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花卉十开图册记录了项圣谟观察花卉的细节和特征，并以精细的线条和色彩描绘出来。这部作品中的图画包括了各种不同种类的花卉，如牡丹、荷花、菊花等。这些图画不仅精美绝伦，而且还能够展现出项圣谟对花卉的深刻理解和观察。",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,37,7,38,39],"高清","国画","册","设色","工笔","印章","书法","行书","花鸟","梅","兰","菊","荷","桃花","牡丹","孤石","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f238b574b7e294422560d3e7833b4b0.jpg","绢本,设色","","花鸟画精选",[43],1280,21,"BDBDBD",{"id":49,"slug":50,"title":51,"dynasty":52,"author":53,"museum":54,"description":55,"tags":56,"thumbUrl":62,"material":26,"size":63,"collection":64,"collections":65,"showCount":67,"zanCount":68,"manualWeight":11,"mainColor":69},221468,"ji-xiang-duo-zi-tu-lu-zong-gui-221468","吉祥多子图","宋","鲁宗贵","波士顿美术馆","画面的确描绘了三种水果，彼此簇拥在一起，粗看起来有些凌乱，但仔细分辨后会发现画家布置得井井有条。\n按照前、中、后的顺序，斜向纵深排列开。前排是两只石榴，一只全部展现出来，并且成熟得果皮迸裂，露出饱满鲜红的石榴子，另一只隐藏在后面，露出尖尖的蒂。画面的后排也是一个圆球形的果实，这是橘。在石榴与橘中间，夹着一串颗粒饱满的水果。这是葡萄吗？画中的这串果实，大小虽然与葡萄类似，但颜色为棕黄色，表面有些粗糙。从形状上来看，大部分果实和葡萄一样是圆球形，但还有一些未完全成熟而泛出青色的果实，有尖尖的头。更为有代表性的是叶子。这串水果乃是从枝上新鲜折下，长条形的叶子连在枝上。这绝不是有裂片、像一个宽大鹅掌的葡萄叶。那么这究竟是串什么水果？答案是龙眼。龙眼，我们更习惯的名字是桂圆，在古代是珍稀水果，在现代也价格不菲。\n中国人对它并不陌生，但在欧美国家吃得却很少。可以想见，当初为这幅画确定英文名的人对龙眼十分陌生，所以才会将画中这串圆圆的果实误认作葡萄了。",[23,24,57,58,27,26,31,7,59,60,61,28],"名画","书画","荔枝","果实","叶子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8c09eceb96eb51faf45b369858023ed.jpg","高24厘米，宽25.8厘米","宋画精选",[64,43,66],"设色画精选",615,9,"795548",{"id":71,"slug":72,"title":73,"dynasty":18,"author":74,"museum":75,"description":76,"tags":77,"thumbUrl":89,"material":90,"size":91,"collection":92,"collections":93,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":69},222233,"za-hua-tu-xu-wei-222233","杂花图","徐渭","南京博物院","《杂花图》是明代画家徐渭所创作的一幅泼墨画，纸本作品，是南京博物院18件镇馆之宝中唯一一件书画作品。画中分别将牡丹、石榴、荷花，梧桐、菊花、北瓜、扁豆、紫薇、紫藤、芭蕉、梅、兰、竹共计十三种花卉绘于一卷。\n《杂花图卷》是徐渭传世的佳作，在这卷十余米的长卷中，徐渭以酣畅淋漓的“胶墨”分别绘制了牡丹、石榴、梧桐、菊花、南瓜、扁豆、紫薇、紫藤、芭蕉、梅兰竹等13种花卉蔬果。徐渭以其疾飞狂扫的豪放气势，纵横挥洒，信笔涂抹：画中牡丹含羞沾露，占尽风流；硕荷、梅兰、修竹、榴枝，笔触歪斜正侧，跌来倒去，随意点染，自如流畅。作紫藤逸笔草草、洋洋洒洒。忽而，又如狂风乍起，点线飞舞，纵横密集，线条速急癫狂。顷刻，笔住墨涸，嘎然而止，墨彩纷呈，留下满纸斑斓。体现了他用笔峭拔劲挺多变与用墨洒脱自如的艺术风格。画中尽显着交响乐一般波澜起伏的宏大乐章。时隔4个世纪，画中依然显出墨迹淫淫的湿润感。\n《杂花图》卷，全图以牡丹起首，按牡丹象征富贵，这与徐青藤的身世相左，故而他一变旧法而改以泼墨写牡丹“虽有生意，终不是此花真面目”，在这枝墨牡丹上我们确实很难寻找富贵的痕迹了。紧接着石榴一枝，充分体现了他用笔的灵动，而墨荷：则重在展示墨彩的缤纷 。梧桐以其肥硕的枝干稳住了这二小段的重心，这是全图的第一个高潮。以下菊花、扁豆、紫薇等只是逸笔草草，随意点染。就章法而言，疏密是相对而存在的，这一小段貌似不经意之笔，在全图的节奏处理上却起着关键的作用。紫藤如蛇的老干泼辣粗放，“一扫槎枒三丈绢”的气势，形成了全图的最高潮。紫藤的花叶更是水墨淋漓，走笔如飞而不乱，意犹跃出纸外。芭蕉是滋润而含蓄的，它与紫藤形成了动与静的强烈对比，貌与质的相依共存。接下来梅枝横斜傲骨铮铮，幽兰、纤竹寥寥数笔，是为尾声。艺术是相通的，我们从这卷《杂花图》中可以领略到诗的起、承、转、合，也像欣赏一部交响曲，从引子到尾声，节奏和韵味正是它们共同的内涵。我们更能通过此图触摸到青藤老人胸中激情的横流。",[23,24,58,78,79,80,29,37,7,81,82,83,84,85,86,87,88],"长卷","水墨","大写意","荷花","梧桐","菊花","南瓜","扁豆","紫薇","葡萄","竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2ccaec0a74bfab54d306d36724d1bcb.jpg","纸本","1053.5X30厘米","山水画精选",[92,94],"水墨画精选",448,{"id":97,"slug":98,"title":99,"dynasty":52,"author":100,"museum":101,"description":102,"tags":103,"thumbUrl":106,"material":42,"size":42,"collection":64,"collections":107,"showCount":108,"zanCount":109,"manualWeight":11,"mainColor":69},221186,"shi-liu-wen-niao-ma-lin-221186","石榴文鸟","马麟","台北故宫博物院","马麟马世荣之孙，马远之子，马远是宋光宗、宋宁宗两朝画院待诏，马麟画承家学， 用笔圆劲，轩昂洒落，画风秀润处过于乃父。 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中揭示生命意识的真谛。此卷所绘折枝花果、禽鸟、鱼虾及蔬果，笔墨简淡，平平常常，在画幅上随随便便地摆放在一起，看来就是最为常见的与我们现实生活息息相关的景象，但是卷中墨色的氤氲、排列的错综、变化的神奇，却又分明深蕴着禅机。\n这些平常物象的背后是不着笔墨的大片空白，这种“知白守黑”、“计白当黑”的处理，使得画面中本不相关联的事物各自相对独立又可合而为一，画意更为完整而富于张力，给观者以想象的空间，正所谓“于无画处皆成妙境”。整幅作品充满着一种宁静、自省、淡泊的内在精神，使观者有“万物静观皆自得”的会心感受，耐人寻味。牧溪的绘画，写生功底极深，此幅亦是“肖似形类，并得其意”（项元汴语）的形神兼备之作。",[23,24,58,78,79,223,118,31,224,225,226,227,228,188,7,229,37,81,83,88,230,39,231,232,233,234,235,236],"写生","禽鸟","野鸡","麻雀","鱼","水果","花卉","芦苇","蔬菜","葱","藕","荷叶","莲蓬","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8c560c5bf16abfce7333669f1d842b1.jpg","纵47.3厘米，横814．1厘米",[],110,{"id":242,"slug":243,"title":244,"dynasty":18,"author":245,"museum":183,"description":246,"tags":247,"thumbUrl":248,"material":249,"size":250,"collection":42,"collections":251,"showCount":252,"zanCount":177,"manualWeight":11,"mainColor":47},288079,"shi-liu-zhi-tu-zhou-tang-yin-288079","石榴枝图轴","唐寅","唐寅（1470年3月6日－1524年1月7日），字伯虎，小字子畏，号六如居士，南直隶苏州府吴县（今江苏省苏州市）人，祖籍凉州晋昌郡，明朝著名画家、书法家、诗人。\n成化二十一年（1485年），考中苏州府试第一名，进入府学读书。弘治十一年，考中应天府乡试第一（解元），入京参加会试。弘治十二年，卷入徐经科场舞弊案，坐罪入狱，贬为浙藩小吏。从此，丧失科场进取心，游荡江湖，埋没于诗画之间，终成一代名画家 。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[23,24,148,31,26,7,29,30,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f63c78923d96b6e2af743b41cfd6d6.jpg","未知","Xcm*Xcm",[],102,{"id":254,"slug":255,"title":256,"dynasty":114,"author":257,"museum":183,"description":258,"tags":259,"thumbUrl":261,"material":249,"size":250,"collection":42,"collections":262,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":47},289898,"shi-liu-tu-li-zhou-wu-chang-shuo-289898","石榴图立轴","吴昌硕","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[23,57,24,58,148,260,79,26,7,38,29,28],"花鸟画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc84d0c8474b987b8242984551428f81a.jpg",[],86,{"id":265,"slug":266,"title":267,"dynasty":18,"author":268,"museum":269,"description":270,"tags":271,"thumbUrl":272,"material":122,"size":273,"collection":42,"collections":274,"showCount":275,"zanCount":11,"manualWeight":11,"mainColor":47},214632,"hua-hui-ce-12-chen-chun-214632","花卉册-12","陈淳","上海博物馆","陈淳（1483—1544），字道复,后以字行,更字复甫,号白阳,又号白阳山人，江苏苏州人。曾从文徵明学画，但是不拘于师法，山水、花卉自具门径。花卉善写意，淡墨浅色，生动有致。与徐渭并称“青藤白阳”，代表明中期水墨写意花鸟画的新格调，是吴门画派的代表画家。\n用笔简洁，笔势潇洒，行笔迅疾，许多花卉草虫仅用深浅浓淡的不同墨色，却能完整地表达出物象的形状及立体效果，富有生意，具有强烈的笔墨情趣。",[24,58,31,25,79,118,229,7,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e40faa7cd3036d885f277f8b75cd67b.jpg","纵28 厘米 横37.9 厘米",[],81,{"id":277,"slug":278,"title":279,"dynasty":207,"author":208,"museum":183,"description":280,"tags":281,"thumbUrl":282,"material":249,"size":250,"collection":42,"collections":283,"showCount":284,"zanCount":11,"manualWeight":11,"mainColor":69},289453,"shi-liu-tu-huang-ju-cai-289453","石榴图","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。",[57,24,58,31,26,27,7,211,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcfa0285b330e25a9c43ac0ab66d7224.jpg",[],75,{"id":286,"slug":287,"title":288,"dynasty":52,"author":289,"museum":101,"description":290,"tags":291,"thumbUrl":300,"material":41,"size":301,"collection":302,"collections":303,"showCount":304,"zanCount":109,"manualWeight":11,"mainColor":69},219695,"duan-yang-xi-ying-tu-su-chao-219695","端阳戏婴图","苏焯","画中描写端午节时的恶作剧，三个粉粧玉琢的胖娃娃中﹐穿红色肚兜的孩子左手拿著石榴，右手用绳系著蟾蜍，正要惊吓较小的孩子，另一个则赶来制止这场恶作剧，三孩童的手与脚皆带金钏玉饰﹐身上则佩挂长命锁﹐表示其出身的骄贵﹐衣纹图案细腻﹐利用淡染色块﹐十分成功地将人物衣著单薄下肌肤的质感表现出来。 更将人物的表情、神态很传神地掌握，像这个拿著蛤蟆的孩，一脸恶作剧的神情，连手上的蛤蟆也闪著狡猾得意的笑容，而惊吓过度的孩子则蹲在地上，双手护著头，十分害怕地颤抖著，不由得令人心生爱怜，另一个见义勇为的孩子，一个箭步赶来，神情坚定地要阻止这场恶作剧，空白的背景，更加凸显他们神气活现的面貌。",[23,24,58,27,26,292,293,294,7,295,296,297,298,299],"人物","孩童","蟾蜍","长命锁","金钏玉饰","端阳","恶作剧","童趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3da25db485c4495d2fa1b8a9eaea3cf.jpg","纵：88.9公分，横：51.3公分","人物画精选",[302],70,{"id":306,"slug":307,"title":308,"dynasty":114,"author":115,"museum":183,"description":309,"tags":310,"thumbUrl":314,"material":42,"size":42,"collection":42,"collections":315,"showCount":316,"zanCount":11,"manualWeight":11,"mainColor":47},234227,"hua-guo-juan-zhu-da-234227","花果卷","清代初期的中国画坛活跃着弘仁、髡残、朱耷、石涛四位僧人画家，画史上合称“四僧”。他们的绘画在继承传统的基础上，大胆创新，主张师法自然造化，与当时画坛正统风格相距甚远，具有鲜明的艺术风格。在这四人当中尤以朱耷的人生与艺术最具传奇色彩。\n朱耷（1626—1705），江西南昌人，为明江西宁献王朱权的九世孙。明亡后出家为僧，法名传綮，曾经使用的号有很多，最为著名的则是在他弃僧还俗后使用的“八大山人”。",[23,24,58,78,79,118,30,84,194,311,7,312,31,186,313,28],"佛手","梅花","题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd794f3dd4ca89c61b435218135cfad42.jpg",[],68,{"id":318,"slug":319,"title":320,"dynasty":52,"author":321,"museum":220,"description":322,"tags":323,"thumbUrl":328,"material":329,"size":330,"collection":42,"collections":331,"showCount":332,"zanCount":177,"manualWeight":11,"mainColor":69},233847,"hua-lan-tu-li-song-233847","花篮图","李嵩","竹篮编织精巧，里面放满了各色鲜花，有秋葵、栀子、百合、广玉兰、石榴等，小小的花篮折射出繁花似锦的大自然——美丽、多样、蓬勃、朝气，让人看了之后感到十分亲切，画家对自然、生命的热爱和关注亦油然绢上。画幅虽然不大，但是描绘细腻具体，线条富有表现力，敷色艳丽雅致，构图稳定饱满。\n据款识可知，这是南宋著名的画院画家李嵩的手笔，小中见大，果然不同凡响。",[57,24,27,26,31,324,325,326,136,327,7,229],"花篮","秋葵","栀子","广玉兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72d4488497749a0020d882308571fa47.jpg","绢本，设色","纵19.1厘米，横26.5厘米",[],67,{"id":334,"slug":335,"title":336,"dynasty":114,"author":337,"museum":183,"description":338,"tags":339,"thumbUrl":344,"material":42,"size":42,"collection":42,"collections":345,"showCount":346,"zanCount":109,"manualWeight":11,"mainColor":69},230112,"hua-niao-tu-ce-wu-zhang-230112","花鸟图册","吴璋","此作为绢本工笔小景，设色温婉雅致。石榴枝桠斜斜舒展，丹红榴花灼灼盛放，饱满的石榴绽裂果皮，紫实累累，尽显秋日生机。\n\n两只麻雀栖于细枝，一只侧目远眺，一只垂首理羽，羽色晕染细腻，绒毛细毫毕现，将禽鸟娇憨灵动之态尽数描摹。叶片的阴阳向背晕染得体，线条秀逸柔和，写实之中暗含清逸雅致的意趣，将果熟禽闲的静谧小景刻画鲜活，于方寸间尽显工笔花鸟的精巧匠心，带着悠然恬淡的闲趣韵味。",[57,24,58,27,26,340,31,7,119,341,342,199,343],"册页","红花","绿叶","清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9458be09e16cb478d2d52da2905a209b.jpg",[],66,{"id":348,"slug":349,"title":350,"dynasty":114,"author":351,"museum":183,"description":352,"tags":353,"thumbUrl":355,"material":249,"size":250,"collection":42,"collections":356,"showCount":357,"zanCount":11,"manualWeight":11,"mainColor":47},239458,"hui-bu-si-guo-juan-qian-wei-cheng-239458","回部四果卷","钱维城","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。",[24,58,78,26,27,30,29,28,7,354,60,211],"柿子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a10e9be96c5643887aeff2b4ec9e0b8.jpg",[],62,{"id":359,"slug":360,"title":361,"dynasty":18,"author":19,"museum":183,"description":362,"tags":363,"thumbUrl":365,"material":42,"size":42,"collection":43,"collections":366,"showCount":367,"zanCount":11,"manualWeight":11,"mainColor":69},237698,"shan-shui-hua-guo-ce-xiang-sheng-mo-237698","山水花果册","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》。",[24,57,26,27,364,7,211,28],"花果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf6cca07ebe77c836898663ca11c9d3b.jpg",[43,92],57,{"id":369,"slug":370,"title":371,"dynasty":114,"author":372,"museum":220,"description":373,"tags":374,"thumbUrl":377,"material":378,"size":379,"collection":42,"collections":380,"showCount":381,"zanCount":11,"manualWeight":11,"mainColor":47},234683,"chen-shi-ceng-tao-liu-pi-pa-tu-zhou-chen-heng-ke-234683","陈师曾桃榴枇杷图轴","陈衡恪","图绘桃、石榴、枇杷各一枝，参差有序，果实累累。画中以花青色配以浓淡不同的墨色画桃叶，再以重墨勾勒筋脉。桃实红绿相间，色泽自然。石榴的枝条硬朗秀挺，小叶片片看似随意，然点画得轻灵活泼，与较浓重的桃叶、枇杷叶相映衬，使画面轻重有别，富有韵律感。",[57,24,58,148,31,26,79,375,7,376,211,60],"桃","枇杷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f93683f8661e46f36da1e89a8b0199c.jpg","纸本，设色","纵87.5厘米， 横44.8厘米",[],56,{"id":383,"slug":384,"title":385,"dynasty":114,"author":386,"museum":183,"description":387,"tags":388,"thumbUrl":390,"material":249,"size":250,"collection":42,"collections":391,"showCount":392,"zanCount":109,"manualWeight":11,"mainColor":47},288234,"duo-zi-tu-li-zhou-qu-zhao-lin-288234","多子图立轴","屈兆麟","屈兆麟，字仁甫，北京人，1884年18岁时，进清宫造办处如意馆听差，擅长工笔花鸟，后升至如意馆“司匠长”。在清宫如意馆做过最后一任“司匠长”的画师（1866-1937），正好赶上中国历史上由王朝到共和的翻天覆地之变。民国十三年（1924）11月，民国政府摄政内阁黄郛、冯玉祥下令，由北京警卫司令鹿钟麟、警察总监张璧、北京大学教授李煜瀛出面执行，请逊帝溥仪出宫。从此，屈兆麟结束了长达四十年的宫廷画工生涯，流入社会，靠卖画为生，成为职业画家。",[23,24,148,27,26,31,104,7,88,38,389],"多子多福","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84673a9abd63bfd4f7c5dbd2d3b0bdb3.jpg",[],54,{"id":394,"slug":395,"title":396,"dynasty":18,"author":397,"museum":20,"description":398,"tags":399,"thumbUrl":402,"material":403,"size":42,"collection":43,"collections":404,"showCount":405,"zanCount":11,"manualWeight":11,"mainColor":69},216955,"shi-liu-li-shu-tu-ge-shu-ying-216955","石榴栗鼠图","葛淑英","葛淑英（1565年－1628年）是一位中国明朝时期的画家。葛淑英出生于江苏省无锡市，是明朝最著名的女画家之一。她以其精湛的画技和绚丽多彩的作品而闻名。其中最著名的作品之一是《石榴栗鼠图》。\n\n《石榴栗鼠图》是一幅以石榴和栗鼠为主题的水墨画。在这幅画中，葛淑英用柔和的线条勾勒出了两只栗鼠的轮廓。这三只栗鼠正在咀嚼着一个石榴，举动自然，看起来很可爱。葛淑英用细腻的笔触描绘出了栗鼠的皮毛，使它们看起来栩栩如生。此外，画中还有一棵树，树上有许多绿色的叶子，为整幅画增添了一丝清新的气息。\n\n《石榴栗鼠图》展示了葛淑英对自然的描绘能力，也展示了她对生活细节的捕捉能力。这幅画不仅美观，而且充满了温暖的气息，是一件令人感动的艺术作品。",[57,24,58,148,27,26,400,401,7],"鼠","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faba5a7329abdb4f2ba88cf74167c31af.jpg","绢本,水墨",[43],45,{"id":407,"slug":408,"title":409,"dynasty":18,"author":19,"museum":183,"description":410,"tags":411,"thumbUrl":414,"material":249,"size":250,"collection":42,"collections":415,"showCount":416,"zanCount":11,"manualWeight":11,"mainColor":47},287750,"hua-hui-shi-kai-he-tu-xiang-sheng-mo-287750","花卉十开(合图)","项圣谟，初字逸，后字孔彰，号易庵，别号有胥山樵、存存居士、醉风人、大酉山人、莲塘居士、烟波钓徒、松涛散仙、逸叟、狂吟客、鸳湖钓叟、不夜楼中士等等，浙江嘉兴人。",[24,57,25,27,26,31,229,32,33,34,35,37,7,36,412,413],"水仙","芙蓉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7dc877eba84263d9e3018bb06e2fb25.jpg",[],44,{"id":418,"slug":419,"title":420,"dynasty":52,"author":421,"museum":183,"description":422,"tags":423,"thumbUrl":424,"material":249,"size":250,"collection":42,"collections":425,"showCount":426,"zanCount":109,"manualWeight":11,"mainColor":47},230951,"liu-kai-jian-zi-tu-wu-bing-230951","榴开见子图","吴炳","吴炳（公元12世纪），生卒年不详，毗陵武阳（今江苏常州）人，南宋光宗绍熙年间（1190-1194年）任画院待诏，是南宋院体花鸟画的代表性画家。\n代表作有《竹雀图》《写生荷花图（出水芙蓉图）》《罂粟图》《宝珠玉蝶图》《春池睡鸭图》《山茶鹁鸽图》等。",[24,57,58,27,26,31,7,119,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e9a16b335fa694e452ac55b07eb10c5.jpg",[],43,{"id":428,"slug":429,"title":430,"dynasty":18,"author":431,"museum":432,"description":433,"tags":434,"thumbUrl":435,"material":122,"size":42,"collection":42,"collections":436,"showCount":437,"zanCount":11,"manualWeight":11,"mainColor":47},214917,"mo-hua-ce-9-shen-zhou-214917","墨花册-9","沈周","印第安纳波利斯艺术博物馆","沈周是一位著名的明朝画家，他的作品《墨花册》是一本插图本，其中包含了许多令人惊叹的墨花图案。《墨花册》是沈周的代表作之一，因其精美的图案和精湛的插画技巧而广受赞誉。在《墨花册》中，沈周用黑墨和水彩画描绘了许多精美的墨花图案，包括花卉、鸟类、动物和人物等。沈周的作品充满了生机和活力，他的绘画技巧非常出色，深受人们的喜爱。",[23,24,79,25,31,7,211,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60cafebb109b0fdf23339867c5bd447f.jpg",[],35,{"id":439,"slug":440,"title":441,"dynasty":114,"author":442,"museum":183,"description":443,"tags":444,"thumbUrl":452,"material":249,"size":250,"collection":42,"collections":453,"showCount":454,"zanCount":109,"manualWeight":11,"mainColor":69},270157,"luo-xiu-mao-die-shi-liu-tu-mian-hong-mu-diao-hua-bing-tuan-shan-yi-ming-270157","罗绣猫蝶石榴图面红木雕花柄团扇","佚名","木雕是雕塑的一种，在我们国家常常被称为“民间工艺”。木雕可以分为立体圆雕、根雕、浮雕三大类。木雕是从木工中分离出来的一个工种，在我们国家的工种分类中为“精细木工”。\n以雕刻材料分类的民间美术品种。一般选用质地细密坚韧，不易变形的树种如楠木、紫檀、樟木、柏木、银杏、沉香、红木、龙眼等。\n木雕是以各种木材及树根为材料进行雕刻，是以传统雕刻工艺中的重要门类。木雕的历史非常悠久，在浙江余姚河姆渡文化遗址就有木雕鱼出土，这是我国木雕史上最早的实物。河南信阳战国大墓出土的木雕镇木兽，湖北云梦汉墓出土的彩雕木佣均为我国早期木雕作品。由于保存的困难，现今很难看到超过千年的木雕作品。\n两宋时期木雕作品较为多见，这时的木雕已采用组织细密的木材为载体进行制作，这就有利于木雕作品的传世。我国的一些庙宇里还保存有宋代的木雕作品。\n元明时由于海外贸易的急速发展，木材种类有所增加，许多由海外进口的硬质木材，是木雕工艺得到长足发展。\n明清期间是木雕艺术的一个辉煌时期，涌现出大量有史可考的名家、艺人及其作品，是古代木雕艺术的一个高峰。\n清末至民国年间由于政府的腐败，国力的衰退，外强的侵略，民不潦生，木雕艺术从此衰落，艺人名家也只能沦为匠人糊口度日。新中国成立后在党和国家的关怀下，民间工艺得到了保护及挖掘，木雕也重新涣发出生命，涌现出一批国家级大师。他们的作品，工艺精湛，秉承传统，立意深远，讴歌时代，体现了大师们立足传统，锐意创新，直抒重获新生的胸怀和报效国家，知遇之恩的深情。\n国家改革开放，经济腾飞，国富民强，党和国家对民间工艺的大力扶持，唤起了民众对传统工艺美术的热爱与追求。逢此盛世，民间工艺美术有了新的飞跃，木雕艺术也不例外。面对实际情况，在全国工艺品展出中，优秀作品的作者年龄偏大，年轻作者寥寥无几。",[445,446,447,448,7,229,449,450,451],"扇面","刺绣","猫","蝶","布料","木质","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19dbf0f31a4b58149f78e50e1ba54345.jpg",[],32,{"id":456,"slug":457,"title":169,"dynasty":52,"author":100,"museum":183,"description":458,"tags":459,"thumbUrl":460,"material":249,"size":250,"collection":42,"collections":461,"showCount":462,"zanCount":11,"manualWeight":11,"mainColor":47},289454,"shi-liu-la-zui-tu-ma-lin-289454","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。”",[57,24,31,27,26,7,104,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthu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一股“我闺女棒棒哒”的自豪溢出来了～\n蒋淑（生卒年不详），清代杰出女性画家，从其画作上判断她大致生活于清康熙至雍正年间，字又文，江苏常熟人。蒋廷锡女，华亭王敬妻。其父蒋廷锡官至大学士，闲暇之余以逸笔作写生花卉，机趣天然。蒋淑自幼秉承家教，亦以擅绘花鸟著称。",[24,58,25,26,27,31,7,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24bb5a703f7e135908423688e41b146b.jpg",[],{"id":483,"slug":484,"title":485,"dynasty":486,"author":487,"museum":269,"description":488,"tags":489,"thumbUrl":494,"material":42,"size":42,"collection":43,"collections":495,"showCount":496,"zanCount":11,"manualWeight":11,"mainColor":497},202959,"san-duo-tu-zhou-zhao-yun-he-202959","三多图轴","近代","赵云壑","画面以瓶梅、佛手、石榴等清供元素入题，暗合“福寿多子”的吉祥寓意。瓶中梅枝虬劲，白花疏朗有致；青瓷高足盘内，金黄佛手饱满圆润，色泽明快；旁侧石榴果实开裂，殷红籽实显露，生机盎然。背景陶罐朴拙厚重，与雅致器物相映成趣。笔墨兼工带写，线条简练洒脱，设色清雅温润，既含文人画的淡远意趣，又具世俗祝福的鲜活气息，尽显海派花鸟的灵动韵味。",[24,31,118,26,32,311,7,490,491,492,493,23],"瓶","陶罐","清供","文人意趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31aae60a69c3f0a485ff224f1c0c1259.jpg",[43],19,"cbbea9",{"id":499,"slug":500,"title":501,"dynasty":486,"author":502,"museum":269,"description":503,"tags":504,"thumbUrl":10,"material":42,"size":42,"collection":43,"collections":505,"showCount":496,"zanCount":109,"manualWeight":11,"mainColor":506},202812,"shi-liu-hua-tu-zhou-chen-shi-ceng-202812","石榴花图轴","陈师曾","虬枝以焦墨挥写，苍劲中见灵动，石榴果实饱满沉实，设色淡雅却含蕴成熟的暖意，叶片寥寥数笔，意到即止。左侧行书题跋笔势流畅，与朱红印章相映成趣，诗书画印浑然一体。画面不刻意追摹细节，却以写意之笔捕捉石榴的鲜活神韵，仿佛能触到果皮的纹理，嗅到果实的清甜，尽显文人画的雅致与生机，于简淡中藏着醇厚的生活情味。",[24,58,148,26,31,7,30,28,23],[43],"dfdbd1",{"id":508,"slug":509,"title":510,"dynasty":511,"author":442,"museum":101,"description":512,"tags":513,"thumbUrl":514,"material":41,"size":515,"collection":43,"collections":516,"showCount":517,"zanCount":109,"manualWeight":11,"mainColor":69},290739,"tian-zhong-hua-rui-zhou-yi-ming-290739","天中华瑞轴","元","此作撷取庭院一隅景致，古木虬枝皴染厚重，尽显苍劲老辣的风霜姿态，簇簇朱红花蕊缀满枝头，热烈明艳。石畔葵藿柔妍雅致，粉紫花瓣晕染细腻，素白藤蔓绕石舒展，柔婉洁净，与上方红花形成浓淡冷暖的鲜明对照。\n\n设色妍秀沉稳，工笔勾勒兼具写意松灵，将花木娇柔与古木苍劲相融，静穆里暗涌春日鲜活生机，于精工细绘间暗含逸笔雅趣，把暮春繁丽景致定格绢素，尽显古典花鸟画的雅致意韵。",[24,57,148,26,27,31,236,37,7,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4d819f7a2e08f57b5fb32e51f6bd4f7.jpg","181.1x95.2",[43],18,{"id":519,"slug":520,"title":521,"dynasty":114,"author":442,"museum":183,"description":522,"tags":523,"thumbUrl":529,"material":249,"size":250,"collection":42,"collections":530,"showCount":517,"zanCount":11,"manualWeight":11,"mainColor":69},273273,"lan-se-ke-si-san-duo-wen-he-bao-shi-huo-lian-yi-ming-273273","蓝色缂丝三多纹荷包式火燫","缂（kè，同：刻）丝（英文：K’o-ssu 、Kesi 或 Chinese silk 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、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。",[24,58,25,79,949,31,7,29,28],"白描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b71f21cf63e04529177b6a2a66b3478.jpg",[],{"id":953,"slug":954,"title":603,"dynasty":114,"author":955,"museum":183,"description":956,"tags":957,"thumbUrl":958,"material":42,"size":42,"collection":42,"collections":959,"showCount":177,"zanCount":11,"manualWeight":11,"mainColor":47},235572,"hua-hui-ce-fan-ting-zhen-235572","范廷镇","这幅小品以水墨写意绘秋石榴，枯润兼施的笔墨将果实神态尽数拿捏。饱满的榴果或掩或绽，淡晕果皮，留白凸显果肉莹润，焦墨点染榴籽，如珠似玑，绽开的裂口憨态可掬，尽显成熟饱满的生机。旁生的枝桠以简逸笔意勾勒，叶片错落随性，寥寥数笔便写出秋枝疏朗清灵之态。\n\n配题小诗与画相映，将榴籽比作珠玑，以开口谈笑暗喻才思喷薄，文趣暗藏。整幅不刻意求工，却神完气足，淡墨轻毫间把花果生机与文人雅趣揉合一处，简淡苍秀的笔墨里，尽显清逸雅致的文人画意韵，余味悠长。",[24,58,25,79,28,29,31,7,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8334604a2a393930c71587996111a89e.jpg",[],{"id":961,"slug":962,"title":837,"dynasty":18,"author":838,"museum":183,"description":839,"tags":963,"thumbUrl":964,"material":42,"size":42,"collection":42,"collections":965,"showCount":177,"zanCount":11,"manualWeight":11,"mainColor":47},233324,"shi-zhu-zhai-pu-ce-hu-ri-cong-233324",[24,58,25,26,31,7,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc06a34da27b68c4ab2f6240ba054e94d.jpg",[],{"id":967,"slug":968,"title":969,"dynasty":114,"author":442,"museum":183,"description":970,"tags":971,"thumbUrl":972,"material":249,"size":250,"collection":42,"collections":973,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":69},269964,"xiang-ya-diao-hua-hui-wen-shi-liu-shi-pan-yi-ming-269964","象牙雕花卉纹石榴式盘","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。",[625,664,229,7,525,451],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b0759426237846340a81b6c17c91451.jpg",[],{"id":975,"slug":976,"title":701,"dynasty":114,"author":442,"museum":183,"description":547,"tags":977,"thumbUrl":979,"material":249,"size":250,"collection":42,"collections":980,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":557},268512,"dian-cui-hua-hui-niao-die-wen-tou-hua-yi-ming-268512",[549,551,7,978,550],"蜘蛛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2b136ed0b96c2a0f6554b178421930e.jpg",[],{"id":982,"slug":983,"title":984,"dynasty":114,"author":442,"museum":183,"description":583,"tags":985,"thumbUrl":987,"material":249,"size":250,"collection":42,"collections":988,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":557},267936,"bao-lan-se-duan-di-san-duo-mu-dan-wen-tao-yi-ming-267936","宝蓝色缎地三多牡丹纹绦",[449,37,7,986,712],"绦带","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbb639c89304bae58523d94ec43075c3.jpg",[],{"id":990,"slug":991,"title":992,"dynasty":114,"author":442,"museum":183,"description":868,"tags":993,"thumbUrl":997,"material":249,"size":250,"collection":42,"collections":998,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":69},267210,"shi-qing-se-duan-kou-man-na-ling-zhi-shi-liu-fang-sheng-wen-tuo-yuan-he-bao-yi-ming-267210","石青色缎口满纳灵芝石榴方胜纹椭圆荷包",[549,858,446,994,7,995,996,623],"灵芝","方胜纹","缎面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc2e764d3d96b5009424385c8e19e3d4.jpg",[],{"id":1000,"slug":1001,"title":992,"dynasty":114,"author":442,"museum":183,"description":868,"tags":1002,"thumbUrl":1003,"material":249,"size":250,"collection":42,"collections":1004,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":69},267209,"shi-qing-se-duan-kou-man-na-ling-zhi-shi-liu-fang-sheng-wen-tuo-yuan-he-bao-yi-ming-267209",[549,451,449,446,994,7,995,623,858],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946e7f8f8e516d47fb12acc69748011e.jpg",[],{"id":1006,"slug":1007,"title":1008,"dynasty":114,"author":442,"museum":183,"description":583,"tags":1009,"thumbUrl":1010,"material":249,"size":250,"collection":42,"collections":1011,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":1012},265540,"yuan-qing-se-duan-di-shi-liu-mu-dan-die-wen-tao-yi-ming-265540","元青色缎地石榴牡丹蝶纹绦",[449,446,37,7,596,986,896,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F898db5e76c337647a023e7f42b2b142a.jpg",[],"0D904F",{"id":1014,"slug":1015,"title":877,"dynasty":114,"author":442,"museum":183,"description":583,"tags":1016,"thumbUrl":1018,"material":249,"size":250,"collection":42,"collections":1019,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":882},265538,"bao-lan-se-duan-di-mu-dan-shi-liu-tao-yun-tou-wen-tao-yi-ming-265538",[449,549,37,7,375,1017,712],"云头纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04a849619c41fba37adb73fafab5ee4b.jpg",[],{"id":1021,"slug":1022,"title":1023,"dynasty":114,"author":442,"museum":183,"description":583,"tags":1024,"thumbUrl":1026,"material":249,"size":250,"collection":42,"collections":1027,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":557},265505,"ji-lan-se-duan-di-dan-cai-san-duo-hua-hui-chong-mu-dan-wen-tao-yi-ming-265505","霁蓝色缎地淡彩三多花卉虫牡丹纹绦",[449,549,37,229,1025,7,26,986],"昆虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c289d60e3eedf234a0d64507c84f562.jpg",[],{"id":1029,"slug":1030,"title":886,"dynasty":114,"author":442,"museum":183,"description":583,"tags":1031,"thumbUrl":1032,"material":249,"size":250,"collection":42,"collections":1033,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":69},265167,"hu-se-duan-di-mei-zhu-tao-shi-liu-he-hua-wen-tao-yi-ming-265167",[449,549,712,32,88,36,81,7,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52ccb1afc3eee96bd0d6a35fcf209f58.jpg",[],{"id":1035,"slug":1036,"title":786,"dynasty":114,"author":442,"museum":183,"description":583,"tags":1037,"thumbUrl":1038,"material":249,"size":250,"collection":42,"collections":1039,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":557},265163,"pin-yue-se-duan-di-mei-zhu-tao-shi-liu-he-hua-wen-tao-yi-ming-265163",[449,549,32,88,36,81,7,712,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3134caa6d941129b5e541b030dca2fda.jpg",[],{"id":1041,"slug":1042,"title":1043,"dynasty":114,"author":442,"museum":18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