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30.2cm",[],268,1,{"id":176,"slug":177,"title":178,"dynasty":75,"author":76,"museum":179,"description":180,"tags":181,"thumbUrl":183,"material":66,"size":184,"collection":66,"collections":185,"showCount":186,"zanCount":174,"manualWeight":11,"mainColor":108},233895,"hua-hui-ce-yun-shou-ping-233895","花卉册","藏地不详","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。",[24,25,26,102,28,79,30,80,7,182],"叶子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e39781d8731f909f8ad4b52da88dd7d.jpg","纵32.5厘米，横25.5厘米",[],215,{"id":188,"slug":189,"title":190,"dynasty":191,"author":192,"museum":193,"description":194,"tags":195,"thumbUrl":200,"material":66,"size":66,"collection":66,"collections":201,"showCount":202,"zanCount":203,"manualWeight":11,"mainColor":108},220578,"huang-bin-hong-ben-hua-niao-shan-shui-ce-ye-huang-bin-hong-220578","黄宾虹本花鸟山水册页","民国","黄宾虹","中国美术学院美术馆","此作以分段折枝花鸟铺陈，各景花木情态自具：牡丹秾艳娇柔，梅枝清癯疏朗，铃兰、山茶各见风姿。以淡彩晕染花萼枝叶，勾勒轻简见笔力，兼具写生之真与写意之逸，既有青藤白阳的纵逸笔意，又自出机杼。题跋书法与花木相映成趣，诗画交融，晕染淡雅却筋骨暗蕴，艳而不俗，淡而不薄，将花木的柔媚与文人画的清雅风骨相融，尽显明清逸格画韵的余味，笔底漾着沉静文心，是极具文人雅致的花鸟小品佳作。",[23,25,26,102,28,29,196,41,30,32,84,82,7,37,85,197,198,199],"行书","兰","墨","纸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaf98760b63f1afddbdee99352c5f94a.jpg",[],168,3,{"id":205,"slug":206,"title":207,"dynasty":75,"author":208,"museum":128,"description":209,"tags":210,"thumbUrl":212,"material":66,"size":66,"collection":66,"collections":213,"showCount":214,"zanCount":163,"manualWeight":11,"mainColor":70},223165,"hua-niao-tu-shen-quan-223165","花鸟图","沈铨","沈铨（1682—1760）， 其画远师宋代黄家画派，近承明代吕纪，工写花卉翎毛，禽兽，设色妍丽，工致精丽、赋色浓艳，极尽构梁之巧。画面注重写实，画风谨严工细，造型准确生动。",[23,25,26,143,29,28,30,7,211,41],"飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe00ca506998e033f25ccdeadf9498bce.jpg",[],167,{"id":216,"slug":217,"title":207,"dynasty":75,"author":218,"museum":219,"description":220,"tags":221,"thumbUrl":224,"material":225,"size":226,"collection":47,"collections":227,"showCount":228,"zanCount":229,"manualWeight":11,"mainColor":70},219037,"hua-niao-tu-yu-yuan-219037","虞沅","大英博物馆","墨羽公鸡静立花侧，红冠似火，黑翎如缎，姿态沉稳中藏着几分灵动。粉白花卉枝叶舒展，花瓣层叠若绡，工笔细描下，每一处脉络都清晰可见，温婉雅致。几只彩蝶翩跹其间，或停于花尖，或掠过长空，为静谧画面注入鲜活生气。绢本底色温润如琥珀，设色淡雅清逸，笔墨间流淌着自然之韵，将花鸟之态与文人意趣融于一纸。细品之，仿佛能闻见花香浮动，听见蝶翅轻振，尽显传统工笔花鸟的细腻与生机，雅韵天成。",[24,25,26,143,29,28,30,32,7,222,38,223,182],"公鸡","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a6f640052cff4b884ea0dd8c1a091f6.jpg","绢本,设色","纵65.4横79.5厘米",[47],155,2,{"id":231,"slug":232,"title":74,"dynasty":18,"author":19,"museum":157,"description":233,"tags":234,"thumbUrl":236,"material":43,"size":237,"collection":66,"collections":238,"showCount":239,"zanCount":203,"manualWeight":11,"mainColor":108},231540,"bai-hua-tu-juan-yi-ming-231540","此幅画四季花卉约60种，长近17米，堪称辉煌巨制。尾纸钤鉴藏印“棠村”、“蕉林梁氏书画之印”等，有乾隆、嘉庆、宣统鉴赏印及清内府鉴藏印多方。\n此图绘四季花卉五十余种，其中主要有梅花、山茶、牡丹、百合、芍药、海棠、萱花、含笑、碧桃、桃花、梨花、石竹花、罂粟、打破碗花、栀子、蕙兰、荷花、并蒂莲、鸡冠花、蓼花、芙蓉、扁豆花、石蒜花、桂花、菊花、山丹、牵牛花、凤仙花、蜀葵、秋葵等。\n花间分别点缀禽鸟、蜻蜓、蝴蝶、蜜蜂、蚱蜢、小鱼等，颇具自然生机和情趣。图中花卉和动物，都用细线勾描，浓淡墨多层晕染，花之娇态、层次，页之筋脉、转折、凹凸刻画得很细致。全图用笔工细，用墨于单纯中求丰富，统一中求变化，使画面富有秀雅之美。图卷首段的梅花的画法接近南宋扬无咎的风格而又有变化。这种工而不板，艳二不火的画风，开文人花鸟画的先河。画中钤有「乾隆御览之宝」、「三希堂精鉴玺」、「嘉庆御览之宝」、「宣统御览之宝」等印玺多方。无作者款印，曾经清内府收藏，《石渠宝笈三编》著録。\n画面上花鸟之间穿插自然，毫无牵强拼凑之意。其间又点缀蜂、蚊、蜻蜓、蝴蝶、游鱼、青蛙之类，显得生意盎然。全卷纯使水墨，亦加白描花卉，除卷首的梅花近似扬无咎的画法略带写意笔外，其他全用墨笔工写，以墨代色，兼勾勒墨染与白描，且融入了没骨画法，体现了宋工笔花鸟精密不苟的画风。又以单纯的水墨代替艳丽的设色，呈现出清淡典雅的情趣。一脱繁复刻板的院体末路，突破了传统花鸟画的时空限制，呈现出崭新的面貌。这种技法对元代钱选、王渊、赵衷的墨笔花卉以及后来文人水墨花卉都有一定的影响。",[23,24,25,26,27,29,28,30,235,38,39,117,32,37,84,7],"百花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd98aa4ddc30bf83c5a67d1f1c11a05a.jpg","纵31.5厘米、横1679.5厘米",[],153,{"id":241,"slug":242,"title":243,"dynasty":113,"author":244,"museum":179,"description":245,"tags":246,"thumbUrl":254,"material":66,"size":66,"collection":66,"collections":255,"showCount":256,"zanCount":174,"manualWeight":11,"mainColor":108},228271,"er-shi-si-fan-hua-xin-tu-juan-wei-zhi-ke-228271","二十四番花信图卷","魏之克","此作用没骨法写群芳次第铺展，艳红山茶花、柔粉芙蓉、明黄牵牛、素白水仙等错落排布，将四季花信的娇美姿态尽揽卷中。\n\n敷色妍丽清润，花叶晕染细腻自然，花瓣的柔润肌理、叶片的明暗层次皆被精微呈现。勾勒线条纤秀柔和，不着笔痕却见风骨。构图舒展疏朗，一花一叶各含生机，毫无拥塞之感，将文人意趣融于写生之中，整卷清新雅致，如将春日烂漫温柔铺陈眼前，观之如沐东风，尽现写生花鸟的雅致意韵。",[23,25,26,27,29,28,30,247,197,32,37,84,85,7,248,81,249,250,251,252,80,62,253,41],"梅","杜鹃","山茶","海棠","栀子","茉莉","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fcbf65ccf427d0eec788db6bcfcdb78.jpg",[],137,{"id":258,"slug":259,"title":260,"dynasty":113,"author":261,"museum":262,"description":263,"tags":264,"thumbUrl":282,"material":148,"size":283,"collection":284,"collections":285,"showCount":286,"zanCount":229,"manualWeight":11,"mainColor":70},221914,"jiao-lin-zhuo-jiu-tu-chen-hong-shou-221914","蕉林酌酒图","陈洪绶","天津博物馆","该图设色画夏日庭园，湖石玲珑，蕉竹摇翠，月季盛开。花石丛中，一老人傍石案，手把古爵，悠然酌酒。下有一仕女、一婢女，正忙于漉酒。画面器物，如鼎、壶、琴、书等，皆为古物，反映出主人的身份，是一位超然世外的好古博雅之士。\n线条:全画线条细劲，画法全用细劲的线描勾勒而成，衣褶用笔，细劲清圆，芭蕉奇石用笔简净而抑健，线条有如刀刻，呈现出刚柔、曲折，变化多端，功力极其精湛。其线描的长短、疏密、粗细均服从于写实要求，更多地按照画面构成的需要，产生一种略有装饰的效果，具有较高的审美价值。赋色淡雅透明，即使古铜器上的石绿、石青锈斑，也不作浓涂厚抹。\n色彩:此画总体来说，以青绿冷色凋为主，仅在蕉花、靠垫和仕女的内衣部位点染朱红，万绿丛中有几点红，因而观之对比鲜明而强烈，色彩较为艳丽，但却没有艳俗火气，充分说明画家在用墨设色方面，已达到了炉火纯青的境界。",[23,25,28,29,265,266,267,268,269,270,7,271,272,273,274,275,276,277,278,279,280,281],"线描","青绿","夏日","庭园","芭蕉","湖石","人物","饮酒","漉酒","青铜器","琴","书","鼎","壶","饮酒器","冷色调","悠然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F722b97356d758cf77ecdb51664e87f38.jpg","纵156.2厘米，横107厘米","人物画精选",[284,48],119,{"id":288,"slug":289,"title":290,"dynasty":113,"author":291,"museum":179,"description":292,"tags":293,"thumbUrl":298,"material":66,"size":66,"collection":66,"collections":299,"showCount":300,"zanCount":174,"manualWeight":11,"mainColor":108},228760,"shi-er-mo-hua-shi-hua-tu-juan-xu-wei-228760","十二墨花诗画图卷","徐渭","此作用淋漓水墨写尽草木风神，以书入画，笔锋纵恣老辣。长卷铺展，一花一诗相生相融，浓墨泼洒见花枝繁盛，淡墨勾勒显枝叶清灵，干湿浓淡间，四时花木的野逸之态跃然纸上。\n逸笔草草不拘形似，却将花木的疏狂生机、清寂之姿尽数展露，以极简笔墨传递蓬勃意趣，将文人疏放心境寄情于一花一叶，笔墨间满是狂放不羁的风骨，尽显大写意水墨的写意真髓。",[23,25,26,27,294,295,41,196,247,197,296,82,297,32,85,37,7,145,30],"水墨","写意","竹","荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80ebde713ecf78a9dd05b8f4040f76c2.jpg",[],114,{"id":302,"slug":303,"title":304,"dynasty":75,"author":305,"museum":179,"description":306,"tags":307,"thumbUrl":310,"material":66,"size":66,"collection":66,"collections":311,"showCount":312,"zanCount":174,"manualWeight":11,"mainColor":70},228958,"lan-hua-yue-ji-tu-jiang-ting-xi-228958","兰花月季图","蒋廷锡","此作用笔兼工带写，右方湖石以水墨晕染，苍朴温润，月季柔枝缠石而上，粉花轻绽，翠叶扶疏，娇妍鲜活。左侧兰叶舒展有姿，柔韧挺拔，幽兰隐于草间，清寂出尘。\n\n设色淡雅克制，月季粉柔、兰叶苍绿与湖石墨色相互调和，把花木的柔媚与清逸平衡得当。搭配题诗，诗画映合，将春日幽隅的清雅小景晕染出温婉意趣，既得院体花鸟的细腻秀润，又饱含文人写意的疏朗书卷气，把草木闲情与文心雅意相融，尽显雅致幽隽的古典情致。",[23,24,25,26,143,28,29,34,7,308,309],"山石","杂草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b7b6a2a772a0f5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（1812-？）本名张槃，河北定兴人，工篆隶书法，尤精画鸟。（清）原名柞枝，字小蓬（一作小槃），号圆腹道人，直隶定兴人。官山东武定同知。工篆、隶。放情诗酒，余事作花鸟，备极精能，亦能山水。光绪二年（1876）尝客袁浦作红药双鹑图。性简傲，乞其画者必择人而予。",[25,26,351,28,30,7,197,41],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0e694aee14afb2a0093a45ad78f3bea.jpg",[],{"id":355,"slug":356,"title":357,"dynasty":75,"author":358,"museum":179,"description":359,"tags":360,"thumbUrl":361,"material":340,"size":341,"collection":66,"collections":362,"showCount":363,"zanCount":229,"manualWeight":11,"mainColor":108},288138,"hua-niao-tu-ye-ren-yi-288138","花鸟图页","任颐","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。",[23,25,351,29,28,30,211,7,63,41],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb60e23a255768ce7e9fd81450f398093.jpg",[],88,{"id":365,"slug":366,"title":367,"dynasty":75,"author":336,"museum":179,"description":368,"tags":369,"thumbUrl":371,"material":66,"size":66,"collection":372,"collections":373,"showCount":374,"zanCount":11,"manualWeight":11,"mainColor":108},238316,"dong-gao-tang-hua-si-yong-zhou-dong-gao-238316","董诰唐花四咏轴","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝 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”。",[25,26,143,29,28,30,32,7,85,197,370,41],"器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F265a9b103f69a3bf5301103660d3bc32.jpg","书法精选",[372],73,{"id":376,"slug":377,"title":378,"dynasty":75,"author":140,"museum":20,"description":379,"tags":380,"thumbUrl":381,"material":28,"size":382,"collection":66,"collections":383,"showCount":384,"zanCount":11,"manualWeight":11,"mainColor":108},222744,"xian-e-chang-chun-tu-03b-lang-shi-ning-222744","仙萼长春图-03b","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。",[23,24,25,26,29,28,30,7,211,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00506c220c38058c15ebc098e593bc75.jpg","宽28.4公分，高33.7公分",[],71,{"id":386,"slug":387,"title":388,"dynasty":75,"author":19,"museum":20,"description":389,"tags":390,"thumbUrl":391,"material":65,"size":66,"collection":47,"collections":392,"showCount":393,"zanCount":229,"manualWeight":11,"mainColor":108},216604,"niao-pu-ce-yi-ming-216604","鸟谱册","翎羽覆蓝如染，腹间留白似雪，双鸟栖息枝头，姿态悠然。枝上白瓣轻绽，若星点坠叶间；红实缀枝，如丹砂凝珠。墨石以皴擦出肌理，朴拙中见苍劲。旁侧题跋笔意流转，朱印钤盖添韵，笔墨与丹青交融，自然生机与文人雅致相映成趣。画面清逸古雅，于细微处藏匠心，将禽鸟之态、草木之姿绘得灵动鲜活，尽显传统花鸟之韵致，观之如临幽境，心随鸟羽轻扬，沉醉于这份自然与笔墨交织的雅致中。",[25,28,29,102,30,145,211,41,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fbe133283d9300756a99be85b74661e.jpg",[47],64,{"id":395,"slug":396,"title":397,"dynasty":113,"author":398,"museum":57,"description":399,"tags":400,"thumbUrl":401,"material":402,"size":403,"collection":66,"collections":404,"showCount":405,"zanCount":11,"manualWeight":11,"mainColor":108},222099,"si-ji-hua-hui-juan-shen-zhou-222099","四季花卉卷","沈周","此卷绘各色花卉，用笔不斤斤于形似，得花之天趣，开以后白阳，青藤花卉大写意之法门。沈周出身诗书门第，幼受严训，师承大家，饱览祖传的书画名迹，又周游名山大川，这些优厚条件，对他一生的创作，有莫大的裨益和帮助。沈周画的梅、兰、菊、竹传统文人画题，变化多样，运用彩色没骨画法，创出新颖的文人花鸟画。对后期的花卉画家影响深远。\n沈周（1427-1509），字启南，号石田，晚号白石翁，明代画家，书法家，文学家，医学家，长洲（今江苏苏州）人。出身富裕的书香绘画世家，少时师从陈宽学习诗文，青年时期师从伯父沉贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。与文征明、唐寅、仇英并称「明四家」，是吴门画派的创始人。他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。",[23,25,26,27,28,29,30,247,197,82,32,37,84,85,7,63,41],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f527202709f0b8a75e4edc90151d183.jpg","纸本水墨","27.5 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绝出尘象之外。",[23,25,26,27,294,30,295,41,32,83,31,37,7,85,34,529,33],"梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc52c46bc4e3b4ca5a9f77865bc6868ab.jpg","纸本，水墨",[],{"id":534,"slug":535,"title":536,"dynasty":75,"author":537,"museum":179,"description":538,"tags":539,"thumbUrl":540,"material":66,"size":66,"collection":66,"collections":541,"showCount":522,"zanCount":11,"manualWeight":11,"mainColor":108},224319,"hua-niao-ce-shi-kai-9-li-shan-224319","花鸟册十开9","李鱓","淡粉晕染月季花瓣，瓣尖轻施浓色，将盛放的娇柔饱满、花苞含露的娇憨情态描摹尽致。带刺的细枝斜逸舒展，枝叶晕染出阴阳向背，鲜活生动。旁侧行草题字笔势纵横跌宕，墨色浓淡错落，诗画相映。\n\n花木的缱绻生机，合着文人疏放的笔墨意趣，形神兼备。笔简意足，在秀雅鲜活的写生中，又带着独有的桀骜风骨，将花木情态与文人心绪融于尺幅之间，尽显写意风神。",[23,25,26,102,28,30,7,63,41],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c574adcbda1a40cb7c88b1fb4f19147.jpg",[],{"id":543,"slug":544,"title":545,"dynasty":75,"author":19,"museum":179,"description":546,"tags":547,"thumbUrl":554,"material":340,"size":341,"collection":66,"collections":555,"showCount":556,"zanCount":174,"manualWeight":11,"mainColor":70},270523,"yin-shao-lan-qian-yu-shi-bo-li-hai-tang-shi-ping-fen-se-bo-li-yue-ji-ping-jing-yi-ming-270523","银烧蓝嵌玉石玻璃海棠式瓶粉色玻璃月季瓶景","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。",[548,549,550,551,7,80,552,553],"银器","珐琅器","玉石","玻璃","瓶景","摆件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F154c4785f11a9d82183db6c7f9d3581a.jpg",[],18,{"id":558,"slug":559,"title":560,"dynasty":113,"author":261,"museum":561,"description":562,"tags":563,"thumbUrl":564,"material":102,"size":66,"collection":66,"collections":565,"showCount":566,"zanCount":11,"manualWeight":11,"mainColor":108},221899,"hua-niao-jing-pin-ce-10-chen-hong-shou-221899","花鸟精品册10","美国克利夫兰艺术博物馆","陈洪绶（1599～1652），明末清初著名书画家、诗人，字章侯，号老莲，浙江绍兴人。其画手法简练，格调高古，享誉明末画坛，与当时的顺天崔子忠齐名，号称“南陈北崔”。花鸟工笔描绘精细，设色清丽，富有装饰味。",[25,28,102,30,7,62,41],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe95741cb821c73a2e9a3024a6f2652bd.jpg",[],17,{"id":568,"slug":569,"title":570,"dynasty":75,"author":19,"museum":179,"description":571,"tags":572,"thumbUrl":576,"material":66,"size":66,"collection":66,"collections":577,"showCount":578,"zanCount":229,"manualWeight":11,"mainColor":108},238187,"wang-cheng-pei-ji-hui-ming-he-juan-yi-ming-238187","汪承霈集卉鸣和卷","此卷开篇绘幽竹亭亭，鸣虫静栖竹间，溪畔蓝花簇生，野趣盎然。清溪蜿蜒穿流过浅渚，渐入群芳盛放之景：粉菊、蓝花、红卉与素白琼英交织错落，枝叶柔曼舒展。蜻蜓振翅掠水，蛱蝶穿花翩跹，蜂虫流连芳丛，诸般小生灵衬得满卷生机浮动。全作用笔纤柔细腻，工笔淡彩晕染雅致明秀，将郊野春景的清灵意趣缓缓铺展，把花间小景的娴静生机描摹尽致，宛如将融融春日的一隅闲趣，凝于素绢之上。",[23,25,26,27,29,28,30,296,60,38,39,573,574,308,575,87,297,32,37,7],"蝉","流水","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946dcdc9d843fe6490645d4ecbbb0d23.jpg",[],16,{"id":580,"slug":581,"title":178,"dynasty":75,"author":336,"museum":179,"description":368,"tags":582,"thumbUrl":583,"material":66,"size":66,"collection":66,"collections":584,"showCount":69,"zanCount":11,"manualWeight":11,"mainColor":108},238363,"hua-hui-ce-dong-gao-238363",[25,26,102,29,28,30,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3e8a237751c0f1cd342705659286bb4.jpg",[],{"id":586,"slug":587,"title":588,"dynasty":113,"author":589,"museum":179,"description":590,"tags":591,"thumbUrl":593,"material":66,"size":66,"collection":66,"collections":594,"showCount":69,"zanCount":11,"manualWeight":11,"mainColor":108},234214,"zhang-yan-mo-hua-juan-zhang-yan-234214","张彦墨花卷","张彦","张彦（？－？），字伯美，号无诤道人，嘉定（今属上海市）人，一作江苏苏州人，明朝画家。\n万历四十一年（1631年）作《山水图》，著录于《退庵题跋》\n崇祯二年（1629年）作《寒林钟馗图》，著录于《爱日吟庐书画录》\n传世作品有《山径携琴图》轴，现藏南京博物院\n崇祯十年作《松溪放舟图》轴图录于《中国名画宝鉴》\n崇祯十二年（1639）作《设色山水图》卷著录于《中国书画家印鉴款识》；同年作《雪景梅花图》轴，纸本，设色，现藏苏州市博物馆",[23,25,26,27,294,592,30,247,197,296,82,297,32,37,7,85],"白描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff41ab333b99a0d13328d654b652e75f6.jpg",[],{"id":596,"slug":597,"title":598,"dynasty":75,"author":599,"museum":179,"description":600,"tags":601,"thumbUrl":605,"material":66,"size":66,"collection":66,"collections":606,"showCount":69,"zanCount":11,"manualWeight":11,"mainColor":108},234117,"hua-guo-juan-yuan-jiang-234117","花果卷","袁江","清代康熙至乾隆时期，我国东南的扬州地区，由于商品经济的发展，涌现出了一批追求个性解放，锐意创新的画家群体，这就是画史上称之“扬州画派”，或曰“扬州八怪”。在这个画派中，除了拥有人数众多名震画坛的山水、花鸟和人物画家之外，还出现了一批界画作家，如李寅，颇峰、袁江、袁帽，颇岳等，而袁江、袁耀则是这批楼阁界画的佼佼者，他们成就最大，名望最高，把我国传统的界画技法发展到了一个新的高度，并对后世产生了深远的影响。\n关于袁江的生卒，由于画史无记载，我们只能在袁氏的作品中寻找。据笔者所知，袁江现存最早有纪年的作品是画于康熙三十二年(公元1693年)，最晚的作品画于乾隆八年(公元1743年)，学者以此推测他大约生于康熙十年(公元1671年)前后，卒于乾隆八年，或稍后一、二年之内。他早年生活在“千家养女先教曲，十里栽花算种田”，“夜桥灯火连星汉，水郭帆樯近斗牛”的繁华城市扬州，以后他又到过江宁(今江苏南京)、会稽(今浙江绍兴)。又根据袁江《花鸟图》二幅(藏故宫博物院)的署款“癸卯二月古榕袁江画”，他可能还到过福州，因为“榕”是福州市的别称。又据袁江传世真迹《瞻园图》判断，袁江可能还在南京生活过一段时间，\n因为瞻园是明太祖朱元璋的大将徐达的府第，(位于南京市)。雍正二年(公元1724年)，他北上抵京师(北京)作画，郭味蕖记载他在画中的自题：“在燕台作此图”就是佐证。大至到了晚年，袁江又回到家乡扬州，从他署有年款的“邗上袁江”的大量作品看就能证明这一点，因“邗”即今名的扬州市，(见《左传·哀》九年：“秋，吴城邗，沟通江淮”)。谈到袁江山水楼阁画的师承，文献记载极少，李斗《扬州画舫录》说他“初学仇十洲”，面仇英之画，近师周臣，远“摹唐来人之画，皆能夺真”，由此推之，袁江的画上溯可至唐代的李思训、李昭道父子以及赵伯驹和赵伯骑兄弟。袁江工整细致，设色浓丽的楼阁界画风格，确有仇英的遗韵。又据《画人补遗》记载：“中年得无名氏所临古人画稿”，这“无名氏”又是谁?学术界说法不一，而据有的学者推测，它应该是来人名迹，因为从袁江的山水画中，可以看出有北宋范宽，郭熙，李成、阎次平以及南宋的马远、夏圭等人的画法和遗风。在经营位置上，他又吸收了元明以来山水画的长处，予以融合变化，形成自己的特色。他学“院体”，但又脱去院画中纤弱之笔和艳俗之弊，变为凝炼厚重、工致妍美、艳而不俗的风格。袁江的楼阁界画，更是继承了唐李思训父子，宋赵伯驹兄弟和郭熙以来界画的传统以及元代王振鹏等楼阁画用笔严谨．精雕细刻的画风，并加以发扬光大。",[25,26,24,27,28,294,29,30,602,603,83,32,7,37,85,81,247,197,296,82,604,80,62,41],"桃子","西瓜","果实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18aa0380b6630459be1fef1dc09c8650.jpg",[],{"id":608,"slug":609,"title":610,"dynasty":75,"author":611,"museum":99,"description":612,"tags":613,"thumbUrl":614,"material":66,"size":66,"collection":47,"collections":615,"showCount":69,"zanCount":174,"manualWeight":11,"mainColor":616},201783,"qiang-wei-hu-die-tu-zhou-wang-wu-201783","蔷薇蝴蝶图轴","王武","孤石苍劲立画面中央，墨色皴擦出厚重肌理，似载岁月沉淀之态。石侧月季粉瓣层叠，藤蔓缠绕间显灵动；石下蓝紫花卉舒展，青叶片片修长，线条柔婉。设色淡雅，水墨与淡彩交织，花鸟鲜活如生。工写结合的笔触，写意的洒脱与工笔的细腻相融，营造出静谧雅致的文人意境。",[25,30,145,7,28,29,294,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，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[25,26,143,28,29,30,624,82,37,7,625,62,41,294,626,80,627],"秋花","藤蔓","清代","合作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e1454da1fc321a9cf26daccf2083cf8.jpg",[],14,{"id":632,"slug":633,"title":634,"dynasty":75,"author":635,"museum":179,"description":636,"tags":637,"thumbUrl":639,"material":340,"size":341,"collection":66,"collections":640,"showCount":630,"zanCount":11,"manualWeight":11,"mainColor":108},235698,"hua-hui-tu-ce-zou-yi-gui-235698","花卉图册","邹一桂","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》。",[25,26,102,29,28,30,7,253,62,638],"花苞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91f5bc631b1f157fd2800176f3a1860a.jpg",[],{"id":642,"slug":643,"title":644,"dynasty":75,"author":645,"museum":99,"description":646,"tags":647,"thumbUrl":649,"material":43,"size":66,"collection":66,"collections":650,"showCount":630,"zanCount":11,"manualWeight":11,"mainColor":70},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。",[25,26,102,28,30,80,7,182,648,63,41],"枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d8a60034e0f2aa9cbe6407d84c18d44.jpg",[],{"id":652,"slug":653,"title":634,"dynasty":75,"author":654,"museum":99,"description":655,"tags":656,"thumbUrl":10,"material":66,"size":66,"collection":47,"collections":658,"showCount":630,"zanCount":11,"manualWeight":11,"mainColor":659},203062,"hua-hui-tu-ce-ju-lian-203062","居廉","墨痕流转间，花枝自右下蜿蜒而上，苍劲枝干携新蕾，与盛放花团相映成趣。花瓣以淡墨晕染，边缘轻浅如纱，花心浓墨点簇藏生机；叶片墨色层叠，浓处似坠墨玉，淡处若浮轻烟，撞水之法隐于肌理，更显润泽。留白写意，疏朗间见雅致，笔墨简劲却形神兼备，将花卉娇柔与风骨凝于尺幅，尽展写生精妙与文人雅趣。",[25,294,30,7,41,79,657,23],"撞水",[47],"cdc2ab",{"id":661,"slug":662,"title":663,"dynasty":75,"author":664,"museum":179,"description":665,"tags":666,"thumbUrl":672,"material":340,"size":341,"collection":66,"collections":673,"showCount":674,"zanCount":11,"manualWeight":11,"mainColor":108},241061,"yi-men-ge-ti-shu-ji-shan-hua-he-juan-liu-wei-tan-241061","一门各体书及扇画合卷","刘位坦","清著名藏书家、书画家。字宽夫，号后园。顺天大兴（今属北京）人。道光五年（1825）拔贡生，咸丰元年（1851）以御史出守湖南辰州府，咸丰八年乞归。家收藏的碑帖拓本极富，典籍、金石、书画，无不收罗。后迁居孙承泽遗址，在城中广济寺建书室，因得到汉代河间献王刘德君子馆砖，遂名其居室为“君子馆砖馆”，又名“砖祖斋”又因所居孙退谷旧园后，作一联“君子馆砖馆，孙公园后园”。",[23,27,351,26,667,196,668,669,670,29,28,41,30,671,32,83,85,84,7,197,296,80],"楷书","草书","篆书","隶书","山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0646519a86aa98f1749e23a2fe9d187d.jpg",[],11,{"id":676,"slug":677,"title":178,"dynasty":113,"author":678,"museum":179,"description":679,"tags":680,"thumbUrl":681,"material":340,"size":341,"collection":66,"collections":682,"showCount":674,"zanCount":11,"manualWeight":11,"mainColor":108},235472,"hua-hui-ce-qi-xun-235472","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。",[25,26,102,196,28,29,30,7,62,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F490a6d8cd0412f0d7d29c27368562d38.jpg",[],{"id":684,"slug":685,"title":686,"dynasty":75,"author":687,"museum":179,"description":688,"tags":689,"thumbUrl":690,"material":340,"size":341,"collection":66,"collections":691,"showCount":692,"zanCount":11,"manualWeight":11,"mainColor":108},238848,"mian-yi-hua-hui-xiao-ce-mian-yi-238848","绵亿花卉小册","绵亿","绵亿（1764年9月10日－1815年4月14日），直隶省顺天府大兴县（今北京市）人，清高宗弘历之孙，荣纯亲王永琪第五子，母侧福晋索绰罗氏，左都御使观保之女。",[25,26,102,28,29,30,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9dd75d1159690236f13d64d690571f3.jpg",[],9,{"id":694,"slug":695,"title":696,"dynasty":75,"author":336,"museum":179,"description":337,"tags":697,"thumbUrl":698,"material":340,"size":341,"collection":66,"collections":699,"showCount":692,"zanCount":11,"manualWeight":11,"mainColor":108},238401,"xuan-jin-lu-fang-tu-ce-dong-gao-238401","绚锦胪芳图册",[25,26,102,28,29,30,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45ab25e575fd697a4c0ba88f74c872c7.jpg",[],{"id":701,"slug":702,"title":703,"dynasty":75,"author":704,"museum":99,"description":705,"tags":706,"thumbUrl":708,"material":66,"size":66,"collection":47,"collections":709,"showCount":710,"zanCount":11,"manualWeight":11,"mainColor":711},202053,"hua-niao-tu-zhou-sun-duan-202053","花鸟图轴","孙端","画面以墨竹为主体，竹竿挺秀，竹叶以浓淡墨笔挥洒，线条劲利洒脱，尽显竹之清劲气节。石畔设色花卉点缀，红粉白晕染细腻，与墨竹的刚健形成柔婉呼应。数只飞鸟穿竹而过，姿态灵动，为静谧景致注入生机。山石以写意皴擦，墨色层次分明，与竹、花、鸟疏密相衬，构图雅致。整体兼具文人写意的洒脱与写生的生动，清幽中透着自然生机，尽显传统花鸟之雅韵。",[25,30,294,28,296,211,145,707,29,7,23],"皴法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94c4c2e3b910ca7e0a980d582ba6ba6e.jpg",[47],8,"8c7e6a",{"id":713,"slug":714,"title":715,"dynasty":75,"author":336,"museum":179,"description":337,"tags":716,"thumbUrl":717,"material":340,"size":341,"collection":66,"collections":718,"showCount":719,"zanCount":11,"manualWeight":11,"mainColor":108},238796,"hua-hui-xiao-ce-dong-gao-238796","花卉小册",[25,26,102,29,28,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c30d36c23ed9108b6fa0e611b3133e3.jpg",[],7,{"id":721,"slug":722,"title":723,"dynasty":113,"author":724,"museum":179,"description":725,"tags":726,"thumbUrl":729,"material":66,"size":66,"collection":66,"collections":730,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":108},236545,"hua-niao-ce-tang-zhi-yin-236545","花鸟册","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》",[25,29,28,102,30,117,7,727,62,728],"花枝","小虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22154a19b4a6b8f310af6db26246b4aa.jpg",[],{"id":732,"slug":733,"title":734,"dynasty":75,"author":19,"museum":179,"description":735,"tags":736,"thumbUrl":744,"material":340,"size":341,"collection":66,"collections":745,"showCount":163,"zanCount":11,"manualWeight":11,"mainColor":108},267434,"xue-qing-se-duan-xiu-yue-ji-jin-tuan-shou-zi-wen-pai-sui-gong-yi-yi-ming-267434","雪青色缎绣月季金团寿字纹排穗宫衣","清王朝时段推行剃发易服，顺治九年（1652），钦定《服色肩舆条例》颁行，从此废除了明朝的冠冕、礼服以及汉族的一切服饰，但满族服饰同时吸收了明朝服饰的纹理图案。明代男子一律蓄发挽髻，着宽松衣，穿长统袜、浅面鞋；清时则剃发留辫，辫垂脑后，穿瘦削的马蹄袖箭衣、紧袜、深统靴。但官民服饰一律泾渭分明。 清朝是以满族统治者为主的政权机构，满族八旗服饰随朝代的变更冲进关内。旗人的风俗习惯影响着广大的中原地区。从公服开始逐渐推向常服。",[737,738,739,740,7,741,742,743],"衣帽","布料","刺绣","缎绣","团寿纹","排穗","宫衣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf7ea568141971515a470522cde2761a.jpg",[],{"id":747,"slug":748,"title":749,"dynasty":75,"author":750,"museum":157,"description":751,"tags":752,"thumbUrl":753,"material":66,"size":66,"collection":66,"collections":754,"showCount":163,"zanCount":11,"manualWeight":11,"mainColor":108},233225,"jin-ling-zhu-jia-shan-shui-hua-hui-ce-hua-hui-ye-fan-qi-233225","金陵诸家山水花卉册-花卉页","樊圻","自17世纪初到18世纪上半叶，以南京为中心的江南地区，产生了比历史上任何时代和地区都要多的画派和画家。《明画录》记载的画家有800多人，其中江苏约有370人，浙江占了200多人，两地画家占总数的75%。尤其是执书画坛牛耳者几乎均为江南人。特别是在明清之际，画坛显得异常活跃，在提倡师古的正统派和注重文学意味的文人画这两种绘画思想影响下，文人画家一方面追求自己的个性，同时，师承相同、风格相近者也在各地活动，或聚合一处，倡导变革风气，形成了许多画派，如以松江人董其昌为首的“松江派”，以常熟画家王石谷为代表的“虞山派”，以明末画坛泰斗王时敏之孙王原祁为首的“娄东派”，以梅清为首的“黄山派”等。南京作为江南首府，明代南都的风姿、历史的悠久、山川的秀丽，赢得了诗人画家不绝的歌咏描绘。其文化的昌盛，经济的繁荣，生活时尚的风流，与书画有关的各行业的便利，皇亲国戚、富商大贾和书画收藏家的存在，使其具有磁铁般的大都会的吸引力，孕育出一批本地画家，也将来自四面八方的艺术家凝聚一起，各派画家聚合会晤，或过往相从，使南京自然成了这种时代潮流的汇合处，产生了为史所称的以“金陵八家”为首的一批画家，以其令人瞩目的创作纵横画坛一个世纪之久。\n\n一、金陵艺术家和金陵八家\n金陵的画坛，自14世纪明初建都至16世纪中期，在明代皇室的偏爱下，先由浙派画家领风气之先，承继北宋以来范宽式的布置茂密、山势伟岸巨嶂山水的整体构图，运用大斧劈皴和墨汁淋漓、快速运笔而形成强劲粗放笔墨效果的所谓浙派绘画，得到明皇室贵族的青睐。自永乐初浙派第一代实力人物戴进到达南京，随后有第二代浙派画家吴伟于1475年挟画技到南京，17岁的小伙子很快便以其笔墨酣畅、雄气横发、纵笔挥洒的绘画风格，受到了金陵贵族的喜爱。吴伟曾与诸王孙交游甚欢，年年踏春杏花村，而吴伟所喜爱的狂欢剧饮、挟妓喧闹以刺激绘画创作的方式，也在著名的秦淮河上得到了实现。继吴伟之后，第三代的浙派画家活跃于金陵的有蒋嵩、张路、汪肇等。\n自16世纪始，由于南京文化界中文人士大夫升为主流，其品味的改变，逐渐导致对绘画品味的改变，意趣深秀、若有所寄的以沈周和文徵明为首的吴派文人山水画影响渐大。随着金陵当地文人的兴起，至嘉靖中期，开始了“金陵初盛之时”，许多来自苏州、华亭的文人和因宫廷政治斗争中被贬谪的保守派成员离开北京至南京，形成一些凝聚力极强的文士集团，互相唱和。这批自居清流的士大夫对艺术的见解，也因政治、历史的原因，而产生一种不愿妥协现实，而以私人化“遣兴”于书画的形式作为一种对自尊的维护和对现实的抗议，故以吴派为代表的文人山水画得以兴盛，而浙派在其大本营的金陵，终因文人文化势力的高涨，而终于完全失去了势力，由此开始了中国文人画的高峰。\n16世纪，南京云集了本地和来自各地的画家，1669年，龚贤曾在周亮工所集《名人画册》上题曰：“今日画家以江南为盛，江南十四郡以首郡（南京）为盛，郡中著名者且数十辈，但能吮毫者奚啻千人”，享有画名的许多画家如文徵明、徐渭、董其昌、石谿、石涛、程正揆等，或造访、或游历、或寓居，都与南京有关。史称的金陵八家，亦有大半为外地来南京寓居者，因此使画家们相互间的学习、切磋和激励也有了许多机会。例如，龚贤自少年时便师董其昌，与石谿、石涛和程正揆等画家都有交往，也与金陵画家共同作画。据记载，1679年，龚贤便与邹喆、吴宏、樊圻、高岑、高遇、王概、柳堉、谢荪一起为伴翁作《山水花卉册》（故宫博物院藏）。画家程邃也在一个手卷的题跋中记述其与吴宏、戴本孝、龚贤、柳堉等常常饮酒论画的友情。\n南京得以凝聚画家的原因，首先与南京作为东南大都会所具有的吸引力和悠久的文化传统有关，并且在明亡后，南京又作为明代故都和故国之象征，从心理上和精神上凝聚了一代遗民艺术家；其次，从艺术的发展来看，因其为大都会，得以广纳百川、融会诸家，较少门户之见，虽然也许不易产生如小城镇所易形成的因血缘和师徒关系为主的派别，但却利于艺术家自由追求和发展其个性和风格；此外，南京为贵戚、富商、高官汇聚之地，有相当的收藏书画的潜力，例如当时著名的官僚、文人和收藏家周亮工，身为朝廷命官，但心喜书画，他不遗余力地收藏品评作品，奖掖提拔画家，也像一块重要的磁铁，将画家们纷纷吸引前来。龚贤在1669年为周亮工题其所集《名人画册》中曾有记述：“诗人周栎园先生有画癖，来官兹土（指南京）结读画楼。楼头万轴千箱，集古勿论，凡寓内以画鸣者，闻先生之风，星流电激，唯恐后至。而况先生以书召，以币迎乎？”周与许多书画家来往密切，他在南京秦淮河畔的居处便成为众好友的活动中心。为史所称的“金陵八家”都与周亮工有密切的联系，龚贤便为其府上的常客，周氏汗牛充栋的藏书藏画使他大饱眼福。龚贤与周亮工有将近20年的友谊，诗画唱酬，造访论道，不绝于时。1672年，周亮工卒，龚贤悲痛地作有《哭栎下先生》七律四首，有句云“哭公独我头全白，在世人谁眼更青”。其他如樊圻在丁酉年（1657）为周亮工而作《江浦风帆图卷》（辽宁省博物馆藏），叶欣在丁亥年（1647）为周亮工而作《山水册》（故宫博物院藏），高岑作《金陵四十景图》，由周亮工题跋，邹喆亦与周亮工诗画 往来。\n凭着对南京画家的了解，周亮工对南京画风的演变和发展曾提出一些观点：“秣陵画，先知惟魏考叔兄弟，翰之出，而秣陵之画一变，士夫衲子无不宗之。”继被视为金陵画派先驱人物的魏之璜（字考叔）、魏之克兄弟和朱翰之后，又由周亮工率先提出“金陵八家”一说，他所列名的八位画家为：陈卓、吴宏、樊圻、邹喆、高岑、武丹、蔡泽、李又李。然而认同者仅有乾隆年间成书的《上元县志》，稍后活动于雍乾时期的张庚，在《国朝画徵录》中合称龚贤、樊圻、高岑、邹喆、吴宏、叶欣、胡慥、谢荪为“金陵八家”，得到较多人的认可。清末秦祖永的《桐荫论画》、李浚之的《清画家诗史》等均主其说，虽然这八家并不一定代表当时知名度最高的画家，且因其师承不同，风格迥异，也难以简单地以“画派”一词来归纳，但这一个松散的画家群体，都有着相近的生活经历和思想感情，在动荡的明清之际，有亡国之痛，有忠君之义，不事新朝，遁迹山林，以诗画寄兴，虽然个性各异，但都安贫乐道，洁身自好，在当地享有“高士”之名，彼此间亦有诗文书画往来，并有共同的朋友圈子相交往。他们之间也有较多共同的创作思想，如借绘画抒写真情，不拘于派系之争，不论浙派吴派，善法必学，故能自辟蹊径，标树己风。在笔墨技法上也有相似之处，如常用硬直之笔，作整饬的线条，画面结构清晰，注重笔墨的整体感，讲究墨色的对比和映衬等，在作画题材上多以南京近郊山水为粉本，均表现出一种简朴平实的绘画风格，由此形成17世纪金陵山水画的独特 面貌。\n\n二、17世纪金陵山水画的文化特征\n金陵画家所创的山水画，具有比较鲜明的地方特色。首先是表现了南京及附近的山水特点。南京虽然为青山环绕，但基本上是以小山头为主的丘陵地带，钟山最高峰也不过海拔442米，然而山色秀美苍润。时人顾起元曾赞叹道：“金陵之山，形家言为南龙尽处，精华之气发露无馀，故其山多妍媚，而郁纡烟容岚气，遝翠霏青，望之如古佛顶上之螺，美人眉间之黛，而特未有奇峰削壁拔地刺天，如瑶篸玉剑突起于云霄之上者。江水一泻千里，沙腾浪涌，天日为昏，最为怪伟。至静夜无风，江声隐起，余尝夜卧洪济燕矶听之，汹汹如欲崩四壁也。后湖泓渟坦沲，堤杨洲菼，绰约媚人，山色四围，如靓妆窥镜。湖山之美，何减虎林。所少者独瀑布与寒泉耳。”金陵画家创作的山水便多以此山景水色为蓝本，起伏的丘陵，苍秀的林木，而北方的那种雄浑伟岸的大山大势则比较少见。第二是南京连接江南水乡，河湖港汊较多，行船泊舟，最是司空见惯，故画家笔下江汀舟楫之景多见，岸矶草亭也成了常见的景色。第三，江南的空气湿润，云雾时起于山林，烟霭常生于河湖，尤其南京冬天昼夜温差有异，水面易生烟气，夏天炎热闷湿，暑气常多漫漫，又似薄雾轻烟，与天相接。在诗人画家的笔下，这氤氲的云烟是别饶情趣的。唐代诗人杜牧在《夜泊秦淮》中歌咏道“烟笼寒水月笼沙”，罗隐在《金陵夜泊》中歌咏“冷烟轻淡傍衰丛”，明代诗人顾梦游则有诗句道“落日淡生烟”，龚贤有诗道“老柳迷夕阳，烟波涨南浦”。画家笔下的金陵山水因此亦多云烟缭绕之状，几乎每个画家都有描绘，其表现或柔和或飘逸或湿润或轻扬，因景因情，因画家的感受不同而富于变化。第四，金陵山水中表现当地特色的景物较多见，例如：钟山的松树。据记载，钟山自东晋时便人工植松，宋代也曾种植，明代在钟山建造明代开国皇帝太祖朱元璋的孝陵，更是植松十万株。钟山青松便成为此一时期常见的山水画题材。第五，金陵山水画中有许多表现了当时文人生活时尚和爱好的内容，如山居、书屋、旅行、品茗、赏妓等，因南京为一著名的山林城市，这些反映时尚的画面也大多安置在秀丽的自然景观中。\n金陵山水画中也映现出浓重的怀旧情结。南京以名胜古迹、文化遗风和风流时尚著称，其处处可成为触景生情的诗、落笔成文的画。在诗人墨客的笔下，金陵怀古是一个永恒的题材，尤其是六朝的名胜典故，更是一个千古难解的情结，令一代又一代的文人陶醉。自唐代以来，诗人李白、杜甫、李商隐、刘禹锡都有著名的诗句传世，此后历代的诗人都不乏佳句。明末清初的文人诗作中或金陵山水画中若题有诗歌的，常常都会流露出这种对以往历史的追怀，六朝的名胜典故总像幽灵一样地在文人的诗画中徘徊。龚贤曾作《金陵怀古》二诗道：“短笛唤愁生，江船夜复清。月明争战地，潮打受降城。残柳欲无影，哀鸿只一声。石矶飞不去，凄绝古今情。”以西晋克吴、孙皓受降的六朝典故，抒发自己亡国的哀痛情怀。又有诗道：“江南六代风流地，白下多年翰墨场。古物已无王逸少，名人独剩顾长康。量宽嗜酒难逢醉，才大论诗莫禁枉。急办青钱买山隐，坐听深树候莺簧。”诗中综述六朝的文化和影响，表现出对王羲之、顾恺之等名人和六朝饮酒论诗等风流时尚的倾慕追往。\n即使那些暂居或游访过南京的画家，对南京也是难以忘怀。17世纪的著名画家石涛曾有册页名《秦淮忆旧》，为应友人之邀而作，回忆昔日与友人同在南京秦淮赏梅聚会的往事，亦引用六朝典故，其中一幅题画诗道：“沿溪四十九回折，搜尽秦淮六代奇。雪霁东山谁著屐，风高西壑自成诗。应怜孤瑟长年伴，具剩槎矛只几枝。满地落花春未了，酸心如豆耐人思。”六朝的文化，就像是一种范式，在明末清初的文人心中反复地出现和被吟咏，足见这种历史怀旧情结的坚韧。\n其三，金陵山水画反映出强烈的热爱故乡的情怀。17世纪，以地方景色为题的山水画比较流行，例如南京博物院收藏有明代宋懋晋的《江南十八景图册》、吴县一带的画家以虎丘山为题的绘画等，是文人画走向社会的表现，也是市民文化发达的结果，而以金陵风景名胜为题的山水画尤其突出。南京人爱恋故乡的强烈和真挚的程度是其他古都历史上所少见的。早在六朝之初的孙吴时期（甘露元年，265年），当吴末帝孙皓由建邺（今南京）迁都湖北武昌，百姓便有童谣道：“宁饮建邺水，不食武昌鱼。宁还建邺死，不止武昌居。”这种不计生死的眷恋，只得让吴帝于次年还都建邺，这在中国历史上恐怕也是绝无仅有的。另一个著名的例子是南唐后主李煜在被宋人俘获北上后，所作诗词中透露对故国山河的深深怀念，令人愁绝痛绝，“恰似一江春水向东流”，是超越时空界限的永远的伤怀。明清之际，金陵八家中，除樊圻和胡慥为本地人外，其余都为外地或郊县寓居南京的画家，但都表现出对南京的情有独钟，书画署名喜用“石城”“金陵”等南京的古称，将自己称作南京人。金陵八家之首的龚贤虽然自昆山移居南京，但对南京的感情很深，视南京为家，在外的奔波使他愁苦伤怀，“身老愁为客，迢迢返旧京”，亟盼着早些回到南京，并把南京选作自己最终的生活地点。明亡后，当他与友人费密同游金陵胜景，登上石头城，遥望长江，触景生情，激起了满腔难平的民族意识，遂发出“橐驼尔何物，驱入汉家营”的悲愤呼号。这种热爱故乡，热爱南京的情感，在艺术家们的笔下便诞生了金陵山水的另一种表现形式—“金陵四十八景”，将金陵的历史典故，风景名胜以山水画的形式和诗歌的吟诵来表现，并借着雕版印刷的简便，而得到雅俗的共赏。\n《金陵四十八景》的形成约在清代初年，其他则先后有零星的以金陵景色为题的书画，较为人知者如《金陵八景》《金陵十景》《金陵十八景》《金陵二十四景》《金陵四十景》等。《金陵八景》据画末题跋可知，作于万历庚子年（1600）春月，为江宁人郭存仁所绘，“八景”为“钟阜祥云、石城瑞雪、凤台秋月、龙江夜雨、白鹭晴波、乌衣晚照、秦淮渔唱、天印樵歌”，一图一咏，多基于六朝以来的历史典故和著名诗作。《金陵十景》，据《石渠宝笈续编》记载，是吴派画家之首的文徵明，在游览了金陵山水名胜后所作。《金陵十八景》为文徵明的侄子文伯仁（1502-1575）所绘，他号称摄山老农（摄山即今栖霞山），曾居住在南京，为金陵美丽的风光所感动而绘此图册。《金陵二十四景》，据1956年在湖南省长沙市发现的文物，是由文学家吴敬梓（1701-1754）所写《金陵景物图咏》，每篇诗末都注明所仿的碑帖，诗句工整，对南京的历史了如指掌。《金陵四十景》为太史朱之蕃所作。朱之蕃，江宁人，字元竹，号兰嵎，万历二十三年（1595）进士第一，工山水画，注意收集家乡江宁的山水名胜资料，“共得四十景，属陆生寿柏策蹇浮舫，躬历其境，图写逼真，撮举其概，各为小引，系以俚句”。图咏成后，朱之蕃命名为《金陵四十景图考诗咏》，并与当时的另一位太史杜士全常在金陵雅游，相互凭图咏唱。清初，金陵八家之一的高岑，字蔚生，虽老家在杭州，客居南京，但也倾心相爱这个城市，常署名“石城高岑”，平时也注意收集南京的历史资料，遍游南京的风景名胜，并在前人研究金陵胜景的基础上，精心绘制了《金陵四十景图》。清户部右侍郎、著名文人周亮工（1612-1672）为该图册写了题跋，这些图以后被刊入康熙年间的《江宁府志》。清代初年，又发展成为“金陵四十八景”。\n金陵画家包括八家的山水画中，亦有许多以金陵胜景为题的作品，甚至几代画家都钟情于此，父子者如邹典、邹喆，便都介入这一题材的创作。美国学者高居翰的景元斋收藏的《晚明人山水册》，共有10页，为不同的画家所绘，但都以南京的景色为题，如魏节“燕子矶”、黄益“献花岩”、龚达“龙江关”、谢成“幕府台”、龚贤“清凉台”、黄益“鸡笼山”、盛于斯“天阙山”、陆瑞征“玄武湖”、邹典“灵谷”、张翀“报恩塔”。又如，龚贤有《摄山栖霞图》《清凉环翠图》（故宫博物院藏），其他的金陵画家：樊圻有《江浦风帆图》、高岑有《天印樵歌图》（天津艺术博物馆藏），描绘南京附近天印山的景观，邹喆有《石城霁雪图》（上海博物馆藏），描绘南京的雪景，叶欣作《锺山图》（故宫博物院藏），描绘南京这一名山的景色。樊圻的《金陵寻胜图》，按照画后的题跋来看，应当还有吴宏的“燕矶”“莫愁”，龚贤的“清凉”“摄山”，陈卓的“天坛”“冶城”，柳堉的“天印”等画，皆是依金陵名胜的各景点而作的命题画。\n更难能可贵的是，柳堉在樊圻所绘的《金陵寻胜图卷》的题跋中还记载了当时南京人收藏金陵山水画，并以邀得名家作此命题画为荣的风尚，被视为金陵胜事，并引用一句“唯有家山不厌看”的古诗来解释这种特殊的现象。虽然这些地方山水画的繁荣或许与商业有一定的关系，但这种来自社会的热情要求和支持，足见南京人对自己故乡的热爱，这确实也是促使17世纪金陵山水画发达的原因之一。\n总之，以金陵八家为首的金陵画家，虽然各有师承，面目不一，但都能深入生活，以金陵近郊的山山水水为其粉本，融六法之精髓，入天然之丘壑，将热爱故国故乡的一腔真情和满腹怀恋都倾注于山岚变幻、草木蔚然的山水画中，故使金陵山水画独树一帜，在17世纪的画史上留下了辉煌的一页。古人道：诗为心声，画为心印，书为心画。明末清初的17世纪，金陵画家们所具有的独特艺术面貌，正是由特定的历史文化环境所造成的，从画家们无限的伤心和满怀勃郁的精神气质升华而来。那种强烈的民族意识和爱国情结，正是金陵画派山水作品内涵的共鸣、精神的统一和灵魂的所在。一位西方学者曾指出，南京是中国古都中最引人注目的城市，因为她曾经是并将永远是中国最令人怀旧和动情的城市。确实，那千古的金陵历史，千古的诗泉画源，千古的文人之魂，正是17世纪南京文化艺术繁荣的历史基因，也正是她的永恒魅力所在。",[25,26,102,28,29,30,7,41],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95884d1c35a89552d24b9a6e7a455c1b.jpg",[],{"id":756,"slug":757,"title":397,"dynasty":75,"author":758,"museum":99,"description":759,"tags":760,"thumbUrl":761,"material":66,"size":66,"collection":66,"collections":762,"showCount":163,"zanCount":11,"manualWeight":11,"mainColor":763},202446,"si-ji-hua-hui-juan-ma-quan-202446","马荃","画卷铺展四季花卉，次第鲜活，生机满溢。工笔细勾花叶脉络，线条柔婉流畅；设色雅致明丽，红妍如丹、白洁似雪，晕染细腻自然。牵牛花藤蔓缠绕，百合清雅吐芳，芙蓉娇态毕现，月季绰约多姿，各花形态逼真，栩栩如生。每簇花卉旁题跋相伴，诗画交融，印章点缀，尽显文人雅趣。整卷布局疏朗有致，诗书画印合一，是清代工笔花鸟的精品，凝聚着对自然生机的咏叹与文人审美意趣。",[29,28,30,27,35,81,37,7,32,41,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ba6b19b1b3b5a90691397f4096afcf2.jpg",[],"000000",{"id":765,"slug":766,"title":767,"dynasty":75,"author":19,"museum":179,"description":768,"tags":769,"thumbUrl":773,"material":340,"size":341,"collection":66,"collections":774,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":70},281536,"zi-di-yue-ji-tu-qi-bao-shao-duan-jing-pie-kou-ping-yi-ming-281536","紫地月季图七宝烧短颈撇口瓶","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺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