[{"data":1,"prerenderedAt":279},["ShallowReactive",2],{"subject-xi-que":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},123,"xi-que","喜鹊","喜鹊画高清赏析","精选中国历代喜鹊题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3dacf2b1cfcd82a1526e59119ec7e59.jpg",0,19,[14,38,55,74,91,107,121,135,148,161,175,186,199,211,225,236,246,258,270],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":31,"material":32,"size":33,"collection":34,"collections":35,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},218787,"xian-chun-si-xi-tu-lv-ji-218787","先春四喜图","明","吕纪","台北故宫博物院","梅枝苍劲，皴痕间晕开早春的暖意——淡粉花萼次第舒展，艳红山茶点缀其间，为清寒添了几分热烈。四只喜鹊姿态各异：或立于枝巅梳理羽翼，或俯身探看枝干纹理，或两两相望似在私语，灵动身影让静谧画面骤然鲜活。鸟羽的黑白分明，与花的柔粉、叶的浅绿相映成趣，绢本暖黄底色更衬出雅致与喜庆。工笔细描的鸟羽纹理、花瓣脉络，与写意勾勒的枝干苍劲形成巧妙平衡，将吉祥意趣藏进每一处生动细节。整幅画似有春风拂面，让人心头漾起融融暖意。",[23,24,25,26,27,28,29,30,7],"国画","书画","立轴","工笔","设色","花鸟","梅","鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc55ecd4d03ee71fbc7cd4b5d506fd18.jpg","绢本,设色","139.8x49.2cm","花鸟画精选",[34],99,"795548",{"id":39,"slug":40,"title":41,"dynasty":18,"author":42,"museum":20,"description":43,"tags":44,"thumbUrl":48,"material":49,"size":50,"collection":34,"collections":51,"showCount":52,"zanCount":53,"manualWeight":11,"mainColor":54},218878,"xian-chun-bao-xi-tu-liu-shi-ru-218878","先春报喜图","刘世儒","虬枝盘曲如铁，嫩蕊缀枝似霞，寒香暗浮处，数只喜鹊栖于梅间。或翘首啼鸣，清音欲穿晓寒；或侧耳相和，墨羽轻拂春风。花瓣染粉带露，枝干皴擦见骨，工笔与写意相融，既得梅之清雅，又显鹊之灵动。题字与花鸟相映，诗趣入画，更添文人雅韵。整幅画如早春晨曦，将料峭生机与报喜暖意悄然铺展——梅开先春，鹊鸣报喜，每一笔藏岁月期许，每处细节漾人间欢悦，观之令人心脾俱畅，仿佛已闻春声渐近。",[23,24,25,27,26,28,29,45,7,46,47],"飞鸟","书法","枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0bf908b018a03efb77d029306b4e34c.jpg","纸本,设色","113.4x56.6cm",[34],69,1,"BDBDBD",{"id":56,"slug":57,"title":58,"dynasty":59,"author":60,"museum":61,"description":62,"tags":63,"thumbUrl":68,"material":69,"size":70,"collection":71,"collections":72,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":54},290364,"song-ke-si-gui-zhi-shuang-xi-tu-zhou-yi-ming-290364","宋缂丝桂枝双喜图轴","宋","佚名","藏地不详","两宋时期，中国古代花鸟画空前发展并取得重大成就。北宋前期，宫廷画家黄居采继承了其父黄筌的花鸟画风格，使细腻艳丽的富贵风格成为评判当时宫廷花鸟画优劣的准绳，直到崔白等人的出现，才打破了它一直以来的主导地位。崔白与黄筌一样注重写生、造型准确，但在画面中多了几分生趣，正是这种对禽鸟神态的关注，表明了花鸟画进入到一个新的发展阶段。画家将场景设定在深秋野外，被惊扰的野兔回首注视着一对喳喳直叫的山鹊，透过野兔的眼神，我们看到了它驻足回首时的惊异神情。有些诧异，却没有恐惧，因为它知道山鹊对自己没有威胁。它与山鹊之间的动作呼应、位置关联，一定是平日写生的结果，准确而生动。",[64,23,24,25,65,26,27,28,66,7,67],"名画","缂丝","桂树","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dbe196f445bd63ff9d958a5436a371b.jpg","未知","Xcm*Xcm","",[],61,{"id":75,"slug":76,"title":77,"dynasty":18,"author":78,"museum":20,"description":79,"tags":80,"thumbUrl":85,"material":86,"size":87,"collection":34,"collections":88,"showCount":90,"zanCount":11,"manualWeight":11,"mainColor":37},221939,"chun-hua-san-xi-zhou-bian-wen-jin-221939","春花三喜轴","边文进","此图用：正笔重色描绘了竹林中的二只山喜鹊，其背景有怪石及象征春天的大小鲜花，有的正在盛开，有的含苞待放，还有已是枝茂叶繁的新竹及节高挺直指天的竹笋，翠竹鞭笋，间以杜鹃筷廾，红绿相映，这足以表明已是春色的大地，画家把喜鹊置于特定的自然环境中，目看那翠竹上的一红嘴、黑顶、长尾、带白色斑点的灰喜鹊，张口呜叫俯视下面，在坡石上又一对同样漂亮的喜鹊，张开翅膀，相搏于坡石间，翎羽飞动，互以爪握其喙，互相拍打的戏嬉场面，这三喜鸟给画面带来了春天里动、植物生息繁衍的景象：画家向人们展示了自然界中极自然生动的瞬间形象，真实而富有情趣。\n宋代院画往往被后人批评为专求形似，不重神韵。\n其实，并不是每一个院画都是这样，何况绝大多数的院画是以刻划精确、立意高简为目的的。\n边文进便是吸取了这些院画中的养分，开创了自己的花鸟画面目。\n《春花三喜图》就是边景昭花鸟画之一。\n此画笔法工细，竹子以工细的墨色勾勒，再以填色表现。\n雀鸟的羽毛画法更是精细入微，着色艳丽而雅致，特别是长尾部的斑驳翎毛，还有闪闪生辉之态，其二喜鸟之神态栩栩如生。\n图中湖石沉雄，秀竹劲挺而葱郁．鲜花丛簇而生，夺人二目，二喜鹊于平坡之上嬉戏，一仰翻在地，一上前戏啄，上面竹间一喜鹊俯视二鹊．见此情景高声鸣，似在斥责，形神兼备，令人钦佩作者妙笔，而鹊之顽皮则令人莞尔。\n本画笔触细腻，叶以双勾填色法，山石皴染及花乌风格皆可见宋代院体风韵，设色艳丽清新，令人有如沐春风之感。\n边景昭（生卒年不详），字文进，福建沙县人。\n明宣德年间官武英殿待诏，擅画花鸟，笔墨承南宋院体，设色沉着雅丽。\n其子楚芳（一作祥）承父业，占籍锦衣（世袭任职锦衣卫）。",[81,23,24,64,25,26,27,28,82,83,30,84,7],"高清","竹","花","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62f1287edf3b68161f45fac1f2622fc6.jpg","绢本设色","纵165.2，横98.3cm",[34,89],"设色画精选",59,{"id":92,"slug":93,"title":94,"dynasty":18,"author":19,"museum":95,"description":96,"tags":97,"thumbUrl":102,"material":103,"size":104,"collection":34,"collections":105,"showCount":106,"zanCount":11,"manualWeight":11,"mainColor":37},222391,"si-xi-tu-li-zhou-lv-ji-222391","四喜图立轴","天津博物馆","吕纪（1429～1505），字廷振，号乐愚，鄞（今浙江宁波）人。明代画家。\n其花鸟初师边景昭，又学林良，并广泛师法唐宋诸家，所作有工笔重彩和水墨写意两种画法，前者描绘精工，色彩富丽，法度谨严；后者粗笔挥洒，随意点染，简练奔放，富有气势和动感。其山水宗法马远、夏圭，以大斧劈皴画山石，苍劲有力。人物亦法南宋院体，衣纹线条简练顿挫。初学边景昭工笔法，亦受林良水墨法影响，后临仿唐宋诸家名迹，遂自成一体，独步当代。其花鸟画风呈两种面貌，一作工笔重彩，精工富丽，多绘凤鹤、孔雀、鸳鸯之类，辅以树木坡石、滩渚流泉背景，既具法度，又富生气。另一类为水墨写意画，粗笔挥洒，简练奔放，接近林良的风格。他亦兼善人物、山水，宗法南宋马远、夏圭画法。他的花鸟画风在当时宫廷内外影响甚大，继承者不乏其人。\n明弘治年间，入值仁智殿，官至锦卫指挥使，是明代与边景昭、林良齐名的院体花鸟画代表画家。其绘画风格可分为两大类，一类是以水墨为主略淡彩，用笔较为豪纵，另一类则是设色浓丽，用和工致，具有富丽的宫廷装饰趣味。吕纪由水墨淡色画转为工笔重设色画，更直接的原因是为了适应不同皇帝的不同口味，具体说来就是弘治皇帝朱祐樘的欣赏口味不同于他的父辈成化皇帝朱见深，从而造成了吕纪多画凤凰、雉鸡、仙鹤、孔雀、鸳鸯之类，杂以花木草石，具有生气。工笔着色与水墨写意能，并善于将两体结合。吕纪初学唐宋各家和同时代的边景昭，后形成自己的风格。他的花鸟设色鲜艳，生气奕奕，被称为明代花鸟画第一家。据说吕纪在画作上常用寓意手法对皇帝劝谏，皇帝知其用心，曾说：“工执艺事以，谏吕纪有之。”其代表作品有《新春双雉图》《桂花山禽图》《残荷鹰鹭图》《秋鹭芙蓉图》《五德大吉图》 《狮头鹅图》等。\n吕纪，1477年生，鄞州（今浙江宁波）人。字廷振，号乐愚，弘治间（1488-1505）供事仁智殿，弘治间征入宫廷，为宫廷作画，供奉仁智殿，官锦衣卫指挥。擅画临古花鸟，初学边景昭，后研习唐宋诸家名作，继承两宋“院体”，以工笔重彩，又在水墨写意方面受林良影响。\n远宗南宋院体格，廷续了黄筌工整细致的画风及钩勒笔法，并予以发扬，多以凤凰、仙鹤、孔雀、鸳鸯之类鸣禽为题材，杂以浓郁花树，画面绚丽。亦作粗笔水墨写意者，笔势劲健奔放，与林良相近，与边景昭同为明代院体花鸟画中的临古派代表。传世作品有《桂菊山禽图》《榴花双莺图》《雪景翎毛图》《浴凫图》等。除画花鸟外，偶尔也画人物山水。他主要是以工整精丽的院体传统作画，造型准确，设色鲜艳。但也能画活泼生动兼工带写的花鸟画。他的画生动，笔墨清新，是当时与边景昭、林良齐名的花鸟名家。他作画时，常以寓意手法规谏皇帝，故明孝宗曾说：“工执艺事从谏，吕纪有之”。他是与边景昭、林良齐名的院体花鸟画代表作家。《狮头鹅图》，绢本，设色。纵191厘米，横104厘米。工笔画狮头鹅，侧身曲颈回顾古梅，鹅身洁白如玉，眼睛刻划有神，形象生动。古梅干枝苍劲，生机勃勃。树下衬以太湖石、月季花，石后有双勾竹隐露，色彩艳丽，衬托出狮头鹅之白身红冠。是明代院体花鸟画的杰作。款署“吕纪”。现藏辽宁省博物馆。\n《榴花双莺图》写石榴一枝，蘩花盛开，一对黄鹂栖于枝头，一上一下，鸣啼相应，神态活泼。工笔重彩，钩勒填色，绚丽多彩为明代中期院体画的典型风格。\n相比画家，吕纪的另一个身份更令人吃惊——历经明代成化、弘治、正德三代，官至锦衣卫指挥使(秘密警察头目)。吕纪的花鸟绘画，水墨淋漓，气势宏大，甚至是日本屏风画的来源之一。《柳荫双鸭图》和《幽涧双鹭图》曾在日本出版的《听松清鉴》中著录，郑振铎在上世纪四十年代遍访流传在海外的中国名画，并在其所编的《域外所藏中国名画》中收录。吕纪的两幅作品不仅是明代全景花鸟画的杰作，也是中国绘画影响日本绘画的证据代表作。",[81,23,27,26,28,25,98,7,99,100,101,45],"鹰","松","瀑布","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35b651d770ecc93ed64e2befaf762c39.jpg","纸本","93x51",[34,89],50,{"id":108,"slug":109,"title":110,"dynasty":18,"author":111,"museum":112,"description":113,"tags":114,"thumbUrl":118,"material":103,"size":71,"collection":34,"collections":119,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":54},237236,"bai-shi-xi-que-zhou-chen-jia-yan-237236","柏石喜鹊轴","陈嘉言","北京故宫博物院","纵毫挥染，笔致松秀，设色清丽，韵格兼胜。",[23,24,25,115,28,116,117,7,45,84],"水墨","柏树","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f5c5febd79d930762a36a6ffbfef252.jpg",[34],48,{"id":122,"slug":123,"title":124,"dynasty":125,"author":60,"museum":61,"description":126,"tags":127,"thumbUrl":132,"material":69,"size":70,"collection":71,"collections":133,"showCount":134,"zanCount":11,"manualWeight":11,"mainColor":37},268778,"bai-se-duan-ping-jin-xiu-xi-que-mei-wen-cai-lian-ao-ku-yi-ming-268778","白色缎平金绣喜鹊梅纹采莲袄裤","清","以素缎为底，平金绣与墨色绣线交织，将报喜鹊与迎春梅绾合为灵动图景。俊逸喜鹊或栖于虬曲梅枝啄食花蕊，或振翅穿梭花间，鲜活生动。团寿纹错落点缀，让喜上眉梢的吉庆与福寿绵长的祈愿相融。青花色调细碎纹样镶边，反衬主体刺绣的华贵雅致。平金晕开金属光泽，衬得墨梅苍劲古雅，构图饱满却不显拥塞，将细腻工巧与民俗意趣揉织一处，把岁时吉庆的美好愿景缝入衣料，尽显旧时服饰的温柔意韵。",[128,129,130,7,29,28,131],"袄裤","布料","平金绣","寿纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5a4261b260de3a4db65d974bc6fae80.jpg",[],16,{"id":136,"slug":137,"title":138,"dynasty":59,"author":60,"museum":61,"description":139,"tags":140,"thumbUrl":145,"material":69,"size":70,"collection":71,"collections":146,"showCount":147,"zanCount":11,"manualWeight":11,"mainColor":37},290367,"song-ke-si-xi-bao-sheng-sun-tu-zhou-yi-ming-290367","宋缂丝喜报生孙图轴","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”。",[25,23,64,65,28,26,27,7,141,142,101,143,144],"梅花","菊花","花卉","喜庆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3eda24435f146fcd1bfd0b4f74356aa.jpg",[],14,{"id":149,"slug":150,"title":151,"dynasty":152,"author":153,"museum":154,"description":155,"tags":156,"thumbUrl":10,"material":71,"size":71,"collection":34,"collections":159,"showCount":147,"zanCount":53,"manualWeight":11,"mainColor":160},203398,"yi-ben-wan-li-tu-zhou-ding-bao-shu-203398","一本万利图轴","近代","丁宝书","上海博物馆","这幅画作以荔枝树为主体，虬干旁逸，枝桠间红荔簇生，色泽鲜妍饱满，叶片墨色浓淡相衬，尽显生机。两只喜鹊动静相宜，一栖枝头引吭，一振翅欲飞，姿态鲜活灵动。山石以写意皴擦，笔墨苍劲朴拙，与花果的明丽形成对比。整体构图错落有致，笔墨工写结合，于自然生趣中寄寓“一本万利”的吉祥意涵，传递出质朴而热烈的美好祝愿。",[23,28,27,26,157,25,45,158,7,81],"皴法","荔枝",[34],"beb4aa",{"id":162,"slug":163,"title":164,"dynasty":125,"author":60,"museum":61,"description":165,"tags":166,"thumbUrl":171,"material":69,"size":70,"collection":71,"collections":172,"showCount":173,"zanCount":11,"manualWeight":11,"mainColor":174},261237,"cheng-hua-kuan-qing-hua-you-li-hong-xi-que-deng-mei-tu-bi-tong-yi-ming-261237","成化款青花釉里红喜鹊登梅图笔筒","青花瓷（blue 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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。",[205,206,207,141,7,28],"玉石","雕刻","带皮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ccb095cb46ce6862aa9ac61ca2656e6.jpg",[],4,{"id":212,"slug":213,"title":214,"dynasty":125,"author":60,"museum":61,"description":215,"tags":216,"thumbUrl":221,"material":69,"size":70,"collection":71,"collections":222,"showCount":223,"zanCount":11,"manualWeight":11,"mainColor":224},269512,"xiang-ya-ran-diao-xi-que-shi-he-yi-ming-269512","象牙染雕喜鹊式盒","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",[217,206,218,7,219,220,30],"象牙","染雕","器","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7160ad8ba2c55310b8475c73ec134aa2.jpg",[],3,"F48FB1",{"id":226,"slug":227,"title":228,"dynasty":125,"author":60,"museum":61,"description":229,"tags":230,"thumbUrl":233,"material":69,"size":70,"collection":71,"collections":234,"showCount":223,"zanCount":11,"manualWeight":11,"mainColor":235},264468,"ming-huang-se-zhi-ma-sha-xiu-zhe-zhi-que-mei-wen-chang-yi-liao-yi-ming-264468","明黄色芝麻纱绣折枝鹊梅纹氅衣料","是传统刺绣形式之一。它是在方格纱的底料上严格按格数眼进行刺绣的。不仅图案美丽，而且随 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