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时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[23,24,29,61,59,62,7,158,88],"腊梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07c69768c6eb0147608000594b1c8c39.jpg","设色,绢本","纵47厘米，横25厘米",[45],467,4,{"id":166,"slug":167,"title":168,"dynasty":169,"author":170,"museum":171,"description":172,"tags":173,"thumbUrl":178,"material":91,"size":91,"collection":91,"collections":179,"showCount":180,"zanCount":138,"manualWeight":11,"mainColor":95},220453,"hua-niao-ce-ye-pan-tian-shou-220453","花鸟册页","民国","潘天寿","中国美术学院美术馆","这套册页诗书画印浑然天成，十余开铺陈开山野清趣。以浓墨大写鸲鹆，骨力雄健朴拙，墨色厚重凝练尽显沉郁气度；转而写幽花野卉，荷瓣清逸、牵牛含露，水墨晕染虚实相生，将草木舒展之态藏于简括笔意中。\n题跋笔势跌宕，篆隶金石气融于画中，以书入画，线条刚柔相济。每开或绘禽鸟踞枝，或写丛篁蔬果，删繁就简留白疏密得宜，把林泉间的清寂生机缓缓铺展，文人雅致与写意野趣交融无间，笔底带着山野间的灵动意趣，尽显大写意花鸟的诗画交融之妙。",[23,24,29,174,25,59,31,26,88,62,32,40,33,41,7,175,176,87,177],"册","乌鸦","果实","荷叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1977491dcb09096c6f919e88e1d5b78a.jpg",[],429,{"id":182,"slug":183,"title":184,"dynasty":18,"author":185,"museum":155,"description":186,"tags":187,"thumbUrl":191,"material":107,"size":192,"collection":45,"collections":193,"showCount":194,"zanCount":195,"manualWeight":11,"mainColor":95},219412,"hua-niao-zhou-zhao-shou-219412","花鸟轴","赵寿","画面布局疏朗空灵，留白处似有清风徐来，漾开淡远意韵。山石皴法古拙，肌理如岁月镌刻，托举柔婉花枝与挺秀竹影。鸟羽覆墨褐光泽，喙带明黄，静立枝头凝望着白花——花瓣层叠如绢，蕊心浅晕鹅黄，与叶间红果相映成趣。水仙叶片舒展如带，花姿清雅；竹枝疏斜，添萧散之态。细腻笔触勾勒生机，淡雅色调晕染文人逸致，花鸟相依、石竹为伴，静谧中藏灵动意趣，仿佛能听见枝头轻啼，嗅到花间淡香，于方寸间尽显自然与人文交融的雅致。",[24,61,59,132,62,105,188,7,189,190],"花","竹子","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13055a8e50fdc8f77b496181a0f0a5cb.jpg","103.8x49.2",[45],360,5,{"id":197,"slug":198,"title":199,"dynasty":54,"author":115,"museum":56,"description":200,"tags":201,"thumbUrl":204,"material":90,"size":205,"collection":91,"collections":206,"showCount":194,"zanCount":207,"manualWeight":11,"mainColor":95},216256,"jing-fu-si-qi-dong-jing-tu-4-qian-wei-cheng-216256","景敷四气冬景图-4","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女史观星兆自嘉，净香竞体足风华。故应俯视黄金盏，只号人间醒酒花。钤印：水月两澂明",[24,29,202,174,59,61,62,7,39,203],"名画","叶子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eafcb674b80771b89f70439ef4ed54a.jpg","21.9 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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。",[23,24,29,132,25,62,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c4232f4f2ae738877a1f8edd9442b7c.jpg","纸本设色","72.8x35",[45,219],"水墨画精选",345,{"id":222,"slug":223,"title":224,"dynasty":54,"author":128,"museum":20,"description":225,"tags":226,"thumbUrl":227,"material":228,"size":229,"collection":45,"collections":230,"showCount":231,"zanCount":232,"manualWeight":11,"mainColor":95},224219,"sui-chao-qing-gong-tu-wu-chang-shuo-224219","岁朝清供图","岁朝指农历元旦，历代画家特别是文人画家都喜欢在这一天绘制《岁朝清供图》，作为新年伊始的首幅作品。吴昌硕作为一名文人画家，也几乎每年都画《岁朝清供图》，且多所变化，其最大的特点是很少取材于牡丹，他在《缶庐别存》中有一段话披露了其用意，文曰：“己丑除夕，闭门守岁，呵冻作画自娱。凡岁朝图多画牡丹，以富贵名也。予穷居海上，一官如虱，富贵花必不相称，故写梅取有出世姿，写菊取有傲霜骨，读书短檠，我家长物也，此是缶庐中冷淡生活。”此段话写于1889年，而在这幅1915年的《岁朝清供图》中仍然不见牡丹形象，其时吴氏的生活已有了极大改善，但仍不画牡丹，可见其富贵不移初志的高雅人格与画品。\n此图以瓶梅、水仙、蒲草、秀石诸品组合而成，并置于瓶盆等器物中，以示为案头清供之物。物品高下低昂、错落有致地安排于画面，并以右高左低的对角形式排列，左上角和右下角分别配以题识和印章，这是吴昌硕花卉画中常用的构图形式。画面左上角自题：“岁朝清供。岁朝写案头花，象古人所作岁时物之迁流也，兹拟其意。乙卯岁寒吴昌硕。”\n此图信手挥洒，真情流溢笔端。高颈古瓶中的一枝红梅，以及翠绿的水仙，纷披的蒲草，皆得其大意，笔法隽逸洒脱，极具清逸雅淡之气。用墨、设色也恰到好处，用墨浓淡相宜，设色俏丽鲜艳，雅妍相兼，双勾敷色的水仙花，更体现了吴氏晚年运笔遒劲古拙的独特风韵。",[23,24,29,132,59,25,31,88,26,62,32,7,87,133,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe60ee9f04eb4937057270e254c03e2aa.jpg","纸本，设色","纵151.6厘米，横80.7厘米",[45,75],321,1,{"id":234,"slug":235,"title":236,"dynasty":237,"author":238,"museum":155,"description":239,"tags":240,"thumbUrl":249,"material":43,"size":250,"collection":45,"collections":251,"showCount":252,"zanCount":207,"manualWeight":11,"mainColor":95},218756,"xie-sheng-hua-niao-tu-mu-xi-218756","写生花鸟图","宋","牧溪","这是一幅水墨画，画的是各种花卉、果蔬、飞禽走兽，并绘有草、坡、竹、石。用墨精到，造型准确。与北京故宫收藏的宋代百花长卷相比，水墨画更显从容，为元代王瑞雪和明代林良的水墨画打开了大门。",[23,24,29,28,25,241,26,62,39,242,33,35,36,243,105,244,245,246,247,248,37,38,7],"写生","蔬果","鱼","白菜","萝卜","南瓜","莲蓬","葱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F319f1d586ad6d8f701799388a3a2ded1.jpg","44.5x1017.1cm",[45],302,{"id":254,"slug":255,"title":256,"dynasty":18,"author":154,"museum":155,"description":257,"tags":258,"thumbUrl":260,"material":261,"size":262,"collection":45,"collections":263,"showCount":264,"zanCount":94,"manualWeight":11,"mainColor":95},222200,"shui-xian-la-mei-zhou-chou-ying-222200","水仙蜡梅轴","本幅画水仙两本，蜡梅一枝，以勾勒填彩法成之，着意无多，而清丽雅澹之韵，盎然绢素，乃仇英之精者，款书十五字，出项元汴手笔。此图另存一幅，现流传于国外。",[23,24,29,132,61,59,62,7,259,88],"蜡梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16cf1c9094975ec18e1391b0dc61eace.jpg","白纸本","195.8x44厘米",[45,75],300,{"id":266,"slug":267,"title":268,"dynasty":269,"author":270,"museum":20,"description":271,"tags":272,"thumbUrl":277,"material":216,"size":278,"collection":45,"collections":279,"showCount":280,"zanCount":207,"manualWeight":11,"mainColor":95},221707,"ba-hua-tu-juan-qian-xuan-221707","八花图卷","元","钱选","此卷以分段法描绘海棠、梨花、杏花、水仙、桃花、牡丹等8种花卉，每种相对独立，合之又成为整体。8种花卉各具姿态，偃仰向背绝无雷同，笔致柔劲，一丝不苟，敷色清雅，浓淡相宜，整幅精工而不滞板，细腻而不纤巧。本幅前右下角钤“舜举”印一方，拖尾处有元代赵孟頫题跋：“右吴兴钱选舜举所画八花真迹，虽风格似近体，而傅色姿媚殊不可得。尔来此公日酣于酒，手指颤抖难复作此。而乡里后生多仿效之，有东家捧心之弊，则此卷诚可珍也。至元廿六年九月四日同郡赵孟頫。”",[23,24,29,28,59,61,62,7,36,273,274,275,38,276,66],"海棠","栀子","梨花","梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd3daf5f7775f9a2ba3a9ee6a0616487.jpg","纵29.4厘米，横333.9厘米",[45,75],279,{"id":282,"slug":283,"title":284,"dynasty":54,"author":285,"museum":155,"description":286,"tags":287,"thumbUrl":292,"material":90,"size":293,"collection":91,"collections":294,"showCount":295,"zanCount":232,"manualWeight":11,"mainColor":95},219883,"er-shi-si-fan-hua-xin-feng-tu-rui-xiang-yu-shui-xian-dong-gao-219883","二十四番花信风图-瑞香与水仙","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。",[24,29,174,59,61,288,7,289,290,291,203,88],"瑞香","山石","枝干","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ab8b06d96331425eb7144b02fc54b4d.jpg","20x14.2厘米",[],264,{"id":297,"slug":298,"title":299,"dynasty":237,"author":300,"museum":129,"description":301,"tags":302,"thumbUrl":306,"material":307,"size":308,"collection":91,"collections":309,"showCount":310,"zanCount":11,"manualWeight":11,"mainColor":49},288951,"shu-kui-you-mao-tu-mao-yi-288951","蜀葵游猫图","毛益","毛益（公元12世纪）〔南宋〕昆山（今属江苏）人，一作沛（今江苏沛县）人，生卒年不详。孝宗乾道(1165-1173)间画院待诏，工画翎毛、花竹，尤能渲染，似欲飞鸣。",[24,61,59,303,304,7,305],"猫","蜀葵","闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbe227c92570f7b4b3865f10d691aa7f.jpg","未知","Xcm*Xcm",[],230,{"id":312,"slug":313,"title":314,"dynasty":54,"author":315,"museum":129,"description":316,"tags":317,"thumbUrl":319,"material":307,"size":308,"collection":91,"collections":320,"showCount":321,"zanCount":232,"manualWeight":11,"mainColor":95},288453,"shui-xian-shan-shi-tu-ye-ju-lian-288453","水仙山石图页","居廉","居廉（1828年9月22日－1904年5月5日），广东省广州府番禺县隔山乡人，原籍江苏扬州宝应县 [1] ，字士刚，号古泉、隔山樵子、罗湖散人，是中国近代岭南地区著名的国画画家，和其从兄居巢并称“二居”。 [2] 他初时学宋光宝和孟丽堂，后吸收各家之长，自成一家。笔法工整，设色妍丽，在继承和发展恽寿平没骨画法基础上，广泛运用了撞水和撞粉法，继承、发展和完善了“居派”艺术。代表作品有《十二分春色》。",[23,24,29,59,61,62,7,87,318,88,30],"飞虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08f14912099b74f3d5a6aa2685fc8db4.jpg",[],218,{"id":323,"slug":324,"title":325,"dynasty":54,"author":326,"museum":155,"description":327,"tags":328,"thumbUrl":330,"material":107,"size":331,"collection":45,"collections":332,"showCount":333,"zanCount":232,"manualWeight":11,"mainColor":95},219529,"sui-chao-tu-yun-shou-ping-wang-hui-da-chong-guang-yang-jin-219529","岁朝图","恽寿平王翚笪重光杨晋","四人联袂共绘，将岁朝清供融于一帧。松针攒簇挺劲，尽显凌霜坚姿，翠竹疏枝摇曳，清韵自生；山茶柔瓣晕染温润，梅枝横斜疏花缀枝，水仙舒展冰姿玉骨，南天竹丹实累累，点染出新年吉庆。\n\n笔墨兼具没骨设色的雅致柔润与勾勒皴擦的苍劲秀逸，融四家所长，各尽其意却浑然一体。花木俯仰错落，冷暖色调相映，清刚与妍柔相融，暗合岁朝迎新的吉庆意趣，将文人清雅审美与岁时雅俗交融，淡墨轻色间，尽显岁朝清供的隽永意韵。",[202,24,29,132,59,62,34,32,40,7,30,88,329],"传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F625da687a11dea55340262634b2ab88f.jpg","80.7x50.4公分",[45],195,{"id":335,"slug":336,"title":337,"dynasty":54,"author":128,"museum":129,"description":338,"tags":339,"thumbUrl":342,"material":307,"size":308,"collection":91,"collections":343,"showCount":344,"zanCount":11,"manualWeight":11,"mainColor":95},289915,"sui-chao-qing-gong-tu-li-zhou-wu-chang-shuo-289915","岁朝清供图立轴","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,202,29,132,25,59,62,32,7,87,340,30,88,133,39,341],"器物","盆栽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30fcfb6589c3a3e4729c4a0a67ce3c16.jpg",[],169,{"id":346,"slug":347,"title":348,"dynasty":169,"author":349,"museum":171,"description":350,"tags":351,"thumbUrl":354,"material":91,"size":91,"collection":91,"collections":355,"showCount":356,"zanCount":94,"manualWeight":11,"mainColor":95},220578,"huang-bin-hong-ben-hua-niao-shan-shui-ce-ye-huang-bin-hong-220578","黄宾虹本花鸟山水册页","黄宾虹","此作以分段折枝花鸟铺陈，各景花木情态自具：牡丹秾艳娇柔，梅枝清癯疏朗，铃兰、山茶各见风姿。以淡彩晕染花萼枝叶，勾勒轻简见笔力，兼具写生之真与写意之逸，既有青藤白阳的纵逸笔意，又自出机杼。题跋书法与花木相映成趣，诗画交融，晕染淡雅却筋骨暗蕴，艳而不俗，淡而不薄，将花木的柔媚与文人画的清雅风骨相融，尽显明清逸格画韵的余味，笔底漾着沉静文心，是极具文人雅致的花鸟小品佳作。",[23,24,29,174,59,61,31,88,62,36,38,41,65,37,7,40,352,353],"墨","纸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaf98760b63f1afddbdee99352c5f94a.jpg",[],168,{"id":358,"slug":359,"title":360,"dynasty":54,"author":128,"museum":129,"description":361,"tags":362,"thumbUrl":363,"material":91,"size":91,"collection":91,"collections":364,"showCount":365,"zanCount":138,"manualWeight":11,"mainColor":95},224212,"leng-yan-juan-er-yu-wu-chang-shuo-224212","冷艳捐二玉","此作用笔写意纵逸，水仙以浓淡层次的绿意绘就叶片，线条苍劲舒展，尽显清挺柔韧之姿。白花点缀其间，浓墨点染花心，明暗交织里，将水仙冰肌玉骨的冷艳之气铺陈开来。右侧湖石以泼墨为之，墨色淋漓斑驳，虚实相生间尽显古朴厚重，与水仙的清雅柔润形成刚柔反差。\n全画以书入画，笔力苍浑雅致，借水仙与顽石的组合托物言志，将文人孤傲清逸的品格寄于冷艳花姿中，寥寥数笔便将物象神韵与作者襟怀相融，意韵悠长。",[23,24,29,25,59,26,62,7,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe01fb6c3d805917e235f7564f6f357b2.jpg",[],167,{"id":367,"slug":368,"title":369,"dynasty":54,"author":128,"museum":20,"description":370,"tags":371,"thumbUrl":372,"material":373,"size":374,"collection":91,"collections":375,"showCount":376,"zanCount":232,"manualWeight":11,"mainColor":95},233723,"mu-dan-shui-xian-tu-wu-chang-shuo-233723","牡丹水仙图","图中牡丹以没骨积染法刻画，笔致潇洒飘逸，水与墨、色有机地交融，表现出牡丹旺盛的生命力和贵而不骄、艳而不俗的神韵。水仙以白描双勾法刻画，其不着一色的叶片与浓艳的牡丹相比具有洗尽铅华始见真的淡雅之美。生机勃发的牡丹和水仙营造出喜庆祥和的氛围，成功地表达了作者以此图祝福长辈健康长寿的主题，当属吴昌硕花卉画的代表作之一。",[24,59,62,132,36,7,190,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb479b3e734836eee55d462e42824a5c3.jpg","洒金，设色","纵174.7厘米，横47.5厘米",[],158,{"id":378,"slug":379,"title":380,"dynasty":54,"author":55,"museum":129,"description":381,"tags":382,"thumbUrl":383,"material":307,"size":308,"collection":91,"collections":384,"showCount":385,"zanCount":138,"manualWeight":11,"mainColor":95},239435,"hua-niao-ce-yun-shou-ping-239435","花鸟册","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。",[202,24,29,174,104,62,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8299fb7c2cc55824201acc436d25e464.jpg",[],155,{"id":387,"slug":388,"title":389,"dynasty":18,"author":390,"museum":129,"description":391,"tags":392,"thumbUrl":394,"material":307,"size":308,"collection":91,"collections":395,"showCount":396,"zanCount":94,"manualWeight":11,"mainColor":95},290309,"sui-chao-tu-zhou-lu-zhi-290309","岁朝图轴","陆治","陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因先世由汴徙居吴之包山梅梁里，遂自号包山。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。",[202,24,29,132,59,62,32,7,36,134,30,88,393],"日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5facffa84a62716f2f574fdad24943d6.jpg",[],152,{"id":398,"slug":399,"title":400,"dynasty":18,"author":401,"museum":129,"description":402,"tags":403,"thumbUrl":408,"material":91,"size":91,"collection":91,"collections":409,"showCount":410,"zanCount":232,"manualWeight":11,"mainColor":95},228271,"er-shi-si-fan-hua-xin-tu-juan-wei-zhi-ke-228271","二十四番花信图卷","魏之克","此作用没骨法写群芳次第铺展，艳红山茶花、柔粉芙蓉、明黄牵牛、素白水仙等错落排布，将四季花信的娇美姿态尽揽卷中。\n\n敷色妍丽清润，花叶晕染细腻自然，花瓣的柔润肌理、叶片的明暗层次皆被精微呈现。勾勒线条纤秀柔和，不着笔痕却见风骨。构图舒展疏朗，一花一叶各含生机，毫无拥塞之感，将文人意趣融于写生之中，整卷清新雅致，如将春日烂漫温柔铺陈眼前，观之如沐东风，尽现写生花鸟的雅致意韵。",[23,24,29,28,61,59,62,32,40,36,37,38,7,65,404,63,405,273,274,406,39,407,291,88],"杜鹃","山茶","茉莉","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fcbf65ccf427d0eec788db6bcfcdb78.jpg",[],137,{"id":412,"slug":413,"title":414,"dynasty":54,"author":115,"museum":155,"description":415,"tags":416,"thumbUrl":418,"material":216,"size":419,"collection":45,"collections":420,"showCount":421,"zanCount":232,"manualWeight":11,"mainColor":95},222694,"mei-cha-shui-xian-zhou-qian-wei-cheng-222694","梅茶水仙轴","钱维城（1720—1772）清朝官吏、画家。初名辛来，字宗磐，一字幼安，号纫庵、茶山，晚号稼轩，江苏武进人。乾隆十年状元，官至刑部侍郎，谥文敏。书法苏轼，初从陈书学画写意折枝花果，后学山水，经董邦达指导，遂成名手，供奉内廷，为画苑领袖。曾随乾隆帝在木兰围场狩猎，帝以神枪殪虎，命维城绘图刻石纪事。著有《茶山集》。\n钱维城自幼甚喜绘画，开始从族祖母陈书学习画写意折枝花果，勾描渲染，随类赋形，气联意合，整体协调。后来得到了画家董邦达指导，学画山水。所画山水，山势逶迤，流泉飞泻，烟霭飘浮，水光荡漾。构图井然，意境清幽。山石多用皴笔。他的绘画远学元代四家即黄公望、倪瓒、吴镇、王蒙，近学清初四王即王时敏、王鉴、王徽、王原祁。。《桐阴论画》说他的山水画“笔意亦临摹仿麓台，邱壑幽深，树石灵秀，颇臻妙境。”钱维城投身科举时，很少有人知道他擅长书画，直到状元及第后，在随乾隆的一次狩猎中，乾隆射中一只老虎，于是钱维城受命创作“射虎图”，作品完成后乾隆连连称赞，并下令将此画刻在木兰围场的石头上，从此钱维城在画坛上名声大振。在钱维城的绘画中，带棱角的石形、双勾少皴的树干，以及中锋含蓄的细笔、淡墨勾皴的线条，都存有董邦达的笔意，但他更擅长缜密的用笔和青绿、赭石相间的设色，其中也显示出清初“四王”的流派风格，他的作品经常呈现出来的是一派宫廷富贵的气息。在乾隆的收藏目录《石渠宝芨》中，收录的钱维城作品有160多幅，由此可见乾隆皇帝对钱维城作品的赏识程度。著名的有《九秋图卷》。\n钱维城擅长书法，工整精细，“宗磐工书，书法东坡。”他师法宋朝书法四大家之一的苏东坡。落笔苍润，秀骨天成。也能吟诗，以杜少陵为宗。人称“钱文敏尚书，诗宗少陵，书规苏文忠。”可谓诗、书、画一体。",[23,202,24,29,132,61,59,276,417,7],"茶花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb394ac89657041d7c37b5fb8d711ba23.jpg","114.1x75.6",[45,75],119,{"id":423,"slug":424,"title":425,"dynasty":54,"author":128,"museum":20,"description":370,"tags":426,"thumbUrl":427,"material":373,"size":374,"collection":45,"collections":428,"showCount":429,"zanCount":232,"manualWeight":11,"mainColor":95},236754,"mu-dan-shui-xian-tu-zhou-wu-chang-shuo-236754","牡丹水仙图轴",[24,132,25,26,36,7,87,88],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8e4f3d78148a5c14ce790f58f1d5d01.jpg",[45,219],115,{"id":431,"slug":432,"title":433,"dynasty":18,"author":19,"museum":129,"description":434,"tags":435,"thumbUrl":436,"material":91,"size":91,"collection":91,"collections":437,"showCount":438,"zanCount":232,"manualWeight":11,"mainColor":95},228760,"shi-er-mo-hua-shi-hua-tu-juan-xu-wei-228760","十二墨花诗画图卷","此作用淋漓水墨写尽草木风神，以书入画，笔锋纵恣老辣。长卷铺展，一花一诗相生相融，浓墨泼洒见花枝繁盛，淡墨勾勒显枝叶清灵，干湿浓淡间，四时花木的野逸之态跃然纸上。\n逸笔草草不拘形似，却将花木的疏狂生机、清寂之姿尽数展露，以极简笔墨传递蓬勃意趣，将文人疏放心境寄情于一花一叶，笔墨间满是狂放不羁的风骨，尽显大写意水墨的写意真髓。",[23,24,29,28,25,26,88,31,32,40,33,41,35,36,7,37,65,87,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80ebde713ecf78a9dd05b8f4040f76c2.jpg",[],114,{"id":440,"slug":441,"title":442,"dynasty":18,"author":443,"museum":444,"description":445,"tags":446,"thumbUrl":451,"material":107,"size":91,"collection":452,"collections":453,"showCount":454,"zanCount":94,"manualWeight":11,"mainColor":49},219577,"ting-zhong-shang-le-tu-yi-ming-219577","庭中赏乐图","佚名","费城艺术博物馆","画面绘闺中闲景，四位仕女各得幽趣。二人对坐似行猜枚之戏，指尖轻扬，情态灵动鲜活；侧坐仕女支臂观戏，慵懒悠然；侍立婢女持扇静候，恭谨安恬。衣褶线条柔婉舒展，晕染出绫罗软缎的垂坠质感，鬓间花钿衬出闺阁佳人的柔秀雅致。布景简淡，仅以浅绘草卉点染庭中清寂，古褐底色晕出庭院静谧松弛的氛围。笔致清逸简淡，将深闺日常的闲散意趣娓娓道来，尽显温婉含蓄的古典仕女审美意韵。",[24,29,61,59,447,448,7,449,450],"人物","美人","乐器","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86260b0dda74b3817ea2971ec93bb2fa.jpg","人物画精选",[452],113,{"id":456,"slug":457,"title":458,"dynasty":54,"author":128,"museum":20,"description":459,"tags":460,"thumbUrl":462,"material":228,"size":374,"collection":91,"collections":463,"showCount":464,"zanCount":232,"manualWeight":11,"mainColor":95},233730,"tian-zhu-shui-xian-tu-zhou-wu-chang-shuo-233730","天竺水仙图轴","此图又名《群仙祝寿》。图绘天竺、水仙。构图颇具匠心，水仙顺坡生长取斜势，而参差错落的天竺直、斜之姿兼备，使画面富于变化，情趣盎然。水仙的叶片以墨笔勾线，石绿填色，浓厚的色彩增添了鲜活的生机；高挑的天竺则以写实手法点染而成，其艳丽的嫣红色与水仙的绿色形成冷暖色调的对比，色彩明亮却不俗艳。此作是吴昌硕花卉画的代表作之一。\n天竺、水仙均有长寿之意，且谐“诸仙”之音，是寿意画的常用题材。范湖居士即周闲（1820-1875年），字存伯，一字小园，号范湖居士，浙江秀水（今嘉兴）人。晚清上海重要画家，精于水墨花卉，与任熊、任颐、吴昌硕等相友善。图题“拟范湖居士”，可知此图有借鉴周氏之处。",[24,29,132,62,26,59,25,461,7,190],"天竺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e0176a3a4253556702b5d4630221776.jpg",[],112,{"id":466,"slug":467,"title":53,"dynasty":269,"author":468,"museum":56,"description":469,"tags":470,"thumbUrl":471,"material":472,"size":473,"collection":91,"collections":474,"showCount":475,"zanCount":195,"manualWeight":11,"mainColor":49},232772,"bai-hua-tu-juan-wang-yuan-232772","王渊","王渊，生卒年不详，元代画家。字若水，号澹轩，一号虎林逸士，钱塘（今浙江杭州）人。\n幼习丹青，赵孟頫多指教之，故所画皆师古人，无一笔院体。山水师郭熙，花鸟画师承后蜀黄筌，先勾勒后皴染水墨，浓淡深浅，极有韵致，得写生之妙，时称“绝艺”。\n人物师唐人吴道子，一一精妙，注重线条勾勒，不讲究墨彩渲染，史称“有笔而无墨”，自成风韵。尤精墨花鸟竹石，当代绝艺。天机溢发，肖古而不泥古。",[23,202,24,28,59,61,62,36,37,63,276,7,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28c480c150ed6fe88a7f552eddcaa50d.jpg","绢本","32.1x 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践中，不断探索，将冲刀和切刀两种刀法融合在一起，形成了自己的冲切结合的刀法。这种刀法灵活多变，或冲中带切，或切中带冲，甚至切中带削……这种多变的刀法，把冲刀的猛利、挺劲、爽快与切刀的含蓄、浑朴融为一体，将书意和刀意表现得淋漓尽致，使他的篆刻刀法雄浑朴茂中寓秀逸的个性化特点凸现了出来。他与厉良玉、赵之谦并称“新浙派”的三位代表人物。\n残缺刀法是吴昌硕篆刻创作中的一种常用手法。我们知道，秦汉古印大多因年深日久，水土的浸蚀，自然的风化，印面及文字线条失去了原先的平整和光洁，变得残缺不全。恰恰是这些残缺给我们以古朴、含蓄、浑厚、苍拙等特殊的审美效果，这是自然的造化使然。吴昌硕善于巧夺天工，在传统的冲、切刀法的基础上，辅之以敲、击、凿、磨或借用砂石、鞋底、钉头等，极大地丰富了篆刻艺术的表现手法，并创造性地将篆刻艺术中刀石效果产生的金石味，上升到残缺美的审美新境界。\n主要篆刻作品：《寿山老坑巧色雕狮钮》《作了天下事》《读遍千古书》《好学为福》《黑青田》《一月安东令》《湖州安吉县》《泰山残石楼》《园丁生于梅洞长于竹洞》《暴书》《千寻竹斋》《千寻竹斋》3刻《吴俊卿信印日利长寿》《安吉吴俊章》《雷浚》《鲜鲜霜中菊》《归仁里民》。\n\n绘画:\n绘画的题材以花卉为主，亦偶作山水。前期得到任颐指点，后又参用赵之谦画法，并博采徐渭、八大、石涛和扬州八怪诸家之长，兼用篆、隶、狂草笔意入画，色酣墨饱，雄健古拙，亦创新貌。其作品重整体，尚气势，认为“奔放处不离法度，精微处照顾气魄”，富有金石气。讲求用笔、施墨、敷彩、题款、钤印等的疏密轻重，配合得宜。 吴昌硕自言：“我平生得力之处在于能以作书之法作画。”\n他以篆笔写梅兰，狂草作葡萄。所作花卉木石，笔力老辣，气势雄强，布局新颖，构图也近书印的章法布白，喜取“之”字和“女”字格局，或作对角斜势。用色上似赵之谦，喜用浓丽对比的颜色，尤善用西洋红，色泽浓艳。\n吴昌硕因以“草篆书”入画，状物不求写实，形成了影响近现代中国画坛的直抒胸襟，酣畅淋漓的“大写意”笔墨形式。\n他酷爱梅花，以写大篆和草书笔法为之，墨梅、红梅兼有，画红梅水分及色彩调和恰到好处，红紫相间，笔墨酣畅。又喜作兰花，喜以或浓或淡的墨色和用篆书笔法画成，刚劲有力。画竹竿以淡墨轻抹，叶以浓墨点出，疏密相间，富有变化，或伴以松、梅、石等，成为“双清”或“三友”。菊花也是他经常入画的题材，伴以岩石，或插以高而瘦的古瓶，与菊花情状相映成趣。菊花多作黄色，亦或作墨菊和红菊。墨菊以焦墨画出，菊叶以大笔泼洒，浓淡相间。\n晚年较多画牡丹，以鲜艳的胭脂红设色，含有较多水分，再以茂密的枝叶相衬，生气蓬勃。荷花、水仙、松柏也是经常入画的题材。\n菜蔬果品如竹笋、青菜、葫芦、南瓜、桃子、枇杷、石榴等也一一入画，极富生活气息。推崇周闲果蔬风格，作品色墨并用，浑厚苍劲，对于近世花鸟画影响深远。\n主要绘画作品：《天竹花卉》《紫藤图》《墨荷图》《五月枇杷图》《杏花图》《花卉十二屏风》《梅花》《花卉四屏》《牡丹》《兰石图》《松石图》《花卉》2幅《紫藤图》《杂画册（之—、二）》《依样》《天香露图》《杞菊延年》《泥盆菊草图》《牡丹图》《牡丹水仙图》《大富贵》《佛像图》《富贵神仙图》《红梅图》2幅《蔷薇芦桔图》《秋艳图》《三千年结实》《人物》《三千年结实之桃》《神仙福寿》《石梅》《石竹图》《松梅图》《岁寒交图》《桃实图》《瓜果》《灯下观书》《姑苏丝画图》等。\n①金石气息：吴昌硕绘画艺术的第一大特色是有金石气息。所谓金石气息，指的就是钟鼎上所铸的金文与刻在石碑上的文字所具有的味道。人们常说谁谁的画作有金石气息，其实这种评论标准都是从吴昌硕的绘画风格出现以后才有的。比如，人们在谈到徐青藤、八大山人时，就从来没有听说过评价他们的画作有金石气息。\n②笔力雄浑：吴昌硕绘画艺术的第二大特色是笔力雄浑。所谓笔力雄浑，指的就是其画作中的笔触朴拙、苍茫、老辣，极具浑圆、雄强的力量感。人们常说吴昌硕绘画的气息很厚、很重，按照书画圈儿里人的说法就是“笔头子”很大。所谓“笔头子”很大，并不是说他用的毛笔很大，而指他笔下的气息非常浑厚，一笔下去，浑金璞玉，力透纸背，又意蕴丰富、气象万千。\n③设色浓丽：吴昌硕绘画艺术的第三大特色是设色浓丽。过去人们总是说中国画不能搞那么多颜色，用太多颜色容易俗气。不过，张俊东却指出，吴昌硕绘画的用墨就特别浓，设色也特别大胆，特别鲜艳和浓丽。比如，吴昌硕画过很多牡丹，很多都是大红大紫的，但是却不会让人觉得俗气，而且非常有文人的那种风骨。所以张俊东认为，中国画设色的关键不在多少，而在谁来用以及怎么去用。\n④富于变化:吴昌硕绘画艺术的第四大特色是笔法和墨法富于变化。这里边又体现在几个方面。张俊东举例介绍说，比如吴昌硕在画菊花时，可以将一朵菊花无论是正面的，侧面的，静态的，动态的，都能画得非常丰富。\n\n书法:\n吴昌硕的楷书，始学颜鲁公，隶习汉代石刻，篆学石鼓文。行书学黄庭坚、王铎。\n吴昌硕书法作品，以篆书、行草为主，晚年所书隶书，结体变长，取纵势，用笔雄浑、饱满，具有篆书痕迹，将篆、隶溶为一体，形成独特面貌。\n吴昌硕的隶书遍临《汉祀三公山碑》《张迁碑》《嵩山石刻》《石门颂》等汉碑。中年以后，博览众多金石原件及拓本，选择石鼓文为主要临摹对象。数十年间，反复钻研，故所作石鼓文凝练遒劲，风格独特。60岁后所书尤精，圆熟精悍。喜将石鼓文字集语书写对联。晚年以篆隶笔法作草书，笔势奔腾，苍劲雄浑，不拘成法。\n\n诗文:\n吴昌硕善作诗文，苦吟数十年，未尝间断。其诗文，奇崛古朴，用典较多，不甚通俗。但有些绝句纯用白描手法，活泼自然，接近口语，具有明丽俊逸的特点，风格上与民歌很相近。有些绝句则活泼自然，接近口语，时含有讽刺意味，抒发生活实感。所作题画诗寄托深远，颇有浪漫主义气息；评论前人书画，尤多独到见地。早年所作五古，有一部分含有讽刺意味，揭露了当时黑暗社会某些不平现象。他的散文作品写得不多，大都是序跋、考证和题画小品之类，写的都很朴质淳厚，平易近人。题画小品中尤多精心之作。发抒生活实感，鞭挞丑恶现象，颇能以少胜多；读时依稀与作者一灯相对，娓娓而谈，意味非常深长。",[23,24,29,132,59,62,36,7,88,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F751c4dca763d55c5f20268cdb50760d5.jpg",[45,75],79,{"id":534,"slug":535,"title":536,"dynasty":54,"author":285,"museum":129,"description":537,"tags":538,"thumbUrl":539,"material":91,"size":91,"collection":540,"collections":541,"showCount":542,"zanCount":11,"manualWeight":11,"mainColor":95},238322,"dong-gao-tang-hua-si-shou-zhou-dong-gao-238322","董诰唐花四首轴","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），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，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[24,29,202,132,59,61,62,36,7,32,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2caff1096bf7a8b9b6a2535c27b18a0c.jpg","书法精选",[540],78,{"id":544,"slug":545,"title":527,"dynasty":54,"author":128,"museum":129,"description":338,"tags":546,"thumbUrl":547,"material":307,"size":308,"collection":91,"collections":548,"showCount":549,"zanCount":232,"manualWeight":11,"mainColor":95},239513,"mu-dan-shui-xian-zhou-wu-chang-shuo-239513",[24,132,59,62,26,36,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F608e8a39a2d5b5e7b4c77db06de234c4.jpg",[],76,{"id":551,"slug":552,"title":553,"dynasty":269,"author":443,"museum":155,"description":554,"tags":555,"thumbUrl":557,"material":107,"size":558,"collection":452,"collections":559,"showCount":560,"zanCount":94,"manualWeight":11,"mainColor":49},290745,"mei-hua-shi-nv-zhou-yi-ming-290745","梅花仕女轴","此幅画作，梅花树下，一名身形窈窕的美人，正手持铜镜，专注地妆扮着自己。身侧，并点缀了奇石和水仙花。全画的情境，被塑造得无比恬静而优雅。\n美人额间所装饰的梅花形“花钿”，似乎是整张画中最引人注目的焦点。唐代徐坚的《初学记》曾记载，南朝宋武帝（420－422在位）的女儿寿阳公主，某一日，在含章殿屋檐下休息假寐时，刚好有朵梅花掉落到她的额头上。当公主醒来起身，这朵梅花居然还停留在额间。此情此景，被宫中的女眷们看见，均大表赞赏，甚至纷纷起而仿效，掀起一股“梅花妆”的流行风潮。",[24,132,59,61,447,448,556,32,7,87],"仕女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfc4a265b52f01bd880e3e8c0aac9848.jpg","131.4x63",[452],75,{"id":562,"slug":563,"title":564,"dynasty":18,"author":212,"museum":101,"description":565,"tags":566,"thumbUrl":567,"material":43,"size":568,"collection":91,"collections":569,"showCount":560,"zanCount":232,"manualWeight":11,"mainColor":95},214637,"hua-hui-ce-7-chen-chun-214637","花卉册-7","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。",[24,29,202,174,104,25,62,39,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3b2974bf4ec5459eccc42f92e9af5dc.jpg","纵28 厘米 横37.9 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× 993.6 cm",[45],72,{"id":592,"slug":593,"title":594,"dynasty":54,"author":128,"museum":129,"description":595,"tags":596,"thumbUrl":598,"material":91,"size":91,"collection":91,"collections":599,"showCount":600,"zanCount":11,"manualWeight":11,"mainColor":95},224216,"tian-zhu-shui-xian-zhou-wu-chang-shuo-224216","天竹水仙轴","《艺海集珍》是26年月1日文物出版社出版的图书，作者是刘麒子。\n本集所收中国近现代 作品一百六十余件，均来自私家收藏。\n值得强调的是，这些藏品的拥有者本人既是具备一定实力的书画篆刻家，又是活跃在 界的业余鉴赏家。\n本集收录了国内私家收藏的中国近现代著名书画家作品计一百六十余件，包括任伯年、蒲华、吴昌硕、黄宾虹、张大千、马一浮、吴湖帆、弘一、吴茀之、沙孟海、周昌谷、潘天寿、沈尹默、傅抱石、齐白石、江寒汀、程十发、黄胄、陆俨少、陆维钊、启功、朱屺瞻、陈佩秋、唐云等。\n竹石公鸡图轴 钟魁啖鬼图轴 人物故事图四屏 溪堂烟壑图轴 林泉野屋图轴 牡丹湖石图轴 博古菊花图轴 松庐山居图轴 岁朝清供图轴 黄菊寿石图轴 墨竹图轴 博古红梅图轴 行书文稿手卷 天竹水仙图轴 竹石图轴",[23,24,132,59,26,62,597,7,190,88],"天竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe34ea47443956a65404d4783bc4513f9.jpg",[],70,{"id":602,"slug":603,"title":604,"dynasty":54,"author":605,"museum":129,"description":606,"tags":607,"thumbUrl":608,"material":59,"size":91,"collection":45,"collections":609,"showCount":600,"zanCount":232,"manualWeight":11,"mainColor":95},220141,"ling-bo-shui-xian-tu-juan-ren-xun-220141","凌波水仙图卷","任薰","任薰（1835年—1893年），字舜琴，又字阜长，其父任椿，兄任熊都是画家。少丧父，从兄学画，青年时在宁波卖画为生，1868年与任颐去苏州，后寓居苏州、上海。任颐、任预均从其习画。人物与其兄同师陈洪绶，常用高古游丝、铁线、行云流水、兰叶几种描法。任薰治学严谨，在写生、临摹上均下了苦功夫。任薰兼工人物、花鸟、山水、肖像、仕女，画法博采众长，面貌多样，富有新意。 与顾文彬子顾承相友善，曾为设计怡园。1888年54岁时双目失明，后病卒于苏州。与任熊、任颐时称“三任”，合任预为“四任”，并为海上画派代表画家之一。",[23,202,24,29,494,28,61,59,62,7,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49729d30e7c1b1754794c5ec8a67dee3.jpg",[45],{"id":611,"slug":612,"title":613,"dynasty":54,"author":55,"museum":101,"description":614,"tags":615,"thumbUrl":616,"material":107,"size":617,"collection":91,"collections":618,"showCount":600,"zanCount":138,"manualWeight":11,"mainColor":95},219813,"hua-hui-shi-kai-10-yun-shou-ping-219813","花卉十开-10","此作用淡墨白描写就，笔致清灵秀雅。花头或昂或俯，瓣片勾勒细腻通透，如冰裁玉琢，自带绰约风姿，仿佛见凌波仙子悄然伫立。长叶以虚实线条写就，舒展如素带，前后层次分明，将水仙修长清劲的姿态尽显。\n\n笔底脱胎古法，以极简淡墨晕衬出花叶温润质感，未施丹青却自带清润仙气。题识与画面相映成趣，尽显文人雅致，寥寥数笔便定格水仙疏朗脱俗的神韵，观之如闻幽芳，将写生之趣与古意格调相融，尽显清逸出尘的意境。",[24,29,174,104,25,39,7,88],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F966f21bff6318b643128e01db81b0e85.jpg","20.4×29.2厘米",[],{"id":620,"slug":621,"title":389,"dynasty":18,"author":622,"museum":155,"description":623,"tags":624,"thumbUrl":627,"material":307,"size":628,"collection":91,"collections":629,"showCount":630,"zanCount":11,"manualWeight":11,"mainColor":95},290319,"sui-chao-tu-zhou-shang-xi-290319","商喜","明代宫廷绘画的历史，从明代建国伊始就已经开始，经过永乐、宣德、成化、弘治几朝，宫廷绘画达到了兴盛阶段，到嘉靖、万历以后，逐渐衰微。赵原、卓迪、周位、王仲玉等是初期院体画家的代表。宣德以后，宫廷画家不断增多，著名的有谢环、商喜、倪端、李在、石锐、周文靖等，他们的绘画，技艺全面，师法南宋“院体”，各有特点。",[202,24,29,132,62,59,61,32,405,7,625,87,88,626],"灵芝","岁朝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1aa42f9fe4334c91fc98ee028966eda.jpg","130.9x57.4",[],68,{"id":632,"slug":633,"title":634,"dynasty":54,"author":635,"museum":636,"description":637,"tags":638,"thumbUrl":641,"material":107,"size":642,"collection":45,"collections":643,"showCount":630,"zanCount":11,"manualWeight":11,"mainColor":49},220436,"bai-hua-cheng-rui-tu-li-fang-ying-220436","百花呈瑞图","李方膺","南京博物院","李方膺的这件作品一反他笔墨豪放，纵逸豪宕的风格，用笔、设色都较工整收敛，清新明快，秀丽雅致。从自题七言中推知此画也许是为长辈所作，所以画面祥和安逸，色调稳重。\n李方膺的作品纵横豪放、墨气淋漓，粗头乱服 ，不拘绳墨，意在青藤、白阳、竹憨之间。画梅以瘦硬见称，老干新枝 ，欹侧蟠曲。用间印有“梅花手段”，著名的题画梅诗有“不逢摧折不离奇”之句。还喜欢画狂风中的松竹。工书。能诗，后人辑有《梅花楼 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　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。",[23,132,59,25,772,62,32,773,7,87],"兼工带写","雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc2cab43d292040d46a761c14cf915d9.jpg","纵70.7厘米，横35厘米",[],{"id":778,"slug":779,"title":780,"dynasty":269,"author":781,"museum":129,"description":782,"tags":783,"thumbUrl":785,"material":307,"size":308,"collection":91,"collections":786,"showCount":787,"zanCount":232,"manualWeight":11,"mainColor":49},289966,"hu-lu-hua-ping-chen-lin-289966","葫芦花瓶","陈琳","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。",[23,24,202,132,61,59,62,134,39,7,784],"葫芦瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3986e6cdba5c8fe3cba11a642ea6fec6.jpg",[],47,{"id":789,"slug":790,"title":389,"dynasty":237,"author":791,"museum":155,"description":792,"tags":793,"thumbUrl":794,"material":307,"size":308,"collection":91,"collections":795,"showCount":796,"zanCount":11,"manualWeight":11,"mainColor":95},290311,"sui-chao-tu-zhou-zhao-chang-290311","赵昌","赵昌，生于970-1040年，字昌之，北宋画家，广汉剑南（今四川剑阁之南）人。工书法、绘画，擅画花果，多作折枝花，兼工草虫。初师滕昌祐，后来发展出自身画风，没骨花鸟自成一派，有徐熙、黄荃遗风。在北宋时期与宋徽宗赵佶齐名，是宋代花鸟画坛的杰出画家。",[202,24,29,132,61,59,62,36,7,87,30,88],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb52957ae581f17b47d34d35a52e539e8.jpg",[],46,{"id":798,"slug":799,"title":389,"dynasty":18,"author":800,"museum":129,"description":801,"tags":802,"thumbUrl":804,"material":307,"size":308,"collection":91,"collections":805,"showCount":796,"zanCount":232,"manualWeight":11,"mainColor":95},290307,"sui-chao-tu-zhou-bian-wen-jin-290307","边文进","边文进，字景昭，福建沙县人。诸画史皆谓为陇西（今甘肃）人。盖边姓旧出陇西，题款或署其故郡，遂至传讹。与吕纪齐名。\n永乐（一四○三至一四二四）间召至京师授武英殿待诏。至宣德（一四二六至一四三五）间仍供事内殿。为人夷旷洒落，善绘事，尤精于花鸟。花之娇藉，不但钩勒有笔，其用墨无不合宜。宋、元之后殆其人矣。有三友百泰图见故宫名画集。《图绘宝鉴续纂、沙县志、延平县志、明画录、无声诗史、四友斋丛说》。所画的翎毛与蒋子诚的人物、赵廉的虎，曾被称为“禁中三绝”。",[24,202,132,59,62,61,32,34,7,803,88,30],"青铜器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ab93eeb8b340c282d279f6ec88b49db.jpg",[],{"id":807,"slug":808,"title":809,"dynasty":54,"author":810,"museum":129,"description":811,"tags":812,"thumbUrl":813,"material":91,"size":91,"collection":91,"collections":814,"showCount":796,"zanCount":11,"manualWeight":11,"mainColor":95},239087,"si-ji-hua-hui-ping-zhang-xiong-239087","四季花卉屏","张熊","张熊(1803—1886)，又名张熊祥，字寿甫，亦作寿父，号子祥，晚号祥翁，别号鸳湖外史，鸳湖老人，鸳湖老者，鸳鸯湖外史，西厢客。别署清河伯子，髯参军。室名银藤花馆。秀水（今浙江嘉兴）人，张熊年青时代就移居上海，参加各种美术活动",[24,29,132,59,62,32,33,7,105,87,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ce344acb81c42a71b0d0c6bdde720fd.jpg",[],{"id":816,"slug":817,"title":818,"dynasty":18,"author":212,"museum":129,"description":819,"tags":820,"thumbUrl":823,"material":307,"size":308,"collection":91,"collections":824,"showCount":796,"zanCount":11,"manualWeight":11,"mainColor":95},235797,"zhu-shi-shui-xian-tu-shan-chen-chun-235797","竹石水仙图扇","陈淳（1483年—1544年），字道复，后以字行，更字复甫，号白阳，又号白阳山人，长洲（今江苏苏州）人，明代绘画大师。\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。",[24,29,821,25,62,33,822,7,88,26],"扇面","石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16dff079fbf4e388d791315f264fcf06.jpg",[],{"id":826,"slug":827,"title":828,"dynasty":54,"author":315,"museum":129,"description":829,"tags":830,"thumbUrl":831,"material":91,"size":91,"collection":91,"collections":832,"showCount":796,"zanCount":11,"manualWeight":11,"mainColor":95},224372,"hua-hui-qi-shi-ce-shi-er-kai-12-ju-lian-224372","花卉奇石册-十二开-12","此作用笔灵动兼具工致，奇石以淡墨皴擦晕染，瘦透古朴，孔洞藏幽，自带嶙峋古意。左侧水仙双钩填色，莹白花瓣勾勒细腻，嫩黄花心娇柔明媚，翠叶舒展回转，韵致清雅脱俗。右上角附石幽兰，青叶劲挺，素花轻绽，暗透幽香。\n\n整幅设色明丽秀雅，工写相融，没骨笔法鲜活生动，将花草清隽与湖石古拙相映成趣，尽显妍丽细腻的风韵，把案头清供的雅致意趣铺陈开来，淡逸娴静的文人雅韵漫溢绢素。",[23,24,29,174,59,61,62,7,87,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe76c2edb1768b60a8a2314d604f95911.jpg",[],{"id":834,"slug":835,"title":836,"dynasty":237,"author":837,"museum":155,"description":838,"tags":839,"thumbUrl":841,"material":43,"size":842,"collection":540,"collections":843,"showCount":796,"zanCount":138,"manualWeight":11,"mainColor":95},218872,"shu-yong-shui-xian-hua-shi-tie-chen-yu-yi-218872","书咏水仙花诗帖","陈与义","此卷有《咏水仙》一诗，希望有朋友为其作诗，《简氏集》也有收录，但文字上有出入。 在书法上，陈与义 书法清简，与其诗文相近，为本朝绍兴初期所独有，因此，曾被宋高宗下诏为 音释帖刊误。这幅作品的书法风格古拙，风格淡雅，韵味分明，意境悠远。",[29,30,31,840,88,7],"字帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66296fa179b324f97dc22acb0bab3d7a.jpg","32.1x41.3",[540],{"id":845,"slug":846,"title":847,"dynasty":54,"author":848,"museum":129,"description":849,"tags":850,"thumbUrl":851,"material":307,"size":308,"collection":91,"collections":852,"showCount":853,"zanCount":11,"manualWeight":11,"mainColor":95},290317,"hua-sui-chao-tu-zhou-jiang-ting-xi-290317","画岁朝图轴","蒋廷锡","蒋廷锡（1669年－1732年），字酉君、杨孙，号南沙、西谷，又号青桐居士，江苏常熟人，清朝康熙、雍正时期官员、画家、文献学家、藏书家。\n蒋廷锡为康熙四十二年（1703年）进士，授翰林编修。雍正帝即位后历任礼部侍郎、户部尚书等职。雍正六年（1728年）拜文华殿大学士，仍兼理户部事，并任《明史》总裁。次年（1729年）加太子太傅。累封一等阿达哈哈番。雍正十年（1732年）卒于任内，谥号“文肃”。\n蒋廷锡在官秉公抚政、剔除积弊，声誉甚著。为人博学精敏，尤善诗画。擅长花鸟，以逸笔写生，奇正率工，敷色晕墨，兼有一幅，能自然洽和，风神生动，得恽寿平韵味。点缀坡石，偶作兰竹，亦具雅致。曾画塞外花卉70种，被视为珍宝收藏于宫廷。今有《牡丹扇面》《岁岁久安图》《桃花鹦鹉图》《竹石图》轴及《花卉图》等传世。",[24,132,202,29,59,61,62,36,7,625,133,88],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0ccadc1ef0f0c75e51a73bcab26a1f7.jpg",[],45,{"id":855,"slug":856,"title":857,"dynasty":54,"author":768,"museum":583,"description":858,"tags":859,"thumbUrl":860,"material":587,"size":861,"collection":91,"collections":862,"showCount":853,"zanCount":11,"manualWeight":11,"mainColor":95},223239,"que-tu-ren-yi-223239","雀图","绘山石中古梅一株，梅枝粗壮遒劲，枝头梅花朵朵绽放；三只麻雀或立于枝头，或立于石块上，似被梅花的清新香气吸引；石块缝中水仙花儿绽放，叶绿繁茂，朵朵花儿白净素雅，给寒冷的冬天带来生机勃勃。",[23,24,29,132,59,62,32,7,87,519,26,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F719b5812cc696b603a81b715b4e36969.jpg","40x150厘米",[],{"id":864,"slug":865,"title":389,"dynasty":54,"author":848,"museum":129,"description":849,"tags":866,"thumbUrl":867,"material":307,"size":308,"collection":91,"collections":868,"showCount":869,"zanCount":11,"manualWeight":11,"mainColor":49},290318,"sui-chao-tu-zhou-jiang-ting-xi-290318",[202,24,132,59,61,62,34,32,7,625,39,30,88],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49b36f951d2dbef57185121b60fa59eb.jpg",[],44,{"id":871,"slug":872,"title":873,"dynasty":54,"author":874,"museum":129,"description":875,"tags":876,"thumbUrl":877,"material":307,"size":308,"collection":91,"collections":878,"showCount":869,"zanCount":11,"manualWeight":11,"mainColor":95},288454,"hua-hui-tu-ce-zhao-zhi-qian-288454","花卉图册","赵之谦","赵之谦（1829年8月8日－1884年11月18日），汉族，浙江会稽（今绍兴）人。初字益甫，号冷君；后改字撝（huī）叔，号悲庵、梅庵、无闷等。清代著名书画家、篆刻家，与吴昌硕、厉良玉并称“新浙派”的三位代表人物，与任伯年、吴昌硕并称“清末三大画家”。李志敏评价：“赵之谦学北碑自成一体。”\n赵之谦从青年时代起，就刻苦致力于经学、文字训诂和金石考据之学，取得了相当的成就。尤精书画、篆刻。赵之谦善于向前人和同时代各派名家学习，又不囿前人，勇于创新。在绘画上，他是“海上画派”的先驱人物，其以书、印入画所开创的“金石画风”，对近代写意花卉的发展产生了巨大影响；在书法上，他是清代碑学理论的最有力实践者，其魏碑体书风的形成，使得碑派技法体系进一步趋向完善，从而成为有清一代第一位在正、行、篆、隶诸体上真正全面学碑的典范；在篆刻上，他在前人的基础上广为取法，融会贯通，以“印外求印”的手段创造性地继承了邓石如以来“印从书出”的创作模式，开辟了一个前所未有的新境界。\n赵之谦的篆刻成就巨大，对后世影响深远。近代的吴昌硕、齐白石等画家都从他处受惠良多。著有《六朝别字记》《悲庵居士文存》等，又有篆刻《二金蝶堂印存》。",[23,24,29,174,59,62,7,625,289,30,88,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F264efa0c0138cb942593d7fd8f6558d0.jpg",[],{"id":880,"slug":881,"title":882,"dynasty":18,"author":883,"museum":129,"description":884,"tags":885,"thumbUrl":887,"material":307,"size":308,"collection":91,"collections":888,"showCount":869,"zanCount":11,"manualWeight":11,"mainColor":95},287750,"hua-hui-shi-kai-he-tu-xiang-sheng-mo-287750","花卉十开(合图)","项圣谟","项圣谟，初字逸，后字孔彰，号易庵，别号有胥山樵、存存居士、醉风人、大酉山人、莲塘居士、烟波钓徒、松涛散仙、逸叟、狂吟客、鸳湖钓叟、不夜楼中士等等，浙江嘉兴人。",[24,202,174,61,59,62,39,32,40,41,35,36,886,38,7,37],"石榴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7dc877eba84263d9e3018bb06e2fb25.jpg",[],{"id":890,"slug":891,"title":892,"dynasty":18,"author":390,"museum":769,"description":893,"tags":894,"thumbUrl":896,"material":25,"size":897,"collection":91,"collections":898,"showCount":899,"zanCount":232,"manualWeight":11,"mainColor":95},222174,"fang-zhao-meng-jian-shui-xian-tu-lu-zhi-222174","仿赵孟坚水仙图","本幅墨色更淡，已近白描，长卷中水仙花开，风姿绰约，细叶舒展，清新自然。技法上，以细线勾勒出每一个花叶，笔致细劲挺秀。陆治，字叔平，明代画家，工山水、花鸟，好诗词，善书法。",[23,24,29,28,104,25,895,7],"临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F155fe574b2ec859a2c1b8442ae497d02.jpg","36×1067.3cm",[],43,{"id":901,"slug":902,"title":903,"dynasty":269,"author":904,"museum":20,"description":905,"tags":906,"thumbUrl":907,"material":587,"size":908,"collection":45,"collections":909,"showCount":899,"zanCount":11,"manualWeight":11,"mainColor":95},221829,"shui-xian-tu-can-juan-wang-di-jian-221829","水仙图残卷","王迪简","王迪简[元]字庭吉，号蕺隐，新昌（今浙江新昌）人，南宋遗民（公元13世纪末），生卒年不详。，终生隐逸于浙江绍兴乐郊蕺山之阳，善画水仙，亦善山水。所绘水仙布局繁密，繁而不乱，花叶穿插、伸展、俯仰自如，层次分明，恣态生动，淡墨渲染，恬淡雅逸，画风与南宋赵孟坚相近",[23,24,29,28,104,7,88],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F277d45077ca97bfec784e17da06c3c1d.jpg","39X415",[45,219],{"id":911,"slug":912,"title":913,"dynasty":54,"author":914,"museum":129,"description":915,"tags":916,"thumbUrl":919,"material":91,"size":91,"collection":91,"collections":920,"showCount":921,"zanCount":11,"manualWeight":11,"mainColor":95},224347,"si-shi-hua-hui-si-qun-xian-ji-zhu-juan-wang-cheng-pei-224347","四时花卉（四）群仙集祝卷","汪承霈","此作以淡赭晕染沙汀坡岸，留白简淡衬出水仙清逸之姿。丛丛水仙错落排布，叶片以中锋运笔勾勒，青绿晕染尽显修长柔韧，舒展间带着挺劲生机。白瓣黄蕊的水仙或聚或散，花瓣勾勒细腻温婉，晕染柔和，将水仙冰肌玉骨的清雅气质尽显无遗。\n\n整体画面简淡空灵，以极简布景烘托出水仙孤高脱俗的品性，带着静穆清和的雅致意趣，将花卉柔美与清雅意境相融，笔致秀逸工丽，设色明洁淡雅，尽显雅致出尘的画中况味。",[23,24,61,59,28,39,7,917,918],"流水","山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F032bbeab1a7a452a4886295a486f862e.jpg",[],42,{"id":923,"slug":924,"title":925,"dynasty":54,"author":115,"museum":155,"description":415,"tags":926,"thumbUrl":927,"material":228,"size":928,"collection":91,"collections":929,"showCount":930,"zanCount":11,"manualWeight":11,"mainColor":95},287449,"chun-hua-san-zhong-tu-qian-wei-cheng-287449","春花三种图",[24,29,62,61,59,38,7,405,88],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fe3f57876cfbf2226aba3808e32cc62.jpg","260x101.4",[],40,{"id":932,"slug":933,"title":934,"dynasty":18,"author":935,"museum":20,"description":936,"tags":937,"thumbUrl":938,"material":939,"size":940,"collection":91,"collections":941,"showCount":930,"zanCount":11,"manualWeight":11,"mainColor":95},234851,"lan-zhu-shui-xian-tu-ma-shou-zhen-234851","兰竹水仙图","马守真","作者以娴熟的笔墨勾画出清风吹拂下兰、竹摇曳的形貌。兰、竹是妓女画家们最热衷描绘的题材。其因：第一，兰、竹与松、梅被历代文人赞美为画中的“四君子”，通过表现有君子风范的兰、竹 可以标示出画家自身的高洁情怀；第二，兰的清幽、竹的虚静均能映衬出妓女们的某种特殊心态；第三，也是最为关键的一点，即绘画为文人雅士与青楼女子交流的一项文化内容，兰、竹形象简单，创作时所需的时间较短，纵情涂抹三二枝便可形完气足，以助一时之兴。因此，在明代涌现出众多以擅绘兰、竹闻名的妓女画家，马守真是其中的佼佼者。马守真以画兰之精、之专而扬名江南，因此自号“湘兰”。\n马守真在兰、竹创作上不重视对兰、竹外在形态的细致刻画，而重在写出兰、竹的内涵精神，聊以抒发心中之逸气。因此，她从用笔、施墨到构图都极其随意，但内藏机巧，不失韵味。她笔下的具飘逸野趣的兰、竹不同于文俶等闺秀画家精工细描的庭院中的闲花静草，而与男性文人画家、尤其是“吴门画派”中文徵明等人的花卉艺术有更多相近之处，反映了妓女对男性文人画家的迎合及师承关系。",[24,29,25,26,40,33,7,87,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa023505e604a1f2ec2adedadc3d6df7b.jpg","纸本，墨笔","纵83.5厘米，横47.2厘米",[],{"id":943,"slug":944,"title":945,"dynasty":54,"author":946,"museum":129,"description":947,"tags":948,"thumbUrl":951,"material":91,"size":91,"collection":91,"collections":952,"showCount":953,"zanCount":11,"manualWeight":11,"mainColor":49},224188,"hua-niao-cao-chong-tu-ba-07-hua-yan-224188","花鸟草虫图八-07","华嵒","此作用淡墨晕染湖石，皴擦间尽显苍润空寂之态，以清劲白描勾勒水仙，线条秀挺舒展，将花瓣柔润、叶片修长的风姿尽数铺展，尽显水仙冰姿玉骨的清逸之态。左上角题以行书小诗，书画相融，文气盎然。\n\n整体笔墨简淡清隽，不着浓艳，却将水仙的幽绝尘姿诠释得淋漓尽致，淡墨湖石与素白水仙相映，营造出出尘空寂的氛围，尽显文人画独有的清雅意趣，笔简意足，韵致悠长。",[23,24,25,61,174,949,87,7,950],"皴法","杂草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b8e33e35df1057ef9012851ceb54ab5.jpg",[],39,{"id":955,"slug":956,"title":957,"dynasty":269,"author":958,"museum":155,"description":959,"tags":960,"thumbUrl":962,"material":472,"size":91,"collection":45,"collections":963,"showCount":953,"zanCount":232,"manualWeight":11,"mainColor":95},218744,"shuang-gou-shui-xian-tu-zhao-meng-fu-218744","双钩水仙图","赵孟頫","素笺之上，水仙疏影悄然铺展。双钩线条如缕金萦玉，勾勒花叶轮廓——叶片修长劲挺，似含墨韵风骨；花瓣轻绽，脉络细劲，若凝霜雪之姿。墨色层次隐现，花叶间留白透气，衬得水仙清逸出尘。\n\n线条自带书法意趣，转折处见笔力，既摹物象之真，又抒文人雅怀。无浓艳设色，却以极简之笔，写尽“凌波仙子”的冰洁灵秀。淡墨浅痕里，仿佛有暗香浮动，于简静中藏生机，素朴中见雅致，尽显传统文人画的审美韵致，令人心驰神往。",[23,24,29,104,961,25,62,7],"双钩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec3a0cd86b20ca5480736257072df823.jpg",[45],{"id":965,"slug":966,"title":967,"dynasty":54,"author":128,"museum":129,"description":338,"tags":968,"thumbUrl":971,"material":307,"size":308,"collection":91,"collections":972,"showCount":973,"zanCount":232,"manualWeight":11,"mainColor":95},289901,"song-bai-tu-tu-li-zhou-wu-chang-shuo-289901","松柏图图立轴",[23,24,132,59,25,62,29,969,7,970,717,88],"怪石","枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe56dfc2b40298c3e1ad369a191abc33c.jpg",[],38,{"id":975,"slug":976,"title":977,"dynasty":237,"author":480,"museum":129,"description":978,"tags":979,"thumbUrl":980,"material":307,"size":308,"collection":91,"collections":981,"showCount":973,"zanCount":11,"manualWeight":11,"mainColor":49},287887,"la-mei-shan-qin-tu-tiao-se-ban-zhao-ji-287887","腊梅山禽图（调色版）","宋徽宗赵佶（1082年11月2日-1135年6月4日）[6]，号宣和主人，宋朝第八位皇帝（1100年2月23日-1126年1月18日在位），书画家。宋神宗第十一子、宋哲宗之弟。先后被封为遂宁王、端王。哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”，并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[202,24,29,62,61,59,32,7,519,30,88],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74d0d2f2961bf6332e47e7b9d54b4b3d.jpg",[],{"id":983,"slug":984,"title":985,"dynasty":269,"author":986,"museum":129,"description":987,"tags":988,"thumbUrl":989,"material":587,"size":990,"collection":45,"collections":991,"showCount":973,"zanCount":11,"manualWeight":11,"mainColor":95},221722,"san-hua-tu-juan-zhao-zhong-221722","三花图卷","赵衷","赵衷，元代画家。生卒年不详，主要活动于元至正年间。字原初，号东吴野人，嘉兴（今浙江嘉兴）人，一作吴江（今江苏吴江）人。世本业医，能篆、隶，善画白描人物。山水、花卉，无所不能，有白描兰亭图。至正元年（一三四一）作墨花图。《书史会要、石渠宝笈、唐五代宋元名画选》",[23,24,29,28,104,25,62,36,7,63,30,88],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250f7b82e15859ba7790be28f7ad50c3.jpg","30x50.1cm",[45,219],{"id":993,"slug":994,"title":995,"dynasty":18,"author":390,"museum":996,"description":391,"tags":997,"thumbUrl":999,"material":472,"size":1000,"collection":91,"collections":1001,"showCount":1002,"zanCount":11,"manualWeight":11,"mainColor":95},231942,"shui-xian-mei-shi-tu-lu-zhi-231942","水仙梅石图","美国克利夫兰艺术博物馆",[23,202,24,29,174,25,59,949,7,32,87,998,970],"明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5587bc15a5e71aa8fa86fc5985d68c8b.jpg","58×44cm",[],37,{"id":1004,"slug":1005,"title":1006,"dynasty":18,"author":1007,"museum":129,"description":1008,"tags":1009,"thumbUrl":1010,"material":587,"size":91,"collection":45,"collections":1011,"showCount":1012,"zanCount":11,"manualWeight":11,"mainColor":49},237370,"sun-di-zhu-shi-shui-xian-zhou-sun-di-237370","孙杕竹石水仙轴","孙杕","孙杕(清)字子周，一字漫士，号竹痴，钱塘(今杭州)人。与陈洪绶同时。用笔遒劲，画写生花鸟直逼黄筌、赵昌，尤精钩勤飞白竹石。兼工分、隶、竹、草。李告辰本西厢记中陈洪绶所画莺莺像后，有所画仿离图、竹图。天启二年(一六二二)曾作海棠图赠吴令，蓝田叔题之。顺治八年(一六五一)作梅花册(明画隶、图绘宝鉴续纂、中国版画史图录、清画家诗史)",[24,132,25,61,949,33,822,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dd100e03927364d1cd72ca46bb6e8ee.jpg",[45],36,{"id":1014,"slug":1015,"title":1016,"dynasty":54,"author":128,"museum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[2] 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,29,132,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff79067443b6ab251baaf4620b222a9e8.jpg",[45],34,{"id":1031,"slug":1032,"title":1033,"dynasty":54,"author":1034,"museum":129,"description":1035,"tags":1036,"thumbUrl":1037,"material":307,"size":308,"collection":91,"collections":1038,"showCount":1039,"zanCount":11,"manualWeight":11,"mainColor":95},235506,"za-hua-ce-zhu-da-235506","杂画册","朱耷","朱耷（1626年—约1705年），原名朱统𨨗，字刃庵，号八大山人、雪个、个山、人屋、道朗等，出家时释名传綮，汉族，江西南昌人 。明末清初画家，中国画一代宗师。",[24,29,174,25,7,88],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd35aa4bd3e30e431fdcc63c5911fed21.jpg",[],32,{"id":1041,"slug":1042,"title":1043,"dynasty":237,"author":443,"museum":129,"description":1044,"tags":1045,"thumbUrl":1047,"material":307,"size":308,"collection":91,"collections":1048,"showCount":1049,"zanCount":11,"manualWeight":11,"mainColor":49},290288,"ke-si-hua-niao-zhou-yi-ming-290288","缂丝花鸟轴","缂（kè，同：刻）丝（英文：K’o-ssu 、Kesi 或 Chinese silk tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[24,29,132,1046,59,62,519,32,7,289],"缂丝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd9eaed6bd4fb75bfc64e743a948bfe8.jpg",[],31,{"id":1051,"slug":1052,"title":1053,"dynasty":18,"author":100,"museum":996,"description":1054,"tags":1055,"thumbUrl":1056,"material":174,"size":91,"collection":91,"collections":1057,"showCount":1049,"zanCount":232,"manualWeight":11,"mainColor":95},221912,"hua-niao-jing-pin-ce-9-chen-hong-shou-221912","花鸟精品册9","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。",[24,202,59,61,174,62,87,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffbe640c04e62e628fad5e50518bd9eb.jpg",[],{"id":1059,"slug":1060,"title":1061,"dynasty":237,"author":300,"museum":129,"description":301,"tags":1062,"thumbUrl":1065,"material":307,"size":308,"collection":91,"collections":1066,"showCount":1067,"zanCount":138,"manualWeight":11,"mainColor":49},288993,"you-gou-tu-mao-yi-288993","游狗图",[821,24,202,29,61,59,1063,1064,7,87],"狗","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd85b8776c16d30a84a7a6ea411f52685.jpg",[],30,{"id":1069,"slug":1070,"title":1071,"dynasty":237,"author":582,"museum":129,"description":1072,"tags":1073,"thumbUrl":1074,"material":91,"size":91,"collection":91,"collections":1075,"showCount":1067,"zanCount":11,"manualWeight":11,"mainColor":95},227699,"shui-xian-juan-zhao-meng-jian-227699","水仙卷","本幅画水仙四十余株，花苞花蕊百八十余朵。全卷结构严谨，花叶繁简得宜，繁而不乱，疏密有致，或花蕊盛开，或含苞待放；花叶组合、穿插映带，阴阳相背，抵昂顾盼，层次分明，画面处理得有条不紊而生意盎然，墨色的浓淡深浅都掌握得恰到好处，既合于水仙的自然生长状态，又高于自然，清雅绝俗。可以看出此图作者扎实非凡的写实功力。此图土坡采取“飞白石”画法，用笔轻拂，笔墨十分虚灵，与他的两幅墨兰卷土坡画法极为相近；其丛丛小草采用中锋浓墨写出，笔法劲利，沈稳而富于变化，凡此种颇有宋元人淡雅蕴藉、气韵淳古的风致，诚为一幅难得的佳作，绝非一般庸工俗史所能及。此卷比起以前所见诸卷赵款水仙画都要精彩得多，故陈鹏年在后幅题记中写道：此卷“长寻丈有奇，花凡数十百本，姿态百出，生动变化，自非功力精到不能有此，几案间足令寒香袭人衣袂也”。",[202,24,29,28,104,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79c28b3132251b00b97bb0370e0a7c06.jpg",[],{"id":1077,"slug":1078,"title":1079,"dynasty":54,"author":1080,"museum":129,"description":1081,"tags":1082,"thumbUrl":1083,"material":307,"size":308,"collection":91,"collections":1084,"showCount":1085,"zanCount":11,"manualWeight":11,"mainColor":95},239448,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239448","邹一桂花鸟草虫图册","邹一桂","邹一桂（1688-1772），清代画家。字元褒，号小山、二知、让卿、乡森子，江苏无锡人。雍正五年(1727)进士，官至礼部侍郎。擅工笔花卉。尝作《百花》卷，各系一诗。传世作品有《白梅山茶图》、《太古云岚图》、《水仙红梅图》等。",[202,24,29,174,61,59,7,88],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0105ff045dc6a068152ce6f9fd188750.jpg",[],29,{"id":1087,"slug":1088,"title":581,"dynasty":237,"author":582,"museum":129,"description":1072,"tags":1089,"thumbUrl":1090,"material":91,"size":91,"collection":91,"collections":1091,"showCount":1085,"zanCount":11,"manualWeight":11,"mainColor":95},227700,"shui-xian-tu-zhao-meng-jian-227700",[23,24,29,28,104,25,59,30,31,88,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdff0e9ff39b8a658d8889d784b15fb6f.jpg",[],{"id":1093,"slug":1094,"title":1095,"dynasty":18,"author":1096,"museum":20,"description":1097,"tags":1098,"thumbUrl":1116,"material":1117,"size":1118,"collection":540,"collections":1119,"showCount":1120,"zanCount":11,"manualWeight":11,"mainColor":95},222354,"zi-shu-ci-juan-tang-yin-222354","自书词卷","唐寅","此为唐寅所作词并自书，分《集贤宾》、《锦衣公子》、《山坡羊》三组曲牌，共24首。 唐寅博学多能，吟诗作曲，能书善画。他的传世绘画较多，书法甚少。其书以行楷见长，学赵孟頫并参以李北海笔意，笔画婉转流畅，风格俊秀潇洒。此书结构严谨，圆转遒丽，丰润优雅，形成了劲骨于内、美形于外、缜密流便的独特风格，词、书并美，堪称珠联璧合，从中可欣赏到往昔“江南第一风流才子”的儒雅韵致及其纯熟的书法功力。",[23,1099,30,31,28,25,88,998,1100,918,1101,1102,917,1103,519,1104,1105,32,40,33,41,35,36,38,7,243,1106,1107,1108,1109,1110,1111,1112,1113,1114,1115],"明代","夕阳","孤舟","小桥","亭","枯藤","老树","风","雨","雪","云","日","夜","春","夏","秋","冬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47d4bbb43b2575078730ba53af232464.jpg","纸本，行书","纵23.3厘米，横551.3厘米",[540],28,{"id":1122,"slug":1123,"title":389,"dynasty":54,"author":1124,"museum":129,"description":1125,"tags":1126,"thumbUrl":1127,"material":307,"size":308,"collection":91,"collections":1128,"showCount":1129,"zanCount":11,"manualWeight":11,"mainColor":95},290308,"sui-chao-tu-zhou-wang-hui-290308","王翚","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[24,132,62,59,61,34,405,7,30,88],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0c681822943ef6327300301fb70ad7d.jpg",[],27,{"id":1131,"slug":1132,"title":1133,"dynasty":54,"author":1134,"museum":101,"description":1135,"tags":1136,"thumbUrl":1138,"material":91,"size":91,"collection":91,"collections":1139,"showCount":1129,"zanCount":232,"manualWeight":11,"mainColor":1140},201821,"sui-chao-guan-shang-tu-zhou-xi-pu-201821","岁朝观赏图轴","席璞","这幅画以岁朝清供为主题，构图疏密有致，器物与花果相映成趣。蓝釉花瓶莹润沉静，插枝缀红挂白；方盆牡丹雍容舒展，旁伴水仙清雅吐芳。鲜果饱满诱人，彩胜纹饰精巧繁复。工笔细描尽显细节之妙，设色温润雅致，线条流畅精准，将器物质感与花果鲜活刻画得淋漓尽致，传递出新春时节的祥和喜庆与文人雅趣。",[61,59,36,7,134,62,132,1137],"立","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d2268e49b766f982e3d2150600d07ad.jpg",[],"aca188",{"id":1142,"slug":1143,"title":1144,"dynasty":269,"author":986,"museum":129,"description":1145,"tags":1146,"thumbUrl":1147,"material":91,"size":91,"collection":91,"collections":1148,"showCount":1149,"zanCount":11,"manualWeight":11,"mainColor":95},228257,"mo-hua-tu-juan-chang-juan-zhao-zhong-228257","墨花图卷长卷","此作用淡墨白描写就，分绘三种花卉，以清隽挺秀的笔线勾勒花叶轮廓，淡墨晕染出阴阳向背，不施丹青却尽现花卉娇柔雅致之态。芍药秾而不俗，水仙清逸出尘，玉簪幽淡含露，墨色清润柔和，将草木风姿描摹入微。\n\n三段皆配题诗，诗画相映，书卷气浓厚，以墨代色，以意写形，把文人幽淡的情思寄寓在一花一叶间，尽显简淡雅致的审美意趣，是水墨花鸟小品中的佳构。",[23,202,24,29,28,104,25,61,62,36,7,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83039bd32439ba7bcc1e7f007efb14a8.jpg",[],26,{"id":1151,"slug":1152,"title":1153,"dynasty":54,"author":1154,"museum":129,"description":1155,"tags":1156,"thumbUrl":1157,"material":307,"size":308,"collection":91,"collections":1158,"showCount":1159,"zanCount":11,"manualWeight":11,"mainColor":95},290476,"shi-hua-ce-luo-pin-290476","诗画册","罗聘","罗聘（1733-1799），清代画家，“扬州八怪”之一。字遯夫，号两峰，又号衣云、花之寺僧、金牛山人、师莲老人等。祖籍安徽歙县，其先辈迁居扬州。为金农入室弟子，布衣，好游历。\n人物、佛像、山水、花果、梅、兰、竹等，无所不工，笔调奇创，超逸不群，别具一格。善画《鬼趣图》，画鬼态无不极尽其妙，借以讽世。亦善刻印。金农死后，他搜罗遗稿，出资刻版，使金农的著作得以传于后世。其妻方婉仪，字白莲，亦擅画梅兰竹石，并工于诗。子允绍、允缵，均善画梅，人称“罗家梅派”。\n《清史稿》称罗聘“画无不工”。",[23,24,174,25,29,7,62,30,88],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F176eb672687f80dc471eed472e7a99b2.jpg",[],25,{"id":1161,"slug":1162,"title":1163,"dynasty":237,"author":480,"museum":129,"description":1164,"tags":1165,"thumbUrl":1167,"material":307,"size":308,"collection":91,"collections":1168,"showCount":1159,"zanCount":11,"manualWeight":11,"mainColor":49},288547,"la-mei-shan-qin-tu-zhao-ji-288547","腊梅山禽图","《腊梅山禽图》其绘有一株劲秀挺拔的腊梅；几朵绽放的梅花，枝头上还蜷缩着两只依偎在一起的白头翁，一只鸟扭首顾望枝上的梅花，另一只缩颈微昂首前望，俱皆生动传神。\n画家笔墨细致。兰草、梅树、花朵的轮廓，都用工细线条勾勒，枝干的质感用干墨渲染皴擦，花朵则施以明艳的黄色，是典型的院体工笔。但是疏朗的梅枝，分明有着文人画的韵味。",[24,62,61,32,7,519,30,1166,88,59],"楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F968f64653325930c3b4a31126621e82a.jpg",[],{"id":1170,"slug":1171,"title":1172,"dynasty":54,"author":285,"museum":129,"description":1173,"tags":1174,"thumbUrl":1175,"material":307,"size":308,"collection":91,"collections":1176,"showCount":1177,"zanCount":232,"manualWeight":11,"mainColor":95},238345,"si-ji-hua-hui-ce-dong-gao-238345","四季花卉册","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），首席军机大臣，上书房总师傅，钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，赠太傅，赐谥号文恭，入祀贤良祠。嘉庆亲写哀诗“只有文章传子侄，绝无货币置田庄”，并亲自拨款建立“董公祠”。",[202,24,29,174,59,61,62,32,7,405,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb85523bf3726f7a4ed894b588219e090.jpg",[],24,{"id":1179,"slug":1180,"title":1181,"dynasty":18,"author":1182,"museum":129,"description":1183,"tags":1184,"thumbUrl":1185,"material":1186,"size":91,"collection":91,"collections":1187,"showCount":1188,"zanCount":11,"manualWeight":11,"mainColor":95},234246,"hua-hui-tu-juan-chen-gua-234246","花卉图卷","陈栝","陈栝（生卒年未详），约活动于公元16世纪，字子正，号沱江，江苏苏州人。陈栝是 陈淳的儿子。善画花卉，笔似其父。嗜酒放浪。画擅花鸟，继其有法，而又出己意，笔致放浪而有生趣，亦能诗。先其父而亡。自元代文人画创立以写法入画以来，明代徐渭、陈道复更在花鸟中将笔迹放纵的写意画法又向前推进一步，而道复之子陈栝则更在其父基础上，将这种不拘于象的写法又发挥至极致，其勾点皴擦，随心所欲， 绝出尘象之外。",[23,24,29,28,25,104,62,32,40,33,41,36,7,37,38,87,88,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F824a49108093b390bf2a18fe74a97e32.jpg","纸本，水墨",[],22,{"id":1190,"slug":1191,"title":1192,"dynasty":237,"author":1193,"museum":129,"description":1194,"tags":1195,"thumbUrl":1196,"material":307,"size":308,"collection":91,"collections":1197,"showCount":1198,"zanCount":11,"manualWeight":11,"mainColor":95},288936,"chun-guang-xian-dao-tu-wang-you-288936","春光先到图","王友","米芾在画史中提到：“赵昌、王友、镡黉辈，得之可遮壁，无不为少。”",[24,202,821,62,61,104,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbb5ed83558fea61ce7df0f388fb6ba6.jpg",[],21,{"id":1200,"slug":1201,"title":1202,"dynasty":54,"author":443,"museum":129,"description":1203,"tags":1204,"thumbUrl":1217,"material":307,"size":308,"collection":91,"collections":1218,"showCount":1219,"zanCount":11,"manualWeight":11,"mainColor":49},229787,"yu-hai-tang-shi-shui-xian-pen-jing-yi-ming-229787","玉海棠式水仙盆景","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。",[494,1205,1206,1207,1208,7,1209,1210,759,1211,1212,1213,1214,1215,1216],"玉石","珐琅器","金器","雕刻","海棠形","蜻蜓","工艺摆件","珐琅工艺","金属工艺","玉质","珐琅饰","金饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52c932b6a8ad60fdb74d5157e29621b6.jpg",[],20,{"id":1221,"slug":1222,"title":1223,"dynasty":18,"author":100,"museum":1224,"description":1225,"tags":1226,"thumbUrl":1229,"material":107,"size":1230,"collection":91,"collections":1231,"showCount":1219,"zanCount":11,"manualWeight":11,"mainColor":95},220220,"hua-niao-cao-chong-xie-sheng-ce-gu-huai-shuang-qi-chen-hong-shou-220220","花鸟草虫写生册-古槐双栖","私人收藏","陈洪绶的绘画，尤其是他以之驰誉艺坛的双勾设色花鸟画，其特点有三，一是造型的古拙，二是色彩的古艳，三是线条的寓迟涩于劲挺，既厚重且圆润。",[23,202,24,29,174,59,61,1227,105,1228,7,190,39,62],"古槐","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa01e695edfc2fd300f23a10ec0be2930.jpg","21.5×16cm",[],{"id":1233,"slug":1234,"title":1235,"dynasty":54,"author":1236,"museum":1224,"description":1237,"tags":1238,"thumbUrl":1239,"material":1240,"size":1241,"collection":91,"collections":1242,"showCount":1219,"zanCount":11,"manualWeight":11,"mainColor":95},216326,"jin-nong-ba-kai-hua-niao-tu-8-jin-nong-216326","金农八开花鸟图-8","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。",[23,24,29,174,104,25,62,7,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7a63b75c2d41289d0079a86a9b8608a.jpg","绢本,水墨","30.5x40.9cm",[],{"id":1244,"slug":1245,"title":1246,"dynasty":54,"author":1236,"museum":101,"description":1247,"tags":1248,"thumbUrl":1249,"material":91,"size":91,"collection":45,"collections":1250,"showCount":1219,"zanCount":11,"manualWeight":11,"mainColor":1251},203067,"hua-guo-ce-jin-nong-203067","花果册","墨笔点染间，水仙叶片舒展如带，花姿清逸，淡墨勾瓣衬细蕊，尽显冰肌玉骨之态；荷花以水墨写叶，浓淡相济见苍劲，淡粉晕染花瓣，柔媚与朴拙相映成趣。题字笔致古拙，朱印点缀，诗书画印相融，满溢文人雅韵。画面简而不空，拙中藏巧，质朴里见灵动，尽展清寂出尘的风骨。",[24,25,59,62,7,64,88,174,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4199190901ecf68e505cf3c89be7d5d1.jpg",[45],"d7d1c0",{"id":1253,"slug":1254,"title":1255,"dynasty":18,"author":1256,"museum":129,"description":1257,"tags":1258,"thumbUrl":1259,"material":307,"size":308,"collection":91,"collections":1260,"showCount":1261,"zanCount":11,"manualWeight":11,"mainColor":95},287864,"shu-hua-tu-li-zhou-chen-dao-fu-287864","书画图立轴","陈道复","陈淳（1483年—1544年），字道复，后以字行，更字复甫，号白阳，又号白阳山人，长洲（今江苏苏州）人，明代绘画大师。",[23,24,29,132,31,25,59,62,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f7d39ca26d641837ebf65ad0c93d700.jpg",[],19,{"id":1263,"slug":1264,"title":1265,"dynasty":18,"author":100,"museum":129,"description":1266,"tags":1267,"thumbUrl":1268,"material":307,"size":308,"collection":91,"collections":1269,"showCount":1261,"zanCount":11,"manualWeight":11,"mainColor":95},235202,"shui-xian-zhu-shi-tu-shan-ye-chen-hong-shou-235202","水仙竹石图扇页","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[24,821,25,33,822,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c4f41d3672c78ad2544b49a1265624d.jpg",[],{"id":1271,"slug":1272,"title":1273,"dynasty":18,"author":1182,"museum":129,"description":1183,"tags":1274,"thumbUrl":1276,"material":1186,"size":91,"collection":91,"collections":1277,"showCount":1261,"zanCount":11,"manualWeight":11,"mainColor":95},234247,"mo-hua-jiu-zhong-juan-chen-gua-234247","墨花九种卷",[23,24,29,28,25,62,26,88,36,64,68,37,65,7,66,276,1275],"菊花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc52c46bc4e3b4ca5a9f77865bc6868ab.jpg",[],{"id":1279,"slug":1280,"title":380,"dynasty":18,"author":1281,"museum":129,"description":1282,"tags":1283,"thumbUrl":1284,"material":307,"size":308,"collection":91,"collections":1285,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":95},235737,"hua-niao-ce-tan-zhi-yi-235737","谈志伊","谈志伊，字公望，号学山，一字思重，无锡人，明代画家。",[24,59,25,61,87,7,1228,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe201c1615d8b0c90e521f26da6376f24.jpg",[],{"id":1287,"slug":1288,"title":1289,"dynasty":18,"author":1290,"museum":129,"description":1291,"tags":1292,"thumbUrl":1293,"material":307,"size":308,"collection":91,"collections":1294,"showCount":1295,"zanCount":11,"manualWeight":11,"mainColor":95},237812,"shui-xian-shan-sun-ke-hong-237812","水仙扇","孙克弘","明书画家、藏书家。一作克宏，字允执，号雪居，松江（今属上海市）人。礼部尚书孙承恩子。以荫授应天治中，官至汉阳知府。生性巧慧，声音洪亮，状貌疏野。所居四壁皆画苍松老柏，崩浪流泉，有一种澄泓萧瑟之意萦绕其间。他喜交友，陈继儒谓其“好客之癖，闻于江东，履綦如云，谈笑生风，坐上酒尊，老而不空”。卒年八十（一作七十九）。",[24,29,821,25,104,62,7,88],"https:\u002F\u002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艳而不俗的风格。袁江的楼阁界画，更是继承了唐李思训父子，宋赵伯驹兄弟和郭熙以来界画的传统以及元代王振鹏等楼阁画用笔严谨．精雕细刻的画风，并加以发扬光大。",[24,29,202,28,59,25,61,62,718,1355,64,36,65,37,7,63,32,40,33,41,176,39,407,88],"西瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18aa0380b6630459be1fef1dc09c8650.jpg",[],{"id":1359,"slug":1360,"title":1361,"dynasty":237,"author":443,"museum":20,"description":1362,"tags":1363,"thumbUrl":1364,"material":1365,"size":1366,"collection":91,"collections":1367,"showCount":1338,"zanCount":11,"manualWeight":11,"mainColor":49},234006,"shui-xian-tu-ye-yi-ming-234006","水仙图页","水仙（Narcissus tazettaL. var. chinensis Roem. 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色莹润鲜活，仿佛将秋日枝头的生机凝于屏上。下方厚玉雕琢的灵芝朴拙古雅，旁侧幽兰舒卷柔婉，白花点缀似凝露初绽，细枝小叶错落排布，生机暗藏。整作将玉石天然肌理与匠师巧思相融，工细雅致，尽显中式清赏的温婉隽逸，是清代嵌饰工艺中颇具意趣的佳品。",[1495,1496,1205,1497,39,625,7,62],"挂屏","木质","镶嵌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cb82522efe49e51f1074058a8589289.jpg",[],{"id":1501,"slug":1502,"title":1503,"dynasty":54,"author":443,"museum":129,"description":1504,"tags":1505,"thumbUrl":1509,"material":307,"size":308,"collection":91,"collections":1510,"showCount":149,"zanCount":11,"manualWeight":11,"mainColor":95},270178,"hong-se-chou-tie-rong-hua-hui-tu-mian-jin-qi-bing-tuan-shan-yi-ming-270178","红色绸贴绒花卉图面金漆柄团扇","这把团扇朱红地子温润沉敛，贴绒花饰鲜活灵动。幽兰舒叶展姿，自带空谷清寂之态，水仙冰瓣轻绽，似携凌波暗香，月季秾艳娇柔，将清雅与明媚相融无间。\n\n扇骨金漆錾纹细腻精巧，如意形饰片绘缠枝小花，晕色柔婉复古，柄身纹饰雅致，尾缀流苏柔滑垂曳，凭添灵动意趣。\n\n整器以贴绒工艺晕染花容，髹漆装饰尽显华贵，配色浓淡相宜，将闺阁柔婉意趣与精湛工艺相融，藏着东方雅致美学的脉脉余韵。",[821,134,673,1506,40,7,36,1507,1508],"贴绒","金漆","琺瑯器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dd6c0a4bdc59b63256cb04f4972795f.jpg",[],{"id":1512,"slug":1513,"title":1514,"dynasty":54,"author":443,"museum":129,"description":1515,"tags":1516,"thumbUrl":1518,"material":307,"size":308,"collection":91,"collections":1519,"showCount":149,"zanCount":232,"manualWeight":11,"mainColor":1520},264408,"yue-bai-se-chou-xiu-qian-cai-shui-xian-teng-luo-wen-chang-yi-liao-yi-ming-264408","月白色绸绣浅彩水仙藤萝纹氅衣料","绸缎，泛指丝织物。古时多是有钱人家作为衣物，其颜色光滑亮丽，五彩缤纷。《儿女英雄传》第二回：“大凡到工的官儿们送礼，谁不是缂绣、呢羽、绸缎、皮张，还有玉玩、金器、朝珠、洋表的？” 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lor":95},266377,"pin-yue-se-duan-ping-jin-yin-xiu-shui-xian-tuan-shou-zi-wen-dan-chang-yi-yi-ming-266377","品月色缎平金银绣水仙团寿字纹单氅衣",[672,673,2090,7,2091,705],"平金银绣","团寿字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9b0916f928f3f7b4b29595e140093e4.jpg",[],{"id":2095,"slug":2096,"title":2097,"dynasty":54,"author":443,"museum":129,"description":1415,"tags":2098,"thumbUrl":2101,"material":307,"size":308,"collection":91,"collections":2102,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":95},266236,"ming-huang-se-duan-xiu-shui-xian-die-wen-mian-chen-yi-yi-ming-266236","明黄色缎绣水仙蝶纹棉衬衣",[672,673,7,2099,705,2100],"蝶","明黄色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8db35963f6c9379f2bb165195f3f8535.jpg",[],{"id":2104,"slug":2105,"title":2106,"dynasty":54,"author":443,"museum":129,"description":2107,"tags":2108,"thumbUrl":2112,"material":307,"size":308,"collection":91,"collections":2113,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":709},263808,"cha-se-shui-xian-ru-yi-wen-zhou-chou-yi-ming-263808","茶色水仙如意纹绉绸","如意为木胎，其上采用八成金质累丝工艺。如意头的正面为累丝古钱纹，中心嵌绿松石“乙酉”二字，背面为镂空的古钱纹并露出木胎。柄的正面亦为累丝古钱纹，镶嵌绿松石“万年如意”四字，背面为累丝六角锦纹。如意的侧边以卷草纹为饰。",[673,2109,7,2110,2111],"茶色","如意纹","绉绸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f296e64948df956a193df1408c82df3.jpg",[],{"id":2115,"slug":2116,"title":2117,"dynasty":54,"author":443,"museum":129,"description":2118,"tags":2119,"thumbUrl":2121,"material":307,"size":308,"collection":91,"collections":2122,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":95},261212,"fen-cai-zhe-zhi-hua-hui-wen-guan-yi-ming-261212","粉彩折枝花卉纹罐","釉色莹白如凝脂，匀净温润。罐身以粉彩铺陈折枝群芳：朱砂牡丹盛放，瓣边晕染出自然浓淡，雍容灼灼；柔紫豆花含露娇柔，嫩黄迎春缀于枯劲枝桠，幽兰舒叶吐蕊清雅动人。枝蔓勾勒细腻遒劲，花叶青绿深浅过渡柔和，如将春日庭间折取的鲜活花枝凝于瓷上。\n\n彩料鲜妍却不艳俗，与素白胎体相映尽显雅致清丽的东方气韵，将工笔写生的意趣融于瓷绘，把春日生机藏在瓷间，尽显温婉灵动的瓷绘妙趣。",[719,1778,2120,1787,36,7,62,59],"罐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f6f5f00df03f7261249e5c2b5cd9be4.jpg",[],{"id":2124,"slug":2125,"title":2126,"dynasty":54,"author":443,"museum":129,"description":2127,"tags":2128,"thumbUrl":2130,"material":307,"size":308,"collection":2131,"collections":2132,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":49},258616,"qian-long-kuan-yao-bian-you-shui-xian-hua-pen-yi-ming-258616","乾隆款窑变釉水仙花盆","烧造瓷器，凡在开窑后发现不是预期的形状或釉色，以至于传世瓷器有时发生特异的情况者，都可说是“窑变”。《稗史汇编》说：“瓷有同是一质，遂成异质，同是一色，遂成异色者，水土所合，非人力之巧所能加，是之谓窑变。”总而言之，窑变大致可分为变形、变色、变质等数种。\n窑变釉，顾名思义，是器物在烧成过程中出现了意想不到的釉色效果。由于窑中含有多种呈色元素，经氧化或还原作用，瓷器在出窑后可能呈现出意外的釉色效果。因由窑变釉出现出于偶然，形态特别，人们又不知其原理，只知于窑内焙烧过程变化而得，故称之为“窑变釉”，俗语有“窑变无双”，就是指窑变釉的变化莫测，独一无二。",[54,2129,719,134,7],"窑变釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b3ff4500144dc78c9f89d73282375de.jpg","瓷器精选",[2131],{"id":2134,"slug":2135,"title":2136,"dynasty":18,"author":2137,"museum":129,"description":2138,"tags":2139,"thumbUrl":2140,"material":91,"size":91,"collection":91,"collections":2141,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":95},233636,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233636","十竹斋五色笺谱册","胡日从","《十竹斋书画谱》，融诗、书、画、印艺术为一体，是木版水印史上的巨制鸿构，有“画苑之白眉，绘林之赤帜”之誉。凡书画、竹、墨华、石、翎毛、梅、兰、果八谱，每谱两册，全帙共十六册，蝴蝶装。\n一为书画册。花卉竹石、翎毛蔬果二十幅，均有对题。谱前有醒天居士《题十竹斋画册小引》和芒砀山人王三德《胡曰从书画谱引》。\n二为竹谱。卷首有《梨云馆竹谱》，分“写竹要语”，“写竹括”和“写竹法”。前半为一画一题，凡竹图二十幅，分作“廻风”、“喜霁”、“带雨”、“凝露”、“贮云”、“笼烟”、“快雪”、“印月”、“怡老”、“启新”、“飞白”、“聚翠”、“紫蓧”、“朱帔”、“崖影”、“石床”、“飨松”、“访菊”、“友梅”、“佩兰”等。后半则为画竹“起手式”。\n三为墨华册。谱中图呈圆光型，对题有绿色“十竹斋琅干笺”竹纹边框。画、题各有二十幅，画面着色细润，气韵生动。谱前有语水乘槎子《十竹斋墨花题辞》。\n四为石谱。画、题各二十幅，谱前有序两篇，一为王三德《阅石谱题言》，一为米芾后人米万钟《石谱题辞》。谱中二十幅画皆为高阳所作。高阳，字秋甫，善花鸟，为万历间写生名手。高阳画奇石尤精，石谱中作品是临摹上版，王三德观后评价极高，以为“天划神缕之巧，嵌空玲珑之致，半幅冰茧，宛具层岩叠嶂、峰峦洞穴，真可以对杨次公矣。”图有墨石、彩石，但均以套版为之，每画都有对应的题赞。\n五为翎毛谱。画、题各二十幅，有杨文骢于“天启丁卯立秋日”所题《翎毛谱小序》，非常精彩地评介了胡氏所施饾版之法：“胡曰从氏巧心妙手，超越前代，以铁笔作颖生，以梨枣代绢素，而其中皴法、染法、点法，及着色之轻重、浅深、远近、离合无不呈妍曲致，穷巧极工。即当行作手观之，定以为写生妙品，不敢作刻画观。”此翎毛谱二十图，画上无名款，从印鉴来看，应全为凌云翰一人所作。凌云翰，字五云，万历、崇祯时人。《明画录》说他善画山水，其实上凌氏花鸟亦善，尤工画石，为胡正言所推许。\n六为梅谱。由玉山进士董继周作序。此册胡正言以“芳信先传”、“飘飘欲仙”、“冰壶掩映”、“暖谷回阳”、“君子之交”、“铁干支春”、“暗香浮动”、“拾翠为钿”、“黄惹蜂腰”、“额上玄功”、“东邻窥宋”、“盟坚寒素”、“香梦沉酣”、“水妃写照”、“玉骨同妍”、“疏影横斜”、“幽人赠佩”、“调脂梅粉”、“宫锦清班”、“寿阳点妆”等二十画题，分别写早梅、风梅、雪梅、枯梅、竹梅、老梅、月梅、松梅、蜡梅、墨梅、过墙梅、倚石梅、烟梅、临水梅、水仙梅、疏梅、兰花梅、茶花梅、杏花梅和落梅，或水墨，或设色，意境、造型与章法，则穷尽变化之能事。每幅画都有对应的题赞。\n七为兰谱。前有涂日昌“兰谱序”和画兰“起手执笔式”，此谱图解兰花，并附小注，颇为详尽，但无题赞。多为墨印，间有彩版，此谱可为之初学之范本。图二十幅，多是临摹赵孟頫等名家之作。\n八为果谱。画、题各二十幅，有西京韩文镜作序。其中“三元”、“朱橘”等图，雕版设计巧妙，可谓匠心独运。\n《十竹斋书画谱》自万历己未（1619年）第一谱《书画册》起，至崇祯癸酉（1633年）第八谱《果谱》止，梓印时间长达十五年之久。每谱有序言，除《竹谱》附写竹诀，《兰谱》附起手式，其余各谱均四十幅，一图一文，以书配画，交相辉映。\n胡正言辑印《十竹斋书画谱》，广交名人时贤，亦自作书画付梓。全谱序、画、诗作者或书法题写者，多达一百五十余人。谱中所辑作品大多是由当时名家如吴彬、倪瑛、魏之克、米万钟、吴士冠、文震亨、高阳、高友等创作的，也有二十多幅画稿是临摹自赵孟頫、唐寅、沈周、文征明、陆治、陈道复等著名书画家的；胡正言自己也曾为谱画稿、题诗，画有“白莲”、“墨梅”、“芝草”三图，诗有“题梅花”、“题兰竹”两首。画谱中所题诗句，笔调清新，咏物抒情，不同程度地反映了诗人们喜爱画谱的心情。题诗大部分都是书写者自己所作，也有借用前人诗句题咏的，如胡正言用唐释无可的咏兰诗题《兰竹图》，西湖仙郎何伟然用徐渭咏榴诗题《石榴图》，竹冠道人应麟用刘禹锡题开元寺枸杞诗书《枸杞诗图》等等。全谱书法篆、隶、行、楷诸体皆备，最多的还是晚明文人流行的行草。这些书迹，大都兼有晋、唐、宋书家的风韵，亦可为后人临池所借鉴。\n醒天居士的《题十竹斋画册小引》把胡正言的爱好、特长及画谱刊印的初衷和艺术水平都进行了叙述：\n“王宰十日一山，五日一石，岂肖形之难哉？山有情，石有态，磅礴得之为难耳。近代画手，千临百摹，如里媪捧心，不揜儿寝，而目食者争售之，大轴小图，祗为壁疥。新安胡曰从氏，清姿博学，既精六书，尤擅众巧。所制隃糜硾茧与所镌法语名言，皆出新裁，赏鉴家多宝爱之。乃竹斋多暇，复创画册。所选皆花果竹石，有关于幽人韵士之癖好者。而写形既妙，设色尤工，至于翠瓣丹柎，葩分蕊折，花之情，竹之姿，与禽虫飞懦之态，奇石云烟之气，展册淋漓，宛然在目。盖淡淡浓浓，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。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”。",[1508,2341,2342,2343,1975,1485,36,7],"掐丝珐琅","镇纸","四季花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3adfb2a02472df0f025072f6b3a418ea.jpg",[],{"id":2347,"slug":2348,"title":2181,"dynasty":54,"author":443,"museum":129,"description":2349,"tags":2350,"thumbUrl":2352,"material":307,"size":308,"collection":91,"collections":2353,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":78},271099,"ge-shi-yu-zhi-hua-hui-shi-guan-zi-hao-bi-zhu-guan-shui-xian-hua-shi-bi-yi-ming-271099","此笔以竹为管，取留青浅刻之法，一面镂绘水仙绰约芳姿，卷叶柔花清雅动人；一面阴镌题诗，笔意娟秀工稳。紫毫出锋修挺利落，聚锋极佳，适配书写小楷。牙质装口素净温润，与竹管浅黄底色相映，色调清和雅致。\n\n整器将莳花诗意与文房工巧相融，褪去浮华尽显清简文心，是文房制艺与文人雅趣合一的绝佳体现，实用之外更添赏玩之趣，堪称精巧雅致的文房佳作。",[2184,2351,33,7,1208,30,1485],"紫毫笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0791a8e251c0e39f6d54dd398aa8fd92.jpg",[],{"id":2355,"slug":2356,"title":2181,"dynasty":54,"author":443,"museum":129,"description":2357,"tags":2358,"thumbUrl":2360,"material":307,"size":308,"collection":91,"collections":2361,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":78},271084,"ge-shi-yu-zhi-hua-hui-shi-guan-zi-hao-bi-zhu-guan-shui-xian-hua-shi-bi-yi-ming-271084","竹管以浅刻填色妆点，水仙舒展灵动，配文题字刀工秀雅，将花叶柔态与笔墨意趣藏于竹间肌理。紫毫锋颖锐利劲挺，毛色匀净鲜亮，兼顾书写实用与案头赏玩。\n\n素竹底色晕染古雅意趣，花绘与诗文相映成趣，形制隽秀清雅，将文人心韵与工艺匠心相融，尽显清逸出尘的文房雅韵，是兼具审美意趣与实用价值的精巧之作。",[2184,2351,33,1208,7,2359],"文房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d96f5828a6bbb5ded5565f74256b274.jpg",[],{"id":2363,"slug":2364,"title":2181,"dynasty":54,"author":443,"museum":129,"description":2365,"tags":2366,"thumbUrl":2367,"material":307,"size":308,"collection":91,"collections":2368,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":78},271082,"ge-shi-yu-zhi-hua-hui-shi-guan-zi-hao-bi-zhu-guan-shui-xian-hua-shi-bi-yi-ming-271082","浅刻留青技法晕染竹管，水仙舒展灵动，花瓣脉络纤毫毕现，阴刻诗文与花影相映，刀工清浅秀雅，将文思与画意凝于一管。紫毫锋颖锐挺褐亮，攒束紧实，尽显制笔匠心。牙质装顶温润素净，与竹管清雅相得益彰，整体形制秀巧隽雅，融工艺审美与书写实用为一体，藏着旧时文房的静雅意趣，是兼具赏用之妙的文房佳器。",[2184,2351,2185,7,1208,30,1485],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81bd85a02ac124ff1e83286172b5f0de.jpg",[],{"id":2370,"slug":2371,"title":2372,"dynasty":54,"author":443,"museum":129,"description":2373,"tags":2374,"thumbUrl":2378,"material":307,"size":308,"collection":91,"collections":2379,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},270857,"yu-ming-duan-shi-yan-shui-xian-shi-ba-leng-yan-yi-ming-270857","御铭端石砚-水仙诗八棱砚","砚台历经秦汉、魏晋，至唐代起，各地相继发现适合制砚的石料，开始以石为主的砚台制作。其中采用甘肃岷县的洮河石、广东端州的端石、安徽歙州的歙石制作的砚台，被分别称作洮砚、端砚、歙砚。史书将洮、端、歙称作三大名砚。清末，又将河南洛阳的澄泥砚与洮、端、歙，并列为中国四大名砚。也有人主张，以天然砚石雕制的鲁砚中的红丝石砚代替澄泥砚，合称四大名砚。\n谈起砚的种类有许多种，从砚的材质可分为：玉砚、银砚、铜砚、铁砚、陶砚、瓷砚、石砚、漆砚等，其中石砚是最为普遍，也最实用的一种砚。砚台起源于新石器时代。最早的砚是半坡村遗址出土的研磨颜料的研磨器，在1980年，大陆考古学家曾在陕西省临潼县姜寨一处原始社会的遗址中，发现了一套原始人用以陶器彩绘的工具，其中有一方石砚，砚有盖，砚面微凹，凹处并有一根石质磨杵，砚旁留存数块黑色颜料。很显然，这是先民们借助磨杵研磨颜料的早期砚的形制。由于这处遗址归属于母系氏族时期的仰韶文化，故这方砚台的实际寿龄已超过了五千年了。\n清代端石砚要求因材施艺，因石构图，在题材、立意、构图、造型、利用何种雕法都要精心推敲，刻划得当。保持了端砚的古雅、朴实，古色古香、形态自然的特点。如北京故宫收藏的「端石双龙砚」、「猫蝶砚」是端砚中的佳品。",[2375,2376,2377,1496,7,1208,1485],"砚","端石","八棱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d745e87c4b590e3fbd673ddc9e6d418.jpg",[],{"id":2381,"slug":2382,"title":2383,"dynasty":54,"author":443,"museum":129,"description":2384,"tags":2385,"thumbUrl":2386,"material":307,"size":308,"collection":91,"collections":2387,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":709},270669,"qian-long-kuan-yu-yong-hua-hui-shi-mo-shui-xian-mo-yi-ming-270669","乾隆款御咏花卉诗墨-水仙墨","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”。",[352,1166,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59751e4801bb2fe0aa5ce1642bea6823.jpg",[],{"id":2389,"slug":2390,"title":2391,"dynasty":54,"author":443,"museum":129,"description":2392,"tags":2393,"thumbUrl":2394,"material":307,"size":308,"collection":91,"collections":2395,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":709},269785,"zi-tan-xiang-qian-shui-xian-wen-he-yi-ming-269785","紫檀镶嵌水仙纹盒","清代文物。旧时用于存放食物或饰品之用,根据材质价值不同。清宫旧藏",[1496,1208,1497,134,393,62,7,519,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33c74d4d9cdeace19c7658b11a3e941f.jpg",[],{"id":2397,"slug":2398,"title":2399,"dynasty":54,"author":443,"museum":129,"description":2392,"tags":2400,"thumbUrl":2402,"material":307,"size":308,"collection":91,"collections":2403,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":95},269344,"zi-tan-qian-luo-dian-shui-xian-tu-yuan-he-yi-ming-269344","紫檀嵌螺钿水仙图圆盒",[1496,2401,1208,7,134,393],"嵌螺钿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F575105d5cc1079a94580c7356c4883c2.jpg",[],{"id":2405,"slug":2406,"title":2407,"dynasty":54,"author":443,"museum":129,"description":2408,"tags":2409,"thumbUrl":2410,"material":307,"size":308,"collection":91,"collections":2411,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},269193,"wen-zhu-wen-ju-gui-yi-mi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