[{"data":1,"prerenderedAt":205},["ShallowReactive",2],{"subject-yu-lan-hua":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},610,"yu-lan-hua","玉兰花","玉兰花画高清赏析","精选中国历代玉兰花题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89293fbd4705aeb59b879b7193871f1d.jpg",0,13,[14,52,74,92,106,122,133,144,153,162,175,187,196],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":42,"material":43,"size":44,"collection":45,"collections":46,"showCount":49,"zanCount":50,"manualWeight":11,"mainColor":51},221235,"hua-niao-chang-juan-yi-ming-221235","花鸟长卷","宋","佚名","台北故宫博物院","此作用笔精细柔婉，设色妍丽清润，将四季佳卉次第铺展：艳红牵牛绰约生姿，白牡丹雍容皎洁，紫藤垂缨如云似瀑，兰草疏朗清逸。草虫蛱蝶穿插其间，振翅的蝶、栖于花枝的蚱蜢，皆栩栩如生，满卷灵动生机。\n诗画合璧，题咏与花木相映成趣，尽显雅致意趣，细腻勾勒出草木的娇柔、虫羽的轻薄，藏着对天地生机的入微体察，尽显精工雅致的院体花鸟意韵，是隽永动人的佳作。",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,7,37,38,39,40,41],"高清","名画","国画","书画","长卷","设色","工笔","花鸟","紫藤","牡丹","月季","菊花","兰花","牵牛花","芙蓉","蝴蝶","蜻蜓","虫","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b146e686f41f360c24bf527a36e3be4.jpg","纸本","26x163","宋画精选",[45,47,48],"花鸟画精选","设色画精选",1899,28,"FF9800",{"id":53,"slug":54,"title":55,"dynasty":56,"author":57,"museum":58,"description":59,"tags":60,"thumbUrl":66,"material":67,"size":68,"collection":69,"collections":70,"showCount":71,"zanCount":72,"manualWeight":11,"mainColor":73},222680,"si-ji-hua-niao-tu-ping-3-chen-mei-222680","四季花鸟图屏3","清","陈枚","天津博物馆","此花鸟屏共八条，绘四季花卉：春桃、夏荷、秋菊、冬梅，配以四时禽鸟。由于作者有西洋绘画的功底，所绘画鸟造型准确，赋色大胆艳丽，栩栩如生。西洋技法加上传统绘画的笔墨意趣，使画面韵律生动，极富表现力。作者为宫廷画家，此八条屏作于雍正丙午，即公元1726年，是年作者因供奉内廷有功，获赏内务府掌仪司员外郎衔。\n由于作者有西洋绘画的功底，所绘花鸟造型准确，赋色大胆艳丽，栩栩如生，将一年四季的美妙景色勾勒的惟妙惟肖，让人怦然心动。\n整幅图运用了西洋技法加上传统绘画技巧，笔墨细腻，充满意趣，使画面韵律生动，极富表现力。",[23,25,26,24,61,29,28,30,7,62,63,64,65],"立轴","鸟","白花","绿叶","枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb354d235264b4e3fbffcc1189098cae9.jpg","绢本","139X41CM","",[],107,3,"BDBDBD",{"id":75,"slug":76,"title":77,"dynasty":78,"author":79,"museum":80,"description":81,"tags":82,"thumbUrl":86,"material":87,"size":88,"collection":69,"collections":89,"showCount":90,"zanCount":91,"manualWeight":11,"mainColor":73},214633,"hua-hui-ce-11-chen-chun-214633","花卉册-11","明","陈淳","上海博物馆","陈淳（1483—1544），字道复,后以字行,更字复甫,号白阳,又号白阳山人，江苏苏州人。曾从文徵明学画，但是不拘于师法，山水、花卉自具门径。花卉善写意，淡墨浅色，生动有致。与徐渭并称“青藤白阳”，代表明中期水墨写意花鸟画的新格调，是吴门画派的代表画家。\n用笔简洁，笔势潇洒，行笔迅疾，许多花卉草虫仅用深浅浓淡的不同墨色，却能完整地表达出物象的形状及立体效果，富有生意，具有强烈的笔墨情趣。",[25,26,83,84,85,30,7],"册","水墨","写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b26457ea4cf5316c169d05453ad8d1b.jpg","纸本,水墨","纵28 厘米 横37.9 厘米",[],99,1,{"id":93,"slug":94,"title":95,"dynasty":56,"author":96,"museum":97,"description":98,"tags":99,"thumbUrl":101,"material":102,"size":103,"collection":69,"collections":104,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":73},235197,"hua-hui-ce-wu-chang-shuo-235197","花卉册","吴昌硕","藏地不详","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》。",[25,26,83,84,100,41,30,7,65],"行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe55a7a815fac4e3df952ba468947d1e1.jpg","未知","Xcm*Xcm",[],7,{"id":107,"slug":108,"title":109,"dynasty":56,"author":19,"museum":97,"description":110,"tags":111,"thumbUrl":118,"material":102,"size":103,"collection":69,"collections":119,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":121},251961,"shui-jing-yu-lan-hua-cha-yi-ming-251961","水晶玉兰花插","此件取天然水晶为料，随形施艺，将两朵玉兰花镂刻得舒展柔婉。花瓣清透莹润，如凝冰含露，边缘翻卷灵动自然，间缀芝菌小朵，添几分盎然生机。原配紫檀座以芝菌山石为形，与花插呼应成趣，衬得水晶愈发澄澈明洁。\n\n创作者巧用晶体通透质感，以圆润刀法雕琢出花木舒展之态，既保留天然肌理的清灵，又将玉兰温婉清雅之韵尽显，是文房清供中以材显韵、工巧雅致的精妙之作。",[112,113,114,7,115,116,117],"清代","水晶","雕刻","花卉","器","花插","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d83fce8aa0c9de2c2638bb666a0e260.jpg",[],5,"795548",{"id":123,"slug":124,"title":125,"dynasty":78,"author":19,"museum":97,"description":126,"tags":127,"thumbUrl":130,"material":102,"size":103,"collection":69,"collections":131,"showCount":132,"zanCount":11,"manualWeight":11,"mainColor":73},269985,"zi-tan-diao-yu-lan-hua-shi-bi-tong-yi-ming-269985","紫檀雕玉兰花式笔筒","笔筒： 用陶瓷、竹木、等制成的筒形插笔器具。笔筒是搁放毛笔的专用器物，据文献记载，它的材质有镏金、翡翠、紫檀和乌木，现在我们能够见到的传世器物，大多是用瓷或者是竹木制作的。具有收藏价值。",[128,114,7,129,116],"木质","笔筒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe70654ba10b394b6e85de556b4863165.jpg",[],4,{"id":134,"slug":135,"title":136,"dynasty":56,"author":19,"museum":97,"description":137,"tags":138,"thumbUrl":142,"material":102,"size":103,"collection":69,"collections":143,"showCount":72,"zanCount":11,"manualWeight":11,"mainColor":73},271078,"ge-shi-yu-zhi-hua-hui-shi-guan-zi-hao-bi-tan-xiang-mu-guan-yu-lan-hua-shi-bi-yi-ming-271078","各式御制花卉诗管紫毫笔-檀香木管玉兰花诗笔","此笔以檀香为管，质地温雅莹润，浅刻填蓝题诗，将玉兰花意与清雅诗文相融，文韵悠然。紫毫挺劲锋利，聚锋完好，兼具实用书写的精妙质感。笔身素净隽秀，兼具御制器物的规整精巧，把文房雅器的审美意趣与书写功用合而为一，藏着旧时文房清贵雅致的美学底蕴，是清代文房御制器物的精巧缩影。",[139,140,141,128,7],"笔","紫毫笔","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f6b7731cd8aedd4d3012d6e6ec9abc5.jpg",[],{"id":145,"slug":146,"title":147,"dynasty":56,"author":19,"museum":97,"description":148,"tags":149,"thumbUrl":151,"material":102,"size":103,"collection":69,"collections":152,"showCount":72,"zanCount":11,"manualWeight":11,"mainColor":121},250877,"qing-yu-yu-lan-hua-cha-yi-ming-250877","青玉玉兰花插","玉质青莹温润，整体取玉兰盛放之形，舒展的花瓣饱满柔润，肌理线条婉转贴合花之天然意态。枝桠间错落点缀数枚含苞蓓蕾，以圆雕与透雕工艺刻画缠枝虬曲之姿，将花枝苍劲与花萼柔嫩的质感对比尽致。匠师随形施艺，以刀代笔，既保留玉料本身的莹润底色，又精准雕琢出玉兰清雅嫣然的春日生机，写实工致里带着静雅灵动，将盛放花景凝于一方青玉，雅致天成，尽显玉雕工艺的细腻审美意趣。",[150,114,7,116,112],"玉石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F451a08c638740f1e08be2dcc5c8b1363.jpg",[],{"id":154,"slug":155,"title":156,"dynasty":56,"author":157,"museum":97,"description":158,"tags":159,"thumbUrl":160,"material":102,"size":103,"collection":69,"collections":161,"showCount":72,"zanCount":11,"manualWeight":11,"mainColor":73},239180,"hua-hui-ren-wu-ce-chen-zi-239180","花卉人物册","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。",[26,83,28,29,100,41,115,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e6cd09c7f2c4ee537f546cf0bad9c3.jpg",[],{"id":163,"slug":164,"title":165,"dynasty":166,"author":19,"museum":97,"description":167,"tags":168,"thumbUrl":172,"material":102,"size":103,"collection":69,"collections":173,"showCount":174,"zanCount":11,"manualWeight":11,"mainColor":73},289052,"lenox-incorporated-design-drawing-of-magnolia-blossom-yi-ming-289052","Lenox, Incorporated--Design drawing of magnolia blossom","不详","这幅水彩写生以两朵木兰构景，一放一敛，晕开柔雅生机。\n上方盛放的花株，柔粉轻点瓣边，米黄晕满花心，色彩过渡清透自然，将舒展烂漫的花姿描摹得鲜活灵动，仿佛能窥见春日暖阳下花瓣轻颤的模样。下方半绽花苞以深玫红铺陈瓣底，凝住初绽的含蓄张力，与上方盛放的明媚形成温柔呼应。\n创作者以晕染笔触替代繁复线条，细腻晕开花瓣的柔润肌理，留白松弛舒适，将木兰盛放的明媚与初绽的沉静并置，于清淡雅致的色彩层次间，定格住花木最动人的诗意瞬间。",[28,30,7,169,170,171],"花卉画","手绘","设计图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb22cd96761e82c837b02cc3c55cca292.jpg",[],2,{"id":176,"slug":177,"title":178,"dynasty":78,"author":19,"museum":97,"description":179,"tags":180,"thumbUrl":184,"material":102,"size":103,"collection":69,"collections":185,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":186},270032,"ya-diao-yu-lan-hua-shi-bei-yi-ming-270032","牙雕玉兰花式杯","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。",[181,114,182,183,7,116],"象牙","饮酒器","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fd0e7ac35366c37b5afcae6a644e21b.jpg",[],"37474F",{"id":188,"slug":189,"title":190,"dynasty":56,"author":19,"museum":97,"description":191,"tags":192,"thumbUrl":194,"material":102,"size":103,"collection":69,"collections":195,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":73},269959,"huang-yang-mu-qian-yu-shi-hua-hui-wen-xiao-bi-tong-yi-ming-269959","黄杨木嵌玉石花卉纹小笔筒","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[128,114,150,7,32,116,193],"文房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3389f9bea4946100ee0478c200535d2.jpg",[],{"id":197,"slug":198,"title":199,"dynasty":56,"author":19,"museum":97,"description":200,"tags":201,"thumbUrl":203,"material":102,"size":103,"collection":69,"collections":204,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":121},251894,"mi-la-yu-lan-hua-xing-xi-yi-ming-251894","蜜蜡玉兰花形洗","这枚文房洗取浓红蜜蜡随形而制，莹润包浆晕开琥珀般柔光。作者依玉兰花绽放之态琢磨，花瓣舒展柔婉，花苞饱满娇憨，虬曲枝干缠绕其间，将盛花期的鲜活生机凝于方寸。\n\n器型兼顾实用与雅赏，洗池隐于花萼之间，既得盛水之用，又借花枝掩映消弭匠气，将文房清趣与天然意趣相融，尽显工艺写实生动的审美意涵，灵秀雅致间，藏着琢制者的巧思匠心。",[56,202,114,7,116],"蜜蜡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66efa1ca06298ce48590e88446160cb0.jpg",[],1777535727298]