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。\n画中描写了六位衣着艳丽的贵族妇女及其侍女于春夏之交赏花游园。\n画作不设背景，以工笔重彩绘仕女五人，女侍一人，另有小狗、白鹤及辛夷花点缀其间。\n全图六个人物的主次、远近安排巧妙，景物衬托少而精。\n两只小狗、一只白鹤、一株辛黄花使原本显得孤立的人物产生了左右呼应、前后联系的关系。\n半罩半露的透明织衫，使人物形象显得丰腴而华贵。\n而用笔和线条却细劲有神，流动多姿。\n浓丽的设色，头发的钩染、面部的晕色、衣着的装饰，都极尽工巧之能事，较好地表现了贵族妇女的细腻柔嫩的肌肤和丝织物的纹饰。\n《簪花仕女图》是 贵族人物画风格的代表。\n同时也体现出贵族仕女养尊处优、无所事事、游戏于花蝶鹤犬之间的生活情态。\n画面左端开始婷婷而立的髻插芍药花的贵族仕女，浅紫色的纱衫上，有以四个斜角田宇为一组的菱纹。\n白地帔子绘有彩色云鹤，从肩后身向前胸下垂。\n她右手举着刚捕捉的蝴蝶，左手提起帔子，使它成为垂直。\n她上身往前微倾，以迎接向她跑来的小狗。\n画面左起第二位妇女身材娇小，神情庄重，身着朱红披风，外套紫色纱罩，从远处巧移莲步而来。\n发髻上插海棠花，脖子饰金质云纹项圈。\n白裙上的紫色团花，从纱衫的下面透出，显得十分艳丽。\n破子从后肩向两臂平分下垂，双手抓紧薄纱，掩着帔子，同时也紧束了宽大的衣服。\n画面左起第三位贵族女人髻插荷花，身披白花格子纱衫，胸前束朱色斜格长裙曳于地而，紫色帔子上有粉和青花枝纹样。\n她右手略向上举，反掌拈红花一枝，左手髻上取下金钗朝着右边移去，目光注视新折下来的花枝，凝神遐思，准备将它插上发髻最显眼的地方。\n在她的面前有一只举足欲行的丹顶鹤，似乎引不起她一点兴趣。\n画面左起第四位侧立着的侍女执长柄团扇，团扇上绘着盛开的牡丹，红花绿叶相衬托，格外亮丽。\n她的妆扮，有异于卷中的其他贵族仕女。\n她也有一头浓密的黑发，梳成两个十字相合的发髻，中间用红缎带把那个髻子束在一起。\n她穿的朱色菱角纹的斜领处露出一部分，白色圈花的纱带，绕过纱衫一圈之后，在腹前打了个结子。\n白色的软底鞋尖，从彩色的衬裙下露出，它的形制不同于其他几位贵族妇女所穿的重台履。\n她的表情安祥却又若有所思，在当时嬉戏场合形成鲜明的对比。\n画面左起第五位仕女，发髻上插的红瓣花枝，纱衫上有深白色的菱形纹样。\n胸下的夹撷长裙曳于地而，紫绿色的团花平均分布在鲜明的朱红的地子之上，显得典雅、富丽；经纱衫掩盖过的部分，颜色相应减退。\n紫色的帔子上，彩绘着云风纹样，往后垂了下去，她轻举右手，用纤细的食指和拇指提起贴在脖肩上的纱衫领子，似有不胜初夏闷热气候的样子。\n她左手从纱衫的侧面伸出，手指向背而嬉戏的小狗打招呼，希望小狗也来给她逗趣。\n画面左侧起最后一位是一个贵族妇女，体态丰硕，发髻高大，上插牡丹花一枝，髻前饰玉步摇，那珍珠在不停地摇晃。\n她头上的髻发和短鬓，茸茸地分披在丰满的额前和耳边，显得青春焕发。\n她圆润的而庞，浮起了淡薄的红晕；瓜子形的黛画短眉，浓淡适宜地斜峙在粉额之前，眉间金色花子的点饰如豆般大小，朱唇小到恰好与整个而庞隐隐相称，她侧身作向右倾斜的姿势，外披紫色纱罩衫，衫上的龟背纹尚隐约可辨。\n朱色的长裙上，画有斜格纹样。\n紫绿色花纹的洁白丝绸衬裙，长过纱衫，拖曳到地而上。\n右手摆向前侧，靠着纱衫；左手执纬子前伸，纬穗的摆动，逗引着小狗作戏，而小狗深通人意，它朝纬穗不停地张嘴摆尾，作出扑跳的姿态。\n在贵族仕女们嬉游处的尽头，树立着一而玲珑石。\n石后有盛开的辛夷花，紫色的花朵，陪衬着少许的绿叶。\n石头下的地上有一丛绿油油的杂草，一起点缀着视野广阔的空间。\n卷无作者款印，亦无历代题跋及观款。\n以后，当代统治阶级为了粉饰太平，提倡所谓“文治”，也正好吻合了当时人民历经战乱、渴望安宁社会的生活的心情，宴游的风气从此大开，奢侈之风成为天宝以后统治者崇尚的对象，到了贞元年间，这种风气就更为突出。\n杜牧当时这样描述：至于贞元末，风流悠绮靡。\n周昉的《簪花仕女图》正是这个时期的典型代表，画家如实的描绘了在奢靡风气支配下的唐代宫廷仕女嬉游生活的典型环境。\n最早著录此卷的是清安岐《 》，认为是唐周昉所绘，其后《石渠宝笈·续编》及《 》皆沿用该观点，俱著录为《周昉仕女图》，然近代研究亦有持异议者。\n1972年，对此图进行重新装裱时，有人发现此图系后拼接而成，较明显者为左数第二个比例较小的仕女为后嵌入，而白鹤与画左小狗亦为剪裁而来，有研究者据此认为其原为屏风画。\n作品创作的时代问题也存在争议。\n学术界主要有三种观点：唐代说、五代南唐说和宋代说。\n唐代说：唐玄宗先天二年（公元71年）八月，太平公主谋反被诛杀，其在积善坊的府邸被没收。\n寿王李瑁与杨玉环大婚前，唐玄宗将太平公主的这处宅园赐给李瑁，成为寿王府。\n上巳节后的一天，长宁公主、咸宜公主等四位贵夫人前来寿王府，杨玉环领她们到花园赏花。\n这时，年轻的宫廷画家周昉奉诏为杨玉环画像，他来到寿王府。\n李瑁将周昉引至花园中，周昉见这五位贵妇人正游玩簪花，就静静地在旁边观察。\n几日后，周昉根据当日的场景，画出了《簪花仕女图》。\n作品从当时社会的现实生活出发，将现实生活中的贵族妇女，画得雍容华贵，画出一种闲适无聊的生活本质，表现出娇、奢、雅、逸的气息和女性柔软、温腻、动人的姿态，赋予作品鲜明的时代感。\n作品渲染的快乐而又略带懒散的情绪和气氛，正是恰当地层示了属于那个时代整个贵族有闲阶级的时代气氛；在表面华丽雍容的物质繁华背后，隐藏着人物内心深深的凄寂和幽怨。\n《簪花仕女图》中作者对人物神态抓得较好，注重挖掘仕女精神上的苦闷和空虚，反映了贵族奢侈生活后面的精神困境。\n其中，有别于其他五位的那个执扇侍女，表情相当安详，默默中若有所思的神情，与其他五位仕女的神态构成了鲜明的对比，这在反映现实的同时，在一定程度上也预示出唐代后期审美意趣由宏丽转向婉约的变化。\n另外，体态动势也是表达人物内心精神的重要因素，如果把动态处理得宜，也可以加强人物精神性格的表现。\n就画中人物的姿态而高，各不相同。\n左起第一位仕女因为有摇头摆尾、深通人意的小狗在其右侧，作为逗引小狗作戏的她，侧身玉立，上身向右倾斜，右手无意识地摆向前侧，左手执拂子向前伸向小狗，接养右侧的是一位婷婷玉立披白色纱衣的仕女，她漫不经心地举养右手，用纤细的食指和拇指提起贴在脖子上的纱衫领子，似有不胜闷热气候的沉重之感。\n她左手从纱衫的侧而伸出，似乎在向背着她作戏的小狗打着招呼。\n接着就是右后方侧立着执长柄团扇的侍女，她闲静自然。\n侍女的右前方也相当于她的左侧之处，是一位持花的仕女，她右手略向上举，反掌拈红花一枝，左手从发髻上取下金钗朝右边移去，似乎要把它插在最引人注意的地方，从远处姗姗而来的是一位身材小巧的仕女，她双手紧操着薄纱，掩着帔子，紧束着宽大的衣服，作向前迈步的姿势。\n最后一位仕女右手举着一只蝴蝶，左手提着帔子，要迎接从后而向她跑过来的小狗，她上身往前微倾，头往右微侧，在丰韵之中又平添了窈窕婀娜之态。\n由此可见，作者在人物姿态的处理上，为避免相同，又不失统一，颇费心思。\n画家在全幅构图中以相等的间隔安排了几位贵族妇女，一段一段地看去，仿佛每个妇女形象从眼前一幕一幕地移动，这种构图的规律，看完了整个场景，仿佛同画面人物一起游完了庭园。\n人物之间似有联系，又似独自悠闲。\n所以《簪花仕女图》的画而完整性并不是依靠空间、时间上的一致性诉诸观者的，它是依靠人与人之间的呼应和所营造的整个闲适和谐的气氛，这样一个独特的形式传达给观者的。\n在画而中，横列的散点视线之内，多半用静穆的姿态分战了适当的位置；又把她们之中的两位妇女安置在距离较远的后方，因之增大了广阔的视野，也就扩展了空间，不至于把观者的视线囿于狭小的画而之中。\n庭园里不藉更多什物作为衬托，但它的趣味并不因此而显得单调和贫乏，反而觉得愈益接近事物的真相。\n这种构图上的独特风格，具有强烈的时代气息。\n除了画面的并序排列外，《簪花仕女图》在人物比例的处理上也出现了一种有趣的现象，观者可以发现画面左起第二个妇女的比例是按照近大远小的原则安排的。\n从她的服饰和仪态来看，她是画家为了扩展观者的视野、开拓空间，而刻意安排在较远的地方，并不是因为身份的关系“近大远小”与按身份安排人物比例两种构图方法同时出现在一张画面上的。\n《簪花仕女图》画面上独到之处是精致细腻的画笔，作者以线造型，成功地描绘了妇女身上轻柔透亮的薄纱披肩，以及薄纱下隐约可见的手臂，并自始至终毫无变化地使用定型的线描，对仕女面部和手的描制，下笔稳重准确，力求匀称，衣裙图案花纹的用笔，信笔而成，转折处若断若续，似规整但又非常流动，使通常流于对称刻版的图案，重新赋予了灵巧而生动的活力。\n至于仕女的髻发和鬓丝，精细过于毫毛，根根可数，笔笔有飞动之感。\n对人物画的手部刻画，甚是到位。\n《簪花仕女图》中的贵族仕女袒胸露臂，双手毫无遮蔽，描绘起来，实非易事。\n作者用简洁遒劲的线条，准确地表现了各种不同的手势，骨法用笔的线条对作品产生了决定性的意义。\n《簪花仕女图》的线条达到了“骨法用笔”的高度统一，使之成为独立的存在，支配着整幅画的灵魂。\n《簪花仕女图》在赋彩的技巧上，恰当地运用了复杂的色调，重复中不觉得单调。\n紫色纱衫的一再出现，即是一个突出的例子。\n紫色与花青一并涂施，历有“青间紫，不如死”之说，而此图作者对其运用，似乎不受限制和约束。\n在紫色桩上有两处用花青勾画纹样，反而觉得十分典雅，正是作者在克服色彩运用矛盾的独到之处。\n从色彩的搭配到赋彩的层次，画家用纯净透明的白色穿插在各种色彩之中，使黑、白和许多明丽的色彩相互衬托又相互制约，形成了沉着和明快相结合的矛盾统一。\n赋彩上的层次清晰，分开丝绸间的叠压关系，使之有空气流动之感。\n纱衫笼罩下的肌肤和衣裙就如一层薄雾所掩盖，因而原来的肌肤和衣裙随之改变了颜色，但它却不因此而使人离开肌肤和衣裙原有色调的联想力。\n如此，各种颜色所涂成纱衫的质感，更深刻地映入观者的脑海里。\n《簪花仕女图》是全世界范围内唯一认定的唐代仕女画传世孤本。\n除了唯一性之外，其作品的艺术价值也很高，是典型的唐代仕女画标本型作品，是能代表唐代 风格的绘画作品。\n《簪花仕女图》这种仕女画风格在当时画坛上颇为流行，极大地影响了唐末乃至以后各朝代的仕女画坛和佛教艺术 。\n该作展现了极为浓郁的时代特色和民族气息，是中国传统绘画史上非常重要的一部作品。\n1984年月，中国邮电部特别发行《簪花仕女图》特种邮票和小型张。\n此卷曾经南宋内府收藏，南宋末归 所有，元、明间流传无考，清初为梁清标、安岐收藏，后入清内府。\n1924年，末代皇帝溥仪出宫，但在此前，他用了一年时间整理了1余件举世罕见的书画作品。\n在溥仪逊位前，溥仪便以“恩赐”名义，将内府所藏珍贵字画赏赐给其弟 、溥佳，让他们利用每日下学出宫机会，用黄绫包袱将书画带出，《簪花仕女图》就在其中。\n盗运出宫的书画起初存放在醇王府内。\n1925年，在 人协助下，这批书画被运抵天津，随溥仪先后在日租界内的张园、静园收藏。\n194年，溥仪到长春做了 皇帝，这批书画被运至当时的长春伪皇宫小白楼内。\n“小白楼”是一幢二层日式钢筋水泥楼，是日本人为溥仪修的保存善本图书及古玩字画的库房，内存藏品总数约1件，对外名曰“图书馆”。\n1945年8月，日本宣布战败投降前，日本关东军准备将伪满洲国迁到通化。\n8月17日，溥仪乘飞机企图逃往日本时，被 俘获，其携带的一部分书画和珠宝由苏联红军查扣，并转交 ，几经辗转后，《簪花仕女图》藏于辽宁省博物馆。\n217年7月，辽宁省博物馆举办《艺术·生活——辽宁省博物馆研发文创作品展》，展出镇馆之宝《簪花仕女图》。\n219年1月7日至22年1月5日，该作品在辽宁省博物馆将举办大型文物特色展览“又见大唐”中展出。\n22年9月28日，厦门海丝艺术品中心推出“复现——荣宝斋木版水印中秋特展非遗交互体验展”，展出木版水印作品《簪花仕女图》。\n周昉，生卒年不详，唐代画家，字仲朗，一字景玄，京兆（今陕西省西安市）人。\n出身于仕宦之家，曾官越州长史、宣州长史别驾。\n好属文，穷丹青之妙，擅画肖像、尤工仕女，初学张萱而加以写生变化，多写贵族妇女，所作悠游闲适，容貌丰腴，衣着华丽，用笔劲简，色彩柔艳，为当时宫廷、士大夫所重，称绝一时。",[23,24,25,26,27,7,28,29,30,31,32],"高清","国画","工笔","设色","美人","狗","花","衣帽","饰品","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94df61ee873fdda8506e777d2dd87070.jpg","绢本","纵46厘米，横180厘米","人物画精选",[36,38],"设色画精选",15398,116,0,"795548",{"id":44,"slug":45,"title":46,"dynasty":47,"author":48,"museum":49,"description":50,"tags":51,"thumbUrl":61,"material":62,"size":63,"collection":64,"collections":65,"showCount":66,"zanCount":67,"manualWeight":41,"mainColor":42},214520,"bai-niao-chao-feng-tu-shen-quan-214520","百鸟朝凤图","清","沈铨","藏地不详","这幅画卷展现了四季变化的景象，近300只禽鸟，百余棵树，四季花开；百鸟聚于天，百花开于地，展现了一个详和的世界。以其绚丽的色彩和宏伟的气势成为国宝。",[23,52,24,53,25,26,54,55,56,57,7,58,59,60],"名画","长卷","飞鸟","树","石","花草","孔雀","凤凰","花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F215a89f195a9b633e6a40c7f1827f807.jpg","绢本,设色","45x1600","花鸟画精选",[64],3111,27,{"id":69,"slug":70,"title":71,"dynasty":72,"author":73,"museum":74,"description":75,"tags":76,"thumbUrl":81,"material":62,"size":82,"collection":64,"collections":83,"showCount":84,"zanCount":85,"manualWeight":41,"mainColor":42},219012,"bai-he-tu-yi-mi-fei-219012","白鹤图(一)","宋","米芾","大英博物馆","画中仙鹤身姿卓然，长颈引向云端，喙尖轻启似欲鸣。白羽如霜，纹理细若鳞次；黑尾如墨，羽梢微扬带风致。修长鹤腿立于浅草间，与几丛翠竹叶相映成趣。右上角圆月朦胧，棕褐绢底衬得画面清寂雅致。笔墨间藏着文人的疏淡意趣，每一处细节都透着对自然生灵的细腻体察，仿佛能闻见竹林间的清风，看见月光下仙鹤独立的悠然之态，尽显古典绘画的空灵韵致。",[23,52,24,77,78,25,26,60,7,79,80],"书画","立轴","竹","月亮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75d2711fede74296897913b73c08612b.jpg","132.5x61.5cm",[64,38],1575,17,{"id":87,"slug":88,"title":89,"dynasty":90,"author":91,"museum":92,"description":93,"tags":94,"thumbUrl":98,"material":99,"size":100,"collection":101,"collections":102,"showCount":103,"zanCount":104,"manualWeight":41,"mainColor":42},222322,"song-he-yan-nian-tu-tong-kai-222322","松鹤延年图","明","童垲","安徽省博物馆","此幅《松鹤延年图》寓意大吉，特别符合中国人对于吉祥、长寿的美好祈盼。画面中古树苍翠，松树蜿蜒摇曳；两只丹顶鹤身形高挑飘逸，如仙境来客一般；松树下开满吉祥的花朵，一派吉祥和谐的画意盎然纸上。",[23,24,77,52,78,25,26,60,95,7,96,97],"松","山石","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2b8b639eb9444922ba6b202fd5837fa.jpg","绢本，设色画","97.2CM*201.8","山水画精选",[101,38],884,8,{"id":106,"slug":107,"title":108,"dynasty":47,"author":48,"museum":109,"description":110,"tags":111,"thumbUrl":114,"material":115,"size":116,"collection":64,"collections":117,"showCount":118,"zanCount":119,"manualWeight":41,"mainColor":120},223161,"song-mei-shuang-he-tu-shen-quan-223161","松梅双鹤图","北京故宫博物院","此画为作者晚年之作，笔触细致工整，造型生动准确，技法出自明代而又极具个人风格，笔墨工致，敷色浓艳，注重渲染，形象逼真，富有立体感。劲健、流畅的线条，细密的局部勾画，完美的画面构图，令人难以看出此乃年已古稀之人的手笔。\n将工笔、写意、兼工带写、重彩、淡彩、没骨、水墨、白描、勾勒填彩、钩花点叶等绘画技法在写生中灵活运用并加以发展，既重形似，又重神似。",[23,24,77,25,26,60,95,112,7,79,96,113],"梅","红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc931c0442a93ab3c28aef5baea6bb17.jpg","绢本设色","191cm×98.cm",[64],633,11,"BDBDBD",{"id":122,"slug":123,"title":124,"dynasty":125,"author":126,"museum":49,"description":127,"tags":128,"thumbUrl":136,"material":137,"size":137,"collection":138,"collections":139,"showCount":140,"zanCount":141,"manualWeight":41,"mainColor":142},242603,"lian-he-fang-hu-yi-ming-242603","莲鹤方壶","周","佚名","它以舒展莲瓣承托振翅仙鹤，仙禽昂首翘立，似要破风而去，挣脱上古礼器沉郁肃穆的桎梏。器身满布蟠螭纹饰，狞厉古拙的遗风凝于苍绿铜色，灵动透雕的附饰蜿蜒盘绕，与方正厚重的器体形成强烈反差。静穆的青铜肌理里藏着跃动的鲜活生气，将礼器的神性威严与新生的浪漫生机糅合无间，古雅厚重中萌发着挣脱束缚的蓬勃生命力，是青铜艺术风格转向的标志性臻品。",[129,130,131,7,132,133,134,135],"青铜器","铜制","雕刻","莲","龙","兽","礼器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faed60d3ad3906a73ffa84e0773805477.jpg","","青铜器精选",[138],517,7,"37474F",{"id":144,"slug":145,"title":146,"dynasty":47,"author":147,"museum":148,"description":149,"tags":150,"thumbUrl":155,"material":115,"size":156,"collection":64,"collections":157,"showCount":158,"zanCount":159,"manualWeight":41,"mainColor":160},222780,"hua-yin-shuang-he-tu-zhou-lang-shi-ning-222780","花阴双鹤图轴","郎世宁","台北故宫博物院","此图是郎世宁花鸟画的代表作。画面描绘一对绚丽丰润的仙鹤，和两只小鹤。一只仙鹤阔步行走回首下顾，注视着满身细毛茸茸的小鹤；另一只仙鹤转颈整理羽毛，一脚举起，神态安详。他吸收并采用中国画的传统技法，糅合中西画法进行创作。是二百年前外来文化“中国化”的尝试，是别具一格的杰作。",[23,78,25,26,60,7,151,152,153,154],"月季","孤石","植物","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32c3aa01f28ae73498d5f6eecf70dfd2.jpg","170.7厘米×93.1厘米.",[64,38],495,6,"F48FB1",{"id":162,"slug":163,"title":164,"dynasty":47,"author":165,"museum":148,"description":166,"tags":167,"thumbUrl":176,"material":177,"size":178,"collection":36,"collections":179,"showCount":180,"zanCount":181,"manualWeight":41,"mainColor":120},218296,"mo-song-ren-wen-hui-tu-yao-wen-han-218296","摹宋人文会图","姚文瀚","唐太宗为秦王时，府中蓄有十八谋士，登基后，特命阎立本画十八学士图，宋以后常以文人雅集的方式呈现。姚文瀚此卷绘于乾隆十七年，上有嵇璜楷书〈十八学士赞〉，与院藏〈刘松年唐十八学士图〉构图相同，设色明净秀丽，用笔精细挺劲，人物开面略施阴影，具立体感，对各类家具器物的细节描绘考究。姚文瀚（生于西元一七一三－卒年不详），北京人。号濯亭。乾隆时供奉内廷，工佛道人物。",[24,53,168,25,26,169,170,171,95,7,172,173,174,175],"临摹","人物","文人雅集","孩童","书房","文房四宝","家具","楷书","https:\u002F\u002Foss.chuang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(1577-1654) 與德川幕府建立的關係，成為後繼者狩野孝信取得德川家支持參與名古屋城本丸御殿製作的基礎。",[23,24,487,60,25,26,95,448,488,7,489,58,54,232,435,57],"屏风","芙蓉","鹰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F066d6aadc5c3af2e9023ff46f3b095ba.jpg","未知","Xcm*Xcm",[],87,{"id":496,"slug":497,"title":253,"dynasty":90,"author":202,"museum":109,"description":498,"tags":499,"thumbUrl":501,"material":62,"size":502,"collection":64,"collections":503,"showCount":494,"zanCount":41,"manualWeight":41,"mainColor":42},218768,"zhu-he-shuang-qing-tu-bian-wen-jin-218768","画面描绘两只仙鹤悠然漫步于竹林之中。此图为边景昭与王绂二人合作，边景昭画鹤，王绂画竹。边景昭是明代宫廷花鸟画家的代表人物，其画风继承了宋代“院体”工整富丽的风格，并在一定程度上吸收了文人画的特点。王绂是明代前期的画竹名家，他的墨竹延续了北宋文同等人的传统，在竹画的历史上有着承前启后的重要作用。本幅作品中边景昭所画的仙鹤造型优美，气度娴雅，笔墨简放，工细而不拘谨，着色淡雅，与王绂清润秀挺的墨竹格调统一，作品给人以清新出尘之感，是职业画家与文人画家配合默契的成功之作。",[23,52,24,77,78,25,270,26,79,7,500,60,368,369,154],"石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19caa71e4d00fa1e7d41bf8d984b1d86.jpg","纵109厘米，横44.6厘米",[64],{"id":505,"slug":506,"title":507,"dynasty":72,"author":508,"museum":148,"description":509,"tags":510,"thumbUrl":514,"material":515,"size":137,"collection":358,"collections":516,"showCount":494,"zanCount":239,"manualWeight":41,"mainColor":120},218687,"qing-quan-ming-he-tu-ma-he-zhi-218687","清泉鸣鹤图","马和之","淡墨晕染的山峦在云雾中若隐若现，似远似近间透出空濛之趣。岸侧虬枝盘曲，老干新枝交织，墨色浓淡相衬，尽显草木生机。清泉自石间潺潺而下，漱玉之声仿佛可闻。几只仙鹤或立汀洲，或振翅轻翔，羽翅线条流畅如兰叶，姿态灵动逸脱。鹤鸣与泉声相和，在幽寂的山水间漾开清旷之韵。整幅画笔墨简淡却意韵深浓，山石皴法疏朗，构图疏密有致，将自然的静谧与生命的灵动融于一纸，尽显宋人对林泉之乐的诗意追寻，读之令人心向澄明。",[23,24,270,232,54,7,511,191,190,96,512,231,513,77,53],"清泉","云雾","宋画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F666423ffde0f0389cb0fa868b5cac17a.jpg","绢本,水墨",[358],{"id":518,"slug":519,"title":520,"dynasty":90,"author":126,"museum":521,"description":522,"tags":523,"thumbUrl":526,"material":62,"size":527,"collection":101,"collections":528,"showCount":529,"zanCount":41,"manualWeight":41,"mainColor":42},217911,"shan-zhuang-guan-he-tu-yi-ming-217911","山庄观鹤图","费城艺术博物馆","山庄观鹤图是明朝时期的一幅名画，作者是佚名画家。这幅画描绘了一座山庄，山庄周围群山环抱，绿树成荫，空气清新。在山庄的前院，有一只鹤正在观赏花草，显得十分和善。这幅画浓烈的山水意境，深刻地表现出了古人对自然界的敬畏和虔诚，同时也展现了明朝画家独特的画风和技巧。",[24,78,26,232,231,169,524,525,191,300,190,96,7],"亭","小桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2fad8a02e60f7dc3edd0d39a2250f75.jpg","195.5x99cm",[101],76,{"id":531,"slug":532,"title":533,"dynasty":90,"author":126,"museum":49,"description":534,"tags":535,"thumbUrl":539,"material":137,"size":137,"collection":137,"collections":540,"showCount":541,"zanCount":239,"manualWeight":41,"mainColor":42},232909,"fang-xu-xi-hua-niao-tu-juan-yi-ming-232909","仿徐熙花鸟图卷","徐熙，鍾陵（今進賢西北）人，生卒年不詳，出身世家，「世為江南顯族」。但一生沒有出仕做官，因此後世稱他為「江南布衣」或「南唐處士」。他的藝術成就，集中體現在不同凡響的落墨花鳥畫創作方面。在當時，這種畫的畫法不同於一般傳統的技法，而是大膽創新。它的出現，曾引發了一些遵從傳統技法的畫家的震驚和敵視。\n中國花鳥畫成為獨立的藝術，比人物畫、山水畫稍晚，唐代雖然出現了不少名家，但直到五代南唐徐熙和西蜀黃荃兩家的出現，花鳥畫壇才放出了異彩。\n徐熙、黃荃都是中國繪畫史上影響深遠的大畫家，但繪畫風格不同，宋代流行一句話：「黃荃富貴，徐熙野逸」。王安石盛讚徐熙的畫名滿江南，成就卓著。劉道醇的《聖朝名畫評》將徐熙的作品列為「花竹翎毛門」的神品第一名，認為他「與造化之功不甚遠，宜乎為天下冠也」。\n眼光獨特的北宋書畫大家米芾認為徐熙的畫法富於變化，不為常規所有，用普通的追求形色相似的臨摹方法無法描摹、激賞其藝術上的獨創價值。\n徐熙是一位多產的畫家，宋《宣和畫譜》所載藏於御府的畫目中，徐熙的畫有249種。流傳於世間的重要作品有《寒蘆野鴨》《花竹雜禽》《魚蟹草蟲》《雪竹圖》《百鳥圖卷》等，因其開創了中國寫意花鳥畫的先河，時稱「江南花鳥，始於徐家」。",[23,24,77,53,26,25,168,368,60,54,58,7,190,96,57,536,537,538],"日","荷花","鸟类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90011eff47e64f1294d5d515d140a732.jpg",[],73,{"id":543,"slug":544,"title":545,"dynasty":47,"author":126,"museum":49,"description":546,"tags":547,"thumbUrl":552,"material":491,"size":492,"collection":137,"collections":553,"showCount":554,"zanCount":277,"manualWeight":41,"mainColor":42},281507,"dong-yang-duan-xiu-song-he-bi-yi-yi-ming-281507","东洋缎绣松鹤壁衣","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。 清朝是以满族统治者为主的政权机构，满族八旗服饰随朝代的变更冲进关内。旗人的风俗习惯影响着广大的中原地区。从公服开始逐渐推向常服。",[548,549,7,550,272,60,30,551],"刺绣","缎绣","鸢尾花","织物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7f04495b67bba5e42cdac956fecd321.jpg",[],71,{"id":556,"slug":557,"title":558,"dynasty":47,"author":559,"museum":214,"description":560,"tags":561,"thumbUrl":563,"material":475,"size":564,"collection":137,"collections":565,"showCount":554,"zanCount":41,"manualWeight":41,"mainColor":120},233738,"he-ju-tu-xu-gu-233738","鹤菊图","虚谷","虚谷（1823～1896），清代著名画家，海上四大家之一，有“晚清画苑第一家”之誉。",[24,77,78,270,26,60,271,7,562,500],"菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bd2764d2a4771380b4af360eaf65809.jpg","143x39cm",[],{"id":567,"slug":568,"title":569,"dynasty":72,"author":570,"museum":49,"description":571,"tags":572,"thumbUrl":574,"material":491,"size":492,"collection":137,"collections":575,"showCount":576,"zanCount":41,"manualWeight":41,"mainColor":42},288519,"du-he-tu-zhao-ji-288519","独鹤图","赵佶","宋徽宗赵佶（1082年11月2日-1135年6月4日）[6]，号宣和主人，宋朝第八位皇帝（1100年2月23日-1126年1月18日在位），书画家。宋神宗第十一子、宋哲宗之弟。先后被封为遂宁王、端王。哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”，并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[24,60,25,7,26,368,154,573],"孤高","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc62691d2740456475597b024d6913e80.jpg",[],70,{"id":578,"slug":579,"title":580,"dynasty":254,"author":581,"museum":148,"description":582,"tags":583,"thumbUrl":586,"material":356,"size":587,"collection":588,"collections":589,"showCount":590,"zanCount":41,"manualWeight":41,"mainColor":120},214220,"tang-ren-jue-ju-zhang-yu-214220","唐人绝句","张雨","唐人绝句是中国唐朝时期的一种诗歌形式，由四句组成，每句都为五言绝句，即五个字的绝句。张雨是中国唐朝时期的一位诗人。元是中国历史上的一个朝代，公元1279年至1368年，为元朝。",[23,24,77,78,368,369,270,584,95,79,585,7],"明月","水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9414780fa78d6d95b33d5b8a267d6ef.jpg","154.3x34.3","书法精选",[588],68,{"id":592,"slug":593,"title":594,"dynasty":47,"author":595,"museum":49,"description":596,"tags":597,"thumbUrl":601,"material":137,"size":137,"collection":101,"collections":602,"showCount":603,"zanCount":41,"manualWeight":41,"mainColor":42},238196,"he-lu-tong-chun-tu-juan-gao-qi-pei-238196","鹤鹿同春图卷","高其佩","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。\n康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。\n高其佩“扬州八怪李鱓”之师。其艺术才华出众，能诗、工画，他在细绢上所描绘的亭台楼阁、人物、花鸟、鱼虫等等，笔墨精细，设色艳丽，精妙绝伦。他在临摹了大量的前代名人作品，打下了深厚的根基之后，开创了一条新路。大胆地创造出了别具情趣的“舍笔而求之于手”的表现技法。秀水张浦山著的《国朝画征录》中记载：“高且园善指画，画人、山水花鸟、鱼虫、鸟兽，天资超迈，情奇逸趣，信手而得，四方重之”。高其佩指画有“叱石成羊”之妙，他创作山水、人物、花鸟、走兽时，均信手一挥而就，“倾刻数十幅，……无不绝人。”他一生的作画数量是惊人的。正如他侄孙高秉在《指头画说》一文中所述：“自弱冠至七旬，不下五、六万幅”。可惜其大部分早已失传。保存下来的多藏于各地博物馆，铁岭县文化馆过去曾存有春、夏、秋、冬四幅《竹》。上海出版社出版的《高其佩》（杨仁恺著）一书，对他的生活和创作道路做了详细的论述，指出他的最大贡献是：“标题材之新，立结构之异，对当时和后来绘画艺术都有一定影响。”",[23,24,53,26,232,231,54,525,191,598,524,96,434,190,7,599,600],"孤舟","鹿","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bd6322b4c7fb2b01aa3471df812ebcc.jpg",[101,38],66,{"id":605,"slug":606,"title":607,"dynasty":72,"author":266,"museum":49,"description":608,"tags":609,"thumbUrl":613,"material":491,"size":492,"collection":137,"collections":614,"showCount":615,"zanCount":239,"manualWeight":41,"mainColor":42},289610,"da-de-si-san-zhou-mu-xi-289610","大德寺三轴","牧溪，俗姓李，佛名法常，号牧溪，四川人，大概时间为宋末元初，具体生卒年月不祥，但有资料记载牧溪于公元1281年逝世。代表作品有《老子图》《松猿图》《远浦归帆图》《潇湘八景图》。",[24,270,610,169,611,7,612],"宗教","猴","枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefe99cf51b9466552ce92335fe26fb02.jpg",[],63,{"id":617,"slug":618,"title":619,"dynasty":90,"author":620,"museum":148,"description":621,"tags":622,"thumbUrl":623,"material":270,"size":137,"collection":36,"collections":624,"showCount":625,"zanCount":41,"manualWeight":41,"mainColor":120},219509,"xian-zong-lv-he-tu-wu-wei-219509","仙踪侣鹤图","吴伟","吴伟（1459-1508）明代著名画家。字次翁，又字士英、鲁夫、号小仙。江夏（今湖北武汉）人，流寓金陵。画院待诏。孝宗时授锦衣卫百户及赐“画状元”的图章。他自幼收养于钱昕家，伴其子读书，行有窃弄笔墨的机会。年二十后至金陵，书画之名已渐起，画法与戴进相似。精山水，落笔健壮，最长于白描人物。时与杜堇、沈周、郭翊齐名。用笔奔放，画时泼墨如云，旁观者骇，巨细曲折，各有条理，人皆为之叹服。传其画法的有蒋嵩、张路、宋臣、蒋贵、宋澄春、王仪等，被称为“江夏派”。代表作品有：《采芝图》、《仙踪侣鹤图》、《芝仙图》、《溪山渔艇图》以及白描《人物图》、《神仙图》等。",[24,270,169,7,271,78,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feda2e7992cbb8a068d0f82e6784bf8ce.jpg",[36],59,{"id":627,"slug":628,"title":629,"dynasty":90,"author":630,"museum":74,"description":631,"tags":632,"thumbUrl":637,"material":62,"size":638,"collection":101,"collections":639,"showCount":640,"zanCount":41,"manualWeight":41,"mainColor":42},219739,"xue-xi-zai-he-tu-lan-ying-219739","雪溪载鹤图","蓝瑛","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多",[23,24,77,232,26,231,633,384,598,7,190,96,634,635,636],"雪","茅屋","雪景","山峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c18c1ed7f1b694637bbfe4ff1320c4.jpg","纵75.6横36.5厘米",[101],53,{"id":642,"slug":643,"title":644,"dynasty":90,"author":645,"museum":49,"description":646,"tags":647,"thumbUrl":648,"material":491,"size":492,"collection":137,"collections":649,"showCount":650,"zanCount":41,"manualWeight":41,"mainColor":42},289888,"wang-fu-zhu-he-shuang-qing-tu-zhou-bian-jing-zhao-289888","王绂竹鹤双清图轴","边景昭","边景昭，字文进，明代画家。陇西（今甘肃陇西）人，生卒年不详。边景昭的花鸟画以工笔重彩法见长，传统渊源无疑来自宋代“院体”，如清方薰《山静居画论》评：“边鸾（应作边景昭）、吕纪、林良、戴进，纯以宋院题为法，精工毫素、魄力甚伟，黄（笙）、赵（昌）、崔（白）、徐（熙）之作，犹可想见。”明李开先《中麓画品》更具体的指出：“边景昭其源出于李安忠。”清顾复《平生壮观》记边氏《聚禽图》时也指出：“得黄要叔父子遗意。”黄要叔父子即北宋初黄筌及其子黄居采，所创工笔重彩花鸟画风，成为宋初“院体”标准体制.\n李安忠是宣和朝画院画家，花鸟亦善然而出，边氏出生地的福建，又沿续着南宋院画风格和元代边武、张舜咨传至闽地的文人水墨花鸟画风，趋于粗简劲健，故边氏也受到一定影响。其成熟的花鸟画法即粗细相兼，妍雅并重。花鸟主体勾勒设色，工细妍丽，树石北京水墨皴染，简劲清雅，在工致华美中透出雍容浑朴气象，遂自成一格，开创了明代“院体”花鸟新风。",[24,78,60,270,79,7,368,154,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e16c83ba939e92b50a0d66ced3a9ca.jpg",[],52,{"id":652,"slug":653,"title":654,"dynasty":47,"author":147,"museum":49,"description":655,"tags":656,"thumbUrl":658,"material":137,"size":137,"collection":137,"collections":659,"showCount":660,"zanCount":41,"manualWeight":41,"mainColor":120},230207,"hong-li-guan-he-fu-qin-tu-zhou-lang-shi-ning-230207","弘历观荷抚琴图轴","《弘历观荷抚琴图轴》是 的一幅画。\n本幅无作者款识。\n随着明末清初的“西学东渐”之风，一些欧洲画家开始在清代宫廷供奉。\n一方面，他们接受中国传统绘画方式，采用中国笔墨颜料和纸绢作画，另一方面，他们依然坚持西洋绘画技法中的透视原则，在作品中着意表现物体的体积、质感、明暗、投影乃至倒影。\n此幅虽未署作者名款，实由意大利画家郎世宁主绘，中国画家补画山水背景。\n画中乾隆皇帝身着汉装，临湖抚琴，远处高山流水，喻其襟怀心境。\n作者不仅通过高超的技巧和精准的透视画法成功地表现出水边亭台的立体感和通透感，而且将建筑整体复杂的结构和各个构件的细部都交代得一清二楚，细腻的笔触与富于变化的色彩将原木立柱和屋顶青石瓦片的肌理与质感描绘得精微而生动。\n从此图中可以看到郎世宁运用焦点透视手法，按照一定的规律将所见到的屋宇移于画幅，成功地在二维平面画幅上真实地表现出多维空间，与传统中国界画描绘空间的手法完全不同。",[23,78,26,25,232,169,524,537,95,7,657,56,54],"乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd20e9e842214efa4753ba1dbdbe1e410.jpg",[],47,{"id":662,"slug":663,"title":664,"dynasty":72,"author":665,"museum":666,"description":667,"tags":668,"thumbUrl":669,"material":137,"size":670,"collection":36,"collections":671,"showCount":660,"zanCount":239,"manualWeight":41,"mainColor":42},221181,"lin-he-jing-gu-shan-tu-ma-lin-221181","林和靖孤山图","马麟","日本京都国立博物馆","《林和靖孤山圖》人物採用簡筆法，衣紋用典型的「勾描線法」，「釘頭鼠尾描法」，線條利索、連綿、無斷筆。而《靜聽松風圖》人物線描線除了用「釘頭鼠尾描法」外，更多的是用「鐵線描」法，線條更複雜些，也更爲剛勁和挺拔，但是有斷筆，而且輪廓線內沿衣褶處用鉛白加以渲染。",[23,24,352,26,25,169,7,584,112,232,302],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7257e7e52d338491b7b4a52f5b2b7d7f.jpg","24.5×38.6cm",[36,38],{"id":673,"slug":674,"title":675,"dynasty":72,"author":676,"museum":109,"description":677,"tags":678,"thumbUrl":680,"material":177,"size":681,"collection":36,"collections":682,"showCount":683,"zanCount":41,"manualWeight":41,"mainColor":120},219623,"xi-hu-yin-qu-tu-qian-xuan-219623","西湖吟趣图","钱选","钱选（1239—1299），宋末元初时期的遗民画家，字舜举，号玉潭，晚年更号溪翁，吴兴（今浙江省湖州市）人。南宋景定（1260—1264年）年间乡贡进士，入元后隐居不仕，寄情于山水书画。画学颇为庞杂，花鸟、山水、人物无一不精，且成就极高，当时有“老钱丹青当世无”的美誉。元初，与赵孟頫、王子中、陈式等人并称“吴兴八俊”。",[23,24,77,53,26,25,369,154,169,232,152,112,7,679],"书桌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ac8c107ddfec1798c83c917d3f07d59.jpg","纵25cm，横72.5cm",[36],46,{"id":685,"slug":686,"title":687,"dynasty":47,"author":559,"museum":109,"description":688,"tags":689,"thumbUrl":691,"material":475,"size":692,"collection":137,"collections":693,"showCount":694,"zanCount":41,"manualWeight":41,"mainColor":120},222824,"mei-he-tu-xu-gu-222824","梅鹤图","《梅鹤图》为1891年(清光绪十七年)，虚谷时年69岁所作。以梅鹤双清为题。两株梅树茁壮挺拔，细枝交错穿插，花朵星星点点，二只白鹤立于梅枝间。梅树始以湿笔淡墨写出，后以干笔复加勾点，线条断续顿挫。梅树奇绝，如剑如戟、铁干清曜。梅花花瓣棱角分明，突出其天生寒骨、峥嵘向上的铮铮傲骨。白鹤亦造型古朴，一改光洁华美、悠闲典雅的贵族气象，长颈后缩收紧，雪羽铺展。画面设色清淡，鹤顶却以朱红重色点醒，使整幅画冷俊之中又富变化，质朴而又耐人寻味。此画作充分体现了虚谷的用笔特点，虚谷晚年代表作之一。顾鹤逸曾称虚谷作画“清而不枯，密而不乱”，此画可见一斑。",[23,52,24,77,78,270,26,271,60,112,7,690],"枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd13b85f24a66a6be354601ee9a0b9ed2.jpg","纵145.2厘米，横78.9厘米",[],45,{"id":696,"slug":697,"title":698,"dynasty":254,"author":699,"museum":109,"description":700,"tags":701,"thumbUrl":714,"material":475,"size":715,"collection":588,"collections":716,"showCount":717,"zanCount":41,"manualWeight":41,"mainColor":120},220799,"jing-ji-xuan-shi-wen-zhou-ni-zan-220799","静寄轩诗文轴","倪瓒","《静寄轩诗文》是倪瓒自作并书写的。此轴所书共三部分，内容包括《邾伯盛氏小像赞》、《刻古印文诗四韵》五律1首、《静寄轩诗》七绝3首。\n此帖上方篆书“静寄轩”和帖首篆书“静寄轩诗文”为张绅所书。“静寄轩”是邾伯盛的斋名，其人名珪，字伯盛，苏州人。师濮阳吴睿，习大小篆书，喜为人治印。\n此诗文是倪瓒71岁时所作，虽已至古稀之年，但笔力精致，毫无滞涩之处，结字略扁，内紧外舒，收笔时顿笔稳重，圭角突出，于质朴遒劲中带有很重的隶书笔意。",[23,78,368,369,702,154,703,704,705,706,488,408,152,707,708,709,397,354,710,633,711,712,7,713],"篆刻","孤鹤","瘦骨","苍林","荷","轩","僧","茶烟","山","门","馆","梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd648c8e27c6ab1979999ef58ef0056a.jpg","纵62.9cm，横23.3cm",[588],43,{"id":719,"slug":720,"title":721,"dynasty":90,"author":722,"museum":109,"description":723,"tags":724,"thumbUrl":742,"material":356,"size":743,"collection":588,"collections":744,"showCount":745,"zanCount":41,"manualWeight":41,"mainColor":120},219156,"xing-shu-ti-hong-ya-shan-fang-tu-shi-ye-hu-yan-219156","行书·题洪崖山房图诗页","胡俨","洪崖山位于江西南昌城西山之中，峰峦秀拔，林壑深窅。胡俨自24岁领乡荐便宦游南北，至明永乐十四年（1416年）已达30年。“既衰且老，不能不慨然追念畴昔，望洪崖之山，悠然兴其倦归之思。”遂将所作数篇及后来阁僚为洪崖而作者合为一卷，请中书舍人画家陈宗渊绘《洪崖山房图》。此三首即为题画而作，表达了心灵对退隐洪崖、耕桑读书、为太平之民的渴望之情。第一首末两句“陈郎胸次如摩诘，丘壑能令画里传”是赞扬陈宗渊绘画技艺之高妙。\n此篇尺牍笔画粗壮而古朴，精神外露，具有俊爽雄放的风度，是胡俨56岁时的翰墨佳构。",[23,369,368,725,726,727,728,729,79,730,55,7,731,732,633,733,734,735,397,736,737,738,739,740,741],"题诗","笔墨","章法","结体","山房","月","藤萝","苍松","溪","舟","田舍","烟","风","雨","晓岚","飞翠","崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F255413cc6b058a16472e805f186f1c4d.jpg","纵27.3厘米，横45.5厘米",[588],42,{"id":747,"slug":748,"title":749,"dynasty":47,"author":750,"museum":109,"description":751,"tags":752,"thumbUrl":754,"material":115,"size":755,"collection":137,"collections":756,"showCount":757,"zanCount":239,"manualWeight":41,"mainColor":120},236157,"leng-mei-yang-zheng-tu-shu-he-ce-zhang-ruo-ai-236157","冷枚养正图书合册","张若霭","此套册页共十开，画面内容皆为历代贤明君主的故事。绘画部分由宫廷画家冷枚绘制，对题由张若蔼书写对应故事情节的文字。两者配合，图文并茂，能够起到以史为鉴、以图育人的教育目的。皇子们观摩此册，意在学习为君之道。\n之后，康熙皇帝带领皇太子（胤礽）、皇长子（胤禔）、皇三子（胤祉）、皇四子（胤禛）、皇五子（胤祺）、皇七子（胤祐）、皇八子（胤禩）一同来到无逸斋，命尹泰、德格勒传谕：「朕宫中从无不读书之子，今诸皇子虽非大有学问之人，所教然已俱能读书。朕非好名之主，故向来太子及诸皇子读书之处未尝有意使人知之，所以外廷容有未晓然者。今特诏诸皇子至前讲诵，汝等试观之。」\n康熙皇帝随即取下十余本经书授予汤斌，让他「信手拈出，令诸皇子诵读」。汤斌随揭经书，皇三子、皇四子、皇七子、皇八子依次进前，各读数篇，纯熟舒徐，声音朗朗。\n康熙皇帝又命皇长子讲「格物致知」一节，皇三子讲《论语》「乡党」首章，皆逐字疏解又能融贯大义。而一向在宫中被皇太后亲自抚养、不谙汉文的皇五子也不逊色，他虽不曾读汉书，但对满文却是精通，康熙皇帝命他当场诵读满文，读的「段落清楚，句句明亮」。\n当时，皇长子十六岁，皇太子十一岁，皇三子十一岁，皇四子十岁，皇五子九岁，皇七子八岁，皇八子七岁，诸皇子的表现无疑是很出色的。但康熙皇帝绝不夸赞，也不允许别人称赞，「诸皇子在宫中从无人敢赞好者，若有人赞好，朕即非之」。",[24,25,26,298,169,753,600,299,190,301,302,7],"宫殿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c260827de0b7445380a8694a8650e49.jpg","纵三二·二厘米 横四二·三厘米",[],40,{"id":759,"slug":760,"title":334,"dynasty":47,"author":335,"museum":49,"description":761,"tags":762,"thumbUrl":763,"material":137,"size":137,"collection":137,"collections":764,"showCount":757,"zanCount":41,"manualWeight":41,"mainColor":120},224592,"pan-tao-tu-zou-yi-gui-224592","此作取瑞祥之意，笔墨清妍雅致。丹顶鹤仙骨清奇，翎毛皴染细致，墨线勾出纤毫肌理，雪衣朱顶立于苍岩，石畔灵芝添幽趣。古桃枝夭矫横斜，硕实饱满，胭脂晕染果皮，将桃实鲜活温润之态尽显，枝叶敷色鲜亮，满目生机。飞瀑轻垂，晕开空山幽寂之境，左上题诗补白，让文思画意相融。画面疏密相宜，工致兼具文雅，将吉庆绵长的寓意藏于笔底，满卷悠然仙气，尽抒福寿安康的美好祈愿。",[23,24,25,26,154,7,339,96,434,340,190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7350a1afd655bc04aa623e85fabbe12d.jpg",[],{"id":766,"slug":767,"title":768,"dynasty":254,"author":769,"museum":148,"description":770,"tags":771,"thumbUrl":776,"material":356,"size":777,"collection":137,"collections":778,"showCount":779,"zanCount":41,"manualWeight":41,"mainColor":120},290937,"song-yang-fang-zhen-tu-shang-qi-290937","嵩阳访真图","商琦","商琦：元代画家，字德符，号寿岩，曹州（今山东菏泽市）人。泰定元年官至秘书卿。有精深的文学艺术修养，又以善画受到皇帝赏识，因此他在当时的地位很显赫，几与高克恭齐名。商琦善画山水，《图绘宝鉴》称他师法李成，得用墨法，亦善画墨竹。又有记载说他的山水学董源，善于运用水墨。仁宗曾命他在壁上作山水，不用金朱粉彩，只用水墨，可见他的水墨山水、竹石画在当时堪称一绝。商琦亦是一位壁画能手，曾奉命画嘉禧殿壁，当时许多宫殿、寺院壁画都出自他的手笔。",[52,24,270,78,772,231,773,96,774,169,7,368,154,775],"山水画","枯树","亭阁","隐逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff360fa2a2eefed06260144de528678fa.jpg","115.9x28.7",[],37,{"id":781,"slug":782,"title":783,"dynasty":47,"author":126,"museum":49,"description":784,"tags":785,"thumbUrl":791,"material":491,"size":492,"collection":137,"collections":792,"showCount":779,"zanCount":197,"manualWeight":41,"mainColor":120},270171,"hong-se-ke-si-hai-he-shou-tao-tu-mian-hong-mu-diao-hua-bing-tuan-shan-yi-ming-270171","红色缂丝海鹤寿桃图面红木雕花柄团扇","木雕是雕塑的一种，在我们国家常常被称为“民间工艺”。木雕可以分为立体圆雕、根雕、浮雕三大类。木雕是从木工中分离出来的一个工种，在我们国家的工种分类中为“精细木工”。\n以雕刻材料分类的民间美术品种。一般选用质地细密坚韧，不易变形的树种如楠木、紫檀、樟木、柏木、银杏、沉香、红木、龙眼等。\n木雕是以各种木材及树根为材料进行雕刻，是以传统雕刻工艺中的重要门类。木雕的历史非常悠久，在浙江余姚河姆渡文化遗址就有木雕鱼出土，这是我国木雕史上最早的实物。河南信阳战国大墓出土的木雕镇木兽，湖北云梦汉墓出土的彩雕木佣均为我国早期木雕作品。由于保存的困难，现今很难看到超过千年的木雕作品。\n两宋时期木雕作品较为多见，这时的木雕已采用组织细密的木材为载体进行制作，这就有利于木雕作品的传世。我国的一些庙宇里还保存有宋代的木雕作品。\n元明时由于海外贸易的急速发展，木材种类有所增加，许多由海外进口的硬质木材，是木雕工艺得到长足发展。\n明清期间是木雕艺术的一个辉煌时期，涌现出大量有史可考的名家、艺人及其作品，是古代木雕艺术的一个高峰。\n清末至民国年间由于政府的腐败，国力的衰退，外强的侵略，民不潦生，木雕艺术从此衰落，艺人名家也只能沦为匠人糊口度日。新中国成立后在党和国家的关怀下，民间工艺得到了保护及挖掘，木雕也重新涣发出生命，涌现出一批国家级大师。他们的作品，工艺精湛，秉承传统，立意深远，讴歌时代，体现了大师们立足传统，锐意创新，直抒重获新生的胸怀和报效国家，知遇之恩的深情。\n国家改革开放，经济腾飞，国富民强，党和国家对民间工艺的大力扶持，唤起了民众对传统工艺美术的热爱与追求。逢此盛世，民间工艺美术有了新的飞跃，木雕艺术也不例外。面对实际情况，在全国工艺品展出中，优秀作品的作者年龄偏大，年轻作者寥寥无几。",[352,786,396,60,7,787,788,97,789,131,32,790,25],"日用具","寿桃","海浪","木质","象牙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe66f1b524073971868a359247f4cab57.jpg",[],{"id":794,"slug":795,"title":796,"dynasty":47,"author":126,"museum":49,"description":797,"tags":798,"thumbUrl":801,"material":491,"size":492,"collection":137,"collections":802,"showCount":803,"zanCount":239,"manualWeight":41,"mainColor":42},267608,"cai-se-duan-xiu-he-lu-san-yang-mei-que-wen-ming-xing-pian-jia-yi-ming-267608","彩色缎绣鹤鹿三羊梅雀纹名姓片夹","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。",[548,32,25,26,7,599,799,800,95,112,60,134,786,31],"羊","雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2b9155225671ffe2fe720d6ecd8bd8d.jpg",[],36,{"id":805,"slug":806,"title":807,"dynasty":47,"author":126,"museum":148,"description":808,"tags":809,"thumbUrl":813,"material":62,"size":814,"collection":36,"collections":815,"showCount":803,"zanCount":41,"manualWeight":41,"mainColor":120},219595,"wan-nian-bu-lao-ce-yao-chi-chun-yan-yi-ming-219595","万年不老册-瑶池春宴","此作分上下二幅，上方以墨绿为底，泥金小楷端正隽秀，古雅沉静。下幅工笔设色，绘就瑶池春宴盛景。烟波之上，仙宾乘槎踏浪而来；苍松翠峦间，群仙或围坐清谈，或悠然伫立，麋鹿仙鹤闲游林泉，自在怡然。笔触精细工致，敷色妍丽明净，晕染出山石松涛的温润质感，将神话仙境的缥缈出尘，融于人间雅集的恬和悠然之中，把瑶池宴饮铺作世外清景，尽显工笔仙佛题材的雅致意趣，氤氲着清宁出尘的仙家气韵。",[52,24,77,298,26,25,169,810,7,599,55,397,96,524,811,812],"神仙","瑞兽","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faba36c2019ede989fac397469dd36396.jpg","39x57.5厘米",[36],{"id":817,"slug":818,"title":819,"dynasty":72,"author":820,"museum":49,"description":821,"tags":822,"thumbUrl":826,"material":491,"size":492,"collection":137,"collections":827,"showCount":828,"zanCount":239,"manualWeight":41,"mainColor":160},289929,"qiu-lin-he-yi-tu-wang-shen-289929","秋林鹤逸图","王诜","王诜[shēn]（公元约1048年—公元约1104年），字晋卿，太原（今山西太原）人，后迁汴京（今河南开封），北宋画家。\n北宋熙宁二年（1069年）娶英宗女蜀国大长公主，拜左卫将军、驸马都尉。元丰二年，因受苏轼牵连贬官均州。元祐元年（1086年）复登州刺史、驸马都尉。擅画山水，学王维、李成，喜作烟江云山、寒林幽谷，水墨清润明洁，青绿设色高古绝俗。亦能书，善属文。其词语言清丽，情致缠绵，音调谐美。存世作品有《渔村小雪图》《烟江叠嶂图》《溪山秋霁图》等。",[352,24,772,26,272,823,7,824,54,300,825,775],"秋林","远山","湖水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F623db88646b4856450cfc34a8a105256.jpg",[],33,{"id":830,"slug":831,"title":832,"dynasty":47,"author":833,"museum":834,"description":835,"tags":836,"thumbUrl":838,"material":356,"size":137,"collection":137,"collections":839,"showCount":828,"zanCount":41,"manualWeight":41,"mainColor":120},214491,"fang-gu-shan-shui-tu-2-cheng-ting-lu-214491","仿古山水图-2","程庭鹭","旅顺博物馆","清代画家程庭鹭的仿古山水图是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了程庭鹭对自然的热爱和对传统文化的尊重。他运用了仿古山水画的特点，使得整件作品显得舒缓而优美。\n\n程庭鹭是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在仿古山水图中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，程庭鹭的仿古山水图是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了程庭鹭对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到程庭鹭的画风魅力，还能了解中国传统的山水风情。",[23,24,837,26,232,598,191,169,7,298,55],"仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e5615a13e6125147c6c829aecba1190.jpg",[],{"id":841,"slug":842,"title":843,"dynasty":47,"author":126,"museum":49,"description":844,"tags":845,"thumbUrl":848,"material":491,"size":492,"collection":137,"collections":849,"showCount":850,"zanCount":239,"manualWeight":41,"mainColor":120},272898,"zi-tan-mu-bian-mi-se-chou-di-xiu-hua-niao-tu-wei-ping-yi-ming-272898","紫檀木边米色绸地绣花鸟图围屏","紫檀木框架沉稳雅致，衬得绣面愈显清丽脱俗。十二扇屏各自成景又浑然相融，绣线晕染出松石苍润古拙，花枝柔婉舒展，或绽露芳华，或含苞轻垂。禽鸟姿态灵动悠然，或伫立观荷，或栖于枝梢梳羽，游凫嬉于清波，野趣横生。\n\n米绸底色温婉柔和，蓝白绣线层次细腻，凭借精巧针法晕染出明暗虚实，将草木花鸟的生机尽数勾勒。针线起落间藏着细腻匠心，把雅致娴静的意趣融于方寸绣面，是绣艺与木器工艺相融的佳制，尽显中式栖居的清雅韵致。",[846,789,32,548,60,26,25,706,112,448,54,7,847],"围屏","鸭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce5c6afedc51bc5f657d99375938e2b1.jpg",[],31,{"id":852,"slug":853,"title":854,"dynasty":72,"author":126,"museum":49,"description":855,"tags":856,"thumbUrl":859,"material":491,"size":492,"collection":137,"collections":860,"showCount":850,"zanCount":41,"manualWeight":41,"mainColor":42},223870,"liu-he-xiang-yun-wen-jing-yi-ming-223870","六鹤祥云纹镜","在中国各个时代的铜镜中，宋镜的外形最为丰富，有圆形、方形、长方形、菱花形、钟形、盾形，鼎炉形、鸡心形等。单从镜形看。可谓空前绝后。\n在中国铜镜的合金成分方面，宋镜也是一个重要转折时期，宋镜与汉唐镜不同，含锡量减少，含铅量增多，于是一反汉唐镜铜质银白色泽，而为黄铜色泽，质地也不如汉唐镜坚硬，变得粗软。\n重实用不重纹饰是南宋镜的最大特点，宋代除了名号，没有任何纹饰的镜商标铭文镜极为流行。这种情况在唐代镜子中几乎没有见到。",[72,130,131,857,7,858],"浮雕","祥云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf4c3da57fd9e8094db80a049da06d5e.jpg",[],{"id":862,"slug":863,"title":864,"dynasty":47,"author":559,"museum":49,"description":865,"tags":866,"thumbUrl":867,"material":137,"size":137,"collection":137,"collections":868,"showCount":5,"zanCount":41,"manualWeight":41,"mainColor":120},233376,"mei-he-tu-zhou-xu-gu-233376","梅鹤图轴","《梅鹤图》是清代虚谷创作的纸本设色画。\n自题：“辛卯春二月。\n虚谷。\n” 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　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[23,24,77,78,26,25,271,169,7,886,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17c3e45ff9f24ce1bd3ad16f2db5cf27.jpg","纸本，墨笔",[],{"id":983,"slug":984,"title":985,"dynasty":47,"author":126,"museum":49,"description":986,"tags":987,"thumbUrl":988,"material":491,"size":492,"collection":137,"collections":989,"showCount":990,"zanCount":41,"manualWeight":41,"mainColor":120},267355,"xiu-xian-ci-xi-yin-song-he-tu-zhou-yi-ming-267355","绣线慈禧印松鹤图轴","此作以绣为笔，将山水灵韵藏于针线之间。危崖奇崛高耸，古松虬枝横斜，松针层叠尽显苍劲高古，崖巅仙鹤独立，似在聆风望云；下方惊涛翻涌，汀渚之上又有仙鹤卓立，呼应松鹤延年的祥瑞寓意。\n\n绣线晕染柔和雅致，以淡紫与米白铺陈出山石松烟与流云之态，将水墨山水的晕染层次精妙复刻，针线藏于画意之中，不见匠气反倒尽显文人山水的清逸意境。搭配题印排布规整，让绣作兼具端雅礼制意蕴与文人书画审美意趣，是晚清融画入针的精妙绣作。",[24,78,77,548,272,7,232,191,96,512,154,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1872571a576ef6a2e5b4af6bf38695f1.jpg",[],20,{"id":992,"slug":993,"title":994,"dynasty":47,"author":126,"museum":49,"description":995,"tags":996,"thumbUrl":999,"material":491,"size":492,"collection":137,"collections":1000,"showCount":1001,"zanCount":41,"manualWeight":41,"mainColor":120},273639,"zi-tan-mu-bian-zuo-qian-fa-lang-he-lu-tu-cha-ping-yi-ming-273639","紫檀木边座嵌珐琅鹤鹿图插屏","苍松虬劲蟠曲，松针以珐琅点染，翠色莹润鲜亮。丹顶鹤一栖于枝桠，引颈回望，姿态矜贵；一立于坡地，缓步低顾，悠然自若。石青晕作底色，衬得松鹤愈发灵秀雅致，珐琅釉色层次分明，晕染自然柔和，明丽配色和谐悦目。\n\n紫檀座身雕刻缠枝纹饰，线条婉转柔润，沉穆木色中和了珐琅的鲜亮，二者相映成趣。器物融掐丝珐琅与木雕工艺于一体，借松鹤寄寓福寿绵长的祈愿，尽显华贵雅致的古典气韵，是匠心工艺与传统吉祥审美相融的佳作。",[789,997,998,95,7,60],"珐琅器","插屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58906828a9e316ecce0aeec98a4de205.jpg",[],19,{"id":1003,"slug":1004,"title":1005,"dynasty":72,"author":126,"museum":49,"description":1006,"tags":1007,"thumbUrl":1009,"material":491,"size":492,"collection":137,"collections":1010,"showCount":1011,"zanCount":239,"manualWeight":41,"mainColor":42},290683,"xiu-lun-xu-tu-zhou-yi-ming-290683","绣伦叙图轴","此幅构图与绣工皆为上品，图案用纱绣「二丝串」法绣成。所谓「二丝串」是每隔两根经纬垂直戳纳一针绣花线（针脚与纬线垂直）的绣法。利用深浅色线戳纱晕染，花纹突出，层次分明，有强烈织纹感和装饰效果。惜鹤颈与尾绣线腐蚀破损，后人用绢修补并用墨笔添绘，略损画面。纱绣多为小品，早期大幅之精品极为少见。",[78,60,1008,59,7,54,448,97,190,584,26,32],"绣品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb395058cc5736a0109bbe872f769c894.jpg",[],18,{"id":1013,"slug":1014,"title":1015,"dynasty":47,"author":126,"museum":49,"description":1016,"tags":1017,"thumbUrl":1025,"material":491,"size":492,"collection":137,"collections":1026,"showCount":1011,"zanCount":41,"manualWeight":41,"mainColor":142},273646,"zi-tan-mu-bian-qian-ya-xian-ren-fu-shou-zi-gua-ping-yi-ming-273646","紫檀木边嵌牙仙人福寿字挂屏","这件挂屏以“福”字为骨，以百宝嵌工艺将牙雕仙人、灵鹿、仙鹤错落铺陈于字形间。紫檀素地沉穆古雅，衬得镶嵌物象鲜活灵动。\n\n仙翁策杖、芝草吐翠，灵鹿悠游、仙鹤独立，将福禄寿的祥瑞寓意藏于笔形弯折之中，把书法意趣与吉祥图景相融。方寸之内排布疏密有致，刀工细腻入微，物象栩栩如生，尽显工艺精妙造诣，将中式吉庆雅韵凝于一屏，华贵雅致，尽显东方美学意趣。",[1018,789,790,131,1019,1020,7,599,1021,1022,1023,1024,169],"挂屏","镶嵌","仙人","福字","祈福","祝寿","工艺品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0acb72958e837dfac68f4d59813c928.jpg",[],{"id":1028,"slug":1029,"title":1030,"dynasty":47,"author":126,"museum":49,"description":1031,"tags":1032,"thumbUrl":1034,"material":491,"size":492,"collection":137,"collections":1035,"showCount":1011,"zanCount":239,"manualWeight":41,"mainColor":42},267396,"hong-qing-se-an-hua-sha-xiu-shi-er-tuan-he-wen-nan-pei-yi-ming-267396","红青色暗花纱绣十二团鹤纹男帔","是传统刺绣形式之一。它是在方格纱的底料上严格按格数眼进行刺绣的。不仅图案美丽，而且随 着线条横、直、斜的不同排列作丰富的变化，但花纹间的空眼必须对齐。\n以素纱为绣底，绣时须按格或数眼绣制。绣法垂直进行，以大套小的几何图案，绣满全幅，用色一般以每一几何形为单位。刺绣步骤：以波浪纹为例。从纹样边缘第一眼起针，跨过六个眼，在第七个眼下针，以后每针均往下移一个眼，绣到第十针后，每针均向上移一个眼，直至与第一眼相并列时，再往下移，如此循环往复，即成波浪形。第二皮波浪纹绣法相同，落针的针迹要在第一皮原针眼中，以后类推，直至绣满。",[30,32,548,7,1033],"团鹤纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f30839a0d300991ecbba6c4cb61a152.jpg",[],{"id":1037,"slug":1038,"title":1039,"dynasty":254,"author":1040,"museum":49,"description":1041,"tags":1042,"thumbUrl":1045,"material":491,"size":492,"collection":137,"collections":1046,"showCount":85,"zanCount":41,"manualWeight":41,"mainColor":42},290938,"yan-bo-yu-le-tu-zhou-tang-di-290938","烟波渔乐图轴","唐棣","本幅画溪山平远，云雾弥漫，在一片宽阔的河口上，渔夫捕鱼的情景。有两艘渔舟行驶於江心，渔夫手持鱼网，在河中撒开，扩张成优美的圆弧形，另外两艘渔舟停驻岸边，一妇女正在进行炊煮。",[24,78,232,598,1043,1044,191,636,190,169,270,231,7,154],"蓑笠","渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F858ac81a99306eb333045f1353f5a4ea.jpg",[],{"id":1048,"slug":1049,"title":1050,"dynasty":72,"author":126,"museum":148,"description":1051,"tags":1052,"thumbUrl":1054,"material":62,"size":1055,"collection":137,"collections":1056,"showCount":85,"zanCount":41,"manualWeight":41,"mainColor":42},290374,"diao-he-cai-hua-xian-zhou-yi-ming-290374","调鹤采花仙轴","本幅应绘毛女，因藤萝峭壁间，女仙形体生毛，结草为衣。坡下方停置羊车，结藤为轮，呈现非人间景象。从文献资料来看，以毛女为画题，宋代已有。明末收藏界亦流传一组毛女图四幅，画中毛女的手、肩各有执负，并有随行鹤鹿等动物，可见毛女形象并不限于一种。 画幅细致工谨，设色古雅，山石轮廓及斧劈皴法，用笔刚猛。惟时代尚不及宋，或成于十四、十五世纪之际。",[24,78,26,169,7,799,96,1053,232],"神话人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F475f16738a4ce4eb29f6782dcf2d2049.jpg","140.4x78.1",[],{"id":1058,"slug":1059,"title":1060,"dynasty":47,"author":126,"museum":49,"description":1061,"tags":1062,"thumbUrl":1063,"material":491,"size":492,"collection":137,"collections":1064,"showCount":85,"zanCount":41,"manualWeight":41,"mainColor":120},269042,"huang-se-ke-si-he-lu-jin-long-wen-huai-dang-liao-yi-ming-269042","黄色缂丝鹤鹿金龙纹怀挡料","缂（kè，同：刻）丝（英文：K’o-ssu 、Kesi 或 Chinese silk 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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。",[1162,921,1366,133,1367,397,7,812],"青花","凤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2463ccab179ec9b0140abebfc7073919.jpg",[],{"id":1371,"slug":1372,"title":1373,"dynasty":254,"author":1374,"museum":109,"description":1375,"tags":1376,"thumbUrl":1382,"material":475,"size":1383,"collection":588,"collections":1384,"showCount":1351,"zanCount":41,"manualWeight":41,"mainColor":120},239623,"wu-gu-shi-tie-ye-zhang-yuan-239623","五古诗帖页","张渊","释文：\n云卧三十年，好闲复爱仙。蓬壶虽冥绝，鸾鹤心悠然。归来桃花岩，得憩云窗眠。对岭人共语，饮潭猿相连。时升翠微上，邈若罗浮巅。两岑抱东壑，一嶂横西天。树杂日易隐，崖倾月难圆。芳草换野色，飞萝摇春烟。入远构石室，选幽开山田。独此林下意，杳无区中缘。永辞霜台客，千载方来檐。用拙斋书。\n钤“张氏清夫”印。鉴藏印钤“仪周鉴赏”、“莲樵鉴赏”、“景贤”、“谭氏区斋书画之章”等10方。\n张渊书法学赵孟頫，用笔结字亦步亦趋，形神兼备，有相当的功力。此帖学赵孟頫中年书体，笔画清健，笔力圆劲，结体方阔，点画精美，翩翩有致。",[369,368,1377,154,270,1378,726,710,1379,736,473,536,741,730,408,7,1380,56,397,1381,738,79],"字帖","册页","田","潭","峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F724ec50f12966d6fdc1a11a385cc48b9.jpg","纵27.4厘米, 横52.7厘米",[588],{"id":1386,"slug":1387,"title":1388,"dynasty":47,"author":126,"museum":49,"description":1389,"tags":1390,"thumbUrl":1392,"material":491,"size":492,"collection":137,"collections":1393,"showCount":1394,"zanCount":41,"manualWeight":41,"mainColor":120},281550,"ri-ben-chun-guang-kuan-hua-niao-shan-shui-tu-tuo-yuan-pan-yi-ming-281550","日本春光款花鸟山水图椭圆盘","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。",[921,786,60,232,448,7,26,25,1391],"春光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb81642c473248593635d6c595a10819b.jpg",[],9,{"id":1396,"slug":1397,"title":1398,"dynasty":47,"author":126,"museum":49,"description":1399,"tags":1400,"thumbUrl":1404,"material":491,"size":492,"collection":137,"collections":1405,"showCount":1394,"zanCount":41,"manualWeight":41,"mainColor":120},274062,"mu-bian-ying-mu-qian-luo-dian-xiu-hua-wen-cha-ping-yi-ming-274062","木边硬木嵌螺钿绣花纹插屏","这件插屏是工艺交融的雅致佳作，硬木边框以螺钿轻缀，莹白提亮古雅木色。屏心刺绣兼具工笔柔韵，石畔兰芷舒展，双鹤或立或顾，姿态悠然自适，鱼虾穿波、蜻蜓掠花，将林下幽微生机藏于方寸。四周环饰博古清供，瓷瓶簪花、文房陈案，把文人案头雅趣融于屏间。座身硬木镂雕吉庆纹样，将刺绣的柔婉、螺钿的清莹与木雕的朴雅合为一体，把林下幽情与厅堂雅致收拢于一屏，尽显旧时家居陈设的风雅意趣，静诉着清代审美里的内敛温柔。",[998,789,1401,548,7,887,97,1402,25,1403],"嵌螺钿","博古","器具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9602de6c98d445b5cfeb471524a7b5cb.jpg",[],{"id":1407,"slug":1408,"title":1409,"dynasty":47,"author":126,"museum":49,"description":1410,"tags":1411,"thumbUrl":1412,"material":491,"size":492,"collection":137,"collections":1413,"showCount":1394,"zanCount":41,"manualWeight":41,"mainColor":42},272851,"zi-tan-mu-bian-zuo-qian-fa-lang-tao-he-tu-cha-ping-yi-ming-272851","紫檀木边座嵌珐琅桃鹤图插屏","黑地映出莹润饰纹，仙气满溢。浮空仙阁静立云涛之上，丹鹤振翅穿云，灵动翩跹。下方仙山生奇木灵草，仙人袂带飘飘，乘云往来，仿若携着袅袅清辉。\n\n整器构图主次分明，流云缠绕串联画面，将缥缈仙境铺陈眼前。镶嵌工艺精巧入微，莹白饰件在乌木底色映衬下愈显雅致，将道家超凡意境具象呈现，尽显古人对长生仙境的向往，是工艺美学与仙道雅趣融合的精妙之作，藏着清代造物的极致巧思。",[998,789,997,524,7,397,300,1020,1024],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9e1044d0c1507e92e0e46d1cba283bf.jpg",[],{"id":1415,"slug":1416,"title":1417,"dynasty":47,"author":126,"museum":49,"description":1061,"tags":1418,"thumbUrl":1420,"material":491,"size":492,"collection":137,"collections":1421,"showCount":1394,"zanCount":239,"manualWeight":41,"mainColor":120},269054,"ke-si-jia-xiu-san-xing-tu-zhou-yi-ming-269054","缂丝加绣三星图轴",[24,77,78,396,548,26,25,169,7,599,1419,96,97,1139,1141],"桃树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ae044ed588a93dada988de6aa6be313.jpg",[],{"id":1423,"slug":1424,"title":1425,"dynasty":47,"author":126,"museum":49,"description":1426,"tags":1427,"thumbUrl":1429,"material":491,"size":492,"collection":137,"collections":1430,"showCount":1394,"zanCount":41,"manualWeight":41,"mainColor":120},268342,"huang-se-duan-xin-hong-duan-bian-xiu-yun-fu-lu-shou-wen-chang-yuan-xiang-dai-yi-ming-268342","黄色缎心红缎边绣云福禄寿纹长圆香袋","这两件香袋以彩绒施绣，配色明丽柔和，针脚细密齐整。左方圆角方袋，回纹边框雅致规整，袋心绣就荷塘小景，水禽悠游莲间，翠苞粉荷相映，野趣盎然。右件长圆香袋以红缎锁边，祥云缭绕间福鹿伫立、瑞蝠翩跹，衬以水波纹底，将福禄寿的吉祥寓意藏于针线下。搭配编绳流苏，既可以盛装香屑，随身清神驱虫，亦是精巧的装饰佩件，将女红匠心与传统祈福愿景融于方寸之间，尽显清代民俗配饰的雅致意趣。",[31,1428,32,548,599,7,1117,1139],"香袋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a981c062689c0d7d0634a05fe70bf96.jpg",[],{"id":1432,"slug":1433,"title":1434,"dynasty":47,"author":1435,"museum":49,"description":1436,"tags":1437,"thumbUrl":1439,"material":491,"size":492,"collection":137,"collections":1440,"showCount":1394,"zanCount":41,"manualWeight":41,"mainColor":42},241315,"wu-lv-zhou-dai-ming-shuo-241315","五律轴","戴明说","戴明说（音yue，通“悦”）(1609——1686)，河北沧州人，字道默，号岩荦，道号定园，晚年自号铁帚，行一。有子戴王纶。 ... 天启丁卯(1627)科举人，崇祯甲戌(1634)科进士。",[77,368,78,369,154,397,633,1092,7,584,1438],"五岳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb59a841e4fcb1d3b6d4a28a2f9e2fb23.jpg",[],{"id":1442,"slug":1443,"title":1444,"dynasty":90,"author":1445,"museum":109,"description":1446,"tags":1447,"thumbUrl":1448,"material":475,"size":1449,"collection":137,"collections":1450,"showCount":1394,"zanCount":41,"manualWeight":41,"mainColor":120},236495,"shan-shui-ren-wu-ce-guo-fen-ya-236495","山水人物册","郭汾涯","郭汾涯（约公元15世纪），明初时人，生卒年不详。能诗，善画山水、人物，宗唐、宋人画法，取马远、夏圭笔意。关于其生平，画史记载甚少，现只能从仅有的几幅传世作品，以及明初时的画风嬗变，来了解这位画家。\n此套《山水人物册》，每页自题七言诗一首，落款“汾涯”。册页中人物形神刻画生动，线条挺劲酣畅；山水以斧劈皴随意勾写，笔力遒劲；画树出枝峭拔、点叶爽辣，得南宋山水画遗风。\n明代初期画院复兴，提倡以古硬、雄厚、峻峭的风格来振作笔墨精神。在元朝被压制了多年的李、刘、马、夏画风，此时又开始活跃起来。宫廷内外，宗法者甚多。画风变南宋苍劲荒率为浑壮雄厚。画家们将贵族艺术引入民间，注重功力又不死守法度，变精严为放逸，顺应通俗艺术发展的时代潮流。这股势力影响范围广大，成为明代初期画坛实力最雄厚的画派——浙派。\n从这套册页中看，郭汾涯也是身处这股巨浪之中，但从画面中依然能体会到画家自觉与主动的一面，笔墨并非一味地追求粗放与草率，而是劲拔精简，笔下流露出画家掩饰不住的率真天性。画面还成功地将自然环境和人物活动富有情趣地结合在一起，给观者以强烈的艺术感染力。",[24,77,298,270,26,353,169,272,152,232,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41f10ef13b1e2178bbe658583b35a03a.jpg","纵38.8厘米，横60.4厘米",[],{"id":1452,"slug":1453,"title":1454,"dynasty":47,"author":126,"museum":49,"description":1455,"tags":1456,"thumbUrl":1460,"material":491,"size":492,"collection":137,"collections":1461,"showCount":104,"zanCount":41,"manualWeight":41,"mainColor":42},270028,"hong-mu-qian-luo-dian-song-he-wen-yuan-ti-he-yi-ming-270028","红木嵌螺钿松鹤纹圆提盒","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",[789,1457,1458,786,131,1459,95,7,812],"漆器","提盒","螺钿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04bcb9e2516a54d47093ae8edb2b9006.jpg",[],{"id":1463,"slug":1464,"title":1465,"dynasty":47,"author":126,"museum":49,"description":1466,"tags":1467,"thumbUrl":1468,"material":491,"size":492,"collection":137,"collections":1469,"showCount":104,"zanCount":239,"manualWeight":41,"mainColor":120},234853,"he-su-ying-xiang-zhou-yi-ming-234853","和素影像轴","画中官员端座椅上，神态沉敛威严，面容细节写实入微，眼角纹路与颔下长髯尽显宦海历练的沉稳气度。画师将服制描摹得精工极致：石青常服之上，文禽补纹细密生动，翎羽分毫毕现；盘金绣就的云纹海浪层叠繁复，宝光暗藏，朝珠颗颗莹润垂于胸前，将高门品级的尊荣尽显无遗。画面上方题跋墨色苍劲工整，与肖像相得益彰，既以写实手法定格官员仪态，亦是清代官服礼制的鲜活注脚，兼具艺术观赏性与历史考据价值，将清代朝堂官僚的威仪风骨凝于绢素之上。",[24,78,25,26,169,30,133,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74b2005a1441e02a634a1f1682daec46.jpg",[],{"id":1471,"slug":1472,"title":1473,"dynasty":47,"author":595,"museum":1474,"description":1475,"tags":1476,"thumbUrl":1478,"material":1479,"size":1480,"collection":137,"collections":1481,"showCount":104,"zanCount":41,"manualWeight":41,"mainColor":120},222653,"zhi-hua-xi-lie-zhi-hua-wu-he-gao-qi-pei-222653","指画系列-指画·舞鹤","美国纳尔逊阿特金斯艺术博物馆","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。\n高其佩“扬州八怪李鱓”之师。其艺术才华出众，能诗、工画，他在细绢上所描绘的亭台楼阁、人物、花鸟、鱼虫等等，笔墨精细，设色艳丽，精妙绝伦。他在临摹了大量的前代名人作品，打下了深厚的根基之后，开创了一条新路。大胆地创造出了别具情趣的“舍笔而求之于手”的表现技法。秀水张浦山著的《国朝画征录》中记载：“高且园善指画，画人、山水花鸟、鱼虫、鸟兽，天资超迈，情奇逸趣，信手而得，四方重之”。高其佩指画有“叱石成羊”之妙，他创作山水、人物、花鸟、走兽时，均信手一挥而就，“倾刻数十幅，……无不绝人。”他一生的作画数量是惊人的。正如他侄孙高秉在《指头画说》一文中所述：“自弱冠至七旬，不下五、六万幅”。可惜其大部分早已失传。保存下来的多藏于各地博物馆，铁岭县文化馆过去曾存有春、夏、秋、冬四幅《竹》。上海出版社出版的《高其佩》（杨仁恺著）一书，对他的生活和创作道路做了详细的论述，指出他的最大贡献是：“标题材之新，立结构之异，对当时和后来绘画艺术都有一定影响。”",[23,24,77,1477,270,26,7,54],"指画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffce2b5a5b5757c376b2688da33acde95.jpg","浅设色","35.88x57.31cm",[],{"id":1483,"slug":1484,"title":1296,"dynasty":47,"author":48,"museum":1287,"description":1485,"tags":1486,"thumbUrl":1487,"material":137,"size":137,"collection":137,"collections":1488,"showCount":104,"zanCount":41,"manualWeight":41,"mainColor":1489},202297,"song-he-tu-zhou-shen-quan-202297","丹顶朱华，雪翎墨尾，双鹤相倚于危石之上，一喙微张似语，一颈曲垂若听，姿态亲昵宛然。松枝盘亘如铁，松针攒簇若簇，山石皴染细腻，肌理毕现；间缀白牡丹数朵，蕊瓣清雅，生机暗涌。工笔技法精湛，翎羽层次分明，绒羽之柔与飞羽之劲对比鲜明；石纹勾勒精准，皴擦兼具，显嶙峋之态。色调温润古朴，设色淡雅却不失厚重，松鹤之祥瑞与牡丹之富贵相融，构图疏密有致，意境清幽而祥瑞满溢。整幅画作于细腻处见匠心，于清雅中藏生机，尽显传统工笔花鸟之韵致。",[25,60,95,7,448,96,26,78,231,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faac6f8c33084768198bc35efd2e090ab.jpg",[],"b49d88",{"id":1491,"slug":1492,"title":1493,"dynasty":254,"author":1494,"museum":49,"description":1495,"tags":1496,"thumbUrl":1497,"material":491,"size":492,"collection":137,"collections":1498,"showCount":141,"zanCount":41,"manualWeight":41,"mainColor":120},290275,"dao-chang-he-shan-shi-tie-ce-ye-zhao-meng-fu-290275","道场何山诗帖册页","赵孟頫","赵孟頫[fǔ]（1254年10月20日－1322年7月30日），字子昂，汉族，号松雪道人，又号水晶宫道人（一说水精宫道人）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。\n赵孟頫于南宋末年曾任真州司户参军。宋亡后隐居不仕。至元二十三年（1286年），赵孟頫经行台侍御史程钜夫举荐，赶赴大都，受元世祖赏识，授兵部郎中。此后历任集贤直学士、济南路总管府事、江浙等处儒学提举、翰林侍读学士等职，累官翰林学士承旨、荣禄大夫。自世祖至武宗、仁宗、英宗四朝皆加礼敬。晚年逐渐隐退，延祐六年（1319年）借病乞归。至治二年（1322年），赵孟頫逝世，年六十九。获赠江浙中书省平章政事、魏国公，谥号“文敏”，故称“赵文敏”。著有《松雪斋文集》等。\n赵孟頫博学多才，能诗善文，通经济之学，工书法，精绘艺，擅金石，通律吕，解鉴赏。在绘画上，他开创元代新画风，被称为“元人冠冕”。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。其书取法钟繇、“二王”、李邕、赵构等，于篆、隶、真、行、草诸体皆擅，尤以楷书、行书著称；其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。此外，赵孟頫倡导师法古人，强调“书画同源“。其绘画、书法和画学思想对后代影响深远。",[23,52,77,368,369,1377,1378,154,232,584,7],"https:\u002F\u002Foss.chuangqi.stor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磁胎洋彩海鹤来朝玉环胆瓶一对","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。",[1255,921,1535,26,25,7,96,1536,812],"洋彩","树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb23604782d1aca8a0094bc1e52b9fbfd.jpg",[],{"id":1540,"slug":1541,"title":1542,"dynasty":90,"author":1543,"museum":49,"description":1544,"tags":1545,"thumbUrl":1556,"material":491,"size":492,"collection":137,"collections":1557,"showCount":141,"zanCount":41,"manualWeight":41,"mainColor":42},228347,"huang-zhou-zhu-lou-ji-shen-zao-228347","黄州竹楼记","沈藻","沈藻，字凝清，一字仲藻，华亭（今松江属上海市）人，明代书法家沈度之子。",[368,369,154,1546,710,730,1547,397,79,370,1548,1549,734,55,7,1550,1551,1552,1553,1554,1555],"竹楼","波","酒","茶","雁","屋","城","滩濑","素月","清风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f132ee553de624622d081448aee353c.jpg",[],{"id":1559,"slug":1560,"title":1561,"dynasty":90,"author":1562,"museum":49,"description":1563,"tags":1564,"thumbUrl":1566,"material":515,"size":137,"collection":137,"collections":1567,"showCount":141,"zanCount":41,"manualWeight":41,"mainColor":120},217056,"bai-miao-ying-zhen-tu-3-ding-yun-peng-217056","白描应真图-3","丁云鹏","丁云鹏是明朝时期的著名画家，他的白描应真图是一种具有代表性的画风。白描应真图是一种画风，它采用的是白色笔触描绘轮廓，然后使用墨色来填充和渲染图案。这种画风通常用于描绘自然风景、建筑物和人物，其中白色笔触代表着阳光和光影，而墨色则用来表示颜色和细节。丁云鹏的白描应真图具有鲜明的对比和丰富的视觉效果，它们也因其精确的再现和细腻的笔触而备受赞赏。",[24,77,353,53,610,169,7,174,1565],"器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef9808ef3cab523baafd3b3891fc1002.jpg",[],{"id":1569,"slug":1570,"title":1571,"dynasty":47,"author":1102,"museum":49,"description":1572,"tags":1573,"thumbUrl":1577,"material":491,"size":492,"collection":137,"collections":1578,"showCount":159,"zanCount":41,"manualWeight":41,"mainColor":42},288400,"lin-xiao-xiang-kui-duo-ju-hua-shi-sun-wen-288400","林潇湘魁夺菊花诗","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸。",[23,24,26,25,169,300,524,1574,54,7,1575,1576,27],"园林","游船","宴饮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8680ac2375a247993af1aa51a1c52151.jpg",[],{"id":1580,"slug":1581,"title":1582,"dynasty":47,"author":126,"museum":49,"description":1061,"tags":1583,"thumbUrl":1585,"material":491,"size":492,"collection":137,"collections":1586,"showCount":159,"zanCount":41,"manualWeight":41,"mainColor":42},264282,"jiang-se-ke-si-you-shui-tuan-he-lu-hua-hui-wen-pao-liao-yi-ming-264282","绛色缂丝有水团鹤鹿花卉纹袍料",[396,30,32,7,599,97,1584],"水纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fa73adec5efafbfd944f0758729b931.jpg",[],{"id":1588,"slug":1589,"title":1590,"dynasty":47,"author":126,"museum":49,"description":1364,"tags":1591,"thumbUrl":1592,"material":491,"size":492,"collection":137,"collections":1593,"showCount":159,"zanCount":41,"manualWeight":41,"mainColor":42},260769,"guang-xu-kuan-qing-hua-song-he-wen-bi-tong-yi-ming-260769","光绪款青花松鹤纹笔筒",[921,1366,1256,272,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10f89d162e3c3ee0c9bcec16b720f015.jpg",[],{"id":1595,"slug":1596,"title":1597,"dynasty":47,"author":126,"museum":49,"description":1598,"tags":1599,"thumbUrl":1602,"material":491,"size":492,"collection":137,"collections":1603,"showCount":159,"zanCount":41,"manualWeight":41,"mainColor":42},258247,"yong-zheng-kuan-qing-hua-song-zhu-mei-hou-he-tu-wan-yi-ming-258247","雍正款青花松竹梅猴鹤图碗","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。",[1255,1366,1600,921,95,79,112,611,7,1601],"釉下彩","碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0fc7a2a433ed5221744a9a74aeead14.jpg",[],{"id":1605,"slug":1606,"title":1607,"dynasty":90,"author":126,"museum":49,"description":1608,"tags":1609,"thumbUrl":1611,"material":491,"size":492,"collection":1612,"collections":1613,"showCount":159,"zanCount":41,"manualWeight":41,"mainColor":142},256521,"de-hua-yao-bai-you-he-lu-xian-ren-diao-xiang-yi-ming-256521","德化窑白釉鹤鹿仙人雕像","德化窑位于今福建德化，故名。作为著名的瓷窑，是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n德化瓷器是中华陶瓷烧造中的艺术珍品，始于宋代，明代后得到巨大发展。以白瓷塑佛像闻名。其制作细腻，雕刻精美，造型生动，体现了古代劳动人民的卓越才能和艺术创造力。\n在今福建德化，故名。是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n碗坪仑烧瓷较屈斗宫古窑址早，烧青白瓷，有的接近白釉，刻花蓖划纹装饰较多，盒子遗留甚丰，盖面所印阳纹装饰达一百余种，题材之丰富在南方地区首屈一指，南宋时有专门制作盒子的作坊，盒盖上阳文印花装饰题材丰富，有动物、花卉等近百种图案。划花间篦划纹亦较多，饰在碗、盘、瓶等器物上。\n屈斗宫元代办烧青白瓷，从南宋至元代。明代盛烧白瓷观音、达摩等塑像，胎釉浑然一体，如同白玉，被赞为"象牙白"、"奶白"或 "天鹅绒白。清代除烧白瓷外，盛烧青花与彩绘瓷器。元代以来，德化窑瓷器输出海外，菲律宾、马来西亚出土有元代德化窑青白瓷，泰国及东非坦桑尼亚等国家也出土有清代德化窑青花瓷器。\n这种瓷器的制作工艺程序如下：他们从地下挖取一种泥土，将它垒成一个大堆，任凭风吹、雨打、日晒，从不翻动，历时三、四十年。泥土经过这种处理，质地变得更加纯化精炼，适合制造上述各种器皿，然后抹上认为颜色合宜的釉，再将瓷器放入窑内或炉里烧制而成。因此，人们挖泥堆土，目的是替自已的儿孙贮备制造瓷器的材料而已，大量的瓷器是在城中出售， 一个威尼斯银币能买到八个瓷杯“。马可波罗的介绍，引起了西方人的强烈兴趣。",[1162,921,1610,131,169,7,599],"白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc593e4d012abc5a219749502e1e71608.jpg","瓷器精选",[1612],{"id":1615,"slug":1616,"title":1617,"dynasty":47,"author":126,"museum":49,"description":1533,"tags":1618,"thumbUrl":1620,"material":491,"size":492,"collection":137,"collections":1621,"showCount":159,"zanCount":41,"manualWeight":41,"mainColor":142},251708,"bi-yu-fu-diao-ling-he-song-chun-shu-zhuang-xing-hua-cha-yi-ming-251708","碧玉浮雕灵鹤松椿树桩形花插",[1255,1516,857,95,7,1619,812],"椿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b41e9dea0732f116bec64492c4ce6a6.jpg",[],{"id":1623,"slug":1624,"title":1625,"dynasty":47,"author":559,"museum":49,"description":1626,"tags":1627,"thumbUrl":1628,"material":491,"size":492,"collection":137,"collections":1629,"showCount":159,"zanCount":41,"manualWeight":41,"mainColor":120},235373,"peng-gong-xiang-tu-zhou-xu-gu-235373","彭公像图轴","虚谷（1823～1896），清代著名画家，海上四大家之一，有“晚清画苑第一家”之誉。俗姓朱，名怀仁，僧名虚白，字虚谷，别号紫阳山民、倦鹤，室名觉非庵、古柏草堂、三十七峰草堂。籍新安（今安徽歙县），居广陵（今江苏扬州）。初任清军参将与太平军作战，意有感触，后出家为僧。工山水、花卉、动物、禽鸟，尤长于画松鼠及金鱼。亦擅写真，工隶书。作画有苍秀之趣，敷色清新，造型生动，落笔冷消，别具风格。性情孤僻，非相处情深者不能得其片纸。早年学界画，后以擅画花果、禽鱼、山水著名。风格冷峭新奇，绣雅鲜活，无一笔滞相，匠心独运，别具一格。亦能诗，有《虚谷和尚诗录》。传世作品有《梅花金鱼图》《松菊图》《葫芦图》《蕙兰灵芝图》《枇耙图》等。",[24,78,26,270,169,272,96,7,190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F295de07b0a7bbaee0c8f29834b1a5c62.jpg",[],{"id":1631,"slug":1632,"title":1633,"dynasty":47,"author":126,"museum":49,"description":1127,"tags":1634,"thumbUrl":1636,"material":491,"size":492,"collection":137,"collections":1637,"showCount":1638,"zanCount":41,"manualWeight":41,"mainColor":42},267377,"huang-se-jiang-chou-xiu-gou-lian-kai-guang-he-shou-wen-ying-shou-yi-ming-267377","黄色江绸绣勾莲开光鹤寿纹迎手",[32,548,786,7,132,923,1635],"织物装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F513a76f499dc55ddf1bc5c5c67011c2c.jpg",[],5,{"id":1640,"slug":1641,"title":1642,"dynasty":90,"author":126,"museum":49,"description":1364,"tags":1643,"thumbUrl":1645,"material":491,"size":492,"collection":137,"collections":1646,"showCount":1638,"zanCount":41,"manualWeight":41,"mainColor":42},261950,"wan-fu-you-tong-kuan-qing-hua-he-wen-wan-yi-ming-261950","万福攸同款青花鹤纹碗",[921,1366,1601,7,537,60,1644],"日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c0a1815912554a24e4735b60aa4c5fa.jpg",[],{"id":1648,"slug":1649,"title":1650,"dynasty":47,"author":126,"museum":49,"description":1651,"tags":1652,"thumbUrl":1656,"material":491,"size":492,"collection":137,"collections":1657,"showCount":1638,"zanCount":41,"manualWeight":41,"mainColor":42},245925,"yin-du-jin-he-shi-la-qian-yi-ming-245925","银镀金鹤式蜡扦","此器取丹顶鹤伫立之姿，红冠点醒素净身形，尖喙微张，长颈蜿蜒灵动，羽翼纹理錾刻细密写实，分毫毕现飞羽层次感。银底衬着局部镀金，晕出明暗韵致，古雅沉静。瑞鹤足踏莲台，自带清隽出尘之态。\n\n它将实用蜡扦融于瑞鹤造型，把祈福长寿的美好寄寓凝于器物之中，既为案头燃香秉烛之具，亦是赏心悦目的陈设雅器。细作工艺尽显匠心，将丹顶鹤的仙姿神韵尽数拿捏，古韵悠然，是兼具审美意趣与吉祥寓意的精妙之作。",[1653,1151,812,7,1654,131,1655],"银器","飞禽","镀金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd126de96ca1ed5eac718b2eeb0e7ff1d.jpg",[],{"id":1659,"slug":1660,"title":1661,"dynasty":47,"author":126,"museum":49,"description":1662,"tags":1663,"thumbUrl":1664,"material":491,"size":492,"collection":137,"collections":1665,"showCount":222,"zanCount":41,"manualWeight":41,"mainColor":120},290172,"qing-dai-gong-ting-ren-wu-hua-ce-yi-ming-290172","清代宫廷人物画册","这幅通草纸画以细腻笔触勾勒出清代高阶文官的仪范。侧颜硬朗的官员髭须利落、神态端凝，头戴顶戴花翎，身着石青素缎常服袍。胸前补子精细绘就白鹤立于海水江崖之上，尽显文一品官员的身份规制，衣缘、马蹄袖以宝相花、缠枝纹晕染点缀，色彩明丽柔润。\n\n通草纸晕染的独特质感，让衣料光泽与刺绣层次尽显分明。纸面虽带着岁月留下的残损褶皱，却依旧能窥见画工写实入微的匠意，将清代官服的典制细节与官员的威仪风貌，静静定格在百年之前。",[24,298,26,25,169,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0678780a9fef7629a48bbbdf0034547b.jpg",[],{"id":1667,"slug":1668,"title":1669,"dynasty":47,"author":126,"museum":49,"description":1670,"tags":1671,"thumbUrl":1673,"material":491,"size":492,"collection":137,"collections":1674,"showCount":222,"zanCount":41,"manualWeight":41,"mainColor":142},274473,"tong-du-jin-xian-he-tuo-ting-shi-biao-yi-ming-274473","铜镀金仙鹤驮亭式表","中国清宫内所存以机械为动力、用珍贵材料做外壳、构造复杂的艺术性计时器。中国本是世界上发明计时器最早的国家。但自1601年意大利 传教士 利玛窦向中国明万历皇帝呈献第一件自鸣钟起，陆续有西洋钟表进献宫廷。清康熙帝把西洋钟表作为一种新科学加以重视，将西洋钟表（也称自鸣钟）贮于端凝殿南端，并将此处命名为自鸣钟处，还在宫内成立了做钟处。到乾隆时，钟表已成为帝后们生活中不可缺少之物，不但在各宫殿内陈设，就连外出乘坐的车、轿、船、马鞍上也都置有钟表。因而每年都要使用大批新奇钟表。这些钟表有清宫做钟处、广州、苏州制造的，也有英国、法国、德国、瑞士、日本等国制造的。",[1151,130,7,524,1672,131,812],"钟表","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05b73e28cd31834be07d1a9c32405763.jpg",[],{"id":1676,"slug":1677,"title":1678,"dynasty":47,"author":126,"museum":49,"description":1679,"tags":1680,"thumbUrl":1683,"material":491,"size":492,"collection":137,"collections":1684,"showCount":222,"zanCount":41,"manualWeight":41,"mainColor":142},272893,"zi-tan-mu-bian-hua-bo-li-ren-wu-tu-gua-ping-yi-ming-272893","紫檀木边画玻璃人物图挂屏","此作用色沉雅，以幽蓝铺底晕染出翻涌云海。下半幅林泉悠然，野鹿信步，仙鹤独立，两位高士驻步遥指天际，满溢世外山居的清逸安然。上半幅仙云缭绕，仙人乘云徐行，琼楼隐现云间，勾勒出缥缈阆苑。\n\n玻璃反绘的工艺让画面色彩匀净鲜亮，云浪层叠分明，仙宫、草木的明艳色彩衬于暗蓝底色，愈发灵动雅致。整幅以上下分野构图，将俗世慕仙之意融入笔间，鹿鹤暗含福寿祥瑞的祈愿，藏着清代求祥纳福的审美意趣，古雅沉静又带着灵动仙气，装饰性与人文意韵兼备。",[24,1018,1681,26,25,169,232,300,788,397,7,599,272,1682,97],"玻璃画","神话","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dff1e0ae0bcb6a9c7960a207d370862.jpg",[],{"id":1686,"slug":1687,"title":1688,"dynasty":47,"author":126,"museum":49,"description":1455,"tags":1689,"thumbUrl":1690,"material":491,"size":492,"collection":137,"collections":1691,"showCount":222,"zanCount":41,"manualWeight":41,"mainColor":42},269338,"zi-tan-xiang-qian-lu-he-tong-chun-tu-chang-fang-he-yi-ming-269338","紫檀镶嵌鹿鹤同春图长方盒",[789,131,1019,599,7,60,786,1516],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedd428c2ec59424a74c0f40a84e74e11.jpg",[],{"id":1693,"slug":1694,"title":1695,"dynasty":47,"author":126,"museum":49,"description":1127,"tags":1696,"thumbUrl":1697,"material":491,"size":492,"collection":137,"collections":1698,"showCount":222,"zanCount":41,"manualWeight":41,"mainColor":142},264475,"lv-se-jiang-chou-xiu-he-si-ji-hua-wen-pao-liao-yi-ming-264475","绿色江绸绣鹤四季花纹袍料",[32,548,7,97,1129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5380dc2fe9a833c03b642b587d1cd21f.jpg",[],{"id":1700,"slug":1701,"title":1702,"dynasty":47,"author":126,"museum":49,"description":1127,"tags":1703,"thumbUrl":1704,"material":491,"size":492,"collection":137,"collections":1705,"showCount":222,"zanCount":41,"manualWeight":41,"mainColor":42},264404,"zi-hong-se-chou-xiu-qian-cai-yun-he-an-ba-xian-wen-chang-yi-liao-yi-ming-264404","紫红色绸绣浅彩云鹤暗八仙纹氅衣料",[32,30,548,397,7,1261,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784a52a0dfd1d15d21db1349db84135e.jpg",[],{"id":1707,"slug":1708,"title":1709,"dynasty":90,"author":126,"museum":49,"description":1710,"tags":1711,"thumbUrl":1713,"material":491,"size":492,"collection":137,"collections":1714,"showCount":222,"zanCount":41,"manualWeight":41,"mainColor":42},263684,"hong-se-ke-si-yun-long-wen-zhuo-dian-yi-ming-263684","红色缂丝云龙纹桌垫","朱砂地色浓丽沉凝，衬得主体团龙愈发雄健张扬，龙目圆睁、爪牙凌厉，缂丝技法将龙鳞纹理织就分毫毕现，尽显威严皇仪。团龙环缠五色祥云，柔卷云纹中和龙的刚猛，两侧仙鹤振翅穿云，自带清逸仙气。下方江崖海涛层叠翻涌，暗喻江山永固的吉祥意涵。外缘缠枝花卉细密连绵，规整雅致，框定出协调章法。整体配色饱满鲜亮，冷暖交织，缂丝走线匀整精妙，把礼制威仪与祥瑞寓意织入丝缕，尽显手作匠心，是织物工艺中审美与内涵兼备的上乘之作。",[396,32,133,7,1117,788,26,551,1712,811,54],"桌垫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58c86747db0be455cd711e1313d966eb.jpg",[],{"id":1716,"slug":1717,"title":1718,"dynasty":47,"author":126,"museum":49,"description":1598,"tags":1719,"thumbUrl":1721,"material":491,"size":492,"collection":137,"collections":1722,"showCount":222,"zanCount":41,"manualWeight":41,"mainColor":120},258227,"yong-zheng-kuan-qing-hua-song-hou-he-tu-xiao-zhong-yi-ming-258227","雍正款青花松猴鹤图小盅",[921,1366,25,95,611,7,1720],"盅酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ff9dad53bea90b5dab11dc49810b709.jpg",[],{"id":1724,"slug":1725,"title":1726,"dynasty":47,"author":126,"museum":49,"description":1253,"tags":1727,"thumbUrl":1728,"material":491,"size":492,"collection":137,"collections":1729,"showCount":222,"zanCount":41,"manualWeight":41,"mainColor":42},251355,"qing-yu-he-lu-ren-wu-tu-fang-bi-tong-yi-ming-251355","青玉鹤鹿人物图方笔筒",[1255,1516,131,7,599,169,812],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a68f4e65f5196b19574dc7c2ed54e66.jpg",[],{"id":1731,"slug":1732,"title":1733,"dynasty":1734,"author":126,"museum":49,"description":919,"tags":1735,"thumbUrl":1736,"material":491,"size":492,"collection":137,"collections":1737,"showCount":222,"zanCount":41,"manualWeight":41,"mainColor":142},249596,"yin-shao-lan-ju-mei-he-tu-ping-yi-ming-249596","银烧蓝菊梅鹤图瓶","民国",[997,26,60,562,112,7,812],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38ae819e4f0c4a6fc20a60b096390699.jpg",[],{"id":1739,"slug":1740,"title":1741,"dynasty":47,"author":126,"museum":49,"description":1742,"tags":1743,"thumbUrl":1744,"material":491,"size":492,"collection":137,"collections":1745,"showCount":197,"zanCount":41,"manualWeight":41,"mainColor":42},273647,"zi-tan-mu-bian-qian-ya-he-lu-tu-gua-ping-yi-ming-273647","紫檀木边嵌牙鹤鹿图挂屏","此作以百宝嵌技法施艺，以松石攒簇成苍松翠叶，牙骨雕琢为仙鹤，彩石点染花卉湖石。双松虬劲挺拔，松针层叠错落，双鹤信步林下，姿态悠然温驯，月季绽露芳姿，芝草湖石点缀其间，晕染出林下闲逸清趣。屏面题御制松诗，文心与匠心相融，墨色底衬愈发凸显百宝的莹润肌理，整体色调沉穆古雅，将松鹤延年的吉祥意涵藏于雅致构图之中，尽显嵌饰工艺的精妙工巧与雅致雍容的审美意趣。",[101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代艺术的重要标志之一。",[921,786,7,54,26,812],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe81e3ea55e4dc595b2dbee7af36bea08.jpg",[],{"id":1794,"slug":1795,"title":1796,"dynasty":47,"author":126,"museum":49,"description":1797,"tags":1798,"thumbUrl":1799,"material":491,"size":492,"collection":137,"collections":1800,"showCount":197,"zanCount":41,"manualWeight":41,"mainColor":120},251672,"qing-yu-song-he-ren-wu-tu-yuan-cha-ping-yi-ming-251672","青玉松鹤人物图圆插屏","此作玉质温润莹泽，以浅浮雕技法铺陈图景。虬松枝桠苍劲，花团饱满错落，仙鹤独立汀洲，身姿舒展雍容，隐士策杖立旁，衬流云远山，构图疏密得宜。\n\n松鹤自带长寿祥瑞意涵，人物隐于林泉，暗合林泉高致的隐逸雅趣。刀工细腻利落，走线圆润流畅，将物象情态晕染尽致，把文人山水意趣融入玉作之中。配座雕刻繁复古雅，与玉屏素净清雅相映成趣，尽显雅致格调，是颇具文人情致的案头清玩。",[1255,1516,131,857,95,7,169,812],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c61cb3799442085117380729a783abc.jpg",[],{"id":1802,"slug":1803,"title":1804,"dynasty":47,"author":126,"museum":49,"description":1805,"tags":1806,"thumbUrl":1807,"material":491,"size":492,"collection":137,"collections":1808,"showCount":197,"zanCount":41,"manualWeight":41,"mainColor":142},250878,"qing-yu-fu-diao-song-zhu-mei-he-tu-hua-cha-yi-ming-250878","青玉浮雕松竹梅鹤图花插","整块青玉温润莹泽，随形取势雕琢而成。器身仿竹节为骨，浮雕竹叶舒展清隽，尽显君子挺拔之姿。梅枝虬曲缠绕口沿，花苞点点暗藏生机，古松苍劲枝桠错落蔓延。仙鹤敛羽伫立身侧，身姿雅洁翩然，底部灵芝顽石相衬，暗合长寿吉祥之意。\n\n透雕、浮雕技法相融，刀工婉转细腻，虚实之间尽显雅致文气。天然玉色俏色巧做，让古意愈浓。既是文房清供花插，又将岁寒三友的文人风骨与祥瑞寓意揉为一体，尽显清代玉雕的雅致匠心。",[1255,1516,857,95,79,112,7,812],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61ed131f21707c38781e1be91d86bd61.jpg",[],{"id":1810,"slug":1811,"title":1812,"dynasty":1734,"author":126,"museum":49,"description":919,"tags":1813,"thumbUrl":1816,"material":491,"size":492,"collection":137,"collections":1817,"showCount":197,"zanCount":41,"manualWeight":41,"mainColor":142},249595,"yin-shao-lan-mei-he-tu-ping-yi-ming-249595","银烧蓝梅鹤图瓶",[1734,1814,997,1653,1815,26,60,112,7],"银烧蓝","瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94f81c9dfabef46e2d98d64c727c4a89.jpg",[],{"id":1819,"slug":1820,"title":1821,"dynasty":47,"author":126,"museum":49,"description":1455,"tags":1822,"thumbUrl":1824,"material":491,"size":492,"collection":137,"collections":1825,"showCount":197,"zanCount":41,"manualWeight":41,"mainColor":42},248540,"jin-qi-hua-hui-tao-he-wen-mei-hua-shi-he-yi-ming-248540","金漆花卉桃鹤纹梅花式盒",[1255,1457,1823,26,812,97,339,7,112],"金漆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef9e46603a5ee8f795ff595d6061d20f.jpg",[],{"id":1827,"slug":1828,"title":1829,"dynasty":47,"author":126,"museum":49,"description":1455,"tags":1830,"thumbUrl":1837,"material":491,"size":492,"collection":137,"collections":1838,"showCount":197,"zanCount":41,"manualWeight":41,"mainColor":120},247152,"qian-long-kuan-ti-hong-wu-fu-peng-shou-wen-kai-guang-he-lu-tu-ru-yi-shi-san-ceng-tao-he-yi-ming-247152","乾隆款剔红五蝠捧寿纹开光鹤鹿图如意式三层套盒",[1255,1457,1831,131,1201,7,599,923,1832,1833,1834,789,1263,134,1835,1836],"剔红","如意纹","开光","三层套盒","禽","吉祥纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F821ae2a94b257b8be541a28ab17f8a9e.jpg",[],{"id":1840,"slug":1841,"title":1842,"dynasty":47,"author":126,"museum":49,"description":1455,"tags":1843,"thumbUrl":1845,"material":491,"size":492,"collection":137,"collections":1846,"showCount":197,"zanCount":41,"manualWeight":41,"mainColor":120},247026,"qian-long-kuan-ti-hong-shan-shui-ren-wu-song-he-tu-bian-yuan-he-yi-ming-247026","乾隆款剔红山水人物松鹤图扁圆盒",[1255,1457,1831,131,232,169,95,7,1844],"扁圆器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c17eb6928c01e3eec396e2dfca97fa5.jpg",[],{"id":1848,"slug":1849,"title":1850,"dynasty":47,"author":1851,"museum":405,"description":1852,"tags":1853,"thumbUrl":1854,"material":1855,"size":1856,"collection":588,"collections":1857,"showCount":197,"zanCount":41,"manualWeight":41,"mainColor":120},241090,"wu-yan-shi-zhou-jiang-chen-ying-241090","五言诗轴","姜宸英","姜宸英（1628－1699年），明末清初书法家、史学家，与 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罗汉九长老像 是一幅清朝时期的佛教画作，描绘了九位罗汉，这些罗汉是佛教中的超凡脱俗的人物，他们拥有超凡的智慧和慈悲之心，并且被视为佛教中的榜样。\n\n在这幅画中，佚名以精细的笔触描绘了九位罗汉的形象，每一位罗汉都面带慈祥的微笑，身着精致的法衣，体现出他们超凡的品德和修行的成果。画面中还有许多佛教的装饰元素，如佛像、佛经、菩提树等，为整幅画作增添了浓厚的佛教气息。\n\n总的来说，佚名的 罗汉九长老像 是一幅非常精美的佛教画作，其中所传达出的超凡慈悲和修行成果，对于追求佛道的人来说是一种极大的启发和鼓励。",[23,24,77,610,26,25,1255,1925,169,1140,611,7,95,706,57,96,1926,1927,1928,153],"罗汉","传统服饰","佛画风格","动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe7bb8c794f616214b5d985ba5ca11a8.jpg",[],{"id":1932,"slug":1933,"title":1934,"dynasty":72,"author":1935,"museum":187,"description":1936,"tags":1937,"thumbUrl":1938,"material":356,"size":1939,"collection":137,"collections":1940,"showCount":197,"zanCount":41,"manualWeight":41,"mainColor":120},217972,"shi-liu-ying-zhen-tu-15-fan-long-217972","十六应真图-15","梵隆","本卷采用李公麟的白描风格，描写了16罗汉的境界，每一种境界都通过他所达到的三昧而表现出不同的奇异境界。",[23,24,77,353,610,169,7,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19efcfa752505e4241c149f2de9241a.jpg","30.5x1062.5",[],{"id":1942,"slug":1943,"title":1944,"dynasty":90,"author":1562,"museum":49,"description":1563,"tags":1945,"thumbUrl":1946,"material":515,"size":137,"collection":137,"collections":1947,"showCount":197,"zanCount":41,"manualWeight":41,"mainColor":120},217053,"bai-miao-ying-zhen-tu-4-ding-yun-peng-217053","白描应真图-4",[24,77,353,610,169,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e7a90a5409ebe947c2183a35f73e780.jpg",[],{"id":1949,"slug":1950,"title":1951,"dynasty":47,"author":1952,"museum":1287,"description":1953,"tags":1954,"thumbUrl":1955,"material":137,"size":137,"collection":137,"collections":1956,"showCount":197,"zanCount":41,"manualWeight":41,"mainColor":1957},202552,"you-he-shou-mei-tu-zhou-jin-lian-202552","有鹤守梅图轴","金湅","一只仙鹤伫立梅枝下，羽白胜雪，墨羽点缀，丹顶如朱，身姿挺秀。老梅虬枝盘结，繁花缀枝，浓墨写干见苍劲，淡彩点花显妍媚。下方怪石以泼墨皴擦，朴拙厚重。笔墨兼施，写意传神，鹤之高洁与梅之傲岸相映，尽显清雅古逸之韵，传递出坚守孤高的文人意趣。",[24,270,26,60,112,7,152,271,231,78,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe12295bad032e2a4f220fd253cae8ad6.jpg",[],"ac9881",{"id":1959,"slug":1960,"title":1961,"dynasty":47,"author":1962,"museum":49,"description":1963,"tags":1964,"thumbUrl":1965,"material":491,"size":492,"collection":137,"collections":1966,"showCount":277,"zanCount":41,"manualWeight":41,"mainColor":120},290571,"yu-zhi-yong-he-er-shou-deng-shi-cheng-shan-peng-yuan-rui-290571","御制咏鹤二首等诗成扇","彭元瑞","彭元瑞（1731—1803），字掌仍，一字辑五，号芸楣（一作云楣），江西南昌人，清代大臣、学者，楹联名家。乾隆二十二年进士，改庶吉士，授编修，官至工部尚书、协办大学士。元瑞博学强记，时有令誉。纪昀为《四库全书》总纂官时，彭元瑞是十个副总裁之一。与蒋士铨合称“江右两名士”。",[352,368,369,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31eeee96849458b9130de80028bd97ce.jpg",[],{"id":1968,"slug":1969,"title":1970,"dynasty":47,"author":126,"museum":49,"description":1971,"tags":1972,"thumbUrl":1974,"material":491,"size":492,"collection":137,"collections":1975,"showCount":277,"zanCount":41,"manualWeight":41,"mainColor":120},281483,"jin-qi-qian-tong-luo-dian-hua-hui-bo-gu-tu-chang-fang-ti-xia-yi-ming-281483","金漆嵌铜螺钿花卉博古图长方提匣","用金、银、玉、贝等做成的花朵状装饰品。",[1457,786,131,1401,1823,97,713,54,7,1973],"博古图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0442c9b073ee1b5be1f9d774157f9b04.jpg",[],{"id":1977,"slug":1978,"title":1979,"dynasty":1980,"author":126,"museum":49,"description":1981,"tags":1982,"thumbUrl":1983,"material":491,"size":492,"collection":137,"collections":1984,"showCount":277,"zanCount":41,"manualWeight":41,"mainColor":42},280416,"wang-cheng-shuang-he-xian-yu-wen-liang-mian-tong-yin-yi-ming-280416","“王秤”双鹤衔鱼纹两面铜印","汉","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。",[154,702,130,129,7,887],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab08d8a8e532bf47a482110f0708c921.jpg",[],{"id":1986,"slug":1987,"title":1988,"dynasty":1980,"author":126,"museum":49,"description":1981,"tags":1989,"thumbUrl":1990,"material":491,"size":492,"collection":137,"collections":1991,"showCount":277,"zanCount":41,"manualWeight":41,"mainColor":42},279390,"shuang-he-xian-yu-wen-gui-niu-tong-yin-yi-ming-279390","双鹤衔鱼纹龟钮铜印",[154,129,130,702,284,7,887],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24913b5862e3ca5dfb27974fff507f47.jpg",[],{"id":1993,"slug":1994,"title":1995,"dynasty":1980,"author":126,"museum":49,"description":1981,"tags":1996,"thumbUrl":1997,"material":491,"size":492,"collection":137,"collections":1998,"showCount":277,"zanCount":41,"manualWeight":41,"mainColor":42},278486,"dong-tong-shuang-he-wen-liang-mian-tong-yin-yi-ming-278486","“董通”双鹤纹两面铜印",[154,702,130,129,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24bed27be3438e87b424863ca9555907.jpg",[],{"id":2000,"slug":2001,"title":2002,"dynasty":47,"author":126,"museum":49,"description":2003,"tags":2004,"thumbUrl":2008,"material":491,"size":492,"collection":137,"collections":2009,"showCount":277,"zanCount":41,"manualWeight":41,"mainColor":120},272959,"hei-qi-qian-cai-shi-xiao-gui-yi-ming-272959","黑漆嵌彩石小柜","黑漆为底，以彩石与螺钿嵌饰百灵。丹凤傲然、仙鹤伫立、锦鸡顾盼，群鸟或振翅穿林，或栖落松枝，翎羽色泽明丽鲜活，衬以苍松、花卉，满铺柜体却疏密有致。\n\n柜体边角以素铜包镶，搭配圆形铜质面叶，古拙雅致。将百鸟朝凤的祥瑞吉意，融于榫卯与嵌饰之间，把中式匠人的审美巧思凝于方寸柜体。髹漆莹润内敛，嵌饰工艺精妙入微，既有置物收纳的实用之能，亦饱含赏玩怡情的审美意趣，是传统工艺美学与吉祥寓意结合的精巧之作。",[1457,2005,60,2006,59,7,2007,97,789],"柜","嵌彩石","鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F196b09400920d1ea67a9eb5857459a4a.jpg",[],{"id":2011,"slug":2012,"title":2013,"dynasty":47,"author":126,"museum":49,"description":784,"tags":2014,"thumbUrl":2018,"material":491,"size":492,"collection":137,"collections":2019,"showCount":277,"zanCount":41,"manualWeight":41,"mainColor":120},270181,"zhu-bian-xi-di-qian-jia-nan-mu-diao-hua-tu-mian-mu-qian-yin-si-bing-tuan-shan-yi-ming-270181","竹编席地嵌茄楠木雕花图面木嵌银丝柄团扇",[352,2015,2016,2017,112,7,131,789,786],"团扇","竹编","木雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F740ce3cdb673be5324130569848f686c.jpg",[],{"id":2021,"slug":2022,"title":2023,"dynasty":47,"author":126,"museum":49,"description":2024,"tags":2025,"thumbUrl":2028,"material":491,"size":492,"collection":137,"collections":2029,"showCount":277,"zanCount":41,"manualWeight":41,"mainColor":120},269917,"zhu-gen-diao-song-he-wen-bei-yi-ming-269917","竹根雕松鹤纹杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[2026,131,2027,95,7,789,812],"竹根雕","饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F150b73d48d14e279c47885347aa334a2.jpg",[],{"id":2031,"slug":2032,"title":2033,"dynasty":47,"author":126,"museum":49,"description":1253,"tags":2034,"thumbUrl":2035,"material":491,"size":492,"collection":137,"collections":2036,"showCount":277,"zanCount":41,"manualWeight":41,"mainColor":42},269362,"zi-tan-diao-he-lu-tu-bi-tong-yi-ming-269362","紫檀雕鹤鹿图笔筒",[789,131,1256,7,599,232,190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fced153271dce79b79731897c77c3c71b.jpg",[],{"id":2038,"slug":2039,"title":1767,"dynasty":47,"author":126,"museum":49,"description":1768,"tags":2040,"thumbUrl":2043,"material":491,"size":492,"collection":137,"collections":2044,"showCount":277,"zanCount":41,"manualWeight":41,"mainColor":142},267290,"dian-cui-xiang-liao-shi-hu-lu-hua-he-wen-tou-hua-yi-ming-267290",[31,1346,1019,7,2041,1516,2042,1770],"葫芦花","宝石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F527bcb3d53fab6b03d54f886a5836b48.jpg",[],{"id":2046,"slug":2047,"title":2048,"dynasty":47,"author":126,"museum":49,"description":2049,"tags":2050,"thumbUrl":2052,"material":491,"size":492,"collection":137,"collections":2053,"showCount":277,"zanCount":41,"manualWeight":41,"mainColor":120},267055,"hong-se-duan-xiu-he-lu-tong-chun-wen-dai-shi-he-bao-yi-ming-267055","红色缎绣鹤鹿同春纹袋式荷包","荷包是中国汉族传统服饰中，人们所随身佩带的一种装零星物品的小包，后发展为爱情信物，荷包的图案有繁有简，花卉、鸟、兽、草虫、山水、人物以及吉祥语、诗词文字都有，装饰意味很浓。\n在民间荷包中，占相当比重的是香包，香包里装有香草之类的药品，包面上绣制着“五毒”，即蝎子、蛇、蜈蚣、壁虎和蟾蜍，它原是五月端午的节令物品，为了防止各种毒虫猖獗，侵害人体，人们相互馈赠，挂在衣襟或帐勾上，以避除“五毒”。就形状来看，有虎形的、鸡形的、如意形的、寿桃形的、蝙蝠形的，以取意于福、禄、寿、喜、吉祥、如意等。富有深厚民族心理基础的绣荷包，在民间文化中，显示着旺盛的生命力。",[31,786,32,548,7,599,1836,2051],"荷包","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0272c3a7100dc7ca2c469a2fef8f104.jpg",[],{"id":2055,"slug":2056,"title":2057,"dynasty":47,"author":126,"museum":49,"description":2058,"tags":2059,"thumbUrl":2065,"material":491,"size":492,"collection":137,"collections":2066,"showCount":277,"zanCount":41,"manualWeight":41,"mainColor":42},265774,"jiang-se-na-sha-gou-lian-fu-shou-he-jin-long-wen-nv-dan-long-pao-yi-ming-265774","绛色纳纱勾莲蝠寿鹤金龙纹女单龙袍","清代皇帝服饰有朝服、吉服、常服、行服等。皇帝的龙袍属于吉服范畴，比朝服、衮服等礼服略次一等，平时较多穿着。穿龙袍时，必须戴吉服冠，束吉服带及挂朝珠。龙袍以明黄色为主也可用金黄杏黄等色。古时称帝王之位，为九五之尊。九、五两数，通常象征着高贵，在皇室建筑、生活器具等方面都有所反映。清朝皇帝的龙袍，据文献记载，也绣有九条龙。从实物来看，前后只有八条龙，与文字记载不符，缺一条龙。有人认为还有一条龙是皇帝本身。其实这条龙客观存在着，只是被绣在衣襟里面，一般不易看到。这样一来，每件龙袍实际即为九龙，而从正面或背面单独看时，所看见的都是五龙，与九五之数正好相吻合。另外，龙袍的下摆，斜向排列着许多弯曲的线条，名谓水脚。水脚之上，还有许多波浪翻滚的水浪，水浪之上，又立有山石宝物，俗称“海水江涯”，它除了表示绵延不断的吉祥含意之外，还有“一统山河”和“万世升平”的寓意。\n皇后常服样式，与满族贵妇服饰基本相似，圆领、大襟，衣领、衣袖及衣襟边缘，都饰有宽花边，只是图案有\n所不同。本图展示的服装纹样为凤穿牡丹。整件服装在鲜艳的蓝色缎地上，绣八只彩凤，彩凤中间，穿插数朵牡丹。牡丹的颜色处理得净穆而素雅，色彩变化惟妙，具有传统的山水画特点。与此相反，凤的颜色比较浓重，红绿对比度极为强烈，具有典型民族风格和时代特色。\n清代官服主要品种为长袍马褂。官帽与前朝截然不同，凡军士、差役以上军政人员都戴似斗笠而小的纬帽，按冬夏季节有暖帽、凉帽之分，还视品级高低安上不同颜色、质料的“顶子”，帽后拖一束孔雀翎。翎称花翎，高级的翎上有“眼”（羽毛上的圆斑），并有单眼、双眼、三眼之别，眼多者为贵，只有亲王或功勋卓著的大臣才被赏戴。皇帝有时还赏穿黄马褂，以示特别恩宠。影响所及，其他颜色的马褂遂在官员士绅中逐渐流行，成为一般的礼服。四、五品以上官员还项挂朝珠，用各种贵重珠宝、香木制成，构成清代官服的又一特点。丝纺绣染及各种手工专业的进步，为清代服饰品种的丰富创造了条件。\n清代男装主要是长袍和马褂，袖端呈马蹄形是历代不曾见过的。长袍造型简练，立领直身，偏大襟，前后衣身有接缝，下摆有两开衩（古时称“缺裤”），四开衩和无开衩几种类型。皇室贵族为便于骑射，着四面开衩长袍，即衣前后中缝和左右两侧均有开衩的式样，平民则着左右两侧开衩或称“一裹圆”的不开衩长袍。在我国文学名著《红楼梦》第九十四回“宴海棠贾母赏花妖”一节中，记述了一段内容“那日宝玉本来穿着”一裹圆的皮袄在家休息，忽听贾母要来，便去换了一件狐腋箭袖，罩了一件玄狐腿外褂。这里说明“一裹圆”，是休闲衣服，不可登大雅之堂，所以贾母的到来，必须换掉便装，改着正式穿戴。满清时期长袍外面的马褂身长不过膝，袖宽且短。衣服上的佩饰比较琐繁，一个金银牌上垂挂着数十件小东西，如耳挖子、镊子、牙签，还有一些古代兵器的小模型，如戟、枪之类，佩挂饰物在清代已经形成风尚。",[2060,30,32,133,7,2061,923,2062,2063,2064,26],"龙袍","蝠纹","勾莲纹","纳纱","织绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F253819238c03b703724756f7706b0afa.jpg",[],{"id":2068,"slug":2069,"title":2070,"dynasty":47,"author":126,"museum":49,"description":1031,"tags":2071,"thumbUrl":2073,"material":491,"size":492,"collection":137,"collections":2074,"showCount":277,"zanCount":41,"manualWeight":41,"mainColor":120},264464,"lv-se-zhi-ma-sha-xiu-qian-cai-mei-he-wen-chang-yi-liao-yi-ming-264464","绿色芝麻纱绣浅彩梅鹤纹氅衣料",[32,30,548,2072,713,7,60],"浅彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cefd420f45b71f06208324b1c956dcf.jpg",[],{"id":2076,"slug":2077,"title":2078,"dynasty":47,"author":126,"museum":49,"description":1364,"tags":2079,"thumbUrl":2080,"material":491,"size":492,"collection":137,"collections":2081,"showCount":277,"zanCount":41,"manualWeight":41,"mainColor":42},261651,"cheng-hua-kuan-qing-hua-he-tao-tu-zhe-yan-wan-yi-ming-261651","成化款青花鹤桃图折沿碗",[921,1366,7,339,1601,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4872b8e61039c90abdf04ac7b549cdef.jpg",[],{"id":2083,"slug":2084,"title":2085,"dynasty":47,"author":126,"museum":49,"description":1364,"tags":2086,"thumbUrl":2087,"material":491,"size":492,"collection":137,"collections":2088,"showCount":277,"zanCount":41,"manualWeight":41,"mainColor":120},260013,"qing-hua-yun-he-wen-wo-zu-wan-yi-ming-260013","青花云鹤纹卧足碗",[921,1366,7,1117,786],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74decaff9cc078fdb449adb2243eb7d5.jpg",[],{"id":2090,"slug":2091,"title":2092,"dynasty":47,"author":126,"museum":49,"description":1364,"tags":2093,"thumbUrl":2094,"material":491,"size":492,"collection":137,"collections":2095,"showCount":277,"zanCount":41,"manualWeight":41,"mainColor":120},258962,"qing-hua-he-lu-tu-bo-gang-yi-ming-258962","青花鹤鹿图钵缸",[921,1366,7,599,95,397,232,812],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dfb969bbd9f9455107131a3fd69a57d.jpg",[],{"id":2097,"slug":2098,"title":2099,"dynasty":90,"author":126,"museum":49,"description":1364,"tags":2100,"thumbUrl":2103,"material":491,"size":492,"collection":137,"collections":2104,"showCount":277,"zanCount":41,"manualWeight":41,"mainColor":42},257376,"ge-you-qing-hua-song-he-lu-wen-mei-ping-yi-ming-257376","哥釉青花松鹤鹿纹梅瓶",[921,2101,1366,2102,95,7,54,599,134,812],"哥釉","开片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff03335625c7b683ed753a37b71677c7.jpg",[],{"id":2106,"slug":2107,"title":2108,"dynasty":47,"author":126,"museum":49,"description":1533,"tags":2109,"thumbUrl":2110,"material":491,"size":492,"collection":137,"collections":2111,"showCount":277,"zanCount":41,"manualWeight":41,"mainColor":120},252146,"bi-yu-fu-diao-song-he-wen-ling-zhi-shi-ru-yi-yi-ming-252146","碧玉浮雕松鹤纹灵芝式如意",[1516,857,95,7,340,812],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e65bab78628831ca5131c0aa4cd8693.jpg",[],{"id":2113,"slug":2114,"title":2115,"dynasty":47,"author":126,"museum":49,"description":2116,"tags":2117,"thumbUrl":2120,"material":491,"size":492,"collection":137,"collections":2121,"showCount":277,"zanCount":41,"manualWeight":41,"mainColor":120},251526,"qing-yu-shuang-mian-diao-song-he-tu-yuan-cha-ping-yi-ming-251526","青玉双面雕松鹤图圆插屏","玉质莹润清透，采用双面浮雕技法琢制。一面松枝虬曲苍劲，松团如盖，仙鹤引颈伫立，另有飞鸟振翅穿林，灵动悠然，生机尽显。留白处阴刻题字，笔意隽秀，衬出文雅意趣，将松鹤延年的吉祥寓意融于玉色间。\n\n整体构图疏密得当，雕琢线条柔和细腻，把物象形态刻画得鲜活传神。搭配镂雕紫檀底座，松纹与屏面景致呼应无间，玉雕的温润雅致与木座的沉郁古拙相得益彰，尽显清代玉雕工艺的精巧雅致，藏着中式审美里对长寿安宁的美好祈愿。",[1516,2118,131,2119,812,95,7,54],"青玉","双面雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd04e632330c7a2b9bfd0af387fa23c6b.jpg",[],{"id":2123,"slug":2124,"title":2125,"dynasty":47,"author":126,"museum":49,"description":1533,"tags":2126,"thumbUrl":2127,"material":491,"size":492,"collection":137,"collections":2128,"showCount":277,"zanCount":41,"manualWeight":41,"mainColor":42},250940,"qing-yu-lu-he-tong-chun-song-shan-ru-yi-yi-ming-250940","青玉鹿鹤同春松山如意",[1516,131,599,7,95,710,812],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff23172b5fe34ba297e7124c5cd148fea.jpg",[],{"id":2130,"slug":2131,"title":2132,"dynasty":47,"author":126,"museum":49,"description":2133,"tags":2134,"thumbUrl":2135,"material":491,"size":492,"collection":137,"collections":2136,"showCount":277,"zanCount":41,"manualWeight":41,"mainColor":142},249158,"qia-si-fa-lang-san-xing-tu-cha-ping-yi-ming-24915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，江苏扬州仪征人。清朝中期官员、经学家、训诂学家、金石学家 。\n阮元为乾隆五十四年（1789年）进士，先后在礼部、兵部、户部、工部供职，并出任山东、浙江学政，浙江、江西、河南巡抚及漕运总督、湖广总督、两广总督、云贵总督等职。身历乾隆、嘉庆、道光三朝，所至之处，以提倡学术、振兴文教为自任，勤于军政，治绩斐然。晚年官拜体仁阁大学士，致仕后加官至太傅。道光二十九年（1849年），阮元去世，年八十六。获赐谥号“文达”。\n阮元提倡朴学，曾罗致学者编书刊印，主编《经籍籑诂》，校刻《十三经注疏》，汇刻《皇清经解》等，于数学、天算、舆地、编纂、金石、校勘等方面亦多有建树 ，史称其“身历乾、嘉文物鼎盛之时，主持风会数十年，海内学者奉为山斗焉” 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qiang-jin-cai-qi-he-lu-tu-chang-fang-wei-jiao-he-yi-ming-246126","乾隆款戗金彩漆鹤鹿图长方委角盒",[1457,2485,26,7,599,812],"戗金彩漆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3290b50485548dc5f2b24b9079a0662.jpg",[],{"id":2489,"slug":2490,"title":2491,"dynasty":47,"author":126,"museum":49,"description":1455,"tags":2492,"thumbUrl":2493,"material":491,"size":492,"collection":137,"collections":2494,"showCount":239,"zanCount":41,"manualWeight":41,"mainColor":42},246123,"qian-long-kuan-qiang-jin-cai-qi-he-lu-tu-chang-fang-he-yi-ming-246123","乾隆款戗金彩漆鹤鹿图长方盒",[1255,2485,1457,26,7,599,812],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F088a0b3164bf9ad6e9d4d2d17eaa6d21.jpg",[],{"id":2496,"slug":2497,"title":2498,"dynasty":90,"author":126,"museum":49,"description":1389,"tags":2499,"thumbUrl":2501,"material":491,"size":492,"collection":137,"collections":2502,"showCount":239,"zanCount":41,"manualWeight":41,"mainColor":42},246109,"qiang-jin-cai-qi-song-he-tu-yuan-pan-yi-ming-246109","戗金彩漆松鹤图圆盘",[1457,2485,26,95,7,2500],"圆盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6a567891f4d46be6a5ae77a342ba4ff.jpg",[],{"id":2504,"slug":2505,"title":1650,"dynasty":47,"author":126,"museum":49,"description":2506,"tags":2507,"thumbUrl":2509,"material":491,"size":492,"collection":137,"collections":2510,"showCount":239,"zanCount":41,"manualWeight":41,"mainColor":42},245924,"yin-du-jin-he-shi-la-qian-yi-ming-245924","此件器物以灵鹤为形，身姿修长隽雅，银质与鎏金晕染交融，翎羽錾刻细腻入微，纹理层叠分明，将仙鹤欲振未飞的神韵凝于案头。鹤首承托蜡扦，将供具的实用功能，与灵瑞意象合二为一。\n\n仙鹤自古便为长寿吉庆的象征，这件器物将祥瑞意趣融入金属细作，褪去匠造粗粝，尽显清逸雅致的工艺格调，把灵禽风姿定格为案间雅物，静穆中流淌古韵清辉。",[1255,1653,1151,7,812,131,2508],"金属工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2240f84857eb041f365e4d0ecc8c15a1.jpg",[],{"id":2512,"slug":2513,"title":2514,"dynasty":1980,"author":126,"museum":49,"description":2515,"tags":2516,"thumbUrl":2519,"material":491,"size":492,"collection":137,"collections":2520,"showCount":239,"zanCount":41,"manualWeight":41,"mainColor":42},243984,"gui-he-bo-shan-lu-yi-ming-243984","龟鹤博山炉","汉代青铜器产生于青铜时代的晚期，在我国青铜史上占有特殊的地位，体现出独特的设计思想和特征，具有卓越的科学功能，并对当今设计有很大的启示作用。\n汉代青铜器很多都是素纹，大部分还是铸造的，也有的花纹、铭文是用錾子雕刻的。比如汉代的鎏金杯子、奁、盒、碗等用具上的花纹，多是雕刻的。\n汉代以后至唐代的铜器，铸造的花纹很多，其中有打料的铜、金、银器，并且也有了大、小焊的技术。\n西汉初期（高祖至景帝），此时的青铜器，基本为素面。其鼎主要承自秦式，但一般三足更矮。敦盒形。\n壶有大小二型并存，大型壶腹下部略呈收缩之状，腹比秦壶要鼓；小型壶的腹部较瘦长，经常铸出变形螭纹。钫此时更流行，有的做得很讲究，通腹有镶嵌绿松石的三角云纹。\n鍪和蒜头壶继续流行。日用器皿中，高灯多见，豆式熏炉盛行，带钩显琵琶形、棒形、琴形讲究的多做成鎏金、错金银、镶玉或绿松石。\n西汉中期至东汉早期（西汉武帝至东汉章帝）是西汉青铜器最发达的时期，也是汉代青铜器新风格最终形成的时期。这时期最多见的青铜用器是鼎、壶、钫、尊、熨斗、带钩、铜镜。\n灯：古代照明器具。青铜灯出现于战国时期，而盛行于汉代。最著名的当属长信宫灯了，灯的样子很多，较普通的是有圆盘，盘内有钎，盘下有柱，柱下有圈足；也有盘下作雁足状的，盘用来盛油或插烛。\n另有一种灯自铭为“行灯”，它圆盘边有把，盘下有三短足。青铜灯最富感染力的当属那些铸成人形、禽形、兽形、树形的艺术造型灯。\n博山炉：古代焚香的器具。一般炉体作圆形，用来放香料，体下有高足，有的足还铸成人形或鸟兽形；炉盖均高而尖，雕镂成山峦形上有人物、走兽，象征海上仙山“博山”，故名“博山炉”。盛行于汉代。\n樽：古代盛酒的器皿，器作圆形，直壁，有盖，腹较深，下有三兽足，旁有铺首衔环耳。\n洗：盥洗用器皿。形状象盆，圆形、宽口沿，平或圆底，腹外多有铺首衔环耳，内底常用双鱼作装饰，并多铸吉语。盛行于汉晋。\n耳杯：古代饮酒器。多漆制，称“羽觞”。铜质者，器作椭圆形，腹壁有二环耳。\n熨斗：古式熨烫衣服的工具。形状为圆腹宽口沿，有长柄，盛行于汉魏。\n东汉中晚期（和帝至献帝）青铜器又有了新的变化。此时使用较多的铜器日用品有：钟、扁壶、盆、釜、鐎斗、灯、博山炉、炉、熨斗、尊、耳杯、虎子、车马器、带钩、铜镜、玺印等。\n此时青铜器的特点是比以前轻薄、错金银技术在青铜器装饰中几乎消失，鎏金仍多，鎏金器上出现了细线阴刻云纹。",[129,130,131,284,7,636,2405,2517,1263,2518],"熏香器","造型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18ad7fc91b064a371a409e9cb6681445.jpg",[],{"id":2522,"slug":2523,"title":2524,"dynasty":47,"author":2525,"museum":49,"description":2526,"tags":2527,"thumbUrl":2529,"material":491,"size":492,"collection":137,"collections":2530,"showCount":239,"zanCount":41,"manualWeight":41,"mainColor":120},240652,"qi-jue-shi-zhou-fang-heng-xian-240652","七绝诗轴","方亨咸","方亨咸（？－？），字吉偶、吉儒，號邵邨、邵村，南京安慶府桐城縣人，清朝政治人物、進士出身。方拱乾之子、方玄成之弟、方章鉞之兄。",[78,369,368,154,95,79,899,2528,7],"云山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe469cdb18f78aa3901ab2155bee61b17.jpg",[],{"id":2532,"slug":2533,"title":2534,"dynasty":47,"author":2535,"museum":49,"description":2536,"tags":2537,"thumbUrl":2538,"material":491,"size":492,"collection":137,"collections":2539,"showCount":239,"zanCount":41,"manualWeight":41,"mainColor":120},236944,"jiu-ru-zhi-ji-ce-wang-gai-236944","九如治迹册","王概","王概，又作王槩。初名匄，一作改，亦名丐，字东郭，又字安节，后改今名，秀水（今浙江嘉兴）人，久居江苏金陵（今南京）。兄王蓍，初名尸，字宓草。以花鸟擅名，兼善诗文、治印。",[24,52,298,297,26,169,300,886,7,368,175,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F138f5ab3783cc65a625c58cc6cc2fb05.jpg",[],{"id":2541,"slug":2542,"title":2543,"dynasty":90,"author":2544,"museum":49,"description":2545,"tags":2546,"thumbUrl":2547,"material":137,"size":137,"collection":137,"collections":2548,"showCount":239,"zanCount":41,"manualWeight":41,"mainColor":120},233616,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233616","十竹斋五色笺谱册","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。",[24,77,298,270,26,60,7,353,368],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bb59a8f1a3aee6bead82080c10d3ff7.jpg",[],{"id":2550,"slug":2551,"title":2552,"dynasty":90,"author":126,"museum":49,"description":1514,"tags":2553,"thumbUrl":2554,"material":491,"size":492,"collection":137,"collections":2555,"showCount":239,"zanCount":41,"manualWeight":41,"mainColor":120},228626,"bai-yu-lou-hua-qian-shi-jian-yi-ming-228626","白玉镂花嵌饰件",[1162,1516,1517,131,1117,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9efa7d8f45d66c4884787f1ea2cfae0.jpg",[],{"id":2557,"slug":2558,"title":2559,"dynasty":72,"author":1935,"museum":187,"description":1936,"tags":2560,"thumbUrl":2561,"material":356,"size":1939,"collection":137,"collections":2562,"showCount":239,"zanCount":41,"manualWeight":41,"mainColor":120},217971,"shi-liu-ying-zhen-tu-16-fan-long-217971","十六应真图-16",[23,24,77,353,169,610,7,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F334713940e2915b369011b896b2f631e.jpg",[],{"id":2564,"slug":2565,"title":1296,"dynasty":2566,"author":2567,"museum":1287,"description":2568,"tags":2569,"thumbUrl":2570,"material":137,"size":137,"collection":137,"collections":2571,"showCount":239,"zanCount":41,"manualWeight":41,"mainColor":2572},202761,"song-he-tu-zhou-xu-bei-hong-202761","近代","徐悲鸿","老松枝干虬曲，墨色浓淡交错间尽显苍劲之姿，松针以细碎笔触攒簇，繁而不乱。仙鹤独立枝上，身形修长挺拔，羽毛用淡墨晕染，层次细腻如绒；丹顶朱红点睛，喙与长腿以劲挺线条勾勒，写实中见写意之妙。仙鹤姿态英挺，无柔媚之态，反添刚健之气，与老松的坚韧相映成趣。整体构图疏密有致，笔墨兼具中西之长，既有中国画的气韵生动，又融入西画写实功底，传统松鹤题材在此焕新，尽显生机风骨。",[24,270,26,60,95,7,25,231,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2727a88f0788e2d473b58eed86e03fde.jpg",[],"b3b2a1",{"id":2574,"slug":2575,"title":1296,"dynasty":47,"author":2576,"museum":1287,"description":2577,"tags":2578,"thumbUrl":2581,"material":137,"size":137,"collection":137,"collections":2582,"showCount":239,"zanCount":41,"manualWeight":41,"mainColor":2583},202454,"song-he-tu-zhou-hua-yan-202454","华嵒","松枝虬劲，松针如戟，焦墨勾勒出苍劲之姿；仙鹤立于坡岸，白羽胜雪，墨羽似漆，丹顶一点朱红，顾盼生姿。笔墨干湿浓淡相宜，写意中藏精细，松鹤祥瑞之气跃然纸上，尽显文人画的雅致与生机。",[24,78,60,95,7,270,26,271,2579,2580],"丹顶","坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8f5594faa9230e944f55843fa646dec.jpg",[],"bbb9b5",{"id":2585,"slug":2586,"title":1296,"dynasty":47,"author":949,"museum":1287,"description":2587,"tags":2588,"thumbUrl":2589,"material":137,"size":137,"collection":64,"collections":2590,"showCount":239,"zanCount":41,"manualWeight":41,"mainColor":2591},201315,"song-he-tu-zhou-ren-yi-201315","苍松枝干盘曲，松针劲挺如戟，墨色浓淡间尽显老干新枝之态。两只仙鹤立于松下，一昂首远眺，白羽丰洁，黑翎劲健，丹顶朱红夺目；一低头理羽，姿态闲适。地面灵芝簇生，色彩温润，添祥瑞意趣。笔墨兼工带写，鹤身勾勒细致，松干与背景则以写意挥洒，线条灵动，设色清雅却见神采。整幅画融吉祥寓意于生动笔墨，既有传统花鸟的雅韵，又具鲜活的笔墨意趣，尽显生机与祥瑞。",[24,78,60,26,25,270,95,7,340,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cce9c15fa78e6900b744379c2d12ed0.jpg",[64],"ac967b",{"id":2593,"slug":2594,"title":2595,"dynasty":1980,"author":126,"museum":49,"description":1981,"tags":2596,"thumbUrl":2597,"material":491,"size":492,"collection":137,"collections":2598,"showCount":41,"zanCount":41,"manualWeight":41,"mainColor":42},280911,"chou-qu-shuang-he-xian-yu-wen-liang-mian-tong-yin-yi-ming-280911","“仇区”双鹤衔鱼纹两面铜印",[154,702,130,129,7,887],"https:\u002F\u002Foss.chuangqi.store\u002Ft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