[{"data":1,"prerenderedAt":1616},["ShallowReactive",2],{"subject-shu-zhi":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},493,"shu-zhi","树枝","树枝画高清赏析","精选中国历代树枝题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb38f96ffdba7224d63a6ade01e64bb56.jpg",0,143,[14,44,64,82,101,123,138,154,165,178,192,206,221,230,240,255,270,283,295,307,319,333,342,355,367,378,390,408,418,431,442,452,464,478,492,502,516,527,540,549,562,574,586,597,608,621,631,642,653,667,676,689,699,713,722,734,746,755,764,776,787,800,810,823,835,845,857,868,877,891,902,914,925,939,948,957,967,976,985,995,1006,1016,1024,1034,1044,1054,1064,1076,1087,1097,1105,1114,1122,1130,1139,1149,1160,1170,1181,1190,1205,1217,1226,1235,1243,1254,1265,1275,1285,1296,1304,1315,1326,1334,1342,1352,1361,1374,1384,1393,1399,1406,1418,1427,1436,1445,1454,1468,1476,1485,1494,1502,1510,1518,1526,1535,1542,1561,1569,1579,1587,1595,1604],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":36,"material":37,"size":38,"collection":39,"collections":40,"showCount":41,"zanCount":42,"manualWeight":11,"mainColor":43},214254,"qiu-shui-fu-yi-tu-ren-ren-fa-214254","秋水凫鹥图","元","任仁发","上海博物馆","秋水凫鹥图是元朝作者任仁发的一幅代表作。这幅画作描绘了秋天的水鸟生活。\n\n在这幅画作中，任仁发巧妙地捕捉了秋天的水鸟的生活情景。他用浓墨重彩的画法，勾勒出了水鸟的身形。他还用细腻的线条勾勒出了水鸟的面容，让人感受到了水鸟的自然和优美。\n\n此外，任仁发在这幅画作中还描绘了水鸟周围的景色。他用色彩丰富的画法，描绘了水鸟周围的山川和河流。这些景色与水鸟的生活场景形成了鲜明的对比，让人感受到了自然与动物的和谐共存。\n\n总之，秋水凫鹥图是一幅精美的画作，描绘了秋天的水鸟生活。它让我们感受到了元朝作者任仁发对自然的崇敬之情，也让我们感受到了元朝文化的魅力。\n\n在这幅画作中，任仁发运用了丰富的色彩和细腻的线条，将水鸟的生活场景展现得淋漓尽致。他还用精美的画法描绘了水鸟周围的景色，让人感受到了自然与动物的和谐共存。\n\n秋水凫鹥图是元朝文化中的经典之作，也是任仁发的代表作之一。它不仅展现了任仁发的艺术才华，也是一幅能够唤起人们对自然的崇敬之情的画作。",[23,24,25,26,27,28,29,30,31,32,7,33,34,35],"高清","国画","工笔","设色","花鸟","飞鸟","水禽","鸭子","孤石","菊花","花叶","水波","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc65117c93f7cf534891203b9f9c5bbf5.jpg","绢本,设色","","花鸟画精选",[39],1515,25,"795548",{"id":45,"slug":46,"title":47,"dynasty":48,"author":49,"museum":20,"description":50,"tags":51,"thumbUrl":57,"material":58,"size":59,"collection":38,"collections":60,"showCount":61,"zanCount":62,"manualWeight":11,"mainColor":63},216659,"hua-niao-ce-5-sun-ke-hong-216659","花鸟册-5","明","孙克弘","孙克弘的折枝画鸟画名重一时，是册共含牡丹、山茶、冬梅等花鸟画十六开，设色秀润清新，用墨精妙淡雅。孙克弘题引首：草木霑春。华亭克弘书。钤“雪居”朱文印、“汉阳长印”白文印。并自题“洞庭樵海张山人者，清贫守道，耻干谒人，真隐君子也。短褐一瓢，歌咏于青山白云中，消磨半生矣。兹老贫不能支吾薪水，因访余东皋雪堂，余又以贫不能为赠。聊写杂卉一册贻之。倘好事者以数斗易去，亦足为山人一箸之助也。汉阳守，华亭雪居孙克弘书并画。”",[24,52,25,26,27,53,54,7,55,56],"册","鸟","花","叶子","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc762cbbb53d0597b5436b458f6ea96.jpg","纸本,设色","纵31.7厘米，横61.8 厘米",[],599,3,"BDBDBD",{"id":65,"slug":66,"title":67,"dynasty":68,"author":69,"museum":70,"description":71,"tags":72,"thumbUrl":77,"material":58,"size":78,"collection":38,"collections":79,"showCount":80,"zanCount":81,"manualWeight":11,"mainColor":63},216591,"ou-xiang-guan-xie-sheng-ce-3-yun-shou-ping-216591","瓯香馆写生册-3","清","恽寿平","旅顺博物馆","《瓯香馆写生册》描写了四时的花果，从春到夏分别是桃花、海棠、碧海珊瑚、牡丹、枇杷、卷丹、洛阳花、凤仙花、菊花、梅花。除了梅花一开，作者写明是学杨补之的水墨画法之外，其余各开全用没骨法，完全不用墨线勾勒，直接用颜色点厾出花朵、叶片、果实，只以色线勾勒叶茎。落色点花的没骨花，既不同于细线勾勒再层层渲染的工笔花卉，也不同于水墨淋漓的大写意花卉，它介于两者之间，也被称作“小写意”花卉。工笔求逼真，写意求意趣，恽氏没骨花所求正在“似与不似之间”。着色花卉自然比纯粹的水墨更逼真，但直接点染的“落色花”比起层层渲染的工笔花卉又有更大的随意性，不必被物象的细枝末节所羁绊，可以放手表现花的风骨。就气质而言，没骨花介于工笔与大写意之间，既不刻画，也不放逸，清新洒脱。",[24,73,52,26,74,27,75,54,7,76],"书画","没骨","紫藤","藤蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2e60e3d8683439073039aa23e65ff0f.jpg","26x36cm",[],506,7,{"id":83,"slug":84,"title":85,"dynasty":68,"author":86,"museum":87,"description":88,"tags":89,"thumbUrl":95,"material":58,"size":96,"collection":39,"collections":97,"showCount":99,"zanCount":100,"manualWeight":11,"mainColor":63},219288,"mu-dan-bai-tou-tu-ren-yi-219288","牡丹白头图","任颐","北京故宫博物院","任颐（1840—1896），字伯年，别号山阴道上行者，清末著名画家。浙江绍兴人，寓居上海，以卖画为生，与任熊、任熏、任预并称为“海上四任”，是“海上画派”中成就最为突出者。他的绘画吸收了民间艺术的技法，人物、肖像、山水、花鸟无不精工。\n其人物画早年师法陈洪绶，造型夸张，装饰效果强，后变得较为奔逸。其花鸟画早年师法北宋诸家，后融汇了恽派、陈淳、徐渭、朱耷的写意画法，又吸收了西方水彩绘画的色调，设色淡雅，格调清新明快，对近现代花鸟画产生了深远的影响。",[23,24,73,90,26,91,27,92,93,31,7,54,53,94],"立轴","兼工带写","牡丹","白头鸟","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa31c3984c898ba3c385fce26f73cd95b.jpg","纵133.5cm，横64.8cm",[39,98],"设色画精选",437,2,{"id":102,"slug":103,"title":104,"dynasty":105,"author":106,"museum":107,"description":108,"tags":109,"thumbUrl":117,"material":118,"size":119,"collection":120,"collections":121,"showCount":122,"zanCount":81,"manualWeight":11,"mainColor":63},225709,"almond-blossom-february-fan-gao-225709","Almond blossom (February - )","不详","梵高","藏地不详","文森特·威廉·梵高（Vincent Willem van Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[110,111,112,7,113,114,115,116],"油画","后印象派","杏花","花朵","蓝天","厚涂笔触","明亮色彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc340d2ed2d05622f56ebd4b6bac82747.jpg","未知","Xcm*Xcm","油画精选",[120],397,{"id":124,"slug":125,"title":126,"dynasty":127,"author":128,"museum":129,"description":130,"tags":131,"thumbUrl":136,"material":37,"size":38,"collection":39,"collections":137,"showCount":122,"zanCount":100,"manualWeight":11,"mainColor":43},216940,"yu-ying-tu-zhao-ji-216940","御鹰图","宋","赵佶","私人收藏","御鹰图是赵佶的一幅画作。赵佶是宋朝的一位著名的画家，他的画作被认为是中国画的典范，很受人们的喜爱。\n\n御鹰图描绘了一只雄健的鹰，看起来非常壮观。赵佶用细腻的笔法和精湛的技巧描绘了鹰的羽毛，使得整幅画看起来栩栩如生。\n\n赵佶的御鹰图被认为是宋朝画的代表作之一，它的风格独特，表现力强，被认为是宋朝画的典范。它被广泛收藏，并在许多艺术展览中展出。",[132,24,73,25,26,133,90,134,135,7],"名画","绢本","鹰","禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b3210a771bedb5e6e81fe9066e3c66e.jpg",[39],{"id":139,"slug":140,"title":141,"dynasty":48,"author":142,"museum":87,"description":143,"tags":144,"thumbUrl":148,"material":149,"size":150,"collection":39,"collections":151,"showCount":152,"zanCount":153,"manualWeight":11,"mainColor":43},222398,"gui-ju-shan-qin-tu-lv-ji-222398","桂菊山禽图","吕纪","该画所绘主体花鸟：绶带鸟、八哥、桂花、秋菊，均属于祥瑞、珍贵之物，寓有富贵长寿和君子节操含意，内容明显地反映了皇家的艺术和审美旨趣。\n画中造型严密，布置合理，使鸟、树、花儿粗细两相映衬，而色彩的明艳夺目更是增加了该画的艺术气息。\n该画描绘的是秋天的情景，画中有一棵高大而茂盛的桂花树，树干苍健，树上绿叶茂密，桂花簇聚。\n桂树上栖落着几只八哥，有两只正隔着树枝对唱，一只正翘首远眺。\n在低一些的树枝上，有一只蓝色绶带正朝着树下鸣叫，它黑白相间的羽翼之间，长着蓝色的羽毛，嘴和爪子为红色。\n树下的三只绶带，正在争食一只草虫，它们翘起高高的羽翎。\n桂树下长着一些野草，还有一些形状各异的石头，石后几株菊花正开得鲜艳，颜色有红的、黄的、白的。\n明代画院花鸟画是以南宋院体为基础并发展的，讲究设色浓艳，笔势劲健且奔放，明代画家吕纪的《桂菊山禽图》就体现了这样的画风。\n吕纪工笔重彩花鸟画创作的时候，承袭五代 工整精细的画风， 在整体章法布局和背景树石用笔上，更多地接受了南宋 、 的影响，由此而逐渐形成了自己的风格特色，《桂菊山禽图》《山茶白鹇图》是其中的代表作。\n《桂菊山禽图》刻意精细，显然是奉召而作。\n《桂菊山禽图》中的物象真实地展现了生物的自然本性，也形象地表达了内涵的寓意。\n所绘主体花鸟：桂花、秋菊、八哥以及授带鸟，都是祥瑞吉庆之物、寓意着富贵长寿和君子的气节；殉丽的色泽与生动的景致，又营造出欢乐的气氛和华美的意境，明显地反映了皇家的艺术和审美旨趣。\n展开画轴，在画面的右下侧山石屹立，有的横卧，有的竖立，有一块较大的湖石，造型奇特，上大下小，山左倾斜，呈险势状；山石和土坡上点缀着花草、杂木；山石后有一簇盛开的菊花，山石旁有一棵老桂拔地而起，树干粗壮，长满了疤节，显然是一株老桂；树干向右斜倾，并将主干伸出画面之外，然后又从画外上方斜入画面右上部；另一枝杈，又从树干伸出向左上方，入画面中上部，这是妙笔，不但弥补了画幅左上端的空阙，而且对整个画面起到平衡作用。\n桂树花叶繁茂，树枝相互交错，错落有致，树枝上端繁花满枝，让人感到金桂的幽香阵阵，沁人心肺，与下端石旁盛开的各色菊花相互映发。\n由于一棵硕大桂树干重心偏向右侧，画家在构思上十分巧妙，将桂树向左倾斜伸出的枝权上安排了两只八哥，一只绶带鸟，用来平衡了画面。\n这两只八哥和右侧另一树枝上的一只八哥，翘着尾张嘴在树枝上叫鸣，遥相呼应，显得十分活泼，生动真切。\n画面左下角安排了一只绶带鸟，晃动着色彩艳丽的长尾，聚在坡间草丛中相互争食一只蚱蜢，显得热闹非凡。\n此画构图新颖，景物主要集中于画面右侧和下部，形成全幅构图既充实饱满，又疏密相间，景物配置得体，画幅左侧中部留有较大的空白，形成黑白强烈的对比。\n此画用笔秀劲，勾勒敷色，颇具功力。\n山石用斧劈皴。\n山石的笔法较为粗放，棱角方硬，具有立体感和质感。\n此画继承南宋院体中花鸟画法，工细中稍加放纵，形成精工富丽的艺术风格：细笔工绘，花、叶、鸟产生了强烈的对比；这种一工一写，相互映衬，达到粗细相间，却和谐统一，且显得自然生动：禽鸟造型准确，形象逼真，生动活泼，小趣盎然；设色方面，此图色彩浓重艳丽，厚重而无俗媚之气。\n绶带鸟斑斓的羽毛和艳丽的长尾，漂亮的红嘴，脚爪，描绘极为真实自然，色彩的深浅厚薄的变化，表现了羽毛的质感。\n八哥虽体以黑色为主，但却层次分明，活泼自然，生动毕肖，每一只八哥的神情刻画得特别贴切。\n花叶用石青染出，以浓淡分向背，极富有变化。\n作品的不足之处是八哥与绶带鸟之间缺少有机的联系。\n这反映了皇家贵胄多半要求画得繁多华丽的偏向，而宫廷画家不得不循以满足之。",[23,132,24,73,90,25,26,27,145,146,28,31,7,147,135],"桂","菊","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8206d9ae1c5854baf1d866a01f8809e8.jpg","绢本工笔","纵192厘米，横107厘米",[39,98],312,4,{"id":155,"slug":156,"title":157,"dynasty":127,"author":158,"museum":107,"description":159,"tags":160,"thumbUrl":162,"material":38,"size":38,"collection":38,"collections":163,"showCount":164,"zanCount":153,"manualWeight":11,"mainColor":43},227973,"guo-shu-lai-qin-tu-ye-lin-chun-227973","果熟来禽图页","林椿","设色清润柔和，工细写实，将秋日枝桠间的小景勾勒得鲜活灵动。饱满的海棠果粉白晕染如凝脂，带着熟透的温润质感，叶片或舒展或蜷曲，虫蚀残痕都细腻入微，尽摹自然生趣。娇俏禽鸟侧身栖于细枝，绒毛细密蓬松，圆目灵动似在细听秋声，姿态悠然闲适。\n\n全画无繁复构图，却以精妙笔触将蔬果禽鸟的神韵刻画尽致，把寻常秋意酿成隽永诗意，于方寸间尽显雅致空灵的田园意趣，融写生工致与文人雅韵为一体，静逸鲜活，尽显独有的雅致审美。",[23,132,24,73,52,25,26,27,161,135,7,55],"果实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0a8fd70bb850781c10c7ecb22f43905.jpg",[],304,{"id":166,"slug":167,"title":168,"dynasty":48,"author":169,"museum":87,"description":170,"tags":171,"thumbUrl":175,"material":38,"size":38,"collection":39,"collections":176,"showCount":177,"zanCount":100,"manualWeight":11,"mainColor":43},239086,"he-hua-yuan-yang-zhou-zhou-zhi-mian-239086","荷花鸳鸯轴","周之冕","此图画面下部绘有一对鸳鸯，活跃在荷塘水草之中，一只雄性的徴莺，正潜水觅食，双翅合拢，羽尾上翘，伸颈张嘴，正在捕捉食物。另一只雌性站立在荷塘岸上，扭弯脖颈，双目炯炯有神，正在注视河水中正在捕食的雄性。画面的背景主要集中右上方，右侧湖石从旁伸展，湖石造型奇特，玲珑别透，湖石上面有一棵廾满花朵的花树，枝干弯曲，伸向画面左中侧。湖石旁有数株荷叶，荷茎挺拔，荷花盛开，荷叶有的平展，有的悬垂，荷叶整、残相间，另间有其水草。\n此图写湖石、荷花、鸳鹫，形象通真，生动传神。画面清秀，笔墨自然，设色艳丽。此画是周氏用勾花点叶画法画的一幅典型作品，作者把草书的笔法融汇到画法中去，运笔疾速，枝叶的穿插、花朵的安排都恰到好处。作品用笔简洁、概括，例如河岸、湖石的画法，用粗笔勾勒，只有很少的儿笔魃染，寥寥数笔却颇具形态，水面大部分空白，只以淡淡的几条水纹表现水的存在，却有动感，杂草看去似不经心之笔却错落有致。鸳鸯的造型是在写实的基础上略有变化。两只鸳鹫神态各异，但都生动自然，日似点漆，颇具精神。鸳鹫大部分以淡墨浅设色写出，颈部、背部的毛用纤细的笔法画出，根根可见，表现出画家娴熟的工笔技法。头、尾、足又巧妙地利用了生纸的性能，水墨自然晕开，甚为生动，翅膀用笔虽较硬，但由于水墨涸晕的效果，把羽毛丰满的鸳鸯形象表现得淋漓尽致。兼工.带写，别具一格。鸳整体设色浓淡得宜立体感很强。荷花采用匀花点叶法，花以线条勾出，叶子则直接落笔成形，然后以墨勾叶筋，荷花设色淡雅，清新自然。这一切都显示了画家的笔墨造形功力。",[24,132,90,27,26,25,172,173,53,174,7,147],"荷花","鸳鸯","荷叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F848b8317f95838a26d9b5f0806530d75.jpg",[39,98],272,{"id":179,"slug":180,"title":181,"dynasty":127,"author":182,"museum":183,"description":184,"tags":185,"thumbUrl":187,"material":38,"size":38,"collection":188,"collections":189,"showCount":190,"zanCount":191,"manualWeight":11,"mainColor":43},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。 ​",[23,24,73,25,26,27,186,28,7],"石榴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71e0f84a2d62c330aaeff7eb6de993c8.jpg","宋画精选",[188,39,98],238,1,{"id":193,"slug":194,"title":195,"dynasty":68,"author":196,"museum":183,"description":197,"tags":198,"thumbUrl":202,"material":58,"size":203,"collection":38,"collections":204,"showCount":205,"zanCount":100,"manualWeight":11,"mainColor":63},219881,"er-shi-si-fan-hua-xin-feng-tu-ying-tao-yu-ying-chun-dong-gao-219881","二十四番花信风图-樱桃与迎春","董诰","古人认为春风守信，如期而来，催开百花，称为“花信风”。春天自“小寒”到“谷雨”经历四个月，共八节气，每五天为一候，前后为二十四番花信风，以梅花居首，楝花居末。此套《画二十四番花信风图》册页十二开，共二十四幅，画二十四番花信风。",[24,73,52,26,25,27,199,200,7,113,55,201,56],"樱桃","迎春","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cbb4551c35981c815d28fac994eeefc.jpg","20x14.2厘米",[],237,{"id":207,"slug":208,"title":209,"dynasty":68,"author":210,"museum":129,"description":211,"tags":212,"thumbUrl":216,"material":217,"size":218,"collection":38,"collections":219,"showCount":220,"zanCount":62,"manualWeight":11,"mainColor":63},216910,"hua-niao-si-tiao-ping-3-zhu-da-216910","花鸟四条屏-3","朱耷","此四条屏作于其七十前后，(款字八作二折)或作风荷拳石;或作高梧疏竹;或作双凫戏于溪头，或作群鱼悠游涧中。意境静寂，动静生发。墨淡而厚，湿而毛;笔圆而劲，重而灵;苍莽朴茂之中，有清韵流衍;笔墨不多而意境丰满。荷塘一幅，以微风摇动之花叶，烘托凝重古质之拳石，雄豪活泼之气溢于画里画外。双凫一幅，极尽墨沈之灵变。禽羽之丰满润泽，仿佛若可触摸。崖石用虚淡之笔皴点，略以浓墨点苔竹，虽满纸空白，而情韵入微。所谓无处还有是也。而游鱼一幅尤佳绝，下方危石如奇峰倒立，已出人意表。其上悬崖兀起，其间秋水空阔，群鱼悠游，或伫滞水面，或倏忽水底，其状拙质，其形简古，而不失生趣。大小二十七尾，无一雷同，为八大画中绝品。八大四屏传世绝少，识者珍视之!",[23,24,213,214,27,53,186,215,31,7,56],"水墨","写意","竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d05c4ff38b209a7f54f7cb2d4ab568.jpg","纸本,水墨","182.5×49cm",[],221,{"id":222,"slug":223,"title":224,"dynasty":68,"author":196,"museum":183,"description":197,"tags":225,"thumbUrl":227,"material":58,"size":203,"collection":38,"collections":228,"showCount":229,"zanCount":100,"manualWeight":11,"mainColor":63},219878,"er-shi-si-fan-hua-xin-feng-tu-li-hua-yu-xing-hua-dong-gao-219878","二十四番花信风图-李花与杏花",[24,26,25,201,56,226,112,31,7,113],"李花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F985d944013ffd751b9d943e22980248d.jpg",[],216,{"id":231,"slug":232,"title":233,"dynasty":68,"author":210,"museum":107,"description":234,"tags":235,"thumbUrl":236,"material":38,"size":38,"collection":39,"collections":237,"showCount":239,"zanCount":11,"manualWeight":11,"mainColor":63},237958,"qi-niao-tu-ye-zhu-da-237958","棲鸟图页","八大山人的花鸟画深受林良、陈淳、徐谓等大家的影响，他的作品特别强调缘物寄情，因而个性极为鲜明。这种种孤僻、冷漠、悲愤、反常、怪异的特征，当然是他奇特艺术风格的具体化。而这种表象下折射出来的，正是画家一种有别于常人的人格心理。",[24,213,27,52,214,53,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F718ef12d519eafc2f08711a7fa23271f.jpg",[39,238],"水墨画精选",186,{"id":241,"slug":242,"title":243,"dynasty":68,"author":244,"museum":87,"description":245,"tags":246,"thumbUrl":250,"material":251,"size":252,"collection":38,"collections":253,"showCount":254,"zanCount":100,"manualWeight":11,"mainColor":63},233878,"hua-niao-tu-zhou-lang-shi-ning-233878","花鸟图轴","郎世宁","此图笔法精工细腻，色调绚丽多彩，造型写实生动，注重描绘禽鸟翎毛的质感、花叶的阴阳向背以及明暗层次的变化，具有鲜明的西洋花鸟写实画的风格。",[24,73,25,26,247,53,7,248,249,56],"桃花","花草","老干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60f9fa2985d7c169d06da5861e1fdfec.jpg","绢本，设色","纵63.7厘米，横32.3厘米",[],185,{"id":256,"slug":257,"title":258,"dynasty":68,"author":259,"museum":260,"description":261,"tags":262,"thumbUrl":266,"material":58,"size":267,"collection":38,"collections":268,"showCount":269,"zanCount":100,"manualWeight":11,"mainColor":63},216251,"jing-fu-si-qi-dong-jing-tu-7-qian-wei-cheng-216251","景敷四气冬景图-7","钱维城","美国大都会艺术博物馆","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n梵界经楼叠巘间，苍松翠柏锁孱颠。云容欲雪千巗冷，无事高僧静掩闗。钤印：几暇怡情、得佳趣",[24,26,25,27,52,7,263,264,265],"黄花","红果","绿叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F468a97d6626ba8e39c7d1b702cb9ca83.jpg","21.9 × 30.2cm",[],183,{"id":271,"slug":272,"title":273,"dynasty":68,"author":274,"museum":183,"description":275,"tags":276,"thumbUrl":280,"material":58,"size":38,"collection":38,"collections":281,"showCount":282,"zanCount":11,"manualWeight":11,"mainColor":63},214857,"xie-sheng-ce-7-hua-yan-214857","写生册-7","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。",[24,73,52,26,25,27,277,278,7,279,56],"螳螂","蝉","昆虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ba9d88617d284f8015ae6e16d9ed3fb.jpg",[],178,{"id":284,"slug":285,"title":286,"dynasty":48,"author":287,"museum":183,"description":288,"tags":289,"thumbUrl":292,"material":37,"size":38,"collection":39,"collections":293,"showCount":294,"zanCount":11,"manualWeight":11,"mainColor":43},219462,"hua-niao-tu-lu-zhi-219462","花鸟图","陆治","虬曲苍劲的老梅盘错伸展，柔粉新花缀满枝桠，垂拂的柳丝轻曳，晕开春日的软柔生机。两只白羽鹦鹉或栖或飞，姿态悠然闲适，绿羽鹦鹉俯身探向花枝，翠色翎毛鲜妍亮眼，鲜活灵动。\n\n画作兼取院体工致与文人雅意，墨笔勾勒梅骨古拙苍劲，禽鸟晕染细腻写实，设色柔丽雅致。将花木的清隽幽淡与禽鸟的鲜活灵韵相融，动静交织间，晕开春日独有的悠然闲情，尽显明丽雅致的花鸟意趣。",[24,73,25,26,27,53,290,28,291,7,54,56],"鹦鹉","梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff60450a7cb42a9f747df8719efb27c47.jpg",[39],172,{"id":296,"slug":297,"title":298,"dynasty":48,"author":299,"museum":20,"description":300,"tags":301,"thumbUrl":303,"material":217,"size":304,"collection":38,"collections":305,"showCount":306,"zanCount":11,"manualWeight":11,"mainColor":63},214645,"hua-hui-ce-2-chen-chun-214645","花卉册-2","陈淳","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。",[24,73,52,213,214,27,302,7,55],"柿子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b7b87db533064cfbc2864f3c0073898.jpg","纵28 厘米 横37.9 厘米",[],160,{"id":308,"slug":309,"title":310,"dynasty":127,"author":158,"museum":129,"description":311,"tags":312,"thumbUrl":315,"material":37,"size":316,"collection":39,"collections":317,"showCount":318,"zanCount":100,"manualWeight":11,"mainColor":43},218964,"li-zhi-bai-xian-tu-lin-chun-218964","荔枝白鹇图","白鹇羽毛质感细腻，墨点顶冠与素白翎毛相映成趣，尾羽舒展如流云，俯身时翅尖微颤，似欲啄取枝间荔枝。荔枝殷红如丹，果皮肌理以细笔勾出，衬着墨绿的叶，浓淡间尽显生趣。枝干虬曲，墨线老劲，与禽鸟的柔媚形成巧妙对比。绢本古雅底色上，设色温润不艳，工笔细描中藏着自然的灵动，仿佛能闻见果熟的甜香，窥见禽鸟的轻啼。整幅画于精微处见真意，是宋人对生命意趣的细腻捕捉，静穆中透着鲜活生机，尽显院体花鸟的雅致与精妙。",[24,73,132,25,26,27,313,314,53,7],"荔枝","白鹇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b7609305a0e20c4b4fa153525254ded.jpg","26x26cm",[39],157,{"id":320,"slug":321,"title":322,"dynasty":18,"author":323,"museum":260,"description":324,"tags":325,"thumbUrl":328,"material":329,"size":330,"collection":39,"collections":331,"showCount":332,"zanCount":11,"manualWeight":11,"mainColor":43},214295,"han-mei-tu-wang-mian-214295","寒梅图","王冕","元代画家王冕（1280-1329）是中国古代著名的画家，他的《寒梅图》是其代表作之一。\n\n《寒梅图》描绘了一棵寒梅树，树上只有几朵花开，周围是一片荒芜的冬景。王冕在画中运用了凝重的笔墨和写意的造型，勾勒出了寒梅树的茂盛与脆弱，以及冬天的荒凉。\n\n《寒梅图》被认为是王冕写意山水画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《寒梅图》也是收藏家们青睐的经典之作。\n\n王冕的《寒梅图》是一幅描绘冬天荒凉的画作，但它却带给人们对生命的启示。寒梅树在荒凉的冬季依然绽放，它的坚韧与生命力激发了人们对生命的尊重与感悟。王冕的《寒梅图》不仅是一幅精美的画作，更是一首关于生命的诗篇。",[23,24,73,90,213,201,326,291,327,7,113,56],"行书","老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74eb37c58ada5991af17df8bfe595f82.jpg","绢本,水墨","113x50.2",[39],153,{"id":334,"slug":335,"title":336,"dynasty":68,"author":69,"museum":107,"description":337,"tags":338,"thumbUrl":339,"material":38,"size":340,"collection":38,"collections":341,"showCount":12,"zanCount":11,"manualWeight":11,"mainColor":63},233894,"hua-hui-ce-yun-shou-ping-233894","花卉册","恽寿平（1633-1690年），初名格，后以字行，又字正叔，别号南田，一号白云外史、云溪外史、东园客、巢枫客、草衣生、横山樵者。江苏武进人。清代著名画家。与“四王”、吴历并称“清初六大家”。其父恽日初诗文杰出，为“复社”中人。叔父恽向（道生）为著名山水画家，自创一派。恽寿平是清朝初期最享盛名的花鸟画家。其画作多写生，人称“写生正派”；更以徐崇嗣为宗，兼取各家之长，极大的发展了没骨画。所画花卉，很少勾勒，以水墨着色渲染，用笔含蓄，画法工整，明丽简洁，天趣盎然。恽寿平不仅画作出众，风格独具，而且兼工诗书，题句清丽流畅，诗格脱俗超逸，为“昆陵六逸”之冠。恽南田《山水花卉册》八帧，其中包括山水，花鸟及情景兼容的人物，攘括了恽南田所有的画种。画中有退耕堂藏印。退耕堂为徐世昌的室名。\n恽寿平一生坎坷，饱经困苦，他幼年聪颖玲利，遭遇战乱，与兄皆被俘，与父亲失散，后遇灵隐寺方丈相救，才得以与家人团聚，归家后，发奋读书学画。经刻苦钻研，于古文、诗词、书画无不精擅。他崇尚气节，誓不应科举，少时的忧患，留下深深的创痛，一生未尝忘情。却在绘画上取得了很高的成就；恽南田曾致书王（翚）说：“格于山水，终难打破一字关，曰‘窘’，良由为古人规矩法度所束缚耳。”又说：“君独步矣！吾不为第二手也”。于是恽寿平转攻花鸟，以后山水不过偶而为之。可见其艺术抱负。《山水花卉册》中的山水，取黄公望笔法，于荒率中见秀润，尖毫勾皴，浓墨点树、高旷清淡，浸润宋元诸家，吸取王蒙、二米等人之长，渐脱刻极。40岁左右作品最为精采，如43岁的《山水花鸟册》，技法灵活多变，表达各家风貌准确，艺术已臻成熟。他的花鸟画成就最为突出，取法徐崇嗣的没骨法，他的没骨花卉，揉合了黄（筌）、徐（熙）两派技法，既重视写生，力求形似，“每画一花，必折是花插之瓶中，极力描摹，得其生香活色而后已。”又强调“与花传神”。力去华靡，追求“ 澹雅”。此册中的花鸟更是形神兼备，清新淡雅，具有新的风貌。",[24,73,27,26,74,247,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6264e10266425c21b4f12e01ab8d910.jpg","纵32.5厘米，横25.5厘米",[],{"id":343,"slug":344,"title":345,"dynasty":346,"author":347,"museum":87,"description":348,"tags":349,"thumbUrl":351,"material":58,"size":352,"collection":38,"collections":353,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":63},219284,"qiu-xi-tu-xu-bei-hong-219284","秋喜图","民国","徐悲鸿","喜鹊栖枝，墨羽浓淡相宜，黑白分明处点缀一抹青绿，神态灵动似欲啼鸣。老干盘曲，墨色沉郁带苔痕，苍劲之态尽显岁月质感。红叶疏疏落落地缀于枝间，淡彩晕染出秋意，与枝干的朴拙形成雅致呼应。笔墨兼工带写，形神兼备，既承传统花鸟的诗意意趣，又融写实功底，将秋日常景化作吉祥之境，萧瑟中暗藏生机，韵味悠长耐人寻味。",[24,213,26,27,90,28,7,350],"秋叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8023c6b3e375490aa32389a75e0cd242.jpg","纵89.2横28厘米",[],140,{"id":356,"slug":357,"title":358,"dynasty":127,"author":359,"museum":107,"description":360,"tags":361,"thumbUrl":363,"material":37,"size":364,"collection":39,"collections":365,"showCount":366,"zanCount":100,"manualWeight":11,"mainColor":43},218557,"zhen-qin-tu-li-di-218557","珍禽图","李迪","画面中两只禽鸟栖息于枝间，翎羽纤毫毕现，墨色晕染层次分明，黑褐斑纹与浅白羽毛相映成趣。上方禽鸟颔首敛翅，姿态娴静；下方者展翅欲动，羽翼柔润中透着劲挺。枝叶扶疏，浅金色叶片与棕褐枝干交织，古朴绢本底色衬出物象温润质感。构图疏密有致，动静相宜，每道线条皆见功底：羽毛的蓬松、枝干的纹理刻画入微，似能闻林间轻响，观禽鸟灵动之态。笔墨间藏着对自然的细腻体察，于方寸间尽显生机与雅致，让人沉醉于这份古朴而鲜活的意趣里。",[23,132,24,73,362,25,26,27,28,7,55],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F232d7931170a1c143b987fbb2c17089a.jpg","28x32",[39],137,{"id":368,"slug":369,"title":370,"dynasty":127,"author":182,"museum":260,"description":371,"tags":372,"thumbUrl":373,"material":374,"size":375,"collection":188,"collections":376,"showCount":377,"zanCount":100,"manualWeight":11,"mainColor":43},221670,"shi-liu-la-zui-tu-ma-lin-221670","石榴蜡嘴图","马麟是马远之子，生卒年不详。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。此《石榴蜡嘴》图页传为马麟所作，但据考，未确认。",[23,132,24,73,25,26,27,186,53,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b7383521319c32631aeca0f4aaf74fe.jpg","绢本设色","纵27.3厘米，横27.3厘米",[188,39,98],128,{"id":379,"slug":380,"title":381,"dynasty":127,"author":382,"museum":129,"description":383,"tags":384,"thumbUrl":386,"material":217,"size":387,"collection":39,"collections":388,"showCount":389,"zanCount":191,"manualWeight":11,"mainColor":43},216207,"qi-xiao-tu-liang-kai-216207","栖鸮图","梁楷","栖鸮图是中国宋朝画家、书法家梁楷的名作。这幅画描绘了一只美丽的栖鸮鸟停在树枝上，身躯优美，栩栩如生。\n\n梁楷是宋朝最伟大的画家之一，他在画鸟时细致入微，把鸟的形态、羽毛和神情都写得栩栩如生。他的作品常常被视为中国画的精品，在世界艺术史上享有极高的地位。",[24,213,214,56,28,385,7],"竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66c4639fd1e32157af0aa83de738b753.jpg","78x29cm",[39],121,{"id":391,"slug":392,"title":393,"dynasty":105,"author":106,"museum":107,"description":108,"tags":394,"thumbUrl":405,"material":118,"size":119,"collection":120,"collections":406,"showCount":407,"zanCount":62,"manualWeight":11,"mainColor":63},225729,"chestnut-tree-in-blossom1890-fan-gao-225729","Chestnut tree in blossom1890",[110,111,395,396,397,398,399,400,7,114,401,402,403,147,404],"厚涂","笔触奔放","色彩明快","设色丰富","栗树花","栗树叶","土地","开花植物","自然景观","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7e806daa16d15288c635016ec4e55cd.jpg",[120],120,{"id":409,"slug":410,"title":411,"dynasty":48,"author":412,"museum":413,"description":414,"tags":415,"thumbUrl":416,"material":52,"size":38,"collection":39,"collections":417,"showCount":407,"zanCount":191,"manualWeight":11,"mainColor":63},221905,"hua-niao-jing-pin-ce-chen-hong-shou-221905","花鸟精品册","陈洪绶","美国克利夫兰艺术博物馆","陈洪绶（1599～1652），明末清初著名书画家、诗人，字章侯，号老莲，浙江绍兴人。其画手法简练，格调高古，享誉明末画坛，与当时的顺天崔子忠齐名，号称“南陈北崔”。花鸟工笔描绘精细，设色清丽，富有装饰味。",[24,73,52,26,25,27,31,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F852ddfb4bab4ecb9d65b1c1507a19737.jpg",[39,98],{"id":419,"slug":420,"title":421,"dynasty":18,"author":422,"museum":423,"description":424,"tags":425,"thumbUrl":427,"material":58,"size":428,"collection":39,"collections":429,"showCount":430,"zanCount":62,"manualWeight":11,"mainColor":63},219118,"shuang-jiu-tu-qian-xuan-219118","双鸠图","钱选","辛辛那提艺术博物馆","画面描绘了一根梨枝的主干，枝头有许多枝条，枝条上盛开着洁白的梨花。 树枝上栖息着两只鸽子，一只低着脖子哼了一声，一只好奇地盯着树枝。",[24,73,25,26,426,7,147,201,56],"鸠鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0c9c5dce479a9ec47c315e8badbe4e8.jpg","30.5x97.8cm",[39],111,{"id":432,"slug":433,"title":434,"dynasty":18,"author":435,"museum":107,"description":436,"tags":437,"thumbUrl":439,"material":38,"size":38,"collection":38,"collections":440,"showCount":441,"zanCount":191,"manualWeight":11,"mainColor":43},228168,"fang-qian-xuan-hua-niao-hua-yi-ming-228168","仿钱选花鸟画","佚名","画面取春日一角，海棠柔枝斜出，白花轻绽，晕染出温润秀雅的底色。两只禽鸟动静相映，一只伫立于高枝，羽色晕染细腻柔和，神态悠然自若；另一只俯身枝桠，似在啄弄新蕊，灵动尽显。右上角飞虫轻掠，更添鲜活生趣。\n\n整幅设色浅淡清丽，勾勒线条柔婉精细，尽得原作花鸟古雅秀润之韵，将春日林禽的恬然意趣收于尺幅之间，笔墨雅致内敛，闲静雅致的小景里，藏着春日最动人的温柔生机。",[23,24,132,73,438,25,26,27,53,54,7,55,279],"临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e0e41ae4620431cb6be12a31d46f40a.jpg",[],108,{"id":443,"slug":444,"title":445,"dynasty":68,"author":86,"museum":260,"description":446,"tags":447,"thumbUrl":448,"material":449,"size":38,"collection":38,"collections":450,"showCount":451,"zanCount":100,"manualWeight":11,"mainColor":63},220471,"dong-wu-hua-niao-ren-yi-220471","动物花鸟","此作用笔灵动写意，淡墨晕染出空濛柔润的水色背景，烘托出清寂悠然的氛围。枝上红顶雀鸟，以干湿笔墨皴擦出蓬松绒羽，朱红顶冠鲜亮醒目，将禽鸟的灵动野趣尽显无遗。下方伏于枝叶间的禽鸟探身侧目，姿态机敏鲜活。\n\n枯笔写就的老枝苍劲疏朗，叶片以浓淡墨色晕染，虚实相映，留白恰到好处。画面简淡天真，将秋意里的幽寂与小禽的生机相融，寥寥数笔，便把闲淡野逸之趣藏于笔墨间，尽显传统写意花鸟的雅致意韵。",[24,73,213,26,214,27,53,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3adf0c2f4c3b76213aefde5481ee095a.jpg","纸本水墨",[],103,{"id":453,"slug":454,"title":286,"dynasty":68,"author":435,"museum":455,"description":456,"tags":457,"thumbUrl":460,"material":37,"size":461,"collection":39,"collections":462,"showCount":463,"zanCount":191,"manualWeight":11,"mainColor":43},216726,"hua-niao-tu-yi-ming-216726","美国弗利尔美术馆","花鸟图是清朝时期佚名画家创作的一类绘画作品，其中包含了许多花卉和鸟类的描绘。这类画作通常都具有鲜艳的色彩和精致的细节，描绘的花卉和鸟类也常常具有浓郁的自然气息。花鸟图被广泛地用作装饰品，被视作清朝文化中的珍宝。",[24,73,90,25,26,27,53,54,458,7,459,56],"蝴蝶","草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72ae1b447224169fc778d51c627cec2c.jpg","60.5x34.9cm",[39],102,{"id":465,"slug":466,"title":467,"dynasty":68,"author":468,"museum":183,"description":469,"tags":470,"thumbUrl":474,"material":58,"size":475,"collection":38,"collections":476,"showCount":477,"zanCount":191,"manualWeight":11,"mainColor":63},220331,"cao-chong-hua-hui-hu-shi-si-ping-mu-dan-ju-lian-220331","草虫花卉湖石四屏-牡丹","居廉","这四屏分写牡丹、凌霄、绣球、紫薇等时卉，并配以湖石、蜂、蝶、知了、螳螂。于精密写实之外，饶富没骨花卉清新典丽的特质，虽因重装颜色稍褪，犹可清晰得见居氏惯采的撞水与撞粉画技，笔法工整，设色妍丽，让人赏心悦目。",[23,24,73,90,25,26,92,31,471,147,7,472,473],"草虫","叶片","飞虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9405a060a876dc38c257ff27f089ad9e.jpg","113×26.5厘米",[],99,{"id":479,"slug":480,"title":481,"dynasty":68,"author":482,"museum":483,"description":484,"tags":485,"thumbUrl":488,"material":133,"size":489,"collection":38,"collections":490,"showCount":491,"zanCount":191,"manualWeight":11,"mainColor":63},222684,"si-ji-hua-niao-tu-ping-7-chen-mei-222684","四季花鸟图屏7","陈枚","天津博物馆","此花鸟屏共八条，绘四季花卉：春桃、夏荷、秋菊、冬梅，配以四时禽鸟。由于作者有西洋绘画的功底，所绘画鸟造型准确，赋色大胆艳丽，栩栩如生。西洋技法加上传统绘画的笔墨意趣，使画面韵律生动，极富表现力。作者为宫廷画家，此八条屏作于雍正丙午，即公元1726年，是年作者因供奉内廷有功，获赏内务府掌仪司员外郎衔。\n由于作者有西洋绘画的功底，所绘花鸟造型准确，赋色大胆艳丽，栩栩如生，将一年四季的美妙景色勾勒的惟妙惟肖，让人怦然心动。\n整幅图运用了西洋技法加上传统绘画技巧，笔墨细腻，充满意趣，使画面韵律生动，极富表现力。",[23,24,26,25,27,291,32,53,7,486,487,35],"岩石","红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcaf378e4fccac3e55f9b45892458c5c.jpg","139X41CM",[],96,{"id":493,"slug":494,"title":495,"dynasty":68,"author":482,"museum":483,"description":484,"tags":496,"thumbUrl":499,"material":133,"size":489,"collection":38,"collections":500,"showCount":501,"zanCount":153,"manualWeight":11,"mainColor":63},222679,"si-ji-hua-niao-tu-ping-2-chen-mei-222679","四季花鸟图屏2",[23,24,25,26,27,53,54,7,55,92,497,498],"兰","清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81b6aab8d5cdb347668d913e6a8ccedc.jpg",[],95,{"id":503,"slug":504,"title":505,"dynasty":48,"author":506,"museum":87,"description":507,"tags":508,"thumbUrl":511,"material":512,"size":513,"collection":38,"collections":514,"showCount":515,"zanCount":11,"manualWeight":11,"mainColor":63},233886,"lv-bei-yin-shi-tu-xu-wei-233886","驴背吟诗图","徐渭","作为明代花鸟画坛独领风骚、以大写意画法见称的徐渭，留下的人物画迹并不多见。他所画的人物有诗人，有隐士，有观音，有儿童，虽然笔墨简练，但形象生动，神韵自存。\n《驴背吟诗图》中并无徐渭自题或钤印，画幅上仅有清初书画鉴赏家笪重光、张孝思的两段鉴定文字，左上为“徐田水月驢背吟詩圖，笪在辛鑒定”，右下为“以書法作畫，古人中多見之。此畫雖無款識，爲徐文長先生筆意靡疑。懶逸張孝思鑒。”自此，此图被公认为徐氏真迹。\n图上树枝间所盘青藤纷披垂落，树下一老翁乘驴缓缓而过，仿佛正在吟哦诗句，悠然雅适。宋代孙光宪的《北梦琐言》（卷七）中记载，唐时有人询问诗人郑棨近来是否写有新诗，郑棨回答：“诗思在灞桥风雪中的驴子上，此处何以得之？”此后，表现诗人骑驴游山涉水寻诗觅句的题材逐渐为画家们所青睐。徐渭的这幅画当属此类绘画中以笔墨意趣取胜的佳作。他画人物多用“减笔”法绘出，且构图简略，往往只画前景，远景常几笔带过，有时甚至完全省略。《驴背吟诗图》上老翁和驴仅用寥寥数笔便形神俱备，尤其是对驴子的描绘，用解剖学的眼光看驴的造型并不准确，而它那踏着轻快步伐的神气却跃然纸上。背景树枝、藤蔓则笔点零乱，使人顿有秋色萧索之感。运用恰到好处的省略手法，徐渭营造了一个空而不虚、意境深远的艺术空间。以书法笔意入画是《驴背吟诗图》的又一特色。图中人、驴、树、藤的画法隐有真、行、草、隶之笔意，令人感觉其间有一股勃勃不息的活力，这正是徐渭之画能脱俗免尘、卓尔不群之处。明末清初的张岱对徐渭的书画艺术创作有过中肯的评价：“昔人谓摩诘之诗，诗中有画；摩诘之画，画中有诗。余亦谓青藤之书，书中有画；青藤之画，画中有书。”",[24,213,214,90,509,510,7,56],"人物","驴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99d461acc6ac4f5a17dde4039154ab4c.jpg","纸本，水墨","纵112.2厘米，横30厘米",[],92,{"id":517,"slug":518,"title":519,"dynasty":127,"author":520,"museum":129,"description":521,"tags":522,"thumbUrl":523,"material":37,"size":524,"collection":39,"collections":525,"showCount":526,"zanCount":100,"manualWeight":11,"mainColor":43},218929,"hong-ye-xiao-niao-tu-wu-yuan-yu-218929","红叶小鸟图","吴元瑜","此幅《红叶小鸟图》是现今所知的唯一署款之作，“元瑜”二字书写古拙，笔法柔中带刚。画的设色极高古，小鸟羽毛描绘精细，指爪紧握树枝，眼神灵活，舌尖颤动如发清音，状物写情生动传神，定为宋画应无疑问。而且画幅上藏印累累，包括黔宁王沐昂，著名的收藏家宋荦，近代鉴藏家吴湖帆、钱镜塘、王季迁等。虽暂时仍未查有著录，但正如杨仁恺在裱绫中所题，“画心钤明清诸家钤印，当有所据也”。",[132,24,73,27,25,26,53,487,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91e95be5e4206dc53f32e2bb88825d63.jpg","42x25cm",[39],90,{"id":528,"slug":529,"title":530,"dynasty":48,"author":142,"museum":183,"description":531,"tags":532,"thumbUrl":536,"material":37,"size":537,"collection":39,"collections":538,"showCount":539,"zanCount":191,"manualWeight":11,"mainColor":43},218790,"hua-hui-ling-mao-tu-lv-ji-218790","花卉翎毛图","吕纪（约 1429-1505），字廷振，浙江鄞县人。花鸟初学边文进（15 世纪），后又广摹唐宋名家，艺事益能精进。明孝宗弘治（1488-1505）间与林良（约1424-1500 后）同值仁智殿， 任锦衣卫指挥使。\n本幅画春暖花开时节，杏花临水绽放，柳树迎风摇曳， 八哥、山鸟停憩、飞翔于其间。溪中游鱼成群，隔岸两对鸳鸯，景致富丽而怡人。画中并无作者款印，布局与笔意，饶有吕纪之精神面貌，研判应出自传承吕氏风格的宫廷画家之手。",[23,24,132,25,26,27,533,147,173,7,113,534,94,28,535],"翎毛","水面","柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1048483f5027abb6034036a7b9aeaaa.jpg","193.2x116cm",[39],89,{"id":541,"slug":542,"title":543,"dynasty":68,"author":274,"museum":183,"description":275,"tags":544,"thumbUrl":547,"material":58,"size":38,"collection":38,"collections":548,"showCount":539,"zanCount":11,"manualWeight":11,"mainColor":63},214848,"xie-sheng-ce-15-hua-yan-214848","写生册-15",[24,73,52,213,545,546,7,161,56,214],"兽","猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22de583f690d4844cea3aa5bdc79e136.jpg",[],{"id":550,"slug":551,"title":552,"dynasty":48,"author":142,"museum":553,"description":554,"tags":555,"thumbUrl":558,"material":374,"size":559,"collection":38,"collections":560,"showCount":561,"zanCount":191,"manualWeight":11,"mainColor":43},222393,"si-ji-hua-niao-tu-chun-lv-ji-222393","四季花鸟图-春","日本京都国立博物馆","吕纪（1429～1505），字廷振，号乐愚，鄞（今浙江宁波）人。明代画家。\n其花鸟初师边景昭，又学林良，并广泛师法唐宋诸家，所作有工笔重彩和水墨写意两种画法，前者描绘精工，色彩富丽，法度谨严；后者粗笔挥洒，随意点染，简练奔放，富有气势和动感。其山水宗法马远、夏圭，以大斧劈皴画山石，苍劲有力。人物亦法南宋院体，衣纹线条简练顿挫。初学边景昭工笔法，亦受林良水墨法影响，后临仿唐宋诸家名迹，遂自成一体，独步当代。其花鸟画风呈两种面貌，一作工笔重彩，精工富丽，多绘凤鹤、孔雀、鸳鸯之类，辅以树木坡石、滩渚流泉背景，既具法度，又富生气。另一类为水墨写意画，粗笔挥洒，简练奔放，接近林良的风格。他亦兼善人物、山水，宗法南宋马远、夏圭画法。他的花鸟画风在当时宫廷内外影响甚大，继承者不乏其人。\n明弘治年间，入值仁智殿，官至锦卫指挥使，是明代与边景昭、林良齐名的院体花鸟画代表画家。其绘画风格可分为两大类，一类是以水墨为主略淡彩，用笔较为豪纵，另一类则是设色浓丽，用和工致，具有富丽的宫廷装饰趣味。吕纪由水墨淡色画转为工笔重设色画，更直接的原因是为了适应不同皇帝的不同口味，具体说来就是弘治皇帝朱祐樘的欣赏口味不同于他的父辈成化皇帝朱见深，从而造成了吕纪多画凤凰、雉鸡、仙鹤、孔雀、鸳鸯之类，杂以花木草石，具有生气。工笔着色与水墨写意能，并善于将两体结合。吕纪初学唐宋各家和同时代的边景昭，后形成自己的风格。他的花鸟设色鲜艳，生气奕奕，被称为明代花鸟画第一家。据说吕纪在画作上常用寓意手法对皇帝劝谏，皇帝知其用心，曾说：“工执艺事以，谏吕纪有之。”其代表作品有《新春双雉图》《桂花山禽图》《残荷鹰鹭图》《秋鹭芙蓉图》《五德大吉图》 《狮头鹅图》等。\n吕纪，1477年生，鄞州（今浙江宁波）人。字廷振，号乐愚，弘治间（1488-1505）供事仁智殿，弘治间征入宫廷，为宫廷作画，供奉仁智殿，官锦衣卫指挥。擅画临古花鸟，初学边景昭，后研习唐宋诸家名作，继承两宋“院体”，以工笔重彩，又在水墨写意方面受林良影响。\n远宗南宋院体格，廷续了黄筌工整细致的画风及钩勒笔法，并予以发扬，多以凤凰、仙鹤、孔雀、鸳鸯之类鸣禽为题材，杂以浓郁花树，画面绚丽。亦作粗笔水墨写意者，笔势劲健奔放，与林良相近，与边景昭同为明代院体花鸟画中的临古派代表。传世作品有《桂菊山禽图》《榴花双莺图》《雪景翎毛图》《浴凫图》等。除画花鸟外，偶尔也画人物山水。他主要是以工整精丽的院体传统作画，造型准确，设色鲜艳。但也能画活泼生动兼工带写的花鸟画。他的画生动，笔墨清新，是当时与边景昭、林良齐名的花鸟名家。他作画时，常以寓意手法规谏皇帝，故明孝宗曾说：“工执艺事从谏，吕纪有之”。他是与边景昭、林良齐名的院体花鸟画代表作家。《狮头鹅图》，绢本，设色。纵191厘米，横104厘米。工笔画狮头鹅，侧身曲颈回顾古梅，鹅身洁白如玉，眼睛刻划有神，形象生动。古梅干枝苍劲，生机勃勃。树下衬以太湖石、月季花，石后有双勾竹隐露，色彩艳丽，衬托出狮头鹅之白身红冠。是明代院体花鸟画的杰作。款署“吕纪”。现藏辽宁省博物馆。\n《榴花双莺图》写石榴一枝，蘩花盛开，一对黄鹂栖于枝头，一上一下，鸣啼相应，神态活泼。工笔重彩，钩勒填色，绚丽多彩为明代中期院体画的典型风格。\n相比画家，吕纪的另一个身份更令人吃惊——历经明代成化、弘治、正德三代，官至锦衣卫指挥使(秘密警察头目)。吕纪的花鸟绘画，水墨淋漓，气势宏大，甚至是日本屏风画的来源之一。《柳荫双鸭图》和《幽涧双鹭图》曾在日本出版的《听松清鉴》中著录，郑振铎在上世纪四十年代遍访流传在海外的中国名画，并在其所编的《域外所藏中国名画》中收录。吕纪的两幅作品不仅是明代全景花鸟画的杰作，也是中国绘画影响日本绘画的证据代表作。",[23,24,132,25,26,27,291,53,173,556,7,90,557],"山石","开花树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2342faa17d4f14661d3abe4bf10e5735.jpg","176.0×100.8",[],85,{"id":563,"slug":564,"title":565,"dynasty":68,"author":566,"museum":20,"description":567,"tags":568,"thumbUrl":570,"material":217,"size":571,"collection":39,"collections":572,"showCount":573,"zanCount":191,"manualWeight":11,"mainColor":63},218902,"mao-tu-zhou-wang-shi-shen-218902","猫图轴","汪士慎","此轴画一黑白相间的猫蹲踞石上，双目斜睨画外，神态生动。画上题诗“每餐先备买鱼钱，曾记携归小似拳，一自爪牙动黠鼠，傍人安稳卧青氊”。并题为雍正六年戊申（1728）九月所画，时年32岁。",[24,213,214,90,569,94,35,7,201,56],"猫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e98d0a6a379b6c7d84e39c07b0d0aec.jpg","纵125.7厘米，横60.8 厘米",[39],83,{"id":575,"slug":576,"title":577,"dynasty":127,"author":158,"museum":578,"description":579,"tags":580,"thumbUrl":582,"material":37,"size":583,"collection":188,"collections":584,"showCount":585,"zanCount":11,"manualWeight":11,"mainColor":43},219083,"shan-qin-mi-shi-tu-lin-chun-219083","山禽觅食图","圣路易斯艺术博物馆","描绘了两枝树支。 下部枝叶有阔叶，叶片黄色，多孔。 最左边的叶子上有一只黑色的昆虫，似乎已经吃掉了叶子。 高大的枯树的叶子已经枯萎。 而右边的树枝上，却长出了新的叶芽，站在树枝上的鸟儿正盯着那只黑色的虫子。",[23,132,24,73,25,26,27,581,7,31],"山禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b4ff92e043a2bee2158780d7469100a.jpg","26.5x25.7cm",[188,39],78,{"id":587,"slug":588,"title":589,"dynasty":68,"author":590,"museum":107,"description":591,"tags":592,"thumbUrl":594,"material":38,"size":87,"collection":39,"collections":595,"showCount":596,"zanCount":191,"manualWeight":11,"mainColor":63},236606,"hua-niao-ce-ma-yuan-yu-236606","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。",[24,73,52,26,213,27,53,7,593],"叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e74d9e1c5842148c80d29f7995d049e.jpg",[39,98],75,{"id":598,"slug":599,"title":600,"dynasty":48,"author":142,"museum":87,"description":601,"tags":602,"thumbUrl":604,"material":58,"size":605,"collection":39,"collections":606,"showCount":607,"zanCount":191,"manualWeight":11,"mainColor":63},219286,"ying-que-tu-lv-ji-219286","鹰鹊图","图绘一只苍鹰独立岩顶，两只飞舞的蜜蜂吸引了它的目光，一旁的喜鹊趁机振翅欲逃。作者用笔粗阔，富有简率纵逸的笔墨意趣。吕纪的花鸟画不仅追求形似，更善于表现禽鸟之间的关系，捕捉住禽鸟瞬间的神态和动势，营造出千钧一发的紧迫感和爆发力，突破了传统花鸟画唯美的装饰意味，从而获得了新的艺术生命力。",[23,24,73,90,26,213,25,27,134,603,556,7,28],"鹊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62b4c020881f2a1e771cfb4cf7f1d62f.jpg","纵120.7厘米，横61.5厘米",[39,98],72,{"id":609,"slug":610,"title":611,"dynasty":48,"author":612,"museum":107,"description":613,"tags":614,"thumbUrl":618,"material":38,"size":38,"collection":38,"collections":619,"showCount":620,"zanCount":191,"manualWeight":11,"mainColor":43},228485,"qiao-lin-bai-que-tu-juan-lin-liang-228485","乔林百雀图卷","林良","整卷以水墨挥毫，枯木槎枒间百雀各呈其态，飞栖鸣集无一雷同。劲爽墨笔勾勒禽鸟翎羽，干湿浓淡晕出绒羽蓬松质感，枯林苍劲荒疏，与群雀喧腾相映，在萧索冬日漾出盎然生趣。\n笔墨简括老辣，融院体工致与文人写意于一体，将小雀的灵动狡黠描摹入微，于长卷间铺展野逸灵动的自然意趣，尽显水墨花鸟纵逸格调，是水墨禽鸟画中极具表现力的佳构。",[23,24,73,615,213,214,27,616,53,617,7,94,28],"长卷","乔木","树林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f738b6a6309084a7933eb775da10da.jpg",[],71,{"id":622,"slug":623,"title":27,"dynasty":68,"author":274,"museum":107,"description":624,"tags":625,"thumbUrl":627,"material":118,"size":119,"collection":38,"collections":628,"showCount":629,"zanCount":100,"manualWeight":11,"mainColor":630},224162,"hua-niao-hua-yan-224162","华喦（1682-1756），字德嵩，号秋岳、又号新罗山人、新罗生、白砂山人，别号东园生、布衣生、老年自喻“飘篷者”。福建上杭人。华少时酷爱绘画，常替人作山水、花鸟、人物故事画，还在寺堂庙祠画壁画。花鸟画最负盛名，吸收明代陈淳、周之冕、清代恽寿平诸家之长，形成兼工带写的小写意手法。既有大局的的挥洒简逸，又有细节的精微描写，如画禽鸟，能将蓬松的羽毛玲珑剔透地表现出来。敷色鲜嫩不腻，时用枯笔干墨淡彩。这种工写结合、清新俊秀的花鸟画风格，对后世产生了积极影响。",[23,24,73,26,27,53,7,626,94,404],"水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8abdb76674bf8f6b4a883e5a267d9d69.jpg",[],70,"FFFFFF",{"id":632,"slug":633,"title":634,"dynasty":68,"author":244,"museum":183,"description":635,"tags":636,"thumbUrl":638,"material":26,"size":639,"collection":38,"collections":640,"showCount":641,"zanCount":11,"manualWeight":11,"mainColor":63},222748,"xian-e-chang-chun-tu-05b-lang-shi-ning-222748","仙萼长春图-05b","本册共十六开内容分别描绘牡丹、桃花、芍药、海棠玉兰、虞美人、蝴蝶花、黄刺玫牡丹、石竹、樱桃、罂粟、紫白丁香、百合花牡丹、翠竹牵牛、荷花慈姑花、豆花稷穗、鸡冠花、菊花等，其中有八开还画有鸟禽，整册内容与《石渠宝笈三编》著录之〈郎世宁画花卉册〉一致，对幅皆是空白，而最末一开有宋体书款「臣郎世宁恭画」，依据画风特色推测是郎世宁雍正时期的花鸟佳作。全册不仅设色精緻，构图手法也见新意。特别能于鸟禽形体姿态上有超乎传统的表现，是西法透视手法的精采成果。画中花鸟多处能够显示光影明暗，透过白色颜料提点高光的技巧也常见运用。整册画风都一再显示其与郎世宁雍正前期画风有关。",[23,132,24,73,52,26,25,637,27,53,147,7,55],"中西合璧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa2ff46c0b7d6fa3b8909b3f40b0c5a9.jpg","宽28.4公分，高33.7公分",[],69,{"id":643,"slug":644,"title":645,"dynasty":48,"author":612,"museum":553,"description":646,"tags":647,"thumbUrl":648,"material":649,"size":650,"collection":39,"collections":651,"showCount":652,"zanCount":11,"manualWeight":11,"mainColor":43},222446,"mu-niao-tu-lin-liang-222446","木鸟图","林良（约公元1428-1494），字以善，广东广州府南海县扶南堡（今广东佛山市南海区大沥）人，明代著名画家，广东绘画史上第一个进入主流性行列的画家。\n史料记载“林良吕纪，天下无比”，他因善画而被荐入宫廷，授工部营缮所丞，后任锦衣卫指挥、镇抚，值仁智殿。绘画取材多为雄健壮阔或天趣盎然的自然物象，笔法简练而准确，写意而形具\n林良是明代院体花鸟画的代表人物，也是明代水墨写意画派的开创者，在明代院体画中独树一帜，对后世画坛，包括宫廷画家、职业画家、文人画家均产生重大的影响。\n明初洪武至弘治的百余年内， 占据画坛主位的是皇家画院的宫廷绘画。时代特色和风格成型主要体现在宣德、成化、弘治三朝。尤其是花鸟画， 突破“院体”程式，出现了工笔重彩、水墨写意、设色没骨等多种风格， 并有所创新。其中水墨写意的开派人物便是林良。\n他创作的“文人画化”的水墨写意花鸟画，使明代“院体”花鸟出现了新的生机。虽然在明之前也有水墨写意花鸟，但仍以勾染为主流形式，而且宋“院体”花鸟在元代仍保持着很大的影响力。\n明代的水墨写意花鸟画， 由林良开派， 以后耕耘其间者接踵而至， 如沈周、陈淳、徐渭等， 一步步将写意法推向臻境，并成为明代花鸟画最流行和最富成就的一种形式， 终汇就明清泱泱大观的写意花鸟画风。林良无疑起了先导作用。他在花鸟画的发展史上， 是不可或缺的重要人物。",[23,24,213,214,27,53,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a952a0aa9c1a5088e4461d5982c15c7.jpg","纸本","30.3×31.3",[39,238],67,{"id":654,"slug":655,"title":656,"dynasty":127,"author":657,"museum":129,"description":658,"tags":659,"thumbUrl":663,"material":58,"size":664,"collection":39,"collections":665,"showCount":666,"zanCount":62,"manualWeight":11,"mainColor":43},218941,"yuan-tu-mu-xi-218941","猿图","牧溪","墨色晕染间，猿猴踞于山石之上，敛息凝神，似与周遭空寂相融。枯枝斜出，线条简劲如铁，牵起几分悠远禅意。山石以淡墨皴擦，肌理隐现却不刻意，留白处尽是天地的虚静。整幅画无多余笔墨，却在简淡中藏着深湛的禅思——物我两忘，心与境合。猿的眼神安详，仿佛已沉入永恒的静谧，连风都在此刻停驻。笔墨的疏朗与意境的幽远交织，恰似禅者的顿悟，于无声处叩击心灵。每一处淡墨的晕散、每一道线条的起落，都在诉说着禅画的精髓：不执于形，只追于心。山石的朴拙、猿的静定，共同织就一幅空灵的禅境图卷，引人踏入物我两忘的虚静之境。",[24,73,132,213,214,660,661,545,31,7,662],"皴法","猿","杂草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a688cef2370db7643864b3746bd2747.jpg","129x80.5cm",[39],63,{"id":668,"slug":669,"title":243,"dynasty":48,"author":612,"museum":20,"description":670,"tags":671,"thumbUrl":672,"material":26,"size":673,"collection":39,"collections":674,"showCount":675,"zanCount":191,"manualWeight":11,"mainColor":63},222448,"hua-niao-tu-zhou-lin-liang-222448","林良作花鸟画取材十分广泛。他最擅于画禽鸟，从江湖山野的苍鹰、小雀、鱼鸟、芦雁，到宫廷后苑的仙鹤、孔雀、凤凰等等，都一一入画。他对禽鸟作了细致入微的观察，将禽鸟的飞鸣食宿之态，跳攀争斗之势表现得十分准确、生动、传神。林良画的花木同样是生气勃勃：汀芦、灌木、翠枝、枯藤等植物呈现出含苞养秀、荣枯凋落等各种生态，充满野趣和生机。\n林良在花鸟画领域中，最具创造性的是他对水墨写意技法的运用。他把南宋马远、夏圭的水墨山水画技法引入花鸟画之中，打破了工笔与写意的界限，大大丰富了花鸟画的表现方法。而林良的写意，又只是在写实之中略为开放，既不背离形似，又不着意于酷似。他以水墨为主作画，黑白变化多端。萧镃于明景泰六年为林良的《九思图》题曰：“……宣庙间，边景昭五色翎毛称独步，近日林良用水墨，落笔往往皆天趣。”《明画录》则称林良“着色花果翎毛极精巧，取水墨为烟波出没，凫雁嚵唼容与之态，颇见清淡。树木遒劲如草书，人莫能及。”",[23,24,90,213,214,27,53,7,201,326],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a383be487dab662a8b62819082463dd.jpg","36X183cm",[39,238],62,{"id":677,"slug":678,"title":679,"dynasty":68,"author":680,"museum":107,"description":681,"tags":682,"thumbUrl":685,"material":38,"size":38,"collection":38,"collections":686,"showCount":687,"zanCount":191,"manualWeight":11,"mainColor":688},231018,"xiu-qiu-chun-niao-tu-wen-ding-231018","绣球春鸟图","文定","此作为工笔花鸟佳作，构图错落雅致。虬曲老干苍劲横斜，团团绣球柔白雅致，与翠色枝叶相映成趣。枝上彩鸟造型写实，翎毛晕染精细入微，长尾舒展顾盼生姿，以灵动打破画面沉静。\n湖石以青绿晕染，石色厚重秀雅，配搭秋菊、幽兰，敷色柔润雅致，枝叶区分浓淡虚实，层次分明。整体笔法工致细腻，设色妍丽沉稳，兼具院体花鸟的工整法度与文人花鸟的清逸意趣，铺展出春日园林的幽柔静谧，尽显融融春日的娴雅生机。",[23,24,73,90,26,25,27,683,53,7,684,556,32],"绣球","树叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff4f1110d26ae54c1b2b96fff34fa30f.jpg",[],61,"F48FB1",{"id":690,"slug":691,"title":692,"dynasty":127,"author":435,"museum":87,"description":693,"tags":694,"thumbUrl":696,"material":374,"size":697,"collection":38,"collections":698,"showCount":687,"zanCount":100,"manualWeight":11,"mainColor":43},223584,"wa-que-qi-zhi-tu-ye-yi-ming-223584","瓦雀栖枝图页","此画绘海棠一枝，果实散挂枝头，树叶已染秋霜。\n枝头栖息着姿势各异的五只瓦雀，其中一只正仰首注视着枝叶上的昆虫，张口欲啄，形象生动活泼。\n整个画面张弛有致，设色研丽，刻画写实。\n海棠间杂红、黄、绿色，细看可见叶、果有些已遭虫蚀。\n作者取轻勾淡染之法，以表现秋叶缺乏水分的轻、薄质感。\n鸟的羽毛用细笔一笔一笔勾描，具有毛茸茸的质感。",[23,24,132,73,52,25,26,27,28,695,7,55],"麻雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F398ac81f47572946b8488c7c3af380e0.jpg","纵28.9厘米横29厘米",[],{"id":700,"slug":701,"title":702,"dynasty":18,"author":703,"museum":87,"description":704,"tags":705,"thumbUrl":708,"material":709,"size":710,"collection":38,"collections":711,"showCount":712,"zanCount":191,"manualWeight":11,"mainColor":43},233824,"tao-zhu-jin-ji-tu-zhou-wang-yuan-233824","桃竹锦鸡图轴","王渊","该图上有王渊款：“至正已醜(1349年)王若水爲惠明作桃竹錦雞圖。”钤私印两方。是图将工整双勾的线条和细腻的水墨渲染合为一体，形成兼工带写的绘画技巧，以墨代色，脱胎于五代黄筌“黄家富贵”的工笔设色画风，反映了文人画重墨轻色的审美观。画家以水墨皴擦、晕染、粗细笔并用，行笔稳健而不乏洒脱，水墨层次变化丰富，颇有透明感，全图不着一色已俱见典雅端丽，画意蕴藉清润、幽静深秀。",[24,73,90,213,25,27,706,385,707,31,7,248,56],"桃","锦鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04fe80188608afae39245cc2e1cd29b2.jpg","纸本，墨笔","纵102.3cm，横55.4cm",[],60,{"id":714,"slug":715,"title":157,"dynasty":127,"author":158,"museum":87,"description":716,"tags":717,"thumbUrl":719,"material":251,"size":720,"collection":38,"collections":721,"showCount":712,"zanCount":11,"manualWeight":11,"mainColor":43},233004,"guo-shu-lai-qin-tu-ye-lin-chun-233004","画家选取果木的一枝写秋景：寂静的山林木叶泛黄，沉甸甸的果实早已熟透却无人采摘，任由虫儿噬蚀。一只小鸟蓦然飞上枝头，打破了空间的宁静。忽而，它转颈回眸，振翅欲飞，在这收获的季节里，它是否被画面外更为诱人的景色所吸引呢？\n折枝画法发挥了小幅的特长，作者以活泼的形式突出表现了枝叶、果实的色彩和禽鸟的情态，大不盈尺却美轮美奂，在饱满丰硕的果实和小鸟怡然自得的鸣唱中，画外的情趣、诗意与画意相结合，加强了花鸟画借物抒情的目的，令人赏心。\n小鸟的动态用细劲柔和的笔致勾勒，蓬松的羽毛则以浑融的墨色晕染，木叶的枯萎、残损、锈斑，果子上被虫儿叮咬的痕迹都被一一描绘出来，可见画家从自然景致中“摄集花形鸟态”的高超的写生能力。在构图上删繁就简，明洁奇巧，既保持了画院花鸟画“要物形不改”状物精微的写实精神，又表现出作者蕴藉空灵的审美追求。设色轻敷淡染，黄绿的叶子、淡红的果实、鹅黄的小鸟，分外和谐明丽。",[24,132,73,25,26,27,718,135,7,593],"果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4b4d59a08468c0294c3fe6a31110e6d.jpg","纵26.9厘米，横27.2厘米",[],{"id":723,"slug":724,"title":725,"dynasty":48,"author":612,"museum":726,"description":727,"tags":728,"thumbUrl":730,"material":731,"size":732,"collection":39,"collections":733,"showCount":712,"zanCount":11,"manualWeight":11,"mainColor":38},220761,"shuang-ying-tu-lin-liang-220761","双鹰图","香港中文大学文物馆","《双鹰图》轴是林良水墨写意的杰出代表作。该作品应是作者中年时期作品，“院体”画花鸟代表作，没骨画法，工写兼具。构图简洁，着色低沉单一，凸显鹰隼兀立久视之大境界。双鹰上者气宇轩昂，目光如炬，一爪独立于枯枝之上，有傲视苍宇之威；下者挺身缩项，羽翼蓬振，双爪力着于苍岩宕石，目中有物，显欲搏四方之势。双鹰静中有动，动中蓄静，王者风范，鹰击长空。",[23,24,73,213,214,90,27,545,28,729,31,7],"枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a39e0bfd96c98a3be0dfa4c6416f5ee.jpg","纸本，水墨设色","130.2 × 74.5 cm",[39],{"id":735,"slug":736,"title":737,"dynasty":127,"author":435,"museum":183,"description":738,"tags":739,"thumbUrl":742,"material":37,"size":743,"collection":188,"collections":744,"showCount":745,"zanCount":11,"manualWeight":11,"mainColor":63},220386,"wu-kuan-li-hua-qu-yu-yi-ming-220386","无款梨花鸲鹆","此作尽显宋代工笔花鸟精妙意趣，墨色绘就的鸲鹆立于花枝，羽色浓淡层叠晕染，将玄色羽毛的绒软光泽尽数勾勒，明黄爪眼提亮画面，灵动仿若正引吭啼鸣，瞬间的生机被定格尺幅之间。\n\n淡粉晕出梨花清透柔润，留白托出瓣边莹白，苍劲枝桠衬得禽鸟愈发神完气足。古旧绢面晕开岁月沉香，却未掩画师对自然的入微体察。笔意简淡清雅，以小见大，将春日枝间融融春意凝练其中，静中藏动，尽显宋人雅致审美的悠悠余韵。",[23,132,24,73,25,26,27,740,741,7],"梨花","鸲鹆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25127c3e83af8c31239f09f1f2372412.jpg","25.3x29.8厘米",[188],53,{"id":747,"slug":748,"title":749,"dynasty":68,"author":86,"museum":107,"description":750,"tags":751,"thumbUrl":752,"material":118,"size":119,"collection":38,"collections":753,"showCount":754,"zanCount":191,"manualWeight":11,"mainColor":63},235406,"tao-hou-tu-zhou-ren-yi-235406","桃猴图轴","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。",[24,73,90,26,545,546,706,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc91447d55f5265c58f0b6e0a06c907bb.jpg",[],51,{"id":756,"slug":757,"title":758,"dynasty":18,"author":703,"museum":183,"description":759,"tags":760,"thumbUrl":761,"material":26,"size":762,"collection":39,"collections":763,"showCount":754,"zanCount":11,"manualWeight":11,"mainColor":43},219896,"ying-zhu-hua-mei-zhou-wang-yuan-219896","鹰逐画眉轴","此帧画一只苍鹰自空中急速俯冲而下，即将迫及画眉，画眉则张口失声伧促逃窜，一幕弱肉强食的情况活跃在纸上。全幅用笔甚工，设色温雅，颇有宋画遗风。",[23,132,24,73,90,25,213,26,27,28,7,404,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F430c0da1dc68285a385d2a617339a9ad.jpg","117.2x53.3公分",[39],{"id":765,"slug":766,"title":767,"dynasty":127,"author":435,"museum":183,"description":768,"tags":769,"thumbUrl":772,"material":37,"size":773,"collection":39,"collections":774,"showCount":775,"zanCount":191,"manualWeight":11,"mainColor":63},218843,"ke-si-chun-guang-chang-shou-tu-yi-ming-218843","缂丝春光长寿图","缂丝以“通经断纬”之法织就，纹理细密若绘。画面中禽鸟翘首栖于枝间，羽色蓝绿相衬，尾羽纤长舒展，姿态灵动鲜活。枝上缀有盛放的花团，花瓣层叠晕染，色泽温润雅致，叶片脉络清晰可见，尽显春意盎然之态。整体构图疏朗有致，设色古朴淡雅，虽无作者名款，却将宋代缂丝的精湛技艺与文人审美意蕴融于一体。禽鸟与花卉相映成趣，传递出春光和煦、生机勃发的意韵，暗含长寿吉祥的美好祈愿，为宋代缂丝艺术中兼具工艺之美与寓意之深的精品。",[132,24,770,26,27,28,92,771,7,113],"缂丝","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F578e7e2828c11ca9b8337d3875c50e13.jpg","49x36.2cm",[39],50,{"id":777,"slug":778,"title":779,"dynasty":105,"author":106,"museum":107,"description":108,"tags":780,"thumbUrl":784,"material":118,"size":119,"collection":120,"collections":785,"showCount":786,"zanCount":11,"manualWeight":11,"mainColor":43},225748,"flowering-plum-orchard-after-hiroshige-october-november-fan-gao-225748","Flowering plum orchard after Hiroshige (October - November )",[132,438,110,26,781,291,7,113,782,783,147],"浮世绘风格","绿地","树木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46ec6e59d5fc227dc0435a3c28cad1ec.jpg",[120],48,{"id":788,"slug":789,"title":790,"dynasty":127,"author":791,"museum":792,"description":793,"tags":794,"thumbUrl":797,"material":26,"size":798,"collection":188,"collections":799,"showCount":786,"zanCount":11,"manualWeight":11,"mainColor":43},221360,"yue-xia-wu-que-tu-dai-wan-221360","月下五雀图","戴琓","昆仑堂美术馆","戴琓，北宋画家。生卒年不详。汴（今河南开封）人。宣和（1111-1125）年间在翰林，殊蒙恩宠。画史称其：工翎毛花竹，常入阁供奉，后因求者甚众，徽宗闻之，封其臂不令私画，故传世者鲜。\n传世作品有《月下五雀图》，现藏昆山市昆仑堂美术馆；《雪梅寒雀图》，美国弗利尔美术馆藏。",[23,24,25,26,133,27,795,28,796,7,55,147],"明月","雀鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e7afabac0c506934e7bf8980bedff63.jpg","20.5cm×26cm",[188,39,98],{"id":801,"slug":802,"title":803,"dynasty":127,"author":128,"museum":183,"description":804,"tags":805,"thumbUrl":808,"material":37,"size":38,"collection":39,"collections":809,"showCount":786,"zanCount":11,"manualWeight":11,"mainColor":63},219224,"li-peng-qiu-zhan-zhao-ji-219224","栗蓬秋绽","墨叶扶疏间，栗蓬携尖刺静绽，外壳微裂处，嫩实隐现如珠。工笔细描的叶片脉络分明，墨色晕染出苍劲与柔润的层次，枝干线条如篆如隶，藏着书法般的骨力。秋意凝于绢素，既有院体画的精工写实，又含文人画的雅致韵致。一笔一画皆见对自然物态的深察，从刺尖的锋芒到叶脉的转折，皆细致入微，尽显宋画格物致知的精神，让秋之栗蓬的生机与静美，在方寸扇面间流转不息。",[23,806,24,73,362,25,26,27,807,55,7,56],"宋画","栗蓬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc547c3110157d019ed1ea0f90ee3b260.jpg",[39],{"id":811,"slug":812,"title":813,"dynasty":127,"author":814,"museum":815,"description":816,"tags":817,"thumbUrl":819,"material":37,"size":820,"collection":39,"collections":821,"showCount":822,"zanCount":11,"manualWeight":11,"mainColor":63},219088,"xue-qin-tu-cui-bai-219088","雪禽图","崔白","耶鲁大学艺术博物馆","这幅画的是河岸边树杆折断，一旁杂草叶片已枯黄，藤杆上覆盖着一层薄雪，一只灰北白肚鸟儿立于细藤上，尾翎修长，扭头尖喙咬住羽毛，半眯的眼睛似乎在沉睡中。",[24,73,362,27,25,26,53,7,818,56],"雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3706dae6af508fd6c7d4846d57c4de27.jpg","23.5x22.2cm",[39],46,{"id":824,"slug":825,"title":826,"dynasty":68,"author":827,"museum":107,"description":828,"tags":829,"thumbUrl":832,"material":38,"size":38,"collection":38,"collections":833,"showCount":834,"zanCount":11,"manualWeight":11,"mainColor":63},224545,"yue-zhong-gui-tu-tu-jiang-pu-224545","月中桂兔图","蒋溥","《月中桂兔图》是清乾隆时期蒋溥创作的一幅画。\n本幅自识：“臣蒋溥恭绘。\n”下钤：“臣”、“溥”朱文方印。\n下裱工钤有古物陈列所藏印：“宝蕴楼书画续录”朱文方印。\n按乾隆皇帝御题可知，该作品绘于 二十三年（1758年）中秋。\n上、下诗堂有乾隆皇帝、刘统勋、董邦达、刘纶、介福五家题诗，以及蒋溥自题诗。\n蒋溥自题：“宸襟拈句发清芳，惭愧濡毫数点黄。\n恰遇山庄开寿宴，兔轮初上碧天凉。\n臣蒋溥恭和。\n”下钤：“臣”、“溥”朱文方印。\n乾隆皇帝御题：“秋暖无端迟桂芳，缀枝初折几苞黄。\n玉㕙静守冰轮朗，画出人间满意凉。\n戊寅中秋御题。\n”下钤“乾”朱文方印、“隆”白文方印。\n刘统勋题：“蕊珠颗颗领秋芳，风露连宵色染黄。\n驻景不烦寻玉杵，冰轮影现永清凉。\n臣刘统勋恭和。\n”下钤“歌咏太平”白文长方印。\n董邦达题：“广寒高处落秾芳，颖暎金枝浥露黄。\n正是敷天开寿域，重轮无际一天凉。\n臣董邦达恭和。\n”下钤“邦”白文方印、“达”朱文方印。\n刘纶题：“一株玉宇领巌芳，顾腹祥占抱珥黄。\n天咏题成广寒谱，云璈合与奏新凉。\n臣刘纶恭和。\n”下钤“臣”、“纶”白文方印。\n介福题：“玉兔爰爰守桂芳，金波湛湛着花黄。\n普天恰祝如恒寿，风露先披上苑凉。\n臣介福恭和。\n”下钤“介福”白文方印。\n此图以墨笔绘圆月，月中玉兔以干笔写皮毛，焦墨点睛，形象生动可爱。\n桂树以墨笔绘枝、叶，笔法细腻老道。\n桂花以桔黄色点染，其温暖的色调为冷月寒宫增添了几许暖意。\n全图布局紧凑，色墨运用巧妙，极富情趣。\n画作题诗中“冰轮”、“兔轮”、“广寒”、“重轮”等语，皆为月亮与玉兔的隐喻，以诗歌的形式烘托画面主题，从而巧妙的将诗、书、画三者紧密结合，把月中玉兔、桂树的优美传说演绎的美轮美奂，实为一件精美的风俗画作品。\n此幅上除了蒋溥的画及自题诗外，还有乾隆皇帝的御制诗和刘统勋、董邦达等大臣的应和诗，从中可见乾隆皇帝对汉民族传统习俗的承袭，和他与臣僚之间以诗画共度中秋的雅集场景。",[23,24,73,90,25,213,26,830,145,831,7,35,201],"兔","月亮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac6f474eb82248126deb2f54e04d38a2.jpg",[],45,{"id":836,"slug":837,"title":838,"dynasty":18,"author":703,"museum":183,"description":839,"tags":840,"thumbUrl":842,"material":217,"size":843,"collection":39,"collections":844,"showCount":834,"zanCount":11,"manualWeight":11,"mainColor":63},218819,"xie-sheng-tu-wang-yuan-218819","写生图","墨色晕染间，禽鸟栖于石畔，羽翼纹理随淡墨流转，似能触到绒羽温软。老枝横斜，梢头悬一轮清月，清辉洒在疏叶上，竹影与草茎在风里轻摇。工细处见笔力，写意时显灵动，水墨浓淡干湿交织出自然生趣，无艳色却满溢生机。留白藏幽远，题跋墨迹与画面相映，笔墨间流淌着元代文人的清雅心境——于寂静中观天地，于细微处藏深情。每一笔都似在低语，将自然之美与文人意趣融于尺幅，尽显“墨花墨禽”的韵致，让人在古雅气息里沉醉。",[24,73,213,25,841,795,27,31,135,7,215,56,201,326],"写生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0627d9a79cc3230361415249eb53ed87.jpg","88.3x45.3cm",[39],{"id":846,"slug":847,"title":848,"dynasty":68,"author":435,"museum":260,"description":849,"tags":850,"thumbUrl":853,"material":649,"size":854,"collection":38,"collections":855,"showCount":856,"zanCount":11,"manualWeight":11,"mainColor":43},223579,"yu-lan-kong-que-tu-yi-ming-223579","玉兰孔雀图","两只彩绘蓝羽孔雀，其中三只比湖石还多，宽大的尾巴在湖中显得更加美丽动人，有一点点蓝色像宝石一样立在上面，另一只藏在边石里 兰花，只有头； 浅玉晶莹剔透，争奇斗艳。 风格：甲午春日、法式铁桥笔、南苹果神拳。",[23,24,25,26,27,851,852,92,94,7],"孔雀","玉兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4e016bbc82fb27fdb86c5d508ffaae3.jpg","34.98X60",[],44,{"id":858,"slug":859,"title":860,"dynasty":48,"author":287,"museum":107,"description":861,"tags":862,"thumbUrl":865,"material":38,"size":38,"collection":38,"collections":866,"showCount":867,"zanCount":191,"manualWeight":11,"mainColor":63},233799,"li-hua-bai-yan-shan-mian-lu-zhi-233799","黎花白燕扇面","明代画家陆治的花鸟画多表现出与众不同的格调，《梨花双燕图》所展现出的境界与同时期的明代画家甚至于他自己的其他作品也完全不同。工笔与写意结合，勾勒中粗细结合，整幅画上画幅只占小部分，大部分都是题字，并有文征明的亲笔题跋。而在众多题字中尤为值得关注的就是乾隆御题，此作曾经两次被乾隆当皇上和太上皇两个时期展阅过。《梨花双燕图》构图上采用较为传统的对角线方式描绘花枝，敷色雅致，对梨花和燕子形态的描绘生动传神。画面上有作者自题诗句一首，署款“包山陆治制”，并钤有乾隆内府玺印多方。《梨花双燕图》堪称陆治花鸟画代表作。\n陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因居包山，自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[863,362,24,73,25,26,27,740,864,7],"明代","白燕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57e90a284399b9a35c0b28c400c76c4c.jpg",[],41,{"id":869,"slug":870,"title":871,"dynasty":68,"author":872,"museum":107,"description":873,"tags":874,"thumbUrl":875,"material":38,"size":38,"collection":38,"collections":876,"showCount":867,"zanCount":191,"manualWeight":11,"mainColor":63},224205,"ying-wu-xi-die-tu-hu-mei-224205","鹦鹉戏蝶图","胡湄","《鹦鹉戏蝶图》是画家胡湄所作的一幅画，现藏于上海博物馆。\n此画中的花鸟仿宋人笔，工笔重色，细致艳丽。\n梅花之沉稳雅致与鹦鹉之灵动飞扬成对比，造型精确、形态生动。\n花朵胭脂设色，鲜嫩娇美，墨绿树叶作为衬托，层次向背各自分明。\n鹦鹉的羽毛用白粉工笔勾描，质感柔绵，整幅画无一懈笔，青铜架上的绿锈、红霉均细致地得到表现。\n在和煦的阳光下，大地一片清新蓊郁，在村宅的一隅，一枝怒放的梨花，张开笑脸，散发出阵阵清香，这时两只斑灿美丽的蝴蝶向飘落的梨花追逐，一只原系立于铜架上的鹦鹉反身而下，全力地扑向彩蝶，形态生动。\n署款“晚山胡湄写”。\n钤 “湄印”白文印、“晚山”朱文印。\n从这幅画中可以看到，画家别有心意，十分留心自然界中所发生的一点一滴，并体察入微，将之再现于画画，让人们领略到这美妙而富有的生活情趣的景象。\n折枝梨树，画画左侧横上舒枝展叶，枝头缀满花朵，有的向阳怒放，有的含蕾待放，煞是可爱。\n花朵设色，鲜嫩可爱，以墨绿树作为衬托，层次向背各自分明。\n鹦鹉的羽毛用粉笔勾描，显示出羽毛柔绵的质感。\n勾画眼、嘴、爪均用较浓的墨色。\n此画的艺术特色足以简雅清淡取胜。\n全幅境象疏朗，笔墨简练，结构上不作繁密丰满、全景式的布局，其他树石、花木作为陪衬，剪裁得宜，取景自然。\n在画法上，不事雕琢，笔墨不多，却能使此画满幅生辉，使欣赏者获得美的享受。\n胡湄，生卒年不详。\n字飞涛，号晚山，又号秋雪，浙江平湖人。\n诸生，项元汴外孙。\n由于项氏收藏 甲天下，故胡氏受到完整的古代绘画艺术的薰陶。\n他为人耿直，富人以金帛求画多拒之。\n他画的花鸟虫鱼、“时称仙笔”。\n传世作品有《鹦鹉戏蝶图》。",[23,24,73,132,90,25,26,27,290,458,54,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72d4e5bf65a6b3e2e6a86eefde4da10a.jpg",[],{"id":878,"slug":879,"title":880,"dynasty":68,"author":881,"museum":882,"description":883,"tags":884,"thumbUrl":886,"material":887,"size":888,"collection":39,"collections":889,"showCount":890,"zanCount":11,"manualWeight":11,"mainColor":63},222673,"xiong-ji-tu-zhou-huang-shen-222673","雄鸡图轴","黄慎","中国国家博物馆","黄慎（1687年6月14日—1772年），福建宁化人，初名盛，字恭寿，恭懋，躬懋、菊壮，号瘿瓢子，别号东海布衣。家贫，遂学画，擅长人物、山水、花鸟。他的人物画题材十分广泛和丰富，它不仅画神仙佛道和历史名人，也擅长从民间生活中取材，塑造了纤夫 、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。\n黄慎擅长人物、山水、花鸟，并以人物画最为突出，题材多为神仙佛道和历史人物，也有一些现实生活中的形象，多从民间生活取材，不少作品塑造了纤夫、乞丐，流民、渔民等下层人物形象，如《群乞图》取材现实生活，描写灾荒年中，乞丐们流落街头，受人欺凌的悲惨画面，表现出他对人民疾苦的同情。画神仙佛道如《醉民图》，多操大幅，用笔设色，泼辣大胆，于迷离扑朔中见形象神韵。描绘文人生活的有《东坡玩砚图》，用笔迅疾，衣纹顿挫，线条硬折，墨公浓淡相间，人物轩昂、富有气势，为其成熟后的代表画风。\n他的花鸟画宗法徐渭，亦纵逸泼辣挥洒自如，如《瓶梅图》《菊蟹图》等。他的山水虽“不以山水名”，但山水画有一定的造诣，大幅和小景都各尽其妙，潇洒有致，山水代表作如《渔归图》，两株柳树，“姿态婀娜劲挺，耸立奇峭山岩，淡墨轻赭横扫出沙滩，中景两只渔船，一笔勾出船舷，船中人物，神态右辨，画面左角草书题画诗三行，诗、书、画、印紧相配合，自然贴切。\n黄慎擅草书，书法学“二王”，更得怀素笔意，从章草脱化而出，其栖劲运笔亦用于绘画之中，故画面多干枯、飞白和迅疾之迹，黄慎的草书，点画纷披，散而序，评者说它象疏景横斜，苍藤盘结，具有“字中有画”之趣，他的书法出于章草，颇难认识，故而仿效者不多，但他不趋时尚，敢于标新立异。 他的草书不昧古法，又难辨古人踪迹，不强调章法的疏密聚散，而以方折顿挫的笔法，忽断忽连，顾盼呼应，凸显铿锵有声的点画节奏感，呈现一幅落英缤纷珠丸跳荡逸趣迭生的画面感。其代表作《草亭飞万竹诗草书轴》章法奇异如松柏之剪影，点画浓淡如花叶之缠枝，真非书非画，亦书亦画，堪称奇观。\n\n个人成就:\n黄慎的诗文、狂草书法，绘画被称三绝。曾先后三次到扬州，居留较长，与郑板桥、李（善）等往来友善，为“扬州八怪”之一。\n他年方十八、九时寄身萧寺，白天作画，夜间从佛光明灯下刻苦读书，技艺大进。凡人物、花鸟、山水、楼台、虫鱼等，无一不能，但他并不以这些为满足，一次看他先生的作品说：“吾师绝技难以争名矣，志当自立以成名，岂肯居人后哉！”\n他自己总结一生走过的道路，感慨地说到：‘余自十四、五岁时便学画，而时时有鹘突于胸者，仰然思，恍然悟，慨然曰：‘余画之不工，以余不读书之故。’于是折节发愤，取毛诗、三礼、史汉、晋宋间文，杜韩五言诗及中晚唐诗，熟读精思膏以继晷，而又于昆虫草木四时推谢荣枯，历代制度衣冠礼器，细而致于夔 蛇凤，调调刁刁，罔不穷厥形状，按其性情，豁然有得于心，应之于手，而后乃今始可心言画矣。”正是这种凝思结想、废寝忘食、苦攻不辍，黄慎才从一个小画工成长为一位“诗画名大江南北”的名家。\n”郑板桥为诗赠之：“家看古庙破苔痕，惯写荒涯乱树根，画到精神飘没外，更无真相有真魂。”\n黄慎还是一位诗才画艺俱全的艺术家，他的诗作，情韵清远，如 岩绝 ，烟凝霭积，能非凡境，并著有《蛟湖诗钞》一书传世。\n黄慎早年师从上官周，多作工笔。山水宗元黄公望、倪瓒、中年以后，吸取徐渭笔法，变为粗笔写意，并草书章草，尝以狂草书法入画笔姿放纵，气象雄伟深入古法，但也有笔过伤韵者。\n作品行情:\n黄慎书画流传较多，大多藏于国内各大博物馆内。北京故宫院藏有多幅，如《漱石捧砚图》，扬州博物馆藏的《渔归图》等。\n黄慎的绘画创作在雍正年间说名扬于世，“尺纸容缣，世争宝之”。可见他的作品在当时已有较高的价格，另外黄慎对自己的绘画，常作分类自评，凡最得意者题上诗，次者则识以岁月，再次者只署“瘿瓢”二字。\n现今黄慎作品流入市场是比较多的，20世纪80年代末即开始拍卖，以后每年都出现过，价格起伏不大，比较稳定，但不太高，与八怪中其他画家水平相当，低于吴门四家。\n作为画家的黄慎，对后世的影响——清代的闵贞、近代上海的王震、广东的苏六朋、福建的李霞、李耕和辽南的李楚材都曾师法黄慎。齐白石也非常倾心黄慎——“余在黄镜人处获观《黄瘿瓢画册》，始知余画犹过于形似，无超然之趣。决定从今大变。人欲骂之，余勿听也；人欲誉之，余勿喜也”。“前朝之画家，不下数百人之多，瘿瓢、青藤、大涤子外，皆形似也。惜余天资不若三公，不能师之”。",[23,24,73,90,213,26,201,885,7,487,27],"雄鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb7a27332b6be489e47fb8cf3f1bbaf3.jpg","纸本设色","纵124.6厘米，横59.8厘米",[39,98],40,{"id":892,"slug":893,"title":894,"dynasty":127,"author":435,"museum":183,"description":895,"tags":896,"thumbUrl":898,"material":37,"size":899,"collection":188,"collections":900,"showCount":890,"zanCount":11,"manualWeight":11,"mainColor":43},221236,"tong-shi-xiu-ling-zhou-yi-ming-221236","桐实修翎轴","画面留白空灵悠远，尽显极简造境之妙。禽鸟停驻桐枝，翎毛刻画细致入微，茸绒毕现，抬首凝伫间神态机警灵动，将野雀鲜活生姿定格绢素。\n\n桐叶与桐实以水墨晕染，墨色苍润层次分明，枯枝虬曲苍劲，古朴野逸。全画笔法兼具工细与写意，写实中饱含清雅诗意，将林下一隅的幽寂生趣尽致展现，尽显格物致知的审美意趣，淡墨轻岚间晕开沉静古雅的宋韵风神。",[23,24,132,90,27,25,26,53,7,897,56],"桐实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb521334d6a0b978dd8fa170f2109cdc2.jpg","纵103.4cm，横33cm",[188,901,238],"山水画精选",{"id":903,"slug":904,"title":905,"dynasty":127,"author":814,"museum":260,"description":906,"tags":907,"thumbUrl":909,"material":910,"size":911,"collection":188,"collections":912,"showCount":913,"zanCount":11,"manualWeight":11,"mainColor":688},221446,"sha-zhu-fu-chu-tu-cui-bai-221446","沙渚凫雏图","崔白（1004-1088），中國北宋畫家，字子西，活躍於宋神宗前後，濠州（今安徽鳳陽）人。崔白是開始發揮寫生精神的畫家，其無前人的畫稿可臨摹或參考，但其依靠超越前人的觀察研究及描繪能力，探索花木鳥獸的生意，擺脫花鳥屬裝飾圖案的遺影，開創新的發展方向。其擅花竹、翎毛，亦長於佛道壁畫，畫佛道鬼神、山水、人物亦精妙絕倫，尤長於寫生。所畫鵝、蟬、雀堪稱三絕，手法細緻，形象真實，生動傳神，富於逸情野趣。一改百餘年墨守成規的花鳥畫風（指「黃筌畫派」），成為北宋畫壇的革新主將，數百年來頗受畫壇尊崇。",[23,132,24,73,27,26,25,135,31,908,7],"水草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86470bd0b6cb5ed33a9003d7bca038ca.jpg","册页，绢本","31.4cm×25.7cm",[188,39,98],37,{"id":915,"slug":916,"title":917,"dynasty":127,"author":918,"museum":455,"description":919,"tags":920,"thumbUrl":922,"material":37,"size":923,"collection":39,"collections":924,"showCount":913,"zanCount":11,"manualWeight":11,"mainColor":43},220257,"ying-zhu-ye-qin-tu-chao-shuo-zhi-220257","鹰逐野禽图","晁说之","晁说之（1059-1129），字以道，一字伯以，济州钜野（今山东巨野）人（《宋史·晁补之传》）。因慕司马光为人，自号景迂生。神宗元丰五年（1082）进士。哲宗元祐初，官兖州司法参军，绍圣时为宿州教授，元符中知磁州武安县。徽宗崇宁二年（1103），知定州无极县。后入党籍。大观、政和间监明州造船场，起通判鄜州。宣和时知成州，未几致仕。钦宗即位，以著作郎召，除秘书少监、中书舍人，复以议论不合，落职。高宗立，召为侍读，后提举杭州洞霄宫。建炎三年卒，年七十一。有《嵩山文集》（又名《景迂生集》）二十卷。事见《嵩山文集》附录其孙子健所作文集后记、《晁氏世谱节录》，及集中有关诗文。晁说之诗，以四部丛刊续编影印旧钞本《嵩山文集》（集中“祯”字皆缺，注“今上御名”，当沿宋本之旧）为底本。校以影印文渊阁《四库全书》本（简称四库本）等。新辑集外诗，附於卷末。",[23,24,73,90,25,213,26,27,28,134,921,35,7],"野禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a9b3c49df88c28a1d7b446c5a24edbc.jpg","168.2厘米×86.6厘米",[39],{"id":926,"slug":927,"title":928,"dynasty":48,"author":435,"museum":455,"description":929,"tags":930,"thumbUrl":935,"material":37,"size":936,"collection":39,"collections":937,"showCount":938,"zanCount":191,"manualWeight":11,"mainColor":43},218924,"han-he-shuang-ying-tu-yi-ming-218924","寒壑双鹰图","这幅画表现了一棵高高矗立在峡谷之上的枯树，两只老鹰站在树枝上相互对视。老树用粗大的笔触勾勒出来，盘旋而有力，而老鹰则用细小的笔触描摹出来，几乎随时可以移动。在树的下面，峡谷的激流冲刷出层层水浪，波浪滚滚而来。这幅画显示了艺术家对不同题材的驾驭能力，以及他向许多人学习的能力。虽然这幅画以宋代为基础，但明显具有明代大型花鸟画的大气、奔放、夸张的特点，极具感染力。此画原为五代时期南唐画家郭乾祐所作，但因其无年代感，现归于明代画家。",[24,73,213,26,25,660,134,729,931,932,486,933,934,7,31,135],"枯藤","山","瀑布","流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F812e742cba18d3fccd2b284248f14dd1.jpg","200.2x156.1cm",[39],36,{"id":940,"slug":941,"title":942,"dynasty":68,"author":274,"museum":107,"description":943,"tags":944,"thumbUrl":945,"material":38,"size":38,"collection":38,"collections":946,"showCount":947,"zanCount":11,"manualWeight":11,"mainColor":63},230185,"hua-niao-cao-chong-tu-ce-8-zhen-hua-yan-230185","花鸟草虫图册8帧","此帧以淡墨晕染湖石，枯槎斜出，缀着将残的花枝，清寂秋意扑面而来。四只文雀神情灵动鲜活，一只振翅回身，似在呼引枝上同伴，三雀或侧耳或抬首，亲昵相映，将秋日荒寒里的生趣尽数勾勒。\n\n设色清浅柔和，禽鸟绒羽蓬松宛然，湖石墨色苍润有层次。左侧题诗与朱红印章错落排布，留白疏密相宜，诗画相生，将萧索秋意与小雀的生机揉合，清冷中带着融融暖意，尽显隽秀雅致的笔墨意趣。",[132,24,73,52,213,26,27,31,53,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd89d3818b81f0bfd0b7ea1bf2d27ff9.jpg",[],35,{"id":949,"slug":950,"title":589,"dynasty":48,"author":951,"museum":107,"description":952,"tags":953,"thumbUrl":954,"material":38,"size":38,"collection":38,"collections":955,"showCount":956,"zanCount":11,"manualWeight":11,"mainColor":63},237673,"hua-niao-ce-ling-bi-zheng-237673","凌必正","[明]字贞卿，一字蒙求，号约庵，太仓（今江苏太仓）人。崇祯四年（一六三一）进士，官至广西副使。善山水，设色妍雅，位置精密，接轸宋人。间画花鸟，尚欠超逸生动之致。《太仓州志、无声诗史、桐阴论画》",[24,73,52,26,25,27,53,54,7,55,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd19c88dd409fb513d29e61df5f1d5f60.jpg",[],34,{"id":958,"slug":959,"title":656,"dynasty":18,"author":960,"museum":183,"description":961,"tags":962,"thumbUrl":963,"material":329,"size":964,"collection":98,"collections":965,"showCount":966,"zanCount":11,"manualWeight":11,"mainColor":43},219469,"yuan-tu-yan-hui-219469","颜辉","此作用水墨晕染出幽寂山林意趣，老干虬曲苍劲，浓墨写出枯涩肌理。两只猿猱灵动鲜活，一猿倒悬枝桠，长臂舒展身姿轻捷，正探头与右侧同伴呼应；后者半匿树后，目光灵动，满是野趣生机。\n叶片以写意笔法点染，墨色层次分明，淡墨晕出山影朦胧，烘托深林静谧。作者以简劲笔线勾勒猿猴毛发，兼用墨色晕染表现皮毛蓬松质感，形神兼备，将猿猴的机灵敏捷描摹入微，尽显山野生灵自在之态，水墨写意间不失精微写实，藏着深林野逸的悠然意韵。",[24,132,90,213,546,7,684,556],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9986c8e9ed6d16a5ef373b3b3482a048.jpg","纵131.8厘米横67厘米",[98],33,{"id":968,"slug":969,"title":970,"dynasty":68,"author":86,"museum":107,"description":971,"tags":972,"thumbUrl":973,"material":38,"size":38,"collection":38,"collections":974,"showCount":975,"zanCount":11,"manualWeight":11,"mainColor":63},230122,"chun-qin-si-ping-ren-yi-230122","春禽四屏","这幅团扇小品兼工带写，以鸲鹆为题。浓墨晕染禽鸟黑羽，兼用淡墨扫出绒羽蓬松层次，朱红爪足紧扣枯枝，圆目尖喙自带警觉之态，笔意放逸却形神毕现。衬景藤蔓枝叶以花青淡赭轻勾慢染，叶片俯仰错落，柔润淡彩与浓黑禽鸟形成冷暖映衬，疏密之间晕出春日清寂生机。右侧题字笔力劲挺，与画面浑然相融，尽显写意花鸟的灵动雅趣，尺幅之内将日常小景化为意韵悠长的雅致佳作。",[24,26,213,27,53,7,33,56,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb56f8d8e8fbbb64afde5123e88597a17.jpg",[],32,{"id":977,"slug":978,"title":725,"dynasty":48,"author":612,"museum":107,"description":979,"tags":980,"thumbUrl":983,"material":38,"size":38,"collection":38,"collections":984,"showCount":975,"zanCount":11,"manualWeight":11,"mainColor":43},228486,"shuang-ying-tu-lin-liang-228486","《双鹰图》是清代画家朱耷创作的纸本水墨画，现藏于 。\n款识：八大山人写。\n钤印：八大山人（白）、何园（朱）、孝慈洪养百福（朱）、士元（朱）。\n藏印：程桢义联珠珍藏印（朱）签条：清高僧朱耷双鹰图真迹 。\n钤印：秋君（朱）、李秋印（白）。\n《双鹰图》画面以简洁的构图，别开生面，意境幽邃，寥寥数笔将冬季时节的气息表现得淋漓尽致。\n画中岩石一侧横斜出枯枝苍干，坡石边附有丛竹，双鹰一踞岩石上俯视，一栖树干上转头回望，呈呼应之势。\n二石二鹰一树描绘都是对大自然的精心观察后，通过变形取貌得其盎然生意，整个画面笔调圆润凝重，皆以圆弧线组成，富有流动感，浓淡干湿墨色相破相融，双鹰的画法虽可看到林良的影子，而意趣已有很大的不同。\n画面的构图不留地面和天空，仅有的右侧空白被作者自题识和款署给填补。\n此图无论是双鹰、山石、枯树都笔墨简括，意态尽出，显出了 以简取胜，以少胜多的独特写意艺术才能。\n219年9月2日，该作品在故宫博物院和 共同主办的《回望传承——八大山人纪念馆建馆6周年故宫典藏特展》中展出。\n朱耷（1626－176）。\n谱名统，有雪个、个山、人屋、道朗、八大山人等别号。\n南昌人。\n明末清初越的大画家。\n他是明太祖朱元璋第十六子朱权的九世孙。\n八岁能作诗，十一岁能画青绿山水，少时能悬腕写米家小楷。\n弱冠为诸生。\n明亡以后，他抱着对清王朝不满的态度，在奉新县耕香庵落发为僧，时年二十三岁。\n后隐居进贤县介冈及永丰县睦冈等地。\n顺治末年，当他三十六岁时潜回南昌，创建青云圃道院，花了六、七年时间，才使这坐道院初具规模，并在这里过着“一衲无余”与“吾侣徙耕田凿井”的劳动生活。\n因为常有清朝权贵来此骚扰，他常浪迹他方。\n康熙十七年他五十三岁时，临川县令胡亦堂闻其名，便延请他随其僧长饶宇朴等到临川官舍作客年余。\n这使他十分苦恼郁愤，遂佯为疯癫，撕裂僧服，独自走回南昌。\n一年多后，他又回到青云谱，并在这里度过“花甲华诞”。\n当他六十二岁时，不再做住持，便把道院交给他的道徒涂若愚主持。\n后又隐避在南昌附近的北兰寺、开元观等处。\n该画取法明代大画家 ，枯枝危石之上两苍鹰相互顾盼，俯仰之间，英武之姿一览无余。\n以“双鹰”题材为例，列在八大名下目前存世画作有三幅：美国大都会博物馆藏《双鹰图》（系 旧藏）;上海博物馆藏《双鹰图》;江西 藏《双鹰图》。\n三幅画作之中，“大都会本”依画面题记确定为八大山人172年所作;“上博本”为1699年所作;“南昌本”无年款。",[23,24,73,90,863,213,214,27,981,134,982,215,7,76,486],"院体","猛禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb96e154c48c16ef3deed3628318f6135.jpg",[],{"id":986,"slug":987,"title":988,"dynasty":68,"author":989,"museum":107,"description":990,"tags":991,"thumbUrl":992,"material":38,"size":38,"collection":38,"collections":993,"showCount":994,"zanCount":11,"manualWeight":11,"mainColor":63},234544,"yuan-ji-san-tao-tu-zhou-shi-tao-234544","原济三桃图轴","石涛","石涛（1642年－1708年）清代著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等。明靖江王朱亨嘉之子。与弘仁、髡残、朱耷合称“清初四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[24,73,90,213,26,27,706,7,55,56,201,326],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F734589d4fb2c5b2b166fe490b533beaa.jpg",[],31,{"id":996,"slug":997,"title":998,"dynasty":68,"author":999,"museum":183,"description":1000,"tags":1001,"thumbUrl":1002,"material":1003,"size":1004,"collection":38,"collections":1005,"showCount":994,"zanCount":191,"manualWeight":11,"mainColor":63},224573,"qing-qian-long-ke-si-hua-hui-gua-ping-san-zhou-qing-ren-224573","清乾隆缂丝花卉挂屏（三）轴","清人","花卉册在本色地上缂织茶花水仙、玉兰海棠、牡丹、碧桃芝竹、百合剪春罗、荷花蜻蜓、踯躅、芝兰、秋海棠、剪秋纱、蝴蝶花、梅花等各色花卉，每开均缂织而成，无着笔处。画幅采用平缂、构缂、木梳戗、长短戗、凤尾戗和掼缂等缂织技法，缂工细致，润色自然，描画不求形似，具有简逸风格的文人花鸟画风。",[23,770,90,26,25,147,458,7,55,94,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5222c3323292451a6bbb293a2c5953d.jpg","白纸本","每开纵41厘米，横42厘米",[],{"id":1007,"slug":1008,"title":1009,"dynasty":68,"author":1010,"museum":107,"description":1011,"tags":1012,"thumbUrl":1013,"material":38,"size":38,"collection":38,"collections":1014,"showCount":1015,"zanCount":11,"manualWeight":11,"mainColor":63},230880,"hua-niao-shan-ren-xun-230880","花鸟扇","任薰","泥金扇面上，折枝海棠柔媚盛放，粉白花瓣晕染雅致，枝叶扶疏灵动，古拙苍润的奇石与花枝相映成趣。翎鸟独立枝桠，蓝首白羽配黑尾，身姿悠然静敛，将春日清宁定格。\n\n此作用笔工致秀雅，设色明丽又不失清雅，工笔间带着写意的灵动，将院体画的精致与海派雅俗共赏的特质相融，将暮春庭间幽景凝于尺幅。笔墨晕染出江南春日的缱绻温柔，满溢闲雅生机，读来如沐春风，尽显恬淡隽美的东方意趣。",[24,73,362,26,25,27,247,31,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcb5357899a9ec840bb8208254de86e0.jpg",[],29,{"id":1017,"slug":1018,"title":1019,"dynasty":68,"author":274,"museum":107,"description":1020,"tags":1021,"thumbUrl":1022,"material":38,"size":38,"collection":38,"collections":1023,"showCount":1015,"zanCount":11,"manualWeight":11,"mainColor":43},224182,"hua-niao-cao-chong-tu-ba-01-hua-yan-224182","花鸟草虫图八-01","画面留白疏朗雅致，枯枝信笔勾勒，苍劲随性。主枝上禽鸟憨态宛然，红首绿身，羽色晕染柔润自然，垂首敛目似在垂怜下方幼雀。两只雏雀依偎细梢，娇憨灵动，尽显亲昵之态。右下角苔石苍润，衬出新叶鲜亮生趣。\n\n整体笔意松秀空灵，设色清妍淡雅，将禽鸟情态刻画入微，枯木新叶相映成趣，晕溢出闲逸静谧的林下意趣。寥寥数笔便将花鸟相依的悠然生机尽显纸上，兼具文人笔墨意趣与写生妙味，把自然小景里的温情雅致铺陈开来。",[23,24,73,27,26,52,53,7,55,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dd8fc81b15b730e9497d6567cc88bbd.jpg",[],{"id":1025,"slug":1026,"title":589,"dynasty":48,"author":1027,"museum":107,"description":1028,"tags":1029,"thumbUrl":1031,"material":118,"size":119,"collection":38,"collections":1032,"showCount":1033,"zanCount":191,"manualWeight":11,"mainColor":63},235722,"hua-niao-ce-tan-zhi-yi-235722","谈志伊","谈志伊，字公望，号学山，一字思重，无锡人，明代画家。",[132,24,73,52,25,26,27,53,7,1030,56],"松针","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1157157ff73f55ff4b221685f7f203fc.jpg",[],27,{"id":1035,"slug":1036,"title":1037,"dynasty":68,"author":86,"museum":107,"description":1038,"tags":1039,"thumbUrl":1040,"material":251,"size":1041,"collection":38,"collections":1042,"showCount":1043,"zanCount":11,"manualWeight":11,"mainColor":63},234987,"hua-hui-ling-mao-ping-5-ren-yi-234987","花卉翎毛屏5","任颐(1839-1896)，初名润，字伯年，一字次远，号小楼(亦作晓楼)，萧山城厢镇人。其父善画肖像，任颐自幼随之习画。人物、山水、花卉、翎毛等均有扎实功底，尤以人物画见长，他在十余岁时即能勾勒出来访者容貌，使人见其画如见其人。\n咸丰十一年(1861)，太平军占领杭州、绍兴，任颐即投笔从戎，参加太平军，掌军旗，为前驱。同治二年(1863)，太平军撤离浙江，任留居家乡；次年，移居宁波，得到任熊、任薰悉心指导。同治七年(1868)春，随任薰去苏州，是年冬，转至上海定居。从此，任颐步入新兴的上海画派之列。\n任颐画路宽拓，所画人物具有独特的风韵，更以描写风俗人情、民间传说和神话故事中人物见长，如《女娲》、《钟 馗》、《八仙》、《群仙祝寿》等作品，将艺术与现实巧妙地容贯于画面。其人物肖像画既有深厚的传统基础，又注重写生，每次外出，备有速写本，随时勾录。寓居上海后，以卖画为生，创作甚富。《钟馗》、《关河一望萧索》、《苏武牧羊》、《野塘雨后》和《三友图》等为其代表作。且其参用画意的书法亦奇惊不凡，光绪二十二年(1896)逝世。\n任伯年因是浙江山阴人，故画面署款多写山阴任颐。儿时随父学画，十四岁到上海，在扇庄当学徒，后以卖画为生。所画题材，极为广泛，人物、花鸟、山水、走兽无不精妙。他的画用笔用墨，丰富多变，构图新巧，创造了一种清新流畅的独特风格，在正统派外别树一帜。\n任颐是近代杰出画家。字伯年，号小楼，浙江山阴人，因此他的画署款多写山阴任颐。任伯年的绘画题材广泛，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。任伯年的主要成就是在于人物画和花鸟画方面，往往寥寥数笔，便能把人物整个神态表现出来，着墨不多而意境深远。其线条简练沉着，有力潇洒。他常画钟馗，他笔下的钟馗心胸磊落、不怕鬼，不信邪。他的花鸟画，总是把花与鸟连在一起，禽鸟显得很突出，花卉有时只作背景，整个画面充满了诗的意境。",[132,24,73,90,26,25,27,7,113,53,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F183eeaea248695005ebfe5882e2006cb.jpg","149 x 61 cm",[],26,{"id":1045,"slug":1046,"title":1047,"dynasty":48,"author":1048,"museum":87,"description":1049,"tags":1050,"thumbUrl":1051,"material":887,"size":1052,"collection":38,"collections":1053,"showCount":1043,"zanCount":11,"manualWeight":11,"mainColor":63},233831,"xing-hua-tu-zhou-shen-zhou-233831","杏花图轴","沈周","画上瘦杏一株，花开烂漫，仍是折枝简笔，却多添了颜色。树干以赭色填充，花片则淡粉轻红，温润又悦目，几乎可以想象他挥毫时愉快的心情。也有题跋，也有诗：\n布甥简静好学，为完庵先生曾孙，人以科甲期之，壬戌科，果登第。尝有桂枝贺其秋闱，兹复写杏一本以寄，俾知完庵遗泽所致也。\n与尔近居亲亦近，今年喜尔掇科名。杏花旧是完庵种，又见春风属后生。\n意思是说，你考得这样好，我画杏花表示祝贺。刘家世代书卷气不绝，大家都期待你的成绩。如今成功了，莫要忘记祖爷爷的遗泽。这些话里全无架子，只透出一片温暖平实。",[24,73,90,213,26,214,201,56,112,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61ece9a78838b66a815a3309957c7e09.jpg","纵80cm横33.5cm",[],{"id":1055,"slug":1056,"title":1057,"dynasty":18,"author":435,"museum":107,"description":1058,"tags":1059,"thumbUrl":1062,"material":38,"size":38,"collection":38,"collections":1063,"showCount":1043,"zanCount":191,"manualWeight":11,"mainColor":43},223617,"hong-shu-xiao-niao-tu-li-zhou-yi-ming-223617","红树小鸟图立轴","此作用笔苍劲老辣，以淡墨皴擦出枝杆斑驳肌理，斜展的枝桠轻缀丹红叶瓣，晕染出深秋清寂淡远的氛围感。两只禽鸟灵动如生，一只敛羽侧目似在梳羽，一只昂首远眺仿佛聆风，翎毛晕染细腻柔和，褐棕羽色与亮蓝尾羽相映成趣，为萧疏秋景添了鲜活生气。\n画作兼收宋院体花鸟的写实精妙与元画的萧散简逸，以极简构图铺陈秋日林间意趣，不施浓艳重彩，只以素雅色调烘托幽清空远的意境，静穆秋景与鲜活禽鸟相融，淡而有味，简而隽永。",[23,24,73,90,26,25,27,1060,1061,7,487],"红树","小鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6756045513ed7addba3944ef1983d5b6.jpg",[],{"id":1065,"slug":1066,"title":1067,"dynasty":48,"author":1068,"museum":87,"description":1069,"tags":1070,"thumbUrl":1073,"material":649,"size":1074,"collection":39,"collections":1075,"showCount":1043,"zanCount":11,"manualWeight":11,"mainColor":63},222603,"qiu-se-wu-tong-tu-lan-ying-222603","秋色梧桐图","蓝瑛","此画面一片秋高气爽的气氛，上杂红树一枝。一只美丽的小鸟，悠闲地栖立于梧桐枝上，形象生动自然，神气逼肖。在构图上采用传统折枝的方法，截取梧桐与丹枫的枝头横斜下垂之势。在枝叶参差错落之中，求得疏密有致。花木点染随意，桐叶饱含水墨，抒情性很强。墨笔写成枝干，糅合了山水画的用笔，显得枝干劲健有力。山鸟基本以墨画成，略施淡赭色彩，令人感到素雅可亲。双勾的丹枫叶，显得挺俏遒劲；在画法上，勾染兼施，笔法活脱，墨色浓淡适度，看来随意写出，反映了作者娴熟的笔墨技巧。",[23,24,73,213,26,214,1071,53,7,55,56,201,326,27,1072],"梧桐","秋色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F288e93218349e6d8e418d86b3be8a8b4.jpg","65X32",[39,98],{"id":1077,"slug":1078,"title":1079,"dynasty":48,"author":435,"museum":107,"description":1080,"tags":1081,"thumbUrl":1084,"material":38,"size":1085,"collection":38,"collections":1086,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":43},232908,"fang-hui-zong-cha-hua-ge-niao-tu-yi-ming-232908","仿徽宗茶花鸽鸟图","中国茶花画历千年而不衰，名家辈出，流派风格纷纭，成为中华民族传统艺术瑰宝之一，屹立于世界美术之林。古往今来的画家以茶花为题作画，表现它的千姿百态，笔情墨韵。众多茶花画向我们展示了风云迭起的美的历程，给人以酣畅淋漓的美的享受和奋发向上的民族精神的感召。\n唐代茶花画的形成和发展具有深刻的社会历史背景。\n其一，从茶花栽培史看，三国时代至隋代，茶花已经从野生状态发展到人工栽培，成为观赏花卉；及至唐代，中国主要茶花产区的人工栽培已经普及，并出现了茶花品种的名称和重瓣茶花。这些茶花的物质财富必然要反映到文学艺术中来。\n其二，从社会文化看，唐代是中国长期封建社会的辉煌时代，经济繁荣，物力殷阜，宫苑私园遍于各地。茶花被视作最珍贵的花木，它与牡丹花一样，成为宫廷显贵的荣耀。在寺院里，这种具有深刻宗教色彩的曼陀罗花，受到成千上万信徒的顶礼膜拜。茶花成为盛唐文化的一个亮点。\n其三，从中国花鸟画的生存衍化来看，花鸟画历经南北朝的萌芽状态，到唐代逐渐发展成为一门独立的画科，出现一批专门的花鸟画家，其技艺亦达到精湛的水平。在这三大因素的作用和催化下，茶花题材的绘画作品应运而生。特别值得提出的是唐南诏名画《南诏画传》。在这幅唐光化二年（公元899年）由南诏画师绘就的画卷里，有两株高大的植于南诏奇王庭院圆形花坛中的山茶，画面生动精美，系典型的唐人笔法，为中国古代绘画珍品（该画卷原藏北京故宫，现在日本）。《南诏画传》中这两株高过屋檐开着大朵红色鲜花的古茶花树，是中国绘画中最早出现的山茶形象。\n此外，在唐代的花鸟画家中，晚唐的滕昌是一位具有代表性的画家。滕昌擅作花鸟草虫、蔬果，亦工书法，号称“滕书”。滕昌在居室旁栽植竹石花木，以供写生。《宣和画谱》记有滕昌茶花作品《山茶家鹩图》一幅。可以想见，画家在居室旁栽植的花木中，定然有茶花。《山茶家鹩图》当为写生之作。此传世作品后被宋徽宗藏于宫廷。滕昌的画，“笔迹轻利，傅彩鲜泽，宛有生意”。他的《山茶家鹩图》当为早期花鸟画中的茶花画代表作品。\n五代茶花画在唐人基础上迅速发展并走向成熟，至两宋，茶花画达到了兴盛时期。其主要标志有三：\n一是画院的成立和发展。这是茶花画兴盛的物质基础之一。五代西蜀、南唐正式成立画院，称“翰林图画院”，一时名画家皆归附，绘事盛极一时。至两宋，画院繁荣，尤其是在宋徽宗的倡导下，扩充画院、兴画学，画院及绘画得到空前的发展。\n二是宋代造园植树之风大盛，茶花的引种栽培发展到一个鼎盛时期。其茶花新品种之多，园艺技术水平之高，盆栽与插花艺术拓展之快，都是前所未有的。这是宋代茶花画兴盛的物质条件。\n三是茶花画领域出现以黄筌为代表的在绘画史上具有重要地位和成就的画家。五代和宋前期的花鸟画家，首推黄筌。黄筌（约903～965年）为五代西蜀画家，是五代院体画家主要代表人物。曾入西蜀画院为翰林待诏。黄筌承前启后，创黄筌画派。黄筌的“富丽画风”，适合统治者和宫庭的需要及审美趣味。所谓“黄氏富贵”，即以严谨的用笔，惟妙惟肖的形象刻画，富丽堂皇的色彩为基本特点。黄筌的茶花作品有四幅。《宣和画谱》记有三幅：《山茶鹑雀图》一幅和《山茶雪雀图》二幅，均无画迹可考。只有近代画家于非闇临黄筌《彩鸠山茶图》一幅尚存。摹本上有临宋徽宗题款：“彩鸠山茶，黄筌妙笔。”\n两宋时期的茶花画家，院体画家（即宫廷画家）主要有北宋画家崔悫、吴元瑜，南宋画家林椿、李嵩（1166～1243年）、苏汉臣、董祥（1068～？）等，其身份均为画院待诏。林椿工画花鸟翎，重布局经营，是一位卓有成就的花鸟画家，代表作有《山茶霁雪图》和《茶花鸽子图》。崔悫有《山茶图》。吴元瑜有《山茶鹩子图》。李嵩茶花代表作为《花篮图》（藏台北故宫博物院）。苏汉臣为人物画家，作品《冬日婴戏图》（现藏台北故宫博物院）是一幅以山茶为背景的人物画作。董祥茶花作品有《岁朝图》（现藏台北故宫博物院）。\n院外画家（非宫廷画家）主要有北宋画家赵昌（？～1016年）、易元吉、丘庆余等。赵昌的茶花作品有折枝茶花、二色茶花，其画作“不特取其形似，直与花传神者也”，称“写生赵昌”，名重一时。《宣和画谱》录有其茶花作品《山茶图》、《山茶竹兔图》等十幅之多，另有《四季花卉卷· 山茶》。宋代大文豪苏轼也曾为赵昌山茶图作题跋二首。易元吉的茶花作品，《宣和画谱》录有《山茶孔雀图》、《山茶戏猿图》等八幅。丘庆余的茶花作品也见诸于《宣和画谱》，有《山茶花兔图》、《湖石山茶图》等五幅。\n勾勒填彩的细密画风成为两宋茶花画的主要艺术倾向。两宋的茶花作品以精工的描绘，鲜妍的敷色著称。画家十分注意物象、物理的研究，对物写生成为一时风尚，章法严谨，笔墨精丽，技法成熟，达到炉火纯青的地步，形成这一时期茶花画的主要艺术特色。北宋的茶花画已佚，流传至今的只有南宋画家李嵩的《花篮图》（设色绢本）、宋代佚名的《山茶蝴蝶图》、《白茶花图》，从中足以窥见当时盛行画风的特色。剖析这一时期的绘画作品，可以清晰地看到，以院体画为主的细密画风始终占主导地位。此外，赵昌、易元吉的作品以写生为重。崔悫、吴元瑜的作品在继承黄筌的基础上别创一清淡疏秀之格。林椿虽为宋后期院体画家，却在继承北宋院体画细密的传统中，显示出敷色轻淡，灵活生动的特色。宋无款的《百花图卷· 茶花》画风接近于“文人画”。宋后期的董祥、赵彦敷的茶花作品已具早期文人水墨画的特征。这些作品在主体画风之外各有特色，但是茶花作品的整体艺术倾向始终是鲜明而统一的。\n五代两宋为茶花画数量最多的一个时期。五代两宋时期画茶花的有院体画家、院外画家、士大夫阶层为官者，绘茶花者甚众，呈现欣欣向荣之气势。迄今发现两宋茶花画达41幅，居各个时期茶花作品数量之首。",[23,24,132,73,615,25,26,438,27,1082,1083,28,7,556,248],"茶花","鸽子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F031db809757be93633780fb6452f3df0.jpg","30.1 x 206.5厘米",[],{"id":1088,"slug":1089,"title":1090,"dynasty":105,"author":106,"museum":107,"description":108,"tags":1091,"thumbUrl":1095,"material":118,"size":119,"collection":120,"collections":1096,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":43},225846,"the-pink-orchard-march-fan-gao-225846","The pink orchard (March - )",[110,111,395,1092,1093,459,1094,7,113,403],"笔触","开花的树","天空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f828d98b67bb184451d36d834e8b6df.jpg",[120],{"id":1098,"slug":1099,"title":1100,"dynasty":68,"author":210,"museum":107,"description":234,"tags":1101,"thumbUrl":1102,"material":649,"size":38,"collection":38,"collections":1103,"showCount":1104,"zanCount":11,"manualWeight":11,"mainColor":63},237624,"za-hua-ce-zhu-da-237624","杂画册",[24,213,214,27,7,55,54,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21c05936f6377c0e60f7f681d653d679.jpg",[],24,{"id":1106,"slug":1107,"title":1108,"dynasty":127,"author":128,"museum":107,"description":1109,"tags":1110,"thumbUrl":1112,"material":38,"size":38,"collection":38,"collections":1113,"showCount":1104,"zanCount":11,"manualWeight":11,"mainColor":43},230166,"shui-qin-tu-juan-zhao-ji-230166","水禽图卷","此卷以淡墨勾勒晕染，一对鸳鸯悠游清波，翎毛纹理纤毫毕现，翅羽灵动舒展，柔波随漾尽显缱绻。右侧汀渚之上，野花莠草错落横生，野趣盎然。\n\n卷首题字清隽秀挺，与题跋诗文呼应画意，墨色温润雅致。整作工致写实兼具写意空灵，将水禽相依的情态与郊野水畔的幽谧生机融为一体，静雅之中暗藏灵动鲜活，尽显宋画雅致清和的意趣，是工写相融的精妙佳构。",[23,24,73,615,25,26,27,29,908,7,1111],"水纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87932b955e2126b5dfaa51f8b1ed5b54.jpg",[],{"id":1115,"slug":1116,"title":336,"dynasty":68,"author":196,"museum":107,"description":1117,"tags":1118,"thumbUrl":1119,"material":118,"size":119,"collection":38,"collections":1120,"showCount":1121,"zanCount":11,"manualWeight":11,"mainColor":63},238352,"hua-hui-ce-dong-gao-238352","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”。",[132,24,73,52,26,25,146,147,7,55,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5b5a66add4c45d8079f31aa0ed45868.jpg",[],23,{"id":1123,"slug":1124,"title":370,"dynasty":127,"author":182,"museum":107,"description":1125,"tags":1126,"thumbUrl":1127,"material":118,"size":119,"collection":38,"collections":1128,"showCount":1129,"zanCount":11,"manualWeight":11,"mainColor":63},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。”",[132,24,27,25,26,186,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F316f8844aafa1f77b64073a164171e98.jpg",[],22,{"id":1131,"slug":1132,"title":1133,"dynasty":48,"author":1134,"museum":107,"description":1135,"tags":1136,"thumbUrl":1137,"material":38,"size":38,"collection":38,"collections":1138,"showCount":1129,"zanCount":11,"manualWeight":11,"mainColor":43},231944,"qi-que-tu-bian-jing-zhao-231944","栖雀图","边景昭","边景昭，字文进，明代宫廷花鸟画家。福建延平府沙县（今福建沙县）人，祖籍陇西（今属甘肃）人，生卒年不详。永乐年间（1403-1442）任武英殿待诏，至宣德时（1426-1435）仍供奉内廷。后为翰林待诏，常陪宣宗朱瞻基作画。他为人旷达洒落，且博学能诗。他继承南宋“院体”工笔重彩的传统，其作品工整清丽，笔法细谨，赋色浓艳，高雅富贵。有“花之妖笑，鸟之飞鸣，叶之蕴藉，不但勾勒有笔，其用笔墨无不合宜”之说。边景昭的墨线气力十足，变化丰富，精谨细微，柔韧相宜。\n边景昭的花鸟画以工笔重彩法见长，传统渊源无疑来自宋代“院体”，如清方薰《山静居画论》评：“边鸾（应作边景昭）、吕纪、林良、戴进，纯以宋院题为法，精工毫素、魄力甚伟，黄（笙）、赵（昌）、崔（白）、徐（熙）之作，犹可想见。”明李开先《中麓画品》更具体的指出：“边景昭其源出于李安忠。”清顾复《平生壮观》记边氏《聚禽图》时也指出：“得黄要叔父子遗意。”黄要叔父子即北宋初黄筌及其子黄居采，所创工笔重彩花鸟画风，成为宋初“院体”标准体制；",[23,863,24,73,132,25,26,27,53,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66cd108c88026e1927f3fdb31455cb6c.jpg",[],{"id":1140,"slug":1141,"title":1142,"dynasty":127,"author":435,"museum":183,"description":1143,"tags":1144,"thumbUrl":1146,"material":374,"size":1147,"collection":38,"collections":1148,"showCount":1129,"zanCount":191,"manualWeight":11,"mainColor":43},223517,"sang-guo-shan-niao-tu-yi-ming-223517","桑果山鸟图","此图有宫廷画院的工丽之风，却多了几分粗犷率真。画面取一斜伸桑枝，在一细劲的枝条上站立一只山鸟，憨态可掬，嘴里还叼着桑葚，表情很有几分稚趣",[23,132,24,73,25,26,1145,718,53,27,7,593,56],"桑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1693f8902501da32c2e9093c661caa4.jpg","纵25.2厘米 横26.4厘米",[],{"id":1150,"slug":1151,"title":1152,"dynasty":127,"author":1153,"museum":87,"description":1154,"tags":1155,"thumbUrl":1157,"material":37,"size":1158,"collection":39,"collections":1159,"showCount":1129,"zanCount":11,"manualWeight":11,"mainColor":63},218749,"qun-yuan-shi-guo-tu-yi-yuan-ji-218749","群猿拾果图","易元吉","《群猿拾果图》为北宋画家易元吉所作。本幅无作者款识，右侧题签：“易元吉群猿拾果”。对开乾隆题诗：“好静工引气，能吟更善缘。栖枝坠岸穗，拾果倒空悬。岂必问其数，亦惟顺厥天。尧牵宝星，可以悟难前。 ”\n图绘深谷险峻，老树枝条横斜，二猿猴坐于枝上，一猿猴展臂摘果。\n易元吉，生卒年不详。字庆之，湖南长沙人，北宋画家。初攻花鸟、草虫、果品，后专写獐猿。常深入荆湖深山之中，观察、体会、揣摩猿猴獐鹿的生活习性。所画獐猿生动逼真，呼之欲出，因此而名闻天下。",[23,132,24,73,52,25,26,213,1156,161,7,556,684,841],"猿猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7a549a2865c01cdf38952d04484d0bd.jpg","24.6x24.1cm",[39],{"id":1161,"slug":1162,"title":1163,"dynasty":68,"author":1164,"museum":107,"description":1165,"tags":1166,"thumbUrl":1167,"material":38,"size":38,"collection":38,"collections":1168,"showCount":1169,"zanCount":11,"manualWeight":11,"mainColor":63},235295,"hua-niao-ce-fang-zhou-yuan-jiang-235295","花鸟册方轴","袁江","此作用笔兼具工细与写意之妙，枝间禽鸟造型写实传神，以淡赭晕染躯体，细笔丝出绒羽肌理，昂首引吭的姿态将啼鸣瞬间定格，灵动鲜活。\n\n粉艳海棠柔枝斜出，花瓣以脂水晕染，从瓣尖到瓣根渐次褪淡，叶片以浓淡墨色分出阴阳向背，娇柔雅致。素净绢底衬出花木禽鸟，留白清寂悠然，将春日枝间啼鸣的闲逸氛围尽显笔端，尽显传统花鸟的诗意意趣。",[24,73,52,25,26,27,53,54,7,55,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc14114421003c2cbab785058178e601f.jpg",[],21,{"id":1171,"slug":1172,"title":1173,"dynasty":68,"author":86,"museum":107,"description":1038,"tags":1174,"thumbUrl":1179,"material":251,"size":1041,"collection":38,"collections":1180,"showCount":1169,"zanCount":11,"manualWeight":11,"mainColor":63},234989,"hua-hui-ling-mao-ping-7-ren-yi-234989","花卉翎毛屏7",[24,73,27,90,26,25,28,7,556,1175,1176,1177,1178,147],"红花","粉花","白花","蓝花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b6f696c4310601d6245936bdbdeacd5.jpg",[],{"id":1182,"slug":1183,"title":1184,"dynasty":18,"author":435,"museum":107,"description":1185,"tags":1186,"thumbUrl":1188,"material":38,"size":38,"collection":38,"collections":1189,"showCount":1169,"zanCount":11,"manualWeight":11,"mainColor":43},228183,"dan-feng-niao-que-tu-yi-ming-228183","丹枫鸟鹊图","画面截取深秋一角，虬曲苍劲的枫树枝桠间，残红秋叶点缀，晕开萧索清寒的秋意。三只禽鸟错落栖于枝梢，引吭啼鸣的山雀羽翼晕染细腻写实，将灵动生机揉入冷寂秋景，另外两雀或静立或垂悬，动静相映成趣。\n\n设色调和古雅，工写相融，淡墨皴擦尽显枝干枯涩质感，禽鸟刻画精细入微，将秋日郊野的幽寂野趣藏于笔底，简淡笔意间晕开幽远沉静的林下意趣，尽显雅致空灵的秋日审美意韵。",[23,24,73,132,90,25,26,27,28,603,1187,487,7,35],"枫树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54bfefdf57d7bfd435a7b35b437dd982.jpg",[],{"id":1191,"slug":1192,"title":1193,"dynasty":18,"author":1194,"museum":1195,"description":1196,"tags":1197,"thumbUrl":1201,"material":1202,"size":1203,"collection":38,"collections":1204,"showCount":1169,"zanCount":191,"manualWeight":11,"mainColor":63},221763,"liu-ting-ju-qin-tu-xia-shu-wen-221763","柳汀聚禽图","夏叔文","辽宁省博物馆","淡墨简笔，画一水两岸，柳树柔枝万条，喜鹊，山雉、绶带，翠鸟等或栖憩枝头，或戏游水中； 近处飞禽正落地争觅夺食，远处又有三三两两翔集而来。\n一湾秀水荡起微波，两岸丛葭翩跹飘曳，一派春风杨柳，水暖鸭知的更新景象跃然纸上。\n诗堂清陈舒行书诗题： “柳渚芜沙潮欲平，虞罗不到任咿嘤，鹭丝风定银缾冷，山爵春晖锦翘明，”署“拙民陈原舒观题”，旁钤“原舒”朱文方印，“陈舒之印”白文方印。\n诗堂左上钤“陆树声鉴赏章”白文长方印，下钤刘恕“花步刘氏家藏”朱文长方印。\n作者夏叔文，字号不清，生卒年不详。\n据所钤印记，仅知其为丰城人氏。\n清陆心源所著《穰梨馆过眼录》卷五将本幅编入宋画之中，在南宋人马 远和钱舜举之间，知夏叔文可能为宋末元初人。\n夏叔文作品至今尚无另件发现，本幅作品为夏氏传氏孤品，甚为可贵。\n曾经清刘恕，陆树声递藏。",[23,24,73,132,90,213,26,135,535,28,1198,31,7,1199,1200,214],"水岸","草丛","山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf910dc1c933ad3c68f07c6ebf4ecd3d.jpg","纸本，设色","画心纵128，横66.5厘米",[],{"id":1206,"slug":1207,"title":1208,"dynasty":105,"author":1209,"museum":107,"description":1210,"tags":1211,"thumbUrl":1213,"material":133,"size":1214,"collection":38,"collections":1215,"showCount":1216,"zanCount":11,"manualWeight":11,"mainColor":63},231578,"hua-yin-ying-hua-tu-juan-guang-lai-231578","花隐樱花图卷","広瀬","江户时代樱花的萌芽增加，作者广濑花隐以描绘樱花而美丽。",[23,24,73,615,27,25,26,1212,7,113,56],"樱花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26b5f9759be870fb50edb3c6a69b4f7f.jpg","21×31cm厘米",[],20,{"id":1218,"slug":1219,"title":1220,"dynasty":68,"author":274,"museum":107,"description":1221,"tags":1222,"thumbUrl":1223,"material":38,"size":38,"collection":38,"collections":1224,"showCount":1225,"zanCount":11,"manualWeight":11,"mainColor":63},224193,"gao-zhi-hao-niao-tu-hua-yan-224193","高枝好鸟图","此作用笔秀逸空灵，枯柳斜曳而上，柔条垂落拂动，浅粉桃苞绽于老枝，点破浅春淡寂。丹羽禽鸟栖于细枝，俯身侧目，将恋花娇态摹写生动，蓬松的羽色以没骨晕染，鲜活明丽，尽现翎毛柔润光泽。\n\n墨色干湿互衬，枯笔点苔写柳骨，淡墨轻描柳叶清姿，留白铺就淡远空濛的底色。右侧题诗与画境相合，诗画交融，将春鸟娇啼、窥影共情的诗意融在尺幅之间，简淡中藏生机，尽显隽雅疏朗的文人意趣，把春日幽微意绪晕染在笔墨方寸里。",[23,24,73,27,214,26,53,7,247,201,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa30dec5d8321ce381f3e219c75141f00.jpg",[],19,{"id":1227,"slug":1228,"title":692,"dynasty":127,"author":435,"museum":87,"description":1229,"tags":1230,"thumbUrl":1231,"material":133,"size":1232,"collection":38,"collections":1233,"showCount":1234,"zanCount":62,"manualWeight":11,"mainColor":43},233007,"wa-que-qi-zhi-tu-ye-yi-ming-233007","海棠一枝，果实散挂枝头，树叶已染秋霜。海棠枝头栖息着瓦雀，或缩颈养神，或整理羽毛，姿势各异，神态安适，中间一只发现头顶树叶上落有小蜂，昂首注目，张口欲啄，小蜂似发现险情，翘尾开牙，准备应对。此画面静中寓动，张弛有致，深合画理。\n麻雀常宿于檐瓦之间，故一名“瓦雀”。图中从左向右伸出海棠一枝，果实散挂枝头，树叶已染秋霜，间杂红、黄、绿色，斑斓可爱，惜叶、果有些已遭虫蚀。海棠枝头栖息着瓦雀5只，其中4只或缩颈养神，或整理羽毛，姿势各异，神态安适，唯中间一只发现头顶树叶上落有小蜂，故昂首注目，张口欲啄，小蜂似发现险情，翘尾开牙，准备应对。此画面静中寓动，张弛有致，深合画理。\n瓦雀翎毛刻画精细，高度写实。海棠取轻勾淡染之法，以表现秋叶缺乏水分的轻、薄质感。瓦雀和果、叶以枝条贯穿，若网在纲，有条不紊。细观墨笔枝条虽细，然尚以浓淡墨分出阴阳向背，富于立体感，显得刚健有力。\n此图原载《宋人集绘册》。图中画五只瓦雀，栖止于海棠枝上。花枝上果满页疏，五只瓦雀姿态各异，有的俯首下视，有的扭头回观，有的仰首注视着枝页上的小昆虫，形象生动活泼，逗人喜爱。海棠枝从画面左侧横插，参差顾盼，虬曲多姿。鸟的羽毛用细笔一笔一笔勾描，有毛茸茸的质感。此图用笔精工，设色艳丽。无款印，曾经清代收藏家宋荦珍藏，《石渠宝笈三编》著录。",[24,73,132,25,26,52,27,695,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b6b6fe31dde1b7c91550646cdde7825.jpg","纵28.厘米，横29.1厘米",[],18,{"id":1236,"slug":1237,"title":362,"dynasty":48,"author":1048,"museum":107,"description":1238,"tags":1239,"thumbUrl":1240,"material":38,"size":38,"collection":38,"collections":1241,"showCount":1242,"zanCount":11,"manualWeight":11,"mainColor":63},228830,"shan-mian-shen-zhou-228830","此作用水墨晕染枝间禽鸟，双雀依偎栖于繁花折枝之上，翎毛以浓淡墨色细勾慢染，灵动鲜活似正低语休憩。老干苍劲朴拙，花瓣以淡墨点染，晕出柔润舒展之态，干湿墨色交织，苍润相生。尺幅虽狭，却藏无尽生趣，以极简笔墨勾勒出春日枝桠间的闲逸幽情，将文人画的简淡天真融于方寸之间，尽显写意花鸟的隽永意致，观之如沐春枝清寂雅趣。",[23,24,73,362,213,27,53,54,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4404ed7004430e69ae3c02ca10aad4b.jpg",[],17,{"id":1244,"slug":1245,"title":1246,"dynasty":127,"author":182,"museum":87,"description":1247,"tags":1248,"thumbUrl":1250,"material":251,"size":1251,"collection":38,"collections":1252,"showCount":1253,"zanCount":11,"manualWeight":11,"mainColor":43},233198,"ju-lv-tu-ye-ma-lin-233198","橘绿图页","图中橘子由绿转黄，满压枝头。画家以粗细匀整的用笔流畅地勾画出橘叶的外形轮廓，并以黄绿色填涂叶面，叶片虽然不多，但其充满生命力的色彩为画面增添了几许活力，而侧、转、反、正的种种姿态又为全图带来灵动的节律。橘子的画法一改平涂晕染，直接以笔着色粉戳染成形，从而生动地表现出橘皮粗糙不平的质感。虽然画作历经磨损，许多白色粉点已经剥落，并露出了黄色的绢底，但仍然可见马麟的非凡技艺。\n橘子又称香圆，寓团圆之意。台北故宫博物院藏南宋画院画家林椿创作的一幅《橙黄橘绿图》与本幅在构图及橘、叶的表现技法上均相同，可见此类题材及画法在南宋画院较为普遍。",[132,24,73,25,26,27,1249,55,7],"橘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c205a8ffc34c15b750b08bc5bfa96be.jpg","纵23厘米，横23.5厘米",[],15,{"id":1255,"slug":1256,"title":1257,"dynasty":105,"author":435,"museum":107,"description":1258,"tags":1259,"thumbUrl":1263,"material":38,"size":38,"collection":38,"collections":1264,"showCount":1253,"zanCount":191,"manualWeight":11,"mainColor":63},225430,"fu-shi-hui-188-yi-ming-225430","浮世绘188","此作以花鸟入景，动静相映。左侧白头翁攀附苍劲老干，侧目凝神，右侧雀鸟栖于枇杷枝上，振羽抬首，二者遥遥呼应，将禽鸟互动的灵动瞬间定格。\n\n套色雅致柔和，墨色衬底的叶片沉稳内敛，鹅黄枇杷鲜亮温润，禽鸟青灰羽色搭配暖调胸腹，与木色老干和谐相融。大片留白晕染出清寂闲适的氛围，将山野间的幽趣与花果生机揉合一处，尽显东方花鸟绘的禅意雅致，笔触细腻写实，鲜活捕捉野雀情态，让画面饱含自然生趣，静静铺陈出一隅悠然的林间光景。",[1260,1261,26,27,7,161,55,1262],"浮世绘","木刻","树干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff24f2a719f1f32419d09090d1702b422.jpg",[],{"id":1266,"slug":1267,"title":589,"dynasty":68,"author":274,"museum":1268,"description":1269,"tags":1270,"thumbUrl":1271,"material":58,"size":1272,"collection":38,"collections":1273,"showCount":1274,"zanCount":11,"manualWeight":11,"mainColor":63},233950,"hua-niao-ce-hua-yan-233950","美国弗瑞尔美术馆","华喦（同“岩”）（1682~1756)，一作华岩，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、白沙道人、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、李鳝、郑板桥及盐商巨子马曰管、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。\u2028 华岩一生贫困，金农在《画竹题记》提到:汀洲华岩秋岳，……尝画兰草纸卷，卷有五丈者，一炊饭顷便能了事，清而不媚，恍闻幽香散空谷之中，…… 余恨不能踵其后尘也。乾隆十七年(1752)，回到杭州旧居解弢馆。乾隆二十一年卒，有《离垢集》5卷。",[24,52,26,213,214,27,53,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e8acbfb0acec1b9fe73ea2e9c49f2c6.jpg","31.2×44.7厘米",[],14,{"id":1276,"slug":1277,"title":1278,"dynasty":68,"author":1279,"museum":107,"description":1280,"tags":1281,"thumbUrl":1283,"material":38,"size":38,"collection":38,"collections":1284,"showCount":1274,"zanCount":11,"manualWeight":11,"mainColor":43},230920,"yin-tang-xiao-yue-tu-lan-tao-230920","银塘晓月图","蓝涛","此作用笔清隽工细，设色雅致柔和。暮春晓月晕开朦胧柔光，池畔梨花如云叠缀，柔枝轻曳舒展，将春夜清寂揉入花枝。绣眼静栖枝头，羽色苍褐温润，身形灵动传神，似在聆听春夜余声。画面留白疏朗空灵，师法宋元院体意趣，将幽淡宁和的春夜诗意凝于尺幅，尽显古典花鸟的雅致韵致，把塘边春宵的温柔静谧永远定格于绢素之中。",[23,24,73,132,90,25,26,27,795,53,54,7,1282,35],"柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcafc6fa2c004fa104f0237b2fc2238e0.jpg",[],{"id":1286,"slug":1287,"title":1288,"dynasty":48,"author":1289,"museum":107,"description":1290,"tags":1291,"thumbUrl":1293,"material":118,"size":119,"collection":38,"collections":1294,"showCount":1295,"zanCount":11,"manualWeight":11,"mainColor":43},236693,"zhi-ji-mei-hua-shan-zhang-cui-236693","雉鸡梅花扇","张萃","此作为金笺扇面，工写兼施。虬曲梅干苍劲老辣，苔点皴染尽显风霜古意，淡色晕染梅花，瓣色清透柔丽，枝桠舒展暗合章法。坡石下雉鸡身形半掩花丛，翎羽晕染细腻，姿态安然灵动，自带野逸之趣。\n\n左上角题款笔墨清雅秀润，朱红印信点缀留白，令画面虚实相生更显和谐。整体画风明秀隽雅，兼具文人写意的疏淡意韵与院体写生的细腻工致，将春日梅间幽寂生机尽显于尺幅扇面之中。",[24,362,213,25,1292,291,7,56],"雉鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c53a858b847f01a0496b129b30c09f0.jpg",[],13,{"id":1297,"slug":1298,"title":1009,"dynasty":68,"author":1299,"museum":107,"description":1300,"tags":1301,"thumbUrl":1302,"material":118,"size":119,"collection":38,"collections":1303,"showCount":1295,"zanCount":11,"manualWeight":11,"mainColor":63},236677,"hua-niao-shan-wang-li-236677","王礼","王礼（1813－1879）初名秉礼，字秋言，号秋道人,南翁道人（一作士），别署白蕉研主，一号蜗寄生，室名延秋款冬之室，常用印鉴王礼、王礼之印、王秉礼印、吴江王礼、秋言、秋言写生、秋言画印、秋言书画、秋道士、湫言、阿大、戴传、延秋款冬之室、公之犹、雪蕉家学、梵天壶隐、红梨逸史书画记。",[24,132,362,25,26,27,53,54,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d27386983f34565f87342d17586b338.jpg",[],{"id":1305,"slug":1306,"title":1307,"dynasty":68,"author":1308,"museum":107,"description":1309,"tags":1310,"thumbUrl":1312,"material":38,"size":38,"collection":39,"collections":1313,"showCount":1314,"zanCount":11,"manualWeight":11,"mainColor":63},239277,"hou-qi-zhi-hua-hua-niao-ce-hou-qi-239277","后祺指画花鸟册","后祺","此作以指为笔，尽显写意风流。枯笔焦墨勾勒老干，苍劲朴拙自带风霜之态。泼墨晕染葡萄藤叶，浓淡铺陈虚实层次，墨色酣畅淋漓，不见毛笔尖秀精巧，反生朴野天然的肌理意趣。垂挂的葡萄果实以淡墨点染，稚拙可爱，暗合秋实之味。\n\n右侧题诗与画境相融，将秋夜风摇叶落的清寂悄然铺展。整幅简淡空灵，不刻意描摹形貌，却把秋夜的幽静谧穆藏在笔墨间，文人画的雅致禅意尽显，以指画的生涩拙朴，勾勒出清秋独有的疏朗意境，韵味悠长。",[24,73,52,1311,213,326,56,27,7,55,161],"指画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2655be70d1638baa59bcfacabcc51dd.jpg",[39],12,{"id":1316,"slug":1317,"title":1318,"dynasty":68,"author":1319,"museum":107,"description":1320,"tags":1321,"thumbUrl":1323,"material":38,"size":38,"collection":39,"collections":1324,"showCount":1325,"zanCount":11,"manualWeight":11,"mainColor":63},236715,"hua-niao-guo-ce-li-qi-236715","花鸟果册","李圻","此作用水墨写就枝间野趣，禽鸟栖于细枝之上，喙衔小虫，姿态灵动自若。以浓淡墨色晕染禽鸟羽毛，层次宛然，将绒羽蓬松质感尽数展现，鲜活如生。右侧枯枝苍劲，松针皴擦老辣枯涩，与禽鸟的细腻刻画形成鲜明反差，虚实相映。左侧题字笔力苍拙，书画相融，更添文人雅韵。整幅简淡疏朗，于写意间暗含写生之真趣，寥寥笔墨便将林间小景的野逸之态尽显，清雅生动，意韵悠长。",[24,73,52,213,27,53,7,135,1322],"枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84c311ed68016fef5ab151c351fbaca3.jpg",[39,238],10,{"id":1327,"slug":1328,"title":1329,"dynasty":68,"author":274,"museum":107,"description":1330,"tags":1331,"thumbUrl":1332,"material":118,"size":119,"collection":38,"collections":1333,"showCount":1325,"zanCount":11,"manualWeight":11,"mainColor":63},235385,"hua-niao-tu-ce-hua-yan-235385","花鸟图册","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。",[24,73,52,213,26,27,53,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c84564d40ad840b5f82a96329943938.jpg",[],{"id":1335,"slug":1336,"title":589,"dynasty":68,"author":274,"museum":1268,"description":1269,"tags":1337,"thumbUrl":1339,"material":58,"size":1272,"collection":38,"collections":1340,"showCount":1341,"zanCount":11,"manualWeight":11,"mainColor":63},233948,"hua-niao-ce-hua-yan-233948",[24,73,52,213,26,214,53,7,1338,27],"松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37441e2049f3063c56504e99c7cf62ed.jpg",[],9,{"id":1343,"slug":1344,"title":1345,"dynasty":127,"author":435,"museum":183,"description":1346,"tags":1347,"thumbUrl":1349,"material":329,"size":1350,"collection":38,"collections":1351,"showCount":1341,"zanCount":11,"manualWeight":11,"mainColor":43},231082,"hua-ying-tu-yi-ming-231082","画鹰图","此作以苍鹰为魂，猛禽踞于古松蟠枝之上，身姿挺拔傲岸，目光锐利如炬，铁爪紧扣虬结老干，将猛禽的悍戾威严尽显无遗。翎毛晕染精细，蓬松质感逼真入微，分毫毕现猛禽风神。\n\n淡墨晕染出空寂背景，衬出古松的苍劲荒疏，整幅画面工致写实，兼具文人意趣，将猛禽英武与古木苍浑相融，尽显精妙造诣，题跋环衬，书画相映，更添古雅厚重的沉静气韵。",[24,73,25,26,134,729,7,28,1348,132],"古画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e583ed5386de66a99ee8f7592775a71.jpg","131.8x65.3",[],{"id":1353,"slug":1354,"title":589,"dynasty":48,"author":1355,"museum":107,"description":1356,"tags":1357,"thumbUrl":1358,"material":38,"size":38,"collection":38,"collections":1359,"showCount":1360,"zanCount":11,"manualWeight":11,"mainColor":63},236544,"hua-niao-ce-tang-zhi-yin-236544","唐志尹","唐志尹[清]字相五，江苏扬州人，住姜堰。一作字聘三，海陵（今泰州）人。志契弟。花鸟得吕纪、王偕之传。所居万竹园，冒襄、蓝瑛辈尝过访之。康熙（一六六二至一七二二）初年八十余。与侄日昌，兄志契时称三唐。《泰州志、无声诗史、图绘宝鉴续纂、画史会要》",[24,52,25,26,27,53,92,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11d2255d8c4cfd6eb086fd83fce3213c.jpg",[],8,{"id":1362,"slug":1363,"title":1364,"dynasty":48,"author":1365,"museum":20,"description":1366,"tags":1367,"thumbUrl":1370,"material":1371,"size":1372,"collection":38,"collections":1373,"showCount":1360,"zanCount":11,"manualWeight":11,"mainColor":63},233678,"hua-hui-juan-wang-duo-233678","花卉卷","王铎","本幅墨笔，前隔水伊念曾题答，本幅有张囗、戴明说观款，后纸叶恭绰题记。钤“曾藏嵩山草堂”，“墨卿”，“慎得”等藏印。\n王铎（1592—1652年），字觉斯，号嵩樵、烟潭渔叟、痴仙道人等，孟津（今洛阳孟津县）人。明天启二年（1622年）进士，累官礼部尚书、东阁大学士。工诗文，能绘画。书法师钟繇、二王、颜真卿、米芾，尤得力于《淳化阁帖》，既浸淫于古法又有所创新。其书诸体悉备，最擅行、草书，笔法纵逸流畅，风格雄健险峻，是清初书法大家。刻有《拟山园帖》、《琅华馆帖》。《清史稿》有传。",[24,73,615,213,1368,25,201,27,147,92,172,161,556,7,76,1369,31],"白描","叶草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cbd58569f7990ba918a2a7dda226ed8.jpg","纸本墨笔","纵24.9厘米，横116厘米",[],{"id":1375,"slug":1376,"title":1377,"dynasty":68,"author":435,"museum":107,"description":1378,"tags":1379,"thumbUrl":1382,"material":118,"size":119,"collection":38,"collections":1383,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":43},288638,"ba-ge-deng-zhi-tu-ce-ye-yi-ming-288638","八哥登枝图册页","此作工致写实，墨色八哥羽色乌亮油润，顶羽轻扬如冠，黄喙劲利，侧目远眺，利爪稳踞枝桠，将野禽倨傲灵动的神采尽数拿捏。旁侧秋叶片片晕染，朱赭相间，脉络细劲分明，枯枝干皴苍朴古拙。\n绢本底色沉穆温润，衬得禽鸟花木愈见鲜活，动静相宜，把秋日林间的清寂生机凝于尺幅。笔致精细入微，设色妍雅和谐，尽显精妙绘事法度，将一隅秋意野趣定格成隽永的绢上风景。",[24,1380,25,26,27,1381,7,350],"册页","八哥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea9d31cbdbb9a72bf1001a1f3550f102.jpg",[],{"id":1385,"slug":1386,"title":1387,"dynasty":48,"author":1388,"museum":107,"description":1389,"tags":1390,"thumbUrl":1391,"material":118,"size":119,"collection":38,"collections":1392,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":63},237829,"tang-shang-bai-tou-shan-ye-zhang-chong-237829","堂上白头扇页","张翀","生卒不详，活动于17世纪，明代画家。字子羽，号浑然子、图南，江都（今江苏南京）人",[362,24,26,25,27,53,147,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3544ffc2ce090f75e06a6e2d1cedf0f9.jpg",[],{"id":1394,"slug":1395,"title":589,"dynasty":48,"author":1355,"museum":107,"description":1356,"tags":1396,"thumbUrl":1397,"material":38,"size":38,"collection":38,"collections":1398,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":63},236548,"hua-niao-ce-tang-zhi-yin-236548",[24,73,52,26,25,27,28,7,54,852],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90210ee54de8ae8f5320ee5cffc6ddca.jpg",[],{"id":1400,"slug":1401,"title":1100,"dynasty":68,"author":274,"museum":107,"description":1330,"tags":1402,"thumbUrl":1404,"material":118,"size":119,"collection":38,"collections":1405,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":63},235062,"za-hua-ce-hua-yan-235062",[24,73,52,26,213,326,56,27,1403,7,161],"鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6f1eca30f712d9a8063b78d86d450d6.jpg",[],{"id":1407,"slug":1408,"title":1409,"dynasty":68,"author":435,"museum":107,"description":1410,"tags":1411,"thumbUrl":1416,"material":118,"size":119,"collection":38,"collections":1417,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":43},229064,"qian-long-qi-nian-ci-tai-yang-cai-hai-he-lai-chao-yu-huan-dan-ping-yi-dui-yi-ming-229064","乾隆七年 磁胎洋彩海鹤来朝玉环胆瓶一对","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。 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。",[498,1412,1413,26,25,1414,556,7,1415],"陶瓷","洋彩","鹤","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb23604782d1aca8a0094bc1e52b9fbfd.jpg",[],{"id":1419,"slug":1420,"title":1421,"dynasty":18,"author":960,"museum":183,"description":1422,"tags":1423,"thumbUrl":1424,"material":329,"size":1425,"collection":38,"collections":1426,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":43},221717,"hua-yuan-zhou-yan-hui-221717","画猿轴","此幅画挂岩老树，上着两猿，一猿抱干，一猿挂枝，树下画细腰蜂十四尾。两猿弄蜂，作好事而又畏缩之状；树枝挂猿，着重直垂而下，有低昂不定之势。画笔老辣，揣拟传神。另猿猴二字常连用，蜂与猴又和“封侯”谐音，故旧画中往往取此吉祥意义为题作画。\n悬崖树上，二猿攀爬。一只抱着树干，一只挂在枝梢，树枝因负重而下垂，犹有低昂摇摆之态。右下方有一蜂群，两猿目视，既惊又喜的表情，仿佛若现，意态甚是生动。中国画中常绘有猿猴（hou）和蜂（feng）的作品，目的在取“封侯”（feng hou）谐音，用为祝贺升官晋爵的表征，深富吉祥喜庆的寓意",[23,24,90,213,661,7,684,556],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3151198714c161d81cfe5e9c962e09bb.jpg","131.8x67公分",[],{"id":1428,"slug":1429,"title":1430,"dynasty":127,"author":435,"museum":183,"description":1431,"tags":1432,"thumbUrl":1433,"material":37,"size":899,"collection":38,"collections":1434,"showCount":1435,"zanCount":11,"manualWeight":11,"mainColor":43},231080,"tong-shi-xiu-ling-tu-yi-ming-231080","桐实修翎图","这幅小品以极简取景尽显雅致意趣。枯涩桐枝斜出，叶片晕染苍润，桐实垂悬，带着秋意的沉敛。枝上禽鸟侧身理羽，绒羽蓬松柔润、覆羽棱纹毕现，笔致精细入微，将禽鸟的慵懒闲适刻画得鲜活传神。\n\n画面虚实相生，淡远空境衬出小景静谧，古绢的沉暗底色晕开旧时光晕，钤印朱红点缀，添上岁月沉淀的厚重，尽显写生的精妙工致，将秋日林间的幽寂生机定格在尺幅之间。",[132,24,73,90,25,26,27,53,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40cb72af34f436ca4a5ea71e741b3c48.jpg",[],5,{"id":1437,"slug":1438,"title":1439,"dynasty":127,"author":435,"museum":107,"description":1440,"tags":1441,"thumbUrl":1443,"material":38,"size":38,"collection":38,"collections":1444,"showCount":1435,"zanCount":11,"manualWeight":11,"mainColor":63},223645,"zhu-wang-jue-yuan-tu-ye-yi-ming-223645","蛛网攫猿图页","此作用笔精细入微，猿猴攀附松枝，长臂探向蛛网，身姿轻捷灵动，毫毛发肤晕染细腻，将猿猴的好奇憨态刻画得栩栩如生。松叶苍劲秀挺，留白衬出幽寂雅致的氛围，尽显小品画以小见大的意趣。\n画作写实功力尽显，又搭配题诗呼应画意，将生灵的灵动情态与文人情思相融，于尺幅团扇之中，藏着宋人雅致精微的审美意趣，是兼具写生妙笔与含蓄理趣的经典之作。",[23,24,1380,25,26,546,7,684,1442,201,56],"蛛网","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba1685b576c7ccc6dfa95528b2be98d2.jpg",[],{"id":1446,"slug":1447,"title":1448,"dynasty":18,"author":703,"museum":183,"description":1449,"tags":1450,"thumbUrl":1451,"material":37,"size":1452,"collection":38,"collections":1453,"showCount":1435,"zanCount":11,"manualWeight":11,"mainColor":63},215000,"xie-sheng-hua-hui-ce-8-wang-yuan-215000","写生花卉册-8","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",[24,73,52,26,25,27,147,92,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a4e0aa6a61cb97eb9d243a820fd2f47.jpg","25.9x23.6cm",[],{"id":1455,"slug":1456,"title":1457,"dynasty":68,"author":435,"museum":107,"description":1458,"tags":1459,"thumbUrl":1465,"material":118,"size":119,"collection":38,"collections":1466,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":1467},250002,"qian-long-kuan-qia-si-fa-lang-shou-shan-fu-hai-tu-tian-qiu-ping-yi-ming-250002","乾隆款掐丝珐琅寿山福海图天球瓶","景泰蓝（Cloisonne），中国的著名特种金属工艺品类之一，到明代景泰年间这种工艺技术制作达到了最巅峰，制作出的工艺品最为精美而著名，故后人称这种金属器为“景泰蓝”。景泰蓝正名“铜胎掐丝珐琅”，俗名“珐蓝”，又称“嵌珐琅”，是一种在铜质的胎型上，用柔软的扁铜丝，掐成各种花纹焊上，然后把珐琅质的色釉填充在花纹内烧制而成的器物 。因其在明朝景泰年间盛行，制作技艺比较成熟，使用的珐琅釉多以蓝色为主，故而得名“景泰蓝”。",[1460,1461,1462,1463,7,472,1464,556,1415],"琺瑯器","掐丝珐琅","铜制","寿桃","海水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F209b83f457316c38e1bc121f677a5a81.jpg",[],"37474F",{"id":1469,"slug":1470,"title":1100,"dynasty":68,"author":1471,"museum":107,"description":1472,"tags":1473,"thumbUrl":1474,"material":118,"size":119,"collection":38,"collections":1475,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":63},236941,"za-hua-ce-wang-liu-zhen-236941","王六真","此作用水墨写意绘就寒枝垂藤，虬曲苍劲的枝桠舒展穿插，羽状叶片以浓淡墨色点簇而成，虚实错落间尽显萧疏清寒。一只孤鸟敛羽静栖细枝，身形小巧灵动，为清冷画面晕开一缕幽微生机。\n\n背景以淡墨轻晕，不着一笔却朦胧出水色天色交融的空濛之态，留白间尽显悠远虚静。整体笔墨简淡清逸，以少胜多，将冬日荒寒氛围与细碎生趣相融，在墨色浓淡、虚实相生里，传递出澹泊清远的文人意趣，尽显水墨小品以景寄情的雅致格调。",[24,213,52,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7faf00b7fbe75e6281437303e7d4f2f5.jpg",[],{"id":1477,"slug":1478,"title":1479,"dynasty":48,"author":1480,"museum":107,"description":1481,"tags":1482,"thumbUrl":1483,"material":38,"size":38,"collection":38,"collections":1484,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":63},234166,"hua-niao-tu-juan-cao-pu-234166","花鸟图卷","曹镤","曹镤（？－？），字良金，直隶苏州府吴江县人，民籍，明朝政治人物。应天府乡试第一百二十二名举人。弘治六年（1493年）中式癸丑科二甲第四十一名进士.曾祖曹瑾；祖父曹𤩽；父曹珵，母李氏",[23,24,73,615,26,213,91,56,326,27,28,53,7,147,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F483c4b66e3025fed4af1d5d6c8ef3840.jpg",[],{"id":1486,"slug":1487,"title":1488,"dynasty":68,"author":1489,"museum":107,"description":1490,"tags":1491,"thumbUrl":1492,"material":38,"size":38,"collection":38,"collections":1493,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":63},224306,"hua-hui-shi-er-kai-7-li-shan-224306","花卉十二开7","李鱓","此作以极简笔墨勾勒秋日闲景，构图疏朗留白有致。右上角淡墨绘藤蔓残叶，朱红果鲜亮醒目，晕染灵动，与浅淡枝叶相映成趣。下方枯枝上，禽鸟以浓淡墨色晕染出羽毛层次，昂首远眺姿态鲜活，仿佛正侧目红果，野趣横生。\n全画笔意纵逸随性，寥寥数笔便将禽鸟的机警灵动与秋果的鲜活生机尽显，浓淡墨色冷暖相映，简淡却意蕴悠长。配之题款朱印，文气雅致，尽显文人写意画的随性风神，将秋日一隅的幽寂生机悄然铺展，恬淡悠然，尽显写意花鸟的隽永意趣。",[23,24,73,52,213,26,27,53,7,161,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4eff5f05f84877912f8f80a3c7e379a0.jpg",[],{"id":1495,"slug":1496,"title":1497,"dynasty":68,"author":435,"museum":107,"description":1498,"tags":1499,"thumbUrl":1500,"material":118,"size":119,"collection":38,"collections":1501,"showCount":62,"zanCount":11,"manualWeight":11,"mainColor":43},288184,"shu-zhi-xiao-niao-tu-ye-yi-ming-288184","树枝小鸟图页","褐赭绢底晕开古雅底色，墨色八哥栖身虬枝，玄羽乌润似凝墨脂，顶冠轻耸自带娇态，黄喙朗翘，朱瞳流盼，劲爪紧扣枯槎，尾羽鳞纹分明如琢玉。旁侧霜叶晕染橙红暖调，从梢尖到叶缘层次渐变，枯涩枝桠与柔丽秋叶相映成趣。\n\n整作工细设色雅致内敛，禽鸟毫羽毕现，叶脉勾勒精细入微，以淡赭晕开叶色深浅，枯枝皴擦古拙苍劲，暗合清秋幽寂意韵。留白疏朗开阔，将幽禽顾盼的灵动与秋枝的沉穆相融，妍丽工致间暗蕴闲淡野趣，尺幅之间写尽深秋一角的幽寂生机。",[23,24,73,27,25,26,1061,7,350,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3bcbfa72e172e3d385b0679e8c3399f.jpg",[],{"id":1503,"slug":1504,"title":1505,"dynasty":48,"author":435,"museum":107,"description":1506,"tags":1507,"thumbUrl":1508,"material":118,"size":119,"collection":38,"collections":1509,"showCount":62,"zanCount":11,"manualWeight":11,"mainColor":63},236679,"jiang-qi-hua-niao-shan-yi-ming-236679","姜起花鸟扇","此作以没骨法晕染设色，色调古雅淡逸。枝梢缀满粉红花苞与嫩叶，戴胜栖于细枝，昂首啼鸣，羽翼纹理细致入微，灵动鲜活。左下角野花萋萋，蛱蝶振翅穿花，小虫隐于草间，将春日郊野生机凝于尺幅间。\n\n画面留白疏朗，虚实相生，衬出幽寂清宁的意境。笔墨秀润简净，花鸟草虫形神兼备，尽显小品画作的隽永意趣，把春日野趣悄然定格，雅致动人，带着内敛沉静的文人雅韵。",[362,25,26,27,53,54,7,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F731e2dfce06617083b731a1161150a35.jpg",[],{"id":1511,"slug":1512,"title":1513,"dynasty":105,"author":435,"museum":107,"description":1514,"tags":1515,"thumbUrl":1516,"material":118,"size":119,"collection":38,"collections":1517,"showCount":62,"zanCount":11,"manualWeight":11,"mainColor":63},230548,"ming-qing-fang-gu-fen-ben-6-sheng-bai-hua-hui-juan-yi-ming-230548","明清仿古粉本-6- 胜白 花卉卷","此卷以水墨绘就，兼具工致与写意之趣。左侧湖石隐于幽草间，枯笔皴擦勾勒石体质感，苍劲古拙，野意盎然。右侧花枝错落舒展，枝干以清劲笔线写出，力道暗藏。叶片以淡墨晕染，浓墨点醒叶脉，层次分明，绣球花以白描圈点，空灵雅致，旁侧小花晕勾结合，疏密相生。全作用墨清和，虚实相映，将湖石的冷寂幽趣与花枝的柔妍盛放相融，尽显文人水墨的清雅淡远，笔底含韵，墨色空灵，尽显古典花鸟的清逸格调。",[23,24,73,615,213,1368,147,31,7,55,56,438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8339dee55b3aa72625aa9c24a2f9a3b.jpg",[],{"id":1519,"slug":1520,"title":1521,"dynasty":105,"author":435,"museum":107,"description":1522,"tags":1523,"thumbUrl":1524,"material":38,"size":38,"collection":38,"collections":1525,"showCount":62,"zanCount":11,"manualWeight":11,"mainColor":43},225551,"fu-shi-hui-16-yi-ming-225551","浮世绘16","沉黑底色铺就幽谧基调，浅银细线勾勒蔷薇枝蔓，将虬曲柔蔓舒展的姿态晕开。两朵粉蔷薇晕染柔润，在暗色里明丽清新，花苞含露待放，添了几分娇柔。枝头雀鸟以淡彩晕染羽色，米黄暖橙层层过渡，尾羽晕开青褐渐变，神态警觉灵动，爪紧扣枝桠，将生机凝于方寸之间。\n\n创作者以阴刻留白搭配淡彩晕染，克制雅致。画面简净却意韵悠长，将花鸟幽寂柔美的东方意境铺展，晕生出闲淡雅致的侘寂之美。",[1260,1261,26,27,53,54,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1f655a8a17ee48b68326738bd13ae84.jpg",[],{"id":1527,"slug":1528,"title":1529,"dynasty":68,"author":435,"museum":107,"description":1530,"tags":1531,"thumbUrl":1533,"material":118,"size":119,"collection":38,"collections":1534,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":63},256580,"wu-cai-hua-niao-tu-bang-chui-ping-yi-ming-256580","五彩花鸟图棒槌瓶","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[498,1412,1532,26,27,53,54,7,458,404,1415],"五彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbae10d0f7c76fc2849b13096f072e7f0.jpg",[],{"id":1536,"slug":1537,"title":1307,"dynasty":68,"author":435,"museum":107,"description":1538,"tags":1539,"thumbUrl":1540,"material":38,"size":38,"collection":38,"collections":1541,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":63},239281,"hou-qi-zhi-hua-hua-niao-ce-yi-ming-239281","此作用指为笔，意趣朴拙天然。枯槎疏花之间，两羽禽鸟意态悠然：一伫高枝远眺，似聆风观云，一栖细梢敛羽，若梳翎小憩。淡墨晕染枝梢花叶，朴拙中带着柔润的晕化质感，淡赭轻点花蕊，晕开几分春日暖意。\n\n左侧题字笔致苍劲率意，与画面的闲散清雅相映成趣，文思画意浑然相融。全幅布局疏朗空灵，以极简笔墨勾勒幽寂小景，将禽鸟灵动与花木清逸融为一体，无需浓妆艳饰，自带着林下澹澹雅致，尽显写意花鸟以简驭繁的妙趣，把春梢间的闲散生机晕染得恰到好处。",[24,73,52,1311,213,27,53,54,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F414e4c7fb2977267e4983bc7598b9ecb.jpg",[],{"id":1543,"slug":1544,"title":1545,"dynasty":105,"author":1546,"museum":107,"description":1547,"tags":1548,"thumbUrl":1559,"material":118,"size":119,"collection":38,"collections":1560,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":43},232498,"he-er-bai-yin-157-he-er-bai-yin-232498","荷尔拜因157","荷尔拜因","小汉斯·荷尔拜因（约1497年-1543年11月29日以前）是德国画家，最擅长油画和版画，是欧洲北方文艺复兴时代的艺术家。其代表作有：木版画《死神之舞》。\n荷尔拜因在创作一幅肖像画以前，经常用铅笔描绘衣物、装饰品等细节，有时也用钢笔或垩笔，然后在纸上沿轮廓扎上小孔，铺在画布上，用炭粉将其转移到画布上。在晚年也使用复写纸。他的画作对细节描绘非常详细、真实，甚至于仪器上的刻度、信笺上的文字、桌布上的花纹都描绘的一丝不苟，但整体风格仍然非常统一，人文主义风格非常明显，俄罗斯作家陀斯妥耶夫斯基曾经评价他的作品《墓中的基督》：“可以把许多人的信仰夺去。” 他曾经从同为英国王室画家的弗拉芒画家卢卡斯·霍亨布特那里学习画微型画，卢卡斯曾为他画了一幅微型画像，他自己从没有画过自画像。",[1549,1550,1551,1552,1553,90,509,1554,1555,1556,1557,7,94,1094,1558],"写实","素描","明暗","线条","宗教","男性","长袍","赤脚","刀","太阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa44cac277b1505a734fc7e467db41d44.jpg",[],{"id":1562,"slug":1563,"title":1564,"dynasty":68,"author":435,"museum":107,"description":1565,"tags":1566,"thumbUrl":1567,"material":118,"size":119,"collection":38,"collections":1568,"showCount":191,"zanCount":11,"manualWeight":11,"mainColor":43},257732,"kang-xi-kuan-wu-cai-shi-er-yue-hua-hui-wen-bei-zhi-yi-ming-257732","康熙款五彩十二月花卉纹杯-枝","胎质莹润洁白，釉面匀净清透。外壁老树虬枝舒展苍劲，翠色叶片层叠鲜亮，点染灵动写实。浅蓝坡石间灵兔静卧，野意悠然恬淡。五彩设色柔和雅致，勾勒晕染兼具工致与写意，将清秋闲寂雅致的意境凝于掌中寸盏，尽显含蓄隽秀的文人情致，是彩瓷小品里的精妙之作，藏着中式器物里的雅致意趣。",[1412,1532,26,147,7,830,498,1415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99a7d978d5a53d7a1da09e4115f61c94.jpg",[],{"id":1570,"slug":1571,"title":1572,"dynasty":68,"author":1573,"museum":87,"description":1574,"tags":1575,"thumbUrl":1576,"material":251,"size":1577,"collection":38,"collections":1578,"showCount":191,"zanCount":11,"manualWeight":11,"mainColor":63},223148,"yao-xie-shi-yi-tu-ce-di-san-kai-xin-zhong-li-hua-man-shan-hu-ren-xiong-223148","姚燮诗意图册-第三开：新种梨花满扇湖","任熊","此套共十册，每册十二开，每开除录有姚燮诗句外，还分别钤“熊”朱文印或“渭长”白文印。册页最后另有四开，分别有任熊、熊松之、吴云、沈钰、曹峋、李鸿裔等人题跋。据任熊自跋，作品完成于咸丰元年（1851年），时年29岁。\n这套共计一百二十张的册页是任熊在友人姚燮家里居住时为主人所画。姚燮，字梅伯，号复庄，浙江镇海人。道光年间举人，以诗见称于世。此册以姚燮的诗句命题，题材丰富多样，人物鬼神、花鸟鱼虫、仙山楼阁、亭榭风月皆聚于尺幅之间。全册别具匠心，常有神来之笔；设色则于鲜丽中见古雅之气，堪称任氏巅峰时期的铭心佳构。",[23,24,73,52,26,25,27,740,7,265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F780138dfbe12c343fd038241a055bde5.jpg","纵27.3厘米，横32.5厘米",[],{"id":1580,"slug":1581,"title":1582,"dynasty":68,"author":435,"museum":107,"description":1583,"tags":1584,"thumbUrl":1585,"material":118,"size":119,"collection":38,"collections":1586,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":63},257745,"kang-xi-kuan-wu-cai-shi-er-yue-hua-hui-wen-bei-su-yi-ming-257745","康熙款五彩十二月花卉纹杯-素","素白瓷胎为纸，淡彩晕染冬梅虬枝，花苞轻缀其上，似含待放之姿。青花勾勒湖石幽草，浅淡色调衬出清冷雅致，笔触细腻温婉，将冬日花境的清寂意趣融于杯身。\n\n杯盏虽小，却以彩料作笔墨，把冬梅凌寒的娴静之美凝缩其中，疏朗构图衬出文人审美里的淡远意韵，尽显旧时制瓷的雅致匠心，将一花一景的清幽雅致藏于掌心器物间。",[1412,1532,26,291,7,94,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F127cbde6f643b7215fb4c69306e8bba0.jpg",[],{"id":1588,"slug":1589,"title":1590,"dynasty":68,"author":435,"museum":107,"description":1591,"tags":1592,"thumbUrl":1593,"material":118,"size":119,"collection":38,"collections":1594,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":63},257741,"kang-xi-kuan-wu-cai-shi-er-yue-hua-hui-wen-bei-feng-yi-ming-257741","康熙款五彩十二月花卉纹杯-风","此杯以五彩妆点，老干虬曲苍劲，赭褐枝桠肆意舒展，丹红小花攒簇枝头，娇嫩绿萼小叶点缀其间，将花木盛放的鲜活意趣尽揽杯身。杯底以淡蓝轻点坡石苔痕，素净清润，衬得花树愈发明艳热烈。\n\n设色柔丽和谐，红彩鲜亮却无艳俗之感，绿彩匀净雅致。绘者笔致工细写实，枝干皴染细致，尽显古木苍朴质感，花瓣晕染层次分明，柔娇之态呼之欲出。莹白瓷胎温润通透，将花木绰约风姿与瓷色清莹相融，整体秀逸雅致，藏着春日融融的生机，尽显古雅清新的审美意韵。",[1412,1532,26,291,147,7,113,498,1415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b92306acbdc79868849146a81cd578c.jpg",[],{"id":1596,"slug":1597,"title":1598,"dynasty":48,"author":435,"museum":107,"description":1599,"tags":1600,"thumbUrl":1602,"material":118,"size":119,"collection":38,"collections":1603,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},256406,"cheng-hua-kuan-qing-hua-hua-niao-tu-wo-zu-wan-yi-ming-256406","成化款青花花鸟图卧足碗","青花瓷（blue and white porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[1412,1601,863,25,27,28,7,113,1415],"青花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43ef57b73ecd277e60687a5637a1323a.jpg",[],{"id":1605,"slug":1606,"title":1607,"dynasty":68,"author":435,"museum":107,"description":1608,"tags":1609,"thumbUrl":1614,"material":118,"size":119,"collection":38,"collections":1615,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},252664,"bai-yu-shu-zhi-shi-ru-yi-yi-ming-252664","白玉树枝式如意","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。\n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玉器经历7000多年的发展，从简单的装饰品发展到古代宗教祭拜、礼仪用品，再到象征高尚道德品质的装饰品，最后上升为丰富的艺术鉴赏作品，深入反映了不同历史时期的社会发展演变过程。",[1610,1611,1612,7,1613],"玉石","雕刻","清式风格","如意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc89a2610a055c81c5d1fbfd0069f3409.jpg",[],1777535702784]