[{"data":1,"prerenderedAt":421},["ShallowReactive",2],{"subject-ye-pian":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},166,"ye-pian","叶片","叶片画高清赏析","精选中国历代叶片题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5e4f9f1e4f3c8bcad4247d92429ee74.jpg",0,29,[14,40,59,77,95,111,132,145,163,176,189,200,213,227,241,256,264,278,288,300,316,330,340,355,366,375,388,398,410],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":32,"material":33,"size":34,"collection":35,"collections":36,"showCount":37,"zanCount":38,"manualWeight":11,"mainColor":39},214702,"chun-hua-tu-ba-kai-7-yun-shou-ping-214702","春花图八开-7","清","恽寿平","上海博物馆","恽寿平画了八种春天的花，包括桃花、牵牛花、牡丹、绣球、萱草、月季、樱花和鸢尾花。这幅画是在他晚年的时候画的，当时他五十三岁，虽是没骨而近乎写意，用笔已是纯青。",[23,24,25,26,27,28,29,30,7,31],"高清","国画","书画","册","没骨","设色","花鸟","百合","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2389e1ac2ceb12e7d4b9e1c738856ee3.jpg","纸本,设色","26.3x35.7","",[],1232,10,"BDBDBD",{"id":41,"slug":42,"title":43,"dynasty":18,"author":19,"museum":44,"description":45,"tags":46,"thumbUrl":51,"material":52,"size":53,"collection":54,"collections":55,"showCount":57,"zanCount":58,"manualWeight":11,"mainColor":39},220998,"hua-hui-tu-ce-gui-hua-yun-shou-ping-220998","花卉图册·桂花","美国纳尔逊阿特金斯艺术博物馆","《花卉图册》绘有荷花、梨花、水仙、桃花、山矾、罂粟、茶蘼、金萱石榴、牵牛、双凤、桂枝及雁来红等十二种花。画用新没骨法，不用墨线钩勒，而直接着色点染而成。点色的用笔很洒脱、飘逸。十二种花，各具姿色。色彩艳而不俗，色调的表情是清丽和冷艳，在秀雅之中含有一种凛然难犯的韵味。画册中，作者或题名或赋诗，那秀劲古逸、和婉密丽的书体，与这种艳雅的画风相结合，相得益彰，更具魅力。该图册是恽寿平绘画中的精品。\n恽寿平（1633—1690），初名格，字寿平，号南田，武进（江苏常州）人。其诗格超逸，书法遒劲，擅长山水画，尤精没骨花卉画，画笔生动。",[23,47,24,25,26,28,27,29,48,49,50,7],"名画","花卉","桂花","枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d3d4803a177ac67268b07a8c66a1114.jpg","纸本 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“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。",[23,24,29,154,155,28,48,156,7,157],"写意","水墨","萱草","野花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12a8d0fc1f066a0983129200e58f195a.jpg","纸本设色","32.5×57.3厘米",[],55,{"id":164,"slug":165,"title":166,"dynasty":18,"author":167,"museum":99,"description":168,"tags":169,"thumbUrl":171,"material":172,"size":173,"collection":35,"collections":174,"showCount":175,"zanCount":11,"manualWeight":11,"mainColor":39},290423,"shan-hu-zhu-tu-wu-chang-shuo-290423","珊瑚珠图","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》。",[23,24,47,25,84,28,29,170,7,86,31],"浆果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2766eac4a62e51b7669d8120e882a655.jpg","未知","Xcm*Xcm",[],47,{"id":177,"slug":178,"title":179,"dynasty":18,"author":180,"museum":99,"description":181,"tags":182,"thumbUrl":186,"material":35,"size":35,"collection":35,"collections":187,"showCount":188,"zanCount":11,"manualWeight":11,"mainColor":39},224474,"yu-zan-hua-wan-shou-ju-yu-sheng-224474","玉簪花万寿菊","余省","此作取景雅致，椭圆画幅将庭隅清趣拢于其中。玉簪花挺然舒展，紫瓣晕染出通透柔润的质感，垂坠的花穗尽显清雅柔婉之态；阔叶墨绿莹润，脉纹精细分明，衬出花枝秀逸。下方万寿菊娇俏点缀，细枝嫩叶灵动雅致，与玉簪花形成疏密错落的层次。\n\n设色温婉柔和，淡赭底色晕开古雅氛围，晕染兼具写实工致与写意韵致。题字落款雅致呼应画意，将花草舒展之态与清隽闲淡的意趣相融，尽显工笔花鸟的秀美细腻，观者仿若亲临小园，静赏幽花盛放的悠然生机。",[23,24,25,68,28,29,183,184,7,185],"玉簪花","万寿菊","石块","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F750762adee6fd22e6a0e3c0df1eb893a.jpg",[],45,{"id":190,"slug":191,"title":192,"dynasty":18,"author":193,"museum":99,"description":194,"tags":195,"thumbUrl":197,"material":172,"size":173,"collection":35,"collections":198,"showCount":199,"zanCount":11,"manualWeight":11,"mainColor":39},237936,"za-hua-ce-zhu-da-237936","杂画册","朱耷","朱耷（1626年—约1705年），原名朱统𨨗，字刃庵，号八大山人、雪个、个山、人屋、道朗等，出家时释名传綮，汉族，江西南昌人 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