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1591,31598,31605,31611,31618,31624,31631,31639,31646,31652,31659,31667,31674,31682,31689,31697,31705,31712,31719,31727,31734,31742,31752,31764,31773,31779,31785,31791,31797,31803,31809,31815,31821,31827,31835,31842,31849,31856,31863,31871,31878,31885,31893,31901,31908,31915,31922,31929,31937,31946,31953,31960,31968,31976,31983,31990,31998,32006,32014,32022,32029,32036,32043,32050,32057,32064,32071,32078,32084,32091,32100,32108,32115,32123,32130,32137,32145,32152,32159,32166,32173,32180,32187,32194,32202,32209,32217,32224,32231,32239,32247,32254,32261,32268,32275,32282,32290,32298,32305,32313,32321,32328,32335,32342,32349,32356,32363,32370,32377,32385,32394],{"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":40,"mainColor":41},214261,"yong-zheng-di-xing-le-tu-yi-ming-214261","雍正帝行乐图","清","佚名","北京故宫博物院","雍正帝行乐图是一幅作者不详的清代画作。这幅画作描绘了雍正帝在行乐时的场景。\n\n在这幅画作中，画家巧妙地捕捉了雍正帝在行乐时的气质。他用浓墨重彩的画法，勾勒出了雍正帝的容貌。他还用细腻的线条勾勒出了雍正帝的衣着和配饰，让人感受到了雍正帝的尊贵气质。\n\n此外，画家在这幅画作中还描绘了雍正帝行乐时的场景。他用色彩丰富的画法，描绘了雍正帝行乐时的景象。这些景色与雍正帝的尊贵气质形成了鲜明的对比，让人感受到了雍正帝在行乐时的辉煌景象。",[23,24,25,26,27,7,28,29,30,31,32],"高清","国画","设色","工笔","人物","山水","悬崖","波浪","云雾","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42fd4e631a84421cc17c1546ad52fc90.jpg","绢本,设色","34.9x31","人物画精选",[36],2811,8,0,"BDBDBD",{"id":43,"slug":44,"title":45,"dynasty":46,"author":47,"museum":48,"description":49,"tags":50,"thumbUrl":60,"material":61,"size":62,"collection":63,"collections":64,"showCount":67,"zanCount":68,"manualWeight":40,"mainColor":69},221457,"jiu-long-tu-juan-quan-juan-chen-rong-221457","九龙图卷全卷","宋","陈容","波士顿美术馆","这样一个伴随着中国国运兴衰的图腾，艺术家们自然不会错过，从商周青铜器上的龙纹，到马王堆汉墓帛画，龙的形象始终跟随着中国历史的发展，而未有太大变化。画龙本身也成为了一个著名的典故既是“画龙点睛”。根据唐朝张彦远《历代名画记 张僧繇》记载：“张僧繇于金陵安乐寺画四龙于壁，不点睛。每曰：“点之即飞去。”人以为妄诞，固请点之。须臾，雷电破壁，二龙乘云腾去上天，二龙未点眼者皆在。\n可惜张僧繇并无任何作品流传下来，但在南宋，却有另一位画龙的天才与他的神品之作《九龙图》，惜世人知之甚少。\n陈容，这是位被历史埋没了的天才。\n关于他的生平只有寥寥数语，陈容（约1200年–1266年），字公储，号所翁，籍贯有福建长乐、福唐、临川（江西）三种记载。\n在他53岁知天命的年纪，方才考中进士，而后上任福建莆田担任太守，曾为国子监主薄、官至朝散大夫，即五品文官。目前流传下来的作品寥寥，现藏于广东省博物馆的《云龙图》，《五龙图卷》成为东京国立博物馆的镇馆之宝之一，而最为著名的《九龙图》，在民国时流失海外，藏于美国波士顿美术馆，可惜可叹。\n据传陈容的龙，大多是在酒醉的情况下创作而成，画至忘我时，泼墨做云，喷水做雾。然后摘下头上的头巾，沾上墨水信手涂抹，最后以渴笔描绘龙的身体。但这并不代表陈容仅仅是一个整天酒醉，两耳不闻窗外事的文人，在他的龙画中，寄托着他的家国情怀。",[23,51,24,52,53,54,55,56,57,58,7,31,59],"名画","书画","长卷","水墨","书法","印章","写意","渲染","水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F690403e9d9f173b397b5b84a1217ee89.jpg","纸本","纵46.3厘米，横1096.4厘米","宋画精选",[63,65,66],"花鸟画精选","水墨画精选",1532,20,"795548",{"id":71,"slug":72,"title":73,"dynasty":46,"author":47,"museum":74,"description":75,"tags":76,"thumbUrl":82,"material":83,"size":84,"collection":63,"collections":85,"showCount":86,"zanCount":87,"manualWeight":40,"mainColor":88},218607,"long-tu-chen-rong-218607","龙图","藏地不详","画面中龙的身形矫健盘绕，怒目圆睁，龙须飞扬，利爪遒劲，似欲破壁而出。水墨晕染间，云雾翻腾如墨浪奔涌，海浪卷动若白练横江，虚实相生中尽显龙的雄奇与威严。陈容以豪放笔法勾勒龙身鳞片，兼用泼墨与细描，浓淡干湿变化丰富，将龙的灵动与力量凝于绢素。整幅画作气韵生动，既存宋画的精工，又具文人画的写意豪情，把龙的神髓刻画得入木三分，为后世画龙范式立下标杆，尽显南宋绘画的艺术张力。",[24,51,52,77,54,78,7,79,80,81,59],"立轴","皴法","兽","云","海浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a9c956b8342baede8049fcb2307ef8f.jpg","绢本,水墨","103x64",[63],1255,7,"37474F",{"id":90,"slug":91,"title":92,"dynasty":46,"author":47,"museum":93,"description":94,"tags":95,"thumbUrl":96,"material":83,"size":97,"collection":65,"collections":98,"showCount":99,"zanCount":100,"manualWeight":40,"mainColor":88},219263,"yun-long-tu-chen-rong-219263","云龙图","广东省博物馆","陈容是南宋画家,生卒年不详,其绘画很有特点。《云龙图》是一幅足以代表陈容艺术风格的佳作。画中绘有一气势非凡、腾空飞跃的巨龙,其凌厉的龙爪,飞扬的龙须, 突兀的眼睛,锋利的牙齿,粗壮强劲的躯体,无不揭示了这是一条充满力量和超凡脱俗功力的神化了的龙。画上有画家自题: “扶河汉,触华嵩。普厥施,收成功。骑元气,游太空。所翁作。”画上钤有几方收藏印章。",[24,51,52,77,54,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35519b25bbea9229aa8a1232b23672c8.jpg","纵201.5厘米 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扭曲的龙，正向上升腾。画中所绘的龙的形象，因初发现时龙的左足破损，只见右侧足，而一度被认为是夔，该作品也曾定名为《夔凤人物图》。 [1] 该画是中国现存最古老的帛画。",[24,52,214,109,25,27,7,215],"布料","凤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F875bb7f0c8c432a8d3b746c93c5ec5bd.jpg","绢本淡设色","纵31.2厘米，横23.2厘米",[],421,9,{"id":223,"slug":224,"title":225,"dynasty":46,"author":226,"museum":227,"description":228,"tags":229,"thumbUrl":230,"material":83,"size":119,"collection":66,"collections":231,"showCount":232,"zanCount":40,"manualWeight":40,"mainColor":88},216203,"mo-long-tu-mu-xi-216203","墨龙图","牧溪","美国克利夫兰艺术博物馆","《墨龙图》是一幅大型轴测图，画了许多墨龙和其他动物。这幅画是在宋代的牧溪创作的，他是当时著名的画家、书法家。《墨龙图》被认为是牧溪最著名的作品之一，具有极高的艺术价值。在画面中，牧溪用细腻的线条勾勒出了各种各样的墨龙，并用色彩丰富的技巧表现出了它们的生动形态。在这幅画中，牧溪还用简洁流畅的书法笔触写下了许多墨色的标题，使得整幅画更加美观。",[23,24,52,54,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F714c77b0db36c88aef70dba70858b677.jpg",[66],396,{"id":234,"slug":235,"title":236,"dynasty":46,"author":47,"museum":237,"description":238,"tags":239,"thumbUrl":241,"material":61,"size":242,"collection":63,"collections":243,"showCount":244,"zanCount":11,"manualWeight":40,"mainColor":69},221458,"wu-long-tu-juan-chen-rong-221458","五龙图卷","日本京都国立博物馆","理宗端平二年（1235）进士，知平阳县。时与名士论文讲艺，敷绎大义，士习以兴。曾为国子监主簿、福建莆田太守，官至朝散大夫。诗文豪壮，暇则游翰墨，善画龙，宝佑（1253-1258）间名重一时。画龙善用水墨，深得变化之意，泼墨成云，噀水成雾。特别是醉余大叫，脱巾濡墨信手涂抹，然后以笔成之，或全体，或一臂一首，隐约而不可名状者，皆得妙似。贾似道尝招致宾幕，醉辄狎侮之，贾不为忤。兼写松竹，学李煜“铁钩锁”法。晚年笔力简易精妙，绛色者可并董羽。偶亦画虎，勾染斑毛极工细。有赝本托以流传。现存美国波士顿博物馆之《九龙图》卷，恐是元人摹本。\n陈容于中国美术史上占有重要一席，“所翁龙”成为后人画龙的典范，倍受国人特别是明清以来画家们的追捧。甚至在日本，几百年来凡有龙图案的画亦绝大部分是仿效陈容。日本著名画家小泉淳作曾由衷地评价道：陈容的龙富有魅力，像真的一样活泼跳动，只有天才才会画出这样的画！\n顺便说一下，陈容不仅擅画龙，还擅长画松、竹、鹤，偶亦画虎，垂老笔力简易精妙，故世有‘所翁龙’、‘所翁鹤’和‘所翁竹’之称。在当时，达官显贵、文人骚客以能得到“所翁龙”而倍感荣幸。以玩弄权术、巧取豪夺而著称的奸臣宰相贾似道，一世搜刮金银珠宝、珍奇古玩无数，然他至死也未能讨到一幅“所翁龙”。",[23,51,24,52,53,54,78,7,190,240,31,59],"瀑布","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b9fcadd53a3ef596d12b6f0dd8824f3.jpg","45.2×299.5",[63,194,66],374,{"id":246,"slug":247,"title":248,"dynasty":18,"author":249,"museum":20,"description":250,"tags":251,"thumbUrl":259,"material":260,"size":261,"collection":36,"collections":262,"showCount":263,"zanCount":11,"manualWeight":40,"mainColor":69},222724,"qian-long-huang-di-chao-fu-xiang-lang-shi-ning-222724","乾隆皇帝朝服像","郎世宁","画中的乾隆皇帝慈眉善目，端庄大方，透露着一国之君的威严。郎世宁所画的肖像画，都有着造型准确，并富有立体感的特点;同时为了适合东方民族的欣赏习惯与审美心理，在画面光线的运用上，一律取正面光照，从而使人物面部五官都处在明亮部位，观之非常清晰。\n该作品是根据清代宫廷礼制的需要，每位皇帝、皇后以及主要的嫔妃都画有穿戴整齐的朝服像，这些作品华丽工细，格式相似。此幅即是郎世宁为乾隆皇帝所画的朝服像。",[23,25,252,26,27,7,253,254,255,256,257,258],"油画","笔","墨","纸","砚","衣帽","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ea3a27eb07c0608d6f69acd2f551812.jpg","绢本 设色","52cmx35cm",[36],318,{"id":265,"slug":266,"title":267,"dynasty":18,"author":19,"museum":268,"description":269,"tags":270,"thumbUrl":273,"material":34,"size":274,"collection":65,"collections":275,"showCount":276,"zanCount":40,"manualWeight":40,"mainColor":69},216676,"long-bao-tu-yi-ming-216676","龙豹图","私人收藏","龙豹图是清朝时期的一幅画作，画中描绘了龙和豹子在一起的情景。这幅画通常被认为是一幅象征着力量、权威和尊严的画作。它的作者不详，因此被称为佚名。这幅画通常被收藏在博物馆或私人收藏家手中。",[23,51,24,52,25,26,54,7,271,79,190,272,31],"豹","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd29cbd30f1bf0791c595f6774cc1116d.jpg","87x82cm",[65],306,{"id":278,"slug":279,"title":280,"dynasty":46,"author":47,"museum":281,"description":282,"tags":283,"thumbUrl":284,"material":285,"size":286,"collection":65,"collections":287,"showCount":288,"zanCount":148,"manualWeight":40,"mainColor":69},219265,"xi-zhu-long-tu-chen-rong-219265","戏珠龙图","苏宁博物馆","墨色淋漓间，矫健龙身腾跃于云雾之中，鳞爪飞扬，气势磅礴。龙首昂扬，双目炯炯，似与宝珠相戏，动感十足。画家以浓淡干湿的笔墨变化，勾勒出龙的刚劲体态与云雾的缥缈朦胧，虚实相生间尽显龙的威严与神秘。画面中题跋与印章错落，承载着历史印记，更添古朴厚重之感。整幅作品将龙的祥瑞之气与艺术的笔墨神韵融为一体，是传统龙题材绘画中的经典之作，尽显东方美学的独特魅力。",[51,24,52,53,54,7,31,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc419787f4a611822757835e84e90923c.jpg","纸本,水墨","纵32.5横237.5厘米",[65],258,{"id":290,"slug":291,"title":292,"dynasty":46,"author":293,"museum":126,"description":294,"tags":295,"thumbUrl":296,"material":83,"size":297,"collection":36,"collections":298,"showCount":299,"zanCount":40,"manualWeight":40,"mainColor":69},219606,"cheng-long-tu-ma-yuan-219606","乘龙图","马远","本幅画中人物为一老者，其鼻长，面相上谓为老龙相，此与马远时之皇帝宁宗，其面相之特征亦为老龙像。故宫所藏〈宁宗像〉，亦足证名此项面貌特征。按《庄子•天地》篇：「千岁厌世，去而上仙，彼乘白云，至于帝乡。」又《史记•封禅书》：「黄帝采首山铜，铸鼎于荆山下；鼎既成，有龙垂胡髯下迎黄帝，黄帝上骑，群臣后宫从上者七十余人，龙乃上去；余小臣不得上，乃悉持峦龙髯，龙髯拔坠，堕黄帝之弓，百官始仰望，黄帝既上天，乃抱其弓与胡髯号。」故后世皇帝死升天，上天乘龙。皇帝死曰「宾天」，宋代皇室信仰道教，作此图画是可从此道理连想。",[23,24,52,77,109,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4da643835190212f952accdd55118302.jpg","本幅 108.1x52.6公分、全幅 54公分",[36],243,{"id":301,"slug":302,"title":303,"dynasty":18,"author":19,"museum":74,"description":304,"tags":305,"thumbUrl":311,"material":119,"size":119,"collection":312,"collections":313,"showCount":314,"zanCount":135,"manualWeight":40,"mainColor":69},241695,"qian-long-kuan-fei-cui-long-wen-bei-pan-yi-ming-241695","乾隆款翡翠龙纹杯盘","翠色深浅晕染，黄褐俏色点缀其间，莹润质地尽显良玉本真。杯身浅镌游龙，隐于翠色间灵动威严，双螭耳蜷曲灵动，承托出古雅器型。杯下莲座饱满圆润，与盘心凸台恰好契合，花口盘沿婉转柔媚，底承矮足稳重大方。整器工艺精湛，纹饰布局疏朗有度，将玉石温润与皇家威仪相融，既有规整精工，亦见玉料天然意趣，静穆雅致中暗含华贵气韵，是玉作与审美完美相融的佳器。",[306,307,158,25,7,308,309,310],"清代","玉石","龙纹","器","饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4170c06cfec24a43e268f384a93c23e1.jpg","玉器精选",[312],239,{"id":316,"slug":317,"title":318,"dynasty":105,"author":19,"museum":319,"description":320,"tags":321,"thumbUrl":325,"material":117,"size":118,"collection":119,"collections":326,"showCount":327,"zanCount":328,"manualWeight":40,"mainColor":41},226215,"ku-zhu-shi-zao-jing-yi-ming-226215","窟主室藻井","敦煌","莫高窟，俗称千佛洞，坐落在河西走廊西端的敦煌。它始建于前秦宣昭帝苻坚时期，后历经北朝、隋朝、唐朝、五代十国、西夏、元朝等历代的兴建，形成巨大的规模，有洞窟735个，壁画4.5万平方米、泥质彩塑2415尊，是世界上现存规模最大、内容最丰富的佛教艺术地。\n1961年，莫高窟被中华人民共和国国务院公布为第一批全国重点文物保护单位之一。1987年，莫高窟被列为世界文化遗产。\n莫高窟与河南洛阳龙门石窟、山西大同云冈石窟并称中国三大石窟，后加麦积山石窟称四大石窟。 2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[51,24,322,112,26,25,7,323,324],"壁画","花卉","卷草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9523ba3f8abaac0ac6ff9edee579d76d.jpg",[],212,6,{"id":330,"slug":331,"title":332,"dynasty":333,"author":334,"museum":126,"description":335,"tags":336,"thumbUrl":337,"material":285,"size":338,"collection":36,"collections":339,"showCount":340,"zanCount":341,"manualWeight":40,"mainColor":41},214252,"luo-han-tu-li-yu-214252","罗汉图","明","李遹","罗汉图是明代画家李遹的一幅代表作。这幅画作描绘了罗汉的神圣形象。\n\n罗汉是佛教中的神，被认为是佛教徒的保护神。在这幅画作中，李遹巧妙地捕捉了罗汉的神圣形象。他用浓墨重彩的画法，勾勒出了罗汉的宏伟身形。他还用细腻的线条勾勒出了罗汉的面容，让人感受到了罗汉的慈祥和仁慈。\n\n此外，李遹在这幅画作中还描绘了罗汉周围的景色。他用色彩丰富的画法，描绘了罗汉周围的山川和河流。这些景色与罗汉的神圣形象形成了鲜明的对比，让人感受到了自然与神的和谐统一。\n\n总之，罗汉图是一幅精美的画作，描绘了罗汉的神圣形象。它让我们感受到了明代画家李遹对佛教的崇敬之情，也让我们感受到了明代文化的魅力。\n\n在这幅画作中，李遹运用了丰富的色彩和细腻的线条，将罗汉的神圣形象展现得淋漓尽致。他还用精美的画法描绘了罗汉周围的景色，让人感受到了自然与神的和谐统一。\n\n罗汉图是明代文化中的经典之作，也是李遹的代表作之一。它不仅展现了李遹的艺术才华，也是一幅能够唤起人们对佛教的崇敬之情的画作。",[23,24,52,112,109,54,27,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F120eeb39e103b48205756344a5362f0a.jpg","56.6x32.6",[36],209,2,{"id":343,"slug":344,"title":345,"dynasty":18,"author":249,"museum":20,"description":346,"tags":347,"thumbUrl":348,"material":349,"size":350,"collection":36,"collections":351,"showCount":353,"zanCount":11,"manualWeight":40,"mainColor":354},222796,"yong-zheng-chao-fu-xiang-zhou-lang-shi-ning-222796","雍正朝服像轴","此幅画面上雍正皇帝身着明黄色彩云金龙夏朝服，头戴夏朝冠，顶贯珠三重，冠前饰金佛。胸前佩戴东珠朝珠，其上间系绿松石纪念三串，腰系朝带，足蹬石青色朝靴，这是雍正皇帝参加盛大典礼时的服饰。此图用笔工整精致，色彩华丽鲜艳，人物神态端庄威严，是宫廷画家精心创作的皇帝肖像画。从“冠上无梁”（“梁”为清帝朝冠顶座左右两侧的n形装饰，雍正晚期出现）的装饰风格看，当属雍正早期的绘画作品。\n一代冠服自有一代之制。清代满族统治者传承中国古代传统文化的精髓，把“衣作绣，锦为缘”、“续衽钩边”和“朝服祭服，襞积（朝袍腰部叠褶处称襞积）无数”这些中国古代服饰的传统形制与带有满民族风格的“披肩领”和“马蹄袖”巧妙地结合起来，不仅彰显了其“马上得天下”的辉煌历史，同时亦注重到实用性，并最终使其制度化，成为中国古代服饰制度改革中的典型范例。\n清代冠服制度规定：朝服分蓝、红、月白、明黄四种颜色，根据不同的礼仪功能和场合穿用不同颜色的朝服。祭天穿蓝色，祭日穿红色，祭月穿月白色，而明黄色朝服一般用于典礼（登基、元旦、万寿、金殿传胪、颁诏受贺等）和祭祀（祭太庙、先农坛、社稷坛、先师孔子、历代帝王等）活动。典礼和祭祀穿着的明黄色朝服又有区别，典礼朝服衣袖为石青色，而祭祀朝服衣袖为明黄色。",[23,25,26,27,7,257,214,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f084389b4a5403ca87fac736d099533.jpg","绢本，设色","纵277厘米，横143厘米",[36,352],"设色画精选",207,"FDD835",{"id":356,"slug":357,"title":358,"dynasty":46,"author":359,"museum":185,"description":360,"tags":361,"thumbUrl":362,"material":285,"size":363,"collection":36,"collections":364,"showCount":365,"zanCount":341,"manualWeight":40,"mainColor":41},218627,"hua-yan-jing-bian-tu-li-gong-lin-218627","华严经变图","李公麟","华严的意思是：华 是比喻达到一切功德圆满的果位，所以，佛陀时代的深层意义的果位被 严 所装饰，那么就叫佛陀华严。经 是可以解释的教学。华严经》是佛陀成佛后第二天在菩提树下由文殊菩萨、普贤菩萨和其他高级菩萨宣讲的佛陀内在真理的教义。按照《华严经》画的七八或七九会，被称为华严变奏曲，是这幅画的主题。",[23,51,24,52,53,112,109,27,7,56,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0192474c5d3ca959fdaab930f638a005.jpg","34.6x1244",[36],201,{"id":367,"slug":368,"title":369,"dynasty":46,"author":47,"museum":370,"description":371,"tags":372,"thumbUrl":374,"material":285,"size":375,"collection":65,"collections":376,"showCount":377,"zanCount":148,"manualWeight":40,"mainColor":69},218750,"yun-xing-yu-shi-tu-chen-rong-218750","云行雨施图","美国大都会艺术博物馆","这幅无名画据说是宋代著名龙画家陈容的作品，与波士顿博物馆的标准九龙图相比，它最接近波士顿博物馆的收藏。两条龙盘踞在岩石间的缝隙中，墨色苍白而古老，笔触滴水不漏。这幅画可以说是陈所翁画派的一个精品。",[23,24,52,53,54,78,7,373,190,80,56],"树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa093ef59801c36ccbbb03de72275687d.jpg","40x180cm",[65],196,{"id":379,"slug":380,"title":381,"dynasty":46,"author":19,"museum":20,"description":382,"tags":383,"thumbUrl":386,"material":387,"size":388,"collection":63,"collections":389,"showCount":390,"zanCount":11,"manualWeight":40,"mainColor":69},223549,"luo-shen-fu-tu-quan-juan-yi-ming-223549","洛神赋图全卷","曲折細緻而又層次分明地描繪着曹植與洛神真摯純潔的愛情故事。人物安排疏密得宜，在不同的時空中自然地交替、重疊、交換，而在山川景物描繪上，無不展現一種空間美。 全畫用筆細勁古樸，恰如“春蠶吐絲”。山川樹石畫法幼稚古樸，所謂“人大於山，水不容泛”，體現了早期山水畫的特點。",[23,24,53,26,25,109,27,130,28,143,7,144,189,190,384,385,31],"楼阁","马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f91a02ada093698df90828a9cfe6c6.jpg","长卷 绢本 设色","28x699厘米",[63,36,352],192,{"id":392,"slug":393,"title":394,"dynasty":46,"author":47,"museum":126,"description":395,"tags":396,"thumbUrl":397,"material":83,"size":398,"collection":65,"collections":399,"showCount":400,"zanCount":40,"manualWeight":40,"mainColor":69},219210,"lei-yu-sheng-long-tu-chen-rong-219210","雷雨升龙图","陈容于中国美术史上占有重要一席，“所翁龙”成为后人画龙的典范，倍受国人特别是明清以来画家们的追捧。甚至在日本，几百年来凡有龙图案的画亦绝大部分是仿效陈容。日本著名画家小泉淳作曾由衷地评价道：陈容的龙富有魅力，像真的一样活泼跳动，只有天才才会画出这样的画！\n顺便说一下，陈容不仅擅画龙，还擅长画松、竹、鹤，偶亦画虎，垂老笔力简易精妙，故世有‘所翁龙’、‘所翁鹤’和‘所翁竹’之称。在当时，达官显贵、文人骚客以能得到“所翁龙”而倍感荣幸。以玩弄权术、巧取豪夺而著称的奸臣宰相贾似道，一世搜刮金银珠宝、珍奇古玩无数，然他至死也未能讨到一幅“所翁龙”。",[23,24,52,51,53,54,7,80,190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517aa1aaeada469a2fccc91ffd164825.jpg","纵29.6横56.6cm",[65],181,{"id":402,"slug":403,"title":404,"dynasty":333,"author":19,"museum":405,"description":406,"tags":407,"thumbUrl":409,"material":34,"size":410,"collection":36,"collections":411,"showCount":412,"zanCount":40,"manualWeight":40,"mainColor":69},218294,"xiang-long-luo-han-tu-yi-ming-218294","降龙罗汉图","美国弗利尔美术馆","罗汉袒胸盘坐，红衣如焰翻卷，青带若云流转，神情从容间藏着威严。手中钵盂盛翠，似凝天地生机；法杖拄地，顶轮熠熠，似镇世间妄念。足下蛟龙蜷身，鳞爪毕现却温顺俯首，龙须轻摆仍余灵动，尽显降伏之态。背景幽岩深暗，衬出主体鲜活。线条劲健流畅，衣纹褶皱如行云流水；设色浓淡相宜，红与蓝的碰撞点亮画面。整作将罗汉法力无边与慈悲相济凝于笔端，龙的驯服更显佛法庄严，尽显明代佛画的精湛造诣与精神内核，观之令人心生敬畏与宁静。",[24,112,27,7,25,26,77,190,408],"拐杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8bcc5483184976244b0b04126d77aa8.jpg","172.2x109.2",[36],179,{"id":414,"slug":415,"title":416,"dynasty":46,"author":47,"museum":74,"description":417,"tags":418,"thumbUrl":419,"material":119,"size":119,"collection":119,"collections":420,"showCount":421,"zanCount":40,"manualWeight":40,"mainColor":69},227690,"mo-long-tu-juan-chang-juan-chen-rong-227690","墨龙图卷(长卷)","理宗端平二年（1235）进士，知平阳县。时与名士论文讲艺，敷绎大义，士习以兴。曾为国子监主簿、福建莆田太守，官至朝散大夫。诗文豪壮，暇则游翰墨，善画龙，宝佑（1253-1258）间名重一时。画龙善用水墨，深得变化之意，泼墨成云，噀水成雾。特别是醉余大叫，脱巾濡墨信手涂抹，然后以笔成之，或全体，或一臂一首，隐约而不可名状者，皆得妙似。贾似道尝招致宾幕，醉辄狎侮之，贾不为忤。兼写松竹，学李煜“铁钩锁”法。晚年笔力简易精妙，绛色者可并董羽。偶亦画虎，勾染斑毛极工细。有赝本托以流传。现存美国波士顿博物馆之《九龙图》卷，恐是元人摹本。",[23,51,24,53,54,7,80,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeade678f60985fee28594e370dca39b.jpg",[],172,{"id":423,"slug":424,"title":425,"dynasty":426,"author":427,"museum":20,"description":428,"tags":429,"thumbUrl":430,"material":349,"size":431,"collection":36,"collections":432,"showCount":421,"zanCount":135,"manualWeight":40,"mainColor":69},221827,"long-gong-shui-fu-tu-zhu-yu-221827","龙宫水府图","元","朱玉","此图取材于唐人小说《柳毅传》中“柳毅传书”的情节，描述洞庭龙王之女饱受丈夫虐待，在泾河岸边牧羊，秀才柳毅偶遇龙女，仗义为之传书，终使龙女得救的故事。作者选取柳毅下马揖见、龙王率众侍从出门迎请的一瞬，大不盈尺的画面充满了情节性和戏剧性。龙王宫阙上下翻腾起伏的海浪交代出与凡间迥异的环境，柳毅的平静与龙王的恭谨成功地刻画出人物的性格和心态，而画面上端的一片空白，迷濛苍茫，似云似雾，延展了画意，营造了意境。宫阙的描绘虽然用直尺界笔，但造型简括准确，线条粗放有力，异于元代流行的工谨精细的白描建筑画之风。\n《石渠宝笈三编·乾清宫》著录。",[23,24,25,26,56,27,7,385,59,384,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90d2e44d7f8f6c34cd2ea480ccffe619.jpg","纵45.6厘米，横43.3厘米",[36,352],{"id":434,"slug":435,"title":436,"dynasty":105,"author":437,"museum":438,"description":439,"tags":440,"thumbUrl":443,"material":34,"size":444,"collection":36,"collections":445,"showCount":446,"zanCount":87,"manualWeight":40,"mainColor":69},220267,"wu-xing-er-shi-ba-xiu-shen-xing-tu-liang-ling-zan-220267","五星二十八宿神形图","梁令瓒","日本大阪市立美术馆","此图原分为上下两卷，前半卷画五星，后画二十八宿。此图现只存在五星及“角”至“危”十二宿神形，计17图，应当为上卷。星宿一般都与占卜相关联，而此图将天文，传说和世俗理念组为一体，独树一帜，形成了一种独特的艺术形式。每个星、宿各作一图，或老人，或描绘成女像，或是画成怪异的形象。有的人物骑着牛，有的手中拿着器物，面部特征与表情也各有不同。设色以黄色为基调，另有朱、青、绿、黑各色配合。衣褶、人体和兽身都采用晕染法，稍有立体感。",[23,51,24,52,53,112,26,25,109,27,441,385,79,7,442],"牛","兔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e3c8239f23b32915d34a24fb6fe3187.jpg","纵27.5厘米，横489.7厘米",[36],167,{"id":448,"slug":449,"title":450,"dynasty":426,"author":451,"museum":93,"description":452,"tags":453,"thumbUrl":466,"material":61,"size":467,"collection":468,"collections":469,"showCount":470,"zanCount":148,"manualWeight":40,"mainColor":41},220890,"lou-shi-ming-zhao-meng-fu-220890","陋室铭","赵孟頫","赵孟頫 行书《陋室铭》卷共19行，计86字。像是原由册装裱成卷。款署“子昂”，钤“赵氏子昂”朱文方印、“松雪斋”朱文长方印。该卷录书唐刘禹锡《陋室 铭》全文。通篇字形扁方，结体方阔，间架疏朗，方整平正，用笔方圆并举，以方笔居多，转折处见棱见角。法度谨严，字势宽博开张，气度平和雍容，雄浑大气。 笔力厚重，笔画丰肥，笔法坚实，稳重遒劲，意态古朴生拙。书写时楷中兼有行意，在严整中增加了几分灵动。王连起先生看后认为这是赵氏较早年的作品。\n关于他的书风的分期，广为人知的莫过于明代宋濂在跋赵孟頫《浮山远公传》时所谓的“三段论”：“赵魏公之书凡三变，初临思陵，中学锺繇及羲、献，晚乃学李北 海”，其中“思陵”指宋高宗赵构。宋濂的这种论断被后来的很多鉴藏家和评论家所认同。现以广东省博物馆所藏行书《陋室铭》为例，解读其早年书风。\n行 书《陋室铭》卷本原为纸本挂轴，后来经蓑衣裱，改为纵49厘米、横131厘米的手卷，作者署穷款“子昂”，钤朱文方印“赵氏子昂”，引首钤朱文长方印“松 雪斋”。另有白文收藏印“竹隐王氏从龙子云章”。赵孟頫常用印中，有一方铜质的朱文方印“赵氏子昂”，即此卷中所钤印。\n该印在赵孟頫三十三岁时有所缺损， 因此成为判断赵氏书画创作时间的一个重要标志。书画鉴定家刘九庵认为此印在未损以前四周边际乃是横平竖直，该卷中此印尚与此一致，据此则该卷当为其早年所 书。在赵孟頫传世的署有年款的作品中，一些创作于三十岁左右的行书作品与此《陋室铭》卷风格较为接近，其间架结构、运笔及笔势均多有相似之处。因此，虽然 此卷并无纪年，从印章、署款和书风看，应该是赵氏三十岁左右的代表作品。\n从书风看，该卷与宋高宗书法在笔道、结体上有很多继承之处。在《陋室铭》中，不难看出，赵孟頫早年与古为徒，结字扁平，气势端秀，在宋高宗的基础上融入己 意，但这种“己意”是非常有限的，有些笔划、结体还显得有些稚嫩，以至于其艺术性与中晚年的作品相比要大打折扣。当然，在后来的临习古人中，他博采多家， 兼收并蓄，逐渐形成自己的风格，从而走出古人的阴影，成为一代大家。从这件作品我们可以看出他早年在艺术上的探索，从这点而论，其意义及其在赵氏艺术史上 的地位，是非同寻常的。\n原文：山不在高，有仙则名。水不在深，有龙则灵。斯是陋室，惟吾德馨。苔痕上阶绿，草色入帘青。谈笑有鸿儒，往来无白丁。可以调素琴，阅金经。无丝竹之乱耳，无案牍之劳形。南阳诸葛庐，西蜀子云亭。孔子云：“何陋之有？”",[23,55,454,455,456,457,458,59,7,459,460,461,462,463,464,465],"行书","墨迹","笔法圆润","结体秀逸","山","仙","琴","丝竹","苔痕","草色","帘","经卷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe59291b947749ed8209ca5142e795263.jpg","纵49厘米、横131厘米","书法精选",[468],156,{"id":472,"slug":473,"title":474,"dynasty":46,"author":475,"museum":126,"description":476,"tags":477,"thumbUrl":481,"material":34,"size":482,"collection":63,"collections":483,"showCount":484,"zanCount":135,"manualWeight":40,"mainColor":41},218926,"tian-zhong-shui-xi-tu-li-song-218926","天中水戏图","李嵩","这幅画表现的是一艘用金色画成的巨大龙舟，上面有雕梁画栋和花窗装饰，宏伟而精致。龙头高耸，眉毛突出，张牙舞爪，舌头张开，船身密布鳞片，船尾高度弯曲上翘，给人一种威严的形象。",[23,24,51,52,478,479,25,26,384,7,143,480],"册","界画","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4cc9b39f9dfd96d1ccdd35955b36a94.jpg","24.5x25.1",[63],154,{"id":486,"slug":487,"title":488,"dynasty":46,"author":47,"museum":126,"description":489,"tags":490,"thumbUrl":491,"material":492,"size":119,"collection":63,"collections":493,"showCount":494,"zanCount":40,"manualWeight":40,"mainColor":69},219648,"hua-long-tu-chen-rong-219648","画龙图","此作用墨晕染出翻涌浓云，神龙隐现其间，或露利角锐爪，或显虬劲龙身，虚实相生间，将神龙见首不见尾的玄妙尽显。龙纹勾勒雄健苍劲，鳞爪细节锋芒暗藏，裹挟着磅礴威压，仿佛只需振鳍摆尾，便要冲破云烟扶摇直上。\n墨色浓淡铺陈得宜，云雾的氤氲空濛与龙身的沉凝质感相互映衬，把龙的神性与威仪藏在晦暝云气之中，营造出幽邃缥缈的天地灵韵，尽显笔下神兽的不凡风骨。",[24,52,53,54,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fb84b5cd562245554495403c27198d7.jpg","绢本",[63],151,{"id":496,"slug":497,"title":498,"dynasty":499,"author":19,"museum":74,"description":500,"tags":501,"thumbUrl":505,"material":117,"size":118,"collection":119,"collections":506,"showCount":507,"zanCount":11,"manualWeight":40,"mainColor":41},290029,"long-hu-tu-ping-feng-yi-ming-290029","龙虎图屏风","不详","左屏苍龙穿云破浪，墨色晕开翻涌云水，鳞爪张弛间尽显遒劲威严，龙神腾跃于江海云雾，动静间裹挟磅礴气势。右屏玄豹踞于苍松危岩，身姿沉凝雄健，斑纹写实灵动，山涧飞瀑与留白云雾衬出山野幽寂，静穆中暗藏猛兽蛰伏的张力。\n\n整作以水墨晕染写意，留白营造空濛禅意，笔力苍劲老辣，将神兽威仪与山水意境相融，尽显东方水墨走兽画的古典意韵。",[23,24,54,502,7,503,80,81,504,190,240],"屏风","虎","竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bf2facc69f5f4dd4ac4b11950993457.jpg",[],147,{"id":509,"slug":510,"title":511,"dynasty":333,"author":19,"museum":126,"description":512,"tags":513,"thumbUrl":514,"material":34,"size":515,"collection":36,"collections":516,"showCount":517,"zanCount":341,"manualWeight":40,"mainColor":41},216959,"ming-tai-zu-ban-shen-xiang-yi-ming-216959","明太祖半身像","这幅画表现了朱元璋的壮年时期，他的脸几乎是正面的。他的脸是红色和紫色的，留着短胡须，眼睛有光泽，采取坐姿，双手自然放在膝盖上，暗示着一种权力和力量的感觉。他头上戴着头巾，穿着带有龙纹图案的明黄色御用长袍，腰间系着蟒蛇腰带，脚穿皂靴，看起来就像一个统治世界的国王。",[24,26,25,27,7,257],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23e1c716274a71c68d6b068424ee8dfa.jpg","270x163.6",[36],144,{"id":519,"slug":520,"title":521,"dynasty":522,"author":19,"museum":74,"description":523,"tags":524,"thumbUrl":525,"material":117,"size":118,"collection":119,"collections":526,"showCount":527,"zanCount":40,"manualWeight":40,"mainColor":69},223862,"pan-long-wen-pan-yi-ming-223862","蟠龙纹盘","商","圆腹圈足，足下有外凸圈足座。盘面饰龙纹蟠绕于中心，蟠龙外围有鱼纹、夔龙纹及鸟纹围绕。盘外面上层饰夔纹，上有如棱脊的平面纹饰；圈足上饰俯首夔纹，下有如棱脊的平面纹饰。纹饰在盘面的布局与母题基本上与妇好盘(M5:777)近。盘外有一小环及二小环，各对准盘面大龙首的上下鼻梁，共形成一中轴线。与之相交的另一中轴线，左右上下有兽首。考古资料显示，商代墓葬出土有水器盘者并不普遍，在殷墟中期时它似局限在稍大型且铜容器较多的墓葬。",[156,157,158,7,79,161],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffeef9dc1d0c890a9e966f80d194f5098.jpg",[],140,{"id":529,"slug":530,"title":531,"dynasty":333,"author":19,"museum":126,"description":532,"tags":533,"thumbUrl":534,"material":34,"size":535,"collection":36,"collections":536,"showCount":537,"zanCount":341,"manualWeight":40,"mainColor":69},218526,"fo-xiang-tu-yi-ming-218526","佛像图","这些天人各自手持法器，被他们的同伴骑着并护送着，他们都面朝右边，坐在天空的云朵上，可能是一组描绘天人聆听佛陀教诲的佛画的一部分。三面六臂的力士可能是来自八大天师的阿修罗；持剑的武士和美女是罗刹，罗刹是十二天之一，原本是异教的恶魔，被降服后成为佛教的保护者。整块画板用薄薄的颜料描绘了天人的肌肉，他们的袖子卷起又折起的样子，大多是兰花叶的样式，是吴道子以来专业画家的风格。这幅画的衣服上也有丰富的金色和钩纹装饰，颜料也有很多地方是泥金的。从这幅画的风格来看，它是在15世纪明朝时期绘制的。",[23,24,52,77,26,25,112,27,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd052330f7cc5224c48e44b4f0a6b3ba9.jpg","143.7x81.5",[36],137,{"id":539,"slug":540,"title":488,"dynasty":333,"author":541,"museum":185,"description":542,"tags":543,"thumbUrl":544,"material":34,"size":545,"collection":194,"collections":546,"showCount":547,"zanCount":11,"manualWeight":40,"mainColor":69},219811,"hua-long-tu-wu-wei-219811","吴伟","吴伟（1459年—1508年），字次翁，又字士英、鲁夫，号小仙，江夏（今湖北武汉）人，明代著名画家。画院待诏，孝宗时授锦衣卫百户及赐“画状元”的图章。龆龄流落至海虞（今江苏常熟），收养于钱昕家，伴其子读，时窃弄笔墨，画山水人物之状，钱见而奇之，曰：“若作画工耶？”即与笔札厚给养之。弱冠至金陵画名遂起。",[23,24,54,77,27,7,28,373,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccae79785c4f93074462241752e72c09.jpg","139.5x94cm",[194],135,{"id":549,"slug":550,"title":551,"dynasty":46,"author":47,"museum":74,"description":417,"tags":552,"thumbUrl":553,"material":119,"size":119,"collection":119,"collections":554,"showCount":555,"zanCount":40,"manualWeight":40,"mainColor":69},227688,"shi-yi-long-tu-chen-rong-227688","十一龙图",[23,51,24,52,53,54,78,7,28,31,190,189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bd37fa557531a1ee4607705596250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字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[23,51,24,52,53,26,25,27,111,7,79,55,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4967584eda0c680dc86ba4f997b558d.jpg",[],72,{"id":810,"slug":811,"title":104,"dynasty":46,"author":19,"museum":74,"description":812,"tags":813,"thumbUrl":814,"material":119,"size":119,"collection":119,"collections":815,"showCount":816,"zanCount":341,"manualWeight":40,"mainColor":69},223655,"song-zi-tian-wang-tu-yi-ming-223655","此作为白描神品，以铁线描、兰叶描交错挥写，尽显吴带当风的流动韵致。\n画卷起首帝后侍从环侍，仪度端雅雍容；继而护法神将狞猛威严，流云焰气翻卷烘托出天界的诡谲神圣；中段天女执器缓行，身姿柔婉静穆；后段天王安坐肃穆，诸鬼神环伺拱卫，末了瑞兽载仙疾驰，灵动飞扬。\n全卷人物身份鲜明，神情各殊，帝王的沉凝、天女的温婉、神将的凶戾皆刻画入微，线条或刚劲如铁、或飘逸如丝，将天界仪卫的盛大庄严铺陈尽致，虽为摹本，依旧留存原作神采，是水墨线描的绝佳范本。",[23,51,24,52,53,109,112,27,7,79,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1875d213531142bdb5f15a8d47809ba.jpg",[],68,{"id":818,"slug":819,"title":820,"dynasty":333,"author":19,"museum":74,"description":821,"tags":822,"thumbUrl":824,"material":117,"size":118,"collection":119,"collections":825,"showCount":826,"zanCount":341,"manualWeight":40,"mainColor":69},287341,"fang-chen-rong-shen-long-jiu-xian-tu-yi-ming-287341","仿陈容神龙九现图","整卷以九龙为芯，龙躯腾挪翻涌于青绿云水间，或隐没于云涛，或怒破水浪，鳞爪遒劲灵动，尽显神威雄奇。古绢带着岁月晕染的斑驳，青绿与墨色交融晕开，将神龙谲变幻化的身姿描摹得栩栩如生。\n\n后附题跋行书笔意跌宕，笔墨苍劲老辣，诗文咏叹龙姿神韵，与画作相得益彰，书画合璧，复刻出沉雄气势。装裱古朴雅致，卷间流转着古雅厚重的气韵，尽显传统龙题材绘画的精妙造诣，兼具视觉张力与文人意趣。",[23,53,24,52,7,129,25,55,823,111],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05d908008b19b2e6f55501a6f863f5f4.jpg",[],66,{"id":828,"slug":829,"title":830,"dynasty":46,"author":19,"museum":74,"description":831,"tags":832,"thumbUrl":834,"material":119,"size":119,"collection":163,"collections":835,"showCount":836,"zanCount":40,"manualWeight":40,"mainColor":88},243043,"pan-she-wen-zun-yi-ming-243043","蟠蛇纹尊","双蛇共身盘绕承托尊体，兽首双目圆睁，吻部昂然前探，威严中带着灵动生气。蛇身满布细密鳞纹，与尊身纹饰上下呼应。器腹两侧衔环铺首，浅浮雕的回环兽面纹古朴庄重，复刻出商周青铜的浑朴大气。\n\n青绿铜锈晕染出厚重岁月感，整体形制精巧，将上古青铜的狞厉之美，揉入雅致审美，古拙与精工相融，尽显对三代礼制美学的追慕与再创造，是仿古铜器中的妙品。",[156,157,158,833,7,161,46],"蟠蛇纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faff111390577f1a1bff92addd9674c02.jpg",[163],64,{"id":838,"slug":839,"title":840,"dynasty":841,"author":19,"museum":74,"description":842,"tags":843,"thumbUrl":845,"material":117,"size":118,"collection":119,"collections":846,"showCount":847,"zanCount":148,"manualWeight":40,"mainColor":69},223703,"long-wen-huan-yi-ming-223703","龙纹环","汉","汉代是龙纹造型的真正定型期，在形式上达到了一个空前的高度，这一历史背景也充分反映在汉代玉器龙纹上。我们看到，汉代玉龙一改战国时期那种自由奔放、生机勃勃、姿态万千的特点，而逐渐趋于表现龙的凶猛威武之态、翻云覆雨之势、气韵生动之神采。\n此期龙纹大多与螭虎纹、凤纹组合或单独出现，作为玉璧、玉珩、玉璜、玉环、玉觿、韘形佩等器物的装饰纹样，并出现了四灵题材中的龙。单独成器的玉龙数量较少，上图龙体蜷曲呈“S”形，长尾上卷，器表遍布勾连纹以示龙鳞，身边饰以镂雕云纹。",[844,307,158,7,79,587],"汉代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3798b35c91396fe861649c0c803042b6.jpg",[],63,{"id":849,"slug":850,"title":851,"dynasty":426,"author":852,"museum":126,"description":853,"tags":854,"thumbUrl":856,"material":492,"size":857,"collection":194,"collections":858,"showCount":859,"zanCount":40,"manualWeight":40,"mainColor":69},221853,"long-chi-jing-du-tu-juan-wang-zhen-peng-221853","龙池竞渡图卷","王振鹏","此长卷画将楼阁建筑分为两大段，每段画有宫苑重楼、水阁，千回百折，尽在水中。 该图气势恢宏，构图巧妙。",[23,51,24,52,53,479,109,25,27,384,7,612,59,189,855,56],"竞渡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3870d12d0c453d52304f7bf589acbc8d.jpg","纵30.2厘米，横243.8厘米",[194,66],62,{"id":861,"slug":862,"title":863,"dynasty":46,"author":47,"museum":74,"description":864,"tags":865,"thumbUrl":866,"material":119,"size":119,"collection":119,"collections":867,"showCount":868,"zanCount":11,"manualWeight":40,"mainColor":88},227687,"shen-long-jiu-xian-tu-juan-chen-rong-227687","神龙九现图卷","在中国文化中，“龙”可谓是至高无上的图腾。从龙身人首的伏羲、女娲，再到“黄帝龙轩辕氏龙图出河”。龙的传人们对这个腾云驾雾、翱翔九天神秘形象充满敬畏，而以为精神寄托。乃至进入互联网时代，亦有着诸多亲眼见真龙的都市传说广为流传。",[23,24,52,53,54,25,7,28,80,55,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13d3746f4b89b0a937e5719e8b89fb81.jpg",[],61,{"id":870,"slug":871,"title":872,"dynasty":153,"author":19,"museum":74,"description":873,"tags":874,"thumbUrl":876,"material":117,"size":118,"collection":119,"collections":877,"showCount":868,"zanCount":11,"manualWeight":40,"mainColor":41},223696,"long-wen-huang-yi-ming-223696","龙纹璜","此玉璜为新疆和田青玉制，表面有因埋藏而产生的色变，局部呈黄褐色。体扁平，扇面形，弧度超过半圆，此形制在春秋时期的玉璜中非常少见。璜两面满饰隐起的勾云纹，纹饰密集，局部组成侧面的兽面形。璜两端为侧面龙首形，边缘沿龙首之形呈凸凹变化。\n璜类玉器产生于新石器时代，用作礼器与佩玉。西周时期盛行以璜作杂佩，一套佩玉中出现多重玉璜，自上而下排列，这一时俗影响一直延至春秋、战国时期，因此璜形玉佩在玉器中所占比例较大。这件玉璜仅上部有一孔，两端无孔，下方不能再挂物，应为悬置在成组佩玉最下端的玉件。",[307,158,7,161,875],"兽纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F006d5771b023542bd0b07672fa74a112.jpg",[],{"id":879,"slug":880,"title":881,"dynasty":333,"author":19,"museum":126,"description":882,"tags":883,"thumbUrl":884,"material":885,"size":886,"collection":119,"collections":887,"showCount":888,"zanCount":40,"manualWeight":40,"mainColor":69},223490,"ming-tai-zu-zhu-yuan-zhang-zuo-xiang-tu-zhou-yi-ming-223490","明太祖朱元璋坐像图轴","明太祖（1368－1398在位），明朝開國皇帝，姓朱，名元璋，年號洪武，濠州 (今安徽鳳陽)人。幼孤，入皇覺寺為僧，元末群雄並起，有雄才，以布衣成帝業。\n絹地彩繪太祖坐像，筆筆工整，風格嚴謹，幅面巨大，氣派堂皇。畫中皇帝頭戴烏紗折角向上巾，身著圓領織金盤龍皇袍，端坐金扶手椅，容貌豐偉，鬚短而黑，當值盛年。",[23,24,52,77,588,26,25,27,7,257],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa200f5ca4dc4d864c1d4c5a8a568a941.jpg","绢本设色","137x84",[],59,{"id":890,"slug":891,"title":892,"dynasty":426,"author":19,"museum":74,"description":893,"tags":894,"thumbUrl":895,"material":117,"size":118,"collection":119,"collections":896,"showCount":897,"zanCount":11,"manualWeight":40,"mainColor":69},290258,"long-hu-tu-yi-ming-290258","龙虎图","元代绘画中，文人画占据画坛主流。因元代未设画院，除少数专业画家直接服务于宫廷外，大都是身居高位的士大夫画家和在野的文人画家。他们的创作比较自由，多表现自身的生活环境、情趣和理想。山水、枯木、竹石、梅兰等题材大量出现，直接反映社会生活的人物画减少。作品强调文学性和笔墨韵味，重视以书法用笔入画和诗、书、画的三结合。",[24,77,54,503,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ba15b6a022629488be8950a2002ec80.jpg",[],57,{"id":899,"slug":900,"title":901,"dynasty":105,"author":902,"museum":74,"description":903,"tags":904,"thumbUrl":910,"material":117,"size":118,"collection":119,"collections":911,"showCount":897,"zanCount":11,"manualWeight":40,"mainColor":69},287742,"ma-gu-xian-tan-ji-yan-zhen-qing-287742","麻姑仙坛记","颜真卿","颜真卿（709年－784年8月23日 ），字清臣，小名羡门子，别号应方，京兆万年（今陕西省西安市）人 ，祖籍琅玡临沂（今山东省临沂市）。唐朝名臣、书法家，秘书监颜师古五世从孙 、司徒颜杲卿从弟。\n颜真卿出身琅琊颜氏，于唐玄宗开元二十二年（734年）登进士第，历任监察御史、殿中侍御史。后因得罪权臣杨国忠，被贬为平原太守，世称“颜平原”。安史之乱时，颜真卿率义军对抗叛军，一度光复河北。后至凤翔，被授为宪部尚书。唐代宗时官至吏部尚书、太子太师，封鲁郡公，人称“颜鲁公”。兴元元年（784年），被派遣晓谕叛将李希烈，凛然拒贼，终被缢杀。他遇害后，嗣曹王李皋及三军将士皆为之痛哭。追赠司徒，谥号“文忠”。\n颜真卿书法精妙，擅长行、楷。初学褚遂良，后师从张旭，得其笔法。其正楷端庄雄伟，行书气势遒劲，创“颜体”楷书，对后世影响很大。与赵孟頫、柳公权、欧阳询并称为“楷书四大家”。又与柳公权并称“颜柳”，被称为“颜筋柳骨”。又善诗文，有《韵海镜源》《礼乐集》《吴兴集》《庐陵集》《临川集》，均佚。宋人辑有《颜鲁公集》。",[55,905,638,906,907,111,908,909,7,56],"拓本","字帖","道教","麻姑","仙坛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7722d87b73190fdc8e7c527828bc3676.jpg",[],{"id":913,"slug":914,"title":915,"dynasty":18,"author":916,"museum":74,"description":917,"tags":918,"thumbUrl":919,"material":117,"size":118,"collection":119,"collections":920,"showCount":921,"zanCount":341,"manualWeight":40,"mainColor":69},288833,"yun-long-tu-ce-zhou-xun-288833","云龙图册","周璕","周璕（1649—1729），字昆来，上元（今南京）人。按读画辑略作“河南嵩山人，后入江宁籍”，历代画史汇传引画徵录作“号嵩山”，考画徵录无此三字。",[51,24,54,7,80,478,56,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F681ecf24f8bb74667610ad0aec54ace1.jpg",[],56,{"id":923,"slug":924,"title":925,"dynasty":18,"author":722,"museum":185,"description":926,"tags":927,"thumbUrl":928,"material":34,"size":929,"collection":119,"collections":930,"showCount":921,"zanCount":40,"manualWeight":40,"mainColor":41},218325,"shen-xian-gu-shi-tu-ce-11-leng-mei-218325","神仙故事图册-11","这一卷是一幅关于神仙故事的画。笔触做得非常好，人物也很自然，比例匀称。虽然色彩强烈，但并没有压倒性的效果，而且景观、动植物和工具都被描绘得非常巧妙。",[23,24,26,25,27,7,80,796,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F265342d420f4fcbf9947c00f2685e6c8.jpg","38x42",[],{"id":932,"slug":933,"title":934,"dynasty":333,"author":781,"museum":74,"description":935,"tags":936,"thumbUrl":937,"material":119,"size":119,"collection":119,"collections":938,"showCount":939,"zanCount":40,"manualWeight":40,"mainColor":69},228432,"guan-yin-xiang-li-zhou-chou-ying-228432","观音像立轴","此作用铁线白描写就，观音安坐高榻之上，衣褶线条细劲匀停，如流云舒卷，将纱衣轻柔垂坠之态尽皆铺展。菩萨面容温婉沉静，宝相端严，身旁童子神态稚拙恭谨，烘托出清和肃穆的禅意。\n\n右上方题跋与造像相映成趣，画幅下方浅绘乘蛟逐月，笔意简淡空灵，衬出佛界的幽远高渺。整作未施丹青，却凭借精妙线法勾勒出丰盈神态与物象质感，褪去浓丽浮华，尽显白描素净洗练之美，将观音的慈悲静定，融于每一缕流转的线条之中，清寂中自含庄严禅韵。",[23,77,112,26,109,479,27,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe329623b759309ed5ef59a72ea6029c0.jpg",[],55,{"id":941,"slug":942,"title":943,"dynasty":46,"author":19,"museum":74,"description":944,"tags":945,"thumbUrl":947,"material":117,"size":118,"collection":119,"collections":948,"showCount":939,"zanCount":11,"manualWeight":40,"mainColor":41},227903,"pan-long-tu-shou-juan-yi-ming-227903","盘龙图手卷","此作以暖褐素缎为地，银线盘绣双龙矫健灵动，鳞爪细密有致，正探爪逐戏焰珠，龙目圆睁、口部大张，尽显威猛神姿。\n祥云遍铺画面，粉紫青绿晕染出柔婉层次，托衬出瑞龙腾跃云海的磅礴意境。绣法精巧入微，以针线复刻出龙的刚劲体态，将传统祥瑞意象融于丝缕之间，静展于卷上，亦能让人感知龙游九霄的浩荡生机，尽显传统刺绣工艺的精妙意趣。",[23,24,52,53,26,25,7,80,946],"日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35e12dea5004fd750f6246f53d4c6e6d.jpg",[],{"id":950,"slug":951,"title":952,"dynasty":46,"author":19,"museum":74,"description":953,"tags":954,"thumbUrl":958,"material":119,"size":119,"collection":119,"collections":959,"showCount":960,"zanCount":40,"manualWeight":40,"mainColor":69},227847,"song-mo-gu-kai-zhi-luo-shen-fu-tu-juan-yi-ming-227847","宋摹顾恺之洛神赋图卷","此作以辞赋为骨，铺展缥缈爱恋。山峦云霭间，洛神凌波微步，衣带蹁跹，与曹植遥遥相望，情思暗涌。线条细劲连绵如春蚕吐丝，古雅设色晕开绢本旧韵，将洛神仙姿、侍众恭谨、仪仗威仪一一铺展。山海林泉错落，云雾萦回如幻，把初见的惊艳、相恋的缱绻、别离的怅惘揉进山水里，诗画相融，将文字中的深情化作可视丹青，晕染出千年前那场哀怨缥缈的人神之恋，尽显晋唐风骨的温婉雅致。",[23,24,53,129,25,26,109,28,27,143,7,385,384,189,31,613,955,796,956,190,957],"侍从","河流","车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0846a7d82dcbae011c1e4eb6f39c2e7e.jpg",[],54,{"id":962,"slug":963,"title":964,"dynasty":46,"author":47,"museum":74,"description":417,"tags":965,"thumbUrl":966,"material":119,"size":119,"collection":119,"collections":967,"showCount":968,"zanCount":11,"manualWeight":40,"mainColor":969},227689,"shi-long-tu-juan-chen-rong-227689","十龙图卷",[23,24,52,53,54,7,28,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b6cf259cdc833e34e4a030ea74ea01f.jpg",[],53,"F48FB1",{"id":971,"slug":972,"title":973,"dynasty":18,"author":974,"museum":20,"description":975,"tags":976,"thumbUrl":977,"material":34,"size":978,"collection":36,"collections":979,"showCount":968,"zanCount":11,"manualWeight":40,"mainColor":69},219102,"kang-xi-di-bian-zhuang-xie-zi-xiang-gong-ting-hua-jia-219102","康熙帝便装写字像","宫廷画家","图中康熙帝身穿便装，左手轻按平铺于方桌上的白纸，右手提笔正欲习字，身后屏风上的墨龙暗示着王者尊贵的地位。以特色透视技法画出的方桌与用欧洲焦点透视法描绘的屏风座形成了场景中能够调和的冲突。由此无法判断出，这幅佳作绘制于西风东渐的初期，是一位学习过西方画法、但又没有彻底明了其透视原理的宫廷作家所构思的。虽然此画存在不协调的现象，但它仍然是中西绘画交流、碰撞下的有趣的作品，值得我们进一步探究和分析。",[23,24,26,25,27,7,253,254,255,257],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0a24ed93f8ff588cb1d9dfc78cc5cfa.jpg","纵50.5厘米，横31.9厘米",[36],{"id":981,"slug":982,"title":983,"dynasty":18,"author":19,"museum":74,"description":984,"tags":985,"thumbUrl":986,"material":117,"size":118,"collection":119,"collections":987,"showCount":988,"zanCount":11,"manualWeight":40,"mainColor":69},288235,"fang-chen-rong-qun-long-tu-yi-ming-288235","仿陈容群龙图","水墨晕染出漫天云海，群龙穿梭隐现于烟霭之间。长卷之上，下方惊涛卷浪，上方云气翻涌，龙形或探爪怒目，或摆尾盘空，姿态迥异，威灵毕现。作者以浓淡墨色区分虚实，云气晕染朦胧变幻，龙身勾勒精细，鳞爪筋骨分毫可见，将神龙的谲诡威严与天地交融的磅礴气韵尽数铺展。仿佛能听闻隐隐龙吟，见云浪随龙势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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。",[1002,307,7,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b715270cdc773aca3d198d0075cdf5d.jpg",[],51,{"id":1009,"slug":1010,"title":1011,"dynasty":333,"author":19,"museum":74,"description":1012,"tags":1013,"thumbUrl":1021,"material":117,"size":118,"collection":119,"collections":1022,"showCount":1023,"zanCount":40,"manualWeight":40,"mainColor":69},223935,"qing-hua-chuan-lian-long-wen-tian-qiu-ping-yi-ming-223935","青花穿莲龙纹天球瓶","青花瓷（blue 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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。",[1014,1015,588,7,160,1016,995,1017,308,1018,1019,1020],"陶瓷","青花","穿花","青花技法","缠枝莲纹","天球瓶器形","明代陶瓷风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ac7fda53cefc8f8360119a59218fabe.jpg",[],50,{"id":1025,"slug":1026,"title":1027,"dynasty":333,"author":1028,"museum":185,"description":1029,"tags":1030,"thumbUrl":1031,"material":34,"size":119,"collection":36,"collections":1032,"showCount":1033,"zanCount":40,"manualWeight":40,"mainColor":69},219548,"yao-chi-xian-ju-tu-zhang-chong-219548","瑶池仙剧图","张翀","左上题笔苍劲古朴，与下方群景相映成趣。画中仙者围聚雅奏，吹笛人垂眸凝神，乐音似随笔墨漫溢而出；持板者庄容敛目，静候合律；侧耳听者沉醉忘形，仕女柔婉端丽，老者骨相清奇。衣纹以铁线描游走，顿挫间尽显飘逸灵动，晕染细腻贴合身形，将仙家出尘之姿尽数铺展。古雅棕褐底色晕开瑶池的缥缈清旷，把群仙宴乐悠然盛景刻画入微，既有传统人物画的精工雅致，又暗蕴超脱尘俗的浪漫气韵，尽显精妙笔力与古典审美意趣。",[23,24,25,26,27,130,79,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7624c2f1c2e8fe233684b55cd2200168.jpg",[36],49,{"id":1035,"slug":1036,"title":1037,"dynasty":18,"author":19,"museum":74,"description":1038,"tags":1039,"thumbUrl":1040,"material":117,"size":118,"collection":119,"collections":1041,"showCount":1042,"zanCount":40,"manualWeight":40,"mainColor":41},234386,"mou-bing-tai-qian-long-huang-di-chao-fu-xiang-zhou-yi-ming-234386","缪炳泰乾隆皇帝朝服像轴","此作以工笔重彩写就，将帝王垂暮之态与九五威仪相融。画师细摹面容，苍纹间见沉凝神态，不怒自威。朝服织绣极尽工巧，明黄龙纹盘绕腾跃，十二章纹排布严整，处处恪守礼制章法。朝珠垂坠合度，珠辉与绣色交相辉映，华贵不失庄重。雕龙宝座工丽繁复，衬出帝王至尊之姿。全幅设色富丽醇和，线条精细入微，写实传神，精准拿捏帝后肖像的制式准则，又生动刻画出帝王晚年的肃穆气场，是清代肖像画礼制性与艺术性兼具的佳构。",[24,77,26,25,27,7,257,306],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb69f55bef7110dec4aa2b25bf063614.jpg",[],48,{"id":1044,"slug":1045,"title":1046,"dynasty":18,"author":19,"museum":74,"description":1047,"tags":1048,"thumbUrl":1055,"material":117,"size":118,"collection":119,"collections":1056,"showCount":1057,"zanCount":341,"manualWeight":40,"mainColor":69},264257,"hong-se-di-wu-cai-yun-fu-long-feng-wen-zhuang-hua-duan-pao-liao-yi-ming-264257","红色地五彩云蝠龙凤纹妆花缎袍料","朱红地色热烈雍容，妆花技法晕染出鲜活华彩。矫健苍龙穿云破雾，鳞爪遒劲尽显威严；灵凤翩跹舒展羽翅，绰约温婉自成意趣。云蝠、四灵兽与团寿纹样错落点缀，将福寿绵长、龙凤呈祥的吉庆寓意织入寸缕经纬。构图疏密相宜，走线细腻灵动，彩绒交叠晕染出层次丰富的光泽，将皇家礼制的庄重与祥瑞意趣融于一体，尽显清代丝织工艺的巅峰造诣，藏着织造匠人独运的精妙匠心。",[1049,214,1050,1051,1052,7,215,80,1053,1054],"织绣","袍料","五彩","妆花","蝙蝠","寿纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a37599b63f54c74074b4e4aad17f203.jpg",[],46,{"id":1059,"slug":1060,"title":1061,"dynasty":46,"author":226,"museum":74,"description":1062,"tags":1063,"thumbUrl":1064,"material":119,"size":119,"collection":119,"collections":1065,"showCount":1057,"zanCount":40,"manualWeight":40,"mainColor":88},227716,"long-hu-tu-zhou-mu-xi-227716","龙虎图轴","牧溪，俗姓李，佛名法常，号牧溪，四川人，大概时间为宋末元初，具体生卒年月不祥，但有资料记载牧溪于公元1281年逝世。代表作品有《老子图》《松猿图》《远浦归帆图》《潇湘八景图》。",[51,24,52,77,54,7,503,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb229fdf17c2f47f0594e267085c31a4b.jpg",[],{"id":1067,"slug":1068,"title":1069,"dynasty":1070,"author":19,"museum":74,"description":1071,"tags":1072,"thumbUrl":1073,"material":117,"size":118,"collection":119,"collections":1074,"showCount":1057,"zanCount":40,"manualWeight":40,"mainColor":69},223706,"yun-long-wen-jing-yi-ming-223706","云龙纹镜","南北朝","八出葵花形，内切圆形，圆钮。一龙盘曲，龙头面向镜钮作戏珠状，双角后翘，张口吐舌， 背鳍、腹甲、鳞片、刻画细密，前肢伸张，后肢曲伸，四肢露出三尖爪，身体矫健，神志轩昂。龙身四周环绕如意云头纹，线条飘逸。边缘八瓣内， 有长尾鸟、短尾鸟、 蜂蝶、蜻蜓分别飞向折枝花，花均为两叶两苞，设计精巧细致。",[1070,157,158,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4165f6bf70a49531d448e9403c93ce68.jpg",[],{"id":1076,"slug":1077,"title":1078,"dynasty":18,"author":1079,"museum":20,"description":1080,"tags":1081,"thumbUrl":1083,"material":119,"size":119,"collection":119,"collections":1084,"showCount":1085,"zanCount":40,"manualWeight":40,"mainColor":69},234549,"gao-qi-pei-mo-long-tu-zhou-gao-qi-pei-234549","高其佩墨龙图轴","高其佩","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。",[24,51,77,54,1082,7,80],"指画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F635bf304b52147a5325deb8cb117ab2a.jpg",[],42,{"id":1087,"slug":1088,"title":1089,"dynasty":153,"author":19,"museum":74,"description":1090,"tags":1091,"thumbUrl":1092,"material":117,"size":118,"collection":119,"collections":1093,"showCount":1085,"zanCount":40,"manualWeight":40,"mainColor":41},224008,"hua-jian-xing-long-ding-xi-zhong-huan-wen-ding-fu-jian-yi-ming-224008","花间行龙顶，西重环纹鼎附件","青铜器（Bronze Ware）在古时被称为“金”或“吉金”，是红铜与其他化学元素锡、铅等的合金，刚刚铸造完成的青铜器是金色，但因为出土的青铜因为时间流失产生锈蚀后变为青绿色，被称为青铜。\n青铜器的使用开始于新石器时代晚期的土耳其和伊拉克地区，及叙利亚古代TellRamad遗址出土的铜珠等。中国青铜器开始于马家窑至秦汉时期，以商周时期的器物最为精美。在中国仰韶文化早期和马家窑文化时期就已经出现。\n中国最初出现的是小型工具或饰物。夏代始有青铜容器和兵器。商中期，青铜器品种已很丰富，并出现了铭文和精细的花纹。商晚期至西周早期，是青铜器发展的鼎盛时期，器型多种多样，浑厚凝重，铭文逐渐加长，花纹繁缛富丽。随后，青铜器胎体开始变薄，纹饰逐渐简化。春秋晚期至战国，由于铁器的推广使用，铜制工具越来越少。秦汉时期，随着陶器和漆器进入日常生活，铜制容器品种减少，装饰简单，多为素面，胎体也更为轻薄。\n中国青铜器制作精美，在世界青铜器中享有极高的声誉和艺术价值，代表着中国5000多年青铜发展的高超技术与文化。\n我国商、周时代的青铜器具，不单是盛物用的容器，同时也是宗庙中的礼器。青铜器的数量可以表示出身份地位的高低，青铜器形制的大小也可以显示出权力的等级。青铜器中，最重要的器类就是鼎。远古的青铜器可以分为食器、酒器、水器、乐器四大类。食器中包括鼎、鬲等等。其中鼎是最重要的礼器。\n西周中晚期我国形成了列鼎制度，据《春秋公羊传》记载，天子用9鼎，诸侯用7鼎、卿大夫用5鼎、士用3鼎或1鼎。同时。与鼎一同出现的还有簋，通常为九鼎八簋，七鼎六簋，五鼎四簋，三鼎二簋。在西周中晚期的墓葬制度中，鼎为单数而簋为双数。青铜鼎随着时代的发展，形制也在发生变化。商代早期多为圆腹尖足，也有方鼎。到了中期出现了扁足鼎等等。商代晚期尖足鼎逐渐减少，圆腹柱足鼎开始居多，鬲鼎逐渐多了起来。《尔雅》记载“鼎之款足者，谓之鬲”。鬲鼎也称为分裆鼎，是鬲和鼎的混合体，鼎从商代开始铸有各式样的神秘纹饰，多为兽面纹，如饕餮纹、蝉纹、象纹等等，纹饰变化巧妙。容器内部铸有族徽或祖先的名字。\n青铜是铜和锡铅的合金。在中国古代早期的工艺美术中青铜工艺成为奴隶社会工艺美术的典型代表是我们的祖先对人类物质文明的巨大贡献。商周时期是中国历史上的青铜时代，它以品类丰富、造型优美、纹饰华丽、制作精巧、风格独特而著称。此时是冶炼铸造技术可以说有了突发猛进的发展，在应用上具有广泛的适用性。成为中国艺术史的一个组成部分。本文以商周时期的青铜器主要代表作品作品：《后母戊大方鼎》、《盂鼎》为例，从青铜器作为“礼器”的艺术精神与青铜器的造型、装饰艺术特点来谈谈商周青铜器艺术。\n中国古代青铜器，就使用规模、铸造工艺、造型艺术及品种而言。中国古代青铜器在世界艺术史上占有独特地位。商周时期是中国历史上的青铜时代，青铜流行于新石器时代晚期至秦汉时代。以商周器物最为精美，品种已很丰富器型多种多样，并出现了铭文和精细的花纹浑厚凝重。商周青铜器艺术装饰承接新石器时代艺术中若干精髓，经过长期绵延不断的变化，形成独特的体系，在成为中国艺术史的一个组成部分。商周时期，青铜的冶炼业作为生产力的标志而达到高峰。是中国古代青铜器发展的鼎盛时期。",[307,158,7,323,587],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfc387d8bd3ea53f2d3b1c9245701ced.jpg",[],{"id":1095,"slug":1096,"title":1097,"dynasty":499,"author":19,"museum":319,"description":1098,"tags":1099,"thumbUrl":1101,"material":117,"size":118,"collection":119,"collections":1102,"showCount":1103,"zanCount":11,"manualWeight":40,"mainColor":69},226508,"fu-shuo-yan-luo-wang-shou-ji-si-zhong-yu-xiu-sheng-qi-wang-sheng-jing-tu-jing-yi-ming-226508","佛说阎罗王授记四众预修生七往生净土经","简称《佛说十王经》。为卷轴式手抄彩绘卷。本经卷属晚唐五代时期敦煌所绘，画风古朴，十分珍罕。本卷为法国伯希和从敦煌带走藏于法国国图的《阎罗王授记经》三种绘卷之一，",[53,52,24,112,25,27,384,26,1100,7,56,55,257],"写经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00260a4feaf64cbf8c2e55965c1febc7.jpg",[],41,{"id":1105,"slug":1106,"title":1107,"dynasty":426,"author":19,"museum":74,"description":1108,"tags":1109,"thumbUrl":1110,"material":492,"size":1111,"collection":119,"collections":1112,"showCount":1113,"zanCount":40,"manualWeight":40,"mainColor":69},232834,"xiang-long-luo-han-tu-zhou-yi-ming-232834","降龙罗汉图轴","画面以深褐底色晕染出幽寂古雅的氛围，层次错落有致。罗汉虬髯凸目，身披蟒纹僧衣，神态威严沉静，正凝神注视下方寒潭。侍童躬身持器静立，蛟龙潜于潭水之间，身姿灵动矫健，水纹与神将周身的焰光相映，烘托出张力满溢的降伏瞬间。\n线条刚劲凝练，设色沉厚古朴，工笔描摹精细入微，将罗汉的威严、龙神的灵动与护法的雄浑刻画尽致，尽显佛教绘画肃穆庄严的神性，亦饱含古雅厚重的丹青意趣。",[23,24,25,112,27,7,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae1a0ed0944d2fd736dbeef598ee2e00.jpg","150X68厘米",[],39,{"id":1115,"slug":1116,"title":1117,"dynasty":18,"author":916,"museum":74,"description":1118,"tags":1119,"thumbUrl":1120,"material":119,"size":119,"collection":119,"collections":1121,"showCount":1113,"zanCount":40,"manualWeight":40,"mainColor":69},230192,"jiu-long-tu-ce-zhou-xun-230192","九龙图册","此作以水墨晕染铺就翻涌云海，虚实掩映间神龙破云而出。画师以浓淡变幻的墨色烘托出混沌氤氲的云气，将龙身隐没在烟岚之中，仅露威严龙首与遒劲鳞爪，藏头露爪间尽显神龙幽渺难测的神秘感。\n\n龙首刻画工细，眉须戟张，目光沉凝威严，鳞爪筋骨苍劲有力，与泼墨晕染的朦胧云海形成鲜明虚实对比。干湿浓淡的笔墨层次丰富，将神龙腾云的磅礴气势与云雾翻卷的空茫意境相融，尽显神兽潜藏天地间的慑人神威，把东方神龙的灵韵威严藏于烟云万象之中，是水墨绘龙的精妙之作。",[23,24,52,478,54,7,79,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91e5ab036e4a2b558af5a0323993952a.jpg",[],{"id":1123,"slug":1124,"title":1125,"dynasty":18,"author":1126,"museum":20,"description":1127,"tags":1128,"thumbUrl":1131,"material":1132,"size":119,"collection":119,"collections":1133,"showCount":1134,"zanCount":40,"manualWeight":40,"mainColor":41},234153,"jiu-ge-tu-juan-ding-guan-peng-234153","九歌图卷","丁观鹏","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。\n丁观鹏(？-1771后)清代画家，艺术活动于康熙末期至乾隆中期，北京人。胡敬《国朝院画录》谓：“观鹏克传家学。”工道释、人物、山水，亦能作肖像，尤擅仙佛、神像，以宋人为法，不尚奇诡，画风工整细致，受到欧洲绘画的影响，学明代的丁云鹏笔法，有出蓝之誉。雍正四年(1726)进入宫廷为画院处行走，是雍正、乾隆朝画院高手，与唐岱、郎世宁、张宗苍、金廷标齐名。造诣深湛，得乾隆帝赏识，曾为《圣制诗》初集、二集、三集之多幅画卷题诗。在宫廷画院五十年左右，作品近二百件。传世作品有完成于乾隆三十二年(1767)《法界源流图》卷，纵33厘米，横1635厘米，该卷场面宏大，人物众多，描金设色，精细绚丽，为中国佛教艺术瑰宝、世界佛教艺术明珠，现藏吉林省博物馆；乾隆十三年(1748)作《乞巧图》卷藏上海博物馆；二十六年(1761)作《无量寿佛图》轴、《宝相观音图》轴藏故宫博物院；三十五年(1770)八月作《说法图》轴藏西柏林民俗博物馆。弟丁观鹤，亦供奉内廷，工人物。",[23,24,52,53,26,25,27,28,7,746,188,80,1129,190,189,384,1130,56],"雾","流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46a6bd8c93261ba462ca762cf3d0505c.jpg","纸本，设色",[],38,{"id":1136,"slug":1137,"title":767,"dynasty":46,"author":768,"museum":126,"description":1138,"tags":1139,"thumbUrl":1142,"material":34,"size":774,"collection":119,"collections":1143,"showCount":1144,"zanCount":40,"manualWeight":40,"mainColor":69},288937,"san-guan-chu-xun-tu-ma-lin-288937","画面描绘了道教神仙“三官大帝”，表现了三官巡游天地的盛况。",[23,24,51,1140,907,27,7,441,25,26,111,80,59,1141],"宗教画","神仙出行","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8887bcfc399239609b214e9bf562900.jpg",[],36,{"id":1146,"slug":1147,"title":1148,"dynasty":18,"author":19,"museum":74,"description":1149,"tags":1150,"thumbUrl":1157,"material":117,"size":118,"collection":119,"collections":1158,"showCount":1144,"zanCount":11,"manualWeight":40,"mainColor":41},229148,"yin-du-jin-qian-zhu-bao-long-xi-zhu-zan-yi-ming-229148","银镀金嵌珠宝龙戏珠簪","发簪，中国古代汉族人民用来固定和装饰头发的一种首饰。对于现代人来说已经是一个很古老的名词了，但是当在看古装剧时，却总是能被它们点缀出的精致效果所折服。\n将长发松松挽起，插上一枚别致的发簪，再配上典雅的长裙，即便性格再外放的女性，也可以成为让人眼前一亮的古典美人。发簪金属的光泽闪耀在发间，加上小而巧的坠饰，长发的风情便又是一种不一样的感受了。",[1151,1152,1153,1154,1155,587,309,7,1156],"清式","镀金","镶嵌","珠宝","银","戏珠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf30df761f6b9b16be2b9c497f63f4e7.jpg",[],{"id":1160,"slug":1161,"title":1162,"dynasty":46,"author":19,"museum":20,"description":1163,"tags":1164,"thumbUrl":1167,"material":885,"size":1168,"collection":119,"collections":1169,"showCount":1144,"zanCount":40,"manualWeight":40,"mainColor":69},223481,"mo-gu-kai-zhi-luo-shen-fu-tu-yi-ming-223481","摹顾恺之洛神赋图","描绘了作者对洛水之神宓妃的爱慕以及神人殊隔、不能交接的惆怅。作品将不同情节置于同一画卷，洛神和曹植在一个完整的画面的不同场景中反复出现，以山石、林木及河水等背景，将画面分隔成不同情节，使画面既分隔又相联接。图中山石、林木，反映了早期山水画的表现技法和面貌。",[51,24,52,53,129,109,25,26,27,7,28,384,144,612,796,1165,189,1166,1130,56,55],"云气","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba227c4592b380f204fd43c2f9873fd7.jpg","644x26.1厘米",[],{"id":1171,"slug":1172,"title":1173,"dynasty":333,"author":19,"museum":1174,"description":1175,"tags":1176,"thumbUrl":1180,"material":34,"size":119,"collection":36,"collections":1181,"showCount":1144,"zanCount":40,"manualWeight":40,"mainColor":41},219593,"luo-han-guan-yin-tu-yi-ming-219593","罗汉观音图","费城艺术博物馆","此作以石窟观音为视觉中心，十六罗汉错落排布于林泉幽境之间。洞窟、危桥、苍松穿插其间，将佛国胜景融于山水丘壑。设色古雅沉润，线条凝练劲挺，衣褶流转自然。\n\n各罗汉神态迥异，或趺坐静思、或临渊观流、或降龙伏怪，形神兼备；观音端踞窟内，仪容肃穆安和。画面将礼佛的庄严禅意，与文人山水的清寂雅致相融，既彰显佛造像的静穆神圣，又暗合山林隐逸的审美意趣，尽显佛画与山水画结合的精妙，把出世禅心揉入林泉幽致之中，尽显明代宗教绘画兼具工致与意韵的独特韵味。",[24,52,25,26,112,27,28,1177,1130,7,479,1178,384,1179],"小桥","老树","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69873b96fabaed87f5b148d0a16d77ba.jpg",[36],{"id":1183,"slug":1184,"title":687,"dynasty":46,"author":47,"museum":20,"description":1185,"tags":1186,"thumbUrl":1187,"material":1188,"size":1189,"collection":119,"collections":1190,"showCount":1191,"zanCount":40,"manualWeight":40,"mainColor":969},233741,"mo-long-juan-chen-rong-233741","陈容，字公储，号所翁，福唐（今福建福清）人，生卒年不详，南宋理宗端平二年（公元1235年）进士，曾任福建莆田太守，是当时一位画龙高手，亦擅画松、竹、鹤、虎等。\n陈容人称“所翁龙”，他笔下的龙是后人画龙的典范，倍受国人特别是明清以来画家们的追捧，甚至在日本，几百年来凡有龙图案的画亦绝大部分是仿效陈容\n此画绘墨龙一条，圆睁两眼，昂首腾空，遨游于云天之中。\n画面乌云密布，雷电交加，洪水汹涌，生动地表现了墨龙的雄奇和兴云作雨的本领。\n作者用泼墨和破墨画浓云，用墨线表现起伏的洪水，用笔劲健。",[24,53,54,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe0e691f1d73dae3e59f95736f72e80a.jpg","绢本水墨","纵34.3厘米，横50厘米",[],35,{"id":1193,"slug":1194,"title":1195,"dynasty":18,"author":19,"museum":74,"description":1196,"tags":1197,"thumbUrl":1198,"material":119,"size":119,"collection":36,"collections":1199,"showCount":1191,"zanCount":40,"manualWeight":40,"mainColor":88},230310,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-san-a-ge-yin-zhi-yi-ming-230310","历代帝王贵妃大臣朝服像(三阿哥胤祉)","此帧坐像工稳端严，画中男子正襟危坐，神色沉敛肃穆，尽显贵胄威仪气度。石青朝服遍饰精繁彩绣团龙补纹，针脚细密灵动，衬出礼制华贵，领间朝珠莹润垂坠，细节考究合度。髹漆宝座雕纹磅礴大气，龙纹栩栩生动，搭配铺陈的地锦纹样，烘托出庄重肃穆的庙堂氛围。\n\n整体设色典雅厚重，晕染细腻写实，将官方肖像画纪实工致的特质尽显无疑，装裱配色沉稳古雅，晕开旧时光的沉静质感，精准描摹出人物身份礼制与肖像写实的精妙融合，是庙堂肖像画的典型佳作。",[23,24,25,26,27,257,7,77,306],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff830a08fd4c826073b69a616c453c1b.jpg",[36],{"id":1201,"slug":1202,"title":1203,"dynasty":46,"author":1204,"museum":74,"description":1205,"tags":1206,"thumbUrl":1207,"material":119,"size":119,"collection":119,"collections":1208,"showCount":1191,"zanCount":40,"manualWeight":40,"mainColor":69},227333,"jiu-ge-tu-zhang-dun-li-227333","九歌图","张敦礼","《九歌》是《楚辞》篇名。原为传说中的一种远古歌曲的名称，战国楚人屈原据民间祭神乐歌改作或加工而成。共十一篇：《东皇太一》、《云中君》、《湘君》、《湘夫人》、《大司命》、《少司命》、《东君》、《河伯》、《山鬼》、《国殇》、《礼魂》。《国殇》一篇，是悼念和颂赞为楚国而战死将士;多数篇章，则皆描写神灵间的眷恋，表现出深切的思念或所求未遂的伤感。王逸说是屈原放逐江南时所作。但现代研究者多认为作于放逐之前，仅供祭祀之用。",[23,51,24,52,53,26,25,27,7,31,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc07a8d04ca48dae273e9dc351d5ef844.jpg",[],{"id":1210,"slug":1211,"title":1212,"dynasty":46,"author":19,"museum":74,"description":1213,"tags":1214,"thumbUrl":1215,"material":119,"size":119,"collection":36,"collections":1216,"showCount":1217,"zanCount":40,"manualWeight":40,"mainColor":69},238123,"luo-shen-fu-tu-juan-yi-ming-238123","洛神赋图卷","山峦烟波连绵铺陈，林木蓊郁掩映着红彩勾描的殿宇与行游伫立的人物，将缥缈仙乡揉入苍古山水间。笔意朴拙苍润，沉雅的设色在旧绢上晕开朦胧古韵，把人神邂逅的缱绻怅惘融在丘林烟水之中。循着长卷舒展，仿佛能触碰那段仙凡相望的怅惋情缘，古典浪漫的幽柔余韵顺着山峦水波漫溢开来，让悠远诗意随着卷幅缓缓流淌，将文字中的缥缈幻境化为可观可感的具象图景，晕染出绵长的东方浪漫意趣。",[51,24,52,53,26,109,25,27,28,143,384,189,31,7,385,746,130,129,56,1130,1179],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F475d23ff1062208a9ad78b661dc95388.jpg",[36],34,{"id":1219,"slug":1220,"title":1221,"dynasty":18,"author":19,"museum":74,"description":1222,"tags":1223,"thumbUrl":1227,"material":117,"size":118,"collection":119,"collections":1228,"showCount":1217,"zanCount":11,"manualWeight":40,"mainColor":69},229566,"shuang-long-yan-yu-mo-yi-ming-229566","双龙砚御墨","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[306,1224,256,254,7,158,1225,1226],"文房","描金","工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23f0ad1a07fc474546c66f85e9186ea6.jpg",[],{"id":1230,"slug":1231,"title":1232,"dynasty":426,"author":451,"museum":74,"description":1233,"tags":1234,"thumbUrl":1235,"material":119,"size":119,"collection":119,"collections":1236,"showCount":1217,"zanCount":40,"manualWeight":40,"mainColor":41},228261,"jiu-ge-tu-quan-juan-zhao-meng-fu-228261","九歌图全卷","此作为书画合璧妙品，设色清润秀雅，线条如春蚕吐丝，柔中带劲。画卷中仙女神祇各具神采，云中君衣袂翩跹荷影随行，东皇太一端方威严，侍神拱卫左右，将屈子笔下楚地仙灵的缥缈风神尽数铺展。\n\n篆籀书风古朴苍劲，文辞与图绘相得益彰，把《九歌》巫祭歌辞的浪漫幽渺氛围烘托殆尽，将上古巫仪的清灵庄重融于笔端，尽显追摹古意的沉静笔致，让观者恍如置身楚地巫歌灵舞的缥缈幻境之中。",[23,24,52,53,25,26,27,7,55,454],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5ab31f24e204da3141a05e8169e38bb.jpg",[],{"id":1238,"slug":1239,"title":1240,"dynasty":426,"author":19,"museum":74,"description":1241,"tags":1242,"thumbUrl":1246,"material":117,"size":118,"collection":1247,"collections":1248,"showCount":1249,"zanCount":40,"manualWeight":40,"mainColor":88},256973,"jing-de-zhen-yao-qing-hua-hai-shui-bai-long-wen-ba-fang-mei-ping-yi-ming-256973","景德镇窑青花海水白龙纹八方梅瓶","景德镇窑是中国传统窑炉之一，景德镇窑系属于宋代六大窑系之一。诞生于今江西省景德镇，故称景德镇窑，实际上由数个窑口组成。\n景德镇有着悠久的制瓷历史，完备的陶瓷产业体系，广泛的国际影响，是一座因瓷而生、因瓷而兴、因瓷而名的城市，也是一座“因开放而生，因开放而兴”的深度开放城市。\n景德镇窑据记载始烧于唐武德(618一626)年间。建国后发现瓷窑遗址多处，以杨梅亭窑、石虎湾窑、黄泥头窑最早，均为五代时期。\n中国传统的陶瓷可分为三大类：龙窑（倾斜式隧道窑）、阶级窑（倾斜式冷底多室窑）以及景德镇窑（平焰窑）。 景德镇窑为我国传统窑炉中独具风格的窑。它的烧成室型呈一头大一头小的长椭圆形，近窑门处宽而高，靠近烟囱则逐渐狭窄矮小，故有"鸭蛋窑"之称，全长约15-20米，容积为300-400立方米，是以松柴为燃料，火焰长而灰分少，因不含硫或者含量极少，适宜烧还原焰，对于白瓷、青花瓷、颜色釉瓷等传统瓷的釉面呈色效果良好，可装烧高火、中火、低火的瓷坯。因窑内腔较高（最高高度不超过6米），便于装烧大件制品，适合多品种生产的条件。因此，景德镇窑（在景德镇也叫柴窑）单位公斤瓷的燃料消耗量小。另外，其结构简单，镇窑建筑速度快，基建费用少，产量大，周转期快，可以快速烧成和快速冷却，适应于景德镇附近制瓷原料的特性和瓷器的传统风格。对南方某些瓷窑来说，在控制烧成气氛和瓷器质量，以及燃料（松柴）消耗等方面，镇窑均较龙窑、阶级窑和倒焰窑等优点。",[1014,1015,7,1243,1244,1245],"海水","八方","瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5686cc95112656096e3613a7b9bcd5f2.jpg","瓷器精选",[1247],33,{"id":1251,"slug":1252,"title":1253,"dynasty":46,"author":19,"museum":20,"description":1254,"tags":1255,"thumbUrl":1256,"material":349,"size":1257,"collection":119,"collections":1258,"showCount":1259,"zanCount":40,"manualWeight":40,"mainColor":69},232880,"sou-shan-tu-yi-ming-232880","搜山图","《搜山图》卷表现的是民间传说二郎神搜山降魔的故事，所以也称为《二郎神搜山图》。二郎神的故事在民间广泛流传，在许多文艺作品中也有反映。元代有《二郎神醉射锁魔镜》的杂剧，描写二郎神与九首牛魔王、哪吒及金睛百眼鬼比试高低，最后拿住二洞妖魔的故事。据记载，最早有北宋画家高益画的《鬼神搜山图》，受到皇帝的重视。以后明、清两代，不断有传本出现。\n此卷《搜山图》是南宋末或元初人的手迹。人物用工笔重彩，衣纹用铁线描，刚劲有力，形象刻画生动传神，非凡手可及。山林树木皴法豪纵，近乎南宋刘松年的风格。与同一题材的各种不同本子比较，此卷是个残本，其中缺少主神即二郎神部分，但是其绘画技巧却高出其它各本。图中描绘神兵神将们耀武扬威地搜索山林中各种魔怪。魔怪们均是各种野兽变的，有虎、熊、豕、猴、狐狸、山羊、獐、兔、蜥蜴、蛇及树精木魅等。这些妖怪，或是原形，或化为女子，他们都在神将们追逐下，仓惶逃命，或藏匿山洞，或拒绝受擒。而那些神将们则手持刀枪剑戟、纵鹰放犬，前堵后截，使妖怪无处逃身。本来，二郎神是作为正面人物来歌颂的，然而看了此卷之后，却得到了一个相反的印象。那些神兵神将，一个个凶神恶煞，使人们憎恶，而那些妖怪们却面目和善，那种惊怖逃生的内心刻画，令人同情。不知作者是有意还是无意，使观者自然地就会联想到，当时社会那些官兵对老百姓的欺压情形。",[23,51,24,53,26,25,27,79,503,28,189,1166,144,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7401df44a2b2e19ed21e9557d2cba183.jpg","纵53.3厘米，横533厘米",[],32,{"id":1261,"slug":1262,"title":1263,"dynasty":46,"author":19,"museum":126,"description":1264,"tags":1265,"thumbUrl":1266,"material":1267,"size":1268,"collection":119,"collections":1269,"showCount":1259,"zanCount":40,"manualWeight":40,"mainColor":69},223430,"song-ren-zong-hou-zuo-xiang-yi-ming-223430","宋仁宗后坐像","本幅原属清宫南薰殿旧藏，画无款印，但画中人物相貌传神，洵非想像之作，而且用笔精准、赋色细腻，具备第一流的水准，应出自当时名家之笔。宋仁宗先后曾立两位皇后，其一为郭皇后，另一为慈圣光献曹皇后。由于郭后被废，故此像应系后者。画像中，非惟曹后身着的袆衣、钗冠华丽无伦，连身侧两名侍女，同样衣饰妍丽，满头簪花，与院藏仅绘皇后独自端坐的图像相比，显得格外高贵而出众。",[23,51,24,26,25,27,7,257,587],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b487550e6d9f27df0d5a85f280c7691.jpg","白纸本","172.1x 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司方尊",[156,157,161,158,7,79,1282],"商代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b25033941841d96fce645269cc350c2.jpg",[],{"id":1286,"slug":1287,"title":1288,"dynasty":153,"author":19,"museum":74,"description":1003,"tags":1289,"thumbUrl":1290,"material":117,"size":118,"collection":119,"collections":1291,"showCount":1276,"zanCount":40,"manualWeight":40,"mainColor":41},223917,"yu-long-wen-xi-yi-ming-223917","玉龙纹觿",[307,158,7,587,153,995],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F651d3b51fd1800d75c73aef883896e9b.jpg",[],{"id":1293,"slug":1294,"title":1295,"dynasty":18,"author":19,"museum":405,"description":1296,"tags":1297,"thumbUrl":1304,"material":34,"size":119,"collection":36,"collections":1305,"showCount":1276,"zanCount":11,"manualWeight":40,"mainColor":41},218301,"guan-lao-fu-ren-xiang-yi-ming-218301","关老夫人像","端坐的身影透着沉静雍容，面容温婉却自带庄重气度。华服以蓝为底，金线绣制的祥龙穿梭于云纹与海水之间，龙姿灵动，辅以五彩纹饰，层次叠嶂间尽显华贵威仪。座椅锦纹繁复，脚下地毯图案精巧，几何纹样与吉祥符号交织，每一处细节皆见工艺之精湛。工笔线条细腻流畅，设色典雅厚重，既承清代肖像画写实传统，又以华丽装饰烘托人物尊贵身份，仿佛能透过画面，触摸到那个时代贵族女性的生活风貌与内敛风华。",[23,24,52,77,26,25,27,1298,1299,308,32,586,1300,7,1301,565,1302,1303],"女性","古装","重彩","传统服饰","工笔肖像","服饰纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59b6480f243d307433c43aef2eaa0f4a.jpg",[36],{"id":1307,"slug":1308,"title":1309,"dynasty":18,"author":19,"museum":126,"description":1310,"tags":1311,"thumbUrl":1315,"material":119,"size":119,"collection":352,"collections":1316,"showCount":1317,"zanCount":40,"manualWeight":40,"mainColor":69},238933,"qing-ren-qun-xian-zhu-shou-tie-luo-yi-ming-238933","清人群仙祝寿贴落","云端仙袂翩跹，分群御风而来，祥龙隐于霭雾，漫溢祥瑞清贵之气。下方山道水畔，凡世之人或骑行牵犊，或执乐赶路，各携贺礼奔赴寿典，满是人间欢悦之态。\n\n此作以缂丝技艺织就，设色古雅柔和，线条细腻灵动。仙凡同贺的祝寿盛景虚实相映，将福寿绵长的美好祈愿，藏在每一处衣褶与云纹里，让悠远的祥瑞意趣缓缓流淌而出。",[24,26,25,27,7,28,1312,385,1313,373,80,190,272,30,1314],"骆驼","羊","祝寿场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ce35673770dccb61bbc8a5bd24e3c42.jpg",[352],30,{"id":1319,"slug":1320,"title":1321,"dynasty":153,"author":19,"museum":74,"description":1322,"tags":1323,"thumbUrl":1325,"material":119,"size":119,"collection":163,"collections":1326,"showCount":1327,"zanCount":40,"manualWeight":40,"mainColor":88},242801,"long-wen-ding-yi-ming-242801","龙纹鼎","此鼎立耳柱足，器形方正沉稳，古拙庄重尽显礼器威仪。腹身纹饰上下分层，上层游龙盘绕穿梭，间嵌兽首，线条狞厉古朴，带着上古独有的神秘狞美感；下层乳钉排布齐整，规整肃穆，与灵动龙纹形成动静反差。深褐铜身晕染苍绿锈色，将千余年岁月沉淀其上，仿佛仍带着上古祭祀的肃穆气息，把先民对天地的敬畏与礼制的庄严，凝固在这一方青铜之中。",[156,157,161,1324,158,7,79,309],"饪食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4654100291913645362a7cd48ef94583.jpg",[163],29,{"id":1329,"slug":1330,"title":1331,"dynasty":499,"author":252,"museum":74,"description":1332,"tags":1333,"thumbUrl":1339,"material":117,"size":118,"collection":119,"collections":1340,"showCount":1327,"zanCount":40,"manualWeight":40,"mainColor":69},230599,"ren-jian-le-yuan-you-hua-230599","人间乐园","这片异色天地满溢诡谲幻想，左侧的异形建筑糅合血肉、植被与塔楼，盘旋的飞鸟撕碎静谧，仿佛是从意识裂隙中生长出的荒诞造物。右侧蓝紫色尖峰虬曲怪诞，悬垂的装饰为冷峻山体添上妖异气息。\n\n地面之上，温驯大象与异兽错落在青绿原野，打破现实的秩序边界。隐喻与狂想揉进笔触，违背常理的视觉符号编织出朦胧迷幻的幻梦，引观者坠入超验秘境，在怪诞共生的图景里，触摸脱离俗世逻辑的奇幻美学底色。",[252,25,112,28,79,7,1334,1335,144,189,1336,1337,1338],"象","猴","植物","草地","奇幻场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F473effe115c5ad9cd1bb2a47ae38513f.jpg",[],{"id":1342,"slug":1343,"title":1344,"dynasty":333,"author":19,"museum":74,"description":1345,"tags":1346,"thumbUrl":1347,"material":119,"size":119,"collection":119,"collections":1348,"showCount":1327,"zanCount":40,"manualWeight":40,"mainColor":69},228377,"ming-shi-zong-zuo-xiang-zhou-yi-ming-228377","明世宗坐像轴","此作工笔重彩，尽展帝王威仪。明黄常服遍饰团龙祥纹，云气缠护其间，章纹排布严合规制，织绣细节分毫毕现，将皇权礼制融于一针一线的描摹中。\n\n帝王面容方正，神色沉敛端凝，不怒自威，肖像写实传神，精准勾勒出帝王的肃穆气场。背景髹金屏风满绘升降云龙，间缀宝相花枝，宝座髹蓝描金，雕饰精巧，处处铺陈出皇家的华贵肃穆。\n\n整体设色富丽匀净，线条精细劲挺，尽显宫廷肖像画的精湛造诣，将九五之尊的威严气场定格绢素，静穆间传递出皇朝礼制的厚重庄严。",[24,51,77,26,25,27,7,257],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ec95e7e4f1be01b5a6b4566dce58538.jpg",[],{"id":1350,"slug":1351,"title":1352,"dynasty":18,"author":19,"museum":20,"description":1353,"tags":1354,"thumbUrl":1355,"material":492,"size":1356,"collection":119,"collections":1357,"showCount":1358,"zanCount":11,"manualWeight":40,"mainColor":41},223420,"xiao-xian-chun-huang-hou-chao-fu-xiang-yi-ming-223420","孝贤纯皇后朝服像","画中人物孝贤纯皇后（1712—1748年），姓富察氏，出身于一个累世高官的家庭，其祖米思翰，为户部尚书。其父李荣保，为察哈尔总管。她从小就受到良好的正统教育，娴于礼法，深明大义，并且具有较高的文化修养。清雍正五年（1727年）七月十八日，她被雍正皇帝指婚给17岁的皇四子弘历作嫡福晋。弘历即帝位后，立她为皇后。她克勤克俭，不喜奢华，平时在宫中的服饰用品不是金玉珠翠，而是简简单单的通草绒花。她与乾隆皇帝相敬如宾，感情笃挚，十分恩爱。乾隆十三年（1748年）二月初四，在与乾隆皇帝奉皇太后东巡的旅途中，因劳累和久病体虚，病逝于山东德州。乾隆皇帝甚为悲恸，兼程赶还京师料理后事，并为其服缟素12日；著《述悲赋》与诗，以表对皇后早逝的哀憾与追怀。",[23,306,24,26,25,27,7,257,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62047b26c1af7c503cdc3cf64792af27.jpg","194.8cm，横116.2cm",[],28,{"id":1360,"slug":1361,"title":1362,"dynasty":18,"author":635,"museum":74,"description":636,"tags":1363,"thumbUrl":1364,"material":34,"size":119,"collection":119,"collections":1365,"showCount":1366,"zanCount":40,"manualWeight":40,"mainColor":642},217260,"li-dai-di-wang-zhen-xiang-6-yao-wen-han-217260","历代帝王真像-6",[24,51,26,25,27,7,257],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F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Battista Tiepolo","乔凡尼·巴蒂斯塔·提埃坡罗，常被称为詹巴蒂斯塔（Giambattista），巴洛克及洛可可时期意大利著名画家，威尼斯画派最后的代表人物。",[112,252,27,1400,1401,7,1402,323,1403,1404,1405,1336,1406,1407,1408,1409,1410],"天使","鸽子","云朵","披风","翅膀","球体","写实","光影","色彩丰富","神话生物","小天使","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9da7c27f4bcc1dbe29780391e7ba55ab.jpg",[],{"id":1414,"slug":1415,"title":1416,"dynasty":46,"author":19,"museum":74,"description":1417,"tags":1418,"thumbUrl":1422,"material":117,"size":118,"collection":119,"collections":1423,"showCount":1424,"zanCount":40,"manualWeight":40,"mainColor":69},287588,"song-xuan-zu-zuo-xiang-yi-ming-287588","宋宣祖坐像","中国雕塑是指具有中国特色且原产于中国的雕塑艺术品。中国雕塑（Chinese sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[24,110,1419,26,25,1420,7,1421],"肖像画","帝王像","官服","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bf82dcd6ca2eadd1310dd4061adcb5b.jpg",[],25,{"id":1426,"slug":1427,"title":1428,"dynasty":18,"author":19,"museum":20,"description":1429,"tags":1430,"thumbUrl":1431,"material":349,"size":1432,"collection":36,"collections":1433,"showCount":1424,"zanCount":40,"manualWeight":40,"mainColor":41},236164,"xiao-cheng-ren-huang-hou-xiang-zhou-yi-ming-236164","孝诚仁皇后像轴","粘黄绢，上书满汉墨 题：“孝诚恭肃正惠安 和淑懿恪敏俪天襄圣仁 皇后，左。” 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。\n冷枚（约1669—1742），字吉臣，号金门画史，山东胶州人。\n是清代画家，曾在宫廷中担任过画职，是当时大画家焦秉贞的弟子。\n他的绘画题材有人物也有山水楼台，人物主要以仕女为主，所画人物工丽妍雅，笔墨洁净，色彩韶秀，画面精美。\n其画法兼工带写，生动有致，他的主要作品有《养正图册》、《十宫词图册》、《罗汉图册》、《避暑山庄图》、《连生贵子图》等 。",[24,52,478,26,25,479,454,56,55,27,384,130,7,188,59,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F535a93f1cb226249d9c611dcdae64e41.jpg",[],{"id":1543,"slug":1544,"title":1545,"dynasty":18,"author":1438,"museum":1439,"description":1440,"tags":1546,"thumbUrl":1550,"material":492,"size":1446,"collection":119,"collections":1551,"showCount":1526,"zanCount":40,"manualWeight":40,"mainColor":41},222926,"hong-lou-meng-51-sun-wen-222926","红楼梦51",[23,26,25,479,27,384,7,385,189,1547,957,1548,322,1549],"庭院","屋顶","桃花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd7467e4bee40568e154c15ea74b0e48.jpg",[],{"id":1553,"slug":1554,"title":1555,"dynasty":46,"author":1556,"museum":1557,"description":1558,"tags":1559,"thumbUrl":1560,"material":34,"size":1561,"collection":119,"collections":1562,"showCount":1526,"zanCount":11,"manualWeight":40,"mainColor":69},220107,"shi-liu-luo-han-tu-di-shi-wu-zun-zhe-jin-da-shou-220107","十六罗汉图-第十五尊者","金大受","日本东京国立博物馆","金大受是南宋时代浙江宁波具有代表性的佛画师。本图各幅有落款“大宋明州车桥西、金大受笔”，绘于庆元元年（1195）之前，当时的宁波被称为“明州”，作为现存浙江佛画中时代最早的作品而闻名。金大受所绘的罗汉笔锋收敛，形态把握准确，其赋彩也是巧用中间色，采用协调的自然表现手法，在宁波所绘制的罗汉图中也属于佳作。作为摄州多田院的镇院之宝而传来。曾为原邦造旧蔵。16幅作品中，现已确认有东京国立博物馆馆藏的10幅，以及群马县立近代美术馆馆藏的1幅，其他5幅估计流失海外，所在不明。\n金大受所画十六罗汉计十六幅，分藏三个处所，除了东京国立博物馆藏了十幅之外，其余分别由二个私人收藏家所收藏。十六幅中，每幅均有「大宋明州车桥西金大受笔」的落款，因此一直被误认为作者是西金居士。后来才被判定为南宋宁波车桥之西的画家金大受。\n十六幅中，现藏于群马县立近代美术馆的一幅，长一一七．四公分，宽五Ｏ．四公分。尊者着偏袒右肩式僧服，外罩水田衣，微侧脸注视手中的持花，其蹙眉掀鼻，张口露齿的表情，很是特出。画中除尊者之外，另有侍者一人，以及伏在矮几的小童一人，尊者头上的圆光，以青绿色为之，背后花树盛开，树枝上倒挂一朵莲花，色彩精致，笔触细腻，采用了较幽沉的色调，却烘托出尊者和圆光的明亮。",[23,24,52,77,112,25,26,27,7,1179],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1222ddeea119c024e250b2c3874ae63e.jpg","118.8×51.7cm",[],{"id":1564,"slug":1565,"title":1566,"dynasty":46,"author":19,"museum":74,"description":1567,"tags":1568,"thumbUrl":1570,"material":117,"size":118,"collection":119,"collections":1571,"showCount":1572,"zanCount":40,"manualWeight":40,"mainColor":41},227916,"lv-you-hua-ping-yi-ming-227916","绿釉花瓶","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。",[1014,1569,158,7,309],"绿釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b617fc6f8e1b8fb8e4eb7968d3b9fd8.jpg",[],21,{"id":1574,"slug":1575,"title":1125,"dynasty":46,"author":19,"museum":20,"description":1576,"tags":1577,"thumbUrl":1578,"material":1579,"size":1580,"collection":119,"collections":1581,"showCount":1572,"zanCount":40,"manualWeight":40,"mainColor":41},223338,"jiu-ge-tu-juan-yi-ming-223338","画卷根据屈原《楚辞·九歌》中的神话故事绘制而成。“九歌”原为传说中的一种远古歌曲的名称，《九歌》是屈赋中最精、最美、最富魅力的诗篇，它代表了屈原艺术创作的最高成就。",[23,24,51,53,109,26,27,7,503,79,1130,190,189,31,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07bb572ae953b740fe54293fea95aea1.jpg","纸本，手卷，墨笔","纵37厘米、横845厘米",[],{"id":1583,"slug":1584,"title":1585,"dynasty":18,"author":635,"museum":74,"description":636,"tags":1586,"thumbUrl":1587,"material":34,"size":119,"collection":119,"collections":1588,"showCount":1572,"zanCount":40,"manualWeight":40,"mainColor":642},217259,"li-dai-di-wang-zhen-xiang-7-yao-wen-han-217259","历代帝王真像-7",[24,52,51,26,25,27,7,257,478],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F999c9b6a43ec8268cb010288f06b6088.jpg",[],{"id":1590,"slug":1591,"title":1592,"dynasty":18,"author":19,"museum":74,"description":1593,"tags":1594,"thumbUrl":1597,"material":117,"size":118,"collection":119,"collections":1598,"showCount":68,"zanCount":11,"manualWeight":40,"mainColor":88},264054,"lan-se-di-jin-yin-long-feng-san-duo-wen-zhi-jin-duan-zhuo-mian-liao-yi-ming-264054","蓝色地金银龙凤三多纹织金缎桌面料","宝蓝底色沉静华贵，金银线穿梭交织，龙凤矫健身姿于缠枝繁花间相映成趣，龙威凛凛，凤仪翩翩。三多纹饰点缀其中，暗喻多福多寿多子的美好祈愿。\n\n整体构图对称规整，四方纹样铺陈开合有度，边角花卉环绕呼应中心主纹，层次分明雅致细腻。织金工艺精妙独到，金属纱线与缎面交织出细腻明暗，光影流转间尽显极致匠心，将鼎盛织绣工艺凝于寸缕，华贵典雅又藏着绵长的美好期许。",[214,7,215,1595,1596],"织金","吉祥纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb43907ce6d158bef93302af9384449ab.jpg",[],{"id":1600,"slug":1601,"title":1602,"dynasty":333,"author":19,"museum":74,"description":1603,"tags":1604,"thumbUrl":1609,"material":117,"size":118,"collection":119,"collections":1610,"showCount":68,"zanCount":40,"manualWeight":40,"mainColor":69},228525,"qia-si-fa-lang-kui-long-wen-zun-yi-ming-228525","掐丝珐瑯夔龙纹尊","尊，今作樽，是商周时代中国的一种大中型盛酒器。青铜器，尊的形制圈足，圆腹或方腹，长颈，敞口，口径较大。尊盛行于商代至西周时期，春秋后期已经少见。较著名的有四羊方尊。商周至战国时期，还有另外一类形制特殊的盛酒器—彝。彝通常呈鸟兽状，有羊、虎、象、豕、牛、马、鸟、雁、凤等形象。《周礼·春官·司尊彝》：“春祠夏禴，裸用鸡彝鸟彝......追享朝享，裸用虎彝蜼彝。”彝纹饰华丽，在背部或头部有尊盖。",[588,1605,1606,25,1607,7,1608],"掐丝珐琅","珐琅器","夔龙纹","尊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002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[1] 同时民间艺术有很大发展，如京剧就开始形成于乾隆年间。但是后期吏治有所败坏，多地爆发起义。 [2] 严格抵制英国、俄国的侵略性行为，但闭关锁国政策拉大了和西方的差距，中国正处于近代的前夜。\n乾隆六十年（1795年），乾隆帝禅位于第十五子颙琰。嘉庆四年正月初三（1799年2月7日）去世于养心殿，享年89岁。 [3] 庙号高宗，谥号法天隆运至诚先觉体元立极敷文奋武钦明孝慈神圣纯皇帝，葬于清东陵之裕陵。",[24,52,77,25,26,27,7,257,309],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d4f2b6e8a832241ce4b40e49f9a5ea3.jpg","257.3×151.0 厘米",[36,352],{"id":1736,"slug":1737,"title":1738,"dynasty":333,"author":19,"museum":74,"description":1739,"tags":1740,"thumbUrl":1743,"material":117,"size":118,"collection":119,"collections":1744,"showCount":1711,"zanCount":40,"manualWeight":40,"mainColor":69},228522,"wan-li-qia-si-fa-lang-shuang-long-pan-yi-ming-228522","万历 掐丝珐瑯双龙盘","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。",[1741,1742,7,309,588,25],"掐丝","琺瑯器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1db4f8c46cea3d642d128d91083d097.jpg",[],{"id":1746,"slug":1747,"title":1748,"dynasty":105,"author":19,"museum":74,"description":1749,"tags":1750,"thumbUrl":1754,"material":117,"size":118,"collection":119,"collections":1755,"showCount":1711,"zanCount":40,"manualWeight":40,"mainColor":69},223829,"si-shen-jing-yi-ming-223829","四神镜","唐代是中国古代铜镜制造的鼎盛时期，唐镜不仅继承了汉魏的文化传统，而且吸收了边疆民族的艺术成就，同时对外来（主要是波斯、印度）文化中的优秀部分也兼收并蓄，融汇一体，构图更加精细，使铜镜艺术达到了一个新的高峰。铸镜业是唐代最精细的工艺，每逢八月五日（唐玄宗生日）人们都将铜镜作为礼品送人，祝福长寿，这一天被定名为“千秋金鉴节”（金鉴指铜镜）。",[711,157,158,1751,1752,7,1753],"浮雕","神兽","花口","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d53f39cf665019bdc1f8dc514e5b31b.jpg",[],{"id":1757,"slug":1758,"title":1759,"dynasty":46,"author":1556,"museum":1557,"description":1558,"tags":1760,"thumbUrl":1763,"material":1764,"size":1561,"collection":119,"collections":1765,"showCount":1711,"zanCount":11,"manualWeight":40,"mainColor":69},220106,"shi-liu-luo-han-tu-di-shi-liu-zun-zhe-jin-da-shou-220106","十六罗汉图-第十六尊者",[23,24,52,51,77,112,27,747,7,1761,1762,26,25],"坐具","盘子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafa7244c605f811ff0fb0fd51efcd27a.jpg","设色,绢本",[],{"id":1767,"slug":1768,"title":1769,"dynasty":18,"author":722,"museum":74,"description":1770,"tags":1771,"thumbUrl":1772,"material":61,"size":119,"collection":119,"collections":1773,"showCount":1711,"zanCount":40,"manualWeight":40,"mainColor":88},217108,"bai-miao-luo-han-8-leng-mei-217108","白描罗汉-8","冷枚（约1669年—1742年），字吉臣，号金门画史，山东胶州人，焦秉贞弟子。清代宫廷画家。善画人物、界画，尤精仕女。所画人物工丽妍雅，笔墨洁净，色彩韶秀，其画法兼工带写，点缀屋宇器皿，笔极精细，亦生动有致。",[24,52,478,109,112,27,7,79,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ee241b07d6ac200b816c2628412bce6.jpg",[],{"id":1775,"slug":1776,"title":1777,"dynasty":18,"author":19,"museum":74,"description":1632,"tags":1778,"thumbUrl":1782,"material":117,"size":118,"collection":119,"collections":1783,"showCount":1784,"zanCount":40,"manualWeight":40,"mainColor":69},275033,"hua-duan-xiu-yun-long-wen-tiao-fan-yi-ming-275033","花缎绣云龙纹挑幡",[7,131,1779,1521,1780,214,1781],"缎绣","宗教幡","金属装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23f28fa50e81be677f4b63b560aa83f7.jpg",[],17,{"id":1786,"slug":1787,"title":1788,"dynasty":18,"author":19,"museum":74,"description":1789,"tags":1790,"thumbUrl":1793,"material":117,"size":118,"collection":119,"collections":1794,"showCount":1784,"zanCount":40,"manualWeight":40,"mainColor":41},269042,"huang-se-ke-si-he-lu-jin-long-wen-huai-dang-liao-yi-ming-269042","黄色缂丝鹤鹿金龙纹怀挡料","缂（kè，同：刻）丝（英文：K’o-ssu 、Kesi 或 Chinese silk tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[1791,214,25,7,159,713,1054,1792,115],"缂丝","花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ae8568f08c70cf8376d460040bd6d76.jpg",[],{"id":1796,"slug":1797,"title":1798,"dynasty":18,"author":19,"museum":74,"description":1799,"tags":1800,"thumbUrl":1802,"material":117,"size":118,"collection":119,"collections":1803,"showCount":1784,"zanCount":40,"manualWeight":40,"mainColor":69},256553,"dou-cai-hong-long-feng-gai-guan-yi-ming-256553","斗彩红龙凤盖罐","此罐器型圆润饱满，盖身契合浑然一体，形制雅致端庄。\n\n矾红描金龙纹身姿矫健遒劲，爪牙张扬凌厉，鳞片勾勒细密分明，火焰纹饰缠绕周身，衬得神龙似将破壁而出，尽显威严气势，龙凤纹样刚柔相济，让画面张力十足。\n\n器身边饰以斗彩技法妆点，翠绿釉彩搭配青花轮廓，盖面点缀浅蓝星芒纹，色调明快和谐，既烘托主纹华贵，又添清丽雅致。釉下青花的沉静与釉上矾红的浓妍相融，工艺精湛考究，尽显彩瓷华贵大气的质感。",[18,1014,1801,25,7,215,309],"斗彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50e1452703c560a8dbc11117240a5dde.jpg",[],{"id":1805,"slug":1806,"title":1807,"dynasty":18,"author":19,"museum":74,"description":1808,"tags":1809,"thumbUrl":1810,"material":117,"size":118,"collection":119,"collections":1811,"showCount":1784,"zanCount":40,"manualWeight":40,"mainColor":41},234382,"yin-zhen-chao-fu-xiang-zhou-yi-ming-234382","胤禛朝服像轴","此作工笔写实，精细入微。画中帝王面容清癯肃穆，目光沉凝内敛，自带君临天下的威仪气度。明黄朝服遍绣五爪金龙，祥云、江崖海水错落其间，织绣晕染细腻工整，配色雍容华贵，朝珠、披领制式严整，将清代冠服礼制与极致工艺尽显无遗。\n人物端坐在满工雕龙御座之上，比例精准匀停，画面设色厚重沉稳，既以毫厘毕现的笔触还原人物形貌衣饰细节，又烘托出九五之尊的庄重气派，是清代御容肖像画的上乘之作。",[24,77,26,25,27,7,257],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6375b49a8870a9faf68acab10820ae65.jpg",[],{"id":1813,"slug":1814,"title":1815,"dynasty":18,"author":19,"museum":74,"description":1816,"tags":1817,"thumbUrl":1818,"material":117,"size":118,"collection":119,"collections":1819,"showCount":1784,"zanCount":40,"manualWeight":40,"mainColor":969},234381,"xiao-gong-ren-huang-hou-xiang-zhou-yi-ming-234381","孝恭仁皇后像轴","此作为工笔重彩御容肖像，人物端凝肃穆，面容温婉平和，尽显中宫仪范。朝冠累丝镶宝，华贵威仪；朝服以宝蓝配明黄，缂丝金龙蜿蜒腾跃，祥云江崖环绕其间，礼制纹样排布严整，配色富丽堂皇，将皇家尊荣尽显无遗。\n\n画师笔致精细入微，毛发衣纹毫厘毕现，既恪守宫廷肖像画的严谨规制，又以细腻笔触烘托出人物沉静端庄的气度。素净背景将视线全然引向主位，让这份雍容庄重成为画面核心，尽显清代宫廷绘事与织造工艺的顶尖水准。",[24,77,26,25,27,7,215,257,587],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd20e3238dd402e9308501be16d3f3db2.jpg",[],{"id":1821,"slug":1822,"title":1823,"dynasty":499,"author":19,"museum":74,"description":1824,"tags":1825,"thumbUrl":1828,"material":117,"size":118,"collection":119,"collections":1829,"showCount":1784,"zanCount":40,"manualWeight":40,"mainColor":41},231687,"ping-an-shi-dai-e-gui-cao-zhi-yi-ming-231687","平安时代 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Tiziano Vecelli或Tiziano Vecellio，约 1488\u002F1490年 – 1576年8月27日 ），英语系国家常称呼为提香（Titian），他是意大利文艺复兴后期威尼斯画派的代表画家。\n提香出生于意大利东北部阿尔卑斯山地区的卡多列。10岁时随兄长到威尼斯，在乔凡尼·贝利尼的画室学画，与画家乔尔乔内是同学。\n在提香所处的时代，他被称为“群星中的太阳”，是意大利最有才能的画家之一，兼工肖像、风景及神话、宗教主题绘画。他对色彩的运用不仅影响了文艺复兴时代的意大利画家，更对西方艺术产生了深远的影响",[252,1916,112,27,7,79,28,1917,189,1402,1166,1918],"素描","城堡","风景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7cb8dcd1c64b95edbfe31e5fad71dc4.jpg",[],{"id":1922,"slug":1923,"title":1924,"dynasty":18,"author":1925,"museum":74,"description":1926,"tags":1927,"thumbUrl":1928,"material":117,"size":118,"collection":119,"collections":1929,"showCount":1868,"zanCount":40,"manualWeight":40,"mainColor":69},230161,"shou-zi-qian-long-230161","寿字","乾隆","清高宗弘历，清朝第六位皇帝，清军入关之后的第四位皇帝，生于1711年9月24日，卒于1799年2月7日。年号“乾隆”，寓意“天道昌隆”。\n清高宗于1736年2月12日开始使用“乾隆”年号，至1796年2月8日为止。1795年10月3日，清高宗立爱新觉罗·颙琰为皇太子，并下令从1796年2月9日开始改用“嘉庆”年号 。1796年2月9日，清高宗传位于爱新觉罗·颙琰，正式退位。但是皇宫内依然用“乾隆”纪年，如乾隆帝临终医案仍为乾隆六十三年十二月。",[55,454,25,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd69523a170f0e268eb320e9e0782df9a.jpg",[],{"id":1931,"slug":1932,"title":1933,"dynasty":153,"author":19,"museum":74,"description":1003,"tags":1934,"thumbUrl":1937,"material":117,"size":118,"collection":119,"collections":1938,"showCount":1868,"zanCount":40,"manualWeight":40,"mainColor":69},226878,"bi-yu-long-xing-pei-yi-dui-yi-ming-226878","碧玉龙形佩（一对）",[994,307,1935,158,7,79,1936],"碧玉","佩饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F971f4f29ba6001266bd999181161d700.jpg",[],{"id":1940,"slug":1941,"title":332,"dynasty":46,"author":334,"museum":74,"description":1942,"tags":1943,"thumbUrl":1946,"material":117,"size":118,"collection":119,"collections":1947,"showCount":1948,"zanCount":40,"manualWeight":40,"mainColor":41},289880,"luo-han-tu-li-yu-289880","李遹 (约公元一二o八年前后在世)字平甫,栾城人。生卒年均不详,约金章宗泰和末前后在世,年六十七岁。高才博学,工画山水龙虎。为人滑稽多智。明昌二年(公元一一九一年)进士。",[23,24,52,77,112,54,109,27,7,56,55,1944,1945],"罗汉","佛教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff936cb0bdc390fb3bddab4f433c9cb9c.jpg",[],15,{"id":1950,"slug":1951,"title":1952,"dynasty":46,"author":359,"museum":74,"description":1953,"tags":1954,"thumbUrl":1955,"material":117,"size":118,"collection":119,"collections":1956,"showCount":1948,"zanCount":40,"manualWeight":40,"mainColor":41},289785,"wei-lin-tu-li-gong-lin-289785","为霖图","李公麟（1049～1106），北宋舒州（今属安徽桐城）人，宋代杰出画家。字伯时，号龙眠居士、龙眠山人，享年五十七岁。熙宁三年（公元1070年）进士。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[23,24,51,77,25,27,7,503,504,111,55,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cc01ffe90059e930920b1b9f4c50149.jpg",[],{"id":1958,"slug":1959,"title":1960,"dynasty":18,"author":19,"museum":74,"description":1961,"tags":1962,"thumbUrl":1965,"material":117,"size":118,"collection":119,"collections":1966,"showCount":1948,"zanCount":40,"manualWeight":40,"mainColor":969},268785,"hu-se-duan-ping-jin-xiu-long-wen-nan-mang-yi-ming-268785","湖色缎平金绣龙纹男蟒","湖色缎底清润雅致，平金绣就的龙纹矫健威严，金线随龙身走势流转，尽显华贵威仪。团寿纹与缠枝花卉错落排布，柔媚的粉牡丹点缀其间，刚柔并济中和了龙形的凛冽。绣工精妙卓绝，平金走线细密齐整，绒线晕染出花卉饱满层次，冷暖配色调和相宜，既恪守礼制规制，又带着绣匠巧思，将威严气度与柔美意趣融于一身，是传统戏服工艺中的上乘之作。",[257,1638,1963,1964,7,1473,1054,323],"平金绣","缎料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd710ce4d68b01ddb496981febb0f109e.jpg",[],{"id":1968,"slug":1969,"title":1970,"dynasty":18,"author":19,"museum":74,"description":1971,"tags":1972,"thumbUrl":1975,"material":117,"size":118,"collection":119,"collections":1976,"showCount":1948,"zanCount":40,"manualWeight":40,"mainColor":41},264075,"lv-se-di-tuan-long-feng-shi-zi-hua-hui-wen-zhi-jin-jin-yi-ming-264075","绿色地团龙凤狮子花卉纹织金锦","《说文》：“锦，襄邑织文。从帛，金声。”即用彩色经纬丝织出各种图案花纹的纺织品，泛指具有多种彩色花纹的丝织物。锦的生产工艺要求高，织造难度大，所以它是古代最贵重的织物。“锦，金也，作之用功重，其价如金。”古人把锦看成和黄金等价。这种织物有经起花和纬起花两种，也叫经锦和纬锦。经锦是用两组或两组以上的经线同一组纬线交织。经线多的二色或三色，一色一根作为一副，如果需要更多的颜色，也可以使用牵色条的方法。纬线有明纬和夹纬；用夹纬把每副中的表经和底经分隔开，用织物正面的经浮点显花。\n用染好颜色的彩色经纬线，经提花、织造工艺织出图案的织物。中国丝织提花技术起源久远。早在殷商时代中国已有丝织物。周代丝织物中出现织锦，花纹五色灿烂，技艺臻于成熟。汉代设有织室、锦署，专门织造织锦，供宫廷享用。自汉武帝后，中国织锦通过丝绸之路传入波斯（今伊朗）、大秦（古罗马帝国）等国。三国时四川蜀锦成为主流。唐代贞观年间窦师伦的对雉、斗羊、翔凤等蜀锦图案，称为绫阳公样。在织造工艺上由经锦改进为纬锦，并出现彩色经纬线由浅入深或由深入浅的退晕手法。北宋宫廷在汴京等地建立规模庞大的织造工场，生产各种绫锦。元代是中国历史上大量生产织金锦（一种加金的丝织物）的时代，宫廷设立织染局、织染提举司，机构庞大，集中了大批优秀工匠。\n明清两代织锦生产集中在江苏南京、苏州，除了官府的织锦局外，民间作坊也蓬勃兴起，形成江南织锦生产的繁荣时期。织锦大多采用传统提花工艺和木制花楼织机，有些织锦因品种不同而有所区别。如宋锦、土家族织锦采用通经断纬工艺，即分段调换彩色纬线，使色彩更加丰富。杭锦采用铁制提花机。织锦种类有南京云锦、四川蜀锦、苏州宋锦、杭州织锦以及少数民族的黎锦、壮锦、傣锦、瑶锦、侗锦、苗锦、土家锦、爱得利斯锦等。1960年以来，中国织锦在继承、发扬传统织锦的基础上，恢复了云锦的妆花锦和蜀锦的浣花锦、锦上添花锦、八答晕锦，并生产了窗帘、沙发套、枕套、被面、台毯、靠垫、床罩、提包、民族服装用料等新品种。\n锦已有3000年以上的历史，战国、西汉以前流行以二色或三色经轮流显花的经锦，包括局部饰以挂经的挂锦、具有立体效果的凸花锦和绒锦。1959年在新疆民丰尼雅遗址发现的东汉“万年如意锦”使用绛、白、绛紫、淡蓝、渥绿五色，通幅分成十二个色条，就是汉代典型的经锦。\n纬锦是用两组或两组以上的纬线同一组经线交织。经线有交织经和夹经；用织物正面的纬浮点显花。1969年在新疆阿斯塔那发现的唐代锦袜，在大红色地上起各种禽鸟花朵和行云的图案，就属于这一种锦。\n经锦和纬锦具有不同的织造效果。经锦的纬密比较低，只用一把梭子，生产效率比较高。纬锦织造比较费时，但可以使用两把以上的梭子，容易变换色彩，色彩丰富。这两种锦在中国出现的时间都比较早。但是六朝以前织造的，以经起花为主；隋唐以后织造的，似乎以纬起花为主。\n在苏联的巴泽雷克发现一批中国战国时期的丝绸，就有用红绿二色纬线织造的纬斜纹起花的纬锦。产生于宋代前后的宋锦以地经、地纬交织成经斜组织，按结经与纹纬交织成纬斜组织。\n金元之际流行加金的丝织物——织金锦，又称“纳石失”。明清时盛行以挖花缎的彩纬多达30—40种，锦面的经、纬方向都有逐花异色的效果，是中国织锦最高水平的代表。\n锦在历史上曾用多棕多蹑机和束棕花楼机织造，现代生产采用纹版提花机。\n国家非常重视非物质文化遗产的保护，南京云锦木机妆花手工织造技艺作为中国古老的织锦技艺最高水平的代表，于2006年列入首批国家级非物质文化遗产名录。2006年5月20日，土家族织锦技艺经国务院批准列入第一批国家级非物质文化遗产名录。2007年6月8日，湖南凤凰水云织锦坊获得国家文化部颁布的首届文化遗产日奖。2009年8月《地理标志产品云锦》国家标准在南京通过国家级专家评审，同年9月成功入选联合国《人类非物质文化遗产代表作名录》。",[214,1973,7,215,1974,323,1442,1595],"织金锦","狮子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63853fc0893ba7f959cac64ffc02d5cc.jpg",[],{"id":1978,"slug":1979,"title":1980,"dynasty":18,"author":19,"museum":74,"description":1789,"tags":1981,"thumbUrl":1983,"material":117,"size":118,"collection":119,"collections":1984,"showCount":1948,"zanCount":40,"manualWeight":40,"mainColor":969},263649,"ke-si-qian-long-ti-zan-shi-jia-mu-ni-xiang-zhou-yi-ming-263649","缂丝乾隆题赞释迦牟尼像轴",[77,1791,112,1945,1982,110,25,600,7,1243,55],"释迦牟尼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4310f8a445131edf8179131f95825d1.jpg",[],{"id":1986,"slug":1987,"title":1988,"dynasty":333,"author":19,"museum":74,"description":1989,"tags":1990,"thumbUrl":1991,"material":117,"size":118,"collection":119,"collections":1992,"showCount":1948,"zanCount":40,"manualWeight":40,"mainColor":41},238578,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238578","明人升平翊赞图并书赞册","此作以工笔重彩绘就，设色浓妍饱满。青绿浪涛间晕染粉黄祥云，层次绵密铺展出神幻水境。右侧水府门庭威严矗立，赤甲神人持械守立；左侧仙官乘骑率众列队，仪仗整肃齐整，衣甲纹饰刻画入微，旌旗猎猎尽显仪典庄重。\n画作以叙事构图铺陈海神受贺的吉庆盛景，神人形象刚劲饱满，将神异世界的肃穆祥瑞融于一体，尽显道释绘画的精工富丽，勾勒出天界水府的恢弘气象。",[24,478,26,25,27,385,7,28,31,384,613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b3fa2435db481017698d178d3cf926d.jpg",[],{"id":1994,"slug":1995,"title":1996,"dynasty":333,"author":1997,"museum":20,"description":1998,"tags":1999,"thumbUrl":2000,"material":349,"size":2001,"collection":194,"collections":2002,"showCount":1948,"zanCount":40,"manualWeight":40,"mainColor":69},237463,"luo-han-tu-zhou-wu-bin-237463","罗汉图轴","吴彬","图中画三位佛教人物，其中身披红色袈裟者手持一钵正在降伏半空中的飞龙。佛教修行中的最高果位是佛，其次为菩萨，然后是罗汉。宋代以前流传十六罗汉，之后又衍生出两尊，即降龙和伏虎，于是成为十八罗汉。降龙罗汉位列十八罗汉的第十七位，根据古印度的传说，降龙罗汉最初的原形是庆友尊者。相传古印度那竭国有恶魔煽动国人杀害出家的佛弟子，尽毁佛殿佛塔，劫掠经书。当时海龙王发动洪水，淹没了那竭国，并将佛经收藏于龙宫之内，等待有法力的僧人取回，最终庆友尊者完成大任，因此他被称为降龙罗汉。本图中的人物形象古朴，线条细劲绵长，设色浓丽。《图绘宝鉴续纂》记载吴彬：“善人物，奇行怪状，迥异旧人，自立门户。”",[24,52,77,112,25,27,7,1707,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ae99e6225085f994b39be7e25626092.jpg","纵145.9厘米，横76.1厘米",[194],{"id":2004,"slug":2005,"title":2006,"dynasty":46,"author":19,"museum":74,"description":1003,"tags":2007,"thumbUrl":2010,"material":117,"size":118,"collection":119,"collections":2011,"showCount":1948,"zanCount":11,"manualWeight":40,"mainColor":69},227281,"liao-jin-yu-long-shou-yi-ming-227281","辽、金 玉龙首",[307,158,7,79,309,2008,2009],"辽金风格","宋代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5ecbb1121c76156eef234115f76fde8.jpg",[],{"id":2013,"slug":2014,"title":2015,"dynasty":18,"author":635,"museum":126,"description":2016,"tags":2017,"thumbUrl":2020,"material":577,"size":119,"collection":119,"collections":2021,"showCount":1948,"zanCount":11,"manualWeight":40,"mainColor":41},218032,"tian-wang-xiang-9-yao-wen-han-218032","天王像-9","画面中人物端坐云涛花海间，蓝袍红裙缀着细碎纹样，衣袂流转似凝微光。双目微阖含禅意，手中法器古朴，指节分明藏着沉静力道。身下五彩祥云裹挟莲华与瑞草，粉白黄紫交织如锦；脚下波涛翻涌，龟甲隐现、红枝探水，似有灵韵暗生。背景山林隐隐，云端仙佛颔首，淡墨晕染的树影与暖金祥云相映，添了几分空灵神圣。设色妍丽却清雅，线条工细如丝，将人物庄严与自然灵韵融于方寸。每一笔都透着匠心：衣纹褶皱的转折、花瓣脉络的细腻、水波纹理的起伏，皆见功底。整体意境空灵而肃穆，仿佛天地呼吸都凝在这帧画卷里，让人望之便生敬畏与沉静。",[24,26,25,112,27,600,30,7,2018,323,189,56,2019],"龟","工笔重彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefda59d6ea133eebd3dbe9a283923b41.jpg",[],{"id":2023,"slug":2024,"title":2025,"dynasty":18,"author":635,"museum":74,"description":636,"tags":2026,"thumbUrl":2027,"material":34,"size":119,"collection":119,"collections":2028,"showCount":1948,"zanCount":40,"manualWeight":40,"mainColor":642},217219,"li-dai-di-wang-zhen-xiang-46-yao-wen-han-217219","历代帝王真像-46",[24,25,27,26,7,257],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bef1901058b14825872f34e3f640976.jpg",[],{"id":2030,"slug":2031,"title":2032,"dynasty":18,"author":2033,"museum":74,"description":2034,"tags":2035,"thumbUrl":2036,"material":117,"size":118,"collection":119,"collections":2037,"showCount":2038,"zanCount":40,"manualWeight":40,"mainColor":41},287426,"shi-liu-luo-han-tu-juan-quan-juan-shi-tao-287426","十六罗汉图卷(全卷)","石涛","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等，明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[24,53,109,54,110,1140,1945,1944,7,503,190,189,1130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0277a576b1ecf73a9a35381215e88e4.jpg",[],14,{"id":2040,"slug":2041,"title":2042,"dynasty":18,"author":19,"museum":74,"description":2043,"tags":2044,"thumbUrl":2048,"material":117,"size":118,"collection":119,"collections":2049,"showCount":2038,"zanCount":40,"manualWeight":40,"mainColor":69},268751,"huang-se-chou-xiu-long-feng-shuang-xi-wen-jia-huai-dang-yi-ming-268751","黄色绸绣龙凤双喜纹夹怀挡","绸缎，泛指丝织物。古时多是有钱人家作为衣物，其颜色光滑亮丽，五彩缤纷。《儿女英雄传》第二回：“大凡到工的官儿们送礼，谁不是缂绣、呢羽、绸缎、皮张，还有玉玩、金器、朝珠、洋表的？” 老舍《四世同堂》四九：“他看不起绸缎的衣服，与文雅的态度，可又有点自惭形秽。”",[1049,214,7,215,2045,2046,1634,2047],"双喜纹","怀挡","吉祥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff716779b9159ec09c617659faa372351.jpg",[],{"id":2051,"slug":2052,"title":2053,"dynasty":18,"author":19,"museum":74,"description":2054,"tags":2055,"thumbUrl":2057,"material":117,"size":118,"collection":119,"collections":2058,"showCount":2038,"zanCount":11,"manualWeight":40,"mainColor":41},267426,"fen-se-duan-xiu-zhe-zhi-hua-wen-gong-yi-yi-ming-267426","粉色缎绣折枝花纹宫衣","清王朝时段推行剃发易服，顺治九年（1652），钦定《服色肩舆条例》颁行，从此废除了明朝的冠冕、礼服以及汉族的一切服饰，但满族服饰同时吸收了明朝服饰的纹理图案。明代男子一律蓄发挽髻，着宽松衣，穿长统袜、浅面鞋；清时则剃发留辫，辫垂脑后，穿瘦削的马蹄袖箭衣、紧袜、深统靴。但官民服饰一律泾渭分明。 清朝是以满族统治者为主的政权机构，满族八旗服饰随朝代的变更冲进关内。旗人的风俗习惯影响着广大的中原地区。从公服开始逐渐推向常服。",[257,214,1634,1779,2056,323,7,32],"折枝花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16558640f068c5be1558b69d380b04c2.jpg",[],{"id":2060,"slug":2061,"title":2062,"dynasty":18,"author":19,"museum":74,"description":2063,"tags":2064,"thumbUrl":2068,"material":117,"size":118,"collection":119,"collections":2069,"showCount":2038,"zanCount":40,"manualWeight":40,"mainColor":69},261634,"jia-qing-kuan-wu-cai-long-feng-xi-zhu-wen-wan-yi-ming-261634","嘉庆款五彩龙凤戏珠纹碗","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。",[1014,2065,1051,7,215,2066,323,2067],"碗","戏珠纹","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7338b5beb1ac2148d020bf4e58118a53.jpg",[],{"id":2071,"slug":2072,"title":2073,"dynasty":333,"author":19,"museum":74,"description":1739,"tags":2074,"thumbUrl":2079,"material":117,"size":118,"collection":119,"collections":2080,"showCount":2038,"zanCount":40,"manualWeight":40,"mainColor":69},246225,"jia-jing-kuan-ti-cai-lian-tang-long-zhou-wen-he-ye-shi-pan-yi-ming-246225","嘉靖款剔彩莲塘龙舟纹荷叶式盘",[588,1648,2075,158,25,2076,616,7,2077,2078,309],"剔彩","莲塘","荷叶","荷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5401e06e7807f981fbcd1dcc40472ca3.jpg",[],{"id":2082,"slug":2083,"title":2084,"dynasty":18,"author":1126,"museum":74,"description":2085,"tags":2086,"thumbUrl":2090,"material":117,"size":118,"collection":119,"collections":2091,"showCount":2038,"zanCount":40,"manualWeight":40,"mainColor":69},239358,"lin-luo-han-tu-juan-ding-guan-peng-239358","临罗汉图卷","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。\n丁观鹏擅长画道释人物，也善画山水。曾与弟弟观鹤同供奉于南熏殿。他的画作清宫收藏很多。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有：《摹宋人雪渔图》和《仿韩 七子过关图》，均辑入《中国历代名画集》。",[23,24,52,53,25,26,129,56,27,112,7,503,79,385,1334,713,189,190,600,955,2087,2088,2089],"车辇","法器","动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89a77006da2a741773d5c2053a0a1462.jpg",[],{"id":2093,"slug":2094,"title":2095,"dynasty":426,"author":2096,"museum":74,"description":2097,"tags":2098,"thumbUrl":2099,"material":492,"size":2100,"collection":119,"collections":2101,"showCount":2038,"zanCount":40,"manualWeight":40,"mainColor":41},232885,"you-mu-kuang-huan-tu-juan-zhang-yu-232885","游牧狂欢图卷","张雨","张雨（1283～1350），元代诗文家、词曲家、书画家、茅山派道士。旧名张泽之，又名张嗣真；字伯雨，号贞居之，又号句曲外史。钱塘（浙江杭州）人。\n博学多闻，善谈名理。诗文、书法、绘画，清新流丽，有晋、唐遗意。曾从虞集受学，诗才清丽。年二十弃家为道士，居茅山，道名嗣真，道号贞真子，又自号句曲外史。师事茅山宗师许道杞弟子周大静，后师事玄教高道王寿衍，居杭州开元宫，与当时文士如杨维桢、张小山、马昂夫、仇山村、班彦功等均有唱和往来。\n传世书迹有《台仙阁记》卷（现藏于上海博物馆）《题画二诗》卷（现藏于故宫博物院）；著有诗集《贞居集》（又名《句曲外史集》）五卷。",[23,51,24,52,53,25,27,7,131,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdf3dd2a8a2ad4ac8b4c773e7f7cd412.jpg","30.4×89 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　两宋及其同期或稍后的辽金玉文化去除了隋唐五代繁杂的外来文化因素，又继承和发展了隋唐玉文化的市庶化、艺术化特色，特别是融会了两宋绘画的特点和技巧。宋代肖生玉在崇尚写实主义的院画影响下追求形体及运动的准确表现，以显示其内心世界。花鸟玉佩多做隐起、镂空的对称处理，富有生活气息。双勾的经文诗词等铭刻玉器盛极一时。辽金玉器也是由汉族玉工碾成，但其题材却富有边疆民族特色和游牧生活气息，以契丹、女真两族生活为主题的春水佩和玉秋山为其杰出代表，均有着形神兼备的艺术造诣。宋、辽、金都出现了前所未见的有情节、有背景的景观式构图，以镂空起突等法碾琢的悬塑性或立体的肖生玉器。它是这一时代玉器的新兴形式，有着鲜明的时代特点，还出现了受道教影响的神仙题材和“龟游”一类祥瑞玉器。总之，此时期玉器的特点是：玉如凝脂、构图繁复、情节曲折、砣碾遒劲、空灵剔透、形神兼备，是我国玉文化的第二个高峰期。",[1512,307,2123,158,79,7],"兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70d2d9fcf8a8e9816a80a85ecd61e1e7.jpg",[],{"id":2127,"slug":2128,"title":2129,"dynasty":18,"author":19,"museum":74,"description":2054,"tags":2130,"thumbUrl":2133,"material":117,"size":118,"collection":119,"collections":2134,"showCount":2135,"zanCount":341,"manualWeight":40,"mainColor":69},267432,"huang-se-duan-xiu-cai-yun-fu-he-ri-yue-wen-fa-yi-yi-ming-267432","黄色缎绣彩云蝠鹤日月纹法衣",[112,257,214,1634,159,1053,7,131,2131,2132],"日月纹","法衣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F602cb24738794ae3107147e49c6238e4.jpg",[],13,{"id":2137,"slug":2138,"title":2139,"dynasty":18,"author":19,"museum":74,"description":2140,"tags":2141,"thumbUrl":2146,"material":117,"size":118,"collection":119,"collections":2147,"showCount":2135,"zanCount":40,"manualWeight":40,"mainColor":88},256659,"qian-long-kuan-yang-cai-lou-kong-long-wen-kui-feng-er-zhuan-xin-ping-yi-ming-256659","乾隆款洋彩镂空龙纹夔凤耳转心瓶","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[1014,1606,2142,2143,2144,25,7,2145,309],"洋彩","镂空","转心","夔凤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87da4391e704ea589112715c1939118f.jpg",[],{"id":2149,"slug":2150,"title":1645,"dynasty":18,"author":19,"museum":74,"description":1646,"tags":2151,"thumbUrl":2152,"material":117,"size":118,"collection":119,"collections":2153,"showCount":2135,"zanCount":40,"manualWeight":40,"mainColor":969},248755,"hei-qi-qian-luo-dian-yun-long-wen-chang-fang-cuan-he-yi-ming-248755",[1648,1650,1649,7,80,309],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ee110b72ac254e60c65b8a02734cf08.jpg",[],{"id":2155,"slug":2156,"title":1988,"dynasty":333,"author":19,"museum":74,"description":2157,"tags":2158,"thumbUrl":2159,"material":117,"size":118,"collection":119,"collections":2160,"showCount":2135,"zanCount":40,"manualWeight":40,"mainColor":41},238576,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238576","此作为工笔重彩道释画，场面恢宏整饬。祥云舒卷间，诸天众神分列排布，主尊安坐祥云，神色肃穆端庄，扈从神兵甲胄鲜明、威仪赫赫，仙官礼拜恭谨，尽显仪典庄重。\n\n设色浓妍明丽，石青、石朱晕染出层叠云气与幡幢仪仗，色彩层次饱满和谐。衣纹线条劲挺流畅，勾勒出神祇身姿的庄严与灵动，甲胄飘带的细节刻画入微，分毫毕现。整体铺陈出雍容神圣的仙界仪制氛围，尽显道释工笔画精湛的表现力，兼具装饰美感与叙事性，将仙班仪仗的威严气象烘托尽致。",[24,52,478,25,26,27,7,28,189,385,771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2522c56cdcfef6871ca555f42793908f.jpg",[],{"id":2162,"slug":2163,"title":2164,"dynasty":333,"author":19,"museum":74,"description":2165,"tags":2166,"thumbUrl":2167,"material":117,"size":118,"collection":119,"collections":2168,"showCount":2135,"zanCount":11,"manualWeight":40,"mainColor":69},228805,"luo-han-xiang-long-tu-yi-ming-228805","罗汉降龙图","画面高远错落，祥云缭绕出清寂禅意。红袍虬髯的罗汉怒目圆睁，正施法定住惊涛中翻腾的蛟龙，鳞爪张舞的蛟龙满是桀骜，与罗汉的沉凝威势碰撞出强烈张力。上方禅坐的尊者宝相安然，将下方的奔波动势收束于静谧禅机之内。\n\n周遭僧众神态各异，或垂目静思，或注目凝神，层层烘托出伏魔场面的庄严肃穆。石青朱砂的古雅敷色，晕染出佛绘特有的厚重威仪，细腻笔触将人物神态、蛟龙肌理刻画入微，把禅门降伏神通的玄妙意境铺陈开来，尽显工笔佛画的精湛造诣。",[23,24,52,588,112,26,25,27,7,190,1130,144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e7b08be8a42e4de886d90750e888424.jpg",[],{"id":2170,"slug":2171,"title":2172,"dynasty":333,"author":19,"museum":74,"description":1012,"tags":2173,"thumbUrl":2175,"material":117,"size":118,"collection":119,"collections":2176,"showCount":2135,"zanCount":40,"manualWeight":40,"mainColor":69},223940,"qing-hua-hua-hui-wen-long-er-hua-jiao-yi-ming-223940","青花花卉纹龙耳花浇",[1014,1015,2174,7,309,588],"花卉纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe117453e937ae9a268ebb3480f027539.jpg",[],{"id":2178,"slug":2179,"title":2180,"dynasty":333,"author":19,"museum":2181,"description":2182,"tags":2183,"thumbUrl":2184,"material":322,"size":119,"collection":119,"collections":2185,"showCount":2135,"zanCount":40,"manualWeight":40,"mainColor":69},222149,"fu-hui-dong-yi-ming-222149","赴会东","法海寺","唐代画圣吴道子，以画佛道功德为其主要职业，曾画过《佛会图》，可惜早已无存。《佛会图》属佛中的杂类图画。明代宗教壁画不少，在绘画技巧、用笔用色和制作工艺上，法海寺壁画当推为全国明代壁画之典范，《佛会图》就是其中的一铺。\n佛会图，位于大殿东西山墙两壁，共两铺，高3.2米，长22米（东西山墙壁各11米），面积70.4平方米。壁画内容为佛祖讲经说法、佛众菩萨赴会参禅的画面。绘画中有祥云缭绕，以上为天界，以下为人间。天界有佛众菩萨诸神趺跏于祥云之上，人间有山泉花卉、曲径竹篱。台座上原有十八罗塑汉像，天界与人间，罗汉与佛众，壁画与塑像，形成一幅完美的艺术整体。现罗汉塑像已毁。\n佛会图，绘有飞天、四菩萨、五方佛（东西两壁合称十方佛）、六观音（亦可六菩萨），共32种佛众诸神。图画上部的极南边，各月一凌空舞来的飞天。飞天神女，佛教中天龙八部众之一，被称为干达婆，是香神又是乐神。食香，以身放香，又称香乐神。食香，以身放香，又称香音神。她常出现在佛面前演唱赞歌。各代飞天画像都不尽相同。法海寺明代壁画中的飞天，为身披飘带、手执宝盘的仙女形象，天真活泼，雅气喜人。盘中盛有鲜花，攀云乘风，飘舞在乐鼓齐鸣、天花乱坠的佛会时刻。远观佛会图上部，观音菩萨六尊为组，红衣坐佛五尊为伴，另为四尊菩萨彼此相近。佛众菩萨，趺跏于祥云之上，不即不离，若即若离，似语不语，似静似动，错落有致，把你引入仙境，带给你以虚空宁静，美的享受。\n这铺壁画更突出的特点，是在山水花卉绘制技术上的完美，它融汇了我国历代壁画的多种技法，甚至运用了卷轴重彩的技法。山石水浪，与我国宋代山水花鸟绘画大师马远的手法相比，画法一致，水准亦高，毫不逊色。长22米的画面，章法上大胆取舍剪裁，描绘山之一角，水之一涯，一石一树，一花一草，皴染都极其严谨，种种臻秒。随便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】卷，纸本设色，27.5×571.5cm，法国国家图书馆藏。此卷敦煌遗物在1908年被法国的希伯和所盗取。画面从笔墨和造型上看应当是真正的唐代人物宗教故事画，虽非名手所作，但也是珍贵的文物，为研究唐代人文宗教历史提供了第一手材料。\n画卷中的国王、外道和佛弟子的形象特征鲜明。描绘了外道如何向国王口出狂言，扬言自己本领高强，要取代佛弟子的地位。他们制造显现出离奇的景象、恐怖的物事、吓人的声音、惊惧的场面，企图威慑佛弟子；佛弟子则神态平静，在淡然默语之中，展现神通，一一予以粉碎、消除、化解、冲刷得干干净净。国王看到这一切，当然心悦诚服，欣喜异常。外道则黔驴技穷，一筹莫展，最终不得不遵从国王的旨意，归顺了佛弟子。",[23,24,52,53,112,25,26,109,27,79,7,144,189,190,678,480],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23dd62430861a3914d1d4d7d6ab142ba.jpg",[],{"id":2264,"slug":2265,"title":2266,"dynasty":153,"author":19,"museum":74,"description":1090,"tags":2267,"thumbUrl":2268,"material":117,"size":118,"collection":119,"collections":2269,"showCount":2207,"zanCount":40,"manualWeight":40,"mainColor":88},226873,"long-xing-pei-yi-ming-226873","龙形佩",[153,307,158,7,309,995],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23fc50f6538664013baac70b11a5f7e8.jpg",[],{"id":2271,"slug":2272,"title":2273,"dynasty":105,"author":19,"museum":74,"description":1749,"tags":2274,"thumbUrl":2275,"material":117,"size":118,"collection":119,"collections":2276,"showCount":2207,"zanCount":40,"manualWeight":40,"mainColor":41},223857,"long-wen-jing-yi-ming-223857","龙纹镜",[105,157,158,7,309,1753],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d4c545377d33012af8d1b75372a27a8.jpg",[],{"id":2278,"slug":2279,"title":2280,"dynasty":2281,"author":2282,"museum":20,"description":2283,"tags":2284,"thumbUrl":2285,"material":2286,"size":2287,"collection":119,"collections":2288,"showCount":2207,"zanCount":40,"manualWeight":40,"mainColor":69},221161,"shi-liu-luo-han-xiang-fa-na-po-si-zun-zhe-tang-ka-bu-ben-guan-xiu-221161","十六罗汉像-伐那婆斯尊者（唐卡布本）","五代十国","贯休","贯休(832年-912年)，俗姓姜，字德隐，婺州兰溪(今浙江省兰溪市)人。唐末五代时期前蜀画僧、诗僧。七岁出家和安寺，日读经书千字，过目不忘。唐天复间入蜀，被前蜀主王建封为禅月大师，赐以紫衣。\n天复二年（902年），黄巢起义席卷大半个中国，兵火连年，战祸惨烈。古稀之年的贯休，带着对命运和时代的切肤之悟，做出了人生中一个重大决定：“一瓶一钵垂垂老，千水千山得得来。”他从黔中（今湖南怀化）出发，经三峡，沿长江逆流而上，于次年初春到达成都，度过了人生的最后十年。",[23,24,52,112,27,26,25,214,7,79,479],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F569a3a85f7f82a7de7a82f30e44853d2.jpg","布本，设色","通高143厘米，宽89厘米，画心纵82厘米，横56厘米",[],{"id":2290,"slug":2291,"title":2292,"dynasty":46,"author":334,"museum":74,"description":1942,"tags":2293,"thumbUrl":2294,"material":117,"size":118,"collection":119,"collections":2295,"showCount":2296,"zanCount":40,"manualWeight":40,"mainColor":41},290970,"luo-han-zhou-li-yu-290970","罗汉轴",[24,52,77,112,109,54,27,7,55,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5d16feef4469398d4fd2cfd0c36b68b.jpg",[],11,{"id":2298,"slug":2299,"title":2300,"dynasty":333,"author":19,"museum":74,"description":2301,"tags":2302,"thumbUrl":2303,"material":117,"size":118,"collection":119,"collections":2304,"showCount":2296,"zanCount":40,"manualWeight":40,"mainColor":41},290814,"tai-zu-zuo-xiang-yi-zhou-yi-ming-290814","太祖坐像（一）轴","宣宗朱瞻基(1398-1435) 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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》。",[24,52,55,1444,1837,2312,7],"镜心","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde2737cc12be3d723f4ecca0204fbdb2.jpg",[],{"id":2316,"slug":2317,"title":2318,"dynasty":18,"author":19,"museum":74,"description":2319,"tags":2320,"thumbUrl":2322,"material":117,"size":118,"collection":119,"collections":2323,"showCount":2296,"zanCount":40,"manualWeight":40,"mainColor":41},288835,"fang-li-gong-lin-can-fu-tu-yi-ming-288835","仿李公麟参佛图","此作为白描长卷，左侧题跋与右侧绘卷相得益彰。绘卷以缥缈水云为底色，铺陈佛国盛会：居中佛陀安坐说法，周遭罗汉、菩萨侍立聆听，一众神众或乘云凌波，或盘坐山巅，人物情态迥异，动静相生。线条清劲秀雅，尽得李公麟白描笔意，淡墨晕染出山峦云涛，氤氲出空灵悠远的禅境。题跋笔墨端稳雅致，诗文禅意隽永，呼应画面里大道浑融的佛国气象，诗画合璧，尽显出世清寂的超然意趣。",[23,24,53,52,109,129,112,1945,110,2321,1944,7,600,28,55,56],"佛陀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44ed90e5c73553d41fb4ada5610d0261.jpg",[],{"id":2325,"slug":2326,"title":2327,"dynasty":18,"author":19,"museum":74,"description":2328,"tags":2329,"thumbUrl":2331,"material":117,"size":118,"collection":119,"collections":2332,"showCount":2296,"zanCount":11,"manualWeight":40,"mainColor":69},288441,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-da-chen-ao-bai-yi-ming-288441","历代帝王贵妃大臣朝服像(大臣鳌拜)","此作工整肃穆，将权臣的威仪尽数铺陈。画师以精细笔触描摹形貌，苍老年迈的面庞上神色沉凝凶悍，不怒自威，尽显权倾朝野的跋扈气场。\n\n宝蓝朝服之上，盘金绣就的五爪龙纹细腻规整，金线在底色映衬下愈显华贵威严，朝珠排布严整，各处纹饰细节一丝不苟，尽显宫廷绘事的精湛功底。\n\n全作构图对称中正，恪守官式肖像的严谨制式，既精准还原朝服礼制细节，又鲜活刻画出人物的性格特质，让观者得以窥见这位权臣的厚重气场，是清代人物肖像画中的典型佳构。",[23,24,110,26,25,1419,2330,7,650],"大臣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e0b29cead27de6725038fd4d2d7add0.jpg",[],{"id":2334,"slug":2335,"title":2336,"dynasty":18,"author":19,"museum":74,"description":2337,"tags":2338,"thumbUrl":2340,"material":117,"size":118,"collection":119,"collections":2341,"showCount":2296,"zanCount":40,"manualWeight":40,"mainColor":69},288320,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-duo-er-gun-fu-jin-yi-ming-288320","历代帝王贵妃大臣朝服像(多尔衮福晋)","此作工笔精严，将清初贵族内眷的威仪尽数铺陈。画中福晋容色端凝肃穆，静坐间自带世家贵气。周身朝服以宝蓝为底，通身金线织就的龙纹辗转腾挪，于沉稳底色中尽显华贵威严，纹样排布规整严谨，分毫毕现清宫服饰的礼制规制。\n\n朝珠错落垂覆，珠石点缀其间晕开温润光泽，与服饰明丽绣纹相映成趣。设色沉厚典雅，以浓淡明暗晕染出衣物层叠质感，写实入微。整幅画作恪守清宫肖像画的典正笔法，以细腻笔触定格贵族女眷的庄重仪态，尽显身份尊崇。",[23,24,25,26,77,27,257,7,1419,2339],"贵族女性","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa651fc4788bd919ac4aa7aa9f847812d.jpg",[],{"id":2343,"slug":2344,"title":2345,"dynasty":18,"author":19,"museum":74,"description":1012,"tags":2346,"thumbUrl":2348,"material":117,"size":118,"collection":119,"collections":2349,"showCount":2296,"zanCount":40,"manualWeight":40,"mainColor":88},261135,"jia-jing-kuan-qing-hua-li-long-feng-wai-yu-zao-wen-wo-zu-wan-yi-ming-261135","嘉靖款青花里龙凤外鱼藻纹卧足碗",[1014,1015,7,215,174,2078,2347,2067],"卧足碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03cfe8417c338952e608e08eb1f7bbe4.jpg",[],{"id":2351,"slug":2352,"title":2353,"dynasty":153,"author":19,"museum":74,"description":2354,"tags":2355,"thumbUrl":2357,"material":117,"size":118,"collection":119,"collections":2358,"showCount":2296,"zanCount":11,"manualWeight":40,"mainColor":41},250272,"bai-yu-lou-diao-shuang-long-pei-yi-ming-250272","白玉镂雕双龙佩","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。",[153,307,2356,7,587,158],"镂雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76398bc958a2c2703a810f26fe20b323.jpg",[],{"id":2360,"slug":2361,"title":2362,"dynasty":2363,"author":19,"museum":74,"description":2140,"tags":2364,"thumbUrl":2368,"material":117,"size":118,"collection":119,"collections":2369,"showCount":2296,"zanCount":40,"manualWeight":40,"mainColor":88},249594,"yin-shao-lan-long-xi-zhu-wen-zhang-jing-ping-yi-ming-249594","银烧蓝龙戏珠纹长颈瓶","民国",[2365,1742,2366,158,25,7,2251,2367,2363],"银器","烧蓝","长颈瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81221943025ba79a36eca6a767c2f170.jpg",[],{"id":2371,"slug":2372,"title":559,"dynasty":18,"author":19,"museum":74,"description":2373,"tags":2374,"thumbUrl":2375,"material":117,"size":118,"collection":119,"collections":2376,"showCount":2296,"zanCount":40,"manualWeight":40,"mainColor":69},245958,"jin-long-yi-ming-245958","此件作品身形矫健灵动，龙首昂扬，口衔宝珠，鬃须翻卷张扬。躯体鳞纹细密规整，火焰纹饰缠绕周身，线条凌厉舒展，将神龙威严肃穆的气度尽数彰显。四爪遒劲有力，踏于云座之上，仿佛即将乘云腾空而去。\n\n整体鎏金莹润华贵，色泽厚重匀净，细节处錾刻精细入微，匠者将瑞龙飞天的磅礴气势凝于方寸之间，融灵动神韵与华贵气度为一体，尽显清代金属细作的极致匠心。",[306,562,158,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb8130e674f929420cc5267a621b840f.jpg",[],{"id":2378,"slug":2379,"title":2380,"dynasty":1070,"author":19,"museum":74,"description":2381,"tags":2382,"thumbUrl":2383,"material":117,"size":118,"collection":119,"collections":2384,"showCount":2296,"zanCount":40,"manualWeight":40,"mainColor":88},244785,"long-shou-shao-yi-ming-244785","龙首勺","器身包浆沉凝古旧，勺体宽浅圆润，贴合实用形制，适配舀取酒浆羹汤。长柄末端塑为龙首，轮廓凝练硬朗，吻部前探、鬃角隐现，威严中带着拙朴古意，将瑞兽灵韵融入日常食器。\n\n整器褪去繁饰，以极简造型承载古朴审美，把实用功能与礼制纹饰相融，尽显浑朴雅致的气质，静静沉淀着岁月的厚重质感，将日常雅趣与古拙匠心悄然合一。",[1070,156,157,158,309,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad45bb8dee29dd461798bd515c789546.jpg",[],{"id":2386,"slug":2387,"title":2388,"dynasty":153,"author":19,"museum":74,"description":2389,"tags":2390,"thumbUrl":2391,"material":119,"size":119,"collection":163,"collections":2392,"showCount":2296,"zanCount":40,"manualWeight":40,"mainColor":69},244576,"wei-yi-yi-ming-244576","囗匜","整体取兽形为骨，流口作昂然兽首，张口似正倾泻清流，器尾塑缠龙为鋬，蜷曲灵动，与兽首遥遥呼应，勾勒出古雅对称的意趣。四足作兽蹄状，稳稳承托器身，敦实厚重间带着狞厉拙朴的古拙气韵。\n\n铜身遍生斑驳绿锈，深浅交叠，是千年时光晕染出的独特肌理，将岁月沧桑凝于其上。作为古时沃盥礼器，它将狞厉兽形融于实用造物，褪去重器的肃穆，尽显尚礼又善工的匠心，静静诉说着三代青铜工艺的浑朴之美。",[156,157,158,79,7,309],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fdd5ebf7e57ba16f4fb87c60a152561.jpg",[163],{"id":2394,"slug":2395,"title":2273,"dynasty":105,"author":19,"museum":74,"description":1487,"tags":2396,"thumbUrl":2397,"material":117,"size":118,"collection":119,"collections":2398,"showCount":2296,"zanCount":11,"manualWeight":40,"mainColor":88},244032,"long-wen-jing-yi-ming-244032",[711,157,158,7,309,2067],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F341e1d06ae79e93275ef02d7701c5839.jpg",[],{"id":2400,"slug":2401,"title":2402,"dynasty":18,"author":19,"museum":74,"description":1149,"tags":2403,"thumbUrl":2406,"material":117,"size":118,"collection":119,"collections":2407,"showCount":2296,"zanCount":40,"manualWeight":40,"mainColor":41},242000,"yin-du-jin-dian-cui-qian-zhu-shuang-long-wen-zhang-zan-yi-ming-242000","银镀金点翠嵌珠双龙纹长簪",[306,587,309,7,2249,2404,2405],"嵌珠","银镀金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f0c037776afeaa3874b3f7fd928742c.jpg",[],{"id":2409,"slug":2410,"title":2411,"dynasty":18,"author":2412,"museum":20,"description":2413,"tags":2414,"thumbUrl":2415,"material":2416,"size":2417,"collection":468,"collections":2418,"showCount":2296,"zanCount":40,"manualWeight":40,"mainColor":41},241079,"jie-lu-ku-shu-fu-zhou-weng-tong-he-241079","节录枯树赋轴","翁同龢","翁同龢（1830年~1904年），字叔平，号松禅， 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。因其在明朝景泰年间盛行，制作技艺比较成熟，使用的珐琅釉多以蓝色为主，故而得名“景泰蓝”。",[1605,1606,2703,25,7,309],"铜胎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1ccf1cb33b75581bc622630f6778e9f.jpg",[],{"id":2707,"slug":2708,"title":2709,"dynasty":841,"author":19,"museum":74,"description":2710,"tags":2711,"thumbUrl":2713,"material":117,"size":118,"collection":119,"collections":2714,"showCount":221,"zanCount":11,"manualWeight":40,"mainColor":41},248931,"cai-hui-qi-yun-long-wen-yuan-pan-yi-ming-248931","彩绘漆云龙纹圆盘","汉代青铜器产生于青铜时代的晚期，在我国青铜史上占有特殊的地位，体现出独特的设计思想和特征，具有卓越的科学功能，并对当今设计有很大的启示作用。\n汉代青铜器很多都是素纹，大部分还是铸造的，也有的花纹、铭文是用錾子雕刻的。比如汉代的鎏金杯子、奁、盒、碗等用具上的花纹，多是雕刻的。\n汉代以后至唐代的铜器，铸造的花纹很多，其中有打料的铜、金、银器，并且也有了大、小焊的技术。\n西汉初期（高祖至景帝），此时的青铜器，基本为素面。其鼎主要承自秦式，但一般三足更矮。敦盒形。\n壶有大小二型并存，大型壶腹下部略呈收缩之状，腹比秦壶要鼓；小型壶的腹部较瘦长，经常铸出变形螭纹。钫此时更流行，有的做得很讲究，通腹有镶嵌绿松石的三角云纹。\n鍪和蒜头壶继续流行。日用器皿中，高灯多见，豆式熏炉盛行，带钩显琵琶形、棒形、琴形讲究的多做成鎏金、错金银、镶玉或绿松石。\n西汉中期至东汉早期（西汉武帝至东汉章帝）是西汉青铜器最发达的时期，也是汉代青铜器新风格最终形成的时期。这时期最多见的青铜用器是鼎、壶、钫、尊、熨斗、带钩、铜镜。\n灯：古代照明器具。青铜灯出现于战国时期，而盛行于汉代。最著名的当属长信宫灯了，灯的样子很多，较普通的是有圆盘，盘内有钎，盘下有柱，柱下有圈足；也有盘下作雁足状的，盘用来盛油或插烛。\n另有一种灯自铭为“行灯”，它圆盘边有把，盘下有三短足。青铜灯最富感染力的当属那些铸成人形、禽形、兽形、树形的艺术造型灯。\n博山炉：古代焚香的器具。一般炉体作圆形，用来放香料，体下有高足，有的足还铸成人形或鸟兽形；炉盖均高而尖，雕镂成山峦形上有人物、走兽，象征海上仙山“博山”，故名“博山炉”。盛行于汉代。\n樽：古代盛酒的器皿，器作圆形，直壁，有盖，腹较深，下有三兽足，旁有铺首衔环耳。\n洗：盥洗用器皿。形状象盆，圆形、宽口沿，平或圆底，腹外多有铺首衔环耳，内底常用双鱼作装饰，并多铸吉语。盛行于汉晋。\n耳杯：古代饮酒器。多漆制，称“羽觞”。铜质者，器作椭圆形，腹壁有二环耳。\n熨斗：古式熨烫衣服的工具。形状为圆腹宽口沿，有长柄，盛行于汉魏。\n东汉中晚期（和帝至献帝）青铜器又有了新的变化。此时使用较多的铜器日用品有：钟、扁壶、盆、釜、鐎斗、灯、博山炉、炉、熨斗、尊、耳杯、虎子、车马器、带钩、铜镜、玺印等。\n此时青铜器的特点是比以前轻薄、错金银技术在青铜器装饰中几乎消失，鎏金仍多，鎏金器上出现了细线阴刻云纹。",[844,1648,2712,25,7,80,309],"彩绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6e8597fc34312e358ecbd77b8e6a0e5.jpg",[],{"id":2716,"slug":2717,"title":2718,"dynasty":841,"author":19,"museum":74,"description":2710,"tags":2719,"thumbUrl":2723,"material":117,"size":118,"collection":119,"collections":2724,"showCount":221,"zanCount":40,"manualWeight":40,"mainColor":69},243342,"long-shou-jiao-dou-yi-ming-243342","龙首鐎斗",[2720,156,157,158,7,1324,2721,2722],"汉代风格","三足","兽足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d6379fc67feb2c7b05495481ab15f7e.jpg",[],{"id":2726,"slug":2727,"title":2728,"dynasty":333,"author":19,"museum":74,"description":1012,"tags":2729,"thumbUrl":2731,"material":117,"size":118,"collection":119,"collections":2732,"showCount":221,"zanCount":40,"manualWeight":40,"mainColor":41},228661,"tian-zi-kuan-qing-hua-dou-cai-kui-long-gai-guan-yi-ming-228661","「天」字款青花斗彩夔龙盖罐",[333,2730,1014,7,79,309],"青花斗彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2eea30ba299d85c82a5f935be2f79e12.jpg",[],{"id":2734,"slug":2735,"title":2736,"dynasty":46,"author":19,"museum":126,"description":2737,"tags":2738,"thumbUrl":2739,"material":1267,"size":119,"collection":119,"collections":2740,"showCount":221,"zanCount":40,"manualWeight":40,"mainColor":69},227915,"jing-bian-tu-yi-ming-227915","经变图","经变画是用画像来解释某部佛经的思想内容。经变画，即经变，亦称变或变相，佛画种类之一，广言之，凡依据佛经绘制之画，皆可称为“变”。敦煌经变画则通常指将某一部甚至某几部有关佛经之主要内容组织成首尾完整、主次分明的大画。敦煌经变内容丰富，形式多样，除了佛经内容外，大量的社会生活内容在经变画中得到生动的体现。许多经变画技巧高超，堪称艺术珍品。\n经变在南朝时即已出现，据唐张彦远《历代名画记》，南朝宋袁倩画有“维摩诘变”，梁时儒童画有“宝积经变”。莫高窟有经变三十三种，持续时间长的有西方净土变、东方药师变、弥勒经变、法华经变、维摩诘经变，数量最多的是东方药师变",[23,24,52,53,112,479,25,27,384,1177,144,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7eabb8213f047d2339b24ab44d915d50.jpg",[],{"id":2742,"slug":2743,"title":2744,"dynasty":105,"author":19,"museum":74,"description":2745,"tags":2746,"thumbUrl":2748,"material":117,"size":118,"collection":119,"collections":2749,"showCount":221,"zanCount":40,"manualWeight":40,"mainColor":69},223820,"bai-ci-shuang-long-er-ping-yi-ming-223820","白瓷双龙耳瓶","又称“中国白”。白瓷历史悠久，邢窑是中国最早的白瓷窑址。唐代七大名窑之一，有中华白瓷鼻祖美誉的邢窑。邢窑创烧于北朝晚期，经过隋朝的飞速发展，到唐朝已达到鼎盛阶段，衰落于唐末五代时期，成为我国早期生产白瓷的中心。距今已有1500余年的历史，其精美的细白瓷作为贡品入主宫廷，还远销海内外十几个国家和地区。\n邢窑邢白瓷的发明与制作，打破了自商代以来，青瓷一统天下的局面，形成南方以浙江慈溪越窑为代表的青瓷和北方以河北内丘邢窑为代表的白瓷并驾齐驱、平分秋色的格局，形成了 “南青北白”的格局。\n邢窑白瓷分为粗白瓷和细白瓷。",[1014,2747,7,309,711],"白瓷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba90db933745b7316c39af5b6394f6c4.jpg",[],{"id":2751,"slug":2752,"title":2753,"dynasty":18,"author":635,"museum":74,"description":636,"tags":2754,"thumbUrl":2755,"material":34,"size":119,"collection":119,"collections":2756,"showCount":221,"zanCount":40,"manualWeight":40,"mainColor":642},217234,"li-dai-di-wang-zhen-xiang-34-yao-wen-han-217234","历代帝王真像-34",[24,52,51,26,25,27,7,257],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03099030d09dbfee5bc50fe29dc19a0c.jpg",[],{"id":2758,"slug":2759,"title":2760,"dynasty":18,"author":916,"museum":597,"description":2761,"tags":2762,"thumbUrl":2763,"material":119,"size":119,"collection":352,"collections":2764,"showCount":221,"zanCount":40,"manualWeight":40,"mainColor":2765},202111,"mo-long-zhou-zhou-xun-202111","墨龙轴","云雾翻腾间，墨龙破壁而出，龙首昂然，双目炯炯，龙须飞扬若劲草，鳞爪张弛间满溢威严与力量。画家以水墨为骨，浓淡晕染出云雾的缥缈与厚重，线条勾勒精准细腻，龙身鳞片纹理清晰，尽显工笔之精致；下方海浪波涛汹涌，笔触顿挫间似闻涛声，皴法运用更添海浪的雄浑质感。整幅画虚实相生，龙隐于云雾，露于浪尖，动静交织，既藏龙的神秘莫测，又显其腾跃四海的气势。水墨晕染与工笔细腻结合，让云雾朦胧、龙的刚劲、海浪磅礴浑然一体，传递出震撼的视觉张力，尽显传统绘画中龙的象征意蕴与艺术魅力。",[54,26,78,7,31,81,77,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabb8117d1a4cbc5848ca2bc81172fa9f.jpg",[352],"796040",{"id":2767,"slug":2768,"title":2769,"dynasty":18,"author":19,"museum":74,"description":2770,"tags":2771,"thumbUrl":2772,"material":117,"size":118,"collection":119,"collections":2773,"showCount":39,"zanCount":40,"manualWeight":40,"mainColor":69},288442,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-jia-qing-di-yi-ming-288442","历代帝王贵妃大臣朝服像(嘉庆帝)","此作为工笔重彩肖像，构图端方严整，帝王端坐宝座之上，威仪内敛沉稳。衣袍明黄龙纹织绣精绝，龙姿矫健灵动，辅以繁复宝相花饰，晕染细腻，配色沉穆华贵，朱红镶边衬出尊崇礼制。画师以写实笔触勾勒面容，眉眼刚劲有神，唇角紧抿间尽显九五之尊的端凝气度。背景素净古雅，将视线尽数引向人物，既恪守肖像的礼制规范，又以精湛工笔将帝皇威仪刻画入微，既有纪实的严谨工整，又带着独有的华贵肃穆，尽显肖像画的礼制性与艺术性之美。",[23,24,26,25,27,7,650,1420,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F906a959d184d25a110bef541d2291e8f.jpg",[],{"id":2775,"slug":2776,"title":2777,"dynasty":18,"author":19,"museum":74,"description":2778,"tags":2779,"thumbUrl":2780,"material":117,"size":118,"collection":119,"collections":2781,"showCount":39,"zanCount":40,"manualWeight":40,"mainColor":41},288434,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-yi-qin-wang-ai-xin-jue-luo-zai-yuan-yi-ming-288434","历代帝王贵妃大臣朝服像(怡亲王爱新觉罗.载垣)","爱新觉罗·载垣（1816年10月16日—1861年10月），清朝宗室亲王、大臣。清圣祖爱新觉罗·玄烨六世孙，怡贤亲王爱新觉罗·胤祥的五世孙，怡恪亲王奕勋次子。世袭和硕怡亲王爵位，十二家世袭铁帽子王之一，咸丰帝顾命八大臣之首。曾任御前大臣行走，亲受顾命。清文宗咸丰帝即位后，渐受信用，累官左宗正、宗令、领侍卫内大臣。\n咸丰十一年，与爱新觉罗·端华、爱新觉罗·肃顺等八人受顾命为赞襄政务大臣，掌握实权。同年，慈禧太后与恭亲王奕訢发动“祺祥政变”，载垣在北京被捕，赐白绢自尽。年四十六岁。",[23,24,27,26,25,650,7,257,1419],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa0c1a49c4bdb6d2a89b229ffac0002.jpg",[],{"id":2783,"slug":2784,"title":2785,"dynasty":18,"author":19,"museum":74,"description":2786,"tags":2787,"thumbUrl":2788,"material":117,"size":118,"collection":119,"collections":2789,"showCount":39,"zanCount":40,"manualWeight":40,"mainColor":41},288269,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-chun-hui-huang-gui-fei-yi-ming-288269","历代帝王贵妃大臣朝服像(纯惠皇贵妃)","这幅肖像设色妍丽华贵，将主尊端严静穆的气度尽数铺展。通身朝服织满繁复龙纹，间以祥云江崖、缠枝宝相花，金线晕染之下，纹样精细饱满，层次分明，既尽显尊崇，也见工笔造诣之深。\n人物面容清润秀雅，眉如远黛，双目温婉含神，无过度修饰却自带威仪，写实之中兼具柔韵。坐姿端方沉静，朱红朝珠垂曳胸前，与衣身彩绣相映成趣，衬出庄重典丽的氛围。整作严守规制，工整严谨又不失气韵，以极致工细还原人物风貌，尽显宫廷肖像的典雅意趣。",[23,24,77,25,26,27,130,7,257],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faeb41a56ff38b03d1a9508c964889544.jpg",[],{"id":2791,"slug":2792,"title":2793,"dynasty":2363,"author":19,"museum":74,"description":2794,"tags":2795,"thumbUrl":2796,"material":117,"size":118,"collection":119,"collections":2797,"showCount":39,"zanCount":40,"manualWeight":40,"mainColor":41},276423,"jiao-long-niu-rong-hui-huang-gui-fei-zhi-bao-yi-ming-276423","交龙纽“荣惠皇贵妃之宝”","印章，用作印于文件上表示鉴定或签署的文具，一般印章都会先沾上颜料再印上，不沾颜料、印上平面后会呈现凹凸的称为钢印，有些是印于蜡或火漆上、信封上的蜡印。制作材质有 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附木匣-1","耳坠指耳饰的一种，指带有下垂饰物的耳饰（耳环）。有时耳坠等同于耳环，又称耳坠子，是耳朵饰品的代称。耳坠又指耳垂，是属于耳朵结构的一部分，位于耳朵的下半部，比较肥厚的那部分。在最传统的命理学说法中，耳坠的厚与薄代表一个人的命运。\n古时候，人们讲究“耳大如轮，眼大有神”，注重以貌取人，认为耳垂小了是没有福气的象征。但是人一出世，天生的小耳垂，又有啥办法弥补呢？传说，只有戴上耳坠。才能把耳轮拉长。因此，妇女都喜欢戴一副耳坠。 问起这一风俗的来历，传说，还是三国时期貂蝉传下来的呢。 貂蝉原是东汉末汉献帝时司徒王允的一名歌伎，她长得相貌出众、能歌善舞，色伎俱佳，很受王允的宠爱，以亲女看待。当时，董卓专权，挟天子以令诸侯，大臣们对他恨之入骨，但是敢怒而不敢言。王允为此事也闷闷不乐，终日不思茶饭。 貂蝉虽是女流，可王允的心事，她却宗宗看在眼里，件件记在心中。她很会察言观色，为主人分忧解愁。在一个月光皎洁的夜晚，貂蝉在花园里设下香案，为主人祝祷。她虔诚地燃起三柱香火，仰天一拜说道：“明月呀明月，你虽昭昭洁白如洗，可知我家老爷心中烦恼？苍天呀苍天！我貂蝉虽乃女流之辈，老爷婢女，若能为老爷分担忧愁，我愿万死不辞。”恰在此时，王允因忧国心烦，夜不能寐，来到后花园赏月散心。他听见有人祝祷，连忙躲在一座假山后面，静听起来。他听完貂婶的祝愿，心情无比激动和感激，忙上前来，搀扶起这一歌女。 王允问貂婢：“你向苍天明月祈告，为我分忧解愁，可知我忧在何处？愁为何事呀！” 貂蝉说：“当然知道。” 王允又问：“既然知道，又有什么妙法替我杀了董卓？” 貂婢说：“只要老爷相信得过我，奴婢愿效犬马之劳，即使赴汤蹈火，也心甘情愿。” 王允听了，顿时为这女子的仗义和气魄所感动，当即认貂蝉为女儿。后来王允与貂蝉合议：先将貂蝉献于董卓，后再暗许吕布，以离间两人之交，让这董吕两人勾心斗角，互相杀害。 貂蝉耳垂小，怕自己美中不足，使董、吕二人看不上，使密谋落空。她想办法弥补，想了很久，终于想出了良法，就在家中拿了些碎银子，叫银匠给自己作了一对银耳坠，挂在耳垂上。这样过了不久，耳垂果然变大了，为她的美容又增添了不少姿色。 董卓一见貂蝉大喜！吕布一见貂蝉着迷，使董卓和吕布因争夺这一美女而激烈相斗。又因吕布貂蝉私通，恐事发觉，心神不安。王允设计使吕布为内应，结果董卓被杀了。 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。白釉是瓷器传统釉色之一,真正的白釉应该是乳白色的乳浊釉,这种釉是近代才发明的。我国古代仅有元代枢府釉是失透的,其他白釉并不是白色的釉,\n白釉烧制工艺比青釉复杂，出现的时间也较青釉晚，一般瓷土和釉料，都或多或少含有一些氧化铁，器物烧出后必然呈现出深浅不同的青色来。如果釉料中的铁元素含量小于0.75%，烧出来的就会是白釉。\n白釉最早出现在汉代，比青釉瓷器晚了400多年，白釉瓷器开始是青白色的，因为瓷器中铁的含量高于1%就是青色的，少于1%就是白瓷了，所以中国白瓷经历青瓷、青白瓷、卵白釉、甜白釉、象牙白、白釉的发展过程。中国历史上白瓷产地有德化白瓷、定窑白瓷以及刑窑白瓷等。",[1014,309,7,4379,1608],"白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a64e5adef6ca70562491f8ce30544bb.jpg",[],{"id":4383,"slug":4384,"title":4385,"dynasty":18,"author":19,"museum":74,"description":4386,"tags":4387,"thumbUrl":4391,"material":117,"size":118,"collection":119,"collections":4392,"showCount":148,"zanCount":40,"manualWeight":40,"mainColor":88},260840,"huang-you-ke-hua-long-feng-wen-xiang-er-pan-kou-ping-yi-ming-260840","黄釉刻花龙凤纹象耳盘口瓶","黄釉是汉族传统的陶瓷装饰艺术。最早出现于唐代，当时安徽淮南寿州窑、河南密县窑等都烧黄釉。但正色黄釉，还是宋代汝窑的高温黄釉——茶叶末釉。明代的黄釉有新的发展，洪武时的老僧衣即茶叶末的衍化；始于宣德的浇黄，更是明代杰出的黄釉；嘉靖以后，又有鱼子黄、鸡油黄等。入清后有康熙的淡黄，以及其后的菜尾、鼻烟、金酱等。",[1014,4388,4389,4390,7,215,1334],"象耳盘口瓶","黄釉","刻花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1692931ffb0beff15bd329d48416661.jpg",[],{"id":4394,"slug":4395,"title":4396,"dynasty":333,"author":19,"museum":74,"description":1012,"tags":4397,"thumbUrl":4399,"material":117,"size":118,"collection":119,"collections":4400,"showCount":148,"zanCount":40,"manualWeight":40,"mainColor":88},260447,"ba-si-ba-wen-si-zi-kuan-qing-hua-hai-shui-yun-long-xi-zhu-wen-pan-yi-ming-260447","八思巴文四字款青花海水云龙戏珠纹盘",[1014,1015,7,3534,4398,309,2067],"云龙戏珠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe13df759d332f9345b96993eb9f7e19d.jpg",[],{"id":4402,"slug":4403,"title":4404,"dynasty":18,"author":19,"museum":74,"description":3149,"tags":4405,"thumbUrl":4406,"material":117,"size":118,"collection":119,"collections":4407,"showCount":148,"zanCount":40,"manualWeight":40,"mainColor":41},259204,"yong-zheng-kuan-qing-hua-long-feng-wen-pan-yi-ming-259204","雍正款青花龙凤纹盘",[1014,1015,7,215,3561,2067],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F847329c5009174c4f23886d5d1de6b0b.jpg",[],{"id":4409,"slug":4410,"title":4411,"dynasty":18,"author":19,"museum":74,"description":1567,"tags":4412,"thumbUrl":4416,"material":117,"size":118,"collection":119,"collections":4417,"showCount":148,"zanCount":40,"manualWeight":40,"mainColor":88},259082,"sa-lan-you-miao-jin-shan-shui-tu-shuang-er-huo-huan-ping-yi-ming-259082","洒蓝釉描金山水图双耳活环瓶",[1014,1225,4413,28,4414,4415,7],"洒蓝釉","双耳瓶","活环","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc1655d17944cdc7e0d3cfd2c4ee0b84.jpg",[],{"id":4419,"slug":4420,"title":4421,"dynasty":18,"author":19,"museum":74,"description":2140,"tags":4422,"thumbUrl":4425,"material":117,"size":118,"collection":119,"collections":4426,"showCount":148,"zanCount":40,"manualWeight":40,"mainColor":88},258826,"ji-lan-di-miao-jin-chan-zhi-lian-wen-chi-er-ping-yi-ming-258826","祭蓝地描金缠枝莲纹螭耳瓶",[1014,1225,4423,1018,4424,309,25,7,160],"祭蓝地","螭耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c5b0e048092f1c5db02e3d8a4d9d5ff.jpg",[],{"id":4428,"slug":4429,"title":4430,"dynasty":18,"author":19,"museum":74,"description":1739,"tags":4431,"thumbUrl":4433,"material":117,"size":118,"collection":119,"collections":4434,"showCount":148,"zanCount":40,"manualWeight":40,"mainColor":69},258762,"jia-qing-kuan-bai-di-lv-cai-yun-long-wen-pan-yi-ming-258762","嘉庆款白地绿彩云龙纹盘",[18,1014,309,4432,7,80],"绿彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F522dc7b19401a65f6d9d77c02aaa19f2.jpg",[],{"id":4436,"slug":4437,"title":4438,"dynasty":18,"author":19,"museum":74,"description":2140,"tags":4439,"thumbUrl":4443,"material":117,"size":118,"collection":119,"collections":4444,"showCount":148,"zanCount":40,"manualWeight":40,"mainColor":88},258760,"huang-di-fen-cai-long-feng-chuan-hua-wen-mei-ping-yi-ming-258760","黄地粉彩龙凤穿花纹梅瓶",[1014,306,2679,25,2497,7,215,323,4440,4441,4442],"枝叶","穿花纹","梅瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10267f2dc70d591abbf480e3c7aff29b.jpg",[],{"id":4446,"slug":4447,"title":4448,"dynasty":18,"author":19,"museum":74,"description":2063,"tags":4449,"thumbUrl":4450,"material":117,"size":118,"collection":119,"collections":4451,"showCount":148,"zanCount":40,"manualWeight":40,"mainColor":69},258019,"kang-xi-kuan-huang-di-wu-cai-yun-long-wen-wan-yi-ming-258019","康熙款黄地五彩云龙纹碗",[18,1014,1051,25,7,80,309],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffce047ba8ce5132efe8b5f412f666434.jpg",[],{"id":4453,"slug":4454,"title":4455,"dynasty":333,"author":19,"museum":74,"description":4456,"tags":4457,"thumbUrl":4464,"material":117,"size":118,"collection":1247,"collections":4465,"showCount":148,"zanCount":40,"manualWeight":40,"mainColor":88},257617,"long-quan-yao-qing-you-yin-hua-long-wen-shou-dai-er-bian-fu-hu-lu-ping-yi-ming-257617","龙泉窑青釉印花龙纹绶带耳扁腹葫芦瓶","龙泉窑是中国历史上的一个名窑，宋代六大窑系。汉族传统制瓷工艺的珍品。因其主要产区在浙江省龙泉市而得名。它开创于三国两晋，结束于清代，生产瓷器的历史长达1600多年，是中国制瓷历史上最长的一个瓷窑系，它的产品畅销于亚洲、非洲、欧洲的许多国家和地区，影响十分深远。龙泉窑以烧制青瓷而闻名，在北宋早期以前的产品风格受越窑、瓯窑、婺州窑的影响，特征与三窑的产品相似。胎质较粗，胎体较厚，釉色淡青，釉层稍簿。\n1998年3月，宋代的龙泉窑青釉莲瓣纹瓶从英国追回。\n龙泉窑因在今浙江龙泉县，故名，属我国南方青瓷系统。创造于北宋早期，南宋中晚期进入鼎盛时期，至明代中叶以后渐趋衰落，传世的龙泉青瓷下限至清康熙年间，烧造历史达七、八百年之久。北宋时期的龙泉青瓷，胎骨较厚，胎土淡灰，底足露胎处见赭褐色窑红，胎微出烧，釉的玻化程度好，釉层透明，釉表光泽很强。装饰花纹较简练，常见纹样有鱼纹、蕉叶、金枝、荷花等。装饰风格趋于奔放。处于南宋鼎盛时期的龙泉青瓷，形成了自已独有的艺术风格，显示了独特的魅力。\n南宋龙泉青瓷的造型亦形成自已的风格，稳重大方，浑厚淳朴而又不失秀媚，器型丰富多样，装饰普遍采用刻花和堆塑法，颇具艺术匠心。\n元代龙泉青瓷烧造量大，风格与南宋迥异：器型高大、胎体厚重；胎色为白中带灰或淡黄；釉色为粉青带黄绿，光泽较强，釉层半透明；装饰手法多种多样，有刻、划、印、贴、塑等，以划花为主，花纹粗略，线条奔放，纹饰以云龙、飞凰、双鱼、八仙、八卦、牡丹、荷叶等为多见。此外，还大量出现汉文和八思巴文字款铭。\n明代龙泉青瓷走向衰弱，器物胎体厚重，制作粗糙，胎色为灰黄，釉层厚，透明度高，釉表光泽强，釉色有青灰、茶叶末、灰黄等几种，装饰以釉下刻花为主，亦有模印人物故事的装饰方法。\n宋代龙泉青瓷是青瓷工艺的历史高峰。其青瓷的釉色与质地之美，亦如巧夺天工的人造美玉，全世人为之倾倒。\n那么，在漫长的历史长河中，龙泉窑又经历了怎样的发展轨迹呢?朱伯谦先生在《龙泉窑青瓷》一书中曾将龙泉窑的发展归纳为开创、发展、鼎盛和衰落四个阶段：魏晋和五代十国是开创时期，瓷窑少，生产时断时续，处于就地销售断断续续的生产阶段；北宋至南宋前期是发展期，瓷窑发展快，逐渐形成一个较大的瓷窑体系；南宋后期至元代是鼎盛期，瓷窑迅速发展，青瓷质量大大提高，产品畅销国内外广大市场；明清是衰落期，尤其是明代中期以后龙泉窑处境艰难，瓷窑不断地倒闭减少，至清代晚期结束。如果说这四个阶段勾勒出了龙泉窑发展历史的整个脉络，那么，龙泉窑发展史上的三次辉煌期则是连贯发展脉络的重点和要点。",[333,4458,4459,3181,308,7,4460,4461,4462,1014,4463],"龙泉窑","青釉","绶带耳","扁腹","葫芦瓶","青瓷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51225c8bdfab3ed909665d4c6190d405.jpg",[1247],{"id":4467,"slug":4468,"title":4469,"dynasty":333,"author":19,"museum":74,"description":1012,"tags":4470,"thumbUrl":4471,"material":117,"size":118,"collection":119,"collections":4472,"showCount":148,"zanCount":11,"manualWeight":40,"mainColor":41},256394,"qing-hua-jiu-long-nao-hai-wen-wan-yi-ming-256394","青花九龙闹海纹碗",[588,1014,1015,7,1455],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f46e0cde72527a93c3d1a5eda3709b.jpg",[],{"id":4474,"slug":4475,"title":4476,"dynasty":333,"author":19,"museum":74,"description":1417,"tags":4477,"thumbUrl":4480,"material":117,"size":118,"collection":119,"collections":4481,"showCount":148,"zanCount":40,"manualWeight":40,"mainColor":88},255870,"san-cai-zhen-wu-di-zuo-xiang-yi-ming-255870","三彩真武帝坐像",[588,1014,4478,4107,907,27,7,25,4479],"三彩","坐像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13f9112dea1853e14692bef5b373eac5.jpg",[],{"id":4483,"slug":4484,"title":4485,"dynasty":841,"author":19,"museum":74,"description":1003,"tags":4486,"thumbUrl":4487,"material":117,"size":118,"collection":119,"collections":4488,"showCount":148,"zanCount":11,"manualWeight":40,"mainColor":88},252696,"qing-yu-long-yi-ming-252696","青玉龙",[841,307,7,158,4044,587],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fbc94cd15ee18457c0b91e64b0ac4a6.jpg",[],{"id":4490,"slug":4491,"title":4492,"dynasty":1070,"author":19,"museum":74,"description":1003,"tags":4493,"thumbUrl":4494,"material":117,"size":118,"collection":119,"collections":4495,"showCount":148,"zanCount":40,"manualWeight":40,"mainColor":88},252547,"yu-pan-chi-wen-jian-shi-yi-ming-252547","玉蟠螭纹剑饰",[307,158,3921,7,79,587,2123,2542],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3112e439885f3107e7084b5bf13562c.jpg",[],{"id":4497,"slug":4498,"title":4499,"dynasty":1070,"author":19,"museum":74,"description":1003,"tags":4500,"thumbUrl":4501,"material":117,"size":118,"collection":119,"collections":4502,"showCount":148,"zanCount":40,"manualWeight":40,"mainColor":69},252504,"yu-tou-diao-pan-long-wen-pei-yi-ming-252504","玉透雕蟠龙纹佩",[1070,307,2523,158,7,587],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b33535df087ca7289cab3ab1839339d.jpg",[],{"id":4504,"slug":4505,"title":2521,"dynasty":46,"author":19,"museum":74,"description":2354,"tags":4506,"thumbUrl":4507,"material":117,"size":118,"collection":119,"collections":4508,"showCount":148,"zanCount":40,"manualWeight":40,"mainColor":354},252209,"bai-yu-tou-diao-yun-long-wen-dai-kou-yi-ming-252209",[46,307,2523,158,7,587],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ca1edab61ad1962dee35d6ddf424d3b.jpg",[],{"id":4510,"slug":4511,"title":4512,"dynasty":1070,"author":19,"museum":74,"description":2354,"tags":4513,"thumbUrl":4514,"material":117,"size":118,"collection":119,"collections":4515,"showCount":148,"zanCount":40,"manualWeight":40,"mainColor":41},251994,"bai-yu-shuang-chi-wen-bi-yi-ming-251994","白玉双螭纹璧",[307,158,3906,79,7,161],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76657dca7c5072bd6dec109497d32b15.jpg",[],{"id":4517,"slug":4518,"title":4519,"dynasty":333,"author":19,"museum":74,"description":1003,"tags":4520,"thumbUrl":4522,"material":117,"size":118,"collection":119,"collections":4523,"showCount":148,"zanCount":40,"manualWeight":40,"mainColor":88},251481,"qing-yu-fu-diao-chi-long-wen-bei-tuo-shi-cha-ping-yi-ming-251481","青玉浮雕螭龙纹杯托式插屏",[307,1751,158,4521,7,27,189,55,309],"螭龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d4133eda505fbcf905f43ea20755bca.jpg",[],{"id":4525,"slug":4526,"title":4527,"dynasty":18,"author":19,"museum":74,"description":1003,"tags":4528,"thumbUrl":4530,"material":117,"size":118,"collection":119,"collections":4531,"showCount":148,"zanCount":40,"manualWeight":40,"mainColor":41},251304,"qing-yu-tai-ji-wen-huo-xin-bi-yi-ming-251304","青玉太极纹活心璧",[306,307,158,4529,7,215,4044,258],"太极纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd110c8178f44c8486401f8cb1bade4ef.jpg",[],{"id":4533,"slug":4534,"ti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玉石、金属、木头、石头等。印章是中国传统文化的代表之一\n明代（1368～1644年）皇帝、王府之宝用玉箸篆玉印。这种篆书“笔画两头肥瘦均匀，末不出锋”，乃“篆书正宗也”（清?陈沣《摹印述》）。御宝舍两宋九叠文而直溯唐以上之玉箸篆，意味着九叠文禁锢公印的冰山已经松动。\n此外，明代内阁印用玉箸文银印，直钮，方一寸七分，厚六分；将军印用柳叶文，平羌、平蛮、征西、镇朔等将军印用螭鼎文，皆银印虎钮，方三寸三分，厚九分；其余百官印都用九叠文，铜印直钮，这类印比重最大。如故宫博物院藏明洪武二十二年（1389年）造“朵颜卫都指挥使司之印”。\n明代直钮已由两宋长方形板状钮变为上小下大的椭圆柱状，加高到8厘米左右，形成后世俗称的“印把子”。明代官印背款皆凿年款及编号。\n应该指出，两宋之时，九叠文中所谓的“九”是—个概数，极言其多，不一定确有九叠，也可能只有五叠、七叠，叠即一字中横画的层数。但明代九叠文中绝大多数确有九层横画。\n清代百官印等级区分同样十分严格，印章普遍有所增大。其字体有蒙古文楷书、满文、汉篆等。最常见的是汉满文对照同时出现在印面上，这也是清公印的一大特点。其中汉篆中，九叠文不太兴盛，出现了玉箸篆、悬针篆、柳叶篆、芝英篆等等。",[56,157,158,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc4908f334dd16e42a3033928b66a26f.jpg",[],{"id":5016,"slug":5017,"title":2793,"dynasty":2363,"author":19,"museum":74,"description":2794,"tags":5018,"thumbUrl":5019,"material":117,"size":118,"collection":119,"collections":5020,"showCount":135,"zanCount":40,"manualWeight":40,"mainColor":41},276422,"jiao-long-niu-rong-hui-huang-gui-fei-zhi-bao-yi-ming-276422",[56,1875,158,7,2568],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5365a0fcc0b813095d132f89d59c2dc.jpg",[],{"id":5022,"slug":5023,"title":5024,"dynasty":2363,"author":19,"museum":74,"description":2794,"tags":5025,"thumbUrl":5026,"material":117,"size":118,"collection":119,"collections":5027,"showCount":135,"zanCount":40,"manualWeight":40,"mainColor":41},276379,"diao-yun-long-niu-rong-hui-huang-gui-fei-zhi-bao-yi-ming-276379","雕云龙纽“荣惠皇贵妃之宝”",[56,2568,307,158,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57e0b606ae5fd70f102b600d9d1b08f0.jpg",[],{"id":5029,"slug":5030,"title":5031,"dynasty":18,"author":19,"museum":74,"description":5032,"tags":5033,"thumbUrl":5034,"material":117,"size":118,"collection":119,"collections":5035,"showCount":135,"zanCount":40,"manualWeight":40,"mainColor":41},275845,"bi-yu-dong-gao-shu-yu-zhi-re-he-wen-miao-bei-ji-ce-yi-ming-275845","碧玉董诰书御制热河文庙碑记册","整器以仿书形制为貌，紫檀盖面深镌游龙穿绕缠枝纹，龙姿矫健灵动，纹饰填色古穆沉静，嵌设签牌题字端严肃穆，尽显规整气度。\n\n册页取碧玉为材，石质温润凝泽，以阴刻复刻董诰所书御制文庙碑记。刀工追随笔意起伏流转，将小楷的秀逸恭谨尽数呈现，笔画匀停饱满，笔墨神韵在玉面之上丝丝毕现，刚柔相济。它集木雕、玉刻工艺之大成，兼具宫廷制器的华贵规整与文心雅韵，静敛间尽显皇家典仪的庄重与匠造的精妙心思。",[478,307,55,158,7,2567],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab8689e3919540f2f26ed89a70687de6.jpg",[],{"id":5037,"slug":5038,"title":5039,"dynasty":18,"author":19,"museum":74,"description":5040,"tags":5041,"thumbUrl":5042,"material":117,"size":118,"collection":119,"collections":5043,"showCount":135,"zanCount":40,"manualWeight":40,"mainColor":69},275816,"qing-yu-yu-bi-wan-nian-shang-yuan-deng-ci-ce-shi-yu-ce-yi-ming-275816","青玉御笔万年上元灯词册识语册","以硬木为骨，周身采百宝嵌工艺，盖面錾题文字，箱身双龙穿云戏珠，祥云迤逦舒展。螺钿玉石随形裁镂、错彩镶嵌，金彩莹亮与石色温润交相辉映，古雅沉静。龙纹矫健灵动，祥云层叠自然，线条舒展流畅，尽显器物华贵矜重。整器造型方正端稳，沉郁木色与明丽嵌饰相互映衬，将工艺巧思与审美意趣融为一体，是清代百宝嵌工艺的上乘佳作，尽显旧时造物的匠心与雅致格调。",[1875,158,7,309,478,307,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F879573a809fcc296e640a0913c327aae.jpg",[],{"id":5045,"slug":5046,"title":5047,"dynasty":18,"author":19,"museum":74,"description":5048,"tags":5049,"thumbUrl":5051,"material":117,"size":118,"collection":119,"collections":5052,"showCount":135,"zanCount":40,"manualWeight":40,"mainColor":69},275417,"hong-qi-miao-jin-yun-long-wen-pai-xiao-yi-ming-275417","红漆描金云龙纹排箫","朱红漆底莹亮匀净，描金纹饰华贵夺目。双龙矫然腾跃于祥云之中，龙爪遒劲张扬，龙身蜿蜒灵动，鳞片刻画细腻入微，祥云舒卷环绕，烘托出威严磅礴的帝王气象。正中题字周遭纹饰规整雅致，与两侧龙纹呼应协调，整体构图对称稳重，韵律感十足。齐整的箫管与下部装饰浑然一体，描金技法精湛纯熟，色彩对比鲜明浓烈，将器乐雅韵与皇家审美精妙融合，尽显清代工艺的极致水准与华贵格调。",[676,5050,1648,1225,7,2498],"排箫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68aafd81ea70c0079e0d004716e10411.jpg",[],{"id":5054,"slug":5055,"title":5056,"dynasty":18,"author":19,"museum":74,"description":5057,"tags":5058,"thumbUrl":5059,"material":117,"size":118,"collection":119,"collections":5060,"showCount":135,"zanCount":40,"manualWeight":40,"mainColor":69},274987,"tong-du-jin-gang-dong-yi-ming-274987","铜镀金刚洞","这件法器以铜镀金打造，兽首饱满雄劲，怒目圆睁、獠牙森然，鬃须肌理分毫毕现，尽显狞厉威严。三段鎏金饰件錾刻缠枝宝相花，纹样繁复错落，宝相花瓣层叠饱满，尽显錾刻工艺精湛。柄身髹以黑漆间杂缠绳，金黑撞色对比强烈，刚柔并济。整体形制挺拔规整，藏地密宗器物的神性威仪尽显，将雪域密宗的肃穆氛围感融于金属质感之中，沉稳厚重里带着凛然震慑力，尽显清代藏式造像的独特狞厉美学。",[157,562,158,7,112,676,2088],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29eeee76da819ebf67a4b9e990b9e561.jpg",[],{"id":5062,"slug":5063,"title":2816,"dynasty":18,"author":19,"museum":74,"description":1003,"tags":5064,"thumbUrl":5065,"material":117,"size":118,"collection":119,"collections":5066,"showCount":135,"zanCount":40,"manualWeight":40,"mainColor":88},273636,"zi-tan-mu-bian-zuo-bi-yu-yun-long-wen-cha-ping-yi-ming-273636",[309,1875,307,158,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F148ddcd43a8e85f2e8a951a0c07dc3dd.jpg",[],{"id":5068,"slug":5069,"title":5070,"dynasty":18,"author":19,"museum":74,"description":1003,"tags":5071,"thumbUrl":5072,"material":117,"size":118,"collection":119,"collections":5073,"showCount":135,"zanCount":40,"manualWeight":40,"mainColor":69},272856,"zi-tan-mu-diao-hua-bian-zuo-qian-yu-bi-cha-ping-yi-ming-272856","紫檀木雕花边座嵌玉璧插屏",[2818,4044,1875,158,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1885dfa5afeef60d3b231102b7f73bb9.jpg",[],{"id":5075,"slug":5076,"title":5077,"dynasty"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湾府淡水厅艋舺县丞一职，是大台北地区的地方父母官。",[24,52,6140,55,638,54,56,3931,7,144,1130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33b79bf9a41f1c62e9621c6a98fbfe54.jpg",[],{"id":7012,"slug":7013,"title":7014,"dynasty":18,"author":19,"museum":74,"description":7015,"tags":7016,"thumbUrl":7018,"material":117,"size":118,"collection":119,"collections":7019,"showCount":341,"zanCount":40,"manualWeight":40,"mainColor":354},240844,"wu-kuan-shun-zhi-shi-si-nian-ce-ming-ce-yi-ming-240844","无款顺治十四年册命册","此册以明黄绢为地，尽显皇家专属华贵气度，上下边缘平金绣行龙祥云，绣工匀细精巧，龙纹矫健灵动，祥云柔润婉转，烘托出森严威仪。左侧朱书满文，笔锋劲挺匀整，排布齐整肃穆，恪守典制仪轨。右侧钤盖硕大满汉文玉玺，印文方正庄重，篆法严谨，彰示皇权威仪。\n\n整体装裱规整，配色典丽庄重，将官方文书的礼制肃穆与宫廷织造工艺的精湛完美融合，静静承载着旧时皇家册命的庄严仪轨，是清代典制文书与宫廷技艺结合的典型器物。",[18,478,55,1837,56,7,25,7017,308],"纸质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3aff49d9a8f4ff5bc09376c70f1ac22.jpg",[],{"id":7021,"slug":7022,"title":7023,"dynasty":18,"author":19,"museum":74,"description":7024,"tags":7025,"thumbUrl":7026,"material":117,"size":118,"collection":119,"collections":7027,"showCount":341,"zanCount":40,"manualWeight":40,"mainColor":41},234415,"liu-shi-ban-chan-luo-sang-ba-dan-yi-xi-xiang-zhou-yi-ming-234415","六世班禅洛桑巴丹益西像轴","主尊安坐莲台法座，面容慈悲沉静，明黄僧衣衬出清贵仪容，结印说法，法座雕饰威严瑞兽，宝相庄严。上方云端化生三尊圣像，或忿怒伏魔，或跏趺圆寂，或持律安坐，尽显藏传佛教诸般法相。下方护法驰马踏焰，威赫慑人。背景青绿晕染出灵秀秘境，祥云缭绕托举天界殊胜。整幅设色浓丽厚重，金彩勾勒细节，线条流畅劲健，以分层构图铺陈佛国图景，将宗教的神圣肃穆与雪域灵境相融，兼具信仰厚重感与审美意趣。",[18,112,25,26,5717,27,7,385,28,189,80,79,323],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F006dc3394ef538d2aac7e7c1a5dd5d8a.jpg",[],{"id":7029,"slug":7030,"title":7031,"dynasty":333,"author":7032,"museum":74,"description":7033,"tags":7034,"thumbUrl":7035,"material":119,"size":119,"collection":119,"collections":7036,"showCount":341,"zanCount":40,"manualWeight":40,"mainColor":1858},233632,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233632","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。",[24,52,478,25,3358,1179,7,309],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe2b0039ddc2316d01cbf0216614d9cf.jpg",[],{"id":7038,"slug":7039,"title":7040,"dynasty":333,"author":19,"museum":74,"description":7041,"tags":7042,"thumbUrl":7043,"material":119,"size":119,"collection":119,"collections":7044,"showCount":341,"zanCount":40,"manualWeight":40,"mainColor":69},231356,"ming-di-quan-shen-xiang-yi-ming-231356","明帝全身像","明代宫廷绘画中有一类表现帝王生活和重大历史事件的作品。此幅描绘明宣宗朱瞻基便服檐帽在御园观赏各种体育竞技表演的场面。画面上从右至左依次为射箭、蹴踘、马球、捶丸、投壶，场面宏大繁复而又具体入微，生动地表现出当时宫中的文体娱乐活动。由于要反映特定的地点和环境，所以描绘了大量的建筑。此卷以工整细腻的写实手法按照历史原貌对明代皇宫的楼台殿阁作了荚绘实又概括的描绘，是研究明代宫廷历史以及皇家建筑的重要资料。",[23,24,26,25,27,7,257],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e9aec89439ed2cfa44b406bd91b5566.jpg",[],{"id":7046,"slug":7047,"title":7048,"dynasty":18,"author":19,"museum":74,"description":7049,"tags":7050,"thumbUrl":7051,"material":119,"size":119,"collection":119,"collect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[2] 珐琅依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。其中掐丝珐琅器就是俗称的“景泰蓝”，15世纪中期明代景泰年间的制品尤为著称，故有景泰蓝之称。\n清代，西洋珐琅从广州传入中国，广州生产的珐琅俗称“广珐琅”，是朝廷的贡品，其中最著名的是画珐琅 ，錾胎珐琅的制作中心也在广州，透明珐琅器也以广州出产的最为著名。",[306,1605,1606,157,7,323,25,309,995],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e7068762abf223ee1e43a387c7f3bda.jpg",[],{"id":7076,"slug":7077,"title":7078,"dynasty":18,"author":19,"museum":74,"description":7071,"tags":7079,"thumbUrl":7081,"material":117,"size":118,"collection":119,"collections":7082,"showCount":341,"zanCount":40,"manualWeight":40,"mainColor":69},229211,"qian-long-kuan-tong-tai-qia-si-fa-lang-ti-liang-hu-yi-ming-229211","乾隆款 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器以三弯外翻马蹄腿勾勒柔婉舒展的轮廓，沉稳中暗含雅致气韵。通体以乌漆为底，描金为饰，桌面绘就折枝花卉，笔意灵动娇妍，晕染出清逸雅致的文人意趣。牙板处缠枝宝相花迤逦环绕，间缀游龙纹，金彩熠熠，将闺阁闲情与华贵气度相融。乌漆沉穆莹润，描金历经岁月仍鲜亮不减，髹漆与描金工艺相得益彰，把日常起居器具化作可赏可玩的工艺精品，尽显工致秀雅的审美意韵。",[1648,1875,1225,7750,7,1792,2067,309],"炕桌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ac3e8291fdce8427af9b682b41ac69e.jpg",[],{"id":7754,"slug":7755,"title":7756,"dynasty":18,"author":19,"museum":74,"description":7757,"tags":7758,"thumbUrl":7761,"material":117,"size":118,"collection":119,"collections":7762,"showCount":11,"zanCount":40,"manualWeight":40,"mainColor":88},273234,"long-jing-ya-cha-yi-ming-273234","龙井芽茶","此锡制茶仓器型方正敛腹，线条沉静古雅。器身錾刻双龙纹，龙躯辗转腾挪，鳞爪分明，在素净锡面间灵动威严，中心开光题字笔力朴拙厚重，与纹饰相映成趣。\n\n锡料匀净温润，包浆带着经年使用的时光痕迹，暗合茶事清寂雅趣。以錾刻工艺尽显匠心，将瑞兽吉纹与储茶功用相融，既是实用储茶之器，亦是旧时金属细作里的精巧之物，藏着茶寮清闲意韵，静述传统茶器与工艺美学的交融之美。",[7759,158,7,309,2067,7760],"锡制","茶器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1823f458804b2873c500999f936bc4b.jpg",[],{"id":7764,"slug":7765,"title":7766,"dynasty":18,"author":19,"museum":74,"description":7767,"tags":7768,"thumbUrl":7771,"material":117,"size":118,"collection":119,"collections":7772,"showCount":11,"zanCount":40,"manualWeight":40,"mainColor":41},272776,"zi-tan-mu-diao-yun-long-wen-xiao-gui-yi-ming-272776","紫檀木雕云龙纹小柜","木雕是雕塑的一种，在我们国家常常被称为“民间工艺”。木雕可以分为立体圆雕、根雕、浮雕三大类。木雕是从木工中分离出来的一个工种，在我们国家的工种分类中为“精细木工”。\n以雕刻材料分类的民间美术品种。一般选用质地细密坚韧，不易变形的树种如楠木、紫檀、樟木、柏木、银杏、沉香、红木、龙眼等。\n木雕是以各种木材及树根为材料进行雕刻，是以传统雕刻工艺中的重要门类。木雕的历史非常悠久，在浙江余姚河姆渡文化遗址就有木雕鱼出土，这是我国木雕史上最早的实物。河南信阳战国大墓出土的木雕镇木兽，湖北云梦汉墓出土的彩雕木佣均为我国早期木雕作品。由于保存的困难，现今很难看到超过千年的木雕作品。\n两宋时期木雕作品较为多见，这时的木雕已采用组织细密的木材为载体进行制作，这就有利于木雕作品的传世。我国的一些庙宇里还保存有宋代的木雕作品。\n元明时由于海外贸易的急速发展，木材种类有所增加，许多由海外进口的硬质木材，是木雕工艺得到长足发展。\n明清期间是木雕艺术的一个辉煌时期，涌现出大量有史可考的名家、艺人及其作品，是古代木雕艺术的一个高峰。\n清末至民国年间由于政府的腐败，国力的衰退，外强的侵略，民不潦生，木雕艺术从此衰落，艺人名家也只能沦为匠人糊口度日。新中国成立后在党和国家的关怀下，民间工艺得到了保护及挖掘，木雕也重新涣发出生命，涌现出一批国家级大师。他们的作品，工艺精湛，秉承传统，立意深远，讴歌时代，体现了大师们立足传统，锐意创新，直抒重获新生的胸怀和报效国家，知遇之恩的深情。\n国家改革开放，经济腾飞，国富民强，党和国家对民间工艺的大力扶持，唤起了民众对传统工艺美术的热爱与追求。逢此盛世，民间工艺美术有了新的飞跃，木雕艺术也不例外。面对实际情况，在全国工艺品展出中，优秀作品的作者年龄偏大，年轻作者寥寥无几。",[1875,158,7,2498,7769,7770],"木雕","家具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F942a118a19d62a248d95adef459532d1.jpg",[],{"id":7774,"slug":7775,"title":7776,"dynasty":18,"author":19,"museum":74,"description":5078,"tags":7777,"thumbUrl":7779,"material":117,"size":118,"collection":119,"collections":7780,"showCount":11,"zanCount":40,"manualWeight":40,"mainColor":69},272601,"duan-shi-diao-yun-long-sui-xing-yan-yi-ming-272601","端石雕云龙随形砚",[256,7778,158,7,1224,2498],"端石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc08a8fd61989e18aaad4a0f901b1671c.jpg",[],{"id":7782,"slug":7783,"title":7784,"dynasty":18,"author":19,"museum":74,"description":1003,"tags":7785,"thumbUrl":7786,"material":117,"size":118,"collection":119,"collections":7787,"showCount":11,"zanCount":40,"manualWeight":40,"mainColor":69},272519,"cao-su-gong-zi-yu-guang-mo-chen-xiang-dong-mo-yi-ming-272519","曹素功紫玉光墨－沉香洞墨",[254,3777,1225,7,131,995],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6cec442465d857bacd094c2834e1166.jpg",[],{"id":7789,"slug":7790,"title":5085,"dynasty":333,"author":19,"museum":74,"description":7791,"tags":7792,"thumbUrl":7794,"material":117,"size":118,"collection":119,"collections":7795,"showCount":11,"zanCount":40,"manualWeight":40,"mainColor":69},272478,"wan-li-kuan-hei-qi-miao-jin-long-feng-wen-guan-bi-yi-ming-272478","此笔以乌亮黑漆为地，描金纹饰似星子落于幽夜之上，华贵雅致扑面而来。龙凤穿梭于缠枝花卉间，龙姿矫健遒劲，凤态婉转柔媚，翎羽鳞爪皆刻画细腻入微，缠枝花卉舒展柔婉，刚柔相衬，尽显灵动雅致。描金熠熠生辉，在沉郁漆色的衬托下更显富丽堂皇。工艺上将髹漆与描金技法相融，笔触细腻精准，尽显制器的考究匠心，暗合了当时的审美意趣，将文房雅具的精致奢华推向极致，藏着旧时手作的精妙心思。",[253,1648,1225,7,215,323,7793],"文房器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ab8854a141df439cdcdf0c9745a89c6.jpg",[],{"id":7797,"slug":7798,"title":5085,"dynasty":333,"author":19,"museum":74,"description":7799,"tags":7800,"thumbUrl":7801,"material":117,"size":118,"collection":119,"collections":7802,"showCount":11,"zanCount":40,"manualWeight":40,"mainColor":69},272473,"wan-li-kuan-hei-qi-miao-jin-long-feng-wen-guan-bi-yi-ming-272473","此笔以乌亮黑漆为地，通体描金饰纹。笔管与笔套之上，龙凤身姿矫健灵动，穿梭于缠枝花卉之间，翎羽纤毫毕现，花叶柔婉舒展，金彩熠熠，在沉黑底色衬托下更显华贵雍容。\n笔管末端题识工整，添几分文人情致，笔锋兼采紫毫与羊毫，形制饱满规整，刚柔相济，兼顾实用与赏玩。\n髹漆描金的匠心工艺，将宫廷审美融入文房雅物，把装饰美学与书写功能精妙合一，尽显古雅富丽的极致风韵。",[253,1648,1225,7,215,323],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40a70ff8007ad7abb551e4b1cc3576c5.jpg",[],{"id":7804,"slug":7805,"title":7806,"dynasty":333,"author":19,"museum":74,"description":7807,"tags":7808,"thumbUrl":7809,"material":117,"size":118,"collection":119,"collections":7810,"showCount":11,"zanCount":40,"manualWeight":40,"mainColor":969},272470,"wan-li-kuan-cai-qi-shuang-long-wen-guan-bi-yi-ming-272470","万历款彩漆双龙纹管笔","此笔以黑漆为底，彩漆敷饰双龙穿云，赤金龙躯蜿蜒矫健，鳞爪灵动张扬，祥云缠枝错落点缀，恍见游龙傲翔云间。管身与笔帽皆以铜料镶口，兼顾耐用与雅致，暗含旧时造物的精工巧思。兼毫笔头锋颖饱满，劲润相宜，藏纳挥毫落纸的底气。\n\n整器将髹漆工艺与文房雅器相融，既有威仪华贵之气韵，又不失文房清供的隽秀雅致，是漆艺与制笔技艺合璧的精品，尽展旧时文房的风雅意致。",[253,1648,7,6117,3777],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F349621f45f412c9097c0429c20a161f1.jpg",[],{"id":7812,"slug":7813,"title":6114,"dynasty":333,"author":19,"museum":74,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