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林良，字以善，广东广州府南海县扶南堡（今广东佛山市南海区大沥）人，明代著名画家，广东绘画史上第一个进入主流性行列的画家。",[25,26,201,30,52,188,189,7,202,203,204],"明代","禽鸟","禽鸟画","水墨花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9b092c0a58f8959a48a02ec93af2364.jpg","纵146厘米，横88厘米",[36],{"id":209,"slug":210,"title":211,"dynasty":136,"author":165,"museum":46,"description":212,"tags":213,"thumbUrl":216,"material":217,"size":218,"collection":33,"collections":219,"showCount":220,"zanCount":131,"manualWeight":11,"mainColor":106},290959,"lan-ting-guan-e-tu-qian-xuan-290959","兰亭观鹅图","宋钱选兰亭观鹅图卷：传说东晋大书法家王羲之生性喜鹅，曾见一道士有白鹅甚可爱，因书《黄庭经》以换之。此图即钱选据传说附会而成。近景树木蓊郁，竹林茂密，亭台掩映，白鹅戏水，王羲之凭栏观望。远山苍翠，村庄隐现于雾霭山林间。境界秀雅明润，风格古拙高逸。青绿设色，画法直追唐人。钱选（公元1239─1301年），浙江吴兴人。字舜举，宋景定间乡贡进士。为“吴兴八俊”之一。入元不仕，流连诗画以终其身。山水、人物、花鸟无不擅长。",[24,25,26,169,214,29,170,172,215,171,56,173,7,57,53],"青绿","楼阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e36723340126cf3064bb0ea8d3c7df5.jpg","未知","Xcm*Xcm",[],50,{"id":222,"slug":223,"title":224,"dynasty":18,"author":225,"museum":226,"description":227,"tags":228,"thumbUrl":233,"material":32,"size":234,"collection":90,"collections":235,"showCount":236,"zanCount":11,"manualWeight":11,"mainColor":237},219199,"mei-que-shuang-e-tu-wang-ning-219199","梅鹊双鹅图","王凝","美国弗利尔美术馆","此图构图新颖,一支细长的枝杈贯穿全图,分叉垂直树干而上,树冠顶端有两只可爱的喜鹊停留.",[25,24,26,27,28,29,30,85,229,7,230,56,231,232],"鹊","老树","飞鸟","禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F381ee136b10d1f54c70e4e73a1c7fac0.jpg","168.5x93.4",[90],48,"37474F",{"id":239,"slug":240,"title":241,"dynasty":183,"author":184,"museum":185,"description":242,"tags":243,"thumbUrl":244,"material":33,"size":33,"collection":33,"collections":245,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":106},220567,"e-nao-xu-bei-hong-220567","鹅闹","这幅写意小品以淋漓笔墨勾勒群鹅嬉闹之景，淡墨晕染白羽，蓬松柔软，红喙红掌施以浓艳朱色，醒目跳脱，与素洁绒羽形成强烈视觉对比。群鹅姿态各异，前者引吭展翅，步履昂然，后者振翅疾追，将乡野间喧闹鲜活的瞬间定格。背景墨叶以大写意晕染，朦胧错落衬出沙地的柔和明净，笔意纵放间不失精微，把鹅的憨直率性尽数铺展，鲜活灵动的生机跃然纸面，将乡野闲趣揉进笔墨之中，形神兼备，尽显写意花鸟的动人意趣。",[23,25,52,29,188,7,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febd47f325de146d3f35c08e8b1cbe754.jpg",[],42,{"id":248,"slug":249,"title":250,"dynasty":44,"author":251,"museum":46,"description":252,"tags":253,"thumbUrl":260,"material":217,"size":218,"collection":33,"collections":261,"showCount":262,"zanCount":11,"manualWeight":11,"mainColor":106},235115,"xi-zhi-ai-e-tu-zhou-ren-yi-235115","羲之爱鹅图轴","任颐","任颐（1840年－1895年），即任伯年，初名润，字次远，号小楼，后改名颐，字伯年，别号山阴道上行者、寿道士等，以字行，浙江山阴航坞山（今杭州市萧山区瓜沥镇）人，清末著名画家。\n自幼随父卖画，后从任熊、任薰学画，后居上海卖画为生。在“四任”之中，成就最为突出，是“海上画派”中的佼佼者，“海派四杰”之一。任伯年的绘画发轫于民间艺术，技法全面，山水、花鸟、人物等无一不能。重视写生，又融汇诸家法，并吸取水彩色调之长，勾皴点染，格调清新。\n其人物画，早年从陈洪绶法出，形象夸张，富装饰效果。如故宫博物院藏《干莫炼剑图》轴。后练习铅笔速写后，变得较为奔逸，如故宫博物院藏《风尘三侠图》轴等。其写照技艺，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。\n海派中的佼佼者，其绘画发源于民间，重视继承传统，吸收西画技法，形成风姿多采的独特画风，在“四任”中成就最为突出。 　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[25,26,27,29,52,254,171,56,7,255,256,257,258,259],"白描","动物","植物","清代","传统","工写结合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04fa5201165d8c09e15839d296e87072.jpg",[],37,{"id":264,"slug":265,"title":266,"dynasty":18,"author":110,"museum":137,"description":267,"tags":268,"thumbUrl":271,"material":101,"size":272,"collection":36,"collections":273,"showCount":274,"zanCount":11,"manualWeight":11,"mainColor":106},219644,"liu-yin-xi-e-tu-cui-bai-219644","柳阴戏鹅图","此作为边角小景，以极简笔意铺陈幽淡意境。柔垂柳丝以淡墨写就，细枝袅袅垂落晕开浅绿，晕染出水岸阴凉。白鹅卧于坡岸，白羽刻画工细写实，绒软质感呼之欲出，它垂首驻足浅滩，似正流连水畔，憨态悠然尽显生机。坡岸杂草以浓墨点染，枯润相生，将白鹅衬得愈发莹洁剔透。\n\n整幅小品不事雕琢，清雅柔和，将郊野水岸的闲静氛围凝于尺幅之间，以小见大，尽显精微写实与诗意意境相融的雅致美感，让人仿佛置身初夏水岸，独享这片刻宁谧悠然。",[25,26,24,269,29,28,30,270,7,142],"册","柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad6175d0a863e4aed9c5ea44bb06d9fe.jpg","22.4x17.9",[36],33,{"id":276,"slug":277,"title":278,"dynasty":80,"author":68,"museum":46,"description":279,"tags":280,"thumbUrl":281,"material":217,"size":218,"collection":33,"collections":282,"showCount":283,"zanCount":38,"manualWeight":11,"mainColor":39},238961,"he-tang-shuang-e-tu-ye-yi-ming-238961","荷塘双鹅图页","此作用笔秀润雅致，以深秋荷塘为景，残荷欹斜，枯卷的莲蓬与半萎的荷叶自带清冷萧疏之韵，坡岸旁荻草随风轻曳，灵动舒展。\n\n画面里白鹅仰首似在唳鸣，羽毛以淡墨晕染出蓬松柔润的质感，憨态灵动，尽显水禽野逸之态。整体设色淡雅柔和，以留白烘托出水滨空寂的秋意，将深秋荷塘的清寂与生机相融，寥寥数笔便勾勒出幽闲野逸的秋日水居意趣，尽显小品画的雅致隽秀之美。",[25,29,28,30,72,115,7,114,71],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F965428578e8b8005d6e4495e488de86d.jpg",[],30,{"id":285,"slug":286,"title":287,"dynasty":44,"author":288,"museum":152,"description":289,"tags":290,"thumbUrl":295,"material":175,"size":33,"collection":36,"collections":296,"showCount":297,"zanCount":11,"manualWeight":11,"mainColor":106},237345,"liu-e-zhou-lu-hui-237345","柳鹅轴","陆恢","陆恢（1851—1920），清末民初著名画家。原名友恢，一名友奎，字廉夫，号狷叟，一字狷盫，自号破佛盫主人，原籍江苏吴江，居吴县（今江苏苏州）。",[25,26,27,257,29,52,291,30,292,7,293,189,294],"兼工带写","柳树","水面","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bfeaabf9316dbd974dad4d28dbb93e0.jpg",[36],25,{"id":299,"slug":300,"title":301,"dynasty":18,"author":68,"museum":46,"description":302,"tags":303,"thumbUrl":305,"material":217,"size":218,"collection":33,"collections":306,"showCount":307,"zanCount":11,"manualWeight":11,"mainColor":39},289935,"he-tang-shuang-e-tu-yi-ming-289935","荷塘双鹅图","宋代绘画是在中国宋代期间的绘画作品，中国宋朝延续300多年，其绘画在隋唐五代的基础上继续得到发展。民间绘画、宫廷绘画、士大夫绘画各自形成体系，彼此间又互相影响、吸收、渗透，构成宋代绘画丰富多彩的面貌。\n北宋统一消除了封建割据造成的分裂和隔阂，在一段时期内社会保持着相对安定局面，商业手工业迅速发展，城市布局打破坊和市的严格界限，出现空前未有的繁荣。南宋虽然偏安江南，由于物产丰盛的江、浙、湖、广地区都在其境内，大量南迁的北方人和南方人一起共同开发江南，经济、文化都得到继续发展并超过北方。北宋的汴梁（今河南省开封市）、南宋的临安（今浙江省杭州市）等城市商业繁盛，除贵族聚集外，还住有大量的商人、手工业者和市民阶层，城市文化生活空前活跃，绘画的需求量明显增长，绘画的服务对象也有所扩大，为绘画发展和繁荣提供了物质条件和群众基础。\n宋代绘画进入手工业商业行列，与更多的群众建立较为密切的联系。一批技艺精湛的职业画家，将作品作为商品在市场上出售，汴京及临安都有纸画行业。汴京大相国寺每月开放5次庙会，百货云集，其中就有售卖书籍和图画的摊店；南宋临安夜市也有细画扇面、梅竹扇面出售；汴京、临安等地的酒楼也以悬挂字画美化店堂，作为吸引顾客的手段。市民遇有喜庆宴会，所需要的屏风、画帐、书画陈设等都可以租赁。适应年节的需要，岁末时又有门神、钟馗等节令画售卖，为市甚盛。北宋时，汴京善画“照盆孩儿”的画家刘宗道，每创新稿必画出几百幅在市场一次售出，以防别人仿制；专画楼阁建筑的赵楼台；画婴儿的杜孩儿，也在汴京享有盛名。吴兴籍军人燕文贵常到汴京州桥一带卖画。山西绛州杨威，善画村田乐，每有汴京贩画商人买画，他即嘱其如到画院门前去卖，可得高价。社会对绘画的需求和民间职业画家创作的活跃，是推动宋代绘画发展的重要因素。宋代由于手工业的发达，促成了雕版印刷的发展与普及，出现了汴京、临安、平阳、成都、建阳等雕版中心，不少书籍及佛经都附有版画插图，现存宋金雕印的弥勒像、陀罗尼经咒、《佛国禅师文殊指南图赞》、《赵城藏》等，可见其绘刻之精美程度。",[23,71,25,24,28,29,30,72,7,189,304],"荷塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa0bc03df74eb2c161e86d8b4cda793a.jpg",[],24,{"id":309,"slug":310,"title":211,"dynasty":136,"author":165,"museum":46,"description":212,"tags":311,"thumbUrl":312,"material":217,"size":218,"collection":33,"collections":313,"showCount":314,"zanCount":11,"manualWeight":11,"mainColor":106},290934,"lan-ting-guan-e-tu-qian-xuan-290934",[23,24,25,169,214,29,28,170,172,173,56,7,171,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8744c94812f8aa13025d9c4a895ac31.jpg",[],23,{"id":316,"slug":317,"title":318,"dynasty":80,"author":319,"museum":46,"description":320,"tags":321,"thumbUrl":328,"material":33,"size":33,"collection":33,"collections":329,"showCount":330,"zanCount":11,"manualWeight":11,"mainColor":39},228295,"xi-zhi-long-e-tu-chen-hong-shou-228295","羲之笼鹅图","陈洪绶","《右军笼鹅图》是明代陈洪绶创作的一幅纸本设色画。\n陈洪绶(1597—1652年)，字章侯，号老莲、悔迟，诸暨（今属浙江省）人。\n明代画家。\n早年受业于著名学者刘宗周、黄道周门下，1642年曾到北京为国子监生，授中书舍人，供奉内廷，不久即离京南归。\n明朝灭亡后，为躲避清兵，一度在绍兴云门寺出家为僧，自号悔迟，亦号老迟。\n后在杭州以卖画为生。\n工诗，擅画，山水、人物、花鸟无一不精。\n其画初受蓝瑛影响，后广泛临学古人，并大胆突破创新，所作人物、花鸟形象古拙，擅用夸张变形手法，独树一帜，为晚明变形主义绘画大师。\n与崔子忠齐名于南北，世称“南陈北崔”。\n其画风对后世有巨大影响。\n著《宝纶堂集》。",[23,25,29,28,171,322,7,323,56,324,325,326,327],"笼","扇","长袍","古装","文人","侍从","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a7b7a55715dbf5b199f6e559cf3c60a.jpg",[],21,{"id":332,"slug":333,"title":334,"dynasty":44,"author":251,"museum":46,"description":335,"tags":336,"thumbUrl":337,"material":87,"size":338,"collection":33,"collections":339,"showCount":340,"zanCount":11,"manualWeight":11,"mainColor":106},234986,"hua-hui-ling-mao-ping-4-ren-yi-234986","花卉翎毛屏4","任颐(1839-1896)，初名润，字伯年，一字次远，号小楼(亦作晓楼)，萧山城厢镇人。其父善画肖像，任颐自幼随之习画。人物、山水、花卉、翎毛等均有扎实功底，尤以人物画见长，他在十余岁时即能勾勒出来访者容貌，使人见其画如见其人。\n咸丰十一年(1861)，太平军占领杭州、绍兴，任颐即投笔从戎，参加太平军，掌军旗，为前驱。同治二年(1863)，太平军撤离浙江，任留居家乡；次年，移居宁波，得到任熊、任薰悉心指导。同治七年(1868)春，随任薰去苏州，是年冬，转至上海定居。从此，任颐步入新兴的上海画派之列。\n任颐画路宽拓，所画人物具有独特的风韵，更以描写风俗人情、民间传说和神话故事中人物见长，如《女娲》、《钟 馗》、《八仙》、《群仙祝寿》等作品，将艺术与现实巧妙地容贯于画面。其人物肖像画既有深厚的传统基础，又注重写生，每次外出，备有速写本，随时勾录。寓居上海后，以卖画为生，创作甚富。《钟馗》、《关河一望萧索》、《苏武牧羊》、《野塘雨后》和《三友图》等为其代表作。且其参用画意的书法亦奇惊不凡，光绪二十二年(1896)逝世。\n任伯年因是浙江山阴人，故画面署款多写山阴任颐。儿时随父学画，十四岁到上海，在扇庄当学徒，后以卖画为生。所画题材，极为广泛，人物、花鸟、山水、走兽无不精妙。他的画用笔用墨，丰富多变，构图新巧，创造了一种清新流畅的独特风格，在正统派外别树一帜。\n任颐是近代杰出画家。字伯年，号小楼，浙江山阴人，因此他的画署款多写山阴任颐。任伯年的绘画题材广泛，人物、肖像、山水、花卉、禽鸟无不擅长。用笔用墨，丰富多变，构图新巧，主题突出，疏中有密，虚实相间，浓淡相生，富有诗情画意，清新流畅是他的独特风格。任伯年的主要成就是在于人物画和花鸟画方面，往往寥寥数笔，便能把人物整个神态表现出来，着墨不多而意境深远。其线条简练沉着，有力潇洒。他常画钟馗，他笔下的钟馗心胸磊落、不怕鬼，不信邪。他的花鸟画，总是把花与鸟连在一起，禽鸟显得很突出，花卉有时只作背景，整个画面充满了诗的意境。",[25,29,188,30,7,114,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18ff18c96ba878d27bd4b17e7f1610cf.jpg","149 x 61 cm",[],18,{"id":342,"slug":343,"title":301,"dynasty":80,"author":68,"museum":46,"description":344,"tags":345,"thumbUrl":347,"material":33,"size":33,"collection":33,"collections":348,"showCount":340,"zanCount":11,"manualWeight":11,"mainColor":39},228812,"he-tang-shuang-e-tu-yi-ming-228812","此作以淡墨轻色绘秋水一隅，枯荷欹斜舒展，芦叶随风摇曳，将深秋荷塘的清寂晕染开来。两只雏鹅姿态生动，一只引颈抬首似在窥望残荷，绒毛蓬松的质感以细笔丝出，朴拙灵动。水岸以浅赭晕染，衬出水天朦胧的空寂氛围。\n\n整体设色淡雅柔和，工写兼具，既以精微笔触刻画禽鸟花叶的形神，又以简淡晕染烘托萧疏冷隽的秋日意趣，将秋日荷塘的幽寂与生机相融，淡而有味，韵致悠长。",[23,25,71,29,28,30,72,7,189,346],"池塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb949ddd4193d20cfb32610246faade24.jpg",[],{"id":350,"slug":351,"title":352,"dynasty":136,"author":68,"museum":137,"description":353,"tags":354,"thumbUrl":358,"material":32,"size":359,"collection":36,"collections":360,"showCount":361,"zanCount":11,"manualWeight":11,"mainColor":39},232262,"xing-e-tu-yi-ming-232262","杏鹅图","描绘水滨双鹅，旁有两棵柳、杏，飞燕穿梭柳叶之间，柳阴下斜出几枝杏花。从绘画内容及布局看来，它像是明院体大幅花鸟画的构图，画柳干之皴纹，有仿吕纪之笔意，画鹅则似林良写禽之趣，应是结合林良、吕纪影响之作。",[25,26,24,27,29,52,28,355,7,356,173,294,357],"皴法","杏树","杂草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55c57300cc263debb9b3f1259bef7939.jpg","142.8x81.4厘米",[36],12,{"id":363,"slug":364,"title":365,"dynasty":136,"author":68,"museum":46,"description":366,"tags":367,"thumbUrl":370,"material":33,"size":33,"collection":33,"collections":371,"showCount":372,"zanCount":11,"manualWeight":11,"mainColor":39},228202,"xia-chi-shuang-e-tu-ye-yi-ming-228202","夏池双鹅图页","此作用色清简枯淡，以水墨晕染出夏池幽寂之境。画面双鹅为意趣核心，一鹅昂首振翅，白羽晕染层次细腻，绒羽蓬松宛然在目，翅根淡墨晕开融于池水，似将破水而起，满是灵动野逸。另一鹅垂颈敛翼，姿态闲静安适，一动一静，相映成趣。\n\n背景以淡墨点汀渚小藻，枝梢偃仰朦胧，暗合夏日溽热将散的慵懒松弛。全画不做繁复勾勒，以晕染写就形神，将幽塘里的片刻生趣轻然定格，带着萧散空寂的元画意韵，淡而有味，余韵悠长。",[23,25,24,26,269,29,28,30,7,202,368,369,256],"夏景","池水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a479a5c9e58f04cbb797b9a5f3f521c.jpg",[],10,{"id":374,"slug":375,"title":376,"dynasty":377,"author":184,"museum":378,"description":379,"tags":380,"thumbUrl":10,"material":33,"size":33,"collection":36,"collections":381,"showCount":372,"zanCount":11,"manualWeight":11,"mainColor":382},203080,"qun-e-tu-zhou-xu-bei-hong-203080","群鹅图轴","近代","上海博物馆","几只白鹅或昂首引颈，或曲身小憩，或低头理羽，憨态可掬，神情灵动鲜活。简练墨线勾勒轮廓，淡墨晕染与白粉点染交织，尽显羽毛蓬松质感；红喙黄蹼设色明艳，与素雅背景形成鲜明对比，更添鹅群生机。画面构图疏朗，意境清新，寥寥数笔便将鹅的天真之态跃然纸上，笔墨生动，趣味盎然。",[25,52,29,30,7,23],[36],"cab393",{"id":384,"slug":385,"title":386,"dynasty":44,"author":387,"museum":46,"description":388,"tags":389,"thumbUrl":395,"material":175,"size":33,"collection":33,"collections":396,"showCount":397,"zanCount":11,"manualWeight":11,"mainColor":39},237352,"hua-niao-ce-wang-gang-237352","花鸟册","王冈","王冈，清代粜臫人頭，字南樤石，号旅云山人，上海人，工花卉、人物，并善写真，后出己意，写生入妙，亦善山水，尝游京师为董邦远客，凡画苑供奉之作，半出其手。\n（一六七七至一七七o）一作（一六九七至一七七o）字南石，号旅云山人，上海人。黄本复弟子。工花卉、人物，并善写真，后出己意，写生入妙。水族草虫，尤觉生动。亦善山水，尝游京师为董邦远客，凡画苑供奉之作，半出其手。其得意处，近似倪瓒。卒年九十四，一作七十四。",[25,29,28,269,7,390,391,392,393,394,30],"鸭","枯柳","冰雪","寒水","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa4710e9d68a702e625788a8335f1fc3.jpg",[],6,{"id":399,"slug":400,"title":401,"dynasty":18,"author":68,"museum":137,"description":402,"tags":403,"thumbUrl":404,"material":32,"size":405,"collection":33,"collections":406,"showCount":407,"zanCount":11,"manualWeight":11,"mainColor":39},290719,"yu-e-tu-zhou-yi-ming-290719","浴鹅图轴","一只白鹅游于湖上，抬头望著杏花，此景与「宫娥望幸」正有谐音之趣。画幅上钤有「内府图书之印」，这方印是北宋的官印，古人据此订为宋人作。然此方「内府图书之印」与唐玄宗「鹡鸰颂」、易元吉「猴猫图」上所钤之「内府图书之印」相比对，本幅的印章有存疑之处。本幅虽有追法宋人花鸟画之意，但无论是画柳树，或皴石头、或画羽禽，均属吕纪一派典型画风。",[24,25,27,30,28,29,7,231,230,141,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5705dcba2d67d720f99aab39d5c7dd27.jpg","181.4x98.2",[],5,{"id":409,"slug":410,"title":411,"dynasty":44,"author":68,"museum":46,"description":412,"tags":413,"thumbUrl":417,"material":217,"size":218,"collection":33,"collections":418,"showCount":407,"zanCount":11,"manualWeight":11,"mainColor":39},251028,"qing-yu-wang-xi-zhi-ai-e-tu-yi-shan-zi-yi-ming-251028","青玉王羲之爱鹅图意山子","此作以温润青白玉随形雕琢，取文人雅事入题。山峦起伏间苍松虬曲盘绕，松叶层叠细密，尽显古木苍劲之姿。松下二人对晤，衣袂舒展，神态生动恭谨，将求鹅问字的悠然雅兴尽显。一侧清波漾漾，白鹅浮于水面，意态闲适。\n\n匠师以圆雕、透雕相融施艺，山石皴理自然，细节写实传神。玉料浅褐沁色晕染，更添古朴沉静质感。将玉质天然温润与人文典故相合，把林下雅集的隐逸意趣凝于方寸玉石，尽显清代玉雕的精妙工法与雅致审美，是融文思与匠意的佳作。",[257,414,415,170,171,7,128,416],"玉石","雕刻","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7265687c3e4f36a40ece1544484e49a3.jpg",[],{"id":420,"slug":421,"title":422,"dynasty":18,"author":68,"museum":137,"description":423,"tags":424,"thumbUrl":427,"material":32,"size":405,"collection":33,"collections":428,"showCount":407,"zanCount":11,"manualWeight":11,"mainColor":39},231081,"yu-e-tu-yi-ming-231081","浴鹅图","画面取水岸一隅，古木虬枝苍拙雄健，疏梅绽花点点，柳丝柔曼垂落晕染出春日清氛。\n\n白鹅浮于水面，翎羽刻画精工细腻，绒羽蓬松、主羽分明，曲颈昂首悠然自得，尽显雍容闲适。枝头小雀理羽顾盼，鲜活灵动，与白鹅的静雅形成呼应，一动一静间晕开松弛野逸的意趣。\n\n全作用色古雅沉稳，工写兼融，禽鸟刻画细致入微，林石布景写意简澹，将幽寂的池畔春景晕染出静谧悠然的古典格调，尽显雅致恬淡的自然之美。",[24,25,26,28,29,7,230,425,426,294],"梅花","鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63b094f5baeb96b4cd23585e29b9b69e.jpg",[],{"id":430,"slug":431,"title":432,"dynasty":18,"author":68,"museum":46,"description":433,"tags":434,"thumbUrl":437,"material":217,"size":218,"collection":33,"collections":438,"showCount":407,"zanCount":11,"manualWeight":11,"mainColor":439},221651,"yu-e-yi-ming-221651","玉鹅","中国宋代是一个手工业和工商业空前发展兴盛的时代，国富民强，文化发达。此时期的玉器正处在一个承前启后的转折阶段。两宋玉器承袭两宋画风，通常画面构图复杂，多层次，形神兼备，有浓厚绘画趣味，完成了由唐玉偏重工艺性、雕塑性向宋玉偏重绘画性、艺术性的转变。此时的皇家用玉品种丰富多样，佩饰类有玉束带、玉佩，用具有玉辂，玉磬，礼器有玉圭、玉册等等。内廷专设有玉作，玉料由西域诸国进贡。民间用玉也较前朝为盛，大量出现各种玉佩饰，玉用器。皇家、官僚及民间均风行收藏古玉，古董行开始出现伪造或仿造古玉之风气。因此，宋玉又被分为古玉、时作玉、伪古玉和仿古玉。 　两宋及其同期或稍后的辽金玉文化去除了隋唐五代繁杂的外来文化因素，又继承和发展了隋唐玉文化的市庶化、艺术化特色，特别是融会了两宋绘画的特点和技巧。宋代肖生玉在崇尚写实主义的院画影响下追求形体及运动的准确表现，以显示其内心世界。花鸟玉佩多做隐起、镂空的对称处理，富有生活气息。双勾的经文诗词等铭刻玉器盛极一时。辽金玉器也是由汉族玉工碾成，但其题材却富有边疆民族特色和游牧生活气息，以契丹、女真两族生活为主题的春水佩和玉秋山为其杰出代表，均有着形神兼备的艺术造诣。宋、辽、金都出现了前所未见的有情节、有背景的景观式构图，以镂空起突等法碾琢的悬塑性或立体的肖生玉器。它是这一时代玉器的新兴形式，有着鲜明的时代特点，还出现了受道教影响的神仙题材和“龟游”一类祥瑞玉器。总之，此时期玉器的特点是：玉如凝脂、构图繁复、情节曲折、砣碾遒劲、空灵剔透、形神兼备，是我国玉文化的第二个高峰期。",[414,415,435,436,7],"圆雕","线刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F676b4933ae42a740eab2fdca205b1c50.jpg",[],"FFFFFF",{"id":441,"slug":442,"title":443,"dynasty":44,"author":68,"museum":46,"description":444,"tags":445,"thumbUrl":446,"material":217,"size":218,"collection":33,"collections":447,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":237},252119,"bai-yu-wang-xi-zhi-ai-e-lei-yi-ming-252119","白玉王羲之爱鹅勒","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。\n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玉器经历7000多年的发展，从简单的装饰品发展到古代宗教祭拜、礼仪用品，再到象征高尚道德品质的装饰品，最后上升为丰富的艺术鉴赏作品，深入反映了不同历史时期的社会发展演变过程。",[414,415,171,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca88dcf3d0329a3e061a039b771bf59d.jpg",[],{"id":449,"slug":450,"title":451,"dynasty":80,"author":68,"museum":46,"description":452,"tags":453,"thumbUrl":457,"material":217,"size":218,"collection":33,"collections":458,"showCount":459,"zanCount":11,"manualWeight":11,"mainColor":439},250832,"qing-yu-xi-e-tong-zi-yi-ming-250832","青玉戏鹅童子","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。",[201,414,415,171,454,7,455,456],"童子","青玉","戏鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd711b89152434d18384bd275941c5459.jpg",[],3,{"id":461,"slug":462,"title":463,"dynasty":18,"author":68,"museum":46,"description":452,"tags":464,"thumbUrl":468,"material":217,"size":218,"collection":33,"collections":469,"showCount":459,"zanCount":11,"manualWeight":11,"mainColor":106},227797,"tong-zi-xi-e-yu-xia-pei-zhui-yi-ming-227797","童子戏鹅玉霞帔坠",[414,415,435,465,171,454,7,466,467],"镂空","宋代","饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b584057c613faea33c84068a5f2f5e4.jpg",[],{"id":471,"slug":472,"title":473,"dynasty":18,"author":68,"museum":46,"description":474,"tags":475,"thumbUrl":478,"material":217,"size":218,"collection":33,"collections":479,"showCount":459,"zanCount":11,"manualWeight":11,"mainColor":106},227287,"e-tou-bei-yi-ming-227287","鹅头杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[466,476,415,477,7,416],"铜制","饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa17883695549a644de3062d02cd1bc9e.jpg",[],{"id":481,"slug":482,"title":483,"dynasty":18,"author":68,"museum":46,"description":484,"tags":485,"thumbUrl":487,"material":217,"size":218,"collection":33,"collections":488,"showCount":459,"zanCount":11,"manualWeight":11,"mainColor":106},223738,"qing-bai-yu-e-xing-pei-yi-ming-223738","青白玉鹅形珮","北宋的统一带来了文化经济的繁荣，特别是宋徽宗赵佶的嗜玉成瘾，更加促进金石学的兴起，城市经济的繁荣，都直接或间接地促进了宋、辽、金玉器的空前发展。宋徽宗虽然不是一个好皇帝，但却是个出色的艺术家，爱好金石艺术，这对工艺美术的发展给予巨大的影响。\n宋代出土古玉增多，滋长了仿制古玉之风，周朝、汉代的古玉器大量出土，包括良渚文化玉等出土，朝廷及士大夫热于收集、整理研究，金石学的形成，兴起了一股复古集古玉的热潮，为满足社会需要，宋代访古玉大量涌现，访古玉的渊源虽可追溯到商周时期，唐代也有仿制，但基本上是仿摹同代器形的。大量仿远古时代造型的玉器是始见宋代，因此，意义上的仿古玉应是宋代开始的。\n从唐代开始的花卉纹玉器到北宋得到了兴盛的发展，当时形成一门专琢花鸟形玉器的玉作。宋代花鸟形玉器与当时绘画艺术相互影响，共同谱写宋代艺术篇章。宋代的花鸟形玉器多呈写实风格，花朵、花板、花茎一应俱全。最能反映宋代佩饰玉水平的要推各种雕工精细、形态优美的花鸟形玉佩。",[414,415,467,7,486],"宋式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F608874f16f8185c4cf0dd1209ed24bb4.jpg",[],{"id":490,"slug":491,"title":492,"dynasty":493,"author":68,"museum":46,"description":494,"tags":495,"thumbUrl":501,"material":217,"size":218,"collection":33,"collections":502,"showCount":131,"zanCount":11,"manualWeight":11,"mainColor":39},231642,"shi-ting-shi-dai-jiu-tu-ping-feng-di-2-ping-yi-ming-231642","室町时代 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利玛窦向中国明万历皇帝呈献第一件自鸣钟起，陆续有西洋钟表进献宫廷。清康熙帝把西洋钟表作为一种新科学加以重视，将西洋钟表（也称自鸣钟）贮于端凝殿南端，并将此处命名为自鸣钟处，还在宫内成立了做钟处。到乾隆时，钟表已成为帝后们生活中不可缺少之物，不但在各宫殿内陈设，就连外出乘坐的车、轿、船、马鞍上也都置有钟表。因而每年都要使用大批新奇钟表。这些钟表有清宫做钟处、广州、苏州制造的，也有英国、法国、德国、瑞士、日本等国制造的。",[596,597,467,598,599,600,170,7],"怀表","日用具","金器","珐琅器","镶珠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facc8ed7dbb3d61fcb2821f91a5d7abef.jpg",[],{"id":604,"slug":605,"title":606,"dynasty":44,"author":68,"museum":46,"description":607,"tags":608,"thumbUrl":614,"material":217,"size":218,"collection":33,"collections":615,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},273089,"lan-di-xiu-xi-zhi-ai-e-tu-jing-xin-yi-ming-273089","蓝地绣羲之爱鹅图镜心","此作以深蓝为底，晕染出幽远沉静的底色，流云舒展留白，铺就出淡逸空濛的意境。苍松蟠曲古拙，细密针脚勾勒出鳞皴纹理与舒展松针，尽显古木苍劲。\n\n画面之中，雅士负手而立，凝神望向稚童与白鹅，神态温雅悠然，将爱鹅的文人情思藏于眉目之间。旁侧仙草棕榈错落，祥云缭绕如幻，衬出几分仙逸雅致。整幅绣作工致细腻，针脚起落间晕染出草木灵韵、人物情态，将文人雅趣融于精工绣色里，尽显清隽古雅的古典意蕴。",[609,610,611,29,171,498,612,7,613,26],"刺绣","布料","镜心","棕榈","羲之爱鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb559ec28e8866659d01a19ec013f65c3.jpg",[],{"id":617,"slug":618,"title":619,"dynasty":44,"author":68,"museum":46,"description":620,"tags":621,"thumbUrl":623,"material":217,"size":218,"collection":33,"collections":624,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":106},271147,"cheng-ni-e-shi-yan-yi-ming-271147","澄泥鹅式砚","砚台历经秦汉、魏晋，至唐代起，各地相继发现适合制砚的石料，开始以石为主的砚台制作。其中采用甘肃岷县的洮河石、广东端州的端石、安徽歙州的歙石制作的砚台，被分别称作洮砚、端砚、歙砚。史书将洮、端、歙称作三大名砚。清末，又将河南洛阳的澄泥砚与洮、端、歙，并列为中国四大名砚。也有人主张，以天然砚石雕制的鲁砚中的红丝石砚代替澄泥砚，合称四大名砚。\n谈起砚的种类有许多种，从砚的材质可分为：玉砚、银砚、铜砚、铁砚、陶砚、瓷砚、石砚、漆砚等，其中石砚是最为普遍，也最实用的一种砚。砚台起源于新石器时代。最早的砚是半坡村遗址出土的研磨颜料的研磨器，在1980年，大陆考古学家曾在陕西省临潼县姜寨一处原始社会的遗址中，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。",[526,528,7,415,622],"文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8790d22bc6c0b4af0824ea353dc5fcc.jpg",[],{"id":626,"slug":627,"title":628,"dynasty":44,"author":68,"museum":46,"description":629,"tags":630,"thumbUrl":634,"material":217,"size":218,"collection":33,"collections":635,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":106},270002,"xiang-ya-diao-ju-shi-liu-e-tu-bi-ge-yi-ming-270002","象牙雕菊石柳鹅图臂搁","随形取料，将江南春景凝于牙片之上。垂柳叶绦柔曼披拂，苍劲枝桠间留白疏朗，尽显空灵雅致。石畔群鹅意态悠然，或引颈理羽，或交颈私语，幼鹅蜷卧依偎，生机灵动满溢。\n\n雕刻兼用浅浮雕与镂刻，柳丝纤毫毕现，鹅身绒羽质感逼真，刀工藏锋内敛，将写实工巧与文人闲趣相融，把水岸春日的恬淡安闲定格方寸之间，既是文房清供雅物，亦尽显牙雕工艺的精妙写实功底。",[415,631,632,292,7,633],"象牙","臂搁","菊石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd42c8544e3943c6a84fd0f4ea709d3f5.jpg",[],{"id":637,"slug":638,"title":639,"dynasty":80,"author":68,"museum":46,"description":640,"tags":641,"thumbUrl":643,"material":217,"size":218,"collection":33,"collections":644,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":106},261306,"ren-bo-jia-zhi-kuan-qing-hua-xi-zhi-ai-e-tu-wan-yi-ming-261306","仁波佳制款青花羲之爱鹅图碗","青花瓷（blue 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