[{"data":1,"prerenderedAt":196},["ShallowReactive",2],{"subject-ying-tao":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},127,"ying-tao","樱桃","樱桃画高清赏析","精选中国历代樱桃题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F162f5e3f1a58485979158c16cf98556e.jpg",0,13,[14,41,62,79,95,108,123,135,149,165,176,183,189],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":33,"material":34,"size":35,"collection":36,"collections":37,"showCount":38,"zanCount":39,"manualWeight":11,"mainColor":40},214704,"chun-hua-tu-ba-kai-2-yun-shou-ping-214704","春花图八开-2","清","恽寿平","上海博物馆","恽寿平画了八种春天的花，包括桃花、牵牛花、牡丹、绣球、萱草、月季、樱花和鸢尾花。这幅画是在他晚年的时候画的，当时他五十三岁，虽是没骨而近乎写意，用笔已是纯青。",[23,24,25,26,27,28,29,7,30,31,32],"高清","国画","书画","册","设色","没骨","花鸟","枝叶","书法","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6677b01b31ad3df8b7719f1993dc4829.jpg","纸本,设色","26.3x35.7","",[],1639,16,"BDBDBD",{"id":42,"slug":43,"title":44,"dynasty":45,"author":46,"museum":47,"description":48,"tags":49,"thumbUrl":54,"material":55,"size":56,"collection":57,"collections":58,"showCount":60,"zanCount":61,"manualWeight":11,"mainColor":40},219198,"ying-tao-huang-que-tu-ma-shi-chang-219198","樱桃黄雀图","宋","马世昌","台北故宫博物院","画中樱桃正熟，禽鸟顾盼，一派初夏光景。",[23,50,24,25,26,51,27,29,7,52,53,30],"名画","工笔","黄雀","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce24ced8f0f9757eb0cf1f98628ecd12.jpg","绢本,设色","27x25.3cm","宋画精选",[57,59],"花鸟画精选",375,5,{"id":63,"slug":64,"title":65,"dynasty":66,"author":67,"museum":68,"description":69,"tags":70,"thumbUrl":76,"material":36,"size":36,"collection":36,"collections":77,"showCount":78,"zanCount":11,"manualWeight":11,"mainColor":40},220592,"yi-pan-ying-tao-qi-bai-shi-220592","一盘樱桃","民国","齐白石","Indianapolis Museum of Art at Newfields","以大写意之笔将寻常鲜果绘就满幅生机。朱砂点染樱桃，颗颗圆润饱满，色泽浓艳透亮，仿佛带着刚摘下的清甜鲜活，攒簇盈盘，尽显丰实意趣。墨笔勾勒案几枝桠，笔法老辣简劲，浓淡相宜，与朱红鲜果撞出强烈视觉张力，素净留白更衬果色鲜亮。散落的两枚樱桃添得灵动野趣，毫无刻意雕琢之感。整画删繁就简，将日常烟火提炼成雅俗共赏的文人意趣，笔底藏着天真烂漫，于极简中见至味，把平淡日常晕染成动人的诗意图景。",[23,24,25,27,71,72,73,32,7,74,75],"水墨","写意","行书","木盘","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc252eafe3195b552bc810b3b6f3a19dd.jpg",[],258,{"id":80,"slug":81,"title":82,"dynasty":18,"author":83,"museum":47,"description":84,"tags":85,"thumbUrl":90,"material":34,"size":91,"collection":36,"collections":92,"showCount":93,"zanCount":94,"manualWeight":11,"mainColor":40},219881,"er-shi-si-fan-hua-xin-feng-tu-ying-tao-yu-ying-chun-dong-gao-219881","二十四番花信风图-樱桃与迎春","董诰","古人认为春风守信，如期而来，催开百花，称为“花信风”。春天自“小寒”到“谷雨”经历四个月，共八节气，每五天为一候，前后为二十四番花信风，以梅花居首，楝花居末。此套《画二十四番花信风图》册页十二开，共二十四幅，画二十四番花信风。",[24,25,26,27,51,29,7,86,87,88,89,31,32],"迎春","树枝","花朵","叶子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cbb4551c35981c815d28fac994eeefc.jpg","20x14.2厘米",[],237,2,{"id":96,"slug":97,"title":98,"dynasty":45,"author":99,"museum":20,"description":100,"tags":101,"thumbUrl":103,"material":55,"size":104,"collection":59,"collections":105,"showCount":106,"zanCount":11,"manualWeight":11,"mainColor":107},218887,"ying-tao-huang-li-tu-yi-ming-218887","樱桃黄鹂图","佚名","此画作者佚其名，但画上有杨皇后题名，知为南宋院画。1949年5月吴湖帆以家藏古本易得，并于画上题咏图意、考证杨氏名号之实。",[24,25,50,51,27,29,53,102,7,32],"黄鹂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fe027451de9b614f98a0abec26761ef.jpg","纵12.1厘米， 横26.1厘米",[59],58,"795548",{"id":109,"slug":110,"title":111,"dynasty":18,"author":112,"museum":47,"description":113,"tags":114,"thumbUrl":119,"material":27,"size":120,"collection":36,"collections":121,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":40},222727,"xian-e-chang-chun-tu-ying-tao-lang-shi-ning-222727","仙萼长春图樱桃","郎世宁","本册共十六开内容分别描绘牡丹、桃花、芍药、海棠玉兰、虞美人、蝴蝶花、黄刺玫牡丹、石竹、樱桃、罂粟、紫白丁香、百合花牡丹、翠竹牵牛、荷花慈姑花、豆花稷穗、鸡冠花、菊花等，其中有八开还画有鸟禽，整册内容与《石渠宝笈三编》著录之〈郎世宁画花卉册〉一致，对幅皆是空白，而最末一开有宋体书款「臣郎世宁恭画」，依据画风特色推测是郎世宁雍正时期的花鸟佳作。全册不仅设色精緻，构图手法也见新意。特别能于鸟禽形体姿态上有超乎传统的表现，是西法透视手法的精采成果。画中花鸟多处能够显示光影明暗，透过白色颜料提点高光的技巧也常见运用。整册画风都一再显示其与郎世宁雍正前期画风有关。",[23,24,51,27,115,116,29,117,7,30,118],"写实","清代","鸟","果实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a278e56c3b2330f8b11cae881f995e0.jpg","宽28.4公分，高33.7公分",[],29,{"id":124,"slug":125,"title":126,"dynasty":127,"author":67,"museum":20,"description":128,"tags":129,"thumbUrl":10,"material":36,"size":36,"collection":59,"collections":132,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":134},202843,"ying-tao-tu-zhou-qi-bai-shi-202843","樱桃图轴","近代","这幅画构图简约却意趣盎然。墨线勾勒的竹篮纹理清晰质朴，篮内樱桃以朱砂泼洒点染，色泽浓艳饱满，颗颗似含清甜生机。后方孤石用大写意泼墨法，墨色层次丰富，与鲜红樱桃形成强烈对比，张力十足。左侧题字笔力遒劲，与画面相映成趣，尽显以简驭繁的功力，于日常小景中藏着对生活本真的热爱。",[24,29,71,27,130,131,7,31,32,23],"大写意","孤石",[59],14,"b5a389",{"id":136,"slug":137,"title":138,"dynasty":18,"author":139,"museum":20,"description":140,"tags":141,"thumbUrl":145,"material":36,"size":36,"collection":36,"collections":146,"showCount":147,"zanCount":11,"manualWeight":11,"mainColor":148},202636,"ying-tao-shi-nv-tu-zhou-zheng-wen-chao-202636","樱桃仕女图轴","郑文焯","仕女着素衣立于坡前，衣纹线条流畅灵动，手持细枝轻嗅，抬首望向斜逸的樱桃枝。枝上花叶疏朗，淡墨点染间透着雅致。背景栅栏简笔勾勒，山石以水墨写意，笔墨简练却意境清幽。整体设色淡雅，无浓艳之态，文人画的闲适意趣尽显，静谧中藏着对自然的细腻感知，似有轻风吹过，衣袂微动，氛围悠然恬淡。",[24,27,142,143,131,7,71,144,23],"人物","美人","立轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F859dd46f472cd41df3ba1e20b046d41b.jpg",[],3,"c4af97",{"id":150,"slug":151,"title":152,"dynasty":45,"author":99,"museum":153,"description":154,"tags":155,"thumbUrl":161,"material":162,"size":163,"collection":36,"collections":164,"showCount":94,"zanCount":11,"manualWeight":11,"mainColor":40},251995,"bai-yu-zhe-zhi-ying-tao-wen-pei-yi-ming-251995","白玉折枝樱桃纹佩","藏地不详","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。\n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玉器经历7000多年的发展，从简单的装饰品发展到古代宗教祭拜、礼仪用品，再到象征高尚道德品质的装饰品，最后上升为丰富的艺术鉴赏作品，深入反映了不同历史时期的社会发展演变过程。",[156,157,158,7,159,160],"宋代","玉石","雕刻","折枝","饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c5f14bd0a9aba0e77bcca1629023d26.jpg","未知","Xcm*Xcm",[],{"id":166,"slug":167,"title":168,"dynasty":18,"author":99,"museum":153,"description":169,"tags":170,"thumbUrl":173,"material":162,"size":163,"collection":36,"collections":174,"showCount":175,"zanCount":11,"manualWeight":11,"mainColor":40},247778,"dui-cai-ying-tao-wen-he-yi-ming-247778","堆彩樱桃纹盒","清代文物。旧时用于存放食物或饰品之用,根据材质价值不同。清宫旧藏",[116,171,158,172,75,7,89,27],"堆彩","漆器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2eaba725a491eca2ee9fbb71fcae470a.jpg",[],1,{"id":177,"slug":178,"title":168,"dynasty":18,"author":99,"museum":153,"description":169,"tags":179,"thumbUrl":181,"material":162,"size":163,"collection":36,"collections":182,"showCount":175,"zanCount":11,"manualWeight":11,"mainColor":40},247774,"dui-cai-ying-tao-wen-he-yi-ming-247774",[18,171,158,7,172,180],"盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51019b3ccdea7e3e225d687e79303e6b.jpg",[],{"id":184,"slug":185,"title":168,"dynasty":18,"author":99,"museum":153,"description":169,"tags":186,"thumbUrl":187,"material":162,"size":163,"collection":36,"collections":188,"showCount":175,"zanCount":11,"manualWeight":11,"mainColor":40},247742,"dui-cai-ying-tao-wen-he-yi-ming-247742",[18,171,158,172,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F955ce6e2ca86311659d291c5ac532d92.jpg",[],{"id":190,"slug":191,"title":168,"dynasty":18,"author":99,"museum":153,"description":169,"tags":192,"thumbUrl":194,"material":162,"size":163,"collection":36,"collections":195,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},247714,"dui-cai-ying-tao-wen-he-yi-ming-247714",[116,172,171,158,7,89,27,193],"日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F580cee7f78b326ee8a07b8682b47570e.jpg",[],1777535727310]