[{"data":1,"prerenderedAt":489},["ShallowReactive",2],{"subject-li-zhi":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},385,"li-zhi","荔枝","荔枝画高清赏析","精选中国历代荔枝题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bf7e81504c8ec49c1b98d6eaf537f9b.jpg",0,47,[14,43,60,83,102,113,125,136,143,151,159,171,182,189,202,209,224,235,247,259,272,285,297,303,313,320,329,339,347,353,361,377,383,390,396,402,408,415,428,441,447,453,459,465,471,477,483],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":34,"material":28,"size":35,"collection":36,"collections":37,"showCount":40,"zanCount":41,"manualWeight":11,"mainColor":42},221468,"ji-xiang-duo-zi-tu-lu-zong-gui-221468","吉祥多子图","宋","鲁宗贵","波士顿美术馆","画面的确描绘了三种水果，彼此簇拥在一起，粗看起来有些凌乱，但仔细分辨后会发现画家布置得井井有条。\n按照前、中、后的顺序，斜向纵深排列开。前排是两只石榴，一只全部展现出来，并且成熟得果皮迸裂，露出饱满鲜红的石榴子，另一只隐藏在后面，露出尖尖的蒂。画面的后排也是一个圆球形的果实，这是橘。在石榴与橘中间，夹着一串颗粒饱满的水果。这是葡萄吗？画中的这串果实，大小虽然与葡萄类似，但颜色为棕黄色，表面有些粗糙。从形状上来看，大部分果实和葡萄一样是圆球形，但还有一些未完全成熟而泛出青色的果实，有尖尖的头。更为有代表性的是叶子。这串水果乃是从枝上新鲜折下，长条形的叶子连在枝上。这绝不是有裂片、像一个宽大鹅掌的葡萄叶。那么这究竟是串什么水果？答案是龙眼。龙眼，我们更习惯的名字是桂圆，在古代是珍稀水果，在现代也价格不菲。\n中国人对它并不陌生，但在欧美国家吃得却很少。可以想见，当初为这幅画确定英文名的人对龙眼十分陌生，所以才会将画中这串圆圆的果实误认作葡萄了。",[23,24,25,26,27,28,29,30,7,31,32,33],"高清","国画","名画","书画","工笔","设色","花鸟","石榴","果实","叶子","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8c09eceb96eb51faf45b369858023ed.jpg","高24厘米，宽25.8厘米","宋画精选",[36,38,39],"花鸟画精选","设色画精选",615,9,"795548",{"id":44,"slug":45,"title":46,"dynasty":18,"author":47,"museum":48,"description":49,"tags":50,"thumbUrl":54,"material":55,"size":56,"collection":38,"collections":57,"showCount":58,"zanCount":59,"manualWeight":11,"mainColor":42},218964,"li-zhi-bai-xian-tu-lin-chun-218964","荔枝白鹇图","林椿","私人收藏","白鹇羽毛质感细腻，墨点顶冠与素白翎毛相映成趣，尾羽舒展如流云，俯身时翅尖微颤，似欲啄取枝间荔枝。荔枝殷红如丹，果皮肌理以细笔勾出，衬着墨绿的叶，浓淡间尽显生趣。枝干虬曲，墨线老劲，与禽鸟的柔媚形成巧妙对比。绢本古雅底色上，设色温润不艳，工笔细描中藏着自然的灵动，仿佛能闻见果熟的甜香，窥见禽鸟的轻啼。整幅画于精微处见真意，是宋人对生命意趣的细腻捕捉，静穆中透着鲜活生机，尽显院体花鸟的雅致与精妙。",[24,26,25,27,28,29,7,51,52,53],"白鹇","鸟","树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b7609305a0e20c4b4fa153525254ded.jpg","绢本,设色","26x26cm",[38],157,2,{"id":61,"slug":62,"title":63,"dynasty":64,"author":65,"museum":66,"description":67,"tags":68,"thumbUrl":75,"material":76,"size":77,"collection":78,"collections":79,"showCount":80,"zanCount":81,"manualWeight":11,"mainColor":82},233766,"li-shi-tu-zhou-shen-zhou-233766","荔柿图轴","明","沈周","北京故宫博物院","本幅墨笔画荔枝，柿子树二枝，上方自题“庚子元旦即兴”诗一首，款“右进作一首侑以荔柿图，奉吾宿田老兄新春一笑，周再拜”钤“启南”朱方印一。右下方收藏印“绍庭审定”等二方。\n沈周（1427—1509年），字启南，号石田，晚号白石翁，长洲（今江苏苏州）人。世代隐居吴门，父亲恒古、伯父贞吉均善画。他早年承受家学，兼师杜琼，后博学宋元诸家，自成一格。一生布衣，优游林下，为人敦厚，笃于友谊，性情随和，胸襟磊落，是吴中众望所归的贤达长者。 绘画上擅长山水、花鸟，尤以山水著称，有粗、细两种面貌。早年主宗王蒙，上追董、巨，以细笔为主；40岁以后博取诸家，着意于黄公望，风格逐渐变粗，形成粗笔风貌；60岁后汲取吴镇画法，笔墨疏简苍劲，格调雄健宏阔。其成熟时期的山水，笔墨上既吸收了宋院体和明浙派的硬度和力感，又保留了元人的含蓄笔致，于苍中带秀，刚中见柔。构图造境方面，无论繁复或简略，都强调山川宏阔之“势”，一改元人空寂之境，又着意于朴实的“质”，于拙中藏巧。他开创了“吴派”画风，与文徵明、唐寅、仇英并称“吴门四家”。",[24,26,69,70,71,29,7,72,73,74,33],"立轴","水墨","写意","柿子","书法","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86746693b29e5f3412b23d5ba1e633a9.jpg","纸本 ，墨笔","纵128cm，横38.4cm","",[],132,1,"BDBDBD",{"id":84,"slug":85,"title":86,"dynasty":18,"author":87,"museum":88,"description":89,"tags":90,"thumbUrl":97,"material":98,"size":99,"collection":78,"collections":100,"showCount":101,"zanCount":59,"manualWeight":11,"mainColor":42},287892,"xie-sheng-ling-mao-tu-zhao-ji-287892","写生翎毛图","赵佶","藏地不详","宋徽宗赵佶（1082年11月2日-1135年6月4日）[6]，号宣和主人，宋朝第八位皇帝（1100年2月23日-1126年1月18日在位），书画家。宋神宗第十一子、宋哲宗之弟。先后被封为遂宁王、端王。哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”，并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[23,25,24,91,28,27,29,92,93,7,94,95,96],"长卷","飞鸟","蝴蝶","花卉","枝叶","翎毛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F991c70342fcdd1f954ce69e99322aad5.jpg","未知","Xcm*Xcm",[],120,{"id":103,"slug":104,"title":105,"dynasty":18,"author":106,"museum":88,"description":107,"tags":108,"thumbUrl":110,"material":98,"size":99,"collection":78,"collections":111,"showCount":112,"zanCount":81,"manualWeight":11,"mainColor":42},288935,"li-zhi-tu-yi-ming-288935","荔枝图","佚名","此作以折枝构图排布画面，疏密错落间尽显雅致意趣。画师以精工笔法晕染荔枝，半熟的青白带晕红，熟透的赤艳饱满，将果皮的粗糙肌理摹写入微，鲜活仿若可触。墨色枝叶层次分明，浓墨勾出叶骨，淡墨晕染叶背，阴阳向背间尽显叶片舒展的柔劲生机，浅褐色枝桠苍劲柔韧，托举累累果实。右上角隐见小飞虫，更添幽微野趣。整幅设色古雅沉静，写实入微，尽显观察万物的细腻匠心，将盛夏枝头鲜活的荔枝风物定格于绢素之上，藏着雅致生动的清赏意趣。",[23,24,25,26,109,27,28,29,7],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60ae796b39da5fcbccf537b826cdca33.jpg",[],86,{"id":114,"slug":115,"title":116,"dynasty":117,"author":118,"museum":88,"description":119,"tags":120,"thumbUrl":122,"material":98,"size":99,"collection":78,"collections":123,"showCount":124,"zanCount":11,"manualWeight":11,"mainColor":82},236379,"li-zhi-tu-shan-ye-wu-chang-shuo-236379","荔枝图扇页","清","吴昌硕","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,26,109,28,70,74,33,29,7,32,121],"枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4049316925f6e1ce520b3918ad37dd08.jpg",[],68,{"id":126,"slug":127,"title":128,"dynasty":18,"author":106,"museum":129,"description":130,"tags":131,"thumbUrl":132,"material":55,"size":133,"collection":38,"collections":134,"showCount":135,"zanCount":59,"manualWeight":11,"mainColor":42},218952,"li-zhi-bo-zhao-guo-tu-yi-ming-218952","离支伯赵国图","台北故宫博物院","画面上用重笔画了一枝荔枝，荔枝的果实因其红皮而令人垂涎。两只小鸟站在树枝上，笔触细腻，色彩漂亮，是一件具有强烈象征意义的伟大艺术品。",[23,25,24,26,27,28,29,7,92,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60fa47a9909e1d2b25e8f1a85cce8e17.jpg","25.5x24.8cm",[38],64,{"id":137,"slug":138,"title":86,"dynasty":18,"author":87,"museum":88,"description":89,"tags":139,"thumbUrl":140,"material":98,"size":99,"collection":78,"collections":141,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":42},288117,"xie-sheng-ling-mao-tu-zhao-ji-288117",[23,25,24,91,27,28,29,92,93,7,94,73,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa279f39fe2fa81aa6da60077492747c2.jpg",[],55,{"id":144,"slug":145,"title":146,"dynasty":18,"author":87,"museum":88,"description":89,"tags":147,"thumbUrl":148,"material":98,"size":99,"collection":78,"collections":149,"showCount":150,"zanCount":11,"manualWeight":11,"mainColor":42},287889,"hong-li-shan-qin-tu-zhao-ji-287889","红荔山禽图",[25,24,26,109,28,27,29,7,92,73,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F499471b14708a88846e258b8065c8c2e.jpg",[],51,{"id":152,"slug":153,"title":154,"dynasty":18,"author":87,"museum":88,"description":89,"tags":155,"thumbUrl":156,"material":98,"size":99,"collection":78,"collections":157,"showCount":158,"zanCount":11,"manualWeight":11,"mainColor":42},287890,"zi-li-shan-qin-tu-zhao-ji-287890","紫荔山禽图",[24,109,25,26,27,28,29,7,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe470cd29f5ac84389785a1d6adc8e420.jpg",[],39,{"id":160,"slug":161,"title":162,"dynasty":64,"author":65,"museum":163,"description":164,"tags":165,"thumbUrl":167,"material":168,"size":78,"collection":78,"collections":169,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":82},214918,"mo-hua-ce-8-shen-zhou-214918","墨花册-8","印第安纳波利斯艺术博物馆","沈周是一位著名的明朝画家，他的作品《墨花册》是一本插图本，其中包含了许多令人惊叹的墨花图案。《墨花册》是沈周的代表作之一，因其精美的图案和精湛的插画技巧而广受赞誉。在《墨花册》中，沈周用黑墨和水彩画描绘了许多精美的墨花图案，包括花卉、鸟类、动物和人物等。沈周的作品充满了生机和活力，他的绘画技巧非常出色，深受人们的喜爱。",[23,24,70,29,7,95,166,71],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b4dafcaa7ff5923881cdc17d910b6f9.jpg","纸本,水墨",[],36,{"id":172,"slug":173,"title":174,"dynasty":64,"author":106,"museum":88,"description":175,"tags":176,"thumbUrl":179,"material":78,"size":78,"collection":78,"collections":180,"showCount":181,"zanCount":81,"manualWeight":11,"mainColor":42},228811,"li-shu-tu-yi-ming-228811","荔鼠图","此作以工笔出之，褐绢为底，将白鼠偷食荔枝的闲趣小景描摹入微。白鼠通身莹白蓬松，毫发毕现，垂首啮果时神态专注娇憨，灵动鲜活。荔枝丹红饱满，果纹凸起写实如生，浓绿叶片阴阳向背层次分明，虬曲枝桠苍劲舒展，尽显南国佳果鲜活意趣。右上角朱印古雅，为画面晕染出金石气韵。设色明丽和谐，精工中带着松弛生机，既有院体画的细腻写实，又暗合数子多福的世俗吉意，把日常琐细绘得意趣悠长。",[23,25,24,26,27,28,29,177,178,7,32,33],"兽","鼠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54d85ef4870573bfff3e3eb899193a5a.jpg",[],29,{"id":183,"slug":184,"title":146,"dynasty":18,"author":87,"museum":88,"description":89,"tags":185,"thumbUrl":186,"material":98,"size":99,"collection":78,"collections":187,"showCount":188,"zanCount":11,"manualWeight":11,"mainColor":42},288845,"hong-li-shan-qin-tu-zhao-ji-288845",[109,24,25,26,27,28,29,7,92,73,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff88bee85ec2be77326c2b843e039b579.jpg",[],24,{"id":190,"slug":191,"title":192,"dynasty":64,"author":193,"museum":66,"description":194,"tags":195,"thumbUrl":198,"material":199,"size":200,"collection":78,"collections":201,"showCount":188,"zanCount":11,"manualWeight":11,"mainColor":82},233830,"san-shu-tu-juan-zhu-zhan-ji-233830","三鼠图卷","朱瞻基","该画卷由三件画作组成，分别为：苦瓜鼠图（纸本墨笔）、菖蒲鼠荔图（绢本设色）、食荔图。卷末有明宪宗朱见深御制题跋。此卷现藏于北京故宫博物院，钤明末宋荦、清乾隆、嘉庆、宣统等藏印。\n虽然同为一卷画，但《苦瓜鼠图》与《菖蒲鼠荔图》《食荔图》的风格有很大的不同。《苦瓜鼠图》用笔爽朗，逸笔草草，与朱瞻基《武侯高卧图卷》（北京故宫博物院藏）中的墨竹、丛草以及《松云荷雀图卷》中的荷叶、兰草和寿石的笔法一致。而《菖蒲鼠荔图》和《食荔图》则工整秀逸，笔法精到。画中老鼠偷食苦瓜及红荔饶有趣味，前者将并不为人待见的老鼠的憨态与顽皮神态鲜活地表现出来，正如韩昂在《图绘宝鉴续纂》中评朱瞻基画艺所说：“万几之暇，留神词翰，于图画之作，随意所至，尤极精妙” ；后者所写 “荔枝” 有语带双关之意，“红荔” 与 “红利” 谐音，而 “荔枝” 又有 “一本万利” 之义，故老鼠啃食荔枝，具有吉祥寓意，其画中的内涵，已然超越了画作本身。",[24,26,91,27,28,178,7,196,32,197,33],"葡萄","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb37524d5d18f707fb2aabe2b8bb52ec5.jpg","纸本墨笔、绢本设色","纵28.2，横 38.5 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一股“我闺女棒棒哒”的自豪溢出来了～\n蒋淑（生卒年不详），清代杰出女性画家，从其画作上判断她大致生活于清康熙至雍正年间，字又文，江苏常熟人。蒋廷锡女，华亭王敬妻。其父蒋廷锡官至大学士，闲暇之余以逸笔作写生花卉，机趣天然。蒋淑自幼秉承家教，亦以擅绘花鸟著称。",[24,26,166,231,27,70,29,7,95],"临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdba41c21bb48650a1864db47783c6311.jpg",[],12,{"id":236,"slug":237,"title":238,"dynasty":117,"author":239,"museum":88,"description":240,"tags":241,"thumbUrl":244,"material":78,"size":78,"collection":78,"collections":245,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":82},224321,"hua-niao-shi-er-kai-10-li-shan-224321","花鸟十二开10","李鱓","画面书画合璧，意韵悠长。以没骨法写就江南佳果，青蜜桃圆润饱满，淡青敷色晕出带紫的熟韵，叶片舒卷含露，鲜活如生；枇杷圆实浅赭，尽显甜熟质感；杨梅黑紫莹润，衬以青灰长叶，野趣盎然。\n\n题跋行书清雅隽秀，叙南北果品风味，笔墨与风物相融，淡墨轻彩间，将文人闲赏风物的恬然心境藏于尺幅之中，设色柔和雅致，晕染细腻自然，把佳果鲜嫩鲜活的情态刻画入微，尽显小品写意的清雅意致。",[23,24,26,166,28,71,73,33,29,242,243,7,32,31],"桃子","枇杷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febb1d64a5729b47a3279498396e83838.jpg",[],10,{"id":248,"slug":249,"title":250,"dynasty":117,"author":106,"museum":88,"description":251,"tags":252,"thumbUrl":257,"material":98,"size":99,"collection":78,"collections":258,"showCount":41,"zanCount":81,"manualWeight":11,"mainColor":42},229228,"yu-li-zhi-bi-yan-hu-yi-ming-229228","玉荔枝鼻烟壶","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。",[253,254,255,256,7],"清代","玉石","雕刻","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fa056a9fcd2e1c6a13499f573386f4c.jpg",[],{"id":260,"slug":261,"title":262,"dynasty":117,"author":106,"museum":88,"description":263,"tags":264,"thumbUrl":269,"material":98,"size":99,"collection":78,"collections":270,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":82},261281,"cheng-hua-kuan-dou-cai-pu-tao-li-zhi-wen-bei-yi-ming-261281","成化款斗彩葡萄荔枝纹杯","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。",[265,266,196,7,267,268],"陶瓷","斗彩","日用具","饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff937f31c7d7b34f95b3c2af5a34260e2.jpg",[],7,{"id":273,"slug":274,"title":275,"dynasty":117,"author":106,"museum":88,"description":276,"tags":277,"thumbUrl":282,"material":98,"size":99,"collection":78,"collections":283,"showCount":284,"zanCount":11,"manualWeight":11,"mainColor":42},247784,"dui-cai-li-zhi-wen-he-yi-ming-247784","堆彩荔枝纹盒","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",[117,278,255,7,32,279,280,281],"堆彩","漆器","盒","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34c555246306640f565455f5a4e97df5.jpg",[],6,{"id":286,"slug":287,"title":288,"dynasty":64,"author":106,"museum":88,"description":289,"tags":290,"thumbUrl":293,"material":98,"size":99,"collection":78,"collections":294,"showCount":295,"zanCount":11,"manualWeight":11,"mainColor":296},250299,"bai-yu-lou-diao-li-zhi-pei-yi-ming-250299","白玉镂雕荔枝佩","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。",[254,291,7,292],"镂雕","饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0eb450a6534f88ede09cb38fe003c897.jpg",[],5,"37474F",{"id":298,"slug":299,"title":275,"dynasty":117,"author":106,"museum":88,"description":276,"tags":300,"thumbUrl":301,"material":98,"size":99,"collection":78,"collections":302,"showCount":295,"zanCount":81,"manualWeight":11,"mainColor":82},247854,"dui-cai-li-zhi-wen-he-yi-ming-247854",[253,278,255,7,256,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcadab4e49827772c9fe03dcadd3bfeff.jpg",[],{"id":304,"slug":305,"title":306,"dynasty":117,"author":106,"museum":88,"description":307,"tags":308,"thumbUrl":310,"material":98,"size":99,"collection":78,"collections":311,"showCount":312,"zanCount":11,"manualWeight":11,"mainColor":296},252676,"mi-la-li-zhi-wen-xi-yi-ming-252676","蜜蜡荔枝纹洗","取凝润红蜜蜡为材，以圆雕、透雕相糅，将荔枝簇生之态尽揽其中。枝叶缠绕错落，与饱满果实相互依偎，仿生写实，鲜活灵动。器身阴刻锦地纹饰填色点缀，细腻勾勒出荔枝肌理，将果实的饱满莹润尽显无遗。作为文房水洗，兼具清供雅致与实用之能，又借荔枝谐音暗含吉利、励志的美好寓意，是清代文玩工艺中写实精巧、意趣兼备的上乘之作。",[253,309,255,7,256],"蜜蜡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a73da2716883b5e9bbb989e746903c6.jpg",[],3,{"id":314,"slug":315,"title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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。",[117,265,434,367,28,435,436,437,370,7,438],"描金","朱红地","果盘","柑橘","高足器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeec6131142abd89938f4b64a6428f10.jpg",[],{"id":442,"slug":443,"title":275,"dynasty":117,"author":106,"museum":88,"description":276,"tags":444,"thumbUrl":445,"material":98,"size":99,"collection":78,"collections":446,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":82},247814,"dui-cai-li-zhi-wen-he-yi-ming-247814",[278,255,28,7,279,256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ba0e52e3efcda0f5fc36808be74e436.jpg",[],{"id":448,"slug":449,"title":275,"dynasty":117,"author":106,"museum":88,"description":276,"tags":450,"thumbUrl":451,"material":98,"size":99,"collection":78,"collections":452,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":42},247803,"dui-cai-li-zhi-wen-he-yi-ming-247803",[253,278,255,279,7,32,256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71a3c4ce27d5a146de731619a18b0352.jpg",[],{"id":454,"slug":455,"title":275,"dynasty":117,"author":106,"museum":88,"description":276,"tags":456,"thumbUrl":457,"material":98,"size":99,"collection":78,"collections":458,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":42},247786,"dui-cai-li-zhi-wen-he-yi-ming-247786",[253,278,28,255,7,32,280,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d703b377bb197eadaea8206b78f3c51.jpg",[],{"id":460,"slug":461,"title":275,"dynasty":117,"author":106,"museum":88,"description":276,"tags":462,"thumbUrl":463,"material":98,"size":99,"collection":78,"collections":464,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":42},247785,"dui-cai-li-zhi-wen-he-yi-ming-247785",[253,278,255,28,7,32,256,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb9459410f196dde79223a42c45fb9b2.jpg",[],{"id":466,"slug":467,"title":275,"dynasty":117,"author":106,"museum":88,"description":276,"tags":468,"thumbUrl":469,"material":98,"size":99,"collection":78,"collections":470,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":42},247770,"dui-cai-li-zhi-wen-he-yi-ming-247770",[253,278,255,279,7,32,280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6256238937394e302615bb9406a7a630.jpg",[],{"id":472,"slug":473,"title":275,"dynasty":117,"author":106,"museum":88,"description":276,"tags":474,"thumbUrl":475,"material":98,"size":99,"collection":78,"collections":476,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":42},247731,"dui-cai-li-zhi-wen-he-yi-ming-247731",[253,278,255,279,7,32,256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2235c301933ca50bb6226582706e73f1.jpg",[],{"id":478,"slug":479,"title":411,"dynasty":117,"author":106,"museum":88,"description":276,"tags":480,"thumbUrl":481,"material":98,"size":99,"collection":78,"collections":482,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":82},247368,"ti-hong-li-zhi-wen-bian-yuan-he-yi-ming-247368",[253,279,326,255,7,256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c035ecbfae5101ad8d1a51ef3f6b700.jpg",[],{"id":484,"slug":485,"title":411,"dynasty":117,"author":106,"museum":88,"description":276,"tags":486,"thumbUrl":487,"material":98,"size":99,"collection":78,"collections":488,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":82},247363,"ti-hong-li-zhi-wen-bian-yuan-he-yi-ming-247363",[253,279,326,255,7,256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F217e7a77a571c8f1c4c8404b74e40e0c.jpg",[],1777535709945]