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此册页每一页所绘蔬果都有刘墉相应赋诗一首，书法浑厚大气，古朴自然，自成一派，看似松散，实则丰貌骨劲。刘墉所描写蔬果诗文生动质朴，贴近生活，与恽寿平描绘的蔬果相应成趣，极大增加了观赏趣味。",[23,51,92,27,93,25,200,175,54,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e662822fd50f45acad8354abff8c0d6.jpg","绢本,设色","26.1x19.9cm",[],206,{"id":232,"slug":233,"title":234,"dynasty":44,"author":235,"museum":158,"description":236,"tags":237,"thumbUrl":240,"material":34,"size":34,"collection":34,"collections":241,"showCount":242,"zanCount":137,"manualWeight":11,"mainColor":39},227882,"liu-zhi-huang-niao-tu-yi-ming-227882","榴枝黄鸟图","佚名","《 》是宋代佚名创作的绢本设色画，现藏于北京故宫博物院。\n此图绘 一只，嘴啄小虫，栖止于榴枝上，神形毕肖。\n图中枝梗从右向左斜出，沉甸甸的石榴挂于枝干。\n榴叶萧瑟，鸟的羽毛用淡黄染色后，再用粉白以短而细的笔触勾描，具有毛茸茸的质感。\n鸟的翅膀和尾部等处，浓淡墨色参用。\n画面设色侬艳而又对比鲜明。\n深秋时节， 成熟，绽开表皮，露出累累果实。\n石榴叶已由绿变黄，有的枯萎，有的被虫蛀蚀，写出了秋日的萧瑟。\n一只肥硕的黄鹂衔着小虫栖于榴枝上，悠然自得。\n黄鹂的羽毛经淡赭、黄色晕染后再用白线勾描，近于“没骨”。\n石榴枝叶赋色对比鲜明。\n对幅有清乾隆御题诗一首：“榴子熟时莺转时，野虫衔得集横枝。\n笑他自喜权供饱，忘却有人弹挟之。\n辛亥清和御笔。\n”钤“ ”、“ ”、“八征耄念”、“自强不息”玺印。\n本幅无款。\n钤鉴藏印“张笃行印”，另有2印不辨。\n清《石渠宝笈》著录。",[49,23,51,92,26,27,25,238,239,7,31,126,55],"榴枝","黄鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e2351453d665df0945037e4ac4a342f.jpg",[],145,{"id":244,"slug":245,"title":246,"dynasty":44,"author":247,"museum":69,"description":248,"tags":249,"thumbUrl":255,"material":256,"size":257,"collection":58,"collections":258,"showCount":259,"zanCount":179,"manualWeight":11,"mainColor":63},221373,"jin-hui-dui-tu-juan-zhao-chang-221373","锦灰堆图卷","赵昌","图绘群蝶恋花的田园小景。轻灵振翅的蛱蝶起舞于画幅的上半部；秋花枯芦摇曳于画卷的底边。在物象表现上，作者用双勾填色法画土坡、草丛、蛱蝶。其勾线富于顿挫和粗细变化，墨色亦有浓淡轻重之分，敷色积染多层，特别是蛱蝶的翅翼更因积染而色彩浓艳厚重，从而与主要以植物色染就的草叶形成“轻”与“重”的对比。图中蛱蝶的形象最为传神，作者逼真地刻画了蛱蝶之翼薄如绢纱的质感、绚丽斑斓的花纹和蛱蝶细如发丝的根根须脚。传神的笔墨展示了作者深厚的写生功底，使本图成为研究古代蝶种的形象资料。作者不愧有“写生赵昌”的美誉。\n此图流传有绪。通过图上所钤印文可知，它最早为南宋权相贾似道收藏，德祐年时，贾似道以卖国获罪，此卷遂被官府没收。入元后，它为元仁宗爱育黎拔力八达之姊鲁国大长公主所收藏。明初，被内府典礼纪察司收存。清代，它转入大收藏家梁清标之手，旋即又归入清内府，备受乾隆皇帝赏识。晚清宣统时又流入民间，为伪满“国兵”朱国恩抢得，存放于吉林长春的家中。1952年东北文化部组织的工作小组于长春获得此卷，交由原东北博物馆收藏，后博物馆将它与北宋崔白《寒雀图》卷、吴元瑜《荔枝图》卷一同送交国家文物局，文物局将它们转入故宫博物院庋藏。",[49,23,50,250,26,27,25,251,252,30,253,7,54,254],"长卷","蝴蝶","蜻蜓","花草","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a9b890e9249dec5b777dd3cfaf3145a.jpg","绢本","29.4x174.6cm",[58,35,60],142,{"id":261,"slug":262,"title":263,"dynasty":264,"author":265,"museum":158,"description":266,"tags":267,"thumbUrl":268,"material":34,"size":34,"collection":34,"collections":269,"showCount":270,"zanCount":103,"manualWeight":11,"mainColor":63},228764,"jin-hui-dui-tu-xu-xi-228764","锦灰堆图","五代十国","徐熙","此作以散落折枝、蔬果翎羽、虫草顽石攒合成卷，不假刻意经营却浑然谐和。笔底写生工致入微，设色清润古雅，将四时风物杂糅一堂，野卉柔叶、鲜菌佳果皆含生趣，蛱蝶蜻蜓穿梭其间，野逸灵动，尽显江南画派的淡冶生机。\n\n画间题跋盛赞其写生神妙，兼具宋人的写实工致与元人的简逸意趣，寻常野趣被点染成清雅可观的长卷，淡墨轻色间铺陈出闲散雅致的文人意韵，是草虫蔬果写生的绝佳范本。",[49,23,51,250,27,26,25,251,252,30,253,31,7,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde61754fc4a7f484e9027edfa11300a3.jpg",[],128,{"id":272,"slug":273,"title":274,"dynasty":18,"author":19,"museum":20,"description":21,"tags":275,"thumbUrl":276,"material":33,"size":34,"collection":34,"collections":277,"showCount":278,"zanCount":179,"manualWeight":11,"mainColor":39},214850,"xie-sheng-ce-13-hua-yan-214850","写生册-13",[23,51,92,125,27,25,252,251,7,209,95,147,54,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5365c66340a204067495a18471d8430a.jpg",[],125,{"id":280,"slug":281,"title":282,"dynasty":283,"author":284,"museum":20,"description":285,"tags":286,"thumbUrl":289,"material":27,"size":290,"collection":35,"collections":291,"showCount":292,"zanCount":179,"manualWeight":11,"mainColor":63},219724,"qiu-shi-shan-qin-tu-bian-luan-219724","秋实山禽图","唐","边鸾","此作以精工之笔描摹秋隅小景，黑羽山禽昂首枝上，翎羽纤毫毕现，油亮光泽宛若可触，尖喙微张似将引吭，灵动神态跃然绢上。枝桠间垂挂饱满秋瓜，表皮肌理莹润逼真，衬叶或鲜或残，脉络清晰可见，将秋日萧疏与生机相融。\n\n设色调和雅致，以沉稳古色晕染绢底，把草木禽鸟的鲜活神韵尽数铺陈，写实中暗藏雅致意趣，将刹那间的秋意生机定格成永恒，尽显工笔花鸟的细腻精妙，内敛古朴间流露着静谧悠然的秋日况味。",[23,51,92,26,27,25,287,7,31,288,50],"山禽","唐代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4f4300f8a942f5a262a8fc8beee2aea.jpg","26.9x27.4",[35],124,{"id":294,"slug":295,"title":296,"dynasty":18,"author":297,"museum":298,"description":299,"tags":300,"thumbUrl":301,"material":302,"size":303,"collection":34,"collections":304,"showCount":305,"zanCount":179,"manualWeight":11,"mainColor":39},231946,"fang-shen-zhou-hua-hui-tu-wang-wu-231946","仿沈周花卉图","王武","美国克利夫兰艺术博物馆","作品是在国民期间被带入国门的，但有几幅作品却被比齐白石的画漂亮，画的细节比齐白的还好。\n齐白石牛的蝉，比不过他画的天牛，可惜作品少了海外！这本书国画精口的细节很少，就是画了三张天牛画在上面树上的野画。简单的绘画风格与齐白石的一样，但作品却充满了满满的童趣。\n如果不是亲眼所见，谁也不会相信这是一张清朝的绘画，而且是由王武一个画家画出来的。笔墨十分的潇洒，尤其是在婚纱中的小作品中，烘焙精品的超小纸条。\n作品贵的精巧，贵在细节上面，大家仔细看绘画的整体风格，实际上比齐白石的作品外观要，而且布局更漂亮，但在工整秀丽之间又不失童趣。把一些动物与植物相间的神韵的画出来，难怪在外国的目光，这一类作品太妙了。\n对比的绘画，这只天牛虽然是属于水墨画，但要知道在200多年前，这水墨的风格画，尤其是场景小类的，能画到非常逼真的多，最重要的就如真的还活着，余生如生。\n一张好画的感觉体验一个人的绘画天赋，更表现了一个人的绘画功底。像王武和齐白石的作品，深入要光，还需要依靠对艺术绘画的一种深入理解，这样子有神韵！",[49,23,125,27,25,30,147,54,7,92,127],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25155c1c911c2cd3f45e7be509419dbd.jpg","纸本","53x38 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李迪，生卒年不详。",[49,50,23,51,250,26,27,25,29,314,315,7],"飞鸟","树木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9c8c8a18311cb4fc28befe1cd47b8a.jpg","38.3x193.2cm",[],106,{"id":321,"slug":322,"title":323,"dynasty":195,"author":324,"museum":143,"description":325,"tags":326,"thumbUrl":327,"material":328,"size":329,"collection":34,"collections":330,"showCount":331,"zanCount":11,"manualWeight":11,"mainColor":39},214642,"hua-hui-ce-4-chen-chun-214642","花卉册-4","陈淳","陈淳（1483—1544），字道复,后以字行,更字复甫,号白阳,又号白阳山人，江苏苏州人。曾从文徵明学画，但是不拘于师法，山水、花卉自具门径。花卉善写意，淡墨浅色，生动有致。与徐渭并称“青藤白阳”，代表明中期水墨写意花鸟画的新格调，是吴门画派的代表画家。\n用笔简洁，笔势潇洒，行笔迅疾，许多花卉草虫仅用深浅浓淡的不同墨色，却能完整地表达出物象的形状及立体效果，富有生意，具有强烈的笔墨情趣。",[50,23,125,127,92,25,74,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd4c6f394b5716476a6daa9123972186.jpg","纸本,水墨","纵28 厘米 横37.9 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建中在明朝末期绘制而成。它共有24册，收录了许多他的绘画作品，包括花卉、山水、虫鸟、人物等。这些作品都非常精美，被认为是中国画史上的杰作。《汪中杂画册》目前被认为是中国明朝时期最重要的画册之一，并被认为是中国画史上的经典之作。",[23,27,26,55,25,416,209,7,417,54],"草虫","根茎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32f2d1231e91e0eead919ad5dde30bb8.jpg","30x27cm",[],"FDD835",{"id":423,"slug":424,"title":425,"dynasty":18,"author":426,"museum":158,"description":427,"tags":428,"thumbUrl":431,"material":187,"size":188,"collection":34,"collections":432,"showCount":433,"zanCount":11,"manualWeight":11,"mainColor":39},239458,"hui-bu-si-guo-juan-qian-wei-cheng-239458","回部四果卷","钱维城","钱维城（1720—1772）清朝官吏、画家。初名辛来，字宗磐，一字幼安，号纫庵、茶山，晚号稼轩，江苏武进人。乾隆十年状元，官至刑部侍郎，谥文敏。书法苏轼，初从陈书学画写意折枝花果，后学山水，经董邦达指导，遂成名手，供奉内廷，为画苑领袖。曾随乾隆帝在木兰围场狩猎，帝以神枪殪虎，命维城绘图刻石纪事。著有《茶山集》。\n钱维城自幼甚喜绘画，开始从族祖母陈书学习画写意折枝花果，勾描渲染，随类赋形，气联意合，整体协调。后来得到了画家董邦达指导，学画山水。所画山水，山势逶迤，流泉飞泻，烟霭飘浮，水光荡漾。构图井然，意境清幽。山石多用皴笔。他的绘画远学元代四家即黄公望、倪瓒、吴镇、王蒙，近学清初四王即王时敏、王鉴、王徽、王原祁。。《桐阴论画》说他的山水画“笔意亦临摹仿麓台，邱壑幽深，树石灵秀，颇臻妙境。”钱维城投身科举时，很少有人知道他擅长书画，直到状元及第后，在随乾隆的一次狩猎中，乾隆射中一只老虎，于是钱维城受命创作“射虎图”，作品完成后乾隆连连称赞，并下令将此画刻在木兰围场的石头上，从此钱维城在画坛上名声大振。在钱维城的绘画中，带棱角的石形、双勾少皴的树干，以及中锋含蓄的细笔、淡墨勾皴的线条，都存有董邦达的笔意，但他更擅长缜密的用笔和青绿、赭石相间的设色，其中也显示出清初“四王”的流派风格，他的作品经常呈现出来的是一派宫廷富贵的气息。在乾隆的收藏目录《石渠宝芨》中，收录的钱维城作品有160多幅，由此可见乾隆皇帝对钱维城作品的赏识程度。著名的有《九秋图卷》。\n钱维城擅长书法，工整精细，“宗磐工书，书法东坡。”他师法宋朝书法四大家之一的苏东坡。落笔苍润，秀骨天成。也能吟诗，以杜少陵为宗。人称“钱文敏尚书，诗宗少陵，书规苏文忠。”可谓诗、书、画一体。",[23,51,250,27,26,126,429,55,52,430,7,31],"书法","柿子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a10e9be96c5643887aeff2b4ec9e0b8.jpg",[],62,{"id":435,"slug":436,"title":437,"dynasty":438,"author":108,"museum":20,"description":439,"tags":440,"thumbUrl":442,"material":256,"size":443,"collection":60,"collections":444,"showCount":445,"zanCount":179,"manualWeight":11,"mainColor":39},219725,"lian-shi-san-shu-tu-qian-xuan-219725","莲实三鼠图","元","纨扇形制的画面里，三鼠神态各异，或俯身嗅探、或啃食莲实，狡黠灵动的野趣跃然绢上，将小鼠的机警活泼描摹得细腻传神。衬景的秋梨肌理莹润，残败莲实带着翠色余韵，搭配缀露的红叶野果，晕开融融秋意。\n\n设色清润雅致，写实中带着文人情致，将寻常秋日小景赋予吉祥意涵，鼠兆多子、秋实喻富足，暗合岁稔年丰的美好祈愿。静穆秋实衬出动鼠的鲜活，工细笔致兼具雅致隽淡，把日常闲景绘得野趣盎然，藏着秋日里的闲雅生机。",[50,23,51,92,27,26,173,441,7,174,25],"莲实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c3462c462d5281290d856a9a109fae6.jpg","28.2x24.3",[60],61,{"id":447,"slug":448,"title":263,"dynasty":438,"author":108,"museum":158,"description":449,"tags":450,"thumbUrl":455,"material":34,"size":34,"collection":34,"collections":456,"showCount":457,"zanCount":11,"manualWeight":11,"mainColor":63},228316,"jin-hui-dui-tu-qian-xuan-228316","起于元，盛于清末，俗称“打翻字纸篓”，以画残破的文物片段堆栈构成画面。\n郑达甫先生被公认为此领域的唯一能手 锦灰堆 最早起源于何时，现无准确文献记载，相传是元代与赵孟頫齐名的画家钱选，在一次醉酒后兴起，将当天散落在饭桌上的下酒菜吃剩残物，如蟹脚、蚌壳、莲房、鸡翎、鱼刺等、信手绘制成一幅横卷，并挥笔题款“锦灰堆”。\n这可能是“锦灰堆”最早的历史记载。\n“锦灰堆”致力于特色陶瓷礼品研制、开发与销售。\n旗下品牌有锦瓷，锦瓷窑，泥道等。\n锦瓷只要生产红瓷，青花瓷，天目釉，茶具，格致古典，服务当下，具有深厚传统情怀的锦灰堆机构，于借礼品进而使得当下国人在器用和精神层面上回归古典，回归宁静，从而让现代人从喧嚣浮躁的盲动中找到某种心灵的归宿，达到静养身心，调节自我的目的。\n再者，通过对古代生活器用的阐扬、恢复，在更宏大的视野中，我们希望能为整个民族的精神回归作出点滴贡献。\n在推进整个古典生活场景的复原中，锦灰堆首推华丽、时尚的红瓷系列，并从功夫茶的发源地潮汕地区切入，引入此间的红头船文化和航海文化，凸显火“红”的福字主题。\n重构中国人的雅致生活 锦，绮丽繁华，天下莫此为甚。\n中国风雅的源头《诗经》，有“终南何有？有条有梅。\n君子至止，锦衣狐裘。\n”锦衣狐裘，诸侯方可穿着。\n《仪礼·聘礼》复有“皆奉玉锦束请觌”之句。\n锦为何物？《说文解字》云：锦，襄邑织文。\n《毛诗正义》则说，锦者，杂采为文。\n锦于中国人，乃成美好事物的普遍象征，遂有锦绣、锦囊、锦瑟、锦带、锦江、锦文、锦鳞，凡物着一锦字，读之立刻口齿芬芳。\n至于家国河山，古人亦以锦名之，曰锦绣河山。\n事实上，只有中国人可以用一种逍遥俯瞰的之态，描述壮丽宏大的山水，正如元代以降的山水画所表达的，“收拾河山入画图”。\n灰，则表达了古典中国人对世俗和底层生活的关注和亲密，这一点，则全非近代以前泰西诸国等级森然的社会体制所能及。\n“满面尘灰烟火色”，白乐天对一个卖炭老翁的细致描绘，恰恰说明了这一点。\n古代士大夫就是在“锦”与“灰”两端中求得心灵的平衡，从而达到中庸和无为的至高境界。\n宋末吴兴人钱选，一代画师。\n其时也，蒙元入主中国，钱选尚气节，不事新朝，特立独行，与赵孟頫辈异。\n选流连诗酒，无酒不能作画，此其雅癖之一；曾作小横卷，所绘举凡螯钤、鸡翎、莲房等食余剥剩、无用当弃之物，名之曰“锦灰堆”，此其雅癖之二。\n锦灰堆遂成一特异之画种，又称“八段锦”。\n生活零碎之物而形诸笔墨锦笺，而独放异彩，或可称怪异之三。\n钱选之作，有堪称国宝者，后多收入清宫大内，为清帝御览之宝。\n凡经御览，都为卷册，名曰《石渠宝笈》。\n钱选作品被收入《石渠宝笈初编》。\n民初海上，锦灰之堆润格攀涨，山水人物花鸟，不得专宠矣。\n所绘之物，由食余吐物，扩而及之“一页旧书、半张残帖、公文、私札、废契、短简”。\n若以当代美学考量，锦灰堆作为一种绘画门类，具有一种潜在的解构主义，可谓当代艺术潮流的远古鼻祖。\n会此意者，定当一笑。\n京城王世襄先生，亦慕钱选之高格与戏作，以“锦灰堆”名其文集。\n世襄年过九旬，于经世致用之学而外，洞彻古玩器物，举凡明家具、鹰鹞、烹饪、古建筑、蟋蟀、鸽子、竹艺、漆器等等，均深有发现。\n黄苗子遂以“玩物成家”目之。\n玩物而不丧志，其渊源幽淼，直可追溯先秦。\n《考工记》行文古雅，而凡世间百工造物，靡不涉及。\n魏晋诸子，倡而导之，经东坡等宋代诸儒，至明清而成玩物洪流矣。\n唐陆鸿渐行迹编海内而著《茶经》，后人饮茶，便得宗旨；宋人朱肱于杭州开酒坊，自酿自卖，著《北山酒经》流传于世，酒于是而得经典。\n而花草树木果树陶瓷园艺文房，乃至闺阁妆奁，人间烟火，皆入明代士大夫法眼，各种著述层出不穷。\n文震亨著《长物志》，高濂著《遵生八笺》，张岱著《陶庵梦忆》，玲琅满目，胪列不尽。\n执着于充满人情的尘世生活，是中国人典型的文化心理。\n明代变乱之前，物质的繁荣导致士大夫和普通民众的生活，在最求细节方面面达到了极致。\n庭除屋宇、园林百卉、钿光钗影、杯来盏往，余怀之《板桥杂记》所录晚明民众生活，其细致处，真是呼之欲出。\n悠闲，华美，逸乐，侠游，乃中国古代生活物质层面之四维。\n“闲者，匪徒尸居肉食，无所事事之谓。\n”高濂解释闲是一种境界，“闲可以养性，可以悦心，可以怡生安寿”。\n时乎坐陈钟鼎，几列琴书，榻排松窗之下，图展兰室之中，帘栊香霭，栏槛花妍，虽咽水餐云，亦足以忘饥永日。\n张岱论人，谓“人无癖，不可与交，以其无深情也；人无疵，不可与交，以其无真气也。\n” 张岱本人亦癖灯、癖游赏，癖器物。\n“少为纨绔子弟，极爱繁华，好精舍，好美婢，好娈童，好鲜衣，好美食，好骏马，好华灯，好烟火，好梨园，好鼓吹，好古董，好花鸟，兼以茶淫橘虐，书蠹诗魔。\n” 清代玩家自亦不少，晚明遗风，渔洋、袁枚等，接踵其后。\n然现代以来，士大夫之闲情雅致竟至泯然无迹，前人所持、所做、所饮、所餐、所观，遂成绝响，仅可于故纸堆中觅得鳞爪。\n此于国人，殊为憾事。\n前尘往事，并非定成空幻，成梦影。\n在器物层面，重构中国人古典生活方式，易于行，行远必将影响当下国人的价值认知。\n何也？一杯一盏，一花一木，一庐一室，一瓢一饮，均深蕴中国古典之价值，优雅，缠绵，温柔，富丽。\n似锦绣之质，浸俗世之情，于锦灰堆中，觅见风雅。\n1、 潮汕濒临南海，浮海可至南洋、印度、非洲海岸，乃至泰西诸国。\n这里是中西文明交流的一条重要路径——海上丝绸之路的必经之地，瓷器、丝绸、茶叶等中国固有的大宗产品从这里出口，而南洋的香料、珍宝、木材等，也远远不断，由此进入内地。\n潮汕也是古代中国人南迁之后的落脚点，所以，这里积存这丰厚的汉文化的元素。\n潮汕人很早就浮海去南洋谋生，其中，又以暹罗（泰国）居多。\n清代，此间与南洋的航运，是从中暹大米贸易开始的。\n为适应远洋航行的需要，原来有双桅、单桅之“潮州红头船”，发展成为“翘首高舷，备大桅樯三具”的远洋大帆船。\n《樟东风物记》：大型红头船长二十余丈，载重数百吨，三桅，有四帆开笑之称。\n红头船来自，源于清代之海禁。\n当时制度，凡出海之舶，须设色以辨。\n沿海省份，共设四色。\n广东在南，五行属火，用色为赤，遂“红油漆饰，青色钩字”。\n红头船不仅用朱砂油头，且以白粉油腹，头两侧画黑圈，再于船舷刻黑字。\n无形中，红头船具有了一种祛除不详的心理期待功能，融入到整个潮汕文化当中。\n红头船功夫茶具，不仅承载着这段具有强烈海洋文化特色的历史，还寄托着自生民以来就具有的祈福。\n2、功夫茶 苏辙诗曰：“闽中茶品天下高，倾身事茶不知劳。\n”此乃咏功夫茶诗也。\n功夫茶源于宋潮州府及福建的漳州、泉州。\n饮茶发展到功夫茶阶段，跟当时理学与禅宗的兴盛密不可分。\n功夫茶，茶中见性，以茶养性。\n除了水、火和冲泡这一程序性之外，功夫茶还衍生出极具形式美感的茶具。\n清俞蛟《潮嘉风月记》：“工夫茶，烹治之法，本诸陆羽《茶经》，而器具更为精致……杯盘则花瓷居多，内外写山水人物，极工致……杯小而盘如满月。\n” 锦灰堆功夫茶具，具本于宋代以降的人文传统。\n同时，亦融入时尚的造型，以适合现代人的审美。\n、红瓷 红瓷极尊贵，其制作之难亦冠各瓷之首。\n红瓷承载着吉祥、尊贵、自古就成为皇室追求的珍品。\n红瓷也是中国民间审美中至正之色，象征生命、繁衍和尊贵。\n红瓷釉料迥异于青花与青瓷等，其不耐高温的特性，使得一件红瓷的诞生很艰难。\n红瓷烧制，工艺复杂，须四次进炉：素烧，釉烧，红烧，金烧。\n每一环节不可偏差。\n尽管如此，仍是 “十窑九不成”。\n然则，更显红瓷的稀缺与珍贵。\n锦灰堆红头船红瓷功夫茶具，釉色分布匀停，光可鉴人，或蟠龙游凤，或牡丹缠枝，或花开富贵。\n而轻巧圆润，恰供清赏。\n（1）、红茶壶（鸿福） 壶，象盛器之形。\n日常不可或离之物，亦为礼器。\n古代常升华为美好之意。\n《春秋公羊传》：国子执壶浆。\n《三国志·诸葛亮传》：箪食壶浆。\n《芙蓉楼送辛渐》：一片冰心在玉壶。\n普通话，壶与“福”谐音，锦灰堆红茶壶便有了“鸿福”之意，同时，亦有“鸿鹄”之意，谓抱负远大也。\n（2）、红茶垫（托福） 茶垫又称壶托、托壶，红茶垫便可谐“福托”“托鸿福”“托福”等音。\n传统礼仪，接人待物，皆须谦逊。\n接茶、送茶之间，中华礼节，于细节中呈现。\n礼仪著于双方，也体现于每个个体，人借“托”举，“福”方永存。\n（）、福杯（吊鸿福杯） 杯，古又曰“爵”，饮器也。\n爵，象征荣誉和地位，即福禄寿喜之“禄”。\n与“福”为邻，传统抱负，合二为一。\n（4）、公杯（聚福） “大道之行也，天下为公。\n”《礼记》规定了中国人的最高社会理想。\n“公之为言公正无私也”。\n小小茶具，竟含儒家大道，此亦古人寄理想于“长物”之旨吧。\n公，也是古代爵位的最高等级。\n（5）、红茶渡（渡鸿福、鸿福渡） 渡，济也，引导也。\n这是一个暗藏禅机的词语，意蕴深厚。\n舍己渡人，方得超脱，这是佛家之道。\n若以当代社会伦理视之，此器亦公器也。\n然于公器之外，更充满英雄主义和绅士风度。\n（余可参照原文） （6）、精致小茶海 方寸之间，可容宇宙。\n海浩瀚无涯涘，在空间上以为这难以逾越，然则可以器用喻之。\n人心隔海，有渡可致。\n具物取名，古代闲情逸致之士乐此不疲，关键是，他们的想象力一如大海。\n海，又与潮汕之风俗相贯通。\n1）、大富大贵 “唯有牡丹真国色，花开时节动京城”，牡丹一直是中国富贵文化的核心意象，唐刘禹锡的诗恰好证明了这一点。\n作为花中之王，牡丹是历代文人雅士歌咏的对象。\n而龙、凤和蝶等意象的融合，则意味着一派高贵、长寿等怡人景象。\n2）、龙腾吉祥 在中国的语境中，龙一直是帝王的象征。\n当这一意象进入整个民族的心理深层结构，变成了众多行为的指南，一系列的崇拜也由此而来。\n龙也成了祈福消灾的对象。\n）、常年富贵 花团锦簇，一团和气，是古代人家最为看重的。\n等花卉图案，构成了众多居家要素，比如瓷器、锦缎。\n枝枝相连的形态暗示了中国人邻里相助和子孙繁衍的愿望，“连”也是“年”的谐音，于是便有“常年富贵”之名。\n4）、年年好运 运，行也。\n引申而为命运，“运隆祚永”是国家追求的目标，而祈求好运于一般人也变顺理成章。\n5）、6周年庆 大红的底色意味的喜气扑面而来。\n运筹红色，这正好是红瓷专家最为擅长的领域。\n黄色的五星，如暗夜繁星，耀人眼目，也如天女散花。",[49,23,51,250,26,27,25,30,209,451,452,74,251,453,7,54,454],"题跋","墨迹","杂物","虫蛀痕迹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F413580bf86f0f2f07a385084ba691349.jpg",[],59,{"id":459,"slug":460,"title":461,"dynasty":18,"author":462,"museum":69,"description":463,"tags":464,"thumbUrl":466,"material":361,"size":467,"collection":34,"collections":468,"showCount":469,"zanCount":11,"manualWeight":11,"mainColor":39},234683,"chen-shi-ceng-tao-liu-pi-pa-tu-zhou-chen-heng-ke-234683","陈师曾桃榴枇杷图轴","陈衡恪","图绘桃、石榴、枇杷各一枝，参差有序，果实累累。画中以花青色配以浓淡不同的墨色画桃叶，再以重墨勾勒筋脉。桃实红绿相间，色泽自然。石榴的枝条硬朗秀挺，小叶片片看似随意，然点画得轻灵活泼，与较浓重的桃叶、枇杷叶相映衬，使画面轻重有别，富有韵律感。",[50,23,51,199,25,27,125,465,52,146,31,7],"桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f93683f8661e46f36da1e89a8b0199c.jpg","纵87.5厘米， 横44.8厘米",[],56,{"id":471,"slug":472,"title":473,"dynasty":18,"author":357,"museum":158,"description":474,"tags":475,"thumbUrl":478,"material":479,"size":480,"collection":80,"collections":481,"showCount":482,"zanCount":11,"manualWeight":11,"mainColor":39},224235,"cuo-luo-shan-hu-zhi-tu-wu-chang-shuo-224235","错落珊瑚枝图","吴昌硕善于画花卉，此幅《错落珊瑚枝》为吴氏花卉画之力作，“错落珊瑚枝，铁网出海底”，如其款识中所题，画面结构严谨，用笔遒劲，吴昌硕善于用线，每枝枝干、每片花叶都似铁杆般坚韧，富有生命力。其构图极为讲究，画家首先用两尊顽石坐落于画面两侧，稳住了画面重心。数枝天竺从顽石后方穿插向上，更与树叶形成疏密对比，几簇天竺果高低错落、顾盼生姿、扶摇而上。",[49,23,199,127,27,125,476,477,209,7],"皴法","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4feda463be4617f92164883644e7b38b.jpg","纸本设色","纵183厘米，横93厘米",[80,60],55,{"id":484,"slug":485,"title":486,"dynasty":44,"author":235,"museum":487,"description":488,"tags":489,"thumbUrl":492,"material":256,"size":493,"collection":34,"collections":494,"showCount":495,"zanCount":179,"manualWeight":11,"mainColor":63},232878,"gua-guo-cao-chong-tu-juan-yi-ming-232878","瓜果草虫图卷","美国大都会艺术博物馆","宋代绘画是中国传统艺术当之无愧的颠峰，形成了琳琅满目的各式题材与流派，而它最具代表的特点是画家深入的观察与细腻的表达，因此产生出叹为观止的精妙画作。这既源于宋代兴起的理学精神，强调“格物”；亦源于宋代人对于生活的热爱，使他们乐于描绘世界的细微处——例如一类以瓜果作为题材的花鸟画作品。",[49,23,51,250,27,26,25,490,416,251,175,7,54,491],"瓜果","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51b48aaaf0d6e93f2e0fb70756a9d19.jpg","41x197.3厘米",[],53,{"id":497,"slug":498,"title":499,"dynasty":195,"author":500,"museum":158,"description":501,"tags":502,"thumbUrl":503,"material":34,"size":34,"collection":34,"collections":504,"showCount":495,"zanCount":103,"manualWeight":11,"mainColor":63},228894,"gua-shu-tu-ce-ye-zhu-zhan-ji-228894","瓜鼠图册页","朱瞻基","画面取隅角小景，湖石朴拙沉静，石顶细草轻立，石畔缀着深紫垂萝，晕染出幽谧闲静的氛围。\n\n小鼠憨态可掬，正贪啃半颗荔枝，柔细绒毛纤毫毕现，将小兽馋态描摹得灵动鲜活。荔枝丹红似火，果壳糙粝的肌理写实逼真，汁水淋漓的碎屑散落，将鲜果的甜润感烘托尽致。\n\n设色古雅柔澹，绢本晕染细腻，将日常细碎生趣凝于尺幅，融俗世恬然意趣与文人雅致留白为一体，以精湛写生功底，定格下天真平和的治愈瞬间。",[50,23,51,92,26,27,173,7,95,96,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e45121baa27799f442e64863b39946d.jpg",[],{"id":506,"slug":507,"title":508,"dynasty":44,"author":235,"museum":20,"description":509,"tags":510,"thumbUrl":511,"material":227,"size":512,"collection":35,"collections":513,"showCount":495,"zanCount":179,"manualWeight":11,"mainColor":39},218737,"xiang-shi-chui-jin-tu-yi-ming-218737","香实垂金图","它被画上了两个金灿灿的橙子，树枝经过精心挑选，给人以秋天水果的香味。这幅画被倒置装裱，观看时可以用旋钮转动。",[49,50,23,51,92,26,27,25,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc33d905cd84a86e927d93aef90fabb11.jpg","24.3x27.5",[35],{"id":515,"slug":516,"title":517,"dynasty":195,"author":518,"museum":519,"description":520,"tags":521,"thumbUrl":522,"material":328,"size":34,"collection":34,"collections":523,"showCount":524,"zanCount":11,"manualWeight":11,"mainColor":39},214921,"mo-hua-ce-6-shen-zhou-214921","墨花册-6","沈周","印第安纳波利斯艺术博物馆","沈周是一位著名的明朝画家，他的作品《墨花册》是一本插图本，其中包含了许多令人惊叹的墨花图案。《墨花册》是沈周的代表作之一，因其精美的图案和精湛的插画技巧而广受赞誉。在《墨花册》中，沈周用黑墨和水彩画描绘了许多精美的墨花图案，包括花卉、鸟类、动物和人物等。沈周的作品充满了生机和活力，他的绘画技巧非常出色，深受人们的喜爱。",[49,23,125,92,25,7,31,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F743de8157bbf41abd69a8e9238bbd3b2.jpg",[],46,{"id":526,"slug":527,"title":528,"dynasty":195,"author":518,"museum":519,"description":520,"tags":529,"thumbUrl":531,"material":328,"size":34,"collection":34,"collections":532,"showCount":533,"zanCount":11,"manualWeight":11,"mainColor":39},214919,"mo-hua-ce-7-shen-zhou-214919","墨花册-7",[49,23,51,92,125,25,530,7,54,55,127],"墨花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d1312eda36b374f88d54899f06fea72.jpg",[],45,{"id":535,"slug":536,"title":537,"dynasty":18,"author":538,"museum":158,"description":539,"tags":540,"thumbUrl":542,"material":34,"size":34,"collection":35,"collections":543,"showCount":544,"zanCount":179,"manualWeight":11,"mainColor":39},238274,"hua-qia-xuan-yuan-tu-ce-huang-yue-238274","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。",[23,27,25,92,541,7,54,254,96,30,95],"枸杞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77c58126e2ccbab6b27ba717f63b9702.jpg",[35,60],40,{"id":546,"slug":547,"title":548,"dynasty":18,"author":549,"museum":158,"description":550,"tags":551,"thumbUrl":553,"material":34,"size":34,"collection":34,"collections":554,"showCount":555,"zanCount":11,"manualWeight":11,"mainColor":39},230199,"chun-qi-ji-jin-juan-wang-cheng-pei-230199","春祺集锦卷","汪承霈","此作以工笔淡彩绘就春日草木，设色调和柔雅，兼具写实意趣与雅致格调。\n\n攒簇的朱红浆果鲜亮饱满，与嫩绿叶色相映，鲜活夺目；宽叶草木的脉络勾染细腻，晕染出叶片舒展的自然肌理，古雅灵芝旁逸，添上清寂意趣。右侧浅黄、素白的小花袅袅舒展，细竹清瘦挺秀，花叶俯仰生姿，排布疏密得当。\n\n整体笔法秀润工致，将春日花木的幽妍生机尽数铺陈，没有浓烈着色却满是融融春息，静雅清和，把草木舒展的瞬间定格，尽显柔婉雅致的花鸟意韵。",[50,23,51,250,27,26,25,94,382,96,7,552],"灵芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F452999763f15c2cc0fd5efdbcdbbc608.jpg",[],39,{"id":557,"slug":558,"title":559,"dynasty":195,"author":324,"museum":560,"description":561,"tags":562,"thumbUrl":565,"material":479,"size":566,"collection":34,"collections":567,"showCount":568,"zanCount":11,"manualWeight":11,"mainColor":39},222566,"hua-hui-tu-5-chen-chun-222566","花卉图5","美国波士顿博物馆","此图册是陈淳晚年作品。卷尾自题“嘉靖庚子，余游玉山，过周氏六观草堂。主人出此册，具丹粉，欲图杂卉。留连累月，不觉盈帙，见者亦且以草本视之可也。道复志”。按照其生卒年推算， “嘉靖庚子” 陈淳应为58岁，此作亦为其是画风成熟之作。从其题跋可以得知陈淳游历数月，画作颇丰，认为此作为“草本”，可见其自觉并无刻意求工，描写大略而已。\n卷尾文彭题曰：“赵昌王友已无伦，更学徐熙更逼真。意到不论颜色似，笔端原有四时春。阅白阳杂花漫题。文彭。”充分体现了吴门花鸟画的文人雅趣，“意到不论颜色似”概括了文人写意的特征，而“漫题”也体现了题咏者的状态，反映出文人书画家的共同气质特点与审美追求。\n文人王穉登的题跋则突出了对陈淳花卉写生推崇与称赞。“写生贵在约略点染，天真烂如。不当以分葩计蕊为似，重丹叠翠为工。观此册陈道复先生所作，粉墨萧闲，意象自足，所谓千金骏骨，识者求之牝牡骊黄之外可也。”此段题跋强调了陈淳花卉写生最主要的特点，即约略点染，不求工细，而意象自足。\n卷尾的金农长跋也对陈淳“行笔绝无时蹊，设色亦未敷采炫目，画以意似而非以形似也”的风格进行梳理，论述了写意书写的源流。但这段题跋存在一些问题。其一，通篇书体较为拘谨，特别是每行末字，刻意缩减对齐，非常局促。其二，“后世临写纷纷，徒劳豪楮”中“豪”应为“毫”之误。此出自大文人之手，有些牵强。其三，“此册九叶，花草凡七，间以山水两帧。”所述并非此册，极有可能是将他处题跋移接此处所致。所以这段金农题字不足以为据，至于真伪原由的评断，是另外的话题。本文主要论及陈淳花卉写生的艺术特点，就不将此段金农的论述作为讨论的依据了。\n变化生动自然，是陈淳花卉写生的代表作。如果将此册置于陈淳传世花鸟画作品中做一纵向比对，可以发现其共性的特征集中体现在这件作品中，同时，这件作品还有一些不同于其他作品的独到之处，都统一在率意自足的书写风格之中。所以这件陈淳绘画风格成熟期的作品，总体来看，体现了陈淳如下几个方面的鲜明的艺术特点。",[49,50,23,51,563,25,127,125,27,74,175,7,564,250],"明代","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb138d65dbbfc167920322e416ba20c1e.jpg","32.5×57.3厘米",[],37,{"id":570,"slug":571,"title":572,"dynasty":438,"author":108,"museum":311,"description":573,"tags":574,"thumbUrl":576,"material":302,"size":577,"collection":34,"collections":578,"showCount":579,"zanCount":11,"manualWeight":11,"mainColor":39},232698,"gua-jia-tu-juan-qian-xuan-232698","瓜茄图卷","钱选（1239—1299），宋末元初著名画家，与赵孟頫等合称为“吴兴八俊”。字舜举，号玉潭，又号巽峰，霅川翁，别号清癯老人、川翁、习懒翁等，湖州（今浙江吴兴）人。\n南宋景定三年乡贡进士，入元不仕。工诗，善书画。画学极杂：山水师从赵令穰；人物师从李公麟；花鸟师赵昌；青绿山水师赵伯驹。人品及画品皆称誉当时。继承苏轼等人的文人画理论，提倡士气说，倡导戾家画。他提倡绘画中的“士气”，在画上题写诗文或跋语，萌芽了诗、书、画紧密结合的文人画的鲜明特色。",[49,50,23,51,250,27,26,25,429,55,575,54,7],"茄子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba6384b84d66760e6e53124845392246.jpg","10.5×66.5cm",[],33,{"id":581,"slug":582,"title":583,"dynasty":18,"author":584,"museum":413,"description":585,"tags":586,"thumbUrl":587,"material":588,"size":589,"collection":34,"collections":590,"showCount":591,"zanCount":179,"manualWeight":11,"mainColor":39},216328,"jin-nong-ba-kai-hua-niao-tu-6-jin-nong-216328","金农八开花鸟图-6","金农","八开花鸟图是清朝时期金农所绘的著名图画作品之一。金农是清朝时期著名的画家，他的八开花鸟图是他最著名的作品之一。\n\n这幅画中，金农绘制了许多花和鸟的形象，这些花和鸟形象都非常生动，充满了生机和活力。画中的花和鸟共同组成了一个浓郁的自然风景，让人们感受到花园中的清新与自然。\n\n金农的八开花鸟图被认为是中国画史上的杰作，在当时也广受欢迎，被认为是一幅非常优秀的作品。",[23,51,92,125,25,200,175,54,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57170f603152106a2ea2e30cef7c2a80.jpg","绢本,水墨","30.5x40.9cm",[],32,{"id":593,"slug":594,"title":595,"dynasty":195,"author":518,"museum":519,"description":520,"tags":596,"thumbUrl":597,"material":328,"size":34,"collection":34,"collections":598,"showCount":591,"zanCount":11,"manualWeight":11,"mainColor":39},214922,"mo-hua-ce-5-shen-zhou-214922","墨花册-5",[49,23,51,92,125,25,7,54,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F402e05eb7f08d5ca2c23bfd7228fa47e.jpg",[],{"id":600,"slug":601,"title":602,"dynasty":18,"author":603,"museum":158,"description":604,"tags":605,"thumbUrl":606,"material":34,"size":34,"collection":34,"collections":607,"showCount":608,"zanCount":11,"manualWeight":11,"mainColor":39},234672,"wu-rui-tu-shan-mian-ni-can-234672","五瑞图扇面","倪燦","倪灿，清初学者、史志目录学家。字闇公，号雁园，江苏省江宁府上元县人。\n其先居钱塘（今浙江杭州）。诸生。康熙六年（1667）中举，十八年（1679）召试博学鸿儒，倪灿中榜，为一等二名，官授翰林院检讨。受荐修《明史》，作《明史艺文志·序》，与姜宸英《刑法志·序》，并称杰作。他鉴于《明史艺文志·序》以专收明一代著述为限，未能补救宋、辽、金、元四朝艺文志所缺，数百年文化史，残缺不全，依据黄虞稷《千顷斋书目》，就补辑宋人所撰“四部”图书“六百七十八家、一万二千七百四十二卷”。与黄虞稷灿哥共同修撰《宋史艺文志补》1卷。鉴于辽金元三史原先都没有纂修艺文志，又编纂《补辽金元艺文志》1卷，由卢文弨校订。对考定宋辽金元各代的学术源流，有很大帮助。开启了清代学者补修史志的工作，于是从补辽、金、元三代入手而蔚为一时风气。自此之后，补成史志目录达20余种。工于诗文，书法则秀绝一时。",[23,347,27,26,25,382,7,129,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fddc3a7fa3144440dbe0ce07a52adf0.jpg",[],31,{"id":610,"slug":611,"title":612,"dynasty":18,"author":613,"museum":158,"description":614,"tags":615,"thumbUrl":616,"material":187,"size":188,"collection":34,"collections":617,"showCount":618,"zanCount":11,"manualWeight":11,"mainColor":39},239449,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239449","邹一桂花鸟草虫图册","邹一桂","邹一桂（1688-1772），清代画家。字元褒，号小山、二知、让卿、乡森子，江苏无锡人。雍正五年(1727)进士，官至礼部侍郎。擅工笔花卉。尝作《百花》卷，各系一诗。传世作品有《白梅山茶图》、《太古云岚图》、《水仙红梅图》等。",[23,50,92,26,27,25,429,55,74,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e4a14bf201db386ebf68f255bd0b66a.jpg",[],29,{"id":620,"slug":621,"title":622,"dynasty":195,"author":623,"museum":487,"description":624,"tags":625,"thumbUrl":627,"material":628,"size":629,"collection":34,"collections":630,"showCount":618,"zanCount":11,"manualWeight":11,"mainColor":63},223369,"ba-ge-pi-pa-tu-wu-bing-223369","八哥枇杷图","吴炳","八哥立于枇杷枝上，望向一簇枇杷果，若有所思",[49,23,347,26,27,25,626,146,403,7,31],"八哥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F498a1485d8d313bbe33eac698b9db385.jpg","绢本设色","31.1x31.1cm",[],{"id":632,"slug":633,"title":634,"dynasty":18,"author":68,"museum":20,"description":401,"tags":635,"thumbUrl":638,"material":27,"size":405,"collection":34,"collections":639,"showCount":618,"zanCount":11,"manualWeight":11,"mainColor":39},222727,"xian-e-chang-chun-tu-ying-tao-lang-shi-ning-222727","仙萼长春图樱桃",[49,23,26,27,636,24,25,403,637,31,7],"写实","樱桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a278e56c3b2330f8b11cae881f995e0.jpg",[],{"id":641,"slug":64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”\n图绘深谷险峻，老树枝条横斜，二猿猴坐于枝上，一猿猴展臂摘果。\n易元吉，生卒年不详。字庆之，湖南长沙人，北宋画家。初攻花鸟、草虫、果品，后专写獐猿。常深入荆湖深山之中，观察、体会、揣摩猿猴獐鹿的生活习性。所画獐猿生动逼真，呼之欲出，因此而名闻天下。",[49,50,23,51,92,26,27,125,348,7,162,477,749,28],"树叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7a549a2865c01cdf38952d04484d0bd.jpg","24.6x24.1cm",[35],{"id":754,"slug":755,"title":756,"dynasty":18,"author":693,"museum":158,"description":757,"tags":758,"thumbUrl":759,"material":187,"size":188,"collection":34,"collections":760,"showCount":761,"zanCount":11,"manualWeight":11,"mainColor":39},235719,"wu-rui-tu-wan-shan-zhao-zhi-qian-235719","五瑞图纨扇","赵之谦（1829年8月8日－1884年11月18日），汉族，浙江会稽（今绍兴）人。初字益甫，号冷君；后改字撝（huī）叔，号悲庵、梅庵、无闷等。清代著名书画家、篆刻家，与吴昌硕、厉良玉并称“新浙派”的三位代表人物，与任伯年、吴昌硕并称“清末三大画家”。李志敏评价：“赵之谦学北碑自成一体。”\n赵之谦从青年时代起，就刻苦致力于经学、文字训诂和金石考据之学，取得了相当的成就。尤精书画、篆刻。赵之谦善于向前人和同时代各派名家学习，又不囿前人，勇于创新。在绘画上，他是“海上画派”的先驱人物，其以书、印入画所开创的“金石画风”，对近代写意花卉的发展产生了巨大影响；在书法上，他是清代碑学理论的最有力实践者，其魏碑体书风的形成，使得碑派技法体系进一步趋向完善，从而成为有清一代第一位在正、行、篆、隶诸体上真正全面学碑的典范；在篆刻上，他在前人的基础上广为取法，融会贯通，以“印外求印”的手段创造性地继承了邓石如以来“印从书出”的创作模式，开辟了一个前所未有的新境界。\n赵之谦的篆刻成就巨大，对后世影响深远。近代的吴昌硕、齐白石等画家都从他处受惠良多。著有《六朝别字记》《悲庵居士文存》等，又有篆刻《二金蝶堂印存》。",[23,51,347,27,25,7,74,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F644e153fa54bdc4622fa0c89f5baf81b.jpg",[],20,{"id":763,"slug":764,"title":765,"dynasty":766,"author":767,"museum":158,"description":768,"tags":769,"thumbUrl":782,"material":187,"size":188,"collection":783,"collections":784,"showCount":761,"zanCount":179,"manualWeight":11,"mainColor":63},225823,"still-life-with-quinces-fan-gao-225823","Still Life with Quinces ( - )","不详","梵高","文森特·威廉·梵高（Vincent Willem van Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[76,770,7,771,772,773,774,775,776,777,778,779,780,781],"榅桲","桌布","背景布","油画","后印象派","厚涂技法","笔触奔放","色彩对比","设色鲜艳","黄色调","绿色调","静物写生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ffd494e3b668c5456c7204edd11bc4b.jpg","油画精选",[783],{"id":786,"slug":787,"title":183,"dynasty":195,"author":788,"museum":158,"description":789,"tags":790,"thumbUrl":791,"material":187,"size":188,"collection":34,"collections":792,"showCount":793,"zanCount":11,"manualWeight":11,"mainColor":39},235735,"hua-niao-ce-tan-zhi-yi-235735","谈志伊","谈志伊，字公望，号学山，一字思重，无锡人，明代画家。",[50,23,51,92,27,26,25,7,54,382,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad45b73f0049a14d3550d1815206b117.jpg",[],19,{"id":795,"slug":796,"title":797,"dynasty":44,"author":798,"museum":69,"description":799,"tags":800,"thumbUrl":802,"material":803,"size":804,"collection":34,"collections":805,"showCount":793,"zanCount":179,"manualWeight":11,"mainColor":39},232988,"pi-pa-shan-niao-tu-ye-zhao-ji-232988","枇杷山鸟图页","赵佶","图中枇杷果实累累，枝叶繁盛。一山雀栖于枝上，翘首回望翩翩凤蝶，神情生动。此图体现崔白清澹之体。宋徽宗赵佶的花鸟画以设色为多，然而此图纯以水墨勾染而成，格调高雅，略似没骨画效果，别具一种苍劲细腻之韵致，体现了赵佶多方面的绘画才能。\n对开有清乾隆御题诗一首：“结实圆而椭，枇杷因以名。徒传象厥体，奚必问其声。鸟自讬形稳，蝶还翻影轻。宣和工位置，何事失东京。”感慨宋徽宗如此精于绘画，工于构图和经营位置，缘何却把国家丢失了？",[23,50,26,27,347,429,55,25,146,801,54,7],"山鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f708f56a9bfc0b0d7181fc6adb9c5aa.jpg","绢本，墨笔","纵22.6厘米，横24.5厘米",[],{"id":807,"slug":808,"title":356,"dynasty":18,"author":702,"museum":158,"description":809,"tags":810,"thumbUrl":811,"material":187,"size":188,"collection":34,"collections":812,"showCount":38,"zanCount":179,"manualWeight":11,"mainColor":39},238351,"hua-hui-ce-dong-gao-238351","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），首席军机大臣，上书房总师傅，钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，赠太傅，赐谥号文恭，入祀贤良祠。嘉庆亲写哀诗“只有文章传子侄，绝无货币置田庄”，并亲自拨款建立“董公祠”。",[23,27,26,92,74,7,54,175,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28fdf5cb52d06c946ef79cb6edcbc5f5.jpg",[],{"id":814,"slug":815,"title":356,"dynasty":18,"author":816,"museum":158,"description":817,"tags":818,"thumbUrl":819,"material":302,"size":34,"collection":34,"collections":820,"showCount":38,"zanCount":179,"manualWeight":11,"mainColor":39},237289,"hua-hui-ce-wu-kai-237289","吴楷","吴楷，男，清嘉庆—咸丰时期（公元十八——十九世纪）著名画家 。\n吴楷： 清嘉庆——咸丰时期著名画家。一名允楷，字辛生，别号骞林外史，室名云静庐，吴县(今江苏苏州)人。 [2] 工花卉兰石，兼善山水。 （详见《中国书画家印鉴款识》第444页。）",[50,23,51,92,27,26,55,25,74,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffabdc563a40b34d66740249db6c17b11.jpg",[],{"id":822,"slug":823,"title":824,"dynasty":18,"author":825,"museum":69,"description":826,"tags":827,"thumbUrl":829,"material":361,"size":34,"collection":34,"collections":830,"showCount":38,"zanCount":179,"manualWeight":11,"mainColor":39},237176,"hua-niao-kun-chong-ce-zhou-quan-237176","花鸟昆虫册","周铨","沈铨 （1682—1760），字衡之，号南苹，其画远师黄筌画派，近承明代吕纪，工写花卉翎毛、走兽，以精密妍丽见长，也擅长画仕女。设色妍丽，工致精丽、赋色浓艳，极尽构梁之巧。画人物得不传之秘。注重写实，画风谨严工细，造型准确生动。尝写《花蕊夫人宫词》为图，笔意殊极巧妙。\n雍正九年（1731）沈铨应日本天皇之聘，偕弟子郑培、高钧等东渡日本，历时3年，形成“南苹派”写生画，深受日人推崇，被称为“舶来画家第一”，从习画者颇多，日本江户时代长崎画派即在其影响下形成，尤以圆山应举最为著名。归得金帛散给友朋，橐仍萧然。\n沈铨归国后声誉大震，传至京城，朝廷便下旨命沈铨作画上贡，乾隆7年作《花蕊夫人宫词意》受到好评，除此，沈铨还陆续为宫廷作吉祥寓意之画，由此沈铨及弟子童衡在中国画史上被称为宫廷画家，沈铨晚年寄居于苏州，孜孜不倦地致力于书画艺术之研究，在乾隆27年81岁的沈铨还能作《花鸟图》。1762年沈铨逝世后，从子沈天骧进新市南频府，守孝三年，继承画业，唯一入室弟子童衡离开沈宅到新市明因寺为僧，闲余作画终身。沈铨把一生献给了绘画事业，在继承院体派传统的基础上，独创了强大的南苹画派，在当时的江南独树一帜，有诗予以很高的评价“江南高手谁第一，吴兴沈生世无匹”。",[23,27,92,26,25,30,382,828,7],"叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa8fb08ca871bb71fb33b16bc0002a7d.jpg",[],{"id":832,"slug":833,"title":824,"dynasty":18,"author":825,"museum":69,"description":826,"tags":834,"thumbUrl":835,"material":361,"size":34,"collection":34,"collections":836,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},237174,"hua-niao-kun-chong-ce-zhou-quan-237174",[23,51,92,27,26,25,403,200,54,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa66103ba3f1ced699d4d2200524e47c7.jpg",[],{"id":838,"slug":839,"title":840,"dynasty":18,"author":841,"museum":69,"description":842,"tags":843,"thumbUrl":845,"material":628,"size":34,"collection":34,"collections":846,"showCount":847,"zanCount":11,"manualWeight":11,"mainColor":39},232944,"hua-hui-tu-ce-fan-ting-zhen-232944","花卉图册","范廷镇","范廷镇（清），字鹿畴，一作祉安，或止安，号芷庵，一号冻亭，又号乐亭，武进（今江苏常州）人。能作花卉草虫，并书法，俱效恽寿平。\n范廷镇是恽寿平的亲传弟子，最能得恽南田没骨写生花卉之神髓，他的个别作品甚至可以达到乱真的地步，也是恽寿平的主要代笔人。包括他的书法与恽寿平都十分相近，接近于形神兼备，但格调稍欠，诗文才情更是与恽寿平相差甚远。",[23,27,26,25,74,844,54,147,7],"石榴花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84d45a3a4ef84fb670f1773aecae1f58.jpg",[],17,{"id":849,"slug":850,"title":851,"dynasty":195,"author":235,"museum":158,"description":852,"tags":853,"thumbUrl":854,"material":256,"size":34,"collection":34,"collections":855,"showCount":856,"zanCount":11,"manualWeight":11,"mainColor":63},236287,"wang-zi-yuan-hua-niao-ce-yi-ming-236287","王子元花鸟册","此帧取景幽致，坡岸之上鹌鹑昂首引吭，翎毛晕染细致入微，将绒羽蓬松柔润的质感尽显笔底。蓝菊柔枝舒展，清妍淡雅，崖畔缀满丹红小果，黑甲虫静伏枝梢，野趣横生。\n\n画作工写相融，设色古雅清淡，以极简虚淡背景托举实景，将秋日郊隅的闲逸生机凝于尺幅。禽鸟憨态可掬，花草柔婉幽妍，相映成趣。既有院体花鸟的精工写实，又暗含文人笔墨的雅致意趣，将郊野刹那鲜活意态定格为隽永画面，尽显写生花鸟的精妙意韵。",[23,51,92,26,27,25,403,130,7,254,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb62891f8c807f28ec48f13e72eca241.jpg",[],15,{"id":858,"slug":859,"title":860,"dynasty":18,"author":861,"museum":158,"description":862,"tags":863,"thumbUrl":865,"material":34,"size":34,"collection":34,"collections":866,"showCount":856,"zanCount":11,"manualWeight":11,"mainColor":39},234367,"lin-jiang-ting-xi-hua-hui-ce-jiang-shu-234367","临蒋廷锡花卉册","蒋淑","蒋淑，蒋廷锡之女。蒋淑不仅得其父亲蒋廷锡的指点，而且经常以其父的作品为学习范本。《临蒋廷锡花卉图册》便是她临摹蒋廷锡花卉的代表作，用笔设色均有其父的画风神韵。每开也均有蒋廷锡题诗，赞美之辞溢于言表。 一股“我闺女棒棒哒”的自豪溢出来了～\n蒋淑（生卒年不详），清代杰出女性画家，从其画作上判断她大致生活于清康熙至雍正年间，字又文，江苏常熟人。蒋廷锡女，华亭王敬妻。其父蒋廷锡官至大学士，闲暇之余以逸笔作写生花卉，机趣天然。蒋淑自幼秉承家教，亦以擅绘花鸟著称。",[23,51,92,27,26,864,25,74,7,54],"临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea0728567f0f0573e343468c07c62a75.jpg",[],{"id":868,"slug":869,"title":870,"dynasty":18,"author":871,"museum":158,"description":872,"tags":873,"thumbUrl":879,"material":34,"size":34,"collection":34,"collections":880,"showCount":856,"zanCount":11,"manualWeight":11,"mainColor":39},234117,"hua-guo-juan-yuan-jiang-234117","花果卷","袁江","清代康熙至乾隆时期，我国东南的扬州地区，由于商品经济的发展，涌现出了一批追求个性解放，锐意创新的画家群体，这就是画史上称之“扬州画派”，或曰“扬州八怪”。在这个画派中，除了拥有人数众多名震画坛的山水、花鸟和人物画家之外，还出现了一批界画作家，如李寅，颇峰、袁江、袁帽，颇岳等，而袁江、袁耀则是这批楼阁界画的佼佼者，他们成就最大，名望最高，把我国传统的界画技法发展到了一个新的高度，并对后世产生了深远的影响。\n关于袁江的生卒，由于画史无记载，我们只能在袁氏的作品中寻找。据笔者所知，袁江现存最早有纪年的作品是画于康熙三十二年(公元1693年)，最晚的作品画于乾隆八年(公元1743年)，学者以此推测他大约生于康熙十年(公元1671年)前后，卒于乾隆八年，或稍后一、二年之内。他早年生活在“千家养女先教曲，十里栽花算种田”，“夜桥灯火连星汉，水郭帆樯近斗牛”的繁华城市扬州，以后他又到过江宁(今江苏南京)、会稽(今浙江绍兴)。又根据袁江《花鸟图》二幅(藏故宫博物院)的署款“癸卯二月古榕袁江画”，他可能还到过福州，因为“榕”是福州市的别称。又据袁江传世真迹《瞻园图》判断，袁江可能还在南京生活过一段时间，\n因为瞻园是明太祖朱元璋的大将徐达的府第，(位于南京市)。雍正二年(公元1724年)，他北上抵京师(北京)作画，郭味蕖记载他在画中的自题：“在燕台作此图”就是佐证。大至到了晚年，袁江又回到家乡扬州，从他署有年款的“邗上袁江”的大量作品看就能证明这一点，因“邗”即今名的扬州市，(见《左传·哀》九年：“秋，吴城邗，沟通江淮”)。谈到袁江山水楼阁画的师承，文献记载极少，李斗《扬州画舫录》说他“初学仇十洲”，面仇英之画，近师周臣，远“摹唐来人之画，皆能夺真”，由此推之，袁江的画上溯可至唐代的李思训、李昭道父子以及赵伯驹和赵伯骑兄弟。袁江工整细致，设色浓丽的楼阁界画风格，确有仇英的遗韵。又据《画人补遗》记载：“中年得无名氏所临古人画稿”，这“无名氏”又是谁?学术界说法不一，而据有的学者推测，它应该是来人名迹，因为从袁江的山水画中，可以看出有北宋范宽，郭熙，李成、阎次平以及南宋的马远、夏圭等人的画法和遗风。在经营位置上，他又吸收了元明以来山水画的长处，予以融合变化，形成自己的特色。他学“院体”，但又脱去院画中纤弱之笔和艳俗之弊，变为凝炼厚重、工致妍美、艳而不俗的风格。袁江的楼阁界画，更是继承了唐李思训父子，宋赵伯驹兄弟和郭熙以来界画的传统以及元代王振鹏等楼阁画用笔严谨．精雕细刻的画风，并加以发扬光大。",[23,51,50,250,27,125,26,25,29,874,875,647,876,877,131,878,128,129,94,130,7,74,31,55],"西瓜","荷花","月季","芙蓉","百合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18aa0380b6630459be1fef1dc09c8650.jpg",[],{"id":882,"slug":883,"title":884,"dynasty":766,"author":235,"museum":158,"description":885,"tags":886,"thumbUrl":890,"material":34,"size":34,"collection":34,"collections":891,"showCount":856,"zanCount":179,"manualWeight":11,"mainColor":39},225430,"fu-shi-hui-188-yi-ming-225430","浮世绘188","此作以花鸟入景，动静相映。左侧白头翁攀附苍劲老干，侧目凝神，右侧雀鸟栖于枇杷枝上，振羽抬首，二者遥遥呼应，将禽鸟互动的灵动瞬间定格。\n\n套色雅致柔和，墨色衬底的叶片沉稳内敛，鹅黄枇杷鲜亮温润，禽鸟青灰羽色搭配暖调胸腹，与木色老干和谐相融。大片留白晕染出清寂闲适的氛围，将山野间的幽趣与花果生机揉合一处，尽显东方花鸟绘的禅意雅致，笔触细腻写实，鲜活捕捉野雀情态，让画面饱含自然生趣，静静铺陈出一隅悠然的林间光景。",[887,888,27,25,162,7,54,889],"浮世绘","木刻","树干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff24f2a719f1f32419d09090d1702b422.jpg",[],{"id":893,"slug":894,"title":895,"dynasty":264,"author":896,"museum":20,"description":897,"tags":898,"thumbUrl":899,"material":227,"size":900,"collection":34,"collections":901,"showCount":856,"zanCount":11,"manualWeight":11,"mainColor":39},220383,"fang-shi-cang-gan-tu-teng-chang-you-220383","芳实藏甘图","滕昌祐","设色古雅沉静，绘就佳果攒簇枝桠。果实饱满莹润，丹朱色晕染出成熟肌理，鲜活仿若将溢出水光。叶片舒展，墨色分出浓淡层次，苍劲叶脉暗藏生趣。\n\n写实工致的笔力将甘美凝于绢素，静赏间似能嗅见晓露浸润的清甜，暗合题咏中的清芬意韵。笔底兼具写生的生动与文人情致，把佳实的丰盈鲜活封存在古淡绢色之中，于尺幅间藏尽甜香，尽显写生花鸟的细腻意趣。",[23,51,92,26,27,25,7,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e0e02ff5f906ce47343f51b0043d8ff.jpg","24.9x24.8",[],{"id":903,"slug":904,"title":905,"dynasty":18,"author":906,"museum":158,"description":907,"tags":908,"thumbUrl":909,"material":187,"size":188,"collection":34,"collections":910,"showCount":911,"zanCount":11,"manualWeight":11,"mainColor":63},239077,"hua-niao-ping-liao-yun-jin-239077","花鸟屏","廖云锦","廖云锦，生卒年不详，约活动于清道光年间（1821－1850年）。字蕊珠，号织云、锦香居士，华亭（今属上海）人，袁枚女弟子。自幼从父廖古檀吟诗作画同，后归泗泾马氏。",[23,26,27,25,95,314,129,315,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F011e8653f2125ec769fee1900f4fdaaf.jpg",[],14,{"id":913,"slug":914,"title":915,"dynasty":766,"author":773,"museum":158,"description":916,"tags":917,"thumbUrl":925,"material":187,"size":188,"collection":34,"collections":926,"showCount":911,"zanCount":11,"manualWeight":11,"mainColor":63},230598,"la-anunciaci-n-you-hua-230598","La-Anunciación","神性的光晕自左上角铺陈而下，鎏金天光里伸出神之手，一道光束破空穿透葱郁林野，将天国的启示引渡向尘世。\n\n林间草木丰茂，柑橘缀满枝头，棕榈舒展阔叶，细腻笔触晕开满溢生机。天使敛翼俯身，神态恭谨低垂，亚当夏娃居于画下，懵懂的神情里藏着未觉的命运波澜。\n\n柔和的色调消解了宗教叙事的厚重，金箔柔光与青翠绿意交融，将天启的肃穆融于伊甸的宁谧静雅，把神圣瞬间定格在静谧林间，静穆中暗涌着命运流转的张力。",[773,27,918,919,920,314,315,209,7,921,922,923,924],"宗教","人物","天使","建筑","柱子","光线","翅膀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7b9e6f3b8816a416fecae111668883b.jpg",[],{"id":928,"slug":929,"title":930,"dynasty":195,"author":931,"museum":932,"description":933,"tags":934,"thumbUrl":936,"material":937,"size":938,"collection":34,"collections":939,"showCount":911,"zanCount":11,"manualWeight":11,"mainColor":940},222026,"tao-tu-nao-an-222026","萄图","挠庵","日本京都国立博物馆","绘一枝葡萄滕自右上斜入画面，滕上一串葡萄垂下，大小不一，形状圆；葡萄叶正反绘出，正面深色，反面淡色，叶脉清晰；主枝前几枝细滕卷曲前伸，自在洒脱。",[49,23,51,125,25,200,175,935,7],"叶片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cd51ccc4999abaa20e8613f506e3ae8.jpg","绢本，水墨","27.5×29",[],"F48FB1",{"id":942,"slug":943,"title":944,"dynasty":18,"author":724,"museum":143,"description":945,"tags":946,"thumbUrl":947,"material":34,"size":34,"collection":34,"collections":948,"showCount":911,"zanCount":11,"manualWeight":11,"mainColor":949},203464,"shan-shui-ren-wu-hua-hui-ce-shi-tao-203464","山水人物花卉册","画面以水墨写意绘花卉，苍劲枝干携生拙之趣，叶片浓淡墨晕染，线条勾出清晰脉络，虚实相生；聚簇果实墨色层次丰富，饱满鲜活。留白透气空灵，与墨色景物相映成趣，尽显自然生机。笔墨洒脱不拘，豪放中藏细腻，凝花卉情态意韵于笔端，尽展文人画雅致生机，读之忘俗。",[23,51,92,125,25,54,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1da8417de5da33012f6d2e5a88e612a4.jpg",[],"ab9a8d",{"id":951,"slug":952,"title":183,"dynasty":18,"author":19,"museum":311,"description":953,"tags":954,"thumbUrl":955,"material":34,"size":956,"collection":34,"collections":957,"showCount":958,"zanCount":11,"manualWeight":11,"mainColor":39},236623,"hua-niao-ce-hua-yan-236623","华喦（1682-1756），清画家。字秋岳，号新罗山人、东园生、布衣生等，福建上杭人。自幼即喜绘画，尤精花鸟。所作花鸟，多姿多态，生趣盎然，干笔枯墨间以淡彩，寓雅逸于艳丽之中，构图独出心裁，为清代中叶花鸟画之中坚，对后世扬州派、海派花鸟产生莫大影响。",[23,51,92,125,27,127,25,403,31,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F396df2187b2f4f5d57892b6178d4f4c2.jpg","31.2×44.7厘米",[],13,{"id":960,"slug":961,"title":962,"dynasty":18,"author":963,"museum":158,"description":964,"tags":965,"thumbUrl":967,"material":34,"size":34,"collection":35,"collections":968,"showCount":969,"zanCount":11,"manualWeight":11,"mainColor":39},239277,"hou-qi-zhi-hua-hua-niao-ce-hou-qi-239277","后祺指画花鸟册","后祺","此作以指为笔，尽显写意风流。枯笔焦墨勾勒老干，苍劲朴拙自带风霜之态。泼墨晕染葡萄藤叶，浓淡铺陈虚实层次，墨色酣畅淋漓，不见毛笔尖秀精巧，反生朴野天然的肌理意趣。垂挂的葡萄果实以淡墨点染，稚拙可爱，暗合秋实之味。\n\n右侧题诗与画境相融，将秋夜风摇叶落的清寂悄然铺展。整幅简淡空灵，不刻意描摹形貌，却把秋夜的幽静谧穆藏在笔墨间，文人画的雅致禅意尽显，以指画的生涩拙朴，勾勒出清秋独有的疏朗意境，韵味悠长。",[23,51,92,966,125,126,55,25,162,54,7],"指画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2655be70d1638baa59bcfacabcc51dd.jpg",[35],12,{"id":971,"slug":972,"title":183,"dynasty":18,"author":19,"museum":311,"description":973,"tags":974,"thumbUrl":975,"material":33,"size":956,"collection":34,"collections":976,"showCount":977,"zanCount":11,"manualWeight":11,"mainColor":39},233945,"hua-niao-ce-hua-yan-233945","华喦（同“岩”）（1682~1756)，一作华岩，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、白沙道人、离垢居士等，老年自喻飘篷者，福建上杭蛟洋华佳(家)人(原白砂里人)，后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称三绝，为清代杰出绘画大家，扬州画派的代表人物之一。\n自幼酷爱绘画，后因家贫失学，备受世俗冷落，康熙四十二年(1703)华氏家族重建祠堂，曾因替正厅画壁画，乡绅看不起他，群起反对，最后偷自进祠堂，画上高山云鹤、水国浮牛、青松悬崖和倚马题诗四幅画，愤而离乡飘泊，流寓于杭州，结交了很多文人学士，眼界大开。36岁时曾北上入都，得交当路巨公，名闻于上，但并不得意，据戴熙《习苦斋画絮》载:华秋岳自奇其画，游京师无问者。一日有售赝画者，其裹华笔也，华见而太息出都。他的中晚年一直频繁往来于杭州、扬州，以卖画为生。在扬州他结识了金农、高翔、李鳝、郑板桥及盐商巨子马曰管、马曰璐兄弟，彼此交流切磋，诗画酬答，使其绘画修养得到多方面的拓展，成为扬州画派的代表人物之一。\u2028 华岩一生贫困，金农在《画竹题记》提到:汀洲华岩秋岳，……尝画兰草纸卷，卷有五丈者，一炊饭顷便能了事，清而不媚，恍闻幽香散空谷之中，…… 余恨不能踵其后尘也。乾隆十七年(1752)，回到杭州旧居解弢馆。乾隆二十一年卒，有《离垢集》5卷。",[23,51,92,27,125,25,95,403,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F404f5926f037f2a7a183670d202de71c.jpg",[],11,{"id":979,"slug":980,"title":356,"dynasty":18,"author":391,"museum":158,"description":392,"tags":981,"thumbUrl":982,"material":187,"size":188,"collection":34,"collections":983,"showCount":984,"zanCount":11,"manualWeight":11,"mainColor":39},239098,"hua-hui-ce-ma-yuan-yu-239098",[50,23,51,92,27,26,55,25,74,54,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf54696dac344481b0d9d2b7725ae0cf.jpg",[],10,{"id":986,"slug":987,"title":988,"dynasty":195,"author":989,"museum":158,"description":990,"tags":991,"thumbUrl":992,"material":34,"size":34,"collection":34,"collections":993,"showCount":984,"zanCount":11,"manualWeight":11,"mainColor":39},234492,"hua-niao-shan-ye-wei-xue-lian-234492","花鸟扇页","魏学濂","魏学濂（1608年—1644年），明代官员。字子一，号内斋，一作容斋，浙江嘉善人，魏大中次子，崇祯十六年（1643年）进士，擢庶吉士，明亡后先降李自成，不久又羞愧自缢。平生擅画山水，兼工花鸟。",[563,347,23,51,27,26,25,403,737,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c6bd18f9544bbe768327b77926cd6db.jpg",[],{"id":995,"slug":996,"title":997,"dynasty":18,"author":998,"museum":158,"description":999,"tags":1000,"thumbUrl":1001,"material":34,"size":34,"collection":34,"collections":1002,"showCount":984,"zanCount":11,"manualWeight":11,"mainColor":39},224321,"hua-niao-shi-er-kai-10-li-shan-224321","花鸟十二开10","李鱓","画面书画合璧，意韵悠长。以没骨法写就江南佳果，青蜜桃圆润饱满，淡青敷色晕出带紫的熟韵，叶片舒卷含露，鲜活如生；枇杷圆实浅赭，尽显甜熟质感；杨梅黑紫莹润，衬以青灰长叶，野趣盎然。\n\n题跋行书清雅隽秀，叙南北果品风味，笔墨与风物相融，淡墨轻彩间，将文人闲赏风物的恬然心境藏于尺幅之中，设色柔和雅致，晕染细腻自然，把佳果鲜嫩鲜活的情态刻画入微，尽显小品写意的清雅意致。",[49,23,51,92,27,127,429,55,25,29,146,53,54,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febb1d64a5729b47a3279498396e83838.jpg",[],{"id":1004,"slug":1005,"title":356,"dynasty":18,"author":1006,"museum":158,"description":1007,"tags":1008,"thumbUrl":1009,"material":187,"size":188,"collection":34,"collections":1010,"showCount":62,"zanCount":11,"manualWeight":11,"mainColor":39},235217,"hua-hui-ce-zhang-wei-235217","张伟","清代画家张伟的花卉写生图，是一组工笔细描的花卉图。",[23,27,26,92,55,25,382,7,828,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1f84291aecc038684609472935e96f2.jpg",[],{"id":1012,"slug":1013,"title":1014,"dynasty":195,"author":235,"museum":158,"description":1015,"tags":1016,"thumbUrl":1022,"material":187,"size":188,"collection":34,"collections":1023,"showCount":62,"zanCount":11,"manualWeight":11,"mainColor":39},228506,"qing-hua-huang-cai-zhi-zi-hua-guo-wen-pan-yi-ming-228506","青花黄彩栀子花果纹盘","青花瓷（blue 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porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[563,1017,1018,1019,27,111,1020,7,1021],"陶瓷","青花","黄彩","栀子花","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0eb2d620a80487c8c6a84fdf7aed0f6a.jpg",[],{"id":1025,"slug":1026,"title":840,"dynasty":18,"author":1027,"museum":158,"description":1028,"tags":1029,"thumbUrl":1030,"material":187,"size":188,"collection":34,"collections":1031,"showCount":83,"zanCount":179,"manualWeight":11,"mainColor":63},238494,"hua-hui-tu-ce-jiang-pu-238494","蒋溥","蒋溥（1708—1761年），大学士蒋廷锡长子，字质甫，号恒轩，江苏常熟人，清朝大臣，画家，善画花卉，深得家传。雍正八年二甲第一名进士，官至东阁大学士兼户部尚书。性情宽厚而警敏，任职后，精心奉职，勤于政事，是乾隆时期的重臣，亦是蒋派花鸟画艺术的重要代表。\n乾隆二十六年（1761）四月，病逝于任上。乾隆皇帝亲临祭奠，加赠太子太保，谥曰文恪，入祀贤良祠。",[50,23,51,92,27,26,25,74,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cd68be8bb3611582ded44817fe360a3.jpg",[],{"id":1033,"slug":1034,"title":1035,"dynasty":195,"author":1036,"museum":143,"description":1037,"tags":1038,"thumbUrl":1041,"material":1042,"size":1043,"collection":34,"collections":1044,"showCount":83,"zanCount":11,"manualWeight":11,"mainColor":39},233678,"hua-hui-juan-wang-duo-233678","花卉卷","王铎","本幅墨笔，前隔水伊念曾题答，本幅有张囗、戴明说观款，后纸叶恭绰题记。钤“曾藏嵩山草堂”，“墨卿”，“慎得”等藏印。\n王铎（1592—1652年），字觉斯，号嵩樵、烟潭渔叟、痴仙道人等，孟津（今洛阳孟津县）人。明天启二年（1622年）进士，累官礼部尚书、东阁大学士。工诗文，能绘画。书法师钟繇、二王、颜真卿、米芾，尤得力于《淳化阁帖》，既浸淫于古法又有所创新。其书诸体悉备，最擅行、草书，笔法纵逸流畅，风格雄健险峻，是清初书法大家。刻有《拟山园帖》、《琅华馆帖》。《清史稿》有传。",[23,51,250,125,1039,26,429,25,74,647,875,7,477,162,175,1040,95],"白描","叶草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cbd58569f7990ba918a2a7dda226ed8.jpg","纸本墨笔","纵24.9厘米，横116厘米",[],{"id":1046,"slug":1047,"title":344,"dynasty":44,"author":235,"museum":158,"description":1048,"tags":1049,"thumbUrl":1051,"material":34,"size":34,"collection":34,"collections":1052,"showCount":83,"zanCount":11,"manualWeight":11,"mainColor":39},227376,"yuan-hou-zhai-guo-tu-yi-ming-227376","《宋人画猿猴摘果图》是宋代佚名创作的一幅扇面画。\n此图绘深山野林中，三只 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Renoir--Studies of Landscape, Trees, and Exotic Fruit","这组写生小稿松弛随性，水色晕染带着鲜活松弛的意趣。暖橙糅着明黄铺就郊野天光，灰调晕开柔化了光影边界，蓝绿冷色晕簇出植被与异果，寥寥淡线轻勾轮廓。\n\n创作者以即兴笔触捕捉自然瞬息，没有规整构图，零散色块与晕染间草木、云色舒展自在，将郊野一隅的光影风物定格在即兴涂抹里。水色交融间生机漫溢，细碎色块拼凑郊野朦胧氛围，藏满对自然的敏锐感知。",[1222,1223,1224,315,209,7,1225],"水彩画","速写","风景","写生稿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76f80d7196dea4e1da3f9993ef01fd92.jpg",[],{"id":1229,"slug":1230,"title":1231,"dynasty":18,"author":235,"museum":158,"description":1232,"tags":1233,"thumbUrl":1237,"material":187,"size":188,"collection":34,"collections":1238,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":39},258708,"fen-cai-diao-su-xie-guo-pan-yi-ming-258708","粉彩雕塑蟹果盘","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。",[24,1133,1234,1017,27,1235,7,1236,111],"雕塑","蟹","盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ee7f1111c38c24e090f80c6e1d57749.jpg",[],{"id":1240,"slug":1241,"title":1076,"dynasty":18,"author":1182,"museum":158,"description":1183,"tags":1242,"thumbUrl":1243,"material":187,"size":188,"collection":34,"collections":1244,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":39},237987,"za-hua-ce-xue-huai-237987",[23,51,92,26,125,27,25,7,54,147,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa50e2086db067e2d719e39a3fc5f110.jpg",[],{"id":1246,"slug":1247,"title":1248,"dynasty":195,"author":1249,"museum":158,"description":1250,"tags":1251,"thumbUrl":1252,"material":34,"size":34,"collection":34,"collections":1253,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":39},233329,"shi-zhu-zhai-pu-ce-hu-ri-cong-233329","十竹斋谱册","胡日从","《十竹斋书画谱》，融诗、书、画、印艺术为一体，是木版水印史上的巨制鸿构，有“画苑之白眉，绘林之赤帜”之誉。凡书画、竹、墨华、石、翎毛、梅、兰、果八谱，每谱两册，全帙共十六册，蝴蝶装。\n一为书画册。花卉竹石、翎毛蔬果二十幅，均有对题。谱前有醒天居士《题十竹斋画册小引》和芒砀山人王三德《胡曰从书画谱引》。\n二为竹谱。卷首有《梨云馆竹谱》，分“写竹要语”，“写竹括”和“写竹法”。前半为一画一题，凡竹图二十幅，分作“廻风”、“喜霁”、“带雨”、“凝露”、“贮云”、“笼烟”、“快雪”、“印月”、“怡老”、“启新”、“飞白”、“聚翠”、“紫蓧”、“朱帔”、“崖影”、“石床”、“飨松”、“访菊”、“友梅”、“佩兰”等。后半则为画竹“起手式”。\n三为墨华册。谱中图呈圆光型，对题有绿色“十竹斋琅干笺”竹纹边框。画、题各有二十幅，画面着色细润，气韵生动。谱前有语水乘槎子《十竹斋墨花题辞》。\n四为石谱。画、题各二十幅，谱前有序两篇，一为王三德《阅石谱题言》，一为米芾后人米万钟《石谱题辞》。谱中二十幅画皆为高阳所作。高阳，字秋甫，善花鸟，为万历间写生名手。高阳画奇石尤精，石谱中作品是临摹上版，王三德观后评价极高，以为“天划神缕之巧，嵌空玲珑之致，半幅冰茧，宛具层岩叠嶂、峰峦洞穴，真可以对杨次公矣。”图有墨石、彩石，但均以套版为之，每画都有对应的题赞。\n五为翎毛谱。画、题各二十幅，有杨文骢于“天启丁卯立秋日”所题《翎毛谱小序》，非常精彩地评介了胡氏所施饾版之法：“胡曰从氏巧心妙手，超越前代，以铁笔作颖生，以梨枣代绢素，而其中皴法、染法、点法，及着色之轻重、浅深、远近、离合无不呈妍曲致，穷巧极工。即当行作手观之，定以为写生妙品，不敢作刻画观。”此翎毛谱二十图，画上无名款，从印鉴来看，应全为凌云翰一人所作。凌云翰，字五云，万历、崇祯时人。《明画录》说他善画山水，其实上凌氏花鸟亦善，尤工画石，为胡正言所推许。\n六为梅谱。由玉山进士董继周作序。此册胡正言以“芳信先传”、“飘飘欲仙”、“冰壶掩映”、“暖谷回阳”、“君子之交”、“铁干支春”、“暗香浮动”、“拾翠为钿”、“黄惹蜂腰”、“额上玄功”、“东邻窥宋”、“盟坚寒素”、“香梦沉酣”、“水妃写照”、“玉骨同妍”、“疏影横斜”、“幽人赠佩”、“调脂梅粉”、“宫锦清班”、“寿阳点妆”等二十画题，分别写早梅、风梅、雪梅、枯梅、竹梅、老梅、月梅、松梅、蜡梅、墨梅、过墙梅、倚石梅、烟梅、临水梅、水仙梅、疏梅、兰花梅、茶花梅、杏花梅和落梅，或水墨，或设色，意境、造型与章法，则穷尽变化之能事。每幅画都有对应的题赞。\n七为兰谱。前有涂日昌“兰谱序”和画兰“起手执笔式”，此谱图解兰花，并附小注，颇为详尽，但无题赞。多为墨印，间有彩版，此谱可为之初学之范本。图二十幅，多是临摹赵孟頫等名家之作。\n八为果谱。画、题各二十幅，有西京韩文镜作序。其中“三元”、“朱橘”等图，雕版设计巧妙，可谓匠心独运。\n《十竹斋书画谱》自万历己未（1619年）第一谱《书画册》起，至崇祯癸酉（1633年）第八谱《果谱》止，梓印时间长达十五年之久。每谱有序言，除《竹谱》附写竹诀，《兰谱》附起手式，其余各谱均四十幅，一图一文，以书配画，交相辉映。\n胡正言辑印《十竹斋书画谱》，广交名人时贤，亦自作书画付梓。全谱序、画、诗作者或书法题写者，多达一百五十余人。谱中所辑作品大多是由当时名家如吴彬、倪瑛、魏之克、米万钟、吴士冠、文震亨、高阳、高友等创作的，也有二十多幅画稿是临摹自赵孟頫、唐寅、沈周、文征明、陆治、陈道复等著名书画家的；胡正言自己也曾为谱画稿、题诗，画有“白莲”、“墨梅”、“芝草”三图，诗有“题梅花”、“题兰竹”两首。画谱中所题诗句，笔调清新，咏物抒情，不同程度地反映了诗人们喜爱画谱的心情。题诗大部分都是书写者自己所作，也有借用前人诗句题咏的，如胡正言用唐释无可的咏兰诗题《兰竹图》，西湖仙郎何伟然用徐渭咏榴诗题《石榴图》，竹冠道人应麟用刘禹锡题开元寺枸杞诗书《枸杞诗图》等等。全谱书法篆、隶、行、楷诸体皆备，最多的还是晚明文人流行的行草。这些书迹，大都兼有晋、唐、宋书家的风韵，亦可为后人临池所借鉴。\n醒天居士的《题十竹斋画册小引》把胡正言的爱好、特长及画谱刊印的初衷和艺术水平都进行了叙述：\n“王宰十日一山，五日一石，岂肖形之难哉？山有情，石有态，磅礴得之为难耳。近代画手，千临百摹，如里媪捧心，不揜儿寝，而目食者争售之，大轴小图，祗为壁疥。新安胡曰从氏，清姿博学，既精六书，尤擅众巧。所制隃糜硾茧与所镌法语名言，皆出新裁，赏鉴家多宝爱之。乃竹斋多暇，复创画册。所选皆花果竹石，有关于幽人韵士之癖好者。而写形既妙，设色尤工，至于翠瓣丹柎，葩分蕊折，花之情，竹之姿，与禽虫飞懦之态，奇石云烟之气，展册淋漓，宛然在目。盖淡淡浓浓，篇篇神采；疏疏密密，幅幅乱真，诚画苑之白眉，绘林之赤帜也。然王宰之画妙出毫锥，胡君之画妙出梨枣，是磅礴之心，较王宰更难；而成功之捷，较王宰更简更易，岂不尤奇哉！余故喜而叙之，愿与好事者同赏，仍俟具眼者定价焉。时癸酉年中秋前二日，醒天居士书于十竹斋。”\n《十竹斋书画谱》“绘刻精而奇，谱则巧而该”，在画谱刊行后不久就引起广泛的注意，开始有人仿刻了，以至胡氏声明道“原板珍藏，素遐真赏，近有效颦，恐混鱼目，善价沽者，勿虚藻鉴。”历代重印、翻刻者达二十余种。清代李渔等人辑印的《芥子园画传》也是在它的启发下产生的。",[23,51,92,27,26,7,31,381],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86f7813f52173a3a6dd79e5f0fe5615b.jpg",[],{"id":1255,"slug":1256,"title":1248,"dynasty":195,"author":1249,"museum":158,"description":1250,"tags":1257,"thumbUrl":1258,"material":34,"size":34,"collection":34,"collections":1259,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":39},233326,"shi-zhu-zhai-pu-ce-hu-ri-cong-233326",[23,51,92,27,25,888,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc431b54ce754d3515156ba79f9ed698.jpg",[],{"id":1261,"slug":1262,"title":1248,"dynasty":195,"author":1249,"museum":158,"description":1250,"tags":1263,"thumbUrl":1264,"material":34,"size":34,"collection":34,"collections":1265,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":39},233320,"shi-zhu-zhai-pu-ce-hu-ri-cong-233320",[23,51,92,27,25,7,31,888,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38ebdb08148187ba832b6f28be35b30a.jpg",[],{"id":1267,"slug":1268,"title":1248,"dynasty":195,"author":1249,"museum":158,"description":1250,"tags":1269,"thumbUrl":1270,"material":34,"size":34,"collection":34,"collections":1271,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":39},233303,"shi-zhu-zhai-pu-ce-hu-ri-cong-233303",[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Alma-Tadema, 1836年1月8日—1912年6月25日）是英国维多利亚时代的知名画家，他的作品以豪华描绘古代世界（中世纪前）而闻名。\n生于荷兰的德龙赖普（Dronrijp），他的父亲彼得·塔德玛（Pieter Tadema）是一名公证人，在他4岁时便去世了。阿尔玛是他教父的名字，他的生母是他父亲的第二名妻子，家庭人口相当众多。家里原准备让他继承父业，但他表现出了对艺术的强烈偏好，因此将他送至安特卫普，在1852年进入了那里的艺术学院，并在亨德利克·利思（Hendrik Leys）的画室学习。",[773,27,636,919,1402,1403,1194,7,1404,74,1158,1405,1406],"美人","虎","枕头","室内","细腻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ff213782a868152d2a869e7d143df69.jpg",[],{"id":1410,"slug":1411,"title":1412,"dynasty":18,"author":235,"museum":158,"description":1413,"tags":1414,"thumbUrl":1419,"material":187,"size":188,"collection":34,"collections":1420,"showCount":179,"zanCount":11,"manualWeight":11,"mainColor":63},229164,"tong-tai-hua-fa-lang-xiao-he-yi-ming-229164","铜胎画珐瑯小盒","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",[1415,1416,1417,27,25,7,74,1418,111],"铜胎","画珐琅","珐琅器","盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e22dd34bfaaea298afa2cdb4a639182.jpg",[],{"id":1422,"slug":1423,"title":1424,"dynasty":18,"author":235,"museum":158,"description":1425,"tags":1426,"thumbUrl":1429,"material":187,"size":188,"collection":34,"collections":1430,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":63},281437,"yang-ci-tu-cai-hua-hua-kou-gang-yi-ming-281437","洋瓷凸彩花花口缸","瓷器是由瓷石、高岭土、石英石、莫来石等烧制而成，外表施有玻璃质釉或彩绘的物器。瓷器的成形要通过在窑内经过高温（约1280℃～1400℃）烧制，瓷器表面的釉色会因为温度的不同从而发生各种化学变化，是中华文明展示的瑰宝。\n中国是瓷器的故乡，瓷器是古代劳动人民的一个重要的创造。谢肇淛在《五杂俎》记载：“今俗语窑器谓之磁器者，盖磁州窑最多，故相延名之，如银称米提，墨称腴糜之类也。”当时出现的以“磁器”代窑器是由磁州窑产量最多所致。这是迄今发现最早使用瓷器称谓的史料。",[1017,1417,1427,1428,74,7,1355,27],"凸彩","花口缸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01cb2d45c011a626e8fea3cb09b8b839.jpg",[],{"id":1432,"slug":1433,"title":1434,"dynasty":18,"author":235,"museum":158,"description":1435,"tags":1436,"thumbUrl":1437,"material":187,"size":188,"collection":34,"collections":1438,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":940},273930,"bing-lang-yi-ming-273930","槟榔","这些槟榔果带着沉郁的棕褐肌理，部分还残留枯卷的果蒂丝絮。排布随性松弛，不见刻意雕琢的匠气。每一枚的表皮都带着自然皴裂的纹路，如岁月镌下的细密掌纹，将南洋果实的朴实质感凝于方寸之间。\n静穆的色调晕开旧时光的烟火意趣，没有繁复修饰，以最平实的视角定格日常风物的鲜活，把旧时生活里的细碎日常铺陈开来，尽显写实的古雅意韵，让观者触摸到藏在寻常物件里的温润时光。",[1434,7,1355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b50d48f659840dfadcbc103ede239c1.jpg",[],{"id":1440,"slug":1441,"title":1442,"dynasty":18,"author":235,"museum":158,"description":1443,"tags":1444,"thumbUrl":1446,"material":187,"size":188,"collection":34,"collections":1447,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},270010,"zhu-gen-diao-shuang-guo-yi-ming-270010","竹根雕双果","依竹根天然形貌随形施艺，以双葫芦为造型主体，通身缠缀蜿蜒藤蔓、舒展枝叶与饱满小果，将秋日葫芦垂坠的鲜活意趣凝于一方。圆雕与浮雕技法相融，枝叶卷曲舒展自然灵动，果实肌理饱满逼真，仿佛能触到秋实的鲜活质感。子母盖盒严丝合缝，内髹朱红漆色，朴雅木色搭配暖红内里，更添内敛雅致。匠者巧用竹根的天然肌理，将材质朴拙质感与雕刻意趣相合，暗藏多子多福的吉祥寓意，亦是文房案头清隽雅致的清供佳器，尽显工艺的匠心巧思。",[1164,1445,111,7,1418],"竹根雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a4aa1ccd47849c8d41482d2bca10bfb.jpg",[],{"id":1449,"slug":1450,"title":1451,"dynasty":18,"author":235,"museum":158,"description":1452,"tags":1453,"thumbUrl":1457,"material":187,"size":188,"collection":34,"collections":1458,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},267902,"hu-se-duan-di-dan-cai-san-duo-lian-mu-dan-wen-tao-yi-ming-267902","湖色缎地淡彩三多莲牡丹纹绦","经线提花锦的组织结构和纹样都十分复杂，舞人动物纹锦的纹样横贯全幅，充分反映了当时已有了先进的提花织造技术。精美的刺绣品共有17种纹样，构图大，讲究对称、平衡，色彩配合恰当，给人以端庄典雅、富丽堂皇的美感。纹样内容充满神话色彩，鲜明地反映了楚文化的浪漫主义特色。墓中出土的衣袍为直据，是当时贵族中最流行的一种服式。这批先秦织物的出土，为深入研究我国古代纺织史提供了珍贵的实物资料。",[1194,1454,1455,1456,647,875,52,29,74,7],"绦带","织绣","淡彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30f91269fba0e3d2bbdb5002b630bd75.jpg",[],{"id":1460,"slug":1461,"title":1462,"dynasty":18,"author":235,"museum":158,"description":1463,"tags":1464,"thumbUrl":1467,"material":187,"size":188,"collection":34,"collections":1468,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":63},264053,"yue-bai-se-di-hua-guo-wen-jin-bao-di-jin-yi-ming-264053","月白色地花果纹金宝地锦","《说文》：“锦，襄邑织文。从帛，金声。”即用彩色经纬丝织出各种图案花纹的纺织品，泛指具有多种彩色花纹的丝织物。锦的生产工艺要求高，织造难度大，所以它是古代最贵重的织物。“锦，金也，作之用功重，其价如金。”古人把锦看成和黄金等价。这种织物有经起花和纬起花两种，也叫经锦和纬锦。经锦是用两组或两组以上的经线同一组纬线交织。经线多的二色或三色，一色一根作为一副，如果需要更多的颜色，也可以使用牵色条的方法。纬线有明纬和夹纬；用夹纬把每副中的表经和底经分隔开，用织物正面的经浮点显花。\n用染好颜色的彩色经纬线，经提花、织造工艺织出图案的织物。中国丝织提花技术起源久远。早在殷商时代中国已有丝织物。周代丝织物中出现织锦，花纹五色灿烂，技艺臻于成熟。汉代设有织室、锦署，专门织造织锦，供宫廷享用。自汉武帝后，中国织锦通过丝绸之路传入波斯（今伊朗）、大秦（古罗马帝国）等国。三国时四川蜀锦成为主流。唐代贞观年间窦师伦的对雉、斗羊、翔凤等蜀锦图案，称为绫阳公样。在织造工艺上由经锦改进为纬锦，并出现彩色经纬线由浅入深或由深入浅的退晕手法。北宋宫廷在汴京等地建立规模庞大的织造工场，生产各种绫锦。元代是中国历史上大量生产织金锦（一种加金的丝织物）的时代，宫廷设立织染局、织染提举司，机构庞大，集中了大批优秀工匠。\n明清两代织锦生产集中在江苏南京、苏州，除了官府的织锦局外，民间作坊也蓬勃兴起，形成江南织锦生产的繁荣时期。织锦大多采用传统提花工艺和木制花楼织机，有些织锦因品种不同而有所区别。如宋锦、土家族织锦采用通经断纬工艺，即分段调换彩色纬线，使色彩更加丰富。杭锦采用铁制提花机。织锦种类有南京云锦、四川蜀锦、苏州宋锦、杭州织锦以及少数民族的黎锦、壮锦、傣锦、瑶锦、侗锦、苗锦、土家锦、爱得利斯锦等。1960年以来，中国织锦在继承、发扬传统织锦的基础上，恢复了云锦的妆花锦和蜀锦的浣花锦、锦上添花锦、八答晕锦，并生产了窗帘、沙发套、枕套、被面、台毯、靠垫、床罩、提包、民族服装用料等新品种。\n锦已有3000年以上的历史，战国、西汉以前流行以二色或三色经轮流显花的经锦，包括局部饰以挂经的挂锦、具有立体效果的凸花锦和绒锦。1959年在新疆民丰尼雅遗址发现的东汉“万年如意锦”使用绛、白、绛紫、淡蓝、渥绿五色，通幅分成十二个色条，就是汉代典型的经锦。\n纬锦是用两组或两组以上的纬线同一组经线交织。经线有交织经和夹经；用织物正面的纬浮点显花。1969年在新疆阿斯塔那发现的唐代锦袜，在大红色地上起各种禽鸟花朵和行云的图案，就属于这一种锦。\n经锦和纬锦具有不同的织造效果。经锦的纬密比较低，只用一把梭子，生产效率比较高。纬锦织造比较费时，但可以使用两把以上的梭子，容易变换色彩，色彩丰富。这两种锦在中国出现的时间都比较早。但是六朝以前织造的，以经起花为主；隋唐以后织造的，似乎以纬起花为主。\n在苏联的巴泽雷克发现一批中国战国时期的丝绸，就有用红绿二色纬线织造的纬斜纹起花的纬锦。产生于宋代前后的宋锦以地经、地纬交织成经斜组织，按结经与纹纬交织成纬斜组织。\n金元之际流行加金的丝织物——织金锦，又称“纳石失”。明清时盛行以挖花缎的彩纬多达30—40种，锦面的经、纬方向都有逐花异色的效果，是中国织锦最高水平的代表。\n锦在历史上曾用多棕多蹑机和束棕花楼机织造，现代生产采用纹版提花机。\n国家非常重视非物质文化遗产的保护，南京云锦木机妆花手工织造技艺作为中国古老的织锦技艺最高水平的代表，于2006年列入首批国家级非物质文化遗产名录。2006年5月20日，土家族织锦技艺经国务院批准列入第一批国家级非物质文化遗产名录。2007年6月8日，湖南凤凰水云织锦坊获得国家文化部颁布的首届文化遗产日奖。2009年8月《地理标志产品云锦》国家标准在南京通过国家级专家评审，同年9月成功入选联合国《人类非物质文化遗产代表作名录》。",[1194,1465,1353,27,1466,74,7],"织锦","金宝地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd42a7e7a21853d9a5f3ebb6ecc44527f.jpg",[],{"id":1470,"slug":1471,"title":1472,"dynasty":195,"author":235,"museum":158,"description":1232,"tags":1473,"thumbUrl":1475,"material":187,"size":188,"collection":34,"collections":1476,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":1139},261703,"wan-li-kuan-wu-cai-ren-wu-tu-pan-yi-ming-261703","万历款五彩人物图盘",[1017,1474,919,1236,7,27],"五彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd65c0d007ceb7b1134ed6813c51072b8.jpg",[],{"id":1478,"slug":1479,"title":1480,"dynasty":195,"author":235,"museum":158,"description":1481,"tags":1482,"thumbUrl":1487,"material":187,"size":188,"collection":34,"collections":1488,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},260438,"wan-li-kuan-wu-cai-zhe-zhi-hua-guo-wen-chang-fang-die-yi-ming-260438","万历款五彩折枝花果纹长方碟","四方委角浅碟，方足挺括，形制秀巧雅致。外壁以青花勾描轮廓，填饰五彩折枝寿桃，桃实饱满，黄晕丹红衬得鲜果娇憨可掬，苍润绿叶错落铺陈，辅以青花卷叶点缀釉面。内壁亦饰折枝花果，彩料发色古雅明快，红绿彩妍丽沉稳，青花幽蓝沉静，尽显晚明五彩典型风韵。构图疏朗清逸，笔触稚拙灵动，带着晚明民窑器物独有的朴拙意趣，简淡间见雅致，粗中有细，尽显万历彩瓷装饰特色，是明代民窑彩瓷小件中的不俗之作。",[1017,1355,1474,1483,1484,1485,7,1486],"折枝花果","碟","彩绘","绿叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43971d69345091fc59526da19c28c890.jpg",[],{"id":1490,"slug":1491,"title":1492,"dynasty":18,"author":235,"museum":158,"description":1493,"tags":1494,"thumbUrl":1497,"material":187,"size":188,"collection":34,"collections":1498,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":1139},258428,"yong-zheng-kuan-ji-lan-you-gao-zu-wan-yi-ming-258428","雍正款祭蓝釉高足碗","雍正一朝虽然只有13年，但他的制瓷业成就却达到了清代官窑的历史高峰，其品种之多，制作工艺之精良，都是其他朝代无法比拟的。",[24,1017,1495,1496,111,7],"祭蓝釉","高足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb257af6b11d91c10a7ef0e6c012b8f90.jpg",[],{"id":1500,"slug":1501,"title":1502,"dynasty":195,"author":235,"museum":158,"description":1015,"tags":1503,"thumbUrl":1510,"material":187,"size":188,"collection":34,"collections":1511,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":63},257145,"qing-hua-san-guo-wen-zhi-hu-yi-ming-257145","青花三果纹执壶",[563,1017,1018,1504,1505,1506,7,74,1507,1508,1509],"釉下彩","三果纹","缠枝纹","执壶","饮酒器","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1ecdb5b56c078222a0f410be33fa758.jpg",[],{"id":1513,"slug":1514,"title":1515,"dynasty":18,"author":235,"museum":158,"description":1516,"tags":1517,"thumbUrl":1520,"material":187,"size":188,"collection":34,"collections":1521,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},256835,"you-li-hong-san-guo-wen-mei-ping-yi-ming-256835","釉里红三果纹梅瓶","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。",[1017,1518,1519,7,31,111],"釉里红","果纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38165f92bae189e6e014997cef774793.jpg",[],{"id":1523,"slug":1524,"title":1525,"dynasty":18,"author":235,"museum":158,"description":1526,"tags":1527,"thumbUrl":1528,"material":187,"size":188,"collection":34,"collections":1529,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},249540,"hua-fa-lang-hua-guo-wen-mian-pen-yi-ming-249540","画珐琅花果纹面盆","此器以松石绿釉为地，釉色莹润匀净。外壁缠枝花卉蜿蜒舒展，月季娇妍、栀子清灵，柔婉枝蔓将花朵串联，生机盎然。内壁以湖蓝釉衬底，饱满桃果垂悬，粉蝠翩跹穿梭于花叶之间，佳果与瑞意相融。口沿描金饰边，勾勒出器物利落轮廓，更添华贵质感。\n\n整体纹饰繁而不紊，主次鲜明，匠师以细腻笔触将花果娇态刻画入微，各色珐琅鲜亮饱和、交相辉映，将装饰美感与实用功能相合，尽显富丽雅致的审美意趣，把吉庆祥和的美好寓意藏于纹饰细节之中，尽显手工珐琅工艺的精湛造诣。",[18,1416,1417,27,26,1353,647,74,7,111,1509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd891cfdb1c2e5f1c9ff0965fd1677a7c.jpg",[],{"id":1531,"slug":1532,"title":1533,"dynasty":18,"author":235,"museum":158,"description":1413,"tags":1534,"thumbUrl":1539,"material":187,"size":188,"collection":34,"collections":1540,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},248114,"ti-hong-ba-xian-tu-tao-shi-he-yi-ming-248114","剔红八仙图桃式盒",[24,1535,1536,1164,1537,1538,209,7,54],"漆器","剔红","八仙人物","桃纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefe883d6046848a7e44f0977ac032fd0.jpg",[],{"id":1542,"slug":1543,"title":1544,"dynasty":18,"author":235,"museum":158,"description":1413,"tags":1545,"thumbUrl":1548,"material":187,"size":188,"collection":34,"collections":1549,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":63},247852,"dui-cai-hu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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。",[1648,1164,1649,1650,174,315,7,1651],"玉石","俏色","山林","元代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c8c412cbe7596a03cc77d78136feacb.jpg",[],1777535702527]