[{"data":1,"prerenderedAt":993},["ShallowReactive",2],{"subject-qing-ting":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},142,"qing-ting","蜻蜓","蜻蜓画高清赏析","精选中国历代蜻蜓题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6aa10c0613d40d8b913af29227f7a53.jpg",0,79,[14,52,74,96,113,130,149,161,174,188,201,217,230,243,254,270,283,293,304,319,331,345,359,371,385,397,413,436,447,458,467,478,489,499,509,523,536,550,559,569,590,600,614,624,634,643,651,663,670,681,691,701,713,725,734,748,760,773,781,791,799,813,820,827,836,844,853,863,873,884,896,907,919,933,942,949,961,970,982],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":42,"material":43,"size":44,"collection":45,"collections":46,"showCount":49,"zanCount":50,"manualWeight":11,"mainColor":51},221235,"hua-niao-chang-juan-yi-ming-221235","花鸟长卷","宋","佚名","台北故宫博物院","此作用笔精细柔婉，设色妍丽清润，将四季佳卉次第铺展：艳红牵牛绰约生姿，白牡丹雍容皎洁，紫藤垂缨如云似瀑，兰草疏朗清逸。草虫蛱蝶穿插其间，振翅的蝶、栖于花枝的蚱蜢，皆栩栩如生，满卷灵动生机。\n诗画合璧，题咏与花木相映成趣，尽显雅致意趣，细腻勾勒出草木的娇柔、虫羽的轻薄，藏着对天地生机的入微体察，尽显精工雅致的院体花鸟意韵，是隽永动人的佳作。",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,37,38,39,7,40,41],"高清","名画","国画","书画","长卷","设色","工笔","花鸟","紫藤","牡丹","月季","菊花","兰花","牵牛花","玉兰花","芙蓉","蝴蝶","虫","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b146e686f41f360c24bf527a36e3be4.jpg","纸本","26x163","宋画精选",[45,47,48],"花鸟画精选","设色画精选",1899,28,"FF9800",{"id":53,"slug":54,"title":55,"dynasty":56,"author":57,"museum":58,"description":59,"tags":60,"thumbUrl":67,"material":68,"size":69,"collection":69,"collections":70,"showCount":71,"zanCount":72,"manualWeight":11,"mainColor":73},220584,"hua-yu-chong-2-qi-bai-shi-220584","花与虫-2","民国","齐白石","Hwajeong Museum","此作以工写交融之法绘就，大写意晕染蔬果花卉：明黄葫芦腴润饱满，墨色瓜实朴拙厚重，丝瓜清透雅致，凌霄、月季柔媚鲜活，藤蔓以狂草般的笔墨肆意舒展，苍劲写意中尽得野趣生机。\n\n笔下草虫则以极精工的细笔刻画：蜻蜓翼脉纤毫毕现，螳螂举臂灵动逼真，蝴蝶振翅欲飞，将小虫的鲜活灵态尽致描摹。简逸朴拙的写意花草，搭配毫厘必现的工笔虫豸，将文人画的雅趣与乡野小景的生机融为一体，把寻常田间意趣化作耐品的丹青佳构。",[23,25,28,30,27,61,62,7,39,63,64,32,36,65,66],"葫芦","丝瓜","螳螂","蟋蟀","藤蔓","叶子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa55484ca9db9175f8ad8bbbb64dec7ae.jpg","color on paper","",[],743,2,"BDBDBD",{"id":75,"slug":76,"title":77,"dynasty":78,"author":79,"museum":80,"description":81,"tags":82,"thumbUrl":90,"material":91,"size":92,"collection":47,"collections":93,"showCount":94,"zanCount":95,"manualWeight":11,"mainColor":73},221855,"qian-kun-sheng-yi-tu-juan-xie-chu-fang-221855","乾坤生意图卷","元","谢楚芳","大英博物馆","此《乾坤生意图》卷由元代谢楚芳绘。画卷内容主题为动物和昆虫捕食：画面中各类花草盛开，一只蟾蜍埋伏等待着正在肢解蝴蝶的蚂蚁，一只蜻蜓袭击蜥蜴捕获的一只小昆虫，以及螳螂捕蝉等六部分，每组画面看似生机勃勃，实则是动物为生存而绞杀捕猎场景。此卷现藏于大英博物馆。\n这幅精致而珍贵的工笔画是大英博物馆于 1998 年在国家艺术收藏品基金会和布鲁克史威尔永久基金的赞助下花巨资收购的，在丝质封套内有一枚英国人威廉巴特勒 ( Williambutler) 的入藏章，章上的日期标明为 1797 年，是目前所知英国人最早收藏的中国画，曾被大英博物馆列为 “最珍贵的十种馆藏中国文物之一，在英国的中国文物收藏史上占有特殊的地位。",[23,25,26,27,28,29,30,83,39,7,84,85,86,87,88,89],"竹","花卉","草虫","植物","书法","行书","篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e1c56124fe25c7b1d901efbb1fb8345.jpg","绢本设色","27.8x352.9cm",[47,48],368,5,{"id":97,"slug":98,"title":99,"dynasty":56,"author":57,"museum":100,"description":101,"tags":102,"thumbUrl":110,"material":69,"size":69,"collection":69,"collections":111,"showCount":112,"zanCount":95,"manualWeight":11,"mainColor":73},220597,"lian-hua-yu-long-fei-qi-bai-shi-220597","莲花与龙飞","Indianapolis Museum of Art at Newfields","枯墨勾勒荷茎与水草，苍劲老辣带着风霜质感，赭石晕染残荷，铺展出秋塘的疏淡萧瑟。朱砂点就的红莲，浓艳醒目，在枯寂里绽出鲜活暖意，稚拙圆润的莲蓬，藏着乡野间的朴拙意趣。翅羽轻颤的小虫寥寥数笔便形神兼具，翩然灵动，和沉郁静穆的残荷形成鲜明动静反差。\n\n整幅画以少胜多，大写意笔墨里藏着对自然的细微体察，将秋塘的清寂生机揉合一处，平淡天真间尽是悠然意韵。",[23,25,103,28,104,105,41,106,107,7,108,109],"水墨","写意","立轴","荷花","莲蓬","荷叶","花梗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbede3ed88faf28cd4881cd596424cf78.jpg",[],351,{"id":114,"slug":115,"title":116,"dynasty":18,"author":117,"museum":118,"description":119,"tags":120,"thumbUrl":123,"material":124,"size":125,"collection":45,"collections":126,"showCount":127,"zanCount":128,"manualWeight":11,"mainColor":129},221504,"he-cao-chong-tu-wu-bing-jia-221504","禾草虫图","吴炳嘉","藏地不详","宋代花鸟在中国花鸟绘画史中达到了一个高峰，院体花鸟画下了很多传世精品，还有大量的典藏记载。其中，花鸟小品占据了主要地位，花鸟画以小品形式迅速发展，成为美术史上的一个代表艺术之一。宋人小品花鸟画形制多为圆中见方的尺牍小幅，以内敛的结构和开合呼应的构图方式，描绘特定的场境和瞬间情态，于状物精微的同时力求构思新奇，营造格调优雅而隽永的意境，表现出独特的趣味。",[23,24,25,26,28,29,30,121,40,39,7,122,41],"草","蜜蜂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff6d56f3d921df6f611ba36478d1d50.jpg","绢本；设色","纵：49cm，横：30cm",[45,47,48],221,3,"795548",{"id":131,"slug":132,"title":133,"dynasty":134,"author":135,"museum":136,"description":137,"tags":138,"thumbUrl":143,"material":144,"size":145,"collection":47,"collections":146,"showCount":147,"zanCount":148,"manualWeight":11,"mainColor":129},222048,"mei-gu-hua-hui-tiao-fu-wang-zhong-222048","没骨花卉条幅","明","汪中","北京故宫博物院","绘花鸟虫石一幅，湖石立于地面，棱角尖锐，内部多孔，其四周有月季、金银花穿插之中，花儿娇艳，虫蝶生动活泼。汪中，字容甫，清朝时期著名的哲学家、文学家、史学家，与阮元、焦循同为“扬州学派” 的杰出代表。",[23,25,26,105,139,28,30,140,84,39,7,65,141,142],"没骨","孤石","枝叶","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a80d2f3763b05356d5be7d88d57866d.jpg","绢本","54.4x113.9",[47,48],204,1,{"id":150,"slug":151,"title":152,"dynasty":56,"author":57,"museum":58,"description":153,"tags":154,"thumbUrl":158,"material":68,"size":69,"collection":69,"collections":159,"showCount":160,"zanCount":148,"manualWeight":11,"mainColor":73},220587,"hua-he-kun-chong-qi-bai-shi-220587","花和昆虫","这幅长卷以兼工带写之法绘就，泼墨挥写折枝花草，葫芦藤蔓蜿蜒豪放，墨叶酣畅淋漓，牵牛、萱花、海棠设色明妍鲜活，笔意朴拙老辣，尽显秋花野逸生机。\n工笔草虫穿插其间，蟋蟀、天牛、蜻蜓、蛱蝶皆纤毫毕现，翅脉通透轻薄，肢体灵动鲜活，将小虫的灵动神态刻画入微。大写意的烂漫朴拙与工笔的精细雅致相映成趣，把乡郊秋日的鲜活野景凝于卷上。搭配古雅题款与篆刻，整体意趣天然浑融，将乡野小景化作文人雅韵，尽显独有的花鸟意致。",[23,24,25,26,27,28,103,29,104,30,155,156,61,62,65,66,39,7,64,157],"花","昆虫","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39df443cbe832b9d4633286bff1506d1.jpg",[],180,{"id":162,"slug":163,"title":164,"dynasty":56,"author":57,"museum":165,"description":166,"tags":167,"thumbUrl":170,"material":171,"size":69,"collection":69,"collections":172,"showCount":173,"zanCount":11,"manualWeight":11,"mainColor":73},220588,"shu-cai-he-san-zhong-kun-chong-qi-bai-shi-220588","蔬菜和三种昆虫","Oscar Niemeyer Museum","以大写意挥毫白菜，浓墨铺陈菜叶，枯湿浓淡间尽显舒展之姿，朴拙厚重藏着清新生气，寥寥数笔便写出白菜的莹润鲜活。朱红辣椒点缀，艳色跳脱墨色，冷暖撞色生出明快野趣。\n\n工笔草虫细致入微，蜻蜓薄翼通透纤毫毕现，鸣虫灵动宛似欲振翅低吟，将草野生机凝于尺幅。题字苍劲老辣，书画印浑然相融，将田家寻常蔬食化为清趣盎然的雅境，以烟火日常寄寓冲淡天真的意趣，把乡野小景晕染成饱含诗意的鲜活画卷，尽显雅俗共赏的笔墨情致。",[23,25,103,28,104,29,105,87,41,168,169,7,64],"白菜","辣椒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02273d02cbd82e57c1882fb536b59302.jpg","Watercolor on paper",[],179,{"id":175,"slug":176,"title":177,"dynasty":56,"author":178,"museum":179,"description":180,"tags":181,"thumbUrl":185,"material":69,"size":69,"collection":69,"collections":186,"showCount":187,"zanCount":148,"manualWeight":11,"mainColor":73},220488,"zhang-da-qian-yu-fei-yin-wang-xue-tao-he-zuo-he-tang-qing-qu-tu-wang-xue-tao-220488","张大千、于非誾、王雪涛合作荷塘清趣图","王雪涛","四川博物院","此作为三家合璧之妙品，以泼墨晕染荷叶，浓淡交织晕开雨后荷塘的氤氲水气，苍润淋漓间尽显池夏清寂雅致。白荷亭亭玉立，带着初经雨洗的舒展柔润，暗吐幽芳。\n上空红蜓振翅悬停，池边青蛙轻跃欲起，草叶间小蜻蜓静立，将初夏荷塘的鲜活生机悄然铺陈。书画相映成趣，题句点透菡萏初发的诗意。\n写意与工笔相融，泼墨的疏朗大气搭配草虫的工致鲜活，把荷塘的幽趣揉入笔墨，静中生灵韵，雅淡见天然，尽显文人意趣与写生妙谛。",[23,25,26,105,28,103,30,182,106,7,183,108,184,104],"荷","青蛙","水草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7972b04f6b3a1e7149a7f2c832b57a2.jpg",[],176,{"id":189,"slug":190,"title":191,"dynasty":18,"author":19,"museum":136,"description":192,"tags":193,"thumbUrl":197,"material":43,"size":198,"collection":69,"collections":199,"showCount":200,"zanCount":128,"manualWeight":11,"mainColor":73},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。",[23,24,25,26,27,29,28,30,194,39,7,195,32,38,196,33],"百花","鸟","桃花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd98aa4ddc30bf83c5a67d1f1c11a05a.jpg","纵31.5厘米、横1679.5厘米",[],153,{"id":202,"slug":203,"title":204,"dynasty":134,"author":205,"museum":206,"description":207,"tags":208,"thumbUrl":212,"material":213,"size":69,"collection":214,"collections":215,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":73},216324,"han-xi-meng-xiu-song-yuan-ming-ji-ce-bian-dou-qing-ting-tu-han-xi-meng-216324","韩希孟绣宋元名迹册·扁豆蜻蜓图","韩希孟","私人收藏","针丝摹宋元清韵，绣线藏自然生机。藤蔓婉转牵绕，叶片青绿层次晕染，脉络清晰可触；淡蓝小花缀枝，豆荚饱满似含晨露，嫩黄浅绿间漾着鲜活。两只蜻蜓停落藤蔓，翅脉细如游丝，羽翼薄透若纱，身纹斑斓细腻，姿态轻盈灵动，仿佛振翅欲飞。绣艺疏密得宜，色彩雅淡天成，将夏日庭院的清寂与鲜活凝于方寸，经纬间藏纳草木情致，尽显闺阁绣工的精工巧思与诗意才情。",[209,210,28,30,211,7,141,142,87],"刺绣","册","扁豆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e24cbd413857474856d33165f232536.jpg","纸本,设色","山水画精选",[214,47],150,{"id":218,"slug":219,"title":220,"dynasty":18,"author":221,"museum":136,"description":222,"tags":223,"thumbUrl":227,"material":144,"size":228,"collection":45,"collections":229,"showCount":5,"zanCount":148,"manualWeight":11,"mainColor":129},221373,"jin-hui-dui-tu-juan-zhao-chang-221373","锦灰堆图卷","赵昌","图绘群蝶恋花的田园小景。轻灵振翅的蛱蝶起舞于画幅的上半部；秋花枯芦摇曳于画卷的底边。在物象表现上，作者用双勾填色法画土坡、草丛、蛱蝶。其勾线富于顿挫和粗细变化，墨色亦有浓淡轻重之分，敷色积染多层，特别是蛱蝶的翅翼更因积染而色彩浓艳厚重，从而与主要以植物色染就的草叶形成“轻”与“重”的对比。图中蛱蝶的形象最为传神，作者逼真地刻画了蛱蝶之翼薄如绢纱的质感、绚丽斑斓的花纹和蛱蝶细如发丝的根根须脚。传神的笔墨展示了作者深厚的写生功底，使本图成为研究古代蝶种的形象资料。作者不愧有“写生赵昌”的美誉。\n此图流传有绪。通过图上所钤印文可知，它最早为南宋权相贾似道收藏，德祐年时，贾似道以卖国获罪，此卷遂被官府没收。入元后，它为元仁宗爱育黎拔力八达之姊鲁国大长公主所收藏。明初，被内府典礼纪察司收存。清代，它转入大收藏家梁清标之手，旋即又归入清内府，备受乾隆皇帝赏识。晚清宣统时又流入民间，为伪满“国兵”朱国恩抢得，存放于吉林长春的家中。1952年东北文化部组织的工作小组于长春获得此卷，交由原东北博物馆收藏，后博物馆将它与北宋崔白《寒雀图》卷、吴元瑜《荔枝图》卷一同送交国家文物局，文物局将它们转入故宫博物院庋藏。",[23,25,24,27,29,28,30,39,7,156,224,225,66,226],"花草","果实","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a9b890e9249dec5b777dd3cfaf3145a.jpg","29.4x174.6cm",[45,47,48],{"id":231,"slug":232,"title":233,"dynasty":78,"author":234,"museum":20,"description":235,"tags":236,"thumbUrl":238,"material":239,"size":240,"collection":47,"collections":241,"showCount":242,"zanCount":148,"manualWeight":11,"mainColor":73},219136,"hua-hui-ce-ya-zhi-cao-wang-yuan-219136","花卉册-鸭跖草","王渊","淡赭绢面上，鸭跖草细叶舒展如碧带，脉络隐现于墨痕的深浅交错间。数点蓝花轻缀叶丛，似星子落于草梢，带着未散的晨露莹光。两只蜻蜓姿态各异：红身者尾尖微垂，翅脉如丝缕勾勒，似欲栖于叶上；浅色者翼薄如纱，透着朦胧光影，正振翅掠过花丛。笔墨细腻却不繁琐，草叶的柔韧、花的娇俏、蜻蜓的轻盈皆藏于线条与淡色中。画面虽小，却凝住了一瞬的生机：风过草叶的轻颤，蜻蜓振翅的微响，都在古雅的底色里漫开，似夏日闲窗下偶然瞥见的小景，清宁而动人。",[23,24,25,26,210,28,29,30,237,7],"鸭跖草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F331c3055f4bc0f80bc6e1a1d4988a133.jpg","绢本,设色","25.9x23.6cm",[47],132,{"id":244,"slug":245,"title":246,"dynasty":247,"author":248,"museum":118,"description":249,"tags":250,"thumbUrl":251,"material":69,"size":69,"collection":69,"collections":252,"showCount":253,"zanCount":128,"manualWeight":11,"mainColor":129},228764,"jin-hui-dui-tu-xu-xi-228764","锦灰堆图","五代十国","徐熙","此作以散落折枝、蔬果翎羽、虫草顽石攒合成卷，不假刻意经营却浑然谐和。笔底写生工致入微，设色清润古雅，将四时风物杂糅一堂，野卉柔叶、鲜菌佳果皆含生趣，蛱蝶蜻蜓穿梭其间，野逸灵动，尽显江南画派的淡冶生机。\n\n画间题跋盛赞其写生神妙，兼具宋人的写实工致与元人的简逸意趣，寻常野趣被点染成清雅可观的长卷，淡墨轻色间铺陈出闲散雅致的文人意韵，是草虫蔬果写生的绝佳范本。",[23,25,26,27,28,29,30,39,7,156,224,141,225,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde61754fc4a7f484e9027edfa11300a3.jpg",[],128,{"id":255,"slug":256,"title":257,"dynasty":18,"author":258,"museum":118,"description":259,"tags":260,"thumbUrl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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。",[25,261,29,28,262,85,63,7,263,264],"扇面","葡萄","蚱蜢","花鸟画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd265e60b95e8fc8b7f968d06de63bf6.jpg","未知","Xcm*Xcm",[],127,{"id":271,"slug":272,"title":273,"dynasty":274,"author":275,"museum":20,"description":276,"tags":277,"thumbUrl":280,"material":213,"size":69,"collection":69,"collections":281,"showCount":282,"zanCount":148,"manualWeight":11,"mainColor":73},214850,"xie-sheng-ce-13-hua-yan-214850","写生册-13","清","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。",[25,26,210,103,28,30,7,39,225,86,140,278,66,279],"枝干","写生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5365c66340a204067495a18471d8430a.jpg",[],125,{"id":284,"slug":285,"title":286,"dynasty":56,"author":57,"museum":287,"description":288,"tags":289,"thumbUrl":290,"material":69,"size":69,"collection":69,"collections":291,"showCount":292,"zanCount":148,"manualWeight":11,"mainColor":73},220607,"qian-niu-hua-qing-ting-tu-zhou-qi-bai-shi-220607","牵牛花蜻蜓图轴","湖南省博物馆","此作以浓墨挥写牵牛藤蔓叶片，干湿浓淡错落，尽显叶片俯仰向背的参差生机。艳红牵牛花以明快色彩点染晕开，将朝颜盛放的娇妍鲜活定格。\n\n只以寥寥数笔勾勒蜻蜓，身形轻薄灵动，似振翅欲停于藤蔓间，为画面添就乡野清晨的鲜活野趣。右上角题字朴拙老辣，与画作笔墨相映成趣。\n\n整幅简而不空，繁而不乱，将日常乡野意趣凝于尺幅，以写意之笔把寻常风物化作清雅动人的画中诗意。",[23,25,26,105,103,28,30,36,7,41],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39ccdfe4e554c859984e3ce344cbe197.jpg",[],124,{"id":294,"slug":295,"title":296,"dynasty":247,"author":248,"museum":136,"description":297,"tags":298,"thumbUrl":300,"material":144,"size":301,"collection":69,"collections":302,"showCount":303,"zanCount":148,"manualWeight":11,"mainColor":129},233213,"dou-jia-qing-ting-tu-ye-xu-xi-233213","豆荚蜻蜓图页","图中画的是田野苗圃间菜豆花与蜻蜓之类昆虫常见的景物。画面为长圆扇形，画家以独具的慧眼撷之入画，采取了特写镜头，只取其豆花的枝头，豆茎自左下向右上斜出，枝叶微下垂，枝上有浅紫色的豆花、绿色的豆叶和沉甸甸地挂下来的长长豆荚。枝梢上歇息着一只大蜻蜓，正在吮吸豆荚嫩叶的鲜汁。蜻蜓呈黄褐色，张开双翼，长长的身子下垂，尾部稍有弯曲。\n图中豆荚一枝，果实乍结。一只黄褐色的蜻蜓轻轻停落在枝端，将豆荚压得微微颤动。画面构图简洁自然，疏密得体。画家用中锋细笔勾勒豆荚枝叶的轮廓，用花青、石绿轻染，以白粉点花瓣，线条沉稳，色彩丰富，形象写实逼真。图中尤以蜻蜓描绘得出神入化，其翅膀透明的质感以及清晰的纹络都表现得清清楚楚，活灵活现，反映了宋画在写实方面所达到的高度水平。\n整幅作品结构自然，疏密得体，色彩丰富，工写结合。其中蜻蜓的描绘神妙入微。画家不仅再现了蜻蜓的形态，甚至连透明的翅膀及纹络都表现了出来。而豆花则以简笔写出，野趣天然。\n整幅作品结构自然，疏密得体，中锋运笔，线条沉稳，色彩丰富，写实逼真，作者善于刻画和铺排是这幅作品在技巧上的特色。菜豆的枝干、花叶、荚部是用粗简的线条勾出，然后略施粉彩，尤其对蜻蜓的描绘神妙入微。蜻蜓身子晕染工细，头部网网眼和翅翼细细刻画轻轻染色，十分清晰透剔，甚至连透明的翅膀及纹络状的小组织，都细微地表现了出来。蜻蜓身上的色斑与浅紫色的豆花，一深一浅，使主题显明突出，这充分反映了宋画在写实方面所达到的高度水平。从绘画题材及笔墨技巧上看，具有徐熙画的特征。《圣朝名画评》说，徐熙画花卉“多做园圃以求情状，虽蔬菜茎苗，以人图写”。但本图无款识，至少可以这样说，虽非出于徐熙之手笔，但可以代表北宋徐熙一派的画风，亦可以说此幅是徐派留下来的凤毛麟角般的珍品。此图右下方押“徐熙”二字伪印。\n此图无款，有“徐熙”朱印。旧题为徐熙作。徐熙“善画花竹林木、蝉蝶草虫之类，多游园圃以求情状，虽蔬菜茎苗亦人图。写意出古人之外，自造于妙。尤能设色，绝有生意”。从这幅作品亦可领略上述特点，所以虽非出于徐熙之手，也可代表北宋徐熙一派的画风。\n此图写豆茎一枝自右下向左上斜出，而梢头着一大蜻蜓。这农家随处可见的景物，画家以独具的慧眼撷之入画，可谓别开生面。豆花、豆叶，点缀生动，长豆三两根，垂垂可喜。茎、叶、豆荚，均以墨勾，疏疏几笔，中设豆绿色，叶中锈斑、虫蚀均为描出，紫白色的豆花和蜻蜓，以没骨法晕染，蜻蜓尤备极工细，神韵奕奕。对花写照的写生功力，令人惊叹。色调素雅，变化层次微妙，工写兼施，相映成趣。构图善从一角生发，全幅荡漾着空灵的诗意，尤觉流走圆美。不是面面俱到，或泛泛大略，而是择取一枝一梢作精心的观赏，一枝一叶总动情，这种审美性格为宋人所独具，风气所开，遥领千古。此图笔墨间随处散发着一种田园佳趣，尤为感人至深，而熠耀其中的是诗意的空间。宋画一如宋诗，其异于唐人之处：一为田园气息，二为哲理之思（以景喻理）。",[24,25,26,30,29,28,299,7,66,155,41],"豆荚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F880a27b634787e986672e82222fc17bb.jpg","纵27厘米，横23厘米",[],105,{"id":305,"slug":306,"title":307,"dynasty":308,"author":19,"museum":118,"description":309,"tags":310,"thumbUrl":315,"material":266,"size":267,"collection":69,"collections":316,"showCount":317,"zanCount":11,"manualWeight":11,"mainColor":318},223704,"liu-chao-liu-shi-jing-yi-ming-223704","六朝 刘氏镜","南北朝","古代铜镜。矫健飞腾，昂首卷尾，四足蹬开，张嘴吐舌，双角伸举，龙须飘扬，四周配以流动的祥云，更见气势飞扬。镜缘装饰有彩云和小花等，缘上铭“千秋”两字。从已发表的考古资料看，云龙纹镜的主纹均为单龙纹，而传世品中亦见有双龙纹的。唐代千秋节有皇帝向群臣赐镜的习俗，唐玄宗还写有《千秋节赐群臣镜》诗：“铸得千秋镜，光生百炼金，分将赐群臣，遇象见清心……。”云龙纹镜边缘铸有“千秋”铭，这种千秋镜可能即是云龙镜。唐诗中也有提及赏赐“龙镜”的，如席豫《奉和敕赐公主镜》：“令节颁龙镜，仙辉下凤台”。云龙镜在我国陕西、江苏、河南、广东等地都有出土，反映出这种镜也是普通使用的一种镜子。",[311,312,29,28,140,313,7,314],"六朝","铜制","竹子","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff19bab4b2498e2b813ee7283a54d58.jpg",[],93,"37474F",{"id":320,"slug":321,"title":322,"dynasty":274,"author":323,"museum":136,"description":324,"tags":325,"thumbUrl":327,"material":239,"size":328,"collection":47,"collections":329,"showCount":330,"zanCount":148,"manualWeight":11,"mainColor":73},219221,"duan-yang-jing-tu-yu-zhi-219221","端阳景图","余穉","本图借助对动植物的描绘来体现端阳时节大地回暖的场景。在日丽水暖的郊外，牡丹花、野菊花等植物竞相绽放，青蛙、蟾蜍和蜻蜓等植物在春光中跳跃、飞翔，一派生机盎然的欢悦景象。此图是作者任职宫廷之后所作，线条工细、匀整、流畅，设色淡雅富丽并充满装饰性。动植物造型精确且充满生趣，显示出作者较强的写实手法。",[23,25,29,28,30,84,121,183,7,326,156,86],"兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee229c4c1e5619fb234c345e8e4f6d14.jpg","纵137.3厘米，横68.8厘米",[47],91,{"id":332,"slug":333,"title":334,"dynasty":134,"author":335,"museum":20,"description":336,"tags":337,"thumbUrl":340,"material":341,"size":342,"collection":47,"collections":343,"showCount":344,"zanCount":148,"manualWeight":11,"mainColor":129},222173,"jia-he-cao-chong-tu-wu-bing-222173","嘉禾草虫图","吴炳","本幅选自「名绘集珍」册。画水稻两株，在田间婷婷伫立，成串的稻穗，已经俯首低垂。蝴蝶、花虻和蜻蜓，有的兀自在空中飞舞，有的则栖息在叶梢。由于右上方的叶子，和上方的稻穗，均溢出了画幅的边界，推测可能是表面曾经遭到污损，才由大裁小，改装成现在所看到的形式。",[23,338,25,24,29,28,30,339,85,39,7,122,86],"明代","嘉禾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c3e40e787e59113179f539e535e2cfe.jpg","册页，设色","27.3 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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。",[23,24,25,26,27,28,29,182,420,195,184,7,421,422,107,423,424,425,426,427,84,428,429,430],"鱼","芦苇","水藻","白鹭","红鱼","水生植物","莲叶","草丛","水","小鱼","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30ec091c195124569eded74b3cf2a78e.jpg","纸本，设色","32.2×339.2cm",[],54,{"id":437,"slug":438,"title":439,"dynasty":18,"author":19,"museum":20,"description":440,"tags":441,"thumbUrl":443,"material":239,"size":444,"collection":47,"collections":445,"showCount":446,"zanCount":148,"manualWeight":11,"mainColor":129},218863,"ke-si-hua-niao-zhou-yi-ming-218863","缂丝花鸟轴","通经断纬的缂丝工艺，将荷塘清景织入方寸丝帛。墨绿丝线层叠出荷叶丰腴肌理，脉络宛然如活；粉白与淡红交织的荷花，或半绽含露，或含苞待放，姿态温婉。蜻蜓振翅悬于荷间，翅翼薄透感借丝线疏密巧妙呈现，仿佛下一秒便点破水面涟漪。水鸟嬉戏碧波，尾羽轻扫，漾开的细纹用浅蓝丝线勾勒，柔婉灵动。整幅作品清幽静谧，尽显宋人的雅致审美，每缕丝缕凝注匠人心血，于无声处传递自然生机与工艺之妙，是宋代缂丝艺术中含蓄隽永的佳作。",[442,28,30,182,7,156],"缂丝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbe16873c733f5f22048f0f9f3cffd96.jpg","75.8x81.7cm",[47],48,{"id":448,"slug":449,"title":450,"dynasty":274,"author":451,"museum":118,"description":452,"tags":453,"thumbUrl":455,"material":69,"size":69,"collection":69,"collections":456,"showCount":457,"zanCount":11,"manualWeight":11,"mainColor":73},224373,"hua-hui-qi-shi-ce-shi-er-kai-2-ju-lian-224373","花卉奇石册-十二开-2","居廉","此作以赭色绢本为底，湖石嶙峋通透，枯墨勾皴轮廓，淡墨晕染凹处，将灵璧石的空透雅态尽展。旁侧方盆月季，莹白瓣边晕染浅粉，枝叶敷色清润鲜活，柔媚动人。石顶细草轻缀，一只蜻蜓敛翼停驻，翅脉纤毫毕现，为静雅案头景致添入灵动生机。\n\n全作用色秀妍温婉，没骨技法工写相融，既将草木虫豸描摹得细腻鲜活，又以写意笔法带出湖石的苍古意趣，把文房清供的幽寂闲雅尽数铺陈，尽显柔润秀逸的江南画韵，将小品静物的雅致情致刻画得恰到好处。",[23,25,28,29,210,84,454,7,41],"奇石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9d737743b159527daa080f75cc1af3a.jpg",[],38,{"id":459,"slug":460,"title":461,"dynasty":78,"author":79,"museum":118,"description":462,"tags":463,"thumbUrl":464,"material":69,"size":69,"collection":69,"collections":465,"showCount":466,"zanCount":148,"manualWeight":11,"mainColor":73},228031,"qian-kun-sheng-yi-tu-xie-chu-fang-228031","乾坤生意图","此卷以精工没骨绘就，秋葵、栀花与幽竹错落排布，柔枝舒展，艳而不俗。蝶蛱振翅、雀鸟掠影，纤毫毕现，将草木的温润柔态与虫禽灵动意趣刻画入微，晕染匀净古雅，满卷流动盎然生机。\n后附诸家题跋，行楷兼具，笔意隽秀疏朗，书画相映成趣，将观照小景所得的天地生机，晕染为一卷悠然鲜活的雅致长卷，尽显静雅意趣，寄寓着对自然生机的由衷赞叹。",[23,24,25,26,27,28,29,30,156,39,7,313,87,88],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F458572dbd0c2965e335e70ccb4df8943.jpg",[],27,{"id":468,"slug":469,"title":470,"dynasty":274,"author":471,"museum":118,"description":472,"tags":473,"thumbUrl":475,"material":266,"size":267,"collection":69,"collections":476,"showCount":477,"zanCount":11,"manualWeight":11,"mainColor":73},288180,"qiu-qu-jing-xin-ai-xin-jue-luo-zai-chun-288180","秋趣镜心","爱新觉罗·载淳","清穆宗爱新觉罗·载淳（1856年4月27日—1875年1月12日），清朝第十位皇帝，清定都北京后第八位皇帝，年号“同治”。为清文宗咸丰帝长子，生母为孝钦显皇后叶赫那拉氏。1861年至1875年在位，共13年。",[23,25,261,29,28,30,33,7,474,41],"秋意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c0dd7a7c4220caee75d3460dfb7f762.jpg",[],26,{"id":479,"slug":480,"title":481,"dynasty":18,"author":19,"museum":136,"description":482,"tags":483,"thumbUrl":485,"material":91,"size":486,"collection":69,"collections":487,"showCount":488,"zanCount":148,"manualWeight":11,"mainColor":129},223373,"xie-sheng-cao-chong-tu-yi-ming-223373","写生草虫图","画面右侧绘野生花草，狗尾、紫菀莛叶穿插。菜粉蝶落在花上吸取花蜜，蜻蜓徐徐低飞，蚱蜢跃跃欲跳，整幅画面充满动感。3只昆虫在画面上的等边三角形构图平衡了丛生的野草所造成的重心偏倚，使画面结构稳定。野草和花叶用花青加汁绿勾填，花用没骨法出之，昆虫兼工带写，形态逼真",[23,24,25,26,29,28,279,30,85,7,39,379,484,142,41],"草本植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf81f5379cd474d1d26ba4e587d518bb.jpg","25.9x26.9",[],25,{"id":490,"slug":491,"title":492,"dynasty":18,"author":19,"museum":118,"description":493,"tags":494,"thumbUrl":496,"material":69,"size":69,"collection":69,"collections":497,"showCount":498,"zanCount":148,"manualWeight":11,"mainColor":129},227927,"dou-jia-qing-ting-tu-yi-ming-227927","豆荚蜻蜓图","《豆荚蜻蜓图》是宋代佚名画家创作的一幅 设色画，现藏于 。\n此图画面为长圆扇形，绘豆花上栖息一只黄褐色蜻蜒，枝叶微向下垂。\n整幅作品结构自然，疏密得体，色彩丰富，工写结合。\n其中蜻蜒的描绘神妙入微。\n画家不仅再现了蜻蜒的形态，甚至连透明的翅膀及纹络都表现了出来。\n而豆花则以简笔写出，野趣天然。\n此图旧传为徐熙所作。\n图中画的是田野苗圃间菜豆花与蜻蜓之类昆虫常见的景物。\n画面为长圆扇形，画家以独具的慧眼撷之入画，采取了特写镜头，只取其豆花的枝头，豆茎自左下向右上斜出，枝叶微下垂，枝上有浅紫色的豆花、绿色的豆叶和沉甸甸地挂下来的长长豆荚。\n枝梢上歇息着一只大蜻蜓，正在吮吸豆荚嫩叶的鲜汁。\n蜻蜓呈黄褐色，张开双翼，长长的身子下垂，尾部稍有弯曲。\n图中豆荚一枝，果实乍结。\n一只黄褐色的蜻蜓轻轻停落在枝端，将豆荚压得微微颤动。\n画面构图简洁自然，疏密得体。\n画家用中锋细笔勾勒豆荚枝叶的轮廓，用花青、石绿轻染，以白粉点花瓣，线条沉稳，色彩丰富，形象写实逼真。\n图中尤以蜻蜓描绘得出神入化，其翅膀透明的质感以及清晰的纹络都表现得清清楚楚，活灵活现，反映了宋画在写实方面所达到的高度水平。\n图右下方押“徐熙”二字伪款，不见于著录。\n本幅鉴藏印有：“徐熙”朱文杯形，另一印不辨。\n注：中国古代书画鉴定组定为宋人画。\n旧题为徐熙所作，押‘馀熙”印。\n押印是否可靠，现今难以证实。\n但此图的画法与画史对徐熙画风的记载颇相吻合，可能是北宋时徐熙画派的画家所作。\n整幅作品结构自然，疏密得体，色彩丰富，工写结合。\n其中蜻蜓的描绘神妙入微。\n画家不仅再现了蜻蜓的形态，甚至连透明的翅膀及纹络都表现了出来。\n而豆花则以简笔写出，野趣天然。\n整幅作品结构自然，疏密得体，中锋运笔，线条沉稳，色彩丰富，写实逼真，作者善于刻画和铺排是这幅作品在技巧上的特色。\n菜豆的枝干、花叶、荚部是用粗简的线条勾出，然后略施粉彩，尤其对蜻蜓的描绘神妙人微。\n蜻蜓身子晕染工细，头部网网眼和翅翼细细刻画轻轻染色，十分清晰透剔，甚至连透明的翅膀及纹络状的小组织．都细微地表现了出来。\n蜻蜓身上的色斑与浅紫色的豆花，一深一浅，使主题显明突出，这充分反映了宋画在写实方面所达到的高度水平。\n从绘画题材及笔墨技巧上看，具有徐熙画的特征。\n《圣朝名画评》说，徐熙画花卉“多做园圃以求情状，虽蔬菜茎苗，以人图写。\n”但本图无款识，至少可以这样说，虽非出于徐熙之手笔，但可以代表北宋徐熙一派的画风，亦可以说此幅是徐派留下来的凤毛麟角般的珍品。\n此图右下方押“徐熙”二字伪印。\n此图无款，有“徐熙”朱印。\n旧题为徐熙作。\n徐熙“善画花竹林木、蝉蝶草虫之类，多游园圃以求情状，虽蔬菜茎苗亦人图。\n写意出古人之外，自造于妙。\n尤能设色，绝有生意”。\n从这幅作品亦可领略上述特点，所以虽非出于徐熙之手，也可代表北宋徐熙一派的画风。\n此图写豆茎一枝自右下向左上斜出，而梢头着一大蜻蜓。\n这农家随处可见的景物，画家以独具的慧眼撷之入画，可谓别开生面。\n豆花、豆叶，点缀生动，长豆三两根，垂垂可喜。\n茎、叶、豆荚，均以墨勾，疏疏几笔，中设豆绿色，叶中锈斑、虫蚀均为描出，紫白色的豆花和蜻蜓，以没骨法晕染，蜻蜒尤备极工细，神韵奕奕。\n对花写照的写生功力，令人惊叹。\n色调素雅，变化层次微妙，工写兼施，相映成趣。\n构图善从一角生发，全幅荡漾着空灵的诗意，尤觉流走圆美。\n不是面面俱到，或泛泛大略，而是择取一枝一梢作精心的观赏，一枝一叶总动情，这种审美性格为宋人所独具，风气所开，遥领千古。\n此图笔墨间随处散发着一种田园佳趣，尤为感人至深，而熠耀其中的是诗意的空间。\n宋画一如宋诗，其异于唐人之处：一为田园气息，二为哲理之思(以景喻理)。",[23,24,25,26,261,29,28,30,299,7,495,156,86],"宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48eea5d1a6887f57421ffd7e0488a89c.jpg",[],23,{"id":500,"slug":501,"title":481,"dynasty":18,"author":502,"museum":118,"description":503,"tags":504,"thumbUrl":506,"material":266,"size":267,"collection":69,"collections":507,"showCount":508,"zanCount":148,"manualWeight":11,"mainColor":129},289349,"xie-sheng-cao-chong-tu-cui-bai-289349","崔白","画面右侧绘野生花草，狗尾、紫菀莛叶穿插。菜粉蝶落在花上吸取花蜜，蜻蜓徐徐低飞，蚱蜢跃跃欲跳，整幅画面充满动感。3只昆虫在画面上的等边三角形构图平衡了丛生的野草所造成的重心偏倚，使画面结构稳定。野草和花叶用花青加汁绿勾填，花用没骨法出之，昆虫兼工带写，形态逼真。",[23,24,25,27,29,28,30,85,39,7,505,88,87,279],"蝉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b7dcd9dc21885b547b27cbaf1170050.jpg",[],22,{"id":510,"slug":511,"title":512,"dynasty":274,"author":19,"museum":136,"description":513,"tags":514,"thumbUrl":520,"material":521,"size":328,"collection":69,"collections":522,"showCount":508,"zanCount":11,"manualWeight":11,"mainColor":73},234897,"yu-zhi-duan-yang-jing-tu-zhou-yi-ming-234897","余穉端阳景图轴","本图通过对动植物的刻画来表现端阳时节大地回暖的情景。在日丽水暖的郊外，牡丹花、野菊花等植物竞相绽放，青蛙、蟾蜍和蜻蜓等动物在春光中跳跃、飞翔，一派生机盎然的欢欣景象。此图是作者任职宫廷期间所作，线条工细、匀整、流畅，设色典雅富丽并富有装饰性。动植物造型准确且富有生趣，显示出作者较强的写实技巧。",[25,105,28,29,30,38,515,421,183,516,7,517,518,519],"野菊","蟾蜍","端阳","生机盎然","写实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9741d895b912280777e67396179d2777.jpg","绢本，设色",[],{"id":524,"slug":525,"title":526,"dynasty":274,"author":19,"museum":118,"description":527,"tags":528,"thumbUrl":532,"material":266,"size":267,"collection":69,"collections":533,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":535},265590,"fen-hong-se-duan-di-qian-cai-ju-hua-qing-ting-wen-tao-yi-ming-265590","粉红色缎地浅彩菊花蜻蜓纹绦","经线提花锦的组织结构和纹样都十分复杂，舞人动物纹锦的纹样横贯全幅，充分反映了当时已有了先进的提花织造技术。精美的刺绣品共有17种纹样，构图大，讲究对称、平衡，色彩配合恰当，给人以端庄典雅、富丽堂皇的美感。纹样内容充满神话色彩，鲜明地反映了楚文化的浪漫主义特色。墓中出土的衣袍为直据，是当时贵族中最流行的一种服式。这批先秦织物的出土，为深入研究我国古代纺织史提供了珍贵的实物资料。",[529,530,531,34,7,28,209],"布料","饰品","绦带","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fe02428d12c0385cd0932f21ce03ec3.jpg",[],21,"9C27B0",{"id":537,"slug":538,"title":539,"dynasty":540,"author":19,"museum":118,"description":541,"tags":542,"thumbUrl":547,"material":266,"size":267,"collection":69,"collections":548,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":549},225497,"fu-shi-hui-255-yi-ming-225497","浮世绘255","不详","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[543,544,28,39,7,142,545,546],"浮世绘","木刻","花叶","罂粟花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a69b3271a539214a07d7ac2cc37e1f4.jpg",[],"F48FB1",{"id":551,"slug":552,"title":553,"dynasty":78,"author":19,"museum":118,"description":554,"tags":555,"thumbUrl":557,"material":69,"size":69,"collection":69,"collections":558,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":129}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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。",[575,576,577,578,314,579,580,7,581,582,583,584,585,586,587],"清代","玉石","珐琅器","金器","水仙","海棠形","盆景","工艺摆件","珐琅工艺","金属工艺","玉质","珐琅饰","金饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52c932b6a8ad60fdb74d5157e29621b6.jpg",[],{"id":591,"slug":592,"title":593,"dynasty":78,"author":234,"museum":20,"description":594,"tags":595,"thumbUrl":597,"material":239,"size":240,"collection":69,"collections":598,"showCount":599,"zanCount":11,"manualWeight":11,"mainColor":129},219128,"hua-hui-ce-ju-zhu-shi-wang-yuan-219128","花卉册-菊竹石","竹影疏斜，菊瓣凝香，草虫轻跃于枝叶间。绢本之上，墨线勾勒精准，淡彩晕染温润，不取浓艳却得自然清趣。蟋蟀振翅欲鸣，小飞虫翩然若舞，动静相衬，生机暗藏。笔法工细而不刻板，兼融院体之精与文人之逸，笔墨间流露元人清逸之致。于细微处见匠心，静中藏动，尽显草木虫豸之灵秀。其将自然生灵摹写得栩栩如生，又以淡雅之韵传递文人雅趣，是元代花鸟精品中颇具代表性的一页，意境悠远，笔墨精湛，尽显传统花鸟之美。",[23,25,26,210,28,29,30,380,83,140,7,84,596],"草叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a6e0671fc4d12e1f018cb98a9a82661.jpg",[],17,{"id":601,"slug":602,"title":603,"dynasty":18,"author":604,"museum":118,"description":605,"tags":606,"thumbUrl":611,"material":266,"size":267,"collection":69,"collections":612,"showCount":613,"zanCount":11,"manualWeight":11,"mainColor":73},289739,"chi-shang-shi-tuan-shan-zhao-shen-289739","池上诗团扇","赵昚","宋孝宗赵昚（1127年11月27日－1194年6月28日），初名赵伯琮，后改名赵瑗，赐名赵玮，字元永，籍贯秀州（今浙江嘉兴），宋太祖赵匡胤七世孙、宋高宗赵构养子。宋朝第十一位皇帝、南宋第二位皇帝（1162年7月20日－1189年2月18日在位）。\n绍兴二年（1132年），被高宗选中育于宫中。绍兴三十年（1160年），被立为皇子，受封开府仪同三司、宁国军节度使，封建王。绍兴三十二年（1162年），被立为皇太子。同年高宗让位于赵昚，使宋朝的皇位再次回到宋太祖一系。淳熙十六年（1189年），赵昚禅位于三子赵惇，自称寿皇圣帝。绍熙五年（1194年），赵昚崩逝，在位二十七年，年六十八。累谥号绍统同道冠德昭功哲文神武明圣成孝皇帝，庙号孝宗，葬于永阜陵。《全宋词》录有其词一首。\n后世普遍认为赵昚是南宋最有作为的皇帝。他在位期间，平反岳飞冤案，起用主战派人士，锐意收复中原；内政上，加强集权，积极整顿吏治，裁汰冗官，惩治贪污，重视农业生产，百姓生活安康，史称“乾淳之治”。后世称其为“卓然为南渡诸帝之称首”。",[261,87,88,41,7,607,608,609,610],"池塘","烟","写景","闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b4460b01ff947451a7b3be8d56c4878.jpg",[],16,{"id":615,"slug":616,"title":617,"dynasty":274,"author":618,"museum":118,"description":619,"tags":620,"thumbUrl":622,"material":266,"size":267,"collection":69,"collections":623,"showCount":613,"zanCount":11,"manualWeight":11,"mainColor":73},288353,"lan-shi-tu-jiang-pu-288353","兰石图","蒋溥","蒋溥（1708—1761年），大学士蒋廷锡长子，字质甫，号恒轩，江苏常熟人，清朝大臣，画家，善画花卉，深得家传。雍正八年二甲第一名进士，官至东阁大学士兼户部尚书。性情宽厚而警敏，任职后，精心奉职，勤于政事，是乾隆时期的重臣，亦是蒋派花鸟画艺术的重要代表。\n乾隆二十六年（1761）四月，病逝于任上。乾隆皇帝亲临祭奠，加赠太子太保，谥曰文恪，入祀贤良祠。",[25,26,105,28,29,30,32,621,140,85,7],"兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0350f5ed0f80f346627b44ec05cfd1de.jpg",[],{"id":625,"slug":626,"title":627,"dynasty":274,"author":19,"museum":118,"description":628,"tags":629,"thumbUrl":632,"material":69,"size":69,"collection":69,"collections":633,"showCount":613,"zanCount":72,"manualWeight":11,"mainColor":73},238187,"wang-cheng-pei-ji-hui-ming-he-juan-yi-ming-238187","汪承霈集卉鸣和卷","此卷开篇绘幽竹亭亭，鸣虫静栖竹间，溪畔蓝花簇生，野趣盎然。清溪蜿蜒穿流过浅渚，渐入群芳盛放之景：粉菊、蓝花、红卉与素白琼英交织错落，枝叶柔曼舒展。蜻蜓振翅掠水，蛱蝶穿花翩跹，蜂虫流连芳丛，诸般小生灵衬得满卷生机浮动。全作用笔纤柔细腻，工笔淡彩晕染雅致明秀，将郊野春景的清灵意趣缓缓铺展，把花间小景的娴静生机描摹尽致，宛如将融融春日的一隅闲趣，凝于素绢之上。",[23,25,26,27,29,28,30,83,155,39,7,505,630,631,121,156,182,32,38,33],"流水","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946dcdc9d843fe6490645d4ecbbb0d23.jpg",[],{"id":635,"slug":636,"title":637,"dynasty":274,"author":638,"museum":118,"description":639,"tags":640,"thumbUrl":641,"material":69,"size":136,"collection":69,"collections":642,"showCount":613,"zanCount":11,"manualWeight":11,"mainColor":73},236611,"hua-niao-ce-ma-yuan-yu-236611","花鸟册","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。",[25,103,28,210,30,7,84,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4b4c3af110557c8360354c6dc8ea38f.jpg",[],{"id":644,"slug":645,"title":646,"dynasty":78,"author":234,"museum":20,"description":647,"tags":648,"thumbUrl":649,"material":239,"size":240,"collection":69,"collections":650,"showCount":613,"zanCount":11,"manualWeight":11,"mainColor":129},219117,"hua-hui-ce-hua-die-qing-ting-wang-yuan-219117","花卉册-花蝶蜻蜓","浅赭底色如晕开的旧墨笺，铺展一方清宁小景。蜻蜓振翅悬停，薄翼以细劲线条勾勒，似笼着晨雾的纱，复眼点染灵动；两只粉蝶栖于花侧，翅脉轻描，姿态悠然。下方花卉枝叶交错，花瓣淡彩晕染，紫蕊黄瓣相映成趣，叶片墨色浓淡有致，藏着自然生趣。整幅画工写相济，不刻意炫技，却于细微处见匠心，将草木虫豸的闲雅之态凝于尺幅。似能闻花间轻响，触风里软意，是元人笔下独有的清逸温婉，把寻常小景酿成了耐品的诗意。",[23,24,25,26,210,28,29,30,84,39,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3377cf4cbdf594fdf0f04f0c249d8ce.jpg",[],{"id":652,"slug":653,"title":654,"dynasty":274,"author":655,"museum":118,"description":656,"tags":657,"thumbUrl":660,"material":266,"size":267,"collection":69,"collections":661,"showCount":662,"zanCount":11,"manualWeight":11,"mainColor":73},238481,"hua-hui-tu-ce-jiang-ting-xi-238481","花卉图册","蒋廷锡","蒋廷锡（1669年－1732年），字酉君、杨孙，号南沙、西谷，又号青桐居士，江苏常熟人，清朝康熙、雍正时期官员、画家、文献学家、藏书家。\n蒋廷锡为康熙四十二年（1703年）进士，授翰林编修。雍正帝即位后历任礼部侍郎、户部尚书等职。雍正六年（1728年）拜文华殿大学士，仍兼理户部事，并任《明史》总裁。次年（1729年）加太子太傅。累封一等阿达哈哈番。雍正十年（1732年）卒于任内，谥号“文肃”。\n蒋廷锡在官秉公抚政、剔除积弊，声誉甚著。为人博学精敏，尤善诗画。擅长花鸟，以逸笔写生，奇正率工，敷色晕墨，兼有一幅，能自然洽和，风神生动，得恽寿平韵味。点缀坡石，偶作兰竹，亦具雅致。曾画塞外花卉70种，被视为珍宝收藏于宫廷。今有《牡丹扇面》《岁岁久安图》《桃花鹦鹉图》《竹石图》轴及《花卉图》等传世。",[25,26,210,28,29,88,41,30,84,7,140,658,659,156,86],"叶片","题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd7c9fca31ee664bedfe2e8bead96273.jpg",[],15,{"id":664,"slug":665,"title":654,"dynasty":274,"author":655,"museum":118,"description":656,"tags":666,"thumbUrl":667,"material":266,"size":267,"collection":69,"collections":668,"showCount":669,"zanCount":11,"manualWeight":11,"mainColor":73},238474,"hua-hui-tu-ce-jiang-ting-xi-238474",[25,26,210,28,29,30,84,140,7,88,41],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f28d4d66d523afeb3ce0c120355ff82.jpg",[],14,{"id":671,"slug":672,"title":673,"dynasty":134,"author":674,"museum":20,"description":675,"tags":676,"thumbUrl":678,"material":43,"size":679,"collection":69,"collections":680,"showCount":669,"zanCount":11,"manualWeight":11,"mainColor":73},222435,"hua-die-cao-chong-2-du-da-cheng-222435","花蝶草虫2","杜大成","明代·杜大成（生卒年不详）。十六—十七世纪初，字允修，号三山狂生，一作山狂生。苏南京人。嗜声诗，工音律，善画禽虫花木，嫣秀生动。传世作品有《花卉草虫图册》，纸本，墨笔，现藏辽宁省博物馆。从艺活动约在嘉靖、万历间。名画家杜大成的《人物草虫图》寥寥几笔，似不经意，而花叶、草虫却生意盎然，栩栩如生。",[23,25,677,29,85,7,263,86,84,30,41,103],"水墨画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74f32a7969dd3a89b2b66f9c9fc6cc97.jpg","27x34cm",[],{"id":682,"slug":683,"title":684,"dynasty":274,"author":685,"museum":206,"description":686,"tags":687,"thumbUrl":688,"material":213,"size":689,"collection":47,"collections":690,"showCount":669,"zanCount":11,"manualWeight":11,"mainColor":73},214561,"mo-zui-za-hua-tu-ce-6-shi-tao-214561","墨醉杂画图册-6","石涛","石涛此册花鸟山水，除两开山水外，都是各种农家花卉果蔬小品，包括芙蓉河石、黄瓜豇豆、水仙竹枝、杏果柿子、莲藕扁豆等，作画构图新奇，笔法松柔秀拙，笔情恣肆，淋漓洒脱，具有一种豪放郁勃的生动气息!",[23,24,25,26,210,103,30,380,7,87,41],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F576f4adf720f042e76cb0d887900cf4b.jpg","纵51.4厘米，横35.4厘米",[47],{"id":692,"slug":693,"title":694,"dynasty":540,"author":695,"museum":118,"description":696,"tags":697,"thumbUrl":698,"material":266,"size":267,"collection":69,"collections":699,"showCount":700,"zanCount":11,"manualWeight":11,"mainColor":73},231607,"ju-zhen-hua-pu-shang-zhong-xia-ce-zhong-shou-ye-tan-you-231607","聚珍画谱.上中下册（中）","狩野探幽","狩野探幽（1602～1674），京都人，原名守信，狩野永德之孙，孝信长子，狩野派代表画家。",[25,26,30,28,210,84,7,39,85,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73e3f10043cd6901a649d6153921c292.jpg",[],13,{"id":702,"slug":703,"title":704,"dynasty":705,"author":706,"museum":707,"description":708,"tags":709,"thumbUrl":710,"material":69,"size":69,"collection":47,"collections":711,"showCount":700,"zanCount":11,"manualWeight":11,"mainColor":712},203111,"qiu-pu-tu-zhou-cheng-zhang-203111","秋圃图轴","近代","程璋","上海博物馆","秋日圃中，草木扶疏，白花点缀墨叶间，浓淡相宜的笔触勾勒出枝叶的丰茂。蜻蜓振翅欲飞，螳螂敛足凝睇，甲虫驻足枝杆，诸虫刻画入微，灵动毕现。笔墨融贯中西，线条简练却精准传神，藤蔓的缠绕、绳索的质感皆生动可触；设色淡雅，水墨晕染与淡彩交织，既有传统花鸟的意韵，又含写实的细腻。画面虽为秋景，却无萧瑟之气，反溢盎然生机，似能听闻虫鸣草语，观之如置身其间，满溢自然野趣。",[25,30,105,28,103,29,63,7,38,156,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1155235514f2cd9e9d55326ed4fb8ed5.jpg",[47],"cfc7c1",{"id":714,"slug":715,"title":716,"dynasty":705,"author":717,"museum":707,"description":718,"tags":719,"thumbUrl":722,"material":69,"size":69,"collection":47,"collections":723,"showCount":700,"zanCount":11,"manualWeight":11,"mainColor":724},202866,"jiao-ye-qing-ting-tu-zhou-xu-bei-hong-202866","蕉叶蜻蜓图轴","徐悲鸿","蕉叶以泼墨写意之笔铺陈，浓墨如坠石，淡墨似流云，笔触间藏叶脉肌理，尽显叶片舒展的苍劲与野趣。两只蜻蜓轻点角落，红褐羽翼带起微澜，与厚重蕉叶形成动静反差，寥寥数笔勾出灵动生机。整作水墨淋漓却不失章法，简淡中见精妙，将自然小景绘得气韵生动，写意之韵扑面而来，尽显花鸟题材的传神之妙。",[25,103,30,104,720,721,7,23],"泼墨","蕉叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56a60329b4bcb24369e09baffb5aa3ca.jpg",[47],"b4aa91",{"id":726,"slug":727,"title":728,"dynasty":78,"author":234,"museum":20,"description":729,"tags":730,"thumbUrl":731,"material":239,"size":240,"collection":69,"collections":732,"showCount":733,"zanCount":11,"manualWeight":11,"mainColor":73},215007,"xie-sheng-hua-hui-ce-1-wang-yuan-215007","写生花卉册-1","此画册有王渊绘画手法，但元代气息不足，可视为明清之际的王渊款花卉画。此套图册花鸟极其工细，勾勒精致，色彩鲜艳、古拙",[25,24,26,210,28,30,7,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0b6637fc53606fe8c6ca7ae521a5dfc.jpg",[],11,{"id":735,"slug":736,"title":737,"dynasty":274,"author":19,"museum":118,"description":738,"tags":739,"thumbUrl":745,"material":266,"size":267,"collection":69,"collections":746,"showCount":747,"zanCount":11,"manualWeight":11,"mainColor":73},268933,"yin-du-jin-dian-cui-qian-liao-shan-hu-qing-ting-wen-zan-yi-ming-268933","银镀金点翠嵌料珊瑚蜻蜓纹簪","发簪，中国古代汉族人民用来固定和装饰头发的一种首饰。对于现代人来说已经是一个很古老的名词了，但是当在看古装剧时，却总是能被它们点缀出的精致效果所折服。\n将长发松松挽起，插上一枚别致的发簪，再配上典雅的长裙，即便性格再外放的女性，也可以成为让人眼前一亮的古典美人。发簪金属的光泽闪耀在发间，加上小而巧的坠饰，长发的风情便又是一种不一样的感受了。",[740,530,7,741,578,742,743,744],"发簪","银器","点翠","嵌宝","珊瑚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82c96b15701d477f07dc3a4587f5ef6a.jpg",[],10,{"id":749,"slug":750,"title":751,"dynasty":274,"author":19,"museum":118,"description":573,"tags":752,"thumbUrl":758,"material":266,"size":267,"collection":69,"collections":759,"showCount":747,"zanCount":11,"manualWeight":11,"mainColor":73},229965,"yin-du-jin-qian-cui-yu-zhu-bao-qing-ting-zan-yi-ming-229965","银镀金嵌翠玉珠宝蜻蜓簪",[575,753,754,755,756,7,156,530,757],"银镀金","翠玉","珠宝","镶嵌","簪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40787ad31774c8f309e307d1c4f9a43f.jpg",[],{"id":761,"slug":762,"title":763,"dynasty":274,"author":764,"museum":118,"description":765,"tags":766,"thumbUrl":770,"material":69,"size":69,"collection":69,"collections":771,"showCount":772,"zanCount":11,"manualWeight":11,"mainColor":73},238284,"hua-qia-xuan-yuan-tu-ce-huang-yue-238284","化洽翾蜎图册","黄钺","黄钺（1750年9月5日-—1841年8月16日），字左田，又名左君，号壹斋、左庶子，安徽芜湖人，清朝大臣，历仕乾隆、嘉庆、道光三朝。是著名的教育家、画家、艺术评论家。\n黄钺师法韩愈、苏轼、黄庭坚三人。 [5] 著有《壹斋集》40卷，其中《奏御集》2卷，杂篇6卷，《萧、汤二老遗诗合编》1卷，《画品》1卷。工诗文、书画，所绘山水，有萧云从余韵，“久邀睿赏，与富阳首相。国称董（浩）黄（钺）二家”，宫内名画，多为其鉴定真伪。诗词有苏东坡风韵，年九十一岁失明，自号“盲左”仍吟诗作画，故乡风情，吟咏殆尽，所作《于湖竹枝词》66首，亦诗亦史，富有深厚乡情。宋子才有“太白脱靴”，“山谷返棹”两图，石刻在太平府尊经阁内。《志》谓“子才七世孙，元太平路经历景阳刻”。嘉庆十七年（1812），黄钺在作此图时也注为元景阳刻。后觉有误，自责捉笔：“承讹袭谬，未暇深考。顷友人拓赠二纸，始知其谬，愧赧无已，爰记以诗，以志吾荒陋焉”。虚怀若谷，难能可贵。\n道光五年（1825），黄钺76岁，请求归休。宣宗“温旨慰留”。次年，又申前请，获准荣归。道光二十一年六月三十日申时（即1841年8月16日15时至17时）在芜湖家中逝世，享年九十二岁。宣宗悼惜，追封为太子太保衔，入祀贤良祠，按尚书条例抚恤，谥号“勤敏”。命史馆立传，赐祭葬，树石碑，葬于当涂南褐山下。同年，奉旨入芜湖乡贤祠。 [3]\n清代乾隆、嘉庆、道光年间，当涂出了一位赫赫有名的内阁尚书、军机大臣。黄钺，字左田，号左君，又号壹斋、左盲，生于乾隆十五年（1750年），卒于道光二十一年（1841年）。因其一生敏而好学，著述甚多，又“执掌皖南北书院十载”，对当地文化、教育做出了重要贡献。\n乾隆三十八年（1773年）十月，年仅23岁的黄钺在太平府学政使院参加岁试。安徽提督学政朱筠阅其卷，以为“奇才异能”，称道不止。朱筠在离开当涂回京都时，特地将这位年轻人带入京城应试，虽未中试，但得以在《四库全书》馆做誉录工作，因之学识大进。乾隆五十三年（1788年），黄钺考中举人，五十五年中进士，授户部主事。当时权臣和坤主管户部，因二人意见相左，借故请假回家，协助安徽巡抚李世杰在芜湖赭山谪翠轩创建中江书院，招员授业。嘉庆四年（1799年），仁宗亲政，黄钺奉命进京加封为“懋勤殿行走”。嘉庆九年（1804年），提升为“赞善，入直南书房”。嘉庆十年，出任山西学政，又特旨任湖北、山东、顺天等地的乡试主考官，后又兼任山西、山东学政，准予密折奏事。嘉庆十五年（1810年），迁侍讲学士，十八年擢升内阁学士，十九年升任户部侍郎，不久，又调任礼部侍郎。嘉庆二十四年（1819年），升任礼部尚书，并“赐紫禁城骑马肩舆入直，加封太子少保衔”。次年，升会试主考官。道光元年（1821年），宣宗亲政，封其为军机大臣，不久，又调任户部尚书，参与大典事宜，从事“京察议叙”。道光三年，宣宗“赐宴玉澜堂”，并给功臣绘像，黄钺是当时朝廷15名老臣之一。道光五年，黄钺已75岁，请求归休，宣宗又“温旨慰留”。次年，又申前请，始获准归乡。黄钺在朝廷历时27年。\n黄钺一生为封建统治阶级“矢勤矢慎”，但他笔耕不辍，在学术上也很有造诣。著有《壹斋集》四十卷、《壹斋诗集》三十六卷、《韩诗增注正讹》十一卷、《萧汤二老遗诗合编》二卷、《奏御集》二卷，另有《画友录》、《泛浆录》、《游黄山记》、《两朝恩赉记》、《二十四画品》等著作。他善画山水花鸟，尤长画梅，初学王 ，晚学王原祁，与“四王”末流董邦达并称山水画家。他的画，笔墨苍厚，他的字，既有书卷气，也有台阁气。他的诗，别具一格，很有气势。曾作的《花卉图》、《端阳佳景图》、《高冈长松图》等，无论青绿山水和水墨山水都很有特色。\n黄钺在绘画艺术上经过多年的实践和探索，将自己积累的经验进行理论概括，撰成画学专著《二十四画品》一书。《二十四画品》是仿照唐司空图撰写的中国古代文集约名著《二十四诗品》的体例而写成的。书中运用四言韵语，把各种绘画艺术风格概括为：一气韵，二神妙，三高古，四苍润，五沉雄，六冲和，七淡远，八补拙，九超脱，十奇辟，十一纵横，十二淋漓，十三荒寒，十四清旷，十五性灵，十六圆浑，十七幽邃，十八明净，十九健拔，二十简洁，二十一精谨，二十二隽爽，二十三空灵，二十四韶秀。整部著作文词典雅，清丽可诵，表现了栩栩如生的艺术形象。\n黄钺对谢朓、李白、黄庭坚十分崇拜，曾多次游览青山和采石矶。他颂扬谢朓“谢公爱青山，结宇恣啸咏”；在《咏李翰林》诗中讴歌李白：“仙骨埋青山，草木发灵异。”到采石矶“高怀吊古”，“掩英雄之泪，吟供奉之诗”。在他作的《采石矶赋》一文中，除了历数在这里发生的许多惊天动地的事件和英雄人物外，还特地为李白而感叹，说：“白也不群，宗之潇洒，着宫锦而扬帆，共兰舟而持 。旁若无人，歌清四野，当此之时，何其壮也！”黄钺又诗云：“平轩遥瞰一湖开，闻说涪翁守郡来。当日到官才九日，未应便起读书台。”该诗也附注曰：“赭山有滴翠轩，相传为涪翁读书处。李之仪跋山谷二词：‘鲁直请无为、当涂，而得当涂，犹蹭蹬一年方到官，既到九日而罢，又数日乃去。’“\n道光十一年（1831年），长江发生水患，回到家乡的黄钺 积极倡兴赈济，带头捐献俸银千两。道光十三年，濒临江淮的州县又遭水灾，黄钺又“捐百金助赈”，以救乡民。次年，当涂、芜湖一带饥荒，米珠薪桂，人民生计困难，黄钺又与王泽、许耕余等发动有田富户及绅士14家，按田交谷600担，兴办“丰备义仓”12座，当义仓上梁即将落成时，黄钺以诗记其事道：“成城缘众志，图匮在年丰。”并在“丰备义仓”的旁边建立私塾，招收蒙童，普及地方教育事业。\n道光十六年，88岁已不能认字，但仍吟诗咏物，所作《于湖竹枝词》66首，亦诗亦史，深入浅出，富有深厚的爱乡之情。",[25,26,210,28,29,30,7,121,34,767,768,769],"蓝色花朵","黄色花蕊","绿叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f3ea6255fc4b15055ab1031953ae3b6.jpg",[],9,{"id":774,"slug":775,"title":776,"dynasty":540,"author":19,"museum":118,"description":777,"tags":778,"thumbUrl":779,"material":69,"size":69,"collection":69,"collections":780,"showCount":772,"zanCount":11,"manualWeight":11,"mainColor":73},225348,"fu-shi-hui-102-yi-ming-225348","浮世绘102","此作用色清和雅致，以柔缓的墨线勾勒桔梗花舒展的情态，叶片浓绿与花瓣的米金色晕染相映，层次温婉柔和。振翅将停的蜻蜓静栖留白处，纤毫毕现的翅脉与花茎柔润肌理形成动静对照，把夏日郊野闲静生机悄然铺展。\n\n画师以极简套色技法晕染出花瓣的薄透质感，叶片错落排布填补画面空隙，疏朗留白衬出悠然意境，将和风侘寂闲趣藏于花叶虫翼间，淡而不寡，静而生动，把草木虫鸣的幽然意趣定格于纸面，尽显日式风物的雅致情致。",[543,28,30,544,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8c11d4907b2ee8afc920bec51811368.jpg",[],{"id":782,"slug":783,"title":784,"dynasty":705,"author":785,"museum":707,"description":786,"tags":787,"thumbUrl":788,"material":69,"size":69,"collection":47,"collections":789,"showCount":772,"zanCount":11,"manualWeight":11,"mainColor":790},202977,"za-hua-tu-ce-chen-shi-ceng-202977","杂画图册","陈师曾","画面以简淡笔墨绘出嫩荷新叶，淡绿荷叶带水墨晕染之趣，粉白花瓣含露欲绽；一只蜻蜓振翅轻停，翅脉纤细如丝，姿态灵动传神。旁侧行书题诗，笔力洒脱，与画面相映成趣，印章朱红点睛，尽显文人画诗书画印合一的雅致。整作意趣盎然，于简约中见生机，传递出清逸自然的夏日闲情。",[25,30,103,28,182,7,87,41,104,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45b8917883b648bc46944cd719b88a35.jpg",[47],"e1dbcd",{"id":792,"slug":793,"title":794,"dynasty":78,"author":234,"museum":20,"description":729,"tags":795,"thumbUrl":796,"material":239,"size":240,"collection":69,"collections":797,"showCount":798,"zanCount":11,"manualWeight":11,"mainColor":129},215002,"xie-sheng-hua-hui-ce-6-wang-yuan-215002","写生花卉册-6",[25,210,28,29,30,279,84,7,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13140393c86404e393dc1c5b283e824c.jpg",[],8,{"id":800,"slug":801,"title":802,"dynasty":274,"author":803,"museum":707,"description":804,"tags":805,"thumbUrl":809,"material":69,"size":69,"collection":810,"collections":811,"showCount":798,"zanCount":11,"manualWeight":11,"mainColor":812},201585,"zhi-hua-qiu-tang-tu-zhou-yang-tai-ji-201585","指画秋塘图轴","杨泰基","这幅秋塘图以指为笔，墨色淋漓间铺展秋塘野趣。枯荣交织的荷叶，或浓墨泼洒，或淡墨晕染，尽显自然之态；塘中螃蟹横行，小鱼悠游，蜻蜓翩跹，动静相宜；残荷挺立，细草点缀，秋意萧瑟却暗藏生机。指画的独特肌理赋予景物质朴鲜活的质感，墨色浓淡干湿对比鲜明，营造出清寂雅致又灵动的秋塘意境，尽显文人写意的闲逸意趣。",[806,103,182,420,807,7,104,808,23],"指画","螃蟹","秋塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F296a905e568fc74263cc9b540ec2857d.jpg","水墨画精选",[810],"b4ac99",{"id":814,"slug":815,"title":763,"dynasty":274,"author":764,"museum":118,"description":765,"tags":816,"thumbUrl":817,"material":69,"size":69,"collection":69,"collections":818,"showCount":819,"zanCount":11,"manualWeight":11,"mainColor":73},238280,"hua-qia-xuan-yuan-tu-ce-huang-yue-238280",[25,28,29,210,30,7,141,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90c838a0d38be9ebd8dec74eeca63646.jpg",[],7,{"id":821,"slug":822,"title":823,"dynasty":78,"author":234,"museum":20,"description":729,"tags":824,"thumbUrl":825,"material":239,"size":240,"collection":69,"collections":826,"showCount":819,"zanCount":11,"manualWeight":11,"mainColor":129},215005,"xie-sheng-hua-hui-ce-3-wang-yuan-215005","写生花卉册-3",[24,25,26,210,29,28,30,84,7,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad215f408fa695d5d7b8a54970bd32b7.jpg",[],{"id":828,"slug":829,"title":830,"dynasty":274,"author":19,"museum":118,"description":738,"tags":831,"thumbUrl":833,"material":266,"size":267,"collection":69,"collections":834,"showCount":835,"zanCount":11,"manualWeight":11,"mainColor":318},268945,"yin-du-jin-qian-zhu-shi-qing-ting-wen-zan-yi-ming-268945","银镀金嵌珠石蜻蜓纹簪",[530,740,7,753,832],"嵌珠石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F989531cb21734bffc0d05ada419b9f2c.jpg",[],6,{"id":837,"slug":838,"title":839,"dynasty":274,"author":275,"museum":118,"description":840,"tags":841,"thumbUrl":842,"material":266,"size":267,"collection":69,"collections":843,"showCount":835,"zanCount":11,"manualWeight":11,"mainColor":73},235061,"za-hua-ce-hua-yan-235061","杂画册","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。",[25,210,28,30,7,263,65,66,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fdca929610fefa93f7af387a43b8c18.jpg",[],{"id":845,"slug":846,"title":847,"dynasty":274,"author":848,"museum":118,"description":849,"tags":850,"thumbUrl":851,"material":266,"size":267,"collection":69,"collections":852,"showCount":95,"z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[2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[338,955,956,957,958,7,868],"漆器","雕漆","剔红","石榴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9efd6eeed7e1f080d398eb8fe7f58bf0.jpg",[],{"id":962,"slug":963,"title":964,"dynasty":274,"author":19,"museum":118,"description":965,"tags":966,"thumbUrl":968,"material":266,"size":267,"collection":69,"collections":969,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":318},242151,"yin-du-jin-qian-zhu-bao-qing-ting-wen-tou-hua-yi-ming-242151","银镀金嵌珠宝蜻蜓纹头花","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。",[575,530,741,578,755,7,743,967],"镀金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0a4511e68f933025708f39552d96d69.jpg",[],{"id":971,"slug":972,"title":973,"dynasty":705,"author":785,"museum":707,"description":974,"tags":975,"thumbUrl":10,"material":69,"size":69,"collection":69,"collections":980,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":981},202939,"hua-hui-qing-ting-tu-zhou-chen-shi-ceng-202939","花卉蜻蜓图轴","这幅画写意传神，笔墨间透着盎然生机。橙红花卉明艳动人，叶片以墨绿相间的笔触勾勒，简练却形神兼备；棕榈叶用浓墨挥写，线条刚劲有力，与下方泼墨晕染的石块形成虚实对比。几只蜻蜓淡墨点染，姿态轻盈灵动，似欲栖于花间，为画面注入鲜活生趣。整体画风融合文人画的雅致与写生的真切，设色明快，笔墨洒脱，将自然之美凝于尺幅之间，尽显对生活与自然的细腻感知。",[104,28,30,976,7,977,978,979],"棕榈","石块","笔墨","文人画",[],"a99b8a",{"id":983,"slug":984,"title":985,"dynasty":274,"author":986,"museum":707,"description":987,"tags":988,"thumbUrl":990,"material":69,"size":69,"collection":69,"collections":991,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":992},202476,"hua-hui-zhou-di-ji-chang-202476","花卉轴","翟继昌","画面以疏淡之笔绘出草木数茎，墨色清雅，线条简练传神。其间一只朱红蜻蜓立于叶尖，色彩明艳，与水墨的素净形成鲜明对比，更添生机。构图疏朗，留白得当，尽显文人画的清幽雅致与自然意趣，寥寥数笔便捕捉到物态之真与生命之美。",[25,103,28,30,7,596,104,989],"印","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ee31080d3adadd2bb6bd9f6c4e2b04.jpg",[],"d6cbbc",1777535705946]