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画院画家作画的模范。宋代《宣和画谱卷十八》记载：“祖宗以来，图画院之较艺者，必以黄筌父子笔法为程序……”\n黄筌画出来的画，上自皇帝下至走卒，没有不连声赞叹的。而他留下来的这幅画稿《写生珍禽图卷》，也同样是技巧精湛、内涵丰实、人人叹服的绝世之作。\n这幅画中，画了24只小生物，都是珍禽异鸟。它们在皇宫中受到细心的养护，品种优良，造型独特，有的五彩斑斓，眩人耳目。黄筌在宫中画院任职，能够利用画院的便利条件，观察这些珍禽异鸟，而把它们揽入他的绢素中。\n也许有人会说这幅画没有意境，没有布局章法，鸟、虫都自顾自的，没有交集。其实没布局是有其道理的，因为这是画稿嘛，不是完整独立的画作，只是针对个别鸟虫而画，初学者基本上能掌握住这些生物的外形、动态就行。\n这24只小生命像图鉴般被安置在一方小小绢布上，不但不见拥挤、单调，反倒觉得谐和热闹，视觉上也很赏心悦目。",[23,25,24,26,27,28,73,29,30,98,7,32,33],"雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc941f2cb06acdd7b030fbea827f9f0e.jpg",[],46,{"id":103,"slug":104,"title":94,"dynasty":18,"author":95,"museum":20,"description":96,"tags":105,"thumbUrl":107,"material":35,"size":36,"collection":37,"collections":108,"showCount":109,"zanCount":40,"manualWeight":11,"mainColor":41},226154,"xie-sheng-zhen-qin-quan-juan-huang-quan-226154",[23,27,28,26,73,29,106,32,7,33],"鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63ea7bbb08ea8dee423e5e1bfd185218.jpg",[],40,{"id":111,"slug":112,"title":113,"dynasty":114,"author":115,"museum":67,"description":116,"tags":117,"thumbUrl":123,"material":57,"size":124,"collection":125,"collections":126,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":41},219599,"fu-xi-zuo-xiang-tu-ma-lin-219599","伏羲坐像图","宋","马麟","本幅画其坐像，散发披肩，身披鹿皮，一派远古风范。远古时期，我们的先民为了御寒，以石器或骨器加工兽皮，再以骨针等工具进行缝制。此画幅足下右图1为八卦。此八卦图形表明他创制八卦的功绩。他双目凝神，似在沉思什么似的。\n画幅上方宋理宗楷书叙赞。叙曰：“朕获承祖宗右文之绪，祗通燕谋，日奉慈极，万几馀闲，博求载籍，推迹道统之传，自伏羲迄於孟子，凡达而在上，其道行，穷而在下，其教明，采其大指，各为之赞，虽未能探颐精微，姑以寓尊其所闻之意云尔。”标题：“宓牺”。赞日：“继天立极，为百王先，法度肇建，道德纯全，八卦成文，三坟不传，无言而化，至治自然”\n此画刻画高度精练，神情表现细致人微，画法新颖别致，生动自然。人物的眉毛、胡子，粗黑浓密，只是挥洒数笔便勾画出来。衣服更为简练，鹿皮下露出一双赤脚，亦一无疏漏地表现出来，真是神奇而妥贴。设色亦甚为高雅、纯朴，头部和赤脚着浅色，衣服以淡墨渲染，加深了受光面的立体感。简朴精练的笔墨，把这位始祖的形象刻画入微，给人留下了深刻的印象。",[23,25,70,118,28,27,119,120,7,121,74,122],"立轴","人物","山水","兽皮","八卦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbcc5012d0f893c24fe192b64e6c7a39.jpg","纵249.8厘米，横112.0厘米","人物画精选",[125],39,{"id":129,"slug":130,"title":131,"dynasty":114,"author":47,"museum":20,"description":132,"tags":133,"thumbUrl":137,"material":37,"size":37,"collection":37,"collections":138,"showCount":139,"zanCount":140,"manualWeight":11,"mainColor":41},223643,"liao-gui-tu-yi-ming-223643","蓼龟图","此作构图疏淡清寂，以淡赭铺陈出秋日汀洲的柔和底色。坡石间灵龟敛息静伏，背甲纹理勾勒写实，憨态稚拙尽显。旁侧蓼花柔茎舒展，青绿叶片晕染雅致，淡紫碎花垂曳生姿，下方蓝紫小花点缀水岸，野趣悠然。\n画作工写相融，灵龟与花木刻画精细，设色清雅柔和，大片留白烘托出幽谧空寂的意境，尽显宋人小品的雅致意趣，将郊野闲逸之景凝于尺幅间，藏着对自然细微之美的敏锐体察，晕开悠然沉静的田园诗意。",[23,24,25,70,71,27,28,29,75,7,134,135,136],"蓼草","孤石","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9b574896c7d5eafa0c0c152a688c269.jpg",[],34,2,{"id":142,"slug":143,"title":144,"dynasty":114,"author":47,"museum":145,"description":146,"tags":147,"thumbUrl":156,"material":157,"size":158,"collection":37,"collections":159,"showCount":160,"zanCount":11,"manualWeight":11,"mainColor":41},223480,"mo-liang-ling-zan-xing-xiu-tu-juan-yi-ming-223480","摹梁令瓒星宿图卷","北京故宫博物院","全卷画五星和二十八宿神形（现存五星十二宿）。五星即五大行星：金、木、水、火、土，二十八宿是古人用作观测日月五星运行坐标的二十八组星座，环列在日月五星的四方，犹如诸星的栖宿场，故称二十八宿。",[25,70,26,148,27,28,149,119,150,151,152,153,7,154,155],"临摹","宗教","神怪","星宿","牛","马","兵器","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82126ff917ff070f22cf00c6e8f9a55c.jpg","绢本设色","27.5x489.7厘米",[],18,{"id":162,"slug":163,"title":164,"dynasty":114,"author":165,"museum":145,"description":166,"tags":167,"thumbUrl":169,"material":170,"size":171,"collection":172,"collections":173,"showCount":160,"zanCount":11,"manualWeight":11,"mainColor":80},221679,"shen-gui-tu-juan-quan-juan-zhang-gui-221679","神龟图卷全卷","张珪","图左上自题“隨駕張珪”，下钤“畫”字等二印。后纸有明人题记一则，年款为“成化二十一年乙巳秋九月望日，熏沐頓首謹跋”。又钱士叔题记。钤“奎章”、“天”、“曆”、“項子京家珍藏”等鉴赏印多方。\n龟在古代为祥瑞之兽，与麟、凤、龙并称“四灵”，外加白虎，又称“五瑞”。此图右下临水沙滩上绘乌龟一只，仰首，口中喷出一股云气，祥云中现出一轮红日，日中有“”字。衬景是广阔的水面和沙丘，使画面平添了神秘感。此图用笔工整细腻，龟之甲纹描画得一丝不苟。构图简洁，设色妍美，画风近院体，为张珪传世孤本。\n清内府《石渠宝笈·初编》著录。",[23,25,70,26,27,28,168,33,7,120],"行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd296cbd2ee2bc4e71a513f75b25a7f07.jpg","绢本，设色","纵26.5厘米，横53.3厘米","书法精选",[172],{"id":175,"slug":176,"title":177,"dynasty":46,"author":178,"museum":67,"description":179,"tags":180,"thumbUrl":187,"material":77,"size":37,"collection":37,"collections":188,"showCount":189,"zanCount":40,"manualWeight":11,"mainColor":80},218032,"tian-wang-xiang-9-yao-wen-han-218032","天王像-9","姚文瀚","画面中人物端坐云涛花海间，蓝袍红裙缀着细碎纹样，衣袂流转似凝微光。双目微阖含禅意，手中法器古朴，指节分明藏着沉静力道。身下五彩祥云裹挟莲华与瑞草，粉白黄紫交织如锦；脚下波涛翻涌，龟甲隐现、红枝探水，似有灵韵暗生。背景山林隐隐，云端仙佛颔首，淡墨晕染的树影与暖金祥云相映，添了几分空灵神圣。设色妍丽却清雅，线条工细如丝，将人物庄严与自然灵韵融于方寸。每一笔都透着匠心：衣纹褶皱的转折、花瓣脉络的细腻、水波纹理的起伏，皆见功底。整体意境空灵而肃穆，仿佛天地呼吸都凝在这帧画卷里，让人望之便生敬畏与沉静。",[25,27,28,149,119,181,182,183,7,184,185,33,186],"祥云","波浪","龙","花卉","树木","工笔重彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefda59d6ea133eebd3dbe9a283923b41.jpg",[],15,{"id":191,"slug":192,"title":193,"dynasty":46,"author":178,"museum":67,"description":194,"tags":195,"thumbUrl":199,"material":77,"size":37,"collection":37,"collections":200,"showCount":201,"zanCount":40,"manualWeight":11,"mainColor":80},218040,"tian-wang-xiang-4-yao-wen-han-218040","天王像-4","衣袂间金纹流转，蓝绿袍角轻覆膝头，光头映着朦胧光晕，似坐于万千叠起的粉白牡丹与素色祥云之上。脚下浪涛翻涌，青灰龟甲隐现波心，旁侧红珊瑚枝如焰斜出，添几分鲜活气。远处林木葱茏，云雾绕山巅，右上角端坐莲台的小像衣袂飘举，似与天地祥瑞呼应。色彩浓淡相宜，线条细腻却不失灵动，神圣与自然意趣融于一纸，仿佛窥见画中人沉静超然的心境，尽显绘事里的雅致禅意，每一处笔墨都藏着对超然境界的温柔描摹。",[25,70,27,28,149,119,196,197,7,198,33],"云","水","花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5d697ed1ccce3febf1664b28226f413.jpg",[],14,{"id":203,"slug":204,"title":205,"dynasty":206,"author":47,"museum":20,"description":207,"tags":208,"thumbUrl":213,"material":35,"size":36,"collection":37,"collections":214,"showCount":215,"zanCount":11,"manualWeight":11,"mainColor":41},279636,"wan-chuan-hu-jun-zhang-gui-niu-tong-yin-yi-ming-279636","“宛川护军章”龟钮铜印","秦","铜印章是由金属铜铸造而成，具有硬度大，不变形，保存时间长的特点。当代，由中国铜领域第一人的朱炳仁大师开创了熔铜铸印，每枚形态各异，造型独特，极具艺术性。\n铜印的印面，也可见到极少数的棱形和圆形铜印，印纽的形状变化较多，有瓦纽，兔纽，兽纽，柄纽，片纽等等。古代铜印从印文内容上又可分为官印，人名印，闲章，吉祥语，图案印，斋室印，收藏印，在古代遗留下的书画作品或其他文史资料中，人们可以常常可以看到这类印文。\n从拍卖市场来看，铜印中的官印最受市场追捧，像“统军千户之印”，印背一侧刻“统军千户之印”，另一侧刻“中书礼部造，太平二年月日”，系元末农民起义军徐寿辉所铸。另外一枚魏晋时期的奉车都尉鎏金青铜玺印，估价5万至8万元，成交价则达到了19.04万元。奉车都尉是一种官名，自汉武帝设立之后，到宋代废弃，这枚铜印无疑是当时历史的一段记载。\n相比官印，肖形印也是铜印中的主要品种。在2007年中国嘉德秋拍中，一枚估价仅为2000至4000元的战国肖形青铜印，成交价达到了4万余元。这枚铜印的印面为龙形图案，虎钮，造型生动活泼，栩栩如生，不可多得。肖形印，亦称画印、图印、封蜡印及生肖印，是印学研究中不可缺少的重要组成部分，它有别于文字印，但内容十分广泛。\n值得注意的是，随着铜印身价的与日俱增，赝品也越来越多地出现在市场上。由于铜本身的价格不如金银，因此造假成本比较低，加上拍卖价格比较高，因此巨大的利益驱使了造假者纷纷出手。收藏市场上的铜印赝品，绝大多数是翻砂浇铸的粗劣之作。印钮两侧的标记文字也是浇铸成形的，文字不清或似是而非。为了使赝品更加逼真，造假者往往会人为制作黑色包浆，常用办法是涂上油腊烤烧数遍之后即成，但往往可以通过手剥看到下面的黄铜。",[33,209,210,211,7,212],"青铜器","铜制","雕刻","篆刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b734f8b871d08b7a397e8102ceaed8c.jpg",[],10,{"id":217,"slug":218,"title":219,"dynasty":114,"author":47,"museum":20,"description":220,"tags":221,"thumbUrl":224,"material":35,"size":36,"collection":225,"collections":226,"showCount":227,"zanCount":11,"manualWeight":11,"mainColor":228},253378,"shi-wan-yao-qing-you-gui-yi-ming-253378","石湾窑青釉龟","石湾窑在今广东佛山市石湾镇，明清著名民窑之一。以陶塑和建筑陶瓷著称。始于宋代（亦有一说始于唐），极盛于明清两代。\n石湾窑以善仿钧窑而着称。仿钧釉色以蓝色、玫瑰紫、翠毛釉等为佳，但仿中有创。钧窑的窑变釉是一层釉色，而石湾窑变釉却有底釉与面釉之分。寂圆叟在其《陶雅》中盛赞石湾窑变釉色："广窑谓之泥均，其蓝色甚似灰色┅┅于灰釉中旋涡周遭，故露异彩，较之雨过天晴尤极浓艳，目为云斑霞片不足以方厥体态。┅┅又有时于灰釉中露出深蓝色之星点，亦足玩也。"\n石湾窑不仅善仿钧，而且善仿宋代各大名窑，宋代官、哥、汝、钧诸名窑产品，从材质运用、技法处理、艺术造型等各方面都仿得惟妙惟肖，而且有创造性的发展，梅建鹰评价曰："石湾集宋代各大名窑之大成，仿钧而青出于蓝，独创石湾自已的艺术风格。"",[114,222,223,7,75,211],"陶瓷","青釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68ca77180a8d387827b50e15f6c1e385.jpg","瓷器精选",[225],9,"37474F",{"id":230,"slug":231,"title":232,"dynasty":114,"author":47,"museum":20,"description":220,"tags":233,"thumbUrl":237,"material":35,"size":36,"collection":225,"collections":238,"showCount":239,"zanCount":11,"manualWeight":11,"mainColor":41},255617,"shi-wan-yao-lv-you-gui-yi-ming-255617","石湾窑绿釉龟",[222,234,235,7,75,236],"器","绿釉","石湾窑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3220b4fe6942364ce137dbf9827c65a2.jpg",[225],7,{"id":241,"slug":242,"title":243,"dynasty":114,"author":47,"museum":145,"description":244,"tags":245,"thumbUrl":247,"material":170,"size":248,"collection":37,"collections":249,"showCount":239,"zanCount":11,"manualWeight":11,"mainColor":41},234077,"liao-gui-tu-ye-yi-ming-234077","蓼龟图页","图绘溪水岸边，泥坡碎石，红蓼吐艳，野菊轻绽。一只老龟缓缓爬上坡岸，未及出水，便被蓼花上的小蜂所吸引，驻足昂首仰望，后足仍浸于池中，其悠闲自在、与世无争的神态表露无遗。用笔兼工带写，红蓼、乌龟以中锋细笔勾描，小草、花蕊用小写意法，工写结合，笔法灵活多样，设色淡雅清秀。",[25,24,70,71,27,28,29,75,7,134,246,135],"花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc24c6c29ada4fc7aa2fcd944487a6571.jpg","纵28.4厘米，横28厘米",[],{"id":251,"slug":252,"title":253,"dynasty":254,"author":47,"museum":20,"description":255,"tags":256,"thumbUrl":258,"material":35,"size":36,"collection":37,"collections":259,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":228},243509,"gui-wen-pan-yi-ming-243509","龟纹盘","商","青铜器（Bronze Ware）在古时被称为“金”或“吉金”，是红铜与其他化学元素锡、铅等的合金，刚刚铸造完成的青铜器是金色，但因为出土的青铜因为时间流失产生锈蚀后变为青绿色，被称为青铜。\n青铜器的使用开始于新石器时代晚期的土耳其和伊拉克地区，及叙利亚古代TellRamad遗址出土的铜珠等。中国青铜器开始于马家窑至秦汉时期，以商周时期的器物最为精美。在中国仰韶文化早期和马家窑文化时期就已经出现。\n中国最初出现的是小型工具或饰物。夏代始有青铜容器和兵器。商中期，青铜器品种已很丰富，并出现了铭文和精细的花纹。商晚期至西周早期，是青铜器发展的鼎盛时期，器型多种多样，浑厚凝重，铭文逐渐加长，花纹繁缛富丽。随后，青铜器胎体开始变薄，纹饰逐渐简化。春秋晚期至战国，由于铁器的推广使用，铜制工具越来越少。秦汉时期，随着陶器和漆器进入日常生活，铜制容器品种减少，装饰简单，多为素面，胎体也更为轻薄。\n中国青铜器制作精美，在世界青铜器中享有极高的声誉和艺术价值，代表着中国5000多年青铜发展的高超技术与文化。\n我国商、周时代的青铜器具，不单是盛物用的容器，同时也是宗庙中的礼器。青铜器的数量可以表示出身份地位的高低，青铜器形制的大小也可以显示出权力的等级。青铜器中，最重要的器类就是鼎。远古的青铜器可以分为食器、酒器、水器、乐器四大类。食器中包括鼎、鬲等等。其中鼎是最重要的礼器。\n西周中晚期我国形成了列鼎制度，据《春秋公羊传》记载，天子用9鼎，诸侯用7鼎、卿大夫用5鼎、士用3鼎或1鼎。同时。与鼎一同出现的还有簋，通常为九鼎八簋，七鼎六簋，五鼎四簋，三鼎二簋。在西周中晚期的墓葬制度中，鼎为单数而簋为双数。青铜鼎随着时代的发展，形制也在发生变化。商代早期多为圆腹尖足，也有方鼎。到了中期出现了扁足鼎等等。商代晚期尖足鼎逐渐减少，圆腹柱足鼎开始居多，鬲鼎逐渐多了起来。《尔雅》记载“鼎之款足者，谓之鬲”。鬲鼎也称为分裆鼎，是鬲和鼎的混合体，鼎从商代开始铸有各式样的神秘纹饰，多为兽面纹，如饕餮纹、蝉纹、象纹等等，纹饰变化巧妙。容器内部铸有族徽或祖先的名字。\n青铜是铜和锡铅的合金。在中国古代早期的工艺美术中青铜工艺成为奴隶社会工艺美术的典型代表是我们的祖先对人类物质文明的巨大贡献。商周时期是中国历史上的青铜时代，它以品类丰富、造型优美、纹饰华丽、制作精巧、风格独特而著称。此时是冶炼铸造技术可以说有了突发猛进的发展，在应用上具有广泛的适用性。成为中国艺术史的一个组成部分。本文以商周时期的青铜器主要代表作品作品：《后母戊大方鼎》、《盂鼎》为例，从青铜器作为“礼器”的艺术精神与青铜器的造型、装饰艺术特点来谈谈商周青铜器艺术。\n中国古代青铜器，就使用规模、铸造工艺、造型艺术及品种而言。中国古代青铜器在世界艺术史上占有独特地位。商周时期是中国历史上的青铜时代，青铜流行于新石器时代晚期至秦汉时代。以商周器物最为精美，品种已很丰富器型多种多样，并出现了铭文和精细的花纹浑厚凝重。商周青铜器艺术装饰承接新石器时代艺术中若干精髓，经过长期绵延不断的变化，形成独特的体系，在成为中国艺术史的一个组成部分。商周时期，青铜的冶炼业作为生产力的标志而达到高峰。是中国古代青铜器发展的鼎盛时期。",[209,211,257,7,234],"礼器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aba0ee3f21c8fc0f08cf4697d00f7de.jpg",[],6,{"id":262,"slug":263,"title":264,"dynasty":265,"author":47,"museum":20,"description":207,"tags":266,"thumbUrl":267,"material":35,"size":36,"collection":37,"collections":268,"showCount":269,"zanCount":11,"manualWeight":11,"mainColor":80},278802,"nan-chang-nan-zhang-bi-niu-tong-yin-yi-ming-278802","“南昌男章”鼻钮铜印","晋",[33,212,210,7,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3b5cd3351918dfaf4b19ab81090545c.jpg",[],5,{"id":271,"slug":272,"title":273,"dynasty":114,"author":47,"museum":20,"description":220,"tags":274,"thumbUrl":276,"material":35,"size":36,"collection":225,"collections":277,"showCount":269,"zanCount":11,"manualWeight":11,"mainColor":41},255620,"shi-wan-yao-huang-you-gui-yi-ming-255620","石湾窑黄釉龟",[114,222,236,275,7,234],"黄釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb3ffcd1adfc01fd63dc38a963e240a7.jpg",[225],{"id":279,"slug":280,"title":281,"dynasty":282,"author":47,"museum":20,"description":283,"tags":284,"thumbUrl":291,"material":35,"size":36,"collection":37,"collections":292,"showCount":293,"zanCount":11,"manualWeight":11,"mainColor":80},288679,"attributed-to-andre-s-de-melgar-term-holding-turtle-over-dragon-yi-ming-288679","attributed to Andrés de Melgar--Term Holding Turtle over 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description":2754,"tags":2755,"thumbUrl":2757,"material":35,"size":36,"collection":37,"collections":2758,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":228},272439,"liu-yuan-yu-xiang-mo-kui-long-zun-mo-yi-ming-272439","刘源御香墨-夔龙尊墨","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[2756,211,7,659],"墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2db7b4c95aa89858e6690502826a54d.jpg",[],{"id":2760,"slug":2761,"title":2762,"dynasty":46,"author":47,"museum":20,"description":2763,"tags":2764,"thumbUrl":2766,"material":35,"size":36,"collection":37,"collections":2767,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},271393,"gui-shi-dai-gai-tao-yan-yi-ming-271393","龟式带盖陶砚","陶砚制作始于汉代，后世多有烧制。现今仍存于世的西汉“十二峰陶砚”，奇峰竞拔，形象古朴而生动，当属现存世砚台中的精品。唐代时还烧制了三彩砚台，这在唐代墓中也多有出土。在宋代时陶制砚台的制作品加大，而且更加完美，据史料载，在宋代时曾有一制砚名匠，人称万道人，其所制的陶砚可与当时的端砚、歙砚相媲美，甚至在当时的价钱超过前两者的价钱。曾有一文人买过其制作的一方陶砚，磨研30余年仍然发墨如初，被此文人视如珍宝。\n四大名砚中的澄泥砚也属于陶砚，澄泥砚的制作过程相对比较独特。制砚工匠从河水中筛得极细的泥土，做成结实的坯块，风干后雕琢成砚形，放在火中烧炼而成。其珍品性能极佳，古书上曾记载，澄泥砚可以“一匙之水，经旬不涸，一洼之墨，盛暑不干”。这些记载虽有夸张，但也说明了澄泥砚在当时文人心中的地位。其实在唐代以前，歙、端石砚还没有出现，泥砚就成为古人作书作画的唯一研墨器，澄泥砚本来就是陶砚，因其品质优良，才得以与石质的端砚、歙砚和洮河砚并列为中国的四大名砚。但因为其为人工烧制，烧制的技术也不同，所以不像石砚那样为某一方的特产，质量也会因地而异，其中虽有佳者，但劣品也不少。目前收藏普遍认为山西绛县和江苏宝山烧制的澄泥砚是相对比较好的。澄泥砚的好坏可以从颜色和斑点上看出：鳝鱼黄颜色的最好，绿头青次些；黄土有斑点，叫砂斑点，点大些的叫豆瓣砂，小的叫绿豆砂，一般大小斑点都有的是上等，很适合落墨。\n澄泥砚在陶瓷材质的砚台中的市场是最好的，更多的是因为其本身的实用价值。市场中常见到的是明清时期的澄泥砚，此时的澄泥砚保存的相对比较完好，更由于此时艺术性的加强，使澄泥砚更成为文人手中的玩物。但也有一些元以前的澄泥砚由于存世量少，许多藏家不认，且难于鉴定，因此市场价位还很难确定。\n除了澄泥砚之外，还有一些陶制的砚台是比较有特点的。在南北朝、隋唐时期，当时的陶瓷工匠们模仿辟雍设计出了辟雍砚。辟雍砚是极富观赏价值的艺术珍品。魏晋南北朝时期，由于制瓷业的迅速发展，陶瓷砚台大量涌现，其中以一种造型为带足圆盘的瓷砚最为流行，这也是隋唐时期辟雍砚的前身。魏晋时期多流行三足或四足的青瓷圆盘砚，南北朝变化为五足到十足不等的珠足砚、辟雍砚，到了隋唐时期，发展出了圆形多足的辟雍砚。辟雍砚的砚面居中，研堂与墨池相连，砚台中心高高隆起，砚台四周留有深槽储水，以便书画家润笔蘸墨之用，显示出它的实用功能。砚的下部用为数众多的珠足承托，足部明显突出，往往还有纹饰。辟雍砚的造型独特，显示出制作者独具的匠心。\n陶砚中还有一种叫做瓦砚，也即是用古代建筑物上的瓦改制而成。瓦砚之材多取自秦汉晋宫殿殿瓦，如阿房宫、末央宫、铜雀台等。目前发现最早在唐代就开始盛行制作瓦砚之风。这种宫殿的瓦所取之土质极为细腻，烧制工艺极精，不易渗水，特别是铜雀台的瓦，瓦以土和胡桃油相拌，还掺入了黄丹，铅、锡等物，制成砚台后质地细腻，坚如石，不费笔而发墨，是一种很别致而珍贵的砚台，这是前人所始料不及的。此种砚台传世品极少，市场价值极高，但由于材料为瓦质，也有许多收藏家并不是很认识，他们鉴定不了此砚的真伪，因此许多瓦砚目前还埋没于民间收藏之中。",[2765,222,7,75],"砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa554cb42bff37ce0c870ea64730cce42.jpg",[],{"id":2769,"slug":2770,"title":2771,"dynasty":332,"author":47,"museum":20,"description":2763,"tags":2772,"thumbUrl":2774,"material":35,"size":36,"collection":37,"collections":2775,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":375},271290,"gui-xing-qi-tao-yan-yi-ming-271290","龟形漆陶砚",[2765,2773,222,7,211,659],"漆器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3b4fc28b6d44971b96ac796dbfafa6a.jpg",[],{"id":2777,"slug":2778,"title":2779,"dynasty":46,"author":47,"museum":20,"description":2780,"tags":2781,"thumbUrl":2784,"material":35,"size":36,"collection":37,"collections":2785,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},270329,"qian-long-kuan-tong-zan-ke-liu-jin-hai-shou-wen-shui-cheng-yi-ming-270329","乾隆款铜錾刻鎏金海兽纹水丞","水丞又称水中丞，一般多称就是水盂。是一种古老的中国传统工艺品。它是置于书案上的贮水器，用于贮砚水，多属扁圆形，有嘴的叫“水注”，无嘴的叫“水丞”。制作古朴雅致，为文房一重要器具。水丞有玉制的，如清代青玉雕葫芦水丞，两水盂相连构成葫芦形状，周边随形雕刻枝叶缠绕，显得清朗自然。玉水丞中以明代玉工陆子冈所制作品最为著名。也有铜制的、陶瓷制的，如官哥窑肚圆式、钵盂小口式等。",[210,464,211,2782,2783,183,7,234,444,659],"錾刻","海兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F480ad1f055b28f9cbb5d742c888b9915.jpg",[],{"id":2787,"slug":2788,"title":2789,"dynasty":114,"author":47,"museum":20,"description":2790,"tags":2791,"thumbUrl":2796,"material":35,"size":36,"collection":225,"collections":2797,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":228},261371,"ding-yao-bai-you-yin-hua-gui-he-xian-ren-tu-ju-ban-pan-yi-ming-261371","定窑白釉印花龟鹤仙人图菊瓣盘","定窑是中国传统制瓷工艺中的珍品，宋代六大窑系之一，它是继唐代的邢窑白瓷之后兴起的一大瓷窑体系。主要产地在今河北省保定市曲阳县（原属今定州市）的涧磁村、野北村及东燕川村、西燕川村一带，因该地区唐宋时期属定州管辖，故名定窑。\n定窑原为民窑，北宋中后期开始烧造宫廷用瓷。创烧于唐，极盛于北宋及金，终于元，以产白瓷著称，兼烧黑釉、酱釉和绿釉瓷，文献分别称其为黑定、紫定和绿定。\n定窑从邢窑而来，由于历史的变迁，定窑随着地域变化，新瓷土料的运用和制瓷工艺的进步。卞向和认为：定窑最大的贡献就是在中国陶瓷发展的历史上闪烁过光芒，在中国陶瓷史和世界的陶瓷发展史上留下辉煌的一页。\n定窑，是中国北方白瓷的中心，始于唐，为邢窑的后继者，在五代时期就已经发达。以往文献多记载窑址在河北正定，1938年在河北省曲阳县涧瓷村发现古窑址。近年又多次发掘调查，发现了最下层堆积着晚唐的破片；中层的是五代时就已大量生产；最上层为印花、画花的薄瓷片，是属于北宋中期以后，在政和、宣和年间。这些薄瓷片，胎质坚致，釉泽莹润，花纹优美，确是很精进的品种；且有些是官窑性质的，如”尚食局、禁苑、奉华、官”等胎上刻字破片的发现，便可证明。另在西燕山遗址发现粗瓷片的堆集，以及各地普遍发现的定窑瓷器及破片，又能证明定窑在北宋早期以后，也曾大量烧造民间使用的瓷器。定窑以烧造白瓷为主，也烧颜色釉，如红定、紫定和黑定等。根据《君友会-新民窑》记载，定窑，从北宋起，地位增高，各地仿制者颇多。在定窑本身概念中，就孳乳出各种名称，单就白定一种，就有土定、粉定之分。土定，有瓦胎和陶胎两种。瓦胎为淡赤色的土质，陶胎为白土而略黄，质皆松，体较厚；袖色白色中闪黄或闪赤，容易剥落，或有大开片，是原始的及民用的定器。粉定，是进步的及官用的定器，有陶胎和瓷胎，胎质致密而体薄，釉色纯白如牛乳者，或带淡赤色，釉中往往有刷纹，釉面凝聚，如有泪痕。",[222,2792,2793,7,52,2794,2795,444,234],"白釉","印花","仙人","菊瓣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3883984f1ce477dbeca36afcf7ebfb90.jpg",[225],{"id":2799,"slug":2800,"title":2801,"dynasty":46,"author":47,"museum":20,"description":2802,"tags":2803,"thumbUrl":2806,"material":35,"size":36,"collection":37,"collections":2807,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},261348,"wu-cai-xian-wen-tong-shi-lu-yi-ming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。因其在明朝景泰年间盛行，制作技艺比较成熟，使用的珐琅釉多以蓝色为主，故而得名“景泰蓝”。",[46,2901,2902,234,106,7,2892,2903,210],"掐丝珐琅","琺瑯器","金属胎珐琅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F186645e1b5cac89e58692da605225ec8.jpg",[],{"id":2907,"slug":2908,"title":2909,"dynasty":317,"author":47,"museum":20,"description":686,"tags":2910,"thumbUrl":2912,"material":35,"size":36,"collection":37,"collections":2913,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":80},245012,"gui-xing-dai-kou-yi-ming-245012","龟形带扣",[669,209,210,211,2911,7],"饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5947c72799a387c74c9aece08c7d8ab.jpg",[],{"id":2915,"slug":2916,"title":2917,"dynasty":317,"author":47,"museum":20,"description":686,"tags":2918,"thumbUrl":2920,"material":35,"size":36,"collection":37,"collections":2921,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},244880,"gui-he-deng-yi-ming-244880","龟鹤灯",[669,209,210,211,7,52,2919,688],"灯具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb412b12ce5741295941bb084ba8b2f2d.jpg",[],{"id":2923,"slug":2924,"title":2925,"dynasty":114,"author":47,"museum":20,"description":2926,"tags":2927,"thumbUrl":2928,"material":35,"size":36,"collection":37,"collections":2929,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":228},243993,"ren-wu-gui-he-wen-jing-yi-ming-243993","人物龟鹤纹镜","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。",[298,209,210,211,119,7,52,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ab075bb3345a7a25ce38873502f972a.jpg",[],1777535699000]