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递着千年雅致韵味，让人仿佛窥见那段悠然的园居时光，沉浸在古典生活的清幽与闲适中。",[23,25,26,7,27,30,55,31],"美人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0caa96964a9db4f424c1e94abf61435.jpg",[43],109,2,{"id":61,"slug":62,"title":63,"dynasty":64,"author":65,"museum":66,"description":67,"tags":68,"thumbUrl":72,"material":73,"size":74,"collection":42,"collections":75,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":77},231574,"mu-dan-he-jin-si-que-ge-shi-bei-zhai-231574","牡丹和金丝雀","不详","葛饰北斋","美国国会图书馆","这幅《牡丹和金丝雀》就是十分典型的葛饰北斋晚期花鸟画。 画面以亮丽的深蓝色为背景，前面是四朵开放得十分热烈的粉色牡丹，中间的花蕊灵动嫩白，在周围绿色的花叶衬托下显得更加娇妍欲滴。葛饰北斋将俯冲向牡丹的金丝雀画在了中央。金丝雀张开双翅，羽翼丰满光滑，富有活力，与平日养在精美鸟笼中的金丝雀截然不同。\n葛饰北斋一直被称为日本美术史上最奇特、最有才气的画家之一。他自称“画狂人”，一生留下了大量的作品，创作一直持续到他90岁去世时的前三个月。他的才能不仅在人们熟悉的风景画领域，在读本插图、花鸟画，甚至《百物语》这种妖怪画等领域都有崭新的表现。他的很多画作都令人耳目一新，深受江户市民的欢迎。",[23,69,7,27,70,71,34],"浮世绘","花鸟","牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3363479890ca007e42afefe258fccd82.jpg","布面油画","19.2 x 17.4 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典》曾收《耕织图》，已失传。明天顺六年（1462年）有仿刻宋刻之摹本，虽失传，但日本延宝四年（1676年）京都狩野永纳曾据此版翻刻，今均以狩野永纳本《耕织图》作楼璹本《耕织图》之代表。\n清康熙二十八年（1689年）康熙帝南巡时，江南士子进献藏书甚丰，其中有“宋公重加考订，诸梓以传”的《耕织图》。康熙帝即命焦秉贞据原意另绘耕图、织图各23幅，并附有皇帝本人的七言绝句及序文。绘画内容略有变动，耕图增加“初秧”、“祭神”二图，织图删去“下蚕”、“喂蚕”、“一眠”三图，增加“染色”、“成衣”二图，图序亦有变换。宋、清《耕织图》的布景与人物活动大同小异，但焦图画中的风俗易为清代，所绘更为工细纤丽，在技法上还参用了西洋焦点透视法。\n《耕织图》初印于康熙三十五年（1696年），后又出现了很多不同版本，木刻本、绘本、石刻本、墨本、石印本均行于世。如康熙年间的康熙三十八年（1699年）张鹏翮刻本，康熙五十一年（1712年）内府刻本，雍亲王胤禛绢底彩绘本，康熙五十三年（1714年）歙县汪希古恭摹刻48块墨板，宫廷绘白描本等，乾隆年间的康熙、雍正、乾隆三帝题诗刊本，清内府刻《授时通考》本，袖珍彩绘本，乾隆四年（1739年）清内府图为木刻、诗为石刻的经折装本，乾隆三十四年（1769年）北京刻朱墨套印本，杨大章彩绘本，乾隆三十四年（1769年）高宗命画院据元代程棨本临摹之《耕织图》，石刻嵌在皇家清漪园延赏斋左右廊壁的拓本，乾隆三十五年（1770年）徽州守臣摹刻的墨版。此外，还有嘉庆十三年（1808年）《耕织图诗》补刊本，同治十一年（1872年）刊本，光绪五年（1879年）上海点石斋《御制耕织图》石印本，光绪十一年（1885年）上海文瑞楼本，光绪十二年（1886年）上海点石斋石印本。民国时期也有多种版本，较著名的为武进陶兰泉刊本；日本、朝鲜、琉球等国亦有《耕织图》的摹本、翻刻本。\n《耕织图》不但版本众多，版式等也不尽相同，如上文下图本，左图右文本，版框带有龙纹的装饰本，袖珍刻本，木刻填色本，书中序文、诗文前后玺印朱色钤印本，前后玺印为刊版墨印本等。",[25,386,28,27,30,387,388,389,390,130,287,7],"册页","农耕","田园","水田","鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda448499cdfbfb8784c38bdefbcaf9a0.jpg","34.7cm×27.7cm",[],{"id":395,"slug":396,"title":397,"dynasty":64,"author":52,"museum":83,"description":398,"tags":399,"thumbUrl":402,"material":42,"size":42,"collection":42,"collections":403,"showCount":404,"zanCount":11,"manualWeight":11,"mainColor":77},225552,"fu-shi-hui-17-yi-ming-225552","浮世绘17","此作以墨色为底，将丹红鹦鹉作为视觉重心，艳色于沉暗中愈发鲜亮夺目。浅金棕的线条细腻勾勒，晕染出鹦鹉羽毛蓬松柔润的层次，飞羽的蓝灰点缀其间，增添灵动变化。枝桠叶片与浆果也以同色系刻画，脉络纹理纤毫毕现，雅致精巧。\n画面留白疏朗空寂，将禽鸟栖停的静谧瞬间定格，兼具装饰美感与东方禅意。整体配色克制又极具张力，华丽中带着侘寂的闲雅，尽显悠然平和的生机意趣。",[69,27,70,7,129,400,401],"鸟","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b2ababaa6fa83130bc02c69fe11905f.jpg",[],13,{"id":406,"slug":407,"title":408,"dynasty":64,"author":52,"museum":83,"description":186,"tags":409,"thumbUrl":411,"material":91,"size":92,"collection":42,"collections":412,"showCount":404,"zanCount":11,"manualWeight":11,"mainColor":47},225440,"fu-shi-hui-198-yi-ming-225440","浮世绘198",[69,7,27,30,55,224,410,34],"梅枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bf0d221a3b9b7b0aff602b828a639a0.jpg",[],{"id":414,"slug":415,"title":416,"dynasty":283,"author":309,"museum":83,"description":417,"tags":418,"thumbUrl":420,"material":315,"size":42,"collection":42,"collections":421,"showCount":404,"zanCount":11,"manualWeight":11,"mainColor":47},216348,"xi-xiang-ji-cha-ye-6-min-qi-ji-216348","西厢记插页-6","亭阁为框，圈定西厢故事的一隅。人物情态毕现：或垂首凝思，或侧耳倾听，或跪呈物件，似正演绎书中某个细腻瞬间。青绿飘带如流泉绕阁，金饰顶檐添雅致华贵，淡彩晕染出明画特有的温润。线条婉转细腻，将人物衣袂的柔、神情的幽，皆凝于笔端。每一处装饰、每一个姿态，都藏着西厢的婉转心事，让观者于静帧中，触到古典爱情的脉脉余温。画面以雅致之姿，定格了文字外的情愫流转，似能听见书页间的喟叹，将西厢的幽微心事，凝作这帧静美的视觉诗篇。",[283,7,27,29,419,30,55,31],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f18475ac0929c41b31c25511bd792f5.jpg",[],{"id":423,"slug":424,"title":425,"dynasty":64,"author":52,"museum":83,"description":426,"tags":427,"thumbUrl":433,"material":42,"size":42,"collection":42,"collections":434,"showCount":435,"zanCount":11,"manualWeight":11,"mainColor":47},225385,"fu-shi-hui-142-yi-ming-225385","浮世绘142","这幅作品以游女为主题，佳人抬手理鬓，眉眼含柔，将江户艺伎的温婉风情尽数展露。\n\n衣装纹样尤为夺目，大面积云龙缠纹威严大气，卷草团花与夕颜藤曼柔婉舒展，浓黑、石青与暖金交织晕染，尽显锦绘技法的华贵质感，将浮世绘的装饰美学发挥到极致。背景夕颜藤蔓蜿蜒，与美人身姿呼应萦绕，落款题字点缀留白，让画面疏密得宜。整体复刻了江户市井的风月意趣，将仕女娇柔风骨与时代审美定格于纸面。",[69,7,27,30,55,428,429,430,431,87,432],"花卉","藤蔓","龙纹","服饰图案","和风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99b6eb5e82d57d9a38562727fad3ec4d.jpg",[],12,{"id":437,"slug":438,"title":439,"dynasty":64,"author":52,"museum":83,"description":440,"tags":441,"thumbUrl":444,"material":42,"size":42,"collection":42,"collections":445,"showCount":435,"zanCount":115,"manualWeight":11,"mainColor":47},225351,"fu-shi-hui-105-yi-ming-225351","浮世绘105","浅湖蓝带颗粒感的底色晕开沉静氛围，暖黄色线瓣菊舒展绽放，细长花瓣从花心呈放射状铺陈，辅以淡色阴影勾勒蓬松花型，柔润中带着舒展的锐气。墨绿叶片棱角分明，与柔媚花型刚柔相济。\n\n画面疏密有致，上方留白透气，下方花簇饱满错落，朱红印章点缀右侧，平衡青黄色调，添了一抹醒目的暖意。整体风格清雅悠然，以简洁套色定格秋菊孤高的意趣，将秋日花草的闲静风骨藏在柔婉的笔色里。",[69,7,27,442,198,443,129],"菊","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F954596b9cdaa8458eeb612b2008726e6.jpg",[],{"id":447,"slug":448,"title":449,"dynasty":64,"author":52,"museum":83,"description":450,"tags":451,"thumbUrl":455,"material":42,"size":42,"collection":42,"collections":456,"showCount":435,"zanCount":11,"manualWeight":11,"mainColor":47},225338,"fu-shi-hui-91-yi-ming-225338","浮世绘91","这幅作品以百尺飞瀑为视觉核心，垂直奔涌的水流如银练垂空，蓝白渐变晕染出碎玉崩溅的磅礴水汽，与四周苍翠绿意的层峦形成强烈视觉张力。\n\n前景处负笠赶路的旅人、水雾裹挟下的山居茅舍，将宏大山水与市井烟火相融。利落的线条勾勒出山岳纹理与行人动态，柔和敷色晕开湿润空濛的幽谷氛围，仿佛能听见瀑声轰鸣、水花扑簌。画作将自然的雄浑浩渺与人间日常的暖意交织，尽显雅致意境，把幽谷飞瀑的清旷生机定格于尺幅之间。",[69,7,27,169,170,128,452,173,30,453,454],"山石","茅屋","水花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c29268bc35bbb814405c3712ecfca34.jpg",[],{"id":458,"slug":459,"title":460,"dynasty":64,"author":461,"museum":83,"description":462,"tags":463,"thumbUrl":466,"material":91,"size":92,"collection":42,"collections":467,"showCount":468,"zanCount":11,"manualWeight":11,"mainColor":47},230986,"wen-quan-tu-hua-ge-chuan-guo-zhen-230986","温泉の図.画","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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为了纪念平叛的胜利，乾隆让宫廷中的西洋画家郎世宁创作了大型历史纪实组画《平定西域战图册》。并决定将它送往欧洲制作成铜版画。",[169,30,353,158,7,28,542,543,127],"皴法","老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbade98b43e515adc2f6308244833407.jpg","87.3×50cm","山水画精选",[546,548],"水墨画精选",10,{"id":551,"slug":552,"title":553,"dynasty":18,"author":52,"museum":83,"description":554,"tags":555,"thumbUrl":560,"material":91,"size":92,"collection":42,"collections":561,"showCount":549,"zanCount":11,"manualWeight":11,"mainColor":139},231076,"kong-zi-ji-qi-di-zi-shen-wei-xiang-yi-ming-231076","孔子及其弟子神位像","这幅木刻版画构图严整对称，上方匾额点明主题，两侧楹联烘托出尊崇之意。画面以孔子为中心，众弟子依次拱卫排布，层次分明秩序井然。刻线刚劲细腻，衣褶纹路、冠冕纹饰皆刻画一丝不苟，供桌礼器细节毕现，尽显肃穆的祭祀礼制氛围。整体以黑底衬出线条，古朴厚重的视觉效果尽显庙堂庄重感，具象呈现了尊孔崇儒的文化风貌，承载着传统儒学的精神内核，是民俗与礼教艺术结合的典型之作。",[556,7,557,558,105,30,559],"清代","拓本","立轴","礼器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc86bd56a650ae3bc22c656b2538cd08.jpg",[],{"id":563,"slug":564,"title":565,"dynasty":64,"author":52,"museum":83,"description":566,"tags":567,"thumbUrl":568,"material":42,"size":42,"collection":42,"collections":569,"showCount":549,"zanCount":11,"manualWeight":11,"mainColor":139},225355,"fu-shi-hui-111-yi-ming-225355","浮世绘111","这幅花绘以罂粟为主题，错落舒展的花枝打破平寂画面，苍劲墨线勾勒叶片筋脉，带着粗粝朴拙的质感。暖调淡色晕染花瓣，边缘以浓墨复勾，柔媚花姿添上几分桀骜古意。古旧底色晕开岁月沉韵，将娇妍花态与浮世绘版画特质相融。\n没有繁复布景，却将草木舒展的原生张力尽显。笔触简净凝练，以色墨浓淡层次，晕开盛放、初绽、含苞的不同情态，将春日罂粟盛放的瞬间定格为雅致风物，带着沉静的江户余韵，于简素之中见精妙意趣。",[69,7,27,70,198,333,125,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e41bc6c0e7f405c1ffe508554212812.jpg",[],{"id":571,"slug":572,"title":573,"dynasty":64,"author":52,"museum":83,"description":574,"tags":575,"thumbUrl":578,"material":42,"size":42,"collection":42,"collections":579,"showCount":549,"zanCount":11,"manualWeight":11,"mainColor":47},225349,"fu-shi-hui-103-yi-ming-225349","浮世绘103","浅米柔瓣舒展如蝶，墨绿茎叶劲挺修长，勾勒出水边鸢尾悠然盛放的景致。隐于花叶间的蚱蜢，为这清寂画面添了几分野趣生机。淡蓝水色晕染底色，浅灰天域铺陈清冷底色，将水岸幽谧夏日凝于纸面。\n\n笔致细腻温婉，线条兼具刚柔，既刻画出鸢尾的舒展灵动，也衬出独有的侘寂清宁。版画肌理带着温润质感，把微风拂过花茎的悠然瞬间藏进细节里，将幽淡闲逸的自然意趣尽显无余。",[69,7,27,26,576,333,577,401,428],"鸢尾花","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f5ed2277f9fd24e2d11e2997268fb1.jpg",[],{"id":581,"slug":582,"title":583,"dynasty":64,"author":52,"museum":83,"description":584,"tags":585,"thumbUrl":589,"material":42,"size":42,"collection":42,"collections":590,"showCount":549,"zanCount":11,"manualWeight":11,"mainColor":47},225304,"fu-shi-hui-30-yi-ming-225304","浮世绘30","这幅水乡绘卷以平远构图铺展清和景致，浅黄柔晕铺就天光水色，将暮晓时分的朦胧温柔晕染开来。黛色屋舍错落隐在深绿林木间，石砌水湾静泊扁舟，三两行人沿岸徐行，漫溢着松弛的市井闲趣。远景沙洲浅丘层叠延展，把水面切作温润色块，留白悠然悠远。\n整体用色雅致沉静，线条舒展柔和，将水乡村居的日常晕化为清寂温婉的诗意，把寻常烟火里的平和闲淡定格在纸面，尽显独有的恬淡意韵。",[69,7,27,169,274,255,175,128,586,587,588],"岛屿","河岸","小船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05a933d83a2b6302429975b653fdfa31.jpg",[],{"id":592,"slug":593,"title":594,"dynasty":283,"author":595,"museum":83,"description":596,"tags":597,"thumbUrl":600,"material":91,"size":92,"collection":42,"collections":601,"showCount":602,"zanCount":115,"manualWeight":11,"mainColor":139},283609,"li-dai-jun-jian-wu-shi-juan-zhu-qi-yu-283609","历代君鉴五十卷","朱祁钰","明景帝朱祁钰（1428年9月11日—1457年3月14日），明朝第七位皇帝，1449年九月―1457年正月在位，在位7年，年号景泰（1450年—1457年）。朱祁钰是明宣宗朱瞻基次子、明英宗朱祁镇异母弟，母吴贤妃。\n朱祁钰生于宣德三年（1428年），只比长兄朱祁镇小1岁。明英宗即位后被封为郕王。正统十四年（1449年），发生土木堡之变，明英宗朱祁镇兵败被瓦剌俘虏。为免主少国疑，于谦、王直等大臣奏明皇太后，拥立郕王朱祁钰为帝，尊明英宗为太上皇，次年改元景泰。在位期间，知人善任，励精图治，重用于谦等人，取得北京保卫战的胜利，击退瓦剌的入侵，对政治、经济、军事等方面进行了整顿和改革，推动明朝政治由乱而治，渐开中兴，可谓英明之主。明英宗归国后幽禁于南宫，后又改立自己的儿子朱见济为太子。景泰八年（1457年）正月，夺门之变爆发，明英宗复辟，软禁其于西苑，改元天顺。\n天顺元年（1457年）二月，明英宗废其为郕王，不久朱祁钰离奇去世，享年30岁。明英宗赐谥号曰“戾”，按亲王礼葬在北京西山，即景泰陵。侄子明宪宗即位后，恢复朱祁钰皇帝之位，追谥曰“恭仁康定景皇帝”，史称明景帝、景泰帝。南明时期，弘光帝朱由崧追加谥号为“符天建道恭仁康定隆文布武显德崇孝景皇帝”，上庙号“代宗”，但未被清代官方所承认。\n朱祁钰是明朝迁都北京之后，第一个没有被葬于明十三陵的皇帝。",[287,288,130,129,7,598,599],"三皇","伏羲氏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b2431bdea708b083131d69c0aef37a2.jpg",[],9,{"id":604,"slug":605,"title":606,"dynasty":64,"author":52,"museum":83,"description":186,"tags":607,"thumbUrl":612,"material":91,"size":92,"collection":42,"collections":613,"showCount":602,"zanCount":11,"manualWeight":11,"mainColor":47},225457,"fu-shi-hui-215-yi-ming-225457","浮世绘215",[69,7,27,30,55,608,609,610,36,611,37],"鬼神","火焰","烟雾","文书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cc9dd2b995d6a76a2e0bf7855daaa5e.jpg",[],{"id":615,"slug":616,"title":617,"dynasty":64,"author":52,"museum":83,"description":618,"tags":619,"thumbUrl":623,"material":42,"size":42,"collection":42,"collections":624,"showCount":602,"zanCount":11,"manualWeight":11,"mainColor":47},225387,"fu-shi-hui-144-yi-ming-225387","浮世绘144","这幅浮世绘以柔婉笔触定格乡野劳作日常。女子低眉垂目，发间软帽衬出憨朴神态，暗褐和服配柔粉纹袖，团花、龟甲纹样层叠交错，雅致又带着市井鲜活气。她持杵俯身，将日常劳作晕染出娴静温柔。背景红枫斜枝疏淡，浅草溪石晕开秋郊清寂，把烟火日常揉入诗意秋景。清劲流畅的线稿，柔和雅致的淡彩晕染，将江户平民的闲逸日常定格，褪去刻意雕琢，以细腻笔触勾勒出和风市井里的温婉意趣，尽显浮世绘独有的世俗美学韵味。",[69,7,27,55,620,621,622],"枫树","木桶","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc89d62b4e87d44fd15a8ad705a556a30.jpg",[],{"id":626,"slug":627,"title":628,"dynasty":64,"author":52,"museum":83,"description":629,"tags":630,"thumbUrl":631,"material":42,"size":42,"collection":42,"collections":632,"showCount":602,"zanCount":1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21","浮世绘179",[69,7,27,30,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60760d4ff0d806ec6f95ad77f30de4e8.jpg",[],{"id":1155,"slug":1156,"title":1157,"dynasty":64,"author":52,"museum":83,"description":186,"tags":1158,"thumbUrl":1159,"material":91,"size":92,"collection":42,"collections":1160,"showCount":1029,"zanCount":11,"manualWeight":11,"mainColor":47},225415,"fu-shi-hui-173-yi-ming-225415","浮世绘173",[69,27,7,55,442,199,37,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d0264a76530b4ca8186311326fe22d0.jpg",[],{"id":1162,"slug":1163,"title":1164,"dynasty":64,"author":52,"museum":83,"description":1165,"tags":1166,"thumbUrl":1167,"material":42,"size":42,"collection":42,"collections":1168,"showCount":1029,"zanCount":11,"manualWeight":11,"mainColor":47},225339,"fu-shi-hui-92-yi-ming-225339","浮世绘92","层叠奔涌的飞瀑是画面的灵魂，蓝白水纹带着磅薄动感顺着赭黄、赤红的山崖倾泻而下，冷暖色调相撞，迸发出强烈的视觉张力。\n\n右上角负鼓攀山的行者，与下方驻足观瀑的旅人，让雄阔山水晕开人间烟火气，动静相映，让幽深山林多了鲜活的意趣。利落刚劲的勾勒线条，明快浓烈的平涂色彩，尽显浮世绘版画的典型风韵，将飞瀑的雄浑奔涌与山林的清幽苍润融为一体，把寄情山水的江户风雅藏在寸尺画幅中，既有着自然造物的震撼冲击力，也传递出松弛闲适的人文意涵。",[69,7,27,169,170,128,30,274,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c62916bb5162e51217d00a2aa5f5f3b.jpg",[],{"id":1170,"slug":1171,"title":1172,"dynasty":64,"author":52,"museum":83,"description":1173,"tags":1174,"thumbUrl":1175,"material":42,"size":42,"collection":42,"collections":1176,"showCount":1029,"zanCount":11,"manualWeight":11,"mainColor":47},225334,"fu-shi-hui-87-yi-ming-225334","浮世绘87","飞流直下的瀑布以劲挺利落的蓝白线条铺就，仿佛携着轰然水声自崖头倾泻而下。崖畔朱色小屋静立，暖调破开冷冽水汽，让奔涌的山水多了一丝人间暖意。右下角旅人负具驻足观瀑，衬出飞瀑的宏阔，将人与自然的尺度铺展开来。\n\n设色明丽雅致，青绿山石晕染出山野苍翠，钴蓝飞瀑撞入眼底，暖棕崖壁点缀其间，尽显浮世绘独有的装饰质感。画作揉合幽谷飞瀑的壮阔与山居的幽寂烟火，将日式山水特有的诗意幽玄之美尽显无余。",[69,7,27,169,170,31,820,274,30,128,175,173,176,172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd712d7caa336d20298db6aa8156e555f.jpg",[],{"id":1178,"slug":1179,"title":1180,"dynasty":64,"author":52,"museum":83,"description":1181,"tags":1182,"thumbUrl":1186,"material":42,"size":42,"collection":42,"collections":1187,"showCount":1029,"zanCount":11,"manualWeight":11,"mainColor":47},225329,"fu-shi-hui-80-yi-ming-225329","浮世绘80","初雪轻覆隅田湾，澄澈蓝波托着覆雪渔舟，舱顶积雪似凝霜，静泊水面晕开冬日清寂。汀渚林木素白裹着苍绿，柔化了凛冬寒意。远处滩涂农夫负薪徐行，把烟火暖意揉进淡远暮色里。\n\n画作以平远构图铺展近郊冬景，雅致设色晕染出清冷疏朗氛围，将幽寂冬色与俗世温情相融，把寻常冬日常景，绘成诗意栖居的画卷，尽显风景绘的侘寂美学，定格下日常风物里的清宁温柔。",[69,7,27,169,255,1183,264,922,274,1095,354,1184,1185],"蓑笠","鸭子","渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d053a755b841d51128d3cdce096bf3c.jpg",[],{"id":1189,"slug":1190,"title":1191,"dynasty":64,"author":52,"museum":83,"description":1192,"tags":1193,"thumbUrl":1194,"material":42,"size":42,"collection":42,"collections":1195,"showCount":1029,"zanCount":11,"manualWeight":11,"mainColor":47},225320,"fu-shi-hui-62-yi-ming-225320","浮世绘62","寒波漾着清蓝，木桥曲折如带牵起两岸雪色。旅人戴笠踏霜，牵驮货的瘦马缓行桥上，肩头落雪未掸，羁途匆匆。右侧茅庐雪压檐角，孤松疏枝擎着碎雪，静看行旅。远山素裹银装，暖调淡霞晕开在雪巅，冷暖撞色晕开清寂氛围。\n\n画面将冬日行旅的萧索，融在雪国水乡的静穆里，笔调雅致温婉，把冬郊羁愁与初雪诗意揉作一处，铺展出让人沉醉的雪国侘寂之美。",[69,27,7,224,352,353,175,128,356,355,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd748d6b44a119d42d7ca22eda0f7f54f.jpg",[],{"id":1197,"slug":1198,"title":1199,"dynasty":64,"author":52,"museum":83,"description":1200,"tags":1201,"thumbUrl":1204,"material":42,"size":42,"collection":42,"collections":1205,"showCount":1029,"zanCount":11,"manualWeight":11,"mainColor":47},225319,"fu-shi-hui-60-yi-ming-225319","浮世绘60","高拱木桥横跨水泽，桥上行人摩肩接踵，铺陈开江户市井的鲜活烟火。浅青长天晕开柔淡底色，远处富士山覆着素白雪顶，为热闹市景晕开一抹清寂闲雅。桥下滩湾错落，茶摊凉伞散落其间，黛瓦屋舍依水而建，晕染出水乡的温婉日常。\n\n构图舒展雅致，明快柔和的配色将俗世喧嚣与远山静穆相融，把江户浮生的鲜活日常同东瀛山水意趣揉为一体，尽显浮世绘独有的市井诗意，让观者窥见旧日东瀛鲜活的人间暖意，于烟火中静赏山水闲情。",[69,7,27,352,254,355,1202,128,175,30,1203,222,177],"雪山","云朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6d8cdb469b69f6af8a32c5f6cd26751.jpg",[],{"id":1207,"slug":1208,"title":1209,"dynasty":100,"author":1210,"museum":1211,"description":1212,"tags":1213,"thumbUrl":1215,"material":1216,"size":1217,"collection":42,"collections":1218,"showCount":1029,"zanCount":11,"manualWeight":11,"mainColor":42},220654,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220654","宋刻米芾英光堂帖","米芾,岳珂","香港中文大学文物馆","《英光堂帖》的内容是北宋米芾（1051–1108）的书迹，由抗金名将岳飞的孙子岳珂（1183–1241后）刻于南宋绍定初年（约1229–1233）。米芾是宋代著名书画家，以书法与苏轼（1037–1101）、黄庭坚（1045–1105）、蔡襄（1012–1067）并称「宋四大家」。行草书受二王影响甚深，运笔变化多端，才气奔放，书迹为后世所重视。",[23,130,131,557,1214,7],"字帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fad7ff034dc690bd7d999ac3570e6b7.jpg","墨拓,纸本,册页","34 × 36 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僧衣，蓝朱旧彩虽已斑驳剥落，却晕开岁月沉淀的厚重质感，衣褶线条随身形走势铺展，刀法利落凝练。\n\n右手攥拳前伸，左臂搭膝垂落，姿态极具张力，将高僧刚直耿介的性情尽显无余。整作无过多繁饰，以大刀阔斧的刀法刻画出罗汉的威仪神采，古旧残损反而更添沉静肃穆的古意，尽显朴茂浑厚的造像气度。",[283,105,30,7,4740,697,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F163a20851bcac42eae794aac3d58508f.jpg",[],{"id":4777,"slug":4778,"title":4779,"dynasty":18,"author":52,"museum":83,"description":695,"tags":4780,"thumbUrl":4781,"material":91,"size":92,"collection":42,"collections":4782,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":77},255074,"mu-diao-wu-shi-xiang-yi-ming-255074","木雕武士像",[697,698,7,30,1259],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3f97b2c7cd2978c28e63c5da935fff0.jpg",[],{"id":4784,"slug":4785,"title":4746,"dynasty":18,"author":52,"museum":83,"description":695,"tags":4786,"thumbUrl":4787,"material":91,"size":92,"collection":42,"collections":4788,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":77},254952,"mu-diao-jin-qi-fu-zuo-xiang-yi-ming-254952",[105,30,7,2698,698,697],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff799b29625eb90a50d2ba21870eb04c8.jpg",[],{"id":4790,"slug":4791,"title":4792,"dynasty":4793,"author":52,"museum":83,"description":4794,"tags":4795,"thumbUrl":4798,"material":91,"size":92,"collection":42,"collections":4799,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":77},254745,"mu-zuo-yong-yi-ming-254745","木坐俑","汉","春秋战国时期，有一种殉葬用的“俑”，据《礼记·檀弓》，孔子“谓为俑者不仁”。郑玄注：“俑，偶人也，有面目机发，有似于生人。”皇侃疏：“机械发动踊跃，故谓之俑也。”孔颖达正义：“刻木为人，而自发动，与生人无异，但无性灵知识。”又《孟子·梁惠王》：“仲尼曰：始作俑者，其无后乎?为其像人而用之也。”焦循《孟子正义》：《广雅》引(张揖)《埤苍》云：“俑，木人，送葬设关而能跳踊，故名之。”“为其像人者，谓为其像人之转动跳踊也。”可见“俑”就是由简单机械发动能够自己转动跳跃的木人。\n中国古代坟中墓中陪葬用的偶人。是象征殉葬奴隶的模拟品。东周墓中出现渐多，秦汉至隋唐盛行，北宋以后逐渐衰落，但仍沿用到元明时期。俑的质料以木、陶质最常见，也有瓷、石或金属制品。宋代以后纸明器开始流行，陶、木、石质的俑开始渐渐减少。俑的形象，主要有奴仆、舞乐、士兵、仪仗等，并常附有鞍马、牛车、庖厨用具和家畜等模型，还有镇墓胜的神物。俑大多真实地模拟着当时的各种人物，因而可以考见当时社会的生活习俗，也是研究各代舆服制度的重要资料。俑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。",[4796,697,698,30,4797,2699,7],"俑","汉代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0431414b5c6296a2def009ff6bfc5f93.jpg",[],{"id":4801,"slug":4802,"title":4730,"dynasty":18,"author":52,"museum":83,"description":695,"tags":4803,"thumbUrl":4804,"material":91,"size":92,"collection":42,"collections":4805,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":77},253018,"mu-diao-luo-han-zuo-xiang-yi-ming-253018",[556,698,7,697,105,30,648],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5355641727663361c4f3722da9211724.jpg",[],{"id":4807,"slug":4808,"title":4809,"dynasty":100,"author":52,"museum":83,"description":695,"tags":4810,"thumbUrl":4811,"material":91,"size":92,"collection":42,"collections":4812,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":139},252777,"mu-diao-lin-wen-zhu-deng-zao-zhang-mei-luo-han-zuo-xiang-yi-ming-252777","木雕林文珠等造长眉罗汉坐像",[697,698,7,105,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97390423974a5384b8489375938bf851.jpg",[],{"id":4814,"slug":4815,"title":4816,"dynasty":18,"author":52,"museum":83,"description":4817,"tags":4818,"thumbUrl":4819,"material":91,"size":92,"collection":42,"collections":4820,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":77},242493,"zhong-ke-chun-hua-ge-tie-yi-ming-242493","重刻淳化阁帖","清拓《钦定重刻淳化阁帖》原本《淳化阁帖》。十卷又称《淳化秘阁法帖》、（阁贴》。系宋淳化三年（992年）太宗岀内府所藏历代古帖，命翰林侍书王著摹勒而成，共收录汉魏至唐历代名人及帝王书一百余家四百余种。但帖石置于宫中，除宣赐大臣以外，原刻拓木绝少流布人间。\n淸高宗鉴于日趋緊多的翻刻本已完全失去其本来面目，而宋王著昧于辨别，在采择古帖时有真赝混迹现象，编次标越也多处讹误，为避免贻谋后学，希望复原《淳化》旧观。于乾隆三十四年（1769年）持敕命于敏中等据内府所藏宋太宗赐毕士安本《淳化阁帖》详加考证，重新钩摹上石，仍为十卷，每卷隶书标题：“钦定重刻淳化阁帖第 X ”一行。卷末沟刻高宗行书题跋一段。各卷尾题:“乾隆三十四年岁在乙丑春二月奉敕校正宋淳化阁帖初拓摹勒上石”篆书四行。此帖考订详僖，校对精审，对原帖编次上的错误逐一厘订后，重新改编次第按时代先后为序。对草书不识之字。博参诸家释文依字旁列注，对其中互异之字附记考证于卷后。\n此帖由御书处刻工佳手钩刻摹刊至精。就其规模和质量来说均在明代诸家刻本之上。\n乾隆三十七年（1772年）帖石镌成后高宗皇帝犹恐失散即将毕士安赐本（淳化阁帖》与重刻原石一起贮于圆明园淳化轩内，至今二者都无下落、可能毁于1860年英法联军侵占北京圆明园之际，实为千古憾事。幸故宫藏有该帖拓本才得以观其原貌。此拓本为淸刻初拓，京折装，计十册，每册纵30.6厘米横35厘米，每册铃：“乾隆御览之宝”朱文椭圆印、”避暑山庄”朱文方印，装潢颇为考究，且拓工精良。虽已保存二百余年但字口锋神俱在，纸墨宛如新拓，堪称珍品。\n乾隆《钦定重刻淳化阁帖》石版，原贮于长春园淳化轩。英法联军火烧圆明园后,该摹帖版已湮没百余年。所幸的是,1993年夏季，圆明园管理处在清挖长春园水系时，从该遗址西侧河道掘得摹帖版7页（4整3残），今均陈列于园史展览馆。\n淳化法帖，原是北宋淳化三年（992年），奉宋太宗赵光义旨意，摹刻于秘阁之中的丛帖，世称《淳化阁帖》。它是我国历史上的第一部大型丛帖，被誉为诸帖之祖。《阁帖》共摹刻唐代以前99人书法名迹，包括夏禹、孔子、晋武帝、唐太宗、虞世南、 欧阳询、褚遂良、柳公权等，尤以王義之、王献之量迹最丰，独占全帖10册之半。\n清代乾隆帝弘历喜好书法，曾先后命在北海阅古楼和万寿山星妙轩，分别摹刻《三希堂法帖》及其续帖。但因二帖仅收魏晋以来墨迹，弘历颇嫌不足。后喜得《淳化阁帖》之“初拓赐本”，弘历如获至宝。命内廷翰林精审更定，选工钩摹上石，并在长春园含经堂之后新建两层轩阁，以帖名之曰“淳化轩”。帖版是在故宫懋勤殿直庐镌刻的,历时三年零两个月，至乾隆三十七年（1772年）四月，共摹竣144页贴版，遂镶嵌于堂后轩前之24间回廊壁间。原《阁帖》北宋初拓本，收藏于淳化轩内，I860年（咸丰十年）同毁于英法联军劫火。\n今出土的摹帖版,面幅为90厘米*33厘米，石厚11厘米。7页帖版的序号是三册一号、六号、 七号（残），四册八号（残），五册一号、十四号和九册三号（残）。其中除五册十四号为“释文订异”，九册三号为隋释智果书“王右军”帖、“蔡邕”帖之外， 余均为王義之墨迹，包括其“适得”、“比奉”、“七儿”、“省足”、“云谯”、“知足”、“期已”、“信云”、“不审”、“伏想”等近20幅名帖。出土帖版中，有2页残版的字迹略有侵蚀，余尚清晰。\n乾隆三十四年的《钦定重刻淳化阁帖》是一部很重要的本子,其所据的底本为明末清初孙承泽原藏的所谓毕士安本。以乾隆刻本和司空公本的第四、七、八卷相校,其底本肯定不是初拓本，因此，所谓毕士安本是不可能的。但这个底本应该是一个北宋拓本，和司空公本的年份相似，然而它是十卷本。问题是这个祖本已经消失，然而它在当时确实存在过，过去有的学者认为这个底本是虚构的，不存在的。可能是由于它不可能是所谓淳化四年的毕士安赐本的关系。\n这个所谓的毕士安赐本，在康熙时已入内府，康熙曾亲跋此本: “……此本乃赐翰林学士毕士安者……汉晋以来，翰墨风规，宛然犹在者，尚赖此帖之存也，朕幾政余闲，启帙披卷,如晤往昔，心意融洽,洵可宝而藏之也。\n到了乾隆三十四年，以此本作为底本重刻的《淳化阁帖》，乾隆在卷首题词中说:“内府旧藏淳化阁帖极多,而此毕士安所得赐本，拓最精好, 爰特敕选工钩摹上石，冀复旧观。\n这个本子到了嘉庆年间,成亲王永瑆题在现藏美国弗利尔美术馆的绍兴国子监本第十册末有:“余昔在上书房得见内府所藏宋太宗赐毕士安本, 此本楮墨正与相似，嘉庆庚午四月七日商丘陈伯恭先生携此本与贾似道重摹初拓本相见……”这说明，这个乾隆刻本的底本在1810年前不久仍然存在,其消失的原因很简单,乾隆在其重刻本的第十卷末有:“重摹淳化阁帖成,因并弃毕士安原本于淳化轩。这就是说，这个底本和重刻帖石一并存放在圆明园的淳化轩。I860年英法联军焚毁圆明园，所谓毕士安底本也必遭毁灭。\n乾隆重刻本，除了改变原刻整体程序外，也有对个别字体修正原刻的失误，如第八卷《此郡帖》的“非常”之“非”字,原刻失刻一笔，乾隆重摹即据《大观帖》补刻完整。此外，有的字体也有摹失,但其不可忽视之处在于它是从整套北宋拓本翻刻，在我们对比各《阁帖》本时有着比较重要的参考价值。\n弘历继位九年（1744 ）命臣将内府所藏书画著录《石渠宝笈》。乾隆十五年（1750）又敕命编刻《三希堂石渠宝笈法帖》三十二卷。谕曰：\n书为游艺之一，前代名迹流传，令人兴怀珍慕。是以好古者恒钩撫镌刻.以垂诸奕祀。宋《淳化阁帖》，其最著矣。厥后《大观》《淳熙》皆有续刻。其他名家摹本，至不可数。我朝秘府，初不以广购博收为尚，而法书真迹，积久颇富。朕曾命儒臣详慎审定，编为《石渠宝笈》一书。因思文人学士得佳迹数种，即钩摹入石，矜为珍玩。今取群玉之秘，寿之贞琨。足为墨宝大观，以公天下。\n《三希堂法帖》刻后十九年即乾隆三十四年（1769）,弘历又重新刻了一部《淳化阁帖》。这部帖是据赐毕士安本墓刻的，故书家与书帖和《阁帖》相同。然而不同的是：（一）除帝王帖置首卷外，其他帖完全按时代先后排列：第一，历代帝王；第二，上古至晋人；第三，第四、第五，晋王羲之；第六，晋人及王献之；第七，晋王献之；第八，晋至梁人；第九，陈至唐人；第十，唐及无名氏。（二）随文添刻楷书釋文。（三）卷末附释文考异和御制题跋。\n当时为什么要这样做呢？弘历在帖首自有说法：\n朕几余不自暇逸，典学之优，时及临池。曩曾辑内府所藏前人墨迹，刻为《三希堂》《墨妙轩》二帖，广示艺林。复念古帖流传可补墨迹所未备者，惟宋《淳化阁帖》，镌集尤为美富，远出《大观》《太清楼》诸本之上。但惜初拓与赐者绝勘，或云版寻残损，当时已为难得。后来翻刻愈繁，真意寝失。有志追摹者，末由津逮。内府旧藏《淳化阁帖》极多，而此毕士安所得赐本拓最精好。爰特敕选工钩摹上石，冀复旧观。\n第王著昧于辨别，其所排类标题，舛陋滋甚，不当听其沿讹，以误后学。因命于敏中等详加考正，以次呈阅，候朕参定，分识各卷。并命搜采诸家释文，依字旁注。其互异者折衷附记于后，以资省览。是于考文稽古之中，兼寓举坠订讹之益，用嘉惠海内操觎之士焉。\n特谕。\n乾隆三十四年（1769）二月六日，御笔。",[130,2662,557,129,1214,7,2575],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e51c9367284d24971a8c6b7523c32c0.jpg",[],{"id":4822,"slug":4823,"title":4816,"dynasty":18,"author":52,"museum":83,"description":4817,"tags":4824,"thumbUrl":4825,"material":91,"size":92,"collection":42,"collections":4826,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":77},242480,"zhong-ke-chun-hua-ge-tie-yi-ming-242480",[556,130,557,2679,131,2662,699,129,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89475835867eddf0e65cb21834d644f3.jpg",[],{"id":4828,"slug":4829,"title":4816,"dynasty":18,"author":52,"museum":83,"description":4817,"tags":4830,"thumbUrl":4831,"material":91,"size":92,"collection":42,"collections":4832,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":77},242477,"zhong-ke-chun-hua-ge-tie-yi-ming-242477",[130,699,557,2679,2575,129,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff069767dfedf3ebe5183ac7b16aa808d.jpg",[],{"id":4834,"slug":4835,"title":4816,"dynasty":18,"author":52,"museum":83,"description":4817,"tags":4836,"thumbUrl":4837,"material":91,"size":92,"collection":42,"collections":4838,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":77},242467,"zhong-ke-chun-hua-ge-tie-yi-ming-242467",[130,557,1214,129,2662,131,2679,699,2575,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb96b2b6b0472980e5d6202b1de6695a.jpg",[],{"id":4840,"slug":4841,"title":4816,"dynasty":18,"author":52,"museum":83,"description":4817,"tags":4842,"thumbUrl":4843,"material":91,"size":92,"collection":42,"collections":4844,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":77},242459,"zhong-ke-chun-hua-ge-tie-yi-ming-242459",[125,130,7,129,2575,131,2662,1214,2679],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd530dd0091c42d77f45945c4f3b37d35.jpg",[],{"id":4846,"slug":4847,"title":4816,"dynasty":18,"author":52,"museum":83,"description":4817,"tags":4848,"thumbUrl":4849,"material":91,"size":92,"collection":42,"collections":4850,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":139},242418,"zhong-ke-chun-hua-ge-tie-yi-ming-242418",[556,7,130,1214,287,699,288,2575],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1bc40d56c5a51c462bad62ba179570a.jpg",[],{"id":4852,"slug":4853,"title":4816,"dynasty":18,"author":52,"museum":83,"description":4817,"tags":4854,"thumbUrl":4855,"material":91,"size":92,"collection":42,"collections":4856,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":77},242408,"zhong-ke-chun-hua-ge-tie-yi-ming-242408",[130,2662,131,129,557,2679,2575,7,1214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc48e1cea39d31529503779f712fac868.jpg",[],{"id":4858,"slug":4859,"title":4816,"dynasty":18,"author":52,"museum":83,"description":4817,"tags":4860,"thumbUrl":4861,"material":91,"size":92,"collection":42,"collections":4862,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":77},242404,"zhong-ke-chun-hua-ge-tie-yi-ming-242404",[130,1214,557,2679,131,2662,129,287,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F307dd88053721776ae15628d6bace2f6.jpg",[],{"id":4864,"slug":4865,"title":4816,"dynasty":18,"author":52,"museum":83,"description":4817,"tags":4866,"thumbUrl":4867,"material":91,"size":92,"collection":42,"collections":4868,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":77},242387,"zhong-ke-chun-hua-ge-tie-yi-ming-242387",[130,699,557,2679,129,2575,7,1214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F868e8cdb32165b79f989c6778808c88e.jpg",[],{"id":4870,"slug":4871,"title":4816,"dynasty":18,"author":52,"museum":83,"description":4817,"tags":4872,"thumbUrl":4873,"material":91,"size":92,"collection":42,"collections":4874,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":77},242369,"zhong-ke-chun-hua-ge-tie-yi-ming-242369",[130,1214,557,2679,131,129,2575,419,7,287],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ebd266962227d4710bc1d415aedbf3f.jpg",[],{"id":4876,"slug":4877,"title":4878,"dynasty":18,"author":52,"museum":83,"description":4879,"tags":4880,"thumbUrl":4882,"material":91,"size":92,"collection":42,"collections":4883,"showCount":11,"zanCount":11,"manualWeight":11,"mainCo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