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“嘉靖庚子” 陈淳应为58岁，此作亦为其是画风成熟之作。从其题跋可以得知陈淳游历数月，画作颇丰，认为此作为“草本”，可见其自觉并无刻意求工，描写大略而已。\n卷尾文彭题曰：“赵昌王友已无伦，更学徐熙更逼真。意到不论颜色似，笔端原有四时春。阅白阳杂花漫题。文彭。”充分体现了吴门花鸟画的文人雅趣，“意到不论颜色似”概括了文人写意的特征，而“漫题”也体现了题咏者的状态，反映出文人书画家的共同气质特点与审美追求。\n文人王穉登的题跋则突出了对陈淳花卉写生推崇与称赞。“写生贵在约略点染，天真烂如。不当以分葩计蕊为似，重丹叠翠为工。观此册陈道复先生所作，粉墨萧闲，意象自足，所谓千金骏骨，识者求之牝牡骊黄之外可也。”此段题跋强调了陈淳花卉写生最主要的特点，即约略点染，不求工细，而意象自足。\n卷尾的金农长跋也对陈淳“行笔绝无时蹊，设色亦未敷采炫目，画以意似而非以形似也”的风格进行梳理，论述了写意书写的源流。但这段题跋存在一些问题。其一，通篇书体较为拘谨，特别是每行末字，刻意缩减对齐，非常局促。其二，“后世临写纷纷，徒劳豪楮”中“豪”应为“毫”之误。此出自大文人之手，有些牵强。其三，“此册九叶，花草凡七，间以山水两帧。”所述并非此册，极有可能是将他处题跋移接此处所致。所以这段金农题字不足以为据，至于真伪原由的评断，是另外的话题。本文主要论及陈淳花卉写生的艺术特点，就不将此段金农的论述作为讨论的依据了。\n变化生动自然，是陈淳花卉写生的代表作。如果将此册置于陈淳传世花鸟画作品中做一纵向比对，可以发现其共性的特征集中体现在这件作品中，同时，这件作品还有一些不同于其他作品的独到之处，都统一在率意自足的书写风格之中。所以这件陈淳绘画风格成熟期的作品，总体来看，体现了陈淳如下几个方面的鲜明的艺术特点。",[88,23,70,27,24,143,26,25,28,144,335,7,336],"石头","兰草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F917a3d7d0165dfb34ce3f2d19087dabb.jpg","32.5×57.3厘米",[35,133],314,{"id":342,"slug":343,"title":344,"dynasty":44,"author":319,"museum":46,"description":345,"tags":346,"thumbUrl":349,"material":25,"size":350,"collection":56,"collections":351,"showCount":352,"zanCount":287,"manualWeight":11,"mainColor":39},222738,"xian-e-chang-chun-tu-huang-ci-me-yu-yu-er-mu-dan-lang-shi-ning-222738","仙萼长春图黄刺么与鱼儿牡丹","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。",[88,69,23,70,24,25,50,27,347,348,184,7],"黄刺玫","鱼儿牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00d5d6ad2b6dcc4434e46f4033608090.jpg","宽28.4公分，高33.7公分",[],286,{"id":354,"slug":355,"title":356,"dynasty":44,"author":85,"museum":125,"description":126,"tags":357,"thumbUrl":358,"material":359,"size":360,"collection":35,"collections":361,"showCount":362,"zanCount":150,"manualWeight":11,"mainColor":39},220995,"hua-hui-tu-ce-tao-hua-yun-shou-ping-220995","花卉图册·桃花",[88,23,70,24,25,89,27,114,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb300ee60f9ba34664528d3e4e7228c38.jpg","绢本","每帧纵32.5厘米，横25.5厘米",[35,133],284,{"id":364,"slug":365,"title":366,"dynasty":64,"author":367,"museum":46,"description":368,"tags":369,"thumbUrl":372,"material":163,"size":373,"collection":35,"collections":374,"showCount":375,"zanCount":260,"manualWeight":11,"mainColor":39},215108,"cheng-huang-ju-lv-tu-lin-chun-215108","橙黄橘绿图","林椿","橙黄橘绿图是宋朝著名画家林椿的代表作之一。这幅画作品以其鲜艳的色彩和生动的画风而闻名。\n\n橙黄橘绿图描绘了一个山水田园风光的场景，画面中有美丽的山峦、流动的河流、茂密的树林、漫山遍野的果树以及田田温馨的农舍。画中还有许多动物和人物，丰富了画面的内容。\n\n林椿在橙黄橘绿图中运用了丰富的色彩，让这幅画作充满了生机和活力。他使用的是深浅不一的黄色、橙色、绿色等色彩，使画面显得栩栩如生。\n\n橙黄橘绿图被誉为宋朝山水画的杰作，其中蕴含着林椿对自然界的敬畏和深刻的观察。它不仅是一幅美丽的画作，更是一份对自然的热爱和尊重的见证。",[88,69,23,70,24,50,25,27,370,371,7],"橙","橘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bdd9d36a11dabb7bd116b3d6c267f63.jpg","23.8x24.3cm",[35],283,{"id":377,"slug":378,"title":379,"dynasty":18,"author":380,"museum":381,"description":382,"tags":383,"thumbUrl":384,"material":146,"size":56,"collection":35,"collections":385,"showCount":386,"zanCount":287,"manualWeight":11,"mainColor":39},214925,"mo-hua-ce-shen-zhou-214925","墨花册","沈周","印第安纳波利斯艺术博物馆","沈周是一位著名的明朝画家，他的作品《墨花册》是一本插图本，其中包含了许多令人惊叹的墨花图案。《墨花册》是沈周的代表作之一，因其精美的图案和精湛的插画技巧而广受赞誉。在《墨花册》中，沈周用黑墨和水彩画描绘了许多精美的墨花图案，包括花卉、鸟类、动物和人物等。沈周的作品充满了生机和活力，他的绘画技巧非常出色，深受人们的喜爱。",[88,69,23,26,24,27,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f196629d6204bca22e9e6f450463f95.jpg",[35],276,{"id":388,"slug":389,"title":390,"dynasty":18,"author":228,"museum":266,"description":391,"tags":392,"thumbUrl":394,"material":395,"size":396,"collection":35,"collections":397,"showCount":398,"zanCount":150,"manualWeight":11,"mainColor":39},222416,"bai-hua-tu-zhou-zhi-mian-222416","百花图","是图有作者自识：“萬曆壬寅(1602年)秋日寫，汝南周之冕。”系周之冕的晚年之作。该图勾画了四季花卉，其中木本花卉多为折枝。画家将吴派的写意山水笔墨转化为花鸟画的造型语言，形成了勾花点叶派。画家以写意的手法勾写或涂抹出花叶、枝干，随意之中透露着明快和清雅，反映出文人画家淡泊不羁的胸臆。\n清《石渠宝笈·三编》著录。",[88,23,70,25,50,27,71,393,114,115,28,7,30],"梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4a3ecd116129eeb96dfb86398c9a098.jpg","纸本，墨笔","纵31.5厘米，横706厘米",[35,133],273,{"id":400,"slug":401,"title":402,"dynasty":44,"author":403,"museum":66,"description":404,"tags":405,"thumbUrl":406,"material":33,"size":407,"collection":56,"collections":408,"showCount":409,"zanCount":287,"manualWeight":11,"mainColor":39},216246,"jing-fu-si-qi-dong-jing-tu-11-qian-wei-cheng-216246","景敷四气冬景图-11","钱维城","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n一瀑高悬银凿落，四山攅积玉参差。并刀剪水作花后，转语堪诠杜老诗。钤印：泼墨",[23,70,25,50,27,74,31,75,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ef9652a7cd63623c4474d2e78468a1.jpg","21.9 × 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的收藏印，及比较院藏其他梁清标之题签，推测此册可能为梁清标所集，显示明末清初所理解的宋元画。",[88,69,23,70,418,50,25,27,443,28,7],"罂粟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadad36eaac06d8f20b835860208428a2.jpg","23.7x24.3cm",[35],236,7,{"id":450,"slug":451,"title":452,"dynasty":64,"author":453,"museum":46,"description":454,"tags":455,"thumbUrl":459,"material":163,"size":460,"collection":245,"collections":461,"showCount":462,"zanCount":260,"manualWeight":11,"mainColor":39},219214,"xue-jing-han-qin-tu-wang-ding-guo-219214","雪景寒禽图","王定国","王定国，（公元12世纪）〔南宋〕汴（今河南开封）人，生卒年不详。建炎元年（1127）随吴郡王渡江，居临安(今浙江杭州)。工花鸟，师李安忠，亦学崔白兄弟笔法，傅色轻淡，清雅不凡，人所不及。后吴郡王奏荐入仕，赐金紫。",[88,23,70,418,25,50,27,456,457,7,458],"雪景","寒禽","浆果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf83af5f258b7e3cf2ddcfd3f3c7dabe.jpg","纵24.3厘米，横26厘米",[245,35],226,{"id":464,"slug":465,"title":17,"dynasty":44,"author":85,"museum":194,"description":466,"tags":467,"thumbUrl":468,"material":431,"size":432,"collection":56,"collections":469,"showCount":470,"zanCount":287,"manualWeight":11,"mainColor":39},239432,"hua-niao-ce-yun-shou-ping-239432","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。",[69,23,70,24,89,25,27,28,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48e378a87f8912632f7510fda2eb40c7.jpg",[],215,{"id":472,"slug":473,"title":474,"dynasty":44,"author":319,"museum":46,"description":345,"tags":475,"thumbUrl":479,"material":25,"size":350,"collection":56,"collections":480,"showCount":481,"zanCount":11,"manualWeight":11,"mainColor":39},222729,"xian-e-chang-chun-tu-bai-he-hua-yu-chan-zhi-mu-dan-lang-shi-ning-222729","仙萼长春图百合花与缠枝牡丹",[88,69,23,70,50,25,27,476,477,478,7],"百合","牡丹花","缠枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c55f7cc59936a5a8c9fc4611e39f44d.jpg",[],209,{"id":483,"slug":484,"title":485,"dynasty":44,"author":486,"museum":20,"description":487,"tags":488,"thumbUrl":492,"material":33,"size":493,"collection":35,"collections":494,"showCount":481,"zanCount":287,"manualWeight":11,"mainColor":39},218903,"hua-niao-tu-zhou-shen-quan-218903","花鸟图轴","沈铨","沈铨善绘花鸟翎毛，用笔细腻传神，设色富贵浓艳。他的绘画多以描绘松、梅、竹、鹿、鹤、雉等寓意祥瑞富贵的题材为多。是图设色名丽脱俗，极富装饰性。琵琶树下，繁花斗艳，一对锦鸡嬉戏其间，树梢果实累累，绿叶掩映，群鸟相鸣，给人喜庆祥和的视觉感受。此作绘于乾隆二十七年（壬午，1762），作者时年八十一岁。",[69,23,50,25,27,184,489,490,7,491],"树木","花朵","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab98048035316f1f40ef1a094497f236.jpg","纵171.6厘米，横95.9 厘米",[35],{"id":496,"slug":497,"title":498,"dynasty":64,"author":499,"museum":100,"description":500,"tags":501,"thumbUrl":503,"material":163,"size":504,"collection":35,"collections":505,"showCount":481,"zanCount":260,"manualWeight":11,"mainColor":80},218555,"mo-li-shu-fang-tu-ma-lin-218555","茉莉舒芳图","马麟","绢本古雅的底色上，茉莉枝蔓婉转伸展，白花团簇如凝雪，瓣瓣细腻温润，似含轻露未干。叶片以深浅墨绿晕染，脉络清晰可见，老叶的厚重与新叶的鲜嫩相映成趣。枝梗用笔挺劲又不失灵动，穿插错落间留白恰到好处，尽显疏密有致的构图巧思。整幅画精工雅致，将茉莉的清芬与静谧之美凝于绢素，仿佛能闻见淡淡花香，尽显南宋花鸟的细腻与诗意。笔墨间藏着对自然生灵的细致观察，每一处细节都透着温婉的匠心，让清雅之气溢于画面，是兼具技法与意境的佳作。",[69,23,70,50,25,27,502,7,31],"茉莉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9afa3f161454d0740d10b8abcc3695ff.jpg","22.8x22.8cm",[35],{"id":507,"slug":508,"title":509,"dynasty":64,"author":510,"museum":194,"description":511,"tags":512,"thumbUrl":513,"material":514,"size":515,"collection":245,"collections":516,"showCount":517,"zanCount":435,"manualWeight":11,"mainColor":80},221586,"guo-qin-tu-ye-li-song-221586","果禽图页","李嵩","李安忠，南宋画家。钱塘(今浙江杭州)人，生卒年不详。宋徽宗宣和(1119-1125)时为画院祗候，历官成忠郎。南渡后绍兴(1131-1162)间复职画院，赐金带。子公茂，世其家学，然不逮父。\n工画花鸟、走兽，尤长于“捉勒”(鹰鹘之类)，《画继补遗》谓其“工画捉勒，得其 鸷攫及畏避之状”。亦间作山水。马臻题其《雪岸寒鸦图》诗云：“北风万里吹石裂，古树槎桠摧朽铁，群乌哑哑如苦饥，倦飞还向空林歇。孤村荒寒得食远，日暮沙边啄残雪，回情诉意各有态，羡杀画师心更切。我尝记得天随诗，至今读之心激越，妇女衣襟便佞态，始得金笼日提挈。老乌，老乌，尔身毛羽黑离离，况复人间厌尔啼，何不飞鸣丈人屋，丈人屋头春柳绿。”",[88,23,70,50,25,27,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5d0bec16d60826eb99359fe54491c93.jpg","绢本，设色","纵26.9cm，横27.2cm",[245,35,133],207,{"id":519,"slug":520,"title":521,"dynasty":18,"author":522,"museum":266,"description":523,"tags":524,"thumbUrl":527,"material":359,"size":528,"collection":35,"collections":529,"showCount":530,"zanCount":287,"manualWeight":11,"mainColor":80},222048,"mei-gu-hua-hui-tiao-fu-wang-zhong-222048","没骨花卉条幅","汪中","绘花鸟虫石一幅，湖石立于地面，棱角尖锐，内部多孔，其四周有月季、金银花穿插之中，花儿娇艳，虫蝶生动活泼。汪中，字容甫，清朝时期著名的哲学家、文学家、史学家，与阮元、焦循同为“扬州学派” 的杰出代表。",[88,23,70,158,89,25,27,161,28,220,525,526,7,490],"蜻蜓","藤蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a80d2f3763b05356d5be7d88d57866d.jpg","54.4x113.9",[35,133],204,{"id":532,"slug":533,"title":534,"dynasty":44,"author":85,"museum":194,"description":535,"tags":536,"thumbUrl":537,"material":56,"size":538,"collection":56,"collections":539,"showCount":540,"zanCount":214,"manualWeight":11,"mainColor":39},233900,"hua-hui-ce-yun-shou-ping-233900","花卉册","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。",[23,70,69,24,89,25,72,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa0a7750d865b52861787be6b9bef938.jpg","纵32.5厘米，横25.5厘米",[],201,{"id":542,"slug":543,"title":544,"dynasty":44,"author":403,"museum":46,"description":545,"tags":546,"thumbUrl":547,"material":548,"size":549,"collection":35,"collections":550,"showCount":551,"zanCount":11,"manualWeight":11,"mainColor":39},222697,"hua-chun-hua-san-zhong-zhou-qian-wei-cheng-222697","画春花三种轴","钱维城（1720 —1772）于第二次南巡时陪同南下，不但于苏州绘「借山斋」一景，稍早经过家乡常州时，亦为乾隆皇帝绘制当地名胜苏轼「舣舟亭」，颇似御用的随行写生画家。此作描绘苏州虎邱一带的景致，承续「四王」山水风格，并揉合地貌与建筑，呈现出清代宫廷正统派山水画的风貌。乾隆皇帝于虎邱所题诗句「林泉印证真亲切，秀丽从来说虎邱」，显示出他以艺术品「即景印证」的习惯，并不囿于古代名迹，当朝词臣的画作亦可添助游兴。",[88,23,70,69,158,25,50,27,28,144,115,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F644cd5f86ffa087cae3a9551bfee9b91.jpg","纸本，设色","260x101.4",[35,133],194,{"id":553,"slug":554,"title":555,"dynasty":18,"author":155,"museum":100,"description":556,"tags":557,"thumbUrl":559,"material":163,"size":56,"collection":35,"collections":560,"showCount":561,"zanCount":214,"manualWeight":11,"mainColor":80},216749,"hai-tang-fei-qin-tu-yi-ming-216749","海棠飞禽图","海棠花是一种常见的中国花卉，通常被认为是爱情、美好愿望和幸福的象征。这幅画的画风精细，笔法优美，极富艺术魅力。",[69,23,70,50,25,27,558,184,7],"海棠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F131241bc6542bdd047d08b2abfb54967.jpg",[35],189,{"id":563,"slug":564,"title":565,"dynasty":18,"author":566,"museum":46,"description":567,"tags":568,"thumbUrl":570,"material":33,"size":571,"collection":35,"collections":572,"showCount":573,"zanCount":435,"manualWeight":11,"mainColor":39},219468,"pan-tao-tu-xiang-sheng-mo-219468","蟠桃图","项圣谟","这帧折枝蟠桃，老干自上而下蜿蜒伸展，皴擦点苔尽显苍古拙朴。仙桃晕染柔润清妍，粉白底色过渡自然，桃尖晕开胭脂红，饱满鲜活似凝着晨露，恍若可触其清甜。叶片舒展有致，色泽分染出深浅层次，清雅秀逸。\n\n题诗与绘境相得益彰，书画合璧添文韵，鉴藏朱印错落排布，晕开古雅氛围。整作不尚浓艳，以写实笔触勾勒出仙桃灵秀清润，将蟠桃延寿的祥瑞寓意融于淡冶笔墨之中，尽显明代文人画雅致隽秀的意趣风骨，是文气与赏玩性兼具的小品佳制。",[23,158,25,50,569,52,7,31],"桃树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe88cbc4a96a4d38d9e8c7a095345af2a.jpg","111.3x31.4厘米",[35],178,{"id":575,"slug":576,"title":577,"dynasty":578,"author":579,"museum":100,"description":580,"tags":581,"thumbUrl":585,"material":163,"size":56,"collection":35,"collections":586,"showCount":587,"zanCount":214,"manualWeight":11,"mainColor":80},219186,"fu-rong-yuan-yang-tu-qian-xuan-219186","芙蓉鸳鸯图","元","钱选","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。",[88,69,23,50,25,27,582,583,161,7,584],"芙蓉","鸳鸯","元代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F226d4750da5198d9248ca7382ce9bb70.jpg",[35,133],175,{"id":589,"slug":590,"title":591,"dynasty":44,"author":85,"museum":46,"description":592,"tags":593,"thumbUrl":596,"material":25,"size":597,"collection":35,"collections":598,"showCount":599,"zanCount":214,"manualWeight":11,"mainColor":39},220984,"yin-xing-li-fang-yun-shou-ping-220984","银杏栗房","恽寿平（1633年－1690年），初名格，字寿平，改字正叔，号南田，又号云溪外史、白云外史，武进（今江苏常州）人，清代画家。\n恽寿平生于明崇祯六年（1633年），父恽日初为复社要人。寿平八岁能咏莲，少年遭遇战乱，随父参加抗清运动，兵败后与父失散，被总督陈锦之妻收留。陈锦遇刺身亡，寿平扶灵北归时，在灵隐寺与父相遇，留寺为僧，后回乡与家人团聚。\n子恽念祖，娶西营汤氏，汤谟孙女、汤自明次女。\n生前视钱如无物，晚年贫病交迫，卒于清康熙二十九年（1690年），由好友王翚出资安葬。",[88,23,70,24,89,25,50,594,595,7,310],"银杏","栗房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff79d66c05b6bf9a17cc28bba35d1c764.jpg","50.8厘米",[35,133],170,{"id":601,"slug":602,"title":603,"dynasty":44,"author":292,"museum":46,"description":293,"tags":604,"thumbUrl":608,"material":33,"size":298,"collection":56,"collections":609,"showCount":599,"zanCount":287,"manualWeight":11,"mainColor":39},219873,"er-shi-si-fan-hua-xin-feng-tu-tong-hua-yu-mai-hua-dong-gao-219873","二十四番花信风图-桐花与麦花",[23,70,24,25,50,75,605,606,607,310,28,7,31],"行书","桐花","麦花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdb86962c9013f1d6120ae7f94813ca0.jpg",[],{"id":611,"slug":612,"title":613,"dynasty":64,"author":614,"museum":194,"description":615,"tags":616,"thumbUrl":622,"material":163,"size":56,"collection":245,"collections":623,"showCount":624,"zanCount":11,"manualWeight":11,"mainColor":80},218943,"yuan-lu-tu-yi-yuan-ji-218943","猿鹿图","易元吉","古木虬枝盘曲，浓荫层叠如盖，数只猿猴或攀附枝桠眺望，或倒挂垂藤嬉戏，或蹲踞树间理毛，神态各异，毛发细劲蓬松，尽显野趣生机。树下小鹿昂首抬望，似与枝头猿猴遥遥呼应，动静相生间，溢出山林的清寂悠然。\n\n笔墨工细灵动，树木皴染结合，叶片层叠有致；猿鹿造型精准，细节刻画入微，可见对自然生灵的深察。绢本色调温润古朴，衬出宋画雅致意境，仿佛林间风动，猿啼鹿鸣隐约可闻，将山野悠然意趣凝于尺幅，尽显自然之美与生命之趣。",[88,69,23,70,418,25,50,617,618,619,620,7,621],"猿","鹿","树","石","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ef6adf05faacf36a9500267f5a38228.jpg",[245],168,{"id":626,"slug":627,"title":628,"dynasty":44,"author":629,"museum":194,"description":630,"tags":631,"thumbUrl":633,"material":56,"size":56,"collection":56,"collections":634,"showCount":635,"zanCount":11,"manualWeight":11,"mainColor":39},235225,"ju-hua-juan-wu-chang-shuo-235225","菊花卷","吴昌硕","此作以金石笔意入画，运笔苍厚朴拙。淡墨写就的白菊清雅疏朗，胭脂点染的红菊饱满明丽，浓淡对比间，尽显秋菊凌霜逸姿。水墨枝叶以篆籀笔法写出，顿挫老辣，墨色干湿浓淡富于层次，将菊枝柔韧与叶片舒展淋漓展现。\n\n右侧题字朴茂雄浑，与画作金石意趣浑然一体，诗画相映间，将东篱秋菊的野逸傲骨尽显，尽显文人画诗书画印的交融意韵，苍劲中暗含秀雅，勾勒出深秋篱边秋菊的盎然生机。",[23,70,71,26,25,143,27,632,7],"菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffede1ca6c977a93b9dd98f70687fa6e3.jpg",[],154,{"id":637,"slug":638,"title":639,"dynasty":44,"author":403,"museum":46,"description":545,"tags":640,"thumbUrl":641,"material":283,"size":642,"collection":35,"collections":643,"showCount":635,"zanCount":214,"manualWeight":11,"mainColor":39},222696,"hua-si-qi-han-he-shang-ce-ce-shan-cha-qian-wei-cheng-222696","画四气含和上册册山茶",[88,23,70,24,50,25,27,159,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb01852c516dc739ec334cc717e4eb779.jpg","27.4x37",[35,133],{"id":645,"slug":646,"title":647,"dynasty":18,"author":648,"museum":100,"description":649,"tags":650,"thumbUrl":653,"material":33,"size":56,"collection":211,"collections":654,"showCount":655,"zanCount":11,"manualWeight":11,"mainColor":39},216324,"han-xi-meng-xiu-song-yuan-ming-ji-ce-bian-dou-qing-ting-tu-han-xi-meng-216324","韩希孟绣宋元名迹册·扁豆蜻蜓图","韩希孟","针丝摹宋元清韵，绣线藏自然生机。藤蔓婉转牵绕，叶片青绿层次晕染，脉络清晰可触；淡蓝小花缀枝，豆荚饱满似含晨露，嫩黄浅绿间漾着鲜活。两只蜻蜓停落藤蔓，翅脉细如游丝，羽翼薄透若纱，身纹斑斓细腻，姿态轻盈灵动，仿佛振翅欲飞。绣艺疏密得宜，色彩雅淡天成，将夏日庭院的清寂与鲜活凝于方寸，经纬间藏纳草木情致，尽显闺阁绣工的精工巧思与诗意才情。",[651,24,25,27,652,525,7,490,75],"刺绣","扁豆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e24cbd413857474856d33165f232536.jpg",[211,35],150,{"id":657,"slug":658,"title":659,"dynasty":64,"author":155,"museum":194,"description":660,"tags":661,"thumbUrl":664,"material":56,"size":56,"collection":56,"collections":665,"showCount":666,"zanCount":214,"manualWeight":11,"mainColor":39},227882,"liu-zhi-huang-niao-tu-yi-ming-227882","榴枝黄鸟图","《 》是宋代佚名创作的绢本设色画，现藏于北京故宫博物院。\n此图绘 一只，嘴啄小虫，栖止于榴枝上，神形毕肖。\n图中枝梗从右向左斜出，沉甸甸的石榴挂于枝干。\n榴叶萧瑟，鸟的羽毛用淡黄染色后，再用粉白以短而细的笔触勾描，具有毛茸茸的质感。\n鸟的翅膀和尾部等处，浓淡墨色参用。\n画面设色侬艳而又对比鲜明。\n深秋时节， 成熟，绽开表皮，露出累累果实。\n石榴叶已由绿变黄，有的枯萎，有的被虫蛀蚀，写出了秋日的萧瑟。\n一只肥硕的黄鹂衔着小虫栖于榴枝上，悠然自得。\n黄鹂的羽毛经淡赭、黄色晕染后再用白线勾描，近于“没骨”。\n石榴枝叶赋色对比鲜明。\n对幅有清乾隆御题诗一首：“榴子熟时莺转时，野虫衔得集横枝。\n笑他自喜权供饱，忘却有人弹挟之。\n辛亥清和御笔。\n”钤“ ”、“ ”、“八征耄念”、“自强不息”玺印。\n本幅无款。\n钤鉴藏印“张笃行印”，另有2印不辨。\n清《石渠宝笈》著录。",[88,23,70,24,50,25,27,662,663,54,7,605,31],"榴枝","黄鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e2351453d665df0945037e4ac4a342f.jpg",[],145,{"id":668,"slug":669,"title":670,"dynasty":64,"author":671,"museum":266,"description":672,"tags":673,"thumbUrl":674,"material":312,"size":675,"collection":245,"collections":676,"showCount":677,"zanCount":11,"manualWeight":11,"mainColor":80},221365,"dai-sheng-tu-zhao-ji-221365","戴胜图","赵佶","宋徽宗赵佶（1082年11月2日-1135年6月4日） [6] ，号宣和主人，宋朝第八位皇帝（1100年2月23日-1126年1月18日在位），书画家。宋神宗第十一子、宋哲宗之弟。先后被封为遂宁王、端王。 [1] 哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”， [1] 并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。 [2] 他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。 [3] 南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[88,69,23,70,50,25,27,184,28,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac6d21304ca588d1c5a05077bff87467.jpg","纵55厘米，横59厘米",[245,35,133],144,{"id":679,"slug":680,"title":681,"dynasty":18,"author":682,"museum":194,"description":683,"tags":684,"thumbUrl":689,"material":56,"size":56,"collection":56,"collections":690,"showCount":691,"zanCount":287,"manualWeight":11,"mainColor":39},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。",[88,23,70,71,50,25,27,393,685,144,582,114,686,74,687,476,159,558,688,502,28,7,490,31],"兰","水仙","杜鹃","栀子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fcbf65ccf427d0eec788db6bcfcdb78.jpg",[],137,{"id":693,"slug":694,"title":695,"dynasty":44,"author":696,"museum":194,"description":697,"tags":698,"thumbUrl":700,"material":56,"size":56,"collection":56,"collections":701,"showCount":702,"zanCount":214,"manualWeight":11,"mainColor":39},230128,"hua-niao-shu-guo-ce-ye-ba-kai-ren-yi-230128","花鸟蔬果册页(八开)","任颐","此作以淡墨铺染出空濛底色，枝桠间雀鸟静栖，以干笔丝毛晕染翎羽，写实中兼具写意意趣，朱红顶冠醒目鲜活，将禽鸟机灵敏锐的神态刻画入微。衬景枝叶以浓淡水墨挥洒而就，枯荣姿态各具，干湿层次丰富，与留白虚境相映成趣，营造出清寂悠然的秋日氛围。\n\n构图疏朗空灵，右下角题款朱印呼应雀首色彩，章法雅致和谐。笔意兼具写实的生动与文人画的写意气韵，将寻常禽鸟小景绘出澹远悠长的意境，尽显雅致灵动的花鸟意趣。",[23,24,26,25,143,27,7,699],"蔬果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d23c459b8d850378f7361b3c25c3d70.jpg",[],135,{"id":704,"slug":705,"title":706,"dynasty":18,"author":707,"museum":266,"description":708,"tags":709,"thumbUrl":712,"material":713,"size":714,"collection":35,"collections":715,"showCount":717,"zanCount":287,"manualWeight":11,"mainColor":80},222447,"guan-mu-ji-qin-tu-juan-lin-liang-222447","灌木集禽图卷","林良","林良以画花鸟著称，主体多属富野逸之趣的禽鸟，如苍鹰、芦雁、寒鸦、麻雀、锦鸡、喜鹊等，也喜绘群鸟聚集景象，品类众多，情态各异，极富自然天趣。这幅长卷即为集禽图巨构。\n面画开道为三只麻雀，正展翅飞向丛林，迎面枝头有翠鸟、黄鹂啁啾，似示欢迎。步入林丛枝杈交错，白头翁在枝头成双鸣叫，山喜鹊与山鹧引颈对唱，小山雀则静歇枝上。密林深处展现阔叶灌木和粗劲竹丛，有寒鸦、鹡鸰、麻雀、白头翁、鹌鹑等，成双结对地和鸣、嬉玩，追逐其间。接着斜出几株老松，针叶茂密，成群斑鸠在此活动，一派家族欢聚气氛，然松林深处却有一只苍鹰在窥视，于平和中增添了一分杀气。结尾是荻岸水滨，一对鸬鹚在水面觅食，两只乌鸦涉水行进，另有翠鸟飞栖苇丛间，境界又变为空阔悠闲。\n作品布局采用平面散点的结构手法，移步换形，层层展开，疏密相间，动静结合。禽鸟动态逼真，情状各异，枝叶纵横交错，杂而不乱。古木老树、枯枝落叶已显现出萧索秋意，然群鸟骚动不拘的活泼天性，却使丛林依然充满蓬勃生机。\n此图画法以水墨为主，略施淡彩。禽鸟勾染相间，工写结合，洗练准确，笔简神完。灌木丛林用写意法，然也放而有度，不离规矩。全幅气势宏阔，景象万千，为林良存世的精品巨制。",[88,69,23,70,71,26,143,27,710,711,184,7],"灌木","禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba587401db7e2d99d630e876f2bb9c0b.jpg","纸本，淡设色","纵34厘米，横1211.2厘米",[35,716],"水墨画精选",129,{"id":719,"slug":720,"title":721,"dynasty":414,"author":722,"museum":194,"description":723,"tags":724,"thumbUrl":726,"material":56,"size":56,"collection":56,"collections":727,"showCount":728,"zanCount":435,"manualWeight":11,"mainColor":80},228764,"jin-hui-dui-tu-xu-xi-228764","锦灰堆图","徐熙","此作以散落折枝、蔬果翎羽、虫草顽石攒合成卷，不假刻意经营却浑然谐和。笔底写生工致入微，设色清润古雅，将四时风物杂糅一堂，野卉柔叶、鲜菌佳果皆含生趣，蛱蝶蜻蜓穿梭其间，野逸灵动，尽显江南画派的淡冶生机。\n\n画间题跋盛赞其写生神妙，兼具宋人的写实工致与元人的简逸意趣，寻常野趣被点染成清雅可观的长卷，淡墨轻色间铺陈出闲散雅致的文人意韵，是草虫蔬果写生的绝佳范本。",[88,23,70,71,25,50,27,220,525,53,725,7,54,310],"花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde61754fc4a7f484e9027edfa11300a3.jpg",[],128,{"id":730,"slug":731,"title":732,"dynasty":18,"author":733,"museum":100,"description":734,"tags":735,"thumbUrl":737,"material":163,"size":56,"collection":35,"collections":738,"showCount":728,"zanCount":214,"manualWeight":11,"mainColor":739},216957,"hua-die-tu-jiang-bo-chuan-216957","花蝶图","江伯川","花蝶图 是一幅江伯川所作的画作，出自明朝时期（1368-1644年）。江伯川是一位著名的中国画家，他的作品风格独特，富有表现力，为明朝画风做出了巨大贡献。\n\n花蝶图是一幅典型的明朝山水画，画中绘制了一片美丽的花园，空气中弥漫着花香。画面中的花蝶翩翩起舞，为整幅画增添了活力和热情。这幅画中使用了鲜艳的色彩，搭配精细的线条勾勒出了花朵、蝴蝶、树木等景物的细节，让人看起来十分美妙。",[23,70,69,158,50,25,27,72,736,7],"蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfa424ceb845aca879a2e4daa3861c09.jpg",[35],"37474F",{"id":741,"slug":742,"title":743,"dynasty":18,"author":155,"museum":744,"description":745,"tags":746,"thumbUrl":748,"material":359,"size":749,"collection":56,"collections":750,"showCount":751,"zanCount":11,"manualWeight":11,"mainColor":39},223462,"shan-cha-hua-xiao-qin-tu-yi-ming-223462","山茶花小禽图","日本京都国立博物馆","本图描绘了一株披覆着少许薄雪的山茶花，还有一只停留枝上的小鸟。周凤的题诗中提到，山茶花彷佛象征冬天，而小鸟则象征了春天的到来。",[88,23,69,158,25,50,27,747,29,7],"山茶花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5da1382bff49e60e04c2e2c6d9f0b84.jpg","32X86",[],127,{"id":753,"slug":754,"title":755,"dynasty":44,"author":85,"museum":194,"description":466,"tags":756,"thumbUrl":757,"material":431,"size":432,"collection":56,"collections":758,"showCount":759,"zanCount":287,"manualWeight":11,"mainColor":39},235085,"yun-shou-ping-hua-hui-ce-yun-shou-ping-235085","恽寿平花卉册",[23,24,89,25,28,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61a7b3aafdec8a0f229dbcde14d2bdc4.jpg",[],124,{"id":761,"slug":762,"title":763,"dynasty":764,"author":765,"museum":46,"description":766,"tags":767,"thumbUrl":770,"material":25,"size":771,"collection":35,"collections":772,"showCount":759,"zanCount":287,"manualWeight":11,"mainColor":80},219724,"qiu-shi-shan-qin-tu-bian-luan-219724","秋实山禽图","唐","边鸾","此作以精工之笔描摹秋隅小景，黑羽山禽昂首枝上，翎羽纤毫毕现，油亮光泽宛若可触，尖喙微张似将引吭，灵动神态跃然绢上。枝桠间垂挂饱满秋瓜，表皮肌理莹润逼真，衬叶或鲜或残，脉络清晰可见，将秋日萧疏与生机相融。\n\n设色调和雅致，以沉稳古色晕染绢底，把草木禽鸟的鲜活神韵尽数铺陈，写实中暗藏雅致意趣，将刹那间的秋意生机定格成永恒，尽显工笔花鸟的细腻精妙，内敛古朴间流露着静谧悠然的秋日况味。",[23,70,24,50,25,27,768,54,7,769,69],"山禽","唐代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4f4300f8a942f5a262a8fc8beee2aea.jpg","26.9x27.4",[35],{"id":774,"slug":775,"title":776,"dynasty":44,"author":85,"museum":46,"description":777,"tags":778,"thumbUrl":779,"material":283,"size":56,"collection":35,"collections":780,"showCount":781,"zanCount":214,"manualWeight":11,"mainColor":39},220979,"ping-shan-mian-hua-ce-yun-shou-ping-220979","平扇面畫冊","扇面顧名思義就是扇子形狀的一個面，在幾何上是這樣定義何為扇形的：一條弧和經過這條弧兩端的兩條半徑所圍成的圖形叫扇形，那麼扇面是不是就是一個扇形的面呢？其實並不是。\n現多指為書畫作品的一種形式，分為摺扇和團扇。",[88,418,89,25,27,144,28,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec7984a13c489e6e7b3ce49166670d47.jpg",[35,133],123,{"id":783,"slug":784,"title":785,"dynasty":18,"author":786,"museum":46,"description":787,"tags":788,"thumbUrl":799,"material":800,"size":801,"collection":211,"collections":802,"showCount":803,"zanCount":260,"manualWeight":11,"mainColor":80},214534,"feng-yu-gui-zhou-zhou-dai-jin-214534","风雨归舟轴","戴进","这幅画是笔墨兼工带写，奔放豪纵而苍劲淋漓。这幅画很好地运用了「水晕墨章」的技法，用大笔和淡墨快速而斜地扫过风和雨的自然景观，竹子、树木、芦苇和稻草的雨衣，都迎着风和雨弯下腰。　虽然戴进的画风与南宋宫廷画家的体系相同，但他在画中加入了新的内容，如这幅画，并确立了浙派山水画的基本风格，成为后世效仿的典范。",[23,70,158,69,26,789,790,791,792,793,794,795,489,796,797,798,7,491],"皴法","风雨","归舟","孤舟","蓑笠","小桥","流水","山峦","云雾","舟楫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07168b75e7b49cbee77b8e01e67a53fa.jpg","绢本,水墨","143x81.8",[211],121,{"id":805,"slug":806,"title":807,"dynasty":64,"author":671,"museum":194,"description":808,"tags":809,"thumbUrl":812,"material":431,"size":432,"collection":56,"collections":813,"showCount":814,"zanCount":214,"manualWeight":11,"mainColor":80},287892,"xie-sheng-ling-mao-tu-zhao-ji-287892","写生翎毛图","宋徽宗赵佶（1082年11月2日-1135年6月4日）[6]，号宣和主人，宋朝第八位皇帝（1100年2月23日-1126年1月18日在位），书画家。宋神宗第十一子、宋哲宗之弟。先后被封为遂宁王、端王。哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”，并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[88,69,23,71,25,50,27,184,220,810,28,7,811],"荔枝","翎毛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F991c70342fcdd1f954ce69e99322aad5.jpg",[],120,{"id":816,"slug":817,"title":818,"dynasty":18,"author":278,"museum":266,"description":819,"tags":820,"thumbUrl":822,"material":25,"size":823,"collection":35,"collections":824,"showCount":825,"zanCount":214,"manualWeight":11,"mainColor":39},216097,"qiang-wei-shan-mian-lu-zhi-216097","蔷薇扇面","陆治（1496—1576年），字叔平，吴县（今属江苏苏州）人。因居太湖之包山，号包山子，后隐居支硎山中。文徵明弟子，诗、文、书、画都有相当造诣，擅长画山水、花鸟，为“吴门画派”后期重要画家。花鸟画兼工能写，风格清秀。山水画笔墨劲峭，深受宋元人和文徵明影响而又创立了自己的风格。",[88,418,23,25,27,28,821,7,75,31],"蔷薇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b8d7a219ff7f6c557ee6210e2bc55f4.jpg","15.9x49cm",[35],119,{"id":827,"slug":828,"title":829,"dynasty":64,"author":830,"museum":46,"description":831,"tags":832,"thumbUrl":835,"material":25,"size":836,"collection":245,"collections":837,"showCount":838,"zanCount":287,"manualWeight":11,"mainColor":80},221456,"qie-zi-tu-juan-chen-ju-zhong-221456","茄子图卷","陈居中","陈居中（生卒年不详），南宋时期宫廷画家。在画史有关他的记载十分简略，元代夏文彦《图绘宝鉴》卷四中记有：“陈居中，嘉泰间画院待诏，专工人物、蕃马，布景著色，可亚黄宗道。”另据《画史会要》记载，陈居中曾在开禧三年（1207年）为崔丽人画像，悉知他在1207年尚任职于画院，并擅长画肖像。 虽然有关陈居中的记载十分简单，但他留下的作品却比较多且十分精彩，这在南宋宫廷画家中是十分难得的。就目前所知确为其真迹的作品有《文姬归汉图》、《胡茄十八拍图》、《绝塞逢春图》、《进马图》、《四羊图》等。这些作品所表现的多为历史故事或少数民族风情题材，这与“专工人物、蕃马”的记载是相吻合的。这些作品的画法多样，技艺高超，笔法精细，形象传神，正如明人吴其贞在题陈居中《八骏图》时所评：“精彩逼真似唐画，系临史道硕、韩干之辈，为两宋人物第一神品也。”",[88,69,23,70,71,50,25,833,7,490,53,834],"茄子","杂草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a2515db414029768f29a0bf0dd13bc.jpg","35.8x 191.2",[245,35,133],118,{"id":840,"slug":841,"title":842,"dynasty":414,"author":843,"museum":194,"description":844,"tags":845,"thumbUrl":847,"material":56,"size":56,"collection":56,"collections":848,"showCount":849,"zanCount":435,"manualWeight":11,"mainColor":39},227547,"shi-liu-tu-ye-huang-ju-cai-227547","石榴图页","黄居寀","黄居寀[cǎi]（933年—993年后），字伯鸾，成都（今属四川）人，五代十国名画家黄筌第三子。擅绘花竹禽鸟，精于勾勒，用笔劲挺工稳，填彩浓厚华丽，其园竹翎毛形象逼真，妙得自然；怪石山水超过乃父，与父同仕后蜀，为翰林待诏，入宋仍任翰林待诏。尝合作殿廷墙壁，宫闱屏幛，不可胜记。",[88,69,23,70,24,25,50,27,846,7,31],"石榴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3694de77f1763de9903d1d4aa0cf2982.jpg",[],114,{"id":851,"slug":852,"title":853,"dynasty":44,"author":629,"museum":194,"description":854,"tags":855,"thumbUrl":856,"material":56,"size":56,"collection":56,"collections":857,"showCount":858,"zanCount":287,"manualWeight":11,"mainColor":39},237971,"hua-hui-tu-zhou-wu-chang-shuo-237971","花卉图轴","此作集四季名卉于一纸，错落排布，繁而不杂，生机盎然。以没骨兼写意笔法绘就，牡丹以淡粉晕染花瓣，层层叠叠尽显雍容柔媚，墨色叶片苍劲老辣，金石笔意融于勾勒点染之间，朴拙浑厚。雏菊明黄鲜亮，山茶艳红古雅，白梅冰清玉润，紫藤柔蔓轻垂，诸花神态各异却和谐共生。\n\n题跋错落点缀于花枝空隙，书画相映，金石气与文人气交融氤氲。将文人写意的清雅风骨，与世俗吉庆的美好寄寓相融，尽显独特的雅俗共赏的风韵。",[23,27,25,143,144,632,28,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff58e2bc2a21ad008b6c9be203089481b.jpg",[],112,{"id":860,"slug":861,"title":862,"dynasty":578,"author":863,"museum":266,"description":864,"tags":865,"thumbUrl":879,"material":395,"size":880,"collection":211,"collections":881,"showCount":882,"zanCount":435,"manualWeight":11,"mainColor":39},221721,"wu-jia-he-hui-juan-zhao-yong-wang-mian-zhu-de-run-zhang-guan-fang-cong-yi-221721","五家合绘卷","赵雍 王冕 朱德润 张观 方从义","《元五家合绘》卷，元，赵雍、王冕、朱德润、张观、方从义作。\n此卷包括元代5位画家的5件绘画作品，作品尺幅相近，后人将其合裱为一卷。\n其一《松溪钓艇图》，元，赵雍作，纸本，墨笔，纵30厘米，横52.8厘米。\n款署：“至正二十年二月既望仲穆画。”钤“仲穆”、“魏国世家”。另有清乾隆皇帝御题诗及鉴藏印。至正二十年为1360年，赵雍时年72岁。图绘近岸坡石双松，孤舟钓叟，隔水平峦远岫，意境清幽，笔墨苍润。\n（二）《墨梅图》，元，王冕作，纸本，墨笔，纵31.9厘米，横50.9厘米。\n自题：“吾家洗研池头树，个个花开淡墨痕。不要人夸好颜色，只流清气满乾坤。王冕元章为良佐作。”钤“元章”、“文王子孙”。另有清乾隆皇帝御题诗及鉴藏印。画面中一枝梅花横出，枝干秀挺，花朵疏朗。以淡墨点染花瓣，再以浓墨勾点萼蕊，墨色清润，高情逸趣溢于笔端，表达了作者藉墨梅标榜清高孤洁的思想情感。\n曾经清人梁清标和清内府收藏，《石渠宝笈·续编》著录。\n（三）《松溪放艇图》，元，朱德润作，纸本，墨笔，纵31.5厘米，横52.6厘米。\n自题：“丑石半蹲山下虎，长松倒卧水中龙。试君眼力知多少，数到云峰第几重。朱泽民。”钤“朱泽民氏”。另有清乾隆皇帝御题诗及鉴藏印。\n图绘巨石怪松，孤舟徐行。画松枝用笔爽利迅捷，坡石皴法温润，人物用白描法，笔简意浓。\n曾经明沈周、清安岐收藏。\n（四）《疏林茅屋图》，元，张观作，纸本，墨笔，纵25.8厘米，横59.6厘米。\n款署：“至正戊戌八月，张观制。”另有清乾隆皇帝御题诗及安岐鉴藏印。至正戊戌为元至正十八年（1358年）。\n图画平坡老树，茅舍掩映，水阔山远，清雅控幽。树木勾点结合，错落有致，坡石用墨湿润，画风承北宋李成、郭熙一脉。\n（五）《山水图》，元，方从义作，纸本，墨笔，纵26.5厘米，横45.3厘米。\n款署：“方方壶作。” 另有清乾隆皇帝御题诗及明项元汴等多家鉴藏印。\n图画密林茅舍，小桥流水。画面景物丰满，墨色浓淡相间，笔法灵活潇洒。",[88,23,70,71,26,789,31,866,619,322,792,393,491,867,868,869,870,871,872,30,72,873,874,875,876,877,878,7],"山水","水面","渔船","人物","远岫","岸","茅屋","松树","枯树","岸滩","船只","山间","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ad6676a3f8f4d776bd2cf92396b87c9.jpg","纵30cm，横52.8cm",[211,716],111,{"id":884,"slug":885,"title":886,"dynasty":44,"author":85,"museum":20,"description":887,"tags":888,"thumbUrl":889,"material":163,"size":890,"collection":56,"collections":891,"showCount":892,"zanCount":214,"manualWeight":11,"mainColor":39},219819,"hua-hui-shi-kai-4-yun-shou-ping-219819","花卉十开-4","此作以没骨法绘就杜鹃，枝桠舒展错落，艳红杜鹃次第绽放在绢素之上。花瓣以色晕染，从浓烈朱红渐过渡到柔粉，边缘轻透灵动，将盛放时的娇柔鲜活尽数呈现。叶片敷色层次分明，苍嫩绿意与丹红花瓣相映，鲜活雅致。\n右上角题诗与绘面呼应，诗画交融，将杜鹃含露待放的山野清灵勾勒入心。整作不用墨骨，纯以色彩塑形晕染，尽显清雅文人意趣，把春日杜鹃的生机定格，静谧间满溢草木蓬勃灵气，藏着笔下花木写意的雅致情致。",[23,70,24,25,89,27,28,687,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd845887bc2884d5aced37e1e46e150a4.jpg","20.4×29.2厘米",[],108,{"id":894,"slug":895,"title":896,"dynasty":44,"author":897,"museum":194,"description":898,"tags":899,"thumbUrl":900,"material":56,"size":56,"collection":56,"collections":901,"showCount":902,"zanCount":287,"manualWeight":11,"mainColor":39},234589,"hai-tang-wan-shan-zhang-zhao-xiang-234589","海棠纨扇","张兆祥","张兆祥(1852年-1908年),，画家， 字和庵。天津人。师从孟绣村，多才多艺，通晓西洋照相技法和诗文书画，尤擅写生，画花鸟，并吸收郎世宁西洋画法，开一代画坛新风，自成一派。其作品传世甚少，尤为宝贵。藏于天津市艺术博物馆的《石榴花》，色彩浓艳，风姿绝伦，堪称珍品。其弟子陆文郁等人也在画坛名噪一时。",[23,70,418,25,50,27,558,7,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4c0b8090cb60efc3ac11e58b2f23728.jpg",[],107,{"id":904,"slug":905,"title":906,"dynasty":64,"author":65,"museum":194,"description":907,"tags":908,"thumbUrl":910,"material":56,"size":56,"collection":56,"collections":911,"showCount":902,"zanCount":11,"manualWeight":11,"mainColor":80},227518,"mo-li-hua-tu-zhao-chang-227518","茉莉花图","赵昌（730—814），字洪祚，天水人。祖不器，父居贞，皆有名于时。李承昭为昭义节度，辟昌在幕府。贞元七年，为虔州刺史。属安南都护为夷獠所逐，拜安南都护，夷人率化。十年，因屋坏伤胫，恳疏乞还，以检校兵部郎中裴泰代之，入拜国子祭酒。及泰为首领所逐，德宗诏昌问状。昌时年七十二，而精健如少年者，德宗奇之，复命为都护，南人相贺。",[88,69,23,70,909,418,50,25,89,27,502,7],"宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c26aa0a5bf06d8540629ecbc54cada7.jpg",[],{"id":913,"slug":914,"title":74,"dynasty":915,"author":916,"museum":917,"description":918,"tags":919,"thumbUrl":920,"material":56,"size":56,"collection":56,"collections":921,"showCount":922,"zanCount":214,"manualWeight":11,"mainColor":39},220524,"yue-ji-xu-bei-hong-220524","民国","徐悲鸿","中央美术学院美术馆","以浅赭绢底烘托素白月季，花瓣以淡彩轻晕，层层叠叠如凝霜含露，将白花柔润清雅的质感尽数铺展。枝蔓棘刺历历分明，叶片以浓淡墨色晕染，苍劲中带着鲜活生机。笔意兼用工写，将写实的鲜活感融入传统花鸟笔墨，褪去浓艳，独留清隽格调，把月季素净温婉却坚韧的姿态勾勒入微。淡远沉静的底色里，花木如携晚风朝露，灵秀雅致中暗涌生命张力，打破程式化的花鸟范式，尽显温婉又坚韧的雅致意趣。",[23,50,25,74,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9ac48078259be0067175805c7578624.jpg",[],106,{"id":924,"slug":925,"title":926,"dynasty":414,"author":415,"museum":927,"description":928,"tags":929,"thumbUrl":930,"material":163,"size":56,"collection":35,"collections":931,"showCount":922,"zanCount":214,"manualWeight":11,"mainColor":80},219025,"ban-jiu-tu-huang-quan-219025","斑鸠图","大英博物馆","画的是一棵顶部断裂的枯树干，一只鸽子站在树干上，蓬松的羽毛中夹杂着白色的毛发，盯着树根处发芽的树枝，绿叶红花。",[88,69,23,70,24,50,25,27,184,29,72,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a51e04c34bcf36d6653aa90ca568823.jpg",[35],{"id":933,"slug":934,"title":935,"dynasty":44,"author":85,"museum":46,"description":936,"tags":937,"thumbUrl":939,"material":312,"size":940,"collection":56,"collections":941,"showCount":942,"zanCount":287,"manualWeight":11,"mainColor":39},232677,"dong-li-qiu-se-tu-yun-shou-ping-232677","东篱秋色图","恽寿平(1633~1690)，初名格，字寿平，后以字行，更字正叔，号南田、云溪外史、东园生，晚年又号白云外史、瓯香散人。善画山水、花卉。早年画山水，取法元、五代大家。中年后以画花卉为主，自创一种名为“仿北宋徐崇嗣”的没骨花卉画法，即以潇洒秀逸的用笔直接点蘸敷染而成。这种画法独开生面，风靡一时。其山水画创作亦从未间断，有很高成就，笔墨灵秀，以神韵、情趣取胜。作品有《晴川揽胜图轴》、《设色花卉册》、《花果图册》等。",[49,23,70,158,27,28,25,89,938,7],"菊花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62e5c11e2567494e206962fa4dbf026f.jpg","107.6x54.5厘米",[],105,{"id":944,"slug":945,"title":171,"dynasty":18,"author":155,"museum":927,"description":946,"tags":947,"thumbUrl":948,"material":163,"size":949,"collection":35,"collections":950,"showCount":942,"zanCount":11,"manualWeight":11,"mainColor":80},216733,"hua-niao-tu-yi-ming-216733","花鸟图是中国明朝时期的一种流行的图画作品，通常用来装饰宫殿、庙宇、寺庙和民间住宅。花鸟图画的主题是花和鸟，这些图画通常具有浓郁的艺术气息，并且富有想象力。花鸟图画的风格各异，有的呈现出绚丽多彩的色彩，有的则更加简洁和精细。花鸟图画被广泛地应用于家具、屏风、纸品等各种物品上，为人们的生活带来美感和情感的满足。",[88,23,70,25,50,27,29,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2ee16ee0d6aa3b7e54d2fc25984cc1c.jpg","26x22.2cm",[35],{"id":952,"slug":953,"title":954,"dynasty":18,"author":140,"museum":20,"description":141,"tags":955,"thumbUrl":956,"material":146,"size":147,"collection":56,"collections":957,"showCount":958,"zanCount":287,"manualWeight":11,"mainColor":39},214641,"hua-hui-ce-5-chen-chun-214641","花卉册-5",[23,70,24,26,143,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb650fbecd1a4e5e3c720df2a0c160a98.jpg",[],103,{"id":960,"slug":961,"title":962,"dynasty":963,"author":964,"museum":194,"description":965,"tags":966,"thumbUrl":979,"material":431,"size":432,"collection":980,"collections":981,"showCount":982,"zanCount":11,"manualWeight":11,"mainColor":39},225894,"antibes-seen-from-the-salis-garden-1888-mo-nai-225894","Antibes seen from the Salis Garden, 1888","不详","莫奈","奥斯卡-克劳德·莫奈（法文：Oscar-Claude Monet，1840年11月14日-1926年12月5日），法国画家，被誉为“印象派领导者”，是印象派代表人物和创始人之一。\n莫奈是法国最重要的画家之一，印象派的理论和实践大部分都有他的推广。莫奈擅长光与影的实验与表现技法。他最重要的风格是改变了阴影和轮廓线的画法，在莫奈的画作中看不到非常明确的阴影，也看不到突显或平涂式的轮廓线。光和影的色彩描绘是莫奈绘画的最大特色。\n2019年5月14日，法国印象派画家克劳德·莫奈的作品《干草堆》在纽约苏富比拍卖行以破纪录的1.107亿美元（当时1美元约合人民币6.87元）高价拍出。这是莫奈作品拍卖价格的最高纪录，也是印象派画作拍卖最高纪录。",[967,968,969,970,971,619,972,973,974,975,491,867,976,7,977,978],"油画","印象派","点彩","光影捕捉","色彩交融","湖水","城镇","天空","花园","建筑","远景","春天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66591dc12d3fde82a8664f11526e454f.jpg","油画精选",[980],102,{"id":984,"slug":985,"title":534,"dynasty":44,"author":292,"museum":194,"description":986,"tags":987,"thumbUrl":988,"material":431,"size":432,"collection":35,"collections":989,"showCount":990,"zanCount":287,"manualWeight":11,"mainColor":39},238346,"hua-hui-ce-dong-gao-238346","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”。",[23,70,27,24,25,50,114,74,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9149d6e60a547adda3d2705a79a31ea9.jpg",[35,133],99,{"id":992,"slug":993,"title":112,"dynasty":18,"author":140,"museum":20,"description":141,"tags":994,"thumbUrl":995,"material":146,"size":147,"collection":56,"collections":996,"showCount":997,"zanCount":11,"manualWeight":11,"mainColor":39},214642,"hua-hui-ce-4-chen-chun-214642",[69,23,26,143,24,27,28,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd4c6f394b5716476a6daa9123972186.jpg",[],97,{"id":999,"slug":1000,"title":1001,"dynasty":18,"author":155,"museum":194,"description":1002,"tags":1003,"thumbUrl":1005,"material":359,"size":56,"collection":35,"collections":1006,"showCount":1007,"zanCount":214,"manualWeight":11,"mainColor":80},236282,"wang-zi-yuan-hua-niao-ce-yi-ming-236282","王子元花鸟册","此作清雅悠然，绶带鸟栖于梨枝之上，翎毛以细笔丝描晕染，墨色层叠尽显绒羽柔泽，蓝首醒目，长尾轻曳，姿态娴静灵动。枝头梨花绽放，淡墨勾瓣，敷色轻浅柔润，将花瓣舒展之态描摹尽致。叶片以没骨晕染，浓淡晕化间尽显春日枝叶的鲜活生机。\n\n画面构图疏朗雅致，工写相融，于细腻笔触中藏着写意的悠然意趣，将禽鸟的灵动与花木的温婉相融，笔墨间晕开春日清和的淡远意境，尽显静谧雅致的文人闲情。",[23,70,24,25,50,27,29,72,7,1004],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c0060be9a1a7849c84dd94d58fb96a4.jpg",[35,133],96,{"id":1009,"slug":1010,"title":534,"dynasty":44,"author":1011,"museum":194,"description":1012,"tags":1013,"thumbUrl":1014,"material":431,"size":432,"collection":35,"collections":1015,"showCount":1007,"zanCount":11,"manualWeight":11,"mainColor":39},235595,"hua-hui-ce-wang-wu-235595","王武","王武，1632年生，1690年逝世，吴县（今江苏苏州）人。字勤中，晚号忘庵，又号雪颠道人。明代画家王鏊六世孙，精鉴赏，富收藏，擅画花鸟，风格工整秀丽，正如王时敏所云：“神韵生动，应在妙品中。”为清初院画的名家。亦擅诗文。传世作品有《水仙柏石图》、《红杏白鸽图》、《鸳鸯白鹭图》等。",[69,23,70,24,25,50,27,161,28,7,31,605],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53dfb5af791c81f1b8b2110f11c0c905.jpg",[35,133],{"id":1017,"slug":1018,"title":1019,"dynasty":44,"author":1020,"museum":46,"description":1021,"tags":1022,"thumbUrl":1023,"material":163,"size":1024,"collection":35,"collections":1025,"showCount":1026,"zanCount":435,"manualWeight":11,"mainColor":39},219455,"tian-zhong-jia-hui-chen-shu-219455","天中佳卉","陈舒","山石层叠，青绿晕染间见苍劲肌理，墨线勾勒出嶙峋之态；旁侧花枝扶疏，红英灼灼若焰，粉瓣轻舒似云，橙黄花朵衬着修长叶片，清雅动人。笔墨兼工带写，设色明丽却不失蕴藉，将草木的生机与石的沉稳相融，尽显初夏时节的盎然意趣。仿佛微风拂过，花香浮动，叶片轻颤，于静谧中藏着灵动，是一幅雅致动人的案头清供佳制，尽显文人画的秀逸之韵。",[23,25,50,26,27,158,161,28,7,491,476],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F541bb4ac861feedf8baad632d78276d4.jpg","115.8x46.1",[35],92,{"id":1028,"slug":1029,"title":1030,"dynasty":44,"author":1031,"museum":266,"description":1032,"tags":1033,"thumbUrl":1034,"material":548,"size":56,"collection":35,"collections":1035,"showCount":1036,"zanCount":214,"manualWeight":11,"mainColor":39},237172,"hua-niao-kun-chong-ce-zhou-quan-237172","花鸟昆虫册","周铨","沈铨 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华岩一生贫困，金农在《画竹题记》提到:汀洲华岩秋岳，……尝画兰草纸卷，卷有五丈者，一炊饭顷便能了事，清而不媚，恍闻幽香散空谷之中，…… 余恨不能踵其后尘也。乾隆十七年(1752)，回到杭州旧居解弢馆。乾隆二十一年卒，有《离垢集》5卷。",[23,70,24,25,26,143,27,29,1082,7,31],"草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7a15ddd053c23937374547a7f95ffdd.jpg","31.2×44.7厘米",[35],86,{"id":1088,"slug":1089,"title":1090,"dynasty":18,"author":140,"museum":332,"description":333,"tags":1091,"thumbUrl":1093,"material":283,"size":338,"collection":56,"collections":1094,"showCount":1095,"zanCount":11,"manualWeight":11,"mainColor":39},222568,"hua-hui-tu-7-chen-chun-222568","花卉图7",[88,69,23,70,1004,143,26,25,27,28,7,30,490,1092],"写意花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42c3b1556563313a1660bdbd2d2b3b30.jpg",[],85,{"id":1097,"slug":1098,"title":1099,"dynasty":64,"author":155,"museum":46,"description":1100,"tags":1101,"thumbUrl":1104,"material":163,"size":1105,"collection":35,"collections":1106,"showCount":1107,"zanCount":287,"manualWeight":11,"mainColor":39},218714,"yang-liu-ru-que-tu-yi-ming-218714","杨柳乳雀图","这幅画描绘了一只鸟在喂养它的孩子。这只鸟被描绘得简单而微妙，它的翅膀用浓墨勾勒，用淡墨上色，小鸟的身高、腹部和背部，俯视、仰视和俯视的姿势都非常精致。柳树稀疏的、交叉的、交错的、下垂的枝条也画得很好。",[88,69,23,70,50,25,27,1102,1103,7,184],"杨柳","雀鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bf6bfbc2c1c72fbc541eff9d6f5e0b7.jpg","24.8x24.8",[35],84,{"id":1109,"slug":1110,"title":1111,"dynasty":44,"author":1112,"museum":194,"description":1113,"tags":1114,"thumbUrl":1117,"material":56,"size":56,"collection":56,"collections":1118,"showCount":1119,"zanCount":287,"manualWeight":11,"mainColor":39},229033,"si-ji-hua-niao-tu-ping-chen-mei-229033","四季花鸟图屏","陈枚","此作用没骨法晕染牡丹，朱红、莹白、粉胭、鎏金的花瓣层叠柔润，将花王雍容之态尽展笔底。苍古顽石虬枝旁逸，墨色叶片浓淡相宜，衬得群芳愈发妍丽。\n\n两只春燕翩跹于空，一黑一白相映成趣，振翅姿态灵动鲜活，似携春风穿掠花间，让静雅画幅漾起融融生气。整体设色明妍雅致，工细中带着写意的松弛，将春日芳华揉入绢素，典雅娴静里满溢春日花鸟的鲜活意趣。",[88,69,23,50,25,27,144,1115,7,491,1116],"燕子","屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93c30e140c85d897bb067b888cfe4136.jpg",[],83,{"id":1121,"slug":1122,"title":1123,"dynasty":44,"author":319,"museum":46,"description":345,"tags":1124,"thumbUrl":1130,"material":25,"size":350,"collection":56,"collections":1131,"showCount":1119,"zanCount":287,"manualWeight":11,"mainColor":39},222743,"xian-e-chang-chun-tu-03a-lang-shi-ning-222743","仙萼长春图-03a",[88,69,23,70,24,25,50,1125,1126,27,28,161,1127,490,878,310,1128,1129,7,491,725],"中西合璧","写实","叶片","色彩","造型逼真","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83860a3be34dc8440f2f86b13d28b9f5.jpg",[],{"id":1133,"slug":1134,"title":1135,"dynasty":64,"author":1136,"museum":266,"description":1137,"tags":1138,"thumbUrl":1141,"material":514,"size":1142,"collection":245,"collections":1143,"showCount":1119,"zanCount":287,"manualWeight":11,"mainColor":80},221592,"feng-ying-zhi-ji-tu-zhou-li-di-221592","枫鹰雉鸡图轴","李迪","此图又称《鹰雉图》或《鹰窥雉图》，是传世宋画中罕见的巨幅，由南宋宫廷画家李迪创作。据左上方署款“慶元丙辰歲李迪畫”，知作于宋宁宗庆元二年（1196年）。\n画面作对角线构图，主体禽鸟雄鹰置于左上角枯枝巅，俯首下视，紧盯着右下角的锦雉。锦鸡张口鸣叫，正向草丛中窜逃。斜线的呼应关系和锦鸡奔向画外的动态，营造出强烈的紧张气氛，扣人心弦。画家着意刻画苍鹰的眼、喙、爪三个关键部位，目光圆瞪，钢喙如钩，爪尖扣进树皮，既突出了鹰的凶猛矫健秉性，又强调出捕捉猎物时的力之凝聚和意念之专注，可谓真实传神。雉的形象也逼真如生，仓惶奔逃的姿态，惊惧的目光，乍开的羽毛，尤其是蹬出后腿又收缩脚爪的动作，准确地刻画出急于逃命又难脱厄运的情状，可见作者体察生物及其捕捉瞬间之动态的敏锐洞察力和写生传神的高超表现力。\n作品的笔墨敷彩技巧也十分成熟。禽鸟工整精细，设色轻淡，承北宋崔白以来的院体花鸟传统画更增动感和生意。树干粗勾细染，斑纹点点，呈苍劲之质。枫叶、兰草、丛竹则细笔双勾，淡墨渲染，形体富有弹性，又疏密有致，画法遵循“宣和体”的写生法则。山石运斧劈皴，兼作笔实墨重的擦染，近李唐又存北宋之法。此图堪称宋代院体花鸟画的巨构杰作。",[88,23,70,158,50,25,27,621,1139,1140,322,7],"鹰","雉鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4268072dfb8e29fae047930d5a892391.jpg","纵189厘米，横209.5厘米",[245,35,133],{"id":1145,"slug":1146,"title":1147,"dynasty":64,"author":367,"museum":194,"description":1148,"tags":1149,"thumbUrl":1150,"material":431,"size":432,"collection":56,"collections":1151,"showCount":1152,"zanCount":11,"manualWeight":11,"mainColor":80},288293,"pi-pa-shan-niao-tu-lin-chun-288293","枇杷山鸟图","林椿，南宋钱塘（今浙江杭州）人，生卒年不详，南宋孝宗淳熙（1174—1189）间画院待诏，赐金带。 林椿为南宋时期画家，孝宗淳熙年间曾为画院待诏。生卒年不详，浙江钱塘（今浙江杭州）人，南宋时期画家。孝宗淳熙年间曾为画院待诏。绘画师法赵昌，工画花鸟、草虫、果品，设色轻淡，笔法精工，设色妍美，善于体现自然的形态，所绘小品为多，当时赞为“极写生之妙，莺飞欲起，宛然欲活”。传世作品有：《梅竹寒禽图》册页，藏于上海博物馆。《果熟来禽图》《葡萄草虫》《枇杷山鸟图》，藏于北京故宫博物院。",[88,23,69,27,50,25,231,184,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff12c32701a0210a0cc337e0aba0e608c.jpg",[],82,{"id":1154,"slug":1155,"title":1156,"dynasty":18,"author":140,"museum":20,"description":141,"tags":1157,"thumbUrl":1158,"material":146,"size":147,"collection":56,"collections":1159,"showCount":1160,"zanCount":11,"manualWeight":11,"mainColor":39},214632,"hua-hui-ce-12-chen-chun-214632","花卉册-12",[23,70,27,24,26,143,28,846,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e40faa7cd3036d885f277f8b75cd67b.jpg",[],81,{"id":1162,"slug":1163,"title":1164,"dynasty":963,"author":155,"museum":194,"description":1165,"tags":1166,"thumbUrl":1167,"material":431,"size":432,"collection":56,"collections":1168,"showCount":1169,"zanCount":11,"manualWeight":11,"mainColor":39},231689,"shan-cha-hua-xiao-qin-tu-zhou-yi-ming-231689","山茶花小禽图轴","此作兼用工笔与写意，老干虬曲苍劲，山茶厚叶凝翠，丹花灼灼绽放，枝上小禽侧目伫立，灵动娇憨的神态跃然纸上。设色雅致沉稳，花叶晕染细腻柔和，禽鸟绒羽的质感描摹入微，既有院体花鸟的精工之态，又饱含文人画的清逸格调。\n\n题诗与画作相映成趣，将探春报春之意藏于景中，把早春山茶盛放、幽禽暂驻的清寂生机铺陈开来，一花一禽皆含雅意，尽显传统花鸟的悠然禅意。",[88,23,70,158,25,50,27,747,184,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05a1618f40479b25ced4925a880d9b34.jpg",[],80,{"id":1171,"slug":1172,"title":1173,"dynasty":64,"author":155,"museum":46,"description":1174,"tags":1175,"thumbUrl":1177,"material":163,"size":1178,"collection":245,"collections":1179,"showCount":1180,"zanCount":214,"manualWeight":11,"mainColor":39},220363,"sang-zhi-huang-niao-tu-yi-ming-220363","桑枝黄鸟图","北宋绘画讲求写生，当时的画家必需要能同时掌握大自然中瞬息万变的面貌，以及具备精湛的绘画技巧。因此这件作品所体现画家这份力图师法自然、再现自然的匠心，令人弥足珍惜。",[88,23,69,70,24,50,25,27,184,1176,7],"桑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa84d0d6b4547248df308176a7ee1cb94.jpg","25.4 x 26.5公分",[245],79,{"id":1182,"slug":1183,"title":1184,"dynasty":18,"author":140,"museum":266,"description":1185,"tags":1186,"thumbUrl":1187,"material":312,"size":1188,"collection":35,"collections":1189,"showCount":1190,"zanCount":287,"manualWeight":11,"mainColor":80},222554,"zhuo-se-hua-hui-tu-zhou-chen-chun-222554","着色花卉图轴","陈淳，1483年生，1544年逝世（另一种说法是1482—1539），长洲（今江苏苏州）人。字道复，后以字行，更字复甫，号白阳，又号白阳山人。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。在绘画史上，陈淳与徐渭并称为“白阳、青藤”， 陈淳的绘画当属文人隽雅一路的，即“白阳”一派画家。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。\n陈淳中年以后间作山水，技法学米友仁、高克恭，多以江南风景为题材，手法简练，极具文人生活情趣，文徵明曾微笑着说：“吾道复举业师耳，渠书、画自有门径，非吾徒也。”存世作品有《红梨诗画图》《山茶水仙图》《葵石图》《罨画图》等。其子陈括继承父风、擅花卉。\n陈淳绘山水，效法米友仁、高克恭，水墨淋漓，颇得氤氲之气。他的泼墨之功，往往见于画烟云之中。在写意花卉方面，陈淳独得玄门，笔法挥洒自如，富有疏朗轻健的风姿，用墨设色，则如徐沁所谓“浅色淡墨之痕俱化矣！”王世贞在《州续稿》中说：“胜国（元朝）以来，写花卉者无如吾吴郡，而吴郡自沈启南（周）后，无如陈道确，陆叔平（治）”。近代画家如蒲华、吴昌硕、齐白石等，在诗文题书画中，都对陈淳做出了极高的评价。明万历年间即有人曾评价过陈淳在花卉方面的造诣和声誉都超过了文征明，成为继沈周之后的吴门大家。明清以来画家，尤其在花鸟画方面，受他的影响很深。他与徐渭齐名，人称“青藤白阳”。现存的陈淳作品大部分均在博物馆收藏，民间甚少得见。",[88,23,69,70,158,25,143,27,28,1044,161,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b64f49771959cb9dc4b2d40a00c7aad.jpg","59cmx113.4cm",[35,133],78,{"id":1192,"slug":1193,"title":1194,"dynasty":44,"author":292,"museum":194,"description":1195,"tags":1196,"thumbUrl":1197,"material":56,"size":56,"collection":35,"collections":1198,"showCount":1199,"zanCount":11,"manualWeight":11,"mainColor":39},238342,"si-ji-hua-hui-ce-dong-gao-238342","四季花卉册","此作以没骨法绘就春日群芳，设色柔婉清新。白牡丹花瓣晕染层叠，莹润饱满，尽显雍容之态；旁侧粉花轻绽，胭脂点染花苞，娇妍粉嫩，灵动鲜活。左侧嫩枝青叶敷色淡雅，笔致秀逸，将草木舒展之姿尽数勾勒。\n\n画面构图错落舒展，数枝花枝交织却不显拥塞，气息恬和雅致。以细腻笔触晕染花叶的柔润肌理，将春日群芳竞绽的清柔意趣定格纸面，雅致秀润，尽显传统花卉小品的隽永韵味。",[23,70,24,25,50,27,144,114,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66475b0ae51b2faa51d20ca589d4cd02.jpg",[35,133],77,{"id":1201,"slug":1202,"title":1203,"dynasty":414,"author":843,"museum":194,"description":1204,"tags":1205,"thumbUrl":1206,"material":431,"size":432,"collection":56,"collections":1207,"showCount":1208,"zanCount":11,"manualWeight":11,"mainColor":80},289453,"shi-liu-tu-huang-ju-cai-289453","石榴图","黄居寀[cǎi]（933年—993年后），字伯鸾，成都（今属四川）人，五代十国名画家黄筌第三子。善画花竹、翎毛，为西蜀翰林待诏。蜀亡入宋，得宋太宗礼遇，黄家画法遂成宋初画院评画的标准。精于勾勒，用笔劲挺工稳，填彩浓厚华丽，其园竹翎毛形象逼真，妙得自然；怪石山水超过乃父，与父同仕后蜀，为翰林待诏，入宋仍任翰林待诏。尝合作殿廷墙壁，宫闱屏幛，不可胜记。",[69,23,70,27,25,50,846,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcfa0285b330e25a9c43ac0ab66d7224.jpg",[],75,{"id":1210,"slug":1211,"title":1212,"dynasty":64,"author":367,"museum":194,"description":1213,"tags":1214,"thumbUrl":1216,"material":431,"size":432,"collection":56,"collections":1217,"showCount":1208,"zanCount":287,"manualWeight":11,"mainColor":80},288492,"guo-shu-lai-qin-tu-lin-chun-288492","果熟来禽图","《果熟来禽图》绘有林檎果一枝，枝上硕果累累。系挂着沉甸甸果实的枝丫，仿佛在轻轻地颤动。果叶正反面刻画细致，连虫蚀的痕迹都颇为清晰。果树上有一小鸟，它转颈回眸，振翅欲飞。画面虽不繁复，却充满生气盎然的意趣，表现出作者蕴藉空灵的审美追求",[88,23,69,1215,50,25,184,54,7],"花鸟画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ae85ba9562268d73b08485dbcf58808.jpg",[],{"id":1219,"slug":1220,"title":1221,"dynasty":44,"author":1222,"museum":194,"description":1223,"tags":1224,"thumbUrl":1226,"material":56,"size":56,"collection":56,"collections":1227,"showCount":1228,"zanCount":214,"manualWeight":11,"mainColor":39},224366,"hua-hui-si-ping-zhi-er-ju-lian-224366","花卉四屏之二","居廉","此作用笔秀雅工丽，素白牡丹以淡墨勾瓣，浅红晕染花心，柔润饱满如凝脂，尽展雍容柔媚之态。墨色叶片浓淡参差，苍润交错，衬出花之洁雅清贵。\n嶙峋湖石以水墨皴擦勾勒，孔洞玲珑古朴，刚硬质感与柔美花株相映，刚柔相济。飞蜂振翅穿行花间，灵动鲜活，为静谧花景添了盎然生机，动静之间尽显春日花下恬然意趣。\n设色明秀清雅，无艳俗之气，兼具写生之真与写意之韵，将花木情态勾勒入神，藏着悠然清逸的文人雅趣。",[88,69,23,70,158,50,25,27,144,1225,491,7],"蜜蜂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee9fa90dceefd3869dc23af99f9a1298.jpg",[],74,{"id":1230,"slug":1231,"title":1232,"dynasty":64,"author":155,"museum":46,"description":1233,"tags":1234,"thumbUrl":1236,"material":163,"size":1237,"collection":245,"collections":1238,"showCount":1239,"zanCount":287,"manualWeight":11,"mainColor":39},218838,"yue-ming-jin-su-tu-yi-ming-218838","月明金粟图","这幅画描绘了山中的一轮明月，一枝金桂（又称金粟）从天而降，香气远扬。其构图在古代和现代的折叠式微型画中是独一无二的，折叠式花枝伴随着远山、云彩和月亮。",[88,69,23,70,418,50,25,1235,104,7,27],"明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ffe1f4cf683153ff158daeb9f1f5bf1.jpg","21.7x23.8",[245,35],73,{"id":1241,"slug":1242,"title":1243,"dynasty":44,"author":1244,"museum":194,"description":1245,"tags":1246,"thumbUrl":1248,"material":431,"size":432,"collection":56,"collections":1249,"showCount":1250,"zanCount":150,"manualWeight":11,"mainColor":39},239078,"hua-niao-ping-liao-yun-jin-239078","花鸟屏","廖云锦","廖云锦，生卒年不详，约活动于清道光年间（1821－1850年）。字蕊珠，号织云、锦香居士，华亭（今属上海）人，袁枚女弟子。自幼从父廖古檀吟诗作画同，后归泗泾马氏。",[23,70,50,25,27,29,72,161,116,1247,7,30],"白花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5a9039e5f16dbbf65a5783f0a67ae17.jpg",[],72,{"id":1252,"slug":1253,"title":534,"dynasty":44,"author":1254,"museum":194,"description":1255,"tags":1256,"thumbUrl":1257,"material":431,"size":432,"collection":35,"collections":1258,"showCount":1259,"zanCount":11,"manualWeight":11,"mainColor":39},239092,"hua-hui-ce-ma-yuan-yu-239092","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。\n画传家法，而气韵超逸突过乃父。赋性落拓，纵酒逞笔，乃益豪放。写生得恽寿平亲传，又与蒋廷锡讨论六法，故没骨画益工，神韵飞动，不拘陈迹。元驭自以为得沈周、陆治遗意，其超纵处诚有陆氏风规，而老健远逊石田，盖能品也。兴至之作，逸笔尤佳，多用水墨。书亦隽雅。卒年五十四。",[23,70,27,25,50,24,28,54,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcec853be8f8ea23a0294c015b174f259.jpg",[35,133],71,{"id":1261,"slug":1262,"title":1263,"dynasty":18,"author":155,"museum":194,"description":1264,"tags":1265,"thumbUrl":1266,"mate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张孟皋之名，盖由近人吴昌硕师事其风而名声振广，吴缶翁师其数十年，题画多见拟仿学、临等。尤如张赐宁等为官江浙者，其作赋色妍丽，用笔洒脱，极得时人珍爱，任伯年亦有题师张孟皋。\n张孟皋是清代嘉道时期的一位花卉画家，画史上介绍很简单，他名学广，字孟皋，以自行。多记载他是天津人，实际应是北平（今北京）大兴人，他在自己的画作上多次题“北平张孟皋”。",[23,158,25,50,27,144,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71d14e2a9c338194b64463d0442e5d96.jpg",[35],59,{"id":1350,"slug":1351,"title":1352,"dynasty":64,"author":155,"museum":917,"description":1353,"tags":1354,"thumbUrl":1355,"material":359,"size":1356,"collection":35,"collections":1357,"showCount":1358,"zanCount":11,"manualWeight":11,"mainColor":80},223463,"shan-que-pi-pa-tu-yi-ming-223463","山鹊枇杷图","图绘两只山雀站在枇杷枝上。枝头果实累累，枇杷青涩，黄中带绿。",[69,23,70,24,50,25,27,184,231,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17bd14416d2c445966f588ee332fa32c.jpg","30X31cm",[35,133],58,{"id":1360,"slug":1361,"title":1362,"dynasty":18,"author":140,"museum":332,"description":333,"tags":1363,"thumbUrl":1366,"material":283,"size":338,"collection":56,"collections":1367,"showCount":1358,"zanCount":287,"manualWeight":11,"mainColor":39},222567,"hua-hui-tu-6-chen-chun-222567","花卉图6",[88,23,70,25,26,143,27,28,1082,161,7,1004,1364,1365],"花鸟写意","水墨设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68019c2e22e4fd3401f2575cba804984.jpg",[],{"id":1369,"slug":1370,"title":1371,"dynasty":18,"author":566,"museum":194,"description":1372,"tags":1373,"thumbUrl":1375,"material":56,"size":56,"collection":35,"collections":1376,"showCount":1377,"zanCount":11,"manualWeight":11,"mainColor":80},237698,"shan-shui-hua-guo-ce-xiang-sheng-mo-237698","山水花果册","项圣谟，生于明代万历二十五年（1597年），卒于清代顺治十五年（1658年），初字逸，后字孔彰，号易庵，别号甚多，已知者有子璋、子毗、胥山樵、胥樵、古胥山樵人、兔鸣叟、莲塘居士、松涛散仙、大酉山人、存存居士、烟波钓徒、狂吟客、鸳湖钓叟、逸叟、不夜楼中士、醉疯人、烟雨楼边钓鼇客等，浙江嘉兴人。祖父项元汴，为明末著名书画收藏家和画家。伯父项德新也善画。项圣谟自幼受家庭熏陶，精研古代书画名作，虽然曾由秀才举荐为国子监太学生，但不求仕进，而把兴趣投入到书画中，从而在绘画创作上，他很早就显现出了多方面的才能，山水、人物、花鸟无一不精，曾得到明末两位最为著名的鉴赏家，董其昌和李日华的高度评价。董其昌在他的画册上题跋，称“古人论画，以取物无疑为一合，非十三科全备，未能至此。范宽山水神品，犹借名手为人物，故知兼长之难。项孔彰此册，乃众美毕臻，树石屋宇，皆与宋人血战，就中山水，又兼元人气韵，虽其天骨自合，要亦工力至深，所谓士气、作家俱备。项子京有此文孙，不负好古鉴赏百年食报之胜事矣”，李日华称赞他的画风“英思神悟，超然独得”，是“崛起之豪”。\n项圣谟的作品，以山水为多，也是他成就的主要方面。他早年从学习文徵明入手，但很快就跳出了文徵明画法画风的局限，而直接向古人学习。这主要是受益於其家族富甲天下的历代名画收藏，从而可以使他很快改学宋人用笔的周密严谨、兼取了元人的韵致。除了宗乳於祖辈的丰富家藏，亦得力其自身的观察自然、远游写生的经验，使其画面布局大开大合，意境明净清雅，结构严谨而富于变化，笔法简洁秀逸，气韵高雅，极富书卷气，具有很高的品格和思想内涵。\n他的画有两点最值得称道，也是当时其他画家所不及的。其一是强烈的政治色彩，他用画反映民间疾苦，寄托对人民的同情和对明王朝的忠贞。在先后经历了“甲申”和“乙酉”之变，满清入主中原后，项圣谟在画上就不再题写朝代的纪年，仅用干支，并钤盖“江南在野臣”、“大宋南渡以来辽西郡人”、“皇明世胄之中嘉禾处士”等印，以彰其志节。此段时间的作品，大多借用绘画抒写胸中郁愤，表现强烈的遗民感情，由徐树铭题项圣谟清顺治三年（1646）所作《山水诗画册》：“六月雪篇有时变之感，望扶桑篇有故国之思，诗史之董狐也。”于画作中寓写深意，反应时代，以画为史。李铸晋认为其在亡国后的作品，蕴含著效忠前朝，表达亡国之痛的图画象徵，如：红色，以“朱”为明朝；枝干壮硕却无叶的树木，喻为国家，虽历风雨，枝干仍傲然挺立，有著不可折屈的精神；在暮色中栖息的飞鸟是无处可归，何处为家之意等。现藏北京故宫之《大树风号图》的题跋“风号大树中天立，日落西山四海孤。短策且随时旦莫，不堪回首望菰蒲”可作其心境写照。\n其二是极其严谨的画风和写实态度。项圣谟善于从生活中摄取素材，他的画贴近现实，造型准确，严肃不苟，一反当时潦草粗疏，追求“逸笔草草”的画风。吴山涛在题项圣谟《秋声图轴》曾说到：“孔彰先生为予老友，作画必凝神定志，一笔不苟，予常嗤其太劳。君曰：我辈笔墨，欲流传千百世，岂可草草乎？旨哉其言也。”可见项圣谟这种严肃认真的好的作风，直接影响到他的画风，使他的绘画在当时的画坛上别树一帜，而赢得了“士气作家俱备”的称誉。\n项圣谟喜画高大的乔木，尤喜画松树，树木勾，擦，染精细，树干之嶙峋，历历几可扪捉，有强烈的凹凸感，而留出的受光部分则颇具体积感，与一般文人画示意性的画法迥然有别，故明时有“项松之名满东南”之誉。他画的大树，树干挺直，刚强伟岸，拟人化的画面形象鲜明强烈，具有强大的人格力量。\n在花鸟画的创作上项圣谟同样具有自己鲜明的特色，尤其讲究造型，经意构图，善于表现花叶和花瓣的层次，向背以及受光点的明暗，从而有别于当时其他花鸟画家的画风。项圣谟很认真地吸收了黄筌画派精谨慎严的审物造物精神，但在画法上，受写意画影响，形成一种工写结合的形式，酲酿了黄筌画派工笔花鸟画新的发展趋势。在技法上，大都以水墨或略施淡彩，有时也纯用色彩作没骨法，色彩淡而不薄。在用笔上，十分凝重秀逸，故而虽有姣妍之色相，却寓嶙峋之风骨，整个调子和气氛，非常飘洒雅致，不同凡俗，好似有一股冷艳暗香浮动其间。他的这种风格在之后的恽寿平、蒋廷锡等人的作品中都有所体现。\n除绘画外，项圣谟亦精书法，善赋诗。其书法端庄严谨，峻拔出脱中不失书卷气。其诗多为题画诗，除了描绘山光水色、自然美景的山水诗外，还有许多是表达其对人民疾苦的同情和对故国的怀念，文辞警策凝重，格调悲壮慨然，反映出他的个性为人。因国破家亡，其晚年家贫，却志存高洁，不结交权贵，靠卖画自给。著有《朗云堂集》、《清河草堂集》、《历代画家姓氏考》、《墨君题语》。",[23,69,25,50,1374,846,7,31],"花果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf6cca07ebe77c836898663ca11c9d3b.jpg",[35,211],57,{"id":1379,"slug":1380,"title":1381,"dynasty":44,"author":696,"museum":266,"description":1382,"tags":1383,"thumbUrl":1385,"material":33,"size":1386,"collection":35,"collections":1387,"showCount":1377,"zanCount":11,"manualWeight":11,"mainColor":39},219287,"kong-que-zhou-ren-yi-219287","孔雀轴","画面中孔雀立于青石之上，尾羽如蓬松绒团，墨色浓淡交织，点染出斑驳肌理，尽显灵动质感。头部蓝黄相映，羽色深邃，与周遭青绿山石、墨叶白花形成鲜明对比。笔触兼工带写，既有细节的精雕细琢，又不失写意的挥洒自如，将孔雀的优雅姿态与生机活力跃然纸上。背景枝叶疏朗，留白恰到好处，营造出静谧悠远的意境，尽显海派绘画的独特韵味。",[88,23,158,25,27,1384,491,7],"孔雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F948fcbaece7b248ae62839937ea9b160.jpg","183.5x37.5cm",[35],{"id":1389,"slug":1390,"title":1391,"dynasty":578,"author":579,"museum":1392,"description":1393,"tags":1394,"thumbUrl":1396,"material":163,"size":56,"collection":35,"collections":1397,"showCount":1377,"zanCount":287,"manualWeight":11,"mainColor":39},218752,"lin-qin-shan-que-tu-qian-xuan-218752","林檎山雀图","辛辛那提艺术博物馆","一根橘子枝从左边进入画中，细枝自然弯曲，叶子中间是深绿色，周围是带虫孔的黄色，近处的分叉处结着两个又大又圆的橘子；弯曲的细枝上站着一只麻雀，扭着脖子向远处看，毛发蓬松，眼神坚定。",[88,23,25,50,27,29,7,1395,31],"林檎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff38542c1bfe8aeb9fd20c8b3c289327.jpg",[35],{"id":1399,"slug":1400,"title":1401,"dynasty":44,"author":1402,"museum":266,"description":1403,"tags":1404,"thumbUrl":1405,"material":548,"size":1406,"collection":56,"collections":1407,"showCount":1408,"zanCount":11,"manualWeight":11,"mainColor":39},234683,"chen-shi-ceng-tao-liu-pi-pa-tu-zhou-chen-heng-ke-234683","陈师曾桃榴枇杷图轴","陈衡恪","图绘桃、石榴、枇杷各一枝，参差有序，果实累累。画中以花青色配以浓淡不同的墨色画桃叶，再以重墨勾勒筋脉。桃实红绿相间，色泽自然。石榴的枝条硬朗秀挺，小叶片片看似随意，然点画得轻灵活泼，与较浓重的桃叶、枇杷叶相映衬，使画面轻重有别，富有韵律感。",[69,23,70,158,27,25,26,243,846,231,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f93683f8661e46f36da1e89a8b0199c.jpg","纵87.5厘米， 横44.8厘米",[],56,{"id":1410,"slug":1411,"title":1412,"dynasty":44,"author":85,"museum":194,"description":1413,"tags":1414,"thumbUrl":1416,"material":33,"size":1417,"collection":35,"collections":1418,"showCount":1408,"zanCount":11,"manualWeight":11,"mainColor":39},219990,"yao-pu-qiong-pa-tu-yun-shou-ping-219990","瑶圃琼葩图","图绘湖石一块，形状怪异；后有牡丹围绕，枝繁叶茂，枝头花朵或粉红，或红白相间，花瓣层层叠叠，层次清晰。此幅敷色生硬，或是后人摹本。",[88,23,70,27,69,158,89,25,50,144,335,1415,28,7,30],"竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52a659286fd748d9c56f400aa903af4c.jpg","120×54",[35],{"id":1420,"slug":1421,"title":1422,"dynasty":44,"author":1423,"museum":194,"description":1424,"tags":1425,"thumbUrl":1429,"material":56,"size":56,"collection":35,"collections":1430,"showCount":1431,"zanCount":287,"manualWeight":11,"mainColor":39},238178,"xian-zhi-zhu-shou-tu-zhou-shen-zhen-lin-238178","仙芝祝寿图轴","沈振麟","沈振麟（生卒年不详，生活于19世纪），字凤池，一作凤墀，元和（今江苏省吴县）人。他以创作题材广泛，花鸟虫鱼人物山水各臻其妙，笔法工细写实而成为晚清重要的宫廷画家。任如意馆画作首领数十年。",[23,158,25,50,161,1426,28,7,491,1427,1428],"灵芝","小草","白色花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F035c9856899db7d34109e2309e3bffa5.jpg",[35],55,{"id":1433,"slug":1434,"title":1435,"dynasty":578,"author":1436,"museum":744,"description":1437,"tags":1438,"thumbUrl":1441,"material":283,"size":1442,"collection":35,"collections":1443,"showCount":1431,"zanCount":11,"manualWeight":11,"mainColor":39},221772,"da-dou-tu-ren-ren-fa-221772","大豆图","任仁发","任仁发（1254—1327年），字子明，一字子垚，号月山道人，其先祖为邳县（今属江苏省）人，后迁居松江（今属上海）。擅长书法、绘画，书学李北海，画学李公麟。画马尤其出色，曾奉敕画御苑马厩中的名马，得到皇帝的赏识。擅长人物画，所画人物笔墨苍润，生动传神。此外任仁发还是一位很有成就的水利专家，曾先后主持修治浙西吴松江、大都（今北京）通惠河等工程，并有水利工程著作传世。\n传世作品有：至元十七年（1280）作《出圉图》卷，《二马图》卷，《张果见明皇图》卷，藏故宫博物院；《秋水凫鹥图》轴，藏上海博物馆；《饮中八仙图》《贡马图》《横琴高士图》《秋林诗友图》藏台北故宫博物院；《神骏图》《三骏图》《九马图》在美国；《饲马图》在英国；《文会图》《牵马图》等在日本。著有《浙西水利议答录》十卷。《书史会要》、《书画史》、《六研斋随笔》、《黄渡镇志》、《海上墨林》、《练水画徵录》。",[88,23,25,50,27,525,1439,1440,7,584],"豆叶","豆花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3356f80cc6353f6b9795618f4536e468.jpg","纵18.7厘米，横19.4厘米",[35,133],{"id":1445,"slug":1446,"title":1447,"dynasty":915,"author":1448,"museum":1449,"description":1450,"tags":1451,"thumbUrl":1452,"material":56,"size":56,"collection":56,"collections":1453,"showCount":1431,"zanCount":11,"manualWeight":11,"mainColor":39},220480,"cui-can-fu-bao-shi-220480","摧残","傅抱石","中国美术学院美术馆","以淡墨晕染枝叶，萧疏破败的墨痕间，残存的花朵带着褪败的艳色，晕开朦胧颓靡的氛围。以花木残败之态寄寓心绪，将感时伤世的沉郁藏入写意笔触里。枝叶偃蹇错落，墨色虚实相生，带着随性却压抑的格调，残花虽仍有灼灼余韵，却难掩周身衰颓破败之意。\n\n题字拙朴厚重，与画面萧索的意境呼应，没有直白的呼号，只借残卉枯枝暗喻时局，把乱世忧思藏入花木描摹中，含蓄沉郁，将文人画的雅致与悲怆的忧怀相融，落笔皆是怅惘。",[88,23,70,26,25,27,632,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ecf1760b67ff2b8a9221984d65f156b.jpg",[],{"id":1455,"slug":1456,"title":1243,"dynasty":44,"author":1244,"museum":194,"description":1245,"tags":1457,"thumbUrl":1459,"material":431,"size":432,"collection":56,"collections":1460,"showCount":1461,"zanCount":214,"manualWeight":11,"mainColor":1462},239079,"hua-niao-ping-liao-yun-jin-239079",[23,50,25,27,161,29,72,7,1458,310],"岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F957fa757ccae928e12a60604cca10b13.jpg",[],54,"F48FB1",{"id":1464,"slug":1465,"title":331,"dynasty":18,"author":140,"museum":194,"description":1466,"tags":1467,"thumbUrl":1468,"material":56,"size":56,"collection":56,"collections":1469,"showCount":1461,"zanCount":11,"manualWeight":11,"mainColor":39},228467,"hua-hui-tu-ce-chen-chun-228467","以水墨淡彩写就湖石花木，居中湖石以浓淡干湿变化的墨色晕染勾勒，苍润朴拙，留白与周边花植相映，衬出空间层次。\n花草兼工带写，没骨点染花瓣，色泽柔淡雅致，花枝以细劲线条写出，舒展灵动、野趣横生。笔意松快随性，将春日花木的柔婉生机与湖石的古雅朴拙相融，尽显文人写意的清雅意趣，寥寥笔墨便晕染出鲜活自然之态，淡冶秀逸间饱含悠然生机。",[88,23,70,27,143,26,25,28,491,7,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8a207906aca606c24b53bc39de7027b.jpg",[],{"id":1471,"slug":1472,"title":1473,"dynasty":64,"author":155,"museum":46,"description":1474,"tags":1475,"thumbUrl":1476,"material":163,"size":1477,"collection":35,"collections":1478,"showCount":1479,"zanCount":287,"manualWeight":11,"mainColor":39},218737,"xiang-shi-chui-jin-tu-yi-ming-218737","香实垂金图","它被画上了两个金灿灿的橙子，树枝经过精心挑选，给人以秋天水果的香味。这幅画被倒置装裱，观看时可以用旋钮转动。",[88,69,23,70,24,50,25,27,54,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc33d905cd84a86e927d93aef90fabb11.jpg","24.3x27.5",[35],53,{"id":1481,"slug":1482,"title":1483,"dynasty":64,"author":440,"museum":46,"description":1484,"tags":1485,"thumbUrl":1487,"material":24,"size":1488,"collection":245,"collections":1489,"showCount":1490,"zanCount":287,"manualWeight":11,"mainColor":39},221262,"xie-sheng-ying-su-ai-xuan-221262","写生罂粟","五色的蜀葵、纯白的栀子和红艳石榴花，要比罂粟花常见得多。罂粟花艳丽的“五色”，使得人们常把它与蜀葵相提并论，二者的播种和花期也都相似。宋代罂粟主要是用于食用和药材，嫩苗堪比园蔬，罂粟籽则可作粥。在现存宋代画扇中，至少可以看到两幅《罂粟花图》，台北故宫博物院藏传艾宣《写生罂粟图》尤为精彩，画中还是一枝并蒂的罂粟，显现出祥瑞之意。这些画扇，也应是宋代宫廷画家的杰作。",[88,23,69,70,24,50,25,51,27,1486,7],"罂粟花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa9fe1801c419e7cafc2c8afc755bdcc.jpg","43x75.7",[245,35,133],52,{"id":1492,"slug":1493,"title":1494,"dynasty":44,"author":1495,"museum":194,"description":1496,"tags":1497,"thumbUrl":1498,"material":431,"size":432,"collection":56,"collections":1499,"showCount":15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。明末清初画家，中国画一代宗师。",[23,70,24,26,605,143,27,1568,7,31],"草虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefc62b03cb8e858aebb63969a5919883.jpg",[],43,{"id":1573,"slug":1574,"title":1575,"dynasty":64,"author":671,"museum":266,"description":1576,"tags":1577,"thumbUrl":1579,"material":514,"size":1580,"collection":56,"collections":1581,"showCount":1571,"zanCount":11,"manualWeight":11,"mainColor":80},232979,"fu-rong-jin-ji-tu-zhou-zhao-ji-232979","芙蓉锦鸡图轴","作为独立的画科，宋代的花鸟画无论在绘制技巧还是表现形式方面都已经达到高度的艺术水准，《芙蓉锦鸡图》便是其中的一幅精品。此图是描绘金秋景色的花鸟画作。图中芙蓉盛开，随风轻轻颤动，蝴蝶翩跹，相互追逐嬉戏，引得落在枝上的锦鸡回首凝视，目不转睛。本幅右上宋徽宗赵佶以瘦金体题“秋劲拒霜盛，峨冠锦羽鸡。已知全五德，安逸胜凫鹥”，右下书款“宣和殿御制并书”，草押书“天下一人”。鸡在中国向有“德禽”之称，《韩诗外传》载：“鸡有五德：头戴冠者，文也；足搏距者，武也；敌在前，敢斗者，勇也；见食相呼者，仁也；守夜不失者，信也”，可见其文武兼备、仁勇俱存、信守专一的性格为世人所激赏，难怪才艺绝代的一代帝王也会留下“已知全五德，安逸胜凫鹥”的诗句，流露出对安逸高贵之品格的赞许，由此体现了中国花鸟画的人文寓意。\n目前流传于世题为赵佶的作品中，艺术风格呈现出工致细丽与简朴生拙两种迥然有别的面目，工致细丽者如《芙蓉锦鸡图》、《腊梅山禽图》（台北故宫博物院藏）等，简朴生拙者如《柳鸦图》（上海博物馆藏）、《枇杷山鸟图》等。通过笔墨风格的比较分析，徐邦达先生指出前者不是赵佶所作，而是画院画家的作品，后者则为他的亲笔画迹，这一观点为多数艺术史研究者所认同。此外，现存记载南宋宫廷藏画的《南宋馆阁续录》卷三将此画列入与“御画”并列的“御题画”一类，表明《芙蓉锦鸡图》仅仅是由赵佶亲笔题诗的一幅花鸟画，并非其本人绘制。所以说，尽管图上有赵佶的题字，但此图作者却是一位没有留下姓名的画院高手。\n作为中国历史上最为关注艺事、醉心书画的帝王，宋徽宗赵佶在位期间广收名画巨迹，编纂皇家绘画收藏的书画著录——《宣和书谱》与《宣和画谱》，建立翰林图画院并完善其制度，还依据自己的审美观念亲自指导画院画家的学习与创作。关于绘画创作，赵佶在注重对被描绘对象细致入微的再现的同时，还要求画面蕴含诗歌的意境，令人观之有回味无穷的艺术体验，《芙蓉锦鸡图》无疑完美地体现出这位极具艺术修养的皇帝的美学思想。全图所用双钩法线条细劲，不仅花卉枝叶和锦鸡造型准确，芙蓉为锦鸡所压的低垂摇曳之态也能如实体现，加之色彩晕染得层次清晰，浓淡相宜，富丽堂皇中蕴涵端庄典雅的气质，堪称“形神兼备，曲尽其妙”。就构图而言，画幅左侧集中着芙蓉、锦鸡，与右上轻盈飞舞的蝴蝶遥相呼应，使得错综的布局显得密中见疏，揖让有度。以清瘦劲健的笔体写就的诗文和精致艳丽的图画更是互为辉映，相得益彰。",[23,69,158,50,25,27,582,1578,220,7],"锦鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5116d76afa37a92bf68862f475326df6.jpg","纵81.5厘米，横53.6厘米",[],{"id":1583,"slug":1584,"title":1585,"dynasty":64,"author":1586,"museum":194,"description":1587,"tags":1588,"thumbUrl":1589,"material":431,"size":432,"collection":56,"collections":1590,"showCount":1571,"zanCount":287,"manualWeight":11,"mainColor":39},230951,"liu-kai-jian-zi-tu-wu-bing-230951","榴开见子图","吴炳","吴炳（公元12世纪），生卒年不详，毗陵武阳（今江苏常州）人，南宋光宗绍熙年间（1190-1194年）任画院待诏，是南宋院体花鸟画的代表性画家。\n代表作有《竹雀图》《写生荷花图（出水芙蓉图）》《罂粟图》《宝珠玉蝶图》《春池睡鸭图》《山茶鹁鸽图》等。",[23,69,70,50,25,27,846,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e9a16b335fa694e452ac55b07eb10c5.jpg",[],{"id":1592,"slug":1593,"title":1594,"dynasty":44,"author":1595,"museum":1053,"description":1596,"tags":1597,"thumbUrl":1599,"material":1600,"size":1601,"collection":35,"collections":1602,"showCount":1571,"zanCount":11,"manualWeight":11,"mainColor":80},222806,"hua-niao-zhen-qin-tu-you-cui-222806","花鸟珍禽图","尤萃","图绘山脚坡石之间，流溪如练，天竹数丛，卓秀多姿。野生蔷薇，随风摇曳。丛丛簇簇的幽兰，各放馨香。树下一双美雉，悠然唱和，美丽动人。石后文杏高耸，繁花缀满枝头，鹦鹉停息树梢，双燕穿飞花间。一个鸟语花香的世界。",[88,23,70,50,25,27,393,29,1598,491,72,7],"雉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1c8d78323e1e166ec5d52532c3a4c51.jpg","绢本 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崔白 是不真实的，应该是后来的归属。",[88,23,70,24,25,50,27,1674,7,1675],"金凤花","秋风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38eb6e795308295e5ccd85afcb7adb45.jpg","22.9x26cm",[35],{"id":1680,"slug":1681,"title":1682,"dynasty":44,"author":629,"museum":194,"description":1683,"tags":1684,"thumbUrl":1686,"material":56,"size":56,"collection":35,"collections":1687,"showCount":1688,"zanCount":11,"manualWeight":11,"mainColor":39},239176,"teng-luo-tu-zhou-wu-chang-shuo-239176","藤萝图轴","吴昌硕（1844—1927）原名俊，又名俊卿，中年以后更字昌硕，亦署仓硕、仓石、苍石、昌石，69岁后以字行，别号缶庐、苦铁、大聋等，浙江安吉人吴昌硕是近代中国最杰出的艺坛巨匠之一，他以诗、书、画、印四绝享誉海内外，对于近百年来中国传统书画篆刻艺术的走向影响深远。本次展览共汇聚了吴昌硕先生书法、绘画、篆刻、诗文信札等代表性作品170件，尤其是浙江省博物馆馆藏的吴昌硕书画精品，可谓“倾巢而出”，是近年来国内吴昌硕艺术作品一次较大规模的集中展示。",[23,158,27,143,25,26,526,7,490,31,75,1685],"篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F202c0b852afa26acbbbea618af316f2d.jpg",[35],36,{"id":1690,"slug":1691,"title":1692,"dynasty":64,"author":671,"museum":194,"description":1693,"tags":1694,"thumbUrl":1695,"material":56,"size":56,"collection":56,"collections":1696,"showCount":1688,"zanCount":11,"manualWeight":11,"mainColor":39},227487,"hai-tang-bai-tou-tu-juan-zhao-ji-227487","海棠白头图卷","赵佶，即宋徽宗，1100-1125年在位。在位时广收古物和书画，网罗画家，扩充翰林图画院，使文臣编纂《宣和书谱》、《宣和画谱》等。擅书画，真书学薛曜，自称“瘦金书”，也写狂草。绘画重视写生，以精工逼真著称，工花鸟，相传用生漆点睛，尤为生动。",[88,23,70,71,50,26,27,558,29,7,75,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250407a0c16f93208498d2d02f6623ad.jpg",[],{"id":1698,"slug":1699,"title":1700,"dynasty":64,"author":1701,"museum":46,"description":1702,"tags":1703,"thumbUrl":1707,"material":163,"size":1708,"collection":35,"collections":1709,"showCount":1688,"zanCount":287,"manualWeight":11,"mainColor":80},219949,"hua-qi-shi-an-chun-tu-cui-que-219949","画杞实鹌鹑图","崔悫","林野中的某个角落，一株枸杞以及禾草旁，有只鹌鹑正眈眈地望著地上的蝼蛄。蝼蛄从土穴中爬出後，在地上恍恍惚惚地游走，没有察觉大难即将临头。",[88,69,23,70,50,25,27,1704,1705,7,1706],"鹌鹑","杞实","小虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabe749a2e7ecdcdc364f38650b480dde.jpg","27.5 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and boats from the Pont de Clichy","梵高","文森特·威廉·梵高（Vincent Willem van Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[69,967,25,1791,1792,1507,1793,795,489,1794,1795,869,7],"后印象派","渔夫","桥","黄叶","渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb8c3f712674167c7884bf0e358d5cee.jpg",[980],{"id":1799,"slug":1800,"title":1801,"dynasty":44,"author":1653,"museum":194,"description":1802,"tags":1803,"thumbUrl":1804,"material":56,"size":56,"collection":56,"collections":1805,"showCount":1783,"zanCount":11,"manualWeight":11,"mainColor":39},224590,"bi-tao-chun-niao-zhou-zou-yi-gui-224590","碧桃春鸟轴","柔枝托举粉艳桃华，花瓣晕染出匀净柔润的粉白渐变，似凝着春日晨露，鲜嫩枝叶轻舒，晕开清雅绿意。山雀静栖枝头，墨首白腹肌理分明，翅上嫩黄绒根根可数，尖喙微抬，侧目远眺，仿佛正细嗅花香。\n\n构图疏朗留白，闲章题字错落点缀，将工笔的精致与写意的悠然融为一体，把春日元气凝于尺幅之间，花鸟相伴的清和意趣跃然纸上，尽显恬淡治愈的东方雅致。",[88,23,69,70,158,25,50,27,114,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd83a74ab58cfd708a34b346a99465f12.jpg",[],{"id":1807,"slug":1808,"title":1809,"dynasty":44,"author":292,"museum":46,"description":1810,"tags":1811,"thumbUrl":1813,"material":56,"size":1814,"collection":56,"collections":1815,"showCount":1783,"zanCount":11,"manualWeight":11,"mainColor":39},222856,"xia-jing-hua-hui-zhi-ba-dong-gao-222856","夏景花卉之八","董誥（1740年－1818年），字雅倫，號蔗林，浙江省杭州府富陽縣（今浙江省杭州市）人，生於順天府（今北京市），清代大臣、書畫家。工部尚書董邦達長子，與其父有“大、小董”之稱。\n乾隆二十九年（1764）中舉，隔年會試，名列一甲第三，得中探花，乾隆帝將其改為二甲第一，作金殿傳臚，形降實升。嘉慶四年（1799），董誥六十歲，以從庶吉士、編修、工部侍郎、軍機大臣、東閣大學士等，擢為文華殿大學士（即宰相），欽賜“紫禁城騎馬”。直軍機先後四十年。董誥精書法，善繪畫，更通曉軍事。他五次歸還故里，生活簡樸，平易近人，從不倨傲，深為鄰里稱道。董誥卒於嘉慶二十三年（1818），終年七十九歲。\n董誥死後六天，嘉慶帝親臨祭奠，所寫哀詩中有“只有文章傳子侄，絕無貨幣置田莊”之句，並親自撥款建立“董公祠”。",[88,23,70,25,50,24,28,7,269,1812],"蓝色花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf821d335f96deca766e5ea81f6d4194.jpg","22.1x27",[],{"id":1817,"slug":1818,"title":17,"dynasty":18,"author":426,"museum":194,"description":427,"tags":1819,"thumbUrl":1820,"material":431,"size":432,"collection":56,"collections":1821,"showCount":1822,"zanCount":11,"manualWeight":11,"mainColor":39},235733,"hua-niao-ce-tan-zhi-yi-235733",[23,25,50,24,27,632,7,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4176ac9d5c01d070e14ab41ce4d20973.jpg",[],30,{"id":1824,"slug":1825,"title":1826,"dynasty":18,"author":380,"museum":266,"description":1827,"tags":1828,"thumbUrl":1830,"material":548,"size":1831,"collection":56,"collections":1832,"showCount":1822,"zanCount":11,"manualWeight":11,"mainColor":39},233836,"wo-you-tu-ce-kui-hua-shen-zhou-233836","卧游图册－葵花","此套图册分别绘仿倪山水、杏花、秋葵、秋柳鸣蝉、平坡散牧、栀子花、秋景山水、芙蓉、枇杷、秋山读书、石榴、雏鸡、秋江钓艇、菜花、江山坐话、仿米山水、雪江渔夫等山水、花鸟小景。\n根据末开画家自题，可知该册页的“卧游”之名源自南朝宋宗炳在居室四壁挂山水以当卧游的典故。然而不同于挂轴的是，该图册还可于卧床时仰面翻阅。 由此可见画家的绘制初衷和生活情趣。\n引首自书“卧游”，钤“沈氏启南”朱文印。鉴藏印：“士元珍藏”朱文印，“朱卧庵收藏印”朱文印，“查映山氏收藏图书”朱文印。\n仿倪山水，自题：“苦忆云林子，风流不可追。时时一把笔，草树各天涯。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印，“士元”朱文印，“昆山王成宪画印”朱文印，“映山珍藏”朱文印。\n杏花。自题：“老眼于今已敛华，风流全与少年差。看书一向糢糊去，岂有心情及杏花。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n秋葵。自题：“秋色韫仙骨，淡姿风露中。衣裳不胜薄，倚向石阑东。沈周。” 钤“启南”朱文印。鉴藏印：“士元”朱文印，“卧庵所藏”朱文印，“昆山王成宪画印”朱文印。\n秋柳鸣蝉。自题：“秋已及一月，残声绕细枝。因声追尔质，郑重未忘诗。沈周。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“䒶机流动”朱文印。“卧庵所藏”朱文印。\n平坡散牧。自题：“春草平坡雨迹深，徐行斜日入桃林。童儿放手无拘束，调牧于今已得心。沈周。”钤“启南”朱文印两方。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“之”“赤”朱文联珠印。\n栀子花。自题：“花尽春归厌日迟。玉葩撩兴有新栀。淡香流韵与风宜。帘触处、人在酒醒时。 生怕隔墙知。白头痴老子，折斜枝。还愁零落不堪持。招魂去、一曲（按：此字点去）阙小山词。右词寄小玉山，沈周。”钤“启南”朱文印，“吴言”朱文印。“石田翁”白文印。鉴藏印：“之”“赤”朱文联珠印，“朱卧庵收藏印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n秋景山水。自题：“淡墨疏烟处，微踪仿佛谁。梅花庵里客，端的是吾师。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印。\n芙蓉。自题：“芙蓉清骨出仙胎，赭玉玲珑轧露开。天亦要妆秋富贵，锦江翻作楚江来。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“卧庵所藏”朱文印、“昆山王成宪画印”朱文印、“竹南藏玩”白文印。\n枇杷。自题：“弹质圆充饤，蜜津凉沁唇，黄金作服食，天亦寿吴人。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印,“卧庵所藏”朱文印、“昆山王成宪画印” 朱文印。\n秋山读书。自题：“高木西风落叶时，一襟萧爽坐遥遥。闲披秋水未终卷，心与天游谁得知。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“卧庵所藏”朱文印。\n石榴。自题：“石榴谁擘破，群琲露人看。不是无藏韫，平生想怕瞒。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n雏鸡。自题：“茸茸毛色半含黄，何独啾啾去母傍。白日千年万年事，待渠催晓日应长，沈周。”钤“启南”朱文印，“白石翁”白文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印、“朱卧庵收藏印”朱文印。\n秋江钓艇。自题：“满池纶竿处处缘，百人同业不同船。江风江水无凭准，相并相开总偶然。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“卧庵所藏”朱文印。\n菜花。自题：“南畦多雨露，绿甲已抽新。切玉烂蒸去，自然便老人。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印，“昆山王成宪画印”朱文印。\n江山坐话。自题：“江山作话柄，相对坐清秋。如此澄怀地，西湖忆旧游。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印、“昆山王成宪画印”朱文印。\n仿米山水。自题“云来山失色，云去山依然。野老忘得丧，悠悠柱杖前。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n雪江渔夫。自题：“千山一白照人头，簑笠生涯此钓舟。不识江湖风雪里，可能干得庙堂忧。沈周。”钤“白石翁”白文印。鉴藏印：“昆山王成宪画印”朱文印、“卧庵所藏”朱文印。\n题跋。自题：“宗少父四壁揭山水图，自谓卧游其间。此册方可尺许，可以仰眠匡床，一手执之，一手徐徐翻阅，殊得少文之趣。倦则掩之，不亦便乎？于揭亦为劳矣。真愚闻其言，大发笑。沈周跋。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印，“芃园曹氏平生真赏”朱文印，“麓云楼书画记”朱文印，“康饴”朱文印，“只可自怡悦”白文印，“朱卧庵收藏印”朱文印，“依竹居士鉴赏书画印”朱文印。",[23,69,70,24,25,26,27,1829,7,28,31],"葵花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dbf48238765c284f9c5dd2053777823.jpg","纵27.8厘米，横37.3厘米",[],{"id":1834,"slug":1835,"title":1836,"dynasty":18,"author":1586,"museum":66,"description":1837,"tags":1838,"thumbUrl":1840,"material":312,"size":1841,"collection":56,"collections":1842,"showCount":1843,"zanCount":11,"manualWeight":11,"mainColor":80},223369,"ba-ge-pi-pa-tu-wu-bing-223369","八哥枇杷图","八哥立于枇杷枝上，望向一簇枇杷果，若有所思",[88,23,418,50,25,27,1839,231,29,54,7],"八哥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F498a1485d8d313bbe33eac698b9db385.jpg","31.1x31.1cm",[],29,{"id":1845,"slug":1846,"title":1847,"dynasty":44,"author":319,"museum":46,"description":345,"tags":1848,"thumbUrl":1849,"material":25,"size":350,"collection":56,"collections":1850,"showCount":1843,"zanCount":11,"manualWeight":11,"mainColor":39},222727,"xian-e-chang-chun-tu-ying-tao-lang-shi-ning-222727","仙萼长春图樱桃",[88,23,50,25,1126,49,27,29,90,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a278e56c3b2330f8b11cae881f995e0.jpg",[],{"id":1852,"slug":1853,"title":1854,"dynasty":64,"author":65,"museum":194,"description":1855,"tags":1856,"thumbUrl":1857,"material":431,"size":432,"collection":56,"collections":1858,"showCount":1859,"zanCount":11,"manualWeight":11,"mainColor":80},290297,"hua-hua-niao-zhou-zhao-chang-290297","画花鸟轴","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。",[23,158,27,50,25,184,28,7,31,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47da3bc28d94f9c87e40145887010832.jpg",[],28,{"id":1861,"slug":1862,"title":1863,"dynasty":44,"author":45,"museum":194,"description":1864,"tags":1865,"thumbUrl":1866,"material":56,"size":56,"collection":56,"collections":1867,"showCount":1859,"zanCount":287,"manualWeight":11,"mainColor":80},224183,"hua-niao-cao-chong-tu-ba-02-hua-yan-224183","花鸟草虫图八-02","此作以折枝秋菊入画，兼工带写间尽显秋花意韵。艳红团菊秾丽雅致，绒花攒簇，尽显盛放之态；白瓣舒展清逸，纤条轻曳自带疏朗之气。墨叶枯润相济，笔致松灵，晕染出秋意萧疏却生机不减的情态。\n左侧行书题诗与绘景呼应，诗书入画融成清雅文心，淡赭底色晕开古雅沉静氛围，将秋菊傲霜之姿与文人寄寓的高洁品格融为一体，寥寥数笔便将秋花神韵与清冷意趣尽显，雅致脱俗，意韵悠长。",[88,23,25,27,632,7,605,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe20b48cd30353e2ac00ef4f5e148df1f.jpg",[],{"id":1869,"slug":1870,"title":17,"dynasty":18,"author":426,"museum":194,"description":427,"tags":1871,"thumbUrl":1873,"material":431,"size":432,"collection":56,"collections":1874,"showCount":1875,"zanCount":287,"manualWeight":11,"mainColor":39},235725,"hua-niao-ce-tan-zhi-yi-235725",[1004,27,25,50,24,144,184,1872,31,7],"柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ab96946ae2ed7db4b749f4c96637450.jpg",[],27,{"id":1877,"slug":1878,"title":1879,"dynasty":44,"author":319,"museum":46,"description":345,"tags":1880,"thumbUrl":1882,"material":25,"size":350,"collection":56,"collections":1883,"showCount":1875,"zanCount":11,"manualWeight":11,"mainColor":39},222731,"xian-e-chang-chun-tu-zi-bai-ding-xiang-lang-shi-ning-222731","仙萼长春图紫白丁香",[88,23,70,24,50,25,27,1881,29,7,490,1126,1125],"丁香","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ffcb1593f89bbebafa1e0c5468c60b4.jpg",[],{"id":1885,"slug":1886,"title":1887,"dynasty":44,"author":155,"museum":194,"description":1888,"tags":1889,"thumbUrl":1890,"material":431,"size":432,"collection":56,"collections":1891,"showCount":1892,"zanCount":287,"manualWeight":11,"mainColor":39},238932,"qing-ren-mu-dan-pu-ce-yi-ming-238932","清人牡丹谱册","此作以没骨技法晕染折枝牡丹，粉紫花瓣由尖至根逐层浅淡晕开，仿佛凝着朝露的柔媚花容，鹅黄花蕊簇簇，将盛放时的娇秾尽数铺陈。叶片苍绿间晕开赭色细纹，叶脉隐现，舒展灵动，带着春日枝桠的鲜活生机，嫩芽缀在挺秀枝梢，暗涵萌动春意。\n\n画面构图疏朗留白得当，将牡丹雍容却不俗艳的姿态晕染尽致。外框福寿纹古雅端庄，衬得画间花意更显清雅秀润，笔致温婉柔丽，将花之娇态风骨一并留住，藏着东方美学独有的柔婉诗意，尽显传统花鸟画雅致隽永的意趣。",[23,70,24,25,50,27,144,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F360f305a51fa00bf7029662846993577.jpg",[],26,{"id":1894,"slug":1895,"title":1896,"dynasty":44,"author":1273,"museum":266,"description":1897,"tags":1898,"thumbUrl":1900,"material":548,"size":1901,"collection":56,"collections":1902,"showCount":1892,"zanCount":11,"manualWeight":11,"mainColor":39},233728,"wu-rui-tu-zhou-xu-gu-233728","五瑞图轴","瓶花是虚谷喜画的题材之一。图中蜜桃、枇杷、百合等是日常生活中常见的花果，给人以朴素、亲切的感觉。图中瓷瓶及百合用勾染法描绘，线条简练，造型准确；花卉、蜜桃及枇杷用没骨法表现，层层渲染，增添了花果的层次感及质感。画面设色润泽鲜艳，富有淡雅清新的韵味。\n“五瑞”即端午祥瑞之意。蜜桃、枇杷、百合均有吉祥寓意。此图当为祝贺是年端午节而作。",[23,25,143,27,28,54,1899,7,310],"花盆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eacdc52cbfaccb9957c899b8b80fc7e.jpg","纵177.8厘米，横46.3厘米",[],{"id":1904,"slug":1905,"title":1906,"dynasty":44,"author":696,"museum":194,"description":1907,"tags":1908,"thumbUrl":1910,"material":56,"size":56,"collection":56,"collections":1911,"showCount":1892,"zanCount":287,"manualWeight":11,"mainColor":39},230123,"hua-hui-ce-ye-01-ren-yi-230123","花卉册页01","此作用笔写意松弛，以湖石为景之骨，淡赭水墨晕染出嶙峋体态，略去繁复皴擦，虚实间尽显清隽雅逸。石畔丹红果簇饱满鲜活，浓墨枝叶枯润相宜，艳色与冷调湖石形成鲜明对照，艳而不俗，顽石愈发清灵，花果愈见生动。\n\n右上角题字笔力开张，与花木湖石相得益彰，融书画为一体，将花木蓬勃生机与文人闲淡意趣揉合于纸面，简淡之中自有鲜活情致。",[23,70,1627,143,26,25,27,161,1909,7,605],"红果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71348d468b7d7e6ca8621b0226ef65d9.jpg",[],{"id":1913,"slug":1914,"title":534,"dynasty":44,"author":292,"museum":194,"description":986,"tags":1915,"thumbUrl":1916,"material":431,"size":432,"collection":56,"collections":1917,"showCount":1918,"zanCount":287,"manualWeight":11,"mainColor":39},238891,"hua-hui-ce-dong-gao-238891",[23,70,24,25,50,27,632,1044,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9845914cd78244b783f9f157edfc671c.jpg",[],25,{"id":1920,"slug":1921,"title":17,"dynasty":18,"author":1922,"museum":194,"description":1923,"tags":1924,"thumbUrl":1925,"material":56,"size":56,"collection":56,"collections":1926,"showCount":1927,"zanCount":287,"manualWeight":11,"mainColor":39},237674,"hua-niao-ce-ling-bi-zheng-237674","凌必正","[明]字贞卿，一字蒙求，号约庵，太仓（今江苏太仓）人。崇祯四年（一六三一）进士，官至广西副使。善山水，设色妍雅，位置精密，接轸宋人。间画花鸟，尚欠超逸生动之致。《太仓州志、无声诗史、桐阴论画》",[69,23,70,24,50,26,27,7,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab9409048b6bc8ab56002702e7c8362a.jpg",[],24,{"id":1929,"slug":1930,"title":1931,"dynasty":963,"author":1788,"museum":194,"description":1789,"tags":1932,"thumbUrl":1940,"material":431,"size":432,"collection":980,"collections":1941,"showCount":1927,"zanCount":11,"manualWeight":11,"mainColor":80},225785,"olive-orchard-1889-fan-gao-225785","Olive Orchard 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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”。",[23,70,24,25,26,50,27,1334,2016,747,490,7,2017],"松针","花苞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5db9e96feb7376bec4823df1011f7be.jpg",[],{"id":2021,"slug":2022,"title":2023,"dynasty":44,"author":2024,"museum":194,"description":2025,"tags":2026,"thumbUrl":2028,"material":56,"size":56,"collection":56,"collections":2029,"showCount":236,"zanCount":11,"manualWeight":11,"mainColor":80},230218,"shi-er-jin-chai-tu-zhou-zhang-shan-ma-230218","十二金钗图轴","张善孖","此作以猛虎为魂，山林为幕，蛰伏于草木间的碧眼吊睛虎身姿蓄势待发。笔线勾勒皮毛纹理细腻入微，墨色晕染斑纹虚实相生，将百兽之王的沉凝悍劲与潜藏的威严精准铺陈。\n\n背景以泼墨写意挥洒阔叶草木，细劲藤蔓与挺秀竹丛疏密错落，淡赭晕染山石晕开深山幽寂氛围。虚实相生间将虎的机警觉察与山野静谧相融，工写兼备的笔意揉合虎的威仪与林泉野趣，藏灵动于沉雄，尽显造境塑物的深厚功底，是形神皆备的精妙之作。",[88,23,26,25,158,2027,621,1044,491,7,143,789],"虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a8e10a2005f4a486a40b8c4ba6c9264.jpg",[],{"id":2031,"slug":2032,"title":534,"dynasty":18,"author":2033,"museum":194,"description":2034,"tags":2035,"thumbUrl":2036,"material":56,"size":56,"collection":56,"collections":2037,"showCount":236,"zanCount":11,"manualWeight":11,"mainColor":39},228276,"hua-hui-ce-chen-dao-fu-228276","陈道复","这幅作品以淋漓水墨挥写湖石，苍润朴拙，留白藏尽空灵意趣。环绕花木设色清妍柔和，素白牡丹柔枝舒展、花瓣轻绽，淡粉碎花攒簇生姿，兰草劲挺修长，叶片舒展带露生机。\n笔意松秀灵动，兼工带写间糅合文人雅致，以色墨晕染烘托春日融融。花木俯仰有情，与苍润湖石形成刚柔对照，将庭间春日野趣尽显笔端，淡冶雅致中饱含闲散文心，寥寥数笔便勾勒出盎然春意，尽显水墨写意的精妙韵味。",[88,23,69,143,25,26,28,161,7,144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca306f52ecfeeac584ccaa95f1e44470.jpg",[],{"id":2039,"slug":2040,"title":2041,"dynasty":64,"author":155,"museum":194,"description":2042,"tags":2043,"thumbUrl":2044,"material":56,"size":56,"collection":56,"collections":2045,"showCount":236,"zanCount":11,"manualWeight":11,"mainColor":80},227920,"hua-hui-shuang-qin-tu-yi-ming-227920","花卉双禽图","此作工笔设色，柔枝舒展间白茶花轻绽，花瓣晕染出莹润柔光，枝叶俯仰向背尽显草木生姿。两只禽鸟栖于细枝之上，翎毛刻画丝丝入微，胸腹绒羽蓬松柔软，墨色晕染出头部乌亮光泽。一鸟昂首啾鸣，一鸟侧身应和，将枝间互动的鲜活意趣定格。\n\n整幅构图疏密得宜，浅褐绢底衬出雅致色调，笔墨精细却无匠气，尽显院体花鸟的写实功力。画师以细腻笔触捕捉花鸟间的灵动互动，将春日枝桠间的寻常小景，晕染出独有的雅致诗意，藏着对日常生机的温柔捕捉。",[88,69,23,70,50,25,27,28,711,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd599ee4f684f536c226cf5017f764baa.jpg",[],{"id":2047,"slug":2048,"title":2049,"dynasty":44,"author":292,"museum":194,"description":986,"tags":2050,"thumbUrl":2051,"material":431,"size":432,"collection":56,"collections":2052,"showCount":2053,"zanCount":11,"manualWeight":11,"mainColor":39},238398,"xuan-jin-lu-fang-tu-ce-dong-gao-238398","绚锦胪芳图册",[69,23,70,24,25,50,27,72,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7eeca67b62547eece16e85a7ae62b7a.jpg",[],20,{"id":2055,"slug":2056,"title":534,"dynasty":18,"author":566,"museum":2057,"description":2058,"tags":2059,"thumbUrl":2060,"material":130,"size":2061,"collection":56,"collections":2062,"showCount":2053,"zanCount":11,"manualWeight":11,"mainColor":39},237442,"hua-hui-ce-xiang-sheng-mo-237442","辽宁省博物馆","项圣谟五十六岁创作的《花卉十开》是其花鸟画册页精品之一。十幅画皆纸本设色、淡彩没骨，依次画千叶桃花、石榴、白色桃花、白色梅花、海棠、兰花、野菊、秋菊、荷花荷叶、莲蓬莲藕，第一、三、四、五、八开画家题诗，第二、六、七、九、十开画家仅题名号，每一幅都有清代画家汪家珍题写诗文。",[23,24,25,605,31,322,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17741ed89c251e1b5a5cb8ee1b6c2eac.jpg","31 X 23 CM X 10",[],{"id":2064,"slug":2065,"title":2066,"dynasty":18,"author":305,"museum":20,"description":2067,"tags":2068,"thumbUrl":2069,"material":56,"size":56,"collection":35,"collections":2070,"showCount":2053,"zanCount":11,"manualWeight":11,"mainColor":2071},203090,"hua-die-cao-chong-ce-wen-chu-203090","花蝶草虫册","画面以疏简之笔勾勒自然意趣，淡墨枝丫横斜，叶片晕染赭墨，枯润有致。中央绿翅蚕蛾尤为夺目，翅色如翠玉温润，边缘浅红轻晕，翅面金斑若星，纤毫毕现。笔触细腻温婉，设色清雅脱俗，将草虫的鲜活与枝叶的疏淡相衬，静中生趣，尽显雅致生机。",[23,24,25,27,50,1568,7,31,88],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5c7930773a86ac8d411a7a67534513b.jpg",[35],"d7cdc1",{"id":2073,"slug":2074,"title":2013,"dynasty":44,"author":292,"museum":194,"description":2014,"tags":2075,"thumbUrl":2077,"material":56,"size":56,"collection":56,"collections":2078,"showCount":2079,"zanCount":11,"manualWeight":11,"mainColor":39},238369,"dong-gao-yan-chun-hui-cai-tu-ce-dong-gao-238369",[23,49,24,25,50,27,2076,7],"花簇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf09fb508f29594288614b4a4383bc79.jpg",[],19,{"id":2081,"slug":2082,"title":2083,"dynasty":44,"author":2084,"museum":194,"description":2085,"tags":2086,"thumbUrl":2088,"material":56,"size":56,"collection":56,"collections":2089,"showCount":2079,"zanCount":11,"manualWeight":11,"mainColor":39},234373,"lin-jiang-ting-xi-hua-hui-ce-jiang-shu-234373","临蒋廷锡花卉册","蒋淑","蒋淑，蒋廷锡之女。蒋淑不仅得其父亲蒋廷锡的指点，而且经常以其父的作品为学习范本。《临蒋廷锡花卉图册》便是她临摹蒋廷锡花卉的代表作，用笔设色均有其父的画风神韵。每开也均有蒋廷锡题诗，赞美之辞溢于言表。 一股“我闺女棒棒哒”的自豪溢出来了～\n蒋淑（生卒年不详），清代杰出女性画家，从其画作上判断她大致生活于清康熙至雍正年间，字又文，江苏常熟人。蒋廷锡女，华亭王敬妻。其父蒋廷锡官至大学士，闲暇之余以逸笔作写生花卉，机趣天然。蒋淑自幼秉承家教，亦以擅绘花鸟著称。",[23,70,24,25,50,2087,27,243,7],"临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe5554c1b610aedeb858cd8dad4dee7e.jpg",[],{"id":2091,"slug":2092,"title":2093,"dynasty":64,"author":614,"museum":66,"description":2094,"tags":2095,"thumbUrl":2096,"material":359,"size":2097,"collection":56,"collections":2098,"showCount":2079,"zanCount":287,"manualWeight":11,"mainColor":80},232770,"hua-hui-ling-mao-tu-juan-yi-yuan-ji-232770","花卉翎毛图卷","图绘鸟儿七只，有绿头鹦鹉，黑色八哥，红嘴小鸟，每只鸟儿神情生动，跃然纸上，羽毛细致多彩，惟妙惟肖，作为背景的花枝和花朵亦真实生动，整幅画重彩描绘，有着华丽富贵之美。",[88,69,23,70,71,50,25,27,28,184,393,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dbe402d5f65c003ca020ad05276bb40.jpg","31.8cm×258.4cm",[],{"id":2100,"slug":2101,"title":72,"dynasty":44,"author":2102,"museum":194,"description":2103,"tags":2104,"thumbUrl":2105,"material":56,"size":56,"collection":56,"collections":2106,"showCount":2079,"zanCount":214,"manualWeight":11,"mainColor":39},226644,"hua-pu-ru-226644","溥儒","出身皇室的溥儒（溥心畲），除了自身的天赋才华，从小接受严格的正统教育，加上皇室有大量的书画收藏得以临摹，绘画创作得力诗词文的涵养，使他成为诗、书、画三绝的代表性画家，30年代中期与张大千（1899-1983）齐名，享有「南张北溥」的美誉，移居台湾后，与张大千、黄君璧三人同属台湾画坛中的最杰出的国画大师，被大众称为「渡海三家」，溥儒的山水画宗法宋元，风格淡雅，艺术家重视线条的?画，总呈现出和谐宁静的气氛。 〈山水〉是溥儒1945年的作品，风景自古是文人喜爱的绘画题材，艺术家从小浸淫汉学儒家思想，笔墨功力扎实，善于形塑令人向往的文人境界，〈山水〉流露出雅致的古典气息，画作属纸本立轴。题识： 「尺素生秋水，苍然浦漵分，尚含千峰雨，疑落万峰云。江上鸣瑶瑟，岩前忆隐君。青猿声断续，应是隔溪闻。」 行书行云流水，雅逸自然，配合画面挺拔的山壑与清澈湖水，诗书画三者结合，设色清新淡雅，使人玩味再三，前景的松树是溥儒喜爱的题材，它代表文人高尚的节操，高大的山石生长着茂密的植物，浓淡不一的墨色表现了丰富的层次，值得我们细细品味，而隐居在山林里的小房子甚是可爱，蕴含着隐居的心境。在用色方面，艺术家总以多层薄彩敷色，细腻的笔调，使景物生动自然，营造出柔和辽阔的意境，画面的左半面是空旷的湖面，刻意留白的处理与右半边的景物形成对比，两艘小船为全画增添生命力，整体而言，是幅意境深远的画作，流露出一股天真脱俗的气质。",[88,23,70,25,50,27,72,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed57ef2871355f1a1c8e705a5a4935bc.jpg",[],{"id":2108,"slug":2109,"title":2013,"dynasty":44,"author":292,"museum":194,"description":2014,"tags":2110,"thumbUrl":2111,"material":56,"size":56,"collection":56,"collections":2112,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":39},238368,"dong-gao-yan-chun-hui-cai-tu-ce-dong-gao-238368",[23,70,24,25,50,27,72,310,632,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bc3e82873bcb91b1732d6a8cb1e97dd.jpg",[],{"id":2114,"slug":2115,"title":534,"dynasty":44,"author":1011,"museum":194,"description":1012,"tags":2116,"thumbUrl":2117,"material":431,"size":432,"collection":56,"collections":2118,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":39},235598,"hua-hui-ce-wang-wu-235598",[23,70,24,25,50,27,144,7,605,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faba47645d19965e80b4f703b98502127.jpg",[],{"id":2120,"slug":2121,"title":1263,"dynasty":18,"author":155,"museum":194,"description":2122,"tags":2123,"thumbUrl":2124,"material":431,"size":432,"collection":56,"collections":2125,"showCount":59,"zanCount":287,"manualWeight":11,"mainColor":39},235592,"wen-chu-hua-hui-ce-yi-ming-235592","此作以没骨法绘秋枝红叶，取边角式构图，空灵疏朗。洒金笺底自带温润古意，艳红叶片层次细腻，叶缘晕染柔黄，既尽显秋林红叶的明艳鲜活，又克制匀净毫无艳俗之感。枯墨写枝，苍劲简淡，与妍丽叶片相映成趣。大片留白引动遐思，暗合文人画的萧散意趣，两枚朱文小印轻点一隅，为画面添就沉静文气，将秋日清寂的雅致诗意晕染开来。",[23,70,24,25,50,27,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F847384c69198f0211b769bf5e7288af0.jpg",[],{"id":2127,"slug":2128,"title":2129,"dynasty":44,"author":1778,"museum":20,"description":1997,"tags":2130,"thumbUrl":2131,"material":271,"size":56,"collection":56,"collections":2132,"showCount":59,"zanCount":287,"manualWeight":11,"mainColor":80},233184,"hua-hui-ce-qiang-wei-ye-zhao-zhi-qian-233184","花卉册-蔷薇页",[23,25,27,24,821,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16c4021bbf8224b5ea8589a89c83faf9.jpg",[],{"id":2134,"slug":2135,"title":2136,"dynasty":44,"author":2137,"museum":194,"description":2138,"tags":2139,"thumbUrl":2141,"material":431,"size":432,"collection":56,"collections":2142,"showCount":135,"zanCount":287,"manualWeight":11,"mainColor":80},239025,"hua-xie-zhou-lang-bao-chen-239025","画蟹轴","郎葆辰","郎葆辰(1763—1839)，初名福延，又名遂峯，字文台，号苏门，晚号桃花山人。浙江安吉人。1817年（嘉庆二十二年），授翰林院编修，掌印给事中，升贵州粮储道。",[23,70,158,26,143,2140,7,75,31],"蟹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dc269c151aed2324928eccad2f99e61.jpg",[],{"id":2144,"slug":2145,"title":17,"dynasty":18,"author":1922,"museum":194,"description":1923,"tags":2146,"thumbUrl":2147,"material":56,"size":56,"collection":56,"collections":2148,"showCount":135,"zanCount":11,"manualWeight":11,"mainColor":39},237667,"hua-niao-ce-ling-bi-zheng-237667",[23,70,24,25,50,789,161,27,7,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89cd4814e6dd2b283fc58702efcad736.jpg",[],{"id":2150,"slug":2151,"title":2152,"dynasty":44,"author":2153,"museum":266,"description":2154,"tags":2155,"thumbUrl":2156,"material":56,"size":56,"collection":56,"collections":2157,"showCount":135,"zanCount":11,"manualWeight":11,"mainColor":39},234550,"ling-xiao-zhou-wu-xi-zai-234550","凌霄轴","吴熙载","吴熙载（1799-1870），原名廷扬，字熙载，后以字行，改字让之，亦作攘之，号让翁、晚学居士、方竹丈人等。江苏仪征人。清代篆刻家、书法家。包世臣的入室弟子。善书画，尤精篆刻。少时即追摹秦汉印作，后直接取法邓石如，得其神髓，又综合自己的学识，发展完善了“邓派”篆刻艺术，在明清流派篆刻史上具有举足轻重的地位。\n吴昌硕评曰：“让翁平生固服膺完白，而于秦汉印玺探讨极深，故刀法圆转，无纤曼之气，气象骏迈，质而不滞。余尝语人：学完白不若取径于让翁。”",[23,70,158,25,605,31,27,526,490,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc47b108b91631f95554ee201b330b8ee.jpg",[],{"id":2159,"slug":2160,"title":17,"dynasty":44,"author":319,"museum":266,"description":2161,"tags":2162,"thumbUrl":2164,"material":514,"size":2165,"collection":56,"collections":2166,"showCount":135,"zanCount":287,"manualWeight":11,"mainColor":39},232977,"hua-niao-ce-lang-shi-ning-232977","此图册分别描绘了牡丹、兰花、罂粟、萱草、荷花、梅花等艳丽多姿的花卉和体态生动的蝶、鸟。构图上取法中国传统花鸟画的格局，以虚托实，注重对所绘物象的突出。在表现技法上，则充分发挥了欧洲绘画注重明暗及透视的特点，以工致细腻的笔触，刻画出花瓣、叶片以及鸟雀的羽毛质感和体积感，呈现出与传统的中国花鸟画迥然不同的艺术风貌。这种“中西合璧”的画风成为清代宫廷绘画艺术的一大特色，受到了清皇室的青睐。",[69,23,70,50,25,1126,1125,27,2163,7,491,31],"鸡冠花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f9ab946d5a201439dab3f6a1a5100fc.jpg","纵32.6厘米，横28.6厘米",[],{"id":2168,"slug":2169,"title":2170,"dynasty":18,"author":205,"museum":100,"description":2171,"tags":2172,"thumbUrl":2173,"material":56,"size":2174,"collection":56,"collections":2175,"showCount":135,"zanCount":11,"manualWeight":11,"mainColor":80},228300,"hua-niao-cao-chong-xie-sheng-ce-zhu-cha-die-bao-chen-hong-shou-228300","花鸟草虫写生册-朱茶蝶抱","陈洪绶的绘画，尤其是他以之驰誉艺坛的双勾设色花鸟画，其特点有三，一是造型的古拙，二是色彩的古艳，三是线条的寓迟涩于劲挺，既厚重且圆润。",[69,23,70,24,25,50,27,159,220,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb0b666b51003f2c1d45f96d154a5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(July - )",[967,1933,2181,2182,7,1938,2183,2184,2185],"树根","树干","蓝色调","绿色调","暖黄色调","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8065df1b277b83b4e03f8a50d5bd6eca.jpg",[980],{"id":2189,"slug":2190,"title":2191,"dynasty":18,"author":205,"museum":2192,"description":2193,"tags":2194,"thumbUrl":2195,"material":24,"size":56,"collection":56,"collections":2196,"showCount":135,"zanCount":11,"manualWeight":11,"mainColor":39},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。",[23,25,24,27,74,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe95741cb821c73a2e9a3024a6f2652bd.jpg",[],{"id":2198,"slug":2199,"title":2200,"dynasty":44,"author":2201,"museum":194,"description":2202,"tags":2203,"thumbUrl":2204,"material":56,"size":56,"collection":56,"collections":2205,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":39},234662,"hua-niao-tu-shan-ye-zhu-lian-234662","花鸟图扇页","朱琏","仁怀皇后朱琏 （1102年—1128年），宋钦宗赵桓的皇后，开封祥符人。\n宣和七年，钦宗即位，册封朱氏为皇后。后来金兵攻陷汴京城，俘虏徽、钦二帝，郑氏、朱氏二后，后宫宗室、大臣三千余人北归，当时正值农历四月，北方天气仍很寒冷，徽钦二帝和郑朱二后衣服都很单薄，晚上经常冻得睡不着觉。朱后当时二十六岁，艳丽多姿，经常受到金兵的调戏。据说他们到达会宁府时，金人举行了献俘仪式，命令二帝及其后妃、宗室等都到金太祖庙去行“牵羊礼”，又下令皇太后、皇后入金宫“赐浴”。朱皇后不堪污辱，当天投水自杀身亡。",[23,70,418,25,50,27,269,29,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65b39af0ff0a9b58b99cb3a51736e249.jpg",[],{"id":2207,"slug":2208,"title":2209,"dynasty":44,"author":2210,"museum":46,"description":2211,"tags":2212,"thumbUrl":2213,"material":2214,"size":2215,"collection":56,"collections":2216,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":80},222628,"qiu-kui-huang-shen-222628","秋葵","黄慎","黄慎（1687年6月14日—1772年），福建宁化人，初名盛，字恭寿，恭懋，躬懋、菊壮，号瘿瓢子，别号东海布衣。家贫，遂学画，擅长人物、山水、花鸟。他的人物画题材十分广泛和丰富，它不仅画神仙佛道和历史名人，也擅长从民间生活中取材，塑造了纤夫 、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。\n黄慎擅长人物、山水、花鸟，并以人物画最为突出，题材多为神仙佛道和历史人物，也有一些现实生活中的形象，多从民间生活取材，不少作品塑造了纤夫、乞丐，流民、渔民等下层人物形象，如《群乞图》取材现实生活，描写灾荒年中，乞丐们流落街头，受人欺凌的悲惨画面，表现出他对人民疾苦的同情。画神仙佛道如《醉民图》，多操大幅，用笔设色，泼辣大胆，于迷离扑朔中见形象神韵。描绘文人生活的有《东坡玩砚图》，用笔迅疾，衣纹顿挫，线条硬折，墨公浓淡相间，人物轩昂、富有气势，为其成熟后的代表画风。\n他的花鸟画宗法徐渭，亦纵逸泼辣挥洒自如，如《瓶梅图》《菊蟹图》等。他的山水虽“不以山水名”，但山水画有一定的造诣，大幅和小景都各尽其妙，潇洒有致，山水代表作如《渔归图》，两株柳树，“姿态婀娜劲挺，耸立奇峭山岩，淡墨轻赭横扫出沙滩，中景两只渔船，一笔勾出船舷，船中人物，神态右辨，画面左角草书题画诗三行，诗、书、画、印紧相配合，自然贴切。\n黄慎擅草书，书法学“二王”，更得怀素笔意，从章草脱化而出，其栖劲运笔亦用于绘画之中，故画面多干枯、飞白和迅疾之迹，黄慎的草书，点画纷披，散而序，评者说它象疏景横斜，苍藤盘结，具有“字中有画”之趣，他的书法出于章草，颇难认识，故而仿效者不多，但他不趋时尚，敢于标新立异。 他的草书不昧古法，又难辨古人踪迹，不强调章法的疏密聚散，而以方折顿挫的笔法，忽断忽连，顾盼呼应，凸显铿锵有声的点画节奏感，呈现一幅落英缤纷珠丸跳荡逸趣迭生的画面感。其代表作《草亭飞万竹诗草书轴》章法奇异如松柏之剪影，点画浓淡如花叶之缠枝，真非书非画，亦书亦画，堪称奇观。",[88,23,25,27,24,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2d3d35648681b608bad9800279f0f3d.jpg","纸本水墨","29.5x36.6",[],{"id":2218,"slug":2219,"title":2220,"dynasty":44,"author":155,"museum":194,"description":2221,"tags":2222,"thumbUrl":2226,"material":431,"size":432,"collection":56,"collections":2227,"showCount":79,"zanCount":11,"manualWeight":11,"mainColor":39},256672,"qian-long-kuan-fen-cai-jiu-tao-tu-tian-qiu-ping-yi-ming-256672","乾隆款粉彩九桃图天球瓶","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[49,2223,2224,25,243,114,7,2225,27],"陶瓷","粉彩","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5de172f5ae5d7faef6211fc8a760e2ce.jpg",[],{"id":2229,"slug":2230,"title":331,"dynasty":44,"author":2231,"museum":194,"description":2232,"tags":2233,"thumbUrl":2234,"material":431,"size":432,"collection":56,"collections":2235,"showCount":79,"zanCount":287,"manualWeight":11,"mainColor":39},238485,"hua-hui-tu-ce-jiang-pu-238485","蒋溥","蒋溥（1708—1761年），大学士蒋廷锡长子，字质甫，号恒轩，江苏常熟人，清朝大臣，画家，善画花卉，深得家传。雍正八年二甲第一名进士，官至东阁大学士兼户部尚书。性情宽厚而警敏，任职后，精心奉职，勤于政事，是乾隆时期的重臣，亦是蒋派花鸟画艺术的重要代表。\n乾隆二十六年（1761）四月，病逝于任上。乾隆皇帝亲临祭奠，加赠太子太保，谥曰文恪，入祀贤良祠。",[23,50,25,24,27,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34cf58736b8451b9618416874e55ae22.jpg",[],{"id":2237,"slug":2238,"title":1606,"dynasty":44,"author":292,"museum":194,"description":986,"tags":2239,"thumbUrl":2240,"material":431,"size":432,"collection":56,"collections":2241,"showCount":79,"zanCount":11,"manualWeight":11,"mainColor":39},238418,"xiu-gu-cong-fang-tu-ce-dong-gao-238418",[23,25,50,24,27,144,28,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad158caacdbbc58cd1eb858434d14c95.jpg",[],{"id":2243,"slug":2244,"title":2245,"dynasty":44,"author":2246,"museum":194,"description":2247,"tags":2248,"thumbUrl":2251,"material":56,"size":56,"collection":56,"collections":2252,"showCount":79,"zanCount":11,"manualWeight":11,"mainColor":39},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。",[23,70,69,71,25,26,50,27,52,2249,2250,144,74,582,686,476,393,685,1044,632,54,28,7,31],"西瓜","荷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18aa0380b6630459be1fef1dc09c8650.jpg",[],{"id":2254,"slug":2255,"title":2256,"dynasty":963,"author":964,"museum":194,"description":965,"tags":2257,"thumbUrl":2265,"material":431,"size":432,"collection":980,"collections":2266,"showCount":79,"zanCount":11,"manualWeight":11,"mainColor":80},226062,"the-corner-of-the-garden-at-montgeron-1876-mo-nai-226062","The Corner of the Garden at Montgeron, 1876",[968,967,2258,2259,2260,975,490,489,2261,2262,2263,310,867,2076,7,2264],"光影表现","色彩融合","笔触灵动","河流","草地","户外场景","远处山丘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff78807d085e323ef89840ba9bf872ac0.jpg",[980],{"id":2268,"slug":2269,"title":2270,"dynasty":963,"author":964,"museum":194,"description":965,"tags":2271,"thumbUrl":2277,"material":431,"size":432,"collection":980,"collections":2278,"showCount":79,"zanCount":11,"manualWeight":11,"mainColor":39},225993,"orchard-in-bloom-1879-mo-nai-225993","Orchard in Bloom, 1879",[968,967,2272,2258,1937,2273,1939,869,1938,30,490,978,2274,489,7,2275,2276],"色彩明快","开花树木","泥土路","自然景观","光影效果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F161af25153e641362b6181796ab7d047.jpg",[980],{"id":2280,"slug":2281,"title":2282,"dynasty":578,"author":579,"museum":194,"description":2283,"tags":2284,"thumbUrl":2286,"material":431,"size":432,"collection":56,"collections":2287,"showCount":2288,"zanCount":11,"manualWeight":11,"mainColor":39},288917,"lin-qin-que-tu-qian-xuan-288917","林檎雀图","钱选（1239—1299），宋末元初著名画家，与赵孟頫等合称为“吴兴八俊”。字舜举，号玉潭，又号巽峰，霅川翁，别号清癯老人、川翁、习懒翁等，湖州（今浙江吴兴）人。\n南宋景定三年乡贡进士，入元不仕。工诗，善书画。画学极杂：山水师从赵令穰；人物师从李公麟；花鸟师赵昌；青绿山水师赵伯驹。人品及画品皆称誉当时。继承苏轼等人的文人画理论，提倡士气说，倡导戾家画。他提倡绘画中的“士气”，在画上题写诗文或跋语，萌芽了诗、书、画紧密结合的文人画的鲜明特色。",[69,23,70,27,25,50,2285,7,31],"麻雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaa35cd54472546fb0cf2a81360b5a0f.jpg",[],14,{"id":2290,"slug":2291,"title":1887,"dynasty":44,"author":155,"museum":194,"description":2292,"tags":2293,"thumbUrl":2294,"material":431,"size":432,"collection":56,"collections":2295,"showCount":2288,"zanCount":11,"manualWeight":11,"mainColor":39},238929,"qing-ren-mu-dan-pu-ce-yi-ming-238929","这帧牡丹小品以淡紫晕染花瓣，由瓣尖至瓣根渐次浅柔，层层铺展尽显饱满雍容，明黄点染花蕊，鲜亮醒目，将盛放的鲜活生机凝于笔端。枝叶勾勒精细，叶脉舒展清晰，叶片晕以苍绿糅杂嫩黄，深浅交织间漾出春日鲜活。画面留白疏朗，将牡丹的端丽雅致托举而出，没有繁复铺陈，以清润细腻的笔触晕染出花王的秾秀风姿，将工笔的妍丽与文人画的清雅融于一体，尽显温婉端庄的雅致意趣。",[23,25,50,27,144,7,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F834c74f9f702ec8f1135dd65ede4e1fd.jpg",[],{"id":2297,"slug":2298,"title":2013,"dynasty":44,"author":292,"museum":194,"description":2014,"tags":2299,"thumbUrl":2301,"material":56,"size":56,"collection":56,"collections":2302,"showCount":2288,"zanCount":11,"manualWeight":11,"mainColor":39},238373,"dong-gao-yan-chun-hui-cai-tu-ce-dong-gao-238373",[23,50,25,24,27,686,873,526,2300,7,322],"红色果实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bf70cc574cf94cf0ce9d7e1b7baed0d.jpg",[],{"id":2304,"slug":2305,"title":2306,"dynasty":44,"author":2307,"museum":194,"description":2308,"tags":2309,"thumbUrl":2311,"material":431,"size":432,"collection":56,"collections":2312,"showCount":2288,"zanCount":11,"manualWeight":11,"mainColor":39},235750,"shi-di-ba-ren-he-zuo-jiu-qiu-tu-zhou-wang-hui-235750","师弟八人合作九秋图轴","王翚","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，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。”",[23,70,158,25,50,27,309,632,582,74,526,7,31,26,49,28,2310],"合作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e1454da1fc321a9cf26daccf2083cf8.jpg",[],{"id":2314,"slug":2315,"title":331,"dynasty":44,"author":1653,"museum":194,"description":2316,"tags":2317,"thumbUrl":2318,"material":431,"size":432,"collection":56,"collections":2319,"showCount":2288,"zanCount":11,"manualWeight":11,"mainColor":39},235698,"hua-hui-tu-ce-zou-yi-gui-235698","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》。",[23,70,24,50,25,27,74,490,7,2017],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91f5bc631b1f157fd2800176f3a1860a.jpg",[],{"id":2321,"slug":2322,"title":2323,"dynasty":18,"author":380,"museum":266,"description":2324,"tags":2325,"thumbUrl":2329,"material":271,"size":2330,"collection":56,"collections":2331,"showCount":2288,"zanCount":11,"manualWeight":11,"mainColor":39},233216,"xin-yi-mo-cai-tu-juan-shen-zhou-233216","辛夷墨菜图卷","第一段：此幅采用没骨法绘折枝辛夷，以苍秀古拙之笔画花卉枝干，以不同水分的色墨画出花瓣叶片，色泽浓淡分明，层次丰富，再用重墨劲细之笔勾画叶筋。构图疏密有致，设色清妍秀雅，富于蕴蓄之致。\u2028　　第二段：画中运用干笔的飞白、水墨的渲染和重笔浓墨的点写将一棵普普通通的白菜表现得栩栩如生。此画突出了书法用笔的特点，粗放率意，转折自然，用墨亦变化多端，颇具逸致，天趣盎然。",[23,71,26,25,143,2326,27,2327,2328,7,2017,31],"文人画","辛夷","白菜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d7e94e8db94371a03e84ca9826f8650.jpg","纵34.9厘米，横58.8厘米",[],{"id":2333,"slug":2334,"title":2335,"dynasty":64,"author":499,"museum":194,"description":2336,"tags":2337,"thumbUrl":2339,"material":431,"size":432,"collection":56,"collections":2340,"showCount":2341,"zanCount":11,"manualWeight":11,"mainColor":80},288934,"ju-lv-tu-ma-lin-288934","橘绿图","图中橘子由绿转黄，满压枝头。画家以粗细匀整的用笔流畅地勾画出橘叶的外形轮廓，并以黄绿色填涂叶面，叶片虽然不多，但其充满生命力的色彩为画面增添了几许活力，而侧、转、反、正的种种姿态又为全图带来灵动的节律。橘子的画法一改平涂晕染，直接以笔着色粉戳染成形，从而生动地表现出橘皮粗糙不平的质感。虽然画作历经磨损，许多白色粉点已经剥落，并露出了黄色的绢底，但仍然可见马麟的非凡技艺。",[88,69,23,418,27,50,25,2338,7],"橘子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0861fe18338083efba374bf9ba825a1.jpg",[],13,{"id":2343,"slug":2344,"title":1371,"dynasty":18,"author":566,"museum":194,"description":1372,"tags":2345,"thumbUrl":2346,"material":56,"size":56,"collection":56,"collections":2347,"showCount":2341,"zanCount":11,"manualWeight":11,"mainColor":39},237701,"shan-shui-hua-guo-ce-xiang-sheng-mo-237701",[23,70,69,24,25,27,846,7,31,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a94074dcbcc49dab41206daeb716c85.jpg",[],{"id":2349,"slug":2350,"title":17,"dynasty":44,"author":45,"museum":1079,"description":2351,"tags":2352,"thumbUrl":2353,"material":56,"size":1084,"collection":56,"collections":2354,"showCount":2341,"zanCount":11,"manualWeight":11,"mainColor":39},236623,"hua-niao-ce-hua-yan-236623","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。",[23,70,24,26,25,143,27,29,7,54,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F396df2187b2f4f5d57892b6178d4f4c2.jpg",[],{"id":2356,"slug":2357,"title":17,"dynasty":18,"author":2358,"museum":194,"description":2359,"tags":2360,"thumbUrl":2361,"material":56,"size":56,"collection":56,"collections":2362,"showCount":2341,"zanCount":287,"manualWeight":11,"mainColor":39},236550,"hua-niao-ce-tang-zhi-yin-236550","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》",[23,50,25,27,29,72,7,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F973fb1ad1a7b1dee13f0334c0caf03d2.jpg",[],{"id":2364,"slug":2365,"title":2013,"dynasty":44,"author":292,"museum":194,"description":2014,"tags":2366,"thumbUrl":2367,"material":56,"size":56,"collection":56,"collections":2368,"showCount":2369,"zanCount":11,"manualWeight":11,"mainColor":39},238370,"dong-gao-yan-chun-hui-cai-tu-ce-dong-gao-238370",[23,70,24,50,25,27,632,685,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a936ab0fef5ef9d223e2fcc446a4568.jpg",[],12,{"id":2371,"slug":2372,"title":1371,"dynasty":18,"author":566,"museum":194,"description":1372,"tags":2373,"thumbUrl":2374,"material":56,"size":56,"collection":56,"collections":2375,"showCount":2369,"zanCount":11,"manualWeight":11,"mainColor":39},237699,"shan-shui-hua-guo-ce-xiang-sheng-mo-237699",[23,70,24,25,72,1741,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6b2598b5dfceaa9fca8709cd1d0c074.jpg",[],{"id":2377,"slug":2378,"title":2083,"dynasty":44,"author":2084,"museum":194,"description":2085,"tags":2379,"thumbUrl":2380,"material":56,"size":56,"collection":56,"collections":2381,"showCount":2369,"zanCount":11,"manualWeight":11,"mainColor":39},234376,"lin-jiang-ting-xi-hua-hui-ce-jiang-shu-234376",[23,70,24,2087,50,26,27,810,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdba41c21bb48650a1864db47783c6311.jpg",[],{"id":2383,"slug":2384,"title":2385,"dynasty":963,"author":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(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。",[23,70,24,605,25,50,27,74,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F490a6d8cd0412f0d7d29c27368562d38.jpg",[],{"id":2417,"slug":2418,"title":534,"dynasty":44,"author":2419,"museum":194,"description":2420,"tags":2421,"thumbUrl":2422,"material":431,"size":432,"collection":56,"collections":2423,"showCount":188,"zanCount":11,"manualWeight":11,"mainColor":39},235214,"hua-hui-ce-zhang-wei-235214","张伟","清代画家张伟的花卉写生图，是一组工笔细描的花卉图。",[23,70,24,25,50,27,28,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3b94e3b8854db5f02c03ea2367d2ac9.jpg",[],{"id":2425,"slug":2426,"title":17,"dynasty":44,"author":45,"museum":1079,"description":1080,"tags":2427,"thumbUrl":2428,"material":33,"size":1084,"collection":56,"collections":2429,"showCount":188,"zanCount":11,"manualWeight":11,"mainColor":39},233945,"hua-niao-ce-hua-yan-233945",[23,70,24,25,26,27,161,29,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F404f5926f037f2a7a183670d202de71c.jpg",[],{"id":2431,"slug":2432,"title":2433,"dynasty":64,"author":614,"museum":194,"description":2434,"tags":2435,"thumbUrl":2436,"material":56,"size":56,"collection":56,"collections":2437,"showCount":188,"zanCount":11,"manualWeight":11,"mainColor":80},227535,"yuan-lu-tu-yi-yuan-ji-227535","猿鹭图","易元吉（生卒年不详，公元11世纪左右），字庆之，湖南长沙人。北宋时期著名画家。天资颖异，灵机深敏，尤善画猿猴，并因此而闻名天下。古代绘画评论家把獐猿画看成是易元吉的专工独诣，认为是“世俗之所不得窥其藩”的绝技。",[88,23,25,50,621,1967,184,619,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04cd6b97e915aeed8c1ec2cec2231d8a.jpg",[],{"id":2439,"slug":2440,"title":2441,"dynasty":963,"author":964,"museum":194,"description":965,"tags":2442,"thumbUrl":2447,"material":431,"size":432,"collection":980,"collections":2448,"showCount":188,"zanCount":11,"manualWeight":11,"mainColor":80},225990,"olive-tree-wood-in-the-moreno-garden-1884-mo-nai-225990","Olive Tree Wood in the Moreno Garden, 1884",[968,967,970,2443,1936,2444,1938,7,2275,2445,2446,2276],"松散笔触","树林","户外","色彩晕染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1e5c490c45233b68f39df1a1fadf2f9.jpg",[980],{"id":2450,"slug":2451,"title":2452,"dynasty":44,"author":292,"museum":194,"description":986,"tags":2453,"thumbUrl":2454,"material":431,"size":432,"collection":56,"collections":2455,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":39},238798,"hua-hui-xiao-ce-dong-gao-238798","花卉小册",[23,70,24,25,50,28,269,7,526],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a8f5f27717acb75eabb9f986a46f878.jpg",[],{"id":2457,"slug":2458,"title":2459,"dynasty":18,"author":2460,"museum":194,"description":2461,"tags":2462,"thumbUrl":2463,"material":56,"size":56,"collection":56,"collections":2464,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":39},234492,"hua-niao-shan-ye-wei-xue-lian-234492","花鸟扇页","魏学濂","魏学濂（1608年—1644年），明代官员。字子一，号内斋，一作容斋，浙江嘉善人，魏大中次子，崇祯十六年（1643年）进士，擢庶吉士，明亡后先降李自成，不久又羞愧自缢。平生擅画山水，兼工花鸟。",[1004,418,23,70,25,50,27,29,1415,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c6bd18f9544bbe768327b77926cd6db.jpg",[],{"id":2466,"slug":2467,"title":2468,"dynasty":64,"author":155,"museum":194,"description":2469,"tags":2470,"thumbUrl":2471,"material":56,"size":56,"collection":56,"collections":2472,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":39},227383,"ke-si-shan-niao-tu-yi-ming-227383","缂丝山鸟图","宋代尤其南宋是纯欣赏性缂丝诞生的摇篮，宋代缂丝，设色典雅，技术精巧，表现手法写实，是缂丝的黄金时代。纵观宋代帝王诸如仁宗、神宗、徽宗、高宗、光宗、宁宗等，他们都对国画有不同程度的兴趣，出于审美心理和装点宫廷的需要都很重视宫廷画院建设，北宋时还曾一度设立画学，尤其是徽宗赵佶，其工笔画及独创书法“瘦金体”（图1-3-3-1，赵佶《闰中秋月诗帖》，现藏北京故宫博物院）体现了他作为艺术家的杰出才能和修养。上行下效，宋代文人士大夫创作、收藏、品鉴艺术品蔚然成风，不少文人在艺术实践的题材、形式及审美旨趣上都有自己的独特见解和品位。",[88,69,23,70,1320,1522,27,1542,144,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd62f06e57ad93bff8812144cad58fa7e.jpg",[],{"id":2474,"slug":2475,"title":2476,"dynasty":44,"author":2477,"museum":194,"description":2478,"tags":2479,"thumbUrl":2480,"material":56,"size":56,"collection":56,"collections":2481,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":39},224314,"hua-niao-ce-shi-kai-4-li-shan-224314","花鸟册十开4","李鱓","画面以写意之笔绘石竹与湖石，粉红花瓣晕染柔润自然，间缀淡紫俏花提亮层次，挺劲绿叶以浓淡墨色写出，尽显花草鲜活姿态。一旁湖石枯笔皴擦，朴拙古雅，与娇柔花枝形成刚柔对照。\n\n左侧题诗笔墨纵逸洒脱，诗书画印相得益彰，将文人闲居消夏的悠然心境寄寓花间。整幅画随性疏朗，鲜活灵动，笔情墨趣间尽显放达雅致的文人意韵，尽显画者率真疏放的创作风骨。",[88,23,70,24,25,27,161,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0550b3f94de6a3de549f2089b7718f7e.jpg",[],{"id":2483,"slug":2484,"title":2485,"dynasty":44,"author":319,"museum":266,"description":2161,"tags":2486,"thumbUrl":2487,"material":514,"size":2165,"collection":56,"collections":2488,"showCount":167,"zanCount":287,"manualWeight":11,"mainColor":39},222787,"hua-niao-ce-ye-07-lang-shi-ning-222787","花鸟册页07",[88,23,69,70,1627,50,25,1125,27,938,29,7,526,75,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94fb8508d2a99083a74c38b6844e1704.jpg",[],{"id":2490,"slug":2491,"title":2492,"dynasty":963,"author":964,"museum":194,"description":965,"tags":2493,"thumbUrl":2496,"material":431,"size":432,"collection":980,"collections":2497,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":80},226079,"the-japanese-bridge-1918-1924-mo-nai-226079","The Japanese Bridge, 1918-1924",[967,968,794,867,489,526,7,2494,2495,1934],"色彩丰富","光影变化","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9157fa76fdd18b9c6359bcfeb5f62e0d.jpg",[980],{"id":2499,"slug":2500,"title":2501,"dynasty":64,"author":155,"museum":266,"description":2502,"tags":2503,"thumbUrl":2505,"material":514,"size":2506,"collection":56,"collections":2507,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":39},223487,"wu-hua-guo-tu-yi-ming-223487","无花果图","图中无花果已然成熟，撑开绿萼露出了果实。此图以中锋行笔，淡墨勾勒，线条细劲流畅，显现出画家以线塑形的娴熟功底。叶片色彩的渲染则是先在叶尾部着以墨绿，再用清水将绿色向叶尖晕开，不仅呈现出浓淡有致的色泽变化，且枝叶的鲜活姿态也得以表现。含苞者敷以石绿色，绽开者用白粉染出，清浅的绿色构成画面的主调，体现出宋人花鸟画淡雅清逸的美学品格。\n对幅有清乾隆皇帝御题五言诗一首：“果结必资花，却有无花者。别名木馒头，或因形弗雅。缀子于叶间，累累复若若。七利名徒传，几团见实寡。钱塘特写斯，应寓别意也。庶子与家丞，个中两弗假。”钤印“用笔在心”。",[88,69,23,70,418,50,25,75,31,2504,7],"无花果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcecf14fa0588646d6b234f3cb52b18fc.jpg","纵24.8厘米，横25.3厘米",[],{"id":2509,"slug":2510,"title":2511,"dynasty":18,"author":786,"museum":46,"description":2512,"tags":2513,"thumbUrl":2519,"material":33,"size":2520,"collection":56,"collections":2521,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":39},216088,"tai-ping-le-shi-tu-ce-8-dai-jin-216088","太平乐事图册-8","此册共十开，分别绘「婴戏」、「骑牛」、「娱乐」、「戏耍」、「捕鱼」、「试射」、「耕罢」、「观戏」、「木马」、「牧归」等题材。其中数开以宋元名画为本：如第二开妇人哺乳之形象，可见于南宋李嵩〈市担婴戏〉（国立故宫博物院）；第九开「木马」则取自元任仁发〈果老见明皇〉（北京故宫博物院）；第十开则摹自宋人〈春社醉归〉。其余几开，皆透过人物之「观看」，将观者目光聚焦于画中场景，而营造某种叙事情节。绘人物之线条采「钉头鼠尾」（起笔钝重、收笔细）之笔法，与画史对戴进人物风格之描述吻合。然整体笔墨略显软弱、平直，或为晚期浙派画家根据戴进真迹加以临仿之作。",[23,70,24,25,50,869,2514,489,2515,793,1938,2516,2517,2518,7],"牛","水域","斗笠","农具","河岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F038c2970b7ee8eae6f36c8f6102b3f0b.jpg","22.8x22cm",[],{"id":2523,"slug":2524,"title":2525,"dynasty":44,"author":2526,"museum":20,"description":2527,"tags":2528,"thumbUrl":2531,"material":56,"size":56,"collection":35,"collections":2532,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":2533},201993,"qiu-hua-tu-zhou-pan-bi-201993","秋花图轴","潘壁","画面枝桠交错，墨线勾勒出老干的苍劲之姿，浓淡晕染间尽显草木的自然生机。花叶相映成趣，粉白花朵层层叠叠，花瓣边缘轻染淡粉，娇嫩如凝脂；叶片色彩过渡细腻，青绿与墨色交织，叶脉纹理清晰可见，似带秋日光影。设色清雅却不失层次，工笔细致处见花瓣肌理，写意洒脱处显枝干风骨，整体氛围清新雅致，将秋花的温婉与枝叶的挺健完美融合，尽显传统花鸟之韵致。",[23,27,25,50,582,7,2529,2530,88],"苍劲","淡雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04791977d1aa409ab04dbe44feef84d9.jpg",[35],"b49b76",{"id":2535,"slug":2536,"title":331,"dynasty":44,"author":2231,"museum":194,"description":2232,"tags":2537,"thumbUrl":2538,"material":431,"size":432,"collection":56,"collections":2539,"showCount":178,"zanCount":287,"manualWeight":11,"mainColor":80},238494,"hua-hui-tu-ce-jiang-pu-238494",[69,23,70,24,25,50,27,28,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cd68be8bb3611582ded44817fe360a3.jpg",[],{"id":2541,"slug":2542,"title":534,"dynasty":44,"author":292,"museum":194,"description":986,"tags":2543,"thumbUrl":2544,"material":431,"size":432,"collection":56,"collections":2545,"showCount":178,"zanCount":11,"manualWeight":11,"mainColor":39},238358,"hua-hui-ce-dong-gao-238358",[23,25,24,50,27,28,7,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39eb19dc68d748f33e354ce19a983803.jpg",[],{"id":2547,"slug":2548,"title":2549,"dynasty":44,"author":2550,"museum":194,"description":2551,"tags":2552,"thumbUrl":2554,"material":56,"size":56,"collection":56,"collections":2555,"showCount":178,"zanCount":11,"manualWeight":11,"mainColor":39},238278,"hua-qia-xuan-yuan-tu-ce-huang-yue-238278","化洽翾蜎图册","黄钺","黄钺（1750年9月5日-—1841年8月16日），字左田，又名左君，号壹斋、左庶子，安徽芜湖人，清朝大臣，历仕乾隆、嘉庆、道光三朝。是著名的教育家、画家、艺术评论家。\n黄钺师法韩愈、苏轼、黄庭坚三人。 [5] 著有《壹斋集》40卷，其中《奏御集》2卷，杂篇6卷，《萧、汤二老遗诗合编》1卷，《画品》1卷。工诗文、书画，所绘山水，有萧云从余韵，“久邀睿赏，与富阳首相。国称董（浩）黄（钺）二家”，宫内名画，多为其鉴定真伪。诗词有苏东坡风韵，年九十一岁失明，自号“盲左”仍吟诗作画，故乡风情，吟咏殆尽，所作《于湖竹枝词》66首，亦诗亦史，富有深厚乡情。宋子才有“太白脱靴”，“山谷返棹”两图，石刻在太平府尊经阁内。《志》谓“子才七世孙，元太平路经历景阳刻”。嘉庆十七年（1812），黄钺在作此图时也注为元景阳刻。后觉有误，自责捉笔：“承讹袭谬，未暇深考。顷友人拓赠二纸，始知其谬，愧赧无已，爰记以诗，以志吾荒陋焉”。虚怀若谷，难能可贵。\n道光五年（1825），黄钺76岁，请求归休。宣宗“温旨慰留”。次年，又申前请，获准荣归。道光二十一年六月三十日申时（即1841年8月16日15时至17时）在芜湖家中逝世，享年九十二岁。宣宗悼惜，追封为太子太保衔，入祀贤良祠，按尚书条例抚恤，谥号“勤敏”。命史馆立传，赐祭葬，树石碑，葬于当涂南褐山下。同年，奉旨入芜湖乡贤祠。 [3]\n清代乾隆、嘉庆、道光年间，当涂出了一位赫赫有名的内阁尚书、军机大臣。黄钺，字左田，号左君，又号壹斋、左盲，生于乾隆十五年（1750年），卒于道光二十一年（1841年）。因其一生敏而好学，著述甚多，又“执掌皖南北书院十载”，对当地文化、教育做出了重要贡献。\n乾隆三十八年（1773年）十月，年仅23岁的黄钺在太平府学政使院参加岁试。安徽提督学政朱筠阅其卷，以为“奇才异能”，称道不止。朱筠在离开当涂回京都时，特地将这位年轻人带入京城应试，虽未中试，但得以在《四库全书》馆做誉录工作，因之学识大进。乾隆五十三年（1788年），黄钺考中举人，五十五年中进士，授户部主事。当时权臣和坤主管户部，因二人意见相左，借故请假回家，协助安徽巡抚李世杰在芜湖赭山谪翠轩创建中江书院，招员授业。嘉庆四年（1799年），仁宗亲政，黄钺奉命进京加封为“懋勤殿行走”。嘉庆九年（1804年），提升为“赞善，入直南书房”。嘉庆十年，出任山西学政，又特旨任湖北、山东、顺天等地的乡试主考官，后又兼任山西、山东学政，准予密折奏事。嘉庆十五年（1810年），迁侍讲学士，十八年擢升内阁学士，十九年升任户部侍郎，不久，又调任礼部侍郎。嘉庆二十四年（1819年），升任礼部尚书，并“赐紫禁城骑马肩舆入直，加封太子少保衔”。次年，升会试主考官。道光元年（1821年），宣宗亲政，封其为军机大臣，不久，又调任户部尚书，参与大典事宜，从事“京察议叙”。道光三年，宣宗“赐宴玉澜堂”，并给功臣绘像，黄钺是当时朝廷15名老臣之一。道光五年，黄钺已75岁，请求归休，宣宗又“温旨慰留”。次年，又申前请，始获准归乡。黄钺在朝廷历时27年。\n黄钺一生为封建统治阶级“矢勤矢慎”，但他笔耕不辍，在学术上也很有造诣。著有《壹斋集》四十卷、《壹斋诗集》三十六卷、《韩诗增注正讹》十一卷、《萧汤二老遗诗合编》二卷、《奏御集》二卷，另有《画友录》、《泛浆录》、《游黄山记》、《两朝恩赉记》、《二十四画品》等著作。他善画山水花鸟，尤长画梅，初学王 ，晚学王原祁，与“四王”末流董邦达并称山水画家。他的画，笔墨苍厚，他的字，既有书卷气，也有台阁气。他的诗，别具一格，很有气势。曾作的《花卉图》、《端阳佳景图》、《高冈长松图》等，无论青绿山水和水墨山水都很有特色。\n黄钺在绘画艺术上经过多年的实践和探索，将自己积累的经验进行理论概括，撰成画学专著《二十四画品》一书。《二十四画品》是仿照唐司空图撰写的中国古代文集约名著《二十四诗品》的体例而写成的。书中运用四言韵语，把各种绘画艺术风格概括为：一气韵，二神妙，三高古，四苍润，五沉雄，六冲和，七淡远，八补拙，九超脱，十奇辟，十一纵横，十二淋漓，十三荒寒，十四清旷，十五性灵，十六圆浑，十七幽邃，十八明净，十九健拔，二十简洁，二十一精谨，二十二隽爽，二十三空灵，二十四韶秀。整部著作文词典雅，清丽可诵，表现了栩栩如生的艺术形象。\n黄钺对谢朓、李白、黄庭坚十分崇拜，曾多次游览青山和采石矶。他颂扬谢朓“谢公爱青山，结宇恣啸咏”；在《咏李翰林》诗中讴歌李白：“仙骨埋青山，草木发灵异。”到采石矶“高怀吊古”，“掩英雄之泪，吟供奉之诗”。在他作的《采石矶赋》一文中，除了历数在这里发生的许多惊天动地的事件和英雄人物外，还特地为李白而感叹，说：“白也不群，宗之潇洒，着宫锦而扬帆，共兰舟而持 。旁若无人，歌清四野，当此之时，何其壮也！”黄钺又诗云：“平轩遥瞰一湖开，闻说涪翁守郡来。当日到官才九日，未应便起读书台。”该诗也附注曰：“赭山有滴翠轩，相传为涪翁读书处。李之仪跋山谷二词：‘鲁直请无为、当涂，而得当涂，犹蹭蹬一年方到官，既到九日而罢，又数日乃去。’“\n道光十一年（1831年），长江发生水患，回到家乡的黄钺 积极倡兴赈济，带头捐献俸银千两。道光十三年，濒临江淮的州县又遭水灾，黄钺又“捐百金助赈”，以救乡民。次年，当涂、芜湖一带饥荒，米珠薪桂，人民生计困难，黄钺又与王泽、许耕余等发动有田富户及绅士14家，按田交谷600担，兴办“丰备义仓”12座，当义仓上梁即将落成时，黄钺以诗记其事道：“成城缘众志，图匮在年丰。”并在“丰备义仓”的旁边建立私塾，招收蒙童，普及地方教育事业。\n道光十六年，88岁已不能认字，但仍吟诗咏物，所作《于湖竹枝词》66首，亦诗亦史，深入浅出，富有深厚的爱乡之情。",[23,70,24,25,50,27,72,7,2553,53],"蜘蛛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4d45c47b40701175fd4b732a0849277.jpg",[],{"id":2557,"slug":2558,"title":534,"dynasty":44,"author":629,"museum":194,"description":2559,"tags":2560,"thumbUrl":2561,"material":431,"size":432,"collection":56,"collections":2562,"showCount":178,"zanCount":11,"manualWeight":11,"mainColor":39},235199,"hua-hui-ce-wu-chang-shuo-235199","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》。",[23,70,24,25,27,144,7,75,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bfbcb3a239e834a8bdafab60052cfe4.jpg",[],{"id":2564,"slug":2565,"title":2566,"dynasty":64,"author":155,"museum":194,"description":2567,"tags":2568,"thumbUrl":2570,"material":56,"size":56,"collection":56,"collections":2571,"showCount":178,"zanCount":11,"manualWeight":11,"mainColor":39},227376,"yuan-hou-zhai-guo-tu-yi-ming-227376","猿猴摘果图","《宋人画猿猴摘果图》是宋代佚名创作的一幅扇面画。\n此图绘深山野林中，三只 攀援栖止于树枝上。\n其中两猿正品果嬉戏，另一猿右臂抓树，左臂摘取红果，形象生动可爱。\n作者运用极为工细的笔法，描绘猿猴茸茸的细毛、灵巧的动态以及老树的虬枝和枯叶，显示出深厚功力。\n图中坡石用小斧劈皴，枝叶用双钩填色，笔法精工巧丽。\n深秋季节只猿猴攀援于树枝上嬉戏摘果的情景。\n猿猴和景物都集中在画的右半边，为典型的南宋画构图方式。\n猿猴神情毕肖，尤其是茸毛的绘制极为细致严谨。\n树叶用勾勒填色法，色彩并未完全填满，显得自然随意。\n黑白色对比使画面更具动感，红色的小果实在整幅画面中十分醒目。\n深山野林中，黑白二色的三只猿猴攀援栖止于树枝上。\n其中两猿相互逗趣，另一猿右臂抓着树枝，左臂摘取红果，其贪婪、欣喜之态刻画得形神兼僃。\n点景中枯黄的树页、红色的果实，以及丛生的小草和细竹，不仅打破了山石的呆板，而且渲染了秋天萧瑟的气氛，从而增添画面的自然之趣。\n画面钤有「黔宁王子子孙孙永保之」、「都尉耿信公书画之章」、「信公珍藏」、「安国珍玩」等印多方。\n对幅有清代著名收藏家耿昭忠题记，此图曾经沐璘、耿昭忠、安岐收藏。\n《石渠宝笈》著录。",[69,23,70,418,25,621,2569,619,7,54,31],"猿猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a544e331d094ac541c1cff0a7db7c25.jpg",[],{"id":2573,"slug":2574,"title":2575,"dynasty":764,"author":155,"museum":194,"description":2576,"tags":2577,"thumbUrl":2581,"material":431,"size":432,"collection":56,"collections":2582,"showCount":178,"zanCount":11,"manualWeight":11,"mainColor":39},227102,"shuang-qin-xian-wen-jing-1-yi-ming-227102","双禽衔纹镜-1","中国铜镜的制作和使用具有悠久的历史，根据考古发掘，年代最早的铜镜为4000多年前的齐家文化。从齐家文化至西周末春秋早期制作的铜镜，多以纹饰简单、形体小、种类少。此一时期为中国铜镜制作早期阶段。\n春秋中晚期开始，我国铜镜制作和使用就发展起来了，特别是战国时期，铜镜的种类复杂，题材广泛，制作工艺精细，包括此时期铜镜的合金成分，其锡含量是最适合铜镜的使用，这些充分反应了铜镜在此时期制作技术已达到成熟阶段。汉代开始铜镜得到了进一步的发展，这时期的铜镜出现了新的类型，铭纹也正逐渐成为铜镜的纹饰组成部分，反映了汉代铸镜业的发达及铜镜商品化的发展。\n隋唐时期是中国铜镜高度发展时期，此时的铜镜突破了以往圆形与方形的传统形式，出现了菱花形、葵花形铜镜。特别是盛唐时期铜镜工艺精湛，著名的瑞兽葡萄镜更是闻名于世，这一时期铜镜发展达到了顶峰。\n从唐末，五代起中国的铜镜艺术日趋衰落，宋、金、元时期的铜镜，从造型、纹饰和合金成分上都有不同于传统铜镜的特点。明，清时期虽然铜镜还在人们日常生活当中使用，但到清代中后期随着玻璃的使用，铜镜逐渐退出了历史舞台。当今虽然不再有人使用铜镜整装容，但古代铜镜给予我们的除了收藏价值，还有对古代形制、纹饰、铭文、艺术、制作工艺、成分等等的研究价值。中历收藏品鉴定中心，为我国合法第三方专业鉴定平台，证书得到了专业人士及社会各界的高度认可，藏品鉴定可咨询。",[769,26,2578,2579,2580,243,7,28],"纹饰","镜","铜制","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24025c0bc1a329afc98cb076a2b505cf.jpg",[],{"id":2584,"slug":2585,"title":2586,"dynasty":963,"author":964,"museum":194,"description":965,"tags":2587,"thumbUrl":2591,"material":431,"size":432,"collection":980,"collections":2592,"showCount":178,"zanCount":11,"manualWeight":11,"mainColor":80},226026,"saule-pleureur-2-1918-1919-mo-nai-226026","Saule 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，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。",[23,70,24,26,143,27,29,28,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3205b24e45b0072ec40bf34c81630c6.jpg",[],{"id":2781,"slug":2782,"title":331,"dynasty":44,"author":2231,"museum":194,"description":2232,"tags":2783,"thumbUrl":2784,"material":431,"size":432,"collection":56,"collections":2785,"showCount":150,"zanCount":287,"manualWeight":11,"mainColor":80},238497,"hua-hui-tu-ce-jiang-pu-238497",[69,23,70,24,25,50,27,28,159,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd46f66160b074cafea7efdf797140c7b.jpg",[],{"id":2787,"slug":2788,"title":2789,"dynasty":44,"author":292,"museum":194,"description":986,"tags":2790,"thumbUrl":2791,"material":431,"size":432,"collection":56,"collections":2792,"showCount":150,"zanCount":11,"manualWeight":11,"mainColor":39},238326,"yu-pu-fei-xiang-tu-xiao-ce-dong-gao-238326","玉圃霏香图小册",[23,70,69,24,50,25,27,632,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed6dda4dc206bfefc540662c1589e0f8.jpg",[],{"id":2794,"slug":2795,"title":204,"dynasty":44,"author":2796,"museum":194,"description":2797,"tags":2798,"thumbUrl":2799,"material":431,"size":432,"collection":56,"collections":2800,"showCount":150,"zanCount":11,"manualWeight":11,"mainColor":39},237995,"za-hua-ce-xue-huai-237995","薛怀","薛怀（1717—1804），清代著名书画家。字小凤，号竹君，晚号竹居老人。桃源（今江苏泗阳县）监生，居山阳（今淮安市淮安区）。 边寿民甥。工书、画，花卉小品，清远绝俗。画用钩勒再以枯笔渍染，阴阳向背，极为明豁。写芦雁酷似其舅，又善画宜兴茶器。卒年八十七。《艺林月刊、墨林今话、墨香居画识、梧门诗话、宋元明清书画家年表附录》。",[23,70,24,25,50,27,7,54,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1dfb60f7ffe979a0c659a29d55d4d93.jpg",[],{"id":2802,"slug":2803,"title":534,"dynasty":18,"author":2804,"museum":194,"description":2805,"tags":2806,"thumbUrl":2807,"material":431,"size":432,"collection":56,"collections":2808,"showCount":150,"zanCount":11,"manualWeight":11,"mainColor":80},235261,"hua-hui-ce-wang-gu-xiang-235261","王穀祥","王谷祥（1501年－1568年），字禄之，号酉室，南直隶苏州府长洲县（今苏州）人。嘉靖八年（1529年）进士，授工部主事。历吏部员外郎，持法不阿，忤尚书汪鋐，贬真定通判。",[69,23,70,24,26,27,144,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d7b236fc029d1bb12f63472ba8703fe.jpg",[],{"id":2810,"slug":2811,"title":2812,"dynasty":1954,"author":2813,"museum":20,"description":2814,"tags":2815,"thumbUrl":2816,"material":56,"size":56,"collection":35,"collections":2817,"showCount":150,"zanCount":11,"manualWeight":11,"mainColor":2818},202938,"guo-shi-tu-zhou-chen-shi-ceng-202938","果实图轴","陈师曾","墨叶以奔放笔触挥就，浓淡交错间见层次，枝干虬劲简练，尽显生趣。果实设色温润，黄绿与橙褐晕染自然，形态饱满鲜活，似含清甜味。整体画风朴拙雅致，写意之韵浓厚，笔墨间藏文人画的冲淡意趣，简约中蕴生机，观之顿觉清新悦目。",[23,70,27,143,25,26,54,7,88],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b650d570fbffe893e85a1f0e6023d42.jpg",[35],"c9c0b1",{"id":2820,"slug":2821,"title":2822,"dynasty":44,"author":155,"museum":194,"description":2221,"tags":2823,"thumbUrl":2824,"material":431,"size":432,"collection":56,"collections":2825,"showCount":435,"zanCount":11,"manualWeight":11,"mainColor":39},256855,"fen-cai-jiu-tao-tu-tian-qiu-ping-yi-ming-256855","粉彩九桃图天球瓶",[2223,2224,25,50,243,114,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41ef1e6d263c5b02a5923a38ad7b445f.jpg",[],{"id":2827,"slug":2828,"title":2829,"dynasty":44,"author":155,"museum":194,"description":2830,"tags":2831,"thumbUrl":2837,"material":431,"size":432,"collection":56,"collections":2838,"showCount":435,"zanCount":11,"manualWeight":11,"mainColor":80},245647,"jin-chang-fang-pen-mu-shi-tao-lu-pen-jing-yi-ming-245647","金长方盆木石桃鹿盆景","此盆景金盆錾刻蝠纹拱寿，流光溢彩华贵端庄。木枝桃树遒劲苍古，翠叶舒展间，玛瑙与碧玉寿桃垂缀枝头，饱满莹润，鲜活如生。配景以玉石雕就灵鹿，憨态可掬静立一隅，衬以玛瑙花与翠色仙草，错落生趣。\n它集雕琢、錾镶工艺于一身，将长寿、福禄的吉庆寓意藏于细节，把匠心巧思融于雅致陈设中，尽显工艺卓绝精巧，是东方吉祥意涵与造物美学融为一体的绝佳摆件。",[2832,2833,2834,2835,620,243,618,7,2836],"工艺","雕刻","金器","木质","盆景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaa865d3e9a3f4ce455932e57c344cd7.jpg",[],{"id":2840,"slug":2841,"title":2452,"dynasty":44,"author":292,"museum":194,"description":986,"tags":2842,"thumbUrl":2843,"material":431,"size":432,"collection":56,"collections":2844,"showCount":435,"zanCount":11,"manualWeight":11,"mainColor":39},238799,"hua-hui-xiao-ce-dong-gao-238799",[23,24,50,25,27,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F597c3940a43a34d83b1b8f1742f22fdb.jpg",[],{"id":2846,"slug":2847,"title":331,"dynasty":44,"author":2231,"museum":194,"description":2232,"tags":2848,"thumbUrl":2849,"material":431,"size":432,"collection":56,"collections":2850,"showCount":435,"zanCount":11,"manualWeight":11,"mainColor":39},238488,"hua-hui-tu-ce-jiang-pu-238488",[23,70,24,50,25,27,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee7e3e0b4f1da9cf3bd6ca4062b92cac.jpg",[],{"id":2852,"slug":2853,"title":2735,"dynasty":44,"author":2736,"museum":194,"description":2854,"tags":2855,"thumbUrl":2856,"material":56,"size":56,"collection":35,"collections":2857,"showCount":435,"zanCount":11,"manualWeight":11,"mainColor":39},236716,"hua-niao-guo-ce-li-qi-236716","此作以水墨写意绘秋日花果，左幅枝桠斜出，墨色枯润相衬，叶片以浓淡墨色分出层次，残果垂挂枝头，疏朗间带着清秋的萧散意趣，寥寥数笔不重具象描摹，意在捕捉秋日清寂之态。右侧题跋笔墨苍劲朴拙，书与画相映成趣，文气晕染画面，尽显文人画的雅致风骨。整体笔意纵逸随性，淡墨轻痕间尽显创作者的随性审美，将水墨写意的空灵之美尽致展现，于简淡之中蕴含着疏淡清远的意境，尽显传统文人画以意驭笔的创作意趣。",[23,70,24,26,143,27,846,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d39bcaa7961acd77621afedb8b84166.jpg",[35,716],{"id":2859,"slug":2860,"title":534,"dynasty":44,"author":2861,"museum":266,"description":2862,"tags":2863,"thumbUrl":2864,"material":548,"size":2865,"collection":56,"collections":2866,"showCount":435,"zanCount":11,"manualWeight":11,"mainColor":39},236317,"hua-hui-ce-wang-shi-shen-236317","汪士慎","此图册十二页，分别画十二种花卉。\n汪士慎(1686-1759)清代著名画家。字近人，号巢林、溪东外史等。安徽休宁人，寓居扬州。汪士慎在诗、书、画、印诸方面皆有很高的成就。擅画花卉，随意勾点，清妙多姿。精画兰竹，尤擅长画梅，笔致疏落，超然出尘，笔意幽秀，气清而神腴，墨淡而趣足，其秀润恬静之致，令人争重。金农称他画梅之妙和高西唐(翔)异曲同工。西唐善画疏枝，巢林善画繁枝，都有空里疏香、风雪山林之趣。千花万蕊，颇富诗意。老年一目失明，尚能挥写自如，不失当年风韵。为“扬州八怪”之一。工诗，善写隶书，又长篆刻。在一目失明作画时，自刻一印云：“尚留一目看梅花”，后来，双目俱瞽，但仍挥写，署款“心观”二字。时金农赞他“盲于目，不盲于心”。阮元《广那个诗事》说他：“老而目瞽，然为人画梅，或作八分书，工妙胜于未瞽时。”其代表作有《苍松偃蹇图》、《潇湘灵芳图》、《绿萼梅开图》、《洒香梅影图》、《月珮风襟图》、《灵根出谷图》等。著有《巢林诗集》。",[23,70,24,25,26,605,31,27,846,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97f6cd90a0c794a4b1030d3ff0668717.jpg","纵24厘米 横27.5厘米",[],{"id":2868,"slug":2869,"title":2870,"dynasty":44,"author":155,"museum":194,"description":2871,"tags":2872,"thumbUrl":2873,"material":56,"size":56,"collection":56,"collections":2874,"showCount":435,"zanCount":11,"manualWeight":11,"mainColor":39},235960,"cai-jia-hua-hui-tu-ce-yi-ming-235960","蔡嘉花卉图册","此作以水墨挥写牡丹，摒弃敷色艳冶，纯以浓淡墨痕晕染花瓣，舒展柔润的瓣叶层次分明，将国色雍容之态藏于清逸墨韵中。焦墨点染叶片，浓淡错落间尽显舒展生机，枝干劲挺苍拙，寥寥数笔便勾勒挺秀之姿。右侧题诗与绘作相映成趣，诗画合璧衬出文人雅意。整幅脱略形似、独求神韵，以墨代色，将牡丹华贵之姿融于写意笔致间，笔简意赅，尽显文人寄情笔墨的清逸格调。",[23,70,24,26,27,144,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bb8b17ca573127ebe5c03fe8c150e97.jpg",[],{"id":2876,"slug":2877,"title":534,"dynasty":44,"author":2878,"museum":194,"description":2879,"tags":2880,"thumbUrl":2882,"material":431,"size":432,"collection":56,"collections":2883,"showCount":435,"zanCount":11,"manualWeight":11,"mainColor":39},234780,"hua-hui-ce-wang-lu-234780","王露","王昙（1760～1817）诗人清代。又名良士，字仲瞿。秀水（今浙江嘉兴）人。当地有瓶山，因以瓶山自号。乾隆五十九年举人。会试不第，白衣终身，著有《烟霞万古楼文集》等。时人将他与常州诗人黄仲则诗合刻，题曰“乾隆二仲”。王昙与孙原湘、舒位并称“后三家”或“江左三君”。",[23,26,24,143,28,7,72,2881,30,31],"叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe05c413b751b04685bbdc3a90dafb5fb.jpg",[],{"id":2885,"slug":2886,"title":2887,"dynasty":18,"author":2888,"museum":194,"description":2889,"tags":2890,"thumbUrl":2891,"material":56,"size":56,"collection":56,"collections":2892,"showCount":435,"zanCount":11,"manualWeight":11,"mainColor":39},233329,"shi-zhu-zhai-pu-ce-hu-ri-cong-233329","十竹斋谱册","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。",[23,70,24,25,50,54,7,620],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86f7813f52173a3a6dd79e5f0fe5615b.jpg",[],{"id":2894,"slug":2895,"title":2887,"dynasty":18,"author":2888,"museum":194,"description":2889,"tags":2896,"thumbUrl":2897,"material":56,"size":56,"collection":56,"collections":2898,"showCount":435,"zanCount":11,"manualWeight":11,"mainColor":39},233326,"shi-zhu-zhai-pu-ce-hu-ri-cong-233326",[23,70,24,25,27,2389,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc431b54ce754d3515156ba79f9ed698.jpg",[],{"id":2900,"slug":2901,"title":2887,"dynasty":18,"author":2888,"museum":194,"description":2889,"tags":2902,"thumbUrl":2903,"material":56,"size":56,"collection":56,"collections":2904,"showCount":435,"zanCount":11,"manualWeight":11,"mainColor":39},233325,"shi-zhu-zhai-pu-ce-hu-ri-cong-233325",[23,70,24,25,50,27,243,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4aeca192548bd004ec1bdfb145745aef.jpg",[],{"id":2906,"slug":2907,"title":2887,"dynasty":18,"author":2888,"museum":194,"description":2889,"tags":2908,"thumbUrl":2909,"material":56,"size":56,"collection":56,"collections":2910,"showCount":435,"zanCount":11,"manualWeight":11,"mainColor":39},233320,"shi-zhu-zhai-pu-ce-hu-ri-cong-233320",[23,70,24,25,27,54,7,2389,31],"ht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and white 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Millais十九世纪英国画家，是拉斐尔前派的三个创始人中年龄最小、才华最高的一位，其它两位是亨特和布朗。其油画《基督在自己父母家中》(1850)中体现了该派精神，以画风细腻著称。\n米莱斯是拉斐尔前派中最有才华的一个。他出生于南埃普顿，幼年就表现出非凡的绘画才能。10岁时，他的绘画就获得了艺术协会颁发的银质奖章。据说当时他的个子还没有讲台高，只能站在凳子上领奖。两年后，他的天赋为马丁·希伊勋爵发现，转入皇家美术学院的附属学校(希伊后来是皇家美术学院院长)，以后又转入皇家美术学院，以后又多次获奖，并在18岁那年获得金质奖章，是学院公认的高材生。",[3028,3029,1126,3030,3031,869,3032,526,310,3033,3034,2445,7],"素描","速写","线条","明暗","孩童","长椅","长裙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf79a8db469c7a81892b84cc377f3695.jpg",[],{"id":3038,"slug":3039,"title":3040,"dynasty":18,"author":3041,"museum":194,"description":3042,"tags":3043,"thumbUrl":3045,"material":271,"size":56,"collection":56,"collections":3046,"showCount":214,"zanCount":11,"manualWeight":11,"mainColor":739},217136,"shui-hu-quan-tu-58-du-jin-217136","水浒全图-58","杜堇","杜堇的人物画宗法李公麟，笔法精劲流畅，别具秀逸之态，因此他被推为当时画坛的白描高手。其人物画大都表现古代传说故事或逸闻趣事，并以山水及园林景致为衬景，有的还题诗作赋，显示着一派文入画的格调。",[23,70,24,1276,869,322,7,3044,1427],"芭蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F036dfc93e07a84978226182a4b6c1211.jpg",[],{"id":3048,"slug":3049,"title":3050,"dynasty":963,"author":155,"museum":194,"description":3051,"tags":3052,"thumbUrl":3055,"material":431,"size":432,"collection":56,"collections":3056,"showCount":287,"zanCount":11,"manualWeight":11,"mainColor":39},288790,"pierre-jean-david-d-angers-sheet-of-studies-three-male-heads-yi-ming-288790","Pierre 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Plant]","这是早期摄影术留存的诗意定格，以光为笔将植物拓印在相纸上。纤弱舒展的花序与叶片化作温润的白色剪影，在氧化泛黄的底色里晕开旧时光晕。脉络细节清晰留存，将植物鲜活的姿态凝为永恒的标本式印记，带着自然原生的细腻温柔。黄褐色调如同旧书页的肌理，为画面晕开复古朦胧的质感，仿佛将山野间的一瞬呼吸封存在纸间，让生命的轻盈形态与岁月沉淀的厚重感相融，静诉着早期影像技法与自然美学的浪漫邂逅。",[3063,310,7,28,3064],"摄影作品","剪影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd55a79a999f900d5330fddc24320e9f.jpg",[],{"id":3068,"slug":3069,"title":3070,"dynasty":44,"author":155,"museum":194,"description":3071,"tags":3072,"thumbUrl":3075,"material":431,"size":432,"collection":56,"collections":3076,"showCount":287,"zanCount":11,"manualWeight":11,"mainColor":39},269143,"zhu-gen-diao-ju-yi-ming-269143","竹根雕橘","这件竹根雕随形施艺，借竹根天然糙面摹拟橘皮的斑驳肌理，圆憨饱满的橘果被雕琢得鲜活逼真。虬曲的枝蔓缠绕牵连，叶片脉纹细腻舒展，将秋枝带果的山野意趣凝缩于方寸之中。\n\n手艺人以刀为笔，把江南秋采橘枝的鲜活日常凝刻在枯涩竹材里，粗粝竹韵与精巧雕工相融，藏着对烟火田园的细腻观察，将文玩雅致与山野意趣揉为一体，小器见匠心，静处便觉秋意满盈，尽显手作里的鲜活生机。",[2833,3073,371,7,3074],"竹质","竹根雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1d2e62a8db9739ae9bd1a97ef87a3af.jpg",[],{"id":3078,"slug":3079,"title":3080,"dynasty":44,"author":155,"museum":194,"description":3081,"tags":3082,"thumbUrl":3086,"material":431,"size":432,"collection":56,"collections":3087,"showCount":287,"zanCount":11,"manualWeight":11,"mainColor":80},256578,"wu-cai-jia-jin-hua-niao-wen-ba-fang-hua-pen-yi-ming-256578","五彩加金花鸟纹八方花盆","此器敞口八方，轮廓利落舒展，胎釉莹润亮洁。瓷面以五彩晕染花鸟图景，枝桠虬曲娇花盛放，禽鸟或栖于枝头侧目远眺，或振翅低掠，羽色勾勒细腻鲜活，金彩隐于纹饰轮廓间，晕染出雅致华贵。侧边竹影婆娑清逸，与花鸟景致相映成趣，底部缠枝花卉环绕，呼应整体雅致基调。\n\n构图疏密得当，设色艳而不俗，工笔写实里晕着中式写意灵韵，将春日花鸟的鲜活意趣凝于瓷面，把自然生机定格于方寸之间，尽显隽秀雅致的审美意趣。",[2223,3083,3084,25,27,3085,72,29,7,49],"五彩","加金","八方器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2157be78566361ec0243d1adc1105771.jpg",[],{"id":3089,"slug":3090,"title":3091,"dynasty":44,"author":155,"museum":194,"description":3092,"tags":3093,"thumbUrl":3096,"material":431,"size":432,"collection":56,"collections":3097,"showCount":287,"zanCount":11,"manualWeight":11,"mainColor":739},250043,"qia-si-fa-lang-tao-shi-wen-tian-qiu-ping-yi-ming-250043","掐丝珐琅桃实纹天球瓶","景泰蓝（Cloisonne），中国的著名特种金属工艺品类之一，到明代景泰年间这种工艺技术制作达到了最巅峰，制作出的工艺品最为精美而著名，故后人称这种金属器为“景泰蓝”。景泰蓝正名“铜胎掐丝珐琅”，俗名“珐蓝”，又称“嵌珐琅”，是一种在铜质的胎型上，用柔软的扁铜丝，掐成各种花纹焊上，然后把珐琅质的色釉填充在花纹内烧制而成的器物 。因其在明朝景泰年间盛行，制作技艺比较成熟，使用的珐琅釉多以蓝色为主，故而得名“景泰蓝”。",[44,3094,25,3095,1065,28,7,54,2580],"掐丝珐琅","琺瑯器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e61dee5fe6ace535657fdb91c3d77be.jpg",[],{"id":3099,"slug":3100,"title":3101,"dynasty":18,"author":2888,"museum":194,"description":2889,"tags":3102,"thumbUrl":3103,"material":56,"size":56,"collection":56,"collections":3104,"showCount":287,"zanCount":11,"manualWeight":11,"mainColor":39},233609,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233609","十竹斋五色笺谱册",[23,70,24,25,2389,161,27,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0614343551e0acce73f1482ef59b8d93.jpg",[],{"id":3106,"slug":3107,"title":2887,"dynasty":18,"author":2888,"museum":194,"description":2889,"tags":3108,"thumbUrl":3109,"material":56,"size":56,"collection":56,"collections":3110,"showCount":287,"zanCount":11,"manualWeight":11,"mainColor":39},233299,"shi-zhu-zhai-pu-ce-hu-ri-cong-233299",[23,25,27,24,2389,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa186dfe36ed190e90756190da279d139.jpg",[],{"id":3112,"slug":3113,"title":3114,"dynasty":963,"author":3115,"museum":194,"description":3116,"tags":3117,"thumbUrl":3121,"material":431,"size":432,"collection":56,"collections":3122,"showCount":287,"zanCount":11,"manualWeight":11,"mainColor":739},232392,"he-er-bai-yin-51-he-er-bai-yin-232392","荷尔拜因51","荷尔拜因","小汉斯·荷尔拜因（约1497年-1543年11月29日以前）是德国画家，最擅长油画和版画，是欧洲北方文艺复兴时代的艺术家。其代表作有：木版画《死神之舞》。\n荷尔拜因在创作一幅肖像画以前，经常用铅笔描绘衣物、装饰品等细节，有时也用钢笔或垩笔，然后在纸上沿轮廓扎上小孔，铺在画布上，用炭粉将其转移到画布上。在晚年也使用复写纸。他的画作对细节描绘非常详细、真实，甚至于仪器上的刻度、信笺上的文字、桌布上的花纹都描绘的一丝不苟，但整体风格仍然非常统一，人文主义风格非常明显，俄罗斯作家陀斯妥耶夫斯基曾经评价他的作品《墓中的基督》：“可以把许多人的信仰夺去。” 他曾经从同为英国王室画家的弗拉芒画家卢卡斯·霍亨布特那里学习画微型画，卢卡斯曾为他画了一幅微型画像，他自己从没有画过自画像。",[967,1126,25,869,3118,29,3119,7,3120],"肖像","松鼠","衣物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F275d9114539b89137cbef31d601903d9.jpg",[],{"id":3124,"slug":3125,"title":3126,"dynasty":44,"author":155,"museum":194,"description":3127,"tags":3128,"thumbUrl":3132,"material":431,"size":432,"collection":56,"collections":3133,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":80},264080,"huang-se-zheng-zhi-da-hua-wen-zhuang-hua-duan-yi-ming-264080","黄色整枝大花纹妆花缎","明黄地色鲜亮华贵，整枝花卉俯仰生姿，如将春日花林裁入缎面。朱红芍药、宝蓝奇花、米白凤穿花与翠色枝叶错落交织，妆花工艺晕染灵动，色彩饱和却丝毫不显艳俗。\n\n枝蔓蜿蜒连贯，纹样排布疏密得当，既有堂皇气度，又藏着花间柔婉的生趣。经纬走线之间，将写实花姿与装饰意趣相融，把盛放的鲜活定格在锦缎之上，尽显传统织造技艺的极致匠心，华贵鲜活，古韵悠然。",[3129,3130,3131,25,27,28,7],"布料","织锦","妆花缎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd017b3c313824b1be34103756c59d00.jpg",[],{"id":3135,"slug":3136,"title":3137,"dynasty":44,"author":155,"museum":194,"description":3138,"tags":3139,"thumbUrl":3141,"material":431,"size":432,"collection":56,"collections":3142,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":739},258959,"da-ya-zhai-kuan-lv-di-fen-cai-hua-niao-tu-bo-gang-yi-ming-258959","大雅斋款绿地粉彩花鸟图钵缸","松石绿釉如春水初融，沉静雅致。其上粉彩敷色明妍饱满，紫藤垂悬似紫霞流泻，柔条缀满繁英；蔷薇凝着胭脂色，瓣层舒展如绽，嫩绿枝叶萦回缠绕，娇俏鲜活。靛褐羽色的禽鸟栖于虬枝，振羽引吭，灵动传神。\n\n纹饰铺陈疏密相宜，工笔描摹细腻入微，将春日花鸟悠然之态尽揽缸身。题识印款点缀留白，更添文雅意韵，尽显瓷绘华美雅致之姿，是兼具装饰意趣与工艺水准的瓷中佳物。",[49,2223,2224,25,50,27,269,144,29,7,3140],"绿地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9961148fa94c687195e026e2d45a2fd4.jpg",[],{"id":3144,"slug":3145,"title":3146,"dynasty":44,"author":155,"museum":194,"description":3147,"tags":3148,"thumbUrl":3151,"material":431,"size":432,"collection":56,"collections":3152,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":80},258880,"hong-di-fen-cai-hua-hui-wen-yao-yuan-shi-hua-pen-yi-ming-258880","红地粉彩花卉纹腰圆式花盆","此器腰圆秀雅，矮足承托，身形沉稳舒展。外壁以珊瑚红釉为底，似赤霞初凝，粉彩摹绘牵牛花枝，紫蓝花冠柔媚盛放，翠叶虬枝错落蔓延，设色浓妍鲜活，艳而不媚。内壁通施松石绿釉，匀净莹润，与外壁的热烈暖意形成冷暖相映。口沿以白料勾勒回纹，规整内敛，将满幅生机圈囿其中，添了几分端庄法度。\n整器工致细腻，配色极具巧思，把庭间花趣凝于瓷上，华贵中带着清婉意韵，尽显彩瓷工艺的隽秀风华。",[44,2223,2224,3149,28,7,50,25,3150],"红地","腰圆式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cd34374e51b81167c9e538a82c4b3e5.jpg",[],{"id":3154,"slug":3155,"title":3156,"dynasty":44,"author":155,"museum":194,"description":2221,"tags":3157,"thumbUrl":3158,"material":431,"size":432,"collection":56,"collections":3159,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":739},258873,"yong-qing-chang-chun-kuan-fen-cai-hua-niao-tu-suan-tou-ping-yi-ming-258873","永庆长春款粉彩花鸟图蒜头瓶",[2223,2224,25,50,27,29,72,7,2225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc60d7ee3a3a3644b54170c12980c4d49.jpg",[],{"id":3161,"slug":3162,"title":3163,"dynasty":44,"author":155,"museum":194,"description":3164,"tags":3165,"thumbUrl":3166,"material":431,"size":432,"collection":56,"collections":3167,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},258685,"fen-cai-hua-guo-wen-gai-guan-yi-ming-258685","粉彩花果纹盖罐","此罐造型挺拔秀雅，盖身纹饰繁丽精巧，如意云纹间饰以小花，古雅明艳。器身以石榴花枝为主体，虬曲枝蔓舒展错落，饱满榴果绽露繁密籽实，翠叶柔蔓搭配修竹点缀，生机悠然扑面。粉彩施色晕染柔和鲜活，榴果红妍、叶片青润，色彩明丽又不失清雅秀润。足部仰莲纹工整端方，与盖身纹饰呼应协调。整体布局疏密有致，釉色莹润匀净，既尽显粉彩柔婉雅致之美，又暗藏多子多福的吉祥意涵，尽显不俗匠心与审美意趣。",[2223,2224,25,1374,846,7,1044,2225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7752abc36cfc2baef19b02650ff735d.jpg",[],{"id":3169,"slug":3170,"title":3171,"dynasty":44,"author":155,"museum":194,"description":3172,"tags":3173,"thumbUrl":3176,"material":431,"size":432,"collection":56,"collections":3177,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},258514,"fen-cai-guo-zhi-ba-tao-wen-pan-yi-ming-258514","粉彩过枝八桃纹盘","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。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[2223,2224,3174,25,27,243,3175,72,7],"过枝","蝙蝠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F167aa7027966768822930507c580c2a2.jpg",[],{"id":3179,"slug":3180,"title":3181,"dynasty":44,"author":155,"museum":194,"description":3182,"tags":3183,"thumbUrl":3186,"material":431,"size":432,"collection":56,"collections":3187,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":80},258405,"you-li-hong-san-guo-tu-yu-hu-chun-ping-yi-ming-258405","釉里红三果图玉壶春瓶","宋代是传统制瓷工艺发展史上一个非常繁荣昌盛的时期。现时已发现的古代陶瓷遗址分布于全国170个县。其中有宋代窑址的就有130个县，占总数的75%。\n陶瓷史家通常将宋代陶瓷窑大致概括为6个瓷窑系，它们分别是：北方地区的定窑系、耀州窑系、钧窑系和磁州窑系；南方地区的龙泉青瓷系和景德镇的青白瓷系。这些窑系一方面具有因受其所在地区使用原材料的影响而具有的特殊性，另一方面又有受帝国时代的政治理念、文化习俗、工艺水平制约而具有的共同性。\n从造型的角度分析，宋瓷的器形较之前代更为丰富多彩，几乎包括了人民日常生活用器的大部分：碗、盘、壶、罐、盒、炉、枕、砚与水注等，其中最为多见的是玉壶春瓶。总的说来，民间用瓷的造型大部分是大方朴实、经济耐用；而宫廷用瓷则端庄典雅、雍容华贵。最能反映皇家气派的是哥、官、钧、汝与定窑口烧制的贡瓷，最能体现百姓喜乐的是磁州、耀州窑口烧制的民间瓷品。\n从纹饰上讲，宋瓷的纹饰题材表现手法都极为丰富独特。一般情况下，龙、凤、鹿、鹤、游鱼、花鸟、婴戏、山水景色等常作为主体纹饰而突现在各类器形的显著部位，而回纹、卷枝卷叶纹、云头纹、钱纹、莲瓣纹等多用作边饰间饰，用以辅助主题纹饰。工匠们用刻、划、剔、画和雕塑等不同技法，在器物上把纹样的神情意态与胎体的方圆长短巧妙结合起来，形成审美与实用的统一整体，令人爱不释手。如婴戏纹，或于碗心、或于瓶腹，将肌肤稚嫩，情态活泼的童子置于花丛之中，或一或二，或三五成群，攀树折花，追逐嬉戏，真切动人，生活气息甚为浓厚。",[2223,3184,3185,7,2225,49,25],"釉里红","三果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a3393ea357bae6d77761219d9099ac6.jpg",[],{"id":3189,"slug":3190,"title":3191,"dynasty":44,"author":155,"museum":194,"description":3192,"tags":3193,"thumbUrl":3197,"material":431,"size":432,"collection":56,"collections":3198,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},258278,"yong-zheng-kuan-dou-cai-zhe-zhi-san-guo-wen-wan-yi-ming-258278","雍正款斗彩折枝三果纹碗","雍正一朝虽然只有13年，但他的制瓷业成就却达到了清代官窑的历史高峰，其品种之多，制作工艺之精良，都是其他朝代无法比拟的。",[2223,3194,25,1321,3195,3196,7,2225,49],"斗彩","三果纹","果纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87b9f7c6ac2006fb5103bbf079a4552c.jpg",[],{"id":3200,"slug":3201,"title":3202,"dynasty":44,"author":155,"museum":194,"description":3203,"tags":3204,"thumbUrl":3205,"material":431,"size":432,"collection":56,"collections":3206,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},257747,"kang-xi-kuan-wu-cai-shi-er-yue-hua-hui-wen-bei-bu-yi-ming-257747","康熙款五彩十二月花卉纹杯-不","此杯胎质莹白轻薄，敞口弧腹，圈足秀巧玲珑。釉面匀净清透，以五彩绘就庭间花景：矾红月季饱满妍丽，花瓣层次分明，绿彩晕染枝叶，娇柔舒展，青花勾勒枝茎、点染坡石，以晕染之法摹写出朦胧幽意。青花沉静与彩料鲜妍相映成趣，色调柔和雅致。画面构图疏朗简约，将月季柔婉生机融于素净瓷面，勾勒晕染细腻写实，尽显隽秀雅致的审美意趣，是彩瓷小品中的精巧佳制。",[2223,3083,25,28,7,144,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70835ec45c5bbbb04b4dff011d943064.jpg",[],{"id":3208,"slug":3209,"title":3210,"dynasty":18,"author":155,"museum":194,"description":2939,"tags":3211,"thumbUrl":3214,"material":431,"size":432,"collection":56,"collections":3215,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},257117,"xuan-de-kuan-qing-hua-zhe-zhi-hua-guo-wen-kui-ban-kou-wan-yi-ming-257117","宣德款青花折枝花果纹葵瓣口碗",[2223,2941,3212,3213,50,72,1741,7,2578],"折枝花果","葵瓣口","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83a3fe95fa08d7d7cd6eb124a1fd961a.jpg",[],{"id":3217,"slug":3218,"title":3219,"dynasty":18,"author":155,"museum":194,"description":2939,"tags":3220,"thumbUrl":3223,"material":431,"size":432,"collection":56,"collections":3224,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":739},256947,"huang-di-qing-hua-zhe-zhi-hua-guo-wen-pan-yi-ming-256947","黄地青花折枝花果纹盘",[1004,2223,3221,2942,25,50,3212,144,7,3222,2578],"黄地青花","盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc87bc75c95661f70d7deb6929bcc9648.jpg",[],{"id":3226,"slug":3227,"title":3228,"dynasty":44,"author":155,"museum":194,"description":3182,"tags":3229,"thumbUrl":3230,"material":431,"size":432,"collection":56,"collections":3231,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},256835,"you-li-hong-san-guo-wen-mei-ping-yi-ming-256835","釉里红三果纹梅瓶",[2223,3184,3196,54,7,2225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38165f92bae189e6e014997cef774793.jpg",[],{"id":3233,"slug":3234,"title":3235,"dynasty":18,"author":155,"museum":194,"description":2939,"tags":3236,"thumbUrl":3238,"material":431,"size":432,"collection":56,"collections":3239,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":80},256407,"cheng-hua-kuan-qing-hua-hua-niao-tu-wo-zu-wan-yi-ming-256407","成化款青花花鸟图卧足碗",[1004,2941,2223,50,27,29,72,7,3237],"卧足碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d6122326533f96cb828ae1b313b2e74.jpg",[],{"id":3241,"slug":3242,"title":3243,"dynasty":18,"author":15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