[{"data":1,"prerenderedAt":582},["ShallowReactive",2],{"subject-yan-893":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},893,"yan-893","雁","雁画高清赏析","精选中国历代雁题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6688a08a6fa2a612062f37d3ee19132f.jpg",0,43,[14,45,62,78,92,109,124,136,155,165,178,190,211,223,236,248,260,272,282,293,302,311,322,333,344,357,371,378,386,394,406,414,424,433,445,472,482,490,505,532,544,557,571],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":37,"material":38,"size":39,"collection":40,"collections":41,"showCount":42,"zanCount":43,"manualWeight":11,"mainColor":44},216908,"lu-yan-fu-rong-tu-yi-ming-216908","芦雁芙蓉图","隋","佚名","私人收藏","芦雁芙蓉图是一幅佚名的隋代画作，它的创作时间大约在6世纪中期。这幅画的主题是芦雁和芙蓉，被认为是隋朝时期最优秀的花卉画之一。\n\n芦雁是一种常见的水鸟，在古代中国文学中常被描写为优美、品性高尚的鸟类。芙蓉是一种常见的花卉，被认为是一种具有极高艺术价值的植物。在这幅画中，芦雁和芙蓉被描绘得栩栩如生，使用的颜色十分丰富，线条流畅，构图巧妙，是一幅充满美感的艺术品。\n\n芦雁芙蓉图被认为是隋朝时期花卉画的代表作之一，其创作背景和风格反映了当时的文化、艺术特点。它对后世的艺术家们也产生了深远的影响。",[23,24,25,26,27,28,7,29,30,31,32,33,34,35,36],"高清","国画","设色","工笔","立轴","花鸟","芙蓉","芦苇","水","石头","禽鸟","花卉","植物","动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a48aa75a4e73cbfea994365e8bccc65.jpg","绢本,设色","","花鸟画精选",[40],356,4,"795548",{"id":46,"slug":47,"title":48,"dynasty":49,"author":50,"museum":51,"description":52,"tags":53,"thumbUrl":56,"material":57,"size":58,"collection":40,"collections":59,"showCount":60,"zanCount":11,"manualWeight":11,"mainColor":61},218775,"lu-yan-tu-zhu-da-218775","芦雁图","清","朱耷","北京故宫博物院","图绘6只芦雁在水际岸边飞、鸣、行、止的瞬间。芦雁的造型准确严谨，动、静的体态表现得出神入化。其背部的羽毛是先以淡墨晕染，趁湿在淡墨上点以浓墨，浓淡墨交融处显现出羽毛柔软细密的质感和厚重的量感。图中描绘山石的笔墨老辣娴熟，石上的青苔以卧笔横锋点染，纵横随意中不失章法，其苔点与芦雁身上的墨点在笔法上形成呼应，令全幅深得酣畅淋漓之趣。",[23,24,54,27,55,7,30,32,28],"水墨","写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe60dede01fc11a7c1a00978bff3e757b.jpg","纸本,水墨","纵221.5厘米，横114.2厘米",[40],129,"BDBDBD",{"id":63,"slug":64,"title":65,"dynasty":66,"author":67,"museum":20,"description":68,"tags":69,"thumbUrl":73,"material":38,"size":74,"collection":40,"collections":75,"showCount":76,"zanCount":77,"manualWeight":11,"mainColor":44},218920,"fu-rong-shuang-yan-tu-lv-ji-218920","芙蓉双雁图","明","吕纪","吕纪，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。",[23,24,70,26,25,28,29,7,35,71,72,34],"名画","枝干","叶子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac8fb431edd8bf3e6cbb2221cc53cd04.jpg","114x52cm",[40],119,2,{"id":79,"slug":80,"title":48,"dynasty":66,"author":81,"museum":82,"description":83,"tags":84,"thumbUrl":88,"material":38,"size":39,"collection":40,"collections":89,"showCount":90,"zanCount":91,"manualWeight":11,"mainColor":44},219052,"lu-yan-tu-lin-liang-219052","林良","大英博物馆","墨色浓淡交织间，苇丛恣肆舒展，叶片如剑划破虚灵的背景，尽显野逸之趣。雁群姿态憨然，或低头啄食，或翘首顾盼，羽毛以淡墨晕染，绒质感呼之欲出，兼工带写的笔法将水禽的灵动与野趣凝于尺幅。画面不着艳色，却于水墨淋漓中透出秋江芦岸的清寂与生机，笔力雄健又不失细腻，尽显写意花鸟的奔放与传神，仿佛能听见苇叶沙沙，雁鸣轻啼，将自然之趣定格成永恒的诗意图景。",[23,24,54,55,28,30,7,85,86,87],"飞鸟","岸滩","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef142504755ac0f39ccbabbb50b7aca.jpg",[40],99,1,{"id":93,"slug":94,"title":48,"dynasty":95,"author":96,"museum":97,"description":98,"tags":99,"thumbUrl":103,"material":38,"size":104,"collection":105,"collections":106,"showCount":108,"zanCount":91,"manualWeight":11,"mainColor":44},219300,"lu-yan-tu-huang-ju-cai-219300","宋","黄居寀","台北故宫博物院","画中三只芦雁从姿态与翎毛、口唇，可分出其雌雄与年龄大小，年幼者在父母之旁安然入睡，公雁者为首领独居图中，形象高大粗壮，具有长者地位，雌雁者既在幼雁旁有护驾之意，又张口切切私语，含情脉脉地望着对方，这种富有家庭意识的禽鸟之态，表现得淋漓之尽。作者对画中的芦雁画法精细，特别羽毛画笔工致，华润淋漓，神态生动逼真；芦苇枝叶双勾与晕染，阴阳背向分明。整个画面主题突出，构图严正，背景简洁明了，水面、沙滩及芦苇布置及画法恰到好处。居案的绘画从写生中出，在《东斋记事》中写着：“其家多养鹰鹘，观其神俊以模写之，故得其妙。”从此芦雁图中可知，长期的写生和临摹训练带给他真实生动地描绘禽鸟的功力，其准确度不亚于动物标本式的记录。",[23,24,70,100,26,25,28,7,30,101,31,102],"书画","鸟","岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1f48e78c47390b027fe23bdb5ccc424.jpg","纵144.5厘米，横93.3厘米","宋画精选",[105,40,107],"设色画精选",78,{"id":110,"slug":111,"title":112,"dynasty":95,"author":113,"museum":114,"description":115,"tags":116,"thumbUrl":119,"material":120,"size":121,"collection":105,"collections":122,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":44},221251,"yan-tu-hui-chong-221251","雁图","惠崇","日本京都国立博物馆","宋代绘画的许多作品，尤其是僧人的作品，很大一部分保存在日本，并对日本绘画史产生了深刻的影响。北宋惠崇的作品传世极少，而这幅《雁图》因为藏于国外的缘故，在相当长时间里并未引起国内美术界的重视。\n《雁图》见于东京国立博物馆《唐绘手鉴-笔耕园》。东京国立博物馆《笔耕园》，是将室町时代以后舶来的中国画汇集而成的手鉴。收录作品60幅，其主题、画法和样式各异，并据此在各图上加有不同画家的名字。经鉴识的画家人数达49名，宋元时代画家的名字较多，但其中也有明代画家的名字，还夹杂了一些明代作品，因此可以说，在作品的收集与鉴识之中，反映出中世、近世舶来中国画的时代动向。其中不仅有南宋名家夏珪的山水图之类的难得佳作，还有其他一些质量极高的作品。汉画作爲室町时代之后绘画史上的一大流派，一直将此类中国绘画作为模板，手鉴如实地反映了当时社会对中国绘画的接纳和认同状况，可谓是珍贵史料。\n《雁图》所描绘的是汀岸一隅，五只雁栖息于芦苇丛下的岸边，四只在前，一只隐于坡岸之后。构图极其简洁，大致属于边角结构，芦苇、坡石、芦雁自右下角延伸至有病，其余部分大片留白，形成清远空旷的意境。此画虽为僧侣画，但与宋代的其他僧侣绘画（如牧溪）的率意及强调禅意不同，并未远离宋代的主流艺术风格。比如写实工细的芦雁和写意的坡石形成粗细对比，右下与左上在构图上的虚实对比，都是宋代院体画的基本表现手法。",[23,70,24,100,54,25,7,85,31,30,87,117,118,33],"宋画","小景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc00d57a05337889e75786d96f615a42c.jpg","绢本着色","29.3×32.1",[105,40,107],61,{"id":125,"slug":126,"title":127,"dynasty":128,"author":19,"museum":97,"description":129,"tags":130,"thumbUrl":132,"material":38,"size":133,"collection":40,"collections":134,"showCount":135,"zanCount":11,"manualWeight":11,"mainColor":44},216211,"lu-yan-zhou-yi-ming-216211","芦雁轴","元","芦雁图轴是一件来自元朝时期的著名艺术珍品，作者不详。这件作品描绘了一只雁在芦苇丛中的景象，并以细腻的线条和精确的造型表现了雁的轮廓和羽毛。芦雁图轴的艺术风格属于元朝时期流行的清新风格，被认为是元朝艺术的精华之作。",[24,26,25,27,28,85,131,7,29],"芦草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b23b9ab38b1ae3b9144978aa0d68304.jpg","168.3x106.7cm",[40],58,{"id":137,"slug":138,"title":139,"dynasty":95,"author":140,"museum":141,"description":142,"tags":143,"thumbUrl":152,"material":39,"size":39,"collection":39,"collections":153,"showCount":154,"zanCount":11,"manualWeight":11,"mainColor":61},227491,"liu-ya-lu-yan-tu-juan-zhao-ji-227491","柳鸦芦雁图卷","赵佶","藏地不详","《柳鸦芦雁图》是北宋宋徽宗赵佶创作的一幅纸本淡设色中国画，现藏于上海博物馆。\n此图共分为二段，前段画柳鸦，后段画芦雁。鸦的头顶和腹部施以白粉，鸦身敷浓墨，黝黑如漆。柳树的斑驳老干，富有质感。柳鸦的墨彩很酣，笔势很壮，显示出赵佶用墨的特色。后段四只芦雁在芦草蓼花边栖息，以浅赭设色，增强了秋天萧疏的气氛。",[23,70,24,100,144,26,54,25,145,146,147,148,7,149,85,150,151],"长卷","印章","柳","鸦","芦","竹子","树","水草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26d888a8bed9a38a24bfea78fe527b0a.jpg",[],57,{"id":156,"slug":157,"title":48,"dynasty":66,"author":81,"museum":158,"description":159,"tags":160,"thumbUrl":161,"material":38,"size":162,"collection":40,"collections":163,"showCount":164,"zanCount":11,"manualWeight":11,"mainColor":44},218631,"lu-yan-tu-lin-liang-218631","费城艺术博物馆","画面以淡墨晕染出秋郊水畔的清寂氛围，芦苇疏斜摇曳，残荷半卷低垂，尽显萧瑟之致。一只雁振翅俯冲而下，羽翼的劲健与气流的动感跃然绢上；地面三只雁姿态各异——或低头啄食，喙尖轻触水面，似有涟漪隐现；或昂首远眺，颈间线条舒展，似与飞雁相和；或蜷身小憩，绒毛以淡墨点染，憨态可掬。\n\n笔墨兼工带写，雁的羽毛以浓淡墨色层叠晕染，质感蓬松而富有层次；芦苇则用劲挺的线条勾勒，末梢的飞白似有风掠过。整幅画于简淡中见生机，动静相宜，将禽鸟的野逸之趣与自然的清幽之境融为一体，尽显水墨写意的灵动韵味。",[70,24,54,55,28,7,30,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ce0607b35d95314ba2cb9879ec01f41.jpg","179x99",[40],55,{"id":166,"slug":167,"title":168,"dynasty":95,"author":19,"museum":97,"description":169,"tags":170,"thumbUrl":174,"material":38,"size":175,"collection":40,"collections":176,"showCount":177,"zanCount":77,"manualWeight":11,"mainColor":44},218707,"han-tang-qun-yan-tu-yi-ming-218707","寒塘群雁图","这是一幅描绘池塘一角的画，岸边有枯草和树叶，给人一种寒意。几只大雁聚集在一起，其中一只飞向空中，与伸出头来的那只大雁遥相呼应，形成一个生动的画面。笔触和色彩的灵感来自于崔白。",[23,24,70,100,26,25,7,85,171,150,172,31,173,33],"池塘","草","岸边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71dfdb429461da18280483cbdee873a7.jpg","194.4x109.2",[40],52,{"id":179,"slug":180,"title":48,"dynasty":49,"author":181,"museum":20,"description":182,"tags":183,"thumbUrl":186,"material":38,"size":187,"collection":40,"collections":188,"showCount":189,"zanCount":77,"manualWeight":11,"mainColor":44},218934,"lu-yan-tu-tong-heng-218934","童衡","翔雁振翅俯冲，羽色斑斓层次分明；轻禽蜷卧石畔，茸毛细腻如触可感。疏苇劲挺，穗芒随风轻扬；蓝花数点，点缀坡岸野趣。画面动静相宜，工致笔触间藏逸气，温润绢底衬得草木禽鸟鲜活灵动。飞者姿态矫健，似携风声掠空；栖者神情悠然，若享片刻安宁。芦苇的苍劲与花草的柔媚相映，禽鸟的生动与背景的静谧相和，尽显清代花鸟写生之清雅生机，于简约构图中蕴自然意趣，观之如临郊野，满溢鲜活灵动的生命气息。",[24,100,25,26,85,7,30,184,87,28,185],"菊","清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74094fc2a952daf18c529cd8039ea047.jpg","81x33cm",[40],50,{"id":191,"slug":192,"title":193,"dynasty":49,"author":194,"museum":20,"description":195,"tags":196,"thumbUrl":207,"material":38,"size":208,"collection":40,"collections":209,"showCount":210,"zanCount":91,"manualWeight":11,"mainColor":44},218957,"xue-jing-lu-yan-tu-dou-chi-dao-ren-218957","雪景芦雁图","都痴道人","寒江雪岸，双雁栖于坡间。一雁昂首引颈，似望垂枝冰棱；一雁敛翅低首，若思冬日闲情。岸边枯草丛生，竹枝覆雪，柳丝悬冰，凝住凛冬气息。雁羽勾勒细腻，墨色浓淡相衬，绒羽质感毕现；雪地以淡墨晕染，留白见意，坡岸起伏自然。冰棱线条劲挺，柳枝疏朗，与双雁的生动形成呼应。画面虽寒，双雁相依却含暖意，于萧瑟中藏生机。笔墨兼具工致与写意，工笔绘雁之形神，写意写雪之空灵，意境清寂而不失温情，尽显冬日禽鸟之态与自然之趣。",[23,24,100,197,54,26,55,198,7,199,200,201,202,203,204,205,206],"花鸟画","雪景","枯柳","冰棱","竹枝","枯草","雪坡","清寂","温情","生机","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb37d6f5402bf65e673703469de4723fd.jpg","135x74cm",[40],44,{"id":212,"slug":213,"title":214,"dynasty":95,"author":19,"museum":97,"description":215,"tags":216,"thumbUrl":218,"material":219,"size":220,"collection":105,"collections":221,"showCount":222,"zanCount":11,"manualWeight":11,"mainColor":44},221237,"qiu-tang-shuang-yan-zhou-yi-ming-221237","秋塘双雁轴","《宋人画秋塘双雁图》是宋代佚名画家创作的一幅中国花鸟古画。\n【简介】 本幅在构图上，将洲岸、水草、残荷搭配在画幅两侧，约略呈一个圆弧状，而画中主题双鹅，则分置在画幅的左右，为这个约略的圆弧所包围，形成幅面整体圆融的气氛。\n虽然北宋後半期，在崇尚淡雅的文人画风引导下，搭配双鹅的背景，为萧瑟衰败的秋荷，但仍隐喻著萧瑟苦寒中亦不改其情意的祥瑞之意。\n画中羽禽水草皆描画精准，强调画面中央空旷平远的构图意念，皆可将本幅画作定为北宋徽宗朝画院之作。\n通幅画面由两幅绢并接而成，或因分合改装，致使接合处略有损伤。\n与雁同科，古人有时 鹅不分而通称。\n本幅画浅滩洲岸上的双鹅，在微微风意中，一只仰天引颈而望；一只蹲伏在红蓼下理翎。\n与二只或掠空飞过；或伫足莲杆上栖息的翡翠，交相呼应。",[23,24,100,27,28,25,26,7,151,217,171],"荷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9b4ee9203899581a619038111bbb7b8.jpg","绢本设色","170x 167厘米",[105,40,107],39,{"id":224,"slug":225,"title":226,"dynasty":66,"author":19,"museum":20,"description":227,"tags":228,"thumbUrl":232,"material":38,"size":233,"collection":40,"collections":234,"showCount":235,"zanCount":11,"manualWeight":11,"mainColor":44},216672,"han-ting-yan-zhu-tu-yi-ming-216672","寒汀雁渚图","画面上画着泥滩，雪白的树枝，上面有三只鸟攥着树枝，摆动着，张着嘴，似乎在一起聊天。下面的两只鸭子似乎对这热闹的场面很着迷，一只鸭子歪着头往上看。",[23,24,100,28,25,26,85,7,229,230,198,231],"寒滩","枯树","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d985ffc7d1d78047821ba4d079dffd9.jpg","152x65cm",[40],38,{"id":237,"slug":238,"title":48,"dynasty":239,"author":96,"museum":141,"description":240,"tags":241,"thumbUrl":243,"material":244,"size":245,"collection":39,"collections":246,"showCount":247,"zanCount":11,"manualWeight":11,"mainColor":44},289000,"lu-yan-tu-huang-ju-cai-289000","五代十国","黄居寀[cǎi]（933年—993年后），字伯鸾，成都（今属四川）人，五代十国名画家黄筌第三子。善画花竹、翎毛，为西蜀翰林待诏。蜀亡入宋，得宋太宗礼遇，黄家画法遂成宋初画院评画的标准。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，入宋仍任翰林待诏。尝合作殿廷墙壁，宫闱屏幛，不可胜记。",[24,100,28,26,25,131,7,85,242],"河滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bf4508e1d9578b25bd4dfd999a4770e.jpg","未知","Xcm*Xcm",[],36,{"id":249,"slug":250,"title":251,"dynasty":95,"author":252,"museum":97,"description":253,"tags":254,"thumbUrl":257,"material":244,"size":245,"collection":39,"collections":258,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":44},289872,"lu-yan-tu-zhou-cui-bai-289872","芦雁图轴","崔白","崔白（1004-1088），字子西，濠州（今安徽凤阳）人，北宋画家。崔白是开始发挥写生精神的画家，其无前人的画稿可临摹或参考，但其依靠超越前人的观察研究及描绘能力，探索花木鸟兽的生意，摆脱花鸟属装饰图案的遗影，开创新的发展方向。其擅花竹、翎毛，亦长于佛道壁画，画佛道鬼神、山水、人物亦精妙绝伦，尤长于写生。所画鹅、蝉、雀堪称三绝，手法细致，形象真实，生动传神，富于逸情野趣。一改百余年墨守成规的花鸟画风（指“黄筌画派”），成为北宋画坛的革新主将，数百年来颇受画坛尊崇。",[24,70,27,197,25,26,7,30,242,255,145,256,85],"萧瑟","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3268d051a3a5f1a61e3fc7aa0356935b.jpg",[],35,{"id":261,"slug":262,"title":263,"dynasty":95,"author":264,"museum":141,"description":265,"tags":266,"thumbUrl":269,"material":244,"size":245,"collection":39,"collections":270,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":44},288348,"dong-yan-tu-song-ren-288348","冬雁图","宋人","画中羽禽水草皆描画精准，强调画面中央空旷平远的构图意念",[24,26,28,7,30,267,268,255,145],"水岸","冬季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa761cc5e3009b435f9f18dc03c7e3b9a.jpg",[],31,{"id":273,"slug":274,"title":275,"dynasty":49,"author":276,"museum":141,"description":277,"tags":278,"thumbUrl":280,"material":39,"size":39,"collection":39,"collections":281,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":61},228948,"lu-yan-tu-ce-ye-bian-shou-min-228948","芦雁图册页","边寿民","作品简介 此是杂画册中的一幅，以没骨法写一尾鳜鱼，墨色浓淡自然，恰到好处表现鳜鱼的体质感，借用几笔淡墨勾出鳜鱼的头部。\n形象生动，似乎刚离水不久。\n口尚张穿一根柳条，几片柳叶，即使画面生又富于生活气息。\n【名称】清 边寿民 杂画图 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边氏芦雁图形象生动，造型极为准确，摆脱了前人繁细的表现手法，删繁就简，形神兼备。其在雁的喙间、足部略施赭黄，使墨彩达到了和谐的统一。他认为画不可拾前人，而要得前人意。并根据纸墨的特点，大胆落墨，显示了其绘画上的深厚功力。边寿民用写竹法绘芦苇，浓淡、枯润、疏密兼面有之，多以赭墨绘滩头、芦苇，雅淡有致，深得遗貌取神的妙趣。后来擅长芦雁的画家，如薜怀、程璋等人，皆仿苇间居士大意，可见其对后世影响之深。\n边寿民善画，花卉翎毛，均有别趣，尤以泼墨芦雁驰名于江淮；画意粗豪苍浑。飞鸣、潜动、食宿，曲尽其态；并以墨竹法写芦，疏而道劲，间作山水，鳞介之屑，亦有意趣。善画芦雁，倾注了其一生的心血。与芦雁有关的画作，堪称思想性与艺术性的代表。传世芦雁作品形式众多，有《芦雁图》册、《芦雁图》轴及《芦雁图》手卷等。\n边寿民具有典型的“在野”文人画审美观念，又与下层平民有较多接触，作品中自然混合着“高雅”和“通俗”双重因素，形成一种特殊的审美品格，这就是：以“典雅”为魂魄，以“清高”为气血，以“明白晓畅”为躯体。此外，还画过大量 画风有两种类型，一类是泼墨写意，多用于画芦雁；另一类是干笔淡墨勾皴，多用于画杂物。",[23,24,54,55,148,7,31,27,145],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F269e93d8e4723c6b4ddb0e7d66b5c983.jpg",[],"F48FB1",{"id":395,"slug":396,"title":397,"dynasty":95,"author":19,"museum":141,"description":398,"tags":399,"thumbUrl":403,"material":244,"size":245,"collection":39,"collections":404,"showCount":405,"zanCount":11,"manualWeight":11,"mainColor":44},290285,"song-ke-si-fu-rong-shuang-yan-zhou-yi-ming-290285","宋缂丝芙蓉双雁轴","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”。",[70,24,100,27,400,26,28,25,29,7,401,34,402,267],"缂丝","祥云","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62a025cf588be896839360d31e85cb74.jpg",[],12,{"id":407,"slug":408,"title":251,"dynasty":49,"author":276,"museum":141,"description":409,"tags":410,"thumbUrl":411,"material":244,"size":245,"collection":39,"collections":412,"showCount":413,"zanCount":11,"manualWeight":11,"mainColor":61},235066,"lu-yan-tu-zhou-bian-shou-min-235066","边寿民（1684年—1752年），初名维祺，字颐公，又字渐僧、墨仙，号苇间居士，江苏山阳人（今淮安区），晚号苇间老民、绰翁、绰绰老人，清代著名画家。曾考中秀才，善画花鸟、蔬果和山水，尤以画芦雁驰名江淮，有“边芦雁”之称。其泼墨芦雁，苍浑生动，朴古奇逸，极尽飞鸣、食宿、游泳之态。泼墨中微带淡赭，大笔挥洒，浑厚中饶有风骨。又善以淡墨干皴擦小品，更为佳妙。因他画芦雁，称其所居名“苇间书屋”。他又工诗词、精中国书法。和郑板桥、金农等人齐名。",[24,100,27,54,28,148,7,85,145],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c49d9ad59e4ece1a8ad3eaeb3acecc7.jpg",[],10,{"id":415,"slug":416,"title":417,"dynasty":128,"author":19,"museum":141,"description":418,"tags":419,"thumbUrl":421,"material":244,"size":245,"collection":39,"collections":422,"showCount":423,"zanCount":11,"manualWeight":11,"mainColor":44},283616,"bai-yan-tu-juan-yi-ming-283616","百雁图卷","逢风时迥度,逐侣乍争飞。犹忆方塘水,今秋已复归",[24,100,70,144,28,54,25,7,85,30,420],"水泽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6bbe5921241b9f0faef21bcab18368d.jpg",[],9,{"id":425,"slug":426,"title":427,"dynasty":49,"author":276,"museum":141,"description":428,"tags":429,"thumbUrl":431,"material":39,"size":39,"collection":39,"collections":432,"showCount":423,"zanCount":11,"manualWeight":11,"mainColor":61},228947,"qing-sha-ji-ying-tu-zhou-bian-shou-min-228947","晴沙集影图轴","《边寿民晴沙集影图轴》是清代边寿民创作的一幅画。\n此图是边寿民画芦雁的代表作。\n图上仅绘芦苇丛边二雁，悠闲宁静，姿态生动自然。\n用笔洗练娴熟，墨色深浅把握自如，反映了画家长期与雁朝夕相对，观察入微，从而达到了“自与心会，画与神契”的意境。\n本幅自题：“晴沙集影，淮海边寿民。\n”钤“颐公”白文印、“寿民”白文印。",[23,24,54,55,27,30,7,430,31],"沙滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a00d913eb5abd9abc798528abcda85b.jpg",[],{"id":434,"slug":435,"title":436,"dynasty":128,"author":19,"museum":97,"description":348,"tags":437,"thumbUrl":441,"material":318,"size":442,"collection":39,"collections":443,"showCount":444,"zanCount":11,"manualWeight":11,"mainColor":44},290721,"she-yan-tu-zhou-yi-ming-290721","射雁图轴",[24,27,438,439,7,198,230,363,54,440],"人物","马","射猎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9f0c3cee47cb5137e4b63832844f6b1.jpg","131.8x93.9",[],8,{"id":446,"slug":447,"title":448,"dynasty":66,"author":449,"museum":141,"description":450,"tags":451,"thumbUrl":469,"material":244,"size":245,"collection":39,"collections":470,"showCount":471,"zanCount":11,"manualWeight":11,"mainColor":44},228347,"huang-zhou-zhu-lou-ji-shen-zao-228347","黄州竹楼记","沈藻","沈藻，字凝清，一字仲藻，华亭（今松江属上海市）人，明代书法家沈度之子。",[256,452,145,453,454,455,456,457,458,459,460,461,462,150,463,7,464,465,466,467,468],"行书","竹楼","山","月","波","云","竹","琴","酒","茶","舟","鹤","屋","城","滩濑","素月","清风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f132ee553de624622d081448aee353c.jpg",[],7,{"id":473,"slug":474,"title":475,"dynasty":95,"author":19,"museum":141,"description":476,"tags":477,"thumbUrl":479,"material":39,"size":39,"collection":39,"collections":480,"showCount":481,"zanCount":11,"manualWeight":11,"mainColor":61},227572,"zhu-tang-su-yan-tu-yi-ming-227572","竹塘宿雁图","此作以团扇取景，绘就郊塘夜色。虬曲老竹斜出坡岸，细劲笔意写尽竹叶萧疏清峭，枝桠间宿雁静敛羽翼隐伏其中，于幽暗中藏着生趣。塘水浅滩以淡墨晕染留白，将夜色空茫铺展开来，虚实相映间，把郊野清寂萧寒的意趣尽数烘托。\n\n笔触简淡老辣，以极简铺陈勾勒出秋日塘岸的荒寒淡远，尽显寄情林泉的幽淡襟怀，带着典型的雅致空寂审美意韵，淡墨轻痕里藏着侘寂出尘的林下幽思。",[23,70,24,100,26,25,458,7,478,28,363],"水塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5580d6774714bf40f3729bca7ab8ff08.jpg",[],6,{"id":483,"slug":484,"title":475,"dynasty":95,"author":19,"museum":141,"description":485,"tags":486,"thumbUrl":487,"material":244,"size":245,"collection":39,"collections":488,"showCount":489,"zanCount":11,"manualWeight":11,"mainColor":61},289355,"zhu-tang-su-yan-tu-yi-ming-289355","宋代绘画是在中国宋代期间的绘画作品，中国宋朝延续300多年，其绘画在隋唐五代的基础上继续得到发展。民间绘画、宫廷绘画、士大夫绘画各自形成体系，彼此间又互相影响、吸收、渗透，构成宋代绘画丰富多彩的面貌。\n北宋统一消除了封建割据造成的分裂和隔阂，在一段时期内社会保持着相对安定局面，商业手工业迅速发展，城市布局打破坊和市的严格界限，出现空前未有的繁荣。南宋虽然偏安江南，由于物产丰盛的江、浙、湖、广地区都在其境内，大量南迁的北方人和南方人一起共同开发江南，经济、文化都得到继续发展并超过北方。北宋的汴梁（今河南省开封市）、南宋的临安（今浙江省杭州市）等城市商业繁盛，除贵族聚集外，还住有大量的商人、手工业者和市民阶层，城市文化生活空前活跃，绘画的需求量明显增长，绘画的服务对象也有所扩大，为绘画发展和繁荣提供了物质条件和群众基础。\n宋代绘画进入手工业商业行列，与更多的群众建立较为密切的联系。一批技艺精湛的职业画家，将作品作为商品在市场上出售，汴京及临安都有纸画行业。汴京大相国寺每月开放5次庙会，百货云集，其中就有售卖书籍和图画的摊店；南宋临安夜市也有细画扇面、梅竹扇面出售；汴京、临安等地的酒楼也以悬挂字画美化店堂，作为吸引顾客的手段。市民遇有喜庆宴会，所需要的屏风、画帐、书画陈设等都可以租赁。适应年节的需要，岁末时又有门神、钟馗等节令画售卖，为市甚盛。北宋时，汴京善画“照盆孩儿”的画家刘宗道，每创新稿必画出几百幅在市场一次售出，以防别人仿制；专画楼阁建筑的赵楼台；画婴儿的杜孩儿，也在汴京享有盛名。吴兴籍军人燕文贵常到汴京州桥一带卖画。山西绛州杨威，善画村田乐，每有汴京贩画商人买画，他即嘱其如到画院门前去卖，可得高价。社会对绘画的需求和民间职业画家创作的活跃，是推动宋代绘画发展的重要因素。宋代由于手工业的发达，促成了雕版印刷的发展与普及，出现了汴京、临安、平阳、成都、建阳等雕版中心，不少书籍及佛经都附有版画插图，现存宋金雕印的弥勒像、陀罗尼经咒、《佛国禅师文殊指南图赞》、《赵城藏》等，可见其绘刻之精美程度。",[297,24,54,458,7,171,28,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb20189094ffa4e81ea1e570de60c56a.jpg",[],5,{"id"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[1] 是屋檐最前端的一片瓦为瓦当，瓦面上带着有花纹垂挂圆型的挡片。\n瓦当的图案设计优美，字体行云流水，极富变化，有云头纹、几何形纹、饕餮纹、文字纹、动物纹等等，为精致的艺术品，属于中国特有的文化艺术遗产。",[497,498,499,500,36,7,501,502],"汉代","陶制","雕刻","浮雕","纹饰","瓦当","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb7ec2ea094b221ae646df49ecb5167b.jpg",[],{"id":506,"slug":507,"title":508,"dynasty":49,"author":509,"museum":141,"description":510,"tags":511,"thumbUrl":530,"material":244,"size":245,"collection":39,"collections":531,"showCount":77,"zanCount":11,"manualWeight":11,"mainColor":61},241206,"li-zhang-ji-jue-ju-zhou-wu-kai-sheng-241206","李长吉绝句轴","吴闿生","吴镇（1280年—1354年），字仲圭，号梅花道人，浙江嘉兴人。元代画家、书法家、诗人。\n吴镇擅画山水、梅花、竹石，与黄公望、倪瓒、王蒙合称“元四家”。\n由于吴镇以董巨起家，其画中山、石、树、水、房屋、小桥都显得格外宁静、平和，但吴镇有时也着意打破这种气氛，使宁静中增几分动荡，那就是近景大树和山石的表现，特别是三两棵树的表现尤其明显。如果说吴画山、石、水、小桥、屋舍、群树的表现乃至整体气息是以董巨面目出现的话，那么其局部的大树则主要是以马夏的面目出现的。结构布局上立于近景，形象表现上夸张变形，树种的选择上以松柏寓人格。这种形象的树出现在平和、宁静的境界里显得格外突出。它们或直立挺拔、俯势向上；或倚斜偃蹇、欲倒还立；或技条倒挂、曲折盘桓。而且吴镇对大树的形象也是情有独钟的，几乎每幅山水画均有此类形象。这一个个形象频繁出现于其笔下，有何深刻含义？如果联系一下元代的民族岐视政策，联系一下同样比邻而居，盛氏求画者门限为穿，自家之门阒然的事实，或许透露出个中消息。在大树的塑造上，如果把吴镇放在“元四家”其他三家中做一比较，吴镇的独特个性尤能充分展现。黄公望、王蒙为了表现高士的居住环境，用平和、冷静的笔触画群山诸峰，力量均匀，气势平缓，树木郁郁葱葱，均为山的点缀，很少突出某一大树。倪瓒、吴镇在景物取舍上有极强的一致性，均喜画几棵树。倪瓒的树是纤细、弱小的，树干上长出几条树枝，枝上顶着几片叶子，立在空旷的荒野里显得孤独而又凄凉。而且倪瓒的树往往是叫不出名字的，并无具体所指；吴镇在树的种类上往往是有选择的，他最喜欢选取被赋予隐逸人格象征的古松来充实画面。在近景中吴镇很少画杂树而是喜爱强调几棵大树，个个粗壮而枝叶茂密，富有顽强的生命力。",[256,27,452,145,31,458,512,455,101,513,514,184,454,515,516,517,146,518,7,519,520,462,521,522,523,150,524,525,526,527,528,529],"花","石","露","风","木","兰","杜","桥","江","雪","夕阳","孤云","苔","黄","绿","钩","笔","砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94389ea4a9f9f206dbf7cb997ca6384e.jpg",[],{"id":533,"slug":534,"title":535,"dynasty":95,"author":19,"museum":141,"description":536,"tags":537,"thumbUrl":542,"material":244,"size":245,"collection":39,"collections":543,"showCount":77,"zanCount":11,"manualWeight":11,"mainColor":44},223895,"yan-xing-yu-dai-gou-yi-ming-223895","雁形玉带钩","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”。",[538,499,7,539,540,541],"玉石","饰品","器","宋代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98d0324109f74b1435b9de266ad1ce01.jpg",[],{"id":545,"slug":546,"title":547,"dynasty":49,"author":19,"museum":141,"description":548,"tags":549,"thumbUrl":555,"material":244,"size":245,"collection":39,"collections":556,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":61},272674,"yu-zhi-yue-ling-qi-shi-er-hou-shi-se-mo-hou-yan-shui-lv-mo-yi-ming-272674","御制月令七十二候诗色墨-候雁水绿墨","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[550,551,552,256,553,7,554],"墨","文房用具","色墨","楷书","绿色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2b289b8327796341840b40317573664.jpg",[],{"id":558,"slug":559,"title":560,"dynasty":49,"author":561,"museum":141,"description":562,"tags":563,"thumbUrl":569,"material":244,"size":245,"collection":39,"collections":570,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":61},239867,"ti-hua-shi-zhou-yang-er-you-239867","题画诗轴","杨二酉","杨二酉（1705年-1780年）字学山，号又屯，山西太原人，清朝官员，他曾于1739年任巡视台湾监察御史。",[256,452,145,564,565,566,567,568,7,522],"江南","霜","青枫","碧梧","寒山寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a264a3199366d9f057b75dfcc55af0f.jpg",[],{"id":572,"slug":573,"title":574,"dynasty":128,"author":19,"museum":141,"description":575,"tags":576,"thumbUrl":579,"material":244,"size":245,"collection":39,"collections":580,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":581},251977,"qing-yu-tou-diao-yan-que-wen-qian-jian-yi-ming-251977","青玉透雕雁雀纹嵌件","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。",[538,577,499,7,578,540],"透雕","雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc969ea2bc1c3bbed394cad4e4d193427.jpg",[],"37474F",1777535710841]