[{"data":1,"prerenderedAt":321},["ShallowReactive",2],{"subject-pang-xie":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},136,"pang-xie","螃蟹","螃蟹画高清赏析","精选中国历代螃蟹题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F252d0a4c6b19577bbdec1f6387d4ff42.jpg",0,24,[14,44,62,78,90,103,119,136,153,163,171,184,199,211,219,229,237,252,261,272,282,292,302,311],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":35,"material":36,"size":37,"collection":38,"collections":39,"showCount":41,"zanCount":42,"manualWeight":11,"mainColor":43},222239,"huang-jia-tu-zhou-xu-wei-222239","黄甲图轴","明","徐渭","北京故宫博物院","该图绘肥阔的荷叶已开始凋零，一只螃蟹缓缓爬行，留出大片空白表现秋水。构图简洁洗练，布局清新奇巧。\n图绘肥阔的荷叶已开始凋零，一只螃蟹缓缓爬行，留出大片空白表现秋水。构图简洁洗练，布局清新奇巧。\n画上自题诗曰：“兀然有物气豪粗，莫问年来珠有无。养就孤标人不识，时来黄甲独传胪。”诗意幽默。这幅画也有在讽刺进士甲科的意味，是藉着螃蟹粗鲁横行的形象，来嘲讽那些胸无点墨、世人不耻，但却能依靠关系或金钱金榜题名的人。\n图中的水墨加入了适量的胶，以避免水墨渗散，恰是此图的特色所在。图中以墨色画荷叶，画蟹则寥寥数笔，看似草草为之，实则浓、淡、枯、湿、勾、抹、点多种笔法参用，形状虽夸张，却饶有笔情墨趣。徐渭用奔放的笔墨勾画出螃蟹爬行的姿态以及荷叶疏落的秋天气氛。螃蟹的造型虽然简单，但却是许多笔法一起用才画出来的，不管是形状、质感甚至神态都相当生动。",[23,24,25,26,27,28,29,30,31,7,32,33,34],"高清","名画","国画","书画","立轴","水墨","大写意","花鸟","荷花","印章","书法","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02ca3a19b3c408805bb700eca1b9e478.jpg","纸本","114.6cm 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厘米，横31厘米",[40],74,{"id":104,"slug":105,"title":106,"dynasty":107,"author":108,"museum":109,"description":110,"tags":111,"thumbUrl":114,"material":58,"size":58,"collection":58,"collections":115,"showCount":116,"zanCount":117,"manualWeight":11,"mainColor":118},223630,"he-xie-tu-yi-ming-223630","荷蟹图","宋","佚名","藏地不详","《宋人画荷蟹图》是宋代佚名创作是一幅中国画。\n图中残败的荷叶枯黄斑驳，半浸于水中，一只团脐雌蟹挥螯伏于叶上。\n潺潺流水中生长、飘浮着红蓼、蒲草、浮萍、水藻等，其叶片边沿均已泛黄，显示出时已临秋，金秋时节，正是蟹美膏肥之时，荷叶的颓势与雌蟹的鲜活形成强烈的对比。\n画面刻意求真，荷叶用双钩夹叶法描绘，叶之叶筋、斑纹及莛上的小刺都刻意求工，雌蟹用笔缜密严谨。\n此图画面意境生动，题材别出新意，为宋人写实画作的典范。\n【简介】 本幅无款。\n钤印一方，印文模糊不辨。",[23,24,25,26,73,53,112,7,113,97,30],"荷","荷叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F180dab128ffc6da8aaed986bccf8201c.jpg",[],61,5,"795548",{"id":120,"slug":121,"title":122,"dynasty":123,"author":124,"museum":109,"description":125,"tags":126,"thumbUrl":130,"material":131,"size":132,"collection":133,"collections":134,"showCount":135,"zanCount":11,"manualWeight":11,"mainColor":118},225706,"a-crab-on-its-back-1888-fan-gao-225706","A crab on its back 1888","不详","梵高","文森特·威廉·梵高（Vincent Willem van Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[127,73,128,7,129],"油画","静物","厚涂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb701fd08d5fdaaf5d39775a0301012d2.jpg","未知","Xcm*Xcm","油画精选",[133],57,{"id":137,"slug":138,"title":139,"dynasty":48,"author":108,"museum":109,"description":140,"tags":141,"thumbUrl":149,"material":131,"size":132,"collection":58,"collections":150,"showCount":151,"zanCount":11,"manualWeight":11,"mainColor":152},268425,"dian-cui-shi-liu-wen-tou-hua-yi-ming-268425","点翠石榴纹头花","中国妇女最偏爱的头花当属绒花，尤其是在女儿出嫁时，头上必须戴红色绒花，图火红吉利。在中国妇女中，只要条件允许，不仅婚礼喜庆日时要戴绒花，而且一年四季都愿意头戴绒花，求谐音吉祥。尤其到应时节序戴应季绒花：立春日戴春幡，清明日戴柳枝，端阳日戴艾草，中秋日戴桂花，重阳日戴茱萸，立冬日戴葫芦阳生……。清宫后妃们的头花，还有大批的绒花、绢花、绫花流存于世，这些花色彩协调，晕色层次丰富，堪称“乱真”之花。清代遗留下来的绒、绢、绫、绸等质地的头花有白、粉、桃红三晕色的牡丹花，浅黄、中黄、深黄三色的菊花，白、藕、雪青三色的月季花及粉、白相间的梅花等等，历时百年不久，仍鲜艳悦人。",[142,143,144,145,146,7,147,148],"饰品","头饰","点翠","石榴","飞鸟","花卉","吉祥纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cfd0b87b46b706ecaa4e57cd4a978bd.jpg",[],15,"37474F",{"id":154,"slug":155,"title":156,"dynasty":18,"author":157,"museum":109,"description":158,"tags":159,"thumbUrl":160,"material":131,"size":132,"collection":58,"collections":161,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":43},235734,"hua-niao-ce-tan-zhi-yi-235734","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。",[25,28,55,70,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecac5198f0bf2c1359fe2b991d0fc0fc.jpg",[],12,{"id":164,"slug":165,"title":166,"dynasty":48,"author":108,"museum":109,"description":140,"tags":167,"thumbUrl":168,"material":131,"size":132,"collection":58,"collections":169,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":152},268510,"dian-cui-hua-hui-niao-die-wen-tou-hua-yi-ming-268510","点翠花卉鸟蝶纹头花",[142,144,147,7,143],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b1fbf4222473752d83861c2c890430b.jpg",[],9,{"id":172,"slug":173,"title":174,"dynasty":48,"author":108,"museum":109,"description":175,"tags":176,"thumbUrl":181,"material":131,"size":132,"collection":58,"collections":182,"showCount":183,"zanCount":11,"manualWeight":11,"mainColor":43},249219,"qian-long-kuan-hua-fa-lang-he-ye-shi-die-yi-ming-249219","乾隆款画珐琅荷叶式碟","取荷叶为形，鎏金边棱勾勒舒展柔美的轮廓，宛若将塘中翠荷裁撷入馔。盘面以淡绿釉晕染出叶脉肌理，仿若晨露未晞的鲜活荷塘。白蟹躬身探爪，螯足灵动如生，蟹壳肌理分毫毕现，秋菊疏密点缀，粉黄蓝三色娇花柔枝轻曳，鲜活又雅致。\n\n蟹戏花荷之间，暗合和谐美满的吉祥意涵，珐琅彩料明丽清透，填色匀净细腻，将秋塘一隅的生机凝于方寸，尽显工艺巧思，雅致动人，带着清秋闲逸的意趣。",[177,178,179,73,112,7,180],"清代","画珐琅","荷叶式","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4468035c3b609a2350a4141d5e2a3c4.jpg",[],8,{"id":185,"slug":186,"title":187,"dynasty":48,"author":188,"museum":189,"description":190,"tags":191,"thumbUrl":196,"material":58,"size":58,"collection":40,"collections":197,"showCount":183,"zanCount":11,"manualWeight":11,"mainColor":198},201585,"zhi-hua-qiu-tang-tu-zhou-yang-tai-ji-201585","指画秋塘图轴","杨泰基","上海博物馆","这幅秋塘图以指为笔，墨色淋漓间铺展秋塘野趣。枯荣交织的荷叶，或浓墨泼洒，或淡墨晕染，尽显自然之态；塘中螃蟹横行，小鱼悠游，蜻蜓翩跹，动静相宜；残荷挺立，细草点缀，秋意萧瑟却暗藏生机。指画的独特肌理赋予景物质朴鲜活的质感，墨色浓淡干湿对比鲜明，营造出清寂雅致又灵动的秋塘意境，尽显文人写意的闲逸意趣。",[192,28,112,193,7,194,70,195,23],"指画","鱼","蜻蜓","秋塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F296a905e568fc74263cc9b540ec2857d.jpg",[40],"b4ac99",{"id":200,"slug":201,"title":202,"dynasty":107,"author":108,"museum":109,"description":203,"tags":204,"thumbUrl":208,"material":58,"size":58,"collection":58,"collections":209,"showCount":210,"zanCount":11,"manualWeight":11,"mainColor":43},227866,"wan-he-guo-suo-tu-yi-ming-227866","晚荷郭索图","《宋扇面画晚荷郭索图》是宋代画家佚名创作一幅绢本设色画。\n此画现藏于北京 。\n此图原载《烟云集绘册》（《石渠宝笈续编》著录）。\n无款，签题黄居寀作。\n居寀为筌子。\n《圣朝名画评》云：黄居寀亦善画花竹毛羽，多与筌共为之，其气骨意思，深有父风。\n孟昶时，画四时花雀图数本，当世称绝。\n评曰：居寀之画鹤，多得筌骨。\n其有佳处，亦不能决其高下。\n至于花竹禽雀，皆不失筌法。\n对开有清乾隆皇帝御题诗一首：“从来螯蛫善横行，稻熟秋风意气生。\n甲介向称无所畏，如何每入膳人烹。\n”钤“古稀天子”、“八徵耄念之宝”、“ ”等玺印多方。\n本幅无款。\n钤鉴藏印“金陵□□□□”。\n曾经清内府收藏，《石渠宝笈续编》著录。\n图中一只硕大的 张牙舞爪踞于残荷之上，肥重的身躯竟将荷梗压断。\n衬以苍老的莲蓬、枯黄的 、稀疏的 ，更增添了萧瑟冷寂的气氛。\n荷叶和莲蓬用粗笔勾描，蟹用细笔写之，笔法粗犷写实，设色鲜艳浓重。\n无名氏。\n旧签题 “黄居寀”作，究其画风，与 相距甚远，故改为无名氏画。",[23,25,26,205,55,206,28,73,31,113,207,7,34,32],"宋代","扇面","莲蓬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba4b3faac025682ff468de9c8c866068.jpg",[],7,{"id":212,"slug":213,"title":166,"dynasty":48,"author":108,"museum":109,"description":140,"tags":214,"thumbUrl":216,"material":131,"size":132,"collection":58,"collections":217,"showCount":218,"zanCount":11,"manualWeight":11,"mainColor":152},268515,"dian-cui-hua-hui-niao-die-wen-tou-hua-yi-ming-268515",[142,144,145,7,147,143,215],"簪子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F840407a8677d294b9b07adaffeda0e1e.jpg",[],4,{"id":220,"slug":221,"title":222,"dynasty":223,"author":224,"museum":189,"description":225,"tags":226,"thumbUrl":10,"material":58,"size":58,"collection":58,"collections":227,"showCount":218,"zanCount":11,"manualWeight":11,"mainColor":228},202859,"mo-xie-tu-zhou-qi-bai-shi-202859","墨蟹图轴","近代","齐白石","几只螃蟹于素纸上错落生姿，墨色浓淡相宜，老辣笔触点染蟹壳如漆，轻盈线条勾勒蟹腿似铁，或横行霸道，或交叠攀爬，姿态鲜活灵动。齐白石以极简笔墨捕捉蟹之神韵，形神兼备间尽显对生活的细致体察与写意妙趣，画面简而不空，意趣盎然，满溢文人画的雅韵生机。",[25,28,27,7,32],[],"c1c1b3",{"id":230,"slug":231,"title":81,"dynasty":48,"author":232,"museum":109,"description":233,"tags":234,"thumbUrl":235,"material":131,"size":132,"collection":58,"collections":236,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":43},235185,"za-hua-ce-huang-shen-235185","黄慎","黄慎（1687年6月14日—1772年），福建宁化人，初名盛，字恭寿，恭懋，躬懋、菊壮，号瘿瓢子，别号东海布衣。家贫，遂学画，擅长人物、山水、花鸟。他的人物画题材十分广泛和丰富，它不仅画神仙佛道和历史名人，也擅长从民间生活中取材，塑造了纤夫 、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。",[25,26,55,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5b95722b2b184624d7de9abd8b6993a.jpg",[],{"id":238,"slug":239,"title":240,"dynasty":18,"author":108,"museum":109,"description":241,"tags":242,"thumbUrl":249,"material":131,"size":132,"collection":58,"collections":250,"showCount":251,"zanCount":11,"manualWeight":11,"mainColor":118},228516,"jiu-yu-he-ye-xi-yi-ming-228516","旧玉荷叶洗","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。",[243,244,245,246,247,113,7,180,248],"明代","玉石","雕刻","浮雕","写实","文房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17fa83039e53322c6b3b0effc80cf1a9.jpg",[],2,{"id":253,"slug":254,"title":255,"dynasty":48,"author":108,"museum":109,"description":256,"tags":257,"thumbUrl":259,"material":131,"size":132,"collection":58,"collections":260,"showCount":61,"zanCount":11,"manualWeight":11,"mainColor":118},269142,"zhu-gen-diao-he-ye-pang-xie-yi-ming-269142","竹根雕荷叶螃蟹","此作循竹根天然肌理施刀，以一片卷舒的荷叶为主体，叶脉起伏流转，叶缘翻卷自然，将池水间的慵懒意趣凝于顽竹之上。蟹身半藏叶底，螯足隐现，似正悄然蛰伏，静中藏动，把荷塘盛夏的鲜活清趣定格。\n\n雕刀老辣洗练，于朴拙间见精巧，竹色沉敛温润，莹然包浆带着岁月摩挲的厚重质感，将闲居赏玩的雅趣融于一刀一凿，把日常小景刻绘得灵动鲜活。",[245,258,113,7,180],"竹根雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbad935fca515e7fbf294bc171f30783.jpg",[],{"id":262,"slug":263,"title":264,"dynasty":123,"author":108,"museum":109,"description":265,"tags":266,"thumbUrl":269,"material":131,"size":132,"collection":270,"collections":271,"showCount":61,"zanCount":11,"manualWeight":11,"mainColor":152},263488,"guang-yao-bai-you-xie-lou-yi-ming-263488","广窑白釉蟹篓","广窑是宋代瓷窑。在广东肇庆阳江。宋南渡后所建。胎质粗而色褐。器多天蓝色，惟不甚匀，釉厚处或作靛蓝色，釉薄处或作灰蓝色，无釉处所现之色如黄酱色。\n我国在东汉晚期（公元二世纪）烧制出了成熟的青釉瓷器，到了唐代，全国的陶瓷生产有了更大的发展。当时国家采取了与民生息的政策，开发落后地区，沟通海陆交通，加强对外的文化交流和贸易活动，促进了全国市场的形成，陶瓷制品更加普遍地应用于社会生活中，并且大宗向海外输出。",[267,245,7,268,180],"陶瓷","白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84b1033322e87e9b381c80f2ceff38c6.jpg","瓷器精选",[270],{"id":273,"slug":274,"title":275,"dynasty":48,"author":108,"museum":109,"description":276,"tags":277,"thumbUrl":280,"material":131,"size":132,"collection":58,"collections":281,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},272053,"yi-xing-he-ye-shi-yan-yi-ming-272053","宜兴荷叶式砚","砚台历经秦汉、魏晋，至唐代起，各地相继发现适合制砚的石料，开始以石为主的砚台制作。其中采用甘肃岷县的洮河石、广东端州的端石、安徽歙州的歙石制作的砚台，被分别称作洮砚、端砚、歙砚。史书将洮、端、歙称作三大名砚。清末，又将河南洛阳的澄泥砚与洮、端、歙，并列为中国四大名砚。也有人主张，以天然砚石雕制的鲁砚中的红丝石砚代替澄泥砚，合称四大名砚。\n谈起砚的种类有许多种，从砚的材质可分为：玉砚、银砚、铜砚、铁砚、陶砚、瓷砚、石砚、漆砚等，其中石砚是最为普遍，也最实用的一种砚。砚台起源于新石器时代。最早的砚是半坡村遗址出土的研磨颜料的研磨器，在1980年，大陆考古学家曾在陕西省临潼县姜寨一处原始社会的遗址中，发现了一套原始人用以陶器彩绘的工具，其中有一方石砚，砚有盖，砚面微凹，凹处并有一根石质磨杵，砚旁留存数块黑色颜料。很显然，这是先民们借助磨杵研磨颜料的早期砚的形制。由于这处遗址归属于母系氏族时期的仰韶文化，故这方砚台的实际寿龄已超过了五千年了。\n清代端石砚要求因材施艺，因石构图，在题材、立意、构图、造型、利用何种雕法都要精心推敲，刻划得当。保持了端砚的古雅、朴实，古色古香、形态自然的特点。如北京故宫收藏的「端石双龙砚」、「猫蝶砚」是端砚中的佳品。",[278,112,7,267,245,279],"砚","文房器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b31ba5cb05acfc324e0d5e1b8273185.jpg",[],{"id":283,"slug":284,"title":285,"dynasty":48,"author":108,"museum":109,"description":276,"tags":286,"thumbUrl":290,"material":131,"size":132,"collection":58,"collections":291,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":118},271334,"duan-shi-xie-chi-chang-fang-yan-yi-ming-271334","端石蟹池长方砚",[278,287,7,245,288,289],"端石","木质","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a32089acf5d718d177c90c458c9b0cc.jpg",[],{"id":293,"slug":294,"title":295,"dynasty":48,"author":108,"museum":109,"description":296,"tags":297,"thumbUrl":300,"material":131,"size":132,"collection":58,"collections":301,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":152},269962,"zhu-diao-he-hua-xie-bi-ge-yi-ming-269962","竹雕荷花蟹臂搁","此作以浅浮雕兼镂雕施艺，将初秋荷塘小景晕染于竹间。瓣叶舒展翻卷的荷花，新苞、残荷错落排布，叶脉纹理纤毫毕现，枯荣相生间野趣横生。下方螃蟹伏于涡纹水波中，螯足张弛灵动，甲壳质感逼真，暗合\"荷蟹\"谐和的吉祥意涵。\n\n沉红古雅的竹色与刀工相得益彰，刀痕藏露有度，既留存竹肌天然肌理，又以细腻刀工刻写出塘间生机，静中藏动，于方寸臂搁间铺展出鲜活雅致的荷塘逸致，尽显文人意趣与工艺匠心的交融之美。",[298,245,299,31,7,180],"竹雕","臂搁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37e9c9e0a4bb389fcec2a8d3579f70c1.jpg",[],{"id":303,"slug":304,"title":305,"dynasty":48,"author":108,"museum":109,"description":306,"tags":307,"thumbUrl":309,"material":131,"size":132,"collection":58,"collections":310,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},269140,"zhu-gen-diao-he-xie-shuang-yan-yi-ming-269140","竹根雕荷蟹双燕","随形施艺，将一截竹根化为满塘夏意。浮雕、透雕兼用，荷叶翻卷层叠，肌理纹路宛然天成，盛放的荷花饱满娇妍，莲蓬垂坠，尽是江南荷塘的鲜活意趣。\n\n张螯探身的螃蟹鲜活灵动，仿佛正穿梭于叶底，暗合和谐美意。双燕振翅穿绕在茎叶之间，羽翼纤毫毕现，为满塘静谧添上几分灵动生机。\n\n刀工圆润细腻，巧借竹根天然肌理晕染朴拙质感，将草木虫鸟的生趣融于方寸，把夏日荷塘的鲜活景致定格，雅致又充满野趣，尽显匠人巧思与雅致审美。",[245,298,31,7,308,193],"燕子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fd4a11983656ef6febee87779f4f802.jpg",[],{"id":312,"slug":313,"title":314,"dynasty":48,"author":108,"museum":109,"description":315,"tags":316,"thumbUrl":319,"material":131,"size":132,"collection":58,"collections":320,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":152},268597,"yin-du-jin-dian-cui-xiang-liao-zhu-tou-zhen-yi-ming-268597","银镀金点翠镶料珠头针","发簪，中国古代汉族人民用来固定和装饰头发的一种首饰。对于现代人来说已经是一个很古老的名词了，但是当在看古装剧时，却总是能被它们点缀出的精致效果所折服。\n将长发松松挽起，插上一枚别致的发簪，再配上典雅的长裙，即便性格再外放的女性，也可以成为让人眼前一亮的古典美人。发簪金属的光泽闪耀在发间，加上小而巧的坠饰，长发的风情便又是一种不一样的感受了。",[142,317,318,144,7,112],"银器","金器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60687838d3e3c58de657c698042a4095.jpg",[],1777535717887]