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，名英，字实父，一作实甫，号十洲，又号十洲仙史，太仓（今江苏太仓）人，移家吴县(今江苏苏州)。约生于明弘治十一年左右（1498年）（注：也有人认为是1509年），卒于明世宗嘉靖三十年（1552年）。存世画迹有《赤壁图》、《玉洞仙源图》、《桃村草堂图》、《剑阁图》、《松溪论画图》等。 \u2028 明代表性的画家之一。与沈周，文征明和唐寅被后世并称为“明四家”，亦称“天门四杰”。早年为漆工，兼为人彩绘栋宇，后拜周臣门下学画。仇以善画为文征明、唐寅所器重。又在著名鉴藏家项元汴、周六观家中见识了大量古代名作。擅人物画，尤工仕女，特擅临摹。吸收南宋马和之及元人技法，笔力刚健，粉图黄纸，落笔乱真。至于发翠豪金，综丹缕素，精丽绝逸，无愧古人。善用粗细不同的笔法表现不同的对象，或圆转流畅，或顿挫劲利，既长设色，又善白描。人物造型准确，概括力强，形象秀美，线条流畅，对后来的尤求、禹之鼎以及清宫仕女画都有很大影响。山水多学赵伯驹、刘松年，常见的是细润而风骨劲俏的青绿之作。有时作界画楼阁，尤为细密。常作上林图，人物、鸟兽、山林、台观、旗辇、军容，皆忆写古贤名笔。张丑在《清河书画舫》中评说：仇英画“山石师王维，林木师李成，人物师吴元瑜，设色师赵伯驹，资诸家之长而浑合之，种种臻妙”。董其昌题其《仙弈图》谓：“仇实父是赵伯驹后身，即文、沈亦未尽其法”。",[23,52,53,54,113,26,27,130,32,7,29,30,31],"美人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4e82c8009fef999707062820078b6da.jpg","长卷，纸本水墨白描","纵27厘米，横677.8厘米",[],65,{"id":137,"slug":138,"title":139,"dynasty":125,"author":140,"museum":141,"description":142,"tags":143,"thumbUrl":148,"material":149,"size":150,"collection":37,"collections":151,"showCount":152,"zanCount":11,"manualWeight":11,"mainColor":65},219405,"tie-di-tu-wu-wei-219405","铁笛图","吴伟","上海博物馆","《铁笛图》表现的是一位文人雅士饮酒作歌的场景。画面的背景为古松森森、四寂无人的僻静之处；画的当中为一文士，焚香而坐，手端酒杯，其态陶然欲醉；侧边有一侍女，双手棒着一支尺许铁笛。此画技法精湛，松树以浓墨描画而成，令人一睹之下有雄健劲硕之感；画中人物线条流畅，神态毕肖，奇逸潇洒，分外动人。",[52,53,113,27,144,145,7,29,30,31,146,147,57],"松树","石","扇子","乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e37d0c161bcf80421932b82d79808e2.jpg","纸本,水墨","纵32.1厘米，横155.4厘米",[37],56,{"id":154,"slug":155,"title":156,"dynasty":18,"author":157,"museum":20,"description":158,"tags":159,"thumbUrl":160,"material":102,"size":161,"collection":37,"collections":162,"showCount":163,"zanCount":40,"manualWeight":11,"mainColor":41},219102,"kang-xi-di-bian-zhuang-xie-zi-xiang-gong-ting-hua-jia-219102","康熙帝便装写字像","宫廷画家","图中康熙帝身穿便装，左手轻按平铺于方桌上的白纸，右手提笔正欲习字，身后屏风上的墨龙暗示着王者尊贵的地位。以特色透视技法画出的方桌与用欧洲焦点透视法描绘的屏风座形成了场景中能够调和的冲突。由此无法判断出，这幅佳作绘制于西风东渐的初期，是一位学习过西方画法、但又没有彻底明了其透视原理的宫廷作家所构思的。虽然此画存在不协调的现象，但它仍然是中西绘画交流、碰撞下的有趣的作品，值得我们进一步探究和分析。",[23,52,26,24,27,28,7,29,30,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0a24ed93f8ff588cb1d9dfc78cc5cfa.jpg","纵50.5厘米，横31.9厘米",[37],53,{"id":165,"slug":166,"title":167,"dynasty":18,"author":168,"museum":48,"description":169,"tags":170,"thumbUrl":172,"material":61,"size":61,"collection":37,"collections":173,"showCount":174,"zanCount":11,"manualWeight":11,"mainColor":65},237689,"diao-ying-shi-nv-tu-zhou-xu-lan-237689","调鹦仕女图轴","徐兰","徐兰 ，生卒年不详，约活动于康熙、雍正年间。字芬若，号芝仙，江苏常熟人。少从王士祯学诗，诗体近李贺，擅画花卉及白描人物，线条生动，名盛一时。二十岁时出游京师，数十年仅回乡一次。",[52,53,75,113,26,27,130,171,7,29,31,33],"鹦鹉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bd148ea9e16bb0d745cc44e58dfa559.jpg",[37],51,{"id":176,"slug":177,"title":178,"dynasty":179,"author":180,"museum":48,"description":181,"tags":182,"thumbUrl":187,"material":188,"size":189,"collection":190,"collections":191,"showCount":192,"zanCount":11,"manualWeight":11,"mainColor":193},226147,"shang-ren-ge-ao-er-ge-ji-sai-xiao-han-si-huo-er-bai-yin-226147","商人格奥尔格·吉塞","不详","小汉斯·霍尔拜因","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》",[25,183,27,30,7,184,185,81,32,186],"写实","书籍","金属器","花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a694ea2d89efc2767401182cad29d48.jpg","未知","Xcm*Xcm","油画精选",[190],45,"37474F",{"id":195,"slug":196,"title":197,"dynasty":89,"author":90,"museum":48,"description":198,"tags":199,"thumbUrl":200,"material":61,"size":61,"collection":61,"collections":201,"showCount":202,"zanCount":11,"manualWeight":11,"mainColor":41},223638,"xiao-yi-zhuan-lan-ting-tu-yi-ming-223638","萧翼赚兰亭图","此作用笔细劲圆韧，设色古雅沉着，将一场机锋暗涌的智斗藏于寻常茶谈之间。画面分两组人物，老僧松弛端坐，意态舒展毫无戒心，对面之人敛神静坐，表面闲散实则暗怀城府。侍童仆从各司其职，衬出主客间暗流涌动的张力。\n器物陈设皆循古制，案几、茶具细节写实，尽显古朴雅致。全画以静写动，将巧取《兰亭》的权谋算计融在淡然晤对中，叙事含蓄却极具戏剧感，摹写精细传神，尽显唐画神韵，累代鉴藏朱印环伺，更添传世厚重底蕴。",[23,52,53,54,26,113,76,24,27,57,58,7,29,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2e31b4f44578334bb757880c21d79b3.jpg",[],35,{"id":204,"slug":205,"title":206,"dynasty":18,"author":207,"museum":208,"description":209,"tags":210,"thumbUrl":217,"material":218,"size":219,"collection":61,"collections":220,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":41},223046,"hong-lou-meng-171-sun-wen-223046","红楼梦171","孙温","旅顺博物馆","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[23,26,24,27,100,211,212,213,214,215,79,32,7,29,30,31,216,80,81],"桌子","椅子","花瓶","香炉","对联","陶瓷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84d40f24129146a3cb7acd32054a038f.jpg","绢本","纵43.3厘米、横76.5厘米",[],27,{"id":223,"slug":224,"title":225,"dynasty":18,"author":207,"museum":208,"description":209,"tags":226,"thumbUrl":229,"material":218,"size":219,"collection":61,"collections":230,"showCount":231,"zanCount":11,"manualWeight":11,"mainColor":65},222884,"hong-lou-meng-9-sun-wen-222884","红楼梦9",[23,52,24,26,227,27,100,130,32,228,7,29,30,31,95],"界画","梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26646dcb54d322d9a32c26b4994b0b51.jpg",[],25,{"id":233,"slug":234,"title":235,"dynasty":18,"author":236,"museum":20,"description":237,"tags":238,"thumbUrl":240,"material":118,"size":241,"collection":61,"collections":242,"showCount":243,"zanCount":11,"manualWeight":11,"mainColor":65},233722,"san-you-tu-xiang-zhou-ren-yi-233722","三友图像轴","任颐","任颐的人物画是典型中西结合的代表，人物面部刻画借鉴西洋素描画法，力求形似逼真，而人物服饰却又是中国画典型的“线条”的艺术，或作折芦描或作丁头鼠尾描淡色轻染，清新悦目。\n任颐作画，一般都有画稿，是从生活中观察、写生而成。他的人物画题材广泛，既有历史故事、神话故事、民间传说，也有直接反映现实生活的作品，而且他善于捕捉人物一刹那之间的神情动态，使得造型准确，情态生动，衣纹用笔既能表现形体关系，又有衣褶线条变化的灵动之美，很注意突出衣纹的走势。他画肖像画以家学之法为主，脸部塑造以“没骨”法和以色渲染法打底，关键部位以线强调，衣袍服饰以所学众法为之，或写或工，或墨或线。任颐的肖像画形成了独自的风格，并开拓了全新的境界。\n任颐的花鸟画手法多样，远师北宋，近学徐渭、陈淳、石涛、恽寿平等，博采众长，独出一格，工笔、写意、勾勒、没骨、设色、水墨均能运用自如。他多用湿笔，运用淡墨尤有独到处，他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交融，风格明快、温馨、清新、活泼，极富创造性。任颐的绘画在当时及现代具有极大影响，被认为是“仇十洲（仇英）后中国画家第一人”。\n其实任颐作画是用写意画法去画工笔画，是以工笔画为里，写意画为面，在他的画中既有写意的痛快淋漓，又有工笔画的神形兼备，也就是说，他是将工笔画写意化，而不是将文人画写意化。任颐重新整合了工笔画，开创了写意工笔画风，对后世的影响是极其巨大的。\n这幅《三友图像》作于光绪甲申（1884）年，当时作者已经45 岁，画中有作者自识：“锦堂、风沂两兄嘱颐写照，更许在坐，谓之三友，幸甚幸甚。”有清钟德祥的两句题跋：“不须对月自三人，自有须眉自写真，脱去头巾衣扫塔，似俞清老段祛尘。”“皆僧衣，其有所寄托耶？”\n画中的3 人席地而坐，背后左侧有一圆榻一画筒，画筒里树有书卷画轴，榻上也堆着数卷，寥寥数笔把背景描绘得显露无疑。画中中间坐着的一人为曾凤寄，左向坐的人为朱锦堂（朱锦裳，上海著名书画鉴藏家，九华堂笺扇店主人，为任颐的好友），右向者为任颐自己。画中三人都穿着僧衣。这里面据说还有一段原由：光绪甲申三月为明朝灭亡240年祭，而且当时的晚清政治腐败，社会动荡，所以任颐绘三友图，并且身穿僧衣，脱去头巾，大有书画寄志的深意。画中三人神采自若，志气昂扬，形露于笔端。\n而是继承宋元而又融汇着民间的白描写真和西画的铅笔速写法，显得人体结构比例准确而充实。衣纹多方折，纵横迭出，似山石之皴笔，大有岿然独坐之意。\n任颐在这幅《三友图像》中融入了自己的志气，把那种对社会不满而又无可奈何之气刻画得淋漓尽致。\n任颐（1840～1896 年），初名润，字小楼，后字伯年，别号山阴道上行者、山阴道人，浙江山阴人。其父鹤声，工肖像，所以任颐自幼得其父指授，后移居宁波，师事任熊、任薰。中年定居杭州，以卖画为生。任颐是一个全才型画家，于花鸟、人物、山水无所不精，尤以肖像见长。代表作有《钟馗》、《女娲炼石》、《关河一望萧索》、《苏武牧羊》等。",[51,52,53,75,76,24,27,7,56,57,58,59,26,239],"写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F997cb5d2b0b5987d9282370e10f50eb4.jpg","纵64.5 厘米，横36.2 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，一作1464—1537）明代画家。字天驰，号平山，汴梁（今河南省开封）人，明代画家。绘人物，师法吴伟，山水学戴进“狂态”，用笔豪放纵逸，水墨酣畅淋漓，与朱端、蒋嵩、汪肇等同为“浙派”名家 。亦工鸟兽、花卉。\n早年画学戴进，临摹能肖其神，画法工细。至南京后，又宗法吴伟，变为粗笔写意。他善画人物，多绘神仙、士子、渔夫，形象质朴，神态清朗，具高昂向上的气质。景致简略，笔墨遒劲，风格豪放，然少秀逸和蕴藉之致；为浙派健将，亦开后来学者粗率之风。他具有典型风貌的水墨写意作品较多，人物多用顿折的重墨线条勾勒，山石以粗犷的笔触作大斧劈皴，运笔迅捷，水墨淋漓，具有豪放动荡的气势。亦能画写意花鸟。",[51,52,53,114,76,113,27,7,31,270],"卷轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365f96a79eba1447b5b9fefe6c2663ab.jpg",[],22,{"id":275,"slug":276,"title":277,"dynasty":125,"author":278,"museum":20,"description":279,"tags":280,"thumbUrl":287,"material":288,"size":289,"collection":290,"collections":291,"showCount":293,"zanCount":11,"manualWeight":11,"mainColor":65},236267,"sui-chao-zhou-zhang-hong-236267","岁朝轴","张宏","张宏（1577—？年），字君度，号鹤涧，江苏苏州人。善画山水，师法沈周而略有变化，画风苍秀，亦善人物。",[52,53,75,24,26,115,228,281,282,283,284,7,29,31,285,286],"松","竹","山石","文房","陈设","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd5fee7d7e2f711c5da31d75b7e27016.jpg","纸本 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t":399,"zanCount":11,"manualWeight":11,"mainColor":41},252824,"cai-su-xi-chun-zuo-hua-xiang-yi-ming-252824","彩塑惜春作画像","三女围桌，尽显闺中艺文雅趣。居中者敛眉凝思，指尖将落未落，素纸铺陈、笔砚列置，将挥毫瞬间的沉静定格。左侧侍女执扇侍立，探手微侧，鲜活灵动带着侍奉的温婉妥帖，右侧仕女安坐凝睇，眉目娴静温婉。\n\n彩塑敷色调和清润，衣褶纹理写实自然，人物神态各有韵致，以朴拙生动的造像手法，定格深闺雅集的悠然瞬间，细腻还原旧时闺中研墨挥毫的雅致场景，将东方闺阁的娴静风雅藏入每一处细节里。",[394,24,395,27,130,7,29,30,31,396,32],"彩塑","清代","桌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F948ed08e87480a3982412c9e1406f162.jpg",[],11,{"id":401,"slug":402,"title":403,"dynasty":404,"author":405,"museum":20,"description":406,"tags":407,"thumbUrl":409,"material":118,"size":410,"collection":411,"collections":412,"showCount":399,"zanCount":11,"manualWeight":11,"mainColor":65},239583,"yu-he-zi-shu-shi-juan-yu-he-239583","俞和自书诗卷","元","俞和","《自书诗》卷为俞和自作、自书七言诗8首，描写他拜僧访友、游历山水的情景。 此书中的第一首诗《次陆秀才春日幽坐韵》，俞氏曾不止一次地书写，其所书《杂诗帖》卷中的第一首也是此诗，盖其得意之作，故常为人书之。俞和之书法结体稳妥，功力深厚，学赵孟頫晚年书。陈敬宗在题跋中赞云：“俞紫芝书笔意清婉，姿态风润，盖兼得赵松雪之神魄，至不能辨其真赝，可爱也。” 此诗卷曾经明项元汴、清陈子受等收藏，清乾隆年间入内府。清卞永誉《式古堂书画汇考》、安岐《墨缘汇观》著录。",[23,51,52,53,54,59,58,57,408,79,30,29,7,31],"字帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c08d9bd33cc189cb73b6b68d58ab20.jpg","纵28.8cm，横216.7cm","书法精选",[411],{"id":414,"slug":415,"title":416,"dynasty":18,"author":417,"museum":20,"description":418,"tags":419,"thumbUrl":424,"material":425,"size":426,"collection":61,"collections":427,"showCount":399,"zanCount":11,"manualWeight":11,"mainColor":65},238290,"yu-lan-shi-nv-qing-yu-tu-ce-yu-lan-238290","喻兰仕女清娱图册","喻兰","此图册共八幅。从精美的器皿、工巧的家具、华丽的服饰可知作者表现的是富贵人家女子，通过女子在室内品茗、吹箫、梳妆、投壶等行乐活动，说明了优越的生活环境不仅保障了她们衣食无忧，亦为她们提供了种种休闲条件，从而令她们具有多方面的修养。",[24,26,27,130,420,421,7,184,325,422,33,423,302],"仕女","侍女","服饰","烛台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faae04ea9407f55992812e81b5bf39d82.jpg","纸本、设色","每开纵17厘米，横22.7厘米",[],{"id":429,"slug":430,"title":431,"dynasty":18,"author":90,"museum":48,"description":432,"tags":433,"thumbUrl":438,"material":188,"size":189,"collection":61,"collections":439,"showCount":440,"zanCount":11,"manualWeight":11,"mainColor":65},271068,"ge-shi-yu-zhi-hua-hui-shi-guan-zi-hao-bi-zhu-guan-zi-teng-hua-shi-bi-yi-ming-271068","各式御制花卉诗管紫毫笔-竹管紫藤花诗笔","莹润竹管阴刻诗文，笔锋紫毫修挺乌亮，配套笔簪髹饰紫藤缠枝，柔花带露娇妍雅致。整器将诗、画、工巧凝于毫管，文气与雅韵共生，既得实用书写之利，又兼具案头赏玩之趣，藏着旧时文人以笔寄情的意趣，尽显文房制器的精妙匠心。",[7,434,435,436,437],"紫毫笔","竹管","紫藤花","文房器具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F705a96645a2c5f2f5d58aeeee0a93cb1.jpg",[],9,{"id":442,"slug":443,"title":444,"dynasty":125,"author":445,"museum":141,"description":446,"tags":447,"thumbUrl":451,"material":118,"size":452,"collection":61,"collections":453,"showCount":440,"zanCount":11,"manualWeight":11,"mainColor":65},221929,"za-hua-ce-guo-xu-221929","杂画册","郭诩","郭诩（1456—1532），字仁弘，号清狂道人，江西泰和人。工书画，善山水，尝遍历名山，曰“岂必谱也，画在是矣。”同时江夏吴伟、北海杜堇、姑苏沈周俱以画名，莫不延颈原交，天下竟传清狂画，风之百金。有贵人欲多得诩画，诩瞠目数屋梁不对。固索，辄跮跖狂趋，叫奡跳号去。弘治（一四八八至一五零五）中徵天中善画者，应诏京师。宸濠召与语，辄辞谢之。往依王守仁献画题诗所见志。又善杂画，信手作人物，辄有奇趣。七十三岁尚作磨镜图。他的作品传世不多，八开《杂画册》现藏上海博物馆，《琵琶行》图轴藏北京故宫博物院。\n山水、人物，风格豪放，笔法师略，清细柔和，墨气轠然，尤是绘古人清士。题署简逸，缙绅无不重之。与吴伟齐名，为吴伟、沈周、杜堇所推重。 花鸟杂画，信手拈来，颇有奇趣。草虫书法工写兼备，其画风在明中期 别成一格。",[23,51,52,53,114,76,113,239,27,448,77,212,449,7,450,32,313,57],"竹子","篮子","砚台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7423d7c114d37fd72b377fa1ddb06057.jpg","纵28.5 厘米横46.5 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Rijn，1606年7月15日～1669年10月4日）是欧洲17世纪最伟大的画家之一，也是荷兰历史上最伟大的画家。\n伦勃朗早年从师P.拉斯特曼，1625年在家乡开设画室。画作体裁广泛，擅长肖像画、风景画、风俗画、宗教画、历史画等领域。",[25,183,490,491,27,492,30,7,493,494],"明暗对比","肖像画","帽子","古典服饰","胡须","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e51a6d18e7bbe12c89408bd560493c9.jpg",[190],6,{"id":499,"slug":500,"title":501,"dynasty":18,"author":90,"museum":48,"description":502,"tags":503,"thumbUrl":505,"material":118,"size":61,"collection":61,"collections":506,"showCount":497,"zanCount":11,"manualWeight":11,"mainColor":65},215553,"bai-miao-jie-tou-mai-mai-hua-ce-3-yi-ming-215553","白描街头买卖画册-3","素笔勾勒的市井一隅，三人情态鲜活如绘——左侧二人或驻足端详，或抬手持物问询；右侧摊主拱手而立，似正应答主顾。桌案上笔架横陈，旁侧长杆斜倚，隐约见街头杂贩的日常。衣袂褶皱以流畅线条晕染生活质感，人物姿态间藏着买卖间的细碎烟火。无浓墨重彩，仅以白描之法，将清代街头买卖的鲜活意趣凝于纸上，极简笔触里，是市井生活最本真的温度与生动。",[23,113,114,27,7,29,30,31,504],"买卖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8aec2deecbcf8f4047e9615f28d5a8c7.jpg",[],{"id":508,"slug":509,"title":510,"dynasty":125,"author":511,"museum":141,"description":512,"tags":513,"thumbUrl":515,"material":61,"size":61,"collection":61,"collections":516,"showCount":497,"zanCount":11,"manualWeight":11,"mainColor":517},202650,"hua-hui-tu-juan-chen-chun-202650","花卉图卷","陈淳","这幅花卉长卷以水墨写意绘就，笔墨灵动洒脱，气韵生动。荷瓣清雅，梅枝疏斜，兰叶飘逸，菊蕊含香，藤蔓缠绕间尽显自然野趣。浓淡干湿的墨色变化，勾勒与泼染的技法结合，既捕捉花叶姿态神韵，又传递文人画洒脱意趣，疏密错落见章法，挥洒自如显情致，是明代水墨花鸟的经典之作。",[51,52,53,54,76,301,228,342,344,514,7,29,23],"荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F258b3875724f3e6028a0a0b0a5eaf64e.jpg",[],"000000",{"id":519,"slug":520,"title":521,"dynasty":125,"author":522,"museum":141,"description":523,"tags":524,"thumbUrl":526,"material":61,"size":61,"collection":61,"collections":527,"showCount":497,"zanCount":11,"manualWeight":11,"mainColor":528},201648,"lin-gu-an-mo-zhu-zhou-sun-ke-hong-201648","临顾安墨竹轴","孙克弘","这幅墨竹轴临顾安笔意却自蕴灵趣。竹竿以中锋圆劲之笔写就，挺拔如君子风骨；竹叶侧锋挥洒，浓淡墨色交错，撇捺间藏行书韵味，聚散疏密有致，似清风拂过，姿态灵动又不失劲健。墨色苍润秀逸，尽显竹之清姿傲骨。画间题跋行书流畅，与竹影相映成趣，书画同源之妙毕现。朱红印章点缀，更添雅致。整幅将竹的气节与文人心境相融，观之如沐林间清风，心生澄明，为文人墨竹佳作。",[525,460,59,76,282,57,7],"墨竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff11cded998ddc5e16ccd6da5db4c6095.jpg",[],"918269",{"id":530,"slug":531,"title":532,"dynasty":18,"author":90,"museum":48,"description":533,"tags":534,"thumbUrl":539,"material":188,"size":189,"collection":61,"collections":540,"showCount":541,"zanCount":11,"manualWeight":11,"mainColor":65},271064,"ge-shi-yu-zhi-hua-hui-shi-guan-zi-hao-bi-tan-xiang-mu-guan-shan-cha-hua-shi-bi-yi-ming-271064","各式御制花卉诗管紫毫笔-檀香木管山茶花诗笔","此笔取檀香木为管，暖棕肌理光润内敛，阴刻填蓝御制山茶诗句，笔墨相映，文气悠然。紫毫笔头锋颖修长劲挺，是小楷书写的绝佳良器。笔顶与笔斗以素净象牙为饰，和木管冷暖相衬，愈显清隽质感。配套笔鞘浅刻花卉，刀工细腻舒展，花叶鲜活灵动，与笔身题诗呼应成文，将文人雅趣与制笔匠心相融，静雅之中藏着含蓄风雅，尽显清代文房器物的内敛美学意蕴。",[7,434,535,536,537,538],"檀香木","雕刻","山茶花","文房器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e785acfaf2ed1e87c8a3497530b3f06.jpg",[],5,{"id":543,"slug":544,"title":545,"dynasty":18,"author":546,"museum":141,"description":547,"tags":548,"thumbUrl":549,"material":61,"size":61,"collection":550,"collections":551,"showCount":541,"zanCount":11,"manualWeight":11,"mainColor":552},201983,"xing-shu-ti-hua-wu-jue-shi-zhou-zhu-da-201983","行书题画五绝诗轴","朱耷","这幅行书笔力劲健凝练，中锋行笔的线条圆转流畅，刚柔相济。字形欹侧多变，疏密对比鲜明，或舒展如“花”“受”，或紧凑若“乐”“拍”，错落间行气贯通。墨色浓淡相宜，章法空灵有致，隐隐透出遗民的孤傲超脱之气。朱红印信点缀其间，与墨色相映成趣，更添古朴雅致。整体既承晋唐行书韵致，又融个人奇逸风骨，尽显八大山人书法的独特魅力。",[59,58,57,76,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b3b5713ab798ee37305c8e7df1ff404.jpg","水墨画精选",[550],"c8c0b9",{"id":554,"slug":555,"title":556,"dynasty":18,"author":90,"museum":48,"description":557,"tags":558,"thumbUrl":560,"material":188,"size":189,"collection":61,"collections":561,"showCount":562,"zanCount":11,"manualWeight":11,"mainColor":65},271098,"ge-shi-yu-zhi-hua-hui-shi-guan-zi-hao-bi-tan-xiang-mu-guan-yu-zan-hua-shi-bi-yi-ming-271098","各式御制花卉诗管紫毫笔-檀香木管玉簪花诗笔","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。",[7,434,80,559,302],"象牙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dd2fea004d93bcdfa50f073182b37b9.jpg",[],4,{"id":564,"slug":565,"title":566,"dynasty":18,"author":90,"museum":48,"description":567,"tags":568,"thumbUrl":570,"material":61,"size":61,"collection":61,"collections":571,"showCount":562,"zanCount":11,"manualWeight":11,"mainColor":65},239278,"hou-qi-zhi-hua-hua-niao-ce-yi-ming-239278","后祺指画花鸟册","此页以指为笔，将清趣雅意藏于寻常风物间。右页粉梨圆润鲜洁，朱砂樱桃娇红欲滴，设色明丽鲜活，把蔬果的清甜烟火气晕染得淋漓尽致。左页枯淡墨色绘就莲藕，淡墨勾茎，晕染出藕节肌理，自带疏清远意。搭配行书题字，笔意舒展随性，书画相映成趣。创作者以指代笔，将日常风物绘出雅致东方意韵，简淡写意中尽显生机，藏着对烟火日常的细腻体察，冲淡恬和，耐人寻味。",[52,53,114,569,24,301,7,29,58,57],"指画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F745de83f20c6c8b946c3be4e29ab098e.jpg",[],{"id":573,"slug":574,"title":575,"dynasty":125,"author":267,"museum":141,"description":268,"tags":576,"thumbUrl":577,"material":118,"size":578,"collection":61,"collections":579,"showCount":562,"zanCount":11,"manualWeight":11,"mainColor":65},222487,"shang-bo-hua-ji-xuan-36-12-zhang-lu-222487","上博画集选36-12",[23,52,53,76,113,27,7,29,30,31,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ca18f28724eb808821b7582e6a2ef87.jpg","55.88厘米 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起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[659,660,24,27,130,7],"浮世绘","木刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe93d078313d255d0327ac26f2a0ba8a.jpg",[],{"id":664,"slug":665,"title":666,"dynasty":125,"author":90,"museum":48,"description":667,"tags":668,"thumbUrl":677,"material":61,"size":61,"collection":61,"collections":678,"showCount":607,"zanCount":11,"manualWeight":11,"mainColor":65},223641,"shi-ying-sheng-hui-tu-quan-juan-yi-ming-223641","蓍英盛会图全卷","此卷以朱丝栏界格小楷书就，用笔秀挺雅致，结体端稳匀净，尽得晋唐小楷遗韵，通篇气息连贯从容，无一笔苟且。\n\n文字详实记述洛中耆英雅集诸位贤达生平、雅集始末，将记事述人与书法精妙融合。既是记录宋代文人群贤雅聚的珍贵文献，亦是极具观赏性的书法佳作。笔墨间尽显沉静内敛的文人意趣，点画精微法度谨严，工整秀雅中藏有灵动意致，书写者深厚功底尽显其间，古雅隽永的书卷风神浸透全卷。",[23,52,53,54,24,26,27,95,100,96,97,301,58,59,669,57,7,29,30,31,670,32,671,672,79,80,81,228,342,282,344,514,375,673,674,675,55,676],"楷书","礼器","饮酒器","饪食器","鸟","鱼","牛","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ff2ab5fb781f6a9b46ac0a60e31de28.jpg",[],{"id":680,"slug":681,"title":682,"dynasty":18,"author":90,"museum":48,"description":557,"tags":683,"thumbUrl":687,"material":188,"size":189,"collection":61,"collections":688,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":65},273641,"zi-tan-mu-bian-zuo-qian-ci-yu-wen-ju-cha-ping-yi-ming-273641","紫檀木边座嵌瓷玉文具插屏",[684,80,536,631,216,115,7,641,685,686],"插屏","兔","文具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bfa3fa39ce23a8979ac26fd01eb881b.jpg",[],{"id":690,"slug":691,"title":599,"dynasty":125,"author":90,"museum":48,"description":692,"tags":693,"thumbUrl":694,"material":188,"size":189,"collection":61,"collections":695,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":41},272467,"wan-li-kuan-hei-qi-miao-jin-long-feng-wen-guan-bi-yi-ming-272467","以乌亮黑漆为地，描金饰纹如星子落墨。龙凤身姿辗转灵动，羽翼麟爪纤毫毕现，缠枝花卉柔妍饱满，瑞兽与繁花相映，既有威仪大气，亦含雅致生机。笔身题字端方周正，晕开文人气韵。笔头兼毫挺括，刚柔相济，是赏用皆宜的文房佳器。将匠心工艺融于文房雅物，把东方审美藏进一笔一纹，尽显古人文玩的雅致意趣，凝聚着旧时造物的精工巧思。",[7,602,603,28,604,302],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c44d0db0380cdad8548a9ab210afd07.jpg",[],{"id":697,"slug":698,"title":699,"dynasty":125,"author":90,"museum":48,"description":700,"tags":701,"thumbUrl":703,"material":188,"size":189,"collection":61,"collections":704,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":65},272457,"wan-li-kuan-cai-qi-long-feng-wen-guan-bi-yi-ming-272457","万历款彩漆龙凤纹管笔","此笔以黑漆为底，金彩朱红勾勒晕染，龙凤身姿遒劲灵动，缠枝花卉柔婉舒展，祥云迤逦相随，纹饰繁而不乱，线条细劲流畅，配色浓妍沉稳。\n\n铜饰包边提亮周身，让漆黑底色愈显莹润，衬得纹样愈发华贵醒目。毫锋饱满挺括，将髹漆之精工与文房之用巧融为一体，既是挥毫研墨的趁手良伴，又是陈设赏玩的风雅佳器，尽显富丽古雅的雅致意趣，凝着旧时案头的沉静风雅。",[7,602,28,604,702,302],"彩漆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe14701790102890d39a97296970ebdc4.jpg",[],{"id":706,"slug":707,"title":708,"dynasty":18,"author":90,"museum":48,"description":709,"tags":710,"thumbUrl":714,"material":188,"size":189,"collection":61,"collections":715,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":625},271094,"ge-shi-yu-zhi-hua-hui-shi-guan-zi-hao-bi-zhu-guan-zhi-zi-hua-shi-bi-yi-ming-271094","各式御制花卉诗管紫毫笔-竹管栀子花诗笔","此笔取野兔脊毫为紫毫，锋颖劲挺尖利，最适配小楷簪花，勾描工细。竹笔管以烫烙为饰，一面浅熔栀子花与流云，线条婉转柔丽，将初夏栀花清雅之态尽藏管上，另一面阴镌御题诗句，笔墨文心互映。牙质装箍莹润细腻，与竹色暖调相映成趣。管身包浆温厚，凝着岁月摩挲的痕迹，将制笔匠心、烫画工艺与御题风雅相融，尽显清宫文房器物的雅致格调，藏着案头研墨挥毫的旧日文雅意趣。",[7,711,712,713],"竹刻","栀子花","紫毫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9e29af9756511dc325b7ea5254ea2f.jpg",[],{"id":717,"slug":718,"title":719,"dynasty":18,"author":90,"museum":48,"description":720,"tags":721,"thumbUrl":723,"material":188,"size":189,"collection":61,"collections":724,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":41},270953,"cheng-fen-wen-ju-qing-yu-yong-wen-fang-si-shi-ce-ye-yi-ming-270953","成份文具-青玉咏文房四事册页","它取书册形制，乌木边框衬出温润木胎，封面剔刻缠枝夔纹，回环绕转间尽显古雅雍容，留白处题字端严规整，暗合文人书卷意趣。其内青玉册页将文房四事以诗咏镌于玉上，玉质清润柔泽，雕镌细腻工致，把笔墨纸砚的雅趣凝于方寸之间。\n\n这件器物将匠心工艺与文人审美相融，既是可陈设于案头的雅玩，也藏着对文房雅事的推崇，尽显精工雅致，是兼具观赏性与文心的精巧之作。",[722,631,536,80,79,302,7,29,30,31],"册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91155646e08f2ba7194ef72ee54a8f74.jpg",[],{"id":726,"slug":727,"title":728,"dynasty":18,"author":90,"museum":48,"description":729,"tags":730,"thumbUrl":733,"material":188,"size":189,"collection":61,"collections":734,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":193},270759,"huang-qi-miao-jin-cai-hui-long-feng-wen-guan-zong-hao-zhua-bi-yi-ming-270759","黄漆描金彩绘龙凤纹管鬃毫抓笔","笔管以黄漆为地，描金彩绘龙凤穿梭于祥云之间，朱红线条点缀流云尾翼，色彩明丽华贵。龙凤身姿舒展灵动，仙鹤伴于其间，流云漫卷，将祥瑞雅致的意蕴融于寸管之上。\n\n饱满劲挺的鬃毫攒聚成锋，束线工整紧实，既保证了书写时的力道雄浑，又与精工细作的笔管呼应，将髹漆彩绘的装饰之美与制笔的实用匠心融为一体，尽显工艺的考究雅致。",[7,602,603,731,28,604,732,302],"彩绘","云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42857d4c11b3eee0e26df14c483ca6f4.jpg",[],{"id":736,"slug":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porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[7,216,1045,903,1046,437],"青花","羊毫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc36175caf5af3ecc7af33eb88b3599de.jpg",[],{"id":1050,"slug":1051,"title":1052,"dynasty":18,"author":90,"museum":48,"description":557,"tags":1053,"thumbUrl":1055,"material":188,"size":189,"collection":61,"collections":1056,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":65},270765,"qing-yu-long-wen-guan-fa-lang-dou-ti-bi-yi-ming-270765","青玉龙纹管珐琅斗提笔",[7,631,1054,28,536,302],"珐琅器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faee4969c329e491b7647340b6fe2d690.jpg",[],{"id":1058,"slug":1059,"title":1060,"dynasty":18,"author":90,"museum":48,"description":1061,"tags":1062,"thumbUrl":1065,"material":188,"size":189,"collection":61,"collections":1066,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":193},270764,"lv-qi-miao-jin-shui-xian-ling-zhi-bian-fu-wen-guan-zong-hao-zhua-bi-yi-ming-270764","绿漆描金水仙灵芝蝙蝠纹管鬃毫抓笔","这枝抓笔是文房雅器中的精巧之作。沉敛的绿漆为底，描金纹饰灵动舒展：水仙绰约清雅，灵芝古拙温润，蝙蝠翩跹其间，纹样错落排布，将清隽文气与吉祥意趣相融。\n\n鬃毫攒簇紧实，锋颖饱满，兼顾实用与审美。漆色沉静内敛，金彩明丽鲜亮，冷暖色调相映成趣，将髹漆工艺与文房审美精妙糅合，藏着旧时文人案头的雅致意韵，尽显清代造物的细腻巧思。",[7,602,603,983,1063,1064,302],"蝙蝠","灵芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0b0a6b94ab08844b59c73741d08c11c.jpg",[],{"id":1068,"slug":1069,"title":1070,"dynasty":18,"author":90,"museum":48,"description":557,"tags":1071,"thumbUrl":1073,"material":188,"size":189,"collection":61,"collections":1074,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":193},270750,"zhu-guan-zhu-yuan-yu-run-jian-hao-bi-yi-ming-270750","竹管珠圆玉润兼毫笔",[7,302,938,1072],"兼毫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdecc85f2e2b42de409a1d1f0e8962736.jpg",[],{"id":1076,"slug":1077,"title":1078,"dynasty":125,"author":90,"museum":48,"description":557,"tags":1079,"thumbUrl":1081,"material":188,"size":189,"collection":61,"collections":1082,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":193},251340,"qing-yu-shuang-lu-shan-shi-xing-bi-jia-yi-ming-251340","青玉双鹿山石形笔架",[631,536,115,1080,676,283,7],"鹿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e2103cfd943f338384cc6f359a27165.jpg",[],{"id":1084,"slug":1085,"title":1086,"dynasty":18,"author":90,"museum":48,"description":557,"tags":1087,"thumbUrl":1090,"material":188,"size":189,"collection":61,"collections":1091,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":193},250961,"qing-yu-qian-bao-shi-bi-yi-ming-250961","青玉嵌宝石笔",[631,1088,536,7,302,1089],"嵌宝石","清代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a4c5a8b1e7764837cb833410c812f2b.jpg",[],{"id":1093,"slug":1094,"title":1095,"dynasty":18,"author":90,"museum":48,"description":557,"tags":1096,"thumbUrl":1097,"material":188,"size":189,"collection":61,"collections":1098,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":41},250959,"qing-yu-diao-ren-wu-bi-guan-yi-ming-250959","青玉雕人物笔管",[631,536,27,115,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb32f77cb768cf7d5a068f8e3b48ba50.jpg",[],{"id":1100,"slug":1101,"title":1102,"dynasty":18,"author":90,"museum":48,"description":1103,"tags":1104,"thumbUrl":1107,"material":188,"size":189,"collection":61,"collections":1108,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":65},237252,"ming-chen-gu-shi-deng-xu-ti-song-ce-yi-ming-237252","名臣故事邓旭题颂册","此作为诗画合璧之品，右侧绘书馆内景，层叠书阁贮满典籍，案头笔墨俨然。馆内三儒者或凝思展卷，或执烛随侍，衣袂舒展自然，器物刻画入微，静谧肃穆的氛围，生动还原贤臣夜读治事的日常，细节写实雅致。左幅题诗笔意端秀，诗文咏叹主人公勤政笃学的德行，以书映画，以诗衬人。二者相辅相融，以具象图景承载贤臣风操，将贤德品格寄于细腻绘事与清雅题咏之中，兼具叙事意趣与文史价值。",[52,53,114,24,26,27,1105,1106,79,58,59,7,29,30,31,330],"书桌","书架","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff0edcbefe1432ad0ec3bad0c721c13d.jpg",[],{"id":1110,"slug":1111,"title":1112,"dynasty":125,"author":1113,"museum":48,"description":1114,"tags":1115,"thumbUrl":1116,"material":61,"size":61,"collection":61,"collections":1117,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":65},233539,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233539","十竹斋五色笺谱册","胡日从","《十竹斋书画谱》，融诗、书、画、印艺术为一体，是木版水印史上的巨制鸿构，有“画苑之白眉，绘林之赤帜”之誉。凡书画、竹、墨华、石、翎毛、梅、兰、果八谱，每谱两册，全帙共十六册，蝴蝶装。\n一为书画册。花卉竹石、翎毛蔬果二十幅，均有对题。谱前有醒天居士《题十竹斋画册小引》和芒砀山人王三德《胡曰从书画谱引》。\n二为竹谱。卷首有《梨云馆竹谱》，分“写竹要语”，“写竹括”和“写竹法”。前半为一画一题，凡竹图二十幅，分作“廻风”、“喜霁”、“带雨”、“凝露”、“贮云”、“笼烟”、“快雪”、“印月”、“怡老”、“启新”、“飞白”、“聚翠”、“紫蓧”、“朱帔”、“崖影”、“石床”、“飨松”、“访菊”、“友梅”、“佩兰”等。后半则为画竹“起手式”。\n三为墨华册。谱中图呈圆光型，对题有绿色“十竹斋琅干笺”竹纹边框。画、题各有二十幅，画面着色细润，气韵生动。谱前有语水乘槎子《十竹斋墨花题辞》。\n四为石谱。画、题各二十幅，谱前有序两篇，一为王三德《阅石谱题言》，一为米芾后人米万钟《石谱题辞》。谱中二十幅画皆为高阳所作。高阳，字秋甫，善花鸟，为万历间写生名手。高阳画奇石尤精，石谱中作品是临摹上版，王三德观后评价极高，以为“天划神缕之巧，嵌空玲珑之致，半幅冰茧，宛具层岩叠嶂、峰峦洞穴，真可以对杨次公矣。”图有墨石、彩石，但均以套版为之，每画都有对应的题赞。\n五为翎毛谱。画、题各二十幅，有杨文骢于“天启丁卯立秋日”所题《翎毛谱小序》，非常精彩地评介了胡氏所施饾版之法：“胡曰从氏巧心妙手，超越前代，以铁笔作颖生，以梨枣代绢素，而其中皴法、染法、点法，及着色之轻重、浅深、远近、离合无不呈妍曲致，穷巧极工。即当行作手观之，定以为写生妙品，不敢作刻画观。”此翎毛谱二十图，画上无名款，从印鉴来看，应全为凌云翰一人所作。凌云翰，字五云，万历、崇祯时人。《明画录》说他善画山水，其实上凌氏花鸟亦善，尤工画石，为胡正言所推许。\n六为梅谱。由玉山进士董继周作序。此册胡正言以“芳信先传”、“飘飘欲仙”、“冰壶掩映”、“暖谷回阳”、“君子之交”、“铁干支春”、“暗香浮动”、“拾翠为钿”、“黄惹蜂腰”、“额上玄功”、“东邻窥宋”、“盟坚寒素”、“香梦沉酣”、“水妃写照”、“玉骨同妍”、“疏影横斜”、“幽人赠佩”、“调脂梅粉”、“宫锦清班”、“寿阳点妆”等二十画题，分别写早梅、风梅、雪梅、枯梅、竹梅、老梅、月梅、松梅、蜡梅、墨梅、过墙梅、倚石梅、烟梅、临水梅、水仙梅、疏梅、兰花梅、茶花梅、杏花梅和落梅，或水墨，或设色，意境、造型与章法，则穷尽变化之能事。每幅画都有对应的题赞。\n七为兰谱。前有涂日昌“兰谱序”和画兰“起手执笔式”，此谱图解兰花，并附小注，颇为详尽，但无题赞。多为墨印，间有彩版，此谱可为之初学之范本。图二十幅，多是临摹赵孟頫等名家之作。\n八为果谱。画、题各二十幅，有西京韩文镜作序。其中“三元”、“朱橘”等图，雕版设计巧妙，可谓匠心独运。\n《十竹斋书画谱》自万历己未（1619年）第一谱《书画册》起，至崇祯癸酉（1633年）第八谱《果谱》止，梓印时间长达十五年之久。每谱有序言，除《竹谱》附写竹诀，《兰谱》附起手式，其余各谱均四十幅，一图一文，以书配画，交相辉映。\n胡正言辑印《十竹斋书画谱》，广交名人时贤，亦自作书画付梓。全谱序、画、诗作者或书法题写者，多达一百五十余人。谱中所辑作品大多是由当时名家如吴彬、倪瑛、魏之克、米万钟、吴士冠、文震亨、高阳、高友等创作的，也有二十多幅画稿是临摹自赵孟頫、唐寅、沈周、文征明、陆治、陈道复等著名书画家的；胡正言自己也曾为谱画稿、题诗，画有“白莲”、“墨梅”、“芝草”三图，诗有“题梅花”、“题兰竹”两首。画谱中所题诗句，笔调清新，咏物抒情，不同程度地反映了诗人们喜爱画谱的心情。题诗大部分都是书写者自己所作，也有借用前人诗句题咏的，如胡正言用唐释无可的咏兰诗题《兰竹图》，西湖仙郎何伟然用徐渭咏榴诗题《石榴图》，竹冠道人应麟用刘禹锡题开元寺枸杞诗书《枸杞诗图》等等。全谱书法篆、隶、行、楷诸体皆备，最多的还是晚明文人流行的行草。这些书迹，大都兼有晋、唐、宋书家的风韵，亦可为后人临池所借鉴。\n醒天居士的《题十竹斋画册小引》把胡正言的爱好、特长及画谱刊印的初衷和艺术水平都进行了叙述：\n“王宰十日一山，五日一石，岂肖形之难哉？山有情，石有态，磅礴得之为难耳。近代画手，千临百摹，如里媪捧心，不揜儿寝，而目食者争售之，大轴小图，祗为壁疥。新安胡曰从氏，清姿博学，既精六书，尤擅众巧。所制隃糜硾茧与所镌法语名言，皆出新裁，赏鉴家多宝爱之。乃竹斋多暇，复创画册。所选皆花果竹石，有关于幽人韵士之癖好者。而写形既妙，设色尤工，至于翠瓣丹柎，葩分蕊折，花之情，竹之姿，与禽虫飞懦之态，奇石云烟之气，展册淋漓，宛然在目。盖淡淡浓浓，篇篇神采；疏疏密密，幅幅乱真，诚画苑之白眉，绘林之赤帜也。然王宰之画妙出毫锥，胡君之画妙出梨枣，是磅礴之心，较王宰更难；而成功之捷，较王宰更简更易，岂不尤奇哉！余故喜而叙之，愿与好事者同赏，仍俟具眼者定价焉。时癸酉年中秋前二日，醒天居士书于十竹斋。”\n《十竹斋书画谱》“绘刻精而奇，谱则巧而该”，在画谱刊行后不久就引起广泛的注意，开始有人仿刻了，以至胡氏声明道“原板珍藏，素遐真赏，近有效颦，恐混鱼目，善价沽者，勿虚藻鉴。”历代重印、翻刻者达二十余种。清代李渔等人辑印的《芥子园画传》也是在它的启发下产生的。",[660,24,114,115,31,7,29,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0adb9a0569f22e39f46e775572262b7.jpg",[],{"id":1119,"slug":1120,"title":1121,"dynasty":179,"author":1122,"museum":48,"description":1123,"tags":1124,"thumbUrl":1129,"material":188,"size":189,"collection":61,"collections":1130,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":65},231116,"su-miao-370-xi-fang-231116","素描370","西方","使用单一色彩表现明度变化的绘画。绘画工具而在画面载体上按照一定的绘制原则而有意塑造物体形态的美术活动。速写是素描的一种变式。素描水平是反映绘画者空间造型能力的重要指标之一。\n素描是绘画的基础，绘画的骨骼；也是最节制、最需要理智来协助的艺术。初学绘画的人一定要先学素描，素描画得好的人，油画自然画得好。素描的起源，普遍都是以文艺复兴开始，事实上希腊的瓶绘、雕塑都有良好的素描基础。初期的素描是视为绘画的底稿，例如作壁画先要有构想的草稿，然后有素描的底稿，同时也要有手、脸部分精密素描图。作壁画习惯上是不看模特儿写生的，完全要靠事先准备的习作素描和画家的记忆。近代素描，已脱离了原来的底稿和习作的地位，可以成为艺术品来欣赏。画素描的态度不只培养描写力，同时也培养造型的能力，最后仅仅是素描也可视为作品来欣赏。相反的单看油画作品就可知道作者在素描上的造诣如何。因此，素描是绘画的基础，也是绘画的骨骼，是初学画的人无论如何要先认真学素描。素描在严格的解释上，只有单色的黑与白，但如加上淡彩或颜色，仍可认作素描。素描的表现方法分成：一、以描画材料来看可分成木炭素描、铅笔素描、炭精素描、钢笔素描、银笔素描、毛笔素描等。二、以所画的题材可分成石膏像素描，风景素描，静物素描、人体素描、幻想素描。三、依素描的目的又可分成作为构想的素描、用作画稿的素描、速写、作品、习作。\n由木炭，铅笔，钢笔等，以线条来画出物象明暗的单色画，称作素描。单色水彩和单色油画也可以算作素描；中国传统的白描和水墨画也可以称之为素描。通常讲的素描多元化指铅笔画和炭笔画。素描是一切绘画的基础，这是研究绘画艺术所必须经过的一个阶段。　素描通常采用可于平面留下痕迹的方法：如，炭笔，钢笔，画笔，墨水，及纸张等。轮廓和线条是素描的一般称谓。素描具备了自然律动感。不同的笔触营造出不同的线条及横切关系和节奏、主动与被动的周围环境、平面、体积、色调、及质感。\n素描是一种正式的艺术创作，以单色线条来表现直观世界中的事物，亦可以表达思想、概念、态度、感情、幻想、象征甚至抽象形式。它不像带色彩的绘画那样重视总体和彩色，而是着重结构和形式。",[770,183,27,1125,1126,1127,7,1128],"男性","人体","鞋子","黑白","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77dadd85ffaf09ffeccbbb882b38e446.jpg",[],{"id":1132,"slug":1133,"title":1134,"dynasty":179,"author":90,"museum":48,"description":657,"tags":1135,"thumbUrl":1136,"material":188,"size":189,"collection":61,"collections":1137,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":65},225580,"fu-shi-hui-71-yi-ming-225580","浮世绘71",[659,24,660,27,130,7,29,30,31,270,184],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e586f687094bfaa3457fc2cf23e82d8.jpg",[],{"id":1139,"slug":1140,"title":1141,"dynasty":179,"author":90,"museum":48,"description":657,"tags":1142,"thumbUrl":1150,"material":188,"size":189,"collection":61,"collections":1151,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":65},225518,"fu-shi-hui-276-yi-ming-225518","浮世绘276",[659,660,24,27,94,1143,1144,1145,1146,1147,7,30,422,1148,1149],"枯树","草地","水域","岩石","武器","眼镜","文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff668069ff761107c0adfd790ab359b.jpg",[],{"id":1153,"slug":1154,"title":1155,"dynasty":179,"author":90,"museum":48,"description":657,"tags":1156,"thumbUrl":1159,"material":188,"size":189,"collection":61,"collections":1160,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":65},225436,"fu-shi-hui-194-yi-ming-225436","浮世绘194",[659,24,27,7,1157,1158,660],"颜料","镜子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a556a9b29ebc9ee18d37f2aa0b316c2.jpg",[],{"id":1162,"slug":1163,"title":1164,"dynasty":18,"author":90,"museum":48,"description":1165,"tags":1166,"thumbUrl":1168,"material":102,"size":792,"collection":61,"collections":1169,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":65},215914,"qing-ren-xiao-xiang-tu-ce-6-yi-ming-215914","清人肖像图册-6","画面中人物端坐案旁，神态沉稳雍容。红顶暖帽衬出身份，玄色常服缀锦鸡补子，朱红朝珠垂于胸前，纹饰细腻，质感厚重。案上陈放典籍、笔砚与青绿釉器，案几雕工雅致，线条婉转。侧旁朱栏墨柱，简约中见古雅，衬得人物愈发端庄。设色沉稳，笔触写实，人物面容刻画入微，胡须鬓发皆显生动，尽显清代肖像画注重形神兼备的特质。整幅作品于细节处见匠心，传递出人物的儒雅气度与时代的审美意趣。",[52,27,26,24,32,1167,115,7,30,79,29],"饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a292c62c30d6ecbe05337774ff3e25b.jpg",[],{"id":1171,"slug":1172,"title":1173,"dynasty":18,"author":90,"museum":48,"description":1174,"tags":1175,"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间。提笔落墨时，既是挥毫染翰的趁手雅器，亦是托寄文人襟怀的随身清玩。朴素形制里藏着制笔匠心，静静沉淀着旧时文墨时光里的淡泊意趣。",[7,1277,435,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e9e1c59130086df5af1a7b3fb4927f4.jpg",[],{"id":1322,"slug":1323,"title":1324,"dynasty":18,"author":90,"museum":48,"description":1325,"tags":1326,"thumbUrl":1327,"material":188,"size":189,"collection":61,"collections":1328,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":625},272633,"cheng-fen-wen-ju-wen-zhu-duo-sheng-pan-yi-ming-272633","成份文具-文竹多盛盘","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。",[115,302,536,1035,7,29,31,57,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8115e473e3323a7dadd4ed114fb6291.jpg",[],{"id":1330,"slug":1331,"title":1332,"dynasty":18,"author":90,"museum":48,"description":1333,"tags":1334,"thumbUrl":1337,"material":188,"size":189,"collection":61,"collections":1338,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},272617,"xiang-ya-guan-niu-jiao-dou-lang-hao-ti-bi-yi-ming-272617","象牙管牛角斗狼毫提笔","莹洁修长的象牙笔管质地温润细腻，自带清润雅致的质感。牛角笔斗错饰金彩卷草纹，缠枝回转、繁丽灵动，将素净与华贵精妙相融，尽显錾刻工艺的不俗匠心。饱满挺括的狼毫笔锋锋颖锐利，兼顾书写实用性与陈设观赏性。\n\n整器形制沉稳舒展，清式工艺的内敛精致尽数体现，将材质禀赋与工艺巧思融会贯通，静静承载着旧时文房案头的风雅意趣，是文房雅器里的上乘佳构。",[7,559,1335,1336,437],"狼毫","牛角","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfa39c9d21cb5208e3815cc1f44bf817.jpg",[],{"id":1340,"slug":1341,"title":1342,"dynasty":18,"author":90,"museum":48,"description":1343,"tags":1344,"thumbUrl":1346,"material":188,"size":189,"collection":61,"collections":1347,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":625},272616,"xiang-fei-zhu-guan-xiang-ya-dou-diao-hao-ti-bi-yi-ming-272616","湘妃竹管象牙斗貂毫提笔","竹身紫褐斑痕如泪痕凝就，自带潇湘烟雨的清愁意韵，莹润素白的牙斗晕开温润光色，与竹管的幽柔纹理相映成趣，勾勒出雅致格调。貂毫锋颖齐整饱满，兼具柔韧之性与劲健之力，提笔形制雍容大气，适配擘窠大字挥洒，落墨时收放随心。整器将天然材质之美与文房实用相融，是藏用皆宜的清隽雅器，尽显旧时文房的风雅意趣。",[7,302,282,559,1345],"貂毫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a8c5c704d725240ed0dcb60efc94cd0.jpg",[],{"id":1349,"slug":1350,"title":1351,"dynasty":18,"author":90,"museum":48,"description":1352,"tags":1353,"thumbUrl":1354,"material":188,"size":189,"collection":61,"collections":1355,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":625},272615,"xiang-fei-zhu-guan-mu-dou-diao-hao-ti-bi-yi-ming-272615","湘妃竹管木斗貂毫提笔","竹身斑纹如泪痕凝就，晕开潇湘旧韵，自带沉静古雅的文人气韵。圆润木斗将笔毫与竹管自然承接，打磨温润，触手生温。貂毫锋颖饱满，棕褐与青蓝分层排布，既添几分灵秀色彩，又保证了蓄墨能力与书写爽利感。\n整支提笔形制修长挺括，天然竹斑与素净竹色相映成趣，手作的细腻匠心藏于每一处过渡之中，将文房雅器的清隽风骨悉数诠释，静置于案，便自成一方清雅天地，尽显文玩雅趣。",[7,302,938,80,1345],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9dd57ef77874ffe55dbb9600c1a82dd.jpg",[],{"id":1357,"slug":1358,"title":1359,"dynasty":18,"author":90,"museum":48,"description":1360,"tags":1361,"thumbUrl":1362,"material":188,"size":189,"collection":61,"collections":1363,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},272556,"xiang-ya-guan-wan-guo-lai-chao-zi-hao-bi-yi-ming-272556","象牙管万国来朝紫毫笔","此笔取象牙为管，莹白温润，质感清隽雅致。笔身阴镌字样，寄寓着寰宇归心、邦交和融的盛世祈愿，暗含旧时朝堂对四海宾服的美好遐想。衔接处浅刻题款，刀工秀挺细腻，文气内敛悠长，将制器匠心与文人情思相融。紫毫锋颖劲挺，适配小楷精工挥写，兼顾实用与陈设雅赏之效，将制笔工艺的精巧工法与礼制审美意蕴凝于一器，是文房雅器的精巧缩影，尽显文房清玩的雅致格调。",[7,559,536,302],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4adae0bd6d03da8f408f98b8b957e680.jpg",[],{"id":1365,"slug":1366,"title":1367,"dynasty":18,"author":90,"museum":48,"description":1368,"tags":1369,"thumbUrl":1370,"material":188,"size":189,"collection":61,"collections":1371,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},272555,"zhu-guan-bi-yi-ming-272555","竹管笔","此笔以素竹为管，肌理匀净温润，带着竹材天然的清雅质感。笔管阴刻题字，刀工简雅古拙，晕开旧时书卷意蕴。笔头为兼毫制就，锋颖饱满挺括，青褐双色毫料层次分明，可见制工的精妙考究。\n\n它如案头君子，静静沉淀着旧时文房的风雅余韵，藏着昔人铺纸挥毫、笔走龙蛇的悠悠过往。历经岁月摩挲，依旧带着沉静文雅的质感，将实用匠心与文人审美相融，是文房雅器里兼具意趣与工艺的典范。",[7,1035,302],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91fca9f6f2e63040290e0d700f4ea082.jpg",[],{"id":1373,"slug":1374,"title":1375,"dynasty":18,"author":90,"museum":48,"description":1376,"tags":1377,"thumbUrl":1378,"material":188,"size":189,"collection":61,"collections":1379,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},272526,"ye-gong-lv-ge-shi-mo-bi-hua-mo-yi-ming-272526","叶公侣各式墨-笔花墨","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”。",[29,58,302,7,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F097e1612fcb5e7632202e717fa60c4ea.jpg",[],{"id":1381,"slug":1382,"title":1383,"dynasty":125,"author":90,"museum":48,"description":1384,"tags":1385,"thumbUrl":1387,"material":188,"size":189,"collection":61,"collections":1388,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},272483,"cheng-fen-wen-ju-dai-mao-guan-zi-hao-bi-yi-ming-272483","成份文具-玳瑁管紫毫笔","笔身取玳瑁裁制，天然褐黄斑纹如揉碎的丹霞晕染素管，肌理灵动天成。包金饰件光泽沉敛，与玳瑁温润质感相映，暗合内敛华贵的审美意趣。紫毫笔尖锋颖修挺，历经岁月仍见利落锋芒，是兼具工艺匠心与实用价值的文房佳器。静立之间，似仍留存旧日研墨濡毫的风雅余韵，将文房清玩的雅致风骨凝于一身。",[7,1386,713,302,116],"玳瑁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u00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aterial":188,"size":189,"collection":61,"collections":1453,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},272464,"wan-li-kuan-cai-qi-shuang-long-wen-guan-bi-yi-ming-272464","笔身以黑漆为底，金、朱彩漆填绘双龙。龙躯矫健遒劲，鳞爪凌厉鲜活，火珠与云纹环绕其间，烘托出威严灵动之势。彩漆描金线条精细入微，漆色莹润亮泽，尽显漆作工艺的精湛考究。修长笔管搭配沉厚包浆的铜饰，黑漆与金朱相互映衬，华贵雅致兼具。将文房雅器的清隽意趣与宫廷造办的精工质感相融，暗合当时崇文重艺之风，静静承载着旧时工巧匠心，是漆制文房中的上乘之作。",[7,602,903,702],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc44779963b33c515e93146c29ce518d8.jpg",[],{"id":1455,"slug":1456,"title":699,"dynasty":125,"author":90,"museum":48,"description":1457,"tags":1458,"thumbUrl":1459,"material":188,"size":189,"collection":61,"collections":1460,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},272463,"wan-li-kuan-cai-qi-long-feng-wen-guan-bi-yi-ming-272463","此笔以黑漆为地，金红彩漆填饰龙凤纹。龙姿矫健蜿蜒，凤羽舒展灵动，祥云缭绕其间，纹饰层次分明、鲜亮夺目，铜饰镶边更添华贵质感。\n它将文房制笔与髹漆工艺精妙相融，漆色莹润沉稳，构图疏密相宜，既带着宫廷器物的规整大气，又兼具文房雅器的清隽意趣，把实用属性与装饰美学完美结合，尽显高超工艺水准，藏着古人赏用一体的文房审美哲思。",[7,602,28,604,702],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdff036c9b4d02c831331857da31a0500.jpg",[],{"id":1462,"slug":1463,"title":879,"dynasty":125,"author":90,"museum":48,"description":1464,"tags":1465,"thumbUrl":1466,"material":188,"size":189,"collection":61,"collections":1467,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},272461,"wan-li-kuan-cai-qi-shuang-long-wen-guan-bi-yi-ming-272461","笔管以黑漆为底，朱红描焰、金彩勾纹，双龙矫然蜿蜒，翔游于祥云之间，龙睛凌厉有神，鳞爪张弛尽显遒劲气势。漆色莹润乌亮，红金亮色于沉黑之上鲜明夺目，纹饰繁密却层次井然，尽显华贵雅致。\n\n锋颖锐利紧实的笔毫，兼具实用之效与赏玩之趣，将髹漆工艺与文房雅器相融，尽显制艺的细腻考究，勾勒出案头清供的雅致意韵。",[7,602,903,702,302],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98acc3887da568aad006ac8a70bc4d59.jpg",[],{"id":1469,"slug":1470,"title":699,"dynasty":125,"author":90,"museum":48,"description":1471,"tags":1472,"thumbUrl":1473,"material":188,"size":189,"collection":61,"collections":1474,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},272459,"wan-li-kuan-cai-qi-long-feng-wen-guan-bi-yi-ming-272459","笔身以黑漆为底，金彩填饰龙凤穿花，苍龙腾挪灵动，彩凤翩跹柔婉，缠枝花卉舒展娇妍，繁密纹饰层次井然，尽显髹漆工艺的极致精妙。\n\n黄铜饰件点缀笔管首尾，冷润金属与温润漆色相映，添了几分华贵庄重。填金落款雅致端方，将祥瑞寓意与文房雅韵相融，龙凤呈祥衬以盛放繁花，既有宫廷器物的富丽规制，又带着明代髹漆技艺的典型特质。\n\n这是文房雅器中的精工之作，藏着旧时匠人的极致审美与沉潜匠心，将实用与赏玩完美合二为一。",[7,602,28,604,702],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7be0c55a6524ab4bb04dff1e86804ab4.jpg",[],{"id":1476,"slug":1477,"title":699,"dynasty":125,"author":90,"museum":48,"description":1478,"tags":1479,"thumbUrl":1480,"material":188,"size":189,"collection":61,"collections":1481,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},272458,"wan-li-kuan-cai-qi-long-feng-wen-guan-bi-yi-ming-272458","此笔以黑漆为底，彩绘龙凤穿游于云海浪涛之间。龙姿矫健张扬，凤形柔婉翩跹，红彩点染鳍羽，描金勾勒纹路，深浅明暗交织晕染，让瑞兽仿佛破云而出，灵动鲜活。\n\n铜质包边温润内敛，磨痕载着岁月余温，与漆色冷暖相映，既固笔身，更添庄重雅致。狼毫笔锋挺括饱满，将文房雅器的审美意趣与实用属性相融，把髹漆与制笔工艺精妙结合，尽显华贵古雅的宫廷文玩气韵。",[7,602,28,604,702],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F397c6d0b119b2d6f9e7130742c392bcb.jpg",[],{"id":1483,"slug":1484,"title":599,"dynasty":125,"author":90,"museum":48,"description":1485,"tags":1486,"thumbUrl":1487,"material":188,"size":189,"collection":61,"collections":1488,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},272455,"wan-li-kuan-hei-qi-miao-jin-long-feng-wen-guan-bi-yi-ming-272455","黑漆为地，以描金勾勒龙凤祥纹，凤羽层叠分明，龙形隐现于缠枝花卉间，金彩在黑底晕衬下愈见鲜亮华贵。线条婉转流畅，将瑞兽的威仪与花饰柔巧相融，笔身落款填金端正雅致，细节处尽显精工巧思。紫毫笔锋劲挺锐利，与华美笔管相映成趣，文气与匠意兼具，尽显古雅雍容的造物美学，是文房雅器中的上乘之作。",[7,602,603,28,604],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27d36404e7fd082463ed314ed46078f8.jpg",[],{"id":1490,"slug":1491,"title":1400,"dynasty":125,"author":90,"museum":48,"description":1492,"tags":1493,"thumbUrl":1494,"material":188,"size":189,"collection":61,"collections":1495,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},272453,"wan-li-kuan-hei-qi-miao-jin-shuang-long-wen-guan-bi-yi-ming-272453","以黑漆为素地，描金饰双龙穿云遨游，龙躯矫健灵动，鳞爪锋芒毕现，流云缠缀环绕，金彩明丽鲜亮，与乌地相映，尽显华贵雍容。笔管錾刻题款，笔意端正隽秀，为器物添上文雅注解。紫毫笔锋紧实挺括，锋颖锐利，兼具绝佳形制与实用性能。它是髹漆与制笔工艺相融的佳作，将文房清玩的雅致与宫廷工艺的精细完美结合，静静承载着古时文房案头的风雅意趣，尽显明代手作的极致匠心。",[7,602,603,903,302],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77a2a811661094d1f37eee1167597e7f.jpg",[],{"id":1497,"slug":1498,"title":1499,"dynasty":125,"author":90,"museum":48,"description":1500,"tags":1501,"thumbUrl":1502,"material":188,"size":189,"collection":61,"collections":1503,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},272452,"xuan-de-kuan-cai-qi-yun-long-wen-guan-diao-hao-bi-yi-ming-272452","宣德款彩漆云龙纹管貂毫笔","此笔以黑漆为地，描金敷彩作云龙图景。游龙矫健灵动，穿曳于朱红云霭之间，金彩勾边让纹饰棱角分明，明暗相映下，龙身肌理仿若跃然管上。漆面莹润亮泽，彩漆晕染自然细腻，纹饰排布疏密相宜，将髹漆妙技藏于文房雅物中，把祥龙瑞云的吉庆意蕴凝于寸管，尽显古雅雍容的旧时审美，是兼具工艺价值与审美意趣的文房精工之作。",[7,602,903,702,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8a35c754e1785ffb73067f1eb3f2b1a.jpg",[],{"id":1505,"slug":1506,"title":699,"dynasty":125,"author":90,"museum":48,"description":1507,"tags":1508,"thumbUrl":1509,"material":188,"size":189,"collection":61,"collections":1510,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},272451,"wan-li-kuan-cai-qi-long-feng-wen-guan-bi-yi-ming-272451","此笔以黑漆为底，描金敷彩勾勒龙凤穿云图景。金龙矫健身姿穿梭云间，丹红鳞爪张弛有力；彩凤羽翼柔婉舒展，翎羽纤毫毕现。祥云卷舒环绕，火焰纹饰点缀其间，明暗交错间尽显华贵妍丽。\n\n紫毫笔头锋颖饱满锐利，兼顾装饰与实用。管身款识古雅端凝，髹漆、描金工艺交融无间，将晚明华贵雅致的审美意趣凝缩于寸管之上，是文房雅器中集工艺美学与实用价值的精工之作，藏着旧时文人案头的风雅余韵。",[7,602,903,904,702,538],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62f3b64e8519b84865279630e1ef5391.jpg",[],{"id":1512,"slug":1513,"title":699,"dynasty":125,"author":90,"museum":48,"description":1514,"tags":1515,"thumbUrl":1516,"material":188,"size":189,"collection":61,"collections":1517,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},272450,"wan-li-kuan-cai-qi-long-feng-wen-guan-bi-yi-ming-272450","此笔以乌漆为地，莹亮如镜，描金敷彩饰龙凤纹样。矫龙腾跃于祥云浪涛之间，翎凤婉转掩映，朱色金彩相映，线条细劲流畅，纹饰繁丽华贵，尽显宫廷御制器物的雍容气度。\n\n笔管铭牌金边环绕，更添规整端雅。笔毫劲挺饱满，兼合书写实用之能，将髹漆工艺的华美与文房用器的雅致融为一体，尽显明代制笔髹漆工艺的巅峰水准，是文房雅器中兼具审美与实用价值的上乘之作。",[7,602,28,604,702],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61d1ae1e93910b1f5a106b418a2b4c53.jpg",[],{"id":1519,"slug":1520,"title":699,"dynasty":125,"author":90,"museum":48,"description":1521,"tags":1522,"thumbUrl":1523,"material":188,"size":189,"collection":61,"collections":1524,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},272449,"wan-li-kuan-cai-qi-long-feng-wen-guan-bi-yi-ming-272449","笔管以黑漆为底，描金敷彩勾勒游龙舞凤。金红龙身矫健灵动，凤羽婉转柔丽，缠卷祥云衬于其间，纹样饱满华贵，尽显雍容气度。管身填金题字端方古雅，与繁丽纹饰相映成趣。金属饰箍光泽内敛，划分出雅致层次，紫毫笔锋齐挺锐利，兼融实用与装饰之美。\n\n整器漆色莹润亮泽，髹饰工艺精湛考究，纹饰排布疏密得宜，将传统漆艺与文房雅器精妙结合，是工艺美学与文房实用价值融合的典范，携带着旧日东方雅致意趣，静静诠释着古人案头的风雅追求。",[7,602,28,604,702,302],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40789e52a80e28450342e1f3f55d1424.jpg",[],{"id":1526,"slug":1527,"title":1528,"dynasty":125,"author":90,"museum":48,"description":1529,"tags":1530,"thumbUrl":1531,"material":188,"size":189,"collection":61,"collections":1532,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},272448,"xuan-de-kuan-hei-qi-miao-jin-long-feng-wen-guan-bi-yi-ming-272448","宣德款黑漆描金龙凤纹管笔","此器以髹黑漆为底，金彩为饰，龙凤身姿矫健灵动，穿梭于缠枝花卉之间，线条婉转细腻，纹饰繁丽饱满。描金漆色明丽鲜亮，与深沉乌漆相映，尽显华贵雍容。龙凤气韵生动，缠枝柔媚舒展，将瑞兽灵姿与雅致花韵相融，细节处尽显工艺匠心。落款字体端雅方正，古意盎然，整体器型修长匀整，将宫廷制器的富丽精致与文房雅器的隽永格调合二为一，是髹漆制笔工艺的上乘之作。",[602,7,603,28,604],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bcd4abd0ff38ad755102c7903faaf09.jpg",[],{"id":1534,"slug":1535,"title":1536,"dynasty":125,"author":90,"museum":48,"description":1537,"tags":1538,"thumbUrl":1539,"material":188,"size":189,"collection":61,"collections":1540,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},272447,"xuan-de-kuan-hei-qi-miao-jin-yun-long-wen-guan-bi-yi-ming-272447","宣德款黑漆描金云龙纹管笔","此笔以乌亮黑漆为底，描金云龙纹饰蜿蜒其上。龙躯矫健遒劲，穿游于云霭之间，身姿灵动张扬，尽显磅礴威仪。金彩在漆地映衬下愈显鲜亮夺目，线条勾勒细腻流畅，每一处纹路都尽显匠者精妙工力。纹饰排布疏密相宜，繁而不杂，漆色莹润饱满，虽经岁月淘洗，依旧光泽动人。将祥瑞寓意与髹漆工艺相融，把器物的实用价值与美学价值揉合无间，尽显传统工艺的极致匠心与东方器物美学的独特意蕴。",[7,602,603,903],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb945c51ebb17c69f6d350085632fa640.jpg",[],{"id":1542,"slug":1543,"title":1544,"dynasty":125,"author":90,"museum":48,"description":1545,"tags":1546,"thumbUrl":1547,"material":188,"size":189,"collection":61,"collections":1548,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},272446,"jia-jing-kuan-cai-qi-shuang-long-wen-guan-bi-yi-ming-272446","嘉靖款彩漆双龙纹管笔","以黑漆为素地，描金敷彩刻绘双龙穿云，龙躯矫健灵动，盘旋腾跃于火云之间，线条遒劲舒展。金彩莹亮饱满，朱红、赭色晕染云纹与焰纹，明暗相生，将祥龙威仪尽显。\n\n髹漆工艺精妙绝伦，漆面匀净光润，黄铜束箍为素雅笔管添一分古朴华贵，整体形制修长雅致，将文房器物的隽秀审美与高超髹饰工法相融，尽显雅致端庄的古典意趣，是文房之中别具风韵的精工之作。",[7,602,28,702],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3411a0839d39e14776e5a65454acc83.jpg",[],{"id":1550,"slug":1551,"title":1552,"dynasty":125,"author":90,"museum":48,"description":1553,"tags":1554,"thumbUrl":1555,"material":188,"size":189,"collection":61,"collections":1556,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},272445,"xuan-de-kuan-hei-qi-miao-jin-long-feng-wen-guan-diao-hao-bi-yi-ming-272445","宣德款黑漆描金龙凤纹管貂毫笔","此笔以乌漆为地，描金饰纹，华贵雍容。管身龙凤缠穿于盛放的花卉间，龙姿矫健，凤态柔婉，线条婉转灵动，金彩在幽黑漆面映衬下熠熠生辉，尽显御制器物的堂皇气度。\n\n髹漆匀净莹润，描金走线细腻流畅，匠艺炉火纯青。笔尾款识端方规整，暗合御制的考究严苛，搭配锋颖挺括的貂毫，将皇家的华贵雅致与文房清趣相融，漆色如夜，金芒似星，勾勒出独属御作的矜贵风骨，是文房器物中的上乘佳作。",[7,602,603,28,604,641,302],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ee545cc31e0693de93748f25a90dbc4.jpg",[],{"id":1558,"slug":1559,"title":1560,"dynasty":18,"author":90,"museum":48,"description":1561,"tags":1562,"thumbUrl":1563,"material":188,"size":189,"collection":61,"collections":1564,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},272031,"xiang-ya-guan-hong-mu-dou-wan-guo-lai-chao-yang-hao-ti-bi-yi-ming-272031","象牙管红木斗万国来朝羊毫提笔","此提笔选料考究，象牙笔管莹润似玉，质地匀净细腻，阴刻题字隽秀端雅，暗含文韵。红木笔斗色泽沉穆，将丰厚莹白的羊毫稳稳收束，锋颖饱满柔韧，兼具柔顺笔性与支撑力道。整体形制雍容大气，将材质肌理之美与制笔工巧相合，静立之间既有文房清玩的雅致格调，又暗合题名的吉庆寓意，尽显清代制笔工艺的匠心造诣，藏着旧时文房的华贵风骨。",[7,559,80,1046,302],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F002e7ee6be1b8e8a844dbf1422f7be31.jpg",[],{"id":1566,"slug":1567,"title":1560,"dynasty":18,"author":90,"museum":48,"description":1568,"tags":1569,"thumbUrl":1571,"material":188,"size":189,"collection":61,"collections":1572,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},272027,"xiang-ya-guan-hong-mu-dou-wan-guo-lai-chao-yang-hao-ti-bi-yi-ming-272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的遗址中，发现了一套原始人用以陶器彩绘的工具，其中有一方石砚，砚有盖，砚面微凹，凹处并有一根石质磨杵，砚旁留存数块黑色颜料。很显然，这是先民们借助磨杵研磨颜料的早期砚的形制。由于这处遗址归属于母系氏族时期的仰韶文化，故这方砚台的实际寿龄已超过了五千年了。\n清代端石砚要求因材施艺，因石构图，在题材、立意、构图、造型、利用何种雕法都要精心推敲，刻划得当。保持了端砚的古雅、朴实，古色古香、形态自然的特点。如北京故宫收藏的「端石双龙砚」、「猫蝶砚」是端砚中的佳品。",[31,7,115,116,1958],"文房用品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a3c13a46ca7a6f93f3356477d10eb4d.jpg",[],{"id":1962,"slug":1963,"title":1964,"dynasty":18,"author":90,"museum":48,"description":557,"tags":1965,"thumbUrl":1966,"material":188,"size":189,"collection":61,"collections":1967,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},270983,"cheng-fen-wen-ju-qing-yu-guan-zi-yang-hao-ti-bi-yi-ming-270983","成份文具-青玉管紫羊毫提笔",[7,631,302,1046],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F125061d7c120e6a8af552525ec67c44a.jpg",[],{"id":1969,"slug":1970,"title":1971,"dynasty":18,"author":90,"museum":48,"description":1972,"tags":1973,"thumbUrl":1974,"material":188,"size":189,"collection":61,"collections":1975,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":193},270982,"cheng-fen-wen-ju-si-cang-shu-wu-si-yong-ce-yi-ming-270982","成份文具-四藏书屋四咏册","此作用乌金纸为底，泥金小楷灿若月华，笔画秀劲端凝，结体匀整端庄，是清代馆阁体的上乘风貌。所书咏砚佳句清隽雅致，将文人藏砚爱砚的深挚情怀融于笔底。四周鎏金缠枝纹饰工丽雅致，与规整书法相映成趣，尽显文房雅事的精致意趣，笔墨间晕染出旧时文人案头的幽远雅韵，是兼具笔墨审美与文心雅趣的佳品。",[114,669,58,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09ebb8b6161d90ce21dce213281b05ef.jpg",[],{"id":1977,"slug":1978,"title":1979,"dynasty":18,"author":90,"museum":48,"description":557,"tags":1980,"thumbUrl":1981,"material":188,"size":189,"collection":61,"collections":1982,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},270979,"cheng-fen-wen-ju-qing-yu-guan-bi-yi-ming-270979","成份文具-青玉管笔",[7,631,686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c2a11172dfdab8ed1a091db0c39ff86.jpg",[],{"id":1984,"slug":1985,"title":1986,"dynasty":18,"author":90,"museum":48,"description":1987,"tags":1988,"thumbUrl":1989,"material":188,"size":189,"collection":61,"collections":1990,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},270972,"cheng-fen-wen-ju-zhu-guan-bi-yi-ming-270972","成份文具-竹管笔","笔管取用湘妃竹材，天然褐红斑痕似晕开的泪痕，疏密错落自带清雅古意。通体不施多余雕饰，留存竹质温润肌理，仅以素色镶口收尾，简约克制。紫红笔锋挺括饱满，静默诉说着旧时案头的文墨日常。它将造物天工与文人情趣相融，褪去浮华，以朴素静穆的气质，诠释中式文房里天然去雕饰的美学意韵，仿佛能牵起与古文人临池挥毫的共情，是藏于日常里的文房清玩佳品。",[7,938,302,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9827d776ce2f8dc625e6dec45a6e4024.jpg",[],{"id":1992,"slug":1993,"title":1994,"dynasty":18,"author":90,"museum":48,"description":1995,"tags":1996,"thumbUrl":1997,"material":188,"size":189,"collection":61,"collections":1998,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},270959,"cheng-fen-wen-ju-ti-hong-ren-wu-guan-bi-yi-ming-270959","成份文具-剔红人物管笔","此器以剔红工艺精心雕就，朱红漆层沉润古雅，浮雕人物景致错落铺陈于笔管之上。刀工圆熟细腻，人物身形灵动、情态宛然，衬以周遭布景，将方寸笔管晕开鲜活意趣。笔身局部露出素胎，与浓丽朱红相映，更添清雅隽秀之韵。整器兼具文房实用与案头赏玩之妙，尽显清代雕漆工艺的精湛造诣，藏纳着文人士子案头的风雅意趣。",[7,602,536,27,302],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe78a30252d67504a964fe4ca9fe47e80.jpg",[],{"id":2000,"slug":2001,"title":1994,"dynasty":18,"author":90,"museum":48,"description":2002,"tags":2003,"thumbUrl":2004,"material":188,"size":189,"collection":61,"collections":2005,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},270958,"cheng-fen-wen-ju-ti-hong-ren-wu-guan-bi-yi-ming-270958","此件以剔红工艺制成，朱红漆色沉敛古雅，尽显温润质感。笔管一端起阳文篆书，线条匀挺庄重，古韵悠然。管身透雕人物行游图景，刀工爽利细腻，人物衣袂翩然如生，场景排布错落有致，将旅途意趣娓娓道来，尽显清代雕漆的精湛造诣。它既是挥毫濡墨的文房实用之器，亦是可赏可藏的工艺佳制，凝缩着旧时文房的雅致意趣，将传统工艺的美学意蕴藏于尺管之间。",[7,602,536,686,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafa0604905475e66fae5cffa9bf575aa.jpg",[],{"id":2007,"slug":2008,"title":2009,"dynasty":18,"author":90,"museum":48,"description":2010,"tags":2011,"thumbUrl":2012,"material":188,"size":189,"collection":61,"collections":2013,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},270949,"cheng-fen-wen-ju-zhu-guan-wei-jing-wei-yi-zi-hao-bi-yi-ming-270949","成份文具-竹管惟精惟一紫毫笔","此笔以素竹为管，肌理温润匀净，不着华饰，自带清简雅致的文房气韵，管身题字隽秀，暗合文人修身治学的心境。紫毫笔头锋颖锐利挺健，色呈青褐，捆扎紧实，是专为小楷细书打造的佳器。整体形制简约克制，尽显旧时文房器物重实尚雅的审美意趣，静静伫立间，仿佛仍能窥见往昔案头研墨挥毫的风雅余韵，将文人内敛沉静的笔墨心事藏于一身，是兼具实用价值与审美意涵的文房好物。",[7,302,1035,713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54f5a783a3836998d8ab149389e068fb.jpg",[],{"id":2015,"slug":2016,"title":2017,"dynasty":18,"author":90,"museum":48,"description":2018,"tags":2019,"thumbUrl":2020,"material":188,"size":189,"collection":61,"collections":2021,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},270787,"nan-mu-guan-dou-zi-yang-hao-ti-bi-yi-ming-270787","楠木管斗紫羊毫提笔","这支提笔以楠木为管，肌理温润凝实，造型线条收放雅致，褪去繁复雕饰，尽显素净沉稳的中式意韵。紫羊毫搭配的笔头颇具巧思，紫毫劲挺支撑，羊毫柔润蓄墨，锋颖饱满齐整，兼顾了力道与晕染层次，可从容应对大小幅面的书画创作。它静静承载着旧时文房的风雅日常，将匠人制笔的细致用心藏于形制毫末之间，是实用与审美兼备的文房佳物。",[7,80,1046,302],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ec8caf3443e848d3c174d976887c5d7.jpg",[],{"id":2023,"slug":2024,"title":2025,"dynasty":125,"author":90,"museum":48,"description":2026,"tags":2027,"thumbUrl":2028,"material":188,"size":189,"collection":61,"collections":2029,"showCount":11,"zanCou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