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袁桂珍画虎。在面板的左侧是 归真 的签名，似乎已经被改变。因此需要进一步研究，以确定这幅画是由 归真 还是 李 姓画家创作的。画中，旷野荒凉，松树茂盛，绿竹随风飘荡，溪水潺潺。中国的习俗是把鹰和虎都画在一起。'虎'字形容地势雄伟险要，'鹰'字指的是雄伟壮丽的人才展示。这是一种比喻方式，表达了一种优越的地位和挥舞大权的能力。对于古代画家来说，老虎并不像今天这样容易看到，这幅画对老虎的形态描绘得非常精致，是中国绘画史上最好的作品之一。画风的上限可能早于元代，但可能是南宋的作品。",[67,23,169,26,170,7,28,155,51],"扇面","皴法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15501d2a2c11b6aebfe96cf28f72ce0c.jpg","绢本,设色","25.6x26.6",[158],115,{"id":177,"slug":178,"title":17,"dynasty":102,"author":103,"museum":179,"description":180,"tags":181,"thumbUrl":183,"material":184,"size":185,"collection":33,"collections":186,"showCount":187,"zanCount":97,"manualWeight":11,"mainColor":37},218980,"hu-tu-mu-xi-218980","印第安纳波利斯艺术博物馆","简淡墨线勾出虎的轮廓，鬃毛与斑纹以淡墨晕染，不追形似却藏沉雄气。虎身微俯，双目半阖，似对脚下枯枝荒草凝思，又若沉入自心的寂定。寥寥几笔的背景，枯枝斜逸，荒草疏疏，留白处漾着空寂禅意。没有猛兽的暴戾张扬，只有禅者的静默观照——牧溪以禅心驭笔，将野性化为内在静定，让画面漫出冲淡平和的韵致，仿佛能嗅到山野清寂，触到那份不扰不惊的禅味，于简素中见深幽，于静默里藏万钧。",[67,23,46,139,7,28,52,182,170],"孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd72ce90985e025abbe4fdc39118c3cf7.jpg","绢本,水墨","101.7x49.5cm",[33],114,{"id":189,"slug":190,"title":191,"dynasty":18,"author":192,"museum":166,"description":193,"tags":194,"thumbUrl":197,"material":31,"size":32,"collection":32,"collections":198,"showCount":199,"zanCount":11,"manualWeight":11,"mainColor":78},214840,"xie-sheng-ce-21-hua-yan-214840","写生册-21","华嵒","华嵒是一位清代著名画家和艺术家。他的写生册是一本记录他写生草稿的册子，通常包含他对自然和人物的写生绘画。写生册是画家们练习和提高技巧的重要工具，因为它们能够帮助画家观察、捕捉和描绘细节。华嵒的写生册中可能包含了他对山水、花鸟、人物等的写生画作。",[25,23,24,195,27,26,7,28,29,196,53],"写生","昆虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10f0efa4299c6b9b513e46407f757961.jpg",[],103,{"id":201,"slug":202,"title":203,"dynasty":204,"author":19,"museum":205,"description":206,"tags":207,"thumbUrl":209,"material":172,"size":210,"collection":130,"collections":211,"showCount":212,"zanCount":97,"manualWeight":11,"mainColor":37},219251,"dong-shan-wo-hu-tu-yi-ming-219251","冬山卧虎图","明","美国弗利尔美术馆","寒岩之上，猛虎蜷卧。斑纹以墨线精准勾勒，间杂赭色轻晕，皮毛的蓬松质感似触手可及。虎目微阖，似憩非眠，虽无咆哮之威，却藏沉潜气势。旁侧古松虬曲，枝干如铁，松针疏密有致；岩石皴法朴拙，斑驳处隐见残雪，透出冬日清寂。笔墨兼工带写，动物造型生动传神，山水布景简括古雅。整幅画于静谧中蕴张力，既见画师对生灵姿态的细腻捕捉，亦显对冬日山景的深刻体察，在沉郁色调里，铺展一段自然与生命的悠然对话。",[23,24,26,27,7,28,71,122,51,208],"雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4902029b2d5488e3af7e90169c94e1c.jpg","26.1x40.6厘米",[130],83,{"id":214,"slug":215,"title":17,"dynasty":18,"author":216,"museum":166,"description":217,"tags":218,"thumbUrl":220,"material":31,"size":221,"collection":130,"collections":222,"showCount":223,"zanCount":11,"manualWeight":11,"mainColor":78},219477,"hu-tu-ma-fu-tu-219477","马负图","此作打破惯常的猛虎范式，坐虎圆颅圆眼，憨态尽显。以丝毛晕染绘皮毛，笔触细腻柔润，斑纹浓淡层次分明，将蓬松质感淋漓展现，褪去兽王的狞厉刻板，尽显稚态娇憨。\n背景浅绛绘就山野，危崖飞瀑隐于轻岚淡雾间，点染苍润草木，晕染出山谷空寂清宁。静虎坐卧于山石，稚拙憨态与山野幽寂相融，工写兼具，笔意温润雅致，把山林王者柔化成邻家稚兽，别出灵动画意，尽显悠然野趣。",[23,24,26,27,170,71,7,28,91,51,219],"草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90d96f61fde5de07de01651b35d7eae0.jpg","158.1×91.2",[130],82,{"id":225,"slug":226,"title":227,"dynasty":204,"author":19,"museum":228,"description":229,"tags":230,"thumbUrl":238,"material":239,"size":240,"collection":32,"collections":241,"showCount":242,"zanCount":97,"manualWeight":11,"mainColor":37},231541,"shan-hai-bai-ling-tu-yi-ming-231541","山海百灵图","美国弗瑞尔美术馆","此《山海百灵》图卷（签题：唐胡瓌《蕃兽图》真迹神品上上，卷前题：山海百灵）。画卷描绘诸多怪奇神兽，这些动物形象灵感应该来自《山海经》，卷后有一段跋描述此卷的传递情况。此卷大致绘于明代（待考），现藏于赛克勒美术馆。\n胡瓌(瓌，读作guī。汉字基本字义古同“瑰”。五代·后唐〕，山后契丹乌索固部落人。随李克用(856-908)入中原，定居范阳（治今河北涿县），生卒年不详。擅写北方游牧民族牧马、驰猎等生活，穹庐什器、射猎部属，纤悉形容备尽。所作用笔清劲，构图巧密，人物气质犷悍，形象各异。尤工画马，骨骼体状生动有神。",[67,23,152,26,27,170,71,28,7,69,231,70,232,233,234,155,123,235,236,237],"象","山羊","狮子","猴","溪流","竹子","动物群像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb78ddfae72c871b93075fd0f391901d5.jpg","纸本设色","34.5x744厘米",[],80,{"id":244,"slug":245,"title":246,"dynasty":102,"author":19,"museum":118,"description":247,"tags":248,"thumbUrl":256,"material":126,"size":257,"collection":32,"collections":258,"showCount":242,"zanCount":97,"manualWeight":11,"mainColor":37},223478,"sou-shan-tu-juan-yi-ming-223478","搜山图卷","《搜山图》卷表现的是民间传说二郎神搜山降魔的故事，所以也称为《二郎神搜山图》。二郎神的故事在民间广泛流传，在许多文艺作品中也有反映。元代有《二郎神醉射锁魔镜》的杂剧，描写二郎神与九首牛魔王、哪吒及金睛百眼鬼比试高低，最后拿住二洞妖魔的故事。据记载，最早有北宋画家高益画的《鬼神搜山图》，受到皇帝的重视。以后明、清两代，不断有传本出现。\n此卷《搜山图》是南宋末或元初人的手迹。人物用工笔重彩，衣纹用铁线描，刚劲有力，形象刻画生动传神，非凡手可及。山林树木皴法豪纵，近乎南宋刘松年的风格。与同一题材的各种不同本子比较，此卷是个残本，其中缺少主神即二郎神部分，但是其绘画技巧却高出其它各本。图中描绘神兵神将们耀武扬威地搜索山林中各种魔怪。魔怪们均是各种野兽变的，有虎、熊、豕、猴、狐狸、山羊、獐、兔、蜥蜴、蛇及树精木魅等。这些妖怪，或是原形，或化为女子，他们都在神将们追逐下，仓惶逃命，或藏匿山洞，或拒绝受擒。而那些神将们则手持刀枪剑戟、纵鹰放犬，前堵后截，使妖怪无处逃身。本来，二郎神是作为正面人物来歌颂的，然而看了此卷之后，却得到了一个相反的印象。那些神兵神将，一个个凶神恶煞，使人们憎恶，而那些妖怪们却面目和善，那种惊怖逃生的内心刻画，令人同情。不知作者是有意还是无意，使观者自然地就会联想到，当时社会那些官兵对老百姓的欺压情形。",[67,23,121,24,152,27,26,49,71,28,7,249,250,251,252,155,51,253,254,255],"豹","鹰","蛇","兔","飞鸟","神仙","鬼怪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d5ad08cdb1d23179ccbc0394feeea8b.jpg","纵53.3厘米，横533厘米",[],{"id":260,"slug":261,"title":262,"dynasty":263,"author":19,"museum":166,"description":264,"tags":265,"thumbUrl":266,"material":172,"size":32,"collection":130,"collections":267,"showCount":242,"zanCount":11,"manualWeight":11,"mainColor":37},218757,"ma-hu-dou-tu-yi-ming-218757","马虎斗图","元","荒野坡地间，虎躯如弓骤起，斑纹随扑跃之势流转，利爪前探、利齿微张，将猛兽的悍勇凝于一瞬。对面的马似遭突袭，后腿猛蹬沙砾，前蹄腾空欲踹，鬃尾怒扬如帚，肌肉紧绷的线条里满是求生的倔强。周遭荒草疏疏，枯木隐现，浅褐底色更衬出这场对峙的凛冽——没有多余渲染，却让观者仿佛听见虎啸马嘶，触到风里的紧张气息。笔法精准却不刻板，虎的威猛与马的刚烈形成强烈张力，寥寥数笔的环境勾勒，便将荒野争斗的野性拉满，尽显笔墨间蓬勃的生命力。",[67,23,27,26,7,69,28,51,219],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb750130b6ddf73afbbc1100e84494f1.jpg",[130],{"id":269,"slug":270,"title":271,"dynasty":102,"author":272,"museum":64,"description":273,"tags":274,"thumbUrl":275,"material":184,"size":276,"collection":158,"collections":277,"showCount":278,"zanCount":11,"manualWeight":11,"mainColor":37},218095,"bai-miao-shou-lie-tu-juan-li-gong-lin-218095","白描狩猎图卷","李公麟","白描狩猎图卷是一幅巨大的屏风画，共有四卷，每卷长约10米，宽约1.5米。它描绘了一场盛大的狩猎活动，其中参加狩猎的人物有皇帝、皇后、王子和贵族，以及许多官员和太监。画面中还有各种各样的动物，包括骏马、鹿、鸟和兔子。\n\n李公麟的白描狩猎图卷以其精细的绘画技巧和丰富的内容而闻名。他使用了白色和黑色的墨水，在白色的底纸上绘制出细腻的线条。他还使用了许多细节，比如服装上的绣花和皇家徽章，以及动物身上的斑点和杂毛。\n\n白描狩猎图卷被认为是宋朝绘画史上的杰作，也是李公麟最著名的作品之一。它不仅是一幅精美的艺术品，还是对当时宋朝社会、文化和政治的重要记录。",[67,121,23,24,152,47,49,71,69,7,28,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca98a46e48106d01d0de91429a75d903.jpg","36.8×819",[158],75,{"id":280,"slug":281,"title":101,"dynasty":282,"author":283,"museum":284,"description":285,"tags":286,"thumbUrl":288,"material":289,"size":290,"collection":110,"collections":291,"showCount":292,"zanCount":97,"manualWeight":11,"mainColor":78},221177,"er-zu-diao-xin-tu-shi-ke-221177","五代十国","石恪","日本京都国立博物馆","画面展现了两个禅定状态的高僧。其一，头枕屈臂，趴在一只睡虎身上，脸部的五官挤压在一起，呈现了睡眠的神态。其二，弯臂以手托腮，依在自己的右腿上，同样表现了睡眠的神态。但两者有所不同。前者全身依托于睡虎，可谓“沉睡入泥”，生动地表现了高僧达到了酣睡入梦、超脱一切的禅定境地。而后者的头躯则是依托于自身的支撑，入微地表现了高僧若有所思、静心似睡的禅定状态。简而言之，前者突出了一个“静”字，而后者则突出了一个“酣”字。\n《二祖调心图》在表现手法上“删繁就简”，“虚实相生”，“无画处皆成妙境”，正是道家精神的体现。",[67,121,23,46,49,48,7,287],"禅定","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5231745a90758af093f0219512406582.jpg","纸本","纵35.5厘米，横129厘米",[110,56],74,{"id":294,"slug":295,"title":296,"dynasty":18,"author":297,"museum":298,"description":299,"tags":300,"thumbUrl":301,"material":172,"size":302,"collection":33,"collections":303,"showCount":304,"zanCount":97,"manualWeight":11,"mainColor":78},218958,"gao-shan-meng-hu-tu-gao-qi-pei-218958","高山猛虎图","高其佩","私人收藏","画面中山势巍峨，层峦叠嶂间寒云缭绕，尽显沉雄气象。猛虎悄然立于崖头，身形矫健，皮毛纹理以简劲笔触勾勒，凛凛威风藏于内敛姿态中。山石以焦墨皴擦，线条如铁线刚硬，留白处隐现雪意，添几分清寂冷峻。远处天际一抹残阳，为沉郁山景晕开暖意，却更衬虎之孤绝霸气。笔墨苍劲洒脱，山水雄浑与猛兽野性相融，静谧中藏磅礴之力，观之似闻山风猎猎、虎啸穿林，原始生机与威严扑面而来。",[23,139,46,71,7,28,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa45ada0cc9259f74c5941a8a767a7c3b.jpg","166x38cm",[33],72,{"id":306,"slug":307,"title":308,"dynasty":102,"author":19,"museum":166,"description":309,"tags":310,"thumbUrl":311,"material":312,"size":313,"collection":158,"collections":314,"showCount":315,"zanCount":11,"manualWeight":11,"mainColor":37},220236,"bian-zhuang-zi-ci-hu-1-yi-ming-220236","卞庄子刺虎1","宋人画卞庄子刺虎图，是从宋代遗存下来的古画，由于作品未留署名，尚不能确定作者是谁，有人推测是出自宋代李公麟之手！这幅画是一副寓意图，描绘的是两只老虎想吃一头牛，而卞庄又想猎杀两只老虎的场景，通过这些场景和最后结果的描绘想劝告人们做事不要只凭勇气，而没有智慧；另一方面的，也阐释出自己人“两只老虎”相争，最后却被别人得到利益。",[23,27,26,49,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff34154e0aa0ce30e7ee5f4a8eb6e91b1.jpg","绢本","39×169.1公分",[158],65,{"id":317,"slug":318,"title":319,"dynasty":263,"author":19,"museum":298,"description":320,"tags":321,"thumbUrl":323,"material":172,"size":324,"collection":33,"collections":325,"showCount":326,"zanCount":11,"manualWeight":11,"mainColor":37},216751,"shi-hu-san-biao-tu-yi-ming-216751","十虎三彪图","这是一幅虎画长卷，名曰《十虎三彪图》，宋人佚名作，共画了十只虎，三只彪。\n\n龙生九子，各有不同。虎生三子，必有一彪。\n\n在传统文化里，龙虎都少不了一些衍生同类，彪是虎演化而来的。故事相传，母虎生有三虎崽，其中一虎崽格外凶狠彪悍，有吞食另外两只幼崽的能力，因此母虎日夜提防着凶虎崽和另外两只虎崽单独相处。",[67,23,24,152,46,170,7,322,28,155,51],"彪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22319c2472e4a7063456b1ee2a4fb07f.jpg","27x349cm",[33],62,{"id":328,"slug":329,"title":330,"dynasty":102,"author":19,"museum":331,"description":332,"tags":333,"thumbUrl":335,"material":55,"size":32,"collection":110,"collections":336,"showCount":337,"zanCount":97,"manualWeight":11,"mainColor":37},219587,"hu-fa-tian-wang-tu-yi-ming-219587","护法天王图","日本大阪市立美术馆","全作以长卷铺陈浩荡群像，排布疏密有致。左侧雅士云集，宽袍博带，神态或清隽沉凝，或温雅端方，铁线游丝般的线条勾勒出出尘风神。右侧融世俗百态，驯虎、舆车错落，仆役走卒情态鲜活，雅俗相映，消解了仙圣绘的疏离感。\n\n绢面虽经岁月晕染，浅淡古雅的设色依旧耐看，劲挺流转的线描尽显白描功底。衣袂飘举间将清贵气度与市井意趣揉为一体，在庄严仪轨之中藏着鲜活烟火，尽显中古人物画的叙事张力与笔墨意韵。",[67,23,24,152,48,47,26,27,49,7,28,334],"衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac3273b94acfdc6de56954e04e0abfb.jpg",[110],59,{"id":339,"slug":340,"title":341,"dynasty":18,"author":342,"museum":20,"description":343,"tags":344,"thumbUrl":346,"material":31,"size":32,"collection":110,"collections":347,"showCount":337,"zanCount":11,"manualWeight":11,"mainColor":78},214995,"ren-wu-tu-ce-gu-jian-long-214995","人物图册","顾见龙","画面中，红衣僧闲坐虎背，身姿随意舒展，似与猛虎相得甚欢；蓝衫僧侧卧于地，怀中抱持乐器，眉眼间尽是悠然惬意。那头猛虎虽轮廓雄健，却温顺如犬，伏身贴地，与僧人亲昵相伴，猛兽的凌厉全然化作柔和。笔墨运用细腻传神，衣袂线条流畅婉转，虎的毛发晕染层次分明，质感毕现。整幅画将人物的闲适、动物的温驯交织，营造出清逸恬淡的禅意氛围，仿佛能听见林间风声与隐约乐声，尽显传统绘画中笔墨的灵动与人文的温情。",[67,121,23,24,345,26,46,47,49,28,7],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1208ac2686fd778f7e364e29c9d2495.jpg",[110],{"id":349,"slug":350,"title":351,"dynasty":263,"author":19,"museum":64,"description":352,"tags":353,"thumbUr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[4] 此图是张渥为好友言思齐（世贤）所作。\n展开画卷，首先映入眼帘的是发髻束起，身着广袖长服，拱手站立的屈原像。他庄重而坚毅、孤独而傲岸、感伤而执著的神韵跃然于纸上，令人感佩动容。在对主人公形象的塑造上，画家运用了以线条勾勒为主的白描手法，用笔苍老润洁，遒逸秀劲，勾勒简练畅意，古拙脱俗，使人物更加生动传神，而且令整幅画面极具一种装饰美。其后以篆书题写《渔父》一篇，这就使读者似乎看到了屈原被放逐后徘徊于江滨那种忧心国事的情怀，不由自主地把屈原的品格同他的《九歌》密切地联系起来。\n紧随屈原像后，作者依据《九歌》原诗的情节逐一绘制出东皇太一、云中君、湘君、湘夫人的形象。画家熟练地运用线条长短、迂回、曲直变化，流畅飞扬，宛似行云流水，人物形象充满了各自的不同神韵。大司命手执拐杖，头上几根洗练的线条和些许淡墨晕染，恰如其分地表现了纱巾透明的质感，其下的发髻隐约可见。衣裤则用比较劲秀而又略有不同的线描画成，使人觉得衣与裤的质料也有所差异。至于面部和双手，用笔更细、更淡、更柔、更富于变化，枯笔画成的须眉成功地表现了它的疏落和蓬松，一副老年人的沧桑感突现出来。少司命左手执笔，右手握卷，慈眉善目，飘浮于祥云之上。左一持杖侍女似正听其嘱咐。东君浓眉大眼，鬓须满脸，手持法器，立于祥云之上。\n在原诗中，东君是人们想象中的太阳神，张渥却捕捉住“举长矢兮射天狼”这一爱憎鲜明的情节，把太阳神和天狼星之间的矛盾冲突集中在一个画面上。太阳神被描绘成一个全副武装、魁梧雄伟的武士，一手持弓，一手握箭，翻身怒视天狼星，须眉怒张，强调了他的勇武；衣带飘拂，加强了动势的表现。天狼星则被画成一个小小圆球，仿佛摇摇欲坠。这种艺术处理充分显现了原诗中那种热爱光明、仇视黑暗的思想感情，比之孙承泽旧藏传李公麟《九歌图》中髭须飘洒、抱弓而立的东君，从思想内容到艺术技巧都增加了新的内容。河伯骑于海龟之上，其衣服帽带的飞扬，波涛的奔涌，把河伯迎风破浪前进的形象淋漓尽致地表现了出来。\n《山鬼》是屈原《九歌》11首诗中最摄人魂魄的一首，它出自楚国一个美丽凄婉的传说，描写一个美丽而幽怨的女神。画卷中的山鬼裸体骑赤豹于松林之中。《国殇》原诗用较多的篇幅描写将士们奋不顾身英勇作战的场面，画家则根据原诗精神，通过一个侧面，充满想象力地进行了生动的描绘：用苍郁的笔法略施渲染，绘成几株参天大树和树下挥戈而前的勇士，铠甲的明亮与树石的阴郁形成了鲜明的对比，从而突出了人物形象。树下走在最前面的人怒目仰视，张口狂呼，仿佛可以听到他叱咤风云的不息喊杀声。在他的身后，无数战士的头在树木的繁枝密叶间攒动。这里，画家的笔墨非常精练，能看到的只有几个被枝叶遮蔽得不完整的头部，但却突出了勇往直前的眼神，成功地运用了构图的掩映和读者的错觉，因而落墨不多却表现了千军万马不可压倒之势。\n《九歌图》人物的塑造特点是形象饱满，个性鲜明。例如，东皇太一是天之尊神。张渥将他塑造为一个王者的形象，高大威严，垂裳冠冕，一手捻须，一手若有所指。与他的高大不同，天女的形象则娇小纤弱，形成对比。又如，大司命是生命之神。张渥将他刻画成一个和蔼的长者，慈眉善目，扶杖驾云而来，全无命运之神的狞厉恐怖。再如，东君为日神。张渥将他描绘成一员武将，披挂整齐，举剑携弓，凝视前方的天狼星。\n《九歌图》不仅对于考订张渥画家的年表、纠正有关记述中的疏误有所裨益，而且为了解张渥的艺术成就提供了一件有价值的资料。\n壬子年为明洪武五年，张渥去世当在此之前。可见自1346年此图创作完成之后至明初的一段时间里，这件作品一直保存在言氏手中。此后《九歌图》在明代的流传情况并不清楚。\n清乾隆时期曾流入内府，画面上铃有乾隆、嘉庆、宣统的印玺多枚。\n清亡后，溥仪令宝熙等审定内府书画时将此卷列为上上，记录在审定内府书画目原稿中。此后，《九歌图》又以赏赐的方式被辗转运往长春的伪皇宫。1945年日本投降后，《九歌图》便一直保存在长春王世宜手中，1971年捐赠吉林省博物馆。",[67,23,24,152,47,49,28,7,514,51,155],"流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83685df6eeeedeb07127abdd163834aa.jpg","纵29厘米、横523.5厘米",[],36,{"id":520,"slug":521,"title":522,"dynasty":263,"author":19,"museum":64,"description":523,"tags":524,"thumbUrl":525,"material":32,"size":32,"collection":32,"collections":526,"showCount":518,"zanCount":97,"manualWeight":11,"mainColor":37},232800,"ying-zhen-tu-shi-ba-luo-han-zuo-yi-ming-232800","应真图(十八罗汉 左)","隋唐以来，不少画家画过《罗汉图》，宋代更为盛行。画《罗汉图》不是用以供奉礼拜，而是为了欣赏，是把宗教题材世俗化，可以说，这是中国绘画史上的一大变迁。\n罗汉像多是耳戴金环，丰颐悬额，隆鼻深目，长眉密髯，服装与配饰具有异域色彩。五代之后，中国画家吸取我国传统人物画风格来画罗汉像，使具有宗教色彩的罗汉中国化。唐代禅宗兴起，主张顿悟，见性成佛，认为世间万物本身自有佛性。禅宗认为，自然界的山川河流、草木花鸟、风雨雷电和人世间百般实相都可以参禅，成为顿悟佛性的机缘。",[23,24,139,48,26,27,49,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F759fd55d66556766afd7f1236ed8d067.jpg",[],{"id":528,"slug":529,"title":530,"dynasty":102,"author":19,"museum":118,"description":247,"tags":531,"thumbUrl":532,"material":126,"size":257,"collection":32,"collections":533,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":37},232880,"sou-shan-tu-yi-ming-232880","搜山图",[67,121,23,152,27,26,49,28,7,71,155,123,253,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7401df44a2b2e19ed21e9557d2cba183.jpg",[],32,{"id":536,"slug":537,"title":538,"dynasty":539,"author":19,"museum":64,"description":540,"tags":541,"thumbUrl":546,"material":93,"size":94,"collection":32,"collections":547,"showCount":548,"zanCount":11,"manualWeight":11,"mainColor":37},255890,"hu-wen-wa-dang-yi-ming-255890","虎纹瓦当","秦","瓦当，是指古代中国建筑中覆盖建筑檐头筒瓦前端的遮挡。特指东汉和西汉时期，用以装饰美化和蔽护建筑物檐头的建筑附件。瓦当上刻有文字、图案，也有用四方之神的“朱雀”“玄武”“青龙”“白虎”做图案的， [1] 是屋檐最前端的一片瓦为瓦当，瓦面上带着有花纹垂挂圆型的挡片。\n瓦当的图案设计优美，字体行云流水，极富变化，有云头纹、几何形纹、饕餮纹、文字纹、动物纹等等，为精致的艺术品，属于中国特有的文化艺术遗产。",[542,543,544,545,7,28],"秦代","陶制","雕刻","模印","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd107dddfa01b07de8f2002fdadc87294.jpg",[],31,{"id":550,"slug":551,"title":552,"dynasty":102,"author":103,"museum":64,"description":415,"tags":553,"thumbUrl":554,"material":93,"size":94,"collection":32,"collections":555,"showCount":556,"zanCount":11,"manualWeight":11,"mainColor":37},287832,"hu-tu-tu-zhou-mu-xi-287832","虎图图轴",[67,23,139,46,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e702bbd4f5112db67f61a9dcb4cd303.jpg",[],30,{"id":558,"slug":559,"title":552,"dynasty":102,"author":103,"museum":64,"description":560,"tags":561,"thumbUrl":562,"material":32,"size":32,"collection":32,"collections":563,"showCount":564,"zanCount":11,"manualWeight":11,"mainColor":37},227715,"hu-tu-tu-zhou-mu-xi-227715","牧溪是南宋著名的画僧，他的画作大多拙稚粗细，自由放逸。由于太过自由且有悖传统而入不了中国主流的收藏殿堂，其洒脱不拘泥于形式的风格反而在日本备受推崇。\n\n牧溪是南宋著名的画僧，他的画作大多拙稚粗细，自由放逸。由于太过自由且有悖传统而入不了中国主流的收藏殿堂，其洒脱不拘泥于形式的风格反而在日本备受推崇。",[23,139,46,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ce9881e58fd85ecc62bf9a234ad398d.jpg",[],29,{"id":566,"slug":567,"title":568,"dynasty":204,"author":373,"museum":64,"description":569,"tags":570,"thumbUrl":571,"material":172,"size":32,"collection":32,"collections":572,"showCount":573,"zanCount":11,"manualWeight":11,"mainColor":37},216275,"er-shi-si-xiao-tu-16-chou-ying-216275","二十四孝图-16","二十四孝图是明朝时期著名的书画作品，由仇英创作。它描绘了中国传统文化中的二十四种孝道场景。二十四孝图的内容涵盖了人生各个阶段的孝道行为，从小学阶段的“孝悌忠信”到晚年的“慈孝双全”。这幅作品在明朝时期广受欢迎，并被视为一部重要的文化遗产。",[23,24,26,27,49,7,28,71,155,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F927b2853b94fe72995de2827e9add8b4.jpg",[],27,{"id":575,"slug":576,"title":577,"dynasty":204,"author":373,"museum":64,"description":578,"tags":579,"thumbUrl":581,"material":93,"size":94,"collection":32,"collections":582,"showCount":583,"zanCount":97,"manualWeight":11,"mainColor":78},287637,"lin-guan-xiu-bai-miao-luo-han-tu-juan-nian-ban-chou-ying-287637","临贯休白描罗汉图卷(年版)","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[67,23,152,47,46,48,377,580,376,7,51,467,53],"佛教人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96f0756cfbb86969cca76cc0ca73962d.jpg",[],26,{"id":585,"slug":586,"title":587,"dynasty":18,"author":588,"museum":64,"description":589,"tags":590,"thumbUrl":591,"material":93,"size":94,"collection":32,"collections":592,"showCount":583,"zanCount":11,"manualWeight":11,"mainColor":78},228988,"bai-miao-luo-han-tu-juan-shi-tao-228988","白描罗汉图卷","石涛","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等，明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[67,121,23,24,152,47,48,49,51,155,7,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9099139807f3e55a6295db547dc07a8.jpg",[],{"id":594,"slug":595,"title":596,"dynasty":18,"author":297,"museum":64,"description":597,"tags":598,"thumbUrl":599,"material":93,"size":94,"collection":32,"collections":600,"showCount":601,"zanCount":11,"manualWeight":11,"mainColor":37},239033,"cong-lin-hu-xiao-tu-zhou-gao-qi-pei-239033","丛林虎啸图轴","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。",[121,23,139,46,71,7,28,72,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae7f05aa9d00239500201819793d58e0.jpg",[],25,{"id":603,"slug":604,"title":605,"dynasty":83,"author":19,"museum":64,"description":606,"tags":607,"thumbUrl":608,"material":93,"size":94,"collection":32,"collections":609,"showCount":601,"zanCount":11,"manualWeight":11,"mainColor":78},231679,"xing-shan-nu-hu-tu-zhou-yi-ming-231679","行山怒虎图轴","此作画境开阔空寂，将猛虎置于下半幅，以大片留白衬出山野荒莽之境。作者工写兼具，以细笔丝绘虎身鬃毛，蓬松柔劲，晕染出皮毛的明暗层次。怒目圆睁、獠牙毕露，咆哮间尽显百兽之王的慑人气魄，前爪紧扣山石，利爪锋芒毕现，将蓄势待发的悍勇姿态定格。岩石以淡墨泼染、焦墨提点，干湿浓淡间烘托出嶙峋质感，与猛虎的刚健互为映衬。整幅笔墨苍劲古朴，把山君的威严凶悍与山野的沉静融为一体，尽显传统走兽画的精妙气韵。",[67,23,24,139,26,27,7,28,182],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a9040aefe7882aff435761b74a634bd.jpg",[],{"id":611,"slug":612,"title":135,"dynasty":18,"author":136,"museum":64,"description":613,"tags":614,"thumbUrl":617,"material":32,"size":32,"collection":32,"collections":618,"showCount":601,"zanCount":11,"manualWeight":11,"mainColor":78},230219,"shi-er-jin-chai-tu-zhou-zhang-shan-ma-230219","此作用水墨晕染出秋江暮色，云烟如絮，朦胧苍茫。芦叶以焦墨劲笔写出，苍劲挺拔，烘托出荒寒清寂的秋意。墨虎雄踞丛芦之上，身姿矫健遒劲，皮毛以干湿墨皴擦晕染，将绒质感与猛兽威严相融。它回首远眺，目光沉毅内敛，褪去传统虎画的凶戾张扬，尽显山林王者的孤傲沉静。\n\n题款朱印错落点缀，诗画相映，将虎的英武气度融于秋江暮色之中，以写意笔墨勾勒实景意趣，把猛兽的雄姿化作秋江一景的清寂风骨，笔意兼工带写，借虎抒怀，尽显雅致文气。",[67,23,24,121,139,46,615,7,616,502,28],"写意","草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6490eb9fd9675d8251e3cf2c0e894455.jpg",[],{"id":620,"slug":621,"title":41,"dynasty":282,"author":19,"museum":64,"description":622,"tags":623,"thumbUrl":625,"material":93,"size":94,"collection":32,"collections":626,"showCount":627,"zanCount":11,"manualWeight":11,"mainColor":37},289761,"fu-hu-luo-han-tu-yi-ming-289761","此作以沉浑绢本水墨铺陈，绘就禅林幽境。罗汉面容苍古清癯，筋骨棱然尽显苦修之态，衣纹游走似铁线萦身，兼具遒劲与柔婉，将僧衣厚重质感晕染尽致。他垂眸轻抚虎首，原本烈性的猛虎乖顺蜷伏，舌舔罗汉衣袖，人虎相谐，把禅宗降伏妄心的意涵悄然藏入图景。\n\n背景双竹挺秀，竹叶以浓淡墨色点染，虚实相生烘托出静谧萧散的禅意氛围，右上题字朴拙古雅，与画面笔意浑然相融。整幅笔法苍劲内敛，将静定慈悲与温驯之态刻画入微，尽显释道人物画的传神功力。",[23,121,48,624,49,7,90,28,26,53,467],"佛教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F518fbae255096f711f187e3a0ab902ff.jpg",[],24,{"id":629,"slug":630,"title":631,"dynasty":18,"author":297,"museum":632,"description":633,"tags":634,"thumbUrl":636,"material":637,"size":638,"collection":33,"collections":639,"showCount":627,"zanCount":11,"manualWeight":11,"mainColor":37},222660,"meng-hu-tu-zhou-gao-qi-pei-222660","猛虎图轴","旅顺博物馆","水墨绘猛虎背部示人，皮毛黑棕相间，体格肥硕，虎腿如柱般粗壮，尾巴如鞭子似的拖在地，四周杂草丛生，树森茂盛。高其佩，字韦之，号且园，清代官员、画家，工诗善画，所绘人物山水，均苍浑沉厚。",[67,23,635,26,7,28,155,29,139],"指画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75beb1bc24481f5fe3898790ad8d473c.jpg","纸本，设色","41cmx85cm",[33,130],{"id":641,"slug":642,"title":643,"dynasty":42,"author":19,"museum":64,"description":644,"tags":645,"thumbUrl":655,"material":93,"size":94,"collection":32,"collections":656,"showCount":657,"zanCount":11,"manualWeight":11,"mainColor":37},224089,"shi-er-sheng-xiao-jing-yi-ming-224089","十二生肖镜","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。",[646,647,648,544,649,426,7,252,87,251,69,650,234,651,652,653,654],"隋代","铜制","青铜器","鼠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创作的纸本设色画，现藏于 。\n此图绘乾隆皇帝行乐生活的一个场面。\n画中乾隆扮作普贤菩萨，高坐莲座。\n侍者扮作玉女、金童及天王，分立两旁。\n几位僧侣仆人正在洗刷一头白象，准备搭上毛毡锦垫，以供“菩萨”骑用。\n画下三位僧人，一位正在清扫，另二位正在传接经书，欲呈献皇帝。\n此图设色艳丽，气氛和谐。\n此图中的弘历乾隆帝和大象占据画幅的中心主要位置，起到突出主题的作用。\n画幅上端坡行堤岸，左右两侧各有二棵苍松，尤其是左侧两棵巨松，树干粗壮，交叉曲直向上，枝叶茂密，乾隆在巨松荫下观看洗象。\n画幅下端似一片丘陵地带，山岗亘连，花草丛生，还画有二位长老。\n弘历坐在宝椅上，身着一身佛装。\n作者自识：“乾隆十五年六月臣了观鹏恭绘。\n”下钤“臣观鹏”、“恭画”二印；画面上方钤有“乾隆御览之宝”一印。\n该图取材于佛教故事，表现普贤菩萨观看诸圣徒为其坐骑白象洗刷的情景。\n乾隆皇帝受佛学大师三世章嘉活佛的影响，数十年倾心于佛学研习。\n他为了表示对佛教的信仰，不仅大建佛寺，译佛经，造法器及写经自修，而且还将自己比喻成佛教中菩萨的化身，罩上一层神秘的宗教光环。\n他命宫廷画家或画佛喇嘛，绘制了多幅他扮作菩萨的画像，此图便是其中之一。\n此图画于乾隆十五年（175年），时弘历（即乾隆帝）4岁。\n此画将乾隆喻作法力无边、救苦渡难的菩萨， 其主旨不言而喻。\n图中人物面部以西法绘成，富有写实感，具有肖像画性质。\n画法很细致，当出自供奉宫廷的意大利画家郎世宁之手。\n弘历端坐宝位上，人物造型明显大于其他人物，神态肃穆。\n面部以西洋技法，立体感较强，故从风格和水平来看，乾隆像当出自郎世宁的手笔。\n至于其他人物和景致，均为丁氏所绘制，如人物造型的今张、奇古，及屈曲颤动的线条等。\n构图也是中国传统形式。\n总体来看，此画绘制精细，色泽华丽，中西合壁。\n画面取云雾缥缈、山泉粼粼、木石山花骨秀清逸之处为背景，突出仙界气氛。\n人物衣褶皆用战笔流水描，宛转卷曲，古拙奇趣。\n人物面部用淡色晕染，富有体积感，尤其乾隆的面部，更具有写实的意味。\n研究员李湜：此图在设景布势上富于机巧，以曲水为脉，将树石、惠草连成一体，同时也将众多的人物圈聚在一起，进而突出了乾隆皇帝的主体位置。\n图中人物的衣纹勾线瘦挺颤掣，曲转顿挫，富于动感，它不仅丰富了画面的视觉效果，同时，也准确地勾勒出不同状态下人物的各种形体变化。\n全图设色艳丽，富有装饰感，带有 高贵典雅的特征。\n丁观鹏，生卒年不详，顺天（今北京）人。\n雍正时供奉内廷。\n擅画道释、人物和山水，画学同宗丁云鹏，有出蓝之誉。\n画风工整细致。\n传世作品有《仿顾恺之洛神图》《弘历洗象图》《乞巧图》。",[67,23,24,139,27,26,49,28,479,7,71,155,719],"石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa997e0e055cd600a62b3aec5fc5facab.jpg",[],{"id":723,"slug":724,"title":725,"dynasty":63,"author":19,"museum":64,"description":726,"tags":727,"thumbUrl":728,"material":32,"size":32,"collection":729,"collections":730,"showCount":731,"zanCount":11,"manualWeight":11,"mainColor":420},253618,"tong-chan-ding-fu-zuo-xiang-yi-ming-253618","铜禅定佛坐像","此像朴拙厚重，佛结禅定印安坐，高发髻圆和柔和，面相温婉方圆，神情沉静内敛，尽显安然禅意。衣纹以浅刻勾勒层次，古雅简约，带着独有的稚拙古朴质感。兽形壸门座沉稳厚重，与造像浑然一体，消弭了宗教的疏离感，尽显早期佛教造像由朴入雅的过渡特质，凝萃着岁月沉淀的沉静古韵，是小型造像的典型风貌。",[63,647,544,48,49,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a559140811e64a962877b4a15bb0f10.jpg","雕塑精选",[729],19,{"id":733,"slug":734,"title":735,"dynasty":204,"author":19,"museum":64,"description":736,"tags":737,"thumbUrl":739,"material":32,"size":32,"collection":32,"collections":740,"showCount":731,"zanCount":11,"manualWeight":11,"mainColor":37},228798,"song-yin-xue-hu-tu-yi-ming-228798","松荫雪虎图","萧寒雪色覆满林莽，古松虬曲苍劲，皴染厚重的枝干尽显老辣古拙，松针攒簇如铁，撑起一片幽寂荫凉。\n\n画中猛虎盘踞雪地，姿态松弛慵懒，却难掩百兽之王威仪。虎身斑纹勾勒劲挺写实，毛发晕染细腻柔和，将皮毛的蓬松质感尽显无遗。它目光沉沉锁着爪下猎物，獠牙微露，悍野之气暗藏于松弛神态中。\n\n淡墨晕出薄雪覆于枯槎衰草间，冷寂荒寒的雪境，更衬出猛虎孤高凛冽的气场。整作工写相融，细处描摹虎之肌理毛发，粗笔铺就林雪萧索氛围，于静谧间暗藏肃杀野性，尽显走兽画的精妙写实功底，将冬日林莽的荒寒与百兽王的雄健完美揉合。",[67,23,121,24,26,27,170,7,28,465,738,123,155],"雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62072f89e4fcb137c0ced81bb18267a8.jpg",[],{"id":742,"slug":743,"title":744,"dynasty":204,"author":745,"museum":20,"description":746,"tags":747,"thumbUrl":748,"material":172,"size":749,"collection":32,"collections":750,"showCount":751,"zanCount":97,"manualWeight":11,"mainColor":420},218373,"ri-ben-luo-han-tu-dui-fu-2-ji-shan-ming-zhao-218373","日本· 罗汉图对幅2","吉山明兆","这是一幅中国元代风格的笔触和色彩的虎形浮雕僧人画。他在东福寺工作，是寺庙的看门人，负责打扫殿堂和点灯，被称为兆殿司。他学习了中国宋元的绘画技巧，用笔有力，色彩浓重。",[67,23,26,49,7,48,139,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3aeb101a0ae115d9b9e4aacc84c9843.jpg","107.2x50.2",[],18,{"id":753,"slug":754,"title":755,"dynasty":204,"author":373,"museum":64,"description":578,"tags":756,"thumbUrl":757,"material":93,"size":94,"collection":32,"collections":758,"showCount":759,"zanCount":11,"manualWeight":11,"mainColor":78},288004,"bai-miao-luo-han-tu-juan-shang-bu-chou-ying-288004","白描罗汉图卷(上部)",[67,121,23,152,47,49,48,377,7,122,51,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e592b366e3e837b966fe799cfea109.jpg",[],17,{"id":761,"slug":762,"title":763,"dynasty":204,"author":764,"museum":64,"description":765,"tags":766,"thumbUrl":767,"material":93,"size":94,"collection":32,"collections":768,"showCount":759,"zanCount":11,"manualWeight":11,"mainColor":37},287782,"shi-ba-ying-zhen-tu-ce-zheng-zhong-287782","十八应真图册","郑重","郑重，字千里，号无著，歙（今安徽歙县）人，流寓金陵（今南京）。好楼居，日事香茗。善写佛像，必斋沐而后举笔。丁云鹏推为赵伯驹后身。亦画山水小景。摹仿宋、元体均精妍。万历四十年（1612）临王蒙葛仙移居图，顺治五年（1648）作《十月岭梅图》。《无声诗史、歙县志、故宫书画集、风雨楼扇粹》。",[67,121,23,24,345,26,49,48,624,377,7,28,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb7fcdd0b5d1f912efbbf72fe3df14b2.jpg",[],{"id":770,"slug":771,"title":772,"dynasty":204,"author":452,"museum":64,"description":773,"tags":774,"thumbUrl":776,"material":93,"size":456,"collection":32,"collections":777,"showCount":778,"zanCount":11,"manualWeight":11,"mainColor":37},290974,"luo-han-zhou-dai-jin-290974","罗汉轴","戴进（1388—1462），字文进，号静庵、玉泉山人。钱塘（今浙江杭州）人，明代画家。早年为金银首饰工匠，后改工书画。宣德间（1426—1435）以画供奉内廷，官直仁殿待诏。后因遭谗言被放归，浪迹江湖。\n他擅画山水、人物、花鸟、虫草。山水师法马远、夏圭，中年犹守陈法，晚年纵逸出蹊径，卓然一家。所作雄俊高爽，苍郁浑厚，用笔劲挺方硬，画人物笔法娴熟，顿挫间风度益著；所作花鸟、虫草亦饶有生意。为“浙派绘画”开山鼻祖。作品有《春山积翠图》《风雨归舟图》 《三顾茅庐图》《达摩至惠能六代像》等。",[121,23,24,139,48,46,49,377,7,775,90,51],"古树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8803ccea802c306ac1ab099a6a43826.jpg",[],15,{"id":780,"slug":781,"title":782,"dynasty":102,"author":272,"museum":64,"description":709,"tags":783,"thumbUrl":784,"material":93,"size":94,"collection":32,"collections":785,"showCount":778,"zanCount":11,"manualWeight":11,"mainColor":78},289785,"wei-lin-tu-li-gong-lin-289785","为霖图",[67,23,121,139,26,49,87,7,90,445,467,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cc01ffe90059e930920b1b9f4c50149.jpg",[],{"id":787,"slug":788,"title":789,"dynasty":18,"author":19,"museum":64,"description":790,"tags":791,"thumbUrl":798,"material":93,"size":94,"collection":32,"collections":799,"showCount":778,"zanCount":97,"manualWeight":11,"mainColor":37},273899,"hong-se-sha-xiu-yun-wen-fei-hu-qi-yi-ming-273899","红色纱绣云纹飞虎旗","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。",[792,793,794,795,7,28,796,797,26],"纱绣","刺绣","布料","旗帜","云纹","飞虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1f7d2d49641e11b1c35b340119b1ef9.jpg",[],{"id":801,"slug":802,"title":803,"dynasty":204,"author":804,"museum":118,"description":805,"tags":806,"thumbUrl":808,"material":289,"size":32,"collection":32,"collections":809,"showCount":778,"zanCount":11,"manualWeight":11,"mainColor":78},234161,"luo-han-juan-li-lin-234161","罗汉卷","李麟","李麟（1558—？），字次公，四阴（今浙江宁波）人，明朝画家。\n李麟善白描，作佛像下笔如莼条，用焦墨而不觉其枯，眉目粗而不觉其重。尤长写貌，亦以焦墨粗钩为之。师丁南羽（云鹏）有出蓝之誉。自署龙眠后身，崇祯八年（1635）尝写文殊维摩图，时年七十八。又有参寥子像卷，现藏故宫博物院。（《无声诗史》、《画髓元铨》、《图绘宝鉴续纂》、《宁波志》、《中国名画集》）",[67,121,23,24,152,26,27,48,49,377,7,72,807,624],"墨色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb2afad23ebaf7357b70a3be598dccc1.jpg",[],{"id":811,"slug":812,"title":813,"dynasty":282,"author":19,"museum":64,"description":814,"tags":815,"thumbUrl":817,"material":32,"size":32,"collection":32,"collections":818,"showCount":778,"zanCount":11,"manualWeight":11,"mainColor":37},227268,"xing-hu-tu-li-zhou-yi-ming-227268","醒虎图立轴","这幅水墨虎作，以淡墨晕染勾勒尽显写意妙趣。作者以灵动劲挺的墨线写出虎身毛发丝缕，浓淡墨色铺陈区分肌肉起伏，褪去猛虎惯常的凶戾张扬，将其初醒时慵懒松弛之态刻画入微，沉静姿态下暗蕴百兽之王的沉凝威严。\n画面边角缀以枯折枝桠与寒草，晕染出荒萧寒寂的氛围，与卧虎的静穆融为一体。整作不施重彩，凭藉古绢底色与水墨层次营造出古雅沉静的意境，简淡笔墨间暗藏雄浑气韵。",[67,23,24,139,46,7,28,816],"枯枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfd03bfdd9f3579aa0c7a5c1ea73e975.jpg",[],{"id":820,"slug":821,"title":822,"dynasty":18,"author":823,"museum":166,"description":824,"tags":825,"thumbUrl":826,"material":31,"size":32,"collection":32,"collections":827,"showCount":778,"zanCount":11,"manualWeight":11,"mainColor":78},218035,"tian-wang-xiang-6-yao-wen-han-218035","天王像-6","姚文瀚","苍松虬枝盘绕，荫蔽下僧人趺坐，衣袂间蓝黄交织的纹理如流水般舒展，眉宇间透着安然禅意。脚边幼虎温顺伏卧，似与稚童的嬉闹相映成趣，稚童伸手逗弄的模样鲜活灵动，一旁小僧憨态可掬。远处祥云缭绕，案上盆栽清逸雅致，山石间草木葱茏。整幅画设色淡雅却细节入微，衣袍的褶皱、虎毛的肌理、松针的疏密皆刻画精细，将宗教的肃穆与生活的温情融于一体，在宁静的氛围里晕染出盎然生机，尽显古典绘画的雅致韵味与人文意趣。",[23,24,27,26,48,49,7,122,51,156,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc09d44706094275ebea929f9234f35d.jpg",[],{"id":829,"slug":830,"title":831,"dynasty":263,"author":19,"museum":64,"description":832,"tags":833,"thumbUrl":834,"material":93,"size":94,"collection":32,"collections":835,"showCount":836,"zanCount":11,"manualWeight":11,"mainColor":37},290899,"hu-zhou-yi-ming-290899","虎轴","此画通幅描绘如真，渍染极得润厚的韵致。画无名款，旧签定为元人。惟据画风判断，与明代宫廷画风，颇多相近处，是以推断，该幅或出自明代良工之手。松林石涧间，一巨虎黄皮黑纹，毛色鲜丽，体态威武雄壮。虎之双眼，俱以金粉涂饰，并略染汁绿，显得格外神气逼人。其背隆起，宛如张弓欲发，隐然有即将出击之势。虎口微启，低吟而未啸。树梢，二山鹧见状，相与惊跃鸣叫，更为此猛虎出山的场景，平添紧张、不安的气息。",[23,24,139,46,26,7,28,71,51,219,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcfa32d80abd84bff6536c89b106cb3b.jpg",[],14,{"id":838,"slug":839,"title":840,"dynasty":18,"author":19,"museum":64,"description":841,"tags":842,"thumbUrl":845,"material":93,"size":94,"collection":32,"collections":846,"showCount":836,"zanCount":11,"manualWeight":11,"mainColor":420},288295,"shi-ba-luo-han-tu-juan-shou-juan-yi-ming-288295","十八罗汉图卷手卷","此作用黑底泥金勾勒，墨色沉敛如夜，金彩熠熠若星。十八尊罗汉各呈异态：或持锡杖昂然卓立，或托灵珠笑态可掬，或踞坐冥思禅定，或驭瑞兽凝神远眺。线条细劲圆转，衣褶勾勒得虚实灵动，将罗汉们清癯肃穆或是憨态朴拙的神情风骨尽数铺展。朱红闲章错落点缀，为沉郁底色晕开古雅意趣，整体静穆庄严，兼具佛造像的神性威仪与人物画的鲜活意韵，尽显线描佛绘的精妙笔力。",[67,23,24,152,843,48,49,844,47,377,7],"手卷","描金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc70c4ea2d3e99a4f0d4b242be88b27f0.jpg",[],{"id":848,"slug":849,"title":850,"dynasty":204,"author":19,"museum":64,"description":851,"tags":852,"thumbUrl":854,"material":93,"size":94,"collection":32,"collections":855,"showCount":836,"zanCount":11,"manualWeight":11,"mainColor":37},288161,"hu-bao-huan-le-tu-yi-ming-288161","虎豹欢乐图","这幅作品以视觉错构的巧思见长，将古松山石的轮廓与虎豹身形虚实相融。水墨晕染下，苍劲松枝与嶙峋岩峦，恰好勾勒出憨态可掬的虎豹形象，打破了走兽画的写实桎梏。\n\n画家以兼工带写的笔法，把兽类的灵动憨稚藏于山林肌理间，不见森然凶戾，反显天真谐趣。留白铺就林涧幽寂底色，苍润墨色晕出山野苍莽质感，观者需在虚实掩映间辨形寻味，让山林野趣与巧思创意浑然一体，尽显小品画作的别致意趣。",[67,23,46,7,249,122,28,853,24],"欢乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F753705f41366ef970406282d0414ec02.jpg",[],{"id":857,"slug":858,"title":859,"dynasty":18,"author":588,"museum":64,"description":589,"tags":860,"thumbUrl":863,"material":93,"size":94,"collection":32,"collections":864,"showCount":836,"zanCount":11,"manualWeight":11,"mainColor":78},287426,"shi-liu-luo-han-tu-juan-quan-juan-shi-tao-287426","十六罗汉图卷(全卷)",[23,152,47,46,861,862,624,377,87,7,51,155,514],"人物画","宗教画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0277a576b1ecf73a9a35381215e88e4.jpg",[],{"id":866,"slug":867,"title":868,"dynasty":18,"author":476,"museum":64,"description":869,"tags":870,"thumbUrl":874,"material":93,"size":94,"collection":32,"collections":875,"showCount":836,"zanCount":11,"manualWeight":11,"mainColor":37},239358,"lin-luo-han-tu-juan-ding-guan-peng-239358","临罗汉图卷","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。\n丁观鹏擅长画道释人物，也善画山水。曾与弟弟观鹤同供奉于南熏殿。他的画作清宫收藏很多。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有：《摹宋人雪渔图》和《仿韩 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是一种前无古人之创新画法，柳贯赞之为“收揽奇怪一笔摸”，与梁楷、法常一脉相承。所画铁拐李目光咄咄逼人，形貌粗陋却一身正气，反映出仇视当权者之强烈情绪。亦善画猿，曾作《百猿图》，时人戴良释解其画意为褒扬“猿之仁也”。",[67,121,23,24,152,48,26,49,90,72,654,7,28,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddac756f2f89593d787704e92b86bde9.jpg","绢本 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[1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。",[67,23,121,47,46,49,71,254,1048,7,253,155,514,445,53,1049],"渡海","册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa756fff9ee608aeb8f33911396a94482.jpg",[],9,{"id":1054,"slug":1055,"title":1056,"dynasty":282,"author":1057,"museum":118,"description":1058,"tags":1059,"thumbUrl":1061,"material":1062,"size":1063,"collection":32,"collections":1064,"showCount":1052,"zanCount":11,"manualWeight":11,"mainColor":37},221169,"shi-liu-luo-han-xiang-bo-tuo-luo-zun-zhe-tang-ka-bu-ben-guan-xiu-221169","十六罗汉像-跛陀罗尊者（唐卡布本）","贯休","贯休(832年-912年)，俗姓姜，字德隐，婺州兰溪(今浙江省兰溪市)人。唐末五代时期前蜀画僧、诗僧。七岁出家和安寺，日读经书千字，过目不忘。唐天复间入蜀，被前蜀主王建封为禅月大师，赐以紫衣。\n天复二年（902年），黄巢起义席卷大半个中国，兵火连年，战祸惨烈。古稀之年的贯休，带着对命运和时代的切肤之悟，做出了人生中一个重大决定：“一瓶一钵垂垂老，千水千山得得来。”他从黔中（今湖南怀化）出发，经三峡，沿长江逆流而上，于次年初春到达成都，度过了人生的最后十年。",[67,23,24,48,49,26,794,7,28,1060,182],"荷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e87a35090383287dc1fb271d13fa681.jpg","布本，设色","通高143厘米，宽89厘米，画心纵82厘米，横56厘米",[],{"id":1066,"slug":1067,"title":1068,"dynasty":18,"author":1069,"museum":149,"description":1070,"tags":1071,"thumbUrl":1073,"material":32,"size":32,"collection":110,"collections":1074,"showCount":1052,"zanCount":11,"manualWeight":11,"mainColor":1075},203220,"za-hua-ce-ren-yi-203220","杂画册","任颐","画面中，虬髯男子赤脚斜倚虎旁，衣衫随意，眉宇间尽是放达不羁；素衣女子端坐其后，神情温婉娴静。猛虎慵懒趴伏，斑纹以淡墨晕染，姿态温顺如寻常伴兽，消解了猛兽的凶戾感。笔墨兼工带写，人物衣纹简练流畅，面部刻画细腻传神，墨色浓淡相宜，设色清雅脱俗。整体氛围静谧超然，似隐者与虎为友，尽显尘外之趣，于方寸册页间藏着生动意趣。",[23,46,26,49,7,28,345,24,1072,67],"兼工带写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c64243e47b065840dce87417245d922.jpg",[110],"e1d2cc",{"id":1077,"slug":1078,"title":1079,"dynasty":18,"author":19,"museum":64,"description":1080,"tags":1081,"thumbUrl":1083,"material":93,"size":94,"collection":32,"collections":1084,"showCount":1085,"zanCount":11,"manualWeight":11,"mainColor":1086},273927,"lv-se-duan-xiu-yun-fu-wen-fei-hu-qi-yi-ming-273927","绿色缎绣云蝠纹飞虎旗","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。",[793,794,795,7,28,796,1082,26,797],"蝠纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8ce65f4486e98fec30175fb5eca3373.jpg",[],8,"0D904F",{"id":1088,"slug":1089,"title":1090,"dynasty":1091,"author":19,"museum":64,"description":1092,"tags":1093,"thumbUrl":1095,"material":93,"size":94,"collection":32,"collections":1096,"showCount":1085,"zanCount":97,"manualWeight":11,"mainColor":78},252282,"qing-yu-hu-yi-ming-252282","青玉虎","商","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。",[1007,7,28,544,1094],"饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab4da3b8358330d9a1f6942d82850993.jpg",[],{"id":1098,"slug":1099,"title":1100,"dynasty":1101,"author":19,"museum":64,"description":1102,"tags":1103,"thumbUrl":1105,"material":32,"size":32,"collection":905,"collections":1106,"showCount":1085,"zanCount":11,"manualWeight":11,"mainColor":78},244841,"hu-xing-pei-shi-yi-ming-244841","虎形佩饰","汉","此佩饰以朴拙古雅的造型，将猛虎蓄势沉潜之态凝于铜胎。没有繁复纹饰，仅以浑朴块面勾勒猛兽轮廓，沉敛的躯体暗藏野性张力，三爪化作涡旋卷云，狞厉又带着古朴意趣。\n\n颈间挂环饰以绳纹，和敦实虎身形成质感反差。躯体上的小圆孔既是铸造痕迹，又似为古兽注入一丝灵动，是千年前匠人的随性巧思。\n\n它褪去华饰，将上古瑞兽崇拜融于方寸，沉凝铜锈裹着汉时古朴风尚，粗粝包浆漫着旧时光的厚重余温，把勇武威慑的意象藏在极简造型之中。",[1104,647,544,1094,7,28],"汉代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc226aadaf9290bf2226492419e169393.jpg",[905],{"id":1108,"slug":1109,"title":1110,"dynasty":1101,"author":19,"museum":64,"description":1111,"tags":1112,"thumbUrl":1115,"material":93,"size":94,"collection":32,"collections":1116,"showCount":1085,"zanCount":11,"manualWeight":11,"mainColor":37},244056,"long-hu-wen-jing-yi-ming-244056","龙虎纹镜","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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　两宋及其同期或稍后的辽金玉文化去除了隋唐五代繁杂的外来文化因素，又继承和发展了隋唐玉文化的市庶化、艺术化特色，特别是融会了两宋绘画的特点和技巧。宋代肖生玉在崇尚写实主义的院画影响下追求形体及运动的准确表现，以显示其内心世界。花鸟玉佩多做隐起、镂空的对称处理，富有生活气息。双勾的经文诗词等铭刻玉器盛极一时。辽金玉器也是由汉族玉工碾成，但其题材却富有边疆民族特色和游牧生活气息，以契丹、女真两族生活为主题的春水佩和玉秋山为其杰出代表，均有着形神兼备的艺术造诣。宋、辽、金都出现了前所未见的有情节、有背景的景观式构图，以镂空起突等法碾琢的悬塑性或立体的肖生玉器。它是这一时代玉器的新兴形式，有着鲜明的时代特点，还出现了受道教影响的神仙题材和“龟游”一类祥瑞玉器。总之，此时期玉器的特点是：玉如凝脂、构图繁复、情节曲折、砣碾遒劲、空灵剔透、形神兼备，是我国玉文化的第二个高峰期。",[102,1007,544,28,7,1094],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe776e64cb17716d68571592d31c18ecd.jpg",[],{"id":1432,"slug":1433,"title":1434,"dynasty":18,"author":1435,"museum":149,"description":1436,"tags":1437,"thumbUrl":1438,"material":32,"size":32,"collection":130,"collections":1439,"showCount":1395,"zanCount":11,"manualWeight":11,"mainColor":1440},201844,"zhi-hua-hu-tu-zhou-li-shi-zhuo-201844","指画虎图轴","李世倬","指下生韵，墨痕间藏野趣。虎俯行于荒郊，斑纹以简劲线条勾勒，淡墨浅彩中尽显沉雄气势。四周劲草疏落，笔触粗放，与虎之灵动相衬，更添旷远之境。极简笔墨却将猛兽之态与荒野之寂完美融合，足见艺术匠心。",[23,24,7,28,46,26,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c722d820f3bd7fdd99a4b68f4677917.jpg",[130],"bda88d",{"id":1442,"slug":1443,"title":1444,"dynasty":204,"author":19,"museum":64,"description":1445,"tags":1446,"thumbUrl":1449,"material":93,"size":94,"collection":32,"collections":1450,"showCount":143,"zanCount":11,"manualWeight":11,"mainColor":78},270947,"qing-hua-ci-hu-niu-fang-zhang-liao-yi-ming-270947","青花瓷虎钮方章料","青花瓷（blue and white 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。",[1300,53,7,28,1447,1448],"青花瓷","篆刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4a36a407e0d91d5ee50bf4e2688e7e4.jpg",[],{"id":1452,"slug":1453,"title":1454,"dynasty":18,"author":19,"museum":64,"description":1455,"tags":1456,"thumbUrl":1458,"material":93,"size":94,"collection":32,"collections":1459,"showCount":143,"zanCount":11,"manualWeight":11,"mainColor":37},268233,"huang-duan-ding-jin-xian-hu-tou-xiao-jia-xie-yi-ming-268233","黄缎钉金线虎头小袷鞋","明黄缎底鲜亮活泼，将孩童的烂漫尽数托举。以钉金绣勾勒虎头，眉眼劲挺、獠牙崭露，缀上灵动白须，把瑞虎的威仪凝练于方寸鞋头，暗含护佑稚童远离邪祟的美好期许。鞋身满铺缠枝云纹，盘金绣蜿蜒游走，柔化虎的凶戾，晕开祥瑞气韵。黑绒滚口撞色分明，千层纳底细密扎实，一针一线都藏着旧时女红的精巧心思，将护稚温情凝进绣纹纳线之中，是民俗审美与日常温情的绝妙交融。",[334,794,7,793,1457],"日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc07f3fc98a83708136ba131e05fde8d.jpg",[],{"id":1461,"slug":1462,"title":1463,"dynasty":204,"author":19,"museum":64,"description":1464,"tags":1465,"thumbUrl":1467,"material":93,"size":94,"collection":1303,"collections":1468,"showCount":143,"zanCount":11,"manualWeight":11,"mainColor":420},259933,"de-hua-yao-bai-you-fu-hu-luo-han-yi-ming-259933","德化窑白釉伏虎罗汉","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。",[1300,544,48,377,7,28,49,1466],"白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48e124a5c604ebfd11e0627c7710bd9e.jpg",[1303],{"id":1470,"slug":1471,"title":1472,"dynasty":102,"author":19,"museum":64,"description":1473,"tags":1474,"thumbUrl":1476,"material":93,"size":94,"collection":32,"collections":1477,"showCount":143,"zanCount":11,"manualWeight":11,"mainColor":37},255789,"bai-you-ci-hei-zhe-cai-zhen-wu-di-zuo-xiang-yi-ming-255789","白釉瓷黑赭彩真武帝坐像","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， 釉色因白润瓷胎的映衬而显出白色，现在习惯上将这种透明釉也称为白釉。\n瓷器釉料中的含铁量降低到0.75%以下，施于洁白的瓷胎上，入窑经高温烧制，就会出现白釉。严格地说，白釉是一种无色透明釉，而不是白色的釉 。白釉是瓷器传统釉色之一,真正的白釉应该是乳白色的乳浊釉,这种釉是近代才发明的。我国古代仅有元代枢府釉是失透的,其他白釉并不是白色的釉,\n白釉烧制工艺比青釉复杂，出现的时间也较青釉晚，一般瓷土和釉料，都或多或少含有一些氧化铁，器物烧出后必然呈现出深浅不同的青色来。如果釉料中的铁元素含量小于0.75%，烧出来的就会是白釉。\n白釉最早出现在汉代，比青釉瓷器晚了400多年，白釉瓷器开始是青白色的，因为瓷器中铁的含量高于1%就是青色的，少于1%就是白瓷了，所以中国白瓷经历青瓷、青白瓷、卵白釉、甜白釉、象牙白、白釉的发展过程。中国历史上白瓷产地有德化白瓷、定窑白瓷以及刑窑白瓷等。",[102,1300,1466,1475,48,49,7,28],"黑赭彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F390b2e9a89fefda2dd5a6c50cd5bce0b.jpg",[],{"id":1479,"slug":1480,"title":1481,"dynasty":1101,"author":19,"museum":64,"description":1482,"tags":1483,"thumbUrl":1484,"material":93,"size":94,"collection":32,"collections":1485,"showCount":143,"zanCount":11,"manualWeight":11,"mainColor":37},255233,"tao-long-hu-wen-jing-lan-yi-ming-255233","陶龙虎纹井栏","汉代陶器的工艺水平很高,造型优美,质地精良。品种、装饰则因地区不同而不同。陕西关中地区常见的日用陶器有豆、 盆、筒杯、勺、盘、缸、甑、 釜、小壶、扁壶、茧形壶、钵、罐、钟、碗等。明器包括礼器鼎和模型明器仓、陶囤以及各种动物形象。纹饰多为变形回纹、三角纹和窝纹。陕西潼关以东地区人们的日常用陶，以灰陶为主，有罐、 壶、碗、勺、筒杯、 瓮、盒、洗、甑、釜、杯、盘、尊等。在汉代流行起来的生活用具模型，如仓、 炉、 灶、井等。大都作为明器供随葬之用。盒、盘、案、杯等，逐渐成组出现，为适应人们厚葬之需也成为祭器。猪、羊、狗、鸡等家畜家禽及圈舍、住宅等明器模型也大量流行。装饰则有弦纹、刻划的三角纹、连环纹、栉齿纹和动物纹，还有绳纹、拍印纹、模印、浮雕、涂色和彩绘等。南方的长沙地区，制陶工艺自成体系，陶盒使用普遍，陶壶无盖，鼎的三足成矮胖的兽蹄形，其他实用器皿还有壶、罐、碗、钫、、盆、釜、甑、长方炉、博山炉等。特点是坚硬厚重。殉葬明器有灶、仓、井、屋、猪圈模型等。广东地区秦汉时属南海郡，常用陶器有瓮、双耳罐、提、四联罐和五联罐、瓿、小瓿、壶、匏壶、温壶、钫、 盒、敦、 小盒、三足盒、三足罐、三足瓿、四联盒、 碗、盆、 甑、釜、鼎、豆、三足格盒等。生活用具中灰白色的印纹硬陶占多数， 有的还戳上印记，多为容器，炊器只有釜、 鼎、甑 3种。造型特别的三足器、温壶、匏壶有着明显的地方特点。印纹硬陶很讲究装饰，单是几何图案就达70多种，此外还有弦纹、 陶纹、 镂孔、篦纹及文字记号等。明器上多施彩绘。四川云南等也有自己的制陶业，不少作品和中原地区相似，如圆底釜、侈口束颈、鼓腹的壶等。关中地区流行的茧形壶虽不生产，确有发现。舞蹈俑、说书俑、抚琴俑、听琴俑、侍立俑和各类家禽形象，生动优美，自然写实。",[1104,1300,544,87,7,28,654],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F038e870decb8f9337e85a25821e57112.jpg",[],{"id":1487,"slug":1488,"title":538,"dynasty":1101,"author":19,"museum":64,"description":540,"tags":1489,"thumbUrl":1492,"material":93,"size":94,"collection":32,"collections":1493,"showCount":143,"zanCount":11,"manualWeight":11,"mainColor":78},253647,"hu-wen-wa-dang-yi-ming-253647",[1101,1490,544,28,7,1491],"陶","建筑构件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f4842a490ae045b92f33dbaba650ce8.jpg",[],{"id":1495,"slug":1496,"title":1497,"dynasty":204,"author":19,"museum":64,"description":1092,"tags":1498,"thumbUrl":1500,"material":93,"size":94,"collection":32,"collections":1501,"showCount":143,"zanCount":11,"manualWeight":11,"mainColor":37},250842,"qing-yu-shi-er-chen-hu-yi-ming-250842","青玉十二辰-虎",[1006,1007,544,28,7,654,1499],"十二辰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea5c4e4c730a0495871491f24086bc0b.jpg",[],{"id":1503,"slug":1504,"title":1505,"dynasty":1121,"author":19,"museum":64,"description":1092,"tags":1506,"thumbUrl":1508,"material":93,"size":94,"collection":32,"collections":1509,"showCount":143,"zanCount":11,"manualWeight":11,"mainColor":37},250251,"yu-shi-wen-wo-hu-yi-ming-250251","玉饰纹卧虎",[1507,1007,544,7,28,1094],"周代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0939275e6cfc596af406571c4e982677.jpg",[],{"id":1511,"slug":1512,"title":1110,"dynasty":1101,"author":19,"museum":64,"description":1111,"tags":1513,"thumbUrl":1514,"material":93,"size":94,"collection":32,"collections":1515,"showCount":143,"zanCount":11,"manualWeight":11,"mainColor":37},244474,"long-hu-wen-jing-yi-ming-244474",[1101,647,544,87,7,28,648],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F233ab10f73c34d3267785f3c209e4dda.jpg",[],{"id":1517,"slug":1518,"title":1519,"dynasty":1121,"author":19,"museum":64,"description":1520,"tags":1521,"thumbUrl":1524,"material":93,"size":94,"collection":32,"collections":1525,"showCount":143,"zanCount":11,"manualWeight":11,"mainColor":420},242995,"chun-yu-yi-ming-242995","錞于","青铜器（Bronze Ware）在古时被称为“金”或“吉金”，是红铜与其他化学元素锡、铅等的合金，刚刚铸造完成的青铜器是金色，但因为出土的青铜因为时间流失产生锈蚀后变为青绿色，被称为青铜。\n青铜器的使用开始于新石器时代晚期的土耳其和伊拉克地区，及叙利亚古代TellRamad遗址出土的铜珠等。中国青铜器开始于马家窑至秦汉时期，以商周时期的器物最为精美。在中国仰韶文化早期和马家窑文化时期就已经出现。\n中国最初出现的是小型工具或饰物。夏代始有青铜容器和兵器。商中期，青铜器品种已很丰富，并出现了铭文和精细的花纹。商晚期至西周早期，是青铜器发展的鼎盛时期，器型多种多样，浑厚凝重，铭文逐渐加长，花纹繁缛富丽。随后，青铜器胎体开始变薄，纹饰逐渐简化。春秋晚期至战国，由于铁器的推广使用，铜制工具越来越少。秦汉时期，随着陶器和漆器进入日常生活，铜制容器品种减少，装饰简单，多为素面，胎体也更为轻薄。\n中国青铜器制作精美，在世界青铜器中享有极高的声誉和艺术价值，代表着中国5000多年青铜发展的高超技术与文化。\n我国商、周时代的青铜器具，不单是盛物用的容器，同时也是宗庙中的礼器。青铜器的数量可以表示出身份地位的高低，青铜器形制的大小也可以显示出权力的等级。青铜器中，最重要的器类就是鼎。远古的青铜器可以分为食器、酒器、水器、乐器四大类。食器中包括鼎、鬲等等。其中鼎是最重要的礼器。\n西周中晚期我国形成了列鼎制度，据《春秋公羊传》记载，天子用9鼎，诸侯用7鼎、卿大夫用5鼎、士用3鼎或1鼎。同时。与鼎一同出现的还有簋，通常为九鼎八簋，七鼎六簋，五鼎四簋，三鼎二簋。在西周中晚期的墓葬制度中，鼎为单数而簋为双数。青铜鼎随着时代的发展，形制也在发生变化。商代早期多为圆腹尖足，也有方鼎。到了中期出现了扁足鼎等等。商代晚期尖足鼎逐渐减少，圆腹柱足鼎开始居多，鬲鼎逐渐多了起来。《尔雅》记载“鼎之款足者，谓之鬲”。鬲鼎也称为分裆鼎，是鬲和鼎的混合体，鼎从商代开始铸有各式样的神秘纹饰，多为兽面纹，如饕餮纹、蝉纹、象纹等等，纹饰变化巧妙。容器内部铸有族徽或祖先的名字。\n青铜是铜和锡铅的合金。在中国古代早期的工艺美术中青铜工艺成为奴隶社会工艺美术的典型代表是我们的祖先对人类物质文明的巨大贡献。商周时期是中国历史上的青铜时代，它以品类丰富、造型优美、纹饰华丽、制作精巧、风格独特而著称。此时是冶炼铸造技术可以说有了突发猛进的发展，在应用上具有广泛的适用性。成为中国艺术史的一个组成部分。本文以商周时期的青铜器主要代表作品作品：《后母戊大方鼎》、《盂鼎》为例，从青铜器作为“礼器”的艺术精神与青铜器的造型、装饰艺术特点来谈谈商周青铜器艺术。\n中国古代青铜器，就使用规模、铸造工艺、造型艺术及品种而言。中国古代青铜器在世界艺术史上占有独特地位。商周时期是中国历史上的青铜时代，青铜流行于新石器时代晚期至秦汉时代。以商周器物最为精美，品种已很丰富器型多种多样，并出现了铭文和精细的花纹浑厚凝重。商周青铜器艺术装饰承接新石器时代艺术中若干精髓，经过长期绵延不断的变化，形成独特的体系，在成为中国艺术史的一个组成部分。商周时期，青铜的冶炼业作为生产力的标志而达到高峰。是中国古代青铜器发展的鼎盛时期。",[1507,648,647,544,1522,1523,7],"兽形装饰","乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa602abcb1531e0f613c685ffb2ef6d3.jpg",[],{"id":1527,"slug":1528,"title":1529,"dynasty":1091,"author":19,"museum":64,"description":1520,"tags":1530,"thumbUrl":1532,"material":93,"size":94,"collection":32,"collections":1533,"showCount":143,"zanCount":11,"manualWeight":11,"mainColor":37},242693,"hu-fu-yi-ding-yi-ming-242693","虎父乙鼎",[648,647,1531,903,544,28,7],"饪食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfb13284fb4ab1f51519bc1751353a33.jpg",[],{"id":1535,"slug":1536,"title":1537,"dynasty":18,"author":19,"museum":64,"description":1538,"tags":1539,"thumbUrl":1540,"material":32,"size":32,"collection":32,"collections":1541,"showCount":143,"zanCount":11,"manualWeight":11,"mainColor":78},230313,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-yu-cheng-long-yi-ming-230313","历代帝王贵妃大臣朝服像(于成龙)","此作工笔精妙写实，将主人公刻画得形神兼备。画中老者银髯垂胸，神色沉稳威严，目光平和却藏干练气度，尽显廉吏风骨。朝服细节一丝不苟，石青底色之上，一品文官的飞鹤补子针脚细密灵动，东珠朝珠颗颗匀净，礼制严谨考究。虎纹座椅霸气厚重，衬出其身后功绩煊赫。上方题字详述生平功业，与画像呼应，尽显其显赫地位。设色调和古雅，以沉稳蓝棕铺陈基调，尽显清代肖像画的工整端庄，将主人公刚正清廉的为官气度凝于绢素之中，堪称清代纪实肖像画的精良之作。",[67,121,23,26,27,49,334,7,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cd738bf41d5d149988729b3238eb483.jpg",[],{"id":1543,"slug":1544,"title":1545,"dynasty":18,"author":19,"museum":64,"description":1546,"tags":1547,"thumbUrl":1549,"material":172,"size":32,"collection":32,"collections":1550,"showCount":143,"zanCount":11,"manualWeight":11,"mainColor":420},218124,"fu-hua-luo-han-jiu-zhang-lao-xiang-2-yi-ming-218124","佛画·罗汉九长老像-2","佚名的佛画 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。",[67,25,48,26,27,49,7,28,72,51,1548,253],"小桌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55d46e68eee2b60d13d2b2bbfac02a71.jpg",[],{"id":1552,"slug":1553,"title":1554,"dynasty":102,"author":1555,"museum":205,"description":1556,"tags":1557,"thumbUrl":1559,"material":55,"size":1560,"collection":32,"collections":1561,"showCount":143,"zanCount":11,"manualWeight":11,"mainColor":78},217989,"shi-liu-ying-zhen-tu-4-fan-long-217989","十六应真图-4","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。",[67,23,24,1558,47,48,49,7,152],"宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb82f2bf07054d6ba5ac1aef07f185c46.jpg","30.5x1062.5",[],{"id":1563,"slug":1564,"title":1565,"dynasty":102,"author":1555,"museum":205,"description":1556,"tags":1566,"thumbUrl":1567,"material":55,"size":1560,"collection":32,"collections":1568,"showCount":143,"zanCount":11,"manualWeight":11,"mainColor":78},217967,"shi-liu-ying-zhen-tu-20-fan-long-217967","十六应真图-20",[67,23,24,47,46,48,49,7,182,71,123,480],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd70102ab60c4542a4a81ec3c625fb424.jpg",[],{"id":1570,"slug":1571,"title":1572,"dynasty":204,"author":1045,"museum":64,"description":1573,"tags":1574,"thumbUrl":1575,"material":184,"size":32,"collection":32,"collections":1576,"showCount":143,"zanCount":11,"manualWeight":11,"mainColor":78},217052,"bai-miao-ying-zhen-tu-9-ding-yun-peng-217052","白描应真图-9","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。",[121,23,24,152,47,48,49,7,72,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e6c107b8ec49c86328180f44d59be89.jpg",[],{"id":1578,"slug":1579,"title":1580,"dynasty":204,"author":1045,"museum":64,"description":1573,"tags":1581,"thumbUrl":1583,"material":184,"size":32,"collection":32,"collections":1584,"showCount":143,"zanCount":11,"manualWeight":11,"mainColor":78},217049,"bai-miao-ying-zhen-tu-10-ding-yun-peng-217049","白描应真图-10",[23,24,47,48,49,7,465,51,53,377,1582],"护法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4364e3858380dac094d5e7fd7c29464b.jpg",[],{"id":1586,"slug":1587,"title":1588,"dynasty":1101,"author":19,"museum":64,"description":1589,"tags":1590,"thumbUrl":1592,"material":93,"size":94,"collection":32,"collections":1593,"showCount":77,"zanCount":11,"manualWeight":11,"mainColor":37},280057,"tong-shen-hu-zhu-gui-tu-an-yin-yi-ming-280057","铜神虎逐鬼图案印","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。",[53,647,648,1448,7,1591],"神话图案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff178b5249e3d100c8d8d5d4ab1f43ef7.jpg",[],{"id":1595,"slug":1596,"title":1597,"dynasty":204,"author":19,"museum":64,"description":1598,"tags":1599,"thumbUrl":1601,"material":93,"size":94,"collection":32,"collections":1602,"showCount":77,"zanCount":11,"manualWeight":11,"mainColor":78},277885,"hua-shi-hu-fu-yan-ji-yi-ming-277885","滑石“虎符验记”","滑石质地莹润素净，包浆晕开岁月沉淀的柔光。卧虎为钮，雕琢写意朴拙，蜷卧姿态舒展灵动，寥寥刀痕便将虎的慵懒憨态勾勒尽致，不见繁复矫饰，尽显古雅意趣。印底朱痕犹存，色泽沉凝厚重，依稀可见旧时反复钤印的使用痕迹。整体形制方正敦实，以质朴工艺勾勒出金石雅韵，带着旧时文房的闲散意趣，静静诉说着过往的文翰旧事，是一件兼具实用与赏玩价值的文房旧物。",[53,1448,1600,7,544],"滑石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febec4389a67c9e8e0969425f07983e9a.jpg",[],{"id":1604,"slug":1605,"title":1463,"dynasty":204,"author":19,"museum":64,"description":1464,"tags":1606,"thumbUrl":1607,"material":93,"size":94,"collection":1303,"collections":1608,"showCount":77,"zanCount":11,"manualWeight":11,"mainColor":420},261360,"de-hua-yao-bai-you-fu-hu-luo-han-yi-ming-261360",[1300,544,48,377,7,28,1466],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc99d21f3171b52f294e935a456c7c06e.jpg",[1303],{"id":1610,"slug":1611,"title":1612,"dynasty":42,"author":19,"museum":64,"description":1613,"tags":1614,"thumbUrl":1615,"material":93,"size":94,"collection":32,"collections":1616,"showCount":77,"zanCount":11,"manualWeight":11,"mainColor":37},259757,"qing-you-hu-zi-yi-ming-259757","青釉虎子","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。”"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[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。",[1300,2532,26,7,28,2533,654],"斗彩","灵芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97c43c48e623f35f96d412707c842bc9.jpg",[],{"id":2537,"slug":2538,"title":2539,"dynasty":102,"author":19,"museum":64,"description":2540,"tags":2541,"thumbUrl":2542,"material":93,"size":94,"collection":1303,"collections":2543,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":420},255833,"shi-wan-yao-hu-yi-ming-255833","石湾窑虎","石湾窑在今广东佛山市石湾镇，明清著名民窑之一。以陶塑和建筑陶瓷著称。始于宋代（亦有一说始于唐），极盛于明清两代。\n石湾窑以善仿钧窑而着称。仿钧釉色以蓝色、玫瑰紫、翠毛釉等为佳，但仿中有创。钧窑的窑变釉是一层釉色，而石湾窑变釉却有底釉与面釉之分。寂圆叟在其《陶雅》中盛赞石湾窑变釉色："广窑谓之泥均，其蓝色甚似灰色┅┅于灰釉中旋涡周遭，故露异彩，较之雨过天晴尤极浓艳，目为云斑霞片不足以方厥体态。┅┅又有时于灰釉中露出深蓝色之星点，亦足玩也。"\n石湾窑不仅善仿钧，而且善仿宋代各大名窑，宋代官、哥、汝、钧诸名窑产品，从材质运用、技法处理、艺术造型等各方面都仿得惟妙惟肖，而且有创造性的发展，梅建鹰评价曰："石湾集宋代各大名窑之大成，仿钧而青出于蓝，独创石湾自已的艺术风格。"",[102,1300,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c842f2baa46ba5b963362f0f2929a97.jpg",[1303],{"id":2545,"slug":2546,"title":1892,"dynasty":1101,"author":19,"museum":64,"description":1482,"tags":2547,"thumbUrl":2549,"material":93,"size":94,"collection":32,"collections":2550,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},255698,"tao-hu-yi-ming-255698",[1101,1490,7,28,2548],"雕塑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a074cd188360ae6b189d0c05e9a9484.jpg",[],{"id":2552,"slug":2553,"title":2554,"dynasty":204,"author":19,"museum":64,"description":1621,"tags":2555,"thumbUrl":2559,"material":93,"size":94,"collection":32,"collections":2560,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},255610,"mu-diao-cai-hui-fu-hu-luo-han-zuo-xiang-yi-ming-255610","木雕彩绘伏虎罗汉坐像",[1006,1623,2556,2557,48,49,28,7,2558],"木雕","彩绘","坐像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ad31007ec7d1a1b4aafa205471076cf.jpg",[],{"id":2562,"slug":2563,"title":1892,"dynasty":1101,"author":19,"museum":64,"description":1482,"tags":2564,"thumbUrl":2566,"material":93,"size":94,"collection":32,"collections":2567,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":420},254403,"tao-hu-yi-ming-254403",[1300,7,28,2565,544],"陶塑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dbb471c4a6e26a3f1c0e6c122a5ec06.jpg",[],{"id":2569,"slug":2570,"title":2571,"dynasty":102,"author":19,"museum":64,"description":2572,"tags":2573,"thumbUrl":2574,"material":93,"size":94,"collection":32,"collections":2575,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},254255,"shou-shan-shi-fu-hu-luo-han-xiang-yi-ming-254255","寿山石伏虎罗汉像","这件玉雕通体匀净泛黄，局部沁色似朱砂凝脂。罗汉半蹲身形，衣褶贴体简约利落，一手按膝，一手作驯虎之态，眉眼低垂，神色沉静安然，不见半分嗔厉。伏虎亲昵贴于身侧，筋骨柔化，全然褪去兽类凶性，尽显温驯。\n\n刀工圆融柔和，线条婉转写意，无繁复雕饰，却将罗汉慈悲静定与虎的温驯服帖烘托尽致，将降龙伏虎的悍烈题材，消解为悠然祥和的图景，尽显宋人雅致内敛的审美意趣，是兼具写实与禅意的佳作。",[1558,1007,544,48,49,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F884bc1ffac3325c7da368f170d0a6f67.jpg",[],{"id":2577,"slug":2578,"title":2579,"dynasty":102,"author":19,"museum":64,"description":1473,"tags":2580,"thumbUrl":2582,"material":93,"size":94,"collection":32,"collections":2583,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":78},253494,"bai-you-ci-hei-hua-wo-hu-yi-ming-253494","白釉瓷黑花卧虎",[1300,2581,7,28,102],"白釉黑花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1213a1489fb7f29717496d5c98e11ce6.jpg",[],{"id":2585,"slug":2586,"title":2587,"dynasty":18,"author":19,"museum":64,"description":1092,"tags":2588,"thumbUrl":2590,"material":93,"size":94,"collection":32,"collections":2591,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":78},252709,"qing-yu-gou-yun-hu-wen-wei-yi-ming-252709","青玉勾云虎纹璏",[1007,544,7,28,2589,654],"勾云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd569f79a0bccab5624347cfd1b5fe3e1.jpg",[],{"id":2593,"slug":2594,"title":2595,"dynasty":1101,"author":19,"museum":64,"description":1092,"tags":2596,"thumbUrl":2599,"material":93,"size":94,"collection":32,"collections":2600,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":420},252510,"yu-lou-diao-hu-xing-jian-wei-yi-ming-252510","玉镂雕虎形剑璏",[1101,2597,2598,7,28,654],"玉","镂雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f128c25f9c1b60cee9b63c28d02641.jpg",[],{"id":2602,"slug":2603,"title":2604,"dynasty":204,"author":19,"museum":64,"description":2605,"tags":2606,"thumbUrl":2607,"material":93,"size":94,"collection":32,"collections":2608,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":420},252211,"tian-huang-shi-wo-hu-yi-ming-252211"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