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另一只则侧身仰望天空。围着草坪的山石上，长着兰草、灵芝、小竹笔花草植物。",[24,25,26,52,91,121,7,31,32,133],"印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8802766b2acbede1ed647fec5abad86.jpg","纸本","纵358厘米，横133.3厘米",[62],130,{"id":140,"slug":141,"title":142,"dynasty":143,"author":19,"museum":20,"description":144,"tags":145,"thumbUrl":148,"material":149,"size":150,"collection":59,"collections":151,"showCount":152,"zanCount":153,"manualWeight":11,"mainColor":41},223336,"dan-feng-you-lu-tu-yi-ming-223336","丹枫呦鹿图","五代十国","《丹枫呦鹿图》描绘的是群鹿游憩于色彩斑斓的秋林中的情景，造型生动真实，颇具情趣。其构图繁密饱满，形式美感强烈，装饰味浓。\n《丹枫呦鹿图》中，作者使用传统的皴法、勾勒之法较少，却大幅度使用了类似西方的光影之法来表现鹿的立体感，且敷色富丽鲜艳又有别干常见的没骨山水。实异于汉族文化地区之画作，属辽画之精品。",[51,24,25,23,26,27,28,146,7,31,108,147],"枫树","红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05a0c1c1455178893acd65ad00afdad0.jpg","绢","纵118.5cm，横64.6cm",[],121,1,{"id":155,"slug":156,"title":157,"dynasty":46,"author":158,"museum":20,"description":159,"tags":160,"thumbUrl":164,"material":35,"size":165,"collection":37,"collections":166,"showCount":167,"zanCount":64,"manualWeight":11,"mainColor":65},216966,"xian-ren-tu-xu-liang-biao-216966","仙人图","许良标","仙女被描绘成骑着一只凤凰，或西方的王母。仙女拿着一顶花帽，并由一只携带生日珍珠的白鹿陪伴。景色清晰，色彩鲜艳，是对长寿的长久赞美。人物、凤凰和白鹿的着色受到西方绘画的明暗影响。",[23,24,25,26,28,27,161,7,162,109,163],"仙人","花卉","云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0446b8d31845aaa90342626f5354c64.jpg","260.5x142.6",[37],107,{"id":169,"slug":170,"title":171,"dynasty":172,"author":19,"museum":71,"description":173,"tags":174,"thumbUrl":178,"material":179,"size":180,"collection":59,"collections":181,"showCount":182,"zanCount":153,"manualWeight":11,"mainColor":183},287649,"shui-yue-guan-yin-zuo-xiang-wu-se-cha-ban-yi-ming-287649","水月观音坐像（无色差版）","明","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。",[51,24,25,175,27,28,29,176,177,7],"宗教","观音","童子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3b48459cb8a2b78d98dd220d80ef855.jpg","未知","Xcm*Xcm",[],105,"37474F",{"id":185,"slug":186,"title":187,"dynasty":46,"author":47,"museum":71,"description":188,"tags":189,"thumbUrl":191,"material":59,"size":59,"collection":62,"collections":192,"showCount":194,"zanCount":153,"manualWeight":11,"mainColor":41},237923,"jiao-lu-tu-zhou-zhu-da-237923","蕉鹿图轴","八大山人的花鸟画深受林良、陈淳、徐谓等大家的影响，他的作品特别强调缘物寄情，因而个性极为鲜明。这种种孤僻、冷漠、悲愤、反常、怪异的特征，当然是他奇特艺术风格的具体化。而这种表象下折射出来的，正是画家一种有别于常人的人格心理。",[24,26,52,53,31,7,190],"蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F232ee521beeb95700367cfecb5b3cbb7.jpg",[62,193],"水墨画精选",102,{"id":196,"slug":197,"title":198,"dynasty":46,"author":104,"museum":199,"description":200,"tags":201,"thumbUrl":205,"material":35,"size":206,"collection":62,"collections":207,"showCount":208,"zanCount":153,"manualWeight":11,"mainColor":41},219129,"shou-tian-bai-lu-tu-shen-quan-219129","受天百禄图","天津博物馆","这是一幅“玩谐音梗”的作品：梅花鹿的“鹿”谐音为“禄”，松柏谐音为“百”，“鹿”和“百”同时出现在一幅画上时，画面内容就不仅仅是“梅花鹿和柏树”了，而变成了富有“百（柏）世荣禄（鹿）”这样子吉祥寓意的祥瑞之图了。试问谁收到这样一幅承载了满满祝福的美图不会开心到起飞呢～\n这幅作品以工笔细描的手法将鹿、柏描绘得非常精细。鹿身比例较为协调，体格健硕；鹿身上的绒毛非常细密，双目圆睁，神采奕奕。画的下方角落里还有潺潺流水，水波粼粼，浪花细密。水边野花三三两两，错落有致，作者将星星点点的花蕊也绘制得十分细腻。",[51,24,25,26,27,28,31,7,202,203,204],"松树","山石","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09e758b63a73d9571d6bba802a1c5942.jpg","纵199厘米，横97.5厘米",[62],101,{"id":210,"slug":211,"title":212,"dynasty":18,"author":213,"museum":20,"description":214,"tags":215,"thumbUrl":223,"material":35,"size":224,"collection":62,"collections":225,"showCount":226,"zanCount":153,"manualWeight":11,"mainColor":65},219202,"xian-yan-yuan-lu-tu-ma-shi-rong-219202","仙岩猿鹿图","马世荣","岩岫间古木扶疏，虬枝盘曲，叶态丰茂，翠影婆娑。猿猱或攀附枝柯，或隐于叶隙，姿态灵动；麋鹿潜身丛筱，茸角微露，神情悠然。山石皴法细腻，纹理毕现，苔点繁密如星，更添苍润之气。设色古雅沉静，赭石为底衬出林木葱郁，墨色浓淡相宜，线条细劲却不失婉转。整幅画将仙岩幽邃与生灵自在融于一体，笔墨工致中见生机，意境空灵里藏野趣，仿佛能闻林间风声、猿啼鹿鸣，尽显宋人对自然生灵的细腻观照与诗意捕捉。",[51,24,74,27,28,31,75,7,33,108,203,216,217,218,219,220,221,222],"宋代绘画","花鸟兽类","细腻笔触","自然景物","山石景观","枝叶树木","动物形象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F022e7f9aab8d54c6068b8efa4d35a5e4.jpg","26.6x26.6cm",[62,80],100,{"id":228,"slug":229,"title":230,"dynasty":46,"author":47,"museum":231,"description":232,"tags":233,"thumbUrl":234,"material":235,"size":236,"collection":62,"collections":237,"showCount":238,"zanCount":11,"manualWeight":11,"mainColor":65},237408,"song-lu-zhou-zhu-da-237408","松鹿轴","旅顺博物馆","以简淡之笔绘苍松与雌鹿，构图简明，意境寥阔深远。右上自题“乙酉夏日写，八大山人”，钤“八大山人”、“荷园”二印。右下钤收藏印二，其一“大兴刘铨福家世守印”，另一印模糊不辨。乙酉为康熙四十四年，公元1705年，作者时年80岁。",[24,26,52,91,54,121,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d36fc960d2f3493e1ebe2d740dd1e76.jpg","纸本墨笔","182cmx88cm",[62],86,{"id":240,"slug":241,"title":242,"dynasty":243,"author":19,"museum":244,"description":245,"tags":246,"thumbUrl":254,"material":179,"size":180,"collection":59,"collections":255,"showCount":238,"zanCount":153,"manualWeight":11,"mainColor":41},226317,"ku-zhu-shi-nan-pi-yi-ming-226317","窟主室南披","唐","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。",[247,90,27,175,29,248,31,7,92,94,249,250,251,252,253],"唐代","飞天","山峦","飞鸟","龙","云纹","波浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23cd3130d2f67f6a5e8f63d64a3488bc.jpg",[],{"id":257,"slug":258,"title":259,"dynasty":18,"author":260,"museum":20,"description":261,"tags":262,"thumbUrl":264,"material":35,"size":265,"collection":62,"collections":266,"showCount":238,"zanCount":153,"manualWeight":11,"mainColor":65},219225,"song-zhi-qun-lu-tu-mou-zhong-fu-219225","松芝群鹿图","牟仲甫","图绘松荫下双鹿，旁有翠竹灵芝。二鹿耸起耳朵，目光凝视同方向，似为某事所惊动。画家以极精致的笔法，描画出二鹿的形态，捕捉到自然界中生动微妙的刹那，这就是宋朝画家的长处。牟仲甫，生卒年待考。随州（今湖北省随县）人。画猿獐猴鹿与易元吉相似，画鸡尤有意趣。",[51,24,23,74,27,28,121,7,263],"芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a8e3db937a2cc36b9216018ebe39af9.jpg","23.9x24.3cm",[62],{"id":268,"slug":269,"title":270,"dynasty":172,"author":19,"museum":271,"description":272,"tags":273,"thumbUrl":281,"material":282,"size":283,"collection":59,"collections":284,"showCount":285,"zanCount":153,"manualWeight":11,"mainColor":41},231541,"shan-hai-bai-ling-tu-yi-ming-231541","山海百灵图","美国弗瑞尔美术馆","此《山海百灵》图卷（签题：唐胡瓌《蕃兽图》真迹神品上上，卷前题：山海百灵）。画卷描绘诸多怪奇神兽，这些动物形象灵感应该来自《山海经》，卷后有一段跋描述此卷的传递情况。此卷大致绘于明代（待考），现藏于赛克勒美术馆。\n胡瓌(瓌，读作guī。汉字基本字义古同“瑰”。五代·后唐〕，山后契丹乌索固部落人。随李克用(856-908)入中原，定居范阳（治今河北涿县），生卒年不详。擅写北方游牧民族牧马、驰猎等生活，穹庐什器、射猎部属，纤悉形容备尽。所作用笔清劲，构图巧密，人物气质犷悍，形象各异。尤工画马，骨骼体状生动有神。",[51,24,274,27,28,54,94,31,93,92,275,7,276,277,278,108,33,279,109,280],"长卷","象","山羊","狮子","猴","溪流","动物群像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb78ddfae72c871b93075fd0f391901d5.jpg","纸本设色","34.5x744厘米",[],80,{"id":287,"slug":288,"title":289,"dynasty":18,"author":290,"museum":71,"description":291,"tags":292,"thumbUrl":296,"material":59,"size":59,"collection":59,"collections":297,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":41},232919,"xue-jing-han-lin-tu-ji-li-cheng-232919","雪景寒林图集","李成","李成(约919-967年),字咸熙,出身贵族,其先人为唐宗室,后周时避居青州营丘(今山东)。李成好友枢密使王朴准备举荐李成,但是此事未及进行王朴就死了,李成虽有文才,但因世变不得志,终日饮酒游玩,最终醉死客栈。李成擅画山水自娱,“一皆吐其胸中而写之笔下”，对北宋的山水画的发展有重大影响，北宋时期被誉为“古今第一”。",[23,24,25,26,94,54,52,293,294,108,203,295,7,250],"雪景","寒林","雪地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d16455b8911f86b1ce9bc374e1d0974.jpg",[],79,{"id":300,"slug":301,"title":302,"dynasty":172,"author":303,"museum":20,"description":304,"tags":305,"thumbUrl":306,"material":27,"size":307,"collection":37,"collections":308,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":41},222156,"fu-lu-shou-zhou-shang-xi-222156","福禄寿轴","商喜","商喜，字惟吉（一说恒吉），明朝人，生卒年月不详，宣德年间宫廷画家，善画人物、山水、花卉等。其作品有《关羽擒将图》、《岁朝图》、《明宣宗行乐图》及《四仙拱寿图》等。",[24,25,26,28,27,29,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc109f3513539842e3b9b3db723a0ee5.jpg","259.6x85",[37,193],78,{"id":311,"slug":312,"title":313,"dynasty":18,"author":314,"museum":20,"description":315,"tags":316,"thumbUrl":318,"material":35,"size":319,"collection":80,"collections":320,"showCount":309,"zanCount":153,"manualWeight":11,"mainColor":41},220234,"chen-ju-zhong-ping-yuan-she-lu-tu-chen-ju-zhong-220234","陈居中平原射鹿图","陈居中","平野寥廓萧瑟，将塞外猎场的辽远铺展开来。骑手俯身引弓，满弦待发，衣摆随奔马带起的劲风翻涌，骏马四蹄腾空，肌理紧绷绷迸发出奔逐的力量。前方野鹿弓腰疾逃，肢体满是惊惶，奔逃的仓促与骑手的沉凝形成鲜明对冲，将狩猎瞬间的张力拉至顶峰。\n\n画作以极简布景衬出旷野苍茫，线条劲挺爽利，晕染精细熨帖，把人马的剽悍雄健与野鹿的仓皇奔逃刻画得鲜活逼真，将草原射猎的快意与北国的雄放意趣，凝在这奔逐的一瞬之间。",[51,23,24,25,27,28,29,92,7,317],"平原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd68da4e95aefa993938654434b8b7a50.jpg","36.8×54.9",[80],{"id":322,"slug":323,"title":324,"dynasty":46,"author":325,"museum":199,"description":326,"tags":327,"thumbUrl":332,"material":149,"size":333,"collection":37,"collections":334,"showCount":336,"zanCount":11,"manualWeight":11,"mainColor":41},222523,"zhu-shou-tu-zhou-wang-wen-wei-222523","祝寿图轴","王文炜","寿星和梅花鹿是这一题材必备的图像，婴戏图表示多子，也代表了吉祥的寓意，除此之外本图中还描绘了对坐书案的两位文仕，为本图平添了高雅的情趣。画面设色妍雅，笔墨生动。",[51,24,25,23,26,27,28,29,328,329,7,202,203,330,331],"孩童","老人","流水","祝寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca9cf9fe0adff55e94e42726ea4c7077.jpg","80X160",[37,335],"设色画精选",75,{"id":338,"slug":339,"title":45,"dynasty":46,"author":104,"museum":71,"description":340,"tags":341,"thumbUrl":343,"material":179,"size":180,"collection":59,"collections":344,"sh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横：72.4厘米",[60,335],{"id":359,"slug":360,"title":361,"dynasty":46,"author":47,"museum":71,"description":362,"tags":363,"thumbUrl":364,"material":179,"size":180,"collection":59,"collections":365,"showCount":366,"zanCount":11,"manualWeight":11,"mainColor":65},287970,"song-shu-shuang-lu-tu-zhu-da-287970","松树双鹿图","描绘了一角山崖，崖边上一株古松遒然挺立，崖下一公一母两只梅花鹿亲密相偎。背景中的山崖及苍松画面疏淡，笔墨劲简；山崖上草石与古松以浓墨点画而出，近景处的双鹿则以淡墨着笔。外侧犄角雄健的公鹿于站立中作回首状，而内侧的母鹿墨色更淡，接近画幅底色，以缠绕公鹿的形态与公鹿亲密，情深状貌跃然纸上。松与鹿均表现超然的气质；而以一公一母两鹿如此亲密的形象入画，确是于超然中又见温情，似乎寓意作者既欲超脱又回顾留恋的情愫。",[51,24,23,25,26,52,31,7,202,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7008f1ca40741a720f4ee5a8350ea2da.jpg",[],66,{"id":368,"slug":369,"title":370,"dynasty":46,"author":371,"museum":71,"description":372,"tags":373,"thumbUrl":379,"material":59,"size":59,"collection":60,"collections":380,"showCount":366,"zanCount":11,"manualWeight":11,"mainColor":41},238196,"he-lu-tong-chun-tu-juan-gao-qi-pei-238196","鹤鹿同春图卷","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。\n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。\n高其佩“扬州八怪李鱓”之师。其艺术才华出众，能诗、工画，他在细绢上所描绘的亭台楼阁、人物、花鸟、鱼虫等等，笔墨精细，设色艳丽，精妙绝伦。他在临摹了大量的前代名人作品，打下了深厚的根基之后，开创了一条新路。大胆地创造出了别具情趣的“舍笔而求之于手”的表现技法。秀水张浦山著的《国朝画征录》中记载：“高且园善指画，画人、山水花鸟、鱼虫、鸟兽，天资超迈，情奇逸趣，信手而得，四方重之”。高其佩指画有“叱石成羊”之妙，他创作山水、人物、花鸟、走兽时，均信手一挥而就，“倾刻数十幅，……无不绝人。”他一生的作画数量是惊人的。正如他侄孙高秉在《指头画说》一文中所述：“自弱冠至七旬，不下五、六万幅”。可惜其大部分早已失传。保存下来的多藏于各地博物馆，铁岭县文化馆过去曾存有春、夏、秋、冬四幅《竹》。上海出版社出版的《高其佩》（杨仁恺著）一书，对他的生活和创作道路做了详细的论述，指出他的最大贡献是：“标题材之新，立结构之异，对当时和后来绘画艺术都有一定影响。”",[51,24,274,27,94,54,250,374,330,375,376,203,110,108,377,7,378],"小桥","孤舟","亭","鹤","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bd6322b4c7fb2b01aa3471df812ebcc.jpg",[60,335],{"id":382,"slug":383,"title":384,"dynasty":172,"author":385,"museum":386,"description":387,"tags":388,"thumbUrl":389,"material":35,"size":390,"collection":62,"collections":391,"showCount":392,"zanCount":99,"manualWeight":11,"mainColor":41},219028,"qun-lu-tu-wen-zheng-ming-219028","群鹿图","文徵明","大英博物馆","层峦叠嶂间林木苍郁，群鹿嬉戏于溪畔石边，或卧饮清泉，或昂首远眺，或追逐嬉闹，姿态各异，灵动鲜活。鹿谐音“禄”，群鹿齐聚暗合福禄绵延的祥瑞寓意，藏着文人对顺遂生活的寄望。山石以淡墨皴染，线条清劲中见温润；树木勾勒细致，枝叶繁密却不杂乱；鹿群的轮廓与肌理刻画入微，神态毕肖。整幅画将山水的清幽与走兽的生机相融，尽显吴门画派雅致醇厚的格调，古旧绢色更添岁月沉淀的静谧之美，似在诉说自然与人文交织的诗意篇章。",[51,24,27,28,54,94,7,31,108,203],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e7960bcc17b6b77977da508ad692bfa.jpg","纵186.5横96厘米",[62],63,{"id":394,"slug":395,"title":396,"dynasty":143,"author":19,"museum":20,"description":397,"tags":398,"thumbUrl":403,"material":35,"size":404,"collection":37,"collections":405,"showCount":406,"zanCount":153,"manualWeight":11,"mainColor":41},216986,"xian-xiu-san-xing-tu-yi-ming-216986","线绣·三星图","画上绣有十九个人，场景从上到下分为四层，第一层从左到右分别是禄、福、寿三颗星。身穿绿色斗篷的 若 星挥舞着羽毛扇，一只鹿跪在他身边，嘴里叼着一朵花，鹿 与 若 谐音，代表着职业道路。中间站着的幸运星，身穿宽大的蓝袍，带着玉柄和带流苏的葫芦形皇冠，象征着运气的延续。右边是微笑着的慈祥老人--长寿星，手持绣有 福禄寿 字样的玉盘，前面是一只手持 寿 字的仙鹤，象征着长寿。",[399,27,175,29,202,374,7,400,401,31,402,378],"线绣","鸟","祥云","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ea885cec07fde0e2c751ced9d734b95.jpg","194.3x111.2",[37],60,{"id":408,"slug":409,"title":410,"dynasty":18,"author":411,"museum":71,"description":412,"tags":413,"thumbUrl":414,"material":59,"size":59,"collection":59,"collections":415,"showCount":416,"zanCount":11,"manualWeight":11,"mainColor":41},227820,"song-yin-guan-lu-tu-ma-yuan-227820","松荫观鹿图","马远","此作用笔清劲爽利，取景以偏概全，将平远之境铺陈得含蓄悠长。右侧虬松横斜，松针如铁，苍劲古雅的身姿探入空濛烟水。凭栏雅士白衣素简，静望烟岚深处，身旁侍童垂首伫立，简笔勾勒便将悠然意态尽显。对岸林影以淡墨晕染，朦胧虚化，汀洲浅渚间麋鹿低头啮草，为清寂画面添了灵动生趣。大片留白晕开浩渺江天，以少胜多，把幽居林下的闲静逸思藏在笔墨间，淡墨轻岚间漫溢着清寂萧散的雅致，意境空远悠长。",[51,24,23,25,94,52,27,54,121,7,29,203,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1ecf7d98118704a77489ac9ae5f3019.jpg",[],55,{"id":418,"slug":419,"title":420,"dynasty":46,"author":421,"museum":71,"description":422,"tags":423,"thumbUrl":425,"material":59,"size":59,"collection":60,"collections":426,"showCount":427,"zanCount":11,"manualWeight":11,"mainColor":65},238231,"shan-jing-ri-zhang-tu-ce-zhang-yu-sen-238231","山静日长图册","张雨森","张雨霖，初名雨，字作霖，一字紫琅，号苍野，安徽当涂人，经子，工山水，得文家风韵。善泼墨，惜用墨皆渗以胶。亦善画花鸟。乾隆时曾供奉内廷。乾隆时供奉内廷，乾隆帝题其《山水图》有“悬之高堂六月凉，助我清兴生吟席”句，又题其《仿沈周山水图》“吴中沈周清狂客，雨森笔似人亦肖”句。画迹有摹燕文贵《江干雪霁图》卷，著录于《石渠宝笈初编》。",[24,27,94,54,424,29,108,203,353,330,7],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e501d9ee404748c7a19862371ad4663.jpg",[60,335],54,{"id":429,"slug":430,"title":431,"dynasty":46,"author":432,"museum":71,"description":433,"tags":434,"thumbUrl":438,"material":59,"size":59,"collection":59,"collections":439,"showCount":427,"zanCount":11,"manualWeight":11,"mainColor":41},234249,"bai-shou-tu-hua-yan-234249","百兽图","华嵒","华喦[yán]，清朝人。他生于康熙，卒于乾隆，经历“康乾盛世”，却一生贫苦。\n他年轻时因被乡绅羞辱，拒绝他为宗族祠堂作画。他一气之下，连夜在祠堂墙壁上画下高山云鹤、水国浮牛、悬崖青松、倚马题诗四幅画作，然后愤然离乡出走。\n他中年辗转于江南各地，与“扬州八怪”交往密切，成为扬州画派的代表人物，传世佳作皆被世人奉若珍宝。\n他晚年书、画、诗俱全，被称为“三绝”，人物、花鸟走兽、山水自然无不精通，终成一代名家。乃至后来者如吴昌硕、齐白石、徐悲鸿等大师也学习他绘画技法。\n在这里要特别提到的是，他笔下的画作，和别的艺术大师有些不同。\n嵒，通“岩”。华喦，人如其名。他的艺术成就如同山峰一般耸立在清代画坛，令无数后来者敬仰。自古以来善画走兽者甚多，但很少有人能画出百兽图。因此珍藏于北京故宫博物院的一幅《百兽图》便显得格外珍贵，它的作者便是华喦。\n此作为长卷画作，画面自右向左依次出现狗、牛、羊、马、鹿、狼、虎、猴、熊等动物，而一头老虎位居画面正中却面露囧态。画面中的动物们被华喦描绘的生动传神，栩栩如生，各具亮点。每一处局部独立展示便是一幅小品佳作，而纵览全画便犹如置身深山老林之中，处处散发着自然的生命力。\n画面最右侧，首先映入眼帘的是人类生活中常见的狗、牛、羊、马。\n接下来画面中来到河畔旁的草地上，一众动物在枫叶美景中悠闲地嬉戏打闹，但河对岸一只麋鹿正此刻正和一只灰狼对峙，凭添了几分紧张的气息。\n镜头继续向左转移，一只老虎在山坡的另一侧独自矗立。虽说老虎是百兽之王，可它此刻的面部表情却十分窘迫，甚至引得巨石上的猴子驻足观看。想来应该是它在头疼这森林的管理问题吧。\n随着我们的视角不断向左深入，画面中山石林立，藤叶纷飞，显得更加原始。而这里的主角变成了一群热闹的猴子，和两只争食的黑熊。\n整幅画作的最左侧，两只大黑熊在互相夺食，而另一只小黑熊却呆在山洞里悠闲地睡着懒觉，顿时令观者啼笑皆非。\n值得一提的是，华喦这幅《百兽图》除开陆地上生活的一群动物外，空中无鸟，水中无鱼。本应威武凶狠的老虎虽出画面正中心，却毫无威仪感，甚至显得有些窘迫。不知作者当时为何会如此创作。",[51,24,274,27,28,54,94,31,278,435,76,77,204,250,436,437,7],"牛","犬","羊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd8e66486eac6115b5e7d13a3b541fdc.jpg",[],{"id":441,"slug":442,"title":45,"dynasty":46,"author":104,"museum":443,"description":444,"tags":445,"thumbUrl":447,"material":448,"size":449,"collection":59,"collections":450,"showCount":427,"zanCount":11,"manualWeight":11,"mainColor":41},223159,"bai-lu-tu-shen-quan-223159","苏州博物馆","此图绘在柏树之下、溪流岸边，两只梅花鹿一立一卧，均仰视远方。图中鹿的描绘十分工整、细腻，山石的点染、溪波的勾勒也有类似笔调，尤为细致而并非完全写实，画面既真实又不泥于细节。\n此画场面雄奇壮阔，波涛汹涌的溪边，在坡石平地处，幽憩着两只梅花鹿：其中一只雄性的梅花鹿屹立于坡上，二足着地，前左腿略微弯曲上提，仰首远眺，汲角往后，短尾微翘，背复部梅花斑纹清晰可见；另一只雌性梅花鹿，卧伏于山石上，两耳耸立，伸着脖颈，双目远视，画面下端为山石横卧，山石下急流滚滚，波纹起伏。在画幅右侧下坡石后，一棵巨大的柏树拔地而起，树干粗壮，枝干曲直向上，虬枝盘旋，相互交织在一起，其中有数枝横入画幅左侧和中部。在画幅打上侧款署“乾隆丙寅二秋”即1746年。\n此图极为清丽活泼。画面内容是柏树下、溪流畔的风景，两只梅花鹿一立一卧，神态悠然，动态生动，极是传神。最为引人注意的是鹿的描绘，十分工整、细腻，山石的点染、溪波的勾勒也有类似笔调，十分细致而并非完全照抄写实，显得画面既真实又不泥于细节。\n画家所作笔墨用意有二：其一，横出的柏树枝叶，使上端牢旷的画面得以填补，起到了使画面构图充满和平衡作用；其二，浓密枝叶形成大片的树荫，正是梅花鹿憩息最好去处和场所。在古柏后有石壁远崖，隐约可见山涧泉水顺流而下，汇聚在宽阔无际的江河中，构成一幅清丽娴雅的景致，令人心旷神怡。作者在创作此画时，特别注意虚笔在背景处理中的运用，虚实相生，阴阳分明，赋色妍丽清雅。此画题材富有吉庆寓意。",[51,23,24,25,28,27,31,94,7,446,110,203,109],"柏树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e97721781d653cc08291b2edf0edcd7.jpg","绢本设色","纵98 .2厘米，横47.2厘米",[],{"id":452,"slug":453,"title":142,"dynasty":143,"author":19,"museum":71,"description":454,"tags":455,"thumbUrl":458,"material":179,"size":180,"collection":59,"collections":459,"showCount":460,"zanCount":11,"manualWeight":11,"mainColor":41},288515,"dan-feng-you-lu-tu-yi-ming-288515","林间丹枫如燃，浅黄、银白林木错落层叠，晕染出晚秋山野的温煦色调。群鹿或伫立凝神，或侧身相顾，姿态悠然舒展，与秋林融为一体，不见丝毫局促。古朴绢色晕开苍润氛围，勾勒细腻写实，将鹿的温驯灵动藏进丹枫暖影里，仿佛能听见呦呦鹿鸣穿林而过。画面把秋麓的幽寂与生机相融，铺陈出静谧古朴的林下意趣，尽显古画雅致沉凝的审美意韵，将秋日山野的恬淡诗意尽数晕染开来。",[51,24,23,26,27,28,31,7,456,457],"丹枫","林木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c9348f9312be6c4e52b3a99b56e965.jpg",[],49,{"id":462,"slug":463,"title":129,"dynasty":46,"author":47,"museum":231,"description":464,"tags":465,"thumbUrl":466,"material":467,"size":236,"collection":59,"collections":468,"showCount":469,"zanCount":11,"manualWeight":11,"mainColor":65},232936,"song-lu-tu-zhou-zhu-da-232936","朱耷（约1626年—约1705年），号八大山人，又号雪个、个山 、入屋、驴屋等，入清后改名道朗， 字良月，号破云樵者。汉族，南昌（今属江西）人 。明末清初画家，明亡后削发为僧，后改信道教 ，住南昌青云谱道院。绘画以大笔水墨写意著称，并善于泼墨，尤以花鸟画称美于世。在创作上取法自然，笔墨简炼，大气磅礴，独具新意，创造了高旷纵横的风格。\n八大山人是宁献王朱权的后裔，大明宗室对鹿有极深的感情。古代的鹿象征至高无上的皇权地位。鹿在中国有着非常吉祥的寓意，它不仅代表长寿，还与“禄”字谐音，故国画中间常借画鹿传达贺寿或加官进爵之意。八大山人画鹿存世十余幅，大都画一两只鹿，而画群鹿及配山水至今仅见此一幅。",[24,25,26,52,91,121,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7891ac0bf8822102bdf85850797f6e1f.jpg","纸本 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。亦工鸟兽、花卉。\n早年画学戴进，临摹能肖其神，画法工细。至南京后，又宗法吴伟，变为粗笔写意。他善画人物，多绘神仙、士子、渔夫，形象质朴，神态清朗，具高昂向上的气质。景致简略，笔墨遒劲，风格豪放，然少秀逸和蕴藉之致；为浙派健将，亦开后来学者粗率之风。他具有典型风貌的水墨写意作品较多，人物多用顿折的重墨线条勾勒，山石以粗犷的笔触作大斧劈皴，运笔迅捷，水墨淋漓，具有豪放动荡的气势。亦能画写意花鸟。",[51,23,24,25,424,91,52,29,7,31,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e8cb53124976920a73fdf03a1ef6d5e.jpg",[],32,{"id":652,"slug":653,"title":654,"dynasty":474,"author":634,"museum":271,"description":655,"tags":656,"thumbUrl":659,"material":135,"size":660,"collection":59,"collections":661,"showCount":662,"zanCount":11,"manualWeight":11,"mainColor":41},231491,"xue-zhong-lu-tu-zhou-yuan-231491","雪中鹿图","虬曲老梅横亘画幅上端，朱红花朵破开沉褐底色，积雪凝缀枝梢，晕开冬日清寒。白鹿身形劲健修长，莹润雪色皮毛以淡墨晕染而出，犄角舒展，垂首静立在覆雪坡石间，安然沉静，与周遭萧寒景致浑然相融。枯涩墨线勾勒梅枝苍劲筋骨，淡墨轻晕出积雪的蓬松虚灵，冷色调底纸烘托出冬夜荒寂空濛，冷冽氛围里，白鹿的温驯清逸更显动人，将冬日的萧寒与生命静雅相融，晕开一卷幽淡空寂的林泽冬景。",[24,25,23,26,27,31,7,657,76,658,203],"雪","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d6ce42914c8804d95d64ffa52147924.jpg","179.7x92.4厘米",[],30,{"id":664,"slug":665,"title":666,"dynasty":172,"author":667,"museum":48,"description":668,"tags":669,"thumbUrl":671,"material":448,"size":672,"collection":59,"collections":673,"showCount":674,"zanCount":11,"manualWeight":11,"mainColor":41},233849,"nan-ji-lao-ren-xiang-lv-ji-233849","南极老人像","吕纪","该图绘我国古代神话故事中的南极老人，又称寿星，长头短身、白须寿眉，立于夜雾迷濛、明月高挂、翠竹纷披、红杏盛开、山泉奔流不息的原野中，一只梅花鹿立于身旁，由于“鹿”与“禄”同音，寓意多“禄”多“寿”。画面中人物用粗细不一的线条勾描，然后染色。树石、流水用笔劲利，山石用斧劈皴，略加淡墨晕染。",[24,26,28,27,29,7,122,203,330,670,250,31],"夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facebab1181af51829e0be60e88caeab6.jpg","纵217厘米，横114.2厘米",[],29,{"id":676,"slug":677,"title":678,"dynasty":172,"author":679,"museum":20,"description":680,"tags":681,"thumbUrl":691,"material":692,"size":693,"collection":62,"collections":694,"showCount":674,"zanCount":11,"manualWeight":11,"mainColor":65},218794,"bai-lu-tu-zhang-hong-218794","百禄图","张宏","张宏，字君度，号鹤涧，江苏吴县人。生于明神宗万历七年（西元一五七七年），至清圣祖康熙八年（西元一六六八年）尚健在。工山水，笔意古拙，墨法清润。人物写意，天然入格。\n本幅画乔松古柏，岩鹿群游。款：「辛巳秋八月，吴门张宏写。」鹿向被认为是长寿之仙兽，且「鹿」「禄」「柏」「百」谐音，故题名「百禄」，以取富贵爵禄之意。",[24,52,27,54,94,31,7,202,203,330,108,682,683,457,279,33,684,685,686,687,688,689,690,53,28],"淡彩","兼工带写","鹿群","古松","山景","自然景观","传统绘画","明代风格","笔墨技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89428a5fc63b071b5b27d40c46585043.jpg","纸本,设色","170.4x77.2cm",[62],{"id":696,"slug":697,"title":698,"dynasty":172,"author":699,"museum":71,"description":700,"tags":701,"thumbUrl":704,"material":35,"size":59,"collection":59,"collections":705,"showCount":706,"zanCount":11,"manualWeight":11,"mainColor":41},216279,"er-shi-si-xiao-tu-13-chou-ying-216279","二十四孝图-13","仇英","二十四孝图是明朝时期著名的书画作品，由仇英创作。它描绘了中国传统文化中的二十四种孝道场景。二十四孝图的内容涵盖了人生各个阶段的孝道行为，从小学阶段的“孝悌忠信”到晚年的“慈孝双全”。这幅作品在明朝时期广受欢迎，并被视为一部重要的文化遗产。",[24,25,27,28,29,702,7,31,703],"狗","孝道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febe4484fc730cc06504cf73155976b80.jpg",[],28,{"id":708,"slug":709,"title":710,"dynasty":46,"author":711,"museum":71,"description":712,"tags":713,"thumbUrl":717,"material":59,"size":59,"collection":59,"collections":718,"showCount":719,"zanCount":11,"manualWeight":11,"mainColor":65},239213,"you-you-lu-ming-tu-zhou-lu-hui-239213","呦呦鹿鸣图轴","陆恢","此作以工写兼济之法绘就，卧鹿为画面主体，鹿角挺拔，皮毛晕染细腻，斑点疏密自然，姿态娴静悠然，尽显鹿的温驯灵秀。配景中虬曲古藤悬垂淡紫花串，笔意苍劲写意；奇石皴法朴拙厚重，下方溪涧涓涓，衬出山野静幽氛围。设色清雅柔和，淡彩晕染间诗意盎然，呼应主题悠然意境，尽显海派兼容并蓄的创作特色，将山野生机与雅致意趣相融，古韵悠然。",[23,24,26,27,28,54,7,31,203,108,714,330,715,716],"藤蔓","紫藤","草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43fd5674ee1a1fb40a59d9cab601e009.jpg",[],26,{"id":721,"slug":722,"title":723,"dynasty":172,"author":644,"museum":71,"description":724,"tags":725,"thumbUrl":726,"material":59,"size":59,"collection":37,"collections":727,"showCount":719,"zanCount":11,"manualWeight":11,"mainColor":41},239072,"fu-lu-xian-ren-tu-zhou-zhang-lu-239072","蝠鹿仙人图轴","明代著名画家，擅山水、人物，行笔劲峻顿挫，力可扛鼎。少年聪慧，见吴道子、戴进所画人物，临摹肖其神，以画成名，是明代追随戴进、吴伟的重要浙派画家，在人物上师法吴伟，但秀逸不足，狂放过之，山水上有戴进的风致。张路的绘画艺术很受世人赞誉，明朝詹景风就盛赞他“足当名家”。在当时，缙绅们咸加推重，得其真迹，如若拱壁。",[24,25,26,27,52,29,7,31,202],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66513b154ce8bc8446bfcf5794e6680b.jpg",[37,335],{"id":729,"slug":730,"title":731,"dynasty":18,"author":732,"museum":20,"description":733,"tags":734,"thumbUrl":739,"material":740,"size":741,"collection":59,"collections":742,"showCount":743,"zanCount":11,"manualWeight":11,"mainColor":41},221553,"luo-han-tu-5-liu-song-nian-221553","罗汉图5","刘松年","刘松年 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and white porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[995,1284,278,7,162,617],"青花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dae1f3220fbb03ae6ec3b1297a36d77.jpg",[],{"id":1288,"slug":1289,"title":1290,"dynasty":172,"author":19,"museum":71,"description":1291,"tags":1292,"thumbUrl":1295,"material":179,"size":180,"collection":59,"collections":1296,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":41},255266,"mu-diao-cai-hui-shou-xing-li-xiang-yi-ming-255266","木雕彩绘寿星立像","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。",[869,1293,1228,1294,880,7,252,784],"木雕","立像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b0f6e7be57d81f247f38f140ab98d4b.jpg",[],{"id":1298,"slug":1299,"title":1300,"dynasty":46,"author":19,"museum":71,"description":1301,"tags":1302,"thumbUrl":1303,"material":179,"size":180,"collection":59,"collections":1304,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":41},251355,"qing-yu-he-lu-ren-wu-tu-fang-bi-tong-yi-ming-251355","青玉鹤鹿人物图方笔筒","笔筒： 用陶瓷、竹木、等制成的筒形插笔器具。笔筒是搁放毛笔的专用器物，据文献记载，它的材质有镏金、翡翠、紫檀和乌木，现在我们能够见到的传世器物，大多是用瓷或者是竹木制作的。具有收藏价值。",[547,1275,786,377,7,29,617],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a68f4e65f5196b19574dc7c2ed54e66.jpg",[],{"id":1306,"slug":1307,"title":1308,"dynasty":46,"author":19,"museum":71,"description":1309,"tags":1310,"thumbUrl":1316,"material":179,"size":180,"collection":59,"collections":1317,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":41},249231,"hua-fa-lang-kai-guang-niao-shou-tu-hai-tang-shi-shou-lu-yi-ming-249231","画珐琅开光鸟兽图海棠式手炉","清代的玉炉很多，但用芙蓉石制作的炉却极少，这是因为做炉需要较大块的料，而芙蓉石一般裂纹很多不宜使用。中国芙蓉石的产量小，颜色与质地亦欠佳。",[46,1311,1312,27,28,1313,7,76,94,162,1314,871,1315],"画珐琅","开光","鸟兽","手炉","海棠式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2cfb8fcbf492f6abf3e0aa0757746bd.jpg",[],{"id":1319,"slug":1320,"title":1321,"dynasty":1109,"author":19,"museum":71,"description":1322,"tags":1323,"thumbUrl":1326,"material":59,"size":59,"collection":1115,"collections":1327,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":41},244138,"si-lu-pai-shi-yi-ming-244138","四鹿牌饰","采用镂空透雕工艺打造，四鹿两两对望，身形憨态可掬，灵动稚拙的神态呼之欲出。古旧铜色裹着厚重包浆，晕开岁月的沉郁质感，枝蔓状的镂空留白将鹿群错落排布，疏密相宜。它把草原上悠然的鹿群凝缩在方寸牌饰间，带着北方游牧文化对生灵的质朴热爱，纹饰简炼却鲜活传神，将古朴意趣融于器物之上，是实用与美学的精妙契合。",[1109,1324,1113,786,1325,7,31,589],"青铜器","透雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F789360187eba1c3fb086d78ab78e6a5c.jpg",[1115],{"id":1329,"slug":1330,"title":1331,"dynasty":46,"author":1332,"museum":71,"description":1333,"tags":1334,"thumbUrl":1336,"material":179,"size":180,"collection":59,"collections":1337,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":183},224138,"abheda-tang-ka-224138","Abheda","唐卡","唐卡（Thang-ga）也叫唐嘎，唐喀，系藏文音译，指用彩缎装裱后悬挂供奉的宗教卷轴画。唐卡是藏族文化中一种独具特色的绘画艺术形式，题材内容涉及藏族的历史、政治、文化和社会生活等诸多领域，传世唐卡大都是藏传佛教和本教作品。\n唐卡是藏族文化中一种独具特色的绘画艺术形式。具有鲜明的民族特点、浓郁的宗教色彩和独特的艺术风格，用明亮的色彩描绘出神圣的佛的世界；颜料传统上是全部采用金、银、珍珠、玛瑙、珊瑚、松石、孔雀石、朱砂等珍贵的矿物宝石和藏红花、大黄、蓝靛等植物为颜料以示其神圣。这些天然原料保证了所绘制的唐卡色泽鲜艳，璀璨夺目，虽经几百年的岁月，仍是色泽艳丽明亮。因此被誉为中国民族绘画艺术的珍品，被称为藏族的”百科全书”也是中华民族民间艺术中弥足珍贵的非物质文化遗产。\n传统唐卡的绘制要求严苛、程序极为复杂，必须按照经书中的仪轨及上师的要求进行，包括绘前仪式、制作画布、构图起稿、着色染色、勾线定型、铺金描银、开眼、缝裱开光等一整套工艺程序。制作一幅唐卡用时较长，短则半年完成，长则需要十余年。",[175,27,28,29,94,202,949,1335,7,892,894],"云彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F064991e3eccba759ac8af1f24e0cfb16.jpg",[],{"id":1339,"slug":1340,"title":1341,"dynasty":18,"author":19,"museum":71,"description":1342,"tags":1343,"thumbUrl":1345,"material":179,"size":180,"collection":59,"collections":1346,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":65},223782,"nan-lu-niu-yu-yin-yi-ming-223782","南鹿纽玉印","宋代，官印的尺寸多为5～6厘米见方，所用文字以小篆为基础，印文屈曲填满，线条反复折叠，次数无定则，但因古代以“九”表示为数之多所以有“九叠篆”之称。到了金、辽时代，这种叠篆的程序走向极端，并一直延续到明清和近代。元代的官印多承袭前朝形制，特殊之处在易“九叠文”为“八思巴文”。宋代是实用印章向文人篆刻艺术的过渡期。宋代文人渐开好印之风，而且对篆刻艺术发展起了重要推动作用的“集古印谱”也风行开来。到了元代，这种对印章的认识发生了质的飞跃。元初喜好集古印谱的风气有增无减。元代文人书画家所用的印章基本上呈元朱文和汉白文两大格局。印章与书画关系的紧密，使书画家自篆自刻印章的欲望日趋强烈。在汉印审美观的影响下，大约在元代中期后，出现了集写刻于一身，并以汉印风采为追求对象的文人篆刻家。经过漫长的探索，元代文人终于完成了实用印章向文人艺术篆刻的转化，为明清文人流派篆刻艺术的发展奠定了坚实的基础。",[1275,133,786,7,31,1344],"宋代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17071b7167408e7ef9fbfa3aa3971b48.jpg",[],{"id":1348,"slug":1349,"title":1350,"dynasty":46,"author":1351,"museum":645,"description":1352,"tags":1353,"thumbUrl":1354,"material":59,"size":59,"collection":59,"collections":1355,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":1356},202305,"tao-shi-shuang-lu-tu-zhou-hu-mei-202305","桃实双鹿图轴","胡湄","画面中双鹿姿态鲜活，一昂首仰望枝头饱满桃实，一低首似嗅草间芳华，灵动自然。老桃树虬枝盘曲，硕果坠枝，枝叶间飞鸟栖息，生机盎然。山石花草勾勒入微，设色淡雅温润，工笔细描尽显物象肌理——鹿毛柔润，桃叶脉络分明，老干纹理苍劲。构图疏密相宜，福禄长寿的吉祥寓意融于清逸画面，尽显传统花鸟兽画的雅致意趣与生机活力。",[28,27,572,31,1124,7,250,203,204,849,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff81e9f48d3fc3a7d9867e1e72d9de16b.jpg",[],"7b633e",{"id":1358,"slug":1359,"title":1360,"dynasty":46,"author":1361,"museum":645,"description":1362,"tags":1363,"thumbUrl":1364,"material":59,"size":59,"collection":335,"collections":1365,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":1366},201965,"bai-lu-tu-zhou-min-zhen-201965","柏鹿图轴","闵贞","老柏枝干盘曲如虬龙，浓墨点染的叶片层叠如盖，苍劲中透着古拙。双鹿于树下跃动，前鹿昂首引颈，后鹿紧随不舍，淡墨晕染的身躯缀以白点，肌理细腻灵动。地面以简笔勾勒杂草，山石用泼墨写意，虚实相生间野趣盎然。柏之长寿、鹿之福禄借笔墨融于一画，动静相宜，既见工笔之细致，又含写意之洒脱，尽显自然生机与吉祥意蕴。",[52,53,28,55,7,203,31,54,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5921f9e14fad584f9af9dca5a3e28d80.jpg",[335],"a4978c",{"id":1368,"slug":1369,"title":1370,"dynasty":46,"author":19,"museum":71,"description":1371,"tags":1372,"thumbUrl":1376,"material":179,"size":180,"collection":59,"collections":1377,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":65},273648,"zi-tan-mu-bian-qian-ya-he-lu-tu-gua-ping-yi-ming-273648","紫檀木边嵌牙鹤鹿图挂屏","紫檀为框，墨漆为底，百宝嵌就清逸景致。苍松虬枝宛转，松石点染松针，翠色鲜活如凝露。芝兰倚于松下，牡丹以彩玉螺钿晕开瓣色，明妍动人。鎏金双鹿肌理写实，悠然漫步林下，尽显灵秀生机。屏侧御题诗文笔致端雅，文气与景趣相融，将松间清和祥瑞铺陈眼前。整器集镶嵌、髹漆、书法之工，把太平长乐的意趣藏于刀嵌笔锋之间，尽显百宝嵌工艺的精妙雅致。",[783,784,1373,786,787,202,7,31,1374,162,536,1375],"漆器","牡丹","楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9349f48eea736808da3b181a0bdebba.jpg",[],{"id":1379,"slug":1380,"title":1370,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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。",[172,1275,1431,7,1432,31],"镂雕","灵芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F105a6d8f243383e62549abbf15dc7650.jpg",[],{"id":1436,"slug":1437,"title":1438,"dynasty":46,"author":19,"museum":71,"description":1309,"tags":1439,"thumbUrl":1441,"material":179,"size":180,"collection":59,"collections":1442,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":183},249235,"hua-fa-lang-hua-hui-kai-guang-niao-shou-tu-tuo-yuan-si-ban-shou-lu-yi-ming-249235","画珐琅花卉开光鸟兽图椭圆四瓣手炉",[547,1440,1311,1312,27,162,1313,7,202],"琺瑯器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82b78a38a2d7f005acb88dc762effcf6.jpg",[],{"id":1444,"slug":1445,"title":1446,"dynasty":46,"author":19,"museum":71,"description":1273,"tags":1447,"thumbUrl":1453,"material":179,"size":180,"collection":59,"collections":1454,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":65},247152,"qian-long-kuan-ti-hong-wu-fu-peng-shou-wen-kai-guang-he-lu-tu-ru-yi-shi-san-ceng-tao-he-yi-ming-247152","乾隆款剔红五蝠捧寿纹开光鹤鹿图如意式三层套盒",[547,1373,1448,786,1172,377,7,839,1160,1312,1449,784,1450,31,1451,1452],"剔红","三层套盒","纹饰","禽","吉祥纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F821ae2a94b257b8be541a28ab17f8a9e.jpg",[],{"id":1456,"slug":1457,"title":1458,"dynasty":46,"author":19,"museum":71,"description":1459,"tags":1460,"thumbUrl":1464,"material":179,"size":180,"collection":59,"collections":1465,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":41},245647,"jin-chang-fang-pen-mu-shi-tao-lu-pen-jing-yi-ming-245647","金长方盆木石桃鹿盆景","此盆景金盆錾刻蝠纹拱寿，流光溢彩华贵端庄。木枝桃树遒劲苍古，翠叶舒展间，玛瑙与碧玉寿桃垂缀枝头，饱满莹润，鲜活如生。配景以玉石雕就灵鹿，憨态可掬静立一隅，衬以玛瑙花与翠色仙草，错落生趣。\n它集雕琢、錾镶工艺于一身，将长寿、福禄的吉庆寓意藏于细节，把匠心巧思融于雅致陈设中，尽显工艺卓绝精巧，是东方吉祥意涵与造物美学融为一体的绝佳摆件。",[1461,786,1462,784,77,1124,7,78,1463],"工艺","金器","盆景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaa865d3e9a3f4ce455932e57c344cd7.jpg",[],{"id":1467,"slug":1468,"title":1469,"dynasty":1109,"author":19,"museum":71,"description":1470,"tags":1471,"thumbUrl":1472,"material":179,"size":180,"collection":59,"collections":1473,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":65},244196,"lu-xing-pai-shi-yi-ming-244196","鹿形牌饰","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。",[1109,1113,786,7,31,589],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05706e7f372d86e8ea2024d66b4f72c8.jpg",[],{"id":1475,"slug":1476,"title":1477,"dynasty":172,"author":19,"museum":71,"description":1478,"tags":1479,"thumbUrl":1481,"material":59,"size":59,"collection":59,"collections":1482,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":41},228810,"su-li-qi-bie-tu-yi-ming-228810","苏李泣别图","朔风卷雪，枯木枝桠凝霜，荒野孤寒萧索。执手二人垂眸泫然，指尖相抵，千言哽在喉间，将故知诀别、家国相隔的沉恸藏于相拥之间。侧立侍从掩袖黯然，身畔麋鹿亦似感知悲戚，垂首静立。苍劲线条勾勒出人物怆然神态，淡墨晕染开漫天荒寒，将乱世里身不由己的离愁别绪尽数铺展，把这一段千古伤怀的诀别凝于绢素，凄清沉郁的悲情漫溢画面，余韵悠长。",[51,23,24,25,26,91,29,1039,1480,7],"山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe38fb74702a85c2f0bce08ba0330270.jpg",[],{"id":1484,"slug":1485,"title":1486,"dynasty":172,"author":1487,"museum":71,"description":1488,"tags":1489,"thumbUrl":1490,"material":1491,"size":59,"collection":59,"collections":1492,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":65},217050,"bai-miao-ying-zhen-tu-6-ding-yun-peng-217050","白描应真图-6","丁云鹏","丁云鹏是明朝时期的著名画家，他的白描应真图是一种具有代表性的画风。白描应真图是一种画风，它采用的是白色笔触描绘轮廓，然后使用墨色来填充和渲染图案。这种画风通常用于描绘自然风景、建筑物和人物，其中白色笔触代表着阳光和光影，而墨色则用来表示颜色和细节。丁云鹏的白描应真图具有鲜明的对比和丰富的视觉效果，它们也因其精确的再现和细腻的笔触而备受赞赏。",[24,91,869,175,29,7,76,274],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u00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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。",[1861,1864,7,1865,1866,786,1867],"瓦当","子母鹿","兽纹","古朴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e76edb524ff4b2b03ebfb06cdaf80cc.jpg",[],{"id":1871,"slug":1872,"title":1873,"dynasty":46,"author":19,"museum":71,"description":1874,"tags":1875,"thumbUrl":1876,"material":179,"size":180,"collection":59,"collections":1877,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":41},254923,"tong-chi-long-bing-qi-lu-shou-xing-xiang-yi-ming-254923","铜持龙柄骑鹿寿星像","造像浑朴古雅，寿星面庞圆阔，褶皱堆垒间笑意温润内敛，长髯垂胸，道冠宽袍安坐鹿背，一派悠然超脱。一手握龙纹寿杖，一手轻抬似正捻须悟道，将老者的安和通透尽显无余。\n\n瑞鹿昂首嘶鸣，鹿角虬劲舒展，身形劲健修长，缓步徐行间自带灵动感，鹿身饰缠枝瑞花，为沉凝的铜色添了几分秀雅。整体线条洗练流畅，将寿星的福寿安闲与仙鹿的祥瑞灵动相融，暗藏福寿绵长的美好祈愿，是兼具工艺审美与吉祥意涵的造像佳作。",[1113,1324,786,29,31,7,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85f793a9d0bb2e8e0974cbc5a5442b96.jpg",[],{"id":1879,"slug":1880,"title":1881,"dynasty":172,"author":19,"museum":71,"description":1291,"tags":1882,"thumbUrl":1884,"material":179,"size":180,"collection":59,"collections":1885,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":183},254845,"mu-diao-lou-kong-fu-lu-shou-jian-zhu-qian-jian-yi-ming-254845","木雕镂空福鹿寿建筑嵌件",[869,784,1293,1883,786,29,7,1172,880,252],"镂空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b7512f7527a2874ece1e21b87957d3e.jpg",[],{"id":1887,"slug":1888,"title":1889,"dynasty":172,"author":19,"museum":71,"description":1429,"tags":1890,"thumbUrl":1891,"material":179,"size":180,"collection":59,"collections":1892,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":183},252627,"qing-yu-lou-diao-lu-hou-shan-zi-yi-ming-252627","青玉镂雕鹿猴山子",[1275,1431,94,7,278,31,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe71050b8e9d045d6cf97e44e765b62ee.jpg",[],{"id":1894,"slug":1895,"title":1896,"dynasty":46,"author":19,"museum":71,"description":1897,"tags":1898,"thumbUrl":1900,"material":179,"size":180,"collection":59,"collections":1901,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":183},252359,"hu-po-lao-ren-he-lu-wen-bi-shan-yi-ming-252359","琥珀老人鹤鹿纹笔山","此件取深红琥珀为材，凝色如朱脂通透莹润。随料造型，将层叠山峦、虬劲苍松与坡间双鹿妙然雕就。深浅浮雕相衬，刀工细腻灵动，林间草叶舒展自然，双鹿依偎尽显悠然野趣，把山林逸致收纳于方寸之中。\n\n作为文房清供，它将山野生机融于案头雅事，既带着林泉幽旷之态，又贴合文房沉静的雅致氛围，尽显精巧匠心，藏着文人寄情山水的澹然意趣，为案头添一抹清逸山林之味。",[1899,786,329,377,7,617],"琥珀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b944ecf86489a5b105dab34a0f37865.jpg",[],{"id":1903,"slug":1904,"title":1634,"dynasty":172,"author":19,"museum":71,"description":1429,"tags":1905,"thumbUrl":1906,"material":179,"size":180,"collection":59,"collections":1907,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":65},252101,"qing-yu-xian-ling-zhi-wo-lu-yi-ming-252101",[1275,786,7,1432,31,869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13418df0a62ad10179d8f8ea220781e4.jpg",[],{"id":1909,"slug":1910,"title":1911,"dynasty":18,"author":19,"museum":71,"description":1626,"tags":1912,"thumbUrl":1913,"material":179,"size":180,"collection":59,"collections":1914,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":41},252025,"bai-yu-jiu-lu-wen-lu-ding-yi-ming-252025","白玉九鹿纹炉顶",[18,1275,786,1883,7,31,617],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4804e4133664467811a40294cf3b7a13.jpg",[],{"id":1916,"slug":1917,"title":1918,"dynasty":18,"author":19,"museum":71,"description":1429,"tags":1919,"thumbUrl":1923,"material":179,"size":180,"collection":59,"collections":1924,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":183},252015,"qing-yu-tou-diao-shan-lin-qun-lu-ren-wu-wen-lu-ding-yi-ming-252015","青玉透雕山林群鹿人物纹炉顶",[1920,1275,1921,1325,786,1922,7,31,29],"宋代","青玉","山林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4980a9c8512399cd375031653f3fb23f.jp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(所谓“瑞玉” )较前减少，组成佩饰的各种佩玉在种类上趋于简化，用于丧葬的玉器显著增加，玉制的日用品和装饰品也有较大的发展。在雕琢工艺方面，圆雕、高浮雕、透雕的玉器和镶玉器物较前增多。纹饰的风格由以抽象为主转向以写实为主，一些像生类玉器也有了现实感和生命力，形神能巧妙地结合于一体，这些都为先秦玉器所不及。",[2009,1113,786,589,7,31],"汉代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb5fdabf8beae11f12d0bb25367ebc8a.jpg",[],{"id":2013,"slug":2014,"title":2015,"dynasty":1109,"author":19,"museum":71,"description":1470,"tags":2016,"thumbUrl":2017,"material":179,"size":180,"collection":59,"collections":2018,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":41},244716,"shuang-lu-pai-shi-yi-ming-244716","双鹿牌饰",[2009,1113,786,589,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9db2d07985a585732e6b97a1fa4c29cf.jpg",[],{"id":2020,"slug":2021,"title":2022,"dynasty":172,"author":2023,"museum":71,"description":2024,"tags":2025,"thumbUrl":2026,"material":59,"size":59,"collection":59,"collections":2027,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":65},233612,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233612","十竹斋五色笺谱册","胡日从","《十竹斋书画谱》，融诗、书、画、印艺术为一体，是木版水印史上的巨制鸿构，有“画苑之白眉，绘林之赤帜”之誉。凡书画、竹、墨华、石、翎毛、梅、兰、果八谱，每谱两册，全帙共十六册，蝴蝶装。\n一为书画册。花卉竹石、翎毛蔬果二十幅，均有对题。谱前有醒天居士《题十竹斋画册小引》和芒砀山人王三德《胡曰从书画谱引》。\n二为竹谱。卷首有《梨云馆竹谱》，分“写竹要语”，“写竹括”和“写竹法”。前半为一画一题，凡竹图二十幅，分作“廻风”、“喜霁”、“带雨”、“凝露”、“贮云”、“笼烟”、“快雪”、“印月”、“怡老”、“启新”、“飞白”、“聚翠”、“紫蓧”、“朱帔”、“崖影”、“石床”、“飨松”、“访菊”、“友梅”、“佩兰”等。后半则为画竹“起手式”。\n三为墨华册。谱中图呈圆光型，对题有绿色“十竹斋琅干笺”竹纹边框。画、题各有二十幅，画面着色细润，气韵生动。谱前有语水乘槎子《十竹斋墨花题辞》。\n四为石谱。画、题各二十幅，谱前有序两篇，一为王三德《阅石谱题言》，一为米芾后人米万钟《石谱题辞》。谱中二十幅画皆为高阳所作。高阳，字秋甫，善花鸟，为万历间写生名手。高阳画奇石尤精，石谱中作品是临摹上版，王三德观后评价极高，以为“天划神缕之巧，嵌空玲珑之致，半幅冰茧，宛具层岩叠嶂、峰峦洞穴，真可以对杨次公矣。”图有墨石、彩石，但均以套版为之，每画都有对应的题赞。\n五为翎毛谱。画、题各二十幅，有杨文骢于“天启丁卯立秋日”所题《翎毛谱小序》，非常精彩地评介了胡氏所施饾版之法：“胡曰从氏巧心妙手，超越前代，以铁笔作颖生，以梨枣代绢素，而其中皴法、染法、点法，及着色之轻重、浅深、远近、离合无不呈妍曲致，穷巧极工。即当行作手观之，定以为写生妙品，不敢作刻画观。”此翎毛谱二十图，画上无名款，从印鉴来看，应全为凌云翰一人所作。凌云翰，字五云，万历、崇祯时人。《明画录》说他善画山水，其实上凌氏花鸟亦善，尤工画石，为胡正言所推许。\n六为梅谱。由玉山进士董继周作序。此册胡正言以“芳信先传”、“飘飘欲仙”、“冰壶掩映”、“暖谷回阳”、“君子之交”、“铁干支春”、“暗香浮动”、“拾翠为钿”、“黄惹蜂腰”、“额上玄功”、“东邻窥宋”、“盟坚寒素”、“香梦沉酣”、“水妃写照”、“玉骨同妍”、“疏影横斜”、“幽人赠佩”、“调脂梅粉”、“宫锦清班”、“寿阳点妆”等二十画题，分别写早梅、风梅、雪梅、枯梅、竹梅、老梅、月梅、松梅、蜡梅、墨梅、过墙梅、倚石梅、烟梅、临水梅、水仙梅、疏梅、兰花梅、茶花梅、杏花梅和落梅，或水墨，或设色，意境、造型与章法，则穷尽变化之能事。每幅画都有对应的题赞。\n七为兰谱。前有涂日昌“兰谱序”和画兰“起手执笔式”，此谱图解兰花，并附小注，颇为详尽，但无题赞。多为墨印，间有彩版，此谱可为之初学之范本。图二十幅，多是临摹赵孟頫等名家之作。\n八为果谱。画、题各二十幅，有西京韩文镜作序。其中“三元”、“朱橘”等图，雕版设计巧妙，可谓匠心独运。\n《十竹斋书画谱》自万历己未（1619年）第一谱《书画册》起，至崇祯癸酉（1633年）第八谱《果谱》止，梓印时间长达十五年之久。每谱有序言，除《竹谱》附写竹诀，《兰谱》附起手式，其余各谱均四十幅，一图一文，以书配画，交相辉映。\n胡正言辑印《十竹斋书画谱》，广交名人时贤，亦自作书画付梓。全谱序、画、诗作者或书法题写者，多达一百五十余人。谱中所辑作品大多是由当时名家如吴彬、倪瑛、魏之克、米万钟、吴士冠、文震亨、高阳、高友等创作的，也有二十多幅画稿是临摹自赵孟頫、唐寅、沈周、文征明、陆治、陈道复等著名书画家的；胡正言自己也曾为谱画稿、题诗，画有“白莲”、“墨梅”、“芝草”三图，诗有“题梅花”、“题兰竹”两首。画谱中所题诗句，笔调清新，咏物抒情，不同程度地反映了诗人们喜爱画谱的心情。题诗大部分都是书写者自己所作，也有借用前人诗句题咏的，如胡正言用唐释无可的咏兰诗题《兰竹图》，西湖仙郎何伟然用徐渭咏榴诗题《石榴图》，竹冠道人应麟用刘禹锡题开元寺枸杞诗书《枸杞诗图》等等。全谱书法篆、隶、行、楷诸体皆备，最多的还是晚明文人流行的行草。这些书迹，大都兼有晋、唐、宋书家的风韵，亦可为后人临池所借鉴。\n醒天居士的《题十竹斋画册小引》把胡正言的爱好、特长及画谱刊印的初衷和艺术水平都进行了叙述：\n“王宰十日一山，五日一石，岂肖形之难哉？山有情，石有态，磅礴得之为难耳。近代画手，千临百摹，如里媪捧心，不揜儿寝，而目食者争售之，大轴小图，祗为壁疥。新安胡曰从氏，清姿博学，既精六书，尤擅众巧。所制隃糜硾茧与所镌法语名言，皆出新裁，赏鉴家多宝爱之。乃竹斋多暇，复创画册。所选皆花果竹石，有关于幽人韵士之癖好者。而写形既妙，设色尤工，至于翠瓣丹柎，葩分蕊折，花之情，竹之姿，与禽虫飞懦之态，奇石云烟之气，展册淋漓，宛然在目。盖淡淡浓浓，篇篇神采；疏疏密密，幅幅乱真，诚画苑之白眉，绘林之赤帜也。然王宰之画妙出毫锥，胡君之画妙出梨枣，是磅礴之心，较王宰更难；而成功之捷，较王宰更简更易，岂不尤奇哉！余故喜而叙之，愿与好事者同赏，仍俟具眼者定价焉。时癸酉年中秋前二日，醒天居士书于十竹斋。”\n《十竹斋书画谱》“绘刻精而奇，谱则巧而该”，在画谱刊行后不久就引起广泛的注意，开始有人仿刻了，以至胡氏声明道“原板珍藏，素遐真赏，近有效颦，恐混鱼目，善价沽者，勿虚藻鉴。”历代重印、翻刻者达二十余种。清代李渔等人辑印的《芥子园画传》也是在它的启发下产生的。",[24,25,424,1171,27,31,7,121,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F739e497052912e0508398d66416b9d75.jpg",[],{"id":2029,"slug":2030,"title":2031,"dynasty":46,"author":19,"museum":71,"description":2032,"tags":2033,"thumbUrl":2036,"material":179,"size":180,"collection":59,"collections":2037,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":65},229690,"shi-ba-shi-ji-mi-la-song-lu-chang-chun-yan-shan-yi-ming-229690","十八世纪 蜜腊松鹿长春研山","这件研山取醇红蜜腊随形雕琢，凝润如陈年琥珀。匠人以刀为笔，随原石肌理勾勒起伏山峦，古松虬枝横斜，鳞纹苍劲写实，松针攒簇如细雪团簇，山涧藏于松荫间，暗合长春祥瑞之意。\n\n整器将天工与巧思相融，疏密错落间把山野林泉缩于盈握。配雕花紫檀座，回纹古雅沉稳，衬得蜜腊愈发莹润。静赏时仿若踏入幽寂山林，尽显旧时文房清供的雅致意趣，藏着文人寄情林泉的悠悠情怀。",[786,2034,121,7,1480,2035,547,1962],"蜜腊","文房器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25fabcbf3c8e77d2657b0335a328a2d0.jpg",[],{"id":2039,"slug":2040,"title":2041,"dynasty":46,"author":19,"museum":71,"description":2042,"tags":2043,"thumbUrl":2044,"material":35,"size":59,"collection":59,"collections":2045,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":65},216056,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-29-yi-ming-216056","职贡图巨幅彩绘册页第3册-29","画面分两帧，左帧人物紫袍束蓝带，赤脚而立，神情平和舒展；右帧则牵一驯鹿，鹿身驮鞍，手持短鞭，姿态与鹿亲昵相融。笔触细腻，衣纹线条流畅婉转，设色淡雅却层次分明。人物装束与驯鹿的搭配，生动还原了特定族群的牧猎日常，尽显质朴自然的生活气息。画作既细致捕捉异域风貌，又暗含王朝对边疆族群的观察与记录，传递出清代职贡图类作品记录四方、彰显大一统的文化意涵。整体写实传神，于细节处见匠心，是研究清代边疆族群形象与文化交流的珍贵视觉载体。",[51,547,24,25,424,27,28,1228,29,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9c30f6c43dacb2a6ac93b02b1789abd.jpg",[],{"id":2047,"slug":2048,"title":2049,"dynasty":46,"author":2050,"museum":71,"description":2051,"tags":2052,"thumbUrl":2053,"material":179,"size":180,"collection":59,"collections":2054,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},290200,"luo-hu-luo-han-tu-zhou-luo-hu-290200","罗怙罗汉图轴","罗怙","此作融汉藏绘法于一体，罗汉面含慈悲身形端严，朱红镶绿的僧衣层次分明，捧持法具跏趺静坐，头后圆光晕染出清寂神圣之感。\n背景取青绿山水意趣，苍松虬劲凌云，云山层峦悠远，白鹿悠游林泉，龙神俯首皈依。设色调和雅致，冷暖交织晕染，既带着中原山水的空灵悠远，又饱含藏地造像的肃穆神性，将世外清寂的禅意与山野灵趣相融。笔致工稳精细，把罗汉的慈悲威仪和天地生机巧妙糅合，尽显禅境悠然。",[51,24,26,175,27,29,94,250,7,251,202,738,28,1218],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53aad62bcdb568799180bf01f6880294.jpg",[],{"id":2056,"slug":2057,"title":2058,"dynasty":1109,"author":19,"museum":71,"description":2059,"tags":2060,"thumbUrl":2061,"material":179,"size":180,"collection":59,"collections":2062,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},280778,"pan-bo-ji-yin-lu-niu-tong-yin-yi-ming-280778","“潘博姬印”鹿钮铜印","铜印章是由金属铜铸造而成，具有硬度大，不变形，保存时间长的特点。当代，由中国铜领域第一人的朱炳仁大师开创了熔铜铸印，每枚形态各异，造型独特，极具艺术性。\n铜印的印面，也可见到极少数的棱形和圆形铜印，印纽的形状变化较多，有瓦纽，兔纽，兽纽，柄纽，片纽等等。古代铜印从印文内容上又可分为官印，人名印，闲章，吉祥语，图案印，斋室印，收藏印，在古代遗留下的书画作品或其他文史资料中，人们可以常常可以看到这类印文。\n从拍卖市场来看，铜印中的官印最受市场追捧，像“统军千户之印”，印背一侧刻“统军千户之印”，另一侧刻“中书礼部造，太平二年月日”，系元末农民起义军徐寿辉所铸。另外一枚魏晋时期的奉车都尉鎏金青铜玺印，估价5万至8万元，成交价则达到了19.04万元。奉车都尉是一种官名，自汉武帝设立之后，到宋代废弃，这枚铜印无疑是当时历史的一段记载。\n相比官印，肖形印也是铜印中的主要品种。在2007年中国嘉德秋拍中，一枚估价仅为2000至4000元的战国肖形青铜印，成交价达到了4万余元。这枚铜印的印面为龙形图案，虎钮，造型生动活泼，栩栩如生，不可多得。肖形印，亦称画印、图印、封蜡印及生肖印，是印学研究中不可缺少的重要组成部分，它有别于文字印，但内容十分广泛。\n值得注意的是，随着铜印身价的与日俱增，赝品也越来越多地出现在市场上。由于铜本身的价格不如金银，因此造假成本比较低，加上拍卖价格比较高，因此巨大的利益驱使了造假者纷纷出手。收藏市场上的铜印赝品，绝大多数是翻砂浇铸的粗劣之作。印钮两侧的标记文字也是浇铸成形的，文字不清或似是而非。为了使赝品更加逼真，造假者往往会人为制作黑色包浆，常用办法是涂上油腊烤烧数遍之后即成，但往往可以通过手剥看到下面的黄铜。",[133,1113,1733,7,31,1324],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f6242bd87348dfec486819301e74aaa.jpg",[],{"id":2064,"slug":2065,"title":2066,"dynasty":1109,"author":19,"museum":71,"description":2059,"tags":2067,"thumbUrl":2068,"material":179,"size":180,"collection":59,"collections":2069,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},280096,"lu-wen-bi-niu-tong-yin-yi-ming-280096","鹿纹鼻钮铜印",[133,1113,1324,7,1733],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f6c7f17879c4ae84f99e4c4258c4af3.jpg",[],{"id":2071,"slug":2072,"title":2073,"dynasty":46,"author":19,"museum":71,"description":2074,"tags":2075,"thumbUrl":2076,"material":179,"size":180,"collection":59,"collections":2077,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},277826,"lu-yun-jie-shou-he-cheng-xian-yin-yi-ming-277826","“鹿云介寿鹤称仙”印","战国时期，主张合纵的名相苏秦佩戴过六国相印。近几年来，出土的文物又把印章的历史向前推进了数百年。也就是说，印章在周朝时就有了。\n传世的古代玺印，多数出于古城废墟、河流和古墓中。有的是战争中战败者流亡时所遗弃，也有在战争中殉职者遗弃在战场上的，而当时的惯例，凡在战场上虏获的印章必须上交，而官吏迁职、死后也须脱解印绶上交。其它有不少如官职连姓名的，以及吉语印、肖形印等一般是殉葬之物，而不是实品。其它在战国时代的陶器和标准量器上，以及有些诸侯国的金币上，都用印章盖上名称和记录上制造工匠的名姓或图记性质的符号，也被流传下来。\n古玺是先秦印章的通称。我们现在所能看到的一般最早的印章大多是战国古玺。印文笔画细如毫发，都出于铸造。白文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。官玺的印文内容有“司马”、“司徒”等名称外，还有各种不规则的形状，内容还刻有吉语和生动的物图案。朱文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。",[133,1733,1275,7,377],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a8576753eb2d01ad423f1111c7a4951.jpg",[],{"id":2079,"slug":2080,"title":2081,"dynasty":46,"author":19,"museum":71,"description":2074,"tags":2082,"thumbUrl":2083,"material":179,"size":180,"collection":59,"collections":2084,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},276954,"lu-niu-lv-zhong-jia-zhong-chang-fang-yin-yi-ming-276954","鹿纽“律中夹钟”长方印",[133,1733,1275,786,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fb3e6172d808034b8d9a9b2c94eeef5.jpg",[],{"id":2086,"slug":2087,"title":2088,"dynasty":46,"author":19,"museum":71,"description":2089,"tags":2090,"thumbUrl":2094,"material":179,"size":180,"collection":59,"collections":2095,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},274484,"tong-du-jin-shuang-lu-si-lun-che-wan-ju-yi-ming-274484","铜镀金双鹿四轮车玩具","双鹿昂首抬蹄，似将踏风奔腾，牵引鎏金车厢缓行。驭者持缰肃立，衣褶随姿态舒展，乘车二人神态悠然自在，蜷卧的小犬更为这方寸天地添了几分灵动生机。通体铜镀金打造，色泽沉敛华贵，鹿的肌肉线条流畅写实，轮辐细节分毫毕现，将出行闲趣凝缩在摆件之中。它既是精巧玩物，也藏着旧时匠人的玲珑心思，把往昔出行的雅致日常复刻于此，尽显细腻卓绝的工艺水准，带着复古悠然的氛围感，静静诉说着旧日的精致意趣。",[1113,2091,786,2092,7,29,2093],"镀金","玩具","四轮车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e37f0b4e01a65c7c6b7006f498fac4d.jpg",[],{"id":2097,"slug":2098,"title":2099,"dynasty":46,"author":19,"museum":71,"description":2100,"tags":2101,"thumbUrl":2104,"material":179,"size":180,"collection":59,"collections":2105,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},274390,"tong-du-jin-lu-tuo-zhuan-hua-bian-hua-zhong-yi-ming-274390","铜镀金鹿驮转花变花钟","最早的钟原本是指古代汉族 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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。",[995,617,588,31,7,786,2274],"梅花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9106bd703ece24f35a86bb258a889de5.jpg",[],{"id":2278,"slug":2279,"title":2280,"dynasty":172,"author":19,"museum":71,"description":1282,"tags":2281,"thumbUrl":2282,"material":179,"size":180,"collection":59,"collections":2283,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},261334,"chang-chun-jia-qi-kuan-qing-hua-ren-wu-tu-wan-yi-ming-261334","长春佳器款青花人物图碗",[995,1284,29,7,588,1826,108,252],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d679c9f946e3a45b645c66a07a2ea65.jpg",[],{"id":2285,"slug":2286,"title":2287,"dynasty":46,"author":19,"museum":71,"description":1282,"tags":2288,"thumbUrl":2290,"material":179,"size":180,"collection":59,"collections":2291,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},261303,"qing-hua-song-lu-tu-zhi-chui-ping-yi-ming-261303","青花松鹿图纸槌瓶",[995,1284,94,202,7,2289,617],"纸槌瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7c0ce4b527c659a1c78b5a5ebf52218.jpg",[],{"id":2293,"slug":2294,"title":2295,"dynasty":46,"author":19,"museum":71,"description":2296,"tags":2297,"thumbUrl":2300,"material":179,"size":180,"collection":59,"collections":2301,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":183},261104,"cheng-hua-kuan-dou-cai-song-lu-tu-pan-yi-ming-261104","成化款斗彩松鹿图盘","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。",[995,1835,121,7,2298,2299],"盘","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1773d4bea93e2d69afb8d59f8adf2c8d.jpg",[],{"id":2303,"slug":2304,"title":2305,"dynasty":46,"author":19,"museum":71,"description":1282,"tags":2306,"thumbUrl":2307,"material":179,"size":180,"collection":59,"collections":2308,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},261074,"cheng-hua-kuan-qing-hua-lu-hou-niao-tu-pan-yi-ming-261074","成化款青花鹿猴鸟图盘",[995,1284,7,278,250,617,572,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61e03a9543fb6eec5455288a2580673a.jpg",[],{"id":2310,"slug":2311,"title":2312,"dynasty":46,"author":19,"museum":71,"description":1282,"tags":2313,"thumbUrl":2315,"material":179,"size":180,"collection":59,"collections":2316,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},260795,"qing-hua-song-lu-tu-hua-gu-yi-ming-260795","青花松鹿图花觚",[995,1284,2314,7,377,202,94],"花觚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafa0f7b5a4d248710b01806d86bc9439.jpg",[],{"id":2318,"slug":2319,"title":2320,"dynasty":46,"author":19,"museum":71,"description":2321,"tags":2322,"thumbUrl":2325,"material":179,"size":180,"collection":59,"collections":2326,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":183},260791,"qing-you-tu-hua-song-lu-tu-bi-tong-yi-ming-260791","青釉凸花松鹿图笔筒","中国瓷器著名传统颜色釉。亦称“青瓷釉”。古代南方青釉，是瓷器最早的颜色釉。\n所谓“青釉”，颜色并不是纯粹的青，有：月白、天青、粉青、梅子青、豆青、豆绿、翠青等，但多少总能泛出一点青绿色。同时，古人往往将青、绿、蓝三种颜色，一统称为“青色”，例如许之衡《饮流斋说瓷》称：“古瓷尚青，凡绿也、蓝也，皆以青括之。”刘子芬《竹园陶说》中也说：“青色一种，常与蓝色相混。雨过天晴，钧窑、元窑之青，皆近蓝色。”“惟千峰翠色、梅子青、豆青、乃为纯青耳。天色本蓝，有时为青。”\n青釉是我国使用最早，延用时间最久，分布最广的一个釉种，它的发明是与我国瓷土矿大都含有一定量的铁矿的现象相一致的。青色也符合我国人民的传统审美情趣。青色与碧玉相若，认为稳重而高雅。浙江、江西、河南等地已出土了不少早至商周时期的原始青釉瓷。六朝至唐宋以越窑为代表的南方青釉瓷；宋到元明的龙泉窑系青瓷；耀州窑、临汝窑、钧窑等宋代北方青瓷；以及明、清以来的景德镇青釉瓷，是青釉发展的几个重要阶段，所谓的宋代“汝、定、官、哥、钧”五大名窑，除定窑外均属青釉瓷。表釉的呈色主要决定于着色氧化物的含铁量与烧成气氛，青釉含铁量一般在1—3%左右，过高会变成黑釉，低了就能烧成白瓷。在还原气氛中烧成。釉色青绿；在氧化气氛中烧成，釉色泛黄。因而陶瓷界所谓的青釉是相对而言的，正如许之衡《饮流斋说瓷》中所说：“古瓷尚青，凡绿也，蓝也，皆以青括之。”",[995,617,1559,202,7,31,2323,2324],"凸花","青釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56317e52ee21386e24208421e6aeac13.jpg",[],{"id":2328,"slug":2329,"title":2330,"dynasty":18,"author":19,"museum":71,"description":2272,"tags":2331,"thumbUrl":2334,"material":179,"size":180,"collection":59,"collections":2335,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},260196,"bai-you-ke-hua-hei-cai-lu-wen-zhen-yi-ming-260196","白釉刻花黑彩鹿纹枕",[995,1845,2332,1151,7,2333,588,31,162],"黑彩","枕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d2ee688bfc977ec14d99de41d86e083.jpg",[],{"id":2337,"slug":2338,"title":2339,"dynasty":172,"author":19,"museum":71,"description":1282,"tags":2340,"thumbUrl":2342,"material":179,"size":180,"collection":59,"collections":2343,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},259801,"qing-hua-zuo-lu-shou-xing-yi-ming-259801","青花坐鹿寿星",[995,1284,880,7,2341,1576],"神话人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F669d0261cf6b8d67a7fbb5a38ba0a283.jpg",[],{"id":2345,"slug":2346,"title":2347,"dynasty":46,"author":19,"museum":71,"description":1247,"tags":2348,"thumbUrl":2349,"material":179,"size":180,"collection":59,"collections":2350,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},258909,"qian-long-kuan-fen-cai-bai-lu-tu-zun-yi-ming-258909","乾隆款粉彩百鹿图尊",[995,996,27,31,7,202,94,203,330,617],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3477a07abfd6bcac1e96adb15405d45a.jpg",[],{"id":2352,"slug":2353,"title":2354,"dynasty":46,"author":19,"museum":71,"description":1833,"tags":2355,"thumbUrl":2356,"material":179,"size":180,"collection":59,"collections":2357,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},258824,"dou-cai-hou-lu-tu-wan-yi-ming-258824","斗彩猴鹿图碗",[1835,995,27,278,7,76,1836,376,617],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6622439be445bf3033a58cc74de800ea.jpg",[],{"id":2359,"slug":2360,"title":2361,"dynasty":46,"author":19,"museum":71,"description":993,"tags":2362,"thumbUrl":2363,"material":179,"size":180,"collection":59,"collections":2364,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},258738,"jia-qing-kuan-fen-cai-tao-lu-wen-shuang-er-ping-yi-ming-258738","嘉庆款粉彩桃鹿纹双耳瓶",[995,996,27,1124,7,76,203],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F717539cad7d2e839a679228e2e0b4211.jpg",[],{"id":2366,"slug":2367,"title":2368,"dynasty":46,"author":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