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的美好含义。瓜皮被染成老绿色，瓜棱被填上赭石，裂缝被染成淡淡的石绿色。瓜的叶子的边缘已经枯萎，呈赭黄色。",[23,24,25,26,85,27,28,86,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F577659173433558d7dedcd3a2518e7f0.jpg","23.5x24.8",[35],37,{"id":119,"slug":120,"title":121,"dynasty":18,"author":122,"museum":82,"description":123,"tags":124,"thumbUrl":126,"material":71,"size":71,"collection":71,"collections":127,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":39},227956,"hua-niao-tu-ye-zhao-bo-ju-227956","花鸟图页","赵伯驹","这幅小品以清雅笔触勾勒乡野闲趣，瓜叶舒展圆润，甜瓜垂坠饱满，藤须轻曳带着夏日的鲜活生机。两只小鼠姿态灵动憨然，一只探鼻轻嗅瓜蒂，一只俯身张望，将鼠类的机灵敏锐与憨态尽显无余。\n整画工致细腻，瓜的棱纹晕染自然，鼠身绒毛纤毫毕现，淡彩晕染古朴柔和，将日常细碎小景绘得意趣盎然。平淡乡野片段被定格为隽永画面，藏着对烟火日常的温柔体察，尽显于寻常间寻觅诗意的雅致审美。",[23,25,24,27,28,49,50,7,125],"布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6c858f941ffcace6d9f65b301b5c99f.jpg",[],36,{"id":130,"slug":131,"title":132,"dynasty":18,"author":45,"museum":82,"description":133,"tags":134,"thumbUrl":138,"material":139,"size":140,"collection":71,"collections":141,"showCount":142,"zanCount":74,"manualWeight":11,"mainColor":39},288932,"zhong-si-mian-gua-tu-yi-ming-288932","螽斯绵瓜图","此作工笔细腻，晕染精妙。苍润的瓜叶层叠错落，饱满瓜实纹路清晰，仿佛能触到肌理。两只螽斯栩栩如生，一只静伏叶间，一只栖于藤蔓之上，薄翅通透，足肢纤毫毕现，灵动自然。柔婉的卷须蜿蜒舒展，与旁侧劲挺的兰草虚实相衬，丰富了画面层次。\n\n整体设色清雅柔和，将秋日瓜圃的静谧生机尽数铺展。画师以入微观察捕捉田园闲趣，把寻常小景晕染成富有诗意的隽永画面，尽显雅致平和的宋韵审美意趣。",[25,24,27,28,49,7,135,136,32,137,66],"螽斯","螳螂","草叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F959daed786e25386284a55e9d6edc10e.jpg","未知","Xcm*Xcm",[],16,{"id":144,"slug":145,"title":146,"dynasty":44,"author":45,"museum":82,"description":147,"tags":148,"thumbUrl":158,"material":139,"size":140,"collection":71,"collections":159,"showCount":160,"zanCount":74,"manualWeight":11,"mainColor":161},250767,"qian-long-kuan-bai-yu-diao-gua-die-pei-yi-ming-250767","乾隆款白玉雕瓜蝶佩","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。",[149,150,151,152,7,153,154,155,156,157],"玉石","白玉","雕刻","透雕","蝶","饰品","明代","镂空","佩饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F532c44081b54b1eb0a9f79a1b3a2562b.jpg",[],7,"37474F",{"id":163,"slug":164,"title":165,"dynasty":80,"author":166,"museum":82,"description":167,"tags":168,"thumbUrl":169,"material":71,"size":71,"collection":71,"collections":170,"showCount":160,"zanCount":11,"manualWeight":11,"mainColor":75},238285,"hua-qia-xuan-yuan-tu-ce-huang-yue-238285","化洽翾蜎图册","黄钺","黄钺（1750年9月5日-—1841年8月16日），字左田，又名左君，号壹斋、左庶子，安徽芜湖人，清朝大臣，历仕乾隆、嘉庆、道光三朝。是著名的教育家、画家、艺术评论家。\n黄钺师法韩愈、苏轼、黄庭坚三人。 [5] 著有《壹斋集》40卷，其中《奏御集》2卷，杂篇6卷，《萧、汤二老遗诗合编》1卷，《画品》1卷。工诗文、书画，所绘山水，有萧云从余韵，“久邀睿赏，与富阳首相。国称董（浩）黄（钺）二家”，宫内名画，多为其鉴定真伪。诗词有苏东坡风韵，年九十一岁失明，自号“盲左”仍吟诗作画，故乡风情，吟咏殆尽，所作《于湖竹枝词》66首，亦诗亦史，富有深厚乡情。宋子才有“太白脱靴”，“山谷返棹”两图，石刻在太平府尊经阁内。《志》谓“子才七世孙，元太平路经历景阳刻”。嘉庆十七年（1812），黄钺在作此图时也注为元景阳刻。后觉有误，自责捉笔：“承讹袭谬，未暇深考。顷友人拓赠二纸，始知其谬，愧赧无已，爰记以诗，以志吾荒陋焉”。虚怀若谷，难能可贵。\n道光五年（1825），黄钺76岁，请求归休。宣宗“温旨慰留”。次年，又申前请，获准荣归。道光二十一年六月三十日申时（即1841年8月16日15时至17时）在芜湖家中逝世，享年九十二岁。宣宗悼惜，追封为太子太保衔，入祀贤良祠，按尚书条例抚恤，谥号“勤敏”。命史馆立传，赐祭葬，树石碑，葬于当涂南褐山下。同年，奉旨入芜湖乡贤祠。 [3]\n清代乾隆、嘉庆、道光年间，当涂出了一位赫赫有名的内阁尚书、军机大臣。黄钺，字左田，号左君，又号壹斋、左盲，生于乾隆十五年（1750年），卒于道光二十一年（1841年）。因其一生敏而好学，著述甚多，又“执掌皖南北书院十载”，对当地文化、教育做出了重要贡献。\n乾隆三十八年（1773年）十月，年仅23岁的黄钺在太平府学政使院参加岁试。安徽提督学政朱筠阅其卷，以为“奇才异能”，称道不止。朱筠在离开当涂回京都时，特地将这位年轻人带入京城应试，虽未中试，但得以在《四库全书》馆做誉录工作，因之学识大进。乾隆五十三年（1788年），黄钺考中举人，五十五年中进士，授户部主事。当时权臣和坤主管户部，因二人意见相左，借故请假回家，协助安徽巡抚李世杰在芜湖赭山谪翠轩创建中江书院，招员授业。嘉庆四年（1799年），仁宗亲政，黄钺奉命进京加封为“懋勤殿行走”。嘉庆九年（1804年），提升为“赞善，入直南书房”。嘉庆十年，出任山西学政，又特旨任湖北、山东、顺天等地的乡试主考官，后又兼任山西、山东学政，准予密折奏事。嘉庆十五年（1810年），迁侍讲学士，十八年擢升内阁学士，十九年升任户部侍郎，不久，又调任礼部侍郎。嘉庆二十四年（1819年），升任礼部尚书，并“赐紫禁城骑马肩舆入直，加封太子少保衔”。次年，升会试主考官。道光元年（1821年），宣宗亲政，封其为军机大臣，不久，又调任户部尚书，参与大典事宜，从事“京察议叙”。道光三年，宣宗“赐宴玉澜堂”，并给功臣绘像，黄钺是当时朝廷15名老臣之一。道光五年，黄钺已75岁，请求归休，宣宗又“温旨慰留”。次年，又申前请，始获准归乡。黄钺在朝廷历时27年。\n黄钺一生为封建统治阶级“矢勤矢慎”，但他笔耕不辍，在学术上也很有造诣。著有《壹斋集》四十卷、《壹斋诗集》三十六卷、《韩诗增注正讹》十一卷、《萧汤二老遗诗合编》二卷、《奏御集》二卷，另有《画友录》、《泛浆录》、《游黄山记》、《两朝恩赉记》、《二十四画品》等著作。他善画山水花鸟，尤长画梅，初学王 ，晚学王原祁，与“四王”末流董邦达并称山水画家。他的画，笔墨苍厚，他的字，既有书卷气，也有台阁气。他的诗，别具一格，很有气势。曾作的《花卉图》、《端阳佳景图》、《高冈长松图》等，无论青绿山水和水墨山水都很有特色。\n黄钺在绘画艺术上经过多年的实践和探索，将自己积累的经验进行理论概括，撰成画学专著《二十四画品》一书。《二十四画品》是仿照唐司空图撰写的中国古代文集约名著《二十四诗品》的体例而写成的。书中运用四言韵语，把各种绘画艺术风格概括为：一气韵，二神妙，三高古，四苍润，五沉雄，六冲和，七淡远，八补拙，九超脱，十奇辟，十一纵横，十二淋漓，十三荒寒，十四清旷，十五性灵，十六圆浑，十七幽邃，十八明净，十九健拔，二十简洁，二十一精谨，二十二隽爽，二十三空灵，二十四韶秀。整部著作文词典雅，清丽可诵，表现了栩栩如生的艺术形象。\n黄钺对谢朓、李白、黄庭坚十分崇拜，曾多次游览青山和采石矶。他颂扬谢朓“谢公爱青山，结宇恣啸咏”；在《咏李翰林》诗中讴歌李白：“仙骨埋青山，草木发灵异。”到采石矶“高怀吊古”，“掩英雄之泪，吟供奉之诗”。在他作的《采石矶赋》一文中，除了历数在这里发生的许多惊天动地的事件和英雄人物外，还特地为李白而感叹，说：“白也不群，宗之潇洒，着宫锦而扬帆，共兰舟而持 。旁若无人，歌清四野，当此之时，何其壮也！”黄钺又诗云：“平轩遥瞰一湖开，闻说涪翁守郡来。当日到官才九日，未应便起读书台。”该诗也附注曰：“赭山有滴翠轩，相传为涪翁读书处。李之仪跋山谷二词：‘鲁直请无为、当涂，而得当涂，犹蹭蹬一年方到官，既到九日而罢，又数日乃去。’“\n道光十一年（1831年），长江发生水患，回到家乡的黄钺 积极倡兴赈济，带头捐献俸银千两。道光十三年，濒临江淮的州县又遭水灾，黄钺又“捐百金助赈”，以救乡民。次年，当涂、芜湖一带饥荒，米珠薪桂，人民生计困难，黄钺又与王泽、许耕余等发动有田富户及绅士14家，按田交谷600担，兴办“丰备义仓”12座，当义仓上梁即将落成时，黄钺以诗记其事道：“成城缘众志，图匮在年丰。”并在“丰备义仓”的旁边建立私塾，招收蒙童，普及地方教育事业。\n道光十六年，88岁已不能认字，但仍吟诗咏物，所作《于湖竹枝词》66首，亦诗亦史，深入浅出，富有深厚的爱乡之情。",[25,27,28,7,30,32,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd881d276d020ab56053239fcff1ccb6c.jpg",[],{"id":172,"slug":173,"title":174,"dynasty":80,"author":175,"museum":82,"description":176,"tags":177,"thumbUrl":181,"material":139,"size":140,"collection":71,"collections":182,"showCount":183,"zanCount":11,"manualWeight":11,"mainColor":75},235486,"huang-shen-shu-guo-tu-ce-huang-shen-235486","黄慎蔬果图册","黄慎","黄慎（1687年6月14日—1772年），福建宁化人，初名盛，字恭寿，恭懋，躬懋、菊壮，号瘿瓢子，别号东海布衣。家贫，遂学画，擅长人物、山水、花鸟。他的人物画题材十分广泛和丰富，它不仅画神仙佛道和历史名人，也擅长从民间生活中取材，塑造了纤夫 、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。",[25,26,85,28,178,179,51,180,7],"水墨","行书","蔬果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe30763548fa01561f075500a7c7d6796.jpg",[],6,{"id":185,"slug":186,"title":187,"dynasty":80,"author":45,"museum":82,"description":188,"tags":189,"thumbUrl":190,"material":139,"size":140,"collection":71,"collections":191,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":161},251910,"ma-nao-gua-xing-zhui-yi-ming-251910","玛瑙瓜形坠","取天然暖红玛瑙随形而就，镂雕为秋瓜模样。瓜身浅刻脉络纹理，蜷曲藤蔓化作系佩的小纽，圆融柔润的刀工将蔬果鲜活灵韵凝于方寸。\n\n搭配朱红编绳与翠绿玛瑙圆珠，暖朱与碧色相映，撞出雅致复古的意趣。没有繁复雕琢，却将秋瓜的饱满清甜呼之欲出，带着清玩独有的闲适意韵，把寻常田园意趣凝练成可赏可佩的掌中雅物，藏着古人对烟火日常的细腻钟情。",[80,149,151,154,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F392b7d04bfd4188301a3e25d4a0c738e.jpg",[],{"id":193,"slug":194,"title":195,"dynasty":80,"author":45,"museum":82,"description":196,"tags":197,"thumbUrl":202,"material":139,"size":140,"collection":71,"collections":203,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},229581,"diao-huang-yang-mu-lou-kong-gua-die-bi-tong-yi-ming-229581","雕黄杨木镂空瓜瓞笔筒","笔筒： 用陶瓷、竹木、等制成的筒形插笔器具。笔筒是搁放毛笔的专用器物，据文献记载，它的材质有镏金、翡翠、紫檀和乌木，现在我们能够见到的传世器物，大多是用瓷或者是竹木制作的。具有收藏价值。",[198,199,200,151,156,7,32,201],"清代","黄杨木","木质","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf3d1ea9060bfc5dc94a899f4a7fa42b.jpg",[],{"id":205,"slug":206,"title":207,"dynasty":18,"author":45,"museum":82,"description":208,"tags":209,"thumbUrl":212,"material":139,"size":140,"collection":71,"collections":213,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":75},223883,"yu-gua-wen-pei-yi-ming-223883","玉瓜纹珮","宋辽金时期，实用装饰玉占重要地位，礼性大减，玩味大增，更加接近现实生活。文人的审美意识逐渐渗入玉器的造型之中，总体风格不如唐代浑厚有力，多小件精致器物，出现了玉童子、玉笔架、玉镇纸等新品种。雕刻技法出现深层立体镂雕。值得一提的是，辽、金时契丹、女真等少数民族政权狩猎风盛，喜用海东青捕天鹅和猎取熊、鹿等，这一题材的春水、秋山玉洋溢着浓厚的生活气息和游牧文化风格，也颇受汉族士大夫阶层的喜爱。\n宋辽金玉器在继承隋唐文化市庶化、艺术化的基础上，形成了鲜明的朴素淡雅艺术风格。浓郁的乡土韵味，彰显的民族特性，通过构图精致、空灵剔透、神形兼备的“宋作工”体现得淋漓尽致。宋辽金玉器是我国玉文化的一朵奇葩，它的艺术成就可谓“光前绝后”。",[149,151,210,211,7,30,32],"宋代","浮雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2bcbbc3a1426c41acd18d766aca24c2.jpg",[],{"id":215,"slug":216,"title":217,"dynasty":80,"author":45,"museum":82,"description":218,"tags":219,"thumbUrl":222,"material":139,"size":140,"collection":71,"collections":223,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":75},269382,"zi-tan-qian-yu-gua-die-wen-wen-ju-xia-yi-ming-269382","紫檀嵌玉瓜蝶纹文具匣","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。",[200,151,149,7,153,220,221],"文具匣","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85169cc4a8e5f5d6a7cfd5b81c8882c1.jpg",[],{"id":225,"slug":226,"title":227,"dynasty":228,"author":45,"museum":82,"description":218,"tags":229,"thumbUrl":233,"material":139,"size":140,"collection":71,"collections":234,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":161},251337,"dai-pi-qing-yu-shou-mian-er-gua-shi-shui-cheng-yi-ming-251337","带皮青玉兽面耳瓜式水丞","唐",[230,149,231,7,151,201,232],"唐代","兽","文房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa932a9240d4acc6aa08cc6a25388c708.jpg",[],{"id":236,"slug":237,"title":238,"dynasty":80,"author":45,"museum":82,"description":239,"tags":240,"thumbUrl":243,"material":139,"size":140,"collection":71,"collections":244,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":39},248608,"ti-hong-gua-die-wen-he-yi-ming-248608","剔红瓜瓞纹盒","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",[80,241,242,151,7,153,31],"漆器","剔红","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ce4604712725e5f9e2dca507fb909a5.jpg",[],{"id":246,"slug":247,"title":248,"dynasty":80,"author":45,"museum":82,"description":239,"tags":249,"thumbUrl":250,"material":139,"size":140,"collection":71,"collections":251,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":39},229580,"zhu-huang-gua-shi-he-yi-ming-229580","竹黄瓜式盒",[87,151,7,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8bebe1781b181f92bb7f2e5321eceaa.jpg",[],{"id":253,"slug":254,"title":255,"dynasty":80,"author":45,"museum":82,"description":256,"tags":257,"thumbUrl":258,"material":139,"size":140,"collection":71,"collections":259,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":75},229314,"tan-xiang-mu-gua-die-mian-mian-pei-yi-ming-229314","檀香木瓜瓞绵绵珮","取檀香木为材，自带清冽幽香。以透雕技法刻就瓜瓞纹样，藤蔓舒展缠连，叶片翻卷灵动，中心硕果饱满圆润，刀工婉转细腻，将子孙绵延的祥瑞寓意融于方寸之间。\n\n暖橙色珊瑚珠错落点缀，沉雅木色配莹润珠泽，更衬器物温婉质感。下端两色流苏垂坠轻晃，柔靡晕染的色泽，为素雅佩饰添了几分柔媚气韵。\n\n这枚佩饰将日常妆点与美好祈愿相融，悬于衣襟便携着幽幽木香，藏着古人对家族绵长、烟火顺遂的朴素期许，是精巧雅致又饱含温度的旧时清玩。",[151,200,154,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F570e25bc24ee11d29dfbbaba6027264d.jpg",[],{"id":261,"slug":262,"title":263,"dynasty":80,"author":45,"museum":82,"description":264,"tags":265,"thumbUrl":268,"material":139,"size":140,"collection":71,"collections":269,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},280663,"yan-chi-bi-jia-xiao-jiang-shan-gua-shu-niu-hua-shou-shan-shi-zhang-yi-ming-280663","“砚池笔架小江山”瓜鼠钮花寿山石章","战国时期，主张合纵的名相苏秦佩戴过六国相印。近几年来，出土的文物又把印章的历史向前推进了数百年。也就是说，印章在周朝时就有了。\n传世的古代玺印，多数出于古城废墟、河流和古墓中。有的是战争中战败者流亡时所遗弃，也有在战争中殉职者遗弃在战场上的，而当时的惯例，凡在战场上虏获的印章必须上交，而官吏迁职、死后也须脱解印绶上交。其它有不少如官职连姓名的，以及吉语印、肖形印等一般是殉葬之物，而不是实品。其它在战国时代的陶器和标准量器上，以及有些诸侯国的金币上，都用印章盖上名称和记录上制造工匠的名姓或图记性质的符号，也被流传下来。\n古玺是先秦印章的通称。我们现在所能看到的一般最早的印章大多是战国古玺。印文笔画细如毫发，都出于铸造。白文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。官玺的印文内容有“司马”、“司徒”等名称外，还有各种不规则的形状，内容还刻有吉语和生动的物图案。朱文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。\n古印章和书画一样，崇尚名人效应，讲究技艺水准。一般来说，篆刻作者以及印章属主的名气大小、地位高低和作品的价值成正比。但古印章和字画、陶瓷等热门品种又有所不同。由于藏家、行家相对较少，认知能力跟不上，以至于鉴定难度加大，认可上更挑剔、更严格。因此，对于名人作品的收藏或投资，一定要慎之又慎。即不仅要真，还要真得“好”、“精”、“开门”。要注意鉴别旧仿以及改刻、添款之作。\n古印章大多都有钮饰工艺，而钮工的精粗与否将直接影响到古印章的价值。钮饰雕琢奇巧、精致传神，薄意浮雕水平高超的，附加值亦随之提升。\n古印章的石材产地多，仅寿山、青田、昌化三地就有数百种之多，其质地高下、优劣参差不齐。一般来说，衡量石质有三点：一是直观颜色漂亮明艳、亮丽抢眼；二是质感好，即符合“细、腻、温、润、结、凝”之“六德”；三是产量稀少、外貌特殊，如上品母黄、芙蓉、封门、鸡血等名品。",[51,266,267,151,7,50,149],"篆刻","寿山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8cb6da77ee577dd21eaf76b3a5beec9.jpg",[],{"id":271,"slug":272,"title":273,"dynasty":80,"author":45,"museum":82,"description":274,"tags":275,"thumbUrl":279,"material":139,"size":140,"collection":71,"collections":280,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},269821,"ran-ya-diao-gua-die-xi-yi-ming-269821","染牙雕瓜蝶洗","此器取瓜形为身，仿生写实，清雅别致。器侧藤蔓卷须萦纡缠绕，黄花翠叶错落点缀，晕染淡彩提亮生机。盘心浅雕螳螂、甲虫，纤纤细足、触须分毫毕现，仿佛正于瓜间信步嬉游，野趣横生。\n\n匠人将牙雕刀工与染色技法相融，既留存牙质温润莹润的天生质感，又以淡色晕染烘托田园意趣。乡野小景凝缩方寸，文房清供的雅致与自然野趣相合，尽显清代仿生牙作的精妙造诣。",[276,151,277,278,7,153,221,201],"象牙","牙雕","染牙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0de5c6fee7c265f0403ce553ef14b1e8.jpg",[],{"id":282,"slug":283,"title":284,"dynasty":80,"author":45,"museum":82,"description":239,"tags":285,"thumbUrl":288,"material":139,"size":140,"collection":71,"collections":289,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":75},269250,"zhu-gen-diao-gua-shi-he-yi-ming-269250","竹根雕瓜式盒",[286,151,200,201,7,32,287],"竹根雕","花叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4787f997a18f89f4dc1c0808beb50fb.jpg",[],{"id":291,"slug":292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