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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。",[23,24,137,46,47,7,384,101,385],"桃","叶子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc91447d55f5265c58f0b6e0a06c907bb.jpg",[],51,{"id":390,"slug":391,"title":392,"dynasty":18,"author":393,"museum":20,"description":394,"tags":395,"thumbUrl":397,"material":72,"size":72,"collection":72,"collections":398,"showCount":399,"zanCount":11,"manualWeight":11,"mainColor":59},227412,"bai-yuan-xian-shou-tu-li-cheng-227412","白猿献寿图","李成","李成（919~967年），字咸熙，号营丘，京兆长安（今陕西省西安市）人。五代宋初画家，与董源、范宽并称“北宋三大家”，苏州刺史李鼎的孙子。\n博学多才，胸有大志，无处施展，醉心于书画。乾德五年，病逝于陈州，时年四十九岁。\n擅于山水画，师承于荆浩、关仝，自成一家，喜欢画郊野平远旷阔的风景。平远寒林，画法简练，气象萧疏，好用淡墨，“惜墨如金”；绘画山石如卷动的云，人称“卷云皴”；绘画寒林，开创“蟹爪”法，对于山水画的发展有重大影响。作品有《读碑窠石图》《寒林平野图》《晴峦萧寺图》《茂林远岫图》等。",[43,23,24,44,46,45,47,7,396,217,359,159],"瀑布","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd21c51cd22e4004907bdc5e4839ebbe4.jpg",[],46,{"id":401,"slug":402,"title":403,"dynasty":153,"author":154,"museum":404,"description":405,"tags":406,"thumbUrl":407,"material":408,"size":409,"collection":72,"collections":410,"showCount":399,"zanCount":11,"manualWeight":11,"mainColor":188},223577,"hou-lu-tu-yi-ming-223577","猴鹿图","美国大都会艺术博物馆","画面既有对峙的情绪，又不失诙谐，展示出猕猴调皮的一面。",[43,23,45,46,47,7,162,86,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3990bd328b807f7169b28a5e1559bb9a.jpg","绢本设色","17.8x22.2",[],{"id":412,"slug":413,"title":414,"dynasty":133,"author":134,"museum":98,"description":415,"tags":416,"thumbUrl":417,"material":418,"size":419,"collection":420,"collections":421,"showCount":399,"zanCount":148,"manualWeight":11,"mainColor":59},221073,"yuan-ma-zhou-han-gan-221073","猿马轴","该幅无款，旧题唐代韩干作。韩干，大梁人（河南开封），亦有作长安或蓝田人。公元742－755年（天宝）召入宫中为供奉。曾师曹霸，以画马而得名，唐张彦远极为推崇之。此幅绘竹石树林，三猿戏於枝间石上，其下绘黑白双骏。画上宋徽宗题字和“御书”一玺，及理宗“缉熙殿宝”玺皆伪，当为后加。然画中不论猿、马、树石、枝叶，皆描绘细腻，或为南宋作品。",[43,23,137,45,46,47,7,139,86,217,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf7b8bdb4c78758314a20784df579585.jpg","白纸本","48.58X136.8","山水画精选",[420,31],{"id":423,"slug":424,"title":318,"dynasty":18,"author":64,"museum":319,"description":425,"tags":426,"thumbUrl":428,"material":253,"size":325,"collection":55,"collections":429,"showCount":399,"zanCount":148,"manualWeight":11,"mainColor":59},216666,"ju-yuan-tu-yi-yuan-ji-216666","此图水墨画群猿在山壑丛树间的情景：画面的背景为嶙峋山石，高低不一，山石起伏，山峦亘连，山间树木丛生，有的生长在山脚下，有的生长在山缝处，充满着顽强的生命力，遍布整个山石。山谷间溪水潺潺流淌，游息其间的二十余只猿猴，只只生动活泼，姿态各异，或坐立、或攀援、或倒挂、或跳跃、或嬉戏、或食饮、或亲昵、或爱抚。\n画卷结尾有元钱选跋，图中则分别钤有南宋贾似道、清耿昭忠、安岐及清内府等鉴藏印，画上并有清乾隆皇帝弘历旧题。",[43,44,23,24,113,45,158,25,7,288,427,217,68],"老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1efaf0c1e4d20ece3e0235e08d4dc5e.jpg",[55],{"id":431,"slug":432,"title":433,"dynasty":18,"author":19,"museum":20,"description":434,"tags":435,"thumbUrl":436,"material":70,"size":71,"collection":72,"collections":437,"showCount":438,"zanCount":148,"manualWeight":11,"mainColor":59},287573,"song-yuan-tu-mu-xi-287573","松猿图","此图绘两只黑猿踞于松干上，一成年猿将一幼猿拢于怀中，形象十分生动。画家用浓墨乾笔绘猿身皮毛，很真实地表现出蓬松的质感，墨猿刻画得较为工致，可见法常是有写生基础的。",[44,23,24,25,7,47,427,288],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F785fa0ecef9736a94643b20966a7cfc7.jpg",[],45,{"id":440,"slug":441,"title":442,"dynasty":18,"author":443,"museum":20,"description":444,"tags":445,"thumbUrl":447,"material":72,"size":72,"collection":72,"collections":448,"showCount":438,"zanCount":11,"manualWeight":11,"mainColor":59},227488,"xie-sheng-hou-qin-tu-zhao-ji-227488","写生猴禽图","赵佶","赵佶，即宋徽宗，1100-1125年在位。在位时广收古物和书画，网罗画家，扩充翰林图画院，使文臣编纂《宣和书谱》、《宣和画谱》等。擅书画，真书学薛曜，自称“瘦金书”，也写狂草。绘画重视写生，以精工逼真著称，工花鸟，相传用生漆点睛，尤为生动。",[43,23,44,24,45,25,46,7,446,288,27,218,68],"昆虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bc738dc39291aa94d5820e8dca012b6.jpg",[],{"id":450,"slug":451,"title":452,"dynasty":18,"author":19,"museum":40,"description":453,"tags":454,"thumbUrl":455,"material":456,"size":457,"collection":72,"collections":458,"showCount":459,"zanCount":11,"manualWeight":11,"mainColor":59},221499,"yan-yuan-hou-tu-mu-xi-221499","岩猿猴图","日本古籍《松斋梅谱》中评价牧溪的绘画“皆随笔点墨而成，意思简当，不费装缀。”中国《画继补遗·卷上》载：“僧法常，自号牧溪。善作龙虎、人物、芦雁、杂画，枯淡山野，诚非雅玩，仅可僧房道舍，以助清幽耳。”其画笔墨淋漓，颇具禅意。遗迹多流日本。其《远浦归帆图》真迹藏于京都国立博物馆。其《松猿图》对日本禅画尤有影响。甚至被评为“日本画道的大恩人”。\n南宋画家牧溪是一个谜一样的人物，他擅长画山水、蔬果、和大写意破墨僧道人物，从这张《六柿图》中，我们可以体会到六个柿子随机的摆设，用在每个柿子上不同的笔墨、虚实、阴阳、粗细间的灵活运用，作品呈现出静物作品的“随处皆真”的境界。\n史籍关于牧溪的记载语焉不详。元代吴大素《松斋梅谱》有关于这位画家比较多的文字描述：“僧法常，蜀人，号牧溪。喜画龙虎、猿鹤、禽鸟、山水、树石、人物，不曾设色。多用蔗渣草结，又皆随笔点墨而成，意思简当，不费妆缀。松竹梅兰石具形似，荷芦写，俱有高致。”",[43,44,23,24,137,25,87,7,27,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea5cdc6899d1872fe756bc08c0532dfd.jpg","绢本水墨","37.3×28",[],42,{"id":461,"slug":462,"title":463,"dynasty":18,"author":154,"museum":464,"description":465,"tags":466,"thumbUrl":468,"material":29,"size":469,"collection":91,"collections":470,"showCount":471,"zanCount":11,"manualWeight":11,"mainColor":59},218602,"shi-liu-luo-han-tu-yi-ming-218602","十六罗汉图","美国纳尔逊阿特金斯艺术博物馆","墨线勾勒间，十六罗汉神态各异：或静立松下凝思，或拄杖徐行于林麓，或与猿猴嬉戏、鹤鹿为邻。松竹掩映，怪石嶙峋，山野之趣与禅意相融。人物衣袂飘举，线条简练却见风骨，寥寥数笔便传神情——有的须眉微蹙似在参禅，有的笑靥舒展如悟真机，有的俯身逗猴尽显自在。画面清寂中藏生机，简淡里见深致，以自然景致衬罗汉超脱之态，笔墨洗练却形神兼备，尽显古代绘者对禅林世界的诗意描摹，亦让观者于尺幅间感受那份远离尘嚣的宁静与旷达。",[43,23,24,113,205,25,87,84,160,7,162,47,467,260,86,357,68,302],"松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf090e8c5463c31d1dff3f90f8004b00.jpg","32.7x848.4",[91],41,{"id":473,"slug":474,"title":475,"dynasty":79,"author":213,"museum":476,"description":477,"tags":478,"thumbUrl":481,"material":482,"size":483,"collection":55,"collections":484,"showCount":485,"zanCount":11,"manualWeight":11,"mainColor":59},223167,"feng-hou-tu-shen-quan-223167","蜂猴图","北京故宫博物院","该作品描述了一只猴子在树上捅马蜂窝，两只猴子在树下注视，情节紧张而有趣的画面。\n这种具有吉祥寓意和祝福的绘画是沈铨特别喜爱的题材。 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因此称之为《流民图》亦可。",[43,23,24,113,205,46,84,7,301,300,562,563,564,565,549,302],"拐杖","篮子","鼓","乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd181c6127f25e533180376f904c665f0.jpg","纵28厘米，横384厘米",[],26,{"id":571,"slug":572,"title":573,"dynasty":153,"author":154,"museum":20,"description":574,"tags":575,"thumbUrl":576,"material":72,"size":72,"collection":72,"collections":577,"showCount":578,"zanCount":11,"manualWeight":11,"mainColor":59},239484,"ming-ren-song-hou-tu-zhou-yi-ming-239484","明人松猴图轴","古松虬曲苍劲，枝干盘错如游龙，松针晕染出苍莽古雅的山林底色。五只灵猴各得幽趣：枝头两猴或俯身探看，或垂首理毛，嬉闹间尽显灵动；涧边三猴或静坐沉思，或临水望影，将猿猴的通性灵态描摹尽致。\n此作用水墨晕染，淡墨铺陈空濛虚境，浓墨提点松干皴纹与猴身绒毛，虚实相生留白悠远。笔意兼顾工细与写意，灵猴造型写实鲜活，古松勾勒纵逸老辣，以松猴林下之姿，晕染出悠然出世的林泉雅韵，尽显幽寂澹远的文人意趣。",[23,24,137,44,25,158,45,467,7,217,480],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c4b47cdaf4cc40984d772c5d1dfb952.jpg",[],23,{"id":580,"slug":581,"title":582,"dynasty":18,"author":583,"museum":20,"description":584,"tags":585,"thumbUrl":588,"material":72,"size":72,"collection":72,"collections":589,"showCount":578,"zanCount":11,"manualWeight":11,"mainColor":59},227982,"xi-yuan-tu-xia-gui-227982","戏猿图","夏圭","画面以边角取景，右侧老槎盘曲，苔痕苍古，藤蔓附枝斜曳，左侧苍猿长臂勾挂柔条，探身悠荡，圆目灵动，肢体舒展如在乘风嬉游。\n\n以水墨晕染出空茫寒寂的汀渚水岸，淡墨扫出远天荒阔，枯笔勾勒长草随风偃仰，将猿猴的跳脱野趣，融于萧疏冷逸的江天氛围中。简劲洗练的笔墨衬出灵猿鲜活生机，虚实相映间，把山野幽趣藏在淡远空寂里，于尺幅间写尽林皋间自在天真的意趣。",[43,18,23,24,44,25,46,47,7,86,586,587,45],"枝叶","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f519ea9d84cee61338c616ca4061ccf.jpg",[],{"id":591,"slug":592,"title":593,"dynasty":594,"author":154,"museum":20,"description":595,"tags":596,"thumbUrl":604,"material":70,"size":71,"collection":72,"collections":605,"showCount":578,"zanCount":11,"manualWeight":11,"mainColor":59},224089,"shi-er-sheng-xiao-jing-yi-ming-224089","十二生肖镜","隋","中国铜镜的制作和使用具有悠久的历史，根据考古发掘，年代最早的铜镜为4000多年前的齐家文化。从齐家文化至西周末春秋早期制作的铜镜，多以纹饰简单、形体小、种类少。此一时期为中国铜镜制作早期阶段。\n春秋中晚期开始，我国铜镜制作和使用就发展起来了，特别是战国时期，铜镜的种类复杂，题材广泛，制作工艺精细，包括此时期铜镜的合金成分，其锡含量是最适合铜镜的使用，这些充分反应了铜镜在此时期制作技术已达到成熟阶段。汉代开始铜镜得到了进一步的发展，这时期的铜镜出现了新的类型，铭纹也正逐渐成为铜镜的纹饰组成部分，反映了汉代铸镜业的发达及铜镜商品化的发展。\n隋唐时期是中国铜镜高度发展时期，此时的铜镜突破了以往圆形与方形的传统形式，出现了菱花形、葵花形铜镜。特别是盛唐时期铜镜工艺精湛，著名的瑞兽葡萄镜更是闻名于世，这一时期铜镜发展达到了顶峰。\n从唐末，五代起中国的铜镜艺术日趋衰落，宋、金、元时期的铜镜，从造型、纹饰和合金成分上都有不同于传统铜镜的特点。明，清时期虽然铜镜还在人们日常生活当中使用，但到清代中后期随着玻璃的使用，铜镜逐渐退出了历史舞台。当今虽然不再有人使用铜镜整装容，但古代铜镜给予我们的除了收藏价值，还有对古代形制、纹饰、铭文、艺术、制作工艺、成分等等的研究价值。中历收藏品鉴定中心，为我国合法第三方专业鉴定平台，证书得到了专业人士及社会各界的高度认可，藏品鉴定可咨询。",[597,182,598,183,599,356,160,600,513,601,139,300,7,85,301,602,603],"隋代","青铜器","鼠","兔","蛇","猪","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f4279e31dfdc5b014a6c52949e36c2b.jpg",[],{"id":607,"slug":608,"title":609,"dynasty":18,"author":154,"museum":98,"description":610,"tags":611,"thumbUrl":613,"material":408,"size":614,"collection":72,"collections":615,"showCount":578,"zanCount":11,"manualWeight":11,"mainColor":59},223427,"song-ren-pi-pa-yuan-xi-tu-zhou-yi-ming-223427","宋人枇杷猿戏图轴","从画面上来看，枇杷树的枝干上下各一段，并未相接，观赏时却有著相连的感觉，这种画外之意，正是作者别出心裁的安排。而其沈着的用色、劲健的用笔则将树干的扭曲斑剥、树叶的转折、石头的坚硬和猿身黝黑的绒毛表现得栩栩如生，像可以触摸一般。然只生动地画出物象的形貌仍不够，必须掌握其情态，方算传神，因此画中黑猿，挂在枝干上的一只，手尾紧握，好似在荡秋千一般，另一只则悠闲地坐在树干上，和牠相互凝望，情意相系。\n老树擎空，突出画幅，其枝垂挂，复返画中。画幅中的枝干，笔不连而意连，足见画家布局之匠心。一猿攀枝摇荡，如戏秋千。一猿则踞干悠闲旁观，真能得猿猴动息之情。画技精湛，特善用墨，曲尽黑猿毛色之状，树石描绘精采、用色雅正，尤有过人处，是宋无款作品中之巨幅精品。易元吉的猴猫图突显毫芒毕现的用笔功夫，本画则用墨功夫一流。",[43,44,23,24,137,45,46,47,7,612],"枇杷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62ef7c2e9e1f091b0edc125c19b59367.jpg","165x107.9厘米",[],{"id":617,"slug":618,"title":619,"dynasty":18,"author":620,"museum":98,"description":621,"tags":622,"thumbUrl":626,"material":51,"size":627,"collection":72,"collections":628,"showCount":629,"zanCount":11,"manualWeight":11,"mainColor":59},221553,"luo-han-tu-5-liu-song-nian-221553","罗汉图5","刘松年","刘松年 （约1131-1218），号清波，南宋画家，历孝宗、光宗、宁宗三朝，浙江省金华市汤溪镇宅口人。刘松年与刘龟年兄弟随父亲宦居钱塘清波门，以住地自号刘清波，因清波门又称南“暗门”，故外号宋“暗门刘”。",[43,44,23,24,87,45,46,84,86,7,162,217,141,47,623,624,625,372],"枝干","虬树","小和尚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81f3e58b37ca2ec5227fa60b958ee26e.jpg","纵117公分，横55.8公分",[],22,{"id":631,"slug":632,"title":633,"dynasty":79,"author":634,"museum":635,"description":636,"tags":637,"thumbUrl":638,"material":72,"size":72,"collection":420,"collections":639,"showCount":629,"zanCount":11,"manualWeight":11,"mainColor":640},201947,"wu-hou-tu-zhou-zhang-yu-201947","五猴图轴","章于","上海博物馆","画面层峦叠嶂，远山以皴法勾勒，纹理苍劲，尽显山石嶙峋之态。山间瀑布垂落，似闻潺潺水声，添动势于静谧。近景古木虬枝，浓墨点叶，根系盘错扎于岩间，生机盎然。几只灵猴或攀枝、或踞石，姿态灵动，为山水注入鲜活气息。设色淡雅，水墨为底，间杂浅绿，清幽雅致。整体构图疏密有致，意境悠远，既见传统山水之韵，又因灵猴点缀而别具生趣，是一幅兼具笔墨功底与意趣的佳作。",[23,159,7,158,46,165,396,217,43],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c3c70ba51d72ed1e126532526ba5d14.jpg",[420],"bcafa2",{"id":642,"slug":643,"title":644,"dynasty":226,"author":645,"museum":20,"description":646,"tags":647,"thumbUrl":651,"material":70,"size":71,"collection":72,"collections":652,"showCount":653,"zanCount":11,"manualWeight":11,"mainColor":59},287922,"tang-seng-qu-jing-tu-ce-wang-zhen-peng-287922","唐僧取经图册","王振鹏","传为元代画家王振鹏所作，分为上、下册，蝴蝶装，由三十二幅取经图构成，卷末有清代福州文人梁章钜六跋。",[23,44,83,648,46,45,84,139,7,114,87,649,650],"界画","唐僧取经","神话","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F615564a4ee571d7930ea1b3411ee45b8.jpg",[],21,{"id":655,"slug":656,"title":657,"dynasty":226,"author":154,"museum":559,"description":658,"tags":659,"thumbUrl":660,"material":253,"size":72,"collection":55,"collections":661,"showCount":662,"zanCount":11,"manualWeight":11,"mainColor":59},216603,"shuang-yuan-tu-yi-ming-216603","双猿图","双猿相偎于岩畔，毛发以淡墨晕染，绒绒质感似触手可及。一猿侧首依偎，一猿抬眸远眺，憨然亲昵的神态里，藏着自然生灵的脉脉温情。近景山石以简劲皴擦勾勒，肌理分明；背景远山用淡墨轻笼，如隔烟霞。左侧大片留白似氤氲水气，引视线向深远处漫溯，让静谧氛围在空濛中缓缓流淌。墨色浓淡相济，古绢底色晕着时光沉韵，刚劲的山石与柔润的猿身形成刚柔对撞，却又在淡远意境里相融。整幅画不追繁复，以极简笔墨捕捉生灵之趣，将自然的恬淡与温情凝于绢素，读之如沐山风，心渐沉静。",[23,229,25,47,7,27,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa75dc0ca0ebe129ccaa05f98ca77435c.jpg",[55],20,{"id":664,"slug":665,"title":666,"dynasty":18,"author":667,"museum":20,"description":668,"tags":669,"thumbUrl":671,"material":72,"size":72,"collection":72,"collections":672,"showCount":673,"zanCount":11,"manualWeight":11,"mainColor":59},227712,"hu-tian-ju-le-tu-juan-gong-kai-227712","壶天聚乐图卷","龚开","龚开（1222年～约1302），宋末元初画家，字圣予（一作圣与），号翠岩，晚号龟城叟、岩叟，人称龚高士。淮阴龟山（今属江苏省淮安市洪泽区老子山镇）人 。景定年间曾任两淮制置司监当官。他是一位诗文书画都擅长的文人画家，山水画师法米芾、米友仁，人物、鞍马则学曹霸，亦能画梅、菊等花卉。喜欢用水墨画鬼魅及钟馗，“怪怪奇奇，自成一家”，开明清写意画之先河。从现存作品看，其特点是用笔粗重、墨色淋漓，造形比较夸张，画上多题诗及跋语。抒情寓意，寄托遗老的怀抱。",[43,44,23,24,113,25,205,84,159,165,670,47,7],"云气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4894a30ae63717fc0a21742c8b4efc20.jpg",[],17,{"id":675,"slug":676,"title":677,"dynasty":509,"author":678,"museum":20,"description":679,"tags":680,"thumbUrl":684,"material":70,"size":71,"collection":72,"collections":685,"showCount":686,"zanCount":11,"manualWeight":11,"mainColor":34},231786,"ming-qing-ri-ben-gu-hua-fen-ben-niao-shou-xi-hua-juan-he-guo-xiao-zhai-231786","明清日本古画粉本-鸟兽戏画卷","河锅晓斋","河鍋曉齋是日本幕末至明治時期的浮世絵師。評論家認為他是「一個獨立的帶有個人主義的，可能是傳統日本畫的最後大師」。",[43,23,24,113,205,25,45,7,600,681,682,67,683,86,217,587,218,47,84,88],"蛙","狮","鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1999d93bfc618f73b31dacf8332bcf76.jpg",[],15,{"id":688,"slug":689,"title":690,"dynasty":18,"author":64,"museum":20,"description":691,"tags":692,"thumbUrl":693,"material":70,"size":71,"collection":72,"collections":694,"showCount":695,"zanCount":11,"manualWeight":11,"mainColor":34},288365,"yuan-lu-tu-yi-yuan-ji-288365","猿鹭图","山野古松上，猿猴振臂而挥，惊得上面白鹭啼叫而逃。画家着重刻划瞬间冲突的情节，艺术处理十分神妙。",[44,23,229,45,46,7,359,165,217],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa9fce78e66c5d2246f135ff668caf7e.jpg",[],14,{"id":697,"slug":698,"title":699,"dynasty":18,"author":64,"museum":98,"description":700,"tags":701,"thumbUrl":704,"material":705,"size":706,"collection":72,"collections":707,"showCount":695,"zanCount":11,"manualWeight":11,"mainColor":59},219487,"san-yuan-de-lu-tu-yi-yuan-ji-219487","三猿得鹭图","画在深山悬崖上的一棵老桂花树上，黑、灰、白三只猿正在捉小白鹭。 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意思是。",[23,322,45,46,88,47,7,702,165,703,359,137],"鹭","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa52192bd8849e9471b8b5eddc6dd495.jpg","设色,绢本","72.7x32.1",[],{"id":709,"slug":710,"title":711,"dynasty":18,"author":154,"museum":98,"description":712,"tags":713,"thumbUrl":715,"material":253,"size":716,"collection":55,"collections":717,"showCount":695,"zanCount":11,"manualWeight":11,"mainColor":34},219316,"song-teng-yuan-xi-tu-yi-ming-219316","松藤猿戏图","松枝盘曲如铁，老藤垂绕似丝，猿猴或攀藤戏叶，或蹲枝远眺，于方寸团扇间灵动穿梭。毛发纤毫毕现，眼神憨态可掬，爪尖紧扣藤枝的力度藏于墨色浓淡，松针疏密有致的层次显于笔触轻重。宋人的写实功夫与诗意心境在此交融：苍劲的松藤衬出猿的活泼，留白处似有余韵，引人遐想山林深处的清幽野趣。无款却见匠心，每一笔皆为自然传神，尽显宋代院体画精致细腻的风骨与生机盎然的意趣，仿佛能听见枝叶轻摇、猿声轻啼，将观者带入一片静谧而鲜活的自然之境。",[43,44,23,24,229,25,45,467,714,7,217],"藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05efa16aa825a6b0a07bdd664e3c73bf.jpg","22x21.8cm",[55],{"id":719,"slug":720,"title":721,"dynasty":79,"author":634,"museum":635,"description":722,"tags":723,"thumbUrl":724,"material":72,"size":72,"collection":420,"collections":725,"showCount":695,"zanCount":11,"manualWeight":11,"mainColor":726},201968,"bai-hou-tu-heng-pi-zhang-yu-201968","百猴图横披","山林之间，百猴竞趣——或攀枝跃涧，或蹲石戏耍，或相倚亲昵，姿态鲜活灵动，尽显灵猴天性。工笔细绘猴身毛发，根根分明；山石以皴法写就，纹理苍劲；古木虬枝盘曲，墨色浓淡相宜，设色古朴雅致。构图疏密有致，野趣盎然，既勾勒出自然山林的清幽之境，又以群猴的热闹情态打破静谧，动静相生间传递出蓬勃生机，是一幅融写实细腻与写意野趣于一体的佳作。",[7,45,158,159,46,217,427,43],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6100fe9d23073d4445c22c81a0c5207.jpg",[420],"947346",{"id":728,"slug":729,"title":730,"dynasty":18,"author":64,"museum":20,"description":731,"tags":732,"thumbUrl":734,"material":70,"size":71,"collection":72,"collections":735,"showCount":736,"zanCount":11,"manualWeight":11,"mainColor":59},231042,"pi-pa-yuan-xi-tu-yi-yuan-ji-231042","枇杷猿戏图","该画描述了一株枇杷树，干身扭曲，从石後横斜出了画面，又一枝干自上方角落窜进画中，这样的干身，笔墨虽不相连，意却相牵，但觉画外有画，这是作者在构思这幅画作时，别出心裁之处。",[23,44,24,322,45,46,137,733,7,165,217,612],"猿猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b53e0257dfb4e9133f98235b397650b.jpg",[],13,{"id":738,"slug":739,"title":740,"dynasty":18,"author":154,"museum":20,"description":741,"tags":742,"thumbUrl":743,"material":72,"size":72,"collection":72,"collections":744,"showCount":736,"zanCount":11,"manualWeight":11,"mainColor":59},227899,"yuan-lu-tu-yi-ming-227899","猿鹿图","此作上下分景，将灵趣与恬然相融。枝头灵猿身姿轻捷，毛发晕染细腻蓬松，长臂挂于虬枝，正侧目窥望下方，机警灵动之态跃然绢上。地面母鹿抬首回望，幼鹿依偎身侧，躯体线条温婉柔和，满是温驯安然。\n\n淡墨轻色晕染枝叶，舒展自然，岩石皴擦朴拙写实，衬出山林的清寂野趣。工细笔触兼顾写意格调，将猿的机敏与鹿的恬和彼此呼应，把空山一隅的悠然生机静静铺展，尽显对自然生灵的细腻体察与雅致审美。",[44,23,24,46,45,47,7,162,86,357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e67f98101322a96090bdd8e26302696.jpg",[],{"id":746,"slug":747,"title":748,"dynasty":749,"author":750,"museum":635,"description":751,"tags":752,"thumbUrl":753,"material":72,"size":72,"collection":91,"collections":754,"showCount":736,"zanCount":11,"manualWeight":11,"mainColor":755},203400,"zhong-kui-tu-zhou-qian-hui-an-203400","钟馗图轴","近代","钱慧安","钟馗宽袍博带，须髯戟张，手持折扇半掩面容，威严中藏着些许憨趣。身侧灵猴依偎，姿态鲜活灵动，似与主人亲昵互动。扇畔菊卉与草叶点缀，设色清雅却见细腻。人物线条工细流畅，衣纹勾勒兼具力度与飘逸感，猴子毛发晕染写实，质感毕现。画家以工笔写形、写意传神，将钟馗的神性与世俗温情相融，打破传统钟馗图的肃穆，添了几分生活意趣。画风承传统文人画韵致，又含鲜活气息，笔墨间见深厚功底与独特匠心。",[23,84,7,274,46,45,26,43],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff356032748ec1da92600306946662b47.jpg",[91],"c2b1a0",{"id":757,"slug":758,"title":759,"dynasty":153,"author":760,"museum":20,"description":761,"tags":762,"thumbUrl":764,"material":70,"size":71,"collection":72,"collections":765,"showCount":766,"zanCount":11,"manualWeight":11,"mainColor":59},290015,"si-xian-tu-liu-jun-290015","四仙图","刘俊","本幅《四仙图》更偏重以写实的手法来表现，人物衣履线条运用十分纯熟流畅，画法工致，笔法劲健，法度严谨。每个人物皆刻画精细生动，长须飘然，双目炯然有神，特徵明显，形象饱满。人物的外貌及气质、肢体语言各异，个性鲜明，形神兼备，给人以呼之欲出之感，极富展现力。",[23,137,46,45,84,650,250,162,7,763,480,140],"仙人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3e4074c87456810eb8dbd96bf1b7979.jpg",[],12,{"id":768,"slug":769,"title":770,"dynasty":79,"author":154,"museum":193,"description":771,"tags":772,"thumbUrl":773,"material":253,"size":72,"collection":72,"collections":774,"showCount":766,"zanCount":11,"manualWeight":11,"mainColor":59},219271,"qun-hou-xi-shui-shuang-ping-er-yi-ming-219271","群猴戏水双屏(二)","松枝虬曲如铁，斜逸于空濛山影间，瀑布自崖巅倾泻而下，溅起碎玉似的水花。山石之上，群猴情态鲜活：或相偎亲昵，或探臂戏波，或追逐跃动，灵动身姿与潺潺流水相映成趣。墨色浓淡交错，细致勾勒出猴毛的蓬松纹理与山石的苍劲质感，流水则以婉转线条摹写奔腾之势。古雅绢本的暖棕底色，衬得画面静谧而富有生机，仿佛能闻猴啼与水声相和，尽显自然野趣与生命的鲜活意趣，将山林间的灵动瞬间凝于笔端。",[23,24,137,25,45,158,159,7,480,396,140,250,47],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd01f16953ecc4f7107f745ae261e1887.jpg",[],{"id":776,"slug":777,"title":778,"dynasty":226,"author":645,"museum":20,"description":779,"tags":780,"thumbUrl":785,"material":70,"size":71,"collection":72,"collections":786,"showCount":787,"zanCount":11,"manualWeight":11,"mainColor":34},290255,"mo-xi-tu-wang-zhen-peng-290255","墨戏图","王振鹏（生卒年不详），字朋梅，浙江温州人。元代著名的画家，擅长人物画和宫廷界画，被元仁宗赐号为“孤云处士”，并官至漕运千户。传世作品有：《伯牙鼓琴图》《江山胜览图卷》《阿房宫图》《金明池图》。",[23,113,25,7,781,782,783,565,302,68,784],"拟人","戏曲","兵器","墨戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33c01e581f00409d36e7ec6c153197dc.jpg",[],11,{"id":789,"slug":790,"title":690,"dynasty":18,"author":64,"museum"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这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[979,183,7,47,603],"玉石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd08ab004f90f2c8cff4dcc260519b543.jpg",[],{"id":983,"slug":984,"title":985,"dynasty":79,"author":986,"museum":20,"description":987,"tags":988,"thumbUrl":990,"material":72,"size":72,"collection":72,"collections":991,"showCount":964,"zanCount":11,"manualWeight":11,"mainColor":34},236098,"hua-luo-han-ce-leng-mei-236098","画罗汉册","冷枚","画面右侧，罗汉持锡杖静立，侍者恭谨随侍身侧，斑斓猛虎伏于跟前，幼虎环绕嬉戏，凶兽尽敛凶性，尽显佛法感化的无边威能。设色清润雅致，衣纹勾勒细腻流畅，人物神态写实传神，将出尘淡然的禅意融于笔端。左侧行书题字隽秀飘逸，诗画呼应，悠悠禅意漫溢画面，烘托出空寂出尘的佛门意境。整作兼具笔情墨趣与装饰美感，以精妙的人物走兽刻画，诠释出禅境悠然的静谧氛围，是极具审美意趣的人物佳制。",[23,24,830,87,45,46,84,372,160,7,68,989,919],"题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8aedf101545a55889516bc3de1ace62c.jpg",[],{"id":993,"slug":994,"title":995,"dynasty":79,"author":634,"museum":635,"description":996,"tags":997,"thumbUrl":998,"material":72,"size":72,"collection":55,"collections":999,"showCount":964,"zanCount":11,"manualWeight":11,"mainColor":1000},202002,"feng-yuan-tu-zhou-zhang-yu-202002","蜂猿图轴","猴儿蹲坐，体态丰腴，毛发以淡墨层层晕染，细腻如绒。双目圆睁凝注空中飞蜂，神情专注间藏灵动。背景素净无华，更衬主体鲜活。笔致工巧，线条婉转，憨猴与轻蜂相衬，简中见精，雅致意趣尽显。",[45,7,47,25,137,88,43],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6a15cff2c37cdc5c8c9b47e910c04d0.jpg",[55],"b49b81",{"id":1002,"slug":1003,"title":1004,"dynasty":79,"author":154,"museum":20,"description":1005,"tags":1006,"thumbUrl":1008,"material":70,"size":71,"collection":72,"collections":1009,"showCount":58,"zanCount":11,"manualWeight":11,"mainColor":59},229811,"ma-nao-hou-xing-pei-yi-ming-229811","玛瑙猴形珮","这件珮饰质地清润通透，俏色巧用天然糖晕勾勒细节。灵猴隐于舒展荷叶间，圆雕尽显匠思，刀工圆润细腻，线条婉转柔畅。将灵猴憨态与荷叶柔形相融，既得生灵灵动俏皮之态，又以谐音暗藏封侯连科的吉祥寓意。器面打磨光莹，触手温润，尽显清代玉雕雅致工巧，把玩摩挲间，尽显文玩雅件的隽永意趣。",[830,1007,183,833,47,7,979],"玛瑙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc69b6afeb303bada1890602a5ff6fd07.jpg",[],{"id":1011,"slug":1012,"title":1013,"dynasty":79,"author":1014,"museum":20,"description":1015,"tags":1016,"thumbUrl":1019,"material":70,"size":71,"collection":72,"collections":1020,"showCount":58,"zanCount":11,"manualWeight":11,"mainColor":188},224142,"nagasena-tang-ka-224142","Nagasena","唐卡","唐卡（Thang-ga）也叫唐嘎，唐喀，系藏文音译，指用彩缎装裱后悬挂供奉的宗教卷轴画。唐卡是藏族文化中一种独具特色的绘画艺术形式，题材内容涉及藏族的历史、政治、文化和社会生活等诸多领域，传世唐卡大都是藏传佛教和本教作品。\n唐卡是藏族文化中一种独具特色的绘画艺术形式。具有鲜明的民族特点、浓郁的宗教色彩和独特的艺术风格，用明亮的色彩描绘出神圣的佛的世界；颜料传统上是全部采用金、银、珍珠、玛瑙、珊瑚、松石、孔雀石、朱砂等珍贵的矿物宝石和藏红花、大黄、蓝靛等植物为颜料以示其神圣。这些天然原料保证了所绘制的唐卡色泽鲜艳，璀璨夺目，虽经几百年的岁月，仍是色泽艳丽明亮。因此被誉为中国民族绘画艺术的珍品，被称为藏族的”百科全书”也是中华民族民间艺术中弥足珍贵的非物质文化遗产。\n传统唐卡的绘制要求严苛、程序极为复杂，必须按照经书中的仪轨及上师的要求进行，包括绘前仪式、制作画布、构图起稿、着色染色、勾线定型、铺金描银、开眼、缝裱开光等一整套工艺程序。制作一幅唐卡用时较长，短则半年完成，长则需要十余年。",[1014,46,45,87,84,86,1017,287,7,1018],"花","水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb9875e2c49ef62e40f445d87de1c17d.jpg",[],{"id":1022,"slug":1023,"title":1024,"dynasty":79,"author":1014,"museum":20,"description":1015,"tags":1025,"thumbUrl":1026,"material":70,"size":71,"collection":72,"collections":1027,"showCount":58,"zanCount":11,"manualWeight":11,"mainColor":59},224139,"angaja-tang-ka-224139","Angaja",[1014,87,46,84,7,86,217,45],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F336f9166f6f4be6f95101cb5b3acfd30.jpg",[],{"id":1029,"slug":1030,"title":1031,"dynasty":79,"author":154,"museum":20,"description":1032,"tags":1033,"thumbUrl":1039,"material":253,"size":72,"collection":72,"collections":1040,"showCount":58,"zanCount":11,"manualWeight":11,"mainColor":188},218121,"fu-hua-luo-han-jiu-zhang-lao-xiang-4-yi-ming-218121","佛画·罗汉九长老像-4","佚名的佛画 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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。",[43,23,24,87,46,45,830,372,84,1034,7,287,467,1035,358,217,1036,1037,1038,218],"童子","荷","传统服饰","佛画风格","动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe7bb8c794f616214b5d985ba5ca11a8.jpg",[],{"id":1042,"slug":1043,"title":1044,"dynasty":749,"author":1045,"museum":635,"description":1046,"tags":1047,"thumbUrl":1048,"material":72,"size":72,"collection":56,"collections":1049,"showCount":58,"zanCount":11,"manualWeight":11,"mainColor":1050},203037,"xian-guo-tu-zhou-qi-bai-shi-203037","献果图轴","齐白石","灵猴负果疾奔，墨色浓淡交织塑其形，线条洗练却神态毕现——眉眼灵动，肢体舒展，似携满腔热忱献果而来。头顶鲜果以朱砂泼染，艳而不俗，与水墨的苍润形成强烈视觉冲击，点出“献果”主题。背景留白极简，更衬出猴儿的活泼姿态。旁题书法笔力雄健，与画面气韵相融，尽显齐白石“以形写神”的写意精髓：不刻意求工，却于简练中藏妙趣，于质朴里见生机，将寻常题材化为充满生命力的艺术佳作。",[23,26,46,7,549,68,25,137,43],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc70b48463e748518106c5f559b8ade4.jpg",[56],"c3b8b2",{"id":1052,"slug":1053,"title":1054,"dynasty":79,"author":154,"museum":20,"description":1055,"tags":1056,"thumbUrl":1058,"material":70,"size":71,"collection":72,"collections":1059,"showCount":1060,"zanCount":11,"manualWeight":11,"mainColor":1061},277212,"shan-jing-ri-zhang-yin-yi-ming-277212","“山静日长”印","战国时期，主张合纵的名相苏秦佩戴过六国相印。近几年来，出土的文物又把印章的历史向前推进了数百年。也就是说，印章在周朝时就有了。\n传世的古代玺印，多数出于古城废墟、河流和古墓中。有的是战争中战败者流亡时所遗弃，也有在战争中殉职者遗弃在战场上的，而当时的惯例，凡在战场上虏获的印章必须上交，而官吏迁职、死后也须脱解印绶上交。其它有不少如官职连姓名的，以及吉语印、肖形印等一般是殉葬之物，而不是实品。其它在战国时代的陶器和标准量器上，以及有些诸侯国的金币上，都用印章盖上名称和记录上制造工匠的名姓或图记性质的符号，也被流传下来。\n古玺是先秦印章的通称。我们现在所能看到的一般最早的印章大多是战国古玺。印文笔画细如毫发，都出于铸造。白文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。官玺的印文内容有“司马”、“司徒”等名称外，还有各种不规则的形状，内容还刻有吉语和生动的物图案。朱文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。",[68,1057,979,183,47,7],"篆刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77755de20236113b09e0e375cd24d079.jpg",[],2,"FF9800",{"id":1063,"slug":1064,"title":1065,"dynasty":79,"author":154,"museum":20,"description":1066,"tags":1067,"thumbUrl":1071,"material":70,"size":71,"collection":72,"collections":1072,"showCount":1060,"zanCount":11,"manualWeight":11,"mainColor":59},267364,"huang-se-duan-xiu-ling-xian-zhu-shou-wen-ying-shou-yi-ming-267364","黄色缎绣灵仙祝寿纹迎手","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。",[844,1068,45,1069,703,7,1070],"缎绣","灵仙祝寿","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67208a9c943e3be39abb2b3cf0d76421.jpg",[],{"id":1074,"slug":1075,"title":1076,"dynasty":79,"author":154,"museum":20,"description":1077,"tags":1078,"thumbUrl":1079,"material":70,"size":71,"collection":72,"collections":1080,"showCount":1060,"zanCount":11,"manualWeight":11,"mainColor":188},256189,"he-cai-wu-hou-tu-bi-yan-hu-yi-ming-256189","赫彩五猴图鼻烟壶","鼻烟壶指的是盛鼻烟的容器，小可手握，便于携带。明末清初，鼻烟传入中国，鼻烟盒渐渐东方化，产生了鼻烟壶。\n人们嗜用鼻烟的习惯几近绝迹，但鼻烟壶却作为一种精美艺术品流传下来，而且长盛不衰，被誉为“集中各国多种工艺之大成的袖珍艺术品”。\n中国鼻烟壶，作为精美的工艺品，采用瓷、铜、象牙、玉石、玛瑙、琥珀等材质，运用青花、五彩、雕瓷、套料、巧作、内画等技法，汲取了域内外多种工艺的优点，被雅好者视为珍贵文玩，在海内外皆享有盛誉。\n在世界上，中国素有「烟壶之乡」的称誉，其中鼻烟壶以其精巧卓绝的制作技术，被称为「集多种工艺之大成于一身的袖珍艺术品」。鼻烟壶为盛装鼻烟之容器，鼻烟系一种烟草制品，原为西洋之物，明末清初自欧洲传入中国后，加工转化后成为粉末状药材，吸闻之后不但具有明目避疫的功效，吸闻鼻烟在各阶层更是蔚为风尚，且迅速地融入了中国的艺术风格，发展出匠心独运的各式鼻烟壶，在清代美学工艺上大放异彩，成为清代艺术的重要标志之一。",[79,857,46,45,7,446,218,603],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa288f644c7aa123967fefa61ff60f5e0.jpg",[],{"id":1082,"slug":1083,"title":1084,"dynasty":79,"author":154,"museum":20,"description":1077,"tags":1085,"thumbUrl":1086,"material":70,"size":71,"collection":72,"collections":1087,"showCount":1060,"zanCount":11,"manualWeight":11,"mainColor":34},252367,"ma-nao-hou-ma-tu-bi-yan-hu-yi-ming-252367","玛瑙猴马图鼻烟壶",[830,979,183,139,7,603],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F224a4136ff08c2ca035ee8ca96526178.jpg",[],{"id":1089,"slug":1090,"title":1091,"dynasty":79,"author":154,"museum":20,"description":977,"tags":1092,"thumbUrl":1093,"material":70,"size":71,"collection":72,"collections":1094,"showCount":1060,"zanCount":11,"manualWeight":11,"mainColor":34},251674,"qing-yu-ma-shang-feng-hou-yi-ming-251674","青玉马上封侯",[830,979,183,139,7,47,603],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F426cf05d3bb1c495d5a4392576463fd9.jpg",[],{"id":1096,"slug":1097,"title":976,"dynasty":79,"author":154,"museum":20,"description":977,"tags":1098,"thumbUrl":1101,"material":70,"size":71,"collection":72,"collections":1102,"showCount":1060,"zanCount":11,"manualWeight":11,"mainColor":34},251193,"qing-yu-shi-er-chen-hou-yi-ming-251193",[979,1099,183,7,47,1100],"青玉","生肖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceff46072d436377a1c543da3d9d875c.jpg",[],{"id":1104,"slug":1105,"title":985,"dynasty":79,"author":986,"museum":20,"description":1106,"tags":1107,"thumbUrl":1108,"material":72,"size":72,"collection":72,"collections":1109,"showCount":1060,"zanCount":11,"manualWeight":11,"mainColor":34},236096,"hua-luo-han-ce-leng-mei-236096","画面中罗汉安坐如松，神态清寂超然，衣褶流转自然，尽显世外高逸之姿。身旁侍者恭谨随侍，猿猴奉来奇花异果，灵动憨态为静穆的禅意画面添上鲜活生趣。\n\n左侧题诗书风清隽，笔墨与绘卷相映成趣，书画合璧。整幅设色淡雅秀润，线条精细流畅，既有院体画的工致细腻，又饱含文人写意的悠然韵致，将禅家静定超脱与林间野趣融为一体，勾勒出空灵出尘的世外禅境，在工巧与写意之间，尽显绝妙的审美意趣与禅思内涵。",[44,23,24,45,46,87,84,7,68,549],"https:\u002F\u002Fos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用陶瓷、竹木、等制成的筒形插笔器具。笔筒是搁放毛笔的专用器物，据文献记载，它的材质有镏金、翡翠、紫檀和乌木，现在我们能够见到的传世器物，大多是用瓷或者是竹木制作的。具有收藏价值。",[183,1167,162,7,1168],"象牙","笔筒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bede5f1510c4676adee02af99d4f140.jpg",[],{"id":1172,"slug":1173,"title":1174,"dynasty":79,"author":154,"museum":20,"description":1175,"tags":1176,"thumbUrl":1181,"material":70,"size":71,"collection":72,"collections":1182,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":188},268882,"xia-shui-xing-lian-zi-yi-ming-268882","虾水形脸子","此面具以双层构象尽显巫傩诡谲之美。下层武人面相狞厉肃穆，墨色底胎晕开银纹如鳞，朱红焰纹斜挑眉梢，阔口露齿，凶煞威严尽显神将镇祟之态。上层螯虾盘踞顶巅，钢须桀骜斜出，青褐与朱彩撞色鲜明，水族灵怪的野趣跃然木上。\n古旧髹色带着岁月包浆，民间匠人将神异幻想凝于木胎，把力士凶颜与水族精怪糅合一体，朴拙中藏着巧思，狞悍又不失灵动，将山野间驱邪纳福的祈愿，封存在这一方木雕之中。",[1177,183,1178,1179,7,1180],"木质","面具","虾","彩绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81f103e700adc54cde0f9a08ddaa9243.jpg",[],{"id":1184,"slug":1185,"title":1186,"dynasty":79,"author":154,"museum":20,"description":1187,"tags":1188,"thumbUrl":1191,"material":70,"size":71,"collection":72,"collections":1192,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":34},266586,"yue-bai-se-fang-ge-wen-an-hua-chou-jin-si-hou-pi-tao-ku-yi-ming-266586","月白色方格纹暗花绸金丝猴皮套裤","月白暗花绸温润雅致，方格暗纹隐于底布，与金丝猴皮毛相映成趣。原生皮毛色泽自然过渡，深棕鬃毛蓬松遒劲，乳白毛皮柔润细腻，将山野灵物的生机缝入裁片之中。素白挂带轻盈灵动，宝蓝系带垂落如练，既有实用的束系功能，也为整体增添明快色彩层次。它将织物织造与皮毛鞣制的工艺相融，兼顾骑乘保暖的实用需求与东方审美的含蓄雅致，把日常衣物雕琢成兼具野性意趣与匠人巧思的工艺佳品。",[1189,846,7,844,1190],"套裤","兽皮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b30948812fbe0396a03d91bf7aa3b4f.jpg",[],{"id":1194,"slug":1195,"title":1196,"dynasty":79,"author":154,"museum":20,"description":1197,"tags":1198,"thumbUrl":1203,"material":70,"size":71,"collection":72,"collections":1204,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":59},264833,"pin-yue-se-duan-di-zhi-jin-sui-han-san-you-wen-tao-yi-ming-264833","品月色缎地织金岁寒三友纹绦","经线提花锦的组织结构和纹样都十分复杂，舞人动物纹锦的纹样横贯全幅，充分反映了当时已有了先进的提花织造技术。精美的刺绣品共有17种纹样，构图大，讲究对称、平衡，色彩配合恰当，给人以端庄典雅、富丽堂皇的美感。纹样内容充满神话色彩，鲜明地反映了楚文化的浪漫主义特色。墓中出土的衣袍为直据，是当时贵族中最流行的一种服式。这批先秦织物的出土，为深入研究我国古代纺织史提供了珍贵的实物资料。",[844,1199,1200,1201,467,260,858,84,7,1202],"织金","织锦","岁寒三友","绦带","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed4ba589b844c81eb2e87bbdbfdc6f7f.jpg",[],{"id":1206,"slug":1207,"title":1208,"dynasty":79,"author":154,"museum":20,"description":1209,"tags":1210,"thumbUrl":1213,"material":70,"size":71,"collection":72,"collections":1214,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":59},259207,"cheng-hua-kuan-dou-cai-hou-lu-hua-guo-tu-wan-yi-ming-259207","成化款斗彩猴鹿花果图碗","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。",[857,1211,1070,7,162,1212],"斗彩","花果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83530751e63c469c9903c1e6b27b5ebe.jpg",[],{"id":1216,"slug":1217,"title":1218,"dynasty":133,"author":154,"museum":20,"description":1219,"tags":1220,"thumbUrl":1222,"material":70,"size":71,"collection":72,"collections":1223,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":59},255859,"tao-shi-er-chen-hou-yong-yi-ming-255859","陶十二辰猴俑","春秋战国时期，有一种殉葬用的“俑”，据《礼记·檀弓》，孔子“谓为俑者不仁”。郑玄注：“俑，偶人也，有面目机发，有似于生人。”皇侃疏：“机械发动踊跃，故谓之俑也。”孔颖达正义：“刻木为人，而自发动，与生人无异，但无性灵知识。”又《孟子·梁惠王》：“仲尼曰：始作俑者，其无后乎?为其像人而用之也。”焦循《孟子正义》：《广雅》引(张揖)《埤苍》云：“俑，木人，送葬设关而能跳踊，故名之。”“为其像人者，谓为其像人之转动跳踊也。”可见“俑”就是由简单机械发动能够自己转动跳跃的木人。\n中国古代坟中墓中陪葬用的偶人。是象征殉葬奴隶的模拟品。东周墓中出现渐多，秦汉至隋唐盛行，北宋以后逐渐衰落，但仍沿用到元明时期。俑的质料以木、陶质最常见，也有瓷、石或金属制品。宋代以后纸明器开始流行，陶、木、石质的俑开始渐渐减少。俑的形象，主要有奴仆、舞乐、士兵、仪仗等，并常附有鞍马、牛车、庖厨用具和家畜等模型，还有镇墓胜的神物。俑大多真实地模拟着当时的各种人物，因而可以考见当时社会的生活习俗，也是研究各代舆服制度的重要资料。俑还可以反映出各个时代雕塑艺术的水平。\n秦代的秦始皇陵兵马俑，形体比人略高，陶制，是已知最大的俑；另外还有铜俑等。汉俑种类比以前增多，有兵士、女侍、仆役及乐舞俑。南方以木俑为多，有的彩绘着衣。其他地方多陶、石、木、金属等多种材质的俑，注重传神。两晋南北朝制作多样，南方承中原传统并有了瓷俑；北方出了少数民族形象的陶俑。隋唐俑型大而精美，三彩俑为盛唐时的制作高峰。现在能见到的，是保存在陕西省历史博物馆的唐三彩杰作，有陕西省乾县懿德太子李重润墓出土的、三彩纹胎骑马狩猎俑，和西安市中堡村唐墓出土的唐三彩骆驼戴乐舞俑。这些俑的特点，普遍是形象高大雄健，神态生动富有传神，可谓形神俱佳的作品。并反映了盛唐时期，中华民族富有创造性和豪迈自信的民族性格。五代以后，以俑殉葬的风气开始低落，金元墓葬中出现了陶塑、砖雕表演杂剧的俑，往往成组塑造，还有舞台背景，较为生动，是制作俑的最后一个高潮，以山西出土为多。明清墓葬中俑的出现渐少。在高官王侯墓中出土有木俑和石俑，多以成群人物或辅以仪仗、侍从的庞大场面，用来炫耀死者地位为主，但作为雕塑制品已失去了艺术感染力。秦兵马俑的历史文化价值是独具魅力的。它打开了观察它所产生的那个时代的窗口，大大地改变了人们对那个时代的看法。\n秦兵马俑震撼世人的首推其卓越的艺术成就。几千件魁伟英武的大型陶塑艺术作品，以整体形象排列在将近两万平方米的空间里，其磅礴的气势几乎使所有不同肤色的参观者都从心灵深处产生强烈震颤，体现出艺术家驾驭宏大艺术题材、追求整体气韵和艺术创造的卓越才能。秦俑千人千面、呼之欲出的人物塑造则从形体把握、神韵处理、色彩运用、细部刻画等方面表现出作者的艺术素养和艺术成就。作品写实主义的风格不仅给我们留下了一个高超的古代艺术范本，同时也留下了许多关于那个时代的极富价值的历史记录。严肃划一的军旅题材能够处理得如此生动，产生如此震撼人心的艺术魅力，使人们不得不换一副眼光来审视中国古代艺术发展历程中的特殊规律，重新探索和构架中国古代造型艺术发展的历史。\n秦兵马俑坑文物的出土也较大幅度地改写了人们对秦代的科技水平的认识，以大量的实证材料形象地展现了秦代生产力的发展水平。就科技史而言，秦俑坑发现的许多资料都是令世人震惊的。譬如：1、秦俑坑出土文物所展现的秦代冶金和金属加工技术比我们以往的估计要高出很多，其中青铜涂铬防锈技术的大量应用是最具代表性的一例，它在当时已是一种很成熟的技术，秦俑出土的绝大多数兵器表面都涂有这种保护层。这种绝技似乎从汉代以后就失传了，与之形成鲜明对比的是，两千多年后的1937年，现代镀铬技术才在德国产生，并以专利发明载入了史册。2、秦俑坑出土兵器明确印证了秦简中关于“为器同物者，其小大、短长”是一种标准化概念，秦人在标准化实践方面取得了惊人的成就。这种标准化既是秦人管理艺术发展的代表，也是秦代科技水平的标志。秦人加工的青铜弩机器件精密、形体标准，相同规格的器件完全可以互换。许多特殊的加工工艺，如青铜铍脊上的纹饰生成，纤如毫发的金属小孔钻刻技艺，也都令人叹为观止，一些工艺至今还是不解之谜。由于古代统治者们有重政治、重伦理、崇人事而轻科技的倾向，史书关于科技的记载往往简略残缺，秦代科技资料更是凤毛麟角。正因为如此，秦俑考古的历史文化价值也就更加重要。\n俑坑数千兵马俑所展示的军事内容无疑是军事史研究的最重要的、最形象的资料之一，许多资料使人们对古代军事领域的认识更进一步。譬如，关于当时的兵种构成、组合搭配和结阵形式，兵器、兵器配置形式以及甲具防护装备，军伍组织结构和指挥系统，甚至军伍士卒的来源等，都有珍贵的资料价值。二号坑弩兵的单独结阵，骑兵、轻车兵的编队和配合，是以前有所不知或知之不详的重要资料，以之对照《孙膑兵法》中关于车、步、骑配合原则的论述，给人留下的印象是极其深刻的。古代军事著述中关于兵器配置中长短相杂、相救的原则在秦俑坑兵器配置中也有直观表现，同样有其军事科学上的研究价值。难怪有人将秦俑三坑称为一座内容丰厚的秦代军事博物馆。\n历史本身赋予了秦俑多种历史文化价值。秦俑所折射的历史层面既多又广，在建筑史、服饰史、制度史尤其是王陵制度史等方面，具有独特的认识价值。即使秦俑的身高、体魄、服饰发髻、刻记文字以及秦人在俑坑留下的生产工具和劳作痕迹，都能从不同侧面反映出秦代社会生活的真实影像，反映出一个时代的文化特质，反映出秦兴亡的历史真谛。\n秦俑坑出土文物的精美和丰富，是文物所代表的那个时代物质成就的直接见证。它让人们重新认识和评价那个时代，也提出了许多值得探讨的历史课题，譬如关于帝王权力的重新认识、秦代文化的特质、秦在中国历史发展中的地位等。与之相联系的是，秦始皇的历史评价又一次成为人们关注的话题，秦俑坑出土文物所反映的科技水平和生产能力，在一定程度上反映出秦始皇所起的某种积极作用，同时也从一个侧面证实史书中提到的秦代好大喜功、横征暴敛的统治问题。秦俑考古还在继续，相信对这些问题的研究将会随着考古的进展而不断深入。",[133,857,1221,7,84,183],"俑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ab05273ef3c215795639fbafcb1d083.jpg",[],{"id":1225,"slug":1226,"title":1227,"dynasty":79,"author":154,"museum":20,"description":1228,"tags":1229,"thumbUrl":1231,"material":70,"size":71,"collection":72,"collections":1232,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":59},252673,"mi-la-zuo-hou-yi-ming-252673","蜜蜡坐猴","这枚小件以温润蜜蜡塑就，红棕包浆晕开柔糯光泽。灵猴呈随性坐姿，侧身垂臂持物，圆颅上眉眼浅刻，圆眼弯弧带笑意，憨态可掬里带着灵动劲儿。\n它不尚繁复雕琢，以朴拙刀工勾勒身形轮廓，把小猴松弛小憩的模样鲜活呈现，带着民间手作的质朴意趣。寸许之间藏着匠人巧思，将世俗里对灵猴讨喜形象的偏爱融在指尖刀下，虽小巧却耐看，带着旧时光里的手作温度，静诉着旧时文玩的闲趣。",[183,1230,7,47],"蜜蜡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe650a3a9e6dfaddf278d19369e4f78bc.jpg",[],{"id":1234,"slug":1235,"title":1236,"dynasty":153,"author":154,"museum":20,"description":977,"tags":1237,"thumbUrl":1239,"material":70,"size":71,"collection":72,"collections":1240,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":188},252627,"qing-yu-lou-diao-lu-hou-shan-zi-yi-ming-252627","青玉镂雕鹿猴山子",[979,1238,159,162,7,47,86],"镂雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe71050b8e9d045d6cf97e44e765b62ee.jpg",[],{"id":1242,"slug":1243,"title":976,"dynasty":79,"author":154,"museum":20,"description":977,"tags":1244,"thumbUrl":1245,"material":70,"size":71,"collection":72,"collections":1246,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":59},251192,"qing-yu-shi-er-chen-hou-yi-ming-251192",[979,183,47,7,830],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dba7fcee843227eb3d369f5dc604619.jpg",[],{"id":1248,"slug":1249,"title":1250,"dynasty":177,"author":154,"museum":20,"description":1251,"tags":1252,"thumbUrl":1255,"material":70,"size":71,"collection":72,"collections":1256,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":34},243967,"shi-er-chen-wen-jing-yi-ming-243967","十二辰纹镜","汉镜有圆形﹑方形。纽多作半球形。正面磨光背面铸有几何形图案或神人禽兽等。东汉中期出现浮雕的画像造形精美。\n两汉时期大体上分西汉、新莽、东 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玉石、金属、木头、石头等。印章是中国传统文化的代表之一\n明代（1368～1644年）皇帝、王府之宝用玉箸篆玉印。这种篆书“笔画两头肥瘦均匀，末不出锋”，乃“篆书正宗也”（清?陈沣《摹印述》）。御宝舍两宋九叠文而直溯唐以上之玉箸篆，意味着九叠文禁锢公印的冰山已经松动。\n此外，明代内阁印用玉箸文银印，直钮，方一寸七分，厚六分；将军印用柳叶文，平羌、平蛮、征西、镇朔等将军印用螭鼎文，皆银印虎钮，方三寸三分，厚九分；其余百官印都用九叠文，铜印直钮，这类印比重最大。如故宫博物院藏明洪武二十二年（1389年）造“朵颜卫都指挥使司之印”。\n明代直钮已由两宋长方形板状钮变为上小下大的椭圆柱状，加高到8厘米左右，形成后世俗称的“印把子”。明代官印背款皆凿年款及编号。\n应该指出，两宋之时，九叠文中所谓的“九”是—个概数，极言其多，不一定确有九叠，也可能只有五叠、七叠，叠即一字中横画的层数。但明代九叠文中绝大多数确有九层横画。\n清代百官印等级区分同样十分严格，印章普遍有所增大。其字体有蒙古文楷书、满文、汉篆等。最常见的是汉满文对照同时出现在印面上，这也是清公印的一大特点。其中汉篆中，九叠文不太兴盛，出现了玉箸篆、悬针篆、柳叶篆、芝英篆等等。",[68,979,183,7,1057],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5db289c799491de6076207c79eb71b9e.jpg",[],{"id":1377,"slug":1378,"title":1379,"dynasty":79,"author":154,"museum":20,"description":1146,"tags":1380,"thumbUrl":1381,"material":70,"size":71,"collection":72,"collections":1382,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":337},276331,"diao-hou-niu-zi-he-bi-zha-zhang-yi-ming-276331","雕猴纽“子鹤笔札”章",[68,1057,979,183,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39ac99e04542ffdab25af066f43264ac.jpg",[],{"id":1384,"slug":1385,"title":1386,"dynasty":79,"author":154,"museum":20,"description":1387,"tags":1388,"thumbUrl":1389,"material":70,"size":71,"collection":72,"collections":1390,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":188},274673,"shou-shan-shi-diao-luo-han-yi-ming-274673","寿山石雕罗汉","此作取寿山石为材，罗汉宽额含笑，神态慈蔼雍容，衣褶婉转流畅，勾勒出随性松弛的禅者姿态。身旁瑞兽憨态可掬，依偎罗汉身侧互动，消解了造像的疏离肃穆，平添几分温情意趣。\n\n匠人巧施圆雕浅刻，将衣料的柔润质感与罗汉的平和神情刻画入微，瑞兽灵动神态跃然石上，依石赋形尽显原石肌理的沉静古雅。配红漆描金底座，缠枝纹饰柔婉精致，素雅底色衬出几分华贵，与造像浑然相融。整体兼具禅意静穆与俗世温情，是清代石雕工艺中颇具人文温度的佳作。",[979,183,87,372,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc73daa91890b7133eeed2cb4b5486547.jpg",[],{"id":1392,"slug":1393,"title":1394,"dynasty":79,"author":154,"museum":20,"description":1395,"tags":1396,"thumbUrl":1398,"material":70,"size":71,"collection":72,"collections":1399,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":188},274292,"tong-du-jin-bao-pen-shi-da-huang-liao-hua-zhong-yi-ming-274292","铜镀金宝盆式打簧料花钟","最早的钟原本是指古代汉族 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老舍《四世同堂》四九：“他看不起绸缎的衣服，与文雅的态度，可又有点自惭形秽。”",[843,844,846,1438,1069,1439,1440,7,1441],"绸料","兰","水仙","缉珠工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33ddf1da25541e4492bf0f479835935d.jpg",[],"2A56C6",{"id":1446,"slug":1447,"title":1448,"dynasty":79,"author":154,"museum":20,"description":1449,"tags":1450,"thumbUrl":1453,"material":70,"size":71,"collection":72,"collections":1454,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":59},262209,"hong-you-san-hou-shui-cheng-yi-ming-262209","红釉三猴水丞","宋代是传统制瓷工艺发展史上一个非常繁荣昌盛的时期。现时已发现的古代陶瓷遗址分布于全国170个县。其中有宋代窑址的就有130个县，占总数的75%。\n陶瓷史家通常将宋代陶瓷窑大致概括为6个瓷窑系，它们分别是：北方地区的定窑系、耀州窑系、钧窑系和磁州窑系；南方地区的龙泉青瓷系和景德镇的青白瓷系。这些窑系一方面具有因受其所在地区使用原材料的影响而具有的特殊性，另一方面又有受帝国时代的政治理念、文化习俗、工艺水平制约而具有的共同性。\n从造型的角度分析，宋瓷的器形较之前代更为丰富多彩，几乎包括了人民日常生活用器的大部分：碗、盘、壶、罐、盒、炉、枕、砚与水注等，其中最为多见的是玉壶春瓶。总的说来，民间用瓷的造型大部分是大方朴实、经济耐用；而宫廷用瓷则端庄典雅、雍容华贵。最能反映皇家气派的是哥、官、钧、汝与定窑口烧制的贡瓷，最能体现百姓喜乐的是磁州、耀州窑口烧制的民间瓷品。\n从纹饰上讲，宋瓷的纹饰题材表现手法都极为丰富独特。一般情况下，龙、凤、鹿、鹤、游鱼、花鸟、婴戏、山水景色等常作为主体纹饰而突现在各类器形的显著部位，而回纹、卷枝卷叶纹、云头纹、钱纹、莲瓣纹等多用作边饰间饰，用以辅助主题纹饰。工匠们用刻、划、剔、画和雕塑等不同技法，在器物上把纹样的神情意态与胎体的方圆长短巧妙结合起来，形成审美与实用的统一整体，令人爱不释手。如婴戏纹，或于碗心、或于瓶腹，将肌肤稚嫩，情态活泼的童子置于花丛之中，或一或二，或三五成群，攀树折花，追逐嬉戏，真切动人，生活气息甚为浓厚。",[857,603,7,1451,1452],"红釉","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37fc627f918270e965204bd54209f5d0.jpg",[],{"id":1456,"slug":1457,"title":1458,"dynasty":79,"author":154,"museum":20,"description":1459,"tags":1460,"thumbUrl":1462,"material":70,"size":71,"collection":72,"collections":1463,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},262207,"fen-cai-zi-ji-zun-yi-ming-262207","粉彩茡荠尊","尊，今作樽，是商周时代中国的一种大中型盛酒器。青铜器，尊的形制圈足，圆腹或方腹，长颈，敞口，口径较大。尊盛行于商代至西周时期，春秋后期已经少见。较著名的有四羊方尊。商周至战国时期，还有另外一类形制特殊的盛酒器—彝。彝通常呈鸟兽状，有羊、虎、象、豕、牛、马、鸟、雁、凤等形象。《周礼·春官·司尊彝》：“春祠夏禴，裸用鸡彝鸟彝......追享朝享，裸用虎彝蜼彝。”彝纹饰华丽，在背部或头部有尊盖。",[857,1461,46,159,7,47,603],"粉彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15603ecd41320ab94731946dcf69e034.jpg",[],{"id":1465,"slug":1466,"title":1467,"dynasty":79,"author":154,"museum":20,"description":960,"tags":1468,"thumbUrl":1469,"material":70,"size":71,"collection":72,"collections":1470,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":59},261074,"cheng-hua-kuan-qing-hua-lu-hou-niao-tu-pan-yi-ming-261074","成化款青花鹿猴鸟图盘",[857,855,162,7,359,603,88,47],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61e03a9543fb6eec5455288a2580673a.jpg",[],{"id":1472,"slug":1473,"title":1474,"dynasty":79,"author":154,"museum":20,"description":1449,"tags":1475,"thumbUrl":1478,"material":70,"size":71,"collection":72,"collections":1479,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":188},260842,"you-li-hong-feng-hou-gua-yin-tu-bi-tong-yi-ming-260842","釉里红封侯挂印图笔筒",[857,1476,1168,7,250,1477],"釉里红","封侯挂印","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F498ddda06c52b9dfe2db2f02c4be4348.jpg",[],{"id":1481,"slug":1482,"title":1483,"dynasty":79,"author":154,"museum":20,"description":1411,"tags":1484,"thumbUrl":1490,"material":70,"size":71,"collection":72,"collections":1491,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},260537,"fen-cai-shi-er-chen-yuan-he-yi-ming-260537","粉彩十二辰圆盒",[1461,857,603,1485,1486,1487,1488,1489,599,356,160,600,513,601,139,300,7,85,301,602,1070],"十二生肖","太极","八卦","云纹","蝙蝠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55d4f5efbcf4b804c18c0b9202545a3e.jpg",[],{"id":1493,"slug":1494,"title":1495,"dynasty":79,"author":154,"museum":20,"description":1209,"tags":1496,"thumbUrl":1498,"material":70,"size":71,"collection":72,"collections":1499,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},258824,"dou-cai-hou-lu-tu-wan-yi-ming-258824","斗彩猴鹿图碗",[1211,857,46,7,162,86,1212,1497,603],"亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6622439be445bf3033a58cc74de800ea.jpg",[],{"id":1501,"slug":1502,"title":1503,"dynasty":79,"author":154,"museum":20,"description":1209,"tags":1504,"thumbUrl":1505,"material":70,"size":71,"collection":72,"collections":1506,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":59},258036,"cheng-hua-kuan-dou-cai-lu-hou-hua-niao-wen-wan-yi-ming-258036","成化款斗彩鹿猴花鸟纹碗",[857,1211,162,7,88,46,603,1038,1253,830],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd56dec254b21b2d5a7b877adfaf2db92.jpg",[],{"id":1508,"slug":1509,"title":1510,"dynasty":133,"author":154,"museum":20,"description":1511,"tags":1512,"thumbUrl":1515,"material":70,"size":71,"collection":72,"collections":1516,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":188},256934,"bai-you-ke-hua-hu-yi-ming-256934","白釉刻花壶","将不含金属氧化物呈色元素的釉料施于胎骨洁白的器物上，入窑高温烧制而成的透明釉， 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