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是一幅来自中国元朝时期的著名图画。这幅图画被认为是元朝时期最著名的菊花图案之一，也是当时最具代表性的艺术品之一。\n\n这幅图画中的小鸟是鸟类中常见的山雀，它们正在菊花丛中欢快地嬉戏。菊花是中国传统文化中非常重要的象征，象征着品德高尚、忠诚可靠。在这幅图画中，菊花丛与小鸟的自然互动，展现出人与自然和谐相处的美好愿景。\n\n虽然这幅图画的作者并不是众所周知的，但它仍然是元朝时期艺术史上的重要作品，在当时的艺术市场上也颇受欢迎。如今，菊花小鸟图仍然是许多人所熟知和喜爱的著名图画之一。",[23,25,29,28,30,7,98],"小鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c8acc0d8c6d4a1dedbc8b9a6a108b16.jpg","22.5x26.6cm",[47],479,3,{"id":105,"slug":106,"title":107,"dynasty":108,"author":109,"museum":110,"description":111,"tags":112,"thumbUrl":124,"material":43,"size":125,"collection":126,"collections":127,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":75},222233,"za-hua-tu-xu-wei-222233","杂花图","明","徐渭","南京博物院","《杂花图》是明代画家徐渭所创作的一幅泼墨画，纸本作品，是南京博物院18件镇馆之宝中唯一一件书画作品。画中分别将牡丹、石榴、荷花，梧桐、菊花、北瓜、扁豆、紫薇、紫藤、芭蕉、梅、兰、竹共计十三种花卉绘于一卷。\n《杂花图卷》是徐渭传世的佳作，在这卷十余米的长卷中，徐渭以酣畅淋漓的“胶墨”分别绘制了牡丹、石榴、梧桐、菊花、南瓜、扁豆、紫薇、紫藤、芭蕉、梅兰竹等13种花卉蔬果。徐渭以其疾飞狂扫的豪放气势，纵横挥洒，信笔涂抹：画中牡丹含羞沾露，占尽风流；硕荷、梅兰、修竹、榴枝，笔触歪斜正侧，跌来倒去，随意点染，自如流畅。作紫藤逸笔草草、洋洋洒洒。忽而，又如狂风乍起，点线飞舞，纵横密集，线条速急癫狂。顷刻，笔住墨涸，嘎然而止，墨彩纷呈，留下满纸斑斓。体现了他用笔峭拔劲挺多变与用墨洒脱自如的艺术风格。画中尽显着交响乐一般波澜起伏的宏大乐章。时隔4个世纪，画中依然显出墨迹淫淫的湿润感。\n《杂花图》卷，全图以牡丹起首，按牡丹象征富贵，这与徐青藤的身世相左，故而他一变旧法而改以泼墨写牡丹“虽有生意，终不是此花真面目”，在这枝墨牡丹上我们确实很难寻找富贵的痕迹了。紧接着石榴一枝，充分体现了他用笔的灵动，而墨荷：则重在展示墨彩的缤纷 。梧桐以其肥硕的枝干稳住了这二小段的重心，这是全图的第一个高潮。以下菊花、扁豆、紫薇等只是逸笔草草，随意点染。就章法而言，疏密是相对而存在的，这一小段貌似不经意之笔，在全图的节奏处理上却起着关键的作用。紫藤如蛇的老干泼辣粗放，“一扫槎枒三丈绢”的气势，形成了全图的最高潮。紫藤的花叶更是水墨淋漓，走笔如飞而不乱，意犹跃出纸外。芭蕉是滋润而含蓄的，它与紫藤形成了动与静的强烈对比，貌与质的相依共存。接下来梅枝横斜傲骨铮铮，幽兰、纤竹寥寥数笔，是为尾声。艺术是相通的，我们从这卷《杂花图》中可以领略到诗的起、承、转、合，也像欣赏一部交响曲，从引子到尾声，节奏和韵味正是它们共同的内涵。我们更能通过此图触摸到青藤老人胸中激情的横流。",[23,25,26,27,113,114,115,32,116,117,118,7,119,120,121,122,123],"水墨","大写意","书法","石榴","荷花","梧桐","南瓜","扁豆","紫薇","葡萄","竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2ccaec0a74bfab54d306d36724d1bcb.jpg","1053.5X30厘米","山水画精选",[126,128],"水墨画精选",448,{"id":131,"slug":132,"title":7,"dynasty":133,"author":134,"museum":135,"description":136,"tags":137,"thumbUrl":139,"material":140,"size":141,"collection":47,"collections":142,"showCount":143,"zanCount":144,"manualWeight":11,"mainColor":145},224230,"ju-hua-wu-chang-shuo-224230","清","吴昌硕","藏地不详","吴昌硕所作之菊，线条凝练遒劲，刚柔并济；墨色浓淡相间，不落俗格。并伴以山岩、野石、溪水，或插入孤高细瘦的古瓶，皆与秋菊幽独淡雅、冷逸傲世的情态相映成趣。",[23,25,26,138,113,28,30,7,64],"立轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e716d104f298492c68ba5d730a09c32.jpg","纸本，设色","235*50cm",[47,48],373,1,"BDBDBD",{"id":147,"slug":148,"title":149,"dynasty":133,"author":134,"museum":135,"description":150,"tags":151,"thumbUrl":152,"material":71,"size":71,"collection":47,"collections":153,"showCount":154,"zanCount":103,"manualWeight":11,"mainColor":145},236535,"ju-hua-zhou-wu-chang-shuo-236535","菊花轴","吴昌硕（1844—1927年），原名俊，字昌硕，以字行，号苦铁、缶庐等，浙江安吉人。早年习书，中年学画。曾任官府小吏，后以鬻书卖画为生。绘画以写意花卉著称于世，对近现代画坛影响极大。精篆刻，被推为“西泠印社”社长。书法一变前人成法，风格独特，长于摹写石鼓文，并以此擅名于近代书坛。与任伯年、高邕等在沪书画家相友善。著有《缶庐诗存》，后人整理出版其画集多种。",[25,26,138,113,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2ffe773aea11dae9ed7c7699653a8ef.jpg",[47,128],348,{"id":156,"slug":157,"title":158,"dynasty":133,"author":134,"museum":135,"description":136,"tags":159,"thumbUrl":163,"material":140,"size":141,"collection":47,"collections":164,"showCount":165,"zanCount":144,"manualWeight":11,"mainColor":145},224231,"ju-hua-2-wu-chang-shuo-224231","菊花2",[23,25,26,24,138,28,113,160,7,161,85,162],"写意","山石","叶子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67cb43cd66a1da94239b42b0c422a249.jpg",[47,48],225,{"id":167,"slug":168,"title":169,"dynasty":108,"author":170,"museum":135,"description":171,"tags":172,"thumbUrl":174,"material":175,"size":176,"collection":47,"collections":177,"showCount":178,"zanCount":103,"manualWeight":11,"mainColor":75},222574,"ju-hua-li-zhou-lu-kui-222574","菊花立轴","陆逵","图绘秋日之景色，树叶凋零，几片枝头叶片，摇摇欲坠；秋菊开放，叶茂花艳，数朵菊花争相开放。此图绘枯树时有些讨巧，枯树的枝杆上半部分如长在湖石上，与湖石融为一体，观之惊叹。陆逵，字仪吉，善人物及花草，明代画家。",[23,24,25,26,138,28,29,30,7,173,64],"老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f856c432f5898dc9292bd2ea35d5eba.jpg","绢本，设色","48.4x169cm",[47,48],191,{"id":180,"slug":181,"title":182,"dynasty":133,"author":183,"museum":135,"description":184,"tags":185,"thumbUrl":188,"material":28,"size":189,"collection":47,"collections":190,"showCount":191,"zanCount":192,"manualWeight":11,"mainColor":75},220136,"yan-qiu-tu-yun-shou-ping-220136","艳秋图","恽寿平","此作为没骨花鸟之佳作，以晕染代勾勒，将秋花柔姿与顽石苍朴相融。红白菊花错落在嶙峋奇石间，瓣层舒展鲜活，设色明雅清润，艳而不俗。旁侧秋卉轻曳，石畔细草偃仰，层次铺陈自然和谐。\n\n画中不见刚硬线条，全以色泽晕染出花叶的蓬松柔润、山石的糙粝质感，将秋日群芳的妍丽雅致晕于绢素，鲜活灵动间满溢江南文人的温婉意趣。写实中暗含写意闲情，晕染出深秋清妍静雅的澹澹秋韵。",[23,25,26,138,28,186,7,187,115],"没骨","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6547396a7425eb4e68a17e14638ceff.jpg","165×69.7厘米",[47],156,5,{"id":194,"slug":195,"title":196,"dynasty":18,"author":197,"museum":198,"description":199,"tags":200,"thumbUrl":215,"material":43,"size":216,"collection":71,"collections":217,"showCount":218,"zanCount":219,"manualWeight":11,"mainColor":145},231422,"xie-sheng-tu-fa-chang-231422","写生图","法常","北京故宫博物院","法常的绘画，有不少取材于平时人们司空见惯的日常生活，但独能于平淡天真之中揭示生命意识的真谛。此卷所绘折枝花果、禽鸟、鱼虾及蔬果，笔墨简淡，平平常常，在画幅上随随便便地摆放在一起，看来就是最为常见的与我们现实生活息息相关的景象，但是卷中墨色的氤氲、排列的错综、变化的神奇，却又分明深蕴着禅机。\n这些平常物象的背后是不着笔墨的大片空白，这种“知白守黑”、“计白当黑”的处理，使得画面中本不相关联的事物各自相对独立又可合而为一，画意更为完整而富于张力，给观者以想象的空间，正所谓“于无画处皆成妙境”。整幅作品充满着一种宁静、自省、淡泊的内在精神，使观者有“万物静观皆自得”的会心感受，耐人寻味。牧溪的绘画，写生功底极深，此幅亦是“肖似形类，并得其意”（项元汴语）的形神兼备之作。",[23,25,26,27,113,201,160,30,202,203,204,205,206,207,116,208,32,117,7,123,209,68,210,211,212,213,214,161],"写生","禽鸟","野鸡","麻雀","鱼","水果","桃子","花卉","芦苇","蔬菜","葱","藕","荷叶","莲蓬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8c560c5bf16abfce7333669f1d842b1.jpg","纵47.3厘米，横814．1厘米",[],110,2,{"id":221,"slug":222,"title":223,"dynasty":133,"author":224,"museum":20,"description":225,"tags":226,"thumbUrl":228,"material":70,"size":229,"collection":47,"collections":230,"showCount":231,"zanCount":144,"manualWeight":11,"mainColor":75},218778,"si-rui-qing-deng-tu-jiang-ting-xi-218778","四瑞庆登图","蒋廷锡","蒋廷锡（西元一六六九－一七三二年），江苏常熟人。字扬孙，号酉君，又号西谷。官至文华殿大学士，工画花卉草虫，以逸笔写生，没骨花鸟画继承恽寿平风格。\n画两棵高梁结满穗粒，并点缀有白头翁、菊花和泉石。画法承恽氏之风，虽用笔工致，但不板滞，兼有写生之趣。此时蒋氏五十五岁，调任礼部侍郎，同年又调任户部。蒋氏鲜少在画上落款处加官职，此图以端正楷书写上礼部右侍郎等字，应是应制之作。而四瑞写各种祥瑞事物，应是称颂雍正皇帝继承帝位是顺天应民之意。",[25,28,29,30,138,82,61,227,187,7,41],"高粱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff73b7e62a8dadfcb098962fa2d8a6e8a.jpg","185.2x87.2cm",[47],106,{"id":2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陈淳的儿子。善画花卉，笔似其父。嗜酒放浪。画擅花鸟，继其有法，而又出己意，笔致放浪而有生趣，亦能诗。先其父而亡。自元代文人画创立以写法入画以来，明代徐渭、陈道复更在花鸟中将笔迹放纵的写意画法又向前推进一步，而道复之子陈栝则更在其父基础上，将这种不拘于象的写法又发挥至极致，其勾点皴擦，随心所欲， 绝出尘象之外。",[23,25,26,27,113,30,160,41,32,117,31,37,33,653,34,654,7],"水仙","梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc52c46bc4e3b4ca5a9f77865bc6868ab.jpg","纸本，水墨",[],19,{"id":660,"slug":661,"title":662,"dynasty":108,"author":663,"museum":135,"description":664,"tags":665,"thumbUrl":666,"material":320,"size":321,"collection":71,"collections":667,"showCount":668,"zanCount":11,"manualWeight":11,"mainColor":145},236518,"mo-ju-shan-ye-chen-chun-236518","墨菊扇页","陈淳","陈淳（1483年—1544年），字道复，后以字行，更字复甫，号白阳，又号白阳山人，长洲（今江苏苏州）人，明代绘画大师。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。",[25,26,449,113,7,30,115,269,41],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fa8094773a549a15b7aa0ff8fdec3c7.jpg",[],17,{"id":670,"slug":671,"title":672,"dynasty":133,"author":19,"museum":135,"description":673,"tags":674,"thumbUrl":679,"material":320,"size":321,"collection":71,"collections":680,"showCount":668,"zanCount":144,"manualWeight":11,"mainColor":145},229968,"yin-du-jin-dian-cui-qian-zhu-bao-ju-hua-zan-yi-ming-229968","银镀金点翠嵌珠宝菊花簪","发簪，中国古代汉族人民用来固定和装饰头发的一种首饰。对于现代人来说已经是一个很古老的名词了，但是当在看古装剧时，却总是能被它们点缀出的精致效果所折服。\n将长发松松挽起，插上一枚别致的发簪，再配上典雅的长裙，即便性格再外放的女性，也可以成为让人眼前一亮的古典美人。发簪金属的光泽闪耀在发间，加上小而巧的坠饰，长发的风情便又是一种不一样的感受了。",[238,675,676,677,7,678,504],"银镀金","点翠","嵌珠宝","簪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f4624ca1239dab580f0f29571264f02.jpg",[],{"id":682,"slug":683,"title":684,"dynasty":108,"author":685,"museum":135,"description":686,"tags":687,"thumbUrl":689,"material":320,"size":321,"collection":71,"collections":690,"showCount":691,"zanCount":11,"manualWeight":11,"mainColor":145},290848,"ji-zhen-ji-zhou-tang-yin-290848","鸡真迹轴","唐寅","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”。",[24,25,26,138,567,28,688,7,123,38,161,41],"鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedb864d815658b9038e4cbbc6da8f12b.jpg",[],14,{"id":693,"slug":694,"title":695,"dynasty":18,"author":19,"museum":135,"description":696,"tags":697,"thumbUrl":701,"material":320,"size":321,"collection":71,"collections":702,"showCount":691,"zanCount":11,"manualWeight":11,"mainColor":75},290367,"song-ke-si-xi-bao-sheng-sun-tu-zhou-yi-ming-290367","宋缂丝喜报生孙图轴","缂（kè，同：刻）丝（英文：K’o-ssu 、Kesi 或 Chinese silk tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[138,25,24,698,30,29,28,699,654,7,161,208,700],"缂丝","喜鹊","喜庆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3eda24435f146fcd1bfd0b4f74356aa.jpg",[],{"id":704,"slug":705,"title":706,"dynasty":56,"author":19,"museum":20,"description":707,"tags":708,"thumbUrl":711,"material":70,"size":712,"collection":47,"collections":713,"showCount":714,"zanCount":11,"manualWeight":11,"mainColor":75},290787,"jia-gu-ming-qin-tu-zhou-yi-ming-290787","嘉谷鸣禽图轴","坡陀间一石突起，细草经霜，色皆枯槁，石后有稷米一丛，上栖蜡嘴三只，啄食稷穗。地面满布杂花，另有鹌鹑六只。三只聚于石上，一只自远处飞至，两只在左角，一仰一俯，啄食米粒。通幅细笔双钩，笔力甚为劲挺，其画风接近于明代仿宋代院体画派者之风格。",[24,25,26,138,30,29,28,61,709,710,7,161],"鹌鹑","嘉谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69620d586c0096877e051015b8acb8a7.jpg","170.5x93.8",[47],12,{"id":716,"slug":717,"title":718,"dynasty":133,"author":19,"museum":135,"description":719,"tags":720,"thumbUrl":725,"material":320,"size":321,"collection":71,"collections":726,"showCount":714,"zanCount":11,"manualWeight":11,"mainColor":75},281520,"lan-bo-li-kai-guang-ju-hua-ping-yi-ming-281520","蓝玻璃开光菊花瓶","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[318,721,7,317,722,723,724],"玻璃器","开光","蓝玻璃","花卉纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b333efc54b7d0f4e9623aae02236938.jpg",[],{"id":728,"slug":729,"title":730,"dynasty":133,"author":731,"museum":198,"description":732,"tags":733,"thumbUrl":738,"material":140,"size":739,"collection":71,"collections":740,"showCount":714,"zanCount":11,"manualWeight":11,"mainColor":145},233774,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233774","原济陶渊明诗意册","石涛","本图册是作者根据东晋著名诗人陶渊明诗句而创作。陶渊明是中国田园诗的创始者，他的诗不仅反映出田园生活的美好与自然，更流露出他徘徊于出仕与归隐之间的矛盾。绘画者显然非常赞赏这种避身独处、与世无争、乐天安命的人生哲学，通过描绘回归自然、淡于荣禄、不与统治者合作的隐士陶渊明来表现自己美好的理想。\n这里择两开赏析。\n第二开《悠然见南山》：陶渊明的许多诗篇中都有关于菊花的诗句：“采菊东篱下，悠然见南山”、“秋菊有佳色，裛露掇其英”均写出了他远离世俗的心境和陶醉于自然的乐趣。他常以菊自喻，借菊花凌秋傲霜的品质表达自己清高的节操和情怀。石涛仰慕陶渊明的高尚情操，故此图借陶渊明爱菊寄寓了画家自己的思想感情。画中篱笆院中菊花盛开，一高士手持菊花观赏，悠然之态可见。此图结构精巧，人物用笔细密。远山以墨笔烘染，山腰云雾密布，不见山脚，以此表现烟云飘渺的动态和气势。这种中锋、细勾、渍染相结合的画法使画面有动有静，虚实结合，意趣无穷。\n第六开《遥遥望白云 怀古一何深》：描绘一位着布衣宽袍的老者临溪而立。老者远望青山，脚下溪水流淌。面对满目凄凉、空无一人的山水，主人公似思绪万千，发思古之幽情。画家借此图深刻而恰当地表达了自己零丁孤苦、怀才不遇之情。构图采用一水两岸的自然分疆法。画面上只见弥漫的云山、层山断处的房舍和半露的松林而不见山脚，山顶则似露非露地隐现。树木用水墨渍出，以衬托山腰白云的动感。",[25,26,281,113,28,378,734,735,7,334,736,737,517,269,160,377],"柳树","亭子","夕阳","云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ca4420878f973ed6cbf1457c2815973.jpg","纵27厘米，横21.3厘米",[],{"id":742,"slug":743,"title":744,"dynasty":108,"author":745,"museum":135,"description":746,"tags":747,"thumbUrl":750,"material":320,"size":321,"collection":71,"collections":751,"showCount":714,"zanCount":11,"manualWeight":11,"mainColor":145},228870,"shu-hua-he-bi-gui-qu-lai-ci-wen-zheng-ming-228870","书画合壁归去来辞","文徴明","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。\n文徵明曾学文于吴宽，学书法于李应祯，学画于沈周，生平九次参加乡试均不中。嘉靖二年（1523年），以岁贡生参加吏部考试，被授予翰林院待诏之职。嘉靖五年（1526年），文徵明辞官归乡，专事创作。\n嘉靖三十八年（1559年）二月二十，文徵明去世，享年九十。其弟子私谥贞献。\n文徵明诗、文、书、画无一不精，人称“四绝”，其与沈周共创“吴派”。在画史上与沈周、唐寅、仇英合称“明四家”。在文学上，与祝允明、唐寅、徐祯卿并称“吴中四才子”。",[23,25,26,27,269,113,380,7,748,161,749,382],"竹子","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F951ce94121c71e1716a09cb31ca991f2.jpg",[],{"id":753,"slug":754,"title":755,"dynasty":133,"author":19,"museum":135,"description":756,"tags":757,"thumbUrl":764,"material":320,"size":321,"collection":71,"collections":765,"showCount":766,"zanCount":11,"manualWeight":11,"mainColor":354},270138,"tong-du-jin-qian-hua-fa-lang-chang-fang-pen-fei-cui-ye-shan-hu-ju-hua-pen-jing-yi-ming-270138","铜镀金嵌画珐琅长方盆翡翠叶珊瑚菊花盆景","以珊瑚雕琢为菊，朱红饱满，瓣层叠舒展，尽摹秋菊盛放之态。翡翠斫作叶片，莹润绿意晕染枝梢，随风轻曳生灵动之姿。盆中缀有色石塑就的山居小景，野趣横生。铜金长盆錾刻缠枝纹为饰，壁间嵌珐琅八宝图纹，宝光流转，富丽雅致。\n\n整器将天然珍玩与宫廷细作工艺相融，把清秋隽逸菊韵凝缩案头，华贵雅致间尽显极致匠心，是陈设赏玩的绝佳妙品。",[758,759,760,761,762,763,7,208],"盆景","珐琅器","金器","铜制","玉石","珊瑚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d8fd0d19a1e8432f9fa17bec434cce7.jpg",[],11,{"id":768,"slug":769,"title":770,"dynasty":133,"author":771,"museum":20,"description":772,"tags":773,"thumbUrl":780,"material":43,"size":781,"collection":782,"collections":783,"showCount":766,"zanCount":11,"manualWeight":11,"mainColor":145},240710,"shi-juan-liu-yong-240710","诗卷","刘墉","本幅为刘墉书写杜甫诗句之手卷，书于水红色、钩金花的纸张上，十分别致。起始的一首诗题名为“缚鸡行”，叙述小仆绑着鸡要到市中去卖，引起了诗人对人、鸡、虫三者间的一些感概，内容颇有意趣。至于在书法方面，圆润婉转的字体，看似柔软无骨，实际上却是将劲道隐藏于丰厚的外貌中，相当的内敛，前人评论刘墉的书法为棉里裹针，应即此意了。",[23,115,269,27,41,774,378,775,654,7,776,777,778,779,737,83],"明月","江","星","火","风","夜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb205c3850b765c4e2b6b30fd470f7041.jpg","金笺22.5x232cm","书法精选",[782],{"id":785,"slug":786,"title":787,"dynasty":133,"author":19,"museum":135,"description":788,"tags":789,"thumbUrl":792,"material":320,"size":321,"collection":71,"collections":793,"showCount":794,"zanCount":144,"manualWeight":11,"mainColor":325},268433,"dian-cui-ju-hua-wen-tou-hua-yi-ming-268433","点翠菊花纹头花","中国妇女最偏爱的头花当属绒花，尤其是在女儿出嫁时，头上必须戴红色绒花，图火红吉利。在中国妇女中，只要条件允许，不仅婚礼喜庆日时要戴绒花，而且一年四季都愿意头戴绒花，求谐音吉祥。尤其到应时节序戴应季绒花：立春日戴春幡，清明日戴柳枝，端阳日戴艾草，中秋日戴桂花，重阳日戴茱萸，立冬日戴葫芦阳生……。清宫后妃们的头花，还有大批的绒花、绢花、绫花流存于世，这些花色彩协调，晕色层次丰富，堪称“乱真”之花。清代遗留下来的绒、绢、绫、绸等质地的头花有白、粉、桃红三晕色的牡丹花，浅黄、中黄、深黄三色的菊花，白、藕、雪青三色的月季花及粉、白相间的梅花等等，历时百年不久，仍鲜艳悦人。",[504,676,7,790,791],"雕刻","头饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a1a3d2bfe313b91316ea42fe5b6224e.jpg",[],10,{"id":796,"slug":797,"title":798,"dynasty":133,"author":799,"museum":198,"description":800,"tags":801,"thumbUrl":803,"material":175,"size":804,"collection":71,"collections":805,"showCount":794,"zanCount":144,"manualWeight":11,"mainColor":145},222787,"hua-niao-ce-ye-07-lang-shi-ning-222787","花鸟册页07","郎世宁","此图册分别描绘了牡丹、兰花、罂粟、萱草、荷花、梅花等艳丽多姿的花卉和体态生动的蝶、鸟。构图上取法中国传统花鸟画的格局，以虚托实，注重对所绘物象的突出。在表现技法上，则充分发挥了欧洲绘画注重明暗及透视的特点，以工致细腻的笔触，刻画出花瓣、叶片以及鸟雀的羽毛质感和体积感，呈现出与传统的中国花鸟画迥然不同的艺术风貌。这种“中西合璧”的画风成为清代宫廷绘画艺术的一大特色，受到了清皇室的青睐。",[23,25,24,26,268,29,28,802,30,7,82,239,578,115,41],"中西合璧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94fb8508d2a99083a74c38b6844e1704.jpg","纵32.6厘米，横28.6厘米",[],{"id":807,"slug":808,"title":809,"dynasty":133,"author":19,"museum":135,"description":810,"tags":811,"thumbUrl":816,"material":320,"size":321,"collection":71,"collections":817,"showCount":818,"zanCount":11,"manualWeight":11,"mainColor":75},263950,"qing-se-di-ju-die-wan-shou-an-ba-xian-gui-bei-wen-zhi-jin-jin-yi-ming-263950","青色地菊蝶万寿暗八仙龟背纹织金锦","《说文》：“锦，襄邑织文。从帛，金声。”即用彩色经纬丝织出各种图案花纹的纺织品，泛指具有多种彩色花纹的丝织物。锦的生产工艺要求高，织造难度大，所以它是古代最贵重的织物。“锦，金也，作之用功重，其价如金。”古人把锦看成和黄金等价。这种织物有经起花和纬起花两种，也叫经锦和纬锦。经锦是用两组或两组以上的经线同一组纬线交织。经线多的二色或三色，一色一根作为一副，如果需要更多的颜色，也可以使用牵色条的方法。纬线有明纬和夹纬；用夹纬把每副中的表经和底经分隔开，用织物正面的经浮点显花。\n用染好颜色的彩色经纬线，经提花、织造工艺织出图案的织物。中国丝织提花技术起源久远。早在殷商时代中国已有丝织物。周代丝织物中出现织锦，花纹五色灿烂，技艺臻于成熟。汉代设有织室、锦署，专门织造织锦，供宫廷享用。自汉武帝后，中国织锦通过丝绸之路传入波斯（今伊朗）、大秦（古罗马帝国）等国。三国时四川蜀锦成为主流。唐代贞观年间窦师伦的对雉、斗羊、翔凤等蜀锦图案，称为绫阳公样。在织造工艺上由经锦改进为纬锦，并出现彩色经纬线由浅入深或由深入浅的退晕手法。北宋宫廷在汴京等地建立规模庞大的织造工场，生产各种绫锦。元代是中国历史上大量生产织金锦（一种加金的丝织物）的时代，宫廷设立织染局、织染提举司，机构庞大，集中了大批优秀工匠。\n明清两代织锦生产集中在江苏南京、苏州，除了官府的织锦局外，民间作坊也蓬勃兴起，形成江南织锦生产的繁荣时期。织锦大多采用传统提花工艺和木制花楼织机，有些织锦因品种不同而有所区别。如宋锦、土家族织锦采用通经断纬工艺，即分段调换彩色纬线，使色彩更加丰富。杭锦采用铁制提花机。织锦种类有南京云锦、四川蜀锦、苏州宋锦、杭州织锦以及少数民族的黎锦、壮锦、傣锦、瑶锦、侗锦、苗锦、土家锦、爱得利斯锦等。1960年以来，中国织锦在继承、发扬传统织锦的基础上，恢复了云锦的妆花锦和蜀锦的浣花锦、锦上添花锦、八答晕锦，并生产了窗帘、沙发套、枕套、被面、台毯、靠垫、床罩、提包、民族服装用料等新品种。\n锦已有3000年以上的历史，战国、西汉以前流行以二色或三色经轮流显花的经锦，包括局部饰以挂经的挂锦、具有立体效果的凸花锦和绒锦。1959年在新疆民丰尼雅遗址发现的东汉“万年如意锦”使用绛、白、绛紫、淡蓝、渥绿五色，通幅分成十二个色条，就是汉代典型的经锦。\n纬锦是用两组或两组以上的纬线同一组经线交织。经线有交织经和夹经；用织物正面的纬浮点显花。1969年在新疆阿斯塔那发现的唐代锦袜，在大红色地上起各种禽鸟花朵和行云的图案，就属于这一种锦。\n经锦和纬锦具有不同的织造效果。经锦的纬密比较低，只用一把梭子，生产效率比较高。纬锦织造比较费时，但可以使用两把以上的梭子，容易变换色彩，色彩丰富。这两种锦在中国出现的时间都比较早。但是六朝以前织造的，以经起花为主；隋唐以后织造的，似乎以纬起花为主。\n在苏联的巴泽雷克发现一批中国战国时期的丝绸，就有用红绿二色纬线织造的纬斜纹起花的纬锦。产生于宋代前后的宋锦以地经、地纬交织成经斜组织，按结经与纹纬交织成纬斜组织。\n金元之际流行加金的丝织物——织金锦，又称“纳石失”。明清时盛行以挖花缎的彩纬多达30—40种，锦面的经、纬方向都有逐花异色的效果，是中国织锦最高水平的代表。\n锦在历史上曾用多棕多蹑机和束棕花楼机织造，现代生产采用纹版提花机。\n国家非常重视非物质文化遗产的保护，南京云锦木机妆花手工织造技艺作为中国古老的织锦技艺最高水平的代表，于2006年列入首批国家级非物质文化遗产名录。2006年5月20日，土家族织锦技艺经国务院批准列入第一批国家级非物质文化遗产名录。2007年6月8日，湖南凤凰水云织锦坊获得国家文化部颁布的首届文化遗产日奖。2009年8月《地理标志产品云锦》国家标准在南京通过国家级专家评审，同年9月成功入选联合国《人类非物质文化遗产代表作名录》。",[503,812,813,7,38,814,815],"织锦","织金工艺","暗八仙","龟背纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7501b753bc6d8d04db881d1dd030bc5.jpg",[],9,{"id":820,"slug":821,"title":822,"dynasty":133,"author":823,"museum":135,"description":824,"tags":825,"thumbUrl":837,"material":320,"size":321,"collection":71,"collections":838,"showCount":818,"zanCount":11,"manualWeight":11,"mainColor":145},241390,"xing-kai-shi-er-shou-zhou-chen-yuan-long-241390","行楷诗二首轴","陈元龙","陈元龙（1652—1736）字广陵，号乾斋，浙江海宁人，清朝大臣。康熙二十四年一甲二名进士，授编修，直南书房。五十七年，擢工部尚书。六十年，调礼部。乙丑科会试开始施行殿试十本进呈之制。此前，进士无十本进呈之例，这一科会试总裁官是刑部尚书张士甄，开始以前十本恭呈皇帝钦定。康熙帝拔陆肯堂进士第一人，进士第二人就是陈元龙。",[26,115,826,41,827,828,829,382,830,831,832,833,7,834,737,835,836],"行楷","海门","津门","园林","舟","田舍","山","秋","水","城","丹丘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1bcce9a43123efbbaf561503896286f.jpg",[],{"id":840,"slug":841,"title":842,"dynasty":133,"author":843,"museum":135,"description":844,"tags":845,"thumbUrl":849,"material":71,"size":71,"collection":71,"collections":850,"showCount":818,"zanCount":11,"manualWeight":11,"mainColor":145},238284,"hua-qia-xuan-yuan-tu-ce-huang-yue-238284","化洽翾蜎图册","黄钺","黄钺（1750年9月5日-—1841年8月16日），字左田，又名左君，号壹斋、左庶子，安徽芜湖人，清朝大臣，历仕乾隆、嘉庆、道光三朝。是著名的教育家、画家、艺术评论家。\n黄钺师法韩愈、苏轼、黄庭坚三人。 [5] 著有《壹斋集》40卷，其中《奏御集》2卷，杂篇6卷，《萧、汤二老遗诗合编》1卷，《画品》1卷。工诗文、书画，所绘山水，有萧云从余韵，“久邀睿赏，与富阳首相。国称董（浩）黄（钺）二家”，宫内名画，多为其鉴定真伪。诗词有苏东坡风韵，年九十一岁失明，自号“盲左”仍吟诗作画，故乡风情，吟咏殆尽，所作《于湖竹枝词》66首，亦诗亦史，富有深厚乡情。宋子才有“太白脱靴”，“山谷返棹”两图，石刻在太平府尊经阁内。《志》谓“子才七世孙，元太平路经历景阳刻”。嘉庆十七年（1812），黄钺在作此图时也注为元景阳刻。后觉有误，自责捉笔：“承讹袭谬，未暇深考。顷友人拓赠二纸，始知其谬，愧赧无已，爰记以诗，以志吾荒陋焉”。虚怀若谷，难能可贵。\n道光五年（1825），黄钺76岁，请求归休。宣宗“温旨慰留”。次年，又申前请，获准荣归。道光二十一年六月三十日申时（即1841年8月16日15时至17时）在芜湖家中逝世，享年九十二岁。宣宗悼惜，追封为太子太保衔，入祀贤良祠，按尚书条例抚恤，谥号“勤敏”。命史馆立传，赐祭葬，树石碑，葬于当涂南褐山下。同年，奉旨入芜湖乡贤祠。 [3]\n清代乾隆、嘉庆、道光年间，当涂出了一位赫赫有名的内阁尚书、军机大臣。黄钺，字左田，号左君，又号壹斋、左盲，生于乾隆十五年（1750年），卒于道光二十一年（1841年）。因其一生敏而好学，著述甚多，又“执掌皖南北书院十载”，对当地文化、教育做出了重要贡献。\n乾隆三十八年（1773年）十月，年仅23岁的黄钺在太平府学政使院参加岁试。安徽提督学政朱筠阅其卷，以为“奇才异能”，称道不止。朱筠在离开当涂回京都时，特地将这位年轻人带入京城应试，虽未中试，但得以在《四库全书》馆做誉录工作，因之学识大进。乾隆五十三年（1788年），黄钺考中举人，五十五年中进士，授户部主事。当时权臣和坤主管户部，因二人意见相左，借故请假回家，协助安徽巡抚李世杰在芜湖赭山谪翠轩创建中江书院，招员授业。嘉庆四年（1799年），仁宗亲政，黄钺奉命进京加封为“懋勤殿行走”。嘉庆九年（1804年），提升为“赞善，入直南书房”。嘉庆十年，出任山西学政，又特旨任湖北、山东、顺天等地的乡试主考官，后又兼任山西、山东学政，准予密折奏事。嘉庆十五年（1810年），迁侍讲学士，十八年擢升内阁学士，十九年升任户部侍郎，不久，又调任礼部侍郎。嘉庆二十四年（1819年），升任礼部尚书，并“赐紫禁城骑马肩舆入直，加封太子少保衔”。次年，升会试主考官。道光元年（1821年），宣宗亲政，封其为军机大臣，不久，又调任户部尚书，参与大典事宜，从事“京察议叙”。道光三年，宣宗“赐宴玉澜堂”，并给功臣绘像，黄钺是当时朝廷15名老臣之一。道光五年，黄钺已75岁，请求归休，宣宗又“温旨慰留”。次年，又申前请，始获准归乡。黄钺在朝廷历时27年。\n黄钺一生为封建统治阶级“矢勤矢慎”，但他笔耕不辍，在学术上也很有造诣。著有《壹斋集》四十卷、《壹斋诗集》三十六卷、《韩诗增注正讹》十一卷、《萧汤二老遗诗合编》二卷、《奏御集》二卷，另有《画友录》、《泛浆录》、《游黄山记》、《两朝恩赉记》、《二十四画品》等著作。他善画山水花鸟，尤长画梅，初学王 ，晚学王原祁，与“四王”末流董邦达并称山水画家。他的画，笔墨苍厚，他的字，既有书卷气，也有台阁气。他的诗，别具一格，很有气势。曾作的《花卉图》、《端阳佳景图》、《高冈长松图》等，无论青绿山水和水墨山水都很有特色。\n黄钺在绘画艺术上经过多年的实践和探索，将自己积累的经验进行理论概括，撰成画学专著《二十四画品》一书。《二十四画品》是仿照唐司空图撰写的中国古代文集约名著《二十四诗品》的体例而写成的。书中运用四言韵语，把各种绘画艺术风格概括为：一气韵，二神妙，三高古，四苍润，五沉雄，六冲和，七淡远，八补拙，九超脱，十奇辟，十一纵横，十二淋漓，十三荒寒，十四清旷，十五性灵，十六圆浑，十七幽邃，十八明净，十九健拔，二十简洁，二十一精谨，二十二隽爽，二十三空灵，二十四韶秀。整部著作文词典雅，清丽可诵，表现了栩栩如生的艺术形象。\n黄钺对谢朓、李白、黄庭坚十分崇拜，曾多次游览青山和采石矶。他颂扬谢朓“谢公爱青山，结宇恣啸咏”；在《咏李翰林》诗中讴歌李白：“仙骨埋青山，草木发灵异。”到采石矶“高怀吊古”，“掩英雄之泪，吟供奉之诗”。在他作的《采石矶赋》一文中，除了历数在这里发生的许多惊天动地的事件和英雄人物外，还特地为李白而感叹，说：“白也不群，宗之潇洒，着宫锦而扬帆，共兰舟而持 。旁若无人，歌清四野，当此之时，何其壮也！”黄钺又诗云：“平轩遥瞰一湖开，闻说涪翁守郡来。当日到官才九日，未应便起读书台。”该诗也附注曰：“赭山有滴翠轩，相传为涪翁读书处。李之仪跋山谷二词：‘鲁直请无为、当涂，而得当涂，犹蹭蹬一年方到官，既到九日而罢，又数日乃去。’“\n道光十一年（1831年），长江发生水患，回到家乡的黄钺 积极倡兴赈济，带头捐献俸银千两。道光十三年，濒临江淮的州县又遭水灾，黄钺又“捐百金助赈”，以救乡民。次年，当涂、芜湖一带饥荒，米珠薪桂，人民生计困难，黄钺又与王泽、许耕余等发动有田富户及绅士14家，按田交谷600担，兴办“丰备义仓”12座，当义仓上梁即将落成时，黄钺以诗记其事道：“成城缘众志，图匮在年丰。”并在“丰备义仓”的旁边建立私塾，招收蒙童，普及地方教育事业。\n道光十六年，88岁已不能认字，但仍吟诗咏物，所作《于湖竹枝词》66首，亦诗亦史，深入浅出，富有深厚的爱乡之情。",[25,26,281,28,29,30,39,68,7,846,847,848],"蓝色花朵","黄色花蕊","绿叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f3ea6255fc4b15055ab1031953ae3b6.jpg",[],{"id":852,"slug":853,"title":854,"dynasty":108,"author":855,"museum":135,"description":856,"tags":857,"thumbUrl":858,"material":320,"size":321,"collection":71,"collections":859,"showCount":818,"zanCount":11,"manualWeight":11,"mainColor":145},237547,"hua-hui-shan-ye-li-yin-237547","花卉扇页","李因","李因（1610－1685），字是庵，号龛山逸史，晚号今生。明末清初女诗人、画家。会稽（今浙江绍兴）人，一作钱塘（今杭州）人。早年为江浙名妓，后嫁光禄卿葛征奇为妾，在绘画上崇尚隽雅，在山水画上学习米芾、米友仁，画山水、花鸟，疏爽隽逸，毫无女子纤弱之气。亦工诗，著有《竹笑轩吟草》等，诗笔清奇，有中唐遗韵。",[470,25,449,113,30,7,41,160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31353b88a03f1ad3e445f9c2824c159b.jpg",[],{"id":861,"slug":862,"title":863,"dynasty":18,"author":19,"museum":135,"description":864,"tags":865,"thumbUrl":868,"material":320,"size":321,"collection":71,"collections":869,"showCount":818,"zanCount":11,"manualWeight":11,"mainColor":75},223718,"qing-ci-yin-hua-ju-hua-wan-yi-ming-223718","青瓷印花菊花碗","敞口，斜直壁，小圈足，足脊无釉，有窑渣痕。内外施青绿釉。碗内壁模印花纹，内心为菊花，内壁为缠枝菊纹，外壁刻菊瓣纹。浅灰色胎，釉层较厚，有气泡",[18,315,866,867,7,318],"青瓷","印花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e60cbf2028206e014fa3280ebb90bcf.jpg",[],{"id":871,"slug":872,"title":873,"dynasty":133,"author":874,"museum":875,"description":876,"tags":877,"thumbUrl":879,"material":880,"size":71,"collection":71,"collections":881,"showCount":818,"zanCount":11,"manualWeight":11,"mainColor":145},214814,"shan-shui-hua-hui-tu-ce-5-gao-feng-han-214814","山水花卉图册-5","高凤翰","日本大阪市立美术馆","高凤翰（1762-1843）是一位著名的清代画家，他的主要作品是山水花卉图册。高凤翰生于江苏省的吴县，他曾在杭州学习画画，后来进入了江南画派。他的画风独特，被称为“高氏画法”，以其精细、细腻的线条和浓郁的色彩闻名。\n\n高凤翰的山水花卉图册是他的代表作之一，包括了许多精美的山水画作品。这些作品描绘了自然风光，包括山峦、河流、湖泊、树木、花草等。高凤翰的山水画作品经常带有浓厚的写意气息，表现出自然之美。他的画作还常常加入人物、建筑、动物等元素，使得作品更加丰富多彩。\n\n高凤翰的山水花卉图册在当时颇受欢迎，并且被视为江南画派的杰出代表作。他的作品被认为是清代山水画发展的重要贡献，对后世的山水画家也产生了很大的影响。",[23,24,25,26,281,113,28,30,378,7,123,878,602],"石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42135630300e081d337a6c8d935607bf.jpg","纸本,设色",[],{"id":883,"slug":884,"title":885,"dynasty":133,"author":19,"museum":135,"description":810,"tags":886,"thumbUrl":890,"material":320,"size":321,"collection":71,"collections":891,"showCount":892,"zanCount":11,"manualWeight":11,"mainColor":75},264013,"gu-tong-se-di-feng-huang-ju-hua-wen-zhi-jin-jin-yi-ming-264013","古铜色地凤凰菊花纹织金锦",[812,503,887,888,7,889],"古铜色","凤凰","织金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3f13c724397fe719173787750449c5e.jpg",[],8,{"id":894,"slug":895,"title":896,"dynasty":133,"author":897,"museum":135,"description":898,"tags":899,"thumbUrl":900,"material":71,"size":71,"collection":71,"collections":901,"showCount":892,"zanCount":11,"manualWeight":11,"mainColor":145},224318,"hua-niao-ce-shi-kai-8-li-shan-224318","花鸟册十开8","李鱓","画面两只鹌鹑意态生动，一昂首远眺，一侧首低语，翎羽以枯笔皴擦、淡墨晕染，朴拙中饱含灵动生机。野菊柔枝缀满紫黄碎花，伴草叶斜曳，淡墨晕开的坡岸清润松秀，衬出清秋野趣。\n题笔行书奇崛跌宕，诗画印合为一体，以秋日野景寄寓闲淡襟怀，挣脱院体刻板法度，将写生意趣与文人雅思相融，笔底随性疏朗，尽显疏放灵秀的笔墨风神，把郊秋悠然意态凝于尺幅间，满溢着自在野逸的生机。",[23,25,281,28,30,115,41,160,82,7,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09b5d44b2a45a20a5b568915ee916d42.jpg",[],{"id":903,"slug":904,"title":905,"dynasty":133,"author":19,"museum":135,"description":719,"tags":906,"thumbUrl":908,"material":320,"size":321,"collection":71,"collections":909,"showCount":910,"zanCount":11,"manualWeight":11,"mainColor":325},268030,"bao-lan-se-duan-di-dan-cai-ju-hua-ping-wen-tao-yi-ming-268030","宝蓝色缎地淡彩菊花瓶纹绦",[503,402,7,907,505,518],"器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b10b85828607716fd46b17350593972.jpg",[],7,{"id":912,"slug":913,"title":914,"dynasty":133,"author":19,"museum":135,"description":501,"tags":915,"thumbUrl":917,"material":320,"size":321,"collection":71,"collections":918,"showCount":910,"zanCount":11,"manualWeight":11,"mainColor":354},265559,"fen-hong-se-duan-di-mu-dan-he-hua-ju-tao-hua-wen-tao-yi-ming-265559","粉红色缎地牡丹荷花菊桃花纹绦",[503,504,32,117,7,568,916,402],"花卉纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F602555df7d8e356e649ebeb36cf29c17.jpg",[],{"id":920,"slug":921,"title":922,"dynasty":133,"author":19,"museum":135,"description":923,"tags":924,"thumbUrl":926,"material":320,"size":321,"collection":71,"collections":927,"showCount":910,"zanCount":11,"manualWeight":11,"mainColor":75},248922,"dui-cai-chan-zhi-ju-hua-wen-chang-fang-he-yi-ming-248922","堆彩缠枝菊花纹长方盒","清代文物。旧时用于存放食物或饰品之用,根据材质价值不同。清宫旧藏",[316,925,28,7,554,318],"堆彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecf3382d246792520270e883b3e2f917.jpg",[],{"id":929,"slug":930,"title":931,"dynasty":18,"author":19,"museum":135,"description":932,"tags":933,"thumbUrl":934,"material":71,"size":71,"collection":71,"collections":935,"showCount":910,"zanCount":11,"manualWeight":11,"mainColor":325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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。",[238,316,1107,790,7,3182,3183,3184,1251,3185],"果盘","座","果实","雕漆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bca19d30e0a76bc3d4b429ae861e769.jpg",[],{"id":3189,"slug":3190,"title":3191,"dynasty":108,"author":19,"museum":135,"description":3180,"tags":3192,"thumbUrl":3193,"material":320,"size":321,"collection":71,"collections":3194,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":145},246212,"yong-le-kuan-ti-hong-ju-hua-wen-yuan-pan-yi-ming-246212","永乐款剔红菊花纹圆盘",[316,1107,7,318,470,790],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39729ccac6943fd812d19c62bb0ec729.jpg",[],{"id":3196,"slug":3197,"title":3198,"dynasty":108,"author":19,"museum":135,"description":3180,"tags":3199,"thumbUrl":3200,"material":320,"size":321,"collection":71,"collections":3201,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":325},246009,"ti-hong-ju-hua-wen-yuan-pan-yi-ming-246009","剔红菊花纹圆盘",[470,316,1107,790,7,318],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b43616ae4825d8153e3d82d064edd5e.jpg",[],{"id":3203,"slug":3204,"title":3191,"dynasty":108,"author":19,"museum":135,"description":3180,"tags":3205,"thumbUrl":3206,"material":320,"size":321,"collection":71,"collections":3207,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":325},246008,"yong-le-kuan-ti-hong-ju-hua-wen-yuan-pan-yi-ming-246008",[470,316,1107,7,318],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a1112ba2c2e9c931cac252131969d6a.jpg",[],{"id":3209,"slug":3210,"title":3211,"dynasty":108,"author":19,"museum":135,"description":1689,"tags":3212,"thumbUrl":3213,"material":320,"size":321,"collection":71,"collections":3214,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":325},245999,"ti-hong-ju-hua-wen-yuan-he-yi-ming-245999","剔红菊花纹圆盒",[316,1107,7,318,470],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F849e6001861ea3c452c85d4c3104955d.jpg",[],{"id":3216,"slug":3217,"title":3218,"dynasty":108,"author":19,"museum":135,"description":1689,"tags":3219,"thumbUrl":3220,"material":320,"size":321,"collection":71,"collections":3221,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":325},245996,"yong-le-kuan-ti-hong-ju-hua-wen-yuan-he-yi-ming-245996","永乐款剔红菊花纹圆盒",[316,790,1107,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde9c663b08771dd6e72881fd744f557f.jpg",[],{"id":3223,"slug":3224,"title":3218,"dynasty":108,"author":19,"museum":135,"description":1689,"tags":3225,"thumbUrl":3226,"material":320,"size":321,"collection":71,"collections":3227,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":75},245993,"yong-le-kuan-ti-hong-ju-hua-wen-yuan-he-yi-ming-245993",[470,316,1107,7,318],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68ea47b219752961641d1598d8eaf0eb.jpg",[],{"id":3229,"slug":3230,"title":3231,"dynasty":133,"author":19,"museum":135,"description":3180,"tags":3232,"thumbUrl":3234,"material":320,"size":321,"collection":71,"collections":3235,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":75},245789,"yin-ju-hua-wen-pan-yi-ming-245789","银菊花纹盘",[238,3233,7,790,907],"银器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec2fecb50396b4153df934bf2420147f.jpg",[],{"id":3237,"slug":3238,"title":3239,"dynasty":299,"author":19,"museum":135,"description":719,"tags":3240,"thumbUrl":3241,"material":320,"size":321,"collection":71,"collections":3242,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":325},230716,"an-hua-ju-hua-xiao-ping-yi-ming-230716","暗花菊花小瓶",[315,2186,7,318],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06f209a5b9ef6e04fec9960a4f4d1bbd.jpg",[],{"id":3244,"slug":3245,"title":3246,"dynasty":133,"author":19,"museum":135,"description":3247,"tags":3248,"thumbUrl":3254,"material":320,"size":321,"collection":71,"collections":3255,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":145},229240,"diao-xi-jiao-ju-hua-xiao-yuan-he-guo-he-diao-shi-jiu-mei-yi-ming-229240","雕犀角菊花小圆盒、果核雕十九枚","犀角圆盒取菊花为形，瓣层叠环绕，脉络舒展分明，将犀角的温润质感与秋菊清逸之态相融，浑朴雅致间暗合隐逸高洁的意涵。\n\n十九枚果核雕虽寸厘之微，却尽显匠心。每一枚都摹拟鲜果之态，褶皱肌理分毫毕现，刀工细巧入微，于方寸之间把顽核化作鲜活风物，将造物巧思藏纳其中，以小见大，尽显清代微雕工艺的绝妙造诣，是材质之美与工艺之精相融的精巧佳作。",[238,790,3249,3250,3251,3252,7,3253,318],"犀角雕","果核雕","犀角","果核","小圆盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dafcb9eaf63819909c2c0bd35486013.jpg",[],1777535699076]