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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。",[148,149,150,28,30,151,152,7,153,154,155,156],"油画","写实","明暗对比","裸体女性","侍女","织物","台阶","地毯","光影运用","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0ed1703eace104f83f36a3a4e2c8618.jpg","未知","Xcm*Xcm","油画精选",[160],142,"37474F",{"id":165,"slug":166,"title":167,"dynasty":18,"author":168,"museum":20,"description":169,"tags":170,"thumbUrl":174,"material":66,"size":175,"collection":68,"collections":176,"showCount":177,"zanCount":11,"manualWeight":47,"mainColor":72},216221,"jin-pu-ming-chun-tu-lu-zhi-216221","锦圃鸣春图","陆治","这幅画描绘了两只孔雀在牡丹园里争奇斗艳，鸟儿在玉兰树上春风得意。这幅画色彩热烈，反映了陆治在山水、花鸟方面的多面性。\n陆治，明代画家，工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，在吴门派画家中具有一定新意，与陈淳并重于世。",[24,25,58,171,27,28,36,7,96,34,35,172,173,95],"立轴","小草","白花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa50c4c81b69ff6eb527a5c62b8b31e46.jpg","纵146厘米，横89厘米",[68],134,{"id":179,"slug":180,"title":181,"dynasty":18,"author":182,"museum":20,"description":183,"tags":184,"thumbUrl":186,"material":66,"size":187,"collection":68,"collections":188,"showCount":189,"zanCount":117,"manualWeight":47,"mainColor":72},222397,"xing-hua-kong-que-tu-lv-ji-222397","杏花孔雀图","吕纪","此画属于吕纪工笔花鸟画的代表作品，右方署款「吕纪」，钤盖「四明吕廷振印」一方。画中描绘一对孔雀在杏花树下栖息的景况。位于画面中央的孔雀单脚伫立于岩石上，回首注视绽放的红色牡丹，另一只孔雀则蜷伏石上，观察地面景况。画中的孔雀、杏花、牡丹等象征着吉祥意味。杏花以白色、粉赭色系颜料敷染，牡丹花及孔雀则使用浓重的赭红色，与石青、石绿的颜料搭配，充满着富贵绮丽的装饰性。",[23,24,25,171,28,27,36,185,7,96,111,59],"杏花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c7b2db4a8d4bb0924c74e8de14dc43d.jpg","纵203.4厘米，横110.6厘米",[68,138],122,{"id":191,"slug":192,"title":193,"dynasty":53,"author":54,"museum":122,"description":123,"tags":194,"thumbUrl":201,"material":113,"size":202,"collection":68,"collections":203,"showCount":204,"zanCount":11,"manualWeight":47,"mainColor":48},223163,"bai-niao-chao-feng-qian-bu-fen-shen-quan-223163","百鸟朝凤（前部分）",[23,24,26,27,28,36,195,64,126,7,59,34,196,96,197,128,35,81,198,199,200],"百鸟","梅花","翠竹","繁花","祥和","四季景色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6000dd4bebda5da888f414ac55bd6c91.jpg","纵40厘米，横1600厘米",[68,138],118,{"id":206,"slug":207,"title":208,"dynasty":144,"author":209,"museum":55,"description":210,"tags":211,"thumbUrl":216,"material":158,"size":159,"collection":43,"collections":217,"showCount":218,"zanCount":11,"manualWeight":47,"mainColor":72},290027,"hua-niao-tu-ping-feng-shou-ye-song-rong-shou-ye-guang-xin-290027","花鸟图屏风","狩野松荣、狩野光信","狩野光信面對新興漢系畫家的競爭，不得不奔走於豐臣家與德川家之間以取得更多委託，並透過狩野長信 (1577-1654) 與德川幕府建立的關係，成為後繼者狩野孝信取得德川家支持參與名古屋城本丸御殿製作的基礎。",[23,24,38,36,27,28,212,96,213,63,214,7,59,215,132,62],"松","芙蓉","鹰","山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F066d6aadc5c3af2e9023ff46f3b095ba.jpg",[],87,{"id":220,"slug":221,"title":222,"dynasty":18,"author":168,"museum":55,"description":223,"tags":224,"thumbUrl":226,"material":158,"size":159,"collection":43,"collections":227,"showCount":228,"zanCount":47,"manualWeight":47,"mainColor":72},283633,"mei-hua-kong-que-tu-li-zhou-lu-zhi-283633","梅花孔雀图立轴","陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因先世由汴徙居吴之包山梅梁里，遂自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[23,58,24,25,171,36,28,27,225,7],"梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F348bcac60141f1be81731be09cbd4419.jpg",[],86,{"id":230,"slug":231,"title":232,"dynasty":233,"author":234,"museum":20,"description":235,"tags":236,"thumbUrl":239,"material":41,"size":240,"collection":241,"collections":242,"showCount":243,"zanCount":11,"manualWeight":47,"mainColor":72},288266,"pi-pa-kong-que-tu-cui-bai-288266","枇杷孔雀图","宋","崔白","不同于崔白其他传世作品，画面富丽堂皇，显示出了崔白对黄筌父子画风的传承，应是其尚未变法以前的作品。画中的主体是一对雄雌孔雀，一只栖立在枇杷树上，一只游憩于花丛之间。两只小鸟立于枇杷树枝头，与画面左侧展翅的绶带鸟相望。背景处一块湖石，中间有细竹、杂花相互掩映。 整幅作品为全景式构图，丰满繁复。禽鸟造型体态雍容，逼真生动，惟妙惟肖。在绘画技法上，禽鸟使用的是典型的勾线设色法，用线遒劲，设色上层层渲染，富丽华美。而对画面背景处的山石、枇杷树干的表达，画家则使用了稍微写意性的笔法进行勾勒，并在此基础上使用了皴染技法表现凹凸质感和阴阳向背。这种对树干与景石的描绘方法，我们似乎可以从中感受到崔白在 《双喜图》中，描绘树干所使用的灵活悠游又不失法度的水墨工写结合技法。",[23,24,25,27,28,36,237,7,59,238,127],"枇杷","奇石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f51404c96f2c60be675e39c78ae54fd.jpg","183.1x109.8","宋画精选",[241],85,{"id":245,"slug":246,"title":247,"dynasty":18,"author":248,"museum":249,"description":250,"tags":251,"thumbUrl":260,"material":261,"size":43,"collection":138,"collections":262,"showCount":263,"zanCount":11,"manualWeight":47,"mainColor":163},220336,"kong-que-ming-wang-yi-ming-220336","孔雀明王","佚名","日本东京国立博物馆","主尊身色莹白慈悲，六臂分持莲华、鲜果、摩尼宝珠与孔雀翎，怀捧宝瓶，璎珞衣饰以金彩勾勒，尽显华贵庄严。乘骑孔雀羽翼丰美晕染细腻，翎羽层次分明，神姿昂然。背景以深褐为底，孔雀开屏式圆光环伺主尊，眼纹环饰精巧神秘。整体设色沉厚古雅，工笔细密入微，衣袂织物的柔润光泽与造像的神圣感融为一体，在静谧肃穆的氛围里，传递出密宗造像护国息灾的神圣力量，是极具代表性的佛绘精品。",[23,24,27,28,171,252,30,7,253,254,255,256,257,258,259,127],"宗教","鸟","莲花","多臂人物","重彩","装饰图案","佛教题材","动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe61e91b9aaf3f5abd9e79c97669b37e.jpg","设色,绢本",[138],84,{"id":265,"slug":266,"title":267,"dynasty":18,"author":268,"museum":269,"description":270,"tags":271,"thumbUrl":275,"material":276,"size":277,"collection":68,"collections":278,"showCount":280,"zanCount":47,"manualWeight":47,"mainColor":281},222444,"kong-que-tu-zhou-lin-liang-222444","孔雀图轴","林良","北京故宫博物院","图绘雌雄孔雀一双，立于石上，旁有修竹数竿。\n孔雀是自然界鸟类中羽毛色彩最为绚丽的一种，是生活在南方的禽鸟，古代在北方除去皇宫御苑几乎无人能够豢养，寻常百姓更是无缘得见，因此这一题材本身即透露出宫廷气息。\n与众多以工笔重彩表现孔雀的作品相比，林良此作纯用水墨，用笔粗简，仅在孔雀的头颈和尾羽处作精致的勾勒，充分发挥了“墨分五色”的丰富变化，使黑白的水墨也产生出缤纷绚丽的夺目效果。伴以竹石为背景，愈增添了清雅野逸的意趣。",[23,24,25,171,272,273,36,7,274,61],"水墨","写意","竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec841a14c5d417972a86639dc89581e2.jpg","绢本，墨笔","纵155.3厘米，横78厘米",[68,279],"水墨画精选",74,"F48FB1",{"id":283,"slug":284,"title":285,"dynasty":18,"author":248,"museum":55,"description":286,"tags":287,"thumbUrl":292,"material":43,"size":43,"collection":43,"collections":293,"showCount":294,"zanCount":11,"manualWeight":47,"mainColor":72},232909,"fang-xu-xi-hua-niao-tu-juan-yi-ming-232909","仿徐熙花鸟图卷","徐熙，鍾陵（今進賢西北）人，生卒年不詳，出身世家，「世為江南顯族」。但一生沒有出仕做官，因此後世稱他為「江南布衣」或「南唐處士」。他的藝術成就，集中體現在不同凡響的落墨花鳥畫創作方面。在當時，這種畫的畫法不同於一般傳統的技法，而是大膽創新。它的出現，曾引發了一些遵從傳統技法的畫家的震驚和敵視。\n中國花鳥畫成為獨立的藝術，比人物畫、山水畫稍晚，唐代雖然出現了不少名家，但直到五代南唐徐熙和西蜀黃荃兩家的出現，花鳥畫壇才放出了異彩。\n徐熙、黃荃都是中國繪畫史上影響深遠的大畫家，但繪畫風格不同，宋代流行一句話：「黃荃富貴，徐熙野逸」。王安石盛讚徐熙的畫名滿江南，成就卓著。劉道醇的《聖朝名畫評》將徐熙的作品列為「花竹翎毛門」的神品第一名，認為他「與造化之功不甚遠，宜乎為天下冠也」。\n眼光獨特的北宋書畫大家米芾認為徐熙的畫法富於變化，不為常規所有，用普通的追求形色相似的臨摹方法無法描摹、激賞其藝術上的獨創價值。\n徐熙是一位多產的畫家，宋《宣和畫譜》所載藏於御府的畫目中，徐熙的畫有249種。流傳於世間的重要作品有《寒蘆野鴨》《花竹雜禽》《魚蟹草蟲》《雪竹圖》《百鳥圖卷》等，因其開創了中國寫意花鳥畫的先河，時稱「江南花鳥，始於徐家」。",[23,24,25,26,28,27,288,289,36,59,7,63,34,35,62,290,125,291],"临摹","书法","日","鸟类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90011eff47e64f1294d5d515d140a732.jpg",[],73,{"id":296,"slug":297,"title":298,"dynasty":18,"author":168,"museum":55,"description":299,"tags":300,"thumbUrl":301,"material":43,"size":43,"collection":43,"collections":302,"showCount":46,"zanCount":47,"manualWeight":47,"mainColor":72},228465,"kong-que-mei-hua-tu-zhou-lu-zhi-228465","孔雀梅花图轴","虬曲老梅横斜错落，红白两色梅花次第绽放在柔枝之上，冷艳娇柔间衬出古木苍劲朴拙。两只孔雀栖于枝头，一仰一顾，翠色绒羽晕染细腻，眼状翎斑层叠分明，华贵翎羽舒展下垂，姿态悠然又灵动传神，尽显瑞禽雍容气度。\n\n画作兼工带写，以工笔精绘孔雀肌理，写意铺陈梅枝古态，冷暖色调交融和谐，将春日生机与祥瑞意趣藏于笔墨之间，暗合咏颂长寿的美好寄寓，是兼具雅致文心与吉祥意涵的精妙之作。",[23,24,25,171,27,28,36,7,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41e3d407997aaad3691b913985c7aa58.jpg",[],{"id":304,"slug":305,"title":306,"dynasty":233,"author":234,"museum":55,"description":307,"tags":308,"thumbUrl":309,"material":158,"size":159,"collection":43,"collections":310,"showCount":311,"zanCount":47,"manualWeight":47,"mainColor":72},287586,"hua-pi-pa-kong-que-cui-bai-287586","画枇杷孔雀","崔白（1004-1088），字子西，濠州（今安徽凤阳）人，北宋画家。崔白是开始发挥写生精神的画家，其无前人的画稿可临摹或参考，但其依靠超越前人的观察研究及描绘能力，探索花木鸟兽的生意，摆脱花鸟属装饰图案的遗影，开创新的发展方向。其擅花竹、翎毛，亦长于佛道壁画，画佛道鬼神、山水、人物亦精妙绝伦，尤长于写生。所画鹅、蝉、雀堪称三绝，手法细致，形象真实，生动传神，富于逸情野趣。一改百余年墨守成规的花鸟画风（指“黄筌画派”），成为北宋画坛的革新主将，数百年来颇受画坛尊崇。",[24,58,36,27,28,7,237,127,238,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe485ccbcaf466a1e71621d56277378c3.jpg",[],57,{"id":313,"slug":314,"title":315,"dynasty":53,"author":316,"museum":269,"description":317,"tags":318,"thumbUrl":320,"material":321,"size":322,"collection":68,"collections":323,"showCount":311,"zanCount":47,"manualWeight":47,"mainColor":48},219287,"kong-que-zhou-ren-yi-219287","孔雀轴","任颐","画面中孔雀立于青石之上，尾羽如蓬松绒团，墨色浓淡交织，点染出斑驳肌理，尽显灵动质感。头部蓝黄相映，羽色深邃，与周遭青绿山石、墨叶白花形成鲜明对比。笔触兼工带写，既有细节的精雕细琢，又不失写意的挥洒自如，将孔雀的优雅姿态与生机活力跃然纸上。背景枝叶疏朗，留白恰到好处，营造出静谧悠远的意境，尽显海派绘画的独特韵味。",[23,24,171,28,36,7,35,319],"枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F948fcbaece7b248ae62839937ea9b160.jpg","纸本,设色","183.5x37.5cm",[68],{"id":325,"slug":326,"title":327,"dynasty":18,"author":328,"museum":55,"description":329,"tags":330,"thumbUrl":331,"material":158,"size":159,"collection":43,"collections":332,"showCount":333,"zanCount":47,"manualWeight":47,"mainColor":163},287647,"kong-que-tu-zhou-gao-qing-ju-bu-lu-zhao-yang-287647","孔雀图轴-高清局部","卢朝阳","字遇之，又字应时，号慎斋，山西太原府河曲县人，军籍，明朝政治人物。",[23,24,36,171,28,225,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4982b2abe9dcc22adbc2324d5492b51a.jpg",[],56,{"id":335,"slug":336,"title":337,"dynasty":338,"author":339,"museum":55,"description":340,"tags":341,"thumbUrl":343,"material":158,"size":159,"collection":43,"collections":344,"showCount":345,"zanCount":11,"manualWeight":47,"mainColor":72},288918,"kong-que-fu-rong-tu-bian-lu-288918","孔雀芙蓉图","元","边鲁","边鲁（生卒年不详），字至愚，号鲁生，约活动于元代中期，自称魏郡（今河南安阳）人，官至南台宣使。善画墨笔花鸟竹石，工书古文奇字，造诣颇深。",[58,24,342,28,27,213,7,59,111],"花鸟画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa91e5a478b65d0856aa6f536c4f43031.jpg",[],50,{"id":347,"slug":348,"title":349,"dynasty":18,"author":328,"museum":350,"description":351,"tags":352,"thumbUrl":364,"material":353,"size":365,"collection":43,"collections":366,"showCount":367,"zanCount":11,"manualWeight":47,"mainColor":72},231591,"kong-que-tu-lu-zhao-yang-231591","孔雀图","印第安纳波利斯艺术博物馆","这幅画描绘了一对生活在牡丹丛中巨石上的孔雀，以及杏花丛中的一对蓝丝带。 卢朝阳代代相传的作品很少。 这个有边景昭，吕纪风致，可以看出他学来的渊源。",[23,24,28,27,36,7,96,196,59,35,127,95,353,354,355,356,357,99,358,359,98,360,361,362,363],"绢本","翎毛","花卉禽鸟","传统绘画","工笔重彩","花木","枝干","羽毛","苔点","晕染","勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee51507f3008fc01a7b7141c72840283.jpg","281x119厘米",[],48,{"id":369,"slug":370,"title":371,"dynasty":53,"author":248,"museum":372,"description":373,"tags":374,"thumbUrl":377,"material":378,"size":379,"collection":43,"collections":380,"showCount":381,"zanCount":47,"manualWeight":47,"mainColor":72},223579,"yu-lan-kong-que-tu-yi-ming-223579","玉兰孔雀图","美国大都会艺术博物馆","两只彩绘蓝羽孔雀，其中三只比湖石还多，宽大的尾巴在湖中显得更加美丽动人，有一点点蓝色像宝石一样立在上面，另一只藏在边石里 兰花，只有头； 浅玉晶莹剔透，争奇斗艳。 风格：甲午春日、法式铁桥笔、南苹果神拳。",[23,24,27,28,36,7,110,96,375,376],"石头","树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4e016bbc82fb27fdb86c5d508ffaae3.jpg","纸本","34.98X60",[],44,{"id":383,"slug":384,"title":385,"dynasty":53,"author":248,"museum":55,"description":386,"tags":387,"thumbUrl":388,"material":43,"size":43,"collection":138,"collections":389,"showCount":390,"zanCount":47,"manualWeight":47,"mainColor":72},239527,"qian-long-guan-kong-que-kai-ping-tie-luo-yi-ming-239527","乾隆观孔雀开屏贴落","《乾隆观孔雀开屏贴落》是清代佚名创作的绢本设色画。\n这是一幅表现乾隆皇帝宫廷生活的巨幅作品，曾张贴于圆明园某殿内。\n图中乾隆端坐在亭台之上，闲适地观赏庭院中一对美丽的孔雀。\n此画虽无作者款识，但从技法和水平分析，人物肖像、两只孔雀和建筑的主要部分应出自郎世宁之手。\n其中楼阁的描绘无论前后、远近，大小的比例关系均适当，将西洋绘画的透视原则把握得恰到好处，具有强烈的空间感和纵深层次。\n由于篇幅宏大，描绘真实，使人有身临其境之感。\n正是由于郎世宁等西洋传教士画师的到来，使中国传统的楼阁画发生了变化，最终促使清代宫廷建筑绘画“中西合璧”的画风形成。",[58,24,25,27,28,29,32,30,7,35,34,33,81,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14b7e348cc7f93d2fc0fa76bd64ebef5.jpg",[138],42,{"id":392,"slug":393,"title":394,"dynasty":18,"author":268,"museum":55,"description":395,"tags":396,"thumbUrl":398,"material":43,"size":43,"collection":43,"collections":399,"showCount":400,"zanCount":117,"manualWeight":47,"mainColor":72},228487,"kong-que-shuang-qi-tu-lin-liang-228487","孔雀双栖图","以水墨晕染禽鸟神姿，雄雀身姿舒展，尾羽以浓淡墨色递变，将翎羽华美的肌理尽皆铺展，纤毫毕现又不失写意疏朗。雌雀静立石台，憨态温婉，一动一静，恰似郊林里的闲趣日常。\n\n背景竹枝以阔笔挥就，竹叶苍劲有锋芒，枯石野草信笔点染，野逸之态尽显。整幅以墨代彩，摒弃敷色浓艳，依托干湿浓淡的层次变化，将院体花鸟的精致法度与文人写意的随性相融，勾勒出清寂悠然的林间一隅，尽显水墨花鸟的雅致意趣。",[23,24,272,273,171,36,7,274,375,397],"草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e88008dd1be325e91ec4e4e03a5df8e.jpg",[],41,{"id":402,"slug":403,"title":267,"dynasty":18,"author":268,"museum":269,"description":270,"tags":404,"thumbUrl":406,"material":276,"size":277,"collection":68,"collections":407,"showCount":408,"zanCount":47,"manualWeight":47,"mainColor":72},238080,"kong-que-tu-zhou-lin-liang-238080",[24,171,95,273,28,36,7,405,132],"竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe590349717b59f807870a3352f8323cd.jpg",[68,138],37,{"id":410,"slug":411,"title":412,"dynasty":144,"author":413,"museum":55,"description":414,"tags":415,"thumbUrl":416,"material":158,"size":159,"collection":43,"collections":417,"showCount":418,"zanCount":47,"manualWeight":47,"mainColor":48},287663,"kong-que-shan-niao-tu-an-dai-287663","孔雀山鸟图","岸岱","江户时代甲在画家的后半部分江户时期，天生的长子岸科马，他继承和发展了它作为第二代的岸信介派，清水，Dokokan等。",[23,24,36,27,28,7,59,132,127,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56bf50ebc0c55ab4ee3830b455709460.jpg",[],32,{"id":420,"slug":421,"title":422,"dynasty":53,"author":248,"museum":55,"description":423,"tags":424,"thumbUrl":431,"material":158,"size":159,"collection":43,"collections":432,"showCount":433,"zanCount":47,"manualWeight":47,"mainColor":48},267096,"lan-se-duan-da-zi-xiu-jin-bian-kong-que-wen-hu-lu-shi-he-bao-yi-ming-267096","蓝色缎打籽绣金边孔雀纹葫芦式荷包","荷包是中国汉族传统服饰中，人们所随身佩带的一种装零星物品的小包，后发展为爱情信物，荷包的图案有繁有简，花卉、鸟、兽、草虫、山水、人物以及吉祥语、诗词文字都有，装饰意味很浓。\n在民间荷包中，占相当比重的是香包，香包里装有香草之类的药品，包面上绣制着“五毒”，即蝎子、蛇、蜈蚣、壁虎和蟾蜍，它原是五月端午的节令物品，为了防止各种毒虫猖獗，侵害人体，人们相互馈赠，挂在衣襟或帐勾上，以避除“五毒”。就形状来看，有虎形的、鸡形的、如意形的、寿桃形的、蝙蝠形的，以取意于福、禄、寿、喜、吉祥、如意等。富有深厚民族心理基础的绣荷包，在民间文化中，显示着旺盛的生命力。",[425,426,427,7,428,429,430],"饰品","布料","打籽绣","葫芦形","金边","荷包","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcefb5b0d1e2d81f88626dd7496f76290.jpg",[],29,{"id":435,"slug":436,"title":437,"dynasty":18,"author":248,"museum":55,"description":438,"tags":439,"thumbUrl":441,"material":158,"size":159,"collection":43,"collections":442,"showCount":443,"zanCount":47,"manualWeight":47,"mainColor":72},288388,"shi-ba-xue-shi-tu-qi-san-yi-ming-288388","十八学士图其三","明人十八学士图，现藏台湾故宫博物院。为唐太宗时期十八学士故事类题材的衍变图式。此组《明人十八学士图》四幅连作，画中人燕居寄兴于琴棋书画，展现出文士“四艺合一”的艺术修养与高雅志趣。画家为雅集盛事，铺陈苑囿景致。挺拔高大的松、柳、梧、槐掩映，汉白石、斑竹栏杆曲护；文士悠闲从事着燃香、棋奕、展书、观画等赏玩活动。全画工笔重彩，人物面貌端严，姿态各具，尊卑主次分明，衣纹采用细劲流畅的“钉头鼠尾”描。庭园内湖石盆景纵横错陈，几榻、桌案、墩椅、画屏、雕漆、瓷铜、文房等日常用物摆设，皆以工整写实技法绘出，显现典型明代宫廷画风格。从画中器具样式，推断其创作年代应在明代中、晚期。",[24,28,27,30,212,96,7,33,440],"雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9e6e20f94213188cadbd79286d2ffaa.jpg",[],28,{"id":445,"slug":446,"title":349,"dynasty":18,"author":268,"museum":55,"description":270,"tags":447,"thumbUrl":448,"material":158,"size":159,"collection":43,"collections":449,"showCount":450,"zanCount":47,"manualWeight":47,"mainColor":72},289790,"kong-que-tu-lin-liang-289790",[23,24,25,36,272,7,274,171,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4ffc8613f2726605d66c988810f5793.jpg",[],26,{"id":452,"slug":453,"title":454,"dynasty":233,"author":248,"museum":55,"description":455,"tags":456,"thumbUrl":459,"material":43,"size":43,"collection":43,"collections":460,"showCount":461,"zanCount":47,"manualWeight":47,"mainColor":48},223618,"hong-mei-kong-que-tu-yi-ming-223618","红梅孔雀图","《宋人画红梅孔雀图》是宋代佚名画家创作的花鸟绘画。\n中国古代以 为题材的绘画不多见。\n此图绘溪边春色，以近远景搭配，表现出自然界的勃勃生机。\n正中一树梅花盛开，两侧辅以山茶、古柏、翠竹、迎春。\n孔雀一对，雄者栖于树干，回首梳翎；雌者倘佯岸边，低头觅食。\n其毛羽斑斓，与花树汇成一片绚烂春光。\n此图难能之处在于布局繁密但杂而不乱；设色富丽但艳而不俗。\n梅、柏枝干用焦墨勾皴，苍劲古朴，与周围花卉禽鸟的纤细娇美恰成互补。\n作者当是擅长状写升平景象的画院高手。\n本幅无款识。\n钤鉴藏印“真赏”、“都尉耿信公书画之章”、“公”、“信公珍赏”、“丹诚”、“宜尔子孙”、“珍秘”、“会侯珍藏”、“庞莱臣珍藏宋元真迹”。\n裱边钤鉴藏印“信公监定珍藏”。\n本幅右侧题“ 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material":158,"size":159,"collection":43,"collections":735,"showCount":47,"zanCount":47,"manualWeight":47,"mainColor":48},246010,"ti-hong-kong-que-mu-dan-wen-pan-yi-ming-246010","剔红孔雀牡丹纹盘","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [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。",[95,732,733,540,36,7,96,722],"漆器","剔红","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7efe30b0cce8f3523d463a7420d1323a.jpg",[],1777535708384]