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出版。",[25,24,26,77,28,29,7,32,34,111,53,78],"孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25e4009402f3bfb576c6fa71004de73d.jpg","174.6x99.5",[],20,1,{"id":118,"slug":119,"title":120,"dynasty":121,"author":122,"museum":123,"description":124,"tags":125,"thumbUrl":128,"material":129,"size":100,"collection":100,"collections":130,"showCount":115,"zanCount":11,"manualWeight":11,"mainColor":103},216391,"za-hua-ce-3-bian-shou-min-216391","杂画册-3","清","边寿民","旅顺博物馆","他的作品常常被收录在《边寿民杂画册》中。这本画册收录了边寿民的许多作品，包括花鸟画、人物画、山水画等。边寿民的画风浓郁，线条简洁，色彩明快，深受当时社会的喜爱。他的作品也被视为中国画的经典之作。",[23,25,26,126,93,127,78,7,32,96],"册","写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42bcd9bfc2d499dd748088c848c8464d.jpg","纸本,设色",[],{"id":132,"slug":133,"title":134,"dynasty":18,"author":108,"museum":89,"description":135,"tags":136,"thumbUrl":140,"material":98,"size":99,"collection":100,"collections":141,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":44},290778,"xi-yin-yu-mu-yi-ming-290778","溪阴浴牧","早秋的江南，依然残留著盛夏最後一丝的酷热。河岸上，近树犹见绿叶繁茂，远处则已是红叶片片。",[25,126,28,29,78,7,34,137,138,139],"芦草","坡岸","荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea88c8659ed64dbcd22c40c265a57f19.jpg",[],7,{"id":144,"slug":145,"title":146,"dynasty":147,"author":148,"museum":89,"description":149,"tags":150,"thumbUrl":154,"material":98,"size":99,"collection":100,"collections":155,"showCount":142,"zanCount":116,"manualWeight":11,"mainColor":103},287331,"fa-wei-fu-ren-ce-dong-qi-chang-287331","法卫夫人册","明","董其昌","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖）。颇能诗文，著有《画禅室随笔》《容台文集》等。",[96,151,126,152,34,153,7],"楷书","字帖","鸽子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51199fc860509551fb13b94c6f56282e.jpg",[],{"id":157,"slug":158,"title":159,"dynasty":73,"author":108,"museum":89,"description":160,"tags":161,"thumbUrl":167,"material":98,"size":99,"collection":100,"collections":168,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":103},228092,"yu-da-yan-dai-shi-yi-ming-228092","玉大雁带饰","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。",[162,163,164,7,60,165,166],"玉石","雕刻","镂空","元代风格","植物纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F211b640cd0ba8a50e4c981a8c4f0b20b.jpg",[],{"id":170,"slug":171,"title":172,"dynasty":121,"author":122,"museum":20,"description":173,"tags":174,"thumbUrl":180,"material":100,"size":100,"collection":100,"collections":181,"showCount":182,"zanCount":11,"manualWeight":11,"mainColor":183},202580,"lu-yan-tu-zhou-bian-shou-min-202580","芦雁图轴","泼墨挥毫间，芦苇随风摇曳，干笔皴擦出层次叠嶂的野趣。两只大雁姿态各异，一昂首引吭，似与秋风和鸣；一低首理羽，如沉湎于水泽闲情。墨色浓淡相宜，勾勒出雁羽的纹理与质感，红喙红掌轻点，在素净的绢本上晕开鲜活气息。笔意简练却形神兼备，将萧瑟秋意与生灵的灵动融于尺幅，尽显自然之趣与文人笔墨的雅致。",[25,93,78,175,127,176,32,7,177,178,179,23],"芦雁","笔墨","红掌","泼墨","干笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae565b96898f73a4f0a057e975e040b4.jpg",[],2,"987a52",1777535733430]