[{"data":1,"prerenderedAt":338},["ShallowReactive",2],{"subject-shi-zi-486":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},486,"shi-zi-486","柿子","柿子画高清赏析","精选中国历代柿子题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6a6d4750b6abd9abdc796866ce9f7e1.jpg",0,28,[14,40,57,74,88,104,119,132,147,161,175,186,201,210,231,242,255,262,268,274,280,287,300,307,313,320,326,332],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":34,"material":35,"size":35,"collection":35,"collections":36,"showCount":37,"zanCount":38,"manualWeight":11,"mainColor":39},235409,"wu-chang-shuo-sui-chao-qing-gong-tu-zhou-wu-chang-shuo-235409","吴昌硕岁朝清供图轴","清","吴昌硕","藏地不详","此作疏密布局精妙，斜出红梅自瓶中探伸，古拙湖石苍劲拙朴，案头水仙舒展清隽，蒲草萧疏有灵，配搭饱满鲜果，雅俗共赏。\n以篆籀笔法入画，笔墨苍劲老辣，设色浓淡相宜，明丽而不艳俗。朴茂雄浑的行书题字与画面浑然一体，金石古意尽显。既饱含文人案头的清雅逸趣，又暗合新春纳福的吉庆意蕴，将写意洒脱与写实鲜活相融，勾勒出岁朝之际悠然年味，尽显写意花鸟的朴拙雅致。",[23,24,25,26,27,28,29,30,31,7,32,33],"国画","设色","水墨","立轴","花鸟","印章","书法","梅","水仙","孤石","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65a6c68b7d5407cedbe24b1255ca78c0.jpg","",[],618,2,"BDBDBD",{"id":41,"slug":42,"title":43,"dynasty":44,"author":45,"museum":46,"description":47,"tags":48,"thumbUrl":52,"material":53,"size":35,"collection":54,"collections":55,"showCount":56,"zanCount":11,"manualWeight":11,"mainColor":39},216945,"liu-shi-tu-mu-xi-216945","六柿图","宋","牧溪","日本京都大德寺龙光院","描绘了六个柿子，一前一后，一排五个。简洁的笔触，独特的墨色，以及随机但不凌乱的一排排柿子，给人留下了简单、朴素、宁静致远的禅意。这是一种简单、朴素、悠远的禅意。",[23,49,50,26,25,51,7],"名画","书画","写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74f5ac03418f0bd72d3220bc771f9935.jpg","纸本,水墨","水墨画精选",[54],402,{"id":58,"slug":59,"title":60,"dynasty":18,"author":19,"museum":61,"description":62,"tags":63,"thumbUrl":66,"material":67,"size":68,"collection":69,"collections":70,"showCount":72,"zanCount":73,"manualWeight":11,"mainColor":39},224219,"sui-chao-qing-gong-tu-wu-chang-shuo-224219","岁朝清供图","北京故宫博物院","岁朝指农历元旦，历代画家特别是文人画家都喜欢在这一天绘制《岁朝清供图》，作为新年伊始的首幅作品。吴昌硕作为一名文人画家，也几乎每年都画《岁朝清供图》，且多所变化，其最大的特点是很少取材于牡丹，他在《缶庐别存》中有一段话披露了其用意，文曰：“己丑除夕，闭门守岁，呵冻作画自娱。凡岁朝图多画牡丹，以富贵名也。予穷居海上，一官如虱，富贵花必不相称，故写梅取有出世姿，写菊取有傲霜骨，读书短檠，我家长物也，此是缶庐中冷淡生活。”此段话写于1889年，而在这幅1915年的《岁朝清供图》中仍然不见牡丹形象，其时吴氏的生活已有了极大改善，但仍不画牡丹，可见其富贵不移初志的高雅人格与画品。\n此图以瓶梅、水仙、蒲草、秀石诸品组合而成，并置于瓶盆等器物中，以示为案头清供之物。物品高下低昂、错落有致地安排于画面，并以右高左低的对角形式排列，左上角和右下角分别配以题识和印章，这是吴昌硕花卉画中常用的构图形式。画面左上角自题：“岁朝清供。岁朝写案头花，象古人所作岁时物之迁流也，兹拟其意。乙卯岁寒吴昌硕。”\n此图信手挥洒，真情流溢笔端。高颈古瓶中的一枝红梅，以及翠绿的水仙，纷披的蒲草，皆得其大意，笔法隽逸洒脱，极具清逸雅淡之气。用墨、设色也恰到好处，用墨浓淡相宜，设色俏丽鲜艳，雅妍相兼，双勾敷色的水仙花，更体现了吴氏晚年运笔遒劲古拙的独特风韵。",[64,23,50,26,24,25,65,28,51,27,30,31,32,7,33],"高清","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe60ee9f04eb4937057270e254c03e2aa.jpg","纸本，设色","纵151.6厘米，横80.7厘米","花鸟画精选",[69,71],"设色画精选",321,1,{"id":75,"slug":76,"title":77,"dynasty":18,"author":19,"museum":20,"description":78,"tags":79,"thumbUrl":83,"material":84,"size":85,"collection":35,"collections":86,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":39},289915,"sui-chao-qing-gong-tu-li-zhou-wu-chang-shuo-289915","岁朝清供图立轴","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》。",[23,49,50,26,25,24,27,30,31,32,80,29,28,7,81,82],"器物","花卉","盆栽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30fcfb6589c3a3e4729c4a0a67ce3c16.jpg","未知","Xcm*Xcm",[],169,{"id":89,"slug":90,"title":91,"dynasty":92,"author":93,"museum":94,"description":95,"tags":96,"thumbUrl":100,"material":53,"size":101,"collection":35,"collections":102,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":39},214645,"hua-hui-ce-2-chen-chun-214645","花卉册-2","明","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。",[23,50,97,25,51,27,7,98,99],"册","树枝","叶子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b7b87db533064cfbc2864f3c0073898.jpg","纵28 厘米 横37.9 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绘画上擅长山水、花鸟，尤以山水著称，有粗、细两种面貌。早年主宗王蒙，上追董、巨，以细笔为主；40岁以后博取诸家，着意于黄公望，风格逐渐变粗，形成粗笔风貌；60岁后汲取吴镇画法，笔墨疏简苍劲，格调雄健宏阔。其成熟时期的山水，笔墨上既吸收了宋院体和明浙派的硬度和力感，又保留了元人的含蓄笔致，于苍中带秀，刚中见柔。构图造境方面，无论繁复或简略，都强调山川宏阔之“势”，一改元人空寂之境，又着意于朴实的“质”，于拙中藏巧。他开创了“吴派”画风，与文徵明、唐寅、仇英并称“吴门四家”。",[23,50,26,25,51,27,126,7,29,65,28],"荔枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86746693b29e5f3412b23d5ba1e633a9.jpg","纸本 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