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。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[24,23,25,29,27,26,76,7,77,32],"松树","斗茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd293d5a9de59641719f10323cd0d6158.jpg","未知","Xcm*Xcm",[],281,4,{"id":85,"slug":86,"title":87,"dynasty":88,"author":89,"museum":90,"description":91,"tags":92,"thumbUrl":97,"material":98,"size":99,"collection":100,"collections":101,"showCount":102,"zanCount":103,"manualWeight":11,"mainColor":43},219264,"jin-ding-he-mei-tu-gai-qi-219264","金鼎和美图","清","改琦","美国弗利尔美术馆","画面中仕女群像情态和融，居中者衣袂温婉，手持细物若有所思；旁侧侍女或捧壶侍立，或举灯相照，姿态轻柔。案上金鼎、茶具雅致，衬出闺阁的娴静。线条细劲如丝，衣纹飘逸灵动，设色温润淡雅，发髻钗饰精巧入微。人物间互动自然，暖意融融，将日常闺中场景绘成一幅清丽雅致的和美图卷，尽显清代仕女画的秀逸韵致。",[52,23,25,93,26,27,29,94,95,96,60,7],"立轴","美人","侍女","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80d9eae989c0fdce3e7f5b0ecf0ef7bb.jpg","纸本,设色","190 × 67.7 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画，然观其时代气息，应为宋人所作。",[52,23,24,110,26,27,29,94,7,56,111],"扇面","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6783b061be5eddc485e3cd90b44470fd.jpg",[],143,{"id":116,"slug":117,"title":118,"dynasty":71,"author":119,"museum":120,"description":121,"tags":122,"thumbUrl":125,"material":36,"size":62,"collection":40,"collections":126,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":128},219592,"pin-cha-tu-chen-hong-shou-219592","品茶图","陈洪绶","香港艺术馆","该场景画在一个开放的空间里，用石头、木桌、茶具和荷花装饰。两个高卓人相对而坐，最近的一个已经弹完了古筝，而对面的人则坐在一张大香蕉叶上，一起喝香茶。",[23,24,25,93,26,27,56,29,123,124,7,111],"孤石","荷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe38a7bfcb0587783355bda0d2f3e792b.jpg",[40],75,"37474F",{"id":130,"slug":131,"title":132,"dynasty":88,"author":133,"museum":134,"description":135,"tags":136,"thumbUrl":140,"material":98,"size":141,"collection":40,"collections":142,"showCount":143,"zanCount":11,"manualWeight":11,"mainColor":144},219425,"shui-hui-yuan-ya-ji-tu-zhou-dai-cang-219425","水绘园雅集图轴","戴苍","上海博物馆","此画记录了冒辟疆等名士在其私家园林水绘园中的一次雅集。园中山水清远，松荣菊艳，一位僧人打坐石下。两位文人在树下品茶论茗，神态怡然。画面中心石桌前一位老者展卷沉吟，正要落笔作画，另一人据案闲坐，须发尽白，是座中年纪最长的，据画上题跋，已有八十三岁。而画面正中扶手竹椅上坐着的正是此时六十五岁的水绘园主人冒辟疆，他正慈祥看着自己的孙子若有所思。",[24,23,25,93,27,26,29,137,58,138,76,30,7,139],"山水","岩石","文人雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed7cdd29f797fe827316b5107f1946d5.jpg","纵146厘米，横72.9厘米",[40],74,"BDBDBD",{"id":146,"slug":147,"title":148,"dynasty":149,"author":150,"museum":73,"description":151,"tags":152,"thumbUrl":155,"material":79,"size":80,"collection":62,"collections":156,"showCount":157,"zanCount":11,"manualWeight":11,"mainColor":128},288966,"xiao-yi-zhuan-lan-ting-tu-yan-li-ben-288966","萧翼赚兰亭图","唐","阎立本","《萧翼赚兰亭图》是唐代画家阎立本创作的绘画，原本已佚。现存三本宋代摹本，北宋摹本藏于辽宁省博物馆，南宋摹本藏于台北故宫博物院，还有一本宋代摹本藏于北京故宫博物院。\n北宋摹本和南宋摹本大体相同，都是以辩才和尚与萧翼为中心，图左一老一少正在煮茶。不同之处在于，北宋本画一童仆手抱《兰亭记》从右方出来，而南宋本则是在辩才和尚与萧翼之间，画一侍立僧人。画面简单，若无画题提示会以为是高僧与文士的茶会雅集而已，但实际上描绘的是萧翼从辩才和尚手中骗取王羲之《兰亭序》的故事。北京故宫藏本相对较简略，左侧没有煮茶的人。",[24,23,25,27,29,153,56,154,7,26],"宗教","历史画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81c426edbd3947eb221f92714358728a.jpg",[],73,{"id":159,"slug":160,"title":161,"dynasty":71,"author":162,"museum":73,"description":163,"tags":164,"thumbUrl":172,"material":79,"size":80,"collection":62,"collections":173,"showCount":157,"zanCount":11,"manualWeight":11,"mainColor":144},235582,"yu-chuan-zhu-cha-tu-zhou-ding-yun-peng-235582","玉川煮茶图轴","丁云鹏","图中描绘出唐代名士卢仝煮茶的情景，是丁云鹏晚年创作的工笔精细画作。卢仝（约796—835年），济源人，祖籍范阳（今河北涿州），早年隐居少室山，自号玉川子，后移居洛阳。诗文俱佳，曾作《月蚀诗》以刺时政，得到韩愈的称赞。性好饮茶，所作《茶歌》中句多奇警。画面上的卢仝身着便服，头戴襆巾，手持羽扇，单腿盘坐于芭蕉前的青石上，背后怪石嶙峋，修竹碧绿，两名仆人在旁侍候。卢仝目不转睛地注视着火上的茶炉，全神贯注的神情被刻划得细致入微。画面花、竹、芭蕉笔笔刻画工整，怪石的阴阳、纹理交代清晰，赋色清淡冷隽，葱翠欲滴，闲和严静的幽雅气氛直扑人面。人物衣纹则用飘洒不群的高古游丝描，或清圆细劲的铁线描，以区别不同质地的衣料，显示出画家别具匠心之处。全图的绘画技巧变化多样而风格基调统一，人物神情生动，树石生机勃勃，笔法如行云流水，超然出众",[24,23,25,93,27,26,29,165,166,167,168,169,7,170,171],"竹","蕉叶","怪石","流水","花卉","长袍","庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe1a43a9c64722e33546b4e6cdbb8bfa.jpg",[],{"id":175,"slug":176,"title":177,"dynasty":71,"author":162,"museum":49,"description":163,"tags":178,"thumbUrl":181,"material":182,"size":183,"collection":100,"collections":184,"showCount":185,"zanCount":11,"manualWeight":11,"mainColor":43},237895,"ming-ren-zhu-cha-tu-zhou-ding-yun-peng-237895","明人煮茶图轴",[23,25,93,27,26,29,179,180,169,7],"芭蕉","竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F094a120df71d56d0cb60610819a00d95.jpg","纸本设色","纵137.3厘米，横64.4厘米",[100],57,{"id":187,"slug":188,"title":189,"dynasty":71,"author":48,"museum":73,"description":190,"tags":191,"thumbUrl":193,"material":79,"size":80,"collection":62,"collections":194,"showCount":195,"zanCount":11,"manualWeight":11,"mainColor":43},287563,"ming-ren-pin-cha-tu-yi-ming-287563","明人品茶图","苍松虬劲，古藤垂绕，将山林幽寂晕染开来。林下雅士围坐，一人展卷吟哦，一人捧盏凝思，眉宇间尽是松弛自在。旁侧童子煨火煮茶，溪畔稚童俯身汲水，动静相映，把春日雅集的闲逸铺陈开来。\n\n笔墨朴拙古雅，山石皴染厚重，人物意态舒展，将文人寄情林泉、品茶论书的林下之趣勾勒尽致。松涛泉声仿佛随画卷漫出，隔绝喧嚣，只余清茗香气与书卷文思，尽显雅致风流，把静心忘俗的意趣藏在寸寸绢素之中。",[23,93,27,29,76,59,168,192,7,24,25],"品茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2f61d450f734bcdaa1462c5372d5cf5.jpg",[],48,{"id":197,"slug":198,"title":199,"dynasty":88,"author":200,"museum":73,"description":201,"tags":202,"thumbUrl":208,"material":79,"size":80,"collection":62,"collections":209,"showCount":210,"zanCount":11,"manualWeight":11,"mainColor":144},239338,"bai-yin-shi-cha-zhou-niu-shu-239338","柏荫试茶轴","钮枢","钮枢，清代女画家，字汉藩，吴县（今江苏苏州）人。工仕女，宗仇英。",[23,25,93,27,26,29,203,60,170,204,205,7,206,207],"柏树","胡须","古代服饰","木桌","树下互动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5176c4f5479c2f219143b741149cb5c.jpg",[],36,{"id":212,"slug":213,"title":214,"dynasty":88,"author":215,"museum":20,"description":216,"tags":217,"thumbUrl":234,"material":182,"size":235,"collection":62,"collections":236,"showCount":210,"zanCount":65,"manualWeight":11,"mainColor":144},223325,"tai-ping-chun-shi-tu-juan-ding-guan-peng-223325","太平春市图卷","丁观鹏","画成于乾隆七年(1742年)，描绘新春时节乡欢庆过年情景，从乡人互相打躬作揖，摊贩卖爆竹，打太平鼓，耍猴戏，跑旱船，瞎眼看相人，戏棚上演掌中班，货郎担，游人市贩，竹篱人家，松树桃竹，画得非长生动而逼真。画面展示了爆竹、太平鼓、果品、鸟鱼挑摊，以及各种行业的耍猴货郎、算命、跑旱船、演傀儡戏的表演艺人。松树下文士席坐品茶闲聊，朱漆托盘内置有紫砂大壶与青花碗，盛装泉水则用绿地花卉大壶、茶铫。挑夫担子盛放糕点使用的是青花与描红龙纹碗、盘，均是乾隆时期宫廷用器，可知街上买卖艺人都是由宫中侍仆所装扮。",[52,24,23,25,218,27,26,29,219,220,221,222,223,224,225,226,227,228,192,7,229,76,230,231,232,233],"长卷","新春","乡市","拜年","爆竹","太平鼓","耍猴","傀儡戏","货郎担","算命","跑旱船","餐具","桃竹","竹篱人家","艺人","游人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf9318a6d8afcb23dedc43ae2cc2b434.jpg","纵30.3厘米，横233.5厘米",[],{"id":238,"slug":239,"title":240,"dynasty":88,"author":241,"museum":242,"description":243,"tags":244,"thumbUrl":256,"material":257,"size":258,"collection":62,"collections":259,"showCount":210,"zanCount":11,"manualWeight":11,"mainColor":144},223055,"hong-lou-meng-180-sun-wen-223055","红楼梦180","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",[52,26,27,245,29,246,247,124,248,249,250,58,251,252,7,253,254,171,255],"界画","楼阁","亭","荷叶","池塘","栏杆","圆形窗","桌椅","扇子","鸭子","室内场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f50c00b41d18bf698643e1b41df6987.jpg","绢本","纵43.3厘米、横76.5厘米",[],{"id":261,"slug":262,"title":263,"dynasty":71,"author":162,"museum":73,"description":264,"tags":265,"thumbUrl":269,"material":79,"size":80,"collection":62,"collections":270,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":43},289876,"lu-jiu-tu-zhou-ding-yun-peng-289876","漉酒图轴","该画描绘的是东晋陶渊明漉酒的生活情景。\n漉酒即将所酿的新酒用纱布过滤澄清的一道工序。\n庭院中老柳三株，浓叶成荫，树下一髯者与二童子作漉酒状。湖石及树边丛菊盛开，表现出秋高气爽的季节。用笔细致，衣摺用铁线描，富有质感。设色古艳，构思精密。\n画面中央，陶渊明脱巾散发，籍虎皮而坐，风神潇洒、气度轩昂；两童子相对助其漉酒，稚气可掬。上方有三树高柳，绿茵浓密，树根石隙，菊英缤纷，竞吐芬芳。柳菊相应，点明了夏末秋初酿酒的节候特征，也渲染了陶渊明独特的品格与心胸。本图着意通过人物动态神情的刻划，环境道具的烘托，成功地揭示出陶渊明超旷虚灵、静穆澹远的性格。",[24,23,25,93,27,26,29,266,59,267,7,268,32],"柳树","花草","漉酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0609eaca6db96cf92ecdee6505dba58.jpg",[],35,{"id":273,"slug":274,"title":275,"dynasty":88,"author":241,"museum":242,"description":243,"tags":276,"thumbUrl":279,"material":257,"size":258,"collection":62,"collections":280,"showCount":281,"zanCount":11,"manualWeight":11,"mainColor":144},223038,"hong-lou-meng-163-sun-wen-223038","红楼梦163",[52,23,26,27,245,29,246,171,250,277,137,58,267,252,7,111,278,55],"屏风","聚会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a77715bf17c0334e164e3416334c83b.jpg",[],31,{"id":283,"slug":284,"title":285,"dynasty":88,"author":215,"museum":73,"description":286,"tags":287,"thumbUrl":294,"material":79,"size":80,"collection":62,"collections":295,"showCount":296,"zanCount":11,"manualWeight":11,"mainColor":144},287443,"mo-yan-li-ben-xiao-yi-zhuan-lan-ting-tu-ding-guan-peng-287443","摹阎立本萧翼赚兰亭图","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。\n丁观鹏擅长画道释人物，也善画山水。曾与弟弟观鹤同供奉于南熏殿。他的画作清宫收藏很多。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有：《摹宋人雪渔图》和《仿韩 七子过关图》，均辑入《中国历代名画集》。",[52,23,218,25,28,27,288,289,290,291,32,292,7,293,56,55],"人物画","临摹","萧翼赚兰亭","历史故事","侍从","坐具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00d5e4507f97cac7a1fafa57455dce2a.jpg",[],24,{"id":298,"slug":299,"title":300,"dynasty":71,"author":48,"museum":73,"description":301,"tags":302,"thumbUrl":303,"material":79,"size":80,"collection":62,"collections":304,"showCount":305,"zanCount":11,"manualWeight":11,"mainColor":43},238061,"zhang-hong-jiao-yin-wei-cha-shan-yi-ming-238061","张宏蕉荫味茶扇","此作以淡设色铺陈茶事雅集，右侧芭蕉阔叶扶苏，浓荫下摆开茶席，文士围坐清谈品茗，侍童捧器静立，将文人日常闲雅之态铺展眼前。细劲墨线勾勒人物衣纹，神态宛然灵动，芭蕉与坡石晕染秀润柔和，泥金扇底晕开古雅光泽。画面疏密相宜，左侧留白衬出清寂悠远的意境，将文人耽于茶趣、寄兴林泉的雅逸心境尽数藏于尺幅之间，笔墨隽秀平和，尽显小品画里茶事雅集的悠然意趣。",[110,23,25,53,28,27,29,179,59,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f866725105e3160e49352cadb13d358.jpg",[],18,{"id":307,"slug":308,"title":309,"dynasty":88,"author":241,"museum":242,"description":243,"tags":310,"thumbUrl":324,"material":257,"size":258,"collection":62,"collections":325,"showCount":326,"zanCount":11,"manualWeight":11,"mainColor":144},222919,"hong-lou-meng-44-sun-wen-222919","红楼梦44",[52,26,27,245,29,171,246,58,179,180,311,312,267,252,7,313,250,314,315,316,317,318,277,319,320,321,322,323,32],"假山","盆栽","回廊","圆形门洞","石阶","石墩","古典建筑","窗棂","宴饮","赏花","绿植","石景","仕女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49e9dd68d51b05a8326c6123fca2f6e4.jpg",[],17,{"id":328,"slug":329,"title":330,"dynasty":331,"author":48,"museum":73,"description":332,"tags":333,"thumbUrl":339,"material":79,"size":80,"collection":62,"collections":340,"showCount":341,"zanCount":11,"manualWeight":11,"mainColor":43},291020,"hua-ting-qin-tu-zhou-yi-ming-291020","画听琴图轴","元","此幅作品描绘官僚贵族雅集听琴的场景。作者以琴声为主题，巧妙地用笔墨刻画出“此时无声胜有声”的音乐的意境。画面背景简洁，如盖的青松和摇曳的绿竹衬托出庭园高雅脱俗的环境，而几案上香烟袅袅的熏炉与玲珑石上栽植着异卉的古鼎与优雅琴声一道，营造出一种清幽的氛围。\n画面上方有宰相蔡京手书七言绝句一首，右上有宋徽宗赵佶瘦金书题“听琴图”三字。作品构图简净，人物举止形貌刻画生动传神，衣纹线描劲挺略带战笔，树石器具描写工致而毫无呆板，着色浑厚而不失清丽，是宋代宫廷人物画的代表作品。由于作品本幅有徽宗题名与画押，一度被认为是赵佶所画，后经学者考证，此幅为宣和画院画家描绘徽宗赵佶宫中行乐的作品，而图中抚琴者， 正是赵佶本人。",[23,24,93,29,139,334,335,171,58,336,7,28,56,337,338],"古琴","听琴","家具","乐器","园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc72884ee7009dd3bcb1dddf49a1743f7.jpg",[],16,{"id":343,"slug":344,"title":345,"dynasty":346,"author":347,"museum":348,"description":349,"tags":350,"thumbUrl":355,"material":62,"size":62,"collection":62,"collections":356,"showCount":341,"zanCount":11,"manualWeight":11,"mainColor":144},220509,"bo-gu-tu-huang-jun-bi-220509","博古图","民国","黄君璧","龙美术馆西岸馆","松林烟霭漫卷，清寂林泉间漾出幽远雅致。两位文士围坐展卷品赏，案头砚池、杯盏错落，文士姿态悠然松弛，静享观画雅趣。松下童子提壶候立，动静之间衬出林下闲寂氛围。\n\n画师笔触清润秀逸，松干皴苍劲朴拙，松针细密劲挺晕染出郁郁古意，远景林麓以淡墨晕开，揉出水墨空濛的山水诗意，敷色浅柔明净，将文人雅集的疏放意兴与林泉栖居的静穆旨趣相融，尽绘传统文人藏于日常雅事中的清远襟怀。",[23,27,26,29,32,351,76,137,352,353,354,7,58],"童子","草地","河流","石桌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c3e093fa547734000991435aa3f94c3.jpg",[],{"id":358,"slug":359,"title":360,"dynasty":88,"author":361,"museum":49,"description":362,"tags":363,"thumbUrl":367,"material":368,"size":369,"collection":62,"collections":370,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":144},238289,"yu-lan-shi-nv-qing-yu-tu-ce-yu-lan-238289","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。",[24,23,25,364,26,27,29,94,60,7,365,111,366],"册","炉具","饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb8658dfa2152f618cc954d065414138.jpg","纸本、设色","每开纵17厘米，横22.7厘米",[],10,{"id":373,"slug":374,"title":375,"dynasty":88,"author":376,"museum":73,"description":377,"tags":378,"thumbUrl":382,"material":62,"size":62,"collection":62,"collections":383,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":144},230149,"jiu-ri-xing-an-wen-yan-tu-ye-fang-lin-230149","九日行庵文宴图","叶芳林","这幅雅集图里，茂林修竹、丹木青柯错落铺展，园林雅致悠然。文士或围坐展卷品评，或挥毫泼墨，松下石边二三知己清谈对坐，侍童随侧研墨奉茶，众人情态各别、意态从容。\n\n设色清润秀雅，淡晕花青赭石晕染花木，衣纹线条简净流畅，将文人士大夫秋日宴聚、诗酒流连的闲逸高情细腻铺陈，把文宴间的闲散风雅尽数描摹，尽显旧时文人雅集的悠然意趣。",[52,23,25,24,218,27,26,29,58,180,379,380,381,7,32],"石","桌","椅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0249e53ec64a91f819c2127887290d53.jpg",[],{"id":385,"slug":386,"title":387,"dynasty":71,"author":388,"museum":73,"description":389,"tags":390,"thumbUrl":391,"material":79,"size":80,"collection":62,"collections":392,"showCount":393,"zanCount":11,"manualWeight":11,"mainColor":144},237822,"shi-ming-shan-zhang-hong-237822","试茗扇","张宏","张宏（1577年－1652年后），字君度，号鹤涧，江苏苏州长洲县人，明代画家、篆刻家。善画山水、人物、翎毛。擅长山水，颇有意趣，亦能画兰，笔墨有元人古意，是明末吴门画坛的中坚人物。吴中学者尊崇之。另外近代学者指出他擅长“地图式绘画”，描绘旅游所见景色，是与其他吴派画家不同之处。",[110,23,53,28,29,179,7,56,192],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8f0a47e8f4e1fbfeac893a50224a9e3.jpg",[],7,{"id":395,"slug":396,"title":397,"dynasty":18,"author":48,"museum":73,"description":398,"tags":399,"thumbUrl":403,"material":79,"size":80,"collection":62,"collections":404,"showCount":393,"zanCount":11,"manualWeight":11,"mainColor":43},223872,"hei-you-tu-hao-zhan-yi-ming-223872","黑釉兔毫盏","北宋文人所饮的茶系半发酵制成的茶饼，饮用前先碾成细末，放在茶碗内，倾入初沸的开水，于是水面涌起白色的泡末，宋人好为斗茶，即在凭此白色水线比试茶艺高低。蔡襄《茶录》认为饮茶当用建窑茶盏，一因其胎体粗厚能以手捧持，一因其最能衬映白色茶面。这种说法也为宋徽宗《大观茶论》所认同，所谓“盏色贵青黑，玉毫条达者为上，取其焕发茶采色也”，即指黑釉兔毫盏，因此今福建建阳的建窑窑址中发现盏底有“供御”、“进盏”字样的残件，显示其产品亦供宋代内廷使用。带铭刻的建盏有多种字样，如本器者尚未之见。",[18,400,401,402,7,60],"陶瓷","黑釉","兔毫纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde2bddea5200ce3a062913f7e0e5ff70.jpg",[],{"id":406,"slug":407,"title":408,"dynasty":409,"author":48,"museum":73,"description":410,"tags":411,"thumbUrl":418,"material":79,"size":80,"collection":62,"collections":419,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":144},225417,"fu-shi-hui-175-yi-ming-225417","浮世绘175","不详","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，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。",[412,413,27,29,94,414,415,7,416,417],"浮世绘","木刻","和服","发饰","托盘","碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a07afaf00c9072961f6f1e7984f7e80.jpg",[],{"id":421,"slug":422,"title":423,"dynasty":88,"author":48,"museum":73,"description":424,"tags":425,"thumbUrl":429,"material":79,"size":80,"collection":62,"collections":430,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":144},281466,"yin-cha-ju-he-hua-wen-ba-gang-yi-ming-281466","银茶具-荷花纹把缸","这件茶器以细腻浮雕铺陈荷塘盛景，荷茎舒展错落，柔蔓缠连为执柄，顶端花苞凝露待放，写实鲜活。哑光银面晕开岁月浸养的暗褐包浆，复古肌理晕染出沉静雅致的质感，将饮茶日常晕染出江南荷塘的清逸诗意，把实用茶器化作一方袖中盛景，尽显银作工艺的精巧匠心，藏着中式审美里的温婉意趣。",[426,7,427,428,124],"银器","日用具","雕刻","https:\u002F\u002Foss.chuangqi.store\u002F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[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。",[510,427,60,7,428],"铜制","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a6ce0161677894b1951e4d70d9c49dc.jpg",[],{"id":514,"slug":515,"title":516,"dynasty":88,"author":48,"museum":73,"description":517,"tags":518,"thumbUrl":519,"material":79,"size":80,"collection":62,"collections":520,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":144},281464,"yin-cha-ju-he-hua-wen-ti-liang-hu-yi-ming-281464","银茶具-荷花纹提梁壶","此件银壶以柔婉仿竹提梁呼应圆润器身，通体高浮雕荷花水泽景致，花叶舒展饱满、错落层叠，将夏日荷塘的清灵生机凝于莹白银面。盖钮塑作蜷曲瑞兽，为沉静器形添灵动意趣。\n\n配套燃炉与支架亦通体饰缠连花叶，藤蔓蜿蜒成优雅支脚，与壶身纹饰呼应成趣，浑然一体。将茶事风雅意趣融于实用造物之中，尽显精巧匠心，把文人荷塘雅韵藏入日常煎茶之趣，是晚清银作中西合璧工艺的雅致缩影。",[426,427,7,124,428,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a379973577c2e6ce6a88e189e7735a7.jpg",[],{"id":522,"slug":523,"title":459,"dynasty":88,"author":48,"museum":73,"description":460,"tags":524,"thumbUrl":525,"material":79,"size":80,"collection":62,"collections":526,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},273106,"yin-xiao-wan-yi-ming-273106",[426,400,427,7,229,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac19ea51fb3cd9d9b32354a89335de23.jpg",[],{"id":528,"slug":529,"title":530,"dynasty":88,"author":48,"museum":73,"description":531,"tags":532,"thumbUrl":533,"material":79,"size":80,"collection":62,"collections":534,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},273103,"yin-du-jin-xiao-hu-yi-ming-273103","银镀金小壶","这组袖珍茶席将闲情藏于方寸之间。银镀小具哑光沉静，包浆晕开旧时光的温润厚重，带着中式茶事的内敛朴拙。素白彩绘瓷茶器釉色莹润，紫花疏落点缀其上，把文人案头的清雅意趣凝缩在袖珍器型中，每一处笔触都尽显细腻工巧。另一侧矾红茶器鲜妍明快，红彩纹样撞色雅致黑盘，带着别样的鲜活意趣。三套茶器风格各异，织就旧时多元的饮茶图景，虽器型迷你，却将中西茶事审美融于一体，藏着古人寄情茶事的玲珑巧思，尽显工艺里的脉脉温情。",[426,400,427,7,229,464,462,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa33420a9026b92f7c52303e54fbf5ad9.jpg",[],{"id":536,"slug":537,"title":538,"dynasty":88,"author":48,"museum":73,"description":539,"tags":540,"thumbUrl":542,"material":79,"size":80,"collection":62,"collections":543,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":144},270566,"xi-duan-bing-hu-yi-ming-270566","锡端柄壶","此壶造型素净温婉，圆鼓壶身饱满内敛，线条过渡柔和舒展，无多余纹饰，尽展自带的哑光银灰质感，自带着沉静古雅的气质。端柄弯折合度，拿捏趁手，弯嘴挺拔出水爽利，平盖配桥形钮，简洁利落，暗合古人泡茶重实用又求雅韵的意趣。周身包浆温润自然，带着经年使用的浅淡痕迹，是日常茶事里沉淀下的质朴美感，将器物之用与文人审美悄然融合，尽显日常茶器的极简风雅，藏着旧时案头煎茶饮茶的松弛意态。",[60,427,541,7],"锡器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4258c52bf8d115519166a207027481d.jpg",[],{"id":545,"slug":546,"title":547,"dynasty":88,"author":48,"museum":73,"description":548,"tags":549,"thumbUrl":551,"material":79,"size":80,"collection":62,"collections":552,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},270380,"zhu-ping-kuan-yang-peng-nian-xi-qian-yu-bing-liu-hu-yi-ming-270380","竹坪款杨彭年锡嵌玉柄流壶","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。",[541,550,7,427,55,428],"玉石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12c8fcc09a11ab687bd1030ddcff8e07.jpg",[],{"id":554,"slug":555,"title":556,"dynasty":88,"author":48,"museum":73,"description":557,"tags":558,"thumbUrl":559,"material":79,"size":80,"collection":62,"collections":560,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":144},270366,"shen-cun-zhou-kuan-xi-ke-shi-ju-hu-yi-ming-270366","沈存周款锡刻诗句壶","此壶以锡为胎，圆腹饱满柔润，搭配红木弯柄，温雅厚重之余添就一份温润触感。盖钮取青瓷瓜蒂造型，莹润青釉与沉穆锡色相衬，雅致撞色提亮整体。壶身錾刻行书诗句，刀锋利落，将笔墨意韵凝于锡面，文气悠然弥散。整体形制简约内敛，将锡的沉静、木的暖泽、瓷的清莹相融相合，既合日常烹茶之用，又具案头赏玩之趣，尽显旧时文房雅事的审美意趣。",[541,7,427,428,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F014c58fe5e994243b55e8813c2d5e91d.jpg",[],{"id":562,"slug":563,"title":564,"dynasty":88,"author":48,"museum":73,"description":565,"tags":566,"thumbUrl":568,"material":79,"size":80,"collection":62,"collections":569,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":144},270360,"shi-mei-kuan-xi-ke-mei-hua-ti-liang-hu-yi-ming-270360","石梅款锡刻梅花提梁壶","此壶取斗形制式，底开拱门，打破规整形制的板滞，添了几分空灵雅趣。壶身錾刻梅花，枝桠虬曲舒展，花瓣柔婉轻绽，疏朗错落间尽显留白之妙。旁题诗文清雅隽秀，与花绘相映成趣，将文人赏梅寄情的意趣凝于壶身。\n\n三镶玉的柄、钮、流质地莹润素净，清冷锡面配温润玉色，苍劲与柔润相融。整器将茶道雅好与文人情思相合，尽显隽秀古雅的审美意韵。",[541,550,428,567,7,427],"梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a6973caf89216d01c40a05836a8efb9.jpg",[],{"id":571,"slug":572,"title":573,"dynasty":88,"author":48,"museum":73,"description":460,"tags":574,"thumbUrl":579,"material":79,"size":80,"collection":62,"collections":580,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},269739,"qian-long-kuan-pao-zhi-tong-du-jin-li-cha-wan-yi-ming-269739","乾隆款匏制铜镀金里茶碗",[60,427,7,428,575,576,577,578],"匏器","金器","缠枝花卉","回纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb6982c86599127a0b83497b9347ff0c.jpg",[],{"id":582,"slug":583,"title":584,"dynasty":88,"author":48,"museum":73,"description":585,"tags":586,"thumbUrl":590,"material":79,"size":80,"collection":62,"collections":591,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":128},259546,"guang-xu-kuan-qing-hua-yu-zhi-shi-wen-gai-wan-yi-ming-259546","光绪款青花御制诗文盖碗","青花瓷（blue 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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。",[400,587,588,55,589,56,7],"盖碗","青花","楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F411fb95817a2c895cc3605852f65380b.jpg",[],{"id":593,"slug":594,"title":595,"dynasty":88,"author":48,"museum":73,"description":596,"tags":597,"thumbUrl":599,"material":79,"size":80,"collection":62,"collections":600,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},245797,"ci-ku-kuan-yin-cha-tuo-yi-ming-245797","瓷库款银茶托","瓷器是由瓷石、高岭土、石英石、莫来石等烧制而成，外表施有玻璃质釉或彩绘的物器。瓷器的成形要通过在窑内经过高温（约1280℃～1400℃）烧制，瓷器表面的釉色会因为温度的不同从而发生各种化学变化，是中华文明展示的瑰宝。\n中国是瓷器的故乡，瓷器是古代劳动人民的一个重要的创造。谢肇淛在《五杂俎》记载：“今俗语窑器谓之磁器者，盖磁州窑最多，故相延名之，如银称米提，墨称腴糜之类也。”当时出现的以“磁器”代窑器是由磁州窑产量最多所致。这是迄今发现最早使用瓷器称谓的史料。",[598,426,493,7,462],"清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d48dd58c0ba06762c69c9302c533de3.jpg",[],{"id":602,"slug":603,"title":604,"dynasty":88,"author":48,"museum":73,"description":508,"tags":605,"thumbUrl":606,"material":79,"size":80,"collection":62,"collections":607,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},245792,"yu-cha-fang-kuan-yin-pan-yi-ming-245792","御茶房款银盘",[598,426,34,7,428],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F917a0377c0235465051ed65cf853cf3a.jpg",[],{"id":609,"slug":610,"title":611,"dynasty":71,"author":612,"museum":73,"description":613,"tags":614,"thumbUrl":616,"material":62,"size":62,"collection":62,"collections":617,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":618},233561,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233561","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。",[71,413,27,60,7,615],"扇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03be9d1e274267cf1c99b2df873efb8d.jpg",[],"FFFFFF",{"id":620,"slug":621,"title":622,"dynasty":18,"author":48,"museum":73,"description":623,"tags":624,"thumbUrl":628,"material":79,"size":80,"collection":62,"collections":629,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},231444,"hei-se-cha-wan-yi-ming-231444","黑色茶碗","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。",[625,400,401,626,60,7,627],"宋代","单色釉","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2a6305462e9491add61e457955a9f46.jpg",[],{"id":631,"slug":632,"title":633,"dynasty":88,"author":634,"museum":134,"description":635,"tags":636,"thumbUrl":640,"material":62,"size":62,"collection":40,"collections":641,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":642},201284,"ren-wu-tu-ye-luo-pin-2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