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澹雅”。此册中的花鸟更是形神兼备，清新淡雅，具有新的风貌。",[24,25,119,84,28,29,122,7,135],"花叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365b8ee143cb6b67cd7e5ece42f851e1.jpg",[],218,{"id":140,"slug":141,"title":142,"dynasty":44,"author":143,"museum":81,"description":144,"tags":145,"thumbUrl":149,"material":150,"size":71,"collection":34,"collections":151,"showCount":152,"zanCount":38,"manualWeight":38,"mainColor":39},233182,"hua-hui-ce-ju-hua-hai-tang-ye-zhao-zhi-qian-233182","花卉册-菊花海棠页","赵之谦","赵之谦（1829-1884），字益甫、孺卿，又号瀚寮，初字冷君，中年更号悲盦，晚号无闷，浙江会稽（今绍兴）人。早年曾游按察使缪梓幕，咸丰九年（1859）举人，同治元年（1862）入京，四年（1866）会试，之后历官鄱阳、奉新、南城知县。家藏秘册甚富，以篆刻名世，为晚清印坛代表人物。同时擅书、工花卉。此册画十二开，各绘牡丹、萱草、芙蓉、桃花、梅竹、杂卉等，造型新颖，设色鲜亮。",[24,25,119,28,146,147,29,148,7],"水墨","写意","菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5edbc8bd73f1dd91029ea9127ec59094.jpg","纸本",[34,56],201,{"id":154,"slug":155,"title":156,"dynasty":157,"author":63,"museum":158,"description":159,"tags":160,"thumbUrl":162,"material":32,"size":71,"collection":34,"collections":163,"showCount":164,"zanCount":165,"manualWeight":38,"mainColor":75},216749,"hai-tang-fei-qin-tu-yi-ming-216749","海棠飞禽图","明","私人收藏","海棠花是一种常见的中国花卉，通常被认为是爱情、美好愿望和幸福的象征。这幅画的画风精细，笔法优美，极富艺术魅力。",[66,24,25,27,28,29,7,51,161],"枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F131241bc6542bdd047d08b2abfb54967.jpg",[34],189,2,{"id":167,"slug":168,"title":169,"dynasty":157,"author":170,"museum":132,"description":171,"tags":172,"thumbUrl":182,"material":71,"size":71,"collection":71,"collections":183,"showCount":184,"zanCount":11,"manualWeight":38,"mainColor":39},228271,"er-shi-si-fan-hua-xin-tu-juan-wei-zhi-ke-228271","二十四番花信图卷","魏之克","此作用没骨法写群芳次第铺展，艳红山茶花、柔粉芙蓉、明黄牵牛、素白水仙等错落排布，将四季花信的娇美姿态尽揽卷中。\n\n敷色妍丽清润，花叶晕染细腻自然，花瓣的柔润肌理、叶片的明暗层次皆被精微呈现。勾勒线条纤秀柔和，不着笔痕却见风骨。构图舒展疏朗，一花一叶各含生机，毫无拥塞之感，将文人意趣融于写生之中，整卷清新雅致，如将春日烂漫温柔铺陈眼前，观之如沐东风，尽现写生花鸟的雅致意韵。",[23,24,25,98,27,28,29,173,174,100,175,103,99,176,177,178,179,7,101,180,122,161,181,52],"梅","兰","芙蓉","月季","杜鹃","百合","山茶","茉莉","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fcbf65ccf427d0eec788db6bcfcdb78.jpg",[],137,{"id":186,"slug":187,"title":188,"dynasty":44,"author":189,"museum":132,"description":190,"tags":191,"thumbUrl":192,"material":193,"size":194,"collection":71,"collections":195,"showCount":196,"zanCount":38,"manualWeight":38,"mainColor":39},287422,"ke-qi-xian-sheng-hai-tang-shi-yi-tu-zhou-zhu-da-287422","恪齐先生海棠诗意图轴","朱耷","朱耷（1626年—约1705年），原名朱统𨨗，字刃庵，号八大山人、雪个、个山、人屋、道朗等，出家时释名传綮，汉族，江西南昌人 。明末清初画家，中国画一代宗师。",[66,24,25,49,146,29,7,120,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e517c4537b840a0530121a85068caae.jpg","未知","Xcm*Xcm",[],110,{"id":198,"slug":199,"title":200,"dynasty":44,"author":201,"museum":132,"description":202,"tags":203,"thumbUrl":204,"material":71,"size":71,"collection":71,"collections":205,"showCount":206,"zanCount":11,"manualWeight":38,"mainColor":39},234589,"hai-tang-wan-shan-zhang-zhao-xiang-234589","海棠纨扇","张兆祥","张兆祥(1852年-1908年),，画家， 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tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[503,341,504,100,7,505],"衣帽","缂丝","福寿纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42da3f2fe488e4365a7e241176f1bb04.jpg",[],8,{"id":510,"slug":511,"title":512,"dynasty":44,"author":63,"museum":132,"description":513,"tags":514,"thumbUrl":516,"material":193,"size":194,"collection":71,"collections":517,"showCount":508,"zanCount":38,"manualWeight":38,"mainColor":75},263920,"yue-bai-se-gui-bei-mu-dan-hai-tang-wen-zhi-jin-duan-yi-ming-263920","月白色龟背牡丹海棠纹织金缎","以龟背纹为骨格，四方铺陈牡丹与海棠纹样。织金纱线晕染出浅淡鎏光，月白底色柔润雅致，晕开沉静古意。花叶饱满舒展，在规整的骨架中尽显生机，齐整排布却不显板滞，将法度与雅致相融。浅金与月白交织出温润的质感，带着内敛华贵的气韵，暗合福寿绵长、富贵满堂的美好祈愿，是实用与审美兼具的织绣佳构。",[341,445,515,100,7],"龟背纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcceb14908d5462e7db13772fef785db2.jpg",[],{"id":519,"slug":520,"title":521,"dynasty":18,"author":63,"museum":132,"description":522,"tags":523,"thumbUrl":524,"material":193,"size":194,"collection":71,"collections":525,"showCount":508,"zanCount":11,"manualWeight":38,"mainColor":75},238122,"hua-hui-si-duan-tu-juan-yi-ming-238122","花卉四段图卷","四段花木各显风姿：首段梅枝老干虬曲，冷白小花疏落绽于枝梢，清寒疏朗，尽现孤洁傲骨。芙蓉一段柔枝舒展，粉艳花团轻缀其间，碧叶晕染出鲜活肌理，秾丽又带着温柔生机。素花柔枝一则，莹白花朵配温润绿叶，明媚恬淡如春日浅光。末段小花攒聚枝上，粉瓣娇俏灵动，带着融融春意。\n\n全卷以没骨法绘就，纯以色泽晕染成型，清隽柔和的色彩间，将四时花木的各自风骨与舒展柔婉尽数绘出，藏着雅致审美，淡色轻晕里晕开静谧生趣。",[23,66,24,25,98,27,28,29,173,175,7,103,306,30,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0728e825826d5c3185aac75a84ab3440.jpg",[],{"id":527,"slug":528,"title":529,"dynasty":44,"author":530,"museum":81,"description":531,"tags":532,"thumbUrl":533,"material":71,"size":71,"collection":34,"collections":534,"showCount":508,"zanCount":38,"manualWeight":38,"mainColor":535},201635,"hai-tang-yu-lan-tu-zhou-xi-gang-201635","海棠玉兰图轴","奚岡","玉兰皎洁似雪，海棠娇妍带露，枝桠苍劲交错，叶片润泽含翠。用笔灵动传神，线条勾勒精准，淡设色晕染雅致，将花木的绰约风姿与盎然生机娓娓道来。花枝间流露的清雅意趣，如春风拂面，沁人心脾，尽显文人画特有的闲适与脱俗。整幅作品格调温婉，意境悠远，藏着画家对自然生灵的细腻观察与笔墨匠心。",[29,28,27,7,293,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16f280d2f9feed690ecd925a1cc8eeca.jpg",[34],"bfbaaf",{"id":537,"slug":538,"title":539,"dynasty":44,"author":63,"museum":132,"description":540,"tags":541,"thumbUrl":543,"material":193,"size":194,"collection":71,"collections":544,"showCount":545,"zanCount":38,"manualWeight":38,"mainColor":39},264453,"jiang-se-duan-xiu-ji-mi-zhu-yu-lan-hai-tang-wen-pao-liao-yi-ming-264453","绛色缎绣缉米珠玉兰海棠纹袍料","绣法是以绣线横排，故名。如，特点是整齐、均匀，圆润；在绣叶瓣时，在中间分开，运用斜针成倒人字形；也有绣成中间针迹相交叠的形式；也可绣成中间作一钉线的绣法。排绣针法富有变化，刺绣出的花瓣、叶瓣得体逼真，用途较广。",[341,431,542,29,293,7,503,407],"缉米珠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45b207a2129d18f14c76fbe2f8e77b69.jpg",[],7,{"id":547,"slug":548,"title":549,"dynasty":44,"author":63,"museum":132,"description":550,"tags":551,"thumbUrl":557,"material":193,"size":194,"collection":71,"collections":558,"showCount":111,"zanCount":38,"manualWeight":38,"mainColor":483},270497,"bi-xi-hai-tang-jing-qia-si-fa-lang-qian-yu-bi-ping-yi-ming-270497","碧玺海棠景掐丝珐琅嵌玉壁瓶","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。",[552,433,553,554,7,555,556,122],"珐琅器","掐丝珐琅","嵌玉","壁瓶","盆景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf4fedc2ce96c541729f69082461a108.jpg",[],{"id":560,"slug":561,"title":562,"dynasty":44,"author":63,"museum":132,"description":563,"tags":564,"thumbUrl":567,"material":193,"size":194,"collection":71,"collections":568,"showCount":89,"zanCount":38,"manualWeight":38,"mainColor":39},266239,"xue-hui-se-duan-xiu-hai-tang-die-wen-jia-chen-yi-yi-ming-266239","雪灰色缎绣海棠蝶纹夹衬衣","清王朝时段推行剃发易服，顺治九年（1652），钦定《服色肩舆条例》颁行，从此废除了明朝的冠冕、礼服以及汉族的一切服饰，但满族服饰同时吸收了明朝服饰的纹理图案。明代男子一律蓄发挽髻，着宽松衣，穿长统袜、浅面鞋；清时则剃发留辫，辫垂脑后，穿瘦削的马蹄袖箭衣、紧袜、深统靴。但官民服饰一律泾渭分明。 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