[{"data":1,"prerenderedAt":586},["ShallowReactive",2],{"subject-zi-teng":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},129,"zi-teng","紫藤","紫藤画高清赏析","精选中国历代紫藤题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe59823ed39c5f4545af129ee17d8cf9e.jpg",0,46,[14,40,72,93,108,121,135,145,160,171,185,202,213,223,233,245,257,271,283,296,312,325,340,352,360,369,380,396,410,420,429,439,448,458,472,483,494,503,513,522,531,542,551,559,566,576],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":32,"material":33,"size":34,"collection":35,"collections":36,"showCount":37,"zanCount":38,"manualWeight":11,"mainColor":39},214744,"hua-hui-ce-yun-shou-ping-214744","花卉册","清","恽寿平","私人收藏","恽寿平（1796-1873）是清代著名的画家，他擅长画花鸟，尤其是花卉。他的花卉册是他的代表作之一，包含了他对花卉的描绘和描写。\n\n恽寿平的花卉册以其精细的笔墨和精美的色彩著称，他善于捕捉花卉的细节和美感，并将其再现在画布上。他画的花卉通常都是生动传神，有时也带有一些象征意义。恽寿平还创作了许多花卉图谱，用来介绍各种花卉的特征和用途。\n\n恽寿平的花卉册不仅深受藏家的喜爱，也被认为是清代花卉画的杰出代表作之一。他的作品不仅为后人留下了宝贵的艺术瑰宝，而且也为我们展示了清代花卉画艺术的魅力。",[23,24,25,26,27,28,29,7,30,31],"高清","国画","书画","册","花鸟","没骨","设色","荷花","荷叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab73f6dce929392ea6f25d5a923c813e.jpg","纸本,设色","","花鸟画精选",[35],10967,60,"BDBDBD",{"id":41,"slug":42,"title":43,"dynasty":44,"author":45,"museum":46,"description":47,"tags":48,"thumbUrl":63,"material":64,"size":65,"collection":66,"collections":67,"showCount":69,"zanCount":70,"manualWeight":11,"mainColor":71},221235,"hua-niao-chang-juan-yi-ming-221235","花鸟长卷","宋","佚名","台北故宫博物院","此作用笔精细柔婉，设色妍丽清润，将四季佳卉次第铺展：艳红牵牛绰约生姿，白牡丹雍容皎洁，紫藤垂缨如云似瀑，兰草疏朗清逸。草虫蛱蝶穿插其间，振翅的蝶、栖于花枝的蚱蜢，皆栩栩如生，满卷灵动生机。\n诗画合璧，题咏与花木相映成趣，尽显雅致意趣，细腻勾勒出草木的娇柔、虫羽的轻薄，藏着对天地生机的入微体察，尽显精工雅致的院体花鸟意韵，是隽永动人的佳作。",[23,49,24,25,50,29,51,27,7,52,53,54,55,56,57,58,59,60,61,62],"名画","长卷","工笔","牡丹","月季","菊花","兰花","牵牛花","玉兰花","芙蓉","蝴蝶","蜻蜓","虫","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b146e686f41f360c24bf527a36e3be4.jpg","纸本","26x163","宋画精选",[66,35,68],"设色画精选",1899,28,"FF9800",{"id":73,"slug":74,"title":75,"dynasty":18,"author":19,"museum":76,"description":77,"tags":78,"thumbUrl":86,"material":87,"size":88,"collection":35,"collections":89,"showCount":90,"zanCount":91,"manualWeight":11,"mainColor":92},220992,"bai-hua-tu-juan-yun-shou-ping-220992","百花图卷","美国大都会艺术博物馆","恽寿平的山水画造诣之高，受到历代画家的赞誉。然而，他到中年后却放弃了在山水画领域的成就，转向以画花卉为主。究其原因，历史上说法很多。",[23,24,25,50,29,28,51,27,79,52,80,81,30,82,58,53,83,55,84,7,59,85],"花卉","百合","菊","桃花","水仙","芍药","昆虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff29e1c97e998205c049e5c6f18799621.jpg","手卷，绢本设色","纵32厘米，横530厘米",[35,68],1418,23,"F48FB1",{"id":94,"slug":95,"title":96,"dynasty":18,"author":19,"museum":97,"description":98,"tags":99,"thumbUrl":103,"material":33,"size":104,"collection":34,"collections":105,"showCount":106,"zanCount":107,"manualWeight":11,"mainColor":39},216591,"ou-xiang-guan-xie-sheng-ce-3-yun-shou-ping-216591","瓯香馆写生册-3","旅顺博物馆","《瓯香馆写生册》描写了四时的花果，从春到夏分别是桃花、海棠、碧海珊瑚、牡丹、枇杷、卷丹、洛阳花、凤仙花、菊花、梅花。除了梅花一开，作者写明是学杨补之的水墨画法之外，其余各开全用没骨法，完全不用墨线勾勒，直接用颜色点厾出花朵、叶片、果实，只以色线勾勒叶茎。落色点花的没骨花，既不同于细线勾勒再层层渲染的工笔花卉，也不同于水墨淋漓的大写意花卉，它介于两者之间，也被称作“小写意”花卉。工笔求逼真，写意求意趣，恽氏没骨花所求正在“似与不似之间”。着色花卉自然比纯粹的水墨更逼真，但直接点染的“落色花”比起层层渲染的工笔花卉又有更大的随意性，不必被物象的细枝末节所羁绊，可以放手表现花的风骨。就气质而言，没骨花介于工笔与大写意之间，既不刻画，也不放逸，清新洒脱。",[24,25,26,29,28,27,7,100,101,102],"花","树枝","藤蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2e60e3d8683439073039aa23e65ff0f.jpg","26x36cm",[],506,7,{"id":109,"slug":110,"title":111,"dynasty":18,"author":112,"museum":113,"description":114,"tags":115,"thumbUrl":117,"material":34,"size":34,"collection":35,"collections":118,"showCount":119,"zanCount":120,"manualWeight":11,"mainColor":39},238119,"zi-teng-mu-dan-zhou-wu-chang-shuo-238119","紫藤牡丹轴","吴昌硕","藏地不详","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》。",[24,29,27,7,52,116,62],"行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bfc622729b6d71aea89e743af379a39.jpg",[35,68],447,2,{"id":122,"slug":123,"title":124,"dynasty":18,"author":125,"museum":126,"description":127,"tags":128,"thumbUrl":131,"material":64,"size":34,"collection":35,"collections":132,"showCount":133,"zanCount":134,"manualWeight":11,"mainColor":39},236979,"zi-teng-yue-ji-zhou-yun-bing-236979","紫藤月季轴","恽冰","北京故宫博物院","恽冰，清代乾隆、嘉庆、道光年间深得家传的一位女画家，生卒年不详。字清於，号浩如，别号兰陵女史，亦署南兰女子。武进（今江苏常州）人。诸生恽钟隆次女，恽南田族玄孙女。善花果，芊绵蕴藉，用粉精纯，作已辄题小诗，名著吴中。乾隆初，江苏巡抚君继善以恽冰画进呈孝圣太后，乾隆帝题诗嘉奖。",[24,25,129,29,51,27,7,53,130],"立轴","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F374a2ed75db25d5c170942d267887b07.jpg",[35],360,5,{"id":136,"slug":137,"title":138,"dynasty":18,"author":45,"museum":113,"description":139,"tags":140,"thumbUrl":142,"material":34,"size":34,"collection":34,"collections":143,"showCount":144,"zanCount":11,"manualWeight":11,"mainColor":39},235370,"xu-gu-zi-teng-jin-yu-tu-zhou-yi-ming-235370","虚谷紫藤金鱼图轴","画面以写意紫藤搭配工笔金鱼，尽显悠然意趣。垂悬的紫藤花穗清浅柔润，叶片以浅绿、赭黄晕染，枝蔓舒展随性，将暮春的缱绻生机晕开。三尾红金鱼朱砂点染，身形莹润饱满，尾鳍轻摆，悠游于空濛水色间，鲜活灵动。\n\n淡墨轻点拟作浮萍水藻，留白托出澄澈池水，虚实相生间，营造出静谧空寂的池上氛围。左侧题字与绘景呼应，工写兼施，藤蔓写意求韵，游鱼工笔见形，把花下观鱼的闲雅日常定格于绢素，清逸秀雅的笔墨间，尽显文人情思与自然意趣。",[24,25,129,29,27,7,141],"金鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae35a58a932d565bb295a3031cfb929c.jpg",[],229,{"id":146,"slug":147,"title":148,"dynasty":18,"author":112,"museum":126,"description":149,"tags":150,"thumbUrl":155,"material":156,"size":157,"collection":34,"collections":158,"showCount":159,"zanCount":120,"manualWeight":11,"mainColor":39},233734,"zi-teng-tu-wu-chang-shuo-233734","紫藤图","此图是1905年吴昌硕62岁作，为花卉四条屏之末条。款：“乙巳（1905年）八月八日，安吉吳俊卿擬十三峰草堂”。钤“吴俊之印”。绘藤叶凌空倚势，宛若龙翔凤舞。藤条盘绕回曲，缠石数重。作者娴熟地运用狂草般的笔法，飞动迅疾，一气呵成。同时，此画画气不画形，追求书法中气贯神通的审美意趣。正如他自言：“草书作葡萄，笔动走蛟龙”，又言：“临抚石鼓琅玡笔，戏为幽兰一写真”等。这种以书入画的画风别开蹊经，对近现代中国画的创作有着深远的影响。\n此外，该图施墨浑厚沉稳而又淋漓酣畅，构图不拘陈法，巧于设陈布势。挥洒之中妙趣横生，生动的笔墨赋予紫藤生机勃勃，其显现出的画境充分地印证了本幅题画诗：“繁英垂紫玉，條系好春光。歲歲花長好，飄（飄）滿畫堂。”的诗境。",[24,129,29,151,27,7,102,152,153,154],"写意","石块","水墨","篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79c251ae9fe1e9537d5a6fe03ea212be.jpg","金笺，设色","纵163.4厘米，横47.3厘米",[],203,{"id":161,"slug":162,"title":163,"dynasty":18,"author":164,"museum":126,"description":165,"tags":166,"thumbUrl":168,"material":34,"size":34,"collection":35,"collections":169,"showCount":170,"zanCount":120,"manualWeight":11,"mainColor":39},236628,"zi-teng-you-yu-zhou-yun-qing-236628","紫藤游鱼轴","恽青","此作以没骨法绘就，上方紫藤柔枝舒展，翠叶敷色清润，紫白花穗垂曳，似有暗香浮动，搭配题诗更添文韵。下方水面澹澹，数尾游鱼摆尾穿行，笔墨简逸却将悠游之态尽显。\n\n静立的花木与灵动的游鱼相映成趣，整作设色雅致柔和，笔意秀润空灵，将花下观鱼的闲逸禅意晕染开来，尽显文人清雅意趣，淡而有味，余韵悠长。",[24,25,129,29,51,27,7,167],"鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a686f222042b05ac0a21c956e3be3d9.jpg",[35,68],169,{"id":172,"slug":173,"title":174,"dynasty":18,"author":19,"museum":113,"description":175,"tags":176,"thumbUrl":179,"material":180,"size":181,"collection":34,"collections":182,"showCount":183,"zanCount":120,"manualWeight":11,"mainColor":184},290523,"yu-zao-tu-zhou-yun-shou-ping-290523","鱼藻图轴","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。",[49,24,25,129,29,51,27,167,177,178,7],"水草","浮萍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F748fd697006adc0f65ec737a5e5f60cf.jpg","未知","Xcm*Xcm",[],149,"795548",{"id":186,"slug":187,"title":188,"dynasty":18,"author":189,"museum":46,"description":190,"tags":191,"thumbUrl":198,"material":29,"size":199,"collection":68,"collections":200,"showCount":201,"zanCount":120,"manualWeight":11,"mainColor":39},219889,"bo-gu-hua-cao-zhou-chen-zhao-feng-219889","博古花草轴","陈兆凤","画面左置开光山水瓷瓶，攒插幽竹、紫藤与素叶秋枝，清竹疏朗挺拔，紫穗垂曳如瀑，花叶素净雅致，暗合案头插花的闲趣章法。右侧圆缸承于铜架，朱红墨色琉金金鱼穿曳萍藻之间，摆尾摇鳍暗藏灵动。全作工笔淡彩晕染清妍，线条匀净秀劲，将案头清供的静雅和游鱼的生机相融，把书斋里冲淡安闲的幽居雅兴尽藏笔底，淡寂中透着雅致生机，尽显中式文人清隽的赏玩意趣。",[24,25,129,29,51,192,141,193,194,7,195,196,197,27],"花瓶","金鱼缸","花草","陶瓷","珐琅器","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0c3ec770138bc377e1486617d4e9536.jpg","231.7x117.7",[68],107,{"id":203,"slug":204,"title":17,"dynasty":18,"author":205,"museum":113,"description":206,"tags":207,"thumbUrl":208,"material":209,"size":34,"collection":35,"collections":210,"showCount":211,"zanCount":212,"manualWeight":11,"mainColor":39},237283,"hua-hui-ce-wu-kai-237283","吴楷","吴楷，男，清嘉庆—咸丰时期（公元十八——十九世纪）著名画家 。\n吴楷： 清嘉庆——咸丰时期著名画家。一名允楷，字辛生，别号骞林外史，室名云静庐，吴县(今江苏苏州)人。 [2] 工花卉兰石，兼善山水。 （详见《中国书画家印鉴款识》第444页。）",[24,25,26,29,51,27,79,7,62,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9ad03ae2e1d9e12b784846270fbb25e.jpg","设色纸本",[35],78,3,{"id":214,"slug":215,"title":216,"dynasty":18,"author":112,"museum":113,"description":114,"tags":217,"thumbUrl":219,"material":180,"size":181,"collection":34,"collections":220,"showCount":221,"zanCount":120,"manualWeight":11,"mainColor":222},288286,"zi-shou-tu-wu-chang-shuo-288286","紫绶图",[23,24,129,29,153,27,7,218,62],"书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F817e309dc8834874824452e90adb0bb1.jpg",[],70,"FFFFFF",{"id":224,"slug":225,"title":226,"dynasty":18,"author":227,"museum":113,"description":228,"tags":229,"thumbUrl":230,"material":180,"size":181,"collection":34,"collections":231,"showCount":232,"zanCount":11,"manualWeight":11,"mainColor":39},239452,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239452","邹一桂花鸟草虫图册","邹一桂","邹一桂（1688-1772），清代画家。字元褒，号小山、二知、让卿、乡森子，江苏无锡人。雍正五年(1727)进士，官至礼部侍郎。擅工笔花卉。尝作《百花》卷，各系一诗。传世作品有《白梅山茶图》、《太古云岚图》、《水仙红梅图》等。",[24,25,26,29,51,7,27,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a680e6b7c35d706aec7e8969432b7eb.jpg",[],48,{"id":234,"slug":235,"title":236,"dynasty":18,"author":237,"museum":113,"description":238,"tags":239,"thumbUrl":242,"material":180,"size":181,"collection":34,"collections":243,"showCount":244,"zanCount":11,"manualWeight":11,"mainColor":184},239084,"hua-niao-ping-liao-yun-jin-239084","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。",[24,25,129,51,29,240,27,7,52,241,59],"临摹","鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45f5bffa7312da453bc23ab23d99493e.jpg",[],42,{"id":246,"slug":247,"title":248,"dynasty":18,"author":249,"museum":113,"description":250,"tags":251,"thumbUrl":254,"material":64,"size":34,"collection":35,"collections":255,"showCount":256,"zanCount":11,"manualWeight":11,"mainColor":184},237349,"hua-niao-ce-wang-gang-237349","花鸟册","王冈","王冈，清代粜臫人頭，字南樤石，号旅云山人，上海人，工花卉、人物，并善写真，后出己意，写生入妙，亦善山水，尝游京师为董邦远客，凡画苑供奉之作，半出其手。\n（一六七七至一七七o）一作（一六九七至一七七o）字南石，号旅云山人，上海人。黄本复弟子。工花卉、人物，并善写真，后出己意，写生入妙。水族草虫，尤觉生动。亦善山水，尝游京师为董邦远客，凡画苑供奉之作，半出其手。其得意处，近似倪瓒。卒年九十四，一作七十四。",[24,25,26,29,27,7,252,253,62],"竹","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3aa7f6b70cd20a98fe57417a482275a.jpg",[35,68],41,{"id":258,"slug":259,"title":260,"dynasty":18,"author":261,"museum":113,"description":262,"tags":263,"thumbUrl":266,"material":267,"size":268,"collection":34,"collections":269,"showCount":270,"zanCount":11,"manualWeight":11,"mainColor":39},222825,"yu-xi-xu-gu-222825","鱼嬉","虚谷","图绘水中金鱼三条，二条红白相间，一条白身红眼，水中游游弋嬉戏；水面上数要葡萄藤，宽大的葡萄叶黄灿灿，自然展开，藤上葡萄累累，令人垂涎。",[23,24,29,151,153,129,27,167,102,264,7,265],"叶子","水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7191b48084ecb908fe16b5ad2defef92.jpg","纸本 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馗》、《八仙》、《群仙祝寿》等作品，将艺术与现实巧妙地容贯于画面。其人物肖像画既有深厚的传统基础，又注重写生，每次外出，备有速写本，随时勾录。寓居上海后，以卖画为生，创作甚富。《钟馗》、《关河一望萧索》、《苏武牧羊》、《野塘雨后》和《三友图》等为其代表作。且其参用画意的书法亦奇惊不凡，光绪二十二年(1896)逝世。\n任伯年因是浙江山阴人，故画面署款多写山阴任颐。儿时随父学画，十四岁到上海，在扇庄当学徒，后以卖画为生。所画题材，极为广泛，人物、花鸟、山水、走兽无不精妙。他的画用笔用墨，丰富多变，构图新巧，创造了一种清新流畅的独特风格，在正统派外别树一帜。\n任颐是近代杰出画家。字伯年，号小楼，浙江山阴人，因此他的画署款多写山阴任颐。任伯年的绘画题材广泛，人物、肖像、山水、花卉、禽鸟无不擅长。用笔用墨，丰富多变，构图新巧，主题突出，疏中有密，虚实相间，浓淡相生，富有诗情画意，清新流畅是他的独特风格。任伯年的主要成就是在于人物画和花鸟画方面，往往寥寥数笔，便能把人物整个神态表现出来，着墨不多而意境深远。其线条简练沉着，有力潇洒。他常画钟馗，他笔下的钟馗心胸磊落、不怕鬼，不信邪。他的花鸟画，总是把花与鸟连在一起，禽鸟显得很突出，花卉有时只作背景，整个画面充满了诗的意境。",[24,29,27,332,7,333,334,79,151],"翎毛","石头","枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F732c0e22aa12b2b03e6b6fb61ec195a1.jpg","绢本，设色","149 x 61 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绝出尘象之外。",[23,24,25,50,153,27,151,62,52,30,7,58,53,83,55,348,54],"梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc52c46bc4e3b4ca5a9f77865bc6868ab.jpg","纸本，水墨",[],{"id":353,"slug":354,"title":355,"dynasty":18,"author":316,"museum":317,"description":318,"tags":356,"thumbUrl":357,"material":64,"size":34,"collection":34,"collections":358,"showCount":359,"zanCount":11,"manualWeight":11,"mainColor":39},233189,"hua-hui-ce-zi-teng-ye-zhao-zhi-qian-233189","花卉册-紫藤页",[24,25,26,29,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd97a6273586abb78c943a82b4b5aa617.jpg",[],18,{"id":361,"slug":362,"title":363,"dynasty":18,"author":227,"museum":113,"description":364,"tags":365,"thumbUrl":366,"material":180,"size":181,"collection":34,"collections":367,"showCount":368,"zanCount":295,"manualWeight":11,"mainColor":39},235704,"hua-hui-tu-ce-zou-yi-gui-235704","花卉图册","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》。",[49,24,25,26,51,29,27,7,264,334,62,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F642a32b506aca4f5b3fdd8c65965b3b9.jpg",[],17,{"id":370,"slug":371,"title":372,"dynasty":18,"author":373,"museum":113,"description":374,"tags":375,"thumbUrl":377,"material":34,"size":34,"collection":34,"collections":378,"showCount":379,"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 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