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[1] 画面中心人物是一戴幞头、穿透明纱袍的大骷髅，席地而坐，左腿曲折着地，左手按左大腿，右腿弓起，右肘支右膝，坐姿十分舒适自便。右手提控一小骷髅，应为提线木偶（傀儡），上下牙列开张，似在说笑。小骷髅即提线木偶（傀儡）右脚着地，左脚抬起，两臂做招手状，很是活泼。小骷髅对面为一小儿，其左手与双足俱着地，昂首伸右臂，似要伸手抓小骷髅，顽皮而好奇。小儿身后为一青年妇人，双手伸出似作阻拦状，表情看似有些干着急。大骷髅身后安坐一青年妇人，半袒胸，怀抱中小儿正食其乳。目光安详，稍侧身，正注视着眼前之事。人物描画十分生动细致，仿佛能听见他们各自的声音。特别是骷髅的造型十分精准。\n对幅有王玄真书黄公望《醉中天》曲：\n没半点皮和肉，有一担苦和愁。傀儡儿还将丝线抽，寻一个小样子把冤 家逗。识破个羞那不羞？呆兀自五里已单堠。\n曲末题署： 至正甲午春三月十日大痴道人作，弟子休休王玄真书，右寄醉中天。\n画幅之核心主题，当为生死转化及其因果轮回。画家将画一分为二，生死各半。左边画一大骷髅，头戴朴头，身着色衣，关节以线穿连，为艺人的演戏傀儡，含有死之意；右边则画一小儿，手足着地，仰首伸臂，带有生之欲。生死既分，却又互相吸引，故画幅中央被大骷髅戏弄的小骷髅，面向小儿，作躬身招呼状。此是戏中之戏，亦是精心之笔。啸髅躯架刻画准确，小儿动态神气表现生动，大骷髅身後，一妇人袒胸露乳，喂哺幼儿，神色不安地注视着骷髅戏婴之情景，与画幅右边神情恐惧、伸手阻拦那趴地小儿的另一妇人恰成对照，呈现一种静与动、思与行的对立。\n此图还存在着三重幻戏结构：一是两个操控，即大骷髅对于小骷髅的操控，无形之手对于大骷髅的操控；二是交相生发的幻术结构，甚至观图者也会不自觉地落入其中；三是各种背反之表现，尤其是观者明、当局者迷，令人难忘。\n构图的黑白市置上，画家将示死气之骷髅衬于密线重墨组成的墩子、货担之前，增添了阴森、黑暗及恐怖的气氛；同时，却将表现生的小儿置于简写的土地及大片空白的背景上，加强了晴朗、光明及欣喜的感觉。\n单纯从笔墨技法上看，李嵩发挥了自己擅于勾勒、界画之才能，线条坚韧扎实，墨色精致细腻。衣纹用线劲利，或纤柔、或飘动、或挺拔，皆依形态动作而生变化。器物用笔工整严细，笔笔送到，不见轻率浮滑。骨骼、肌肤用笔略有差别，前者刚健，凝重，后者圆转，富于弹性。至于浓淡设色，基本为层层渲染，渐次加深浓重程度，直至轮廓空间毕现方止。染工严谨、古雅，颇具宋朝院体画之特色。",[23,28,27,30,228,188,229,7,230],"骷髅","妇人","怪诞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50b944972848e948075643620ba0a8fb.jpg","绢本","纵27厘米，横26.3厘米",[],175,{"id":237,"slug":238,"title":239,"dynasty":240,"author":241,"museum":20,"description":242,"tags":243,"thumbUrl":250,"material":41,"size":251,"collection":69,"collections":252,"showCount":253,"zanCount":72,"manualWeight":11,"mainColor":73},221066,"zhi-gong-tu-yan-li-ben-221066","职贡图","唐","阎立本","该画描绘的是唐太宗时，婆利国和罗刹国千里迢迢前来朝贡的情景。画中共有二十七人，其中白衣虬髯骑白马的人是罗刹国使者，身后有仆从打着伞执着扇，抬着礼物。左边穿长袍手里托着珊瑚打着伞盖的人是婆利国使者，他的随从也带着各式各样的礼物。整幅画设色淡雅，人物造型奇特，线条流畅自然。",[23,24,25,81,26,27,28,30,244,245,191,7,140,246,247,248,121,249],"异域人物","马","推车","随从","伞盖","行进场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F782e8b3405f3cc59b7a13648e7f06f67.jpg","纵61.5cm，横191.5cm",[69,108],174,{"id":255,"slug":256,"title":51,"dynasty":52,"author":53,"museum":20,"description":257,"tags":258,"thumbUrl":259,"material":232,"size":260,"collection":89,"collections":261,"showCount":263,"zanCount":167,"manualWeight":11,"mainColor":73},221331,"wen-hui-tu-zhao-ji-221331","该画作描绘的是文人学者以文会友饮酒赋诗的场景。园林中绿草如茵，雕栏环绕，树木扶疏，九名文士围着坐在桌子的周围，树下立谈的二人，另外有童仆侍从者九人，人物姿态生动有致，呈现出文人学士饮酒赋诗畅谈之景。",[23,24,81,25,27,28,30,34,84,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a52bb2f5e40f63f9d730b696f39f122.jpg","纵184.4厘米，横123.9厘米",[89,262,108],"山水画精选",170,{"id":265,"slug":266,"title":267,"dynasty":130,"author":268,"museum":99,"description":269,"tags":270,"thumbUrl":277,"material":278,"size":279,"collection":43,"collections":280,"showCount":281,"zanCount":11,"manualWeight":11,"mainColor":47},289915,"sui-chao-qing-gong-tu-li-zhou-wu-chang-shuo-289915","岁朝清供图立轴","吴昌硕","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》。",[24,81,25,102,271,28,36,272,273,274,7,61,193,275,103,276],"水墨","梅","水仙","孤石","柿子","盆栽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30fcfb6589c3a3e4729c4a0a67ce3c16.jpg","未知","Xcm*Xcm",[],169,{"id":283,"slug":284,"title":285,"dynasty":52,"author":172,"museum":20,"description":286,"tags":287,"thumbUrl":293,"material":67,"size":43,"collection":89,"collections":294,"showCount":295,"zanCount":296,"manualWeight":11,"mainColor":73},220204,"bo-gu-tu-yi-ming-220204","博古图","博古是杂画的一种，后人将图画在器物上，形成装饰的工艺品，泛称“博古”。如“博古图”加上花卉、果品作为点缀而完成画幅的叫“花博古”。 北宋大观宋徽宗命大臣编绘宣和殿所藏古器，修成《宣和博古图》三十卷。后人因此将绘有瓷、铜、玉、石等古代器物的图画，叫做“博古图”，有时以花卉、果品等装饰点缀。“博古图”有博古通今、崇尚儒雅之寓意，常用于书香门第或官宦人家的宅第装饰，这也造成了其在艺术品投资领域中不俗的地位。",[23,24,25,28,27,30,288,289,272,290,7,33,188,59,84,291,292,210],"松","石","古物","古玩","平台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e71958042d8dd75fd60dcfa63880052.jpg",[89,69],164,3,{"id":298,"slug":299,"title":300,"dynasty":18,"author":301,"museum":132,"description":302,"tags":303,"thumbUrl":308,"material":67,"size":309,"collection":69,"collections":310,"showCount":311,"zanCount":296,"manualWeight":11,"mainColor":73},219564,"huo-lang-tu-cui-zi-zhong-219564","货郎图","崔子忠","明代流传至今的《货郎图》绘者如计盛、吕文英、崔子忠、姜隐，还有诸佚名的《货郎图》，虽风格不一，或设色或白描，但大部分的货郎都是挑着华丽的货担，货架精雕细琢、所售器物五花八门，孩子们前簇后拥，玩着猴子、蟋蟀、皮影、书籍、花枝，不亦乐乎，场景往往热闹非凡。",[23,24,27,28,102,304,30,188,305,306,35,307,139,7,34],"风俗画","货郎","松树","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc73c1b2b4649dfef47e2ac975b98f223.jpg","纵205横125厘米",[69,108],145,{"id":313,"slug":314,"title":315,"dynasty":52,"author":316,"museum":99,"description":317,"tags":318,"thumbUrl":321,"material":278,"size":279,"collection":69,"collections":322,"showCount":323,"zanCount":167,"manualWeight":11,"mainColor":47},287960,"bai-miao-ren-wu-tu-ce-li-gong-lin-287960","白描人物图册","李公麟","李公麟（1049～1106），北宋舒州（今属安徽桐城）人，宋代杰出画家。字伯时，号龙眠居士、龙眠山人，享年五十七岁。熙宁三年（公元1070年）进士。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[23,24,81,207,82,30,319,7,320],"案几","羽扇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8afa47d56204cb333f715bb4d382a90c.jpg",[69],133,{"id":325,"slug":326,"title":327,"dynasty":328,"author":329,"museum":330,"description":331,"tags":332,"thumbUrl":344,"material":345,"size":43,"collection":43,"collections":346,"showCount":347,"zanCount":167,"manualWeight":11,"mainColor":47},220576,"tian-heng-wu-bai-shi-xu-bei-hong-220576","田横五百士","民国","徐悲鸿","中央美术学院美术馆","画面左侧义士们悲愤难抑，有人按剑瞋目，有人振臂呼号，粗粝的赤足、紧绷的筋骨满溢着不甘的血性。右侧红衣者垂眸拱手，将诀别的沉毅藏在眉眼间，身侧白马静立，更衬出离别的肃穆沉哀。\n\n以写实技法刻绘人物神态，将东方侠义风骨织入油彩，定格下这诀别时刻的慷慨悲歌。垂首掩泣的老者、攥紧衣衫的壮士，细节里揉进了赴死壮怀与俗世温情，让忠义千秋的底色变得滚烫又厚重，把这群义士的刚烈柔肠永远封存在画布之上。",[23,155,333,334,245,34,335,336,337,338,339,340,341,342,343,7],"写实","人物群像","天空","土地","剑","长袍","传统服饰","男性人物","动态刻画","色彩写实","自然景观","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4dedb8317bb1c81c3a2b5e8029cfbe1.jpg","布面油彩",[],100,{"id":349,"slug":350,"title":351,"dynasty":52,"author":352,"museum":20,"description":353,"tags":354,"thumbUrl":359,"material":360,"size":361,"collection":362,"collections":363,"showCount":364,"zanCount":11,"manualWeight":11,"mainColor":47},221222,"sui-chao-tu-zhou-dong-xiang-221222","岁朝图轴","董祥","“岁朝”，是指阴历的正月初一，也就是我们通常谓之“年初一”——“春节”。在这一岁之始，人们为了祈求新的一年平安吉祥，往往喜欢在厅堂挂一些“岁朝图”，图上画的象征平安祥瑞的花卉器物，在这寒冽萧瑟的严冬，给家宅带来明媚温煦的春意。这民间的风俗，始于唐代，起先不过是一些仕绅、文人在大年初一将金石、书画、古董等雅玩之物精心摆设于临窗的案几上，渐渐地也有将这些物品勾染成画挂壁，意在祈福纳祥。至宋代，这民俗流行宫廷内外，宋徽宗每逢春节将临，乃命其图画院的画师们描画冬季不能见到的花卉禽鸟，陈列宫中，以增添岁朝的喜庆气氛。此后，岁朝图的内容逐渐扩展，经明、清而至近现代，大至文房器物，小至灯笼、鞭炮、果蔬等日常生活用品，都成为图上的吉祥物，日益成为一种雅俗共赏、意蕴丰厚，融诗、书、画、印于一体的画种。",[23,24,25,102,271,27,193,61,355,356,103,357,7,358,276],"行书","瓶","松枝","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa23bfa3f92c3fbaf6e40503c0241d83.jpg","白纸本","115.2x44.3公分","花鸟画精选",[362,108],98,{"id":366,"slug":367,"title":368,"dynasty":18,"author":172,"museum":369,"description":370,"tags":371,"thumbUrl":375,"material":67,"size":376,"collection":69,"collections":377,"showCount":364,"zanCount":180,"manualWeight":11,"mainColor":73},219583,"zhen-qin-huo-lang-tu-yi-ming-219583","珍禽货郎图","印第安纳波利斯艺术博物馆","画面里货郎车层层叠叠，珍禽翎羽、精巧玩物错落排布，老者俯身递出物件，眉眼含着温煦笑意。周遭稚童各有神态，或踮脚抬首凝眸张望，或蹲坐嬉玩，灵动尽显。\n\n笔线细腻遒劲，晕染古雅柔和，将巷陌间的鲜活烟火铺展开来，把货郎营生的热闹、孩童嬉游的天真揉为一处，藏着市井日常的融融暖意，尽显世俗浮生的悠然意趣，是描摹民间烟火气的精妙之作。",[23,24,27,28,30,188,305,372,7,373,374],"禽鸟","传统","明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc1b0f675a44b3481be33a930c92e338.jpg","纵161.5横97.2厘米",[69,108],{"id":379,"slug":380,"title":381,"dynasty":52,"author":382,"museum":99,"description":383,"tags":384,"thumbUrl":389,"material":43,"size":43,"collection":43,"collections":390,"showCount":391,"zanCount":180,"manualWeight":11,"mainColor":73},227509,"zhuang-jing-shi-nv-tu-su-han-chen-227509","妆靓仕女图","苏汉臣","《妆靓仕女图》是宋代画家苏汉臣创作的一幅绢本扇面画。",[23,81,24,25,385,28,27,30,31,208,386,7,387,388],"扇面","兰","妆饰","室内陈设","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54e31d25805d2c3d737c9b6538502ea6.jpg",[],90,{"id":393,"slug":394,"title":395,"dynasty":52,"author":172,"museum":99,"description":396,"tags":397,"thumbUrl":402,"material":278,"size":279,"collection":403,"collections":404,"showCount":391,"zanCount":167,"manualWeight":11,"mainColor":73},223708,"bei-ru-yao-qing-ci-die-bing-cai-ming-yi-ming-223708","北汝窑 青瓷碟（「丙蔡」铭）","汝窑瓷器以其“温润似玉而胜于玉”的质感、及“雨过天青云破处”的独特釉色闻名于世，被视为青瓷之冠。因烧制时间短，传世品极少，历代视为稀世珍宝。目前全世界记录在册仅存70余件，其中21件藏于中国台北故宫博物院。器型为1件温碗、4件水仙盆、5件碟、4件洗、4件盘、3件瓶。\n侈圆口、镶铜釦、壁稍深、平底、圈足微外撇。底有三细小支钉痕；内周壁积釉处，有冰裂纹。这件汝窑青瓷碟，底心刻篆书「丙」字；",[52,398,399,400,7,401],"陶瓷","青瓷","开片","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c569baae581801e926bd9f194364e63.jpg","瓷器精选",[403],{"id":406,"slug":407,"title":408,"dynasty":52,"author":185,"museum":409,"description":410,"tags":411,"thumbUrl":414,"material":67,"size":43,"collection":69,"collections":415,"showCount":416,"zanCount":180,"manualWeight":11,"mainColor":47},219576,"hua-shan-huo-lang-tu-li-song-219576","画扇货郎图","圣路易斯艺术博物馆","《货郎图》把劳动人民的生活作为审美对象来描绘，在中国古代美术发展史上有着重要的意义。该画作对了解宋代风俗也具有重大价值。",[24,27,28,207,30,412,34,7,188,306,413],"货郎担","草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf12b7ebb458d226c09221c94572f4e8.jpg",[69],89,{"id":418,"slug":419,"title":420,"dynasty":18,"author":19,"museum":99,"description":421,"tags":422,"thumbUrl":430,"material":43,"size":43,"collection":43,"collections":431,"showCount":432,"zanCount":167,"manualWeight":11,"mainColor":73},228431,"xi-yuan-ya-ji-tu-chou-ying-228431","西园雅集图","林壑幽深处，文士凭崖观眺、揖谈畅叙，松竹环合，尽显林下清旷风流。下方庭院里，宾主列坐，或展卷挥毫，或品鉴器物，侍从随侍左右，朱门红栏衬出雅集端雅规整。\n\n整作工细秀雅，设色古澹清润，以全景式构图铺展雅聚盛景，将文人酬唱往还的意趣融于山园之中，山野清旷与庭院娴雅相融，把历代文人心向往之的林下雅兴具象呈现，复刻出一段隽永的名士雅境。",[23,24,81,25,28,27,30,423,288,424,33,425,7,426,427,428,429],"山水","竹","朱门","文士雅集","挥毫","清旷","娴雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f8f1f98099d9cdf33ce0c57c0cde632.jpg",[],88,{"id":434,"slug":435,"title":436,"dynasty":437,"author":438,"museum":99,"description":439,"tags":440,"thumbUrl":444,"material":43,"size":43,"collection":43,"collections":445,"showCount":446,"zanCount":167,"manualWeight":11,"mainColor":73},226708,"wen-yuan-tu-juan-zhou-wen-ju-226708","文苑图卷","五代十国","周文矩","《文苑图》卷，五代，周文矩作，绢本，设色，纵37.4厘米，横58.5厘米。\n本幅无作者款印，根据图左宋徽宗“瘦金体”题字：“韓滉文苑圖，丁亥御劄”，下书“天下一人”押，遂定为唐代韩滉作。然从时代风格看，少唐画气息，最明显的是衣纹线条颤动曲折，极似五代周文矩所创的“战笔描”。另外人物头戴的“工脚上翘”的幞头形式，亦至五代才出现。同时，美国大都会博物馆藏有一本周文矩的《琉璃堂人物图》卷，后半段画面与此图完全一样，故可肯定《文苑图》作者是周文矩，所画内容为琉璃堂人物故事。至于两图孰为原本？抑或均属摹本？据考，美国的《琉璃堂人物图》卷水平较差，人物面相稍欠神采，衣纹用笔颇见柔弱，且图首宋徽宗题“周文矩琉璃堂人物圖，神品上妙也”和下钤“ 內府圖書之印”均伪，故此图当为宋以后摹本。而《文苑图》人物神采奕奕，笔墨功力深厚，本幅右下角又有南唐墨钤“集賢院御畫印”，证明此图不会晚于五代，极可能即周文矩原迹，惟前半段已佚，也许周文矩又重临了后半段，亦不排除为同时高手临仿本。总之《文苑图》属五代真迹名品，殊无疑义。\n作品所绘琉璃堂人物故事，据考即唐玄宗时著名诗人王昌龄任江宁县丞期间，在县衙旁琉璃堂与朋友宴集的故事，与会者可能有其诗友岑参兄弟、刘眘虚等人。《文苑图》绘四位文士围绕松树思索诗句，有倚壘石持笔觅句者，有靠松干构思者，有两人并坐展卷推敲改诗者，情态各异，形神俱备。所缺前半段从《琉璃堂人物图》中可以看到，是画四人围坐议论，其中有一位僧人，还有侍奉的童仆。从全卷场面可领略当时宴集之盛况。\n此图画法与《琉璃堂人物图》及周文矩另一幅《重屏会棋圈》卷(宋摹本)相比较，风格相似，都呈周氏典型面貌，但水平却有高下之分。本图人物衣纹所运“战笔描”细劲有力，曲折中见流畅，圆润中具轻重，树石勾染细致，富层次和立面感，人物情态尤富神采，个性各异。作为五代一幅真迹，确反映了该时代所达到的水平。\n此图见于《石渠宝笈·初编》和明·詹景凤《玄览编》著录，可能曾入南唐后主李煜《阁中集》，后又入北宋徽宗《宣和睿览集》。",[23,81,24,25,26,27,28,30,306,441,7,193,59,442,443],"石桌","古代服饰","题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dcc12af75f41000fa86d14d7b6bf9fe.jpg",[],87,{"id":448,"slug":449,"title":450,"dynasty":130,"author":451,"museum":99,"description":452,"tags":453,"thumbUrl":456,"material":218,"size":43,"collection":362,"collections":457,"showCount":458,"zanCount":296,"manualWeight":11,"mainColor":459},215665,"bei-jing-dian-pu-zhao-huang-hua-ce-zhou-pei-chun-215665","北京店铺招幌画册","周培春","画面铺展六枚老北京招幌，笔墨细腻晕染市井烟火气。布幌垂悬如岁月信笺，墨字依稀载着商肆旧语；铜器幌的壶盏似凝烟霞余温，轻晃间恍闻街肆喧声；玉馨幌朱红与金黄撞色，漾出吉祥意趣；油篓幌肌理如时光褶皱，藏着市井温热。每枚招幌皆工笔细描：布纹垂坠自然，铜器光泽内敛，纸幌纹样精巧。它们是旧时商业文化的活化石，透过画页触到百年前街肆的热闹与温情，一帧帧皆是岁月沉淀的生活诗行，让观者梦回老北京的繁华人境。",[24,25,207,28,27,454,7,455],"招幌","清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac35014ce2439d31b2b62e91c4b8443b.jpg",[362],83,"FFFFFF",{"id":461,"slug":462,"title":115,"dynasty":18,"author":463,"museum":152,"description":464,"tags":465,"thumbUrl":469,"material":470,"size":43,"collection":43,"collections":471,"showCount":472,"zanCount":167,"manualWeight":11,"mainColor":47},234105,"shi-nv-juan-chen-hong-shou-234105","陈洪绶","仕女画是我国古代一类重要的人物画题材。我们能从各朝画家所画的仕女形象中，看到当时的社会风貌。\n陈洪绶笔下的仕女因其独特的画风被后世画家效仿。本期艺狮·画事就来带你看看陈洪绶笔下的仕女画。\n陈洪绶的仕女画与“吴门画派”诸家所绘仕女不同，吴门画派更注重写实与写意的结合，仕女雍容华丽，艳而不俗，侧重画中的文人气韵。",[24,25,26,27,28,30,208,466,467,103,7,468],"乐器","荷花","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8d1e094bb0f8b30d59b656ae34f18f5.jpg","绢本设色",[],82,{"id":474,"slug":475,"title":476,"dynasty":477,"author":172,"museum":20,"description":478,"tags":479,"thumbUrl":480,"material":67,"size":481,"collection":69,"collections":482,"showCount":483,"zanCount":167,"manualWeight":11,"mainColor":73},219410,"huo-lang-tu-zhou-yi-ming-219410","货郎图轴","不详","货郎挑担来到牡丹花下敲锣叫卖，孩童们争相前来，有拿铜钱的、拖玩具小车、打陀螺，还有手上把玩风车，脸上洋溢着欢喜与兴奋。货郎扁担为高肩形式，装饰着一对华丽的蟠龙，这是明代流行的样式。伞盖下悬挂灯笼、葫芦。置物架上内嵌木格，装满了瓶罐、玩具，及福禄寿样貌的泥塑偶人。背景牡丹盛开，桃实累累，充满吉祥意味。",[24,25,102,27,28,30,188,305,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5c2e1b92d7b7e924913d4aafee674fb.jpg","183.5x116.3",[69],76,{"id":485,"slug":486,"title":487,"dynasty":18,"author":172,"museum":20,"description":488,"tags":489,"thumbUrl":493,"material":494,"size":495,"collection":69,"collections":496,"showCount":497,"zanCount":180,"manualWeight":11,"mainColor":73},237238,"ming-ren-chun-jing-huo-lang-tu-zhou-yi-ming-237238","明人春景货郎图轴","货郎图自宋代以降，常被画家引为表现主题。此幅无名款，画春日郊园中，桃花初绽，新柳泛绿，杂草野卉丛生於小溪石畔。柳荫下停放一货担，架上满置鸟笼，笼中鸟色品种殊异，四周并缀有各式童玩。",[24,25,102,28,27,30,490,412,491,103,492,7],"儿童","牡丹","春景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5ca9ee63e0c5ff0337a9862fc0de7a0.jpg","纸本","196.8x104.3",[69],73,{"id":499,"slug":500,"title":501,"dynasty":18,"author":502,"museum":20,"description":503,"tags":504,"thumbUrl":506,"material":218,"size":507,"collection":69,"collections":508,"showCount":497,"zanCount":167,"manualWeight":11,"mainColor":47},216095,"tai-ping-le-shi-tu-ce-dai-jin-216095","太平乐事图册","戴进","此册共十开，分别绘「婴戏」、「骑牛」、「娱乐」、「戏耍」、「捕鱼」、「试射」、「耕罢」、「观戏」、「木马」、「牧归」等题材。其中数开以宋元名画为本：如第二开妇人哺乳之形象，可见于南宋李嵩〈市担婴戏〉（国立故宫博物院）；第九开「木马」则取自元任仁发〈果老见明皇〉（北京故宫博物院）；第十开则摹自宋人〈春社醉归〉。其余几开，皆透过人物之「观看」，将观者目光聚焦于画中场景，而营造某种叙事情节。绘人物之线条采「钉头鼠尾」（起笔钝重、收笔细）之笔法，与画史对戴进人物风格之描述吻合。然整体笔墨略显软弱、平直，或为晚期浙派画家根据戴进真迹加以临仿之作。",[24,28,207,30,188,57,7,505,27],"民俗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69d6277ebff97c525e8c808b42e4ea48.jpg","22.8x22cm",[69],{"id":510,"slug":511,"title":300,"dynasty":18,"author":512,"museum":152,"description":513,"tags":514,"thumbUrl":517,"material":195,"size":518,"collection":69,"collections":519,"showCount":520,"zanCount":180,"manualWeight":11,"mainColor":73},222049,"huo-lang-tu-ji-sheng-222049","计盛","“货郎图”属于风俗画，这一题材自宋代以来就十分流行。画面中货郎衣着整洁，儿童服饰华丽，货架上的各类物品丰富而精致。画法上刻画细腻，设色浓艳，已将宋人民间货郎图中的生活气息转化为宫廷贵族气息，因而又有“宫廷货郎”之称。",[23,24,25,28,27,29,30,188,305,7,515,34,307,516],"鸟笼","蝴蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379a6e73b4bffc5ce7f9a7fab61b9170.jpg","纵192.4厘米，横98.7厘米",[69,108],71,{"id":522,"slug":523,"title":524,"dynasty":240,"author":525,"museum":99,"description":526,"tags":527,"thumbUrl":534,"material":278,"size":279,"collection":43,"collections":535,"showCount":536,"zanCount":180,"manualWeight":11,"mainColor":73},230932,"lao-zi-wan-qin-tu-zhou-fang-230932","老子玩琴图","周昉","周昉（生卒年不详），字仲朗、景玄，京兆（今陕西西安）人，唐代著名画家。出身显贵，先后任越州、宣州长史。\n他能书，擅画人物、佛像，尤其擅长画贵族妇女，容貌端庄，体态丰肥，色彩柔丽，为当时宫廷士大夫所喜爱；是中唐时期继吴道子之后而起的重要人物画家，当时有名的宗教画家兼人物画家。早年效仿过张萱，后来加以变化，别创一体。周昉创造的最著名的佛教形象是“水月观音”。\n周昉的佛教画曾成为长期流行的标准，被称为“周家样”。传世作品有《簪花仕女图》卷、《挥扇仕女图》卷、《调琴啜茗图》卷等。",[24,25,28,27,30,466,528,529,530,531,7,532,533],"琴","卷轴","笔筒","花瓶","老者","侍从","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeb93b889377a7553bda57900933d925.jpg",[],66,{"id":538,"slug":539,"title":540,"dynasty":52,"author":541,"museum":20,"description":542,"tags":543,"thumbUrl":547,"material":232,"size":548,"collection":549,"collections":550,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":47},221323,"hou-mao-tu-juan-yi-yuan-ji-221323","猴猫图卷","易元吉","《宋易元吉猴猫图卷》画孙猴儿一只，脖子上围绑着粗绳，圈系在地，两只小花猫，大概路经此地，不经意中，一为猴儿挟抱，另一则惊避回顾。画中二小猫，全身毫毛皆用纤细的笔线，笔笔丝出，再加色晕染。黄花猫斑纹处是以淡赭墨染绘，毛色层次井然分明。盘坐在地的猴儿也是采同样手法处理，然而毛发更见丰盈毛绒，多而不乱。作者传神体物的绘画表现，足能成为北宋人写生写实的艺事风格代表。\n画家除了在此展现出精巧的画技外，捕捉动物生态，更有其独到之处。无论是调皮捣蛋的顽猴；或是它怀中畏怯无奈的小猫；或是一旁怒目嘶叫、张牙舞爪的幸免者，这三者间生动的神情，及合于本性、出于自然的瞬间互动，都藉由画家敏睿的观察，和传神的画笔，铺陈出如此富有戏剧效果的画面。",[23,81,24,25,26,27,28,544,545,546,193,7],"猴","猫","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F823207814807056484a74f5f2d92e6bb.jpg","纵31.9公分、横57.2公分","书法精选",[549],{"id":552,"slug":553,"title":554,"dynasty":437,"author":555,"museum":20,"description":556,"tags":557,"thumbUrl":561,"material":67,"size":43,"collection":69,"collections":562,"showCount":563,"zanCount":167,"manualWeight":11,"mainColor":73},216985,"luo-han-zhou-guan-xiu-216985","罗汉轴","贯休","罗汉图是五代十国时期的一件珍贵的文物。它是一幅画，描绘了佛教的著名的罗汉（又被称作“菩萨”）。这幅画的特别之处在于，它是由贯休所画。\n\n贯休（907年-971年）是五代十国时期的一位著名的佛教徒和文学家。他是宋朝的开国皇帝赵匡胤的政治顾问，在赵匡胤建立宋朝后，贯休成为了宋朝的一位高级官员。贯休是当时佛教界的知名人士，他著有许多佛教经典，并且在佛教研究方面有很高的造诣。\n\n罗汉图是五代十国时期最重要的佛教文物之一，它对于研究这一时期的佛教文化和历史具有重要的价值。",[24,25,102,558,559,28,27,30,105,7,560,142],"宗教","人物画","佛教题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dce4cc8cc12226031be8f6e4d29a72c.jpg",[69],64,{"id":565,"slug":566,"title":567,"dynasty":52,"author":172,"museum":20,"description":568,"tags":569,"thumbUrl":574,"material":232,"size":575,"collection":43,"collections":576,"showCount":46,"zanCount":11,"manualWeight":11,"mainColor":577},223471,"xi-mao-tu-yi-ming-223471","戏猫图","本幅传为宋人所画，在庭园一角嬉戏的大小猫咪一共八只。画栏围绕，锦障高下相连，使园中彷佛别有洞天。群猫嬉戏於湖石、竹丛、桃树、牡丹之间，或静或动，生态盎然。画家观察入微，以瞳孔缩成线状的猫眼，点出了这场猫戏的时序，应该是日光强烈的日间。",[23,24,81,28,27,545,546,36,358,491,103,7,570,33,84,515,571,572,573],"宠物","草木","设色工笔","宋代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F944be0ae10bb40132b87c6508e80870b.jpg","139.8x100.1cm",[],"37474F",{"id":579,"slug":580,"title":581,"dynasty":582,"author":172,"museum":99,"description":583,"tags":584,"thumbUrl":587,"material":278,"size":279,"collection":43,"collections":588,"showCount":589,"zanCount":11,"manualWeight":11,"mainColor":47},226725,"xin-shi-qi-shi-dai-wan-qi-yi-ming-226725","新石器时代晚期","新石器时代","中国的新石器时代是原始社会氏族公社制由全盛到衰落的一个历史阶段。它以农耕和畜牧的出现为划时代的标志，表明已由依赖自然的采集渔猎经济跃进到改造自然的生产经济。磨制石器、制陶和纺织的出现，也是这一时代的基本特征。因而，新石器时代在中国历史上是古代经济、文化向前发展的新起点。中国新石器文化至少要在距今10000年前，实际开始年代还当更早；一般延续到前2000年左右",[582,585,61,7,586],"雕刻","玉石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32d695e831ffaf136601e2f1ba1ecdf1.jpg",[],62,{"id":591,"slug":592,"title":593,"dynasty":437,"author":172,"museum":20,"description":594,"tags":595,"thumbUrl":601,"material":67,"size":602,"collection":69,"collections":603,"showCount":604,"zanCount":167,"manualWeight":11,"mainColor":73},216986,"xian-xiu-san-xing-tu-yi-ming-216986","线绣·三星图","画上绣有十九个人，场景从上到下分为四层，第一层从左到右分别是禄、福、寿三颗星。身穿绿色斗篷的 若 星挥舞着羽毛扇，一只鹿跪在他身边，嘴里叼着一朵花，鹿 与 若 谐音，代表着职业道路。中间站着的幸运星，身穿宽大的蓝袍，带着玉柄和带流苏的葫芦形皇冠，象征着运气的延续。右边是微笑着的慈祥老人--长寿星，手持绣有 福禄寿 字样的玉盘，前面是一只手持 寿 字的仙鹤，象征着长寿。",[596,28,558,30,306,597,598,599,137,546,7,600],"线绣","小桥","鹿","鸟","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ea885cec07fde0e2c751ced9d734b95.jpg","194.3x111.2",[69],60,{"id":606,"slug":607,"title":608,"dynasty":52,"author":382,"museum":99,"description":609,"tags":610,"thumbUrl":613,"material":278,"size":279,"collection":43,"collections":614,"showCount":615,"zanCount":167,"manualWeight":11,"mainColor":73},287454,"qiu-ting-xi-ying-tu-su-han-chen-287454","秋庭戏婴图","《秋庭戏婴图》以细腻的笔法，描绘两个锦衣孩童在庭院玩着一种推枣磨的游戏。兄妹两人无论从头发、眉目，衣饰，都精心刻画，丝染兼备，而且变化极为丰富，以长而圆润的线条，画出衣纹，再仔细点染衣服上的花纹，不仅画出质料的柔软细致，更赋予衣服华丽的质感，这些细微的处理，使得子孩丰润、柔软、细致的模样，跃然于纸上。",[23,24,81,27,28,30,611,612,274,33,7],"婴戏","芙蓉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F414a0dd806bab4abffe5b1350464294b.jpg",[],59,{"id":617,"slug":618,"title":619,"dynasty":97,"author":172,"museum":620,"description":621,"tags":622,"thumbUrl":623,"material":67,"size":624,"collection":69,"collections":625,"showCount":615,"zanCount":11,"manualWeight":11,"mainColor":73},218470,"xiao-xia-tu-yi-ming-218470","消夏图","苏州博物馆","松荫覆庭，廊榭半开，文人雅士或围案展卷细品，或执扇浅语，或侍立凝神。案上瓜果鲜妍，砚池墨香隐现，器物玲珑有致。笔墨细腻处，人物神态宛然，衣袂轻扬见风骨；庭院葱郁间，光影流转映清雅。燥热的夏日，被书卷的静气、友朋的闲谈悄悄消解，连风都带着几分慵懒的诗意。画面以细腻笔触勾勒人物情态，以温润色调晕染庭院生机，将元代文人闲适的雅趣与内心的澄明，凝在这一方消夏的天地里，尽显岁月沉淀的悠然与从容。",[24,81,25,28,27,30,33,34,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bbfdb330eb5f30734846d33d935a8a6.jpg","24.5x15.7",[69],{"id":627,"slug":628,"title":629,"dynasty":18,"author":116,"museum":99,"description":630,"tags":631,"thumbUrl":634,"material":278,"size":279,"collection":43,"collections":635,"showCount":636,"zanCount":167,"manualWeight":11,"mainColor":73},289997,"ting-qin-tu-li-zhou-du-jin-289997","听琴图立轴","杜堇，明代画家，生活在十五至十六世纪初，原姓陆，字惧男、号柽居、古狂、青霞亭长，江苏丹徒（今江苏镇江）人。",[24,25,81,102,28,27,30,31,59,528,466,274,632,633,7],"蕉叶","书房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9241a9963f0c789754bcb630030c914e.jpg",[],55,{"id":638,"slug":639,"title":619,"dynasty":97,"author":640,"museum":99,"description":641,"tags":642,"thumbUrl":644,"material":278,"size":279,"collection":43,"collections":645,"showCount":646,"zanCount":11,"manualWeight":11,"mainColor":73},228079,"xiao-xia-tu-liu-guan-dao-228079","刘贯道","描绘一文士赤裸半身躺于卧榻，右手持尘，左手拈书卷，目视前方，若有所思。他的身后放一琴，榻后的桌上陈放有书卷、砚台，茶盏等，可见主人是个风雅文士。榻的旁边有一屏风，对面两名侍女，一个手拿蒲扇，另外一名双手抱一包裹似乎主人需要之物。",[23,81,24,25,26,28,30,59,208,643,7,61,193],"芭蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F621dcab5316c928d6d5eb788d601bacf.jpg",[],54,{"id":648,"slug":649,"title":650,"dynasty":130,"author":172,"museum":152,"description":651,"tags":652,"thumbUrl":653,"material":654,"size":655,"collection":69,"collections":656,"showCount":657,"zanCount":11,"manualWeight":11,"mainColor":47},236179,"hong-li-sui-chao-xing-le-tu-xiang-yi-ming-236179","弘历岁朝行乐图像","暖阁里主仆围聚，主人逗弄怀中幼童，满堂融融暖意弥散。阶下有人持笛奏乐、孩童嬉闹，檐下案头陈设瓶花清供，雅趣横生。近旁苍松虬劲古朴，崖石覆雪添了冬日清寒，远景烟霭轻笼，亭台隐没云间，冷暖景致相映成趣。\n\n整幅工笔妍丽细腻，将皇家岁朝的闲温情致，与园林雅致意趣揉合一处，把佳节天伦之乐绘得鲜活动人，尽显华贵静谧的宫廷年味图景。",[24,81,27,28,29,30,32,306,35,33,188,7,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9cf7690222da77f1a730090ee748426.jpg","绢本 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。景定年间曾任两淮制置司监当官。他是一位诗文书画都擅长的文人画家，山水画师法米芾、米友仁，人物、鞍马则学曹霸，亦能画梅、菊等花卉。喜欢用水墨画鬼魅及钟馗，“怪怪奇奇，自成一家”，开明清写意画之先河。从现存作品看，其特点是用笔粗重、墨色淋漓，造形比较夸张，画上多题诗及跋语。抒情寓意，寄托遗老的怀抱。",[24,81,25,26,82,30,882,245,883,7,161,884],"帐篷","羊","兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c86fb758c911901199210f2e7cb4fe9.jpg","纸本,水墨","全卷30.6X770厘米",[89],{"id":890,"slug":891,"title":892,"dynasty":97,"author":172,"museum":20,"description":893,"tags":894,"thumbUrl":904,"material":28,"size":905,"collection":69,"collections":906,"showCount":908,"zanCount":11,"manualWeight":11,"mainColor":73},221779,"ma-gu-xian-shou-zhou-yi-ming-221779","麻姑献寿轴","麻姑为长生不老的女仙代表。关于她的来历，最通行的说法是神仙传的记载，云东汉桓帝时，仙人王方平降蔡经家，召麻姑至，年十八九，容貌秀美，自言已饱阅沧海桑田变幻。后世常以麻姑献寿的题材来为妇女祝寿。\n该幅绘松石流泉间，捧仙桃之麻姑与方平对坐论道，侍者环立。人物造型高古奇拙，衣纹森森然若折铁，水波与花木的画法颇有装饰意趣，虽题为元人，应出自追随晚明陈洪绶之风的后人。",[23,24,102,28,27,30,34,895,35,31,896,897,307,898,899,339,343,900,901,334,902,903,7],"流水","祝寿","古树","场景","人物互动","设色古雅","工笔细腻","山林","路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8827dfc45cdcb3684c926ba84a1afd9a.jpg","该幅 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在历代流传下来的“货郎图”图示中，我们便可略窥一二。宋代绘画是写实主义的巅峰，《货郎图》则是这一巅峰上的一片奇岫。南宋吴自牧《梦粱录》中提到，当时杭州的小贩在沿街叫卖时“挑担抬盘架”，“担瑜石钉铰金装架儿”，《清明上河图》中，也有货郎在一根扁担的两头各挑一个货架，说明这种一根扁担挑两个货架的销售形式，在两宋很是普遍。因此，画中这位货郎和他的货担，可谓是对十一至十三世纪的流动小商贩的忠实记录。“货郎图”是宋代较为流行的一种表现当时流动小商品买卖的绘画形式。如今存世较为知名的主要有四幅南宋李嵩的《货郎图》（分别藏于北京故宫博物院、台北故宫博物院、美国大都会博物院、美国克利夫兰美术馆）以及一幅传为北宋苏汉臣所作的《货郎图》。",[24,28,27,102,30,490,189,305,34,38,35,307,7,915,121,412,916,105],"秋景","棚架","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b38b5a780482a0e4fa98b8ed68079b5.jpg",[],37,{"id":921,"slug":922,"title":923,"dynasty":18,"author":463,"museum":99,"description":924,"tags":925,"thumbUrl":930,"material":43,"size":43,"collection":43,"collections":931,"showCount":919,"zanCount":167,"manualWeight":11,"mainColor":73},228281,"wu-lao-tu-chen-hong-shou-228281","五老图","此作用奇石为席案，铺陈开五位老者的雅集场景。对弈者捻须凝思，观局者或倾身注目、或垂手静立，情态生动各别，尽显林下高贤的散淡意趣。\n画作以清劲高古的游丝铁线勾勒衣纹，造型奇崛古拙，设色浅淡沉静。老者面容刻画入微，须眉灵动鲜活，既带着明代人物画的高逸格调，又尽显作者标志性的古雅奇谲，将文人雅集的闲情逸致烘托得淋漓尽致，尽显晚明文人画的高妙意趣。",[23,24,27,28,82,30,59,926,927,7,702,928,929],"对弈","棋局","坐具","衣袍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf837e79b295fad40272b805d470ec78.jpg",[],{"id":933,"slug":934,"title":935,"dynasty":437,"author":936,"museum":99,"description":937,"tags":938,"thumbUrl":940,"material":43,"size":43,"collection":43,"collections":941,"showCount":919,"zanCount":180,"manualWeight":11,"mainColor":47},226713,"huo-lang-tu-ye-li-sheng-226713","货郎图页","李昇","这是一幅人物风俗画卷，画面上货郎的货担上物品繁多，不胜枚举，从锅碗盘碟、儿童玩具到瓜果糕点，无所不有。在商品流通尚不够发达的时期，货郎们走街串巷，一副货担就是一个小小的百货店，货郎们不仅为偏僻的乡村带来所需的货物，也带来各种新奇的见闻，货郎的到来往往象节日般热闹场景。画家借助货郎这一题材表现了当时市井生活的一个侧面，那些令人眼花缭乱的物品，虽然今天有很多已不明其用途，但却真实地记录了那个时代百姓的生活方式，是民俗学家不可多得的珍贵史料。",[23,81,24,25,939,27,28,30,190,7,34,413,35],"册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70b73176be8077b5a0404118925f2e78.jpg",[],{"id":943,"slug":944,"title":945,"dynasty":130,"author":172,"museum":99,"description":946,"tags":947,"thumbUrl":949,"material":67,"size":950,"collection":69,"collections":951,"showCount":919,"zanCount":11,"manualWeight":11,"mainColor":73},218289,"xuan-zong-lin-jing-tu-yi-ming-218289","玄宗临镜图","绢色泛黄如浸旧时光，朱红栏杆圈定宫室一角，竹影斜映窗棂，案上瓶花静立。玄宗红衣临镜，眉宇间似凝沉思，侍从持物侍立，姿态恭谨；侧室仕女闲坐，衣袂轻扬，添几分柔婉。旁题“韩休为相”语，暗牵盛唐典故——玄宗因韩休直言自省，临镜之态恰与纳谏之心呼应。\n\n画作以细腻笔触摹写人物神态，场景疏密得宜，于日常起居间藏史事隐意。既见宫廷生活的雍容，亦含对为政自省的隐括，方寸绢素间，绘就一段被时光凝定的盛唐记忆，笔端流转的不仅是形色，更是史韵与哲思的交融。",[24,25,27,28,29,30,32,948,161,7],"竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70abb2788b3569eccbc73c8780a21f36.jpg","30x31",[69],{"id":953,"slug":954,"title":955,"dynasty":52,"author":185,"museum":99,"description":956,"tags":957,"thumbUrl":960,"material":43,"size":43,"collection":43,"collections":961,"showCount":962,"zanCount":11,"manualWeight":11,"mainColor":47},227736,"shi-dan-ying-xi-tu-li-song-227736","市担婴戏图","《市担婴戏图》是宋代画家李嵩创作的一幅绢本浅设色画，现藏于台北故宫博物院。此画描绘老货郎担着琳琅满目的百货，妇女、孩童蜂拥而来的情景。",[24,25,385,27,82,28,30,611,958,34,490,7,959],"市担","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ae9504a8080a71cacabd3b44df2120.jpg",[],36,{"id":964,"slug":965,"title":966,"dynasty":130,"author":717,"museum":718,"description":719,"tags":967,"thumbUrl":971,"material":232,"size":728,"collection":43,"collections":972,"showCount":962,"zanCount":11,"manualWeight":11,"mainColor":973},223066,"hong-lou-meng-52-sun-wen-223066","红楼梦52",[23,24,25,27,28,29,30,31,32,34,38,33,7,815,121,39,57,356,968,705,468,969,970],"罐","室内","室外","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c6e4bfd16dd262ed724295b75a151d0.jpg",[],"F48FB1",{"id":975,"slug":976,"title":977,"dynasty":130,"author":978,"museum":99,"description":979,"tags":980,"thumbUrl":982,"material":218,"size":983,"collection":69,"collections":984,"showCount":985,"zanCount":11,"manualWeight":11,"mainColor":47},219176,"ma-gu-xian-xiang-tu-huang-shen-219176","麻姑仙像图","黄慎","画面中麻姑面容温婉，眉宇间透着仙逸之气。宽袍大袖随风轻扬，赤足踏地，姿态闲适自在。肩扛阔大芭蕉叶，叶间点缀红蕊，生机暗涌；叶下枝茎修长，握于手中似有轻摇之态。腰间悬橙黄葫芦，系蓝绦，旁缀花草，野趣盎然。笔墨简括洒脱，线条灵动，衣纹用折芦描，流畅中见顿挫，尽显人物飘逸之姿。右侧题跋笔墨纵横，与人物形象相映成趣，融书法与绘画于一体，文人画意趣浓郁。整幅作品仙气与生活气息交织，既见仙家超脱，又含人间鲜活，是写意人物画中的精妙之作。",[23,24,25,981,28,30,161,105,7,61,193],"写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F387ab015edbbb395537ee9821345d6c1.jpg","纵176厘米，横105.3厘米",[69],35,{"id":987,"slug":988,"title":989,"dynasty":97,"author":640,"museum":20,"description":990,"tags":991,"thumbUrl":993,"material":28,"size":994,"collection":69,"collections":995,"showCount":996,"zanCount":11,"manualWeight":11,"mainColor":73},221849,"qun-xian-xian-shou-tu-zhou-liu-guan-dao-221849","群仙献寿图轴","刘贯道，字仲贤，生卒年不详，约为元世祖之人。善画佛道人物，又能做山水、花竹、鸟兽等。他在世的作品极少，画中人物多接近北宋传统技法，有古典风味，与南宋有明显的分别。或许是因为他出生在北方，较承袭了北宋的画法。",[81,24,25,28,30,193,27,992,559,7],"古画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F872049468677e6ff4ae3a2d905a51f63.jpg","36.6x56.2公分、全幅 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钧窑 天蓝紫斑圆盘","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。",[398,1162,1163,1164,1165,1166,1123,1167,7],"钧窑","窑变","天蓝釉","紫斑","圆盘","釉彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F620de77ec097b8139556fca104ab940a.jpg",[403],{"id":1171,"slug":1172,"title":1173,"dynasty":130,"author":717,"museum":718,"description":719,"tags":1174,"thumbUrl":1177,"material":232,"size":728,"collection":43,"collections":1178,"showCount":1179,"zanCount":11,"manualWeight":11,"mainColor":973},222945,"hong-lou-meng-70-sun-wen-222945","红楼梦70",[23,24,25,27,28,29,30,7,121,708,1175,1096,1176,232,725],"细描","彩绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48fc777519a843d419ec0f54c0df26de.jpg",[],24,{"id":1181,"slug":1182,"title":1183,"dynasty":130,"author":717,"museum":718,"description":719,"tags":1184,"thumbUrl":1190,"material":232,"size":728,"collection":43,"collections":1191,"showCount":1179,"zanCount":11,"manualWeight":11,"mainColor":73},222903,"hong-lou-meng-28-sun-wen-222903","红楼梦28",[23,24,27,28,26,29,559,1185,33,34,1186,1096,708,1187,1188,725,442,7,757,1189],"古典绘画","怪石","室外场景","人物活动","山水纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbf114af71bd44fc7209522477504afd.jpg",[],{"id":1193,"slug":1194,"title":1195,"dynasty":18,"author":172,"museum":99,"description":1196,"tags":1197,"thumbUrl":1200,"material":278,"size":279,"collection":43,"collections":1201,"showCount":1202,"zanCount":11,"manualWeight":11,"mainColor":73},287611,"shi-ba-xue-shi-tu-zhi-er-yi-ming-287611","十八学士图之二","此画绘园林雅集之景，垂柳拂庭，奇石佳木点缀其间，雅致悠然。文士围坐对弈，神态凝注，尽显从容襟怀；侍从或低首奉茶，或持扇伫立，恭谨鲜活。屏风借山水延伸意境，将小园与林泉野趣相融，器物陈设古雅精致，处处流露幽淡闲和之韵。衣纹勾勒舒展流畅，设色调和沉稳，人物情态各有韵致，细腻还原了文人雅聚的优游日常，将林下清欢的文人意趣铺陈得淋漓尽致。",[24,28,27,559,1198,33,84,7,1199,1095,39,188],"文人雅集","柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc796e1ef89cbb4c3af00114ef07f8f2.jpg",[],23,{"id":1204,"slug":1205,"title":1206,"dynasty":130,"author":172,"museum":99,"description":1207,"tags":1208,"thumbUrl":1212,"material":43,"size":43,"collection":1087,"collections":1213,"showCount":1202,"zanCount":11,"manualWeight":11,"mainColor":47},245661,"qian-long-kuan-jin-fu-zuo-yi-ming-245661","乾隆款金佛座","这尊金像宝光内蕴，佛陀结跏趺坐于莲台，双手结说法印，面容沉静慈悲，鎏金厚重匀净，躯体线条柔和饱满。身后背光錾刻缠枝宝相花，似佛辉漫溢，层层环绕烘托出神圣气韵。\n\n莲座层叠饱满，嵌饰彩宝点缀其间，两侧垂挂卷草雕花供耳，婉转灵动，将藏地造像的富丽与中原工艺的精细相融。整体庄严肃穆，既带着宗教造像的神性威仪，又尽显宫廷工艺的极致考究，把虔诚信仰之美与精湛匠造之美合二为一，是金铜造像中的精妙之作。",[455,1082,558,1209,1210,1083,1211,7],"佛教造像","錾刻","金属工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F809c6a46152ed86d335619e20c4588f6.jpg",[1087],{"id":1215,"slug":1216,"title":1217,"dynasty":18,"author":463,"museum":99,"description":1218,"tags":1219,"thumbUrl":1223,"material":43,"size":43,"collection":43,"collections":1224,"showCount":1202,"zanCount":11,"manualWeight":11,"mainColor":73},228298,"lao-lian-hua-tang-tu-chen-hong-shou-228298","老莲画堂图","淡墨白描晕开古雅夜色，灯影斜斜悬于堂侧，晕开一室松弛的雅集意趣。高古游丝般的线条勾勒出人物百态：长者凭坐把盏，悠然漫饮；士人垂眸静穆，似沉湎清谈余韵；侍女低眉侍立，温婉静雅，僮仆俯身备食，意态自然。沉暗的古绢底色衬出简淡笔意，留白里漫着晚夜风致，未施浓丽敷色，仅以寥寥墨痕，便将文人士子宴坐清谈的闲雅况味尽数铺展，笔简意长，藏着旧时光的温软松弛。",[23,24,25,102,27,28,30,1220,7,1221,1222],"枯藤","灯","香炉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c07609c13b78b81a117b87dd9ce988a.jpg",[],{"id":1226,"slug":1227,"title":1228,"dynasty":130,"author":717,"museum":718,"description":719,"tags":1229,"thumbUrl":1235,"material":232,"size":728,"collection":43,"collections":1236,"showCount":1202,"zanCount":11,"manualWeight":11,"mainColor":973},222968,"hong-lou-meng-93-sun-wen-222968","红楼梦93",[23,24,25,27,28,30,708,7,757,39,1230,815,1231,339,1232,1233,1234],"古装","字画","古典陈设","中式建筑构件","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Ware）在古时被称为“金”或“吉金”，是红铜与其他化学元素锡、铅等的合金，刚刚铸造完成的青铜器是金色，但因为出土的青铜因为时间流失产生锈蚀后变为青绿色，被称为青铜。\n青铜器的使用开始于新石器时代晚期的土耳其和伊拉克地区，及叙利亚古代TellRamad遗址出土的铜珠等。中国青铜器开始于马家窑至秦汉时期，以商周时期的器物最为精美。在中国仰韶文化早期和马家窑文化时期就已经出现。\n中国最初出现的是小型工具或饰物。夏代始有青铜容器和兵器。商中期，青铜器品种已很丰富，并出现了铭文和精细的花纹。商晚期至西周早期，是青铜器发展的鼎盛时期，器型多种多样，浑厚凝重，铭文逐渐加长，花纹繁缛富丽。随后，青铜器胎体开始变薄，纹饰逐渐简化。春秋晚期至战国，由于铁器的推广使用，铜制工具越来越少。秦汉时期，随着陶器和漆器进入日常生活，铜制容器品种减少，装饰简单，多为素面，胎体也更为轻薄。\n中国青铜器制作精美，在世界青铜器中享有极高的声誉和艺术价值，代表着中国5000多年青铜发展的高超技术与文化。\n我国商、周时代的青铜器具，不单是盛物用的容器，同时也是宗庙中的礼器。青铜器的数量可以表示出身份地位的高低，青铜器形制的大小也可以显示出权力的等级。青铜器中，最重要的器类就是鼎。远古的青铜器可以分为食器、酒器、水器、乐器四大类。食器中包括鼎、鬲等等。其中鼎是最重要的礼器。\n西周中晚期我国形成了列鼎制度，据《春秋公羊传》记载，天子用9鼎，诸侯用7鼎、卿大夫用5鼎、士用3鼎或1鼎。同时。与鼎一同出现的还有簋，通常为九鼎八簋，七鼎六簋，五鼎四簋，三鼎二簋。在西周中晚期的墓葬制度中，鼎为单数而簋为双数。青铜鼎随着时代的发展，形制也在发生变化。商代早期多为圆腹尖足，也有方鼎。到了中期出现了扁足鼎等等。商代晚期尖足鼎逐渐减少，圆腹柱足鼎开始居多，鬲鼎逐渐多了起来。《尔雅》记载“鼎之款足者，谓之鬲”。鬲鼎也称为分裆鼎，是鬲和鼎的混合体，鼎从商代开始铸有各式样的神秘纹饰，多为兽面纹，如饕餮纹、蝉纹、象纹等等，纹饰变化巧妙。容器内部铸有族徽或祖先的名字。\n青铜是铜和锡铅的合金。在中国古代早期的工艺美术中青铜工艺成为奴隶社会工艺美术的典型代表是我们的祖先对人类物质文明的巨大贡献。商周时期是中国历史上的青铜时代，它以品类丰富、造型优美、纹饰华丽、制作精巧、风格独特而著称。此时是冶炼铸造技术可以说有了突发猛进的发展，在应用上具有广泛的适用性。成为中国艺术史的一个组成部分。本文以商周时期的青铜器主要代表作品作品：《后母戊大方鼎》、《盂鼎》为例，从青铜器作为“礼器”的艺术精神与青铜器的造型、装饰艺术特点来谈谈商周青铜器艺术。\n中国古代青铜器，就使用规模、铸造工艺、造型艺术及品种而言。中国古代青铜器在世界艺术史上占有独特地位。商周时期是中国历史上的青铜时代，青铜流行于新石器时代晚期至秦汉时代。以商周器物最为精美，品种已很丰富器型多种多样，并出现了铭文和精细的花纹浑厚凝重。商周青铜器艺术装饰承接新石器时代艺术中若干精髓，经过长期绵延不断的变化，形成独特的体系，在成为中国艺术史的一个组成部分。商周时期，青铜的冶炼业作为生产力的标志而达到高峰。是中国古代青铜器发展的鼎盛时期。",[1498,1499,666,585,1500,1501,358,7,1502,1503,1504,1505,1506,1507],"青铜器","礼器","商代","纹饰","青铜纹饰","古代礼器","铜雕","商周青铜器","纹饰雕刻","商代器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65097e54f91d407fe9c924fd18a51c08.jpg",[],{"id":1511,"slug":1512,"title":1513,"dynasty":1514,"author":172,"museum":99,"description":1515,"tags":1516,"thumbUrl":1518,"material":278,"size":279,"collection":43,"collections":1519,"showCount":1490,"zanCount":11,"manualWeight":11,"mainColor":973},224090,"sui-mo-tang-chu-gui-tai-jing-yi-ming-224090","隋末唐 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Rijn，1606年7月15日～1669年10月4日）是欧洲17世纪最伟大的画家之一，也是荷兰历史上最伟大的画家。\n伦勃朗早年从师P.拉斯特曼，1625年在家乡开设画室。画作体裁广泛，擅长肖像画、风景画、风俗画、宗教画、历史画等领域。",[155,558,30,1583,333,7,1584,726],"明暗对比","光影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb5d5a0a336a493f36c7cc9696960e81.jpg",[710],{"id":1588,"slug":1589,"title":1590,"dynasty":130,"author":734,"museum":20,"description":1591,"tags":1592,"thumbUrl":1593,"material":1594,"size":1595,"collection":69,"collections":1596,"showCount":1566,"zanCount":11,"manualWeight":11,"mainColor":47},223327,"di-shi-liu-a-bi-da-zun-zhe-zhou-ding-guan-peng-223327","第十六阿必达尊者轴","乾隆皇帝第二次南巡时诣访杭州圣因寺，曾将寺中所藏唐贯休（823-912）十六罗汉像的序位及名号详加考订后送还，并命丁观鹏摹绘一组。此次展出其中两轴。该组罗汉除屡屡被重绘外，亦依其形象制作玉雕，是南巡衍生出的图像新好尚。",[23,24,25,102,558,27,28,30,274,7,193,161],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92204ef8ac0f1ceed31060bb9280cade.jpg","纸本设色","127.5x57.5厘米",[69,108],{"id":1598,"slug":1599,"title":1600,"dynasty":130,"author":717,"museum":718,"description":719,"tags":1601,"thumbUrl":1604,"material":232,"size":728,"collection":43,"collections":1605,"showCount":1566,"zanCount":11,"manualWeight":11,"mainColor":47},222973,"hong-lou-meng-98-sun-wen-222973","红楼梦98",[23,27,28,29,30,32,33,276,34,1602,1603,121,7,708,1187],"太湖石","门窗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54ea2eba1280154b2baab54fd4a20ff7.jpg",[],{"id":1607,"slug":1608,"title":1609,"dynasty":52,"author":172,"museum":99,"description":1610,"tags":1611,"thumbUrl":1614,"material":278,"size":279,"collection":43,"collections":1615,"showCount":1616,"zanCount":11,"manualWeight":11,"mainColor":47},288959,"mo-wang-qi-han-huai-yin-xiao-xia-tu-yi-ming-288959","摹王齐翰槐荫消夏图","此作图绘槐荫下消夏闲景，高士袒胸斜卧榻上，双目轻阖，将溽暑中松弛酣然的情态刻画入微。榻边小案陈置香炉书卷，衬出主人林下雅致，槐荫如盖，清荫笼住一方清凉，隔绝夏意燥热。\n笔线秀润细劲，设色浅淡明净，衣纹柔婉流转，与家具方硬挺括形成鲜明对照，晕染细腻，将肌肤肌理与织物薄软质感尽皆铺陈。画面清寂悠然，把宋人尚雅的闲居意趣融于尺幅，尽显幽居纳凉的松弛雅韵，藏着旧时文人最熨帖的夏日闲情。",[23,81,24,25,207,28,30,27,825,1471,1612,1613,193,61,7],"消夏","闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7001083d3da7618380d5002c193cc8c.jpg",[],13,{"id":1618,"slug":1619,"title":1620,"dynasty":130,"author":172,"museum":99,"description":1621,"tags":1622,"thumbUrl":1629,"material":278,"size":279,"collection":43,"collections":1630,"showCount":1616,"zanCount":11,"manualWeight":11,"mainColor":47},273653,"zi-tan-mu-bian-qi-di-qian-yu-shi-hu-lu-shi-gua-ping-yi-ming-273653","紫檀木边漆地嵌玉石葫芦式挂屏","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。",[1623,1624,705,586,585,1083,1625,103,1626,1627,1628,1406,7],"挂屏","葫芦形","博古","瑞兽","宝瓶","中国结","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe780a39b0246fbdabfe87677c261928f.jpg",[],{"id":1632,"slug":1633,"title":1634,"dynasty":52,"author":78,"museum":20,"description":1635,"tags":1636,"thumbUrl":1639,"material":1640,"size":1641,"collection":43,"collections":1642,"showCount":1616,"zanCount":11,"manualWeight":11,"mainColor":73},231410,"luo-han-tu-er-liu-song-nian-231410","罗汉图（二）","台北故宫藏画中，有三幅刘松年画罗汉，每幅都款署开禧丁卯（1207）刘松年画，此轴即为其中之一。幅中罗汉浓眉高鼻，貌若印度高僧，身著右袒式袈裟，倚树沈思。身侧随侍的和尚以衣袂承接树上长臂猿所摘之石榴，身前尚有二鹿仰观，画面生动。此罗汉脸上满布皱纹，双眉蹙起，神情专注，栩栩如生。全作用笔变化多端，衣纹流畅罗汉头後的圆光，及三树枝柯掩映，层次分明。全画敷色妍丽，繁缛精美，皆臻绝纱。\n隋唐以来，不少画家画过《罗汉图》，宋代更为盛行。画《罗汉图》不是用以供奉礼拜，而是为了赏玩，是把宗教题材世俗化，可以说，这是中国绘画史上的一大变迁。\n罗汉像多是耳戴金环，丰颐悬额，隆鼻深目，长眉密髯，服装与配饰具有异域色彩。五代之后，中国画家吸取我国传统人物画风格来画罗汉像，使具有宗教色彩的罗汉中国化。唐代禅宗兴起，主张顿悟，见性成佛，认为世间万物本身自有佛性。禅宗认为，自然界的山川河流、草木花鸟、风雨雷电和人世间百般实相都可以参禅，成为顿悟佛性的机缘。刘松年的这幅《罗汉图》(见图)又名《猿猴献果图》，绢本设色，纵117.2厘米，横56厘米，现存台北“故宫博物院”。他创作此幅《罗汉图》正是受禅宗思想的影响，把佛教壁画中守护在菩萨身边的罗汉，变成游山玩水的世俗僧人。图中前面是一棵历尽沧桑的枯树，树干由下而上呈“s”型，枯树叶已脱尽，只剩下遍体的嶙峋与凌乱的树权。后面是一株枝叶茂盛的阔叶大树，两树中间夹着结满果实的小树。画中的罗汉双手相交，趴伏在一横斜树枝上，深情地注视着面前两只温顺的小鹿，表情亲切、温和，流露出世俗的欢乐。罗汉的头部造型准确，虽与全身相比略显大些，但五官刻画细致，具有神韵。树上的两只猿猴居高临下，形态生动、活泼，正在摘熟透的果子。树下一清秀文雅的小和尚双袖合抱去接其中一只猿猴扔下的果子，一只小鹿仰头观望。这种极富生活情趣的描写，不仅表现了人与自然相依相存的亲密关系，也淡化了作品的宗教气氛。\n此画风格属于刘松年工整细润一路，是他晚年成熟的作品。画中人物用铁线描绘而成，线条流畅有力。服饰与面部均刻画得极其精细，用笔沉着稳健，神形兼备。画中罗汉与小和尚的僧袍色彩在多样变化中求得协调和统一，树木与山石注重写实。特别是树石的用笔，勾勒与皴擦，墨色浓淡相间，充分表现出了树干与山石的坚硬质感与体积感。枯树满身结疤和苍老坚硬的枝条与后面一棵枝叶浓密的树形成强烈对照，表现出了大自然所蕴涵的无限生机。浓密的枯枝与树叶衬托出疏朗的人物，形成疏密的对比，使人物形象在画中十分突出。此幅作品称得上是山水画和人物画完美结合的成功之作。\n这幅《罗汉图》虽然取自佛教题材，实际上已有着明显的世俗化的倾向。在意境表现上，画家通过对山石树木等自然景物的精心布置和渲染，营造出一个草木丰茂、秋清气爽、山果飘香的画境。罗汉与小和尚置身其境，神情悠然自得，营造了人与自然、人与动物之间互相依存的祥和气氛。\n另外，这幅《罗汉图》在艺术处理上吸取了佛教壁画在佛像头部画上佛光的方法，其表现手法是十分高超的。罗汉头像的佛光就如聚光灯一般，如雾如纱。朦胧中一组树枝隐约可见，使画面的虚实对比更加强烈。",[24,25,102,1123,27,28,558,30,39,105,1637,1638,121,7],"拐杖","扇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33bad5af550efbba55abfcfb88b17f3e.jpg","绢本设色画","纵117公分，横55.8公分",[],{"id":1644,"slug":1645,"title":1646,"dynasty":130,"author":717,"museum":718,"description":719,"tags":1647,"thumbUrl":1648,"material":232,"size":728,"collection":43,"collections":1649,"showCount":1616,"zanCount":11,"manualWeight":11,"mainColor":973},222938,"hong-lou-meng-63-sun-wen-222938","红楼梦63",[23,24,27,28,30,32,33,34,35,7,210,725,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f82b48ad4bbd75929ec78aef15756fa.jpg",[],{"id":1651,"slug":1652,"title":1653,"dynasty":130,"author":1654,"museum":20,"description":1655,"tags":1656,"thumbUrl":1658,"material":218,"size":43,"collection":43,"collections":1659,"showCount":1616,"zanCount":180,"manualWeight":11,"mainColor":47},218034,"tian-wang-xiang-7-yao-wen-han-218034","天王像-7","姚文瀚","踏浪而来的异相者手捧鲜果，水波在脚下漾开细碎银纹；端坐石矶的主尊衣袂斑斓，红与绿的绸缎轻扬，眉眼间尽是沉静慈悲。侧旁侍者躬身捧物，指尖含着恭敬；背景花木扶疏，祥云如棉絮缭绕，右上角圆光中菩萨衣袂飘举，恍若天际降临的轻盈。设色明丽却不艳俗，矿物颜料的厚重衬着水彩的清透，线条勾勒精细如发丝，衣纹转折、花叶脉络皆一丝不苟。动静之间，人间温情与佛法庄严相融，每处细节都诉说着充满敬意的神圣故事，仿佛能听见鲜果滚落托盘的轻响，也能触到主尊目光里的悲悯。",[81,24,27,28,558,30,423,34,103,137,1657,7],"水波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F436eacd345b1f136b48c2e2d11bd49d1.jpg",[],{"id":1661,"slug":1662,"title":1663,"dynasty":52,"author":185,"museum":99,"description":1664,"tags":1665,"thumbUrl":1668,"material":278,"size":279,"collection":43,"collections":1669,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":73},290329,"hua-luo-han-zhou-li-song-290329","画罗汉轴","李嵩（1166—1243），中国南宋画家，钱塘（今浙江杭州）人。少年时曾为木工，后成为画院画家李从训的养子，绘画上得其亲授，擅长人物、道释，尤精于界画，为光宗、宁宗、理宗（1190一1264）时期画院待诏。\n李嵩画过许多表现下层社会生活的风俗画，及表现农民劳动生活的《春溪渡牛图》、《春社图》和组画《服田图》等。传日的《货郎图》是李嵩传世的重要作品。他以货郎为题材，创作过多幅货郎图。除故宫博物院藏的一幅横卷外，余皆为小幅，分别藏于台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆。\n李嵩具有多方面才能，尤其善于通过绘画，表达自己对生活的感受和态度，他的《夜湖图》《水殿招凉图》《观潮图》《西湖图》《仙山瑶涛图》《骷髅幻戏图》《观灯图》《柳塘聚禽图》《花篮图》等，都显示出他卓越的绘画技巧。其中《骷髅幻戏图》则以其不易被人理解的深刻的寓意，为美术史留下了一个画谜。",[24,81,102,558,1084,30,1666,1667,1451,35,28,27,7],"罗汉","僧侣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51594b9dddcd6e6e0a5bfb102e8e42f7.jpg",[],{"id":1671,"slug":1672,"title":1673,"dynasty":52,"author":185,"museum":20,"description":1674,"tags":1675,"thumbUrl":1676,"material":232,"size":279,"collection":43,"collections":1677,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":47},288407,"huo-lang-tu-qi-yi-li-song-288407","货郎图其一","全图描绘了老货郎挑担将至村头，众多妇女儿童争购围观的热闹场面，表现了南宋时钱塘一带的风土人情。此画线条细腻雅致，货担上的物品用笔如丝柔韧圆转，而人物的衣纹则使用颤笔，转折顿挫恰当地表现出下层妇孺身着布衣的特色。细劲线描，传神地勾出朴实的形象，把劳动人民的生活作为审美对象来描绘，在中国古代美术发展史上有着重要的意义",[385,24,81,30,27,28,188,305,7,1051],"https:\u002F\u002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第十五罗汉图立轴","褐肤罗汉宝光护体，踞坐松石之下，虬髯深目自带威严沉静之气，团龙织金僧衣华贵雅致，手托丹丸，尽显尊者超凡气度。身前侍者躬身颔首，神态恭谨至极，主仆情态形成鲜明反差，生动勾勒禅门仪轨。\n\n背景古松盘虬苍劲，悬垂鎏金佛灯晕染出清幽肃穆的禅意氛围。整作线条顿挫凝练，设色雅致沉稳，衣纹晕染层次丰厚，将人物的神性与俗世情态刻画入微，尽显佛画写实功力，禅林静谧之韵扑面而来。",[23,102,24,558,28,30,27,34,1666,1695,1696,1697,1698,35,1699,1700,1701,1702,7],"小僧","光头","光环","衣纹","花纹","服饰图案","坐姿","跪姿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc639c5a1ca97303fcca2c116d190498.jpg",[],{"id":1706,"slug":1707,"title":1708,"dynasty":130,"author":172,"museum":99,"description":1709,"tags":1710,"thumbUrl":1718,"material":278,"size":279,"collection":43,"collections":1719,"showCount":125,"zanCount":167,"manualWeight":11,"mainColor":47},229252,"yin-du-jin-dian-cui-qian-zhu-bao-he-ye-er-zhui-yi-ming-229252","银镀金点翠嵌珠宝荷叶耳坠","耳坠指耳饰的一种，指带有下垂饰物的耳饰（耳环）。有时耳坠等同于耳环，又称耳坠子，是耳朵饰品的代称。耳坠又指耳垂，是属于耳朵结构的一部分，位于耳朵的下半部，比较肥厚的那部分。在最传统的命理学说法中，耳坠的厚与薄代表一个人的命运。\n古时候，人们讲究“耳大如轮，眼大有神”，注重以貌取人，认为耳垂小了是没有福气的象征。但是人一出世，天生的小耳垂，又有啥办法弥补呢？传说，只有戴上耳坠。才能把耳轮拉长。因此，妇女都喜欢戴一副耳坠。 问起这一风俗的来历，传说，还是三国时期貂蝉传下来的呢。 貂蝉原是东汉末汉献帝时司徒王允的一名歌伎，她长得相貌出众、能歌善舞，色伎俱佳，很受王允的宠爱，以亲女看待。当时，董卓专权，挟天子以令诸侯，大臣们对他恨之入骨，但是敢怒而不敢言。王允为此事也闷闷不乐，终日不思茶饭。 貂蝉虽是女流，可王允的心事，她却宗宗看在眼里，件件记在心中。她很会察言观色，为主人分忧解愁。在一个月光皎洁的夜晚，貂蝉在花园里设下香案，为主人祝祷。她虔诚地燃起三柱香火，仰天一拜说道：“明月呀明月，你虽昭昭洁白如洗，可知我家老爷心中烦恼？苍天呀苍天！我貂蝉虽乃女流之辈，老爷婢女，若能为老爷分担忧愁，我愿万死不辞。”恰在此时，王允因忧国心烦，夜不能寐，来到后花园赏月散心。他听见有人祝祷，连忙躲在一座假山后面，静听起来。他听完貂婶的祝愿，心情无比激动和感激，忙上前来，搀扶起这一歌女。 王允问貂婢：“你向苍天明月祈告，为我分忧解愁，可知我忧在何处？愁为何事呀！” 貂蝉说：“当然知道。” 王允又问：“既然知道，又有什么妙法替我杀了董卓？” 貂婢说：“只要老爷相信得过我，奴婢愿效犬马之劳，即使赴汤蹈火，也心甘情愿。” 王允听了，顿时为这女子的仗义和气魄所感动，当即认貂蝉为女儿。后来王允与貂蝉合议：先将貂蝉献于董卓，后再暗许吕布，以离间两人之交，让这董吕两人勾心斗角，互相杀害。 貂蝉耳垂小，怕自己美中不足，使董、吕二人看不上，使密谋落空。她想办法弥补，想了很久，终于想出了良法，就在家中拿了些碎银子，叫银匠给自己作了一对银耳坠，挂在耳垂上。这样过了不久，耳垂果然变大了，为她的美容又增添了不少姿色。 董卓一见貂蝉大喜！吕布一见貂蝉着迷，使董卓和吕布因争夺这一美女而激烈相斗。又因吕布貂蝉私通，恐事发觉，心神不安。王允设计使吕布为内应，结果董卓被杀了。 从此，戴耳坠也就传到了民间。",[455,1711,1712,1713,1714,1715,1716,1717,1082,1264,7],"点翠","嵌珠宝","银镀金","荷叶","珠宝","耳坠","银器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06ea37094d4d049e7f0b7f15a142378f.jpg",[],{"id":1721,"slug":1722,"title":1723,"dynasty":97,"author":172,"museum":20,"description":1724,"tags":1725,"thumbUrl":1727,"material":43,"size":1728,"collection":43,"collections":1729,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":73},223587,"hua-si-xiao-tu-juan-yi-ming-223587","画四孝图卷","「四孝图」描绘故事四则，以图文相间的方式表达。第一则述王武子之妻割股作羹汤，治癒婆母寒疾；第二则述三国陆绩因其母好食橘，乃於进謁袁术席间，怀橘以奉母；第三则述晋王祥為母病中思食鲤鱼於冬月，而至江上卧冰求鲤；第四则述后汉曹娥之父溺毙江中不得尸灵，至娥投江，三日后方抱父尸出。是皆孝心感人之事蹟，卷末并附李居敬四孝图序，论孝之精义。通幅人物，以匀称之线条為主，细挺而有力。",[23,24,25,26,28,27,30,33,34,948,7,39,188,1726,121,276],"成人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49ea7682e123d88c66ded0f834267302.jpg","38.9x502.7",[],{"id":1731,"slug":1732,"title":1437,"dynasty":130,"author":1438,"museum":152,"description":1439,"tags":1733,"thumbUrl":1737,"material":1444,"size":1445,"collection":43,"collections":1738,"showCount":1739,"zanCount":11,"manualWeight":11,"mainColor":47},238290,"yu-lan-shi-nv-qing-yu-tu-ce-yu-lan-238290",[28,27,30,31,208,1734,157,700,815,121,7,1735,1736],"侍女","烛台","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faae04ea9407f55992812e81b5bf39d82.jpg",[],11,{"id":1741,"slug":1742,"title":1743,"dynasty":1744,"author":172,"museum":99,"description":1745,"tags":1746,"thumbUrl":1750,"material":278,"size":279,"collection":43,"collections":1751,"showCount":1739,"zanCount":11,"manualWeight":11,"mainColor":73},223960,"bo-ju-wen-jing-zhi-fu-jian-yi-ming-223960","博局纹镜之附件","汉","汉镜有圆形﹑方形。纽多作半球形。正面磨光背面铸有几何形图案或神人禽兽等。东汉中期出现浮雕的画像造形精美。\n两汉时期大体上分西汉、新莽、东 汉三个阶段。汉镜纹饰的主要种类有草叶纹镜、蟠龙纹镜、百乳镜、连弧纹镜、规矩镜、多乳禽兽纹镜和变形四叶镜等。",[1747,1498,585,61,1748,1749,7],"汉代风格","篆书","隶书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70e2a58d9f364641586f911b03f7004b.jpg",[],{"id":1753,"slug":1754,"title":1755,"dynasty":18,"author":1756,"museum":117,"description":1757,"tags":1758,"thumbUrl":1760,"material":494,"size":1761,"collection":43,"collections":1762,"showCount":1739,"zanCount":11,"manualWeight":11,"mainColor":47},221928,"za-hua-ce-guo-xu-221928","杂画册","郭诩","郭诩（1456—1532），字仁弘，号清狂道人，江西泰和人。工书画，善山水，尝遍历名山，曰“岂必谱也，画在是矣。”同时江夏吴伟、北海杜堇、姑苏沈周俱以画名，莫不延颈原交，天下竟传清狂画，风之百金。有贵人欲多得诩画，诩瞠目数屋梁不对。固索，辄跮跖狂趋，叫奡跳号去。弘治（一四八八至一五零五）中徵天中善画者，应诏京师。宸濠召与语，辄辞谢之。往依王守仁献画题诗所见志。又善杂画，信手作人物，辄有奇趣。七十三岁尚作磨镜图。他的作品传世不多，八开《杂画册》现藏上海博物馆，《琵琶行》图轴藏北京故宫博物院。\n山水、人物，风格豪放，笔法师略，清细柔和，墨气轠然，尤是绘古人清士。题署简逸，缙绅无不重之。与吴伟齐名，为吴伟、沈周、杜堇所推重。 花鸟杂画，信手拈来，颇有奇趣。草虫书法工写兼备，其画风在明中期 别成一格。",[23,81,24,25,271,82,981,30,1451,1759,7,193],"草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceb1b76eeeb2eeb356c8d3f1ed37d35a.jpg","纵28.5 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厘米",[],{"id":1764,"slug":1765,"title":1766,"dynasty":130,"author":172,"museum":99,"description":1767,"tags":1768,"thumbUrl":1773,"material":278,"size":279,"collection":43,"collections":1774,"showCount":1775,"zanCount":11,"manualWeight":11,"mainColor":73},258635,"fen-cai-an-ba-xian-wen-shuang-er-zhuan-xin-ping-yi-ming-258635","粉彩暗八仙纹双耳转心瓶","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。",[455,398,1769,28,1770,1771,1772,7],"粉彩","暗八仙纹","双耳","转心","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85403bfbbd3cc51be4728aa221fa2eab.jpg",[],10,{"id":1777,"slug":1778,"title":1779,"dynasty":1744,"author":172,"museum":99,"description":1780,"tags":1781,"thumbUrl":1784,"material":278,"size":279,"collection":43,"collections":1785,"showCount":1775,"zanCount":11,"manualWeight":11,"mainColor":973},243401,"he-nei-nu-ji-yi-ming-243401","河内弩机","汉代青铜器产生于青铜时代的晚期，在我国青铜史上占有特殊的地位，体现出独特的设计思想和特征，具有卓越的科学功能，并对当今设计有很大的启示作用。\n汉代青铜器很多都是素纹，大部分还是铸造的，也有的花纹、铭文是用錾子雕刻的。比如汉代的鎏金杯子、奁、盒、碗等用具上的花纹，多是雕刻的。\n汉代以后至唐代的铜器，铸造的花纹很多，其中有打料的铜、金、银器，并且也有了大、小焊的技术。\n西汉初期（高祖至景帝），此时的青铜器，基本为素面。其鼎主要承自秦式，但一般三足更矮。敦盒形。\n壶有大小二型并存，大型壶腹下部略呈收缩之状，腹比秦壶要鼓；小型壶的腹部较瘦长，经常铸出变形螭纹。钫此时更流行，有的做得很讲究，通腹有镶嵌绿松石的三角云纹。\n鍪和蒜头壶继续流行。日用器皿中，高灯多见，豆式熏炉盛行，带钩显琵琶形、棒形、琴形讲究的多做成鎏金、错金银、镶玉或绿松石。\n西汉中期至东汉早期（西汉武帝至东汉章帝）是西汉青铜器最发达的时期，也是汉代青铜器新风格最终形成的时期。这时期最多见的青铜用器是鼎、壶、钫、尊、熨斗、带钩、铜镜。\n灯：古代照明器具。青铜灯出现于战国时期，而盛行于汉代。最著名的当属长信宫灯了，灯的样子很多，较普通的是有圆盘，盘内有钎，盘下有柱，柱下有圈足；也有盘下作雁足状的，盘用来盛油或插烛。\n另有一种灯自铭为“行灯”，它圆盘边有把，盘下有三短足。青铜灯最富感染力的当属那些铸成人形、禽形、兽形、树形的艺术造型灯。\n博山炉：古代焚香的器具。一般炉体作圆形，用来放香料，体下有高足，有的足还铸成人形或鸟兽形；炉盖均高而尖，雕镂成山峦形上有人物、走兽，象征海上仙山“博山”，故名“博山炉”。盛行于汉代。\n樽：古代盛酒的器皿，器作圆形，直壁，有盖，腹较深，下有三兽足，旁有铺首衔环耳。\n洗：盥洗用器皿。形状象盆，圆形、宽口沿，平或圆底，腹外多有铺首衔环耳，内底常用双鱼作装饰，并多铸吉语。盛行于汉晋。\n耳杯：古代饮酒器。多漆制，称“羽觞”。铜质者，器作椭圆形，腹壁有二环耳。\n熨斗：古式熨烫衣服的工具。形状为圆腹宽口沿，有长柄，盛行于汉魏。\n东汉中晚期（和帝至献帝）青铜器又有了新的变化。此时使用较多的铜器日用品有：钟、扁壶、盆、釜、鐎斗、灯、博山炉、炉、熨斗、尊、耳杯、虎子、车马器、带钩、铜镜、玺印等。\n此时青铜器的特点是比以前轻薄、错金银技术在青铜器装饰中几乎消失，鎏金仍多，鎏金器上出现了细线阴刻云纹。",[1782,884,1498,666,1783,585,7],"汉代","铸造","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F675970d1ae128879893745def8deb34b.jpg",[],{"id":1787,"slug":1788,"title":1789,"dynasty":1495,"author":172,"museum":99,"description":1790,"tags":1791,"thumbUrl":1794,"material":43,"size":43,"collection":1795,"collections":1796,"showCount":1775,"zanCount":11,"manualWeight":11,"mainColor":73},242990,"ge-he-yi-ming-242990","戈盉","袋足分裆饱满，四足高挑撑举器身，长流斜出挺括，兽首鋬手勾连器身与盖，浑朴厚重又兼具灵动之势。盖面与颈腹的兽面纹饰线条古拙狞厉，带着独有的威严肃穆之气。青绿色锈迹覆裹周身，凝萃着千年岁月痕迹，将祭祀重器的庄重质感拉满，既是用以挹酒注酒的实用礼器，又尽显上古青铜铸造的精湛匠心，承载着狞厉古朴的殷商青铜美学底蕴。",[1498,585,1501,1500,1792,1499,1793,7,290,1502],"酒器","青铜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F141f46c50016f4f941a275401a17b51b.jpg","青铜器精选",[1795],{"id":1798,"slug":1799,"title":1800,"dynasty":18,"author":172,"museum":20,"description":1801,"tags":1802,"thumbUrl":1803,"material":163,"size":1804,"collection":43,"collections":1805,"showCount":1775,"zanCount":11,"manualWeight":11,"mainColor":73},231534,"gong-xiang-tu-yi-ming-231534","贡象图","据媒体报道，6月2日21时55分，来自西双版纳的野象群继续向北迁移，已进入昆明市晋宁区。大象要是进入城市怎么办？这成为一个让人无比担心的问题。毕竟历史上，曾发生过大象进城的事。\n南朝梁天监六年（507年）三月，有3头大象进入了建邺（今南京）。当时，梁朝与北魏之间正在钟离（今安徽凤阳）这个地方厮杀得热闹。当此紧要关头，为何会有大象入城？这3头大象又是从何而来？\n南北朝时期，那时的气候比现在还要温暖，加之长江下游地区江河湖泊较多，水草肥美，江南之地非常适合野象的栖息。进城的野象，自然是来自于城池和聚落之外，广袤的原野。\n而再往前数300年，江南还发生过一件被写入史书并流传至今的故事：202年左右，官渡之战刚刚发生不久，曹操打败了人生大敌袁绍，曹操的儿子曹冲方五六岁，这时，孙权向曹操赠送了一头巨象。\n孙权是在211年建石头城的，而202年左右，他已接替孙策的位置，此时正驻守吴郡。赠送曹操大象，恰是就地取材之举，这则历史记录也说明位于江南的太湖流域是野象栖息之地。\n而至于曹操，当时应在许都。东汉建安元年（公元196年），曹操挟天子以令诸侯，以“洛阳残破”为由迁都于许昌（位于河南省中部），即称许都。曹操得到孙权赠送的大象后，兴致高昂，“欲知其斤重”，还要称大象的重量。于是就有了曹冲称象的故事。\n学者们从这件事推断，此时河南已很少甚至没有大象了。要知道，在更古早的时候，这里曾是野象的聚集地。甚至河南的简称“豫”这个字中便保留了大象的踪迹。河南自古为“豫州”，古文字学家徐中舒认为，“豫”，为“象邑”二字的合文，“豫当时以产象得名，与秦时之象郡以产象得名者相同”。\n而在上世纪30年代，河南安阳殷墟，曾发现大象遗骨。当时学者都认为那是从东南亚输入进来的，但随着更多文献资料和考古遗址的发掘，中原有野象的论调成为主流。在商代，有“商人服象，为虐于东夷”的记载；周武王灭商，入主中原后，“驱虎豹犀象而远之”。这也说明当时的中原之地，是不缺乏大象的。\n而据历史地理学家考证，在远古时代，大象的活动范围甚至到达北京附近。只是后来随着人类活动的频繁，以及气候的变化，畏寒的大象活动边界逐渐从北向南退却，到了晋代，在长江下游地区，野象的主要栖息地最北已退至江淮流域了。南朝梁承圣元年（552年），也就是侯景之乱结束的这一年，有数百野象流窜于淮南之地，规模巨大。在这一时期，南京城有野象进入，也就不奇怪了。除了507年3头大象进入南京城之外，在稍早的492年、493年，还有“象至广陵”的记载。广陵，即现在的扬州。学者们认为，这都说明当时野象数量较多。\n但是，长江下游毕竟是一个以平原为主的地区，北面与黄淮平原相连，没有大山阻挡北来的寒流，加之由于长江下游开发较早，人类活动较多，大概从17世纪30年代起，长江下游地区便没有野象的踪迹了，野象所达到的最北之地，已退到了浙江钱塘江以南。\n在长江下游之外，因为地形或人口稀少等原因，野象的退却要稍慢一些。四川盆地更为特殊，它在群山环绕之中，气候温暖，河流丰沛，历史上那里的野象就非常之多。位于成都东北广汉市的三星堆遗址，每一次发掘都能发现大量象牙，即为明证。\n1986年，三星堆两大祭祀器物坑相继出土。其中，一号祭祀坑出土了13件象牙，二号祭祀坑出土了67件象牙。随着发掘工作的继续，在其他坑陆续也有象牙出土。2021年3月，三号祭祀坑又出土了127件象牙，在四号祭祀坑也发现了疑似被烧过、呈现出炭灰色的象牙。加之5月28日出土的10件象牙，三星堆共出土了200余件象牙。\n2001年的春天，在与三星堆文化一脉相承的金沙遗址中，考古人员发现了数量惊人的象牙。它们朝向一个方向，层层叠叠累在一起，沉默无声地震惊了世界。从断面可以看到，这些堆积的象牙多达8层。经过估计，其重量可达两三吨。保存完好、数量如此众多的象牙有规律地堆积，这不仅在中国，在世界上也是首次。\n按照我们今天的认知，亚洲象生活在热带地区，常见于南亚和东南亚。而在我国，亚洲象仅分布于云南省南部。但古籍上的记载却与我们现在的认知不同。\n《山海经·海内南经》中有“巴蛇食象”一说，文字记载：“巴蛇食象，三岁而出其骨，君子服之，无心腹之疾。”此处的“巴蛇”就是指《山海经·海内经》中“西南巴国之蛇”。《山海经·海内经》中记载：“西南有巴国，又有朱卷之国，有黑蛇，青首，食象。”郭璞在此注：“即巴蛇也。”\n由此可见，巴蛇即是生活在西南的青首黑身的蛇。传说巴蛇能够吞食大象，三年才吐出大象的骨头来。而人服食了巴蛇的肉，能够治疗心腹部的疾病。按照《山海经》的记载，古蜀不仅有巨蛇，还有大象。\n若说《山海经》带有神话传说的色彩，不那么让人信服，那么在《国语·楚语》中也有大象相关的记载：“巴浦之犀、牦、兕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、Kesi 或 Chinese silk tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[558,161,468,2103,156,2104,546,1625,103,7,28],"缂丝","凤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62b1e3ba21066f380e0330a6134518ab.jpg",[],{"id":2108,"slug":2109,"title":2110,"dynasty":130,"author":172,"museum":99,"description":2111,"tags":2112,"thumbUrl":2116,"material":278,"size":279,"collection":43,"collections":2117,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":47},260919,"qing-hua-zhu-lin-qi-xian-tu-gang-yi-ming-260919","青花竹林七贤图缸","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。",[398,2113,30,35,2114,1198,2115,7],"青花","云气","竹林七贤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc88877b2783fbd951dfaabfa92ecd8c7.jpg",[],{"id":2119,"slug":2120,"title":2121,"dynasty":662,"author":172,"museum":99,"description":2122,"tags":2123,"thumbUrl":2127,"material":278,"size":279,"collection":43,"collections":2128,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":47},256914,"qing-you-yang-fu-lian-hua-zun-yi-ming-256914","青釉仰覆莲花尊","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。”",[662,398,2124,399,2125,2126,1084,7,585],"青釉","浮雕","莲花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff90758eab37e689ae87156d87cb1d430.jpg",[],{"id":2130,"slug":2131,"title":2132,"dynasty":240,"author":172,"museum":99,"description":2133,"tags":2134,"thumbUrl":2137,"material":278,"size":279,"collection":403,"collections":2138,"showCount":92,"zanCount":167,"manualWeight":11,"mainColor":47},256814,"yue-yao-qing-you-hua-ban-kou-wan-yi-ming-256814","越窑青釉花瓣口碗","越窑是中国古代南方著名的青瓷窑，汉族传统制瓷工艺的珍品之一。窑所在地主要在越州境内，即今浙江省宁绍平原上的绍兴、宁波两地。生产年代自东汉至宋。唐朝是越窑工艺最精湛时期，居全国之冠。越窑之名，最早见于唐代，越窑瓷青瓷与唐代的饮茶风尚关系十分密切，其瓷质造型，釉色之美，深受饮茶者的喜爱。饮茶风尚又影响了越窑青瓷的型制。",[240,398,2124,2135,2136,7],"花瓣口","碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca3767f8a550883834f8ac240f643dda.jpg",[403],{"id":2140,"slug":2141,"title":2142,"dynasty":1744,"author":172,"museum":99,"description":1745,"tags":2143,"thumbUrl":2144,"material":278,"size":279,"collection":43,"collections":2145,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":73},244725,"qing-long-wen-jing-yi-ming-244725","青龙纹镜",[1782,666,585,156,1498,7,1501],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0769e2edd33e32702a1815e19713175c.jpg",[],{"id":2147,"slug":2148,"title":2149,"dynasty":240,"author":172,"museum":99,"description":2150,"tags":2151,"thumbUrl":2153,"material":278,"size":279,"collection":43,"collections":2154,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":577},242896,"zhang-jing-hu-yi-ming-242896","长颈壶","此器造型舒展柔婉，敞口敛颈，弧腹饱满如圆月，圈足稳稳承托，线条恰似盛唐仕女袅娜的身形。铜身被时光晕染出深浅不一的青绿锈色，间杂赭色斑痕，仿佛将长安旧巷的烟雨风尘凝于其上。\n\n通体素净无饰，凭藉形制尽显简约大气的审美意趣，将日用器物化作东方雅致的载体，静默定格住千年前的风雅日常，带着旧时光的厚重温度，静静流淌出独属那个时代的从容风骨。",[1863,1498,666,585,2038,2152,401,7],"锈迹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F898525c5e5e3d61dca97a02d808b0a70.jpg",[],{"id":2156,"slug":2157,"title":2158,"dynasty":130,"author":2159,"museum":152,"description":2160,"tags":2161,"thumbUrl":2163,"material":470,"size":2164,"collection":43,"collections":2165,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":47},236153,"leng-mei-yang-zheng-tu-shu-he-ce-zhang-ruo-ai-236153","冷枚养正图书合册","张若霭","此套册页共十开，画面内容皆为历代贤明君主的故事。绘画部分由宫廷画家冷枚绘制，对题由张若蔼书写对应故事情节的文字。两者配合，图文并茂，能够起到以史为鉴、以图育人的教育目的。皇子们观摩此册，意在学习为君之道。\n之后，康熙皇帝带领皇太子（胤礽）、皇长子（胤禔）、皇三子（胤祉）、皇四子（胤禛）、皇五子（胤祺）、皇七子（胤祐）、皇八子（胤禩）一同来到无逸斋，命尹泰、德格勒传谕：「朕宫中从无不读书之子，今诸皇子虽非大有学问之人，所教然已俱能读书。朕非好名之主，故向来太子及诸皇子读书之处未尝有意使人知之，所以外廷容有未晓然者。今特诏诸皇子至前讲诵，汝等试观之。」\n康熙皇帝随即取下十余本经书授予汤斌，让他「信手拈出，令诸皇子诵读」。汤斌随揭经书，皇三子、皇四子、皇七子、皇八子依次进前，各读数篇，纯熟舒徐，声音朗朗。\n康熙皇帝又命皇长子讲「格物致知」一节，皇三子讲《论语》「乡党」首章，皆逐字疏解又能融贯大义。而一向在宫中被皇太后亲自抚养、不谙汉文的皇五子也不逊色，他虽不曾读汉书，但对满文却是精通，康熙皇帝命他当场诵读满文，读的「段落清楚，句句明亮」。\n当时，皇长子十六岁，皇太子十一岁，皇三子十一岁，皇四子十岁，皇五子九岁，皇七子八岁，皇八子七岁，诸皇子的表现无疑是很出色的。但康熙皇帝绝不夸赞，也不允许别人称赞，「诸皇子在宫中从无人敢赞好者，若有人赞好，朕即非之」。",[24,25,207,28,27,30,32,33,34,120,84,7,61,2162],"楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9b2fa5dd50a54a2f95c6c0aac3ec6ab.jpg","纵三二·二厘米 横四二·三厘米",[],{"id":2167,"slug":2168,"title":2169,"dynasty":130,"author":2170,"museum":99,"description":2171,"tags":2172,"thumbUrl":2173,"material":278,"size":279,"collection":43,"collections":2174,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":47},234941,"yue-man-qing-you-ce-chen-mei-234941","月漫清游册","陈枚","《月曼清游图》册描绘的是宫廷嫔妃们一年12个月的深宫生活：正月“寒夜探梅”、二月“杨柳荡千”、三月“闲亭对弈”、四月“庭院观花”、五月“水阁梳妆”、六月“碧池采莲”、七月“桐荫乞巧”、八月“琼台玩月”、九月“重阳赏菊”、十月“文窗刺绣”、十一月“围炉博古”、十二月“踏雪寻诗”。通过这一幅幅生动的画面体现了宫廷生活与民间生活的密切关联。嫔妃们的活动内容，在民间生活中均习以为常，只不过由于宫廷的特殊地位，而令这些活动从内容到形式都具有更加富贵、繁琐及典制化的特点。\n作者在人物创作的审美取向上有别于唐代张萱、周昉笔下体态丰腴的嫔妃形象，而以明代唐寅、仇英笔下的仕女画为审美标准，追求秀润飘逸的情致。画家以工细流畅的线条和亮丽鲜活的色彩将嫔妃们描绘成身材修长、体态轻盈、“倚风娇无力”之貌。她们三五成群地行进在以界画表现的亭台楼阁内或是细笔勾染皴点的花石下。富贵闲逸的宫苑生活令她们的物质生活十分充足，也使她们的精神世界极度贫乏。在技法上，此图所绘人物造型生动准确，笔致工细严谨，源于宋代院体画风。图中的楼台房室建筑则采用西洋焦点透视法绘成，根据图中透视线斜度的变化，可以准确地推求出灭点的具体位置，从而加强了平面画幅的立体、纵深效果，在有限的画面上扩展出无限的空间。此图册于乾隆三年（1738年）绘成后深得乾隆皇帝的赞赏。\n乾隆帝于六年谕令皇宫“造办处”的优秀匠人，如擅镶嵌技艺的常存，擅牙雕工艺的陈祖章、陈观泉父子及顾彭年、萧汉振等，以陈枚的这本图册为画稿，用象牙、玉石等进行雕刻。匠人们精雕细琢，密切结合牙雕和镶嵌的技艺特点，令画面层次分明，富有立体感。这件雕有103人的牙雕精品被称作“百美图”。乾隆皇帝在为它题写诗文时将其正式定名为《月曼清游》。",[81,24,25,207,28,27,30,33,34,35,600,103,84,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F165fae7853190aefa81cf1629b495a6f.jpg",[],{"id":2176,"slug":2177,"title":2178,"dynasty":477,"author":2179,"museum":99,"description":2180,"tags":2181,"thumbUrl":2185,"material":278,"size":279,"collection":43,"collections":2186,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":73},231648,"yan-nan-qu-tu-zhou-chun-zhang-231648","雁南去图轴","春章","淡赭晕开江天暮色，冷月悬于低空，阵雁振翅南去，把秋意揉进流云里。草舍阶前，女子以袖拭泪，将别情藏在颦蹙之间；青衫男子席地静坐，执箸无言，满室怅惘随着晚风漫过竹帘。岸侧丹枫缀着残红，把萧索融进依依别绪。\n\n整作设色柔雅清润，线条秀逸温婉，将羁旅离别的缱绻愁思，融在江村秋夜的冷寂图景中。雁影渐远，愁味悠长，淡而不散的别意随着暮色漫开，余韵悠悠。",[24,25,102,28,27,30,139,2182,34,2183,2184,33,7],"茅屋","明月","草席","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87597ec94c9796e19b45ef00072964db.jpg",[],{"id":2188,"slug":2189,"title":2190,"dynasty":97,"author":172,"museum":99,"description":2191,"tags":2192,"thumbUrl":2193,"material":43,"size":43,"collection":43,"collections":2194,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":73},228232,"xin-pi-yin-ju-tu-yi-ming-228232","辛毗引裾图","苍松虬曲、茂叶层叠，将深庭掩映出私密肃穆的议事氛围。画面人物排布错落有致，主宾对坐之间，扯衣强谏的身姿凛然生动，把忠直不屈的诤臣情态凝于笔端。侍从仕女垂立恭谨，更衬出君臣对谈的张力。\n\n设色沉厚朴拙，线条凝练劲挺，以淡赭墨晕染衣褶神情，将汉末朝堂犯颜直谏的场景复刻于绢素之上，定格古人犯言敢谏的风骨，兼具叙事性与感染力，尽显古雅厚重的历史画意趣，让千年前的忠直诤言仿佛仍回荡在庭间。",[23,24,25,102,28,27,30,34,33,121,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a4418be9d801ecd024106fbbe1a8721.jpg",[],{"id":2196,"slug":2197,"title":2198,"dynasty":2199,"author":172,"museum":99,"description":1496,"tags":2200,"thumbUrl":2204,"material":278,"size":279,"collection":43,"collections":2205,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":73},223914,"zhan-guo-xian-wen-dou-yi-ming-223914","战国 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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。",[398,1969,2346,2347,103,2348,7,374],"甜白","划花","菱花式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6491887c28b68f9577a633f6027f6d3a.jpg",[403],{"id":2352,"slug":2353,"title":2354,"dynasty":97,"author":172,"museum":99,"description":2355,"tags":2356,"thumbUrl":2357,"material":278,"size":279,"collection":43,"collections":2358,"showCount":199,"zanCount":11,"manualWeight":11,"mainColor":73},228189,"xiu-xing-zhong-de-luo-han-yi-ming-228189","修行中的罗汉","罗汉，是阿罗汉的简称，梵音译(Arhat)。含有杀贼、无生、应供等义。杀贼是杀尽烦恼之贼，无生是解脱生死不受后有，应供是应受天上人间的供养。在小乘佛教中，是伟大的佛陀得法弟子修证最高的果位。\n罗汉者皆身心六根清净，无明烦恼已断（杀贼）。已了脱生死，证入涅槃（无生）。堪受诸人天尊敬供养（应供）。于寿命未尽前，仍住世间梵行少欲，戒德清净，随缘教化度众。",[24,25,102,558,30,28,27,161,274,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd95137bbda0087e21b255de14140e188.jpg",[],{"id":2360,"slug":2361,"title":2362,"dynasty":1744,"author":172,"museum":99,"description":1745,"tags":2363,"thumbUrl":2366,"material":278,"size":279,"collection":43,"collections":2367,"showCount":199,"zanCount":11,"manualWeight":11,"mainColor":47},226952,"qing-yang-jing-yi-ming-226952","清羊镜",[1782,666,585,7,2364,2365,1501],"动物纹样","镜钮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28d174b4c1e393886328e87afa4e174d.jpg",[],{"id":2369,"slug":2370,"title":2371,"dynasty":1744,"author":172,"museum":99,"description":1745,"tags":2372,"thumbUrl":2374,"material":278,"size":279,"collection":43,"collections":2375,"showCount":199,"zanCount":11,"manualWeight":11,"mainColor":73},226950,"mei-ru-jing-yi-ming-226950","枚乳镜",[1782,666,585,7,1501,2373],"圆形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F957008fd309d6e087ace7d910ad538f6.jpg",[],{"id":2377,"slug":2378,"title":2379,"dynasty":1744,"author":172,"museum":99,"description":1745,"tags":2380,"thumbUrl":2382,"material":278,"size":279,"collection":43,"collections":2383,"showCount":199,"zanCount":11,"manualWeight":11,"mainColor":73},226921,"qi-ru-qin-shou-wen-jing-1-yi-ming-226921","七乳禽兽纹镜-1",[1744,666,585,2381,1951,7],"七乳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52c6e903f318ffc53193bff2751ef1a4.jpg",[],{"id":2385,"slug":2386,"title":2387,"dynasty":477,"author":172,"museum":99,"description":1059,"tags":2388,"thumbUrl":2390,"material":278,"size":279,"collection":43,"collections":2391,"showCount":199,"zanCount":11,"manualWeight":11,"mainColor":47},225415,"fu-shi-hui-173-yi-ming-225415","浮世绘173",[1061,28,136,31,2251,2389,121,7],"发饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d0264a76530b4ca8186311326fe22d0.jpg",[],{"id":2393,"slug":2394,"title":2395,"dynasty":130,"author":172,"museum":99,"description":2396,"tags":2397,"thumbUrl":2399,"material":278,"size":279,"collection":43,"collections":2400,"showCount":199,"zanCount":167,"manualWeight":11,"mainColor":47},224027,"yin-qian-shan-hu-song-shi-shou-zhuo-yi-ming-224027","银嵌珊瑚松石手镯","传统腕饰，流行于全国各地。其多用金、银、玉等制圆环，束于臂腕间。汉代即有。套在手腕脚腕上的环形装饰品。",[455,1717,1264,1083,2398,1085,7,704],"珊瑚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dbee48a2adfd87763c5f2706a05d4e9.jpg",[],{"id":2402,"slug":2403,"title":2404,"dynasty":240,"author":172,"museum":99,"description":1810,"tags":2405,"thumbUrl":2407,"material":278,"size":279,"collection":43,"collections":2408,"showCount":199,"zanCount":11,"manualWeight":11,"mainColor":73},223836,"ming-xin-jing-1-yi-ming-223836","明心镜-1",[1863,666,585,2406,7],"兽纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5223a0d4d7ee86a568393f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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。",[1863,666,1498,401,7,2730,585],"铜锈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F833adc86d0d4bb706746c78578fe07bf.jpg",[],{"id":2734,"slug":2735,"title":2736,"dynasty":1744,"author":172,"museum":99,"description":1780,"tags":2737,"thumbUrl":2740,"material":278,"size":279,"collection":43,"collections":2741,"showCount":296,"zanCount":11,"manualWeight":11,"mainColor":73},244488,"bo-shan-lu-yi-ming-244488","博山炉",[1498,666,1783,585,2738,1747,7,1501,2739],"镂空","鸟形装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F302061ea887491e635d0054c7166bf92.jpg",[],{"id":2743,"slug":2744,"title":2745,"dynasty":1495,"author":172,"museum":99,"description":1496,"tags":2746,"thumbUrl":2748,"material":278,"size":279,"collection":43,"collections":2749,"showCount":296,"zanCount":11,"manualWeight":11,"mainColor":577},244395,"zuo-cong-yi-pan-yi-ming-244395","作从彝盘",[1498,666,1499,2747,7,1783],"饪食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d99819af4234c17387fb2e4c968b831.jpg",[],{"id":2751,"slug":2752,"title":2753,"dynasty":240,"author":172,"museum":99,"description":2526,"tags":2754,"thumbUrl":2756,"material":278,"size":279,"collection":43,"collections":2757,"showCount":296,"zanCount":11,"manualWeight":11,"mainColor":73},244128,"hua-hui-wen-he-yi-ming-244128","花卉纹盒",[240,666,585,2755,7],"花卉纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F315618e205ad13fe1d5c0577e2a88c9b.jpg",[],{"id":2759,"slug":2760,"title":2761,"dynasty":1744,"author":172,"museum":99,"description":1780,"tags":2762,"thumbUrl":2766,"material":278,"size":279,"collection":43,"collections":2767,"showCount":296,"zanCount":167,"manualWeight":11,"mainColor":73},243357,"ma-ling-yi-ming-243357","马铃",[1782,1498,666,585,1501,2763,2764,2765,7],"圆点纹","环形纹","马具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F160a8b7cb6778846e557aa30ff40934e.jpg",[],{"id":2769,"slug":2770,"title":2771,"dynasty":130,"author":172,"museum":99,"description":2772,"tags":2773,"thumbUrl":2774,"material":278,"size":279,"collection":43,"collections":2775,"showCount":296,"zanCount":11,"manualWeight":11,"mainColor":47},243272,"lu-zi-yin-yuan-bao-yi-ming-243272","禄字银元宝","这组船形银锭，器型饱满舒展，束腰弧底，两翼微微上扬，尽显规整大气。银表包浆沉敛温润，带着时光沉淀下的哑光旧色，银质细密匀净，可见旧时铸银工艺的扎实质感。锭底錾刻禄字，将求财纳福的民俗意趣融于实用通货之中，既是商贸流通的实物见证，也暗藏着古人对功名利禄的美好祈愿，静默诉说着往昔的财禄流俗。",[455,1717,7,2554],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4aa552c3546340ed0f612973df072599.jpg",[],{"id":2777,"slug":2778,"title":2779,"dynasty":130,"author":172,"museum":99,"description":1515,"tags":2780,"thumbUrl":2781,"material":278,"size":279,"collection":43,"collections":2782,"showCount":296,"zanCount":11,"manualWeight":11,"mainColor":577},243270,"fu-shou-kang-ning-jing-yi-ming-243270","福寿康宁镜",[666,585,61,2162,455,7,1501,1980],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4255b045bcc0ccb9c115194658f50f98.jpg",[],{"id":2784,"slug":2785,"title":2786,"dynasty":130,"author":172,"museum":99,"description":1515,"tags":2787,"thumbUrl":2790,"material":278,"size":279,"collection":43,"collections":2791,"showCount":296,"zanCount":11,"manualWeight":11,"mainColor":73},243252,"ta-shi-dai-mu-bing-jing-yi-ming-243252","塔式带木柄镜",[455,798,2788,32,423,2183,705,7,2789],"描金","带柄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36ff6827646d33b6d2200a10003e2096.jpg",[],{"id":2793,"slug":2794,"title":2795,"dynasty":130,"author":172,"museum":99,"description":2796,"tags":2797,"thumbUrl":2799,"material":278,"size":279,"collection":43,"collections":2800,"showCount":296,"zanCount":11,"manualWeight":11,"mainColor":47},243114,"su-hu-yi-ming-243114","素壶","此壶造型洗练柔和，束颈从容收窄，鼓腹饱满圆润，下承圈足安稳沉静，线条流转间尽显含蓄雅致的气度。深沉古铜底色之上，晕染开斑驳朱红锈迹，似岁月晕开的朱砂墨迹，为素净器身晕开暖意。\n\n不着分毫纹饰，以纯粹形制诠释大道至简的东方哲思，将日常器物凝练成审美载体，于朴素沉静里，藏着旧时光里温婉内敛的中式雅致，静默沉淀着时光的温度。",[455,666,7,2798],"素面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c210c245de5d72e690ea690bffc134a.jpg",[],{"id":2802,"slug":2803,"title":2804,"dynasty":130,"author":2805,"museum":99,"description":2806,"tags":2807,"thumbUrl":2809,"material":494,"size":43,"collection":549,"collections":2810,"showCount":296,"zanCount":11,"manualWeight":11,"mainColor":73},241501,"qi-lv-shi-zhou-shi-yi-zhi-241501","七律诗轴","史贻直","史贻直（1682-1763年），字儆弦，号铁崖，江苏溧阳县人。清朝大臣。\n康熙三十九年（1699年），中进士，授检讨。历充云南主考、广东督学、赞善、侍讲、太子庶子、讲读学士。雍正元年（1723年），任内阁学士。次年，升吏部侍郎。后来署理闽浙总督，升左都御史，协理西安巡抚，又升户部、兵部尚书。 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　两宋及其同期或稍后的辽金玉文化去除了隋唐五代繁杂的外来文化因素，又继承和发展了隋唐玉文化的市庶化、艺术化特色，特别是融会了两宋绘画的特点和技巧。宋代肖生玉在崇尚写实主义的院画影响下追求形体及运动的准确表现，以显示其内心世界。花鸟玉佩多做隐起、镂空的对称处理，富有生活气息。双勾的经文诗词等铭刻玉器盛极一时。辽金玉器也是由汉族玉工碾成，但其题材却富有边疆民族特色和游牧生活气息，以契丹、女真两族生活为主题的春水佩和玉秋山为其杰出代表，均有着形神兼备的艺术造诣。宋、辽、金都出现了前所未见的有情节、有背景的景观式构图，以镂空起突等法碾琢的悬塑性或立体的肖生玉器。它是这一时代玉器的新兴形式，有着鲜明的时代特点，还出现了受道教影响的神仙题材和“龟游”一类祥瑞玉器。总之，此时期玉器的特点是：玉如凝脂、构图繁复、情节曲折、砣碾遒劲、空灵剔透、形神兼备，是我国玉文化的第二个高峰期。",[1123,586,585,2923,2924,2563,7,2925,1501,2926],"兽耳","绳纹","简洁雅致","玉器工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F009124fb115e1c4f115369de6c1e77b0.jpg",[],{"id":2930,"slug":2931,"title":2932,"dynasty":18,"author":2649,"museum":20,"description":2650,"tags":2933,"thumbUrl":2934,"material":67,"size":2654,"collection":43,"collections":2935,"showCount":296,"zanCount":11,"manualWeight":11,"mainColor":47},216763,"jiu-lao-tu-4-huang-biao-216763","九老图-4",[24,81,27,28,30,532,597,306,948,103,466,7,35,161],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11dfd356931d7c386cbe98730bd03dd3.jpg",[],{"id":2937,"slug":2938,"title":2939,"dynasty":130,"author":451,"museum":99,"description":2940,"tags":2941,"thumbUrl":2946,"material":218,"size":43,"collection":43,"collections":2947,"showCount":296,"zanCount":11,"manualWeight":11,"mainColor":459},215659,"bei-jing-dian-pu-zhao-huang-hua-ce-9-zhou-pei-chun-215659","北京店舖招幌画册-9","画面铺展老北京的市井浮世绘，各式招幌以鲜活姿态诉说往昔商情。拨浪鼓俏皮摇曳，勾连耍耗子的热闹；元宵幌子质朴憨实，藏着市井烟火的暖；龙灯招幌添几分喜庆，风箱幌子显几分实用，假首饰幌子露几分精巧。线条婉转间裹着生活温度，色彩淡雅中晕开坊巷喧阗。仿佛能听见幌子随风轻晃的细碎声响，闻见巷陌里悠长的吆喝，每一件招幌都是时光切片，温柔留存着逝去的市井图景，让旧日商街的鲜活气息跃然纸上。",[24,25,207,28,27,454,1406,1980,7,2942,2943,2944,2945],"线球","圆环","红穗","彩纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1684f304702e5f7aee9566ff39eb335.jpg",[],{"id":2949,"slug":2950,"title":2951,"dynasty":477,"author":172,"museum":99,"description":2952,"tags":2953,"thumbUrl":2959,"material":278,"size":279,"collection":43,"collections":2960,"showCount":180,"zanCount":11,"manualWeight":11,"mainColor":47},288621,"jean-jacques-franc-ois-le-barbier-design-for-a-torche-re-yi-ming-288621","Jean-Jacques-François 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Torchère","这幅棕调素描设计稿，将雕塑与烛台融于一体。少女身姿窈窕舒展，衣褶线条垂坠自然，带着柔婉的古典韵律。她仰面抬臂，将丰饶角托举过顶，虔诚肃穆的神态，让神话意象与实用装饰在此相融。底座雕花精致工整，古典纹样衬得少女身形柔美又带着沉静力量，整体构图修长挺拔，自带新古典主义的庄重优雅，将雕塑美学与器物功能完美结合，尽显静谧柔美的古典诗意。",[2954,82,30,2955,2956,7,2957,2958],"素描","女性","雕塑","设计稿","古典风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2028deef06b8ba777e3266759a8f665.jpg",[],{"id":2962,"slug":2963,"title":2964,"dynasty":130,"author":172,"museum":99,"description":2965,"tags":2966,"thumbUrl":2970,"material":278,"size":279,"collection":43,"collections":2971,"showCount":180,"zanCount":11,"manualWeight":11,"mainColor":47},273100,"yin-du-jin-zan-hua-shou-zi-ru-yi-yi-ming-273100","银镀金錾花寿字如意","如意为木胎，其上采用八成金质累丝工艺。如意头的正面为累丝古钱纹，中心嵌绿松石“乙酉”二字，背面为镂空的古钱纹并露出木胎。柄的正面亦为累丝古钱纹，镶嵌绿松石“万年如意”四字，背面为累丝六角锦纹。如意的侧边以卷草纹为饰。",[1082,1717,2967,2968,585,2969,1264,7],"如意","錾花","寿字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b0f9621ea67645c5d1b4926afdbe0a8.jpg",[],{"id":2973,"slug":2974,"title":2975,"dynasty":130,"author":172,"museum":99,"description":2976,"tags":2977,"thumbUrl":2979,"material":278,"size":279,"collection":43,"collections":2980,"showCount":180,"zanCount":11,"manualWeight":11,"mainColor":73},273079,"huang-se-an-hua-chou-xiu-bo-gu-wen-men-zhang-yi-ming-273079","黄色暗花绸绣博古纹门帐","绸缎，泛指丝织物。古时多是有钱人家作为衣物，其颜色光滑亮丽，五彩缤纷。《儿女英雄传》第二回：“大凡到工的官儿们送礼，谁不是缂绣、呢羽、绸缎、皮张，还有玉玩、金器、朝珠、洋表的？” 老舍《四世同堂》四九：“他看不起绸缎的衣服，与文雅的态度，可又有点自惭形秽。”",[2250,2978,468,1999,2518,103,516,7],"门帐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bbd70c8552905216471b511c635ab24.jpg",[],{"id":2982,"slug":2983,"title":2984,"dynasty":130,"author":172,"museum":99,"description":796,"tags":2985,"thumbUrl":2989,"material":278,"size":279,"collection":43,"collections":2990,"showCount":180,"zanCount":11,"manualWeight":11,"mainColor":47},269597,"xiang-ya-diao-kai-guang-bo-gu-tu-bi-tong-yi-ming-269597","象牙雕开光博古图笔筒",[800,585,530,285,2986,2987,2988,7],"文房","透雕","开光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80663e1bb3b3f4094ec2141cd4888b57.jpg",[],{"id":2992,"slug":2993,"title":2994,"dynasty":130,"author":172,"museum":99,"description":2822,"tags":2995,"thumbUrl":2997,"material":278,"size":279,"collection":43,"collections":2998,"showCount":180,"zanCount":11,"manualWeight":11,"mainColor":73},269308,"zi-tan-diao-he-lian-wen-chang-fang-he-yi-ming-269308","紫檀雕荷莲纹长方盒",[705,585,2996,7,136],"荷莲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a1336c5019a6ebddde5934c58b7933a.jpg",[],{"id":3000,"slug":3001,"title":3002,"dynasty":18,"author":172,"museum":99,"description":2111,"tags":3003,"thumbUrl":3005,"material":278,"size":279,"collection":43,"collections":3006,"showCount":180,"zanCount":11,"manualWeight":11,"mainColor":73},261521,"xuan-de-kuan-qing-hua-chan-zhi-mu-dan-wen-guan-yi-ming-261521","宣德款青花缠枝牡丹纹罐",[398,2113,3004,7],"缠枝牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b01418b70bacbbd52b4a559483366c9.jpg",[],{"id":3008,"slug":3009,"title":3010,"dynasty":18,"author":172,"museum":99,"description":2111,"tags":3011,"thumbUrl":3013,"material":278,"size":279,"collection":43,"collections":3014,"showCount":180,"zanCount":11,"manualWeight":11,"mainColor":577},259887,"qing-hua-chan-zhi-lian-si-feng-wen-gai-guan-yi-ming-259887","青花缠枝莲四凤纹盖罐",[398,2113,2336,3012,2624,7],"缠枝莲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe3defe6f5842d96d4de1c4ed316b5a8.jpg",[],{"id":3016,"slug":3017,"title":3018,"dynasty":52,"author":172,"museum":99,"description":3019,"tags":3020,"thumbUrl":3021,"material":278,"size":279,"collection":43,"collections":3022,"showCount":180,"zanCount":11,"manualWeight":11,"mainColor":47},259717,"qing-bai-you-tu-hua-ping-yi-ming-259717","青白釉凸花瓶","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。",[398,531,2611,2468,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9bf9f33183a4520fa47be5b6d2b75ca.jpg",[],{"id":3024,"slug":3025,"title":3026,"dynasty":130,"author":172,"museum":99,"description":2111,"tags":3027,"thumbUrl":3035,"material":278,"size":279,"collection":43,"collections":3036,"showCount":180,"zanCount":11,"manualWeight":11,"mainColor":973},258917,"kang-xi-kuan-qing-hua-ba-xian-tu-hai-tang-shi-hua-pen-yi-ming-258917","康熙款青花八仙图海棠式花盆",[398,2113,455,3028,3029,30,2094,801,3030,3031,3032,7,3033,3034],"康熙","八仙","花盆","图纹","蓝白","海浪纹","人物纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff16a074d9e7c87353d071a648d87f3fb.jpg",[],{"id":3038,"slug":3039,"title":3040,"dynasty":130,"author":172,"museum":99,"description":1921,"tags":3041,"thumbUrl":3046,"material":278,"size":279,"collection":43,"collections":3047,"showCount":180,"zanCount":11,"manualWeight":11,"mainColor":577},258571,"qian-long-kuan-fen-cai-huang-di-ba-ji-xiang-wen-bi-yan-hu-yi-ming-258571","乾隆款粉彩黄地八吉祥纹鼻烟壶",[130,1769,28,398,3042,3043,1924,3044,3045,7],"八吉祥纹","黄地","吉祥纹","装饰纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c3242767fc15b9b45b01184675c95d7.jpg",[],{"id":3049,"slug":3050,"title":3051,"dynasty":130,"author":172,"museum":99,"description":2279,"tags":3052,"thumbUrl":3053,"material":278,"size":279,"collection":43,"collections":3054,"showCount":180,"zanCount":11,"manualWeight":11,"mainColor":577},258323,"yong-zheng-kuan-dong-qing-you-hu-lu-ping-yi-ming-258323","雍正款冬青釉葫芦瓶",[398,455,2326,1624,2282,2272,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F017382debb71592f38b3038e630f630e.jpg",[],{"id":3056,"slug":3057,"title":3058,"dynasty":18,"author":172,"museum":99,"description":2111,"tags":3059,"thumbUrl":3060,"material":278,"size":279,"collection":43,"collections":3061,"showCount":180,"zanCount":11,"manualWeight":11,"mainColor":47},257687,"cheng-hua-kuan-qing-hua-bo-gu-tu-wan-yi-ming-257687","成化款青花博古图碗",[374,398,2113,1625,7,105,424,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18afb79b3ee101f3d2f32e811301c275.jpg",[],{"id":3063,"slug":3064,"title":3065,"dynasty":18,"author":172,"museum":99,"description":2111,"tags":3066,"thumbUrl":3068,"material":278,"size":279,"collection":43,"collections":3069,"showCount":180,"zanCount":11,"manualWeight":11,"mainColor":73},257249,"qing-hua-kai-guang-hua-guo-wen-pan-yi-ming-257249","青花开光花果纹盘",[374,398,2113,2988,103,3067,1501,7,28],"果实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdebe191b73dca426d66734d3420bf459.jpg",[],{"id":3071,"slug":3072,"title":3073,"dynasty":52,"author":172,"museum":99,"description":2268,"tags":3074,"thumbUrl":3076,"material":278,"size":279,"collection":43,"collections":3077,"showCount":180,"zanCount":11,"manualWeight":11,"mainColor":47},257053,"hei-you-zi-ban-wan-yi-ming-257053","黑釉紫斑碗",[52,398,3075,1165,2136,1167,401,7],"黑釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dabd70452dbfa29e972909b40f41feb.jpg",[],{"id":3079,"slug":3080,"title":3081,"dynasty":52,"author":172,"museum":99,"description":3082,"tags":3083,"thumbUrl":3086,"material":278,"size":279,"collection":403,"collections":3087,"showCount":180,"zanCount":11,"manualWeight":11,"mainColor":47},256764,"ge-yao-mi-se-you-pan-yi-ming-256764","哥窑米色釉盘","“哥窑”名列宋代五大名窑，在陶瓷史上有举足轻重的地位。哥窑胎多紫黑色、铁黑色、也有黄褐色。釉为失透的乳浊釉，釉面泛一层酥光，釉色以炒米黄、灰青多见，釉面大小纹片结合。\n经染色后大纹片呈深褐色，小纹片为黄褐色，也称‘金丝铁线’“墨纹梅花片”“叶脉纹”‘文武片’等。这是传世哥窑的主要特征之一。器形有各式瓶、炉、尊、洗及碗、盆、碟等。多见仿古造型，底足制作不十分规整，釉面常见缩釉和棕眼。\n而《中国陶瓷史》这样叙述：\n造型有各式瓶、炉、洗、盘、罐等。论胎有厚薄之分，其胎质有瓷胎和砂胎两种，胎色有黑灰、深灰、浅灰、土黄多种色调，釉色也有粉青、月白、油灰、青黄各色。从时间上讲，这里应有早晚之别，从产地说也有恐非一个瓷窑的作品，情况是比较复杂的。\n记载“哥窑”的古文献主要有：元代的《至正直记》，明代的《格古要论》、《遵生八笺》，清代的《博物要览》以及明代的《浙江通志》等。但究竟哥窑窑址何在？性质如何?一直是陶瓷史研究中众说纷纭、悬而未决的问题。\n流传于世的“哥窑”经典器大多源自清宫旧藏，由于这批器物与古文献中的记载的“哥窑”特征不符，而且没有考古资料佐证，因而造成了中国陶瓷史上最大的悬疑。\n为区别于明、清文献中所记载得哥窑（龙泉章生一窑），宫中名为“哥窑”的传世品，后世鉴赏家称其为“传世哥窑”。\n由于原来被认为哥窑的龙泉黑胎开片瓷被认为是“龙泉仿官”和“龙泉官窑”，宋代似乎就不存在哥窑，文献关于哥窑的记述被认为是以讹传讹。然而，仔细研究和分析，就会发觉事情并非如此简单，其关键在于“龙泉官窑”和杭州郊坛下官窑孰先孰后的问题并未真正得到解决。由于“龙泉官窑”的立论建立在“龙泉仿官”的基础上，认为仿官是不可能的，却又与官窑相一致，自然是官窑，并认为杭州郊坛下不能满足朝廷之需，再在龙泉烧造以充不足。这一观点很自然地派生出杭州郊坛下官窑早于龙泉官窑的定论。\n然而，没有足够的考古资料证明这一观点，并由此还引发出种种疑团：郊坛下不能满足朝廷之需，为什么不就地扩充、就近扩充，而要到千里之外的龙泉建窑烧造？宋室南渡带来了北方工匠，他们惯于圆窑用煤烧造，何以能在杭州建立龙窑用柴烧造？文献关于哥窑的论述难道一定都是空穴来风吗？哥不能仿官，但官却可以仿哥，各朝各代的官窑都建立在民窑的基础上，难道就不存在官仿哥的可能吗？宋室南渡，皇帝漂泊13年，这期间南渡窑工在何处生存？如何生存？是吃皇粮还是自谋出路？这些疑问最终都聚焦在龙泉最初的黑胎开片瓷的年代和性质上，也就是说龙泉最初的黑胎开片瓷会不会是皇帝颠沛流离的十余年中北方工匠和龙泉窑工技艺结合的产物？",[1123,398,3084,400,1970,3085,7],"米色釉","釉器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaf4f4fceab590c5454688e6504ee7fb.jpg",[403],{"id":3089,"slug":3090,"title":3091,"dynasty":52,"author":172,"museum":99,"description":1160,"tags":3092,"thumbUrl":3094,"material":278,"size":279,"collection":403,"collections":3095,"showCount":180,"zanCount":11,"manualWeight":11,"mainColor":73},256297,"jun-yao-mei-gui-zi-you-kui-hua-shi-hua-pen-yi-ming-256297","钧窑玫瑰紫釉葵花式花盆",[52,398,1162,2698,3093,7,1167],"葵花式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd951c8891356d23b98f0cc09a6b1236d.jpg",[403],{"id":3097,"slug":3098,"title":3099,"dynasty":52,"author":172,"museum":99,"description":3100,"tags":3101,"thumbUrl":3103,"material":278,"size":279,"collection":403,"collections":3104,"showCount":180,"zanCount":11,"manualWeight":11,"mainColor":73},256286,"ru-yao-tian-qing-you-pan-yi-ming-256286","汝窑天青釉盘","汝窑，宋代五大名窑之一，因窑址位于宋时河南汝州境内而得名，今河南省宝丰县大营镇清凉寺村和汝州市张公巷均发现汝窑烧造。汝瓷位居宋代“汝、官、哥、钧、定”五大名窑之首，在中国陶瓷史上素有“汝窑为魁”之称。汝窑是中华传统制瓷著名瓷种之一，中国北宋、南宋、明朝时期皇家主要代表瓷器。\n汝瓷造型古朴大方，以名贵玛瑙为釉，色泽独特，有“玛瑙为釉古相传”的赞誉。随光变幻，观其釉色，犹如“雨过天晴云破处”，“千峰碧波翠色来”之美妙，土质细润，坯体如侗体其釉厚而声如磬，明亮而不刺目。器表呈蝉翼纹细小开片，有“梨皮、蟹爪、芝麻花”之特点，被世人称为“似玉、非玉、而胜玉”。宋、元、明、清以来，宫廷汝瓷用器，内库所藏，视若珍宝、可与商彝周鼎比贵。\n1952年，周恩来总理指示“发展祖国文化遗产、恢复汝窑生产”。经过上百次实验和研究，1958年烧制出第一批豆绿釉工艺品，1983年8月汝窑天蓝釉经过专家鉴定，均达到明代汝窑水平。从此，汝瓷成了汝州市人的一张名片。\n汝窑天青釉弦纹樽 ，此樽仿汉代铜樽造型，器形规整，仿古逼真，釉色莹润光洁，浓淡对比自然。\n瓷樽始于宋，汝窑、定窑、龙泉窑均有烧造，是陈设用品。所见传世宋代汝窑天青釉弦纹樽只有两件，除故宫博物院收藏的这件以外，英国伦敦大维德基金会亦收藏一件。\n汝窑烧制的汝瓷因为其绝妙的色泽、独特艺术价值，深得帝王欢心，有“宋瓷之冠”的美誉。汝窑又与同期官窑（河南开封）、哥窑（浙江龙泉）、钧窑（河南禹县）、定窑（河北曲阳）合称“宋代五大名窑”，位居五大名窑之首。\n汝窑以传承艺术为己任，采用传统手工制作陶瓷方法，制作一个陶瓷的工序高达十三道，包括淘泥、摞泥、拉坯、印坯、修坯、捺水、画坯、上釉、烧窑、成瓷、成瓷缺陷的修补，做工精细，设计唯美、承艺汝瓷以“釉色层”领先，器型古朴典雅得当，光润有度，由于汝瓷釉层厚，常有开片如鱼鳞、蝉翼状，久用之后茶色会着附于裂纹处，形成不规则的变换交错的花纹，故而手感润滑如脂，似玉非玉之美。\n宋人欧阳修在《归田集》中对汝窑的论述：汝窑瓷真正最美的就是釉，不是天青色，而是粉翠，也就是今所说的翠青色。而汝瓷真正的瓷色是半瓷化作的，玻化不明显，器身不透光亮，因此不排除后人把珍品当作“陶”而丢弃，故存世甚稀。而《清波杂志》里宋人周辉对汝窑的精述，汝瓷以釉取胜，当代青瓷不能同比，真品釉色青中泛滥、纯净、温润，釉面隐现出一种柔和含蓄的光泽，它既不同钧瓷的乳光，也不同哥窑的脂光，而是一种类似古玉般内蕴的光泽。当时汝瓷是唯供御拣退方许出卖，近尤难得。现从文献可知，汝瓷也可民用，绝非“严禁民用”之说。对自藏汝窑瓷及由此对整个汝窑作较全面简述的则是明代学者高濂的《燕闲清赏笺》中提及，“汝窑，余尝见之，实为玛瑙末入釉，汁水莹厚如堆脂，然汁中棕眼隐若蟹爪，其釉色有天青、粉青，还有葱绿和天蓝等。粉青为上，天蓝弥足珍贵。有"雨过天晴云破处"之称誉，釉面可视碧玉，也不为过。所有历代青瓷应以汝窑为冠。”",[1123,398,3102,400,7,2727,2272],"天青釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c69ece83192c5d6e62b35c91ee9ad2a.jpg",[403],{"id":3106,"slug":3107,"title":3099,"dynasty":52,"author":172,"museum":99,"description":3100,"tags":3108,"thumbUrl":3109,"material":278,"size":279,"collection":403,"collections":3110,"showCount":180,"zanCount":11,"manualWeight":11,"mainColor":73},256285,"ru-yao-tian-qing-you-pan-yi-ming-256285",[1123,398,3102,399,400,2282,7,3085,2727],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9531867351ce95e8f4e3ce285223a54c.jpg",[403],{"id":3112,"slug":3113,"title":3114,"dynasty":52,"author":172,"museum":99,"description":3082,"tags":3115,"thumbUrl":3117,"material":278,"size":279,"collection":403,"collections":3118,"showCount":180,"zanCount":11,"manualWeight":11,"mainColor":73},256245,"ge-yao-qing-you-ju-ban-shi-pan-yi-ming-256245","哥窑青釉菊瓣式盘",[52,398,2124,400,1970,3116,7],"菊瓣式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcecdf7ba7a8646c2ff9b0eb7bcabd739.jpg",[403],{"id":3120,"slug":3121,"title":3122,"dynasty":52,"author":172,"museum":99,"description":2344,"tags":3123,"thumbUrl":3126,"material":278,"size":279,"collection":403,"collections":3127,"showCount":180,"zanCount":11,"manualWeight":11,"mainColor":47},256231,"guan-yao-fen-qing-you-kui-ban-kou-pan-yi-ming-256231","官窑粉青釉葵瓣口盘",[398,52,3124,3125,400,399,7],"粉青釉","葵瓣口","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3da9442f0dfca942682effb8d0dda7ba.jpg",[403],{"id":3129,"slug":3130,"title":3131,"dynasty":130,"author":172,"museum":99,"description":1621,"tags":3132,"thumbUrl":3134,"material":278,"size":279,"collection":43,"collections":3135,"showCount":180,"zanCount":11,"manualWeight":11,"mainColor":577},252630,"qing-yu-si-xi-ban-zhi-yi-ming-252630","青玉四喜扳指",[455,586,585,3133,7,1264],"喜字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05c8d220a3d88f27c63b19ec56161ac5.jpg",[],{"id":3137,"slug":3138,"title":3139,"dynasty":130,"author":172,"museum":99,"description":1621,"tags":3140,"thumbUrl":3144,"material":278,"size":279,"collection":43,"collections":3145,"showCount":180,"zanCount":11,"manualWeight":11,"mainColor":47},251531,"hen-dou-si-tan-qing-yu-qian-jin-hua-hai-tang-shi-pan-yi-ming-251531","痕都斯坦青玉嵌金花海棠式盘",[455,3141,586,3142,3143,103,585,7,801],"痕都斯坦风格","青玉","嵌金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd56f6e85b4185e4878ab1b895227eb24.jpg",[],{"id":3147,"slug":3148,"title":3149,"dynasty":130,"author":172,"museum":99,"description":3150,"tags":3151,"thumbUrl":3156,"material":278,"size":279,"collection":43,"collections":3157,"showCount":180,"zanCount":167,"manualWeight":11,"mainColor":73},249632,"qia-si-fa-lang-tuan-hua-jin-wen-chang-fang-xia-yi-ming-249632","掐丝珐琅团花锦纹长方匣","景泰蓝（Cloisonne），中国的著名特种金属工艺品类之一，到明代景泰年间这种工艺技术制作达到了最巅峰，制作出的工艺品最为精美而著名，故后人称这种金属器为“景泰蓝”。景泰蓝正名“铜胎掐丝珐琅”，俗名“珐蓝”，又称“嵌珐琅”，是一种在铜质的胎型上，用柔软的扁铜丝，掐成各种花纹焊上，然后把珐琅质的色釉填充在花纹内烧制而成的器物 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[2] 珐琅依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。其中掐丝珐琅器就是俗称的“景泰蓝”，15世纪中期明代景泰年间的制品尤为著称，故有景泰蓝之称。\n清代，西洋珐琅从广州传入中国，广州生产的珐琅俗称“广珐琅”，是朝廷的贡品，其中最著名的是画珐琅 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是一幅非常精美的佛教画作，其中所传达出的超凡慈悲和修行成果，对于追求佛道的人来说是一种极大的启发和鼓励。",[23,24,25,558,28,27,30,35,34,103,600,139,7,3408,3409],"背光","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d3ff9044a8d766a04e933b1773dd242.jpg",[],{"id":3413,"slug":3414,"title":3415,"dynasty":130,"author":172,"museum":99,"description":3416,"tags":3417,"thumbUrl":3421,"material":218,"size":3422,"collection":43,"collections":3423,"showCount":180,"zanCount":11,"manualWeight":11,"mainColor":47},215836,"miao-zu-yao-zu-sheng-huo-tu-ce-7-yi-ming-215836","苗族瑶族生活图册-7","素纸晕染出烟火气，画面里三位衣饰缀彩的女子围坐木桌，指尖捻线穿针，旁侧纺车静立，竹篮盛着彩线织物，盆水映出微光。右侧男子赤足持矛，衣袂束红带，神情警觉却不违和，似守护又融入日常。线条细腻勾摹衣褶纹理，设色淡雅却显民族风情，每处细节藏着族群生活的温度——劳作的专注、守护的默契，在清寂画页里鲜活起来，如时光定格的民族生活切片，静述遥远岁月里的烟火与坚韧。",[23,24,28,27,207,30,86,3418,884,3419,7,2592,3420],"织布工具","民族服饰","盆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3723d67c8ca57f977289cd4ff3f4de0.jpg","36.5x29.5",[],{"id":3425,"slug":3426,"title":3427,"dynasty":477,"author":172,"museum":99,"description":3428,"tags":3429,"thumbUrl":3434,"material":278,"size":279,"collection":43,"collections":3435,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":73},289100,"jean-guillaume-moitte-manius-curius-dentatus-refusing-the-presents-yi-ming-289100","Jean 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之说。磁州窑创烧于北宋中期，并达到鼎盛，南宋、元明清仍有延续。窑址在今河北省邯郸市峰峰矿区的彭城镇和磁县的观台镇一带，磁县宋代叫磁州，故名。\n磁州窑的匠师们吸收了传统的水墨画和书法艺术的技法，创造了具有水墨画风的白底黑绘装饰艺术，开启了中国瓷器彩绘装饰的先河。\n磁州窑品种诸多，以白地黑花（铁锈花）、刻划花、窑变黑釉最为著名。它的装饰技法突破了当时流行的五大名（官）窑（汝、官、钧、哥、定）的单色釉局限，运用了数十种丰富多彩的装饰技法。1998年3月，元代的磁州窑黑釉剔花玉壶春瓶从英国追回。",[398,968,3517,2094,3518,1176,7],"飞鹤","赭彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9628f3027b3755066d4b2775797f1688.jpg",[403],{"id":3522,"slug":3523,"title":3524,"dynasty":52,"author":172,"museum":99,"description":1767,"tags":3525,"thumbUrl":3527,"material":278,"size":279,"collection":43,"collections":3528,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":47},262058,"bai-di-hei-hua-mei-ping-yi-ming-262058","白地黑花梅瓶",[398,2270,3526,103,7],"白地黑花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F952dc5ac9b7c14dd91fda0e1aef637e9.jpg",[],{"id":3530,"slug":3531,"title":3532,"dynasty":130,"author":172,"museum":99,"description":2111,"tags":3533,"thumbUrl":3534,"material":278,"size":279,"collection":43,"collections":3535,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":47},261608,"qing-hua-hua-niao-tu-gang-yi-ming-261608","青花花鸟图缸",[398,2113,36,103,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe70f062069e0f34eb8d36e4c1fff3cc5.jpg",[],{"id":3537,"slug":3538,"title":3539,"dynasty":18,"author":172,"museum":99,"description":3540,"tags":3541,"thumbUrl":3543,"material":278,"size":279,"collection":403,"collections":3544,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":73},260513,"long-quan-yao-qing-you-hua-gu-yi-ming-260513","龙泉窑青釉花觚","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。",[398,2124,3542,7],"花觚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85082edfc955cde5a2adbaef296daee5.jpg",[403],{"id":3546,"slug":3547,"title":3548,"dynasty":130,"author":172,"museum":99,"description":3549,"tags":3550,"thumbUrl":3551,"material":278,"size":279,"collection":403,"collections":3552,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":577},259275,"yao-bian-you-mei-ping-yi-ming-259275","窑变釉梅瓶","烧造瓷器，凡在开窑后发现不是预期的形状或釉色，以至于传世瓷器有时发生特异的情况者，都可说是“窑变”。《稗史汇编》说：“瓷有同是一质，遂成异质，同是一色，遂成异色者，水土所合，非人力之巧所能加，是之谓窑变。”总而言之，窑变大致可分为变形、变色、变质等数种。\n窑变釉，顾名思义，是器物在烧成过程中出现了意想不到的釉色效果。由于窑中含有多种呈色元素，经氧化或还原作用，瓷器在出窑后可能呈现出意外的釉色效果。因由窑变釉出现出于偶然，形态特别，人们又不知其原理，只知于窑内焙烧过程变化而得，故称之为“窑变釉”，俗语有“窑变无双”，就是指窑变釉的变化莫测，独一无二。",[398,2270,2478,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59ba9983e4dbf0de369d4af140aef787.jpg",[403],{"id":3554,"slug":3555,"title":3556,"dynasty":130,"author":172,"museum":99,"description":2279,"tags":3557,"thumbUrl":3559,"material":278,"size":279,"collection":43,"collections":3560,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":47},258228,"yong-zheng-kuan-qing-hua-tuan-hua-wen-xiao-wan-yi-ming-258228","雍正款青花团花纹小碗",[130,398,2113,3154,103,1925,7,3558],"小碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2441f4890f64c1ebafd2aecf46569510.jpg",[],{"id":3562,"slug":3563,"title":3564,"dynasty":130,"author":172,"museum":99,"description":2268,"tags":3565,"thumbUrl":3569,"material":278,"size":279,"collection":43,"collections":3570,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":577},257848,"kang-xi-kuan-jiang-dou-hong-you-an-long-wen-tai-bai-zun-yi-ming-257848","康熙款豇豆红釉暗龙纹太白尊",[398,2679,3566,455,2681,3567,3568,7],"暗龙纹","暗刻纹饰","龙纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e68668af8bd620e7623f41077d74fc9.jpg",[],{"id":3572,"slug":3573,"title":3574,"dynasty":18,"author":172,"museum":99,"description":3540,"tags":3575,"thumbUrl":3580,"material":278,"size":279,"collection":403,"collections":3581,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":47},257555,"long-quan-yao-qing-you-fo-kan-yi-ming-257555","龙泉窑青釉佛龛",[398,2124,558,358,3576,399,3577,2681,7,3578,3579],"刻划纹饰","明代风格","宗教题材","刻花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46a56700060c13aad740c0e2d759d343.jpg",[403],{"id":3583,"slug":3584,"title":3585,"dynasty":18,"author":172,"museum":99,"descripti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利玛窦向中国明万历皇帝呈献第一件自鸣钟起，陆续有西洋钟表进献宫廷。清康熙帝把西洋钟表作为一种新科学加以重视，将西洋钟表（也称自鸣钟）贮于端凝殿南端，并将此处命名为自鸣钟处，还在宫内成立了做钟处。到乾隆时，钟表已成为帝后们生活中不可缺少之物，不但在各宫殿内陈设，就连外出乘坐的车、轿、船、马鞍上也都置有钟表。因而每年都要使用大批新奇钟表。这些钟表有清宫做钟处、广州、苏州制造的，也有英国、法国、德国、瑞士、日本等国制造的。",[666,1082,3480,139,372,3153,515,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf9f3c6d03aa8e639b850ffd4734f99f.jpg",[],{"id":4721,"slug":4722,"title":4723,"dynasty":130,"author":172,"museum":99,"description":4707,"tags":4724,"thumbUrl":4727,"material":278,"size":279,"collection":43,"collections":4728,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":73},274459,"tong-du-jin-le-xiang-zhe-gu-niao-zhong-yi-ming-274459","铜镀金乐箱鹧鸪鸟钟",[1082,666,4725,139,30,585,4726,3153,7,466],"鹧鸪鸟","乐钟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F278a7d0c739693da5375547b8bcc85bf.jpg",[],{"id":4730,"slug":4731,"title":4732,"dynasty":130,"author":172,"museum":99,"description":4733,"tags":4734,"thumbUrl":4741,"material":278,"size":279,"collection":43,"collections":4742,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":577},274212,"ji-he-duo-mian-ti-mo-xing-yi-ming-274212","几何多面体模型","这套硬木模型囊括球、柱、方、锥等几何造型，部分组件可拆分组合，将抽象的数理空间具象为可触摸的实体，尽显线面交错的秩序美感。沉敛的木质肌理自带温润质感，搭配衬黄裹蓝的贮装锦盒，工巧雅致。它既是推演数理的教具，亦是融汇巧思的工艺小品，暗合西学东渐的时代脉络，让传统木作技艺与近代数理新知相逢，将古人对天地形制的探索，凝缩在一方精巧造物之中，静述着理性与匠心交织的意趣。",[705,4735,4736,4737,4738,4739,4740,7],"几何多面体","模型","正方体","球体","圆柱体","立体图形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7611ed64009f620aabd9788d44e0cf24.jpg",[],{"id":4744,"slug":4745,"title":4746,"dynasty":130,"author":172,"museum":99,"description":4747,"tags":4748,"thumbUrl":4751,"material":278,"size":279,"collection":43,"collections":4752,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":73},273945,"ang-di-mo-niu-yi-ming-273945","昂地莫牛","它裹挟着大地深处的沉凝气息，银灰金属光泽冷冽清透，层叠肌理如被时光镂刻的苍劲崖嶂，又似卷着霜色的刀锋阵列。细碎亮纹顺着肌理蜿蜒铺展，如凝固的星屑伏在粗粝岩体之上，将亿万年地质淬炼凝缩于方寸。原生粗粝的质感中，沉埋着旧时采掘的温度，质朴形制里藏着沉默又厚重的原始力量，把地质岁月的史诗静静封存。",[4749,3453,4750,7],"金属","矿石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef5831d2b77255e0157a337b2e2dc0ef.jpg",[],{"id":4754,"slug":4755,"title":4756,"dynasty":130,"author":172,"museum":99,"description":4757,"tags":4758,"thumbUrl":4759,"material":278,"size":279,"collection":43,"collections":4760,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},273858,"wu-cai-bo-gu-tu-fang-la-yi-ming-273858","五彩博古图方蜡","动物、植物所产生的，或石油、煤、油页岩中所含的油质，常温下多为固体，具有可塑性，能燃烧，易熔化，不溶于水，如蜂蜡、白蜡、石蜡等。用作防水剂，也可做蜡烛。\n过年之际，华灯齐放，皇宫还会点燃造型纹饰考究的花烛，有的是云纹的，有的是大吉葫芦的，有的饰有文字，如“五谷丰登迎祥”“宜入天下太平”，连这样的消耗品也契合年味。",[959,28,1625,103,7,585],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe81f87ed8181846e0cc1c63f36972f14.jpg",[],{"id":4762,"slug":4763,"title":4756,"dynasty":130,"author":172,"museum":99,"description":4757,"tags":4764,"thumbUrl":4766,"material":278,"size":279,"collection":43,"collections":4767,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},273856,"wu-cai-bo-gu-tu-fang-la-yi-ming-273856",[959,4765,28,585,285,1428,7],"蜡制品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F729b4a7b307ea9bdd4c61e4ec3af5e48.jpg",[],{"id":4769,"slug":4770,"title":4756,"dynasty":130,"author":172,"museum":99,"description":4757,"tags":4771,"thumbUrl":4772,"material":278,"size":279,"collection":43,"collections":4773,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},273855,"wu-cai-bo-gu-tu-fang-la-yi-ming-273855",[28,585,285,7,103,959],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7ea0790f11da59722798f6569f8f296.jpg",[],{"id":4775,"slug":4776,"title":4756,"dynasty":130,"author":172,"museum":99,"description":4757,"tags":4777,"thumbUrl":4779,"material":278,"size":279,"collection":43,"collections":4780,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":73},273854,"wu-cai-bo-gu-tu-fang-la-yi-ming-273854",[285,2009,585,4778,7],"蜡器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc69c69b6c3600cc15b137e410f13b71b.jpg",[],{"id":4782,"slug":4783,"title":4784,"dynasty":130,"author":172,"museum":99,"description":2965,"tags":4785,"thumbUrl":4787,"material":278,"size":279,"collection":43,"collections":4788,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":73},273659,"zi-tan-lou-diao-qian-liao-shi-bing-jin-xing-shi-ru-yi-yi-ming-273659","紫檀镂雕嵌料石柄金星石如意",[2967,705,585,4786,586,1264,7],"嵌石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d5ea5275343a4d2f909c03caf13a215.jpg",[],{"id":4790,"slug":4791,"title":4792,"dynasty":130,"author":172,"museum":99,"description":4793,"tags":4794,"thumbUrl":4797,"material":278,"size":279,"collection":43,"collections":4798,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":73},273590,"zi-tan-mu-yi-yi-ming-273590","紫檀木椅","敦煌285窟壁画就有两人分坐在椅子上的图像；257窟壁画中有坐方凳和交叉腿长凳的妇女；龙门莲花洞石雕中有坐圆凳妇女。这些图像生动地再现了南北朝时期椅、凳在仕宦贵族家庭中的使用情况。尽管当时的坐具已具备了椅子、凳子的形状，但因其时没有椅、凳的称谓，人们还习惯称之为“胡床”，在寺庙内，常用于坐禅，故又称禅床。唐代以后，椅子的使用逐渐增多，椅子的名称也被广泛使用，才从床的品类中分离出来。因此，论及椅、凳的起源，必须从汉魏时经印度传入的胡床谈起。\n唐代以前的“椅”字还有一种解释，作“车旁”讲，即车的围栏。其作用是人乘车时有所依靠。后来的椅子，其形式是在四足支撑的平台上安装围栏，其制当是受车旁围栏的启发，并沿用其名而称这种坐具为“椅子”了。从现存资料看，唐代已有相当讲究的椅子了。\n五代至宋，高型坐具空前普及，椅子的形式也多了起来，出现靠背椅、扶手椅、圈椅等。同时根据尊卑等级的不同，椅子的形制、质料和功能也有所区别。\n五代至两宋时期的家具大体保留着唐代遗风，只是高型家具较前更加普及了。\n椅子非常古老和简单，虽然许多世纪以来，是一个普通使用状态。在早王朝时期，他们用布或皮革、木雕覆盖椅背和椅面，但是覆盖面积均远低于21世纪的椅子，椅面有时仅离地25厘米。在古埃及时代的椅子似乎已经被极大的丰富，老式乌木、象牙雕刻、镀金的木材等都会被使用。它们被覆盖着昂贵的材料，华丽的图案和猎杀的野兽或雕刻着的俘虏数字。一般来说，地位越高的个人，他的椅子就越高越华丽，这是种荣誉的象征。",[705,815,4795,585,4796,7],"扶手椅","蝙蝠纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1d019f65495a5d9e8660985f772192b.jpg",[],{"id":4800,"slug":4801,"title":4802,"dynasty":130,"author":172,"museum":99,"description":4803,"tags":4804,"thumbUrl":4807,"material":278,"size":279,"collection":43,"collections":4808,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":577},273554,"zi-tan-mu-xiao-duo-bao-ge-yi-ming-273554","紫檀木小多宝格","此作取紫檀大料打制，形制对称匀净，却以高低错落的格打破板正。方棂框架简洁利落，转角处暗藏精工，层架下设卷云纹雕花牙子，柔化线条，添几分灵秀古雅。\n\n格间大小参差，或方正开阔，或精巧窄长，可陈设古玉瓷盏、文房清供，将收纳与赏玩融于一体。紫檀质地沉穆细腻，包浆温润，尽显内敛华贵。整体兼顾形制规整与意趣灵动，是传统木作中实用与美学相融的精巧之作，暗合中式空间含蓄雅致的审美意韵。",[705,585,4805,815,4806,7],"多宝格","紫檀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c7caf0fff6b3527e5b4d51c30f6a374.jpg",[],{"id":4810,"slug":4811,"title":4812,"dynasty":130,"author":172,"museum":99,"description":4813,"tags":4814,"thumbUrl":4816,"material":278,"size":279,"collection":43,"collections":4817,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":73},273351,"tong-du-jin-song-peng-guo-zhao-yi-ming-273351","铜镀金松篷果罩","此器六角攒尖顶覆翠色仿松枝，鎏金宝顶冠于其上，华贵雅致。支架以镂空虬龙盘构而成，龙身錾刻精细入微，须发鳞爪灵动张扬，苍劲瑞气扑面而来。\n\n围栏与额枋填饰烧蓝珐琅，宝蓝与鎏金相映，明丽沉稳，缠枝纹饰婉转灵动。朱红底座承托器身，冷暖色彩碰撞鲜明，更衬器物华美。通体鎏金厚重灿烂，珐琅釉色匀净莹润，重工细作尽显匠心，是凝练极致工艺水准的陈设佳器。",[666,1082,1429,585,4815,156,288,7],"亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a74f7af8592651b887cf6606dc38195.jpg",[],{"id":4819,"slug":4820,"title":4821,"dynasty":130,"author":172,"museum":99,"description":4822,"tags":4823,"thumbUrl":4827,"material":278,"size":279,"collection":43,"collections":4828,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":73},273214,"lv-pi-bao-tong-du-jin-qian-song-shi-niu-jiao-bing-qiao-dao-yi-ming-273214","绿皮包铜镀金嵌松石牛角柄鞘刀","刀为单面长刃的短兵器。同时泛指可用于切、削、割、剁、刺的工具，与匕首合称亦为膳食器。刀的最初形态，与钺非常接近。其形状为短柄，翘首，刀脊无饰，刃部较长。到春秋战国时期，刀的形状发生巨大变化，两汉时，刀逐渐发展为步兵的主战兵器之一如环首刀，同时出现了许多不同形式的长柄刀。铜刀存世数量不多，体形均轻薄，最厚处仅0.35厘米，其形制粗分有短柄翘首刀、长柲卷首刀、平刃刀、曲刃刀等数类。\n在原始社会，古人类就用石头、蚌壳、兽骨打制成各种形状的刀。他们选用的石头多半是石英石、砂岩，也有燧石和水晶石。用这些石料打制成的石刀质坚棱利，是很好的砍劈工具。其次是用蚌壳和兽骨磨制的蚌刀、骨刀，这类刀轻便锋利，适于砍削器物。同样古人不仅用刀作为劳动工具，还随身携带作为防身自卫的武器。\n以雄浑、豪迈、挥如猛虎的风格而驰名的兵器，在十八般武器中排名第一。清朝诗人郑世元这样描写道：“秋水飞双腕，冰花散满身。柔看绕肢体，纤不动埃尘。闪闪摇银海，团团滚玉轮。声驰惊白帝，光乱失青春。杀气腾幽朔，寒芒泣鬼神。舞余回紫袖，萧飒满苍旻。”",[884,4824,4825,4826,3453,3490,1085,7],"刀","鞘","牛角","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca7ff56fc634a755d7e52bf95aaa118e.jpg",[],{"id":4830,"slug":4831,"title":4832,"dynasty":130,"author":172,"museum":99,"description":4833,"tags":4834,"thumbUrl":4836,"material":278,"size":279,"collection":43,"collections":4837,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},273042,"mu-bing-ma-bian-yi-ming-273042","木柄马鞭","骑马的辅助用具，用于辅助驱使马匹按照人类的意愿完成各种动作。根据在不同马术比赛项目中使用的马鞭分类，分为障碍鞭和舞步鞭。",[959,705,468,4835,7],"马鞭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61bb1efb8fa7edbb4c86dc1af9c54c8d.jpg",[],{"id":4839,"slug":4840,"title":4832,"dynasty":130,"author":172,"museum":99,"description":4833,"tags":4841,"thumbUrl":4842,"material":278,"size":279,"collection":43,"collections":4843,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},272928,"mu-bing-ma-bian-yi-ming-272928",[705,4835,959,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff746860a6d616e54d4eeeddca6bcd738.jpg",[],{"id":4845,"slug":4846,"title":4847,"dynasty":130,"author":172,"museum":99,"description":4848,"tags":4849,"thumbUrl":4850,"material":278,"size":279,"collection":43,"collections":4851,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},272822,"ti-hong-shou-mian-wen-fang-dun-yi-ming-272822","剔红兽面纹方墩","这件器物以剔红工艺打造四方鼓墩形制，朱红漆层厚重鲜亮，分层雕凿，层次分明。器身以回纹锦地为底，环绕开光，内剔刻兽面纹，瑞兽轮廓威严古朴，鬃毛发须丝丝清晰，神态狞厉庄重，带着上古青铜礼器的肃穆气韵。\n\n开光外雕刻缠枝花卉与如意云纹，卷转灵动，中和兽面的刚硬，刚柔并济。整体雕工精细入微，线条婉转流畅，漆色妍丽沉稳，既保留髹漆工艺的华美质感，又融入古雅纹饰，尽显清代漆作精湛工艺水准，是实用与陈设兼具的匠心之作。",[798,2515,585,4009,546,7,959],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff014244fe1635a8efc1b7a76c3317e7d.jpg",[],{"id":4853,"slug":4854,"title":4855,"dynasty":130,"author":172,"museum":99,"description":4856,"tags":4857,"thumbUrl":4860,"material":278,"size":279,"collection":43,"collections":4861,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},272682,"yu-zhi-yue-ling-qi-shi-er-hou-shi-se-mo-zhi-ru-da-shui-wei-shen-lan-mo-yi-ming-272682","御制月令七十二候诗色墨-雉入大水为蜃蓝墨","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[158,1736,585,895,139,4858,4859,7],"水草","水泽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79aba56c6eb96e87479e13db2abf9831.jpg",[],{"id":4863,"slug":4864,"title":4865,"dynasty":130,"author":172,"museum":99,"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盆、筒杯、勺、盘、缸、甑、 釜、小壶、扁壶、茧形壶、钵、罐、钟、碗等。明器包括礼器鼎和模型明器仓、陶囤以及各种动物形象。纹饰多为变形回纹、三角纹和窝纹。陕西潼关以东地区人们的日常用陶，以灰陶为主，有罐、 壶、碗、勺、筒杯、 瓮、盒、洗、甑、釜、杯、盘、尊等。在汉代流行起来的生活用具模型，如仓、 炉、 灶、井等。大都作为明器供随葬之用。盒、盘、案、杯等，逐渐成组出现，为适应人们厚葬之需也成为祭器。猪、羊、狗、鸡等家畜家禽及圈舍、住宅等明器模型也大量流行。装饰则有弦纹、刻划的三角纹、连环纹、栉齿纹和动物纹，还有绳纹、拍印纹、模印、浮雕、涂色和彩绘等。南方的长沙地区，制陶工艺自成体系，陶盒使用普遍，陶壶无盖，鼎的三足成矮胖的兽蹄形，其他实用器皿还有壶、罐、碗、钫、、盆、釜、甑、长方炉、博山炉等。特点是坚硬厚重。殉葬明器有灶、仓、井、屋、猪圈模型等。广东地区秦汉时属南海郡，常用陶器有瓮、双耳罐、提、四联罐和五联罐、瓿、小瓿、壶、匏壶、温壶、钫、 盒、敦、 小盒、三足盒、三足罐、三足瓿、四联盒、 碗、盆、 甑、釜、鼎、豆、三足格盒等。生活用具中灰白色的印纹硬陶占多数， 有的还戳上印记，多为容器，炊器只有釜、 鼎、甑 3种。造型特别的三足器、温壶、匏壶有着明显的地方特点。印纹硬陶很讲究装饰，单是几何图案就达70多种，此外还有弦纹、 陶纹、 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