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的谐音来表示祝贺，这是一幅成功的宫廷画。",[23,24,25,26,27,28,7,29,30,31,32],"高清","国画","工笔","设色","花鸟","写生","鸟","虫","叶","枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8936453d77d3d3461e49f1fe82137570.jpg","绢本,设色","24.7x26.5","花鸟画精选",[36],744,12,"BDBDBD",{"id":42,"slug":43,"title":44,"dynasty":45,"author":46,"museum":47,"description":48,"tags":49,"thumbUrl":59,"material":60,"size":61,"collection":36,"collections":62,"showCount":64,"zanCount":65,"manualWeight":11,"mainColor":40},221707,"ba-hua-tu-juan-qian-xuan-221707","八花图卷","元","钱选","北京故宫博物院","此卷以分段法描绘海棠、梨花、杏花、水仙、桃花、牡丹等8种花卉，每种相对独立，合之又成为整体。8种花卉各具姿态，偃仰向背绝无雷同，笔致柔劲，一丝不苟，敷色清雅，浓淡相宜，整幅精工而不滞板，细腻而不纤巧。本幅前右下角钤“舜举”印一方，拖尾处有元代赵孟頫题跋：“右吴兴钱选舜举所画八花真迹，虽风格似近体，而傅色姿媚殊不可得。尔来此公日酣于酒，手指颤抖难复作此。而乡里后生多仿效之，有东家捧心之弊，则此卷诚可珍也。至元廿六年九月四日同郡赵孟頫。”",[23,24,50,51,26,25,27,52,53,54,7,55,56,57,58],"书画","长卷","水仙","牡丹","海棠","梨花","桃花","梅花","兰花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd3daf5f7775f9a2ba3a9ee6a0616487.jpg","纸本设色","纵29.4厘米，横333.9厘米",[36,63],"设色画精选",279,6,{"id":67,"slug":68,"title":69,"dynasty":70,"author":71,"museum":72,"description":73,"tags":74,"thumbUrl":87,"material":88,"size":88,"collection":88,"collections":89,"showCount":90,"zanCount":91,"manualWeight":11,"mainColor":40},228271,"er-shi-si-fan-hua-xin-tu-juan-wei-zhi-ke-228271","二十四番花信图卷","明","魏之克","藏地不详","此作用没骨法写群芳次第铺展，艳红山茶花、柔粉芙蓉、明黄牵牛、素白水仙等错落排布，将四季花信的娇美姿态尽揽卷中。\n\n敷色妍丽清润，花叶晕染细腻自然，花瓣的柔润肌理、叶片的明暗层次皆被精微呈现。勾勒线条纤秀柔和，不着笔痕却见风骨。构图舒展疏朗，一花一叶各含生机，毫无拥塞之感，将文人意趣融于写生之中，整卷清新雅致，如将春日烂漫温柔铺陈眼前，观之如沐东风，尽现写生花鸟的雅致意韵。",[23,24,50,51,25,26,27,75,76,53,77,56,52,78,79,80,81,54,7,82,83,84,85,86],"梅","兰","芙蓉","月季","杜鹃","百合","山茶","茉莉","花卉","枝叶","花朵","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fcbf65ccf427d0eec788db6bcfcdb78.jpg","",[],137,1,{"id":93,"slug":94,"title":95,"dynasty":45,"author":46,"museum":72,"description":96,"tags":97,"thumbUrl":100,"material":88,"size":88,"collection":88,"collections":101,"showCount":102,"zanCount":11,"manualWeight":11,"mainColor":40},228018,"lai-qin-zhi-zi-tu-qian-xuan-228018","来禽栀子图","宋末元初杰出的画家、书法家、诗人， 、 、 、 、肖子中、陈天逸、 、姚式并称“吴兴八俊”，钱选为“吴兴八俊”之首。\n“不管六朝兴废事，一樽且向画图开。\n”宋末元初，特殊的时代环境使得大多数汉文人从仕途中退却，隐逸文化成为当时汉文人生活方式的主流。\n同时，老庄隐逸思想中“平”“淡”的审美特质影响了画家的诗画品格。\n元初画家钱选的花鸟绘画作品所蕴含的诗画意蕴，充分体现了这种影响。\n《东山存稿》卷二中言及钱选作诗：“而钱公跌宕真率，格力优暇，无怨愤不平之意，要为不可及云。\n”以“淡”而归“真率”，绘画与诗文的统一格调，是钱选人格心理的真实写照。\n绘画主流由宫廷而转入民间的过程中，画家的自我意志得到了畅意与释放。\n宋末元初这一时期，钱选、赵孟、龚开、郑思肖等画家的作品中明显可见题画或题画诗的出现，实质是画家的文人意识与自我认知意识的一种抒发。\n钱选传世可考的一些 作品中常见其题诗，《秋瓜图》中道：“写向小窗醒醉目，东陵闲说故秦侯。\n”《梨花图》卷中题：“寂寞阑干泪满枝，洗妆犹带旧风姿。\n闭门夜雨空愁思，不似金波欲暗时。\n”从绘画题材看，画中的秋瓜、梨花等并非有太多奇巧之处，但画家入木三分的刻画赋与其丰富的情感内涵，再结合题画诗将意蕴内涵表现更为明确。\n“写向小窗醒醉目”是不谙世事的放纵，“东陵闲说故秦侯”却是满腔无奈的追忆与感喟，此秋瓜已非彼秋瓜也。\n而画中的梨花更已幻化为一风华绝代的美人，哀怨忧愁，褪尽铅华，悱恻百转却欲说还休。\n诗句是朴素平实的，而画中的对象在诗意中展开了延伸，从平常无奇的花鸟草木亦能体会出其情意所至。\n诗意中所表达的心绪在绘画的审美中与画家的情感相交融，画作意境由此而得以延伸。\n如果说南宋精美工细的花鸟画小品中能看出画家对具体物象细腻的揣度与恭谨的表现，在钱选的花鸟画中，画家所赋予物象的情感则通过诗作不露痕迹地带出，“洗妆犹带旧风姿”，一个“洗”字将观者对一树梨花的清新冷韵形象地再现出来，伤感、追忆的情绪已在枝头花间弥漫，而作者的情感似乎是中性的、平淡的。\n画境与诗境的相通并非是简单直接的描述或说明，而是在另一个较高层次上意趣的通融。\n钱选位居“吴兴八俊”并非完全以其绘画，而是“以诗擅名”，画为文之极，深厚的文学修养必然影响到其对绘画的理解与表现。\n清代陆心源所撰《仪顾堂集》《钱选传》中道：“尤善作折枝，其得意者赋诗其上。\n”钱选流传至今的画作上，无论有无题诗，皆有款识印章的出现。\n款识的出现与变化可能还有另外的原因，当绘画作品突破皇家欣赏的专属，在民间也广为流传时，作品的真伪问题就突显了出来。\n钱选在吴兴当地的画誉较高，时人以“吴兴三绝”分别指钱选的画、赵孟的字以及冯应科的笔。\n钱选作品在具备较高绘画造诣的同时，也有较强的课徒之资。\n其作品《来禽栀子图》现藏于美国弗利尔美术馆，图上绘有两株栀子花并未见禽鸟，一说可能是原图的残简，有一说“来禽栀子”本为花名。\n画中两株花枝势态怡然，摇曳生姿。\n花、叶穿插掩映有致，色调淡雅和谐。\n其画后隔水有赵孟跋：“来禽栀子，生意俱足。\n舜举丹青之妙于斯见之。\n其他琐者必其徒所为也。\n孟”足见，钱选的绘画在当时已为众多后学所追摹本。\n赵孟在钱选《八花图》卷后题跋：“右吴兴钱舜举所画八花真迹，虽风格似近体，而傅色姿媚殊不可得。\n尔来此公日酣于酒，手指颤掉，难复作此。\n而乡里后生多仿效之，有东家捧心之弊，则此卷诚可珍也。\n”山东省出土的钱选《白莲图》卷上也有作者的自跋：“余改号溪翁者，盖赝本甚多，因出新意，使作伪之人知所愧焉。\n钱选舜举。\n”显然，款识与画家身份的辨别在元初得到了进一步的发展，至元中后期画家在画面题款已蔚然成风，同时对画家书法品质的要求也起到了推动的作用。\n从作品来看，钱选书法明显承袭钟繇一路风格，含蓄内敛、平淡天真，法度严谨却又以拙胜巧。\n在钱选的绘画作品中，诗文、书法、绘画、款印相得益彰，书法的审美意蕴与题画诗意均呈现出某种同一的美学特质。\n再经由赵孟等人对“书画同源”观念的推动，发展为大多数文人画家所接受，奠定了后来整个文人画作样式上的基本面貌。\n明代沈颢在《画》中言：“元以前多不用款，款或隐之石隙，恐书不精，有伤画局。\n后来书绘并工，附丽成观。\n”显然，元初是书画款识的一个分界点，沈颢还从画面的结构关系上指出：“一幅中有天然候款处，失之则伤局。\n” 在花鸟画史研究中，论及钱选都认为其承南宋的画风。\n从画面效果来看，现藏于 的《牡丹图》卷是钱选花鸟画中风格较为接近南宋院体的一幅。\n也可能是由于牡丹本身繁茂明丽、雍容华贵的特质，拉近了作品与宫廷审美风格的关联。\n在钱选的画笔之下，花团锦簇，枝叶丰茂，写出牡丹的繁盛之妆容。\n明丽丰满的花头似乎随风摇曳，令人在体会到灼目芳华时却又顿生转瞬既逝的感喟。\n画面空疏有致，题款：“万卉何能继后尘，蜂喧蝶驻亦钟情。\n莫嫌开处春还暮，长向西都见太平。\n”七绝一首在画面左侧，画面形式上来看，题款与牡丹位置相距甚远，中有留白。\n显然作者在画面经营上是匠心独运的，以留白与牡丹花枝紧簇形成对比，增添了繁与简、荣与空之间的对比，从而增添了对牡丹内在审美意蕴的理解。\n题画诗所形成的纵向线条感疏朗有致，增添了画面的形式构成。\n从画面的整体来看，小楷的书写效果，朴实无华，独特一帜。\n同时，又能以诗意提升画意，作者在传承传统技法的同时，以自我的文化修养为作品的创新发展注入了新的因素。\n与同时代的画家相比，钱选花鸟画作品的独特性体现出两方面的辩证联系：一方面是显性的，时人评价钱选之诗：“而钱公跌宕真率，格力优暇，无怨愤不平之意，要为不可及云。\n”此论形容其绘画含蓄凝练，以平淡为格。\n在传承古典绘画技法的同时，将传统 的审美范畴拓展到更富于文人气质的表现上。\n其绘画命意高古，造型赋色独具意趣，以题画诗延伸画意，并在形式上以题跋款识介入画面，形成诗文书画合一的画面风格，为后世文人画家所效仿。\n另一方面，也是更为本质的一方面，他始终坚持在绘画本体的层面进行创作，文学因素的影响始终建立在其对绘画本身的追求与坚持之上。\n即使在钱选晚期的代表作《白莲图》卷中，色彩的渲染简约到了极致，几乎近于白描，但用线造型无不流畅细腻，富于表现力，可谓“精工之极”的典范。\n在宋元相交之际，绘画向主观写意转变的时代潮流中，钱选始终坚持对客观物象的尊重，坚持“状物”之美的表现，将富于文人意味的审美理想内化于其作品之中，这使他与当时的主流绘画样式拉开了距离，从而树立了自我的价值，形成独特的自我风格。",[23,98,24,50,51,26,25,27,7,99,86],"名画","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a2c8b9c667d1fd5c374bd1445018bdf.jpg",[],85,{"id":104,"slug":105,"title":106,"dynasty":107,"author":108,"museum":47,"description":109,"tags":110,"thumbUrl":115,"material":116,"size":117,"collection":88,"collections":118,"showCount":119,"zanCount":120,"manualWeight":11,"mainColor":121},233847,"hua-lan-tu-li-song-233847","花篮图","宋","李嵩","竹篮编织精巧，里面放满了各色鲜花，有秋葵、栀子、百合、广玉兰、石榴等，小小的花篮折射出繁花似锦的大自然——美丽、多样、蓬勃、朝气，让人看了之后感到十分亲切，画家对自然、生命的热爱和关注亦油然绢上。画幅虽然不大，但是描绘细腻具体，线条富有表现力，敷色艳丽雅致，构图稳定饱满。\n据款识可知，这是南宋著名的画院画家李嵩的手笔，小中见大，果然不同凡响。",[98,24,25,26,27,111,112,7,80,113,114,83],"花篮","秋葵","广玉兰","石榴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72d4488497749a0020d882308571fa47.jpg","绢本，设色","纵19.1厘米，横26.5厘米",[],67,2,"795548",{"id":123,"slug":124,"title":125,"dynasty":45,"author":126,"museum":72,"description":127,"tags":128,"thumbUrl":131,"material":88,"size":88,"collection":88,"collections":132,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":40},238130,"qian-xuan-ba-hua-tu-juan-yi-ming-238130","钱选八花图卷","佚名","此作以淡墨轻勾花叶轮廓，设色清妍柔润，晕染细腻自然，依次绘就八种折枝花木：水仙挺秀清逸，冰姿玉骨；海棠秾艳温婉，娇蕊含露；梅枝疏朗俏立，花苞嫣红。各花神采独具，鲜活灵动，尽展草木清致。\n画面配行书题跋，书画合璧，兼具院体花鸟的精工雅致与元人简淡的文人意趣。绢色经岁月晕染泛黄，更添沉静古意，尽显元代写生花鸟的精妙造诣，将折枝花卉的生机与清雅神韵尽数铺陈，是设色花鸟中的上乘之作。",[23,24,51,27,25,26,52,56,54,7,82,129,130],"菊","腊梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff84d35e5ec06aaca0c1139e0bd88396b.jpg",[],49,{"id":135,"slug":136,"title":137,"dynasty":138,"author":126,"museum":72,"description":139,"tags":140,"thumbUrl":145,"material":146,"size":147,"collection":88,"collections":148,"showCount":149,"zanCount":11,"manualWeight":11,"mainColor":121},270200,"zong-zhu-gu-zhi-juan-mian-xiu-hua-shi-liu-hua-zhi-zi-tu-mian-zhe-shan-yi-ming-270200","棕竹股纸绢面绣画石榴花栀子图面折扇","清","棕竹扇骨沉敛古拙，暖棕绢底晕开清秀花意。绣线起落间，榴花柔粉含露，晕开娇妍层次，栀子莹白舒展，自带清雅风骨。枝蔓虬曲舒展，细叶错落点缀，针脚细密勾勒出花叶肌理，将花瓣的柔润、叶片的鲜活尽数铺陈。\n整幅绣画雅致温婉，把春夏芳华凝于扇面寸幅之间，开合时便将清逸花趣盈握手中，尽显旧时雅致的生活意趣，藏着东方美学里含蓄温柔的花木情思。",[141,142,27,143,7,144,26],"扇面","折扇","石榴花","刺绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb66d3adc63b3bd7fb354da6a0b16f07.jpg","未知","Xcm*Xcm",[],17,{"id":151,"slug":152,"title":153,"dynasty":138,"author":126,"museum":72,"description":154,"tags":155,"thumbUrl":158,"material":146,"size":147,"collection":88,"collections":159,"showCount":160,"zanCount":11,"manualWeight":11,"mainColor":121},263719,"hu-se-zhi-zi-shao-yao-wen-jiang-chou-yi-ming-263719","湖色栀子芍药纹江绸","澄澈湖蓝如初夏新涨的池水，温婉柔和。提花暗纹将栀子芍药凝于绸面，花枝舒展、花叶柔婉，在光线流转间若隐若现，恰似将江南花影悄然晕染其上，带着清隽含蓄的中式意趣。丝料肌理细腻莹润，暗纹与底色相融，内敛沉静又藏着灵动细节，将古典织造的巧思藏在这一方绸料之中，静而不寡淡，柔而不张扬，把花卉的清灵雅致融入面料，尽显旧时织造美学里含蓄又诗意的东方韵味。",[156,7,157],"布料","芍药","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdd0f3735a7b0a0d1b70cfd77a1af698.jpg",[],7,{"id":162,"slug":163,"title":164,"dynasty":138,"author":126,"museum":72,"description":165,"tags":166,"thumbUrl":172,"material":146,"size":147,"collection":88,"collections":173,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":174},270651,"qian-long-kuan-yu-yong-hua-hui-shi-mo-zhi-zi-mo-yi-ming-270651","乾隆款御咏花卉诗墨-栀子墨","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[167,168,99,7,169,170,171],"墨","楷书","黄蝶","文房器具","御制诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f807cf118caf75950c74fb7c80b264b.jpg",[],"37474F",1777535735571]