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馗》、《八仙》、《群仙祝寿》等作品，将艺术与现实巧妙地容贯于画面。其人物肖像画既有深厚的传统基础，又注重写生，每次外出，备有速写本，随时勾录。寓居上海后，以卖画为生，创作甚富。《钟馗》、《关河一望萧索》、《苏武牧羊》、《野塘雨后》和《三友图》等为其代表作。且其参用画意的书法亦奇惊不凡，光绪二十二年(1896)逝世。\n任伯年因是浙江山阴人，故画面署款多写山阴任颐。儿时随父学画，十四岁到上海，在扇庄当学徒，后以卖画为生。所画题材，极为广泛，人物、花鸟、山水、走兽无不精妙。他的画用笔用墨，丰富多变，构图新巧，创造了一种清新流畅的独特风格，在正统派外别树一帜。\n任颐是近代杰出画家。字伯年，号小楼，浙江山阴人，因此他的画署款多写山阴任颐。任伯年的绘画题材广泛，人物、肖像、山水、花卉、禽鸟无不擅长。用笔用墨，丰富多变，构图新巧，主题突出，疏中有密，虚实相间，浓淡相生，富有诗情画意，清新流畅是他的独特风格。任伯年的主要成就是在于人物画和花鸟画方面，往往寥寥数笔，便能把人物整个神态表现出来，着墨不多而意境深远。其线条简练沉着，有力潇洒。他常画钟馗，他笔下的钟馗心胸磊落、不怕鬼，不信邪。他的花鸟画，总是把花与鸟连在一起，禽鸟显得很突出，花卉有时只作背景，整个画面充满了诗的意境。",[25,24,26,27,29,28,30,7,353,354,53,355,55],"豆藤","叶子","竹架","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc51dae55e91611f90ab3b25efa239ea.jpg","149 x 61 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－1424）、宣德（1426－1435）时期。博学能诗，善绘花果翎毛，延续五代黄筌（约903－965）画风并融入宋代院体传统，为后辈所师法，是明代重要宫廷花鸟画家。本幅设色画公鸡啄蝶并为雏子分食。若与边文进〈三友百禽图〉相较，本幅技法则略显生硬，或系托名之作。",[23,24,25,26,27,28,29,30,7,186,51,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53c3c15c54cb8caa9e8e73fe6b34e431.jpg","63.7x43.9",[37,38],{"id":442,"slug":443,"title":444,"dynasty":67,"author":445,"museum":303,"description":446,"tags":447,"thumbUrl":448,"material":449,"size":108,"collection":108,"collections":450,"showCount":406,"zanCount":96,"manualWeight":11,"mainColor":451},216334,"hua-niao-ce-8-zhu-da-216334","花鸟册-8","朱耷","朱耷 (Zhu Da) 是一位著名的清朝画家，他的花鸟册 (huā niǎo cè) 是他的代表作之一。花鸟册是一种中国传统的绘画类型，主要描绘花卉和鸟类，朱耷的花鸟册以其精美的绘画技巧和富有创意的艺术表现而闻名。\n\n朱耷生于 17th 世纪的清朝，他原本是一名佛教僧人，后来转而成为画家。他的花鸟册绘制了各种花卉和鸟类，包括玫瑰、莲花、蝴蝶、孔雀、鹦鹉等。他的画风独特，细腻而生动，给人以非常感性的视觉享受。\n\n朱耷的花鸟册也反映了当时清朝社会的文化氛围。他的作品中常常出现古典诗词的引用，表现出他对中国传统文化的热爱。此外，他的作品还反映了当时清朝社会的审美观念，展现了清朝人对美的追求和对自然的敬畏。\n\n总之，朱耷的花鸟册是一部具有深远影响的艺术作品，其中融合了中国传统文化和绘画技巧的精华，对中国绘画艺术有着重要的贡献。",[25,26,120,151,72,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb55c7c9a2f6a6aff11f69bf33c7554c.jpg","纸本,水墨",[],"FFFFFF",{"id":453,"slug":454,"title":455,"dynasty":46,"author":116,"museum":130,"description":456,"tags":457,"thumbUrl":460,"material":428,"size":429,"collection":108,"collections":461,"showCount":462,"zanCount":11,"manualWeight":11,"mainColor":41},256443,"cheng-hua-kuan-dou-cai-ji-gang-bei-yi-ming-256443","成化款斗彩鸡缸杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[458,459,29,7,294],"陶瓷","斗彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44e417a2a8d39cab2cae5c5222ef51a1.jpg",[],19,{"id":464,"slug":465,"title":466,"dynasty":18,"author":116,"museum":130,"description":467,"tags":468,"thumbUrl":473,"material":108,"size":108,"collection":474,"collections":475,"showCount":462,"zanCount":96,"manualWeight":11,"mainColor":41},243036,"ji-zun-yi-ming-243036","鸡尊","这尊雄鸡挺拔伫立，昂首侧目，筋骨轮廓硬朗古朴，将瑞禽的昂扬神采凝于青铜之中。周身以错金饰出兽面与卷云纹样，古铜的沉郁底色衬着金纹熠熠流光，把礼器的庄重与生灵的灵秀相融。循着复古意趣，复刻上古青铜礼器的威严形制，又赋予雄鸡鲜活生气，静穆之中透着灵动生机，让厚重青铜褪去冷硬，尽显仿古铜作的精妙匠心。",[291,416,415,293,469,7,470,471,472],"错金银","禽","饮酒器","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff45b747c1f916d355af773d6f59296f9.jpg","青铜器精选",[474],{"id":477,"slug":478,"title":276,"dynasty":46,"author":183,"museum":130,"description":479,"tags":480,"thumbUrl":481,"material":108,"size":108,"collection":108,"collections":482,"showCount":483,"zanCount":11,"manualWeight":11,"mainColor":41},230890,"zi-mu-ji-tu-zhu-zhan-ji-230890","此作用淡墨勾勒，以留白晕染出禽鸟素洁的羽毛，笔触细腻写实，将绒羽的肌理纤毫毕现。亲鸡护持雏鸡啄食，雏鸟环绕依偎，亲昵互动间尽显舐犊温情，将田家寻常的天伦之趣凝于绢素。\n\n古雅棕调的绢底衬出群禽的素净雅致，写实功力与脉脉温情相融，把田园平凡生机化作细腻动人的诗意图景，尽显院体花鸟的雅致工巧，将日常烟火里的温情娓娓道来，让田家生趣跃然绢上。",[24,25,26,27,29,28,30,7,105,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc65a4cbda63247618482e600f8b523c.jpg",[],17,{"id":485,"slug":486,"title":487,"dynasty":46,"author":47,"museum":130,"description":488,"tags":489,"thumbUrl":491,"material":428,"size":429,"collection":108,"collections":492,"showCount":493,"zanCount":11,"manualWeight":11,"mainColor":62},290848,"ji-zhen-ji-zhou-tang-yin-290848","鸡真迹轴","唐寅（1470年3月6日－1524年1月7日），字伯虎，小字子畏，号六如居士，南直隶苏州府吴县（今江苏省苏州市）人，祖籍凉州晋昌郡，明朝著名画家、书法家、诗人。\n成化二十一年（1485年），考中苏州府试第一名，进入府学读书。弘治十一年，考中应天府乡试第一（解元），入京参加会试。弘治十二年，卷入徐经科场舞弊案，坐罪入狱，贬为浙藩小吏。从此，丧失科场进取心，游荡江湖，埋没于诗画之间，终成一代名画家 。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[24,25,26,27,319,29,7,490,51,52,106,55],"菊花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedb864d815658b9038e4cbbc6da8f12b.jpg",[],14,{"id":495,"slug":496,"title":497,"dynasty":67,"author":498,"museum":130,"description":499,"tags":500,"thumbUrl":501,"material":108,"size":69,"collection":108,"collections":502,"showCount":493,"zanCount":11,"manualWeight":11,"mainColor":62},236607,"hua-niao-ce-ma-yuan-yu-236607","花鸟册","马元驭","马元驭（1669—1722）清代画家。字扶羲，号栖霞，又号天虞山人，江苏常熟人。",[25,26,120,29,151,30,7,53,258,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe81c93989c7905807254cc4c513d0a43.jpg",[],{"id":504,"slug":505,"title":506,"dynasty":18,"author":116,"museum":130,"description":507,"tags":508,"thumbUrl":509,"material":108,"size":108,"collection":108,"collections":510,"showCount":493,"zanCount":11,"manualWeight":11,"mainColor":62},223607,"qiu-kui-shuang-ji-yi-ming-223607","秋葵双鸡","此作为刺绣小品，以针代笔，晕丝为色。秋葵枝桠舒展挺秀，明黄柔花缀于其上，旁侧异卉擎起橙红花序，灵石静立作衬。石畔双鸡正啄食戏玩，白羽清润蓬松，棕羽苍劲富有层次，翻翘尾羽灵动鲜活。\n\n绣作细腻入微，禽鸟绒羽纤毫毕现，花叶脉络宛然如生，浅纹水畔细草轻摇，将庭院闲居的日常小景晕染得充满雅致生机。整体清丽淡然，不见繁复雕饰，藏着宋人独有的雅致意趣，把寻常幽居的鲜活小景，定格为一幅隽永悠然的雅致画卷。",[23,25,26,29,28,30,320,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01762311c76cc6c7be1e41cb2bad8ffb.jpg",[],{"id":512,"slug":513,"title":514,"dynasty":67,"author":129,"museum":69,"description":515,"tags":516,"thumbUrl":523,"material":108,"size":524,"collection":108,"collections":525,"showCount":493,"zanCount":11,"manualWeight":11,"mainColor":62},223220,"geng-zhi-tu-ce-jiao-bing-zhen-223220","耕织图册","《御制耕织图》又名《佩文斋耕织图》，不分卷，清圣祖玄烨题诗，焦秉贞绘图，朱圭、梅玉凤镌刻，清康熙三十五年（1696年）内府刊本。耕图、织图各23幅，共计46幅图。每页34.7cm×27.7cm。图框24.4cm×24.4cm。四周单边。册页装。\n《耕织图》以江南农村生产为题材，系统地描绘了粮食生产从浸种到入仓，蚕桑生产从浴蚕到剪帛的具体操作过程，每图配有康熙皇帝御题七言诗一首，以表述其对农夫织女寒苦生活的感念。\n《耕织图》是中国农桑生产最早的成套图像资料，它的绘写渊源可上溯至南宋，绘者为楼璹。楼璹在宋高宗时期任於潜（今浙江省临安市）县令时，深感农夫、蚕妇之辛苦，即作耕、织二图诗来描绘农桑生产的各个环节。《耕织图》成为后人研究宋代农业生产技术最珍贵的形象资料。南宋嘉定三年（1210年），楼璹之孙楼洪、楼深等以石刻之传于后世，南宋理熙元年（1237年）有汪纲木刻复制本。宋以后关于本书的记载已不多见，较著名的有南宋刘松年编绘的《耕织图》，元代程棨的《耕织图》45幅。明代初年编辑的《永乐大典》曾收《耕织图》，已失传。明天顺六年（1462年）有仿刻宋刻之摹本，虽失传，但日本延宝四年（1676年）京都狩野永纳曾据此版翻刻，今均以狩野永纳本《耕织图》作楼璹本《耕织图》之代表。\n清康熙二十八年（1689年）康熙帝南巡时，江南士子进献藏书甚丰，其中有“宋公重加考订，诸梓以传”的《耕织图》。康熙帝即命焦秉贞据原意另绘耕图、织图各23幅，并附有皇帝本人的七言绝句及序文。绘画内容略有变动，耕图增加“初秧”、“祭神”二图，织图删去“下蚕”、“喂蚕”、“一眠”三图，增加“染色”、“成衣”二图，图序亦有变换。宋、清《耕织图》的布景与人物活动大同小异，但焦图画中的风俗易为清代，所绘更为工细纤丽，在技法上还参用了西洋焦点透视法。\n《耕织图》初印于康熙三十五年（1696年），后又出现了很多不同版本，木刻本、绘本、石刻本、墨本、石印本均行于世。如康熙年间的康熙三十八年（1699年）张鹏翮刻本，康熙五十一年（1712年）内府刻本，雍亲王胤禛绢底彩绘本，康熙五十三年（1714年）歙县汪希古恭摹刻48块墨板，宫廷绘白描本等，乾隆年间的康熙、雍正、乾隆三帝题诗刊本，清内府刻《授时通考》本，袖珍彩绘本，乾隆四年（1739年）清内府图为木刻、诗为石刻的经折装本，乾隆三十四年（1769年）北京刻朱墨套印本，杨大章彩绘本，乾隆三十四年（1769年）高宗命画院据元代程棨本临摹之《耕织图》，石刻嵌在皇家清漪园延赏斋左右廊壁的拓本，乾隆三十五年（1770年）徽州守臣摹刻的墨版。此外，还有嘉庆十三年（1808年）《耕织图诗》补刊本，同治十一年（1872年）刊本，光绪五年（1879年）上海点石斋《御制耕织图》石印本，光绪十一年（1885年）上海文瑞楼本，光绪十二年（1886年）上海点石斋石印本。民国时期也有多种版本，较著名的为武进陶兰泉刊本；日本、朝鲜、琉球等国亦有《耕织图》的摹本、翻刻本。\n《耕织图》不但版本众多，版式等也不尽相同，如上文下图本，左图右文本，版框带有龙纹的装饰本，袖珍刻本，木刻填色本，书中序文、诗文前后玺印朱色钤印本，前后玺印为刊版墨印本等。",[25,517,28,29,133,518,519,520,7,279,521,522],"册页","农耕","田园","水田","典籍","木刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda448499cdfbfb8784c38bdefbcaf9a0.jpg","34.7cm×27.7cm",[],{"id":527,"slug":528,"title":529,"dynasty":67,"author":530,"museum":130,"description":531,"tags":532,"thumbUrl":534,"material":108,"size":108,"collection":108,"collections":535,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":62},224295,"bai-shi-da-ji-tu-li-shan-224295","百事大吉图","李鱓","此作用笔纵恣老辣，古松盘曲虬劲，皴擦勾勒间尽显苍古拙朴之意，团簇的松针以浓墨点染，蓬勃生机扑面而来。独立松枝的雄鸡兼工带写，浓墨点染头颈尾羽，淡墨晕染躯干，寥寥数笔便将雄鸡引吭长鸣的英武之态勾勒传神。\n画面借松、鸡谐音承载吉祥意趣，将文人写意的疏放与世俗吉庆寓意相融，笔墨挥洒间脱略陈规，尽显疏狂意气，是寄情于物、雅俗共赏的写意佳作。",[23,25,26,27,151,72,30,533,7,279,55],"松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1114f2ba3c8a3d2ff5cb13dc84067253.jpg",[],13,{"id":538,"slug":539,"title":540,"dynasty":46,"author":541,"museum":20,"description":542,"tags":543,"thumbUrl":544,"material":108,"size":108,"collection":108,"collections":545,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":62},222451,"hua-wu-ming-ji-wang-zhong-li-222451","花坞鸣鸡","王中立","王中立（公元16-17世纪初），明代画家，字振之、彦强，号子正、子和、玄洲、玄洲生，吴县（今江苏苏州）人，生卒年不详。善画花鸟，笔力苍老，钩写兼用，设色绚丽，造型生动，颇有生意。师法陈淳，画风似鲁治、王穀祥，为吴派画家之一。\n传世作品有万历三十六年（1608）作《(松树喜鹊图》轴，现藏故宫博物院；四十三年（1615）作《花鸟图》卷，款署：“万历乙卯十月既望，为秋空禅兄写，王中立。”钤“王中立印”、“玄洲”两白文方印，现藏广州美术馆；万历三十四年作《腊梅双雀图》扇页、三十五年作《梅鹊图》轴、四十四年作《菊花图》轴、天启元年（1621）作《双猫菊石图》轴，均著录于《中国书画家印鉴款识》。",[25,26,378,29,28,7,533,53,379,258],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff98788b9f459f6714a03947aa5bb776.jpg",[],{"id":547,"slug":548,"title":549,"dynasty":46,"author":116,"museum":130,"description":456,"tags":550,"thumbUrl":551,"material":428,"size":429,"collection":108,"collections":552,"showCount":553,"zanCount":11,"manualWeight":11,"mainColor":554},256442,"dou-cai-ji-gang-bei-yi-ming-256442","斗彩鸡缸杯",[46,458,459,28,29,7,88],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe129df3f9003f7473c7f6736e4517cf2.jp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康熙五十三年召为内廷供奉，其宫廷工笔画造诣颇深，因不愿受“正统派”画风束缚而遭忌离职。乾隆三年出任山东滕县知县，颇得民心，因得罪上司而罢官。后居扬州，卖画为生。\n李鱓工诗文书画。曾随蒋廷锡、高其佩学画。后受石涛影响，擅花卉、竹石、松柏，早年画风工细严谨，颇有法度。中年画风始变，转入粗笔写意，挥洒泼辣，气势充沛，对晚清花鸟画有较大影响。\n传世画迹有南京博物院藏《土墙蝶花图》轴、故宫博物院藏《松藤图》轴等。北京工艺美术出版社2005年出版“中国书画名家全集”，内收《李鱓画集》（上下卷）。",[23,25,24,151,27,30,7,533,279,55,579],"行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05c1bd7362bc8835977e705ed4d89112.jpg",[],"F48FB1",{"id":584,"slug":585,"title":586,"dynasty":587,"author":116,"museum":130,"description":588,"tags":589,"thumbUrl":591,"material":108,"size":108,"collection":108,"collections":592,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":62},225347,"fu-shi-hui-101-yi-ming-225347","浮世绘101","不详","此作以团扇形制铺陈画面，雄鸡红冠似燃，翎毛层叠分明，墨色长尾如瀑舒展，凛凛生姿。雌鸡依偎身侧，暖棕柔羽晕开温柔光泽，雏鸟亲昵蹭着母羽，尽显融融天伦意趣。背景蓝花繁簇，明丽撞色衬得禽鸟愈发鲜活灵动。\n线条工细柔劲，敷色鲜亮饱和，带着独有的装饰美感，将乡野日常的家禽小景定格为绢上雅趣，把质朴温情与鲜活生机揉入笔底，尽显和风美学的雅致鲜活。",[590,522,29,30,7,163,31],"浮世绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8160a68cd5d73ace0df4226d4a3b164f.jpg",[],{"id":594,"slug":595,"title":327,"dynasty":67,"author":596,"museum":330,"description":597,"tags":598,"thumbUrl":600,"material":108,"size":108,"collection":37,"collections":601,"showCount":602,"zanCount":11,"manualWeight":11,"mainColor":603},202055,"ji-ju-tu-zhou-fan-zhen-202055","范箴","画面取深秋一隅，老树虬枝盘曲，孤石嶙峋横卧。石畔数丛白菊素雅绽妍，花瓣舒展如缕，清芬暗浮。一只锦鸡栖于石上，翎羽翩然，尾羽如墨染丝绦垂落，姿态悠然自若。笔触工细入微，锦鸡羽毛纹理勾勒精谨，设色淡雅却见层次；菊花以白描点染，尽显高洁之态；树石用墨晕染，苍劲中带朴拙。构图疏密得宜，虚实相生，将秋日清寂与生机融于一体，暗含“菊之高洁”与“鸡之吉祥”的双重意韵，尽显传统花鸟的雅致情致。",[25,28,30,50,7,29,27,54,599,23],"老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9187ef59011432bf1ef0e09e601c3a5d.jpg",[37],6,"876237",{"id":605,"slug":606,"title":607,"dynasty":67,"author":116,"museum":130,"description":608,"tags":609,"thumbUrl":612,"material":428,"size":429,"collection":108,"collections":613,"showCount":614,"zanCount":11,"manualWeight":11,"mainColor":554},275798,"qing-yu-yu-zhi-xi-zang-shi-si-shi-yun-ce-yi-ming-275798","青玉御制西藏诗四十韵册","此件以红木为器地，采用百宝嵌工艺，集牙、玉、螺钿等诸般珍材施作。盖面诗文搭配瑞祥纹样，文趣与饰韵相融；盒身嵌翎毛走兽，造型生动雅致，诸色材质明暗交错，色调和谐沉静。\n\n整体形制规整秀雅，收纳之用与陈设之美兼得，将诗文意趣、吉祥寓情与匠心工艺揉合一处，尽显清代细作造物的雅致格调，是传统百宝嵌工艺的精巧演绎。",[120,292,610,293,611,279,137,7,426,521],"木质","镶嵌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22e09bbeeb8289eecc90a7be64ac4cef.jpg",[],5,{"id":616,"slug":617,"title":618,"dynasty":67,"author":116,"museum":130,"description":619,"tags":620,"thumbUrl":623,"material":428,"size":429,"collection":108,"collections":624,"showCount":614,"zanCount":11,"manualWeight":11,"mainColor":62},258819,"fa-lang-cai-ji-wen-zhong-yi-ming-258819","珐琅彩鸡纹盅","此盅胎质莹白轻薄，釉面匀净温润如凝脂。釉上珐琅彩设色秀雅脱俗，一侧丹红鸡冠花团饱满柔润，粉红花茎牵曳着鲜绿叶片，叶脉勾勒细腻，生机婉转。藏于侧畔的鸡纹形神兼备，与花草相映成趣。红彩妍丽、绿彩清润、蓝彩沉静，色彩搭配和谐雅致，勾勒笔触柔和细腻，将工笔花鸟的意趣融于瓷上。虽为日常茶器，却饱含文人清赏的意韵，尽显彩瓷装饰的雅致风骨，雅俗共赏，尽显细腻温婉的审美意趣。",[458,621,28,29,7,53,622],"珐琅彩","叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc29271c35aeb963efd8fbf466877391c.jpg",[],{"id":626,"slug":627,"title":628,"dynasty":67,"author":116,"museum":130,"description":456,"tags":629,"thumbUrl":632,"material":428,"size":429,"collection":108,"collections":633,"showCount":614,"zanCount":11,"manualWeight":11,"mainColor":41},258510,"qian-long-fang-gu-kuan-fen-cai-ji-gang-bei-yi-ming-258510","乾隆仿古款粉彩鸡缸杯",[67,458,630,631,133,7,163,29],"粉彩","仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd32568b854f12ef3e5b3dc7b8096b103.jpg",[],{"id":635,"slug":636,"title":637,"dynasty":18,"author":116,"museum":130,"description":638,"tags":639,"thumbUrl":642,"material":428,"size":429,"collection":108,"collections":643,"showCount":614,"zanCount":11,"manualWeight":11,"mainColor":554},221637,"yu-mu-ji-yi-ming-221637","玉母鸡","中国宋代是一个手工业和工商业空前发展兴盛的时代，国富民强，文化发达。此时期的玉器正处在一个承前启后的转折阶段。两宋玉器承袭两宋画风，通常画面构图复杂，多层次，形神兼备，有浓厚绘画趣味，完成了由唐玉偏重工艺性、雕塑性向宋玉偏重绘画性、艺术性的转变。此时的皇家用玉品种丰富多样，佩饰类有玉束带、玉佩，用具有玉辂，玉磬，礼器有玉圭、玉册等等。内廷专设有玉作，玉料由西域诸国进贡。民间用玉也较前朝为盛，大量出现各种玉佩饰，玉用器。皇家、官僚及民间均风行收藏古玉，古董行开始出现伪造或仿造古玉之风气。因此，宋玉又被分为古玉、时作玉、伪古玉和仿古玉。 　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。",[292,293,640,641,7],"圆雕","动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f40a8198c6a5d84dc45e62416343d5d.jpg",[],{"id":645,"slug":646,"title":647,"dynasty":18,"author":116,"museum":130,"description":648,"tags":649,"thumbUrl":651,"material":428,"size":429,"collection":652,"collections":653,"showCount":61,"zanCount":11,"manualWeight":11,"mainColor":554},255584,"shi-wan-yao-lv-you-ji-yi-ming-255584","石湾窑绿釉鸡","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。"",[18,458,650,7,137],"绿釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cea6551b884dd46a9f8eeb6d2d48067.jpg","瓷器精选",[652],{"id":655,"slug":656,"title":657,"dynasty":67,"author":658,"museum":130,"description":659,"tags":660,"thumbUrl":666,"material":108,"size":108,"collection":108,"collections":667,"showCount":61,"zanCount":11,"manualWeight":11,"mainColor":62},239210,"za-hua-juan-tang-ying-239210","杂画卷","唐英","此卷兼工带写，笔意灵秀多变。起首松鼠戏食，墨色晕染出蓬松绒毛，灵动俏皮之态尽显；接绘双马，一匹徐行悠然，一匹滚地嬉憩，骏舒逸致扑面而来。\n\n中段丹冠雄鸡神采英挺，翎羽勾勒细腻又不失写意韵致，母鸡护雏尽显脉脉温情，山雀翻飞轻盈灵动。末段湖山清润，巉石隐现，幽篁茅舍伴扁舟泛波，野雁掠空尽得江南秋寂之味。\n\n题跋小字娟秀雅致，书画合璧，将花鸟走兽的灵动生机与山水的澹泊雅韵浑融无间，尽显扎实写生功底与清隽文人逸趣。",[23,25,26,661,151,29,662,663,664,87,7,198,665,418,90,89,279,55],"长卷","山水","亭","孤舟","松鼠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c768bfb539b8068f02787c67fb67aa.jpg",[],{"id":669,"slug":670,"title":455,"dynasty":67,"author":116,"museum":130,"description":456,"tags":671,"thumbUrl":674,"material":428,"size":429,"collection":108,"collections":675,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":554},259859,"cheng-hua-kuan-dou-cai-ji-gang-bei-yi-ming-259859",[458,459,672,471,673,7,30],"鸡缸杯","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97bf6017a597b1fd13a623d4005d4980.jpg",[],{"id":677,"slug":678,"title":514,"dynasty":67,"author":679,"museum":130,"description":680,"tags":681,"thumbUrl":694,"material":428,"size":429,"collection":108,"collections":695,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":62},238442,"geng-zhi-tu-ce-mian-yi-238442","绵亿","绵亿（1764年9月10日－1815年4月14日），直隶省顺天府大兴县（今北京市）人，清高宗弘历之孙，荣纯亲王永琪第五子，母侧福晋索绰罗氏，左都御使观保之女。",[25,26,120,29,28,133,418,682,90,683,684,685,686,520,687,688,689,7,690,691,692,693],"农田","房屋","流水","家禽","农具","耕作场景","孩童","成人","屋舍","田埂","犁具","河岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52cfda1f0f66825fc704a39541b1935a.jpg",[],{"id":697,"slug":698,"title":699,"dynasty":587,"author":116,"museum":130,"description":700,"tags":701,"thumbUrl":704,"material":428,"size":429,"collection":108,"collections":705,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":62},231777,"fu-fu-cao-zi-hui-juan-wei-shan-zheng-zhen-mo-yi-ming-231777","福富草子绘卷 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l":775,"material":428,"size":429,"collection":108,"collections":776,"showCount":738,"zanCount":11,"manualWeight":11,"mainColor":554},255311,"tao-cang-yi-ming-255311","陶仓","汉","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。",[773,458,774,293,472,7,426],"汉代","陶塑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd8bc5322053c8bb7c61a35be066371e.jpg",[],{"id":778,"slug":779,"title":780,"dynasty":781,"author":116,"museum":130,"description":782,"tags":783,"thumbUrl":784,"material":428,"size":429,"collection":108,"collections":785,"showCount":738,"zanCount":11,"manualWeight":11,"mainColor":41},254400,"tao-hua-cai-ji-yi-ming-254400","陶画彩鸡","唐","唐三彩（Tang Tri-Color Glazed Ceramics ），中国古代陶瓷烧制工艺的珍品，全名唐代三彩釉陶器，是盛行于唐代的一种低温釉陶器，釉彩有黄、绿、白、褐、蓝、黑等色彩，而以黄、绿、白三色为主，所以人们习惯称之为“唐三彩”。因唐三彩最早、最多出土于洛阳，亦有“洛阳唐三彩”之称 。\n唐三彩在唐代的兴起有它的历史原因。首先陶瓷业的飞速发展，以及雕塑、建筑艺术水平的不断提高，促使它们之间不断结合、不断发展，因此从人物到动物以及生活用具都能在唐三彩的器物上表现出来。\n唐代贞观之治以后，国力强盛、百业俱兴，同时也导致了一些高官生活的腐化，于是厚葬之风日盛。唐三彩当时也是作为一种冥器，曾经被列入官府的明文规定，一品、二品、三品、四品，就是说可以允许他随葬多少件，但是实际上作为这些达官显贵们，并不满足于明文的规定，反而他们往往比官府规定要增加很多的倍数，去做这种厚葬。官风如此，民风当然也如此，于是从上到下就形成了这么一种厚葬之风，这也就是唐三彩当时能够迅速在中原地区发展和兴起的一个主要原因之一。\n唐代是我国封建社会的鼎盛时期，所以说唐三彩从另外一个侧面也反映了这种唐王朝的政治、文化、生活，它跟唐代诗歌、绘画、建筑其他文化一样，共同形成了唐王朝文化的旋律，但是它又不同于其他的文化艺术，从现代的陶瓷史上认为，唐三彩在唐代陶瓷史上是一个划时代的里程碑，因为在唐以前，只有单色釉，最多就是两色釉的并用，在我国的汉代，已经有了两色，即黄色和绿色两种釉彩在同一器物上的使用。到了唐代以后，这种多彩的釉色在陶瓷器物上同时得到了运用。从陶瓷史上有人考证，这和唐代当时的审美观点起了很大的变化有关。在唐以前人们崇尚的是素色主义，到唐代以后，它包容了各种文化，包括许多外来文化，这个时候从绘画、陶瓷、金银器的制作，形成了一个灿烂文化的特点。\n唐三彩的生产已有1300多年的历史。它吸取了中国国画、雕塑等工艺美术的特点。唐三彩制作工艺复杂，以经过精细加工的高岭土作为坯体，用含铜、铁、钴、锰、金等矿物作为釉料的着色剂，并在釉中加入适量的炼铅熔渣和铅灰作为助剂。先将素坯入窑焙烧，陶坯烧成后，再上釉彩，再次入窑烧至800℃左右而成。由于铅釉的流动性强，在烧制的过程中釉面向四周扩散流淌，各色釉互相浸润交融，形成自然而又斑驳绚丽的色彩，是一种具有中国独特风格的传统工艺品。\n唐三彩不仅贵在釉色浓艳瑰丽，而且骆驼、马和人物等的造型生动传神，富有生活气息，当时的国际场上，唐三彩就已负有盛名，成为中外经济文化交流的重要物品之一。1928年，陇海铁路修筑到洛阳邙山时，出土了大量唐三彩，古董商们将其运至北京，受到了国内外古器物研究者的重视和古玩商竞相收藏。之后，洛阳地区不断有唐三彩出土，数量之多、质量之美，令人惊叹。",[458,29,293,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67d6563bf901311bffdfb8dd223fddf0.jpg",[],{"id":787,"slug":788,"title":789,"dynasty":46,"author":116,"museum":130,"description":790,"tags":791,"thumbUrl":794,"material":428,"size":429,"collection":108,"collections":795,"showCount":738,"zanCount":11,"manualWeight":11,"mainColor":41},251285,"bai-yu-tou-diao-ji-hua-tu-yuan-pei-yi-ming-251285","白玉透雕鸡花图圆佩","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。\n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玉器经历7000多年的发展，从简单的装饰品发展到古代宗教祭拜、礼仪用品，再到象征高尚道德品质的装饰品，最后上升为丰富的艺术鉴赏作品，深入反映了不同历史时期的社会发展演变过程。",[318,292,792,7,53,793],"透雕","饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8470e26c64340201722aa81af9adae4a.jpg",[],{"id":797,"slug":798,"title":799,"dynasty":67,"author":116,"museum":130,"description":800,"tags":801,"thumbUrl":806,"material":428,"size":429,"collection":108,"collections":807,"showCount":96,"zanCount":11,"manualWeight":11,"mainColor":62},281459,"yin-yun-long-wen-xiang-xiang-ya-qian-luo-dian-shuang-long-er-gai-guan-yi-ming-281459","银云龙纹镶象牙嵌螺钿双龙耳盖罐","此器融多材巧工为一体，银质双耳塑作游龙，身姿矫劲蜿蜒，鬃须灵动欲飞，盖顶瑞禽钮小巧古雅，底座云龙翻卷，暗涌磅礴威仪，衬出器物华贵气场。温润象牙为罐身底胎，以螺钿与填彩工艺嵌饰庭间景致：虬枝紫藤垂挂，繁花攒簇吐艳，雄鸡携稚鸡信步花下，翎羽纹路纤毫毕现，晕开融融春日意趣。螺钿碎光映着象牙暖泽，冷硬银饰柔化于雅致生景之间，百宝嵌工艺尽显精微匠心，将瑞兽的威严与禽花的恬柔相融，重工与雅趣兼备，尽显造物巧思。",[802,803,293,804,421,7,30,805,163,641],"银器","象牙","嵌螺钿","工艺品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F865211f6c7f619cf328fc827b5e052ab.jpg",[],{"id":809,"slug":810,"title":811,"dynasty":146,"author":116,"museum":130,"description":812,"tags":813,"thumbUrl":818,"material":428,"size":429,"collection":108,"collections":819,"showCount":96,"zanCount":11,"manualWeight":11,"mainColor":62},274032,"chen-de-lin-ji-jiang-chang-pian-yi-ming-274032","陈得林《祭江》唱片","泛黄封皮晕开旧时光痕，中央雄鸡昂首是百代唱片经典标识。斑驳唱片纹路里，封存着《祭江》的老派唱腔，陈得林的演绎将戏曲里的悲恸怅惋凝留其中。\n\n封皮下方印制的月历，带着民国生活的烟火气，将文娱日常与实用功能融于一处。这枚老唱片是时代的切片，刻下民国梨园的唱腔余韵，也藏着旧时期唱片行业的鲜活图景，纸间墨色与碟片细纹，皆是岁月摩挲下的珍贵印记，静静诉说着往昔的梨园风华。",[814,815,816,7,817],"唱片","戏曲","音乐","纸质包装","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec12b0070a41274edc06f82250004489.jpg",[],{"id":821,"slug":822,"title":823,"dynasty":146,"author":116,"museum":130,"description":824,"tags":825,"thumbUrl":829,"material":428,"size":429,"collection":108,"collections":830,"showCount":96,"zanCount":11,"manualWeight":11,"mainColor":62},274017,"gao-qing-kui-yan-fen-ji-chang-pian-yi-ming-274017","高庆奎《胭粉计》唱片","牛皮纸封套带着岁月摩挲的痕迹，中央雄鸡昂首挺立，是百代唱片极具辨识度的经典标识，环绕字体带着民国商业美术的复古拙朴质感。唱片盘面烫金火鸡标搭配工整宋体，细节处处透着老派雅致。\n\n这张老唱片将高庆奎苍凉沉郁的老生唱腔定格在胶木之上，带着留声机时代特有的音色质感，把京剧老生戏的磅礴戏韵凝刻下来，既是民国唱片工业的实物缩影，也留存下京剧声腔艺术的鲜活片段，藏着旧文娱时代的温热印记，静静诉说着老戏与老唱片交织的过往。",[814,826,815,7,827,828],"京剧","胭粉计","曲艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1359960b37eedfb8e2965db3d9ce9d3b.jpg",[],{"id":832,"slug":833,"title":834,"dynasty":146,"author":116,"museum":130,"description":835,"tags":836,"thumbUrl":838,"material":428,"size":429,"collection":108,"collections":839,"showCount":96,"zanCount":11,"manualWeight":11,"mainColor":62},274016,"tan-xin-pei-tuo-zhao-peng-bei-chang-pian-yi-ming-274016","谭鑫培《托兆碰碑》唱片"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Rijn，1606年7月15日～1669年10月4日）是欧洲17世纪最伟大的画家之一，也是荷兰历史上最伟大的画家。\n伦勃朗早年从师P.拉斯特曼，1625年在家乡开设画室。画作体裁广泛，擅长肖像画、风景画、风俗画、宗教画、历史画等领域。",[974,29,975,392,133,7,976,977],"油画","明暗对比","室内","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff34bfe18f0c68a2f17dc90ae92099572.jpg",[],{"id":981,"slug":982,"title":983,"dynasty":46,"author":116,"museum":130,"description":456,"tags":984,"thumbUrl":985,"material":428,"size":429,"collection":108,"collections":986,"showCount":96,"zanCount":11,"manualWeight":11,"mainColor":41},228663,"dou-cai-ji-bei-yi-ming-228663","斗彩鸡杯",[458,459,29,7,30,426],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda972d8fc76f56846538c0aca650285b.jpg",[],{"id":988,"slug":989,"title":990,"dynasty":67,"author":116,"museum":130,"description":991,"tags":992,"thumbUrl":997,"material":247,"size":108,"collection":108,"collections":998,"showCount":96,"zanCount":11,"manualWeight":11,"mainColor":62},215247,"bai-miao-jie-tou-mai-mai-hua-ce-310-yi-ming-215247","白描街头买卖画册-310","素笔勾勒的身影里，藏着百年市井的温热。斗笠斜遮日光，肩头竹竿挑着振翅欲动的禽鸟，手中竹篮盛着生计的细碎。衣纹褶皱随步履轻摆，墨线简练却传神——无浓彩晕染，仅白描便活现街头小贩的日常。竹篮的经纬、禽鸟的羽翅，每一笔都带着朴拙质感，似旧巷风里扬起的叫卖声，悄然定格清代街头的烟火气，让观者仿佛触到那时巷陌的温度与生活的实感。",[23,947,993,120,133,7,994,995,996],"白描","篮子","草帽","街头买卖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4db67922b2f90f8a442c0744aede38c6.jpg",[],{"id":1000,"slug":1001,"title":1002,"dynasty":328,"author":1003,"museum":330,"description":1004,"tags":1005,"thumbUrl":1006,"material":108,"size":108,"collection":108,"collections":1007,"showCount":96,"zanCount":11,"manualWeight":11,"mainColor":1008},203316,"ji-zhu-tu-zhou-chen-shi-ceng-203316","鸡竹图轴","陈师曾","雄鸡立于竹下，躯体以淡赭设色，笔触晕染出羽毛蓬松质感；尾羽泼墨如黛，浓淡间见洒脱。修竹以水墨线条勾勒，竹叶疏密有致，清韵自生。旁侧芙蓉花开，色彩淡雅明艳，与地面零星小花、碎石相映。笔墨写意自然，雄鸡神态悠然，似沐清风竹影，伴花香鸟语，尽显田园静谧生机。",[25,30,151,29,7,51,72,175,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad649afbd2ec062dde45e465f316a121.jpg",[],"bcab94",{"id":1010,"slug":1011,"title":1012,"dynasty":67,"author":116,"museum":130,"description":1013,"tags":1014,"thumbUrl":1017,"material":428,"size":429,"collection":108,"collections":1018,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},272694,"yu-zhi-yue-ling-qi-shi-er-hou-shi-se-mo-ji-ru-huang-mo-yi-ming-272694","御制月令七十二候诗色墨-鸡乳黄墨","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[1015,1016,293,7,90,106],"墨","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faec4739b73ce60a2e5b6ac7189df4e5f.jpg",[],{"id":1020,"slug":1021,"title":855,"dynasty":67,"author":116,"museum":130,"description":1022,"tags":1023,"thumbUrl":1024,"material":428,"size":429,"collection":108,"collections":1025,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":554},269569,"ren-zao-ya-diao-ji-yi-ming-269569","这只牙雕母鸡身形写实鲜活，脖颈微探，仿佛正凝神寻觅散落谷粒，将乡野家鸡觅食的日常瞬间凝于牙材之上。\n\n刀工极为精湛，主羽覆叠分明，尾羽收拢挺括，每一缕绒毛肌理都细腻入微，将软羽蓬松柔软的质感，精妙复刻于硬质牙材间。点睛处嵌饰细小红珠，刹那间便赋予这静态造物灵动生气，鸡爪纹理写实自然，稳稳撑住身形，将禽鸟觅食时的警惕神态尽显无遗。整体气韵生动，尽显传统仿生牙雕对自然生灵的细致捕捉与精妙还原。",[293,858,7,805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e2e5ec7b5fa2fd684cbcb6f5981cafd.jpg",[],{"id":1027,"slug":1028,"title":1029,"dynasty":67,"author":116,"museum":130,"description":456,"tags":1030,"thumbUrl":1031,"material":428,"size":429,"collection":108,"collections":1032,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":554},262125,"cheng-hua-kuan-dou-cai-ji-wen-bei-yi-ming-262125","成化款斗彩鸡纹杯",[458,471,673,459,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa93129451dec3d19541041dbe0352623.jpg",[],{"id":1034,"slug":1035,"title":1036,"dynasty":760,"author":116,"museum":130,"description":1037,"tags":1038,"thumbUrl":1043,"material":428,"size":429,"collection":108,"collections":1044,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},262109,"qing-you-hua-hua-lian-ban-wen-ji-tou-hu-yi-ming-262109","青釉划花莲瓣纹鸡头壶","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。”",[458,1039,1040,1041,7,421,471,1042],"青釉","划花","莲瓣纹","瓷器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d0772fb75e125b68a69e2b74fcf5f68.jpg",[],{"id":1046,"slug":1047,"title":1048,"dynasty":760,"author":116,"museum":130,"description":1037,"tags":1049,"thumbUrl":1051,"material":428,"size":429,"collection":108,"collections":1052,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},261343,"qing-you-shuang-xi-ji-tou-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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。",[458,471,1059,1060,7,30],"杯","青花釉里红","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72e6e2d338e79b7bae928cef390d0edb.jpg",[],{"id":1064,"slug":1065,"title":1066,"dynasty":760,"author":116,"museum":130,"description":1037,"tags":1067,"thumbUrl":1068,"material":428,"size":429,"collection":108,"collections":1069,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},260736,"qing-you-ji-long-yi-ming-260736","青釉鸡笼",[458,673,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F651dfd5c7ce80ec52808f2525bf0770c.jpg",[],{"id":1071,"slug":1072,"title":1073,"dynasty":67,"author":116,"museum":130,"description":844,"tags":1074,"thumbUrl":1080,"material":428,"size":429,"collection":108,"collections":1081,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},260537,"fen-cai-shi-er-chen-yuan-he-yi-ming-260537","粉彩十二辰圆盒",[630,458,426,1075,1076,1077,1078,1079,417,418,419,420,421,422,198,423,134,7,424,425,673],"十二生肖","太极","八卦","云纹","蝙蝠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55d4f5efbcf4b804c18c0b9202545a3e.jpg",[],{"id":1083,"slug":1084,"title":1085,"dynasty":760,"author":116,"museum":130,"description":1037,"tags":1086,"thumbUrl":1087,"material":428,"size":429,"collection":108,"collections":1088,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},260496,"qing-you-ji-tou-hu-yi-ming-260496","青釉鸡头壶",[458,471,673,7,1039,426],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c2fb527900693803360c12af674718b.jpg",[],{"id":1090,"slug":1091,"title":1066,"dynasty":760,"author":116,"museum":130,"description":1037,"tags":1092,"thumbUrl":1093,"material":428,"size":429,"collection":108,"collections":1094,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},260224,"qing-you-ji-long-yi-ming-260224",[458,7,673,426,1039],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4a75adba0978cbd1129ea48cdf87c3d.jpg",[],{"id":1096,"slug":1097,"title":1098,"dynasty":760,"author":116,"museum":130,"description":1037,"tags":1099,"thumbUrl":1101,"material":428,"size":429,"collection":108,"collections":1102,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},260173,"qing-you-ji-tou-shuang-xi-guan-yi-ming-260173","青釉鸡头双系罐",[458,1100,1039,7,673],"罐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b7bf3fb51301a287eecb744eb2bdfdb.jpg",[],{"id":1104,"slug":1105,"title":1106,"dynasty":760,"author":116,"museum":130,"description":1107,"tags":1108,"thumbUrl":1110,"material":428,"size":429,"collection":108,"collections":1111,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},260024,"qing-ci-ji-long-yi-ming-260024","青瓷鸡笼","瓷器是由瓷石、高岭土、石英石、莫来石等烧制而成，外表施有玻璃质釉或彩绘的物器。瓷器的成形要通过在窑内经过高温（约1280℃～1400℃）烧制，瓷器表面的釉色会因为温度的不同从而发生各种化学变化，是中华文明展示的瑰宝。\n中国是瓷器的故乡，瓷器是古代劳动人民的一个重要的创造。谢肇淛在《五杂俎》记载：“今俗语窑器谓之磁器者，盖磁州窑最多，故相延名之，如银称米提，墨称腴糜之类也。”当时出现的以“磁器”代窑器是由磁州窑产量最多所致。这是迄今发现最早使用瓷器称谓的史料。",[458,1109,673,7,293,426],"青瓷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e23eb388d6a6375ab9e08af6d27ecdd.jpg",[],{"id":1113,"slug":1114,"title":1115,"dynasty":67,"author":116,"museum":130,"description":456,"tags":1116,"thumbUrl":1118,"material":428,"size":429,"collection":108,"collections":1119,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":554},259784,"ye-chun-yin-guan-kuan-wu-cai-ji-wen-bei-yi-ming-259784","冶春吟馆款五彩鸡纹杯",[458,471,752,7,163,90,1117],"小桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04b6454cce960f4955ff8e24c68b9bbd.jpg",[],{"id":1121,"slug":1122,"title":1066,"dynasty":760,"author":116,"museum":130,"description":1037,"tags":1123,"thumbUrl":1124,"material":428,"size":429,"collection":108,"collections":1125,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},259756,"qing-you-ji-long-yi-ming-259756",[458,426,673,7,1039],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2bd6039a65dfe500425b41d99a77a66.jpg",[],{"id":1127,"slug":1128,"title":1129,"dynasty":67,"author":116,"museum":130,"description":1057,"tags":1130,"thumbUrl":1133,"material":428,"size":429,"collection":108,"collections":1134,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},259656,"cai-hua-tang-kuan-qing-hua-jia-cai-die-yi-ming-259656","彩华堂款青花加彩碟",[458,1131,1132,7,30,673],"青花加彩","碟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b8c82ff611148962c85d8b976e3e964.jpg",[],{"id":1136,"slug":1137,"title":1085,"dynasty":760,"author":116,"museum":130,"description":1037,"tags":1138,"thumbUrl":1140,"material":428,"size":429,"collection":108,"collections":1141,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":554},256891,"qing-you-ji-tou-hu-yi-ming-256891",[458,1039,7,1139,293,426],"晋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb3e5200cfc5de5545c136c4a328cfba.jpg",[],{"id":1143,"slug":1144,"title":1145,"dynas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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。",[458,29,7,1222,774,1180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a52530c7ae4155a53f4fd8440ddbbee.jpg",[],{"id":1228,"slug":1229,"title":872,"dynasty":770,"author":116,"museum":130,"description":771,"tags":1230,"thumbUrl":1231,"material":428,"size":429,"collection":108,"collections":1232,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},254481,"tao-ji-yi-ming-254481",[770,458,7,900,293],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b93940414cc9f1152a01a3826ecb669.jpg",[],{"id":1234,"slug":1235,"title":872,"dynasty":781,"author":116,"museum":130,"description":782,"tags":1236,"thumbUrl":1237,"material":428,"size":429,"collection":108,"collections":1238,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},254462,"tao-ji-yi-ming-254462",[909,458,900,7,774,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0178495294f147cd9f9b09ae6b30b0e0.jpg",[],{"id":1240,"slug":1241,"title":872,"dynasty":770,"author":116,"museum":130,"description":771,"tags":1242,"thumbUrl":1244,"material":428,"size":429,"collection":108,"collections":1245,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},254401,"tao-ji-yi-ming-254401",[770,774,1243,7,900],"陶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83626a930089d452aa69d869f1fd64a1.jpg",[],{"id":1247,"slug":1248,"title":872,"dynasty":18,"author":116,"museum":130,"description":1194,"tags":1249,"thumbUrl":1250,"material":428,"size":429,"collection":108,"collections":1251,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":554},254388,"tao-ji-yi-ming-254388",[18,458,774,293,7,641],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf707df3e55c7121e161bf6a48d28b29.jpg",[],{"id":1253,"slug":1254,"title":872,"dynasty":18,"author":116,"museum":130,"description":1194,"tags":1255,"thumbUrl":1256,"material":428,"size":429,"collection":108,"collections":1257,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":554},254387,"tao-ji-yi-ming-254387",[291,458,7,137,774],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F319db62e4e44ecb917609b24e73af2e5.jpg",[],{"id":1259,"slug":1260,"title":872,"dynasty":18,"author":116,"museum":130,"description":1194,"tags":1261,"thumbUrl":1262,"material":428,"size":429,"collection":108,"collections":1263,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":554},254386,"tao-ji-yi-ming-254386",[458,7,426],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F626d6f37453175fb1f7f7e9fc0f80687.jpg",[],{"id":1265,"slug":1266,"title":1267,"dynasty":18,"author":116,"museum":130,"description":1172,"tags":1268,"thumbUrl":1269,"material":428,"size":429,"collection":108,"collections":1270,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":554},254368,"san-cai-shi-er-chen-ji-yong-yi-ming-254368","三彩十二辰鸡俑",[18,1204,458,900,133,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14f8428d13208860830b2a2b747494cb.jpg",[],{"id":1272,"slug":1273,"title":872,"dynasty":770,"author":116,"museum":130,"description":771,"tags":1274,"thumbUrl":1275,"material":428,"size":429,"collection":108,"collections":1276,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},254130,"tao-ji-yi-ming-254130",[770,458,774,1180,7,900],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd820670c3225f9bc04bf61f466983a0d.jpg",[],{"id":1278,"slug":1279,"title":780,"dynasty":770,"author":116,"museum":130,"description":771,"tags":1280,"thumbUrl":1282,"material":428,"size":429,"collection":108,"collections":1283,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},254121,"tao-hua-cai-ji-yi-ming-254121",[770,458,1281,29,7,294,774],"画彩","https:\u002F\u002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