[{"data":1,"prerenderedAt":450},["ShallowReactive",2],{"subject-que":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},837,"que","雀","雀画高清赏析","精选中国历代雀题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffde1cc1b872ce5702e2359487bbb8d9f.jpg",0,35,[14,42,57,72,85,95,105,122,136,148,161,175,189,198,212,220,237,253,265,275,286,297,307,318,333,342,352,369,380,388,401,413,423,433,442],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":32,"material":33,"size":34,"collection":35,"collections":36,"showCount":39,"zanCount":40,"manualWeight":11,"mainColor":41},221184,"mei-hua-shuang-que-tu-ma-lin-221184","梅花双雀图","宋","马麟","日本京都国立博物馆","《中国历代精品梅兰竹菊(卷一):梅卷》介绍了梅花具有顶风凌雪、先春而发的高尚品格，颇可象征刚正忠贞、横而不流的人格，因此也就自然成为文人骚客反复咏叹的对象。\n在中国文学史上，对梅花的咏赞往往都寓托了作者深远的精神内涵，如陈同甫之诗云“疏枝横玉瘦，小萼点珠光”，是赞美梅花的清贵高古；陆放翁云“当年走马锦城西，曾为梅花醉似泥”，表达出对梅的喜爱之情已臻如痴如醉之境；谢枋得在抗元失败后，隐居武夷，作诗称“几生修得到梅花”，更是以梅花坚贞的品格自期。\n同样，在中国画创作中，梅也是一个重要的题材，它与兰、竹、菊合称为“四君子”。\n并逐渐成为中国花鸟画基本功训练的重要内容，尤其是在意笔花鸟画兴起之后，但凡有成就者，几乎没有不擅长梅、兰、竹、菊的。",[23,24,25,26,27,28,29,30,31,7],"高清","国画","书画","名画","册","工笔","设色","花鸟","梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa49bdbf46314f2ed5ab10d9d675a4e7b.jpg","绢本设色","纵28厘米，横29厘米","宋画精选",[35,37,38],"花鸟画精选","设色画精选",311,3,"795548",{"id":43,"slug":44,"title":45,"dynasty":18,"author":46,"museum":47,"description":48,"tags":49,"thumbUrl":51,"material":52,"size":53,"collection":37,"collections":54,"showCount":55,"zanCount":56,"manualWeight":11,"mainColor":41},219138,"mei-que-tu-zhao-ji-219138","梅雀图","赵佶","日本东京国立博物馆","枝桠遒劲，凝着早春的清寒，几簇白梅点缀其间，花瓣薄如蝉翼，花蕊纤毫毕现，似有暗香浮动。一只麻雀敛翅而立，羽色层次分明，从褐棕的背羽到浅黄的腹羽，过渡细腻如天然；墨点的眼珠炯炯有神，喙尖微挑，仿佛正细嗅梅香。古雅的底色衬得生灵与花枝愈发鲜活，笔意工致却不刻板，枝桠的顿挫、羽毛的丝缕、花瓣的晕染，皆藏着对自然的敬畏与细腻感知。静穆中透着生机，仿佛能听见风过枝桠的轻响，看见雀儿转颈的灵动，将转瞬的雅致凝为永恒，尽显笔墨间的生趣与文人清逸。",[23,24,26,25,28,29,50,30,31,7],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51843aee1c6bdffdd691d63bea2ddcbd.jpg","绢本,设色","23.0×24.2cm",[37],214,1,{"id":58,"slug":59,"title":60,"dynasty":18,"author":61,"museum":62,"description":63,"tags":64,"thumbUrl":68,"material":52,"size":69,"collection":37,"collections":70,"showCount":71,"zanCount":40,"manualWeight":11,"mainColor":41},219174,"zhu-que-tu-wu-bing-219174","竹雀图","吴炳","上海博物馆","此图写棘竹丛生，枝桠横出，枝头有一雀鸟正在悠闲地啄理羽毛。整幅场景景物聚于下侧，可见南宋构图新风的影响。图中竹枝用双钩技法，雀鸟在用颜色没骨画出后，重点部位再用墨线描出。这是吴炳传世佳作中的代表作。",[26,24,25,28,29,30,65,7,66,67],"竹","飞鸟","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd20dd6d46a7daa28f75681df47a33321.jpg","纵25厘米，横25厘米",[37],211,{"id":73,"slug":74,"title":75,"dynasty":18,"author":76,"museum":77,"description":78,"tags":79,"thumbUrl":80,"material":33,"size":81,"collection":35,"collections":82,"showCount":83,"zanCount":84,"manualWeight":11,"mainColor":41},223519,"mei-zhu-shuang-que-tu-yi-ming-223519","梅竹双雀图","佚名","北京故宫博物院","绿竹丛中逶迤伸出白梅两枝，清丽冷艳。两只鸲鹆栖于枝头，翘首顾盼。鸟羽用细笔勾描，然后以墨或淡彩晕染，近似“没骨”法。梅花用白粉和淡黄色勾填，层次丰富。竹叶用双勾法勾勒轮廓，再染以花青、汁绿、赭石等色。",[23,24,25,30,28,29,31,65,7,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F478d67e9c8453c0f58a076b0bb58b8c1.jpg","26x26.5厘米",[35,37,38],168,2,{"id":86,"slug":87,"title":60,"dynasty":18,"author":76,"museum":88,"description":89,"tags":90,"thumbUrl":91,"material":52,"size":92,"collection":37,"collections":93,"showCount":94,"zanCount":56,"manualWeight":11,"mainColor":41},216724,"zhu-que-tu-yi-ming-216724","德国国立民族博物馆","竹雀图是一幅中国宋朝时期的山水画。它的作者不详，因此被称作佚名。这幅画展现了一只竹雀坐在枯竹上，它仰望天空，看起来沉思，非常感人。背景是一片山林，山上有云雾，枯竹上有苔藓。这幅画浓烈的山水意境和出色的线条勾勒，使得它成为了一幅经典的中国画作品。",[23,26,24,25,50,28,29,30,65,7,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a620d767f5903f90715fcce25b8448e.jpg","24.1x23.4cm",[37],164,{"id":96,"slug":97,"title":45,"dynasty":18,"author":76,"museum":98,"description":99,"tags":100,"thumbUrl":101,"material":52,"size":102,"collection":37,"collections":103,"showCount":104,"zanCount":40,"manualWeight":11,"mainColor":41},219236,"mei-que-tu-yi-ming-219236","台北故宫博物院","图绘细雪飘花，山喜鹊一双，倚偎于梅梢上。梅枝勾勒，线条精整，画中梅，圈瓣以淡墨细线为之，外围复以白粉提醒，萼则以胭脂红敷染，色彩搭配，虽不繁复，令人有如于雪光下，见清雅君子，一尘不染。宋人作画重理，画花尤重写生，此幅足为一例。前人论画梅，枝干交错之法，有如「女」字，此幅虽为写生一枝，亦于此法符合。",[23,24,25,30,28,29,31,7,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32ee8eb63474c1ac957d63dde5b26a63.jpg","25.5x29cm",[37],124,{"id":106,"slug":107,"title":108,"dynasty":109,"author":110,"museum":111,"description":112,"tags":113,"thumbUrl":117,"material":118,"size":118,"collection":37,"collections":119,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":121},237138,"la-mei-han-que-zhou-ren-yi-237138","腊梅寒雀轴","清","任颐","藏地不详","任颐绘画题材广泛，人物、肖像、山水、花卉、禽鸟无不擅长。用笔用墨，丰富多变，构图新巧，主题突出，疏中有密，虚实相间，浓淡相生，富有诗情画意，清新流畅是他的独特风格。\n任颐（1840—1896年），初名润，字小楼、伯年，浙江绍兴人，寓居上海，以卖画为生。擅长人物、肖像、花鸟、山水画。其绘画除继承民间及传统文人画，融汇陈洪绶、陈淳、徐渭诸家之长外，还吸收了西画速写、设色诸法，形成丰姿多彩，新颖生动的独特画风，具有雅俗共赏的艺术趣味和鲜明的时代气息。与任熊、任熏、任预并称为“海上四任”。",[24,114,29,115,30,31,7,116],"立轴","水墨","写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F021cedaf0e04a0116abaa047e0a25a57.jpg","",[37],102,"BDBDBD",{"id":123,"slug":124,"title":1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做过考证，对此图的看法是“侧重出自契丹族画家之手”，这是有道理的。\n由于辽代绘画受到唐、五代画风的深刻影响，与宋文化有着密切的关系，北宋初期的作品，一般都不署名。\n但从作品本身观察，其技法虽带装饰意味，却很难说是出自一般民间画师之笔。\n整幅画作设色清秀，意境明快，静中有动，生机勃勃。\n从中不难看出，画面的装饰气味比较浓厚，生活气息也相当强烈，从中可窥见花鸟画刚刚摆脱从属地位，开始形成独立画种的特点；同时，也不难了解到辽代的绘画艺术与中原的密切联系，又别具一格，值得珍视。\n这幅作品在构图上很讲究均衡对称，如竹与竹、雀与雀、兔与兔之间的位置距离，都保持一定的平行对称的关系，共至连竹叶的对生，花草的奇偶相对，都是经过作者审慎安排的。\n但它不是搞绝对平均的对称，而是在对称中又有一定的变化，并不使你感到单调死板，而是更富有民间艺术均衡饱满的装饰性风味，体现了当时人民群众对艺术的爱好和审美习惯。\n图中虽无作者款印，但因出土的墓葬为辽代早期，即北宋太宗时期，画作的时代下限可靠，为研究五代、北宋早期、辽代的山水画、花鸟画及中原绘画的发展与影响提供了极为可信的第一手资料。\n1974年5月在辽宁省法库县叶茂台辽代7号墓，出土了《竹雀双兔图》。\n该图现藏于辽宁省博物馆。\n218年8月14日，辽宁省博物馆举办“中国古代绘画展”，《竹雀双兔图》在其中展出。",[23,24,26,25,114,28,29,65,7,128,129,30,130,131,132],"兔","荷","兽","草","花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01b9287a3d30581cccc1ff161cbfb278.jpg",[],73,{"id":137,"slug":138,"title":139,"dynasty":140,"author":76,"museum":111,"description":141,"tags":142,"thumbUrl":145,"material":118,"size":118,"collection":118,"collections":146,"showCount":147,"zanCount":11,"manualWeight":11,"mainColor":41},232829,"mei-hua-shuang-que-tu-li-zhou-yi-ming-232829","梅花双雀图立轴","元","此作以虬曲老梅为骨，苍劲枝干皴染细致，苔点错落尽显嶙峋古意。枝头梅朵冰洁柔粉，与旁侧挺秀翠竹相映，冷枝翠叶晕开清隽春息。几只山雀或栖止梳羽，或振翅穿林，灵动鲜活的身姿，将静谧冬景揉进灵动生气。\n\n笔墨工写兼具，勾勒禽鸟身形写实精细，绘写梅竹则苍润朴拙，淡设色与古绢底色相融晕染，尽显清淡雅致。将冬日花木的坚贞与初醒的生机相融，藏着元代花鸟特有的疏淡文人意趣，简淡间晕开悠长雅致。",[23,24,114,29,28,31,65,7,66,30,143,144,67],"枯藤","老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6397c4387e860162f3a156b850ce1148.jpg",[],56,{"id":149,"slug":150,"title":151,"dynasty":18,"author":76,"museum":152,"description":153,"tags":154,"thumbUrl":156,"material":157,"size":158,"collection":37,"collections":159,"showCount":160,"zanCount":40,"manualWeight":11,"mainColor":41},219000,"tang-su-zhu-que-tu-yi-ming-219000","唐宿竹雀图","私人收藏","竹影扶疏，墨色浓淡间显枝干劲挺，竹叶层叠如翠云轻展，疏密有致藏自然生机。雀儿栖于竹枝，或敛翅假寐，或侧首凝睇，羽纤毫毕现——绒羽若隐若现，翅尖纹理分明，爪尖扣枝的力道隐于柔姿，神态灵动如临其境。石矶卧于竹下，皴法简淡却见朴拙，与竹的清雅相映成趣。整幅画面动静相宜，清雅中含野逸之趣，写实笔触里蕴文人雅致，尽展宋画对自然物态的精妙捕捉与诗意表达。",[23,26,24,25,114,28,115,29,30,65,7,155],"孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7da3d9921c4342a3173c6bce0281591.jpg","绢本,水墨","纵159.0横93.4厘米",[37],49,{"id":162,"slug":163,"title":164,"dynasty":109,"author":110,"museum":165,"description":166,"tags":167,"thumbUrl":170,"material":171,"size":172,"collection":118,"collections":173,"showCount":174,"zanCount":11,"manualWeight":11,"mainColor":121},223232,"mei-que-tu-li-zhou-ren-yi-223232","梅雀图立轴","辽宁省博物馆","任颐（1840年－1895年），即任伯年，初名润，字次远，号小楼，后改名颐，字伯年，别号山阴道上行者、寿道士等，以字行，浙江山阴航坞山（今杭州市萧山区瓜沥镇）人，清末著名画家。\n自幼随父卖画，后从任熊、任薰学画，后居上海卖画为生。在“四任”之中，成就最为突出，是“海上画派”中的佼佼者，“海派四杰”之一。任伯年的绘画发轫于民间艺术，技法全面，山水、花鸟、人物等无一不能。重视写生，又融汇诸家法，并吸取水彩色调之长，勾皴点染，格调清新。\n其人物画，早年从陈洪绶法出，形象夸张，富装饰效果。如故宫博物院藏《干莫炼剑图》轴。后练习铅笔速写后，变得较为奔逸，如故宫博物院藏《风尘三侠图》轴等。其写照技艺，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。\n海派中的佼佼者，其绘画发源于民间，重视继承传统，吸收西画技法，形成风姿多采的独特画风，在“四任”中成就最为突出。 　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[23,114,29,115,168,30,31,7,169,155],"兼工带写","水仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc2cab43d292040d46a761c14cf915d9.jpg","绢本","纵70.7厘米，横35厘米",[],48,{"id":176,"slug":177,"title":178,"dynasty":179,"author":180,"museum":111,"description":181,"tags":182,"thumbUrl":184,"material":185,"size":186,"collection":118,"collections":187,"showCount":188,"zanCount":56,"manualWeight":11,"mainColor":41},287651,"zhu-mei-han-que-tu-huang-quan-287651","竹梅寒雀圖","五代十国","黃筌","雪寒中，朱连雀、桑鳲、八哥、麻雀栖于梅竹枝蔓中，此项题材、布景，可见于《边文进三友百禽》。从画幅横大于纵，与一般立轴纵大于横，有所不同，或许原本为一大画幅，因残破割裂而成者。画中绿竹竿，每节以重笔勾勒，连节处虚空，这种画法，亦见于边氏作风。八哥羽毛，其墨黑如碳，一般是以灯炱加胶所成，枝干留有残雪，用破笔沾白粉戳出，其法亦见于吕纪诸画中。就风格论，该画出于明人，为边文进、吕纪一系画家所作。",[23,26,24,28,29,30,31,65,66,7,183],"寒景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa14118190dbdfe894df2a5227c61b998.jpg","未知","Xcm*Xcm",[],47,{"id":190,"slug":191,"title":192,"dynasty":18,"author":76,"museum":152,"description":193,"tags":194,"thumbUrl":196,"material":52,"size":118,"collection":37,"collections":197,"showCount":188,"zanCount":11,"manualWeight":11,"mainColor":41},218622,"dou-que-tu-yi-ming-218622","斗雀图","翅羽翻飞如墨染云团，喙爪相搏间迸出野性张力。两只雀鸟凝眸对峙，每根翎毛都透着较劲的劲儿——墨色浓淡勾绒羽之软，焦墨点染翅尖之利，连尾羽弧度都带着不甘示弱の倔强。旁侧野菊舒蕊，兰叶斜欹，石苔细点铺就，似能闻露水滴落轻响。静穆草木与躁动生灵相映，恰是宋代小品妙趣：笔墨简劲却藏入微观察，将小生灵瞬间酣斗定格为古绢上鲜活永恒。泛黄绢色里时光凝住，只留这场雀鸟嬉戏，在雅致构图中透出自然生趣与生命蓬勃。\n\n（注：此处の为日式助词？不，换回来，用“的”更合适。修改：连尾羽弧度都带着不甘示弱的倔强。）\n\n调整后：\n\n翅羽翻飞如墨染云团，喙爪相搏间迸出野性张力。两只雀鸟凝眸对峙，每根翎毛都透着较劲的劲儿——墨色浓淡勾绒羽之软，焦墨点染翅尖之利，连尾羽弧度都带着不甘示弱的倔强。旁侧野菊舒蕊，兰叶斜欹，石苔细点铺就，似能闻露水滴落轻响。静穆草木与躁动生灵相映，恰是宋代小品妙趣：笔墨简劲却藏入微观察，将小生灵瞬间酣斗定格为古绢上鲜活永恒。泛黄绢色里时光凝住，只留这场雀鸟嬉戏，在雅致构图中透出自然生趣与生命蓬勃。\n\n完美，符合所有要求。\u003C\u002Fthink_never_used_51bce0c785ca2f68081bfa7d91973934>翅羽翻飞如墨染云团，喙爪相搏间迸出野性张力。两只雀鸟凝眸对峙，每根翎毛都透着较劲的劲儿——墨色浓淡勾绒羽之软，焦墨点染翅尖之利，连尾羽弧度都带着不甘示弱的倔强。旁侧野菊舒蕊，兰叶斜欹，石苔细点铺就，似能闻露水滴落轻响。静穆草木与躁动生灵相映，恰是宋代小品妙趣：笔墨简劲却藏入微观察，将小生灵瞬间酣斗定格为古绢上鲜活永恒。泛黄绢色里时光凝住，只留这场雀鸟嬉戏，在雅致构图中透出自然生趣与生命蓬勃。",[23,26,24,25,28,29,30,7,195,155,66],"菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba0aefe9c75944a321bf250100378bff.jpg",[37],{"id":199,"slug":200,"title":201,"dynasty":179,"author":202,"museum":111,"description":203,"tags":204,"thumbUrl":209,"material":185,"size":186,"collection":118,"collections":210,"showCount":211,"zanCount":11,"manualWeight":11,"mainColor":41},226153,"xie-sheng-zhen-qin-quan-juan-huang-quan-226153","写生珍禽全卷","黄筌","黄筌是五代时期最有名的宫廷画家，一个在前蜀、后蜀画院任职40年的大画家，入宋后，又得到宋太祖的激赏。入宋百年一直把他的笔法当作画院画家作画的模范。宋代《宣和画谱卷十八》记载：“祖宗以来，图画院之较艺者，必以黄筌父子笔法为程序……”\n黄筌画出来的画，上自皇帝下至走卒，没有不连声赞叹的。而他留下来的这幅画稿《写生珍禽图卷》，也同样是技巧精湛、内涵丰实、人人叹服的绝世之作。\n这幅画中，画了24只小生物，都是珍禽异鸟。它们在皇宫中受到细心的养护，品种优良，造型独特，有的五彩斑斓，眩人耳目。黄筌在宫中画院任职，能够利用画院的便利条件，观察这些珍禽异鸟，而把它们揽入他的绢素中。\n也许有人会说这幅画没有意境，没有布局章法，鸟、虫都自顾自的，没有交集。其实没布局是有其道理的，因为这是画稿嘛，不是完整独立的画作，只是针对个别鸟虫而画，初学者基本上能掌握住这些生物的外形、动态就行。\n这24只小生命像图鉴般被安置在一方小小绢布上，不但不见拥挤、单调，反倒觉得谐和热闹，视觉上也很赏心悦目。",[23,24,26,205,28,29,206,30,66,7,207,208,67],"长卷","写生","龟","昆虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc941f2cb06acdd7b030fbea827f9f0e.jpg",[],46,{"id":213,"slug":214,"title":17,"dynasty":18,"author":19,"museum":111,"description":215,"tags":216,"thumbUrl":217,"material":185,"size":186,"collection":118,"collections":218,"showCount":219,"zanCount":11,"manualWeight":11,"mainColor":41},288730,"mei-hua-shuang-que-tu-ma-lin-288730","马麟，麟一作驎，钱塘（今浙江杭州）人。南宋画家。马世荣之孙，马远之子。\n生卒年不详。其父马远是宋光宗、宋宁宗两朝（1190～1224）画院待诏，马麟画承家学，擅画人物、山水、花鸟，用笔圆劲，轩昂洒落，画风秀润处过于乃父。宁宗嘉泰间（1201～1204）授画院祗候，颇得宁宗赵扩、恭圣皇后杨氏及杨妹子称赏，每于父子画上题句。在《层叠冰绡图》中题诗云：“浑如冷蝶宿花房，拥抱檀心忆旧香。开到寒梢尤可爱，此般必是汉宫妆。”",[23,24,26,30,28,29,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff81593a003336b3ec16f9347be4dd83f.jpg",[],41,{"id":221,"slug":222,"title":223,"dynasty":109,"author":76,"museum":111,"description":224,"tags":225,"thumbUrl":234,"material":185,"size":186,"collection":118,"collections":235,"showCount":236,"zanCount":56,"manualWeight":11,"mainColor":41},267608,"cai-se-duan-xiu-he-lu-san-yang-mei-que-wen-ming-xing-pian-jia-yi-ming-267608","彩色缎绣鹤鹿三羊梅雀纹名姓片夹","绣法是以绣线横排，故名。如，特点是整齐、均匀，圆润；在绣叶瓣时，在中间分开，运用斜针成倒人字形；也有绣成中间针迹相交叠的形式；也可绣成中间作一钉线的绣法。排绣针法富有变化，刺绣出的花瓣、叶瓣得体逼真，用途较广。",[226,227,28,29,228,229,230,7,231,31,30,130,232,233],"刺绣","布料","鹤","鹿","羊","松","日用具","饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2b9155225671ffe2fe720d6ecd8bd8d.jpg",[],36,{"id":238,"slug":239,"title":240,"dynasty":109,"author":110,"museum":77,"description":241,"tags":242,"thumbUrl":247,"material":248,"size":249,"collection":37,"collections":250,"showCount":252,"zanCount":11,"manualWeight":11,"mainColor":121},236466,"liu-tang-lu-que-tu-zhou-ren-yi-236466","柳塘鹭雀图轴","此图是幅表现春风中群燕嬉戏的小品画，也是任颐运用以实托虚的手法成功地表现“风”的代表作。虚缈、抽象的风通过小燕振翅翻飞的动态和柳叶飘舞张扬的形状被表现得既具象又生动，不仅令“风”有了可视的形象，而且突出了作者“轻柳爱风斜”的创作主题。从构思到笔墨都反映了作者在绘画创作成熟期的精湛艺术水准。",[24,29,115,116,30,243,244,7,245,246],"柳","鹭","芦苇","塘","https:\u002F\u0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老舍《四世同堂》四九：“他看不起绸缎的衣服，与文雅的态度，可又有点自惭形秽。”",[226,227,394,395,396,7,31,397,398],"衣帽","袍料","双喜字","海水纹","缉珠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f7ee72e26c11613f877702d87c33a23.jpg",[],{"id":402,"slug":403,"title":404,"dynasty":405,"author":76,"museum":111,"description":406,"tags":407,"thumbUrl":410,"material":185,"size":186,"collection":118,"collections":411,"showCount":56,"zanCount":11,"manualWeight":11,"mainColor":412},252407,"ya-bai-se-yu-que-wen-pei-yi-ming-252407","牙白色玉雀纹佩","商","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 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