[{"data":1,"prerenderedAt":761},["ShallowReactive",2],{"subject-fo-shou":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},196,"fo-shou","佛手","佛手画高清赏析","精选中国历代佛手题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31aae60a69c3f0a485ff224f1c0c1259.jpg",0,79,[14,39,59,73,88,106,122,134,151,165,177,192,202,214,226,238,245,254,262,271,282,292,303,312,325,335,343,355,363,370,380,387,394,400,408,417,424,430,436,443,450,457,466,473,482,490,500,508,515,526,536,543,551,558,567,576,588,597,605,612,619,627,634,641,650,659,668,674,680,686,692,698,704,710,717,729,737,743,751],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":31,"material":32,"size":33,"collection":34,"collections":35,"showCount":36,"zanCount":37,"manualWeight":11,"mainColor":38},237154,"xu-gu-fo-shou-pi-pa-zhou-xu-gu-237154","虚谷佛手枇杷轴","清","虚谷","藏地不详","虚谷（1823～1896），清代著名画家，海上四大家之一，有“晚清画苑第一家”之誉。俗姓朱，名怀仁，僧名虚白，字虚谷，别号紫阳山民、倦鹤，室名觉非庵、古柏草堂、三十七峰草堂。籍新安（今安徽歙县），居广陵（今江苏扬州）。初任清军参将与太平军作战，意有感触，后出家为僧。工山水、花卉、动物、禽鸟，尤长于画松鼠及金鱼。亦擅写真，工隶书。作画有苍秀之趣，敷色清新，造型生动，落笔冷消，别具风格。性情孤僻，非相处情深者不能得其片纸。早年学界画，后以擅画花果、禽鱼、山水著名。风格冷峭新奇，绣雅鲜活，无一笔滞相，匠心独运，别具一格。亦能诗，有《虚谷和尚诗录》。传世作品有《梅花金鱼图》《松菊图》《葫芦图》《蕙兰灵芝图》《枇耙图》等。",[23,24,25,26,27,28,7,29,30],"国画","书画","立轴","设色","水墨","花鸟","枇杷","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c22a161fdeda5bce69030c4501bc0a0.jpg","未知","Xcm*Xcm","",[],91,2,"BDBDBD",{"id":40,"slug":41,"title":42,"dynasty":18,"author":43,"museum":20,"description":44,"tags":45,"thumbUrl":56,"material":34,"size":34,"collection":34,"collections":57,"showCount":58,"zanCount":11,"manualWeight":11,"mainColor":38},234227,"hua-guo-juan-zhu-da-234227","花果卷","朱耷","清代初期的中国画坛活跃着弘仁、髡残、朱耷、石涛四位僧人画家，画史上合称“四僧”。他们的绘画在继承传统的基础上，大胆创新，主张师法自然造化，与当时画坛正统风格相距甚远，具有鲜明的艺术风格。在这四人当中尤以朱耷的人生与艺术最具传奇色彩。\n朱耷（1626—1705），江西南昌人，为明江西宁献王朱权的九世孙。明亡后出家为僧，法名传綮，曾经使用的号有很多，最为著名的则是在他弃僧还俗后使用的“八大山人”。",[46,23,24,47,27,48,49,50,51,7,52,53,28,54,55,30],"高清","长卷","写意","行书","南瓜","白菜","石榴","梅花","蔬果","题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd794f3dd4ca89c61b435218135cfad42.jpg",[],68,{"id":60,"slug":61,"title":62,"dynasty":18,"author":63,"museum":20,"description":64,"tags":65,"thumbUrl":68,"material":34,"size":34,"collection":69,"collections":70,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":72},241716,"hong-bao-shi-fo-shou-yi-ming-241716","红宝石佛手","佚名","它凝萃浓艳似血的赤红光华，莹润包浆晕开经年的温润质感。随形雕就的佛手虬曲舒展，指节肌理圆转自然，将鲜活佛手的清润形态定格为永恒。每一处褶皱都打磨得柔滑细腻，光影流转间，宝石的通透感与雕工的朴拙意趣相融，既保留原石天然意态，又借佛手谐音暗藏福寿吉祥的美好祈愿。这份旧时光里的造物，以石为纸、以刀为笔，将文人雅趣与世俗吉庆凝于方寸，静立间便晕开沉静华贵的古韵。",[18,66,67,7],"玉石","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeae828ed9656f67975ac17eb748d973.jpg","玉器精选",[69],52,"37474F",{"id":74,"slug":75,"title":76,"dynasty":18,"author":77,"museum":20,"description":78,"tags":79,"thumbUrl":85,"material":32,"size":33,"collection":34,"collections":86,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":38},290491,"qi-yan-lian-wu-hu-fan-290491","七言联","吴湖帆","吴湖帆，江苏苏州人，为吴大澄嗣孙(1894年农历七月初二—1968年8月11日)。初名翼燕，字遹骏，后更名万，字东庄，又名倩，别署丑簃，号倩庵，书画署名湖帆。",[46,23,24,80,81,49,26,82,7,83,84,30],"对联","书法","竹","花卉","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdff61d5b426294b7d95db061d5a5f81f.jpg",[],45,{"id":89,"slug":90,"title":91,"dynasty":18,"author":63,"museum":20,"description":92,"tags":93,"thumbUrl":103,"material":32,"size":33,"collection":34,"collections":104,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":38},263680,"ke-si-fo-shou-shuang-niao-tu-zhou-yi-ming-263680","缂丝佛手双鸟图轴","缂（kè，同：刻）丝（英文：K’o-ssu 、Kesi 或 Chinese silk tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[23,24,25,94,95,96,26,97,7,98,99,83,100,101,102],"缂丝","花鸟画","工笔","飞鸟","牡丹","湖石","竹草","蜜蜂","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a3c39b8e6c568204a3d0ea696b49683.jpg",[],35,{"id":107,"slug":108,"title":109,"dynasty":18,"author":63,"museum":20,"description":110,"tags":111,"thumbUrl":118,"material":32,"size":33,"collection":34,"collections":119,"showCount":120,"zanCount":121,"manualWeight":11,"mainColor":38},270169,"jiang-se-na-sha-xiu-fo-shou-hua-niao-tan-bing-tuan-shan-yi-ming-270169","绛色纳纱绣佛手花鸟檀柄团扇","是传统刺绣形式之一。它是在方格纱的底料上严格按格数眼进行刺绣的。不仅图案美丽，而且随 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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。",[298,299,7,67,300],"砚","端石","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62639f412e7c18cb5453da736c9730fb.jpg",[],{"id":304,"slug":305,"title":306,"dynasty":18,"author":63,"museum":20,"description":307,"tags":308,"thumbUrl":310,"material":32,"size":33,"collection":34,"collections":311,"showCount":37,"zanCount":11,"manualWeight":11,"mainColor":164},247876,"dui-cai-fo-shou-wen-he-yi-ming-247876","堆彩佛手纹盒","清代文物。旧时用于存放食物或饰品之用,根据材质价值不同。清宫旧藏",[171,309,26,7,156,67],"堆彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F048631720c372f143eb9b89061c4c71f.jpg",[],{"id":313,"slug":314,"title":315,"dynasty":18,"author":63,"museum":20,"description":316,"tags":317,"thumbUrl":323,"material":32,"size":33,"collection":34,"collections":324,"showCount":37,"zanCount":11,"manualWeight":11,"mainColor":72},246777,"ti-hong-ju-hua-wen-dai-zuo-guo-pan-yi-ming-246777","剔红菊花纹带座果盘","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。",[18,209,318,67,26,7,319,320,321,322],"剔红","菊花纹","果盘","底座","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9db7ba71a7fd49ce6304192da3fe8da6.jpg",[],{"id":326,"slug":327,"title":328,"dynasty":18,"author":63,"museum":20,"description":329,"tags":330,"thumbUrl":333,"material":32,"size":33,"collection":34,"collections":334,"showCount":37,"zanCount":11,"manualWeight":11,"mainColor":72},241717,"hong-bao-shi-diao-fu-shou-wen-fo-shou-yi-ming-241717","红宝石雕蝠寿纹佛手","凝色如凝血，莹润浓艳，天然冰裂纹如隐脉布于周身，晕开古朴肌理。随形镂刻佛手，褶皱宛转逼真，暗嵌蝠寿纹路，将福寿双全的吉意藏于寸石之间。\n\n匠人随形施艺，刀工朴拙圆润，不作过度雕琢，将宝石天然贵气与吉祥意趣相融，暗合尚雅写实的审美意涵。置于案头，既得石色雍容，又揽祈福纳祥的温润烟火，是清玩小件里藏着巧思的雅致佳物。",[66,67,331,332,7],"蝙蝠","寿纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf3bc1c809fe19d7de1245f487cf20ed.jpg",[],{"id":336,"slug":337,"title":338,"dynasty":18,"author":63,"museum":20,"description":339,"tags":340,"thumbUrl":341,"material":32,"size":33,"collection":34,"collections":342,"showCount":37,"zanCount":121,"manualWeight":11,"mainColor":38},229827,"bai-yu-fo-shou-xing-xiao-shui-sheng-yi-ming-229827","白玉佛手形小水盛","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。",[171,66,67,7,300],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17894b2a05cab2e002f3693564642f41.jpg",[],{"id":344,"slug":345,"title":346,"dynasty":18,"author":63,"museum":20,"description":347,"tags":348,"thumbUrl":353,"material":32,"size":33,"collection":34,"collections":354,"showCount":121,"zanCount":11,"manualWeight":11,"mainColor":164},270143,"mi-la-fo-shou-pen-jing-yi-ming-270143","蜜蜡佛手盆景","苍褐木枝虬曲古雅，蜜蜡佛手色泽红润凝腻，肌理莹润写实，如将秋日佳果采撷案头。青玉裁为叶片，翠色通透鲜亮，与蜜蜡相映成趣，间缀细小花蕊，添得几分灵动生机。\n\n掐丝珐琅盆身以宝蓝为底，粉荷舒展、缠枝婉转，鎏金饰边勾勒出华贵气度，将玉石雅趣与宫廷珐琅工艺相融，以盆景定格祥瑞清趣，尽显清代造艺的精工雅致，是陈设雅玩中的绝妙之作。",[349,350,66,221,7,351,352],"盆景","蜜蜡","荷花","工艺品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2cfd573196b536d74015747cec2d415.jpg",[],{"id":356,"slug":357,"title":358,"dynasty":18,"author":63,"museum":20,"description":359,"tags":360,"thumbUrl":361,"material":32,"size":33,"collection":34,"collections":362,"showCount":121,"zanCount":11,"manualWeight":11,"mainColor":38},269980,"zhu-gen-diao-fo-shou-yi-ming-269980","竹根雕佛手","依随竹根天然瘤节纹理施艺，将佛手的褶皱肌理、蜷曲指形一一雕琢到位，枝桠缠绕呼应，宛然是一枚带着鲜活生气的刚摘鲜果。\n\n温润厚重的棕褐包浆晕染出岁月质感，每一处起伏都贴合竹材本身肌理，天工与人工精妙相融，既留存竹根朴拙的天然意趣，又将佛手自带的清雅禅意诠释尽致，仿佛可触到鲜果肌理褶皱，似能嗅见幽淡果香，尽显文人案头清玩的雅致格调。",[67,82,7,156,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19e78aa916efe92d786c14a1c35615a0.jpg",[],{"id":364,"slug":365,"title":358,"dynasty":18,"author":63,"museum":20,"description":366,"tags":367,"thumbUrl":368,"material":32,"size":33,"collection":34,"collections":369,"showCount":121,"zanCount":11,"manualWeight":11,"mainColor":38},269210,"zhu-gen-diao-fo-shou-yi-ming-269210","依竹根天然肌理顺势施刀，将佛手的褶皱枯涩肌理雕琢得逼真可触，仿佛能摩挲到鲜果风干后的粗粝质感。枝桠虬曲苍劲，叶片脉络舒展灵动，连叶缘自然的蜷曲都一一还原，将花果垂坠的生机定格。\n\n创作者巧用竹材本身的棕褐底色，不着多余修饰，以刀代笔将佛手自带的禅意与野趣相融，不见斧凿刻意痕迹，只余造物天成的雅韵。寸尺之间藏着手艺人的精妙巧思，尽显东方审美里含蓄内敛的雅致意趣。",[67,233,7,115,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3abeba30a77c098fec61a984064f7cb1.jpg",[],{"id":371,"slug":372,"title":373,"dynasty":18,"author":63,"museum":20,"description":374,"tags":375,"thumbUrl":377,"material":32,"size":33,"collection":34,"collections":378,"showCount":121,"zanCount":11,"manualWeight":11,"mainColor":379},265191,"jin-di-dan-cai-wan-zi-san-duo-mu-dan-wen-tao-yi-ming-265191","金地淡彩万字三多牡丹纹绦","经线提花锦的组织结构和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