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2Foss.chuangqi.store\u002Fthumbweb\u002Fd13b60712db3d2482a26bf69baa0e528.jpg",[],55,"795548",{"id":75,"slug":76,"title":77,"dynasty":7,"author":78,"museum":79,"description":80,"tags":81,"thumbUrl":92,"material":93,"size":94,"collection":95,"collections":96,"showCount":98,"zanCount":42,"manualWeight":11,"mainColor":43},222225,"si-wan-shan-shui-tu-wan-gan-yan-yu-wen-bo-ren-222225","四万山水图-万竿烟雨","文伯仁","京都国立博物馆","明代中期吴派风格自形成以来盛极一时，他们的画法，上探北宋董巨，近追元代四家，与以往明代绘画所不同的是，吴派山水属于文人画体系，被称为“利家”画并为发展文人画做出了重大贡献，同时他们的画风为后世文人所推重直至今日。文伯仁，字德承，号五峰，作为吴派山水画家和文氏家族中重要的一员，“笔力清劲，布景奇兀，时以巧思发之能传家学，颇负出蓝之誉”，并善于学习古人，画功精湛，在他存世并不众多的作品中不难发觉元代王蒙与叔父文徵明的影子，而与此二人作品相较，比王蒙的山水少了高不可攀的险峻，比文徵明的山水多了鲜明的个人情趣。徐沁在名画录赞叹文伯仁的山水“横披大幅，层峦郁茂不在衡山之下。”\n《四万山水图》指的是四幅分别以“万壑松风”、“万竿烟雨”、“万顷晴波”、“万山飞雪”为题的画作的总称，是明代画家文伯仁为友人顾从义而画，作于文伯仁50岁时。各图上有明末艺苑的代表文人董其昌所题的画赞。文伯仁是明代苏州（江苏省吴县）文人画即吴派的中心人物文征明的外甥，据说其在文氏一门之中画技最为出色。文征明及其一门的画家喜爱描绘山泉林间闲游的文人，但文伯仁的山水画以清静、浅显、清楚的白描风格或淡彩为基调，以充满色彩感的画风为特色，为文人画开辟了新的境界。本图是嘉靖年间（1522～66年）吴派的代表作品之一。《四万山水图》描绘了文人的闲适，作品中大量使用了清劲的白描笔法，表现密度极高。",[22,23,27,66,29,30,82,35,83,84,28,7,85,86,87,88,89,90,91],"烟雨","石块","草丛","传统","水墨山水","植物","自然景观","写意","笔墨","渲染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2827fdbc7f7dd9a85fe05f339586423b.jpg","纸本墨笔","48X123cm","山水画精选",[95,97],"水墨画精选",54,{"id":100,"slug":101,"title":102,"dynasty":7,"author":103,"museum":104,"description":105,"tags":106,"thumbUrl":111,"material":112,"size":113,"collection":114,"collections":115,"showCount":116,"zanCount":42,"manualWeight":11,"mainColor":43},219413,"yuan-ye-yan-ji-tu-juan-lu-zhi-219413","元夜燕集图卷","陆治","上海博物馆","陆治（1495-1576），字叔平，号包山，江苏苏州人。明代书画家，擅行、楷，尤精绘事。为祝允明、文徵明弟子。工写生，得徐、黄遗意。山水受吴门派影响，也兼取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗。\n这幅画是陆治记录嘉靖二十六年丁未（1547）年元旦参加文徵明家元旦集会的纪实之作，卷后附诗并记其事。钤朱文“叔”、“平”连珠印。",[22,7,23,24,25,26,107,52,36,37,68,108,109,32,33,110,35],"工笔","楼阁","亭","庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef790692ba6b005ce05b71ce60c88a59.jpg","纸本,设色","纵28厘米，横118.4厘米","人物画精选",[114,56],47,{"id":118,"slug":119,"title":120,"dynasty":7,"author":121,"museum":19,"description":122,"tags":123,"thumbUrl":130,"material":131,"size":132,"collection":133,"collections":134,"showCount":135,"zanCount":42,"manualWeight":11,"mainColor":43},228532,"guan-yao-qing-hua-si-ji-hua-hui-wan-yi-ming-228532","官窑 青花四季花卉碗","佚名","官窑，是南宋宋高宗时期一些窑口专为宫廷烧制的瓷器，供御捡退，在当时俗称"官窑“。官窑，毛公洞第一（今 江苏扬州一带）。南宋官窑瓷器沿袭北宋风格，规整对称，宫廷气势，高雅大气，一丝不苟。因为胎土含铁量极高，手感沉重，胎土呈深黑褐色，后称”紫口铁足“。釉面沉重幽亮，釉厚如堆脂，温润如玉。釉面多层反复细刮，釉光下沉而不刺眼，纹理布局规则有致，造型庄重大方。另外”肉腐留骨“（露胎处像死人骨头，俗称”骨董“）也是那时所造。我们今天所称官窑泛指历朝官府烧造瓷器，其实，历史上仅指南宋时期烧造的瓷器，后世再无此称呼。\n官窑起自唐，有两种涵义，一是指贡器，一是指官厂。自唐代至元代（公元八世纪~十四世纪），官窑多有贡器，少有官厂，采取的形式是“官监民烧”，烧出的瓷器，“千中选十，百中选一”，进贡给统治阶级。这种瓷器就叫做贡瓷和官窑。那时，唐代在产瓷区设有司务，如唐景隆初（公元707~709年）褚绥为新平(景德镇)司务，奉诏监烧献陵祭器。宋代设监，如太平兴国年间(公元976~983年)，派殿前承旨赵仁济监理越州窑务。到了元代则设局，以提领监陶，后改为本设总管。他们烧出的“景德年制”，“枢府’等款式的瓷器，分别称为“景德窑’，“枢府窑”等。\n官窑之谓，在中国古代陶瓷史上有不同的内涵。就广义而言，是有别民窑而专为官办的瓷窑，其产品为宫廷所垄断。在宋代瓷器中，官窑即是一种专称，指北宋和南宋时在京城汴京（汴梁，今开封）和临安（今杭州）由宫廷设窑烧造的青瓷，故又有“旧官”和“新官”之分，前者为北宋官窑，后者为南宋官窑。\n官窑是在宋大观及政和年间于汴梁所造，青瓷釉色晶莹惕透，有开裂或呈冰片状，粉青紫口铁定是其特色。\n宋室南移在凤凰山下设立官窑，又称修内司官窑或内窑，郊坛下设立的郊坛下官窑，器形较多，有直径大过一尺的大型产品。\n从1128年元世祖忽必烈设置“浮梁磁局”，到二十世纪清朝覆亡，景德镇是元、明、清三代皇家瓷厂所在地，中国的官窑制度在这里延续了632年，江西景德镇也由此拥有烧造时间最长、规模最大、工艺最精巧的官办瓷厂。景德镇地下也因此存有大量因禁绝流入民间而被就地掩埋的古碎瓷，成为中国品类最完整、年代最可靠、信息最丰富的官窑遗址和“地下瓷都”。北宋官窑也称汴京官窑。相传北宋大观、政和年间，在汴京附近设立窑场，专烧宫廷用瓷器，即北宋官窑。南宋顾文荐《负暄杂录》记载："宋宣政间（宣和、政和即公元1111－1125年）京师自置窑烧造，名曰官窑"，南宋叶在其《垣斋笔衡》中对北京官窑亦有记载："政和京师自置窑烧造，名曰官窑"。当时的京师即汴京（今开封），因宋代汴京遗址已沉入地底，到今为止，尚未发掘出北宋官窑遗址，对于北宋官窑遗址缺乏考古发掘地资料和充足的文献资料的支撑，因此，时到今，关于北宋官窑遗址在何处，仍有不同说法，一般有三种说法：一说北宋官窑即为汝窑；二说否认北宋官窑的存在；三说为北宋官窑即为汴京官窑，它与南宋时的修内司官窑先后存在。\n南宋顾文荐《负睻杂录》记载：“宋宣政间（宣和、政和即公元1111~1125年）京师自置窑烧造，名曰‘官窑’”，南宋叶寘在其《垣斋笔衡》中对北京官窑亦有记载：“政和京师自置窑烧造，名曰‘官窑’”。明代《事物绀珠》、《留留青》因袭此说。当时的京师即汴京(今河南开封)，因宋代汴京遗址已沉入地下，到今为止，尚未发掘出北宋官窑遗址。对于北宋官窑遗址缺乏考古发掘地资料和充足的文献资料的支撑，因此，今关于北宋官窑遗址在何处，仍有不同说法，一般有三种说法：一说北宋官窑即为汝窑；二说否认北宋官窑的存在；三说为北宋官窑即为汴京官窑，它与南宋时的修内司官窑先后存在。支持第三种说法的人较多。\n北宋官窑传世品很少，形质与工艺与汝窑有共同处。器多仿古，主要有碗、瓶、洗等。胎体显厚，胎骨深灰、紫色或黑色，釉色有淡青、粉青、月白等，釉质莹润温雅，尤以釉面开大裂纹片著称，不同于南宋官窑和汝窑及龙泉窑瓷器。底有文钉烧痕，有“紫口铁足”的特征。",[7,124,125,126,127,128,129],"陶瓷","官窑","青花","四季花卉","花卉","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9752a691d3a1959b24b5e6ec7821168e.jpg","未知","Xcm*Xcm","瓷器精选",[133],39,{"id":137,"slug":138,"title":139,"dynasty":7,"author":140,"museum":19,"description":141,"tags":142,"thumbUrl":144,"material":131,"size":132,"collection":39,"collections":145,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":43},239871,"qi-lv-zhou-xu-wei-239871","七律轴","徐渭","徐渭（1521年3月12日－1593年），汉族，绍兴府山阴（今浙江绍兴）人。初字文清，后改字文长，号青藤老人、青藤道士、天池生、天池山人、天池渔隐、金垒、 金回山人、山阴布衣、白鹇山人、鹅鼻山侬、田丹水、田水月（一作水田月 ）。明代中期文学家、书画家、戏曲家、军事家。\n徐渭曾担任胡宗宪幕僚，助其擒徐海、诱汪直。胡宗宪被下狱后，徐渭在忧惧发狂之下自杀九次却不死。后因杀继妻被下狱论死，被囚七年后，得张元忭等好友救免。此后南游金陵，北走上谷，纵观边塞阨塞，常慷慨悲歌。晚年贫病交加，藏书数千卷也被变卖殆尽，他自称“南腔北调人”，于万历二十一年（1593年）去世，年七十三\n徐渭多才多艺，在诗文、戏剧、书画等各方面都独树一帜，与解缙、杨慎并称“明代三才子”。他是中国“泼墨大写意画派”创始人、“青藤画派”之鼻祖，其画能吸取前人精华而脱胎换骨，不求形似求神似，山水、人物、花鸟、竹石无所不工，以花卉最为出色，开创了一代画风，对后世画坛（如八大山人、石涛、扬州八怪等）影响极大；书善行草，写过大量诗文，被誉为“有明一代才人”；能操琴，谙音律；爱戏曲，所著《南词叙录》为中国第一部关于南戏的理论专著。另有杂剧《四声猿》《歌代啸》及文集传世。",[7,36,66,52,143,37],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc005f883ee27f9e4510a7c83aa66459a.jpg",[],32,{"id":148,"slug":149,"title":150,"dynasty":7,"author":151,"museum":104,"description":152,"tags":153,"thumbUrl":155,"material":54,"size":156,"collection":114,"collections":157,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":43},219409,"bai-miao-fo-xiang-tu-juan-cui-zi-zhong-219409","白描佛像图卷","崔子忠","崔子忠（约1574-1644年），初名丹，字开予，改名子忠，字道母，号青蚓。山东莱阳人，寓居顺天府（今北京）。善画人物、肖像，传世作品较少。此幅白描佛画，似说法或授经图，取法李公麟，人物高古，衣纹流美，作于崇祯四年（1631)，作者时年约五十八岁，款署“辛未九月九日长安门下士崔子忠识。”另纸有明田大受崇祯四年（1631）手书《金刚经》，款曰“崇祯辛未重阳日瀛州奉佛弟子田大受沐手敬书。”",[7,23,24,25,67,69,68,33,32,37,36,154],"写经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb93c57ab1883defa55547102439778a.jpg","纵30厘米，横56厘米",[114],{"id":159,"slug":160,"title":161,"dynasty":7,"author":162,"museum":163,"description":164,"tags":165,"thumbUrl":170,"material":171,"size":172,"collection":39,"collections":173,"showCount":174,"zanCount":11,"manualWeight":11,"mainColor":73},233743,"xue-ye-fang-pu-tu-zhou-liu-jun-233743","雪夜访普图轴","刘俊","北京故宫博物院","此图描写宋太祖赵匡胤雪夜访赵普的历史故事。据《宋史·赵普本传》记载：“太祖数微行过功臣家，普每退朝，不敢便衣冠。一日，大雪问夜，普意帝不出。久之，闻叩门声，普亟出，帝立风雪中，普惶惧迎拜，帝曰：‘已约晋王矣。'已而太宗至，设重裀地坐堂中，炽炭烧肉，普妻行酒，帝以嫂呼之。因与普计下太原。”画面描绘的正是这一历史情景。在门庭宽敞、屋宇数重的枢密副史府内，前厅正中二人围炉而坐。上首坐的是宋太祖赵匡胤，他头扎巾帽，身穿盘领窄袖袍服，腰束锦带，身材魁伟，气度不凡，其庄严的表情，侧首聆听的姿态，恰当地表现了深夜访贤、商议国家大事的仪态和心境。身着便服的枢密副史赵普在下首侧坐，恭谦地侃侃而谈，细致地刻画出了他诚恳献策的谋臣风度。画家在着意刻画主体人物的同时，对景象做了细致的描写。近岩远山，老树昏鸦，均被夜色笼罩着，竹叶、树枝、屋脊上覆盖着皑皑白雪，天气显然很寒冷。为突出赵匡胤的天子身份，在大门外象征性地画有四个侍卫，他们似乎守候已久。这些细微的描绘，深化了雪夜访贤的主题。\n此画构图主次分明，主题突出，人物刻画精细生动，屋宇、什物结构精确，线条工整。山石树木的勾斫皴擦，既保持了宋人画的劲健之笔，又呈疏简之势，反映了明代院体画所呈现的变化。",[7,107,26,166,68,108,167,168,110,33,29,169],"界画","枯树","雪","冬季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81f47baeede3a2d6d5c1ecf52f831c21.jpg","绢本，淡设色","纵143.2厘米，横75厘米",[],26,{"id":176,"slug":177,"title":178,"dynasty":7,"author":179,"museum":19,"description":180,"tags":181,"thumbUrl":184,"material":39,"size":39,"collection":39,"collections":185,"showCount":186,"zanCount":11,"manualWeight":11,"mainColor":43},234773,"zhu-shi-shan-mian-gui-chang-shi-234773","竹石扇面","归昌世","归昌世（1573－1644）字文休，号假庵，昆山人，移居常熟。明末诗人、书画家、篆刻家，散文大家归有光嫡孙，归庄之父。明诸生，早慧过人，十岁能诗文，书宗晋唐，亦善书画，尤擅草书，丹青法倪黄，山水萧散疏淡；兰竹脱透空灵，妙趣横溢，意在青藤、白阳之间、 兼工篆刻。诗文得家法与王志坚、李流芳时称三才子。与潘澄、龚贤等十三位昆山画家组织画社，史称“玉山高隐十三家”，崇祯末以待诏徵不应，有《假庵诗草》。",[7,182,27,30,183,89],"扇面","石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97e8addfbf2359216f59047a00a54fb2.jpg",[],22,{"id":188,"slug":189,"title":190,"dynasty":7,"author":121,"museum":19,"description":191,"tags":192,"thumbUrl":199,"material":39,"size":39,"collection":200,"collections":201,"showCount":202,"zanCount":11,"manualWeight":11,"mainColor":73},243149,"shou-mian-wen-ding-yi-ming-243149","兽面纹鼎","此鼎方腹立耳，四柱足撑持，形制端稳厚重。器身遍饰兽面纹，线条棱厉苍劲，兽目圆睁突耸，辅以回纹衬地，狞厉威严间带着上古礼器的神秘肃穆。铜色沉郁古旧，绿锈凝附，晕开岁月摩挲的厚重质感。它追摹商周彝器规制，将上古祭祀重器的庄重威仪复刻于身，狞猛兽面承载着对古礼的追慕，朴拙造型暗合古人尚礼崇古之心韵，尽显青铜礼器的肃穆雅正之风。",[7,193,194,195,196,197,198],"青铜器","铜制","雕刻","兽面纹","礼器","饪食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3f3d7dfc997eb04bd275a240181c591.jpg","青铜器精选",[200],18,{"id":204,"slug":205,"title":206,"dynasty":7,"author":103,"museum":19,"description":207,"tags":208,"thumbUrl":214,"material":39,"size":39,"collection":39,"collections":215,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":73},230939,"han-jiang-diao-ting-tu-lu-zhi-230939","寒江钓艇图","萧寒荒寂间，虬曲枯木褪去繁枝，薄雪覆身，岸畔衰草凝着霜华。孤舟静泊，渔翁拥蓑戴笠，垂纶独钓，任飞雪漫过江天，自守一方安闲。\n\n笔致苍劲写枯木，尽透老辣荒寒，人物简笔勾勒，静穆自在的神态跃然绢上。浅淡设色晕染出清冽冬日，将江野冷寂揉成一片空明澄澈。题诗与画境相融，把寒江独钓的幽寂，化作世外高逸的精神栖所，寄寓着超脱尘俗、静守本心的雅趣，淡而愈厚，清韵悠长。",[23,24,66,7,26,107,209,210,167,211,212,37,29,213],"孤舟","蓑笠","寒江","雪景","钓线","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4301604eb72c0415bd85976d519f8a4f.jpg",[],17,{"id":218,"slug":219,"title":220,"dynasty":7,"author":221,"museum":19,"description":222,"tags":223,"thumbUrl":228,"material":229,"size":39,"collection":39,"collections":230,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":73},216278,"er-shi-si-xiao-tu-14-chou-ying-216278","二十四孝图-14","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。",[224,23,24,7,107,26,68,225,226,227],"名画","衣帽","古装","传统故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F637cebbedf923ab431b3a4dc6fb9b5ce.jpg","绢本,设色",[],{"id":232,"slug":233,"title":234,"dynasty":7,"author":235,"museum":19,"description":236,"tags":237,"thumbUrl":241,"material":131,"size":132,"collection":39,"collections":242,"showCount":243,"zanCount":11,"manualWeight":11,"mainColor":43},235728,"hua-niao-ce-tan-zhi-yi-235728","花鸟册","谈志伊","谈志伊，字公望，号学山，一字思重，无锡人，明代画家。",[7,27,89,238,30,239,240,37],"册","鸟","花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe295693c368afce72067e0a0bc3da49f.jpg",[],16,{"id":245,"slug":246,"title":247,"dynasty":7,"author":121,"museum":19,"description":248,"tags":249,"thumbUrl":254,"material":131,"size":132,"collection":133,"collections":255,"showCount":243,"zanCount":11,"manualWeight":11,"mainColor":73},228624,"jun-yao-ding-xiang-zi-ci-zun-yi-ming-228624","钧窑丁香紫瓷尊","钧窑，即钧台窑，是在柴窑和鲁山花瓷的风格基础上综合而成的一种独特风格，受道家思想深刻影响，在宋徽宗时期达到高峰，其工艺技术发挥到极致。无论是呈色和各种纹理的表现，做到窑变可控随心所欲的表现技术，无人能仿造。宋代受理学的影响，反应在瓷器上就是规整对称，无论是造型或纹理都遵循这一原则，特别是北宋官造钧瓷，不论文房用具或大型祭器都严格遵守这一原则。规整对称，高雅大气，宫廷气势，一丝不苟。其势沉重古朴，明亮而深沉。建窑，耀州窑，钧窑，作为中国传统瓷文化正宗，历史悠久的风格传承。放大镜观察，蚯蚓走泥纹，用气泡一个个串连一体呈立体的爬行状，青蛙卵纹包裹卵核一摞摞正欲孵化而出。还有牛血纹，血色深红暗沉杀气腾腾，庄重威严等等，难以一一叙述。北宋官窑钧瓷的发色和纹理大小和分布，都难以做到人为控制而恰到好处，是北宋瓷艺的最高工艺水平的体现。这批钧瓷工艺早已失传，而窑址也随冰冻积水而下沉。“纵有家财万贯，不如钧瓷一片”。可见当时钧瓷产生的轰动效应。于是各地群相仿效，窑口林立，但仍然不得要领。今研究文章汗牛充栋，考古窑口不计其数，因都未见过这批北宋官造钧瓷，也只能是管中窥豹了。1955年，禹县（今禹州）陶瓷厂开始研制、探索湮没已久的钧瓷胎釉的基本配方与烧成技术，不仅烧制出玫瑰紫，海棠红、天青、月白等传统色釉，还发展了十多种花釉，并增加了现代日用器皿、艺术陈设瓷等新品种。\n有人认为钧窑的必备特点就是釉面具有“蚯蚓走泥纹”，这不完全正确，只能说是特点之一。很多馆藏钧窑的釉面是不具有走泥纹的。因为在当时的官窑，力求釉色均匀，但由于少数器皿在烧制中的窑温、釉色原料配比、烧制环境等因素的影响造成了釉面在温度中的变化还原不一，才形成了走泥纹。\n北宋钧窑做到窑变可控，蚯蚓走泥纹是其特征之一。用气泡串起一条条呈立体状的蚯蚓奔爬，蛙卵纹，\n鱼卵纹包裹正欲孵化而出的鱼籽，等等。北宋钧瓷最重要的价值就是在于它对釉面随心所欲的表现力。钧，即重量，北宋早期官窑钧瓷分量沉重。中华瓷文化的传统风格就是外表朴实而内秀其中。所谓“华夷光暗滋”的含蓄内敛，道出了宋瓷的本质特点。五代柴窑瓷器发色的鲜美以及色调的神奇变化，是中国瓷艺发展史上的一座里程牌。在柴窑瓷的光辉照耀下，宋，元瓷艺向着风格不同，但技艺精深非凡的道路上发展。掀开了中国瓷艺史上最为辉煌的篇章。原创一直贯穿始终，原创是瓷艺生命的灵魂。一个“隐”一个“显”，道出了几千年中华文化的内在本质。从石器时代东方人便对玉石内蕴的无穷魅力深深吸引，拓展了东方人领悟自然奥秘宽度与厚度。可是直到如今，西方人仍然认为只有闪闪发光的东西才有价值。对自然环境的细微观察，并在瓷器上把它们表现出来，是钧瓷的核心技术所在。这种表现艺术的高度让人惊叹，并一直是贯穿北宋和南宋宫廷制瓷的主流技术。瓷器纹理从北宋的“隐”到南宋的“显”，以至官窑，哥窑纹理的表面形式对元代瓷艺产生了直接影响。\n钧窑瓷器历来被人们称之为“国之瑰宝”，在宋代五大名窑中以“釉具五色，艳丽绝伦”而独树一帜。古人曾用“夕阳紫翠忽成岚”等诗句来形容钧瓷釉色灵活、变化微妙之美。传统钧瓷瑰丽多姿，玫瑰紫、海棠红、茄皮紫、鸡血红、葡萄紫、朱砂红、葱翠青……釉中红里透紫、紫里藏青、青中寓白、白里泛青，可谓纷彩争艳。釉质乳光晶莹，肥厚玉润，类翠似玉赛玛瑙，有巧夺天工之美。\n钧窑烧成温度已经达到1350℃-1380℃之间，延承了传统钧窑胎质细腻，釉色绚丽夺目的特点，又结合了现代审美，器形饱满玲珑。独特研制的玛瑙釉水在烧制后形成更加鲜明的层次感，十多种釉色绚丽多彩，周身还布满珍珠点、兔丝纹、鱼子纹和曲折迂回的蚯蚓走泥纹等生动美妙的流纹给人无限遐想的空间。",[124,7,250,251,252,253,129],"钧窑风格","窑变","丁香紫釉","釉色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37ff346c8c56213daa354c9c10412b52.jpg",[133],{"id":257,"slug":258,"title":259,"dynasty":7,"author":260,"museum":19,"description":261,"tags":262,"thumbUrl":264,"material":131,"size":132,"collection":39,"collections":265,"showCount":266,"zanCount":42,"manualWeight":11,"mainColor":43},240258,"li-sao-lan-ting-juan-dong-qi-chang-240258","离骚兰亭卷","董其昌","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子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，字三松，号徂来山人、三松居士，江宁（今江苏南京）人。生卒年不详，从艺活动约在成化、嘉靖间。\n传世作品有《芦洲泛艇图》轴，现藏天津市艺术博物馆；《秋溪曳杖图》轴、《无尽溪山图》轴藏上海博物馆；《携琴看山图》轴、《渔舟读书图》轴藏故宫博物院；《秋林读书图》轴藏山东省博物馆；《松下著履图》轴藏南京博物院。\n善画山水人物，画法宗吴伟，为浙派名家之一。喜用焦墨枯笔，亦善用淡墨，浓淡相间，浑然一体，如《渔舟读书图》，山石多用大片湿墨，颇见功力，虽尺幅山水，小巧流水却云蒸雾变，烟霞触目。亦工人物，与郑文林、钟礼、张路等都是浙派晚期名手。又因他们纵笔豪放，多越矩度，曾被吴派讥为“狂态邪学”。",[22,23,24,182,27,28,68,30,325,29,7],"琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e0f6a5a8ea215f87b0f758dfe800581.jpg","纵18.5厘米横53厘米",[],{"id":330,"slug":331,"title":332,"dynasty":7,"author":121,"museum":19,"description":333,"tags":334,"thumbUrl":338,"material":131,"size":132,"collection":39,"collections":339,"showCount":340,"zanCount":11,"manualWeight":11,"mainColor":341},257221,"zheng-de-kuan-qing-hua-chan-zhi-lian-wen-lu-yi-ming-257221","正德款青花缠枝莲纹炉","青花瓷（blue 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。",[7,124,126,335,336,337,128],"釉下彩","缠枝莲纹","炉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe173664266a143043e669b062bf95391.jpg",[],11,"37474F",{"id":343,"slug":344,"title":345,"dynasty":7,"author":121,"museum":19,"description":346,"tags":347,"thumbUrl":351,"material":39,"size":39,"collection":200,"collections":352,"showCount":340,"zanCount":11,"manualWeight":11,"mainColor":341},244205,"xue-hui-gong-zao-fang-jing-yi-ming-244205","薛惠公造方镜","此方铜镜形制方正规整，一改古镜常见的圆融造型，自带端方气韵。镜背以阳文錾刻诗文，笔力浑朴苍劲，“方正而明万里无尘，水天一色犀照群伦”将铜镜照鉴之能，托喻为君子澄澈明达的襟怀。两枚朱印斑驳古雅，与沉穆铜色相衬，晕开岁月摩挲的温润质感。\n它跳出传统铜镜的瑞兽花鸟纹样，以文人笔墨入镜，将日常器用晕染出清雅文气，是实用雅器与文人情思的精妙融合，尽显内敛东方意趣。",[7,194,195,348,193,349,350],"篆书","方形","铭文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa77c33a1d170cd227288e761e460e751.jpg",[200],{"id":354,"slug":355,"title":356,"dynasty":7,"author":357,"museum":19,"description":358,"tags":359,"thumbUrl":361,"material":131,"size":132,"collection":39,"collections":362,"showCount":340,"zanCount":11,"manualWeight":11,"mainColor":73},237217,"mo-mu-dan-shan-mian-wu-ji-237217","墨牡丹扇面","吴楫","此作用泥金扇面为底，以水墨写就牡丹。画家以墨色浓淡晕染花瓣，由淡到深铺陈出花瓣舒展层次，将花头丰腴饱满尽致展现，似含晨露轻绽。叶片以焦墨勾骨、淡墨晕色，俯仰错落间尽显舒展生机，墨色干湿相生，暗合牡丹葳蕤之态。\n画面两侧题字与花叶相映，书画相融，以墨代色褪去牡丹惯有的艳俗富贵气，独留清逸雅致，将文人画的写意风骨寄于名花之中，于尺幅扇面内尽显雅致高格，是水墨花鸟小品中的精妙之作。",[23,7,182,27,240,360],"牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67a1dd71d8c65c261d540e6801f39fd0.jpg",[],{"id":364,"slug":365,"title":366,"dynasty":7,"author":121,"museum":19,"description":333,"tags":367,"thumbUrl":371,"material":131,"size":132,"collection":39,"collections":372,"showCount":373,"zanCount":11,"manualWeight":11,"mainColor":73},257632,"qing-hua-ying-xi-tu-wan-yi-ming-257632","青花婴戏图碗",[124,126,368,29,34,68,7,26,369,370],"婴戏","纹饰","圈足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc2858e7696b3bb0007b0b8f1dac871c.jpg",[],10,{"id":375,"slug":376,"title":377,"dynasty":7,"author":121,"museum":19,"description":378,"tags":379,"thumbUrl":382,"material":131,"size":132,"collection":133,"collections":383,"showCount":373,"zanCount":11,"manualWeight":11,"mainColor":43},256708,"long-quan-yao-qing-you-ke-hua-shi-liu-shi-zun-yi-ming-256708","龙泉窑青釉刻花石榴式尊","龙泉窑是中国历史上的一个名窑，宋代六大窑系。汉族传统制瓷工艺的珍品。因其主要产区在浙江省龙泉市而得名。它开创于三国两晋，结束于清代，生产瓷器的历史长达1600多年，是中国制瓷历史上最长的一个瓷窑系，它的产品畅销于亚洲、非洲、欧洲的许多国家和地区，影响十分深远。龙泉窑以烧制青瓷而闻名，在北宋早期以前的产品风格受越窑、瓯窑、婺州窑的影响，特征与三窑的产品相似。胎质较粗，胎体较厚，釉色淡青，釉层稍簿。\n1998年3月，宋代的龙泉窑青釉莲瓣纹瓶从英国追回。\n龙泉窑因在今浙江龙泉县，故名，属我国南方青瓷系统。创造于北宋早期，南宋中晚期进入鼎盛时期，至明代中叶以后渐趋衰落，传世的龙泉青瓷下限至清康熙年间，烧造历史达七、八百年之久。北宋时期的龙泉青瓷，胎骨较厚，胎土淡灰，底足露胎处见赭褐色窑红，胎微出烧，釉的玻化程度好，釉层透明，釉表光泽很强。装饰花纹较简练，常见纹样有鱼纹、蕉叶、金枝、荷花等。装饰风格趋于奔放。处于南宋鼎盛时期的龙泉青瓷，形成了自已独有的艺术风格，显示了独特的魅力。\n南宋龙泉青瓷的造型亦形成自已的风格，稳重大方，浑厚淳朴而又不失秀媚，器型丰富多样，装饰普遍采用刻花和堆塑法，颇具艺术匠心。\n元代龙泉青瓷烧造量大，风格与南宋迥异：器型高大、胎体厚重；胎色为白中带灰或淡黄；釉色为粉青带黄绿，光泽较强，釉层半透明；装饰手法多种多样，有刻、划、印、贴、塑等，以划花为主，花纹粗略，线条奔放，纹饰以云龙、飞凰、双鱼、八仙、八卦、牡丹、荷叶等为多见。此外，还大量出现汉文和八思巴文字款铭。\n明代龙泉青瓷走向衰弱，器物胎体厚重，制作粗糙，胎色为灰黄，釉层厚，透明度高，釉表光泽强，釉色有青灰、茶叶末、灰黄等几种，装饰以釉下刻花为主，亦有模印人物故事的装饰方法。\n宋代龙泉青瓷是青瓷工艺的历史高峰。其青瓷的釉色与质地之美，亦如巧夺天工的人造美玉，全世人为之倾倒。\n那么，在漫长的历史长河中，龙泉窑又经历了怎样的发展轨迹呢?朱伯谦先生在《龙泉窑青瓷》一书中曾将龙泉窑的发展归纳为开创、发展、鼎盛和衰落四个阶段：魏晋和五代十国是开创时期，瓷窑少，生产时断时续，处于就地销售断断续续的生产阶段；北宋至南宋前期是发展期，瓷窑发展快，逐渐形成一个较大的瓷窑体系；南宋后期至元代是鼎盛期，瓷窑迅速发展，青瓷质量大大提高，产品畅销国内外广大市场；明清是衰落期，尤其是明代中期以后龙泉窑处境艰难，瓷窑不断地倒闭减少，至清代晚期结束。如果说这四个阶段勾勒出了龙泉窑发展历史的整个脉络，那么，龙泉窑发展史上的三次辉煌期则是连贯发展脉络的重点和要点。",[124,380,381,7,129],"青釉","刻花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fc9660c71258d4c06b6d70b81e03a61.jpg",[133],{"id":385,"slug":386,"title":387,"dynasty":7,"author":121,"museum":19,"description":388,"tags":389,"thumbUrl":393,"material":131,"size":132,"collection":39,"collections":394,"showCount":373,"zanCount":11,"manualWeight":11,"mainColor":341},256442,"dou-cai-ji-gang-bei-yi-ming-256442","斗彩鸡缸杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[7,124,390,107,26,391,392],"斗彩","鸡","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe129df3f9003f7473c7f6736e4517cf2.jpg",[],{"id":396,"slug":397,"title":398,"dynasty":7,"author":399,"museum":19,"description":400,"tags":401,"thumbUrl":409,"material":39,"size":39,"collection":410,"collections":411,"showCount":373,"zanCount":11,"manualWeight":11,"mainColor":43},239631,"huang-dao-zhou-xiao-jing-ce-huang-dao-zhou-239631","黄道周孝经册","黄道周","黄道周（1585年3月9日—1646年4月20日 ），汉族，字幼玄， 一作幼平或幼元，又字螭若、螭平，号石斋，世人尊称石斋先生。为明末学者、书画家、文学家、民族英雄。 福建漳州府漳浦县（今福建省东山县铜陵镇）人， 祖籍福建莆田，其曾祖从莆田迁徙至漳州。\n天启二年（1622年）进士，改庶吉士，深得考官袁可立赏识。历官翰林院修撰、詹事府少詹事。南明隆武（1645年-1646年）时，任吏部尚书兼兵部尚书、武英殿大学士（首辅）。因抗清失败被俘。隆武二年（1646年）壮烈殉国，享年62岁 。隆武帝赐谥“忠烈”，追赠文明伯。清乾隆四十一年（1776年）追谥“忠端”。与刘宗周并称“二周”。\n黄道周通天文、理数诸书。工书善画，诗文、隶草皆自成一家，先后讲学于浙江大涤、漳浦明诚堂、漳州紫阳、龙溪邺业等书院，培养了大批有学问有气节的人。",[22,36,154,402,238,27,403,24,404,405,7,313,406,407,408],"楷书","纸本","文字","儒家","册页","工整","经典","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00ea3f5205a326ac20e377674fcb541e.jpg","碑帖精选",[410],{"id":413,"slug":414,"title":415,"dynasty":7,"author":121,"museum":19,"description":416,"tags":417,"thumbUrl":423,"material":131,"size":132,"collection":39,"collections":424,"showCount":373,"zanCount":11,"manualWeight":11,"mainColor":73},228521,"wan-li-wu-cai-long-wen-hua-niao-suan-tou-ping-yi-ming-228521","万历 五彩龙纹花鸟蒜头瓶","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[7,124,418,26,419,240,129,420,421,422],"五彩","龙","龙纹","花鸟纹","明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf3e44639b893ba740ee6dc3c243dfa9.jpg",[],{"id":426,"slug":427,"title":428,"dynasty":7,"author":121,"museum":19,"description":333,"tags":429,"thumbUrl":432,"material":131,"size":132,"collection":39,"collections":433,"showCount":373,"zanCount":11,"manualWeight":11,"mainColor":43},223922,"qing-hua-ji-he-hua-hui-wen-lian-zi-wan-yi-ming-223922","青花几何花卉纹莲子碗",[7,124,126,430,431],"几何纹","花卉纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cf13ed271aa99d8134a62faf2a25603.jpg",[],{"id":435,"slug":436,"title":437,"dynasty":7,"author":438,"museum":19,"description":439,"tags":440,"thumbUrl":443,"material":131,"size":132,"collection":39,"collections":444,"showCount":445,"zanCount":11,"manualWeight":11,"mainColor":43},237403,"shan-shui-shan-ye-ding-yun-peng-237403","山水扇页","丁云鹏","天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。",[23,24,182,27,29,167,441,442,28,7],"山","小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8e166761ecc75bb66a219308be29751.jpg",[],9,{"id":447,"slug":448,"title":449,"dynasty":7,"author":121,"museum":19,"description":333,"tags":450,"thumbUrl":452,"material":131,"size":132,"collection":39,"collections":453,"showCount":445,"zanCount":11,"manualWeight":11,"mainColor":43},228661,"tian-zi-kuan-qing-hua-dou-cai-kui-long-gai-guan-yi-ming-228661","「天」字款青花斗彩夔龙盖罐",[7,451,124,419,292,129],"青花斗彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2eea30ba299d85c82a5f935be2f79e12.jpg",[],{"id":455,"slug":456,"title":457,"dynasty":7,"author":121,"museum":19,"description":333,"tags":458,"thumbUrl":460,"material":131,"size":132,"collection":39,"collections":461,"showCount":462,"zanCount":11,"manualWeight":11,"mainColor":341},256433,"qing-hua-qi-lin-wen-pan-yi-ming-256433","青花麒麟纹盘",[7,124,126,459,369],"麒麟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2a0a8d1f9955a5d257cdf81ad457f17.jpg",[],8,{"id":464,"slug":465,"title":466,"dynasty":7,"author":467,"museum":19,"description":468,"tags":469,"thumbUrl":470,"material":403,"size":39,"collection":56,"collections":471,"showCount":462,"zanCount":11,"manualWeight":11,"mainColor":43},241217,"wu-lv-shou-shi-zhou-zhang-tai-241217","五律寿诗轴","张泰","张泰(1435—1508年)，字叔亨，广东广州府顺德县陈村人。张泰1458年(景泰四年)中举，1466年(成仁二年)成进士，历任知县、御史、巡按、少卿、副都御史、右侍郎、南京户部尚书，是顺德建县后第一位尚书。\n最初担任福建沙县知县时，“铲平王”邓茂七起义刚遭镇压，全县田园凋零，商贸颓残，人们逃命他方，举目一片萧索。张泰事不避难，明察暗访，制定一系列安民措施，捐税免租，宽政养民，吸引着外出谋生的民众闻风返家，搭棚建社，朝耕夕息，鸡犬渐闻，春苗泛青，秋实在望，深得百姓赞颂。\n担任监察御史后，张泰面对积弊日深的朝政与盘根错节的官场，并不刻意回避矛盾，而是直面奸佞，令人敬佩。他巡察通州时，发现官仓弊端众多，所涉广众，且大多背景神秘，深不可测，但他秉公办理，按图索骥，终于干净利落，清除宿弊，令人鼓掌称快。太监钱能、覃勤勾结万贵妃逆行倒施，指鹿为马，惹祸引兵，搜刮民脂，人们敢怒缄口，道路以目。张泰寻知，暗里侦查，后与御史一起联合弹劾，力请贬斥万贵妃，严惩钱能、覃勤，但因万贵妃为皇帝宠爱，张泰龙颜捋须，惹得皇帝勃然大怒，被廷杖重创，后外放为京畿学政。不久，母亲去世，张泰趁此机会远离京城，守孝乡村，居家十年。\n1492年，57岁的张泰重起乡间，担任云南巡按。耿直如昔的他刚一上任，就惩贪斥污，弹劾失职，调解纷争，修堤筑坝，促进了民族融合，保障了居民安宁，受到民众欢迎。\n后来，甘肃骚乱，地方官员互相推诿，张泰奉命西去调查，他力排阻力，深入调查，发现祸起镇守太监傅德。他勾结总兵，侵占屯田，克扣军饷，兵亡瞒实，马失不报。张泰秉公办理，严惩不法。张泰还促成收回被宦官和边将霸占的牧场。但他因“惹是生非”，触怒权贵，被弹劾中伤，引得皇帝也对他侧目相看，还罚他半年俸禄。\n此后，张泰改任大理寺少卿，奉命调查苏州官占民田为牧场的实情。张泰深知此中暗流奔涌，稍不小心，后果不堪设想。于是，他暗中查证，将当年的田亩簿册一一勘对，证实应还民间田亩为九百三十多顷，后又对失地数字一一查清。但复命后，数遭驳难，众说纷纭，致使这一调查结果悬而不决。直到新皇帝即位，在尚书韩文促成下，朝廷才根据张泰查勘结果作出正确处理。\n1507年(正德三年)，张泰改官南京右都御史。时值宦官刘瑾弄权，大小官员都争相贿结。张泰不屑逢迎，仅在入京奏事时，带上两匹葛布作礼节性探望。刘瑾怀恨在心，扣张泰数百石俸禄以作泄恨。但张泰因多年勤勉尽忠，经吏部考绩，得获优良，升南京户部尚书，但刘瑾大进谗言，令张泰最终失官。张泰有见及此，心中无奈，于是辞呈归乡，次年逝世。",[23,24,66,143,36,37,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95904724a1d81f4728fe14462abd0332.jpg",[56],{"id":473,"slug":474,"title":475,"dynasty":7,"author":63,"museum":19,"description":476,"tags":477,"thumbUrl":478,"material":131,"size":132,"collection":39,"collections":479,"showCount":462,"zanCount":11,"manualWeight":11,"mainColor":43},240551,"ci-zhou-chen-hong-shou-240551","词轴","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[36,52,66,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe46e67a845fb0f2d7a8c444858f830a.jpg",[],{"id":481,"slug":482,"title":483,"dynasty":7,"author":484,"museum":19,"description":485,"tags":486,"thumbUrl":489,"material":131,"size":132,"collection":39,"collections":490,"showCount":462,"zanCount":11,"manualWeight":11,"mainColor":43},235349,"shan-shui-ce-zhang-fu-yang-235349","山水册","张复阳","张复阳(约1403—1490)， 明代画家。名复， 以字行，号南山，浙江平湖人(一作秀水人)，道士，居浙江洞霄宫一枝堂。工书法，善画山水，师法吴镇，画风多作写意，水墨淋漓。",[7,23,24,238,27,29,487,488,33,32,37,36,52,28],"马","松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13af9b1f001365425e8bcea15c6d31a4.jpg",[],{"id":492,"slug":493,"title":494,"dynasty":7,"author":221,"museum":163,"description":495,"tags":496,"thumbUrl":499,"material":500,"size":501,"collection":39,"collections":502,"showCount":462,"zanCount":11,"manualWeight":11,"mainColor":73},233758,"ren-wu-gu-shi-ce-5-chou-ying-233758","人物故事册5","全册共十开，内容取材于历史故事、寓言传说、文人轶事和诗文寓意，具体为子路问津、明妃出塞、贵妃晓妆、南华秋水、吹箫引凤、高山流水、竹院品古、松林六逸、浔阳琵琶、捉柳花图等。这些题材历史上常被画家描绘，但仇英在作品立意、形象塑造和笔墨表现等方面，都注入了自己的才思和技巧，显示出鲜明的个性风格。\n作品主题明确，构思巧妙，不仅人物活动的细节刻画具体明晓，而且注意环境气氛的烘托，使每幅画页都有很强的观赏性。如“贵妃晓妆”页，以杨贵妃清晨在华清宫端正楼对镜理髻为中心，将宫女奏乐、采花和携琵琶等情节同现于一个画面，集中表现了贵妃爱牡丹、喜簪花、善声乐、好打扮的习性，也概括反映了贵妃奢华纵乐的生活内容。又如“高山流水”页，取材于伯牙鼓琴的故事，在描绘俞伯牙草亭弹琴，钟子期拾阶而上，知音相遇的具体情节同时，布置了高山飞瀑、松林流水的静谧清幽环境，形象地表达了高山流水的音乐内容，也衬托出人物的高雅情操，以象征性手法营造出了一个情景交融的臻境。\n此图册运用工笔重彩法。人物情态描绘得细腻精微，文人举止高雅潇洒，仕女容貌端庄娟美。建筑器皿工整精细，山石树木形态各具。笔致工细而不板滞，流畅自然，刚柔相济。敷色艳丽，又多和色，整体色调和谐、清雅。作品具有雅俗共赏的艺术效果，是仇英对唐宋工笔重彩法的创新和发展。",[23,24,238,107,26,29,68,109,32,497,498,7],"山峦","茅屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f5085027baa8e94e1b14d676b966a38.jpg","绢本，设色","纵41.4厘米，横33.8厘米",[],{"id":504,"slug":505,"title":506,"dynasty":7,"author":507,"museum":508,"description":509,"tags":510,"thumbUrl":511,"material":403,"size":39,"collection":39,"collections":512,"showCount":462,"zanCount":11,"manualWeight":11,"mainColor":73},222540,"bian-jing-nan-lou-shi-juan-wang-duo-222540","忭京南楼诗卷","王铎","日本京都国立博物馆","王铎（1592—1652年），字觉斯（之），号十樵、嵩樵、痴庵、痴仙道人、烟潭渔叟，平阳府洪洞县（今山西省洪洞县）人 。明末清初大臣、书画家，王本仁的儿子。正如李志敏所评价：“王铎的草书纵逸，放而不流，纵横郁勃，骨气深厚”。\n天启二年（1622年），考中进士，入选庶吉士，历任太子左谕德、太子右庶子、太子詹事、南京礼部尚书。弘光政权建立，出任东阁大学士。顺治元年（1644年），跟随钱谦益投降清朝，授礼部尚书、弘文院学士、太子少保。顺治九年（1652年），病逝，享年六十一岁，安葬于河南巩义县洛河边，谥号文安。\n善于书法，与董其昌齐名，有“南董北王”之称。书法作品有《拟山园帖》和《琅华馆帖》等。绘画作品有《雪景竹石图》等。\n王铎工正、行、草书，得力于钟繇、王献之、颜真卿、米芾，笔力雄健，长于布局。 [6-7] 有北宋大家之风。当时书坛流行董其昌书风，王铎与黄道周、倪元璐、傅山等人提倡取法高古，于时风中另树一帜。\n在书法上王铎是一位各体皆能、风格多样的书法全才。无论是伟岸遒劲的大楷、高古朴厚的小楷书，还是他那飞腾跳踯的行草书，在晚明书坛上都应说是一流的。正书在王铎作品中不多见，源于唐人而能自出胸襟。\n王铎降清后八、九年时间，书风更趋成熟老辣，其狂草技法已臻化境。书法成了其“贰臣”的心理矛盾和落寞情怀的排遣，故作品已失去崇祯朝的扛鼎之力和奋发之气，而转为理性和孤冷。\n《洛州香山诗轴》，在结字上把米芾的倚侧发挥到了极致，再以涨墨法略去点画改变字形，确实有“破鬼胆”之怪；再以中锋强力掠扛，轻重对比强烈，真正有神龙飞腾的不测之力。\n《明资政大夫正治上卿兵部尚书节寰袁公偕配诰封夫人宋氏合葬墓志铭》是王铎于明崇祯十年（1637年）十二月二十七日为其恩师袁可立书丹，铭文近五千字，是不能多见的王铎长篇小楷。\n《壬午临柳公权帖轴》，行草，王铎用三行布白法，写出五行书来：起首在一行空白中挤出密密的两行小字，结尾以贴零的方法在边沿空隙中挤出一行小字。完全打破了传统的章法平衡美原则。\n《王维五言诗卷》，书于崇桢十六年（1643年），绫本，楷书、草书。此诗卷后半部分的行草在王铎作品中则不乏见，章法变化丰富，行笔能纵能敛，整体感强，结体欹正莫测，点画错综复杂，线条枯实互应，故其成就被人给予很高评价。\n《临王筠帖轴》为四行书，主题三行书如空中的柳条左右摇曵飞舞，没有一处是垂直平衡和安静的，最后一行书乃落款小字，更是从左上向右下摇荡，末了还在边空贴零挤上“王铎”二字穷款。邱振中曾用“轴线连缀”的方法分析王铎每行书的左右摇摆度，以感知这种章法的平面几何关系。这种翰札书、藁草书中很常见的章法布白，一下子在大幅立轴作品中产生了前所未有的惊险效果。这正是王铎平面视觉空间构筑上贯彻其所谓“幽险狰狞”的“魔鬼美学”原则，让人在视觉上如此强烈地感受到“劈山超海，飞沙走石，天旋地转，鞭雷电而骑雄龙”的意象。王铎在书法作品平面空间构成上的美学创造，已历四百年而无人居其右\n《赠张抱一行书诗卷》和《赠张抱一草书诗卷》是王铎五十岁在怀州所书作品，这二卷分别是王铎行书和草书的精品。王铎诗宗杜甫，此二卷十数首感事伤时的诗中发出了“百感中原事，魂魂向夜生”的悲鸣，乃是离乱战火中奔波有感于生灵涂炭的“诗史”品格，因此前卷行书尤显沉雄深厚，后卷草书乃感幽怨缠绵。黄道周评价王铎书法曾有“五十自化”之说 ，这是强调生活与人格历练对书法风格成熟的审美卓见。徐悲鸿曾有一诗，用“蟠、蛟、螭”这种极尽其变的“神龙”来比拟王铎草书所塑造的形象，并赞之曰：“有明书法推第一，屈指匹敌空坤维。”他甚至还发问说：“文安诗作猛虎吼，谁执王字相雌雄？”\n《奉龚孝升书卷》为酒后佳作，行笔刚毅，元气充盈，既是晚年颓废生活偶发牢骚的写照，也是悲剧情怀的痛苦表露，堪称行书代表作之一。\n王铎画山水宗荆浩、关仝，继承了五代荆浩和关仝的风格，王铎的作品丘壑峻伟，皴擦不多，以晕染作气，傅以淡色，沉沉丰蕴，意趣自别。。同时他也吸收董源和王维的画法，主要以水墨晕染为主，皴擦不多，略施淡色，山川显得厚实雄伟，生机勃勃。他的山水画景色比较写实，山石的造型方峻，勾皴相间。他的山水画是以元人的笔墨技法画出了宋人味道。王铎的人物画极少见，而且画法比较简略、写意。间作兰、竹、梅、石，洒然有物外趣。\n王铎能画，但作品流传不多。 他的山水画仿荆浩、关仝却无大山大水的气势，《山水册》中的平冈高松，林峦深壑，空薄烟雨，曲径茅屋倒有苍秀清新之气，引人人胜。王铎善以书法之笔描写花卉枯荣盛衰的姿态，从上海博物馆藏《花卉卷》里可窥一斑。此卷作竹、兰、菊、竹叶、菊瓣及兰叶皆以中锋出之，信手写来，洒脱中含有拙味，与他纵而能敛的书法特点相统一。着意神采，不求形似，洒然有象外之意，最能流露出他文人画的情致逸趣。清顺治三年（1646年）作《渔舟萧闲图》，收入《历代名贤画粹》；清顺治七年（1650年）作《雪景山水图》，收入日本《支那名画宝鉴》；清顺治八年（1651年）罢官归里，作《兰石图》卷、《山水卷》，分别收入《新版世界美术全集》《支那名画宝鉴》。王铎善于画山水和梅兰竹石，山东省济南市博物馆收藏的《雪景竹石图》是王铎为睢阳袁枢精心创作的一幅雪竹作品。",[22,36,52,143,25,27,37,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b990a58a50b4c2546f3fdf93fe77d11.jpg",[],{"id":514,"slug":515,"title":516,"dynasty":7,"author":517,"museum":19,"description":518,"tags":519,"thumbUrl":520,"material":131,"size":132,"collection":39,"collections":521,"showCount":522,"zanCount":11,"manualWeight":11,"mainColor":43},240264,"qi-jue-juan-mo-shi-long-240264","七绝卷","莫是龙","莫是龙（1537年—1587年），得米芾石刻“云卿”二字，因以为字，字云卿，后以字行，更字廷韩，号秋水，又号后明、玉关山人、虚舟子等。南直隶松江府华亭（今上海松江）人，莫如忠长子。明代文学家、书画家、藏书家。\n八岁读书，十岁属文，十四岁补郡诸生，人称“神童”。皇甫汸、王世贞辈亟称之。不喜科举业而攻古文辞及书法、绘画，以贡生终。",[22,7,36,25,52,27,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd35ccf909fb2bae7aa8f44c8f4a7ed4c.jpg",[],7,{"id":524,"slug":525,"title":526,"dynasty":7,"author":527,"museum":19,"description":528,"tags":529,"thumbUrl":530,"material":39,"size":531,"collection":39,"collections":532,"showCount":522,"zanCount":11,"manualWeight":11,"mainColor":43},222246,"shu-shan-ye-wang-chong-222246","书扇页","王宠","王宠（1494-1533），明代书法家，字履仁、履吉，号雅宜山人，吴县（江苏苏州）人。\n邑诸生，贡入太学。博学多才，工篆刻，善山水、花鸟。诗文声誉很高，尤以书名噪一时，书善小楷，行草尤为精妙。\n著有《雅宜山人集》，传世书迹有《诗册》《杂诗卷》《千字文》《古诗十九首》《李白古风诗卷》等。\n王宠诗文书画皆精。书法初学蔡羽，后规范晋唐，楷书师虞世南、智永；行书学王献之，融会贯通。小楷尤清，简远空灵。其名与祝允明、文征明并称。何良俊《四友斋书论》评其书：“衡山之后，书法当以王雅宜为第一。盖其书本于大令，兼人品高旷，改神韵超逸，迥出诸人上。”著有《雅宜山人集》。传世书迹较多，有《诗册》《杂诗卷》《千字文》《古诗十九首》《李白古风诗卷》等。《千字文》，纸本墨迹，行草书。此千字文，凡104行，每行字数不一，共1015字。纵28厘米，横463.6厘米。台北故宫博物院藏。《宝蕴楼书画记》著录。此篇《千字文》结体平稳，俯仰欹侧变化不大，可以窥见其师承王献之、虞世南的轨迹。此帖既有魏晋时期王氏父子风华俊丽、遒逸疏爽之姿，又具初唐时期虞世南的气秀色润、外柔内刚之气。从用笔方面来看，其行草气息平和，干净利落，一丝不苟，笔势凝重、洗练，笔画之间很少有连笔牵丝，字字独立，互不相连。综观此书作，典雅平淡，落落大方，草法严谨。\n青年时代苦读书20年，建越溪庄，设有“采芝堂”、“御风亭”、“小隐阁”、“大雅堂“、“辛夷馆”、“铁观斋”等收藏书画之所，读书练字、作画于湖上，后以诸生入国子监。藏书颇多，于书无所不窥，手写经书皆一再过。滂喜斋藏宋刻《云斋广录》有“王履吉印”、“铁观斋”朱记。又宋刻《东观余论》、元本《扬子法言》印有“雅宜山人珍藏图籍”、“古吴王氏”“王履吉印”“王宠履吉”“太原王宠”“玄微子”“辛夷馆印”“王宠”“雅宜山人”“履吉父”等。",[22,182,52,36,7,27,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F041c00af70a1617f37fc92d5b937f0c4.jpg","19×54cm",[],{"id":534,"slug":535,"title":536,"dynasty":7,"author":537,"museum":49,"description":538,"tags":539,"thumbUrl":541,"material":542,"size":543,"collection":39,"collections":544,"showCount":522,"zanCount":11,"manualWeight":11,"mainColor":43},222070,"guan-yin-wu-bin-222070","观音","吴彬","吴彬（1550—1643），字文中，又字文仲，明代绘画大师，别字质先，别称文中父、文中子，自号壶谷山樵、遵道生、织履生、一枝栖、枝隐生、枝隐居士、朱湖太生洞天居士、枝隐庵主、枝庵发僧、枝隐头陀、枝隐庵头陀和“金粟如来”等，兴化府（今福建省莆田市）黄石人。流寓金陵（今江苏省南京市）。万历年间，明神宗朱翊钧召见吴彬，试殿中第一，授中书舍人，历工部主事。供职于宫廷画院。工山水，布置绝不摹古，佛像人物，形状奇怪，迥别前人，自立门户。中国国画大师，明代宫廷大画家，晚明人物“变形主义画风”和“复兴北宋经典山水画风”的主要倡导者和领导者之一，享有“画仙”之誉。1988年11月，其名作《文杏双禽图》被收入《中国历代绘画》，列为中国上下五千年的28幅绘画杰作之一。2009年，北京保利秋拍吴彬名作《十八应真图卷》最终以1.6912亿元高价成交，创下当时中国画拍卖价格新的世界纪录。",[22,23,24,7,67,26,68,30,540,107],"孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F113196b48661d21fd07d43fc338d39c0.jpg","纸本设色","62.3x35.3",[],{"id":546,"slug":547,"title":548,"dynasty":7,"author":399,"museum":549,"description":550,"tags":551,"thumbUrl":552,"material":553,"size":554,"collection":39,"collections":555,"showCount":522,"zanCount":11,"manualWeight":11,"mainColor":73},221874,"ming-cheng-tang-zi-shu-shi-shi-zhang-juan-huang-dao-zhou-221874","明诚堂自书诗十章卷","原作佚失","历来书家都赞成“书如其人”的观点。在唐以前文人对人品美的概括是侧重于人的心灵自由，不太强调儒家的“忠、孝、节、义”，然而南宋以降，对人品美的概括则逐渐偏向对忠诚、气节等伦理方面，“失节”成为人品的最大污点。\n因而在评论其书时，也往往带有一些讥讽。这也是人们在评价明末清初的几位书家时，推崇倪元璐、黄道周、傅山，而对王铎则颇有微词的缘由。黄道周是明代最具创造力的书家之一，同时也是人品和书品完美结合的一位书家。黄道周是传统文人士大夫的代表，是儒家信条和道统标准的信奉者，一生忠孝、正直。正是他的这种精神，才造就了他的人格魅力，他的书法才会充满生命力和感染力。\n黄道周把忠孝当作是言行的准则，在他的一生中，把“忠孝”放在首位，入则言朝，出则守墓，在其二十多年的为官经历中，黄道周都保持了一个儒家传统卫道士的形象，对一些违背原则的事情据理力争，从不妥协，表现了其忠肝义胆的气节。",[22,36,25,52,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f0385f62d31dadbc0e3c12e8f5121a4.jpg","行草","纵30cm，横305cm",[],{"id":557,"slug":558,"title":559,"dynasty":7,"author":121,"museum":19,"description":333,"tags":560,"thumbUrl":563,"material":131,"size":132,"collection":39,"collections":564,"showCount":565,"zanCount":42,"manualWeight":11,"mainColor":43},256183,"qing-hua-fan-hong-cai-hai-shui-long-wen-wan-yi-ming-256183","青花矾红彩海水龙纹碗",[7,124,126,561,562,420,129],"矾红彩","海水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad660e02176b8ac0ee92ef1612e3c8d6.jpg",[],6,{"id":567,"slug":568,"title":569,"dynasty":7,"author":121,"museum":19,"description":570,"tags":571,"thumbUrl":574,"material":131,"size":132,"collection":39,"collections":575,"showCount":565,"zanCount":11,"manualWeight":11,"mainColor":341},255309,"liu-li-zhen-wu-di-zuo-xiang-yi-ming-255309","琉璃真武帝坐像","中国雕塑是指具有中国特色且原产于中国的雕塑艺术品。中国雕塑（Chinese sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[7,572,67,68,292,195,573],"琉璃","青绿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16652a5e8f5bcf426d09c45aaece8274.jpg",[],{"id":577,"slug":578,"title":579,"dynasty":7,"author":121,"museum":19,"description":416,"tags":580,"thumbUrl":583,"material":131,"size":132,"collection":39,"collections":584,"showCount":565,"zanCount":11,"manualWeight":11,"mainColor":341},249053,"qia-si-fa-lang-si-ji-hua-hui-wen-cong-shi-ping-yi-ming-249053","掐丝珐琅四季花卉纹琮式瓶",[7,581,582,128,127,129,26],"掐丝珐琅","珐琅器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59636e5f99f575cbeef5546f2b56e7fc.jpg",[],{"id":586,"slug":587,"title":588,"dynasty":7,"author":589,"museum":19,"description":590,"tags":591,"thumbUrl":592,"material":403,"size":39,"collection":56,"collections":593,"showCount":565,"zanCount":11,"manualWeight":11,"mainColor":43},240260,"wu-lv-zhou-liu-yi-ming-240260","五律轴","刘翼明","刘翼明（1607-1688），字子羽，号越台，今胶南市琅琊镇刘家村人。生于明万历22年卒于康熙，终年82岁。著名诗人，善书法，才华横溢，倍受王渔洋推崇。《清史稿》《中国人名大词典》《中国美术家大辞典》等均有记载。\n其父刘元化为明万历举人，曾任高陵县、雒川县县令，敕授文林郎。刘翼明为元化之次子。刘翼明才华横溢、文思敏捷，自幼善书画、精书法、工诗文，有“神笔刘子羽”的美称。与当时的名士王无竟有诗坛“刘王”之称。刘翼明学识渊博、为人坦诚，视友人为手足。好友王无竟被仇家杀害，母老弟幼，不能诉讼，胶州知州又收受贿赂，偏袒仇家。于是刘翼明挺身而出为其伸冤。在青州知府衙门前，连续三天不吃不喝，披发连哭三昼夜，迫使知府将案件调出，移交另地审理，使三年冤情得伸，恶人遭到惩处。此事被清人纪圣选编成《青衿侠传奇》词曲，在胶东广为流传。刘翼明所作诗文近千首，其部分诗文被收入《镜庵集》、《北亭诗集》等。",[7,23,24,66,52,36,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65518ea77c7a569b309b73fc6d04788c.jpg",[56],{"id":595,"slug":596,"title":597,"dynasty":7,"author":121,"museum":19,"description":598,"tags":599,"thumbUrl":603,"material":131,"size":132,"collection":39,"collections":604,"showCount":565,"zanCount":11,"manualWeight":11,"mainColor":43},237533,"zheng-zhong-xiang-long-luo-han-xiang-shan-ye-yi-ming-237533","郑重降龙罗汉像扇页","金笺底面上，设色古雅沉静。红衣罗汉安坐危崖，手捧灵草，面容恬和淡然，暖调衣袂破开浅赭淡墨的清冷，禅意自生。崖畔草木皴点细腻，隐露生机，左侧云气以晕染绘就，虚渺柔润，衬出崖畔幽寂氛围。\n\n画面疏密得宜，简淡间静穆禅韵尽显。笔致温婉内敛，将世外僧者的幽居之景铺陈开来，既有文人画的清雅意趣，又饱含宗教题材特有的空灵氛围感，观之便如临清寂山境，俗尘尽涤。",[23,182,26,68,67,600,32,7,601,602,27,107],"岩石","罗汉","降龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a7481e8347c83f9ab8503a4d74d87b8.jpg",[],{"id":606,"slug":607,"title":608,"dynasty":7,"author":609,"museum":19,"description":610,"tags":611,"thumbUrl":612,"material":39,"size":39,"collection":39,"collections":613,"showCount":565,"zanCount":11,"manualWeight":11,"mainColor":43},224206,"shu-hua-ce-ye-16-xiao-yun-cong-wu-guo-dui-224206","《书画册页》-16","萧云从 吴国对","此幅行书题诗笔致秀雅灵动，结体舒展安和。起笔收锋自带文人清逸书卷气，字距错落有致，行气疏朗从容。\n\n诗句隽秀清雅，以石骨冰肌衬出幽居雅意，将春日将雪的清寂仙气融于笔墨之间。朱红印章与泛黄素纸相映，金石朴拙中和了笔锋秀润，尽显文人寄情山水、醉心林泉的雅致襟怀，是诗书印合一的小品佳制。",[22,7,24,238,52,37,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda0575266b8de62bc752b24fb55d1b49.jpg",[],{"id":615,"slug":616,"title":617,"dynasty":7,"author":527,"museum":618,"description":619,"tags":620,"thumbUrl":621,"material":622,"size":623,"collection":39,"collections":624,"showCount":565,"zanCount":11,"manualWeight":11,"mainColor":39},220717,"xing-shu-jie-quan-1-wang-chong-220717","行书借券1","香港中文大学文物馆","王宠字履仁，后更字履吉，号雅宜山人，吴县（今苏州）人。出生于业商家庭，父王贞雅好收藏古器物书画，并与文征明等贤达时相往来，情谊甚笃。王宠早年与兄王守在苏州太湖洞庭山随蔡羽求学，既而读书石湖之上，二十年中「非岁时省侍，不数数入城。」王宠生平以名节着闻，关于他性情高洁的记述屡见于文词，其洒然出尘的隐者形象深入人心。自正德庚午（1510）至嘉靖辛卯（1531）间，王宠共参加了八次科考，但皆以失败告终，最后一次赴试离他去世只有两年，可想见其终生都在为科名繁忙。\n\n嘉靖七年（1528）四月，王宠请文彭作中，向袁褒借银五十两。文物馆所藏王宠借券，为是次告贷的一纸票据。全券行书八行六十八字，尺幅细小，但历经累世题咏，已成一帧长手卷。券中，双方约定以二分起息，并于同年十二月连本带利偿还，券末有王宠与文彭署名及花押，从内容到形式适合于市井借贷的常例。尽管如此，此券是否真为一件当时借贷的凭据，历来意见不一，从卷后各家的题跋可以窥其大端。质疑者认为，王宠与袁氏交情素厚，借五十金本不必有券，即使有券，亦不必言利，因而仅以「游戏之笔」视之。不过因嘉靖七年是王宠第七次赴科试之年，不少人有见于王宠当时的经济状况和赴考花销，认为借贷之举应是确有其事，虽则王、袁有通财之谊，但既属借贷，王宠也就按著成规，正式立下了借据。\n\n此券后为好事者藏去，数经转徙，甚至一度险付劫灰，而终得以保全，三四百年中代有名贤题咏赞赏，考据二氏生平及往来唱酬之风雅韵事，盖皆当日诸君无从料想之事。惜天不假年，王宠得寿仅四十。虽然人生短暂，其生前的艺术成就已为他赢得书法史上重要的一席。明中期书法以吴门为盛，年轻书家辈出，而唯有王宠得与祝允明、文征明二巨公并称「三家」而无异议。王宠书艺成熟得较早，二十多时已初具规模，大体规摹永兴、大令，高蹈晋法，后虽日臻成熟，其初衷无改。此帧借券书于三十五岁时，属「晚期」之作，即呈现出他那种为世所知的书风。虽然在王宠的传世书作中，此借券不甚起眼，且非「用意之作」，却得后世跋者如林，有为之歌咏作长篇者，有详悉考之成文章者，实洋洋大观，是知王宠书迹可贵，不独以艺事之工。而此券的流传，无疑又为后世提供了「书以人重」的又一典范。",[7,52,36,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa264c4db330f82441edddd77728e224.jpg","水墨,纸本,手卷","24.3 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剔彩龙舟图荷叶式盘","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。",[7,767,768,195,26,769,770,109,108,419],"漆器","剔彩","龙舟","荷叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1512a6620f5c7d1dabf386ba38bf931c.jpg",[],{"id":774,"slug":775,"title":776,"dynasty":7,"author":777,"museum":19,"description":778,"tags":779,"thumbUrl":783,"material":403,"size":39,"collection":56,"collections":784,"showCount":703,"zanCount":42,"manualWeight":11,"mainColor":43},241087,"you-chong-hua-si-shi-juan-chen-yi-241087","游崇化寺诗卷","陈沂","陈沂（一四六九-一五三八）[明]，字号：宗鲁、鲁南、石亭、小坡。 浙江鄞县(今浙江宁波)人，擅长书法及山水，以医籍居南京。\n陈沂（一四六九-一五三八）[明]，字号：宗鲁、鲁南、石亭、小坡 浙江鄞县(今浙江宁波)人，擅长书法及山水，以医籍居南京。初学宗鲁﹝应系初字宗鲁之讹﹞，后改鲁南，号石亭。少年时慕苏轼学行，因号小坡。正德十二年进士，官编修，嘉靖中以行太仆卿致仕。工诗文书画，与顾璘、王韦称“金陵三俊”。相传他在六七岁时就能模仿前人画迹。年长，好画山水，在翰林院时与名画家文徵明为同僚友好，经常切磋研讨，对于技法有进一步的提高。他在做官的历程中，对于所经历的名山大川，都留心观察，临写成为画卷。",[7,52,36,25,649,441,780,781,782,631,37],"云","水","寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b1e28fdcdfbbedc46c7f43d9be018d6.jpg",[56],{"id":786,"slug":787,"title":588,"dynasty":7,"author":399,"museum":19,"description":788,"tags":789,"thumbUrl":790,"material":131,"size":132,"collection":39,"collections":791,"showCount":703,"zanCount":11,"manualWeight":11,"mainColor":43},241026,"wu-lv-zhou-huang-dao-zhou-241026","黄道周（1585年3月9日—1646年4月20日），汉族，字幼玄，一作幼平或幼元，又字螭若、螭平，号石斋，世人尊称石斋先生。为明末学者、书画家、文学家、民族英雄。福建漳州府漳浦县（今福建省东山县铜陵镇）人，祖籍福建莆田，其曾祖从莆田迁徙至漳州。\n天启二年（1622年）进士，改庶吉士，深得考官袁可立赏识。历官翰林院修撰、詹事府少詹事。南明隆武（1645年-1646年）时，任吏部尚书兼兵部尚书、武英殿大学士（首辅）。因抗清失败被俘。隆武二年（1646年）壮烈殉国，享年62岁。隆武帝赐谥“忠烈”，追赠文明伯。清乾隆四十一年（1776年）追谥“忠端”。与刘宗周并称“二周”。\n黄道周通天文、理数诸书。工书善画，诗文、隶草皆自成一家，先后讲学于浙江大涤、漳浦明诚堂、漳州紫阳、龙溪邺业等书院，培养了大批有学问有气节的人。",[7,36,52,66,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4684f7bed44d4b9423b6411f553be237.jpg",[],{"id":793,"slug":794,"title":795,"dynasty":7,"author":796,"museum":19,"description":797,"tags":798,"thumbUrl":799,"material":131,"size":132,"collection":39,"collections":800,"showCount":703,"zanCount":11,"manualWeight":11,"mainColor":43},240400,"shi-zhou-chen-ji-ru-240400","诗轴","陈继儒","陈继儒（1558年12月14日-1639年10月16日），字仲醇，号眉公、麋公，松江府华亭（今上海市松江区）人。明朝文学家、画家。\n诸生出身，二十九岁开始，隐居在小昆山，后居东佘山，关门著述，工诗善文，书法学习苏轼和米芾，兼能绘事，屡次皇诏征用，皆以疾辞。擅长墨梅、山水，画梅多册页小幅，自然随意，意态萧疏。论画倡导文人画，持南北宗论，重视画家修养，赞同书画同源，有《梅花册》《云山卷》等传世。著有《陈眉公全集》《小窗幽记》《吴葛将军墓碑》《妮古录》。",[7,36,66,52,27,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F966373256383c4be941d0b935fe55fbd.jpg",[],{"id":802,"slug":803,"title":804,"dynasty":7,"author":805,"museum":163,"description":806,"tags":807,"thumbUrl":808,"material":403,"size":39,"collection":56,"collections":809,"showCount":703,"zanCount":11,"manualWeight":11,"mainColor":43},239585,"jiao-yan-tie-ce-ye-wang-hong-239585","教言帖册页","王竑","王竑（1413年—1488年），字公度，号休庵、戅庵。湖北江夏（今属武汉市）人，生于河州（今甘肃临夏）。明朝名臣。\n王竑为正统四年（1439年）进士，授户部给事中，豪迈负气节，正色敢言。土木之变后奋臂率众击毙王振党羽、锦衣指挥马顺，名震天下。也先入犯，受命受御京城，擢右佥都御史，寻督漕运，再抚淮、扬。明宪宗初年，官至兵部尚书。致仕后居家二十年。\n弘治元年（1488年），王竑去世，年七十五。明武宗时追赠太子少保，谥号“庄毅”。",[7,36,52,238,37,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ff26d78a700838e78b4642a6149eaf.jpg",[56],{"id":811,"slug":812,"title":813,"dynasty":7,"author":121,"museum":19,"description":814,"tags":815,"thumbUrl":818,"material":131,"size":132,"collection":39,"collections":819,"showCount":703,"zanCount":42,"manualWeight":11,"mainColor":73},228569,"bai-di-lv-long-wan-yi-ming-228569","白地绿龙盌","白地绿彩龙纹荷叶碗，外壁饰行游绿龙，间以火珠，壬”字云纹，龙身盘曲遒劲；足部饰暗刻江牙海水。碗底书“大清乾隆年制”三行六字篆书青花款。此制式暗刻龙纹细腻生动，施彩设色淡雅脱俗",[124,26,419,7,816,817],"白地","绿彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc849988bfb4c3b90c661f2a1cb59ac6f.jpg",[],{"id":821,"slug":822,"title":823,"dynasty":7,"author":824,"museum":49,"description":825,"tags":826,"thumbUrl":827,"material":828,"size":829,"collection":39,"collections":830,"showCount":703,"zanCount":11,"manualWeight":11,"mainColor":43},222460,"shu-gu-shi-zhou-shen-can-222460","书古诗轴","沈粲","沈粲（1379－1453），字民望，号简庵，华亭（今上海）人，与沈度合称“二沈”。兄弟二人均因书法佳善，荐授中书舍人。沈粲行草书从二王得法，同时参取宋克和沈度的经验，行笔偶或出锋扬起波磔，别具飞动的态势。这件立轴书录元末明初诗人高启‘拟古诗’一首，点画瘦劲，融会大草书的体势，略与怀素狂草风格相近，由是可知，沈粲行草书原不止于一家之学。\n明朝一代书风，承续宋元以来帖学的传统。前期书法，明直接师承元人，以草书、楷书成就较大。为适应当时盛行的科举制度，由于沈度、沈粲擅长楷书和行草，光润妩媚，因得到永乐皇帝的溢美恩宠而声名显赫，朝野竞学，尤为中书舍人们所效法，形成被称为“纱帽字”的“台阁体”。",[22,7,36,66,143,27,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3f636614e2fcc767af22b02427225a0.jpg","纸本行草","纵83.4cm，横33.8cm",[],{"id":832,"slug":833,"title":834,"dynasty":7,"author":835,"museum":19,"description":836,"tags":837,"thumbUrl":838,"material":107,"size":839,"collection":39,"collections":840,"showCount":703,"zanCount":11,"manualWeight":11,"mainColor":43},222041,"de-qu-zai-ren-ce-13-kai-1-wang-zhong-222041","得趣在人册13开1","汪中","汪中，明代画家，以翎毛、山水、人物精擅一时。汪中应人之邀作《得趣在人》册页，共十二开，工笔绘芭蕉、哺雀、舞剑等，此册技法上笔墨雅韵，意境深邃。",[7,24,36,52,238,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccfafefefc5b45f065e542e1cdd5d131.jpg","30×27cm",[],{"id":842,"slug":843,"title":844,"dynasty":7,"author":527,"museum":618,"description":619,"tags":845,"thumbUrl":846,"material":622,"size":623,"collection":39,"collections":847,"showCount":703,"zanCount":11,"manualWeight":11,"mainColor":39},220715,"xing-shu-jie-quan-3-wang-chong-220715","行书借券3",[22,7,52,36,24,25,27,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff780fd9ab813729ba84c1ad3075dde1c.jpg",[],{"id":849,"slug":850,"title":851,"dynasty":7,"author":852,"museum":19,"description":853,"tags":854,"thumbUrl":857,"material":403,"size":39,"collection":39,"collections":858,"showCount":703,"zanCount":11,"manualWeight":11,"mainColor":341},217160,"shui-hu-quan-tu-31-du-jin-217160","水浒全图-31","杜堇","杜堇的人物画宗法李公麟，笔法精劲流畅，别具秀逸之态，因此他被推为当时画坛的白描高手。其人物画大都表现古代传说故事或逸闻趣事，并以山水及园林景致为衬景，有的还题诗作赋，显示着一派文入画的格调。",[7,69,68,855,856],"老树","兵器","https:\u002F\u002Foss.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"天鹅绒白。清代除烧白瓷外，盛烧青花与彩绘瓷器。元代以来，德化窑瓷器输出海外，菲律宾、马来西亚出土有元代德化窑青白瓷，泰国及东非坦桑尼亚等国家也出土有清代德化窑青花瓷器。\n这种瓷器的制作工艺程序如下：他们从地下挖取一种泥土，将它垒成一个大堆，任凭风吹、雨打、日晒，从不翻动，历时三、四十年。泥土经过这种处理，质地变得更加纯化精炼，适合制造上述各种器皿，然后抹上认为颜色合宜的釉，再将瓷器放入窑内或炉里烧制而成。因此，人们挖泥堆土，目的是替自已的儿孙贮备制造瓷器的材料而已，大量的瓷器是在城中出售， 一个威尼斯银币能买到八个瓷杯“。马可波罗的介绍，引起了西方人的强烈兴趣。",[7,884,865,381,885,124,886],"德化窑","玉兰纹","尊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec198ff4399eb1f8a3a5a66fe6f984fe.jpg",[133],{"id":890,"slug":891,"title":892,"dynasty":7,"author":121,"museum":19,"description":893,"tags":894,"thumbUrl":897,"material":131,"size":132,"collection":39,"collections":898,"showCount":869,"zanCount":11,"manualWeight":11,"mainColor":341},252624,"qing-yu-lou-diao-zheng-long-xiang-zi-tan-mu-kuang-cha-ping-yi-ming-252624","青玉镂雕正龙镶紫檀木框插屏","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。",[7,895,738,896,195,419],"玉石","镂雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ed858bdf6d795e5e2049999474abcc0.jpg",[],{"id":900,"slug":901,"title":902,"dynasty":7,"author":121,"museum":19,"description":893,"tags":903,"thumbUrl":905,"material":131,"size":132,"collection":39,"collections":906,"showCount":869,"zanCount":11,"manualWeight":11,"mainColor":341},251036,"qing-yu-lou-diao-xian-ling-zhi-zi-mu-wo-lu-yi-ming-251036","青玉镂雕衔灵芝子母卧鹿",[7,895,896,293,904,292],"灵芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F105a6d8f243383e62549abbf15dc7650.jpg",[],{"id":908,"slug":909,"title":910,"dynasty":7,"author":121,"museum":19,"description":893,"tags":911,"thumbUrl":913,"material":131,"size":132,"collection":39,"collections":914,"showCount":869,"zanCount":11,"manualWeight":11,"mainColor":73},250807,"qing-yu-shuang-lian-li-zhi-he-yi-ming-250807","青玉双连荔枝盒",[7,895,195,912,129],"荔枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22ebacadab8bd4163263260396278089.jpg",[],{"id":916,"slug":917,"title":918,"dynasty":7,"author":121,"museum":19,"description":919,"tags":920,"thumbUrl":922,"material":131,"size":132,"collection":39,"collections":923,"showCount":869,"zanCount":11,"manualWeight":11,"mainColor":43},246351,"hong-qi-qiang-jin-shuang-long-wen-da-ming-pu-xi-chang-fang-xia-yi-ming-246351","红漆戗金双龙纹大明谱系长方匣","以朱红漆为底，戗金技法勾勒双龙穿云，龙姿矫健雄劲，鳞爪分明，祥云缭绕烘托出威严庄重的气度。盖板开光内錾刻款识，边缘以缠枝纹样与莲瓣开光点缀，层次丰富，纹饰排布规整华丽。抽拉式匣身配铜质拉环，将装饰性与实用性相融一体。整体髹漆匀净莹润，戗金线条流畅劲挺，纹饰繁而不乱，尽显明代髹漆工艺的华贵精致，尽显官造器物的端庄质感，是漆作工艺与礼制意蕴结合的上乘之作。",[767,921,419,129,7,420],"戗金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F705dfea28fc315f2ba62d3e5ccc02391.jpg",[],{"id":925,"slug":926,"title":927,"dynasty":7,"author":121,"museum":19,"description":416,"tags":928,"thumbUrl":931,"material":131,"size":132,"collection":39,"collections":932,"showCount":869,"zanCount":11,"manualWeight":11,"mainColor":341},246069,"ti-hong-mu-dan-feng-huang-wen-wan-yi-ming-246069","剔红牡丹凤凰纹碗",[767,929,195,360,930,7,129],"剔红","凤凰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafda6f126c1df0414822f7777838029c.jpg",[],{"id":934,"slug":935,"title":936,"dynasty":7,"author":260,"museum":19,"description":261,"tags":937,"thumbUrl":938,"material":131,"size":132,"collection":39,"collections":939,"showCount":869,"zanCount":11,"manualWeight":11,"mainColor":43},241361,"xi-hu-fan-zhou-shi-zhou-dong-qi-chang-241361","西湖泛舟诗轴",[7,36,52,66,37,209,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22e6194a0c314d17c8a4f2473299d8bb.jpg",[],{"id":941,"slug":942,"title":795,"dynasty":7,"author":943,"museum":19,"description":944,"tags":945,"thumbUrl":946,"material":131,"size":132,"collection":39,"collections":947,"showCount":869,"zanCount":11,"manualWeight":11,"mainColor":43},240840,"shi-zhou-ruan-da-cheng-240840","阮大铖","阮大铖（1586年～1646年），字集之，号圆海、石巢、百子山樵。南直隶安庆府桐城县（今安徽省枞阳县）人。明万历四十四年（1616年）中进士。明朝末年大臣，戏曲作家。\n阮大铖以进士居官后，先依东林党，后依魏忠贤，崇祯朝以附逆罪去职。明亡后在福王朱由崧的南明朝廷中官至兵部尚书、右副都御史、东阁大学士，对东林、复社人员大加报复，南京城陷后降于清，后病死于随清军攻打仙霞关的石道上。\n所作传奇今存《春灯谜》《燕子笺》《双金榜》和《牟尼合》，合称“石巢四种”。",[7,36,66,52,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fe8daf5efacefbdd16047619df8945e.jpg",[],{"id":949,"slug":950,"title":951,"dynasty":7,"author":952,"museum":19,"description":953,"tags":954,"thumbUrl":955,"material":131,"size":132,"collection":39,"collections":956,"showCount":869,"zanCount":11,"manualWeight":11,"mainColor":73},240660,"hu-qiu-shi-juan-wang-heng-240660","虎丘诗卷","王衡","王衡（1562年10月6日—1609年3月4日），生于嘉靖四十一年九月九日，卒于万历三十七年正月二十九日。字辰玉，号缑山、别署蘅芜室主人，南直隶苏州府太仓州（今江苏太仓）人。 万历时期首辅王锡爵之子，明末清初画家王时敏之父。\n万历十六年（1588年）顺天乡试，王衡因是大学士王锡爵之子，且当时首辅申时行的女婿也同时中举。有言官弹劾主试官，认为有作弊嫌疑。虽然王衡在随后的复试中取得第一获准参与会试，但言官们仍不依不饶，为避免父亲王锡爵陷入更大的党争之中。王衡在他父亲执政期间没再参加考试。万历二十九年（1601年），王锡爵致仕后，王衡再次走进科场，以一甲第二名（榜眼）及第，授任翰林院编修。后辞官归隐，中年早卒。",[22,7,36,52,25,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cfe419008f91ea8577897a33b167af6.jpg",[],{"id":958,"slug":959,"title":960,"dynasty":7,"author":121,"museum":19,"description":333,"tags":961,"thumbUrl":964,"material":131,"size":132,"collection":39,"collections":965,"showCount":869,"zanCount":42,"manualWeight":11,"mainColor":43},228513,"qing-hua-hua-guo-long-wen-chang-fang-he-yi-ming-228513","青花花果龙纹长方盒",[7,124,126,419,962,129,963],"花果","长方","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9c2b2542852b48c16a27b7dce1a5a98.jpg",[],{"id":967,"slug":968,"title":969,"dynasty":7,"author":121,"museum":19,"description":970,"tags":971,"thumbUrl":976,"material":131,"size":132,"collection":39,"collections":977,"showCount":869,"zanCount":11,"manualWeight":11,"mainColor":73},228417,"fu-hui-xi-yi-ming-228417","赴会西","位于法海寺大殿内的壁画 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还可以反映出各个时代雕塑艺术的水平。\n秦代的秦始皇陵兵马俑，形体比人略高，陶制，是已知最大的俑；另外还有铜俑等。汉俑种类比以前增多，有兵士、女侍、仆役及乐舞俑。南方以木俑为多，有的彩绘着衣。其他地方多陶、石、木、金属等多种材质的俑，注重传神。两晋南北朝制作多样，南方承中原传统并有了瓷俑；北方出了少数民族形象的陶俑。隋唐俑型大而精美，三彩俑为盛唐时的制作高峰。现在能见到的，是保存在陕西省历史博物馆的唐三彩杰作，有陕西省乾县懿德太子李重润墓出土的、三彩纹胎骑马狩猎俑，和西安市中堡村唐墓出土的唐三彩骆驼戴乐舞俑。这些俑的特点，普遍是形象高大雄健，神态生动富有传神，可谓形神俱佳的作品。并反映了盛唐时期，中华民族富有创造性和豪迈自信的民族性格。五代以后，以俑殉葬的风气开始低落，金元墓葬中出现了陶塑、砖雕表演杂剧的俑，往往成组塑造，还有舞台背景，较为生动，是制作俑的最后一个高潮，以山西出土为多。明清墓葬中俑的出现渐少。在高官王侯墓中出土有木俑和石俑，多以成群人物或辅以仪仗、侍从的庞大场面，用来炫耀死者地位为主，但作为雕塑制品已失去了艺术感染力。秦兵马俑的历史文化价值是独具魅力的。它打开了观察它所产生的那个时代的窗口，大大地改变了人们对那个时代的看法。\n秦兵马俑震撼世人的首推其卓越的艺术成就。几千件魁伟英武的大型陶塑艺术作品，以整体形象排列在将近两万平方米的空间里，其磅礴的气势几乎使所有不同肤色的参观者都从心灵深处产生强烈震颤，体现出艺术家驾驭宏大艺术题材、追求整体气韵和艺术创造的卓越才能。秦俑千人千面、呼之欲出的人物塑造则从形体把握、神韵处理、色彩运用、细部刻画等方面表现出作者的艺术素养和艺术成就。作品写实主义的风格不仅给我们留下了一个高超的古代艺术范本，同时也留下了许多关于那个时代的极富价值的历史记录。严肃划一的军旅题材能够处理得如此生动，产生如此震撼人心的艺术魅力，使人们不得不换一副眼光来审视中国古代艺术发展历程中的特殊规律，重新探索和构架中国古代造型艺术发展的历史。\n秦兵马俑坑文物的出土也较大幅度地改写了人们对秦代的科技水平的认识，以大量的实证材料形象地展现了秦代生产力的发展水平。就科技史而言，秦俑坑发现的许多资料都是令世人震惊的。譬如：1、秦俑坑出土文物所展现的秦代冶金和金属加工技术比我们以往的估计要高出很多，其中青铜涂铬防锈技术的大量应用是最具代表性的一例，它在当时已是一种很成熟的技术，秦俑出土的绝大多数兵器表面都涂有这种保护层。这种绝技似乎从汉代以后就失传了，与之形成鲜明对比的是，两千多年后的1937年，现代镀铬技术才在德国产生，并以专利发明载入了史册。2、秦俑坑出土兵器明确印证了秦简中关于“为器同物者，其小大、短长”是一种标准化概念，秦人在标准化实践方面取得了惊人的成就。这种标准化既是秦人管理艺术发展的代表，也是秦代科技水平的标志。秦人加工的青铜弩机器件精密、形体标准，相同规格的器件完全可以互换。许多特殊的加工工艺，如青铜铍脊上的纹饰生成，纤如毫发的金属小孔钻刻技艺，也都令人叹为观止，一些工艺至今还是不解之谜。由于古代统治者们有重政治、重伦理、崇人事而轻科技的倾向，史书关于科技的记载往往简略残缺，秦代科技资料更是凤毛麟角。正因为如此，秦俑考古的历史文化价值也就更加重要。\n俑坑数千兵马俑所展示的军事内容无疑是军事史研究的最重要的、最形象的资料之一，许多资料使人们对古代军事领域的认识更进一步。譬如，关于当时的兵种构成、组合搭配和结阵形式，兵器、兵器配置形式以及甲具防护装备，军伍组织结构和指挥系统，甚至军伍士卒的来源等，都有珍贵的资料价值。二号坑弩兵的单独结阵，骑兵、轻车兵的编队和配合，是以前有所不知或知之不详的重要资料，以之对照《孙膑兵法》中关于车、步、骑配合原则的论述，给人留下的印象是极其深刻的。古代军事著述中关于兵器配置中长短相杂、相救的原则在秦俑坑兵器配置中也有直观表现，同样有其军事科学上的研究价值。难怪有人将秦俑三坑称为一座内容丰厚的秦代军事博物馆。\n历史本身赋予了秦俑多种历史文化价值。秦俑所折射的历史层面既多又广，在建筑史、服饰史、制度史尤其是王陵制度史等方面，具有独特的认识价值。即使秦俑的身高、体魄、服饰发髻、刻记文字以及秦人在俑坑留下的生产工具和劳作痕迹，都能从不同侧面反映出秦代社会生活的真实影像，反映出一个时代的文化特质，反映出秦兴亡的历史真谛。\n秦俑坑出土文物的精美和丰富，是文物所代表的那个时代物质成就的直接见证。它让人们重新认识和评价那个时代，也提出了许多值得探讨的历史课题，譬如关于帝王权力的重新认识、秦代文化的特质、秦在中国历史发展中的地位等。与之相联系的是，秦始皇的历史评价又一次成为人们关注的话题，秦俑坑出土文物所反映的科技水平和生产能力，在一定程度上反映出秦始皇所起的某种积极作用，同时也从一个侧面证实史书中提到的秦代好大喜功、横征暴敛的统治问题。秦俑考古还在继续，相信对这些问题的研究将会随着考古的进展而不断深入。",[7,124,1398,1399,1400,68,1401,26],"陶制","俑","立俑","紫绿釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c84e43c5e347441a4ab4c15bb0ae90c.jpg",[],{"id":1405,"slug":1406,"title":1407,"dynasty":7,"author":121,"museum":19,"description":893,"tags":1408,"thumbUrl":1411,"material":131,"size":132,"collection":39,"collections":1412,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":73},252480,"long-wen-yu-dai-yi-ming-252480","龙纹玉带",[895,419,195,1409,7,369,1410],"饰品","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c4eb0258e9667ae5af5808d68c8fcb1.jpg",[],{"id":1414,"slug":1415,"title":1416,"dynasty":7,"author":121,"museum":19,"description":1417,"tags":1418,"thumbUrl":1421,"material":131,"size":132,"collection":39,"collections":1422,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":341},252133,"bai-yu-tou-diao-shuang-long-peng-shou-wen-chang-fang-cha-ping-yi-ming-252133","白玉透雕双龙捧寿纹长方插屏","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。\n以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n玉器经历7000多年的发展，从简单的装饰品发展到古代宗教祭拜、礼仪用品，再到象征高尚道德品质的装饰品，最后上升为丰富的艺术鉴赏作品，深入反映了不同历史时期的社会发展演变过程。",[7,895,1419,419,1420,129],"透雕","寿纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26319e9217cfd6c9d60f31984b422440.jpg",[],{"id":1424,"slug":1425,"title":1426,"dynasty":7,"author":121,"museum":19,"description":1417,"tags":1427,"thumbUrl":1434,"material":131,"size":132,"collection":39,"collections":1435,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":43},251244,"bai-yu-qian-bao-hua-er-bei-yi-ming-251244","白玉嵌宝花耳杯",[7,895,195,1428,1429,1430,1431,1432,1433],"嵌宝","花耳","杯","玉器","嵌饰","宝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa82c550d9adc88b615203b0c2bfe98df.jpg",[],{"id":1437,"slug":1438,"title":1439,"dynasty":7,"author":121,"museum":19,"description":893,"tags":1440,"thumbUrl":1442,"material":131,"size":132,"collection":39,"collections":1443,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":73},250827,"qing-yu-quan-yi-ming-250827","青玉犬",[7,895,195,292,14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陈玉庭曾于万历二十年接替马贯任兴化府知府一职，万历二十六年由李大钦接任。",[7,36,52,37,27,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F225a2fa48e7d47fefde5ce7f9d5cef86.jpg",[],{"id":1631,"slug":1632,"title":1633,"dynasty":7,"author":1634,"museum":19,"description":1635,"tags":1636,"thumbUrl":1637,"material":39,"size":39,"collection":56,"collections":1638,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":43},240029,"zi-shu-shi-ce-bian-gong-240029","自书诗册","边贡","边贡（公元1476 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称为“韩媛绣”。",[36,52,238,1653,1175,7],"笺牍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe88862e36b8696e3c505ccf7abb8eeab.jpg",[],{"id":1657,"slug":1658,"title":1659,"dynasty":7,"author":121,"museum":19,"description":1660,"tags":1661,"thumbUrl":1662,"material":131,"size":132,"collection":39,"collections":1663,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":43},239732,"ming-ren-jian-du-ce-wei-wei-zhi-yi-du-zha-yi-ming-239732","明人笺牍册-囗囗致异度札","这帧行书尺牍笔墨清隽秀雅，通篇行气疏朗匀净。起笔收锋间灵动自然，点画顾盼有情，牵丝映带暗含章法韵律。\n\n文字随笔势舒展，毫无刻意雕琢的板滞，笔墨枯润相济，时而细劲如萦牵丝绦，时而饱满如坠露留痕，将尺牍日常的松弛意态藏于笔墨法度之中。纸面的蠹蚀残损，更添岁月摩挲的古旧质感，让这页寻常书札，成为窥见往昔文人笔墨日常的鲜活切片，在方寸尺素间晕开旧时翰墨往来的脉脉情致，尽显简淡萧散的雅致风神。",[7,36,52,238,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F012573c11176176412c55df7f26f808c.jpg",[],{"id":1665,"slug":1666,"title":1667,"dynasty":7,"author":1668,"museum":19,"description":1669,"tags":1670,"thumbUrl":1671,"material":39,"size":39,"collection":39,"collections":1672,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":43},233597,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233597","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。",[7,238,26,69,29,972,441,540],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cad9723383e88011447b54f2fb212a7.jpg",[],{"id":1674,"slug":1675,"title":1667,"dynasty":7,"author":1668,"museum":19,"description":1669,"tags":1676,"thumbUrl":1677,"material":39,"size":39,"collection":39,"collections":1678,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":43},233593,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233593",[7,23,24,238,303,26,972,183,975],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15def0fd2f9e80c7e475bb92fc80b9ed.jpg",[],{"id":1680,"slug":1681,"title":1667,"dynasty":7,"author":1668,"museum":19,"description":1669,"tags":1682,"thumbUrl":1683,"material":39,"size":39,"collection":39,"collections":1684,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":43},233576,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233576",[23,24,238,26,240,540,303,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f6237d92a1d842a14d1e25b95c3e18c.jpg",[],{"id":1686,"slug":1687,"title":1667,"dynasty":7,"author":1668,"museum":19,"description":1669,"tags":1688,"thumbUrl":1689,"material":39,"size":39,"collection":39,"collections":1690,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":1691},233560,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233560",[7,23,24,238,303,26,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e0dde468ae8e05039964f8334181036.jpg",[],"FFFFFF",{"id":1693,"slug":1694,"title":1667,"dynasty":7,"author":1668,"museum":19,"description":1669,"tags":1695,"thumbUrl":1696,"material":39,"size":39,"collection":39,"collections":1697,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":4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掐丝珐瑯三羊尊","尊，今作樽，是商周时代中国的一种大中型盛酒器。青铜器，尊的形制圈足，圆腹或方腹，长颈，敞口，口径较大。尊盛行于商代至西周时期，春秋后期已经少见。较著名的有四羊方尊。商周至战国时期，还有另外一类形制特殊的盛酒器—彝。彝通常呈鸟兽状，有羊、虎、象、豕、牛、马、鸟、雁、凤等形象。《周礼·春官·司尊彝》：“春祠夏禴，裸用鸡彝鸟彝......追享朝享，裸用虎彝蜼彝。”彝纹饰华丽，在背部或头部有尊盖。",[7,1713,1466,1714,129],"掐丝珐瑯","羊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19ec42a0eee7bba3fc41a4654a2b60c9.jpg",[],{"id":1718,"slug":1719,"title":1720,"dynasty":7,"author":121,"museum":19,"description":416,"tags":1721,"thumbUrl":1723,"material":131,"size":132,"collection":39,"collections":1724,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":73},228552,"dou-cai-tian-ma-gai-guan-yi-ming-228552","斗彩天马盖罐",[7,390,124,26,1722,780,562,129],"天马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02f2c8f1cc9d28606404d8e7859de6bd.jpg",[],{"id":1726,"slug":1727,"title":1728,"dynasty":7,"author":527,"museum":1729,"description":528,"tags":1730,"thumbUrl":1731,"material":1732,"size":1733,"collection":39,"collections":1734,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":1735},222288,"nan-hua-zhen-jing-41-wang-chong-222288","南华真经41","荣宝斋",[22,36,52,403,27,7,238,154,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0160ac10e706600a8447869c691af797.jpg","白纸本","每开尺寸长19.1、宽12.5厘米",[],"FDD835",{"id":1737,"slug":1738,"title":1739,"dynasty":7,"author":121,"museum":19,"description":333,"tags":1740,"thumbUrl":1742,"material":131,"size":132,"collection":39,"collections":1743,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":73},257707,"qing-hua-shou-zi-yun-long-wen-wan-yi-ming-257707","青花寿字云龙纹碗",[7,126,124,1027,419,975,1741],"寿字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F232fd66ac480b559392ef7bc88172974.jpg",[],{"id":1745,"slug":1746,"title":1747,"dynasty":7,"author":121,"museum":19,"description":1748,"tags":1749,"thumbUrl":1752,"material":131,"size":132,"collection":39,"collections":1753,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},257705,"hui-qing-you-an-ke-yun-long-wen-pan-yi-ming-257705","回青釉暗刻云龙纹盘","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。”",[7,124,1750,1751,419,129],"回青釉","暗刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d8b7b71212e3197169ac72b7ba2395b.jpg",[],{"id":1755,"slug":1756,"title":1757,"dynasty":7,"author":121,"museum":19,"description":1758,"tags":1759,"thumbUrl":1761,"material":131,"size":132,"collection":39,"collections":1762,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":341},257699,"bai-you-gao-zu-wan-yi-ming-257699","白釉高足碗","将不含金属氧化物呈色元素的釉料施于胎骨洁白的器物上，入窑高温烧制而成的透明釉， 釉色因白润瓷胎的映衬而显出白色，现在习惯上将这种透明釉也称为白釉。\n瓷器釉料中的含铁量降低到0.75%以下，施于洁白的瓷胎上，入窑经高温烧制，就会出现白釉。严格地说，白釉是一种无色透明釉，而不是白色的釉 。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。",[7,124,865,1760,1262,1055],"高足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff46031c1c0371f2968e51bf62438b1fe.jpg",[],{"id":1764,"slug":1765,"title":1766,"dynasty":7,"author":121,"museum":19,"description":1050,"tags":1767,"thumbUrl":1768,"material":131,"size":132,"collection":39,"collections":1769,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":73},257692,"jia-pi-zi-you-pan-yi-ming-257692","茄皮紫釉盘",[7,124,1236,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0498a5df714da845faffba3c610bbf90.jpg",[],{"id":1771,"slug":1772,"title":1766,"dynasty":7,"author":121,"museum":19,"description":1050,"tags":1773,"thumbUrl":1774,"material":131,"size":132,"collection":39,"collections":1775,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":73},257690,"jia-pi-zi-you-pan-yi-ming-257690",[7,124,1236,129,1262],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1515cd4bbe5d2b380efebe3014ae3c98.jpg",[],{"id":1777,"slug":1778,"title":1779,"dynasty":7,"author":121,"museum":19,"description":1050,"tags":1780,"thumbUrl":1787,"material":131,"size":132,"collection":39,"collections":1788,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},257688,"ji-lan-you-jin-cai-niu-wen-shuang-xi-guan-yi-ming-257688","祭蓝釉金彩牛纹双系罐",[7,124,1781,1782,1783,1784,1293,129,1785,1786],"祭蓝釉","金彩","牛纹","双系","釉彩","金彩装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d76b5bbefca05c423ec8fb780058670.jpg",[],{"id":1790,"slug":1791,"title":1792,"dynasty":7,"author":121,"museum":19,"description":333,"tags":1793,"thumbUrl":1795,"material":131,"size":132,"collection":39,"collections":1796,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":73},257686,"cheng-hua-kuan-qing-hua-chan-zhi-lian-wen-wan-yi-ming-257686","成化款青花缠枝莲纹碗",[124,126,1794,129,7],"缠枝莲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F092ff31745cf20382874a791c56e00db.jpg",[],{"id":1798,"slug":1799,"title":1800,"dynasty":7,"author":121,"museum":19,"description":333,"tags":1801,"thumbUrl":1804,"material":131,"size":132,"collection":39,"collections":1805,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":73},257683,"cheng-hua-kuan-qing-hua-hua-niao-tu-wan-yi-ming-257683","成化款青花花鸟图碗",[7,124,126,240,1802,1803,107,26],"竹子","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb92e08fe74d26fcbab935c53e8a70cbd.jpg",[],{"id":1807,"slug":1808,"title":1809,"dynasty":7,"author":121,"museum":19,"description":1810,"tags":1811,"thumbUrl":1814,"material":131,"size":132,"collection":39,"collections":1815,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":341},257672,"zheng-de-kuan-huang-you-pan-yi-ming-257672","正德款黄釉盘","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。",[124,1812,7,1301,1262,1813],"黄釉","单色釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00741c46acb2dae2efc27cce01bf7ffd.jpg",[],{"id":1817,"slug":1818,"title":1819,"dynasty":7,"author":121,"museum":19,"description":765,"tags":1820,"thumbUrl":1823,"material":131,"size":132,"collection":39,"collections":1824,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":341},257656,"wan-li-kuan-huang-di-san-cai-yun-long-wen-pan-yi-ming-257656","万历款黄地三彩云龙纹盘",[7,124,1821,26,419,1822,129,1301],"三彩","云龙纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feca6807ade46a91f87d17f0b281df053.jpg",[],{"id":1826,"slug":1827,"title":1828,"dynasty":7,"author":121,"museum":19,"description":333,"tags":1829,"thumbUrl":1830,"material":131,"size":132,"collection":39,"collections":1831,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":341},257652,"cheng-hua-kuan-qing-hua-hua-hui-wen-wan-yi-ming-257652","成化款青花花卉纹碗",[7,124,126,431,1027],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b614460d5a69ecc406c0f0ead2e303f.jpg",[],{"id":1833,"slug":1834,"title":1835,"dynasty":7,"author":121,"museum":19,"description":333,"tags":1836,"thumbUrl":1838,"material":131,"size":132,"collection":39,"collections":1839,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":341},257650,"wan-li-kuan-qing-hua-shou-zi-song-zhu-mei-tu-xi-yi-ming-257650","万历款青花“寿”字松竹梅图洗",[124,126,7,488,30,649,1741,1837,129],"洗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa85282c5f410f8138e7bf1c8dcfb598f.jpg",[],{"id":1841,"slug":1842,"title":1843,"dynasty":7,"author":121,"museum":19,"description":765,"tags":1844,"thumbUrl":1845,"material":131,"size":132,"collection":39,"collections":1846,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":341},257634,"wan-li-kuan-huang-di-wu-cai-yun-long-wen-pan-yi-ming-257634","万历款黄地五彩云龙纹盘",[7,124,418,26,419,780,129],"https:\u002F\u0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\"天鹅绒白。清代除烧白瓷外，盛烧青花与彩绘瓷器。元代以来，德化窑瓷器输出海外，菲律宾、马来西亚出土有元代德化窑青白瓷，泰国及东非坦桑尼亚等国家也出土有清代德化窑青花瓷器。\n这种瓷器的制作工艺程序如下：他们从地下挖取一种泥土，将它垒成一个大堆，任凭风吹、雨打、日晒，从不翻动，历时三、四十年。泥土经过这种处理，质地变得更加纯化精炼，适合制造上述各种器皿，然后抹上认为颜色合宜的釉，再将瓷器放入窑内或炉里烧制而成。因此，人们挖泥堆土，目的是替自已的儿孙贮备制造瓷器的材料而已，大量的瓷器是在城中出售， 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