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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。",[52,53,7,54,33,55,56,57],"油画","后印象派","树枝","蓝天","厚涂笔触","明亮色彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc340d2ed2d05622f56ebd4b6bac82747.jpg","未知","Xcm*Xcm","油画精选",[61],397,7,{"id":66,"slug":67,"title":68,"dynasty":18,"author":19,"museum":20,"description":21,"tags":69,"thumbUrl":35,"material":36,"size":72,"collection":73,"collections":74,"showCount":75,"zanCount":76,"manualWeight":11,"mainColor":42},220176,"xing-hua-tu-zhao-chang-220176","杏花图",[23,24,25,26,70,29,28,31,7,32,71],"团扇","印章","纵25.2厘米，横27.3厘米","宋画精选",[73,38],250,3,{"id":78,"slug":79,"title":80,"dynasty":81,"author":82,"museum":20,"description":83,"tags":84,"thumbUrl":88,"material":89,"size":90,"collection":91,"collections":92,"showCount":93,"zanCount":94,"manualWeight":11,"mainColor":42},219878,"er-shi-si-fan-hua-xin-feng-tu-li-hua-yu-xing-hua-dong-gao-219878","二十四番花信风图-李花与杏花","清","董诰","古人认为春风守信，如期而来，催开百花，称为“花信风”。春天自“小寒”到“谷雨”经历四个月，共八节气，每五天为一候，前后为二十四番花信风，以梅花居首，楝花居末。此套《画二十四番花信风图》册页十二开，共二十四幅，画二十四番花信风。",[25,29,28,85,71,86,7,87,54,33],"书法","李花","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F985d944013ffd751b9d943e22980248d.jpg","纸本,设色","20x14.2厘米","",[],216,2,{"id":96,"slug":97,"title":98,"dynasty":99,"author":100,"museum":20,"description":101,"tags":102,"thumbUrl":105,"material":106,"size":107,"collection":38,"collections":108,"showCount":109,"zanCount":110,"manualWeight":11,"mainColor":42},218849,"xing-hua-xi-que-tu-qian-gu-218849","杏花喜鹊图","明","钱谷","杏花开于春日，枝头上飞来一只喜鹊，寓有喜报春讯之意。画花写鸟之笔墨雅淡润厚，并有沈周文征明之遗韵。",[25,26,103,29,31,7,104,71],"立轴","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2af34acb04865ee01aff2df0f861c9af.jpg","纸本,水墨","116.6x34.3cm",[38],171,1,{"id":112,"slug":113,"title":114,"dynasty":81,"author":115,"museum":49,"description":116,"tags":117,"thumbUrl":119,"material":59,"size":60,"collection":91,"collections":120,"showCount":121,"zanCount":122,"manualWeight":11,"mainColor":42},239116,"xing-hua-tu-zhou-wu-chang-shuo-239116","杏花图轴","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。 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》。",[25,103,29,31,118,7,87,71],"水墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a6ca2bb7e61d6bea1db2179b23ef156.jpg",[],167,5,{"id":124,"slug":125,"title":126,"dynasty":81,"author":127,"museum":128,"description":129,"tags":130,"thumbUrl":144,"material":145,"size":146,"collection":91,"collections":147,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":149},222815,"fang-gu-si-ji-shan-shui-tu-fang-xing-hua-chun-yu-jiang-nan-wang-hui-222815","仿古四季山水图-仿杏花春雨江南","王翚","辽宁省博物馆","王翬 （1632─1717），字石谷，號耕煙散人、劍門樵客、烏目山人、清暉老人等。江蘇常熟人。清代著名畫家。被稱為清初畫聖。王翬作畫喜好干筆、濕筆並用，而且多以細筆皴擦，畫面效果比較繁密。此圖是王翬《仿古四季山水圖》屏風組畫中的一幅，描繪的是江南春景。圖中山巒層疊，樹青草綠，村舍屋宇錯落，小橋流水人家，漁船泛波湖上，一派雨後春光明媚的江南山村景致。在構圖布局上，小徑、樹木、庭院，皆隨河流之勢分布，疏密得當，既不擁擠，也不顯孤單零落。近處、遠處的小橋流水，將整幅畫面巧妙地連結在一起；遠處山巒環繞於霧靄之中，若隱若現，山巒以墨點點染，藉以烘托初春萬物復甦之景。臨湖的道路兩旁，樹木繁茂，枝葉稀疏清朗，同樹幹的高大粗壯之勢相呼應。全圖中樹幹的畫法不盡相同，體現了作者深厚的功底：近處多為粗壯老乾，先勾勒其輪廓，再以墨色和赭石加以暈染，刻畫詳細；遠處則多以濃墨一氣呵成，枝葉多以濕墨排點式描繪，各種技法交相呼應，使得整幅畫面變化多端。",[23,25,26,131,29,132,133,134,135,136,137,138,139,140,7,141,142,143],"仿古","皴法","山水","小桥","流水","孤舟","老树","枯藤","房屋","山峦","春雨","路径","牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff876fdc542da2e5824bd38aedc647cc2.jpg","绢本设色","82.5x51.2",[],126,"795548",{"id":151,"slug":152,"title":153,"dynasty":99,"author":154,"museum":20,"description":155,"tags":156,"thumbUrl":159,"material":36,"size":160,"collection":38,"collections":161,"showCount":163,"zanCount":94,"manualWeight":11,"mainColor":149},222397,"xing-hua-kong-que-tu-lv-ji-222397","杏花孔雀图","吕纪","此画属于吕纪工笔花鸟画的代表作品，右方署款「吕纪」，钤盖「四明吕廷振印」一方。画中描绘一对孔雀在杏花树下栖息的景况。位于画面中央的孔雀单脚伫立于岩石上，回首注视绽放的红色牡丹，另一只孔雀则蜷伏石上，观察地面景况。画中的孔雀、杏花、牡丹等象征着吉祥意味。杏花以白色、粉赭色系颜料敷染，牡丹花及孔雀则使用浓重的赭红色，与石青、石绿的颜料搭配，充满着富贵绮丽的装饰性。",[23,25,26,103,29,28,31,7,157,158,87,104],"孔雀","牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c7b2db4a8d4bb0924c74e8de14dc43d.jpg","纵203.4厘米，横110.6厘米",[38,162],"设色画精选",122,{"id":165,"slug":166,"title":167,"dynasty":99,"author":168,"museum":20,"description":169,"tags":170,"thumbUrl":176,"material":36,"size":177,"collection":162,"collections":178,"showCount":179,"zanCount":11,"manualWeight":11,"mainColor":149},219353,"hua-niao-tu-xing-hua-shuang-ya-yi-ming-219353","花鸟图-杏花双鸭","佚名","此幅绘柳岸池塘，杏花繁茂，双燕翻飞，翠鸟窥机、二鸭嬉戏。",[25,29,28,31,7,171,172,104,173,174,175],"双鸭","柳树","水面","石头","枝条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd08be92aa3800553c043da2d21b1ba09.jpg","161.5x80.1",[162],103,{"id":181,"slug":182,"title":183,"dynasty":81,"author":115,"museum":49,"description":116,"tags":184,"thumbUrl":186,"material":59,"size":60,"collection":91,"collections":187,"showCount":188,"zanCount":110,"manualWeight":11,"mainColor":42},288474,"cun-bian-xing-hua-bai-jing-xin-wu-chang-shuo-288474","村边杏花白镜心",[23,25,26,31,29,7,185,85,71],"树木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F061ca737f5bff74392f446ad17f4d8e5.jpg",[],74,{"id":190,"slug":191,"title":192,"dynasty":18,"author":193,"museum":49,"description":194,"tags":195,"thumbUrl":197,"material":59,"size":60,"collection":91,"collections":198,"showCount":199,"zanCount":11,"manualWeight":11,"mainColor":42},288325,"yi-yun-xian-xing-tu-ye-ma-yuan-288325","倚云仙杏图页","马远","此图只画出从画幅左下角伸出的花枝的一部分，这种局部描写的构图手法，与他的山水画中的“一角”、“半边”处理有相通相似之处。花枝曲折横斜，然后一分枝指向左上，一分枝指向右下。枝条以细笔浓墨钩勒，再施以水墨渲染；枝上层层叠叠盛开的花朵、含苞欲放的花蕾则施以厚重的白粉加淡红，萼片施以紫色。整个花枝既有曲折多变而挺秀的姿态之美，又透露出几分华贵之气。",[25,26,196,31,28,29,7,71,85],"册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32788a69655290214fe87653a0b2a620.jpg",[],58,{"id":201,"slug":202,"title":203,"dynasty":99,"author":204,"museum":20,"description":205,"tags":206,"thumbUrl":208,"material":89,"size":209,"collection":38,"collections":210,"showCount":211,"zanCount":11,"manualWeight":11,"mainColor":42},219317,"wen-xing-shuang-qin-tu-wu-bin-219317","文杏双禽图","吴彬","此幅画老杏横枝双鸳鸯并立其上，鸳鸯本为水鸟，故甚少画作栖枝之景。一枝上挑中折，即在折断处署吴彬二字款，下钤双印，布置富奇趣。通幅笔墨傅彩，皆甚古厚，而又自饶新意。",[23,24,25,26,103,29,28,31,7,207,71],"禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2299223f11bb0f9f7e2c345c62f0e9ed.jpg","120.4x56.7cm",[38],57,{"id":213,"slug":214,"title":215,"dynasty":18,"author":216,"museum":20,"description":217,"tags":218,"thumbUrl":220,"material":36,"size":91,"collection":221,"collections":222,"showCount":223,"zanCount":94,"manualWeight":11,"mainColor":42},218680,"xing-hua-chun-niao-tu-lin-chun-218680","杏花春鸟图","林椿","本幅选自宋人《合璧画册》，枝干笔法接近林椿“山（木茶）霁雪”，惟转折提顿较明显，技法上更显纯熟。用色层层填染，具“山（木茶）霁雪”韵味。花朵白粉分染处理，与推断为马麟（约1180—1256后）所作之宋人“桃花”相类，然“桃花”枝干更见自然感。林椿、马麟的活动时期在先后间，“杏花春鸟”则或是略晚于马麟之典型精致南宋院画作品。",[23,24,25,26,28,29,31,7,219],"鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97fa3fb771034ae4db090c526bdd41b5.jpg","山水画精选",[221],55,{"id":225,"slug":226,"title":227,"dynasty":228,"author":168,"museum":229,"description":230,"tags":231,"thumbUrl":238,"material":36,"size":239,"collection":38,"collections":240,"showCount":241,"zanCount":110,"manualWeight":11,"mainColor":149},219254,"xing-hua-yuan-yang-tu-yi-ming-219254","杏花鸳鸯图","元","上海博物馆","老干虬曲盘折，枝桠间素白杏花轻绽，似碎雪点染枝头，清妍雅致。水畔鸳鸯相倚，羽色温润柔和，与浅滩细草、零星苔石相映，添得几分闲逸生趣。画面色调古雅沉敛，笔墨简淡却意韵悠长，于静谧中藏生机，尽显元代文人画的清逸之致，观之如沐春风，心归恬淡。",[23,232,24,25,26,31,28,29,7,233,234,235,174,236,207,237],"元代","鸳鸯","树","水","杂草","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3807ab913238f9ab10fab7e5d2ba0d67.jpg","纵163横98.2厘米",[38],54,{"id":243,"slug":244,"title":245,"dynasty":99,"author":246,"museum":247,"description":248,"tags":249,"thumbUrl":252,"material":253,"size":254,"collection":91,"collections":255,"showCount":256,"zanCount":11,"manualWeight":11,"mainColor":42},233835,"wo-you-tu-ce-xing-hua-shen-zhou-233835","卧游图册－杏花","沈周","北京故宫博物院","此套图册分别绘仿倪山水、杏花、秋葵、秋柳鸣蝉、平坡散牧、栀子花、秋景山水、芙蓉、枇杷、秋山读书、石榴、雏鸡、秋江钓艇、菜花、江山坐话、仿米山水、雪江渔夫等山水、花鸟小景。\n根据末开画家自题，可知该册页的“卧游”之名源自南朝宋宗炳在居室四壁挂山水以当卧游的典故。然而不同于挂轴的是，该图册还可于卧床时仰面翻阅。 由此可见画家的绘制初衷和生活情趣。\n引首自书“卧游”，钤“沈氏启南”朱文印。鉴藏印：“士元珍藏”朱文印，“朱卧庵收藏印”朱文印，“查映山氏收藏图书”朱文印。\n仿倪山水，自题：“苦忆云林子，风流不可追。时时一把笔，草树各天涯。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印，“士元”朱文印，“昆山王成宪画印”朱文印，“映山珍藏”朱文印。\n杏花。自题：“老眼于今已敛华，风流全与少年差。看书一向糢糊去，岂有心情及杏花。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n秋葵。自题：“秋色韫仙骨，淡姿风露中。衣裳不胜薄，倚向石阑东。沈周。” 钤“启南”朱文印。鉴藏印：“士元”朱文印，“卧庵所藏”朱文印，“昆山王成宪画印”朱文印。\n秋柳鸣蝉。自题：“秋已及一月，残声绕细枝。因声追尔质，郑重未忘诗。沈周。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“䒶机流动”朱文印。“卧庵所藏”朱文印。\n平坡散牧。自题：“春草平坡雨迹深，徐行斜日入桃林。童儿放手无拘束，调牧于今已得心。沈周。”钤“启南”朱文印两方。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“之”“赤”朱文联珠印。\n栀子花。自题：“花尽春归厌日迟。玉葩撩兴有新栀。淡香流韵与风宜。帘触处、人在酒醒时。 生怕隔墙知。白头痴老子，折斜枝。还愁零落不堪持。招魂去、一曲（按：此字点去）阙小山词。右词寄小玉山，沈周。”钤“启南”朱文印，“吴言”朱文印。“石田翁”白文印。鉴藏印：“之”“赤”朱文联珠印，“朱卧庵收藏印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n秋景山水。自题：“淡墨疏烟处，微踪仿佛谁。梅花庵里客，端的是吾师。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印。\n芙蓉。自题：“芙蓉清骨出仙胎，赭玉玲珑轧露开。天亦要妆秋富贵，锦江翻作楚江来。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“卧庵所藏”朱文印、“昆山王成宪画印”朱文印、“竹南藏玩”白文印。\n枇杷。自题：“弹质圆充饤，蜜津凉沁唇，黄金作服食，天亦寿吴人。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印,“卧庵所藏”朱文印、“昆山王成宪画印” 朱文印。\n秋山读书。自题：“高木西风落叶时，一襟萧爽坐遥遥。闲披秋水未终卷，心与天游谁得知。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“卧庵所藏”朱文印。\n石榴。自题：“石榴谁擘破，群琲露人看。不是无藏韫，平生想怕瞒。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n雏鸡。自题：“茸茸毛色半含黄，何独啾啾去母傍。白日千年万年事，待渠催晓日应长，沈周。”钤“启南”朱文印，“白石翁”白文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印、“朱卧庵收藏印”朱文印。\n秋江钓艇。自题：“满池纶竿处处缘，百人同业不同船。江风江水无凭准，相并相开总偶然。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“卧庵所藏”朱文印。\n菜花。自题：“南畦多雨露，绿甲已抽新。切玉烂蒸去，自然便老人。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印，“昆山王成宪画印”朱文印。\n江山坐话。自题：“江山作话柄，相对坐清秋。如此澄怀地，西湖忆旧游。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印、“昆山王成宪画印”朱文印。\n仿米山水。自题“云来山失色，云去山依然。野老忘得丧，悠悠柱杖前。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n雪江渔夫。自题：“千山一白照人头，簑笠生涯此钓舟。不识江湖风雪里，可能干得庙堂忧。沈周。”钤“白石翁”白文印。鉴藏印：“昆山王成宪画印”朱文印、“卧庵所藏”朱文印。\n题跋。自题：“宗少父四壁揭山水图，自谓卧游其间。此册方可尺许，可以仰眠匡床，一手执之，一手徐徐翻阅，殊得少文之趣。倦则掩之，不亦便乎？于揭亦为劳矣。真愚闻其言，大发笑。沈周跋。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印，“芃园曹氏平生真赏”朱文印，“麓云楼书画记”朱文印，“康饴”朱文印，“只可自怡悦”白文印，“朱卧庵收藏印”朱文印，“依竹居士鉴赏书画印”朱文印。",[24,25,26,250,118,29,31,7,32,251],"册","写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf1f2aa10e8f3812d10b6863c0c7125a.jpg","纸本，设色","纵27.8厘米，横37.3厘米",[],34,{"id":258,"slug":259,"title":114,"dynasty":99,"author":246,"museum":247,"description":260,"tags":261,"thumbUrl":262,"material":263,"size":264,"collection":91,"collections":265,"showCount":266,"zanCount":11,"manualWeight":11,"mainColor":42},233831,"xing-hua-tu-zhou-shen-zhou-233831","画上瘦杏一株，花开烂漫，仍是折枝简笔，却多添了颜色。树干以赭色填充，花片则淡粉轻红，温润又悦目，几乎可以想象他挥毫时愉快的心情。也有题跋，也有诗：\n布甥简静好学，为完庵先生曾孙，人以科甲期之，壬戌科，果登第。尝有桂枝贺其秋闱，兹复写杏一本以寄，俾知完庵遗泽所致也。\n与尔近居亲亦近，今年喜尔掇科名。杏花旧是完庵种，又见春风属后生。\n意思是说，你考得这样好，我画杏花表示祝贺。刘家世代书卷气不绝，大家都期待你的成绩。如今成功了，莫要忘记祖爷爷的遗泽。这些话里全无架子，只透出一片温暖平实。",[25,26,103,118,29,251,85,71,7,54,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61ece9a78838b66a815a3309957c7e09.jpg","纸本设色","纵80cm横33.5cm",[],26,{"id":268,"slug":269,"title":270,"dynasty":81,"author":271,"museum":49,"description":272,"tags":273,"thumbUrl":278,"material":91,"size":91,"collection":91,"collections":279,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":42},224579,"hua-xing-hua-song-zhu-zhou-jiang-ting-xi-224579","画杏花松竹轴","蒋廷锡","水墨晕染，苍松躯干古拙嶙峋，疤结凝着岁月风霜，松针攒簇如戟，虬枝斜曳尽显清刚之姿。柔婉杏枝侧生，蓓蕾轻绽，冷艳雅致中和了古松的苍劲。坡石之间新竹疏朗挺秀，与松、杏相映成趣。浅滩细流隐现于草叶间，衬出幽寂清远的林下意境。\n\n笔致兼用工写，浓淡墨色铺陈层次，刚柔相济，将花木姿致与林泉野趣相融，淡痕轻晕里藏着文人清雅风骨，把岁寒同侪的逸韵收于卷中，晕染出悠长清寂的林下幽怀。",[23,25,103,118,274,275,7,276,133,31,132,277,251],"松","竹","山石","淡设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3ddfdd9f3d46ccff5e6af49dd78bebf.jpg",[],19,{"id":282,"slug":283,"title":284,"dynasty":81,"author":285,"museum":49,"description":286,"tags":287,"thumbUrl":291,"material":59,"size":60,"collection":91,"collections":292,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":42},287353,"wei-ma-yue-guan-zuo-hua-shi-jin-nong-287353","为马曰琯作画诗","金农","金农（1687年—1763年），男，字寿门、司农、吉金，号冬心先生、稽留山民、曲江外史、昔耶居士等，因其人生历经康熙、雍正、乾隆三朝，所以自封“三朝老民”的闲号，钱塘（今浙江杭州）人，布衣终身。清代书画家，扬州八怪之首。\n他好游历，卒无所遇而归。晚寓扬州，卖书画自给。嗜奇好学，工于诗文书法，诗文古奥奇特，并精于鉴别。书法创扁笔书体，兼有楷、隶体势，时称“漆书”。五十三岁后才工画。其画造型奇古，善用淡墨干笔作花卉小品，尤工画梅。\n代表作有《东萼吐华图》《空捍如洒图》《腊梅初绽图》《玉蝶清标图》《铁轩疏花图》《菩萨妙相图》《琼姿俟赏图》等。著有《冬心诗集》《冬心随笔》《冬心杂著》等。",[85,288,71,289,7,250,290,26],"楷书","桃花","寂寞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d2ac11910dd1f682da6ca313e6c0edd.jpg",[],{"id":294,"slug":295,"title":296,"dynasty":81,"author":297,"museum":49,"description":298,"tags":299,"thumbUrl":303,"material":91,"size":91,"collection":91,"collections":304,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":42},234674,"gu-yun-xing-hua-you-qi-shan-mian-gu-yun-234674","顾沄杏花游骑扇面","顾沄","顾沄（1835—1896年）字若波，号云壶、壶隐、壶翁、云壶外史、濬川、颂墨、病鹤，室名自在室、小游仙馆。吴县（今属江苏苏州）人。布衣。工画山水，清丽疏古，得“四王”、吴、恽诸家之长。",[25,26,27,29,133,300,301,7,185,302],"人物","马","古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0231631c11e918ba33be85cb1e7065d.jpg",[],{"id":306,"slug":307,"title":308,"dynasty":81,"author":168,"museum":49,"description":309,"tags":310,"thumbUrl":315,"material":59,"size":60,"collection":91,"collections":316,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":317},267287,"dian-cui-xing-lin-chun-yan-wen-tou-hua-yi-ming-267287","点翠杏林春燕纹头花","中国妇女最偏爱的头花当属绒花，尤其是在女儿出嫁时，头上必须戴红色绒花，图火红吉利。在中国妇女中，只要条件允许，不仅婚礼喜庆日时要戴绒花，而且一年四季都愿意头戴绒花，求谐音吉祥。尤其到应时节序戴应季绒花：立春日戴春幡，清明日戴柳枝，端阳日戴艾草，中秋日戴桂花，重阳日戴茱萸，立冬日戴葫芦阳生……。清宫后妃们的头花，还有大批的绒花、绢花、绫花流存于世，这些花色彩协调，晕色层次丰富，堪称“乱真”之花。清代遗留下来的绒、绢、绫、绸等质地的头花有白、粉、桃红三晕色的牡丹花，浅黄、中黄、深黄三色的菊花，白、藕、雪青三色的月季花及粉、白相间的梅花等等，历时百年不久，仍鲜艳悦人。",[311,312,313,7,314,31],"饰品","点翠","头花","燕子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42e96a32496e04480f692dfa43b85b44.jpg",[],"37474F",{"id":319,"slug":320,"title":321,"dynasty":81,"author":168,"museum":49,"description":322,"tags":323,"thumbUrl":327,"material":59,"size":60,"collection":91,"collections":328,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":317},265693,"bao-lan-se-duan-di-dan-cai-xing-hua-wen-tao-yi-ming-265693","宝蓝色缎地淡彩杏花纹绦","经线提花锦的组织结构和纹样都十分复杂，舞人动物纹锦的纹样横贯全幅，充分反映了当时已有了先进的提花织造技术。精美的刺绣品共有17种纹样，构图大，讲究对称、平衡，色彩配合恰当，给人以端庄典雅、富丽堂皇的美感。纹样内容充满神话色彩，鲜明地反映了楚文化的浪漫主义特色。墓中出土的衣袍为直据，是当时贵族中最流行的一种服式。这批先秦织物的出土，为深入研究我国古代纺织史提供了珍贵的实物资料。",[324,311,237,7,275,325,29,326],"布料","菊","缎面","https:\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