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247.7cm",[],108,5,{"id":225,"slug":226,"title":227,"dynasty":85,"author":228,"museum":20,"description":229,"tags":230,"thumbUrl":232,"material":233,"size":234,"collection":75,"collections":235,"showCount":236,"zanCount":127,"manualWeight":11,"mainColor":59},228263,"nan-zhi-chun-zao-tu-wang-mian-228263","南枝春早图","王冕","《南枝春早图》是元代 创作的绢本墨笔画，现藏于 。\n这幅图用浓淡相间的笔墨写枝干，一枝粗枝由画面下部右端斜出向上。\n大枝上再缀小枝，纵横交织，十分自然。\n枝上梅花繁密，有的聚成一团，有的零星点缀，均含笑怒放，姿态万千，把早春的盎然春意尽情地表现了出来，给人一种清雅自得之感。\n此画轴用浓淡相间笔墨写枝干，一千粗枝由画面下部右端斜出向上，大枝上再缀小枝，纵横交织，枝条生长茂盛，前后左右伸展交错，呈四出之势-枝上梅花繁密，千花万蕊，天真烂漫，生机盎然。\n有的聚成一团，有的零星点缀，均含笑怒放，姿态万千，把早春的盎然春意尽情地表现出来，给人一种清雅白得之感。\n梅花作为独立的绘画题材，兴自北宋，现在常见的“墨渍”、“圈瓣”两法，亦于斯时产生。\n相传释仲仁因偶见月光映梅于窗纸上得到启发，创以“墨渍法”；扬补之承仲仁墨梅之风，常对庭园老梅写生，乃创“圈瓣法”，两位画梅大家对后世影响极大，王冕即是在他们基础上取得成就的。\n今传王冕作品多件，俱为水墨，“墨渍”、“圈瓣”画法皆有，以“圈瓣”法为多。\n其作品不宥于陈法，有新的面貌；水平之高，或认为“不减扬补之”《墨梅人名录》，这幅《南枝春早图》即是其代表之作。\n王冕在梅谱中不称写梅而称“扫梅”，并总结扫梅十要，即“得意下笔，水墨浓淡，枝分左右，横斜上下，老嫩相兼，下笔不填，有花无花，花分疏密，枝分女字，十宁藏花：”这“十要”在此图中都发挥得淋漓尽致。\n充分表现了他丰富的艺术手法和独具匠心的布局能力： 此图的画法，以“飞白法”画梅，兼有书法笔意，花枝交接处，似笔断意连，运笔风神峭拔，挺劲潇洒，自根至梢一气呵成。\n在花与枝的处理上，王冕采用枝多花繁的格局，这幅墨梅图，虽枝花繁茂，但繁而不乱，疏密有绪，密中见疏，疏中仍有聚散。\n在此画中，王冕的花办采用圈法，可谓是王氏别出新意。\n所画的梅花往往正侧向背，高低偃合，妙趣横生、在画幅右侧中间有作者自题诗：“和靖（按：即宋代林和靖，不求功名，隐居丙湖孤山，赐溢和靖先生）门前雪作堆，多年积得满身苔，疏华个个团冰玉，羌笛吹他不下来：癸已夏五会稽王元章自南作。\n”下钤朱文二印，当为其本人所刻。\n王冕（1287—159），元代画家、诗人：字元章，号煮石山农、饭牛翁、会稽外史、梅花屋主等：诸暨（今属浙江）人，出身农家，白天放牛，晚至佛寺长明灯下读书：后从韩性学，试进士不第，即弃去，读古兵法，曾游大都（今北京），纵观居庸、古北关塞：泰不花荐以翰林院供职，不就、携妻孥归隐九里山，“以缯幅短长为得米之差”，工画墨梅，学扬无咎，花密枝繁，生意盎然，劲健有力，或用胭脂作没竹梅：廾善画竹，名其斋为“竹斋”。\n兼能刻印，相传以花乳石（青田石一类）作印材，白他创始：作诗多描写隐逸生活。\n部分作品也能反映民间疾苦，语言质朴，不拘常格：传世画迹有《为良佐写墨梅图》卷，《墨梅图》轴、《南枝春早图》轴。\n并著有《梅谱》一书等。",[48,23,24,49,112,7,231,52,31,30],"老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1227e7f33e2100268c266b6b18d98d06.jpg","绢本,水墨","151.4x52.2",[],103,{"id":238,"slug":239,"title":240,"dynasty":18,"author":241,"museum":108,"description":242,"tags":243,"thumbUrl":248,"material":249,"size":250,"collection":35,"collections":251,"showCount":252,"zanCount":11,"manualWeight":11,"mainColor":39},220974,"shuang-qing-tu-yun-shou-ping-220974","双清图","恽寿平","本幅是恽寿平55岁时所作。以“双清”为画名是因为梅花以“众芳摇落独暄妍”的品格而水仙以淡色疏香和清气逼人的特性同被视为传统绘画题材中的“清物”。此图以淡花青晕染绢地，烘托双清的花色。梅树苍干繁枝，横斜取势，其花瓣法南宋扬无咎的画法，即以墨笔圈线为瓣，线条雅秀雄健，勾勒出花之勃勃生机。水仙法元人赵孟坚的白描笔韵，叶片用笔富于急迟、粗细、顿折诸变化，花儿或仰或俯，或张或合，亦变化多端。作者以活泼多变的表现技法成功地展示出梅花、水仙暗香浮动的美感。全图不刻意求工、求似，唯求自然天趣，揭示出恽寿平一向所追求的平淡超逸的审美意趣。",[48,23,24,49,244,245,27,28,7,91,136,246,247],"清代","没骨","叶片","传统技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25d9b08a441f3b8f0cf2cc92ce26149c.jpg","绢本，设色","纵88.5厘米，横54厘米",[35,78],98,{"id":254,"slug":255,"title":256,"dynasty":18,"author":257,"museum":108,"description":258,"tags":259,"thumbUrl":266,"material":75,"size":75,"collection":75,"collections":267,"showCount":268,"zanCount":11,"manualWeight":11,"mainColor":39},234227,"hua-guo-juan-zhu-da-234227","花果卷","朱耷","清代初期的中国画坛活跃着弘仁、髡残、朱耷、石涛四位僧人画家，画史上合称“四僧”。他们的绘画在继承传统的基础上，大胆创新，主张师法自然造化，与当时画坛正统风格相距甚远，具有鲜明的艺术风格。在这四人当中尤以朱耷的人生与艺术最具传奇色彩。\n朱耷（1626—1705），江西南昌人，为明江西宁献王朱权的九世孙。明亡后出家为僧，法名传綮，曾经使用的号有很多，最为著名的则是在他弃僧还俗后使用的“八大山人”。",[48,23,24,90,112,113,122,260,261,262,263,7,28,264,265,31],"南瓜","白菜","佛手","石榴","蔬果","题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd794f3dd4ca89c61b435218135cfad42.jpg",[],68,{"id":270,"slug":271,"title":272,"dynasty":18,"author":273,"museum":87,"description":274,"tags":275,"thumbUrl":280,"material":281,"size":282,"collection":75,"collections":283,"showCount":284,"zanCount":11,"manualWeight":11,"mainColor":39},223280,"ping-an-ru-yi-tu-yong-rong-223280","平安如意图","永瑢","该图有乾隆御书七绝一首，题跋恭呈孝圣太后。设色画松、梅、茶花、瓶、如意等，寓意“平安如意”，乾隆用以进献其母，表示吉祥和祝福。\n该画以淡墨干笔勾勒花瓶，设色淡雅，颇具文人雅趣。",[48,23,27,113,49,31,276,277,7,278,279,51],"花瓶","松枝","如意","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55fe051adda6e8cbfcf05822d916be9c.jpg","纸本，设色","91cmx34.7cm",[],60,{"id":286,"slug":287,"title":288,"dynasty":18,"author":107,"museum":289,"description":290,"tags":291,"thumbUrl":292,"material":27,"size":293,"collection":35,"collections":294,"showCount":295,"zanCount":11,"manualWeight":11,"mainColor":39},237299,"mei-hua-tu-zhou-wu-chang-shuo-237299","梅花图轴","浙江省博物馆","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。 [1]\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” [2] 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 [3] 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》。",[23,112,49,7,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fdc0b1567dec10d70138b0220acb282.jpg","纵196.5厘米，横96厘米",[35],53,{"id":297,"slug":298,"title":299,"dynasty":64,"author":300,"museum":301,"description":302,"tags":303,"thumbUrl":315,"material":219,"size":316,"collection":75,"collections":317,"showCount":318,"zanCount":127,"manualWeight":11,"mainColor":59},231591,"kong-que-tu-lu-zhao-yang-231591","孔雀图","卢朝阳","印第安纳波利斯艺术博物馆","这幅画描绘了一对生活在牡丹丛中巨石上的孔雀，以及杏花丛中的一对蓝丝带。 卢朝阳代代相传的作品很少。 这个有边景昭，吕纪风致，可以看出他学来的渊源。",[48,23,27,26,28,192,92,7,193,197,217,304,219,305,306,307,308,309,310,136,279,311,312,313,314],"明代","翎毛","花卉禽鸟","传统绘画","工笔重彩","禽鸟","花木","羽毛","苔点","晕染","勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee51507f3008fc01a7b7141c72840283.jpg","281x119厘米",[],48,{"id":320,"slug":321,"title":322,"dynasty":18,"author":323,"museum":324,"description":325,"tags":326,"thumbUrl":329,"material":219,"size":330,"collection":76,"collections":331,"showCount":318,"zanCount":127,"manualWeight":11,"mainColor":59},222875,"xue-yan-tu-leng-mei-222875","雪艳图","冷枚","上海博物馆","冷枚，清代宫廷画家，大约生于1669年，卒于1742年。字吉臣，号金门画史，山东胶州人，焦秉贞弟子。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",[23,24,49,244,26,27,69,70,327,7,197,328],"侍女","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f985d1b3640c0897853b0e606f7428.jpg","60cmx105cm",[76],{"id":333,"slug":334,"title":335,"dynasty":18,"author":45,"museum":108,"description":336,"tags":337,"thumbUrl":347,"material":348,"size":349,"collection":75,"collections":350,"showCount":351,"zanCount":169,"manualWeight":11,"mainColor":352},267603,"lan-se-duan-jin-xian-xiu-qi-lin-tu-gua-ping-yi-ming-267603","蓝色缎金线绣麒麟图挂屏","靛蓝地子沉静雅致，将瑞麒麟衬得愈发神武夺目。以盘金绣出片片鳞甲，光华流转间尽显麒麟悍勇雄姿，鬃鬣如焰飞扬，目眦欲裂，昂首奔腾于云间。\n\n周遭点缀折枝花萼与祥云朵朵，打籽绣攒出花蕊，细腻精巧，红日悬于天际，流云缠枝将画面晕染出吉庆雍容之气。整幅绣作针脚细密灵动，将瑞兽的威严灵韵尽数勾勒，把古人对太平祥瑞的祈愿藏进每一缕绣线之中，是颇具代表性的祥瑞刺绣佳作。",[338,339,340,341,342,343,7,344,345,346],"织绣","挂屏","布料","金线绣","麒麟","瑞兽","祥云","太阳","水纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F795cc3eada0bcfbee07db8526baeb014.jpg","未知","Xcm*Xcm",[],45,"37474F",{"id":354,"slug":355,"title":356,"dynasty":44,"author":357,"museum":20,"description":358,"tags":359,"thumbUrl":365,"material":338,"size":366,"collection":75,"collections":367,"showCount":351,"zanCount":127,"manualWeight":11,"mainColor":59},221241,"song-ke-xiu-kai-tai-tu-zhou-song-ren-221241","宋缂绣开泰图轴","宋人","南宋踏踏歌行图轴为宋人缂丝作品仲裁取的一部分，能独立成篇。\n构缂、平缂交替使用。\n远处云气流动，近处山石野草情趣盎然。\n人物造型准确生动，手持击板，嘴中吟唱，轻踏脚步，逍遥自在。",[48,360,49,27,26,69,361,362,7,363,344,364,194,217,197],"缂绣","马","羊","山水","河流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc401a0692f0ab7135bf602629e7f6c91.jpg","349x95.8",[],{"id":369,"slug":370,"title":371,"dynasty":85,"author":372,"museum":87,"description":373,"tags":374,"thumbUrl":390,"material":138,"size":391,"collection":392,"collections":393,"showCount":394,"zanCount":11,"manualWeight":11,"mainColor":39},220799,"jing-ji-xuan-shi-wen-zhou-ni-zan-220799","静寄轩诗文轴","倪瓒","《静寄轩诗文》是倪瓒自作并书写的。此轴所书共三部分，内容包括《邾伯盛氏小像赞》、《刻古印文诗四韵》五律1首、《静寄轩诗》七绝3首。\n此帖上方篆书“静寄轩”和帖首篆书“静寄轩诗文”为张绅所书。“静寄轩”是邾伯盛的斋名，其人名珪，字伯盛，苏州人。师濮阳吴睿，习大小篆书，喜为人治印。\n此诗文是倪瓒71岁时所作，虽已至古稀之年，但笔力精致，毫无滞涩之处，结字略扁，内紧外舒，收笔时顿笔稳重，圭角突出，于质朴遒劲中带有很重的隶书笔意。",[48,49,30,122,375,31,376,377,378,379,215,96,52,380,381,382,383,384,385,386,387,388,389,7],"篆刻","孤鹤","瘦骨","苍林","荷","轩","僧","茶烟","云","柳","山","雪","门","馆","鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd648c8e27c6ab1979999ef58ef0056a.jpg","纵62.9cm，横23.3cm","书法精选",[392],43,{"id":396,"slug":397,"title":398,"dynasty":18,"author":399,"museum":324,"description":400,"tags":401,"thumbUrl":403,"material":165,"size":404,"collection":75,"collections":405,"showCount":394,"zanCount":11,"manualWeight":11,"mainColor":39},214679,"mei-hua-zhu-shi-tu-ce-9-wang-shi-shen-214679","梅花竹石图册-9","汪士慎","汪士慎（1785-1842）是清代著名画家，他的《梅花竹石图册》是他的一部杰作。\n\n这本图册包含了许多描绘梅花、竹子和石头的精美图画。汪士慎以其精湛的绘画技巧和对自然的热爱，捕捉了这些自然元素的精髓。他的作品常常被赞赏为具有浓郁的内涵和细腻的笔触。\n\n汪士慎的《梅花竹石图册》被认为是中国画的经典之作，并且被广泛收藏和展览。它们不仅展示了汪士慎的艺术才华，也提醒人们认识到自然界的美丽和精妙。",[111,23,24,25,112,7,52,402],"竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F704a4e5300ea1599e6b93070e85467c8.jpg","纵25 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小鸟躲在里面，拿着柳条在秋千上荡秋千，或者栖息在春天里，互相欣赏。",[23,111,24,49,26,27,28,196,437,7,193,438],"鹭","枯枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e32fdc6ff622340002106f04ee40b3a.jpg","231.1x101.9cm",[35],{"id":443,"slug":444,"title":445,"dynasty":64,"author":446,"museum":108,"description":447,"tags":448,"thumbUrl":450,"material":75,"size":451,"collection":35,"collections":452,"showCount":453,"zanCount":127,"manualWeight":11,"mainColor":59},236107,"sun-qi-mei-hua-zhou-sun-qi-236107","孙启梅花轴","孙启","此作以淡墨绢地托衬，老梅古干嶙峋遒劲，枝桠盘折如铁，横斜破壁，满缀素色梅花。作者以焦墨点苔刻画出老干的沧桑质感，浓墨写枝尽显虬劲姿态，圈花留白晕染出梅花冰肌玉骨之态，冷香暗涌纸面。\n\n画幅下方以浅淡笔墨绘拳石细草，清寂空疏，愈发烘托出冬梅凌霜孤高的品格。整幅布局空灵雅致，以极简笔触写尽文人心底的清雅意趣，笔意苍秀古拙，将梅花傲雪不屈的风骨与幽淡清逸的气韵相融，藏暗香于素绢，含清韵于笔端。",[23,24,49,112,113,7,52,449,217,304],"草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff51c92a8adcfb9367d4420abfbb471a7.jpg","纵156.8cm,横61.6cm",[35,78],33,{"id":455,"slug":456,"title":457,"dynasty":44,"author":458,"museum":108,"description":459,"tags":460,"thumbUrl":462,"material":348,"size":349,"collection":75,"collections":463,"showCount":464,"zanCount":11,"manualWeight":11,"mainColor":59},288534,"mei-hua-xiu-yan-tu-ye-zhao-ji-288534","梅花绣眼图页","赵佶","图中梅枝瘦劲，枝上疏花秀蕊，一只绣眼俏立枝头，鸣叫顾盼，与清丽的梅花相映成趣。此图虽然景物不多，却颇为优美动人。所绘梅花为宫梅，经过不断剪枝，人工修饰痕迹较重。此种梅的画法精细纤巧，敷色厚重，自有一种富贵气息，这样的风格趣味为宫廷所好尚，显然代表了皇家的审美意味。",[48,23,24,461,26,27,28,7,193,31],"册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fc0daf94958e7050e93d286406ea889.jpg",[],32,{"id":466,"slug":467,"title":468,"dynasty":18,"author":45,"museum":108,"description":469,"tags":470,"thumbUrl":478,"material":75,"size":75,"collection":479,"collections":480,"showCount":481,"zanCount":11,"manualWeight":11,"mainColor":39},246681,"ti-hong-chan-zhi-lian-wen-kai-guang-hua-hui-wen-mei-hua-shi-ping-yi-ming-246681","剔红缠枝莲纹开光花卉纹梅花式瓶","此瓶取梅花为形，口、足呼应一体。通体髹朱漆雕刻，地子纹锦密致细腻，开光内剔刻折枝花卉，梅朵清妍、花枝舒展，四时花木娇柔含韵。开光以回纹为边，器身满饰缠枝莲纹，颈部雕回纹配变体兽面，层次分明，刀工圆熟沉厚。朱红莹亮温润，棕地衬得雕花愈显妍丽饱满，将漆雕的精工雅致与花艺的柔婉雅致相融，尽显清时漆作的华贵考究，静穆间藏着匠人的造物巧思，是雕漆工艺中的上乘之作。",[244,471,472,473,474,475,7,476,477],"漆器","剔红","雕刻","缠枝莲纹","花卉纹","开光","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56dfcb76a9213a9fad385f5baf3182d2.jpg","瓷器精选",[479],25,{"id":483,"slug":484,"title":485,"dynasty":18,"author":486,"museum":108,"description":487,"tags":488,"thumbUrl":491,"material":75,"size":75,"collection":75,"collections":492,"showCount":493,"zanCount":127,"manualWeight":11,"mainColor":39},234595,"mei-que-wan-shan-deng-qi-chang-234595","梅雀纨扇","邓启昌","邓启昌，清代画家。字铁仙，号跛道人，江宁（今南京）人，侨居上海，生卒年不详。跛一足，工画花卉，尤善画菊。笔力精劲，设色绚丽，与钱慧安、倪田同时，光绪间在上海以卖画为生。《中国美术家人名辞典》作邓启品。",[23,27,26,489,28,7,490],"扇面","雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2465fc5b4a7b1407c88be1c54e0112f0.jpg",[],23,{"id":495,"slug":496,"title":497,"dynasty":44,"author":498,"museum":108,"description":499,"tags":500,"thumbUrl":502,"material":348,"size":349,"collection":75,"collections":503,"showCount":504,"zanCount":11,"manualWeight":11,"mainColor":39},288459,"xue-mei-tu-ma-lin-288459","雪梅图","马麟","此图以简练的笔法，画一枝偃仰姿纵的“野梅”和翠竹。作者用笔疾速，枝干着墨比较粗放，有些地方留有“飞白”，即不经意地在绢上造成的空白效果，非常巧妙地表现出树皮斑驳的质感；花朵用笔圆润细巧，花蕊娇嫩；竹叶下垂，只在叶子的下部用浓墨勾出一半轮廓。为了更好地衬托积雪的效果，画家用淡淡的墨色将绢地满涂，仅仅只留出积雪的部位，阴霾逼人的寒气便得到了很充分的渲染。",[48,489,23,28,7,501,112,31],"雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4dcad4bd6428ac052ea136b51a37bf3.jpg",[],22,{"id":506,"slug":507,"title":508,"dynasty":18,"author":45,"museum":108,"description":509,"tags":510,"thumbUrl":514,"material":348,"size":349,"collection":75,"collections":515,"showCount":504,"zanCount":11,"manualWeight":11,"mainColor":39},266434,"yue-bai-se-ke-si-shui-mo-mei-hua-wen-hui-shu-pi-chen-yi-yi-ming-266434","月白色缂丝水墨梅花纹灰鼠皮衬衣","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。",[511,340,512,7,513],"衣帽","缂丝","灰鼠皮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ec52382bfb10cb4df85e589ca6c6487.jpg",[],{"id":517,"slug":518,"title":519,"dynasty":18,"author":520,"museum":108,"description":521,"tags":522,"thumbUrl":524,"material":348,"size":349,"collection":75,"collections":525,"showCount":504,"zanCount":11,"manualWeight":11,"mainColor":39},234849,"fang-wu-zhen-mei-hua-shan-mian-gu-he-qing-234849","仿吴镇梅花扇面","顾鹤庆","顾鹤庆（1766－？），字子馀，号弢庵，江苏镇江府丹徒县（今江苏镇江）人。乾隆三十一年生，卒年不详。诸生。性潇洒，工诗文，善行草，好饮。入都，馆庄亲王府。",[23,24,489,112,7,523,31],"临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F022fc414f11997188176d3f95cb6b2a6.jpg",[],{"id":527,"slug":528,"title":529,"dynasty":18,"author":45,"museum":108,"description":530,"tags":531,"thumbUrl":534,"material":348,"size":349,"collection":75,"collections":535,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":59},229471,"yong-zheng-fa-lang-cai-shan-cha-mei-hua-wan-yi-ming-229471","雍正 珐瑯彩山茶梅花碗","珐琅又称“佛郎”、“法蓝”，是由中国隋唐时古西域地名拂菻音译而来。珐琅器是以珐琅为材料装饰而制成的器物，其基本成分为石英、长石、硼砂和氟化物，与陶瓷釉、琉璃、玻璃同属硅酸盐类物质。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。\n珐琅就是将经过粉碎研磨的珐琅釉料，涂施于经过金属加工工艺制作后的金属制品的表面，经干燥、烧成等制作步骤后，所得到的复合性工艺品。珐琅工艺的制作分类很多，一般根据制作方法和胎地种类将其分类。 [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。",[18,532,533,27,29,7,28,477],"珐琅彩","陶瓷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb78d3073373ecb0e2fccbd6f45bb5b2.jpg",[],21,{"id":538,"slug":539,"title":540,"dynasty":64,"author":541,"museum":108,"description":542,"tags":543,"thumbUrl":548,"material":124,"size":75,"collection":75,"collections":549,"showCount":550,"zanCount":11,"manualWeight":11,"mainColor":39},234247,"mo-hua-jiu-zhong-juan-chen-gua-234247","墨花九种卷","陈栝","陈栝（生卒年未详），约活动于公元16世纪，字子正，号沱江，江苏苏州人。陈栝是 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绝出尘象之外。",[48,23,24,90,112,28,113,31,92,544,545,215,546,91,97,7,547],"荷花","紫藤","月季","菊花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc52c46bc4e3b4ca5a9f77865bc6868ab.jpg",[],19,{"id":552,"slug":553,"title":554,"dynasty":18,"author":45,"museum":108,"description":555,"tags":556,"thumbUrl":559,"material":348,"size":349,"collection":75,"collections":560,"showCount":561,"zanCount":11,"manualWeight":11,"mainColor":59},288230,"hua-niao-tu-yi-ming-288230","花鸟图","整卷铺陈四时清景，以没骨晕染花卉，工细勾勒禽鸟神形。左首老梅虬枝缀雪，群雀顾盼生姿，竹影横斜衬出幽寂；继而牡丹柔瓣含露，艳而不俗，荆棘穿插添就野趣；再见异花绮丽，红白相映，顽石苔痕自生古意；末了春桃绽蕊，幽禽独立枝梢，静中含动。\n\n题跋书法与绘事相映，笔墨晕染春日清和雅韵，将花木禽鸟的生机雅致融于长卷，尽显写生传神的悠然意趣，是雅致清妍的花鸟佳作。",[48,23,24,90,26,27,28,309,7,92,96,217,557,558,122],"竹枝","怪石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe1fed4095a95d1cd12f57590df46b43.jpg",[],18,{"id":563,"slug":564,"title":565,"dynasty":18,"author":45,"museum":108,"description":566,"tags":567,"thumbUrl":570,"material":348,"size":349,"collection":75,"collections":571,"showCount":561,"zanCount":127,"manualWeight":11,"mainColor":59},263567,"yuan-qing-se-di-bing-mei-wen-jin-yi-ming-263567","元青色地冰梅纹锦","《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》。",[340,568,569,7],"锦","冰梅纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc80b860d05b2bd9e8512e2ebc9349fa4.jpg",[],{"id":573,"slug":574,"title":575,"dynasty":18,"author":576,"museum":577,"description":578,"tags":579,"thumbUrl":592,"material":219,"size":593,"collection":75,"collections":594,"showCount":561,"zanCount":11,"manualWeight":11,"mainColor":39},222932,"hong-lou-meng-57-sun-wen-222932","红楼梦57","孙温","旅顺博物馆","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[48,26,27,580,69,581,582,276,583,197,217,584,585,511,477,586,587,7,97,588,589,590,591],"界画","古典家具","桌椅","盆景","屏风","笔墨纸砚","室内陈设","织物","瓷器","木质","文房四宝","陈设","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd79bf9a8889fce822830210a88a8fab7.jpg","纵43.3厘米、横76.5厘米",[],{"id":596,"slug":597,"title":288,"dynasty":598,"author":599,"museum":324,"description":600,"tags":601,"thumbUrl":10,"material":75,"size":75,"collection":35,"collections":604,"showCount":561,"zanCount":11,"manualWeight":11,"mainColor":605},203275,"mei-hua-tu-zhou-he-xiang-ning-203275","近代","何香凝","这幅画以水墨写意手法绘就，梅枝虬劲如铁，纵横交错间尽显苍古之态，笔触老辣简练，干笔皴擦出的枝干纹理，传递出梅花的坚韧傲骨；旁侧牡丹花瓣层叠晕染，墨色浓淡相宜，雍容中透着清雅，与梅枝相映成趣。整幅作品笔墨奔放却不失细腻，线条张力十足，刚柔并济间，既有梅花的高洁品格，又含牡丹的典雅气度，尽显写意花鸟的神韵与生机。",[23,112,113,7,92,28,602,603,49,48],"干笔皴擦","淡墨晕染",[35],"cfc6b4",{"id":607,"slug":608,"title":609,"dynasty":18,"author":132,"museum":212,"description":610,"tags":611,"thumbUrl":612,"material":613,"size":614,"collection":75,"collections":615,"showCount":616,"zanCount":11,"manualWeight":11,"mainColor":39},233862,"mei-hua-ce-jin-nong-233862","梅花册","金农（1687—1764），字寿门，号冬心，又号稽留山民、曲江外史、昔耶居士等，浙江仁和（杭州）人。金农一生用过很多号、别号，印记也很多，据秦岭云考证，金农号有：冬心、司农、吉金、竹泉、古泉、老丁、耻春亭翁、寿道士、稽留山民、曲江外史、昔耶居士、莲身居士、龙梭仙客、金二十六郎、仙坛扫花人、金牛湖上诗老、百二砚田富翁、心出家庵粥饭僧、金牛、金吉金（苏伐罗吉苏伐罗）、枯梅庵主、龙梭仙馆旧客、荆蛮民、小善庵主、老金、惜花人、之江钓师、三朝老民、十九松长者、朱阳馆主、纸裘老生。所钤印记有：寿、农、寿门、古泉、金农、竹泉金吉金、莲身居士、金农之印、金吉金之印、冬心先生、金老丁、生于丁卯、金农印信、金寿门氏、努力加餐饭、寿道士、明月入怀、乐此不疲、布衣雄世。某些字号、印章颇具生活气息，其晚年多用佛门别号。",[23,24,25,112,150,7,136,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60346c88438f5bbe9ef487e719159592.jpg","纸本墨笔","25.4cm 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-1767）字士撰。乌程（今浙江吴兴）人，其父金鸿亦为小有名声的画家，廷标能绍父艺，擅画白描人物，亦善写真（肖像），兼能花卉、山水、乾隆二十二年（1757），乾隆帝第二次南巡时，金廷标进献《白描罗汉图》，得乾隆“称旨”，遂得以入宫供职，成为当时的一名宫廷画家。\n金廷标所作画，极得乾隆欣赏，御题诗句甚多，赞美之意溢于言表，如题其《放鹤图》云：“是谓善写照，传神在阿堵。”题其《江村图》云：”七情写毕皆得神，顾陆以后今几人。”又在他《临唐寅琵琶行图》后如此题道：“内府藏弆唐寅画琵琶行于江边扁舟直写一女抱琵琶，廷标此图不画琵琶女，而画居易等属耳之情，便觉高出其上。此与宋人画‘踏花归去马蹄香’以数蝶随骑意同。向未题句，兹偶见之，因拈其妙，然画院中能作如此解者实少也。”对金廷标能高出当时的宫廷画家，给予肯定。\n金廷标死后，乾隆在翻阅他的画作时又一再叹息，有诗这样写道：“去年命写寻常事，今日谁知珍惜加。”“足称世画无双画，可惜斯人作古人。”对金廷标的去世，表示无限的惋惜。一个自命“古稀天子”的帝王，能对一名宫廷画师如此的眷顾，极为难能，于此亦可见金廷标画艺的超群。\n清代未见有“书院”之称，（文献记载仅见“书院处”一词），更不像宋代书画院中设有具体的“待诏”、“艺学”等明确的官职。清代宫廷中供职的画家，一般情况均需有人举荐，有的还需要经过考核。文献记述金廷标只是自己进献作品以自荐，即得乾隆帝的“称旨”，可见他的画艺不凡。从本文介绍的这件作品来看，他也可以称得是当时画院中具有代表性的人物画家。\n传世作品有《拜石图》，图录于《故宫书画集》；《碧桃图》《孟母移居图》《枫林晚坐图》《萱花寿石图》册页图录于《中国历代名画集》；《高贤遇隐图》轴图录于《中国绘画史图录》下册；《春元瑞兆图》轴藏日本大阪市立美术馆；乾隆二十六年(1761)作《观音大士像》轴现藏沈阳故宫博物院；《婕妤挡熊图》轴、《瞎子说唱图》轴、《罗汉图》轴、《莲塘纳凉图》轴等藏故宫博物院。",[23,27,112,664,461,31,363,665,7,197,198,666,194],"皴法","松树","亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8386cfaad20e26fd82e317e8e3a5b140.jpg",[],{"id":670,"slug":671,"title":672,"dynasty":18,"author":673,"museum":108,"description":674,"tags":675,"thumbUrl":677,"material":678,"size":679,"collection":75,"collections":680,"showCount":641,"zanCount":11,"manualWeight":11,"mainColor":39},233688,"yuan-ji-lan-zhu-ce-xue-zhong-mei-zhu-shi-tao-233688","原济兰竹册－雪中梅竹","石涛","石涛的花鸟、兰竹，不拘成法，自抒胸臆，笔墨爽利峻迈，淋漓清润，极富个性。石涛还讲求气势。他笔情恣肆，淋漓洒脱，不拘小处瑕疵，作品具有一种豪放郁勃的气势，以奔放之势见胜。郑板桥在《板桥题画》中云：“石涛善画，盖有万种，兰竹其余事也。”可见他对石涛的兰竹之作评级最高。此石涛《兰竹册》为故宫馆藏精品，计十八开，以兰为主，配以竹、石、梅等。",[23,24,25,112,113,386,7,402,676],"兰草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13d98440534b36c7c573bc21674f6b05.jpg","纸本，墨笔","纵43.2cm，横30.2cm",[],{"id":682,"slug":683,"title":684,"dynasty":18,"author":685,"museum":108,"description":686,"tags":687,"thumbUrl":690,"material":348,"size":349,"collection":75,"collections":691,"showCount":692,"zanCount":11,"manualWeight":11,"mainColor":39},288143,"cao-shu-li-zhou-deng-shi-ru-288143","草书立轴","邓石如","邓石如（1743—1805年），初名琰，因避清仁宗讳，遂以字行，更字顽伯，号完白山人、笈游道人等，怀宁（今安徽安庆）人。清代乾、嘉时期著名碑学大师。少好刻石，弱冠谒江宁梅镠，梅家多藏金石善本，尽出与石如，使专摹习。客梅氏八年，学既成，又客于两江总督毕沅幕府。三年后辞归。工书法、篆刻。书工各体，以篆、隶为最精，颇得古法，兼融各家之长，形成独特风格。清李兆洛谓其书“真气弥满，楷则俱备，其手之所运，心之所追，绝去时俗，同符古初，津梁后生，一代宗仰。”对清代中、后期书坛有巨大影响。著有《完白山人篆刻偶存》等书行世，《清史稿》有传。",[112,30,688,49,31,7,689,72,198],"草书","明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef818dceb705e9d54ca012acd3179626.jpg",[],13,{"id":694,"slug":695,"title":696,"dynasty":64,"author":541,"museum":20,"description":697,"tags":698,"thumbUrl":699,"material":348,"size":349,"collection":75,"collections":700,"showCount":701,"zanCount":11,"manualWeight":11,"mainColor":39},290965,"hua-hua-hui-zhou-chen-gua-290965","画花卉轴","陈栝（生卒年不详），字子正，号沱江，苏州府长洲（今江苏苏州）人，明代画家陈淳之子，明代中期著名的绘画大师。\n陈栝自幼随父亲陈淳修习绘画，饮酒纵诞。陈栝善画花鸟山水，尤精绘画花鸟，笔似其父，将其父陈淳的笔迹放纵，不拘于象的写意画法发挥至极致。明朝嘉靖年间，尚属英年的陈栝先于其父病逝，时人多因他早逝而深感惋惜，尊称他为沱江子。\n陈栝是明代中期的杰出画家，他行笔放浪而有生趣，将诗意融汇进绘画中，进一步促进了我国古代绘画史写意画法的发展，有五代徐熙、黄筌遗意。",[23,49,112,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b274ab15ea59166998f8cc6ff8abbbf.jpg",[],12,{"id":703,"slug":704,"title":705,"dynasty":18,"author":45,"museum":108,"description":706,"tags":707,"thumbUrl":711,"material":348,"size":349,"collection":75,"collections":712,"showCount":701,"zanCount":127,"manualWeight":11,"mainColor":352},259848,"qing-yi-tang-kuan-zi-di-fen-cai-mei-hua-tu-wan-yi-ming-259848","庆宜堂款紫地粉彩梅花图碗","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。",[533,708,7,709,710],"粉彩","碗","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fe1df094199697bdfe2b2e20fb8e57d.jpg",[],{"id":714,"slug":715,"title":716,"dynasty":18,"author":45,"museum":108,"description":717,"tags":718,"thumbUrl":721,"material":348,"size":349,"collection":75,"collections":722,"showCount":723,"zanCount":11,"manualWeight":11,"mainColor":59},270487,"ti-hong-wei-jiao-chang-fang-pen-yu-shi-mei-hua-pen-jing-yi-ming-270487","剔红委角长方盆玉石梅花盆景","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。",[471,719,7,583,473,720],"玉石","工艺品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd844d4a7a42bb053b425a1b21b3ceac2.jpg",[],11,{"id":725,"slug":726,"title":727,"dynasty":18,"author":728,"museum":20,"description":729,"tags":730,"thumbUrl":737,"material":138,"size":738,"collection":392,"collections":739,"showCount":723,"zanCount":11,"manualWeight":11,"mainColor":39},240710,"shi-juan-liu-yong-240710","诗卷","刘墉","本幅为刘墉书写杜甫诗句之手卷，书于水红色、钩金花的纸张上，十分别致。起始的一首诗题名为“缚鸡行”，叙述小仆绑着鸡要到市中去卖，引起了诗人对人、鸡、虫三者间的一些感概，内容颇有意趣。至于在书法方面，圆润婉转的字体，看似柔软无骨，实际上却是将劲道隐藏于丰厚的外貌中，相当的内敛，前人评论刘墉的书法为棉里裹针，应即此意了。",[48,30,122,90,31,689,363,731,7,547,732,733,734,735,383,736],"江","星","火","风","夜","花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb205c3850b765c4e2b6b30fd470f7041.jpg","金笺22.5x232cm",[392],{"id":741,"slug":742,"title":743,"dynasty":744,"author":745,"museum":108,"description":746,"tags":747,"thumbUrl":751,"material":348,"size":349,"collection":75,"collections":752,"showCount":723,"zanCount":11,"manualWeight":11,"mainColor":39},230986,"wen-quan-tu-hua-ge-chuan-guo-zhen-230986","温泉の図.画","不详","歌川国貞","这幅浮世绘以雅致对称构图定格汤屋门头，暖黄木构搭配朱红瓦顶，晕开江户市井的融融暖意。靛蓝暖帘舒展留白，大笔题字苍劲醒目，缠枝白花柔化了文字的刚硬，素净间漾开治愈的烟火气。云纹雕饰的木栏雅致柔婉，垂挂的灯笼静立檐下，没有缭乱的笔墨，只用克制配色勾勒出汤屋松弛治愈的氛围，将旧时代里泡汤休憩的闲适日常凝于纸面，把日式旅宿的温柔雅致定格为永恒的风物剪影。",[748,749,27,72,7,750,328,387],"浮世绘","木刻","灯笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5115d9d942024d18752df21625dc31e6.jpg",[],{"id":754,"slug":755,"title":756,"dynasty":64,"author":757,"museum":108,"description":758,"tags":759,"thumbUrl":760,"material":75,"size":75,"collection":75,"collections":761,"showCount":723,"zanCount":11,"manualWeight":11,"mainColor":39},228386,"mei-hua-you-niao-bian-wen-jin-228386","梅花幽鸟","边文进","《画里珍禽》是1978-1 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梅花等等，历时百年不久，仍鲜艳悦人。",[908,856,909,7,918],"头花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cff2ca49d029ff23e97324d3d3c64e0.jpg",[],{"id":922,"slug":923,"title":924,"dynasty":18,"author":45,"museum":108,"description":925,"tags":926,"thumbUrl":928,"material":348,"size":349,"collection":75,"collections":929,"showCount":223,"zanCount":11,"manualWeight":11,"mainColor":930},268072,"lv-se-duan-di-zhi-mei-hua-hui-wen-tao-yi-ming-268072","绿色缎地枝梅花回纹绦","经线提花锦的组织结构和纹样都十分复杂，舞人动物纹锦的纹样横贯全幅，充分反映了当时已有了先进的提花织造技术。精美的刺绣品共有17种纹样，构图大，讲究对称、平衡，色彩配合恰当，给人以端庄典雅、富丽堂皇的美感。纹样内容充满神话色彩，鲜明地反映了楚文化的浪漫主义特色。墓中出土的衣袍为直据，是当时贵族中最流行的一种服式。这批先秦织物的出土，为深入研究我国古代纺织史提供了珍贵的实物资料。",[340,908,7,927],"回纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7c21555a35ef41a1369aa953a09a99c.jpg",[],"0D904F",{"id":932,"slug":933,"title":934,"dynasty":64,"author":935,"museum":108,"description":936,"tags":937,"thumbUrl":938,"material":348,"size":349,"collection":75,"collections":939,"showCount":223,"zanCount":11,"manualWeight":11,"mainColor":39},235761,"mei-hua-wen-cong-jian-shi-he-bi-ce-shao-mi-235761","梅花文从简诗合璧册","邵弥","邵弥，明末清初书画家。字僧弥，后以字为名，号瓜畴、芬陀居士。长洲（今江苏苏州）人。",[23,24,25,112,7,122,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27ee1cf9fa0e7ab352b0d91e81230488.jpg",[],{"id":941,"slug":942,"title":943,"dynasty":744,"author":944,"museum":108,"description":945,"tags":946,"thumbUrl":958,"material":75,"size":75,"collection":75,"collections":959,"showCount":223,"zanCount":11,"manualWeight":11,"mainColor":39},231827,"xiao-xian-he-ge-tu-juan-1-ku-tian-zheng-heng-231827","消闲和歌图卷-1","堀田正衡","这是一卷诗书画合璧的写意佳作，以淡赭素纸为底，大写意笔墨铺陈雅趣。浓淡干湿的墨色晕染出瑞兽、墨龙、折枝桃果、竹篮清供、幽草灵蛇与寒梅，笔意简劲纵逸，寥寥数笔便得物象神韵。日式和歌书法错落穿插于画幅之中，行笔舒展随性，与画作相映成趣。整体意境侘寂清雅，将文人消闲的幽远禅意融于笔墨之间，空灵疏朗，尽显随性自在的东方雅韵。",[48,23,24,90,112,27,150,122,31,113,947,948,949,950,665,7,449,951,952,953,954,955,69,767,383,956,957],"扇子","篮子","盘子","狮子","桃子","蛇","龙","水果","猴子","月亮","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0668c72e7438d7eaf0064a20e69d82f.jpg",[],{"id":961,"slug":962,"title":963,"dynasty":44,"author":45,"museum":20,"description":964,"tags":965,"thumbUrl":968,"material":54,"size":969,"collection":75,"collections":970,"showCount":223,"zanCount":11,"manualWeight":11,"mainColor":59},231081,"yu-e-tu-yi-ming-231081","浴鹅图","画面取水岸一隅，古木虬枝苍拙雄健，疏梅绽花点点，柳丝柔曼垂落晕染出春日清氛。\n\n白鹅浮于水面，翎羽刻画精工细腻，绒羽蓬松、主羽分明，曲颈昂首悠然自得，尽显雍容闲适。枝头小雀理羽顾盼，鲜活灵动，与白鹅的静雅形成呼应，一动一静间晕开松弛野逸的意趣。\n\n全作用色古雅沉稳，工写兼融，禽鸟刻画细致入微，林石布景写意简澹，将幽寂的池畔春景晕染出静谧悠然的古典格调，尽显雅致恬淡的自然之美。",[111,23,24,26,27,966,231,7,50,967],"鹅","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63b094f5baeb96b4cd23585e29b9b69e.jpg","181.4x98.2",[],{"id":972,"slug":973,"title":974,"dynasty":744,"author":45,"museum":108,"description":975,"tags":976,"thumbUrl":979,"material":348,"size":349,"collection":75,"collections":980,"showCount":223,"zanCount":11,"manualWeight":11,"mainColor":39},225572,"fu-shi-hui-55-yi-ming-225572","浮世绘55","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[748,749,27,70,69,7,977,978],"服饰","器皿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0501e10f99e5b322c1389476a05b444.jpg",[],{"id":982,"slug":983,"title":984,"dynasty":18,"author":45,"museum":108,"description":985,"tags":986,"thumbUrl":991,"material":348,"size":349,"collection":75,"collections":992,"showCount":993,"zanCount":11,"manualWeight":11,"mainColor":59},270486,"tong-du-jin-qian-bai-yu-ba-bao-hai-tang-shi-pen-yu-shi-mei-hua-pen-jing-yi-ming-270486","铜镀金嵌白玉八宝海棠式盆玉石梅花盆景","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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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。”",[340,511,649,7,767],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81333ddf45084cec0bb35c6ae7cc8bb2.jpg",[],{"id":2012,"slug":2013,"title":2014,"dynasty":18,"author":45,"museum":108,"description":410,"tags":2015,"thumbUrl":2017,"material":348,"size":349,"collection":75,"collections":2018,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":59},264286,"hong-se-ke-si-mei-die-wen-pao-liao-yi-ming-264286","红色缂丝梅蝶纹袍料",[512,340,511,7,767,1377,2016],"袍料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88dafaba86db78e6d26da0afed27a80d.jpg",[],{"id":2020,"slug":2021,"title":2022,"dynasty":18,"author":45,"museum":108,"description":2023,"tags":2024,"thumbUrl":2028,"material":348,"size":349,"collection":75,"collections":2029,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":59},263883,"qing-se-mei-hua-chang-shou-zi-wen-zhi-jin-duan-yi-ming-263883","青色梅花长寿字纹织金缎","以织金工艺晕染华贵质感，满地排布梅花与长寿字纹，繁而不紊，将祈福心意藏进细密经纬。深沉底色托映金纹明丽光泽，自带端庄雅致的雍容格调。把福寿双全的美好祈愿，融于寸寸织纹之中，尽显传统织绣工艺的精巧匠心，暗合内敛华贵的清代织绣审美意趣，将吉祥寓意与工艺美学融为一体。",[340,1359,7,2025,2026,2027,653],"寿字","织锦","缎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F974c004f1abe957441ca1efd6f5990b8.jpg",[],{"id":2031,"slug":2032,"title":2033,"dynasty":18,"author":45,"museum":108,"description":1384,"tags":2034,"thumbUrl":2035,"material":348,"size":349,"collection":479,"collections":2036,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":352},261396,"de-hua-yao-bai-you-mei-hua-wen-bei-yi-ming-261396","德化窑白釉梅花纹杯",[533,1082,7,473,710],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F265eb697315f20e33d2faa7c86a7e701.jpg",[479],{"id":2038,"slug":2039,"title":2040,"dynasty":18,"author":45,"museum":108,"description":2041,"tags":2042,"thumbUrl":2046,"material":348,"size":349,"collection":75,"collections":2047,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":59},260936,"dou-qing-you-qing-hua-mei-hua-jiao-ye-wen-hua-gu-yi-ming-260936","豆青釉青花梅花蕉叶纹花觚","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。”",[533,1079,2043,7,2044,2045],"豆青釉","蕉叶","花觚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34ed7cccd9d57a4b53ba207579fcdb3a.jpg",[],{"id":2049,"slug":2050,"title":2051,"dynasty":18,"author":45,"museum":108,"description":706,"tags":2052,"thumbUrl":2054,"material":348,"size":349,"collection":75,"collections":2055,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":352},260896,"fen-cai-hua-hui-wen-gai-wan-yi-ming-260896","粉彩花卉纹盖碗",[533,710,708,475,7,96,2053],"盖碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7920ebe9b8bcfaef0ff831d7a9461f7.jpg",[],{"id":2057,"slug":2058,"title":2059,"dynasty":18,"author":45,"museum":108,"description":706,"tags":2060,"thumbUrl":2061,"material":348,"size":349,"collection":75,"collections":2062,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},260859,"fen-cai-hua-niao-tu-wan-yi-ming-260859","粉彩花鸟图碗",[533,1081,708,27,26,28,7,309],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9bbed7199078c1f619fa2bcc6832c0d.jpg",[],{"id":2064,"slug":2065,"title":2066,"dynasty":18,"author":45,"museum":108,"description":2067,"tags":2068,"thumbUrl":2072,"material":348,"size":349,"collection":75,"collections":2073,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},258971,"da-ya-zhai-kuan-lv-di-mo-cai-hua-niao-tu-chang-fang-hua-pen-yi-ming-258971","大雅斋款绿地墨彩花鸟图长方花盆","绿地匀净柔和，以墨彩留白晕染寒梅，虬枝苍劲舒展，白花似堆雪缀于枝桠，清逸出尘。两只绶带鸟栖停枝头，翎羽纤毫毕现，身姿顾盼生姿，将冬日生机藏于清冷疏景之中。\n\n墨彩浓淡相宜，工笔细绘翎羽纹理，写意铺陈梅枝苍劲，文人意趣跃然瓷上。题字朱印相映，更添文雅气韵，整器将瓷绘工艺与文人花鸟画意趣相融，把岁寒清雅之景凝于方寸，尽显娴静雅致的瓷绘美学。",[244,533,2069,2070,2071,28,7,50,31],"长方","墨彩","绿地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc73d994621a147629673149a756ef242.jpg",[],{"id":2075,"slug":2076,"title":2077,"dynasty":44,"author":45,"museum":108,"description":2078,"tags":2079,"thumbUrl":2081,"material":348,"size":349,"collection":479,"collections":2082,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":59},257049,"ji-zhou-yao-jian-zhi-tie-hua-mei-hua-wen-wan-yi-ming-257049","吉州窑剪纸贴花梅花纹碗","吉州窑，是汉族传统制瓷工艺中的珍品，作为江南地区（江西吉安）一座举世闻名的综合性瓷窑，它具有浓厚的地方风格与汉民族艺术特色。吉州窑的丰富烧瓷，经验和名工巧匠对江西地区瓷业的发展提高，曾起过相当重要的促进作用。吉州古窑兴于晚唐，盛于两宋，衰于元末，因地命名，因当时永和又为东昌县治，故又名东昌窑、永和窑。吉州窑产品精美丰富，尤以黑釉瓷（亦称天目釉瓷）产品著称，其独创的“木叶天目”、“剪纸贴花天目”和“玳瑁天目”饮誉中外。洒釉、虎皮天目等也是吉州窑的标志性品种。\n卞向和在对中国陶瓷发展中对吉州窑有过认识，他指出：吉州窑在中国陶瓷发展中具有十分重要的意义，吉州窑不仅将中原的制瓷工艺溶于之中，还将吉州本地的人文情趣绘于瓷器上，并在造型，瓷的机理上有新的变化，使吉州窑成为中国瓷的重要品类，才使古代的欧洲、中东各国的王室贵族爱上吉州瓷。",[533,2080,7,477],"剪纸贴花","https:\u00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