[{"data":1,"prerenderedAt":1101},["ShallowReactive",2],{"subject-yuan-yang":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},266,"yuan-yang","鸳鸯","鸳鸯画高清赏析","精选中国历代鸳鸯题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed4eb796389b38e4c39fa9248fb2e3b1.jpg",0,100,[14,42,60,75,95,110,125,141,155,166,181,197,212,228,236,249,262,275,285,300,312,324,334,345,355,368,378,389,399,412,425,442,451,461,470,479,490,498,508,516,523,534,543,555,567,576,593,602,612,622,631,640,650,663,673,683,693,700,712,724,738,746,757,768,777,787,796,805,813,825,834,844,851,858,865,871,885,893,902,911,922,933,942,952,961,967,975,982,989,998,1010,1022,1029,1037,1045,1060,1067,1075,1083,1093],{"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":39,"zanCount":40,"manualWeight":11,"mainColor":41},221913,"he-hua-yuan-yang-tu-chen-hong-shou-221913","荷花鸳鸯图","明","陈洪绶","北京故宫博物院","此图以“出污泥而不染，濯清涟而不妖”的荷花为题，花朵清丽，或含苞，初绽、或怒放，多姿多态；枝叶带露，娉婷舒展，俯仰欹侧；湖石雄奇，锐利坚崚，厚重沉凝。两只彩蝶在空中翩翩起舞，一对鸳鸯在水面戏水悠然，打破了一池碧水的宁静。一只青蛙正隐伏于石后的荷叶上觊觎甲虫，弓身欲动，给画面平添了几许生机与意趣，从中可见画家善于观察的细心与状物精微的匠心。\n作品用笔工致而不显刻板，着色醇厚而不流于俗腻，画风素洁明快，既有应物象形的写生功底，又不乏变幻合宜的适度夸张，画面呈现出一种在繁与简，疏与密、刚与柔的对比变化中的合谐与统一。\n从署款和绘画风格上推断，当是陈洪绶中年的作品。",[23,24,25,26,27,28,29,30,31,7,32],"高清","名画","国画","书画","立轴","工笔","设色","花鸟","荷","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31f77fc76433fcfb9a62c0f14dd26a0c.jpg","绢本,设色","纵183厘米，横98.3厘米","花鸟画精选",[36,38],"设色画精选",661,5,"795548",{"id":43,"slug":44,"title":45,"dynasty":46,"author":47,"museum":48,"description":49,"tags":50,"thumbUrl":54,"material":55,"size":56,"collection":36,"collections":57,"showCount":58,"zanCount":59,"manualWeight":11,"mainColor":41},223166,"he-tang-yuan-yang-tu-shen-quan-223166","荷塘鸳鸯图","清","沈铨","安徽省博物馆","夏天，荷花风光，荷叶盛开，老嫩枯萎，随风飘扬，荷花枝叶高高突出。\n荷花或盛开，或抱以待放。 淡黄色的太阳花瓣，粉红色的花瓣，娇嫩多彩，倒映着水花和芬芳的花瓣。\n水中的鸳鸯成双成对，在花间的叶子底下嬉戏玩耍。 发色抢眼，华丽，勾勒出画面。\n喜鹊在空中栖息飞翔，盘旋三圈，与莲花杆上的三人和声合唱。",[23,25,26,24,27,28,29,30,51,52,7,53],"荷花","荷叶","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73f8825b07bf8e459260b47a52535640.jpg","绢本，立轴，设色","187x105.2",[36,38],304,6,{"id":61,"slug":62,"title":63,"dynasty":18,"author":64,"museum":20,"description":65,"tags":66,"thumbUrl":70,"material":71,"size":71,"collection":36,"collections":72,"showCount":73,"zanCount":74,"manualWeight":11,"mainColor":41},239086,"he-hua-yuan-yang-zhou-zhou-zhi-mian-239086","荷花鸳鸯轴","周之冕","此图画面下部绘有一对鸳鸯，活跃在荷塘水草之中，一只雄性的徴莺，正潜水觅食，双翅合拢，羽尾上翘，伸颈张嘴，正在捕捉食物。另一只雌性站立在荷塘岸上，扭弯脖颈，双目炯炯有神，正在注视河水中正在捕食的雄性。画面的背景主要集中右上方，右侧湖石从旁伸展，湖石造型奇特，玲珑别透，湖石上面有一棵廾满花朵的花树，枝干弯曲，伸向画面左中侧。湖石旁有数株荷叶，荷茎挺拔，荷花盛开，荷叶有的平展，有的悬垂，荷叶整、残相间，另间有其水草。\n此图写湖石、荷花、鸳鹫，形象通真，生动传神。画面清秀，笔墨自然，设色艳丽。此画是周氏用勾花点叶画法画的一幅典型作品，作者把草书的笔法融汇到画法中去，运笔疾速，枝叶的穿插、花朵的安排都恰到好处。作品用笔简洁、概括，例如河岸、湖石的画法，用粗笔勾勒，只有很少的儿笔魃染，寥寥数笔却颇具形态，水面大部分空白，只以淡淡的几条水纹表现水的存在，却有动感，杂草看去似不经心之笔却错落有致。鸳鸯的造型是在写实的基础上略有变化。两只鸳鹫神态各异，但都生动自然，日似点漆，颇具精神。鸳鹫大部分以淡墨浅设色写出，颈部、背部的毛用纤细的笔法画出，根根可见，表现出画家娴熟的工笔技法。头、尾、足又巧妙地利用了生纸的性能，水墨自然晕开，甚为生动，翅膀用笔虽较硬，但由于水墨涸晕的效果，把羽毛丰满的鸳鸯形象表现得淋漓尽致。兼工.带写，别具一格。鸳整体设色浓淡得宜立体感很强。荷花采用匀花点叶法，花以线条勾出，叶子则直接落笔成形，然后以墨勾叶筋，荷花设色淡雅，清新自然。这一切都显示了画家的笔墨造形功力。",[25,24,27,30,29,28,51,7,67,52,68,69],"鸟","树枝","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F848b8317f95838a26d9b5f0806530d75.jpg","",[36,38],272,2,{"id":76,"slug":77,"title":78,"dynasty":79,"author":80,"museum":81,"description":82,"tags":83,"thumbUrl":89,"material":34,"size":90,"collection":36,"collections":91,"showCount":93,"zanCount":94,"manualWeight":11,"mainColor":41},219276,"xue-an-yuan-yang-tu-ma-lin-219276","雪岸鸳鸯图","宋","马麟","耶鲁大学艺术博物馆","枯木虬枝横斜，皴擦间藏着岁月的肌理，寒梅疏花点点，似是雪夜里悄然绽放的星子。滩头双鸳相偎，绒羽层叠如软云，翅尖墨色晕染，静卧间漫出暖融的依偎。枝上雀鸟敛翅，瞳仁如豆，似在聆听风过梅梢的轻响。雪岸清寂，却因这几处生灵的动静相映，添了几分温润的生气。淡赭铺就的寒汀，与浓墨点染的枝干相衬，工致笔触里藏着写意的疏朗，宋人的雅致与对生命的细腻观照，尽在这方寸画卷里流转，每一处留白都似凝着冬日的清寒，却又裹着一丝不易察觉的暖。",[23,25,24,28,29,30,7,84,85,67,86,87,88,53],"梅","树","雪","岸","枯木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a755de7d0ae42e6354319de9befc494.jpg","188.5cmx99.8cm",[36,38,92],"宋画精选",226,1,{"id":96,"slug":97,"title":98,"dynasty":99,"author":100,"museum":101,"description":102,"tags":103,"thumbUrl":107,"material":34,"size":71,"collection":36,"collections":108,"showCount":109,"zanCount":74,"manualWeight":11,"mainColor":41},219186,"fu-rong-yuan-yang-tu-qian-xuan-219186","芙蓉鸳鸯图","元","钱选","私人收藏","芙蓉枝蔓自右上垂落，花叶丰腴，白瓣晕染淡红，似含晨露。一对鸳鸯相倚岸汀，羽色层次分明，红喙翠翎与素白绒羽相映，姿态亲昵如诉温情。画面设色温润雅致，绢本底色衬出古雅意蕴，笔墨工细却不刻板，于静谧中藏生机，尽显自然之美与缱绻意趣。枝间花叶错落有致，岸畔草石点缀生姿，整体构图虚实相生，将禽鸟的亲昵与花木的清妍融于一体，传递出恬淡悠然的古典情韵。",[23,24,25,28,29,30,104,7,32,105,106],"芙蓉","枝叶","元代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F226d4750da5198d9248ca7382ce9bb70.jpg",[36,38],175,{"id":111,"slug":112,"title":113,"dynasty":46,"author":114,"museum":20,"description":115,"tags":116,"thumbUrl":119,"material":120,"size":121,"collection":71,"collections":122,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":124},223237,"he-hua-yuan-yang-ren-yi-223237","荷花鸳鸯","任颐","虚谷在挽任伯年联中称誉：“笔无常法，别出新机，君艺称极也；天夺斯人，谁能继起，吾道其衰乎。\n”徐悲鸿则将任伯年“定之为仇十洲以后中国画家第一人”（《任伯年评传》），任伯年在近代绘画史上的杰出地位是举世公认的。他的画风新颖生动，风姿多彩，长于设色，于花鸟、人物、山水无所不能，无所不精。以个人成就而言，他的花鸟画最具特色，但从历史角度来衡量，则他的人物画成就更大，这是因为在清末人物画普遍弱化的历史环境中，任伯年显得尤为突出。\n任伯年精于写像，是一位杰出的肖像画家。他的人物画早年师法萧云从、陈洪绶、费晓楼等人，造型夸张奇伟，勾勒灵动，形神毕肖。他的山水画创作不多，但以笔法见长，自具特色。他的花鸟画更具创造性，富有巧趣。他早年以工笔花鸟见长，仿北宋人画法，纯以焦墨钩骨，赋色肥厚，近陈老莲一派。后来吸收了恽寿平的没骨画法以及陈淳、徐渭的写意画法和西洋绘画的技巧，将数者融合为一而又有所变化，形成了兼工带写、明快温馨、简逸放纵的笔调，开辟了花鸟画的新天地，对后世产生了巨大的影响。虽然由于任伯年出身贫寒，读书不多，故与吴昌硕、齐白石相比，画作中蕴涵的文思较乏，缺少一丝画外余音，但就笔法、墨法、结构、色彩而言，任画技巧更为丰富，足资后世借鉴。\n此帧任伯年的《荷花鸳鸯图》写鸳鸯游戏于荷田之中，荷叶硕大如盆，素雅的白莲花散发着幽香。画面以青绿色调为主，清新可人。因系画于熟绢之上，又以用水见长，故色彩交融明快自然，富于生气。笔与笔之间的留白，起到了透气和清醒视觉的作用，斑驳迷离，实非功力深至不能轻达此境。鸳鸯的造型古奥生动，运笔凌利，细节处收拾稳当，简练传神，均是彰显出任伯年独特而高超的绘画技艺之处。",[23,25,26,24,27,29,117,30,51,52,7,118],"水墨","水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F354cad584cbfaada75e733228bef455f.jpg","绢本设色","纵138厘米，横42厘米",[],163,"BDBDBD",{"id":126,"slug":127,"title":128,"dynasty":18,"author":129,"museum":130,"description":131,"tags":132,"thumbUrl":137,"material":34,"size":138,"collection":36,"collections":139,"showCount":140,"zanCount":11,"manualWeight":11,"mainColor":41},218959,"yuan-yang-hua-niao-tu-lv-ji-218959","鸳鸯花鸟图","吕纪","美国弗利尔美术馆","这幅画描绘了夏天溪边成双成对的鸟儿，包括白头鹅、鸳鸯、红嘴蓝鹊等，其形态准确真实，着色精妙。这幅画的作者是吕纪，题目是南宋的，也就是说，这是吕纪早年的作品。",[23,25,24,28,29,133,7,53,30,69,134,135,136],"松树","老树","水面","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0191004ce3982d50bfff75380fa7ddd.jpg","185.7x108.5cm",[36],162,{"id":142,"slug":143,"title":144,"dynasty":18,"author":19,"museum":145,"description":146,"tags":147,"thumbUrl":150,"material":151,"size":152,"collection":71,"collections":153,"showCount":154,"zanCount":94,"manualWeight":11,"mainColor":41},287343,"he-hua-yuan-yang-tu-juan-wen-chen-hong-shou-287343","荷花鸳鸯图(绢纹)","藏地不详","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[23,24,25,26,27,148,28,29,51,7,149,32,52],"花鸟画","蝴蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35f6c74082eff5c95dc37ca5423373bf.jpg","未知","Xcm*Xcm",[],139,{"id":156,"slug":157,"title":158,"dynasty":18,"author":64,"museum":145,"description":159,"tags":160,"thumbUrl":162,"material":71,"size":71,"collection":36,"collections":163,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":124},236454,"mei-cha-yuan-yang-zhou-zhou-zhi-mian-236454","梅茶鸳鸯轴","周之冕（生卒年不详），“活跃与嘉靖、万历年间”（据《式古堂书画汇考》卷三十七中所载《周复卿小斋雅致图》中署年“万历甲戌（1574）八月朔”，可将之生卒年具体只嘉靖、万历间。）字服卿，号少谷，长洲(今江苏苏州)人。专擅花鸟画，家中饲养禽鸟，以求在画中得其神韵和形态。花卉则采陈淳、陆治之长，兼工带写，设色鲜妍，自成一家。周之冕与同时代的苏州画家们开创了勾花点叶派，在花鸟画坛上影响了明末及清代的笔墨风格。",[25,26,27,29,30,84,161,7],"茶花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24f8f5cd312ad0f599e1c1adbc8ba6c3.jpg",[36,38,164],"书法精选",107,{"id":167,"slug":168,"title":169,"dynasty":170,"author":171,"museum":172,"description":173,"tags":174,"thumbUrl":177,"material":34,"size":178,"collection":36,"collections":179,"showCount":180,"zanCount":94,"manualWeight":11,"mainColor":41},216746,"xie-sheng-yuan-yang-tu-huang-quan-216746","写生鸳鸯图","五代十国","黄筌","费城艺术博物馆","画面描绘了一棵古老的梅花树，枝干粗壮，梅花枝条细长，树下有一丛绿竹；右下方是一对羽毛鲜艳的鸳鸯，一只蹲在地上，扭曲的头和嘴藏在羽毛中。",[25,26,175,28,29,30,7,134,176,84],"扇面","枯枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78b5310b6859685fde5b35c131cf676e.jpg","23.6x24.2cm",[36],106,{"id":182,"slug":183,"title":184,"dynasty":79,"author":185,"museum":145,"description":186,"tags":187,"thumbUrl":192,"material":193,"size":194,"collection":71,"collections":195,"showCount":196,"zanCount":74,"manualWeight":11,"mainColor":41},223374,"feng-huang-tu-zhou-yi-ming-223374","凤凰图轴","佚名","图上一只蓝翎凤凰立于花丛中，红冠鲜艳，眼神威严、犀利，羽毛七彩斑斓，尾翎修长，单脚站立彰显百鸟之王的尊贵；四周牡丹盛开，花团锦簇，丹顶鹤、鸳鸯数只陪伴左右。此幅无款无印，应出自宫廷画家之手，宫廷风格甚浓。",[23,24,25,27,28,29,30,188,189,7,190,191,53],"凤凰","鹤","牡丹","树木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b738fbba9f87096a63c79173451352a.jpg","绢本，设色","92x43cm",[],104,{"id":198,"slug":199,"title":200,"dynasty":18,"author":201,"museum":101,"description":202,"tags":203,"thumbUrl":208,"material":34,"size":209,"collection":36,"collections":210,"showCount":211,"zanCount":94,"manualWeight":11,"mainColor":41},219125,"han-liu-yuan-yang-tu-wang-feng-219125","寒柳鸳鸯图","王酆","图为两只鸳鸯在河边游泳的场景，其中一只已经在水中游动，另一只正在奔跑等待下水。 鸳鸯造型精巧，色墨交融，栩栩如生。 岸边画一枝老柳，笔墨老辣。 右下角，渚石上诞生了几朵野花，色彩淡雅，分外妖娆。",[23,25,26,28,29,30,204,7,205,206,207],"寒柳","流水","石头","杂草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F164801a49616e2eaf0f52e7357700d20.jpg","纵60cm,横85cm",[36,38],99,{"id":213,"slug":214,"title":215,"dynasty":46,"author":216,"museum":217,"description":218,"tags":219,"thumbUrl":222,"material":223,"size":224,"collection":71,"collections":225,"showCount":226,"zanCount":227,"manualWeight":11,"mainColor":124},222682,"si-ji-hua-niao-tu-ping-5-chen-mei-222682","四季花鸟图屏5","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。",[23,25,26,28,29,30,51,52,7,220,221,118],"莲花","莲蓬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6d0a7150805b19feb3ed4f0a01d4fd0.jpg","绢本","139X41CM",[],94,3,{"id":229,"slug":230,"title":17,"dynasty":46,"author":114,"museum":20,"description":115,"tags":231,"thumbUrl":232,"material":233,"size":121,"collection":36,"collections":234,"showCount":235,"zanCount":94,"manualWeight":11,"mainColor":124},223238,"he-hua-yuan-yang-tu-ren-yi-223238",[23,25,29,30,51,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F748a198151e8ce689be26e752c960fdc.jpg","绢本、设色",[36,38],91,{"id":237,"slug":238,"title":239,"dynasty":79,"author":240,"museum":130,"description":241,"tags":242,"thumbUrl":245,"material":34,"size":246,"collection":36,"collections":247,"showCount":248,"zanCount":74,"manualWeight":11,"mainColor":41},218925,"yuan-yang-za-qin-tu-han-you-218925","鸳鸯杂禽图","韩佑","这幅画上画着密密麻麻的梅花和山茶花，表达了冬天的精致。一对鸳鸯依偎在萧瑟的坡岸上，为画面增添了一丝温情。这幅画据说是宋代的韩佑所作，但山石的风格是明代画院的风格，官方网站将其定为15至16世纪。",[24,25,26,27,28,29,30,84,7,243,69,244],"禽鸟","枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc9960809d93f2f94c401c8fe943f369.jpg","154x94.2cm",[36],89,{"id":250,"slug":251,"title":252,"dynasty":18,"author":129,"museum":253,"description":254,"tags":255,"thumbUrl":259,"material":34,"size":260,"collection":36,"collections":261,"showCount":248,"zanCount":94,"manualWeight":11,"mainColor":41},218790,"hua-hui-ling-mao-tu-lv-ji-218790","花卉翎毛图","台北故宫博物院","吕纪（约 1429-1505），字廷振，浙江鄞县人。花鸟初学边文进（15 世纪），后又广摹唐宋名家，艺事益能精进。明孝宗弘治（1488-1505）间与林良（约1424-1500 后）同值仁智殿， 任锦衣卫指挥使。\n本幅画春暖花开时节，杏花临水绽放，柳树迎风摇曳， 八哥、山鸟停憩、飞翔于其间。溪中游鱼成群，隔岸两对鸳鸯，景致富丽而怡人。画中并无作者款印，布局与笔意，饶有吕纪之精神面貌，研判应出自传承吕氏风格的宫廷画家之手。",[23,25,24,28,29,30,256,69,7,68,257,135,206,53,258],"翎毛","花朵","柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1048483f5027abb6034036a7b9aeaaa.jpg","193.2x116cm",[36],{"id":263,"slug":264,"title":265,"dynasty":18,"author":129,"museum":266,"description":267,"tags":268,"thumbUrl":271,"material":120,"size":272,"collection":71,"collections":273,"showCount":274,"zanCount":94,"manualWeight":11,"mainColor":41},222393,"si-ji-hua-niao-tu-chun-lv-ji-222393","四季花鸟图-春","日本京都国立博物馆","吕纪（1429～1505），字廷振，号乐愚，鄞（今浙江宁波）人。明代画家。\n其花鸟初师边景昭，又学林良，并广泛师法唐宋诸家，所作有工笔重彩和水墨写意两种画法，前者描绘精工，色彩富丽，法度谨严；后者粗笔挥洒，随意点染，简练奔放，富有气势和动感。其山水宗法马远、夏圭，以大斧劈皴画山石，苍劲有力。人物亦法南宋院体，衣纹线条简练顿挫。初学边景昭工笔法，亦受林良水墨法影响，后临仿唐宋诸家名迹，遂自成一体，独步当代。其花鸟画风呈两种面貌，一作工笔重彩，精工富丽，多绘凤鹤、孔雀、鸳鸯之类，辅以树木坡石、滩渚流泉背景，既具法度，又富生气。另一类为水墨写意画，粗笔挥洒，简练奔放，接近林良的风格。他亦兼善人物、山水，宗法南宋马远、夏圭画法。他的花鸟画风在当时宫廷内外影响甚大，继承者不乏其人。\n明弘治年间，入值仁智殿，官至锦卫指挥使，是明代与边景昭、林良齐名的院体花鸟画代表画家。其绘画风格可分为两大类，一类是以水墨为主略淡彩，用笔较为豪纵，另一类则是设色浓丽，用和工致，具有富丽的宫廷装饰趣味。吕纪由水墨淡色画转为工笔重设色画，更直接的原因是为了适应不同皇帝的不同口味，具体说来就是弘治皇帝朱祐樘的欣赏口味不同于他的父辈成化皇帝朱见深，从而造成了吕纪多画凤凰、雉鸡、仙鹤、孔雀、鸳鸯之类，杂以花木草石，具有生气。工笔着色与水墨写意能，并善于将两体结合。吕纪初学唐宋各家和同时代的边景昭，后形成自己的风格。他的花鸟设色鲜艳，生气奕奕，被称为明代花鸟画第一家。据说吕纪在画作上常用寓意手法对皇帝劝谏，皇帝知其用心，曾说：“工执艺事以，谏吕纪有之。”其代表作品有《新春双雉图》《桂花山禽图》《残荷鹰鹭图》《秋鹭芙蓉图》《五德大吉图》 《狮头鹅图》等。\n吕纪，1477年生，鄞州（今浙江宁波）人。字廷振，号乐愚，弘治间（1488-1505）供事仁智殿，弘治间征入宫廷，为宫廷作画，供奉仁智殿，官锦衣卫指挥。擅画临古花鸟，初学边景昭，后研习唐宋诸家名作，继承两宋“院体”，以工笔重彩，又在水墨写意方面受林良影响。\n远宗南宋院体格，廷续了黄筌工整细致的画风及钩勒笔法，并予以发扬，多以凤凰、仙鹤、孔雀、鸳鸯之类鸣禽为题材，杂以浓郁花树，画面绚丽。亦作粗笔水墨写意者，笔势劲健奔放，与林良相近，与边景昭同为明代院体花鸟画中的临古派代表。传世作品有《桂菊山禽图》《榴花双莺图》《雪景翎毛图》《浴凫图》等。除画花鸟外，偶尔也画人物山水。他主要是以工整精丽的院体传统作画，造型准确，设色鲜艳。但也能画活泼生动兼工带写的花鸟画。他的画生动，笔墨清新，是当时与边景昭、林良齐名的花鸟名家。他作画时，常以寓意手法规谏皇帝，故明孝宗曾说：“工执艺事从谏，吕纪有之”。他是与边景昭、林良齐名的院体花鸟画代表作家。《狮头鹅图》，绢本，设色。纵191厘米，横104厘米。工笔画狮头鹅，侧身曲颈回顾古梅，鹅身洁白如玉，眼睛刻划有神，形象生动。古梅干枝苍劲，生机勃勃。树下衬以太湖石、月季花，石后有双勾竹隐露，色彩艳丽，衬托出狮头鹅之白身红冠。是明代院体花鸟画的杰作。款署“吕纪”。现藏辽宁省博物馆。\n《榴花双莺图》写石榴一枝，蘩花盛开，一对黄鹂栖于枝头，一上一下，鸣啼相应，神态活泼。工笔重彩，钩勒填色，绚丽多彩为明代中期院体画的典型风格。\n相比画家，吕纪的另一个身份更令人吃惊——历经明代成化、弘治、正德三代，官至锦衣卫指挥使(秘密警察头目)。吕纪的花鸟绘画，水墨淋漓，气势宏大，甚至是日本屏风画的来源之一。《柳荫双鸭图》和《幽涧双鹭图》曾在日本出版的《听松清鉴》中著录，郑振铎在上世纪四十年代遍访流传在海外的中国名画，并在其所编的《域外所藏中国名画》中收录。吕纪的两幅作品不仅是明代全景花鸟画的杰作，也是中国绘画影响日本绘画的证据代表作。",[23,25,24,28,29,30,84,67,7,269,68,27,270],"山石","开花树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2342faa17d4f14661d3abe4bf10e5735.jpg","176.0×100.8",[],85,{"id":276,"slug":277,"title":278,"dynasty":18,"author":279,"museum":145,"description":280,"tags":281,"thumbUrl":282,"material":71,"size":71,"collection":36,"collections":283,"showCount":284,"zanCount":94,"manualWeight":11,"mainColor":41},237497,"mo-he-yuan-yang-tu-zhou-li-yin-237497","墨荷鸳鸯图轴","李因","李鱓[shàn]（1686年—1756年），字宗扬，号复堂，别号懊道人、墨磨人，清康熙二十五年（1686）生，乾隆二十一年（1756）卒，江苏扬州府兴化人，明代状元宰相李春芳第六世孙。清代著名画家，“扬州八怪”之一。康熙五十年中举， 康熙五十三年召为内廷供奉，其宫廷工笔画造诣颇深，因不愿受“正统派”画风束缚而遭忌离职。乾隆三年出任山东滕县知县，颇得民心，因得罪上司而罢官。后居扬州，卖画为生。\n李鱓工诗文书画。曾随蒋廷锡、高其佩学画。后受石涛影响，擅花卉、竹石、松柏，早年画风工细严谨，颇有法度。中年画风始变，转入粗笔写意，挥洒泼辣，气势充沛，对晚清花鸟画有较大影响。 [1]\n传世画迹有南京博物院藏《土墙蝶花图》轴、故宫博物院藏《松藤图》轴等。北京工艺美术出版社2005年出版“中国书画名家全集”，内收《李鱓画集》（上下卷）。",[25,26,27,117,30,31,7,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F557524c45070d0779dcb0b92bcfbebf5.jpg",[36],77,{"id":286,"slug":287,"title":288,"dynasty":99,"author":289,"museum":290,"description":291,"tags":292,"thumbUrl":294,"material":295,"size":296,"collection":36,"collections":297,"showCount":299,"zanCount":11,"manualWeight":11,"mainColor":41},219282,"fu-rong-yuan-yang-tu-zhou-zhang-zhong-219282","芙蓉鸳鸯图轴","张中","上海博物馆","此图描绘了一幅秋高气爽时节的生动景象，水边的木芙蓉枝叶舒展，枝头花朵绽放；两只鸳鸯在水中嬉戏，其中雌鸳鸯昂首鸣叫，雄鸳鸯垂首清波。此图笔墨简洁古朴，山石不修饰以苔点，以水墨点触晕染，生动写实而清雅隽永，富于韵味。",[23,25,26,27,117,28,30,104,7,118,293,206],"草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5eac47218af15810079b2edc1cc7f16f.jpg","纸本,水墨","纵147 厘米，横56.8 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一对鸳鸯站在岸边，羽毛鲜艳，身体匀称，一副低头的样子，似乎在寻找食物。",[24,25,26,175,29,28,31,306,7,67,30,32,307],"残荷","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8148e5c307f646b726f878e7dad3e86.jpg","25.4x24.4cm",[36],67,{"id":313,"slug":314,"title":315,"dynasty":79,"author":316,"museum":101,"description":317,"tags":318,"thumbUrl":320,"material":34,"size":71,"collection":36,"collections":321,"showCount":322,"zanCount":227,"manualWeight":11,"mainColor":323},218764,"shuang-yuan-tu-zhang-mao-218764","双鸳图","张茂","水面漾着浅淡的光，双鸳相偎游弋，羽毛层叠细腻，似裹着一层暖光。岸畔芦苇以墨笔勾勒，线条纤细却带韧劲，穗子轻垂如思。空中几只小虫轻点，无意的点缀让静谧画面多了几分生机。淡墨晕染的水面留白见空灵，设色清雅，笔墨细腻却不繁缛。宋代小品的雅致与野趣在此交融，方寸间藏着天地的幽寂与温柔，观之如临清池畔，草木清香似漫入鼻息，心境也随之沉静下来。",[23,25,28,29,30,7,319,175],"芦苇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88ff28d4596fe6aaf49cf909a424ef3d.jpg",[36],66,"F48FB1",{"id":325,"slug":326,"title":98,"dynasty":46,"author":279,"museum":290,"description":327,"tags":328,"thumbUrl":330,"material":295,"size":331,"collection":36,"collections":332,"showCount":333,"zanCount":94,"manualWeight":11,"mainColor":124},218900,"fu-rong-yuan-yang-tu-li-yin-218900","该画以竖构图表现池畔一隅，景致于深阔中见清逸，画的下方，几缕淡淡的游丝线勾出透明的水域，一对鸳鸯仿佛边游边聊着。画的中上部，从画外探进来的芙蓉花占了画面三分之二多，一枝俯垂，一枝上扬，俯仰之间既各得其韵，又彼此呼应；芙蓉花是用白描法淡墨勾勒而成，花朵之间的摆布迎让有序、相辅相成，毫无刻意造作之气，线条使转流畅，给人以运笔迅疾之感；叶子用没骨法点饰，大小、浓淡适宜，层次分明，墨色明透清亮，且叶筋勾勒得劲健挺拔，淡墨写出的几缕蒲草叶点缀其间，与花的团叶互为映衬，又于疏密中见丰富。水面上，两只鸳鸯相拥着游向接近水面的花，大概是雌鸳鸯嗅到了花香发出惊叫，引得雄鸳鸯回头观望，那温柔的神态充满爱意。鸳鸯的造型生动、准确，羽毛勾勒后用淡墨晕染，笔触细腻，墨分五彩，虽未着色却显现出绚丽华滋的富贵之气。纵观全画，作者以构图的疏朗与简括，笔墨的简洁与精劲，营造出花开季节游禽恬淡安闲的状态，进而通过诗画的意境传达出一种浪漫气息。同时，画面的空明与洁静，也体现出作者高超的笔墨功夫。",[25,117,30,27,104,7,329,52],"水波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63764a7a72a14f84ca58ebff73c6e3c8.jpg","纵115厘米，横47.3厘米",[36],60,{"id":335,"slug":336,"title":337,"dynasty":99,"author":185,"museum":290,"description":338,"tags":339,"thumbUrl":341,"material":34,"size":342,"collection":36,"collections":343,"showCount":344,"zanCount":94,"manualWeight":11,"mainColor":41},219254,"xing-hua-yuan-yang-tu-yi-ming-219254","杏花鸳鸯图","老干虬曲盘折，枝桠间素白杏花轻绽，似碎雪点染枝头，清妍雅致。水畔鸳鸯相倚，羽色温润柔和，与浅滩细草、零星苔石相映，添得几分闲逸生趣。画面色调古雅沉敛，笔墨简淡却意韵悠长，于静谧中藏生机，尽显元代文人画的清逸之致，观之如沐春风，心归恬淡。",[23,106,24,25,26,30,28,29,340,7,85,118,206,207,243,69],"杏花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3807ab913238f9ab10fab7e5d2ba0d67.jpg","纵163横98.2厘米",[36],54,{"id":346,"slug":347,"title":288,"dynasty":18,"author":279,"museum":217,"description":348,"tags":349,"thumbUrl":350,"material":351,"size":352,"collection":36,"collections":353,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":124},226155,"fu-rong-yuan-yang-tu-zhou-li-yin-226155","图绘鸳鸯一对，一只于芦滩上理毛，另一只自高处飞来，似与滩上的会合；画左侧绘一石块，一株芙蓉探出枝杆，枝头花团锦簇、绿叶繁茂。李因，字今是，工山水、花鸟，亦作诗文，画得陈淳之法，多用水墨，为明末清初时代励志女画家。",[23,25,24,27,117,30,104,7,32,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facc1665e5ec8951f7b4aa571136b5df1.jpg","纸本，水墨","138.9x47.8cm",[36],45,{"id":356,"slug":357,"title":358,"dynasty":79,"author":359,"museum":253,"description":360,"tags":361,"thumbUrl":364,"material":34,"size":365,"collection":36,"collections":366,"showCount":367,"zanCount":11,"manualWeight":11,"mainColor":124},219231,"liu-tang-yuan-xi-tu-ma-he-zhi-219231","柳塘鸳戏图","马和之","风拂柳丝软，池漾碧波轻。柳条以淡墨勾勒，柔韧如丝，似随微风拂动水面，余韵悠悠。塘岸简笔皴擦，草色依稀，野趣天成。鸳鸯两两相戏，红羽点缀素净底色，情态亲昵自然，于静谧中添一抹生动。笔墨疏朗却意韵丰满，不刻意渲染却得自然之趣，恰是宋人崇尚的“平淡天真”之境。观之如临清塘畔，柳风轻拂，鸳鸯悠游，心亦随之沉静，仿佛能闻水波轻响，感受那份独属于宋人的清雅闲逸。",[23,25,24,29,28,30,362,363,7],"柳","池塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97a58fd64843b5aa46fa30a846f821cb.jpg","23x24.4cm",[36],39,{"id":369,"slug":370,"title":371,"dynasty":79,"author":372,"museum":145,"description":373,"tags":374,"thumbUrl":375,"material":151,"size":152,"collection":71,"collections":376,"showCount":377,"zanCount":11,"manualWeight":11,"mainColor":41},288983,"yuan-yang-tu-zhou-zhao-chang-288983","鸳鸯图轴","赵昌","赵昌，生于970-1040年，字昌之，北宋画家，广汉剑南（今四川剑阁之南）人。工书法、绘画，擅画花果，多作折枝花，兼工草虫。初师滕昌祐，后来发展出自身画风，没骨花鸟自成一派，有徐熙、黄荃遗风。在北宋时期与宋徽宗赵佶齐名，是宋代花鸟画坛的杰出画家。",[25,27,148,29,28,7,31,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F317e1556d2628dfda3b8fe3bb5cdff28.jpg",[],35,{"id":379,"slug":380,"title":381,"dynasty":18,"author":64,"museum":145,"description":382,"tags":383,"thumbUrl":387,"material":151,"size":152,"collection":71,"collections":388,"showCount":377,"zanCount":11,"manualWeight":11,"mainColor":124},288021,"tao-hua-yuan-yang-tu-shan-mian-zhou-zhi-mian-288021","桃花鸳鸯图扇面","周之冕（1521—？）明代杰出画家，字服卿，号少谷，长洲（今江苏苏州）人。卒年不详，活跃于万历年间。擅花鸟，注重观察体会花鸟形貌神情，及禽鸟的饮啄、飞止等种种动态。善用勾勒法画花，以水墨点染叶子，画法兼工带写，人称勾花点叶法。所作花鸟，形象真实，意态生动，颇有影响。写意花鸟，最有神韵。设色亦鲜雅，家畜各种禽鸟，详其饮啄飞止，故动笔具有生意 。特以嗜酒落魄，不甚为世重耳。又善古隶。",[23,175,25,24,26,29,30,384,7,385,386,134,307],"桃花","小桥","枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77bf6fdf6141f8c8ffcd4f1175cbe18f.jpg",[],{"id":390,"slug":391,"title":392,"dynasty":46,"author":393,"museum":145,"description":394,"tags":395,"thumbUrl":396,"material":151,"size":152,"collection":71,"collections":397,"showCount":398,"zanCount":11,"manualWeight":11,"mainColor":124},290522,"qing-fu-rong-yuan-yang-yun-shou-ping-290522","清芙蓉鸳鸯","恽寿平","恽南田（1633年—1690年），即恽寿平，原名格，字寿平，后以字行，改字正叔，号南田，别号云溪外史，晚居城东，号东园草衣，后迁居白云渡，号白云外史，明末清初著名书画家，常州画派的开山祖师，后来成为清六家之一。",[175,25,24,26,30,29,28,104,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b6faa670a9de5d2a3fdb5690327caf1.jpg",[],34,{"id":400,"slug":401,"title":402,"dynasty":79,"author":403,"museum":145,"description":404,"tags":405,"thumbUrl":409,"material":151,"size":152,"collection":71,"collections":410,"showCount":411,"zanCount":11,"manualWeight":11,"mainColor":124},289348,"qiu-pu-shuang-yuan-tu-hui-chong-289348","秋浦双鸳图","惠崇","图中右下角池塘边画芦苇数株、败荷及野花丛草：中景处，有一对鸳鸯栖息于河沿边，雄者披着一身美羽昂首站立远望，又似在护卫伴侣；雌者扭头栖息在侧旁，两只鸳鸯含情传神，有声有色。远处是岸际及开阔的天空，全画给人——种秋天虚旷潇洒的气氛，具有涛一般的意境。",[24,25,26,30,28,29,7,319,406,407,408,307],"秋景","水景","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4561824c51db046604dc357bd9c9a1f.jpg",[],32,{"id":413,"slug":414,"title":415,"dynasty":99,"author":416,"museum":145,"description":417,"tags":418,"thumbUrl":422,"material":223,"size":423,"collection":71,"collections":424,"showCount":411,"zanCount":11,"manualWeight":11,"mainColor":41},232636,"jin-ji-tu-li-zhou-chen-lin-232636","锦鸡图立轴","陈琳","陈琳，（生卒年不详），字仲美，钱塘（今浙江杭州）人。南宋画院待诏珏子，琳世其叶。善画花鸟、山水、人物\n陈琳得赵孟頫指授，多所资益，故其画不俗，尤善临摹古迹。\n陈琳存世花鸟画仅有一件，即《溪凫图》（台北故宫博物院），作于大德五年(1301)，是在赵孟頫松雪斋中画成的。画中有赵孟頫的润饰和题字，称这幅画为陈琳的游戏笔墨，推重备至。作品特色鲜明，工笔略带写意，粗细兼用，笔墨潇洒流畅，浓淡墨色富于变化，形象生动，风格古朴，具有文人水墨写意画的韵致。这幅画既反映了陈琳的绘画特色，也代表了元代花鸟画嬗变的时代特征。陈琳还有山水画传世，如《秋山行旅图》、《苍崖古树图》等，都属于水墨写意画法。",[23,25,27,29,28,30,133,419,7,191,69,269,420,421],"锦鸡","元代风格","传统技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70a7d3753eac78e2098c6e0fef1789f7.jpg","117x70厘米",[],{"id":426,"slug":427,"title":428,"dynasty":79,"author":429,"museum":145,"description":430,"tags":431,"thumbUrl":440,"material":71,"size":71,"collection":71,"collections":441,"showCount":411,"zanCount":11,"manualWeight":11,"mainColor":41},227780,"yuan-yang-tu-ye-ma-yuan-227780","鸳鸯图页","马远","这幅画作以边角取景，尽显空灵雅致。石壁以斧劈皴挥写，苍劲利落，棱线分明尽显峭拔质感。水流以细劲回旋的线条勾勒，似能闻声潺潺，蜿蜒间衬出水畔清寂。幽竹清劲挺拔，枝叶俯仰生姿，墨色浓淡层叠，晕染出萧疏逸韵。溪石之上鸳鸯依偎，姿态悠然缱绻，为冷清空灵添了融融暖意。全作用色淡雅，以水墨为骨，留白造势，将江南水景的静谧雅致与小景温情相融，晕散出清旷禅意，简淡之间意蕴悠长，尽显雅致的文人审美意趣。",[23,24,25,26,30,117,432,433,434,435,205,436,7,437,438,439],"皴法","斧劈皴","留白","竹","溪石","静谧","雅致","禅意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb58c9c91f65b2fe6136eac6b0eff5de4.jpg",[],{"id":443,"slug":444,"title":445,"dynasty":170,"author":446,"museum":145,"description":447,"tags":448,"thumbUrl":449,"material":71,"size":71,"collection":71,"collections":450,"showCount":411,"zanCount":11,"manualWeight":11,"mainColor":124},227266,"yuan-yang-shuang-xi-qi-tu-huang-quan-227266","鸳鸯双西栖图","黄荃","黄荃在中国古代花鸟画发展史上占有重要地位。他集众家之长，鸟雀师刁光胤，山水师李昇，龙水、松石、墨竹师孙位，他能自出新意，不重蹈抄袭他人的陈迹，创出一种新体并使工笔花鸟画达到成熟期。黄荃的《写生珍禽图》其表现翎毛、昆虫等自然物态的精确性及其作为艺术形象的审美趣味性，确已达到妙造自然、形神兼备的地步。黄荃还继承和发展了边鸾描写活禽生卉的传统，以优美的笔致和赋色技巧表现动植物的生动情态。黄荃也能画山水、人物。与徐熙并称“徐熙野逸，黄家富贵。”。今有《写生珍禽图》传世。子黄居宷、黄居宝等亦擅花鸟，承其父法，黄居宷有《山鹧棘雀图》传世。",[23,25,24,26,175,28,29,30,7,134,32,307],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28c674b72f9c4538a81c5d18574dd6ea.jpg",[],{"id":452,"slug":453,"title":454,"dynasty":170,"author":446,"museum":145,"description":455,"tags":456,"thumbUrl":458,"material":151,"size":152,"collection":71,"collections":459,"showCount":460,"zanCount":11,"manualWeight":11,"mainColor":41},287393,"xie-sheng-yuan-yang-tu-ye-huang-quan-287393","写生鸳鸯图页","黄筌（约903年—965年），字要叔，成都（今四川成都）人。曾随唐末入蜀的著名画家刁光胤学画，又吸收山水画家李昇，人物龙水画家孙位之长，结果“全该六法，远过三师”他擅长花竹翎毛，也能画佛道，人物，山水，是一位技艺全面的画家。\n早以工画得名，擅花鸟，师刁光胤、膝昌苑，兼工人物、山水、墨竹。山水松石学李升，人物龙水学孙位，鹤师薛稷，撷诸家之萃，脱去格律而自成一派。所画禽鸟造型正确，骨肉兼备，形象丰满，赋色浓丽，勾勒精细，几乎不见笔迹，似轻色染成，谓之“写生”。与江南徐熙并称“黄徐”，形成五代、宋初花鸟画两大主要流派。",[23,175,25,24,28,29,30,7,457,435,307],"枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25a845abda755731af042149ceeda528.jpg",[],24,{"id":462,"slug":463,"title":7,"dynasty":18,"author":64,"museum":253,"description":464,"tags":465,"thumbUrl":466,"material":467,"size":468,"collection":71,"collections":469,"showCount":460,"zanCount":11,"manualWeight":11,"mainColor":124},222413,"yuan-yang-zhou-zhi-mian-222413","周之冕（1521—？）明代杰出画家，字服卿，号少谷，长洲（今江苏苏州）人。卒年不详，活跃于万历年间。擅花鸟，注重观察体会花鸟形貌神情，及禽鸟的饮啄、飞止等种种动态。善用勾勒法画花，以水墨点染叶子，画法兼工带写，人称勾花点叶法。所作花鸟，形象真实，意态生动，颇有影响。写意花鸟，最有神韵。设色亦鲜雅，家畜各种禽鸟，详其饮啄飞止，故动笔具有生意 。特以嗜酒落魄，不甚为世重耳。又善古隶。\n有明以来写花草者，无如吴郡，而吴郡自沈周之后，无如陈道复（1483—1544）陆叔平（1496—1576）然道复妙而不真，叔平真而不妙，周之冕似能兼之。周之冕采陈道复、陆治二家之长，为吴门画派重要画家。\n万历三十年（1602）作《竹石雄鸡图》轴和《百花图》卷，现藏故宫博物院；（1601）作 桃柳春燕图 手卷；《桂树榴雀图》轴藏南京博物院；万历十三年（1585）作《芙蓉凫鸭》图轴藏上海博物馆；十五年（1587）作《芙蓉双凫图》轴藏沈阳故宫博物院；三十年作《墨花图》卷藏天津市艺术博物馆；同年作《杏花锦鸡图》轴藏苏州市博物馆；二十四年作《梅花野雉图》轴藏辽宁省博物馆。",[23,175,29,28,30,7,134,53,307],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98587f1cbafb6c6a4d818fd057a66c80.jpg","纸本","17.5x47.3",[],{"id":471,"slug":472,"title":428,"dynasty":79,"author":429,"museum":145,"description":473,"tags":474,"thumbUrl":476,"material":151,"size":152,"collection":71,"collections":477,"showCount":478,"zanCount":11,"manualWeight":11,"mainColor":41},289797,"yuan-yang-tu-ye-ma-yuan-289797","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。\n出身绘画世家，南宋宋光宗、宋宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[23,25,30,435,205,475,7,117,29,27],"岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F082b48348fe18d95b38f3aac9561cb8d.jpg",[],23,{"id":480,"slug":481,"title":482,"dynasty":18,"author":483,"museum":145,"description":484,"tags":485,"thumbUrl":487,"material":71,"size":71,"collection":71,"collections":488,"showCount":489,"zanCount":11,"manualWeight":11,"mainColor":41},236838,"hua-shi-yuan-yang-zhou-lv-tang-236838","花石鸳鸯轴","吕棠","《吕棠花石鸳鸯图轴》是明代吕棠创作的绢本设色画。\n无款署，钤“竹村”、“吕氏怀芳”。\n此幅图追随吕纪粗笔花鸟风格绘制。\n山石用宋人“大斧劈”皴法，笔墨简练纯熟。\n以山花红叶点缀其间，色彩对比强烈。\n水边鸳鸯羽毛鲜艳，神态安详，使画面充满喜悦和平的气氛。\n作品从题材到技法都为明代院画的典型风格，虽年深日久，屡经揭裱，色墨脱落，但仍可想见其当时的富丽典雅。",[25,26,27,29,28,30,7,32,486,293],"花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb985c8407b206ecd0d907e24d3bf6da.jpg",[],22,{"id":491,"slug":492,"title":493,"dynasty":79,"author":316,"museum":145,"description":494,"tags":495,"thumbUrl":496,"material":71,"size":71,"collection":71,"collections":497,"showCount":489,"zanCount":11,"manualWeight":11,"mainColor":41},227778,"yuan-yang-tu-wan-shan-zhang-mao-227778","鸳鸯图纨扇","《双鸳鸯图》页，宋，张茂绘，纨扇页，绢本，设色，纵24.4厘米，横18.3厘米。\n\n本幅款识：“张茂”。\n\n此图选取水景局部：一丛芦苇蓼草探入画面，枝叶稀疏，叶留残雪。一对鸳鸯破水而行，游向苇丛。一只鹡鸰轻栖于苇杆，与俯冲而下的另一只遥相呼应。画面中、上部大片空白，使人联想到广阔水域的浩渺烟波，在构图上颇得小景见大之妙。\n\n画面构图简洁疏朗，浸透出丝丝寒意。气氛祥和宁静，寓意寒不异心。画家仅在鸳鸯游曳处画出几笔水波纹，既表现出鸳鸯的动感，又反映出水面的荡漾。在以鸳鸯为主题创造出安谧幸福的情境之余，又添绘相呼相随的小鸟二\n只，它们的顾盼关系使得上半部画面更加充实生动。\n\n芦苇用墨双勾，笔触挺拔劲健。禽鸟体形虽小，但一笔不苟，清晰工致，功力非凡。\n\n存《纨扇画》册中。《石渠宝笈初编》著录。",[23,24,25,26,175,28,29,30,7,319,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ab6dc118a52cfd44c31806284697cf7.jpg",[],{"id":499,"slug":500,"title":428,"dynasty":79,"author":429,"museum":145,"description":501,"tags":502,"thumbUrl":505,"material":71,"size":71,"collection":71,"collections":506,"showCount":507,"zanCount":11,"manualWeight":11,"mainColor":41},227830,"yuan-yang-tu-ye-ma-yuan-227830","此作用边角取景，以对角构图拉开悠远意境。劲挺的墨笔写竹枝，竹叶攒聚有致，清健爽利尽显竹之风骨。溪岸山石以大斧劈皴挥扫，棱角方硬苍劲，带着冷峭的质感。\n婉转的细线勾出溪间波涡，将水流的迂回急缓藏于笔底，澄澈空明的水色晕染出幽寂氛围。石上鸳鸯恬然依偎，柔婉的情态和冷硬的景致刚柔相济，以小见大，在尺幅之间铺展出水乡清寂的诗意，将精工写实与空灵禅意相融，尽显幽隽雅致的山水情致。",[23,25,26,503,29,28,435,205,7,32,30,504],"册","山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97ebd908d08df5f45d3c4cabb273658b.jpg",[],19,{"id":509,"slug":510,"title":511,"dynasty":79,"author":185,"museum":145,"description":512,"tags":513,"thumbUrl":514,"material":71,"size":71,"collection":71,"collections":515,"showCount":507,"zanCount":11,"manualWeight":11,"mainColor":41},223611,"zhu-ting-yuan-yang-tu-yi-ming-223611","竹汀鸳鸯图","画面截取江南水隅一角，修竹偃仰扶苏，以劲健墨笔勾写枝叶，浓淡晕染间，尽显层叠错落的清生意趣。汀洲之上，一对鸳鸯恬然依偎，翎毛细笔丝染，绒羽蓬松柔润，将亲昵温婉的情态描摹入微。\n\n水面留白晕开薄雾空蒙，三两水鸟掠波振翅，于静景中添灵动生机。全作用浅褐绢底烘托苍雅墨色，工写相融，既以精微笔触写实花鸟形质，又晕染出暮色江汀的清寂空濛，将江南水畔的闲澹之景，揉入宋人内敛含蓄的雅致意趣，尽显古典院体花鸟画的妍丽与空灵。",[23,24,25,26,28,29,30,435,7,53,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd38af8970d0e9b3d6c4052a52cdd7776.jpg",[],{"id":517,"slug":518,"title":169,"dynasty":170,"author":446,"museum":145,"description":455,"tags":519,"thumbUrl":520,"material":151,"size":152,"collection":71,"collections":521,"showCount":522,"zanCount":11,"manualWeight":11,"mainColor":124},289011,"xie-sheng-yuan-yang-tu-huang-quan-289011",[23,25,24,175,28,29,30,7,457,269,307],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99eb3603f22742b8d0c861e116284f61.jpg",[],18,{"id":524,"slug":525,"title":526,"dynasty":46,"author":185,"museum":145,"description":527,"tags":528,"thumbUrl":532,"material":151,"size":152,"collection":71,"collections":533,"showCount":522,"zanCount":11,"manualWeight":11,"mainColor":41},261130,"qian-long-kuan-dou-cai-yuan-yang-wo-lian-wen-wan-yi-ming-261130","乾隆款斗彩鸳鸯卧莲纹碗","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。",[529,530,531,7,51,29],"陶瓷","斗彩","碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fd3823732405acbe6ffacf1064ed289.jpg",[],{"id":535,"slug":536,"title":537,"dynasty":18,"author":538,"museum":145,"description":539,"tags":540,"thumbUrl":541,"material":151,"size":152,"collection":71,"collections":542,"showCount":522,"zanCount":11,"manualWeight":11,"mainColor":124},235368,"xue-mei-yuan-yang-tu-zhou-wang-li-235368","雪梅鴛鴦图軸","王醴","图绘雪景寒江，两只鸳鸯站岸边梳理羽毛。一株老梅，枝条繁茂，花开带雪，分外妖娆。雪竹挺立，小雀瑟栖于上。鸳鸯造型优美，色墨交融；梅树用笔老辣，用墨焦重，梅花清新淡雅，整个背景以淡墨渲染，留白以表雪意。",[25,26,27,29,30,28,86,84,7,67,269],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71ea2b246537e2b6d8f057e80a51eba4.jpg",[],{"id":544,"slug":545,"title":546,"dynasty":547,"author":185,"museum":145,"description":548,"tags":549,"thumbUrl":552,"material":71,"size":71,"collection":71,"collections":553,"showCount":554,"zanCount":11,"manualWeight":11,"mainColor":124},230522,"fang-gu-shan-shui-dong-wu-fen-ben-shou-ye-jia-tu-juan-yi-ming-230522","仿古山水动物粉本(狩野家图卷)","不详","此作以工写相融之笔绘就水畔闲景，一对鸳鸯依偎石间，雄鸟羽色妍秀，翎毛晕染精微，绒绒肌理宛然可见，雌鸟素朴温婉，二者亲昵缱绻，尽显静好之态。旁侧芍药轻绽，粉花柔叶勾勒秀雅，设色清润柔和。坡石以淡墨晕染虚化，留白衬出水泽空濛，将院体花鸟的精工细腻，与文人写意的淡逸糅合一处，把缱绻温情藏在幽寂小景里，静雅恬然，晕染出东方花鸟独有的诗意韵致。",[23,25,29,28,7,190,269,30,550,551],"植物","动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc9d5f83429ae56c7ef5eae540e6bcdd.jpg",[],15,{"id":556,"slug":557,"title":558,"dynasty":46,"author":185,"museum":145,"description":559,"tags":560,"thumbUrl":564,"material":151,"size":152,"collection":71,"collections":565,"showCount":566,"zanCount":11,"manualWeight":11,"mainColor":41},272958,"qi-xiang-qian-ci-hua-niao-tu-gua-ping-yi-ming-272958","漆镶嵌瓷花鸟图挂屏","瓷器是由瓷石、高岭土、石英石、莫来石等烧制而成，外表施有玻璃质釉或彩绘的物器。瓷器的成形要通过在窑内经过高温（约1280℃～1400℃）烧制，瓷器表面的釉色会因为温度的不同从而发生各种化学变化，是中华文明展示的瑰宝。\n中国是瓷器的故乡，瓷器是古代劳动人民的一个重要的创造。谢肇淛在《五杂俎》记载：“今俗语窑器谓之磁器者，盖磁州窑最多，故相延名之，如银称米提，墨称腴糜之类也。”当时出现的以“磁器”代窑器是由磁州窑产量最多所致。这是迄今发现最早使用瓷器称谓的史料。",[561,562,563,30,51,7,307],"挂屏","漆器","镶嵌工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0401789e4c10db1c8ecc2f378b1ee35a.jpg",[],14,{"id":568,"slug":569,"title":570,"dynasty":79,"author":185,"museum":20,"description":571,"tags":572,"thumbUrl":573,"material":223,"size":574,"collection":71,"collections":575,"showCount":566,"zanCount":11,"manualWeight":11,"mainColor":41},233020,"wan-shan-hua-ce-zhang-mao-shuang-yuan-yang-ye-yi-ming-233020","纨扇画册-张茂双鸳鸯页","画面构图简洁疏朗，浸透出丝丝寒意。气氛祥和宁静，寓意寒不异心。画家仅在鸳鸯游曳处画出几笔水波纹，既表现出鸳鸯的动感，又反映出水面的荡漾。在以鸳鸯为主题创造出安谧幸福的情境之余，又添绘相呼相随的小鸟二只，它们的顾盼关系使得上半部画面更加充实生动。\n芦苇用墨双勾，笔触挺拔劲健。禽鸟体形虽小，但一笔不苟，清晰工致，功力非凡。\n此图选取水景局部：一丛芦苇蓼草探入画面，枝叶稀疏，叶留残雪。一对鸳鸯破水而行，游向苇丛。一只鹡鸰轻栖于苇杆，与俯冲而下的另一只遥相呼应。画面中、上部大片空白，使人联想到广阔水域的浩渺烟波，在构图上颇得小景见大之妙。",[24,25,26,175,503,28,29,30,7,319,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5c1f19dd445227b06136999af12f821.jpg","纵24.4cm，横18.3cm",[],{"id":577,"slug":578,"title":579,"dynasty":580,"author":185,"museum":145,"description":581,"tags":582,"thumbUrl":589,"material":151,"size":152,"collection":71,"collections":590,"showCount":591,"zanCount":11,"manualWeight":11,"mainColor":592},224011,"he-zhu-yuan-yang-bai-yu-fang-xi-huan-dai-wen-ding-fu-jian-yi-ming-224011","荷渚鸳鸯白玉，仿西环带纹鼎附件","周","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。",[583,584,585,586,587,51,7,588],"玉石","玉器","雕刻","透雕","西环带纹","周代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5437e72ee0f631a082a4179c2afa2dd9.jpg",[],13,"FFFFFF",{"id":594,"slug":595,"title":596,"dynasty":79,"author":185,"museum":145,"description":597,"tags":598,"thumbUrl":599,"material":71,"size":71,"collection":71,"collections":600,"showCount":601,"zanCount":11,"manualWeight":11,"mainColor":41},227911,"zhu-jian-yuan-yang-tu-yi-ming-227911","竹涧鸳鸯图","这幅小品以边角取景，将幽寂山涧铺陈于尺幅之间。右侧崖壁古木斜出，新篁附石抽梢，苔痕历历；崖下茅舍半隐，野径蜿蜒，慢慢没入淡远平芜。\n\n画面左侧清空之上，禽鸟振翅穿空，将山涧的静气轻轻划破。淡墨晕染烟岚，远景虚渺朦胧，近景的竹、木、石以细劲勾勒间施皴擦，质感宛然。全作以简驭繁，不着浓艳，仅以水墨层次区分远近虚实，把江南山隅无人惊扰的闲逸尽数凝住，似可听闻涧水轻响、林风穿叶，将宋人寄情林泉的幽淡襟怀融在尺幅之中，余韵悠悠。",[23,25,175,28,29,504,435,205,7,30,53,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc68574cd4486c08d626211cf6dab797a.jpg",[],12,{"id":603,"slug":604,"title":605,"dynasty":46,"author":606,"museum":290,"description":607,"tags":608,"thumbUrl":609,"material":71,"size":71,"collection":71,"collections":610,"showCount":601,"zanCount":11,"manualWeight":11,"mainColor":611},201879,"he-hua-yuan-yang-tu-zhou-dai-jun-201879","荷花鸳鸯图轴","戴峻","荷塘间，粉白荷花或盛放或含苞，荷叶墨绿层叠，舒展有致。水面鸳鸯相嬉，一羽斑斓灵动，一羽素雅沉静，姿态亲昵，似诉温情。画作以工笔细描，线条婉转，设色温润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2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[1089,1090,29,28,51,7,190,69,706],"敦煌","宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F047e6c25baf5508676b212688b0345f0.jpg",[],{"id":1094,"slug":1095,"title":1096,"dynasty":79,"author":185,"museum":145,"description":1097,"tags":1098,"thumbUrl":1099,"material":151,"size":152,"collection":71,"collections":1100,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},223724,"yin-hua-yuan-yang-chuan-lian-die-yi-ming-223724","印花鸳鸯穿莲碟","定窑是中国传统制瓷工艺中的珍品，宋代六大窑系之一，它是继唐代的邢窑白瓷之后兴起的一大瓷窑体系。主要产地在今河北省保定市曲阳县（原属今定州市）的涧磁村、野北村及东燕川村、西燕川村一带，因该地区唐宋时期属定州管辖，故名定窑。\n定窑原为民窑，北宋中后期开始烧造宫廷用瓷。创烧于唐，极盛于北宋及金，终于元，以产白瓷著称，兼烧黑釉、酱釉和绿釉瓷，文献分别称其为黑定、紫定和绿定。\n定窑从邢窑而来，由于历史的变迁，定窑随着地域变化，新瓷土料的运用和制瓷工艺的进步。卞向和认为：定窑最大的贡献就是在中国陶瓷发展的历史上闪烁过光芒，在中国陶瓷史和世界的陶瓷发展史上留下辉煌的一页。",[79,529,1054,7,51,743],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff171d46556f27b157b654c557f0b78c0.jpg",[],1777535704595]