[{"data":1,"prerenderedAt":1268},["ShallowReactive",2],{"subject-gou":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},822,"gou","狗","狗画高清赏析","精选中国历代狗题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc796cb69ca7ad4f420cca2771d2042cb.jpg",1,122,[14,43,62,89,106,125,144,160,177,196,213,225,236,250,261,270,281,293,310,326,347,360,374,389,401,412,425,439,447,458,467,481,490,499,505,513,523,536,553,560,566,577,587,596,602,608,614,620,633,644,654,668,679,690,699,711,723,732,742,754,762,773,782,792,804,813,821,827,835,842,851,857,864,870,880,887,893,900,910,923,930,948,956,967,976,987,997,1008,1019,1030,1043,1050,1057,1064,1070,1076,1082,1089,1097,1103,1111,1120,1126,1133,1139,1145,1151,1161,1169,1176,1182,1188,1194,1200,1206,1212,1220,1228,1235,1242,1251,1259],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":33,"material":34,"size":35,"collection":36,"collections":37,"showCount":39,"zanCount":40,"manualWeight":41,"mainColor":42},221115,"zan-hua-shi-nv-tu-juan-zhou-fang-221115","簪花仕女图卷","唐","周昉","辽宁省博物馆","《簪花仕女图》传为唐代周昉绘制的一幅粗绢本设色画。\n作品现藏于 。\n画中描写了六位衣着艳丽的贵族妇女及其侍女于春夏之交赏花游园。\n画作不设背景，以工笔重彩绘仕女五人，女侍一人，另有小狗、白鹤及辛夷花点缀其间。\n全图六个人物的主次、远近安排巧妙，景物衬托少而精。\n两只小狗、一只白鹤、一株辛黄花使原本显得孤立的人物产生了左右呼应、前后联系的关系。\n半罩半露的透明织衫，使人物形象显得丰腴而华贵。\n而用笔和线条却细劲有神，流动多姿。\n浓丽的设色，头发的钩染、面部的晕色、衣着的装饰，都极尽工巧之能事，较好地表现了贵族妇女的细腻柔嫩的肌肤和丝织物的纹饰。\n《簪花仕女图》是 贵族人物画风格的代表。\n同时也体现出贵族仕女养尊处优、无所事事、游戏于花蝶鹤犬之间的生活情态。\n画面左端开始婷婷而立的髻插芍药花的贵族仕女，浅紫色的纱衫上，有以四个斜角田宇为一组的菱纹。\n白地帔子绘有彩色云鹤，从肩后身向前胸下垂。\n她右手举着刚捕捉的蝴蝶，左手提起帔子，使它成为垂直。\n她上身往前微倾，以迎接向她跑来的小狗。\n画面左起第二位妇女身材娇小，神情庄重，身着朱红披风，外套紫色纱罩，从远处巧移莲步而来。\n发髻上插海棠花，脖子饰金质云纹项圈。\n白裙上的紫色团花，从纱衫的下面透出，显得十分艳丽。\n破子从后肩向两臂平分下垂，双手抓紧薄纱，掩着帔子，同时也紧束了宽大的衣服。\n画面左起第三位贵族女人髻插荷花，身披白花格子纱衫，胸前束朱色斜格长裙曳于地而，紫色帔子上有粉和青花枝纹样。\n她右手略向上举，反掌拈红花一枝，左手髻上取下金钗朝着右边移去，目光注视新折下来的花枝，凝神遐思，准备将它插上发髻最显眼的地方。\n在她的面前有一只举足欲行的丹顶鹤，似乎引不起她一点兴趣。\n画面左起第四位侧立着的侍女执长柄团扇，团扇上绘着盛开的牡丹，红花绿叶相衬托，格外亮丽。\n她的妆扮，有异于卷中的其他贵族仕女。\n她也有一头浓密的黑发，梳成两个十字相合的发髻，中间用红缎带把那个髻子束在一起。\n她穿的朱色菱角纹的斜领处露出一部分，白色圈花的纱带，绕过纱衫一圈之后，在腹前打了个结子。\n白色的软底鞋尖，从彩色的衬裙下露出，它的形制不同于其他几位贵族妇女所穿的重台履。\n她的表情安祥却又若有所思，在当时嬉戏场合形成鲜明的对比。\n画面左起第五位仕女，发髻上插的红瓣花枝，纱衫上有深白色的菱形纹样。\n胸下的夹撷长裙曳于地而，紫绿色的团花平均分布在鲜明的朱红的地子之上，显得典雅、富丽；经纱衫掩盖过的部分，颜色相应减退。\n紫色的帔子上，彩绘着云风纹样，往后垂了下去，她轻举右手，用纤细的食指和拇指提起贴在脖肩上的纱衫领子，似有不胜初夏闷热气候的样子。\n她左手从纱衫的侧面伸出，手指向背而嬉戏的小狗打招呼，希望小狗也来给她逗趣。\n画面左侧起最后一位是一个贵族妇女，体态丰硕，发髻高大，上插牡丹花一枝，髻前饰玉步摇，那珍珠在不停地摇晃。\n她头上的髻发和短鬓，茸茸地分披在丰满的额前和耳边，显得青春焕发。\n她圆润的而庞，浮起了淡薄的红晕；瓜子形的黛画短眉，浓淡适宜地斜峙在粉额之前，眉间金色花子的点饰如豆般大小，朱唇小到恰好与整个而庞隐隐相称，她侧身作向右倾斜的姿势，外披紫色纱罩衫，衫上的龟背纹尚隐约可辨。\n朱色的长裙上，画有斜格纹样。\n紫绿色花纹的洁白丝绸衬裙，长过纱衫，拖曳到地而上。\n右手摆向前侧，靠着纱衫；左手执纬子前伸，纬穗的摆动，逗引着小狗作戏，而小狗深通人意，它朝纬穗不停地张嘴摆尾，作出扑跳的姿态。\n在贵族仕女们嬉游处的尽头，树立着一而玲珑石。\n石后有盛开的辛夷花，紫色的花朵，陪衬着少许的绿叶。\n石头下的地上有一丛绿油油的杂草，一起点缀着视野广阔的空间。\n卷无作者款印，亦无历代题跋及观款。\n以后，当代统治阶级为了粉饰太平，提倡所谓“文治”，也正好吻合了当时人民历经战乱、渴望安宁社会的生活的心情，宴游的风气从此大开，奢侈之风成为天宝以后统治者崇尚的对象，到了贞元年间，这种风气就更为突出。\n杜牧当时这样描述：至于贞元末，风流悠绮靡。\n周昉的《簪花仕女图》正是这个时期的典型代表，画家如实的描绘了在奢靡风气支配下的唐代宫廷仕女嬉游生活的典型环境。\n最早著录此卷的是清安岐《 》，认为是唐周昉所绘，其后《石渠宝笈·续编》及《 》皆沿用该观点，俱著录为《周昉仕女图》，然近代研究亦有持异议者。\n1972年，对此图进行重新装裱时，有人发现此图系后拼接而成，较明显者为左数第二个比例较小的仕女为后嵌入，而白鹤与画左小狗亦为剪裁而来，有研究者据此认为其原为屏风画。\n作品创作的时代问题也存在争议。\n学术界主要有三种观点：唐代说、五代南唐说和宋代说。\n唐代说：唐玄宗先天二年（公元71年）八月，太平公主谋反被诛杀，其在积善坊的府邸被没收。\n寿王李瑁与杨玉环大婚前，唐玄宗将太平公主的这处宅园赐给李瑁，成为寿王府。\n上巳节后的一天，长宁公主、咸宜公主等四位贵夫人前来寿王府，杨玉环领她们到花园赏花。\n这时，年轻的宫廷画家周昉奉诏为杨玉环画像，他来到寿王府。\n李瑁将周昉引至花园中，周昉见这五位贵妇人正游玩簪花，就静静地在旁边观察。\n几日后，周昉根据当日的场景，画出了《簪花仕女图》。\n作品从当时社会的现实生活出发，将现实生活中的贵族妇女，画得雍容华贵，画出一种闲适无聊的生活本质，表现出娇、奢、雅、逸的气息和女性柔软、温腻、动人的姿态，赋予作品鲜明的时代感。\n作品渲染的快乐而又略带懒散的情绪和气氛，正是恰当地层示了属于那个时代整个贵族有闲阶级的时代气氛；在表面华丽雍容的物质繁华背后，隐藏着人物内心深深的凄寂和幽怨。\n《簪花仕女图》中作者对人物神态抓得较好，注重挖掘仕女精神上的苦闷和空虚，反映了贵族奢侈生活后面的精神困境。\n其中，有别于其他五位的那个执扇侍女，表情相当安详，默默中若有所思的神情，与其他五位仕女的神态构成了鲜明的对比，这在反映现实的同时，在一定程度上也预示出唐代后期审美意趣由宏丽转向婉约的变化。\n另外，体态动势也是表达人物内心精神的重要因素，如果把动态处理得宜，也可以加强人物精神性格的表现。\n就画中人物的姿态而高，各不相同。\n左起第一位仕女因为有摇头摆尾、深通人意的小狗在其右侧，作为逗引小狗作戏的她，侧身玉立，上身向右倾斜，右手无意识地摆向前侧，左手执拂子向前伸向小狗，接养右侧的是一位婷婷玉立披白色纱衣的仕女，她漫不经心地举养右手，用纤细的食指和拇指提起贴在脖子上的纱衫领子，似有不胜闷热气候的沉重之感。\n她左手从纱衫的侧而伸出，似乎在向背着她作戏的小狗打着招呼。\n接着就是右后方侧立着执长柄团扇的侍女，她闲静自然。\n侍女的右前方也相当于她的左侧之处，是一位持花的仕女，她右手略向上举，反掌拈红花一枝，左手从发髻上取下金钗朝右边移去，似乎要把它插在最引人注意的地方，从远处姗姗而来的是一位身材小巧的仕女，她双手紧操着薄纱，掩着帔子，紧束着宽大的衣服，作向前迈步的姿势。\n最后一位仕女右手举着一只蝴蝶，左手提着帔子，要迎接从后而向她跑过来的小狗，她上身往前微倾，头往右微侧，在丰韵之中又平添了窈窕婀娜之态。\n由此可见，作者在人物姿态的处理上，为避免相同，又不失统一，颇费心思。\n画家在全幅构图中以相等的间隔安排了几位贵族妇女，一段一段地看去，仿佛每个妇女形象从眼前一幕一幕地移动，这种构图的规律，看完了整个场景，仿佛同画面人物一起游完了庭园。\n人物之间似有联系，又似独自悠闲。\n所以《簪花仕女图》的画而完整性并不是依靠空间、时间上的一致性诉诸观者的，它是依靠人与人之间的呼应和所营造的整个闲适和谐的气氛，这样一个独特的形式传达给观者的。\n在画而中，横列的散点视线之内，多半用静穆的姿态分战了适当的位置；又把她们之中的两位妇女安置在距离较远的后方，因之增大了广阔的视野，也就扩展了空间，不至于把观者的视线囿于狭小的画而之中。\n庭园里不藉更多什物作为衬托，但它的趣味并不因此而显得单调和贫乏，反而觉得愈益接近事物的真相。\n这种构图上的独特风格，具有强烈的时代气息。\n除了画面的并序排列外，《簪花仕女图》在人物比例的处理上也出现了一种有趣的现象，观者可以发现画面左起第二个妇女的比例是按照近大远小的原则安排的。\n从她的服饰和仪态来看，她是画家为了扩展观者的视野、开拓空间，而刻意安排在较远的地方，并不是因为身份的关系“近大远小”与按身份安排人物比例两种构图方法同时出现在一张画面上的。\n《簪花仕女图》画面上独到之处是精致细腻的画笔，作者以线造型，成功地描绘了妇女身上轻柔透亮的薄纱披肩，以及薄纱下隐约可见的手臂，并自始至终毫无变化地使用定型的线描，对仕女面部和手的描制，下笔稳重准确，力求匀称，衣裙图案花纹的用笔，信笔而成，转折处若断若续，似规整但又非常流动，使通常流于对称刻版的图案，重新赋予了灵巧而生动的活力。\n至于仕女的髻发和鬓丝，精细过于毫毛，根根可数，笔笔有飞动之感。\n对人物画的手部刻画，甚是到位。\n《簪花仕女图》中的贵族仕女袒胸露臂，双手毫无遮蔽，描绘起来，实非易事。\n作者用简洁遒劲的线条，准确地表现了各种不同的手势，骨法用笔的线条对作品产生了决定性的意义。\n《簪花仕女图》的线条达到了“骨法用笔”的高度统一，使之成为独立的存在，支配着整幅画的灵魂。\n《簪花仕女图》在赋彩的技巧上，恰当地运用了复杂的色调，重复中不觉得单调。\n紫色纱衫的一再出现，即是一个突出的例子。\n紫色与花青一并涂施，历有“青间紫，不如死”之说，而此图作者对其运用，似乎不受限制和约束。\n在紫色桩上有两处用花青勾画纹样，反而觉得十分典雅，正是作者在克服色彩运用矛盾的独到之处。\n从色彩的搭配到赋彩的层次，画家用纯净透明的白色穿插在各种色彩之中，使黑、白和许多明丽的色彩相互衬托又相互制约，形成了沉着和明快相结合的矛盾统一。\n赋彩上的层次清晰，分开丝绸间的叠压关系，使之有空气流动之感。\n纱衫笼罩下的肌肤和衣裙就如一层薄雾所掩盖，因而原来的肌肤和衣裙随之改变了颜色，但它却不因此而使人离开肌肤和衣裙原有色调的联想力。\n如此，各种颜色所涂成纱衫的质感，更深刻地映入观者的脑海里。\n《簪花仕女图》是全世界范围内唯一认定的唐代仕女画传世孤本。\n除了唯一性之外，其作品的艺术价值也很高，是典型的唐代仕女画标本型作品，是能代表唐代 风格的绘画作品。\n《簪花仕女图》这种仕女画风格在当时画坛上颇为流行，极大地影响了唐末乃至以后各朝代的仕女画坛和佛教艺术 。\n该作展现了极为浓郁的时代特色和民族气息，是中国传统绘画史上非常重要的一部作品。\n1984年月，中国邮电部特别发行《簪花仕女图》特种邮票和小型张。\n此卷曾经南宋内府收藏，南宋末归 所有，元、明间流传无考，清初为梁清标、安岐收藏，后入清内府。\n1924年，末代皇帝溥仪出宫，但在此前，他用了一年时间整理了1余件举世罕见的书画作品。\n在溥仪逊位前，溥仪便以“恩赐”名义，将内府所藏珍贵字画赏赐给其弟 、溥佳，让他们利用每日下学出宫机会，用黄绫包袱将书画带出，《簪花仕女图》就在其中。\n盗运出宫的书画起初存放在醇王府内。\n1925年，在 人协助下，这批书画被运抵天津，随溥仪先后在日租界内的张园、静园收藏。\n194年，溥仪到长春做了 皇帝，这批书画被运至当时的长春伪皇宫小白楼内。\n“小白楼”是一幢二层日式钢筋水泥楼，是日本人为溥仪修的保存善本图书及古玩字画的库房，内存藏品总数约1件，对外名曰“图书馆”。\n1945年8月，日本宣布战败投降前，日本关东军准备将伪满洲国迁到通化。\n8月17日，溥仪乘飞机企图逃往日本时，被 俘获，其携带的一部分书画和珠宝由苏联红军查扣，并转交 ，几经辗转后，《簪花仕女图》藏于辽宁省博物馆。\n217年7月，辽宁省博物馆举办《艺术·生活——辽宁省博物馆研发文创作品展》，展出镇馆之宝《簪花仕女图》。\n219年1月7日至22年1月5日，该作品在辽宁省博物馆将举办大型文物特色展览“又见大唐”中展出。\n22年9月28日，厦门海丝艺术品中心推出“复现——荣宝斋木版水印中秋特展非遗交互体验展”，展出木版水印作品《簪花仕女图》。\n周昉，生卒年不详，唐代画家，字仲朗，一字景玄，京兆（今陕西省西安市）人。\n出身于仕宦之家，曾官越州长史、宣州长史别驾。\n好属文，穷丹青之妙，擅画肖像、尤工仕女，初学张萱而加以写生变化，多写贵族妇女，所作悠游闲适，容貌丰腴，衣着华丽，用笔劲简，色彩柔艳，为当时宫廷、士大夫所重，称绝一时。",[23,24,25,26,27,28,7,29,30,31,32],"高清","国画","工笔","设色","美人","鹤","花","衣帽","饰品","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94df61ee873fdda8506e777d2dd87070.jpg","绢本","纵46厘米，横180厘米","人物画精选",[36,38],"设色画精选",15398,116,0,"795548",{"id":44,"slug":45,"title":46,"dynasty":47,"author":48,"museum":49,"description":50,"tags":51,"thumbUrl":56,"material":57,"size":58,"collection":36,"collections":59,"showCount":60,"zanCount":61,"manualWeight":41,"mainColor":42},219988,"chun-gui-juan-du-tu-leng-mei-219988","春闺倦读图","清","冷枚","天津博物馆","美人卷珠帘，深坐颦蛾眉。《春闺倦读图》图绘一身着长裙的仕女，发髻高挽，一手支颐，一手持书，侧身倚桌案而立。其神态文静闲适中略带倦意，大家闺秀清闲寂寞的生活，刻画得细致入微。",[23,24,52,25,26,27,7,53,54,30,55],"书画","牡丹","器","卷轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F182d912c8259e91009a6158bea4db358.jpg","绢本,设色","80*50",[36],2317,20,{"id":63,"slug":64,"title":65,"dynasty":66,"author":67,"museum":68,"description":69,"tags":70,"thumbUrl":82,"material":83,"size":84,"collection":85,"collections":86,"showCount":87,"zanCount":88,"manualWeight":41,"mainColor":42},221491,"huo-lang-tu-quan-juan-li-song-221491","货郎图全卷","宋","李嵩","北京故宫博物院","古吴轩出版社主编的《李嵩货郎图》是《历代名画宣纸高清大图》系列之一，采用高清宣纸制作，力求体现画作整体的最高艺术水平，且添加内容简介、风格阐述、作者介绍，以方便读者鉴赏学习。\n此图是一幅人物风俗画卷，画面上货郎肩挑杂货担，不堪重负地弯着腰，欢呼雀跃的儿童奔走相告，喜悦之情溢于言表。\n画家借助货郎这一题材表现了南宋市井生活的一个侧面，是民俗学家不可多得的珍贵史料。",[23,71,24,52,72,25,73,26,74,75,76,77,78,79,80,7,81],"名画","长卷","白描","人物","孩童","妇女","货担","器物","树木","动物","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff486169f4887c2ad43e56c3c00718926.jpg","绢本，设色","纵25.5厘米，横70.4厘米","",[],242,5,{"id":90,"slug":91,"title":92,"dynasty":66,"author":93,"museum":94,"description":95,"tags":96,"thumbUrl":99,"material":100,"size":101,"collection":102,"collections":103,"showCount":104,"zanCount":105,"manualWeight":41,"mainColor":42},221678,"wen-ji-gui-han-tu-zhang-yu-221678","文姬归汉图","张瑀","吉林省博物院","全卷共画十二人，前有胡服官员执旗骑马引道，中间是头戴貂冠、身着华丽胡装、骑着骏马的蔡文姬，马前有两人挽缰，后面还有官员护送，并有猎犬、小驹、鹰相随。画面上风沙漫天、人骑错落有致，互相呼应，神情逼真，塞北风光尽现纸上。\n此图所绘是文姬归汉途中的情景。前端一汉人骑老马引路，肩扛圆月旗，躬背缩首，迎风沙而行，侧后方有一马驹紧紧相随。稍后数步便是画卷中心人物蔡文姬，头戴貂冠，身着华丽胡装， 脚蹬皮靴，骑在马上，手扶鞍桥，双目凝视前方。文姬身后，是骑在马上护送的马夫和侍从， 前面汉胡两官员并骑，左侧汉朝官员，头戴帻巾，左手持一把用毛皮镶边的团扇遮面， 以避风沙。右侧胡人官员，头戴皮帽。身穿紧袖长袍，腰系佩饰， 面现愁容，正在勒马， 马亦踢蹄踟蹰。其后有侍从五骑相随， 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因此称之为《流民图》亦可。",[23,24,52,72,73,26,74,205,7,154,300,301,302,191,303,206],"拐杖","篮子","鼓","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd181c6127f25e533180376f904c665f0.jpg","纸本设色","纵28厘米，横384厘米",[],26,"F48FB1",{"id":311,"slug":312,"title":313,"dynasty":47,"author":314,"museum":149,"description":315,"tags":316,"thumbUrl":323,"material":85,"size":85,"collection":85,"collections":324,"showCount":325,"zanCount":41,"manualWeight":41,"mainColor":195},224255,"tao-yuan-tu-cha-shi-biao-224255","桃园图","查士标","此作用笔松秀简淡，以浅绛设色晕染出桃源幽境。左侧村舍错落隐于林樾间，田陇横斜延展，数位乡贤执礼晤谈，稚童随行、家犬嬉游，晕开融融烟火意趣。右侧崖壁清峭苍古，松枝偃仰遒劲，江流宛转萦回，扁舟静泊汀岸，淡施花青赭石点染枝梢，晕开春日柔润清和。\n全画以留白衬出空寂幽远的氛围，将林泉静穆与村居恬和相融，把文人心中避世归乡的桃源理想，化作可感的山水村居图景，尽显萧散简远的审美意趣。",[23,24,52,72,203,317,318,74,319,79,320,321,322,7],"皴法","山水","房屋","松树","桃花","孤舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14ee26c49185665d7885d138604cf597.jpg",[],25,{"id":327,"slug":328,"title":329,"dynasty":330,"author":129,"museum":149,"description":331,"tags":332,"thumbUrl":344,"material":209,"size":210,"collection":85,"collections":345,"showCount":346,"zanCount":41,"manualWeight":41,"mainColor":42},224089,"shi-er-sheng-xiao-jing-yi-ming-224089","十二生肖镜","隋","中国铜镜的制作和使用具有悠久的历史，根据考古发掘，年代最早的铜镜为4000多年前的齐家文化。从齐家文化至西周末春秋早期制作的铜镜，多以纹饰简单、形体小、种类少。此一时期为中国铜镜制作早期阶段。\n春秋中晚期开始，我国铜镜制作和使用就发展起来了，特别是战国时期，铜镜的种类复杂，题材广泛，制作工艺精细，包括此时期铜镜的合金成分，其锡含量是最适合铜镜的使用，这些充分反应了铜镜在此时期制作技术已达到成熟阶段。汉代开始铜镜得到了进一步的发展，这时期的铜镜出现了新的类型，铭纹也正逐渐成为铜镜的纹饰组成部分，反映了汉代铸镜业的发达及铜镜商品化的发展。\n隋唐时期是中国铜镜高度发展时期，此时的铜镜突破了以往圆形与方形的传统形式，出现了菱花形、葵花形铜镜。特别是盛唐时期铜镜工艺精湛，著名的瑞兽葡萄镜更是闻名于世，这一时期铜镜发展达到了顶峰。\n从唐末，五代起中国的铜镜艺术日趋衰落，宋、金、元时期的铜镜，从造型、纹饰和合金成分上都有不同于传统铜镜的特点。明，清时期虽然铜镜还在人们日常生活当中使用，但到清代中后期随着玻璃的使用，铜镜逐渐退出了历史舞台。当今虽然不再有人使用铜镜整装容，但古代铜镜给予我们的除了收藏价值，还有对古代形制、纹饰、铭文、艺术、制作工艺、成分等等的研究价值。中历收藏品鉴定中心，为我国合法第三方专业鉴定平台，证书得到了专业人士及社会各界的高度认可，藏品鉴定可咨询。",[333,334,335,336,337,152,338,339,340,341,97,154,205,342,7,343,54],"隋代","铜制","青铜器","雕刻","鼠","虎","兔","龙","蛇","鸡","猪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f4279e31dfdc5b014a6c52949e36c2b.jpg",[],23,{"id":348,"slug":349,"title":350,"dynasty":351,"author":352,"museum":353,"description":354,"tags":355,"thumbUrl":357,"material":83,"size":358,"collection":85,"collections":359,"showCount":346,"zanCount":11,"manualWeight":41,"mainColor":195},222607,"xi-cheng-gui-le-tu-tu-juan-zhao-meng-fu-222607","西成归乐图图卷","元","赵孟頫","美国大都会艺术博物馆","这幅画以人和家畜为材料，描绘了人们的欢乐。 图中的家畜包括牛、驴和狗。 人物包括老、中、轻、女人和婴儿。 他们手里拿着东西，脸上挂着微笑。 作者用丰富自然的表情精心绘制了每一张笑脸，表达了人们幸福的心情！",[23,24,52,72,26,74,152,153,7,25,303,206,155,356,172],"民俗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca3dd48200465c183774dfee6b68d610.jpg","22.9×89.5",[],{"id":361,"slug":362,"title":363,"dynasty":110,"author":364,"museum":149,"description":365,"tags":366,"thumbUrl":371,"material":85,"size":85,"collection":85,"collections":372,"showCount":373,"zanCount":41,"manualWeight":41,"mainColor":42},228862,"tian-jia-chun-dou-tu-juan-zhang-chong-228862","田家春斗图卷","张翀","此作以兼工带写之笔铺展乡野春景，古木虬枝环抱着错落村舍，水畔田埂间，村民们角力摔跤，呼喝喝彩之声似随画卷扑面而来。妇孺围立笑观，稚童穿梭嬉闹，田家烟火意趣尽显。画家精于人物情态捕捉，衣褶灵动简约，村野景致皴染朴拙细腻，将江南春日乡野的鲜活生机与质朴活力，尽数凝于绢素，画风古雅淳厚，把民间春日嬉游的松弛野趣刻画得淋漓尽致，尽显风俗画描摹世俗民生的动人特质。",[23,24,52,71,72,25,26,303,74,367,368,220,369,370,117,7,317],"田","屋舍","山石","春景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F592ca4cfbdcded52aaada6264e96bf35.jpg",[],21,{"id":375,"slug":376,"title":377,"dynasty":47,"author":378,"museum":379,"description":380,"tags":381,"thumbUrl":385,"material":34,"size":386,"collection":85,"collections":387,"showCount":388,"zanCount":41,"manualWeight":41,"mainColor":195},222981,"hong-lou-meng-106-sun-wen-222981","红楼梦106","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",[23,24,25,26,318,74,187,190,186,79,382,7,383,384],"家禽","石","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F023d8c11c694a1cead3245a34ef7bf56.jpg","纵43.3厘米、横76.5厘米",[],17,{"id":390,"slug":391,"title":392,"dynasty":47,"author":48,"museum":68,"description":393,"tags":394,"thumbUrl":397,"material":83,"size":398,"collection":85,"collections":399,"showCount":400,"zanCount":41,"manualWeight":41,"mainColor":42},222867,"shi-gong-ci-tu-ce-06-leng-mei-222867","十宫词图册06","此套图册共10开，描绘历代贤德后妃或贵族女子的故事，和《养正图》册具有同样鲜明的教育意义。对题有梁诗正书写的弘历承继帝位前于雍正十三年（1735年）所作的诗句，与图画互为辉映。\n由于图册以历代宫廷生活为题，故每幅画面均有对宫廷建筑的描绘，但因为作者只是宫廷画工，并不具备对前代建筑的了解与认知，同时历史人物画“成教化，助人伦”的政治功用也淡化了这些作为人物故事背景的历代宫廷建筑，使其更多地带有装饰性与程式化色彩，并没有呈现出不同时代的建筑风貌。值得注意的是，册中建筑的描绘均采用“海西画法”，冷枚作品中体现的这种画风特性，是在中国传统界画的基础上运用透视法增强画面的空间深度感并以明暗关系区分阴阳向背，说明曾为康熙皇帝所赏识的“海西法”在雍正、乾隆朝的宫廷建筑绘画中已被日渐欣赏和接受。",[23,71,24,52,185,25,26,74,186,395,396,7,206,303,81],"庭院","车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F168968a1c5eb89201c2550c1aad92216.jpg","纵33.1厘米，横29.3厘米",[],16,{"id":402,"slug":403,"title":404,"dynasty":66,"author":129,"museum":149,"description":405,"tags":406,"thumbUrl":409,"material":85,"size":85,"collection":85,"collections":410,"showCount":411,"zanCount":41,"manualWeight":41,"mainColor":195},227908,"kong-lin-zuo-gou-tu-yi-ming-227908","空林坐狗图","垂柳如烟垂覆林隅，细槎疏枝错落舒展，晕染出萧寂清旷的郊野秋意。劲瘦细犬静坐坡石之侧，颈间红绦轻垂，是古雅底色里一抹鲜亮暖意。它抬首侧目，似在谛听风穿叶隙、野雀轻啼，将空林的幽寂悄然打破，又融于这份静谧之中。\n\n此作晕染温润古雅，淡墨写尽林野荒疏意趣，工笔细绘灵犬神态，以尺幅团扇框住林下闲景，将雅致审美藏于野趣日常，幽韵自生，尽显小品画以小见大的精妙意境。",[23,407,24,52,275,25,26,116,7,79,277,408],"宋代","草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74d50f44903c7a03e510070aaade1260.jpg",[],15,{"id":413,"slug":414,"title":415,"dynasty":330,"author":129,"museum":149,"description":416,"tags":417,"thumbUrl":421,"material":209,"size":210,"collection":85,"collections":422,"showCount":423,"zanCount":11,"manualWeight":41,"mainColor":424},253355,"tao-huang-you-gou-yi-ming-253355","陶黄釉狗","黄釉是汉族传统的陶瓷装饰艺术。最早出现于唐代，当时安徽淮南寿州窑、河南密县窑等都烧黄釉。但正色黄釉，还是宋代汝窑的高温黄釉——茶叶末釉。明代的黄釉有新的发展，洪武时的老僧衣即茶叶末的衍化；始于宣德的浇黄，更是明代杰出的黄釉；嘉靖以后，又有鱼子黄、鸡油黄等。入清后有康熙的淡黄，以及其后的菜尾、鼻烟、金酱等。",[333,418,419,116,7,420],"陶瓷","陶塑","黄釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9cc57704e2f0192a1dfdf275ad8d009.jpg",[],14,"37474F",{"id":426,"slug":427,"title":428,"dynasty":47,"author":429,"museum":149,"description":430,"tags":431,"thumbUrl":436,"material":209,"size":210,"collection":85,"collections":437,"showCount":438,"zanCount":41,"manualWeight":41,"mainColor":424},224128,"pantaka-tang-ka-224128","Pantaka","唐卡","唐卡（Thang-ga）也叫唐嘎，唐喀，系藏文音译，指用彩缎装裱后悬挂供奉的宗教卷轴画。唐卡是藏族文化中一种独具特色的绘画艺术形式，题材内容涉及藏族的历史、政治、文化和社会生活等诸多领域，传世唐卡大都是藏传佛教和本教作品。\n唐卡是藏族文化中一种独具特色的绘画艺术形式。具有鲜明的民族特点、浓郁的宗教色彩和独特的艺术风格，用明亮的色彩描绘出神圣的佛的世界；颜料传统上是全部采用金、银、珍珠、玛瑙、珊瑚、松石、孔雀石、朱砂等珍贵的矿物宝石和藏红花、大黄、蓝靛等植物为颜料以示其神圣。这些天然原料保证了所绘制的唐卡色泽鲜艳，璀璨夺目，虽经几百年的岁月，仍是色泽艳丽明亮。因此被誉为中国民族绘画艺术的珍品，被称为藏族的”百科全书”也是中华民族民间艺术中弥足珍贵的非物质文化遗产。\n传统唐卡的绘制要求严苛、程序极为复杂，必须按照经书中的仪轨及上师的要求进行，包括绘前仪式、制作画布、构图起稿、着色染色、勾线定型、铺金描银、开眼、缝裱开光等一整套工艺程序。制作一幅唐卡用时较长，短则半年完成，长则需要十余年。",[432,26,25,74,116,318,220,383,433,434,75,435,7],"宗教","台案","供品","猴子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb0daf70fd92bb2c8a4f1651237bd70e.jpg",[],8,{"id":440,"slug":441,"title":442,"dynasty":66,"author":254,"museum":68,"description":255,"tags":443,"thumbUrl":444,"material":83,"size":258,"collection":85,"collections":445,"showCount":446,"zanCount":41,"manualWeight":41,"mainColor":195},234014,"lie-quan-tu-ye-li-di-234014","猎犬图页",[71,24,52,185,25,26,116,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53b16ac10534603b2880a001691d480b.jpg",[],7,{"id":448,"slug":449,"title":450,"dynasty":47,"author":451,"museum":149,"description":452,"tags":453,"thumbUrl":455,"material":141,"size":85,"collection":85,"collections":456,"showCount":457,"zanCount":41,"manualWeight":41,"mainColor":195},215103,"tui-bei-tu-ce-5-jiao-bing-zhen-215103","推背图册-5","焦秉贞","焦秉贞是中国清朝时期著名的画家，他被认为是中国水墨画史上最伟大的画家之一。其中最著名的作品是他的推背图册，其中包含了十幅推背图。推背图是一种特殊的水墨画，它们通常是用单一的墨色在纸上描绘的，并且使用了特殊的技巧来创造出立体感。焦秉贞的推背图册在当时被认为是一件杰出的艺术品，并且至今仍然备受赞赏。",[23,71,24,185,25,26,220,369,454,343,7,337,116],"草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6667ce90fb304c0134c02c613a0234dc.jpg",[],6,{"id":459,"slug":460,"title":461,"dynasty":462,"author":129,"museum":149,"description":463,"tags":464,"thumbUrl":465,"material":209,"size":210,"collection":85,"collections":466,"showCount":88,"zanCount":41,"manualWeight":41,"mainColor":424},254040,"tao-gou-yi-ming-254040","陶狗","汉","汉代陶器的工艺水平很高,造型优美,质地精良。品种、装饰则因地区不同而不同。陕西关中地区常见的日用陶器有豆、 盆、筒杯、勺、盘、缸、甑、 釜、小壶、扁壶、茧形壶、钵、罐、钟、碗等。明器包括礼器鼎和模型明器仓、陶囤以及各种动物形象。纹饰多为变形回纹、三角纹和窝纹。陕西潼关以东地区人们的日常用陶，以灰陶为主，有罐、 壶、碗、勺、筒杯、 瓮、盒、洗、甑、釜、杯、盘、尊等。在汉代流行起来的生活用具模型，如仓、 炉、 灶、井等。大都作为明器供随葬之用。盒、盘、案、杯等，逐渐成组出现，为适应人们厚葬之需也成为祭器。猪、羊、狗、鸡等家畜家禽及圈舍、住宅等明器模型也大量流行。装饰则有弦纹、刻划的三角纹、连环纹、栉齿纹和动物纹，还有绳纹、拍印纹、模印、浮雕、涂色和彩绘等。南方的长沙地区，制陶工艺自成体系，陶盒使用普遍，陶壶无盖，鼎的三足成矮胖的兽蹄形，其他实用器皿还有壶、罐、碗、钫、、盆、釜、甑、长方炉、博山炉等。特点是坚硬厚重。殉葬明器有灶、仓、井、屋、猪圈模型等。广东地区秦汉时属南海郡，常用陶器有瓮、双耳罐、提、四联罐和五联罐、瓿、小瓿、壶、匏壶、温壶、钫、 盒、敦、 小盒、三足盒、三足罐、三足瓿、四联盒、 碗、盆、 甑、釜、鼎、豆、三足格盒等。生活用具中灰白色的印纹硬陶占多数， 有的还戳上印记，多为容器，炊器只有釜、 鼎、甑 3种。造型特别的三足器、温壶、匏壶有着明显的地方特点。印纹硬陶很讲究装饰，单是几何图案就达70多种，此外还有弦纹、 陶纹、 镂孔、篦纹及文字记号等。明器上多施彩绘。四川云南等也有自己的制陶业，不少作品和中原地区相似，如圆底釜、侈口束颈、鼓腹的壶等。关中地区流行的茧形壶虽不生产，确有发现。舞蹈俑、说书俑、抚琴俑、听琴俑、侍立俑和各类家禽形象，生动优美，自然写实。",[462,418,116,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F327e112af0af28f4cc1e9350128fe526.jpg",[],{"id":468,"slug":469,"title":470,"dynasty":47,"author":129,"museum":149,"description":471,"tags":472,"thumbUrl":478,"material":209,"size":210,"collection":85,"collections":479,"showCount":480,"zanCount":41,"manualWeight":41,"mainColor":42},272967,"zi-tan-mu-bian-hua-fa-lang-ren-wu-tu-gua-ping-yi-ming-272967","紫檀木边画珐琅人物图挂屏","飞瀑垂坠松石间，远山含黛隐着村舍。暖棕台地上，眷侣依偎而坐，男子执笛似在回味余韵，女子怀拥稚童，衣袂柔丽鲜亮，鎏黄、茜红的珐琅釉色晕染出细腻质感。脚边小犬伏卧，添了几分灵动生机。\n整幅图景将欧式田园的缱绻温情，融于明润通透的珐琅彩中，木纹边框衬得画面愈显雅致端庄。东方珐琅工艺诠释西洋闲情，晕开旧时光里悠然静谧的闲居意趣，是东西审美碰撞而生的精巧之作。",[473,474,74,26,7,475,79,191,476,477],"琺瑯器","挂屏","瀑布","闲适","户外","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6be8778271e907db842e086d1e7dc9d.jpg",[],4,{"id":482,"slug":483,"title":484,"dynasty":330,"author":129,"museum":149,"description":485,"tags":486,"thumbUrl":488,"material":209,"size":210,"collection":85,"collections":489,"showCount":480,"zanCount":41,"manualWeight":41,"mainColor":424},254584,"tao-hua-cai-gou-yi-ming-254584","陶画彩狗","宋代是传统制瓷工艺发展史上一个非常繁荣昌盛的时期。现时已发现的古代陶瓷遗址分布于全国170个县。其中有宋代窑址的就有130个县，占总数的75%。\n陶瓷史家通常将宋代陶瓷窑大致概括为6个瓷窑系，它们分别是：北方地区的定窑系、耀州窑系、钧窑系和磁州窑系；南方地区的龙泉青瓷系和景德镇的青白瓷系。这些窑系一方面具有因受其所在地区使用原材料的影响而具有的特殊性，另一方面又有受帝国时代的政治理念、文化习俗、工艺水平制约而具有的共同性。\n从造型的角度分析，宋瓷的器形较之前代更为丰富多彩，几乎包括了人民日常生活用器的大部分：碗、盘、壶、罐、盒、炉、枕、砚与水注等，其中最为多见的是玉壶春瓶。总的说来，民间用瓷的造型大部分是大方朴实、经济耐用；而宫廷用瓷则端庄典雅、雍容华贵。最能反映皇家气派的是哥、官、钧、汝与定窑口烧制的贡瓷，最能体现百姓喜乐的是磁州、耀州窑口烧制的民间瓷品。\n从纹饰上讲，宋瓷的纹饰题材表现手法都极为丰富独特。一般情况下，龙、凤、鹿、鹤、游鱼、花鸟、婴戏、山水景色等常作为主体纹饰而突现在各类器形的显著部位，而回纹、卷枝卷叶纹、云头纹、钱纹、莲瓣纹等多用作边饰间饰，用以辅助主题纹饰。工匠们用刻、划、剔、画和雕塑等不同技法，在器物上把纹样的神情意态与胎体的方圆长短巧妙结合起来，形成审美与实用的统一整体，令人爱不释手。如婴戏纹，或于碗心、或于瓶腹，将肌肤稚嫩，情态活泼的童子置于花丛之中，或一或二，或三五成群，攀树折花，追逐嬉戏，真切动人，生活气息甚为浓厚。",[333,418,26,116,7,487,419],"彩绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27ccd8ab6c1cb7c01255ff79a688e4fe.jpg",[],{"id":491,"slug":492,"title":493,"dynasty":18,"author":129,"museum":149,"description":494,"tags":495,"thumbUrl":496,"material":209,"size":210,"collection":497,"collections":498,"showCount":480,"zanCount":41,"manualWeight":41,"mainColor":424},254520,"qiong-yao-gou-yi-ming-254520","邛窑狗","邛窑,中国最古老的民窑之一，是中国彩绘瓷的发源地。其价值堪比三星堆、金沙遗址，被列入国家大遗址重点保护。它始创于东晋，成熟于南朝，盛于唐，是跨越八个多世纪的中国古代陶瓷名窑。\n邛窑分布在我国的四川省境内，以青釉、青釉褐斑、青釉褐绿斑和彩绘瓷为主，始烧于南北朝衰于宋朝，时间踌度约800年的中国古代陶瓷名窑。邛窑是我国著名民间瓷窑之一。器物有各种盘、碗、罐等日用器皿，其中以丰富的小瓷俑最为生动形象，以创造了陶瓷省油灯而闻名全国。\n善于将雕塑艺术的手法运用到瓷器的造型上。纵观邛窑瓷器，雕塑艺术品特别多，例如各类大小动物，胡商俑、武士俑、劳作俑、侍女俑、役仆俑等形象都用雕塑手法作出，就是一些实用生活用具、文房用具、储盛用具等雕塑艺术的作法也处处可见。另一个巨型三彩釉陶砚台，塑成一个伸颈昂首，瞪眼张嘴的大龟，四腿塑成兽蹄形，盖用雕塑手法塑成隆起的龟背，再刻划出背纹和裙边，既实用又具有很高的艺术性。有的执壶，口部以上塑一鼻孔上翻，鼓目张嘴的人头，整齐的牙齿外露，似乎正在歌唱。有的器盖塑成一个天真的儿童，光头，昂首，两眼上视，双臂伸开，两退上翻，脚交织在一起，天真活泼，很像现在的杂技表演。瓷枕也塑造成虎形，下为一个椭圆形底板，上塑的虎，咧嘴露齿，翻鼻鼓睛；作伏卧状，背上的枕面四角圆润，前部较小，后面较大，中间略微低下，虎的前额、眉眼、皮毛和枕面以褐绿彩点画成彩斑装饰。第二，彩绘装饰十分普遍，邛窑陶瓷有单色釉、如青釉、棕黄色釉、褐黑色釉，灰白色釉。由于泥料较粗，普遍含有细沙粒，胎面普遍施化妆土，用当地原料配出浅黄、深黄、棕黄、老绿、翠绿、孔雀蓝、藏蓝、紫黄、黑色等彩在瓷器上作画，大多数是釉下彩。由于邛窑瓷器釉层稀薄，釉下彩或釉上彩不易分辨，但大多数是釉下彩。以大片圆形彩斑、联珠、多层菱形、圆圈构成的图案，有些和刻花、划花、粘贴、捏塑、模印等共同组成装饰面。最突出的是彩画。这些釉下彩绘，由于工匠有深厚的文化根底和书画艺术的功力，以没骨画的技法，率然落笔，粗悍展开，画出的花纹潇洒豪放，韵味无穷。 贴近生活的创造，四川自古以来崇尚读书，学子们多贫寒清苦，邛窑创造出省油灯，陆游说“书灯勿用铜盏，惟瓷盏最省油。蜀有夹瓷盏，注水于盏唇窍中，可省油之半。”受到士大夫文人和广大庶民百姓欢迎。这种创造为文化教育的普及提供了条件。",[18,418,116,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F528cdaa5923e2e57313856ad3bac6bce.jpg","瓷器精选",[497],{"id":500,"slug":501,"title":415,"dynasty":462,"author":129,"museum":149,"description":416,"tags":502,"thumbUrl":503,"material":209,"size":210,"collection":85,"collections":504,"showCount":480,"zanCount":41,"manualWeight":41,"mainColor":424},253496,"tao-huang-you-gou-yi-ming-253496",[462,418,420,116,7,419],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb94f69f8947771e6bfd54468c0955972.jpg",[],{"id":506,"slug":507,"title":461,"dynasty":462,"author":129,"museum":149,"description":463,"tags":508,"thumbUrl":511,"material":209,"size":210,"collection":85,"collections":512,"showCount":480,"zanCount":41,"manualWeight":41,"mainColor":424},253178,"tao-gou-yi-ming-253178",[462,419,509,116,7,510],"俑","陶器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb82022ffb94d9890066f9c147157ba4a.jpg",[],{"id":514,"slug":515,"title":516,"dynasty":47,"author":129,"museum":149,"description":517,"tags":518,"thumbUrl":521,"material":209,"size":210,"collection":85,"collections":522,"showCount":480,"zanCount":41,"manualWeight":41,"mainColor":195},251199,"qing-yu-shi-er-chen-gou-yi-ming-251199","青玉十二辰-狗","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。",[519,336,47,520,7,116],"玉石","生肖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8bb7f83a1e7d0fe1ea6e01797ee915f.jpg",[],{"id":524,"slug":525,"title":526,"dynasty":527,"author":528,"museum":149,"description":529,"tags":530,"thumbUrl":534,"material":209,"size":210,"collection":85,"collections":535,"showCount":480,"zanCount":41,"manualWeight":41,"mainColor":195},232558,"mi-lai-si-102-yue-han-ai-fu-li-te-mi-lai-si-232558","米莱斯102","不详","约翰·埃弗里特米莱斯","John 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Mary","画面以对称拱厅铺展故事，左右两厢冷暖对照。左间烟火蒸腾，仆役们穿梭备宴，满是劳碌的市井温热；右厢静穆虔敬，马利亚跪伏迎候，基督垂目颔首满是悲悯柔和，门徒们肃立随侍。弧顶的小天使舒展羽翼，为庄严肃穆的空间揉入轻盈灵动。\n\n手绘排线勾勒衣褶起伏，淡彩晕染铺陈光影层次，让织物的厚重、石墙的冷硬呼之欲出。画师用细腻笔触刻绘神态，将侍奉的匆忙与敬拜的沉静并置，在古典建筑的框定下，把宗教叙事的神圣性揉进日常图景里，让信仰的温度顺着笔锋漫溢开来。",[542,432,543,583,685,686,546,7,687],"基督","天使","圣经故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f8e2f3da11049f2f67762368bf36188.jpg",[],{"id":691,"slug":692,"title":693,"dynasty":527,"author":129,"museum":149,"description":694,"tags":695,"thumbUrl":697,"material":209,"size":210,"collection":85,"collections":698,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":195},289220,"giuseppe-bernardino-bison-scene-of-antique-sacrifice-yi-ming-289220","Giuseppe Bernardino Bison--Scene of Antique 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Damocles","棕褐墨色勾勒出这场浮华宴饮，灵动线条利落铺陈出宏大场域。高台之上君主恣然享乐，环坐宾客或曲意逢迎，或沉湎欢宴，佩剑侍者垂首躬身，将权力场的谄媚浮华尽数铺展。疏密排线晕开明暗层次，墙间浮雕、帷幔褶皱都刻画入微，角落争食的猎犬呼应着席间躁动虚浮。画家将悬剑的悚然暗喻藏进觥筹交错之中，让宴饮的欢闹与暗藏的危机形成尖锐对冲，寥寥笔墨便把权势顶端如影随形的惶惶不安揉进浮华表象里，勾勒出权力场的荒诞张力。",[705,543,583,706,707,546,7,708],"神话故事","群像人物","宫廷宴会","达摩克利斯之剑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf27598ff40a1edd3a5bbfc4fb1c27fb.jpg",[],{"id":712,"slug":713,"title":714,"dynasty":527,"author":129,"museum":149,"description":715,"tags":716,"thumbUrl":721,"material":209,"size":210,"collection":85,"collections":722,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":195},289169,"goya-rabbit-hunter-with-a-retriever-from-images-yi-ming-289169","Goya--Rabbit Hunter with a Retriever, from Images","暖棕调晕开朦胧野林，将镜头凝在这方狩猎余韵里。猎人佝偻着脊背，粗糙的指尖轻触猎犬衔来的野兔，粗粝衣褶晕染出赶路与狩猎的风尘，斜倚的猎枪还带着刚卸下的紧绷。猎犬昂首递来猎物，脖颈绷起的线条满是邀功的灵动，一人一犬间无需言语的默契漫开。\n画家以松弛的单色晕染，摒弃繁复修饰，寥寥几笔便将乡野猎手的日常瞬间定格，粗朴笔触裹着鲜活的生活温度，把郊野猎归的沉静暖意揉进画面里。",[717,661,718,7,339,719,720],"速写","猎人","狩猎","野外","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6a63d1a4018cc6f6b8ef2f2b5601d90.jpg",[],{"id":724,"slug":725,"title":726,"dynasty":527,"author":129,"museum":149,"description":727,"tags":728,"thumbUrl":730,"material":209,"size":210,"collection":85,"collections":731,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":195},289054,"laurent-de-la-hyre-st-roch-interceding-yi-ming-289054","Laurent de La Hyre--St. Roch Interceding","画面以上下分层铺展神性与俗世的拉扯，粗犷排线晕开明暗层次，将洞窟空间烘托得压抑肃穆。\n祈愿的圣徒抬手向穹顶，垂落的羽翼带着恳切张力，病榻上的垂死者身形枯槁，颓丧姿态写尽疫病苦楚。上方穹顶小景以柔缓排线晕出微光，悲悯神性穿透沉郁，将救赎暖意递向人间。\n随性又充满力量的笔触揉合悲恸与祈盼，速写的松弛感里藏着厚重共情，让苦难与慈悲在此交织震颤。",[432,74,583,729,686,7],"圣罗克","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a0bc825e4df4660081758afbee0a677.jpg",[],{"id":733,"slug":734,"title":735,"dynasty":527,"author":129,"museum":149,"description":736,"tags":737,"thumbUrl":740,"material":209,"size":210,"collection":85,"collections":741,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":195},289040,"lorenzo-de-ferrari-study-of-justice-dispensing-rewards-to-the-arts-yi-ming-289040","Lorenzo de' Ferrari--Study of Justice Dispensing Rewards to the Arts","画面以端坐的正义为核心，她神色沉静庄重，抬手将嘉奖赐予身旁众人。左侧武士仗剑拱卫，衬出秩序威严，环绕的天使与匠人形象，象征着诸般艺文技艺。\n\n作者以虚实交融的手笔创作，铅笔勾勒松弛灵动的轮廓，棕褐色晕染铺陈明暗层次，未完成的线条留存下构思时的鲜活思路，让人物兼具随性的生动与叙事的厚重感。错落排布的群像让画面既富有紧凑的秩序感，又不失创作草图独有的松弛张力，将正义嘉奖艺文的内核在笔下缓缓铺展，古典肃穆的氛围呼之欲出。",[583,717,543,542,738,7,739],"正义女神","古典题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae777acaade94634917717a73b4b00b1.jpg",[],{"id":743,"slug":744,"title":745,"dynasty":527,"author":129,"museum":149,"description":746,"tags":747,"thumbUrl":752,"material":209,"size":210,"collection":85,"collections":753,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":42},288811,"peter-paul-rubens-a-sermon-in-a-village-church-yi-ming-288811","Peter Paul Rubens--A Sermon in a Village Church","彼得·保罗·鲁本斯（Peter Paul Rubens）（1577年6月28日—1640年5月30日），教名伯多禄·保禄·鲁宾斯，17世纪佛兰德斯画家，西班牙哈布斯堡王朝外交使节。鲁本斯是佛兰德斯画家，是巴洛克画派早期的代表人物。\n鲁本斯出生于德国锡根，在他的父亲去世后，12岁的鲁本斯跟随母亲回到了西班牙统治下的家乡安特卫普，并在那里接受了天主教洗礼。而宗教也成为鲁本斯画家生涯中十分重要的一个主题。",[748,432,543,749,750,751,7],"水彩画","教堂","布道","乡村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5739dff8153c430ef3b620f5e7b3d04.jpg",[],{"id":755,"slug":756,"title":757,"dynasty":527,"author":129,"museum":149,"description":758,"tags":759,"thumbUrl":760,"material":209,"size":210,"collection":85,"collections":761,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":195},288716,"vittorio-amedeo-rapous-the-vision-of-st-hubert-yi-ming-288716","Vittorio Amedeo Rapous--The Vision of St. Hubert","这幅素描淡彩以拱形框围合出神圣叙事场景，单膝跪地的骑士敛容屏息，将全部心神交付于林间异象——头顶灵光的圣鹿于林木间显现，这是天启降临的瞬间。身旁骏马温驯静立，脚边猎犬却警觉躁动，动静反差放大了此刻的超现实张力。朦胧晕染的林间背景将神迹包裹在氤氲雾气里，把狩猎的日常骤然拉向神性的感召。松弛却精准的线条勾勒出人物的虔敬神态，淡彩铺就柔和氛围感，定格住圣徒信仰觉醒的肃穆刹那，让神性的启迪与凡俗的悸动融为一体。",[432,74,288,97,7,73,660,583],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7dcd60520526f6015a06b47b73aa855.jpg",[],{"id":763,"slug":764,"title":765,"dynasty":527,"author":129,"museum":149,"description":766,"tags":767,"thumbUrl":771,"material":209,"size":210,"collection":85,"collections":772,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":195},288691,"attributed-to-andre-s-de-melgar-female-herm-with-two-dogs-other-grotesques-yi-ming-288691","attributed to Andrés de Melgar--Female Herm with Two Dogs; Other Grotesques","淡墨钢笔下迸发着奇想碎片，左上角女身赫尔墨斯立于台座，双犬垂首拱卫，线条带着古典仪式感，旁侧小字手札似私藏的创作注脚。右上角侏儒小像与翼爪兼具的奇美拉异兽，诡谲怪诞又带着浪漫张力。下方茛苕纹装饰糅合古典建筑装饰的韵律感。\n\n潦草勾勒的草稿带着随性松弛的创作张力，将典雅神话意象与怪诞造物并置，复刻着复古奇想美学的余韵，私密的手书衬出灵感迸发的瞬间，仿佛将文艺复兴的怪诞浪漫凝缩在纸面。",[73,583,74,7,340,768,769,770],"异兽","手稿","装饰纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F320148f2d0c0780324dfe5339cad043a.jpg",[],{"id":774,"slug":775,"title":776,"dynasty":527,"author":129,"museum":149,"description":777,"tags":778,"thumbUrl":780,"material":209,"size":210,"collection":85,"collections":781,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":309},288633,"jean-baptiste-greuze-a-farmer-entrusting-the-plow-to-his-son-yi-ming-288633","Jean-Baptiste Greuze--A Farmer Entrusting the Plow to His Son","粗粜的炭笔线条晕开郊野晨雾，苍劲林木环抱着这场庄重的托付。老父抬手殷殷嘱托，青年握定犁柄凝神颔首，身旁乡邻簇立，满含期许。左侧牛群缓行，伴着手执长鞭的吆喝，喧闹的乡野队伍把农作传承的温情悄然铺展。\n\n没有浓丽敷色，仅以明暗光影勾勒鲜活神态，将农家代际间的劳作托付揉进松弛笔触里，把乡土日常的热忱与庄重定格。粗朴的线条藏着饱满的烟火暖意，让平凡的农事交接，成为满是人情温度的隽永瞬间。",[583,542,543,152,7,79,751,155,477,779,717],"人物群像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65568e933fa148c15af5dcdc8f22d40b.jpg",[],{"id":783,"slug":784,"title":785,"dynasty":527,"author":129,"museum":149,"description":786,"tags":787,"thumbUrl":790,"material":209,"size":210,"collection":85,"collections":791,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":195},288605,"jonas-umbach-february-one-of-a-series-representing-the-labors-yi-ming-288605","Jonas Umbach--February (one of a series representing the labors","这帧红粉笔素描，以灵动线条铺陈市井日常。门廊之下，雇主安坐椅上，雇工正细细打理他的皮靴，脚边孩童逗弄幼犬，松弛又鲜活。门后两人探身旁观，将闲逸氛围晕开。右侧拱门后的街巷里，人群喧闹奔走，鲜活躁动的街头光景，与门廊边的慵懒静谧形成强烈对照。\n\n画家以柔和的明暗晕染区分层次，红褐笔痕粗朴又生动，将市镇冬日的浮生百态揉进画面，粗粝纸面衬出烟火质感，让平淡日常里的松弛闲散，与巷弄间的鲜活热烈交织成暖意融融的市井图景。",[583,544,74,7,788,626,789],"门廊","劳作场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22202e5b40507bda01933e5f5b50374a.jpg",[],{"id":793,"slug":794,"title":795,"dynasty":527,"author":129,"museum":149,"description":796,"tags":797,"thumbUrl":802,"material":209,"size":210,"collection":85,"collections":803,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":195},288604,"jonas-umbach-january-one-of-a-series-representing-the-labors-yi-ming-288604","Jonas Umbach--January (one of a series representing the labors","暖棕的红粉笔铺就冬日底色，画面被暖意与萧寒生生切开。前景炉火明旺，烤火的男子摊开手掌烘着寒气，脚边小狗垂首摇尾静候温存，侍者端着热气氤氲的食盘，将烟火气揉进暖室。背景街巷清寒，行人瑟缩赶路，将冬日凛冽尽数写在佝偻的背影里。\n\n线条松弛灵动，明暗晕开冷暖边界，把隆冬里市井日常的温热与奔波的清冷对撞，粗粝笔触勾勒出鲜活的人间情态，让萧索冬日晕开熨帖暖意，定格下寒月里最平凡动人的片刻温存。",[583,542,74,7,798,319,626,799,546,800,801],"炉火","市井生活","室外场景","日常劳作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bc0adf67108b3fb7f67076724fc5493.jpg",[],{"id":805,"slug":806,"title":807,"dynasty":462,"author":129,"museum":149,"description":485,"tags":808,"thumbUrl":811,"material":209,"size":210,"collection":85,"collections":812,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":424},254758,"hong-tao-yin-you-gou-yi-ming-254758","红陶银釉狗",[462,809,810,419,116,7],"红陶","银釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6224b0ef66919c1534c57593f1ec57f3.jpg",[],{"id":814,"slug":815,"title":461,"dynasty":462,"author":129,"museum":149,"description":463,"tags":816,"thumbUrl":819,"material":209,"size":210,"collection":85,"collections":820,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":424},254642,"tao-gou-yi-ming-254642",[557,419,817,116,7,509,818],"雕塑","灰陶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d093f19ed8e2f526abcfae2d7b0faa2.jpg",[],{"id":822,"slug":823,"title":415,"dynasty":18,"author":129,"museum":149,"description":416,"tags":824,"thumbUrl":825,"material":209,"size":210,"collection":85,"collections":826,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":424},254548,"tao-huang-you-gou-yi-ming-254548",[18,418,419,420,116,7,509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc50f0e4f656d8462821b6d414d709d81.jpg",[],{"id":828,"slug":829,"title":484,"dynasty":462,"author":129,"museum":149,"description":463,"tags":830,"thumbUrl":833,"material":209,"size":210,"collection":85,"collections":834,"showCount":11,"zanCount":11,"manualWeight":41,"mainColor":424},254405,"tao-hua-cai-gou-yi-ming-254405",[462,419,487,116,7,418,80,831,832],"陶制","画彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa06595ae66f1b159464db8c83e2137ba.jpg",[],{"id":836,"slug":837,"title":484,"dynasty":66,"author":129,"museum":149,"description":838,"tags":839,"thumbUrl":840,"material":209,"size":210,"collection":85,"collections":841,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":424},254384,"tao-hua-cai-gou-yi-ming-254384","宋代的美学，是以沉静雅素见长。虽有热烈绽放的玫瑰紫、天蓝釉瓷器，但也总是不如唐三彩给人以更为直接的视觉冲击。宋代瓷器釉色绚烂夺目，既有汝窑恬静温润的天青色，又有钧窑热情奔放的玫瑰紫、海棠红；既有定窑自然淳朴的象牙色，又有龙泉窑清新匀净的梅子青、粉青。宋人的审美已经不再是追求简单的透明釉，而是追求精致的乳浊釉和结晶釉。这与宋代的经济发展水平有极大的关系，著名史学家陈寅恪说“华夏民族之文化，历数千载之演进，造极于赵宋之世”。文化的盛极体现在文人的日常生活之中，即点茶、挂画、插花和熏香。以点茶为例，陆游的《临安春雨初霁》，诗中有句云：“矮纸斜行闲作草，晴窗细乳戏分茶”，北宋初年人陶谷在《荈茗录》中已经说到一种叫“茶百戏”的游艺：“茶至唐始盛。近世有下汤运匕，别施妙诀，使汤纹水脉成物象者，禽兽虫鱼花草之属，纤巧如画。但须臾即就散灭。此茶之变也，时人谓之茶百戏。”将饮茶从最初的解毒解渴功能升华成陶冶情操的雅事乐事，唯有宋代达到极致。\n器物的发展依赖于风尚，反过来器物又促进风尚的延续，在相对稳定的政治经济局面和尚古之风影响下，宋代陶瓷业得到了空前的发展。首先是五大名窑汝官哥钧定的异军突起，其次是定窑系、磁州窑系、耀州窑系、钧窑系、龙泉窑系、景德镇窑系、越窑系、建窑系八大窑系的百花齐放。\n除此之外，宋代的陶器发展也呈现出新的局面。宋三彩（为仿唐三彩制作而成。它虽高岭土做胎，但烧成温度低，属于低温铅釉陶，因此也放在陶器之中）、辽三彩是陶器中比较特殊的一类。",[418,26,116,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04f6a015f78a3ea15c5f22b44c3244aa.jpg",[],{"id":843,"slug":844,"title":845,"dynasty":66,"author":129,"museum":149,"description":846,"tags":847,"thumbUrl":849,"material":209,"size":210,"collection":85,"collections":850,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":42},254370,"tao-hua-cai-shi-er-chen-gou-yong-yi-ming-254370","陶画彩十二辰狗俑","春秋战国时期，有一种殉葬用的“俑”，据《礼记·檀弓》，孔子“谓为俑者不仁”。郑玄注：“俑，偶人也，有面目机发，有似于生人。”皇侃疏：“机械发动踊跃，故谓之俑也。”孔颖达正义：“刻木为人，而自发动，与生人无异，但无性灵知识。”又《孟子·梁惠王》：“仲尼曰：始作俑者，其无后乎?为其像人而用之也。”焦循《孟子正义》：《广雅》引(张揖)《埤苍》云：“俑，木人，送葬设关而能跳踊，故名之。”“为其像人者，谓为其像人之转动跳踊也。”可见“俑”就是由简单机械发动能够自己转动跳跃的木人。\n中国古代坟中墓中陪葬用的偶人。是象征殉葬奴隶的模拟品。东周墓中出现渐多，秦汉至隋唐盛行，北宋以后逐渐衰落，但仍沿用到元明时期。俑的质料以木、陶质最常见，也有瓷、石或金属制品。宋代以后纸明器开始流行，陶、木、石质的俑开始渐渐减少。俑的形象，主要有奴仆、舞乐、士兵、仪仗等，并常附有鞍马、牛车、庖厨用具和家畜等模型，还有镇墓胜的神物。俑大多真实地模拟着当时的各种人物，因而可以考见当时社会的生活习俗，也是研究各代舆服制度的重要资料。俑还可以反映出各个时代雕塑艺术的水平。\n秦代的秦始皇陵兵马俑，形体比人略高，陶制，是已知最大的俑；另外还有铜俑等。汉俑种类比以前增多，有兵士、女侍、仆役及乐舞俑。南方以木俑为多，有的彩绘着衣。其他地方多陶、石、木、金属等多种材质的俑，注重传神。两晋南北朝制作多样，南方承中原传统并有了瓷俑；北方出了少数民族形象的陶俑。隋唐俑型大而精美，三彩俑为盛唐时的制作高峰。现在能见到的，是保存在陕西省历史博物馆的唐三彩杰作，有陕西省乾县懿德太子李重润墓出土的、三彩纹胎骑马狩猎俑，和西安市中堡村唐墓出土的唐三彩骆驼戴乐舞俑。这些俑的特点，普遍是形象高大雄健，神态生动富有传神，可谓形神俱佳的作品。并反映了盛唐时期，中华民族富有创造性和豪迈自信的民族性格。五代以后，以俑殉葬的风气开始低落，金元墓葬中出现了陶塑、砖雕表演杂剧的俑，往往成组塑造，还有舞台背景，较为生动，是制作俑的最后一个高潮，以山西出土为多。明清墓葬中俑的出现渐少。在高官王侯墓中出土有木俑和石俑，多以成群人物或辅以仪仗、侍从的庞大场面，用来炫耀死者地位为主，但作为雕塑制品已失去了艺术感染力。秦兵马俑的历史文化价值是独具魅力的。它打开了观察它所产生的那个时代的窗口，大大地改变了人们对那个时代的看法。\n秦兵马俑震撼世人的首推其卓越的艺术成就。几千件魁伟英武的大型陶塑艺术作品，以整体形象排列在将近两万平方米的空间里，其磅礴的气势几乎使所有不同肤色的参观者都从心灵深处产生强烈震颤，体现出艺术家驾驭宏大艺术题材、追求整体气韵和艺术创造的卓越才能。秦俑千人千面、呼之欲出的人物塑造则从形体把握、神韵处理、色彩运用、细部刻画等方面表现出作者的艺术素养和艺术成就。作品写实主义的风格不仅给我们留下了一个高超的古代艺术范本，同时也留下了许多关于那个时代的极富价值的历史记录。严肃划一的军旅题材能够处理得如此生动，产生如此震撼人心的艺术魅力，使人们不得不换一副眼光来审视中国古代艺术发展历程中的特殊规律，重新探索和构架中国古代造型艺术发展的历史。\n秦兵马俑坑文物的出土也较大幅度地改写了人们对秦代的科技水平的认识，以大量的实证材料形象地展现了秦代生产力的发展水平。就科技史而言，秦俑坑发现的许多资料都是令世人震惊的。譬如：1、秦俑坑出土文物所展现的秦代冶金和金属加工技术比我们以往的估计要高出很多，其中青铜涂铬防锈技术的大量应用是最具代表性的一例，它在当时已是一种很成熟的技术，秦俑出土的绝大多数兵器表面都涂有这种保护层。这种绝技似乎从汉代以后就失传了，与之形成鲜明对比的是，两千多年后的1937年，现代镀铬技术才在德国产生，并以专利发明载入了史册。2、秦俑坑出土兵器明确印证了秦简中关于“为器同物者，其小大、短长”是一种标准化概念，秦人在标准化实践方面取得了惊人的成就。这种标准化既是秦人管理艺术发展的代表，也是秦代科技水平的标志。秦人加工的青铜弩机器件精密、形体标准，相同规格的器件完全可以互换。许多特殊的加工工艺，如青铜铍脊上的纹饰生成，纤如毫发的金属小孔钻刻技艺，也都令人叹为观止，一些工艺至今还是不解之谜。由于古代统治者们有重政治、重伦理、崇人事而轻科技的倾向，史书关于科技的记载往往简略残缺，秦代科技资料更是凤毛麟角。正因为如此，秦俑考古的历史文化价值也就更加重要。\n俑坑数千兵马俑所展示的军事内容无疑是军事史研究的最重要的、最形象的资料之一，许多资料使人们对古代军事领域的认识更进一步。譬如，关于当时的兵种构成、组合搭配和结阵形式，兵器、兵器配置形式以及甲具防护装备，军伍组织结构和指挥系统，甚至军伍士卒的来源等，都有珍贵的资料价值。二号坑弩兵的单独结阵，骑兵、轻车兵的编队和配合，是以前有所不知或知之不详的重要资料，以之对照《孙膑兵法》中关于车、步、骑配合原则的论述，给人留下的印象是极其深刻的。古代军事著述中关于兵器配置中长短相杂、相救的原则在秦俑坑兵器配置中也有直观表现，同样有其军事科学上的研究价值。难怪有人将秦俑三坑称为一座内容丰厚的秦代军事博物馆。\n历史本身赋予了秦俑多种历史文化价值。秦俑所折射的历史层面既多又广，在建筑史、服饰史、制度史尤其是王陵制度史等方面，具有独特的认识价值。即使秦俑的身高、体魄、服饰发髻、刻记文字以及秦人在俑坑留下的生产工具和劳作痕迹，都能从不同侧面反映出秦代社会生活的真实影像，反映出一个时代的文化特质，反映出秦兴亡的历史真谛。\n秦俑坑出土文物的精美和丰富，是文物所代表的那个时代物质成就的直接见证。它让人们重新认识和评价那个时代，也提出了许多值得探讨的历史课题，譬如关于帝王权力的重新认识、秦代文化的特质、秦在中国历史发展中的地位等。与之相联系的是，秦始皇的历史评价又一次成为人们关注的话题，秦俑坑出土文物所反映的科技水平和生产能力，在一定程度上反映出秦始皇所起的某种积极作用，同时也从一个侧面证实史书中提到的秦代好大喜功、横征暴敛的统治问题。秦俑考古还在继续，相信对这些问题的研究将会随着考古的进展而不断深入。",[66,418,26,509,848,74,7,116],"十二生肖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6944b4daf64c80571c0737b73d9c20d.jpg",[],{"id":852,"slug":853,"title":484,"dynasty":462,"author":129,"museum":149,"description":463,"tags":854,"thumbUrl":855,"material":209,"size":210,"collection":85,"collections":856,"showCount":11,"zanCount":11,"manualWeight":41,"mainColor":424},254297,"tao-hua-cai-gou-yi-ming-254297",[557,418,487,419,116,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ca7688e0bdb416a45441bb181fa8f9f.jpg",[],{"id":858,"slug":859,"title":484,"dynasty":18,"author":129,"museum":149,"description":860,"tags":861,"thumbUrl":862,"material":209,"size":210,"collection":85,"collections":863,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":424},253884,"tao-hua-cai-gou-yi-ming-253884","唐三彩（Tang Tri-Color Glazed Ceramics ），中国古代陶瓷烧制工艺的珍品，全名唐代三彩釉陶器，是盛行于唐代的一种低温釉陶器，釉彩有黄、绿、白、褐、蓝、黑等色彩，而以黄、绿、白三色为主，所以人们习惯称之为“唐三彩”。因唐三彩最早、最多出土于洛阳，亦有“洛阳唐三彩”之称 。\n唐三彩在唐代的兴起有它的历史原因。首先陶瓷业的飞速发展，以及雕塑、建筑艺术水平的不断提高，促使它们之间不断结合、不断发展，因此从人物到动物以及生活用具都能在唐三彩的器物上表现出来。\n唐代贞观之治以后，国力强盛、百业俱兴，同时也导致了一些高官生活的腐化，于是厚葬之风日盛。唐三彩当时也是作为一种冥器，曾经被列入官府的明文规定，一品、二品、三品、四品，就是说可以允许他随葬多少件，但是实际上作为这些达官显贵们，并不满足于明文的规定，反而他们往往比官府规定要增加很多的倍数，去做这种厚葬。官风如此，民风当然也如此，于是从上到下就形成了这么一种厚葬之风，这也就是唐三彩当时能够迅速在中原地区发展和兴起的一个主要原因之一。\n唐代是我国封建社会的鼎盛时期，所以说唐三彩从另外一个侧面也反映了这种唐王朝的政治、文化、生活，它跟唐代诗歌、绘画、建筑其他文化一样，共同形成了唐王朝文化的旋律，但是它又不同于其他的文化艺术，从现代的陶瓷史上认为，唐三彩在唐代陶瓷史上是一个划时代的里程碑，因为在唐以前，只有单色釉，最多就是两色釉的并用，在我国的汉代，已经有了两色，即黄色和绿色两种釉彩在同一器物上的使用。到了唐代以后，这种多彩的釉色在陶瓷器物上同时得到了运用。从陶瓷史上有人考证，这和唐代当时的审美观点起了很大的变化有关。在唐以前人们崇尚的是素色主义，到唐代以后，它包容了各种文化，包括许多外来文化，这个时候从绘画、陶瓷、金银器的制作，形成了一个灿烂文化的特点。\n唐三彩的生产已有1300多年的历史。它吸取了中国国画、雕塑等工艺美术的特点。唐三彩制作工艺复杂，以经过精细加工的高岭土作为坯体，用含铜、铁、钴、锰、金等矿物作为釉料的着色剂，并在釉中加入适量的炼铅熔渣和铅灰作为助剂。先将素坯入窑焙烧，陶坯烧成后，再上釉彩，再次入窑烧至800℃左右而成。由于铅釉的流动性强，在烧制的过程中釉面向四周扩散流淌，各色釉互相浸润交融，形成自然而又斑驳绚丽的色彩，是一种具有中国独特风格的传统工艺品。\n唐三彩不仅贵在釉色浓艳瑰丽，而且骆驼、马和人物等的造型生动传神，富有生活气息，当时的国际场上，唐三彩就已负有盛名，成为中外经济文化交流的重要物品之一。1928年，陇海铁路修筑到洛阳邙山时，出土了大量唐三彩，古董商们将其运至北京，受到了国内外古器物研究者的重视和古玩商竞相收藏。之后，洛阳地区不断有唐三彩出土，数量之多、质量之美，令人惊叹。",[18,419,832,26,116,7,509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc233bea9b343404d5c836cc76c4f447f.jpg",[],{"id":865,"slug":866,"title":415,"dynasty":66,"author":129,"museum":149,"description":416,"tags":867,"thumbUrl":868,"material":209,"size":210,"collection":85,"collections":869,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":424},253765,"tao-huang-you-gou-yi-ming-253765",[407,418,420,116,7,419],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe88a39814021fd47b28b131b8e3cd4fa.jpg",[],{"id":871,"slug":872,"title":873,"dynasty":66,"author":129,"museum":149,"description":874,"tags":875,"thumbUrl":878,"material":209,"size":210,"collection":85,"collections":879,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":424},253528,"bai-you-ci-hei-hua-gou-yi-ming-253528","白釉瓷黑花狗","将不含金属氧化物呈色元素的釉料施于胎骨洁白的器物上，入窑高温烧制而成的透明釉， 釉色因白润瓷胎的映衬而显出白色，现在习惯上将这种透明釉也称为白釉。\n瓷器釉料中的含铁量降低到0.75%以下，施于洁白的瓷胎上，入窑经高温烧制，就会出现白釉。严格地说，白釉是一种无色透明釉，而不是白色的釉 。白釉是瓷器传统釉色之一,真正的白釉应该是乳白色的乳浊釉,这种釉是近代才发明的。我国古代仅有元代枢府釉是失透的,其他白釉并不是白色的釉,\n白釉烧制工艺比青釉复杂，出现的时间也较青釉晚，一般瓷土和釉料，都或多或少含有一些氧化铁，器物烧出后必然呈现出深浅不同的青色来。如果釉料中的铁元素含量小于0.75%，烧出来的就会是白釉。\n白釉最早出现在汉代，比青釉瓷器晚了400多年，白釉瓷器开始是青白色的，因为瓷器中铁的含量高于1%就是青色的，少于1%就是白瓷了，所以中国白瓷经历青瓷、青白瓷、卵白釉、甜白釉、象牙白、白釉的发展过程。中国历史上白瓷产地有德化白瓷、定窑白瓷以及刑窑白瓷等。",[66,418,876,877,7,116],"白釉","黑花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F570de2c877e4694d482d3c70a4844bec.jpg",[],{"id":881,"slug":882,"title":873,"dynasty":66,"author":129,"museum":149,"description":874,"tags":883,"thumbUrl":885,"material":209,"size":210,"collection":85,"collections":886,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":195},253524,"bai-you-ci-hei-hua-gou-yi-ming-253524",[66,418,876,884,7,116],"黑彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5392d5746210679f940de5c00b876cd8.jpg",[],{"id":888,"slug":889,"title":415,"dynasty":66,"author":129,"museum":149,"description":416,"tags":890,"thumbUrl":891,"material":209,"size":210,"collection":85,"collections":892,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":424},253514,"tao-huang-you-gou-yi-ming-253514",[66,418,420,116,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F956f0a1f5c968d73bc09a84bb231536d.jpg",[],{"id":894,"slug":895,"title":461,"dynasty":462,"author":129,"museum":149,"description":463,"tags":896,"thumbUrl":898,"material":209,"size":210,"collection":85,"collections":899,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":424},253179,"tao-gou-yi-ming-253179",[557,419,897,116,7,418,509,336],"古朴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67e0e5e13786bd7972a95ff05cf668b9.jpg",[],{"id":901,"slug":902,"title":903,"dynasty":462,"author":129,"museum":149,"description":904,"tags":905,"thumbUrl":908,"material":209,"size":210,"collection":85,"collections":909,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":195},243967,"shi-er-chen-wen-jing-yi-ming-243967","十二辰纹镜","汉镜有圆形﹑方形。纽多作半球形。正面磨光背面铸有几何形图案或神人禽兽等。东汉中期出现浮雕的画像造形精美。\n两汉时期大体上分西汉、新莽、东 汉三个阶段。汉镜纹饰的主要种类有草叶纹镜、蟠龙纹镜、百乳镜、连弧纹镜、规矩镜、多乳禽兽纹镜和变形四叶镜等。",[462,335,334,336,116,340,338,339,337,205,341,97,154,342,7,343,906,907],"纹饰","圆形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F040b8a02fe5129932613f3e87f91c6ec.jpg",[],{"id":911,"slug":912,"title":913,"dynasty":527,"author":528,"museum":149,"description":529,"tags":914,"thumbUrl":921,"material":209,"size":210,"collection":85,"collections":922,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":42},232566,"mi-lai-si-110-yue-han-ai-fu-li-te-mi-lai-si-232566","米莱斯110",[638,136,74,7,915,916,917,546,918,919,920,641],"床","帽子","剑","拱形背景","衣物","光影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5869ee96e31eb2b3bc207800055c4665.jpg",[],{"id":924,"slug":925,"title":926,"dynasty":527,"author":528,"museum":149,"description":529,"tags":927,"thumbUrl":928,"material":209,"size":210,"collection":85,"collections":929,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":424},232544,"mi-lai-si-88-yue-han-ai-fu-li-te-mi-lai-si-232544","米莱斯88",[71,638,136,26,74,7,546,919,920],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26b8dfeb2de0adf7a8887c804e3220f6.jpg",[],{"id":931,"slug":932,"title":933,"dynasty":527,"author":934,"museum":149,"description":935,"tags":936,"thumbUrl":946,"material":209,"size":210,"collection":85,"collections":947,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":42},232408,"he-er-bai-yin-67-he-er-bai-yin-232408","荷尔拜因67","荷尔拜因","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》。\n荷尔拜因在创作一幅肖像画以前，经常用铅笔描绘衣物、装饰品等细节，有时也用钢笔或垩笔，然后在纸上沿轮廓扎上小孔，铺在画布上，用炭粉将其转移到画布上。在晚年也使用复写纸。他的画作对细节描绘非常详细、真实，甚至于仪器上的刻度、信笺上的文字、桌布上的花纹都描绘的一丝不苟，但整体风格仍然非常统一，人文主义风格非常明显，俄罗斯作家陀斯妥耶夫斯基曾经评价他的作品《墓中的基督》：“可以把许多人的信仰夺去。” 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