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ags":330,"thumbUrl":333,"material":245,"size":246,"collection":35,"collections":334,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":40},273367,"dong-wu-mu-ou-yi-ming-273367","动物木偶","这两件木偶带着质朴的手工暖意，单峰骆驼造型写实敦厚，关节分明的木胎裹着温润的棕漆，精准抓住骆驼的憨态神韵。另一侧的小狗以布艺拼接木身，旧软的织物带着岁月摩挲的痕迹，眉眼俏皮灵动，仿佛正摇尾讨喜。它们没有繁复雕饰，凭匠人巧思以极简技法勾勒生灵神采，藏着旧时孩童掌心的嬉玩意趣，静静晕开旧时光里的脉脉温情，尽显传统手工玩具的拙朴可爱。",[331,332,7,134,32,258],"木偶","木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facb54526738393595106d9bddc42762a.jpg",[],6,{"id":337,"slug":338,"title":339,"dynasty":74,"author":145,"museum":93,"description":340,"tags":341,"thumbUrl":343,"material":286,"size":344,"collection":35,"collections":345,"showCount":346,"zanCount":11,"manualWeight":11,"mainColor":86},233062,"ping-ding-hui-jiang-jiao-qin-ni-yi-zhan-tu-ce-yi-ming-233062","平定回疆剿擒逆裔战图册","本幅设色共十页，引首道光书“纉武绥边”，每开题记，又书平定回疆记事。尾纸曹振镰，文字王鼎等跋。",[24,25,29,28,27,30,31,7,217,342,271],"旗帜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a49c885727c2c9cf97dce68919e65d3.jpg","纵55.3cm，横90.3cm",[],5,{"id":348,"slug":349,"title":350,"dynasty":74,"author":351,"museum":47,"description":352,"tags":353,"thumbUrl":360,"material":35,"size":35,"collection":35,"collections":361,"showCount":346,"zanCount":11,"manualWeight":11,"mainColor":40},224291,"xue-ling-pan-che-tu-li-yin-224291","雪岭盘车图","李寅","《清李寅雪岭盘车图》是由清代画家 所作的一副画作，现收藏于 。\n该画山水立意新颖，构图巧妙，笔墨工整，结构严谨，千丘万壑层出不穷，气势磅礴，闻名于时。\n兼工花卉，所作桃花、杨柳娟妍工丽，颇具神韵。\n与萧晨(灵曦)齐名。\n李寅（生卒年不详），字白也，号东柯，江苏扬州人。\n是清代顺治、康熙年间活跃于扬州地区、以卖画为生的职业画家。\n他善画花卉，所作桃花、杨柳堪称神品。\n亦工山水，千丘万壑，层出不穷。\n他的楼阁画更能在继承前人传统的基础上独辟蹊径，造诣精深，对清初界画的发展产生了相当大的影响。",[23,26,24,25,115,99,27,354,117,118,355,189,356,317,357,30,7,358,359],"皴法","车","房屋","溪流","枯树","石径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c585251d21d98664a221476948c56ae.jpg",[],{"id":363,"slug":364,"title":365,"dynasty":366,"author":145,"museum":47,"description":367,"tags":368,"thumbUrl":373,"material":245,"size":246,"collection":35,"collections":374,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":375},252769,"san-cai-luo-tuo-yi-ming-252769","三彩骆驼","唐","它昂首引颈，长鸣振耳，肌肉轮廓饱满遒劲，将戈壁行驼的悍勇豪迈尽数定格。赭红主釉浓烈厚重，头颈处米白釉色自然过渡，釉色交融晕染间尽显古朴质感。驼峰间的鞍囊饰以绿彩勾边，缀着斑斓繁复的饰物，似满载丝路奇珍，藏着中西交流的漫漫征途。整体造型张弛有度，带着陶塑的拙朴厚重，尽显大唐奔放热烈的气韵，将远行驼队坚韧不屈的风骨凝于方寸之间。",[369,370,371,7,32,372],"唐代","陶瓷","三彩釉","俑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdbd598266bb808fbd7f8ff450b3dda9.jpg",[],"37474F",{"id":377,"slug":378,"title":379,"dynasty":253,"author":145,"museum":47,"description":380,"tags":381,"thumbUrl":384,"material":245,"size":246,"collection":35,"collections":385,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":86},226999,"yu-luo-tuo-yi-ming-226999","玉骆驼","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。",[382,383,258,32,7],"汉代","玉石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cbc597dd8dfcccdcf79a784e0d0947e.jpg",[],{"id":387,"slug":388,"title":389,"dynasty":390,"author":391,"museum":392,"description":393,"tags":394,"thumbUrl":10,"material":35,"size":35,"collection":152,"collections":395,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":396},203246,"yi-min-tu-zhou-zheng-wu-chang-203246","移民图轴","近代","郑午昌","上海博物馆","画面以水墨晕染铺陈，萧瑟枯树挺立道旁，移民队伍扶老携幼，骆驼驮负行囊缓缓前行。远处山峦隐现，驼队绵延如线，笔墨简练却传神。人物神态各异，或蹙眉沉思前路，或俯身照料幼童，尽显迁徙之艰；枯树枝桠苍劲，与人物动态细腻相映，虚实构图中藏着对民生的深切关怀，传递出坚韧与希望的力量。",[24,116,30,7,358,99,354,23],[152],"c6bdae",{"id":398,"slug":399,"title":400,"dynasty":401,"author":145,"museum":47,"description":402,"tags":403,"thumbUrl":407,"material":245,"size":246,"collection":35,"collections":408,"showCount":409,"zanCount":11,"manualWeight":11,"mainColor":375},253901,"tao-huang-you-luo-tuo-yi-ming-253901","陶黄釉骆驼","隋","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。",[401,370,404,405,406,7,32],"陶俑","黄釉","雕塑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F437a13c7565ebffd2eed2aca85600918.jpg",[],3,{"id":411,"slug":412,"title":339,"dynasty":74,"author":145,"museum":93,"description":340,"tags":413,"thumbUrl":419,"material":286,"size":344,"collection":35,"collections":420,"showCount":409,"zanCount":11,"manualWeight":11,"mainColor":86},233056,"ping-ding-hui-jiang-jiao-qin-ni-yi-zhan-tu-ce-yi-ming-233056",[24,25,29,28,27,311,30,31,7,150,100,414,272,317,276,415,191,275,416,417,342,418],"烟雾","硝烟","骑兵","步兵","尘土","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe64df6dfd321f04704fdaee3f6d80a08.jpg",[],{"id":422,"slug":423,"title":424,"dynasty":366,"author":145,"museum":47,"description":425,"tags":426,"thumbUrl":427,"material":245,"size":246,"collection":35,"collections":428,"showCount":180,"zanCount":11,"manualWeight":11,"mainColor":375},253824,"tao-hua-cai-luo-tuo-yi-ming-253824","陶画彩骆驼","唐三彩（Tang Tri-Color Glazed Ceramics ），中国古代陶瓷烧制工艺的珍品，全名唐代三彩釉陶器，是盛行于唐代的一种低温釉陶器，釉彩有黄、绿、白、褐、蓝、黑等色彩，而以黄、绿、白三色为主，所以人们习惯称之为“唐三彩”。因唐三彩最早、最多出土于洛阳，亦有“洛阳唐三彩”之称 。\n唐三彩在唐代的兴起有它的历史原因。首先陶瓷业的飞速发展，以及雕塑、建筑艺术水平的不断提高，促使它们之间不断结合、不断发展，因此从人物到动物以及生活用具都能在唐三彩的器物上表现出来。\n唐代贞观之治以后，国力强盛、百业俱兴，同时也导致了一些高官生活的腐化，于是厚葬之风日盛。唐三彩当时也是作为一种冥器，曾经被列入官府的明文规定，一品、二品、三品、四品，就是说可以允许他随葬多少件，但是实际上作为这些达官显贵们，并不满足于明文的规定，反而他们往往比官府规定要增加很多的倍数，去做这种厚葬。官风如此，民风当然也如此，于是从上到下就形成了这么一种厚葬之风，这也就是唐三彩当时能够迅速在中原地区发展和兴起的一个主要原因之一。\n唐代是我国封建社会的鼎盛时期，所以说唐三彩从另外一个侧面也反映了这种唐王朝的政治、文化、生活，它跟唐代诗歌、绘画、建筑其他文化一样，共同形成了唐王朝文化的旋律，但是它又不同于其他的文化艺术，从现代的陶瓷史上认为，唐三彩在唐代陶瓷史上是一个划时代的里程碑，因为在唐以前，只有单色釉，最多就是两色釉的并用，在我国的汉代，已经有了两色，即黄色和绿色两种釉彩在同一器物上的使用。到了唐代以后，这种多彩的釉色在陶瓷器物上同时得到了运用。从陶瓷史上有人考证，这和唐代当时的审美观点起了很大的变化有关。在唐以前人们崇尚的是素色主义，到唐代以后，它包容了各种文化，包括许多外来文化，这个时候从绘画、陶瓷、金银器的制作，形成了一个灿烂文化的特点。\n唐三彩的生产已有1300多年的历史。它吸取了中国国画、雕塑等工艺美术的特点。唐三彩制作工艺复杂，以经过精细加工的高岭土作为坯体，用含铜、铁、钴、锰、金等矿物作为釉料的着色剂，并在釉中加入适量的炼铅熔渣和铅灰作为助剂。先将素坯入窑焙烧，陶坯烧成后，再上釉彩，再次入窑烧至800℃左右而成。由于铅釉的流动性强，在烧制的过程中釉面向四周扩散流淌，各色釉互相浸润交融，形成自然而又斑驳绚丽的色彩，是一种具有中国独特风格的传统工艺品。\n唐三彩不仅贵在釉色浓艳瑰丽，而且骆驼、马和人物等的造型生动传神，富有生活气息，当时的国际场上，唐三彩就已负有盛名，成为中外经济文化交流的重要物品之一。1928年，陇海铁路修筑到洛阳邙山时，出土了大量唐三彩，古董商们将其运至北京，受到了国内外古器物研究者的重视和古玩商竞相收藏。之后，洛阳地区不断有唐三彩出土，数量之多、质量之美，令人惊叹。",[366,370,27,372,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a4e14ddc1c08406648511d75dbcfa0f.jpg",[],{"id":430,"slug":431,"title":432,"dynasty":74,"author":433,"museum":392,"description":434,"tags":435,"thumbUrl":437,"material":35,"size":35,"collection":154,"collections":438,"showCount":180,"zanCount":11,"manualWeight":11,"mainColor":439},201691,"tian-shan-ji-xue-tu-zhou-luo-pin-201691","天山积雪图轴","罗聘","画面以淡墨晕染出天山积雪的苍茫寒意，远山如黛隐于云雾，一只飞鸟掠过天际更添空寂。红衣旅人裹紧斗篷仰头望山，神情若有所思；身旁骆驼昂首伫立，驼峰与厚毛的质感以浓淡墨色层次呈现，线条简练却形神兼备。红衣明艳与背景素净形成强烈对比，既突出人物孤旅之态，又暗含边塞荒寒与坚韧。笔法兼具写意与工致，人物衣纹流畅，骆驼造型写实，雪景朦胧与山石硬朗相映成趣，传递出悠远丝路情怀与文人对边塞生活的想象。",[24,115,27,133,436,30,7,217,119,23],"工致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b10d9617f46a2bf8e3fe52bd5e26e55.jpg",[154],"7a6445",{"id":441,"slug":442,"title":443,"dynasty":444,"author":145,"museum":47,"description":445,"tags":446,"thumbUrl":450,"material":245,"size":246,"collection":35,"collections":451,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":86},288744,"school-of-rembrandt-man-leading-a-camel-yi-ming-288744","School 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