[{"data":1,"prerenderedAt":617},["ShallowReactive",2],{"subject-lian-peng":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},544,"lian-peng","莲蓬","莲蓬画高清赏析","精选中国历代莲蓬题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5db3f605402888b1a5979b38bdcd5eb9.jpg",0,48,[14,41,64,78,93,108,134,153,166,180,202,223,240,253,263,279,295,306,317,328,339,350,363,372,386,399,413,423,435,451,461,473,481,492,504,514,525,532,541,553,560,566,573,579,585,591,601,608],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":33,"material":34,"size":35,"collection":36,"collections":37,"showCount":38,"zanCount":39,"manualWeight":11,"mainColor":40},223241,"he-hua-tu-wu-ying-zhen-223241","荷花图","清","吴应贞","北京故宫博物院","《荷花图》是一幅表现池塘风和日丽景色的写实画，作者没有刻意地描绘水，而是通过惬意于荷花丛中的鱼儿，将一池清水巧妙地暗示了出来。作者又通过鱼儿若聚若离、或远或近的交错游动，巧妙地扩展了画面的深远空间。画中所绘荷花绰然俏丽，花、叶敷色艳丽而不浓腻，工致的晕染，旨在追求花、叶含水带露的润泽、鲜灵与生动，清逸秀爽的笔墨则写出了“出淤泥而不染”的荷花品格。",[23,24,25,26,27,28,29,7,30,31,32],"高清","国画","工笔","设色","花鸟","荷花","荷叶","蜜蜂","鱼","花苞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F176f9dbe89816a1b32c18086be591086.jpg","纸本","纵130cm，横58.5cm","",[],1591,18,"BDBDBD",{"id":42,"slug":43,"title":17,"dynasty":44,"author":45,"museum":46,"description":47,"tags":48,"thumbUrl":57,"material":58,"size":59,"collection":60,"collections":61,"showCount":62,"zanCount":63,"manualWeight":11,"mainColor":40},218732,"he-hua-tu-xu-wei-218732","明","徐渭","台北故宫博物院","这幅画的构图简洁明了，布局清新精致。荷叶用滴水不漏的方式画出，而荷花则是寥寥数笔，充满了情感和笔墨的意趣。",[24,49,50,51,52,53,54,55,28,29,56,7],"书画","立轴","水墨","写意","书法","印章","草书","水草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe64b411afff5b620d7387710af664033.jpg","纸本,水墨","141.7x37.2cm","花鸟画精选",[60],1397,13,{"id":65,"slug":66,"title":17,"dynasty":18,"author":67,"museum":68,"description":69,"tags":70,"thumbUrl":74,"material":36,"size":36,"collection":36,"collections":75,"showCount":76,"zanCount":77,"manualWeight":11,"mainColor":40},223629,"he-hua-tu-yi-ming-223629","佚名","藏地不详","此作用笔秀润，设色清妍雅致。粉瓣荷花亭亭舒展，晕染出柔媚鲜活的层次，荷叶或苍绿如盖、或半卷含露，墨色浓淡尽显舒展生机。枯瘦莲蓬擎立，自带幽寂禅意。池中游鱼轻摆尾鳍，黑蜂振翅悬于淡赭素色的虚空，静中藏动，将夏日荷塘的鲜活气意晕开。整幅构图疏朗空灵，以浅淡底色晕出水汽氤氲的朦胧，不见满幅堆砌的繁复，将江南莲塘的清润宁和尽数铺陈，尽显文人画的悠然意趣，把溽暑里的荷塘清韵定格在绢素之上。",[23,71,24,49,50,26,25,27,72,29,7,31,73],"名画","荷","昆虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d474cb4c4b95102723b2afdeb3c667a.jpg",[],572,2,{"id":79,"slug":80,"title":81,"dynasty":18,"author":82,"museum":20,"description":83,"tags":84,"thumbUrl":86,"material":87,"size":88,"collection":60,"collections":89,"showCount":91,"zanCount":92,"manualWeight":11,"mainColor":40},236307,"pu-tang-qiu-yan-zhou-yun-bing-236307","蒲塘秋艳轴","恽冰","荷，是南方最常见的水生植物，以历代文人墨客吟之以诗，形之以画。作者以写实的手法，成功地刻画了蒲塘秋日的丽景：碧水之上萍藻点点，绿荷盈盈。\n荷花在荷叶的衬托下，以含苞、初绽、怒放的三种生命形态展示着自然美。整幅运用仿恽南田笔意的没骨法，萍藻以色彩直接点就，显现出灵秀生动的物性。荷花以粉红色点染花尖，旋即以清水迅速晕开，色阶层次丰富，色调深浅过度自然，真实地展现出花瓣清淡雅丽之美以及荷花“出淤泥而不染，濯清涟而不妖”的内在神韵。\n恽冰，字清於，号浩如，别号兰陵女史，亦署南兰女子；卒年不详，武进（今江苏常州）人。清代乾隆、嘉庆、道光年间深得家传的一位女画家，诸生恽钟隆次女，恽南田族玄孙女。善花果，芊绵蕴藉，用粉精纯，作已辄题小诗，名著吴中。乾隆初，江苏巡抚君继善以恽冰画进呈孝圣太后，乾隆帝题诗嘉奖。",[24,49,50,25,26,27,72,28,29,7,85],"水生植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9622bb894e71ccc81a2bebb607fb57db.jpg","纸本，设色","纵126.41cm 横56.4cm",[60,90],"设色画精选",368,6,{"id":94,"slug":95,"title":96,"dynasty":97,"author":98,"museum":99,"description":100,"tags":101,"thumbUrl":104,"material":36,"size":36,"collection":36,"collections":105,"showCount":106,"zanCount":107,"manualWeight":11,"mainColor":40},220597,"lian-hua-yu-long-fei-qi-bai-shi-220597","莲花与龙飞","民国","齐白石","Indianapolis Museum of Art at Newfields","枯墨勾勒荷茎与水草，苍劲老辣带着风霜质感，赭石晕染残荷，铺展出秋塘的疏淡萧瑟。朱砂点就的红莲，浓艳醒目，在枯寂里绽出鲜活暖意，稚拙圆润的莲蓬，藏着乡野间的朴拙意趣。翅羽轻颤的小虫寥寥数笔便形神兼具，翩然灵动，和沉郁静穆的残荷形成鲜明动静反差。\n\n整幅画以少胜多，大写意笔墨里藏着对自然的细微体察，将秋塘的清寂生机揉合一处，平淡天真间尽是悠然意韵。",[23,24,51,26,52,50,54,28,7,102,29,103],"蜻蜓","花梗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbede3ed88faf28cd4881cd596424cf78.jpg",[],351,5,{"id":109,"slug":110,"title":111,"dynasty":112,"author":113,"museum":46,"description":114,"tags":115,"thumbUrl":130,"material":58,"size":131,"collection":60,"collections":132,"showCount":133,"zanCount":92,"manualWeight":11,"mainColor":40},218756,"xie-sheng-hua-niao-tu-mu-xi-218756","写生花鸟图","宋","牧溪","这是一幅水墨画，画的是各种花卉、果蔬、飞禽走兽，并绘有草、坡、竹、石。用墨精到，造型准确。与北京故宫收藏的宋代百花长卷相比，水墨画更显从容，为元代王瑞雪和明代林良的水墨画打开了大门。",[23,24,49,116,51,117,52,27,118,119,120,72,121,31,122,123,124,125,7,126,127,128,129],"长卷","写生","花卉","蔬果","竹","牡丹","鸟","白菜","萝卜","南瓜","葱","芙蓉","桃花","水仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F319f1d586ad6d8f701799388a3a2ded1.jpg","44.5x1017.1cm",[60],302,{"id":135,"slug":136,"title":137,"dynasty":112,"author":138,"museum":46,"description":139,"tags":140,"thumbUrl":145,"material":146,"size":147,"collection":148,"collections":149,"showCount":151,"zanCount":11,"manualWeight":11,"mainColor":152},221337,"chi-tang-qiu-wan-tu-juan-quan-juan-zhao-ji-221337","池塘秋晚图卷全卷","赵佶","该作品为粉笺本，粉笺新纸时，光洁亮丽，其上尚印有卷草纹图案，是极为珍贵的材质。纸面经过上粉处理，具有不吸水性，乍看之下，笔墨甚为质朴，斑剥古趣。徽宗款识：“天下一人”。",[23,24,49,116,25,141,51,27,142,28,7,143,56,144,53,54],"白描","飞鸟","芦苇","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e4573239b74f372ac19d707d1888ee0.jpg","白纸本","全图33×237.8公分","宋画精选",[148,60,150],"水墨画精选",164,"795548",{"id":154,"slug":155,"title":156,"dynasty":18,"author":157,"museum":46,"description":158,"tags":159,"thumbUrl":162,"material":163,"size":36,"collection":36,"collections":164,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":40},214856,"xie-sheng-ce-8-hua-yan-214856","写生册-8","华嵒","华嵒是一位清代著名画家和艺术家。他的写生册是一本记录他写生草稿的册子，通常包含他对自然和人物的写生绘画。写生册是画家们练习和提高技巧的重要工具，因为它们能够帮助画家观察、捕捉和描绘细节。华嵒的写生册中可能包含了他对山水、花鸟、人物等的写生画作。",[24,49,160,26,25,27,122,7,72,161],"册","竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1f47f6cc86c0d02af35246389a450d2.jpg","纸本,设色",[],159,{"id":167,"slug":168,"title":169,"dynasty":170,"author":171,"museum":68,"description":172,"tags":173,"thumbUrl":176,"material":36,"size":36,"collection":36,"collections":177,"showCount":178,"zanCount":179,"manualWeight":11,"mainColor":40},230477,"hua-niao-tu-ping-ge-shi-bei-zhai-230477","花鸟图屏","不详","葛饰北斋","画面以浅褐素底铺陈秋塘底色，白鹭莹洁似雪，身姿挺秀悠然，羽色晕染细腻柔和，抬首静立间自带安然意态。旁侧枯荷舒展残叶、垂坠莲蓬，笔意简淡尽显清秋萧疏之致。整体构图留白松弛，淡彩晕染出温润雅致的侘寂意趣，将秋塘的清寂禅意藏于笔墨之间，物景相融相生，晕开东方独有的静谧诗意，寥寥勾勒便绘就幽淡闲雅的秋日荷塘意韵，尽显空灵雅致的东方美学意境。",[23,24,49,174,25,26,27,72,175,7,29],"屏","白鹭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22c00298726ea46a856b6cbf562896d1.jpg",[],138,1,{"id":181,"slug":182,"title":183,"dynasty":112,"author":184,"museum":20,"description":185,"tags":186,"thumbUrl":198,"material":34,"size":199,"collection":36,"collections":200,"showCount":201,"zanCount":77,"manualWeight":11,"mainColor":40},231422,"xie-sheng-tu-fa-chang-231422","写生图","法常","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。",[23,24,49,116,51,117,52,27,187,188,189,31,190,191,192,118,121,28,193,120,143,194,195,126,196,29,7,197],"禽鸟","野鸡","麻雀","水果","桃子","石榴","菊花","草","蔬菜","藕","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8c560c5bf16abfce7333669f1d842b1.jpg","纵47.3厘米，横814．1厘米",[],110,{"id":203,"slug":204,"title":205,"dynasty":44,"author":206,"museum":46,"description":207,"tags":208,"thumbUrl":218,"material":219,"size":220,"collection":60,"collections":221,"showCount":222,"zanCount":11,"manualWeight":11,"mainColor":40},222555,"qiu-tang-hua-ya-zhou-chen-chun-222555","秋塘花鸭轴","陈淳","陈淳，1483年生，1544年逝世（另一种说法是1482—1539），长洲（今江苏苏州）人。字道复，后以字行，更字复甫，号白阳，又号白阳山人。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。在绘画史上，陈淳与徐渭并称为“白阳、青藤”， 陈淳的绘画当属文人隽雅一路的，即“白阳”一派画家。\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。\n陈淳中年以后间作山水，技法学米友仁、高克恭，多以江南风景为题材，手法简练，极具文人生活情趣，文徵明曾微笑着说：“吾道复举业师耳，渠书、画自有门径，非吾徒也。”存世作品有《红梨诗画图》《山茶水仙图》《葵石图》《罨画图》等。其子陈括继承父风、擅花卉。\n陈淳绘山水，效法米友仁、高克恭，水墨淋漓，颇得氤氲之气。他的泼墨之功，往往见于画烟云之中。在写意花卉方面，陈淳独得玄门，笔法挥洒自如，富有疏朗轻健的风姿，用墨设色，则如徐沁所谓“浅色淡墨之痕俱化矣！”王世贞在《州续稿》中说：“胜国（元朝）以来，写花卉者无如吾吴郡，而吴郡自沈启南（周）后，无如陈道确，陆叔平（治）”。近代画家如蒲华、吴昌硕、齐白石等，在诗文题书画中，都对陈淳做出了极高的评价。明万历年间即有人曾评价过陈淳在花卉方面的造诣和声誉都超过了文征明，成为继沈周之后的吴门大家。明清以来画家，尤其在花鸟画方面，受他的影响很深。他与徐渭齐名，人称“青藤白阳”。现存的陈淳作品大部分均在博物馆收藏，民间甚少得见。",[23,24,50,51,26,52,27,28,7,209,56,143,210,211,187,118,212,213,214,215,216,217],"鸭子","明代","秋景","植物","淡彩","文人画","写意花鸟","水墨设色","明代绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57ed2c1673a772976ff5fcf779defb76.jpg","纸本设色","90.8x36.2厘米",[60,90],95,{"id":224,"slug":225,"title":226,"dynasty":18,"author":227,"museum":228,"description":229,"tags":230,"thumbUrl":234,"material":235,"size":236,"collection":36,"collections":237,"showCount":238,"zanCount":239,"manualWeight":11,"mainColor":40},222682,"si-ji-hua-niao-tu-ping-5-chen-mei-222682","四季花鸟图屏5","陈枚","天津博物馆","此花鸟屏共八条，绘四季花卉：春桃、夏荷、秋菊、冬梅，配以四时禽鸟。由于作者有西洋绘画的功底，所绘画鸟造型准确，赋色大胆艳丽，栩栩如生。西洋技法加上传统绘画的笔墨意趣，使画面韵律生动，极富表现力。作者为宫廷画家，此八条屏作于雍正丙午，即公元1726年，是年作者因供奉内廷有功，获赏内务府掌仪司员外郎衔。\n由于作者有西洋绘画的功底，所绘花鸟造型准确，赋色大胆艳丽，栩栩如生，将一年四季的美妙景色勾勒的惟妙惟肖，让人怦然心动。\n整幅图运用了西洋技法加上传统绘画技巧，笔墨细腻，充满意趣，使画面韵律生动，极富表现力。",[23,24,49,25,26,27,28,29,231,232,7,233],"鸳鸯","莲花","水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6d0a7150805b19feb3ed4f0a01d4fd0.jpg","绢本","139X41CM",[],94,3,{"id":241,"slug":242,"title":243,"dynasty":244,"author":245,"museum":246,"description":247,"tags":248,"thumbUrl":249,"material":250,"size":251,"collection":60,"collections":252,"showCount":238,"zanCount":11,"manualWeight":11,"mainColor":152},221840,"lian-ji-ling-tu-wang-yuan-221840","莲鹡鸰图","元","王渊","日本京都国立博物馆","此图是唐绘手鉴《笔耕园》60幅册页中的一幅。王渊花鸟画师承后蜀黄筌，先勾勒后皴染水墨，浓淡深浅，极有韵致，得写生之妙，时称“绝艺”。天机溢发，肖古而不泥古。",[23,71,24,49,25,26,27,28,142,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b8dcc488c7d4ab10557e1ad0364ca7b.jpg","绢本设色","29.9×36cm",[60,90],{"id":254,"slug":255,"title":256,"dynasty":44,"author":206,"museum":68,"description":257,"tags":258,"thumbUrl":260,"material":36,"size":36,"collection":36,"collections":261,"showCount":262,"zanCount":179,"manualWeight":11,"mainColor":40},231011,"qiu-tang-hua-ya-tu-chen-chun-231011","秋塘花鸭图","此作用淡墨轻铺底色，墨色晕染出花鸭绒羽蓬松柔润，青灰头羽、赭黄喙部鲜亮醒目，鸭身浮沉秋水，憨态悠然，尽显野趣生机。残荷枯黄老叶以赭石、花青晕染，莲蓬挺秀，败菊缀于右上角，淡彩点染出秋意阑珊。汀草、蓼花细笔勾勒，干湿浓淡的墨色交织，衬出水波澹澹。\n\n画作兼工带写，水墨为主略施淡彩，笔意纵逸又不失秀雅，将深秋塘间清寂又鲜活的意趣尽数铺展，笔情墨趣间尽显文人写意的雅致随性，揉合秋日池溏的萧疏与生机，淡远空灵的意境扑面而来。",[71,24,49,50,52,51,26,27,72,259,7,56,211,54],"鸭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13db65695720260f6c24cc85f7896486.jpg",[],70,{"id":264,"slug":265,"title":266,"dynasty":44,"author":267,"museum":68,"description":268,"tags":269,"thumbUrl":275,"material":34,"size":36,"collection":276,"collections":277,"showCount":278,"zanCount":11,"manualWeight":11,"mainColor":40},222422,"lian-peng-tu-song-yin-tu-zhu-zhan-ji-222422","莲蓬图松荫图","朱瞻基","画卷破裂为两段，一段为莲蒲段，一段为松荫段。此画为莲蒲段画面。画面绘荷叶、莲蓬、小鸟、湖石、水草。极少勾勒，类似没骨画法，用浓淡墨色晕染，格调简逸质朴。封面为铜版纸印刷，作品为宣纸印刷。",[23,24,49,26,25,27,7,122,270,271,272,56,273,274,54],"松树","石头","枯荷","远山","云朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87a1522d7865cbf91ab2342631f19567.jpg","山水画精选",[276,150],55,{"id":280,"slug":281,"title":282,"dynasty":18,"author":283,"museum":68,"description":284,"tags":285,"thumbUrl":291,"material":87,"size":292,"collection":36,"collections":293,"showCount":294,"zanCount":179,"manualWeight":11,"mainColor":40},222700,"qiu-feng-mo-zao-tu-juan-shou-juan-qian-yu-ling-222700","秋风墨藻图卷手卷","钱与龄","画中的蓝藻、紫绿红蓼、游鱼蟹、泥鳅蛙、蜻蜓翠鸟、白鹭飞虫，游或游或荷花或偷窥，首当其冲的就是充满活力的秋天。 年代，清代女画家，画家陈舒的曾孙女，写生写生，画如陈舒的笔法。",[23,71,24,49,116,26,25,72,31,122,56,102,143,286,7,175,287,85,288,289,118,233,290,142],"水藻","红鱼","莲叶","草丛","小鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30ec091c195124569eded74b3cf2a78e.jpg","32.2×339.2cm",[],54,{"id":296,"slug":297,"title":298,"dynasty":18,"author":299,"museum":46,"description":300,"tags":301,"thumbUrl":302,"material":58,"size":303,"collection":36,"collections":304,"showCount":305,"zanCount":11,"manualWeight":11,"mainColor":40},290611,"he-hua-zhou-chen-shu-290611","荷花轴","陈书","陈书（1660～1736）字南楼，号上元弟子，晚号南楼老人，秀水（今浙江嘉兴）人，适海监钱纶光，善画花鸟虫草，家贫，卖画自给，教子甚严。以长子钱陈群诰封太淑人。\n陈书擅长人物、山水、花卉，书法也秀丽遒劲，诗文颇为精通。她成年后嫁于钱纶光为妻，钱氏为嘉兴望族，惜乎她的丈夫很早就离开了人间。她只能勤俭持家，夜来纺纱织布，苦度岁月，对于子女的教育从不放松，教子读经吟诗至深夜。其子钱陈群在她的精心培育下，在清康熙六十年中了进士，进入朝廷担任侍读学士等官职。陈书教子成名，自己画了一幅“夜纺授经图”，此图描绘夜深人静一边纺纱，一边教子读经，神态毕俱。这幅面得皇帝的赞赏，并题诗二首在画上，当时乾隆皇帝带头题诗称道这幅画，那些高官名人也纷纷题诗歌颂之。这幅令人瞩目的“夜纺授经图”，后来刻在石上，嵌在嘉兴中山路钱氏故居壁间，笔者曾见其拓本，原作是否存在，已不得而知。但其刻石仍保存在钱氏后裔手中。因在扩展中山路时有人看到其石刻完好地嵌在墙间，现钱氏故居已拆除，其旧址即现在中国银行嘉兴支行这块地基上。\n陈书在书画方面的造诣很高，笔墨娴雅，结构严谨。当时书画家评论她画的人物称得上逸品，画的山水、花卉称为神品，可见对她的评价相当高。陈书的子孙受她的影响也能书画，在笔墨技法上很像她，可以说一门数代继承家风。她的作品曾为清代皇室珍藏，流传民间也不少。嘉兴博物馆藏有她的花卉真迹，笔者在杭州、苏州、扬州等地也看到过她的作品。她的诗为人们所重视，《复庵吟稿》收集了她诗作的精华，流传至今。",[24,71,50,51,27,28,7,187,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f778bdc9fa45f731411e9760150e9cd.jpg","97.4x31.1",[],41,{"id":307,"slug":308,"title":309,"dynasty":44,"author":310,"museum":311,"description":312,"tags":313,"thumbUrl":314,"material":58,"size":36,"collection":36,"collections":315,"showCount":316,"zanCount":11,"manualWeight":11,"mainColor":40},214923,"mo-hua-ce-4-shen-zhou-214923","墨花册-4","沈周","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。",[23,71,24,51,160,27,72,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6f58c031f57e26b25b272c4262ab92a.jpg",[],35,{"id":318,"slug":319,"title":320,"dynasty":44,"author":321,"museum":68,"description":322,"tags":323,"thumbUrl":325,"material":36,"size":36,"collection":36,"collections":326,"showCount":327,"zanCount":11,"manualWeight":11,"mainColor":40},231014,"lian-ou-jing-yin-tu-wen-jia-231014","莲藕净因图","文嘉","此作画风清逸疏朗，以淡墨勾绘莲茎清瘦挺拔，粉荷半绽，淡赭轻染花尖，晕染出柔婉清雅的姿态。莲蓬与莲藕刻画精微朴拙，线条简淡却将水生风物的温润质感尽显无遗。\n\n宽绰留白铺就幽寂禅意，搭配题咏禅诗，诗画相映，将莲的清净本心寄寓其间，尽显幽淡出尘的文人意趣。全作用笔以简驭繁，淡而弥厚，融禅思入绘事，观之如临幽塘，心下自会澄明安宁，尽显文人尚简崇雅的审美意韵。",[24,49,50,141,51,26,28,7,29,324,118,52],"莲藕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab2d6731a756e18afa13d56d32e9d48b.jpg",[],30,{"id":329,"slug":330,"title":331,"dynasty":18,"author":332,"museum":333,"description":334,"tags":335,"thumbUrl":336,"material":58,"size":36,"collection":36,"collections":337,"showCount":338,"zanCount":11,"manualWeight":11,"mainColor":40},216354,"hua-niao-ce-4-zhu-da-216354","花鸟册-4","朱耷","私人收藏","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。",[23,24,51,160,28,7,27,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F315df4d9d41560bbaf78619963a740b8.jpg",[],27,{"id":340,"slug":341,"title":342,"dynasty":97,"author":343,"museum":344,"description":345,"tags":346,"thumbUrl":347,"material":36,"size":36,"collection":36,"collections":348,"showCount":349,"zanCount":11,"manualWeight":11,"mainColor":40},220506,"he-du-ye-qu-zhang-da-qian-220506","荷堵野趣","张大千","龙美术馆西岸馆","这幅画作以泼墨泼彩晕染荷塘意境，阔大的主荷叶以淋漓墨色铺陈，笔触裹挟雄浑气势，如流云垂落，肆意舒展尽显野趣。留白勾勒的白荷亭亭玉立，花瓣清润雅致，与浓墨荷叶形成强烈虚实对比，淡粉水色晕染池面，朦胧间恍若暮色烟霞漫过塘间。\n\n粗细错落的荷杆撑起画面层次，墨色浓淡铺就荷塘深浅，将盛夏荷塘的蓬勃生机与幽远禅意相融。题字错落排布，文气与画意相映，整体虚实相生，在浓淡开合间，将荷塘野逸雅致的意趣尽数铺展，尽显中式水墨的写意禅味。",[71,24,51,26,50,52,28,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22f536715eecbc62d1e1108ce9d6bcb5.jpg",[],25,{"id":351,"slug":352,"title":353,"dynasty":44,"author":354,"museum":228,"description":355,"tags":356,"thumbUrl":358,"material":359,"size":360,"collection":36,"collections":361,"showCount":362,"zanCount":11,"manualWeight":11,"mainColor":40},222449,"he-tang-ji-qin-tu-zhou-lin-liang-222449","荷塘集禽图轴","林良","林良有些花气画，专绘群乌聚集景象，品类众多，情态各异，生动活泼，极富自然天趣。此幅集禽图以荷塘为背景，塘内荷叶绽开，莲蓬结子，苇丛摇曳，正是盛夏季节。一对豆雁在水中叼着莲茎嬉玩，相依相偎；两只鸬鹚在觅食，一只正衔着小鱼飞向另一只伸颈等待的伴侣，透出相濡以沬的情感；天空有一燕子展翅鸣叫，正飞向栖止荷花上的雏燕，又别呈哺育之情。成对禽鸟的不同情感，既真实地揭示出它们的天性，又赋以强烈的感情色彩，使这些生物不仅活泼可爱，也亲切感人。禽鸟欢悦和谐的生活景象与盛夏池塘生意盎然的环境气氛相交融，奏出了一曲十分优美悦耳的生命交响乐。作品所传达的情凋、氛围，在林良花鸟画中是不多见的。\n此图画法比较工整，荷花、莲蓬均用细线勾勒后再加色晕染，阴阳向背分明。禽鸟亦勾染结合，形态准确，物类——可辨。芦苇、荷茎比较写意，但粗细、深浅也很有分寸，各具轻薄、圆韧质感。此为林良工写相兼画风中的精细之作。（单国强）",[23,24,71,50,51,52,27,72,7,142,357,143],"禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf4364f9bd90694c020b7ec431ffec25.jpg","绢本、设色","152 7x65 5cm",[],21,{"id":364,"slug":365,"title":366,"dynasty":18,"author":367,"museum":68,"description":368,"tags":369,"thumbUrl":370,"material":36,"size":36,"collection":36,"collections":371,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":152},230853,"hua-hui-tu-zhang-yu-230853","花卉图","张敔","此作截取荷塘一隅取景，虚实相生间尽显写意妙趣。浓墨挥写半幅枯老荷叶，焦墨劲挺勾勒叶脉，苍浑厚重带着岁月沉凝的质感；淡墨晕染新叶与待放菡萏，清润柔和，与浓墨形成鲜明对比，暗合新旧交替的生机。荷梗以枯涩带点的笔线写出，朴拙老辣，带着疏野萧散的意趣。朱红闲章轻点画面，以一抹亮色调和水墨的清冷，平衡视觉重心。整幅以简驭繁，不用浓丽设色，仅以水墨干湿浓淡的层次变化，将秋日荷塘残而未颓的清寂诗意晕染开来，于随性挥洒间尽显文人写意的疏淡格调。",[24,49,71,51,27,72,29,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1252ffd258c16f4357c28c9363dd76d8.jpg",[],{"id":373,"slug":374,"title":375,"dynasty":18,"author":376,"museum":377,"description":378,"tags":379,"thumbUrl":382,"material":26,"size":383,"collection":36,"collections":384,"showCount":385,"zanCount":11,"manualWeight":11,"mainColor":152},219802,"hua-niao-cao-chong-tu-8-sun-long-219802","花鸟草虫图-8","孙龙","上海博物馆","此册绢本设色，共十二图，描绘荷塘鹡鴒、蓼花螳螂、水藻玄蝉、秋塘青蛙、秋草蝗虫、蜀葵、黄叶麻雀、海棠白头等内容。",[24,49,160,51,26,27,7,380,52,381],"孤鸟","没骨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0a5fdcecbf0137e7b17922047721539.jpg","纵22.9 厘米 横21.5 厘米",[],12,{"id":387,"slug":388,"title":389,"dynasty":112,"author":67,"museum":68,"description":390,"tags":391,"thumbUrl":396,"material":36,"size":36,"collection":36,"collections":397,"showCount":398,"zanCount":11,"manualWeight":11,"mainColor":40},227866,"wan-he-guo-suo-tu-yi-ming-227866","晚荷郭索图","《宋扇面画晚荷郭索图》是宋代画家佚名创作一幅绢本设色画。\n此画现藏于北京 。\n此图原载《烟云集绘册》（《石渠宝笈续编》著录）。\n无款，签题黄居寀作。\n居寀为筌子。\n《圣朝名画评》云：黄居寀亦善画花竹毛羽，多与筌共为之，其气骨意思，深有父风。\n孟昶时，画四时花雀图数本，当世称绝。\n评曰：居寀之画鹤，多得筌骨。\n其有佳处，亦不能决其高下。\n至于花竹禽雀，皆不失筌法。\n对开有清乾隆皇帝御题诗一首：“从来螯蛫善横行，稻熟秋风意气生。\n甲介向称无所畏，如何每入膳人烹。\n”钤“古稀天子”、“八徵耄念之宝”、“ ”等玺印多方。\n本幅无款。\n钤鉴藏印“金陵□□□□”。\n曾经清内府收藏，《石渠宝笈续编》著录。\n图中一只硕大的 张牙舞爪踞于残荷之上，肥重的身躯竟将荷梗压断。\n衬以苍老的莲蓬、枯黄的 、稀疏的 ，更增添了萧瑟冷寂的气氛。\n荷叶和莲蓬用粗笔勾描，蟹用细笔写之，笔法粗犷写实，设色鲜艳浓重。\n无名氏。\n旧签题 “黄居寀”作，究其画风，与 相距甚远，故改为无名氏画。",[23,24,49,392,160,393,51,26,28,29,7,394,395,54],"宋代","扇面","螃蟹","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba4b3faac025682ff468de9c8c866068.jpg",[],7,{"id":400,"slug":401,"title":402,"dynasty":18,"author":67,"museum":68,"description":403,"tags":404,"thumbUrl":408,"material":409,"size":410,"collection":36,"collections":411,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":412},268437,"dian-cui-he-hua-wen-tou-hua-yi-ming-268437","点翠荷花纹头花","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。",[405,406,28,29,7,407],"饰品","点翠","头饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b3694801cedebc7addcc4a9281937c2.jpg","未知","Xcm*Xcm",[],"37474F",{"id":414,"slug":415,"title":416,"dynasty":18,"author":417,"museum":68,"description":418,"tags":419,"thumbUrl":421,"material":36,"size":36,"collection":36,"collections":422,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":40},234370,"lin-jiang-ting-xi-hua-hui-ce-jiang-shu-234370","临蒋廷锡花卉册","蒋淑","蒋淑，蒋廷锡之女。蒋淑不仅得其父亲蒋廷锡的指点，而且经常以其父的作品为学习范本。《临蒋廷锡花卉图册》便是她临摹蒋廷锡花卉的代表作，用笔设色均有其父的画风神韵。每开也均有蒋廷锡题诗，赞美之辞溢于言表。 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。",[24,49,160,420,141,51,27,72,7,29],"临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfcfcd0efb63eeb8e0c3ab93999fc652.jpg",[],{"id":424,"slug":425,"title":426,"dynasty":170,"author":67,"museum":68,"description":427,"tags":428,"thumbUrl":432,"material":409,"size":410,"collection":36,"collections":433,"showCount":434,"zanCount":11,"manualWeight":11,"mainColor":40},289053,"lenox-incorporated-design-drawing-of-flower-buds-and-seedpods-yi-ming-289053","Lenox, Incorporated--Design drawing of flower buds and seedpods","这组水彩手稿以米黄底色衬底，将莲与罂粟的花苞、莲蓬与种荚错落排布。笔触清透柔和，晕染出花苞粉绿渐变的鲜活质感，莲蓬凹陷的莲房、种荚层叠的瓣状轮廓都被精细捕捉，带着博物手绘的严谨温柔。作者以细腻色彩过渡还原植物舒展柔和的生长肌理，旁侧的细小标注带着复古手绘的沉静温度，将植物萌发的蓬勃与盛放后的枯寂余韵定格。既有科学绘图的写实克制，又带着水彩晕染的诗意温柔，让植物的生机与余味共存，满溢着自然手绘独有的松弛雅致。",[26,429,118,32,7,28,430,431],"手绘","植物写生","设计图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe1749bbace7de59007bb5ca39df60ce.jpg",[],4,{"id":436,"slug":437,"title":438,"dynasty":18,"author":439,"museum":68,"description":440,"tags":441,"thumbUrl":449,"material":409,"size":410,"collection":36,"collections":450,"showCount":434,"zanCount":11,"manualWeight":11,"mainColor":40},239137,"zhi-hua-hua-guo-juan-gan-shi-diao-239137","指画花果卷","甘士调","甘士调及其子弟的指画艺术甘士调是高其佩的嫡传弟子之一。甘氏生卒年未详,为康熙雍正年间(1662—1735)人。字和庵,亦字怀园,号凤矶山人,鸭绿江南人,清代铁岭人。",[23,24,49,71,116,442,51,443,444,445,446,447,7,118,448],"指画","花果","蝴蝶","瓶","篮子","葡萄","果实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87139f9df0a743599f3d2148679c2647.jpg",[],{"id":452,"slug":453,"title":454,"dynasty":44,"author":455,"museum":68,"description":456,"tags":457,"thumbUrl":459,"material":36,"size":36,"collection":36,"collections":460,"showCount":239,"zanCount":11,"manualWeight":11,"mainColor":40},233330,"shi-zhu-zhai-pu-ce-hu-ri-cong-233330","十竹斋谱册","胡日从","《十竹斋书画谱》，融诗、书、画、印艺术为一体，是木版水印史上的巨制鸿构，有“画苑之白眉，绘林之赤帜”之誉。凡书画、竹、墨华、石、翎毛、梅、兰、果八谱，每谱两册，全帙共十六册，蝴蝶装。\n一为书画册。花卉竹石、翎毛蔬果二十幅，均有对题。谱前有醒天居士《题十竹斋画册小引》和芒砀山人王三德《胡曰从书画谱引》。\n二为竹谱。卷首有《梨云馆竹谱》，分“写竹要语”，“写竹括”和“写竹法”。前半为一画一题，凡竹图二十幅，分作“廻风”、“喜霁”、“带雨”、“凝露”、“贮云”、“笼烟”、“快雪”、“印月”、“怡老”、“启新”、“飞白”、“聚翠”、“紫蓧”、“朱帔”、“崖影”、“石床”、“飨松”、“访菊”、“友梅”、“佩兰”等。后半则为画竹“起手式”。\n三为墨华册。谱中图呈圆光型，对题有绿色“十竹斋琅干笺”竹纹边框。画、题各有二十幅，画面着色细润，气韵生动。谱前有语水乘槎子《十竹斋墨花题辞》。\n四为石谱。画、题各二十幅，谱前有序两篇，一为王三德《阅石谱题言》，一为米芾后人米万钟《石谱题辞》。谱中二十幅画皆为高阳所作。高阳，字秋甫，善花鸟，为万历间写生名手。高阳画奇石尤精，石谱中作品是临摹上版，王三德观后评价极高，以为“天划神缕之巧，嵌空玲珑之致，半幅冰茧，宛具层岩叠嶂、峰峦洞穴，真可以对杨次公矣。”图有墨石、彩石，但均以套版为之，每画都有对应的题赞。\n五为翎毛谱。画、题各二十幅，有杨文骢于“天启丁卯立秋日”所题《翎毛谱小序》，非常精彩地评介了胡氏所施饾版之法：“胡曰从氏巧心妙手，超越前代，以铁笔作颖生，以梨枣代绢素，而其中皴法、染法、点法，及着色之轻重、浅深、远近、离合无不呈妍曲致，穷巧极工。即当行作手观之，定以为写生妙品，不敢作刻画观。”此翎毛谱二十图，画上无名款，从印鉴来看，应全为凌云翰一人所作。凌云翰，字五云，万历、崇祯时人。《明画录》说他善画山水，其实上凌氏花鸟亦善，尤工画石，为胡正言所推许。\n六为梅谱。由玉山进士董继周作序。此册胡正言以“芳信先传”、“飘飘欲仙”、“冰壶掩映”、“暖谷回阳”、“君子之交”、“铁干支春”、“暗香浮动”、“拾翠为钿”、“黄惹蜂腰”、“额上玄功”、“东邻窥宋”、“盟坚寒素”、“香梦沉酣”、“水妃写照”、“玉骨同妍”、“疏影横斜”、“幽人赠佩”、“调脂梅粉”、“宫锦清班”、“寿阳点妆”等二十画题，分别写早梅、风梅、雪梅、枯梅、竹梅、老梅、月梅、松梅、蜡梅、墨梅、过墙梅、倚石梅、烟梅、临水梅、水仙梅、疏梅、兰花梅、茶花梅、杏花梅和落梅，或水墨，或设色，意境、造型与章法，则穷尽变化之能事。每幅画都有对应的题赞。\n七为兰谱。前有涂日昌“兰谱序”和画兰“起手执笔式”，此谱图解兰花，并附小注，颇为详尽，但无题赞。多为墨印，间有彩版，此谱可为之初学之范本。图二十幅，多是临摹赵孟頫等名家之作。\n八为果谱。画、题各二十幅，有西京韩文镜作序。其中“三元”、“朱橘”等图，雕版设计巧妙，可谓匠心独运。\n《十竹斋书画谱》自万历己未（1619年）第一谱《书画册》起，至崇祯癸酉（1633年）第八谱《果谱》止，梓印时间长达十五年之久。每谱有序言，除《竹谱》附写竹诀，《兰谱》附起手式，其余各谱均四十幅，一图一文，以书配画，交相辉映。\n胡正言辑印《十竹斋书画谱》，广交名人时贤，亦自作书画付梓。全谱序、画、诗作者或书法题写者，多达一百五十余人。谱中所辑作品大多是由当时名家如吴彬、倪瑛、魏之克、米万钟、吴士冠、文震亨、高阳、高友等创作的，也有二十多幅画稿是临摹自赵孟頫、唐寅、沈周、文征明、陆治、陈道复等著名书画家的；胡正言自己也曾为谱画稿、题诗，画有“白莲”、“墨梅”、“芝草”三图，诗有“题梅花”、“题兰竹”两首。画谱中所题诗句，笔调清新，咏物抒情，不同程度地反映了诗人们喜爱画谱的心情。题诗大部分都是书写者自己所作，也有借用前人诗句题咏的，如胡正言用唐释无可的咏兰诗题《兰竹图》，西湖仙郎何伟然用徐渭咏榴诗题《石榴图》，竹冠道人应麟用刘禹锡题开元寺枸杞诗书《枸杞诗图》等等。全谱书法篆、隶、行、楷诸体皆备，最多的还是晚明文人流行的行草。这些书迹，大都兼有晋、唐、宋书家的风韵，亦可为后人临池所借鉴。\n醒天居士的《题十竹斋画册小引》把胡正言的爱好、特长及画谱刊印的初衷和艺术水平都进行了叙述：\n“王宰十日一山，五日一石，岂肖形之难哉？山有情，石有态，磅礴得之为难耳。近代画手，千临百摹，如里媪捧心，不揜儿寝，而目食者争售之，大轴小图，祗为壁疥。新安胡曰从氏，清姿博学，既精六书，尤擅众巧。所制隃糜硾茧与所镌法语名言，皆出新裁，赏鉴家多宝爱之。乃竹斋多暇，复创画册。所选皆花果竹石，有关于幽人韵士之癖好者。而写形既妙，设色尤工，至于翠瓣丹柎，葩分蕊折，花之情，竹之姿，与禽虫飞懦之态，奇石云烟之气，展册淋漓，宛然在目。盖淡淡浓浓，篇篇神采；疏疏密密，幅幅乱真，诚画苑之白眉，绘林之赤帜也。然王宰之画妙出毫锥，胡君之画妙出梨枣，是磅礴之心，较王宰更难；而成功之捷，较王宰更简更易，岂不尤奇哉！余故喜而叙之，愿与好事者同赏，仍俟具眼者定价焉。时癸酉年中秋前二日，醒天居士书于十竹斋。”\n《十竹斋书画谱》“绘刻精而奇，谱则巧而该”，在画谱刊行后不久就引起广泛的注意，开始有人仿刻了，以至胡氏声明道“原板珍藏，素遐真赏，近有效颦，恐混鱼目，善价沽者，勿虚藻鉴。”历代重印、翻刻者达二十余种。清代李渔等人辑印的《芥子园画传》也是在它的启发下产生的。",[71,24,49,160,26,458,72,7],"木刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92df1793a1e090d8a5818f5678f4a38b.jpg",[],{"id":462,"slug":463,"title":464,"dynasty":18,"author":67,"museum":68,"description":465,"tags":466,"thumbUrl":471,"material":409,"size":410,"collection":36,"collections":472,"showCount":179,"zanCount":11,"manualWeight":11,"mainColor":152},270054,"xi-jiao-diao-lian-peng-he-ye-xing-bei-yi-ming-270054","犀角雕莲蓬荷叶形杯","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。",[467,468,469,470,72,7,29],"器","饮酒器","雕刻","犀角","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa85c69397678cde9950e18cf6f804ed8.jpg",[],{"id":474,"slug":475,"title":476,"dynasty":18,"author":67,"museum":68,"description":477,"tags":478,"thumbUrl":479,"material":36,"size":36,"collection":36,"collections":480,"showCount":179,"zanCount":11,"manualWeight":11,"mainColor":40},235046,"yuan-ji-za-hua-tu-ce-yi-ming-235046","原济杂画图册","此作用淡墨晕染残荷残影，枯笔勾勒莲蓬苍劲老辣，虬曲荷梗尽显疏朗野逸。留白空灵简约，以少胜多，将暮秋荷塘萧索清寂之意铺展开来。\n\n题诗与画境相映，将莲出泥不染的君子品格融于残败意态中，褪去妍丽粉饰，尽显水墨写意的禅寂之美。笔墨极简却意趣悠长，把残荷的冷冽疏脱之姿尽致展现，笔墨间浸透着孤傲出尘的文人风骨，以意驭笔，将物象品格与文人心性相融，是写意花鸟中借物抒怀的上乘之作。",[24,49,160,51,72,7,29,196,53,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5eb409817ebe9687e3b039feff397de.jpg",[],{"id":482,"slug":483,"title":484,"dynasty":18,"author":67,"museum":68,"description":485,"tags":486,"thumbUrl":490,"material":409,"size":410,"collection":36,"collections":491,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},271032,"cheng-fen-wen-ju-ci-shui-cheng-yi-ming-271032","成份文具-瓷水丞","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。",[487,488,489,7,72],"陶瓷","文具","水丞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0da60d36feb477ce10e9168fd48b756c.jpg",[],{"id":493,"slug":494,"title":495,"dynasty":18,"author":67,"museum":68,"description":496,"tags":497,"thumbUrl":502,"material":409,"size":410,"collection":36,"collections":503,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":152},269363,"zi-tan-diao-hua-wei-jiao-chang-fang-pan-yi-ming-269363","紫檀雕花委角长方盘","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。",[498,469,28,7,499,500,501],"木质","鹤","木器","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b50e6a70c9c4ff2024a37b1c6a98294.jpg",[],{"id":505,"slug":506,"title":507,"dynasty":18,"author":67,"museum":68,"description":508,"tags":509,"thumbUrl":512,"material":409,"size":410,"collection":36,"collections":513,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":412},261224,"yong-zheng-kuan-bai-you-lian-peng-shi-he-yi-ming-261224","雍正款白釉莲蓬式盒","雍正一朝虽然只有13年，但他的制瓷业成就却达到了清代官窑的历史高峰，其品种之多，制作工艺之精良，都是其他朝代无法比拟的。",[487,510,7,511,501],"白釉","盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f1057674963df9c88a0746a2ae1fe5d.jpg",[],{"id":515,"slug":516,"title":517,"dynasty":18,"author":67,"museum":68,"description":518,"tags":519,"thumbUrl":523,"material":409,"size":410,"collection":36,"collections":524,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":152},251690,"dai-pi-qing-yu-lian-peng-yi-ming-251690","带皮青玉莲蓬","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。",[520,521,469,7,72,498,522],"玉石","青玉","带皮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34d15202e07a351682316023325e5da3.jpg",[],{"id":526,"slug":527,"title":528,"dynasty":18,"author":67,"museum":68,"description":518,"tags":529,"thumbUrl":530,"material":409,"size":410,"collection":36,"collections":531,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":152},251195,"qing-yu-quan-lian-he-ye-xi-yi-ming-251195","青玉全莲荷叶洗",[520,469,72,28,29,7,467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f602fa760fdb1f946435b51bd9e9f89.jpg",[],{"id":533,"slug":534,"title":535,"dynasty":18,"author":67,"museum":68,"description":518,"tags":536,"thumbUrl":539,"material":409,"size":410,"collection":36,"collections":540,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":152},250985,"qing-yu-guang-su-tuo-lian-peng-shi-xiang-cha-yi-ming-250985","青玉光素托莲蓬式香插",[520,521,467,537,7,72,538,469],"香插","光素","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F008c57a2f836b25ca0eaa22f08f20361.jpg",[],{"id":542,"slug":543,"title":544,"dynasty":18,"author":67,"museum":68,"description":545,"tags":546,"thumbUrl":551,"material":409,"size":410,"collection":36,"collections":552,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},247877,"dui-cai-he-lian-wen-he-yi-ming-247877","堆彩荷莲纹盒","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",[547,548,469,26,549,28,7,29,550,511],"清代","堆彩","漆器","莲纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feed38fd8a3a4ae9c600e77e219e72a3a.jpg",[],{"id":554,"slug":555,"title":556,"dynasty":18,"author":67,"museum":68,"description":545,"tags":557,"thumbUrl":558,"material":409,"size":410,"collection":36,"collections":559,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":152},247799,"dui-cai-lian-peng-wen-he-yi-ming-247799","堆彩莲蓬纹盒",[547,548,469,7,28,549,467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F636fb5b3da40011a818955ae8f65a8e2.jpg",[],{"id":561,"slug":562,"title":556,"dynasty":18,"author":67,"museum":68,"description":545,"tags":563,"thumbUrl":564,"material":409,"size":410,"collection":36,"collections":565,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},247782,"dui-cai-lian-peng-wen-he-yi-ming-247782",[18,548,469,26,7,28,467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96052545133e82c46c151e96a092f905.jpg",[],{"id":567,"slug":568,"title":569,"dynasty":18,"author":67,"museum":68,"description":545,"tags":570,"thumbUrl":571,"material":409,"size":410,"collection":36,"collections":572,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},247751,"dui-cai-he-hua-lian-peng-wen-he-yi-ming-247751","堆彩荷花莲蓬纹盒",[547,548,469,549,28,7,467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc14b8483a00773da36c4484c2c7d1da.jpg",[],{"id":574,"slug":575,"title":556,"dynasty":18,"author":67,"museum":68,"description":545,"tags":576,"thumbUrl":577,"material":409,"size":410,"collection":36,"collections":578,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":152},247728,"dui-cai-lian-peng-wen-he-yi-ming-247728",[18,548,469,7,72,467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc80fa87889d325ad754d97b7956fe865.jpg",[],{"id":580,"slug":581,"title":556,"dynasty":18,"author":67,"museum":68,"description":545,"tags":582,"thumbUrl":583,"material":409,"size":410,"collection":36,"collections":584,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":152},247725,"dui-cai-lian-peng-wen-he-yi-ming-247725",[18,548,469,7,28,550,467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60156f2fa13c8bf89221bc1ad9c48e28.jpg",[],{"id":586,"slug":587,"title":556,"dynasty":18,"author":67,"museum":68,"description":545,"tags":588,"thumbUrl":589,"material":409,"size":410,"collection":36,"collections":590,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},247717,"dui-cai-lian-peng-wen-he-yi-ming-247717",[18,548,469,549,7,467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfa8df3dc448bce6f42d139b6a698f2e.jpg",[],{"id":592,"slug":593,"title":594,"dynasty":18,"author":67,"museum":68,"description":595,"tags":596,"thumbUrl":599,"material":409,"size":410,"collection":36,"collections":600,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},245857,"guang-xu-kuan-yin-lian-hua-shi-dai-gai-bing-guo-yi-ming-245857","光绪款银莲花式带盖柄锅","以莲蓬塑为锅身，嵌饰的莲子晕着温润柔光，一侧舒卷荷叶作承托，旁侧依偎半绽菡萏，长柄如荷茎迤逦延展。周身沉厚包浆晕开岁月质感，将莲池清趣融于实用器型，把水生莲荷的静谧雅致，凝练成可触可感的器物诗意，尽显造物巧思，让日常烹煮也晕染出几分禅意清韵。",[547,597,469,232,7,598],"银器","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10e885aa4982f5590beb6a158d8f789f.jpg",[],{"id":602,"slug":603,"title":604,"dynasty":18,"author":67,"museum":68,"description":518,"tags":605,"thumbUrl":606,"material":409,"size":410,"collection":36,"collections":607,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":152},229801,"yu-lian-fang-yi-ming-229801","玉莲房",[520,469,72,7,467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fede85a4167d725b93ba8c5eb76468a23.jpg",[],{"id":609,"slug":610,"title":611,"dynasty":18,"author":67,"museum":68,"description":612,"tags":613,"thumbUrl":615,"material":409,"size":410,"collection":36,"collections":616,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},229191,"qian-long-guan-you-lian-peng-hua-cha-yi-ming-229191","乾隆 官釉莲蓬花插","宋代是传统制瓷工艺发展史上一个非常繁荣昌盛的时期。现时已发现的古代陶瓷遗址分布于全国170个县。其中有宋代窑址的就有130个县，占总数的75%。\n陶瓷史家通常将宋代陶瓷窑大致概括为6个瓷窑系，它们分别是：北方地区的定窑系、耀州窑系、钧窑系和磁州窑系；南方地区的龙泉青瓷系和景德镇的青白瓷系。这些窑系一方面具有因受其所在地区使用原材料的影响而具有的特殊性，另一方面又有受帝国时代的政治理念、文化习俗、工艺水平制约而具有的共同性。\n从造型的角度分析，宋瓷的器形较之前代更为丰富多彩，几乎包括了人民日常生活用器的大部分：碗、盘、壶、罐、盒、炉、枕、砚与水注等，其中最为多见的是玉壶春瓶。总的说来，民间用瓷的造型大部分是大方朴实、经济耐用；而宫廷用瓷则端庄典雅、雍容华贵。最能反映皇家气派的是哥、官、钧、汝与定窑口烧制的贡瓷，最能体现百姓喜乐的是磁州、耀州窑口烧制的民间瓷品。\n从纹饰上讲，宋瓷的纹饰题材表现手法都极为丰富独特。一般情况下，龙、凤、鹿、鹤、游鱼、花鸟、婴戏、山水景色等常作为主体纹饰而突现在各类器形的显著部位，而回纹、卷枝卷叶纹、云头纹、钱纹、莲瓣纹等多用作边饰间饰，用以辅助主题纹饰。工匠们用刻、划、剔、画和雕塑等不同技法，在器物上把纹样的神情意态与胎体的方圆长短巧妙结合起来，形成审美与实用的统一整体，令人爱不释手。如婴戏纹，或于碗心、或于瓶腹，将肌肤稚嫩，情态活泼的童子置于花丛之中，或一或二，或三五成群，攀树折花，追逐嬉戏，真切动人，生活气息甚为浓厚。",[487,614,7,467,547],"官釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99c22369601d46cd3fe506681d464182.jpg",[],1777535709764]