[{"data":1,"prerenderedAt":1889},["ShallowReactive",2],{"subject-qin-niao":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},293,"qin-niao","禽鸟","禽鸟画高清赏析","精选中国历代禽鸟题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0523a7e8b8fb7d3adbab48894aa16150.jpg",0,158,[14,44,64,80,95,110,129,145,159,172,183,197,211,224,243,258,278,298,310,325,349,361,373,386,403,423,436,444,456,467,478,490,512,525,536,552,564,574,589,601,614,634,645,658,670,682,693,705,718,728,740,760,773,784,794,804,816,828,838,848,858,868,880,892,902,914,924,937,950,964,973,982,993,1003,1013,1023,1031,1045,1055,1064,1074,1087,1097,1104,1114,1124,1135,1149,1161,1175,1191,1204,1215,1224,1234,1244,1253,1263,1273,1286,1295,1305,1314,1325,1338,1348,1360,1370,1379,1388,1400,1412,1424,1435,1447,1456,1469,1478,1492,1505,1515,1526,1537,1548,1559,1571,1582,1592,1604,1614,1625,1632,1642,1652,1666,1677,1688,1697,1710,1720,1730,1741,1748,1756,1765,1774,1783,1790,1800,1808,1815,1824,1835,1842,1848,1859,1869,1881],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":36,"material":37,"size":38,"collection":39,"collections":40,"showCount":41,"zanCount":42,"manualWeight":11,"mainColor":43},218717,"xin-shao-hua-niao-tu-yi-ming-218717","新韶花鸟图","宋","佚名","台北故宫博物院","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。",[23,24,25,26,27,28,29,30,31,7,32,33,34,35],"高清","名画","国画","书画","立轴","工笔","设色","花鸟","花卉","山石","植物","花朵","鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91b842f5975229d677278c15f942eb45.jpg","绢本,设色","83.4x28.9","宋画精选",[39],864,21,"795548",{"id":45,"slug":46,"title":47,"dynasty":18,"author":48,"museum":20,"description":49,"tags":50,"thumbUrl":58,"material":37,"size":59,"collection":60,"collections":61,"showCount":62,"zanCount":63,"manualWeight":11,"mainColor":43},216777,"xue-zhu-wen-qin-tu-huang-quan-216777","雪竹文禽图","黄筌","在这幅「雪竹文禽」图中，画家将树石等主要实景置于幅左，而将江河与水鸭置于幅右。这种虚实对映的布局，不仅显示出南宋独特的审美趣味，也展现了自然生态活泼灵动的特质。画家绘以梅、竹，以及成对成双的游禽与飞鸟，不但点出了早春时序，更具有吉祥的祝幅之意。\n黄筌是五代后蜀的宫廷名画家，北宋时随着蜀主归宋后，便与其子黄居寀同入画院供职，对北宋初期花鸟画影响深远。黄筌喜用勾勒填彩，设色上也较为浓艳。本幅「雪竹文禽」的画风野逸简淡，以画风来看，可能不是黄筌真迹，而是南宋画院画家的作品。",[23,24,25,26,28,51,29,52,7,53,54,55,56,57],"水墨","竹","石头","枯树","雪","孤石","枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5f9706b1a724681c40f304326ac14e5.jpg","26.3 x 45.7厘米","花鸟画精选",[60,39],641,6,{"id":65,"slug":66,"title":67,"dynasty":18,"author":68,"museum":69,"description":70,"tags":71,"thumbUrl":75,"material":37,"size":76,"collection":60,"collections":77,"showCount":78,"zanCount":79,"manualWeight":11,"mainColor":43},216940,"yu-ying-tu-zhao-ji-216940","御鹰图","赵佶","私人收藏","御鹰图是赵佶的一幅画作。赵佶是宋朝的一位著名的画家，他的画作被认为是中国画的典范，很受人们的喜爱。\n\n御鹰图描绘了一只雄健的鹰，看起来非常壮观。赵佶用细腻的笔法和精湛的技巧描绘了鹰的羽毛，使得整幅画看起来栩栩如生。\n\n赵佶的御鹰图被认为是宋朝画的代表作之一，它的风格独特，表现力强，被认为是宋朝画的典范。它被广泛收藏，并在许多艺术展览中展出。",[24,25,26,28,29,72,27,73,7,74],"绢本","鹰","树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b3210a771bedb5e6e81fe9066e3c66e.jpg","",[60],397,2,{"id":81,"slug":82,"title":83,"dynasty":84,"author":85,"museum":86,"description":87,"tags":88,"thumbUrl":89,"material":90,"size":91,"collection":60,"collections":92,"showCount":78,"zanCount":93,"manualWeight":11,"mainColor":94},216204,"zhu-qin-tu-lv-ji-216204","竹禽图","明","吕纪","北京故宫博物院","此幅景物简洁，一竿修竹自左下斜出，呈对角线贯穿画面。主干秀挺，侧枝细劲，叶片疏密有致，是宋元文人画竹之法。两只喜鹊在枝头鸣叫，带有吉祥平安的寓意。作品构图明朗，风格清秀，用小写意笔法，设色清新淡雅，与吕纪其他作品富贵面貌有所不同。",[25,26,27,28,29,30,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b9dc4cfeb5b56018cf4b7bdb04e8a8c.jpg","纸本,水墨","纵148.5厘米，横467.7厘米",[60],7,"BDBDBD",{"id":96,"slug":97,"title":98,"dynasty":99,"author":100,"museum":69,"description":101,"tags":102,"thumbUrl":105,"material":106,"size":107,"collection":60,"collections":108,"showCount":109,"zanCount":93,"manualWeight":11,"mainColor":43},219131,"xi-que-shuang-xi-tu-shen-quan-219131","喜鹊双喜图","清","沈铨","虬枝盘曲间，梅蕊初绽如雪，几点淡红晕染枝头，似早春私语。一只喜鹊翘尾立于枝上，羽色浓淡相宜，墨羽如缎，白腹似雪，喙尖微抬，似欲鸣春；另一只栖于老干，回眸相顾，长尾垂落如墨线，与枝干的苍劲相映成趣。旁侧新竹数竿，青影摇曳，添几分生机。工笔细描见匠心，枝干皴擦显古拙，花瓣晕染含雅致，禽鸟神态毕肖。动静之间，春意流转，喜意暗生。整幅画韵致清和，既有自然野趣，又藏吉祥寓意，尽显传统花鸟之雅韵，观之令人心生愉悦。",[23,24,25,26,27,28,29,30,103,52,104,7],"梅","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe247e4c33f78d42b4640f989a2d41eb8.jpg","纸本,设色","131x53.5cm",[60],391,{"id":111,"slug":112,"title":113,"dynasty":114,"author":115,"museum":116,"description":117,"tags":118,"thumbUrl":123,"material":124,"size":125,"collection":76,"collections":126,"showCount":127,"zanCount":128,"manualWeight":11,"mainColor":43},288331,"xie-sheng-zhen-qin-tu-huang-quan-288331","写生珍禽图","五代十国","黄荃","藏地不详","图中画了鹡鸰、麻雀、鸠、龟、昆虫等动物二十余件，排列无序，但每一件动物都刻画得十分精确、细微，甚至从透视角度观之也无懈可击。",[23,24,25,119,28,29,30,104,7,120,121,122],"长卷","昆虫","龟","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb05a94c2863cccdf9561bc75fe1e17b4.jpg","未知","Xcm*Xcm",[],371,1,{"id":130,"slug":131,"title":132,"dynasty":133,"author":19,"museum":69,"description":134,"tags":135,"thumbUrl":141,"material":37,"size":76,"collection":60,"collections":142,"showCount":143,"zanCount":144,"manualWeight":11,"mainColor":43},216908,"lu-yan-fu-rong-tu-yi-ming-216908","芦雁芙蓉图","隋","芦雁芙蓉图是一幅佚名的隋代画作，它的创作时间大约在6世纪中期。这幅画的主题是芦雁和芙蓉，被认为是隋朝时期最优秀的花卉画之一。\n\n芦雁是一种常见的水鸟，在古代中国文学中常被描写为优美、品性高尚的鸟类。芙蓉是一种常见的花卉，被认为是一种具有极高艺术价值的植物。在这幅画中，芦雁和芙蓉被描绘得栩栩如生，使用的颜色十分丰富，线条流畅，构图巧妙，是一幅充满美感的艺术品。\n\n芦雁芙蓉图被认为是隋朝时期花卉画的代表作之一，其创作背景和风格反映了当时的文化、艺术特点。它对后世的艺术家们也产生了深远的影响。",[23,25,29,28,27,30,136,137,138,139,53,7,31,33,140],"雁","芙蓉","芦苇","水","动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a48aa75a4e73cbfea994365e8bccc65.jpg",[60],356,4,{"id":146,"slug":147,"title":148,"dynasty":84,"author":85,"museum":86,"description":149,"tags":150,"thumbUrl":153,"material":154,"size":155,"collection":60,"collections":156,"showCount":158,"zanCount":144,"manualWeight":11,"mainColor":43},222398,"gui-ju-shan-qin-tu-lv-ji-222398","桂菊山禽图","该画所绘主体花鸟：绶带鸟、八哥、桂花、秋菊，均属于祥瑞、珍贵之物，寓有富贵长寿和君子节操含意，内容明显地反映了皇家的艺术和审美旨趣。\n画中造型严密，布置合理，使鸟、树、花儿粗细两相映衬，而色彩的明艳夺目更是增加了该画的艺术气息。\n该画描绘的是秋天的情景，画中有一棵高大而茂盛的桂花树，树干苍健，树上绿叶茂密，桂花簇聚。\n桂树上栖落着几只八哥，有两只正隔着树枝对唱，一只正翘首远眺。\n在低一些的树枝上，有一只蓝色绶带正朝着树下鸣叫，它黑白相间的羽翼之间，长着蓝色的羽毛，嘴和爪子为红色。\n树下的三只绶带，正在争食一只草虫，它们翘起高高的羽翎。\n桂树下长着一些野草，还有一些形状各异的石头，石后几株菊花正开得鲜艳，颜色有红的、黄的、白的。\n明代画院花鸟画是以南宋院体为基础并发展的，讲究设色浓艳，笔势劲健且奔放，明代画家吕纪的《桂菊山禽图》就体现了这样的画风。\n吕纪工笔重彩花鸟画创作的时候，承袭五代 工整精细的画风， 在整体章法布局和背景树石用笔上，更多地接受了南宋 、 的影响，由此而逐渐形成了自己的风格特色，《桂菊山禽图》《山茶白鹇图》是其中的代表作。\n《桂菊山禽图》刻意精细，显然是奉召而作。\n《桂菊山禽图》中的物象真实地展现了生物的自然本性，也形象地表达了内涵的寓意。\n所绘主体花鸟：桂花、秋菊、八哥以及授带鸟，都是祥瑞吉庆之物、寓意着富贵长寿和君子的气节；殉丽的色泽与生动的景致，又营造出欢乐的气氛和华美的意境，明显地反映了皇家的艺术和审美旨趣。\n展开画轴，在画面的右下侧山石屹立，有的横卧，有的竖立，有一块较大的湖石，造型奇特，上大下小，山左倾斜，呈险势状；山石和土坡上点缀着花草、杂木；山石后有一簇盛开的菊花，山石旁有一棵老桂拔地而起，树干粗壮，长满了疤节，显然是一株老桂；树干向右斜倾，并将主干伸出画面之外，然后又从画外上方斜入画面右上部；另一枝杈，又从树干伸出向左上方，入画面中上部，这是妙笔，不但弥补了画幅左上端的空阙，而且对整个画面起到平衡作用。\n桂树花叶繁茂，树枝相互交错，错落有致，树枝上端繁花满枝，让人感到金桂的幽香阵阵，沁人心肺，与下端石旁盛开的各色菊花相互映发。\n由于一棵硕大桂树干重心偏向右侧，画家在构思上十分巧妙，将桂树向左倾斜伸出的枝权上安排了两只八哥，一只绶带鸟，用来平衡了画面。\n这两只八哥和右侧另一树枝上的一只八哥，翘着尾张嘴在树枝上叫鸣，遥相呼应，显得十分活泼，生动真切。\n画面左下角安排了一只绶带鸟，晃动着色彩艳丽的长尾，聚在坡间草丛中相互争食一只蚱蜢，显得热闹非凡。\n此画构图新颖，景物主要集中于画面右侧和下部，形成全幅构图既充实饱满，又疏密相间，景物配置得体，画幅左侧中部留有较大的空白，形成黑白强烈的对比。\n此画用笔秀劲，勾勒敷色，颇具功力。\n山石用斧劈皴。\n山石的笔法较为粗放，棱角方硬，具有立体感和质感。\n此画继承南宋院体中花鸟画法，工细中稍加放纵，形成精工富丽的艺术风格：细笔工绘，花、叶、鸟产生了强烈的对比；这种一工一写，相互映衬，达到粗细相间，却和谐统一，且显得自然生动：禽鸟造型准确，形象逼真，生动活泼，小趣盎然；设色方面，此图色彩浓重艳丽，厚重而无俗媚之气。\n绶带鸟斑斓的羽毛和艳丽的长尾，漂亮的红嘴，脚爪，描绘极为真实自然，色彩的深浅厚薄的变化，表现了羽毛的质感。\n八哥虽体以黑色为主，但却层次分明，活泼自然，生动毕肖，每一只八哥的神情刻画得特别贴切。\n花叶用石青染出，以浓淡分向背，极富有变化。\n作品的不足之处是八哥与绶带鸟之间缺少有机的联系。\n这反映了皇家贵胄多半要求画得繁多华丽的偏向，而宫廷画家不得不循以满足之。",[23,24,25,26,27,28,29,30,151,152,104,56,74,31,7],"桂","菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8206d9ae1c5854baf1d866a01f8809e8.jpg","绢本工笔","纵192厘米，横107厘米",[60,157],"设色画精选",312,{"id":160,"slug":161,"title":162,"dynasty":18,"author":163,"museum":116,"description":164,"tags":165,"thumbUrl":169,"material":76,"size":76,"collection":76,"collections":170,"showCount":171,"zanCount":144,"manualWeight":11,"mainColor":43},227973,"guo-shu-lai-qin-tu-ye-lin-chun-227973","果熟来禽图页","林椿","设色清润柔和，工细写实，将秋日枝桠间的小景勾勒得鲜活灵动。饱满的海棠果粉白晕染如凝脂，带着熟透的温润质感，叶片或舒展或蜷曲，虫蚀残痕都细腻入微，尽摹自然生趣。娇俏禽鸟侧身栖于细枝，绒毛细密蓬松，圆目灵动似在细听秋声，姿态悠然闲适。\n\n全画无繁复构图，却以精妙笔触将蔬果禽鸟的神韵刻画尽致，把寻常秋意酿成隽永诗意，于方寸间尽显雅致空灵的田园意趣，融写生工致与文人雅韵为一体，静逸鲜活，尽显独有的雅致审美。",[23,24,25,26,166,28,29,30,167,7,74,168],"册","果实","叶子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0a8fd70bb850781c10c7ecb22f43905.jpg",[],304,{"id":173,"slug":174,"title":175,"dynasty":99,"author":176,"museum":116,"description":177,"tags":178,"thumbUrl":180,"material":124,"size":125,"collection":60,"collections":181,"showCount":182,"zanCount":11,"manualWeight":11,"mainColor":94},237935,"za-hua-ce-zhu-da-237935","杂画册","朱耷","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。",[25,51,166,179,7,56,122],"写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb70d916505230aa21d22544d3ff8bc6d.jpg",[60],256,{"id":184,"slug":185,"title":186,"dynasty":84,"author":187,"museum":20,"description":188,"tags":189,"thumbUrl":193,"material":37,"size":194,"collection":60,"collections":195,"showCount":196,"zanCount":128,"manualWeight":11,"mainColor":43},216220,"fu-rong-bai-lu-tu-zheng-shi-216220","芙蓉白鹭图","郑石","郑石的《芙蓉白鹭图》是一幅著名的绢本花鸟画。这幅画描绘了一只芙蓉花和二只白鹭鸟，画面非常精致优美。这幅画是郑石最著名的作品之一，被认为是明朝花鸟画的代表作之一。郑石是明朝时期著名的画家，他的画风清新自然，画面精致细腻，对后世艺术家产生了很大的影响。",[23,190,25,26,27,28,29,30,137,191,192,31,7],"明代","白鹭","柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51b6278a19e0cd0b6464e8d5101b347b.jpg","144.4x74.3cm",[60],217,{"id":198,"slug":199,"title":200,"dynasty":84,"author":201,"museum":116,"description":202,"tags":203,"thumbUrl":207,"material":124,"size":125,"collection":76,"collections":208,"showCount":209,"zanCount":210,"manualWeight":11,"mainColor":43},287613,"si-shi-hua-niao-tu-zhou-zhi-mian-287613","四时花鸟图","周之冕","周之冕（1521—？）明代杰出画家，字服卿，号少谷，长洲（今江苏苏州）人。卒年不详，活跃于万历年间。擅花鸟，注重观察体会花鸟形貌神情，及禽鸟的饮啄、飞止等种种动态。善用勾勒法画花，以水墨点染叶子，画法兼工带写，人称勾花点叶法。所作花鸟，形象真实，意态生动，颇有影响。写意花鸟，最有神韵。设色亦鲜雅，家畜各种禽鸟，详其饮啄飞止，故动笔具有生意 。特以嗜酒落魄，不甚为世重耳。又善古隶。",[23,25,119,29,28,30,103,52,204,137,205,104,7,31,206],"牡丹","桃花","柳枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784a8955d2b4f0279d0683708db84ee1.jpg",[],216,9,{"id":212,"slug":213,"title":214,"dynasty":84,"author":215,"museum":116,"description":216,"tags":217,"thumbUrl":220,"material":76,"size":76,"collection":76,"collections":221,"showCount":222,"zanCount":223,"manualWeight":11,"mainColor":43},228390,"kong-que-mu-dan-tu-yin-hong-228390","孔雀牡丹图","殷宏","垂柳柔条轻曳，桃枝缀满繁花，引百鸟穿梭啼鸣。孔雀身披彩翎，羽斑环环相扣明丽夺目，信步于湖石之侧，气度雍容不凡。牡丹或素洁似雪，或秾艳若霞，与苍古湖石、翠色草木交织成趣，仙鹤亭亭而立更添清贵。\n整幅画笔致工细，设色妍雅柔和，将春日园林的富贵生机铺陈眼前，把翎毛花卉的灵动雅致糅合无间，尽显吉祥富丽的美好意涵，是极具代表性的工笔花鸟佳作。",[23,24,25,26,190,29,28,30,218,204,219,206,32,34,7,104],"孔雀","树木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe1384e37440b3476c7844a32e3504f3.jpg",[],202,3,{"id":225,"slug":226,"title":227,"dynasty":99,"author":100,"museum":69,"description":228,"tags":229,"thumbUrl":238,"material":239,"size":240,"collection":60,"collections":241,"showCount":242,"zanCount":11,"manualWeight":11,"mainColor":43},223164,"bai-niao-chao-feng-hou-bu-fen-shen-quan-223164","百鸟朝凤（后部分）","长卷以四季景色变化，绘禽鸟约近三百只，树木百余棵，四季花卉绽放；天空百鸟聚集，地上百花开放，寓意天下一片详和。长卷色彩艳丽，气势恢弘，堪称国之瑰宝。沈铨，字衡之，号南苹，清代画家，其画远师黄筌画派，近承明代吕纪。",[23,24,25,26,119,28,29,104,30,219,32,230,231,7,31,192,232,233,234,235,218,236,237],"荷花","仙鹤","松树","草地","溪流","岩石","水禽","花丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e5a549e10ca658a58fc3c8da817825d.jpg","绢本设色","45cm*1600cm",[60,157],166,{"id":244,"slug":245,"title":246,"dynasty":84,"author":247,"museum":86,"description":248,"tags":249,"thumbUrl":252,"material":253,"size":254,"collection":60,"collections":255,"showCount":257,"zanCount":128,"manualWeight":11,"mainColor":43},222447,"guan-mu-ji-qin-tu-juan-lin-liang-222447","灌木集禽图卷","林良","林良以画花鸟著称，主体多属富野逸之趣的禽鸟，如苍鹰、芦雁、寒鸦、麻雀、锦鸡、喜鹊等，也喜绘群鸟聚集景象，品类众多，情态各异，极富自然天趣。这幅长卷即为集禽图巨构。\n面画开道为三只麻雀，正展翅飞向丛林，迎面枝头有翠鸟、黄鹂啁啾，似示欢迎。步入林丛枝杈交错，白头翁在枝头成双鸣叫，山喜鹊与山鹧引颈对唱，小山雀则静歇枝上。密林深处展现阔叶灌木和粗劲竹丛，有寒鸦、鹡鸰、麻雀、白头翁、鹌鹑等，成双结对地和鸣、嬉玩，追逐其间。接着斜出几株老松，针叶茂密，成群斑鸠在此活动，一派家族欢聚气氛，然松林深处却有一只苍鹰在窥视，于平和中增添了一分杀气。结尾是荻岸水滨，一对鸬鹚在水面觅食，两只乌鸦涉水行进，另有翠鸟飞栖苇丛间，境界又变为空阔悠闲。\n作品布局采用平面散点的结构手法，移步换形，层层展开，疏密相间，动静结合。禽鸟动态逼真，情状各异，枝叶纵横交错，杂而不乱。古木老树、枯枝落叶已显现出萧索秋意，然群鸟骚动不拘的活泼天性，却使丛林依然充满蓬勃生机。\n此图画法以水墨为主，略施淡彩。禽鸟勾染相间，工写结合，洗练准确，笔简神完。灌木丛林用写意法，然也放而有度，不离规矩。全幅气势宏阔，景象万千，为林良存世的精品巨制。",[23,24,25,26,119,51,179,30,250,7,104,251],"灌木","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba587401db7e2d99d630e876f2bb9c0b.jpg","纸本，淡设色","纵34厘米，横1211.2厘米",[60,256],"水墨画精选",129,{"id":259,"slug":260,"title":261,"dynasty":18,"author":262,"museum":20,"description":263,"tags":264,"thumbUrl":274,"material":37,"size":275,"collection":39,"collections":276,"showCount":277,"zanCount":11,"manualWeight":11,"mainColor":43},220144,"qiu-pu-rong-bin-tu-cui-bai-220144","秋蒲蓉宾图","崔白","本幅绘荷叶枯黄，芙蓉展艳，一派秋光旖旎，花间鹡鸰腾跃，翡翠静静停留，两鸿雁振翅凌空，意在千里。无画家款印，旧传为崔氏之作。崔白(约西元十一世纪)，安徽凤阳人，字子西。宋仁宗至神宗时为画院画家。精工画花卉翎毛，尤以枯荷凫雁得名，但亦精于道释、人物、鬼神。据说他作画时从不起稿，画长直坚挺的线条，无须使用直尺界画，操笔立就。",[23,265,266,29,267,268,269,270,137,271,230,7,272,273,104],"宋代","工笔花鸟","写实","写生","细腻笔触","大雁","蒲草","花草","荷叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0742ff18547c75d91c9eaba1ab1932e4.jpg","本幅 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从他现存作品中即可见风格和用笔，既能放得开，又能收得住。在绘画史上，陈淳与徐渭并称为“白阳、青藤”， 陈淳的绘画当属文人隽雅一路的，即“白阳”一派画家。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。\n陈淳中年以后间作山水，技法学米友仁、高克恭，多以江南风景为题材，手法简练，极具文人生活情趣，文徵明曾微笑着说：“吾道复举业师耳，渠书、画自有门径，非吾徒也。”存世作品有《红梨诗画图》《山茶水仙图》《葵石图》《罨画图》等。其子陈括继承父风、擅花卉。\n陈淳绘山水，效法米友仁、高克恭，水墨淋漓，颇得氤氲之气。他的泼墨之功，往往见于画烟云之中。在写意花卉方面，陈淳独得玄门，笔法挥洒自如，富有疏朗轻健的风姿，用墨设色，则如徐沁所谓“浅色淡墨之痕俱化矣！”王世贞在《州续稿》中说：“胜国（元朝）以来，写花卉者无如吾吴郡，而吴郡自沈启南（周）后，无如陈道确，陆叔平（治）”。近代画家如蒲华、吴昌硕、齐白石等，在诗文题书画中，都对陈淳做出了极高的评价。明万历年间即有人曾评价过陈淳在花卉方面的造诣和声誉都超过了文征明，成为继沈周之后的吴门大家。明清以来画家，尤其在花鸟画方面，受他的影响很深。他与徐渭齐名，人称“青藤白阳”。现存的陈淳作品大部分均在博物馆收藏，民间甚少得见。",[23,25,27,51,29,179,30,230,343,410,411,138,190,412,7,31,33,413,414,415,416,417],"鸭子","水草","秋景","淡彩","文人画","写意花鸟","水墨设色","明代绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57ed2c1673a772976ff5fcf779defb76.jpg","纸本设色","90.8x36.2厘米",[60,157],95,{"id":424,"slug":425,"title":426,"dynasty":18,"author":427,"museum":428,"description":429,"tags":430,"thumbUrl":432,"material":37,"size":433,"collection":60,"collections":434,"showCount":435,"zanCount":79,"manualWeight":11,"mainColor":43},218925,"yuan-yang-za-qin-tu-han-you-218925","鸳鸯杂禽图","韩佑","美国弗利尔美术馆","这幅画上画着密密麻麻的梅花和山茶花，表达了冬天的精致。一对鸳鸯依偎在萧瑟的坡岸上，为画面增添了一丝温情。这幅画据说是宋代的韩佑所作，但山石的风格是明代画院的风格，官方网站将其定为15至16世纪。",[24,25,26,27,28,29,30,103,431,7,31,57],"鸳鸯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc9960809d93f2f94c401c8fe943f369.jpg","154x94.2cm",[60],89,{"id":437,"slug":438,"title":113,"dynasty":18,"author":68,"museum":116,"description":439,"tags":440,"thumbUrl":441,"material":124,"size":125,"collection":76,"collections":442,"showCount":443,"zanCount":79,"manualWeight":11,"mainColor":94},287888,"xie-sheng-zhen-qin-tu-zhao-ji-287888","宋徽宗赵佶（1082年11月2日-1135年6月4日）[6]，号宣和主人，宋朝第八位皇帝（1100年2月23日-1126年1月18日在位），书画家。宋神宗第十一子、宋哲宗之弟。先后被封为遂宁王、端王。哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”，并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[23,24,25,26,119,28,51,30,104,52,7,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e591cd8344c801084f6bb88a9f76701.jpg",[],85,{"id":445,"slug":446,"title":447,"dynasty":114,"author":448,"museum":116,"description":449,"tags":450,"thumbUrl":453,"material":124,"size":125,"collection":76,"collections":454,"showCount":455,"zanCount":11,"manualWeight":11,"mainColor":43},290142,"hui-qin-tu-huang-ju-cai-290142","会禽图","黄居寀","黄居寀[cǎi]（933年—993年后），字伯鸾，成都（今属四川）人，五代十国名画家黄筌第三子。善画花竹、翎毛，为西蜀翰林待诏。蜀亡入宋，得宋太宗礼遇，黄家画法遂成宋初画院评画的标准。精于勾勒，用笔劲挺工稳，填彩浓厚华丽，其园竹翎毛形象逼真，妙得自然；怪石山水超过乃父，与父同仕后蜀，为翰林待诏，入宋仍任翰林待诏。尝合作殿廷墙壁，宫闱屏幛，不可胜记。",[24,25,26,27,28,29,30,104,103,451,452,7,31],"山茶","奇石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5f43a7cf6d1c9220be37682f0c14340.jpg",[],83,{"id":457,"slug":458,"title":459,"dynasty":133,"author":19,"museum":460,"description":461,"tags":462,"thumbUrl":463,"material":37,"size":464,"collection":60,"collections":465,"showCount":466,"zanCount":11,"manualWeight":11,"mainColor":43},219253,"shuang-fu-tu-yi-ming-219253","双凫图","上海博物馆","沙岸之上，双凫相栖。一昂首侧顾，羽色分明，墨线勾勒间见灵动；一俯身啄沙，姿态憨拙，似与细石苔草低语。左侧芦苇数茎，叶尖斜挑，墨色浓淡相衬，劲挺中含野趣。背景沙坡淡墨晕染，疏点散落，隐现苔痕添清寂。画面不着艳色，仅以水墨勾染，却将凫鸟闲适、草木疏朗尽现。静谧里仿佛闻风过苇叶轻响，见凫鸟戏沙悠然。极简笔触藏对自然神韵的深察，尽显古画“以形写神”妙趣，于清淡间传递自然生机与文人清雅意韵。",[25,29,28,30,7,411,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f65c79e8538775c4d7b5a1690582de5.jpg","25.7x22.3cm",[60],81,{"id":468,"slug":469,"title":470,"dynasty":99,"author":19,"museum":20,"description":471,"tags":472,"thumbUrl":474,"material":37,"size":475,"collection":60,"collections":476,"showCount":477,"zanCount":128,"manualWeight":11,"mainColor":43},219761,"lin-wang-yuan-hua-niao-tu-yi-ming-219761","临王渊花鸟图","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。",[25,26,27,28,29,473,52,30,104,31,380,53,233,7],"临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c785004791e5277ea86d862f6b70ee1.jpg","160.2x83.7厘米",[60],79,{"id":479,"slug":480,"title":83,"dynasty":481,"author":482,"museum":483,"description":484,"tags":485,"thumbUrl":486,"material":37,"size":487,"collection":60,"collections":488,"showCount":489,"zanCount":128,"manualWeight":11,"mainColor":43},219274,"zhu-qin-tu-ren-ren-fa-219274","元","任仁发","云南省博物馆","此图为工笔写生小品，颇具宋代院体风格，线条细劲匀称，色彩典雅，动静结合，生趣盎然。画面上，一只鸟栖于竹梢上，昂首作鸣叫状，瞬间的动态表现得极为成功，姿态逼真，灵气飞扬，似闻之有声。画家画竹用双钩笔法完成，笔画坚实细劲。被风吹乱的竹叶之阴阳向背表现得自然准确，虽为静止的瞬间，却有动的意味。此画尺幅虽小，然气韵飞扬，灵动自然。任仁发此幅画作继承了宋代院体画传统，笔势稳健，双钩之线均匀细劲，并填以典雅、和谐、轻艳的色彩，使得画面严谨而婉丽、和谐而富有生机。从收藏印鉴看，该作曾经明代大收藏家王士祯及清代王允祥珍藏。由此可知，此画为传世佳作。",[25,24,26,28,29,52,7,122],"https:\u002F\u002Foss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(今河北河间县)人。 许道宁擅长绘林木、平远、野水、秋江、雪景、寒林,并将这些自然景色和行旅、野渡、捕鱼等人文景观相结合,画风豪放，笔法简快潇洒,峰峦峻秀挺拔,山林强劲有力,幽林荒冷萧条。 传世作品有《渔父图》（又叫《秋江鱼艇图》）、《关山密雪图》、《秋山萧寺图》。",[25,51,29,520,54,7,56,380,521],"山水","皴法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a9597e31491ea2287ed2d24e604cb11.jpg","25.7x25.1",[39,60],{"id":526,"slug":527,"title":528,"dynasty":18,"author":529,"museum":20,"description":530,"tags":531,"thumbUrl":532,"material":37,"size":533,"collection":60,"collections":534,"showCount":511,"zanCount":128,"manualWeight":11,"mainColor":535},218928,"ying-tu-wang-shen-218928","鹰图","王诜","秃鹰和狗争夺野鸡的画作",[23,25,24,27,28,29,30,73,7,235],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3da43e23b75b5b5522d773dee5a0b8c2.jpg","136.7x69.7",[60],"37474F",{"id":537,"slug":538,"title":539,"dynasty":99,"author":540,"museum":116,"description":541,"tags":542,"thumbUrl":549,"material":76,"size":76,"collection":60,"collections":550,"showCount":551,"zanCount":128,"manualWeight":11,"mainColor":94},224204,"yu-tang-fu-gui-tu-zhou-hu-mei-224204","玉堂富贵图轴","胡湄","古木虬曲苍劲，玉兰繁花堆雪，层层缀满枝头，似将春日清光尽数揽入花间。两只禽鸟栖于嶙峋湖石，锦羽斑斓灵动，姿态悠然亲昵。下方牡丹雍容盛放，丹红粉白交错晕染，与玉兰素洁相映成趣。\n\n整作工笔细腻，设色妍秀雅致，禽鸟毛羽纤毫毕现，花木俯仰含情，将写实工致与雅致意趣相融。疏密排布恰到好处，把富贵吉祥的意蕴藏在明秀春景之中，尽显传统花鸟画的典雅富丽之美。",[23,25,543,27,28,29,544,545,204,546,7,547,548],"花鸟画","古木","玉兰","湖石","春景","富贵吉祥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f895f651e90b420b94c2a3720b29703.jpg",[60],64,{"id":553,"slug":554,"title":555,"dynasty":84,"author":556,"museum":20,"description":557,"tags":558,"thumbUrl":560,"material":29,"size":561,"collection":60,"collections":562,"showCount":563,"zanCount":79,"manualWeight":11,"mainColor":94},219406,"song-qin-tu-tan-zhi-yi-219406","松禽图","谈志伊","松针如缕，淡蓝晕染似含晨露清光，垂枝轻逸如丝带斜曳。鸟儿敛翅栖于枝上，羽色温润，黑眸凝睇间藏着几分闲逸与机警。笔墨细腻处，鸟羽纹理纤毫毕现；写意枝干带着自然苍劲，工写相济间气韵流动。留白铺陈更显空灵，仿佛能听见风过松梢轻响，窥见林间幽寂。整幅画无繁复景致，却于极简中见真意——是文人对自然宁静的向往，亦是笔墨间流淌的雅致情韵，将寻常小景化作耐人寻味的诗意栖居。",[25,26,27,28,29,30,559,7,122],"松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F565dd85179d3be607a9685089f10b499.jpg","138.3x33.6",[60],62,{"id":565,"slug":566,"title":567,"dynasty":18,"author":19,"museum":20,"description":568,"tags":569,"thumbUrl":572,"material":37,"size":76,"collection":297,"collections":573,"showCount":563,"zanCount":79,"manualWeight":11,"mainColor":43},218724,"qiu-zhu-wen-qin-tu-yi-ming-218724","秋渚文禽图","这是一幅秋日的水岛画，画中有飞鸟和参天古树，意境凄凉。该书被故宫博物院和大英博物馆收藏，学者们普遍认为是元代的作品。",[23,25,24,28,51,29,289,570,56,7,571,139,412],"枯藤","渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F419d1c3920e5f599788e02111ab56aa9.jpg",[297],{"id":575,"slug":576,"title":577,"dynasty":18,"author":578,"museum":579,"description":580,"tags":581,"thumbUrl":584,"material":585,"size":586,"collection":39,"collections":587,"showCount":588,"zanCount":11,"manualWeight":11,"mainColor":43},221251,"yan-tu-hui-chong-221251","雁图","惠崇","日本京都国立博物馆","宋代绘画的许多作品，尤其是僧人的作品，很大一部分保存在日本，并对日本绘画史产生了深刻的影响。北宋惠崇的作品传世极少，而这幅《雁图》因为藏于国外的缘故，在相当长时间里并未引起国内美术界的重视。\n《雁图》见于东京国立博物馆《唐绘手鉴-笔耕园》。东京国立博物馆《笔耕园》，是将室町时代以后舶来的中国画汇集而成的手鉴。收录作品60幅，其主题、画法和样式各异，并据此在各图上加有不同画家的名字。经鉴识的画家人数达49名，宋元时代画家的名字较多，但其中也有明代画家的名字，还夹杂了一些明代作品，因此可以说，在作品的收集与鉴识之中，反映出中世、近世舶来中国画的时代动向。其中不仅有南宋名家夏珪的山水图之类的难得佳作，还有其他一些质量极高的作品。汉画作爲室町时代之后绘画史上的一大流派，一直将此类中国绘画作为模板，手鉴如实地反映了当时社会对中国绘画的接纳和认同状况，可谓是珍贵史料。\n《雁图》所描绘的是汀岸一隅，五只雁栖息于芦苇丛下的岸边，四只在前，一只隐于坡岸之后。构图极其简洁，大致属于边角结构，芦苇、坡石、芦雁自右下角延伸至有病，其余部分大片留白，形成清远空旷的意境。此画虽为僧侣画，但与宋代的其他僧侣绘画（如牧溪）的率意及强调禅意不同，并未远离宋代的主流艺术风格。比如写实工细的芦雁和写意的坡石形成粗细对比，右下与左上在构图上的虚实对比，都是宋代院体画的基本表现手法。",[23,24,25,26,51,29,136,104,139,138,56,582,583,7],"宋画","小景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc00d57a05337889e75786d96f615a42c.jpg","绢本着色","29.3×32.1",[39,60,157],61,{"id":590,"slug":591,"title":162,"dynasty":18,"author":163,"museum":86,"description":592,"tags":593,"thumbUrl":596,"material":597,"size":598,"collection":76,"collections":599,"showCount":600,"zanCount":11,"manualWeight":11,"mainColor":43},233004,"guo-shu-lai-qin-tu-ye-lin-chun-233004","画家选取果木的一枝写秋景：寂静的山林木叶泛黄，沉甸甸的果实早已熟透却无人采摘，任由虫儿噬蚀。一只小鸟蓦然飞上枝头，打破了空间的宁静。忽而，它转颈回眸，振翅欲飞，在这收获的季节里，它是否被画面外更为诱人的景色所吸引呢？\n折枝画法发挥了小幅的特长，作者以活泼的形式突出表现了枝叶、果实的色彩和禽鸟的情态，大不盈尺却美轮美奂，在饱满丰硕的果实和小鸟怡然自得的鸣唱中，画外的情趣、诗意与画意相结合，加强了花鸟画借物抒情的目的，令人赏心。\n小鸟的动态用细劲柔和的笔致勾勒，蓬松的羽毛则以浑融的墨色晕染，木叶的枯萎、残损、锈斑，果子上被虫儿叮咬的痕迹都被一一描绘出来，可见画家从自然景致中“摄集花形鸟态”的高超的写生能力。在构图上删繁就简，明洁奇巧，既保持了画院花鸟画“要物形不改”状物精微的写实精神，又表现出作者蕴藉空灵的审美追求。设色轻敷淡染，黄绿的叶子、淡红的果实、鹅黄的小鸟，分外和谐明丽。",[25,24,26,28,29,30,594,7,74,595],"果","叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4b4d59a08468c0294c3fe6a31110e6d.jpg","绢本，设色","纵26.9厘米，横27.2厘米",[],60,{"id":602,"slug":603,"title":604,"dynasty":84,"author":201,"museum":20,"description":605,"tags":606,"thumbUrl":610,"material":37,"size":611,"collection":60,"collections":612,"showCount":613,"zanCount":11,"manualWeight":11,"mainColor":43},219319,"qu-ge-jie-shou-tu-zhou-zhi-mian-219319","衢歌介寿图","周之冕(1521-?)，明代画家。字服卿，号少谷，长洲(今江苏苏州)人。卒年不详，活跃于万历年间。擅花鸟，注重观察体会花鸟形貌神情，及禽鸟的饮啄、飞止等种种动态。",[190,607,25,26,27,72,29,30,31,7,232,32,608,609],"古画","勾花点叶","兼工带写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F345b4913e090ae3d73841591489baea3.jpg","138.1×56.7cm",[60],59,{"id":615,"slug":616,"title":617,"dynasty":99,"author":618,"museum":20,"description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林良，字以善，广东广州府南海县扶南堡（今广东佛山市南海区大沥）人，明代著名画家，广东绘画史上第一个进入主流性行列的画家。",[25,26,190,30,51,179,138,712,7,713,501],"鹅","禽鸟画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9b092c0a58f8959a48a02ec93af2364.jpg","纵146厘米，横88厘米",[60],52,{"id":719,"slug":720,"title":721,"dynasty":18,"author":19,"museum":20,"description":722,"tags":723,"thumbUrl":725,"material":37,"size":726,"collection":60,"collections":727,"showCount":717,"zanCount":79,"manualWeight":11,"mainColor":43},218707,"han-tang-qun-yan-tu-yi-ming-218707","寒塘群雁图","这是一幅描绘池塘一角的画，岸边有枯草和树叶，给人一种寒意。几只大雁聚集在一起，其中一只飞向空中，与伸出头来的那只大雁遥相呼应，形成一个生动的画面。笔触和色彩的灵感来自于崔白。",[23,25,24,26,28,29,136,104,724,677,339,139,288,7],"池塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71dfdb429461da18280483cbdee873a7.jpg","194.4x109.2",[60],{"id":729,"slug":730,"title":731,"dynasty":84,"author":19,"museum":116,"description":732,"tags":733,"thumbUrl":736,"material":72,"size":737,"collection":76,"collections":738,"showCount":739,"zanCount":11,"manualWeight":11,"mainColor":94},223582,"rui-lian-ling-mao-tu-yi-ming-223582","瑞莲翎毛图","荷塘里，荷叶绿如盘，粉红的荷花，或腐烂，或萌芽，含彩花，已结莲子； 天空中的白雁鸭成对啄食嬉戏，翠鸟、家禽或站在水草的杆上，或在柳枝上，或盘旋在空中，一派生机勃勃的景象。",[23,25,26,29,28,30,230,273,734,104,236,219,629,31,7,320,735,266],"天鹅","设色花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd66437a893b263b8850ee0421ee4d9d3.jpg","80x60cm",[],50,{"id":741,"slug":742,"title":743,"dynasty":84,"author":744,"museum":390,"description":745,"tags":746,"thumbUrl":756,"material":72,"size":757,"collection":76,"collections":758,"showCount":759,"zanCount":128,"manualWeight":11,"mainColor":43},231591,"kong-que-tu-lu-zhao-yang-231591","孔雀图","卢朝阳","这幅画描绘了一对生活在牡丹丛中巨石上的孔雀，以及杏花丛中的一对蓝丝带。 卢朝阳代代相传的作品很少。 这个有边景昭，吕纪风致，可以看出他学来的渊源。",[23,25,29,28,30,218,204,747,104,32,31,190,72,629,748,749,750,7,751,57,34,752,753,754,755],"梅花","花卉禽鸟","传统绘画","工笔重彩","花木","羽毛","苔点","晕染","勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee51507f3008fc01a7b7141c72840283.jpg","281x119厘米",[],48,{"id":761,"slug":762,"title":328,"dynasty":481,"author":763,"museum":20,"description":764,"tags":765,"thumbUrl":769,"material":90,"size":770,"collection":60,"collections":771,"showCount":772,"zanCount":11,"manualWeight":11,"mainColor":94},218819,"xie-sheng-tu-wang-yuan-218819","王渊","墨色晕染间，禽鸟栖于石畔，羽翼纹理随淡墨流转，似能触到绒羽温软。老枝横斜，梢头悬一轮清月，清辉洒在疏叶上，竹影与草茎在风里轻摇。工细处见笔力，写意时显灵动，水墨浓淡干湿交织出自然生趣，无艳色却满溢生机。留白藏幽远，题跋墨迹与画面相映，笔墨间流淌着元代文人的清雅心境——于寂静中观天地，于细微处藏深情。每一笔都似在低语，将自然之美与文人意趣融于尺幅，尽显“墨花墨禽”的韵致，让人在古雅气息里沉醉。",[25,26,51,28,268,766,30,56,7,74,767,122,356,768],"明月","竹子","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0627d9a79cc3230361415249eb53ed87.jpg","88.3x45.3cm",[60],45,{"id":774,"slug":775,"title":776,"dynasty":99,"author":777,"museum":20,"description":778,"tags":779,"thumbUrl":780,"material":90,"size":781,"collection":76,"collections":782,"showCount":783,"zanCount":11,"manualWeight":11,"mainColor":94},290611,"he-hua-zhou-chen-shu-290611","荷花轴","陈书","陈书（1660～1736）字南楼，号上元弟子，晚号南楼老人，秀水（今浙江嘉兴）人，适海监钱纶光，善画花鸟虫草，家贫，卖画自给，教子甚严。以长子钱陈群诰封太淑人。\n陈书擅长人物、山水、花卉，书法也秀丽遒劲，诗文颇为精通。她成年后嫁于钱纶光为妻，钱氏为嘉兴望族，惜乎她的丈夫很早就离开了人间。她只能勤俭持家，夜来纺纱织布，苦度岁月，对于子女的教育从不放松，教子读经吟诗至深夜。其子钱陈群在她的精心培育下，在清康熙六十年中了进士，进入朝廷担任侍读学士等官职。陈书教子成名，自己画了一幅“夜纺授经图”，此图描绘夜深人静一边纺纱，一边教子读经，神态毕俱。这幅面得皇帝的赞赏，并题诗二首在画上，当时乾隆皇帝带头题诗称道这幅画，那些高官名人也纷纷题诗歌颂之。这幅令人瞩目的“夜纺授经图”，后来刻在石上，嵌在嘉兴中山路钱氏故居壁间，笔者曾见其拓本，原作是否存在，已不得而知。但其刻石仍保存在钱氏后裔手中。因在扩展中山路时有人看到其石刻完好地嵌在墙间，现钱氏故居已拆除，其旧址即现在中国银行嘉兴支行这块地基上。\n陈书在书画方面的造诣很高，笔墨娴雅，结构严谨。当时书画家评论她画的人物称得上逸品，画的山水、花卉称为神品，可见对她的评价相当高。陈书的子孙受她的影响也能书画，在笔墨技法上很像她，可以说一门数代继承家风。她的作品曾为清代皇室珍藏，流传民间也不少。嘉兴博物馆藏有她的花卉真迹，笔者在杭州、苏州、扬州等地也看到过她的作品。她的诗为人们所重视，《复庵吟稿》收集了她诗作的精华，流传至今。",[25,24,27,51,30,230,343,7,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f778bdc9fa45f731411e9760150e9cd.jpg","97.4x31.1",[],41,{"id":785,"slug":786,"title":787,"dynasty":84,"author":247,"museum":302,"description":788,"tags":789,"thumbUrl":792,"material":76,"size":76,"collection":76,"collections":793,"showCount":783,"zanCount":11,"manualWeight":11,"mainColor":43},228488,"he-tang-ju-qin-tu-li-zhou-lin-liang-228488","荷塘聚禽图立轴","画面将荷塘初秋意趣尽显，枯荷擎举、新花绽露，苇叶横斜交错，枯荣相生晕染出塘间清寂底色。\n水禽错落其间，水面鸳鸯两两相偎，翎毛细笔晕染，绒羽质感宛然；野禽振翅穿掠苇丛，飞燕斜划破空，动静交织间满溢鲜活生机。\n笔墨兼工带写，粗毫挥写苇茎残叶，苍劲朴拙；细笔勾勒禽鸟肌理，灵动传神。墨色浓淡铺陈层次，以极简水墨变化定格郊野塘间自在野趣，尽显纵逸清隽的花鸟意致。",[23,25,24,27,51,29,30,790,104,7,138,791,179],"荷","荷塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc7d15347b6a2c9436b4b8172d7a7048.jpg",[],{"id":795,"slug":796,"title":797,"dynasty":99,"author":19,"museum":116,"description":798,"tags":799,"thumbUrl":801,"material":597,"size":802,"collection":76,"collections":803,"showCount":783,"zanCount":11,"manualWeight":11,"mainColor":43},223551,"hai-tang-bai-tou-tu-yi-ming-223551","海棠白头图","绘蓝色湖石一块，形状凹凸有致；两枝海棠上下各一枝，枝上花朵或绽放，或含苞待放，红色的花朵鲜艳美丽，枝上两只白头翁相向而望，上面的扭头看着下面的那只，而下面也抬头呼应着上面鸟儿，二只鸟儿相亲相爱，活泼可爱。",[23,25,29,30,609,72,7,800,56,31,51],"海棠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86d21e5bf0b445cf9d0b9e44de9e88be.jpg","35.9x50.6cm",[],{"id":805,"slug":806,"title":807,"dynasty":481,"author":763,"museum":20,"description":808,"tags":809,"thumbUrl":812,"material":813,"size":814,"collection":297,"collections":815,"showCount":783,"zanCount":11,"manualWeight":11,"mainColor":43},221836,"han-jiang-lu-yan-zhou-wang-yuan-221836","寒江芦雁轴","此帧绘水滨双雁，一延颈啄啮芦根，一半合其目而休憩。毛羽丰润，神态生动。芦苇三两茎衬托其后，复有残荷几叶，益增萧瑟意境。",[23,25,26,27,28,29,51,810,138,811,53,7,104],"芦雁","江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcea1feefdf4bd8b3e2a362c9f20c1525.jpg","白纸本","149.7x62.7公分、全幅 90公分",[297,256],{"id":817,"slug":818,"title":819,"dynasty":481,"author":19,"museum":20,"description":820,"tags":821,"thumbUrl":825,"material":106,"size":826,"collection":60,"collections":827,"showCount":783,"zanCount":11,"manualWeight":11,"mainColor":43},219324,"hua-xia-jiang-chu-tu-yi-ming-219324","花下将雏图","画幅下面有一湖石横卧其间，湖石两侧长有几丛幽竹，枝叶伸展，匍伏于湖石上，湖石四周杂草遍地，以象征出整片的草地，对整个画面起到衬托作用。画幅右侧有湖石竖立其旁，湖石上大下小，向左倾斜，呈险势状。湖石造型奇特，玲珑剔透。湖石后有一束翠竹横出，又有几株鲜花盛开的牡丹。枝头上硕大的花朵，由绿叶衬托，更显得艳丽秀美。花枝有的向画面左侧横出，有一枝条伸展至画幅左上部位，这是妙笔，将画幅左上部位空白处填补，起到了充实和平衡整个画面的作用。在湖石和牡丹枝荫下，有鸡一公、一母、七雏，立于湖石和盛开着的牡丹的草地上，左侧公鸡低首觅食，两爪有力抓在地上，头部肉冠及肉办较大，短翼，脚健壮，跗跖及趾皆被鳞板，尾发达，体较大，羽色亦美，尾羽夸张地飘动着如海草一般；母鸡蹲伏在地上，两爪有力抓地，双翅上翘，尾巴舒展开来呈扇形，弯颈低首，双目下视；母鸡背部立一雏，另一雏在翼下，二雏藏尾后，余下三雏则在近处草地啄食，皆毛羽缕缕可见。",[676,25,26,24,27,28,29,30,204,822,823,824,289,32,320,7],"公鸡","母鸡","雏鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F553dd7adab84486b80b38f993362b208.jpg","182x102.8公分",[60],{"id":829,"slug":830,"title":831,"dynasty":84,"author":85,"museum":20,"description":832,"tags":833,"thumbUrl":835,"material":37,"size":836,"collection":60,"collections":837,"showCount":783,"zanCount":11,"manualWeight":11,"mainColor":43},218841,"xue-jing-ling-mao-tu-lv-ji-218841","雪景翎毛图","图绘雪后萧条，江天如墨。群凫畏寒相聚，半入睡乡。冻雀寒鸠，栖依衰柳，皆体贴入微，直同真景，而笔墨浑朴，不求繁缛，较之他作，似又更多一层古趣。",[25,28,29,30,192,55,7,834,287],"雪地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe38d71dfec08e8c1a64f428f5c218ce0.jpg","169.6x90.5cm",[60],{"id":839,"slug":840,"title":841,"dynasty":18,"author":19,"museum":116,"description":842,"tags":843,"thumbUrl":845,"material":76,"size":76,"collection":702,"collections":846,"showCount":847,"zanCount":128,"manualWeight":11,"mainColor":43},221648,"yu-ji-yi-ming-221648","玉鸡","玉色匀净，糖色晕染过渡自然，将雄鸡蜷曲成圆融一团，柔化了禽鸟的英武，尽显温润沉静。\n匠人以阴刻细细勾勒冠羽与翎毛，纹理疏密有致，写实中带着宋韵雅致，把雄鸡的勃勃生机藏于玉身之内。将日常祥禽化作可赏可玩的掌中清玩，把雅致的赏玩意趣凝于一方玉料中，古朴静雅间暗涌鲜活意趣，尽显宋代玉雕写实又不失温婉的审美意致。",[265,699,700,844,7],"鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82445f6a3c5171102ccd5debe060039e.jpg",[702],40,{"id":849,"slug":850,"title":851,"dynasty":18,"author":578,"museum":20,"description":852,"tags":853,"thumbUrl":855,"material":813,"size":856,"collection":76,"collections":857,"showCount":847,"zanCount":128,"manualWeight":11,"mainColor":94},221250,"qiu-zhu-wen-qin-hui-chong-221250","秋渚文禽","此冊共二十六開，包含許多精采的宋元冊頁。各別的作品曾經過南宋內府、十四世紀安徽收藏家吳志淳、十五世紀黔寧王沐璘、十七世紀山東收藏家張篤行等人收藏過。裱裝形式上，除了少數有對題者，左邊空白對幅皆以明代流行的金粟山藏經紙裱裝之，並有風格統一的題籤。配合裱紙上梁清標（一六二○－一六九一） 的收藏印，及比較院藏其他梁清標之題簽，推測此冊可能為梁清標所集，顯示明末清初所理解的宋元畫。",[25,29,28,166,7,854,790,411,412],"水渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8245c17cd680d5c6db12441e68758697.jpg","27.3x28.7",[],{"id":859,"slug":860,"title":861,"dynasty":99,"author":19,"museum":116,"description":862,"tags":863,"thumbUrl":865,"material":37,"size":866,"collection":400,"collections":867,"showCount":847,"zanCount":128,"manualWeight":11,"mainColor":43},217061,"luo-han-tu-yi-ming-217061","罗汉图","罗汉图是清朝时期的一张著名图画。这张图画描绘了一个罗汉，也就是佛教中的一种超凡脱俗的人物。罗汉图通常都会描绘罗汉坐在一个莲花座上，并且脸部表情非常平静。罗汉图被认为是一张具有深刻哲学意义的图画，它可以帮助人们思考人生、审视自己内心世界的问题。",[23,25,29,28,864,393,232,32,31,7,27],"宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f0f92db8d3a95be73cc37fc1f75a538.jpg","63x39",[400],{"id":869,"slug":870,"title":871,"dynasty":18,"author":262,"museum":365,"description":872,"tags":873,"thumbUrl":874,"material":875,"size":876,"collection":39,"collections":877,"showCount":878,"zanCount":11,"manualWeight":11,"mainColor":879},221446,"sha-zhu-fu-chu-tu-cui-bai-221446","沙渚凫雏图","崔白（1004-1088），中國北宋畫家，字子西，活躍於宋神宗前後，濠州（今安徽鳳陽）人。崔白是開始發揮寫生精神的畫家，其無前人的畫稿可臨摹或參考，但其依靠超越前人的觀察研究及描繪能力，探索花木鳥獸的生意，擺脫花鳥屬裝飾圖案的遺影，開創新的發展方向。其擅花竹、翎毛，亦長於佛道壁畫，畫佛道鬼神、山水、人物亦精妙絕倫，尤長於寫生。所畫鵝、蟬、雀堪稱三絕，手法細緻，形象真實，生動傳神，富於逸情野趣。一改百餘年墨守成規的花鳥畫風（指「黃筌畫派」），成為北宋畫壇的革新主將，數百年來頗受畫壇尊崇。",[23,24,25,26,30,29,28,7,56,411,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86470bd0b6cb5ed33a9003d7bca038ca.jpg","册页，绢本","31.4cm×25.7cm",[39,60,157],37,"F48FB1",{"id":881,"slug":882,"title":883,"dynasty":84,"author":19,"museum":428,"description":884,"tags":885,"thumbUrl":888,"material":37,"size":889,"collection":60,"collections":890,"showCount":891,"zanCount":128,"manualWeight":11,"mainColor":43},218924,"han-he-shuang-ying-tu-yi-ming-218924","寒壑双鹰图","这幅画表现了一棵高高矗立在峡谷之上的枯树，两只老鹰站在树枝上相互对视。老树用粗大的笔触勾勒出来，盘旋而有力，而老鹰则用细小的笔触描摹出来，几乎随时可以移动。在树的下面，峡谷的激流冲刷出层层水浪，波浪滚滚而来。这幅画显示了艺术家对不同题材的驾驭能力，以及他向许多人学习的能力。虽然这幅画以宋代为基础，但明显具有明代大型花鸟画的大气、奔放、夸张的特点，极具感染力。此画原为五代时期南唐画家郭乾祐所作，但因其无年代感，现归于明代画家。",[25,26,51,29,28,521,73,54,570,886,235,887,380,74,56,7],"山","瀑布","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F812e742cba18d3fccd2b284248f14dd1.jpg","200.2x156.1cm",[60],36,{"id":893,"slug":894,"title":895,"dynasty":99,"author":896,"museum":116,"description":897,"tags":898,"thumbUrl":899,"material":76,"size":76,"collection":60,"collections":900,"showCount":901,"zanCount":11,"manualWeight":11,"mainColor":94},224320,"hua-niao-shi-er-kai-tu-li-shan-224320","花鸟十二开图","李鱓","泼墨写就湖石，酣畅间尽显灵秀通透，似藏嶙峋古意。石畔花枝挺秀，粉紫娇花轻点晕染，明雅柔丽的设色晕开春日清趣。双鸡意态生动，一昂首侧目警觉周遭动静，一垂首理羽尽显慵懒闲适。禽鸟羽毛以淡墨晕染辅以细笔轻勾，将绒羽蓬松柔润的质感尽数铺陈。\n\n左畔行书款识笔意潇洒，与写意画格相融，诗书画印浑然一体。整幅兼工带写，既有文人写意的简逸纵恣，又不失精微写实的生趣，将花木禽鸟的天趣雅致藏于笔端，尽显悠然野逸的林下清致。",[23,25,26,166,51,29,30,56,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04865c6f750cd80cf1f66c8c803e6a71.jpg",[60],34,{"id":903,"slug":904,"title":905,"dynasty":84,"author":85,"museum":20,"description":906,"tags":907,"thumbUrl":910,"material":90,"size":911,"collection":60,"collections":912,"showCount":913,"zanCount":11,"manualWeight":11,"mainColor":94},222396,"han-xue-shan-ji-tu-zhou-lv-ji-222396","寒雪山鸡图轴","画家以运笔迅速的墨线、墨块为主，以干、湿笔交互运作，用飞白的线条，疾速完成枯树枝桠、山石流泉，造成黑白对比",[23,25,27,30,28,51,29,908,909,54,767,32,122,7],"山鸡","雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F096ba06be874b0a719bffcf11369d20a.jpg","纵135.3厘米，横47.2厘米",[60,157],31,{"id":915,"slug":916,"title":917,"dynasty":99,"author":176,"museum":69,"description":918,"tags":919,"thumbUrl":920,"material":90,"size":76,"collection":76,"collections":921,"showCount":922,"zanCount":11,"manualWeight":11,"mainColor":923},216353,"hua-niao-ce-5-zhu-da-216353","花鸟册-5","朱耷 (Zhu Da) 是一位著名的清朝画家，他的花鸟册 (huā niǎo cè) 是他的代表作之一。花鸟册是一种中国传统的绘画类型，主要描绘花卉和鸟类，朱耷的花鸟册以其精美的绘画技巧和富有创意的艺术表现而闻名。\n\n朱耷生于 17th 世纪的清朝，他原本是一名佛教僧人，后来转而成为画家。他的花鸟册绘制了各种花卉和鸟类，包括玫瑰、莲花、蝴蝶、孔雀、鹦鹉等。他的画风独特，细腻而生动，给人以非常感性的视觉享受。\n\n朱耷的花鸟册也反映了当时清朝社会的文化氛围。他的作品中常常出现古典诗词的引用，表现出他对中国传统文化的热爱。此外，他的作品还反映了当时清朝社会的审美观念，展现了清朝人对美的追求和对自然的敬畏。\n\n总之，朱耷的花鸟册是一部具有深远影响的艺术作品，其中融合了中国传统文化和绘画技巧的精华，对中国绘画艺术有着重要的贡献。",[23,25,24,51,166,30,56,7,179],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F052ab5a4013f321c5e24c1f0bccb2a03.jpg",[],29,"FFFFFF",{"id":925,"slug":926,"title":927,"dynasty":928,"author":929,"museum":460,"description":930,"tags":931,"thumbUrl":934,"material":76,"size":76,"collection":60,"collections":935,"showCount":922,"zanCount":11,"manualWeight":11,"mainColor":936},203391,"bai-qin-tu-juan-jiang-han-ting-203391","百禽图卷","近代","江寒汀","这幅长卷铺展百禽之态，或栖枝啁啾，或振翅掠空，或啄食嬉戏，神情毕肖。笔墨兼工带写，禽鸟羽毛勾勒精细，纹理毕现；花木枝干墨色灵动，设色清雅中见艳丽。梅、竹、牡丹等景致错落，与禽鸟相映成趣，画面疏密有致，动静相宜，满溢自然生机，尽显笔墨功底与对生命的细腻体察，堪称花鸟佳作。",[25,119,30,28,29,103,52,204,104,7,609,932,751,933,23],"羽毛纹理","生机","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b255eb679be70f777ef7738be689750.jpg",[60],"000000",{"id":938,"slug":939,"title":940,"dynasty":99,"author":941,"museum":116,"description":942,"tags":943,"thumbUrl":947,"material":124,"size":125,"collection":76,"collections":948,"showCount":949,"zanCount":11,"manualWeight":11,"mainColor":94},289651,"cui-niao-ming-chun-jing-xin-ren-yi-289651","翠鸟明春镜心","任颐","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。",[23,25,26,944,29,30,945,946,7,31],"扇面","翠鸟","茶花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0422548bf7c6a8cf40b657aeba6e1bf7.jpg",[],28,{"id":951,"slug":952,"title":953,"dynasty":99,"author":19,"museum":116,"description":954,"tags":955,"thumbUrl":962,"material":124,"size":125,"collection":76,"collections":963,"showCount":949,"zanCount":79,"manualWeight":11,"mainColor":43},269034,"ke-si-yun-he-wen-bu-zi-yi-ming-269034","缂丝云鹤纹补子","缂（kè，同：刻）丝（英文：K’o-ssu 、Kesi 或 Chinese silk tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[956,957,958,231,959,960,961,7],"缂丝","补子","布料","祥云","红日","海浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8093d972c177d80b9ef1e4a6d5c83446.jpg",[],{"id":965,"slug":966,"title":967,"dynasty":84,"author":19,"museum":116,"description":968,"tags":969,"thumbUrl":970,"material":124,"size":125,"collection":76,"collections":971,"showCount":972,"zanCount":11,"manualWeight":11,"mainColor":94},235968,"lv-ji-zhu-qin-tu-zhou-yi-ming-235968","吕纪竹禽图轴","修竹挺秀舒展，以浓淡墨色挥写竹叶，虚实交映，尽显萧疏清逸之态。两只禽鸟栖于细枝之上，翎羽晕染细腻灵动，亲昵偎依的姿态生动自然，野趣盎然。\n\n右上角题字隽秀雅致，诗画相融，愈发衬出画面的悠远意境。整作笔意纵逸洒脱，水墨层次丰富，将工致的写生之妙与文人写意的简淡雅韵相融，空灵雅致间饱含幽澹的林下之风，尽显传统花鸟画作的诗意禅趣。",[24,25,26,27,29,28,52,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fd0d65aeb31785517784702190c0cb2.jpg",[],27,{"id":974,"slug":975,"title":976,"dynasty":18,"author":977,"museum":116,"description":978,"tags":979,"thumbUrl":980,"material":76,"size":76,"collection":76,"collections":981,"showCount":972,"zanCount":11,"manualWeight":11,"mainColor":43},227949,"su-qin-ji-tuan-tu-li-di-227949","宿禽激湍图","李迪","《宿禽急湍图》是宋代 的中国画作品，又名《 》，创造于南宋时期，作品内容为树梢和二鸟，收藏于美国 。\n《宿禽急湍图》为册页，作品使用水墨，淡设色，图中古柏依石而生，盘根错节，溪流湍急，飞泻而下，溅起阵阵浪花。\n二鸟栖，息枝头，怡然自得，与水浪形成静与动的对比。\n此图构图形式以峭拔的树梢和二鸟打破了对角线的布势，也使画面获得了平衡感。\n树木多用颤笔描绘，线条颤动。\n虬曲的古柏枝干和急湍的小溪使画面具有强烈的动感。\n以线勾勒和水墨烘染相结合来表现浪花，手法独特。\n李迪，生卒年不详，公元12世纪期间在世， （今河南省 ）人。\n宣和时为画院成忠郎，南宋绍兴时复职为画院副使，历事孝宗、光宗、宁宗三朝(1162-1224)，活跃于宫廷 几十年，画多艺精，颇负盛名。\n工花鸟竹石、鹰鹘犬猫、耕牛山鸡，长于写生，间作山水小景。\n构思精妙，功力深湛，雄伟处动人心魄。\n所作《 》温柔娇嫩可爱，《鸡雏图》形象生动超拔，刻画细致入微，各具神态。\n山水师李唐法，亦多佳作。\n论者谓其画鸠“作寒冷状，精俊如生”；画鹡鸰“翘翘欲起”。\n传世作品多，大多有年款。\n淳熙元年（1174年）作《风雨归牧图》轴，现藏 ；淳熙十四年（1187年）作《 》轴现藏 。\n庆元二年（1196）作《 》轴、庆元三年（1197年）《鸡雏侍饲图》册页、《猎犬图》册页，均藏故宫博物院。\n子德茂，理宗淳佑年间（1241-1252）画院待诏。\n画承家法，喜画花禽鹰鹘，野景不逮其父。\n所见李画最晚年款为庆元三年（1197年），如上溯到北宋宣和七年（1125年），需时七十三年，据此推算，则李氏存世之年龄应在九十以上。",[23,24,25,26,28,29,289,7,380,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16085469ed0c7bef14f0566159320c01.jpg",[],{"id":983,"slug":984,"title":985,"dynasty":99,"author":941,"museum":302,"description":986,"tags":987,"thumbUrl":989,"material":419,"size":990,"collection":76,"collections":991,"showCount":992,"zanCount":11,"manualWeight":11,"mainColor":94},223236,"qun-ji-zi-shou-tu-ren-yi-223236","群鸡紫绶图","绘篱笆外一棵紫薇风劲叶摆，篱笆墙内二只老鸡带着一群小鸡觅食玩耍，公鸡大红色的鸡冠，伸长了脖子，圆瞪着眼，警惕的盯着四周动静，母鸡紧盯着一群小鸡仔，母爱洋溢，一幅乡村农家的温馨景象映入眼帘。",[23,25,26,24,27,29,51,30,7,844,677,988,339],"篱笆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef31e39a6fb133ccbf71818592553fc3.jpg","134cmx65cm",[],26,{"id":994,"slug":995,"title":996,"dynasty":84,"author":997,"museum":116,"description":998,"tags":999,"thumbUrl":1000,"material":76,"size":76,"collection":76,"collections":1001,"showCount":1002,"zanCount":11,"manualWeight":11,"mainColor":94},228342,"qian-yan-tu-wang-shou-qian-228342","千雁图","王守谦","整卷群雁聚散自如，或振翅翱翔、或敛羽栖汀，姿态各不相同，灵动尽显。以淡墨晕染汀渚苇丛，留白铺就水天色空濛之境，虚实相生间，将秋日寒渚的清旷萧瑟铺展开来。\n\n水墨写意笔触简练苍润，大雁造型简括神完，芦苇繁花轻描淡写，野逸之趣扑面而来。画面两侧行书题跋与画作相得益彰，书画合璧，尽显明代文人画的雅致意趣，将江渚雁群的自然野态描摹得淋漓尽致，是写意花鸟中的精妙之作。",[23,25,26,119,51,29,28,104,138,411,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd5f90b188d80a1c0e4720b5f1db3863.jpg",[],25,{"id":1004,"slug":1005,"title":1006,"dynasty":84,"author":1007,"museum":20,"description":1008,"tags":1009,"thumbUrl":1010,"material":37,"size":125,"collection":76,"collections":1011,"showCount":1012,"zanCount":11,"manualWeight":11,"mainColor":43},290360,"san-you-bai-qin-tu-zhou-bian-wen-jin-290360","三友百禽图轴","边文进","《三友百禽图》是明代画家边景昭创作的一幅设色花鸟画作品，现收藏于台北故宫博物院。\n《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。",[25,27,29,28,30,104,559,103,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff93f2842ccd0754407ff8c677f48a1d6.jpg",[],24,{"id":1014,"slug":1015,"title":1016,"dynasty":99,"author":1017,"museum":116,"description":1018,"tags":1019,"thumbUrl":1020,"material":76,"size":76,"collection":76,"collections":1021,"showCount":1022,"zanCount":11,"manualWeight":11,"mainColor":94},234704,"zhu-qin-tu-xu-gu-234704","竹禽圖","虚谷","虚谷（1823-1896），安徽新安（今歙县）人。清代画家。僧人。俗姓朱，名怀仁，移居江苏广陵（今扬州）。初任清军参将，后出家，名虚白字虚谷，号倦鹤、紫阳山民。以字竹，室名觉非庵、古柏草堂、三十七峰草堂。不茹素，不礼佛，也“从不卓锡僧寺”，往来于上海、苏州、扬州一带，卖画为业，是“海上画派”杰出代表人物。他携笔墨、着僧装，“闲中写出三千幅,行乞人间作饭钱”，云游四海，清贫于世却笔墨人间，他行程之广、画作之多，己为当时罕见。他承古创新，另辟捷径，广集素材，勤奋垦作，终成一代巨擘。早年学界画，后以擅画花果、禽鱼、山水著名。风格冷峭新奇，绣雅鲜活，无一笔滞相，匠心独运，别具一格。亦能诗，有《虚谷和尚诗录》。传世作品有《梅花金鱼图》、《松菊图》、《葫芦图》、《蕙兰灵芝图》、《枇耙图》等。",[25,29,51,30,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed176de37b5724ce2d14520d7c94932d.jpg",[],23,{"id":1024,"slug":1025,"title":1026,"dynasty":18,"author":19,"museum":116,"description":1027,"tags":1028,"thumbUrl":1029,"material":76,"size":76,"collection":76,"collections":1030,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":43},227920,"hua-hui-shuang-qin-tu-yi-ming-227920","花卉双禽图","此作工笔设色，柔枝舒展间白茶花轻绽，花瓣晕染出莹润柔光，枝叶俯仰向背尽显草木生姿。两只禽鸟栖于细枝之上，翎毛刻画丝丝入微，胸腹绒羽蓬松柔软，墨色晕染出头部乌亮光泽。一鸟昂首啾鸣，一鸟侧身应和，将枝间互动的鲜活意趣定格。\n\n整幅构图疏密得宜，浅褐绢底衬出雅致色调，笔墨精细却无匠气，尽显院体花鸟的写实功力。画师以细腻笔触捕捉花鸟间的灵动互动，将春日枝桠间的寻常小景，晕染出独有的雅致诗意，藏着对日常生机的温柔捕捉。",[23,24,25,26,28,29,30,31,7,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd599ee4f684f536c226cf5017f764baa.jpg",[],{"id":1032,"slug":1033,"title":1034,"dynasty":481,"author":1035,"museum":1036,"description":1037,"tags":1038,"thumbUrl":1041,"material":1042,"size":1043,"collection":76,"collections":1044,"showCount":42,"zanCount":128,"manualWeight":11,"mainColor":94},221763,"liu-ting-ju-qin-tu-xia-shu-wen-221763","柳汀聚禽图","夏叔文","辽宁省博物馆","淡墨简笔，画一水两岸，柳树柔枝万条，喜鹊，山雉、绶带，翠鸟等或栖憩枝头，或戏游水中； 近处飞禽正落地争觅夺食，远处又有三三两两翔集而来。\n一湾秀水荡起微波，两岸丛葭翩跹飘曳，一派春风杨柳，水暖鸭知的更新景象跃然纸上。\n诗堂清陈舒行书诗题： “柳渚芜沙潮欲平，虞罗不到任咿嘤，鹭丝风定银缾冷，山爵春晖锦翘明，”署“拙民陈原舒观题”，旁钤“原舒”朱文方印，“陈舒之印”白文方印。\n诗堂左上钤“陆树声鉴赏章”白文长方印，下钤刘恕“花步刘氏家藏”朱文长方印。\n作者夏叔文，字号不清，生卒年不详。\n据所钤印记，仅知其为丰城人氏。\n清陆心源所著《穰梨馆过眼录》卷五将本幅编入宋画之中，在南宋人马 远和钱舜举之间，知夏叔文可能为宋末元初人。\n夏叔文作品至今尚无另件发现，本幅作品为夏氏传氏孤品，甚为可贵。\n曾经清刘恕，陆树声递藏。",[23,25,26,24,27,51,29,7,192,104,1039,56,74,1040,520,179],"水岸","草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf910dc1c933ad3c68f07c6ebf4ecd3d.jpg","纸本，设色","画心纵128，横66.5厘米",[],{"id":1046,"slug":1047,"title":1048,"dynasty":18,"author":977,"museum":20,"description":1049,"tags":1050,"thumbUrl":1051,"material":37,"size":1052,"collection":76,"collections":1053,"showCount":1054,"zanCount":128,"manualWeight":11,"mainColor":43},287716,"hua-hua-niao-li-di-287716","画花鸟","李迪，生卒年不详。南宋画家，河阳（今河南省孟州市）人，北宋宣和时为画院成忠郎，南宋绍兴时复职为画院副使，历事宋孝宗、宋光宗、宋宁宗三朝（1162年—1224年），活跃于宫廷画院几十年，画多艺精，颇负盛名。工花鸟竹石、鹰鹘犬猫、耕牛山鸡，长于写生，间作山水小景。构思精妙，功力深湛，雄伟处动人心魄。所作《枫鹰雉鸡图》温柔娇嫩可爱，《鸡雏图》形象生动超拔，刻画细致入微，各具神态。山水师李唐法，亦多佳作。论者谓其画鸠“作寒冷状，精俊如生”；画鹡鸰“翘翘欲起”。",[24,25,26,27,28,29,30,104,7,31,751],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7a1b3f44c7ed4e5d36709ac9ec464aa.jpg","112.7x38.4",[],20,{"id":1056,"slug":1057,"title":1058,"dynasty":99,"author":19,"museum":116,"description":954,"tags":1059,"thumbUrl":1062,"material":124,"size":125,"collection":76,"collections":1063,"showCount":1054,"zanCount":79,"manualWeight":11,"mainColor":43},272866,"zi-tan-mu-bian-ke-si-hua-niao-tu-gua-ping-yi-ming-272866","紫檀木边缂丝花鸟图挂屏",[956,1060,543,29,152,7,1061],"挂屏","怪石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1798ded161ac8baeebd2f9497480b73.jpg",[],{"id":1065,"slug":1066,"title":1067,"dynasty":18,"author":1068,"museum":20,"description":1069,"tags":1070,"thumbUrl":1072,"material":37,"size":76,"collection":400,"collections":1073,"showCount":1054,"zanCount":11,"manualWeight":11,"mainColor":94},218683,"lie-qi-dai-qin-tu-chen-ju-zhong-218683","猎骑带禽图","陈居中","猎骑勒马伫立，衣袂间似沾着塞外草屑与风露。骏马身姿矫健，鬃毛如墨线飞扬，肌理勾勒劲挺细腻，连马蹄落地的沉稳都藏在笔锋里。鞍侧悬垂的禽鸟，羽翼纹理清晰可辨，仿佛刚从山林捕来，仍带着鲜活野趣。画面虽简，却将狩猎归来的从容与边塞生活的刚健揉合得恰到好处——无激烈追逐，只有静立瞬间，却让观者感受到驰骋山野后的安然。笔墨藏宋画写实功底，设色淡雅不失质感，每处细节都透着对生活的细致观察：似能触摸猎者衣袍的粗糙，听见马鼻轻喷，让这片刻宁静有了悠长余味。",[23,24,25,26,166,29,28,393,1071,7],"马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbacf06293d878fc09ce07a493fbf19b4.jpg",[400],{"id":1075,"slug":1076,"title":1077,"dynasty":84,"author":85,"museum":116,"description":1078,"tags":1079,"thumbUrl":1084,"material":124,"size":125,"collection":76,"collections":1085,"showCount":1086,"zanCount":11,"manualWeight":11,"mainColor":43},290981,"liu-tang-qin-ji-tu-zhou-lv-ji-290981","柳塘禽集图轴","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。",[25,27,543,1080,28,29,1081,32,724,104,286,7,1082,1083],"山水画","垂柳","林木","远山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefe936e3fc90e57a92a37ae1980b1caf.jpg",[],19,{"id":1088,"slug":1089,"title":1090,"dynasty":84,"author":19,"museum":116,"description":1091,"tags":1092,"thumbUrl":1095,"material":124,"size":125,"collection":76,"collections":1096,"showCount":1086,"zanCount":11,"manualWeight":11,"mainColor":43},256443,"cheng-hua-kuan-dou-cai-ji-gang-bei-yi-ming-256443","成化款斗彩鸡缸杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[1093,1094,29,844,7],"陶瓷","斗彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44e417a2a8d39cab2cae5c5222ef51a1.jpg",[],{"id":1098,"slug":1099,"title":175,"dynasty":99,"author":176,"museum":116,"description":1100,"tags":1101,"thumbUrl":1102,"material":345,"size":76,"collection":76,"collections":1103,"showCount":1086,"zanCount":128,"manualWeight":11,"mainColor":94},237625,"za-hua-ce-zhu-da-237625","八大山人的花鸟画深受林良、陈淳、徐谓等大家的影响，他的作品特别强调缘物寄情，因而个性极为鲜明。这种种孤僻、冷漠、悲愤、反常、怪异的特征，当然是他奇特艺术风格的具体化。而这种表象下折射出来的，正是画家一种有别于常人的人格心理。",[24,25,26,166,51,30,179,7,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad98ec6e6b8b7c0be7b6819a1a0fdf4c.jpg",[],{"id":1105,"slug":1106,"title":1107,"dynasty":99,"author":19,"museum":116,"description":1108,"tags":1109,"thumbUrl":1111,"material":124,"size":125,"collection":76,"collections":1112,"showCount":1113,"zanCount":11,"manualWeight":11,"mainColor":43},288230,"hua-niao-tu-yi-ming-288230","花鸟图","整卷铺陈四时清景，以没骨晕染花卉，工细勾勒禽鸟神形。左首老梅虬枝缀雪，群雀顾盼生姿，竹影横斜衬出幽寂；继而牡丹柔瓣含露，艳而不俗，荆棘穿插添就野趣；再见异花绮丽，红白相映，顽石苔痕自生古意；末了春桃绽蕊，幽禽独立枝梢，静中含动。\n\n题跋书法与绘事相映，笔墨晕染春日清和雅韵，将花木禽鸟的生机雅致融于长卷，尽显写生传神的悠然意趣，是雅致清妍的花鸟佳作。",[23,25,26,119,28,29,30,7,747,204,205,31,1110,1061,768],"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树栖带状鸟有明亮而腐烂的羽毛。 自制的图画和家禽文字，大多是在明媚的春光下。 这独特的画面与冬天的杀戮场景形成了鲜明的对比，极为巧妙。 树下溪流湍急，水花四溅，岸边的岩石上都被雪覆盖着。 画家以水墨染天空，以白粉表现雪，以白力描绘流水，气势磅礴。 河岸的独特表现是强大的。 岩石和水的侵蚀形成的蜂窝形状是另一种前所未有的创新方法。",[23,24,25,26,30,28,29,54,7,380,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd2250b3999f22bfd04a74cdeb074f66.jpg","27.5x26.9厘米",[],{"id":1225,"slug":1226,"title":1227,"dynasty":99,"author":1228,"museum":116,"description":1229,"tags":1230,"thumbUrl":1231,"material":76,"size":76,"collection":60,"collections":1232,"showCount":1233,"zanCount":11,"manualWeight":11,"mainColor":94},236715,"hua-niao-guo-ce-li-qi-236715","花鸟果册","李圻","此作用水墨写就枝间野趣，禽鸟栖于细枝之上，喙衔小虫，姿态灵动自若。以浓淡墨色晕染禽鸟羽毛，层次宛然，将绒羽蓬松质感尽数展现，鲜活如生。右侧枯枝苍劲，松针皴擦老辣枯涩，与禽鸟的细腻刻画形成鲜明反差，虚实相映。左侧题字笔力苍拙，书画相融，更添文人雅韵。整幅简淡疏朗，于写意间暗含写生之真趣，寥寥笔墨便将林间小景的野逸之态尽显，清雅生动，意韵悠长。",[25,26,166,51,30,35,74,7,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84c311ed68016fef5ab151c351fbaca3.jpg",[60,256],10,{"id":1235,"slug":1236,"title":1237,"dynasty":481,"author":19,"museum":116,"description":1238,"tags":1239,"thumbUrl":1242,"material":76,"size":76,"collection":76,"collections":1243,"showCount":1233,"zanCount":11,"manualWeight":11,"mainColor":43},228202,"xia-chi-shuang-e-tu-ye-yi-ming-228202","夏池双鹅图页","此作用色清简枯淡，以水墨晕染出夏池幽寂之境。画面双鹅为意趣核心，一鹅昂首振翅，白羽晕染层次细腻，绒羽蓬松宛然在目，翅根淡墨晕开融于池水，似将破水而起，满是灵动野逸。另一鹅垂颈敛翼，姿态闲静安适，一动一静，相映成趣。\n\n背景以淡墨点汀渚小藻，枝梢偃仰朦胧，暗合夏日溽热将散的慵懒松弛。全画不做繁复勾勒，以晕染写就形神，将幽塘里的片刻生趣轻然定格，带着萧散空寂的元画意韵，淡而有味，余韵悠长。",[23,25,24,26,166,29,28,30,712,7,1240,1241,33],"夏景","池水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a479a5c9e58f04cbb797b9a5f3f521c.jpg",[],{"id":1245,"slug":1246,"title":1247,"dynasty":99,"author":100,"museum":460,"description":1248,"tags":1249,"thumbUrl":1250,"material":76,"size":76,"collection":60,"collections":1251,"showCount":1233,"zanCount":11,"manualWeight":11,"mainColor":1252},202200,"qi-mei-tu-zhou-shen-quan-202200","齐眉图轴","老梅虬枝横斜，梢头白梅绽雪，间杂殷红浆果，双鸟相倚枝间；碧水之畔，一对鸳鸯亲昵依偎，羽色明丽，神态宛然。近岸水仙丛生，白花翠叶映石而生，笔墨工致细腻，设色清雅温润，禽鸟造型生动传神，花木姿态自然舒展。整幅画意境温馨和睦，寓含夫妻和美之愿，尽显工笔花鸟的精巧雅致与生机盎然。",[28,29,30,103,355,431,27,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff34b05bf164753fda6927e52d181d0f4.jpg",[60],"b8a896",{"id":1254,"slug":1255,"title":1256,"dynasty":99,"author":1257,"museum":116,"description":1258,"tags":1259,"thumbUrl":1261,"material":124,"size":125,"collection":76,"collections":1262,"showCount":210,"zanCount":11,"manualWeight":11,"mainColor":94},235652,"zhu-qin-tu-zhou-gao-qi-pei-235652","竹禽图轴","高其佩","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。\n康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。",[25,26,27,51,30,52,7,122,1260],"指画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F522ed81173ccb5d46bb52e9450a4a88b.jpg",[],{"id":1264,"slug":1265,"title":1266,"dynasty":84,"author":19,"museum":116,"description":1267,"tags":1268,"thumbUrl":1270,"material":124,"size":125,"collection":76,"collections":1271,"showCount":1272,"zanCount":11,"manualWeight":11,"mainColor":94},288075,"qun-e-gui-tang-tu-zhou-yi-ming-288075","群鹅归塘图轴","此作用淡墨写就野塘归雁之景，自上而下疏密渐次铺陈。起处群雁排空而来，寥寥数笔勾勒振翅之姿，墨色轻染翎羽，灵动尽显。中段苇草丛中群雁聚散相依，或引颈梳羽、或顾盼嬉戏，兼工带写绘出荒芦萧瑟，将禽鸟恬然之态与郊野秋意相融。末了浅墨晕出水塘，群雁凫水破波，墨色干湿浓淡层次分明，水纹雁影相映成趣。全画以留白衬出天际空阔，无重彩晕染，却将秋塘幽寂灵逸的意境烘托尽致，尽显水墨花鸟以简驭繁之妙。",[23,25,27,24,51,1269,104,724,138,7,30],"群鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda13422a1bd4a030b7a290f3c6404add.jpg",[],8,{"id":1274,"slug":1275,"title":1276,"dynasty":99,"author":19,"museum":116,"description":1277,"tags":1278,"thumbUrl":1284,"material":124,"size":125,"collection":76,"collections":1285,"showCount":1272,"zanCount":11,"manualWeight":11,"mainColor":94},269053,"bai-duan-di-guang-xiu-san-yang-kai-tai-gua-ping-xin-yi-ming-269053","白缎地广绣三阳开泰挂屏心","此作为祥瑞主题的刺绣精品，以三羊铺陈核心意境，三只瑞羊姿态各异，或徐行或伫立，形神兼备，尽显灵动安然。背景里百鸟翔集于虬枝松石间，朝日浮空，流云轻绕，花树错落、溪草扶苏，铺展出一派清和明媚的春日盛景。\n\n它运用多样岭南刺绣针法，施色妍丽雅致却不失柔和，翎羽纤毫毕现，羊身绒毛蓬松写实，草木山石层次饱满，将广绣的精巧工细发挥到极致，把新春吉庆寓意融在生机盎然的雅致图景中，是清代吉祥题材刺绣的上乘之作。",[1279,1280,1060,1281,1282,104,7,1283,960,219,32,272,29,28,958],"刺绣","广绣","三阳开泰","羊","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25c0bf5c7983518097e615fa65998026.jpg",[],{"id":1287,"slug":1288,"title":1289,"dynasty":99,"author":1290,"museum":116,"description":1291,"tags":1292,"thumbUrl":1293,"material":76,"size":76,"collection":76,"collections":1294,"showCount":1272,"zanCount":11,"manualWeight":11,"mainColor":94},232894,"chu-ji-tu-li-zhou-guan-zhen-tai-232894","雏鸡图立轴","管镇泰","此画构图简练，为雏鸡,体形轮廓则以简约的墨线勾勒，虽为写意，仍能照顾到物象的立体感。整幅画虽题材简单，但笔韵内敛传神，雏鸡稚嫩的体态通过水墨尽得显现。",[23,25,51,27,179,824,411,139,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52c2e9efaf71e2689a3a532d8d172ad8.jpg",[],{"id":1296,"slug":1297,"title":1298,"dynasty":84,"author":19,"museum":709,"description":1299,"tags":1300,"thumbUrl":1302,"material":37,"size":1303,"collection":60,"collections":1304,"showCount":1272,"zanCount":11,"manualWeight":11,"mainColor":94},219103,"lu-cong-gui-qin-tu-yi-ming-219103","芦丛归禽图","疏芦斜曳，翎羽翩然。归禽或栖于汀石，或振翅掠空，笔墨简淡却意态鲜活。淡远的背景晕染出雨后空濛，恰与题跋中“宿雨涨”的诗意相契。诗画交融间，文人寄情林泉的雅趣悄然流露——无需浓妆艳抹，仅以清雅之韵勾勒自然闲静，仿佛芦叶簌簌声里，禽鸟轻啼，引观者心随归禽，一同栖入这方悠然天地。",[23,25,26,51,29,28,768,1301,104,766,56,7,1040],"芦丛","https:\u0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这一时期，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中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[699,700,1395,7,1396,1397],"阴刻","商代玉器风格","线刻技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1d6f557988705f48903b404e1a4399c.jpg",[],{"id":1401,"slug":1402,"title":1403,"dynasty":99,"author":19,"museum":116,"description":1404,"tags":1405,"thumbUrl":1410,"material":124,"size":125,"collection":76,"collections":1411,"showCount":223,"zanCount":11,"manualWeight":11,"mainColor":535},267473,"tao-hong-se-chou-pan-jin-xiu-zhe-zhi-hua-die-he-wen-nv-pei-yi-ming-267473","桃红色绸盘金绣折枝花蝶鹤纹女帔","桃红色绸底明艳热烈，盘金绣与彩绣交织成烂漫图景。折枝花卉俯仰舒展，瓣叶脉络细腻鲜活，蝶翼轻颤似携香起舞，仙鹤翩跹自带雅致清灵。针线走线饱满细密，将花叶柔态与灵禽神韵一一晕开，满幅皆是春日生机。领口钉珠绣规整端庄，与满幅花鸟意境呼应相融，既带着闺阁柔婉意趣，又暗合吉祥顺遂的美好祈愿，把雅致审美与精工巧思揉作一处，尽显手作的鲜活匠心。",[1406,958,1407,1408,1356,319,31,7,1409],"衣帽","盘金绣","折枝花","女帔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15c834976eaea86a9df12d84f295125c.jpg",[],{"id":1413,"slug":1414,"title":1415,"dynasty":133,"author":19,"museum":116,"description":1416,"tags":1417,"thumbUrl":1422,"material":124,"size":125,"collection":76,"collections":1423,"showCount":223,"zanCount":11,"manualWeight":11,"mainColor":43},254603,"tao-hua-cai-ya-yi-ming-254603","陶画彩鸭","宋代是传统制瓷工艺发展史上一个非常繁荣昌盛的时期。现时已发现的古代陶瓷遗址分布于全国170个县。其中有宋代窑址的就有130个县，占总数的75%。\n陶瓷史家通常将宋代陶瓷窑大致概括为6个瓷窑系，它们分别是：北方地区的定窑系、耀州窑系、钧窑系和磁州窑系；南方地区的龙泉青瓷系和景德镇的青白瓷系。这些窑系一方面具有因受其所在地区使用原材料的影响而具有的特殊性，另一方面又有受帝国时代的政治理念、文化习俗、工艺水平制约而具有的共同性。\n从造型的角度分析，宋瓷的器形较之前代更为丰富多彩，几乎包括了人民日常生活用器的大部分：碗、盘、壶、罐、盒、炉、枕、砚与水注等，其中最为多见的是玉壶春瓶。总的说来，民间用瓷的造型大部分是大方朴实、经济耐用；而宫廷用瓷则端庄典雅、雍容华贵。最能反映皇家气派的是哥、官、钧、汝与定窑口烧制的贡瓷，最能体现百姓喜乐的是磁州、耀州窑口烧制的民间瓷品。\n从纹饰上讲，宋瓷的纹饰题材表现手法都极为丰富独特。一般情况下，龙、凤、鹿、鹤、游鱼、花鸟、婴戏、山水景色等常作为主体纹饰而突现在各类器形的显著部位，而回纹、卷枝卷叶纹、云头纹、钱纹、莲瓣纹等多用作边饰间饰，用以辅助主题纹饰。工匠们用刻、划、剔、画和雕塑等不同技法，在器物上把纹样的神情意态与胎体的方圆长短巧妙结合起来，形成审美与实用的统一整体，令人爱不释手。如婴戏纹，或于碗心、或于瓶腹，将肌肤稚嫩，情态活泼的童子置于花丛之中，或一或二，或三五成群，攀树折花，追逐嬉戏，真切动人，生活气息甚为浓厚。",[1418,1093,1419,29,7,1420,1421],"隋代","画彩","鸭","雕塑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7fc7a7eacd7d1a7786412b11deeedb4.jpg",[],{"id":1425,"slug":1426,"title":1427,"dynasty":99,"author":19,"museum":116,"description":1428,"tags":1429,"thumbUrl":1433,"material":124,"size":125,"collection":76,"collections":1434,"showCount":223,"zanCount":11,"manualWeight":11,"mainColor":43},229813,"ma-nao-yuan-yang-dai-kou-yi-ming-229813","玛瑙鸳鸯带扣","这枚带扣取南红玛瑙雕琢而成，通体匀净鲜亮的暖橘色自带温润柔光。匠者以鸳鸯为型，将雌雄水禽交颈依偎之态，巧融于带扣结构之中。浮雕出的翎羽纹理细密写实，把鸳鸯柔婉缱绻的亲昵勾勒得灵动传神，既保留了玉石的自然质感，又以精湛刀工刻画出生灵的鲜活意趣。\n\n鸳鸯自带相守偕老的吉祥意涵，器物将实用与雅趣合二为一，把玉石的莹润与雕刻的灵韵相融，雅致温情，浑然天成，尽显中式器物的浪漫巧思。",[1430,1431,700,431,7,1432],"清代","玛瑙","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda59347740c609914de2876324b26d06.jpg",[],{"id":1436,"slug":1437,"title":1438,"dynasty":99,"author":19,"museum":116,"description":1439,"tags":1440,"thumbUrl":1445,"material":124,"size":125,"collection":76,"collections":1446,"showCount":79,"zanCount":11,"manualWeight":11,"mainColor":43},261407,"kang-xi-kuan-qing-hua-lu-ju-shuang-qin-tu-suan-tou-ping-yi-ming-261407","康熙款青花芦菊双禽图蒜头瓶","青花瓷（blue 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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。",[1093,1441,1442,1443,338,7,1444],"青花","蒜头瓶","芦草","花鸟题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d047d6f197264303770da52254b6511.jpg",[],{"id":1448,"slug":1449,"title":1450,"dynasty":84,"author":85,"museum":460,"description":1451,"tags":1452,"thumbUrl":1453,"material":76,"size":76,"collection":60,"collections":1454,"showCount":79,"zanCount":11,"manualWeight":11,"mainColor":1455},201426,"han-xiang-you-niao-tu-zhou-lv-ji-201426","寒香幽鸟图轴","古梅虬枝盘亘画面，皴擦出苍劲肌理，素白梅花缀满枝桠，似携寒香浮动。数只禽鸟情态各异：栖于干者交颈亲昵，立岩上者昂首顾盼，羽色晕染细腻，翎毛毕现。岩岫嶙峋如孤石傲立，旁生翠竹数竿，叶影婆娑，与梅花相映成趣。设色淡雅厚重兼具，梅瓣以白笔点染，衬赭底显冰洁；枝干墨骨勾勒，见写意苍劲。工笔绘禽鸟之灵，写意写梅竹之韵，疏密构图间，凝住冬日花鸟的幽寂清趣，尽显明代花鸟的雅致风骨。",[28,29,30,103,52,104,289,56,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bc2c98bea625a5b622aa95892498246.jpg",[60],"765f49",{"id":1457,"slug":1458,"title":1459,"dynasty":99,"author":1460,"museum":460,"description":1461,"tags":1462,"thumbUrl":1466,"material":76,"size":76,"collection":76,"collections":1467,"showCount":79,"zanCount":11,"manualWeight":11,"mainColor":1468},201389,"hua-hui-niao-shou-tu-juan-chen-jia-yan-201389","花卉鸟兽图卷","陈嘉言","这幅长卷以灵动笔墨铺陈自然意趣，花鸟虫兽与草木山石错落有致。松鼠攀附松枝显活泼，灵兔隐于竹丛露憨态，蜻蜓点水、禽鸟栖枝各得其所；牡丹雍容、荷莲清雅、秋菊傲立、芙蓉娇艳，四季花卉次第绽放。设色淡雅却见鲜活，线条细腻又含逸气，工笔勾勒物象之形，写意晕染生机之韵，笔墨间藏着对自然生灵的细腻观照与脉脉温情。",[25,119,30,1283,28,29,559,52,790,204,152,137,1463,1464,7,1465,32,339],"兔","松鼠","蜻蜓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4387ef268508fbde19aafd7ea255c8eb.jpg",[],"d9d0c9",{"id":1470,"slug":1471,"title":1472,"dynasty":99,"author":19,"museum":116,"description":1473,"tags":1474,"thumbUrl":1476,"material":124,"size":125,"collection":76,"collections":1477,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":43},288187,"shuang-qin-tu-ye-yi-ming-288187","双禽图页","此作工致秀雅，两只鹌鹑意态悠然，一昂首侧目望向花枝，似在细闻芳馨，一垂首敛羽，仿若啄食理毛，翎毛细笔丝染，蓬松绒羽的质感尽显。\n\n周遭鸢尾杂花错落生姿，叶片舒展柔劲，设色清妍柔和，淡赭、石青与紫晕相融，古绢底色晕染出沉静古雅的氛围。画面疏密相宜，右上角题字与景致浑然一体，将秋野一隅的闲静生机尽显。写生功力精湛，把禽鸟灵动与花草幽柔完美契合，晕染细腻温婉，带着恬淡安宁的文人意趣，尽显小品花鸟的雅致韵味。",[23,25,26,24,1475,28,29,30,7,272,32],"册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F851254b3a5d02bb317e06522a50c59a3.jpg",[],{"id":1479,"slug":1480,"title":1481,"dynasty":99,"author":19,"museum":116,"description":1482,"tags":1483,"thumbUrl":1490,"material":124,"size":125,"collection":76,"collections":1491,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":535},274413,"tong-du-jin-xiang-cun-jing-se-shui-fa-zhong-yi-ming-274413","铜镀金乡村景色水法钟","最早的钟原本是指古代汉族 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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、 镂孔、篦纹及文字记号等。明器上多施彩绘。四川云南等也有自己的制陶业，不少作品和中原地区相似，如圆底釜、侈口束颈、鼓腹的壶等。关中地区流行的茧形壶虽不生产，确有发现。舞蹈俑、说书俑、抚琴俑、听琴俑、侍立俑和各类家禽形象，生动优美，自然写实。",[1563,1093,1566,7,140,267,1567,1568],"陶塑","古朴","刻划纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde4fb9c9e3b279c9fcf2bd3a2c22efac.jpg",[],{"id":1572,"slug":1573,"title":1574,"dynasty":99,"author":1575,"museum":116,"description":1576,"tags":1577,"thumbUrl":1580,"material":124,"size":125,"collection":76,"collections":1581,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":43},224127,"ke-mao-ji-chu-dai-si-tu-qian-long-224127","缂毛鸡雏待饲图","乾隆","清乾隆缂毛鸡雏待饲图是清代的一件集书法、绘画、缂丝、缂毛等艺术手段的合璧之作。",[23,1430,1578,29,7,1579,356,768,122,30],"缂毛","鸡雏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc43869bfc1a89d80ebab22705f8ed1d7.jpg",[],{"id":1583,"slug":1584,"title":1585,"dynasty":84,"author":19,"museum":116,"description":1586,"tags":1587,"thumbUrl":1590,"material":124,"size":125,"collection":76,"collections":1591,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":94},223953,"bai-yu-yuan-yang-yi-ming-223953","白玉鸳鸯","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。",[190,699,1588,700,1589,431,7],"白玉","圆雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e803af5b7dd2a621bb06715fbf00b44.jpg",[],{"id":1593,"slug":1594,"title":1595,"dynasty":99,"author":1165,"museum":460,"description":1596,"tags":1597,"thumbUrl":1601,"material":76,"size":76,"collection":76,"collections":1602,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":1603},202214,"luan-feng-he-ming-tu-zhou-hua-yan-202214","鸾凤和鸣图轴","鸾凤栖于苍劲虬枝，蓝羽凤鸟昂首展翼，翎羽如流霞泻彩；红羽鸾鸟依偎相伴，姿态温婉亲昵。兼工带写的笔触，既精细勾勒禽鸟华美羽色，又以写意墨法皴擦树木枝干，青绿叶片点缀其间，墨色浓淡相宜，尽显自然生机与祥瑞氛围。画面融工致与洒脱于一体，和谐雅致，尽显独特艺术风韵。",[25,30,28,179,609,29,7,1598,1599,1600],"虬枝","青绿","立","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00487a06b7abb1c32e361444317aa8d7.jpg",[],"aa9b8b",{"id":1605,"slug":1606,"title":1341,"dynasty":99,"author":1607,"museum":460,"description":1608,"tags":1609,"thumbUrl":1611,"material":76,"size":76,"collection":76,"collections":1612,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":1613},201858,"hua-niao-zhou-jin-ting-biao-201858","金廷标","画面中，枝头禽鸟灵动鲜活，羽翼以细笔勾勒纹理，神态毕肖；另一鸟栖于石上，悠然自得，与花枝相互呼应。下方山石以水墨写意，线条简劲，尽显嶙峋之姿。周遭花叶淡墨晕染，间施淡彩，清雅自然；杂草与水生植物笔墨疏朗，更添野趣。整体构图疏密有致，笔墨工写相济，既见细节刻画之精，又含写意抒情之韵，将花鸟生机与自然清逸之美诠释得恰到好处。",[25,27,29,30,32,28,51,7,1610],"花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bb05d6661f5b7b384c3164e9d3724d0.jpg",[],"8b6334",{"id":1615,"slug":1616,"title":1617,"dynasty":84,"author":201,"museum":460,"description":1618,"tags":1619,"thumbUrl":1622,"material":76,"size":76,"collection":60,"collections":1623,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":1624},201354,"hua-niao-shan-zhou-zhi-mian-201354","花鸟扇","扇面构图疏密得宜，右侧芭蕉展叶，山石皴染有致，禽鸟或栖于枝巅、或啄食坡地，神态鲜活；左侧林木扶疏，花草点缀其间，动静相生。画家以独创的钩花点叶法绘之，花瓣用细劲线条勾勒，叶片以墨色点染，浓淡交错，设色清雅而生机盎然。笔墨兼具工致与写意之趣，禽鸟的灵动、花叶的鲜活跃然纸上，尽显自然野趣与精湛功底，为明代花鸟扇面的典范之作。",[944,30,1620,1332,32,1621,1082,7,23],"钩花点叶","芭蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe61b6b447c872ecf309f7e311f38f5b7.jpg",[60],"d6dcd6",{"id":1626,"slug":1627,"title":1617,"dynasty":84,"author":201,"museum":460,"description":1628,"tags":1629,"thumbUrl":1630,"material":76,"size":76,"collection":60,"collections":1631,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":1624},201353,"hua-niao-shan-zhou-zhi-mian-201353","这幅扇面铺展一方生机盎然的花鸟天地。勾花点叶法的运用，使花叶线条清劲，点染鲜活；禽鸟或栖枝顾盼，或嬉于石间，姿态灵动，神态毕肖。山石错落有致，树木扶疏含情，设色淡雅却见层次，笔墨兼具工细与写意之妙，于咫尺扇面中蕴藉自然野趣与文人雅致。每一处细节皆见匠心，尽显明代花鸟画作的独特韵味。",[944,30,29,28,608,7,32,219,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb262201c546edddee8a5e7e1b3adba28.jpg",[60],{"id":1633,"slug":1634,"title":1635,"dynasty":84,"author":85,"museum":460,"description":1636,"tags":1637,"thumbUrl":1639,"material":76,"size":76,"collection":60,"collections":1640,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":1641},201275,"xue-liu-shuang-fu-tu-zhou-lv-ji-201275","雪柳双凫图轴","画面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。\n唐三彩在唐代的兴起有它的历史原因。首先陶瓷业的飞速发展，以及雕塑、建筑艺术水平的不断提高，促使它们之间不断结合、不断发展，因此从人物到动物以及生活用具都能在唐三彩的器物上表现出来。\n唐代贞观之治以后，国力强盛、百业俱兴，同时也导致了一些高官生活的腐化，于是厚葬之风日盛。唐三彩当时也是作为一种冥器，曾经被列入官府的明文规定，一品、二品、三品、四品，就是说可以允许他随葬多少件，但是实际上作为这些达官显贵们，并不满足于明文的规定，反而他们往往比官府规定要增加很多的倍数，去做这种厚葬。官风如此，民风当然也如此，于是从上到下就形成了这么一种厚葬之风，这也就是唐三彩当时能够迅速在中原地区发展和兴起的一个主要原因之一。\n唐代是我国封建社会的鼎盛时期，所以说唐三彩从另外一个侧面也反映了这种唐王朝的政治、文化、生活，它跟唐代诗歌、绘画、建筑其他文化一样，共同形成了唐王朝文化的旋律，但是它又不同于其他的文化艺术，从现代的陶瓷史上认为，唐三彩在唐代陶瓷史上是一个划时代的里程碑，因为在唐以前，只有单色釉，最多就是两色釉的并用，在我国的汉代，已经有了两色，即黄色和绿色两种釉彩在同一器物上的使用。到了唐代以后，这种多彩的釉色在陶瓷器物上同时得到了运用。从陶瓷史上有人考证，这和唐代当时的审美观点起了很大的变化有关。在唐以前人们崇尚的是素色主义，到唐代以后，它包容了各种文化，包括许多外来文化，这个时候从绘画、陶瓷、金银器的制作，形成了一个灿烂文化的特点。\n唐三彩的生产已有1300多年的历史。它吸取了中国国画、雕塑等工艺美术的特点。唐三彩制作工艺复杂，以经过精细加工的高岭土作为坯体，用含铜、铁、钴、锰、金等矿物作为釉料的着色剂，并在釉中加入适量的炼铅熔渣和铅灰作为助剂。先将素坯入窑焙烧，陶坯烧成后，再上釉彩，再次入窑烧至800℃左右而成。由于铅釉的流动性强，在烧制的过程中釉面向四周扩散流淌，各色釉互相浸润交融，形成自然而又斑驳绚丽的色彩，是一种具有中国独特风格的传统工艺品。\n唐三彩不仅贵在釉色浓艳瑰丽，而且骆驼、马和人物等的造型生动传神，富有生活气息，当时的国际场上，唐三彩就已负有盛名，成为中外经济文化交流的重要物品之一。1928年，陇海铁路修筑到洛阳邙山时，出土了大量唐三彩，古董商们将其运至北京，受到了国内外古器物研究者的重视和古玩商竞相收藏。之后，洛阳地区不断有唐三彩出土，数量之多、质量之美，令人惊叹。",[1796,1093,1820,7,1821],"彩塑","彩绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa100aac05a1f2b4ea2392294455ace7.jpg",[],{"id":1825,"slug":1826,"title":1827,"dynasty":1563,"author":19,"museum":116,"description":1828,"tags":1829,"thumbUrl":1833,"material":124,"size":125,"collection":76,"collections":1834,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},253294,"tao-huang-you-ji-yi-ming-253294","陶黄釉鸡","黄釉是汉族传统的陶瓷装饰艺术。最早出现于唐代，当时安徽淮南寿州窑、河南密县窑等都烧黄釉。但正色黄釉，还是宋代汝窑的高温黄釉——茶叶末釉。明代的黄釉有新的发展，洪武时的老僧衣即茶叶末的衍化；始于宣德的浇黄，更是明代杰出的黄釉；嘉靖以后，又有鱼子黄、鸡油黄等。入清后有康熙的淡黄，以及其后的菜尾、鼻烟、金酱等。",[1563,1093,1830,844,1566,7,1831,1832],"黄釉","釉陶","动物造型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d94a0ed67122e7e7bbd7d1d04b22242.jpg",[],{"id":1836,"slug":1837,"title":1562,"dynasty":1563,"author":19,"museum":116,"description":1564,"tags":1838,"thumbUrl":1840,"material":124,"size":125,"collection":76,"collections":1841,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":535},253229,"tao-ji-yi-ming-253229",[1839,1093,1566,700,844,7],"汉代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F036c25e1da83a8c5a1d599c58765ce59.jpg",[],{"id":1843,"slug":1844,"title":1811,"dynasty":1794,"author":19,"museum":116,"description":1818,"tags":1845,"thumbUrl":1846,"material":124,"size":125,"collection":76,"collections":1847,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":535},253184,"tao-hua-cai-ji-yi-ming-253184",[1794,1093,29,844,7,1821,1566],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf6deade79caed52ad064cde1d8d3602.jpg",[],{"id":1849,"slug":1850,"title":1851,"dynasty":99,"author":19,"museum":116,"description":1393,"tags":1852,"thumbUrl":1857,"material":124,"size":125,"collection":76,"collections":1858,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},251684,"qing-yu-xian-gu-sui-wo-lian-shuang-fu-yi-ming-251684","青玉衔谷穗卧莲双凫",[699,700,1853,1854,1855,1856,1432,7,33],"凫","谷穗","莲","清代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6d99adb1335c7ab08fc0b8f9c7c6a7a.jpg",[],{"id":1860,"slug":1861,"title":1862,"dynasty":84,"author":19,"museum":116,"description":1863,"tags":1864,"thumbUrl":1867,"material":124,"size":125,"collection":76,"collections":1868,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},246063,"ti-hong-wu-qin-tu-ling-hua-shi-pan-yi-ming-246063","剔红五禽图菱花式盘","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[1865,1866,700,7,1432],"漆器","剔红","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1176bf020a1089c2b6d38b047955157e.jpg",[],{"id":1870,"slug":1871,"title":1872,"dynasty":99,"author":1873,"museum":460,"description":1874,"tags":1875,"thumbUrl":1878,"material":76,"size":76,"collection":60,"collections":1879,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":1880},201372,"hua-shan-ye-xin-201372","画扇","叶欣","扇面之上，虬枝横斜，繁花绽处粉白相映，叶片脉络清晰可见。一只禽鸟独立枝间，翎羽层次细腻，翅上蓝纹如染，姿态悠然望向上方轻飞的小虫，生趣暗生。笔墨工致，设色淡雅温润，与古旧扇面底色交融，尽显传统花鸟的婉约意韵。方寸之间，疏密得宜，将自然生机凝于扇骨开合之际，足见匠心。",[944,30,28,29,104,1876,413,1877,7,23],"花枝","细腻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82986b2461810b81a976caeefc9ab4a3.jpg",[60],"d2ad95",{"id":1882,"slug":1883,"title":1256,"dynasty":84,"author":247,"museum":460,"description":1884,"tags":1885,"thumbUrl":1886,"material":76,"size":76,"collection":60,"collections":1887,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":1888},201267,"zhu-qin-tu-zhou-lin-liang-201267","墨竹横斜，枝干劲挺如铁，叶片挥洒若雨，尽显书法笔意之妙。石矶之上禽鸟独立，羽纹细勾中见工致；空中飞鸟振翅，墨色晕染间显灵动。笔势纵放却不失法度，水墨浓淡层次分明，苍劲中透着野逸生机。简括的构图里，竹、石、禽鸟相映成趣，于写意挥洒间藏精巧细节，传递出自然天趣与文人意韵的交融，是明代花鸟画中水墨写意的典范之作。",[25,24,51,179,609,30,52,104,56,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac13943bc456dfa82014aa91b6e3ad3.jpg",[60],"8a7c6a",1777535702441]