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t":11,"mainColor":43},232933,"han-xi-zai-ye-yan-tu-juan-song-mo-ben-song-gong-ting-hua-jia-232933","韩熙载夜宴图卷(宋摹本)","宋宫廷画家","北京故宫博物院","原作为南唐画家顾闳中的绘画作品。此卷据各方面考证，当属南宋孝宗至宁宗朝（1163—1224年）摹本，其风格基本反映出原作面貌，且达到相当高水平，堪称流传有绪的古代绘画珍品。\n作品如实地再现了南唐大臣韩熙载夜宴宾客的历史情景，细致地描绘了宴会上弹丝吹竹、清歌艳舞、主客揉杂、调笑欢乐的热闹场面，又深入地刻划了主人公超脱不羁、沉郁寡欢的复杂性格。全图共分为五个段落，首段“听乐”，韩熙载与状元郎粲坐床榻上，正倾听教坊副使李家明之妹弹琵琶，旁坐其兄，在场听乐宾客还有紫微朱铣、太常博士陈致雍、门生舒雅、家伎王屋山诸人；二段“观舞”，众人正在观看王屋山跳“六幺舞”，韩熙载亲擂“羯鼓”助兴，好友德明和尚不期而遇此景，尴尬地拱手背立；三段“暂歇”，韩熙载与家伎们坐床上休息，韩正在净手；四段“清吹”，韩熙载解衣盘坐椅上，欣赏着五个歌女合奏；五段“散宴”，韩氏手持鼓槌送别，尚有客人在与女伎调笑。全卷以连环画的形式表现各个情节，每段以屏风隔扇加以分隔，又巧妙地相互联结，场景显得统一完整。布局有起有伏，情节有张有弛，尤其人物神态刻画栩栩如生，如“听乐”段状元郎粲的倾身细听动姿、李家明关注其妹的亲切目光、他人不由自主的合手和拍；“观舞”段王屋山娇小玲珑的身姿、德明和尚背身合掌低首而立的尴尬状等等，传尽心曲，入木三分。最出色的还是主人公韩熙载的刻画，长髯、高帽的外形与文献记载均相吻合，举止、表情更显露出他复杂的内心。一方面，他在宴会上与宾客觥筹交错，不拘小节，如亲自击鼓为王屋山伴奏，敞胸露怀听女乐合奏，送别时任客人与家伎厮混，充分反映了他狂放不羁、纵情声色的处世态度和生活追求；另一方面又心不在焉、满怀忧郁，如擂鼓时双目凝视、面不露笑，听清吹时漫不经心，与对面侍女闲谈，这些情绪都揭示了他晚年失意、以酒色自汙的心态。画家塑造的韩熙载，不仅形象逼肖，具肖像画性质，而且对其内心挖掘深刻，性格立体化，可以说真实再现了这位历史人物的原貌。\n作品的艺术水平也相当高超。造型准确精微，线条工细流畅，色彩绚丽清雅。不同物象的笔墨运用又富有变化，尤其敷色更见丰富、和谐，仕女的素妆艳服与男宾的青黑色衣衫形成鲜明对照。几案坐榻等深黑色家具沉厚古雅，仕女裙衫、帘幕、帐幔、枕席上的图案又绚烂多采。不同色彩对比参差，交相辉映，使整体色调艳而不俗，绚中出素，呈现出高雅、素馨的格调。",[24,25,26,53,54,28,29,30,31,72,73,34,74,7],"乐器","饮酒器","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f01749acfaf6449c0e92a8477239224.jpg","绢本，设色","纵28.7厘米，横335.5厘米。","",[],2675,16,{"id":83,"slug":84,"title":85,"dynasty":18,"author":86,"museum":87,"description":88,"tags":89,"thumbUrl":93,"material":37,"size":94,"collection":39,"collections":95,"showCount":96,"zanCount":97,"manualWeight":11,"mainColor":43},219988,"chun-gui-juan-du-tu-leng-mei-219988","春闺倦读图","冷枚","天津博物馆","美人卷珠帘，深坐颦蛾眉。《春闺倦读图》图绘一身着长裙的仕女，发髻高挽，一手支颐，一手持书，侧身倚桌案而立。其神态文静闲适中略带倦意，大家闺秀清闲寂寞的生活，刻画得细致入微。",[23,25,26,28,29,31,90,91,7,34,92],"狗","牡丹","卷轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F182d912c8259e91009a6158bea4db358.jpg","80*50",[39],2317,20,{"id":99,"slug":100,"title":101,"dynasty":102,"author":103,"museum":69,"description":104,"tags":105,"thumbUrl":107,"material":108,"size":109,"collection":78,"collections":110,"showCount":111,"zanCount":112,"manualWeight":11,"mainColor":43},227085,"hui-shan-shi-nv-tu-juan-zhou-fang-227085","挥扇仕女图卷","唐","周昉","《挥扇仕女图》卷，传为唐周昉绘，绢本，设色，纵33.7厘米，横204.8厘米。\n无作者款印。引首清高宗弘历题“猗兰清画”四字。钤明韩世能 “韩世能印”、“韩仲子氏”、“世能”，清梁清标“蕉林书屋”、“蕉林居士”、“蕉林考藏”，清高宗弘历“古希天子”、“乾隆御览之宝”、“石渠宝笈”、“乾隆鉴赏”等鉴藏印，共31方。\n此图描绘了13位头挽高髻、细目圆面、长裙曳地的妃嫔和宫女形象。全幅以横向排列的形式展示了人物的各种活动：执扇慵坐、解囊抽琴、对镜理妆、绣案做工、挥扇闲憩等。作者注意画面横向疏密、松紧的韵律变化，纵向高低错落的层次变化，从而使得画面结构井然有序，并避免了构图上的单调呆板。图中色彩丰富，以红色为主，兼有青、灰、紫、绿等各色。冷暖色调相互映衬，显现出人物肌肤的细嫩和衣料的华贵。衣纹线条近铁线描，圆润秀劲，富有力度和柔韧性，较准确地勾画出了人物的种种体态。\n画家周昉出身于豪门显宦，因此，他对于贵族阶层绮靡奢华的生活非常熟悉。其仕女画不以烈女、贤妇、仙女等为表现对象，而是取材于现实生活中贵族妇女的行乐活动，具有强烈的时代感，从而迎合了中晚唐时期大官僚贵族们的审美意趣。其作品在张扬唐王朝繁华兴盛的物质生活的同时，亦揭示了贵妇们极度贫乏的精神世界。此图中嫔妃们体貌丰腴，衣饰华丽，但她们面含幽怨，举止慵倦，毫无生气。\n明张丑《清河书画舫》，清内府《石渠宝笈续编》，清阮元《石渠随笔》著录。",[23,25,26,53,28,29,30,106,31,74,34,7],"仕女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d64d42508b0dd39153cc6c8554c273c.jpg","纸本 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雍正，满族，是清朝第五位皇帝，入关后第三位皇帝，清圣祖康熙第四子，母为孝恭仁皇后，即德妃乌雅氏，1722—1735年在位，年号雍正，庙号清世宗，谥号敬天昌运建中表正文武英明宽仁信毅睿圣大孝至诚宪皇帝，葬清西陵之清泰陵。",[25,30,28,29,27,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f705ee2f9ff7c893abe608f40192e4d.jpg","绢本",[39,61],553,1,{"id":204,"slug":205,"title":206,"dynasty":18,"author":207,"museum":119,"description":208,"tags":209,"thumbUrl":214,"material":37,"size":215,"collection":39,"collections":216,"showCount":217,"zanCount":175,"manualWeight":11,"mainColor":132},219480,"mai-jiang-tu-yao-wen-han-219480","卖浆图","姚文瀚","这幅画是市场上卖纸浆的场景。 十个人，男女老少，聚在一起，或搅炉熬浆； 或者提着锅卖掉； 对纸浆和器物的描述细致入微。 整幅作品色彩鲜艳、干净、美观，笔触细腻牢固，人物稍有浓淡，给人立体感。",[23,25,26,29,28,30,7,210,211,212,213,74],"市井","民俗","服饰","生活场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a90c6c57541d710ff9ec582ae42b876.jpg","59.3x108cm",[39,61],463,{"id":219,"slug":220,"title":221,"dynasty":48,"author":151,"museum":119,"description":222,"tags":223,"thumbUrl":228,"material":199,"size":229,"collection":59,"collections":230,"showCount":231,"zanCount":232,"manualWeight":11,"mainColor":43},221490,"hua-lan-tu-li-song-221490","花篮图","图绘藤编花篮一只，竹篮编织精巧别致，里面盛满了各色鲜艳欲滴的花朵，白的、红的、粉的、淡黄的，有蜀葵、栀子、百合、广玉兰、石榴等，布置得错落有致，画家笔下一个小小的花篮，折射出的是繁花似锦的大自然，美丽而富有朝气，让人看了之后感到十分亲切，画家对自然、生命的热爱和关注由此跃然于绢上。",[23,24,25,26,224,28,29,122,7,225,91,226,168,227],"册","花篮","百合","叶子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8587f02c9ca8d9b82abaf7122913f6ac.jpg","26.1 x 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这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[252,253,254,255,256,257,7,258],"夏代","古玉","玉石","雕刻","兽面纹","礼器","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f699c6829f280c2ab97dc7558c7998.jpg","未知","Xcm*Xcm",[],408,{"id":265,"slug":266,"title":267,"dynasty":117,"author":268,"museum":119,"description":269,"tags":270,"thumbUrl":272,"material":126,"size":273,"collection":128,"collections":274,"showCount":275,"zanCount":276,"manualWeight":11,"mainColor":132},214731,"sui-chao-tu-bian-wen-jin-214731","岁朝图","边文进","仿古铜罐上装饰着十种花，包括梅花、兰花、茶花、水仙、天竺葵、灵芝、松树、柏树、柿子和如意，象征着十全十美。花瓶里的花的重心在较低的一侧，而上面的梅花的茎通向较高的一侧，这与现实相对应。",[25,26,27,29,28,122,123,271,7,74,184],"松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdd7df13b5b3b22f5b5a78294d592780.jpg","108x46.1",[128],404,6,{"id":278,"slug":279,"title":280,"dynasty":117,"author":281,"museum":282,"description":283,"tags":284,"thumbUrl":286,"material":126,"size":287,"collection":128,"collections":288,"showCount":289,"zanCount":190,"manualWeight":11,"mainColor":290},216264,"ming-za-hua-ce-wang-zhong-216264","明杂画册","汪中","私人收藏","汪中指的是汪建中（1501-1593年），他是明朝时期的一位著名画家。明杂画册是指他绘制的一组绘画作品集，通常指其中一部名为《汪中杂画册》的作品。《汪中杂画册》是一部非常著名的画册，由汪建中在明朝末期绘制而成。它共有24册，收录了许多他的绘画作品，包括花卉、山水、虫鸟、人物等。这些作品都非常精美，被认为是中国画史上的杰作。《汪中杂画册》目前被认为是中国明朝时期最重要的画册之一，并被认为是中国画史上的经典之作。",[25,26,224,28,29,122,32,7,285],"鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F334fee082046ab9e1386c51d5de90a35.jpg","30x27cm",[128],375,"FDD835",{"id":292,"slug":293,"title":294,"dynasty":18,"author":295,"museum":69,"description":296,"tags":297,"thumbUrl":301,"material":37,"size":302,"collection":39,"collections":303,"showCount":304,"zanCount":305,"manualWeight":11,"mainColor":43},220398,"shi-nv-zan-hua-tu-jin-ting-biao-220398","仕女簪花图","金廷标","图中精致的家具、富丽的陈设所构筑出的典雅高贵的环境，表明此图表现的是宫廷女子日常生活的景象。梳妆打扮是贵族妇女每日生活中的重要内容之一，对此，她们不敢有丝毫的怠慢。图绘晨起的女子对镜理妆的情景。她为了取得良好的照镜角度，不禁起身而立，双目注视着桌上的铜镜，同时，左手缓缓地往云鬓上插玉簪。情节生动，人物举止自然，显示出作者细致入微的观察力和准确传神的艺术表现力。\n图中女子杏脸桃腮，皓齿朱唇，身段婀娜多姿，富于曲线变化，体虚力弱中显现出娇柔典雅的娟秀气，体现出清代仕女画清新俊秀的时代特征。人物衣纹用笔顿挫转折，线条遒劲刚健，与以界画方式表现的家具及室内装饰物所采用的守规守矩、见棱见角的线条相互呼应，笔墨格调于统一中显现出所绘物象不同的质感。此幅构图颇具机巧，近景为全身像的簮花女子，中景系若隐若现的理书侍女，远景是含烟带雾的翠竹一隅。繁复的画面，既未掩簪花的创作主题，又通过近、中、远三景的自然展现加强了画幅的立体、纵深效果，从而在有限的画面上扩展出无限的空间。",[23,28,29,30,31,7,34,298,168,299,300],"饰品","栏杆","室内陈设","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F836624fe83b39d31a2d2db2d60908583.jpg","纵223厘米，横130.5厘米",[39,61],360,7,{"id":307,"slug":308,"title":309,"dynasty":48,"author":195,"museum":69,"description":310,"tags":311,"thumbUrl":318,"material":183,"size":78,"collection":59,"collections":319,"showCount":320,"zanCount":202,"manualWeight":11,"mainColor":321},214846,"lu-tong-peng-cha-tu-yi-ming-214846","卢仝烹茶图","卢仝烹茶图是一幅宋代的佚名画家的作品。它是一幅木板设色的水墨画，画面上描绘了卢仝品茶的场景。卢仝是一位著名的宋代文学家，也是一位品茶爱好者。在这幅画中，他正在品茶时，周围的人们也都在品茶。这幅画展现了宋代品茶文化的精髓，充满了浓浓的文化气息。\n\n卢仝烹茶图是一幅很有名的宋代水墨画，因为它出色地展现了宋代品茶文化的精髓。品茶是中国古代的一种传统文化，它的历史可以追溯到公元前三世纪。品茶不仅是一种消遣，更是一种品味生活的方式。它融合了中国传统的艺术、文化、哲学和美学思想，对中国的文化形成了深远的影响。\n\n在这幅画中，卢仝坐在一张桌子前，手持茶杯，正在品茶。周围的人们也都在品茶，气氛非常融洽。画面中还有许多细节，如茶壶、茶杯、茶几等，都反映了宋代品茶文化的特点。\n\n这幅画的画风精细，线条流畅，色彩鲜艳。它体现了宋代画家的高超技巧和精湛的艺术修养。这幅画不仅是一件艺术品，也是中国传统文化的瑰宝。",[23,25,26,183,29,28,312,313,184,74,30,314,315,316,317,7],"白描","皴法","房屋","树木","山石","茶具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2d777192da391bf2696d0105e63bf54.jpg",[59],322,"F48FB1",{"id":323,"slug":324,"title":325,"dynasty":18,"author":180,"museum":69,"description":326,"tags":327,"thumbUrl":329,"material":330,"size":331,"collection":128,"collections":332,"showCount":333,"zanCount":202,"manualWeight":11,"mainColor":132},224219,"sui-chao-qing-gong-tu-wu-chang-shuo-224219","岁朝清供图","岁朝指农历元旦，历代画家特别是文人画家都喜欢在这一天绘制《岁朝清供图》，作为新年伊始的首幅作品。吴昌硕作为一名文人画家，也几乎每年都画《岁朝清供图》，且多所变化，其最大的特点是很少取材于牡丹，他在《缶庐别存》中有一段话披露了其用意，文曰：“己丑除夕，闭门守岁，呵冻作画自娱。凡岁朝图多画牡丹，以富贵名也。予穷居海上，一官如虱，富贵花必不相称，故写梅取有出世姿，写菊取有傲霜骨，读书短檠，我家长物也，此是缶庐中冷淡生活。”此段话写于1889年，而在这幅1915年的《岁朝清供图》中仍然不见牡丹形象，其时吴氏的生活已有了极大改善，但仍不画牡丹，可见其富贵不移初志的高雅人格与画品。\n此图以瓶梅、水仙、蒲草、秀石诸品组合而成，并置于瓶盆等器物中，以示为案头清供之物。物品高下低昂、错落有致地安排于画面，并以右高左低的对角形式排列，左上角和右下角分别配以题识和印章，这是吴昌硕花卉画中常用的构图形式。画面左上角自题：“岁朝清供。岁朝写案头花，象古人所作岁时物之迁流也，兹拟其意。乙卯岁寒吴昌硕。”\n此图信手挥洒，真情流溢笔端。高颈古瓶中的一枝红梅，以及翠绿的水仙，纷披的蒲草，皆得其大意，笔法隽逸洒脱，极具清逸雅淡之气。用墨、设色也恰到好处，用墨浓淡相宜，设色俏丽鲜艳，雅妍相兼，双勾敷色的水仙花，更体现了吴氏晚年运笔遒劲古拙的独特风韵。",[23,25,26,27,29,183,124,74,328,122,123,185,35,186,7],"写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe60ee9f04eb4937057270e254c03e2aa.jpg","纸本，设色","纵151.6厘米，横80.7厘米",[128,61],321,{"id":335,"slug":336,"title":337,"dynasty":18,"author":338,"museum":152,"description":339,"tags":340,"thumbUrl":342,"material":78,"size":78,"collection":128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Newfields","以大写意之笔将寻常鲜果绘就满幅生机。朱砂点染樱桃，颗颗圆润饱满，色泽浓艳透亮，仿佛带着刚摘下的清甜鲜活，攒簇盈盘，尽显丰实意趣。墨笔勾勒案几枝桠，笔法老辣简劲，浓淡相宜，与朱红鲜果撞出强烈视觉张力，素净留白更衬果色鲜亮。散落的两枚樱桃添得灵动野趣，毫无刻意雕琢之感。整画删繁就简，将日常烟火提炼成雅俗共赏的文人意趣，笔底藏着天真烂漫，于极简中见至味，把平淡日常晕染成动人的诗意图景。",[23,25,26,29,183,328,124,74,395,396,7],"樱桃","木盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc252eafe3195b552bc810b3b6f3a19dd.jpg",[],258,{"id":401,"slug":402,"title":403,"dynasty":102,"author":103,"museum":119,"description":404,"tags":405,"thumbUrl":409,"material":37,"size":410,"collection":39,"collections":411,"showCount":412,"zanCount":413,"manualWeight":11,"mainColor":43},218265,"ren-wu-juan-zhou-fang-218265","人物卷","它描绘了儿童在院子里玩灯笼，而女士们聚集在一起演奏音乐。详细描述了灯笼的种类和形状，但人物的脸和衣服与周家的不一样，所以这卷书一定是由后来的艺术家复制的。",[23,25,24,26,53,28,29,30,406,315,299,407,408,7],"兽","小孩","大人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bd5d7d833562e3e6f0969c27f3c1208.jpg","30.8x220",[39],252,5,{"id":415,"slug":416,"title":417,"dynasty":18,"author":180,"museum":418,"description":419,"tags":420,"thumbUrl":421,"material":422,"size":423,"collection":128,"collections":424,"showCount":425,"zanCount":202,"manualWeight":11,"mainColor":132},237437,"ju-hua-zhou-wu-chang-shuo-237437","菊花轴","上海博物馆","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。” [2] 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》。",[25,26,27,183,29,122,341,7,74,124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faac17540baab309bf666e37c3441ed42.jpg","纸本","纵119.9 厘米横51.6",[128],241,{"id":427,"slug":428,"title":429,"dynasty":48,"author":195,"museum":119,"description":430,"tags":431,"thumbUrl":436,"material":437,"size":438,"collection":78,"collections":439,"showCount":425,"zanCount":131,"manualWeight":11,"mainColor":440},223425,"song-ren-xi-mao-tu-zhou-yi-ming-223425","宋人戏猫图轴","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。",[23,24,25,27,29,28,432,406,168,433,434,7,435],"猫","树","家具","鸟笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4ef8f54780c0c3ec5ce4fde928d99fc.jpg","轴 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[2]\n该画作左上角有清高宗乾隆所题绝句：庭院秋声落枣红，拾来旋转戏儿童。丹青讵止传神诩，寓意原存相让风。",[23,25,24,26,27,28,29,30,476,35,169,7],"孩童","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71807e6a7737f12c8af99f0cf3723a85.jpg","纵197.5厘米，横108.7厘米",[59,128,39,61],237,{"id":482,"slug":483,"title":484,"dynasty":48,"author":195,"museum":282,"description":485,"tags":486,"thumbUrl":487,"material":37,"size":488,"collection":128,"collections":489,"showCount":490,"zanCount":175,"manualWeight":11,"mainColor":43},218554,"ping-hua-tu-yi-ming-218554","瓶花图","画的是一个中心中空的竹制花篮，篮子里有几朵菊花和木槿。芙蓉花瓣由内而外由紫变淡红，大方得体，而粉色和白色的菊花层层叠叠，繁而不乱，画面不大，却诠释了秋天的多种色彩。",[25,26,29,28,122,341,7,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92ea7ee08022ee5215dc568f32303c97.jpg","21x19cm",[128],235,{"id":492,"slug":493,"title":494,"dynasty":18,"author":495,"museum":69,"description":496,"tags":497,"thumbUrl":500,"material":126,"size":78,"collection":128,"collections":501,"showCount":502,"zanCount":131,"manualWeight":11,"mainColor":132},219292,"bo-luo-ju-xie-ye-ren-yi-219292","菠萝菊蟹页","任颐","画面以菠萝为底，菊丛旁逸，蟹螯张弛，茶壶静卧，四物相映成趣。红蟹墨螯，笔触劲挺如蟹螯探物；菠萝鳞甲层叠，墨色浓淡间见肌理之趣；蓝菊翠叶，水色晕染似含秋露；深褐茶壶，朴拙造型衬出雅致清欢。笔墨兼具工写，红与蓝撞色鲜活，墨与彩交融和谐。寻常蔬果水族，经笔底点染，既有文人画的逸趣，又含市井生活的鲜活，尽显海派画风的灵动与包容，仿佛一帧秋日常景，藏着岁月的温润与生机。",[23,25,29,122,328,224,498,341,499,7],"菠萝","蟹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0150d4cb986e4079fb87d6e7b65100b.jpg",[128],233,{"id":504,"slug":505,"title":506,"dynasty":117,"author":507,"museum":508,"description":509,"tags":510,"thumbUrl":511,"material":37,"size":512,"collection":39,"collections":513,"showCount":514,"zanCount":276,"manualWeight":11,"mainColor":43},219530,"tao-gu-zeng-ci-tu-tang-yin-219530","陶穀赠词图","唐寅","大英博物馆","唐寅（1470—1523年），字伯虎，一字子畏，号六如居士，吴县（今江苏苏州）人。出身商人家庭，自幼聪明伶俐。20余岁时家中连遭不幸，父母、妻子、妹妹相继去世，家境衰败，在好友祝允明的规劝下收心读书，29岁参加应天府公试，得中第一名“解元”，30岁赴京会试，却受考场舞弊案牵连被斥为吏。此后遂绝意进取，以卖画为生。正德九年（1514年）曾应宁王朱宸濠之请赴南昌半年余，后察觉宁王有图谋不轨，遂佯狂得以脱身而归。晚年生活困顿，54岁即病卒。他玩世不恭而又才气横溢，诗文擅名，与祝允明、文徵明、徐祯卿并称“江南四才子”，画名更著，与沈周、文徵明、仇英并称“吴门四家”。 其绘画擅长山水、人物、花鸟各科。画法早年受沈周、文徵明影响，多“吴派”痕迹，30余岁时拜周臣为师，主宗南宗“院体”一路，后泛学宋元诸家，自成一体。山水画有粗、细两种风格：粗笔一路源自周臣，仿学南宋“院体”，然于刚劲雄健中别具清俊秀逸之韵；细笔画属其本色，更多文人画笔意，景色简约清朗，用笔纤细有力，皴法灵活多变，墨色淋漓多变，风格奇峭而又秀润。人物画造诣也很深，兼善工笔重彩、工笔淡彩、白描、水墨写意诸法，形神俱备。",[23,25,24,27,29,28,30,31,433,168,7,34,72],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4160d60f87f2087cb65dd4c2c4d435.jpg","纵171横103.8厘米",[39],231,{"id":516,"slug":517,"title":518,"dynasty":18,"author":195,"museum":152,"description":519,"tags":520,"thumbUrl":523,"material":78,"size":78,"collection":524,"collections":525,"showCount":526,"zanCount":11,"manualWeight":11,"mainColor":440},242162,"tong-ping-yi-ming-242162","铜瓶","此器造型沉稳古雅，盘口双层起棱，线条利落规整。颈部设如意衔环耳，卷曲线条婉转灵秀，活环垂坠灵动，为厚重器身添了几分精巧灵韵。瓶腹饱满丰腴，弧度柔和舒展，向下缓缓收束接宽实圈足，器型周正大气。\n\n器身素净无饰，沉静的古铜包浆带着经年沉淀的温润质感，浑朴间尽显内敛雅致的古韵，将传统铜作的庄重与秀美相融，是兼具陈设雅趣与收藏价值的佳品。",[461,521,522,255,7],"铜制","青铜器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8300af9fd6068f6eed20476fe9cc4fc.jpg","青铜器精选",[524],226,{"id":528,"slug":529,"title":530,"dynasty":117,"author":531,"museum":119,"description":532,"tags":533,"thumbUrl":536,"material":37,"size":537,"collection":78,"collections":538,"showCount":539,"zanCount":190,"manualWeight":11,"mainColor":132},290313,"sui-chao-tu-zhou-chen-hong-shou-290313","岁朝图轴","陈洪绶","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[25,24,26,27,29,28,122,123,534,535,7,184,124],"山茶","玉兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe43f471122fe189fc01200784df42f1f.jpg","90.2x41.1",[],225,{"id":541,"slug":542,"title":221,"dynasty":48,"author":543,"museum":544,"description":545,"tags":546,"thumbUrl":547,"material":548,"size":549,"collection":59,"collections":550,"showCount":551,"zanCount":202,"manualWeight":11,"mainColor":43},221300,"hua-lan-tu-zhao-chang-221300","赵昌","日本京都国立博物馆","趙昌，生於970-1040年，字昌之，北宋畫家，廣漢劍南（今四川劍閣之南）人。工書法、繪畫，擅畫花果，多作折枝花，兼工草蟲。初師滕昌祐，後來發展出自身畫風，沒骨花鳥自成一派，有徐熙、黃荃遺風。在北宋時期與宋徽宗趙佶齊名，是宋代花鳥畫壇的傑出畫家。",[23,24,25,26,224,28,29,122,91,7,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4e439bec3f68d4048c7a22672432565.jpg","绢本设色","22.7×22.4",[59,128,61],222,{"id":553,"slug":554,"title":555,"dynasty":18,"author":556,"museum":69,"description":557,"tags":558,"thumbUrl":559,"material":78,"size":78,"collection":39,"collections":560,"showCount":561,"zanCount":468,"manualWeight":11,"mainColor":132},237110,"shi-nv-ce-cui-wei-237110","仕女册","崔鏏","工人物、仕女，擅写真，宗法宫廷画家焦秉贞，略得西洋晕染技法，画面颇有古风，布局饱满，用笔细致，有宋院体画之风，带有受郎世宁画风影响的痕迹。描染净丽，格调婉约。",[25,29,28,224,30,31,7,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafbff89887b390659e0e35416e22bea5.jpg",[39],213,{"id":563,"slug":564,"title":565,"dynasty":117,"author":531,"museum":566,"description":567,"tags":568,"thumbUrl":569,"material":37,"size":570,"collection":39,"collections":571,"showCount":572,"zanCount":202,"manualWeight":11,"mainColor":440},218407,"yin-cha-tu-chen-hong-shou-218407","饮茶图","香港艺术馆","该场景画在一个开放的空间里，用石头、木桌、茶具和荷花装饰。两个高卓人相对而坐，最近的一个已经弹完了古筝，而对面的人则坐在一张大香蕉叶上，一起喝香茶。",[23,25,26,28,29,30,35,33,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe38a7bfcb0587783355bda0d2f3e792b.jpg","86x47",[39],207,{"id":574,"slug":575,"title":576,"dynasty":137,"author":237,"museum":577,"description":578,"tags":579,"thumbUrl":582,"material":37,"size":583,"collection":59,"collections":584,"showCount":585,"zanCount":131,"manualWeight":11,"mainColor":43},220394,"pin-cha-tu-qian-xuan-220394","品茶图","大坂市立美术馆","本幅虽名为「品茶」，实与唐代以降「斗茶」的绘画传统有关。画中男子六人，左侧男子或持壶，或注汤点茶，或提笼注视对方；右侧三人或正举杯畅饮，或在等待取茶品尝。唯画中人物表情板滞，用色单调，画风不若钱选精细文雅，应是后人託名之作。",[23,25,24,29,30,580,581,7],"品茶","斗茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb62aeab0bda969cca855a01b6bc6889e.jpg","35.5x68cm",[59],199,{"id":587,"slug":588,"title":589,"dynasty":18,"author":338,"museum":418,"description":590,"tags":591,"thumbUrl":592,"material":593,"size":594,"collection":128,"collections":595,"showCount":596,"zanCount":11,"manualWeight":11,"mainColor":132},223290,"san-qing-tu-li-zhou-zheng-ban-qiao-223290","三清图立轴","绘竹、兰、菊三君子，在画家眼里这三种更为清丽，全图皆水墨，竹的笔直修长，兰的清新幽香，菊的严霜开放，尽显君子谦谦之态。画作左侧有画家自题诗一首：兰梅竹菊四名家，但少春风第一花，寄于东君诸子弟，好将文事夺天葩。板桥郑燮。",[23,25,26,27,183,122,32,341,7,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe2339494716d7ccd299644411857aea.jpg","纸本，水墨","152×39cm",[128,344],193,{"id":598,"slug":599,"title":600,"dynasty":117,"author":531,"museum":508,"description":601,"tags":602,"thumbUrl":603,"material":37,"size":604,"collection":39,"collections":605,"showCount":606,"zanCount":190,"manualWeight":11,"mainColor":43},219531,"bu-gun-tu-chen-hong-shou-219531","补衮图","衮是古代君王的礼服，补衮有补救规谏帝王过失的寓意。图中绘有四人，发髻高耸，雍容华贵。",[23,25,26,28,29,30,31,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d0bcfbcf40168efa236701b517fe221.jpg","纵109横78.5cm",[39,61],188,{"id":608,"slug":609,"title":610,"dynasty":611,"author":612,"museum":152,"description":613,"tags":614,"thumbUrl":615,"material":78,"size":78,"collection":78,"collections":616,"showCount":617,"zanCount":468,"manualWeight":11,"mainColor":132},226711,"zhong-ping-hui-qi-tu-juan-zhou-wen-ju-226711","重屏会棋图卷","五代十国","周文矩","《重屏会棋图》卷，五代，周文矩绘，绢本，设色，纵40.3厘米，横70.5厘米。\n本幅无作者款印。经徐邦达先生鉴定，此系宋人摹本。尾纸除有明代沈度、文徵明的伪款题跋外，还有近人于怀的墨题真迹。钤元柯九思“緼真斋”，清安仪周“棠邨审定”、“安仪周家珍藏”及清内府“乾隆御览之宝”等鉴藏印共16方。其中的“緼真斋”、宋徽宗的“双龙小玺”、“宣和”、“政和”等宋元诸印均伪。\n图绘摆设精美的室内，四位身份高贵的男子于棋桌前的情景。他们神态各异，举止不同，有的催促落子，有的举棋不定，有的观棋不语，真实地反映出观棋者与弈棋者不同的神态。画中没有标注这些人物的姓名。目前，经过几代学者的深入研究，才逐渐确认出本幅作品的画面主人公及其内容。图中描绘的是五代南唐中主李璟的宫廷行乐生活。有关此图情节的记载最早见于北宋《王文公集》卷五十中王安石的《江邻几邀观三馆书画》诗，诗中指认出图中头戴高帽者为李璟；南宋初年的王明清在《挥尘三录》中记载了他以家藏的李璟肖像画与此图进行考辨的过程；元代袁桷《清容居士集》和陆友仁《研北杂志》则考证出会棋者是李璟兄弟四人，屏风所画为白居易《偶眠》诗意。最终指明图中人物具体方位的是清吴荣光《辛丑销夏记》所录庄虎孙的跋语：“图中一人南面挟册正坐者，即南唐李中主像；一人并榻坐稍偏左向者，太北晋王景遂；二人别榻隅坐对弈者，齐王景达、江王景逿。”\n作为写实性的绘画作品，作者在逼真地刻画出人物肖像特征的同时，也真实地描绘出室内的生活用具，如投壶、屏风、围棋、箱箧、榻几、茶具等，为后人研究五代时期各种生活器用的形制以及中国早期皇室的行乐雅集活动提供了重要的形象资料。作者以“颤笔描”绘制图中人物的衣纹，表现出布纹的质感，并准确地勾勒出不同动态下人物的形体变化，展示了周文矩以线塑型的深厚功底。此图的设色虽多用矿物颜料，但未层层积染或浓涂重抹，而只是在勾线后清淡地施以颜色。在几案边的花纹上勾染了略显深重的石青、石绿；而李璟的衣袍虽也用朱砂晕染，却甚为简淡，只是侍童的衣带用较重的朱砂，以与浅淡的衣袍形成对比。其余三人的衣着竟一色不染。\n由于此图背景的屏风中还画有屏风，因此人们称此图为“重屏”图。它受到了历代画家广泛的传移摹写，并被宋内府《宣和画谱》、明张丑《清河书画舫》、清卞永誉《式古堂书画汇考》等数十种书著录。故宫所藏的这幅画即使不是周文矩原作，也应是接近于原作的宋人摹本精品。\n此图自清宣统朝流出宫廷后散落民间。1949年后，国家文物局从吉林省长春文物商于莲客手中购得此图，随后将它与元代高克恭《秋山暮霭图》、任仁发《二马图》卷一并入藏故宫博物院。\n清安仪周《墨缘汇观》、胡敬《西清札记》、内府《石渠宝笈三编》等著录。\n周文矩，生卒年不详，活动于10世纪，句容（今属江苏）人，南唐画院翰林待诏。中主李璟时，他便以擅绘人物、车马、界画楼台以及宫廷贵族生活题材画而知名。后主李煜执政期间，他常受诏作画，曾像顾闳中一样被派去窥绘韩熙载的夜宴生活，只是他所画的韩氏夜宴图未能传世。他的画风受后主李煜的颤笔法影响很大，喜以瘦挺颤掣的笔法入画，以别具特色的画风称誉画坛。",[23,25,26,53,28,29,312,184,74,30,434,7,300],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a9f5fda46eb059b27ecc01f52d1e757.jpg",[],185,{"id":619,"slug":620,"title":621,"dynasty":18,"author":622,"museum":376,"description":623,"tags":624,"thumbUrl":626,"material":126,"size":627,"collection":61,"collections":628,"showCount":629,"zanCount":190,"manualWeight":11,"mainColor":43},219264,"jin-ding-he-mei-tu-gai-qi-219264","金鼎和美图","改琦","画面中仕女群像情态和融，居中者衣袂温婉，手持细物若有所思；旁侧侍女或捧壶侍立，或举灯相照，姿态轻柔。案上金鼎、茶具雅致，衬出闺阁的娴静。线条细劲如丝，衣纹飘逸灵动，设色温润淡雅，发髻钗饰精巧入微。人物间互动自然，暖意融融，将日常闺中场景绘成一幅清丽雅致的和美图卷，尽显清代仕女画的秀逸韵致。",[23,25,26,27,28,29,30,31,625,212,7,317],"侍女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80d9eae989c0fdce3e7f5b0ecf0ef7bb.jpg","190 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cm",[61],176,{"id":631,"slug":632,"title":633,"dynasty":117,"author":531,"museum":69,"description":634,"tags":635,"thumbUrl":637,"material":76,"size":638,"collection":39,"collections":639,"showCount":640,"zanCount":202,"manualWeight":11,"mainColor":43},221884,"xi-ying-tu-you-ming-tong-zi-li-fo-tu-chen-hong-shou-221884","戏婴图（又名童子礼佛图）","《童子礼佛图》描绘四名儿童搭佛塔礼佛的情景。图中一太湖石竖立，石前放一尊雕琢精致的佛造像和供佛用的铜塔。佛前，二儿童拜佛，一儿童献花，另一儿童跪着擦拭铜塔，各个神态专注，他们收敛起顽皮，显露出庄重，其中一名儿童磕头时露出胖臀，不免令人忍俊不禁。此图太湖石用较粗的笔法勾画，玲珑剔透，轮廓线多呈弧状，尖利而挺拔。佛像及人物全用细劲的线条画出，层次细腻，风格典雅，设色明丽温和，技法纯熟，人物神形兼备，富有情趣。此图反映了陈洪绶在表现儿童方面的精湛技艺和深厚功力，也充分体现了佛教信仰在百姓的日常生活中对儿童的熏陶与影响。",[23,25,28,29,30,35,7,636,168],"宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fa41ef319564f201fad45f52a944993.jpg","纵150厘米，横67.3厘米",[39,61],174,{"id":642,"slug":643,"title":644,"dynasty":48,"author":195,"museum":152,"description":645,"tags":646,"thumbUrl":647,"material":78,"size":78,"collection":465,"collections":648,"showCount":649,"zanCount":202,"manualWeight":11,"mainColor":132},221639,"yu-gou-yi-ming-221639","玉狗","此玉犬匍匐昂首，尖耳垂附颅侧，圆目凝神远眺，身形清瘦矫健。匠人以写实刀工摹刻出清晰的脊骨与肋骨纹路，将猎犬的劲健体态凝练而出。玉料自带天然糖色与灰黑斑沁，匠师顺势巧施，将尾尖糖色俏作点睛朱红，与温润的基底相映成趣。\n\n整器褪去繁复矫饰，以极简刻绘尽显雅致写实的意趣，将山野猎犬的机警灵动藏于温润玉质之中，静卧之间仍有蓄势待发的飒爽张力，把审美意韵与造物巧思融于一体。",[254,255,406,7,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F180ab6a01af676021bae9d4ce4612b90.jpg",[465],171,{"id":651,"slug":652,"title":653,"dynasty":137,"author":237,"museum":152,"description":654,"tags":655,"thumbUrl":657,"material":78,"size":78,"collection":78,"collections":658,"showCount":659,"zanCount":468,"manualWeight":11,"mainColor":43},228020,"hua-lan-tu-ye-qian-xuan-228020","花篮图页","棕褐绢底晕开古雅底色，竹编花篮篾条交错，纹理写实朴拙，似可触手可感。篮中群芳错落排布，柔粉芍药舒展娇瓣，乳白月季凝含清韵，朱红小花点染亮色，碧色青叶俯仰生姿，花叶的阴阳向背层次分明。设色妍丽却不浓艳，工笔细绘暗含文人雅意，褪去刻板匠气，将折枝花卉的鲜活生机与花篮的质朴融于方寸之间，把秋日花篮的雅致鲜活定格绢上，晕染出静谧隽永的古典诗意，尽显幽淡雅致的审美意趣。",[23,25,24,29,28,122,656,7,224],"花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1ef07ac91ee4d635310b37558cfb414.jpg",[],170,{"id":661,"slug":662,"title":663,"dynasty":117,"author":531,"museum":69,"description":664,"tags":665,"thumbUrl":669,"material":548,"size":638,"collection":670,"collections":671,"showCount":672,"zanCount":11,"manualWeight":11,"mainColor":132},221880,"pin-cha-tu-li-zhou-chen-hong-shou-221880","品茶图立轴","画中两人相对而坐,似是一主一客。蕉叶铺地,主人坐于其上,旁置茶炉壶具，炉中炭火正炽。客人坐一怪石上，又以一方奇石为琴台，古琴已收入锦缎琴套中。此时，琴弦歇，茶正熟，两人手持茶盏，四目相视，正闻香品啜，耳边琴声犹在。此中乐趣,任凭读者遐思。读陈洪绶《品茶图》,至少能读出三点明代茶事信息来。",[23,24,25,26,27,29,28,30,7,364,666,667,668,92],"衣袍","石桌","花瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F561d2687f6bef527a3ee9c1f39e3b3a0.jpg","山水画精选",[670],157,{"id":674,"slug":675,"title":221,"dynasty":48,"author":195,"museum":152,"description":676,"tags":677,"thumbUrl":678,"material":548,"size":679,"collection":78,"collections":680,"showCount":681,"zanCount":11,"manualWeight":11,"mainColor":43},223466,"hua-lan-tu-yi-ming-223466","笔重，小花篮五彩，竹篮内荷花兰花盛开，竹丝，趋瘦高大，工笔画重，小花篮 满丝，钥匙空，露出荷花； 荷花自然展开，片片白红相间，娇艳欲滴，犹如荷花的芬芳。 这张图强调颜色，勾勒出图案，是素描笔画的一个很好的例子。",[23,24,25,26,28,29,122,7,155,224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffed81165b01055d89197d62fd13fc09c.jpg","19.1cm×26.5cm",[],153,{"id":683,"slug":684,"title":685,"dynasty":18,"author":195,"museum":376,"description":686,"tags":687,"thumbUrl":691,"material":37,"size":78,"collection":39,"collections":692,"showCount":681,"zanCount":131,"manualWeight":11,"mainColor":43},219491,"liu-yin-dou-cha-tu-yi-ming-219491","柳荫斗茶图","君德壶之所以受世人推崇，很大一部分原因是，君德脱胎于梨形，即经典脱胎于经典。\n耿宝昌先生曾在《明清瓷器鉴定》一书中谈到：“梨壶，因造型类似梨而得名。元代始烧造，其后历明、清两代，经久不衰”，是传承了几百年的经典之器。",[25,26,29,28,30,688,7,581,689,690],"老树","草地","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2fd5a6d9aeb8db5fa496b3792c21d17.jpg",[39],{"id":694,"slug":695,"title":530,"dynasty":117,"author":696,"museum":152,"description":697,"tags":698,"thumbUrl":700,"material":260,"size":261,"collection":78,"collections":701,"showCount":702,"zanCount":468,"manualWeight":11,"mainColor":132},290309,"sui-chao-tu-zhou-lu-zhi-290309","陆治","陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因先世由汴徙居吴之包山梅梁里，遂自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[24,25,26,27,29,122,123,185,91,7,184,74,699],"日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5facffa84a62716f2f574fdad24943d6.jpg",[],152,{"id":704,"slug":705,"title":706,"dynasty":117,"author":707,"museum":69,"description":708,"tags":709,"thumbUrl":713,"material":76,"size":714,"collection":78,"collections":715,"showCount":702,"zanCount":202,"manualWeight":11,"mainColor":132},222193,"ren-wu-gu-shi-tu-zhu-yuan-pin-gu-chou-ying-222193","人物故事图-竹院品古","仇英","全册共十开，内容取材于历史故事、寓言传说、文人轶事和诗文寓意，具体为子路问津、明妃出塞、贵妃晓妆、南华秋水、吹箫引凤、高山流水、竹院品古、松林六逸、浔阳琵琶、捉柳花图等。这些题材历史上常被画家描绘，但仇英在作品立意、形象塑造和笔墨表现等方面，都注入了自己的才思和技巧，显示出鲜明的个性风格。\n作品主题明确，构思巧妙，不仅人物活动的细节刻画具体明晓，而且注意环境气氛的烘托，使每幅画页都有很强的观赏性。如“贵妃晓妆”页，以杨贵妃清晨在华清宫端正楼对镜理髻为中心，将宫女奏乐、采花和携琵琶等情节同现于一个画面，集中表现了贵妃爱牡丹、喜簪花、善声乐、好打扮的习性，也概括反映了贵妃奢华纵乐的生活内容。又如“高山流水”页，取材于伯牙鼓琴的故事，在描绘俞伯牙草亭弹琴，钟子期拾阶而上，知音相遇的具体情节同时，布置了高山飞瀑、松林流水的静谧清幽环境，形象地表达了高山流水的音乐内容，也衬托出人物的高雅情操，以象征性手法营造出了一个情景交融的臻境。\n此图册运用工笔重彩法。人物情态描绘得细腻精微，文人举止高雅潇洒，仕女容貌端庄娟美。建筑器皿工整精细，山石树木形态各具。笔致工细而不板滞，流畅自然，刚柔相济。敷色艳丽，又多和色，整体色调和谐、清雅。作品具有雅俗共赏的艺术效果，是仇英对唐宋工笔重彩法的创新和发展。",[23,25,26,28,29,30,32,7,476,625,710,711,712],"庭院","古物","品古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f688d90551ee6db64df0e5d88db472f.jpg","每开纵41.4厘米，横33.8厘米",[],{"id":717,"slug":718,"title":719,"dynasty":390,"author":391,"museum":282,"description":720,"tags":721,"thumbUrl":725,"material":126,"size":726,"collection":128,"collections":727,"showCount":702,"zanCount":11,"manualWeight":11,"mainColor":132},216934,"deng-shu-zhou-qi-bai-shi-216934","灯鼠轴","案头油灯亮着红芯，剪刀斜倚灯旁，两只灰鼠各有姿态——一只攀柱啃噬灯芯，长尾垂落；一只蹲坐地上，抬首望灯，胡须微颤似嗅暖意。笔墨极简，鼠的憨态却跃然纸上：浓淡墨色晕染出绒绒质感，细长尾巴勾勒灵动，寥寥几笔便捉住鼠的机警与贪馋。灯柱线条稚拙却稳当，红烛芯如点睛之笔，在素净纸面上添了一抹鲜活。题字与画面相映，把日常小景写成逸趣，没有刻意雕琢，却藏着对生活细微处的体察，似在说寻常烟火里也有这般可爱的瞬间。",[23,25,183,29,27,328,722,723,724,7,74,184],"鼠","灯","蜡烛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1eaa5d9a0084397f64b5881322f7b2d.jpg","67.5x33.5cm",[128],{"id":729,"slug":730,"title":325,"dynasty":18,"author":731,"museum":732,"description":733,"tags":734,"thumbUrl":736,"material":737,"size":738,"collection":78,"collections":739,"showCount":740,"zanCount":202,"manualWeight":11,"mainColor":132},231349,"sui-chao-qing-gong-tu-zhao-zhi-qian-231349","赵之谦","荣宝斋","岁朝图是中国传统绘画的重要题材之一。岁朝指农历元旦，历代画家特别是文人画家都喜欢在这一天绘制《岁朝清供图》，作为新年伊始的开笔之作。据考证，绘制岁朝图的传统源自于宋代宫廷，从宋徽宗赵佶治下特别流行，主要描绘冬季花卉，如腊梅、松柏、水仙等富有吉祥寓意的花草，一并搭配冬天不易看到的花卉、草木、果实等，意味着春天即将来临，以增加节日的祥和气氛，正如此作题款所云：“富贵昌宜吉祥如意，岁朝清供也。”这其中寄托着古人对于未来一年的美好祝愿。此类岁朝图一般采取细笔写生画法，形象描绘逼真。历代画家多有描绘，在清代宫廷中更为流行，像郎世宁、陈书这样的清宫御用画家都画过类似题材。\n作为文人画家，岁朝清供这样的题材也为赵之谦所爱。此幅《岁朝清供图》即为海派大师赵之谦所作，通幅为长条型构图，描绘的草木花卉皆为案头清玩之物。画面上部描绘一高立的花架，花架上摆有一盆盛放的水仙，盆中亦有秀石与水仙相映成辉。花架下有蒲草、灵芝，寓意吉祥。画面下部绘有一圆型石盆，盆中有怒放的牡丹花。花木、盆架错落有致地安排在画面中。赵之谦将自身深厚的金石书法功底融入绘画，形成了他写意花卉的独特面貌。花架与石盆皆以带有篆籀笔意的用笔写出，廖廖数笔，笔简神完，大气十足，在花卉的描绘上颇重视细节，如牡丹花旁的绿草刚劲有力，细密有如针刺，蒲草则纷披，得其大意，可谓有粗有细、有收有放。用色上注重以色助墨，以墨醒色，花架与花盆以浓墨写出，更映衬出水仙的翠绿与牡丹的嫣红，设色俏丽鲜艳，画面效果虽强烈却不刺激。通篇予人春意融融、满室生香之感。\n从此幅《岁朝清供图》来看，赵之谦将清代两大花鸟画派，即恽寿平的没骨画法与扬州画派的写意画法相结合，并自出机杼，创造出新的风格。他在金石书法方面功力深厚，并将其入画，注重用色，在用色上讲究雅俗共赏，突破了古代文人画家所秉承的“夫画道之中，水墨为上”的原则。这些特点在海派大家吴昌硕那里得到了继承与进一步发挥。可以说，赵氏在写意花鸟画艺术上的拓展与推进，对近世花鸟画影响颇为深远，齐白石、陈师曾等北派巨匠同样受过他画作的影响。",[23,25,26,27,29,183,122,91,33,186,35,7,74,735],"篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bf07ea413035b2c66a5bfd228e15f97.jpg","设色纸本","135.5×30.5cm",[],148,{"id":742,"slug":743,"title":744,"dynasty":117,"author":745,"museum":418,"description":746,"tags":747,"thumbUrl":748,"material":78,"size":78,"collection":39,"collections":749,"showCount":750,"zanCount":131,"manualWeight":11,"mainColor":132},222503,"shen-xian-tu-ce-zhang-lu-222503","神仙图册","张路","张路（1464—1538 ，一作1464—1537）明代画家。字天驰，号平山，汴梁（今河南省开封）人，明代画家。绘人物，师法吴伟，山水学戴进“狂态”，用笔豪放纵逸，水墨酣畅淋漓，与朱端、蒋嵩、汪肇等同为“浙派”名家 。亦工鸟兽、花卉。\n早年画学戴进，临摹能肖其神，画法工细。至南京后，又宗法吴伟，变为粗笔写意。他善画人物，多绘神仙、士子、渔夫，形象质朴，神态清朗，具高昂向上的气质。景致简略，笔墨遒劲，风格豪放，然少秀逸和蕴藉之致；为浙派健将，亦开后来学者粗率之风。他具有典型风貌的水墨写意作品较多，人物多用顿折的重墨线条勾勒，山石以粗犷的笔触作大斧劈皴，运笔迅捷，水墨淋漓，具有豪放动荡的气势。亦能画写意花鸟。",[23,25,24,26,224,183,312,29,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdad175defc4617369b4400b273e45b98.jpg",[39],142,{"id":752,"slug":753,"title":754,"dynasty":390,"author":391,"museum":755,"description":756,"tags":757,"thumbUrl":759,"material":78,"size":78,"collection":78,"collections":760,"showCount":750,"zanCount":202,"manualWeight":11,"mainColor":132},220604,"da-li-tu-qi-bai-shi-220604","大利图","龙美术馆西岸馆","苍劲如屈铁的墨线勾勒提篮轮廓，枯涩老辣的笔力尽显朴拙厚重，留白的纸面将视线全然引向篮中佳果。\n以朱砂厚涂荔枝，色艳而不浮腻，颗颗饱满莹润，仿佛带着新鲜采摘的清甜，墨叶绿意深浅交叠，衬得荔枝愈发娇妍鲜活。\n将日常风物与美好意趣相融，寥寥几笔便将烟火日常晕染出雅致生机，笔简意足，雅俗共赏，把平实小景绘就成寄寓深味的佳品。",[25,26,29,183,122,168,227,758,7,328,74],"篮子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F520a9588b0836603c2a4637d3df8d3cf.jpg",[],{"id":762,"slug":763,"title":764,"dynasty":18,"author":531,"museum":152,"description":765,"tags":766,"thumbUrl":767,"material":78,"size":78,"collection":78,"collections":768,"showCount":769,"zanCount":468,"manualWeight":11,"mainColor":43},236479,"sui-chao-qing-gong-zhou-chen-hong-shou-236479","岁朝清供轴","此作以案头清供入画，古雅沉静。方口铜尊中，梅枝虬曲错落，寒英素洁，山茶艳红似燃，细竹扶疏添清逸。旁侧虬奇古松配立湖石，置于案几，与瓶花相映成趣。\n\n用笔凝练挺劲，设色沉厚朴雅，敷色淡而不薄，艳而不俗，将文人岁朝清赏的闲逸意趣藏于笔墨间，暗合新春纳祥的美好祈愿，尽显高古雅致的文人气韵。",[25,29,28,27,123,32,7,316,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F465176e9d66122bb4dbf941bf6e2e4e0.jpg",[],139,{"id":771,"slug":772,"title":773,"dynasty":18,"author":774,"museum":508,"description":775,"tags":776,"thumbUrl":777,"material":126,"size":78,"collection":39,"collections":778,"showCount":779,"zanCount":305,"manualWeight":11,"mainColor":132},219550,"xie-yi-xun-long-tu-yu-zhi-ding-219550","斜倚薰笼图","禹之鼎","此作用笔秀雅匀净，线条挺括柔婉，浅淡敷色晕染精妙。斜倚薰笼的仕女软红覆身，执卷似读非读，眉眼含着慵懒倦怠，将深闺女子百无聊赖的娇柔之态尽显无余。立侍女子佩剑负囊，神色温婉恭谨，静穆疏离的情态与坐者形成微妙呼应。画面氛围幽柔沉静，把闺中静谧松弛的氛围烘托尽致，将仕女柔婉闲淡的幽微心绪刻画入微，尽显传统仕女画雅致隽秀的审美意韵。",[23,25,26,28,29,312,30,31,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F886625e8924a96d8b20fbfff9e4f4569.jpg",[39,61],138,{"id":781,"slug":782,"title":783,"dynasty":117,"author":531,"museum":418,"description":784,"tags":785,"thumbUrl":789,"material":37,"size":790,"collection":39,"collections":791,"showCount":779,"zanCount":202,"manualWeight":11,"mainColor":43},219416,"yin-jiu-du-shu-tu-zhou-chen-hong-shou-219416","饮酒读书图轴","图绘一位文士头戴乌帽身穿朱衣，手持把杯，坐对书卷。长几上瓶插梅花竹叶，\n笔墨皆清劲。画面取斜向构图，布局大胆新奇。此图作于崇祯十六年癸未（1643），作者时年46岁。本年，明王朝已经处于风雨飘摇之际，陈洪绶只好南归。此图即作于舟泊天津杨柳青之时。图中有孔尚任题跋四则，不仅谈到购藏此图的经历，同时对于补充孔氏生平经历具有重要的史料价值。",[25,27,29,30,123,7,184,74,786,787,34,788],"纸","墨","典籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd899a507a555b78db6a6bc70bf72310f.jpg","纵100.8厘米，横49.4厘米",[39],{"id":793,"slug":794,"title":795,"dynasty":117,"author":707,"museum":119,"description":796,"tags":797,"thumbUrl":799,"material":382,"size":800,"collection":39,"collections":801,"showCount":802,"zanCount":468,"manualWeight":11,"mainColor":132},219534,"qi-qiao-tu-chou-ying-219534","乞巧图","七夕又称为「乞巧节」、「女儿节」，最重要的习俗是妇女的乞巧活动。到七夕晚上，妇女们用彩线穿七孔针，在庭院中摆设香案，上有瓜果、鲜花、酒、针线等，向织女乞巧，在宋代还会摆上一种手捏的小泥人儿「磨喝乐」作为供奉神灵。这幅画的便是妇女乞巧的活动，星星高挂于天空，妇女群聚在庭院中，对着星空祭拜，衷心祈望自已能像织女般工巧，其中还有妇女对着星空穿针，\n全幅以白描为主，人物清雅，但用笔较为软弱无力，与仇英精致细腻的笔法大不相同，应非其所作。\n仇英（约一四九四－一五五二），江苏太仓人。字实父，号十洲。年轻时为漆工，后遇周臣赏识其才华，给予指导，而后成名。精工山水人物画，又善于临摹古画，几可乱真，作品具有院画之精丽而有士气。是明代四大画家之一。",[23,25,26,53,28,29,124,184,30,31,798,710,34,7],"楼阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecd953712315a9e475c8de8c4fb11fdb.jpg","27.9x388.3厘米",[39],136,{"id":804,"slug":805,"title":806,"dynasty":18,"author":807,"museum":69,"description":808,"tags":809,"thumbUrl":813,"material":76,"size":814,"collection":39,"collections":815,"showCount":816,"zanCount":131,"manualWeight":11,"mainColor":43},234307,"li-chao-xian-hou-gu-shi-tu-ce-jiao-bing-zhen-234307","历朝贤后故事图册","焦秉贞","历史故事是清代宫廷绘画中的重要题材之一。此套图册题材取自历代有良好德行的皇后、太后的故事，人物包括西周文王之母太任、西周武王之母太姒、东汉明帝明德马皇后、东汉和帝和熹邓皇后、北宋仁宗慈圣曹皇后、北宋英宗宣仁高皇后、明仁宗诚孝张皇后。她们在身为皇后或太后期间，有的勤俭仁厚、贤淑孝顺，有的不问政事、不佞外戚。画家绘此画册就是借她们的懿德来宣传封建的伦理纲常，给宫廷里的妃嫔们树立行为楷模。在12开的册页中，所绘仕女形象柔弱，设色浓艳，富有装饰性。图上建筑物的绘制采用欧洲焦点透视的方法，有别于中国的传统界画。每开对题是由梁诗正书写的弘历在皇子时期所作的诗句，记录了这些皇后、太后的事迹和对她们的评价。",[24,25,26,224,28,29,810,30,31,798,811,315,812,379,710,7,34],"界画","亭","台阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c34017010e0ed0cafb36850368bb3c4.jpg","纵30.8厘米，横37.4厘米",[39,61],134,{"id":818,"slug":819,"title":820,"dynasty":821,"author":195,"museum":152,"description":822,"tags":823,"thumbUrl":825,"material":260,"size":261,"collection":78,"collections":826,"showCount":816,"zanCount":202,"manualWeight":11,"mainColor":440},224007,"liang-zhu-wen-hua-zhong-wan-qi-san-cha-xing-qi-yi-ming-224007","良渚文化中、晚期 三叉形器","新石器时代","新石器时代良渚文化玉器中造型最为独特的器物。其基本形制为下端圆弧，上端为对称的方柱体平头三叉。根据三叉的顶部平齐与否，大致分为两种：第一种中叉短于左右边叉，中叉的顶部一般钻有竖向直孔，其左右两叉的上端也钻有小孔；第二种三叉基本平齐。有的左右两叉的上端背部突兀，有贯穿的小孔，中叉的背部上、下端也有突块，并钻有贯穿的小孔。迄今为止，三叉形器在良渚文化分布中心地区的大型墓葬中仅少量出土，而雕刻着神秘、繁缛的纹饰的则更少。有研究者指出，三叉形器与长玉管和呈集束状的锥形器，是配套组装成整件使用的，往往出土于死者的头部附近。三叉形器及其附件，据推测是戴在首领头上的王冠，故被称为中国皇冠的雏形。",[821,824,254,255,257,7],"良渚文化","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F732a6b3a5b3666c0ef2e3627df4a2967.jpg",[],{"id":828,"slug":829,"title":830,"dynasty":831,"author":195,"museum":152,"description":832,"tags":833,"thumbUrl":836,"material":78,"size":78,"collection":524,"collections":837,"showCount":838,"zanCount":11,"manualWeight":11,"mainColor":440},242606,"shou-mian-wen-ding-yi-ming-242606","兽面纹鼎","商","器身敦实稳重，立耳挺拔、三足粗壮，稳稳托举着古雅器形。器表兽面纹线条刚劲凝练，卷角凌厉、双目圆睁，狞厉威严的气韵扑面而来，将商代崇神尚武的精神刻入青铜肌理。斑驳铜绿是岁月遗落的印记，晕开三千余年的沉郁古意，仿佛能透过这层锈色，窥见殷商宗庙青烟袅袅、祭典肃穆的往昔图景，尽显上古青铜狞厉厚重之美。",[834,522,256,257,835,255,7,406],"商代","饪食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdff4a73186e6493f16609995dd8399f.jpg",[524],133,{"id":840,"slug":841,"title":842,"dynasty":18,"author":195,"museum":69,"description":843,"tags":844,"thumbUrl":845,"material":199,"size":846,"collection":39,"collections":847,"showCount":848,"zanCount":131,"manualWeight":11,"mainColor":43},236174,"yin-zhen-mei-ren-tu-yi-ming-236174","胤禛美人图","仕女于圆窗前端坐，轻倚桌案，一手闲雅地捻着念珠，正观赏两只嬉戏顽皮的猫咪。此图的取景面很小，仅透过二分之一的圆窗来刻画繁复的景致，但由于画家参用了西洋画的焦点透视法，将远、中、近三景安排得有条不紊，从而扩展了画面空间的纵深感，显得意韵悠长。窗下钟声滴答，近处猫咪玩闹，时光便在这似有似无中悄悄流逝。",[25,26,28,29,30,31,432,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd53a373485a1fc514f0f01339644f52.jpg","纵184厘米，横98厘米",[39,61],132,{"id":850,"slug":851,"title":852,"dynasty":821,"author":195,"museum":152,"description":250,"tags":853,"thumbUrl":854,"material":260,"size":261,"collection":78,"collections":855,"showCount":856,"zanCount":11,"manualWeight":11,"mainColor":43},224088,"yu-cong-yi-ming-224088","玉琮",[821,254,255,257,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e4e04337e7e8e9d6e1c8d7f07411da6.jpg",[],129,{"id":858,"slug":859,"title":860,"dynasty":48,"author":445,"museum":119,"description":861,"tags":862,"thumbUrl":863,"material":548,"size":864,"collection":59,"collections":865,"showCount":866,"zanCount":11,"manualWeight":11,"mainColor":43},221544,"shi-ba-xue-shi-tu-juan-liu-song-nian-221544","十八学士图卷","作品描绘十八学士们的雅集生活。唐初十八学士这一历史，传到两宋，已经成为了典故。这些雅集活动大多不可缺少琴、棋、书、画四样东西。此外，歌舞曲艺、古玩彝器、诗词歌赋酒美食也都成为宋人文人雅集时候所常见的内容。",[23,25,26,53,28,29,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0292859c44e3f3bde81de6bbfbd870ca.jpg","44.5x182.3",[59,39,61],125,{"id":868,"slug":869,"title":870,"dynasty":48,"author":195,"museum":152,"description":871,"tags":872,"thumbUrl":877,"material":78,"size":78,"collection":878,"collections":879,"showCount":866,"zanCount":190,"manualWeight":11,"mainColor":440},221207,"liu-ban-cai-pan-yi-ming-221207","六瓣菜盘","年代： 宋\n种类： 漆器\n规格： H x Diam（整体）2 x 13.2 cm（13\u002F16 x 5 3\u002F16 in）\n材质： 棕色漆木芯，金属边缘\n馆藏： 弗里尔艺术馆",[156,873,7,699,874,875,876],"陶瓷","六瓣","描金","釉色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ec5b9dfe66dd4493f1fa5af1c82bfcd.jpg","瓷器精选",[878],{"id":881,"slug":882,"title":309,"dynasty":137,"author":237,"museum":119,"description":883,"tags":884,"thumbUrl":886,"material":37,"size":887,"collection":39,"collections":888,"showCount":866,"zanCount":11,"manualWeight":11,"mainColor":132},219444,"lu-tong-peng-cha-tu-qian-xuan-219444","画中主人是卢同，唐朝济源人。学问非常渊博，并擅长诗文。隐居在少室山，不愿出来作官。他特别喜欢喝茶。这幅就是描绘卢同与童子，坐芭蕉下烹茶的情景。",[25,26,27,29,28,30,885,35,7,74,124],"蕉叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bc5d62829496182e3834aaa1c88ab2a.jpg","128.7x37.3",[39],{"id":890,"slug":891,"title":892,"dynasty":18,"author":893,"museum":152,"description":894,"tags":895,"thumbUrl":896,"material":78,"size":78,"collection":39,"collections":897,"showCount":898,"zanCount":190,"manualWeight":11,"mainColor":132},234263,"ren-wu-gu-shi-ce-fan-xue-yi-234263","人物故事册","范雪仪","范雪仪〔清〕女，本姓淑，嫁范氏为妻，江苏苏州人，生卒年不详。\n康熙(1662-1722)间吴郡(今苏州)妇女善书画者甚多，范雪仪与傅德容两人才能最为突出，两人均擅人物画，范尤在傅上，为吴门女画家之翘首，所画内容多历史故事、神话传奇。所作用笔工细，线条流畅，神态生动，设色艳丽。传世作品有《张敞画眉图》《寿阳梅花妆图》《班昭续汉书图》《苏蕙织锦回文图》《木兰从军图》《公孙大娘舞剑器图》《白傅姬人试舞图》《秦女吹箫图》《裴航兰桥遇仙图》《交甫解佩图》及《月宫折桂图》扇、《采药图》扇，藏故宫博物院。",[23,28,29,810,30,31,798,433,7,710,299,812],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d3ccc5f64642ebe7afbee730b09f5c1.jpg",[39,61],119,{"id":900,"slug":901,"title":902,"dynasty":18,"author":903,"museum":152,"description":904,"tags":905,"thumbUrl":906,"material":78,"size":78,"collection":78,"collections":907,"showCount":908,"zanCount":131,"manualWeight":11,"mainColor":321},229032,"yue-man-qing-you-tu-chen-mei-229032","月曼清游图","陈枚","《月曼清游图》册，清，陈枚绘，绢本，设色，共12开，每开纵7cm，横1.8cm。\n此画册落款“臣陈枚恭画”，钤“臣枚”印1方。\n每开均配有清代梁诗正的行草体墨题，款“乾隆岁在戊午秋九月朔臣梁诗正敬题”， 戊午为乾隆三年（178年）。\n钤清高宗弘历“乾隆御览之宝”、“古希天子”、“乐善堂图书记”等印共6方。\n《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”。\n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。\n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。\n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。\n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。\n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。\n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。\n图中的楼台房室建筑则采用西洋 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。\n此图册于乾隆三年（178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。\n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。\n这件雕有1人的牙雕精品被称作“百美图”。\n乾隆皇帝在为它题写诗文时将其正式定名为《月曼清游》。",[28,29,810,31,30,123,7,74,212,798,300],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e6e1bafcf4e74f158449349167ce92e.jpg",[],115,{"id":910,"slug":911,"title":912,"dynasty":48,"author":195,"museum":152,"description":913,"tags":914,"thumbUrl":917,"material":260,"size":261,"collection":878,"collections":918,"showCount":919,"zanCount":202,"manualWeight":11,"mainColor":43},223710,"ru-yao-qing-ci-die-yi-ming-223710","汝窑青瓷碟","汝窑是北宋后期宋徽宗年间建立的官窑，时间前后只有二十年。对于作为官窑时烧出的汝窑瓷器，有一个专属名称叫“汝瓷”。而五大名窑中的汝窑应该指的就是这作为官窑二十年的汝窑。因开窑时间极短，传世的器件又极为稀少，所以愈发珍贵。仅就宋瓷而言，“汝瓷”的成就最高。",[48,873,915,916,7,699],"青瓷","开片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6cbf619ebf2138b23d2526c32d88682.jpg",[878],113,{"id":921,"slug":922,"title":923,"dynasty":102,"author":103,"museum":119,"description":924,"tags":925,"thumbUrl":928,"material":37,"size":929,"collection":39,"collections":930,"showCount":919,"zanCount":202,"manualWeight":11,"mainColor":43},221114,"yan-le-tu-zhou-zhou-fang-221114","演乐图轴","大松下五位士人围长案雅聚，童子张琴，仕女抱阮或备茶，人物器用俱以中锋细笔钩勒，顿起顿收，转折挺劲，如画树的枝桠。画上无作者款印，旧传周昉作。按周昉（活动于八世纪末）是陕西长安人，唐代著名人物画家，画史称其人物善于刻画个别的性格，并能掌握特定环境下的情态。本幅构图似是取自其他作品拼凑而成，如士人围坐的构图便是摹仿传世十八学士的一段。",[23,25,26,27,28,29,30,72,926,927,7],"松树","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb21b1bfe7ff31574b4855b09db89917a.jpg","165.6x84.4",[39,61],{"id":932,"slug":933,"title":934,"dynasty":390,"author":195,"museum":152,"description":935,"tags":936,"thumbUrl":937,"material":78,"size":78,"collection":938,"collections":939,"showCount":940,"zanCount":11,"manualWeight":11,"mainColor":43},242155,"fei-cui-diao-shi-nv-xiang-yi-ming-242155","翡翠雕仕女像","此作取油青底翡翠，褐黄绺色晕染衣间，更以黄翡俏雕净瓶花枝，黄绿相映鲜活灵动。仕女发髻高绾，面容恬柔含笑，宽袖长衣垂坠舒展，衣褶如流云轻漾，身姿温婉袅娜。\n\n匠人依料施艺，将玉料天然肌理与仕女柔婉仪态相融，双手捧净瓶的端庄姿态，铺陈出东方女子端秀娴静的气韵，方寸间勾勒雅致国风意境，写实工巧又暗含春日生机，尽显雅致匠心。",[390,254,255,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7419bde41437a6cd4207ded455ed410a.jpg","雕塑精选",[938],112,{"id":942,"slug":943,"title":267,"dynasty":18,"author":944,"museum":152,"description":945,"tags":946,"thumbUrl":948,"material":260,"size":261,"collection":78,"collections":949,"showCount":950,"zanCount":11,"manualWeight":11,"mainColor":132},288272,"sui-chao-tu-zou-yi-gui-288272","邹一桂","邹一桂（1688-1772），清代画家。字元褒，号小山、二知、让卿、乡森子，江苏无锡人。雍正五年(1727)进士，官至礼部侍郎。擅工笔花卉。尝作《百花》卷，各系一诗。传世作品有《白梅山茶图》、《太古云岚图》、《水仙红梅图》等。",[25,24,27,26,183,29,28,122,123,271,499,7,947,74,184],"盆景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b31be5ac75272346afebc37aa3b5b24.jpg",[],109,{"id":952,"slug":953,"title":954,"dynasty":18,"author":955,"museum":119,"description":956,"tags":957,"thumbUrl":963,"material":29,"size":964,"collection":61,"collections":965,"showCount":966,"zanCount":190,"manualWeight":11,"mainColor":132},219889,"bo-gu-hua-cao-zhou-chen-zhao-feng-219889","博古花草轴","陈兆凤","画面左置开光山水瓷瓶，攒插幽竹、紫藤与素叶秋枝，清竹疏朗挺拔，紫穗垂曳如瀑，花叶素净雅致，暗合案头插花的闲趣章法。右侧圆缸承于铜架，朱红墨色琉金金鱼穿曳萍藻之间，摆尾摇鳍暗藏灵动。全作工笔淡彩晕染清妍，线条匀净秀劲，将案头清供的静雅和游鱼的生机相融，把书斋里冲淡安闲的幽居雅兴尽藏笔底，淡寂中透着雅致生机，尽显中式文人清隽的赏玩意趣。",[25,26,27,29,28,668,958,959,960,961,873,962,7,122],"金鱼","金鱼缸","花草","紫藤","珐琅器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0c3ec770138bc377e1486617d4e9536.jpg","231.7x117.7",[61],107,{"id":968,"slug":969,"title":970,"dynasty":117,"author":971,"museum":119,"description":972,"tags":973,"thumbUrl":974,"material":37,"size":975,"collection":128,"collections":976,"showCount":966,"zanCount":11,"manualWeight":11,"mainColor":43},216213,"xie-sheng-tu-shang-xi-216213","写生图","商喜","商喜是明朝时期的一位著名画家。他的写生图是指他在观察实物的基础上进行的写生画。这些画作经常描绘自然风景、动物、人物等，体现出商喜对于自然现象的敏锐观察力和细腻的描绘能力。商喜的写生图具有浓郁的生活气息和生动的感染力，为后世留下了宝贵的艺术瑰宝。\n\n商喜的写生图作品较多，涵盖了多种题材。其中，他的花鸟画尤其出色，作品中常常出现各种花卉和鸟类，每一幅画作都能够流露出自然的美丽与生机。此外，商喜还绘制了许多人物画，其中有写实的肖像画，也有富有想象力的设计人物。他的人物画作品体现了商喜对人物形态和神态的细致捕捉，能够生动地展现人物的个性和心理。商喜的写生图作品为后世留下了深刻的印象，为中国画的发展做出了重要贡献。",[25,26,28,29,122,406,432,90,927,32,656,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ae66413060d9efa0846a06cffbc58a1.jpg","84.6x61.8cm",[128],{"id":978,"slug":979,"title":980,"dynasty":137,"author":981,"museum":446,"description":982,"tags":983,"thumbUrl":986,"material":37,"size":987,"collection":128,"collections":988,"showCount":989,"zanCount":202,"manualWeight":11,"mainColor":43},214823,"da-dou-tu-ren-ren-fa-214823","大豆图","任仁发","任仁发是中国元代的一位画家，他的作品中有一幅著名的名为《大豆图》的画作。《大豆图》是一幅巨幅的屏风画，画面上描绘了一片肥沃的大豆田，田里满是绿油油的大豆苗和成熟的大豆果实，非常生动形象。据说，这幅画是任仁发在他的经历过艰苦卓绝的农村生活后创作的，他希望通过这幅画向人们展示农村的美好景象，并寄托对故乡的怀念之情。任仁发的《大豆图》被誉为元代绘画的杰作，并被认为是中国古代农业画的典范。",[25,29,28,984,985,7],"大豆","叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fabe52ec754cf337e53d8710c0851e8.jpg","18.7x19.4cm",[128],104,{"id":991,"slug":992,"title":993,"dynasty":48,"author":195,"museum":119,"description":994,"tags":995,"thumbUrl":996,"material":37,"size":997,"collection":39,"collections":998,"showCount":999,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夔纹附地，用浮雕式工艺铸出盖四角的蛙纹、耳下的对虎纹以及腹部的兽面纹、凤鸟纹、虎、鹿等纹饰，动物塑造生趣盎然。",[834,522,521,255,256,406,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97a1c57158f9a138d3821382888edfa0.jpg",[],95,{"id":1047,"slug":1048,"title":1049,"dynasty":48,"author":195,"museum":1050,"description":1051,"tags":1052,"thumbUrl":1053,"material":37,"size":1054,"collection":39,"collections":1055,"showCount":1045,"zanCount":190,"manualWeight":11,"mainColor":43},217008,"dou-jiang-tu-yi-ming-217008","斗浆图","黑龙江省博物馆","斗浆这个词在宋代就是斗茶的意思。斗茶在宋代几乎发展成为了一种全民项目，不管是文人雅士、平民百姓，还是商贾人家、皇亲国戚，都躲不开它的魔力。斗茶没什么地点上的限制，茶室或街头都能进行。《斗浆图》是南宋风俗画的代表之一，描绘的是市井街头的斗茶场景。六位斗茶人身边都有全套的家伙什，大到加热所需的炭火、小到茶筅茶盏无一不备。",[23,24,25,26,29,28,30,7,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F137dc318c8daffb2d8540efeb64b42d9.jpg","33.8x40.6",[39],{"id":1057,"slug":1058,"title":1059,"dynasty":18,"author":195,"museum":152,"description":1060,"tags":1061,"thumbUrl":1064,"material":422,"size":78,"collection":39,"collections":1065,"showCount":1045,"zanCount":190,"manualWeight":11,"mainColor":132},215272,"bai-miao-jie-tou-mai-mai-hua-ce-yi-ming-215272","白描街头买卖画册","白描线条简净却含韵致，人物端坐案前，指尖捻丝点翠，眉眼凝着专注。衣袂褶皱随坐姿舒展，线条如微风拂过般流畅。案上木盒静立，瓷杯映着微光，散落的工具似留着指尖余温。无浓墨重彩，却将市井手工艺人的日常定格得细腻动人。素纸之上，每道线条都牵着旧时光的烟火暖意，街头买卖的鲜活气息在极简笔墨里缓缓流淌，藏着对生活本真的温柔描摹，让平凡的手艺场景，在白描清韵中成为时光里的一抹温情印记。",[23,312,224,30,7,1062,787,786,1063,699],"笔","砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3896dc480a68a226c767c74139ac5e66.jpg",[39],{"id":1067,"slug":1068,"title":1069,"dynasty":18,"author":195,"museum":152,"description":1070,"tags":1071,"thumbUrl":1072,"material":37,"size":1073,"collection":39,"collections":1074,"showCount":1075,"zanCount":468,"manualWeight":11,"mainColor":43},218281,"ting-yuan-chun-se-tu-yi-ming-218281","庭苑春色图","画面铺展雅致庭苑景致，暖棕底色晕染时光温润。端坐的女子轻抱琵琶，指尖似凝住弦上余韵，眉眼神情专注而娴静；旁侧侍女俯身案前，动作轻柔如春风拂过，案上器物错落，笼中雀鸟似待和鸣。枝间梅花疏影横斜，点点春意悄然入画，与古朴陈设相映成趣。细腻笔触勾勒人物情态，器物细节精致传神，将春日庭苑里的闲适雅致娓娓道来，尽显古典生活的温婉诗意，仿佛能闻得弦音与花香交织，静享一段时光的从容。",[23,25,29,28,810,30,31,798,123,7,72,710],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029dbcde4f6cb854e31576e88c28885e.jpg","24x24",[39],94,{"id":1077,"slug":1078,"title":1079,"dynasty":18,"author":195,"museum":152,"description":1080,"tags":1081,"thumbUrl":1083,"material":78,"size":78,"collection":465,"collections":1084,"showCount":1085,"zanCount":11,"manualWeight":11,"mainColor":1086},241721,"cui-ban-zhi-yi-ming-241721","翠扳指","这枚扳指通体凝萃浓绿，色似春池叠翠，水头充盈莹润，光华内敛却自带华贵气场。形制周正厚重，通体打磨圆润细腻，外壁无一处雕饰，将翡翠本身的灵韵全然托出，尽显大气端方的旧时审美意趣。\n\n它以材质本真之美取胜，翠色匀净饱满，不见杂色绺裂，入手温凉莹润，是良玉与精工的绝佳契合，将东方玉石文化的含蓄雅致，静静凝于这方寸之间，承载着旧时的风雅意涵。",[254,298,255,461,1082,7],"青绿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d9c37924954ff99f4e510b963d1aa64.jpg",[465],93,"0D904F",{"id":1088,"slug":1089,"title":1090,"dynasty":117,"author":281,"museum":152,"description":1091,"tags":1092,"thumbUrl":1093,"material":28,"size":1094,"collection":128,"collections":1095,"showCount":1085,"zanCount":202,"manualWeight":11,"mainColor":290},222042,"de-qu-zai-ren-ce-13-kai-wang-zhong-222042","得趣在人册13开","汪中，明代画家，以翎毛、山水、人物精擅一时。汪中应人之邀作《得趣在人》册页，共十二开，工笔绘芭蕉、哺雀、舞剑等，此册技法上笔墨雅韵，意境深邃。",[23,24,25,26,224,29,28,122,32,285,656,7,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f74d819ae04a78f0a4642cdafcc5cd.jpg","30×27厘米",[128,61],{"id":1097,"slug":1098,"title":1099,"dynasty":18,"author":195,"museum":152,"description":1100,"tags":1101,"thumbUrl":1104,"material":78,"size":78,"collection":465,"collections":1105,"showCount":1106,"zanCount":468,"manualWeight":11,"mainColor":132},241744,"cui-shi-ba-zi-shou-chuan-yi-ming-241744","翠十八子手串","这串手串以浓绿翠珠为主体，莹润饱满的圆珠色泽匀净鲜亮，尽显翠玉清灵质地。搭配粉碧玺隔珠，冷艳绿意与柔糯粉调相映，撞色雅致和谐。\n\n背云以累丝点翠工艺打造，镶嵌珍珠碧玺，精巧富丽，仿若盛放的花间星芒。下悬粉碧玺坠饰，随形雕琢莹润粉嫩，腕间轻摇时，佩饰轻晃流光，将玉石天生之美与清宫匠心工艺相融，静静诉说旧时贵族闺阁的温婉意趣，尽显雅致华贵的旧日风华。",[298,254,255,7,1102,1103,29,461],"珠子","坠饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F324beefe59528592cd90256cdc4966ec.jpg",[465],90,{"id":1108,"slug":1109,"title":1110,"dynasty":18,"author":195,"museum":152,"description":1111,"tags":1112,"thumbUrl":1115,"material":78,"size":78,"collection":465,"collections":1116,"showCount":1117,"zanCount":11,"manualWeight":11,"mainColor":43},251564,"qing-yu-tou-diao-lian-ban-wen-dai-zuo-gai-ping-yi-ming-251564","青玉透雕莲瓣纹带座盖瓶","青白玉质莹润温婉，整器以莲为魂，素净瓶身似承露玉盏，托着亭亭韵致。盖顶水鸟敛羽小憩，将郊野清趣凝于玉上。\n\n瓶身两侧透雕莲荷百态，盛放芙蕖、初绽花苞与盘曲荷茎交错缠绕，虚实相生，把夏日荷塘的生机镂刻入玉中。刀工细腻流畅，走线婉转柔和，不见生硬棱角，将玉料的温润与莲的清雅完美融合，暗合君子出尘之姿，静立间便将江南水泽的恬澹雅致收于方寸，是玉雕仿生陈设的精巧之作。",[461,254,1113,255,1114,7],"透雕","莲瓣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2396e8e3aeee9288e3c15bac112f90df.jpg",[465],89,{"id":1119,"slug":1120,"title":150,"dynasty":137,"author":237,"museum":152,"description":1121,"tags":1122,"thumbUrl":1123,"material":260,"size":261,"collection":78,"collections":1124,"showCount":1125,"zanCount":202,"manualWeight":11,"mainColor":43},290093,"lan-hua-tu-qian-xuan-290093","虽然精细工整,但绝不是镜子似的照搬现实,藤篮的复杂图案、花卉的舒卷姿态和排列位置,无不经过巧妙经营和提炼,来自于心与物碰撞熔铸的艺术之意象,这是应该加以明确的。",[25,122,28,29,91,7,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10cab7b8f6574051ee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由其胸中洒然也”。明十才子之一李梦阳在其《观序上人所藏陶成画菊石歌》中，称赞陶成的菊花、岩石画远远超出了当时的菊石专家计汝和、徐霖。诗中说： “陶生画菊石，潦草笔有力…近时名手计汝和，此生笔力方之过。江柬徐霖学画石，效颦差胜王与何。”故而有这样的说法： “得黄金百不如云湖画一幅。”",[25,26,27,24,29,122,271,123,522,74,184,124,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf77270b17ed20c031bfe4c49651301a.jpg",[],{"id":1174,"slug":1175,"title":1176,"dynasty":18,"author":195,"museum":69,"description":1177,"tags":1178,"thumbUrl":1179,"material":548,"size":1180,"collection":78,"collections":1181,"showCount":1164,"zanCount":190,"manualWeight":11,"mainColor":43},223473,"zhi-ping-shi-nv-tu-yi-ming-223473","执瓶仕女图","画中少女立于画中，长袍长裙飘扬，高举丝绸高瓶，丝绒修长，露出的右手指甲细长，这姑娘应为高官达人家眷或宫廷内女子",[25,26,27,29,28,30,31,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10c7df1b022f11cc8235ca9a2a3f80c2.jpg","92x56厘米",[],{"id":1183,"slug":1184,"title":221,"dynasty":48,"author":543,"museum":152,"description":1185,"tags":1186,"thumbUrl":1187,"material":260,"size":261,"collection":78,"collections":1188,"showCount":1189,"zanCount":202,"manualWeight":11,"mainColor":43},288270,"hua-lan-tu-zhao-chang-288270","赵昌，生于970-1040年，字昌之，北宋画家，广汉剑南（今四川剑阁之南）人。工书法、绘画，擅画花果，多作折枝花，兼工草虫。初师滕昌祐，后来发展出自身画风，没骨花鸟自成一派，有徐熙、黄荃遗风。在北宋时期与宋徽宗赵佶齐名，是宋代花鸟画坛的杰出画家。",[23,24,25,26,122,28,29,91,341,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2085ee9a72b9b6a9215540541abb702a.jpg",[],83,{"id":1191,"slug":1192,"title":1193,"dynasty":18,"author":1194,"museum":69,"description":1195,"tags":1196,"thumbUrl":1198,"material":1199,"size":1200,"collection":670,"collections":1201,"showCount":1189,"zanCount":202,"manualWeight":11,"mainColor":132},233390,"shan-shui-ren-wu-ce-jin-nong-233390","山水人物册","金农","册共十二开，分别绘佛像、山水、人物故事等。\u2028　　第一开：墨笔白描佛像、菩提树，画左自题两行，款“己卯八月”。钤“金吉金印”。\n第二开：画礼佛图，右方自题六行，款“心出家盫僧画记”。钤“金吉金印”。\n第三开：画秋林共话，左方自题八行，款“稽留山民记”。钤“莲峰居士”等二印。\n第四开：画湖山采菱，右下自题七言诗一首，下题记六行，款“冬心先生笔记”。钤“冬心先生印”。\n第五开：画青山薄汀，上方自题词一首，款“乾隆二十四年八月十一日七十三翁金农画记”。钤“金氏寿门”印。\n第六开：水墨画鬼趣图，左上自题七行，款“龙梭仙客记”。钤“金农”、“莲峰居士”二印。\n第七开：画玉川煮茶图，自题两行，款“昔耶居士”。钤“寿”一印。\n第八开：画板桥流水，桃林策杖。左方自题七绝一首，款“金二十六郎画诗书”。\n第九开：画柳塘间舟，右上自题七言诗一首，款“曲江外史画诗书”。钤“冬心先生”印。\n第十开：画花塘长亭，上方自书词曲，款“金牛湖山诗老小笔并自度一曲”。钤“寿”、“朋”二印。\n第十一开：画抱膝长思，右上自题“昔年曾见，金老丁晚年自号也”。钤“金老丁”印。\n第十二开：画山僧叩门图，左下自题七言诗，款“昔耶居士并题”。钤“国泉”一印。裱边、附页有健庵、吴湖帆题记。\n此图用笔灵活古拙，山石用意笔写之，淡墨轻染，岸柳、杂树、芭蕉用勾点夹叶法，钱荷用臥笔横点，佛像、人物、山鬼用笔滞涩朴拙，富有韵味。全画笔法生拙奇奥，设色清秀淡雅，意境幽深，为金农山水人物画代表作品。\u2028　　鉴藏印：“曾藏潘健盦处”、“铭心绝品”、“贞甫审定”等六十二方。\u2028　　庞莱臣《虚斋名画录》著录。",[25,26,224,29,312,183,30,1007,1197,299,7,74],"流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F196382a9fa13f1fdd21f5ad09cb12d1a.jpg","纸本，墨笔或设色","纵24.3厘米，横31.2厘米",[670,39,61],{"id":1203,"slug":1204,"title":1205,"dynasty":48,"author":445,"museum":119,"description":1206,"tags":1207,"thumbUrl":1209,"material":37,"size":1210,"collection":39,"collections":1211,"showCount":1189,"zanCount":413,"manualWeight":11,"mainColor":321},218901,"ming-yuan-du-shi-tu-liu-song-nian-218901","茗园赌市图","这幅画以人物为主，卖茶的人有水点茶，有壶提着，有杯子品茶。一个茶贩子在右前方抬着茶叶，停下来看他的肩膀，一个女人一手拿着壶，一手抱着孩子，边走边看茶战。在这幅画中，有男人，有女人，有老人，有壮年人，有小孩，都有特色的表情，目光都集中在 斗茶 的卖茶人身上，每一个活生生的形象，把宋代街头流行的斗茶场景最大程度地展现在世人面前。这幅画署名刘松年，但笔墨风格更接近于李嵩。",[23,28,312,29,30,7,210,1208],"风俗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a8c9d6e6c9da08adc2121f8104eb9e6.jpg","27.2x25.7",[39],{"id":1213,"slug":1214,"title":1215,"dynasty":1216,"author":195,"museum":152,"description":1217,"tags":1218,"thumbUrl":1221,"material":260,"size":261,"collection":878,"collections":1222,"showCount":1223,"zanCount":202,"manualWeight":11,"mainColor":132},223735,"shi-ba-shi-ji-fa-guo-sai-fu-er-yao-bai-you-jin-cai-hua-hui-ci-guan-yi-ming-223735","十八世纪法国赛佛尔窑白釉金彩花卉瓷罐","不详","欧洲人早在“地理大发现”之前，已接触到中国陶瓷，但数量十分有限，仅能从少量的历史文献中发现零星记载，存世的实物稀如星凤\n15世纪葡萄牙人开辟了欧洲与中国的贸易通道，16世纪以来，特别是1557年之后，中国瓷器开始批量销往欧洲，供上层社会使用，中国瓷器收藏成为现实，经历一个多世纪的演进后，中国瓷器收藏于17世纪后期渐成风尚并在18世纪广为流行。这一过程中，瓷器收藏群体形成，并逐步由皇室、王公贵族扩展到富有的商人、市民阶层。\n随着中欧陶瓷贸易规模的不断扩大，中国瓷器收藏在荷兰、英国、法国、德国、丹麦、瑞典等西欧国家达到前所未有的狂热程度，致使大量各种规格档次的中国瓷器不再止于满足生活所需，而是脱离其物质功用，转化为收藏品。当时中国瓷器在欧洲既被作为财产保藏，又被当作艺术品欣赏、陈设，以显示收藏者不同寻常的身份和审美品位。\n18世纪中国瓷器在欧洲收藏品中最受追捧，对欧洲社会各个阶层的物质生活和精神生活均产生了深刻的影响，其中以上层社会为最。这在改善欧洲人的生活品质，推动西欧陶瓷生产技术的提高，丰富欧洲装饰艺术等方面得到充分体现。这一研究领域已引起18世纪以来不少学者的关注，亦成为当代中西文化交流研究的热点。然而，中外学者较少将18世纪欧洲的中国瓷器收藏与市场交易联系起来加以考察，对这一问题的认识仍较为模糊。因此有必要从这一视角岀发，探讨18世纪欧洲的中国瓷器收藏及相关问题，以期准确把握国际艺术市场中国古陶瓷交易的发展脉络。",[873,7,1219,1220,168],"白釉","金彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4cdd0dd5e1e297169ba156f900fb981.jpg",[878],82,{"id":1225,"slug":1226,"title":1227,"dynasty":117,"author":195,"museum":1228,"description":1229,"tags":1230,"thumbUrl":1231,"material":37,"size":1232,"collection":39,"collections":1233,"showCount":1234,"zanCount":202,"manualWeight":11,"mainColor":43},218410,"ying-xi-tu-yi-ming-218410","婴戏图","圣路易斯艺术博物馆","花木扶疏的庭院里，石影横斜，稚童们的身影灵动鲜活。围坐小几的孩童或俯身凝眸，或执物细玩，憨态可掬；旁侧的孩子相互追逐，衣袂轻扬间满是天真烂漫。案上器物精巧，阶前小凳古朴，衬得画中世界雅致又充满烟火气。设色古雅温润，线条婉转细腻，将孩童的无忧时光定格成帧，仿佛能听见稚子的嬉闹声穿过岁月，漫溢着恬淡的生活意趣与对童真的脉脉咏叹。画面以细腻笔触勾勒出童真百态，古雅的色调与婉转的线条交织，将无忧岁月凝练成帧，让观者在古朴的氛围里，触摸到那份穿越时空的天真暖意。",[23,25,29,28,27,30,476,35,927,91,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F875a332dd57d21a2a5dbe31d190af59f.jpg","182.2x98.1",[39],80,{"id":1236,"slug":1237,"title":1238,"dynasty":48,"author":1239,"museum":119,"description":1240,"tags":1241,"thumbUrl":1244,"material":260,"size":1245,"collection":59,"collections":1246,"showCount":1247,"zanCount":202,"manualWeight":11,"mainColor":43},287652,"wei-lu-bo-gu-tu-zhang-xun-li-287652","围炉博古图","张训礼","庭中松树挺立，梅花盛开。屏风前三文士围束腰长桌而坐，其中二文士坐於榻上，榻下壶门开光，一观画，一盥手回首；靠背扶手椅上文士手作研磨状，似为点茶备茶。一文士园中踱步吟诗。",[24,25,27,29,30,28,1242,798,7,1243],"古松","博古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc850534567ac90cd07b70a89c97c8ca.jpg","138x72.7",[59],79,{"id":1249,"slug":1250,"title":1251,"dynasty":18,"author":1252,"museum":69,"description":1253,"tags":1254,"thumbUrl":1255,"material":1256,"size":1257,"collection":39,"collections":1258,"showCount":1247,"zanCount":11,"manualWeight":11,"mainColor":132},237744,"bai-miao-shi-nv-hua-zhou-hua-yan-237744","白描仕女画轴","华嵒","此图绘一端庄文弱的女子，低头垂目，双手笼袖，侧身坐于藤木秀榻上。侍女手捧书函正急步送上前来。此幅属小景致人物画，没有繁复的情节和深刻的创作思想，只是侧重于展示女性的外在形象美。构图奇巧，画幅的上半部没有一笔字画涂抹，人物及款题均置于下半部。大面积的空白位于人物的上方，扩展了人物上部的空间，同时又以“此时无声胜有声”的暇想意境充实了画面。此外，上半部无笔墨的空旷亦与细笔白描人物简洁的笔风相吻合，有助于突出主体人物。图中女子尖下颚，瓜子脸，面貌秀美俊俏，细眉长目间暗含凄婉惆怅之情。颈部修长，双肩下溜，呈现出“弱不禁风”的体态，体现了清中期文人画家于仕女画上追求“美女一根钉”的“病态美”的审美取向。\n华嵒的人物画大体有三种风貌，早期宗法宋李公麟，画风严谨，造型准确写实。中年以后效法明陈洪绶及其传派，人物有所变形，注重画面的装饰效果。晚年博取众家所长，形成自己形神兼备、既写实又具韵味的笔墨风格。此图当属其早期仕女画的代表作。",[25,26,27,312,30,31,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e8f10a6089ea06b787ca52b83785359.jpg","绢本，墨笔","纵82厘米，横32.2厘米",[39],{"id":1260,"slug":1261,"title":1262,"dynasty":48,"author":1263,"museum":152,"description":1264,"tags":1265,"thumbUrl":1267,"material":382,"size":1268,"collection":39,"collections":1269,"showCount":1247,"zanCount":202,"manualWeight":11,"mainColor":43},218585,"lan-ting-ti-xu-tu-liang-kai-218585","兰亭题序图","梁楷","松枝虬劲，墨色浓淡交织出苍古意韵。雅士二人，衣纹以极简线条勾勒，却见洒脱之态——一人凭案凝思，似在斟酌字句；一人侧立静听，神态悠然。案上瓶梅斜逸，木盒静陈，细节处暗藏文心。笔墨删繁就简，却将兰亭雅集的清旷之境、文人相契的灵犀之态，尽纳其中。虽无繁复刻画，却于简约中见深厚，如品淡茶，唇齿留香，尽显文人画的逸致与风骨。每一笔皆不多余，每处留白皆藏深意，仿佛清风过耳，让人心生向往。",[25,26,24,183,312,1266,30,688,35,7,74],"简笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b6948482f3ced4ffd228934551e7fb4.jpg","28x48",[39],{"id":1271,"slug":1272,"title":1273,"dynasty":18,"author":1274,"museum":152,"description":1275,"tags":1276,"thumbUrl":1277,"material":78,"size":78,"collection":385,"collections":1278,"showCount":1279,"zanCount":11,"manualWeight":11,"mainColor":132},238322,"dong-gao-tang-hua-si-shou-zhou-dong-gao-238322","董诰唐花四首轴","董诰","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝 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色彩鲜艳明快，笔墨工整。",[25,24,26,27,28,29,30,379,123,7,34,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe16ec146f1085c0dfe8356014a6f5971.jpg","纵119.7横61.5厘米",[39],{"id":1388,"slug":1389,"title":1390,"dynasty":18,"author":195,"museum":152,"description":1391,"tags":1392,"thumbUrl":1395,"material":260,"size":261,"collection":878,"collections":1396,"showCount":1397,"zanCount":11,"manualWeight":11,"mainColor":440},248565,"yi-xing-yao-zi-sha-hei-qi-miao-jin-ju-hua-hu-yi-ming-248565","宜兴窑紫砂黑漆描金菊花壶","宜兴窑，在今江苏宜兴丁蜀镇，故名。烧瓷历史悠久，秦汉时宜兴地区陶窑密布；两晋时在均山烧青瓷，唐初在归径等地大量烧制，至晚唐、五代成为南方民间著名青瓷窑；宋、元时期，丁蜀与西渚一带大规模烧造日用陶和早期紫砂。明清时成为当时的烧陶中心。涧众村发现有唐代青瓷窑址。明代以紫砂器闻名于世，出现不少制紫砂壶名家，如供春；时大彬、李仲芳、陈仲美等，并仿烧宋代钧窑器物，因有"宜钧"之称。\n在今江苏宜兴市南部的丁蜀镇一带，故称为宜兴窑。宜兴窑从汉代始烧红陶、灰陶、和原始青瓷等等，其烧制陶瓷的历史一直延续到今天，有2000多年，故可称是最古老的窑口。宋代已开始烧造紫砂器，明代的紫砂器闻名于世，清代是其高峰。建国后，宜兴除传统的紫砂陶、均陶有很大发展外，还恢复了青瓷生产，新创了花釉陶和精陶等产品，是我国重点陶瓷产区之一。",[18,873,1393,875,1394,7],"漆器","菊花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24cabab986548635e9db1a0d0ff8a03c.jpg",[878],67,{"id":1399,"slug":1400,"title":1401,"dynasty":48,"author":195,"museum":119,"description":1402,"tags":1403,"thumbUrl":1405,"material":78,"size":78,"collection":59,"collections":1406,"showCount":1397,"zanCount":202,"manualWeight":11,"mainColor":43},231056,"dong-ri-ying-xi-tu-yi-ming-231056","冬日婴戏图","深冬庭院里，梅枝缀满玉蕊，竹影清疏横斜，山茶燃着点点艳红，揉化了凛冬寒意。\n\n梳着双丫髻的女娃牵着小同伴，两人的目光齐齐追着脚边扑跃的花狸猫，小男娃手里的兔形花灯险些坠地，稚拙娇憨的神态被刻画得活灵活现。\n\n整幅设色柔润雅致，工笔写实细腻，孩童软绵的衣料褶皱，狸猫蓬松的皮毛，花木的鲜活情态都一一晕染真切，将冬日里稚童嬉游的融融温情铺陈开来，把萧索寒冬晕成了满纸天真暖意，恰似一帧鲜活的冬日闲趣剪影。",[23,25,24,28,29,30,123,32,432,34,7,1404],"婴戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F758a8c0d4776f0fd17509254b24ed5ae.jpg",[59],{"id":1408,"slug":1409,"title":1410,"dynasty":48,"author":1411,"museum":1412,"description":1413,"tags":1414,"thumbUrl":1416,"material":37,"size":1417,"collection":78,"collections":1418,"showCount":1397,"zanCount":202,"manualWeight":11,"mainColor":440},218603,"wu-bai-luo-han-zhi-shou-hu-shu-jin-tu-zhou-ji-chang-218603","五百罗汉之受胡输赆图","周季常","波士顿美术馆","画面的上半部分是五个罗汉在云中行走，身后是由松柏树组成的瀑布，而下半部分是一个长鼻黑眼的胡人骑着骆驼，手里拿着一个珊瑚，另一个胡人负责拉着骆驼。风景和人物是用柔和的细线画出来的，使其生动而自然。北周庾信的《哀江南》写道。西边的大厅用浮玉覆盖，南边的大厅用羽毛覆盖。武秦与越阴，荆燕与楚舞。这就是为什么后来经常用 西厅南隅 的说法来指代来自四面八方的贡品的朝拜。这幅图像和面向山姆的竹林图像都是献宝的图像，而且都显示了非汉族人的打扮，如身穿红袍、打扮成金人的骆驼手。",[23,25,26,27,636,29,30,28,1415,7],"石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a32d2b58935d5585c6c8a74a79b2ef4.jpg","110.5x52.0",[],{"id":1420,"slug":1421,"title":1422,"dynasty":18,"author":1423,"museum":152,"description":1424,"tags":1425,"thumbUrl":1426,"material":37,"size":1427,"collection":39,"collections":1428,"showCount":1397,"zanCount":11,"manualWeight":11,"mainColor":132},214835,"fang-li-xi-gu-cai-wei-tu-quan-juan-xiao-chen-214835","仿李晞古采薇图全卷","萧晨","在右边，伯益坐在山坡上，双膝弯曲，认真听着舒淇的讲话，舒淇俯身向前致意，面前放着一把锄头和一筐野菜。萧琛，字灵溪，号仲素，清代画家，善诗，精画，山水人物，师承唐宋。",[23,25,26,53,54,29,28,313,30,926,316,315,74,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F341cd77a009ea4082f79b83c8e83756d.jpg","\u001659.2x27.1",[39],{"id":1430,"slug":1431,"title":1432,"dynasty":18,"author":1433,"museum":418,"description":1434,"tags":1435,"thumbUrl":1437,"material":126,"size":78,"collection":39,"collections":1438,"showCount":1439,"zanCount":202,"manualWeight":11,"mainColor":132},219427,"zhu-cha-xi-yan-tu-zhou-qian-hui-an-219427","煮茶洗砚图轴","钱慧安","此画作于同治十年辛未（1870）。画一文士安坐水榭，石案上摆放着陶壶瓷杯、古鼎铜尊，与琴书相伴。两个小童一人正在煮茶，另一人则在溪边洗刷砚台，水面清透，可见金鱼数条。画上篆书画题“煮茶洗砚”，钤“吉生”朱文钱形印。",[25,26,28,29,30,811,1197,35,7,926,1436,1063,787],"仙鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67c2c4a3ab8226ebbe0005936e35de5b.jpg",[39],65,{"id":1441,"slug":1442,"title":1443,"dynasty":48,"author":1444,"museum":1445,"description":1446,"tags":1447,"thumbUrl":1450,"material":37,"size":1451,"collection":39,"collections":1452,"showCount":1439,"zanCount":468,"manualWeight":11,"mainColor":43},219027,"shi-wang-tu-ce-lu-xin-zhong-219027","十王图册","陆信忠","奈良国立博物馆","此十王图即十殿阎罗各一幅的每一个都被描绘成魔王带领着一群来自阴间的官员，他们坐在椅子上审查罪行，狱卒、待审的死者和被判处死刑的人在他们面前接受各种惩罚。精确的具象形式和生动的色彩使其具有强烈而敏感的表现力，是卢新中画派的杰作。",[23,636,28,29,30,798,1448,34,7,1449],"鬼神","文书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09d532ab5c900a8a678b7aae912853ec.jpg","85.9x50.8",[39],{"id":1454,"slug":1455,"title":1456,"dynasty":18,"author":195,"museum":152,"description":1457,"tags":1458,"thumbUrl":1459,"material":78,"size":78,"collection":465,"collections":1460,"showCount":1461,"zanCount":11,"manualWeight":11,"mainColor":43},251574,"qing-yu-zhao-fu-ding-yi-ming-251574","青玉召夫鼎","取上古青铜方鼎形制，青玉质地匀净温润，色泽清和内敛。器身雕琢饕餮兽面纹，线条沉凝庄重，辅以出戟勾连轮廓，复刻商周礼器的肃穆古意。兽面构图规整威严，带着上古祭祀重器的庄重气韵。四足阴刻纹饰纤细流畅，与器身纹样呼应协调。整器将青铜礼器的厚重威仪，和玉料自带的清润柔和完美相融，形制周正雅致，既存古礼器的庄严格局，又尽显玉作的温婉质感，是仿古玉作中的精巧佳器。",[254,255,257,835,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb777aab9f46bd269f82382e5b30d3a8.jpg",[465],64,{"id":1463,"slug":1464,"title":1465,"dynasty":117,"author":1466,"museum":119,"description":1467,"tags":1468,"thumbUrl":1470,"material":37,"size":1471,"collection":128,"collections":1472,"showCount":1461,"zanCount":202,"manualWeight":11,"mainColor":132},220381,"xuan-zong-jia-he-tu-zhu-zhan-ji-220381","宣宗嘉禾图","朱瞻基","此作以清隽青釉贯耳瓶供插嘉禾，设色雅致写实，稻穗饱满垂坠，颗粒分明，带着沉甸甸的秋实质感，将谷穗丰茂鲜活之态尽致描摹，暗合五谷丰登的美好祈愿。\n\n茎叶舒展柔婉，工细笔触勾勒出其舒展之姿，釉色晕染还原出古瓷温润内敛的质感。右上角题字笔墨端正苍劲，与清雅瓶花相映成趣，满幅静穆祥和的宫廷雅韵。整作融清供雅致与田家祥瑞意趣为一体，尽显精工雅致的特质，将对岁稔年丰的期许藏于笔底绢间，平和静雅又意蕴悠长。",[23,24,25,26,28,29,74,1469,7,450],"嘉禾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0e32f7bbc90c4171c4f4cf997d6f5cc.jpg","本幅 38.4×30.3",[128],{"id":1474,"slug":1475,"title":1476,"dynasty":117,"author":281,"museum":282,"description":283,"tags":1477,"thumbUrl":1478,"material":126,"size":287,"collection":78,"collections":1479,"showCount":1461,"zanCount":202,"manualWeight":11,"mainColor":290},216263,"ming-za-hua-ce-2-wang-zhong-216263","明杂画册-2",[25,26,224,29,28,122,7,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F031eea93913669c390a6cd9e1119488c.jpg",[],{"id":1481,"slug":1482,"title":1483,"dynasty":18,"author":1484,"museum":69,"description":1485,"tags":1486,"thumbUrl":1487,"material":76,"size":1488,"collection":39,"collections":1489,"showCount":1490,"zanCount":11,"manualWeight":11,"mainColor":132},238204,"duan-yang-gu-shi-tu-ce-xu-yang-238204","端阳故事图册","徐扬","此图册各开分别描绘了端阳节期间的重要民俗活动，集中表现了历代各地的风俗习惯。每开均以隶书题写画名，并以行书对画作加以注释，以便读者进一步理解画面内容。乾隆皇帝作为出身于满族的清王朝统治者，将顺民心、近民俗视为稳定朝政的一条治国的根本之道，他常谕令宫廷画家以写实的绘画技法表现汉族的民俗事象，除谕令徐扬绘本图册之外，还谕令徐扬绘《姑苏繁华图》、《京春诗意图》，以及命宫廷画家周鲲绘《村市生涯图》等等，以便对汉民族的风俗传统有更为形象的认知。\n第一开名《射粉团》，题：“射粉团，唐宫中造粉团角黍饤盘中，以小弓射之，中者得食。”\n第二开名《赐枭羹》，题：“汉令郡国贡枭为羹赐官以恶鸟，故食之。”\n第三开名《採药草》，题：“五日午时蓄採众药治病，最效验。”\n第四开名《养鸲鹆》，题：“取鸲鹆儿毛羽新成者去舌尖，养之皆善语。”\n第五开名《悬艾人》，题：“荆楚风俗以艾为人悬门户上，以禳毒气。”\n第六开名《系采丝》，题：“系采丝，以五色丝系臂，谓之长命缕。”\n第七开名《裹角黍》，题：“以菰叶裹粘米为角黍取阴阳包裹之义，以赞时也。”\n第八开名《观競渡》，题：“观競渡，聚众临流称为龙舟胜会。”\n此图册构图严谨精妙，人物造型秀逸生动，线条遒劲流畅，色彩明丽典雅，显示出作者较强的写实功底和乾隆朝宫廷绘画工整清丽的笔墨特点。\n图册上钤有乾隆皇帝诸方玺印：“乾隆鉴赏”、“三希堂精鉴玺”、“宜子孙”等。",[25,26,224,28,29,30,433,74,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23165b22fac125b7d6ddb6e8f6f1549e.jpg","每开纵20.7厘米，横18.2厘米",[39,61],63,{"id":1492,"slug":1493,"title":1494,"dynasty":117,"author":531,"museum":152,"description":1495,"tags":1496,"thumbUrl":1497,"material":78,"size":78,"collection":78,"collections":1498,"showCount":1490,"zanCount":202,"manualWeight":11,"mainColor":43},237908,"ting-qin-zhou-chen-hong-shou-237908","听琴轴","《陈洪绶听琴轴》是明代画家陈洪绶创作的一幅绫本设色画，该画现藏于 。\n款署：“枫溪弗迟老人陈洪绶写于定香桥畔。\n”钤“字章侯”白文印。\n图绘一端庄文弱的女子在专心抚琴的场景。\n其优美的琴音吸引了周围的人，侍女驻足恭听，不愿打扰动听的旋律；男子侧耳静听，不愿落掉每一个音符。\n“弹”与“听”构成了画作的主题，也表达了文人所向往的一种娱乐情趣和他们日常的家居生活状态。\n此幅所绘人物形象古拙，线描造型准确传神，显现出作者深厚的艺术功底和既写实又独具韵味的笔墨特点，是其仕女人物画的代表作之一。",[25,26,24,27,29,28,312,30,31,72,123,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f517614b1bbd46132ab010b3fe9ea3e.jpg",[],{"id":1500,"slug":1501,"title":1502,"dynasty":117,"author":195,"museum":152,"description":1503,"tags":1504,"thumbUrl":1508,"material":260,"size":261,"collection":878,"collections":1509,"showCount":1490,"zanCount":11,"manualWeight":11,"mainColor":43},223921,"guan-yao-qing-hua-feng-huang-wan-yi-ming-223921","官窑 青花凤凰碗","官窑，是南宋宋高宗时期一些窑口专为宫廷烧制的瓷器，供御捡退，在当时俗称"官窑“。官窑，毛公洞第一（今 江苏扬州一带）。南宋官窑瓷器沿袭北宋风格，规整对称，宫廷气势，高雅大气，一丝不苟。因为胎土含铁量极高，手感沉重，胎土呈深黑褐色，后称”紫口铁足“。釉面沉重幽亮，釉厚如堆脂，温润如玉。釉面多层反复细刮，釉光下沉而不刺眼，纹理布局规则有致，造型庄重大方。另外”肉腐留骨“（露胎处像死人骨头，俗称”骨董“）也是那时所造。我们今天所称官窑泛指历朝官府烧造瓷器，其实，历史上仅指南宋时期烧造的瓷器，后世再无此称呼。\n官窑起自唐，有两种涵义，一是指贡器，一是指官厂。自唐代至元代（公元八世纪~十四世纪），官窑多有贡器，少有官厂，采取的形式是“官监民烧”，烧出的瓷器，“千中选十，百中选一”，进贡给统治阶级。这种瓷器就叫做贡瓷和官窑。那时，唐代在产瓷区设有司务，如唐景隆初（公元707~709年）褚绥为新平(景德镇)司务，奉诏监烧献陵祭器。宋代设监，如太平兴国年间(公元976~983年)，派殿前承旨赵仁济监理越州窑务。到了元代则设局，以提领监陶，后改为本设总管。他们烧出的“景德年制”，“枢府’等款式的瓷器，分别称为“景德窑’，“枢府窑”等。\n官窑之谓，在中国古代陶瓷史上有不同的内涵。就广义而言，是有别民窑而专为官办的瓷窑，其产品为宫廷所垄断。在宋代瓷器中，官窑即是一种专称，指北宋和南宋时在京城汴京（汴梁，今开封）和临安（今杭州）由宫廷设窑烧造的青瓷，故又有“旧官”和“新官”之分，前者为北宋官窑，后者为南宋官窑。\n官窑是在宋大观及政和年间于汴梁所造，青瓷釉色晶莹惕透，有开裂或呈冰片状，粉青紫口铁定是其特色。\n宋室南移在凤凰山下设立官窑，又称修内司官窑或内窑，郊坛下设立的郊坛下官窑，器形较多，有直径大过一尺的大型产品。\n从1128年元世祖忽必烈设置“浮梁磁局”，到二十世纪清朝覆亡，景德镇是元、明、清三代皇家瓷厂所在地，中国的官窑制度在这里延续了632年，江西景德镇也由此拥有烧造时间最长、规模最大、工艺最精巧的官办瓷厂。景德镇地下也因此存有大量因禁绝流入民间而被就地掩埋的古碎瓷，成为中国品类最完整、年代最可靠、信息最丰富的官窑遗址和“地下瓷都”。北宋官窑也称汴京官窑。相传北宋大观、政和年间，在汴京附近设立窑场，专烧宫廷用瓷器，即北宋官窑。南宋顾文荐《负暄杂录》记载："宋宣政间（宣和、政和即公元1111－1125年）京师自置窑烧造，名曰官窑"，南宋叶在其《垣斋笔衡》中对北京官窑亦有记载："政和京师自置窑烧造，名曰官窑"。当时的京师即汴京（今开封），因宋代汴京遗址已沉入地底，到今为止，尚未发掘出北宋官窑遗址，对于北宋官窑遗址缺乏考古发掘地资料和充足的文献资料的支撑，因此，时到今，关于北宋官窑遗址在何处，仍有不同说法，一般有三种说法：一说北宋官窑即为汝窑；二说否认北宋官窑的存在；三说为北宋官窑即为汴京官窑，它与南宋时的修内司官窑先后存在。\n南宋顾文荐《负睻杂录》记载：“宋宣政间（宣和、政和即公元1111~1125年）京师自置窑烧造，名曰‘官窑’”，南宋叶寘在其《垣斋笔衡》中对北京官窑亦有记载：“政和京师自置窑烧造，名曰‘官窑’”。明代《事物绀珠》、《留留青》因袭此说。当时的京师即汴京(今河南开封)，因宋代汴京遗址已沉入地下，到今为止，尚未发掘出北宋官窑遗址。对于北宋官窑遗址缺乏考古发掘地资料和充足的文献资料的支撑，因此，今关于北宋官窑遗址在何处，仍有不同说法，一般有三种说法：一说北宋官窑即为汝窑；二说否认北宋官窑的存在；三说为北宋官窑即为汴京官窑，它与南宋时的修内司官窑先后存在。支持第三种说法的人较多。\n北宋官窑传世品很少，形质与工艺与汝窑有共同处。器多仿古，主要有碗、瓶、洗等。胎体显厚，胎骨深灰、紫色或黑色，釉色有淡青、粉青、月白等，釉质莹润温雅，尤以釉面开大裂纹片著称，不同于南宋官窑和汝窑及龙泉窑瓷器。底有文钉烧痕，有“紫口铁足”的特征。",[1505,873,1506,1507,7],"明代","青花","凤凰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bf87d4eb33e6660751b48f7f249bb87.jpg",[878],{"id":1511,"slug":1512,"title":1513,"dynasty":48,"author":195,"museum":119,"description":430,"tags":1514,"thumbUrl":1520,"material":199,"size":438,"collection":78,"collections":1521,"showCount":1490,"zanCount":11,"manualWeight":11,"mainColor":440},223471,"xi-mao-tu-yi-ming-223471","戏猫图",[23,25,24,29,28,432,406,122,7,91,168,1021,1515,710,1516,435,1517,1518,1519],"宠物","桌案","草木","设色工笔","宋代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F944be0ae10bb40132b87c6508e80870b.jpg",[],{"id":1523,"slug":1524,"title":1525,"dynasty":117,"author":195,"museum":508,"description":1526,"tags":1527,"thumbUrl":1528,"material":126,"size":78,"collection":39,"collections":1529,"showCount":1490,"zanCount":11,"manualWeight":11,"mainColor":43},219523,"shuang-xian-ren-tu-yi-ming-219523","双仙人图","画面里两位仙人意态悠然，一位素衣宽袍，神情沉静垂手而立；另一位以叶为裳，虬髯浓密，正持笔轻触好友长须，亲昵随性，尽显知己投契的自在。\n\n线条清劲如铁线，衣纹舒展自然，叶裳晕染细致鲜活，浅淡古雅的设色衬出超凡仙逸。留白开阔空灵，将世外之人的澹泊闲情，知己同游的融融意态铺陈开来，笔底藏着山林隐者的逍遥，古意悠悠，静雅动人。",[23,25,26,27,28,312,29,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cc7edf6d9652291b3fbe4295465e07a.jpg",[39],{"id":1531,"slug":1532,"title":1533,"dynasty":611,"author":1534,"museum":119,"description":1535,"tags":1536,"thumbUrl":1538,"material":37,"size":1539,"collection":39,"collections":1540,"showCount":1541,"zanCount":190,"manualWeight":11,"mainColor":43},219490,"wen-hui-tu-qiu-wen-bo-219490","文会图","丘文播","图绘四文士宴饮、赋诗、抚琴的雅集场景。四人均宽衣大袍，坐于榻上，身旁置酒杯、酒瓶，似在即席作文行酒。四位人物的姿态不一，一人停笔凝思，一人秉笔疾书，而右下者似已醉态微呈，意欲下榻，侍童忙为其穿靴并扶撑其腰，文士转身挥手，招呼怀抱锦袱之女子，而女子则淡妆素抹，作扭首含羞之态。左下背向文士，则牵住右下文士之腰带，似有不让其离席之状。三位挽双髻女子，或抱琴、或端杯侍立于榻旁。此图人物造型具有唐风，结构严谨，衣纹线条疏密有致，运笔极为娴熟。背景中的古树，枝干劲挺虬曲，树叶以三角形堆叠法绘成，并根据疏密搭配，间以色彩轻重渲染，使之古茂苍雄，更进一步衬托了“文会”主题之雅意。",[24,25,26,28,29,312,30,1537,625,688,316,1516,7],"文人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a055f28d65527ebeb12ed1c39e04aab.jpg","纵84.9厘米，横49.6厘米",[39],62,{"id":1543,"slug":1544,"title":1545,"dynasty":117,"author":195,"museum":152,"description":1546,"tags":1547,"thumbUrl":1555,"material":78,"size":78,"collection":78,"collections":1556,"showCount":1557,"zanCount":190,"manualWeight":11,"mainColor":43},234932,"ming-ren-xia-jing-huo-lang-tu-zhou-yi-ming-234932","明人夏景货郎图轴","这张画描绘了一位乔装打扮的冷饮博士在皇宫花园里为一位年轻的桑亚西倒冰饮。茶壶上的龙雕表明这不是一个普通的家庭，或者说明朝的御用画家为适应某些场景而绘制了皇帝的御用造型，比如今天的 "角色扮演"，皇帝、嫔妃、公主和小王子都是演员。",[25,29,28,30,926,299,168,7,1548,1549,1550,1551,1415,1552,1553,1554],"儿童","妇女","男性","货郎担","草","灌木","地面植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab8a6a7974ea6f9fa050bef2d57c5eda.jpg",[],61,{"id":1559,"slug":1560,"title":1561,"dynasty":18,"author":180,"museum":152,"description":1562,"tags":1563,"thumbUrl":1564,"material":78,"size":78,"collection":78,"collections":1565,"showCount":1566,"zanCount":11,"manualWeight":11,"mainColor":321},224214,"pin-mei-tu-wu-chang-shuo-224214","品梅图","此作为典型文人清供小景，红梅老枝苍劲朴拙，胭脂点染花苞艳而不妖，尽显虬枝凌寒盛放的生机。茶炉以淡墨晕染，焦墨点出炽红炭火，留白暗喻水汽蒸腾，古雅茶壶静置炉上，角落油伞添了几分俗世烟火意趣，将围炉品茗赏梅的幽居闲逸铺陈开来。\n\n作者以金石笔法入画，笔力雄健老辣，苍劲题诗与疏朗画面浑然一体，诗书画印相融相合，将文人雅致闲情寄寓寻常清景中，寥寥数笔便勾勒出冬日小聚的清寂快意，把日常小景升华为超然雅致的文人意境。",[23,25,26,27,29,183,123,33,7,184,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb20264ba227d2d6600d508cc9d63b4ae.jpg",[],60,{"id":1568,"slug":1569,"title":1570,"dynasty":390,"author":1571,"museum":755,"description":1572,"tags":1573,"thumbUrl":1574,"material":78,"size":78,"collection":78,"collections":1575,"showCount":1566,"zanCount":202,"manualWeight":11,"mainColor":132},220485,"du-shu-shi-nv-lin-feng-mian-220485","读书仕女","林风眠","林风眠（1900年11月22日—1991年8月12日），家名绍琼，字凤鸣，后改风眠，画家、艺术教育家、国立艺术院（现更名为中国美术学院）首任院长。自幼喜爱绘画。代表作品有《春晴》、《江畔》、《仕女》等。林风眠从法国巴黎国立高等美术学院毕业后，出任国立北平艺术专科学校（现中央美术学院）校长兼教授，后受蔡元培之邀赴杭州主持筹办国立艺术学院（现中国美术学院）并任院长。",[23,25,29,183,30,31,7,185,34,55,788],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff110702a58344acdddb690c44d20b44c.jpg",[],{"id":1577,"slug":1578,"title":1579,"dynasty":117,"author":195,"museum":152,"description":1580,"tags":1581,"thumbUrl":1585,"material":260,"size":261,"collection":78,"collections":1586,"showCount":1587,"zanCount":190,"manualWeight":11,"mainColor":1588},256800,"qing-hua-chan-zhi-lian-pi-pa-wen-ju-ban-wan-yi-ming-256800","青花缠枝莲枇杷纹菊瓣碗","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。",[873,1506,1505,1582,1583,1584,7],"缠枝莲","枇杷","菊瓣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eb1d2dd195ae5e1486a45ecc5759b93.jpg",[],59,"9C27B0",{"id":1590,"slug":1591,"title":1592,"dynasty":18,"author":195,"museum":152,"description":1503,"tags":1593,"thumbUrl":1597,"material":260,"size":261,"collection":878,"collections":1598,"showCount":1587,"zanCount":11,"manualWeight":11,"mainColor":43},229703,"guan-yao-fen-cai-teng-luo-hua-niao-hua-pen-yi-ming-229703","官窑 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3725","北宋汝窑青瓷胆瓶","北宋汝窑青釉刻花鹅颈瓶，口径5.8厘米，足径8.4厘米，高19.6厘米。敞口，细长颈，球形腹，下有圈足；颈部和腹部分别刻以折枝莲花，器表满施天蓝釉，光亮滋润，布满开片。为存世御用汝瓷中绝无仅有，也为刻花汝官瓷的鉴定提供了实物依据。刻花鹅颈瓶不仅造型讲究，而且用刻花装饰，更饰以天蓝釉，保存完整无缺，实在弥足珍贵。宝丰清凉寺汝官窑址发掘出土。",[873,7,915,916,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43d70c028618f512306114c6b57e702c.jpg","瓷器","19.6厘米",[878],{"id":1695,"slug":1696,"title":1697,"dynasty":18,"author":195,"museum":152,"description":1698,"tags":1699,"thumbUrl":1702,"material":78,"size":78,"collection":465,"collections":1703,"showCount":1704,"zanCount":11,"manualWeight":11,"mainColor":132},250547,"qian-long-kuan-bi-yu-shuang-er-huo-huan-dai-gai-ping-yi-ming-250547","乾隆款碧玉双耳活环带盖瓶","此器玉色深沉苍润，匀净浓郁，取古铜壶形制。盖顶圆雕双象盘绕，憨态古朴，暗合太平有象的吉意。颈部对称高浮雕兽首衔活环，线条刚劲狞厉，带着青铜礼器的威严厚重。\n\n器身纹饰层次井然，上部以回纹为地，浮雕兽面纹，古雅庄重；腹部卷草夔纹婉转流畅，柔化了古拙气息。腹身阴刻诗文，刀工爽利落拓，为这件古意盎然的重器添了几分文人气韵。整器将青铜古意与玉雕精工完美相融，端庄浑厚，尽显宫廷治玉的雍容大气，是复古尚雅审美下的经典佳构。",[254,255,1082,7,406,1287,1700,1701,461],"活环","带盖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33c7b6d76e1f52bad21b6f3c7a630cbe.jpg",[465],51,{"id":1706,"slug":1707,"title":1708,"dynasty":18,"author":731,"museum":69,"description":1709,"tags":1710,"thumbUrl":1711,"material":78,"size":78,"collection":128,"collections":1712,"showCount":1704,"zanCount":11,"manualWeight":11,"mainColor":132},237150,"yi-tuan-fu-gui-tu-zhou-zhao-zhi-qian-237150","一团富贵图轴","赵之谦（1829年8月8日 －1884年11月18日），汉族，浙江会稽（今绍兴）人。初字益甫，号冷君；后改字撝（huī）叔，号悲庵、梅庵、无闷等。清代著名书画家、篆刻家，与吴昌硕、厉良玉并称“新浙派”的三位代表人物，与任伯年、吴昌硕并称“清末三大画家”。李志敏评价：“赵之谦学北碑自成一体。”\n赵之谦从青年时代起，就刻苦致力于经学、文字训诂和金石考据之学，取得了相当的成就。尤精书画、篆刻。赵之谦善于向前人和同时代各派名家学习，又不囿前人，勇于创新。 在绘画上，他是“海上画派”的先驱人物，其以书、印入画所开创的“金石画风”，对近代写意花卉的发展产生了巨大影响；在书法上，他是清代碑学理论的最有力实践者，其魏碑体书风的形成，使得碑派技法体系进一步趋向完善，从而成为有清一代第一位在正、行、篆、隶诸体上真正全面学碑的典范；在篆刻上，他在前人的基础上广为取法，融会贯通，以“印外求印”的手段创造性地继承了邓石如以来“印从书出”的创作模式，开辟了一个前所未有的新境界。\n赵之谦的篆刻成就巨大，对后世影响深远。近代的吴昌硕、齐白石等画家都从他处受惠良多。著有《六朝别字记》《悲庵居士文存》等，又有篆刻《二金蝶堂印存》。",[25,26,27,29,122,91,7,74,184,328],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9ed4d9db10b63206fec6a4df1288307.jpg",[128,61],{"id":1714,"slug":1715,"title":1716,"dynasty":48,"author":195,"museum":119,"description":1717,"tags":1718,"thumbUrl":1723,"material":1724,"size":1725,"collection":78,"collections":1726,"showCount":1704,"zanCount":202,"manualWeight":11,"mainColor":440},223437,"song-xiu-ju-hua-lian-er-zhou-yi-ming-223437","宋绣菊花廉（二）轴","通幅以沉暗墨色为底，金针彩线织就案头秋供盛景。主株菊丛葳蕤繁茂，团花如簇，瓣层叠似凝霜聚雪，花叶以套色勾勒晕染，明暗过渡自然，将秋菊的清隽风骨尽数铺展。四周蝶影轻翩，细碎蜂蝶点染虚空，为静雅画面添上灵动生机。\n\n下方朱漆条案承托主盆，两侧配衬小花盆栽，章法端严对称，尽显宋人居室清供的雅致意趣。绣工精绝，戗色、盘金技法交织，针脚细密匀整，丝绒光泽晕开花鸟雅韵，静穆晕着秋日庭间的清寂诗意，尽显宋人尚雅的审美意趣。",[23,156,1719,28,29,27,1394,1720,1721,168,450,122,1022,7,1722],"刺绣","蝴蝶","花盆","装饰纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe36b2a6209c7a620404ab879a6cb7f2c.jpg","轴绢本","150.4x64厘米",[],{"id":1728,"slug":1729,"title":1730,"dynasty":48,"author":151,"museum":544,"description":1731,"tags":1732,"thumbUrl":1735,"material":1736,"size":1737,"collection":59,"collections":1738,"showCount":1704,"zanCount":202,"manualWeight":11,"mainColor":43},221494,"long-gu-che-tu-li-song-221494","龙骨车图","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。传至今日的《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。",[23,25,28,29,810,1733,1734,30,7],"农事","牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a05840e2dc8620ab8a0852363b3faea.jpg","绢本墨画淡彩","25.626.4cm",[59,39,344],{"id":1740,"slug":1741,"title":1742,"dynasty":48,"author":195,"museum":119,"description":1743,"tags":1744,"thumbUrl":1745,"material":37,"size":1746,"collection":59,"collections":1747,"showCount":1748,"zanCount":190,"manualWeight":11,"mainColor":43},290994,"hua-chun-fu-gui-tu-yi-ming-290994","华春富贵图","从图中技巧、内容看，当是一位宫廷画家高手。它是一件珍贵的插花古图。我们可从中窥见宋代宫廷插花之美。\n图以工笔彩绘，笔笔不苟。绘金漆宝相花纹金瓶，放置于嵌宝石漆架上，插以大朵重瓣朱红、粉、白牡丹，当是宋时照殿红等牡丹花名种；并以桃花（花瓣略尖，是桃花无疑）、木香枝条相衬。（左下角枝条似是取荷包牡丹相衬，但画得很模糊，未能确认），造型略为对称之形，而活泼灵动。牡丹六朵，分左右、前后、上中下，居于花型之中，相伴桃花、木香，暗示着五方空间，真是天地五方六合皆春色。含有贺岁朝新春之意，亦为富贵气象。今日牡丹插花之华贵丰韵，当亦应如是。",[25,24,26,27,29,28,122,91,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25a6ec52fe441c112236cda157c0733d.jpg","144.5x49.8",[59],50,{"id":1750,"slug":1751,"title":221,"dynasty":48,"author":195,"museum":152,"description":1752,"tags":1753,"thumbUrl":1754,"material":260,"size":261,"collection":78,"collections":1755,"showCount":1748,"zanCount":202,"manualWeight":11,"mainColor":440},288261,"hua-lan-tu-yi-ming-288261","竹编花篮分层编织纹理清晰，造型圆融雅致，衬着沉暗古绢底色更显质朴静穆。篮中夏花俯仰错落，硕大菡萏柔瓣舒展，莹白间晕染淡赭，尽显盛放娇柔，幽兰修长舒展、萱花缀着朱砂艳色，野逸生机暗藏其间。\n\n设色克制沉静，以淡墨晕出花叶层次，浅赭点染花梢，将夏花清妍之态悄然铺展。画作没有繁复铺陈，却以极简笔触将日常花艺升为清赏雅景，藏着以小见大的审美哲思，把寻常案头清供绘成隽永的雅致风物，尽显宋人对日常闲雅意趣的极致追寻。",[23,24,25,122,28,29,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa32db9f97a3f2b79ae1b045d01879e2b.jpg",[],{"id":1757,"slug":1758,"title":1759,"dynasty":48,"author":195,"museum":152,"description":1760,"tags":1761,"thumbUrl":1769,"material":260,"size":261,"collection":878,"collections":1770,"showCount":1771,"zanCount":11,"manualWeight":11,"mainColor":43},227423,"jin-yuan-jun-yao-tian-lan-pu-tao-zi-hai-tang-shi-hua-pen-yi-ming-227423","金-元 钧窑 天蓝葡萄紫海棠式花盆","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。",[873,7,1762,1763,1764,1765,1766,1767,1768],"窑变","天蓝釉","葡萄紫釉","海棠式","钧窑风格","宋金时期器物","釉彩交融","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd404b6fd3462d02d3e07f4bccfc0cdd6.jpg",[878],49,{"id":1773,"slug":1774,"title":1775,"dynasty":117,"author":1776,"museum":119,"description":1777,"tags":1778,"thumbUrl":1779,"material":126,"size":1780,"collection":39,"collections":1781,"showCount":1771,"zanCount":11,"manualWeight":11,"mainColor":132},217000,"luo-han-tu-chen-yuan-217000","罗汉图","陈远","罗汉图是明朝陈远所作的一幅著名的书画作品。它描绘了一群罗汉在山间修行的场景，山水画风格细腻，造型生动，富有表现力。罗汉是佛教徒中的一种职业，被视为道德模范，修行苦修，常常身着袈裟，头戴顶冠，手持佛像，在山林中修行禅定。\n\n陈远（1360-1453年），字元和，号清臣，是明朝著名的书画家。他的作品中有许多著名的山水画，其中罗汉图是其代表作之一。陈远的画风浑厚而不失精细，富有感染力，是明朝画坛的重要代表。",[25,26,27,636,28,29,30,688,7,34,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e868355eac240b9a49b9ea292fc510f.jpg","101.7x50",[39],{"id":1783,"slug":1784,"title":1785,"dynasty":117,"author":507,"museum":508,"description":1786,"tags":1787,"thumbUrl":1788,"material":37,"size":1789,"collection":78,"collections":1790,"showCount":1791,"zanCount":202,"manualWeight":11,"mainColor":43},218347,"ren-wu-gu-shi-ce-3-tang-yin-218347","人物故事册-3","这是一本关于人物故事的小册子，每幅画中的明代题款似乎是一个人的作品，所以可以肯定这是清人伪托唐伯虎的画作，但画作本身还是很出色的，如果能刻上他的原名，那将是一套很好的人物画。",[23,25,26,224,29,30,28,184,74,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F703960e64914b7762ff9858c151f68d9.jpg","32x40.5",[],48,{"id":1793,"slug":1794,"title":1795,"dynasty":117,"author":1796,"museum":119,"description":1797,"tags":1798,"thumbUrl":1800,"material":126,"size":1801,"collection":39,"collections":1802,"showCount":1791,"zanCount":11,"manualWeight":11,"mainColor":43},216950,"sao-xiang-tu-cui-zi-zhong-216950","扫象图","崔子忠","扫荡的形象是扫荡的相，在禅宗的文本中可以找到。这是崔子忠的真迹，用笔有趣，与陈洪绶和吴彬相似。",[25,29,28,30,1799,433,1415,7,636],"象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8f7d57a096db0018e4ff62346b76960.jpg","101.2x53.3",[39],{"id":1804,"slug":1805,"title":1806,"dynasty":137,"author":1807,"museum":152,"description":1808,"tags":1809,"thumbUrl":1811,"material":260,"size":261,"collection":78,"collections":1812,"showCount":1813,"zanCount":202,"manualWeight":11,"mainColor":43},289966,"hu-lu-hua-ping-chen-lin-289966","葫芦花瓶","陈琳","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。",[23,25,24,27,28,29,122,7,168,185,1810],"葫芦瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3986e6cdba5c8fe3cba11a642ea6fec6.jpg",[],47,{"id":1815,"slug":1816,"title":1817,"dynasty":611,"author":195,"museum":152,"description":1818,"tags":1819,"thumbUrl":1823,"material":260,"size":261,"collection":78,"collections":1824,"showCount":1813,"zanCount":202,"manualWeight":11,"mainColor":43},288513,"zha-kou-pan-che-tu-yi-ming-288513","闸口盘车图","整幅画作定格了一处临水官营作坊的日常盛景。临水高阁水磨飞转，匠人或持具分拣粮料，或俯身装卸漕粮，各司其职、鲜活生动。水面上舟楫往来渡运，岸边车马络绎穿梭，高耸的木构支架与严整的亭台楼阁相互映衬，满溢着烟火蒸腾的劳作气息。\n画作以工细写实的笔触写尽百态，界画严整精准，衣纹简劲利落，设色古雅苍润，将漕粮加工转运的民生图景娓娓铺展，兼具极高审美价值与纪实史料价值。",[23,24,25,26,810,29,30,798,1820,1197,1821,1822,7],"小桥","舟","车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bf861c5bac94907fe27a1b5a71d408b.jpg",[],{"id":1826,"slug":1827,"title":1828,"dynasty":1139,"author":195,"museum":152,"description":1829,"tags":1830,"thumbUrl":1831,"material":78,"size":78,"collection":524,"collections":1832,"showCount":1813,"zanCount":11,"manualWeight":11,"mainColor":440},242617,"xing-fu-yi-ding-yi-ming-242617"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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。",[1873,521,255,1876,1877,1878,7],"连弧纹","桃花","鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ae6c95bfa6406dc5ee19e54c4bbc580.jpg",[],{"id":1882,"slug":1883,"title":1884,"dynasty":117,"author":195,"museum":376,"description":1885,"tags":1886,"thumbUrl":1888,"material":37,"size":78,"collection":39,"collections":1889,"showCount":1859,"zanCount":202,"manualWeight":11,"mainColor":43},218357,"duan-ben-cheng-yuan-tu-yi-ming-218357","端本澄源图","卧榻上人影斜倚，指尖轻拈小物，眉目间漫着慵懒与自在。身侧侍女垂立，衣袂微动，似欲以团扇拂去浮尘，静候吩咐。案上瓶炉雅致，蕉叶舒展、竹影婆娑，衬得室内清幽如许。笔墨间藏着文人闲居的逸趣——不刻意张扬，却在器物的精巧、环境的恬淡里，流露出对澄明心境的追寻。每一处线条都似在低语，将日常的悠然与内心的宁静交织，如一杯淡茶，慢慢浸润出岁月的温润与雅致，让人见之便觉心安神宁。",[25,29,28,30,32,1007,7,1887,1516],"床榻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedbbdbe5eda59a11094ffc7bebbd6578.jpg",[39],{"id":1891,"slug":1892,"title":1893,"dynasty":137,"author":195,"museum":119,"description":1894,"tags":1895,"thumbUrl":1897,"material":37,"size":1898,"collection":39,"collections":1899,"showCount":1900,"zanCount":11,"manualWeight":11,"mainColor":43},290786,"chun-jing-huo-lang-tu-zhou-yi-ming-290786","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。货郎二人，一人手执鹦鹉兜售，另一妇人携二童立于担前，举手雀跃作欲索取状。人物设色妍雅，神情活泼生动，表现出古代农业社会纯朴闲适的生活情态。",[24,25,27,29,30,28,31,476,1896,123,1356,210,7],"柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbac3d16ea3f794f22ec38440af84d107.jpg","196.8x104.3",[39],45,{"id":1902,"slug":1903,"title":1904,"dynasty":831,"author":195,"museum":152,"description":1905,"tags":1906,"thumbUrl":1907,"material":78,"size":78,"collection":524,"collections":1908,"showCount":1900,"zanCount":11,"manualWeight":11,"mainColor":440},242812,"shou-mian-wen-gui-yi-ming-242812","兽面纹簋","双龙耳蜷曲灵动，中和了器身的沉穆厚重。兽面纹狞厉威严，双目突出极具张力，回纹勾连环绕，层层铺陈出上古的肃穆祭祀氛围。斑驳铜锈是岁月浸淫出的肌理，将崇神尚礼的庄重凝于一身。\n\n线条刚劲利落，器形端庄沉稳，狞厉的纹饰暗藏古人对天地神祇的敬畏，古朴质感里藏着跨越千年的文明回响，是青铜礼器中狞厉之美的典型缩影。",[522,257,406,255,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbee7e17535f86a46393733d49c4bd499.jpg",[524],{"id":1910,"slug":1911,"title":555,"dynasty":18,"author":556,"museum":69,"description":557,"tags":1912,"thumbUrl":1913,"material":78,"size":78,"collection":78,"collections":1914,"showCount":1900,"zanCount":202,"manualWeight":11,"mainColor":43},237116,"shi-nv-ce-cui-wei-237116",[25,224,28,29,30,31,91,7,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa48791ca3b376c9bae3fe3c7fd9a2802.jpg",[],{"id":1916,"slug":1917,"title":1918,"dynasty":48,"author":473,"museum":152,"description":1919,"tags":1920,"thumbUrl":1922,"material":78,"size":78,"collection":78,"collections":1923,"showCount":1900,"zanCount":11,"manualWeight":11,"mainColor":43},227511,"qiu-ting-ying-xi-tu-jing-xin-su-han-chen-227511","秋庭婴戏图镜心","以前每逛国内一些博物馆，古玩店铺，诸多载体如绢纸本的画、玉器、瓷器上，你总能看到许多幼童、小少年在室内或庭院或郊外耍闹、游戏。而一番梳理下来，你能发现，历史上宋、明、清朝代，婴戏图尤其多。宋代多显现在存世的画幅、瓷器、玉器上。北宋五大名窑及更多地方窑口，均单色釉，少图案。南宋龙泉窑碗内偶见婴戏图形，北方磁州窑的罐、枕上，多有或钓鱼或卧躺的婴儿图。明代的绘画尤其是明中期宣德特别是正德、嘉靖时期的瓷器上，婴戏图逐渐风行，小孩子蹴鞠图十分常见。客观原因是因为无论是明朝繁盛的青花，还是后来发明的五彩，对“婴戏图”再现更容易。清代的图画、瓷器的青花粉彩、玉器上，或“百子图”或“三娘教子图”或“庭院婴戏图”等，更已普遍化。传统文化伦理中，福禄寿三星，“福”即是寄望多子，“多子多福”，故历朝历代也将这种寄望显现在不同的艺术载体上。宋、明、清“婴戏图”相对更多，与这几个时代的商品经济、俗世文化的发达及瓷器玉器家具等工艺技术的升级换代有关。窃以为，还有一个隐藏原因：与其时帝王子嗣的夭折过多、稀薄有关。",[24,25,26,1921,28,29,30,32,1415,7,1404],"镜心","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1313ad7296d75c27256b6ac0d233eba1.jpg",[],{"id":1925,"slug":1926,"title":1927,"dynasty":117,"author":707,"museum":152,"description":1928,"tags":1929,"thumbUrl":1931,"material":37,"size":78,"collection":78,"collections":1932,"showCount":1900,"zanCount":11,"manualWeight":11,"mainColor":43},216288,"er-shi-si-xiao-tu-4-chou-ying-216288","二十四孝图-4","二十四孝图是明朝时期著名的书画作品，由仇英创作。它描绘了中国传统文化中的二十四种孝道场景。二十四孝图的内容涵盖了人生各个阶段的孝道行为，从小学阶段的“孝悌忠信”到晚年的“慈孝双全”。这幅作品在明朝时期广受欢迎，并被视为一部重要的文化遗产。",[25,26,224,28,29,30,315,1930,7],"廊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd965609e0169db712087b31cdd38528d.jpg",[],{"id":1934,"slug":1935,"title":1936,"dynasty":18,"author":195,"museum":152,"description":1937,"tags":1938,"thumbUrl":1944,"material":78,"size":78,"collection":465,"collections":1945,"showCount":1946,"zanCount":11,"manualWeight":11,"mainColor":440},251563,"qian-long-yu-ti-qing-yu-jiao-ye-chan-zhi-lian-wen-seng-mao-shi-dai-gai-hu-yi-ming-251563","乾隆御题青玉蕉叶缠枝莲纹僧帽式带盖壶","青玉质地莹润温糯，青泽内敛沉静。壶身取僧帽为形，曲流上扬、执耳古雅，器盖穹起圆钮如珠，线条舒展柔婉，兼具古朴端庄与秀雅灵韵。\n\n腹部满饰缠枝莲纹，花叶翻卷灵动，细密婉转的线条游走玉面，繁而不乱，清丽雅致。颈间浅琢蕉叶纹，层叠舒展，古意盎然。整器雕工细腻入微，碾磨光滑莹亮，尽显玉料温润质感与制玉工艺的精湛，将佛家静穆之美与玉雕精巧工艺相融，沉静雅致，尽显治玉的匠心功底。",[461,254,1939,255,1940,1941,1701,1942,258,1943,7,73],"玉器","蕉叶纹","缠枝莲纹","僧帽式","青玉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9619cc097d1c2e7da483259fc4559725.jpg",[465],44,{"id":1948,"slug":1949,"title":892,"dynasty":18,"author":893,"museum":152,"description":1950,"tags":1951,"thumbUrl":1953,"material":260,"size":261,"collection":78,"collections":1954,"showCount":1946,"zanCount":11,"manualWeight":11,"mainColor":132},235284,"ren-wu-gu-shi-ce-fan-xue-yi-235284","女，本姓淑，嫁范氏为妻，江苏苏州人，生卒年不详。",[25,26,224,29,28,30,798,710,168,299,31,1952,433,7],"建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4969cf7e7182473f0293efe286f13572.jpg",[],{"id":1956,"slug":1957,"title":1958,"dynasty":48,"author":1959,"museum":152,"description":1960,"tags":1961,"thumbUrl":1963,"material":78,"size":78,"collection":78,"collections":1964,"showCount":1946,"zanCount":202,"manualWeight":11,"mainColor":43},227696,"qun-xian-bo-gu-tu-juan-zhao-bo-ju-227696","群贤博古图卷","赵伯驹","赵伯驹（约1120年—约1182年），字千里，汴京（今河南开封）人。南宋著名画家。宋朝宗室，宋太祖七世孙。宋室南渡后流寓钱塘（今浙江杭州），后以画扇为宋高宗赵构赏识并予召见，曾官至浙东兵马钤辖。工画山水、花果、翎毛，笔致秀丽，尤长金碧山水。远师李思训父子，笔法纤细，直如牛毛，极细丽巧整的风致，建南宋画院的新帜。",[23,26,25,24,53,1082,29,28,313,184,74,379,30,798,1820,1197,1962,811,35,7,315],"孤舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe01ac1afa07ecf4a88ab31a884696a18.jpg",[],{"id":1966,"slug":1967,"title":1968,"dynasty":1873,"author":195,"museum":152,"description":1969,"tags":1970,"thumbUrl":1974,"material":260,"size":261,"collection":78,"collections":1975,"showCount":1946,"zanCount":190,"manualWeight":11,"mainColor":43},226911,"bo-shan-lu-yi-ming-226911","博山炉","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。",[1971,522,521,255,1972,7,1973],"汉代","镂空","山形纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc09dd3d1f4cd7fd27e6bce37e3282e80.jpg",[],{"id":1977,"slug":1978,"title":1979,"dynasty":18,"author":86,"museum":508,"description":1980,"tags":1981,"thumbUrl":1983,"material":37,"size":1984,"collection":78,"collections":1985,"showCount":1946,"zanCount":11,"manualWeight":11,"mainColor":132},218326,"shen-xian-gu-shi-tu-ce-10-leng-mei-218326","神仙故事图册-10","这一卷是一幅关于神仙故事的画。笔触做得非常好，人物也很自然，比例匀称。虽然色彩强烈，但并没有压倒性的效果，而且景观、动植物和工具都被描绘得非常巧妙。",[23,24,25,26,224,28,29,30,316,1982,34,7],"云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8c59c4eabdad812463812ac127f8c66.jpg","38x42",[],{"id":1987,"slug":1988,"title":1989,"dynasty":117,"author":1990,"museum":152,"description":1991,"tags":1992,"thumbUrl":1994,"material":78,"size":78,"collection":78,"collections":1995,"showCount":1996,"zanCount":190,"manualWeight":11,"mainColor":43},228325,"xiang-shan-jiu-lao-tu-juan-chang-juan-xie-huan-228325","香山九老图卷（长卷）","谢环","【文物现状】现藏美国克利夫兰美术馆 绢本，设色，长卷，纵：29.8厘米，横：148.2厘米。\n现藏美国克利夫兰美术馆，是明代画家 的人物画中代表性作品之一。\n“ ”指的是唐代文人胡杲、吉玫、刘贞、郑据、卢贞、张浑、白居易及李元爽、禅僧如满九位老者。\n他们因志趣相投，结为九老会。\n此图绘唐武宗会昌五年（公元845年）三月二十四日，九老在白居易之居处欢聚，既醉且欢之际赋诗画画的情景 。\n根据 香山九老会诗序》的内容可知，对九老雅集的描绘早已有之，到了南宋时期，此题材在画院中也非常兴盛；而明代的宫廷画家在承袭南宋画院风格时，对此种具有历史典故的题材又较好的继承下来。\n对于这幅表现文人聚会的长卷，在构图上作者选择了从围墙上方往墙内俯视的角度来描。\n画中一条蜿蜒的碎石小径贯穿整个画面，形成一条横轴线，人物及景物均围绕着石径展，画面从左边开始：一身着便服的文人携一童仆正缓缓地向画面中心的厅堂走来，他似乎并不急于赴会，而是悠闲地欣赏着园内的景致。\n沿着他走的路径向右看，在石径一侧，有两人站在梅树前，一人一边指着着梅树一边好像对旁边的人说着什么，看那人恭敬的样子，也许正在聆听长者论道吧。\n再往后，便是画的中心，这是画面内容的主体：只见一宽大的厅堂里，几案分明，案上盆景、花瓶摆放有序；厅中有一桌，三个文人正围着桌子看一位长者写着什么，或是画着什么。\n四个人物的神态各不相同，均刻画精微：长者面露喜悦，挥毫泼墨；三位围观者，有的若有所思，有的凝神静观。\n堂前石径上，有一仆人正端着盘子向右行，把观者的视线引向画面的结尾部分，有两位文人正在苍松翠柏下吟诗赏画，旁边的几位童仆，有的在煮茶温酒，备办佳肴；有的在侍侯笔墨，抱琴侍立。\n整个场面以石径为主线，中间穿插以厅堂楼榭，假山叠石，古松，梅树，瑞鹤等景物，把画面的几个部分联成一个有机的整体。\n整体上看，瑞松摇曳，梅花绽放，祥鹤唳鸣，环境清幽淡远，实为人间的“桃源仙境”。\n在刻画人物形象方面，作者着重于对人物表情的描绘。\n人物布局上聚散都非常富于变化。\n笔法工整严谨，衣纹线条准确，挺拔而秀逸，极富质感，色彩鲜艳、古拙。\n在景物刻画上也非常严谨，小径上的碎石，亭台、屋宇等一笔一笔地描绘出，松柏，梅树，竹叶也细细地勾勒，显示出画家精谨细密的功夫，具有李唐、刘松年的遗风，属于院体一派。\n谢环，字庭循，明永嘉（今浙江温州）人，善画山水、人物，远承荆浩、关仝，以及南宋李唐、刘松年，近师元人。\n成祖永乐(14-1424）中征入画院。\n谢环还擅长文学，画史上说他“知学问，喜赋诗”，有《梦吟堂集》世，时人称他“清瑾有文”。\n传世作品有《 》等。",[23,25,53,29,28,30,811,315,1436,1993,710,7,285],"石径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3901b4a9861a664f281876e2c023104.jpg",[],43,{"id":1998,"slug":1999,"title":2000,"dynasty":117,"author":2001,"museum":152,"description":2002,"tags":2003,"thumbUrl":2004,"material":2005,"size":78,"collection":39,"collections":2006,"showCount":1996,"zanCount":11,"manualWeight":11,"mainColor":132},217055,"bai-miao-ying-zhen-tu-2-ding-yun-peng-217055","白描应真图-2","丁云鹏","丁云鹏是明朝时期的著名画家，他的白描应真图是一种具有代表性的画风。白描应真图是一种画风，它采用的是白色笔触描绘轮廓，然后使用墨色来填充和渲染图案。这种画风通常用于描绘自然风景、建筑物和人物，其中白色笔触代表着阳光和光影，而墨色则用来表示颜色和细节。丁云鹏的白描应真图具有鲜明的对比和丰富的视觉效果，它们也因其精确的再现和细腻的笔触而备受赞赏。",[25,26,53,636,312,30,688,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e22d21a4546a2f44db8635013c06ce4.jpg","绢本,水墨",[39],{"id":2008,"slug":2009,"title":2010,"dynasty":18,"author":195,"museum":152,"description":2011,"tags":2012,"thumbUrl":2014,"material":260,"size":261,"collection":78,"collections":2015,"showCount":2016,"zanCount":202,"manualWeight":11,"mainColor":440},248944,"qia-si-fa-lang-yu-lan-mu-dan-tu-ping-yi-ming-248944","掐丝珐琅玉兰牡丹图瓶","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 。因其在明朝景泰年间盛行，制作技艺比较成熟，使用的珐琅釉多以蓝色为主，故而得名“景泰蓝”。",[18,2013,962,535,91,29,7],"掐丝珐琅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98da4283d898b16f976b08c63e804cb2.jpg",[],42,{"id":2018,"slug":2019,"title":2020,"dynasty":831,"author":195,"museum":152,"description":2021,"tags":2022,"thumbUrl":2023,"material":78,"size":78,"collection":524,"collections":2024,"showCount":2016,"zanCount":11,"manualWeight":11,"mainColor":43},242608,"wei-fu-yi-ding-yi-ming-242608","囗父乙鼎","立耳微张踞于口沿，束颈鼓腹下承三足，线条刚劲沉稳，尽显庄重古拙。腹身满饰兽面纹，纹样对称规整，浮雕线条狞厉威严，饕餮双目圆睁、犄角翻卷，将上古祭祀礼器的狞美感拉至极致，流转着神秘肃穆的巫祝氛围。\n\n青黑铜身晕开幽绿锈色，是岁月沉淀的斑驳印记，每一寸肌理都凝缩着先民的造物匠心，将祭祀重器的威仪与狞厉美学融为一体，静静诉说着那个时代的信仰与工艺巅峰。",[522,521,257,255,406,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ed71767b93979aa9d113a5c57407723.jpg",[524],{"id":2026,"slug":2027,"title":2028,"dynasty":18,"author":195,"museum":152,"description":2029,"tags":2030,"thumbUrl":2033,"material":260,"size":261,"collection":878,"collections":2034,"showCount":2016,"zanCount":11,"manualWeight":11,"mainColor":43},224101,"yong-zheng-yao-dong-qing-ju-ban-wen-ping-yi-ming-224101","雍正窑 冬青菊瓣纹瓶","雍正一朝虽然只有13年，但他的制瓷业成就却达到了清代官窑的历史高峰，其品种之多，制作工艺之精良，都是其他朝代无法比拟的。",[873,2031,2032,1019,7],"冬青釉","菊瓣纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784c972567baf0e50bb613309c507b98.jpg",[878],{"id":2036,"slug":2037,"title":2038,"dynasty":18,"author":2039,"museum":152,"description":2040,"tags":2041,"thumbUrl":2044,"material":260,"size":261,"collection":78,"collections":2045,"showCount":2046,"zanCount":202,"manualWeight":11,"mainColor":132},290310,"ke-si-sui-chao-tu-zhou-qing-ren-290310","缂丝岁朝图轴","清人","此件以葫芦形制为框，暗合福禄祥瑞之意。上部题诗笔墨清雅，与下方缂丝清供呼应成趣。瓶中梅枝疏朗横斜，茶花绽艳吐芳，间衬天竹、水仙，尽显冬日生机。案间鲜果盈盘、灵芝盆栽错落排布，更缀如意、方胜等吉物，将岁朝祈福的雅俗意趣融于尺幅之中。缂丝走线匀整细腻，晕染出花叶鲜活层次，配色古雅沉静，把宫廷岁朝清供的雅致氛围铺陈尽致，以工艺之美承载年节吉庆的融融意涵，是岁朝题材里颇具巧思的上乘之作。",[25,27,2042,122,123,7,184,2043,29,28],"缂丝","楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1f6be4a302e0b915866928d06c0d098.jpg",[],41,{"id":2048,"slug":2049,"title":2050,"dynasty":18,"author":195,"museum":69,"description":2051,"tags":2052,"thumbUrl":2053,"material":422,"size":2054,"collection":78,"collections":2055,"showCount":2046,"zanCount":11,"manualWeight":11,"mainColor":43},231363,"liu-yin-pin-cha-tu-ye-yi-ming-231363","柳荫品茶图页","品茶，就是品评茶味；饮茶。一般来说，这是一种较为优雅和闲适的艺术享受。 明 杨慎 《和章水部沙坪茶歌》：“君作茶歌如作史，不独品茶兼品士。” 柳亚子 《寄毛主席延安》诗：“云天倘许同忧国， 粤海难忘共品茶。”",[25,29,28,224,30,1896,433,1415,7,580],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F212e19a5991a4ce291daf341239a17f2.jpg","纵29cm,横29.2cm",[],{"id":2057,"slug":2058,"title":2059,"dynasty":18,"author":2060,"museum":119,"description":2061,"tags":2062,"thumbUrl":2065,"material":2066,"size":2067,"collection":128,"collections":2068,"showCount":2046,"zanCount":190,"manualWeight":11,"mainColor":132},222693,"xin-shao-ru-yi-tu-zhou-qian-wei-cheng-222693","新韶如意图轴","钱维城","钱维城（1720—1772）清朝官吏、画家。初名辛来，字宗磐，一字幼安，号纫庵、茶山，晚号稼轩，江苏武进人。乾隆十年状元，官至刑部侍郎，谥文敏。书法苏轼，初从陈书学画写意折枝花果，后学山水，经董邦达指导，遂成名手，供奉内廷，为画苑领袖。曾随乾隆帝在木兰围场狩猎，帝以神枪殪虎，命维城绘图刻石纪事。著有《茶山集》。\n钱维城自幼甚喜绘画，开始从族祖母陈书学习画写意折枝花果，勾描渲染，随类赋形，气联意合，整体协调。后来得到了画家董邦达指导，学画山水。所画山水，山势逶迤，流泉飞泻，烟霭飘浮，水光荡漾。构图井然，意境清幽。山石多用皴笔。他的绘画远学元代四家即黄公望、倪瓒、吴镇、王蒙，近学清初四王即王时敏、王鉴、王徽、王原祁。。《桐阴论画》说他的山水画“笔意亦临摹仿麓台，邱壑幽深，树石灵秀，颇臻妙境。”钱维城投身科举时，很少有人知道他擅长书画，直到状元及第后，在随乾隆的一次狩猎中，乾隆射中一只老虎，于是钱维城受命创作“射虎图”，作品完成后乾隆连连称赞，并下令将此画刻在木兰围场的石头上，从此钱维城在画坛上名声大振。在钱维城的绘画中，带棱角的石形、双勾少皴的树干，以及中锋含蓄的细笔、淡墨勾皴的线条，都存有董邦达的笔意，但他更擅长缜密的用笔和青绿、赭石相间的设色，其中也显示出清初“四王”的流派风格，他的作品经常呈现出来的是一派宫廷富贵的气息。在乾隆的收藏目录《石渠宝芨》中，收录的钱维城作品有160多幅，由此可见乾隆皇帝对钱维城作品的赏识程度。著名的有《九秋图卷》。\n钱维城擅长书法，工整精细，“宗磐工书，书法东坡。”他师法宋朝书法四大家之一的苏东坡。落笔苍润，秀骨天成。也能吟诗，以杜少陵为宗。人称“钱文敏尚书，诗宗少陵，书规苏文忠。”可谓诗、书、画一体。",[23,25,26,27,29,28,1019,2063,2064,186,123,271,656,7,74],"盆","灵芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c76e4882c3861113c1dfe14fc016849.jpg","纸本水墨","105.2x55.9厘米",[128,61],{"id":2070,"slug":2071,"title":2072,"dynasty":831,"author":195,"museum":152,"description":2073,"tags":2074,"thumbUrl":2075,"material":78,"size":78,"collection":524,"collections":2076,"showCount":2077,"zanCount":11,"manualWeight":11,"mainColor":43},242607,"ge-ding-yi-ming-242607","戈鼎","立耳高挑挺括，三足敦实沉稳，器腹圆腴舒展，造型凝练庄重。颈间纹饰带排布规整，兽面纹与涡旋纹相间排布，狞厉古拙的兽面搭配圆柔涡纹，刚柔相济，将上古重神尚巫的审美意韵凝于铜身。幽绿铜色裹着温润包浆，斑驳锈迹刻录千年风尘，沉稳器型暗合礼制的庄重肃穆，狞丽纹饰诉说着先民对天地神祇的敬畏，是青铜时代狞厉之美的绝佳缩影。",[522,521,7,835,257,255,256,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40686117cb4ebf720c28ddef9725408c.jpg",[524],40,{"id":2079,"slug":2080,"title":2081,"dynasty":821,"author":195,"museum":152,"description":2082,"tags":2083,"thumbUrl":2084,"material":260,"size":261,"collection":78,"collections":2085,"showCount":2077,"zanCount":202,"manualWeight":11,"mainColor":43},226721,"yue-ju-jin-7000-5500-nian-song-hei-di-qu-san-lian-bi-yi-ming-226721","约距今7000-5500年松黑地区三连璧","玉質溫潤瑩透，製作古雅，由玉質和製作技法觀察，應為紅山文化遺物。",[821,254,1939,255,298,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F704c18a2e3cb36f19d9fffdc31d0a19c.jpg",[],{"id":2087,"slug":2088,"title":2089,"dynasty":18,"author":2090,"museum":152,"description":2091,"tags":2092,"thumbUrl":2093,"material":78,"size":78,"collection":78,"collections":2094,"showCount":2077,"zanCount":11,"manualWeight":11,"mainColor":132},224374,"hua-hui-qi-shi-ce-shi-er-kai-3-ju-lian-224374","花卉奇石册-十二开-3","居廉","此作笔致秀润恬和，淡墨勾皴湖石，奇崛古拙，空灵苍润间尽显嶙峋意趣。素盆秋菊柔色轻绽，嫩蕊鲜妍和素净瓷盆相映，晕开一室清雅文气。\n\n角落散落的花生、坠果带着日常烟火意趣，石畔小兽探头轻觑，为幽寂的文房清供添上灵动野趣。整体设色浅淡明净，衬着绢底古雅底色，将文人闲居的恬淡意兴融于尺幅，工写兼济间，把清供小品的雅静与鲜活日常交织，尽显平淡天真的悠然情致。",[23,25,26,224,28,29,122,35,341,7,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90b4da7d3931604a708831e97b24647c.jpg",[],{"id":2096,"slug":2097,"title":2098,"dynasty":48,"author":2099,"museum":69,"description":2100,"tags":2101,"thumbUrl":2104,"material":76,"size":2105,"collection":39,"collections":2106,"showCount":2077,"zanCount":190,"manualWeight":11,"mainColor":132},221416,"fang-che-tu-juan-wang-ju-zheng-221416","纺车图卷","王居正","《纺车图》是北宋画家 所创作的一幅设色画，现收藏于北京故宫博物院。\n该图画面上纺车忙碌着，一位面貌年轻村妇怀抱着哺乳的婴儿，坐在纺车前操作，稍远处一位老年村妇站立为之牵线。\n画面右侧绘有一个嬉戏的儿童，两位村妇之间则点缀一只小犬正在撒欢地玩着。\n背景描绘着随风披拂的柳树丝及其几段又粗又硬的树枝干。\n图中人物头发荆钗蓬鬓，鹑衣百结，曲尽情状，面目如生。\n纺车图是绢布手卷，纵21.6 厘米， 横69.2厘米，设色画，内容是农村中妇女纺线的情景。\n该画面的中心放着一架纺车，其傍置一竹筐，位中年妇女坐小椅上，左手抱着婴儿哺乳，右手轮转车机，前面站着一位老年妇女两手牵机。\n村妇身后有一儿童，席地而坐，手中拿着杆，牵着一只蟾蜍，活泼可爱。\n中间闻一小犬，画右有两棵老柳树，布景简洁，但却显出农村前条气象。\n元代书法家赵孟頫为此图题跋：“图虽尺许，而气韵雄壮，命意高古，精采飞动，真可谓神品者矣。\n” 明代画家吴宽亦于其上题诗并跋语：“可爱河东王氏子，丹青施誉动祥符。\n不传罗绮游春态，只画茅檐纺车图。\n” 大中祥符年间（18年—116年），北宋为了修筑宫殿、寺庙，招来一些从事建筑彩绘和壁画的民间画匠。\n由于王居正出身劳动人民，深谙民间疾苦，对下层贫苦农民有深厚的感情，所以画面反映的题材意义和人物形象，与宫廷画家及士大夫笔底的“农家乐”形象大异其趣。\n《纺车图》正是王居正看到妇女纺线情景所创作的一幅农家图。\n该图表现农村妇女的户外劳动。\n全幅主题突出，构图巧妙。\n近景描绘的人物被两条飘浮不定的线条分为两组，线的一端是边摇纺车边哺乳的中年妇女、围其左右戏青蛙的童子和狂吠的黑犬；另一端是弯腰伛背、双手拉着线团的老媪。\n人物彼此间聚散自然，神韵相通。\n图中纺车、竹筐、杌凳用界画形式表现，刻画精工写实。\n人物的衣纹用转折劲利的“战笔描”表现，中锋行笔，线条细劲圆润，随着人物形体的变化而顿折曲转，从而准确地塑造出人物的形态和衣料的柔软质地。\n图中的女性形象与晋代顾恺之、唐代周昉笔下的仕女相比，没有娇美的相貌、诱人的身材、华丽的服饰及尊贵的地位，她们仅是生活中最为普通的农村妇女。\n衣裤迭经补缀的老妇面容憔悴，动作迟缓，艰辛的生活令其相貌充满沧桑感。\n作者以写实的艺术手法不加美化地表现她们，意在赞扬她们安贫乐道的生活态度及朴实无华的个性美，同时也表达了对她们贫苦生活的同情。\n从绘画史的角度来看，《纺车图》并非在技法或风格创新上有重大突破或建树，其难得可贵价值在于它表现了下层劳动人民真实的劳动场面，为人们了解研究当时的社会和历史提供了珍贵的形象资料。\n该图流传有绪，在南宋时为 收藏。\n元代延祐四年（117年）， 在燕京以五十金购得。\n明代初为袁廷玉（柳庄）获取，明代中期杨维新从袁氏家购得。\n万历年间（157－1619年）它被周敏所收藏。\n清代初为仁和龚翔麟（蘅圃）收藏，乾隆朝时归江西陈玉方（希祖），嘉庆朝素村用旧拓唐楷碑向陈玉方换取此画，光绪年间（1875－198年）归陆心源所得，清末归武进盛所有。\n2世纪5年代，国家从香港将其购回，旋即入藏北京故宫博物院。\n在214年4月日至6月29日期间，北京故宫院开展“故宫藏历代书画展”，其中《纺车图》在北京故宫武英殿书画馆开展。\n王居正（生卒年不详），乳名憨哥，河东（今山西永济）人，北宋画家王拙之子。\n北宋大中祥符年间（18－116年），被招募至汴京（今河南开封）参与皇家宫殿的营造工程。\n其作画注重写实，落笔前反复观察，认真思考，力求于创作中真实地再现客观对象 。",[23,25,53,28,29,30,1549,1548,2102,7,315,432,2103,55],"纺车","劳作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cc3f7fb767d3a2e83a5bc151e376253.jpg","纵26.1厘米，横69.2厘米",[39,61],{"id":2108,"slug":2109,"title":2110,"dynasty":18,"author":1633,"museum":152,"description":2111,"tags":2112,"thumbUrl":2114,"material":78,"size":78,"collection":78,"collections":2115,"showCount":2116,"zanCount":11,"manualWeight":11,"mainColor":132},230975,"hua-guo-tu-xu-gu-230975","花果图","虚谷《花果图》轴，正如其好友杨逸所言：“落笔冷隽，蹊径别开”（《海上墨林》），独具清俊冷峭、静寂虚和的风姿，亦狂亦狷，奇奇怪怪，不事规模陈迹，纯是胸中盘郁。\n款识“鉴中老和尚清玩”，书风一如其画之清隽，图中种种绝俗之物，正应清玩之题，同时暗示了老和尚清俊绝尘的修为与品味。\n所钤“虚谷书画”一印系著名篆刻家徐三庚 所刻，有学者根据虚谷用印推断作品所在时期，认为此印或为虚谷1876-1887这十年间所用，则此画大约作于这一时期，当时画家多在苏州。\n大致可推测，虚谷此图作于1876-1887这十年中，当时他多活动于苏州一带，即为苏州僧人鉴中作此图，一直流传至今，其尺幅、楮墨及品相皆可圈可点。\n虚谷三十岁以后弃戎出家，广泛往来于上海、扬州、苏州等地鬻画为生，他虽“不茹素，不礼佛”，却与众多方外友人维持着良好的关系。\n他与苏州寺院的关系尤为密切，《寒松阁谈艺琐录》的作者张鸣珂结识虚谷即由狮林寺僧诺瞿邀约所致，尝为瑞莲寺画《瑞莲放参图》，为光福古铜佛寺画《古铜佛寺图》，且一度担任狮林寺的住持，退居后到与狮林寺有法系关系的石壁寺养老，并葬于此。\n至于为鉴中所作除了《花果轴》，尚有《瑞莲放参图》。\n鉴中的题跋，曾出现在顾澐为顾曾寿（字子长，号棱伽山民）所作《惟德堂图》后，同卷后有苏州文人书画家顾澐、潘锺瑞、刘履芬、顾文彬、潘遵祁众多题跋，鉴中题后钤有“释日升”、“鉴中”二印，由是可知“日升”即鉴中法名，以及鉴中与晚清苏州文坛、画坛的交往。\n虚谷这一时期侨居苏州为多，与鉴中和尚结缘绝非偶然，故先后以《瑞莲放参图》、《花果轴》相赠。\n此图所写皆案头清供：画面主体写一长瓶，上有老梅数丛，挺拔如剑，右下角配以三丛偃枝，古奥奇绝。\n传统梅干交叉法皆恪守“女”字形的原则，虚谷画梅是自出机轴，不尽拘此绳墨。\n花瓣利用底色以粉点出，附以红色花萼加以烘托，为梅干的古拙平添几分生趣。\n虚谷自作咏梅诗云：“无端白雪落沙来，古本疏枝上粉苔。\n似雪似花花似雪，梅花又向雪中开。\n”写寒梅之高洁，亦可为此清供之梅传神。\n丛梅左侧陪衬了些许松枝，松针逸笔草草却不乏韵致。\n瓶下右侧则有佛手一枝二果，以破墨画叶，墨彩清润浑厚；又有连根百合二枚；前有红柿一枚，反复渲染，隐隐透出红晕，亦各尽其妙。\n瓶后露出如意半枝，是为改变花瓶左侧垂直线的单调而加，使画面显得更为和谐、丰富。\n（182-1896），安徽新安（今歙县）人。\n清代画家， 。\n俗姓朱，名怀仁，移居江苏广陵（今扬州）。\n初任清军参将，后出家，名虚白字虚谷，号倦鹤、紫阳山民。\n以字竹，室名觉非庵、古柏草堂、三十七峰草堂。\n不茹素，不礼佛，也“从不卓锡僧寺”，往来于上海、苏州、扬州一带，卖画为业，是“海上画派”杰出代表人物。\n他携笔墨、着僧装，“闲中写出三千幅,行乞人间作饭钱”，云游四海，清贫于世却笔墨人间，他行程之广、画作之多，己为当时罕见。\n他承古创新，另辟捷径，广集素材，勤奋垦作，终成一代巨擘。\n早年学界画，后以擅画花果、禽鱼、山水著名。\n风格冷峭新奇，绣雅鲜活，无一笔滞相，匠心独运，别具一格。\n亦能诗，有《虚谷和尚诗录》。\n传世作品有《梅花金鱼图》、《松菊图》、《葫芦图》、《蕙兰灵芝图》、《枇耙图》等。",[23,25,29,122,341,2113,7],"果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d67027df7898465725f2bb0928bb54d.jpg",[],39,{"id":2118,"slug":2119,"title":2120,"dynasty":117,"author":195,"museum":152,"description":1503,"tags":2121,"thumbUrl":2123,"material":260,"size":261,"collection":878,"collections":2124,"showCount":2116,"zanCount":202,"manualWeight":11,"mainColor":132},228532,"guan-yao-qing-hua-si-ji-hua-hui-wan-yi-ming-228532","官窑 青花四季花卉碗",[117,873,1594,1506,2122,168,7],"四季花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9752a691d3a1959b24b5e6ec7821168e.jpg",[878],{"id":2126,"slug":2127,"title":2128,"dynasty":48,"author":195,"museum":119,"description":2129,"tags":2130,"thumbUrl":2131,"material":1308,"size":2132,"collection":78,"collections":2133,"showCount":2116,"zanCount":11,"manualWeight":11,"mainColor":43},227850,"xiao-ting-ying-xi-tu-ye-yi-ming-227850","小庭婴戏图页","《小庭婴戏图》是宋代所画的人物画。作者不详，一说是陈宗训所作。中国台北故宫博物院藏。",[23,25,24,26,224,28,29,30,433,7,1404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1dbcffc9191793f4866baf2ef744a0c.jpg","纵26厘米，横25厘米",[],{"id":2135,"slug":2136,"title":2137,"dynasty":102,"author":2138,"museum":152,"description":2139,"tags":2140,"thumbUrl":2144,"material":78,"size":78,"collection":78,"collections":2145,"showCount":2116,"zanCount":11,"manualWeight":11,"mainColor":43},227095,"gao-yi-tu-sun-wei-227095","高逸图","孙位","《高逸图》，又名《竹林七贤图》，是唐代孙位创作的一幅彩色绢本人物画，现藏于上海博物馆。\n画名“孙位高逸图”为宋徽宗赵佶所题，这幅图所描绘的是魏晋时期竹林七贤的故事，该画作刻画了魏晋士大夫“高逸风度”的共性，又刻画出了他们的个性。现存《高逸图》为《竹林七贤图》残卷，图中只剩四贤。在长卷式的画面上，主体人物是四个封建士大夫分别坐于华丽的毡毯上，每人身旁都有一名小童侍候。",[23,24,25,53,28,29,30,433,1415,184,74,7,2141,2142,2143],"侍从","扇子","垫子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaa92cbdfc50fff24528a4673b6c49d4.jpg",[],{"id":2147,"slug":2148,"title":2149,"dynasty":1216,"author":2150,"museum":152,"description":2151,"tags":2152,"thumbUrl":2157,"material":260,"size":261,"collection":2158,"collections":2159,"showCount":2116,"zanCount":11,"manualWeight":11,"mainColor":43},225766,"imperial-fritillaries-in-a-copper-vase-1887-fan-gao-225766","Imperial Fritillaries in a Copper Vase 1887","梵高","文森特·威廉·梵高（Vincent Willem van Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[2153,2154,29,2155,656,521,7,2156],"油画","后印象派","静物","台面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fed36cbf8bf4db654071c4d067686a2.jpg","油画精选",[2158],{"id":2161,"slug":2162,"title":2163,"dynasty":1873,"author":195,"museum":152,"description":1969,"tags":2164,"thumbUrl":2165,"material":260,"size":261,"collection":78,"collections":2166,"showCount":2116,"zanCount":190,"manualWeight":11,"mainColor":43},223968,"lian-zhi-deng-yi-ming-223968","连枝镫",[522,521,255,7,406],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17242abe763bb46c0e19633756e9ddaa.jpg",[],{"id":2168,"slug":2169,"title":2170,"dynasty":18,"author":195,"museum":2171,"description":2172,"tags":2173,"thumbUrl":2175,"material":382,"size":2176,"collection":128,"collections":2177,"showCount":2116,"zanCount":202,"manualWeight":11,"mainColor":43},219097,"shi-li-tu-yi-ming-219097","事犁图","费城艺术博物馆","斗笠覆顶，布衣宽袖，农夫躬身扶犁的姿态，似将田垄的气息凝在绢素之上。黑牛沉腰发力，犁铧划开的浅痕如时光笔触，在泛黄纸页间漾开生活真味。线条简劲却藏温度，无繁复设色，仅以墨色浓淡勾勒劳作肌理——农夫手背的筋络、牛身的鬃毛，都在极简中见生动。\n\n整幅画截取农耕日常的一瞬，无喧嚣，只有人与耕牛的默契，及土地里生长的烟火气。古朴绢色如岁月滤镜，让劳作的质朴更显厚重，仿佛能听见犁尖蹭过泥土的轻响，触到农人间歇时的喘息。这份对平凡劳作的描摹，藏着最本真的生活诗意，于简淡笔墨里，照见古人与土地相依的温情。",[25,312,183,30,1734,2174,7],"蓑笠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38490095cc1dab28575b96775c05b60e.jpg","23x27.1cm",[128],{"id":2179,"slug":2180,"title":2181,"dynasty":18,"author":86,"museum":508,"description":1980,"tags":2182,"thumbUrl":2184,"material":37,"size":1984,"collection":78,"collections":2185,"showCount":2116,"zanCount":11,"manualWeight":11,"mainColor":132},218324,"shen-xian-gu-shi-tu-ce-12-leng-mei-218324","神仙故事图册-12",[23,25,26,224,28,29,30,2183,433,7,636],"山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87dd11b17ff537920b86692d4c321606.jpg",[],{"id":2187,"slug":2188,"title":2189,"dynasty":831,"author":195,"museum":152,"description":2190,"tags":2191,"thumbUrl":2192,"material":78,"size":78,"collection":524,"collections":2193,"showCount":42,"zanCount":202,"manualWeight":11,"mainColor":440},242709,"fu-yi-fang-ding-yi-ming-242709","父乙方鼎","立耳方腹，柱腿沉稳敦实，器型规整肃穆，自带上古礼器的威严厚重。口沿下浮雕兽面，涡纹蜷曲缠绕，狞厉兽面裹挟着神秘威慑感，腹身乳钉纹齐整排布如星芒密布，粗粝肌理衬出青铜冷硬质感，腿足兽面与器身纹饰呼应，层层铺展上古神权礼制的庄重。沉穆铜色裹着厚重包浆，带着岁月摩挲的痕迹，将商代青铜狞厉美学凝于一身，静静诉说着上古祭祀的庄严礼序，尽显庄重狞美的上古气象。",[522,257,521,255,7,406,835],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37fba942f18f720b4c0aafa4b440b04d.jpg",[524],{"id":2195,"slug":2196,"title":555,"dynasty":18,"author":556,"museum":69,"description":557,"tags":2197,"thumbUrl":2198,"material":78,"size":78,"collection":78,"collections":2199,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":132},237115,"shi-nv-ce-cui-wei-237115",[25,26,224,28,29,30,31,34,7,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc73a9e178aab2ac2740e50cc503c1b5e.jpg",[],{"id":2201,"slug":2202,"title":2203,"dynasty":48,"author":195,"museum":69,"description":2204,"tags":2205,"thumbUrl":2208,"material":548,"size":2209,"collection":78,"collections":2210,"showCount":42,"zanCount":190,"manualWeight":11,"mainColor":43},233702,"za-ju-mai-yan-yao-tu-ye-yi-ming-233702","杂剧（卖眼药）图页","作品所绘内容为南宋杂剧《卖眼药》的场景，有关专家认为当是官本杂剧中的《眼药酸》。《武林旧事 卷十》 “官本杂剧段数”中有《眼药酸》剧名。此外，元末明初陶宗 仪《南村辍耕録 卷二十五》“院本名目”条下，于“诸杂大 小院本”名目中，载有十数种“酸”目。杂剧剧名中加“酸” 字多是以仕途无望的落魄文人为嘲弄对象的，《眼药酸》也不 例外。\n图中一人腰插一扇，中间开裂，上书一字似“浑”，可能 是插科打译、故意装傻的意思。此人臂肘间有“点青”，右手 指眼睛，左手握一板。另一人衣冠绘满眼睛图案，一手捏着眼 膏瓶，显然是在推销眼药。画幅右侧有一大鼓，仅见小半。是 图虽然绘制的是戏剧场景，但人物的动作、神态表现得非常到 位，体现了画家对当时市井生活的关注。另外，人物的服饰、 装扮对于研究宋代文化具有一定的参考价值。",[25,26,224,28,29,30,2206,2207,7],"杂剧","道具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b48906229f54e9cee3e09f49adeed54.jpg","高23.8厘米，宽24.5厘米",[],{"id":2212,"slug":2213,"title":2214,"dynasty":18,"author":2215,"museum":2216,"description":2217,"tags":2218,"thumbUrl":2219,"material":199,"size":2220,"collection":78,"collections":2221,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":132},223061,"hong-lou-meng-47-sun-wen-223061","红楼梦47","孙温","旅顺博物馆","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[23,25,28,29,53,30,31,1820,1197,315,314,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F610bde4c2f78ed4a71fd87145a23f3d6.jpg","纵43.3厘米、横76.5厘米",[],{"id":2223,"slug":2224,"title":2225,"dynasty":117,"author":707,"museum":152,"description":1928,"tags":2226,"thumbUrl":2228,"material":37,"size":78,"collection":78,"collections":2229,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":43},216285,"er-shi-si-xiao-tu-7-chou-ying-216285","二十四孝图-7",[25,28,29,30,34,7,1887,2227],"帘子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fd7108a8ed2886a16c7c8549b673a1c.jpg",[],{"id":2231,"slug":2232,"title":2233,"dynasty":18,"author":195,"museum":152,"description":1808,"tags":2234,"thumbUrl":2236,"material":260,"size":261,"collection":78,"collections":2237,"showCount":2238,"zanCount":11,"manualWeight":11,"mainColor":1588},281532,"lan-di-mu-dan-wen-qi-bao-shao-ai-jing-ping-yi-ming-281532","蓝地牡丹纹七宝烧矮颈瓶",[2235,7,91,122],"琺瑯器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F301b19972248ee34688de39f47fcdee5.jpg",[],37,{"id":2240,"slug":2241,"title":2242,"dynasty":48,"author":195,"museum":152,"description":2243,"tags":2244,"thumbUrl":2245,"material":78,"size":78,"collection":78,"collections":2246,"showCount":2238,"zanCount":190,"manualWeight":11,"mainColor":43},227350,"gong-nv-tu-tuan-shan-yi-ming-227350","宫女图团扇","团扇，又称宫扇、纨扇，是中国汉族传统工艺品及艺术品，是一种圆形有柄的扇子，它代表着团圆友善、吉祥如意 [1] 。团扇起源于中国。扇子最早出现在商代，用五光十色的野鸡毛制成，称之为“障扇”。\n当时，扇子不是用来扇风取凉，而是作为帝王外出巡视时遮阳挡风避沙之用。西汉以后，扇子开始用来取凉。三国时诸葛亮轻摇鹅毛扇，妙计横生，运筹帷幄。羽扇出风缓软，不入腠理。东汉时，大都改羽扇为丝、绢、绫罗之类织品，以便点缀绣画。一轮明月形的扇子称之为“纨扇”或“团扇”，也叫“合欢扇”。当时扇子有长圆、葵花、梅花、六角、匾圆之形；亦有木、竹、骨等材之柄；还有扇坠、流苏、玉器之饰。\n宋以前称扇子，都指团扇。王昌龄《长信愁》诗：“奉帚平明秋殿开，且将团扇共徘徊”。《杖扇新录》载：近世通用素绢，两面绷之，或泥金、瓷青、湖色，有月圆、腰圆、六角诸式，皆倩名人书画，柄用梅烙、湘妃、棕竹，亦有洋漆、象牙之类。名为“团扇”。圆形或近似圆形扇面，扇柄不长。现在的团扇扇柄较长，越来越符合大众审美。",[23,24,25,26,449,29,30,28,31,7,34,298,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3a0f76cfffbd1d013df65fbdf7e9d6f.jpg",[],{"id":2248,"slug":2249,"title":2250,"dynasty":117,"author":2251,"museum":508,"description":2252,"tags":2253,"thumbUrl":2255,"material":382,"size":78,"collection":39,"collections":2256,"showCount":2238,"zanCount":11,"manualWeight":11,"mainColor":132},219540,"tie-guai-li-tu-chen-xian-219540","铁拐李图","陈贤","此画中葫芦船不知可令诸位联想起伏羲女娲神话中载二人渡难的葫芦巨船否？确定的是，可从其中可窥见葫芦文化中神性的部分",[23,25,26,183,30,636,74,1197,2254,7],"神兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49e3bbb42ae64998ed8e606eeef0c874.jpg",[39,344],{"id":2258,"slug":2259,"title":2260,"dynasty":117,"author":195,"museum":2171,"description":2261,"tags":2262,"thumbUrl":2263,"material":37,"size":2264,"collection":128,"collections":2265,"showCount":2238,"zanCount":202,"manualWeight":11,"mainColor":43},219078,"yu-qin-tu-yi-ming-219078","浴禽图","画的是一只站在木盆边上的黑鸟，盆里装了一半的水，鸟的嘴很尖，全身都是黑毛，翅膀中间和尾羽上都有一族白色的羽毛装饰。",[25,24,26,28,29,122,927,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05cb17584d98781bb9ead39718e572d4.jpg","23.5x23.5cm",[128],{"id":2267,"slug":2268,"title":2269,"dynasty":18,"author":195,"museum":152,"description":2270,"tags":2271,"thumbUrl":2272,"material":37,"size":78,"collection":78,"collections":2273,"showCount":2238,"zanCount":11,"manualWeight":11,"mainColor":43},216712,"hong-lou-meng-fu-tu-ce-12-yi-ming-216712","红楼梦赋图册-12","柳丝轻垂如帘，将内外景致温柔分隔。室外女子衣袂轻扬，或低语或凝眸，衣色淡雅如春日烟霞；栏杆旁草色萌新，山石间点缀细花，尽是闺中闲静之态。室内帐幔层叠，朱红与素白交织出朦胧暖意，卧榻人影隐约，似含一缕慵懒或幽思。笔墨细腻处，人物神态温婉流转，陈设精巧如真——案上器物、窗边棂格，皆藏着古典生活的雅致余韵。整幅画晕染着红楼特有的幽微情致，似将一段闺阁闲情定格，让观者窥见旧时光里的细腻光影，心绪也随那轻垂的柳丝，坠入这绢素间的温柔梦境。",[23,25,29,28,224,30,31,1952,315,710,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c66a7352a3be6cd1b31ff1a6fead007.jpg",[],{"id":2275,"slug":2276,"title":2277,"dynasty":18,"author":195,"museum":152,"description":2278,"tags":2279,"thumbUrl":2280,"material":37,"size":2281,"collection":39,"collections":2282,"showCount":2238,"zanCount":11,"manualWeight":11,"mainColor":132},215915,"qing-ren-xiao-xiang-tu-ce-yi-ming-215915","清人肖像图册","绢本泛黄的底色里，端坐的身影裹着靛蓝长袍，红顶小帽衬得面容温润沉静。案几上器物默然伫立，似凝住一室清寂时光。左侧圆窗裁取山石花木之景，墨色浅淡间晕染出中式居停的雅致意趣。衣纹线条简洁却见功底，面部晕染细腻，将人物温婉神态悄然托出。整幅画无繁复铺陈，却以简淡笔触勾勒出清代人家的日常片段——那份浸润在时光里的从容娴静，仿佛能透过画面漫溢开来，引人沉浸于岁月沉淀的悠然。",[25,29,30,28,224,34,7,35,341],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F283674bde9cfd07398bfe9ae23ea3a59.jpg","44x40",[39],{"id":2284,"slug":2285,"title":2286,"dynasty":1873,"author":195,"museum":152,"description":2287,"tags":2288,"thumbUrl":2291,"material":78,"size":78,"collection":524,"collections":2292,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":43},242890,"shou-er-xian-huan-hu-yi-ming-242890","兽耳衔环壶","敞口束颈，鼓腹圈足，整体造型圆润饱满，尽显古拙大气。两侧兽耳衔环，简约刻画便自带威严厚重之感。器身舍去繁复纹饰，仅以数道弦纹点缀，将青铜材质本身的朴拙质感烘托尽致。\n\n经年的铜绿深浅晕染，覆裹周身，沉淀着漫长岁月的痕迹，将汉代崇尚雄浑质朴的造物审美全然展现。静立间带着沉凝的历史张力，把上古器物的肃穆与厚重娓娓道来，是古拙美学的绝佳注脚。",[1971,522,521,2289,2290,255,7],"兽耳","衔环","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f1ee5276216fb3f569205b5120edf3f.jpg",[524],{"id":2294,"slug":2295,"title":2296,"dynasty":18,"author":2297,"museum":152,"description":2298,"tags":2299,"thumbUrl":2306,"material":260,"size":261,"collection":78,"collections":2307,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":132},239338,"bai-yin-shi-cha-zhou-niu-shu-239338","柏荫试茶轴","钮枢","钮枢，清代女画家，字汉藩，吴县（今江苏苏州）人。工仕女，宗仇英。",[25,26,27,29,28,30,2300,7,2301,2302,2303,317,2304,2305],"柏树","长袍","胡须","古代服饰","木桌","树下互动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5176c4f5479c2f219143b741149cb5c.jpg",[],{"id":2309,"slug":2310,"title":2311,"dynasty":18,"author":195,"museum":152,"description":2312,"tags":2313,"thumbUrl":2320,"material":260,"size":261,"collection":78,"collections":2321,"showCount":5,"zanCount":202,"manualWeight":11,"mainColor":132},229148,"yin-du-jin-qian-zhu-bao-long-xi-zhu-zan-yi-ming-229148","银镀金嵌珠宝龙戏珠簪","发簪，中国古代汉族人民用来固定和装饰头发的一种首饰。对于现代人来说已经是一个很古老的名词了，但是当在看古装剧时，却总是能被它们点缀出的精致效果所折服。\n将长发松松挽起，插上一枚别致的发簪，再配上典雅的长裙，即便性格再外放的女性，也可以成为让人眼前一亮的古典美人。发簪金属的光泽闪耀在发间，加上小而巧的坠饰，长发的风情便又是一种不一样的感受了。",[2314,2315,2316,2317,2318,298,7,462,2319],"清式","镀金","镶嵌","珠宝","银","戏珠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf30df761f6b9b16be2b9c497f63f4e7.jpg",[],{"id":2323,"slug":2324,"title":2325,"dynasty":18,"author":2326,"museum":152,"description":2327,"tags":2328,"thumbUrl":2329,"material":78,"size":78,"collection":78,"collections":2330,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":43},229004,"ma-gu-xian-shou-tu-huang-shan-shou-229004","麻姑献寿图","黄山寿","画面里仕女温婉端柔，手捧仙瓶静立，衣纹舒展灵动，衣饰纹饰细密雅致，尽显秀润华美感。身旁老者苍颜皓首，拄蟠桃树杖，神态矍铄安然。此作用笔工写相融，线条清劲流畅，设色调和古雅，将二人仙逸气质烘托恰到好处。整体画面祥和悠然，把福寿吉庆的美好意蕴藏于笔墨之间，尽显传统吉祥题材画作的精妙意趣，以细腻的人物塑造传递出雅致祥瑞的贺寿主题，尽显古典人物画的匠心之美。",[25,26,27,29,28,30,31,7,34,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57f630caf622323c7378dd7917517fa5.jpg",[],{"id":2332,"slug":2333,"title":2334,"dynasty":821,"author":195,"museum":152,"description":2335,"tags":2336,"thumbUrl":2338,"material":260,"size":261,"collection":78,"collections":2339,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":440},226719,"su-xi-bi-yi-ming-226719","素系璧","青玉，灰脂色，滿布深淺不一的褐絲紋，半透明。全器為一單面鑽孔所剩下的鑽心所作成，外緣斜壁有多個磨面和磨稜；中孔單面桯鑽，方向與原器之鑽孔方向相反，孔壁亦斜而有旋轉紋，上口大，底口小而留有毛邊。表面光素溫潤。可能係用製作大璧中孔所剩之圓片加工而成。",[254,7,255,2337,821],"素面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbff59e66b31215d293507e01c23b9f35.jpg",[],{"id":2341,"slug":2342,"title":2343,"dynasty":117,"author":531,"museum":152,"description":2344,"tags":2345,"thumbUrl":2346,"material":548,"size":2347,"collection":78,"collections":2348,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":43},221881,"ren-wu-tu-zhou-chen-hong-shou-221881","人物图轴","画面中的主人公身着宽松长袍，身姿硕健，手持梅花与灵芝，悠然自得，用笔遒劲挺拔，形体造型夸张，塑造人物古朴，形象地表现出主人公遗世独立的精神面貌。 [1] 题识：“老迟洪绶画于狮子林。” 钤“陈洪绶印”白文印，“章侯氏”朱文印。陈洪绶（1598—1652）， 字章侯，号老莲、老迟，晚号悔迟、云门僧等。诸暨（今浙江诸暨）人。善山水、花鸟，尤精人物，世所罕及。与崔子忠齐名，称“南陈北崔”。",[23,25,26,27,28,29,30,7,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6430abb4d4cf493e0e01578a4f3f6554.jpg","纵118厘米，横55厘米",[],{"id":2350,"slug":2351,"title":2352,"dynasty":18,"author":195,"museum":119,"description":2353,"tags":2354,"thumbUrl":2360,"material":37,"size":2361,"collection":39,"collections":2362,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":132},219595,"wan-nian-bu-lao-ce-yao-chi-chun-yan-yi-ming-219595","万年不老册-瑶池春宴","此作分上下二幅，上方以墨绿为底，泥金小楷端正隽秀，古雅沉静。下幅工笔设色，绘就瑶池春宴盛景。烟波之上，仙宾乘槎踏浪而来；苍松翠峦间，群仙或围坐清谈，或悠然伫立，麋鹿仙鹤闲游林泉，自在怡然。笔触精细工致，敷色妍丽明净，晕染出山石松涛的温润质感，将神话仙境的缥缈出尘，融于人间雅集的恬和悠然之中，把瑶池宴饮铺作世外清景，尽显工笔仙佛题材的雅致意趣，氤氲着清宁出尘的仙家气韵。",[24,25,26,224,29,28,30,2355,2356,2357,433,2358,316,811,2359,7],"神仙","鹤","鹿","云","瑞兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faba36c2019ede989fac397469dd36396.jpg","39x57.5厘米",[39],{"id":2364,"slug":2365,"title":2366,"dynasty":18,"author":195,"museum":119,"description":2367,"tags":2368,"thumbUrl":2369,"material":126,"size":78,"collection":39,"collections":2370,"showCount":5,"zanCount":202,"manualWeight":11,"mainColor":132},217029,"li-dai-ming-ren-tu-xiang-ce-yi-ming-217029","历代名人图像册","《历代名人图像册》是清朝时期的一部著名图书。它记录了中国历史上许多著名人物的生平事迹和照片。这本书是由佚名编著的，出版于清朝末年。\n\n《历代名人图像册》共分为五卷，每卷都以一个主题为线索，按时间顺序记录了许多著名人物的生平事迹和照片。其中，第一卷记录了中国古代的著名人物，第二卷记录了中国近代的著名人物，第三卷记录了中国现代的著名人物，第四卷记录了世界各国的著名人物，第五卷记录了清朝时期的著名人物。\n\n《历代名人图像册》是一部非常有价值的参考书，对于了解中国历史和文化有着重要的意义。这本书在当时是非常受欢迎的，并且至今仍被广泛使用。",[25,29,224,30,2174,7,34,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32e42f4a5701f36ca6e9dd38e25d06d7.jpg",[39],{"id":2372,"slug":2373,"title":1353,"dynasty":48,"author":2374,"museum":152,"description":2375,"tags":2376,"thumbUrl":2377,"material":260,"size":261,"collection":78,"collections":2378,"showCount":2379,"zanCount":202,"manualWeight":11,"mainColor":43},287584,"huo-lang-tu-li-gong-lin-287584","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。",[24,25,26,30,28,29,476,1356,927,7,210,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed448f9ab717e072dfdea305383f70ef.jpg",[],35,{"id":2381,"slug":2382,"title":2383,"dynasty":18,"author":195,"museum":152,"description":2384,"tags":2385,"thumbUrl":2386,"material":78,"size":78,"collection":465,"collections":2387,"showCount":2379,"zanCount":11,"manualWeight":11,"mainColor":43},241919,"cui-yan-zui-yi-ming-241919","翠烟嘴","这件烟嘴以满色浓翠为材，色泽匀净幽深，如将一汪碧潭凝于方寸之间。形制简约规整，线条利落圆融，自上而下缓缓收放，贴合握持手感，将实用性与观赏性相融相生。\n\n整器无过多赘饰，全然以翡翠本身的莹润质感发声，内敛宝光在表面晕开，尽显沉静雅致的东方意趣，把寻常日用之物，打磨成可赏可玩的掌中清玩，藏着旧时的闲适余韵，尽显含蓄克制的中式美学格调。",[461,254,255,298,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a5735dd2bb562964717b654b8d7b19d.jpg",[465],{"id":2389,"slug":2390,"title":2391,"dynasty":18,"author":195,"museum":152,"description":2392,"tags":2393,"thumbUrl":2394,"material":78,"size":78,"collection":465,"collections":2395,"showCount":2379,"zanCount":11,"manualWeight":11,"mainColor":321},241789,"cui-bi-yan-hu-yi-ming-241789","翠鼻烟壶","它将一汪深潭凝为掌中雅器，浓绿翠色匀净柔和，哑光肌理晕开天然玉质的朦胧絮纹，自带沉静古雅的气质。饱满圆润的壶身线条舒展柔和，摒弃繁复雕饰，以素净形制凸显翠料本身的温润质感。朱红盖顶似一点丹砂落于苍碧之上，冷暖色调相映，在清雅中晕开一抹鲜亮，于简约间点活了整器意韵。\n它带着旧时造物返璞归真的审美意趣，把玉石天成之美融入方寸把玩之器，握着它好似能触碰到旧时雅人案头的闲情，藏着中式美学里含蓄温润的东方韵味。",[461,254,255,7,699],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cce6aa8b93cd6e551a9bac8a0f833b1.jpg",[465],{"id":2397,"slug":2398,"title":361,"dynasty":117,"author":118,"museum":87,"description":362,"tags":2399,"thumbUrl":2400,"material":367,"size":368,"collection":128,"collections":2401,"showCount":2402,"zanCount":11,"manualWeight":11,"mainColor":132},230957,"ping-he-tu-shen-zhou-230957",[23,25,26,27,29,28,364,365,7,184,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9937a425003a6af29aa49db4e9aa7adf.jpg",[128,61],34,{"id":2404,"slug":2405,"title":2406,"dynasty":117,"author":531,"museum":152,"description":2407,"tags":2408,"thumbUrl":2411,"material":78,"size":78,"collection":78,"collections":2412,"showCount":2402,"zanCount":11,"manualWeight":11,"mainColor":43},228322,"tong-xia-shou-jiao-tu-chen-hong-shou-228322","桐下授教图","此作用笔古拙苍劲，古桐盘屈虬结，苔痕覆着老干，轻烟柔云缠绕枝梢，晕染出幽绝尘寰的林下氛围。\n凭几高士神色恬然，似正开示妙义，下方弟子敛衽跪坐，垂首凝神聆听，将闻道的敬慕全然藏于姿态之中。侍童静立侧旁，案头瓶花清隽雅致，衬出雅静出尘的文聚意境。\n线条清圆凝练，设色淡静沉稳，人物造型奇崛古雅，带着独有的变形意趣，把魏晋林下清谈的萧散高逸，收于尺幅之间，尽显静穆古雅的晚明文人意韵。",[23,25,26,27,29,28,30,2409,2410,168,7],"桐树","怪石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffab28a2765a4b73f109df837ac62eabb.jpg",[],{"id":2414,"slug":2415,"title":2416,"dynasty":137,"author":2417,"museum":152,"description":2418,"tags":2419,"thumbUrl":2421,"material":78,"size":78,"collection":78,"collections":2422,"showCount":2423,"zanCount":468,"manualWeight":11,"mainColor":132},228038,"mo-lou-shu-can-zhi-tu-chang-juan-cheng-qi-228038","摹楼璹蚕织图（长卷）","程棨","此作以长卷铺陈江南蚕织全序，从浴蚕收种、稚蚕养护，直到煮茧缫丝、上机成绸，将蚕户从春到夏的辛劳日常一一绘就，每段配书题诗，图文呼应。笔触温润写实，农妇饲桑、调丝的动作鲜活自然，院舍桑田、织机筐篓细节考究，忠实还原宋本原貌，又晕染出元人清雅的笔墨质感，将耕织烟火揉进细腻笔锋里，是后世窥见古时丝织工艺与乡野民俗的珍贵图像长卷。",[23,25,26,53,54,28,29,184,74,30,798,315,710,7,2103,2420],"蚕桑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3e1a06d4ccdb8d1b366fe00d978d814.jpg",[],33,{"id":2425,"slug":2426,"title":852,"dynasty":821,"author":195,"museum":152,"description":250,"tags":2427,"thumbUrl":2428,"material":260,"size":261,"collection":78,"collections":2429,"showCount":2423,"zanCount":11,"manualWeight":11,"mainColor":43},226720,"yu-cong-yi-ming-226720",[821,254,255,257,406,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F248e5f5d616c7b5e7f0f62a48e6fb5a8.jpg",[],{"id":2431,"slug":2432,"title":2433,"dynasty":1216,"author":2150,"museum":152,"description":2151,"tags":2434,"thumbUrl":2438,"material":260,"size":261,"collection":2158,"collections":2439,"showCount":2423,"zanCount":11,"manualWeight":11,"mainColor":132},225820,"sprig-of-flowering-almond-in-a-glass-march-fan-gao-225820","Sprig of flowering almond in a glass (March - )",[2153,2435,29,7,2436,656,2437],"厚涂","杏仁枝","桌面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88489b5404317aa1680a991884cd3d36.jpg",[2158],{"id":2441,"slug":2442,"title":2443,"dynasty":18,"author":495,"museum":2444,"description":2445,"tags":2446,"thumbUrl":2447,"material":2066,"size":78,"collection":78,"collections":2448,"showCount":2423,"zanCount":11,"manualWeight":11,"mainColor":132},220473,"zhong-kui-xiang-ren-yi-220473","钟馗像","美国大都会艺术博物馆","一改往日钟馗凶煞镇邪的刚猛，此作将他绘成簪花醉坐的士大夫模样，斜倚竹榻，醺然松弛，红簪点醒了满脸虬髯下暗藏的温柔意趣。\n\n衣纹以顿挫写意的长线挥就，笔势灵动洒脱，赭色衣袍晕染温润，衬出人物难掩的威仪。髯须以泼墨扫出，粗粝苍劲，与衣纹的秀逸形成反差，刚柔并济间，判官的威严与松弛尽显。\n\n案上清供瓶花、卷册鲜果，将神祗拉入日常烟火，消解戾气，添上文人雅韵，以世俗化笔触重构民间神明，尽显雅俗共赏的笔墨意趣。",[25,26,29,28,30,636,34,7,788,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc67bf33de0a3afd0468c8bac53207d69.jpg",[],{"id":2450,"slug":2451,"title":2452,"dynasty":18,"author":495,"museum":152,"description":2453,"tags":2454,"thumbUrl":2455,"material":260,"size":261,"collection":78,"collections":2456,"showCount":2457,"zanCount":202,"manualWeight":11,"mainColor":132},239003,"ma-gu-shou-xing-tu-zhou-ren-yi-239003","麻姑寿星图轴","任颐（1840年－1895年），即任伯年，初名润，字次远，号小楼，后改名颐，字伯年，别号山阴道上行者、寿道士等，以字行，浙江山阴航坞山（今杭州市萧山区瓜沥镇）人，清末著名画家。\n自幼随父卖画，后从任熊、任薰学画，后居上海卖画为生。在“四任”之中，成就最为突出，是“海上画派”中的佼佼者，“海派四杰”之一。任伯年的绘画发轫于民间艺术，技法全面，山水、花鸟、人物等无一不能。重视写生，又融汇诸家法，并吸取水彩色调之长，勾皴点染，格调清新。\n其人物画，早年从陈洪绶法出，形象夸张，富装饰效果。如故宫博物院藏《干莫炼剑图》轴。后练习铅笔速写后，变得较为奔逸，如故宫博物院藏《风尘三侠图》轴等。其写照技艺，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。\n海派中的佼佼者，其绘画发源于民间，重视继承传统，吸收西画技法，形成风姿多采的独特画风，在“四任”中成就最为突出。 　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[25,27,29,28,30,34,298,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff175e18f3b9ce2cab643e7ecf4a69d60.jpg",[],32,{"id":2459,"slug":2460,"title":2461,"dynasty":611,"author":612,"museum":69,"description":2462,"tags":2463,"thumbUrl":2464,"material":548,"size":2465,"collection":39,"collections":2466,"showCount":2457,"zanCount":11,"manualWeight":11,"mainColor":43},238953,"xi-zi-huan-sha-tu-ye-zhou-wen-ju-238953","西子浣纱图页","中国五代南唐画家。建康句容（今江苏省句容市）人。工画佛道、人物、车马、屋木、山水，尤精于仕女，也是出色的肖像画家。作品多为摹本《宫中图》《苏武李陵逢聚图》《重屏会棋图》《琉璃堂人物图》《太真上马图》。",[24,25,26,1844,28,29,30,31,35,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F381a9f19e2e6a925298dc86e6198ace1.jpg","64×64cm",[39],{"id":2468,"slug":2469,"title":2470,"dynasty":18,"author":195,"museum":152,"description":2471,"tags":2472,"thumbUrl":2473,"material":260,"size":261,"collection":78,"collections":2474,"showCount":2457,"zanCount":11,"manualWeight":11,"mainColor":357},229699,"tian-lan-you-hua-zun-yi-ming-229699","天蓝釉花尊","天蓝釉是瓷器釉色名。一种高温色釉。由“天青”演变而来，清康熙时创烧。釉色浅而发蓝，似天蓝色，故名。含钴量在2%以下，釉中铜、铁、钛等金属元素均起呈色剂作用；呈色稳定、莹洁菁雅，可与豇豆红媲美，是古代工匠精湛的工艺技巧和不朽的艺术造型的完美体现。天蓝釉器物种类，康熙时均属小件文房用具，至雍正、乾隆才见瓶罐等器型。",[461,873,1763,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff681b0645f8b66ae60317fe0d9ee93e4.jpg",[],{"id":2476,"slug":2477,"title":668,"dynasty":48,"author":195,"museum":152,"description":1808,"tags":2478,"thumbUrl":2479,"material":260,"size":261,"collection":78,"collections":2480,"showCount":2457,"zanCount":11,"manualWeight":11,"mainColor":1850},227429,"hua-ping-yi-ming-227429",[156,873,364,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb18bf8b33f4775fd7bbf9f4e60b0e516.jpg",[],{"id":2482,"slug":2483,"title":2484,"dynasty":1873,"author":195,"museum":152,"description":1874,"tags":2485,"thumbUrl":2489,"material":260,"size":261,"collection":78,"collections":2490,"showCount":2457,"zanCount":11,"manualWeight":11,"mainColor":132},223961,"bo-ju-wen-jing-zhi-fu-jian-1-yi-ming-223961","博局纹镜之附件-1",[1971,29,28,168,2486,960,2487,2488,255,7],"兰草","木质","彩绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd88eb790bc8dd8a0e4bfcc793c91eb21.jpg",[],{"id":2492,"slug":2493,"title":2494,"dynasty":18,"author":195,"museum":152,"description":2495,"tags":2496,"thumbUrl":2500,"material":260,"size":261,"collection":78,"collections":2501,"showCount":2502,"zanCount":11,"manualWeight":11,"mainColor":43},273272,"hong-se-duan-xiu-feng-he-bao-shi-huo-lian-yi-ming-273272","红色缎绣凤荷包式火燫","荷包是中国汉族传统服饰中，人们所随身佩带的一种装零星物品的小包，后发展为爱情信物，荷包的图案有繁有简，花卉、鸟、兽、草虫、山水、人物以及吉祥语、诗词文字都有，装饰意味很浓。\n在民间荷包中，占相当比重的是香包，香包里装有香草之类的药品，包面上绣制着“五毒”，即蝎子、蛇、蜈蚣、壁虎和蟾蜍，它原是五月端午的节令物品，为了防止各种毒虫猖獗，侵害人体，人们相互馈赠，挂在衣襟或帐勾上，以避除“五毒”。就形状来看，有虎形的、鸡形的、如意形的、寿桃形的、蝙蝠形的，以取意于福、禄、寿、喜、吉祥、如意等。富有深厚民族心理基础的绣荷包，在民间文化中，显示着旺盛的生命力。",[1719,55,521,2497,298,699,2498,2499,168,7],"铁器","凤纹","寿纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40be8ce4cb7c5b7e8a10e1d152e52c15.jpg",[],31,{"id":2504,"slug":2505,"title":2506,"dynasty":18,"author":195,"museum":152,"description":2507,"tags":2508,"thumbUrl":2510,"material":78,"size":78,"collection":465,"collections":2511,"showCount":2502,"zanCount":11,"manualWeight":11,"mainColor":440},241869,"cui-yu-chi-wen-gou-yi-ming-241869","翠玉螭纹钩","这件带钩选料飘绿莹润，白翠相融，清润雅致。钩首作灵禽之形，圆拙生动，钩身透雕螭龙，身姿矫捷蜷曲，利爪劲健、鬃毛飘逸，线条婉转流畅，将螭龙灵动凶悍的神态尽显无余。\n匠人以浮雕与透雕结合，深浅错落间让纹饰极具层次感，光素的钩身打磨圆润细腻，与繁复雕纹虚实相衬，将玉料的天然温润与雕刻工巧相融，兼顾实用与赏玩之趣，静穆中透着灵动生机，尽显旧时玉雕的精工雅致。",[461,254,255,2509,406,7],"螭纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5bf768b69f33287b8bba21d97bb664f.jpg",[465],{"id":2513,"slug":2514,"title":2515,"dynasty":18,"author":2215,"museum":2216,"description":2217,"tags":2516,"thumbUrl":2517,"material":199,"size":2220,"collection":78,"collections":2518,"showCount":2502,"zanCount":11,"manualWeight":11,"mainColor":43},222880,"hong-lou-meng-5-sun-wen-222880","红楼梦5",[23,25,26,28,29,30,798,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99114590de0237996992964d1a568ac0.jpg",[],{"id":2520,"slug":2521,"title":2522,"dynasty":48,"author":2523,"museum":544,"description":2524,"tags":2525,"thumbUrl":2526,"material":548,"size":2527,"collection":78,"collections":2528,"showCount":2502,"zanCount":11,"manualWeight":11,"mainColor":43},221502,"chu-que-tu-ye-song-ru-zhi-221502","雏雀图页","宋汝志","该图通过巧妙的笔法生动地表现了笼里及笼外幼雀的瞬间情态。所传作者宋汝志为南宋末期的画院画家。幕府末期狩野养川院惟信的鉴定中曾称为宋汝志所作，但并无确证，作者未明。然而，作品使用水墨和淡彩，表现手法细腻，这一点说明本图出自南宋时代名家之手。观其画风，属南宋画院待诏吴炳的传派，但笔法在工整中趋向轻松洒脱，鸟雀极为生动自然，筐篓的线条既合编织规矩，又不刻板。",[23,24,25,26,224,312,183,122,285,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bf5b764403f9d155fee7b4b0e303edd.jpg","21.3x21.9",[],{"id":2530,"slug":2531,"title":2532,"dynasty":390,"author":1644,"museum":1645,"description":2533,"tags":2534,"thumbUrl":253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鱼，也能人物、山水，尤精画梅。作品纵横豪放、墨气淋漓，粗头乱服 ，不拘绳墨，意在青藤、白阳、竹憨之间。画梅以瘦硬见称，老干新枝 ，欹侧蟠曲。用间印有“梅花手段”，著名的题画梅诗有“不逢摧折不离奇”之句。还喜欢画狂风中的松竹。工书。能诗，后人辑有《梅花楼诗草》，仅二十六首，多数散见于画上。",[24,25,183,29,224,328,91,2064,7,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fada2f010f959e38a108f686d852e440a.jpg",[],{"id":2796,"slug":2797,"title":2798,"dynasty":117,"author":531,"museum":152,"description":2799,"tags":2800,"thumbUrl":2801,"material":330,"size":78,"collection":78,"collections":2802,"showCount":2749,"zanCount":202,"manualWeight":11,"mainColor":132},234258,"dan-chang-zhou-chen-hong-shou-234258","弹唱轴","陈洪绶（1599年—1652年），字章侯，幼名莲子，一名胥岸，号老莲，别号小净名，晚号老迟、悔迟，汉族，浙江绍兴府诸暨县枫桥陈家村（今诸暨市枫桥镇陈家村）人。明末清初书画家、诗人。\n年少师事刘宗周，补生员，后乡试不中，崇祯年间召入内廷供奉。明亡入云门寺为僧，后还俗，以卖画为生，死因说法不一。亦能画水墨写意花卉，酣畅淋漓。还长于为文学作品创作插图，能表现出原作人物的精神气质。其画手法简练，色彩沉着含蓄，格调高古，享誉明末画坛，与当时的顺天崔子忠齐名，号称“南陈北崔”。其人物画成就，人谓“力量气局，超拔磊落，在仇（英）、唐（寅）之上，盖明三百年无此笔墨”；当代国际学者推尊他为“代表十七世纪出现许多有彻底的个人独特风格艺术家之中的第一人”。\n陈洪绶去世后，其画艺画技为后学所师承，堪称一代宗师，名作《九歌图》（含《屈子行吟图》）、《插图》、《水浒叶子》、《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[23,25,26,53,28,29,312,30,7,476,1537],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7b56da018814c611b2efc6f220be42d.jpg",[],{"id":2804,"slug":2805,"title":2806,"dynasty":117,"author":531,"museum":152,"description":2807,"tags":2808,"thumbUrl":2811,"material":199,"size":2812,"collection":78,"collections":2813,"showCount":2749,"zanCount":202,"manualWeight":11,"mainColor":43},231485,"gong-feng-tu-chen-hong-shou-231485","供奉图","陈洪绶利用各种作画技法适应不同题材，如用折笔或粗渴之笔表现英雄、细圆之笔表现文士美人、用游 丝描表现高古，成为中国传统人物画法的丰盛宝库。陈洪绶一生秉性孤傲倔强，吞恨而终。他是一位擅长人物、精工花鸟、兼能山水的绘画大师，与北方崔子忠齐名，号称“南陈北崔”。当代国际学者推为“代表十七世纪出现许多有彻底的个人独特风格艺术家之中的第一人”。",[23,24,25,26,27,29,28,312,30,31,7,34,2809,2810,668,74,184],"案几","烛台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb41f69a47f37ac516a406b8b50194ed5.jpg","95×44厘米",[],{"id":2815,"slug":2816,"title":2817,"dynasty":18,"author":195,"museum":152,"description":2818,"tags":2819,"thumbUrl":2822,"material":260,"size":261,"collection":78,"collections":2823,"showCount":2749,"zanCount":11,"manualWeight":11,"mainColor":43},229263,"hua-fa-lang-sui-chao-tu-ping-yi-ming-229263","画珐瑯岁朝图瓶","珐琅又称“佛郎”、“法蓝”，是由中国隋唐时古西域地名拂菻音译而来。珐琅器是以珐琅为材料装饰而制成的器物，其基本成分为石英、长石、硼砂和氟化物，与陶瓷釉、琉璃、玻璃同属硅酸盐类物质。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。\n珐琅就是将经过粉碎研磨的珐琅釉料，涂施于经过金属加工工艺制作后的金属制品的表面，经干燥、烧成等制作步骤后，所得到的复合性工艺品。珐琅工艺的制作分类很多，一般根据制作方法和胎地种类将其分类。 [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 ，錾胎珐琅的制作中心也在广州，透明珐琅器也以广州出产的最为著名。",[461,962,2820,29,123,656,2821,7],"画珐琅","枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99f9079f3aad1377f2871d45400df1ad.jpg",[],{"id":2825,"slug":2826,"title":1863,"dynasty":48,"author":151,"museum":152,"description":2827,"tags":2828,"thumbUrl":2829,"material":78,"size":78,"collection":78,"collections":2830,"showCount":2749,"zanCount":11,"manualWeight":11,"mainColor":43},227739,"huo-lang-tu-ye-li-song-227739","《货郎图》是南宋画家李嵩创作的团扇绢本水墨淡设色画。李嵩创作过多幅货郎图，分别藏于北京故宫博物馆、中国台北故宫博物院、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，现藏于北京故宫博物院的《货郎图》的规格是纵25.5cm，横70.4cm，其余的均为小幅。\n\n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。",[23,24,25,26,449,28,29,30,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febc853454829aec9f8be8f73998aa141.jpg",[],{"id":2832,"slug":2833,"title":2834,"dynasty":1873,"author":195,"museum":152,"description":1874,"tags":2835,"thumbUrl":2837,"material":260,"size":261,"collection":78,"collections":2838,"showCount":2749,"zanCount":11,"manualWeight":11,"mainColor":132},223959,"bo-ju-wen-jing-1-yi-ming-223959","博局纹镜-1",[1873,522,521,255,184,735,2836,7],"博局纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52e1c9003fabe4afbd80898467a8405d.jpg",[],{"id":2840,"slug":2841,"title":2842,"dynasty":18,"author":195,"museum":152,"description":2843,"tags":2844,"thumbUrl":2845,"material":78,"size":78,"collection":78,"collections":2846,"showCount":2749,"zanCount":202,"manualWeight":11,"mainColor":132},223664,"yong-zheng-di-du-shu-xiang-zhou-yi-ming-223664","雍正帝读书像轴","整作静谧雅致，帝王身着明黄吉服端坐暖阁，面庞清癯平和，目光轻落手中书卷，尽显松弛安然的书卷气，褪去了朝堂之上的威严肃杀。服色织绣精细繁复，龙纹婉转灵动，衣褶晕染自然，衬出面料华贵质感。两侧案头文房与装帧精美的古籍错落，点明读书主题，暖阁陈设素净柔和，烘托出静雅的伏案氛围。\n\n画家以细腻写实的笔触，捕捉下雍正鲜为人知的闲逸侧面，跳出帝王标准像的刻板范式，将其沉浸典籍的专注神态勾勒入微，在纪实之中融入雅致文人意趣，是清代御容像里极具生活意趣的上乘之作。",[23,25,27,29,28,30,788,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35643af16a8eade2dd5994483bab96a0.jpg",[],{"id":2848,"slug":2849,"title":2850,"dynasty":48,"author":2851,"museum":152,"description":2852,"tags":2853,"thumbUrl":2855,"material":260,"size":261,"collection":78,"collections":2856,"showCount":2857,"zanCount":11,"manualWeight":11,"mainColor":132},288493,"dan-ping-qiu-hui-tu-yang-huang-hou-288493","胆瓶秋卉图","杨皇后","图中瓶架上置一蓝釉长颈瓶，内插菊花。花朵施以勾勒填色法，花叶用没骨法出之，刻画自然细腻，渲染柔和润泽。秋菊艳丽而不失于秀雅，此图为南宋写生画中的优秀作品。",[23,449,25,24,26,28,29,122,341,7,124,74,2854],"秋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc19493cd623f181dc873fb990329bed7.jpg",[],25,{"id":2859,"slug":2860,"title":2861,"dynasty":18,"author":195,"museum":152,"description":2862,"tags":2863,"thumbUrl":2868,"material":78,"size":78,"collection":878,"collections":2869,"showCount":2857,"zanCount":11,"manualWeight":11,"mainColor":132},246681,"ti-hong-chan-zhi-lian-wen-kai-guang-hua-hui-wen-mei-hua-shi-ping-yi-ming-246681","剔红缠枝莲纹开光花卉纹梅花式瓶","此瓶取梅花为形，口、足呼应一体。通体髹朱漆雕刻，地子纹锦密致细腻，开光内剔刻折枝花卉，梅朵清妍、花枝舒展，四时花木娇柔含韵。开光以回纹为边，器身满饰缠枝莲纹，颈部雕回纹配变体兽面，层次分明，刀工圆熟沉厚。朱红莹亮温润，棕地衬得雕花愈显妍丽饱满，将漆雕的精工雅致与花艺的柔婉雅致相融，尽显清时漆作的华贵考究，静穆间藏着匠人的造物巧思，是雕漆工艺中的上乘之作。",[461,1393,2864,255,1941,2865,2866,2867,7],"剔红","花卉纹","梅花","开光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56dfcb76a9213a9fad385f5baf3182d2.jpg",[878],{"id":2871,"slug":2872,"title":2873,"dynasty":821,"author":195,"museum":152,"description":2874,"tags":2875,"thumbUrl":2876,"material":260,"size":261,"collection":78,"collections":2877,"showCount":2857,"zanCount":11,"manualWeight":11,"mainColor":43},232655,"bi-yi-ming-232655","璧","玉色自然晕染，青白带与褐黄浆色相融，犹如将史前晨昏天色凝于方寸间。器型圆融厚重，孔壁周正匀净，通体无饰，仅以原生玉质肌理为美，尽显上古先民的极简审美。\n\n时光浸蚀出的斑驳包浆覆于玉表，温润沉静间带着岁月沉淀的厚重质感，藏着初民对圆融天地的朴素崇拜。这一方玉璧将对自然的敬畏与古朴的审美意趣凝铸其中，静默承载着数千年前的质朴气息，让观者得以触摸到史前文明最本真的审美脉搏。",[821,254,255,257,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F369643af1cf7756c740cc7a492a7368d.jpg",[],{"id":2879,"slug":2880,"title":2881,"dynasty":18,"author":195,"museum":152,"description":2882,"tags":2883,"thumbUrl":2885,"material":260,"size":261,"collection":878,"collections":2886,"showCount":2857,"zanCount":11,"manualWeight":11,"mainColor":132},229712,"kang-xi-yao-bao-shi-hong-guan-yin-zun-yi-ming-229712","康熙窑 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sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[25,30,28,29,3034,462,91,34,7,3035],"帝王","肖像画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ce4f3e3742391e4edb2a7aec1e35fe0.jpg",[],{"id":3039,"slug":3040,"title":3041,"dynasty":18,"author":195,"museum":152,"description":2011,"tags":3042,"thumbUrl":3047,"material":260,"size":261,"collection":78,"collections":3048,"showCount":63,"zanCount":11,"manualWeight":11,"mainColor":440},249902,"qian-long-kuan-qia-si-fa-lang-shou-dai-hua-hui-wen-hu-lu-shi-ping-yi-ming-249902","乾隆款掐丝珐琅绶带花卉纹葫芦式瓶",[461,2013,2235,3043,2865,3044,7,168,3045,3046],"绶带纹","葫芦式","绶带","葫芦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea740a8d030d9a7764cefa87517d9ccf.jpg",[],{"id":3050,"slug":3051,"title":3052,"dynasty":18,"author":195,"museum":152,"description":3053,"tags":3054,"thumbUrl":3058,"material":260,"size":261,"collection":78,"collections":3059,"showCount":63,"zanCount":11,"manualWeight":11,"mainColor":440},248395,"hei-qi-qian-wen-zhu-gui-hua-wen-chang-fang-pan-yi-ming-248395","黑漆嵌文竹桂花纹长方盘","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[1393,3055,3056,7,3057],"嵌文竹","桂花","长方","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F832a3ecb83834248b8575a4eeac5b5d7.jpg",[],{"id":3061,"slug":3062,"title":3063,"dynasty":18,"author":3064,"museum":69,"description":3065,"tags":3066,"thumbUrl":3067,"material":330,"size":78,"collection":78,"collections":3068,"showCount":63,"zanCount":202,"manualWeight":11,"mainColor":132},234331,"zhao-pen-ying-xi-tu-zhou-ding-guan-peng-234331","照盆婴戏图轴","丁观鹏","丁观鹏(1736-1795),顺天(今北京市)人,精绘画,擅画释道、人物、山水,画风工细三传神。雍正四年(1726年)以画艺精湛入宫供奉,备受雍正、乾隆皇帝的赏识,作晶为清宫著录者达83件之多。",[25,27,28,29,30,1404,32,7,2487,55,74,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39d63170dd62ddc7588f241ea4ab57f3.jpg",[],{"id":3070,"slug":3071,"title":3072,"dynasty":3073,"author":195,"museum":152,"description":3074,"tags":3075,"thumbUrl":3084,"material":260,"size":261,"collection":78,"collections":3085,"showCount":63,"zanCount":11,"manualWeight":11,"mainColor":43},224089,"shi-er-sheng-xiao-jing-yi-ming-224089","十二生肖镜","隋","中国铜镜的制作和使用具有悠久的历史，根据考古发掘，年代最早的铜镜为4000多年前的齐家文化。从齐家文化至西周末春秋早期制作的铜镜，多以纹饰简单、形体小、种类少。此一时期为中国铜镜制作早期阶段。\n春秋中晚期开始，我国铜镜制作和使用就发展起来了，特别是战国时期，铜镜的种类复杂，题材广泛，制作工艺精细，包括此时期铜镜的合金成分，其锡含量是最适合铜镜的使用，这些充分反应了铜镜在此时期制作技术已达到成熟阶段。汉代开始铜镜得到了进一步的发展，这时期的铜镜出现了新的类型，铭纹也正逐渐成为铜镜的纹饰组成部分，反映了汉代铸镜业的发达及铜镜商品化的发展。\n隋唐时期是中国铜镜高度发展时期，此时的铜镜突破了以往圆形与方形的传统形式，出现了菱花形、葵花形铜镜。特别是盛唐时期铜镜工艺精湛，著名的瑞兽葡萄镜更是闻名于世，这一时期铜镜发展达到了顶峰。\n从唐末，五代起中国的铜镜艺术日趋衰落，宋、金、元时期的铜镜，从造型、纹饰和合金成分上都有不同于传统铜镜的特点。明，清时期虽然铜镜还在人们日常生活当中使用，但到清代中后期随着玻璃的使用，铜镜逐渐退出了历史舞台。当今虽然不再有人使用铜镜整装容，但古代铜镜给予我们的除了收藏价值，还有对古代形制、纹饰、铭文、艺术、制作工艺、成分等等的研究价值。中历收藏品鉴定中心，为我国合法第三方专业鉴定平台，证书得到了专业人士及社会各界的高度认可，藏品鉴定可咨询。",[3076,521,522,255,722,1734,3077,3078,462,3079,380,3080,3081,3082,90,3083,7],"隋代","虎","兔","蛇","羊","猴","鸡","猪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f4279e31dfdc5b014a6c52949e36c2b.jpg",[],{"id":3087,"slug":3088,"title":3089,"dynasty":18,"author":195,"museum":152,"description":3090,"tags":3091,"thumbUrl":3093,"material":260,"size":261,"collection":78,"collections":3094,"showCount":63,"zanCount":11,"manualWeight":11,"mainColor":43},224024,"jin-wan-yi-ming-224024","金碗","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。",[2676,73,7,461,3092,255],"金属工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d08ae12096677ca5a71f1d0125657c5.jpg",[],{"id":3096,"slug":3097,"title":3098,"dynasty":48,"author":195,"museum":1412,"description":3099,"tags":3100,"thumbUrl":3101,"material":76,"size":3102,"collection":78,"collections":3103,"showCount":63,"zanCount":11,"manualWeight":11,"mainColor":132},223377,"bei-qi-xiao-shu-tu-yi-ming-223377","北齐校书图","《北齐校书图》所绘内容为天宝七年（556年）文宣帝高洋命樊逊等人校勘内府所藏图书的事件。旧传此卷为唐阎立本所作，现多将其归于北齐画家杨子华名下。\n图中三组人物。第一段共七人，其中胡服文士持书卷踞胡床（三国时传入中国的坐具，形制近似于今天使用的马扎），为此段中心；第二段共十人，四文士坐于榻上，婢女、小童伺立榻周，文士中二人校勘书卷，另二人似乎正因意见相左而有所争执；第三段为侍从和牵马的奚奴。\n画中的家具器用、人物服饰皆胡汉杂糅，符合北齐的实际情况。人物面庞呈椭圆形是此卷的鲜明特点，联系到近年来的考古发现，似乎与北齐时期的墓室壁画中人物有同样的特征，因此《北齐校书图》也屡屡为学界引用以论证北齐画风。尽管北齐是一个极短命的王朝，但是越来越多的考古发现证明，在这一时期，艺术呈现出极鲜明的面貌，并很可能影响到唐代的审美趣味。",[23,24,25,26,53,28,29,30,380,34,74,184,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5da306b34154b0d7c31d14521fdcc73.jpg","27.6*114CM",[],{"id":3105,"slug":3106,"title":3107,"dynasty":18,"author":2215,"museum":2216,"description":2217,"tags":3108,"thumbUrl":3110,"material":199,"size":2220,"collection":78,"collections":3111,"showCount":63,"zanCount":11,"manualWeight":11,"mainColor":132},222933,"hong-lou-meng-58-sun-wen-222933","红楼梦58",[23,25,26,28,29,30,3109,1022,7,1062,787,786,1063,34,55,224],"屏风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a7fb05d8c632be2dfa4c21f8193d437.jpg",[],{"id":3113,"slug":3114,"title":3115,"dynasty":48,"author":2374,"museum":152,"description":3116,"tags":3117,"thumbUrl":3118,"material":382,"size":78,"collection":78,"collections":3119,"showCount":63,"zanCount":202,"manualWeight":11,"mainColor":132},218108,"bai-miao-ren-wu-tu-ce-4-li-gong-lin-218108","白描人物图册-4","李公麟的生平信息相对较少，但是他在宋朝的政治、文化和经济发展中发挥了重要作用。他曾任国子监太傅，是宋朝的最高学府。他还是一位著名的诗人，他的诗歌风格优美流畅，富有哲理性。\n\n李公麟还是一位杰出的政治家。他在宋朝的统治过程中，提出了许多有益的政策建议。他倡导改革，推动了宋朝经济的发展。他还是一位慈善家，常常为穷人提供帮助。\n\n总的来说，李公麟是宋朝时期一位著名的人物，他在政治、文化和经济发展中发挥了重要作用。他的诗歌风格优美流畅，富有哲理性，是宋朝的著名诗人。他还是一位杰出的政治家，在宋朝的统治过程中，提出了许多有益的政策建议。他还是一位慈善家，常常为穷人提供帮助。",[23,24,25,26,224,312,30,7],"https:\u002F\u002Foss.chuangqi.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珐瑯彩开光三羊图长方盒","清高宗在位时(公元1736〜1795年）的官窑。所产的瓷器，突出的特点是能把许多不同品种、不同火度的釉料用于一器之上。在仿古瓷及各种色釉器方面，品种也很多。乾隆窑瓷器釉较康、雍时期略显粗糙，一为乳白粉釉，一为略带青色的白釉。器型种类繁多，并出现了一些新奇的制品，如用瓷土制造的像生瓷，制作精巧，艺术价值很高。乾隆窑瓷器的纹饰，讲究画得规矩，所画多仿名家笔意，并开始有仿西洋的画法。颜色釉方面，以茶叶末釉烧得最为成功，并利用茶叶末加以变化的古铜釉，十分巧妙地反映出铜器的色泽、锈斑，制出仿铜器的作品。",[3226,2867,29,873,962,7,3080,30,315,314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98f7699f66d78bdff9e1da6c0f32f0db.jpg",[878],{"id":3623,"slug":3624,"title":3625,"dynasty":831,"author":195,"museum":152,"description":3626,"tags":3627,"thumbUrl":3628,"material":260,"size":261,"collection":78,"collections":3629,"showCount":3582,"zanCount":11,"manualWeight":11,"mainColor":132},226747,"tu-yuan-bi-yi-ming-226747","凸缘璧","青铜器（Bronze 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。",[254,255,257,7,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1fe4d3bb05fa28d676c57ecd8e6b231.jpg",[],{"id":3631,"slug":3632,"title":3633,"dynasty":821,"author":195,"museum":152,"description":3634,"tags":3635,"thumbUrl":3636,"material":260,"size":261,"collection":78,"collections":3637,"showCount":3582,"zanCount":11,"manualWeight":11,"mainColor":132},226726,"yue-guan-shi-yi-ming-226726","钺冠饰","玉造形颇相似于半个倒梯形器。外缘上方作阶梯状，再以内凹的弧形收折至一定的宽度。底线平直，并于底面挖入长椭形的凹槽，以利套嵌。 灰黄不透明玉。灰黄不透明玉。造形颇相似于半个倒梯形器。外缘上方作阶梯状，再以内凹的弧形收折至一定的宽度。底线平直，并于底面挖 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景德镇窑为我国传统窑炉中独具风格的窑。它的烧成室型呈一头大一头小的长椭圆形，近窑门处宽而高，靠近烟囱则逐渐狭窄矮小，故有"鸭蛋窑"之称，全长约15-20米，容积为300-400立方米，是以松柴为燃料，火焰长而灰分少，因不含硫或者含量极少，适宜烧还原焰，对于白瓷、青花瓷、颜色釉瓷等传统瓷的釉面呈色效果良好，可装烧高火、中火、低火的瓷坯。因窑内腔较高（最高高度不超过6米），便于装烧大件制品，适合多品种生产的条件。因此，景德镇窑（在景德镇也叫柴窑）单位公斤瓷的燃料消耗量小。另外，其结构简单，镇窑建筑速度快，基建费用少，产量大，周转期快，可以快速烧成和快速冷却，适应于景德镇附近制瓷原料的特性和瓷器的传统风格。对南方某些瓷窑来说，在控制烧成气氛和瓷器质量，以及燃料（松柴）消耗等方面，镇窑均较龙窑、阶级窑和倒焰窑等优点。",[1672,3681,3682,873,3078,7],"釉里红","划花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2b92df513282e5897132d9eb201936e.jpg",[878],{"id":3686,"slug":3687,"title":3688,"dynasty":1139,"author":195,"museum":152,"description":250,"tags":3689,"thumbUrl":3690,"material":260,"size":261,"collection":78,"collections":3691,"showCount":81,"zanCount":190,"manualWeight":11,"mainColor":43},250430,"huang-yu-pan-long-wen-pei-yi-ming-250430","黄玉蟠龙纹佩",[254,255,462,7,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff53dfb9e5920b1e221c0875f95fd5ba0.jpg",[],{"id":3693,"slug":3694,"title":3695,"dynasty":831,"author":195,"museum":152,"description":3696,"tags":3697,"thumbUrl":3698,"material":78,"size":78,"collection":524,"collections":3699,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":440},242981,"xiang-fu-yi-hu-yi-ming-242981","相父乙壶","敞口束颈，溜肩鼓腹下接圈足，形制端庄沉稳。对称衔环兽耳，为器物添了几分凛然威仪。颈部简化兽面纹古拙狞厉，带着独属于上古的神秘肃穆，圈足回纹婉转萦回，呼应整体庄重格调。\n\n铜色沉郁厚重，红锈绿晕层层叠叠晕染周身，是千年岁月浸淫出的斑驳肌理，每一处锈蚀都凝着时光的印记。它褪去礼器的沉重威仪，静静承载着上古匠人的朴拙匠心，将青铜冶铸的精湛造诣凝于一身，把那个时代狞厉雄浑的审美意趣封存在青铜骨血中，静默诉说着远去的旧影。",[522,521,255,257,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb50ebeac9a7e708d9d67d25b8cd44859.jpg",[524],{"id":3701,"slug":3702,"title":1003,"dynasty":18,"author":1004,"museum":69,"description":1005,"tags":3703,"thumbUrl":3704,"material":1009,"size":1010,"collection":78,"collections":3705,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":132},238288,"yu-lan-shi-nv-qing-yu-tu-ce-yu-lan-238288",[25,26,224,28,29,30,31,7,434,72,168,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1bb278f626c47ec8be5c838769c02c3.jpg",[],{"id":3707,"slug":3708,"title":3709,"dynasty":18,"author":3710,"museum":152,"description":3711,"tags":3712,"thumbUrl":3713,"material":260,"size":261,"collection":78,"collections":3714,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":132},235129,"hua-hua-yan-shi-nv-tu-ce-wang-su-235129","画华严仕女图册","王素","王素（1794—1877）字小梅，晚号逊之，甘泉（今江苏扬州）人。幼拜师鲍芥田，又多临华岩，凡人物、花鸟、走兽、虫鱼，无不入妙。道光初与魏小眠、王应祥并驾。自悔书拙，每晨必临数百字，至老无间。 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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。",[4070,4071,3092,29,30,4072,4073,7,298,4074],"镶珠","珐琅","西洋建筑","剧场场景","西洋风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd05973ae0665f948f055be6a62f11d62.jpg",[],{"id":4078,"slug":4079,"title":4080,"dynasty":18,"author":195,"museum":152,"description":2674,"tags":4081,"thumbUrl":4083,"material":260,"size":261,"collection":78,"collections":4084,"showCount":161,"zanCount":11,"manualWeight":11,"mainColor":440},230095,"jin-qi-xiang-long-peng-zhu-wen-fang-he-yi-ming-230095","金漆祥龙捧珠纹方盒",[1393,4082,29,462,7],"金漆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bb64591706d2a20b7e1793867e698c2.jpg",[],{"id":4086,"slug":4087,"title":4088,"dynasty":18,"author":195,"museum":152,"description":1580,"tags":4089,"thumbUrl":4091,"material":260,"size":261,"collection":78,"collections":4092,"showCount":161,"zanCount":11,"manualWeight":11,"mainColor":132},230050,"qing-hua-ci-pen-yi-ming-230050","青花瓷盆",[873,1506,4090,7],"缠枝纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F677046a4b5a5b13948bfec7638bcfc8d.jpg",[],{"id":4094,"slug":4095,"title":4096,"dynasty":18,"author":195,"museum":152,"description":1503,"tags":4097,"thumbUrl":4098,"material":260,"size":261,"collection":878,"collections":4099,"showCount":161,"zanCount":11,"manualWeight":11,"mainColor":43},229637,"guan-yao-fen-cai-si-ji-hua-hui-chang-fang-hua-pen-yi-ming-229637","官窑 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，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。”",[48,873,3611,916,7,2592],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dcfac4b598cc99daa425cc4e20475e5.jpg",[878],{"id":7320,"slug":7321,"title":7322,"dynasty":48,"author":195,"museum":152,"description":7315,"tags":7323,"thumbUrl":7324,"material":260,"size":261,"collection":878,"collections":7325,"showCount":276,"zanCount":11,"manualWeight":11,"mainColor":43},256284,"ru-yao-pan-yi-ming-256284","汝窑盘",[48,873,916,915,7,2592],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fc7a132f929d51d81bcd6ce555c4fd9.jpg",[878],{"id":7327,"slug":7328,"title":7329,"dynasty":48,"author":195,"museum":152,"description":4678,"tags":7330,"thumbUrl":7331,"material":260,"size":261,"collection":878,"collections":7332,"showCount":276,"zanCount":11,"manualWeight":11,"mainColor":43},256258,"ge-yao-qing-you-guan-er-ping-yi-ming-256258","哥窑青釉贯耳瓶",[48,873,2667,916,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f57e3aac2c7d41c1b11bfaf5843a0da.jpg",[878],{"id":7334,"slug":7335,"title":7336,"dynasty":48,"author":195,"museum":152,"description":4678,"tags":7337,"thumbUrl":7339,"material":260,"size":261,"collection":878,"collections":7340,"showCount":276,"zanCount":11,"manualWeight":11,"mainColor":440},256257,"ge-yao-qing-you-yu-er-lu-yi-ming-256257","哥窑青釉鱼耳炉",[48,873,916,2667,4680,7338,7],"鱼耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa76469d692c60dd0d5445590d8a71c61.jpg",[878],{"id":7342,"slug":7343,"title":7344,"dynasty":48,"author":195,"museum":152,"description":4678,"tags":7345,"thumbUrl":7348,"material":260,"size":261,"collection":878,"collections":7349,"showCount":276,"zanCount":11,"manualWeight":11,"mainColor":43},256218,"ge-yao-qing-hui-you-kui-kou-wan-yi-ming-256218","哥窑青灰釉葵口碗",[48,873,916,7346,7347,7],"青灰釉","葵口","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb6dfb22da0f0232c4d753d458855161.jpg",[878],{"id":7351,"slug":7352,"title":7353,"dynasty":117,"author":195,"museum":152,"description":1580,"tags":7354,"thumbUrl":7355,"material":260,"size":261,"collection":78,"collections":7356,"showCount":276,"zanCount":202,"manualWeight":11,"mainColor":132},256183,"qing-hua-fan-hong-cai-hai-shui-long-wen-wan-yi-ming-256183","青花矾红彩海水龙纹碗",[117,873,1506,7115,5470,463,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad660e02176b8ac0ee92ef1612e3c8d6.jpg",[],{"id":7358,"slug":7359,"title":7360,"dynasty":18,"author":195,"museum":152,"description":7361,"tags":7362,"thumbUrl":7365,"material":260,"size":261,"collection":878,"collections":7366,"showCount":276,"zanCount":11,"manualWeight":11,"mainColor":440},256178,"de-hua-yao-bai-you-ba-fang-dou-shi-bei-yi-ming-256178","德化窑白釉八方斗式杯","德化窑位于今福建德化，故名。作为著名的瓷窑，是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n德化瓷器是中华陶瓷烧造中的艺术珍品，始于宋代，明代后得到巨大发展。以白瓷塑佛像闻名。其制作细腻，雕刻精美，造型生动，体现了古代劳动人民的卓越才能和艺术创造力。\n在今福建德化，故名。是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n碗坪仑烧瓷较屈斗宫古窑址早，烧青白瓷，有的接近白釉，刻花蓖划纹装饰较多，盒子遗留甚丰，盖面所印阳纹装饰达一百余种，题材之丰富在南方地区首屈一指，南宋时有专门制作盒子的作坊，盒盖上阳文印花装饰题材丰富，有动物、花卉等近百种图案。划花间篦划纹亦较多，饰在碗、盘、瓶等器物上。\n屈斗宫元代办烧青白瓷，从南宋至元代。明代盛烧白瓷观音、达摩等塑像，胎釉浑然一体，如同白玉，被赞为"象牙白"、"奶白"或 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砚必宋唐。”唐代政治、经济、文化高度发达，国力强盛，物质雄厚，书法绘画艺术成就巨大，促进了文房用具的发展。特别是隋唐科举制度的推行，使天下学子可以通过文章考试进入社会上层阶级，极大促进了制砚业的发展。\n唐砚承继了魏晋南北朝砚台的制式与材质，还发展各种优质砚材，宋砚基本是唐砚的延续。唐代最具代表性的砚形是辟雍式和箕形式。\n宋代著作《文学四谱》中提到魏晋学者繁钦在《砚赞》中云：“圆如盘而中隆起，水环之者，谓之辟雍砚。”魏晋时期多流行三足或四足的青瓷圆砚，南北朝变化为五足到十足不等的多足砚、辟雍砚，到了隋唐时期，发展出了圆形多足的辟雍砚。",[3160,873,1063,5489,255,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac07e2b4c9553c4c6d934e317943632.jpg",[],{"id":11110,"slug":11111,"title":11112,"dynasty":102,"author":195,"museum":152,"description":11105,"tags":11113,"thumbUrl":11114,"material":260,"size":261,"collection":78,"collections":11115,"showCount":131,"zanCount":202,"manualWeight":11,"mainColor":132},223822,"guan-xiang-yan-yi-ming-223822","观象砚",[102,1063,255,2487,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbca7189df664cd4a691520885600bb8a.jpg",[],{"id":11117,"slug":11118,"title":11119,"dynasty":102,"author":195,"museum":152,"description":5814,"tags":11120,"thumbUrl":11121,"material":260,"size":261,"collection":78,"collections":11122,"showCount":131,"zanCount":11,"manualWeight":11,"mainColor":43},223821,"ying-bai-chuan-dai-hu-yi-ming-223821","莹白穿带壶",[3160,873,1219,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c5e93fef1ef84e3e0f7801686789e3c.jpg",[],{"id":11124,"slug":11125,"title":11126,"dynasty":48,"author":195,"museum":152,"description":11127,"tags":11128,"thumbUrl":11130,"material":260,"size":261,"collection":78,"collections":11131,"showCount":131,"zanCount":11,"manualWeight":11,"mainColor":43},223799,"mi-se-qing-ci-tuo-yuan-yan-yuan-wei-qi-zuo-hou-gai-zhi-cheng-yan-tai-yi-ming-223799","米色青瓷椭圆砚（原为器座，后改制成砚台）","唐人造的箕形，看它下摆的两条边线，略微的向外那么一延展，尝觉得，颇似一站立的人，张开手臂向外。而以宋人的抄手砚看，人觉得仍是站着，可是双臂拢起了。\n宋人不再如唐砚那般，郁结于一砚的厚薄高低，它们越过一方砚的三足，五足亦或多足，制砚上不再欲行又止犹犹豫豫摸着石头过河。宋代，砚有了方正式，椭圆样。这样的长，宽，厚度，式样，不再是忽有忽无，时隐时现，而是有了规范态势。宋代，砚的池、堂、边，不再浑如唐箕的说不清道不明，它们有了明确界定，开始各司其职。通俗地说，宋代，砚有了属于砚的相貌，有了自己特有的区别于它物的形态，样式。\n宋砚的天下，是石质砚的天下。尽管石质入砚，以石为砚，汉砚甚至更为古老的石器时代，古人便有过琢磨，涉及。尽管，聪明的古人不仅以石入砚，先民还用铜质，铁质，陶泥，瓷质，玉质等等尝试过制砚。也尽管，开启石质制砚时代大门的是唐人。",[48,915,11129,916,1063,873,7],"米色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f690ca54ee56423c0fc5ded261101e0.jpg",[],{"id":11133,"slug":11134,"title":11135,"dynasty":48,"author":195,"museum":152,"description":3242,"tags":11136,"thumbUrl":11137,"material":260,"size":261,"collection":78,"collections":11138,"showCount":131,"zanCount":202,"manualWeight":11,"mainColor":43},223787,"qing-bai-ci-yin-hua-shuang-feng-wen-wan-yi-ming-223787","青白瓷印花双凤纹碗",[48,873,4129,2498,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb405065b922e8809ff360fe921e6254.jpg",[],{"id":11140,"slug":11141,"title":11142,"dynasty":48,"author":195,"museum":152,"description":3242,"tags":11143,"thumbUrl":11144,"material":260,"size":261,"collection":78,"collections":11145,"showCount":131,"zanCount":11,"manualWeight":11,"mainColor":43},223743,"qing-ci-hua-hua-pan-chi-pan-yi-ming-223743","青瓷划花蟠螭盘",[48,873,915,3682,9945,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc58bd97d0d5eea3a73c956495f050970.jpg",[],{"id":11147,"slug":11148,"title":4788,"dynasty":48,"author":195,"museum":152,"description":11149,"tags":11150,"thumbUrl":11151,"material":78,"size":78,"collection":78,"collections":11152,"showCount":131,"zanCount":11,"manualWeight":11,"mainColor":43},223684,"xun-qin-fu-zhuo-tu-ye-yi-ming-223684","《宋人画驯禽俯啄图》是宋代佚名创作的绢本设色画。\n此图原载《宋元集绘册》。\n图绘一件浅蓝色瓷罐置于画面正中，一只小麻雀于罐沿上低头觅食。\n雀身系一赤色小绳，绳端拴一圆圈，以点出「驯禽」之意。\n作者先用细笔勾出鸟的轮廓，然后用细笔丝出羽绒，再用浓墨点出翅膀、鸟尾和眼珠，使小鸟的形象生动逼真，具有较强的质感。\n全图笔法工细，构图简洁，设色柔和自然。\n此图无款，旧题签为「驯禽俯啄」，现沿用此名。\n画面左下角钤「宋荦审定」一印。\n曾经清人宋荦收藏，《石渠宝笈三编》著录。\n本幅无款。\n钤鉴藏印“宋荦审定”。\n裱边题签：“宋人驯禽俯啄”。\n图中一只 立于浅蓝色敞口瓷罐上，低头欲啄罐沿。\n麻雀身系红绳，绳端拴一圆环，表示已被擒获豢养。\n麻雀属难以驯化之鸟，画面中的瓷罐内虽有白米，雀却不食，表达了向往自由生活的心愿。\n画家先以尖细之笔绘出麻雀的轮廓、羽绒，再用浓墨、淡赭点画出翅膀、尾羽和眼目。",[23,24,25,26,224,29,28,122,285,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5063ca27005a536981c4ba62953d8db8.jpg",[],{"id":11154,"slug":11155,"title":11156,"dynasty":18,"author":1845,"museum":69,"description":9049,"tags":11157,"thumbUrl":11159,"material":76,"size":9060,"collection":78,"collections":11160,"showCount":131,"zanCount":11,"manualWeight":11,"mainColor":132},223149,"yao-xie-shi-yi-tu-ce-di-er-kai-du-ye-ling-bo-jing-gu-deng-shi-er-zhi-ren-xiong-223149","姚燮诗意图册-第二开：独夜凌波景，孤镫是尔知",[23,25,224,312,183,29,124,74,122,185,11158,7],"孤灯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfc49c27cd0d54af838bc7165d4071cc.jpg",[],{"id":11162,"slug":11163,"title":11164,"dynasty":18,"author":1845,"museum":418,"description":11165,"tags":11166,"thumbUrl":11167,"material":422,"size":11168,"collection":78,"collections":11169,"showCount":131,"zanCount":11,"manualWeight":11,"mainColor":132},219827,"ren-wu-ce-ye-8-ren-xiong-219827","人物册页-8","任熊善山水、人物、花卉、翎毛、虫鱼、走兽，笔力雄厚，气味静穆，深得宋人神髓。尤擅长人物，绘画师法陈洪绶，人物形象多高古、奇倔、夸张、得陈洪绶神韵而能别出心裁，其自画像神态刻画细致入微，十分写实。任熊对衣纹的勾画向来十分精彩，铁画银钩，很见功力。所题款字也是十分有力，与画法同出一辙。\n此开册页共十二页，内容丰富，题材广博，有人物、仕女、神仙、花鸟、鞍马、博古、山水等等。工笔写意，错杂出之，光怪陆离，不可方物。",[25,26,224,29,28,183,30,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b080557279f886286d277a9306e9dec.jpg","27.2x34.3厘米",[],{"id":11171,"slug":11172,"title":11173,"dynasty":117,"author":3213,"museum":2216,"description":11174,"tags":11175,"thumbUrl":11177,"material":126,"size":78,"collection":78,"collections":11178,"showCount":131,"zanCount":11,"manualWeight":11,"mainColor":132},217909,"shi-ji-jun-chen-gu-shi-tu-3-zhang-hong-217909","史记君臣故事图-3","亭下红袍者端坐案前，案侧屏风绘淡远山水，与阶前苍树相映成趣。阶下数人或持杖恭立，或俯身叩拜，衣袂轻扬间，君臣间的恭谨氛围呼之欲出。线条细劲流转，勾勒人物神情毕肖；设色温润雅致，红袍的明艳与草木的青褐形成微妙对比，既见写实功底，又含文人画的清逸韵致。画面似凝住史记中的某段瞬间，无需多言，那段君臣互动的往事已在笔墨间缓缓铺展——每一处细节都藏着故事的余韵，让观者仿佛能触到千年之前的那缕庄重与温情。",[25,26,29,28,30,811,11176,7,379,315],"枯藤老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a3b88a6d25487d0abf198d7e47936a3.jpg",[],{"id":11180,"slug":11181,"title":11182,"dynasty":117,"author":2001,"museum":152,"description":2002,"tags":11183,"thumbUrl":11184,"material":2005,"size":78,"collection":78,"collections":11185,"showCount":131,"zanCount":11,"manualWeight":11,"mainColor":132},217057,"bai-miao-ying-zhen-tu-5-ding-yun-peng-217057","白描应真图-5",[25,26,312,636,30,406,7,34,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fe0cab03cc369622de188527e9b4d0a.jpg",[],{"id":11187,"slug":11188,"title":11189,"dynasty":117,"author":2001,"museum":152,"description":2002,"tags":11190,"thumbUrl":11191,"material":2005,"size":78,"collection":78,"collections":11192,"showCount":131,"zanCount":11,"manualWeight":11,"mainColor":132},217046,"bai-miao-ying-zhen-tu-16-ding-yun-peng-217046","白描应真图-16",[24,25,26,312,28,636,30,406,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17fe1ffb39d23b8116ce4cfc342ff8a0.jpg",[],{"id":11194,"slug":11195,"title":11196,"dynasty":117,"author":11197,"museum":119,"description":11198,"tags":11199,"thumbUrl":11200,"material":37,"size":11201,"collection":78,"collections":11202,"showCount":131,"zanCount":11,"manualWeight":11,"mainColor":132},216766,"jiu-lao-tu-5-huang-biao-216766","九老图-5","黄彪","这是黄震泉仿宋刘松年九老图而成的，要有相似的造型和人物，虽然排列的树石略显单薄轻巧，傅彩清新飘逸之外，也不失为仿制的传世佳品。",[25,26,29,28,30,32,1415,91,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab5a75db384701da1fac78a8ca7d08a2.jpg","27.2x193",[],{"id":11204,"slug":11205,"title":11206,"dynasty":117,"author":3735,"museum":152,"description":11207,"tags":11208,"thumbUrl":11209,"material":126,"size":78,"collection":78,"collections":11210,"showCount":131,"zanCount":11,"manualWeight":11,"mainColor":132},216338,"xi-xiang-ji-cha-ye-14-min-qi-ji-216338","西厢记插页-14","器物以清劲线条勾勒轮廓，罐身仕女衣袂轻扬，步态温婉，裙裾间淡彩晕染，尽显柔媚气韵。罐口题字古雅，颈间纹饰繁复精巧，与素净人物形成疏密对比。右侧盖图单独铺展，盖面纹样与罐身呼应，细节处见匠心。作品将器物之形与文学意象相融，线描细腻传神，淡彩雅致清新，既承书籍插图的叙事功能，又具独立艺术审美。静赏间，古典故事的温婉情致似随仕女步态缓缓流淌，尽显传统艺术的含蓄之美。",[25,26,224,312,29,30,31,7,873,184],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d58a88ac69bc48dfbd3c8d79c34d310.jpg",[],{"id":11212,"slug":11213,"title":11214,"dynasty":117,"author":531,"museum":152,"description":11215,"tags":11216,"thumbUrl":11217,"material":382,"size":78,"collection":78,"collections":11218,"showCount":131,"zanCount":11,"manualWeight":11,"mainColor":43},216307,"xi-xiang-ji-zhen-ben-tu-ce-13-chen-hong-shou-216307","西厢记真本图册-13","墨线如铁线盘屈，却牵出柔婉韵致。月夜松影横斜，泼洒清寂；石畔人物衣袂轻垂，眉目间凝着西厢故事的幽微心绪。陈洪绶以古拙笔意勾勒景物，松枝虬劲、衣纹流转皆见匠心。构图疏密相生，左页月色空濛与右页人物情态相映，诗画交织间，将古典传奇的细腻情愫凝于尺幅。笔端既有金石般刚健，又藏水样温婉，让这帧图册成为穿越时光的深情注脚。",[25,26,224,312,183,29,30,31,3546,433,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f62cdd513daf3995abe71d428418eeb.jpg",[],{"id":11220,"slug":11221,"title":11222,"dynasty":117,"author":531,"museum":152,"description":11223,"tags":11224,"thumbUrl":11225,"material":382,"size":78,"collection":78,"collections":11226,"showCount":131,"zanC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的资料之一，许多资料使人们对古代军事领域的认识更进一步。譬如，关于当时的兵种构成、组合搭配和结阵形式，兵器、兵器配置形式以及甲具防护装备，军伍组织结构和指挥系统，甚至军伍士卒的来源等，都有珍贵的资料价值。二号坑弩兵的单独结阵，骑兵、轻车兵的编队和配合，是以前有所不知或知之不详的重要资料，以之对照《孙膑兵法》中关于车、步、骑配合原则的论述，给人留下的印象是极其深刻的。古代军事著述中关于兵器配置中长短相杂、相救的原则在秦俑坑兵器配置中也有直观表现，同样有其军事科学上的研究价值。难怪有人将秦俑三坑称为一座内容丰厚的秦代军事博物馆。\n历史本身赋予了秦俑多种历史文化价值。秦俑所折射的历史层面既多又广，在建筑史、服饰史、制度史尤其是王陵制度史等方面，具有独特的认识价值。即使秦俑的身高、体魄、服饰发髻、刻记文字以及秦人在俑坑留下的生产工具和劳作痕迹，都能从不同侧面反映出秦代社会生活的真实影像，反映出一个时代的文化特质，反映出秦兴亡的历史真谛。\n秦俑坑出土文物的精美和丰富，是文物所代表的那个时代物质成就的直接见证。它让人们重新认识和评价那个时代，也提出了许多值得探讨的历史课题，譬如关于帝王权力的重新认识、秦代文化的特质、秦在中国历史发展中的地位等。与之相联系的是，秦始皇的历史评价又一次成为人们关注的话题，秦俑坑出土文物所反映的科技水平和生产能力，在一定程度上反映出秦始皇所起的某种积极作用，同时也从一个侧面证实史书中提到的秦代好大喜功、横征暴敛的统治问题。秦俑考古还在继续，相信对这些问题的研究将会随着考古的进展而不断深入。",[873,25446,30,29,7],"俑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b42ad8a36a6d774f31d7d2d0433c0f1.jpg",[],{"id":25450,"slug":25451,"title":25452,"dynasty":3404,"author":195,"museum":152,"description":3242,"tags":25453,"thumbUrl":25454,"material":260,"size":261,"collection":78,"collections":25455,"showCount":202,"zanCount":11,"manualWeight":11,"mainColor":440},254478,"tao-niu-yi-ming-254478","陶牛",[873,1734,406,25446,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F330756076e13b1201a73776e27d19656.jpg",[],{"id":25457,"slug":25458,"title":25459,"dynasty":1873,"author":195,"museum":152,"description":12387,"tags":25460,"thumbUrl":25461,"material":260,"size":261,"collection":78,"collections":25462,"showCount":202,"zanCount":11,"manualWeight":11,"mainColor":440},254111,"tao-zhu-yi-ming-254111","陶猪",[873,25446,406,7,17089,4163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2629f8eeb5a8018dd679fd4cdc538c68.jpg",[],{"id":25464,"slug":25465,"title":25466,"dynasty":3404,"author":195,"museum":152,"description":25444,"tags":25467,"thumbUrl":25469,"material":260,"size":261,"collection":78,"collections":25470,"showCount":202,"zanCount":11,"manualWeight":11,"mainColor":43},253835,"tao-hua-cai-wen-li-yong-yi-ming-253835","陶画彩文吏俑",[25446,873,255,29,30,25468,7],"文吏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5f365769e08b8d575d1874a9a6884cd.jpg",[],{"id":25472,"slug":25473,"title":25474,"dynasty":102,"author":195,"museum":152,"description":25475,"tags":25476,"thumbUrl":25477,"material":260,"size":261,"collection":78,"collections":25478,"showCount":202,"zanCount":11,"manualWeight":11,"mainColor":43},253668,"tong-liu-jin-qi-fo-xiang-yi-ming-253668","铜鎏金七佛像","此件造像形如宝树，主干挺然舒展，分出六枝托举七尊坐佛。诸佛高肉髻敛容趺坐，身形虽小巧，却静穆具足威仪。鎏金随年月斑驳脱落，古铜胎骨晕出厚重包浆，凝住经年的沉静古朴气息。三叉足底座沉稳敦实，稳稳托举这一方清净佛境。它将佛教的庄严清净与中式对称美学相融，方寸之间尽显舒展大气，藏着中古时期礼佛的虔诚气韵，是小件佛造像中的精巧之作。",[3160,521,3473,522,255,636,20950,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04e41f122ab97c9f42471b65a4892022.jpg",[],{"id":25480,"slug":25481,"title":25482,"dynasty":1873,"author":195,"museum":152,"description":12387,"tags":25483,"thumbUrl":25484,"material":260,"size":261,"collection":78,"collections":25485,"showCount":202,"zanCount":11,"manualWeight":11,"mainColor":440},253560,"tao-mo-yi-ming-253560","陶磨",[1971,873,699,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b7422ded485559232d970d9a2bd108c.jpg",[],{"id":25487,"slug":25488,"title":25489,"dynasty":48,"author":195,"museum":152,"description":3242,"tags":25490,"thumbUrl":25491,"material":260,"size":261,"collection":78,"collections":25492,"showCount":202,"zanCount":11,"manualWeight":11,"mainColor":440},253521,"hei-you-ci-ya-yi-ming-253521","黑釉瓷鸭",[48,873,6931,9523,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e3bd5704cc36bc0c63604f76e5b502a.jpg",[],{"id":25494,"slug":25495,"title":25496,"dynasty":1139,"author":195,"museum":152,"description":3626,"tags":25497,"thumbUrl":25498,"material":260,"size":261,"collection":78,"collections":25499,"showCount":202,"zanCount":11,"manualWeight":11,"mainColor":43},253397,"shou-wen-ban-wa-dang-yi-ming-253397","兽纹半瓦当",[255,406,7,873],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42c288f4e6afc9899f3e77df5b3b72f6.jpg",[],{"id":25501,"slug":25502,"title":25503,"dynasty":102,"author":195,"museum":152,"description":7470,"tags":25504,"thumbUrl":25506,"material":260,"size":261,"collection":78,"collections":25507,"showCount":202,"zanCount":11,"manualWeight":11,"mainColor":440},253367,"tong-liu-jin-chang-fang-xing-kun-men-zao-xiang-zuo-yi-ming-253367","铜鎏金长方形壸门造像座",[521,3473,255,636,30,406,7,21603,25505],"壸门","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce8dc2448638c7f38e11d694bc3db8da.jpg",[],{"id":25509,"slug":25510,"title":12418,"dynasty":1139,"author":195,"museum":152,"description":250,"tags":25511,"thumbUrl":25512,"material":260,"size":261,"collection":78,"collections":25513,"showCount":202,"zanCount":11,"manualWeight":11,"mainColor":43},252690,"qing-yu-bi-yi-ming-252690",[254,7,255,257,1139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dccd271110af788c7a39af59cf4b21c.jpg",[],{"id":25515,"slug":25516,"title":25517,"dynasty":18,"author":195,"museum":152,"description":25518,"tags":25519,"thumbUrl":25522,"material":260,"size":261,"collection":78,"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实用之妙。铜胎与珐琅工艺交融，做工规整考究，静穆底色衬出龙纹的婉转张力，把上古图腾的厚重底蕴，化为案头清供的雅致细节，尽显清代金属细作与珐琅技艺的不俗水准。",[2820,1972,255,2235,7,462,5077],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e66644a2e7caf2599ab0c61f46c63a9.jpg",[],{"id":27228,"slug":27229,"title":27230,"dynasty":18,"author":195,"museum":152,"description":3053,"tags":27231,"thumbUrl":27232,"material":260,"size":261,"collection":78,"collections":27233,"showCount":202,"zanCount":11,"manualWeight":11,"mainColor":440},249557,"hua-fa-lang-kai-guang-hua-guo-hu-die-tu-pan-yi-ming-249557","画珐琅开光花果蝴蝶图盘",[962,873,2820,2867,29,4300,1720,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57ef789fa088e81c0f47762a7ba1a77e.jpg",[],{"id":27235,"slug":27236,"title":27237,"dynasty":18,"author":195,"museum":152,"description":27238,"tags":27239,"thumbUrl":27241,"material":260,"size":261,"collection":78,"collections":27242,"showCount":202,"zanCount":11,"manualWeight":11,"mainColor":43},249532,"hua-fa-lang-chuan-hua-bian-fu-wen-gang-yi-ming-249532","画珐琅穿花蝙蝠纹缸","以澄澈湖蓝为地，鎏金口沿晕开雅致光泽。口沿环饰如意云头纹，器身缠枝花卉蜿蜒舒展，蝙蝠纹穿梭花间，蝠纹与宝相花交相辉映，暗合洪福齐天的美好祈愿。\n\n珐琅釉色鲜亮饱满，蓝褐柔粉晕染层次分明，填色匀净细腻，掐丝婉转利落，尽显工艺精湛水准。器型饱满端庄，富丽纹饰搭配明快釉色，将器物的雍容华贵尽数展现，是传统吉祥意涵与珐琅工艺融合的经典之作。",[461,2820,962,12994,27240,29,3363,656,7],"穿花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c7de9ae2538e8882d17d82925b279c6.jpg",[],{"id":27244,"slug":27245,"title":27246,"dynasty":18,"author":195,"museum":152,"description":27247,"tags":27248,"thumbUrl":27249,"material":260,"size":261,"collection":78,"collections":27250,"showCount":202,"zanCount":11,"manualWeight":11,"mainColor":440},249523,"qian-long-kuan-hua-fa-lang-hu-die-wen-chang-fang-hua-pen-yi-ming-249523","乾隆款画珐琅蝴蝶纹长方花盆","此器以深邃宝蓝为地，鎏金缠枝纹蜿蜒盘绕，彩蝶振翅穿梭于花蔓之间，灵动雅致跃然眼前。器身修长规整，口沿与足底鎏金厚重莹润，勾勒出端庄舒展的轮廓。内壁素净光洁，与外壁的繁丽精工形成鲜明对比，明暗张弛间尽显主次分明的匠心巧思。釉色鲜亮匀净，填色饱满平整，掐丝流畅细腻，将清代珐琅工艺的精致华美尽数展现，静穆中流淌着华贵典雅的宫廷气韵，尽显富丽雅致的国风美学意趣。",[18,2820,962,7,16439,3057],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41ea1bcada7f2eaca4175f4bf9e23f33.jpg",[],{"id":27252,"slug":27253,"title":27254,"dynasty":18,"author":195,"museum":152,"description":2674,"tags":27255,"thumbUrl":27258,"material":260,"size":261,"collection":78,"collections":27259,"showCount":202,"zanCount":11,"manualWeight":11,"mainColor":440},249506,"tong-liu-jin-qian-bo-li-gao-zu-dou-shi-he-yi-ming-249506","铜鎏金嵌玻璃高足豆式盒",[461,521,3473,27256,27257,7],"镶嵌玻璃","高足器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c03942d86a83d1fcfd1cf4e35b0ccf8.jpg",[],{"id":27261,"slug":27262,"title":27263,"dynasty":18,"author":195,"museum":152,"description":27264,"tags":27265,"thumbUrl":27266,"material":260,"size":261,"collection":78,"collections":27267,"showCount":202,"zanCount":11,"manualWeight":11,"mainColor":43},249505,"tong-liu-jin-qian-bo-li-lou-kong-liu-fang-xiang-ting-yi-ming-249505","铜鎏金嵌玻璃镂空六方香亭","双层重檐六方形制，宝顶蟠龙威仪尽显，飞檐垂悬小铃，添灵动雅致之态。铜鎏金通身晕染华贵明黄，嵌饰的幽蓝玻璃与之相映，冷暖交织撞色出别致韵致。亭身柱壁镂空透雕游龙，穿云蹈浪，龙鳞髯须分毫毕现，雕工繁复却不失章法，将清代金属细作工艺尽显无遗。整体兼具亭台建筑的雅致意境与礼器的庄重气度，是匠心凝练的陈设重器，尽显旧时手作的巅峰水准。",[521,2676,1972,12971,255,2316,7,462,811],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80624c09b7e0524b21b19fe0d9d004cf.jpg",[],{"id":27269,"slug":27270,"title":27271,"dynasty":18,"author":195,"museum":152,"description":27272,"tags":27273,"thumbUrl":27274,"material":260,"size":261,"collection":78,"collections":27275,"showCount":202,"zanCount":11,"manualWeight":11,"mainColor":440},249502,"tong-liu-jin-qian-bo-li-fo-ta-yi-ming-249502","铜鎏金嵌玻璃佛塔","宝顶嵌饰朱红宝石，下悬细巧流苏，灵动雅致。鎏金塔身遍饰缠枝珐琅彩纹，明丽华贵，开龛供佛，沉静肃穆。覆钵与相轮之间，錾刻卷草舒展柔婉，嵌装的湖蓝玻璃匀净澄澈，提亮整器色调。台座分层錾花，嵌饰松石沉稳雅致，将佛塔托举得端凝庄严。\n\n整器融铸造、錾刻、镶嵌工艺于一身，糅合藏地造像的雄浑大气与宫廷细作的精巧灵秀，尽显信仰之虔诚与工巧之精妙。",[636,521,2676,3473,2316,255,7,20817],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bc6d45d5cdc0dec1e5d25b3303883a0.jpg",[],{"id":27277,"slug":27278,"title":27279,"dynasty":18,"author":195,"museum":152,"description":2011,"tags":27280,"thumbUrl":27282,"material":260,"size":261,"collection":78,"collections":27283,"showCount":202,"zanCount":11,"manualWeight":11,"mainColor":440},249482,"qia-si-fa-lang-jin-di-san-guo-wen-shi-liu-zun-yi-ming-249482","掐丝珐琅锦地三果纹石榴尊",[2013,962,5971,27281,7],"三果纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818736d8aa6a01a0678ca5f7074c3282.jpg",[],{"id":27285,"slug":27286,"title":27287,"dynasty":18,"author":195,"museum":152,"description":2011,"tags":27288,"thumbUrl":27289,"material":260,"size":261,"collection":78,"collections":27290,"showCount":202,"zanCount":11,"manualWeight":11,"mainColor":440},249470,"qia-si-fa-lang-gou-lian-ba-bao-wen-gao-zu-gong-pan-yi-ming-249470","掐丝珐琅勾莲八宝纹高足供盘",[2013,2235,5587,5944,7,257,461],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09fc83206a9e074bb763366496144007.jpg",[],{"id":27292,"slug":27293,"title":27294,"dynasty":18,"author":195,"museum":152,"description":2011,"tags":27295,"thumbUrl":27296,"material":260,"size":261,"collection":78,"collections":27297,"showCount":202,"zanCount":11,"manualWeight":11,"mainColor":43},249465,"qia-si-fa-lang-qi-zhen-mo-ni-bao-yi-ming-249465","掐丝珐琅七珍-摩尼宝",[18,2013,636,962,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf5c8beb3ebe0523c1197387a415379a.jpg",[],{"id":27299,"slug":27300,"title":27301,"dynasty":18,"author":195,"museum":152,"description":2011,"tags":27302,"thumbUrl":27303,"material":260,"size":261,"collection":78,"collections":27304,"showCount":202,"zanCount":11,"manualWeight":11,"mainColor":440},249430,"qia-si-fa-lang-kui-long-jiao-ye-wen-shuang-er-fang-ping-yi-ming-249430","掐丝珐琅夔龙蕉叶纹双耳方瓶",[2013,2235,7,462,5077,1940,1287,24742],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb388c235761496c940be9d201588a0ca.jpg",[],{"id":27306,"slug":27307,"title":27308,"dynasty":18,"author":195,"museum":152,"description":2011,"tags":27309,"thumbUrl":27310,"material":260,"size":261,"collection":78,"collections":27311,"showCount":202,"zanCount":11,"manualWeight":11,"mainColor":440},249409,"qia-si-fa-lang-gou-lian-jiao-ye-wen-hai-tang-shi-suan-tou-ping-yi-ming-249409","掐丝珐琅勾莲蕉叶纹海棠式蒜头瓶",[18,2013,2235,5587,1940,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcf81ede9ba27fa2f52b7246384c80f1.jpg",[],{"id":27313,"slug":27314,"title":27315,"dynasty":18,"author":195,"museum":152,"description":2011,"tags":27316,"thumbUrl":27317,"material":260,"size":261,"collection":78,"collections":27318,"showCount":202,"zanCount":11,"manualWeight":11,"mainColor":440},249400,"qia-si-fa-lang-jin-di-he-lu-tong-chun-tu-bian-ping-yi-ming-249400","掐丝珐琅锦地鹤鹿同春图扁瓶",[2013,962,29,2356,2357,271,7521,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee2ab9a21f3df16bf5ace18636ddfc00.jpg",[],{"id":27320,"slug":27321,"title":27322,"dynasty":18,"author":195,"museum":152,"description":2011,"tags":27323,"thumbUrl":27324,"material":260,"size":261,"collection":78,"collections":27325,"showCount":202,"zanCount":11,"manualWeight":11,"mainColor":440},249393,"qia-si-fa-lang-gou-lian-bian-fu-wen-chi-er-liu-huan-liu-fang-ping-yi-ming-249393","掐丝珐琅勾莲蝙蝠纹螭耳六环六方瓶",[2013,2235,7,3363,5572,406,5587,461],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa80f471004fedc98abc475de267978b4.jpg",[],{"id":27327,"slug":27328,"title":27329,"dynasty":18,"author":195,"museum":152,"description":2011,"tags":27330,"thumbUrl":27331,"material":260,"size":261,"collection":78,"collections":27332,"showCount":202,"zanCount":11,"manualWeight":11,"mainColor":440},249390,"qia-si-fa-lang-gou-lian-jiao-ye-wen-pie-kou-ping-yi-ming-249390","掐丝珐琅勾莲蕉叶纹撇口瓶",[2013,2235,5587,1940,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14bcca8dcfa6577aea9a227e60a374c6.jpg",[],{"id":27334,"slug":27335,"title":27336,"dynasty":18,"author":195,"museum":152,"description":2011,"tags":27337,"thumbUrl":27339,"material":260,"size":261,"collection":78,"collections":27340,"showCount":202,"zanCount":11,"manualWeight":11,"mainColor":440},249384,"qia-si-fa-lang-jin-wen-xiang-er-zhuan-xin-ping-yi-ming-249384","掐丝珐琅锦纹象耳转心瓶",[18,2013,2235,521,7,27338,7521],"象耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc26abae94b5b9ca8fb821fd6a0f197f5.jpg",[],{"id":27342,"slug":27343,"title":27344,"dynasty":18,"author":195,"museum":152,"description":2011,"tags":27345,"thumbUrl":27346,"material":260,"size":261,"collection":78,"collections":27347,"showCount":202,"zanCount":11,"manualWeight":11,"mainColor":440},249382,"qia-si-fa-lang-tao-shi-bian-fu-wen-tian-qiu-ping-yi-ming-249382","掐丝珐琅桃实蝙蝠纹天球瓶",[2013,962,29,3804,3451,3363,168,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d595ae681a711127917d3172266f854.jpg",[],{"id":27349,"slug":27350,"title":27351,"dynasty":18,"author":195,"museum":152,"description":2011,"tags":27352,"thumbUrl":27353,"material":260,"size":261,"collection":78,"collections":27354,"showCount":202,"zanCount":11,"manualWeight":11,"mainColor":440},249363,"qian-long-kuan-qia-si-fa-lang-gou-lian-jiao-ye-wen-mei-ping-yi-ming-249363","乾隆款掐丝珐琅勾莲蕉叶纹梅瓶",[18,2013,7,6399,1940,962,13017,885],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf1a45c660e1a6abc0fbba666e00d9b9.jpg",[],{"id":27356,"slug":27357,"title":27358,"dynasty":18,"author":195,"museum":152,"description":1808,"tags":27359,"thumbUrl":27360,"material":260,"size":261,"collection":78,"collections":27361,"showCount":202,"zanCount":11,"manualWeight":11,"mainColor":440},249346,"kang-xi-kuan-hua-fa-lang-yu-tang-fu-gui-tu-zhi-kou-ping-yi-ming-249346","康熙款画珐琅玉堂富贵图直口瓶",[461,962,2820,29,91,168,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4398c1209fbac4147aadf27d3adb6602.jpg",[],{"id":27363,"slug":27364,"title":27365,"dynasty":117,"author":195,"museum":152,"description":11373,"tags":27366,"thumbUrl":27367,"material":260,"size":261,"collection":78,"collections":27368,"showCount":202,"zanCount":11,"manualWeight":11,"mainColor":43},249329,"qia-si-fa-lang-kao-bei-yi-yi-ming-249329","掐丝珐琅靠背椅",[2013,962,7,2487],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F148c64c7d510c2c227cf0ec581213fc8.jpg",[],{"id":27370,"slug":27371,"title":27372,"dynasty":18,"author":195,"museum":152,"description":2011,"tags":27373,"thumbUrl":27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87,11834,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcd632f46619d153fdc7ea147169ee1e.jpg",[],{"id":27593,"slug":27594,"title":27595,"dynasty":117,"author":195,"museum":152,"description":27596,"tags":27597,"thumbUrl":27598,"material":260,"size":261,"collection":78,"collections":27599,"showCount":202,"zanCount":11,"manualWeight":11,"mainColor":440},249058,"qia-si-fa-lang-ying-xi-tu-hua-gu-yi-ming-249058","掐丝珐琅婴戏图花觚","此器以澄澈天青釉为地，诸色珐琅鲜亮明丽。腹部掐丝勾勒婴戏图景，稚童嬉闹顾盼，衣袂轻扬憨态可掬，松石花木错落环绕，满溢融融童真意趣。口沿、颈底与足底以鎏金錾刻回纹、莲瓣为饰，柔润金泽衬得珐琅更显莹润亮泽。\n\n掐丝走线匀细流畅，填釉饱满平整，下身折枝花卉舒展生动。整器将珐琅工艺的华贵与婴戏题材的灵动相融，既有宫廷造办的规整精致，又饱含世俗闲趣的鲜活生机，尽显传统工艺的精妙雅致。",[117,2013,2235,29,30,1404,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56fe638c67de1b46103afce5163ac606.jpg",[],{"id":27601,"slug":27602,"title":27603,"dynasty":117,"author":195,"museum":152,"description":27604,"tags":27605,"thumbUrl":27607,"material":260,"size":261,"collection":78,"collections":27608,"showCount":202,"zanCount":11,"manualWeight":11,"mainColor":43},249051,"qia-si-fa-lang-san-shi-xi-qiu-wen-ding-shi-lu-yi-ming-249051","掐丝珐琅三狮戏球纹鼎式炉","此器取古鼎形制，方耳高足，端庄沉稳。通体以掐丝珐琅满饰纹样，缠枝宝相花蜿蜒铺地，三狮戏球穿梭其间，狮身鬃毛纤毫毕现，滚转嬉戏间憨态灵动。珐琅釉色明丽饱满，红蓝撞色搭配鎏金边饰，华贵雍容。炉盖取紫檀为材，温润沉静，顶嵌玉雕瑞兽钮，莹洁雅致，与珐琅的绚烂华美相映成趣。掐丝走线细腻流畅，填釉匀净鲜亮，将礼器的庄重气度与装饰意趣融于一体，尽显传统工艺的精妙匠心。",[2013,2235,7,257,4837,406,27606],"球","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc88eee42f4711970406e6a6badfeec8d.jpg",[],{"id":27610,"slug":27611,"title":27612,"dynasty":117,"author":195,"museum":152,"description":27613,"tags":27614,"thumbUrl":27615,"material":260,"size":261,"collection":78,"collections":27616,"showCount":202,"zanCount":11,"manualWeight":11,"mainColor":43},249049,"qia-si-fa-lang-gou-lian-wen-shou-zu-xi-yi-ming-249049","掐丝珐琅勾莲纹兽足洗","敞口鎏金边饰回纹，规整雅致。孔雀蓝釉为地，掐丝勾绘缠枝莲纹，红、白、黄釉彩错落点染，花叶婉转舒展，走线细腻流畅，釉色沉润鲜亮。鎏金兽足敦实古雅，足身卷云纹饰添饰古韵。\n\n整器将掐丝珐琅的华贵与文房清韵相融，富丽中透着沉静内敛，尽显工艺的成熟考究。釉色莹润与鎏金光泽相映，古雅庄重，是工艺审美兼备的文房佳器。",[2013,2235,406,5587,521,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc5c35f6a475f15d84ed254e25d697e4.jpg",[],{"id":27618,"slug":27619,"title":27620,"dynasty":117,"author":195,"museum":152,"description":27621,"tags":27622,"thumbUrl":27623,"material":260,"size":261,"collection":78,"collections":27624,"showCount":202,"zanCount":11,"manualWeight":11,"mainColor":440},249046,"qia-si-fa-lang-ju-hua-wen-chu-ji-hua-gu-yi-ming-249046","掐丝珐琅菊花纹出戟花觚","此器取古铜花觚形制，鎏金出戟棱角挺括，撑起端庄古雅的骨相。天蓝色珐琅为底地，纤细掐丝勾勒出丛丛菊花，花瓣层叠柔婉，枝蔓舒展灵动，红、黄、白各色釉料填嵌其中，晕染开妍丽生机。\n\n冷润珐琅与暖亮鎏金相衬，刚硬出戟与柔婉花饰相映，将青铜古器的沉厚意趣，掐丝珐琅的华美工巧揉为一体，走线匀净流畅，釉色莹润鲜亮，尽显细腻卓绝的造艺，静立间漫溢出内敛华贵的古韵风华，是传统工艺美学交融的精妙之作。",[117,2013,2235,341,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88d4c6e9d0db060cd18a9a6c06f4e48b.jpg",[],{"id":27626,"slug":27627,"title":27628,"dynasty":117,"author":195,"museum":152,"description":27629,"tags":27630,"thumbUrl":27631,"material":260,"size":261,"collection":78,"collections":27632,"showCount":202,"zanCount":11,"manualWeight":11,"mainColor":132},249037,"jing-tai-kuan-qia-si-fa-lang-shuang-long-wen-ding-shi-lu-yi-ming-249037","景泰款掐丝珐琅双龙纹鼎式炉","此炉取古鼎形制，鎏金立耳挺拔舒展，三兽足威严狞厉，筋骨毕现。器身以天青珐琅为地，掐丝勾勒双龙穿游于缠枝间，龙躯矫健灵动，釉色饱满鲜亮，红褐、宝蓝晕染出层次变幻，掐丝走线流畅劲挺，将龙纹的恣意磅礴尽数铺展。\n\n口沿与底足鎏金錾刻纹饰，莹亮金彩与珐琅釉色相映，刚狞兽足与柔婉缠枝龙纹刚柔相济，把仿古礼器的肃穆与珐琅工艺的绚美融为一体，尽显华贵雍容的复古意趣，细节处见匠心凝练。",[117,2013,462,406,7,962,521,257],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8aeaa30b60c0207c490a68adbe580df1.jpg",[],{"id":27634,"slug":27635,"title":27636,"dynasty":117,"author":195,"museum":152,"description":27637,"tags":27638,"thumbUrl":27639,"material":260,"size":261,"collection":78,"collections":27640,"showCount":202,"zanCount":11,"manualWeight":11,"mainColor":440},249023,"jing-tai-kuan-qia-si-fa-lang-gou-lian-wen-chu-ji-hua-gu-yi-ming-249023","景泰款掐丝珐琅勾莲纹出戟花觚","此器取古铜花觚形制，出戟棱角分明，器型高挑舒展，线条利落雅致。天蓝色珐琅为地，明净沉静间，掐丝勾绘缠枝莲纹，走线匀细流畅，填饰的釉色鲜亮饱满，花卉娇妍生动，古雅铜胎凝厚包浆晕染出岁月质感。\n\n整器繁简相宜，珐琅釉色莹润光泽，掐丝工艺尽显匠心，朴拙大气的质感蕴含其间，仿古形制与珐琅工艺精妙相融，既有着礼器的端严庄重，又不失装饰美感，尽显雅致端庄的古韵风华。",[962,2013,521,5587,1505,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c2b069633d54d32a2ed1140853ddfee.jpg",[],{"id":27642,"slug":27643,"title":27644,"dynasty":117,"author":195,"museum":152,"description":27645,"tags":27646,"thumbUrl":27647,"material":260,"size":261,"collection":78,"collections":27648,"showCount":202,"zanCount":11,"manualWeight":11,"mainColor":43},249018,"qia-si-fa-lang-chan-zhi-lian-wen-chu-ji-hua-gu-yi-ming-249018","掐丝珐琅缠枝莲纹出戟花觚","此器取古铜花觚形制，出戟棱线规整利落，间饰鎏金镂空卷草附饰，刚柔相济，兼具礼器的端重与装饰的灵动。\n\n以天蓝色珐琅为地，满工掐丝填饰缠枝莲纹，枝蔓舒卷连绵，莲瓣饱满妍丽，红蓝诸色交映明丽，釉色厚重温润，砂眼尽显古朴质感。鎏金包浆厚重沉郁，与珐琅釉色相映成趣，尽显明初掐丝珐琅工艺的典型风貌，将仿古礼制与华美工艺相融，古韵盎然，尽显手工造作的不俗匠心。",[2013,962,1941,7,521,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ddfd474b004dd12b6a8ab4e6754c24f.jpg",[],{"id":27650,"slug":27651,"title":27652,"dynasty":18,"author":195,"museum":152,"description":2011,"tags":27653,"thumbUrl":27654,"material":260,"size":261,"collection":78,"collections":27655,"showCount":202,"zanCount":11,"manualWeight":11,"mainColor":440},249010,"qia-si-fa-lang-chan-zhi-lian-wen-yan-shi-lu-yi-ming-249010","掐丝珐琅缠枝莲纹甗式炉",[2013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工艺的典型风范。",[254,7,255,462,224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66a644f5f73473a5e73023f14a099c62.jpg",[],{"id":34456,"slug":34457,"title":34458,"dynasty":18,"author":195,"museum":152,"description":34459,"tags":34460,"thumbUrl":34461,"material":260,"size":261,"collection":78,"collections":34462,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},275899,"bi-yu-yu-zhi-shi-quan-lao-ren-zhi-bao-shuo-ce-yi-ming-275899","碧玉御制十全老人之宝说册","通体鎏金錾刻，云气翻涌间群螭灵动穿梭，线条婉转凌厉兼具，将螭龙矫健张力与云纹柔曼空灵相融。箱体方正端稳，下承四足更添端庄气度，鎏金包浆厚重温润，尽显宫廷造物的极致工法。瑞兽隐于祥云，把威严祥瑞的吉庆寓意凝于方寸，古韵盎然，尽显器物的雍容华贵质感，将考究审美藏于每一处錾刻细节之中。",[2676,255,463,254,224,7,3206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F783a7951eca4cad570f211726c780292.jpg",[],{"id":34464,"slug":34465,"title":34466,"dynasty":18,"author":195,"museum":152,"description":34467,"tags":34468,"thumbUrl":34469,"material":260,"size":261,"collection":78,"collections":34470,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},275896,"bi-yu-qian-long-yu-bi-shi-quan-ji-ce-yi-ming-275896","碧玉乾隆御笔十全记册","此盒髹漆为底，描金饰纹。盖面题字端方雅致，器身双龙矫健身姿穿梭在迤逦流云之中，龙纹张弛有力，云纹层叠环绕，下衬江崖海水纹饰，繁而不乱，尽显皇家华贵雍容的气度。\n内里碧玉册页质地莹润温凉，镌刻笔墨苍劲浑朴，工艺与文心相融，是重工兼具文气的宫廷佳作，将清代盛世的审美意趣与顶尖工艺水准尽显无余。",[1393,7,462,224,184,255],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F816b5d9e4f4abe3dedc7fcb6dd2c119d.jpg",[],{"id":34472,"slug":34473,"title":34474,"dynasty":18,"author":195,"museum":152,"description":4946,"tags":34475,"thumbUrl":34476,"material":260,"size":261,"collection":78,"collections":34477,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":132},275893,"bai-yu-qian-long-yu-bi-yue-yi-lun-ce-yi-ming-275893","白玉乾隆御笔乐毅论册",[224,184,2043,5891,254,2487,255,462,7,6274],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c974326625a2c9eb610219b0adcbee3.jpg",[],{"id":34479,"slug":34480,"title":34481,"dynasty":18,"author":195,"museum":152,"description":34482,"tags":34483,"thumbUrl":34484,"material":260,"size":261,"collection":78,"collections":34485,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},275887,"qing-yu-chun-hua-ji-qing-ce-yi-ming-275887","青玉春华集庆册","以明黄为底，缠枝团纹偕同几何锦地错落铺陈，朱色金线勾勒纹样轮廓，细密规整间尽显工致匠心。锁扣垂着温润珠饰，为端庄盒身添了几分灵动雅致。它以沉静的形制妥帖守护内中册页，褪去炫目光彩，将收纳之物的矜贵藏于方寸间，尽显旧时造物里的克制华贵，静静沉淀着往昔宫廷造物的端庄精巧。",[254,224,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8ca68b2e5193eef69ef204b4b67d2a0.jpg",[],{"id":34487,"slug":34488,"title":34489,"dynasty":18,"author":195,"museum":152,"description":34490,"tags":34491,"thumbUrl":34492,"material":260,"size":261,"collection":78,"collections":34493,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},275884,"bi-yu-qian-long-yu-bi-jing-qing-wei-zhuo-ji-shi-ce-yi-ming-275884","碧玉乾隆御笔泾清渭浊纪实册","紫檀宝匣沉敛雅致，戗金题字古意悠悠，衬出藏品不凡气度。此册取和田碧玉精心琢磨，玉质温润莹泽如凝脂。以阴刻填金复刻御笔手书，刀工匀净细腻，将书法的苍劲笔意尽刻良玉之上，把泾清渭浊的典故深意藏于方寸。玉作之精与书法之雅相融相合，尽显清代宫廷工艺的极致考究，亦是御制文玩中文质兼备的精妙之品。",[7,224,254,184,2487,788,6274],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F223763234db2444b6c5d92012f0f4b68.jpg",[],{"id":34495,"slug":34496,"title":34497,"dynasty":18,"author":195,"museum":152,"description":34498,"tags":34499,"thumbUrl":34500,"material":260,"size":261,"collection":78,"collections":34501,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},275882,"qing-yu-wen-yuan-ge-ji-ce-yi-ming-275882","青玉文渊阁记册","此器以硬木为胎，满饰戗金描漆工艺。立面双龙矫游于祥云之间，龙爪遒劲、鳞纹清晰，下衬翻卷海涛，将皇家威严磅礴尽数铺展。盒面錾刻细密锦地，题字规整端方，繁纹密饰却层次井然，毫无拥塞之感。弯弧秀雅的底足与器身浑然相融，每一处细节都尽显宫廷造办的精湛工法，将漆作戗金的华贵雅致发挥到极致，既保有典藏重器的肃穆庄重，又兼具纹饰雕琢的华美精巧，是清代文房盛具中的上乘之作。",[7,254,224,788,462,255,1393,2487],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feddf5fe28d94d997584e8ecf700e0265.jpg",[],{"id":34503,"slug":34504,"title":34505,"dynasty":18,"author":195,"museum":152,"description":34506,"tags":34507,"thumbUrl":34508,"material":260,"size":261,"collection":78,"collections":34509,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},275879,"qing-yu-yu-bi-zhi-guo-lun-ce-yi-ming-275879","青玉御笔知过论册","此匣髹漆为底，错金成纹。盒身两侧游龙穿云蹈浪，龙姿矫健灵动，金纹在褐漆衬映下熠熠生辉。云气卷舒层叠，海浪翻涌于底边，回纹匝绕勾勒方正轮廓，尽显规整华贵。\n\n填金工艺细腻入微，线条婉转流畅，将瑞气威仪藏于寸匣之中，暗合收纳珍册的庄重用途，整体雍容沉稳，以礼制气度糅合工艺匠心，方寸间尽显皇家造物的典雅威仪，是清代细作漆艺的上乘手笔。",[1393,462,255,7,254,788,184],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dac81120144721d07e8ab36375759c8.jpg",[],{"id":34511,"slug":34512,"title":34513,"dynasty":18,"author":195,"museum":152,"description":34514,"tags":34515,"thumbUrl":34516,"material":260,"size":261,"collection":78,"collections":34517,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":132},275878,"qing-yu-yu-bi-du-zong-ze-zhong-jian-ji-ce-yi-ming-275878","青玉御笔读宗泽忠简集册","此硬木匣以戗金为饰，满工铺陈精妙纹饰。盒面题识周边环饰缠枝卷草，清雅规整。四壁云龙纹活灵活现，金彩于褐底之上流转生辉，神龙穿云破雾，身姿矫健威严，细密云纹层层铺衬，衬得龙形愈发灵动磅礴。底足回纹环绕，形制端庄沉稳。整器工艺卓绝，将皇家的华贵气度与匠师的精工巧思融为一体，纹饰繁而不乱，华丽不失庄重，尽显盛世宫廷造物的极致水准。",[2487,255,462,7,788,184,224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0623d8471bdda259c3a0ab3cf7fe9d53.jpg",[],{"id":34519,"slug":34520,"title":34458,"dynasty":18,"author":195,"museum":152,"description":34521,"tags":34522,"thumbUrl":34523,"material":260,"si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中原美学融合的精巧典范。",[521,2676,255,636,29374,34996,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0485dd0ac4c58e6012d863784761e094.jpg",[],{"id":35749,"slug":35750,"title":35751,"dynasty":18,"author":195,"museum":152,"description":35752,"tags":35753,"thumbUrl":35754,"material":260,"size":261,"collection":78,"collections":35755,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},275042,"tong-du-jin-ba-bao-guan-yi-ming-275042","铜镀金八宝-罐","鎏金通体明丽璀璨，形制层层递进，意韵悠长。环中宝瓶丰肩敛足，宝顶精巧雅致，两侧卷草柔婉舒展，将清净祥瑞凝于圆光之中，仿若盛纳无量福泽。\n\n下方莲茎托举环座，层叠莲瓣饱满如生，似带露初绽的宝莲，把圣洁之意具象呈现。基座錾刻缠枝纹样，辗转间尽显工巧，沉稳承托整器。\n\n整器将吉祥意涵融于锻錾鎏金的匠心之中，线条刚柔相济，金泽温润华贵，既是礼佛供珍，亦是金工巧艺的精妙缩影，晕开平和安谧的祥瑞氛围。",[521,2676,255,636,3298,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e016e3f90dd81e9bee03e4b0f0a831e.jpg",[],{"id":35757,"slug":35758,"title":35759,"dynasty":18,"author":195,"museum":152,"description":35760,"tags":35761,"thumbUrl":35762,"material":260,"size":261,"collection":78,"collections":35763,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},275041,"tong-du-jin-ba-bao-hua-yi-ming-275041","铜镀金八宝-花","此造像鎏金厚重莹润，色泽璀璨明丽，华贵雅致。上部圆环内宝相花层叠绽放，花瓣饱满舒展，雍容端方，圆环形边框烘托出圆满吉庆的意蕴。下方莲台缠枝舒展灵动，浮雕纹饰细腻入微，尽显錾刻工艺的精湛考究。\n\n宝花寓意清净无染，整器造型层层递进，线条柔美流畅，既带着规整大气的造办风韵，又饱含雪域吉祥文化的祈福深意，是一件兼具审美价值与宗教意涵的精巧佛供器物。",[521,2676,255,636,168,3298,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ed58108c2d40e6afa908b8b31bbec47.jpg",[],{"id":35765,"slug":35766,"title":35767,"dynasty":18,"author":195,"museum":152,"description":35768,"tags":35769,"thumbUrl":35770,"material":260,"size":261,"collection":78,"collections":35771,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},275040,"tong-du-jin-ba-bao-lun-yi-ming-275040","铜镀金八宝-轮","此件鎏金重器璨然生辉，法轮居于正中，八辐规整肃穆，暗合佛法圆满之喻，两侧卷草瑞兽灵动舒展，与轮身相得益彰。下接层叠莲华座托，葵瓣舒展如盛放金莲，底座浮雕缠枝纹样，线条婉转饱满。\n\n通体金水厚重莹润，光泽匀净明丽，铸刻工艺细腻入微，兼具藏传法器的庄严静穆与宫廷制器的华贵精巧，静立间自带梵禅意蕴，尽显清代造办工艺的精湛造诣，是礼佛重器中的上乘之作。",[2676,521,255,636,9192,29374,35552,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ebd281c3f519e860e0032780e662999.jpg",[],{"id":35773,"slug":35774,"title":35775,"dynasty":18,"author":195,"museum":152,"description":35776,"tags":35777,"thumbUrl":35778,"material":260,"size":261,"collection":78,"collections":35779,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},275037,"tong-du-jin-fang-xing-fa-shao-yi-ming-275037","铜镀金方形法勺","整体鎏金莹亮华贵，勺身方正如仪，中央嵌奉坐佛，面容慈悲安和。周遭透雕缠枝莲纹，卷转灵动柔美，将佛禅的庄严与纹饰的雅致相融无间。长杆錾饰细密纹路，节段过渡自然流畅，尾端收作莲苞形制，细节处处打磨入微。\n作为礼佛法器，它以金质的雍容烘托出神圣意蕴，褪去了宗教器物的凛冽感，将匠心藏于每一处雕镂之中，是清代金属细作工艺的精巧缩影，静静承载着旧时礼佛仪轨里的庄重与雅致。",[2676,521,255,636,29374,20950,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e38eb53fb51d25c4e6f16517499f1c0.jpg",[],{"id":35781,"slug":35782,"title":35783,"dynasty":18,"author":195,"museum":152,"description":35784,"tags":35785,"thumbUrl":35786,"material":260,"size":261,"collection":78,"collections":35787,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":132},275036,"tong-du-jin-yuan-xing-fa-shao-yi-ming-275036","铜镀金圆形法勺","整体鎏金匀净莹亮，光泽凝敛华贵。勺首素朴圆润，贴合仪轨取用的实用形制。杖身分段饰有精雕纹样，兽首与莲瓣饰件错落衔接，线条利落凝练，纹饰细密入微，将藏地仪轨器物的庄严感融于细节之中。\n\n它既承载着宗教仪轨的肃穆功用，又尽显清代金作的高超工艺，是一件兼顾仪式实用性与装饰美学的法器佳作。",[2676,521,255,636,29374,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bab59465f8f3a4bf6b927d294c53511.jpg",[],{"id":35789,"slug":35790,"title":20807,"dynasty":18,"author":195,"museum":152,"description":8844,"tags":35791,"thumbUrl":35792,"material":260,"size":261,"collection":78,"collections":35793,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},275000,"tong-hu-zun-yi-ming-275000",[7,521,522,257,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F522b4b1b0a325d934e89e77cbb7c344d.jpg",[],{"id":35795,"slug":35796,"title":35797,"dynasty":18,"author":195,"museum":152,"description":35798,"tags":35799,"thumbUrl":35800,"material":260,"size":261,"collection":78,"collections":35801,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},274999,"tong-du-jin-yuan-ta-yi-ming-274999","铜镀金圆塔","此塔循藏式佛塔经典形制，造型收放合宜，层次分明。莲苞宝顶饱满鲜活，承托于覆盘之上，旋纹相轮层叠规整，线条利落雅致，将挺拔感尽数铺展。敦实的覆钵塔身朴拙厚重，与基座衔接处饰以佛龛纹样，基座环饰浮雕细节，精巧入微。\n\n鎏金历经岁月晕染，局部斑驳露铜，晕开沉朴古雅的质感。整体将精巧工法与静穆庄严融为一体，凝萃藏传佛教的审美意趣，静立间自带清净肃穆的宗教气韵，作为匠心凝练的礼佛重器，静静沉淀着过往的信仰温度。",[636,521,20817,255,7,5833],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94102fd47e638df7a66755ed9178d6ba.jpg",[],{"id":35803,"slug":35804,"title":35631,"dynasty":18,"author":195,"museum":152,"description":8844,"tags":35805,"thumbUrl":35806,"material":260,"size":261,"collection":78,"collections":35807,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},274998,"tong-zhu-zun-yi-ming-274998",[522,521,257,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93fc0e46e9e53f33bd1837e17b2c6789.jpg",[],{"id":35809,"slug":35810,"title":35811,"dynasty":18,"author":195,"museum":152,"description":35812,"tags":35813,"thumbUrl":35814,"material":260,"size":261,"collection":78,"collections":35815,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},274994,"tong-fa-ling-yi-ming-274994","铜法铃","此器以五股金刚杵为柄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inColor":43},274907,"tao-si-fa-lang-ba-bao-gai-yi-ming-274907","搯丝珐琅八宝-盖",[2235,636,2013,3298,7,4920,36092,4866],"火焰纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51acb1e32779f2318b91b18b6a690603.jpg",[],{"id":36096,"slug":36097,"title":36098,"dynasty":18,"author":195,"museum":152,"description":2011,"tags":36099,"thumbUrl":36100,"material":260,"size":261,"collection":78,"collections":36101,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},274905,"tao-si-fa-lang-ba-bao-luo-yi-ming-274905","搯丝珐琅八宝-螺",[2235,2013,636,7,3298,16448,521],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d6c5559e66748658f32207acafacb0e.jpg",[],{"id":36103,"slug":36104,"title":35743,"dynasty":18,"author":195,"museum":152,"description":36105,"tags":36106,"thumbUrl":36107,"material":260,"size":261,"collection":78,"collections":36108,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":132},274903,"tong-du-jin-ba-bao-chang-yi-ming-274903","这件法器以铜镀金为材，背屏之上錾刻盘长结，回环往复连绵不绝，暗合佛法无始无终、福寿绵长的吉祥意涵。\n\n莲台舒展饱满，瓣脉分明，鎏金莹润厚重，古意盎然。支架缠枝卷草灵动婉转，与莲台、覆莲底座层层呼应，层次分明有序。整体造型庄重华贵，藏地造像的浑厚大气尽显其中，细节处一丝不苟，錾刻走线流畅细腻，鎏金褪去的斑驳晕开独有的岁月质感，将吉祥寓意与金工美学融于一身，静穆间自有清净庄严的宗教意韵。",[521,2315,255,636,7,34996],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9d07bd29edd1e000fbb227a3da0aa9d.jpg",[],{"id":36110,"slug":36111,"title":36112,"dynasty":18,"author":195,"museum":152,"description":36113,"tags":36114,"thumbUrl":36117,"material":260,"size":261,"collection":78,"collections":36118,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":132},274897,"tong-du-jin-ba-bao-luo-yi-ming-274897","铜镀金八宝-螺","宝螺背光饰缠枝莲纹，内錾刻法螺本尊，法相肃穆灵动，气韵庄严。饱满层叠的莲台承托宝器，花瓣肌理写实舒展，尽显圣洁之态。透雕卷草纹的支架柔婉灵动，中和器物厚重感，与莲台、底托形成虚实错落的韵律。通体镀金凝润亮泽，局部露铜色衬出纹饰层次，藏地手工冶铸的精细虔诚尽显无余。整器将宗教祈福意象与金属工艺精妙相融，静穆间带着精致华丽，是藏传法器中的匠心之作，尽显清代造像的典雅美学，凝聚着信仰与匠造的双重温度。",[521,2676,33914,255,636,36115,36116,7,3298],"法螺","莲座","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff03127824c19be1b39237410956f1f2e.jpg",[],{"id":36120,"slug":36121,"title":36122,"dynasty":18,"author":195,"museum":152,"description":36123,"tags":36124,"thumbUrl":36126,"material":260,"size":261,"collection":78,"collections":36127,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},274893,"yin-du-jin-tuo-hua-gong-yang-pu-sa-yi-ming-274893","银镀金托画供养菩萨","这件供器融珐琅绘像与錾金造艺于一体，中心珐琅面板之上，菩萨身姿舒展安和，眉眼慈悲柔婉，衣带随形飘举，在青蓝色底釉映衬下，色彩明丽鲜活，尽显清净庄严的神性美感。\n\n银镀金托架匠心十足，层叠仰莲承托宝桃形画框，框身錾刻缠枝卷草，纹路饱满灵动，下接雕花束腰底座，鎏金光泽沉稳古雅。藏地造像的厚重质感与珐琅彩饰的鲜亮相映成趣，既饱含宗教供器的肃穆气韵，又尽显手工技艺的精妙水准，是信仰与匠意融合的绝佳载体。",[636,9192,36125,3970,2676,255,30,7,4920],"供养菩萨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff841df9437a175f0670d3893ba6c053.jpg",[],{"id":36129,"slug":36130,"title":36131,"dynasty":18,"author":195,"museum":152,"description":36132,"tags":36133,"thumbUrl":36134,"material":260,"size":261,"collection":78,"collections":36135,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":132},274891,"tong-xiang-yin-qi-zhen-mo-ni-bao-yi-ming-274891","铜镶银七珍-摩尼宝","这件造像以莲台承托鎏金背光，主尊仪态端严，双手托举法珠，绶带宝纹随形环绕，灵动舒展。铜银错镶的工艺让明暗层次尽显分明，鎏金的华贵与银质的清冽相互映衬。下接卷草缠枝束腰支架，仰覆莲底座錾刻禅纹，线条辗转间尽显藏地造像的精工巧思。\n\n整体静穆中带着富丽质感，既承载着护持祥瑞的宗教神性，又尽显清时造像的审美意趣，将摩尼宝的圣洁华贵凝练其中，是匠心与信仰融合的精妙之作。",[636,9192,521,3970,255,20950,36116,29374,35737,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc23103e57a8ecf769b87a54426341d51.jpg",[],{"id":36137,"slug":36138,"title":36139,"dynasty":18,"author":195,"museum":152,"description":36140,"tags":36141,"thumbUrl":36142,"material":260,"size":261,"collection":78,"collections":36143,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":132},274889,"tong-xiang-yin-qi-zhen-lun-bao-yi-ming-274889","铜镶银七珍-轮宝","此件以铜银错镶为工，宝顶錾刻驮宝瑞象，背负摩尼宝，缠枝莲纹环伺周遭，瑞象温驯端凝，纹饰灵动细腻，尽显吉庆圣洁的意蕴。\n\n上下层莲座瓣棱明洁，银质莲晕沉古雅，与鎏金铜色交相辉映。束腰处镂空卷草柔婉舒展，承托莲台更显秀挺雅致。底足覆裹莲瓣，鎏金凝厚莹润，层层递进间将庄严与雅致融为一体，尽显雪域信仰美学，是清时藏传造像工艺的精巧之作。",[636,521,3970,255,7,1734,35608],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81cc0f8d6ea5b68a279a29c6e9192057.jpg",[],{"id":36145,"slug":36146,"title":36147,"dynasty":18,"author":195,"museum":152,"description":36148,"tags":36149,"thumbUrl":36150,"material":260,"size":261,"collection":78,"collections":36151,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":132},274888,"tong-xiang-yin-qi-zhen-xiang-bao-yi-ming-274888","铜镶银七珍-象宝","此供器以莲台高擎主饰，宝象身躯敦实厚重，背负宝幢鞍鞯，周身纹饰錾刻细腻入微，尽显祥瑞威仪。外缘缠枝纹盘绕环护，鎏金与素银错色分明，勾勒出饱满华丽的视觉层次。\n\n底座镂空卷草舒展灵动，仰覆莲瓣与莲台上下呼应，下承浮雕莲纹基座，整体庄雅典重。手工錾刻的肌理尽显匠心，将宗教器物的神圣感与金属细作的精妙融合一体，静穆间流露庄重质感，尽显传统工艺的凝练巧思。",[636,521,3970,255,7,8584,5789],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b6a6403e3778be29a4aa707404fcfca.jpg",[],{"id":36153,"slug":36154,"title":36155,"dynasty":18,"author":195,"museum":152,"description":36156,"tags":36157,"thumbUrl":36158,"material":260,"size":261,"collection":78,"collections":36159,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},274887,"tong-xiang-yin-qi-zhen-ma-bao-yi-ming-274887","铜镶银七珍-马宝","桃形牌身錾刻缠枝卷草，柔婉舒展的线条框定神异造像，驭天神人安坐昂首神驹之上，周身祥纹环绕，鬃毛飞扬的神驹雄健挺拔，细节饱满生动，尽显庄严神异。\n\n莲台瓣叶分明饱满，鎏金包浆凝厚沉郁，暗哑金调晕开经年岁月的温润。下部卷草立柱虚实相生，与覆莲底座呼应，整体线条流转圆润，将厚重质朴与精工錾刻的细腻相融，把供养祈福的至诚心意凝于每一处刀痕，是兼具审美与信仰价值的供器佳作。",[521,3970,255,636,9192,380,35608,36116,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4790a3f8518a09c0cda00cf7e2f26f7a.jpg",[],{"id":36161,"slug":36162,"title":36163,"dynasty":18,"author":195,"museum":152,"description":36164,"tags":36165,"thumbUrl":36167,"material":260,"size":261,"collection":78,"collections":36168,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":132},274886,"tong-xiang-yin-qi-zhen-nv-bao-yi-ming-274886","铜镶银七珍-女宝","此作分层塑造，莲台稳稳承托起宝镜，镜心高浮雕女宝法相，面容庄严祥和，环绕缠枝卷草纹，錾刻细密灵动，尽显工艺精妙。莲瓣晕染深浅釉色，蓝褐相间，雅致沉稳。柱身错银打造缠枝卷草，银白莹润与鎏金铜色交相辉映，古雅华贵。底座满饰仰莲纹饰，周身鎏金厚重莹润，历经岁月仍光泽不减。整体造型规整肃穆，藏地造像的厚重质感与精细装饰相融，将供器的神圣感与装饰性完美结合，尽显信仰器物的庄严华贵之美。",[636,9192,35608,36166,521,3970,255,257,5789,7],"女宝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4887d0a4973b1439418e429c096bfab3.jpg",[],{"id":36170,"slug":36171,"title":36172,"dynasty":18,"author":195,"museum":152,"description":36173,"tags":36174,"thumbUrl":36175,"material":260,"size":261,"collection":78,"collections":36176,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},274880,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274880","银胎嵌珐琅供养","它以银为骨，珐琅凝魂。莲台稳稳承起宝函，錾刻云纹爬遍银胎，卷舒灵动似揽住柔缓天光。龛心珐琅鲜亮明丽，霁蓝铺底，蜜色琵琶晕染釉彩，粉红外绶带翻卷如流霞，将佛国清越梵音凝在方寸之间。\n\n冷硬银质与暖润珐琅相生相衬，层叠莲瓣饱满舒展，底座祥云蜷曲如浪，虔诚供养之心藏在每一处细密纹路里，是雪域工艺与宫廷珐琅的精妙融合，静穆之间自有清净庄严的禅意。",[3970,2235,636,72,255,5789,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F061fc02a972057d78c7e27fe2da40dde.jpg",[],{"id":36178,"slug":36179,"title":36172,"dynasty":18,"author":195,"museum":152,"description":36180,"tags":36181,"thumbUrl":36182,"material":260,"size":261,"collection":78,"collections":36183,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},274878,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274878","这件器物集珐琅与细银作工艺于一体。龛面以浅蓝珐琅为底，重工晕染的牡丹盎然盛放，花瓣层叠饱满，花叶舒展柔婉，顶部宝相花饰点明供养意涵，釉色匀净明丽，艳而不妖。\n银质基座自下而上层层递进，底足卷云纹饱满圆润，束腰处云纹盘绕缠绵，莲台瓣脉分明，将银器的沉静素雅，与珐琅彩的鲜亮华美相融。把世俗富贵的牡丹，和佛教清寂的供养主题巧妙结合，工艺考究细腻，细节之处尽显匠心，是清代手工艺融合的精巧之作。",[3970,2235,7,636,255,91,6399],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ee19777b0f1d11b4417128750eecf4.jpg",[],{"id":36185,"slug":36186,"title":36172,"dynasty":18,"author":195,"museum":152,"description":36187,"tags":36188,"thumbUrl":36189,"material":260,"size":261,"collection":78,"collections":36190,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},274877,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274877","莲台祥云底座錾刻古雅细腻，沉稳端庄托起主件。嵌珐琅面板为视觉焦点，湖蓝底色清透鲜亮，宝鼓纹饰缠枝环绕，绶带飘曳灵动，填色匀净明丽，珐琅莹润光泽与银胎冷冽质感相映成趣。藏式吉祥纹样暗含祈福之意，将宗教静穆的供养内核与装饰美学相融，是金属细作与珐琅工艺结合的精巧手笔，尽显工细雅致的清代造办风格，方寸之间尽显匠心巧思，承载着古朴虔诚的信仰之美。",[3970,2235,636,255,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07ee3621cd46cdbebb503e8a67a1e35b.jpg",[],{"id":36192,"slug":36193,"title":36172,"dynasty":18,"author":195,"museum":152,"description":36194,"tags":36195,"thumbUrl":36197,"material":260,"size":261,"collection":78,"collections":36198,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},274871,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274871","宝盖形龛面以珐琅为底，红彩描金的供碗纹样静置其上，釉色莹润鲜亮，将供品的饱满圣洁尽数展现。下方莲座瓣叶舒展饱满，脉络宛然，稳稳承托住饰片。支架虬曲缠绕，以缠枝为骨，灵动似藏着袅袅祥韵，底端祥云底座沉稳厚重，收束整体造型。\n\n银胎冷冽的金属质感，与暖调珐琅相映成趣，肃穆中不失精巧，庄重里暗含灵动，将信仰的虔诚凝于寸尺器物之中，尽显藏地供器独有的审美意韵。",[636,3970,2235,7,255,5789,36196],"供养","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a6eb49e7d1a5566ba9e71d53388a6d4.jpg",[],{"id":36200,"slug":36201,"title":36172,"dynasty":18,"author":195,"museum":152,"description":36202,"tags":36203,"thumbUrl":36204,"material":260,"size":261,"collection":78,"collections":36205,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},274869,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274869","整体撷取莲座承托宝龛的经典范式，银胎沉穆古雅，錾刻缠枝卷草纹层叠辗转，莲瓣饱满舒展，将佛前供养的庄静意蕴凝于骨相。龛心嵌珐琅釉面，以浅蓝为地晕染烟云古松，彩釉红花环簇山巅，白浪漱石间禅意自生。珐琅填色匀净明丽，与银胎苍朴质感冷暖呼应，既有清制工艺的工致精细，又暗合供养器的静穆禅风，将工艺美学与宗教意趣融于一体，是清代金属珐琅造像的精巧之作。",[3970,2235,636,255,7,5789,168,316],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F284fa9f4ec06b6aaa4a61827c342cbb8.jpg",[],{"id":36207,"slug":36208,"title":36172,"dynasty":18,"author":195,"museum":152,"description":36209,"tags":36210,"thumbUrl":36211,"material":260,"size":261,"collection":78,"collections":36212,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},274865,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274865","整体造型层叠有序，供牌下承双层莲台，莲瓣饱满舒展，肌理褶皱分毫毕现，将银料的温润质感尽显无余。束腰处錾刻缠枝瑞兽，灵动古拙，底座浮雕缠枝宝相花，稳稳托举起整器。\n\n供牌以湖蓝珐琅为底釉，匀净莹润，其上填彩堆塑菩提树，褐枝苍劲，绿叶鲜活鲜亮，明快色彩于素净银胎间晕开生机，将菩提清净圣洁的意蕴娓娓道来。\n\n素银的厚重肃穆，与珐琅的明丽通透相映成趣，藏地供器的庄严感，糅合精巧工致的细作技法，让信仰的虔诚与工艺的匠心浑然一体，尽显清供雅器的静美意蕴。",[3970,2235,257,636,5789,315,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02a9808bc90f6e5ed349aea6aaa67600.jpg",[],{"id":36214,"slug":36215,"title":36172,"dynasty":18,"author":195,"museum":152,"description":36216,"tags":36217,"thumbUrl":36218,"material":260,"size":261,"collection":78,"collections":36219,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},274858,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274858","莲台承托宝函，卷草缠枝为座，银胎錾刻纹路古拙柔婉，衬出器物静穆庄重。嵌于正中的珐琅片是点睛之笔，天蓝底釉匀净透亮，折枝花卉鲜妍灵动，粉花柔润娇丽，蓝叶舒朗劲挺，各色花蕊错落点缀，将花木生机凝于方寸。\n\n冷冽哑光银质与莹亮珐琅形成鲜明反差，精工细作间，把供养的虔诚心意融在鲜活画意里，尽显清时金属珐琅工艺的精巧，雅致肃穆中藏着鲜活生机，是信仰与匠心交织的精巧之作。",[3970,2235,7,636,168,5789],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2eec73f76aaf7c768a6025d0ad84be2.jpg",[],{"id":36221,"slug":36222,"title":36223,"dynasty":18,"author":195,"museum":152,"description":11373,"tags":36224,"thumbUrl":36226,"material":260,"size":261,"collection":78,"collections":36227,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":132},274844,"mu-jin-qi-jiao-yi-yi-ming-274844","木金漆交椅",[2487,4082,255,36225,699,7],"交椅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79e006a71d205f7391992a251b2bb5ce.jpg",[],{"id":36229,"slug":36230,"title":36231,"dynasty":18,"author":195,"museum":152,"description":36232,"tags":36233,"thumbUrl":36234,"material":260,"size":261,"collection":78,"collections":36235,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},274839,"tong-du-jin-qian-song-shi-yun-ding-ba-bao-chang-yi-ming-274839","铜镀金嵌松石云顶八宝-肠","此器以铜镀金为骨镶嵌松石，华贵里兼具清润灵气。顶部金佛首下，鎏金圆环环绕松石盘肠，回环往复的纹样寓意福寿连绵无尽。莲台承托主体，鎏金勾勒莲瓣棱线，松石莹润色泽与金彩明丽交相辉映，层次分明舒展。下部卷草纹与莲座呼应藏地造像制式，和整体庄严气质相融。整器将松石的澄澈隽秀与金饰的华贵辉煌完美结合，藏式佛供制式与清代造办工艺相融，尽显祈福器物的典雅大气，暗藏福寿绵长的美好祈愿。",[636,2676,521,2316,8574,3298,257,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9aa901b569eb440db028f86c9b1ebdff.jpg",[],{"id":36237,"slug":36238,"title":36239,"dynasty":18,"author":195,"museum":152,"description":36240,"tags":36241,"thumbUrl":36243,"material":260,"size":261,"collection":78,"collections":36244,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},274837,"tong-du-jin-qian-song-shi-yun-ding-ba-bao-guan-yi-ming-274837","铜镀金嵌松石云顶八宝-罐","铜鎏金为底骨，松石为缀饰，层层莲台承托主体。拱卫的金环托举松石宝罐，石质清莹温润，鎏金明丽华贵，二者相映成趣。周身錾刻缠枝莲纹，瓣叶舒展灵动，细节处一丝不苟，将花丝镶嵌与玉雕工艺精妙结合。整体造型庄严雅致，吉祥意涵融于形制之中，静穆间尽显华贵雍容的宗教质感，把祈福纳祥的美好愿景凝注在方寸器物之上，是清代匠心独到的工艺佳制。",[9192,7,33914,8664,255,5789,36242,257,298],"宝瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20f616d08133c4f7cd6ed43a9735be69.jpg",[],{"id":36246,"slug":36247,"title":36248,"dynasty":18,"author":195,"museum":152,"description":36249,"tags":36250,"thumbUrl":36252,"material":260,"size":261,"collection":78,"collections":36253,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},274832,"tong-du-jin-qian-song-shi-yun-ding-ba-bao-lun-yi-ming-274832","铜镀金嵌松石云顶八宝-轮","此器宝顶鎏金夺目，松石圆环妥帖环绕中央法轮，法轮纹饰錾刻细致，宝相庄严。上下莲台饱满舒展，瓣叶纹理圆润生动，松石与鎏金在柱身错落排布，卷云形饰灵动雅致，将冷润松石的清冽与鎏金的暖亮交融呼应。\n整器工艺精湛，镶嵌严丝合缝，鎏金厚重匀净，佛韵尽显其中，既是肃穆的供佛重器，也以圆满纹饰寄托恒常吉庆之寓意，静穆端庄间尽显华贵雍容，匠心藏于每一处细节之中。",[7,9192,29374,35552,33914,36251,255,4920],"松石镶嵌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F729b5ee4e2eaa188e40c832fd57c0cda.jpg",[],{"id":36255,"slug":36256,"title":36257,"dynasty":18,"author":195,"museum":152,"description":36258,"tags":36259,"thumbUrl":36261,"material":260,"size":261,"collection":78,"collections":36262,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},274831,"tong-du-jin-zhi-hu-yi-ming-274831","铜镀金执壶","此器以紫铜为胎，素面沉静古雅，与鎏金饰件形成明暗冷暖的鲜明反差。壶嘴造型遒劲，錾刻瑞兽首为饰，威严灵动，气韵雄浑。口沿、肩腹、底足的鎏金饰带，分别浮雕八宝瑞纹与覆莲瓣，纹饰饱满细腻，线条婉转流畅，尽显錾刻工艺的精湛卓绝。整体形制承袭藏地贲巴壶的经典样式，将宗教礼器的肃穆庄重与金属细工的华美精巧融为一体，是兼具礼供实用与陈设审美价值的佳器，尽显当时造作工艺的不俗水准。",[521,2315,7914,7,255,2676,36260],"宗教用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a8514868f5358173417364e30062ec5.jpg",[],{"id":36264,"slug":36265,"title":36266,"dynasty":18,"author":195,"museum":152,"description":36267,"tags":36268,"thumbUrl":36269,"material":260,"size":261,"collection":78,"collections":36270,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":132},274830,"dao-guang-kuan-tong-du-jin-xing-yi-ming-274830","道光款铜镀金鉶","它敛口鼓腹，对称设兽首耳，威严灵动，三兽足稳稳承托器身，浑朴端庄。纹饰层次明晰，口沿下回纹萦纡环绕，绵密规整如环带锁边，腹部满饰齐整鱼鳞纹，似将碎金凝于器身，手工錾刻的肌理带着温润匠意。\n\n铜镀金包浆晕开沉敛旧光，局部浮起铜绿锈痕，是岁月蚀刻的印记，器内残留的斑驳痕迹，默默留存着过往使用的余温。整体工致典雅，循着古制复刻再造，尽显清代仿古铜作的审美意趣，藏着复古雅致的造物情怀。",[521,835,255,522,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d7c1cf078bfc2c5341136eb9d8cf9e9.jpg",[],{"id":36272,"slug":36273,"title":36274,"dynasty":18,"author":195,"museum":152,"description":36275,"tags":36276,"thumbUrl":36277,"material":260,"size":261,"collection":78,"collections":36278,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":132},274829,"tong-zhi-kuan-tong-du-jin-xing-yi-ming-274829","同治款铜镀金鉶","此器造型端凝古雅，敞口鼓腹，两侧兽首耳轮廓饱满，肌理纹路刻画写实，自带沉穆威仪，为器身增添厚重气场。下承四足，造型敦实稳重，妥帖托起器体。\n器身纹饰颇具巧思，口沿下饰细密回纹带，腹部通饰龟甲纹，追摹上古礼制器物的纹样意趣，带着复古雅韵。深沉铜色凝敛经年包浆，晕染出苍古的岁月质感，复刻古器庄重形制的同时，尽显清代造器的规整工致，藏着摹古造器里的怀古匠心。",[522,521,835,7,255],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb7262585785f0526d87bb4510de7348.jpg",[],{"id":36280,"slug":36281,"title":36282,"dynasty":18,"author":195,"museum":152,"description":36283,"tags":36284,"thumbUrl":36285,"material":260,"size":261,"collection":78,"collections":36286,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},274827,"qian-long-kuan-tong-du-jin-xing-yi-ming-274827","乾隆款铜镀金鉶","整体取法上古礼器制式，圆鼓腹饱满端庄，兽首双耳威严灵动，三兽足沉稳敦实，形制规整气度雍容。\n盖顶出戟古雅隽秀，器身纹饰层叠铺陈：回纹勾连环绕，云纹舒卷灵动，蟠虺纹细密精致，冰裂纹规整雅致，錾刻入微，镀金包浆厚重温润，古韵盎然。\n此器是仿古创新的精工之作，既承袭三代青铜的肃穆厚重，又融入清代造作的精巧考究，将复古意趣与宫廷匠心融为一体，尽显庄重典雅的庙堂气息，是铜作仿古器物中的佳构。",[7,521,522,835,255,462],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87b9dc8ecf79f1b774895abb76c607b5.jpg",[],{"id":36288,"slug":36289,"title":36290,"dynasty":18,"author":195,"museum":152,"description":1808,"tags":36291,"thumbUrl":36293,"material":260,"size":261,"collection":78,"collections":36294,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},274826,"tong-du-jin-qian-shi-chu-ji-fang-xing-ping-yi-ming-274826","铜镀金嵌石出戟方形瓶",[7,521,2676,7441,255,257,36292],"出戟瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa31e8d130930aaeb70a616f7a7036f80.jpg",[],{"id":36296,"slug":36297,"title":36298,"dynasty":18,"author":195,"museum":152,"description":12920,"tags":36299,"thumbUrl":36300,"material":260,"size":261,"collection":78,"collections":36301,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},274825,"tong-du-jin-qian-song-shi-hua-gu-yi-ming-274825","铜镀金嵌松石花觚",[521,2676,8664,255,257,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40e6c2d00126d07588760c774a75f8ac.jpg",[],{"id":36303,"slug":36304,"title":36305,"dynasty":18,"author":195,"museum":152,"description":4040,"tags":36306,"thumbUrl":36309,"material":260,"size":261,"collection":78,"collections":36310,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},274824,"tong-du-jin-zao-hua-shuang-er-san-zu-gai-lu-yi-ming-274824","铜镀金凿花双耳三足盖炉",[521,2676,255,36307,35567,36308,7],"凿花","双耳三足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc0e9f8ae83c990dedfc9f12d7f8762.jpg",[],{"id":36312,"slug":36313,"title":35743,"dynasty":18,"author":195,"museum":152,"description":36314,"tags":36315,"thumbUrl":36316,"material":260,"size":261,"collection":78,"collections":36317,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},274823,"tong-du-jin-ba-bao-chang-yi-ming-274823","通体鎏金，宝光温润华贵。顶部盘长结缠回往复，无始无终，线条灵动蜷曲，似在悠然舒展，暗合福寿连绵的美好祈愿。下承莲台，瓣叶饱满层叠，如盛夏青莲盛放，清净雅致，柔和衔接法饰与支柱。支柱透雕缠枝宝相花，卷舒自如，花叶交缠间尽显繁复精巧，匠师以錾刻、透雕之法，将纹理镂刻入微，明暗错落间尽显立体层次。整体气韵贯通，既具藏传法器的庄严法度，又饱含清代金作的华贵工致，是宗教礼器与宫廷美学融合的精妙之品。",[636,521,2676,255,7,34996],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42cd5db766c8ef281e46d5eaa3569c80.jpg",[],{"id":36319,"slug":36320,"title":36321,"dynasty":18,"author":195,"museum":152,"description":36322,"tags":36323,"thumbUrl":36324,"material":260,"size":261,"collection":78,"collections":36325,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},274822,"tong-du-jin-ba-bao-yu-yi-ming-274822","铜镀金八宝-鱼","双鱼交缠灵动鲜活，鳍尾舒展翻卷，伫立在仰莲台座之上，暗含年年有余的吉庆寓意。器身通体鎏金，明黄莹润，支架以缠枝卷草铺陈，镂刻繁复华丽，线条虬劲婉转，光影游走间尽显华贵雍容。底足取俯莲造型，镂空雕琢不失端庄稳重，与上部的灵动形成巧妙呼应。整体细节一丝不苟，将造像的精工富丽尽数展现，既是庄严肃穆的礼佛供器，也藏纳着祈福纳祥的美好意涵，处处彰显着匠心巧思。",[521,2676,255,7,1878,364,636,3298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dd2722472693b411217be2d1286eb10.jpg",[],{"id":36327,"slug":36328,"title":35751,"dynasty":18,"author":195,"museum":152,"description":36329,"tags":36330,"thumbUrl":36331,"material":260,"size":261,"collection":78,"collections":36332,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},274821,"tong-du-jin-ba-bao-guan-yi-ming-274821","此器鎏金莹亮，华贵雅致。顶部宝罐饱满端庄，双耳垂系饰带，覆塔式顶盖挺拔规整，暗合聚福纳祥的美好寓意。罐下仰莲台瓣层叠舒展，柔婉雅致，承接上下浑然一体。中部支架取缠枝卷草之形，涡旋灵动，线条繁复却流畅利落，錾刻工艺尽显精妙，将柔美与劲挺融为一体。底座镂空莲叶纹，沉稳大气，稳稳承托整体器物。\n\n比例匀称合度，从宝罐的静穆端庄到支架的灵动柔美过渡自然。金泽沉敛温润，尽显细腻造作工法，静立间带着祈福纳吉的平和意蕴，是藏传佛教供器里的精巧之作。",[521,2315,636,255,3298,29374,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15995b00099130bfa28ec9993318a99a.jpg",[],{"id":36334,"slug":36335,"title":35759,"dynasty":18,"author":195,"museum":152,"description":36336,"tags":36337,"thumbUrl":36338,"material":260,"size":261,"collection":78,"collections":36339,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},274820,"tong-du-jin-ba-bao-hua-yi-ming-274820","这件鎏金供器宝花舒展饱满，花瓣层叠妍丽，下承仰莲莲台，曲线柔婉挺括，将清净雅致的意韵藏于形制之中。中部支架透雕缠枝卷草，回旋舒展的线条灵动流畅，把华丽工巧与典雅气韵相融无间。通体鎏金厚重匀净，色泽明丽华贵，尽显工致精湛的锻造技艺。\n\n整体造型上下呼应，层层递进，兼具供器的庄严规整与装饰的精巧灵秀，将吉祥寓意凝于细节之中，是清代金属细作的上乘之作。",[521,2676,255,636,5789,3298,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3703341596c11dd92853b758eeef455c.jpg",[],{"id":36341,"slug":36342,"title":36343,"dynasty":18,"author":195,"museum":152,"description":36344,"tags":36345,"thumbUrl":36346,"material":260,"size":261,"collection":78,"collections":36347,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},274819,"tong-du-jin-ba-bao-gai-yi-ming-274819","铜镀金八宝-盖","通体鎏金匀净厚重，宝光莹莹历经岁时不减。顶部法盖威严灵动，卷舒纹饰似携梵音流转，下承仰莲座，瓣叶层叠饱满，凝住莲绽刹那的清灵。茎身缠枝卷草婉转舒展，线条如流云曳动，将神性庄严与柔美意态融于一处。底托镂空莲瓣造型空灵精巧，层层造型递次铺展，刚柔相济。\n整器工致精巧，将供器的端雅圣洁与造艺匠心相融，静穆间尽显佛前供具的虔诚意趣，是彼时造作工艺的精妙缩影。",[636,521,2676,255,3298,4920,29374,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd15dc71d71aac48d5e2a8bc15c66e03.jpg",[],{"id":36349,"slug":36350,"title":36351,"dynasty":18,"author":195,"museum":152,"description":36352,"tags":36353,"thumbUrl":36354,"material":260,"size":261,"collection":78,"collections":36355,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},274818,"tong-du-jin-ba-bao-san-yi-ming-274818","铜镀金八宝-伞","此器鎏金莹润亮泽，宝伞作为核心饰于顶冠，錾刻精细饱满，灵动舒展的缠枝纹承托宝伞，下覆仰莲座承接主体。器身镂空卷草纹层叠流转，线条柔婉暗含力道，仿若舒展的莲枝，层层铺陈开佛国静雅意蕴。整体造型端庄不失精巧，鎏金厚重匀净，尽显卓绝做工，将藏传佛教八宝的圣洁寓意凝于寸尺之间，静穆中带着华贵雍容，是清代佛前供器的上乘之作，静静诉说着佛前供仪的庄严与精致。",[2676,521,255,636,36045,257,20218,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77755ff320c33d8e48f464d94aad234e.jpg",[],{"id":36357,"slug":36358,"title":36112,"dynasty":18,"author":195,"museum":152,"description":36359,"tags":36360,"thumbUrl":36361,"material":260,"size":261,"collection":78,"collections":36362,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},274817,"tong-du-jin-ba-bao-luo-yi-ming-274817","法螺宝顶錾刻细腻灵动，威严中带着精巧神采。下接覆莲底座，舒展的卷草纹茎干柔婉多姿，将庄重与柔美相融。通体鎏金熠熠生辉，纹饰排布层次分明，刚劲线条勾勒宗教器物的肃穆神性，柔婉卷草又添雅致风韵。\n\n整体自上而下一气呵成，沉稳镂空底座承托造型，尽显华贵庄严，将藏地礼器的神圣感与清代金属细作的匠心完美结合，是工艺与宗教美学合璧的精巧之作。",[636,9192,521,2676,255,7,36115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff19426880749fda4b7b66ae9295191d2.jpg",[],{"id":36364,"slug":36365,"title":36366,"dynasty":18,"author":195,"museum":152,"description":36367,"tags":36368,"thumbUrl":36370,"material":260,"size":261,"collection":78,"collections":36371,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},274815,"tong-du-jin-qi-zhen-jiang-jun-bao-yi-ming-274815","铜镀金七珍-将军宝","此器主尊将军神武飒然，挥刀持盾，蹲踞威立，将护法降魔的勇武姿态凝练于方寸之间，衣袂战甲肌理分毫毕现，英气勃发。\n\n覆莲台承托主尊，下接缠枝卷草镂雕支架，纹饰舒展灵动，层叠回旋如盛放宝花，底托镂空莲瓣，整器自上而下浑然一体。铜镀金工艺精湛醇熟，金水莹润厚重，周身光泽华贵内敛，细节处分毫必究，既承袭藏地造像的雄浑刚健，又兼具清式造办的精工雅致，尽显宝相庄严与匠作匠心。",[521,2676,255,636,9192,30,7,35608,36369],"将军宝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F778fed8ede8fbdc5bcae306eb1cba1a2.jpg",[],{"id":36373,"slug":36374,"title":35734,"dynasty":18,"author":195,"museum":152,"description":36375,"tags":36376,"thumbUrl":36377,"material":260,"size":261,"collection":78,"collections":36378,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},274814,"tong-du-jin-qi-zhen-mo-ni-bao-yi-ming-274814","此件器物鎏金厚重莹润，宝顶以焰光簇拥千叶莲苞，仿佛正迸发澄澈光华。炉身仰莲盛放，稳稳承托顶饰，下接缠枝卷草镂空座身，柔婉卷纹舒展灵动，留白处题字添古朴雅意，刚柔相济。底足作莲瓣开光，沉稳端庄，撑起整器风骨。\n\n整体以莲为核心纹饰，呼应摩尼宝圆满清净的寓意，将法器的庄严神性与金属细作的装饰美学融于一体，尽显华贵精巧的工艺水准，宝光历经岁月依旧内敛醇厚，是宗教造像与宫廷匠心结合的绝佳典范。",[521,2676,255,636,9192,29374,35737,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5683bc23401abe172466c1ccadc184ca.jpg",[],{"id":36380,"slug":36381,"title":36382,"dynasty":18,"author":195,"museum":152,"description":36383,"tags":36384,"thumbUrl":36385,"material":260,"size":261,"collection":78,"collections":36386,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},274808,"tong-du-jin-hua-cha-yi-ming-274808","铜镀金花插","这件花插取古觚形意韵，柔化了古拙棱角，通体鎏金匀净莹润，光泽内敛雅致。器身由敞口、束颈、鼓腹、高足、台座次第铺陈，比例舒展合度，束颈与高足的收放流转出灵动节奏，腹间圆鼓似承托清趣，下接如意云足，添了几分婉约文气。\n\n素面无饰，全凭造型彰显匠意，既沿袭古礼器的端方风骨，又融入雅室陈设的温婉格调，静静伫立间，便将古意与闲情揉为一体，是案头清供里的雅逸之选。",[521,2676,5080,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe21beb363237cf0be685ee29972d4de8.jpg",[],{"id":36388,"slug":36389,"title":36382,"dynasty":18,"author":195,"museum":152,"description":36390,"tags":36391,"thumbUrl":36392,"material":260,"size":261,"collection":78,"collections":36393,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},274807,"tong-du-jin-hua-cha-yi-ming-274807","撇口束颈，颈足环饰仰覆莲与缠枝卷草，圆鼓的腹身上，高浮雕游龙蜿蜒穿梭于云霭之间。龙身矫健遒劲，鬃尾盘曲灵动，祥云翻卷烘托出威严磅礴之势。\n通体鎏金厚重莹润，历经岁月仍留存温润金泽，錾刻走线细腻利落，纹饰层次分明。器物将皇权象征的龙纹与佛教莲饰相融，既带着礼佛陈设的庄重，又兼具案头清赏的雅致，尽显清代金属细作的精湛功力，凝萃着庄重华贵的旧时气韵，静静彰显着往昔工匠的极致匠心。",[521,255,2676,7,462],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d350a2671afc255d1349e378ba915fb.jpg",[],{"id":36395,"slug":36396,"title":36397,"dynasty":18,"author":195,"museum":152,"description":4040,"tags":36398,"thumbUrl":36399,"material":260,"size":261,"collection":78,"collections":36400,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},274806,"tong-du-jin-bian-yuan-lu-yi-ming-274806","铜镀金扁圆炉",[521,2676,7,699],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F491822c348b70466999ee7a184673d27.jpg",[],{"id":36402,"slug":36403,"title":36404,"dynasty":117,"author":195,"museum":152,"description":36405,"tags":36406,"thumbUrl":36407,"material":260,"size":261,"collection":78,"collections":36408,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},274805,"wan-li-kuan-hong-qi-dan-mu-bing-tong-liu-jin-la-tai-yi-ming-274805","万历款红漆单木柄铜鎏金蜡台","整体形制精巧雅丽，铜鎏金部分光泽柔润内敛，承烛尖钉挺拔利落，承盘与底座线条圆润舒展，浅饰錾纹低调雅致。\n\n朱红漆木柄匀净光亮，两端以鎏金龙纹衔接，龙头探伸衔住盏台，龙尾盘绕成柄首，龙身纹路镂刻细腻，刚健灵动。器物将朱漆的雅致温婉与鎏金的华贵雍容相融，既合乎实用持握的尺度，又尽显官造器具的考究工艺，藏着晚明审美里柔丽与大气兼具的意趣，是工艺与美学交融的典范。",[7,699,521,1393,2487,255,462],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78e738a2e57374ae885578d83398494a.jpg",[],{"id":36410,"slug":36411,"title":36412,"dynasty":18,"author":195,"museum":152,"description":250,"tags":36413,"thumbUrl":36414,"material":260,"size":261,"collection":78,"collections":36415,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":132},274804,"tong-du-jin-qian-qing-yu-liu-fang-xing-ta-yi-ming-274804","铜镀金嵌青玉六方形塔",[521,254,255,636,20817,7,2315,7520],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb924e0baff5e6eb18f97311c474fd870.jpg",[],{"id":36417,"slug":36418,"title"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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。",[873,2667,1594,23934,1505,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b0e849bd765cb8c50970732a3eb1f60.jpg",[878],{"id":57152,"slug":57153,"title":57154,"dynasty":18,"author":195,"museum":152,"description":4127,"tags":57155,"thumbUrl":57157,"material":260,"size":261,"collection":878,"collections":57158,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},257611,"fang-ding-yao-bai-you-hua-hua-mu-dan-shuang-yu-wen-wan-yi-ming-257611","仿定窑白釉划花牡丹双鱼纹碗",[461,57156,1219,3682,91,16089,873,7],"仿定窑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb10f89ffc205e76b6f3f3f08c0a30f9e.jpg",[878],{"id":57160,"slug":57161,"title":57162,"dynasty":117,"author":195,"museum":152,"description":1808,"tags":57163,"thumbUrl":57164,"material":260,"size":261,"collection":78,"collections":57165,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},257608,"lan-di-diao-hua-shuang-er-fang-ping-yi-ming-257608","蓝地雕花双耳方瓶",[873,1505,11887,19270,1287,24742,91,53039,255,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a324c824351de6a6f438b22c4bae90b.jpg",[],{"id":57167,"slug":57168,"title":57169,"dynasty":117,"author":195,"museum":152,"description":3242,"tags":57170,"thumbUrl":57171,"material":260,"size":261,"collection":78,"collections":57172,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},257605,"fang-guan-you-guan-er-chuan-dai-bian-fang-hu-yi-ming-257605","仿官釉贯耳穿带扁方壶",[873,16185,9793,55549,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F451ccd8e7b30e9f7ae0c73b114403cfa.jpg",[],{"id":57174,"slug":57175,"title":49990,"dynasty":117,"author":195,"museum":152,"description":3242,"tags":57176,"thumbUrl":57177,"material":260,"size":261,"collection":78,"collections":57178,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},257604,"fang-guan-you-san-kong-ping-yi-ming-257604",[873,16185,916,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45b9447480439e034f40fd9a21f2ae97.jpg",[],{"id":57180,"slug":57181,"title":57182,"dynasty":117,"author":195,"museum":152,"description":3242,"tags":57183,"thumbUrl":57184,"material":260,"size":261,"collection":78,"collections":57185,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},257603,"fang-guan-you-guan-er-hu-yi-ming-257603","仿官釉贯耳壶",[873,16185,7,1505,9793],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7908d4ac49c84ace281253b56e5c0504.jpg",[],{"id":57187,"slug":57188,"title":57189,"dynasty":117,"author":195,"museum":152,"description":3242,"tags":57190,"thumbUrl":57191,"material":260,"size":261,"collection":78,"collections":57192,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},257602,"fang-guan-you-ding-yi-ming-257602","仿官釉鼎",[873,16185,257,7,1505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c98a354cbcdf661ab551941093afe17.jpg",[],{"id":57194,"slug":57195,"title":57196,"dynasty":117,"author":195,"museum":152,"description":3242,"tags":57197,"thumbUrl":57198,"material":260,"size":261,"collection":78,"collections":57199,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},257601,"fang-guan-you-bi-shan-yi-ming-257601","仿官釉笔山",[873,16185,916,11510,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1a6b7b3dc2bc8c8f1f62fb85b6b0d5d.jpg",[],{"id":57201,"slug":57202,"title":57196,"dynasty":117,"author":195,"museum":152,"description":3242,"tags":57203,"thumbUrl":57204,"material":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ia-si-fa-lang-chan-zhi-hua-hui-wen-yuan-he-yi-ming-249950","掐丝珐琅缠枝花卉纹圆盒",[18,2013,962,7,8980,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1d7f3ed01ffbd9b7b63e8903c96cc34.jpg",[],{"id":68768,"slug":68769,"title":68770,"dynasty":18,"author":195,"museum":152,"description":2011,"tags":68771,"thumbUrl":68772,"material":260,"size":261,"collection":78,"collections":68773,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249949,"qia-si-fa-lang-chan-zhi-lian-jiao-ye-wen-zhi-kou-ping-yi-ming-249949","掐丝珐琅缠枝莲蕉叶纹直口瓶",[461,2013,2235,7,1582,1940],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c5e59291b38e8d5be5b6f4f97336b18.jpg",[],{"id":68775,"slug":68776,"title":27451,"dynasty":117,"author":195,"museum":152,"description":68777,"tags":68778,"thumbUrl":68779,"material":260,"size":261,"collection":78,"collections":68780,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},249946,"qia-si-fa-lang-lu-duan-yi-ming-249946","此瑞兽昂首威立，狞厉霸气的面相自带慑人气场，利齿贲张间尽显神兽威仪。全身以天青珐琅为地，填饰朱红、鎏金、明黄诸色，掐丝走线婉转流畅，盘绕出繁复圆融的卷草宝相纹，层叠的鬃毛如焰似鳞，晕染出富丽堂皇的质感。鎏金勾勒轮廓筋骨，让瑞兽的肌理棱角分明，将珐琅的温润光泽与金饰的华贵熠熠相融。它亦是精巧香薰，腹内燃香时，青烟自口而出，似吞云吐雾，将祥瑞意象与实用雅趣合二为一，尽显古人工艺巧思与东方审美意趣。",[2013,521,406,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F975952209c2b504b9a262d179030a7cc.jpg",[],{"id":68782,"slug":68783,"title":68784,"dynasty":18,"author":195,"museum":152,"description":2011,"tags":68785,"thumbUrl":68786,"material":260,"size":261,"collection":78,"collections":68787,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},249944,"qia-si-fa-lang-xiang-er-ping-yi-ming-249944","掐丝珐琅象耳瓶",[2013,962,521,29,27338,364,6399,168,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc40bf94883e291a412d9a3c08ab47077.jpg",[],{"id":68789,"slug":68790,"title":68791,"dynasty":117,"author":195,"museum":152,"description":68792,"tags":68793,"thumbUrl":68794,"material":260,"size":261,"collection":78,"collections":68795,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249943,"jing-tai-kuan-qia-si-fa-lang-xiang-er-san-zu-gai-lu-yi-ming-249943","景泰款掐丝珐琅象耳三足盖炉","此炉敞口鼓腹，鎏金象首三足稳稳承托炉身，两侧兽首鋬首线条灵动威严，气势沉稳庄重。盖顶设鎏金矮钮，盖面透雕缠枝螭纹，可让烟气自镂空孔隙间袅袅漫出，兼具实用与审美意趣。\n\n器身以天蓝色珐琅为地，掐丝填饰缠枝花卉与异兽纹样，红褐、宝蓝诸色交错铺陈，繁缛却不显冗杂。鎏金部分光泽凝厚内敛，与莹润珐琅釉色相互映衬，华贵典雅扑面而来。整体形制规整端庄，掐丝走线匀净流畅，尽显明代珐琅工艺的精湛造诣，古韵悠然，雍容华贵。",[2013,2235,521,1799,406,462,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec68ba0dd153fbdbc970942b32416b30.jpg",[],{"id":68797,"slug":68798,"title":68799,"dynasty":117,"author":195,"museum":152,"description":5634,"tags":68800,"thumbUrl":68801,"material":260,"size":261,"collection":78,"collections":68802,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},249942,"qia-si-fa-lang-yuan-he-yi-ming-249942","掐丝珐琅圆盒",[2013,962,7,91,29,1505,258],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d93ee084b7d9e88b258f03dff72dc77.jpg",[],{"id":68804,"slug":68805,"title":68806,"dynasty":18,"author":195,"museum":152,"description":2011,"tags":68807,"thumbUrl":68808,"material":260,"size":261,"collection":78,"collections":68809,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},249941,"qia-si-fa-lang-fu-shi-hu-yi-ming-249941","掐丝珐琅凫式壶",[2013,962,521,7,285],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76df92b3a3f9bdec068a9a9c3089057d.jpg",[],{"id":68811,"slug":68812,"title":68813,"dynasty":18,"author":195,"museum":152,"description":2011,"tags":68814,"thumbUrl":68815,"material":260,"size":261,"collection":78,"collections":68816,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249940,"qia-si-fa-lang-gai-lu-yi-ming-249940","掐丝珐琅盖炉",[2013,2235,521,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F136bd17030daa02a339946053eb4a9aa.jpg",[],{"id":68818,"slug":68819,"title":68820,"dynasty":117,"author":195,"museum":152,"description":68821,"tags":68822,"thumbUrl":68823,"material":260,"size":261,"collection":78,"collections":68824,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},249939,"jing-tai-kuan-qia-si-fa-lang-xiang-er-san-zu-lu-yi-ming-249939","景泰款掐丝珐琅象耳三足炉","此炉以鎏金与珐琅相映成趣，象首双耳造型灵动，肌理刻画细致入微，将瑞兽威仪藏于婉转线条之中。三足敦实稳重，与双耳呼应，撑起规整器型。\n\n天蓝珐琅地色莹润澄澈，掐丝勾勒的缠枝花卉舒展柔婉，填色饱满匀净，花叶深浅层叠，在鎏金映衬下更显明丽华贵。整体繁简相宜，既有宫廷雅器的端庄气度，又饱含文玩清赏的隽秀意韵，尽显明代珐琅工艺精湛成熟的匠造水准，是传统金属细工与珐琅技艺合璧的精巧之作。",[2013,2235,521,7,1799,406,341],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bf7f668948773c213a9ee11c3fa0c8c.jpg",[],{"id":68826,"slug":68827,"title":68695,"dynasty":18,"author":195,"museum":152,"description":2011,"tags":68828,"thumbUrl":68829,"material":260,"size":261,"collection":78,"collections":68830,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249938,"qia-si-fa-lang-wan-yi-ming-249938",[18,2013,962,7,122,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5992477028dbb818509386cbc3487e5.jpg",[],{"id":68832,"slug":68833,"title":68834,"dynasty":18,"author":195,"museum":152,"description":2011,"tags":68835,"thumbUrl":68836,"material":260,"size":261,"collection":78,"collections":68837,"showCount":11,"z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ng-yi-ming-249916","掐丝珐琅狮戏球纹藏草瓶",[117,2013,962,7,4837,406,27606],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa03f8b69cd151b4131bebc6f0cc1ec35.jpg",[],{"id":68915,"slug":68916,"title":68917,"dynasty":117,"author":195,"museum":152,"description":68918,"tags":68919,"thumbUrl":68920,"material":260,"size":261,"collection":78,"collections":68921,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249915,"qia-si-fa-lang-shuang-er-chu-ji-si-zu-gai-lu-yi-ming-249915","掐丝珐琅双耳出戟四足盖炉","整体仿青铜鼎形制，端凝古雅。盖顶鎏金狮钮昂首威立，神态灵动悍猛，盖面透雕缠枝龙纹，可容香烟穿镂漫出。炉身以天青珐琅为地，掐丝勾勒填饰缠枝龙纹与瑞兽，朱红、宝色珐琅与鎏金相衬，华彩熠熠，纹饰繁而不乱，尽显富丽堂皇。\n\n出戟双耳搭配卷云四足，线条舒展雅致，鎏金饰件凝润厚重。整器将古礼器的肃穆与珐琅工艺的明丽质感相融，是明代掐丝珐琅工艺的上乘之作，焚香赏玩两相宜，尽显古雅华贵的气韵。",[2013,521,7,406,962,462],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff34a084bc09c833077ae68c70fc6f9fc.jpg",[],{"id":68923,"slug":68924,"title":68925,"dynasty":18,"author":195,"museum":152,"description":2011,"tags":68926,"thumbUrl":68927,"material":260,"size":261,"collection":78,"collections":68928,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},249914,"qia-si-fa-lang-suan-tou-shi-shuang-huan-er-bian-ping-yi-ming-249914","掐丝珐琅蒜头式双环耳扁瓶",[2013,962,7,462],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd10d93779b80889fa95774f815865d7a.jpg",[],{"id":68930,"slug":68931,"title":68932,"dynasty":117,"author":195,"museum":152,"description":1808,"tags":68933,"thumbUrl":68934,"material":260,"size":261,"collection":78,"collections":68935,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249912,"qia-si-fa-lang-gou-lian-wen-feng-er-ping-yi-ming-249912","掐丝珐琅勾莲纹凤耳瓶",[2013,962,1019,5587,2498,1505,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefe107fc2a64e0f8306b7a928d49d3d6.jpg",[],{"id":68937,"slug":68938,"title":68939,"dynasty":18,"author":195,"museum":152,"description":2011,"tags":68940,"thumbUrl":68941,"material":260,"size":261,"collection":78,"collections":68942,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249911,"qia-si-fa-lang-shuang-shou-er-huo-huan-fang-zun-yi-ming-249911","掐丝珐琅双兽耳活环方尊",[2013,2235,2289,1700,521,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08e9d769afcb82aa8e5c43e69bc5b673.jpg",[],{"id":68944,"slug":68945,"title":17894,"dynasty":18,"author":195,"museum":152,"description":2011,"tags":68946,"thumbUrl":68947,"material":260,"size":261,"collection":78,"collections":68948,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249910,"qia-si-fa-lang-ping-yi-ming-249910",[461,2013,962,7,521,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62609c7316ffa3d2e362b685e53f19da.jpg",[],{"id":68950,"slug":68951,"title":68952,"dynasty":18,"author":195,"museum":152,"description":2011,"tags":68953,"thumbUrl":68954,"material":260,"size":261,"collection":78,"collections":68955,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},249909,"qia-si-fa-lang-zhe-die-tie-jia-yi-ming-249909","掐丝珐琅折叠帖架",[2013,962,521,29,91,122,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1012fe4b69cc1ef61c2622cd8b888523.jpg",[],{"id":68957,"slug":68958,"title":68959,"dynasty":18,"author":195,"museum":152,"description":2011,"tags":68960,"thumbUrl":68961,"material":260,"size":261,"collection":78,"collections":68962,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},249907,"qia-si-fa-lang-fang-zhe-pan-kui-wen-wan-yi-ming-249907","掐丝珐琅方折蟠夔纹碗",[2013,521,7,462,2620],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89291f7519e34c6827852a69769c5094.jpg",[],{"id":68964,"slug":68965,"title":68966,"dynasty":18,"author":195,"museum":152,"description":2011,"tags":68967,"thumbUrl":68968,"material":260,"size":261,"collection":78,"collections":68969,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249906,"qian-long-kuan-qia-si-fa-lang-gou-lian-wen-pie-kou-bei-yi-ming-249906","乾隆款掐丝珐琅勾莲纹撇口杯",[461,2013,2235,73,7,5587],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5127096c0a6411af96912996df2cac6.jpg",[],{"id":68971,"slug":68972,"title":68973,"dynasty":18,"author":195,"museum":152,"description":250,"tags":68974,"thumbUrl":68975,"material":260,"size":261,"collection":78,"collections":68976,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},249904,"qia-si-fa-lang-qian-yu-dai-mu-zuo-bi-ping-yi-ming-249904","掐丝珐琅嵌玉带木座壁瓶",[461,2013,7520,2487,2235,254,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c2e8e9b635bc1ba9508c5c3a8939510.jpg",[],{"id":68978,"slug":68979,"title":68980,"dynasty":18,"author":195,"museum":152,"description":2011,"tags":68981,"thumbUrl":68982,"material":260,"size":261,"collection":78,"collections":68983,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249903,"qia-si-fa-lang-hua-niao-tu-si-leng-ping-yi-ming-249903","掐丝珐琅花鸟图四棱瓶",[461,2013,962,122,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dbacf237f567dcdb0969425a203d24a.jpg",[],{"id":68985,"slug":68986,"title":68987,"dynasty":18,"author":195,"museum":152,"description":2011,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海祥瑞的美好寓意融于精工之中。\n\n铜胎凝厚古雅，金边内敛衬出华贵质感，珐琅釉色经岁月晕染，宝光沉敛温润。整体工致精巧，把装饰美学与吉祥意涵相融，尽显旧时匠作的成熟造诣，是一件藏着岁月温度的雅致匠心之品。",[2013,29,168,30,70225,7,962],"海屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb4dde7cace881f18edd571c52528d70.jpg",[],{"id":70229,"slug":70230,"title":70231,"dynasty":117,"author":195,"museum":152,"description":70232,"tags":70233,"thumbUrl":70234,"material":260,"size":261,"collection":78,"collections":70235,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249620,"qia-si-fa-lang-gou-lian-wen-chu-ji-hua-gu-yi-ming-249620","掐丝珐琅勾莲纹出戟花觚","此器取古雅形制，出戟棱线挺拔利落，口沿外撇舒展雅致，线条张弛有度尽显端庄风骨。天蓝珐琅地色匀净鲜亮，掐丝走线匀细灵动，填彩饱满厚重，缠枝勾莲与宝相团花交错铺陈，繁而不乱、层次明晰。金属出戟鎏金熠熠，与釉色交相辉映，刚柔并济，凝缩着古法匠心的温度。整体朴拙大气又极尽工巧，静穆之中透着雅致雍容，尽显庄重华贵的旧时器物风骨。",[2013,962,4920,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a6f3131f1f660dabd173654cd201eb5.jpg",[],{"id":70237,"slug":70238,"title":70239,"dynasty":117,"author":195,"museum":152,"description":70240,"tags":70241,"thumbUrl":70242,"material":260,"size":261,"collection":78,"collections":70243,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":132},249619,"qia-si-fa-lang-kui-long-peng-shou-wen-ru-yi-yi-ming-249619","掐丝珐琅夔龙捧寿纹如意","此器身形婉转修长，以掐丝珐琅工艺精心打造。宝蓝色地釉匀净莹润，朱红、娇黄、粉蓝珐琅釉料填饰其间，色彩古雅鲜亮。主体纹饰为夔龙捧寿，夔龙身姿灵动舒展，环绕团寿纹样，寄寓福寿绵长的美好祈愿，间以缠枝宝相花点缀铺陈，层次饱满华贵。铜胎厚重温润，掐丝走线流畅利落，釉色与铜边相映，尽显沉稳典雅的古意气度，将装饰美感与吉祥寓意融于一体，是工艺美学与传统礼俗意蕴结合的精妙之作。",[2013,7,962,10069,2499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e1afe9557113cbe52e5fad7d58b33b3.jpg",[],{"id":70245,"slug":70246,"title":70247,"dynasty":117,"author":195,"museum":152,"description":1808,"tags":70248,"thumbUrl":70249,"material":260,"size":261,"collection":78,"collections":70250,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},249618,"qia-si-fa-lang-hua-hui-chi-wen-wan-tuo-yi-ming-249618","掐丝珐琅花卉螭纹碗托",[1505,2013,168,2509,962,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49b943c9ef25cdc4a725375f4a64ab03.jpg",[],{"id":70252,"slug":70253,"title":70254,"dynasty":117,"author":195,"museum":152,"description":1808,"tags":70255,"thumbUrl":70256,"material":260,"size":261,"collection":78,"collections":70257,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249617,"qia-si-fa-lang-long-wen-ping-yi-ming-249617","掐丝珐琅龙纹瓶",[2013,962,521,463,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F701ac2d32ebf9a05d021bdf992c4e1e6.jpg",[],{"id":70259,"slug":70260,"title":70261,"dynasty":117,"author":195,"museum":152,"description":1808,"tags":70262,"thumbUrl":70263,"material":260,"size":261,"collection":78,"collections":70264,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249616,"qia-si-fa-lang-shou-mian-wen-shou-er-huo-huan-ping-yi-ming-249616","掐丝珐琅兽面纹兽耳活环瓶",[2013,406,7,256,2289,1700],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b3269bedebccb7e895bcaf68f538fcf.jpg",[],{"id":70266,"slug":70267,"title":67819,"dynasty":117,"author":195,"museum":152,"description":70268,"tags":70269,"thumbUrl":70270,"material":260,"size":261,"collection":78,"collections":70271,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249615,"qia-si-fa-lang-shou-mian-wen-chu-ji-hua-gu-yi-ming-249615","此器取古礼器形制，方口外撇出戟，轮廓挺拔端庄，卷草形鎏金饰件点缀边角，柔化了规整线条。天蓝色珐琅为地，细巧掐丝勾勒兽面与缠枝纹样，釉色饱满莹润，古雅兽面带着肃穆古韵。鎏金边棱与珐琅釉色交相辉映，既复刻商周青铜礼器的庄重典雅，又将古工艺的妍丽华贵尽显无疑，是仿古匠心与精湛工技的绝佳融合。",[2013,2235,7,257,406,521],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b62a46ce29389d4fa1503a55629d347.jpg",[],{"id":70273,"slug":70274,"title":70275,"dynasty":117,"author":195,"museum":152,"description":70276,"tags":70277,"thumbUrl":70279,"material":260,"size":261,"collection":78,"collections":70280,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249614,"qia-si-fa-lang-shi-xi-tu-gu-shi-zuo-dun-yi-ming-249614","掐丝珐琅狮戏图鼓式坐墩","此坐墩以鼓式为形，镂空交环打破敦实质感，通透灵动，狮首衔环铺首为耳，平添威严古意。宝蓝珐琅釉色鲜亮明丽，与古铜底色相互映衬，掐丝勾勒的狮戏与缠枝纹饰婉转流畅，晕染出祥瑞雅致的氛围。明韵融于錾刻填釉之间，将实用功能与装饰美学精妙结合，尽显彼时珐琅工艺的成熟造诣，华贵沉稳中带着雅致灵秀之美。",[1505,2013,18051,29,7,70278,4837,406,962,521],"坐墩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e896e7f15d0d5bb05f0bf70ea372f5b.jpg",[],{"id":70282,"slug":70283,"title":67850,"dynasty":117,"author":195,"museum":152,"description":1808,"tags":70284,"thumbUrl":70285,"material":260,"size":261,"collection":78,"collections":70286,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249613,"qia-si-fa-lang-shou-mian-wen-chu-ji-ping-yi-ming-249613",[2013,962,7,256,406],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb20c105351d3a2ae014e3ab89b5b062a.jpg",[],{"id":70288,"slug":70289,"title":70290,"dynasty":117,"author":195,"museum":152,"description":70291,"tags":70292,"thumbUrl":70293,"material":260,"size":261,"collection":78,"collections":70294,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249612,"qia-si-fa-lang-chan-zhi-lian-wen-bian-hu-yi-ming-249612","掐丝珐琅缠枝莲纹扁壶","此器取抱月扁壶造型，颈挺腹圆，周身设系钮兼顾实用携行，暗合游牧审美与中原匠心的交融。\n以深邃宝蓝为地，掐丝走线匀净流畅，缠枝莲纹辗转舒展，间缀宝相花团，填色饱满匀实，朱红、明黄、莹白诸色交相辉映，金棱勾勒轮廓，华贵雍容却不显艳俗。\n纹样繁密却层次分明，缠连的花枝暗含圆满绵长的吉意，尽显成熟的工艺造诣，是兼具实用价值与装饰美感的精工之作。",[1505,2013,962,1582,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51057f31b9132b0b00423be75cc82d4d.jpg",[],{"id":70296,"slug":70297,"title":69161,"dynasty":117,"author":195,"museum":152,"description":70298,"tags":70299,"thumbUrl":70300,"material":260,"size":261,"collection":78,"collections":70301,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},249609,"qia-si-fa-lang-chan-zhi-lian-wen-zhu-tai-yi-ming-249609","整体造型端庄规整，鎏金烛针与口沿提亮器物气质，尽显华贵典雅。天蓝色珐琅地温润沉静，以纤细铜丝勾勒缠枝莲纹，线条婉转灵动，填色饱满匀净。红、彩釉点染花叶，配色对比鲜明却和谐雅致，缠枝莲纹循环往复，繁而不乱，寓意吉祥绵长。\n\n这件器物将照明的实用属性与装饰美学融合，带着明代珐琅工艺典型的厚重质感，细节处见匠心，尽显传统工艺的精巧美学意趣。",[1505,2013,962,7,1941],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F966a3a03bcc4c1d29177e46a76f87785.jpg",[],{"id":70303,"slug":70304,"title":70305,"dynasty":117,"author":195,"museum":152,"description":70306,"tags":70307,"thumbUrl":70308,"material":260,"size":261,"collection":78,"collections":70309,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249608,"qia-si-fa-lang-yun-long-wen-xiang-zu-gai-lu-yi-ming-249608","掐丝珐琅云龙纹象足盖炉","盖顶鎏金镂空穹顶游龙穿云，灵动矫健，宝气内蕴。八方炉身以澄澈天蓝珐琅为底，掐丝勾勒缠枝八宝纹样，填色饱满鲜亮，鎏金饰边更衬华贵雍容。下接象首三足，珐琅饰彩妆点象身，鎏金象鼻稳稳承托炉身，自带祥瑞威仪。整器掐丝匀净流畅，珐琅釉色莹润鲜亮，錾刻与鎏金工艺相得益彰，将礼器的庄重气度与精妙工艺融于一体，尽显顶尖珐琅作工造诣，古韵盎然，华贵天成。",[2013,962,521,462,2358,1799,7,1505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F227e28d8efbcdf69222bd4e013fdcb38.jpg",[],{"id":70311,"slug":70312,"title":70313,"dynasty":117,"author":195,"museum":152,"description":70314,"tags":70315,"thumbUrl":70316,"material":260,"size":261,"collection":78,"collections":70317,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":132},249607,"qia-si-fa-lang-gou-lian-wen-chao-guan-er-xi-shi-lu-yi-ming-249607","掐丝珐琅勾莲纹朝冠耳洗式炉","此炉造型雅致舒展，朝冠双耳线条灵动上扬，三足稳稳承托扁圆器身，兼具文房雅器的温润与宫廷重器的端庄。\n\n天蓝色珐琅地澄澈匀净，以金丝勾勒缠枝勾莲轮廓，填饰朱红、宝蓝、娇黄各色釉料。宝相花团簇绽放，枝叶缠连回转，繁而不乱。金彩明丽夺目，晕出华贵质感，釉色鲜亮莹润，铜胎厚重扎实。整器掐丝利落饱满，施釉匀净鲜亮，尽显明代珐琅工艺精妙，流露古雅华贵的大明气韵。",[2013,117,7,4680,5587,521,962],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b942dfa536ea20df5bf9a552a429e07.jpg",[],{"id":70319,"slug":70320,"title":70321,"dynasty":117,"author":195,"museum":152,"description":70322,"tags":70323,"thumbUrl":70324,"material":260,"size":261,"collection":78,"collections":70325,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249603,"qia-si-fa-lang-yu-wen-chu-ji-gai-lu-yi-ming-249603","掐丝珐琅鱼纹出戟盖炉","盖顶鎏金宝钮端凝持重，盖面透雕游龙蜿蜒灵动，缠枝纹交错尽显刀工精巧。炉身以天青珐琅为地，掐丝勾勒鱼纹瑞兽，釉色晕染明丽温润，鎏金出戟与兽形足勾勒庄重器型，金彩与珐琅交相辉映，华贵不失典雅。\n\n整器纹饰繁而不乱，器形规整大气，将宫廷审美雅致与金属细作工艺融于一身，尽显匠造巅峰水准。",[2013,962,521,255,7,1878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd845d7f3110e3ba69eeed6e29f290d08.jpg",[],{"id":70327,"slug":70328,"title":70329,"dynasty":117,"author":195,"museum":152,"description":5538,"tags":70330,"thumbUrl":70331,"material":260,"size":261,"collection":78,"collections":70332,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},249601,"qia-si-fa-lang-gou-lian-wen-shui-cheng-yi-ming-249601","掐丝珐琅勾莲纹水丞",[2013,2235,521,7,5587,1505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7e29d507091874856d16be0c6af69a9.jpg",[],{"id":70334,"slug":70335,"title":70336,"dynasty":18,"author":195,"museum":152,"description":2011,"tags":70337,"thumbUrl":70338,"material":260,"size":261,"collection":78,"collections":70339,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249600,"qia-si-fa-lang-chan-zhi-lian-yun-long-wen-xiang-shou-san-zu-kui-hua-shi-xun-lu-yi-ming-249600","掐丝珐琅缠枝莲云龙纹象首三足葵花式熏炉",[2013,2235,7,1582,4980,62867,4671,16465],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c3c66af7a9ef86358850d3324bc9bfa.jpg",[],{"id":70341,"slug":70342,"title":70343,"dynasty":18,"author":195,"museum":152,"description":1808,"tags":70344,"thumbUrl":70345,"material":260,"size":261,"collection":78,"collections":70346,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249599,"yin-shao-lan-long-xi-zhu-wen-zhang-jing-ping-yi-ming-249599","银烧蓝龙戏珠纹长颈瓶",[4443,18052,3970,7,462,2765],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c8c0047d496b60257b28d8252a9a4a9.jpg",[],{"id":70348,"slug":70349,"title":70350,"dynasty":18,"author":195,"museum":152,"description":3090,"tags":70351,"thumbUrl":70353,"material":260,"size":261,"collection":78,"collections":70354,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249593,"yin-shao-lan-wan-shou-wu-jiang-wan-yi-ming-249593","银烧蓝万寿无疆碗",[461,3970,962,13354,70352,7],"寿字纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea3ee6192b53256f4425b205364e2f0e.jpg",[],{"id":70356,"slug":70357,"title":70358,"dynasty":18,"author":195,"museum":152,"description":70359,"tags":70360,"thumbUrl":70361,"material":260,"size":261,"collection":78,"collections":70362,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249590,"qian-long-kuan-yin-shao-lan-wu-gong-jiao-ye-shou-mian-wen-zhu-tai-yi-ming-249590","乾隆款银烧蓝五供-蕉叶兽面纹烛台","整体造型层叠有序，端方沉稳。银胎衬底，烧蓝晕染出幽谧宝蓝，冷暖相映更显华贵沉静。灯针挺括纤直，承托灯火的盏盘錾刻缠枝卷草，线条柔婉舒展，消解了器物的肃穆感。\n\n基座自上而下，先以覆莲瓣纹铺陈出清雅禅意，再以兽面纹样彰显威严古朴，回纹勾边周正规整，将祥瑞暗喻藏入细节肌理。金属细作的精谨，搭配烧蓝珐琅的明丽，尽显雍容考究的造物气度。",[4443,962,256,1940,7,2810,3970,257],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0f15aa3016b7056ab5d81ab93b14feb.jpg",[],{"id":70364,"slug":70365,"title":70366,"dynasty":18,"author":195,"museum":152,"description":12920,"tags":70367,"thumbUrl":70368,"material":260,"size":261,"collection":78,"collections":70369,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249588,"qian-long-kuan-yin-shao-lan-wu-gong-jiao-ye-shou-mian-wen-hua-gu-yi-ming-249588","乾隆款银烧蓝五供-蕉叶兽面纹花觚",[461,3970,962,13354,255,1940,256,257,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9e591d9df5d4c9b22a222cda1e37fae.jpg",[],{"id":70371,"slug":70372,"title":70358,"dynasty":18,"author":195,"museum":152,"description":70373,"tags":70374,"thumbUrl":70375,"material":260,"size":261,"collection":78,"collections":70376,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249586,"qian-long-kuan-yin-shao-lan-wu-gong-jiao-ye-shou-mian-wen-zhu-tai-yi-ming-249586","此烛台造型端庄层叠，节奏分明。银胎之上施以烧蓝工艺，宝蓝釉色沉静明丽，与银质底色交相辉映，尽显华贵雅致。纹饰排布颇具章法，自上而下饰以回纹、缠枝卷草、蕉叶与兽面纹，回纹古拙、卷草柔婉、蕉叶清雅、兽面威严，糅合上古礼器的肃穆庄重与清代造办处的精巧工细。烧蓝填色饱满匀净，走线利落流畅，细节处尽显匠者用心。整体既带着庙堂礼器的端方厚重，又不失金属细作的灵动精巧，是清代珐琅与银作工艺合璧的典范之作，尽显典雅雍容的气韵。",[461,4443,962,3970,256,1940,2810,257,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6ed030816bb323972fd82f3881f1cf9.jpg",[],{"id":70378,"slug":70379,"title":70380,"dynasty":18,"author":195,"museum":152,"description":1808,"tags":70381,"thumbUrl":70382,"material":260,"size":261,"collection":78,"collections":70383,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},249585,"guang-fa-lang-tie-jin-ba-bao-fu-xi-wen-ping-yi-ming-249585","广珐琅贴金八宝袱系纹瓶",[17843,63051,3298,68537,1019,29,962,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77cc51bf4652d62432cdf5538fce8391.jpg",[],{"id":70385,"slug":70386,"title":70387,"dynasty":18,"author":195,"museum":152,"description":70388,"tags":70389,"thumbUrl":70391,"material":260,"size":261,"collection":78,"collections":70392,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},249584,"guang-fa-lang-ba-bao-wen-mian-pen-yi-ming-249584","广珐琅八宝纹面盆","整器釉色如深海凝萃，浓艳沉静。描金纹饰熠熠生辉，口沿环饰瑞蝠，姿态舒展灵动，暗喻洪福绵延。内壁八宝纹样错落铺陈，缠枝卷草婉转环绕其间，金彩与宝蓝底色相互映衬，华贵雅致。铜鎏金口沿勾勒出柔和器型轮廓，让器物更显规整端庄。它将祈福寓意与装饰美学相融，既保有面盆的实用属性，又以精妙珐琅工艺彰显不凡格调，尽显清代造办处的精湛工技，把宫廷富丽雅致的审美意趣藏于一器之中。",[461,2235,7,699,17843,18052,29,70390,5944,636],"蓝地金彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43cbb4c1b54cc3128e69fa4e50fec8ee.jpg",[],{"id":70394,"slug":70395,"title":70396,"dynasty":18,"author":195,"museum":152,"description":1808,"tags":70397,"thumbUrl":70398,"material":260,"size":261,"collection":78,"collections":70399,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249578,"hua-fa-lang-hua-die-wen-fu-er-bi-ping-yi-ming-249578","画珐琅花蝶纹蝠耳壁瓶",[962,873,2820,29,656,4418,3363,462,7,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba375d2666a5438eb9f5bfae9b264ce7.jpg",[],{"id":70401,"slug":70402,"title":70403,"dynasty":18,"author":195,"museum":152,"description":1808,"tags":70404,"thumbUrl":70405,"material":260,"size":261,"collection":78,"collections":70406,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},249577,"hua-fa-lang-hua-guo-kai-guang-ren-wu-tu-bi-ping-yi-ming-249577","画珐琅花果开光人物图壁瓶",[962,2820,2867,4300,30,379,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F374dab005a271c4389e779e2339c8def.jpg",[],{"id":70408,"slug":70409,"title":70403,"dynasty":18,"author":195,"museum":152,"description":1808,"tags":70410,"thumbUrl":70411,"material":260,"size":261,"collection":78,"collections":70412,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249575,"hua-fa-lang-hua-guo-kai-guang-ren-wu-tu-bi-ping-yi-ming-249575",[962,2820,2867,29,4300,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F689707dd43187bd1209a6ccaf8d9490a.jpg",[],{"id":70414,"slug":70415,"title":70416,"dynasty":18,"author":195,"museum":152,"description":1808,"tags":70417,"thumbUrl":70418,"material":260,"size":261,"collection":78,"collections":70419,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249574,"hua-fa-lang-zhu-jie-shi-bi-ping-yi-ming-249574","画珐琅竹节式壁瓶",[461,2820,2235,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bb532ead6e1892a738cc045f8d8fbe9.jpg",[],{"id":70421,"slug":70422,"title":70416,"dynasty":18,"author":195,"museum":152,"description":1808,"tags":70423,"thumbUrl":70424,"material":260,"size":261,"collection":78,"collections":70425,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249569,"hua-fa-lang-zhu-jie-shi-bi-ping-yi-ming-249569",[18,2820,962,32,7,8756,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F242906da821b1a46cfdcc454a43021f6.jpg",[],{"id":70427,"slug":70428,"title":70429,"dynasty":18,"author":195,"museum":152,"description":70430,"tags":70431,"thumbUrl":70432,"material":260,"size":261,"collection":78,"collections":70433,"showCount":11,"z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，静立便自带沉静古雅的氛围感，尽显单色釉器物的通透质感与雅致韵味。",[962,7,2820],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9fb444fae166a55e032dec74419052d.jpg",[],{"id":71441,"slug":71442,"title":71443,"dynasty":18,"author":195,"museum":152,"description":2011,"tags":71444,"thumbUrl":71445,"material":260,"size":261,"collection":78,"collections":71446,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249307,"qia-si-fa-lang-gou-lian-wen-san-zu-gai-ding-yi-ming-249307","掐丝珐琅勾莲纹三足盖鼎",[2013,962,521,461,5587,4671,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf57c981bbd0e4961402d5f724e68a13.jpg",[],{"id":71448,"slug":71449,"title":71450,"dynasty":117,"author":195,"museum":152,"description":1808,"tags":71451,"thumbUrl":71452,"material":260,"size":261,"collection":78,"collections":71453,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},249306,"qia-si-fa-lang-tian-ma-wen-wan-yi-ming-249306","掐丝珐琅天马纹碗",[1505,2013,962,7,18122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54ae7e066b08dce9af376e8843eae3c4.jpg",[],{"id":71455,"slug":71456,"title":71457,"dynasty":117,"author":195,"museum":152,"description":71458,"tags":71459,"thumbUrl":71460,"material":260,"size":261,"collection":78,"collections":71461,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249305,"jing-tai-kuan-qia-si-fa-lang-shou-mian-wen-lu-yi-ming-249305","景泰款掐丝珐琅兽面纹炉","此器取古鼎形制，鎏金立耳挺拔敞阔，对称鋬耳婉转灵秀，三足敦实稳重，整体端庄厚重，尽显上古礼器的肃穆气韵。\n\n炉身掐丝珐琅工艺精湛，兽面纹威严狞厉，铜丝走线劲挺利落，勾勒出纹饰的凌厉棱角，蓝釉为地，填以红、白、褐彩釉，釉色鲜亮匀净，层次分明。回纹衬底规整雅致，中和兽面狞厉之气，将青铜古器的厚重质感与珐琅釉料的明丽华美完美融合，古韵盎然又不失工巧精致，尽显彼时珐琅工艺的成熟造诣。",[1505,2013,7,962,406,521,256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F958af54447e03c5ff1a561e9f1a86fa9.jpg",[],{"id":71463,"slug":71464,"title":71465,"dynasty":117,"author":195,"museum":152,"description":8844,"tags":71466,"thumbUrl":71467,"material":260,"size":261,"collection":78,"collections":71468,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249303,"qia-si-fa-lang-shi-wen-zun-yi-ming-249303","掐丝珐琅狮纹尊",[1505,2013,2235,7,4837,406],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5eba768135db93ca7856a7b8e51f4537.jpg",[],{"id":71470,"slug":71471,"title":71472,"dynasty":18,"author":195,"museum":152,"description":2011,"tags":71473,"thumbUrl":71474,"material":260,"size":261,"collection":78,"collections":71475,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249302,"qia-si-fa-lang-bao-xiang-hua-wen-chang-fang-kang-ji-yi-ming-249302","掐丝珐琅宝相花纹长方炕几",[2013,8502,962,7,434],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa67de03b6a79a6fc6daf0cde751f209.jpg",[],{"id":71477,"slug":71478,"title":70763,"dynasty":18,"author":195,"museum":152,"description":2011,"tags":71479,"thumbUrl":71480,"material":260,"size":261,"collection":78,"collections":71481,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},249300,"qian-long-kuan-qia-si-fa-lang-fan-wen-zhuan-xin-ma-ni-lun-yi-ming-249300",[18,2013,962,7,406,2676,10905,4228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41d13c4a728c4a9ad123cfc10d4f5d05.jpg",[],{"id":71483,"slug":71484,"title":71485,"dynasty":18,"author":195,"museum":152,"description":2011,"tags":71486,"thumbUrl":71487,"material":260,"size":261,"collection":78,"collections":71488,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249299,"qia-si-fa-lang-gou-lian-wen-gao-zu-gong-zhong-yi-ming-249299","掐丝珐琅勾莲纹高足供盅",[2013,962,7,5587,20857,461,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd53cfea42d904e31d3be38bd792a0be7.jpg",[],{"id":71490,"slug":71491,"title":71492,"dynasty":18,"author":195,"museum":152,"description":2011,"tags":71493,"thumbUrl":71494,"material":260,"size":261,"collection":78,"collections":71495,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249297,"qia-si-fa-lang-qian-bo-li-ba-bao-guan-yi-ming-249297","掐丝珐琅嵌玻璃八宝-罐",[2013,12971,3298,7,962],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbc3717f71c4df8d7fd752d6f4efe383.jpg",[],{"id":71497,"slug":71498,"title":71499,"dynasty":18,"author":195,"museum":152,"description":2011,"tags":71500,"thumbUrl":71501,"material":260,"size":261,"collection":78,"collections":71502,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249288,"qian-long-kuan-qia-si-fa-lang-chan-zhi-lian-wen-deng-yi-ming-249288","乾隆款掐丝珐琅缠枝莲纹灯",[18,2013,1941,2235,7,699],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5c6f1ca5f4d99f75bf6d1e64779ff95.jpg",[],{"id":71504,"slug":71505,"title":71506,"dynasty":18,"author":195,"museum":152,"description":2011,"tags":71507,"thumbUrl":71508,"material":260,"size":261,"collection":78,"collections":71509,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249287,"qia-si-fa-lang-hua-niao-tu-cha-ping-pian-yi-ming-249287","掐丝珐琅花鸟图插屏片",[2013,2235,122,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cff5b0df3e7b127d464f21633c77098.jpg",[],{"id":71511,"slug":71512,"title":71513,"dynasty":18,"author":195,"museum":152,"des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与珐琅工艺的华美金灿熔冶一炉，尽显古雅华贵的气度，凝缩着传统工艺的匠心巧思。",[2013,962,521,256,3254,7,257,406],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdceb624574fa199078b3bdbd3fdbb20a.jpg",[],{"id":71646,"slug":71647,"title":71648,"dynasty":18,"author":195,"museum":152,"description":2011,"tags":71649,"thumbUrl":71650,"material":260,"size":261,"collection":78,"collections":71651,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},249255,"qian-long-kuan-qia-si-fa-lang-shou-mian-wen-gai-zhi-yi-ming-249255","乾隆款掐丝珐琅兽面纹盖觯",[18,2013,962,73,406,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d2ebff935e94dc2786662b606572272.jpg",[],{"id":71653,"slug":71654,"title":71655,"dynasty":18,"author":195,"museum":152,"description":1808,"tags":71656,"thumbUrl":71657,"material":260,"size":261,"collection":78,"collections":71658,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249254,"qian-long-kuan-hua-fa-lang-kai-guang-hua-niao-tu-ping-yi-ming-249254","乾隆款画珐琅开光花鸟图瓶",[461,2820,2867,29,122,7,962,521],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ec94cfb2c04eb9f653bca6afb54e0ca.jpg",[],{"id":71660,"slug":71661,"title":71662,"dynasty":18,"author":195,"museum":152,"description":2011,"tags":71663,"thumbUrl":71664,"material":260,"size":261,"collection":78,"collections":71665,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},249253,"jing-tai-kuan-qia-si-fa-lang-gou-lian-wen-gu-shi-lu-yi-ming-249253","景泰款掐丝珐琅勾莲纹鼓式炉",[2013,962,7,5587,16734,461,521],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94e81eabac66fa7ce2b61f8e89416db3.jpg",[],{"id":71667,"slug":71668,"title":71669,"dynasty":18,"author":195,"museum":152,"description":1808,"tags":71670,"thumbUrl":71671,"material":260,"size":261,"collection":78,"collections":71672,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249251,"qian-long-kuan-hua-fa-lang-kai-guang-shan-shui-tu-fang-ping-yi-ming-249251","乾隆款画珐琅开光山水图方瓶",[873,962,2820,2867,29,379,1820,1197,798,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39046bcff2f258121196156dabb7502f.jpg",[],{"id":71674,"slug":71675,"title":71676,"dynasty":18,"author":195,"museum":152,"description":2674,"tags":71677,"thumbUrl":71678,"material":260,"size":261,"collection":78,"collections":71679,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249249,"hua-fa-lang-yuan-he-yi-ming-249249","画珐琅圆盒",[962,2820,29,91,168,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1b74e57be685f34216571fff61cc151.jpg",[],{"id":71681,"slug":71682,"title":71683,"dynasty":18,"author":195,"museum":152,"description":1808,"tags":71684,"thumbUrl":71685,"material":260,"size":261,"collection":78,"collections":71686,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},249246,"qian-long-kuan-hua-fa-lang-kai-guang-hua-hui-ren-wu-tu-ping-yi-ming-249246","乾隆款画珐琅开光花卉人物图瓶",[962,2820,2867,29,30,379,168,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F732eb894d0d7c42b26509a1e1e04232b.jpg",[],{"id":71688,"slug":71689,"title":26992,"dynasty":117,"author":195,"museum":152,"description":71690,"tags":71691,"thumbUrl":71692,"material":260,"size":261,"collection":78,"collections":71693,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249245,"qia-si-fa-lang-hua-gu-yi-ming-249245","造型取法古青铜觚的三段出戟尊制式，线条挺拔端方，自带礼器的肃穆厚重。天蓝色珐琅为地，掐丝勾绘凤纹流转其间，翎羽婉转舒展，以红、黛蓝、墨绿填色晕染，色彩明丽沉静，与鎏金棱戟、包边的暖光相映，古雅华贵。\n\n纹饰对称严整，凤鸟姿态灵动，融复古礼制审美与珐琅巧艺于一身，既保有青铜礼器的庄重风骨，又凭借掐丝珐琅工艺焕发雍容明丽的气韵，尽显匠人精湛功力。",[2013,962,7,462,521],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb64f1e40675a1876c549bbf325e11d97.jpg",[],{"id":71695,"slug":71696,"title":71697,"dynasty":18,"author":195,"museum":152,"description":3053,"tags":71698,"thumbUrl":71699,"material":260,"size":261,"collection":78,"collections":71700,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},249244,"kang-xi-kuan-hua-fa-lang-kui-hua-shi-pan-yi-ming-249244","康熙款画珐琅葵花式盘",[18,962,2820,29,122,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52ed12fbaefa1bfa2d03515899d905ed.jpg",[],{"id":71702,"slug":71703,"title":71704,"dynasty":18,"author":195,"museum":152,"description":12920,"tags":71705,"thumbUrl":71706,"material":260,"size":261,"collection":78,"collections":71707,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249243,"qian-long-kuan-qia-si-fa-lang-jiao-ye-wen-hua-gu-yi-ming-249243","乾隆款掐丝珐琅蕉叶纹花觚",[962,2013,1940,7,461],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30327da257b4549b67deb27b85e4dbac.jpg",[],{"id":71709,"slug":71710,"title":71711,"dynasty":18,"author":195,"museum":152,"description":2011,"tags":71712,"thumbUrl":71713,"material":260,"size":261,"collection":78,"collections":71714,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},249242,"qia-si-fa-lang-fang-kui-wen-shuang-chi-er-lu-yi-ming-249242","掐丝珐琅方夔纹双螭耳炉",[2013,2235,521,2756,5572,7,462,406],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6369220ec4f8bdacbc3f2eb6b181f183.jpg",[],{"id":71716,"slug":71717,"title":71718,"dynasty":18,"author":195,"museum":152,"description":2011,"tags":71719,"thumbUrl":71720,"material":260,"size":261,"collection":78,"collections":71721,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249241,"qia-si-fa-lang-chan-zhi-lian-wen-tuo-yuan-shou-zu-er-lu-yi-ming-249241","掐丝珐琅缠枝莲纹椭圆兽足耳炉",[461,2013,1941,14549,2289,962,521,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f19adfb7a6ef1541f17a06859810876.jpg",[],{"id":71723,"slug":71724,"title":71725,"dynasty":18,"author":195,"museum":152,"description":71726,"tags":71727,"thumbUrl":71728,"material":260,"size":261,"collection":78,"collections":71729,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},249239,"qian-long-kuan-hua-fa-lang-kai-guang-ren-wu-tu-gai-guan-yi-ming-249239","乾隆款画珐琅开光人物图盖罐","黄地遍饰缠枝花卉，珐琅釉彩鲜亮匀净，繁而不乱，尽显华贵底色。开光宛若取景画框，铺陈西洋游春图景：疏林远山旁立着欧式小楼，仕女衣袂柔婉，侍者持乐相随，人物晕染细腻，光影明暗自然过渡，写实技法尽显西洋风俗画雅致情调。\n\n整体将东方重工填色与西洋写实画风精妙融合，富丽地色与清雅画境相映成趣，既带着宫廷器物的雍容气度，又尽显东西美学碰撞交融的别致意趣，是珐琅工艺中西合璧的上乘之作。",[2820,2867,29,30,7,962],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fced01796b04a2309b9df284b0c3dcab6.jpg",[],{"id":71731,"slug":71732,"title":70231,"dynasty":117,"author":195,"museum":152,"description":71733,"tags":71734,"thumbUrl":71735,"material":260,"size":261,"collection":78,"collections":71736,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249238,"qia-si-fa-lang-gou-lian-wen-chu-ji-hua-gu-yi-ming-249238","此器取古礼器形制，鎏金出戟利落撑起骨相，回纹饰于戟边，勾勒出规整层次。器身以宝蓝珐琅为地，掐丝勾勒缠枝勾莲肆意舒展，釉色莹润饱满，粉、黄、紫各色莲朵点缀其间，明丽鲜活。鎏金的暖亮与珐琅的冷艳交织碰撞，将古雅庄重的礼器气度，糅合进宫廷重工的华贵精致里，尽显手工技艺的极致匠心，是仿古形制与珐琅工艺融合的上乘之作。",[2013,962,5587,521,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2701e3d5c838f103a6659ea4d336391.jpg",[],{"id":71738,"slug":71739,"title":71740,"dynasty":18,"author":195,"museum":152,"description":71741,"tags":71742,"thumbUrl":71743,"material":260,"size":261,"collection":78,"collections":71744,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},249233,"hua-fa-lang-lou-kong-liu-jiao-ting-shi-xiang-tong-yi-ming-249233","画珐琅镂空六角亭式香筒","此作形制仿六角亭阁，宝顶飞檐，古韵悠然。鎏金边棱勾勒挺拔轮廓，珐琅釉色鲜亮明妍，松石绿铺底，宝蓝与朱红点缀其间，缠枝花卉婉转环绕团寿纹饰，纹样饱满生动。周身镂空设计精巧通透，既让纹饰层次灵动舒展，又可使香烟自缝隙间袅袅漫出，将装饰意趣与实用功能相融。\n\n掐丝细腻流畅，釉色匀净莹润，重工繁丽却不失雅致，尽显珐琅工艺的极致匠心，凝萃宫廷审美意趣，把福寿祈愿藏于华彩纹饰之间，是陈设与熏香兼具的精工佳器。",[461,962,2820,1972,811,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74c29de5951f77a405da49a9a1f6b077.jpg",[],{"id":71746,"slug":71747,"title":71740,"dynasty":18,"author":195,"museum":152,"description":71748,"tags":71749,"thumbUrl":71750,"material":260,"size":261,"collection":78,"collections":71751,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},249232,"hua-fa-lang-lou-kong-liu-jiao-ting-shi-xiang-tong-yi-ming-249232","此作取六角亭为形，飞檐翘角复刻古建雅致风骨，仿若将江南楼阁缩于案头。以松石蓝为地，填朱红、娇黄珐琅釉彩，镂空透雕缠枝花卉环衬团寿纹样，将福寿吉意藏入镂花之间。\n\n金属棱边描金立骨，勾勒出挺拔秀逸的轮廓，釉色明丽匀净，走线细腻流畅。燃香时，烟缕透过花隙漫出，光影釉色相映成趣，韵致悠然。\n\n将陈设之用与吉祥寓意相融，尽显清时造艺的匠心造诣，古韵盎然，雅趣天成。",[2820,1972,2235,811,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38d375490f2ad96f93c1502f3bf67cb7.jpg",[],{"id":71753,"slug":71754,"title":71755,"dynasty":18,"author":195,"museum":152,"description":71756,"tags":71757,"thumbUrl":71758,"material":260,"size":261,"collection":78,"collections":71759,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249230,"hua-fa-lang-kui-wen-san-zu-guan-jia-yi-ming-249230","画珐琅夔纹三足冠架","此冠架融画珐琅工艺与硬木巧作于一身。上部珐琅托架以翠色为底，留白勾勒出灵动夔纹，月牙形饰边描金勾廓，华贵雅致。下承红木底座，错银丝勾勒云纹，三足蜿蜒舒展，将硬木的温润质感晕染得古韵悠然。\n\n器物以对称之美尽显庄重，珐琅的绚丽明妍与木作的沉静内敛相映成趣，夔纹古雅携吉祥意涵，云足空灵暗合东方审美意境，将装饰性与实用性精妙融合。虽形制小巧，却凝聚匠人之巧思，尽显清代工艺融会中西的独到匠心，静立间晕染出雅致端庄的东方意趣。",[461,2235,2756,7,4426,2820],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F357889c19797c2160816ee0f873c54ba.jpg",[],{"id":71761,"slug":71762,"title":71763,"dynasty":18,"author":195,"museum":152,"description":3053,"tags":71764,"thumbUrl":71765,"material":260,"size":261,"collection":78,"collections":71766,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},249228,"hua-fa-lang-kai-guang-hua-guo-wen-pan-yi-ming-249228","画珐琅开光花果纹盘",[18,962,2820,2867,4300,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e374de70ae86a833bb1e3ebba750970.jpg",[],{"id":71768,"slug":71769,"title":71770,"dynasty":18,"author":195,"museum":152,"description":71771,"tags":71772,"thumbUrl":71773,"material":260,"size":261,"collection":78,"collections":71774,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249227,"qian-long-kuan-hua-fa-lang-mei-hua-shi-hua-pen-yi-ming-249227","乾隆款画珐琅梅花式花盆","此器取梅花为形，器身弧瓣起伏灵动，宛若将梅枝虬曲的意趣融于造型之中。米黄釉色匀净莹润，如凝脂般温润内敛，口沿与底足以褐边勾勒轮廓，将器物衬得愈发雅致端庄，内部素白釉面光洁细腻，极简中见工艺考究。\n整体无过多繁饰，以釉色之美取胜，沉静的色调尽显内敛华贵，带着端庄气韵，将素雅美学融于实用器物中，尽显制珐琅工艺的精湛造诣，静穆端方之间，尽显匠心凝练的雅致风骨。",[2820,29,2235,7,123,1721],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9d2cd2ba0da309309a3d1d9f3d6b03c.jpg",[],{"id":71776,"slug":71777,"title":71778,"dynasty":18,"author":195,"museum":152,"description":2674,"tags":71779,"thumbUrl":71780,"material":260,"size":261,"collection":78,"collections":71781,"showCount":11,"zanCount"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unt":11,"zanCount":11,"manualWeight":11,"mainColor":43},249031,"jing-tai-kuan-qia-si-fa-lang-gou-lian-wu-fu-peng-shou-wen-yuan-he-yi-ming-249031","景泰款掐丝珐琅勾莲五蝠捧寿纹圆盒",[461,2013,5587,72548,962,7],"五蝠捧寿纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F753ccaecbc96af97147ad4eacee86bce.jpg",[],{"id":72552,"slug":72553,"title":72554,"dynasty":117,"author":195,"museum":152,"description":72555,"tags":72556,"thumbUrl":72557,"material":260,"size":261,"collection":78,"collections":72558,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},249030,"jing-tai-kuan-qia-si-fa-lang-gou-lian-wen-xiang-zu-lu-yi-ming-249030","景泰款掐丝珐琅勾莲纹象足炉","敞口鎏金温润雅致，兽形双耳古拙大气，三象足敦实稳重，稳稳承托起器身。\n\n以宝蓝釉为地，掐丝勾勒缠枝莲纹舒展曼妙，缠绕周身，梵文点缀其间。釉色饱满鲜亮，金彩勾边利落华丽，红、黄、白诸色釉料交错晕染，繁而不乱。\n\n纹饰疏密有致，将宗教意涵与装饰美学融于一体，富丽华贵中带着庄重典雅。器物虽小，却凝聚着古时匠人的匠心巧思，尽显珐琅工艺的精妙质感，藏着雅致的宫廷审美意趣，是颇具韵味的经典之作。",[2013,2235,521,5587,18123,1505,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c6bd741596ba9b1db62e7486ba572c9.jpg",[],{"id":72560,"slug":72561,"title":72562,"dynasty":18,"author":195,"museum":152,"description":2011,"tags":72563,"thumbUrl":72564,"material":260,"size":261,"collection":78,"collections":72565,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},249029,"jing-tai-kuan-qia-si-fa-lang-gou-lian-wen-ding-shi-lu-yi-ming-249029","景泰款掐丝珐琅勾莲纹鼎式炉",[461,2013,2235,521,5587,69969,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4c29f6a9faddc6a88f39bc1435338ff.jpg",[],{"id":72567,"slug":72568,"title":72538,"dynasty":117,"author":195,"museum":152,"description":72569,"tags":72570,"thumbUrl":72571,"material":260,"size":261,"collection":78,"collections":72572,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249028,"jing-tai-kuan-qia-si-fa-lang-gou-lian-wen-hua-gu-yi-ming-249028","此器形制挺拔端庄，取青铜古觚之雅韵。以鲜亮湖蓝为地，掐丝勾勒缠枝卷叶，舒展环绕间点缀着红、白、黄各色宝相花，釉色沉莹厚实，色泽对比鲜明亮眼。金边棱线利落规整，勾勒出器物的挺拔骨相。整体纹饰繁而不乱，掐丝走线匀净流畅，带着朴拙古雅的气质，缠枝婉转间尽显华贵雍容，岁月晕染下的釉色更添沉静古韵，将传统吉祥意趣与古器形制相融，尽显东方造物的雅致厚重。",[1505,2013,962,5587,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6edc3d4141f53ca1531d8e4465720e2e.jpg",[],{"id":72574,"slug":72575,"title":72576,"dynasty":117,"author":195,"museum":152,"description":72577,"tags":72578,"thumbUrl":72579,"material":260,"size":261,"collection":78,"collections":72580,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},249027,"qia-si-fa-lang-gou-lian-wen-chi-er-xiang-zu-lu-yi-ming-249027","掐丝珐琅勾莲纹螭耳象足炉","它以鎏金敞口勾勒端庄器型，螭龙双耳矫健灵动，象足承托沉稳厚重，刚柔相济尽显大气威仪。松石蓝釉为底，缠枝勾莲蜿蜒舒展，红、黄、白釉色的宝相花错落其间，掐丝走线匀净流畅，填釉饱满鲜亮，繁而不紊，华贵雅致。\n\n作为早期珐琅佳作，它带着元代遗风的热烈厚重，又渐显明式装饰的雅致清丽，鎏金莹润亮眼，釉色明快鲜亮，将宫廷重器的庄重与装饰美学完美融合，尽显手工艺人的不俗匠心。",[1505,2013,962,521,7,5572,1799,406,5587,6399],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1230ab06b61d0bb40bd2fae13a49808.jpg",[],{"id":72582,"slug":72583,"title":72584,"dynasty":117,"author":195,"museum":152,"description":72585,"tags":72586,"thumbUrl":72587,"material":260,"size":261,"collection":78,"collections":72588,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},249026,"jing-tai-kuan-qia-si-fa-lang-ju-hua-wen-chi-er-lu-yi-ming-249026","景泰款掐丝珐琅菊花纹螭耳炉","敞口鼓腹，鎏金螭耳身形矫健，鬃尾盘曲灵动，既添威严气势又不失精巧雅致。鎏金口沿与底足提亮整器色调，尽显华贵质感。\n\n器身以湖蓝珐琅为地，掐丝勾勒缠枝漫卷舒展，各色菊花或浓艳或淡雅，红白金彩相映成趣。掐丝走线匀细流畅，釉色填绘饱满厚重、莹亮明丽，尽显成熟工艺质感，将金属的厚重沉稳与珐琅釉色的明绚柔润相融，整器端庄雅致，古韵盎然，是精巧的珐琅佳作。",[117,2013,962,1394,5572,406,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3111da699759639c38ab35119e340c51.jpg",[],{"id":72590,"slug":72591,"title":72592,"dynasty":117,"author":195,"museum":152,"description":72593,"tags":72594,"thumbUrl":72596,"material":260,"size":261,"collection":78,"collections":72597,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},249025,"jing-tai-kuan-qia-si-fa-lang-gou-lian-wen-long-er-gai-lu-yi-ming-249025","景泰款掐丝珐琅勾莲纹龙耳盖炉","炉身敞口饱满，鎏金龙耳遒劲威严，线条刚柔并济。盖顶鎏金狮钮雄健昂扬，鬃毛卷曲灵动，神态威猛张扬，尽显瑞兽威仪。盖面透雕缠枝莲纹，精巧繁复，烟气可自镂隙悠然漫出，虚实间意境悠长。\n\n炉身以珐琅天青为底色，掐金丝勾勒缠枝花卉，红白釉色点染其间，宝相花妍丽饱满，缠枝婉转舒展。金线游走间华贵雅致尽显，鎏金莹润厚重，珐琅釉色鲜亮明丽，掐丝工艺细腻流畅，尽显古工艺的精湛造诣，是陈设焚香俱佳的绝美雅器，古意盎然，雍容华贵。",[2013,2235,7,5587,462,4837,406,72595],"金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5e1581c8f43225dd4d47dee9be6b2ab.jpg",[],{"id":72599,"slug":72600,"title":72601,"dynasty":18,"author":195,"museum":152,"description":2011,"tags":72602,"thumbUrl":72603,"material":260,"size":261,"collection":78,"collections":72604,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249022,"qia-si-fa-lang-hua-hui-wen-feng-er-gai-ping-yi-ming-249022","掐丝珐琅花卉纹凤耳盖瓶",[18,2013,962,168,3290,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3040c9e9f9cc2797059a7b4191c435d0.jpg",[],{"id":72606,"slug":72607,"title":72608,"dynasty":18,"author":195,"museum":152,"description":2011,"tags":72609,"thumbUrl":72610,"material":260,"size":261,"collection":78,"collections":72611,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},249021,"kang-xi-kuan-qia-si-fa-lang-chan-zhi-lian-wen-chong-er-lu-yi-ming-249021","康熙款掐丝珐琅缠枝莲纹冲耳炉",[18,2013,4090,6399,7,962,521],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u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诸文房，可承放雅物，亦是案头清赏之品，凝缩着旧时文人的审美意趣，静敛古雅，尽显匠造之精妙。",[18,1393,2864,255,7521,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F241323443fbfb6bd8301ff54fcb740a7.jpg",[],{"id":78329,"slug":78330,"title":28537,"dynasty":18,"author":195,"museum":152,"description":78331,"tags":78332,"thumbUrl":78333,"material":260,"size":261,"collection":78,"collections":78334,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":440},246900,"ti-hong-pan-long-wen-guan-jia-yi-ming-246900","此器以剔红工艺制成，造型隽秀挺拔。托盘敞口弧腹，满工雕刻缠枝莲纹环绕游龙，盘心嵌入鎏金铜质顶托，朱红漆色配金辉，华贵雅致。立柱透雕行龙穿梭在云涛花木间，龙身矫健，鳞爪纤毫毕现，辗转腾挪间尽显灵动威严。底座为覆盘样式，分层錾刻回纹、云龙与莲瓣纹样，层次分明沉稳大气，底足内敛承托整体。\n髹漆厚重莹润，雕刻刀法圆熟爽利，藏锋清晰利落，纹饰繁而不杂，将威严蟠龙与柔婉花饰精妙融合，尽显清代雕漆工艺的卓绝造诣，是实用与陈设美学兼备的匠心之作。",[1393,2864,255,462,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7c60da72927f61c71c9b434f53411b0.jpg",[],{"id":78336,"slug":78337,"title":28537,"dynasty":18,"author":195,"museum":152,"description":78338,"tags":78339,"thumbUrl":78340,"material":260,"size":261,"collection":78,"collections":78341,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":132},246899,"ti-hong-pan-long-wen-guan-jia-yi-ming-246899","整体造型秀雅规整，自上而下一气呵成。冠承作盏托形制，满工剔刻蟠龙穿云，龙身鳞爪分明，云纹舒展灵动，于朱红漆色间尽显磅礴气势。立柱蜿蜒盘绕游龙，辗转腾挪肌理饱满，刀法圆润工细，将龙的神武威严刻画入微。底座纹饰呼应上部，龙纹矫健苍劲，下缘回纹工整肃穆。层层髹漆堆朱，色泽沉艳古雅，雕工精湛考究，将实用收纳与陈设美学精妙融合，尽显传统雕漆工艺的极致匠心，气韵华贵雍容。",[461,1393,2864,255,463,32509,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2034501b16cb72ae1e7297dd4b89209.jpg",[],{"id":78343,"slug":78344,"title":5074,"dynasty":18,"author":195,"museum":152,"description":78345,"tags":78346,"thumbUrl":78347,"material":260,"size":261,"collection":78,"collections":78348,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":132},246898,"ti-hong-kui-long-jiao-ye-wen-dai-zuo-fang-sheng-shi-si-ceng-hua-cha-yi-ming-246898","此花取方胜造型，自带吉庆古雅之意。朱红细线勾连起四层纹饰，口沿下以回纹界开篇章，夔龙蜿蜒流转，蕉叶舒展雅致，剔刻线条细腻灵动，将青铜古纹的厚重意蕴揉入文房花器之中。\n\n岁月晕开了表层色泽，却让刀工肌理更显温润沉朴，既是案头挹花清供的雅物，也藏着传统剔红工艺的精巧心思，静静晕染出旧时书斋里的闲雅意趣。",[461,1393,2864,255,10069,1940,7,5080,5078],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4787d95d55141f8a693c7c56fe86a70.jpg",[],{"id":78350,"slug":78351,"title":5074,"dynasty":18,"author":195,"museum":152,"description":78352,"tags":78353,"thumbUrl":78354,"material":260,"size":261,"collection":78,"collections":78355,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":132},246896,"ti-hong-kui-long-jiao-ye-wen-dai-zuo-fang-sheng-shi-si-ceng-hua-cha-yi-ming-246896","此作取方胜联体形制，铜口包边古雅沉静，朱漆堆髹厚重鲜亮。四层纹饰排布井然，口沿回纹勾连环绕，上层夔龙缠枝辗转灵动，中层蕉叶垂坠舒展如凝露含光，下层锦地细密如织。雕工峻深圆润，刀痕利落凝练，将纹样的层次立体感尽数凸显，朱红漆面莹润亮泽，尽显剔刻工艺的精湛功力。整体器型挺拔端方，繁饰却丝毫不显冗杂，将吉瑞形制与髹饰匠心融于一体，尽显清代雕漆华贵工致的风韵，是古典髹漆造物中的精巧之作。",[461,1393,2864,255,10069,1940,5080,7,462],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b3f3867645700848d7917414f40d3b7.jpg",[],{"id":78357,"slug":78358,"title":78359,"dynasty":18,"author":195,"museum":152,"description":78360,"tags":78361,"thumbUrl":78363,"material":260,"size":261,"collection":78,"collections":78364,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":1850},246895,"ti-hong-fang-zun-shi-san-jie-hua-cha-yi-ming-246895","剔红方尊式三节花插","整体作方尊三节形制，挺拔端雅。以剔红为主体工艺，朱红漆地间饰绿锦地，阳文篆体寿字排布齐整，字隙间浅刻纹样点缀，古拙华贵。口沿包镶金箔，提亮器物气质，更添富丽格调。下配镂雕卷草纹红木底座，虚实相生，衬得器身愈发雅致端庄。\n\n将传统青铜尊的古雅形制与精湛髹漆工艺相融，把祝寿吉意藏于纹饰之中，尽显清代雕漆工艺的细腻工巧，是兼具陈设与实用价值的文房雅器，饱含复古隽雅的审美意趣。",[461,1393,2864,255,6103,7,78362],"方尊式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4268fe7aec736befeeb7748f5462e8eb.jpg",[],{"id":78366,"slug":78367,"title":28553,"dynasty":18,"author":195,"museum":152,"description":4703,"tags":78368,"thumbUrl":78369,"material":260,"size":261,"collection":78,"collections":78370,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},246893,"ti-hong-ba-xian-zhu-shou-tu-ru-yi-yi-ming-246893",[1393,2864,4729,13209,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa18ad78c6acecbf1a064daffb6938f6a.jpg",[],{"id":78372,"slug":78373,"title":78374,"dynasty":18,"author":195,"museum":152,"description":4703,"tags":78375,"thumbUrl":78376,"material":260,"size":261,"collection":78,"collections":78377,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":132},246892,"ti-hong-ba-bao-wen-ru-yi-yi-ming-246892","剔红八宝纹如意",[1393,2864,255,5944,461,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc6b91f1187ac84c0cc403e8b03ac1fb.jpg",[],{"id":78379,"slug":78380,"title":28553,"dynasty":18,"author":195,"museum":152,"description":4703,"tags":78381,"thumbUrl":78382,"material":260,"size":261,"collection":78,"collections":78383,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},246890,"ti-hong-ba-xian-zhu-shou-tu-ru-yi-yi-ming-246890",[461,1393,5636,2864,255,4729,30,13209,7,2487],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa10db20eb196d013d3480313cd61b2c7.jpg",[],{"id":78385,"slug":78386,"title":78387,"dynasty":18,"author":195,"museum":152,"description":4703,"tags":78388,"thumbUrl":78389,"material":260,"size":261,"collection":78,"collections":78390,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":132},24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