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「寰宇记」有云：「昔费文祎登仙，每乘黄鹤于此楼驾，故名。」关槐此幅绘城郭临岸，江帆交织，波光粼粼，诚武汉之写生景也。",[48,23,68,364,27,365,366,367,368,369,370,371,372,7],"山水画","黄鹤楼","城郭","江帆","大江","楼阁","山水","波光","恬静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff013021d891bfaafb4122f34dac1c641.jpg","162.5x70.1cm","山水画精选",[375],79,{"id":379,"slug":380,"title":381,"dynasty":333,"author":382,"museum":20,"description":383,"tags":384,"thumbUrl":385,"material":229,"size":386,"collection":34,"collections":387,"showCount":388,"zanCount":11,"manualWeight":11,"mainColor":39},231359,"xie-sheng-ce-zhi-ji-tu-shen-zhou-231359","写生册之鸡图","沈周","2017年是农历丁酉鸡年，鸡在中国的十二生肖中寓意吉祥，鸡与“吉”谐音，因此被视为吉祥之禽。鸡有五德“文、武、勇、仁、信”，雄鸡是好斗的勇士，它的气魄和英姿受到历代文人墨客的赏识，同时公鸡有信德，报时从不会报错，古人说这是“守夜不失时”，是信德的表现。在中国画中，鸡的题材有着大吉大利、金鸡报晓、金鸡迎春、闻鸡起舞等吉祥寓意，所以深受历代画家喜爱，历史上留下了许多画鸡佳作。\n目前见到比较早的画鸡作品，是南宋宫廷画家李迪画的绢本《鸡雏待饲图》。画面未画任何背景，以写实手法描绘了两只憨态可掬的雏鸡，一只站立，一只半卧，均张嘴待哺，一副等待母鸡饲喂的天真模样，刻画细致入微，形象生动自然，难怪被明代大收藏家项墨林钤盖上“神品”的印章。明代画家沈周也爱画鸡，他画的《芙蓉雄鸡图》，运用简练的勾勒，淡雅的设色，将一只雄鸡刻画得活灵活现。他在画中题句：“百斗不一挫，高鸣人尽惊，忠臣与孝子，夜半候雄声。”赋予了鸡高贵不凡的品德。曾经郑振铎收藏后捐给中国美术馆的水墨《鸡》，题诗“突弁峩峩血染成，雄姿独擅斗芳名”，堪称中国水墨写意花鸟画的鼻祖。",[68,23,69,88,101,117,7,25,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd4c5f12c94f57193e9fef705b25e832.jpg","34.8×53.8cm",[],63,{"id":390,"slug":391,"title":392,"dynasty":64,"author":393,"museum":20,"description":394,"tags":395,"thumbUrl":397,"material":88,"size":398,"collection":206,"collections":399,"showCount":400,"zanCount":146,"manualWeight":11,"mainColor":39},221262,"xie-sheng-ying-su-ai-xuan-221262","写生罂粟","艾宣","五色的蜀葵、纯白的栀子和红艳石榴花，要比罂粟花常见得多。罂粟花艳丽的“五色”，使得人们常把它与蜀葵相提并论，二者的播种和花期也都相似。宋代罂粟主要是用于食用和药材，嫩苗堪比园蔬，罂粟籽则可作粥。在现存宋代画扇中，至少可以看到两幅《罂粟花图》，台北故宫博物院藏传艾宣《写生罂粟图》尤为精彩，画中还是一枝并蒂的罂粟，显现出祥瑞之意。这些画扇，也应是宋代宫廷画家的杰作。",[48,23,68,69,88,26,27,7,25,396,30],"罂粟花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa9fe1801c419e7cafc2c8afc755bdcc.jpg","43x75.7",[206,35,289],52,{"id":402,"slug":403,"title":404,"dynasty":64,"author":405,"museum":281,"description":406,"tags":407,"thumbUrl":408,"material":286,"size":409,"collection":34,"collections":410,"showCount":411,"zanCount":11,"manualWeight":11,"mainColor":39},232873,"xie-sheng-hu-die-hua-hui-tu-juan-ma-lin-232873","写生蝴蝶花卉图卷","马麟","图绘群蝶恋花的田园小景。轻灵振翅的蛱蝶起舞于画幅的上半部；秋花枯芦摇曳于画卷的底边。在物象表现上，作者用双勾填色法画土坡、草丛、蛱蝶。其勾线富于顿挫和粗细变化，墨色亦有浓淡轻重之分，敷色积染多层，特别是蛱蝶的翅翼更因积染而色彩浓艳厚重，从而与主要以植物色染就的草叶形成“轻”与“重”的对比。图中蛱蝶的形象最为传神，作者逼真地刻画了蛱蝶之翼薄如绢纱的质感、绚丽斑斓的花纹和蛱蝶细如发丝的根根须脚。传神的笔墨展示了作者深厚的写生功底，使本图成为研究古代蝶种的形象资料。",[68,23,69,116,27,26,7,25,155,118,273,142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb467a89c60170e8b6134389615759f31.jpg","27.85*334.93厘米",[],50,{"id":413,"slug":414,"title":415,"dynasty":333,"author":416,"museum":281,"description":417,"tags":418,"thumbUrl":420,"material":34,"size":34,"collection":35,"collections":421,"showCount":422,"zanCount":11,"manualWeight":11,"mainColor":39},221878,"xie-sheng-hua-hui-juan-zhou-tao-cheng-221878","写生花卉卷轴","陶成","此作所绘湖石、竹簧、水仙与山茶树，松竹花石高与纸齐，往往笔力苍挺，气象峥嵘，而乏悠远层迭之趣。水仙与新竹双钩留白，与浓变化的山茶叶呼应对比，煞是美妙。虽率意布置，而秀润苍老，清气满幅，笔情墨法，令人不能窥其稚奥，真独步艺苑。\n陶成，字孟学，一作懋学，后更字敬学，号云湖、云湖山人，尝自署云湖仙人。江苏宝应人，成化七年举人。陶成为明代中前期以“诗书画三绝”盛名于世的奇才，他生性疏狂、不拘小节、放荡不羁，有米南宫、郭忠恕之风而豪荡过之。其艺术活动主要在成化、弘治年间，画芙蓉最著名且为世人所珍。陶成晚年因坐谪而被戍边，虽时间不久，然放归后即离世。",[48,23,69,116,101,27,7,118,419,102,224,227,273,142],"菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90df80a9b3832e286d021025ff6327e5.jpg",[35,246],48,{"id":424,"slug":425,"title":280,"dynasty":348,"author":426,"museum":427,"description":428,"tags":429,"thumbUrl":431,"material":286,"size":432,"collection":34,"collections":433,"showCount":434,"zanCount":146,"manualWeight":11,"mainColor":209},232831,"xie-sheng-cao-chong-tu-juan-qian-xuan-232831","钱选","私人收藏","此卷设色典雅，用笔精微，一花一竹，一虫一鸟，皆细致入神，工中见意，精巧传神，一丝不苟，可谓写生妙手。\n钱选（1239-1299），宋末元初著名画家，与赵孟?等合称为“吴兴八俊”。字舜举，号玉潭，又号巽峰，霅川翁，别号清癯老人、川翁、习懒翁等，湖州（今浙江吴兴）人。山水师从赵令穰，人物师从李公麟，花鸟师赵昌，青绿山水师赵伯驹。继承苏轼等人的文人画理论，提倡士气说，倡导戾家画。",[48,23,69,116,27,26,7,25,284,430,183,118,29,182,142,273],"藤蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b6e400748db309145ac39941fe71144.jpg","34x310厘米",[],46,{"id":436,"slug":437,"title":438,"dynasty":44,"author":439,"museum":281,"description":440,"tags":441,"thumbUrl":443,"material":340,"size":341,"collection":34,"collections":444,"showCount":434,"zanCount":11,"manualWeight":11,"mainColor":209},226153,"xie-sheng-zhen-qin-quan-juan-huang-quan-226153","写生珍禽全卷","黄筌","黄筌是五代时期最有名的宫廷画家，一个在前蜀、后蜀画院任职40年的大画家，入宋后，又得到宋太祖的激赏。入宋百年一直把他的笔法当作画院画家作画的模范。宋代《宣和画谱卷十八》记载：“祖宗以来，图画院之较艺者，必以黄筌父子笔法为程序……”\n黄筌画出来的画，上自皇帝下至走卒，没有不连声赞叹的。而他留下来的这幅画稿《写生珍禽图卷》，也同样是技巧精湛、内涵丰实、人人叹服的绝世之作。\n这幅画中，画了24只小生物，都是珍禽异鸟。它们在皇宫中受到细心的养护，品种优良，造型独特，有的五彩斑斓，眩人耳目。黄筌在宫中画院任职，能够利用画院的便利条件，观察这些珍禽异鸟，而把它们揽入他的绢素中。\n也许有人会说这幅画没有意境，没有布局章法，鸟、虫都自顾自的，没有交集。其实没布局是有其道理的，因为这是画稿嘛，不是完整独立的画作，只是针对个别鸟虫而画，初学者基本上能掌握住这些生物的外形、动态就行。\n这24只小生命像图鉴般被安置在一方小小绢布上，不但不见拥挤、单调，反倒觉得谐和热闹，视觉上也很赏心悦目。",[48,23,68,116,26,27,7,25,203,442,274,29,142],"雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc941f2cb06acdd7b030fbea827f9f0e.jpg",[],{"id":446,"slug":447,"title":213,"dynasty":348,"author":448,"museum":20,"description":449,"tags":450,"thumbUrl":455,"material":131,"size":456,"collection":35,"collections":457,"showCount":458,"zanCount":11,"manualWeight":11,"mainColor":39},218819,"xie-sheng-tu-wang-yuan-218819","王渊","墨色晕染间，禽鸟栖于石畔，羽翼纹理随淡墨流转，似能触到绒羽温软。老枝横斜，梢头悬一轮清月，清辉洒在疏叶上，竹影与草茎在风里轻摇。工细处见笔力，写意时显灵动，水墨浓淡干湿交织出自然生趣，无艳色却满溢生机。留白藏幽远，题跋墨迹与画面相映，笔墨间流淌着元代文人的清雅心境——于寂静中观天地，于细微处藏深情。每一笔都似在低语，将自然之美与文人意趣融于尺幅，尽显“墨花墨禽”的韵致，让人在古雅气息里沉醉。",[23,69,101,26,7,451,25,103,200,452,453,142,273,454],"明月","树枝","竹子","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0627d9a79cc3230361415249eb53ed87.jpg","88.3x45.3cm",[35],45,{"id":460,"slug":461,"title":462,"dynasty":44,"author":463,"museum":281,"description":464,"tags":465,"thumbUrl":466,"material":34,"size":34,"collection":34,"collections":467,"showCount":468,"zanCount":11,"manualWeight":11,"mainColor":209},227261,"hua-hui-xie-sheng-tu-ce-huang-ju-cai-227261","花卉写生图册","黄居寀","黄居寀(933—?),字伯鸾,成都(今属四川)人,五代后蜀名画家黄筌季子。擅绘花竹禽鸟,精于勾勒,用笔劲挺工稳,填彩浓厚华丽,其园竹翎毛形象逼真,妙得自然;怪石山水超过乃父。与父同仕后蜀,为翰林待诏。乾德三年(965)随蜀主降宋,进京供职宫廷,仍授翰林待诏,负责收罗和鉴定名画,淳化四年(993)曾出使成都府。太宗尤加宠遇,委以搜访名画、诠定品目只重责。",[68,23,69,88,27,26,25,118,155,7,419],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc391f878cf5f9eadb56dcc0c84f4c326.jpg",[],43,{"id":470,"slug":471,"title":438,"dynasty":44,"author":439,"museum":281,"description":440,"tags":472,"thumbUrl":473,"material":340,"size":341,"collection":34,"collections":474,"showCount":475,"zanCount":146,"manualWeight":11,"mainColor":209},226154,"xie-sheng-zhen-qin-quan-juan-huang-quan-226154",[48,26,27,116,7,25,50,29,274,142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63ea7bbb08ea8dee423e5e1bfd185218.jpg",[],40,{"id":477,"slug":478,"title":479,"dynasty":64,"author":480,"museum":281,"description":481,"tags":482,"thumbUrl":485,"material":34,"size":34,"collection":34,"collections":486,"showCount":487,"zanCount":108,"manualWeight":11,"mainColor":209},232778,"xie-sheng-zhe-zhi-tu-juan-wu-bing-232778","写生折枝图卷","吴炳","吴炳，毗陵武阳人（今江苏省常州市），南宋光宗绍熙年间(1190-1194)画院待诏。光宗皇后李氏爱其画，恩赉甚厚，赐金带。工画花鸟，元代夏文彦《图绘宝鉴》谓其画“写生折枝，可夺造化，彩绘精致富丽”。所作谨守院体画风格。画迹有《春池睡鸭图》《山茶鹁鸽图》《鸳鸯瑞莲图》《宝珠玉蝶图》《折枝绛桃图》《折枝芍药图》《鸡冠花图》《玫瑰图》《长春图》《水仙图》等43件，著录于《南宋院画录》，均“简易有生趣”，“精彩如生”。",[48,68,23,69,116,26,27,7,483,25,165,29,484,201,155],"折枝","茄子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F735550480f9fac0df96afc47240de032.jpg",[],38,{"id":489,"slug":490,"title":491,"dynasty":333,"author":334,"museum":492,"description":493,"tags":494,"thumbUrl":500,"material":501,"size":502,"collection":34,"collections":503,"showCount":504,"zanCount":11,"manualWeight":11,"mainColor":39},222558,"hua-hui-tu-10-chen-chun-222558","花卉图10","美国波士顿博物馆","此图册是陈淳晚年作品。卷尾自题“嘉靖庚子，余游玉山，过周氏六观草堂。主人出此册，具丹粉，欲图杂卉。留连累月，不觉盈帙，见者亦且以草本视之可也。道复志”。按照其生卒年推算， “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。",[48,23,495,496,27,497,7,498,499],"花鸟画","册页","文人写意","草本花卉","萱草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2eaa39a1ce4b3d43b4c0fcf6632bf627.jpg","纸本设色","32.5×57.3厘米",[],36,{"id":506,"slug":507,"title":508,"dynasty":333,"author":509,"museum":281,"description":510,"tags":511,"thumbUrl":512,"material":34,"size":34,"collection":34,"collections":513,"showCount":514,"zanCount":11,"manualWeight":11,"mainColor":39},228889,"xie-sheng-you-xi-tu-juan-chen-gua-228889","写生游戏图卷","陈栝","《陈栝写生游戏图卷》是明代画家陈栝创作的一幅设色画。\n此图是陈氏写生画，图中从右至左绘牡丹、兰花、玉兰、桃花、荷花、水仙等9种花卉，花间穿插飞燕、蝴蝶、鱼虾、鸳鸯等。\n花卉没骨、双钩兼用，鸟用意笔写之，生动活泼，颇富野趣。\n画风学陈淳而琐碎过之。\n卷末左下自题“陈栝戏笔”。\n下钤“古吴陈栝”、“沱江子”二印。\n引首有清高宗弘历（乾隆皇帝）御题“造物为师”四字。\n曾经清内府收藏。\n鉴藏印有“乾隆御览之宝”、“石渠宝笈”、“嘉庆御览之宝”、“宣统御览”、“笔研精良人生一乐”等。\n清内府《石渠宝笈·初编》著录。",[48,23,69,116,27,25,203,199,121,142,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa86071febaedaa6fcbabea897e0e51df.jpg",[],33,{"id":516,"slug":517,"title":518,"dynasty":333,"author":416,"museum":281,"description":519,"tags":520,"thumbUrl":522,"material":34,"size":34,"collection":34,"collections":523,"showCount":524,"zanCount":11,"manualWeight":11,"mainColor":39},228321,"shu-guo-xie-sheng-tu-tao-cheng-228321","蔬果写生图","此作用水墨写意绘蔬果蔬叶，以浓淡墨色晕染出鲜活生姿，脱略形似，尽显野逸生机，寥寥数笔便将寻常菜蔬勾勒出超脱意趣。\n长卷后一众明清文人题咏相伴，行草书法笔致纵逸跌宕，诗画合璧，尽显雅集风流。诗书画印融为一体，以极简笔墨托物言志，将日常田家风物，晕染出林下清逸的文人情致，是文人写意花鸟的上乘佳制，空灵雅致，余韵悠长。",[48,68,23,69,116,101,27,7,454,521,142,119,123,224,419,102,227],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0591c51b34bf7336630bd522fa6a437d.jpg",[],29,{"id":526,"slug":527,"title":236,"dynasty":64,"author":113,"museum":281,"description":528,"tags":529,"thumbUrl":530,"material":340,"size":341,"collection":34,"collections":531,"showCount":532,"zanCount":11,"manualWeight":11,"mainColor":39},288368,"shui-mo-xie-sheng-tu-mu-xi-288368","二图卷绘果蔬、花木禽鸟、鱼蟹果蔬有石榴、桃、梨、枇杷、萝卜、茄子；禽鸟有燕子、喜鹊、鹊鸽、赤麻鸭；水族有鱼、虾、蟹等全卷川水墨勾染，不施颜色，在南宋画坛极其罕见，为写意花鸟开创了新路。",[48,68,23,116,101,7,25,240,122,241,203,120,119,273],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4421a4fc00d03c3c87c5ed2ebd989b87.jpg",[],27,{"id":534,"slug":535,"title":536,"dynasty":64,"author":537,"museum":215,"description":538,"tags":539,"thumbUrl":542,"material":543,"size":544,"collection":34,"collections":545,"showCount":546,"zanCount":146,"manualWeight":11,"mainColor":209},223373,"xie-sheng-cao-chong-tu-yi-ming-223373","写生草虫图","佚名","画面右侧绘野生花草，狗尾、紫菀莛叶穿插。菜粉蝶落在花上吸取花蜜，蜻蜓徐徐低飞，蚱蜢跃跃欲跳，整幅画面充满动感。3只昆虫在画面上的等边三角形构图平衡了丛生的野草所造成的重心偏倚，使画面结构稳定。野草和花叶用花青加汁绿勾填，花用没骨法出之，昆虫兼工带写，形态逼真",[48,68,23,69,26,27,7,25,284,181,155,540,541,73,142],"蚂蚱","草本植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf81f5379cd474d1d26ba4e587d518bb.jpg","绢本设色","25.9x26.9",[],25,{"id":548,"slug":549,"title":536,"dynasty":64,"author":190,"museum":281,"description":550,"tags":551,"thumbUrl":553,"material":340,"size":341,"collection":34,"collections":554,"showCount":555,"zanCount":146,"manualWeight":11,"mainColor":209},289349,"xie-sheng-cao-chong-tu-cui-bai-289349","画面右侧绘野生花草，狗尾、紫菀莛叶穿插。菜粉蝶落在花上吸取花蜜，蜻蜓徐徐低飞，蚱蜢跃跃欲跳，整幅画面充满动感。3只昆虫在画面上的等边三角形构图平衡了丛生的野草所造成的重心偏倚，使画面结构稳定。野草和花叶用花青加汁绿勾填，花用没骨法出之，昆虫兼工带写，形态逼真。",[48,68,23,116,26,27,25,284,155,181,552,454,273,7],"蝉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b7dcd9dc21885b547b27cbaf1170050.jpg",[],22,{"id":557,"slug":558,"title":559,"dynasty":64,"author":560,"museum":215,"description":561,"tags":562,"thumbUrl":565,"material":55,"size":566,"collection":35,"collections":567,"showCount":555,"zanCount":11,"manualWeight":11,"mainColor":39},218749,"qun-yuan-shi-guo-tu-yi-yuan-ji-218749","群猿拾果图","易元吉","《群猿拾果图》为北宋画家易元吉所作。本幅无作者款识，右侧题签：“易元吉群猿拾果”。对开乾隆题诗：“好静工引气，能吟更善缘。栖枝坠岸穗，拾果倒空悬。岂必问其数，亦惟顺厥天。尧牵宝星，可以悟难前。 ”\n图绘深谷险峻，老树枝条横斜，二猿猴坐于枝上，一猿猴展臂摘果。\n易元吉，生卒年不详。字庆之，湖南长沙人，北宋画家。初攻花鸟、草虫、果品，后专写獐猿。常深入荆湖深山之中，观察、体会、揣摩猿猴獐鹿的生活习性。所画獐猿生动逼真，呼之欲出，因此而名闻天下。",[48,68,23,69,88,26,27,101,563,31,452,227,564,7],"猿猴","树叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7a549a2865c01cdf38952d04484d0bd.jpg","24.6x24.1cm",[35],{"id":569,"slug":570,"title":571,"dynasty":333,"author":572,"museum":427,"description":573,"tags":574,"thumbUrl":577,"material":55,"size":578,"collection":34,"collections":579,"showCount":580,"zanCount":11,"manualWeight":11,"mainColor":39},220219,"hua-niao-cao-chong-xie-sheng-ce-mei-jue-shi-zi-chen-hong-shou-220219","花鸟草虫写生册-梅绝世姿","陈洪绶","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。",[48,23,69,88,27,26,575,576,25,7,72,73],"梅","枯木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca7845904a88bd5bfeec2baca608c104.jpg","21.5×16cm",[],20,{"id":582,"slug":583,"title":584,"dynasty":64,"author":537,"museum":585,"description":586,"tags":587,"thumbUrl":593,"material":55,"size":34,"collection":35,"collections":594,"showCount":595,"zanCount":11,"manualWeight":11,"mainColor":209},219262,"xie-sheng-si-duan-tu-yi-ming-219262","写生四段图","上海博物馆","四段景致各蕴生机。首段猫卧石边，茸毛细腻如绒，石肌理古拙苍然，静中藏韵；中段数兽嬉游郊野，或低啮青草，或昂首顾盼，姿态鲜活，野趣盎然；末段枯槎疏竹旁，禽鸟栖止，枝干虬曲见骨，笔墨简淡却传物之神；最末猫踞笼畔，犬趋前欲动，笼栅细劲入微，猫狗情态宛然，尽得生活意趣。全卷以写生之笔摹万物，线条精准，墨色层次有致，于细节处显匠心，足见写实功力之深。",[48,23,68,69,26,27,7,588,589,590,165,103,591,102,592],"牛","马","猫","树","围栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F901bd7646e4d18c3736a30353ef0db54.jpg",[35],19,{"id":597,"slug":598,"title":599,"dynasty":333,"author":572,"museum":427,"description":573,"tags":600,"thumbUrl":603,"material":55,"size":578,"collection":34,"collections":604,"showCount":605,"zanCount":11,"manualWeight":11,"mainColor":39},220225,"hua-niao-cao-chong-xie-sheng-ce-xiao-die-cai-xiang-chen-hong-shou-220225","花鸟草虫写生册-小蝶采香",[48,23,26,27,88,7,25,601,73,602,142],"小蝶","绿叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa78cad6b44f9cc10aecc0cfa2eca540c.jpg",[],15,{"id":607,"slug":608,"title":609,"dynasty":18,"author":610,"museum":585,"description":611,"tags":612,"thumbUrl":616,"material":34,"size":34,"collection":35,"collections":617,"showCount":618,"zanCount":11,"manualWeight":11,"mainColor":619},203379,"hua-niao-cao-chong-ce-gu-shao-203379","花鸟草虫册","顾韶","这幅画作以工致笔触捕捉自然生趣，花叶舒展间，螳螂翘首欲动，小虫隐于叶隙，羽翎纹理纤毫毕现。设色清雅明快，叶片的翠润、花瓣的柔粉与虫羽的素白相映成趣，线条精准勾勒出草木脉络与生灵动态，将草虫花鸟的鲜活气息凝于纸面。观者仿佛能嗅到草木清香，窥见虫鸣私语，于方寸间尽显写生之妙与文人意韵，是兼具写实功力与诗意情致的佳作。",[26,27,25,284,613,614,7,615,48],"草木","羽翎","文人意韵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f88b530601772cc1a1b7b8ee1776728.jpg",[35],11,"bcab88",{"id":621,"slug":622,"title":623,"dynasty":348,"author":448,"museum":20,"description":624,"tags":625,"thumbUrl":626,"material":55,"size":627,"collection":34,"collections":628,"showCount":629,"zanCount":11,"manualWeight":11,"mainColor":209},215002,"xie-sheng-hua-hui-ce-6-wang-yuan-215002","写生花卉册-6","此画册有王渊绘画手法，但元代气息不足，可视为明清之际的王渊款花卉画。此套图册花鸟极其工细，勾勒精致，色彩鲜艳、古拙",[23,88,27,26,25,7,118,181,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13140393c86404e393dc1c5b283e824c.jpg","25.9x23.6cm",[],8,{"id":631,"slug":632,"title":633,"dynasty":348,"author":448,"museum":20,"description":624,"tags":634,"thumbUrl":635,"material":55,"size":627,"collection":34,"collections":636,"showCount":629,"zanCount":11,"manualWeight":11,"mainColor":209},214999,"xie-sheng-hua-hui-ce-9-wang-yuan-214999","写生花卉册-9",[68,23,69,88,27,26,25,118,155,102,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d712f24af0cc8ac6c9a16e19feedfb2.jpg",[],{"id":638,"slug":639,"title":640,"dynasty":333,"author":641,"museum":215,"description":642,"tags":643,"thumbUrl":644,"material":645,"size":34,"collection":34,"collections":646,"showCount":647,"zanCount":11,"manualWeight":11,"mainColor":39},234147,"xie-sheng-shu-hua-juan-wang-gu-xiang-234147","写生书画卷","王谷祥","王榖祥 （1501-1568），字禄之，号酉室，长洲（今江苏苏州）人。嘉靖八年（一五二九）进士，官吏部员外郎。善写生，渲染有法度，意致独到，即一枝一叶，亦有生色。为士林所重。中年绝不肯落笔，凡人间所传者，皆赝本也。书仿晋人，不坠羲之献之之风，篆籀八体及摹印，并臻妙品。卒年六十八。",[48,23,69,116,101,7,454,142,575,120,121,90,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcea5c2be707b2e0f8af30540e90fe00f.jpg","纸本，设色",[],7,{"id":649,"slug":650,"title":651,"dynasty":652,"author":653,"museum":281,"description":654,"tags":655,"thumbUrl":659,"material":340,"size":341,"collection":34,"collections":660,"showCount":647,"zanCount":11,"manualWeight":11,"mainColor":39},232361,"he-er-bai-yin-20-he-er-bai-yin-232361","荷尔拜因20","不详","荷尔拜因","小汉斯·荷尔拜因（约1497年-1543年11月29日以前）是德国画家，最擅长油画和版画，是欧洲北方文艺复兴时代的艺术家。其代表作有：木版画《死神之舞》。\n荷尔拜因在创作一幅肖像画以前，经常用铅笔描绘衣物、装饰品等细节，有时也用钢笔或垩笔，然后在纸上沿轮廓扎上小孔，铺在画布上，用炭粉将其转移到画布上。在晚年也使用复写纸。他的画作对细节描绘非常详细、真实，甚至于仪器上的刻度、信笺上的文字、桌布上的花纹都描绘的一丝不苟，但整体风格仍然非常统一，人文主义风格非常明显，俄罗斯作家陀斯妥耶夫斯基曾经评价他的作品《墓中的基督》：“可以把许多人的信仰夺去。” 他曾经从同为英国王室画家的弗拉芒画家卢卡斯·霍亨布特那里学习画微型画，卢卡斯曾为他画了一幅微型画像，他自己从没有画过自画像。",[68,656,167,195,165,657,658,7,229],"素描","羊","动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5d666903e2b7290a950aad45d2e9943.jpg",[],{"id":662,"slug":663,"title":664,"dynasty":348,"author":448,"museum":20,"description":624,"tags":665,"thumbUrl":666,"material":55,"size":627,"collection":34,"collections":667,"showCount":647,"zanCount":11,"manualWeight":11,"mainColor":209},215005,"xie-sheng-hua-hui-ce-3-wang-yuan-215005","写生花卉册-3",[68,23,69,88,26,27,25,118,181,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad215f408fa695d5d7b8a54970bd32b7.jpg",[],{"id":669,"slug":670,"title":671,"dynasty":652,"author":672,"museum":281,"description":673,"tags":674,"thumbUrl":675,"material":340,"size":341,"collection":34,"collections":676,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":39},231600,"dong-wu-xie-sheng-tu-gui-chuan-guo-rui-231600","動物写生図","桂川国瑞","桂川甫週（KatsuragawaHoshū）是日本醫師，也是蘭學的學者。他曾在德川幕府擔任醫師和荷蘭語翻譯。他是作家和蘭學學者森島中良（MorishimaChūryō）的哥哥。作為桂川家族的長子，將軍的荷蘭式醫生霍舒於1777年被任命為該職位。他於1794年開始在幕府將軍醫學院任教。",[69,27,26,7,338,88,273],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3fb02042d367c59a81eac1fec864aa6.jpg",[],{"id":678,"slug":679,"title":680,"dynasty":18,"author":681,"museum":585,"description":682,"tags":683,"thumbUrl":10,"material":34,"size":34,"collection":34,"collections":690,"showCount":108,"zanCount":11,"manualWeight":11,"mainColor":691},203064,"chu-qian-xie-sheng-shan-shui-tu-ce-zou-yi-gui-203064","楚黔写生山水图册","邹一桂","笔墨清润间，楚黔山水之姿跃然纸上。崖壁陡峭如削，皴擦勾勒见苍劲骨力；林木葱茏含翠，点染晕染显自然生机。小桥卧波连村舍，亭台隐于云霭间，既有写生的写实生动，又具文人画的雅致意境。线条细腻处藏匠心，意境深远中蕴野趣，将地域山水的奇秀与灵韵融为一体，读之如临其境，感自然之美与画者对山水的深情体悟。",[23,370,7,684,685,686,687,688,689,27],"皴法","亭","小桥","流水","林木","崖壁",[],"9d8365",{"id":693,"slug":694,"title":695,"dynasty":652,"author":537,"museum":281,"description":696,"tags":697,"thumbUrl":702,"material":340,"size":341,"collection":34,"collections":703,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":39},289278,"pier-francesco-mola-artists-drawing-and-painting-in-a-studio-yi-ming-289278","Pier Francesco Mola--Artists Drawing and Painting in a Studio","这幅速写以灵动松弛的线条铺陈开画室日常。左侧画师们或立或坐，有人架着画板俯身勾勒，有人席地执笔对照描摹，人人都沉浸在创作的沉静热忱之中。右侧画师们围在雕塑与模特身侧，从不同角度捕捉形体美感。\n\n墨色浓淡区分出空间层次，寥寥数笔便将人物的姿态神情勾勒传神，褪去了繁复修饰，以最质朴的笔触定格了艺术创作现场的真实氛围，将古典画室里匠人沉浸投入的创作日常生动还原，带着朴素而动人心的写实温度。",[262,656,698,699,7,700,701],"速写","画室","白描","绘画场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3472bd4de998d73183f031352adf6c72.jpg",[],{"id":705,"slug":706,"title":707,"dynasty":652,"author":537,"museum":281,"description":708,"tags":709,"thumbUrl":714,"material":340,"size":341,"collection":34,"collections":715,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":39},289136,"marie-rosalie-bonheur-sheet-of-studies-for-the-horse-fair-yi-ming-289136","Marie-Rosalie Bonheur--Sheet of Studies for The Horse Fair","炭笔游走间，两名骑手驱策骏马奔腾向前，鬃毛飞扬如墨色流焰，精准勾勒出骏马贲张的肌肉轮廓，野性张力扑面而来。右侧以淡笔轻扫出马群残影，虚实相映间烘托出集市的喧嚣涌动，悄然铺展出鲜活的场域氛围。\n\n奔放的排线铺陈动势，浓淡光影错落晕开，潦草却精准的速写笔触，把奔跃瞬间的爆发力凝为永恒，细碎草稿线条还留存着创作时的灵动思绪，粗粝炭感揉合着牧场的鲜活生气，将烈马悍勇的生命力永远定格在纸面。",[656,698,589,710,711,712,713,7],"骑手","群马","动物画","习作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a7d26f83b8927d71d5b029eca7fffd4.jpg",[],{"id":717,"slug":718,"title":719,"dynasty":652,"author":537,"museum":281,"description":720,"tags":721,"thumbUrl":727,"material":340,"size":341,"collection":34,"collections":728,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":39},288775,"richard-wilson-house-of-pompey-at-albano-yi-ming-288775","Richard Wilson--House of Pompey at Albano","这幅速写以浅淡素描糅合晕染淡彩，以沉静灰调铺底，晕染出山城聚落的沧桑柔缓。房屋顺着缓坡错落铺陈，细腻排线勾勒出石墙的残破肌理，朦胧柔光漫过檐角与断壁，似是薄暮时分的朦胧天色晕开了边界。\n\n作者以克制笔触将荒颓古迹与寻常民居织为一处，没有浓烈着色，仅靠明暗层次沉淀岁月厚重，松弛的纪实感揉进每一处笔痕里，将地中海山城的慵懒沉静凝为永恒，引着观者沉进这方流淌缓慢的旧时光中。",[656,722,723,724,725,726,7],"风景","民居","残垣","山坡","废墟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61cf1a4f7e3fde3fce74f1dd0a034f5a.jpg",[],{"id":730,"slug":731,"title":732,"dynasty":18,"author":733,"museum":20,"description":734,"tags":735,"thumbUrl":739,"material":33,"size":740,"collection":34,"collections":741,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":39},219657,"hai-cuo-tu-di-si-ce-11-nie-huang-219657","海错图第四册-11","聂璜","清代康熙年间一部主要描绘海洋生物的图谱，由聂璜绘制，共四册。清雍正四年（1726年），被太监苏培盛搜罗入宫，现第一、二、三册，共三存于北京故宫博物院，第四册存于台北故宫博物院。",[23,69,88,27,26,736,737,738,7],"海螺","贝类","海洋生物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f7dfebc0247d220f04792ad4a9e54b8.jpg","30.4x68厘米",[],1777535708195]