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此册页每一页所绘蔬果都有刘墉相应赋诗一首，书法浑厚大气，古朴自然，自成一派，看似松散，实则丰貌骨劲。刘墉所描写蔬果诗文生动质朴，贴近生活，与恽寿平描绘的蔬果相应成趣，极大增加了观赏趣味。",[61,24,25,26,97,80,27,28,98,99,100,31,7,101],"白描","蔬菜","花果","丝瓜","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2ff8d0ecdcd63604674ff7f8ad8ac1b.jpg","绢本,设色","26.1x19.9cm",[67],1136,6,"795548",{"id":110,"slug":111,"title":112,"dynasty":113,"author":114,"museum":115,"description":116,"tags":117,"thumbUrl":120,"material":103,"size":121,"collection":67,"collections":122,"showCount":123,"zanCount":124,"manualWeight":11,"mainColor":40},218892,"xie-sheng-hai-tang-tu-lin-chun-218892","写生海棠图","宋","林椿","台北故宫博物院","这幅画表现的是开花或含苞待放的海棠的一个单枝。花朵的颜色是白色粉末，带有一丝腮红，使它们变得精致而漂亮。",[23,24,25,118,62,27,28,119,7],"扇面","海棠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c6ee140dbb46294f76dd28443ed475a.jpg","23.4x24",[67],1048,15,{"id":126,"slug":127,"title":128,"dynasty":113,"author":129,"museum":20,"description":130,"tags":131,"thumbUrl":132,"material":103,"size":133,"collection":134,"collections":135,"showCount":136,"zanCount":137,"manualWeight":11,"mainColor":108},218560,"ye-he-hua-tu-yi-ming-218560","夜合花图","佚名","画的是一枝两朵夜来香花，右枝花含苞待放，左枝花半开半合，洁白如玉，气质高雅。花朵被轻轻地勾勒和上色，用白色粉末点缀花蕊，用少量浅色墨水给拖曳的花朵上色。绿叶前后间隔，白花绿叶，色彩淡雅，让人赏心悦目。",[61,24,25,118,27,62,28,30,7,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6405700bb70527a1c1a9640d967df709.jpg","23.9x25.4","宋画精选",[134,67],804,8,{"id":139,"slug":140,"title":141,"dynasty":18,"author":19,"museum":20,"description":21,"tags":142,"thumbUrl":143,"material":34,"size":35,"collection":36,"collections":144,"showCount":145,"zanCount":71,"manualWeight":11,"mainColor":40},214705,"chun-hua-tu-ba-kai-5-yun-shou-ping-214705","春花图八开-5",[23,24,25,26,28,27,29,63,7,48,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe56baf02b8d416236f5828d6ab4cc83.jpg",[],793,{"id":147,"slug":148,"title":149,"dynasty":76,"author":77,"museum":150,"description":151,"tags":152,"thumbUrl":155,"material":34,"size":156,"collection":67,"collections":157,"showCount":158,"zanCount":107,"manualWeight":11,"mainColor":40},216112,"nan-gua-tu-qi-bai-shi-216112","南瓜图","私人收藏","泼墨如团的南瓜坠于藤蔓间，浓黑墨块裹着赭红瓜棱，憨拙中藏老笔苍劲。缠绕的藤蔓似游丝若铁线，飞白处见笔意灵动，与沉实瓜体形成虚实相生韵致。墨色层次分明，焦浓淡墨晕染叶片叠嶂，留白透气不拥塞。赭红点睛，让质朴多了暖意。笔墨纵逸却守法度，看似随意挥洒，实则每笔都透着生活熟稔——田间寻常物化为充满生命力的意象，既有大写意豪放，又藏文人画雅致，老辣带天真，朴拙满生机。",[24,80,27,153,81,48,49,154,31,7],"写意","南瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f38d5ce9c88984c51b25fe54cc0d2bc.jpg","33.74x134.77cm",[67],757,{"id":160,"slug":161,"title":162,"dynasty":76,"author":77,"museum":163,"description":164,"tags":165,"thumbUrl":172,"material":173,"size":36,"collection":36,"collections":174,"showCount":175,"zanCount":176,"manualWeight":11,"mainColor":40},220584,"hua-yu-chong-2-qi-bai-shi-220584","花与虫-2","Hwajeong 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厘米",[],599,3,{"id":232,"slug":233,"title":234,"dynasty":181,"author":182,"museum":235,"description":236,"tags":237,"thumbUrl":242,"material":36,"size":36,"collection":36,"collections":243,"showCount":244,"zanCount":71,"manualWeight":11,"mainColor":40},228763,"shui-mo-pu-tao-tu-zhou-xu-wei-228763","水墨葡萄图轴","藏地不详","《明徐渭山水花卉人物图》是明代画家徐渭的作品，该画为纸本、水墨，尺幅纵26.9厘米，横8.厘米。\n现藏于 。\n自书款一而：“万历戊子夏仲，偶闲，寓崇侄子云齐中，漫为捉笔，真儿戏也。\n青藤渭。\n”下钤“徐渭之印”等二方。\n另有吴俊卿、李详题跋二页。\n钤印诸方。\n该册十八页，其中画十五页，分别作写意山水人物、写生 ，内容有婴戏、对弈、 、 、稻穗螃蟹等等。\n笔墨简括豪放，随意自然。\n选其二页，可窥真趣。\n徐渭（1521~159年）明代杰出书画家、 。\n初字文清，改字文长，号天池、又号青藤道人、田水月等。\n浙江山阴（今绍兴）人。\n自幼聪慧，文思敏捷。\n且胸有大志。\n参加过嘉靖年间东南沿海的抗倭斗争和反对权奸严嵩，一生遭遇十分坎坷，可谓“落魄人间 ”。\n最后入狱七、八年。\n获释后，贫病交加，以卖诗、文、画糊口，潦倒一生。\n他中年学画，继承梁楷减笔和林良、沈周等写意花卉的画法，故擅长画水墨花卉，用笔放纵，画残菊败荷，水墨淋漓，古拙淡雅，别有风致。\n兼绘山水，纵横不拘绳墨，画人物亦生动，其笔法更趋奔放、简练，干笔、湿笔、破笔兼用，风格清新，恣情汪洋，自成一家，形成“青藤画派”。\n他自己尤以书法自重。\n自称“吾书第一、诗二、文三、画四”。\n袁宏道等称赞他的书法“笔意奔放”，“苍劲中姿媚跃出”，“在王雅宜、文征仲之上。\n他画的《黄甲图》，峭拔劲挺，生动地表现了螃蟹爬行、秋荷凋零的深秋气氛。\n作品流传至今的较多。\n著作有：《四声猿》、《南词叙录》《徐文长佚稿》、《徐文长全集》等。\n传世著名作品有《墨葡萄图》轴、《山水人物花鸟》册（均藏故宫博物院）、《牡丹蕉石图》轴，以及晚年所作《墨花》九段卷（现藏故宫博物院）等。",[23,24,25,81,80,153,238,239,240,31,7,48,241],"大写意","泼墨","葡萄","草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F504df223fc9470a5121ee4d43301b51c.jpg",[],528,{"id":246,"slug":247,"title":248,"dynasty":113,"author":249,"museum":250,"description":251,"tags":252,"thumbUrl":254,"material":103,"size":255,"collection":134,"collections":256,"showCount":257,"zanCount":71,"manualWeight":11,"mainColor":108},218635,"shan-cha-tu-wu-bing-218635","山茶图","吴炳","费城艺术博物馆","画面上画的是一枝山茶花，狭长的枝条上的叶子是深绿色的，边缘是黄色的，枝条上火红的花瓣，淡黄色的花药，伪装的色彩很鲜艳，很自然。",[24,25,61,28,62,27,253,47,7,48,49],"山茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef7aab5fc08907b55afa575d2a696c4a.jpg","25.7x25.7",[134,67],487,{"id":259,"slug":260,"title":261,"dynasty":113,"author":262,"museum":115,"description":263,"tags":264,"thumbUrl":267,"material":268,"size":269,"collection":134,"collections":270,"showCount":271,"zanCount":137,"manualWeight":11,"mainColor":108},221490,"hua-lan-tu-li-song-221490","花篮图","李嵩","图绘藤编花篮一只，竹篮编织精巧别致，里面盛满了各色鲜艳欲滴的花朵，白的、红的、粉的、淡黄的，有蜀葵、栀子、百合、广玉兰、石榴等，布置得错落有致，画家笔下一个小小的花篮，折射出的是繁花似锦的大自然，美丽而富有朝气，让人看了之后感到十分亲切，画家对自然、生命的热爱和关注由此跃然于绢上。",[23,61,24,25,26,62,27,28,265,266,63,197,32,7],"器","花篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8587f02c9ca8d9b82abaf7122913f6ac.jpg","绢本","26.1 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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。 [3] 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》。",[24,81,27,153,28,240,167,31,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff132055bd0237aacfdd9ba4bc4e35645.jpg","纵174.7cm，横47.5cm",[],221,{"id":491,"slug":492,"title":493,"dynasty":76,"author":494,"museum":495,"description":496,"tags":497,"thumbUrl":500,"material":36,"size":36,"collection":36,"collections":501,"showCount":502,"zanCount":230,"manualWeight":11,"mainColor":40},220526,"lan-mao-xu-bei-hong-220526","懒猫","徐悲鸿","中央美术学院美术馆","明黄葵朵肆意盛放，苍劲枝叶舒展铺陈，将晴日生机晕染满幅。两只猫儿卧于石上，一猫懒腰哈欠，蓬松毛发纤毫毕现，娇憨慵懒之态跃然纸面；另一猫蜷身假寐，神态松弛安适。\n\n画作融西画写实与东方笔墨，以水墨晕染葵叶苍润质感，重彩点亮花瓣明妍鲜活，生灵造型精准生动，于日常闲景中，将繁花蓬勃与猫儿慵懒相映成趣，静动之间晕开松弛悠然的雅致意韵，尽显闲淡生机。",[23,24,25,27,80,153,498,499,47,7],"向日葵","猫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56021136e3f49aa5e8fa268f00e74249.jpg",[],219,{"id":504,"slug":505,"title":506,"dynasty":18,"author":19,"museum":235,"description":507,"tags":508,"thumbUrl":510,"material":36,"size":511,"collection":36,"collections":512,"showCount":513,"zanCount":364,"manualWeight":11,"mainColor":40},233895,"hua-hui-ce-yun-shou-ping-233895","花卉册","恽寿平（1633-1690年），初名格，后以字行，又字正叔，别号南田，一号白云外史、云溪外史、东园客、巢枫客、草衣生、横山樵者。江苏武进人。清代著名画家。与“四王”、吴历并称“清初六大家”。其父恽日初诗文杰出，为“复社”中人。叔父恽向（道生）为著名山水画家，自创一派。恽寿平是清朝初期最享盛名的花鸟画家。其画作多写生，人称“写生正派”；更以徐崇嗣为宗，兼取各家之长，极大的发展了没骨画。所画花卉，很少勾勒，以水墨着色渲染，用笔含蓄，画法工整，明丽简洁，天趣盎然。恽寿平不仅画作出众，风格独具，而且兼工诗书，题句清丽流畅，诗格脱俗超逸，为“昆陵六逸”之冠。恽南田《山水花卉册》八帧，其中包括山水，花鸟及情景兼容的人物，攘括了恽南田所有的画种。画中有退耕堂藏印。退耕堂为徐世昌的室名。\n恽寿平一生坎坷，饱经困苦，他幼年聪颖玲利，遭遇战乱，与兄皆被俘，与父亲失散，后遇灵隐寺方丈相救，才得以与家人团聚，归家后，发奋读书学画。经刻苦钻研，于古文、诗词、书画无不精擅。他崇尚气节，誓不应科举，少时的忧患，留下深深的创痛，一生未尝忘情。却在绘画上取得了很高的成就；恽南田曾致书王（翚）说：“格于山水，终难打破一字关，曰‘窘’，良由为古人规矩法度所束缚耳。”又说：“君独步矣！吾不为第二手也”。于是恽寿平转攻花鸟，以后山水不过偶而为之。可见其艺术抱负。《山水花卉册》中的山水，取黄公望笔法，于荒率中见秀润，尖毫勾皴，浓墨点树、高旷清淡，浸润宋元诸家，吸取王蒙、二米等人之长，渐脱刻极。40岁左右作品最为精采，如43岁的《山水花鸟册》，技法灵活多变，表达各家风貌准确，艺术已臻成熟。他的花鸟画成就最为突出，取法徐崇嗣的没骨法，他的没骨花卉，揉合了黄（筌）、徐（熙）两派技法，既重视写生，力求形似，“每画一花，必折是花插之瓶中，极力描摹，得其生香活色而后已。”又强调“与花传神”。力去华靡，追求“ 澹雅”。此册中的花鸟更是形神兼备，清新淡雅，具有新的风貌。",[61,24,25,26,27,29,28,32,509,7],"月季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e39781d8731f909f8ad4b52da88dd7d.jpg","纵32.5厘米，横25.5厘米",[],215,{"id":515,"slug":516,"title":234,"dynasty":181,"author":182,"museum":58,"description":517,"tags":518,"thumbUrl":531,"material":186,"size":532,"collection":36,"collections":533,"showCount":513,"zanCount":364,"manualWeight":11,"mainColor":40},233375,"shui-mo-pu-tao-tu-zhou-xu-wei-233375","此图曾经清代李佐贤、陈希濂等收藏。\n图中画一架葡萄，叶片茂盛，藤蔓缠绕，果实累累。作者以草书笔法作画，行笔豪迈而不肆野，叶、果用淡墨加胶矾挥洒，墨气淋漓酣畅，产生了极佳的晕散效果。\n画中所题诗见于《徐文长集三》卷十一，是徐渭作画时常书写的诗作之一，抒发了作者一生不遇的坎坷痛苦的心境。画中题字受米芾行书风格影响，结体紧凑，运笔舒缓大气，竖笔、捺笔流畅雄健，收锋沉稳，体现了其身为晚明大书家的深厚的艺术功力。",[24,25,81,80,153,240,31,7,212,32,519,238,520,521,522,523,524,525,372,526,527,528,529,530],"蔬果","墨色变化","藤蔓缠绕","果实垂挂","枝叶舒展","水墨淋漓","文人画风格","水墨植物","墨叶","墨果","藤蔓线条","写意花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ac2949f65bdc9dc171950992c953d5d.jpg","纵 165.4厘米，横 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叶果实又仿效徐崇嗣的“没骨”画法。设姿态多样。另有花卉野瓜、蝴蝶蜻蜓萦绕 色浓丽而又不隐墨骨。",[23,61,24,25,81,62,27,28,843,169,844,30,7],"竹","虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3caf6fb1a56d046b3a504e74b2fa9ef8.jpg","轴，绢本设色","纵99 4厘米，横54 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:939,"collection":134,"collections":940,"showCount":922,"zanCount":176,"manualWeight":11,"mainColor":40},221500,"shui-mo-xie-sheng-tu-mu-xi-221500","水墨写生图","牧溪","法常的绘画，有不少取材于平时人们司空见惯的日常生活，但独能于平淡天真之中揭示生命意识的真谛。此卷所绘折枝花果、禽鸟、鱼虾及蔬果，笔墨简淡，平平常常，在画幅上随随便便地摆放在一起，看来就是最为常见的与我们现实生活息息相关的景象，但是卷中墨色的氤氲、排列的错综、变化的神奇，却又分明深蕴着禅机。这些平常物象的背后是不着笔墨的大片空白，这种“知白守黑”、“计白当黑”的处理，使得画面中本不相关联的事物各自相对独立又可合而为一，画意更为完整而富于张力，给观者以想象的空间，正所谓“于无画处皆成妙境”。整幅作品充满着一种宁静、自省、淡泊的内在精神，使观者有“万物静观皆自得”的会心感受，耐人寻味。牧溪的绘画，写生功底极深，此幅亦是“肖似形类，并得其意”（项元汴语）的形神兼备之作。\n沈周卷后题识称：“不施色彩，任意潑墨，儼然若生。回視黃筌、舜舉之流，風斯下矣。”本幅无作者款印，沈周定为“真宋物也”。徐邦达先生认为，沈周题跋中“牧”字有挖改痕迹，是“似牧非牧之画”。",[23,24,61,25,166,80,710,153,28,519,930,931,932,933,224,934,935,729,728,936,32,372,937,7],"水族","鱼","虾","蟹","燕子","麻雀","荷花","水草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facf031a51ea46b7afc61efea8475b520.jpg","纵47.3厘米，横814．1厘米",[134,67,565],{"id":942,"slug":943,"title":944,"dynasty":288,"author":945,"museum":58,"description":946,"tags":947,"thumbUrl":949,"material":268,"size":950,"collection":36,"collections":951,"showCount":952,"zanCount":364,"manualWeight":11,"mainColor":108},233213,"dou-jia-qing-ting-tu-ye-xu-xi-233213","豆荚蜻蜓图页","徐熙","图中画的是田野苗圃间菜豆花与蜻蜓之类昆虫常见的景物。画面为长圆扇形，画家以独具的慧眼撷之入画，采取了特写镜头，只取其豆花的枝头，豆茎自左下向右上斜出，枝叶微下垂，枝上有浅紫色的豆花、绿色的豆叶和沉甸甸地挂下来的长长豆荚。枝梢上歇息着一只大蜻蜓，正在吮吸豆荚嫩叶的鲜汁。蜻蜓呈黄褐色，张开双翼，长长的身子下垂，尾部稍有弯曲。\n图中豆荚一枝，果实乍结。一只黄褐色的蜻蜓轻轻停落在枝端，将豆荚压得微微颤动。画面构图简洁自然，疏密得体。画家用中锋细笔勾勒豆荚枝叶的轮廓，用花青、石绿轻染，以白粉点花瓣，线条沉稳，色彩丰富，形象写实逼真。图中尤以蜻蜓描绘得出神入化，其翅膀透明的质感以及清晰的纹络都表现得清清楚楚，活灵活现，反映了宋画在写实方面所达到的高度水平。\n整幅作品结构自然，疏密得体，色彩丰富，工写结合。其中蜻蜓的描绘神妙入微。画家不仅再现了蜻蜓的形态，甚至连透明的翅膀及纹络都表现了出来。而豆花则以简笔写出，野趣天然。\n整幅作品结构自然，疏密得体，中锋运笔，线条沉稳，色彩丰富，写实逼真，作者善于刻画和铺排是这幅作品在技巧上的特色。菜豆的枝干、花叶、荚部是用粗简的线条勾出，然后略施粉彩，尤其对蜻蜓的描绘神妙入微。蜻蜓身子晕染工细，头部网网眼和翅翼细细刻画轻轻染色，十分清晰透剔，甚至连透明的翅膀及纹络状的小组织，都细微地表现了出来。蜻蜓身上的色斑与浅紫色的豆花，一深一浅，使主题显明突出，这充分反映了宋画在写实方面所达到的高度水平。从绘画题材及笔墨技巧上看，具有徐熙画的特征。《圣朝名画评》说，徐熙画花卉“多做园圃以求情状，虽蔬菜茎苗，以人图写”。但本图无款识，至少可以这样说，虽非出于徐熙之手笔，但可以代表北宋徐熙一派的画风，亦可以说此幅是徐派留下来的凤毛麟角般的珍品。此图右下方押“徐熙”二字伪印。\n此图无款，有“徐熙”朱印。旧题为徐熙作。徐熙“善画花竹林木、蝉蝶草虫之类，多游园圃以求情状，虽蔬菜茎苗亦人图。写意出古人之外，自造于妙。尤能设色，绝有生意”。从这幅作品亦可领略上述特点，所以虽非出于徐熙之手，也可代表北宋徐熙一派的画风。\n此图写豆茎一枝自右下向左上斜出，而梢头着一大蜻蜓。这农家随处可见的景物，画家以独具的慧眼撷之入画，可谓别开生面。豆花、豆叶，点缀生动，长豆三两根，垂垂可喜。茎、叶、豆荚，均以墨勾，疏疏几笔，中设豆绿色，叶中锈斑、虫蚀均为描出，紫白色的豆花和蜻蜓，以没骨法晕染，蜻蜓尤备极工细，神韵奕奕。对花写照的写生功力，令人惊叹。色调素雅，变化层次微妙，工写兼施，相映成趣。构图善从一角生发，全幅荡漾着空灵的诗意，尤觉流走圆美。不是面面俱到，或泛泛大略，而是择取一枝一梢作精心的观赏，一枝一叶总动情，这种审美性格为宋人所独具，风气所开，遥领千古。此图笔墨间随处散发着一种田园佳趣，尤为感人至深，而熠耀其中的是诗意的空间。宋画一如宋诗，其异于唐人之处：一为田园气息，二为哲理之思（以景喻理）。",[61,24,25,28,62,27,948,168,7,30,49],"豆荚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F880a27b634787e986672e82222fc17bb.jpg","纵27厘米，横23厘米",[],105,{"id":954,"slug":955,"title":956,"dynasty":18,"author":19,"museum":336,"description":957,"tags":958,"thumbUrl":961,"material":962,"size":963,"collection":908,"collections":964,"showCount":952,"zanCount":11,"manualWeight":11,"mainColor":40},220969,"lin-wen-zheng-ming-ce-yun-shou-ping-220969","临文徵明册","文征明的书画造诣极为全面，诗、文、书、画无一不精，人称是“四绝”的全才，诗宗白居易、苏轼，文受业于吴宽，学书于李应祯，学画于沈周。其与沈周共创“吴派”。在画史上与沈周、唐伯虎、仇英合称“明四家”（“吴门四家”）。在诗文上，与祝允明、唐寅、徐祯卿 并称“吴中四才子”。",[23,24,61,25,959,27,421,48,886,798,7,960,49],"册页","明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1f9a9d7eae5ddf59a5433237393b6bf.jpg","纸本 册","20.6 x 30.5 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将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[24,25,26,62,27,28,32,7,475],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e56e69a03dcde8ab9a366f27b7c94c8.jpg",[67,69],93,{"id":998,"slug":999,"title":1000,"dynasty":113,"author":206,"museum":235,"description":1001,"tags":1002,"thumbUrl":1003,"material":36,"size":36,"collection":36,"collections":1004,"showCount":1005,"zanCount":11,"manualWeight":11,"mainColor":108},227735,"xia-hui-pian-fang-tu-ye-lu-zong-gui-227735","夏卉骈芳图页","《鹅图》是南宋鲁宗贵创作的绢本设色画。\n《鹅图》描绘一只母鹅，背上驼着两只雏鹅在水中游戏，其中一只雏鹅曲颈望着水面，另一只则似乎和母鹅述说着什么，母鹅扭转过头来爱抚地倾听，表现出母鹅和雏鹅之间有似慈母和娇子之间的母子亲情。\n图中绘有大白鹅一只，背负两只雏鹅在水面上浮游，其中一只雏鹅在母鹅右侧颈后，低头引颈望水中，另一只雏鹅在母鹅左侧，抬头向天呜叫，鹅妈妈欣喜扭转过头来，似作侧耳细细倾听小仔的歌声。\n画面颇为情趣，给人以一种温馨善良的感觉。\n作者在构图上颇有新意，无任何背景作陪衬，河水以浅墨一抹而过，起到衬托作用，突出其主题。\n作者捕捉到这种母鹅背负雏鹅的情节，在一般画鹅的作品中不乏多见。\n在布局上取近景，以特写的镜头，将主体突出在画面的居中位置，为了说明母鹅带着雏鹅在水中游戏，一是鹅身前方的匦面留空多；二是母鹅的腿向后伸，虽没有画出水波纹，但这二点足以看出运动的鹅体具有向前浮游的动感。\n另外，采取色差变化来塑造母鹅与仔鹅的形体，以周围的浅灰色烘托出母鹅的洁白，又以墨笔勾勒及黑色晕染出母鹅背上栖卧的两只雏鹅。\n一般来说雏鹅的毛羽是鹅黄色的，但作者采用了与实体自然色相差甚远的黑色，这也是作者的又一新意。\n全图以染为主，仅在嘴、脚及羽毛部略以淡线勾勒，其羽毛形态隐约见真。\n整个图的艺术语言凝重简练，形态栩栩如生，画意情趣生动，意味绵绵。\n鲁宗贵，生卒年未详。\n南宋画家。\n室名筠斋，钱塘(今浙江杭州)人。\n理宗绍定时(1228一12)为画院待诏，出人杨驸马家。\n工花竹、禽鸟、窠石，用笔意趣有余，描染佳妙。\n尤长于写生，鸡雏乳鸭，甚有生意。\n画迹有《金葵翠羽》、《竹枝山鹧》、《梨花白燕》等图，著录于《绘事备考》。\n传世作品有《春韶鸣喜图》、《夏卉骈芳图》册页。",[61,24,25,26,118,62,27,28,32,197,810,7,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F271a4d7d9c178ff1ca01282a323a7b3e.jpg",[],92,{"id":1007,"slug":1008,"title":1009,"dynasty":18,"author":449,"museum":115,"description":450,"tags":1010,"thumbUrl":1014,"material":34,"size":36,"collection":36,"collections":1015,"showCount":1016,"zanCount":364,"manualWeight":11,"mainColor":40},214844,"xie-sheng-ce-18-hua-yan-214844","写生册-18",[61,24,25,26,27,80,710,28,1011,1012,1013,7,30],"蜂","蜂巢","桂树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33f36389e15970529a3aac15136cc8f6.jpg",[],91,{"id":1018,"slug":1019,"title":1020,"dynasty":113,"author":114,"museum":58,"description":1021,"tags":1022,"thumbUrl":1023,"material":351,"size":1024,"collection":36,"collections":1025,"showCount":1026,"zanCount":176,"manualWeight":11,"mainColor":108},233002,"pi-pa-shan-niao-tu-ye-lin-chun-233002","枇杷山鸟图页","图绘江南五月，成熟的枇杷果在夏日的光照下分外诱人。一只绣眼翘尾引颈栖于枇杷枝上正欲啄食果实，却发现其上有一只蚂蚁，便回喙定睛端详，神情十分生动有趣。枇杷枝仿佛随着绣眼的动作重心失衡而上下颤动，画面静中有动，妙趣横生。绣眼的羽毛先以色、墨晕染，随后以工细而不板滞的小笔触根根刻画，表现出鸟儿背羽坚密光滑、腹毛蓬松柔软的不同质感。枇杷果以土黄色线勾轮廓，继而填入金黄色，最后以赭色绘脐，三种不同的暖色水乳交融，从而展现出枇杷果成熟期的丰满甜美。枇杷叶用笔致工整细腻的重彩法表现，不仅如实地刻画出叶面反转向背的各种自然形貌，且将叶面被虫儿叮咬的残损痕迹亦勾描晕染得一丝不苟，充分反映了宋代花鸟画在写实方面所达到的艺术水平。",[24,25,61,62,27,28,279,224,7,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7aa06bf3aa4e5e7e1763e4645676c6e.jpg","纵26.9厘米，横27.2厘米",[],90,{"id":1028,"slug":1029,"title":1030,"dynasty":18,"author":1031,"museum":235,"description":1032,"tags":1033,"thumbUrl":1035,"material":36,"size":36,"collection":36,"collections":1036,"showCount":1026,"zanCount":176,"manualWeight":11,"mainColor":108},228927,"bai-tou-rong-gui-tu-li-zhou-ma-quan-228927","白头荣贵图立轴","马荃","此作绘就清秋雅景，桂树虬枝斜出，繁花缀于叶间，两只白头翁栖于枝头，羽色晕染细腻，灵动悠然，似在细嗅甜香。苔石苍古朴拙，旁侧芙蓉柔花绽蕊，粉白相衬，妍丽温婉。\n\n笔触工秀兼具，禽鸟绒毛蓬松鲜活，花叶勾勒柔婉，设色明丽雅致却艳而不俗。以白头翁谐“白头”，丹桂、芙蓉寄寓荣华，将秋日生机与吉庆祈愿相融，笔底尽是温婉意趣，静赏间漫溢清和雅致的古典韵味。",[23,61,24,25,81,62,27,28,63,1034,304,47,7,917],"白头鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa823023cfbac82a24300a34fb689b2f2.jpg",[],{"id":1038,"slug":1039,"title":300,"dynasty":181,"author":418,"museum":115,"description":1040,"tags":1041,"thumbUrl":1042,"material":34,"size":1043,"collection":67,"collections":1044,"showCount":1045,"zanCount":11,"manualWeight":11,"mainColor":40},214727,"mu-dan-tu-chen-chun-214727","这幅画是用牡丹树枝作画，用的是没骨法，笔触很活泼，又很沉稳，不过很可惜，随着时间的推移，颜料已经褪色，让人感觉略显淡薄。这些铭文质量很高，是白杨对毛笔的熟练掌握的结果。碑文写于1544年，在他的最后一年。铭文和绘画各占面板的一半，诗句通过歌唱花朵来传达 「人生行乐当及时」的意趣。",[24,25,81,153,80,27,421,48,28,63,47,7,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf5bd451f1f135ae69ce5a8dd712153b.jpg","122x33.3",[67],84,{"id":1047,"slug":1048,"title":180,"dynasty":181,"author":182,"museum":235,"description":1049,"tags":1050,"thumbUrl":1051,"material":549,"size":550,"collection":36,"collections":1052,"showCount":1053,"zanCount":364,"manualWeight":11,"mainColor":40},236014,"shui-mo-mu-dan-tu-zhou-xu-wei-236014","徐渭（1521年3月12日－1593年），汉族，绍兴府山阴（今浙江绍兴）人。初字文清，后改字文长，号青藤老人、青藤道士、天池生、天池山人、天池渔隐、金垒、 金回山人、山阴布衣、白鹇山人、鹅鼻山侬、田丹水、田水月（一作水田月 ）。明代中期文学家、书画家、戏曲家、军事家。\n徐渭曾担任胡宗宪幕僚，助其擒徐海、诱汪直。胡宗宪被下狱后，徐渭在忧惧发狂之下自杀九次却不死。后因杀继妻被下狱论死，被囚七年后，得张元忭等好友救免。此后南游金陵，北走上谷，纵观边塞阨塞，常慷慨悲歌。晚年贫病交加，藏书数千卷也被变卖殆尽，他自称“南腔北调人”，于万历二十一年（1593年）去世，年七十三\n徐渭多才多艺，在诗文、戏剧、书画等各方面都独树一帜，与解缙、杨慎并称“明代三才子”。他是中国“泼墨大写意画派”创始人、“青藤画派”之鼻祖，其画能吸取前人精华而脱胎换骨，不求形似求神似，山水、人物、花鸟、竹石无所不工，以花卉最为出色，开创了一代画风，对后世画坛（如八大山人、石涛、扬州八怪等）影响极大；书善行草，写过大量诗文，被誉为“有明一代才人”；能操琴，谙音律；爱戏曲，所著《南词叙录》为中国第一部关于南戏的理论专著。另有杂剧《四声猿》《歌代啸》及文集传世。",[61,24,25,81,80,153,28,63,7,47],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F803b9b9003c0b06152df4c09bc658910.jpg",[],79,{"id":1055,"slug":1056,"title":1057,"dynasty":18,"author":1058,"museum":235,"description":1059,"tags":1060,"thumbUrl":1061,"material":549,"size":550,"collection":67,"collections":1062,"showCount":1064,"zanCount":176,"manualWeight":11,"mainColor":40},238472,"hua-hui-tu-ce-jiang-ting-xi-238472","花卉图册","蒋廷锡","蒋廷锡（1669年－1732年），字酉君、杨孙，号南沙、西谷，又号青桐居士，江苏常熟人，清朝康熙、雍正时期官员、画家、文献学家、藏书家。\n蒋廷锡为康熙四十二年（1703年）进士，授翰林编修。雍正帝即位后历任礼部侍郎、户部尚书等职。雍正六年（1728年）拜文华殿大学士，仍兼理户部事，并任《明史》总裁。次年（1729年）加太子太傅。累封一等阿达哈哈番。雍正十年（1732年）卒于任内，谥号“文肃”。\n蒋廷锡在官秉公抚政、剔除积弊，声誉甚著。为人博学精敏，尤善诗画。擅长花鸟，以逸笔写生，奇正率工，敷色晕墨，兼有一幅，能自然洽和，风神生动，得恽寿平韵味。点缀坡石，偶作兰竹，亦具雅致。曾画塞外花卉70种，被视为珍宝收藏于宫廷。今有《牡丹扇面》《岁岁久安图》《桃花鹦鹉图》《竹石图》轴及《花卉图》等传世。",[24,25,26,27,62,28,32,169,372,7,84,48,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d07b787cc47539c1c123f3829eddaf8.jpg",[67,69,1063],"书法精选",78,{"id":1066,"slug":1067,"title":1068,"dynasty":113,"author":129,"museum":58,"description":1069,"tags":1070,"thumbUrl":1072,"material":351,"size":1073,"collection":36,"collections":1074,"showCount":1064,"zanCount":364,"manualWeight":11,"mainColor":108},233017,"ye-he-hua-tu-ye-yi-ming-233017","夜合花图页","图中夜合花一根两枝，右枝花朵含苞未放，左枝花朵半开半合，洁白如玉，清雅绝尘。花朵轻勾淡染，用白粉点画花蕊，花叶先以细笔勾勒轮廓和筋脉，后用汁绿与花青染之。绿叶穿插向背，层次安排巧妙，画面简约而不单薄。",[61,24,25,26,62,27,28,1071,7,47],"夜合花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cf71474db059bf26e08b661dea46f53.jpg","纵24.5cm，横25.4cm",[],{"id":1076,"slug":1077,"title":1078,"dynasty":181,"author":129,"museum":1079,"description":1080,"tags":1081,"thumbUrl":1083,"material":103,"size":36,"collection":67,"collections":1084,"showCount":1064,"zanCount":364,"manualWeight":11,"mainColor":108},219122,"an-chun-bai-hua-tu-yi-ming-219122","鹌鹑百花图","美国弗利尔美术馆","鹌鹑敛翅蹲踞，羽纹以细劲墨线勾勒，敷染赭褐与墨黑，斑纹交错如鳞，绒毛质感毕现。旁侧花枝扶疏，白瓣粉蕊的花朵舒展如蝶翼，紫菊点缀其间，叶片墨绿带黄晕，藤蔓缠绕有致。前景草叶劲挺，枯枝斜出添野趣，背景赭黄绢底温润古雅。整幅画以工笔细描见长，禽鸟的憨态与花卉的鲜妍相映成趣，疏密布局得当，于静谧中藏生机，尽显花鸟写生的细腻与意趣。",[61,24,25,27,62,28,1082,30,7,397],"鹌鹑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5cdc4849f24e6562ead882abb23c70e.jpg",[67],{"id":1086,"slug":1087,"title":1088,"dynasty":18,"author":751,"museum":115,"description":1089,"tags":1090,"thumbUrl":1092,"material":36,"size":1093,"collection":67,"collections":1094,"showCount":1095,"zanCount":364,"manualWeight":11,"mainColor":40},222808,"bian-dou-hua-wang-wu-222808","扁荳花","王武，1632年生，1690年逝世，吳縣（今江蘇蘇州）人。字勤中，晚號忘庵，又號雪顛道人。明代畫家王鏊六世孫，精鑑賞，富收藏，擅畫花鳥，風格工整秀麗，正如王時敏所云：“神韻生動，應在妙品中。”為清初院畫的名家。亦擅詩文。傳世作品有《水仙柏石圖》、《紅杏白鴿圖》、《鴛鴦白鷺圖》等。",[23,24,28,27,62,48,49,1091,7,948,31],"扁豆花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbe5cc35daef658d871bd3f676303498.jpg","34.2x50.4",[67,69],76,{"id":1097,"slug":1098,"title":1099,"dynasty":76,"author":77,"museum":762,"description":1100,"tags":1101,"thumbUrl":1102,"material":767,"size":36,"collection":36,"collections":1103,"showCount":1095,"zanCount":11,"manualWeight":11,"mainColor":40},220601,"gong-chong-ce-ye-mo-e-qi-bai-shi-220601","工虫册页·墨蛾","此作工写相映成趣。几片贝叶以写意出之，赭色晕染叶片，红笔勾勒叶脉，寥寥数笔便带着舒展松弛的野趣，似将秋光揉进纸间。右侧墨蛾则以工细笔法刻画，翅脉纹理纤毫毕现，躯体斑纹层次分明，黑褐晕染厚重通透，将飞蛾朴拙鲜活的姿态精准定格，仿佛振翅欲飞。\n\n简淡写意与精细工笔相互衬映，把乡野日常小景绘得意韵悠长，藏着对檐下秋虫的脉脉温情，以小品之态尽显雅致鲜活的生机，笔底皆是烟火气里的自然意趣。",[24,25,26,62,80,27,765,7,47],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbd4614bf0ace25e61b5220a30eff0cc.jpg",[],{"id":1105,"slug":1106,"title":1107,"dynasty":181,"author":418,"museum":1108,"description":1109,"tags":1110,"thumbUrl":1112,"material":1113,"size":1114,"collection":36,"collections":1115,"showCount":1116,"zanCount":11,"manualWeight":11,"mainColor":40},222570,"hua-hui-tu-9-chen-chun-222570","花卉图9","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。",[23,61,24,25,153,80,27,28,32,7,398,1111],"草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0f0254a2eb9eb07ea7e50656f0f7475.jpg","纸本设色","32.5×57.3厘米",[],74,{"id":1118,"slug":1119,"title":1120,"dynasty":18,"author":462,"museum":235,"description":1121,"tags":1122,"thumbUrl":1123,"material":1113,"size":1124,"collection":67,"collections":1125,"showCount":1126,"zanCount":364,"manualWeight":11,"mainColor":40},224220,"chun-feng-chui-chu-hong-wu-chang-shuo-224220","春风吹出红","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》。\n清道光二十四年（1844年）8月1日，生于浙江省孝丰县鄣吴村（今湖州市安吉县）一个读书人家。幼时随父读书，后就学于邻村私塾。10余岁时喜刻印章，其父加以指点，初入门径。\n咸丰十年（1860年）太平军与清军战于浙西，全家避乱于荒山野谷中，弟妹先后死于饥馑。后又与家人失散，替人做短工、打杂度日，先后在湖北、安徽等地流亡数年。\n同治四年（1865年），中秀才。是年，海上先辈名家任薰与周闲合作，为吴昌硕绘画像。\n同治八年（1869年），赴杭州，就学于诂经精舍，从名儒俞樾习小学及辞章。编成《朴巢印存》。\n同治十一年（1872年），赴上海，得以认识高邕之。\n光绪六年（1880年），寓吴云（平斋）两礨轩，以《篆云楼印存》请教，吴云为之删削，更名为《削觚庐印存》。识吴秋农、金心兰、顾茶村、胡三桥、方子昕等。与杨岘（见山）结为朋友。\n光绪八年（1882年），居苏州。友人荐作小吏以维持生计。与虞山沈石友结为朋友。\n光绪九年（1883年），在沪识任伯年。任伯年为作《芜菁亭长小像》。\n光绪十三年（1887年），至沪，任伯年为作《棕荫纳凉图》。\n光绪十五年（1889年），在苏州。时伯年来访，为之作《酸寒尉像》，自题诗。施旭臣、谭复堂为《缶庐诗》作序。\n光绪十六年（1890年），居上海。识吴大澄。\n光绪十八年（1892年），任伯年又为作《蕉荫纳凉图》。\n光绪十九年（1893年），在上海编选壬辰年以前所作诗三卷刊行，题名《缶庐诗》。\n光绪二十（1894年），在北京以诗及印谱赠翁同龢。中日战争爆发，参佐吴大澄戎幕，北上抗日，兵败继续为吴大澄戎幕。\n光绪二十一年（1895年），任伯年为作《棕荫忆旧图》、《山海关从军图》。十一月，任伯年病殁沪上，作诗哭之并撰联。\n光绪二十五年（1899年）十一月，得丁葆元保举，任安东县令，一月即辞去。\n致力书画\n光绪二十六年（1900年），日本河井仙郎投之于门下。\n光绪二十九年（1903年），自订润格。编选壬寅以前所作诗为《缶庐诗》第四卷，连同前刊三卷，又《别存》一卷合为一册。\n光绪三十年（1904年），移居桂和坊19号，名其斋曰“癖斯堂”。赵子云（赵云壑）投门下。\n光绪三十五年（1909年），在沪加入上海豫园书画善会。\n民国元年（1912年），至杭州与西泠诸友宴集。始以字行。\n民国二年（1913年），西泠印社成立，任社长。秋，梅兰芳来会。与王一亭结为至交。王一亭在上海商界、金融界推介吴昌硕的书画金石艺术，使其名声大振。\n民国三年（1914年），王一亭为吴昌硕在六三园举办生平第一次个展，使吴派艺术开始为日本艺界所了解和推崇。上海书画协会成立，任会长。\n民国四年（1915年），上海“题襟馆书画会”推先生为名誉会长。\n民国六年（1917年），吴昌硕继配施氏夫人在上海去世。\n民国九年（1920年），日本长崎首次展出其书画，东京文求堂继刊《吴昌硕画谱》，长崎双树园刊行《吴昌硕画帖》。诸乐三列为门弟子。\n民国十年（1921年），赴杭西泠印社宴集。《汉三老碑》被日商购去，与西泠同仁奔走呼吁，作画义卖，终募款八千大洋将碑赎回。日本朝仓文夫为范铜像。\n民国十二年（1923年），潘天寿由诸闻韵引见来谒，撰联以赠。门弟子陈师曾去世。\n民国十四年（1925年），沙孟海由王贤引列为门弟子。为已逝师友周闲遗作《花卉长卷》作引首并题。\n民国十六年（1927年）十一月二十九日，逝于上海寓所。\n民国二十二年（1933年）十一月，迁葬于浙江余杭县塘栖附近超山报慈寺西侧山麓宋梅亭畔。\n\n篆刻:\n少年时他因受其父熏陶，即喜作书，印刻。楷书始学颜鲁公，继学钟元常；隶书学汉石刻；篆学石鼓文，用笔之法初受邓石如，赵之谦等人影响，以后在临写《石鼓》中融汇变通。行书得黄庭坚、王铎笔势之欹侧，黄道周之章法，个中又受北碑书风及篆籀用笔之影响，大起大落，遒润峻险。\n吴昌硕篆刻从“浙派”入手，后专攻汉印，也受邓石如、吴让之、赵之谦等人影响，善于留白，或对角欹斜，气象峥嵘，构图块面体积感极强。刀融于笔，篆刻雄而媚、拙而朴、丑而美、古而今、变而正。上取鼎彝，下挹秦汉，以“出锋钝角”的刻刀，将钱松、吴攘之切、冲两种刀法相结合治印。\n吴昌硕在继承前人冲刀法和切刀法优秀成果的基础上，融诸家之长，在大量的篆刻创作实践中，不断探索，将冲刀和切刀两种刀法融合在一起，形成了自己的冲切结合的刀法。这种刀法灵活多变，或冲中带切，或切中带冲，甚至切中带削……这种多变的刀法，把冲刀的猛利、挺劲、爽快与切刀的含蓄、浑朴融为一体，将书意和刀意表现得淋漓尽致，使他的篆刻刀法雄浑朴茂中寓秀逸的个性化特点凸现了出来。他与厉良玉、赵之谦并称“新浙派”的三位代表人物。\n残缺刀法是吴昌硕篆刻创作中的一种常用手法。我们知道，秦汉古印大多因年深日久，水土的浸蚀，自然的风化，印面及文字线条失去了原先的平整和光洁，变得残缺不全。恰恰是这些残缺给我们以古朴、含蓄、浑厚、苍拙等特殊的审美效果，这是自然的造化使然。吴昌硕善于巧夺天工，在传统的冲、切刀法的基础上，辅之以敲、击、凿、磨或借用砂石、鞋底、钉头等，极大地丰富了篆刻艺术的表现手法，并创造性地将篆刻艺术中刀石效果产生的金石味，上升到残缺美的审美新境界。\n主要篆刻作品：《寿山老坑巧色雕狮钮》《作了天下事》《读遍千古书》《好学为福》《黑青田》《一月安东令》《湖州安吉县》《泰山残石楼》《园丁生于梅洞长于竹洞》《暴书》《千寻竹斋》《千寻竹斋》3刻《吴俊卿信印日利长寿》《安吉吴俊章》《雷浚》《鲜鲜霜中菊》《归仁里民》。\n\n绘画:\n绘画的题材以花卉为主，亦偶作山水。前期得到任颐指点，后又参用赵之谦画法，并博采徐渭、八大、石涛和扬州八怪诸家之长，兼用篆、隶、狂草笔意入画，色酣墨饱，雄健古拙，亦创新貌。其作品重整体，尚气势，认为“奔放处不离法度，精微处照顾气魄”，富有金石气。讲求用笔、施墨、敷彩、题款、钤印等的疏密轻重，配合得宜。 吴昌硕自言：“我平生得力之处在于能以作书之法作画。”\n他以篆笔写梅兰，狂草作葡萄。所作花卉木石，笔力老辣，气势雄强，布局新颖，构图也近书印的章法布白，喜取“之”字和“女”字格局，或作对角斜势。用色上似赵之谦，喜用浓丽对比的颜色，尤善用西洋红，色泽浓艳。\n吴昌硕因以“草篆书”入画，状物不求写实，形成了影响近现代中国画坛的直抒胸襟，酣畅淋漓的“大写意”笔墨形式。\n他酷爱梅花，以写大篆和草书笔法为之，墨梅、红梅兼有，画红梅水分及色彩调和恰到好处，红紫相间，笔墨酣畅。又喜作兰花，喜以或浓或淡的墨色和用篆书笔法画成，刚劲有力。画竹竿以淡墨轻抹，叶以浓墨点出，疏密相间，富有变化，或伴以松、梅、石等，成为“双清”或“三友”。菊花也是他经常入画的题材，伴以岩石，或插以高而瘦的古瓶，与菊花情状相映成趣。菊花多作黄色，亦或作墨菊和红菊。墨菊以焦墨画出，菊叶以大笔泼洒，浓淡相间。\n晚年较多画牡丹，以鲜艳的胭脂红设色，含有较多水分，再以茂密的枝叶相衬，生气蓬勃。荷花、水仙、松柏也是经常入画的题材。\n菜蔬果品如竹笋、青菜、葫芦、南瓜、桃子、枇杷、石榴等也一一入画，极富生活气息。推崇周闲果蔬风格，作品色墨并用，浑厚苍劲，对于近世花鸟画影响深远。\n主要绘画作品：《天竹花卉》《紫藤图》《墨荷图》《五月枇杷图》《杏花图》《花卉十二屏风》《梅花》《花卉四屏》《牡丹》《兰石图》《松石图》《花卉》2幅《紫藤图》《杂画册（之—、二）》《依样》《天香露图》《杞菊延年》《泥盆菊草图》《牡丹图》《牡丹水仙图》《大富贵》《佛像图》《富贵神仙图》《红梅图》2幅《蔷薇芦桔图》《秋艳图》《三千年结实》《人物》《三千年结实之桃》《神仙福寿》《石梅》《石竹图》《松梅图》《岁寒交图》《桃实图》《瓜果》《灯下观书》《姑苏丝画图》等。\n①金石气息：吴昌硕绘画艺术的第一大特色是有金石气息。所谓金石气息，指的就是钟鼎上所铸的金文与刻在石碑上的文字所具有的味道。人们常说谁谁的画作有金石气息，其实这种评论标准都是从吴昌硕的绘画风格出现以后才有的。比如，人们在谈到徐青藤、八大山人时，就从来没有听说过评价他们的画作有金石气息。\n②笔力雄浑：吴昌硕绘画艺术的第二大特色是笔力雄浑。所谓笔力雄浑，指的就是其画作中的笔触朴拙、苍茫、老辣，极具浑圆、雄强的力量感。人们常说吴昌硕绘画的气息很厚、很重，按照书画圈儿里人的说法就是“笔头子”很大。所谓“笔头子”很大，并不是说他用的毛笔很大，而指他笔下的气息非常浑厚，一笔下去，浑金璞玉，力透纸背，又意蕴丰富、气象万千。\n③设色浓丽：吴昌硕绘画艺术的第三大特色是设色浓丽。过去人们总是说中国画不能搞那么多颜色，用太多颜色容易俗气。不过，张俊东却指出，吴昌硕绘画的用墨就特别浓，设色也特别大胆，特别鲜艳和浓丽。比如，吴昌硕画过很多牡丹，很多都是大红大紫的，但是却不会让人觉得俗气，而且非常有文人的那种风骨。所以张俊东认为，中国画设色的关键不在多少，而在谁来用以及怎么去用。\n④富于变化:吴昌硕绘画艺术的第四大特色是笔法和墨法富于变化。这里边又体现在几个方面。张俊东举例介绍说，比如吴昌硕在画菊花时，可以将一朵菊花无论是正面的，侧面的，静态的，动态的，都能画得非常丰富。\n\n书法:\n吴昌硕的楷书，始学颜鲁公，隶习汉代石刻，篆学石鼓文。行书学黄庭坚、王铎。\n吴昌硕书法作品，以篆书、行草为主，晚年所书隶书，结体变长，取纵势，用笔雄浑、饱满，具有篆书痕迹，将篆、隶溶为一体，形成独特面貌。\n吴昌硕的隶书遍临《汉祀三公山碑》《张迁碑》《嵩山石刻》《石门颂》等汉碑。中年以后，博览众多金石原件及拓本，选择石鼓文为主要临摹对象。数十年间，反复钻研，故所作石鼓文凝练遒劲，风格独特。60岁后所书尤精，圆熟精悍。喜将石鼓文字集语书写对联。晚年以篆隶笔法作草书，笔势奔腾，苍劲雄浑，不拘成法。\n\n诗文:\n吴昌硕善作诗文，苦吟数十年，未尝间断。其诗文，奇崛古朴，用典较多，不甚通俗。但有些绝句纯用白描手法，活泼自然，接近口语，具有明丽俊逸的特点，风格上与民歌很相近。有些绝句则活泼自然，接近口语，时含有讽刺意味，抒发生活实感。所作题画诗寄托深远，颇有浪漫主义气息；评论前人书画，尤多独到见地。早年所作五古，有一部分含有讽刺意味，揭露了当时黑暗社会某些不平现象。他的散文作品写得不多，大都是序跋、考证和题画小品之类，写的都很朴质淳厚，平易近人。题画小品中尤多精心之作。发抒生活实感，鞭挞丑恶现象，颇能以少胜多；读时依稀与作者一灯相对，娓娓而谈，意味非常深长。",[23,24,25,28,27,80,48,49,63,7,47],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe082f7e60dc29bf6eac47500e2168d46.jpg","69x104厘米",[67,69],70,{"id":1128,"slug":1129,"title":1130,"dynasty":181,"author":1131,"museum":235,"description":1132,"tags":1133,"thumbUrl":1135,"material":549,"size":550,"collection":908,"collections":1136,"showCount":1137,"zanCount":364,"manualWeight":11,"mainColor":40},235686,"shan-shui-hua-hui-ce-xiang-sheng-mo-235686","山水花卉册","项圣谟","项圣谟，初字逸，后字孔彰，号易庵，别号有胥山樵、存存居士、醉风人、大酉山人、莲塘居士、烟波钓徒、松涛散仙、逸叟、狂吟客、鸳湖钓叟、不夜楼中士等等，浙江嘉兴人。",[24,25,26,27,28,1134,101,7,49],"花枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1058fce6fc406a605fe3444ec1a25c9.jpg",[908],69,{"id":1139,"slug":1140,"title":1141,"dynasty":740,"author":1142,"museum":115,"description":1143,"tags":1144,"thumbUrl":1145,"material":701,"size":1146,"collection":36,"collections":1147,"showCount":1137,"zanCount":364,"manualWeight":11,"mainColor":40},231403,"qiu-gua-tu-qian-xuan-231403","秋瓜图","钱选","该图中描绘了瓜熟之际，野草旁生，新花又开的田园一景。该图以工笔淡彩方法处理瓜、花、叶，而野草则勾线设色与没骨法兼用，怒意洒落，尤显野逸。此图精致典雅，与宋代小品画一脉相承，然而又透出一股书卷气，作者意在追求一种清润淡雅的画格。画家以朴素无华的笔调拟绘田园景物，在题诗中表达了一个知识分子对隐逸生活的态度和情怀。\n图中写甜瓜一柄，老叶几片，一丛杂草，蜿蜒的藤蔓上开着白花。\n画家在图中题诗一首：“金流石烁汗如雨，削入冰盘气似秋。写向小窗醒醉目，东陵闲说故秦侯。”\n中国花鸟画的题材包罗万象，各种动植物都隶属其中。其中对于蔬果的细致描绘，要属北宋赵昌较早。自此而后，蔬果遂成为画家们反复描绘的对象。宋元时，西瓜成为蔬果画的主题，其中部分作品流传下来，《秋瓜图》便是钱选在写生的基础上绘制而成的，它是一幅较早描绘蔬果类的作品，且其所描绘的就是西瓜。\n该图题诗中引用“东陵侯种瓜”的典故，秦朝的东陵侯召平，在秦亡后降为平民，因家贫，种瓜于长安城东以为业。由于他种的瓜味道特别甜，遂被称为东陵瓜。东陵侯召平，由王侯贵胄而跌落红尘，历经谋生的艰难，反因种瓜而留名后世。因此，“东陵侯”成为传统文化中隐士的象征，“东陵瓜”也成为传统象征隐士品德的重要文化符号。东陵种瓜，钱选售画，两者均经历世变的沧桑与跌落凡尘的劫难。画家透过题诗，个体生命与历史文化进行连接与对话，显示画中秋瓜图的作者实为隐士的真正身份。这样，钱选在历史文化的记忆中找到自我生命的安顿。钱选笔下的秋瓜，显然不是现实之物，而是承载历史文化记忆的传统之物，是根植于传统文化脉络之上的果实，是可以在炎热的夏季令人警醒的文化记忆。\n该图所摄取景物集中于画幅的下端，画瓜地中秋瓜一枚，秋瓜果呈长圆形，近椭圆，瓜皮乌黑发亮，瓜楞清晰可见，且黑白对比鲜明，非常醒目。瓜藤蔓延，藤花绰约，有野草数茎衬托其后，瓜叶宽大，其中有瓜叶一片着地半萎，已是瓜果成熟的秋季。硕大的秋瓜用墨绿渍染，呈现碧绿油亮的色彩，瓜楞施以白粉，瓜楞分明，瓜叶脉用细笔勾勒，用笔细致精到，设色淡雅，翠色斑烂。藤花先用细笔勾勒，施以白粉，白色的花朵和墨绿的瓜果和叶形成黑白鲜明的对比。\n该图构图简洁，作者用折枝法在写生基础上经过了艺术的提炼，删繁就简，突出了画面的意境情趣。该图最明显的特点，画幅不大，却画得精致典雅，但精致而不艳丽，细腻而不纤巧，具有清润淡雅的格调，该图呈竖长方形构图，下不留地，上留有较大的空白，近于画面二分之一弱，有作者自题诗给填补，对整个画幅起到了充实其内容及平衡作用。\n台北故宫博物院院长石守谦：《秋瓜图》的精致写实、细腻处理，也显示了南宋职业画中不可或缺的高度技巧，不过他却刻意地采用轻淡的设色，以示其与一般画师之区别。",[61,24,25,81,62,27,28,786,7,32,1111,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80176e7550578ceea6d1fcbd2d4966b9.jpg","纵63.1厘米，横30厘米",[],{"id":1149,"slug":1150,"title":1151,"dynasty":18,"author":914,"museum":115,"description":915,"tags":1152,"thumbUrl":1154,"material":27,"size":920,"collection":36,"collections":1155,"showCount":1137,"zanCount":11,"manualWeight":11,"mainColor":40},222748,"xian-e-chang-chun-tu-05b-lang-shi-ning-222748","仙萼长春图-05b",[23,61,24,25,26,27,62,1153,28,224,32,225,7],"中西合璧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa2ff46c0b7d6fa3b8909b3f40b0c5a9.jpg",[],{"id":1157,"slug":1158,"title":1159,"dynasty":18,"author":462,"museum":235,"description":1160,"tags":1161,"thumbUrl":1162,"material":549,"size":550,"collection":36,"collections":1163,"showCount":1164,"zanCount":11,"manualWeight":11,"mainColor":40},236379,"li-zhi-tu-shan-ye-wu-chang-shuo-236379","荔枝图扇页","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》。",[24,25,118,27,80,421,49,28,211,7,47],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4049316925f6e1ce520b3918ad37dd08.jpg",[],68,{"id":1166,"slug":1167,"title":1168,"dynasty":18,"author":462,"museum":235,"description":1160,"tags":1169,"thumbUrl":1170,"material":549,"size":550,"collection":36,"collections":1171,"showCount":1172,"zanCount":364,"manualWeight":11,"mainColor":40},239521,"yu-tang-fu-gui-zhou-wu-chang-shuo-239521","玉堂富贵轴",[24,28,153,80,27,63,47,7,101,48,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c73ad8ff25daf55e25f22d50c25068f.jpg",[],66,{"id":1174,"slug":1175,"title":1176,"dynasty":113,"author":1177,"museum":115,"description":1178,"tags":1179,"thumbUrl":1180,"material":103,"size":1181,"collection":36,"collections":1182,"showCount":1183,"zanCount":176,"manualWeight":11,"mainColor":40},218576,"hua-niao-shan-shui-xiao-pin-ce-pu-tao-ma-yuan-218576","花鸟山水小品册-葡萄","马远","分别绘茶花、牡丹、葡萄、桃子，色彩鲜艳，用笔精致。山水绘山阁远眺，策杖登高，孤棹泛波，意趣悠然。",[23,61,24,25,26,27,62,240,31,7,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2bc725dd647940f42f8f27a6cc90dd2.jpg","33*19",[],65,{"id":1185,"slug":1186,"title":1187,"dynasty":181,"author":418,"museum":20,"description":581,"tags":1188,"thumbUrl":1189,"material":375,"size":585,"collection":36,"collections":1190,"showCount":1183,"zanCount":11,"manualWeight":11,"mainColor":40},214630,"hua-hui-ce-13-chen-chun-214630","花卉册-13",[24,80,153,26,28,810,32,7,47],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80dbb715aac8d345cce54540e4225f1d.jpg",[],{"id":1192,"slug":1193,"title":1194,"dynasty":181,"author":1195,"museum":150,"description":1196,"tags":1197,"thumbUrl":1199,"material":34,"size":1200,"collection":36,"collections":1201,"showCount":1202,"zanCount":364,"manualWeight":11,"mainColor":1203},216259,"ming-za-hua-ce-6-wang-zhong-216259","明杂画册-6","汪中","汪中指的是汪建中（1501-1593年），他是明朝时期的一位著名画家。明杂画册是指他绘制的一组绘画作品集，通常指其中一部名为《汪中杂画册》的作品。《汪中杂画册》是一部非常著名的画册，由汪建中在明朝末期绘制而成。它共有24册，收录了许多他的绘画作品，包括花卉、山水、虫鸟、人物等。这些作品都非常精美，被认为是中国画史上的杰作。《汪中杂画册》目前被认为是中国明朝时期最重要的画册之一，并被认为是中国画史上的经典之作。",[24,27,62,49,28,821,372,212,1198,7],"根茎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32f2d1231e91e0eead919ad5dde30bb8.jpg","30x27cm",[],63,"FDD835",{"id":1205,"slug":1206,"title":1207,"dynasty":181,"author":1208,"museum":235,"description":1209,"tags":1210,"thumbUrl":1212,"material":549,"size":550,"collection":36,"collections":1213,"showCount":1214,"zanCount":364,"manualWeight":11,"mainColor":40},234847,"hai-tang-fu-die-tu-shan-ye-qu-yuan-jing-234847","海棠蚨蝶图扇页","瞿元镜","瞿元镜 约生于本年／常熟人。瞿世耜之子。一名镜，字端叔。常熟诸生。喜花鸟，工篆刻。明忠宣公子，父亡，十龄流落于外，人无有过而问之者，顾云美以夙谊收恤",[61,24,25,118,27,62,119,169,101,7,84,1211],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F782c7e9c61bf22243ba7bc8fbc180917.jpg",[],62,{"id":1216,"slug":1217,"title":1218,"dynasty":113,"author":129,"museum":58,"description":1219,"tags":1220,"thumbUrl":1221,"material":1222,"size":1223,"collection":36,"collections":1224,"showCount":1225,"zanCount":176,"manualWeight":11,"mainColor":108},223584,"wa-que-qi-zhi-tu-ye-yi-ming-223584","瓦雀栖枝图页","此画绘海棠一枝，果实散挂枝头，树叶已染秋霜。\n枝头栖息着姿势各异的五只瓦雀，其中一只正仰首注视着枝叶上的昆虫，张口欲啄，形象生动活泼。\n整个画面张弛有致，设色研丽，刻画写实。\n海棠间杂红、黄、绿色，细看可见叶、果有些已遭虫蚀。\n作者取轻勾淡染之法，以表现秋叶缺乏水分的轻、薄质感。\n鸟的羽毛用细笔一笔一笔勾描，具有毛茸茸的质感。",[23,24,61,25,26,62,27,28,657,935,225,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F398ac81f47572946b8488c7c3af380e0.jpg","绢本设色","纵28.9厘米横29厘米",[],61,{"id":1227,"slug":1228,"title":1229,"dynasty":740,"author":1142,"museum":235,"description":1230,"tags":1231,"thumbUrl":1236,"material":36,"size":36,"collection":36,"collections":1237,"showCount":1238,"zanCount":11,"manualWeight":11,"mainColor":108},228316,"jin-hui-dui-tu-qian-xuan-228316","锦灰堆图","起于元，盛于清末，俗称“打翻字纸篓”，以画残破的文物片段堆栈构成画面。\n郑达甫先生被公认为此领域的唯一能手 锦灰堆 最早起源于何时，现无准确文献记载，相传是元代与赵孟頫齐名的画家钱选，在一次醉酒后兴起，将当天散落在饭桌上的下酒菜吃剩残物，如蟹脚、蚌壳、莲房、鸡翎、鱼刺等、信手绘制成一幅横卷，并挥笔题款“锦灰堆”。\n这可能是“锦灰堆”最早的历史记载。\n“锦灰堆”致力于特色陶瓷礼品研制、开发与销售。\n旗下品牌有锦瓷，锦瓷窑，泥道等。\n锦瓷只要生产红瓷，青花瓷，天目釉，茶具，格致古典，服务当下，具有深厚传统情怀的锦灰堆机构，于借礼品进而使得当下国人在器用和精神层面上回归古典，回归宁静，从而让现代人从喧嚣浮躁的盲动中找到某种心灵的归宿，达到静养身心，调节自我的目的。\n再者，通过对古代生活器用的阐扬、恢复，在更宏大的视野中，我们希望能为整个民族的精神回归作出点滴贡献。\n在推进整个古典生活场景的复原中，锦灰堆首推华丽、时尚的红瓷系列，并从功夫茶的发源地潮汕地区切入，引入此间的红头船文化和航海文化，凸显火“红”的福字主题。\n重构中国人的雅致生活 锦，绮丽繁华，天下莫此为甚。\n中国风雅的源头《诗经》，有“终南何有？有条有梅。\n君子至止，锦衣狐裘。\n”锦衣狐裘，诸侯方可穿着。\n《仪礼·聘礼》复有“皆奉玉锦束请觌”之句。\n锦为何物？《说文解字》云：锦，襄邑织文。\n《毛诗正义》则说，锦者，杂采为文。\n锦于中国人，乃成美好事物的普遍象征，遂有锦绣、锦囊、锦瑟、锦带、锦江、锦文、锦鳞，凡物着一锦字，读之立刻口齿芬芳。\n至于家国河山，古人亦以锦名之，曰锦绣河山。\n事实上，只有中国人可以用一种逍遥俯瞰的之态，描述壮丽宏大的山水，正如元代以降的山水画所表达的，“收拾河山入画图”。\n灰，则表达了古典中国人对世俗和底层生活的关注和亲密，这一点，则全非近代以前泰西诸国等级森然的社会体制所能及。\n“满面尘灰烟火色”，白乐天对一个卖炭老翁的细致描绘，恰恰说明了这一点。\n古代士大夫就是在“锦”与“灰”两端中求得心灵的平衡，从而达到中庸和无为的至高境界。\n宋末吴兴人钱选，一代画师。\n其时也，蒙元入主中国，钱选尚气节，不事新朝，特立独行，与赵孟頫辈异。\n选流连诗酒，无酒不能作画，此其雅癖之一；曾作小横卷，所绘举凡螯钤、鸡翎、莲房等食余剥剩、无用当弃之物，名之曰“锦灰堆”，此其雅癖之二。\n锦灰堆遂成一特异之画种，又称“八段锦”。\n生活零碎之物而形诸笔墨锦笺，而独放异彩，或可称怪异之三。\n钱选之作，有堪称国宝者，后多收入清宫大内，为清帝御览之宝。\n凡经御览，都为卷册，名曰《石渠宝笈》。\n钱选作品被收入《石渠宝笈初编》。\n民初海上，锦灰之堆润格攀涨，山水人物花鸟，不得专宠矣。\n所绘之物，由食余吐物，扩而及之“一页旧书、半张残帖、公文、私札、废契、短简”。\n若以当代美学考量，锦灰堆作为一种绘画门类，具有一种潜在的解构主义，可谓当代艺术潮流的远古鼻祖。\n会此意者，定当一笑。\n京城王世襄先生，亦慕钱选之高格与戏作，以“锦灰堆”名其文集。\n世襄年过九旬，于经世致用之学而外，洞彻古玩器物，举凡明家具、鹰鹞、烹饪、古建筑、蟋蟀、鸽子、竹艺、漆器等等，均深有发现。\n黄苗子遂以“玩物成家”目之。\n玩物而不丧志，其渊源幽淼，直可追溯先秦。\n《考工记》行文古雅，而凡世间百工造物，靡不涉及。\n魏晋诸子，倡而导之，经东坡等宋代诸儒，至明清而成玩物洪流矣。\n唐陆鸿渐行迹编海内而著《茶经》，后人饮茶，便得宗旨；宋人朱肱于杭州开酒坊，自酿自卖，著《北山酒经》流传于世，酒于是而得经典。\n而花草树木果树陶瓷园艺文房，乃至闺阁妆奁，人间烟火，皆入明代士大夫法眼，各种著述层出不穷。\n文震亨著《长物志》，高濂著《遵生八笺》，张岱著《陶庵梦忆》，玲琅满目，胪列不尽。\n执着于充满人情的尘世生活，是中国人典型的文化心理。\n明代变乱之前，物质的繁荣导致士大夫和普通民众的生活，在最求细节方面面达到了极致。\n庭除屋宇、园林百卉、钿光钗影、杯来盏往，余怀之《板桥杂记》所录晚明民众生活，其细致处，真是呼之欲出。\n悠闲，华美，逸乐，侠游，乃中国古代生活物质层面之四维。\n“闲者，匪徒尸居肉食，无所事事之谓。\n”高濂解释闲是一种境界，“闲可以养性，可以悦心，可以怡生安寿”。\n时乎坐陈钟鼎，几列琴书，榻排松窗之下，图展兰室之中，帘栊香霭，栏槛花妍，虽咽水餐云，亦足以忘饥永日。\n张岱论人，谓“人无癖，不可与交，以其无深情也；人无疵，不可与交，以其无真气也。\n” 张岱本人亦癖灯、癖游赏，癖器物。\n“少为纨绔子弟，极爱繁华，好精舍，好美婢，好娈童，好鲜衣，好美食，好骏马，好华灯，好烟火，好梨园，好鼓吹，好古董，好花鸟，兼以茶淫橘虐，书蠹诗魔。\n” 清代玩家自亦不少，晚明遗风，渔洋、袁枚等，接踵其后。\n然现代以来，士大夫之闲情雅致竟至泯然无迹，前人所持、所做、所饮、所餐、所观，遂成绝响，仅可于故纸堆中觅得鳞爪。\n此于国人，殊为憾事。\n前尘往事，并非定成空幻，成梦影。\n在器物层面，重构中国人古典生活方式，易于行，行远必将影响当下国人的价值认知。\n何也？一杯一盏，一花一木，一庐一室，一瓢一饮，均深蕴中国古典之价值，优雅，缠绵，温柔，富丽。\n似锦绣之质，浸俗世之情，于锦灰堆中，觅见风雅。\n1、 潮汕濒临南海，浮海可至南洋、印度、非洲海岸，乃至泰西诸国。\n这里是中西文明交流的一条重要路径——海上丝绸之路的必经之地，瓷器、丝绸、茶叶等中国固有的大宗产品从这里出口，而南洋的香料、珍宝、木材等，也远远不断，由此进入内地。\n潮汕也是古代中国人南迁之后的落脚点，所以，这里积存这丰厚的汉文化的元素。\n潮汕人很早就浮海去南洋谋生，其中，又以暹罗（泰国）居多。\n清代，此间与南洋的航运，是从中暹大米贸易开始的。\n为适应远洋航行的需要，原来有双桅、单桅之“潮州红头船”，发展成为“翘首高舷，备大桅樯三具”的远洋大帆船。\n《樟东风物记》：大型红头船长二十余丈，载重数百吨，三桅，有四帆开笑之称。\n红头船来自，源于清代之海禁。\n当时制度，凡出海之舶，须设色以辨。\n沿海省份，共设四色。\n广东在南，五行属火，用色为赤，遂“红油漆饰，青色钩字”。\n红头船不仅用朱砂油头，且以白粉油腹，头两侧画黑圈，再于船舷刻黑字。\n无形中，红头船具有了一种祛除不详的心理期待功能，融入到整个潮汕文化当中。\n红头船功夫茶具，不仅承载着这段具有强烈海洋文化特色的历史，还寄托着自生民以来就具有的祈福。\n2、功夫茶 苏辙诗曰：“闽中茶品天下高，倾身事茶不知劳。\n”此乃咏功夫茶诗也。\n功夫茶源于宋潮州府及福建的漳州、泉州。\n饮茶发展到功夫茶阶段，跟当时理学与禅宗的兴盛密不可分。\n功夫茶，茶中见性，以茶养性。\n除了水、火和冲泡这一程序性之外，功夫茶还衍生出极具形式美感的茶具。\n清俞蛟《潮嘉风月记》：“工夫茶，烹治之法，本诸陆羽《茶经》，而器具更为精致……杯盘则花瓷居多，内外写山水人物，极工致……杯小而盘如满月。\n” 锦灰堆功夫茶具，具本于宋代以降的人文传统。\n同时，亦融入时尚的造型，以适合现代人的审美。\n、红瓷 红瓷极尊贵，其制作之难亦冠各瓷之首。\n红瓷承载着吉祥、尊贵、自古就成为皇室追求的珍品。\n红瓷也是中国民间审美中至正之色，象征生命、繁衍和尊贵。\n红瓷釉料迥异于青花与青瓷等，其不耐高温的特性，使得一件红瓷的诞生很艰难。\n红瓷烧制，工艺复杂，须四次进炉：素烧，釉烧，红烧，金烧。\n每一环节不可偏差。\n尽管如此，仍是 “十窑九不成”。\n然则，更显红瓷的稀缺与珍贵。\n锦灰堆红头船红瓷功夫茶具，釉色分布匀停，光可鉴人，或蟠龙游凤，或牡丹缠枝，或花开富贵。\n而轻巧圆润，恰供清赏。\n（1）、红茶壶（鸿福） 壶，象盛器之形。\n日常不可或离之物，亦为礼器。\n古代常升华为美好之意。\n《春秋公羊传》：国子执壶浆。\n《三国志·诸葛亮传》：箪食壶浆。\n《芙蓉楼送辛渐》：一片冰心在玉壶。\n普通话，壶与“福”谐音，锦灰堆红茶壶便有了“鸿福”之意，同时，亦有“鸿鹄”之意，谓抱负远大也。\n（2）、红茶垫（托福） 茶垫又称壶托、托壶，红茶垫便可谐“福托”“托鸿福”“托福”等音。\n传统礼仪，接人待物，皆须谦逊。\n接茶、送茶之间，中华礼节，于细节中呈现。\n礼仪著于双方，也体现于每个个体，人借“托”举，“福”方永存。\n（）、福杯（吊鸿福杯） 杯，古又曰“爵”，饮器也。\n爵，象征荣誉和地位，即福禄寿喜之“禄”。\n与“福”为邻，传统抱负，合二为一。\n（4）、公杯（聚福） “大道之行也，天下为公。\n”《礼记》规定了中国人的最高社会理想。\n“公之为言公正无私也”。\n小小茶具，竟含儒家大道，此亦古人寄理想于“长物”之旨吧。\n公，也是古代爵位的最高等级。\n（5）、红茶渡（渡鸿福、鸿福渡） 渡，济也，引导也。\n这是一个暗藏禅机的词语，意蕴深厚。\n舍己渡人，方得超脱，这是佛家之道。\n若以当代社会伦理视之，此器亦公器也。\n然于公器之外，更充满英雄主义和绅士风度。\n（余可参照原文） （6）、精致小茶海 方寸之间，可容宇宙。\n海浩瀚无涯涘，在空间上以为这难以逾越，然则可以器用喻之。\n人心隔海，有渡可致。\n具物取名，古代闲情逸致之士乐此不疲，关键是，他们的想象力一如大海。\n海，又与潮汕之风俗相贯通。\n1）、大富大贵 “唯有牡丹真国色，花开时节动京城”，牡丹一直是中国富贵文化的核心意象，唐刘禹锡的诗恰好证明了这一点。\n作为花中之王，牡丹是历代文人雅士歌咏的对象。\n而龙、凤和蝶等意象的融合，则意味着一派高贵、长寿等怡人景象。\n2）、龙腾吉祥 在中国的语境中，龙一直是帝王的象征。\n当这一意象进入整个民族的心理深层结构，变成了众多行为的指南，一系列的崇拜也由此而来。\n龙也成了祈福消灾的对象。\n）、常年富贵 花团锦簇，一团和气，是古代人家最为看重的。\n等花卉图案，构成了众多居家要素，比如瓷器、锦缎。\n枝枝相连的形态暗示了中国人邻里相助和子孙繁衍的愿望，“连”也是“年”的谐音，于是便有“常年富贵”之名。\n4）、年年好运 运，行也。\n引申而为命运，“运隆祚永”是国家追求的目标，而祈求好运于一般人也变顺理成章。\n5）、6周年庆 大红的底色意味的喜气扑面而来。\n运筹红色，这正好是红瓷专家最为擅长的领域。\n黄色的五星，如暗夜繁星，耀人眼目，也如天女散花。",[23,24,25,166,62,27,28,84,372,1232,1233,32,169,1234,212,7,1235],"题跋","墨迹","杂物","虫蛀痕迹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F413580bf86f0f2f07a385084ba691349.jpg",[],59,{"id":1240,"slug":1241,"title":1242,"dynasty":181,"author":1243,"museum":115,"description":1244,"tags":1245,"thumbUrl":1246,"material":103,"size":36,"collection":67,"collections":1247,"showCount":1248,"zanCount":11,"manualWeight":11,"mainColor":40},219446,"duan-yang-jing-tu-chen-jia-yan-219446","端阳景图","陈嘉言","墨石崚嶒，以浓淡干湿之笔写出苍劲肌理，似含嶙峋风骨。石畔百合舒卷有致，瓣白如玉，清雅绝尘；艳艳红花点缀其间，色如渥丹，相映成趣。细碎野花丛生，黄绿枝叶错落，笔墨兼工带写，设色明丽却不艳俗。整幅画面生机盎然，野趣中透着雅致，仿佛能嗅到端阳时节的草木清气，尽显文人画的疏朗意韵。笔意洒脱，构图疏密得当，于不经意间流露自然之美，引人沉醉于这方清幽小景里。",[24,81,27,80,153,28,398,197,32,372,7,1111,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ef5005627b1e39b1323e869dbb1145.jpg",[67],58,{"id":1250,"slug":1251,"title":1252,"dynasty":181,"author":773,"museum":336,"description":1253,"tags":1254,"thumbUrl":1255,"material":103,"size":36,"collection":36,"collections":1256,"showCount":1257,"zanCount":11,"manualWeight":11,"mainColor":40},218018,"za-hua-ce-12-chen-hong-shou-218018","杂画册-12","陈洪绶是明朝时期著名的画家。他最著名的作品是他的杂画册，其中包含了许多精美的花鸟画和山水画。陈洪绶的杂画册是明朝时期最著名的画册之一，并被认为是中国画的杰出代表作之一。\n\n陈洪绶的杂画册中包含了多幅优美的花鸟画，其中包括了各种鸟类、花卉和动物。这些画作都是陈洪绶对自然界的精确再现，并且富有生命力。此外，陈洪绶还创作了许多优美的山水画，其中包含了各种山川、河流、湖泊和其他自然景观。这些画作也是陈洪绶对自然界的精确再现，并且富有感染力。\n\n总的来说，陈洪绶的杂画册是一部杰出的画册，其中包含了许多优美的花鸟画和山水画，是中国画的杰出代表作之一。陈洪绶的画风精细而细腻，他对自然界的描绘充满生命力和感染力，使他的作品在艺术史上占有重要地位。",[24,26,62,27,28,253,7,607],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6b56466e530ac59e292032c7b05d5f9.jpg",[],55,{"id":1259,"slug":1260,"title":1261,"dynasty":18,"author":969,"museum":235,"description":1262,"tags":1263,"thumbUrl":1264,"material":36,"size":36,"collection":36,"collections":1265,"showCount":1266,"zanCount":364,"manualWeight":11,"mainColor":40},230119,"hua-hui-ce-ye-si-kai-ren-yi-230119","花卉册页四开","这幅画作尽显写意花鸟的灵动意趣，左畔黄花明丽醒目，以明艳赭黄点染瓣蕊，娇俏鲜活，与浓墨绘就的叶片形成鲜明反差，苍劲墨色衬出花的妍丽。右方淡色花簇晕染柔润，清雅素净，和左侧形成虚实冷暖的精妙呼应。\n\n枝干运笔枯湿浓淡相宜，苍润兼具，写出了花木舒展自然的姿态。笔墨兼具工写之妙，既以豪放淋漓的墨色绘就叶片的苍劲质感，又细致勾勒出花蕊、花苞的娇柔细节，设色清隽雅致，将花木天然的生机逸态尽显无遗，氤氲着悠然的文人雅趣，尽显清逸灵动的花鸟意韵。",[61,24,25,26,27,80,28,32,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bc9e9ba66454e1ab14a0ed4e8251f9f.jpg",[],54,{"id":1268,"slug":1269,"title":1270,"dynasty":18,"author":462,"museum":58,"description":1271,"tags":1272,"thumbUrl":1274,"material":701,"size":1275,"collection":36,"collections":1276,"showCount":1277,"zanCount":364,"manualWeight":11,"mainColor":40},233732,"wu-jun-qing-ku-gua-tu-zhou-wu-chang-shuo-233732","吴俊卿苦瓜图轴","本幅设色。自题“和尚以为号，山家以为肴，以嗜甘者，而嗜此寥寥“款：”乙酉四月吴昌硕“。\n吴昌硕（1844—1927年），原名俊，字昌硕，以字行，号苦铁、缶庐等，浙江安吉人。早年习书，中年学画。曾任官府小吏，后以鬻书卖画为生。绘画以写意花卉著称于世，对近现代画坛影响极大。精篆刻，被推为“西泠印社”社长。书法一变前人成法，风格独特，长于摹写石鼓文，并以此擅名于近代书坛。与任伯年、高邕等在沪书画家相友善。著有《缶庐诗存》，后人整理出版其画集多种。",[24,25,81,27,80,28,1273,31,7],"苦瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc1e99426b2f6144728f43f592f51d11.jpg","纵176cm横47.7cm",[],53,{"id":1279,"slug":1280,"title":1281,"dynasty":113,"author":129,"museum":336,"description":1282,"tags":1283,"thumbUrl":1285,"material":268,"size":1286,"collection":36,"collections":1287,"showCount":1277,"zanCount":364,"manualWeight":11,"mainColor":108},232878,"gua-guo-cao-chong-tu-juan-yi-ming-232878","瓜果草虫图卷","宋代绘画是中国传统艺术当之无愧的颠峰，形成了琳琅满目的各式题材与流派，而它最具代表的特点是画家深入的观察与细腻的表达，因此产生出叹为观止的精妙画作。这既源于宋代兴起的理学精神，强调“格物”；亦源于宋代人对于生活的热爱，使他们乐于描绘世界的细微处——例如一类以瓜果作为题材的花鸟画作品。",[23,24,25,166,27,62,28,1284,821,169,31,212,7,101],"瓜果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51b48aaaf0d6e93f2e0fb70756a9d19.jpg","41x197.3厘米",[],{"id":1289,"slug":1290,"title":1291,"dynasty":181,"author":1195,"museum":150,"description":1196,"tags":1292,"thumbUrl":1294,"material":34,"size":1200,"collection":36,"collections":1295,"showCount":1277,"zanCount":364,"manualWeight":11,"mainColor":1203},216260,"ming-za-hua-ce-5-wang-zhong-216260","明杂画册-5",[24,27,62,28,224,1293,30,7],"稻穗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3b7a2d37dce367fc85ce44174fdaaf3.jpg",[],{"id":1297,"slug":1298,"title":1299,"dynasty":18,"author":969,"museum":235,"description":1300,"tags":1301,"thumbUrl":1303,"material":549,"size":550,"collection":36,"collections":1304,"showCount":1305,"zanCount":364,"manualWeight":11,"mainColor":40},235406,"tao-hou-tu-zhou-ren-yi-235406","桃猴图轴","任颐（1840年－1895年），即任伯年，初名润，字次远，号小楼，后改名颐，字伯年，别号山阴道上行者、寿道士等，以字行，浙江山阴航坞山（今杭州市萧山区瓜沥镇）人，清末著名画家。\n自幼随父卖画，后从任熊、任薰学画，后居上海卖画为生。在“四任”之中，成就最为突出，是“海上画派”中的佼佼者，“海派四杰”之一。任伯年的绘画发轫于民间艺术，技法全面，山水、花鸟、人物等无一不能。重视写生，又融汇诸家法，并吸取水彩色调之长，勾皴点染，格调清新。\n其人物画，早年从陈洪绶法出，形象夸张，富装饰效果。如故宫博物院藏《干莫炼剑图》轴。后练习铅笔速写后，变得较为奔逸，如故宫博物院藏《风尘三侠图》轴等。其写照技艺，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。\n海派中的佼佼者，其绘画发源于民间，重视继承传统，吸收西画技法，形成风姿多采的独特画风，在“四任”中成就最为突出。 　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[24,25,81,27,454,1302,292,225,7],"猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc91447d55f5265c58f0b6e0a06c907bb.jpg",[],51,{"id":1307,"slug":1308,"title":1309,"dynasty":18,"author":462,"museum":235,"description":1310,"tags":1311,"thumbUrl":1313,"material":36,"size":36,"collection":36,"collections":1314,"showCount":1305,"zanCount":364,"manualWeight":11,"mainColor":40},235244,"li-ju-ping-zhou-wu-chang-shuo-235244","篱菊屏轴","此作以阔笔泼墨绘就葫芦秋架，枯笔写藤蔓，遒劲如铁，盘绕交错尽显野逸生机。葫芦以淡彩晕染，黄润清透，将秋实饱满的质感尽显，墨叶泼辣淋漓，浓淡铺陈相宜，苍润兼具。\n\n左侧题画诗文笔苍朴，篆隶笔法老辣厚重，诗画呼应相融，将田园秋意与文人逸趣合二为一。整幅下笔雄浑朴拙，以金石意趣入画，寥寥数笔便定格秋日架上鲜活意态，朴拙间见灵秀蓬勃，尽显大写意花鸟的盎然生机与沉厚韵味。",[24,25,81,80,27,153,28,167,31,7,1312,421,49],"篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5000c77ba43cc4203afefb648a729f86.jpg",[],{"id":1316,"slug":1317,"title":1318,"dynasty":18,"author":969,"museum":235,"description":1319,"tags":1320,"thumbUrl":1322,"material":36,"size":36,"collection":36,"collections":1323,"showCount":1305,"zanCount":364,"manualWeight":11,"mainColor":40},230127,"hua-niao-ce-ye-ren-yi-230127","花鸟册页","画面设色秀雅清润，两只山雀依偎枝桠，翎毛晕染细腻柔和，憨态可掬尽显亲昵意趣。月季柔瓣轻展，粉色素净雅致，枝叶皴染结合，深浅浓淡晕开蓬勃生机。右上方题字笔意隽秀，与画面相映成趣。整体构图疏朗空灵，以兼工带写之法，将草木柔态与禽鸟灵动融为一体，把寻常花鸟小景绘成充满温情的雅致小品，晕染出恬淡悠然的江南雅韵，尽显清隽婉约的文人画意趣。",[24,25,26,27,28,62,49,224,30,1321,7],"枝蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb68230908224e58f73ae2820e23e446.jpg",[],{"id":1325,"slug":1326,"title":1327,"dynasty":113,"author":129,"museum":235,"description":1328,"tags":1329,"thumbUrl":1331,"material":36,"size":36,"collection":36,"collections":1332,"showCount":1305,"zanCount":364,"manualWeight":11,"mainColor":40},227381,"qiu-hua-tu-ye-yi-ming-227381","秋花图页","艺术史学家高居翰(James Cahill)在《图说中国绘画史》一书中赞叹宋画之美：“在他们的作品中，自然与艺术取得了完美的平衡。他们使用奇异的技巧，以达到恰当的绘画效果，但 是他们从不纯以奇技感人；一种古典的自制力掌握了整个表现，不容流于滥情。艺术家好像生平第一次接触到了自然，以惊叹而敬畏的心情来回应自然。他们视界之 清新，了解之深厚，是后世无可比拟的。",[23,61,24,25,959,62,27,28,32,1330,7],"秋花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F566273ba43fdaceaabf6298b88025aa3.jpg",[],{"id":1334,"slug":1335,"title":1336,"dynasty":740,"author":1337,"museum":115,"description":1338,"tags":1339,"thumbUrl":1340,"material":27,"size":1341,"collection":67,"collections":1342,"showCount":1305,"zanCount":11,"manualWeight":11,"mainColor":108},219896,"ying-zhu-hua-mei-zhou-wang-yuan-219896","鹰逐画眉轴","王渊","此帧画一只苍鹰自空中急速俯冲而下，即将迫及画眉，画眉则张口失声伧促逃窜，一幕弱肉强食的情况活跃在纸上。全幅用笔甚工，设色温雅，颇有宋画遗风。",[23,61,24,25,81,62,80,27,28,657,225,372,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F430c0da1dc68285a385d2a617339a9ad.jpg","117.2x53.3公分",[67],{"id":1344,"slug":1345,"title":1346,"dynasty":18,"author":1347,"museum":235,"description":1348,"tags":1349,"thumbUrl":1351,"material":36,"size":36,"collection":36,"collections":1352,"showCount":1353,"zanCount":364,"manualWeight":11,"mainColor":40},230118,"xie-sheng-hua-niao-tu-qu-zhao-lin-230118","写生花鸟图","屈兆麟","此作以工笔设色绘就庭院清秋小景，桂树新枝缀着嫩绿叶瓣与细碎繁花，枝头双雀依偎和鸣，另有群雀或振翅掠空，或伫立于朱漆栏杆，将灵雀憨态描摹得鲜活入微。\n\n下方幽石错落，阔叶草木舒展柔姿，淡色小花点缀其间，晕染出静谧雅致的庭间氛围。设色清妍柔和，线条匀净秀润，兼具院体花鸟的工致写实，又暗含文人写意的清幽意趣，将寻常庭院的花鸟日常，晕染为一方诗意盎然的雅致画境，尽显写生花鸟的细腻妙趣。",[23,24,25,81,62,27,28,657,798,47,7,935,1350,397,30],"栅栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0eac61a99c9ad9c38167017ba4112f0.jpg",[],49,{"id":1355,"slug":1356,"title":1357,"dynasty":18,"author":914,"museum":115,"description":915,"tags":1358,"thumbUrl":1360,"material":27,"size":920,"collection":36,"collections":1361,"showCount":1353,"zanCount":11,"manualWeight":11,"mainColor":40},222734,"xian-e-chang-chun-tu-shao-yao-tu-lang-shi-ning-222734","仙萼长春图芍药图",[23,61,24,25,26,62,27,28,1359,398,31,7],"芍药","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d4e80ec12b7bb3352ab726c4f69de0f.jpg",[],{"id":1363,"slug":1364,"title":1365,"dynasty":181,"author":418,"museum":1108,"description":1109,"tags":1366,"thumbUrl":1368,"material":1113,"size":1114,"collection":36,"collections":1369,"showCount":1353,"zanCount":11,"manualWeight":11,"mainColor":40},222563,"hua-hui-tu-2-chen-chun-222563","花卉图2",[23,61,24,25,28,153,27,32,7,1367],"绣球花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b58c1f760d5e2ed82b57cd46ef85900.jpg",[],{"id":1371,"slug":1372,"title":1373,"dynasty":113,"author":1374,"museum":1375,"description":1376,"tags":1377,"thumbUrl":1379,"material":27,"size":1380,"collection":134,"collections":1381,"showCount":1382,"zanCount":11,"manualWeight":11,"mainColor":108},221360,"yue-xia-wu-que-tu-dai-wan-221360","月下五雀图","戴琓","昆仑堂美术馆","戴琓，北宋画家。生卒年不详。汴（今河南开封）人。宣和（1111-1125）年间在翰林，殊蒙恩宠。画史称其：工翎毛花竹，常入阁供奉，后因求者甚众，徽宗闻之，封其臂不令私画，故传世者鲜。\n传世作品有《月下五雀图》，现藏昆山市昆仑堂美术馆；《雪梅寒雀图》，美国弗利尔美术馆藏。",[23,24,62,27,268,28,960,657,1378,225,7,32],"雀鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e7afabac0c506934e7bf8980bedff63.jpg","20.5cm×26cm",[134,67,69],48,{"id":1384,"slug":1385,"title":1386,"dynasty":76,"author":77,"museum":163,"description":1387,"tags":1388,"thumbUrl":1389,"material":173,"size":36,"collection":36,"collections":1390,"showCount":1382,"zanCount":364,"manualWeight":11,"mainColor":40},220582,"xian-tao-qi-bai-shi-220582","仙桃","此作用色鲜亮泼辣，两枚寿桃以朱砂铺陈桃身，晕染出熟透的红润，留白与藤黄轻点桃腹，尽显饱满甜熟的质感，鲜活仿佛将欲滴浆。\n\n浓墨挥写桃叶藤蔓，线条苍劲老拙，墨色干湿浓淡富于层次，与暖艳的桃色形成鲜明对比，艳而不俗，厚重灵动兼具。扇面形制之下布局疏密得当，硕果垂坠于枝桠，暗含丰盈吉祥的意趣。\n题字笔墨雄健朴拙，与画面笔意融为一体，整幅小品简括大气，寥寥数笔便将物象生机与祝福意蕴尽皆抒发，尽显写意精髓。",[76,24,118,27,153,28,722,7,49,421],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcecf3a3089bcebf91a06cfe9e353c2e9.jpg",[],{"id":1392,"slug":1393,"title":1394,"dynasty":113,"author":1395,"museum":115,"description":1396,"tags":1397,"thumbUrl":1400,"material":103,"size":36,"collection":67,"collections":1401,"showCount":1382,"zanCount":11,"manualWeight":11,"mainColor":40},219224,"li-peng-qiu-zhan-zhao-ji-219224","栗蓬秋绽","赵佶","墨叶扶疏间，栗蓬携尖刺静绽，外壳微裂处，嫩实隐现如珠。工笔细描的叶片脉络分明，墨色晕染出苍劲与柔润的层次，枝干线条如篆如隶，藏着书法般的骨力。秋意凝于绢素，既有院体画的精工写实，又含文人画的雅致韵致。一笔一画皆见对自然物态的深察，从刺尖的锋芒到叶脉的转折，皆细致入微，尽显宋画格物致知的精神，让秋之栗蓬的生机与静美，在方寸扇面间流转不息。",[23,1398,24,25,118,62,27,28,1399,7,225,49],"宋画","栗蓬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc547c3110157d019ed1ea0f90ee3b260.jpg",[67],{"id":1403,"slug":1404,"title":545,"dynasty":18,"author":914,"museum":58,"description":1405,"tags":1406,"thumbUrl":1407,"material":351,"size":1408,"collection":36,"collections":1409,"showCount":1410,"zanCount":364,"manualWeight":11,"mainColor":40},232972,"hua-niao-ce-lang-shi-ning-232972","此图册分别描绘了牡丹、兰花、罂粟、萱草、荷花、梅花等艳丽多姿的花卉和体态生动的蝶、鸟。构图上取法中国传统花鸟画的格局，以虚托实，注重对所绘物象的突出。在表现技法上，则充分发挥了欧洲绘画注重明暗及透视的特点，以工致细腻的笔触，刻画出花瓣、叶片以及鸟雀的羽毛质感和体积感，呈现出与传统的中国花鸟画迥然不同的艺术风貌。这种“中西合璧”的画风成为清代宫廷绘画艺术的一大特色，受到了清皇室的青睐。",[24,25,26,62,27,48,49,28,30,7,607,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb51a29033cad5a16e9df56e5c4465f8c.jpg","纵32.6厘米，横28.6厘米",[],46,{"id":1412,"slug":1413,"title":1414,"dynasty":740,"author":1142,"museum":150,"description":1415,"tags":1416,"thumbUrl":1417,"material":268,"size":1418,"collection":36,"collections":1419,"showCount":1410,"zanCount":364,"manualWeight":11,"mainColor":108},232831,"xie-sheng-cao-chong-tu-juan-qian-xuan-232831","写生草虫图卷","此卷设色典雅，用笔精微，一花一竹，一虫一鸟，皆细致入神，工中见意，精巧传神，一丝不苟，可谓写生妙手。\n钱选（1239-1299），宋末元初著名画家，与赵孟?等合称为“吴兴八俊”。字舜举，号玉潭，又号巽峰，霅川翁，别号清癯老人、川翁、习懒翁等，湖州（今浙江吴兴）人。山水师从赵令穰，人物师从李公麟，花鸟师赵昌，青绿山水师赵伯驹。继承苏轼等人的文人画理论，提倡士气说，倡导戾家画。",[23,24,25,166,27,62,710,28,821,31,7,32,84,372,49,48],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b6e400748db309145ac39941fe71144.jpg","34x310厘米",[],{"id":1421,"slug":1422,"title":1423,"dynasty":181,"author":1424,"museum":235,"description":1425,"tags":1426,"thumbUrl":1427,"material":36,"size":36,"collection":36,"collections":1428,"showCount":1410,"zanCount":11,"manualWeight":11,"mainColor":40},228838,"lian-hua-dou-jia-tu-ce-shen-zhou-228838","莲花豆荚图册","沈周","此作用笔松秀淡逸，以清浅墨色晕染果实，晕化柔和雅致，墨色层次疏淡清润，墨点点缀其上，朴拙天真，尽得果实鲜活意态。枝叶以枯淡墨线勾勒，笔致苍劲随性，不求描摹工细，却将叶片舒展之姿尽显，枯荣之态暗含其间。\n画面留白开阔疏朗，以简驭繁，尽显文人写意的简淡风骨，将日常乡野小景，绘出悠然清逸的林下意趣，平淡之中藏着天真雅致的文人心境，笔底全是松弛自在的闲适之味。",[23,61,24,25,26,80,28,948,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6db9f55c64cddb22c8eac5284a05317e.jpg",[],{"id":1430,"slug":1431,"title":1432,"dynasty":181,"author":1424,"museum":1433,"description":1434,"tags":1435,"thumbUrl":1437,"material":375,"size":36,"collection":36,"collections":1438,"showCount":1439,"zanCount":11,"manualWeight":11,"mainColor":40},214919,"mo-hua-ce-7-shen-zhou-214919","墨花册-7","印第安纳波利斯艺术博物馆","沈周是一位著名的明朝画家，他的作品《墨花册》是一本插图本，其中包含了许多令人惊叹的墨花图案。《墨花册》是沈周的代表作之一，因其精美的图案和精湛的插画技巧而广受赞誉。在《墨花册》中，沈周用黑墨和水彩画描绘了许多精美的墨花图案，包括花卉、鸟类、动物和人物等。沈周的作品充满了生机和活力，他的绘画技巧非常出色，深受人们的喜爱。",[23,24,25,26,80,28,1436,212,7,49,153],"墨花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d1312eda36b374f88d54899f06fea72.jpg",[],45,{"id":1441,"slug":1442,"title":1443,"dynasty":18,"author":686,"museum":235,"description":1444,"tags":1445,"thumbUrl":1446,"material":549,"size":550,"collection":36,"collections":1447,"showCount":1448,"zanCount":11,"manualWeight":11,"mainColor":40},239457,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239457","邹一桂花鸟草虫图册","邹一桂（1688-1772），清代画家。字元褒，号小山、二知、让卿、乡森子，江苏无锡人。雍正五年(1727)进士，官至礼部侍郎。擅工笔花卉。尝作《百花》卷，各系一诗。传世作品有《白梅山茶图》、《太古云岚图》、《水仙红梅图》等。",[24,26,62,27,28,171,31,7,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F890b258d7b2179aca0ace409e4e02f1c.jpg",[],43,{"id":1450,"slug":1451,"title":1443,"dynasty":18,"author":686,"museum":235,"description":1444,"tags":1452,"thumbUrl":1453,"material":549,"size":550,"collection":36,"collections":1454,"showCount":1455,"zanCount":11,"manualWeight":11,"mainColor":40},239455,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239455",[24,25,26,27,62,48,421,49,32,7,47,119,475],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F184e5bc5ce80dbafe8c1b9f55367f8dd.jpg",[],42,{"id":1457,"slug":1458,"title":1459,"dynasty":181,"author":182,"museum":58,"description":1460,"tags":1461,"thumbUrl":1462,"material":973,"size":1463,"collection":36,"collections":1464,"showCount":1465,"zanCount":11,"manualWeight":11,"mainColor":40},233465,"ren-wu-hua-hui-ce-xu-wei-233465","人物花卉册","该册十八页，其中画十五页，分别作写意山水人物、写生花卉，内容有婴戏、对弈、牡丹、兰花、稻穗螃蟹等等。笔墨简括豪放，随意自然。选其二页，可窥真趣。",[61,24,25,26,80,153,32,7,47,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61f867355f75d02b3f2bc5518af5ed94.jpg","纵26.9厘米 横38.3厘米",[],41,{"id":1467,"slug":1468,"title":1469,"dynasty":18,"author":406,"museum":150,"description":1470,"tags":1471,"thumbUrl":1472,"material":701,"size":1473,"collection":36,"collections":1474,"showCount":1465,"zanCount":11,"manualWeight":11,"mainColor":40},231949,"hua-hui-ce-ye-12-kai-dong-gao-231949","花卉册页12开","龚心钊题跋。龚心钊（1870-1949），字怀希，号仲勉，安徽合肥人，寓居上海。他19岁中举人，26岁中进士，是清代最后一任科举考官。光绪年间出使英、法等国，清末出任加拿大总领事，是清代著名的外交家。\n董诰（1740-1818），字雅伦，西京，号蔗林，一号柘林，董邦达长子，浙江富阳人。乾隆二十八年（1763），中顺天乡试举人，明年成进士，殿试各列一甲第三，乾隆帝以其系大臣子，改置二甲第一，为传胪，授翰林院庶吉士，充国史三通馆协修，武英殿篡修。散馆后，改任编修。",[61,24,25,26,62,27,28,32,7,47,48,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa16aa1373de0204c155ba084d3f5fee4.jpg","21×26cm×12",[],{"id":1476,"slug":1477,"title":1478,"dynasty":181,"author":129,"museum":235,"description":1479,"tags":1480,"thumbUrl":1481,"material":549,"size":550,"collection":36,"collections":1482,"showCount":1483,"zanCount":364,"manualWeight":11,"mainColor":108},238966,"song-yuan-ming-hua-ce-ming-ren-hua-hui-cao-chong-tu-ye-yi-ming-238966","宋元明画册－明人花卉草虫图页","此作为工笔花鸟小品，以团扇承载幽微野趣。牵牛花藤蔓萦回，叶片俯仰错落，红瓣晕染出娇嫩层次，白蕊点缀其间，鲜活明妍，将盛夏花卉的柔婉生机尽数铺展。\n草虫隐匿花间，蚱蜢静伏枝桠，翅脉纹路细腻宛然，粉蝶恋花低徊，飞虫振翅欲去，动静交织，把郊野一隅的刹那鲜活定格绢上。设色调和古雅，赭色绢底衬得花叶愈发清妍不俗，细劲秀逸的线条勾勒出草木柔态与虫豸灵动，尽显雅致工丽，将夏日闲静小景凝于尺幅之间，引人沉醉在这静谧鲜活的方寸天地里。",[24,25,26,27,62,1211,28,821,810,169,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4bc0d30b118796ae3802452fc2608ee.jpg",[],40,{"id":1485,"slug":1486,"title":1487,"dynasty":18,"author":1488,"museum":235,"description":1489,"tags":1490,"thumbUrl":1492,"material":36,"size":36,"collection":67,"collections":1493,"showCount":1483,"zanCount":364,"manualWeight":11,"mainColor":40},238274,"hua-qia-xuan-yuan-tu-ce-huang-yue-238274","化洽翾蜎图册","黄钺","黄钺（1750年9月5日-—1841年8月16日），字左田，又名左君，号壹斋、左庶子，安徽芜湖人，清朝大臣，历仕乾隆、嘉庆、道光三朝。是著名的教育家、画家、艺术评论家。\n黄钺师法韩愈、苏轼、黄庭坚三人。 [5] 著有《壹斋集》40卷，其中《奏御集》2卷，杂篇6卷，《萧、汤二老遗诗合编》1卷，《画品》1卷。工诗文、书画，所绘山水，有萧云从余韵，“久邀睿赏，与富阳首相。国称董（浩）黄（钺）二家”，宫内名画，多为其鉴定真伪。诗词有苏东坡风韵，年九十一岁失明，自号“盲左”仍吟诗作画，故乡风情，吟咏殆尽，所作《于湖竹枝词》66首，亦诗亦史，富有深厚乡情。宋子才有“太白脱靴”，“山谷返棹”两图，石刻在太平府尊经阁内。《志》谓“子才七世孙，元太平路经历景阳刻”。嘉庆十七年（1812），黄钺在作此图时也注为元景阳刻。后觉有误，自责捉笔：“承讹袭谬，未暇深考。顷友人拓赠二纸，始知其谬，愧赧无已，爰记以诗，以志吾荒陋焉”。虚怀若谷，难能可贵。\n道光五年（1825），黄钺76岁，请求归休。宣宗“温旨慰留”。次年，又申前请，获准荣归。道光二十一年六月三十日申时（即1841年8月16日15时至17时）在芜湖家中逝世，享年九十二岁。宣宗悼惜，追封为太子太保衔，入祀贤良祠，按尚书条例抚恤，谥号“勤敏”。命史馆立传，赐祭葬，树石碑，葬于当涂南褐山下。同年，奉旨入芜湖乡贤祠。 [3]\n清代乾隆、嘉庆、道光年间，当涂出了一位赫赫有名的内阁尚书、军机大臣。黄钺，字左田，号左君，又号壹斋、左盲，生于乾隆十五年（1750年），卒于道光二十一年（1841年）。因其一生敏而好学，著述甚多，又“执掌皖南北书院十载”，对当地文化、教育做出了重要贡献。\n乾隆三十八年（1773年）十月，年仅23岁的黄钺在太平府学政使院参加岁试。安徽提督学政朱筠阅其卷，以为“奇才异能”，称道不止。朱筠在离开当涂回京都时，特地将这位年轻人带入京城应试，虽未中试，但得以在《四库全书》馆做誉录工作，因之学识大进。乾隆五十三年（1788年），黄钺考中举人，五十五年中进士，授户部主事。当时权臣和坤主管户部，因二人意见相左，借故请假回家，协助安徽巡抚李世杰在芜湖赭山谪翠轩创建中江书院，招员授业。嘉庆四年（1799年），仁宗亲政，黄钺奉命进京加封为“懋勤殿行走”。嘉庆九年（1804年），提升为“赞善，入直南书房”。嘉庆十年，出任山西学政，又特旨任湖北、山东、顺天等地的乡试主考官，后又兼任山西、山东学政，准予密折奏事。嘉庆十五年（1810年），迁侍讲学士，十八年擢升内阁学士，十九年升任户部侍郎，不久，又调任礼部侍郎。嘉庆二十四年（1819年），升任礼部尚书，并“赐紫禁城骑马肩舆入直，加封太子少保衔”。次年，升会试主考官。道光元年（1821年），宣宗亲政，封其为军机大臣，不久，又调任户部尚书，参与大典事宜，从事“京察议叙”。道光三年，宣宗“赐宴玉澜堂”，并给功臣绘像，黄钺是当时朝廷15名老臣之一。道光五年，黄钺已75岁，请求归休，宣宗又“温旨慰留”。次年，又申前请，始获准归乡。黄钺在朝廷历时27年。\n黄钺一生为封建统治阶级“矢勤矢慎”，但他笔耕不辍，在学术上也很有造诣。著有《壹斋集》四十卷、《壹斋诗集》三十六卷、《韩诗增注正讹》十一卷、《萧汤二老遗诗合编》二卷、《奏御集》二卷，另有《画友录》、《泛浆录》、《游黄山记》、《两朝恩赉记》、《二十四画品》等著作。他善画山水花鸟，尤长画梅，初学王 ，晚学王原祁，与“四王”末流董邦达并称山水画家。他的画，笔墨苍厚，他的字，既有书卷气，也有台阁气。他的诗，别具一格，很有气势。曾作的《花卉图》、《端阳佳景图》、《高冈长松图》等，无论青绿山水和水墨山水都很有特色。\n黄钺在绘画艺术上经过多年的实践和探索，将自己积累的经验进行理论概括，撰成画学专著《二十四画品》一书。《二十四画品》是仿照唐司空图撰写的中国古代文集约名著《二十四诗品》的体例而写成的。书中运用四言韵语，把各种绘画艺术风格概括为：一气韵，二神妙，三高古，四苍润，五沉雄，六冲和，七淡远，八补拙，九超脱，十奇辟，十一纵横，十二淋漓，十三荒寒，十四清旷，十五性灵，十六圆浑，十七幽邃，十八明净，十九健拔，二十简洁，二十一精谨，二十二隽爽，二十三空灵，二十四韶秀。整部著作文词典雅，清丽可诵，表现了栩栩如生的艺术形象。\n黄钺对谢朓、李白、黄庭坚十分崇拜，曾多次游览青山和采石矶。他颂扬谢朓“谢公爱青山，结宇恣啸咏”；在《咏李翰林》诗中讴歌李白：“仙骨埋青山，草木发灵异。”到采石矶“高怀吊古”，“掩英雄之泪，吟供奉之诗”。在他作的《采石矶赋》一文中，除了历数在这里发生的许多惊天动地的事件和英雄人物外，还特地为李白而感叹，说：“白也不群，宗之潇洒，着宫锦而扬帆，共兰舟而持 。旁若无人，歌清四野，当此之时，何其壮也！”黄钺又诗云：“平轩遥瞰一湖开，闻说涪翁守郡来。当日到官才九日，未应便起读书台。”该诗也附注曰：“赭山有滴翠轩，相传为涪翁读书处。李之仪跋山谷二词：‘鲁直请无为、当涂，而得当涂，犹蹭蹬一年方到官，既到九日而罢，又数日乃去。’“\n道光十一年（1831年），长江发生水患，回到家乡的黄钺 积极倡兴赈济，带头捐献俸银千两。道光十三年，濒临江淮的州县又遭水灾，黄钺又“捐百金助赈”，以救乡民。次年，当涂、芜湖一带饥荒，米珠薪桂，人民生计困难，黄钺又与王泽、许耕余等发动有田富户及绅士14家，按田交谷600担，兴办“丰备义仓”12座，当义仓上梁即将落成时，黄钺以诗记其事道：“成城缘众志，图匮在年丰。”并在“丰备义仓”的旁边建立私塾，招收蒙童，普及地方教育事业。\n道光十六年，88岁已不能认字，但仍吟诗咏物，所作《于湖竹枝词》66首，亦诗亦史，深入浅出，富有深厚的爱乡之情。",[24,27,28,26,1491,212,7,397,1111,84,398],"枸杞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77c58126e2ccbab6b27ba717f63b9702.jpg",[67,69],{"id":1495,"slug":1496,"title":1497,"dynasty":181,"author":1424,"museum":1433,"description":1434,"tags":1498,"thumbUrl":1499,"material":375,"size":36,"collection":36,"collections":1500,"showCount":1501,"zanCount":364,"manualWeight":11,"mainColor":40},214924,"mo-hua-ce-3-shen-zhou-214924","墨花册-3",[23,61,24,25,80,99,7,47,49,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9bc8e0e22c8ac2a3d56fdc5547b6ef7.jpg",[],39,{"id":1503,"slug":1504,"title":1505,"dynasty":181,"author":1424,"museum":1433,"description":1434,"tags":1506,"thumbUrl":1507,"material":375,"size":36,"collection":36,"collections":1508,"showCount":1501,"zanCount":364,"manualWeight":11,"mainColor":40},214916,"mo-hua-ce-10-shen-zhou-214916","墨花册-10",[23,24,80,26,28,240,31,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36174ca3ee0e711e4558881ccb44938f.jpg",[],{"id":1510,"slug":1511,"title":1512,"dynasty":666,"author":1513,"museum":235,"description":1514,"tags":1515,"thumbUrl":1518,"material":549,"size":550,"collection":679,"collections":1519,"showCount":1520,"zanCount":364,"manualWeight":11,"mainColor":108},225881,"wild-roses-april-may-fan-gao-225881","Wild roses (April - May )","梵高","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。",[671,27,1516,1517,101,7,372],"后印象派","玫瑰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0963962b5ae60baef8cf939bd255454b.jpg",[679],37,{"id":1522,"slug":1523,"title":1524,"dynasty":113,"author":129,"museum":115,"description":1525,"tags":1526,"thumbUrl":1527,"material":103,"size":1528,"collection":67,"collections":1529,"showCount":1520,"zanCount":11,"manualWeight":11,"mainColor":40},218731,"cao-chong-gua-shi-tu-yi-ming-218731","草虫瓜实图","瓜果成熟，吸引了蝈蝈（也叫织女），其生产力蓬勃发展；果实肥沃，瓜的叶子和胡须是蔓生植物，可以继续生长，有 希望多子 的美好含义。瓜皮被染成老绿色，瓜棱被填上赭石，裂缝被染成淡淡的石绿色。瓜的叶子的边缘已经枯萎，呈赭黄色。",[23,61,24,25,26,62,27,821,786,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F577659173433558d7dedcd3a2518e7f0.jpg","23.5x24.8",[67],{"id":1531,"slug":1532,"title":1533,"dynasty":18,"author":1058,"museum":235,"description":1534,"tags":1535,"thumbUrl":1537,"material":36,"size":36,"collection":36,"collections":1538,"showCount":1539,"zanCount":364,"manualWeight":11,"mainColor":108},224580,"shu-kui-xuan-hua-tu-jiang-ting-xi-224580","蜀葵萱花图","此作用没骨技法写就，构图疏朗空灵，主次有致。柔粉蜀葵袅袅舒展，花瓣晕染出轻软娇柔的质感，苍绿枝叶勾勒出阴阳向背，鲜活如生。配搭艳红榴花与橙黄萱花，冷暖色调相映，明丽雅致，将仲夏群芳盛放之态尽数铺陈。\n笔墨兼具院体的工致与文人画的秀逸，晕染细腻柔和，不见勾勒之痕却形神兼备，整体意境恬淡悠然，尽显温婉清隽的花鸟意趣，藏着中式美学里独有的夏日闲情。",[23,24,25,27,62,28,689,1536,101,7,49],"萱花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9121d78fdc9453ee8ae006a9bede611.jpg",[],35,{"id":1541,"slug":1542,"title":1443,"dynasty":18,"author":686,"museum":235,"description":1444,"tags":1543,"thumbUrl":1544,"material":549,"size":550,"collection":36,"collections":1545,"showCount":1546,"zanCount":11,"manualWeight":11,"mainColor":40},239447,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239447",[24,25,26,27,62,475,7,1111,49,48],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc401e2cdf7d2ed07edbdcabcbab0feec.jpg",[],34,{"id":1548,"slug":1549,"title":545,"dynasty":181,"author":624,"museum":235,"description":625,"tags":1550,"thumbUrl":1551,"material":36,"size":36,"collection":36,"collections":1552,"showCount":1546,"zanCount":11,"manualWeight":11,"mainColor":40},237673,"hua-niao-ce-ling-bi-zheng-237673",[24,25,26,27,62,28,224,30,225,7,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd19c88dd409fb513d29e61df5f1d5f60.jpg",[],{"id":1554,"slug":1555,"title":1556,"dynasty":18,"author":449,"museum":235,"description":1557,"tags":1558,"thumbUrl":1559,"material":36,"size":36,"collection":36,"collections":1560,"showCount":1546,"zanCount":11,"manualWeight":11,"mainColor":108},224185,"hua-niao-cao-chong-tu-ba-04-hua-yan-224185","花鸟草虫图八-04","此作画境清寂空灵，以大片素净绢底铺就秋意寥廓。枯曲枝桠携残叶斜垂，晕染出沉郁秋容，瘦硬题诗暗合秋声萧瑟。\n\n寒蝉静栖残叶之上，翼脉纤细通透，躯体晕染青绿，将蛰伏静气藏于枯叶间；野蜂振翅独行，墨色凝练收拢，晕开秋日细碎生机。设色简淡克制，枯褐与浅绿相映，将清秋的清寒与虫豸生趣相融，以小景见秋深，尽显文人写意的淡远雅致，把清秋里幽微的生命意趣娓娓道来。",[23,24,25,61,26,27,80,28,821,31,7,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5a6ebe9dc7f416e70b255842e6dea0d.jpg",[],{"id":1562,"slug":1563,"title":1564,"dynasty":181,"author":1424,"museum":58,"description":1565,"tags":1566,"thumbUrl":1568,"material":65,"size":1569,"collection":36,"collections":1570,"showCount":1571,"zanCount":11,"manualWeight":11,"mainColor":40},233839,"wo-you-tu-ce-bai-he-hua-shen-zhou-233839","卧游图册－百合花","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。",[61,24,25,26,27,28,48,1567,47,7],"百合花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd177d95a67cb0c312fa86f838a680905.jpg","纵27.8厘米，横37.3厘米",[],33,{"id":1573,"slug":1574,"title":1575,"dynasty":740,"author":1142,"museum":1576,"description":1577,"tags":1578,"thumbUrl":1579,"material":701,"size":1580,"collection":36,"collections":1581,"showCount":1571,"zanCount":11,"manualWeight":11,"mainColor":40},232698,"gua-jia-tu-juan-qian-xuan-232698","瓜茄图卷","美国弗瑞尔美术馆","钱选（1239—1299），宋末元初著名画家，与赵孟頫等合称为“吴兴八俊”。字舜举，号玉潭，又号巽峰，霅川翁，别号清癯老人、川翁、习懒翁等，湖州（今浙江吴兴）人。\n南宋景定三年乡贡进士，入元不仕。工诗，善书画。画学极杂：山水师从赵令穰；人物师从李公麟；花鸟师赵昌；青绿山水师赵伯驹。人品及画品皆称誉当时。继承苏轼等人的文人画理论，提倡士气说，倡导戾家画。他提倡绘画中的“士气”，在画上题写诗文或跋语，萌芽了诗、书、画紧密结合的文人画的鲜明特色。",[23,61,24,25,166,27,62,28,48,49,725,7,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba6384b84d66760e6e53124845392246.jpg","10.5×66.5cm",[],{"id":1583,"slug":1584,"title":1585,"dynasty":740,"author":129,"museum":235,"description":1586,"tags":1587,"thumbUrl":1588,"material":36,"size":36,"collection":36,"collections":1589,"showCount":1571,"zanCount":176,"manualWeight":11,"mainColor":108},223625,"cao-chong-tu-pu-tao-juan-ben-yi-ming-223625","草虫图葡萄绢本","此作以郊野秋景为绘，上方葡萄柔蔓垂挂，攒珠般的果实隐于掌状青叶间，野意横生。\n画面主体蜀葵堆雪似的白花饱满舒展，朱红萱花斜斜探出，衬着星星点点的杂花细草，下方汀渚浅草错落。粉蝶蹁跹穿花，细蜂振翅逐香，草蜢静伏水畔，小景处处藏着灵动生机。\n设色轻淡柔润，晕染写实细腻，工笔勾勒虫羽的轻薄通透，写意铺陈草木的舒展之态，将郊原清寂又鲜活的意趣尽数定格，尽显写生花鸟的雅致野逸。",[23,24,61,25,268,27,62,28,821,240,169,30,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1952844787d4fec5abf43c241f76ab44.jpg",[],{"id":1591,"slug":1592,"title":1593,"dynasty":18,"author":276,"museum":235,"description":1594,"tags":1595,"thumbUrl":1598,"material":1599,"size":1600,"collection":36,"collections":1601,"showCount":1571,"zanCount":11,"manualWeight":11,"mainColor":40},222825,"yu-xi-xu-gu-222825","鱼嬉","图绘水中金鱼三条，二条红白相间，一条白身红眼，水中游游弋嬉戏；水面上数要葡萄藤，宽大的葡萄叶黄灿灿，自然展开，藤上葡萄累累，令人垂涎。",[23,24,27,153,80,81,28,931,31,7,1596,1597],"紫藤","水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7191b48084ecb908fe16b5ad2defef92.jpg","纸本 设色","99x35厘米",[],{"id":1603,"slug":1604,"title":1605,"dynasty":18,"author":1606,"museum":150,"description":1607,"tags":1608,"thumbUrl":1609,"material":1610,"size":1611,"collection":36,"collections":1612,"showCount":1613,"zanCount":364,"manualWeight":11,"mainColor":40},216328,"jin-nong-ba-kai-hua-niao-tu-6-jin-nong-216328","金农八开花鸟图-6","金农","八开花鸟图是清朝时期金农所绘的著名图画作品之一。金农是清朝时期著名的画家，他的八开花鸟图是他最著名的作品之一。\n\n这幅画中，金农绘制了许多花和鸟的形象，这些花和鸟形象都非常生动，充满了生机和活力。画中的花和鸟共同组成了一个浓郁的自然风景，让人们感受到花园中的清新与自然。\n\n金农的八开花鸟图被认为是中国画史上的杰作，在当时也广受欢迎，被认为是一幅非常优秀的作品。",[24,25,26,80,28,240,31,7,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57170f603152106a2ea2e30cef7c2a80.jpg","绢本,水墨","30.5x40.9cm",[],32,{"id":1615,"slug":1616,"title":1617,"dynasty":181,"author":1424,"museum":1433,"description":1434,"tags":1618,"thumbUrl":1619,"material":375,"size":36,"collection":36,"collections":1620,"showCount":1613,"zanCount":11,"manualWeight":11,"mainColor":40},214922,"mo-hua-ce-5-shen-zhou-214922","墨花册-5",[23,24,25,26,80,28,212,7,47],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F402e05eb7f08d5ca2c23bfd7228fa47e.jpg",[],{"id":1622,"slug":1623,"title":1624,"dynasty":18,"author":1625,"museum":235,"description":1626,"tags":1627,"thumbUrl":1628,"material":36,"size":36,"collection":36,"collections":1629,"showCount":1630,"zanCount":11,"manualWeight":11,"mainColor":40},234672,"wu-rui-tu-shan-mian-ni-can-234672","五瑞图扇面","倪燦","倪灿，清初学者、史志目录学家。字闇公，号雁园，江苏省江宁府上元县人。\n其先居钱塘（今浙江杭州）。诸生。康熙六年（1667）中举，十八年（1679）召试博学鸿儒，倪灿中榜，为一等二名，官授翰林院检讨。受荐修《明史》，作《明史艺文志·序》，与姜宸英《刑法志·序》，并称杰作。他鉴于《明史艺文志·序》以专收明一代著述为限，未能补救宋、辽、金、元四朝艺文志所缺，数百年文化史，残缺不全，依据黄虞稷《千顷斋书目》，就补辑宋人所撰“四部”图书“六百七十八家、一万二千七百四十二卷”。与黄虞稷灿哥共同修撰《宋史艺文志补》1卷。鉴于辽金元三史原先都没有纂修艺文志，又编纂《补辽金元艺文志》1卷，由卢文弨校订。对考定宋辽金元各代的学术源流，有很大帮助。开启了清代学者补修史志的工作，于是从补辽、金、元三代入手而蔚为一时风气。自此之后，补成史志目录达20余种。工于诗文，书法则秀绝一时。",[24,118,27,62,28,30,212,983,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fddc3a7fa3144440dbe0ce07a52adf0.jpg",[],31,{"id":1632,"slug":1633,"title":1634,"dynasty":18,"author":1635,"museum":235,"description":1636,"tags":1637,"thumbUrl":1638,"material":36,"size":36,"collection":36,"collections":1639,"showCount":1630,"zanCount":11,"manualWeight":11,"mainColor":40},234544,"yuan-ji-san-tao-tu-zhou-shi-tao-234544","原济三桃图轴","石涛","石涛（1642年－1708年）清代著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等。明靖江王朱亨嘉之子。与弘仁、髡残、朱耷合称“清初四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[24,25,81,80,27,28,292,225,7,49,48,421],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F734589d4fb2c5b2b166fe490b533beaa.jpg",[],{"id":1641,"slug":1642,"title":1643,"dynasty":113,"author":114,"museum":235,"description":1644,"tags":1645,"thumbUrl":1646,"material":36,"size":36,"collection":36,"collections":1647,"showCount":1630,"zanCount":11,"manualWeight":11,"mainColor":108},227974,"pu-tao-cao-chong-tu-lin-chun-227974","葡萄草虫图","《葡萄草虫图》是宋代画家林椿创作的一幅设色扇面画想，现藏于 。\n图中绘葡萄累累垂挂，蜻蜓、螳螂、蝈蝈、蝽象伏于藤蔓绿叶间，富有生活气息。\n昆虫以双钩填彩绘制，用线刚柔相济，表现出不同的质感，如蜻蜓轻薄的翅膀，蝽象坚硬的外壳。\n藤尖叶边略作点染，表现季节特征。\n此图承袭了北宋的写实画风。\n图绘绿色玫瑰葡萄一枝，须蔓缠绕，硕果累累，垂挂枝叶间，果实晶莹如玉，水分饱满，绿色枝叶，向四周伸展，须子有的曲绕枝干，有的随意飞飘。\n纺织娘在叶子上吸吮着鲜汁；螳螂抬首举前足；蜻蜓刚刚飞停于枝头。\n另有一只金龟子匍伏于葡萄枝上，为葡萄绿叶所掩遮：甲虫落枝叶上，或低头觅食，或抬首举足，形象生动有趣。\n昆虫形象毕肖，富有生趣，给人甜美丰实的精神享受。\n本幅款识“林椿”。\n整个画面题材取景为自然界一隅，十分平常，但对葡萄、叶片、昆虫的描绘真实牛功，具有深厚的写牛功力：林椿工花鸟，师法赵昌，多直接用色彩分别浓淡进行细致描绘：画葡萄分出浓淡不同层次，一气呵成，犹如泼墨，然后用浓墨，以草书法勾口厂筋、藤蔓。\n葡萄叶因用笔用墨的不同而能分出老嫩、正反、枯鲜等状态。\n葡萄果莹润饱满；蜻蜓尤备极工细，神韵奕奕，其翅膀透明轻盈；螳螂的眼睛明亮如镜，镰刀状的前足生有钩刺，日光炯炯，真有“挹露裳初试，迎风斧半撑的气势”。\n都是多层设色，层层晕染，造成形体的凹凸体积和具有质感。\n当然，在某些地方，如葡萄枝十及口卜脉也适当地用细线作一些勾勒，只是这些勾勒已具有粗细浓淡的变化，因此更富有表现力。\n这些为农家随处可见景物，画家以独具的慧眼撷之入画，可谓别开生面-总体来说，此图用笔精细，设色轻柔，变化层次微妙，工写兼施，相映成趣；构图善从一角出发，全幅荡漾着空灵的诗意、画面左下方署有“林椿”二宁款，小楷书，无收藏印。\n此幅为林椿真迹代表之作。\n《葡萄草虫图》体现了“以实写虚，意味无穷”的画风，表现出“诗中有画，画中有诗”和“诗是无形画，画是有形诗”的不同艺术意蕴风格，并求通过真实、具体的形象，抒写作者的感情，以激起读者的想象和联想，产生艺术魅力。\n整体画面的表现为虚实关系的进一步发展，体现了画家对物象的刻画以诗意的意境和气韵来追求现实的全实的客观精神，这就使得宋代宫廷花鸟画以自由来追求自然与人审美情怀，这就构成了一个高超的艺术境界。\n宋代绘画风格的现实性不仅是客观的物象，是画家用“写实”语言，在充分尊重客观对象，并按照创作需要和审美观念来对客观分析一系列的艺术，从而描述一个故事来表达自己的思想感情和精神寄托。\n可以看出，古代绘画通过“现实主义”的表现手法，不仅是形象的东西，而且还真正体现了事物的状态，画中所绘的动植物不仅真实存在，符合动植物的生长规律及习性还符合当时的时间，地点和情境。\n裱边旧题签：“林椿葡萄草虫。\n”存《名笔集》册中。\n经《虚斋名画录》卷十一、《中国古代书画目录》第二册著录。\n林椿（生卒年不详），钱塘（今浙江杭州）人。\n孝宗淳熙（1174－1189年）时为画院待诏，由于其画艺高超，受赐金带。\n所绘花鸟、果品、草虫小品为多，画法远师赵昌，近取李迪，时人赞为“极写生之妙，莺飞欲起，宛然欲活。\n”",[23,24,61,25,118,62,27,28,240,821,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F282864883129152b7ca84a825688e9bf.jpg",[],{"id":1649,"slug":1650,"title":1651,"dynasty":18,"author":1652,"museum":115,"description":1653,"tags":1654,"thumbUrl":1656,"material":1657,"size":1658,"collection":36,"collections":1659,"showCount":1630,"zanCount":364,"manualWeight":11,"mainColor":40},224573,"qing-qian-long-ke-si-hua-hui-gua-ping-san-zhou-qing-ren-224573","清乾隆缂丝花卉挂屏（三）轴","清人","花卉册在本色地上缂织茶花水仙、玉兰海棠、牡丹、碧桃芝竹、百合剪春罗、荷花蜻蜓、踯躅、芝兰、秋海棠、剪秋纱、蝴蝶花、梅花等各色花卉，每开均缂织而成，无着笔处。画幅采用平缂、构缂、木梳戗、长短戗、凤尾戗和掼缂等缂织技法，缂工细致，润色自然，描画不求形似，具有简逸风格的文人花鸟画风。",[23,1655,81,27,62,32,169,225,7,397,28],"缂丝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5222c3323292451a6bbb293a2c5953d.jpg","白纸本","每开纵41厘米，横42厘米",[],{"id":1661,"slug":1662,"title":1663,"dynasty":181,"author":129,"museum":235,"description":1664,"tags":1665,"thumbUrl":1666,"material":36,"size":36,"collection":36,"collections":1667,"showCount":1668,"zanCount":364,"manualWeight":11,"mainColor":108},228811,"li-shu-tu-yi-ming-228811","荔鼠图","此作以工笔出之，褐绢为底，将白鼠偷食荔枝的闲趣小景描摹入微。白鼠通身莹白蓬松，毫发毕现，垂首啮果时神态专注娇憨，灵动鲜活。荔枝丹红饱满，果纹凸起写实如生，浓绿叶片阴阳向背层次分明，虬曲枝桠苍劲舒展，尽显南国佳果鲜活意趣。右上角朱印古雅，为画面晕染出金石气韵。设色明丽和谐，精工中带着松弛生机，既有院体画的细腻写实，又暗合数子多福的世俗吉意，把日常琐细绘得意趣悠长。",[23,61,24,25,62,27,28,454,453,211,7,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54d85ef4870573bfff3e3eb899193a5a.jpg",[],29,{"id":1670,"slug":1671,"title":1672,"dynasty":18,"author":449,"museum":235,"description":1673,"tags":1674,"thumbUrl":1675,"material":36,"size":36,"collection":36,"collections":1676,"showCount":1668,"zanCount":11,"manualWeight":11,"mainColor":108},224182,"hua-niao-cao-chong-tu-ba-01-hua-yan-224182","花鸟草虫图八-01","画面留白疏朗雅致，枯枝信笔勾勒，苍劲随性。主枝上禽鸟憨态宛然，红首绿身，羽色晕染柔润自然，垂首敛目似在垂怜下方幼雀。两只雏雀依偎细梢，娇憨灵动，尽显亲昵之态。右下角苔石苍润，衬出新叶鲜亮生趣。\n\n整体笔意松秀空灵，设色清妍淡雅，将禽鸟情态刻画入微，枯木新叶相映成趣，晕溢出闲逸静谧的林下意趣。寥寥数笔便将花鸟相依的悠然生机尽显纸上，兼具文人笔墨意趣与写生妙味，把自然小景里的温情雅致铺陈开来。",[23,24,25,28,27,26,224,225,7,397],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dd8fc81b15b730e9497d6567cc88bbd.jpg",[],{"id":1678,"slug":1679,"title":1680,"dynasty":181,"author":773,"museum":235,"description":1681,"tags":1682,"thumbUrl":1683,"material":375,"size":36,"collection":36,"collections":1684,"showCount":1668,"zanCount":11,"manualWeight":11,"mainColor":108},216320,"xi-xiang-ji-zhen-ben-tu-ce-9-chen-hong-shou-216320","西厢记真本图册-9","虬枝盘曲如古篆流转，墨叶疏朗似淡诗铺展。花萼以淡墨轻勾，含露欲绽；隐于枝后的身影半遮半显，暗合西厢幽会的朦胧意趣。线条刚劲中藏柔婉，转折处见古拙，尽显笔底奇崛风神。枝叶排布疏密有致，留白处余韵悠长，将戏曲里的缠绵情愫凝于尺幅间。每一笔都似低诉西厢千古情肠，古雅动人，让观者于墨色流转中，触到那份跨越时空的雅致与温柔。",[24,25,26,97,28,30,224,47,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8810db7fb6ea742688c7209acba8d1ed.jpg",[],{"id":1686,"slug":1687,"title":1688,"dynasty":181,"author":1424,"museum":235,"description":1689,"tags":1690,"thumbUrl":1691,"material":36,"size":36,"collection":36,"collections":1692,"showCount":1693,"zanCount":364,"manualWeight":11,"mainColor":40},228831,"zhe-zhi-hua-zhi-shen-zhou-228831","折枝花枝","以水墨晕染出海棠花枝，老干苍劲朴拙，用笔凝练老辣，皴擦间尽显饱经风霜的沉厚质感。新发嫩梢轻盈舒展，墨色清浅柔润，与老干形成鲜明虚实对照。枝头繁花淡墨点染，留白为瓣，晕透出通透娇柔的春日情态，叶片浓淡错落，层次分明，鲜活尽现海棠盛放之姿。\n题跋与画作相映成趣，诗书画意交融，尽显文人画雅致意趣。整幅简淡天真，不事雕琢，以极简笔墨抓住花木神韵，将春日雅兴寄于毫端，平朴间自有冲淡空灵的意境，寥寥数笔便铺陈出海棠疏淡清雅之态，藏着江南文人闲居的悠然意致。",[23,24,25,81,80,32,47,7,101,48,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52bbf1cdcefb49755ec2f8724f6aeda7.jpg",[],28,{"id":1695,"slug":1696,"title":1697,"dynasty":18,"author":1698,"museum":115,"description":1699,"tags":1700,"thumbUrl":1705,"material":701,"size":1706,"collection":67,"collections":1707,"showCount":1708,"zanCount":11,"manualWeight":11,"mainColor":40},237346,"jian-chun-zhou-lu-hui-237346","饯春轴","陆恢","陆恢（1851—1920），清末民初著名画家。原名友恢，一名友奎，字廉夫，号狷叟，一字狷盫，自号破佛盫主人，原籍江苏吴江，居吴县（今江苏苏州）。",[24,25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馗》、《八仙》、《群仙祝寿》等作品，将艺术与现实巧妙地容贯于画面。其人物肖像画既有深厚的传统基础，又注重写生，每次外出，备有速写本，随时勾录。寓居上海后，以卖画为生，创作甚富。《钟馗》、《关河一望萧索》、《苏武牧羊》、《野塘雨后》和《三友图》等为其代表作。且其参用画意的书法亦奇惊不凡，光绪二十二年(1896)逝世。\n任伯年因是浙江山阴人，故画面署款多写山阴任颐。儿时随父学画，十四岁到上海，在扇庄当学徒，后以卖画为生。所画题材，极为广泛，人物、花鸟、山水、走兽无不精妙。他的画用笔用墨，丰富多变，构图新巧，创造了一种清新流畅的独特风格，在正统派外别树一帜。\n任颐是近代杰出画家。字伯年，号小楼，浙江山阴人，因此他的画署款多写山阴任颐。任伯年的绘画题材广泛，人物、肖像、山水、花卉、禽鸟无不擅长。用笔用墨，丰富多变，构图新巧，主题突出，疏中有密，虚实相间，浓淡相生，富有诗情画意，清新流畅是他的独特风格。任伯年的主要成就是在于人物画和花鸟画方面，往往寥寥数笔，便能把人物整个神态表现出来，着墨不多而意境深远。其线条简练沉着，有力潇洒。他常画钟馗，他笔下的钟馗心胸磊落、不怕鬼，不信邪。他的花鸟画，总是把花与鸟连在一起，禽鸟显得很突出，花卉有时只作背景，整个画面充满了诗的意境。",[24,61,25,81,27,62,28,1715,1716,7,30,1717,49],"鸡","豆藤","竹架","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc51dae55e91611f90ab3b25efa239ea.jpg","149 x 61 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；后者所写 “荔枝” 有语带双关之意，“红荔” 与 “红利” 谐音，而 “荔枝” 又有 “一本万利” 之义，故老鼠啃食荔枝，具有吉祥寓意，其画中的内涵，已然超越了画作本身。",[24,25,166,62,27,453,211,240,7,397,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb37524d5d18f707fb2aabe2b8bb52ec5.jpg","纸本墨笔、绢本设色","纵28.2，横 38.5 厘米",[],{"id":1799,"slug":1800,"title":1801,"dynasty":666,"author":667,"museum":235,"description":668,"tags":1802,"thumbUrl":1809,"material":549,"size":550,"collection":679,"collections":1810,"showCount":1778,"zanCount":11,"manualWeight":11,"mainColor":108},225995,"peaches-1882-mo-nai-225995","Peaches, 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1886",[671,1916,27,1803,32,372,7,1917,1918],"笔触","花盆","桌面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff71ceede03367886e17a4c572f56e1f8.jpg",[679],"37474F",{"id":1923,"slug":1924,"title":1925,"dynasty":18,"author":1926,"museum":235,"description":1927,"tags":1928,"thumbUrl":1931,"material":549,"size":550,"collection":36,"collections":1932,"showCount":1933,"zanCount":11,"manualWeight":11,"mainColor":40},239066,"fo-shou-pen-hua-wan-shan-zhang-pan-239066","佛手盆花纨扇","张槃","张槃 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。\n吴楷： 清嘉庆——咸丰时期著名画家。一名允楷，字辛生，别号骞林外史，室名云静庐，吴县(今江苏苏州)人。 [2] 工花卉兰石，兼善山水。 （详见《中国书画家印鉴款识》第444页。）",[61,24,25,26,27,62,49,28,32,212,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffabdc563a40b34d66740249db6c17b11.jpg",[],{"id":1981,"slug":1982,"title":1983,"dynasty":18,"author":1984,"museum":58,"description":1985,"tags":1986,"thumbUrl":1987,"material":65,"size":36,"collection":36,"collections":1988,"showCount":1965,"zanCount":11,"manualWeight":11,"mainColor":40},237174,"hua-niao-kun-chong-ce-zhou-quan-237174","花鸟昆虫册","周铨","沈铨 （1682—1760），字衡之，号南苹，其画远师黄筌画派，近承明代吕纪，工写花卉翎毛、走兽，以精密妍丽见长，也擅长画仕女。设色妍丽，工致精丽、赋色浓艳，极尽构梁之巧。画人物得不传之秘。注重写实，画风谨严工细，造型准确生动。尝写《花蕊夫人宫词》为图，笔意殊极巧妙。\n雍正九年（1731）沈铨应日本天皇之聘，偕弟子郑培、高钧等东渡日本，历时3年，形成“南苹派”写生画，深受日人推崇，被称为“舶来画家第一”，从习画者颇多，日本江户时代长崎画派即在其影响下形成，尤以圆山应举最为著名。归得金帛散给友朋，橐仍萧然。\n沈铨归国后声誉大震，传至京城，朝廷便下旨命沈铨作画上贡，乾隆7年作《花蕊夫人宫词意》受到好评，除此，沈铨还陆续为宫廷作吉祥寓意之画，由此沈铨及弟子童衡在中国画史上被称为宫廷画家，沈铨晚年寄居于苏州，孜孜不倦地致力于书画艺术之研究，在乾隆27年81岁的沈铨还能作《花鸟图》。1762年沈铨逝世后，从子沈天骧进新市南频府，守孝三年，继承画业，唯一入室弟子童衡离开沈宅到新市明因寺为僧，闲余作画终身。沈铨把一生献给了绘画事业，在继承院体派传统的基础上，独创了强大的南苹画派，在当时的江南独树一帜，有诗予以很高的评价“江南高手谁第一，吴兴沈生世无匹”。",[24,25,26,27,62,28,224,240,7,212,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa66103ba3f1ced699d4d2200524e47c7.jpg",[],{"id":1990,"slug":1991,"title":506,"dynasty":181,"author":1992,"museum":235,"description":1993,"tags":1994,"thumbUrl":1995,"material":549,"size":550,"collection":36,"collections":1996,"showCount":1965,"zanCount":11,"manualWeight":11,"mainColor":40},235470,"hua-hui-ce-qi-xun-235470","戚勋","戚勋 (明)字世臣，号曲泉。山阴(今属绍兴)人。\n善画山水、花卉，得疏野之趣。",[24,25,26,27,28,421,49,810,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8945201ff343213f536ecf7426aece95.jpg",[],{"id":1998,"slug":1999,"title":1218,"dynasty":113,"author":129,"museum":58,"description":2000,"tags":2001,"thumbUrl":2002,"material":268,"size":2003,"collection":36,"collections":2004,"showCount":1965,"zanCount":230,"manualWeight":11,"mainColor":108},233007,"wa-que-qi-zhi-tu-ye-yi-ming-233007","海棠一枝，果实散挂枝头，树叶已染秋霜。海棠枝头栖息着瓦雀，或缩颈养神，或整理羽毛，姿势各异，神态安适，中间一只发现头顶树叶上落有小蜂，昂首注目，张口欲啄，小蜂似发现险情，翘尾开牙，准备应对。此画面静中寓动，张弛有致，深合画理。\n麻雀常宿于檐瓦之间，故一名“瓦雀”。图中从左向右伸出海棠一枝，果实散挂枝头，树叶已染秋霜，间杂红、黄、绿色，斑斓可爱，惜叶、果有些已遭虫蚀。海棠枝头栖息着瓦雀5只，其中4只或缩颈养神，或整理羽毛，姿势各异，神态安适，唯中间一只发现头顶树叶上落有小蜂，故昂首注目，张口欲啄，小蜂似发现险情，翘尾开牙，准备应对。此画面静中寓动，张弛有致，深合画理。\n瓦雀翎毛刻画精细，高度写实。海棠取轻勾淡染之法，以表现秋叶缺乏水分的轻、薄质感。瓦雀和果、叶以枝条贯穿，若网在纲，有条不紊。细观墨笔枝条虽细，然尚以浓淡墨分出阴阳向背，富于立体感，显得刚健有力。\n此图原载《宋人集绘册》。图中画五只瓦雀，栖止于海棠枝上。花枝上果满页疏，五只瓦雀姿态各异，有的俯首下视，有的扭头回观，有的仰首注视着枝页上的小昆虫，形象生动活泼，逗人喜爱。海棠枝从画面左侧横插，参差顾盼，虬曲多姿。鸟的羽毛用细笔一笔一笔勾描，有毛茸茸的质感。此图用笔精工，设色艳丽。无款印，曾经清代收藏家宋荦珍藏，《石渠宝笈三编》著录。",[24,25,61,62,27,26,28,935,225,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b6b6fe31dde1b7c91550646cdde7825.jpg","纵28.厘米，横29.1厘米",[],{"id":2006,"slug":2007,"title":506,"dynasty":18,"author":1975,"museum":235,"description":1976,"tags":2008,"thumbUrl":2009,"material":701,"size":36,"collection":36,"collections":2010,"showCount":2011,"zanCount":11,"manualWeight":11,"mainColor":40},237287,"hua-hui-ce-wu-kai-237287",[24,25,61,26,27,62,32,810,7,47],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f178840eaee77e57ff2f1eb327e2707.jpg",[],17,{"id":2013,"slug":2014,"title":1057,"dynasty":18,"author":686,"museum":235,"description":2015,"tags":2016,"thumbUrl":2017,"material":549,"size":550,"collection":36,"collections":2018,"showCount":2011,"zanCount":364,"manualWeight":11,"mainColor":40},235704,"hua-hui-tu-ce-zou-yi-gui-235704","邹一桂（1688年－1772年）清代官员，画家。字原褒，号小山，又号让卿，晚号二知老人，江苏无锡人。雍正五年二甲第一名进士，授翰林院编修。历官云南道监察御史、贵州学政、太常寺少卿、大理寺卿、礼部侍郎，官至内阁学士。擅画花卉，学恽寿平画法，风格清秀。曾作《百花卷》，每种赋诗，一经进呈，皇上亦赐题绝句百篇，一桂复写一卷，恭录御制于每种之前，而书己作于后，藏于家。著有《小山画谱》、《大雅续稿》。",[61,24,25,26,62,27,28,1596,7,47,49,421],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F642a32b506aca4f5b3fdd8c65965b3b9.jpg",[],{"id":2020,"slug":2021,"title":1057,"dynasty":18,"author":1724,"museum":58,"description":1725,"tags":2022,"thumbUrl":2024,"material":1222,"size":36,"collection":36,"collections":2025,"showCount":2011,"zanCount":11,"manualWeight":11,"mainColor":40},232944,"hua-hui-tu-ce-fan-ting-zhen-232944",[24,27,62,28,32,2023,7,47,212],"石榴花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84d45a3a4ef84fb670f1773aecae1f58.jpg",[],{"id":2027,"slug":2028,"title":2029,"dynasty":18,"author":914,"museum":58,"description":1405,"tags":2030,"thumbUrl":2035,"material":351,"size":1408,"collection":36,"collections":2036,"showCount":2011,"zanCount":11,"manualWeight":11,"mainColor":40},222790,"hua-niao-ce-ye-10-lang-shi-ning-222790","花鸟册页10",[23,61,24,25,959,62,27,1153,2031,28,2032,101,7,397,372,675,2033,2034],"写实","鸢尾花","透视","重彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26cf8023c1a700d7d63d7c95b0ee1172.jpg",[],{"id":2038,"slug":2039,"title":991,"dynasty":18,"author":406,"museum":235,"description":992,"tags":2040,"thumbUrl":2041,"material":36,"size":36,"collection":36,"collections":2042,"showCount":2043,"zanCount":11,"manualWeight":11,"mainColor":40},238371,"dong-gao-yan-chun-hui-cai-tu-ce-dong-gao-238371",[24,27,62,26,28,63,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4bd016465c42603160039549ff17c5d.jpg",[],16,{"id":2045,"slug":2046,"title":506,"dynasty":18,"author":1975,"museum":235,"description":1976,"tags":2047,"thumbUrl":2048,"material":701,"size":36,"collection":36,"collections":2049,"showCount":2043,"zanCount":11,"manualWeight":11,"mainColor":40},237285,"hua-hui-ce-wu-kai-237285",[24,25,26,27,62,28,32,7,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06c0415afdaa4a8145d0cc5c3d1f428f.jpg",[],{"id":2051,"slug":2052,"title":545,"dynasty":18,"author":1937,"museum":235,"description":1938,"tags":2053,"thumbUrl":2054,"material":36,"size":58,"collection":36,"collections":2055,"showCount":2043,"zanCount":11,"manualWeight":11,"mainColor":40},236611,"hua-niao-ce-ma-yuan-yu-236611",[24,80,27,26,28,168,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4b4c3af110557c8360354c6dc8ea38f.jpg",[],{"id":2057,"slug":2058,"title":1057,"dynasty":18,"author":1724,"museum":58,"description":1725,"tags":2059,"thumbUrl":2060,"material":1222,"size":36,"collection":36,"collections":2061,"showCount":2043,"zanCount":364,"manualWeight":11,"mainColor":40},232946,"hua-hui-tu-ce-fan-ting-zhen-232946",[24,62,27,28,26,32,31,7,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9b7096fc476d30387be59b262e27467.jpg",[],{"id":2063,"slug":2064,"title":2065,"dynasty":181,"author":773,"museum":150,"description":2066,"tags":2067,"thumbUrl":2068,"material":103,"size":2069,"collection":36,"collections":2070,"showCount":2043,"zanCount":11,"manualWeight":11,"mainColor":40},220226,"hua-niao-cao-chong-xie-sheng-ce-dan-jie-wu-chen-chen-hong-shou-220226","花鸟草虫写生册-丹洁无尘","陈洪绶的绘画，尤其是他以之驰誉艺坛的双勾设色花鸟画，其特点有三，一是造型的古拙，二是色彩的古艳，三是线条的寓迟涩于劲挺，既厚重且圆润。",[23,61,24,25,26,62,27,28,169,810,7,101,821],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3014485fbd602bc596fe511ee39155e.jpg","21.5×16cm",[],{"id":2072,"slug":2073,"title":2074,"dynasty":18,"author":406,"museum":235,"description":1751,"tags":2075,"thumbUrl":2076,"material":549,"size":550,"collection":36,"collections":2077,"showCount":124,"zanCount":11,"manualWeight":11,"mainColor":40},238405,"xuan-jin-lu-fang-tu-ce-dong-gao-238405","绚锦胪芳图册",[24,25,26,62,27,28,32,372,7,47],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fdd040efee4721af882715093651378.jpg",[],{"id":2079,"slug":2080,"title":506,"dynasty":181,"author":221,"museum":235,"description":2081,"tags":2082,"thumbUrl":2083,"material":549,"size":550,"collection":36,"collections":2084,"showCount":124,"zanCount":11,"manualWeight":11,"mainColor":40},237687,"hua-hui-ce-sun-ke-hong-237687","明书画家、藏书家。一作克宏，字允执，号雪居，松江（今属上海市）人。礼部尚书孙承恩子。以荫授应天治中，官至汉阳知府。生性巧慧，声音洪亮，状貌疏野。所居四壁皆画苍松老柏，崩浪流泉，有一种澄泓萧瑟之意萦绕其间。他喜交友，陈继儒谓其“好客之癖，闻于江东，履綦如云，谈笑生风，坐上酒尊，老而不空”。卒年八十（一作七十九）。",[24,25,26,80,421,32,47,7,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80173eb72f033a5c308ecbc5cce28297.jpg",[],{"id":2086,"slug":2087,"title":2088,"dynasty":181,"author":2089,"museum":235,"description":2090,"tags":2091,"thumbUrl":2092,"material":549,"size":550,"collection":36,"collections":2093,"showCount":124,"zanCount":11,"manualWeight":11,"mainColor":40},235657,"mu-mian-tu-zhou-sun-ai-235657","木棉图轴","孙艾","此图绘折枝木棉花一枝，枝叶茂密，木棉花怒放。用花青没骨法画叶，以浓色为面，淡色为背，叶之正背转折、花之娇态刻画细致，画风清新雅逸。无款印。沈周在其题诗之后云：“世节生纸写生，前人亦少为之。甚得舜举天机流动之妙。观其蚕桑、木棉二纸，尤可骇瞩，且非泛泛草木所比，盖寓意用世。世节读书负用，于是乎亦可见矣。弘治新元中秋日，沈周志。”",[61,24,25,81,27,28,372,101,7,48],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0ca4bf5bbf819d2aec5e1c45abceae0.jpg",[],{"id":2095,"slug":2096,"title":2097,"dynasty":181,"author":129,"museum":235,"description":2098,"tags":2099,"thumbUrl":2100,"material":549,"size":550,"collection":36,"collections":2101,"showCount":124,"zanCount":364,"manualWeight":11,"mainColor":40},235591,"wen-chu-hua-hui-ce-yi-ming-235591","文俶花卉册","此作用没骨技法绘萱草一花半叶，橙黄赭红晕染花瓣，轻描出舒展柔婉的花形，细笔点出纤长花蕊，将萱花盛放时的娇妍之态尽显。浅绿晕染叶片，笔致清隽含蓄，与柔花相映成趣。洒金素笺为底，柔雅的设色在细闪的底色间愈显清丽脱俗。全画构图疏简空灵，无多余赘饰，只撷取一隅小景，便将初夏萱草的绰约风姿定格，尽显娴静雅致的闺阁意趣，淡而不薄，秀润雅致，藏着含蓄温婉的中式诗意。",[24,61,25,26,62,27,28,32,607,7,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01c33e0d6ab38e75010a93bb7f5e9b64.jpg",[],{"id":2103,"slug":2104,"title":2105,"dynasty":18,"author":2106,"museum":235,"description":2107,"tags":2108,"thumbUrl":2109,"material":36,"size":36,"collection":36,"collections":2110,"showCount":124,"zanCount":11,"manualWeight":11,"mainColor":40},234371,"lin-jiang-ting-xi-hua-hui-ce-jiang-shu-234371","临蒋廷锡花卉册","蒋淑","蒋淑，蒋廷锡之女。蒋淑不仅得其父亲蒋廷锡的指点，而且经常以其父的作品为学习范本。《临蒋廷锡花卉图册》便是她临摹蒋廷锡花卉的代表作，用笔设色均有其父的画风神韵。每开也均有蒋廷锡题诗，赞美之辞溢于言表。 一股“我闺女棒棒哒”的自豪溢出来了～\n蒋淑（生卒年不详），清代杰出女性画家，从其画作上判断她大致生活于清康熙至雍正年间，字又文，江苏常熟人。蒋廷锡女，华亭王敬妻。其父蒋廷锡官至大学士，闲暇之余以逸笔作写生花卉，机趣天然。蒋淑自幼秉承家教，亦以擅绘花鸟著称。",[24,25,26,27,62,28,46,47,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84c35963c6e683461725a955fceeb37b.jpg",[],{"id":2112,"slug":2113,"title":2105,"dynasty":18,"author":2106,"museum":235,"description":2107,"tags":2114,"thumbUrl":2115,"material":36,"size":36,"collection":36,"collections":2116,"showCount":124,"zanCount":11,"manualWeight":11,"mainColor":40},234367,"lin-jiang-ting-xi-hua-hui-ce-jiang-shu-234367",[24,25,26,27,62,886,28,32,212,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea0728567f0f0573e343468c07c62a75.jpg",[],{"id":2118,"slug":2119,"title":2120,"dynasty":113,"author":2121,"museum":58,"description":2122,"tags":2123,"thumbUrl":2125,"material":351,"size":2126,"collection":36,"collections":2127,"showCount":124,"zanCount":11,"manualWeight":11,"mainColor":108},233198,"ju-lv-tu-ye-ma-lin-233198","橘绿图页","马麟","图中橘子由绿转黄，满压枝头。画家以粗细匀整的用笔流畅地勾画出橘叶的外形轮廓，并以黄绿色填涂叶面，叶片虽然不多，但其充满生命力的色彩为画面增添了几许活力，而侧、转、反、正的种种姿态又为全图带来灵动的节律。橘子的画法一改平涂晕染，直接以笔着色粉戳染成形，从而生动地表现出橘皮粗糙不平的质感。虽然画作历经磨损，许多白色粉点已经剥落，并露出了黄色的绢底，但仍然可见马麟的非凡技艺。\n橘子又称香圆，寓团圆之意。台北故宫博物院藏南宋画院画家林椿创作的一幅《橙黄橘绿图》与本幅在构图及橘、叶的表现技法上均相同，可见此类题材及画法在南宋画院较为普遍。",[61,24,25,62,27,28,2124,7,225],"橘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c205a8ffc34c15b750b08bc5bfa96be.jpg","纵23厘米，横23.5厘米",[],{"id":2129,"slug":2130,"title":2131,"dynasty":666,"author":129,"museum":235,"description":2132,"tags":2133,"thumbUrl":2137,"material":36,"size":36,"collection":36,"collections":2138,"showCount":124,"zanCount":364,"manualWeight":11,"mainColor":40},225430,"fu-shi-hui-188-yi-ming-225430","浮世绘188","此作以花鸟入景，动静相映。左侧白头翁攀附苍劲老干，侧目凝神，右侧雀鸟栖于枇杷枝上，振羽抬首，二者遥遥呼应，将禽鸟互动的灵动瞬间定格。\n\n套色雅致柔和，墨色衬底的叶片沉稳内敛，鹅黄枇杷鲜亮温润，禽鸟青灰羽色搭配暖调胸腹，与木色老干和谐相融。大片留白晕染出清寂闲适的氛围，将山野间的幽趣与花果生机揉合一处，尽显东方花鸟绘的禅意雅致，笔触细腻写实，鲜活捕捉野雀情态，让画面饱含自然生趣，静静铺陈出一隅悠然的林间光景。",[2134,2135,27,28,225,212,7,2136],"浮世绘","木刻","树干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff24f2a719f1f32419d09090d1702b422.jpg",[],{"id":2140,"slug":2141,"title":545,"dynasty":18,"author":449,"museum":1576,"description":2142,"tags":2143,"thumbUrl":2144,"material":34,"size":2145,"collection":36,"collections":2146,"showCount":2147,"zanCount":11,"manualWeight":11,"mainColor":40},233950,"hua-niao-ce-hua-yan-233950","华喦（同“岩”）（1682~1756)，一作华岩，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、白沙道人、离垢居士等，老年自喻飘篷者，福建上杭蛟洋华佳(家)人(原白砂里人)，后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称三绝，为清代杰出绘画大家，扬州画派的代表人物之一。\n自幼酷爱绘画，后因家贫失学，备受世俗冷落，康熙四十二年(1703)华氏家族重建祠堂，曾因替正厅画壁画，乡绅看不起他，群起反对，最后偷自进祠堂，画上高山云鹤、水国浮牛、青松悬崖和倚马题诗四幅画，愤而离乡飘泊，流寓于杭州，结交了很多文人学士，眼界大开。36岁时曾北上入都，得交当路巨公，名闻于上，但并不得意，据戴熙《习苦斋画絮》载:华秋岳自奇其画，游京师无问者。一日有售赝画者，其裹华笔也，华见而太息出都。他的中晚年一直频繁往来于杭州、扬州，以卖画为生。在扬州他结识了金农、高翔、李鳝、郑板桥及盐商巨子马曰管、马曰璐兄弟，彼此交流切磋，诗画酬答，使其绘画修养得到多方面的拓展，成为扬州画派的代表人物之一。\u2028 华岩一生贫困，金农在《画竹题记》提到:汀洲华岩秋岳，……尝画兰草纸卷，卷有五丈者，一炊饭顷便能了事，清而不媚，恍闻幽香散空谷之中，…… 余恨不能踵其后尘也。乾隆十七年(1752)，回到杭州旧居解弢馆。乾隆二十一年卒，有《离垢集》5卷。",[24,26,27,80,153,28,224,225,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e8acbfb0acec1b9fe73ea2e9c49f2c6.jpg","31.2×44.7厘米",[],14,{"id":2149,"slug":2150,"title":2151,"dynasty":18,"author":2152,"museum":20,"description":2153,"tags":2154,"thumbUrl":2155,"material":701,"size":36,"collection":36,"collections":2156,"showCount":2147,"zanCount":11,"manualWeight":11,"mainColor":108},233186,"hua-hui-ce-hua-hui-ye-zhao-zhi-qian-233186","花卉册-花卉页","赵之谦","赵之谦（1829-1884），字益甫、孺卿，又号瀚寮，初字冷君，中年更号悲盦，晚号无闷，浙江会稽（今绍兴）人。早年曾游按察使缪梓幕，咸丰九年（1859）举人，同治元年（1862）入京，四年（1866）会试，之后历官鄱阳、奉新、南城知县。家藏秘册甚富，以篆刻名世，为晚清印坛代表人物。同时擅书、工花卉。此册画十二开，各绘牡丹、萱草、芙蓉、桃花、梅竹、杂卉等，造型新颖，设色鲜亮。",[24,25,26,27,28,32,509,7,47,48,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d8a60034e0f2aa9cbe6407d84c18d44.jpg",[],{"id":2158,"slug":2159,"title":2160,"dynasty":18,"author":1635,"museum":20,"description":2161,"tags":2162,"thumbUrl":10,"material":36,"size":36,"collection":36,"collections":2163,"showCount":2147,"zanCount":11,"manualWeight":11,"mainColor":2164},203464,"shan-shui-ren-wu-hua-hui-ce-shi-tao-203464","山水人物花卉册","画面以水墨写意绘花卉，苍劲枝干携生拙之趣，叶片浓淡墨晕染，线条勾出清晰脉络，虚实相生；聚簇果实墨色层次丰富，饱满鲜活。留白透气空灵，与墨色景物相映成趣，尽显自然生机。笔墨洒脱不拘，豪放中藏细腻，凝花卉情态意韵于笔端，尽展文人画雅致生机，读之忘俗。",[24,25,26,80,28,7,212,49],[],"ab9a8d",{"id":2166,"slug":2167,"title":1487,"dynasty":18,"author":1488,"museum":235,"description":1489,"tags":2168,"thumbUrl":2169,"material":36,"size":36,"collection":36,"collections":2170,"showCount":2171,"zanCount":11,"manualWeight":11,"mainColor":40},238277,"hua-qia-xuan-yuan-tu-ce-huang-yue-238277",[24,25,26,27,62,28,1766,1940,7,47],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ec5d2125b3f66079c8dc44268369a57.jpg",[],13,{"id":2173,"slug":2174,"title":2175,"dynasty":666,"author":2176,"museum":235,"description":2177,"tags":2178,"thumbUrl":2179,"material":36,"size":36,"collection":36,"collections":2180,"showCount":2171,"zanCount":11,"manualWeight":11,"mainColor":40},231668,"jiang-hu-shi-dai-pu-tao-tu-li-zhou-li-yuan-xing-suo-231668","江户时代 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知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。\n高其佩“扬州八怪李鱓”之师。其艺术才华出众，能诗、工画，他在细绢上所描绘的亭台楼阁、人物、花鸟、鱼虫等等，笔墨精细，设色艳丽，精妙绝伦。他在临摹了大量的前代名人作品，打下了深厚的根基之后，开创了一条新路。大胆地创造出了别具情趣的“舍笔而求之于手”的表现技法。秀水张浦山著的《国朝画征录》中记载：“高且园善指画，画人、山水花鸟、鱼虫、鸟兽，天资超迈，情奇逸趣，信手而得，四方重之”。高其佩指画有“叱石成羊”之妙，他创作山水、人物、花鸟、走兽时，均信手一挥而就，“倾刻数十幅，……无不绝人。”他一生的作画数量是惊人的。正如他侄孙高秉在《指头画说》一文中所述：“自弱冠至七旬，不下五、六万幅”。可惜其大部分早已失传。保存下来的多藏于各地博物馆，铁岭县文化馆过去曾存有春、夏、秋、冬四幅《竹》。上海出版社出版的《高其佩》（杨仁恺著）一书，对他的生活和创作道路做了详细的论述，指出他的最大贡献是：“标题材之新，立结构之异，对当时和后来绘画艺术都有一定影响。”",[23,24,25,2188,27,28,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b0ce3f18048b91891f1a7b57b539978.jpg","浅设色","35.88x57.31cm",[],{"id":2262,"slug":2263,"title":2264,"dynasty":740,"author":1337,"museum":115,"description":2265,"tags":2266,"thumbUrl":2267,"material":103,"size":2268,"collection":36,"collections":2269,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":40},214998,"xie-sheng-hua-hui-ce-10-wang-yuan-214998","写生花卉册-10","此画册有王渊绘画手法，但元代气息不足，可视为明清之际的王渊款花卉画。此套图册花鸟极其工细，勾勒精致，色彩鲜艳、古拙",[24,26,27,62,28,339,30,7,398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba40f6328600aaed1a6515bcf707589a.jpg","25.9x23.6cm",[],{"id":2271,"slug":2272,"title":506,"dynasty":18,"author":1937,"museum":235,"description":2273,"tags":2274,"thumbUrl":2275,"material":549,"size":550,"collection":36,"collections":2276,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":40},239098,"hua-hui-ce-ma-yuan-yu-239098","马元驭（1669—1722）清代画家。字扶羲，号栖霞，又号天虞山人，江苏常熟人。\n画传家法，而气韵超逸突过乃父。赋性落拓，纵酒逞笔，乃益豪放。写生得恽寿平亲传，又与蒋廷锡讨论六法，故没骨画益工，神韵飞动，不拘陈迹。元驭自以为得沈周、陆治遗意，其超纵处诚有陆氏风规，而老健远逊石田，盖能品也。兴至之作，逸笔尤佳，多用水墨。书亦隽雅。卒年五十四。",[61,24,25,26,27,62,49,28,32,7,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf54696dac344481b0d9d2b7725ae0cf.jpg",[],{"id":2278,"slug":2279,"title":2280,"dynasty":18,"author":406,"museum":235,"description":1751,"tags":2281,"thumbUrl":2282,"material":549,"size":550,"collection":36,"collections":2283,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":40},238792,"hua-hui-xiao-ce-dong-gao-238792","花卉小册",[24,27,62,26,28,32,2199,1815,47,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84b43bb37fc49a7818cda700d89d15e9.jpg",[],{"id":2285,"slug":2286,"title":506,"dynasty":18,"author":2287,"museum":235,"description":2288,"tags":2289,"thumbUrl":2290,"material":549,"size":550,"collection":36,"collections":2291,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":40},235216,"hua-hui-ce-zhang-wei-235216","张伟","清代画家张伟的花卉写生图，是一组工笔细描的花卉图。",[24,25,26,27,62,28,32,7,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7319fc181966aa1c663f4b479aec0cb.jpg",[],{"id":2293,"slug":2294,"title":2295,"dynasty":666,"author":129,"museum":235,"description":2296,"tags":2297,"thumbUrl":2298,"material":36,"size":36,"collection":36,"collections":2299,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":108},225355,"fu-shi-hui-111-yi-ming-225355","浮世绘111","这幅花绘以罂粟为主题，错落舒展的花枝打破平寂画面，苍劲墨线勾勒叶片筋脉，带着粗粝朴拙的质感。暖调淡色晕染花瓣，边缘以浓墨复勾，柔媚花姿添上几分桀骜古意。古旧底色晕开岁月沉韵，将娇妍花态与浮世绘版画特质相融。\n没有繁复布景，却将草木舒展的原生张力尽显。笔触简净凝练，以色墨浓淡层次，晕开盛放、初绽、含苞的不同情态，将春日罂粟盛放的瞬间定格为雅致风物，带着沉静的江户余韵，于简素之中见精妙意趣。",[2134,2135,27,28,30,7,25,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e41bc6c0e7f405c1ffe508554212812.jpg",[],{"id":2301,"slug":2302,"title":2303,"dynasty":666,"author":129,"museum":235,"description":2304,"tags":2305,"thumbUrl":2307,"material":36,"size":36,"collection":36,"collections":2308,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":40},225349,"fu-shi-hui-103-yi-ming-225349","浮世绘103","浅米柔瓣舒展如蝶，墨绿茎叶劲挺修长，勾勒出水边鸢尾悠然盛放的景致。隐于花叶间的蚱蜢，为这清寂画面添了几分野趣生机。淡蓝水色晕染底色，浅灰天域铺陈清冷底色，将水岸幽谧夏日凝于纸面。\n\n笔致细腻温婉，线条兼具刚柔，既刻画出鸢尾的舒展灵动，也衬出独有的侘寂清宁。版画肌理带着温润质感，把微风拂过花茎的悠然瞬间藏进细节里，将幽淡闲逸的自然意趣尽显无余。",[2134,2135,27,2306,2032,7,597,372,32],"版画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f5ed2277f9fd24e2d11e2997268fb1.jpg",[],{"id":2310,"slug":2311,"title":2312,"dynasty":18,"author":2214,"museum":235,"description":2313,"tags":2314,"thumbUrl":2315,"material":36,"size":36,"collection":36,"collections":2316,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":40},224321,"hua-niao-shi-er-kai-10-li-shan-224321","花鸟十二开10","画面书画合璧，意韵悠长。以没骨法写就江南佳果，青蜜桃圆润饱满，淡青敷色晕出带紫的熟韵，叶片舒卷含露，鲜活如生；枇杷圆实浅赭，尽显甜熟质感；杨梅黑紫莹润，衬以青灰长叶，野趣盎然。\n\n题跋行书清雅隽秀，叙南北果品风味，笔墨与风物相融，淡墨轻彩间，将文人闲赏风物的恬然心境藏于尺幅之中，设色柔和雅致，晕染细腻自然，把佳果鲜嫩鲜活的情态刻画入微，尽显小品写意的清雅意致。",[23,24,25,26,27,153,48,49,28,722,279,211,7,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febb1d64a5729b47a3279498396e83838.jpg",[],{"id":2318,"slug":2319,"title":1487,"dynasty":18,"author":1488,"museum":235,"description":1489,"tags":2320,"thumbUrl":2321,"material":36,"size":36,"collection":36,"collections":2322,"showCount":53,"zanCount":11,"manualWeight":11,"mainColor":40},238283,"hua-qia-xuan-yuan-tu-ce-huang-yue-238283",[24,27,62,26,1765,597,46,7,1111,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a39b3a7af0938c4ac3b55f3903b933b.jpg",[],{"id":2324,"slug":2325,"title":506,"dynasty":181,"author":221,"museum":235,"description":2081,"tags":2326,"thumbUrl":2328,"material":549,"size":550,"collection":36,"collections":2329,"showCount":53,"zanCount":11,"manualWeight":11,"mainColor":40},237679,"hua-hui-ce-sun-ke-hong-237679",[24,25,26,80,421,32,2327,7,47,101],"桂花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f4d37d83c8aaf04938e8a539bd09f79.jpg",[],{"id":2331,"slug":2332,"title":1057,"dynasty":18,"author":449,"museum":235,"description":2333,"tags":2334,"thumbUrl":2335,"material":549,"size":550,"collection":36,"collections":2336,"showCount":53,"zanCount":11,"manualWeight":11,"mainColor":40},236003,"hua-hui-tu-ce-hua-yan-236003","华岩（1682～1756），一作华嵒，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、离垢居士等，老年自喻“飘篷者”，福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。\n自幼酷爱绘画，后因家贫失学，备受世俗冷落，康熙四十二年（1703）华氏家族重建祠堂，曾因替正厅画壁画，乡绅看不起他，群起反对，最后偷自进祠堂，画上“高山云鹤”、“水国浮牛”、“青松悬崖”和“倚马题诗”四幅画，愤而离乡飘泊，流寓于杭州，结交了很多文人学士，眼界大开。36岁时曾北上入都，“得交当路巨公，名闻于上”，但并不得意，据戴熙《习苦斋画絮》载：“华秋岳自奇其画，游京师无问者。一日有售赝画者，其裹华笔也，华见而太息出都。”他的中晚年一直频繁往来于杭州、扬州，以卖画为生。在扬州他结识了金农、高翔、李鱓、郑板桥及盐商巨子马曰琯、马曰璐兄弟，彼此交流切磋，诗画酬答，使其绘画修养得到多方面的拓展，成为扬州画派的代表人物之一。",[24,25,26,27,28,32,47,7,48],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2427aa512035cbb993a01c78f18877b.jpg",[],{"id":2338,"slug":2339,"title":1130,"dynasty":181,"author":1131,"museum":235,"description":1132,"tags":2340,"thumbUrl":2341,"material":549,"size":550,"collection":36,"collections":2342,"showCount":53,"zanCount":11,"manualWeight":11,"mainColor":40},235690,"shan-shui-hua-hui-ce-xiang-sheng-mo-235690",[24,25,26,27,62,421,49,28,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe60f114f1c1d66accec9468b22e9b3b9.jpg",[],{"id":2344,"slug":2345,"title":2346,"dynasty":181,"author":773,"museum":235,"description":2347,"tags":2348,"thumbUrl":2349,"material":375,"size":36,"collection":36,"collections":2350,"showCount":53,"zanCount":11,"manualWeight":11,"mainColor":108},216305,"xi-xiang-ji-zhen-ben-tu-ce-18-chen-hong-shou-216305","西厢记真本图册-18","分幅构图却气韵牵萦，左枝垂穗带叶，似有风过轻颤；右柯布叶绽花，如藏幽庭私语。线条兼工带写，既存春蚕吐丝的柔韵，又藏铁线勾勒的筋骨，墨色淡染纸痕，古雅中透着生趣。不事繁缛堆砌，却以极简笔触勾连西厢故事的园林意绪——枝叶间仿佛凝着长亭外的软风，花瓣上似沾着西厢月下的清露，将戏曲里含蓄的情愫融于草木情态，观者于简笔淡墨中，自能触到那份藏在景深处的柔婉与怅惘。",[24,25,26,97,80,28,47,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2346394581a30092e3ab12b180dea69.jpg",[],{"id":2352,"slug":2353,"title":2280,"dynasty":18,"author":406,"museum":235,"description":1751,"tags":2354,"thumbUrl":2355,"material":549,"size":550,"collection":36,"collections":2356,"showCount":137,"zanCount":11,"manualWeight":11,"mainColor":40},238802,"hua-hui-xiao-ce-dong-gao-238802",[61,24,25,26,27,62,28,32,1367,7,47],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0312e03dcc4f5c546cbc631edc36971a.jpg",[],{"id":2358,"slug":2359,"title":2360,"dynasty":113,"author":129,"museum":235,"description":2361,"tags":2362,"thumbUrl":2363,"material":549,"size":550,"collection":36,"collections":2364,"showCount":137,"zanCount":364,"manualWeight":11,"mainColor":108},238122,"hua-hui-si-duan-tu-juan-yi-ming-238122","花卉四段图卷","四段花木各显风姿：首段梅枝老干虬曲，冷白小花疏落绽于枝梢，清寒疏朗，尽现孤洁傲骨。芙蓉一段柔枝舒展，粉艳花团轻缀其间，碧叶晕染出鲜活肌理，秾丽又带着温柔生机。素花柔枝一则，莹白花朵配温润绿叶，明媚恬淡如春日浅光。末段小花攒聚枝上，粉瓣娇俏灵动，带着融融春意。\n\n全卷以没骨法绘就，纯以色泽晕染成型，清隽柔和的色彩间，将四时花木的各自风骨与舒展柔婉尽数绘出，藏着雅致审美，淡色轻晕里晕开静谧生趣。",[23,61,24,25,166,62,27,28,2199,810,119,46,47,7,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0728e825826d5c3185aac75a84ab3440.jpg",[],{"id":2366,"slug":2367,"title":545,"dynasty":181,"author":2368,"museum":235,"description":2369,"tags":2370,"thumbUrl":2371,"material":36,"size":36,"collection":36,"collections":2372,"showCount":137,"zanCount":11,"manualWeight":11,"mainColor":40},236544,"hua-niao-ce-tang-zhi-yin-236544","唐志尹","唐志尹[清]字相五，江苏扬州人，住姜堰。一作字聘三，海陵（今泰州）人。志契弟。花鸟得吕纪、王偕之传。所居万竹园，冒襄、蓝瑛辈尝过访之。康熙（一六六二至一七二二）初年八十余。与侄日昌，兄志契时称三唐。《泰州志、无声诗史、图绘宝鉴续纂、画史会要》",[24,26,62,27,28,224,63,225,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11d2255d8c4cfd6eb086fd83fce3213c.jpg",[],{"id":2374,"slug":2375,"title":2376,"dynasty":18,"author":2377,"museum":235,"description":2378,"tags":2379,"thumbUrl":2380,"material":65,"size":36,"collection":36,"collections":2381,"showCount":137,"zanCount":11,"manualWeight":11,"mainColor":40},234284,"hua-guo-ce-wang-yun-234284","花果册","王云","王云，字汉藻，号清痴，一字雯庵，号竹里，江苏高邮人。斌子。楼台、人物近似仇英，康熙时驰名江、淮。写意山水，得沈周遗意。于朝，圣祖赏逾等。",[24,25,26,27,62,30,7,397,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3165df89097c747392b9de862f31771.jpg",[],{"id":2383,"slug":2384,"title":2385,"dynasty":666,"author":129,"museum":235,"description":2386,"tags":2387,"thumbUrl":2388,"material":36,"size":36,"collection":36,"collections":2389,"showCount":137,"zanCount":11,"manualWeight":11,"mainColor":108},225549,"fu-shi-hui-14-yi-ming-225549","浮世绘14","这幅作品以浓黑为底，将春日意趣铺陈得雅致清隽。俯冲的飞燕以金墨勾形，羽翼纹理细腻写实，身姿灵动舒展，仿佛携带着乍暖的春风掠过画面。下方的山茶花晕染出柔润的粉绯，花瓣层叠娇美，花叶以金彩描边填纹，点点珠光似凝着晨露，在深底色映衬下愈发清丽华贵。\n\n画面留白克制疏朗，将和风美学的侘静雅致藏在方寸之间，没有繁复铺陈，却以极简构图勾勒出春日的鲜活生机，工细的笔触融合装饰性晕染，静穆底色与柔美金彩相映，尽显矜贵雅致的东瀛美学意韵。",[2134,2135,27,49,657,28,253,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2198415e5322402c2f144450faacae00.jpg",[]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价值不同。清宫旧藏",[18,2456,2457,211,7,2458,2459,2460],"堆彩","雕刻","漆器","盒","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34c555246306640f565455f5a4e97df5.jpg",[],{"id":2464,"slug":2465,"title":1487,"dynasty":18,"author":1488,"museum":235,"description":1489,"tags":2466,"thumbUrl":2467,"material":36,"size":36,"collection":36,"collections":2468,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":40},238282,"hua-qia-xuan-yuan-tu-ce-huang-yue-238282",[24,25,26,62,27,28,169,7,30,1111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21fdea2c82bf5fad9fd6e2e233729c8c.jpg",[],{"id":2470,"slug":2471,"title":1772,"dynasty":18,"author":2472,"museum":235,"description":2473,"tags":2474,"thumbUrl":2475,"material":549,"size":550,"collection":36,"collections":2476,"showCount":107,"zanCount":364,"manualWeight":11,"mainColor":40},235187,"za-hua-ce-huang-shen-235187","黄慎","黄慎（1687年6月14日—1772年），福建宁化人，初名盛，字恭寿，恭懋，躬懋、菊壮，号瘿瓢子，别号东海布衣。家贫，遂学画，擅长人物、山水、花鸟。他的人物画题材十分广泛和丰富，它不仅画神仙佛道和历史名人，也擅长从民间生活中取材，塑造了纤夫 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幅之间。",[61,24,25,81,62,27,28,224,225,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40cb72af34f436ca4a5ea71e741b3c48.jpg","纵103.4cm，横33cm",[],{"id":2553,"slug":2554,"title":2555,"dynasty":740,"author":129,"museum":235,"description":2556,"tags":2557,"thumbUrl":2558,"material":36,"size":36,"collection":36,"collections":2559,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":108},230903,"ge-ba-qiu-feng-tu-yi-ming-230903","歌罢秋风图","淡墨晕染芙蓉瓣，留白衬出柔润娇妍，层叠舒展间暗蕴盛放之姿。浓焦墨勾勒叶脉，苍劲利落的笔触写尽秋意萧疏，枝梗挺括暗藏清刚骨力。\n\n画幅间题诗与画境呼应，以墨代彩，褪去浓艳浮华，尽显简淡秀逸的文人意趣。水墨相生，将清秋芙蓉冷艳风骨与澹泊心境相融，淡远萧疏的氛围里，把晚风里芙蓉的清隽寂寥缓缓铺陈，简淡笔墨间留住一刹幽寂秋光，尽显文人水墨小品的空静雅韵。",[23,24,25,80,27,32,7,48,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78f4f12104f7914b7ff23728192398f8.jpg",[],{"id":2561,"slug":2562,"title":2563,"dynasty":18,"author":129,"museum":235,"description":2454,"tags":2564,"thumbUrl":2567,"material":549,"size":550,"collection":36,"collections":2568,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":40},229236,"lou-diao-xiang-ya-shi-liu-he-yi-ming-229236","镂雕象牙石榴盒",[917,2565,2566,210,32,7,265],"象牙","镂雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1ade92b327c6c37590a3e80ebf93df0.jpg",[],{"id":2570,"slug":2571,"title":2572,"dynasty":666,"author":129,"museum":235,"description":2394,"tags":2573,"thumbUrl":2575,"material":549,"size":550,"collection":36,"collections":2576,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":40},225495,"fu-shi-hui-253-yi-ming-225495","浮世绘253",[2134,27,62,1011,1012,31,7,101,2574],"毛毛虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47f4889447cdc630bbc481c7cd908c25.jpg",[],{"id":2578,"slug":2579,"title":2580,"dynasty":18,"author":2214,"museum":235,"description":2581,"tags":2582,"thumbUrl":2583,"material":36,"size":36,"collection":36,"collections":2584,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":40},224307,"hua-hui-shi-er-kai-8-li-shan-224307","花卉十二开8","此作用写意笔墨绘就春日杜鹃，设色清妍柔润。粉紫花瓣以淡彩晕染，瓣边留白衬出通透娇态，深红花苞点缀其间，层次鲜活分明。枝叶晕染雅致，墨色与水色交融，尽显舒展灵动之姿。淡赭勾勒枝干，笔力简括遒劲，将花枝舒展的野逸生机藏于线条间。\n\n旁侧题字笔意纵逸，书画相映成趣，诗画交融尽显文人雅韵。全画尽显率意清隽的风骨，寥寥数笔便将杜鹃柔丽烂漫的春日之态定格尺幅，于简淡挥洒中留住花木天然意趣，观之便觉春深枝上，雅韵悠然绵长。",[23,24,25,26,27,28,32,30,7,48,421,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3833b53e864ef1456151f8c63af9773.jpg",[],{"id":2586,"slug":2587,"title":2588,"dynasty":740,"author":1337,"museum":115,"description":2265,"tags":2589,"thumbUrl":2590,"material":103,"size":2268,"collection":36,"collections":2591,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":40},215000,"xie-sheng-hua-hui-ce-8-wang-yuan-215000","写生花卉册-8",[24,25,26,27,62,28,32,63,225,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a4e0aa6a61cb97eb9d243a820fd2f47.jpg",[],{"id":2593,"slug":2594,"title":2595,"dynasty":18,"author":129,"museum":235,"description":2596,"tags":2597,"thumbUrl":2598,"material":549,"size":550,"collection":36,"collections":2599,"showCount":379,"zanCount":11,"manualWeight":11,"mainColor":108},257775,"dou-cai-song-shu-pu-tao-wen-da-wan-yi-ming-257775","斗彩松鼠葡萄纹大碗","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。",[18,2225,2226,27,452,240,31,7,454,372,265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3693230efc6c1bd57113a4d093d94d2d.jpg",[],{"id":2601,"slug":2602,"title":2603,"dynasty":18,"author":129,"museum":235,"description":2454,"tags":2604,"thumbUrl":2605,"material":549,"size":550,"collection":36,"collections":2606,"showCount":379,"zanCount":364,"manualWeight":11,"mainColor":108},247824,"dui-cai-hu-lu-xi-shuai-wen-he-yi-ming-247824","堆彩葫芦蟋蟀纹盒",[917,2458,2456,2457,167,170,31,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98d4c59b34eca9a90ca17881411c4d97.jpg",[],{"id":2608,"slug":2609,"title":1057,"dynasty":18,"author":2610,"museum":235,"description":2611,"tags":2612,"thumbUrl":2613,"material":549,"size":550,"collection":36,"collections":2614,"showCount":379,"zanCount":11,"manualWeight":11,"mainColor":108},238496,"hua-hui-tu-ce-jiang-pu-238496","蒋溥","蒋溥（1708—1761年），大学士蒋廷锡长子，字质甫，号恒轩，江苏常熟人，清朝大臣，画家，善画花卉，深得家传。雍正八年二甲第一名进士，官至东阁大学士兼户部尚书。性情宽厚而警敏，任职后，精心奉职，勤于政事，是乾隆时期的重臣，亦是蒋派花鸟画艺术的重要代表。\n乾隆二十六年（1761）四月，病逝于任上。乾隆皇帝亲临祭奠，加赠太子太保，谥曰文恪，入祀贤良祠。",[24,25,26,27,62,28,32,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe505bb779d3f2b48ac415c9e1ae624b7.jpg",[],{"id":2616,"slug":2617,"title":2618,"dynasty":666,"author":2619,"museum":235,"description":2620,"tags":2621,"thumbUrl":2628,"material":549,"size":550,"collection":36,"collections":2629,"showCount":379,"zanCount":11,"manualWeight":11,"mainColor":1921},232281,"a-er-ma-8-lao-lun-si-a-er-ma-ta-de-ma-232281","阿尔玛8","劳伦斯·阿尔玛-塔德玛","劳伦斯·阿尔玛-塔德玛（Lawrence 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Leys）的画室学习。",[671,27,2622,2623,2624,2625,2626,7,2627],"人物","美人","银器","饮酒器","布料","头饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F606c6e7d900b1d881043872431814164.jpg",[],{"id":2631,"slug":2632,"title":2633,"dynasty":666,"author":129,"museum":235,"description":2634,"tags":2635,"thumbUrl":2636,"material":36,"size":36,"collection":36,"collections":2637,"showCount":379,"zanCount":11,"manualWeight":11,"mainColor":40},225499,"fu-shi-hui-257-yi-ming-225499","浮世绘257","这是一幅雅致的虫草蔬果绘，跨页铺展乡野闲趣。左页豆枝垂坠，薄叶晕着浅褐秋意，小蚱蜢静伏长豆之上，怯怯窥望周遭；右页倭瓜饱满沉实，暖黄似浸过蜜色，螳螂昂首立身瓜顶，舒展长臂透着灵动生姿，柔蔓牵缠的粉白花萼蜷卧旁侧。\n\n线条清隽疏朗，设色温柔内敛，浅米纸底衬着草木青苍、瓜实暖调，晕开松弛的秋日闲情。配侧的俳句题字诗画合璧，将乡野一隅的细碎生机揉入笔端，带着侘寂悠然的和风意趣，把市井日常里的山野清欢，绘作隽永的风物闲章。",[2134,26,27,62,948,7,154,83,170,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F215a6c5cb809a2aa1be1e56f0eb2b7d1.jpg",[],{"id":2639,"slug":2640,"title":1772,"dynasty":18,"author":2641,"museum":235,"description":2642,"tags":2643,"thumbUrl":2644,"material":549,"size":550,"collection":36,"collections":2645,"showCount":230,"zanCount":11,"manualWeight":11,"mainColor":40},237987,"za-hua-ce-xue-huai-237987","薛怀","薛怀（1717—1804），清代著名书画家。字小凤，号竹君，晚号竹居老人。桃源（今江苏泗阳县）监生，居山阳（今淮安市淮安区）。 边寿民甥。工书、画，花卉小品，清远绝俗。画用钩勒再以枯笔渍染，阴阳向背，极为明豁。写芦雁酷似其舅，又善画宜兴茶器。卒年八十七。《艺林月刊、墨林今话、墨香居画识、梧门诗话、宋元明清书画家年表附录》。",[24,25,26,62,80,27,28,212,7,47,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa50e2086db067e2d719e39a3fc5f110.jpg",[],{"id":2647,"slug":2648,"title":2649,"dynasty":181,"author":2650,"museum":235,"description":2651,"tags":2652,"thumbUrl":2653,"material":36,"size":36,"collection":36,"collections":2654,"showCount":230,"zanCount":11,"manualWeight":11,"mainColor":40},233303,"shi-zhu-zhai-pu-ce-hu-ri-cong-233303","十竹斋谱册","胡日从","《十竹斋书画谱》，融诗、书、画、印艺术为一体，是木版水印史上的巨制鸿构，有“画苑之白眉，绘林之赤帜”之誉。凡书画、竹、墨华、石、翎毛、梅、兰、果八谱，每谱两册，全帙共十六册，蝴蝶装。\n一为书画册。花卉竹石、翎毛蔬果二十幅，均有对题。谱前有醒天居士《题十竹斋画册小引》和芒砀山人王三德《胡曰从书画谱引》。\n二为竹谱。卷首有《梨云馆竹谱》，分“写竹要语”，“写竹括”和“写竹法”。前半为一画一题，凡竹图二十幅，分作“廻风”、“喜霁”、“带雨”、“凝露”、“贮云”、“笼烟”、“快雪”、“印月”、“怡老”、“启新”、“飞白”、“聚翠”、“紫蓧”、“朱帔”、“崖影”、“石床”、“飨松”、“访菊”、“友梅”、“佩兰”等。后半则为画竹“起手式”。\n三为墨华册。谱中图呈圆光型，对题有绿色“十竹斋琅干笺”竹纹边框。画、题各有二十幅，画面着色细润，气韵生动。谱前有语水乘槎子《十竹斋墨花题辞》。\n四为石谱。画、题各二十幅，谱前有序两篇，一为王三德《阅石谱题言》，一为米芾后人米万钟《石谱题辞》。谱中二十幅画皆为高阳所作。高阳，字秋甫，善花鸟，为万历间写生名手。高阳画奇石尤精，石谱中作品是临摹上版，王三德观后评价极高，以为“天划神缕之巧，嵌空玲珑之致，半幅冰茧，宛具层岩叠嶂、峰峦洞穴，真可以对杨次公矣。”图有墨石、彩石，但均以套版为之，每画都有对应的题赞。\n五为翎毛谱。画、题各二十幅，有杨文骢于“天启丁卯立秋日”所题《翎毛谱小序》，非常精彩地评介了胡氏所施饾版之法：“胡曰从氏巧心妙手，超越前代，以铁笔作颖生，以梨枣代绢素，而其中皴法、染法、点法，及着色之轻重、浅深、远近、离合无不呈妍曲致，穷巧极工。即当行作手观之，定以为写生妙品，不敢作刻画观。”此翎毛谱二十图，画上无名款，从印鉴来看，应全为凌云翰一人所作。凌云翰，字五云，万历、崇祯时人。《明画录》说他善画山水，其实上凌氏花鸟亦善，尤工画石，为胡正言所推许。\n六为梅谱。由玉山进士董继周作序。此册胡正言以“芳信先传”、“飘飘欲仙”、“冰壶掩映”、“暖谷回阳”、“君子之交”、“铁干支春”、“暗香浮动”、“拾翠为钿”、“黄惹蜂腰”、“额上玄功”、“东邻窥宋”、“盟坚寒素”、“香梦沉酣”、“水妃写照”、“玉骨同妍”、“疏影横斜”、“幽人赠佩”、“调脂梅粉”、“宫锦清班”、“寿阳点妆”等二十画题，分别写早梅、风梅、雪梅、枯梅、竹梅、老梅、月梅、松梅、蜡梅、墨梅、过墙梅、倚石梅、烟梅、临水梅、水仙梅、疏梅、兰花梅、茶花梅、杏花梅和落梅，或水墨，或设色，意境、造型与章法，则穷尽变化之能事。每幅画都有对应的题赞。\n七为兰谱。前有涂日昌“兰谱序”和画兰“起手执笔式”，此谱图解兰花，并附小注，颇为详尽，但无题赞。多为墨印，间有彩版，此谱可为之初学之范本。图二十幅，多是临摹赵孟頫等名家之作。\n八为果谱。画、题各二十幅，有西京韩文镜作序。其中“三元”、“朱橘”等图，雕版设计巧妙，可谓匠心独运。\n《十竹斋书画谱》自万历己未（1619年）第一谱《书画册》起，至崇祯癸酉（1633年）第八谱《果谱》止，梓印时间长达十五年之久。每谱有序言，除《竹谱》附写竹诀，《兰谱》附起手式，其余各谱均四十幅，一图一文，以书配画，交相辉映。\n胡正言辑印《十竹斋书画谱》，广交名人时贤，亦自作书画付梓。全谱序、画、诗作者或书法题写者，多达一百五十余人。谱中所辑作品大多是由当时名家如吴彬、倪瑛、魏之克、米万钟、吴士冠、文震亨、高阳、高友等创作的，也有二十多幅画稿是临摹自赵孟頫、唐寅、沈周、文征明、陆治、陈道复等著名书画家的；胡正言自己也曾为谱画稿、题诗，画有“白莲”、“墨梅”、“芝草”三图，诗有“题梅花”、“题兰竹”两首。画谱中所题诗句，笔调清新，咏物抒情，不同程度地反映了诗人们喜爱画谱的心情。题诗大部分都是书写者自己所作，也有借用前人诗句题咏的，如胡正言用唐释无可的咏兰诗题《兰竹图》，西湖仙郎何伟然用徐渭咏榴诗题《石榴图》，竹冠道人应麟用刘禹锡题开元寺枸杞诗书《枸杞诗图》等等。全谱书法篆、隶、行、楷诸体皆备，最多的还是晚明文人流行的行草。这些书迹，大都兼有晋、唐、宋书家的风韵，亦可为后人临池所借鉴。\n醒天居士的《题十竹斋画册小引》把胡正言的爱好、特长及画谱刊印的初衷和艺术水平都进行了叙述：\n“王宰十日一山，五日一石，岂肖形之难哉？山有情，石有态，磅礴得之为难耳。近代画手，千临百摹，如里媪捧心，不揜儿寝，而目食者争售之，大轴小图，祗为壁疥。新安胡曰从氏，清姿博学，既精六书，尤擅众巧。所制隃糜硾茧与所镌法语名言，皆出新裁，赏鉴家多宝爱之。乃竹斋多暇，复创画册。所选皆花果竹石，有关于幽人韵士之癖好者。而写形既妙，设色尤工，至于翠瓣丹柎，葩分蕊折，花之情，竹之姿，与禽虫飞懦之态，奇石云烟之气，展册淋漓，宛然在目。盖淡淡浓浓，篇篇神采；疏疏密密，幅幅乱真，诚画苑之白眉，绘林之赤帜也。然王宰之画妙出毫锥，胡君之画妙出梨枣，是磅礴之心，较王宰更难；而成功之捷，较王宰更简更易，岂不尤奇哉！余故喜而叙之，愿与好事者同赏，仍俟具眼者定价焉。时癸酉年中秋前二日，醒天居士书于十竹斋。”\n《十竹斋书画谱》“绘刻精而奇，谱则巧而该”，在画谱刊行后不久就引起广泛的注意，开始有人仿刻了，以至胡氏声明道“原板珍藏，素遐真赏，近有效颦，恐混鱼目，善价沽者，勿虚藻鉴。”历代重印、翻刻者达二十余种。清代李渔等人辑印的《芥子园画传》也是在它的启发下产生的。",[24,25,26,27,62,49,28,7,30,212,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14a6c616ab72d83fa9cf7810006945e3.jpg",[],{"id":2656,"slug":2657,"title":2658,"dynasty":666,"author":129,"museum":235,"description":2659,"tags":2660,"thumbUrl":2661,"material":549,"size":550,"collection":36,"collections":2662,"showCount":230,"zanCount":11,"manualWeight":11,"mainColor":40},230548,"ming-qing-fang-gu-fen-ben-6-sheng-bai-hua-hui-juan-yi-ming-230548","明清仿古粉本-6- 胜白 花卉卷","此卷以水墨绘就，兼具工致与写意之趣。左侧湖石隐于幽草间，枯笔皴擦勾勒石体质感，苍劲古拙，野意盎然。右侧花枝错落舒展，枝干以清劲笔线写出，力道暗藏。叶片以淡墨晕染，浓墨点醒叶脉，层次分明，绣球花以白描圈点，空灵雅致，旁侧小花晕勾结合，疏密相生。全作用墨清和，虚实相映，将湖石的冷寂幽趣与花枝的柔妍盛放相融，尽显文人水墨的清雅淡远，笔底含韵，墨色空灵，尽显古典花鸟的清逸格调。",[23,24,25,166,80,97,32,398,225,7,49,886],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8339dee55b3aa72625aa9c24a2f9a3b.jpg",[],{"id":2664,"slug":2665,"title":2666,"dynasty":18,"author":129,"museum":235,"description":2667,"tags":2668,"thumbUrl":2674,"material":549,"size":550,"collection":36,"collections":2675,"showCount":230,"zanCount":11,"manualWeight":11,"mainColor":40},229468,"yong-zheng-song-hua-shi-gua-shi-yan-yi-ming-229468","雍正 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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。",[917,2822,2823,2824,2825,2457,2826,2827,936,7,2828,2682,2829,2830,2831,2832],"玳瑁","镶珠","嵌玉石","花卉纹","镶嵌","饰品","珠饰","扁方","传统工艺","装饰艺术","植物纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5144edf8853a97983847b1a997a95dfe.jpg",[],"FFFFFF",{"id":2837,"slug":2838,"title":2839,"dynasty":18,"author":2840,"museum":235,"description":2841,"tags":2842,"thumbUrl":2843,"material":549,"size":550,"collection":36,"collections":2844,"showCount":364,"zanCount":11,"manualWeight":11,"mainColor":108},238109,"yun-zi-hua-hui-ce-yun-zi-238109","恽资花卉册","恽资","此作用色秀雅清润，以淡赭晕染绢底，山茶花瓣以粉紫轻铺，边缘晕开浅白，将花苞初绽、半开之态晕染得温柔娇妍。叶片以花青勾脉，嫩叶绿中带粉，老叶墨色苍润，层次分明，尽显草木鲜活生机。\n\n清冷题诗衬出山茶花孤高自持的姿容，笔致细腻却不见纤弱，兼具写生之真与写意之灵，尽显淡逸雅致的风骨。秀逸挺拔的题字与柔婉画面相映成趣，整体雅静清和，将花木韵致与文人审美意趣融为一体，晕染出平淡天真的雅致格调。",[24,25,26,27,62,28,32,7,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff76f773c5e8b947ca76d05136bb9038e.jpg",[],{"id":2846,"slug":2847,"title":1772,"dynasty":18,"author":2848,"museum":235,"description":2849,"tags":2850,"thumbUrl":2851,"material":549,"size":550,"collection":36,"collections":2852,"showCount":364,"zanCount":11,"manualWeight":11,"mainColor":40},236280,"za-hua-ce-chen-zi-236280","陈字","陈字，1634年出生，清初名儒祯，小名鹿头，浙江诸暨人，艺术家。",[24,25,26,27,62,28,30,84,7,607],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F395ee1fd5913de15f36985c494abc135.jpg",[],{"id":2854,"slug":2855,"title":2757,"dynasty":181,"author":2650,"museum":235,"description":2651,"tags":2856,"thumbUrl":2857,"material":36,"size":36,"collection":36,"collections":2858,"showCount":364,"zanCount":11,"manualWeight":11,"mainColor":40},233548,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233548",[24,25,26,27,2135,62,212,7,265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb45e14aba54ef992b5a73debdf792589.jpg",[],{"id":2860,"slug":2861,"title":2862,"dynasty":666,"author":2863,"museum":235,"description":2864,"tags":2865,"thumbUrl":2867,"material":549,"size":550,"collection":36,"collections":2868,"showCount":364,"zanCount":11,"manualWeight":11,"mainColor":40},232563,"mi-lai-si-107-yue-han-ai-fu-li-te-mi-lai-si-232563","米莱斯107","约翰·埃弗里特米莱斯","John Everett Millais十九世纪英国画家，是拉斐尔前派的三个创始人中年龄最小、才华最高的一位，其它两位是亨特和布朗。其油画《基督在自己父母家中》(1850)中体现了该派精神，以画风细腻著称。\n米莱斯是拉斐尔前派中最有才华的一个。他出生于南埃普顿，幼年就表现出非凡的绘画才能。10岁时，他的绘画就获得了艺术协会颁发的银质奖章。据说当时他的个子还没有讲台高，只能站在凳子上领奖。两年后，他的天赋为马丁·希伊勋爵发现，转入皇家美术学院的附属学校(希伊后来是皇家美术学院院长)，以后又转入皇家美术学院，以后又多次获奖，并在18岁那年获得金质奖章，是学院公认的高材生。",[2866,1803,2225,265,31,7,1111,27,675],"水彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff45d86557a589b2c0e37015586c9a3e0.jpg",[],{"id":2870,"slug":2871,"title":2872,"dynasty":666,"author":2873,"museum":235,"description":2874,"tags":2875,"thumbUrl":2878,"material":549,"size":550,"collection":36,"collections":2879,"showCount":364,"zanCount":11,"manualWeight":11,"mainColor":1921},231149,"su-miao-403-xi-fang-231149","素描403","西方","使用单一色彩表现明度变化的绘画。绘画工具而在画面载体上按照一定的绘制原则而有意塑造物体形态的美术活动。速写是素描的一种变式。素描水平是反映绘画者空间造型能力的重要指标之一。\n素描是绘画的基础，绘画的骨骼；也是最节制、最需要理智来协助的艺术。初学绘画的人一定要先学素描，素描画得好的人，油画自然画得好。素描的起源，普遍都是以文艺复兴开始，事实上希腊的瓶绘、雕塑都有良好的素描基础。初期的素描是视为绘画的底稿，例如作壁画先要有构想的草稿，然后有素描的底稿，同时也要有手、脸部分精密素描图。作壁画习惯上是不看模特儿写生的，完全要靠事先准备的习作素描和画家的记忆。近代素描，已脱离了原来的底稿和习作的地位，可以成为艺术品来欣赏。画素描的态度不只培养描写力，同时也培养造型的能力，最后仅仅是素描也可视为作品来欣赏。相反的单看油画作品就可知道作者在素描上的造诣如何。因此，素描是绘画的基础，也是绘画的骨骼，是初学画的人无论如何要先认真学素描。素描在严格的解释上，只有单色的黑与白，但如加上淡彩或颜色，仍可认作素描。素描的表现方法分成：一、以描画材料来看可分成木炭素描、铅笔素描、炭精素描、钢笔素描、银笔素描、毛笔素描等。二、以所画的题材可分成石膏像素描，风景素描，静物素描、人体素描、幻想素描。三、依素描的目的又可分成作为构想的素描、用作画稿的素描、速写、作品、习作。\n由木炭，铅笔，钢笔等，以线条来画出物象明暗的单色画，称作素描。单色水彩和单色油画也可以算作素描；中国传统的白描和水墨画也可以称之为素描。通常讲的素描多元化指铅笔画和炭笔画。素描是一切绘画的基础，这是研究绘画艺术所必须经过的一个阶段。　素描通常采用可于平面留下痕迹的方法：如，炭笔，钢笔，画笔，墨水，及纸张等。轮廓和线条是素描的一般称谓。素描具备了自然律动感。不同的笔触营造出不同的线条及横切关系和节奏、主动与被动的周围环境、平面、体积、色调、及质感。\n素描是一种正式的艺术创作，以单色线条来表现直观世界中的事物，亦可以表达思想、概念、态度、感情、幻想、象征甚至抽象形式。它不像带色彩的绘画那样重视总体和彩色，而是着重结构和形式。",[2876,2031,2877,2622,2623,7],"素描","明暗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F398b34994104525d517782bf76fa213f.jpg",[],{"id":2881,"slug":2882,"title":2883,"dynasty":18,"author":2884,"museum":235,"description":2885,"tags":2886,"thumbUrl":2889,"material":34,"size":36,"collection":36,"collections":2890,"showCount":364,"zanCount":11,"manualWeight":11,"mainColor":40},215081,"tui-bei-tu-ce-28-jiao-bing-zhen-215081","推背图册-28","焦秉贞","焦秉贞是中国清朝时期著名的画家，他被认为是中国水墨画史上最伟大的画家之一。其中最著名的作品是他的推背图册，其中包含了十幅推背图。推背图是一种特殊的水墨画，它们通常是用单一的墨色在纸上描绘的，并且使用了特殊的技巧来创造出立体感。焦秉贞的推背图册在当时被认为是一件杰出的艺术品，并且至今仍然备受赞赏。",[23,24,25,26,62,27,2887,210,47,7,2888],"石榴树","小草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ebee294549550e0f3b3b4d422644eee.jpg",[],{"id":2892,"slug":2893,"title":2894,"dynasty":18,"author":129,"museum":235,"description":2895,"tags":2896,"thumbUrl":2898,"material":549,"size":550,"collection":2899,"collections":2900,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},259012,"yi-xing-yao-zi-sha-tao-shi-shui-cheng-yi-ming-259012","宜兴窑紫砂桃式水丞","宜兴窑，在今江苏宜兴丁蜀镇，故名。烧瓷历史悠久，秦汉时宜兴地区陶窑密布；两晋时在均山烧青瓷，唐初在归径等地大量烧制，至晚唐、五代成为南方民间著名青瓷窑；宋、元时期，丁蜀与西渚一带大规模烧造日用陶和早期紫砂。明清时成为当时的烧陶中心。涧众村发现有唐代青瓷窑址。明代以紫砂器闻名于世，出现不少制紫砂壶名家，如供春；时大彬、李仲芳、陈仲美等，并仿烧宋代钧窑器物，因有"宜钧"之称。\n在今江苏宜兴市南部的丁蜀镇一带，故称为宜兴窑。宜兴窑从汉代始烧红陶、灰陶、和原始青瓷等等，其烧制陶瓷的历史一直延续到今天，有2000多年，故可称是最古老的窑口。宋代已开始烧造紫砂器，明代的紫砂器闻名于世，清代是其高峰。建国后，宜兴除传统的紫砂陶、均陶有很大发展外，还恢复了青瓷生产，新创了花釉陶和精陶等产品，是我国重点陶瓷产区之一。",[917,2225,2897,2457,292,7,2673],"紫砂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbb4662d69f83ed2877ae2ffed4968aa.jpg","瓷器精选",[2899],{"id":2902,"slug":2903,"title":2904,"dynasty":181,"author":129,"museum":235,"description":2905,"tags":2906,"thumbUrl":2907,"material":549,"size":550,"collection":36,"collections":2908,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},256977,"cheng-hua-kuan-dou-cai-pu-tao-wen-bei-yi-ming-256977","成化款斗彩葡萄纹杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[1211,2225,2226,27,62,240,31,7,2625],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bd7910c8abec08e92b29372b1bacb0a.jpg",[],{"id":2910,"slug":2911,"title":2904,"dynasty":181,"author":129,"museum":235,"description":2905,"tags":2912,"thumbUrl":2913,"material":549,"size":550,"collection":36,"collections":2914,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},256976,"cheng-hua-kuan-dou-cai-pu-tao-wen-bei-yi-ming-256976",[181,2225,2226,27,240,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5154a61f1ac99b9e15aa1951726182b.jpg",[],{"id":2916,"slug":2917,"title":2918,"dynasty":181,"author":129,"museum":235,"descriptio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