[{"data":1,"prerenderedAt":272},["ShallowReactive",2],{"subject-ye-hua":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},896,"ye-hua","野花","野花画高清赏析","精选中国历代野花题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64421966cae85df71e77e203449619b0.jpg",0,15,[14,41,64,95,125,144,158,175,187,201,212,224,237,250,260],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":33,"material":34,"size":35,"collection":36,"collections":37,"showCount":38,"zanCount":39,"manualWeight":11,"mainColor":40},225768,"irises-1889-fan-gao-225768","Irises 1889","不详","梵高","藏地不详","文森特·威廉·梵高（Vincent Willem van 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。",[23,24,25,26,27,28,29,30,7,31,32],"油画","设色","厚涂","鸢尾","花卉","绿叶","土地","植物","色彩明快","笔触奔放","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e0a8f0a24ff57e00c72bda77261c3ff.jpg","未知","Xcm*Xcm","油画精选",[36],129,2,"795548",{"id":42,"slug":43,"title":44,"dynasty":18,"author":45,"museum":20,"description":46,"tags":47,"thumbUrl":60,"material":34,"size":35,"collection":36,"collections":61,"showCount":62,"zanCount":63,"manualWeight":11,"mainColor":40},226128,"the-walk-woman-with-a-parasol-1875-mo-nai-226128","The Walk, Woman with a Parasol, 1875","莫奈","奥斯卡-克劳德·莫奈（法文：Oscar-Claude Monet，1840年11月14日-1926年12月5日），法国画家，被誉为“印象派领导者”，是印象派代表人物和创始人之一。\n莫奈是法国最重要的画家之一，印象派的理论和实践大部分都有他的推广。莫奈擅长光与影的实验与表现技法。他最重要的风格是改变了阴影和轮廓线的画法，在莫奈的画作中看不到非常明确的阴影，也看不到突显或平涂式的轮廓线。光和影的色彩描绘是莫奈绘画的最大特色。\n2019年5月14日，法国印象派画家克劳德·莫奈的作品《干草堆》在纽约苏富比拍卖行以破纪录的1.107亿美元（当时1美元约合人民币6.87元）高价拍出。这是莫奈作品拍卖价格的最高纪录，也是印象派画作拍卖最高纪录。",[48,23,49,50,31,51,52,53,54,55,56,7,57,58,59],"名画","印象派","光影捕捉","笔触松散","人物","女人","小孩","阳伞","草地","天空","白云","户外场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92562d4acde1d47bedde33e1a21f4038.jpg",[36],89,1,{"id":65,"slug":66,"title":67,"dynasty":68,"author":69,"museum":20,"description":70,"tags":71,"thumbUrl":87,"material":88,"size":89,"collection":90,"collections":91,"showCount":94,"zanCount":63,"manualWeight":11,"mainColor":40},221372,"xie-sheng-an-chun-tu-juan-zhao-chang-221372","写生鹌鹑图卷","宋","赵昌","这是一幅描写夏天野外风景和动植物的写生画，图绘数隻鹌鹑游息于河畔翠竹丛中，或鸣叫、或张望、或憩息、或觅食，神态各异，生动多姿。河边还有三隻野鸭，树上有两隻小鸟。所绘花鸟形象逼真，画面雅致，饶有野趣。画家还特意在鹌鹑旁边画了菊花和落叶",[72,73,48,74,75,24,76,77,78,79,80,81,82,83,84,85,7,86],"高清","国画","长卷","工笔","花鸟","鹌鹑","竹","荷","鸟","溪流","花草","藤蔓","坡地","浆果","禽类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d0965f0ce9d418c9ffe6493a6f69f39.jpg","绢本设色","横301.5cm纵32.5cm","宋画精选",[90,92,93],"花鸟画精选","设色画精选",79,{"id":96,"slug":97,"title":98,"dynasty":99,"author":100,"museum":101,"description":102,"tags":103,"thumbUrl":119,"material":120,"size":121,"collection":92,"collections":122,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":124},222793,"jin-chun-tu-lang-shi-ning-222793","锦春图","清","郎世宁","台北故宫博物院","《锦春图》设色浓艳鲜丽，充分体现郎世宁的绘画特色。锦鸡花卉得写实之真，而湖石坡草又表现中国画的笔墨趣味。画春华锦鸡。锦鸡全用西法。点景树石笔墨是旧院体。构景一仍是陈法。当出另一画家补绘。设色画山涧旁湖石杂卉，二锦鸡栖石上。",[72,48,73,104,105,75,24,106,107,108,109,110,111,27,112,113,7,114,115,116,84,117,118],"书画","立轴","中西合璧","光影透视","写实","锦鸡","禽鸟","山石","草木","岩壑","奇石","枝干","苔草","花叶","翎毛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2017289c044d5d1fb6ebf7be3f2e2187.jpg","绢本，设色","横68.6厘米，纵121.6厘米",[92,93],57,"BDBDBD",{"id":126,"slug":127,"title":128,"dynasty":129,"author":130,"museum":131,"description":132,"tags":133,"thumbUrl":138,"material":139,"size":140,"collection":141,"collections":142,"showCount":143,"zanCount":63,"manualWeight":11,"mainColor":124},222565,"hua-hui-tu-4-chen-chun-222565","花卉图4","明","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。",[72,73,76,134,135,24,27,136,137,7],"写意","水墨","萱草","叶片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12a8d0fc1f066a0983129200e58f195a.jpg","纸本设色","32.5×57.3厘米","",[],55,{"id":145,"slug":146,"title":147,"dynasty":148,"author":149,"museum":20,"description":150,"tags":151,"thumbUrl":155,"material":34,"size":35,"collection":141,"collections":156,"showCount":157,"zanCount":39,"manualWeight":11,"mainColor":40},287375,"ye-hua-cao-chong-tu-qiu-yu-qing-287375","野花草虫图","五代十国","丘余庆","丘余庆，五代后蜀人，丘文播子，居成都。",[48,73,104,76,75,24,7,78,152,153,154],"草虫","蝴蝶","蚂蚱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ffa37c7c203d2d3737bf30decc157ec.jpg",[],40,{"id":159,"slug":160,"title":161,"dynasty":18,"author":19,"museum":20,"description":21,"tags":162,"thumbUrl":172,"material":34,"size":35,"collection":36,"collections":173,"showCount":174,"zanCount":11,"manualWeight":11,"mainColor":40},225739,"ebene-bei-auvers-1890-neue-pinakothek-munich-fan-gao-225739","Ebene bei Auvers 1890 Neue Pinakothek Munich",[23,25,163,56,164,57,165,166,7,167,168,169,170,171],"田野","云朵","树木","干草堆","田块","乡村","自然风景","色彩鲜明","笔触明显","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65a6b2bf0e73b570a5f05957088622f0.jpg",[36],38,{"id":176,"slug":177,"title":178,"dynasty":18,"author":45,"museum":20,"description":46,"tags":179,"thumbUrl":184,"material":34,"size":35,"collection":36,"collections":185,"showCount":186,"zanCount":11,"manualWeight":11,"mainColor":40},226033,"spring-effect-at-giverny-1890-mo-nai-226033","Spring Effect at Giverny, 1890",[49,23,180,58,165,56,7,181,50,182,183],"蓝天","草垛","色彩晕染","笔触灵动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a5feeca46118ff746e45155368ac83d.jpg",[36],28,{"id":188,"slug":189,"title":190,"dynasty":99,"author":191,"museum":20,"description":192,"tags":193,"thumbUrl":198,"material":34,"size":35,"collection":141,"collections":199,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},290392,"shu-li-que-niao-tu-qu-zhao-lin-290392","蔬栗雀鸟图","屈兆麟","屈兆麟，字仁甫，北京人，1884年18岁时，进清宫造办处如意馆听差，擅长工笔花鸟，后升至如意馆“司匠长”。在清宫如意馆做过最后一任“司匠长”的画师（1866-1937），正好赶上中国历史上由王朝到共和的翻天覆地之变。民国十三年（1924）11月，民国政府摄政内阁黄郛、冯玉祥下令，由北京警卫司令鹿钟麟、警察总监张璧、北京大学教授李煜瀛出面执行，请逊帝溥仪出宫。从此，屈兆麟结束了长达四十年的宫廷画工生涯，流入社会，靠卖画为生，成为职业画家。",[72,48,73,104,75,24,76,194,195,7,196,197],"雀鸟","谷穗","岩石","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa31e21536de94b5b3b51955ba4d3db05.jpg",[],25,{"id":202,"slug":203,"title":204,"dynasty":18,"author":45,"museum":20,"description":46,"tags":205,"thumbUrl":209,"material":34,"size":35,"collection":36,"collections":210,"showCount":211,"zanCount":11,"manualWeight":11,"mainColor":40},226005,"poppy-field-argenteuil-1875-mo-nai-226005","Poppy Field, Argenteuil, 1875",[49,23,206,31,51,207,163,165,57,164,52,56,7,208],"外光写生","罂粟花","开阔远景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F916e7e81bab1e39385498ba042fde79e.jpg",[36],22,{"id":213,"slug":214,"title":215,"dynasty":18,"author":19,"museum":20,"description":21,"tags":216,"thumbUrl":221,"material":34,"size":35,"collection":36,"collections":222,"showCount":223,"zanCount":11,"manualWeight":11,"mainColor":40},225829,"the-flowering-orchard1888-fan-gao-225829","The Flowering Orchard1888",[48,23,217,25,218,56,7,165,219,220,57],"后印象派","开花果树","农具","田园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5eb5d2d0d0713678d6a0bb6fecc1b149.jpg",[36],21,{"id":225,"slug":226,"title":227,"dynasty":18,"author":45,"museum":20,"description":46,"tags":228,"thumbUrl":234,"material":34,"size":35,"collection":36,"collections":235,"showCount":236,"zanCount":11,"manualWeight":11,"mainColor":124},226101,"the-promenade-near-argenteuil-1873-mo-nai-226101","The Promenade near Argenteuil, 1873",[48,49,23,50,182,51,229,59,56,7,165,52,230,231,163,57,164,232,31,233],"自然光线","孩童","雨伞","小径","户外写生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf67664132c0d436c714a15e4b669099.jpg",[36],13,{"id":238,"slug":239,"title":240,"dynasty":18,"author":45,"museum":20,"description":46,"tags":241,"thumbUrl":247,"material":34,"size":35,"collection":36,"collections":248,"showCount":249,"zanCount":11,"manualWeight":11,"mainColor":124},226135,"the-willows-1880-mo-nai-226135","The Willows, 1880",[49,23,242,243,244,56,7,245,246,57],"色彩","光影","柳树","房屋","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feedb0a03d3fd84140051faf71cf682a5.jpg",[36],12,{"id":251,"slug":252,"title":253,"dynasty":18,"author":19,"museum":20,"description":21,"tags":254,"thumbUrl":257,"material":34,"size":35,"collection":36,"collections":258,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":40},225858,"tree-fan-gao-225858","Tree",[23,217,25,165,56,7,255,256,32,170],"树干","植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc10d19a09bd39a5be391af2acf817fdb.jpg",[36],8,{"id":261,"slug":262,"title":263,"dynasty":18,"author":264,"museum":20,"description":265,"tags":266,"thumbUrl":270,"material":34,"size":35,"collection":141,"collections":271,"showCount":63,"zanCount":11,"manualWeight":11,"mainColor":40},232327,"a-er-ma-54-lao-lun-si-a-er-ma-ta-de-ma-232327","阿尔玛54","劳伦斯·阿尔玛-塔德玛","劳伦斯·阿尔玛-塔德玛（Lawrence Alma-Tadema, 1836年1月8日—1912年6月25日）是英国维多利亚时代的知名画家，他的作品以豪华描绘古代世界（中世纪前）而闻名。\n生于荷兰的德龙赖普（Dronrijp），他的父亲彼得·塔德玛（Pieter Tadema）是一名公证人，在他4岁时便去世了。阿尔玛是他教父的名字，他的生母是他父亲的第二名妻子，家庭人口相当众多。家里原准备让他继承父业，但他表现出了对艺术的强烈偏好，因此将他送至安特卫普，在1852年进入了那里的艺术学院，并在亨德利克·利思（Hendrik Leys）的画室学习。",[23,24,108,52,56,267,165,268,163,7,269],"山丘","伞","远景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eefc154e0408c5a4b5a4c80a7e079fc.jpg",[],1777535725035]