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1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,53,25,54,26,55,7,35,36,56],"立轴","写意","葡萄","花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff132055bd0237aacfdd9ba4bc4e35645.jpg","纸本，设色","纵174.7cm，横47.5cm",[],221,{"id":63,"slug":64,"title":65,"dynasty":18,"author":19,"museum":66,"description":67,"tags":68,"thumbUrl":72,"material":73,"size":39,"collection":39,"collections":74,"showCount":75,"zanCount":11,"manualWeight":11,"mainColor":43},220585,"hu-lu-he-san-zhi-kun-chong-qi-bai-shi-220585","葫芦和三只昆虫","Oscar Niemeyer Museum","明黄葫芦以没骨法晕染，色块鲜亮通透，留白巧显葫身莹润质感。焦墨藤蔓如虬龙游走，狂放苍劲，墨叶大笔泼写，浑朴厚重，大写意的疏朗随性扑面而来。\n\n三只草虫用工笔细绘，蝶翅纹路纤毫毕现，蝈蝈、蚱蜢肢体灵动鲜活，工细与写意形成强烈对冲，将乡野秋意揉入画面。枯湿浓淡的墨色层次分明，老辣笔触带着稚拙生机，把篱边闲趣晕染得鲜活动人，俗世清欢藏在笔墨之间，尽显东方水墨的悠然意韵。",[24,69,53,70,25,26,7,35,30,32,71],"书画","水墨","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61c47104068ce7e480840a2e1fddebeb.jpg","Watercolor on 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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。",[189,455,456,457,190,7],"青花","长颈瓶","缠枝纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a029275298892e806b722b8ca61d657.jpg",[],{"id":461,"slug":462,"title":463,"dynasty":464,"author":154,"museum":124,"description":465,"tags":466,"thumbUrl":470,"material":194,"size":195,"collection":39,"collections":471,"showCount":432,"zanCount":11,"manualWeight":11,"mainColor":210},255756,"ying-qing-you-ci-bei-hu-lu-xian-he-yi-ming-255756","影青釉瓷背葫芦仙鹤","元","中国瓷器著名传统颜色釉。亦称“青瓷釉”。古代南方青釉，是瓷器最早的颜色釉。\n所谓“青釉”，颜色并不是纯粹的青，有：月白、天青、粉青、梅子青、豆青、豆绿、翠青等，但多少总能泛出一点青绿色。同时，古人往往将青、绿、蓝三种颜色，一统称为“青色”，例如许之衡《饮流斋说瓷》称：“古瓷尚青，凡绿也、蓝也，皆以青括之。”刘子芬《竹园陶说》中也说：“青色一种，常与蓝色相混。雨过天晴，钧窑、元窑之青，皆近蓝色。”“惟千峰翠色、梅子青、豆青、乃为纯青耳。天色本蓝，有时为青。”\n青釉是我国使用最早，延用时间最久，分布最广的一个釉种，它的发明是与我国瓷土矿大都含有一定量的铁矿的现象相一致的。青色也符合我国人民的传统审美情趣。青色与碧玉相若，认为稳重而高雅。浙江、江西、河南等地已出土了不少早至商周时期的原始青釉瓷。六朝至唐宋以越窑为代表的南方青釉瓷；宋到元明的龙泉窑系青瓷；耀州窑、临汝窑、钧窑等宋代北方青瓷；以及明、清以来的景德镇青釉瓷，是青釉发展的几个重要阶段，所谓的宋代“汝、定、官、哥、钧”五大名窑，除定窑外均属青釉瓷。表釉的呈色主要决定于着色氧化物的含铁量与烧成气氛，青釉含铁量一般在1—3%左右，过高会变成黑釉，低了就能烧成白瓷。在还原气氛中烧成。釉色青绿；在氧化气氛中烧成，釉色泛黄。因而陶瓷界所谓的青釉是相对而言的，正如许之衡《饮流斋说瓷》中所说：“古瓷尚青，凡绿也，蓝也，皆以青括之。”",[467,189,468,469,7],"元代","影青釉","仙鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad138ed42b597139f95b5f213983a4e6.jpg",[],{"id":473,"slug":474,"title":475,"dynasty":48,"author":154,"museum":124,"description":332,"tags":476,"thumbUrl":479,"material":194,"size":195,"collection":39,"collections":480,"showCount":432,"zanCount":89,"manualWeight":11,"mainColor":119},247824,"dui-cai-hu-lu-xi-shuai-wen-he-yi-ming-247824","堆彩葫芦蟋蟀纹盒",[157,477,478,159,7,32,35,36,25],"漆器","堆彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98d4c59b34eca9a90ca17881411c4d97.jpg",[],{"id":482,"slug":483,"title":484,"dynasty":485,"author":154,"museum":124,"description":486,"tags":487,"thumbUrl":489,"material":194,"size":195,"collection":39,"collections":490,"showCount":432,"zanCount":11,"manualWeight":11,"mainColor":43},245979,"jin-lei-si-hu-lu-shi-er-zhui-yi-ming-245979","金累丝葫芦式耳坠","不详","以金累丝技法锻造而成，取葫芦为型暗合福禄绵长的美好期许。细金丝编焊出缠枝卷草，镂空通透，光影穿拂间尽显灵秀雅致。枝蔓回旋舒展，柔美曲线与繁复纹样相融无间，不见一丝赘余。下端链环柔婉轻盈，衔接宝相花扣饰，凸圆花蕊点睛添彩，与挂钩浑然一体，自带古典华贵气韵。整体舒展秀雅，将匠心藏于丝缕之间，尽显旧时首饰的温婉意趣，诠释东方雅致美学的精巧内核。",[488,204,248,7],"金累丝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aa82d6ceb8fcd031d4528ef10ef2352.jpg",[],{"id":492,"slug":493,"title":494,"dynasty":48,"author":154,"museum":124,"description":495,"tags":496,"thumbUrl":497,"material":194,"size":195,"collection":39,"collections":498,"showCount":432,"zanCount":11,"manualWeight":11,"mainColor":210},245586,"ba-cheng-jin-hu-lu-yi-ming-245586","八成金葫芦","取双葫连理造型，暗合福禄绵长的美好祈愿。錾刻的花卉与叶片鲜活灵动，花瓣脉络细腻舒展，叶片肌理清晰逼真，宛若将春日生机凝于金器之上。八成金质地莹润厚重，色泽华贵雅致，光影流转间尽显金属的温润光泽。匠师以娴熟的錾花工艺，将柔美的花叶与圆润的葫芦形制巧妙结合，既保留了器物的实用属性，又兼具陈设雅趣，是兼具审美价值与文化内涵的精巧佳作。",[248,222,159,7,223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29eb37ccb2c81cde0ae6cf1088975fd0.jpg",[],{"id":500,"slug":501,"title":502,"dynasty":48,"author":154,"museum":124,"description":503,"tags":504,"thumbUrl":509,"material":194,"size":195,"collection":39,"collections":510,"showCount":432,"zanCount":11,"manualWeight":11,"mainColor":210},245494,"jin-qian-zhu-shi-hu-lu-shi-bie-zhen-yi-ming-245494","金嵌珠石葫芦式别针","此件以葫芦为形，暗藏福禄祥瑞的美好寓意。金质胎体肌理温润细腻，錾刻缠枝花卉蜿蜒盘绕其上，将累丝、镶嵌工艺精妙相融。两朵主花以莹润东珠为芯，围镶艳红宝饰，珠辉宝色交相辉映，愈发衬得珠光皎洁，宝色鲜亮。翠色枝叶俏然攀附金身，为华贵金器添了灵动生机，调和了色调层次。整体工致精巧，将吉祥意趣藏于细作之中，是兼具装饰美感与美好寓意的珠宝佳构。",[157,248,204,505,506,507,508,7,223],"金属工艺","镶嵌","嵌珠","嵌石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65eb9e01994e46efcbb78ab95f28d069.jpg",[],{"id":512,"slug":513,"title":514,"dynasty":48,"author":154,"museum":124,"description":515,"tags":516,"thumbUrl":522,"material":194,"size":195,"collection":39,"collections":523,"showCount":432,"zanCount":11,"manualWeight":11,"mainColor":43},241997,"yin-du-jin-qian-zhu-bao-hu-lu-guo-guo-wen-zan-yi-ming-241997","银镀金嵌珠宝葫芦蝈蝈纹簪","发簪，中国古代汉族人民用来固定和装饰头发的一种首饰。对于现代人来说已经是一个很古老的名词了，但是当在看古装剧时，却总是能被它们点缀出的精致效果所折服。\n将长发松松挽起，插上一枚别致的发簪，再配上典雅的长裙，即便性格再外放的女性，也可以成为让人眼前一亮的古典美人。发簪金属的光泽闪耀在发间，加上小而巧的坠饰，长发的风情便又是一种不一样的感受了。",[157,517,518,519,7,520,204,324,248,521],"银镀金","嵌珠宝","珐琅","蝈蝈","珠宝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70c0ff44bc150c7ab942d56b20a34bae.jpg",[],{"id":525,"slug":526,"title":527,"dynasty":48,"author":154,"museum":124,"description":202,"tags":528,"thumbUrl":530,"material":194,"size":195,"collection":39,"collections":531,"showCount":532,"zanCount":11,"manualWeight":11,"mainColor":210},267289,"dian-cui-xiang-liao-shi-hu-lu-hua-he-wen-tou-hua-yi-ming-267289","点翠镶料石葫芦花鹤纹头花",[204,207,205,506,529,7,223,158,248],"鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4483ce4442fa99e9e77ec597a8ddf825.jpg",[],3,{"id":534,"slug":535,"title":536,"dynasty":105,"author":154,"museum":124,"description":537,"tags":538,"thumbUrl":542,"material":194,"size":195,"collection":543,"collections":544,"sh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tags":610,"thumbUrl":611,"material":194,"size":195,"collection":39,"collections":612,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":119},258574,"qian-long-kuan-fen-cai-hu-lu-bi-yan-hu-yi-ming-258574","乾隆款粉彩葫芦鼻烟壶","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。",[48,188,189,222,7,35,36,30,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcec5b2a8cfc416fdcc5a06d4797765f0.jpg",[],{"id":614,"slug":615,"title":616,"dynasty":105,"author":154,"museum":124,"description":617,"tags":618,"thumbUrl":620,"material":194,"size":195,"collection":543,"collections":621,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":43},257663,"yi-xing-yao-xiang-fu-kuan-jiang-you-hu-lu-ping-yi-ming-257663","宜兴窑祥符款酱釉葫芦瓶","宜兴窑，在今江苏宜兴丁蜀镇，故名。烧瓷历史悠久，秦汉时宜兴地区陶窑密布；两晋时在均山烧青瓷，唐初在归径等地大量烧制，至晚唐、五代成为南方民间著名青瓷窑；宋、元时期，丁蜀与西渚一带大规模烧造日用陶和早期紫砂。明清时成为当时的烧陶中心。涧众村发现有唐代青瓷窑址。明代以紫砂器闻名于世，出现不少制紫砂壶名家，如供春；时大彬、李仲芳、陈仲美等，并仿烧宋代钧窑器物，因有"宜钧"之称。\n在今江苏宜兴市南部的丁蜀镇一带，故称为宜兴窑。宜兴窑从汉代始烧红陶、灰陶、和原始青瓷等等，其烧制陶瓷的历史一直延续到今天，有2000多年，故可称是最古老的窑口。宋代已开始烧造紫砂器，明代的紫砂器闻名于世，清代是其高峰。建国后，宜兴除传统的紫砂陶、均陶有很大发展外，还恢复了青瓷生产，新创了花釉陶和精陶等产品，是我国重点陶瓷产区之一。",[189,222,619,7],"酱釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b492d33fa194efa32529cd4e84d4f62.jpg",[543],{"id":623,"slug":624,"title":625,"dynasty":48,"author":154,"museum":124,"description":626,"tags":627,"thumbUrl":628,"material":194,"size":195,"collection":39,"collections":629,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":119},252638,"bi-yu-san-xiang-qing-yu-hu-lu-wan-dai-wen-ru-yi-yi-ming-252638","碧玉三镶青玉葫芦万代纹如意","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。",[158,222,159,506,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff04817ad2b76a067862f2a21f1ac0344.jpg",[],{"id":631,"slug":632,"title":633,"dynasty":48,"author":154,"museum":124,"description":634,"tags":635,"thumbUrl":638,"material":194,"size":195,"collection":39,"collections":639,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":210},241766,"bi-xi-dai-cui-hu-lu-pei-yi-ming-241766","碧玺带翠葫芦佩","古人的很多生活器具都是由玉雕成的，能常戴在身上的惟有玉佩。繁钦诗中“美玉”是指玉做的佩，或写作“佩”。古人对玉佩的热爱不是因为玉的贵重，而是源于玉的品格，所以古语有“君子无故，玉不去身”。",[157,159,636,158,637,204,7],"碧玺","翠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8e957ac8f64aa747d158941b281a84f.jpg",[],{"id":641,"slug":642,"title":643,"dynasty":48,"author":154,"museum":124,"description":644,"tags":645,"thumbUrl":647,"material":194,"size":195,"collection":39,"collections":648,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":119},229981,"diao-qi-da-ji-hu-lu-ping-yi-ming-229981","雕漆大吉葫芦瓶","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[477,559,159,222,7,646],"文字纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F767f57143e29d772b65f420134091ddf.jpg",[],{"id":650,"slug":651,"title":652,"dynasty":48,"author":154,"museum":124,"description":653,"tags":654,"thumbUrl":655,"material":194,"size":195,"collection":39,"collections":656,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":119},229307,"zi-sun-wan-dai-jin-hu-lu-yi-ming-229307","子孙万代金葫芦","此器取葫芦造型，谐音福禄，暗合子嗣绵延的美好祈愿。通体以累丝透雕工艺打造，缠枝花果疏密交织，花叶婉转灵动，玲珑通透间尽显清代细金工艺的极致工巧。\n\n器身花果并茂，隐现生生不息的意趣，蒂纽巧作翻卷藤蔓，宛若新摘的鲜活葫芦，浑然天成。黄金的暖辉与镂空的光影相映，华贵间不失清雅，将祈福心意凝注在缕金缠枝之中，把东方吉祥愿景融于精妙造物，尽显传统金工里的温柔期许。",[48,248,159,590,222,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F030d0133e2d3bf6ee88b51a401f98ee9.jpg",[],{"id":658,"slug":659,"title":660,"dynasty":48,"author":154,"museum":124,"description":661,"tags":662,"thumbUrl":667,"material":194,"size":195,"collection":39,"collections":668,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":119},274526,"tong-du-jin-zi-kai-men-shou-xing-hu-lu-shi-zhong-yi-ming-274526","铜镀金自开门寿星葫芦式钟","最早的钟原本是指古代汉族 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