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曲流，冷壑荒寂。此画属于工笔重彩一体，色彩浓重妍丽，覆雪山石皴染结合，明暗对比强烈，造成雪景冷雪之意境。",[48,23,24,69,27,26,28,128,7,269,270,271,51],"雉鸡","鸟雀","老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34babdb1d62fbd1860bbd9300b314237.jpg","绢本设色","97.8X183.1",[35,171],{"id":277,"slug":278,"title":279,"dynasty":135,"author":280,"museum":85,"description":281,"tags":282,"thumbUrl":286,"material":230,"size":231,"collection":57,"collections":287,"showCount":288,"zanCount":11,"manualWeight":11,"mainColor":79},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。",[101,23,24,69,26,27,28,283,128,7,284,285,54],"飞鸟","奇石","禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5f43a7cf6d1c9220be37682f0c14340.jpg",[],83,{"id":290,"slug":291,"title":292,"dynasty":149,"author":293,"museum":252,"description":294,"tags":295,"thumbUrl":297,"material":298,"size":299,"collection":35,"collections":300,"showCount":301,"zanCount":60,"manualWeight":11,"mainColor":39},222522,"mei-cha-shan-que-tu-zhu-zhu-222522","梅茶山雀图","朱竺","图绘梅、茶花、山雀的花鸟图。雀站立于茶树枝上，昂头望着上方的红茶花和金色梅花，神态专注；梅枝自然伸展，朵朵梅花点缀其上；茶花争相绽放，一抹红色美艳动人。朱竺，号君实，明代画家，工山水，亦能花鸟、人物。",[48,23,24,69,27,26,31,128,7,296,28,72],"山雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff27021c8b1604adccb8eb0607990f6.jpg","纸本，设色","119.3x39.6cm",[35,171],76,{"id":303,"slug":304,"title":305,"dynasty":65,"author":66,"museum":20,"description":306,"tags":307,"thumbUrl":308,"material":74,"size":57,"collection":35,"collections":309,"showCount":310,"zanCount":131,"manualWeight":11,"mainColor":39},218710,"shan-cha-su-niao-tu-yi-ming-218710","山茶宿鸟图","山茶敷彩浓淡相衔，花瓣层叠如染，露蕊轻绽似噙晨露；宿鸟羽纹细缜若织，绒羽软润可触，敛翅栖枝时，眸光凝定，恍与花叶私语。枝叶晕染自然，脉络隐现，墨青交织间衬得花红鸟俏。方寸小品藏天地，写实中蕴诗意：宋画的精微与雅致尽在笔端。静赏时，似闻花叶轻颤，觉鸟羽微动，古典的温润与生机漫溢开来，于清寂里见鲜活，于雅致中藏野趣，尽显宋人观物之细、写意之深。",[48,101,23,24,139,26,27,28,7,70,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F659d3355cd9776da0b6336002c2c162d.jpg",[35],70,{"id":312,"slug":313,"title":148,"dynasty":149,"author":314,"museum":20,"description":315,"tags":316,"thumbUrl":319,"material":230,"size":320,"collection":57,"collections":321,"showCount":322,"zanCount":11,"manualWeight":11,"mainColor":39},290319,"sui-chao-tu-zhou-shang-xi-290319","商喜","明代宫廷绘画的历史，从明代建国伊始就已经开始，经过永乐、宣德、成化、弘治几朝，宫廷绘画达到了兴盛阶段，到嘉靖、万历以后，逐渐衰微。赵原、卓迪、周位、王仲玉等是初期院体画家的代表。宣德以后，宫廷画家不断增多，著名的有谢环、商喜、倪端、李在、石锐、周文靖等，他们的绘画，技艺全面，师法南宋“院体”，各有特点。",[101,23,24,69,28,27,26,128,7,184,317,72,31,318],"灵芝","岁朝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1aa42f9fe4334c91fc98ee028966eda.jpg","130.9x57.4",[],68,{"id":324,"slug":325,"title":326,"dynasty":65,"author":327,"museum":85,"description":328,"tags":329,"thumbUrl":332,"material":230,"size":231,"collection":57,"collections":333,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":39},290990,"shan-cha-ji-xue-lin-chun-290990","山茶霁雪","林椿","林椿，南宋钱塘（今浙江杭州）人，生卒年不详，南宋孝宗淳熙（1174—1189）间画院待诏，赐金带。 林椿为南宋时期画家，孝宗淳熙年间曾为画院待诏。生卒年不详，浙江钱塘（今浙江杭州）人，南宋时期画家。孝宗淳熙年间曾为画院待诏。绘画师法赵昌，工画花鸟、草虫、果品，设色轻淡，笔法精工，设色妍美，善于体现自然的形态，所绘小品为多，当时赞为“极写生之妙，莺飞欲起，宛然欲活”。传世作品有：《梅竹寒禽图》册页，藏于上海博物馆。《果熟来禽图》《葡萄草虫》《枇杷山鸟图》，藏于北京故宫博物院。",[139,23,24,28,26,27,7,330,30,331,31],"雪","楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9157821f4daf1c48cd5c87e009440d.jpg",[],65,{"id":336,"slug":337,"title":338,"dynasty":149,"author":150,"museum":115,"description":339,"tags":340,"thumbUrl":342,"material":74,"size":57,"collection":57,"collections":343,"showCount":344,"zanCount":11,"manualWeight":11,"mainColor":39},218018,"za-hua-ce-12-chen-hong-shou-218018","杂画册-12","陈洪绶是明朝时期著名的画家。他最著名的作品是他的杂画册，其中包含了许多精美的花鸟画和山水画。陈洪绶的杂画册是明朝时期最著名的画册之一，并被认为是中国画的杰出代表作之一。\n\n陈洪绶的杂画册中包含了多幅优美的花鸟画，其中包括了各种鸟类、花卉和动物。这些画作都是陈洪绶对自然界的精确再现，并且富有生命力。此外，陈洪绶还创作了许多优美的山水画，其中包含了各种山川、河流、湖泊和其他自然景观。这些画作也是陈洪绶对自然界的精确再现，并且富有感染力。\n\n总的来说，陈洪绶的杂画册是一部杰出的画册，其中包含了许多优美的花鸟画和山水画，是中国画的杰出代表作之一。陈洪绶的画风精细而细腻，他对自然界的描绘充满生命力和感染力，使他的作品在艺术史上占有重要地位。",[23,25,26,27,28,7,103,341],"花苞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6b56466e530ac59e292032c7b05d5f9.jpg",[],55,{"id":346,"slug":347,"title":348,"dynasty":18,"author":349,"museum":85,"description":350,"tags":351,"thumbUrl":358,"material":230,"size":231,"collection":57,"collections":359,"showCount":360,"zanCount":122,"manualWeight":11,"mainColor":39},290314,"sui-chao-li-jing-zhou-chen-shu-290314","岁朝丽景轴","陈书","通过描绘各种带有良好意愿谐音的物品，来表达对新年的祈盼和祝福。运用谐音、象征的表现手法，在明清许多吉庆画中屡见不鲜，体现着含蓄、高雅的情调，带有较强的文化气息。",[23,69,26,27,28,128,7,184,352,353,354,355,356,31,318,357],"红果","桃子","柿子","盆栽","陶瓷","吉祥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4db4869e407e5adfdd4127d79baf616d.jpg",[],50,{"id":362,"slug":363,"title":364,"dynasty":149,"author":251,"museum":85,"description":365,"tags":366,"thumbUrl":367,"material":57,"size":368,"collection":57,"collections":369,"showCount":370,"zanCount":122,"manualWeight":11,"mainColor":39},233916,"hua-hui-cao-chong-ce-xiang-sheng-mo-233916","花卉草虫册","项圣谟，生于明代万历二十五年（1597年），卒于清代顺治十五年（1658年），初字逸，后字孔彰，号易庵，别号甚多，已知者有子璋、子毗、胥山樵、胥樵、古胥山樵人、兔鸣叟、莲塘居士、松涛散仙、大酉山人、存存居士、烟波钓徒、狂吟客、鸳湖钓叟、逸叟、不夜楼中士、醉疯人、烟雨楼边钓鼇客等，浙江嘉兴人。祖父项元汴，为明末著名书画收藏家和画家。伯父项德新也善画。项圣谟自幼受家庭熏陶，精研古代书画名作，虽然曾由秀才举荐为国子监太学生，但不求仕进，而把兴趣投入到书画中，从而在绘画创作上，他很早就显现出了多方面的才能，山水、人物、花鸟无一不精，曾得到明末两位最为著名的鉴赏家，董其昌和李日华的高度评价。董其昌在他的画册上题跋，称“古人论画，以取物无疑为一合，非十三科全备，未能至此。范宽山水神品，犹借名手为人物，故知兼长之难。项孔彰此册，乃众美毕臻，树石屋宇，皆与宋人血战，就中山水，又兼元人气韵，虽其天骨自合，要亦工力至深，所谓士气、作家俱备。项子京有此文孙，不负好古鉴赏百年食报之胜事矣”，李日华称赞他的画风“英思神悟，超然独得”，是“崛起之豪”。\n项圣谟的作品，以山水为多，也是他成就的主要方面。他早年从学习文徵明入手，但很快就跳出了文徵明画法画风的局限，而直接向古人学习。这主要是受益於其家族富甲天下的历代名画收藏，从而可以使他很快改学宋人用笔的周密严谨、兼取了元人的韵致。除了宗乳於祖辈的丰富家藏，亦得力其自身的观察自然、远游写生的经验，使其画面布局大开大合，意境明净清雅，结构严谨而富于变化，笔法简洁秀逸，气韵高雅，极富书卷气，具有很高的品格和思想内涵。\n他的画有两点最值得称道，也是当时其他画家所不及的。其一是强烈的政治色彩，他用画反映民间疾苦，寄托对人民的同情和对明王朝的忠贞。在先后经历了“甲申”和“乙酉”之变，满清入主中原后，项圣谟在画上就不再题写朝代的纪年，仅用干支，并钤盖“江南在野臣”、“大宋南渡以来辽西郡人”、“皇明世胄之中嘉禾处士”等印，以彰其志节。此段时间的作品，大多借用绘画抒写胸中郁愤，表现强烈的遗民感情，由徐树铭题项圣谟清顺治三年（1646）所作《山水诗画册》：“六月雪篇有时变之感，望扶桑篇有故国之思，诗史之董狐也。”于画作中寓写深意，反应时代，以画为史。李铸晋认为其在亡国后的作品，蕴含著效忠前朝，表达亡国之痛的图画象徵，如：红色，以“朱”为明朝；枝干壮硕却无叶的树木，喻为国家，虽历风雨，枝干仍傲然挺立，有著不可折屈的精神；在暮色中栖息的飞鸟是无处可归，何处为家之意等。现藏北京故宫之《大树风号图》的题跋“风号大树中天立，日落西山四海孤。短策且随时旦莫，不堪回首望菰蒲”可作其心境写照。\n其二是极其严谨的画风和写实态度。项圣谟善于从生活中摄取素材，他的画贴近现实，造型准确，严肃不苟，一反当时潦草粗疏，追求“逸笔草草”的画风。吴山涛在题项圣谟《秋声图轴》曾说到：“孔彰先生为予老友，作画必凝神定志，一笔不苟，予常嗤其太劳。君曰：我辈笔墨，欲流传千百世，岂可草草乎？旨哉其言也。”可见项圣谟这种严肃认真的好的作风，直接影响到他的画风，使他的绘画在当时的画坛上别树一帜，而赢得了“士气作家俱备”的称誉。\n项圣谟喜画高大的乔木，尤喜画松树，树木勾，擦，染精细，树干之嶙峋，历历几可扪捉，有强烈的凹凸感，而留出的受光部分则颇具体积感，与一般文人画示意性的画法迥然有别，故明时有“项松之名满东南”之誉。他画的大树，树干挺直，刚强伟岸，拟人化的画面形象鲜明强烈，具有强大的人格力量。\n在花鸟画的创作上项圣谟同样具有自己鲜明的特色，尤其讲究造型，经意构图，善于表现花叶和花瓣的层次，向背以及受光点的明暗，从而有别于当时其他花鸟画家的画风。项圣谟很认真地吸收了黄筌画派精谨慎严的审物造物精神，但在画法上，受写意画影响，形成一种工写结合的形式，酲酿了黄筌画派工笔花鸟画新的发展趋势。在技法上，大都以水墨或略施淡彩，有时也纯用色彩作没骨法，色彩淡而不薄。在用笔上，十分凝重秀逸，故而虽有姣妍之色相，却寓嶙峋之风骨，整个调子和气氛，非常飘洒雅致，不同凡俗，好似有一股冷艳暗香浮动其间。他的这种风格在之后的恽寿平、蒋廷锡等人的作品中都有所体现。\n除绘画外，项圣谟亦精书法，善赋诗。其书法端庄严谨，峻拔出脱中不失书卷气。其诗多为题画诗，除了描绘山光水色、自然美景的山水诗外，还有许多是表达其对人民疾苦的同情和对故国的怀念，文辞警策凝重，格调悲壮慨然，反映出他的个性为人。因国破家亡，其晚年家贫，却志存高洁，不结交权贵，靠卖画自给。著有《朗云堂集》、《清河草堂集》、《历代画家姓氏考》、《墨君题语》。",[23,25,27,26,28,54,71,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cfbfe75dae41daeb995925f68ddf49c.jpg","23x31cm",[],48,{"id":372,"slug":373,"title":374,"dynasty":18,"author":114,"museum":20,"description":375,"tags":376,"thumbUrl":377,"material":298,"size":378,"collection":57,"collections":379,"showCount":380,"zanCount":11,"manualWeight":11,"mainColor":39},287449,"chun-hua-san-zhong-tu-qian-wei-cheng-287449","春花三种图","钱维城（1720—1772）清朝官吏、画家。初名辛来，字宗磐，一字幼安，号纫庵、茶山，晚号稼轩，江苏武进人。乾隆十年状元，官至刑部侍郎，谥文敏。书法苏轼，初从陈书学画写意折枝花果，后学山水，经董邦达指导，遂成名手，供奉内廷，为画苑领袖。曾随乾隆帝在木兰围场狩猎，帝以神枪殪虎，命维城绘图刻石纪事。著有《茶山集》。\n钱维城自幼甚喜绘画，开始从族祖母陈书学习画写意折枝花果，勾描渲染，随类赋形，气联意合，整体协调。后来得到了画家董邦达指导，学画山水。所画山水，山势逶迤，流泉飞泻，烟霭飘浮，水光荡漾。构图井然，意境清幽。山石多用皴笔。他的绘画远学元代四家即黄公望、倪瓒、吴镇、王蒙，近学清初四王即王时敏、王鉴、王徽、王原祁。。《桐阴论画》说他的山水画“笔意亦临摹仿麓台，邱壑幽深，树石灵秀，颇臻妙境。”钱维城投身科举时，很少有人知道他擅长书画，直到状元及第后，在随乾隆的一次狩猎中，乾隆射中一只老虎，于是钱维城受命创作“射虎图”，作品完成后乾隆连连称赞，并下令将此画刻在木兰围场的石头上，从此钱维城在画坛上名声大振。在钱维城的绘画中，带棱角的石形、双勾少皴的树干，以及中锋含蓄的细笔、淡墨勾皴的线条，都存有董邦达的笔意，但他更擅长缜密的用笔和青绿、赭石相间的设色，其中也显示出清初“四王”的流派风格，他的作品经常呈现出来的是一派宫廷富贵的气息。在乾隆的收藏目录《石渠宝芨》中，收录的钱维城作品有160多幅，由此可见乾隆皇帝对钱维城作品的赏识程度。著名的有《九秋图卷》。\n钱维城擅长书法，工整精细，“宗磐工书，书法东坡。”他师法宋朝书法四大家之一的苏东坡。落笔苍润，秀骨天成。也能吟诗，以杜少陵为宗。人称“钱文敏尚书，诗宗少陵，书规苏文忠。”可谓诗、书、画一体。",[23,24,28,26,27,183,184,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fe3f57876cfbf2226aba3808e32cc62.jpg","260x101.4",[],40,{"id":382,"slug":383,"title":384,"dynasty":18,"author":385,"museum":85,"description":386,"tags":387,"thumbUrl":388,"material":57,"size":389,"collection":57,"collections":390,"showCount":391,"zanCount":122,"manualWeight":11,"mainColor":39},236616,"hua-niao-ce-ma-yuan-yu-236616","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。",[23,24,25,27,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6e47bd32dac56116cfe7051c8c88190.jpg","北京故宫博物院",[],33,{"id":393,"slug":394,"title":148,"dynasty":18,"author":395,"museum":85,"description":396,"tags":397,"thumbUrl":399,"material":230,"size":231,"collection":57,"collections":400,"showCount":401,"zanCount":11,"manualWeight":11,"mainColor":39},290308,"sui-chao-tu-zhou-wang-hui-290308","王翚","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[23,69,28,27,26,398,7,184,30,31],"松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0c681822943ef6327300301fb70ad7d.jpg",[],27,{"id":403,"slug":404,"title":405,"dynasty":18,"author":19,"museum":85,"description":406,"tags":407,"thumbUrl":408,"material":230,"size":231,"collection":57,"collections":409,"showCount":38,"zanCount":122,"manualWeight":11,"mainColor":39},238345,"si-ji-hua-hui-ce-dong-gao-238345","四季花卉册","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），首席军机大臣，上书房总师傅，钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，赠太傅，赐谥号文恭，入祀贤良祠。嘉庆亲写哀诗“只有文章传子侄，绝无货币置田庄”，并亲自拨款建立“董公祠”。",[101,23,24,25,27,26,28,128,184,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb85523bf3726f7a4ed894b588219e090.jpg",[],{"id":411,"slug":412,"title":413,"dynasty":18,"author":66,"museum":85,"description":414,"tags":415,"thumbUrl":417,"material":230,"size":231,"collection":57,"collections":418,"showCount":419,"zanCount":11,"manualWeight":11,"mainColor":79},229471,"yong-zheng-fa-lang-cai-shan-cha-mei-hua-wan-yi-ming-229471","雍正 珐瑯彩山茶梅花碗","珐琅又称“佛郎”、“法蓝”，是由中国隋唐时古西域地名拂菻音译而来。珐琅器是以珐琅为材料装饰而制成的器物，其基本成分为石英、长石、硼砂和氟化物，与陶瓷釉、琉璃、玻璃同属硅酸盐类物质。依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。\n珐琅就是将经过粉碎研磨的珐琅釉料，涂施于经过金属加工工艺制作后的金属制品的表面，经干燥、烧成等制作步骤后，所得到的复合性工艺品。珐琅工艺的制作分类很多，一般根据制作方法和胎地种类将其分类。 [2] 珐琅依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。其中掐丝珐琅器就是俗称的“景泰蓝”，15世纪中期明代景泰年间的制品尤为著称，故有景泰蓝之称。\n清代，西洋珐琅从广州传入中国，广州生产的珐琅俗称“广珐琅”，是朝廷的贡品，其中最著名的是画珐琅 ，錾胎珐琅的制作中心也在广州，透明珐琅器也以广州出产的最为著名。",[18,416,356,27,7,29,28,154],"珐琅彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb78d3073373ecb0e2fccbd6f45bb5b2.jpg",[],21,{"id":421,"slug":422,"title":423,"dynasty":149,"author":150,"museum":45,"description":424,"tags":425,"thumbUrl":426,"material":57,"size":427,"collection":57,"collections":428,"showCount":429,"zanCount":11,"manualWeight":11,"mainColor":79},228300,"hua-niao-cao-chong-xie-sheng-ce-zhu-cha-die-bao-chen-hong-shou-228300","花鸟草虫写生册-朱茶蝶抱","陈洪绶的绘画，尤其是他以之驰誉艺坛的双勾设色花鸟画，其特点有三，一是造型的古拙，二是色彩的古艳，三是线条的寓迟涩于劲挺，既厚重且圆润。",[101,23,24,25,27,26,28,7,201,71],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb0b666b51003f2c1d45f96d154a53f9.jpg","21.5×16cm",[],17,{"id":431,"slug":432,"title":433,"dynasty":18,"author":434,"museum":435,"description":436,"tags":437,"thumbUrl":438,"material":439,"size":57,"collection":57,"collections":440,"showCount":441,"zanCount":11,"manualWeight":11,"mainColor":39},233191,"hua-hui-ce-shui-xian-la-mei-shan-cha-ye-zhao-zhi-qian-233191","花卉册-水仙腊梅山茶页","赵之谦","上海博物馆","赵之谦（1829-1884），字益甫、孺卿，又号瀚寮，初字冷君，中年更号悲盦，晚号无闷，浙江会稽（今绍兴）人。早年曾游按察使缪梓幕，咸丰九年（1859）举人，同治元年（1862）入京，四年（1866）会试，之后历官鄱阳、奉新、南城知县。家藏秘册甚富，以篆刻名世，为晚清印坛代表人物。同时擅书、工花卉。此册画十二开，各绘牡丹、萱草、芙蓉、桃花、梅竹、杂卉等，造型新颖，设色鲜亮。",[23,24,25,27,28,184,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e75ccdf1d358573b0aa5f407c002699.jpg","纸本",[],16,{"id":443,"slug":444,"title":445,"dynasty":446,"author":66,"museum":20,"description":447,"tags":448,"thumbUrl":453,"material":56,"size":454,"collection":35,"collections":455,"showCount":456,"zanCount":122,"manualWeight":11,"mainColor":79},290741,"jiu-que-xian-chun-tu-zhou-yi-ming-290741","鸠雀先春图轴","元","水傍石上，水鸟两只，一微露背，一见全体，足趾间有蹼相系，当系野鸭之属。其上重叠作茶花、竹、石、梅、雀、花卉俱用双钩，虽粗细不同，而笔力一皆挺秀，用色傅粉，亦极沉着。",[101,23,24,69,26,27,28,128,7,213,449,283,450,451,452],"怪石","鸠","雀","春意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbea2b2e763b0ca5b7e1db8a44f60e5d.jpg","150.9x31.3",[35],14,{"id":458,"slug":459,"title":460,"dynasty":18,"author":461,"museum":389,"description":462,"tags":463,"thumbUrl":464,"material":298,"size":57,"collection":57,"collections":465,"showCount":456,"zanCount":122,"manualWeight":11,"mainColor":39},237177,"hua-niao-kun-chong-ce-zhou-quan-237177","花鸟昆虫册","周铨","沈铨 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