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此册页每一页所绘蔬果都有刘墉相应赋诗一首，书法浑厚大气，古朴自然，自成一派，看似松散，实则丰貌骨劲。刘墉所描写蔬果诗文生动质朴，贴近生活，与恽寿平描绘的蔬果相应成趣，极大增加了观赏趣味。",[81,24,25,26,82,83,27,28,84,85,86,7,31,87],"名画","白描","水墨","蔬菜","花果","丝瓜","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2ff8d0ecdcd63604674ff7f8ad8ac1b.jpg","26.1x19.9cm","花鸟画精选",[90],1136,6,{"id":95,"slug":96,"title":97,"dynasty":46,"author":98,"museum":20,"description":99,"tags":100,"thumbUrl":103,"material":34,"size":104,"collection":36,"collections":105,"showCount":106,"zanCount":107,"manualWeight":40,"mainColor":41},216662,"hua-niao-ce-2-sun-ke-hong-216662","花鸟册-2","孙克弘","孙克弘的折枝画鸟画名重一时，是册共含牡丹、山茶、冬梅等花鸟画十六开，设色秀润清新，用墨精妙淡雅。孙克弘题引首：草木霑春。华亭克弘书。钤“雪居”朱文印、“汉阳长印”白文印。并自题“洞庭樵海张山人者，清贫守道，耻干谒人，真隐君子也。短褐一瓢，歌咏于青山白云中，消磨半生矣。兹老贫不能支吾薪水，因访余东皋雪堂，余又以贫不能为赠。聊写杂卉一册贻之。倘好事者以数斗易去，亦足为山人一箸之助也。汉阳守，华亭雪居孙克弘书并画。”",[24,25,26,27,51,28,30,101,102,7,32],"叶","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F331e0d82e712dc40afb5b3b91d67b4d4.jpg","纵31.7厘米，横61.8 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。\n初字文清，改字文长，号天池、又号青藤道人、田水月等。\n浙江山阴（今绍兴）人。\n自幼聪慧，文思敏捷。\n且胸有大志。\n参加过嘉靖年间东南沿海的抗倭斗争和反对权奸严嵩，一生遭遇十分坎坷，可谓“落魄人间 ”。\n最后入狱七、八年。\n获释后，贫病交加，以卖诗、文、画糊口，潦倒一生。\n他中年学画，继承梁楷减笔和林良、沈周等写意花卉的画法，故擅长画水墨花卉，用笔放纵，画残菊败荷，水墨淋漓，古拙淡雅，别有风致。\n兼绘山水，纵横不拘绳墨，画人物亦生动，其笔法更趋奔放、简练，干笔、湿笔、破笔兼用，风格清新，恣情汪洋，自成一家，形成“青藤画派”。\n他自己尤以书法自重。\n自称“吾书第一、诗二、文三、画四”。\n袁宏道等称赞他的书法“笔意奔放”，“苍劲中姿媚跃出”，“在王雅宜、文征仲之上。\n他画的《黄甲图》，峭拔劲挺，生动地表现了螃蟹爬行、秋荷凋零的深秋气氛。\n作品流传至今的较多。\n著作有：《四声猿》、《南词叙录》《徐文长佚稿》、《徐文长全集》等。\n传世著名作品有《墨葡萄图》轴、《山水人物花鸟》册（均藏故宫博物院）、《牡丹蕉石图》轴，以及晚年所作《墨花》九段卷（现藏故宫博物院）等。",[23,24,25,118,83,117,154,155,156,7,31,119,157],"大写意","泼墨","葡萄","草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F504df223fc9470a5121ee4d43301b51c.jpg",[],528,7,{"id":163,"slug":164,"title":165,"dynasty":18,"author":19,"museum":166,"description":167,"tags":168,"thumbUrl":171,"material":34,"size":172,"collection":36,"collections":173,"showCount":174,"zanCount":161,"manualWeight":40,"mainColor":41},216591,"ou-xiang-guan-xie-sheng-ce-3-yun-shou-ping-216591","瓯香馆写生册-3","旅顺博物馆","《瓯香馆写生册》描写了四时的花果，从春到夏分别是桃花、海棠、碧海珊瑚、牡丹、枇杷、卷丹、洛阳花、凤仙花、菊花、梅花。除了梅花一开，作者写明是学杨补之的水墨画法之外，其余各开全用没骨法，完全不用墨线勾勒，直接用颜色点厾出花朵、叶片、果实，只以色线勾勒叶茎。落色点花的没骨花，既不同于细线勾勒再层层渲染的工笔花卉，也不同于水墨淋漓的大写意花卉，它介于两者之间，也被称作“小写意”花卉。工笔求逼真，写意求意趣，恽氏没骨花所求正在“似与不似之间”。着色花卉自然比纯粹的水墨更逼真，但直接点染的“落色花”比起层层渲染的工笔花卉又有更大的随意性，不必被物象的细枝末节所羁绊，可以放手表现花的风骨。就气质而言，没骨花介于工笔与大写意之间，既不刻画，也不放逸，清新洒脱。",[24,25,26,27,29,28,169,30,170,7],"紫藤","树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2e60e3d8683439073039aa23e65ff0f.jpg","26x36cm",[],506,{"id":176,"slug":177,"title":178,"dynasty":18,"author":179,"museum":180,"description":181,"tags":182,"thumbUrl":185,"material":34,"size":186,"collection":90,"collections":187,"showCount":188,"zanCount":189,"manualWeight":40,"mainColor":41},220335,"cao-chong-hua-hui-hu-shi-si-ping-zi-wei-ju-lian-220335","草虫花卉湖石四屏-紫薇","居廉","台北故宫博物院","居廉对岭南画派的影响十分深远，岭南画派创始人高剑父、陈树人均师从居廉。“二居”所创立的十香园成为岭南画派发源之地，当时岭南绘画界八成以上的人都出自十香园门下或是经受过二居绘画艺术的熏陶，在中国美术史上垂名的杰出弟子多达三十余人。二居以革命精神开创的“撞水”、“撞粉”技法被后来者沿袭至今，二居、二高一陈富于创新的革命艺术精神更使得岭南画派开一时风气之先，在中国画坛独领风骚。",[23,24,25,28,51,27,32,183,102,7,184,137],"草虫","紫薇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3161675f1c6cc75d7b4fb092b58090a4.jpg","113×26.5厘米",[90],464,4,{"id":191,"slug":192,"title":193,"dynasty":18,"author":179,"museum":151,"description":194,"tags":195,"thumbUrl":197,"material":36,"size":36,"collection":90,"collections":198,"showCount":199,"zanCount":189,"manualWeight":40,"mainColor":41},224364,"hua-hui-si-ping-zhi-yi-ju-lian-224364","花卉四屏之一","此作用笔兼工带写，艳红凌霄花晕染鲜活，明丽暖调点亮画面，虬曲藤蔓以枯笔勾勒，苍劲老辣尽显古拙质感。湖石以淡墨勾皴，空灵通透的孔洞颇具玲珑意趣，与柔蔓繁花形成刚柔对照。\n\n两只螳螂纤毫毕现，身形灵动写实，悄然栖于枝桠，暗藏盛夏幽丛间的野趣。画面疏密错落，花叶垂曳、顽石静立，草虫点缀出鲜活生机，将庭院小景的清幽雅致尽数铺展，尽显清丽脱俗的花鸟意韵。",[23,24,25,118,51,27,28,7,31,32,196,137,102],"石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb303d0182d4e4c3f71398cf0140d09b1.jpg",[90,71],282,{"id":201,"slug":202,"title":203,"dynasty":46,"author":150,"museum":204,"description":205,"tags":206,"thumbUrl":215,"material":216,"size":217,"collection":218,"collections":219,"showCount":221,"zanCount":107,"manualWeight":40,"mainColor":41},222231,"mo-hua-jiu-duan-tu-juan-xu-wei-222231","墨花九段图卷","北京故宫博物院","此图绘水墨写意四季花卉。每段均有自题七绝一首。画面上，画家充分发挥了水墨的表现力，以狂放的笔触，淋漓的水墨，变化多端的笔锋，泼墨、焦墨、破墨、双勾并用，寥寥数笔即勾画出了各种花卉的特征，简约却颇具神采。从徐渭自书诗并题记，知此画是作者在浓郁的创作激情中以酣畅的笔墨挥洒而就。此图堪称徐渭水墨写意花卉的佳作。",[23,24,25,133,83,154,207,119,28,208,209,210,211,212,102,32,213,7,214],"题跋","梅","兰","竹","菊","荷","竹叶","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2e0e76186d34ba6f0466cc88cfd916f.jpg","纸本，墨笔","纵46.6厘米，横625厘米","山水画精选",[218,220],"水墨画精选",253,{"id":223,"slug":224,"title":225,"dynasty":18,"author":226,"museum":180,"description":227,"tags":228,"thumbUrl":233,"material":34,"size":36,"collection":36,"collections":234,"showCount":235,"zanCount":11,"manualWeight":40,"mainColor":41},214862,"xie-sheng-ce-3-hua-yan-214862","写生册-3","华嵒","华嵒是一位清代著名画家和艺术家。他的写生册是一本记录他写生草稿的册子，通常包含他对自然和人物的写生绘画。写生册是画家们练习和提高技巧的重要工具，因为它们能够帮助画家观察、捕捉和描绘细节。华嵒的写生册中可能包含了他对山水、花鸟、人物等的写生画作。",[24,25,26,83,27,51,229,230,231,7,31,232,120],"松鼠","鼠","兽","果实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F479bc39b276eae548d0b8940a600d55f.jpg",[],228,{"id":237,"slug":238,"title":239,"dynasty":18,"author":240,"museum":204,"description":241,"tags":242,"thumbUrl":243,"material":244,"size":245,"collection":36,"collections":246,"showCount":247,"zanCount":145,"manualWeight":40,"mainColor":41},233731,"wu-jun-qing-pu-tao-hu-lu-zhou-wu-chang-shuo-233731","吴俊卿葡萄葫芦轴","吴昌硕","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 [3] 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》。",[24,118,27,117,28,156,134,7,31,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff132055bd0237aacfdd9ba4bc4e35645.jpg","纸本，设色","纵174.7cm，横47.5cm",[],221,{"id":249,"slug":250,"title":149,"dynasty":46,"author":150,"museum":204,"description":251,"tags":252,"thumbUrl":266,"material":216,"size":267,"collection":36,"collections":268,"showCount":269,"zanCount":11,"manualWeight":40,"mainColor":41},233375,"shui-mo-pu-tao-tu-zhou-xu-wei-233375","此图曾经清代李佐贤、陈希濂等收藏。\n图中画一架葡萄，叶片茂盛，藤蔓缠绕，果实累累。作者以草书笔法作画，行笔豪迈而不肆野，叶、果用淡墨加胶矾挥洒，墨气淋漓酣畅，产生了极佳的晕散效果。\n画中所题诗见于《徐文长集三》卷十一，是徐渭作画时常书写的诗作之一，抒发了作者一生不遇的坎坷痛苦的心境。画中题字受米芾行书风格影响，结体紧凑，运笔舒缓大气，竖笔、捺笔流畅雄健，收锋沉稳，体现了其身为晚明大书家的深厚的艺术功力。",[24,25,118,83,117,156,7,31,232,32,253,154,254,255,256,257,258,259,260,261,262,263,264,265],"蔬果","墨色变化","藤蔓缠绕","果实垂挂","枝叶舒展","水墨淋漓","文人画风格","植物","水墨植物","墨叶","墨果","藤蔓线条","写意花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ac2949f65bdc9dc171950992c953d5d.jpg","纵 165.4厘米，横 64.5厘米",[],215,{"id":271,"slug":272,"title":273,"dynasty":18,"author":19,"museum":78,"description":79,"tags":274,"thumbUrl":275,"material":67,"size":89,"collection":36,"collections":276,"showCount":277,"zanCount":107,"manualWeight":40,"mainColor":73},216108,"yun-shou-ping-hua-guo-shu-cai-ce-ye-3-yun-shou-ping-216108","恽寿平花果蔬菜册页-3",[24,25,26,27,29,28,156,7,31,232],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e662822fd50f45acad8354abff8c0d6.jpg",[],206,{"id":279,"slug":280,"title":281,"dynasty":46,"author":282,"museum":204,"description":283,"tags":284,"thumbUrl":286,"material":287,"size":288,"collection":90,"collections":289,"showCount":290,"zanCount":11,"manualWeight":40,"mainColor":73},222048,"mei-gu-hua-hui-tiao-fu-wang-zhong-222048","没骨花卉条幅","汪中","绘花鸟虫石一幅，湖石立于地面，棱角尖锐，内部多孔，其四周有月季、金银花穿插之中，花儿娇艳，虫蝶生动活泼。汪中，字容甫，清朝时期著名的哲学家、文学家、史学家，与阮元、焦循同为“扬州学派” 的杰出代表。",[23,24,25,118,29,27,28,102,32,136,135,7,285,87],"枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a80d2f3763b05356d5be7d88d57866d.jpg","绢本","54.4x113.9",[90,71],204,{"id":292,"slug":293,"title":294,"dynasty":18,"author":19,"museum":151,"description":295,"tags":296,"thumbUrl":297,"material":298,"size":299,"collection":36,"collections":300,"showCount":301,"zanCount":107,"manualWeight":40,"mainColor":41},239434,"hua-niao-ce-yun-shou-ping-239434","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。",[24,27,29,28,26,140,7,31,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68f83bf355d91cd4fd4d269c81b711e7.jpg","未知","Xcm*Xcm",[],203,{"id":303,"slug":304,"title":305,"dynasty":18,"author":240,"museum":204,"description":306,"tags":307,"thumbUrl":310,"material":311,"size":312,"collection":36,"collections":313,"showCount":301,"zanCount":145,"manualWeight":40,"mainColor":41},233734,"zi-teng-tu-wu-chang-shuo-233734","紫藤图","此图是1905年吴昌硕62岁作，为花卉四条屏之末条。款：“乙巳（1905年）八月八日，安吉吳俊卿擬十三峰草堂”。钤“吴俊之印”。绘藤叶凌空倚势，宛若龙翔凤舞。藤条盘绕回曲，缠石数重。作者娴熟地运用狂草般的笔法，飞动迅疾，一气呵成。同时，此画画气不画形，追求书法中气贯神通的审美意趣。正如他自言：“草书作葡萄，笔动走蛟龙”，又言：“临抚石鼓琅玡笔，戏为幽兰一写真”等。这种以书入画的画风别开蹊经，对近现代中国画的创作有着深远的影响。\n此外，该图施墨浑厚沉稳而又淋漓酣畅，构图不拘陈法，巧于设陈布势。挥洒之中妙趣横生，生动的笔墨赋予紫藤生机勃勃，其显现出的画境充分地印证了本幅题画诗：“繁英垂紫玉，條系好春光。歲歲花長好，飄（飄）滿畫堂。”的诗境。",[24,118,27,117,28,169,7,308,83,309],"石块","篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79c251ae9fe1e9537d5a6fe03ea212be.jpg","金笺，设色","纵163.4厘米，横47.3厘米",[],{"id":315,"slug":316,"title":317,"dynasty":112,"author":113,"museum":318,"description":319,"tags":320,"thumbUrl":321,"material":322,"size":36,"collection":36,"collections":323,"showCount":324,"zanCount":40,"manualWeight":40,"mainColor":41},220585,"hu-lu-he-san-zhi-kun-chong-qi-bai-shi-220585","葫芦和三只昆虫","Oscar Niemeyer Museum","明黄葫芦以没骨法晕染，色块鲜亮通透，留白巧显葫身莹润质感。焦墨藤蔓如虬龙游走，狂放苍劲，墨叶大笔泼写，浑朴厚重，大写意的疏朗随性扑面而来。\n\n三只草虫用工笔细绘，蝶翅纹路纤毫毕现，蝈蝈、蚱蜢肢体灵动鲜活，工细与写意形成强烈对冲，将乡野秋意揉入画面。枯湿浓淡的墨色层次分明，老辣笔触带着稚拙生机，把篱边闲趣晕染得鲜活动人，俗世清欢藏在笔墨之间，尽显东方水墨的悠然意韵。",[24,25,118,83,27,28,134,7,136,138,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61c47104068ce7e480840a2e1fddebeb.jpg","Watercolor on paper",[],199,{"id":326,"slug":327,"title":328,"dynasty":112,"author":113,"museum":130,"description":329,"tags":330,"thumbUrl":333,"material":142,"size":36,"collection":36,"collections":334,"showCount":335,"zanCount":11,"manualWeight":40,"mainColor":41},220587,"hua-he-kun-chong-qi-bai-shi-220587","花和昆虫","这幅长卷以兼工带写之法绘就，泼墨挥写折枝花草，葫芦藤蔓蜿蜒豪放，墨叶酣畅淋漓，牵牛、萱花、海棠设色明妍鲜活，笔意朴拙老辣，尽显秋花野逸生机。\n工笔草虫穿插其间，蟋蟀、天牛、蜻蜓、蛱蝶皆纤毫毕现，翅脉通透轻薄，肢体灵动鲜活，将小虫的灵动神态刻画入微。大写意的烂漫朴拙与工笔的精细雅致相映成趣，把乡郊秋日的鲜活野景凝于卷上。搭配古雅题款与篆刻，整体意趣天然浑融，将乡野小景化作文人雅韵，尽显独有的花鸟意致。",[23,81,24,25,133,27,83,51,117,28,30,331,134,86,7,31,136,135,138,332],"昆虫","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39df443cbe832b9d4633286bff1506d1.jpg",[],180,{"id":337,"slug":338,"title":339,"dynasty":18,"author":340,"museum":151,"description":341,"tags":342,"thumbUrl":347,"material":36,"size":36,"collection":90,"collections":348,"showCount":349,"zanCount":11,"manualWeight":40,"mainColor":41},237149,"he-hua-yan-zi-zhou-wang-zhen-237149","荷花燕子轴","王震","此作为大写意花鸟佳作，淡墨晕染荷叶，留白衬出白荷莹润雅洁。荷茎瘦劲挺拔，枯墨点苔尽显苍古意趣。燕子栖于茎杆之上，以浓淡笔墨晕染羽翼，侧目远眺灵动有神，静穆之中暗涌生机。\n\n下方浓墨绘叶，丹色花串垂落，冷暖对比提亮画面层次。左上角题字笔力苍浑朴拙，书画相映成趣，兼具海派写意的纵肆洒脱，亦不失文人水墨的清雅意韵，于极简构图里铺陈夏日荷塘清寂，留白淡墨中尽显通透灵秀，平淡间藏满生机雅趣。",[24,25,118,28,83,27,117,343,344,345,346,7],"荷花","燕子","荷叶","花苞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b37c204f1cdc5992283504ca234ed3c.jpg",[90,71],172,{"id":351,"slug":352,"title":353,"dynasty":18,"author":19,"museum":151,"description":354,"tags":355,"thumbUrl":356,"material":36,"size":36,"collection":36,"collections":357,"showCount":358,"zanCount":189,"manualWeight":40,"mainColor":41},233907,"hua-hui-shan-shui-ce-yun-shou-ping-233907","花卉山水册","恽寿平（1633-1690年），初名格，后以字行，又字正叔，别号南田，一号白云外史、云溪外史、东园客、巢枫客、草衣生、横山樵者。江苏武进人。清代著名画家。与“四王”、吴历并称“清初六大家”。其父恽日初诗文杰出，为“复社”中人。叔父恽向（道生）为著名山水画家，自创一派。恽寿平是清朝初期最享盛名的花鸟画家。其画作多写生，人称“写生正派”；更以徐崇嗣为宗，兼取各家之长，极大的发展了没骨画。所画花卉，很少勾勒，以水墨着色渲染，用笔含蓄，画法工整，明丽简洁，天趣盎然。恽寿平不仅画作出众，风格独具，而且兼工诗书，题句清丽流畅，诗格脱俗超逸，为“昆陵六逸”之冠。恽南田《山水花卉册》八帧，其中包括山水，花鸟及情景兼容的人物，攘括了恽南田所有的画种。画中有退耕堂藏印。退耕堂为徐世昌的室名。\n恽寿平一生坎坷，饱经困苦，他幼年聪颖玲利，遭遇战乱，与兄皆被俘，与父亲失散，后遇灵隐寺方丈相救，才得以与家人团聚，归家后，发奋读书学画。经刻苦钻研，于古文、诗词、书画无不精擅。他崇尚气节，誓不应科举，少时的忧患，留下深深的创痛，一生未尝忘情。却在绘画上取得了很高的成就；恽南田曾致书王（翚）说：“格于山水，终难打破一字关，曰‘窘’，良由为古人规矩法度所束缚耳。”又说：“君独步矣！吾不为第二手也”。于是恽寿平转攻花鸟，以后山水不过偶而为之。可见其艺术抱负。《山水花卉册》中的山水，取黄公望笔法，于荒率中见秀润，尖毫勾皴，浓墨点树、高旷清淡，浸润宋元诸家，吸取王蒙、二米等人之长，渐脱刻极。40岁左右作品最为精采，如43岁的《山水花鸟册》，技法灵活多变，表达各家风貌准确，艺术已臻成熟。他的花鸟画成就最为突出，取法徐崇嗣的没骨法，他的没骨花卉，揉合了黄（筌）、徐（熙）两派技法，既重视写生，力求形似，“每画一花，必折是花插之瓶中，极力描摹，得其生香活色而后已。”又强调“与花传神”。力去华靡，追求“ 澹雅”。此册中的花鸟更是形神兼备，清新淡雅，具有新的风貌。",[81,24,25,26,27,29,51,28,140,7,31,346,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F141cf9f332104177044cc00b6174e0b6.jpg",[],151,{"id":360,"slug":361,"title":362,"dynasty":363,"author":364,"museum":180,"description":365,"tags":366,"thumbUrl":369,"material":34,"size":370,"collection":371,"collections":372,"showCount":373,"zanCount":107,"manualWeight":40,"mainColor":41},218728,"qiu-gua-tu-yi-ming-218728","秋瓜图","宋","佚名","地上长着三个秋瓜，景观中还有藤蔓、树叶和花朵。瓜皮用老绿色着色，瓜棱用赭石填充，精致而有节奏。瓜的叶子被仔细地勾勒出来，藤蔓也是圆润而细致的。这幅画没有刻上作者的名字，但我们收藏的另外两幅画《宋代草木瓜》和《钱玄同秋瓜》在构图上与此框相似，而且此卷的笔法精细，与《宋代草木瓜》相似。",[23,24,25,51,27,28,367,7,368,120,26],"秋瓜","叶片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0270d205fb5d6c396d4cfa437041b14a.jpg","26.8x45.5厘米","宋画精选",[371],148,{"id":375,"slug":376,"title":377,"dynasty":46,"author":378,"museum":180,"description":379,"tags":380,"thumbUrl":383,"material":67,"size":384,"collection":90,"collections":385,"showCount":386,"zanCount":145,"manualWeight":40,"mainColor":73},218792,"hua-zhu-an-chun-tu-zhou-zhi-mian-218792","花竹鹌鹑图","周之冕","瘦长的画幅，主景放置在幅右，秋日,石上几株绿竹，间杂著娇媚的蜀葵、牵牛花。石下一对鹌鹑，临风处有一只大凤蝶飞来。整幅画充满著婀娜明艳的光辉。题句多，亦足以让人诗画共赏。",[24,27,51,210,381,382,136,214,28,7],"芙蓉","鹌鹑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15a00ce3772da92e745cee036acd9c15.jpg","111.7x29.7cm",[90],144,{"id":388,"slug":389,"title":390,"dynasty":18,"author":240,"museum":391,"description":241,"tags":392,"thumbUrl":393,"material":394,"size":395,"collection":36,"collections":396,"showCount":397,"zanCount":145,"manualWeight":40,"mainColor":41},233715,"wu-jun-qing-hu-lu-tu-zhou-wu-chang-shuo-233715","吴俊卿葫芦图轴","浙江省博物馆",[24,25,118,83,27,28,134,7,31,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17603647a577c42d97a3140c92da1110.jpg","纸本","纵163.4cm,横47.5cm",[],128,{"id":399,"slug":400,"title":401,"dynasty":363,"author":402,"museum":180,"description":403,"tags":404,"thumbUrl":406,"material":27,"size":407,"collection":90,"collections":408,"showCount":409,"zanCount":145,"manualWeight":40,"mainColor":73},219945,"zhong-si-mian-die-tu-han-you-219945","螽斯绵瓞图","韩祐","本幅选自“宋元集绘”册第十三开。描写田间一角，花叶生长茂盛，瓜果也已熟透，引来了两只觅食的螽斯。",[23,81,24,25,51,27,331,405,31,30,7],"瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F233d23d19042c4fdd48f185c470972b0.jpg","25.3 x 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之葡萄，表现出明暗和体积，颇显自然逼真，人称“温葡萄”，很得赵孟頫推崇。元至元二十七年（1290），温日观偶遇同乡士人曾遇，得知他即将赴京，欣然画葡萄两幅，一幅托他带给赵孟頫，另一幅赠给曾遇。次年，赵孟頫在葡萄卷上题跋：“日观老师作墨葡萄，初若不经意，而枝叶肯棨，细玩之纤悉皆具，殆非学所能至。俗人恳恳求之，靳不与一笔。遇佳士，虽不求，辄索纸笔挥洒无吝色，岂可谓道人胸中无泾渭耶。吾与师仅一再面，去冬曾君自吴来燕，辱以一纸见寄，相望数千里不遐遗乃尔。因想胜风，欲相从西湖山水间，何可得也。”\n温日观画葡萄率意而作，天真烂漫，吐露心声。《画禅》称他：“自成一家法，人不可测。”由于他擅长草书，葡萄的梗须枝叶都用草书笔法，收藏者以此鉴别真赝。陈继儒称他：“葡萄极得草书三昧法。”有一幅作于至元二十八年（1291）的《葡萄图》轴，上面题诗“香稻雨催熟，丹心老变灰。夕阳归路近，魂梦日徘徊”，后流入日本。《葡萄图》卷现藏美国高居翰先生景元斋。为人超逸绝尘，出言愤世骇俗。行书法杨凝式。据戴表元《宋温日观书心经》题跋，说他“放浪啸傲于西湖三竺间五十年”，享年当在六十岁以上。",[23,81,24,25,28,83,156,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f93f7fe5ef5954868af2d6649c5e2f2.jpg","水墨纸本","27×188.5cm",[371,90,220],{"id":537,"slug":538,"title":539,"dynasty":46,"author":540,"museum":20,"description":541,"tags":542,"thumbUrl":548,"material":67,"size":549,"collection":69,"collections":550,"showCount":525,"zanCount":40,"manualWeight":40,"mainColor":73},219748,"qiu-jiang-gui-yu-tu-zhou-wu-wei-219748","秋江归渔图轴","吴伟","吴伟(1459—1508年)，字士英，号次翁、小仙，江夏(今湖北武昌)人。成化朝(1465-1487)人宫廷任仁智殿待诏，弘治(1488-1505)中授以锦衣卫百户职。擅画山水、人物。为“江夏派”的创始人。",[24,81,25,118,83,117,27,492,53,496,543,495,453,509,544,545,102,546,7,494,547],"飞鸟","渔翁","蓑笠","芦苇","秋江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F614f91aeebc5220d0825408f30e0a128.jpg","164x106.2厘米",[69],{"id":552,"slug":553,"title":554,"dynasty":363,"author":555,"museum":151,"description":556,"tags":557,"thumbUrl":564,"material":565,"size":566,"collection":371,"collections":567,"showCount":568,"zanCount":11,"manualWeight":40,"mainColor":73},221372,"xie-sheng-an-chun-tu-juan-zhao-chang-221372","写生鹌鹑图卷","赵昌","这是一幅描写夏天野外风景和动植物的写生画，图绘数隻鹌鹑游息于河畔翠竹丛中，或鸣叫、或张望、或憩息、或觅食，神态各异，生动多姿。河边还有三隻野鸭，树上有两隻小鸟。所绘花鸟形象逼真，画面雅致，饶有野趣。画家还特意在鹌鹑旁边画了菊花和落叶",[23,24,81,133,51,27,28,382,210,212,418,558,559,7,560,561,562,563],"溪流","花草","坡地","浆果","野花","禽类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d0965f0ce9d418c9ffe6493a6f69f39.jpg","绢本设色","横301.5cm纵32.5cm",[371,90,71],79,{"id":570,"slug":571,"title":572,"dynasty":18,"author":573,"museum":180,"description":574,"tags":575,"thumbUrl":578,"material":36,"size":579,"collection":90,"collections":580,"showCount":581,"zanCount":11,"manualWeight":40,"mainColor":41},222808,"bian-dou-hua-wang-wu-222808","扁荳花","王武","王武，1632年生，1690年逝世，吳縣（今江蘇蘇州）人。字勤中，晚號忘庵，又號雪顛道人。明代畫家王鏊六世孫，精鑑賞，富收藏，擅畫花鳥，風格工整秀麗，正如王時敏所云：“神韻生動，應在妙品中。”為清初院畫的名家。亦擅詩文。傳世作品有《水仙柏石圖》、《紅杏白鴿圖》、《鴛鴦白鷺圖》等。",[23,24,28,27,51,119,120,576,31,577,7],"扁豆花","豆荚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbe5cc35daef658d871bd3f676303498.jpg","34.2x50.4",[90,71],76,{"id":583,"slug":584,"title":377,"dynasty":363,"author":364,"museum":114,"description":585,"tags":586,"thumbUrl":587,"material":67,"size":588,"collection":90,"collections":589,"showCount":581,"zanCount":11,"manualWeight":40,"mainColor":73},218949,"hua-zhu-an-chun-tu-yi-ming-218949","绢本之上，墨彩交织出温润古意。数只鹌鹑或低头啄食，或侧耳呼应，羽毛纹理细腻如绒，神态憨态可掬；竹枝挺拔，叶片婆娑，藤蔓缠绕间缀着娇艳花朵，石畔幽草含露，一派生机盎然。画家以精湛写生功底，捕捉自然瞬间的灵动：鹌鹑的互动、花叶的摇曳，皆形神毕肖。整体氛围静谧雅致，似能闻见草木清香，窥见田园一隅的闲适安然，尽显宋画“格物致知”的审美意趣——于细微处见天地，于平淡中藏深情，将寻常景致绘就成耐人寻味的诗意画卷。",[24,25,133,51,27,210,382,30,418,7,196,559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72f14da85deeb768a04b8571e1787dcc.jpg","33x179cm",[90],{"id":591,"slug":592,"title":593,"dynasty":363,"author":594,"museum":180,"description":595,"tags":596,"thumbUrl":597,"material":67,"size":598,"collection":36,"collections":599,"showCount":5,"zanCount":145,"manualWeight":40,"mainColor":41},218576,"hua-niao-shan-shui-xiao-pin-ce-pu-tao-ma-yuan-218576","花鸟山水小品册-葡萄","马远","分别绘茶花、牡丹、葡萄、桃子，色彩鲜艳，用笔精致。山水绘山阁远眺，策杖登高，孤棹泛波，意趣悠然。",[23,81,24,25,26,27,51,156,7,31,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2bc725dd647940f42f8f27a6cc90dd2.jpg","33*19",[],{"id":601,"slug":602,"title":603,"dynasty":46,"author":604,"museum":78,"description":605,"tags":606,"thumbUrl":611,"material":612,"size":613,"collection":218,"collections":614,"showCount":615,"zanCount":40,"manualWeight":40,"mainColor":73},222593,"song-luo-wan-cui-tu-lan-ying-222593","松萝晚翠图","蓝瑛","此图是蓝瑛38岁的国画作品。画面峰峦层叠，中部有庙宇坐落于茂密的松林中，半隐半露相映成趣。泉水沿着蜿蜒的山涧，飞流直泻，与山脚的河流相连，近处河边杂树成林，林中一老人前行，琴童后随。\n画面布局采用“高远”法，气势雄峻。山石的纹理采用“荷叶皴”兼取“斧劈皴”，墨色润泽，浓淡相间，充分表现出苍山的层次感和体积感，石绿作苔点，疏落有致，色彩明洁，增添了画面的装饰趣味。",[23,24,25,118,27,492,607,417,608,495,508,214,609,610,7],"松","楼阁","小径","亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16b4e2036bc72593e80638f98b23c217.jpg","纸本设色","160x55cm",[218,220],63,{"id":617,"slug":618,"title":619,"dynasty":363,"author":620,"museum":621,"description":622,"tags":623,"thumbUrl":627,"material":628,"size":629,"collection":371,"collections":630,"showCount":631,"zanCount":11,"manualWeight":40,"mainColor":73},219168,"ju-yuan-tu-yi-yuan-ji-219168","聚猿图","易元吉","日本大阪市立美术馆","此卷绘秋冬之季群猿攀援、饮涧、嬉戏之情形。所绘大小、老幼、黑白群猿三十余只，亦是一数量不菲的群猿聚居图。岩壑间群猿或坐或走、或仰或卧，或倒挂或直立，作者将群猿日常习居的情形淋漓尽致地表现出来。该图笔力富有弹性，突出其运动感。",[23,624,24,25,133,83,492,231,625,491,51,55,494,558,626,7],"宋画","猴","洞穴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48b78cc151c53a8bbbe047d09cfe527b.jpg","绢本,水墨","纵41.3厘米，横146厘米",[371,220],57,{"id":633,"slug":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猴子的画法精工，形态生动，自识中提到是仿宋代画猿猴大师易元吉的笔法。背景山石画得较放，点苔先用墨点再用石绿，树叶多用夹叶法，再涂以白色或浅绛色。整幅画工笔与写意结合，色彩与水墨搭配，具有沈铨绘画的独特风格\n沈铨的绘画主要继承黄筌画派精工富丽的画法，并把多种绘画技法相融合，形成了自己的绘画面貌。他的花鸟走兽画对后世影响显著，尤其对日本绘画有着深远的影响。此幅绘画作于1742年，沈铨六十一岁，是其画风成熟时的杰作。",[23,24,25,118,51,27,492,625,231,752,508,495,494,55,753,7],"蜂","竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff480761bd1622c88e4092910b66e54fa.jpg","绢本，立轴，设色","184cm 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“嘉靖庚子” 陈淳应为58岁，此作亦为其是画风成熟之作。从其题跋可以得知陈淳游历数月，画作颇丰，认为此作为“草本”，可见其自觉并无刻意求工，描写大略而已。\n卷尾文彭题曰：“赵昌王友已无伦，更学徐熙更逼真。意到不论颜色似，笔端原有四时春。阅白阳杂花漫题。文彭。”充分体现了吴门花鸟画的文人雅趣，“意到不论颜色似”概括了文人写意的特征，而“漫题”也体现了题咏者的状态，反映出文人书画家的共同气质特点与审美追求。\n文人王穉登的题跋则突出了对陈淳花卉写生推崇与称赞。“写生贵在约略点染，天真烂如。不当以分葩计蕊为似，重丹叠翠为工。观此册陈道复先生所作，粉墨萧闲，意象自足，所谓千金骏骨，识者求之牝牡骊黄之外可也。”此段题跋强调了陈淳花卉写生最主要的特点，即约略点染，不求工细，而意象自足。\n卷尾的金农长跋也对陈淳“行笔绝无时蹊，设色亦未敷采炫目，画以意似而非以形似也”的风格进行梳理，论述了写意书写的源流。但这段题跋存在一些问题。其一，通篇书体较为拘谨，特别是每行末字，刻意缩减对齐，非常局促。其二，“后世临写纷纷，徒劳豪楮”中“豪”应为“毫”之误。此出自大文人之手，有些牵强。其三，“此册九叶，花草凡七，间以山水两帧。”所述并非此册，极有可能是将他处题跋移接此处所致。所以这段金农题字不足以为据，至于真伪原由的评断，是另外的话题。本文主要论及陈淳花卉写生的艺术特点，就不将此段金农的论述作为讨论的依据了。\n变化生动自然，是陈淳花卉写生的代表作。如果将此册置于陈淳传世花鸟画作品中做一纵向比对，可以发现其共性的特征集中体现在这件作品中，同时，这件作品还有一些不同于其他作品的独到之处，都统一在率意自足的书写风格之中。所以这件陈淳绘画风格成熟期的作品，总体来看，体现了陈淳如下几个方面的鲜明的艺术特点。",[23,81,24,25,791,28,117,83,27,32,7,232,332,133],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb138d65dbbfc167920322e416ba20c1e.jpg","32.5×57.3厘米",[],37,{"id":797,"slug":798,"title":799,"dynasty":18,"author":240,"museum":151,"description":800,"tags":801,"thumbUrl":802,"material":36,"size":36,"collection":90,"collections":803,"showCount":804,"zanCount":40,"manualWeight":40,"mainColor":41},239176,"teng-luo-tu-zhou-wu-chang-shuo-239176","藤萝图轴","吴昌硕（1844—1927）原名俊，又名俊卿，中年以后更字昌硕，亦署仓硕、仓石、苍石、昌石，69岁后以字行，别号缶庐、苦铁、大聋等，浙江安吉人吴昌硕是近代中国最杰出的艺坛巨匠之一，他以诗、书、画、印四绝享誉海内外，对于近百年来中国传统书画篆刻艺术的走向影响深远。本次展览共汇聚了吴昌硕先生书法、绘画、篆刻、诗文信札等代表性作品170件，尤其是浙江省博物馆馆藏的吴昌硕书画精品，可谓“倾巢而出”，是近年来国内吴昌硕艺术作品一次较大规模的集中展示。",[24,118,28,117,27,83,7,285,87,120,119,309],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F202c0b852afa26acbbbea618af316f2d.jpg",[90],36,{"id":806,"slug":807,"title":808,"dynasty":701,"author":809,"museum":151,"description":810,"tags":811,"thumbUrl":812,"material":298,"size":299,"collection":36,"collections":813,"showCount":814,"zanCount":40,"manualWeight":40,"mainColor":41},290025,"mo-pu-tao-tu-cui-lang-gu-290025","墨葡萄图","崔浪谷","此作用通景八屏铺陈藤蔓葡萄，老干以焦墨写出，苍劲如屈铁，虬曲回旋将八幅连为整体，满溢蓬勃生机。\n\n葡萄以没骨晕染，墨色浓淡相衬，似见颗颗晶莹饱满，垂坠枝桠间尽显鲜活野趣。叶片以干湿浓淡区分正反向背，写意笔触随性却神完气足，藤蔓游丝牵连，尽展舒展之姿。\n\n落款轻落边角，隐于枝叶间不抢画面风采，尽显文人画雅致意趣。全作以水墨写就，舍去敷色，以墨色幻化尽显满架葡萄的丰润，将蔬果鲜活与文人疏朗逸气相融，寥寥笔墨间尽显写意花鸟的风神韵味。",[23,24,25,133,83,28,156,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff17d066d27c4a3f33bf5fde2af56c79a.jpg",[],35,{"id":816,"slug":817,"title":818,"dynasty":18,"author":226,"museum":151,"description":819,"tags":820,"thumbUrl":821,"material":36,"size":36,"collection":36,"collections":822,"showCount":823,"zanCount":40,"manualWeight":40,"mainColor":73},224185,"hua-niao-cao-chong-tu-ba-04-hua-yan-224185","花鸟草虫图八-04","此作画境清寂空灵，以大片素净绢底铺就秋意寥廓。枯曲枝桠携残叶斜垂，晕染出沉郁秋容，瘦硬题诗暗合秋声萧瑟。\n\n寒蝉静栖残叶之上，翼脉纤细通透，躯体晕染青绿，将蛰伏静气藏于枯叶间；野蜂振翅独行，墨色凝练收拢，晕开秋日细碎生机。设色简淡克制，枯褐与浅绿相映，将清秋的清寒与虫豸生趣相融，以小景见秋深，尽显文人写意的淡远雅致，把清秋里幽微的生命意趣娓娓道来。",[23,24,25,81,26,27,83,28,183,7,31,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5a6ebe9dc7f416e70b255842e6dea0d.jpg",[],34,{"id":825,"slug":826,"title":827,"dynasty":716,"author":364,"museum":151,"description":828,"tags":829,"thumbUrl":830,"material":36,"size":36,"collection":36,"collections":831,"showCount":832,"zanCount":145,"manualWeight":40,"mainColor":73},223625,"cao-chong-tu-pu-tao-juan-ben-yi-ming-223625","草虫图葡萄绢本","此作以郊野秋景为绘，上方葡萄柔蔓垂挂，攒珠般的果实隐于掌状青叶间，野意横生。\n画面主体蜀葵堆雪似的白花饱满舒展，朱红萱花斜斜探出，衬着星星点点的杂花细草，下方汀渚浅草错落。粉蝶蹁跹穿花，细蜂振翅逐香，草蜢静伏水畔，小景处处藏着灵动生机。\n设色轻淡柔润，晕染写实细腻，工笔勾勒虫羽的轻薄通透，写意铺陈草木的舒展之态，将郊原清寂又鲜活的意趣尽数定格，尽显写生花鸟的雅致野逸。",[23,24,81,25,287,27,51,28,183,156,136,30,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1952844787d4fec5abf43c241f76ab44.jpg",[],33,{"id":834,"slug":835,"title":836,"dynasty":18,"author":837,"museum":151,"description":838,"tags":839,"thumbUrl":842,"material":843,"size":844,"collection":36,"collections":845,"showCount":832,"zanCount":40,"manualWeight":40,"mainColor":41},222825,"yu-xi-xu-gu-222825","鱼嬉","虚谷","图绘水中金鱼三条，二条红白相间，一条白身红眼，水中游游弋嬉戏；水面上数要葡萄藤，宽大的葡萄叶黄灿灿，自然展开，藤上葡萄累累，令人垂涎。",[23,24,27,117,83,118,28,840,7,31,169,841],"鱼","水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7191b48084ecb908fe16b5ad2defef92.jpg","纸本 设色","99x35厘米",[],{"id":847,"slug":848,"title":849,"dynasty":46,"author":850,"museum":151,"description":851,"tags":852,"thumbUrl":856,"material":36,"size":36,"collection":36,"collections":857,"showCount":858,"zanCount":40,"manualWeight":40,"mainColor":73},228486,"shuang-ying-tu-lin-liang-228486","双鹰图","林良","《双鹰图》是清代画家朱耷创作的纸本水墨画，现藏于 。\n款识：八大山人写。\n钤印：八大山人（白）、何园（朱）、孝慈洪养百福（朱）、士元（朱）。\n藏印：程桢义联珠珍藏印（朱）签条：清高僧朱耷双鹰图真迹 。\n钤印：秋君（朱）、李秋印（白）。\n《双鹰图》画面以简洁的构图，别开生面，意境幽邃，寥寥数笔将冬季时节的气息表现得淋漓尽致。\n画中岩石一侧横斜出枯枝苍干，坡石边附有丛竹，双鹰一踞岩石上俯视，一栖树干上转头回望，呈呼应之势。\n二石二鹰一树描绘都是对大自然的精心观察后，通过变形取貌得其盎然生意，整个画面笔调圆润凝重，皆以圆弧线组成，富有流动感，浓淡干湿墨色相破相融，双鹰的画法虽可看到林良的影子，而意趣已有很大的不同。\n画面的构图不留地面和天空，仅有的右侧空白被作者自题识和款署给填补。\n此图无论是双鹰、山石、枯树都笔墨简括，意态尽出，显出了 以简取胜，以少胜多的独特写意艺术才能。\n219年9月2日，该作品在故宫博物院和 共同主办的《回望传承——八大山人纪念馆建馆6周年故宫典藏特展》中展出。\n朱耷（1626－176）。\n谱名统，有雪个、个山、人屋、道朗、八大山人等别号。\n南昌人。\n明末清初越的大画家。\n他是明太祖朱元璋第十六子朱权的九世孙。\n八岁能作诗，十一岁能画青绿山水，少时能悬腕写米家小楷。\n弱冠为诸生。\n明亡以后，他抱着对清王朝不满的态度，在奉新县耕香庵落发为僧，时年二十三岁。\n后隐居进贤县介冈及永丰县睦冈等地。\n顺治末年，当他三十六岁时潜回南昌，创建青云圃道院，花了六、七年时间，才使这坐道院初具规模，并在这里过着“一衲无余”与“吾侣徙耕田凿井”的劳动生活。\n因为常有清朝权贵来此骚扰，他常浪迹他方。\n康熙十七年他五十三岁时，临川县令胡亦堂闻其名，便延请他随其僧长饶宇朴等到临川官舍作客年余。\n这使他十分苦恼郁愤，遂佯为疯癫，撕裂僧服，独自走回南昌。\n一年多后，他又回到青云谱，并在这里度过“花甲华诞”。\n当他六十二岁时，不再做住持，便把道院交给他的道徒涂若愚主持。\n后又隐避在南昌附近的北兰寺、开元观等处。\n该画取法明代大画家 ，枯枝危石之上两苍鹰相互顾盼，俯仰之间，英武之姿一览无余。\n以“双鹰”题材为例，列在八大名下目前存世画作有三幅：美国大都会博物馆藏《双鹰图》（系 旧藏）;上海博物馆藏《双鹰图》;江西 藏《双鹰图》。\n三幅画作之中，“大都会本”依画面题记确定为八大山人172年所作;“上博本”为1699年所作;“南昌本”无年款。",[23,24,25,118,791,83,117,28,853,854,855,753,170,7,494],"院体","鹰","猛禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb96e154c48c16ef3deed3628318f6135.jpg",[],32,{"id":860,"slug":861,"title":862,"dynasty":701,"author":863,"museum":151,"description":864,"tags":865,"thumbUrl":871,"material":298,"size":299,"collection":872,"collections":873,"showCount":858,"zanCount":11,"manualWeight":40,"mainColor":73},225959,"irises-in-monets-garden-1899-1900-mo-nai-225959","Irises in Monets garden, 1899-1900","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。",[81,866,867,868,869,609,7,60,32,870],"油画","印象派","鸢尾花","花园","自然景观","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad68cdfaca5d06bfe7baa750a293d8c0.jpg","油画精选",[872],{"id":875,"slug":876,"title":877,"dynasty":18,"author":878,"museum":114,"description":879,"tags":880,"thumbUrl":881,"material":628,"size":882,"collection":36,"collections":883,"showCount":858,"zanCount":11,"manualWeight":40,"mainColor":41},216328,"jin-nong-ba-kai-hua-niao-tu-6-jin-nong-216328","金农八开花鸟图-6","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。",[24,25,26,83,28,156,7,31,232],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57170f603152106a2ea2e30cef7c2a80.jpg","30.5x40.9cm",[],{"id":885,"slug":886,"title":887,"dynasty":18,"author":888,"museum":204,"description":889,"tags":890,"thumbUrl":895,"material":896,"size":897,"collection":71,"collections":898,"showCount":899,"zanCount":40,"manualWeight":40,"mainColor":73},237494,"ti-shan-tu-zhou-yu-zhi-ding-237494","题扇图轴","禹之鼎","本幅右上自题“题扇图”，“都门客窗摹刘松年笔意。恭颂定翁老先生荣寿千春，广陵禹之鼎。”钤“慎斋禹之鼎”白文印，“广陵涛上渔人”朱文印，左下钤朱方印“必逢佳士亦写真”。\n据题款“都门客窗”知此图为画家寓居京城时期所作，从画风判断应为其早年摹诸家技法时的作品。图中所绘为“羲之题扇赠老姥”的故事。书圣王羲之见乡间老妇苦于生计，便为其所卖之扇题字，嘱老妇言“是王右军书，以求百钱”。老妇哪知其中奥妙，面露迟疑，不想人们竞相购买，一时传为佳话。\n此图青绿设色。画面上石崖高耸突兀，两棵古松挺拔苍劲，喻“益寿延年”。图中羲之坐于石桌旁落笔题字，老妇目露期盼，僮仆于溪畔洗砚，主题鲜明，生动自然。山水、人物用笔精细，设色艳丽明快，追求南宋院体画工整严谨的风格。",[24,25,118,27,51,53,493,214,891,892,893,894,7,260],"草地","桌子","童子","老者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7da342761f02fee861163ccd509fa22e.jpg","绢本，设色","纵132厘米，横55.8厘米",[71],31,{"id":901,"slug":902,"title":903,"dynasty":363,"author":904,"museum":151,"description":905,"tags":906,"thumbUrl":908,"material":36,"size":36,"collection":36,"collections":909,"showCount":899,"zanCount":40,"manualWeight":40,"mainColor":73},227974,"pu-tao-cao-chong-tu-lin-chun-227974","葡萄草虫图","林椿","《葡萄草虫图》是宋代画家林椿创作的一幅设色扇面画想，现藏于 。\n图中绘葡萄累累垂挂，蜻蜓、螳螂、蝈蝈、蝽象伏于藤蔓绿叶间，富有生活气息。\n昆虫以双钩填彩绘制，用线刚柔相济，表现出不同的质感，如蜻蜓轻薄的翅膀，蝽象坚硬的外壳。\n藤尖叶边略作点染，表现季节特征。\n此图承袭了北宋的写实画风。\n图绘绿色玫瑰葡萄一枝，须蔓缠绕，硕果累累，垂挂枝叶间，果实晶莹如玉，水分饱满，绿色枝叶，向四周伸展，须子有的曲绕枝干，有的随意飞飘。\n纺织娘在叶子上吸吮着鲜汁；螳螂抬首举前足；蜻蜓刚刚飞停于枝头。\n另有一只金龟子匍伏于葡萄枝上，为葡萄绿叶所掩遮：甲虫落枝叶上，或低头觅食，或抬首举足，形象生动有趣。\n昆虫形象毕肖，富有生趣，给人甜美丰实的精神享受。\n本幅款识“林椿”。\n整个画面题材取景为自然界一隅，十分平常，但对葡萄、叶片、昆虫的描绘真实牛功，具有深厚的写牛功力：林椿工花鸟，师法赵昌，多直接用色彩分别浓淡进行细致描绘：画葡萄分出浓淡不同层次，一气呵成，犹如泼墨，然后用浓墨，以草书法勾口厂筋、藤蔓。\n葡萄叶因用笔用墨的不同而能分出老嫩、正反、枯鲜等状态。\n葡萄果莹润饱满；蜻蜓尤备极工细，神韵奕奕，其翅膀透明轻盈；螳螂的眼睛明亮如镜，镰刀状的前足生有钩刺，日光炯炯，真有“挹露裳初试，迎风斧半撑的气势”。\n都是多层设色，层层晕染，造成形体的凹凸体积和具有质感。\n当然，在某些地方，如葡萄枝十及口卜脉也适当地用细线作一些勾勒，只是这些勾勒已具有粗细浓淡的变化，因此更富有表现力。\n这些为农家随处可见景物，画家以独具的慧眼撷之入画，可谓别开生面-总体来说，此图用笔精细，设色轻柔，变化层次微妙，工写兼施，相映成趣；构图善从一角出发，全幅荡漾着空灵的诗意、画面左下方署有“林椿”二宁款，小楷书，无收藏印。\n此幅为林椿真迹代表之作。\n《葡萄草虫图》体现了“以实写虚，意味无穷”的画风，表现出“诗中有画，画中有诗”和“诗是无形画，画是有形诗”的不同艺术意蕴风格，并求通过真实、具体的形象，抒写作者的感情，以激起读者的想象和联想，产生艺术魅力。\n整体画面的表现为虚实关系的进一步发展，体现了画家对物象的刻画以诗意的意境和气韵来追求现实的全实的客观精神，这就使得宋代宫廷花鸟画以自由来追求自然与人审美情怀，这就构成了一个高超的艺术境界。\n宋代绘画风格的现实性不仅是客观的物象，是画家用“写实”语言，在充分尊重客观对象，并按照创作需要和审美观念来对客观分析一系列的艺术，从而描述一个故事来表达自己的思想感情和精神寄托。\n可以看出，古代绘画通过“现实主义”的表现手法，不仅是形象的东西，而且还真正体现了事物的状态，画中所绘的动植物不仅真实存在，符合动植物的生长规律及习性还符合当时的时间，地点和情境。\n裱边旧题签：“林椿葡萄草虫。\n”存《名笔集》册中。\n经《虚斋名画录》卷十一、《中国古代书画目录》第二册著录。\n林椿（生卒年不详），钱塘（今浙江杭州）人。\n孝宗淳熙（1174－1189年）时为画院待诏，由于其画艺高超，受赐金带。\n所绘花鸟、果品、草虫小品为多，画法远师赵昌，近取李迪，时人赞为“极写生之妙，莺飞欲起，宛然欲活。\n”",[23,24,81,25,907,51,27,28,156,183,7,31],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F282864883129152b7ca84a825688e9bf.jpg",[],{"id":911,"slug":912,"title":913,"dynasty":46,"author":914,"museum":659,"description":915,"tags":916,"thumbUrl":917,"material":918,"size":919,"collection":90,"collections":920,"showCount":921,"zanCount":11,"manualWeight":40,"mainColor":73},222417,"cao-chong-ce-ye-wen-liang-222417","草虫册页","温良","温良，山西山阴人，明朝政治人物。进士出身。\n永乐九年，辛卯科山西乡试中举。永乐十九年（1421年）辛丑科进士，授户部郎中",[23,24,27,51,26,183,494,260,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78c9ca4b052ee1ae78ddd46b0f652dc2.jpg","绢本水墨设色","12.7×17.1",[90,71],28,{"id":923,"slug":924,"title":925,"dynasty":18,"author":926,"museum":151,"description":927,"tags":928,"thumbUrl":930,"material":36,"size":36,"collection":36,"collections":931,"showCount":932,"zanCount":40,"manualWeight":40,"mainColor":41},239213,"you-you-lu-ming-tu-zhou-lu-hui-239213","呦呦鹿鸣图轴","陆恢","此作以工写兼济之法绘就，卧鹿为画面主体，鹿角挺拔，皮毛晕染细腻，斑点疏密自然，姿态娴静悠然，尽显鹿的温驯灵秀。配景中虬曲古藤悬垂淡紫花串，笔意苍劲写意；奇石皴法朴拙厚重，下方溪涧涓涓，衬出山野静幽氛围。设色清雅柔和，淡彩晕染间诗意盎然，呼应主题悠然意境，尽显海派兼容并蓄的创作特色，将山野生机与雅致意趣相融，古韵悠然。",[81,24,118,27,51,491,929,231,214,55,7,495,169,891],"鹿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43fd5674ee1a1fb40a59d9cab601e009.jpg",[],26,{"id":934,"slug":935,"title":936,"dynasty":701,"author":863,"museum":151,"description":864,"tags":937,"thumbUrl":942,"material":298,"size":299,"collection":872,"collections":943,"showCount":932,"zanCount":40,"manualWeight":40,"mainColor":944},226145,"wistarias-at-giverny-mo-nai-226145","Wistarias 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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。",[24,27,117,118,987,32,7,31,988],"猫","草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3023be322395ca9d31ef8d9f9e9920f.jpg","149 x 61 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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”。",[24,51,27,26,28,1104,493,7,1105,285,509],"水仙","红色果实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bf70cc574cf94cf0ce9d7e1b7baed0d.jpg",[],14,{"id":1110,"slug":1111,"title":1112,"dynasty":18,"author":505,"museum":151,"description":1113,"tags":1114,"thumbUrl":1118,"material":298,"size":299,"collection":36,"collections":1119,"showCount":1108,"zanCount":40,"manualWeight":40,"mainColor":41},235750,"shi-di-ba-ren-he-zuo-jiu-qiu-tu-zhou-wang-hui-235750","师弟八人合作九秋图轴","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。”",[24,25,118,27,51,28,1115,211,381,1116,7,285,120,83,478,32,1117],"秋花","月季","合作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e1454da1fc321a9cf26daccf2083cf8.jpg",[],{"id":1121,"slug":1122,"title":1123,"dynasty":46,"author":462,"museum":1124,"description":1125,"tags":1126,"thumbUrl":1127,"material":1128,"size":1129,"collection":36,"collections":1130,"showCount":1108,"zanCount":40,"manualWeight":40,"mainColor":1131},222026,"tao-tu-nao-an-222026","萄图","日本京都国立博物馆","绘一枝葡萄滕自右上斜入画面，滕上一串葡萄垂下，大小不一，形状圆；葡萄叶正反绘出，正面深色，反面淡色，叶脉清晰；主枝前几枝细滕卷曲前伸，自在洒脱。",[23,24,25,83,28,156,7,368,232],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cd51ccc4999abaa20e8613f506e3ae8.jpg","绢本，水墨","27.5×29",[],"F48FB1",{"id":1133,"slug":1134,"title":1135,"dynasty":18,"author":364,"museum":151,"description":1136,"tags":1137,"thumbUrl":1139,"material":67,"size":36,"collection":36,"collections":1140,"showCount":1108,"zanCount":40,"manualWeight":40,"mainColor":73},216718,"hong-lou-meng-fu-tu-ce-7-yi-ming-216718","红楼梦赋图册-7","墨字如缕，竖排铺陈红楼雅赋；藤蔓牵萦，环伺绽放四时芳华。工笔勾勒的花叶间，粉紫蔷薇含露，明黄秋菊吐蕊，朱红山茶凝香，似将大观园的草木情韵藏于边框。文字的端庄与花卉的柔媚相映成趣，纸间仿佛漫溢着墨香与花香，把赋中铺陈的风月情浓，化作可见的藤蔓缠绕、花叶扶苏。笔触细腻温婉，每一缕藤蔓都似牵系着红楼儿女的情愫，每一朵花皆如映射着书中的青春光影，让观者在图文交融里，轻触那段古典岁月的温柔与怅惘。",[23,24,25,26,27,119,32,7,1019,1138],"文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5b36fd312405c5809ae903ea52d05ae.jpg",[],{"id":1142,"slug":1143,"title":1144,"dynasty":18,"author":364,"museum":151,"description":1145,"tags":1146,"thumbUrl":1147,"material":67,"size":36,"collection":36,"collections":1148,"showCount":1108,"zanCount":40,"manualWeight":40,"mainColor":73},216715,"hong-lou-meng-fu-tu-ce-9-yi-ming-216715","红楼梦赋图册-9","画面以竖排墨书为骨，字迹娟秀如诉红楼闺阁的细腻心绪。四周粉紫花卉与翠叶藤蔓柔枝轻绕，花瓣含露晕染清雅韵致，似将文字里的春愁、落花叹息凝于方寸。墨色沉静与花色明妍相映，既显文辞深沉，又添画面生机。布局疏密有致，花叶自然舒展包裹规整文字，如红楼繁华与落寞交织，静谧中流淌淡淡怅惘，引人沉浸于古典诗意与怅然之间。",[23,24,25,26,27,1019,119,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4e88ce204479f49300f83d98dcf1159.jpg",[],{"id":1150,"slug":1151,"title":1152,"dynasty":701,"author":1153,"museum":151,"description":1154,"tags":1155,"thumbUrl":1156,"material":36,"size":36,"collection":36,"collections":1157,"showCount":1158,"zanCount":40,"manualWeight":40,"mainColor":41},231668,"jiang-hu-shi-dai-pu-tao-tu-li-zhou-li-yuan-xing-suo-231668","江户时代 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Gadren at Giverny, 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著有《壹斋集》40卷，其中《奏御集》2卷，杂篇6卷，《萧、汤二老遗诗合编》1卷，《画品》1卷。工诗文、书画，所绘山水，有萧云从余韵，“久邀睿赏，与富阳首相。国称董（浩）黄（钺）二家”，宫内名画，多为其鉴定真伪。诗词有苏东坡风韵，年九十一岁失明，自号“盲左”仍吟诗作画，故乡风情，吟咏殆尽，所作《于湖竹枝词》66首，亦诗亦史，富有深厚乡情。宋子才有“太白脱靴”，“山谷返棹”两图，石刻在太平府尊经阁内。《志》谓“子才七世孙，元太平路经历景阳刻”。嘉庆十七年（1812），黄钺在作此图时也注为元景阳刻。后觉有误，自责捉笔：“承讹袭谬，未暇深考。顷友人拓赠二纸，始知其谬，愧赧无已，爰记以诗，以志吾荒陋焉”。虚怀若谷，难能可贵。\n道光五年（1825），黄钺76岁，请求归休。宣宗“温旨慰留”。次年，又申前请，获准荣归。道光二十一年六月三十日申时（即1841年8月16日15时至17时）在芜湖家中逝世，享年九十二岁。宣宗悼惜，追封为太子太保衔，入祀贤良祠，按尚书条例抚恤，谥号“勤敏”。命史馆立传，赐祭葬，树石碑，葬于当涂南褐山下。同年，奉旨入芜湖乡贤祠。 [3]\n清代乾隆、嘉庆、道光年间，当涂出了一位赫赫有名的内阁尚书、军机大臣。黄钺，字左田，号左君，又号壹斋、左盲，生于乾隆十五年（1750年），卒于道光二十一年（1841年）。因其一生敏而好学，著述甚多，又“执掌皖南北书院十载”，对当地文化、教育做出了重要贡献。\n乾隆三十八年（1773年）十月，年仅23岁的黄钺在太平府学政使院参加岁试。安徽提督学政朱筠阅其卷，以为“奇才异能”，称道不止。朱筠在离开当涂回京都时，特地将这位年轻人带入京城应试，虽未中试，但得以在《四库全书》馆做誉录工作，因之学识大进。乾隆五十三年（1788年），黄钺考中举人，五十五年中进士，授户部主事。当时权臣和坤主管户部，因二人意见相左，借故请假回家，协助安徽巡抚李世杰在芜湖赭山谪翠轩创建中江书院，招员授业。嘉庆四年（1799年），仁宗亲政，黄钺奉命进京加封为“懋勤殿行走”。嘉庆九年（1804年），提升为“赞善，入直南书房”。嘉庆十年，出任山西学政，又特旨任湖北、山东、顺天等地的乡试主考官，后又兼任山西、山东学政，准予密折奏事。嘉庆十五年（1810年），迁侍讲学士，十八年擢升内阁学士，十九年升任户部侍郎，不久，又调任礼部侍郎。嘉庆二十四年（1819年），升任礼部尚书，并“赐紫禁城骑马肩舆入直，加封太子少保衔”。次年，升会试主考官。道光元年（1821年），宣宗亲政，封其为军机大臣，不久，又调任户部尚书，参与大典事宜，从事“京察议叙”。道光三年，宣宗“赐宴玉澜堂”，并给功臣绘像，黄钺是当时朝廷15名老臣之一。道光五年，黄钺已75岁，请求归休，宣宗又“温旨慰留”。次年，又申前请，始获准归乡。黄钺在朝廷历时27年。\n黄钺一生为封建统治阶级“矢勤矢慎”，但他笔耕不辍，在学术上也很有造诣。著有《壹斋集》四十卷、《壹斋诗集》三十六卷、《韩诗增注正讹》十一卷、《萧汤二老遗诗合编》二卷、《奏御集》二卷，另有《画友录》、《泛浆录》、《游黄山记》、《两朝恩赉记》、《二十四画品》等著作。他善画山水花鸟，尤长画梅，初学王 ，晚学王原祁，与“四王”末流董邦达并称山水画家。他的画，笔墨苍厚，他的字，既有书卷气，也有台阁气。他的诗，别具一格，很有气势。曾作的《花卉图》、《端阳佳景图》、《高冈长松图》等，无论青绿山水和水墨山水都很有特色。\n黄钺在绘画艺术上经过多年的实践和探索，将自己积累的经验进行理论概括，撰成画学专著《二十四画品》一书。《二十四画品》是仿照唐司空图撰写的中国古代文集约名著《二十四诗品》的体例而写成的。书中运用四言韵语，把各种绘画艺术风格概括为：一气韵，二神妙，三高古，四苍润，五沉雄，六冲和，七淡远，八补拙，九超脱，十奇辟，十一纵横，十二淋漓，十三荒寒，十四清旷，十五性灵，十六圆浑，十七幽邃，十八明净，十九健拔，二十简洁，二十一精谨，二十二隽爽，二十三空灵，二十四韶秀。整部著作文词典雅，清丽可诵，表现了栩栩如生的艺术形象。\n黄钺对谢朓、李白、黄庭坚十分崇拜，曾多次游览青山和采石矶。他颂扬谢朓“谢公爱青山，结宇恣啸咏”；在《咏李翰林》诗中讴歌李白：“仙骨埋青山，草木发灵异。”到采石矶“高怀吊古”，“掩英雄之泪，吟供奉之诗”。在他作的《采石矶赋》一文中，除了历数在这里发生的许多惊天动地的事件和英雄人物外，还特地为李白而感叹，说：“白也不群，宗之潇洒，着宫锦而扬帆，共兰舟而持 。旁若无人，歌清四野，当此之时，何其壮也！”黄钺又诗云：“平轩遥瞰一湖开，闻说涪翁守郡来。当日到官才九日，未应便起读书台。”该诗也附注曰：“赭山有滴翠轩，相传为涪翁读书处。李之仪跋山谷二词：‘鲁直请无为、当涂，而得当涂，犹蹭蹬一年方到官，既到九日而罢，又数日乃去。’“\n道光十一年（1831年），长江发生水患，回到家乡的黄钺 积极倡兴赈济，带头捐献俸银千两。道光十三年，濒临江淮的州县又遭水灾，黄钺又“捐百金助赈”，以救乡民。次年，当涂、芜湖一带饥荒，米珠薪桂，人民生计困难，黄钺又与王泽、许耕余等发动有田富户及绅士14家，按田交谷600担，兴办“丰备义仓”12座，当义仓上梁即将落成时，黄钺以诗记其事道：“成城缘众志，图匮在年丰。”并在“丰备义仓”的旁边建立私塾，招收蒙童，普及地方教育事业。\n道光十六年，88岁已不能认字，但仍吟诗咏物，所作《于湖竹枝词》66首，亦诗亦史，深入浅出，富有深厚的爱乡之情。",[24,27,51,26,28,331,7,31,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafa72f9c2a7381c06940029ca79ece53.jpg",[],{"id":1245,"slug":1246,"title":1247,"dynasty":701,"author":1248,"museum":151,"description":1249,"tags":1250,"thumbUrl":1254,"material":298,"size":299,"collection":872,"collections":1255,"showCount":39,"zanCount":40,"manualWeight":40,"mainColor":944},225863,"undergrowth-july-fan-gao-225863","Undergrowth (July - )","梵高","文森特·威廉·梵高（Vincent Willem van Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[866,1251,1252,1253,55,7,1195,1092],"后印象派","树林","灌木丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b663238660a4ed0b834f202f2bce4f9.jpg",[872],{"id":1257,"slug":1258,"title":1259,"dynasty":18,"author":475,"museum":204,"description":1260,"tags":1261,"thumbUrl":1262,"material":896,"size":1263,"collection":36,"collections":1264,"showCount":39,"zanCount":11,"manualWeight":40,"mainColor":41},222785,"hua-niao-ce-ye-05-lang-shi-ning-222785","花鸟册页05","此图册分别描绘了牡丹、兰花、罂粟、萱草、荷花、梅花等艳丽多姿的花卉和体态生动的蝶、鸟。构图上取法中国传统花鸟画的格局，以虚托实，注重对所绘物象的突出。在表现技法上，则充分发挥了欧洲绘画注重明暗及透视的特点，以工致细腻的笔触，刻画出花瓣、叶片以及鸟雀的羽毛质感和体积感，呈现出与传统的中国花鸟画迥然不同的艺术风貌。这种“中西合璧”的画风成为清代宫廷绘画艺术的一大特色，受到了清皇室的青睐。",[23,26,51,27,119,28,139,102,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75ffe40a33466d2b3e879170853c304b.jpg","纵32.6厘米，横28.6厘米",[],{"id":1266,"slug":1267,"title":362,"dynasty":716,"author":364,"museum":151,"description":1268,"tags":1269,"thumbUrl":1270,"material":298,"size":299,"collection":36,"collections":1271,"showCount":1272,"zanCount":40,"manualWeight":40,"mainColor":73},288920,"qiu-gua-tu-yi-ming-288920","元代绘画中，文人画占据画坛主流。因元代未设画院，除少数专业画家直接服务于宫廷外，大都是身居高位的士大夫画家和在野的文人画家。他们的创作比较自由，多表现自身的生活环境、情趣和理想。山水、枯木、竹石、梅兰等题材大量出现，直接反映社会生活的人物画减少。作品强调文学性和笔墨韵味，重视以书法用笔入画和诗、书、画的三结合。",[81,24,25,28,27,51,367,7,368,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b86617a97a20512828f8d9b641fdd44.jpg",[],10,{"id":1274,"slug":1275,"title":1276,"dynasty":18,"author":1034,"museum":151,"description":1035,"tags":1277,"thumbUrl":1278,"material":298,"size":299,"collection":36,"collections":1279,"showCount":1272,"zanCount":40,"manualWeight":40,"mainColor":41},238798,"hua-hui-xiao-ce-dong-gao-238798","花卉小册",[24,25,26,27,51,32,169,285,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a8f5f27717acb75eabb9f986a46f878.jpg",[],{"id":1281,"slug":1282,"title":1283,"dynasty":18,"author":1284,"museum":204,"description":1285,"tags":1286,"thumbUrl":1290,"material":612,"size":1291,"collection":36,"collections":1292,"showCount":1272,"zanCount":40,"manualWeight":40,"mainColor":41},238304,"shi-liu-luo-han-ce-jia-quan-238304","十六罗汉册","贾全","贾全，生卒年不详，乾隆时供奉内廷。工画人物及马。此册画不同形象的罗汉十六尊。佛像采用中国传统人物画技法，勾线填色。人物神态平和，面部晕染有致，衣纹流畅，背景简率。",[24,25,27,83,51,26,1287,53,214,55,640,7,1288,1289],"宗教","拐杖","篮子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea59d68857ff452e20637f318e5edea.jpg","纵31.5厘米横25厘米",[],{"id":1294,"slug":1295,"title":1296,"dynasty":18,"author":636,"museum":151,"description":1297,"tags":1298,"thumbUrl":1299,"material":36,"size":36,"collection":36,"collections":1300,"showCount":1272,"zanCount":107,"manualWeight":40,"mainColor":41},224317,"hua-niao-ce-shi-kai-7-li-shan-224317","花鸟册十开7","此帧绘牵牛绕竹，藤蔓蜷曲舒展，翠叶柔嫩鲜活，蓝紫花瓣晕染出通透光泽，将朝颜初绽的柔媚尽致展现。笔意兼具工致与写意，花叶灵动鲜活，如见晨露未晞的篱边实景。左侧书法笔力苍劲，诗书与绘事相映，文人雅趣尽显。以写生捕捉朝花之真，以笔墨挥洒写意之韵，将草木柔媚与文人意趣相融，雅致脱俗，尽显花间清逸之美。",[23,24,26,27,117,28,7,140,368,640,119,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365822b4c1cbcce04446c2d41651ab33.jpg",[],{"id":1302,"slug":1303,"title":1304,"dynasty":18,"author":475,"museum":204,"description":1260,"tags":1305,"thumbUrl":1308,"material":896,"size":1263,"collection":36,"collections":1309,"showCount":1272,"zanCount":11,"manualWeight":40,"mainColor":41},222787,"hua-niao-ce-ye-07-lang-shi-ning-222787","花鸟册页07",[23,24,81,25,1306,51,27,1307,28,952,418,285,7,119,120],"册页","中西合璧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94fb8508d2a99083a74c38b6844e1704.jpg",[],{"id":1311,"slug":1312,"title":1313,"dynasty":363,"author":364,"museum":204,"description":1314,"tags":1315,"thumbUrl":1318,"material":896,"size":1319,"collection":36,"collections":1320,"showCount":1321,"zanCount":40,"manualWeight":40,"mainColor":41},232989,"chui-liu-fei-xu-tu-ye-yi-ming-232989","垂柳飞絮图页","图绘新绿垂柳四枝，袅袅生姿，柳絮似雪飞舞，透露无限春意。画中柳枝用中锋一笔画出；柳叶用细笔勾勒，并填以汁绿；柳絮用白粉信笔点之。全图用笔工整，赋色淡雅。构图疏密得体。上方垂下的柳枝与右侧伸出的柳枝将画面分割成形状不等的四部分，小中见大，引人遐思。图的左上方有宋宁宗皇后杨氏的题诗：“线捻依依绿，金垂袅袅黄”，并钤八卦中的“坤卦”形印。\n对幅有清乾隆皇帝御题诗一首：“庆元有杨后，可是出关西。画自女中佼，书将帝与齐。风枝如向日，雪絮不沾泥。设较谢家句，一筹当让亏。”钤“太上皇帝之宝”、“八徵耄念之宝”、“自强不息”等印。",[81,24,25,26,27,684,120,1316,7,1317],"垂柳","飞絮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50648bb942303a83842983bab83af9b7.jpg","纵25.8厘米，横26.4厘米",[],9,{"id":1323,"slug":1324,"title":1325,"dynasty":18,"author":364,"museum":151,"description":1326,"tags":1327,"thumbUrl":1329,"material":298,"size":299,"collection":36,"collections":1330,"showCount":1321,"zanCount":40,"manualWeight":40,"mainColor":41},229104,"fen-cai-hu-lv-di-hua-niao-wen-gai-he-yi-ming-229104","粉彩湖绿地花鸟纹盖盒","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",[1231,1328,27,28,139,7,418,1220],"粉彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd35b0b783d37e651a59d75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1757年5月25日（宝暦7年4月8日））は、江戸時代中期の画家である。名は庄六。別号に青白堂。",[23,24,25,27,51,417,7,214,1547],"云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F190ac07d878e980e83e2da06bc988375.jpg",[],{"id":1551,"slug":1552,"title":1553,"dynasty":701,"author":364,"museum":151,"description":1554,"tags":1555,"thumbUrl":1556,"material":36,"size":36,"collection":36,"collections":1557,"showCount":189,"zanCount":40,"manualWeight":40,"mainColor":41},225499,"fu-shi-hui-257-yi-ming-225499","浮世绘257","这是一幅雅致的虫草蔬果绘，跨页铺展乡野闲趣。左页豆枝垂坠，薄叶晕着浅褐秋意，小蚱蜢静伏长豆之上，怯怯窥望周遭；右页倭瓜饱满沉实，暖黄似浸过蜜色，螳螂昂首立身瓜顶，舒展长臂透着灵动生姿，柔蔓牵缠的粉白花萼蜷卧旁侧。\n\n线条清隽疏朗，设色温柔内敛，浅米纸底衬着草木青苍、瓜实暖调，晕开松弛的秋日闲情。配侧的俳句题字诗画合璧，将乡野一隅的细碎生机揉入笔端，带着侘寂悠然的和风意趣，把市井日常里的山野清欢，绘作隽永的风物闲章。",[707,26,27,51,577,31,121,137,138,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F215a6c5cb809a2aa1be1e56f0eb2b7d1.jpg",[],{"id":1559,"slug":1560,"title":1561,"dynasty":18,"author":364,"museum":151,"description":1562,"tags":1563,"thumbUrl":1565,"material":67,"size":36,"collection":36,"collections":1566,"showCount":189,"zanCount":40,"manualWeight":40,"mainColor":73},216697,"hong-lou-meng-fu-tu-ce-27-yi-ming-216697","红楼梦赋图册-27","墨笔赋文如织，密密匝匝铺陈画面中央，似将红楼旧梦的缱绻与唏嘘，凝进每一处笔画里。左侧红蔓垂垂，缀着点点朱实，如泣血的相思缠绕；右侧绿柯横斜，衬着殷红小果，若含露的情丝牵萦。顶部青芦舒展，间杂绯色花穗，风致嫣然，恰与文中婉转韵致相映。图文相契，笔墨间既有闺阁清雅，又藏繁华落尽的怅惘，仿佛金陵十二钗的影影绰绰，正于纸页间流转不灭余韵。",[23,24,25,26,27,51,119,684,260,7,705,1564],"红果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eaccf15f20d6155b4e6ec6303ef06ff.jpg",[],{"id":1568,"slug":1569,"title":1570,"dynasty":18,"author":364,"museum":151,"description":1571,"tags":1572,"thumbUrl":1578,"material":298,"size":299,"collection":36,"collections":1579,"showCount":107,"zanCount":40,"manualWeight":40,"mainColor":73},270518,"hong-mu-qian-yu-chang-fang-pen-bi-xi-pu-tao-pen-jing-yi-ming-270518","红木嵌玉长方盆碧玺葡萄盆景","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。",[1573,1574,1531,156,1575,1576,7,1577],"盆景","玉石","红木","工艺品","假山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbec5f434d136f09371fe0a21a728d909.jpg",[],{"id":1581,"slug":1582,"title":1583,"dynasty":18,"author":364,"museum":151,"description":1584,"tags":1585,"thumbUrl":1587,"material":298,"size":299,"collection":36,"collections":1588,"showCount":107,"zanCount":40,"manualWeight":40,"mainColor":41},258938,"qing-hua-hu-lu-ping-yi-ming-258938","青花葫芦瓶","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。",[1231,1586,32,7,1220,478],"青花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d645abe43ac8aa877ea32d9dfe693dd.jpg",[],{"id":1590,"slug":1591,"title":1592,"dynasty":701,"author":1593,"museum":151,"description":1594,"tags":1595,"thumbUrl":1606,"material":298,"size":299,"collection":36,"collections":1607,"showCount":107,"zanCount":40,"manualWeight":40,"mainColor":944},232287,"a-er-ma-14-lao-lun-si-a-er-ma-ta-de-ma-232287","阿尔玛14","劳伦斯·阿尔玛-塔德玛","劳伦斯·阿尔玛-塔德玛（Lawrence Alma-Tadema, 1836年1月8日—1912年6月25日）是英国维多利亚时代的知名画家，他的作品以豪华描绘古代世界（中世纪前）而闻名。\n生于荷兰的德龙赖普（Dronrijp），他的父亲彼得·塔德玛（Pieter Tadema）是一名公证人，在他4岁时便去世了。阿尔玛是他教父的名字，他的生母是他父亲的第二名妻子，家庭人口相当众多。家里原准备让他继承父业，但他表现出了对艺术的强烈偏好，因此将他送至安特卫普，在1852年进入了那里的艺术学院，并在亨德利克·利思（Hendrik Leys）的画室学习。",[81,866,1596,53,60,1597,1598,7,1599,1600,1601,1602,1603,1604,1605],"写实主义","房屋","门窗","盆栽","水罐","碗","推车","服饰","头巾","长袍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c3521d3b0d4c155f13c3a86f3e1214d.jpg",[],{"id":1609,"slug":1610,"title":1611,"dynasty":18,"author":364,"museum":151,"description":1612,"tags":1613,"thumbUrl":1619,"material":298,"size":299,"collection":36,"collections":1620,"showCount":107,"zanCount":40,"manualWeight":40,"mainColor":41},229468,"yong-zheng-song-hua-shi-gua-shi-yan-yi-ming-229468","雍正 松花石瓜式砚","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。",[478,1614,1615,1616,1617,7,31,1618],"松花石","砚","石雕","瓜形","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f504f5f4e37b9dc3e94704cfca4370c.jpg",[],{"id":1622,"slug":1623,"title":1624,"dynasty":18,"author":364,"museum":151,"description":1625,"tags":1626,"thumbUrl":1627,"material":67,"size":36,"collection":36,"collections":1628,"showCount":107,"zanCount":40,"manualWeight":40,"mainColor":73},216692,"hong-lou-meng-fu-tu-ce-33-yi-ming-216692","红楼梦赋图册-33","藤蔓如柔丝轻缠，牵缀着粉白小花与深红浆果，将满篇墨字温柔环抱。竖排文字墨色匀净，笔锋端凝，似在低声诉说红楼深处的韵事。花叶勾勒细腻入微，红绿相映间透着清雅生机，与文字里的诗意互为表里。整幅画面如一方被时光浸润的信笺，图文交织成旧梦碎片，静默中流淌着古典雅致与淡淡怅惘，仿佛能触到红楼人物若有若无的气息。",[23,24,25,26,27,7,32,119,684],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24138bb077fb75a6389a5a137ae00d31.jpg",[],{"id":1630,"slug":1631,"title":1632,"dynasty":18,"author":1633,"museum":764,"description":1634,"tags":1635,"thumbUrl":1637,"material":467,"size":1638,"collection":36,"collections":1639,"showCount":107,"zanCount":40,"manualWeight":40,"mainColor":41},214986,"zhi-tou-za-hua-ce-2-gao-qi-pei-214986","指头杂画册-2","高其佩","清朝时期的高其佩是一位著名的画家，他的指头杂画册是一本收录了他的各种杂画的画册。这本画册是高其佩的代表作之一，其中包含了他的许多经典作品。高其佩的指头杂画册被广泛认为是清朝时期最优秀的画册之一，其中的画作展现了高其佩高超的画技和对自然的深刻理解。\n\n高其佩的指头杂画册中的画作涵盖了许多不同的题材，包括自然风景、人物、动物、花卉等。他的画作细腻生动，富有表现力，深受观众的喜爱。高其佩还经常在他的画作中加入许多寓意深刻的元素，使得他的画作不仅具有观赏性，而且富有哲理性。\n\n高其佩的指头杂画册是他一生的杰作，也是中国传统绘画的瑰宝。现在，这本画册被广泛收藏，并被认为是中国文化遗产的重要组成部分。",[23,24,25,26,83,27,1636,28,210,135,7,31],"指头画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed3b2824022c55fac80f6b351d8270cc.jpg","36.7x33.1cm",[],{"id":1641,"slug":1642,"title":1643,"dynasty":18,"author":364,"museum":151,"description":1326,"tags":1644,"thumbUrl":1647,"material":298,"size":299,"collection":36,"collections":1648,"showCount":145,"zanCount":40,"manualWeight":40,"mainColor":944},269253,"zhu-diao-hu-lu-shi-he-yi-ming-269253","竹雕葫芦式盒",[1645,1531,134,7,368,1576,1646],"竹雕","盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24026abc5ce6510dc77655b6d27211dd.jpg",[],{"id":1650,"slug":1651,"title":1652,"dynasty":18,"author":364,"museum":151,"description":1653,"tags":1654,"thumbUrl":1655,"material":298,"size":299,"collection":36,"collections":1656,"showCount":145,"zanCount":40,"manualWeight":40,"mainColor":73},258574,"qian-long-kuan-fen-cai-hu-lu-bi-yan-hu-yi-ming-258574","乾隆款粉彩葫芦鼻烟壶","鼻烟壶指的是盛鼻烟的容器，小可手握，便于携带。明末清初，鼻烟传入中国，鼻烟盒渐渐东方化，产生了鼻烟壶。\n人们嗜用鼻烟的习惯几近绝迹，但鼻烟壶却作为一种精美艺术品流传下来，而且长盛不衰，被誉为“集中各国多种工艺之大成的袖珍艺术品”。\n中国鼻烟壶，作为精美的工艺品，采用瓷、铜、象牙、玉石、玛瑙、琥珀等材质，运用青花、五彩、雕瓷、套料、巧作、内画等技法，汲取了域内外多种工艺的优点，被雅好者视为珍贵文玩，在海内外皆享有盛誉。\n在世界上，中国素有「烟壶之乡」的称誉，其中鼻烟壶以其精巧卓绝的制作技术，被称为「集多种工艺之大成于一身的袖珍艺术品」。鼻烟壶为盛装鼻烟之容器，鼻烟系一种烟草制品，原为西洋之物，明末清初自欧洲传入中国后，加工转化后成为粉末状药材，吸闻之后不但具有明目避疫的功效，吸闻鼻烟在各阶层更是蔚为风尚，且迅速地融入了中国的艺术风格，发展出匠心独运的各式鼻烟壶，在清代美学工艺上大放异彩，成为清代艺术的重要标志之一。",[18,1328,1231,1220,134,7,31,136,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcec5b2a8cfc416fdcc5a06d4797765f0.jpg",[],{"id":1658,"slug":1659,"title":1660,"dynasty":46,"author":1661,"museum":151,"description":1662,"tags":1663,"thumbUrl":1664,"material":36,"size":36,"collection":36,"collections":1665,"showCount":145,"zanCount":40,"manualWeight":40,"mainColor":41},237050,"hua-hui-ren-wu-ce-mao-fu-guang-237050","花卉人物册","毛复光","此作以水墨写意绘就松鼠戏于葡萄枝间。松鼠身形以细墨线勾勒轮廓，淡墨晕染绒毛，将其机敏灵动的神态尽显，正俯身探看，仿佛下一秒便要跃动。葡萄藤蔓以枯笔写就，苍劲老辣，叶片以泼墨晕染，浓淡干湿交错，尽显水墨层次变化，串串葡萄以墨点攒聚，鲜活饱满。画面留白恰到好处，虚实相生，以极简的笔墨营造出山野间的悠然野趣，简淡疏朗间尽显文人写意画的清雅意韵，将自然生机凝于尺幅之中。",[24,25,26,83,231,7,31,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b58d9ee62c392fbba605efc2c50c1a9.jpg",[],{"id":1667,"slug":1668,"title":1669,"dynasty":701,"author":1670,"museum":151,"description":1671,"tags":1672,"thumbUrl":1680,"material":298,"size":299,"collection":36,"collections":1681,"showCount":145,"zanCount":40,"manualWeight":40,"mainColor":73},232557,"mi-lai-si-101-yue-han-ai-fu-li-te-mi-lai-si-232557","米莱斯101","约翰·埃弗里特米莱斯","John Everett Millais十九世纪英国画家，是拉斐尔前派的三个创始人中年龄最小、才华最高的一位，其它两位是亨特和布朗。其油画《基督在自己父母家中》(1850)中体现了该派精神，以画风细腻著称。\n米莱斯是拉斐尔前派中最有才华的一个。他出生于南埃普顿，幼年就表现出非凡的绘画才能。10岁时，他的绘画就获得了艺术协会颁发的银质奖章。据说当时他的个子还没有讲台高，只能站在凳子上领奖。两年后，他的天赋为马丁·希伊勋爵发现，转入皇家美术学院的附属学校(希伊后来是皇家美术学院院长)，以后又转入皇家美术学院，以后又多次获奖，并在18岁那年获得金质奖章，是学院公认的高材生。",[1673,1674,1086,1675,1676,53,1677,7,260,1678,1679,1092,285],"素描","速写","线条","明暗","孩童","长椅","长裙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf79a8db469c7a81892b84cc377f3695.jpg",[],{"id":1683,"slug":1684,"title":1685,"dynasty":701,"author":1670,"museum":151,"description":1671,"tags":1686,"thumbUrl":1692,"material":298,"size":299,"collection":36,"collections":1693,"showCount":145,"zanCount":40,"manualWeight":40,"mainColor":73},232545,"mi-lai-si-89-yue-han-ai-fu-li-te-mi-lai-si-232545","米莱斯89",[1438,1687,53,1688,1689,1690,7,1691,1086],"黑白","情侣","古典服饰","亲昵","砖墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6be67afcee1619e0fe971c62c946b66d.jpg",[],{"id":1695,"slug":1696,"title":1697,"dynasty":18,"author":364,"museum":151,"description":1698,"tags":1699,"thumbUrl":1703,"material":298,"size":299,"collection":36,"collections":1704,"showCount":145,"zanCount":40,"manualWeight":40,"mainColor":73},229581,"diao-huang-yang-mu-lou-kong-gua-die-bi-tong-yi-ming-229581","雕黄杨木镂空瓜瓞笔筒","笔筒： 用陶瓷、竹木、等制成的筒形插笔器具。笔筒是搁放毛笔的专用器物，据文献记载，它的材质有镏金、翡翠、紫檀和乌木，现在我们能够见到的传世器物，大多是用瓷或者是竹木制作的。具有收藏价值。",[478,1700,1701,1531,1702,405,7,1220],"黄杨木","木质","镂空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf3d1ea9060bfc5dc94a899f4a7fa42b.jpg",[],{"id":1706,"slug":1707,"title":1708,"dynasty":18,"author":364,"museum":151,"description":1709,"tags":1710,"thumbUrl":1715,"material":298,"size":299,"collection":36,"collections":1716,"showCount":145,"zanCount":40,"manualWeight":40,"mainColor":73},229119,"ci-tai-hua-fa-lang-zi-di-hua-hui-si-cun-die-yi-ming-229119","磁胎画珐瑯紫地花卉四寸碟","珐琅又称“佛郎”、“法蓝”，是由中国隋唐时古西域地名拂菻音译而来。珐琅器是以珐琅为材料装饰而制成的器物，其基本成分为石英、长石、硼砂和氟化物，与陶瓷釉、琉璃、玻璃同属硅酸盐类物质。依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。\n珐琅就是将经过粉碎研磨的珐琅釉料，涂施于经过金属加工工艺制作后的金属制品的表面，经干燥、烧成等制作步骤后，所得到的复合性工艺品。珐琅工艺的制作分类很多，一般根据制作方法和胎地种类将其分类。 [2] 珐琅依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。其中掐丝珐琅器就是俗称的“景泰蓝”，15世纪中期明代景泰年间的制品尤为著称，故有景泰蓝之称。\n清代，西洋珐琅从广州传入中国，广州生产的珐琅俗称“广珐琅”，是朝廷的贡品，其中最著名的是画珐琅 ，錾胎珐琅的制作中心也在广州，透明珐琅器也以广州出产的最为著名。",[478,1711,1712,27,1231,32,343,7,1713,1714],"珐琅彩","磁胎画珐琅","紫地","碟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ddfc2c348fe67b3bb1c5a7cde889836.jpg",[],{"id":1718,"slug":1719,"title":1720,"dynasty":363,"author":364,"museum":151,"description":1721,"tags":1722,"thumbUrl":1725,"material":298,"size":299,"collection":36,"collections":1726,"showCount":145,"zanCount":40,"manualWeight":40,"mainColor":41},223883,"yu-gua-wen-pei-yi-ming-223883","玉瓜纹珮","宋辽金时期，实用装饰玉占重要地位，礼性大减，玩味大增，更加接近现实生活。文人的审美意识逐渐渗入玉器的造型之中，总体风格不如唐代浑厚有力，多小件精致器物，出现了玉童子、玉笔架、玉镇纸等新品种。雕刻技法出现深层立体镂雕。值得一提的是，辽、金时契丹、女真等少数民族政权狩猎风盛，喜用海东青捕天鹅和猎取熊、鹿等，这一题材的春水、秋山玉洋溢着浓厚的生活气息和游牧文化风格，也颇受汉族士大夫阶层的喜爱。\n宋辽金玉器在继承隋唐文化市庶化、艺术化的基础上，形成了鲜明的朴素淡雅艺术风格。浓郁的乡土韵味，彰显的民族特性，通过构图精致、空灵剔透、神形兼备的“宋作工”体现得淋漓尽致。宋辽金玉器是我国玉文化的一朵奇葩，它的艺术成就可谓“光前绝后”。",[1574,1531,1723,1724,405,31,7],"宋代","浮雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2bcbbc3a1426c41acd18d766aca24c2.jpg",[],{"id":1728,"slug":1729,"title":1445,"dynasty":1446,"author":113,"museum":20,"description":1730,"tags":1731,"thumbUrl":1732,"material":36,"size":36,"collection":36,"collections":1733,"showCount":145,"zanCount":40,"manualWeight":40,"mainColor":1452},203040,"pu-tao-tu-zhou-qi-bai-shi-203040","藤蔓以枯润相济的墨线纵逸挥洒，如草书笔意般流转，缠绕交错间尽显生机。叶片以泼墨法为之，浓墨沉厚处见苍劲，淡墨晕染间显空灵，浓淡虚实相映成趣。葡萄串以淡紫设色泼染，颗颗饱满圆润，似含晶莹汁水，墨叶紫实相衬，质朴鲜活。整体画风简括传神，写意不刻意求工却形神兼备，尽显对生活的细腻体察与笔墨的娴熟驾驭，于疏放间传递出田园蔬果的盎然意趣，观之令人心生愉悦。",[24,83,27,117,155,118,28,156,7,368],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5e4f9f1e4f3c8bcad4247d92429ee74.jpg",[],{"id":1735,"slug":1736,"title":1737,"dynasty":701,"author":364,"museum":151,"description":1738,"tags":1739,"thumbUrl":1745,"material":298,"size":299,"collection":36,"collections":1746,"showCount":11,"zanCount":40,"manualWeight":40,"mainColor":1131},289072,"joseph-wright-smaller-italian-sketchbook-yi-ming-289072","Joseph 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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。",[791,1231,1232,27,51,156,7,31,1887],"饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bd7910c8abec08e92b29372b1bacb0a.jpg",[],{"id":1891,"slug":1892,"title":1884,"dynasty":46,"author":364,"museum":151,"description":1885,"tags":1893,"thumbUrl":1894,"material":298,"size":299,"collection":36,"collections":1895,"showCount":40,"zanCount":40,"manualWeight":40,"mainColor":73},256976,"cheng-hua-kuan-dou-cai-pu-tao-wen-bei-yi-ming-256976",[46,1231,1232,27,156,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5154a61f1ac99b9e15aa1951726182b.jpg",[],{"id":1897,"slug":1898,"title":1899,"dynasty":46,"author":364,"museum":151,"description":1885,"tags":1900,"thumbUrl":1902,"material":298,"size":299,"collection":36,"collections":1903,"showCount":40,"zanCount":40,"manualWeight":40,"mainColor":944},256454,"dou-cai-pu-tao-wen-gao-zu-bei-yi-ming-256454","斗彩葡萄纹高足杯",[791,1232,1231,1901,156,7,31],"高足杯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb12381a38ad99157851520a468cf7881.jpg",[],{"id":1905,"slug":1906,"title":1884,"dynasty":46,"author":364,"museum":151,"description":1885,"tags":1907,"thumbUrl":1908,"material":298,"size":299,"collection":36,"collections":1909,"showCount":40,"zanCount":40,"manualWeight":40,"mainColor":944},256453,"cheng-hua-kuan-dou-cai-pu-tao-wen-bei-yi-ming-256453",[1231,1232,791,51,156,7,31,1887],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F921edcdf509717f26b82bd0c85360a98.jpg",[],{"id":1911,"slug":1912,"title":1884,"dynasty":46,"author":364,"museum":151,"description":1885,"tags":1913,"thumbUrl":1914,"material":298,"size":299,"collection":36,"collections":1915,"showCount":40,"zanCount":40,"manualWeight":40,"mainColor":73},256452,"cheng-hua-kuan-dou-cai-pu-tao-wen-bei-yi-ming-256452",[46,1231,1232,1887,156,7,31,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfc430772457f19925572421bbc01108.jpg",[],{"id":1917,"slug":1918,"title":1884,"dynasty":46,"author":364,"museum":151,"description":1885,"tags":1919,"thumbUrl":1920,"material":298,"size":299,"collection":36,"collections":1921,"showCount":40,"zanCount":40,"manualWeight":40,"mainColor":73},256451,"cheng-hua-kuan-dou-cai-pu-tao-wen-bei-yi-ming-256451",[791,1232,1231,27,51,156,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1be03dccee18e655d97b13e2ec9b675.jpg",[],{"id":1923,"slug":1924,"title":1925,"dynasty":18,"author":364,"museum":151,"description":1520,"tags":1926,"thumbUrl":1930,"material":298,"size":299,"collection":36,"collections":1931,"showCount":40,"zanCount":40,"manualWeight":40,"mainColor":41},250203,"qian-long-kuan-hua-fa-lang-hua-hui-wu-fu-wen-wan-yi-ming-250203","乾隆款画珐琅花卉五蝠纹碗",[1927,1928,27,51,32,1929,139,285,7],"珐琅器","画珐琅","蝙蝠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F655ebec1b0f9c39b117b52a28ecd858b.jpg",[],{"id":1933,"slug":1934,"title":1935,"dynasty":18,"author":364,"museum":151,"description":1326,"tags":1936,"thumbUrl":1941,"material":298,"size":299,"collection":36,"collections":1942,"showCount":40,"zanCount":40,"manualWeight":40,"mainColor":73},248592,"ti-hong-jin-wen-guo-shi-he-yi-ming-248592","剔红锦纹果式盒",[478,1529,1937,1531,1938,1939,7,31,1940],"剔红","锦纹","果式造型","雕漆工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F249cd468ac6273e6677d49935e5b071c.jpg",[],{"id":1944,"slug":1945,"title":1946,"dynasty":18,"author":364,"museum":151,"description":1326,"tags":1947,"thumbUrl":1951,"material":298,"size":299,"collection":36,"collections":1952,"showCount":40,"zanCount":40,"manualWeight":40,"mainColor":73},247873,"dui-cai-ba-xian-zhu-shou-li-tie-guai-tu-hu-lu-shi-he-yi-ming-247873","堆彩八仙祝寿李铁拐图葫芦式盒",[18,1529,1530,1531,27,1820,1948,53,7,1949,1950],"李铁拐","八仙祝寿","神仙题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e94fb04dc636055d8ebc94728bd72db.jpg",[],{"id":1954,"slug":1955,"title":1956,"dynasty":18,"author":364,"museum":151,"description":1326,"tags":1957,"thumbUrl":1958,"material":298,"size":299,"collection":36,"collections":1959,"showCount":40,"zanCount":40,"manualWeight":40,"mainColor":1131},247745,"dui-cai-pu-tao-wen-he-yi-ming-247745","堆彩葡萄纹盒",[18,1529,1530,1531,27,156,7,31,232,1646],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0344d87fa5d173a352db877243ad1e84.jpg",[],{"id":1961,"slug":1962,"title":1963,"dynasty":18,"author":364,"museum":151,"description":1326,"tags":1964,"thumbUrl":1966,"material":298,"size":299,"collection":36,"collections":1967,"showCount":40,"zanCount":40,"manualWeight":40,"mainColor":73},247715,"dui-cai-gua-die-wen-he-yi-ming-247715","堆彩瓜瓞纹盒",[478,1530,1529,1531,405,7,1965,27],"蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29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