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“沈氏启南”印、白文 “白石翁”印。沈周是个孝子，51岁时其父去世，一直留家照顾母亲，这也是他多次婉辞出仕的理由。其母99岁去世后，他多次创作思萱题材以怀念母亲。\n古代传说大椿长寿，庄子曾经说过“上古有大椿者，以八千岁为春，八千岁为秋”，可见它有多么长寿。因此古人就把它拿来比喻父亲，盼望父亲像大椿一样长生不老。后来为一切男性长辈祝寿，都尊称对方为“椿寿”。又因为当年孔子的儿子孔鲤怕打扰父亲思考问题，“趋庭而过”，快步走过自家的庭院，因此古人就把“椿”和“庭”合起来称“椿庭”，称父亲为“椿庭”。古人不单独把父亲称为“椿”，那毕竟是一棵树，而是称为“椿庭”。将“椿”、“萱”合称“椿萱”即代指父母，父母都健在称为“椿萱并茂”，前引“堂上椿萱雪满头”的诗句就是形容父母都老了，头发都白了。",[23,25,30,49,88,7,89],"老树","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa835837569826e86e816c94d9ef1b7d0.jpg","绢本设色","纵170.9厘米，横92.8厘米",[55,94],"设色画精选",109,1,{"id":98,"slug":99,"title":100,"dynasty":83,"author":101,"museum":102,"description":103,"tags":104,"thumbUrl":109,"material":110,"size":111,"collection":36,"collections":112,"showCount":113,"zanCount":96,"manualWeight":11,"mainColor":40},222565,"hua-hui-tu-4-chen-chun-222565","花卉图4","陈淳","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。",[23,25,27,105,106,30,32,7,107,108],"写意","水墨","叶片","野花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12a8d0fc1f066a0983129200e58f195a.jpg","纸本设色","32.5×57.3厘米",[],55,{"id":115,"slug":116,"title":117,"dynasty":45,"author":118,"museum":119,"description":120,"tags":121,"thumbUrl":127,"material":128,"size":129,"collection":36,"collections":130,"showCount":131,"zanCount":11,"manualWeight":11,"mainColor":59},288954,"xuan-cao-you-gou-tu-mao-yi-288954","萱草游狗图","毛益","藏地不详","毛益（公元12世纪）〔南宋〕昆山（今属江苏）人，一作沛（今江苏沛县）人，生卒年不详。孝宗乾道(1165-1173)间画院待诏，工画翎毛、花竹，尤能渲染，似欲飞鸣。",[25,49,30,122,123,7,124,125,126],"花鸟画","狗","岩石","兽","嬉戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4451ba617deffe2f59651d8c89fc4ce.jpg","未知","Xcm*Xcm",[],44,{"id":133,"slug":134,"title":135,"dynasty":83,"author":101,"museum":102,"description":103,"tags":136,"thumbUrl":141,"material":110,"size":111,"collection":36,"collections":142,"showCount":143,"zanCount":11,"manualWeight":11,"mainColor":40},222558,"hua-hui-tu-10-chen-chun-222558","花卉图10",[23,25,122,137,30,138,139,140,7],"册页","文人写意","写生","草本花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2eaa39a1ce4b3d43b4c0fcf6632bf627.jpg",[],36,{"id":145,"slug":146,"title":147,"dynasty":83,"author":148,"museum":119,"description":149,"tags":150,"thumbUrl":156,"material":53,"size":157,"collection":55,"collections":158,"showCount":159,"zanCount":11,"manualWeight":11,"mainColor":59},219906,"xuan-kui-shuang-li-tu-yi-ming-219906","萱葵双鹂图","佚名","垂柳叶丝轻曳水畔，两只黄鹂栖停枝梢，翅羽晕染细腻绵密，灵动身姿似正私语嬉游。左侧蜀葵攒簇粉艳花团，浓绿叶片饱满鲜活，下方萱花舒展素白瓣朵，依偎嶙峋湖石而生。\n\n整作设色古雅沉稳，沉褐绢底衬得花叶明丽、禽鸟娇俏。工笔晕染精妙入微，将蜀葵秾艳、萱花清柔，黄鹂的娇憨灵动画韵尽显，留白水岸清寂悠远，把初夏水畔的闲静生机凝于绢上，笔致工秀柔和，揉合雅致野趣，尽显悠然清逸的隐逸意趣。",[23,25,30,49,27,7,69,151,152,153,154,32,155],"柳树","山石","百合花","飞鸟","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d1ccf1c70a12fed695098a1073e3dd5.jpg","纵118厘米 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粉彩瓷黄地萱草盆","瓷器是由瓷石、高岭土、石英石、莫来石等烧制而成，外表施有玻璃质釉或彩绘的物器。瓷器的成形要通过在窑内经过高温（约1280℃～1400℃）烧制，瓷器表面的釉色会因为温度的不同从而发生各种化学变化，是中华文明展示的瑰宝。\n中国是瓷器的故乡，瓷器是古代劳动人民的一个重要的创造。谢肇淛在《五杂俎》记载：“今俗语窑器谓之磁器者，盖磁州窑最多，故相延名之，如银称米提，墨称腴糜之类也。”当时出现的以“磁器”代窑器是由磁州窑产量最多所致。这是迄今发现最早使用瓷器称谓的史料。",[307,308,30,7,309,50,310],"陶瓷","粉彩","梅","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8bac0c578b169d414900d8e16045760.jpg",[],1777535720251]