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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。",[158,159,160,161,162,163,164,165,166,167,168,169,7,170,171,172,173,174,175],"油画","写实","人物","设色","肖像","衣帽","珠宝饰品","织物纹理","金属装饰","毛皮装饰","面部细腻刻画","华丽服饰","金饰","毛皮帽饰","人物肖像画","写实技法","色彩丰富","细节刻画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c27e131a00052268232ef0417439d9c.jpg",[],{"id":179,"slug":180,"title":181,"dynasty":18,"author":19,"museum":20,"description":182,"tags":183,"thumbUrl":186,"material":51,"size":52,"collection":31,"collections":187,"showCount":55,"zanCount":11,"manualWeight":11,"mainColor":71},229406,"yin-chuan-shan-hu-er-zhui-yi-ming-229406","银穿珊瑚耳坠","耳坠指耳饰的一种，指带有下垂饰物的耳饰（耳环）。有时耳坠等同于耳环，又称耳坠子，是耳朵饰品的代称。耳坠又指耳垂，是属于耳朵结构的一部分，位于耳朵的下半部，比较肥厚的那部分。在最传统的命理学说法中，耳坠的厚与薄代表一个人的命运。\n古时候，人们讲究“耳大如轮，眼大有神”，注重以貌取人，认为耳垂小了是没有福气的象征。但是人一出世，天生的小耳垂，又有啥办法弥补呢？传说，只有戴上耳坠。才能把耳轮拉长。因此，妇女都喜欢戴一副耳坠。 问起这一风俗的来历，传说，还是三国时期貂蝉传下来的呢。 貂蝉原是东汉末汉献帝时司徒王允的一名歌伎，她长得相貌出众、能歌善舞，色伎俱佳，很受王允的宠爱，以亲女看待。当时，董卓专权，挟天子以令诸侯，大臣们对他恨之入骨，但是敢怒而不敢言。王允为此事也闷闷不乐，终日不思茶饭。 貂蝉虽是女流，可王允的心事，她却宗宗看在眼里，件件记在心中。她很会察言观色，为主人分忧解愁。在一个月光皎洁的夜晚，貂蝉在花园里设下香案，为主人祝祷。她虔诚地燃起三柱香火，仰天一拜说道：“明月呀明月，你虽昭昭洁白如洗，可知我家老爷心中烦恼？苍天呀苍天！我貂蝉虽乃女流之辈，老爷婢女，若能为老爷分担忧愁，我愿万死不辞。”恰在此时，王允因忧国心烦，夜不能寐，来到后花园赏月散心。他听见有人祝祷，连忙躲在一座假山后面，静听起来。他听完貂婶的祝愿，心情无比激动和感激，忙上前来，搀扶起这一歌女。 王允问貂婢：“你向苍天明月祈告，为我分忧解愁，可知我忧在何处？愁为何事呀！” 貂蝉说：“当然知道。” 王允又问：“既然知道，又有什么妙法替我杀了董卓？” 貂婢说：“只要老爷相信得过我，奴婢愿效犬马之劳，即使赴汤蹈火，也心甘情愿。” 王允听了，顿时为这女子的仗义和气魄所感动，当即认貂蝉为女儿。后来王允与貂蝉合议：先将貂蝉献于董卓，后再暗许吕布，以离间两人之交，让这董吕两人勾心斗角，互相杀害。 貂蝉耳垂小，怕自己美中不足，使董、吕二人看不上，使密谋落空。她想办法弥补，想了很久，终于想出了良法，就在家中拿了些碎银子，叫银匠给自己作了一对银耳坠，挂在耳垂上。这样过了不久，耳垂果然变大了，为她的美容又增添了不少姿色。 董卓一见貂蝉大喜！吕布一见貂蝉着迷，使董卓和吕布因争夺这一美女而激烈相斗。又因吕布貂蝉私通，恐事发觉，心神不安。王允设计使吕布为内应，结果董卓被杀了。 从此，戴耳坠也就传到了民间。",[42,28,47,184,185,67,7,161],"珊瑚","绳线","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe1c398aef6c96724ad581542ba1034c.jpg",[],{"id":189,"slug":190,"title":191,"dynasty":18,"author":19,"museum":20,"description":192,"tags":193,"thumbUrl":198,"material":51,"size":52,"collection":31,"collections":199,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":56},275128,"qian-long-kuan-jin-you-wu-cai-ci-fa-lun-yi-ming-275128","乾隆款金釉五彩瓷法轮","由于金釉特殊的颜色和地位，金釉器物的数量很少，雍正时期有杯、盘。乾隆朝的金釉器物以金釉法轮、金釉加彩佛像宗教用具为多。此杯精巧玲珑，胎薄质细，蓝釉深沉素雅，金彩雍容华贵，给人以富丽堂皇之感。器历经数百年，金彩鲜艳如初，十分难得。\n金彩装饰瓷器始于唐代，元代景德镇窑瓷器上运用描金手法，而通体施金釉的瓷器，直至清代康熙晚期出现。金釉制作工艺从严格意义上讲应为“彩”，是在金块研磨、过筛后，加蒜汁搅拌后涂抹在瓷器上（慈禧以后，西洋料进来的更加频繁，用乳胶取代了蒜汁），低温烧烤后，再用玛瑙研磨，使金釉表面光亮。由于烧成温度低，金釉的色彩极易脱落，保存颇为不易。金釉是唯有皇帝才能享用的帝王之色。釉彩成色十足，釉色如黄金般耀眼夺目，原件为大清康熙年制。",[194,24,195,78,196,197,7],"陶瓷","礼器","佛教","法轮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac6ff8123f90c3105bf28238fc02b897.jpg",[],{"id":201,"slug":202,"title":191,"dynasty":18,"author":19,"museum":20,"description":192,"tags":203,"thumbUrl":204,"material":51,"size":52,"collection":31,"collections":205,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":56},275125,"qian-long-kuan-jin-you-wu-cai-ci-fa-lun-yi-ming-275125",[24,194,78,196,197,195,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F695296123c707a1b2d53d35b171bd7da.jpg",[],{"id":207,"slug":208,"title":191,"dynasty":18,"author":19,"museum":20,"description":192,"tags":209,"thumbUrl":211,"material":51,"size":52,"collection":31,"collections":212,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":71},275117,"qian-long-kuan-jin-you-wu-cai-ci-fa-lun-yi-ming-275117",[78,194,24,210,197,7],"法器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe93f44606f7c1f230d44bb66f433c4db.jpg",[],{"id":214,"slug":215,"title":98,"dynasty":18,"author":19,"museum":20,"description":216,"tags":217,"thumbUrl":222,"material":51,"size":52,"collection":31,"collections":223,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":71},245680,"jin-xiang-hong-bao-shi-jie-zhi-yi-ming-245680","是一种戴套在手指上做纪念或装饰用的小环，用金属、玉石等制成。\n戒指在中国古代多称为“指环”，而“戒指”之名的出现，则是元代的事情。",[42,28,24,218,29,219,220,114,221,7,67],"宝石","清代风格","金工","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1004c49cfdf675d072dcd8105c46eb25.jpg",[],{"id":225,"slug":226,"title":227,"dynasty":18,"author":19,"museum":20,"description":228,"tags":229,"thumbUrl":231,"material":51,"size":52,"collection":31,"collections":232,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},245522,"jin-qian-bao-qi-zhen-mo-ni-bao-yi-ming-245522","金嵌宝七珍-摩尼宝","这件供器以纯金为骨，以累花丝嵌、点翠镶宝工艺打造。顶饰轮盘饱满华丽，中心与周身满嵌红蓝宝石，宝光莹润鲜亮，环绕的点翠饰件晕出幽蓝雅致，与赤金相衬更显华贵。\n\n器身花枝舒展，翠羽铺就花叶纹理，宝石点缀其间，将贵金属的厚重雍容与点翠的清灵雅致相融，细节处尽显繁复精巧的宫廷造办技艺，尽显庄严华贵的佛供美学，是藏传礼供器物中的精工之作。",[42,78,196,24,90,7,145,87,230,221,67,85],"器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ddb4e5a81aeea5152399081b3cef7a1.jpg",[],{"id":234,"slug":235,"title":236,"dynasty":18,"author":19,"museum":20,"description":237,"tags":238,"thumbUrl":241,"material":51,"size":52,"collection":31,"collections":242,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":56},245515,"jin-qian-bao-shi-gai-qing-yu-tao-shi-he-yi-ming-245515","金嵌宝石盖青玉桃式盒","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[230,24,113,7,239,240],"桃形","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F119490c0f0a719cebdbf005fc94dee37.jpg",[],{"id":244,"slug":245,"title":246,"dynasty":18,"author":19,"museum":20,"description":247,"tags":248,"thumbUrl":252,"material":51,"size":52,"collection":31,"collections":253,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":56},245497,"jin-qian-shi-mi-zhu-yuan-he-yi-ming-245497","金嵌石米珠圆盒","清代文物。旧时用于存放食物或饰品之用,根据材质价值不同。清宫旧藏",[42,24,114,249,7,134,250,115,67,251],"米珠镶嵌","花卉装饰","宫廷风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb13e568e7d4a5b11d4823d67f069158.jpg",[],{"id":255,"slug":256,"title":257,"dynasty":18,"author":19,"museum":20,"description":258,"tags":259,"thumbUrl":261,"material":51,"size":52,"collection":31,"collections":262,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},245444,"ma-nao-xiang-jin-kou-dai-tuo-gai-kui-ban-wan-yi-ming-245444","玛瑙镶金口带托盖葵瓣碗","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。",[18,113,24,29,260,221,161,7],"錾刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dc42996a8eb6ad0946ea522f1171f1b.jpg",[],{"id":264,"slug":265,"title":266,"dynasty":18,"author":19,"museum":20,"description":267,"tags":268,"thumbUrl":269,"material":51,"size":52,"collection":31,"collections":270,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},242015,"yin-du-jin-qian-bao-shi-dian-hua-yi-ming-242015","银镀金嵌宝石钿花","用金、银、玉、贝等做成的花朵状装饰品。",[42,86,144,28,67,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8489273dd6f72679c0e677d5679da0b.jpg",[],{"id":272,"slug":273,"title":274,"dynasty":18,"author":19,"museum":20,"description":275,"tags":276,"thumbUrl":282,"material":51,"size":52,"collection":31,"collections":283,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},241959,"hong-bao-shi-dian-cui-chuan-zhu-hua-yi-ming-241959","红宝石点翠穿珠花","整体取蝶形为骨，晕染开的点翠蓝如同凝住的晴空，沉静又鲜亮。鸽血红宝石错落铺陈，浓丽色泽似将暮色赤霞凝于鬓边，蜜蜡色如凝脂，米珠攒成的花心素净莹白，与金托相衬，将珠宝的华彩尽数烘托。\n花丝工艺勾勒出柔婉轮廓，点翠羽毛薄如蝉翼，光泽莹润细腻，把蝶翼化作盛放的花境，灵动雅致。将闺阁女子的绮思藏于簪间，尽显旧时花丝点翠工艺的极致匠心，是鬓边摇曳的温柔风华。",[42,277,24,7,278,101,28,279,102,280,281],"点翠","穿珠","花","翠羽","珠子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e105add9094731ca963643e5baa66b9.jpg",[],{"id":285,"slug":286,"title":287,"dynasty":18,"author":19,"museum":20,"description":182,"tags":288,"thumbUrl":291,"material":51,"size":52,"collection":31,"collections":292,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":71},229957,"yin-qian-shan-hu-song-shi-da-er-zhui-yi-ming-229957","银嵌珊瑚松石大耳坠",[42,47,184,289,29,28,67,7,136,290],"松石","耳饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb339a9f40ab022ca0991ed968fce3bda.jpg",[],{"id":294,"slug":295,"title":296,"dynasty":18,"author":19,"museum":20,"description":297,"tags":298,"thumbUrl":301,"material":51,"size":52,"collection":31,"collections":302,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":56},229936,"jin-xiang-song-shi-lun-yi-ming-229936","金镶松石轮","此件法器以纯金打制而成，通体錾刻缠枝卷草纹，灵动舒展环绕法轮主体。法轮内饰排布规整有序，中心与外缘镶嵌松石与玛瑙，宝光内敛，明暗相映，尽显华贵庄严。\n\n基座为铁铸莲台，斑驳古拙的冷硬质感，恰好衬出金轮的明丽温润，藏地工艺的雄浑与精巧在此相融。法轮作为佛法传承的象征，在贵金属与宝饰的加持下，更具静穆神圣的宗教张力，是雪域精工与精神信仰的绝佳载体，尽显造器工艺的审美意趣与精神内核。",[42,24,114,289,78,221,299,7,300,85],"金属器","佛教元素","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F488b54320201ceca889d97d0619e0761.jpg",[],1777535718039]