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万历间画家，代表作是春景鸳鸯图。\n陈粲名（1524～？）明代万历间画家。\n字长倩，一字兰谷，号雪庵、道光、雪谷子，长洲 （今江苏苏州）人。\n万历间以善花鸟闻名于时。\n传世作品有《春景鸳鸯图》轴，绢本，设色，纵17.4厘米，横82.7厘米，现藏 ；《桂石兰芝图》轴，绢本，设色，纵11.2厘米，横49厘米，藏故宫博物院；万历四十三年(1615)作《兰竹图册》著录于《 》。",[24,25,26,28,27,75,133,134,7,76,135,31,136],"桂","石","花卉","明代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63ab0a3d62a43789402ff3fa5ee685e5.jpg",[37,139],"设色画精选",58,{"id":142,"slug":143,"title":144,"dynasty":18,"author":145,"museum":146,"description":147,"tags":148,"thumbUrl":153,"material":35,"size":154,"collection":37,"collections":155,"showCount":156,"zanCount":11,"manualWeight":11,"mainColor":41},219870,"song-xian-ying-zhi-tu-zhou-lang-shi-ning-219870","嵩献英芝图轴","郎世宁","北京故宫博物院","正中是一只兀立于石上的白鹰，画面的右边是一棵弯曲盘绕的老松，还有一棵藤萝攀绕着松树枝干，松树的根部和石头的缝隙之间有灵芝数株，画幅左边为坡石以及急湍的溪流。 图中所绘苍松、雄鹰、灵芝、山石、流水，在中国文化中多有强健、长寿和吉祥的美好寓意。但在色彩上，鹰白、松绿、芝棕红、土坡绛色和藤萝花粉紫，却是不同于中国传统、属于郎世宁风格的鲜明、绚丽和浓重。",[23,73,24,25,26,27,28,149,150,151,31,152,7],"中西合璧","松树","瀑布","白鹰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35ede8b111d7cac1c43336e0de1b2972.jpg","纵242.3cm，横157.1cm",[37],56,{"id":158,"slug":159,"title":160,"dynasty":18,"author":161,"museum":48,"description":162,"tags":163,"thumbUrl":167,"material":60,"size":60,"collection":37,"collections":168,"showCount":169,"zanCount":170,"manualWeight":11,"mainColor":63},238178,"xian-zhi-zhu-shou-tu-zhou-shen-zhen-lin-238178","仙芝祝寿图轴","沈振麟","沈振麟（生卒年不详，生活于19世纪），字凤池，一作凤墀，元和（今江苏省吴县）人。他以创作题材广泛，花鸟虫鱼人物山水各臻其妙，笔法工细写实而成为晚清重要的宫廷画家。任如意馆画作首领数十年。",[24,26,28,27,54,7,135,164,31,165,166],"枝叶","小草","白色花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F035c9856899db7d34109e2309e3bffa5.jpg",[37],55,1,{"id":172,"slug":173,"title":174,"dynasty":18,"author":175,"museum":48,"description":176,"tags":177,"thumbUrl":184,"material":60,"size":60,"collection":60,"collections":185,"showCount":186,"zanCount":170,"manualWeight":11,"mainColor":63},234158,"hua-hui-juan-zhu-da-234158","花卉卷","朱耷","八大山人花鸟承袭陈淳、徐渭写意花鸟画的传统，发展为阔笔大写意画法，其特点是通过象征寓意的手法，并对所画的花鸟、鱼虫进行夸张，以其奇特的形象和简练的造型，使画中形象突出，主题鲜明，甚至将鸟、鱼的眼睛画成“白眼向人”，以此来表现自己孤傲不群、愤世嫉俗的性格，从而创造了一种前所未有的花鸟造型。",[23,24,25,178,74,179,55,56,180,135,181,7,182,183,75],"长卷","写意","行书","松","芭蕉","荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10690432eee4f9791878f7dce4625503.jpg",[],49,{"id":188,"slug":189,"title":86,"dynasty":18,"author":190,"museum":70,"description":191,"tags":192,"thumbUrl":195,"material":196,"size":197,"collection":95,"collections":198,"showCount":199,"zanCount":11,"manualWeight":11,"mainColor":63},216943,"cai-zhi-xian-tu-yan-hong-zi-216943","严宏滋","此幅画采芝仙女，席地休憩，状甚消遥闲适。开脸略受西洋阴影法影响，设色明净，衣纹则以流利笔意写之，于工谨中，亦饶雅逸之趣。\n严宏滋，字丕绪，江苏江阴人。生卒年未详，约活动于乾隆朝中期。善书画，尤精道释人物。高宗两次南巡，献画，均称旨。",[24,27,28,91,193,181,7,194,92],"葫芦","篮子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4121cbe3194dc69e7b172162cc673400.jpg","纸本,设色","96.3x118.3",[95],48,{"id":201,"slug":202,"title":203,"dynasty":204,"author":205,"museum":48,"description":206,"tags":207,"thumbUrl":215,"material":58,"size":59,"collection":60,"collections":216,"showCount":217,"zanCount":170,"manualWeight":11,"mainColor":41},290684,"ke-si-qing-niu-lao-zi-tu-zhou-yi-ming-290684","缂丝青牛老子图轴","宋","佚名","画中人物为老子，姓李名耳，字聃。春秋时楚国人。道教认为老子即是「太上老君」在人间的化身。相传老子经过函谷关时，守山的官吏尹喜似乎感到东边的天空忽然一片紫气。他断定会有圣人将来此地。不久，果然见老子骑青牛从东边扬长而至。尹喜便请求老子著书传世，老子应允，便在函谷关著下五千言《道德经》，写完後便骑牛向西而去，其後即不知所终。",[26,208,24,73,25,91,209,210,211,212,28,213,214,7],"缂丝","老子","牛","青牛","道教","布料","祥云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa336a1577cdc9d924e9eea1c51b6bf73.jpg",[],45,{"id":219,"slug":220,"title":221,"dynasty":18,"author":222,"museum":48,"description":223,"tags":224,"thumbUrl":227,"material":58,"size":59,"collection":60,"collections":228,"showCount":217,"zanCount":11,"manualWeight":11,"mainColor":63},290317,"hua-sui-chao-tu-zhou-jiang-ting-xi-290317","画岁朝图轴","蒋廷锡","蒋廷锡（1669年－1732年），字酉君、杨孙，号南沙、西谷，又号青桐居士，江苏常熟人，清朝康熙、雍正时期官员、画家、文献学家、藏书家。\n蒋廷锡为康熙四十二年（1703年）进士，授翰林编修。雍正帝即位后历任礼部侍郎、户部尚书等职。雍正六年（1728年）拜文华殿大学士，仍兼理户部事，并任《明史》总裁。次年（1729年）加太子太傅。累封一等阿达哈哈番。雍正十年（1732年）卒于任内，谥号“文肃”。\n蒋廷锡在官秉公抚政、剔除积弊，声誉甚著。为人博学精敏，尤善诗画。擅长花鸟，以逸笔写生，奇正率工，敷色晕墨，兼有一幅，能自然洽和，风神生动，得恽寿平韵味。点缀坡石，偶作兰竹，亦具雅致。曾画塞外花卉70种，被视为珍宝收藏于宫廷。今有《牡丹扇面》《岁岁久安图》《桃花鹦鹉图》《竹石图》轴及《花卉图》等传世。",[24,26,73,25,28,27,75,225,120,7,226,56],"牡丹","柿子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0ccadc1ef0f0c75e51a73bcab26a1f7.jpg",[],{"id":230,"slug":231,"title":114,"dynasty":18,"author":222,"museum":48,"description":223,"tags":232,"thumbUrl":233,"material":58,"size":59,"collection":60,"collections":234,"showCount":235,"zanCount":11,"manualWeight":11,"mainColor":41},290318,"sui-chao-tu-zhou-jiang-ting-xi-290318",[73,24,26,28,27,75,181,118,120,7,135,55,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49b36f951d2dbef57185121b60fa59eb.jpg",[],44,{"id":237,"slug":238,"title":239,"dynasty":18,"author":240,"museum":48,"description":241,"tags":242,"thumbUrl":244,"material":58,"size":59,"collection":60,"collections":245,"showCount":235,"zanCount":11,"manualWeight":11,"mainColor":63},288454,"hua-hui-tu-ce-zhao-zhi-qian-288454","花卉图册","赵之谦","赵之谦（1829年8月8日－1884年11月18日），汉族，浙江会稽（今绍兴）人。初字益甫，号冷君；后改字撝（huī）叔，号悲庵、梅庵、无闷等。清代著名书画家、篆刻家，与吴昌硕、厉良玉并称“新浙派”的三位代表人物，与任伯年、吴昌硕并称“清末三大画家”。李志敏评价：“赵之谦学北碑自成一体。”\n赵之谦从青年时代起，就刻苦致力于经学、文字训诂和金石考据之学，取得了相当的成就。尤精书画、篆刻。赵之谦善于向前人和同时代各派名家学习，又不囿前人，勇于创新。在绘画上，他是“海上画派”的先驱人物，其以书、印入画所开创的“金石画风”，对近代写意花卉的发展产生了巨大影响；在书法上，他是清代碑学理论的最有力实践者，其魏碑体书风的形成，使得碑派技法体系进一步趋向完善，从而成为有清一代第一位在正、行、篆、隶诸体上真正全面学碑的典范；在篆刻上，他在前人的基础上广为取法，融会贯通，以“印外求印”的手段创造性地继承了邓石如以来“印从书出”的创作模式，开辟了一个前所未有的新境界。\n赵之谦的篆刻成就巨大，对后世影响深远。近代的吴昌硕、齐白石等画家都从他处受惠良多。著有《六朝别字记》《悲庵居士文存》等，又有篆刻《二金蝶堂印存》。",[23,24,25,243,28,75,120,7,31,55,56,135],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F264efa0c0138cb942593d7fd8f6558d0.jpg",[],{"id":247,"slug":248,"title":249,"dynasty":68,"author":250,"museum":48,"description":251,"tags":252,"thumbUrl":255,"materia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鱼，也能人物、山水，尤精画梅。作品纵横豪放、墨气淋漓，粗头乱服 ，不拘绳墨，意在青藤、白阳、竹憨之间。画梅以瘦硬见称，老干新枝 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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。",[68,363,642,643,7,644],"镂雕","鹿","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F105a6d8f243383e62549abbf15dc7650.jpg",[],{"id":648,"slug":649,"title":650,"dynasty":18,"author":205,"museum":48,"description":640,"tags":651,"thumbUrl":655,"material":58,"size":59,"collection":60,"collections":656,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":63},272706,"cao-su-gong-lai-sun-yao-qian-zao-zi-yu-guang-ling-zhi-mo-yi-ming-272706","曹素功来孙尧千造紫玉光灵芝墨",[652,653,654,7,135],"墨","文房用具","描金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f929cce10da1f396a887bf4045bed41.jpg",[],{"id":658,"slug":659,"title":660,"dynasty":18,"author":205,"museum":48,"description":661,"tags":662,"thumbUrl":667,"material":58,"size":59,"collection":60,"collections":668,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":286},260996,"dong-qing-you-you-li-hong-ling-zhi-zhu-ye-tu-bi-tong-yi-ming-260996","冬青釉釉里红灵芝竹叶图笔筒","中国瓷器著名传统颜色釉。亦称“青瓷釉”。古代南方青釉，是瓷器最早的颜色釉。\n所谓“青釉”，颜色并不是纯粹的青，有：月白、天青、粉青、梅子青、豆青、豆绿、翠青等，但多少总能泛出一点青绿色。同时，古人往往将青、绿、蓝三种颜色，一统称为“青色”，例如许之衡《饮流斋说瓷》称：“古瓷尚青，凡绿也、蓝也，皆以青括之。”刘子芬《竹园陶说》中也说：“青色一种，常与蓝色相混。雨过天晴，钧窑、元窑之青，皆近蓝色。”“惟千峰翠色、梅子青、豆青、乃为纯青耳。天色本蓝，有时为青。”\n青釉是我国使用最早，延用时间最久，分布最广的一个釉种，它的发明是与我国瓷土矿大都含有一定量的铁矿的现象相一致的。青色也符合我国人民的传统审美情趣。青色与碧玉相若，认为稳重而高雅。浙江、江西、河南等地已出土了不少早至商周时期的原始青釉瓷。六朝至唐宋以越窑为代表的南方青釉瓷；宋到元明的龙泉窑系青瓷；耀州窑、临汝窑、钧窑等宋代北方青瓷；以及明、清以来的景德镇青釉瓷，是青釉发展的几个重要阶段，所谓的宋代“汝、定、官、哥、钧”五大名窑，除定窑外均属青釉瓷。表釉的呈色主要决定于着色氧化物的含铁量与烧成气氛，青釉含铁量一般在1—3%左右，过高会变成黑釉，低了就能烧成白瓷。在还原气氛中烧成。釉色青绿；在氧化气氛中烧成，釉色泛黄。因而陶瓷界所谓的青釉是相对而言的，正如许之衡《饮流斋说瓷》中所说：“古瓷尚青，凡绿也，蓝也，皆以青括之。”",[546,663,664,302,7,665,666,362],"冬青釉","釉里红","笔筒","文具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9343d126640ff54a14c5c68fab648d34.jpg",[],{"id":670,"slug":671,"title":672,"dynasty":18,"author":205,"museum":48,"description":544,"tags":673,"thumbUrl":675,"material":58,"size":59,"collection":60,"collections":676,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":63},258744,"jia-qing-kuan-fen-cai-tao-fu-ling-zhi-wen-pie-kou-ping-yi-ming-258744","嘉庆款粉彩桃蝠灵芝纹撇口瓶",[546,623,30,674,7,360,28,271],"蝠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1acde88425d48660e893db6c2fe35f33.jpg",[],{"id":678,"slug":679,"title":680,"dynasty":18,"author":205,"museum":48,"description":681,"tags":682,"thumbUrl":683,"material":58,"size":59,"collection":60,"collections":684,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":41},257759,"wu-cai-bian-fu-ling-zhi-wen-pan-yi-ming-257759","五彩蝙蝠灵芝纹盘","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。",[18,547,546,471,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35506931af28296f959cbce068e0dcbe.jpg",[],{"id":686,"slug":687,"title":688,"dynasty":18,"author":205,"museum":48,"description":640,"tags":689,"thumbUrl":691,"material":58,"size":59,"collection":60,"collections":692,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":63},252146,"bi-yu-fu-diao-song-he-wen-ling-zhi-shi-ru-yi-yi-ming-252146","碧玉浮雕松鹤纹灵芝式如意",[363,690,181,29,7,271],"浮雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e65bab78628831ca5131c0aa4cd8693.jpg",[],{"id":694,"slug":695,"title":696,"dynasty":18,"author":205,"museum":48,"description":403,"tags":697,"thumbUrl":700,"material":58,"size":59,"collection":60,"collections":701,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":286},251428,"fei-cui-tou-diao-ling-zhi-shi-ru-yi-yi-ming-251428","翡翠透雕灵芝式如意",[360,363,362,698,7,699],"透雕","如意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee91f79df1c8cad615aa78a85902dbd6.jpg",[],{"id":703,"slug":704,"title":705,"dynasty":18,"author":205,"museum":48,"description":640,"tags":706,"thumbUrl":712,"material":58,"size":59,"collection":60,"collections":713,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":286},251164,"bi-yu-tuo-ling-zhi-zuo-fu-yi-ming-251164","碧玉托灵芝坐佛",[360,363,707,362,708,7,709,710,711],"宗教","佛","莲花座","火焰纹","碧玉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bdc6a2770498b5cf08f3c2308faa40a.jpg",[],{"id":715,"slug":716,"title":717,"dynasty":68,"author":205,"museum":48,"description":640,"tags":718,"thumbUrl":719,"material":58,"size":59,"collection":60,"collections":720,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":286},251047,"qing-yu-xian-ling-zhi-wo-lu-yi-ming-251047","青玉衔灵芝卧鹿",[363,362,644,643,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94d43fa6d483aab7b9f2ecb5e85f3b30.jpg",[],{"id":722,"slug":723,"title":724,"dynasty":18,"author":205,"museum":48,"description":725,"tags":726,"thumbUrl":729,"material":58,"size":59,"collection":60,"collections":730,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":286},246199,"hei-qi-miao-jin-jiao-ye-wen-ling-zhi-pen-jing-yi-ming-246199","黑漆描金蕉叶纹灵芝盆景","此作是清隽雅致的案头珍玩。盆身髹黑漆为底，描金绘就蕉叶缠枝纹饰，金彩莹亮，在沉郁底色衬托下尽显华贵端庄，线面排布工整细腻，尽显匠人之工。芝株枝干仿天然虬曲苍劲，铜鎏金灵芝朵朵饱满莹润，仿若撷取仙山灵草移至案头，既有写实生趣，又承载着祥瑞长寿的美好寓意。整器将金属细工与漆作工艺精妙融合，雅静古拙中透着规整工细，陈设于案上自带清贵文气，尽显中式古典赏玩器物的含蓄风雅。",[727,654,7,728,367],"漆器","蕉叶纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F715ed399ba1758d6f5fca27c7f51e201.jpg",[],{"id":732,"slug":733,"title":734,"dynasty":68,"author":735,"museum":48,"description":736,"tags":737,"thumbUrl":740,"material":60,"size":60,"collection":60,"collections":741,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":63},233673,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233673","十竹斋五色笺谱册","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。",[24,25,243,738,28,54,739,7],"木刻","荷叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1221307ccb659fe60cc76bd9fbac0500.jpg",[],{"id":743,"slug":744,"title":745,"dynasty":68,"author":205,"museum":48,"description":681,"tags":746,"thumbUrl":748,"material":58,"size":59,"collection":60,"collections":749,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":41},228515,"zhu-ying-kuan-zi-tan-mu-ling-zhi-pan-yi-ming-228515","朱英款紫檀木灵芝盘",[747,391,362,7,271],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e0cb4048cf77cedee64c05bd8ae06ca.jpg",[],{"id":751,"slug":752,"title":753,"dynasty":18,"author":754,"museum":439,"description":755,"tags":756,"thumbUrl":759,"material":60,"size":60,"collection":60,"collections":760,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":761},202480,"song-shi-hua-niao-zhou-zhang-hui-lin-202480","松石花鸟轴","张撝麐","画面苍松虬曲，枝干以浓墨皴擦，纹理古拙；松针挺劲如戟，笔墨利落。梅枝穿插其间，粉蕊轻绽，清雅动人。两只喜鹊栖于枝上，神态鲜活，羽翼勾勒细腻，墨色浓淡相宜。树下灵芝吐艳，草叶丛生，野趣盎然。构图疏密有致，笔墨兼工带写，松的苍劲与梅的柔媚相映，喜鹊的灵动为画面注入生机。整体风格雅致，既有文人画的意趣，又具写生的生动，尽显自然生机与笔墨韵味。",[24,26,75,74,28,181,118,757,7,253,758],"喜鹊","工","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa026f928e4d692150a6548fba5722422.jpg",[],"af9572",{"id":763,"slug":764,"title":765,"dynasty":18,"author":766,"museum":439,"description":767,"tags":768,"thumbUrl":769,"material":60,"size":60,"collection":139,"collections":770,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":771},201949,"fu-lu-tu-zhou-zheng-dai-201949","福禄图轴","郑岱","古松苍劲盘桓，枝干如虬龙探空，松针细密若绒，尽显老木生机。双鹿依偎树侧，鹿身斑点匀净洁白，皮毛质感细腻如触，神态温驯灵动，似有亲昵之态。树下灵芝点缀，草叶丰茂，野趣盎然。整作以工笔细绘，设色淡雅清润，线条勾勒精准，动物造型写实传神，树木皴擦苍劲有力。松喻长寿，鹿谐“禄”音，灵芝兆祥瑞，三者相融，寄寓福禄绵长、寿考安康之美好祈愿，尽显清代吉祥题材画作之温婉意趣与精湛技艺。",[24,27,28,643,181,7,644,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fbec418a6a352ab9098590133f33cf5.jpg",[139],"937651",{"id":773,"slug":774,"title":775,"dynasty":18,"author":205,"museum":48,"description":776,"tags":777,"thumbUrl":779,"material":58,"size":59,"collection":60,"collections":780,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":286},270764,"lv-qi-miao-jin-shui-xian-ling-zhi-bian-fu-wen-guan-zong-hao-zhua-bi-yi-ming-270764","绿漆描金水仙灵芝蝙蝠纹管鬃毫抓笔","这枝抓笔是文房雅器中的精巧之作。沉敛的绿漆为底，描金纹饰灵动舒展：水仙绰约清雅，灵芝古拙温润，蝙蝠翩跹其间，纹样错落排布，将清隽文气与吉祥意趣相融。\n\n鬃毫攒簇紧实，锋颖饱满，兼顾实用与审美。漆色沉静内敛，金彩明丽鲜亮，冷暖色调相映成趣，将髹漆工艺与文房审美精妙糅合，藏着旧时文人案头的雅致意韵，尽显清代造物的细腻巧思。",[778,727,654,120,471,7,653],"笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0b0a6b94ab08844b59c73741d08c11c.jpg",[],{"id":782,"slug":783,"title":784,"dynasty":18,"author":205,"museum":48,"description":403,"tags":785,"thumbUrl":786,"material":58,"size":59,"collection":60,"collections":787,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":63},269472,"mu-bing-qian-ma-nao-qing-jin-shi-ling-zhi-wen-ru-yi-yi-ming-269472","木柄嵌玛瑙青金石灵芝纹如意",[271,391,363,362,7,605],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F504c015702e8f85d456a8ef741699242.jpg",[],{"id":789,"slug":790,"title":791,"dynasty":18,"author":205,"museum":48,"description":600,"tags":792,"thumbUrl":798,"material":58,"size":59,"collection":60,"collections":799,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":41},267210,"shi-qing-se-duan-kou-man-na-ling-zhi-shi-liu-fang-sheng-wen-tuo-yuan-he-bao-yi-ming-267210","石青色缎口满纳灵芝石榴方胜纹椭圆荷包",[605,793,794,7,795,796,797,363],"荷包","刺绣","石榴","方胜纹","缎面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc2e764d3d96b5009424385c8e19e3d4.jpg",[],{"id":801,"slug":802,"title":791,"dynasty":18,"author":205,"museum":48,"description":600,"tags":803,"thumbUrl":804,"material":58,"size":59,"collection":60,"collections":805,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":41},267209,"shi-qing-se-duan-kou-man-na-ling-zhi-shi-liu-fang-sheng-wen-tuo-yuan-he-bao-yi-ming-267209",[605,604,213,794,7,795,796,363,793],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946e7f8f8e516d47fb12acc69748011e.jpg",[],{"id":807,"slug":808,"title":809,"dynasty":18,"author":205,"museum":48,"description":810,"tags":811,"thumbUrl":813,"material":58,"size":59,"collection":60,"collections":814,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":815},264412,"pin-yue-se-duan-xiu-ling-zhi-jin-shou-zi-wen-pao-liao-yi-ming-264412","品月色缎绣灵芝金寿字纹袍料","绣法是以绣线横排，故名。如，特点是整齐、均匀，圆润；在绣叶瓣时，在中间分开，运用斜针成倒人字形；也有绣成中间针迹相交叠的形式；也可绣成中间作一钉线的绣法。排绣针法富有变化，刺绣出的花瓣、叶瓣得体逼真，用途较广。",[92,213,794,7,812,797,135],"寿字纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62f37edbf241432bf5e43cd9cc55d2fd.jpg",[],"2A56C6",{"id":817,"slug":818,"title":819,"dynasty":18,"author":205,"museum":48,"description":820,"tags":821,"thumbUrl":823,"material":58,"size":59,"collection":60,"collections":824,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":41},262095,"fen-cai-ling-shan-fu-hai-tu-wan-yi-ming-262095","粉彩灵山福海图碗","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。",[546,623,271,471,822,31,7,28],"海浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc978c5af483bc07e81f46716959f4603.jpg",[],{"id":826,"slug":827,"title":828,"dynasty":68,"author":205,"museum":48,"description":829,"tags":830,"thumbUrl":836,"material":58,"size":59,"collection":60,"collections":837,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":63},261364,"wan-li-kuan-wai-qing-hua-ling-zhi-chi-wen-nei-hong-lv-cai-hua-niao-wen-pan-yi-ming-261364","万历款外青花灵芝螭纹内红绿彩花鸟纹盘","青花瓷（blue and white porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[546,831,832,7,833,834,835],"青花","红绿彩","螭纹","花鸟纹","盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf183aa09138783f22c014afb1188ebb.jpg",[],{"id":839,"slug":840,"title":841,"dynasty":18,"author":205,"museum":48,"description":829,"tags":842,"thumbUrl":846,"material":58,"size":59,"collection":60,"collections":847,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":110},258919,"kang-xi-kuan-qing-hua-yun-fu-ling-zhi-wen-tuo-yuan-hua-pen-yi-ming-258919","康熙款青花云蝠灵芝纹椭圆花盆",[360,546,831,843,7,844,845],"云蝠","椭圆","花盆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F495cc84036efea485fd3175927262ffc.jpg",[],{"id":849,"slug":850,"title":851,"dynasty":18,"author":205,"museum":48,"description":852,"tags":853,"thumbUrl":854,"material":58,"size":59,"collection":60,"collections":855,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":41},258337,"yong-zheng-kuan-qing-hua-ling-zhi-shui-xian-wen-pan-yi-ming-258337","雍正款青花灵芝水仙纹盘","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。",[18,546,831,7,120,271],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ebc5e3c654c38c85716c732f89a8907.jpg",[],{"id":857,"slug":858,"title":859,"dynasty":18,"author":205,"museum":48,"description":860,"tags":861,"thumbUrl":865,"material":58,"size":59,"collection":60,"collections":866,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":286},257881,"bai-you-tu-hua-ling-zhi-zhu-ye-wen-pan-kou-ping-yi-ming-257881","白釉凸花灵芝竹叶纹盘口瓶","将不含金属氧化物呈色元素的釉料施于胎骨洁白的器物上，入窑高温烧制而成的透明釉， 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