[{"data":1,"prerenderedAt":1274},["ShallowReactive",2],{"subject-pu-tao":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},8,"pu-tao","葡萄","葡萄画高清赏析","精选中国历代葡萄题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd82df52638b263313fce28c80e79954f.jpg",0,127,[14,41,66,85,111,127,146,159,173,186,199,223,234,245,255,267,280,293,301,314,325,339,352,367,377,388,397,410,419,431,444,454,469,478,488,502,515,524,537,549,559,572,580,589,598,607,614,633,643,652,660,672,686,696,702,712,723,732,740,747,753,760,767,778,786,793,801,810,817,824,831,845,855,862,872,881,889,897,905,915,924,933,940,947,954,960,966,973,979,987,997,1008,1016,1024,1032,1040,1048,1056,1067,1075,1082,1088,1094,1100,1107,1113,1119,1125,1132,1141,1149,1156,1165,1173,1181,1187,1193,1199,1206,1212,1218,1230,1236,1246,1254,1261,1268],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":35,"material":36,"size":36,"collection":36,"collections":37,"showCount":38,"zanCount":39,"manualWeight":11,"mainColor":40},228763,"shui-mo-pu-tao-tu-zhou-xu-wei-228763","水墨葡萄图轴","明","徐渭","藏地不详","《明徐渭山水花卉人物图》是明代画家徐渭的作品，该画为纸本、水墨，尺幅纵26.9厘米，横8.厘米。\n现藏于 。\n自书款一而：“万历戊子夏仲，偶闲，寓崇侄子云齐中，漫为捉笔，真儿戏也。\n青藤渭。\n”下钤“徐渭之印”等二方。\n另有吴俊卿、李详题跋二页。\n钤印诸方。\n该册十八页，其中画十五页，分别作写意山水人物、写生 ，内容有婴戏、对弈、 、 、稻穗螃蟹等等。\n笔墨简括豪放，随意自然。\n选其二页，可窥真趣。\n徐渭（1521~159年）明代杰出书画家、 。\n初字文清，改字文长，号天池、又号青藤道人、田水月等。\n浙江山阴（今绍兴）人。\n自幼聪慧，文思敏捷。\n且胸有大志。\n参加过嘉靖年间东南沿海的抗倭斗争和反对权奸严嵩，一生遭遇十分坎坷，可谓“落魄人间 ”。\n最后入狱七、八年。\n获释后，贫病交加，以卖诗、文、画糊口，潦倒一生。\n他中年学画，继承梁楷减笔和林良、沈周等写意花卉的画法，故擅长画水墨花卉，用笔放纵，画残菊败荷，水墨淋漓，古拙淡雅，别有风致。\n兼绘山水，纵横不拘绳墨，画人物亦生动，其笔法更趋奔放、简练，干笔、湿笔、破笔兼用，风格清新，恣情汪洋，自成一家，形成“青藤画派”。\n他自己尤以书法自重。\n自称“吾书第一、诗二、文三、画四”。\n袁宏道等称赞他的书法“笔意奔放”，“苍劲中姿媚跃出”，“在王雅宜、文征仲之上。\n他画的《黄甲图》，峭拔劲挺，生动地表现了螃蟹爬行、秋荷凋零的深秋气氛。\n作品流传至今的较多。\n著作有：《四声猿》、《南词叙录》《徐文长佚稿》、《徐文长全集》等。\n传世著名作品有《墨葡萄图》轴、《山水人物花鸟》册（均藏故宫博物院）、《牡丹蕉石图》轴，以及晚年所作《墨花》九段卷（现藏故宫博物院）等。",[23,24,25,26,27,28,29,30,7,31,32,33,34],"高清","国画","书画","立轴","水墨","写意","大写意","泼墨","藤蔓","叶子","书法","草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F504df223fc9470a5121ee4d43301b51c.jpg","",[],528,7,"BDBDBD",{"id":42,"slug":43,"title":44,"dynasty":18,"author":19,"museum":45,"description":46,"tags":47,"thumbUrl":58,"material":59,"size":60,"collection":61,"collections":62,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":65},222233,"za-hua-tu-xu-wei-222233","杂花图","南京博物院","《杂花图》是明代画家徐渭所创作的一幅泼墨画，纸本作品，是南京博物院18件镇馆之宝中唯一一件书画作品。画中分别将牡丹、石榴、荷花，梧桐、菊花、北瓜、扁豆、紫薇、紫藤、芭蕉、梅、兰、竹共计十三种花卉绘于一卷。\n《杂花图卷》是徐渭传世的佳作，在这卷十余米的长卷中，徐渭以酣畅淋漓的“胶墨”分别绘制了牡丹、石榴、梧桐、菊花、南瓜、扁豆、紫薇、紫藤、芭蕉、梅兰竹等13种花卉蔬果。徐渭以其疾飞狂扫的豪放气势，纵横挥洒，信笔涂抹：画中牡丹含羞沾露，占尽风流；硕荷、梅兰、修竹、榴枝，笔触歪斜正侧，跌来倒去，随意点染，自如流畅。作紫藤逸笔草草、洋洋洒洒。忽而，又如狂风乍起，点线飞舞，纵横密集，线条速急癫狂。顷刻，笔住墨涸，嘎然而止，墨彩纷呈，留下满纸斑斓。体现了他用笔峭拔劲挺多变与用墨洒脱自如的艺术风格。画中尽显着交响乐一般波澜起伏的宏大乐章。时隔4个世纪，画中依然显出墨迹淫淫的湿润感。\n《杂花图》卷，全图以牡丹起首，按牡丹象征富贵，这与徐青藤的身世相左，故而他一变旧法而改以泼墨写牡丹“虽有生意，终不是此花真面目”，在这枝墨牡丹上我们确实很难寻找富贵的痕迹了。紧接着石榴一枝，充分体现了他用笔的灵动，而墨荷：则重在展示墨彩的缤纷 。梧桐以其肥硕的枝干稳住了这二小段的重心，这是全图的第一个高潮。以下菊花、扁豆、紫薇等只是逸笔草草，随意点染。就章法而言，疏密是相对而存在的，这一小段貌似不经意之笔，在全图的节奏处理上却起着关键的作用。紫藤如蛇的老干泼辣粗放，“一扫槎枒三丈绢”的气势，形成了全图的最高潮。紫藤的花叶更是水墨淋漓，走笔如飞而不乱，意犹跃出纸外。芭蕉是滋润而含蓄的，它与紫藤形成了动与静的强烈对比，貌与质的相依共存。接下来梅枝横斜傲骨铮铮，幽兰、纤竹寥寥数笔，是为尾声。艺术是相通的，我们从这卷《杂花图》中可以领略到诗的起、承、转、合，也像欣赏一部交响曲，从引子到尾声，节奏和韵味正是它们共同的内涵。我们更能通过此图触摸到青藤老人胸中激情的横流。",[23,24,25,48,27,29,33,49,50,51,52,53,54,55,56,7,57],"长卷","牡丹","石榴","荷花","梧桐","菊花","南瓜","扁豆","紫薇","竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2ccaec0a74bfab54d306d36724d1bcb.jpg","纸本","1053.5X30厘米","山水画精选",[61,63],"水墨画精选",448,"795548",{"id":67,"slug":68,"title":69,"dynasty":70,"author":71,"museum":72,"description":73,"tags":74,"thumbUrl":79,"material":80,"size":81,"collection":36,"collections":82,"showCount":83,"zanCount":84,"manualWeight":11,"mainColor":40},233731,"wu-jun-qing-pu-tao-hu-lu-zhou-wu-chang-shuo-233731","吴俊卿葡萄葫芦轴","清","吴昌硕","北京故宫博物院","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 [3] 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,26,75,28,76,7,77,31,32,78],"设色","花鸟","葫芦","花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff132055bd0237aacfdd9ba4bc4e35645.jpg","纸本，设色","纵174.7cm，横47.5cm",[],221,2,{"id":86,"slug":87,"title":17,"dynasty":18,"author":19,"museum":72,"description":88,"tags":89,"thumbUrl":105,"material":106,"size":107,"collection":36,"collections":108,"showCount":109,"zanCount":110,"manualWeight":11,"mainColor":40},233375,"shui-mo-pu-tao-tu-zhou-xu-wei-233375","此图曾经清代李佐贤、陈希濂等收藏。\n图中画一架葡萄，叶片茂盛，藤蔓缠绕，果实累累。作者以草书笔法作画，行笔豪迈而不肆野，叶、果用淡墨加胶矾挥洒，墨气淋漓酣畅，产生了极佳的晕散效果。\n画中所题诗见于《徐文长集三》卷十一，是徐渭作画时常书写的诗作之一，抒发了作者一生不遇的坎坷痛苦的心境。画中题字受米芾行书风格影响，结体紧凑，运笔舒缓大气，竖笔、捺笔流畅雄健，收锋沉稳，体现了其身为晚明大书家的深厚的艺术功力。",[24,25,26,27,28,7,31,32,90,91,92,29,93,94,95,96,97,98,99,100,101,102,103,104],"果实","花卉","蔬果","墨色变化","藤蔓缠绕","果实垂挂","枝叶舒展","水墨淋漓","文人画风格","植物","水墨植物","墨叶","墨果","藤蔓线条","写意花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ac2949f65bdc9dc171950992c953d5d.jpg","纸本，墨笔","纵 165.4厘米，横 64.5厘米",[],215,1,{"id":112,"slug":113,"title":114,"dynasty":70,"author":115,"museum":116,"description":117,"tags":118,"thumbUrl":121,"material":122,"size":123,"collection":36,"collections":124,"showCount":125,"zanCount":126,"manualWeight":11,"mainColor":65},216108,"yun-shou-ping-hua-guo-shu-cai-ce-ye-3-yun-shou-ping-216108","恽寿平花果蔬菜册页-3","恽寿平","天津博物馆","恽寿平花果蔬菜册页一共六开，绢本设色，以没骨写意画法依次描写了丝瓜、竹笋、竹子、葡萄、茄子、扁豆、白菜、芋头等日常蔬果，笔致灵动、色调雅致清新，描写入微，蔬果的叶尖、芽尖也刻画细致生动，尽显淡然天真之气，是恽寿平晚年描绘蔬果的没骨精品。 此册页每一页所绘蔬果都有刘墉相应赋诗一首，书法浑厚大气，古朴自然，自成一派，看似松散，实则丰貌骨劲。刘墉所描写蔬果诗文生动质朴，贴近生活，与恽寿平描绘的蔬果相应成趣，极大增加了观赏趣味。",[24,25,119,75,120,76,7,31,32,90],"册","没骨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e662822fd50f45acad8354abff8c0d6.jpg","绢本,设色","26.1x19.9cm",[],206,3,{"id":128,"slug":129,"title":130,"dynasty":131,"author":132,"museum":20,"description":133,"tags":134,"thumbUrl":142,"material":143,"size":144,"collection":36,"collections":145,"showCount":12,"zanCount":11,"manualWeight":11,"mainColor":65},289560,"pu-tao-cao-chong-tu-lin-chun-289560","葡萄草虫图","宋","林椿","林椿，南宋钱塘（今浙江杭州）人，生卒年不详，南宋孝宗淳熙（1174—1189）间画院待诏，赐金带。 林椿为南宋时期画家，孝宗淳熙年间曾为画院待诏。生卒年不详，浙江钱塘（今浙江杭州）人，南宋时期画家。孝宗淳熙年间曾为画院待诏。绘画师法赵昌，工画花鸟、草虫、果品，设色轻淡，笔法精工，设色妍美，善于体现自然的形态，所绘小品为多，当时赞为“极写生之妙，莺飞欲起，宛然欲活”。传世作品有：《梅竹寒禽图》册页，藏于上海博物馆。《果熟来禽图》《葡萄草虫》《枇杷山鸟图》，藏于北京故宫博物院。",[24,135,136,75,7,137,138,139,140,141],"扇面","工笔","草虫","螳螂","蜻蜓","蚱蜢","花鸟画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd265e60b95e8fc8b7f968d06de63bf6.jpg","未知","Xcm*Xcm",[],{"id":147,"slug":148,"title":149,"dynasty":18,"author":150,"museum":151,"description":152,"tags":153,"thumbUrl":154,"material":155,"size":156,"collection":61,"collections":157,"showCount":158,"zanCount":110,"manualWeight":11,"mainColor":40},215039,"pu-tao-tu-nao-an-215039","葡萄图","挠庵","日本东京国立博物馆","挠庵是明朝时期的一位著名文人。他是著名的画家，以他的葡萄图而闻名。葡萄图是他的代表作之一，是他在明朝时期所创作的一幅葡萄图。这幅画展示了一个葡萄园的景象，画中的葡萄树和葡萄非常逼真，可以看出挠庵在绘画技巧方面颇有造诣。葡萄图被认为是明朝时期著名画家的杰作之一，被誉为“葡萄图之祖”，在中国画坛上享有盛誉。",[23,24,25,27,28,76,7,31,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d8f035cf390a823093bc490ce8493db.jpg","纸本,水墨","27.5×29.3cm",[61],107,{"id":160,"slug":161,"title":149,"dynasty":131,"author":162,"museum":20,"description":163,"tags":164,"thumbUrl":166,"material":167,"size":168,"collection":169,"collections":170,"showCount":172,"zanCount":84,"manualWeight":11,"mainColor":65},221249,"pu-tao-tu-wen-ri-guan-221249","温日观","善草书，精画葡萄，自成一家。他于一笔中带有深浅不同之墨色画叶，并以深墨点染仍带湿润 之葡萄，表现出明暗和体积，颇显自然逼真，人称“温葡萄”，很得赵孟頫推崇。元至元二十七年（1290），温日观偶遇同乡士人曾遇，得知他即将赴京，欣然画葡萄两幅，一幅托他带给赵孟頫，另一幅赠给曾遇。次年，赵孟頫在葡萄卷上题跋：“日观老师作墨葡萄，初若不经意，而枝叶肯棨，细玩之纤悉皆具，殆非学所能至。俗人恳恳求之，靳不与一笔。遇佳士，虽不求，辄索纸笔挥洒无吝色，岂可谓道人胸中无泾渭耶。吾与师仅一再面，去冬曾君自吴来燕，辱以一纸见寄，相望数千里不遐遗乃尔。因想胜风，欲相从西湖山水间，何可得也。”\n温日观画葡萄率意而作，天真烂漫，吐露心声。《画禅》称他：“自成一家法，人不可测。”由于他擅长草书，葡萄的梗须枝叶都用草书笔法，收藏者以此鉴别真赝。陈继儒称他：“葡萄极得草书三昧法。”有一幅作于至元二十八年（1291）的《葡萄图》轴，上面题诗“香稻雨催熟，丹心老变灰。夕阳归路近，魂梦日徘徊”，后流入日本。《葡萄图》卷现藏美国高居翰先生景元斋。为人超逸绝尘，出言愤世骇俗。行书法杨凝式。据戴表元《宋温日观书心经》题跋，说他“放浪啸傲于西湖三竺间五十年”，享年当在六十岁以上。",[23,165,24,25,76,27,7,31,119],"名画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f93f7fe5ef5954868af2d6649c5e2f2.jpg","水墨纸本","27×188.5cm","宋画精选",[169,171,63],"花鸟画精选",80,{"id":174,"slug":175,"title":176,"dynasty":131,"author":177,"museum":178,"description":179,"tags":180,"thumbUrl":182,"material":122,"size":183,"collection":36,"collections":184,"showCount":185,"zanCount":84,"manualWeight":11,"mainColor":40},218576,"hua-niao-shan-shui-xiao-pin-ce-pu-tao-ma-yuan-218576","花鸟山水小品册-葡萄","马远","台北故宫博物院","分别绘茶花、牡丹、葡萄、桃子，色彩鲜艳，用笔精致。山水绘山阁远眺，策杖登高，孤棹泛波，意趣悠然。",[23,165,24,25,119,75,136,7,31,32,181],"印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2bc725dd647940f42f8f27a6cc90dd2.jpg","33*19",[],65,{"id":187,"slug":188,"title":189,"dynasty":18,"author":190,"museum":191,"description":192,"tags":193,"thumbUrl":195,"material":155,"size":196,"collection":63,"collections":197,"showCount":198,"zanCount":11,"manualWeight":11,"mainColor":65},220357,"yue-xia-pu-tao-tu-wang-liang-chen-220357","月下葡萄图","王良臣","美国弗利尔美术馆","王良臣（ 生卒年不详），平生无可考。作花卉，意在沈周、徐渭之间，疑为明嘉、万历年间画家。",[24,25,26,27,76,7,194,181],"明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3c5d497af84a9427a0bb325bf7c4c38.jpg","188.4x60.2",[63],62,{"id":200,"slug":201,"title":202,"dynasty":203,"author":204,"museum":20,"description":205,"tags":206,"thumbUrl":219,"material":143,"size":144,"collection":220,"collections":221,"showCount":222,"zanCount":11,"manualWeight":11,"mainColor":40},226035,"still-life-with-a-melon-1872-mo-nai-226035","Still Life with a Melon, 1872","不详","莫奈","奥斯卡-克劳德·莫奈（法文：Oscar-Claude Monet，1840年11月14日-1926年12月5日），法国画家，被誉为“印象派领导者”，是印象派代表人物和创始人之一。\n莫奈是法国最重要的画家之一，印象派的理论和实践大部分都有他的推广。莫奈擅长光与影的实验与表现技法。他最重要的风格是改变了阴影和轮廓线的画法，在莫奈的画作中看不到非常明确的阴影，也看不到突显或平涂式的轮廓线。光和影的色彩描绘是莫奈绘画的最大特色。\n2019年5月14日，法国印象派画家克劳德·莫奈的作品《干草堆》在纽约苏富比拍卖行以破纪录的1.107亿美元（当时1美元约合人民币6.87元）高价拍出。这是莫奈作品拍卖价格的最高纪录，也是印象派画作拍卖最高纪录。",[207,208,209,210,211,212,213,214,215,7,216,217,218],"油画","印象派","静物","光影","色彩","盘子","蓝白花纹盘","桃子","甜瓜","碗","果碗","桌布","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7a5572925d8db1c1e48fff9a93ed034.jpg","油画精选",[220],48,{"id":224,"slug":225,"title":226,"dynasty":131,"author":132,"museum":72,"description":227,"tags":228,"thumbUrl":229,"material":230,"size":231,"collection":36,"collections":232,"showCount":233,"zanCount":110,"manualWeight":11,"mainColor":65},234009,"pu-tao-cao-chong-tu-ye-lin-chun-234009","葡萄草虫图页","图绘葡萄累累垂挂，蜻蜓、螳螂、蝈蝈、蝽象伏于藤蔓绿叶间，画家以小幅的画面抒写了一幅生机盎然的田园景致。昆虫以双勾填彩法绘制，用线刚柔相济，既准确地勾勒出秋虫或动或静的各种体态和神情，又将昆虫翅膀的轻薄或外壳的坚硬等不同的质感表露无遗，显示出作者敏锐的观察力和精于细节表现的绘画功底。在色彩上，敷色轻淡，深得造化之妙，葡萄藤的藤尖点染红色以示其新生初发之嫩，叶子的边缘略以褐色渲染，表明叶片饱经浓霜重露之貌。这种合乎自然规律的晕染与其求实写真的线条相得益彰，具有宋代院体工笔画的鲜明特色。",[24,165,25,76,135,136,75,7,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F749b5dc78e09cc13d321b8999ca74329.jpg","绢本，设色","纵26.2厘米，横27厘米",[],47,{"id":235,"slug":236,"title":237,"dynasty":18,"author":238,"museum":239,"description":240,"tags":241,"thumbUrl":242,"material":155,"size":36,"collection":36,"collections":243,"showCount":244,"zanCount":110,"manualWeight":11,"mainColor":40},214916,"mo-hua-ce-10-shen-zhou-214916","墨花册-10","沈周","印第安纳波利斯艺术博物馆","沈周是一位著名的明朝画家，他的作品《墨花册》是一本插图本，其中包含了许多令人惊叹的墨花图案。《墨花册》是沈周的代表作之一，因其精美的图案和精湛的插画技巧而广受赞誉。在《墨花册》中，沈周用黑墨和水彩画描绘了许多精美的墨花图案，包括花卉、鸟类、动物和人物等。沈周的作品充满了生机和活力，他的绘画技巧非常出色，深受人们的喜爱。",[23,24,27,119,76,7,31,32,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36174ca3ee0e711e4558881ccb44938f.jpg",[],39,{"id":246,"slug":247,"title":248,"dynasty":203,"author":249,"museum":20,"description":250,"tags":251,"thumbUrl":252,"material":143,"size":144,"collection":36,"collections":253,"showCount":254,"zanCount":11,"manualWeight":11,"mainColor":40},290025,"mo-pu-tao-tu-cui-lang-gu-290025","墨葡萄图","崔浪谷","此作用通景八屏铺陈藤蔓葡萄，老干以焦墨写出，苍劲如屈铁，虬曲回旋将八幅连为整体，满溢蓬勃生机。\n\n葡萄以没骨晕染，墨色浓淡相衬，似见颗颗晶莹饱满，垂坠枝桠间尽显鲜活野趣。叶片以干湿浓淡区分正反向背，写意笔触随性却神完气足，藤蔓游丝牵连，尽展舒展之姿。\n\n落款轻落边角，隐于枝叶间不抢画面风采，尽显文人画雅致意趣。全作以水墨写就，舍去敷色，以墨色幻化尽显满架葡萄的丰润，将蔬果鲜活与文人疏朗逸气相融，寥寥笔墨间尽显写意花鸟的风神韵味。",[23,24,25,48,27,76,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff17d066d27c4a3f33bf5fde2af56c79a.jpg",[],35,{"id":256,"slug":257,"title":258,"dynasty":70,"author":259,"museum":20,"description":260,"tags":261,"thumbUrl":264,"material":143,"size":144,"collection":36,"collections":265,"showCount":266,"zanCount":11,"manualWeight":11,"mainColor":40},236377,"xu-gu-song-shu-pu-tao-shan-ye-xu-gu-236377","虚谷松鼠葡萄扇页","虚谷","虚谷（1823～1896），清代著名画家，海上四大家之一，有“晚清画苑第一家”之誉。俗姓朱，名怀仁，僧名虚白，字虚谷，别号紫阳山民、倦鹤，室名觉非庵、古柏草堂、三十七峰草堂。籍新安（今安徽歙县），居广陵（今江苏扬州）。初任清军参将与太平军作战，意有感触，后出家为僧。工山水、花卉、动物、禽鸟，尤长于画松鼠及金鱼。亦擅写真，工隶书。作画有苍秀之趣，敷色清新，造型生动，落笔冷消，别具风格。性情孤僻，非相处情深者不能得其片纸。早年学界画，后以擅画花果、禽鱼、山水著名。风格冷峭新奇，绣雅鲜活，无一笔滞相，匠心独运，别具一格。亦能诗，有《虚谷和尚诗录》。传世作品有《梅花金鱼图》《松菊图》《葫芦图》《蕙兰灵芝图》《枇耙图》等。",[24,25,135,75,27,262,263,7,76],"兽","松鼠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250ff96f9b0cc51a3c44c944ddd83da6.jpg",[],34,{"id":268,"slug":269,"title":270,"dynasty":271,"author":272,"museum":20,"description":273,"tags":274,"thumbUrl":277,"material":36,"size":36,"collection":36,"collections":278,"showCount":279,"zanCount":84,"manualWeight":11,"mainColor":65},223625,"cao-chong-tu-pu-tao-juan-ben-yi-ming-223625","草虫图葡萄绢本","元","佚名","此作以郊野秋景为绘，上方葡萄柔蔓垂挂，攒珠般的果实隐于掌状青叶间，野意横生。\n画面主体蜀葵堆雪似的白花饱满舒展，朱红萱花斜斜探出，衬着星星点点的杂花细草，下方汀渚浅草错落。粉蝶蹁跹穿花，细蜂振翅逐香，草蜢静伏水畔，小景处处藏着灵动生机。\n设色轻淡柔润，晕染写实细腻，工笔勾勒虫羽的轻薄通透，写意铺陈草木的舒展之态，将郊原清寂又鲜活的意趣尽数定格，尽显写生花鸟的雅致野逸。",[23,24,165,25,275,75,136,76,137,7,276,78,31,32],"绢本","蝴蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1952844787d4fec5abf43c241f76ab44.jpg",[],33,{"id":281,"slug":282,"title":283,"dynasty":70,"author":284,"museum":285,"description":286,"tags":287,"thumbUrl":288,"material":289,"size":290,"collection":36,"collections":291,"showCount":292,"zanCount":110,"manualWeight":11,"mainColor":40},216328,"jin-nong-ba-kai-hua-niao-tu-6-jin-nong-216328","金农八开花鸟图-6","金农","私人收藏","八开花鸟图是清朝时期金农所绘的著名图画作品之一。金农是清朝时期著名的画家，他的八开花鸟图是他最著名的作品之一。\n\n这幅画中，金农绘制了许多花和鸟的形象，这些花和鸟形象都非常生动，充满了生机和活力。画中的花和鸟共同组成了一个浓郁的自然风景，让人们感受到花园中的清新与自然。\n\n金农的八开花鸟图被认为是中国画史上的杰作，在当时也广受欢迎，被认为是一幅非常优秀的作品。",[24,25,119,27,76,7,31,32,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57170f603152106a2ea2e30cef7c2a80.jpg","绢本,水墨","30.5x40.9cm",[],32,{"id":294,"slug":295,"title":130,"dynasty":131,"author":132,"museum":20,"description":296,"tags":297,"thumbUrl":298,"material":36,"size":36,"collection":36,"collections":299,"showCount":300,"zanCount":11,"manualWeight":11,"mainColor":65},227974,"pu-tao-cao-chong-tu-lin-chun-227974","《葡萄草虫图》是宋代画家林椿创作的一幅设色扇面画想，现藏于 。\n图中绘葡萄累累垂挂，蜻蜓、螳螂、蝈蝈、蝽象伏于藤蔓绿叶间，富有生活气息。\n昆虫以双钩填彩绘制，用线刚柔相济，表现出不同的质感，如蜻蜓轻薄的翅膀，蝽象坚硬的外壳。\n藤尖叶边略作点染，表现季节特征。\n此图承袭了北宋的写实画风。\n图绘绿色玫瑰葡萄一枝，须蔓缠绕，硕果累累，垂挂枝叶间，果实晶莹如玉，水分饱满，绿色枝叶，向四周伸展，须子有的曲绕枝干，有的随意飞飘。\n纺织娘在叶子上吸吮着鲜汁；螳螂抬首举前足；蜻蜓刚刚飞停于枝头。\n另有一只金龟子匍伏于葡萄枝上，为葡萄绿叶所掩遮：甲虫落枝叶上，或低头觅食，或抬首举足，形象生动有趣。\n昆虫形象毕肖，富有生趣，给人甜美丰实的精神享受。\n本幅款识“林椿”。\n整个画面题材取景为自然界一隅，十分平常，但对葡萄、叶片、昆虫的描绘真实牛功，具有深厚的写牛功力：林椿工花鸟，师法赵昌，多直接用色彩分别浓淡进行细致描绘：画葡萄分出浓淡不同层次，一气呵成，犹如泼墨，然后用浓墨，以草书法勾口厂筋、藤蔓。\n葡萄叶因用笔用墨的不同而能分出老嫩、正反、枯鲜等状态。\n葡萄果莹润饱满；蜻蜓尤备极工细，神韵奕奕，其翅膀透明轻盈；螳螂的眼睛明亮如镜，镰刀状的前足生有钩刺，日光炯炯，真有“挹露裳初试，迎风斧半撑的气势”。\n都是多层设色，层层晕染，造成形体的凹凸体积和具有质感。\n当然，在某些地方，如葡萄枝十及口卜脉也适当地用细线作一些勾勒，只是这些勾勒已具有粗细浓淡的变化，因此更富有表现力。\n这些为农家随处可见景物，画家以独具的慧眼撷之入画，可谓别开生面-总体来说，此图用笔精细，设色轻柔，变化层次微妙，工写兼施，相映成趣；构图善从一角出发，全幅荡漾着空灵的诗意、画面左下方署有“林椿”二宁款，小楷书，无收藏印。\n此幅为林椿真迹代表之作。\n《葡萄草虫图》体现了“以实写虚，意味无穷”的画风，表现出“诗中有画，画中有诗”和“诗是无形画，画是有形诗”的不同艺术意蕴风格，并求通过真实、具体的形象，抒写作者的感情，以激起读者的想象和联想，产生艺术魅力。\n整体画面的表现为虚实关系的进一步发展，体现了画家对物象的刻画以诗意的意境和气韵来追求现实的全实的客观精神，这就使得宋代宫廷花鸟画以自由来追求自然与人审美情怀，这就构成了一个高超的艺术境界。\n宋代绘画风格的现实性不仅是客观的物象，是画家用“写实”语言，在充分尊重客观对象，并按照创作需要和审美观念来对客观分析一系列的艺术，从而描述一个故事来表达自己的思想感情和精神寄托。\n可以看出，古代绘画通过“现实主义”的表现手法，不仅是形象的东西，而且还真正体现了事物的状态，画中所绘的动植物不仅真实存在，符合动植物的生长规律及习性还符合当时的时间，地点和情境。\n裱边旧题签：“林椿葡萄草虫。\n”存《名笔集》册中。\n经《虚斋名画录》卷十一、《中国古代书画目录》第二册著录。\n林椿（生卒年不详），钱塘（今浙江杭州）人。\n孝宗淳熙（1174－1189年）时为画院待诏，由于其画艺高超，受赐金带。\n所绘花鸟、果品、草虫小品为多，画法远师赵昌，近取李迪，时人赞为“极写生之妙，莺飞欲起，宛然欲活。\n”",[23,24,165,25,135,136,75,76,7,137,31,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F282864883129152b7ca84a825688e9bf.jpg",[],31,{"id":302,"slug":303,"title":304,"dynasty":18,"author":305,"museum":285,"description":306,"tags":307,"thumbUrl":310,"material":311,"size":36,"collection":36,"collections":312,"showCount":313,"zanCount":11,"manualWeight":11,"mainColor":40},216293,"han-xi-meng-xiu-song-yuan-ming-ji-ce-pu-tao-song-shu-tu-han-xi-meng-216293","韩希孟绣宋元名迹册·葡萄松鼠图","韩希孟","丝缕穿梭间，葡萄藤蔓蜿蜒，叶片脉络依稀，紫珠垂坠似凝清露。松鼠躬身攀枝，绒尾蓬松若可触，双目凝向串串琼瑶，神态灵动欲跃。针脚细如毫发，色阶过渡自然，将宋元画本的雅致气韵，以立体丝韵重构。顾绣之妙在此尽显：以针代笔，线代墨色，却多了触感的温柔与生命的温度。寻常花鸟小景，化作丝帛间的意趣诗行，藏着绣者的匠心，也凝着对生机的脉脉捕捉，让静止的画面，在丝缕交织里漾起鲜活的涟漪。",[23,308,25,309,136,75,119,7,263,76,262],"明代","刺绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fc2f36966c2ecb8f9a8823f620f27e1.jpg","纸本,设色",[],27,{"id":315,"slug":316,"title":317,"dynasty":70,"author":259,"museum":20,"description":260,"tags":318,"thumbUrl":322,"material":143,"size":144,"collection":36,"collections":323,"showCount":324,"zanCount":11,"manualWeight":11,"mainColor":40},236378,"xu-gu-guo-pin-shan-ye-xu-gu-236378","虚谷果品扇页",[24,25,135,75,27,319,28,7,320,321],"行书","梨","果品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd79e595f08a8d4afc024bc05213ef75a.jpg",[],24,{"id":326,"slug":327,"title":328,"dynasty":18,"author":329,"museum":72,"description":330,"tags":331,"thumbUrl":335,"material":336,"size":337,"collection":36,"collections":338,"showCount":324,"zanCount":11,"manualWeight":11,"mainColor":40},233830,"san-shu-tu-juan-zhu-zhan-ji-233830","三鼠图卷","朱瞻基","该画卷由三件画作组成，分别为：苦瓜鼠图（纸本墨笔）、菖蒲鼠荔图（绢本设色）、食荔图。卷末有明宪宗朱见深御制题跋。此卷现藏于北京故宫博物院，钤明末宋荦、清乾隆、嘉庆、宣统等藏印。\n虽然同为一卷画，但《苦瓜鼠图》与《菖蒲鼠荔图》《食荔图》的风格有很大的不同。《苦瓜鼠图》用笔爽朗，逸笔草草，与朱瞻基《武侯高卧图卷》（北京故宫博物院藏）中的墨竹、丛草以及《松云荷雀图卷》中的荷叶、兰草和寿石的笔法一致。而《菖蒲鼠荔图》和《食荔图》则工整秀逸，笔法精到。画中老鼠偷食苦瓜及红荔饶有趣味，前者将并不为人待见的老鼠的憨态与顽皮神态鲜活地表现出来，正如韩昂在《图绘宝鉴续纂》中评朱瞻基画艺所说：“万几之暇，留神词翰，于图画之作，随意所至，尤极精妙” ；后者所写 “荔枝” 有语带双关之意，“红荔” 与 “红利” 谐音，而 “荔枝” 又有 “一本万利” 之义，故老鼠啃食荔枝，具有吉祥寓意，其画中的内涵，已然超越了画作本身。",[24,25,48,136,75,332,333,7,32,334,181],"鼠","荔枝","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb37524d5d18f707fb2aabe2b8bb52ec5.jpg","纸本墨笔、绢本设色","纵28.2，横 38.5 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清朝是以满族统治者为主的政权机构，满族八旗服饰随朝代的变更冲进关内。旗人的风俗习惯影响着广大的中原地区。从公服开始逐渐推向常服。",[403,404,405,7,276,406],"衣帽","布料","缎绣","明黄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a0e205e8114164ddf2bb4ad858e3a98.jpg",[],16,{"id":411,"slug":412,"title":413,"dynasty":18,"author":272,"museum":20,"description":414,"tags":415,"thumbUrl":417,"material":143,"size":144,"collection":36,"collections":418,"showCount":409,"zanCount":11,"manualWeight":11,"mainColor":40},236476,"wang-zi-yuan-pu-tao-song-shu-shan-yi-ming-236476","王子元葡萄松鼠扇","虬曲葡萄老枝顺着扇面弧度舒展，翠叶错落缀于藤蔓之间，紫葡垂坠，色晕柔润鲜活，尽显果蔬饱满娇态。\n\n画面中央的松鼠蜷身枝桠，茸毛纤毫毕现，圆目灵动专注，憨态尽显，似正觊觎垂挂的葡萄，将林间小兽的机敏活泼勾勒传神，野趣横生。\n\n此作用水墨淡彩晕染于笺上，古雅温润，笔墨兼具工致与写意。枝叶藤蔓写意洒脱，松鼠则描摹入微，二者相融成趣，将林泉幽趣凝于盈尺扇面，静中生韵，尽显小品画的灵动雅致。",[24,25,135,76,75,136,7,263,31,416,262],"叶片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f4f53a381313d2cdd585b1132221923.jpg",[],{"id":420,"slug":421,"title":422,"dynasty":70,"author":423,"museum":424,"description":425,"tags":426,"thumbUrl":428,"material":36,"size":36,"collection":171,"collections":429,"showCount":409,"zanCount":11,"manualWeight":11,"mainColor":430},201831,"pu-tao-tu-zhou-xu-fang-201831","葡萄图轴","许昉","上海博物馆","藤蔓虬曲缠绕，如逸态横生；墨叶或浓泼或淡染，层叠有致，苍润鲜活。串串葡萄饱满沉实，墨色莹润似含露，尽显丰硕之态。下方孤石皴擦古拙，纹理分明，与柔蔓鲜果刚柔相衬。全卷以水墨写就，笔意洒脱灵动，墨韵丰富多变，清雅中透着生机，尽显传统花鸟之雅韵，笔墨精妙，意趣盎然。",[24,27,76,7,427,26,23],"孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e3eee7c39fa6d04e4a8d96770a1f347.jpg",[171],"a6998b",{"id":432,"slug":433,"title":434,"dynasty":18,"author":150,"museum":435,"description":436,"tags":437,"thumbUrl":438,"material":439,"size":440,"collection":36,"collections":441,"showCount":442,"zanCount":11,"manualWeight":11,"mainColor":443},222026,"tao-tu-nao-an-222026","萄图","日本京都国立博物馆","绘一枝葡萄滕自右上斜入画面，滕上一串葡萄垂下，大小不一，形状圆；葡萄叶正反绘出，正面深色，反面淡色，叶脉清晰；主枝前几枝细滕卷曲前伸，自在洒脱。",[23,24,25,27,76,7,31,416,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cd51ccc4999abaa20e8613f506e3ae8.jpg","绢本，水墨","27.5×29",[],14,"F48FB1",{"id":445,"slug":446,"title":447,"dynasty":203,"author":448,"museum":20,"description":449,"tags":450,"thumbUrl":451,"material":36,"size":36,"collection":36,"collections":452,"showCount":453,"zanCount":11,"manualWeight":11,"mainColor":40},231668,"jiang-hu-shi-dai-pu-tao-tu-li-zhou-li-yuan-xing-suo-231668","江户时代 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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。",[494,495,496,497,7,91,498],"琺瑯器","玉石","玻璃器","盆景","工艺摆件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d084fcd2ea8f94d078a4369625e9cbe.jpg",[],9,{"id":503,"slug":504,"title":505,"dynasty":70,"author":272,"museum":20,"description":492,"tags":506,"thumbUrl":513,"material":143,"size":144,"collection":36,"collections":514,"showCount":501,"zanCount":110,"manualWeight":11,"mainColor":65},247563,"ti-hong-jin-wen-qian-yu-shi-song-shu-pu-tao-wen-hai-tang-shi-he-yi-ming-247563","剔红锦纹嵌玉石松鼠葡萄纹海棠式盒",[507,508,509,510,361,263,7,511,512],"清代","漆器","剔红","嵌玉石","海棠式","锦纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe464f8eab642b2ca75713ccbf980b83a.jpg",[],{"id":516,"slug":517,"title":518,"dynasty":70,"author":71,"museum":20,"description":519,"tags":520,"thumbUrl":522,"material":143,"size":144,"collection":36,"collections":523,"showCount":501,"zanCount":11,"manualWeight":11,"mainColor":40},235198,"hua-hui-ce-wu-chang-shuo-235198","花卉册","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,25,165,119,75,27,28,76,7,521,181],"柿子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbea3324904d93a5b3219a683d54eb0fc.jpg",[],{"id":525,"slug":526,"title":527,"dynasty":528,"author":529,"museum":424,"description":530,"tags":531,"thumbUrl":534,"material":36,"size":36,"collection":171,"collections":535,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":536},203046,"pu-tao-tang-lang-tu-zhou-qi-bai-shi-203046","葡萄螳螂图轴","近代","齐白石","画面中墨叶泼洒淋漓，浓淡相间见层次；粉紫葡萄以点簇手法绘就，颗颗饱满鲜活，似欲滴露。一只红螳螂攀于枝间，纤毫毕现，翅脉分明，与写意蔬果形成鲜明对比。白石老人以工写结合之法，将平凡蔬果与生灵化为妙趣横生的图景，墨色的豪放与设色的细腻相映成趣，动静相生间尽显对自然生灵的热爱与捕捉细节的功力，于质朴中见巧思，平凡景物里藏生活真味。",[24,76,532,533,7,138,23],"水墨设色","工写结合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefe2cb43f909318811b0ad972ced80eb.jpg",[171],"c9beaf",{"id":538,"slug":539,"title":540,"dynasty":70,"author":272,"museum":20,"description":541,"tags":542,"thumbUrl":547,"material":143,"size":144,"collection":36,"collections":548,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":65},267465,"hong-se-duan-xiu-shi-tuan-xi-xiang-feng-hua-hui-pu-tao-jin-an-ba-xian-wen-nv-pei-yi-ming-267465","红色缎绣十团喜相逢花卉葡萄金暗八仙纹女帔","绣法是以绣线横排，故名。如，特点是整齐、均匀，圆润；在绣叶瓣时，在中间分开，运用斜针成倒人字形；也有绣成中间针迹相交叠的形式；也可绣成中间作一钉线的绣法。排绣针法富有变化，刺绣出的花瓣、叶瓣得体逼真，用途较广。",[403,404,309,91,7,543,544,545,546],"暗八仙纹","喜相逢纹","女帔","团花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32f5e8e70f71765f6216d7d7979c3024.jpg",[],{"id":550,"slug":551,"title":552,"dynasty":70,"author":272,"museum":20,"description":553,"tags":554,"thumbUrl":557,"material":143,"size":144,"collection":36,"collections":558,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":40},261281,"cheng-hua-kuan-dou-cai-pu-tao-li-zhi-wen-bei-yi-ming-261281","成化款斗彩葡萄荔枝纹杯","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。",[484,485,7,333,555,556],"日用具","饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff937f31c7d7b34f95b3c2af5a34260e2.jpg",[],{"id":560,"slug":561,"title":562,"dynasty":70,"author":272,"museum":20,"description":563,"tags":564,"thumbUrl":570,"material":143,"size":144,"collection":36,"collections":571,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":65},229454,"yin-du-jin-song-shu-pu-tao-zan-yi-ming-229454","银镀金松鼠葡萄簪","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。",[507,463,565,566,263,7,460,567,568,569,76,75],"珐琅器","镶嵌","簪饰","银器","金器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3f36051e8d86499b83996f530bee3de.jpg",[],{"id":573,"slug":574,"title":575,"dynasty":356,"author":272,"museum":20,"description":576,"tags":577,"thumbUrl":578,"material":143,"size":144,"collection":36,"collections":579,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":40},223841,"hai-shou-pu-tao-wen-fang-jing-1-yi-ming-223841","海兽葡萄纹方镜-1","唐代是中国古代铜镜制造的鼎盛时期，唐镜不仅继承了汉魏的文化传统，而且吸收了边疆民族的艺术成就，同时对外来（主要是波斯、印度）文化中的优秀部分也兼收并蓄，融汇一体，构图更加精细，使铜镜艺术达到了一个新的高峰。铸镜业是唐代最精细的工艺，每逢八月五日（唐玄宗生日）人们都将铜镜作为礼品送人，祝福长寿，这一天被定名为“千秋金鉴节”（金鉴指铜镜）。",[356,360,361,262,7,363,364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1502de0aeb6655f18168f84190b33787.jpg",[],{"id":581,"slug":582,"title":422,"dynasty":528,"author":529,"museum":424,"description":583,"tags":584,"thumbUrl":10,"material":36,"size":36,"collection":36,"collections":586,"showCount":587,"zanCount":11,"manualWeight":11,"mainColor":588},202836,"pu-tao-tu-zhou-qi-bai-shi-202836","藤蔓如草书般缠绕舒展，线条老辣洒脱。焦墨叶片浓淡相间，层次分明；紫葡串串饱满，色泽温润似珠，欲滴晨露。墨色干湿变化与设色雅致相映，鲜活葡萄与苍劲藤蔓相融，尽显写意花鸟生机意趣。简练笔触神形兼备，于朴拙中见匠心，传递自然野趣与艺术浑然之美。",[24,76,27,75,28,7,31,585],"墨韵",[],6,"c7c2ab",{"id":590,"slug":591,"title":592,"dynasty":70,"author":272,"museum":20,"description":541,"tags":593,"thumbUrl":595,"material":143,"size":144,"collection":36,"collections":596,"showCount":597,"zanCount":11,"manualWeight":11,"mainColor":65},264369,"jiang-se-duan-xiu-qian-cai-pu-tao-die-wen-chang-yi-liao-yi-ming-264369","绛色缎绣浅彩葡萄蝶纹氅衣料",[309,404,75,7,276,403,76,594],"衣料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89ce58ed7602b5f11fc8429bca3c15d1.jpg",[],5,{"id":599,"slug":600,"title":601,"dynasty":70,"author":272,"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[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。",[507,1224,509,361,1225,1226,1227,7,90,508],"雕漆","勾莲纹","八宝纹","供盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a539daf075f992d3ebb54e81698eabc.jpg",[],{"id":1231,"slug":1232,"title":1168,"dynasty":70,"author":272,"museum":20,"description":1036,"tags":1233,"thumbUrl":1234,"material":143,"size":144,"collection":36,"collections":1235,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},246497,"dui-cai-pu-tao-wen-he-yi-ming-246497",[70,1170,361,508,7,32,1203,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c157149893c3e5ec917c7211083de23.jpg",[],{"id":1237,"slug":1238,"title":1239,"dynasty":70,"author":272,"museum":20,"description":1240,"tags":1241,"thumbUrl":1244,"material":143,"size":144,"collection":36,"collections":1245,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},245443,"yin-ke-hua-shan-shui-ren-wu-ti-liang-hu-yi-ming-245443","银刻花山水人物提梁壶","以错银为笔，在银胎晕开雅致纹样。盖顶莲苞圆钮，活环扣合提梁，梁身满饰回纹卷草，线条婉转连绵。器身錾刻葡萄灵鼠，枝虬叶繁，硕实垂悬，灵鼠穿梭其间，灵动生趣，暗合多子祥瑞的美好寓意。\n\n冷冽银色交叠古铜包浆，勾勒出细腻入微的方寸图景，錾刻走线利落流畅，将匠心藏入每一处纹路，古雅沉静中尽显精巧工致，把吉祥意趣融于实用器物，尽显传统金属工艺的雅致风骨。",[568,361,1242,1243,838,7,332,555],"刻花","山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51162ba070be48af06afdefa6c5d9e17.jpg",[],{"id":1247,"slug":1248,"title":391,"dynasty":356,"author":272,"museum":20,"description":1249,"tags":1250,"thumbUrl":1252,"material":143,"size":144,"collection":36,"collections":1253,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},244601,"hai-shou-pu-tao-wen-jing-yi-ming-244601","中国铜镜的制作和使用具有悠久的历史，根据考古发掘，年代最早的铜镜为4000多年前的齐家文化。从齐家文化至西周末春秋早期制作的铜镜，多以纹饰简单、形体小、种类少。此一时期为中国铜镜制作早期阶段。\n春秋中晚期开始，我国铜镜制作和使用就发展起来了，特别是战国时期，铜镜的种类复杂，题材广泛，制作工艺精细，包括此时期铜镜的合金成分，其锡含量是最适合铜镜的使用，这些充分反应了铜镜在此时期制作技术已达到成熟阶段。汉代开始铜镜得到了进一步的发展，这时期的铜镜出现了新的类型，铭纹也正逐渐成为铜镜的纹饰组成部分，反映了汉代铸镜业的发达及铜镜商品化的发展。\n隋唐时期是中国铜镜高度发展时期，此时的铜镜突破了以往圆形与方形的传统形式，出现了菱花形、葵花形铜镜。特别是盛唐时期铜镜工艺精湛，著名的瑞兽葡萄镜更是闻名于世，这一时期铜镜发展达到了顶峰。\n从唐末，五代起中国的铜镜艺术日趋衰落，宋、金、元时期的铜镜，从造型、纹饰和合金成分上都有不同于传统铜镜的特点。明，清时期虽然铜镜还在人们日常生活当中使用，但到清代中后期随着玻璃的使用，铜镜逐渐退出了历史舞台。当今虽然不再有人使用铜镜整装容，但古代铜镜给予我们的除了收藏价值，还有对古代形制、纹饰、铭文、艺术、制作工艺、成分等等的研究价值。中历收藏品鉴定中心，为我国合法第三方专业鉴定平台，证书得到了专业人士及社会各界的高度认可，藏品鉴定可咨询。",[360,361,262,7,1251,356],"日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F505010f686b5dce09613b07be8a5f991.jpg",[],{"id":1255,"slug":1256,"title":1257,"dynasty":70,"author":272,"museum":20,"description":1249,"tags":1258,"thumbUrl":1259,"material":143,"size":144,"collection":36,"collections":1260,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},243267,"qian-long-kuan-hai-shou-pu-tao-wen-jing-yi-ming-243267","乾隆款海兽葡萄纹镜",[507,394,360,361,262,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffebbf1e660ec48958c51de1d953c86f9.jpg",[],{"id":1262,"slug":1263,"title":1264,"dynasty":356,"author":272,"museum":20,"description":357,"tags":1265,"thumbUrl":1266,"material":143,"size":144,"collection":36,"collections":1267,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},227110,"hai-shou-pu-tao-wen-jing-4-yi-ming-227110","海兽葡萄纹镜-4",[359,360,361,362,7,364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc50e070c062f5dde64982cd79fc87a69.jpg",[],{"id":1269,"slug":1270,"title":936,"dynasty":356,"author":272,"museum":20,"description":576,"tags":1271,"thumbUrl":1272,"material":143,"size":144,"collection":36,"collections":1273,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},223844,"hai-shou-pu-tao-wen-jing-7-yi-ming-223844",[359,394,360,361,262,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b3512d8808d356e6270536e9f638b34.jpg",[],1777535703310]