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，设色","纵26.9cm，横27.2cm","宋画精选",[36,38,39],"花鸟画精选","设色画精选",1282,18,"795548",{"id":44,"slug":45,"title":46,"dynasty":47,"author":48,"museum":49,"description":50,"tags":51,"thumbUrl":54,"material":55,"size":56,"collection":38,"collections":57,"showCount":58,"zanCount":59,"manualWeight":11,"mainColor":60},218793,"pi-pa-zhen-qin-tu-zhou-zhi-mian-218793","枇杷珍禽图","明","周之冕","台北故宫博物院","画面中，枇杷枝叶舒卷，翠叶如盖，嫩黄果实攒聚枝间，饱满莹润。一只禽鸟栖于枝桠，羽色柔和，神态闲静，似在细赏花叶，又若欲振翅，姿态鲜活传神。画家运笔细腻，勾勒花叶轮廓精准，设色淡雅清逸；叶片脉络、果实肌理刻画入微，禽鸟羽毛层次分明，质感逼真。枝叶穿插自然，虚实相生，画面疏密有致，气韵流动。整体风格宁静雅致，融工笔之精丽与写意之灵动，尽显自然生机与闲适意趣，如同一帧鲜活的春日小景，引人驻足细品。",[24,25,26,52,27,28,30,7,53,32],"立轴","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b876424f375b541ae9f0153ebc04f8d.jpg","纸本,设色","71.4x30.4cm",[38],594,21,"BDBDBD",{"id":62,"slug":63,"title":64,"dynasty":65,"author":66,"museum":67,"description":68,"tags":69,"thumbUrl":75,"material":55,"size":76,"collection":38,"collections":77,"showCount":78,"zanCount":79,"manualWeight":11,"mainColor":60},214283,"pi-pa-tu-xu-gu-214283","枇杷图","清","虚谷","上海博物馆","枇杷图是清代画家虚谷的一幅代表作。这幅画作描绘了枇杷树的生长过程。\n\n在这幅画作中，虚谷巧妙地捕捉了枇杷树的生长特征。他用浓墨重彩的画法，勾勒出了枇杷树的树冠和树干。他还用细腻的线条勾勒出了枇杷树的果实，让人感受到了枇杷树的自然韵味。",[23,24,25,26,28,30,70,71,7,72,73,74],"水墨","写意","枝干","叶子","果实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c08115f1f5f8532ace747821d30036.jpg","112.5x52",[38],408,5,{"id":81,"slug":82,"title":83,"dynasty":84,"author":85,"museum":86,"description":87,"tags":88,"thumbUrl":95,"material":96,"size":97,"collection":97,"collections":98,"showCount":99,"zanCount":100,"manualWeight":11,"mainColor":60},220586,"li-zi-shu-he-san-zhi-kun-chong-qi-bai-shi-220586","李子树和三只昆虫","民国","齐白石","Oscar 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整幅作品为全景式构图，丰满繁复。禽鸟造型体态雍容，逼真生动，惟妙惟肖。在绘画技法上，禽鸟使用的是典型的勾线设色法，用线遒劲，设色上层层渲染，富丽华美。而对画面背景处的山石、枇杷树干的表达，画家则使用了稍微写意性的笔法进行勾勒，并在此基础上使用了皴染技法表现凹凸质感和阴阳向背。这种对树干与景石的描绘方法，我们似乎可以从中感受到崔白在 《双喜图》中，描绘树干所使用的灵活悠游又不失法度的水墨工写结合技法。",[23,25,26,27,28,30,7,160,31,161,162],"孔雀","奇石","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f51404c96f2c60be675e39c78ae54fd.jpg","绢","183.1x109.8",[36],85,{"id":169,"slug":170,"title":17,"dynasty":18,"author":19,"museum":106,"description":171,"tags":172,"thumbUrl":173,"material":137,"size":138,"collection":97,"collections":174,"showCount":175,"zanCount":11,"manualWeight":11,"mainColor":42},288293,"pi-pa-shan-niao-tu-lin-chun-288293","林椿，南宋钱塘（今浙江杭州）人，生卒年不详，南宋孝宗淳熙（1174—1189）间画院待诏，赐金带。 林椿为南宋时期画家，孝宗淳熙年间曾为画院待诏。生卒年不详，浙江钱塘（今浙江杭州）人，南宋时期画家。孝宗淳熙年间曾为画院待诏。绘画师法赵昌，工画花鸟、草虫、果品，设色轻淡，笔法精工，设色妍美，善于体现自然的形态，所绘小品为多，当时赞为“极写生之妙，莺飞欲起，宛然欲活”。传世作品有：《梅竹寒禽图》册页，藏于上海博物馆。《果熟来禽图》《葡萄草虫》《枇杷山鸟图》，藏于北京故宫博物院。",[23,25,24,30,27,28,7,31,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff12c32701a0210a0cc337e0aba0e608c.jpg",[],82,{"id":177,"slug":178,"title":179,"dynasty":18,"author":180,"museum":49,"description":181,"tags":182,"thumbUrl":184,"material":164,"size":185,"collection":97,"collections":186,"showCount":187,"zanCount":11,"manualWeight":11,"mainColor":60},289352,"pi-pa-shou-dai-tu-xu-chong-si-289352","枇杷绶带图","徐崇嗣","徐崇嗣，北宋画家。徐熙孙。擅画草虫、禽鱼、蔬果、花木及蚕茧等。其画初承家学，因不合当时图画院程式和风尚，遂改学黄筌、黄居寀父子。后自创新体，所作不用墨笔钩勒，而直接以彩色晕染，世称“没骨图”，也称“没骨花”。兄徐崇勋、弟徐崇矩，均擅画花鸟，崇矩并工士女。",[24,25,26,109,30,28,120,7,31,183,32],"行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3638daf283762690d69128dce425c2f8.jpg","25.7x27.8",[],74,{"id":189,"slug":190,"title":64,"dynasty":65,"author":66,"museum":106,"description":191,"tags":192,"thumbUrl":193,"material":97,"size":97,"collection":97,"collections":194,"showCount":195,"zanCount":11,"manualWeight":11,"mainColor":60},235012,"pi-pa-tu-xu-gu-235012","有“晚清画苑第一家”之誉的虚谷，曾与吴昌硕、任伯年并称为“海派画坛三杰”。 虚谷一生萍踪浪迹，精通佛禅兼知老庄，在艺术创造上敢于破格创新，是位不同流俗的一代奇才。\n虚谷的画，轻快利索、明净空灵，将清冷飘逸的超脱精神与强烈的生命活力交织在一起，有着水彩画般的透明感。无论是色彩创意、造型语言、构成图式还是笔墨个性，虚谷都突破了传统规范，每一幅作品都会给人耳目一新和精神为之一振的感觉，在晚清画坛可谓独树一帜，吴昌硕盛赞他为“一拳打破去来今”。\n虚谷是位全才型的画家，花鸟、人物、山水皆精，而平凡的蔬菜瓜果一经他的生花妙笔，立刻化为秀雅鲜活的动人形象。由此可见，虚谷是在用蘸满感情的笔墨，抒发着自己热爱自然、憧憬人间美景的情志。作于1896年的《枇杷图》（如图），便是他的一幅笔墨精绝的传世名作。\n绘制这幅画时，虚谷已经是73岁的高龄，然而画面如此精气逼人，真仿佛如有神助。画中一丛长势壮盛的枇杷枝干直挺，一派峥嵘之气。构图顶天立地，布满全幅，用逆笔和枯笔粗细有致地画出了鲜明的节奏感。下方足足四分之一的画面以虚而淡的笔法和色调，衬托出上部鲜艳的果实无比鲜嫩可人、水灵欲滴，使观者的目光情不自禁地上移，也使枇杷树在无形之中有了蓬勃向上的生姿，顿生明媚而祥瑞的意境。\n虚谷在画中的行笔是十分快捷的，在信手挥洒中以精练的笔墨一气呵成，却并无急躁之感。他以含水量很大的湿笔从上到下舞动，而湿笔中又时不时地露出飞白，使人感到沐浴在阳光和雨露中的枇杷树是如此的滋润明洁。从最浓的树叶到最淡的树叶，竟然找不到两片完全相同的，也找不到两个完全相同的果实，真是按部就班、主次分明。虚谷在造型中参用了西洋油画的方法，以虚为主，虚实相生，虽然随手点染却又在漫不经意中显得统一而连贯，使整个画面宁静、安逸、祥和又明亮，反映出画家超凡的自信、深厚的修养和随心所欲的自由境界。\n名画家陈小蝶在《近代六十名画家传》评价道：“虚谷和尚用笔如风雨骤至，灵气透出纸背，无一笔滞相。”虚谷一生寄情于书画，安享着“一树梅花天地春”的恬适，这幅画中就透露出了画家看空名利、追求身心和悦的心境，令人悠然神往。",[25,26,30,28,70,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F869b939dcfafda528edfa62e15da9aa6.jpg",[],73,{"id":197,"slug":198,"title":199,"dynasty":47,"author":200,"museum":106,"description":201,"tags":202,"thumbUrl":209,"material":137,"size":138,"collection":97,"collections":210,"showCount":211,"zanCount":141,"manualWeight":11,"mainColor":212},256800,"qing-hua-chan-zhi-lian-pi-pa-wen-ju-ban-wan-yi-ming-256800","青花缠枝莲枇杷纹菊瓣碗","佚名","青花瓷（blue and white porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[203,204,205,206,7,207,208],"陶瓷","青花","明代","缠枝莲","菊瓣","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eb1d2dd195ae5e1486a45ecc5759b93.jpg",[],59,"9C27B0",{"id":214,"slug":215,"title":216,"dynasty":18,"author":200,"museum":217,"description":218,"tags":219,"thumbUrl":220,"material":221,"size":222,"collection":38,"collections":223,"showCount":224,"zanCount":11,"manualWeight":11,"mainColor":42},223463,"shan-que-pi-pa-tu-yi-ming-223463","山鹊枇杷图","中央美术学院美术馆","图绘两只山雀站在枇杷枝上。枝头果实累累，枇杷青涩，黄中带绿。",[24,25,26,29,27,28,30,31,7,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17bd14416d2c445966f588ee332fa32c.jpg","绢本","30X31cm",[38,39],58,{"id":226,"slug":227,"title":228,"dynasty":18,"author":157,"museum":106,"description":229,"tags":230,"thumbUrl":231,"material":137,"size":138,"collection":97,"collections":232,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":42},287586,"hua-pi-pa-kong-que-cui-bai-287586","画枇杷孔雀","崔白（1004-1088），字子西，濠州（今安徽凤阳）人，北宋画家。崔白是开始发挥写生精神的画家，其无前人的画稿可临摹或参考，但其依靠超越前人的观察研究及描绘能力，探索花木鸟兽的生意，摆脱花鸟属装饰图案的遗影，开创新的发展方向。其擅花竹、翎毛，亦长于佛道壁画，画佛道鬼神、山水、人物亦精妙绝伦，尤长于写生。所画鹅、蝉、雀堪称三绝，手法细致，形象真实，生动传神，富于逸情野趣。一改百余年墨守成规的花鸟画风（指“黄筌画派”），成为北宋画坛的革新主将，数百年来颇受画坛尊崇。",[25,24,30,27,28,160,7,162,161,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe485ccbcaf466a1e71621d56277378c3.jpg",[],57,{"id":235,"slug":236,"title":237,"dynasty":65,"author":238,"museum":20,"description":239,"tags":240,"thumbUrl":243,"material":244,"size":245,"collection":97,"collections":246,"showCount":247,"zanCount":11,"manualWeight":11,"mainColor":60},234683,"chen-shi-ceng-tao-liu-pi-pa-tu-zhou-chen-heng-ke-234683","陈师曾桃榴枇杷图轴","陈衡恪","图绘桃、石榴、枇杷各一枝，参差有序，果实累累。画中以花青色配以浓淡不同的墨色画桃叶，再以重墨勾勒筋脉。桃实红绿相间，色泽自然。石榴的枝条硬朗秀挺，小叶片片看似随意，然点画得轻灵活泼，与较浓重的桃叶、枇杷叶相映衬，使画面轻重有别，富有韵律感。",[24,25,26,52,30,28,70,241,242,7,53,74],"桃","石榴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f93683f8661e46f36da1e89a8b0199c.jpg","纸本，设色","纵87.5厘米， 横44.8厘米",[],56,{"id":249,"slug":250,"title":251,"dynasty":47,"author":252,"museum":106,"description":253,"tags":254,"thumbUrl":259,"material":137,"size":138,"collection":97,"collections":260,"showCount":261,"zanCount":100,"manualWeight":11,"mainColor":42},287345,"pi-pa-xian-shou-tu-chen-hong-shou-287345","枇杷献寿图","陈洪绶","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[23,25,24,52,28,27,255,256,257,7,123,32,258],"人物","美人","仕女","祝寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F848b9bd281fa2cf446c195de1b79955a.jpg",[],55,{"id":263,"slug":264,"title":265,"dynasty":47,"author":266,"museum":20,"description":267,"tags":268,"thumbUrl":269,"material":244,"size":270,"collection":97,"collections":271,"showCount":272,"zanCount":11,"manualWeight":11,"mainColor":60},233842,"wo-you-tu-ce-pi-pa-shen-zhou-233842","卧游图册－枇杷","沈周","此套图册分别绘仿倪山水、杏花、秋葵、秋柳鸣蝉、平坡散牧、栀子花、秋景山水、芙蓉、枇杷、秋山读书、石榴、雏鸡、秋江钓艇、菜花、江山坐话、仿米山水、雪江渔夫等山水、花鸟小景。\n根据末开画家自题，可知该册页的“卧游”之名源自南朝宋宗炳在居室四壁挂山水以当卧游的典故。然而不同于挂轴的是，该图册还可于卧床时仰面翻阅。 由此可见画家的绘制初衷和生活情趣。\n引首自书“卧游”，钤“沈氏启南”朱文印。鉴藏印：“士元珍藏”朱文印，“朱卧庵收藏印”朱文印，“查映山氏收藏图书”朱文印。\n仿倪山水，自题：“苦忆云林子，风流不可追。时时一把笔，草树各天涯。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印，“士元”朱文印，“昆山王成宪画印”朱文印，“映山珍藏”朱文印。\n杏花。自题：“老眼于今已敛华，风流全与少年差。看书一向糢糊去，岂有心情及杏花。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n秋葵。自题：“秋色韫仙骨，淡姿风露中。衣裳不胜薄，倚向石阑东。沈周。” 钤“启南”朱文印。鉴藏印：“士元”朱文印，“卧庵所藏”朱文印，“昆山王成宪画印”朱文印。\n秋柳鸣蝉。自题：“秋已及一月，残声绕细枝。因声追尔质，郑重未忘诗。沈周。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“䒶机流动”朱文印。“卧庵所藏”朱文印。\n平坡散牧。自题：“春草平坡雨迹深，徐行斜日入桃林。童儿放手无拘束，调牧于今已得心。沈周。”钤“启南”朱文印两方。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“之”“赤”朱文联珠印。\n栀子花。自题：“花尽春归厌日迟。玉葩撩兴有新栀。淡香流韵与风宜。帘触处、人在酒醒时。 生怕隔墙知。白头痴老子，折斜枝。还愁零落不堪持。招魂去、一曲（按：此字点去）阙小山词。右词寄小玉山，沈周。”钤“启南”朱文印，“吴言”朱文印。“石田翁”白文印。鉴藏印：“之”“赤”朱文联珠印，“朱卧庵收藏印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n秋景山水。自题：“淡墨疏烟处，微踪仿佛谁。梅花庵里客，端的是吾师。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印。\n芙蓉。自题：“芙蓉清骨出仙胎，赭玉玲珑轧露开。天亦要妆秋富贵，锦江翻作楚江来。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“卧庵所藏”朱文印、“昆山王成宪画印”朱文印、“竹南藏玩”白文印。\n枇杷。自题：“弹质圆充饤，蜜津凉沁唇，黄金作服食，天亦寿吴人。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印,“卧庵所藏”朱文印、“昆山王成宪画印” 朱文印。\n秋山读书。自题：“高木西风落叶时，一襟萧爽坐遥遥。闲披秋水未终卷，心与天游谁得知。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“卧庵所藏”朱文印。\n石榴。自题：“石榴谁擘破，群琲露人看。不是无藏韫，平生想怕瞒。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n雏鸡。自题：“茸茸毛色半含黄，何独啾啾去母傍。白日千年万年事，待渠催晓日应长，沈周。”钤“启南”朱文印，“白石翁”白文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印、“朱卧庵收藏印”朱文印。\n秋江钓艇。自题：“满池纶竿处处缘，百人同业不同船。江风江水无凭准，相并相开总偶然。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“卧庵所藏”朱文印。\n菜花。自题：“南畦多雨露，绿甲已抽新。切玉烂蒸去，自然便老人。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印，“昆山王成宪画印”朱文印。\n江山坐话。自题：“江山作话柄，相对坐清秋。如此澄怀地，西湖忆旧游。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印、“昆山王成宪画印”朱文印。\n仿米山水。自题“云来山失色，云去山依然。野老忘得丧，悠悠柱杖前。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n雪江渔夫。自题：“千山一白照人头，簑笠生涯此钓舟。不识江湖风雪里，可能干得庙堂忧。沈周。”钤“白石翁”白文印。鉴藏印：“昆山王成宪画印”朱文印、“卧庵所藏”朱文印。\n题跋。自题：“宗少父四壁揭山水图，自谓卧游其间。此册方可尺许，可以仰眠匡床，一手执之，一手徐徐翻阅，殊得少文之趣。倦则掩之，不亦便乎？于揭亦为劳矣。真愚闻其言，大发笑。沈周跋。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印，“芃园曹氏平生真赏”朱文印，“麓云楼书画记”朱文印，“康饴”朱文印，“只可自怡悦”白文印，“朱卧庵收藏印”朱文印，“依竹居士鉴赏书画印”朱文印。",[25,26,29,28,70,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05b13d6b7f85d6cd1ab67e05024fd237.jpg","纵27.8厘米，横37.3厘米",[],52,{"id":274,"slug":275,"title":276,"dynasty":18,"author":105,"museum":277,"description":278,"tags":279,"thumbUrl":280,"material":97,"size":97,"collection":97,"collections":281,"showCount":282,"zanCount":11,"manualWeight":11,"mainColor":42},227963,"pi-pa-ba-ge-tu-tuan-shan-ye-wu-bing-227963","枇杷八哥图团扇页","美国大都会艺术博物馆","此作工致写实，将一隅小景绘得意趣悠长。通体乌黑的禽鸟静栖枝桠，羽翼以浓淡墨色晕染出蓬松柔润的质感，亮眼圆睁尽显憨稚警觉，喙部与爪尖勾勒细腻，姿态沉稳憨拙。旁侧枇杷枝叶舒展，叶片以淡绿敷色，细笔勾出筋脉区分阴阳向背，将叶片的舒展柔劲尽显无遗，簇生的浅黄花苞素雅清新。\n整幅画面设色温润古雅，笔意精细却不显匠气，把寻常林间片刻定格为隽永图景，尽显静观万物的雅致审美，淡逸平和中藏着鲜活生机。",[24,25,26,109,27,28,30,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff313a95abb99fbd631ae6e3ea15178f3.jpg",[],50,{"id":284,"slug":285,"title":17,"dynasty":286,"author":287,"museum":106,"description":288,"tags":289,"thumbUrl":291,"material":97,"size":97,"collection":97,"collections":292,"showCount":293,"zanCount":11,"manualWeight":11,"mainColor":42},227439,"pi-pa-shan-niao-tu-huang-quan-227439","五代十国","黄荃","宋徽宗名下流传至今的绘画作品面貌多样，既有雍容典雅的重彩工笔，也有古拙朴茂的粗笔水墨。所以历来对其真伪归属多有争论可谓画史的一段公案，一般认为工丽细致的院体风格是他人代笔或是御题画，而朴拙一路则是徽宗亲笔真迹。现藏于北京故宫博物院的《枇杷山鸟图》是学界一致公认的宋徽宗赵佶的真迹之一。本画为绢本设色，纵22.6厘米，横24.5厘米，画上题有“天下一人”的御笔花押。此幅《枇杷山鸟图》设色极淡，又因年代久远几乎不能分辨，看上去就如同单纯的水墨画一般。画中景物工写相参，渲染精细，犹如黑白老照片，在宋代绘画中别具一格。",[23,24,25,26,27,28,30,7,290,53],"山鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43bc94a04488f0b800bfb8c8250fa6ac.jpg",[],46,{"id":295,"slug":296,"title":297,"dynasty":65,"author":298,"museum":106,"description":299,"tags":300,"thumbUrl":301,"material":137,"size":138,"collection":97,"collections":302,"showCount":303,"zanCount":11,"manualWeight":11,"mainColor":60},290211,"shan-mian-a-wu-chang-shuo-290211","扇面A","吴昌硕","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[23,25,109,30,28,7,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fcf508e31a11a02631ac94cf33258f0.jpg",[],37,{"id":305,"slug":306,"title":307,"dynasty":47,"author":105,"museum":277,"description":308,"tags":309,"thumbUrl":311,"material":312,"size":313,"collection":97,"collections":314,"showCount":315,"zanCount":11,"manualWeight":11,"mainColor":42},223369,"ba-ge-pi-pa-tu-wu-bing-223369","八哥枇杷图","八哥立于枇杷枝上，望向一簇枇杷果，若有所思",[23,25,109,27,28,30,310,7,147,74,53],"八哥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F498a1485d8d313bbe33eac698b9db385.jpg","绢本设色","31.1x31.1cm",[],29,{"id":317,"slug":318,"title":319,"dynasty":65,"author":320,"museum":321,"description":322,"tags":323,"thumbUrl":324,"material":325,"size":326,"collection":97,"collections":327,"showCount":315,"zanCount":11,"manualWeight":11,"mainColor":60},216331,"jin-nong-ba-kai-hua-niao-tu-3-jin-nong-216331","金农八开花鸟图-3","金农","私人收藏","八开花鸟图是清朝时期金农所绘的著名图画作品之一。金农是清朝时期著名的画家，他的八开花鸟图是他最著名的作品之一。\n\n这幅画中，金农绘制了许多花和鸟的形象，这些花和鸟形象都非常生动，充满了生机和活力。画中的花和鸟共同组成了一个浓郁的自然风景，让人们感受到花园中的清新与自然。\n\n金农的八开花鸟图被认为是中国画史上的杰作，在当时也广受欢迎，被认为是一幅非常优秀的作品。",[25,26,70,71,30,7,29,32,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83474b8830f5cdb855dbaab901df93dd.jpg","绢本,水墨","30.5x40.9cm",[],{"id":329,"slug":330,"title":116,"dynasty":18,"author":117,"museum":106,"description":331,"tags":332,"thumbUrl":334,"material":137,"size":138,"collection":97,"collections":335,"showCount":336,"zanCount":11,"manualWeight":11,"mainColor":60},288291,"pi-pa-shan-niao-tu-ye-zhao-ji-288291","此图纯以水墨勾染而成，格调高雅，略似没骨画效果，别具一种苍劲细腻之韵致，体现了赵佶多方面的绘画才能。",[23,25,26,30,27,28,7,31,333,123,183,29],"蝴蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97d3bd4a5cb4822085159b56b9f733f6.jpg",[],24,{"id":338,"slug":339,"title":340,"dynasty":341,"author":342,"museum":67,"description":343,"tags":344,"thumbUrl":346,"material":97,"size":97,"collection":38,"collections":347,"showCount":336,"zanCount":11,"manualWeight":11,"mainColor":348},202966,"pi-pa-tu-zhou-zhao-yun-he-202966","枇杷图轴","近代","赵云壑","画面以水墨设色绘枇杷，枝干遒劲如篆，墨叶浓淡相破，泼墨写意间见苍劲生机。金黄果实缀于枝间，色泽饱满透亮，与深墨叶片形成鲜明对比，尽显丰硕诱人之态。下方点缀红绿小花，添灵动气息；石体以淡墨晕染，朴拙自然。整体笔墨纵逸洒脱，兼具写实与写意之妙，传递出田园间的清新意趣与蓬勃生命活力。",[25,71,70,28,30,7,345,53,23],"孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca4635b70f2fe5cc3c60129d3f14ea46.jpg",[38],"bdb29d",{"id":350,"slug":351,"title":352,"dynasty":65,"author":353,"museum":67,"description":354,"tags":355,"thumbUrl":358,"material":97,"size":97,"collection":38,"collections":359,"showCount":336,"zanCount":11,"manualWeight":11,"mainColor":360},201825,"song-pi-ling-mao-tu-zhou-chen-lv-zu-201825","松枇翎毛图轴","陈率祖","松枝虬曲，松针纤劲如缕；枇杷叶墨色浓淡相叠，果实圆润饱满。翎毛独立枝间，羽翅以简笔勾勒，黑羽如漆、白羽若雪，喙眼点睛便活灵活现，似欲振翅或引颈而鸣。笔墨疏朗有致，写意传神，松的苍劲与果的鲜活相映成趣，禽鸟的灵动为画面注入生机，尽显文人画的清雅意趣，于简淡中藏深致，于疏放中见情韵。",[70,71,30,356,7,357,23],"松","翎毛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8328f4bb5841999177a64decb8b03f79.jpg",[38],"b1a08c",{"id":362,"slug":363,"title":364,"dynasty":18,"author":200,"museum":49,"description":365,"tags":366,"thumbUrl":369,"material":312,"size":370,"collection":97,"collections":371,"showCount":372,"zanCount":11,"manualWeight":11,"mainColor":42},223427,"song-ren-pi-pa-yuan-xi-tu-zhou-yi-ming-223427","宋人枇杷猿戏图轴","从画面上来看，枇杷树的枝干上下各一段，并未相接，观赏时却有著相连的感觉，这种画外之意，正是作者别出心裁的安排。而其沈着的用色、劲健的用笔则将树干的扭曲斑剥、树叶的转折、石头的坚硬和猿身黝黑的绒毛表现得栩栩如生，像可以触摸一般。然只生动地画出物象的形貌仍不够，必须掌握其情态，方算传神，因此画中黑猿，挂在枝干上的一只，手尾紧握，好似在荡秋千一般，另一只则悠闲地坐在树干上，和牠相互凝望，情意相系。\n老树擎空，突出画幅，其枝垂挂，复返画中。画幅中的枝干，笔不连而意连，足见画家布局之匠心。一猿攀枝摇荡，如戏秋千。一猿则踞干悠闲旁观，真能得猿猴动息之情。画技精湛，特善用墨，曲尽黑猿毛色之状，树石描绘精采、用色雅正，尤有过人处，是宋无款作品中之巨幅精品。易元吉的猴猫图突显毫芒毕现的用笔功夫，本画则用墨功夫一流。",[23,24,25,26,52,27,28,367,368,7],"兽","猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62ef7c2e9e1f091b0edc125c19b59367.jpg","165x107.9厘米",[],23,{"id":374,"slug":375,"title":116,"dynasty":18,"author":117,"museum":20,"description":376,"tags":377,"thumbUrl":378,"material":379,"size":126,"collection":97,"collections":380,"showCount":381,"zanCount":100,"manualWeight":11,"mainColor":60},232988,"pi-pa-shan-niao-tu-ye-zhao-ji-232988","图中枇杷果实累累，枝叶繁盛。一山雀栖于枝上，翘首回望翩翩凤蝶，神情生动。此图体现崔白清澹之体。宋徽宗赵佶的花鸟画以设色为多，然而此图纯以水墨勾染而成，格调高雅，略似没骨画效果，别具一种苍劲细腻之韵致，体现了赵佶多方面的绘画才能。\n对开有清乾隆御题诗一首：“结实圆而椭，枇杷因以名。徒传象厥体，奚必问其声。鸟自讬形稳，蝶还翻影轻。宣和工位置，何事失东京。”感慨宋徽宗如此精于绘画，工于构图和经营位置，缘何却把国家丢失了？",[25,24,27,28,109,123,32,30,7,290,73,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f708f56a9bfc0b0d7181fc6adb9c5aa.jpg","绢本，墨笔",[],19,{"id":383,"slug":384,"title":340,"dynasty":341,"author":85,"museum":67,"description":385,"tags":386,"thumbUrl":390,"material":97,"size":97,"collection":97,"collections":391,"showCount":41,"zanCount":11,"manualWeight":11,"mainColor":392},203238,"pi-pa-tu-zhou-qi-bai-shi-203238","墨叶如掌，浓淡间见苍劲笔力；金丸缀枝，黄艳中透清甜意趣。几片枇杷叶以泼墨写出，边缘带细碎毛刺，尽显自然野趣；簇簇果实圆润饱满，墨点花心更添灵动。叶隙间隐一螳螂，青身细肢，姿态警觉似欲跃动——白石老人以寥寥数笔捕捉生灵之态，将日常生机凝于尺幅。左侧题字笔墨与画境相融，诗画相生，尽显“妙在似与不似之间”的写意精髓，于朴素中见真趣，简淡中藏深情。",[25,30,70,28,71,7,387,388,389],"螳螂","以书入画","妙在似与不似","https:\u002F\u002Foss.chuangq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