[{"data":1,"prerenderedAt":1156},["ShallowReactive",2],{"subject-shui-cao":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},168,"shui-cao","水草","水草画高清赏析","精选中国历代水草题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ad081c97a7a9fe4ab06f18e9cd4f176.jpg",0,95,[14,39,60,76,91,108,121,138,160,175,190,204,215,226,235,245,256,269,280,303,316,336,351,361,370,377,393,405,416,427,436,446,459,469,481,496,510,525,542,554,566,578,589,603,616,627,638,649,659,672,682,695,707,719,728,736,744,753,764,772,782,793,802,811,820,831,845,856,868,885,893,902,912,920,930,940,951,961,974,983,994,1004,1013,1026,1035,1044,1057,1068,1077,1090,1100,1111,1124,1135,1146],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":33,"material":34,"size":34,"collection":34,"collections":35,"showCount":36,"zanCount":37,"manualWeight":11,"mainColor":38},224170,"he-hua-tu-xie-sun-224170","荷花图","清","谢荪","藏地不详","此作用淡赭铺就底色，晕染出古雅沉静的氛围。盛放粉荷为画面焦点，花瓣由尖部玫红渐次晕化为柔白，笔触细腻，尽显芙蕖舒展娇妍的姿态。\n\n枯荣并置，残荷蚀痕勾勒入微，带着清冷迟暮意，与挺劲草叶和鲜活芙蕖形成对照，错落间尽显荷塘幽谧生机。线条清隽秀润，配色温婉柔和，右上角题字秀雅致，与画面融为一体，将夏日荷塘悠然澹远的意蕴尽数铺展，于浅淡晕染中传递出清和雅致的风骨，尽显江南画派的秀润格调。",[23,24,25,26,27,28,29,30,7,31,32],"高清","国画","书画","花鸟","工笔","设色","荷花","荷叶","清代","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F888fece7ea88a068223afc5c8664face.jpg","",[],4288,26,"BDBDBD",{"id":40,"slug":41,"title":17,"dynasty":42,"author":43,"museum":44,"description":45,"tags":46,"thumbUrl":53,"material":54,"size":55,"collection":56,"collections":57,"showCount":58,"zanCount":59,"manualWeight":11,"mainColor":38},218732,"he-hua-tu-xu-wei-218732","明","徐渭","台北故宫博物院","这幅画的构图简洁明了，布局清新精致。荷叶用滴水不漏的方式画出，而荷花则是寥寥数笔，充满了情感和笔墨的意趣。",[24,25,47,48,49,50,32,51,29,30,7,52],"立轴","水墨","写意","书法","草书","莲蓬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe64b411afff5b620d7387710af664033.jpg","纸本,水墨","141.7x37.2cm","花鸟画精选",[56],1397,13,{"id":61,"slug":62,"title":63,"dynasty":18,"author":64,"museum":65,"description":66,"tags":67,"thumbUrl":69,"material":70,"size":71,"collection":56,"collections":72,"showCount":73,"zanCount":74,"manualWeight":11,"mainColor":75},219051,"hua-niao-tu-zhou-quan-219051","花鸟图","周铨","大英博物馆","绘河塘的一角，铺天盖地的荷叶和花朵高高耸立，白色花瓣中的黄色花蕊错落有致，刚刚冒出的小荷叶和花蕾展现出勃勃生机；地面上，一只羽毛斑斓、微闭双眼的野鸭子似乎正在打盹。",[23,24,28,27,47,26,29,30,68,7],"鸭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc74352fefe18eb2942c55d970a733680.jpg","绢本,设色","94x48.6cm",[56],628,10,"795548",{"id":77,"slug":78,"title":79,"dynasty":18,"author":80,"museum":44,"description":81,"tags":82,"thumbUrl":86,"material":87,"size":34,"collection":34,"collections":88,"showCount":89,"zanCount":90,"manualWeight":11,"mainColor":38},214861,"xie-sheng-ce-4-hua-yan-214861","写生册-4","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。",[83,24,31,28,27,84,85,7,32,26],"名画","鱼","海螺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F185c3169af8452ffdbb9bb497462b957.jpg","纸本,设色",[],286,2,{"id":92,"slug":93,"title":94,"dynasty":95,"author":96,"museum":44,"description":97,"tags":98,"thumbUrl":102,"material":70,"size":103,"collection":104,"collections":105,"showCount":107,"zanCount":90,"manualWeight":11,"mainColor":75},219216,"zhu-ou-tu-cui-bai-219216","竹鸥图","宋","崔白","本幅画翠竹、芦草随风摇曳，水波也起伏荡漾，白鹭一只立于水中，则是放低了姿势，采逆向迎风、涉水而行的姿态，动静之间，形成均衡画幅的力量。幅上虽有崔白二字款，若和院藏崔白的「双喜图」相比较，在刻划花鸟的情态、掌握自然环境中一刹那生动的情景，两者的风味相类；但在用笔方面，崔白的笔墨线条，无论粗细柔劲、浓淡干湿、起伏顿挫，都为表现物象的质感、动态，随物变化。而在「竹鸥图」中，画白鸥的线条细挺，画竹子、芦草和坡石则是时有断续、富有弹性的线条，与院藏宋人「翠竹翎毛」中那种起伏变化明显，偏向于南宋风格的线条较为接近，因此本幅虽非崔白所作，但属宋代受崔白影响的作品之一。崔白（活动于11世纪后半），字子西，濠梁（今安徽凤阳）人。宋仁宗时（1022-1062）画院学艺。举凡道释、人物、禽兽、花卉无不精绝，尤擅长于花竹、山兔、枯荷、水凫、野雁之类。",[23,24,26,28,27,99,100,101,7],"竹","白鹭","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6de49481fe805ec1b96d44ffd87decef.jpg","101.3x49.9cm","宋画精选",[104,56,106],"设色画精选",242,{"id":109,"slug":110,"title":111,"dynasty":18,"author":112,"museum":20,"description":113,"tags":114,"thumbUrl":115,"material":116,"size":117,"collection":34,"collections":118,"showCount":119,"zanCount":120,"manualWeight":11,"mainColor":38},235426,"he-hua-zhou-lu-hui-235426","荷花轴","陆恢","陆恢（1851—1920），清末民初著名画家。原名友恢，一名友奎，字廉夫，号狷叟，一字狷盫，自号破佛盫主人，原籍江苏吴江，居吴县（今江苏苏州）。",[24,25,47,28,48,26,29,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24e20f7c46d85cc1273ebbc0538eb92b.jpg","未知","Xcm*Xcm",[],187,3,{"id":122,"slug":123,"title":124,"dynasty":42,"author":43,"museum":125,"description":126,"tags":127,"thumbUrl":131,"material":132,"size":133,"collection":134,"collections":135,"showCount":136,"zanCount":137,"manualWeight":11,"mainColor":38},222237,"xie-yu-tu-xu-wei-222237","蟹鱼图","北京故宫博物院","《蟹鱼图》“走笔如飞，泼墨淋漓”，在用笔上他强调一个“气”字，看似草草，若断若连，实际上笔与笔之间有着气势在贯通，观他的作品，能体会出他是在借物吟咏人生情怀，由此可见，画家徐渭以他的才情，将中国大写意花鸟画推上了艺术的最高峰，此图不愧为大写意艺术的巨匠的杰作。",[23,24,48,128,49,129,84,7,130],"长卷","蟹","芦苇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f0c23795adba5be0f62953199fed27d.jpg","纸本","28.7cmx98cm","水墨画精选",[134],182,1,{"id":139,"slug":140,"title":141,"dynasty":142,"author":143,"museum":44,"description":144,"tags":145,"thumbUrl":157,"material":34,"size":34,"collection":34,"collections":158,"showCount":159,"zanCount":90,"manualWeight":11,"mainColor":75},226697,"jiang-xing-chu-xue-tu-quan-juan-zhao-gan-226697","江行初雪图全卷","五代十国","赵干","《江行初雪图》是五代时期画家赵干创作的一幅绢本水墨设色画作，现收藏于台北故宫博物院。\n《江行初雪图》全卷描写长江沿岸渔村初雪情景。全卷人物神态生动，刻画准确，鱼鳞般的水纹用尖细流利的线条绘成，一丝不苟。绘坡石及树木大多用笔简劲老硬，皴法与墨染浑融，表现出一种清刚利畅的情趣。",[23,83,24,25,128,28,27,146,147,130,148,149,150,151,152,153,154,155,156,7],"江岸","枯树","孤舟","蓑笠","流水","人物","寒林","沙洲","初雪","渔乐","小船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea9bf6aaac2d8f3ea6e83d5b869ee5c.jpg",[],179,{"id":161,"slug":162,"title":163,"dynasty":164,"author":165,"museum":166,"description":167,"tags":168,"thumbUrl":172,"material":34,"size":34,"collection":34,"collections":173,"showCount":174,"zanCount":137,"manualWeight":11,"mainColor":38},220488,"zhang-da-qian-yu-fei-yin-wang-xue-tao-he-zuo-he-tang-qing-qu-tu-wang-xue-tao-220488","张大千、于非誾、王雪涛合作荷塘清趣图","民国","王雪涛","四川博物院","此作为三家合璧之妙品，以泼墨晕染荷叶，浓淡交织晕开雨后荷塘的氤氲水气，苍润淋漓间尽显池夏清寂雅致。白荷亭亭玉立，带着初经雨洗的舒展柔润，暗吐幽芳。\n上空红蜓振翅悬停，池边青蛙轻跃欲起，草叶间小蜻蜓静立，将初夏荷塘的鲜活生机悄然铺陈。书画相映成趣，题句点透菡萏初发的诗意。\n写意与工笔相融，泼墨的疏朗大气搭配草虫的工致鲜活，把荷塘的幽趣揉入笔墨，静中生灵韵，雅淡见天然，尽显文人意趣与写生妙谛。",[23,24,25,47,28,48,26,169,29,170,171,30,7,49],"荷","蜻蜓","青蛙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7972b04f6b3a1e7149a7f2c832b57a2.jpg",[],176,{"id":176,"slug":177,"title":178,"dynasty":95,"author":179,"museum":44,"description":180,"tags":181,"thumbUrl":185,"material":186,"size":187,"collection":104,"collections":188,"showCount":189,"zanCount":11,"manualWeight":11,"mainColor":75},221337,"chi-tang-qiu-wan-tu-juan-quan-juan-zhao-ji-221337","池塘秋晚图卷全卷","赵佶","该作品为粉笺本，粉笺新纸时，光洁亮丽，其上尚印有卷草纹图案，是极为珍贵的材质。纸面经过上粉处理，具有不吸水性，乍看之下，笔墨甚为质朴，斑剥古趣。徽宗款识：“天下一人”。",[23,24,25,128,27,182,48,26,183,29,52,130,7,184,50,32],"白描","飞鸟","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e4573239b74f372ac19d707d1888ee0.jpg","白纸本","全图33×237.8公分",[104,56,134],164,{"id":191,"slug":192,"title":193,"dynasty":18,"author":194,"museum":125,"description":195,"tags":196,"thumbUrl":199,"material":200,"size":201,"collection":34,"collections":202,"showCount":203,"zanCount":137,"manualWeight":11,"mainColor":38},233791,"liao-ting-yu-zao-tu-zhou-yun-shou-ping-233791","蓼汀鱼藻图轴","恽寿平","该幅是恽氏触景生情的写生之作。构图简洁无远、中、近景之分，仅绘青山园池的一隅：蓼花、翠竹与湖石构筑出典雅平和的意境，数尾游鱼惬意的神态又为全幅平添了几分生机和意趣。恽寿平在《瓯香馆集补遗画跋》曾言：“以古人为师犹未能臻妙，必进而师抚造化，庶几极妍尽态而为大雅之宗。” 此图便体现了他这种在传统的绘画之外，更注重师法自然的美学思想。在表现技法上，恽寿平采用的是他出古入新创制的“没骨”画风，即不用笔勾勒物象的轮廓线，而全以色彩点染而成。竹、芦、蓼叶及水藻施以浓淡不同的花青、淡赭、浅红等，每片叶均一笔撇出，缺少轮廓线的束缚，物象更具摇曳多姿的生动性。湖石以淡花青为主调，施用大量的水分晕染，没有干笔勾线，枯笔皴擦，湖石固然失去了石体坚硬的质感，但其玲珑剔透的秀润之美倍增。",[24,28,27,26,184,84,197,7,198],"蓼草","藻类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a9bc3daeb5afc87149b9699423ade1b.jpg","纸本，设色","纵135厘米，横62.6厘米",[],162,{"id":205,"slug":206,"title":207,"dynasty":18,"author":194,"museum":20,"description":208,"tags":209,"thumbUrl":212,"material":116,"size":117,"collection":34,"collections":213,"showCount":214,"zanCount":90,"manualWeight":11,"mainColor":75},290523,"yu-zao-tu-zhou-yun-shou-ping-290523","鱼藻图轴","恽南田（1633年—1690年），即恽寿平，原名格，字寿平，后以字行，改字正叔，号南田，别号云溪外史，晚居城东，号东园草衣，后迁居白云渡，号白云外史，明末清初著名书画家，常州画派的开山祖师，后来成为清六家之一。",[83,24,25,47,28,27,26,84,7,210,211],"浮萍","紫藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F748fd697006adc0f65ec737a5e5f60cf.jpg",[],149,{"id":216,"slug":217,"title":218,"dynasty":18,"author":194,"museum":20,"description":208,"tags":219,"thumbUrl":223,"material":116,"size":117,"collection":34,"collections":224,"showCount":225,"zanCount":11,"manualWeight":11,"mainColor":38},239437,"hua-niao-ce-yun-shou-ping-239437","花鸟册",[24,25,220,28,221,26,84,7,222],"册","没骨","花瓣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea37733e86b90f083dc9a91eca90815.jpg",[],129,{"id":227,"slug":228,"title":229,"dynasty":18,"author":19,"museum":20,"description":230,"tags":231,"thumbUrl":232,"material":34,"size":34,"collection":34,"collections":233,"showCount":234,"zanCount":120,"manualWeight":11,"mainColor":38},233230,"hong-lian-tu-ce-xie-sun-233230","红莲图册","画上自题：己未春日写似，伴翁老先生，谢荪。 钤一印。按己未为清康熙十八年，即公元1679年。\n谢荪（生卒年未详），清代画家。字缃酉，又字天令，常住南京。擅长画山水、花卉，与龚贤、樊圻齐名，为“金陵八家”之一。作品有《青绿山水图轴》等。",[83,24,28,27,220,29,30,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F437de0e69fce243e2beeaba3fd223383.jpg",[],125,{"id":236,"slug":237,"title":238,"dynasty":18,"author":239,"museum":20,"description":240,"tags":241,"thumbUrl":242,"material":34,"size":34,"collection":56,"collections":243,"showCount":244,"zanCount":137,"manualWeight":11,"mainColor":38},236537,"xu-gu-san-yu-tu-zhou-xu-gu-236537","虚谷三鱼图轴","虚谷","虚谷（1824—1896年），姓朱，名怀仁，出家为僧后以虚谷名，号紫阳山民、倦鹤等，祖籍安徽新安（今歙县），寓居扬州、苏州、上海等地，卖画为生。能诗擅画，工于书法，尤以善绘瓜果鱼蔬、人物、山水等为人称道。喜用枯笔焦墨，具有拙于外秀于内的笔墨特征。与任颐、胡公寿等交往密切，是晚清著名的海上名家。",[24,25,47,28,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F322ba8e10765708da950451e20edb9d5.jpg",[56,134],117,{"id":246,"slug":247,"title":248,"dynasty":18,"author":249,"museum":20,"description":250,"tags":251,"thumbUrl":253,"material":116,"size":117,"collection":34,"collections":254,"showCount":255,"zanCount":90,"manualWeight":11,"mainColor":38},239093,"he-hua-shui-niao-zhou-zhu-cheng-239093","荷花水鸟轴","朱偁","朱偁[清]（1826—1900，一作1826—1899）清代画家，早岁名琛，后更今名，字梦庐，号觉未，浙江嘉兴人。",[24,28,26,47,48,29,252,30,7],"水鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46322f421f14030edbe6883250880f4a.jpg",[],113,{"id":257,"slug":258,"title":259,"dynasty":260,"author":261,"museum":44,"description":262,"tags":263,"thumbUrl":265,"material":87,"size":266,"collection":56,"collections":267,"showCount":268,"zanCount":11,"manualWeight":11,"mainColor":38},218857,"yu-zao-tu-yi-ming-218857","鱼藻图","元","佚名","画面中一尾大鱼沉稳游弋，墨色斑驳的鳞纹如晕染的云影，鱼鳍轻摆间似漾开圈圈水纹。下方小鱼灵动活泼，细密银鳞在淡墨水面闪着微光。浮萍点点、水草疏疏，淡赭底色衬得画面清润雅致。笔墨兼具写实与写意，线条勾勒精准生动，晕染层次细腻，将水中生灵的悠然自得与水域的静谧空濛完美融合。观之如临清池，心随鱼游，尽显元代画作对自然生机的诗意捕捉，顿生悠然忘俗之趣。",[24,27,28,32,47,84,7,264,210],"藻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe19a2581b51df18cea45a78fb632c9d0.jpg","141.9x59.6cm",[56],109,{"id":270,"slug":271,"title":272,"dynasty":42,"author":273,"museum":44,"description":274,"tags":275,"thumbUrl":276,"material":132,"size":277,"collection":34,"collections":278,"showCount":279,"zanCount":90,"manualWeight":11,"mainColor":38},222107,"he-hua-yu-dun-wa-shen-zhou-222107","荷花与蹲蛙","沈周","沈周（1427-1509）明代杰出画家。字启南，号石田，又号白石翁、玉田生、有居竹居主人等。长洲（今江苏苏州）人。性情敦厚、博学多才，长于文学，亦工诗画，善画山水、花卉、鸟兽、虫鱼，皆极神妙。常草草点缀，即得意趣。亦常题诗词于画上，当时人称他为“二绝先生”。画宗黄大疾、吴镇，自成一家笔法。亦工墨笔花鸟，和他的学生文征明并称为“吴派”两大家。又与文征明、唐寅、仇英称“明四家”。他每画一画，落笔点苔，绝不苟且。他能从多方面摹习古人，又加自己的创造，更参以二米的笔趣，善用粗笔，圆润挺劲，厚重凝炼。出入于宋元名家，创作态度极为慎重。",[23,83,24,25,48,49,32,29,171,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfa0b35a5a56cdef8fbb2e9da30170c2.jpg","34.8×56.5厘米",[],108,{"id":281,"slug":282,"title":283,"dynasty":95,"author":284,"museum":125,"description":285,"tags":286,"thumbUrl":299,"material":132,"size":300,"collection":104,"collections":301,"showCount":302,"zanCount":90,"manualWeight":11,"mainColor":38},221500,"shui-mo-xie-sheng-tu-mu-xi-221500","水墨写生图","牧溪","法常的绘画，有不少取材于平时人们司空见惯的日常生活，但独能于平淡天真之中揭示生命意识的真谛。此卷所绘折枝花果、禽鸟、鱼虾及蔬果，笔墨简淡，平平常常，在画幅上随随便便地摆放在一起，看来就是最为常见的与我们现实生活息息相关的景象，但是卷中墨色的氤氲、排列的错综、变化的神奇，却又分明深蕴着禅机。这些平常物象的背后是不着笔墨的大片空白，这种“知白守黑”、“计白当黑”的处理，使得画面中本不相关联的事物各自相对独立又可合而为一，画意更为完整而富于张力，给观者以想象的空间，正所谓“于无画处皆成妙境”。整幅作品充满着一种宁静、自省、淡泊的内在精神，使观者有“万物静观皆自得”的会心感受，耐人寻味。牧溪的绘画，写生功底极深，此幅亦是“肖似形类，并得其意”（项元汴语）的形神兼备之作。\n沈周卷后题识称：“不施色彩，任意潑墨，儼然若生。回視黃筌、舜舉之流，風斯下矣。”本幅无作者款印，沈周定为“真宋物也”。徐邦达先生认为，沈周题跋中“牧”字有挖改痕迹，是“似牧非牧之画”。",[23,24,83,25,128,48,287,49,26,288,289,84,290,129,291,292,293,294,295,29,296,297,7,298],"写生","蔬果","水族","虾","鸟","燕子","麻雀","萝卜","白菜","花卉","植物","叶子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facf031a51ea46b7afc61efea8475b520.jpg","纵47.3厘米，横814．1厘米",[104,56,134],106,{"id":304,"slug":305,"title":306,"dynasty":18,"author":307,"museum":20,"description":308,"tags":309,"thumbUrl":313,"material":34,"size":34,"collection":34,"collections":314,"showCount":315,"zanCount":11,"manualWeight":11,"mainColor":38},234591,"jin-yu-wan-shan-duan-xue-hai-234591","金鱼纨扇","段学海","扇面画的历史源流，据张彦远《历代名画记》记载，三国时，曹操就有请杨修为其画扇的故事。到了唐代画扇之风更为盛行，当时的扇子还是圆形的，故称团扇。宋代宫廷画家更是画扇成风，且留下扇面画也很多，扇子的形制出现了芭蕉形的扇子。集书法、绘画于一扇，则始于明代，这是因为折扇形式的出现。国人历来都有这种习性，一件实用品总要给它艺术化，扇面画就是这样经过明清书画家的匠心经营，从而逐步确定了其作为一种独特的艺术品种而广泛普及、流传下来，继而也逐步形成了扇面画独立的审美体系。及至清代、民国，扇面画都是书画家乐于染翰和文人雅士乐于把玩、收藏的艺术品。",[24,25,310,27,28,26,311,7,312],"扇面","金鱼","松枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21f8c809ca71eff535a97f2bdaa63cab.jpg",[],104,{"id":317,"slug":318,"title":319,"dynasty":42,"author":320,"museum":44,"description":321,"tags":322,"thumbUrl":332,"material":333,"size":334,"collection":56,"collections":335,"showCount":12,"zanCount":11,"manualWeight":11,"mainColor":38},222555,"qiu-tang-hua-ya-zhou-chen-chun-222555","秋塘花鸭轴","陈淳","陈淳，1483年生，1544年逝世（另一种说法是1482—1539），长洲（今江苏苏州）人。字道复，后以字行，更字复甫，号白阳，又号白阳山人。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。在绘画史上，陈淳与徐渭并称为“白阳、青藤”， 陈淳的绘画当属文人隽雅一路的，即“白阳”一派画家。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。\n陈淳中年以后间作山水，技法学米友仁、高克恭，多以江南风景为题材，手法简练，极具文人生活情趣，文徵明曾微笑着说：“吾道复举业师耳，渠书、画自有门径，非吾徒也。”存世作品有《红梨诗画图》《山茶水仙图》《葵石图》《罨画图》等。其子陈括继承父风、擅花卉。\n陈淳绘山水，效法米友仁、高克恭，水墨淋漓，颇得氤氲之气。他的泼墨之功，往往见于画烟云之中。在写意花卉方面，陈淳独得玄门，笔法挥洒自如，富有疏朗轻健的风姿，用墨设色，则如徐沁所谓“浅色淡墨之痕俱化矣！”王世贞在《州续稿》中说：“胜国（元朝）以来，写花卉者无如吾吴郡，而吴郡自沈启南（周）后，无如陈道确，陆叔平（治）”。近代画家如蒲华、吴昌硕、齐白石等，在诗文题书画中，都对陈淳做出了极高的评价。明万历年间即有人曾评价过陈淳在花卉方面的造诣和声誉都超过了文征明，成为继沈周之后的吴门大家。明清以来画家，尤其在花鸟画方面，受他的影响很深。他与徐渭齐名，人称“青藤白阳”。现存的陈淳作品大部分均在博物馆收藏，民间甚少得见。",[23,24,47,48,28,49,26,29,52,323,7,130,324,325,326,296,297,327,328,329,330,331],"鸭子","明代","秋景","禽鸟","淡彩","文人画","写意花鸟","水墨设色","明代绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57ed2c1673a772976ff5fcf779defb76.jpg","纸本设色","90.8x36.2厘米",[56,106],{"id":337,"slug":338,"title":339,"dynasty":340,"author":341,"museum":20,"description":342,"tags":343,"thumbUrl":347,"material":116,"size":117,"collection":348,"collections":349,"showCount":350,"zanCount":11,"manualWeight":11,"mainColor":75},230504,"shi-ting-shi-dai-si-ji-hua-niao-tu-ping-feng-yi-ping-xue-zhou-230504","室町时代 四季花鸟图屏风-一屏","不详","雪舟","雪舟（1420～1506） Sesshū 日本画家。名等杨，又称雪舟等杨。生于备中赤浜（今冈山县总社市）。曾入相国寺为僧，可能随同寺的山水画家周文学过画。作品广泛吸收中国宋元及唐代绘画风范。后被维也纳世界和平大会通过决定公认他为世界文化名人。",[23,344,25,345,48,182,49,130,183,7,346],"日本画","屏风","湿地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77861560213211ee329ec40013d0180f.jpg","山水画精选",[348],87,{"id":352,"slug":353,"title":354,"dynasty":42,"author":261,"museum":355,"description":356,"tags":357,"thumbUrl":358,"material":48,"size":34,"collection":134,"collections":359,"showCount":360,"zanCount":11,"manualWeight":11,"mainColor":75},219245,"qun-yu-xi-shui-tu-yi-ming-219245","群鱼戏水图","美国克利夫兰艺术博物馆","画面中四条游鱼摆尾摇鳍，姿态各异：或俯冲而下，或结伴游弋，或相互顾盼，似在清浅碧波中自在穿梭。鱼身以淡墨晕染出细腻鳞纹，线条简劲灵动，将鱼儿的鲜活质感勾勒得淋漓尽致。下方水藻疏朗写意，寥寥数笔点染出摇曳之姿，与游鱼相映成趣，暗喻水的澄澈空濛。背景素净，不着浓墨却尽显空寂中的生机，仿佛能听见水波轻漾之声。整幅作品笔墨简约却意韵悠长，以灵动鱼群与疏淡水藻，营造出悠然恬淡的自然之趣，传递出古人对生命本真的细腻观照与闲适心境。",[23,24,25,48,27,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0776132fb25c9eb3a02af0d582f360a.jpg",[134],86,{"id":362,"slug":363,"title":364,"dynasty":260,"author":261,"museum":365,"description":366,"tags":367,"thumbUrl":368,"material":70,"size":34,"collection":56,"collections":369,"showCount":360,"zanCount":11,"manualWeight":11,"mainColor":75},216668,"you-yu-tu-yi-ming-216668","游鱼图","私人收藏","游鱼图是由元朝（1271-1368年）的佚名画家创作的一幅著名的中国画作。这幅画描绘了一条鱼游动在清澈的池塘中，周围是葱郁的树木和山峦。画中的鱼看起来栩栩如生，似乎可以随时从画面中跳出来。这幅画被认为是元朝画坛上最杰出的代表作之一，因其精细的绘画技巧和生动的写意风格而备受赞赏。",[24,25,48,28,27,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6c4249a76f6272444c798a69ae2976f.jpg",[56],{"id":371,"slug":372,"title":373,"dynasty":18,"author":80,"museum":44,"description":81,"tags":374,"thumbUrl":375,"material":87,"size":34,"collection":34,"collections":376,"showCount":360,"zanCount":11,"manualWeight":11,"mainColor":38},214841,"xie-sheng-ce-20-hua-yan-214841","写生册-20",[24,28,27,84,7,32,287,220],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ce710137779d736844fb703d7a06705.jpg",[],{"id":378,"slug":379,"title":380,"dynasty":95,"author":96,"museum":65,"description":381,"tags":382,"thumbUrl":389,"material":70,"size":390,"collection":56,"collections":391,"showCount":392,"zanCount":11,"manualWeight":11,"mainColor":75},219342,"shuang-e-tu-cui-bai-219342","双鹅图","图为一池景，水面波光粼粼，荷叶点缀，前面一只白鹅，后面紧跟着一只长着棕白羽毛的大鹅，水下鹅足在用力划桨。",[23,24,25,27,28,26,383,384,7,30,385,386,387,388],"鹅","水","昆虫","绢本","写实","自然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F655339b4f302564650f45fb89c765f64.jpg","27x34.10cm",[56],82,{"id":394,"slug":395,"title":396,"dynasty":397,"author":261,"museum":398,"description":399,"tags":400,"thumbUrl":401,"material":70,"size":402,"collection":56,"collections":403,"showCount":404,"zanCount":11,"manualWeight":11,"mainColor":75},219253,"shuang-fu-tu-yi-ming-219253","双凫图","隋","上海博物馆","沙岸之上，双凫相栖。一昂首侧顾，羽色分明，墨线勾勒间见灵动；一俯身啄沙，姿态憨拙，似与细石苔草低语。左侧芦苇数茎，叶尖斜挑，墨色浓淡相衬，劲挺中含野趣。背景沙坡淡墨晕染，疏点散落，隐现苔痕添清寂。画面不着艳色，仅以水墨勾染，却将凫鸟闲适、草木疏朗尽现。静谧里仿佛闻风过苇叶轻响，见凫鸟戏沙悠然。极简笔触藏对自然神韵的深察，尽显古画“以形写神”妙趣，于清淡间传递自然生机与文人清雅意韵。",[24,28,27,26,326,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f65c79e8538775c4d7b5a1690582de5.jpg","25.7x22.3cm",[56],81,{"id":406,"slug":407,"title":408,"dynasty":95,"author":409,"museum":20,"description":410,"tags":411,"thumbUrl":413,"material":34,"size":34,"collection":34,"collections":414,"showCount":415,"zanCount":11,"manualWeight":11,"mainColor":75},227545,"luo-hua-you-yu-tu-juan-liu-cai-227545","落花游鱼图卷","刘寀","《落花游鱼图》是北宋刘寀创作的绢本设色画，现藏于美国圣路易美术馆。\n\n此图开始先画盛开的杏花，伸向水面，向后展开，落花引来群鱼争食、或聚或散，或潜游，或上浮，或回泳，翻藻戏蒲，以示水中的畅泳自然之态。其画法全用渲染，间或用没骨法，不见钩勒，活泼生动。这种表现方法和诗情画意，独创一格，多为后人所仿效。",[23,24,128,27,28,84,29,412,7,32],"落花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa408c3b0e7c06087b3ea0051b1546b89.jpg",[],77,{"id":417,"slug":418,"title":419,"dynasty":42,"author":273,"museum":44,"description":420,"tags":421,"thumbUrl":423,"material":54,"size":424,"collection":134,"collections":425,"showCount":426,"zanCount":137,"manualWeight":11,"mainColor":38},219524,"guo-suo-tu-shen-zhou-219524","郭索图","该图是幅淡墨写意作品。“酒醉菊黄蟹正肥”，是雅俗共赏的著名的诗句。南方江浙一带的画家与市民每逢秋季无不饮酒食蟹。画家作此画的画意亦在于此。画幅的中间部位画清水大阐蟹一只，坚实如锯齿般的双螯，如钳子似的夹住稻穗，蟹壳尖楞突出，如一把把锐利尖刀，爬沙横行于水草之间。蟹爪过处，如闻郭索之声，故以此名命。此当为江南水乡深秋时节，这是稻谷、大豆已成熟，临近收割，这正是螃蟹最肥壮的时期“过雨黄花千蕊发，经霜紫蟹两螯肥”。正是“持螯赏菊”的良宵佳时。技法上，体黑，先用淡墨画蟹壳、蟹脚，勾勒而成，用焦墨画爪尖和蟹壳回凸，然后用浓墨渲染双蟹螯，形成体白，黑白相间，极有韵趣。其背景稻穗一根，用笔随意，草草点染，似不经意一挥而成。此画可谓为大画家沈周戏墨之作，随物赋形，但却形神兼备，可见他写生的功力之深厚。画幅上端有作者自题款:“郭郭索索，还用草缚。不敢横行，沙水夜落。沈周。”钤“石田”白文印。此图经清内府收藏。画幅右上端有乾隆题赞",[83,24,48,49,25,32,422,7],"螃蟹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3862c7b20f88c912c2f1841c8d16126c.jpg","纵49.4 厘米，横31厘米",[134],74,{"id":428,"slug":429,"title":430,"dynasty":42,"author":320,"museum":20,"description":431,"tags":432,"thumbUrl":433,"material":34,"size":34,"collection":34,"collections":434,"showCount":435,"zanCount":137,"manualWeight":11,"mainColor":38},231011,"qiu-tang-hua-ya-tu-chen-chun-231011","秋塘花鸭图","此作用淡墨轻铺底色，墨色晕染出花鸭绒羽蓬松柔润，青灰头羽、赭黄喙部鲜亮醒目，鸭身浮沉秋水，憨态悠然，尽显野趣生机。残荷枯黄老叶以赭石、花青晕染，莲蓬挺秀，败菊缀于右上角，淡彩点染出秋意阑珊。汀草、蓼花细笔勾勒，干湿浓淡的墨色交织，衬出水波澹澹。\n\n画作兼工带写，水墨为主略施淡彩，笔意纵逸又不失秀雅，将深秋塘间清寂又鲜活的意趣尽数铺展，笔情墨趣间尽显文人写意的雅致随性，揉合秋日池溏的萧疏与生机，淡远空灵的意境扑面而来。",[83,24,25,47,49,48,28,26,169,68,52,7,325,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13db65695720260f6c24cc85f7896486.jpg",[],70,{"id":437,"slug":438,"title":439,"dynasty":42,"author":320,"museum":398,"description":440,"tags":441,"thumbUrl":442,"material":54,"size":443,"collection":34,"collections":444,"showCount":445,"zanCount":11,"manualWeight":11,"mainColor":38},214628,"hua-hui-ce-15-chen-chun-214628","花卉册-15","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。",[24,25,48,220,49,26,129,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54271d67f5e6b262a643841011e42eab.jpg","纵28 厘米 横37.9 厘米",[],66,{"id":447,"slug":448,"title":449,"dynasty":42,"author":450,"museum":125,"description":451,"tags":452,"thumbUrl":454,"material":455,"size":456,"collection":34,"collections":457,"showCount":458,"zanCount":137,"manualWeight":11,"mainColor":75},233881,"fu-rong-e-tu-zhou-sun-long-233881","芙蓉鹅图轴","孙隆","图绘池塘草畔，一只大鹅昂首前望，侧立于芙蓉、湖石下。芙蓉花叶用先点后勾法画成，墨、色相间。太湖石以没骨法渲染。鹅则兼用没骨与勾勒，以淡墨线勾勒轮廓、羽毛，淡墨渲染花色，朱棕赭石填染咀和掌，造型严整，笔致工细。整幅画不拘泥于细节的刻划，而是从整体出发，着力表现白鹅、芙蓉的生动神态。\n在画法上，作者将写意与写形、没骨与勾勒、水墨与淡彩融为一体，和谐地统一于图画之中。这种画法的渊源，应为宋、元以来水墨写意花鸟技法的发展和变异，是孙隆的一种创造，开写意花鸟画之新风。此图为其存世佳作。",[24,83,25,47,26,28,221,453,383,30,7],"芙蓉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4161d97123ab1447f6e046cfecf58534.jpg","绢本，设色","纵159.3厘米，横84.1厘米",[],63,{"id":460,"slug":461,"title":462,"dynasty":95,"author":261,"museum":20,"description":463,"tags":464,"thumbUrl":465,"material":34,"size":34,"collection":34,"collections":466,"showCount":467,"zanCount":468,"manualWeight":11,"mainColor":75},223630,"he-xie-tu-yi-ming-223630","荷蟹图","《宋人画荷蟹图》是宋代佚名创作是一幅中国画。\n图中残败的荷叶枯黄斑驳，半浸于水中，一只团脐雌蟹挥螯伏于叶上。\n潺潺流水中生长、飘浮着红蓼、蒲草、浮萍、水藻等，其叶片边沿均已泛黄，显示出时已临秋，金秋时节，正是蟹美膏肥之时，荷叶的颓势与雌蟹的鲜活形成强烈的对比。\n画面刻意求真，荷叶用双钩夹叶法描绘，叶之叶筋、斑纹及莛上的小刺都刻意求工，雌蟹用笔缜密严谨。\n此图画面意境生动，题材别出新意，为宋人写实画作的典范。\n【简介】 本幅无款。\n钤印一方，印文模糊不辨。",[23,83,24,25,28,27,169,422,30,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F180dab128ffc6da8aaed986bccf8201c.jpg",[],61,5,{"id":470,"slug":471,"title":472,"dynasty":42,"author":473,"museum":44,"description":474,"tags":475,"thumbUrl":477,"material":186,"size":478,"collection":348,"collections":479,"showCount":480,"zanCount":11,"manualWeight":11,"mainColor":38},222411,"shui-mian-wen-xiang-zhou-wen-cong-jian-222411","水面闻香轴","文从简","图绘荷塘一隅，圆盘状荷叶遮住水面，墨色浓郁，四周水草繁茂，三支荷花突颖而出，二支绽放，一支含苞待放，高处荷杆上一只翠鸟探头向水中望去，翠鸟红喙细长尖锐，全身毛发柔软整齐，神情活泼。",[23,24,47,28,27,29,30,291,7,476],"水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3e54eae5e00cccc24c1fccf44406de6.jpg","106.8x43.8厘米",[348,134],60,{"id":482,"slug":483,"title":484,"dynasty":95,"author":179,"museum":20,"description":485,"tags":486,"thumbUrl":493,"material":34,"size":34,"collection":34,"collections":494,"showCount":495,"zanCount":11,"manualWeight":11,"mainColor":38},227491,"liu-ya-lu-yan-tu-juan-zhao-ji-227491","柳鸦芦雁图卷","《柳鸦芦雁图》是北宋宋徽宗赵佶创作的一幅纸本淡设色中国画，现藏于上海博物馆。\n此图共分为二段，前段画柳鸦，后段画芦雁。鸦的头顶和腹部施以白粉，鸦身敷浓墨，黝黑如漆。柳树的斑驳老干，富有质感。柳鸦的墨彩很酣，笔势很壮，显示出赵佶用墨的特色。后段四只芦雁在芦草蓼花边栖息，以浅赭设色，增强了秋天萧疏的气氛。",[23,83,24,25,128,27,48,28,32,487,488,489,490,491,183,492,7],"柳","鸦","芦","雁","竹子","树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26d888a8bed9a38a24bfea78fe527b0a.jpg",[],57,{"id":497,"slug":498,"title":499,"dynasty":18,"author":500,"museum":501,"description":502,"tags":503,"thumbUrl":507,"material":87,"size":508,"collection":56,"collections":509,"showCount":495,"zanCount":11,"manualWeight":11,"mainColor":38},216114,"shen-gui-tu-cai-jia-216114","神龟图","蔡嘉","旅顺博物馆","该图构思巧妙，刻划生动。石头用浓墨渲染，缀以浑厚苔默；水纹勾线，灵活飘逸。此图构图重心偏下，一片汹涌水浪中微现一孤石，石上一龟，身体缩入甲内，颇有不顾外界任何风云变幻的从容。石畔水草丛生，被风吹得倒向一边，凸现出气氛的凌厉，更反衬龟之安祥。画面上端是金农行书《神龟篇》全文，占去了小半画幅，使原本简练的构图免了单薄之虑，显得十分得体而多姿。",[23,24,25,47,48,504,505,7,506],"行书","神龟","水纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12b723d9b993907540f7591f1c131e8c.jpg","纵108厘米 横38.5厘米",[56],{"id":511,"slug":512,"title":513,"dynasty":42,"author":514,"museum":20,"description":515,"tags":516,"thumbUrl":522,"material":132,"size":34,"collection":348,"collections":523,"showCount":524,"zanCount":11,"manualWeight":11,"mainColor":38},222422,"lian-peng-tu-song-yin-tu-zhu-zhan-ji-222422","莲蓬图松荫图","朱瞻基","画卷破裂为两段，一段为莲蒲段，一段为松荫段。此画为莲蒲段画面。画面绘荷叶、莲蓬、小鸟、湖石、水草。极少勾勒，类似没骨画法，用浓淡墨色晕染，格调简逸质朴。封面为铜版纸印刷，作品为宣纸印刷。",[23,24,25,28,27,26,52,291,517,518,519,7,520,521,32],"松树","石头","枯荷","远山","云朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87a1522d7865cbf91ab2342631f19567.jpg",[348,134],55,{"id":526,"slug":527,"title":528,"dynasty":18,"author":529,"museum":20,"description":530,"tags":531,"thumbUrl":538,"material":200,"size":539,"collection":34,"collections":540,"showCount":541,"zanCount":137,"manualWeight":11,"mainColor":38},222700,"qiu-feng-mo-zao-tu-juan-shou-juan-qian-yu-ling-222700","秋风墨藻图卷手卷","钱与龄","画中的蓝藻、紫绿红蓼、游鱼蟹、泥鳅蛙、蜻蜓翠鸟、白鹭飞虫，游或游或荷花或偷窥，首当其冲的就是充满活力的秋天。 年代，清代女画家，画家陈舒的曾孙女，写生写生，画如陈舒的笔法。",[23,83,24,25,128,28,27,169,84,291,7,170,130,532,52,100,533,534,535,536,296,384,537,183],"水藻","红鱼","水生植物","莲叶","草丛","小鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30ec091c195124569eded74b3cf2a78e.jpg","32.2×339.2cm",[],54,{"id":543,"slug":544,"title":545,"dynasty":18,"author":546,"museum":20,"description":547,"tags":548,"thumbUrl":550,"material":132,"size":551,"collection":34,"collections":552,"showCount":553,"zanCount":11,"manualWeight":11,"mainColor":38},232892,"hua-niao-tu-li-zhou-li-shan-232892","花鸟图立轴","李鱓","字宗扬，号复堂，又号懊道人，墨磨人、木头老子、苦李、滕薜大夫等。江苏兴化人。\n一生在仕宦途中，历遭坎坷。康熙五十年即２５岁时中举，三年后以画技至清宫当内廷供奉。他本是学画山水的，进宫后，康熙皇帝指令他跟“正宗”派花鸟画家蒋廷锡学习花卉。李鱓不以学习蒋廷锡为满足，又向高其佩学习，后受石涛笔意启发，以破笔泼墨作画，风格大变。突破了“正宗”派所规定的框框，是一位颇得宫廷器重的画师，名声也日益扩大。但他却遭到一批摹古画师的极力排斥，并以所谓抗拒规定题材和体裁的罪名而被解职。郑板桥说他是“才雄颇为世所忌，口虽赞叹心不然”。后来，李鱓以检选出任山东滕县知县，为政清简，体谅民情，被士民所尊敬。又因负才使气，玩世不恭，触犯了权贵，遂于乾隆五年，罢官归里，流落扬州，过着卖画为生的凄凉的生活。两次的仕宦打击，使李鱓在生活上放纵自己，寄情花鸟，以书画发泄其苦闷之情，但又不甘心宦途上的失败，常欲东山再起。但事与愿违。晚年定居扬州，以卖画为生。李鱓与郑板桥是同乡，又最为知已，结为知交，所以郑板桥有《郑板桥集…. 李鱓》的诗句，并有“卖画扬州、与李同老”的话。\n所作花卉，不拘法度，泼墨淋漓，但犹不失天趣。但晚年部分作品过于霸悍。传世画迹有南京博物院藏《土墙蝶花图》轴、故宫博物院藏《松藤图》轴等。\n李 鱓诗才书法成就是卓然的。李 鱓书法古朴，具颜、柳筋骨。作画时喜欢在画幅上长题满跋，有时甚至于把参差错落的题字，写满画面，于质实中见空灵，使整幅画面气韵更加淋漓酣畅。为此秦祖咏说他“书法古朴，款题随意布置，另有别致，殆亦摆脱俗格，自立门庭者也”。",[23,24,25,47,48,49,29,30,549,26,130,7,291,32],"鹭鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3527f96ea3aeadc84c0dedcfd0c340f.jpg","56.4x104cm",[],51,{"id":555,"slug":556,"title":557,"dynasty":42,"author":558,"museum":44,"description":559,"tags":560,"thumbUrl":562,"material":70,"size":563,"collection":56,"collections":564,"showCount":565,"zanCount":11,"manualWeight":11,"mainColor":75},220400,"he-zhu-shui-fu-tu-lv-ji-220400","荷渚睡凫图","吕纪","月夜时分，岚雾凄迷，芦苇、荷叶隐现其间，洲渚上栖息大雁四只。构图上只有近、中景，远景则多省略不绘。本幅虽有吕纪名款，然有存疑之处，且通幅之笔力较为薄弱，当非吕氏之原迹。但其景物布置与气氛营造与另一张本院收藏吕纪「秋渚水禽」颇为接近，故此应为一相当忠实于吕氏风格之仿作，可从此画中一窥吕纪写意风格的面貌。\n吕纪（活动于公元1439－1505年间），浙江宁波人。字廷振，号乐愚，亦作乐渔。吕纪为明代中叶著名的宫廷花鸟画家，孝宗弘治（公元1488－1505年）间值仁智殿，官至锦衣卫指挥。花鸟初学边文进（活动于1403－1428），后摹仿唐宋诸名家，结合工笔、写意法，呈现出多种面貌，颇具个人特色。",[23,24,25,83,28,27,26,169,561,183,184,7],"凫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01ee5454cc9863896919696108f94b6c.jpg","纵：174.5公分 横：104.2公分",[56],49,{"id":567,"slug":568,"title":569,"dynasty":95,"author":570,"museum":44,"description":571,"tags":572,"thumbUrl":575,"material":70,"size":576,"collection":56,"collections":577,"showCount":565,"zanCount":90,"manualWeight":11,"mainColor":38},218617,"yuan-ji-hui-ce-song-hong-liao-shuang-fu-mao-yi-218617","元集绘册 宋红蓼双凫","毛益","描写鸭凫一对栖息于洲渚边，雄凫绿颈花羽伫立，雌凫相依啄食地面，画家传神地描绘出鸟禽的外型。岸上芦荻几株，红蓼掩映其间，颇富山林野趣。本幅与上海博物馆所藏宋无款「双凫图」极为相似，然构图布局左右相反，两者皆属于北宋末南宋初流行的汀渚水鸟风格。毛益为南宋孝宗干道年间（西元一一六五─一一七三年）的画院待诏。",[24,25,220,27,28,26,573,574,7],"红蓼","双凫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89bd50e2132c6f4e91d07b9dc4e59a3f.jpg","本幅 26x25.8公分、对幅 26x25.8公分、全幅 43.1x75.9公分",[56],{"id":579,"slug":580,"title":581,"dynasty":18,"author":582,"museum":20,"description":583,"tags":584,"thumbUrl":586,"material":116,"size":117,"collection":34,"collections":587,"showCount":588,"zanCount":11,"manualWeight":11,"mainColor":38},238955,"yu-ce-ye-ma-yuan-yu-238955","鱼册页","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。\n画传家法，而气韵超逸突过乃父。赋性落拓，纵酒逞笔，乃益豪放。写生得恽寿平亲传，又与蒋廷锡讨论六法，故没骨画益工，神韵飞动，不拘陈迹。元驭自以为得沈周、陆治遗意，其超纵处诚有陆氏风规，而老健远逊石田，盖能品也。兴至之作，逸笔尤佳，多用水墨。书亦隽雅。卒年五十四。",[83,24,25,585,48,28,84,7,26,49],"册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3792bb542308bd6469d94eda6dc0aa5b.jpg",[],42,{"id":590,"slug":591,"title":592,"dynasty":42,"author":593,"museum":594,"description":595,"tags":596,"thumbUrl":600,"material":132,"size":601,"collection":56,"collections":602,"showCount":588,"zanCount":137,"manualWeight":11,"mainColor":38},222178,"hong-xing-ye-fu-tu-zhou-lu-zhi-222178","红杏野凫图轴","陆治","安徽省博物馆","此画杏花盛开、野尧戏游、水草挺秀，一派自然界安宁、雅静、自由、活泼的和谐景象。赏之让人生趣，令人神往。\n画面上的“天空”，几乎被杏树的枝条占满了，盛开的红色杏花伸展于水面的上空，可以用“花枝招展”来形容杏树的形态。花枝横跨画面，连画的右侧顶端也是杏树的枝干，画面的下部，是一只大野尧，优哉优哉地浮现于水面之上，仿佛被盛开的红杏所吸引，在偏首高望;画面的左下侧，河岸边的水草簇簇挺拔，卓然而立。生动和谐、愈趣高雅的画面体现出作者观察之细腻，绘画技艺之高超，令人赏心悦目。这幅花鸟写意画中的“亮”，即是野鸭。古代时这种水鸟，是甚有声望的。",[23,24,25,47,28,48,26,597,598,384,7,599,504],"红杏","野凫","枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe33b057f3aab56336cb3fa23d67505c5.jpg","43.1x119cm",[56,106],{"id":604,"slug":605,"title":606,"dynasty":260,"author":607,"museum":608,"description":609,"tags":610,"thumbUrl":612,"material":613,"size":614,"collection":34,"collections":615,"showCount":588,"zanCount":11,"manualWeight":11,"mainColor":75},221856,"yu-tu-lai-an-221856","鱼图","赖庵","日本京都国立博物馆","赖庵《藻鱼图轴》，在中国古代大量有关鱼的绘画中具有代表性，鱼在水藻间出游从容，身体扭曲自然，画家以此明志。\n元代画家常常赋予鱼以类似人的个性。此图中，鱼几乎占据了画面的全部空间，它似乎刚刚突然掉转身来面对观者，嘴巴大张，目光犀利。作者用细线精心描绘了片片鱼鳞，通过晕染来显示质感和立体感。以淡墨写水草，并通过鱼尾的摆动和水草的摇晃增加了画面的动感。",[23,24,25,611,182,27,48,84,7],"元代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f6c0167aad2f00c768ac238d83f7767.jpg","绢本墨画","19.4×31.0",[],{"id":617,"slug":618,"title":619,"dynasty":42,"author":43,"museum":125,"description":620,"tags":621,"thumbUrl":622,"material":623,"size":624,"collection":34,"collections":625,"showCount":626,"zanCount":11,"manualWeight":11,"mainColor":38},233476,"ren-wu-hua-hui-ce-xu-wei-233476","人物花卉册","该册十八页，其中画十五页，分别作写意山水人物、写生花卉，内容有婴戏、对弈、牡丹、兰花、稻穗螃蟹等等。笔墨简括豪放，随意自然。选其二页，可窥真趣。",[24,48,220,49,151,149,7,520,476,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b1538271c2dfd88f0c7cb1a73760be4.jpg","纸本水墨","纵26.9厘米 横38.3厘米",[],40,{"id":628,"slug":629,"title":630,"dynasty":95,"author":631,"museum":44,"description":632,"tags":633,"thumbUrl":635,"material":186,"size":636,"collection":34,"collections":637,"showCount":626,"zanCount":137,"manualWeight":11,"mainColor":38},221250,"qiu-zhu-wen-qin-hui-chong-221250","秋渚文禽","惠崇","此冊共二十六開，包含許多精采的宋元冊頁。各別的作品曾經過南宋內府、十四世紀安徽收藏家吳志淳、十五世紀黔寧王沐璘、十七世紀山東收藏家張篤行等人收藏過。裱裝形式上，除了少數有對題者，左邊空白對幅皆以明代流行的金粟山藏經紙裱裝之，並有風格統一的題籤。配合裱紙上梁清標（一六二○－一六九一） 的收藏印，及比較院藏其他梁清標之題簽，推測此冊可能為梁清標所集，顯示明末清初所理解的宋元畫。",[24,28,27,220,326,634,169,7,325],"水渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8245c17cd680d5c6db12441e68758697.jpg","27.3x28.7",[],{"id":639,"slug":640,"title":641,"dynasty":95,"author":261,"museum":125,"description":642,"tags":643,"thumbUrl":644,"material":645,"size":646,"collection":34,"collections":647,"showCount":648,"zanCount":137,"manualWeight":11,"mainColor":75},234076,"he-xie-tu-ye-yi-ming-234076","荷蟹图页","宋代的花鸟画是五代黄筌徐熙两家体制基础上得以发展的。北宋初一百多年，黄家体制便是院体规范。北宋中期崔白、吴元瑜变革院体，表现出吸收徐熙一派画法。宋徽宗对不同画风兼收并蓄，南宋画院亦是如此。所以就总体上而言院体继承了黄徐二家的体制。黄氏体制的画法为用墨勾线定形，或填色或染墨，笔法细劲而有变化，其典型之作为工笔设色一类。再看徐熙画法，徐铉称之为“落墨为格，杂彩副之，迹与色不相隐映”。徐熙则自称“未尝以傅色晕淡为功”。\n《宣和画谱》对徐熙很是推崇，认为当时画花者多以色晕染而成，徐熙独到之处在于落墨，极有骨气风神。将黄徐两家的典型风范相比较，黄家偏重于色彩的晕染，徐熙偏重于墨线造型的笔法表现。这其中涉及重色、重墨、运笔造型之道等问题，绘画之形似正由此而来。宋代院体花鸟画的典型面貌为工笔设色一类，讲求赋色之功、笔法之道、造型之细致。宋代院体花鸟画综合黄徐二家，不过在不同时期、不同画家身上有着各自的特点。\n宋代院体花鸟画之所以能够在传神方面达到很高的境界，在于能够从自然万物中直接取得，生意趣味浓厚是其重要的特征，当时众多的作品具备这样的素质。对物象神态丰富细致的描绘是花鸟画成熟的表现。宋代院体花鸟画在细致写实中有得于此。\n《荷蟹图》可能是荷花螃蟹类题材最早的作品。残败的荷叶枯黄斑驳，半浸于水中，一只团脐雌蟹挥螯伏于叶上。潺潺流水中生长、飘浮着红蓼、蒲草、浮萍、水藻等，其叶片边沿均已泛黄，显示出时已临秋，金秋时节，正是蟹美膏肥之时，荷叶的颓势与雌蟹的鲜活形成强烈的对比。画面刻意求真，荷叶用双钩夹叶法描绘，叶之叶筋、斑纹及莛上的小刺都刻意求工，雌蟹用笔缜密严谨。《荷蟹图》画面意境生动，题材别出新意，为宋人写实画作的典范。荷蟹题材在后来的大写意花鸟画中，被徐渭进一步发扬光大，最著名的就是影响深远的徐渭代表作《黄甲图》。这种影响一直波及到现代大家齐白石。",[24,83,25,220,27,28,26,169,129,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e974c0d6c4e3129014ed0ecd3f0dc5f.jpg","绢本设色","28.4x28cm",[],39,{"id":650,"slug":651,"title":652,"dynasty":95,"author":261,"museum":44,"description":653,"tags":654,"thumbUrl":656,"material":645,"size":657,"collection":104,"collections":658,"showCount":648,"zanCount":11,"manualWeight":11,"mainColor":75},221237,"qiu-tang-shuang-yan-zhou-yi-ming-221237","秋塘双雁轴","《宋人画秋塘双雁图》是宋代佚名画家创作的一幅中国花鸟古画。\n【简介】 本幅在构图上，将洲岸、水草、残荷搭配在画幅两侧，约略呈一个圆弧状，而画中主题双鹅，则分置在画幅的左右，为这个约略的圆弧所包围，形成幅面整体圆融的气氛。\n虽然北宋後半期，在崇尚淡雅的文人画风引导下，搭配双鹅的背景，为萧瑟衰败的秋荷，但仍隐喻著萧瑟苦寒中亦不改其情意的祥瑞之意。\n画中羽禽水草皆描画精准，强调画面中央空旷平远的构图意念，皆可将本幅画作定为北宋徽宗朝画院之作。\n通幅画面由两幅绢并接而成，或因分合改装，致使接合处略有损伤。\n与雁同科，古人有时 鹅不分而通称。\n本幅画浅滩洲岸上的双鹅，在微微风意中，一只仰天引颈而望；一只蹲伏在红蓼下理翎。\n与二只或掠空飞过；或伫足莲杆上栖息的翡翠，交相呼应。",[23,24,25,47,26,28,27,490,7,29,655],"池塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9b4ee9203899581a619038111bbb7b8.jpg","170x 167厘米",[104,56,106],{"id":660,"slug":661,"title":662,"dynasty":18,"author":663,"museum":365,"description":664,"tags":665,"thumbUrl":669,"material":54,"size":670,"collection":348,"collections":671,"showCount":648,"zanCount":11,"manualWeight":11,"mainColor":38},219355,"han-tang-xi-chi-tu-wang-hui-219355","寒塘鸂鶒图","王翚","《寒塘鸂鶒图》描绘的是江南随处可见的池塘一角，有稀疏的草木、零散的荷叶苇草，以及在当中玩耍的水鸟。近景向中远景延伸，墨色渐渐转淡，隐隐约约可以看见一些景物，相当朦胧虚幻，彷彿隔着一片薄雾，富有诗意。",[23,24,25,48,666,667,169,252,668,184,7],"皴法","塘","老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf4dce38db866812034183e07f13c1b6.jpg","73 x 41.6 公分",[348,56],{"id":673,"slug":674,"title":675,"dynasty":42,"author":676,"museum":20,"description":677,"tags":678,"thumbUrl":679,"material":34,"size":34,"collection":34,"collections":680,"showCount":681,"zanCount":11,"manualWeight":11,"mainColor":38},228404,"mo-he-tu-li-zhou-xiang-yuan-bian-228404","墨荷图立轴","项元汴","此作虚实相生，以文绘相融尽显文人意趣。右上角题诗留白衬映画面，下半段挥写墨荷。大写意泼染荷叶，墨色干湿浓淡交织，晕染出翠盖舒展的蓬勃野态；花瓣以清隽白描勾勒，尽显菡萏清雅绰约之姿。挺劲荷茎点缀苔斑，舒展兰草环绕侧畔，更添幽塘清逸之趣。\n\n整幅以极简水墨抒怀，将荷塘晓风的清寂诗意融于笔底，以简驭繁尽显晚明文人画重韵尚意的风骨，在水墨氤氲间晕染出空灵澹远的幽塘意境，是借物寄怀的文人水墨佳构。",[23,24,25,47,48,29,30,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e662119b33919b8f58181bb78653082.jpg",[],37,{"id":683,"slug":684,"title":685,"dynasty":95,"author":96,"museum":686,"description":687,"tags":688,"thumbUrl":690,"material":691,"size":692,"collection":104,"collections":693,"showCount":681,"zanCount":11,"manualWeight":11,"mainColor":694},221446,"sha-zhu-fu-chu-tu-cui-bai-221446","沙渚凫雏图","美国大都会艺术博物馆","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。",[23,83,24,25,26,28,27,326,184,7,689],"树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86470bd0b6cb5ed33a9003d7bca038ca.jpg","册页，绢本","31.4cm×25.7cm",[104,56,106],"F48FB1",{"id":696,"slug":697,"title":698,"dynasty":142,"author":699,"museum":20,"description":700,"tags":701,"thumbUrl":704,"material":116,"size":117,"collection":34,"collections":705,"showCount":706,"zanCount":11,"manualWeight":11,"mainColor":75},287366,"xie-sheng-an-chun-shui-jiu-tu-juan-huang-quan-287366","写生鹌鹑水鸠图卷","黄荃","黄筌（约903年—965年），字要叔，成都（今四川成都）人。曾随唐末入蜀的著名画家刁光胤学画，又吸收山水画家李昇，人物龙水画家孙位之长，结果“全该六法，远过三师”他擅长花竹翎毛，也能画佛道，人物，山水，是一位技艺全面的画家。\n早以工画得名，擅花鸟，师刁光胤、膝昌苑，兼工人物、山水、墨竹。山水松石学李升，人物龙水学孙位，鹤师薛稷，撷诸家之萃，脱去格律而自成一派。所画禽鸟造型正确，骨肉兼备，形象丰满，赋色浓丽，勾勒精细，几乎不见笔迹，似轻色染成，谓之“写生”。与江南徐熙并称“黄徐”，形成五代、宋初花鸟画两大主要流派。",[23,83,24,25,128,27,28,26,702,703,183,99,296,101,7,50,32],"鹌鹑","水禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4b6e0e83d5ceda284e56fba76b021e1.jpg",[],33,{"id":708,"slug":709,"title":710,"dynasty":18,"author":711,"museum":365,"description":712,"tags":713,"thumbUrl":714,"material":715,"size":716,"collection":34,"collections":717,"showCount":718,"zanCount":137,"manualWeight":11,"mainColor":38},216332,"jin-nong-ba-kai-hua-niao-tu-2-jin-nong-216332","金农八开花鸟图-2","金农","八开花鸟图是清朝时期金农所绘的著名图画作品之一。金农是清朝时期著名的画家，他的八开花鸟图是他最著名的作品之一。\n\n这幅画中，金农绘制了许多花和鸟的形象，这些花和鸟形象都非常生动，充满了生机和活力。画中的花和鸟共同组成了一个浓郁的自然风景，让人们感受到花园中的清新与自然。\n\n金农的八开花鸟图被认为是中国画史上的杰作，在当时也广受欢迎，被认为是一幅非常优秀的作品。",[24,25,220,48,84,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda7016f993e9c69a865fbe99d0bf92ad.jpg","设色,水墨","30.5x40.9cm",[],32,{"id":720,"slug":721,"title":722,"dynasty":95,"author":409,"museum":20,"description":723,"tags":724,"thumbUrl":725,"material":116,"size":117,"collection":34,"collections":726,"showCount":727,"zanCount":11,"manualWeight":11,"mainColor":75},289353,"luo-hua-you-yu-tu-liu-cai-289353","落花游鱼图","此图开始先画盛开的杏花，伸向水面，向后展开，落花引来群鱼争食、或聚或散，或潜游，或上浮，或回泳，翻藻戏蒲，以示水中的畅泳自然之态。其画法全用渲染，间或用没骨法，不见钩勒，活泼生动。这种表现方法和诗情画意，独创一格，多为后人所仿效。",[23,24,128,27,28,84,29,412,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ffa62a615216e5b528da9cf4e900f74.jpg",[],31,{"id":729,"slug":730,"title":731,"dynasty":260,"author":607,"museum":20,"description":732,"tags":733,"thumbUrl":734,"material":116,"size":117,"collection":34,"collections":735,"showCount":727,"zanCount":11,"manualWeight":11,"mainColor":75},283617,"zao-yu-tu-li-zhou-lai-an-283617","藻鱼图立轴","《藻鱼图》中，鱼几乎占据了画面的全部空间，它似乎刚刚突然掉转身来面对观者，嘴巴大张，目光犀利。作者用细线精心描绘了片片鱼鳞，通过晕染来显示质感和立体感。以淡墨写水草，并通过鱼尾的摆动和水草的摇晃增加了画面的动感。",[24,47,27,28,84,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f0d1ae2ed0890eee7efeeb8d1919df7.jpg",[],{"id":737,"slug":738,"title":739,"dynasty":42,"author":514,"museum":20,"description":740,"tags":741,"thumbUrl":742,"material":34,"size":34,"collection":34,"collections":743,"showCount":727,"zanCount":137,"manualWeight":11,"mainColor":38},228893,"you-yu-tu-juan-zhu-zhan-ji-228893","游鱼图卷","此卷以没骨淡墨绘就水族盛景，虾蟹轻螯微动，群鱼姿态各殊，或摆尾穿游于荇草间，或结群逐戏，动静相生、灵动鲜活。全图不施一笔画水，仅以飘摇的水藻、鳞鳍的动势，烘托出水流清浅柔润的空濛意境，仿佛可见池底幽谧生机。\n墨色轻晕淡染，将水泽的澄澈质感尽数烘托，简淡笔触里尽显自然生意，将水畔野趣鲜活定格绢素，尽显悠游自在的清致。",[23,24,128,48,27,84,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf6784ede5dbadd64dafc49ae0651dc3.jpg",[],{"id":745,"slug":746,"title":747,"dynasty":42,"author":261,"museum":20,"description":748,"tags":749,"thumbUrl":750,"material":116,"size":117,"collection":34,"collections":751,"showCount":752,"zanCount":137,"manualWeight":11,"mainColor":75},238961,"he-tang-shuang-e-tu-ye-yi-ming-238961","荷塘双鹅图页","此作用笔秀润雅致，以深秋荷塘为景，残荷欹斜，枯卷的莲蓬与半萎的荷叶自带清冷萧疏之韵，坡岸旁荻草随风轻曳，灵动舒展。\n\n画面里白鹅仰首似在唳鸣，羽毛以淡墨晕染出蓬松柔润的质感，憨态灵动，尽显水禽野逸之态。整体设色淡雅柔和，以留白烘托出水滨空寂的秋意，将深秋荷塘的清寂与生机相融，寥寥数笔便勾勒出幽闲野逸的秋日水居意趣，尽显小品画的雅致隽秀之美。",[24,28,27,26,169,30,383,7,310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F965428578e8b8005d6e4495e488de86d.jpg",[],30,{"id":754,"slug":755,"title":756,"dynasty":260,"author":261,"museum":44,"description":757,"tags":758,"thumbUrl":760,"material":761,"size":762,"collection":34,"collections":763,"showCount":752,"zanCount":11,"manualWeight":11,"mainColor":75},223365,"liu-tang-bai-yan-tu-zhou-yi-ming-223365","柳塘白燕图轴","元代工笔画很少的，多的是水墨写意的文人画，其实元代画坛另一路已经走向极致的绘画语言就是写实艺术。 ​​​",[23,83,24,25,27,28,487,667,759,29,30,7,32],"白燕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d166284910d93d3270e5a93502379d8.jpg","绢","31.1×60.6",[],{"id":765,"slug":766,"title":619,"dynasty":42,"author":43,"museum":125,"description":620,"tags":767,"thumbUrl":769,"material":623,"size":624,"collection":34,"collections":770,"showCount":771,"zanCount":11,"manualWeight":11,"mainColor":38},233473,"ren-wu-hua-hui-ce-xu-wei-233473",[24,48,220,49,151,148,7,768,32],"树木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7f4e85145f2771a2c5af092a652fd77.jpg",[],28,{"id":773,"slug":774,"title":775,"dynasty":18,"author":776,"museum":501,"description":777,"tags":778,"thumbUrl":780,"material":87,"size":34,"collection":34,"collections":781,"showCount":771,"zanCount":11,"manualWeight":11,"mainColor":38},216392,"za-hua-ce-2-bian-shou-min-216392","杂画册-2","边寿民","他的作品常常被收录在《边寿民杂画册》中。这本画册收录了边寿民的许多作品，包括花鸟画、人物画、山水画等。边寿民的画风浓郁，线条简洁，色彩明快，深受当时社会的喜爱。他的作品也被视为中国画的经典之作。",[23,24,48,26,220,49,29,30,779,7],"荷茎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b66aa7186bcbd1ec727f37a8e582947.jpg",[],{"id":783,"slug":784,"title":785,"dynasty":95,"author":786,"museum":20,"description":787,"tags":788,"thumbUrl":790,"material":34,"size":34,"collection":34,"collections":791,"showCount":792,"zanCount":11,"manualWeight":11,"mainColor":38},227807,"yu-le-tu-zhou-dong-qing-227807","鱼乐图","周东卿","《宋元周东卿鱼乐图》是中国宋末元初时期的画家 创作的一幅中国古画。\n画作是纸本，设色，纵.8厘米,横59.7厘米。\n现收藏于美国 。\n此图以横卷式构图展开画面：依次绘出各种各样、大大小小的鱼类，在长满水草的水中，它们自由自在地漫游着，或有聚有散地沉浮穿梭着。\n画家以精细的笔调描绘出群鱼的轻巧灵动，萍藻的随波摇曳，以及碧水的流动之感和水中游鱼自得其乐的趣味。\n表现手法以没骨为主，以淡色、淡墨或极轻之笔触细加晕染，先画出鱼的形体，再用细线略勾鱼鳞和斑纹。\n萍藻是用更淡的墨勾染，生动地营造出其若隐若现之状。\n还有整个画面所呈现出的流动着的韵律，体现了群鱼恣肆盎然的生机，进而把观者带入轻松自由、疏放闲适的意境。\n是宋元的画鱼名家。\n关于他的生平，史料记载甚少。\n有文天祥赞周东卿画鱼诗云：“观君潇湘图，起我濠上心。\n”可见他还另有作品流传。",[23,83,24,25,128,27,48,28,84,7,32,789],"动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faeae98aad7836a3579ce62bca5af282e.jpg",[],27,{"id":794,"slug":795,"title":796,"dynasty":42,"author":797,"museum":20,"description":732,"tags":798,"thumbUrl":799,"material":116,"size":117,"collection":34,"collections":800,"showCount":801,"zanCount":137,"manualWeight":11,"mainColor":75},289755,"zao-yu-tu-mou-fu-289755","藻鱼图","缪辅",[23,83,24,25,26,27,28,84,169,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfe3184dfc0e37064caa8e09617e24c8.jpg",[],25,{"id":803,"slug":804,"title":805,"dynasty":42,"author":806,"museum":20,"description":807,"tags":808,"thumbUrl":809,"material":34,"size":34,"collection":34,"collections":810,"showCount":801,"zanCount":11,"manualWeight":11,"mainColor":38},228342,"qian-yan-tu-wang-shou-qian-228342","千雁图","王守谦","整卷群雁聚散自如，或振翅翱翔、或敛羽栖汀，姿态各不相同，灵动尽显。以淡墨晕染汀渚苇丛，留白铺就水天色空濛之境，虚实相生间，将秋日寒渚的清旷萧瑟铺展开来。\n\n水墨写意笔触简练苍润，大雁造型简括神完，芦苇繁花轻描淡写，野逸之趣扑面而来。画面两侧行书题跋与画作相得益彰，书画合璧，尽显明代文人画的雅致意趣，将江渚雁群的自然野态描摹得淋漓尽致，是写意花鸟中的精妙之作。",[23,24,25,128,48,28,27,183,130,7,326],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd5f90b188d80a1c0e4720b5f1db3863.jpg",[],{"id":812,"slug":813,"title":814,"dynasty":95,"author":179,"museum":20,"description":815,"tags":816,"thumbUrl":817,"material":34,"size":34,"collection":34,"collections":818,"showCount":819,"zanCount":11,"manualWeight":11,"mainColor":75},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。",[23,24,25,128,27,28,26,703,7,689,506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87932b955e2126b5dfaa51f8b1ed5b54.jpg",[],24,{"id":821,"slug":822,"title":823,"dynasty":95,"author":824,"museum":20,"description":825,"tags":826,"thumbUrl":828,"material":116,"size":117,"collection":34,"collections":829,"showCount":830,"zanCount":11,"manualWeight":11,"mainColor":75},288548,"xiang-xiang-xiao-jing-tu-zhao-shi-lei-288548","湘乡小景图","赵士雷","字公震，承平王孙，生卒年不详，曾任襄州观察使等职。\n描绘的是仲夏时节宁静安谧的湖塘一隅。该画卷是赵士雷唯一的传世画迹。",[23,83,24,128,25,28,827,26,183,703,150,184,768,7,32,50],"山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5847e87be85d07444a5c7951d5d0f349.jpg",[],23,{"id":832,"slug":833,"title":834,"dynasty":18,"author":835,"museum":125,"description":836,"tags":837,"thumbUrl":840,"material":841,"size":842,"collection":34,"collections":843,"showCount":844,"zanCount":11,"manualWeight":11,"mainColor":38},234997,"yuan-ji-shan-shui-tu-ce-shi-tao-234997","原济山水图册","石涛","原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[24,25,220,48,666,827,148,150,838,768,183,839,7],"山石","房屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60998edd7aa06ac4ca0e9c4fd7984022.jpg","纸本 ，设色","纵33.2cm，横22.8cm",[],19,{"id":846,"slug":847,"title":848,"dynasty":18,"author":849,"museum":20,"description":850,"tags":851,"thumbUrl":852,"material":455,"size":853,"collection":34,"collections":854,"showCount":855,"zanCount":11,"manualWeight":11,"mainColor":38},234986,"hua-hui-ling-mao-ping-4-ren-yi-234986","花卉翎毛屏4","任颐","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。",[24,28,49,26,383,7,47],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18ff18c96ba878d27bd4b17e7f1610cf.jpg","149 x 61 cm",[],18,{"id":857,"slug":858,"title":859,"dynasty":260,"author":860,"museum":44,"description":861,"tags":862,"thumbUrl":864,"material":54,"size":865,"collection":56,"collections":866,"showCount":867,"zanCount":11,"manualWeight":11,"mainColor":38},290729,"ku-he-xi-chi-zhou-zhang-zhong-290729","枯荷鸂鶒轴","张中","该幅虽属设色作品，但以墨为主，鸳鸯略加颜色点染，鲜妍可爱，颇具淡雅之趣。枯荷断茎，画有倒影，为古画中少见。此画题款由左而右书写，极为特别。按理，原来应有“子政为某某人”等字，后经裱褙裁去，故仅存“子政为”三字。\n鸂鶒是一种类似鸳鸯的水禽，体形大于鸳鸯，喜欢雌雄并行，因其紫羽多，故民间俗称“紫鸳鸯”。该幅画通过细腻的笔触，描绘了池塘中一个典型的场景，营造了静谧而又安详的气氛。画面上写深秋荷塘一隅，两只鸂鶒正在近水的堤岸上小憩，雄鸂鶒瞪着炯炯有神的眼睛，威风凛凛地直立着，像是在为一旁卧着的雌鸂鶒站岗放哨。雌鸂鶒匍匐在地,样子有些疲惫，它侧着头向天空眺望着。衬景里，几株蒲草随风摇曳，婀娜多姿；一旁一棵枯荷荷梗弯曲，低垂的荷叶像是一把雨伞，在微风中舒展着身姿；而临近的饱满的莲蓬张扬的样子，又象征着一个收获季节的到来。\n此作的创作方式在继承传统的同时又有独到之处，在细节的处理上颇有新意。鸂鶒的羽毛用干笔点厾之后，再用淡墨用干湿不一的笔触晕染，产生一种蓬松的质感。雄鸂鶒的身上罩着一层淡淡的朱红色，这一鸂鶒特有的体表特征在墨色交融之中，显得更加典雅华丽。雄鸂鶒的头顶羽毛只用一笔写出，简洁明快，立体效果明显。这浓重的一笔与雄鸂鶒脸部大面积的空白在色彩关系上形成强烈对比，使眼睛的位置更加突出，显得烁烁有神。作者用笔的功力相当深厚，像蒲草、荷梗这些长线条的勾勒，劲健洒脱，神完气足,没有丝毫的滞涩感。坡石之间的一蓬青草，笔道沉稳厚重。流畅的水纹线条轻松飘逸，笔势舒缓自然。图的右下边，两棵折断的荷梗在水中反映出依稀的倒影，这样的处理方式在古代绘画中并不多见，可见作者对所描写景物的观察是相当细腻的。说明明代顾复评价张中的绘画“元代写生第一”还是有根据的。\n花鸟画的创作在元代有了实质性的发展，这和创作者审美意识的改变有很大关系。张中“一洗宋人勾勒之痕”，作品别出心裁,注重作品的意境和内涵，对于后人的花鸟画创作有很重要的影响。",[24,83,47,26,28,27,863,519,184,7,32],"鸂鶒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ba32a2305da6c22ebd12cfc8bd1891.jpg","96.4x46",[56],16,{"id":869,"slug":870,"title":871,"dynasty":340,"author":872,"museum":20,"description":873,"tags":874,"thumbUrl":882,"material":116,"size":117,"collection":883,"collections":884,"showCount":867,"zanCount":137,"manualWeight":11,"mainColor":75},226143,"water-lilies-setting-sun-mo-nai-226143","Water-Lilies, Setting Sun","莫奈","奥斯卡-克劳德·莫奈（法文：Oscar-Claude Monet，1840年11月14日-1926年12月5日），法国画家，被誉为“印象派领导者”，是印象派代表人物和创始人之一。\n莫奈是法国最重要的画家之一，印象派的理论和实践大部分都有他的推广。莫奈擅长光与影的实验与表现技法。他最重要的风格是改变了阴影和轮廓线的画法，在莫奈的画作中看不到非常明确的阴影，也看不到突显或平涂式的轮廓线。光和影的色彩描绘是莫奈绘画的最大特色。\n2019年5月14日，法国印象派画家克劳德·莫奈的作品《干草堆》在纽约苏富比拍卖行以破纪录的1.107亿美元（当时1美元约合人民币6.87元）高价拍出。这是莫奈作品拍卖价格的最高纪录，也是印象派画作拍卖最高纪录。",[875,876,877,878,879,476,880,881,7],"印象派","油画","光影","色彩晕染","睡莲","夕阳","倒影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c5789fba6deb37f3fab40fbd90617cc.jpg","油画精选",[883],{"id":886,"slug":887,"title":218,"dynasty":18,"author":582,"museum":20,"description":888,"tags":889,"thumbUrl":890,"material":34,"size":125,"collection":34,"collections":891,"showCount":892,"zanCount":11,"manualWeight":11,"mainColor":38},236612,"hua-niao-ce-ma-yuan-yu-236612","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。",[24,28,27,220,84,312,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fa3b2c8161c0f798f528ab64c102d91.jpg",[],15,{"id":894,"slug":895,"title":896,"dynasty":18,"author":64,"museum":125,"description":897,"tags":898,"thumbUrl":900,"material":200,"size":34,"collection":34,"collections":901,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":38},237173,"hua-niao-kun-chong-ce-zhou-quan-237173","花鸟昆虫册","沈铨 （1682—1760），字衡之，号南苹，其画远师黄筌画派，近承明代吕纪，工写花卉翎毛、走兽，以精密妍丽见长，也擅长画仕女。设色妍丽，工致精丽、赋色浓艳，极尽构梁之巧。画人物得不传之秘。注重写实，画风谨严工细，造型准确生动。尝写《花蕊夫人宫词》为图，笔意殊极巧妙。\n雍正九年（1731）沈铨应日本天皇之聘，偕弟子郑培、高钧等东渡日本，历时3年，形成“南苹派”写生画，深受日人推崇，被称为“舶来画家第一”，从习画者颇多，日本江户时代长崎画派即在其影响下形成，尤以圆山应举最为著名。归得金帛散给友朋，橐仍萧然。\n沈铨归国后声誉大震，传至京城，朝廷便下旨命沈铨作画上贡，乾隆7年作《花蕊夫人宫词意》受到好评，除此，沈铨还陆续为宫廷作吉祥寓意之画，由此沈铨及弟子童衡在中国画史上被称为宫廷画家，沈铨晚年寄居于苏州，孜孜不倦地致力于书画艺术之研究，在乾隆27年81岁的沈铨还能作《花鸟图》。1762年沈铨逝世后，从子沈天骧进新市南频府，守孝三年，继承画业，唯一入室弟子童衡离开沈宅到新市明因寺为僧，闲余作画终身。沈铨把一生献给了绘画事业，在继承院体派传统的基础上，独创了强大的南苹画派，在当时的江南独树一帜，有诗予以很高的评价“江南高手谁第一，吴兴沈生世无匹”。",[24,28,27,220,26,385,29,7,296,171,899,32],"飞虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b915bd9e6b1e382e63b7c2f445a81be.jpg",[],{"id":903,"slug":904,"title":905,"dynasty":42,"author":261,"museum":20,"description":906,"tags":907,"thumbUrl":909,"material":116,"size":117,"collection":34,"collections":910,"showCount":911,"zanCount":11,"manualWeight":11,"mainColor":75},287959,"fang-hui-zong-shui-zhong-ya-tu-yi-ming-287959","仿徽宗水中鸭图","淡墨绘双鸭悠游清波，翎羽纹理勾勒精细，水波晕开柔缓涟漪，将水禽自在舒展之态尽显。右侧坡岸汀花水草意态萧疏野逸，带着郊池幽寂之趣。\n\n画作追摹院体写生之致，工细间不失笔墨清简韵致，左侧题字古拙苍劲，书画相映成趣。整体将水禽灵动与汀渚静柔相融，把池沼一隅的安闲澹远定格，尽显古典雅致的写生意趣，晕开平和悠然的宋韵氛围感。",[23,24,128,83,27,48,26,68,7,50,908],"临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90ae8e7f2f631fe0ace89127baa242d3.jpg",[],12,{"id":913,"slug":914,"title":785,"dynasty":42,"author":261,"museum":20,"description":915,"tags":916,"thumbUrl":918,"material":116,"size":117,"collection":34,"collections":919,"showCount":911,"zanCount":11,"manualWeight":11,"mainColor":75},287958,"yu-le-tu-yi-ming-287958","此作用淡墨晕染出一片清寂水泽，群鱼自在悠游：硕鲤摆尾缓行，姿态雍容，小鱼三两聚散穿梭，灵动鲜活，河虾隐于水藻间，意趣暗藏。以没骨技法写就，笔意清润简淡，不着一笔画水，却以留白衬出水波空濛之感，将水族的潜游、戏逐之态描摹入微，尽显水间蓬勃生机。\n\n画面点缀水荇、芦草，淡墨轻勾枝叶，愈发衬出郊野水泽的幽寂，将濠梁观鱼的悠然之趣藏于尺幅之中，尽显宋元写生一脉的清雅意韵，淡远萧散，把群鱼自乐的自在意态渲染得淋漓尽致。",[23,24,128,48,27,84,290,7,917,32],"鱼乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77cf8cdcd40ed604752a4af7afc1de65.jpg",[],{"id":921,"slug":922,"title":923,"dynasty":95,"author":261,"museum":125,"description":924,"tags":925,"thumbUrl":927,"material":645,"size":928,"collection":34,"collections":929,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":38},223572,"xi-lu-ye-ya-tu-yi-ming-223572","溪芦野鸭图","图绘溪边芦苇、茨菰丛生，枝繁叶茂，生机勃勃。雄鸭在岸边单足站立小憩；雌鸭于水中回首梳羽，姿态闲适，气度雍容。此图意在表现一种祥和安定的气氛，应是南宋画院点缀升平之作。构图成熟简练，画面左中部为芦苇所荫蔽，给人安全之感；右上方则留出一片水面，启人遐思，以免闭塞。敷色精细写实，雄鸭毛羽的表现尤见功力。今色彩虽已暗旧，尚可想见当年斑斓生辉之状。",[23,24,27,28,26,926,130,7,384],"野鸭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06a845e7b9c4e3e32739c5b931a4db59.jpg","26.4x27",[],{"id":931,"slug":932,"title":933,"dynasty":18,"author":546,"museum":20,"description":934,"tags":935,"thumbUrl":937,"material":34,"size":34,"collection":34,"collections":938,"showCount":939,"zanCount":11,"manualWeight":11,"mainColor":38},224330,"hua-niao-shi-er-kai-8-li-shan-224330","花鸟十二开8","以留白作冷月，淡墨晕开清寒夜雾，似将月色融在水波之中。三尾游鱼姿态灵动，逆水穿波，浓淡墨色晕出鳞光肌理，简笔勾勒却生机尽显。题诗与画境相映，把秋江月夜的清寂氛围铺陈开来。笔意纵逸随性，极简构图勾勒空濛冷寂的秋夜氛围，淡墨轻岚间尽显写意之妙，将秋江月夜的清宁与游鱼野趣相融，寥寥数笔便将文人画的幽隽禅意藏在水墨之间，尽显闲适自在的画中真意。",[23,24,25,220,48,84,936,7],"明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff80fc7263cffe35761818ab68354a95e.jpg",[],9,{"id":941,"slug":942,"title":943,"dynasty":95,"author":261,"museum":125,"description":944,"tags":945,"thumbUrl":947,"material":455,"size":948,"collection":34,"collections":949,"showCount":950,"zanCount":11,"manualWeight":11,"mainColor":38},234028,"chun-xi-shui-zu-tu-ye-yi-ming-234028","春溪水族图页","此图是现存宋画中游鱼类题材画的一幅佳作。春暖花开，群鱼戏藻。鲢鱼摆尾漫游，鲶鱼回身在后，鳜鱼则迎头向上，隐喻了“连年有贵”的吉祥含义。画家通过鱼儿欢快游动时自由弯转的体态和藻类植物在游鱼冲击下漂浮不定的形状，巧妙地暗示出流水的动势以及春水的清洌透明感。3尾大鱼均施以工笔重彩，用笔沉稳工致，片片鱼鳞描绘得一丝不苟；而衬景的小鱼、小虾和水藻则纯用没骨法渍染，将鱼虾的灵动和水藻的轻盈表现得恰到好处。\n对幅有清乾隆御题七言诗一首：“庄惠曾论知弗知，传为奇语却无奇。试如驳曰我非子，便是答云彼岂斯。春水初生具春意，文鳞群泳爱文漪。漫訾意浅色鲜耳，颇类濠梁博辩时。戊申仲秋御题。”“戊申”为乾隆五十三年（1788年）。",[24,25,83,27,28,585,32,84,7,169,946],"溪水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02a0629fcd5523d535d10cc5f475a26b.jpg","纵24.3cm，横25.5cm",[],8,{"id":952,"slug":953,"title":954,"dynasty":18,"author":955,"museum":20,"description":956,"tags":957,"thumbUrl":959,"material":34,"size":34,"collection":34,"collections":960,"showCount":950,"zanCount":11,"manualWeight":11,"mainColor":38},232894,"chu-ji-tu-li-zhou-guan-zhen-tai-232894","雏鸡图立轴","管镇泰","此画构图简练，为雏鸡,体形轮廓则以简约的墨线勾勒，虽为写意，仍能照顾到物象的立体感。整幅画虽题材简单，但笔韵内敛传神，雏鸡稚嫩的体态通过水墨尽得显现。",[23,24,48,47,49,958,7,384,326],"雏鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52c2e9efaf71e2689a3a532d8d172ad8.jpg",[],{"id":962,"slug":963,"title":964,"dynasty":18,"author":261,"museum":20,"description":965,"tags":966,"thumbUrl":971,"material":116,"size":117,"collection":34,"collections":972,"showCount":973,"zanCount":11,"manualWeight":11,"mainColor":38},266338,"hu-se-ke-jin-yin-shui-cao-jin-yu-wen-jia-chen-yi-yi-ming-266338","湖色缂金银水草金鱼纹夹衬衣","清王朝时段推行剃发易服，顺治九年（1652），钦定《服色肩舆条例》颁行，从此废除了明朝的冠冕、礼服以及汉族的一切服饰，但满族服饰同时吸收了明朝服饰的纹理图案。明代男子一律蓄发挽髻，着宽松衣，穿长统袜、浅面鞋；清时则剃发留辫，辫垂脑后，穿瘦削的马蹄袖箭衣、紧袜、深统靴。但官民服饰一律泾渭分明。 清朝是以满族统治者为主的政权机构，满族八旗服饰随朝代的变更冲进关内。旗人的风俗习惯影响着广大的中原地区。从公服开始逐渐推向常服。",[967,968,969,7,311,970],"衣帽","布料","缂金银","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd1e27edebfe5ba88ad2eb66c2bd31dc.jpg",[],7,{"id":975,"slug":976,"title":977,"dynasty":18,"author":978,"museum":20,"description":979,"tags":980,"thumbUrl":981,"material":116,"size":117,"collection":34,"collections":982,"showCount":973,"zanCount":11,"manualWeight":11,"mainColor":38},235162,"shan-shui-ren-wu-tu-shan-ye-wen-nan-235162","山水人物图扇页","文柟","文柟（1596年～1667年），字曲榬，号溉庵，苏州府长洲（今属江苏）人，文从简子，邑庠生。狷介绝俗，能诗，尝手摘仕一史，寓伤今吊古之怀。明末清初书画家，画山水一禀祖法。明亡后奉亲隐居寒山，耕樵已终，私谥端文先生。有《青毡杂志》、《溉庵诗选》。",[310,24,28,827,151,148,936,768,838,7,155,666],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf53d0a76905ab872847ffdcb2c95716.jpg",[],{"id":984,"slug":985,"title":986,"dynasty":987,"author":988,"museum":398,"description":989,"tags":990,"thumbUrl":991,"material":34,"size":34,"collection":134,"collections":992,"showCount":973,"zanCount":11,"manualWeight":11,"mainColor":993},202899,"xie-zao-tu-zhou-qi-bai-shi-202899","蟹藻图轴","近代","齐白石","画面中数只螃蟹姿态各异，或爬或踞，墨色浓淡相宜——甲壳以重墨块面写出，螯足用劲挺线条勾勒，尽显蟹之灵动鲜活。上方水草以疏朗笔触点缀，与下方蟹群形成虚实呼应，传递出自然生趣。齐白石以写意之法，将寻常水族描绘得形神兼备，笔墨间满是质朴天真的意趣。",[24,48,49,129,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19e9538cb0a71a4170467934204f350d.jpg",[134],"c7bfb5",{"id":995,"slug":996,"title":997,"dynasty":340,"author":872,"museum":20,"description":873,"tags":998,"thumbUrl":1000,"material":116,"size":117,"collection":883,"collections":1001,"showCount":1002,"zanCount":11,"manualWeight":11,"mainColor":1003},225964,"la-barque-1890-mo-nai-225964","La Barque, 1890",[876,875,156,7,999,877],"绿植","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5cc03a3f2d248df1834a51a039d8f92.jpg",[883],6,"37474F",{"id":1005,"slug":1006,"title":1007,"dynasty":18,"author":1008,"museum":44,"description":1009,"tags":1010,"thumbUrl":1011,"material":70,"size":34,"collection":34,"collections":1012,"showCount":1002,"zanCount":11,"manualWeight":11,"mainColor":1003},215050,"shu-hua-he-bi-tu-ce-5-qian-long-215050","书画合璧图册-5","乾隆","乾隆皇帝（1711-1799年在位）是清朝的第六位皇帝，他是一位非常喜爱书画的皇帝，并且也是一位出色的书画家。他的书画合璧图册是他的一部杰作，其中收集了他自己的书画作品以及其他著名书画家的作品。这本图册有很多种版本，不同版本中包含的作品也有所不同。乾隆皇帝的书画合璧图册被认为是中国书画史上的一部重要著作，因为它收集了当时最优秀的书画作品，并且这本图册本身也是一部艺术杰作。",[23,24,25,504,48,151,7,384,220],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2663d3ac2e67ebf22743b17deabaca6.jpg",[],{"id":1014,"slug":1015,"title":1016,"dynasty":95,"author":261,"museum":20,"description":1017,"tags":1018,"thumbUrl":1024,"material":116,"size":117,"collection":34,"collections":1025,"showCount":468,"zanCount":11,"manualWeight":11,"mainColor":75},252551,"bai-yu-tou-diao-gui-yu-shui-cao-wen-pei-shi-yi-ming-252551","白玉透雕鳜鱼水草纹佩饰","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。",[1019,1020,1021,1022,1023,7],"玉器","饰品","白玉","透雕","鳜鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff57e0a19ca4e9d423a8fc2928707914e.jpg",[],{"id":1027,"slug":1028,"title":1029,"dynasty":18,"author":261,"museum":20,"description":1030,"tags":1031,"thumbUrl":1032,"material":34,"size":34,"collection":34,"collections":1033,"showCount":1034,"zanCount":11,"manualWeight":11,"mainColor":38},235887,"yuan-ji-hua-hui-tu-ce-yi-ming-235887","原济花卉图册","淡墨轻勾水纹，寥寥数笔便漾起柔缓波光，浓墨点染的汀草苍劲朴拙，与晕染浅淡的游鱼形成鲜明虚实对照。游鱼造型简括灵动，穿荇摇曳间，将水泽生机藏于简淡笔墨里。\n\n题书笔意纵逸浑朴，与画面融为一体，尽显水墨写意的随性野趣。以极简之形托出幽澹江湖之境，将水泽闲雅逸趣凝于尺幅间，淡而不寡，朴中藏灵，以意驭笔、以简胜繁，把清寂又生动的水畔一隅定格，让观者悄然窥见悠游自在的江渚意趣。",[24,25,220,48,49,504,32,169,29,296,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa0089515d0ede2814e1df1bde4747fb.jpg",[],4,{"id":1036,"slug":1037,"title":1038,"dynasty":18,"author":1039,"museum":20,"description":1040,"tags":1041,"thumbUrl":1042,"material":34,"size":34,"collection":34,"collections":1043,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":38},234553,"yu-mu-shang-xin-ce-shu-ju-shi-ce-ye-hao-ming-long-234553","娱目赏心册-书菊石册页","郝明龙","《娱目赏心册》收集了十三幅绘画作品，分别出自于十二位画家之手，尽管是不同画家的手笔，但整个册页非常统一，弥漫的是一股浓浓的文人气息",[24,25,220,48,504,32,148,768,476,7,151,827],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36cd7fd81ba481e17f4f5acd6bb55ba3.jpg",[],{"id":1045,"slug":1046,"title":1047,"dynasty":340,"author":261,"museum":20,"description":1048,"tags":1049,"thumbUrl":1055,"material":34,"size":34,"collection":34,"collections":1056,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":694},225522,"fu-shi-hui-280-yi-ming-225522","浮世绘280","这幅作品笔致清隽洗练，以素净底色铺就水泽幽境。苍鹭静立浅滩，丹红长喙修长锐利，玄色羽冠桀骜斜挑，灰羽以细密排线晕出蓬松绒感，肌理层次分明，将水禽的矜傲淡然尽显。\n\n清浅水波以极简线条勾勒，漾开柔缓涟漪，沿岸水葱舒展，嫣红小花点缀冷调底色，晕开一抹暖艳。画面留白松弛，把禽鸟的沉静与水畔清寂相融，带着日式风物特有的侘寂雅致，不施浓艳重彩，却将幽谧的水泽意韵晕染淋漓尽致，尽显自然生灵与周遭景致的悠然共生之美。",[1050,1051,1052,28,1053,384,130,7,1054,210],"浮世绘","版画","木刻","鹤","水波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ae4fdad10cc4388331f9aa383e87497.jpg",[],{"id":1058,"slug":1059,"title":1060,"dynasty":42,"author":261,"museum":20,"description":1061,"tags":1062,"thumbUrl":1066,"material":116,"size":117,"collection":34,"collections":1067,"showCount":90,"zanCount":11,"manualWeight":11,"mainColor":1003},263541,"wu-cai-yu-zao-wen-gai-guan-yi-ming-263541","五彩鱼藻纹盖罐","造型饱满端庄，宝珠盖钮添灵韵。釉色交融明艳鲜活，青花勾勒轮廓，五彩填色妍丽明快。红鲤姿态各异，摆尾穿梭于荷藻之间，鳍尾舒展如生，似正优游于清池碧波；莲茎挺拔、水藻摇曳，将池鱼戏藻的鲜活图景凝于瓷面。红彩热烈、青花沉静，黄、绿诸彩点缀其间，繁而不乱，层次分明，把吉庆富足的寓意融于雅致工致的笔触里，尽显古瓷施彩的精湛造诣，让一汪池底生机，永久定格在莹润瓷胎之上。",[1063,1064,84,29,7,1065],"陶瓷","五彩","盖罐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04d0f34952d5687c0793262ef01e38fa.jpg",[],{"id":1069,"slug":1070,"title":1071,"dynasty":42,"author":261,"museum":20,"description":1072,"tags":1073,"thumbUrl":1075,"material":116,"size":117,"collection":34,"collections":1076,"showCount":90,"zanCount":11,"manualWeight":11,"mainColor":75},256399,"cheng-hua-kuan-qing-hua-shui-cao-lian-hua-wen-wan-yi-ming-256399","成化款青花水草莲花纹碗","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。",[42,1074,1063,7,169,84,27],"青花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ef395b261066754cac69856159eb833.jpg",[],{"id":1078,"slug":1079,"title":1080,"dynasty":18,"author":1081,"museum":398,"description":1082,"tags":1083,"thumbUrl":1087,"material":34,"size":34,"collection":34,"collections":1088,"showCount":90,"zanCount":11,"manualWeight":11,"mainColor":1089},202570,"mo-yu-tu-zhou-li-shi-zhuo-202570","墨鱼图轴","李世倬","这幅水墨作品以写意之笔勾勒水族世界，墨色浓淡相宜，大鱼的憨拙、小鱼的俏皮、虾蟹的轻盈跃然纸上。无需勾勒水波，仅通过生物的动态与墨韵的虚实，便营造出清浅水域的悠然氛围。水草的疏淡笔触与鱼群的鲜活形成呼应，尽显笔墨的灵动与生机，仿佛能听见水藻摇曳、鱼虾戏游的轻响，传递出自然野趣与文人画的雅致意趣。",[24,48,49,84,290,7,1084,1085,1086,23],"灵动","生机","笔墨情趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d9fdbe82dd89d35c56cd2427d6a7108.jpg",[],"b1a28d",{"id":1091,"slug":1092,"title":1093,"dynasty":18,"author":1094,"museum":20,"description":1095,"tags":1096,"thumbUrl":1098,"material":34,"size":34,"collection":34,"collections":1099,"showCount":137,"zanCount":11,"manualWeight":11,"mainColor":38},238305,"shan-shui-ce-dong-bang-da-238305","山水册","董邦达","董邦达（1696－1769），清代官员、书画家。字孚存、争存，号东山、非闻，浙江富阳人。雍正十一年进士，乾隆二年授编修，官终礼部尚书，谥文恪。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虞山派之间。与董源、董其昌并称“三董”。",[83,24,25,220,48,666,827,517,668,148,1097,149,150,838,7],"渔翁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb970ef7d0b22f9ba3bbfe498288384c6.jpg",[],{"id":1101,"slug":1102,"title":1103,"dynasty":18,"author":1104,"museum":398,"description":1105,"tags":1106,"thumbUrl":1108,"material":34,"size":34,"collection":56,"collections":1109,"showCount":137,"zanCount":11,"manualWeight":11,"mainColor":1110},201263,"yuan-yang-bai-lu-tu-zhou-wang-wu-201263","鸳鸯白鹭图轴","王武","画面左侧坡岸，一对鸳鸯相偎相依，羽色斑斓间流露亲昵；右侧孤石之上，白鹭单足独立，长颈微曲，姿态闲雅。周遭花卉盛放，叶片舒展，水草随波摇曳，水面波纹细腻如织，营造出清幽静谧的氛围。设色温润淡雅，线条细腻灵动，花鸟造型传神，兼具工笔之精致与写意之韵致，尽显自然生机与文人雅趣。",[24,83,27,28,26,1107,100,184,7,476,23],"鸳鸯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a12e2a506a1bd05c957ed8715fb377c.jpg",[56],"8b7952",{"id":1112,"slug":1113,"title":1114,"dynasty":18,"author":261,"museum":20,"description":1115,"tags":1116,"thumbUrl":1122,"material":116,"size":117,"collection":34,"collections":1123,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},272682,"yu-zhi-yue-ling-qi-shi-er-hou-shi-se-mo-zhi-ru-da-shui-wei-shen-lan-mo-yi-ming-272682","御制月令七十二候诗色墨-雉入大水为蜃蓝墨","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[1117,1118,1119,150,183,7,1120,1121],"墨","文房用具","雕刻","水泽","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79aba56c6eb96e87479e13db2abf9831.jpg",[],{"id":1125,"slug":1126,"title":1127,"dynasty":18,"author":261,"museum":20,"description":1128,"tags":1129,"thumbUrl":1133,"material":116,"size":117,"collection":34,"collections":1134,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":694},269853,"xi-jiao-diao-he-lian-shui-cao-wen-bei-yi-ming-269853","犀角雕荷莲水草纹杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[1119,1130,1131,29,7,1132],"器","饮酒器","犀角","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a7a18ab59b5e9bcd3458d44b29801de.jpg",[],{"id":1136,"slug":1137,"title":1138,"dynasty":18,"author":261,"museum":20,"description":1139,"tags":1140,"thumbUrl":1144,"material":116,"size":117,"collection":34,"collections":1145,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":75},224049,"he-lian-hua-shui-cao-yu-yi-ming-224049","鹤莲花水草玉","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。",[1141,1119,1142,1053,1143,7],"玉石","镂空","莲花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd070beb65405b851db3b6627ecd013fd.jpg",[],{"id":1147,"slug":1148,"title":1149,"dynasty":987,"author":1150,"museum":398,"description":1151,"tags":1152,"thumbUrl":10,"material":34,"size":34,"collection":34,"collections":1154,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":1155},203191,"sha-ting-lu-ci-tu-zhou-chen-shu-ren-203191","沙汀鸬鹚图轴","陈树人","画面以淡墨晕染出朦胧雾气，疏林红叶似燃，点染秋意。沙汀水湄间，青绿草茎随风摇曳，孤舟静泊于浅滩，禽鸟独立舟头，添得几分清寂。笔触洒脱灵动，水墨与淡彩交融，既保留传统笔墨意趣，又融入西洋画的色彩层次，尽显清新自然之韵，于简淡中见生机，静谧中藏悠远。",[24,28,827,148,183,7,48,1153],"红叶",[],"ccb9a0",1777535704823]