,24,25,52,27,7,73,71],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31232d59e22bf9f4be039b0d7ae01081.jpg",[],{"id":3815,"slug":3816,"title":3817,"dynasty":2472,"author":3818,"museum":66,"description":3819,"tags":3820,"thumbUrl":3825,"material":364,"size":365,"collection":172,"collections":3826,"showCount":238,"zanCount":11,"manualWeight":11,"mainColor":1154},232392,"he-er-bai-yin-51-he-er-bai-yin-232392","荷尔拜因51","荷尔拜因","小汉斯·荷尔拜因（约1497年-1543年11月29日以前）是德国画家，最擅长油画和版画，是欧洲北方文艺复兴时代的艺术家。其代表作有：木版画《死神之舞》。\n荷尔拜因在创作一幅肖像画以前，经常用铅笔描绘衣物、装饰品等细节，有时也用钢笔或垩笔，然后在纸上沿轮廓扎上小孔，铺在画布上，用炭粉将其转移到画布上。在晚年也使用复写纸。他的画作对细节描绘非常详细、真实，甚至于仪器上的刻度、信笺上的文字、桌布上的花纹都描绘的一丝不苟，但整体风格仍然非常统一，人文主义风格非常明显，俄罗斯作家陀斯妥耶夫斯基曾经评价他的作品《墓中的基督》：“可以把许多人的信仰夺去。” 他曾经从同为英国王室画家的弗拉芒画家卢卡斯·霍亨布特那里学习画微型画，卢卡斯曾为他画了一幅微型画像，他自己从没有画过自画像。",[3821,2136,25,1142,3822,7,3823,29,3824],"油画","肖像","松鼠","衣物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F275d9114539b89137cbef31d601903d9.jpg",[],{"id":3828,"slug":3829,"title":3830,"dynasty":2472,"author":3594,"museum":66,"description":3595,"tags":3831,"thumbUrl":3832,"material":614,"size":365,"collection":172,"collections":3833,"showCount":238,"zanCount":11,"manualWeight":11,"mainColor":61},230572,"na-ga-xi-na-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230572","那伽犀那尊者",[49,23,50,25,52,51,1141,1142,608,429,93,7,339],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F144e096f3784ea482d460f180abc7a29.jpg",[],{"id":3835,"slug":3836,"title":3837,"dynasty":86,"author":105,"museum":66,"description":3838,"tags":3839,"thumbUrl":3840,"material":597,"size":172,"collection":172,"collections":3841,"showCount":238,"zanCount":11,"manualWeight":11,"mainColor":39},215363,"bai-miao-jie-tou-mai-mai-hua-ce-195-yi-ming-215363","白描街头买卖画册-195","短褐束带的市井人俯身执禽，竹篾交织的笼器静立一旁。白描线条简练却传神，人物姿态憨朴自然，衣纹褶皱、禽鸟羽翼皆以利落笔触勾勒，墨色无多却意韵饱满。笼间似有余温浮动，仿佛能闻见市井烟火气——这是街头买卖的寻常一幕，却被素笔定格成生动瞬间。没有浓墨重彩，仅以线立形的形神，便让市井鲜活跃然纸上，藏着寻常生计里最真实的人间真味。",[49,165,24,1142,7,3092],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe15be2ee32f14988beef1dbfff8a5ce1.jpg",[],{"id":3843,"slug":3844,"title":3845,"dynasty":3027,"author":105,"museum":66,"description":3630,"tags":3846,"thumbUrl":3847,"material":364,"size":365,"collection":172,"collections":3848,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},278990,"zhong-niao-wen-wa-niu-tong-yin-yi-ming-278990","众鸟纹瓦钮铜印",[31,2812,3632,3031,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55ac15f0b5c2395d164022b5d815f4b2.jpg",[],{"id":3850,"slug":3851,"title":3852,"dynasty":86,"author":105,"museum":66,"description":3853,"tags":3854,"thumbUrl":3855,"material":364,"size":365,"collection":172,"collections":3856,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},274622,"niao-yin-long-yi-ming-274622","鸟音笼","穹顶鎏金提笼八角而立，笼内花枝斜出，艳红蓓蕾错落点缀，翠羽小鸟俏栖枝头，仿若正将啼鸣噙在舌尖。底座錾刻缠枝花卉，纹饰饱满细腻，鎏金的柔光晕开旧时光的温润。\n\n这是融工艺与机巧的掌中雅玩，上弦便可唤起啾啾鸟鸣，将鲜活生趣凝在鎏金笼中，把匠人的奇思藏于细节。它将陈设之美与嬉玩之趣相融，静立间便流淌出往昔闲雅的生活意趣，尽显手作技艺的精妙匠心。",[286,3205,1162,7,71,3092],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d2b5ee3b23b41fb90c171f6a8deacdf.jpg",[],{"id":3858,"slug":3859,"title":3860,"dynasty":86,"author":105,"museum":66,"description":3861,"tags":3862,"thumbUrl":3863,"material":364,"size":365,"collection":172,"collections":3864,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":1154},274478,"tong-du-jin-niao-yin-biao-yi-ming-274478","铜镀金鸟音表","中国清宫内所存以机械为动力、用珍贵材料做外壳、构造复杂的艺术性计时器。中国本是世界上发明计时器最早的国家。但自1601年意大利 传教士 利玛窦向中国明万历皇帝呈献第一件自鸣钟起，陆续有西洋钟表进献宫廷。清康熙帝把西洋钟表作为一种新科学加以重视，将西洋钟表（也称自鸣钟）贮于端凝殿南端，并将此处命名为自鸣钟处，还在宫内成立了做钟处。到乾隆时，钟表已成为帝后们生活中不可缺少之物，不但在各宫殿内陈设，就连外出乘坐的车、轿、船、马鞍上也都置有钟表。因而每年都要使用大批新奇钟表。这些钟表有清宫做钟处、广州、苏州制造的，也有英国、法国、德国、瑞士、日本等国制造的。",[2812,3205,1162,7,3171,286,3092],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90b05f3672dbd4f5625e1f28e7598400.jpg",[],{"id":3866,"slug":3867,"title":3014,"dynasty":86,"author":105,"museum":66,"description":3015,"tags":3868,"thumbUrl":3869,"material":364,"size":365,"collection":172,"collections":3870,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":1154},268482,"dian-cui-hua-hui-niao-die-wen-tou-hua-yi-ming-268482",[3017,3018,28,624,7,3019],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef5f9a9d3518e06bea15dc630defba7f.jpg",[],{"id":3872,"slug":3873,"title":3014,"dynasty":86,"author":105,"museum":66,"description":3015,"tags":3874,"thumbUrl":3877,"material":364,"size":365,"collection":172,"collections":3878,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":1154},268478,"dian-cui-hua-hui-niao-die-wen-tou-hua-yi-ming-268478",[3017,3018,3405,28,7,3019,3875,3876,27],"鼠","银器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc25d8d203ab94c6a657b328738f0b9e.jpg",[],{"id":3880,"slug":3881,"title":3882,"dynasty":86,"author":105,"museum":66,"description":3883,"tags":3884,"thumbUrl":3888,"material":364,"size":365,"collection":172,"collections":3889,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},258971,"da-ya-zhai-kuan-lv-di-mo-cai-hua-niao-tu-chang-fang-hua-pen-yi-ming-258971","大雅斋款绿地墨彩花鸟图长方花盆","绿地匀净柔和，以墨彩留白晕染寒梅，虬枝苍劲舒展，白花似堆雪缀于枝桠，清逸出尘。两只绶带鸟栖停枝头，翎羽纤毫毕现，身姿顾盼生姿，将冬日生机藏于清冷疏景之中。\n\n墨彩浓淡相宜，工笔细绘翎羽纹理，写意铺陈梅枝苍劲，文人意趣跃然瓷上。题字朱印相映，更添文雅气韵，整器将瓷绘工艺与文人花鸟画意趣相融，把岁寒清雅之景凝于方寸，尽显娴静雅致的瓷绘美学。",[987,2853,3885,3886,3887,27,123,7,31],"长方","墨彩","绿地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc73d994621a147629673149a756ef242.jpg",[],{"id":3891,"slug":3892,"title":3893,"dynasty":86,"author":105,"museum":66,"description":3894,"tags":3895,"thumbUrl":3896,"material":364,"size":365,"collection":172,"collections":3897,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},258968,"da-ya-zhai-kuan-fen-cai-hua-niao-tu-chang-fang-hua-pen-yi-ming-258968","大雅斋款粉彩花鸟图长方花盆","此器斜腹方挺，下承四足，器型秀雅舒展。主面彩禽独立虬枝，蓝首修颈，翎毛以粉彩晕染，柔润细腻，将禽鸟灵动之态尽显无遗。周遭花树繁茂，粉苞轻绽，翠叶层叠错落，枝桠苍古遒劲，敷色鲜妍柔和，艳而不妖。一侧题字配章，笔墨娟秀，添就文雅意趣。整器构图疏密相宜，工致的粉彩工艺将花鸟生趣描摹尽致，尽显柔婉绮丽的宫廷瓷绘之风，是颇具代表性的粉彩佳器。",[2853,2854,25,27,7,73,31,3885,286],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bf9dd862ec1ca901ef03aa2955807fc.jpg",[],{"id":3899,"slug":3900,"title":3901,"dynasty":86,"author":105,"museum":66,"description":3902,"tags":3903,"thumbUrl":3904,"material":364,"size":365,"collection":172,"collections":3905,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":1154},258959,"da-ya-zhai-kuan-lv-di-fen-cai-hua-niao-tu-bo-gang-yi-ming-258959","大雅斋款绿地粉彩花鸟图钵缸","松石绿釉如春水初融，沉静雅致。其上粉彩敷色明妍饱满，紫藤垂悬似紫霞流泻，柔条缀满繁英；蔷薇凝着胭脂色，瓣层舒展如绽，嫩绿枝叶萦回缠绕，娇俏鲜活。靛褐羽色的禽鸟栖于虬枝，振羽引吭，灵动传神。\n\n纹饰铺陈疏密相宜，工笔描摹细腻入微，将春日花鸟悠然之态尽揽缸身。题识印款点缀留白，更添文雅意韵，尽显瓷绘华美雅致之姿，是兼具装饰意趣与工艺水准的瓷中佳物。",[987,2853,2854,25,52,27,1843,53,7,29,3887],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9961148fa94c687195e026e2d45a2fd4.jpg",[],{"id":3907,"slug":3908,"title":3909,"dynasty":86,"author":105,"museum":66,"description":3910,"tags":3911,"thumbUrl":3912,"material":364,"size":365,"collection":172,"collections":3913,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},258888,"ou-he-di-fen-cai-hua-niao-wen-si-zu-pen-lian-yi-ming-258888","藕荷地粉彩花鸟纹四足盆、奁","藕荷色地釉匀净柔润，晕染出雅致底色，衬得粉彩花鸟愈发生动鲜活。蓝羽灵禽静立桃枝，翎毛纤毫毕现，晕染出自然细腻的肌理层次，悠然情态宛然眼前。粉桃柔苞缀满虬枝，桃果饱满莹润，枝叶舒展有迎风之姿，设色柔丽雅致，工笔精细入微，将春日花鸟的清趣融于瓷面。套奁纹饰一体呼应，四足添增稳重之态，整器将彩瓷之精与花鸟意趣相融，陈设实用兼具，尽显雅致精巧。",[2853,2854,25,27,7,525,286],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd23bf210fcce0bb807504b5e1a579a5a.jpg",[],{"id":3915,"slug":3916,"title":3917,"dynasty":86,"author":105,"museum":66,"description":3288,"tags":3918,"thumbUrl":3919,"material":364,"size":365,"collection":172,"collections":3920,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":1154},258873,"yong-qing-chang-chun-kuan-fen-cai-hua-niao-tu-suan-tou-ping-yi-ming-258873","永庆长春款粉彩花鸟图蒜头瓶",[2853,2854,25,52,27,7,73,29,286],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc60d7ee3a3a3644b54170c12980c4d49.jpg",[],{"id":3922,"slug":3923,"title":3924,"dynasty":86,"author":105,"museum":66,"description":3925,"tags":3926,"thumbUrl":3928,"material":364,"size":365,"collection":172,"collections":3929,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},258872,"bai-you-mo-cai-ke-hua-niao-tu-gai-gang-yi-ming-258872","白釉墨彩刻花鸟图盖缸","将不含金属氧化物呈色元素的釉料施于胎骨洁白的器物上，入窑高温烧制而成的透明釉， 釉色因白润瓷胎的映衬而显出白色，现在习惯上将这种透明釉也称为白釉。\n瓷器釉料中的含铁量降低到0.75%以下，施于洁白的瓷胎上，入窑经高温烧制，就会出现白釉。严格地说，白釉是一种无色透明釉，而不是白色的釉 。白釉是瓷器传统釉色之一,真正的白釉应该是乳白色的乳浊釉,这种釉是近代才发明的。我国古代仅有元代枢府釉是失透的,其他白釉并不是白色的釉,\n白釉烧制工艺比青釉复杂，出现的时间也较青釉晚，一般瓷土和釉料，都或多或少含有一些氧化铁，器物烧出后必然呈现出深浅不同的青色来。如果釉料中的铁元素含量小于0.75%，烧出来的就会是白釉。\n白釉最早出现在汉代，比青釉瓷器晚了400多年，白釉瓷器开始是青白色的，因为瓷器中铁的含量高于1%就是青色的，少于1%就是白瓷了，所以中国白瓷经历青瓷、青白瓷、卵白釉、甜白釉、象牙白、白釉的发展过程。中国历史上白瓷产地有德化白瓷、定窑白瓷以及刑窑白瓷等。",[2853,3927,3886,1162,27,7,73,286],"白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28ac34640ad9ae3a5f480c1c040e4dac.jpg",[],{"id":3931,"slug":3932,"title":3933,"dynasty":3934,"author":105,"museum":66,"description":3935,"tags":3936,"thumbUrl":3938,"material":364,"size":365,"collection":172,"collections":3939,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":1154},256717,"qing-you-si-xi-niao-niu-gai-gang-yi-ming-256717","青釉四系鸟纽盖缸","晋","中国瓷器著名传统颜色釉。亦称“青瓷釉”。古代南方青釉，是瓷器最早的颜色釉。\n所谓“青釉”，颜色并不是纯粹的青，有：月白、天青、粉青、梅子青、豆青、豆绿、翠青等，但多少总能泛出一点青绿色。同时，古人往往将青、绿、蓝三种颜色，一统称为“青色”，例如许之衡《饮流斋说瓷》称：“古瓷尚青，凡绿也、蓝也，皆以青括之。”刘子芬《竹园陶说》中也说：“青色一种，常与蓝色相混。雨过天晴，钧窑、元窑之青，皆近蓝色。”“惟千峰翠色、梅子青、豆青、乃为纯青耳。天色本蓝，有时为青。”\n青釉是我国使用最早，延用时间最久，分布最广的一个釉种，它的发明是与我国瓷土矿大都含有一定量的铁矿的现象相一致的。青色也符合我国人民的传统审美情趣。青色与碧玉相若，认为稳重而高雅。浙江、江西、河南等地已出土了不少早至商周时期的原始青釉瓷。六朝至唐宋以越窑为代表的南方青釉瓷；宋到元明的龙泉窑系青瓷；耀州窑、临汝窑、钧窑等宋代北方青瓷；以及明、清以来的景德镇青釉瓷，是青釉发展的几个重要阶段，所谓的宋代“汝、定、官、哥、钧”五大名窑，除定窑外均属青釉瓷。表釉的呈色主要决定于着色氧化物的含铁量与烧成气氛，青釉含铁量一般在1—3%左右，过高会变成黑釉，低了就能烧成白瓷。在还原气氛中烧成。釉色青绿；在氧化气氛中烧成，釉色泛黄。因而陶瓷界所谓的青釉是相对而言的，正如许之衡《饮流斋说瓷》中所说：“古瓷尚青，凡绿也，蓝也，皆以青括之。”",[2853,2930,1162,7,3937,286],"系","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5817f4d56eca1b99b570192786c7aea.jpg",[],{"id":3941,"slug":3942,"title":3670,"dynasty":18,"author":105,"museum":66,"description":3087,"tags":3943,"thumbUrl":3944,"material":364,"size":365,"collection":172,"collections":3945,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":1154},256465,"cheng-hua-kuan-dou-cai-hua-niao-tu-gao-zu-bei-yi-ming-256465",[962,3672,2853,3089,27,7,73,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F910159a13ea5d9c857e01dd954d65ff9.jpg",[],{"id":3947,"slug":3948,"title":3949,"dynasty":18,"author":105,"museum":66,"description":3414,"tags":3950,"thumbUrl":3952,"material":364,"size":365,"collection":172,"collections":3953,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},256407,"cheng-hua-kuan-qing-hua-hua-niao-tu-wo-zu-wan-yi-ming-256407","成化款青花花鸟图卧足碗",[962,3416,2853,52,27,7,73,29,3951],"卧足碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d6122326533f96cb828ae1b313b2e74.jpg",[],{"id":3955,"slug":3956,"title":3957,"dynasty":18,"author":105,"museum":66,"description":3414,"tags":3958,"thumbUrl":3960,"material":364,"size":365,"collection":172,"collections":3961,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},256405,"cheng-hua-kuan-qing-hua-hua-niao-tu-wan-yi-ming-256405","成化款青花花鸟图碗",[18,2853,3416,52,27,7,73,29,286,3959],"釉下彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70b4a4be9bceb8b8d3396af62ba8a52c.jpg",[],{"id":3963,"slug":3964,"title":3965,"dynasty":3027,"author":105,"museum":66,"description":3700,"tags":3966,"thumbUrl":3967,"material":364,"size":365,"collection":172,"collections":3968,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":1154},256159,"tao-niao-shou-lu-yi-ming-256159","陶鸟兽炉",[3030,2853,1162,608,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0efbd6d5183b839cbbf2d73a76e2f06e.jpg",[],{"id":3970,"slug":3971,"title":3972,"dynasty":104,"author":105,"museum":66,"description":3690,"tags":3973,"thumbUrl":3975,"material":364,"size":365,"collection":172,"collections":3976,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},255996,"lv-you-ci-niao-yi-ming-255996","绿釉瓷鸟",[1161,2853,3692,3974,7],"瓷塑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F763abff01da40661e84c22ff6aa838cd.jpg",[],{"id":3978,"slug":3979,"title":3980,"dynasty":86,"author":105,"museum":66,"description":3238,"tags":3981,"thumbUrl":3983,"material":364,"size":365,"collection":172,"collections":3984,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":1154},255970,"su-san-cai-ci-ying-wu-yi-ming-255970","素三彩瓷鹦鹉",[987,2853,3982,25,7,27,3974],"素三彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F615e38aca646cd31a8c7ea20c23c0eaa.jpg",[],{"id":3986,"slug":3987,"title":3988,"dynasty":104,"author":105,"museum":66,"description":3989,"tags":3990,"thumbUrl":3992,"material":364,"size":365,"collection":2933,"collections":3993,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":1154},255645,"shi-wan-yao-hui-you-niao-yi-ming-255645","石湾窑灰釉鸟","石湾窑在今广东佛山市石湾镇，明清著名民窑之一。以陶塑和建筑陶瓷著称。始于宋代（亦有一说始于唐），极盛于明清两代。\n石湾窑以善仿钧窑而着称。仿钧釉色以蓝色、玫瑰紫、翠毛釉等为佳，但仿中有创。钧窑的窑变釉是一层釉色，而石湾窑变釉却有底釉与面釉之分。寂圆叟在其《陶雅》中盛赞石湾窑变釉色："广窑谓之泥均，其蓝色甚似灰色┅┅于灰釉中旋涡周遭，故露异彩，较之雨过天晴尤极浓艳，目为云斑霞片不足以方厥体态。┅┅又有时于灰釉中露出深蓝色之星点，亦足玩也。"\n石湾窑不仅善仿钧，而且善仿宋代各大名窑，宋代官、哥、汝、钧诸名窑产品，从材质运用、技法处理、艺术造型等各方面都仿得惟妙惟肖，而且有创造性的发展，梅建鹰评价曰："石湾集宋代各大名窑之大成，仿钧而青出于蓝，独创石湾自已的艺术风格。"",[1161,2853,3306,7,3991],"石湾窑风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb25a11d3371a79919badd5f36cbff71c.jpg",[2933],{"id":3995,"slug":3996,"title":3997,"dynasty":3027,"author":105,"museum":66,"desc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