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远的山、水以淡墨勾染， 约略朦胧间自然拉开了空间远近的透视关系。梅树枝干虬曲，俯伸的拖枝一直探向水面，水边的几只鹭， 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鱓书法古朴，具颜、柳筋骨。作画时喜欢在画幅上长题满跋，有时甚至于把参差错落的题字，写满画面，于质实中见空灵，使整幅画面气韵更加淋漓酣畅。为此秦祖咏说他“书法古朴，款题随意布置，另有别致，殆亦摆脱俗格，自立门庭者也”。",[23,24,25,26,65,86,30,104,7,29,105,106,107,51],"荷叶","芦苇","水草","鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3527f96ea3aeadc84c0dedcfd0c340f.jpg","纸本","56.4x104cm",[],51,{"id":114,"slug":115,"title":116,"dynasty":43,"author":19,"museum":44,"description":117,"tags":118,"thumbUrl":122,"material":32,"size":123,"collection":34,"collections":124,"showCount":125,"zanCount":57,"manualWeight":11,"mainColor":95},218856,"he-tang-yu-lu-tu-yi-ming-218856","荷塘浴鹭图","这幅画描绘了一个有荷花和摇曳的芦苇的浅水塘，一只白头鹅坐在池塘边梳理羽毛。荷花巨大，白粉涂得很重，掩盖了线条，而芦苇则用墨汁扫过，这与通常的花鸟彩色笔法不同，颇为有趣。这幅画的标题可能不正确，因为大雁被误认为是苍鹭。",[23,24,25,119,28,27,29,88,30,7,120,121],"扇面","池塘","水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36b40f49eb9d1e1a577ea9c7a0e33576.jpg","20.3x19.9",[34],43,{"id":127,"slug":128,"title":129,"dynasty":43,"author":62,"museum":44,"description":130,"tags":131,"thumbUrl":133,"material":134,"size":135,"collection":33,"collections":136,"showCount":137,"zanCount":11,"manualWeight":11,"mainColor":95},290857,"xue-tan-shuang-lu-zhou-ma-yuan-290857","雪滩双鹭轴","雪崖枯枝，芦竹寒汀，滩旁四只白鹭，均做瑟缩之状，寒天的景致，令人有着身临其境的感觉。而浓淡墨色画出的树石、远山和芦草，对比于留白的积雪处，和几不见墨痕的白鹭们，在黑白之间，充分表现出清冷的意趣，达到了画雪得其清的境界。另从岩壁上伸出的枝干，曲折延伸，势如蛟龙升腾游动，这种笔势往下拖垂，形成长而斜向伸出的画枝方法，正是典型的「拖枝马远」风貌。",[24,47,26,65,27,132,29,68,70,69,7,66],"山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfa75c57e47aed948cb8b6beca83ae9f.jpg","未知","Xcm*Xcm",[],28,{"id":139,"slug":140,"title":141,"dynasty":142,"author":19,"museum":143,"description":144,"tags":145,"thumbUrl":146,"material":147,"size":33,"collection":34,"collections":148,"showCount":149,"zanCount":11,"manualWeight":11,"mainColor":38},216881,"lian-lu-tu-zhou-2-yi-ming-216881","莲鹭图轴-2","元","日本东京国立博物馆","莲鹭图轴是一幅绘有莲花和鹭鸶的图画，出自元朝（1271-1368年）的佚名画家之手。这幅图画是一根长卷，画面中央是一朵盛开的莲花，周围是若干只鹭鸶，它们正在莲花周围游荡。\n\n莲鹭图轴是元朝时期的一件杰作，当时的画家们非常喜欢用莲花和鹭鸶这种自然元素来表现他们的艺术感悟。莲花象征着清新、优雅和纯洁，而鹭鸶则象征着平静、宁静和和平。这幅图画把这两种元素结合在一起，表现出了一种浪漫、优美、安宁的气氛。\n\n莲鹭图轴是一幅非常精美的图画，画面细腻、线条流畅、色彩和谐。这幅图画现在被认为是元朝艺术的代表作之一，是中国古代绘画艺术的杰作。",[24,47,26,65,27,28,30,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42d6fce71076fb407edc41d3ce20b6a1.jpg","绢本,水墨",[34],26,{"id":151,"slug":152,"title":153,"dynasty":142,"author":19,"museum":143,"description":144,"tags":154,"thumbUrl":155,"material":147,"size":33,"collection":34,"collections":156,"showCount":157,"zanCount":11,"manualWeight":11,"mainColor":38},216880,"lian-lu-tu-zhou-1-yi-ming-216880","莲鹭图轴-1",[24,25,26,28,29,30,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08dd5a120eafde93f3e851982bae0400.jpg",[34],25,{"id":159,"slug":160,"title":161,"dynasty":18,"author":162,"museum":101,"description":163,"tags":164,"thumbUrl":167,"material":33,"size":33,"collection":33,"collections":168,"showCount":169,"zanCount":11,"manualWeight":11,"mainColor":95},222810,"hua-hui-cao-chong-ce-li-xiao-222810","花卉草虫册","李孝","李孝，字敦庸，号桐园，活动于康熙年间，系安徽无为人，父李亨（李仲仁）。善山水、花鸟、草虫，以“没骨画”著称，师法明代孙隆 。\n康熙五十年（1711）尝作《草虫图轴》。“没骨”，是中国传统绘画中的一种技法，它不用墨线勾勒，直接以彩色涂画物象。\n金陵天渡楼藏有其康熙己亥（1719）作《花卉草虫册》十二开。",[23,24,65,165,166,26,88,7,105],"没骨","花鸟画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda87507bf5208022f8d038afe868d9f7.jpg",[],17,{"id":171,"slug":172,"title":173,"dynasty":18,"author":19,"museum":101,"description":174,"tags":175,"thumbUrl":178,"material":134,"size":135,"collection":33,"collections":179,"showCount":180,"zanCount":57,"manualWeight":11,"mainColor":181},269035,"xiang-xiu-fu-rong-lu-si-tu-zhou-yi-ming-269035","湘绣芙蓉鹭丝图轴","画面取秋水汀洲一隅，白鹭亭亭抬首，似在和枝上翠鸟遥遥相和。芙蓉花胭红似霞，墨色叶片苍润饱满，与浅滩间疏朗的水草相映成趣。留白水面以细碎水痕点染，漾开清寂闲澹的悠悠意韵。绣工细腻入微，将白鹭绒羽的蓬松、芙蓉花瓣的柔润层次尽数铺陈，禽鸟的灵动鲜活、花木的雅致妍丽融为一体，把江南水畔的清秋闲景凝练在尺幅之间，尽显温婉雅致的东方意趣。",[24,26,176,27,28,29,177,7],"湘绣","芙蓉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee66cb0bce4b6cae52989871be1c020a.jpg",[],11,"FFFFFF",{"id":183,"slug":184,"title":185,"dynasty":43,"author":19,"museum":101,"description":186,"tags":187,"thumbUrl":191,"material":134,"size":135,"collection":33,"collections":192,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":95},290286,"ke-si-rong-tang-xi-lu-zhou-yi-ming-290286","缂丝蓉塘戏鹭轴","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”。",[47,24,25,26,188,189,27,29,7,177,30,120,190],"缂丝","布料","流云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6e6b3e765e9e7fc9b3da77541f33c0e.jpg",[],6,{"id":195,"slug":196,"title":197,"dynasty":43,"author":19,"museum":101,"description":198,"tags":199,"thumbUrl":205,"material":134,"size":135,"collection":33,"collections":206,"showCount":207,"zanCount":11,"manualWeight":11,"mainColor":208},256957,"san-cai-ke-hua-lu-lian-wen-pan-yi-ming-256957","三彩刻花鹭莲纹盘","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[200,201,202,27,7,203,204],"陶瓷","三彩","刻花","莲","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F676f57ac08214d5b01da7fbb7f70dae9.jpg",[],4,"0D904F",{"id":210,"slug":211,"title":212,"dynasty":18,"author":19,"museum":101,"description":213,"tags":214,"thumbUrl":219,"material":134,"size":135,"collection":33,"collections":220,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":38},258739,"jia-qing-kuan-fen-cai-lu-lian-wen-zun-yi-ming-258739","嘉庆款粉彩鹭莲纹尊","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。",[215,200,216,27,29,7,30,104,217,218],"清代","粉彩","莲纹","水波纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3f74e2c58babdb7484f213e3abfc29e.jpg",[],3,{"id":223,"slug":224,"title":225,"dynasty":18,"author":19,"museum":101,"description":226,"tags":227,"thumbUrl":231,"material":134,"size":135,"collection":33,"collections":232,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":233},258518,"qian-long-kuan-huang-di-fen-cai-kai-guang-hua-hui-shi-ju-pie-kou-ping-yi-ming-258518","乾隆款黄地粉彩开光花卉诗句撇口瓶","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。",[200,216,228,29,30,7,229,230],"开光","诗句","瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe08aecf254bd5c093da94363d2393383.jpg",[],"37474F",{"id":235,"slug":236,"title":237,"dynasty":18,"author":19,"museum":101,"description":238,"tags":239,"thumbUrl":241,"material":134,"size":135,"collection":33,"collections":242,"showCount":57,"zanCount":11,"manualWeight":11,"mainColor":233},259528,"da-ya-zhai-kuan-fen-cai-lu-lian-wen-wan-yi-ming-259528","大雅斋款粉彩鹭莲纹碗","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。",[200,216,30,7,240],"碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e981321fb6a08ae49b243503d632b82.jpg",[],{"id":244,"slug":245,"title":246,"dynasty":18,"author":19,"museum":101,"description":238,"tags":247,"thumbUrl":251,"material":134,"size":135,"collection":33,"collections":252,"showCount":57,"zanCount":11,"manualWeight":11,"mainColor":233},259514,"da-ya-zhai-kuan-fen-cai-lu-lian-wen-gao-zu-wan-yi-ming-259514","大雅斋款粉彩鹭莲纹高足碗",[200,248,216,249,7,30,29,250],"瓷器","高足碗","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d829eca0546b187de0be83a4e8948ff.jpg",[],{"id":254,"slug":255,"title":256,"dynasty":142,"author":19,"museum":101,"description":257,"tags":258,"thumbUrl":265,"material":134,"size":135,"collection":33,"collections":266,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},228150,"yu-he-lu-ding-mu-gai-yi-ming-228150","玉荷鹭顶木盖","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[259,260,261,262,263,30,7,264],"元代","玉石","木质","雕刻","镂空","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f06beffdc91076f0421d9fd5381ec97.jpg",[],1777535721906]