[{"data":1,"prerenderedAt":252},["ShallowReactive",2],{"subject-zhi-970":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},970,"zhi-970","枝","枝画高清赏析","精选中国历代枝题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dffdec49d7e71360e0f2ea5c66a473c.jpg",0,18,[14,41,62,77,94,109,121,137,149,160,171,181,188,199,210,218,228,242],{"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},218753,"xie-sheng-zhi-zi-xu-xi-218753","写生栀子","五代十国","徐熙","台北故宫博物院","雪白的栀子花与绿叶相映成趣，麻雀站在树枝上，试图捕食被花香吸引的黄蜂。蜜蜂的发音与 封 相同，麻雀的发音与 爵 相似，所以用 爵 的谐音来表示祝贺，这是一幅成功的宫廷画。",[23,24,25,26,27,28,29,30,31,32,7],"高清","国画","工笔","设色","花鸟","写生","栀子","鸟","虫","叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8936453d77d3d3461e49f1fe82137570.jpg","绢本,设色","24.7x26.5","花鸟画精选",[36],744,12,"BDBDBD",{"id":42,"slug":43,"title":44,"dynasty":45,"author":46,"museum":47,"description":48,"tags":49,"thumbUrl":56,"material":34,"size":57,"collection":36,"collections":58,"showCount":59,"zanCount":60,"manualWeight":11,"mainColor":61},219036,"mu-dan-yu-lan-tu-jiang-ting-xi-219036","牡丹玉兰图","清","蒋廷锡","大英博物馆","画面铺展间，花木扶疏尽显生机。玉兰绽如雪团，缀于虬枝，禽鸟栖停顾盼生姿；牡丹热烈盛放，粉白紫三色交织，花瓣层叠如锦，墨绿叶片衬得花容更艳，一抹朱红点缀其间，添了灵动。树下顽石苍古，纹理拙趣，旁生细草闲花，柔媚与苍劲相映。工笔细腻见匠心，线条婉转，设色相宜，既有富贵雍容之态，又不失清雅灵动之韵，仿佛闻花间细语，观禽鸟轻啼，一派生机盎然的春日盛景跃然眼前。",[23,24,50,27,25,26,51,52,30,53,7,32,54,55],"书画","牡丹","玉兰","花","山石","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed08238660ecdcb1bd2c392c1379139b.jpg","",[36],456,3,"795548",{"id":63,"slug":64,"title":65,"dynasty":66,"author":67,"museum":20,"description":68,"tags":69,"thumbUrl":73,"material":34,"size":74,"collection":36,"collections":75,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":40},215139,"bing-tao-han-xiao-tu-yi-ming-215139","饼桃含笑图","元","佚名","绢色温润如陈年素笺，托出一枝含笑与饼桃。墨笔勾枝，线条老劲却藏柔意，枝桠间，含笑花瓣轻展，白瓣晕浅粉，似含未语的羞涩；饼桃圆润饱满，裹着淡润光泽，透着朴拙生机。叶片以淡墨晕染，脉络细腻，与枝干苍劲相映成趣。几方朱印点缀，红韵与素色交织，更显古雅。画中无喧嚣，唯有花木静美：含笑的含蓄、饼桃的憨态，在简淡笔触里凝成清雅意境，仿佛能闻见那缕若有若无的暗香，尽得宋元文人画的幽淡之味，让观者心沉于这份素净的生机里。",[23,24,50,70,25,26,27,71,51,7,32,72],"扇面","桃","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb03408a7f7684830af45e313ff9f410.jpg","22.9x23.6cm",[36],91,{"id":78,"slug":79,"title":80,"dynasty":45,"author":81,"museum":82,"description":83,"tags":84,"thumbUrl":90,"material":57,"size":91,"collection":57,"collections":92,"showCount":93,"zanCount":11,"manualWeight":11,"mainColor":40},233899,"hua-hui-ce-yun-shou-ping-233899","花卉册","恽寿平","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。",[24,50,85,86,87,26,27,88,7,32,89],"册","没骨","水墨","花卉","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1d0de15881eaef9e1fd66f6593c6ec1.jpg","纵32.5厘米，横25.5厘米",[],71,{"id":95,"slug":96,"title":97,"dynasty":98,"author":99,"museum":20,"description":100,"tags":101,"thumbUrl":103,"material":104,"size":105,"collection":36,"collections":106,"showCount":108,"zanCount":11,"manualWeight":11,"mainColor":40},222179,"hua-hui-shan-mian-lu-zhi-222179","花卉扇面","明","陆治","陆治（西元一四九六－一五七六年），江苏吴县人，字叔平，号包山子。倜傥好义，以教友著称于乡里。诗文书画并佳。曾和文征明、祝允明一起作画吟诗。画的名声和文征明一样好。\n这幅用淡墨干笔，画丛山叠树，渔父鼓舟前进，一面洗脚，二人在高坡上坐着似在观看瀑布。用色淡雅而有变化。画成于陆治七十三岁。陆治有诗，曾自比「桃源中人」，以喻其隐居状况。\n此画在笔法与构图，均受元代王蒙花溪渔隐图影响，颇有自况意味",[23,24,50,102,70,26,27,88,7,32],"名画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbf89fa4fadd7ff6f66e547f02d3e913.jpg","泥金，纸本","纵18.3厘米， 横52.5厘米",[36,107],"设色画精选",58,{"id":110,"slug":111,"title":112,"dynasty":45,"author":113,"museum":82,"description":114,"tags":115,"thumbUrl":116,"material":117,"size":57,"collection":36,"collections":118,"showCount":119,"zanCount":120,"manualWeight":11,"mainColor":40},234276,"hua-guo-ce-wang-yun-234276","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。",[24,50,85,26,27,53,7,32,72],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff85e8fad369e11d4e7fbdfa5edef96eb.jpg","纸本，设色",[36],43,1,{"id":122,"slug":123,"title":124,"dynasty":45,"author":67,"museum":82,"description":125,"tags":126,"thumbUrl":132,"material":133,"size":134,"collection":57,"collections":135,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":61},229263,"hua-fa-lang-sui-chao-tu-ping-yi-ming-229263","画珐瑯岁朝图瓶","珐琅又称“佛郎”、“法蓝”，是由中国隋唐时古西域地名拂菻音译而来。珐琅器是以珐琅为材料装饰而制成的器物，其基本成分为石英、长石、硼砂和氟化物，与陶瓷釉、琉璃、玻璃同属硅酸盐类物质。依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。\n珐琅就是将经过粉碎研磨的珐琅釉料，涂施于经过金属加工工艺制作后的金属制品的表面，经干燥、烧成等制作步骤后，所得到的复合性工艺品。珐琅工艺的制作分类很多，一般根据制作方法和胎地种类将其分类。 [2] 珐琅依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。其中掐丝珐琅器就是俗称的“景泰蓝”，15世纪中期明代景泰年间的制品尤为著称，故有景泰蓝之称。\n清代，西洋珐琅从广州传入中国，广州生产的珐琅俗称“广珐琅”，是朝廷的贡品，其中最著名的是画珐琅 ，錾胎珐琅的制作中心也在广州，透明珐琅器也以广州出产的最为著名。",[127,128,129,26,130,53,7,131],"清代","珐琅器","画珐琅","梅","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99f9079f3aad1377f2871d45400df1ad.jpg","未知","Xcm*Xcm",[],26,{"id":138,"slug":139,"title":140,"dynasty":45,"author":141,"museum":142,"description":143,"tags":144,"thumbUrl":145,"material":146,"size":57,"collection":57,"collections":147,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":40},234321,"hua-hui-tu-ce-fan-ting-zhen-234321","花卉图册","范廷镇","北京故宫博物院","范廷镇（清），字鹿畴，一作祉安，或止安，号芷庵，一号冻亭，又号乐亭，武进（今江苏常州）人。能作花卉草虫，并书法，俱效恽寿平。\n恽寿平一生不应科举，以卖画为生，出于职业竞争的考虑，恽寿平并不太愿意让别人看见他如何作画。即使这样，恽寿平的亲传弟子也不少，如马元驭、范廷镇、张伟、董瑜等。\n马元驭、范廷镇与恽寿平最为接近，最能得恽南田没骨写生花卉之神髓，他们的个别作品甚至可以达到乱真的地步，此二人也是恽寿平的主要代笔人。特别是范廷镇，包括书法与恽寿平都十分相近，接近于形神兼备，但格调稍欠，诗文才情更是与恽寿平相差甚远。\n欣赏两个故宫博物院收藏范廷镇的花卉册，如果我们不标注是范廷镇所作的话，只看画面，几乎都会认为是出自恽寿平的手笔吧！",[102,24,50,85,26,25,27,88,53,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0fba9e1c7136d082dedd8cbbd3c97b2.jpg","绢本，设色",[],23,{"id":150,"slug":151,"title":152,"dynasty":45,"author":153,"museum":82,"description":154,"tags":155,"thumbUrl":157,"material":57,"size":142,"collection":57,"collections":158,"showCount":159,"zanCount":11,"manualWeight":11,"mainColor":40},236615,"hua-niao-ce-ma-yuan-yu-236615","花鸟册","马元驭","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。",[24,50,102,85,87,26,27,156,7],"飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe748e4c66b59983881f87bee7e05da01.jpg",[],20,{"id":161,"slug":162,"title":163,"dynasty":45,"author":164,"museum":82,"description":165,"tags":166,"thumbUrl":168,"material":133,"size":134,"collection":57,"collections":169,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":40},238399,"xuan-jin-lu-fang-tu-ce-dong-gao-238399","绚锦胪芳图册","董诰","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），首席军机大臣，上书房总师傅，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，赠太傅，赐谥号文恭，入祀贤良祠。嘉庆亲写哀诗“只有文章传子侄，绝无货币置田庄”，并亲自拨款建立“董公祠”。",[24,102,85,26,25,27,53,7,32,167,88],"花苞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F395e6d198b4cc90f8116f4650ee4bab9.jpg",[],19,{"id":172,"slug":173,"title":174,"dynasty":45,"author":175,"museum":82,"description":176,"tags":177,"thumbUrl":179,"material":133,"size":134,"collection":36,"collections":180,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":40},237706,"qiu-sui-hua-niao-ce-qiu-sui-237706","裘穟花鸟册","裘穟","清，钱塘(今杭州)人。焕子，艺术家，代表作《图绘宝鉴续纂》等。",[24,50,85,26,25,178,72,27,156,53,7],"行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84c711f99e8ebe27be62a1b260c9970c.jpg",[36,107],{"id":182,"slug":183,"title":163,"dynasty":45,"author":164,"museum":82,"description":165,"tags":184,"thumbUrl":185,"material":133,"size":134,"collection":57,"collections":186,"showCount":187,"zanCount":11,"manualWeight":11,"mainColor":40},238400,"xuan-jin-lu-fang-tu-ce-dong-gao-238400",[24,50,85,26,25,27,53,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdce0598803525aa0c1b22ccb60a2a433.jpg",[],17,{"id":189,"slug":190,"title":152,"dynasty":45,"author":191,"museum":192,"description":193,"tags":194,"thumbUrl":195,"material":57,"size":196,"collection":57,"collections":197,"showCount":198,"zanCount":11,"manualWeight":11,"mainColor":40},236622,"hua-niao-ce-hua-yan-236622","华嵒","美国弗瑞尔美术馆","华喦（1682-1756），清画家。字秋岳，号新罗山人、东园生、布衣生等，福建上杭人。自幼即喜绘画，尤精花鸟。所作花鸟，多姿多态，生趣盎然，干笔枯墨间以淡彩，寓雅逸于艳丽之中，构图独出心裁，为清代中叶花鸟画之中坚，对后世扬州派、海派花鸟产生莫大影响。",[24,50,85,26,27,72,30,53,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4abb83ed74cb87d6d66133359b6f7e6e.jpg","31.2×44.7厘米",[],13,{"id":200,"slug":201,"title":202,"dynasty":45,"author":203,"museum":82,"description":204,"tags":205,"thumbUrl":207,"material":133,"size":134,"collection":57,"collections":208,"showCount":209,"zanCount":11,"manualWeight":11,"mainColor":40},239111,"hua-hui-ce-8-yu-sheng-239111","花卉册8","余省","余省（1692年—1767年） ，字曾三，号鲁亭，江苏常熟人，余珣之子，清代著名画家。曾受业于蒋廷锡。乾隆（1736—1795）时与唐岱、周鲲同祗候内廷，善花鸟、虫鱼、翎毛，间亦参用西法，赋色妍丽，尤善画蝶，工兰竹水仙，所作叠邀高宗睿题，藏于石渠宝笈。",[24,50,85,87,206,72,27,88,53,32,7],"写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F736eaaa09be53901a8b5639aefa928a1.jpg",[],10,{"id":211,"slug":212,"title":213,"dynasty":45,"author":164,"museum":82,"description":165,"tags":214,"thumbUrl":215,"material":133,"size":134,"collection":57,"collections":216,"showCount":217,"zanCount":11,"manualWeight":11,"mainColor":40},238809,"hua-hui-xiao-ce-dong-gao-238809","花卉小册",[24,50,85,25,26,27,53,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e02ef46e5272e7c7ae57dc80eb40a90.jpg",[],6,{"id":219,"slug":220,"title":221,"dynasty":45,"author":67,"museum":82,"description":222,"tags":223,"thumbUrl":226,"material":133,"size":134,"collection":57,"collections":227,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":40},257733,"kang-xi-kuan-wu-cai-shi-er-yue-hua-hui-wen-bei-zhi-yi-ming-257733","康熙款五彩十二月花卉纹杯-枝","釉色莹白温润，杯身以五彩绘就花枝。苍劲枝桠蜿蜒舒展，绿叶晕染层次鲜活，深浅间尽显生机。树下淡施蓝彩摹作水色，静坐一人幽寂自适，将文人林下寄怀的意趣凝于方寸茶盏。\n彩料发色沉稳柔和，勾勒晕染兼具工致与写意，于日常茶器间铺展中式雅致禅意，以小见大，将花木清趣与幽居闲情相融，尽显古雅恬淡的古典审美意韵。",[224,225,127,88,26,131,7],"陶瓷","五彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06333e8f93ec075fa7209d45b6b28529.jpg",[],{"id":229,"slug":230,"title":231,"dynasty":98,"author":67,"museum":82,"description":232,"tags":233,"thumbUrl":239,"material":133,"size":134,"collection":57,"collections":240,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":241},257119,"xuan-de-kuan-qing-hua-zhe-zhi-hua-guo-wen-kui-ban-kou-wan-yi-ming-257119","宣德款青花折枝花果纹葵瓣口碗","青花瓷（blue and white porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[234,224,235,236,237,7,53,238,131],"明代","青花","折枝","花果","果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb71fbdc0e2bd59c5251b40b567d59b50.jpg",[],"37474F",{"id":243,"slug":244,"title":245,"dynasty":98,"author":246,"museum":82,"description":247,"tags":248,"thumbUrl":250,"material":57,"size":57,"collection":57,"collections":251,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},233641,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233641","十竹斋五色笺谱册","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。",[24,50,102,85,249,26,27,130,53,7,32],"木刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8cab4b1543ed6a1d86bc8774e2ceaad.jpg",[],1777535721761]