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代表画家之一。\n任薰作画题材广泛，对人物、山水、花卉、翎毛、走兽(马、羊等)无所不能，更擅长花鸟、人物。粗写意、细双勾。技法初学其兄谓长，后吸取陈老莲的传统技法。用笔沉着力。\n在构图上有其特长，在大小不同的画面上，创作出许多新颖、宽广、意境深远的作品，尤其适应扇面上的表现技法，能笔随意转，在极小的团扇、折扇画面上，开拓出广阔、妙趣盎然的意境。\n任薰作品在结构上比较严谨，很重视疏密虚实的主从关系，无论一人、一花、一鸟的主从关系都能巧心安排得体。平淡中亦能出奇，宁静中又能生动。画面上给人一种空灵明快之感。\n他的另一特点是工于着色，浓淡相宜，清新可爱，绝无柔媚习气。他尤长于使用重彩着色，能把对比鲜明的色彩调和统一起来，使画面上的景色更显壮丽，又能从鲜艳色彩中透出古朴的意趣。任薰人物画，线条遒劲圆韧。尤其晚年人物衣褶，运笔如同书法中行草，似有行云流水之感，形态多奇伟的身躯，出乎 寻常容貌，带有性格的神态，别出心匠。",[23,7,24,25,109,27,28,26,288,231,289,290,291],"鹦鹉","树","枝干","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22ea923f5fc4a6a88156616b48b14abb.jpg","立轴 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珍品，是乾隆皇帝41岁时的坐像，乾隆身旁站立两位大臣，人物极具神韵，为中国与欧洲绘画技艺相结合的佳作。\n原属圆明园收藏 【名称】：乾隆肖像 【类别】：字画 【年代】：清 【文物原属】：原属 收藏 【文物现状】： 【简介】： 绘制的《乾隆肖像》是 艺术品珍品，是 皇帝41岁时的坐像，乾隆身旁站立两位大臣，人物极具神韵，为中国与欧洲绘画技艺相结合的佳作。\n乾隆皇帝主政的六十年中，甚为重视学术文化的整理和弘扬。\n其中以乾隆叁十八年（177）开始的 编纂工作最为令人称道。\n他聚集 、 、 、 等著名学者，将中国历代重要典籍整理并钞录下来，分隶于四部四十四类之下。\n全书卷帙浩繁、包罗万千，可谓中国传统学术文化的一次总整理，也是十八世纪当时学风的充分呈现。\n郎世宁（Giuseppe Castiglione‎,1688—1766）是意大利人，生于米兰，清康熙帝五十四年（1715）到中国，随即入宫，曾参加圆明园西洋楼的设计工作，历任康、雍、乾三朝，在中国从事绘画达5多年。\n由于郎世宁带来了西洋绘画技法，向皇帝和其他宫廷画家展示了欧洲明暗画法的魅力，他先后受到了康熙帝、雍正帝、乾隆帝的重用。\n他是一位艺术上的全面手，人物、肖像、走兽、花鸟、山水无所不涉、无所不精，成为雍正帝、乾隆帝时 的代表人物。\n他的代表作品有《聚瑞图》、《嵩献英芝图》、《百骏图》（见插图）、《弘历及后妃像》、《 》等。",[23,24,25,7,27,28,358,48,313,32],"长卷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d20cbf88f26d2d9ea6382115ba01bed.jpg",[],125,{"id":363,"slug":364,"title":365,"dynasty":18,"author":105,"museum":20,"description":366,"tags":367,"thumbUrl":372,"material":34,"size":34,"collection":150,"collections":373,"showCount":374,"zanCount":11,"manualWeight":11,"mainColor":62},245364,"dai-tong-du-jin-zuo-jin-fu-yi-ming-245364","带铜镀金座金佛","此尊造像躯体饱满匀称，面圆润柔和，双目低垂，神态沉静慈悲，尽显佛陀的庄严肃穆。身着偏袒右肩式袈裟，衣纹流畅简约，贴附于身，勾勒出躯体的饱满张力。结触地印跏趺端坐双层莲台，莲瓣饱满规整，台座镶嵌绿松石点缀，更添清雅华贵。\n\n通体鎏金匀净亮丽，质感厚重莹润，工艺精湛细腻，既承袭藏传佛教造像的典型仪轨特征，又融入清代造像的柔婉精致风格，将神性超脱与工艺精巧完美相融，是兼具审美价值与宗教意蕴的造像精品。",[142,7,143,201,368,144,369,48,370,371],"镀金","佛像","坐像","金属造像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fb3f2c727268ebef84cec4c7791d1dd.jpg",[150],122,{"id":376,"slug":377,"title":378,"dynasty":18,"author":105,"museum":20,"description":379,"tags":380,"thumbUrl":382,"material":34,"size":34,"collection":191,"collections":383,"showCount":374,"zanCount":11,"manualWeight":11,"mainColor":38},241937,"bi-xi-xiang-bao-shi-hua-yi-ming-241937","碧玺镶宝石花","以粉碧玺摹作牡丹花瓣，莹润柔光似凝住朝露，将春日花信的柔媚晕开。花心以鎏金托承起金黄主石，缀饰细珠与红蓝宝，错落如星芒落于花蕊，凭添灵动璀璨。深绿碧玺镂刻叶片，卷边舒展脉络分明，鲜活如将枝桠春意凝于钗间。\n\n整器将宝石天然肌理与花艺俯仰的娇态相融，工致清雅又自带华贵之气，把春日庭间的烂漫撷取于鬓边，静赏时仿若能触到花瓣柔润肌理，窥见旧时闺阁藏在发间的温柔春意。",[7,234,381,303,145,231],"碧玺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff79b25478675e27e26d6d17c07f162b6.jpg",[191],{"id":385,"slug":386,"title":387,"dynasty":18,"author":105,"museum":20,"description":388,"tags":389,"thumbUrl":395,"material":34,"size":34,"collection":191,"collections":396,"showCount":397,"zanCount":153,"manualWeight":11,"mainColor":38},241699,"cui-sheng-shi-dai-zhu-shi-chao-zhu-yi-ming-241699","催生石带珠石朝珠","主珠取青金石，色如邃夜幕色，匀净莹润，自带沉静华贵之气。珊瑚配珠鲜亮暖艳，与冷调青金相映，撞色和谐雅致。催生石背云质地柔润，凝脂般的晕彩柔和内敛，同珊瑚记捻、碧玺翡翠坠角错落呼应，细节处尽显工艺匠心。整串朝珠将各色宝玉石的天然质感与佩饰礼制美学相融，于规整制式中暗藏精妙巧思，静述旧时仪制里的雅致意韵。",[7,234,186,390,391,392,393,394],"珠石","催生石","工艺","串缀","清代工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F486401758b796d52ea5a8a4b0a12fb59.jpg",[191],121,{"id":399,"slug":400,"title":401,"dynasty":18,"author":105,"museum":20,"description":402,"tags":403,"thumbUrl":408,"material":409,"size":410,"collection":34,"collections":411,"showCount":412,"zanCount":11,"manualWeight":11,"mainColor":38},236741,"huang-ju-mao-die-wan-shan-yi-ming-236741","黄鞠猫蝶纨扇","这帧纨扇小品取右虚左实之构图，苔石隐于浅草花丛间，乌背白腹的狸奴踞坐其上，圆瞳灼灼，紧盯翩跹粉蝶，蓬松绒毛以晕染细笔勾绘，憨态灵动，将花猫窥蝶的凝神一瞬定格。\n\n左上花枝柔曼，粉花轻缀，没骨笔法晕染出淡冶花色，明丽雅致。侧旁题笔规整清雅，与画面相映成趣。\n\n整幅小品以清隽设色勾勒日常闲趣，将庭间小景的恬淡野趣尽数铺陈，温婉雅致的意趣浸透绢面，尽显小品画的悠然雅韵。",[24,25,96,404,28,27,7,405,406,231,407,110],"扇面","猫","蝴蝶","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a6235c2fe94225bf65dcfca3543ed3c.jpg","未知","Xcm*Xcm",[],119,{"id":414,"slug":415,"title":210,"dynasty":18,"author":211,"museum":68,"description":416,"tags":417,"thumbUrl":418,"material":419,"size":420,"collection":219,"collections":421,"showCount":412,"zanCount":153,"manualWeight":11,"mainColor":38},214211,"zhuan-shu-ba-yan-lian-yang-yi-sun-214211","释文：廉于取名锐于求志。博而不俗文而又儒。",[23,7,214,216,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa86eecb17cab4a0ff2851cbb3be428b.jpg","纸本,水墨","176.9x29.4",[219],{"id":423,"slug":424,"title":425,"dynasty":18,"author":426,"museum":44,"description":427,"tags":428,"thumbUrl":434,"material":435,"size":436,"collection":34,"collections":437,"showCount":438,"zanCount":439,"manualWeight":11,"mainColor":154},223246,"wu-liang-shou-fu-tu-ding-guan-peng-223246","无量寿佛图","丁观鹏","祥云朵朵，周围站立四大金刚及佛祖两大弟子伽叶、阿难，前有女信徒合掌跪拜，旁立哼、哈二将。线条工细，佛像脸部、手部及莲座，均用晕染法，显出明暗凹凸之感。以''钉头鼠尾''描表现的衣纹于规整中又平添几分洒脱。采用''勾勒填金''的方式，以泥金为墨绘在瓷青纸上，使画面色泽深重雅丽。",[23,7,24,96,27,429,28,142,48,430,431,432,433,249,32],"描金","佛","弟子","护法","楼阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76ded1bcb112cae3a4d25a8535de94a4.jpg","瓷青纸金画","纵99．3厘米，横61．9厘米",[],116,6,{"id":441,"slug":442,"title":443,"dynasty":18,"author":105,"museum":20,"description":444,"tags":445,"thumbUrl":452,"material":34,"size":34,"collection":191,"collections":453,"showCount":454,"zanCount":11,"manualWeight":11,"mainColor":154},242018,"yin-du-jin-qian-bao-shi-dian-hua-yi-ming-242018","银镀金嵌宝石钿花","累金丝蜿蜒盘作灵芝枝蔓，如从仙苑采撷而来的灵秀景致。点翠晕出幽润清蓝，似将晴空揉碎嵌于鎏金之上。各色宝石错落缀饰，艳红似凝就的朱砂血滴，靛蓝、墨黑、莹绿各展风华，与暖调鎏金、幽蓝点翠相映成趣。\n整体舒展灵动，细金工艺的精巧雅致融于其中，把东方美学里的祥瑞意趣凝在发间方寸，华贵中带着清逸仙气，尽显旧时妆饰里的极致匠心。",[7,228,143,446,447,234,448,449,450,451],"嵌宝石","珐琅","金属工艺","镶嵌工艺","宝石装饰","金属雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa79b1003f0be4ca2734c8f0a7640d732.jpg",[191],112,{"id":456,"slug":457,"title":458,"dynasty":18,"author":105,"museum":20,"description":459,"tags":460,"thumbUrl":468,"material":34,"size":34,"collection":191,"collections":469,"showCount":454,"zanCount":153,"manualWeight":11,"mainColor":62},241849,"dai-mao-xiang-jin-qian-zhu-bao-zhuo-yi-ming-241849","玳瑁镶金嵌珠宝镯","这只镯身以玳瑁为底，凝润通透自带琥珀柔光，素净底色托出金彩宝光。鎏金錾刻的托座上，错落嵌就松石、珊瑚、碧玺与珍珠，攒成小花瑞果纹样。冷调石色暖质金托相映，艳而不俗，贵而不奢。\n\n细微处嵌合严丝合缝，尽显精工巧思，将文气的有机材质与华贵的珠宝金工相融，雅致与富丽平衡恰好，藏着旧时闺阁的精致意趣，把东方配饰的含蓄韵味与奢华工艺揉为一体。",[7,145,461,462,463,464,465,303,466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澹雅”。此册中的花鸟更是形神兼备，清新淡雅，具有新的风貌。",[24,7,90,91,28,32,476,344,160,477,478],"柳树","明月","落花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45310b0b5b6eed41b29e10791b123347.jpg",[],110,{"id":483,"slug":484,"title":485,"dynasty":18,"author":43,"museum":68,"description":486,"tags":487,"thumbUrl":491,"material":28,"size":492,"collection":34,"collections":493,"showCount":494,"zanCount":11,"manualWeight":11,"mainColor":38},222753,"xian-e-chang-chun-tu-08a-ji-guan-hua-lang-shi-ning-222753","仙萼长春图-08a（鸡冠花）","本册共十六开内容分别描绘牡丹、桃花、芍药、海棠玉兰、虞美人、蝴蝶花、黄刺玫牡丹、石竹、樱桃、罂粟、紫白丁香、百合花牡丹、翠竹牵牛、荷花慈姑花、豆花稷穗、鸡冠花、菊花等，其中有八开还画有鸟禽，整册内容与《石渠宝笈三编》著录之〈郎世宁画花卉册〉一致，对幅皆是空白，而最末一开有宋体书款「臣郎世宁恭画」，依据画风特色推测是郎世宁雍正时期的花鸟佳作。全册不仅设色精緻，构图手法也见新意。特别能于鸟禽形体姿态上有超乎传统的表现，是西法透视手法的精采成果。画中花鸟多处能够显示光影明暗，透过白色颜料提点高光的技巧也常见运用。整册画风都一再显示其与郎世宁雍正前期画风有关。",[23,7,24,25,26,27,28,488,113,489,490],"鸡冠花","叶子","藤蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dcd6f6155e0f1e2f0398d2738fe5f5a.jpg","宽28.4公分，高33.7公分",[],106,{"id":496,"slug":497,"title":498,"dynasty":18,"author":86,"museum":68,"description":499,"tags":500,"thumbUrl":502,"material":277,"size":503,"collection":34,"collections":504,"showCount":505,"zanCount":153,"manualWeight":11,"mainColor":38},232677,"dong-li-qiu-se-tu-yun-shou-ping-232677","东篱秋色图","恽寿平(1633~1690)，初名格，字寿平，后以字行，更字正叔，号南田、云溪外史、东园生，晚年又号白云外史、瓯香散人。善画山水、花卉。早年画山水，取法元、五代大家。中年后以画花卉为主，自创一种名为“仿北宋徐崇嗣”的没骨花卉画法，即以潇洒秀逸的用笔直接点蘸敷染而成。这种画法独开生面，风靡一时。其山水画创作亦从未间断，有很高成就，笔墨灵秀，以神韵、情趣取胜。作品有《晴川揽胜图轴》、《设色花卉册》、《花果图册》等。",[7,24,25,109,26,92,28,91,501,74],"菊花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62e5c11e2567494e206962fa4dbf026f.jpg","107.6x54.5厘米",[],105,{"id":507,"slug":508,"title":509,"dynasty":18,"author":67,"museum":68,"description":69,"tags":510,"thumbUrl":511,"material":77,"size":34,"collection":34,"collections":512,"showCount":513,"zanCount":11,"manualWeight":11,"mainColor":38},214840,"xie-sheng-ce-21-hua-yan-214840","写生册-21",[7,24,25,71,27,28,173,174,175,73,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10f0efa4299c6b9b513e46407f757961.jpg",[],103,{"id":515,"slug":516,"title":517,"dynasty":18,"author":105,"museum":20,"description":518,"tags":519,"thumbUrl":524,"material":34,"size":34,"collection":191,"collections":525,"showCount":526,"zanCount":153,"manualWeight":11,"mainColor":38},241713,"dong-zhu-chao-zhu-yi-ming-241713","东珠朝珠","这串朝珠以莹白东珠为主体，颗颗匀润似凝雪凝脂，自带清润冷冽的贵气。苍润的绿松石隔珠与佛头错落其间，冷调石色中和了东珠的素净，层次愈发生动。丹红珊瑚串作纪念与饰结，浓烈色调点亮整体，与素白东珠形成鲜明色彩对仗，华贵感跃然而出。背云取大块素面绿松石，光洁雅致，坠饰轻摇间尽显礼制配饰的端方雅致。整器严循规制选料排布，将珍稀物料与礼制审美相融，尽显旧时朝仪的庄重与工艺的精妙。",[7,234,466,520,521,144,522,186,523],"珊瑚","绿松石","串制","金饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d77545a534df67b9928843925b0c93e.jpg",[191],102,{"id":528,"slug":529,"title":530,"dynasty":18,"author":105,"museum":20,"description":531,"tags":532,"thumbUrl":533,"material":34,"size":34,"collection":191,"collections":534,"showCount":535,"zanCount":11,"manualWeight":11,"mainColor":154},241715,"cui-bian-zan-yi-ming-241715","翠扁簪","这枚玉簪通体凝萃浓艳翠绿，水头莹润通透，似将春日潭水揉作实体。簪身浮雕饱满灵动的吉祥纹样，刀工婉转细腻，线条柔润流畅，把玉石的清润质地衬得愈发鲜活。整体形制修长秀雅，既有簪钗绾发的实用之能，亦不失文玩赏鉴的审美价值，将东方玉作的温婉华贵与匠人巧思融为一体，静静晕开旧时闺阁的雅致风情。",[7,186,144,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84be07fc0a4c6a27bc071b135461ffdd.jpg",[191],99,{"id":537,"slug":538,"title":539,"dynasty":18,"author":540,"museum":44,"description":541,"tags":542,"thumbUrl":543,"material":277,"size":34,"collection":78,"collections":544,"showCount":545,"zanCount":153,"manualWeight":11,"mainColor":38},232941,"hua-hui-tu-ce-fan-ting-zhen-232941","花卉图册","范廷镇","范廷镇（清），字鹿畴，一作祉安，或止安，号芷庵，一号冻亭，又号乐亭，武进（今江苏常州）人。能作花卉草虫，并书法，俱效恽寿平。\n范廷镇是恽寿平的亲传弟子，最能得恽南田没骨写生花卉之神髓，他的个别作品甚至可以达到乱真的地步，也是恽寿平的主要代笔人。包括他的书法与恽寿平都十分相近，接近于形神兼备，但格调稍欠，诗文才情更是与恽寿平相差甚远。",[24,25,7,90,27,28,26,93],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4df710205e22d5669d2e2a24740a6861.jpg",[78],98,{"id":547,"slug":548,"title":549,"dynasty":18,"author":86,"museum":20,"description":550,"tags":551,"thumbUrl":556,"material":129,"size":557,"collection":78,"collections":558,"showCount":545,"zanCount":11,"manualWeight":11,"mainColor":38},220974,"shuang-qing-tu-yun-shou-ping-220974","双清图","本幅是恽寿平55岁时所作。以“双清”为画名是因为梅花以“众芳摇落独暄妍”的品格而水仙以淡色疏香和清气逼人的特性同被视为传统绘画题材中的“清物”。此图以淡花青晕染绢地，烘托双清的花色。梅树苍干繁枝，横斜取势，其花瓣法南宋扬无咎的画法，即以墨笔圈线为瓣，线条雅秀雄健，勾勒出花之勃勃生机。水仙法元人赵孟坚的白描笔韵，叶片用笔富于急迟、粗细、顿折诸变化，花儿或仰或俯，或张或合，亦变化多端。作者以活泼多变的表现技法成功地展示出梅花、水仙暗香浮动的美感。全图不刻意求工、求似，唯求自然天趣，揭示出恽寿平一向所追求的平淡超逸的审美意趣。",[23,24,25,109,7,91,28,26,552,553,290,554,555],"梅花","水仙","叶片","传统技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25d9b08a441f3b8f0cf2cc92ce26149c.jpg","纵88.5厘米，横54厘米",[78,133],{"id":560,"slug":561,"title":562,"dynasty":18,"author":563,"museum":20,"description":564,"tags":565,"thumbUrl":566,"material":409,"size":410,"collection":34,"collections":567,"showCount":568,"zanCount":11,"manualWeight":11,"mainColor":38},236740,"tao-hua-jia-die-wan-shan-zhang-xiong-236740","桃花蛱蝶纨扇","张熊","张熊(1803—1886)，又名张熊祥，字寿甫，亦作寿父，号子祥，晚号祥翁，别号鸳湖外史，鸳湖老人，鸳湖老者，鸳鸯湖外史，西厢客。别署清河伯子，髯参军。室名银藤花馆。秀水（今浙江嘉兴）人，张熊年青时代就移居上海，参加各种美术活动。",[24,25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“精于绘事，以画虎闻名，赏鉴家宝之”。画轴中之虎双目微睁，前爪平放，脊背伸长，似乎是一只刚刚睡醒正在伸懒腰的睡虎，画面上下的松树恰好将虎包围起来，给人一种虎躺在窝中安逸祥和之感。此幅现藏于台北故宫博物院，绢本设色。",[23,96,24,25,28,27,344,591,111,174,7],"老虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffcc39579ce3a98b7f5b622e8f5b4f35.jpg","70.5x46.7",[78,133],94,{"id":597,"slug":598,"title":599,"dynasty":18,"author":105,"museum":20,"description":600,"tags":601,"thumbUrl":603,"material":34,"size":34,"collection":191,"collections":604,"showCount":605,"zanCount":11,"manualWeight":11,"mainColor":606},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。",[186,234,144,7,602,188],"青绿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d9c37924954ff99f4e510b963d1aa64.jpg",[191],93,"0D904F",{"id":608,"slug":609,"title":610,"dynasty":18,"author":611,"museum":20,"description":612,"tags":613,"thumbUrl":615,"material":34,"size":616,"collection":34,"collections":617,"showCount":618,"zanCount":153,"manualWeight":11,"mainColor":38},222800,"zhuan-shu-xin-jing-deng-shi-ru-222800","篆书心经","邓石如","书法上极有创意。取法李阳冰铁线篆，其中又有以隶笔作篆的意味，笔力遒练，体势沉着，是他传世墨迹中的代表作。\n释文:观自在菩萨，行深般若波罗蜜多时，照见五蕴皆空，度一切苦厄。舍利子，色不异空，空不异色。色即是空，空即是色。受想行识，亦复如是。舍利子，是诸法空相，不生不灭，不垢不净，不增不减。是故空中无色，无受想行识，无眼耳鼻舌身意，无色声香味触法，无眼界，乃至无意识界，无无明，亦无无明尽，乃至无老死，亦无老死盡。无苦集滅道，无智亦无得，以无所得故。菩提薩埵，依般若波罗蜜多故，心无罣礙，无罣礙故，无有恐怖，远离颠倒梦想，究竟涅槃。三世诸佛，依般若波罗蜜多故，得阿耨多罗三藐三菩提。故知般若波罗蜜多，是大神咒，是大明咒，是无上咒，是无等等咒，能除一切苦，真实不虚。故说般若波罗蜜多咒。即说咒曰：揭諦揭諦，波罗揭諦，波罗僧揭諦，菩提萨婆訶。般多心経。嘉庆龙飞九年，岁在逢困敦十有一月，丙戌朔粤十有八日癸卯。古皖邓石如篆。",[23,216,214,614,142,358,7],"写经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaacba25735befff5d1b956c05f59017.jpg","单字宽约2厘米",[],91,{"id":620,"slug":621,"title":622,"dynasty":18,"author":105,"museum":20,"description":623,"tags":624,"thumbUrl":627,"material":34,"size":34,"collection":191,"collections":628,"showCount":629,"zanCount":194,"manualWeight":11,"mainColor":38},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。",[234,186,144,188,625,626,28,7],"珠子","坠饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F324beefe59528592cd90256cdc4966ec.jpg",[191],90,{"id":631,"slug":632,"title":633,"dynasty":18,"author":634,"museum":20,"description":635,"tags":636,"thumbUrl":638,"material":34,"size":34,"collection":34,"collections":639,"showCount":629,"zanCount":165,"manualWeight":11,"mainColor":62},228927,"bai-tou-rong-gui-tu-li-zhou-ma-quan-228927","白头荣贵图立轴","马荃","此作绘就清秋雅景，桂树虬枝斜出，繁花缀于叶间，两只白头翁栖于枝头，羽色晕染细腻，灵动悠然，似在细嗅甜香。苔石苍古朴拙，旁侧芙蓉柔花绽蕊，粉白相衬，妍丽温婉。\n\n笔触工秀兼具，禽鸟绒毛蓬松鲜活，花叶勾勒柔婉，设色明丽雅致却艳而不俗。以白头翁谐“白头”，丹桂、芙蓉寄寓荣华，将秋日生机与吉庆祈愿相融，笔底尽是温婉意趣，静赏间漫溢清和雅致的古典韵味。",[23,96,24,25,109,27,28,26,93,637,111,290,489,7],"白头鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa823023cfbac82a24300a34fb689b2f2.jpg",[],{"id":641,"slug":642,"title":643,"dynasty":18,"author":105,"museum":20,"description":644,"tags":645,"thumbUrl":648,"material":34,"size":34,"collection":191,"collections":649,"showCount":650,"zanCount":11,"manualWeight":11,"mainColor":62},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。",[7,186,646,144,647,188],"透雕","莲瓣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2396e8e3aeee9288e3c15bac112f90df.jpg",[191],89,{"id":652,"slug":653,"title":654,"dynasty":18,"author":105,"museum":20,"description":655,"tags":656,"thumbUrl":657,"material":34,"size":34,"collection":191,"collections":658,"showCount":659,"zanCount":11,"manualWeight":11,"mainColor":154},250539,"qian-long-kuan-qing-yu-bao-xiang-hua-wen-shou-niu-dai-gai-lian-yi-ming-250539","乾隆款青玉宝相花纹兽钮带盖奁","玉质清润莹白，整体器形端雅规整。盖顶兽钮圆浑生动，鬃毛隐现，气势沉稳。盖身浅琢缠枝宝相花纹，繁而不乱，柔婉舒展，满溢富丽之气。器腹绶带穿连宝相花团，饱满华贵，暗合吉祥意蕴，线条婉转流丽，雕工细腻入微。下承四兽足，朴拙稳重，与盖钮兽韵遥相呼应，将庄重形制与灵秀雕纹相融，尽显清代玉雕精妙工法，带着宫廷审美特有的华贵雅致，静静诉说着旧时匠心巧思与雅致意趣。",[7,186,144,174,248,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F188c12d4dce2189c2a6df06767061ade.jpg",[191],88,{"id":661,"slug":662,"title":663,"dynasty":18,"author":664,"museum":44,"description":665,"tags":666,"thumbUrl":672,"material":34,"size":673,"collection":131,"collections":674,"showCount":659,"zanCount":100,"manualWeight":11,"mainColor":38},223170,"geng-zhi-tu-ce-jiao-bing-zhen-223170","耕织图册","焦秉贞","《胤禛耕织图册·收刈》是清代佚名创作的绢本设色画。\n此为耕织图册之一开。\n本幅描绘麦田中农夫装扮的胤禛（雍亲王）正带领众人收割。\n此图用笔精到，设色典雅，人物形象生动传神，将劳动者辛勤耕作的场景描绘得十分生动。\n耕织图起源于南宋时期，是我国古代为劝课农桑而详实地记录耕作与蚕织的系列图谱。\n由于其“图绘以尽其状，诗文以尽其情”，形象生动、细腻传神地描绘了劳动者耕作与蚕织的场景和详细的生产过程，从而起到了普及农业生产知识、推广耕作技术、促进社会生产力发展的巨大作用，而其本身也成为极其珍贵的艺术瑰宝。\n宋代的《耕织图》册由耕图21幅、织图24幅组成。\n清康熙二十八年（1689年），康熙皇帝南巡时观览到此图，感慨万端，遂命内廷供奉焦秉贞根据其原意重新绘制《耕织图》册，作耕图2幅，织图2幅。\n《雍正耕织图》册是雍正帝登基以前以康熙年间刻版印制的《耕织图》为蓝本，内容和规格仿照焦氏本，由清宫廷画师精心绘制而成。\n所不同的是胤禛耕织图中的主要人物如农夫、蚕妇等均为胤禛及其福晋等人的肖像，这在历代的耕织图中是仅见的。\n该图现存52页，其中6页为未定稿的衍页，其余46页中耕图、织图各2页，每幅画上都有胤禛的亲笔题诗，并钤有“雍亲王宝”和“破尘居士”两方印章。\n根据画法特点，此画册可能出自当时宫廷画家陈枚之手。\n（1678—175) 即爱新觉罗， 。\n清朝皇帝。\n满族。\n圣祖第四子。\n年号雍正。\n1722—175年在位。\n康熙三十五年（1696年），从帝征喝尔丹。\n三十七年，封贝勒。\n四十八年，进封雍亲王。\n康熙末参与部分政务。\n得隆科多、年羹尧之助夺得帝位后,即用高压手段对付参与争位的诸弟；胤德被长期幽禁；胤视、胤塘被削籍，不得其死。\n康察的亲信多遭贬斥。\n隆科多、年羹尧亦被借故禁铜并杀。\n对汉族知识分子，改变康照时以笼络为主的策略，屡兴文字狱。\n曾用藩邸亲信鄂尔泰、田文镜、李卫等为重要省区的总督。\n雍正七年（1729年），建立军机房（后改军机处），取代内阁和大臣会议，成为承旨经办军政事务的国家中枢机构；又取消诸王为下五旗（正红、镶红、镶白、正蓝、镶蓝）管主的制度，以加强君主集权。\n实行摊丁人亩，以保证赋税收人。\n在西南少数民族地区推行“改土归流”，废除土司制度，设立府、州、县。\n始设置驻藏大臣,加强对西藏的管辖。\n曾出兵平定 贵族的叛乱，并镇压准噶尔部贵族的骚扰。\n对外曾与沙俄订立《 》和《中俄恰克图界约》，划定中俄中段边界。\n精通满、汉文，娴熟书法，熟悉儒家经典。\n有《世宗完皇帝有制文集》等。",[96,24,25,90,28,27,7,48,667,668,110,669,670,671,255],"牛","农田","流水","农耕","田园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ed5980469ac69b2e0f1c93414f87c1.jpg","34.7cm×27.7cm",[131,58,133],{"id":676,"slug":677,"title":678,"dynasty":18,"author":679,"museum":44,"description":680,"tags":681,"thumbUrl":692,"material":693,"size":694,"collection":78,"collections":695,"showCount":696,"zanCount":11,"manualWeight":11,"mainColor":38},233771,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233771","原济陶渊明诗意册","石涛","本图册是作者根据东晋著名诗人陶渊明诗句而创作。陶渊明是中国田园诗的创始者，他的诗不仅反映出田园生活的美好与自然，更流露出他徘徊于出仕与归隐之间的矛盾。绘画者显然非常赞赏这种避身独处、与世无争、乐天安命的人生哲学，通过描绘回归自然、淡于荣禄、不与统治者合作的隐士陶渊明来表现自己美好的理想。\n这里择两开赏析。\n第二开《悠然见南山》：陶渊明的许多诗篇中都有关于菊花的诗句：“采菊东篱下，悠然见南山”、“秋菊有佳色，裛露掇其英”均写出了他远离世俗的心境和陶醉于自然的乐趣。他常以菊自喻，借菊花凌秋傲霜的品质表达自己清高的节操和情怀。石涛仰慕陶渊明的高尚情操，故此图借陶渊明爱菊寄寓了画家自己的思想感情。画中篱笆院中菊花盛开，一高士手持菊花观赏，悠然之态可见。此图结构精巧，人物用笔细密。远山以墨笔烘染，山腰云雾密布，不见山脚，以此表现烟云飘渺的动态和气势。这种中锋、细勾、渍染相结合的画法使画面有动有静，虚实结合，意趣无穷。\n第六开《遥遥望白云 怀古一何深》：描绘一位着布衣宽袍的老者临溪而立。老者远望青山，脚下溪水流淌。面对满目凄凉、空无一人的山水，主人公似思绪万千，发思古之幽情。画家借此图深刻而恰当地表达了自己零丁孤苦、怀才不遇之情。构图采用一水两岸的自然分疆法。画面上只见弥漫的云山、层山断处的房舍和半露的松林而不见山脚，山顶则似露非露地隐现。树木用水墨渍出，以衬托山腰白云的动感。",[96,24,25,682,7,683,28,342,216,684,685,344,686,687,688,689,48,111,690,691],"册页","水墨","行书","皴法","茅屋","山峦","平原","烟树","房屋","小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa60253ab4b37909a1fca2e563c4ae780.jpg","纸本，设色","纵27厘米，横21.3厘米",[78,131,133],87,{"id":698,"slug":699,"title":700,"dynasty":18,"author":701,"museum":20,"description":702,"tags":703,"thumbUrl":706,"material":77,"size":34,"collection":78,"collections":707,"showCount":708,"zanCount":194,"manualWeight":11,"mainColor":238},215665,"bei-jing-dian-pu-zhao-huang-hua-ce-zhou-pei-chun-215665","北京店铺招幌画册","周培春","画面铺展六枚老北京招幌，笔墨细腻晕染市井烟火气。布幌垂悬如岁月信笺，墨字依稀载着商肆旧语；铜器幌的壶盏似凝烟霞余温，轻晃间恍闻街肆喧声；玉馨幌朱红与金黄撞色，漾出吉祥意趣；油篓幌肌理如时光褶皱，藏着市井温热。每枚招幌皆工笔细描：布纹垂坠自然，铜器光泽内敛，纸幌纹样精巧。它们是旧时商业文化的活化石，透过画页触到百年前街肆的热闹与温情，一帧帧皆是岁月沉淀的生活诗行，让观者梦回老北京的繁华人境。",[24,25,90,28,27,704,705,7],"招幌","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac35014ce2439d31b2b62e91c4b8443b.jpg",[78],83,{"id":710,"slug":711,"title":712,"dynasty":18,"author":713,"museum":20,"description":714,"tags":715,"thumbUrl":716,"material":34,"size":34,"collection":34,"collections":717,"showCount":718,"zanCount":11,"manualWeight":11,"mainColor":719},224343,"she-se-mu-dan-zhou-fan-qi-224343","设色牡丹轴","樊圻","这幅作品以湖石为骨，牡丹为魂，湖石以浓墨勾勒皴擦，嶙峋苍古，朴拙沉厚，稳稳托举花株。牡丹以没骨晕染，粉瓣柔润层叠，白蕊轻透蓬松，自带雍容妍态；绿叶以汁绿晕染出阴阳向背，鲜活舒展。\n笔墨兼容工致与写意，设色秀雅沉静，将牡丹华贵与湖石清奇相融，柔刚相济。整幅画面静穆中藏生机，雅致脱俗，尽显花石相映的清幽意趣。",[23,7,24,109,28,27,26,93,113,290],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9dfde28aebea23e14127821d8f6868d.jpg",[],80,"F48FB1",{"id":721,"slug":722,"title":723,"dynasty":18,"author":105,"museum":20,"description":724,"tags":725,"thumbUrl":728,"material":34,"size":34,"collection":191,"collections":729,"showCount":730,"zanCount":11,"manualWeight":11,"mainColor":38},241700,"qian-long-kuan-cui-long-wen-shuang-er-pan-yi-ming-241700","乾隆款翠龙纹双耳盘","翠色层次交融，黄绿晕染自带温润清透质感。双龙为耳，身姿矫健灵动，贴合杯身既添威严，又兼顾握持平衡。杯身暗饰纹样，含蓄雅致，下承双层莲瓣底座，线条饱满圆润，尽显出尘意趣。花口浅盘配矮足，盘面纹路暗藏精妙，与杯身呼应协调。整体造型端庄规整，雕工细腻入微，将翡翠的天然灵韵与制玉工艺的严谨精巧相融，尽显清隽典雅的宫廷气度。",[7,186,144,726,50,727,602,188],"浮雕","双耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F628ec2c84e48d5c43db11c3a61245876.jpg",[191],76,{"id":732,"slug":733,"title":734,"dynasty":18,"author":735,"museum":736,"description":737,"tags":738,"thumbUrl":742,"material":581,"size":743,"collection":34,"collections":744,"showCount":745,"zanCount":11,"manualWeight":11,"mainColor":38},230109,"hong-lou-meng-190-sun-wen-230109","红楼梦190","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",[24,27,28,7,48,343,739,433,345,740,741,313],"马车","庭院","界画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F371fd944c59868ac77daf0417c1ff2a6.jpg","纵43.3厘米、横76.5厘米",[],75,{"id":747,"slug":748,"title":749,"dynasty":18,"author":105,"museum":20,"description":750,"tags":751,"thumbUrl":754,"material":409,"size":410,"collection":755,"collections":756,"showCount":757,"zanCount":11,"manualWeight":11,"mainColor":38},253566,"de-hua-yao-bai-you-guan-yin-pu-sa-li-xiang-yi-ming-253566","德化窑白釉观音菩萨立像","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 \"天鹅绒白。清代除烧白瓷外，盛烧青花与彩绘瓷器。元代以来，德化窑瓷器输出海外，菲律宾、马来西亚出土有元代德化窑青白瓷，泰国及东非坦桑尼亚等国家也出土有清代德化窑青花瓷器。\n这种瓷器的制作工艺程序如下：他们从地下挖取一种泥土，将它垒成一个大堆，任凭风吹、雨打、日晒，从不翻动，历时三、四十年。泥土经过这种处理，质地变得更加纯化精炼，适合制造上述各种器皿，然后抹上认为颜色合宜的釉，再将瓷器放入窑内或炉里烧制而成。因此，人们挖泥堆土，目的是替自已的儿孙贮备制造瓷器的材料而已，大量的瓷器是在城中出售， 一个威尼斯银币能买到八个瓷杯“。马可波罗的介绍，引起了西方人的强烈兴趣。",[7,752,753,142,48,144],"陶瓷","白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffefff6acbb327d1debb44cffe6346272.jpg","瓷器精选",[755],71,{"id":759,"slug":760,"title":761,"dynasty":18,"author":105,"museum":20,"description":762,"tags":763,"thumbUrl":767,"material":34,"size":34,"collection":191,"collections":768,"showCount":757,"zanCount":153,"manualWeight":11,"mainColor":62},241701,"cui-xiao-yi-ming-241701","翠箫","此器莹润似春水初凝，仿竹修形，线条清隽舒展，自带出尘之态。深浅翠色晕染通透玉身，如同将江南烟霭凝于骨中，素净无饰，尽展天然雅致。匀整开孔暗含音律章法，仿佛仍留存着丝竹萦耳的旧时余韵。静置于此，温润泽光里晕开岁月痕迹，似能窥见昔年执管奏乐的光景，将东方雅骨融于一管翠玉，缄默诉说着旧时风月清欢。",[7,186,764,144,765,766],"乐器","玉器","翠玉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1d5d38e4274032046e5ab062807eb0d.jpg",[191],{"id":770,"slug":771,"title":772,"dynasty":18,"author":43,"museum":44,"description":773,"tags":774,"thumbUrl":782,"material":277,"size":783,"collection":34,"collections":784,"showCount":757,"zanCount":11,"manualWeight":11,"mainColor":38},234912,"qian-long-huang-di-she-lie-tu-zhou-lang-shi-ning-234912","乾隆皇帝射猎图轴","《乾隆皇帝射猎图》是清代 等人创作的绢本设色画，现收藏于 。\n该画以高超的写实技巧描绘了乾隆皇帝和大臣在南苑围场捕射野兔的情形，作者通过对骑在骏马上精悍的人物与狂奔逃命的野兔准备而且传神的刻画，成功地展示出乾隆皇帝娴熟的骑技和尚武骑射的创作主题，全画人物马匹千姿百态，动感十足。\n款识：“臣郎世宁恭绘。\n”下钤“臣世宁”白文方印、“恭绘”朱文方印。\n御题诗三首，款署：“南苑行围即事三首，乙亥暮春御笔。\n”钤“乾隆宸翰”白文方印、“得象外意”朱文方印、“研露”朱文长方印。\n“乙亥”是乾隆二十年（1755年），乾隆皇帝时年45岁。\n从乾隆皇帝的御制诗中可知，他此次南苑狩猎“是日凡中八兔”，可谓战绩骄人。\n从笔法上分析，图中乾隆皇帝的肖像及马无疑应出自郎世宁之手，山石树木等衬景则来自中国的宫廷画家之笔。\n《乾隆皇帝射猎图》表现乾隆帝及近亲王公大臣在南苑猎场捕射野兔的动感瞬间。\n作者通过骑在骏马上精悍的人物与狂奔逃命的野兔准确而且传神的刻画，成功地展示出乾隆皇帝娴熟的骑技和尚武骑射的创作主题。\n乾隆皇帝作为以畜牧、游猎为主的 人后裔，严格遵守被清朝诸先帝奉为“满洲根本”、“先正遗风”的骑射尚武典制。\n他通过带有游乐性质的狩猎活动，将满族人弯弓射箭的传统习俗发扬光大。\n乾隆皇帝为了弘扬这种尚武精神，谕令宫廷西洋画师郎世宁以及中国宫廷画家创作了数十幅专门表现他行围狩猎场景的画作，此图便是其中之一。\n该画真实地纪录了乾隆皇帝紧张而热烈的狩猎情景。\n同时，展示了乾隆帝行猎时所使用的各种兵器，为研究乾隆朝的皇室武备无疑提供了难得的形象资料。\n27年11月，该画在意大利“皇家韵致展”中展出。\n郎世宁（1688—1766年），意大利米兰人，原名朱塞佩·伽斯底里奥内（Giuseppe Castiglione），青年时期受到系统的绘画训练，后来加入了欧洲基督教下属的宗教组织耶稣会，并于1714年（清·康熙五十三年）以传教士的身份离开欧洲来到东方，次年抵达澳门，起汉名郎世宁，继而北上京师，随即于康熙末期进入宫廷供职，开始了他长达数十年的中国宫廷艺术家的生涯。\n郎世宁在清宫廷内为皇帝画了多幅表现当时重大事件的历史画，以及众多的人物肖像、走兽、花鸟画作品，还将欧洲的焦点透视画法介绍到中国，协助中国学者年希尧完成了叙述这一画法的著作《视学》，成为当时东西方文化交流的重要使者。\n1766年7月16日（清乾隆三十一年六月初十日）郎世宁在北京病逝，终年78岁。",[24,25,96,109,7,27,28,775,776,48,343,777,778,110,330,691,779,780,781],"中西合璧技法","写实风格","弓箭","射猎场景","自然景物","动态构图","狩猎题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F569e69e422015fa6786904aed47711d4.jpg","25.7×33厘米",[],{"id":786,"slug":787,"title":788,"dynasty":18,"author":789,"museum":574,"description":790,"tags":791,"thumbUrl":799,"material":581,"size":800,"collection":58,"collections":801,"showCount":757,"zanCount":153,"manualWeight":11,"mainColor":62},222872,"chun-ge-juan-du-zhou-leng-mei-222872","春阁倦读轴","冷枚","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。图中人物比例匀称，衣纹线条圆润流畅，可以看出画家的深厚功底。而背景的描绘也显得独具匠心，无论悬于墙上的画幅、笛子，还是膝下的小犬都不是可有可无之物，图中人物的生活情趣和身份均由此得到印证。此作如此精妙地刻画出人物的精神层面，无疑堪称人物画佳作。",[23,7,96,24,25,109,27,28,48,792,793,93,794,795,796,797,798],"美人","狗","桌","凳","瓶","书卷","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F866bd4a4449c988942f5f5abcf3da75a.jpg","170x100cm",[58],{"id":803,"slug":804,"title":805,"dynasty":18,"author":806,"museum":68,"description":807,"tags":808,"thumbUrl":810,"material":419,"size":811,"collection":219,"collections":812,"showCount":757,"zanCount":11,"manualWeight":11,"mainColor":38},214238,"shu-huai-su-zi-xu-zhong-tang-zheng-xie-214238","书怀素自序中堂","郑燮","墨韵流转间，六分半书的奇趣跃然纸上。篆隶的古拙、行草的纵逸交织，笔画如铁画银钩，时而厚重沉凝，时而飞白流转。字形欹正相生，大小错落如乱石铺街，却在跌宕中藏着章法的妙趣。写怀素自序，既得草圣的洒脱意气，又融书者自身的率真性情——每一笔都似带着文人风骨，刚柔相济间，可见对传统的解构与重构。章法疏密有致，行与行的呼应如流水映月，枯润对比中透着笔墨灵动。整体气息清劲洒脱，不拘一格，仿佛能窥见挥毫时的快意，是融众家之长又自成一格的生动写照。",[23,7,216,25,109,684,809,683,32],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff16c746a3fdbcaa899c4643d03078132.jpg","190.5x105.2",[219],{"id":814,"slug":815,"title":816,"dynasty":18,"author":285,"museum":20,"description":817,"tags":818,"thumbUrl":819,"material":28,"size":34,"collection":78,"collections":820,"showCount":821,"zanCount":153,"manualWeight":11,"mainColor":38},220141,"ling-bo-shui-xian-tu-juan-ren-xun-220141","凌波水仙图卷","任薰（1835年—1893年），字舜琴，又字阜长，其父任椿，兄任熊都是画家。少丧父，从兄学画，青年时在宁波卖画为生，1868年与任颐去苏州，后寓居苏州、上海。任颐、任预均从其习画。人物与其兄同师陈洪绶，常用高古游丝、铁线、行云流水、兰叶几种描法。任薰治学严谨，在写生、临摹上均下了苦功夫。任薰兼工人物、花鸟、山水、肖像、仕女，画法博采众长，面貌多样，富有新意。 与顾文彬子顾承相友善，曾为设计怡园。1888年54岁时双目失明，后病卒于苏州。与任熊、任颐时称“三任”，合任预为“四任”，并为海上画派代表画家之一。",[23,96,24,25,7,358,27,28,26,553,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49729d30e7c1b1754794c5ec8a67dee3.jpg",[78],70,{"id":823,"slug":824,"title":825,"dynasty":18,"author":826,"museum":68,"description":827,"tags":828,"thumbUrl":829,"material":419,"size":830,"collection":219,"collections":831,"showCount":821,"zanCount":153,"manualWeight":11,"mainColor":38},214233,"xing-shu-qi-yan-lian-ceng-guo-fan-214233","行书七言联","曾国藩","笺纸泛黄，墨色沉雄。行书笔意流畅却不失骨力，起笔如高山坠石，行笔似老树盘根，收笔若惊鸿掠影。联语祥瑞，灵芝美箭遍地生，绛阙云台留美名，字句间的吉庆与笔墨的刚健相得益彰。每一字结构端稳又带灵动，中锋行笔的厚重质感，仿佛承载着岁月的沉淀。书写者的从容气度跃然纸上，将相的沉雄与文人的雅致交融，书艺与文心完美契合，尽显古典书法的隽永韵味，令人观之忘俗。",[23,25,216,684,215,109,32,683,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0b508d6f53b2db738d1795cddeab2c3.jpg","174x38.1",[219],{"id":833,"slug":834,"title":835,"dynasty":18,"author":836,"museum":20,"description":837,"tags":838,"thumbUrl":842,"material":34,"size":34,"collection":34,"collections":843,"showCount":844,"zanCount":153,"manualWeight":11,"mainColor":62},230112,"hua-niao-tu-ce-wu-zhang-230112","花鸟图册","吴璋","此作为绢本工笔小景，设色温婉雅致。石榴枝桠斜斜舒展，丹红榴花灼灼盛放，饱满的石榴绽裂果皮，紫实累累，尽显秋日生机。\n\n两只麻雀栖于细枝，一只侧目远眺，一只垂首理羽，羽色晕染细腻，绒毛细毫毕现，将禽鸟娇憨灵动之态尽数描摹。叶片的阴阳向背晕染得体，线条秀逸柔和，写实之中暗含清逸雅致的意趣，将果熟禽闲的静谧小景刻画鲜活，于方寸间尽显工笔花鸟的精巧匠心，带着悠然恬淡的闲趣韵味。",[96,24,25,27,28,682,26,839,577,840,841,290,7],"石榴","红花","绿叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9458be09e16cb478d2d52da2905a209b.jpg",[],66,{"id":846,"slug":847,"title":825,"dynasty":18,"author":826,"museum":68,"description":848,"tags":849,"thumbUrl":851,"material":419,"size":852,"collection":219,"collections":853,"showCount":844,"zanCount":153,"manualWeight":11,"mainColor":62},214232,"xing-shu-qi-yan-lian-ceng-guo-fan-214232","笔墨沉雄如老松盘枝，每一笔皆含劲健之气，却又不失行书的流转意趣。欹侧间见平稳，牵丝处藏筋骨，颜体的浑厚与行书的洒脱交融，自成一格。联句“欹枕旧游来眼底，掩书馀味在胸中”文辞清雅，与书法的沉郁韵致相映成趣——墨痕里藏着岁月沉淀，笔锋间流露文人襟怀。读之观之，仿佛触到书写者掩卷沉思的心境：旧游历历如在目前，典籍余味萦绕心间。笔墨与文辞共织成一幅文人雅态，余味悠长，耐人寻味。",[23,216,684,215,109,683,850,7],"纸本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99bdcbbeb48c7f7d13570de73d4bf1b0.jpg","129x30.8",[219],{"id":855,"slug":856,"title":857,"dynasty":18,"author":105,"museum":20,"description":858,"tags":859,"thumbUrl":863,"material":34,"size":34,"collection":34,"collections":864,"showCount":865,"zanCount":11,"manualWeight":11,"mainColor":62},223491,"ming-wang-tang-ka-yi-ming-223491","明王（唐卡）","唐卡（Thang-ga）也叫唐嘎，唐喀，系藏文音译，指用彩缎装裱后悬挂供奉的宗教卷轴画。 唐卡是藏族文化中一种独具特色的绘画艺术形式，题材内容涉及藏族的历史、政治、文化和社会生活等诸多领域，传世唐卡大都是藏传佛教和本教作品。 唐卡是藏族文化中一种独具特色的绘画艺术形式。",[23,7,142,48,28,27,860,861,862],"布料","云","火焰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc45b75d2d19f4d7bac59bc0e28e8dbc.jpg",[],64,{"id":867,"slug":868,"title":869,"dynasty":18,"author":870,"museum":68,"description":871,"tags":872,"thumbUrl":874,"material":419,"size":875,"collection":219,"collections":876,"showCount":865,"zanCount":11,"manualWeight":11,"mainColor":38},214244,"li-shu-liu-yan-lian-lu-hui-214244","隶书六言联","陆恢","笔墨沉厚含汉碑遗韵，蚕头燕尾间见古雅风骨。上联静观白水，澄澈如心之盟，笔意敛藏静气；下联遍访青山，以天地为笺打稿，笔画舒展似丘壑在胸。动静相济的联句，借隶书沉稳灵动之态，铺展文人观物雅趣——于静水照见本心，于青山撷取画魂。墨色浓淡相宜，结体端方却不失活脱，每一笔皆似与自然对话，融山水之灵与书者之情于尺幅，尽显传统文人“外师造化，中得心源”的修为与意趣。",[23,25,216,873,215,109,7],"隶书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7eca515ee23c93b4a552187bf680dd89.jpg","85x20.1",[219],{"id":878,"slug":879,"title":880,"dynasty":18,"author":105,"museum":20,"description":881,"tags":882,"thumbUrl":883,"material":34,"size":34,"collection":34,"collections":884,"showCount":885,"zanCount":11,"manualWeight":11,"mainColor":38},224109,"kang-xi-yong-zheng-qian-long-jia-qing-dao-guang-yu-bi-wu-fu-tu-yi-ming-224109","康熙、雍正、乾隆、嘉庆、道光御笔五福图","五幅御笔福字各擅风神：康熙之福雍容浑朴，自带庙堂端稳气象；雍正笔力爽利刚劲，法度谨严见骨力；乾隆书体圆润舒展，尽显盛世舒展意态；嘉庆落笔秀雅内敛，静穆端方；道光笔触朴拙厚重，自带沉凝质感。\n\n每字上方钤朱红帝王宝玺，小字题识附于其下，呼应御笔身份。米黄地子衬缠枝暗纹，朱印墨字相映成趣，将五朝帝王的书法意趣，与传统五福祥瑞之意相融，兼具书法审美价值与吉祥文化内涵。",[23,7,216,25,684,32,358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa5f2a0a8689aba2be7855d85362368a.jpg",[],63,{"id":887,"slug":888,"title":889,"dynasty":18,"author":105,"museum":68,"description":890,"tags":891,"thumbUrl":894,"material":895,"size":896,"collection":58,"collections":897,"showCount":898,"zanCount":11,"manualWeight":11,"mainColor":38},238870,"mei-gui-fei-chun-gui-ren-xing-le-tu-zhou-yi-ming-238870","玫贵妃春贵人行乐图轴","此图描绘玫贵妃与春贵人、鑫常在花园中钓鱼的情景。人物形神毕肖，个性鲜明，明显带有肖像画特征，对研究晚清嫔妃的宫廷娱乐生活具有较为珍贵的影像价值。\n此图所绘主人公玫贵妃，姓徐佳氏，是清代咸丰皇帝的嫔妃，初为贵人，后进玫嫔。同治皇帝在位时，尊封其为玫贵妃。",[24,109,27,28,48,792,476,29,30,111,892,92,893,7],"栏杆","池塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0271796fde7f4f01e55be68f0f4a86c.jpg","纸本设色","纵169cm，横90cm",[58,133],62,{"id":900,"slug":901,"title":902,"dynasty":18,"author":105,"museum":20,"description":903,"tags":904,"thumbUrl":905,"material":34,"size":34,"collection":150,"collections":906,"showCount":907,"zanCount":153,"manualWeight":11,"mainColor":154},245370,"jin-fu-yi-ming-245370","金佛","此像宝相慈悲端严，垂目敛容，神态静谧祥和。通体鎏金，色泽明丽华贵。背光以累丝技法打造，火焰轮廓灵动舒展，嵌饰松石与珍珠，宝气盈盈，两侧祥龙攀附护持，更添庄严法相。\n\n佛像结跏趺坐于嵌满东珠的莲台，莲瓣饱满圆润，结禅定印尽显静定妙谛。衣纹婉转流畅，线条柔和精妙，将佛国清净庄严与宫廷精工匠心融于一体，沉静之间自有摄人的神圣气场，是金细作与造像艺术相融的上乘之作。",[7,142,143,448,144,145,369,246],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ec4bedac1f0f192b6a0fe1c33abe33.jpg",[150],61,{"id":909,"slug":910,"title":911,"dynasty":18,"author":105,"museum":20,"description":912,"tags":913,"thumbUrl":920,"material":34,"size":34,"collection":191,"collections":921,"showCount":922,"zanCount":153,"manualWeight":11,"mainColor":38},241769,"huang-bi-xi-dai-zhu-cui-shi-shi-ba-zi-shou-chuan-yi-ming-241769","黄碧玺带珠翠饰十八子手串","这串手串以黄碧玺为主体，澄澈珠身隐含金丝内纹，如将碎熔的日光凝于腕间。珊瑚米珠作隔，暖橙撞亮暖金，层次顿生。莹润清翠的翡翠为佛头与背云，揉入一抹柔润冷色，调和明媚基调。下垂饰串以珍珠错落串联，随形粉碧玺坠角娇妍粉嫩，随轻摇漾开柔润光泽。\n整体工巧雅致，将各色宝石的天然肌理相融，明暗交织间尽显旧时闺阁细腻审美，腕间轻垂，既是清贵的装饰，亦是东方雅致意趣的缩影。",[7,234,914,915,916,466,917,918,263,919,626],"串饰","黄碧玺","翡翠","粉晶","十八子","珠翠饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fced5fc751cb020d79465b28e6cb99d29.jpg",[191],60,{"id":924,"slug":925,"title":926,"dynasty":18,"author":105,"museum":20,"description":927,"tags":928,"thumbUrl":931,"material":34,"size":34,"collection":191,"collections":932,"showCount":933,"zanCount":11,"manualWeight":11,"mainColor":606},241729,"cui-lou-shuang-xi-bei-yun-yi-ming-241729","翠镂双喜背云","满色正阳翠绿，莹润鲜亮水头饱满。以透雕技法打造，主体为双喜吉纹，缠枝卷叶环绕勾勒轮廓，线条婉转利落，镂空处虚实相映，将喜庆之意融于翠玉之中。雕工规整细致，既保留翠料的温润质感，又让纹样精巧灵动，将中式吉祥寓意凝于方寸之间，尽显雅致华贵的古韵风华。",[7,186,144,929,930,234],"镂刻","双喜纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce557eee8a207d573d143cff2368be97.jpg",[191],59,{"id":935,"slug":936,"title":937,"dynasty":18,"author":938,"museum":44,"description":939,"tags":940,"thumbUrl":944,"material":129,"size":945,"collection":133,"collections":946,"showCount":933,"zanCount":11,"manualWeight":11,"mainColor":38},238228,"hong-li-xing-le-tu-zhou-zhang-ting-yan-238228","弘历行乐图轴","张廷彦","此画描绘了乾隆皇帝在园囿中休闲自娱的场面。深秋的庭院，林木依旧繁茂，色彩十分丰富。中年的皇帝闲坐于廊下观赏庭中景致，若有所思，桌案上已经铺设了纸砚，一童子侍立，手执拂尘，一童子正捧书册而至。画中楼阁桥梁以直尺界笔描绘，融明代仇英的传统建筑画技法与海西透视法于一体，工致而不呆板。",[24,25,109,28,27,741,7,48,433,110,740,941,942,943],"花草","建筑","人物活动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F238dc91c650fc7be74daa9b715d2f6b8.jpg","纵119.1厘米，横213厘米",[133],{"id":948,"slug":949,"title":950,"dynasty":18,"author":105,"museum":20,"description":951,"tags":952,"thumbUrl":953,"material":77,"size":34,"collection":34,"collections":954,"showCount":933,"zanCount":11,"manualWeight":11,"mainColor":38},215862,"qing-dai-gong-ting-ren-wu-hua-ce-10-yi-ming-215862","清代宫廷人物画册-10","侧身而立的身影，凝着清代宫廷的庄重气韵。深蓝常服裹住挺拔身形，胸前补子上仙鹤振翅欲飞，羽纹纤毫毕现；袍脚缠枝花卉晕染柔丽色泽，袖口绣纹层叠如浪。顶戴红缨与翠羽相映，添几分贵气。旧纸泛黄斑驳，似载时光低语，将百年前宫廷风貌凝于笔端。每处纹饰藏着规制与匠心，人物神态沉静，仿佛能窥见当年朝堂之外的片刻从容，岁月的痕迹更衬得这幅画古韵悠长，每一笔都藏着对往昔风貌的细腻描摹。",[7,47,28,27,48,313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57f8f8e7c98cdeb0905f31ec4bc95153.jpg",[],{"id":956,"slug":957,"title":958,"dynasty":18,"author":959,"museum":574,"description":960,"tags":961,"thumbUrl":966,"material":895,"size":967,"collection":34,"collections":968,"showCount":969,"zanCount":11,"manualWeight":11,"mainColor":38},223233,"mu-zi-ping-an-tu-ren-yi-223233","母子平安图","任颐","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。",[23,7,24,25,28,962,26,963,964,94,110,290,291,965,330],"写意","母鸡","小鸡","草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f8484418d23a6d00d3a4500767ec3af.jpg","150cmx40cm",[],56,{"id":971,"slug":972,"title":869,"dynasty":18,"author":973,"museum":68,"description":974,"tags":975,"thumbUrl":976,"material":419,"size":977,"collection":219,"collections":978,"showCount":979,"zanCount":11,"manualWeight":11,"mainColor":38},214240,"li-shu-liu-yan-lian-xia-ding-214240","夏鼎","这幅隶书联作，笔法古拙沉厚，蚕头燕尾的波磔分明却不张扬，横画舒展如古松偃卧，竖笔挺劲似石笋立崖。字形宽博方正，规整中藏灵动——“飞”字撇捺轻扬带行云意，“月”字弧笔圆转含清辉态。两联对称呼应，墨色浓淡相宜，枯笔见筋骨，润笔显华滋，章法疏朗气脉贯通。整体气息雅正醇厚，既有汉隶古朴沉雄遗韵，又融个人笔意鲜活灵动，将六言联语文趣与隶书金石味完美糅合。观之如临古雅书斋，墨香与诗韵交织，笔墨间见岁月沉淀的温润风骨，尽显传统书法的静穆之美与文人意趣。",[23,7,216,873,215,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa47e82bd1e4d31ff74ba3a8613e2d34b.jpg","130.8x29.4",[219],55,{"id":981,"slug":982,"title":983,"dynasty":18,"author":105,"museum":20,"description":984,"tags":985,"thumbUrl":988,"material":34,"size":34,"collection":191,"collections":989,"showCount":990,"zanCount":11,"manualWeight":11,"mainColor":38},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。",[186,144,602,188,174,727,986,987,7],"活环","带盖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33c7b6d76e1f52bad21b6f3c7a630cbe.jpg",[191],51,{"id":992,"slug":993,"title":994,"dynasty":18,"author":105,"museum":20,"description":995,"tags":996,"thumbUrl":997,"material":34,"size":34,"collection":191,"collections":998,"showCount":990,"zanCount":11,"manualWeight":11,"mainColor":154},241795,"bai-yu-qian-bao-shi-bian-fang-yi-ming-241795","白玉嵌宝石扁方","莹白美玉为底，质地匀净温润如凝脂初雪，铺陈出雅致底色。两端嵌饰取荷塘清趣为景，翠色翡翠雕就舒展荷叶，脉络分明尽显鲜活生机，粉、红彩宝雕琢花苞与饰件，明丽撞色晕开灵动意趣，将夏塘一隅的恬然景致凝于发间。\n\n整器修长秀雅，将玉石清贵与彩宝明丽相融，匠意精巧，把江南夏塘的柔婉诗意藏进日常首饰，雅致与鲜活兼具，尽显旧时精致审美意趣。",[7,186,145,303,29,234,144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16147e4a7f0d9eb198459d2b9b9037c7.jpg",[191],{"id":1000,"slug":1001,"title":1002,"dynasty":18,"author":1003,"museum":20,"description":1004,"tags":1005,"thumbUrl":1006,"material":409,"size":410,"collection":34,"collections":1007,"showCount":990,"zanCount":11,"manualWeight":11,"mainColor":38},237934,"za-hua-ce-zhu-da-237934","杂画册","朱耷","朱耷（1626年—约1705年），原名朱统𨨗，字刃庵，号八大山人、雪个、个山、人屋、道朗等，出家时释名传綮，汉族，江西南昌人 。明末清初画家，中国画一代宗师。",[96,7,683,962,405,90,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3541396bcba653734846251d31deed0f.jpg",[],{"id":1009,"slug":1010,"title":1011,"dynasty":18,"author":1012,"museum":68,"description":1013,"tags":1014,"thumbUrl":1015,"material":419,"size":1016,"collection":219,"collections":1017,"showCount":990,"zanCount":11,"manualWeight":11,"mainColor":62},214245,"li-shu-qi-yan-lian-ruan-yuan-214245","隶书七言联","阮元","此联隶书笔力沉雄如铸鼎，笔画厚拙含金石气，结体端严中见灵动。取法汉隶碑版遗意，却不泥古，每一字若老松盘根，筋骨内蕴。墨色浓淡相济，枯润交错，显书写时从容气度。联语与笔墨交融，兼具学者沉静与书家豪情，对称章法间韵致自生。清代碑学兴盛，此作正是典型体现，观之如临古碑前，朴拙雅正之美扑面而来，尽显传统书法的厚重底蕴与艺术张力，于方寸间藏千年碑版风骨。",[23,7,216,873,215,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c39a32dc4ddd725fe7c8d28188b7e89.jpg","124x25",[219],{"id":1019,"slug":1020,"title":1021,"dynasty":18,"author":105,"museum":20,"description":1022,"tags":1023,"thumbUrl":1024,"material":34,"size":34,"collection":1025,"collections":1026,"showCount":1028,"zanCount":153,"manualWeight":11,"mainColor":38},236420,"yuan-ji-zhu-lan-tu-zhou-yi-ming-236420","原济竹兰图轴","石涛（1642年－1708年），清初画家，原姓朱，名若极，广西桂林人，祖籍安徽凤阳，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等。南明元宗朱亨嘉之子，与弘仁、髡残、朱耷合称“清初四僧”。石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》，《搜尽奇峰打草稿图》，《山水清音图》，《竹石图》等。著有《苦瓜和尚画语录》。名言有“”一画论‘、“搜尽奇峰打草稿”，‘笔墨当随时代’等。",[24,109,683,328,579,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffbbf2516dddb2cd2d26eee2b4d6cb66.jpg","水墨画精选",[1025,1027],"竹石精选",50,{"id":1030,"slug":1031,"title":1032,"dynasty":18,"author":1033,"museum":20,"description":1034,"tags":1035,"thumbUrl":1038,"material":34,"size":34,"collection":34,"collections":1039,"showCount":1028,"zanCount":11,"manualWeight":11,"mainColor":38},224118,"yu-bi-da-shi-xiang-bing-xin-jing-tu-qian-long-224118","御笔大士像并心经图","乾隆","此作书画合璧，首段白描观音大士，衣袂如流云舒展，趺坐莲台，线条清隽空灵，将大士的温婉端凝勾勒得形神兼备。\n\n其后小楷《心经》笔致沉劲端雅，结体匀整秀逸，墨色匀净乌亮，字字安稳静穆，经文旁辅以注音小字，尽显书写时的恭谨至诚。\n\n朱印鲜亮点缀素幅，红白相映愈见清雅古意。整幅作品将佛理禅意落于笔端，绘事简而有神，书丹工而不板，笔墨间浸着庄严肃穆的虔诚，是兼具笔墨造诣与禅心的精妙之作。",[23,24,96,25,109,7,1036,27,1037,683,142,48,32,614],"白描","楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72e6e6a56dd394a9cbc245ad6b393c1b.jpg",[],{"id":1041,"slug":1042,"title":1043,"dynasty":18,"author":1044,"museum":87,"description":1045,"tags":1046,"thumbUrl":1050,"material":56,"size":1051,"collection":78,"collections":1052,"showCount":1028,"zanCount":165,"manualWeight":11,"mainColor":62},218934,"lu-yan-tu-tong-heng-218934","芦雁图","童衡","翔雁振翅俯冲，羽色斑斓层次分明；轻禽蜷卧石畔，茸毛细腻如触可感。疏苇劲挺，穗芒随风轻扬；蓝花数点，点缀坡岸野趣。画面动静相宜，工致笔触间藏逸气，温润绢底衬得草木禽鸟鲜活灵动。飞者姿态矫健，似携风声掠空；栖者神情悠然，若享片刻安宁。芦苇的苍劲与花草的柔媚相映，禽鸟的生动与背景的静谧相和，尽显清代花鸟写生之清雅生机，于简约构图中蕴自然意趣，观之如临郊野，满溢鲜活灵动的生命气息。",[24,25,28,27,112,1047,1048,1049,113,26,7],"雁","芦苇","菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74094fc2a952daf18c529cd8039ea047.jpg","81x33cm",[78],{"id":1054,"slug":1055,"title":1056,"dynasty":18,"author":1057,"museum":20,"description":1058,"tags":1059,"thumbUrl":1060,"material":850,"size":1061,"collection":58,"collections":1062,"showCount":1028,"zanCount":11,"manualWeight":11,"mainColor":38},216734,"liu-shui-zhi-yin-tu-huang-shen-216734","流水知音图","黄慎","《高山流水遇知音》是钟子期和俞伯牙的故事，用插图的方式再现了这个故事，虽然意境不是很高，但笔触粗拙，是黄慎的典型面目。",[23,24,25,96,7,109,683,962,48,669,110,407,764,342],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8719be88666ba739e59fcf8f941b3ab1.jpg","164x82",[58],{"id":1064,"slug":1065,"title":1066,"dynasty":18,"author":1067,"museum":44,"description":1068,"tags":1069,"thumbUrl":1071,"material":77,"size":1072,"collection":78,"collections":1073,"showCount":1028,"zanCount":11,"manualWeight":11,"mainColor":38},216233,"shi-jun-quan-tu-ai-qi-meng-216233","十骏犬图","艾启蒙","图为乾隆皇帝在宫中豢养的欧洲纯种猎犬画像。作者以西方的素描技法，运用解剖学，以短细的笔触一丝不苟地刻画出猎犬健美的体态和皮毛的质感，具有极强的写实性。每幅图的对开上均标明犬名，对宫廷御用犬的研究具有极高的史料价值。图中的衬景山水是中国画家创作的。中西画家携手创作是乾隆朝宫廷绘画的一大特色。\u2028　　款署：“臣艾启蒙恭绘。”钤“臣艾启蒙”白文印、“恭画”朱文印。每图对开页有嵇璜书写的乾隆朝大学士汪由敦和梁诗正撰写的题赞。鉴藏印有“乾隆鉴赏”、“宜子孙”等。\u2028　　此图旧藏紫禁城内的乐寿堂。《石渠宝笈》著录。",[23,7,24,27,28,1037,32,174,1070,111,289,669],"犬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ffec4435ecb0b05c797d72ed5d75aa9.jpg","纵24.5厘米，横29.3厘米",[78],{"id":1075,"slug":1076,"title":1077,"dynasty":18,"author":1078,"museum":20,"description":1079,"tags":1080,"thumbUrl":1082,"material":409,"size":410,"collection":34,"collections":1083,"showCount":1084,"zanCount":153,"manualWeight":11,"mainColor":38},239933,"jin-nong-xiang-he-jing-zhou-jin-nong-239933","金农相鹤经轴","金农","金农（1687年—1763年），男，字寿门、司农、吉金，号冬心先生、稽留山民、曲江外史、昔耶居士等，因其人生历经康熙、雍正、乾隆三朝，所以自封“三朝老民”的闲号，钱塘（今浙江杭州）人，布衣终身。清代书画家，扬州八怪之首。\n他好游历，卒无所遇而归。晚寓扬州，卖书画自给。嗜奇好学，工于诗文书法，诗文古奥奇特，并精于鉴别。书法创扁笔书体，兼有楷、隶体势，时称“漆书”。五十三岁后才工画。其画造型奇古，善用淡墨干笔作花卉小品，尤工画梅。\n代表作有《东萼吐华图》《空捍如洒图》《腊梅初绽图》《玉蝶清标图》《铁轩疏花图》《菩萨妙相图》《琼姿俟赏图》等。著有《冬心诗集》《冬心随笔》《冬心杂著》等。",[7,109,216,873,1081,683],"漆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95b3656d42a4a75794538d78fd3eb256.jpg",[],49,{"id":1086,"slug":1087,"title":1088,"dynasty":18,"author":105,"museum":20,"description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，明末清初书画家、文学家。一名祚明，字尔礼，又字玄恭，号恒轩，又自号归藏、归来乎、悬弓、园公、鏖鏊钜山人、逸群公子等，昆山（今属江苏）人。明代散文家归有光曾孙，书画篆刻家归昌世季子，明末诸生，与顾炎武相友善，有“归奇顾怪”之称，顺治二年在昆山起兵抗清，事败亡命，善草书、画竹，文章胎息深厚，诗多奇气。有《玄弓》《恒轩》、传世者名《归玄恭文钞》《归玄恭遗著》。",[23,7,25,682,684,683,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0175a63c532bdaa1c34eaf797535b8ec.jpg","纵24.5厘米，横35.5厘米",[219],38,{"id":1238,"slug":1239,"title":1240,"dynasty":18,"author":105,"museum":68,"description":1241,"tags":1242,"thumbUrl":1245,"material":28,"size":1246,"collection":133,"collections":1247,"showCount":1236,"zanCount":11,"manualWeight":11,"mainColor":38},219363,"dong-hai-xun-lu-tu-zhou-yi-ming-219363","东海驯鹿图轴","依据乾隆乙丑（1745）的御题，此画为宁古塔将军进献的东海所产驯鹿。体型如牛，性情温驯，与麋鹿非常接近。从画的尺幅看来，有描绘动物原寸大小的意图，与其他郎世宁所画的骏马、骏犬等以原寸表现的作法一样。画中驯鹿的眼睛有细腻的高光处理，另外对于毛色也有微妙地掌握，特别是驯鹿脸部神情的表达，似乎也让观者能感受它的驯良可爱性格。本图无款，然画法水准可能出自郎世宁。",[24,28,27,174,1243,109,7,325,1244],"鹿","动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d52e7b832daa560d07e49a96985f005.jpg","211.8x215.4",[133],{"id":1249,"slug":1250,"title":1251,"dynasty":18,"author":105,"museum":20,"description":1252,"tags":1253,"thumbUrl":1256,"material":34,"size":34,"collection":150,"collections":1257,"showCount":1258,"zanCount":11,"manualWeight":11,"mainColor":154},251518,"bi-yu-shi-ba-luo-han-zu-cha-ba-na-ta-ga-zun-zhe-yi-ming-251518","碧玉十八罗汉-租查巴纳塔嘠尊者","此作取料碧玉，色泽匀净苍润，凝腻莹泽。罗汉结跏趺坐，面容清癯高古，长髯垂胸，眉眼低垂，正潜心运笔落于砚板之上，神态沉静安然，将高僧著述时的专注澹定刻画入微。衣褶流转自然，线条柔婉却暗含挺括质感，褶皱层次分明，写实生动。座侧衬饰莲华，更添出尘清雅之态。\n\n整器刀法浑朴老辣，造型浑厚沉稳，形神兼备，尽显清代玉雕写实功力，将尊者内敛超脱的气度诠释得淋漓尽致，是一件极具匠心的玉雕精品。",[186,144,142,48,7,1254,1255],"罗汉","玉雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F431c0c74a69aed6d7015915a97022c06.jpg",[150],37,{"id":1260,"slug":1261,"title":1262,"dynasty":18,"author":959,"museum":20,"description":960,"tags":1263,"thumbUrl":1267,"material":409,"size":410,"collection":34,"collections":1268,"showCount":1258,"zanCount":11,"manualWeight":11,"mainColor":38},235115,"xi-zhi-ai-e-tu-zhou-ren-yi-235115","羲之爱鹅图轴",[24,25,109,28,683,1036,48,328,1264,1244,331,7,1265,1266],"鹅","传统","工写结合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04fa5201165d8c09e15839d296e87072.jpg",[],{"id":1270,"slug":1271,"title":1272,"dynasty":18,"author":105,"museum":20,"description":1273,"tags":1274,"thumbUrl":1276,"material":77,"size":34,"collection":58,"collections":1277,"showCount":1258,"zanCount":11,"manualWeight":11,"mainColor":38},215884,"qing-dai-xing-fa-ji-lu-tu-ce-1-yi-ming-215884","清代刑罚记录图册-1","画面以写实笔触铺展清代刑罚场景：左侧受刑者跪伏在地，红衣褐裤裹着蜷缩的身躯，面露苦楚尽显卑微；旁立行刑者蓝衣束身，高举刑具的动作凌厉，透着不容置喙的威慑；右侧紫袍者手持纸笔静立，神情肃穆作记录状，旁观姿态更添场景的压抑感。色彩对比鲜明，红褐的沉郁与蓝紫的冷硬交织，勾勒出权力与惩戒的张力。线条简练却精准捕捉神态，受刑者的蜷缩、行刑者的决绝、记录者的冷峻，层层铺陈出司法场景的森严。它以具象视觉语言，将制度威严与个体境遇浓缩于方寸，既是刑罚实况的生动留存，也为窥见清代社会秩序提供了鲜活的图像注脚。",[7,28,48,90,1275],"刑罚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd74468a25c6a13c4db2144eeb2f275b5.jpg",[58],{"id":1279,"slug":1280,"title":1281,"dynasty":18,"author":105,"museum":20,"description":1282,"tags":1283,"thumbUrl":1285,"material":77,"size":34,"collection":34,"collections":1286,"showCount":1258,"zanCount":153,"manualWeight":11,"mainColor":38},215868,"qing-dai-gong-ting-ren-wu-hua-ce-1-yi-ming-215868","清代宫廷人物画册-1","端坐的身影裹着一身流光溢彩的华服，蓝紫底色上，龙纹与祥云交织成流动的星河，青绿点缀其间，似将春日生机锁进衣袂。朱红椅幔垂落，衬得人物眉眼沉静，唇边淡笑藏着宫廷深处的威仪与从容。脚踏青绿如苔痕，椅脚线条简洁却不失庄重，每一处纹饰都低语着旧时规矩与精致。泛黄纸页晕开时光痕迹，而画中锦绣、那份气度仍鲜活如昨，仿佛伸手便能触到当年宫廷里的暖光与静穆。这不仅是一幅肖像，更是一段凝固的旧梦，在色彩与线条间，窥见清代宫廷的庄重与华美。",[24,96,7,27,28,48,1284,313],"宫廷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa04af866bb80c765e6868aec967aa5a9.jpg",[],{"id":1288,"slug":1289,"title":1290,"dynasty":18,"author":105,"museum":20,"description":1291,"tags":1292,"thumbUrl":1293,"material":34,"size":34,"collection":191,"collections":1294,"showCount":1295,"zanCount":11,"manualWeight":11,"mainColor":62},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。",[7,186,144,234,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a5735dd2bb562964717b654b8d7b19d.jpg",[191],35,{"id":1297,"slug":1298,"title":1299,"dynasty":18,"author":105,"museum":20,"description":1300,"tags":1301,"thumbUrl":1303,"material":34,"size":34,"collection":191,"collections":1304,"showCount":1295,"zanCount":11,"manualWeight":11,"mainColor":719},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。",[7,186,144,188,1302],"日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cce6aa8b93cd6e551a9bac8a0f833b1.jpg",[191],{"id":1306,"slug":1307,"title":1308,"dynasty":18,"author":1003,"museum":44,"description":1309,"tags":1310,"thumbUrl":1312,"material":34,"size":1313,"collection":219,"collections":1314,"showCount":1295,"zanCount":11,"manualWeight":11,"mainColor":38},239596,"shi-san-zha-ce-zhu-da-239596","十三札册","朱耷(1626-约1705)，明末清初画家，中国画一代宗师。本名由桵，字雪个，号八大山人、个山 、驴屋等，汉族，江西南昌人。明宁王朱权后裔。明亡后削发为僧，后改信道教，住南昌青云谱道院。擅书画，花鸟以水墨写意为主，形象夸张奇特，笔墨凝炼沉毅，风格雄奇隽永;山水师法董其昌，笔致简洁，有静穆之趣，得疏旷之韵。擅书法，能诗文。存世作品有《水木清华图》、《荷花水鸟图》等。\n八大山人的书法与他的绘画风格相似，极为简练，到晚年喜用秃笔，一变锐利的笔势而变成浑圆朴茂的风格。近人研究八大书法，追其师承渊源众说纷纭。或曰宗二王、宗董其昌、宗王宠等等，终如寻其书画师承，至今无一定论一样。据王方宇先生考证，最初，八大山人受欧阳询的影响很深，稍后学董其昌的行草，又转入黄庭坚的夸张开阔等，多方探索，再追寻魏晋人书法的气质，终于参用篆书笔法，形成自己独特的风格:中锋圆润，又婉约多姿且厚重浑成，富有晋人气度。他的书法的成就，主要是笔法的改变。\n朱耷是清代著名的书画家。他的简笔写意花鸟画，以独特的面貌，开一代新风。他的书法亦与他的绘画风格相似，极为简练，到晚年喜用秃笔，一变锐利的笔势而变成浑圆朴茂的风格。\n近人研究八大书法，追其师承渊源众说纷纭。或曰宗二王、宗董其昌、宗王宠等等，终如寻其书画师承，至今无一定论一样。据王方宇先生考证，最初，八大山人受欧阳询的影响很深，稍后学董其昌的行草，又转入黄庭坚的夸张开阔等，多方探索，再追寻魏晋人书法的气质，终于参用篆书笔法，形成自己独特的风格:中锋圆润，又婉约多姿且厚重浑成，富有晋人气度。他的书法的成就，主要是笔法的改变。\n八大山人在许多绘画作品上的款跋，相当精彩奇巧。如在绘画布局上发现有不足之处，有时用款书云补其意。八大山人也能诗，所以他的画即使画得不多，题上自己随兴发挥的诗，意境就充足了。\n此册集朱耷所书信札十三通装裱成册，故又称《十三札》册。每札均有作者题名“八大山人”，大部分钤有“八大山人”印，其中第四札钤“八还”印，第五札钤“十得”印，第十札钤“遥属”印。此十三札有六通上款“鹿村先生”，六通“西翁”，一通致“僧舍方丈”。实际上都是致好友方士管的，方氏为八大的书画资助人和代理商，故札中所述多为友人间往还之事，其中不乏奉画、饮宴之约，借钱、谢赠等事，从中可以窥见八大山人当时生活的一个侧面，具有重要的文献价值。从书法风格及落款形式分析，此十三札大致为朱耷晚年之作。末开附清李葆恂题识四则。钤“李文石”、“臣葆恂印”、“文石”、“葆恂”、“文石父”等印多方。又册中第四札裱边有游悔庐主人题诗一首。\n是册书法挥洒自如，行草相间，无拘滞之感，盖由于书者致书友人，全无拘束，缘纸走笔，纵横驰骋，了无挂碍，自能得其书法真趣。此册不仅具有一定的史料价值，而且在书法艺术方面也同样具有很高的艺术价值。",[7,25,216,684,90,1311],"墨笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc227c47f7b3a82770e5a83861f7a72cb.jpg","纵24.6cm，横15.1cm",[219],{"id":1316,"slug":1317,"title":1318,"dynasty":18,"author":1319,"museum":20,"description":1320,"tags":1321,"thumbUrl":1322,"material":409,"size":410,"collection":34,"collections":1323,"showCount":1295,"zanCount":11,"manualWeight":11,"mainColor":38},239247,"mu-dan-shi-liu-zhong-ce-jiang-ting-xi-239247","牡丹十六种册","蒋廷锡","蒋廷锡（1669年－1732年），字酉君、杨孙，号南沙、西谷，又号青桐居士，江苏常熟人，清朝康熙、雍正时期官员、画家、文献学家、藏书家。\n蒋廷锡为康熙四十二年（1703年）进士，授翰林编修。雍正帝即位后历任礼部侍郎、户部尚书等职。雍正六年（1728年）拜文华殿大学士，仍兼理户部事，并任《明史》总裁。次年（1729年）加太子太傅。累封一等阿达哈哈番。雍正十年（1732年）卒于任内，谥号“文肃”。\n蒋廷锡在官秉公抚政、剔除积弊，声誉甚著。为人博学精敏，尤善诗画。擅长花鸟，以逸笔写生，奇正率工，敷色晕墨，兼有一幅，能自然洽和，风神生动，得恽寿平韵味。点缀坡石，偶作兰竹，亦具雅致。曾画塞外花卉70种，被视为珍宝收藏于宫廷。今有《牡丹扇面》《岁岁久安图》《桃花鹦鹉图》《竹石图》轴及《花卉图》等传世。",[24,25,90,27,28,26,93,92,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7b4c8a7cc4b86d23ffb9f19aa776519.jpg",[],{"id":1325,"slug":1326,"title":1327,"dynasty":18,"author":105,"museum":20,"description":1328,"tags":1329,"thumbUrl":1330,"material":34,"size":34,"collection":58,"collections":1331,"showCount":1295,"zanCount":11,"manualWeight":11,"mainColor":154},230310,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-san-a-ge-yin-zhi-yi-ming-230310","历代帝王贵妃大臣朝服像(三阿哥胤祉)","此帧坐像工稳端严，画中男子正襟危坐，神色沉敛肃穆，尽显贵胄威仪气度。石青朝服遍饰精繁彩绣团龙补纹，针脚细密灵动，衬出礼制华贵，领间朝珠莹润垂坠，细节考究合度。髹漆宝座雕纹磅礴大气，龙纹栩栩生动，搭配铺陈的地锦纹样，烘托出庄重肃穆的庙堂氛围。\n\n整体设色典雅厚重，晕染细腻写实，将官方肖像画纪实工致的特质尽显无疑，装裱配色沉稳古雅，晕开旧时光的沉静质感，精准描摹出人物身份礼制与肖像写实的精妙融合，是庙堂肖像画的典型佳作。",[23,24,28,27,48,313,187,109,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff830a08fd4c826073b69a616c453c1b.jpg",[58],{"id":1333,"slug":1334,"title":1335,"dynasty":18,"author":105,"museum":20,"description":1336,"tags":1337,"thumbUrl":1339,"material":56,"size":34,"collection":58,"collections":1340,"showCount":1295,"zanCount":11,"manualWeight":11,"mainColor":62},216041,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-4-ce-yi-ming-216041","职贡图巨幅彩绘册页第4册","画面分左右两帧，各绘人物一。左帧人物衣饰层叠，深色裙摆缀彩边，背篓插伞，手持长杖，神态从容；右帧男子赤足躬身，蓝布装束，握锄耕作，动作写实。笔触细腻，线条流畅，色彩淡雅却不失鲜明，人物形象鲜活传神。画作既展现不同身份者的日常状态，又暗含地域文化特色，通过服饰、工具与姿态的细节刻画，传递出浓郁的生活气息与人文风貌，是窥见清代边地民俗与艺术风格的生动窗口。",[23,7,24,90,28,27,48,798,1338],"农具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dcab53bbb3176cbc6ce477d2269fdd8.jpg",[58],{"id":1342,"slug":1343,"title":1344,"dynasty":18,"author":105,"museum":20,"description":1345,"tags":1346,"thumbUrl":1350,"material":409,"size":410,"collection":34,"collections":1351,"showCount":1352,"zanCount":153,"manualWeight":11,"mainColor":62},229566,"shuang-long-yan-yu-mo-yi-ming-229566","双龙砚御墨","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[7,1347,1348,1349,187,144,429,392],"文房","砚","墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23f0ad1a07fc474546c66f85e9186ea6.jpg",[],34,{"id":1354,"slug":1355,"title":1356,"dynasty":18,"author":1357,"museum":20,"description":1358,"tags":1359,"thumbUrl":1360,"material":409,"size":410,"collection":34,"collections":1361,"showCount":1362,"zanCount":11,"manualWeight":11,"mainColor":38},238886,"hua-hui-ce-dong-gao-238886","花卉册","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，乾隆帝将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），首席军机大臣，上书房总师傅，钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，赠太傅，赐谥号文恭，入祀贤良祠。嘉庆亲写哀诗“只有文章传子侄，绝无货币置田庄”，并亲自拨款建立“董公祠”。",[24,25,90,28,27,26,92,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb3b177bcdb764dec1a9f648c445f800.jpg",[],33,{"id":1364,"slug":1365,"title":1366,"dynasty":18,"author":105,"museum":44,"description":1367,"tags":1368,"t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的满族人后裔，严格遵守满清骑 射尚武典制。他通过带游乐性质 的狩猎活动，将满人弯弓射箭的 传统习俗发扬光大。为了弘扬这 种尚武精神，乾隆谕令宫廷西洋 画师郎世宁以及中国宫廷画家 创作了数十幅专门表现他行围 狩猎的画作，真实记录了乾隆在 不同历史时期的狩猎情景。此图 便是表现他射兔的作品。",[24,27,28,342,48,343,111,110,1369,685,7],"瀑布","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa64335c000347f96a1ea2e26f054d053.jpg","纵 258 厘米，横 172 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金农的行书从其早期开始就不入常格，而以碑法与自家的“漆书”法写成的行草书，用笔率真，随心所欲，点画浪藉而又笔墨醇厚，粗头烂服之间，透出苍逸稚拙之趣，令人叹服；其“写经雕版”式的楷书，似乎与民间书法一脉相通，没有轻重的线条变化和圆润的转折用笔，也没有提顿中的波挑，以均匀的线条和方硬的转折，书写出类似单线体美术字的书体，却又具有器形文字般的古茂，其书法的启迪意义非常深远。传世书迹有《度量如海帖》，今流入日本。《盛仲交赞》，绢本漆书。\n\n绘画成就:\n年五十始从事于画，涉笔即古，脱尽画家之习，良由所见古迹多也。初写竹师石室老人，号稽留山民，继画梅师白玉蟾，号昔邪居士。画佛号心出家盦粥饭僧。又画马自谓得曹、韩法，赵王孙不足道也。其山水花果布置幽奇，点染闲冷，非复尘世间所睹，盖皆意为之。问之则曰贝多龙窠之类也。他画梅，自称“江路野梅”、要求“天大寒时香千里”，画马题道：“今予画马，苍苍凉凉，有顾影酸嘶自怜之态，其悲跋涉之劳乎？世无伯乐，即遇其人，亦去暮矣？吾不欲求知于风尘漠野之间也。”足见其怀才不遇的心情。他在一册页上画一士大夫高卧四面通风的水池亭中，题曰：“风来四面卧当中”。逍遥自在，不及世事，亦以“清高”自居。金农申言要把自己“平生高岸之气”，一一见之画中。“以抒不平鸣”。在一幅《墨竹图》中，他竟然直书：“磨墨五升，画此狂竹，不钓阳鲚，而钓诸侯也。” 喜画瘦竹，说“画竹宜瘦，瘦多寿，自然饱风霜耳”。每画毕，必有题记，如“虚心高节，挺立不屈，久而不改其操，竹之美德也。”《雨后修篁图》题诗曰：“雨后修篁分外青，萧萧如在过溪亭。世间都是无情物，只有秋声最好听。”\n所画人物造型奇古夸张，笔法古拙简练，形象鲜明突出；山水构图别致，随意挥写点染，简朴疏秀 ；其梅、竹用笔奇拙 ，凝练厚重 。书法从《天发神谶碑》、《禅国山碑》、《谷郎碑》变化而出，运笔扁方，竖轻横重，别具奇趣，风格独特，自谓漆书。金农的书画在当时享誉很高 ，为扬州八怪之一 。有《山水人物册》、《月华图》、《携杖图》、《东萼吐华图》、《墨竹图》等传世。著《冬心诗集》、《冬心随笔》、《冬心杂著》等。",[23,7,216,109,1081,873,1557,32],"文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81e06d86f797680d46d9d80a553a1685.jpg","122×45cm",[],{"id":1562,"slug":1563,"title":1564,"dynasty":18,"author":1565,"museum":68,"description":1566,"tags":1567,"thumbUrl":1568,"material":419,"size":1569,"collection":219,"collections":1570,"showCount":1510,"zanCount":11,"manualWeight":11,"mainColor":62},214719,"xing-shu-shi-da-chong-guang-214719","行书诗","笪重光","这幅画是笪重光为他人的七十岁生日写的，笔触自然，特别是黄鲁直体。",[23,7,216,684,109,25,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbaf48b6e4dcb0aae8c599d8f8e45087.jpg","190.5x46.5",[219],{"id":1572,"slug":1573,"title":1574,"dynasty":18,"author":105,"museum":20,"description":1575,"tags":1576,"thumbUrl":1583,"material":409,"size":410,"collection":34,"collections":1584,"showCount":1585,"zanCount":11,"manualWeight":11,"mainColor":38},249531,"hua-fa-lang-cai-yun-ba-bao-lian-hua-wen-deng-yi-ming-249531","画珐琅彩云八宝莲花纹灯","此器以莲为盏，瓣色粉润柔婉，描金勾边衬出清雅娇姿。明黄为地釉色莹亮，缠枝纹蜿蜒舒展，八宝纹饰错落其间，宝相端严又含灵动生机。底座朱红双喜醒目鲜亮，于彩云中托举祥瑞之意。整器画工细腻入微，珐琅填色饱满匀净，配色明丽和谐，走线流畅利落，尽显工艺的精湛造诣，将礼佛的静穆意蕴与美满祈愿融于一体，是陈设与审美价值兼具的精妙之作。",[7,1577,1578,1579,1580,1581,1582,28,1179],"画珐琅","珐琅器","彩云","八宝","莲花纹","灯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18b31a05abeb5a3c25a113511384bef2.jpg",[],27,{"id":1587,"slug":1588,"title":1589,"dynasty":18,"author":105,"museum":20,"description":1590,"tags":1591,"thumbUrl":1592,"material":409,"size":410,"collection":34,"collections":1593,"showCount":1585,"zanCount":11,"manualWeight":11,"mainColor":62},245656,"ba-wu-cheng-jin-mi-le-pu-sa-xiang-yi-ming-245656","八五成金弥勒菩萨像","此像金身熠然，宝冠层叠华贵，垂缀的璎珞随身形婉转，勾勒出菩萨舒展修长的体态。菩萨神态恬然慈悲，左手轻揽生花宝枝，枝上莲华盛绽，缀有法轮圣饰，右手结印，自带清净庄严的气韵。周身缠枝卷叶灵动舒展，与衣袂垂纹相得益彰，下承仰莲须弥底座，錾刻纹饰细腻入微。\n\n整体熔铸錾刻工艺精妙绝伦，将造像的雍容华丽与菩萨的温润神性相融，静静伫立间尽显佛门造像的极致美学，是金作佛造像中的上乘佳构。",[7,143,142,48,144,258],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8df3e28013f21e7f0de7aa860379429c.jpg",[],{"id":1595,"slug":1596,"title":1597,"dynasty":18,"author":105,"museum":20,"description":1598,"tags":1599,"thumbUrl":1602,"material":34,"size":34,"collection":150,"collections":1603,"showCount":1585,"zanCount":11,"manualWeight":11,"mainColor":154},245476,"jin-qian-song-shi-fo-kan-yi-ming-245476","金嵌松石佛龛","尖拱鎏金佛龛，外壁錾刻缠枝莲纹，雅致华贵。边框以绿松石满镶，间饰宝相花嵌饰，冷暖撞色鲜明热烈，衬出内中造像的沉静端方。结跏趺坐的释迦牟尼右手施无畏印，铜像包浆醇厚，面容慈悲肃穆，朱红背光烘托出神圣肃穆的氛围感。这件作品将锤揲、镶嵌工艺融于一体，把藏地造像的庄严与金属细作的精美完美结合，尽显华贵庄严的宗教美学意蕴。",[7,143,145,144,142,1600,1601,705],"佛教","松石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa26d0bdc2d09840dcf3e5a6bc0f12604.jpg",[150],{"id":1605,"slug":1606,"title":1607,"dynasty":18,"author":105,"museum":20,"description":1608,"tags":1609,"thumbUrl":1613,"material":409,"size":410,"collection":34,"collections":1614,"showCount":1585,"zanCount":11,"manualWeight":11,"mainColor":1383},242011,"yin-du-jin-qian-zhu-bao-dian-hua-yi-ming-242011","银镀金嵌珠宝钿花","用金、银、玉、贝等做成的花朵状装饰品。",[7,228,143,145,465,1610,234,1611,448,1612],"钿花工艺","花卉造型","嵌宝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65288ae426398e177c25e5daf8e2ca4d.jpg",[],{"id":1616,"slug":1617,"title":1618,"dynasty":18,"author":105,"museum":20,"description":1504,"tags":1619,"thumbUrl":1622,"material":409,"size":410,"collection":34,"collections":1623,"showCount":1585,"zanCount":153,"manualWeight":11,"mainColor":154},241865,"tong-du-jin-dian-cui-qian-zhu-bao-hu-die-wen-zan-yi-ming-241865","铜镀金点翠嵌珠宝蝴蝶纹簪",[7,1620,233,462,1621,234],"铜镀金","蝴蝶纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b09341bc739ae6922c6916becf7aaf2.jpg",[],{"id":1625,"slug":1626,"title":1627,"dynasty":18,"author":105,"museum":20,"description":1628,"tags":1629,"thumbUrl":1630,"material":34,"size":34,"collection":191,"collections":1631,"showCount":1585,"zanCount":11,"manualWeight":11,"mainColor":38},241734,"cui-zhi-huan-yi-ming-241734","翠指环","此指环取天然翠料琢就，色泽晕染自然，浓淡渐变。一端翠色浓郁饱满，似将一掬仲夏潭水凝于其上，莹润鲜亮；另一端缓缓晕转为浅淡晴色，通透清灵，尽显翠玉水头十足。整体无过多雕饰，以素净形制凸显玉材质地的细腻温润，触手莹滑清凉。自带沉静内敛的雅致格调，将东方饰物以料为贵、以简为美的审美意韵娓娓道来，静静流淌着古雅温婉的旧时风情。",[7,186,234,144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec9e8fbd29f68ecff2539be748c8ac4a.jpg",[191],{"id":1633,"slug":1634,"title":1635,"dynasty":18,"author":426,"museum":20,"description":1636,"tags":1637,"thumbUrl":1639,"material":409,"size":410,"collection":34,"collections":1640,"showCount":1585,"zanCount":153,"manualWeight":11,"mainColor":38},236026,"ben-shi-shi-jia-mu-ni-fu-ding-guan-peng-236026","本师释迦牟尼佛","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。\n丁观鹏擅长画道释人物，也善画山水。曾与弟弟观鹤同供奉于南熏殿。他的画作清宫收藏很多。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有：《摹宋人雪渔图》和《仿韩 七子过关图》，均辑入《中国历代名画集》。",[7,24,27,28,142,48,1638,32,214,684],"莲花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65f5b2a6a5e1ab8fac54283430404232.jpg",[],{"id":1642,"slug":1643,"title":1644,"dynasty":18,"author":105,"museum":20,"description":1645,"tags":1646,"thumbUrl":1647,"material":34,"size":34,"collection":34,"collections":1648,"showCount":1585,"zanCount":11,"manualWeight":11,"mainColor":38},235223,"li-shan-ba-jiao-zhu-shi-tu-zhou-yi-ming-235223","李鱓芭蕉竹石图轴","阔笔泼墨写芭蕉，浓淡墨色晕染出叶片舒张之姿，苍润朴拙尽显天然意趣。修竹挺劲清瘦，细笔勾摹竿枝，竹叶错落灵动，与芭蕉形成刚柔相济的视觉反差。赭石点染顽石，浓墨缀苔，沉稳厚重托住画面重心，边角淡彩轻绘花草，添些许秀雅。\n\n两侧题跋笔意洒脱，书画相映，文气盎然。整幅以水墨为骨，略施淡彩，将写意风骨抒发尽致，朴野中见灵秀，笔墨间充盈疏放不羁的生机，尽显抒情达意的文人画特质。",[7,24,25,109,683,28,962,1164,328,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ba0e9d7db41fc40d9c44bd797f4f97e.jpg",[],{"id":1650,"slug":1651,"title":1652,"dynasty":18,"author":105,"museum":68,"description":1653,"tags":1654,"thumbUrl":1657,"material":1658,"size":1659,"collection":34,"collections":1660,"showCount":1585,"zanCount":153,"manualWeight":11,"mainColor":62},223555,"qing-qian-long-xiu-yun-shan-lou-ge-zhou-yi-ming-223555","清乾隆绣云山楼阁轴","此图由乾隆绘制，民间艺人绣于锦帛上。图绘仙境中金色云朵光芒耀眼，画面顶端楼宇飞檐翘壁，气势恢宏；从山底到达山顶的台阶数以千级，在山中蜿蜒向上；画上题：道洽三登",[23,7,1655,109,741,28,342,433,1163,344,1656,111],"刺绣","石阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99ea82acf26ee7a9c9b7346c798aedd8.jpg","白纸本","246.5x50.4cm",[],{"id":1662,"slug":1663,"title":1664,"dynasty":18,"author":735,"museum":736,"description":737,"tags":1665,"thumbUrl":1666,"material":581,"size":743,"collection":34,"collections":1667,"showCount":1585,"zanCount":11,"manualWeight":11,"mainColor":38},223053,"hong-lou-meng-178-sun-wen-223053","红楼梦178",[23,24,25,358,27,28,7,48,433,740,1165,798],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbde10915be8c63a5dcc911fd3eef1228.jpg",[],{"id":1669,"slug":1670,"title":1671,"dynasty":18,"author":105,"museum":20,"description":1672,"tags":1673,"thumbUrl":1676,"material":409,"size":410,"collection":34,"collections":1677,"showCount":37,"zanCount":11,"manualWeight":11,"mainColor":62},258341,"qing-hua-an-ba-xian-wen-wan-yi-ming-258341","青花暗八仙纹碗","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。",[7,752,1674,1675,188],"青花","暗八仙纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa24831a15c8aa20becac38f22bc9ab4.jpg",[],{"id":1679,"slug":1680,"title":1681,"dynasty":18,"author":105,"museum":20,"description":1682,"tags":1683,"thumbUrl":1685,"material":409,"size":410,"collection":34,"collections":1686,"showCount":37,"zanCount":11,"manualWeight":11,"mainColor":62},251188,"qing-yu-shi-er-chen-she-yi-ming-251188","青玉十二辰-蛇","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[7,186,144,174,1684],"生肖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3baad9f9bd7ec4afdd43c1885a3f891.jpg",[],{"id":1688,"slug":1689,"title":1690,"dynasty":18,"author":105,"museum":20,"description":1691,"tags":1692,"thumbUrl":1694,"material":409,"size":410,"collection":34,"collections":1695,"showCount":37,"zanCount":11,"manualWeight":11,"mainColor":62},241866,"xiang-zhu-bao-shi-qing-rong-feng-guan-yi-ming-241866","镶珠宝石青绒凤冠","以青绒为底，铺陈奢丽华章。累丝为骨层叠打造凤鸟，昂首振翅似欲凌风而上，周身遍嵌东珠，莹润珠光与金属冷辉相映成趣。帽身满缀珠串宝石，橙黄羽丝环绕帽檐，柔暖光泽中和珠宝冷硬质感。垂下的珠穗随步轻摇，流光错落间尽显皇家仪范。\n整体形制精巧繁复，花丝工艺细腻入微，将珠宝华贵与工艺匠心融为一体，尽显旧时首饰工艺巅峰水准，暗合礼制下的极致审美，将尊荣雅致凝于一顶之间，静静诉说着昔日宫廷的华贵雍容。",[7,145,144,234,188,313,860,1693,186,112],"珠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc180b93a1a11787e2e577db429f1995.jpg",[],{"id":1697,"slug":1698,"title":1699,"dynasty":18,"author":105,"museum":20,"description":1700,"tags":1701,"thumbUrl":1703,"material":409,"size":410,"collection":34,"collections":1704,"showCount":37,"zanCount":11,"manualWeight":11,"mainColor":62},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。",[7,1578,1577,28,327,231,1702,188],"枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99f9079f3aad1377f2871d45400df1ad.jpg",[],{"id":1706,"slug":1707,"title":1708,"dynasty":18,"author":1709,"museum":1710,"description":1711,"tags":1712,"thumbUrl":1716,"material":1717,"size":1718,"collection":131,"collections":1719,"showCount":37,"zanCount":11,"manualWeight":11,"mainColor":62},218268,"shan-ting-dui-zuo-tu-jin-kan-218268","山亭对坐图","金侃","耶鲁大学艺术博物馆","寒雪裹峰峦，雾霭轻缠远岫，如淡墨晕开的笺纸。岩畔山亭内，二人对坐，或谈诗或品茗？桥下冰溪暗淌，枯树老枝覆银，疏密间藏着冬日的疏朗。近坡屋舍隐于林麓，似在静待归人。笔墨清润，皴擦间见山石肌理，留白处显天地空寂。整幅画浸着清冷，却又透着文人的雅趣——于皑皑雪景里，觅得一份心之恬淡，让观者也随这山水，沉进那份寂静的安然中。",[23,24,1713,683,685,1714,1163,1715,669,110,690,48,111,7,1265,109],"山水画","山","小桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f4a4c77db794fd25064cded2ea813b8.jpg","绢本,水墨","189.9x85.7cm",[131],{"id":1721,"slug":1722,"title":1723,"dynasty":18,"author":105,"museum":20,"description":1724,"tags":1725,"thumbUrl":1729,"material":34,"size":34,"collection":755,"collections":1730,"showCount":1731,"zanCount":11,"manualWeight":11,"mainColor":38},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。",[7,1726,1727,144,1177,1507,552,1728,188],"漆器","剔红","开光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56dfcb76a9213a9fad385f5baf3182d2.jpg",[755],25,{"id":1733,"slug":1734,"title":1735,"dynasty":18,"author":1736,"museum":68,"description":1737,"tags":1738,"thumbUrl":1739,"material":1740,"size":1741,"collection":219,"collections":1742,"showCount":1731,"zanCount":11,"manualWeight":11,"mainColor":38},240279,"wu-yan-lian-huang-yi-240279","五言联","黄易","黃易（1744 年11月22日—1802年3月26日），字大易，號小松、秋盦，又號秋影庵主、散花灘人。浙江錢塘人，兼擅篆刻，與丁敬並稱丁黃，為“西泠八家”之一。\n嘗有聲幕府，以詩筒畫筆，與簿書迭進，不廢風雅。工書，嫺熟隸法。隸書摹校官碑額，小隸有似武梁祠題字。精於博古，故隸法中參以鐘鼎，愈見古雅。撫印為丁敬高弟，有出藍之譽。嘗謂“小心落墨，大膽奏刀”。二語可為刻印三昧。所至輒搜訪殘碑斷碣於荒煙宿莽間，孜孜惟恐不及。嘗自寫訪碑圖十六幀，頗有逸緻，翁方綱為之書碑文於上，最為精妙。山水法董、巨，冷逸幽雋，以澹墨簡筆寫取神韻，而有金石味。兼工花卉，宗惲壽平。官濟寧時，一花片葉皆能於斤庫易錢。間作墨梅亦饒逸緻。",[7,216,873,215,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5df6b9a65a431f9f3f26b1f2df21b164.jpg","水墨纸本","108.5×24cm",[219],{"id":1744,"slug":1745,"title":1746,"dynasty":18,"author":870,"museum":44,"description":1747,"tags":1748,"thumbUrl":1751,"material":850,"size":34,"collection":78,"collections":1752,"showCount":1731,"zanCount":11,"manualWeight":11,"mainColor":38},237345,"liu-e-zhou-lu-hui-237345","柳鹅轴","陆恢（1851—1920），清末民初著名画家。原名友恢，一名友奎，字廉夫，号狷叟，一字狷盫，自号破佛盫主人，原籍江苏吴江，居吴县（今江苏苏州）。",[24,25,109,7,28,683,1749,26,476,1264,1750,1048,407],"兼工带写","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bfeaabf9316dbd974dad4d28dbb93e0.jpg",[78],{"id":1754,"slug":1755,"title":1756,"dynasty":18,"author":105,"museum":20,"description":1757,"tags":1758,"thumbUrl":1760,"material":409,"size":410,"collection":755,"collections":1761,"showCount":1731,"zanCount":11,"manualWeight":11,"mainColor":38},229712,"kang-xi-yao-bao-shi-hong-guan-yin-zun-yi-ming-229712","康熙窑 宝石红观音尊","景德镇制瓷业，经过明末清初的战乱，虽然受到一定影响，但官窑、民谣两方面还是时断时续地维持着生产，康熙初期可说是官窑生产的复苏期。\n臧窑——清代康熙中期景德镇烧制的官窑瓷器，清代沿明制，在景德镇设御厂，经办官窑器，但实行“官搭民烧 ”制。\n且习惯上以督窑官命官窑名，著名者均在清前期。此时期的御窑瓷釉色品种甚多，可谓诸色俱备，以鲜红（豇豆红）为最著。 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兰竹石的画幅上，他题诗的形式变化多端，不守成规，不拘一格，自然成趣，达到书佳、行款得体，画亦随之增色。所谓行款得体，即是视画面的实际，进行构思，讲究构图的形式美，因而他将题画诗或长题于侧，或短题于上下，或纵题、或横题、或斜题、或贯穿于兰竹之间、藤叶之间，断断续续地题，观其形态，参差错落，疏密有致。是书也是题，是画也是诗，是诗也是画，欣赏每幅画中题画诗，既是绝妙的书法再现，也是将书画相映成趣的综合艺术，书题与画面有机地交融在一起，构成了统一的诗情画意，给人以综合的完美的艺术享受。\n郑板桥情系百姓，与民同忧。乾隆六年（1741年）春，因科举及第考中进士的郑板桥被派往山东范县任县令，开始了他长达12年的官宦生涯。他为官力求简肃，视排衙喝道之类的礼仪为桎梏。为察看民情、访问疾苦，他常不坐轿子，不许鸣锣开道，不许打“回避”“肃静”的牌子，身着便服，脚穿草鞋到乡下察访。即便夜间去查巡，也仅差一人提着写有“板桥”二字的灯笼引路。因为他常常微服“陇上闲眠看耦耕”，以致“几回大府来相问”，竟找不到他的人影子。\n对于百姓的疾苦，他时时刻刻都挂在心上。他一生善于画竹，尤其善于据竹写诗。在潍县任县令时，他的顶头上司、山东巡抚包括向他索求书画，他画了拿手的竹子，并在上面题诗一首：“衙斋卧听萧萧竹，疑是民间疾苦声。些小吾曹州县吏，一枝一叶总关情。”\n乾隆十一年（1746年），郑板桥调署潍县，在潍县任上七年，竟有五年发生旱蝗水灾，生民涂炭，哀鸿遍野。他一面向朝廷据实禀报灾情，请求赈济；一面以工代赈，兴修城池道路，招收远近饥民赴工就食，并责令邑中大户轮流在道边开厂煮粥，供妇孺耄耋充饥。同时，责令囤积居奇者迅速将积粟按通常价格卖给饥民。他自己也节衣缩食，为饥民捐出官俸。在最危急之时，他毅然决定打开官仓放粮。乾隆十七年（1752年），他愤然辞官，回到故乡江苏兴化定居",[23,24,25,109,684,32,683,7,216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa3c5a5bdcf2543aa3e72177efe971d9.jpg",[219],{"id":1781,"slug":1782,"title":1783,"dynasty":18,"author":105,"museum":1784,"description":1785,"tags":1786,"thumbUrl":1787,"material":56,"size":34,"collection":58,"collections":1788,"showCount":1731,"zanCount":11,"manualWeight":11,"mainColor":62},219581,"xi-xiang-tu-yi-ming-219581","洗象图","费城艺术博物馆","此作以淡墨轻勾白象轮廓，褶皱肌理写实柔和，将巨兽的温驯姿态尽显。三位蕃人各司其职，骑象者持帚扫拭脊背，一人扶杆引象，一人持巾轻擦象足，动作细致生动，异域装束的细节饱满鲜活。旁立僧者安然静望，神态平和。\n\n设色雅致沉稳，以赭石、花青晕染出深褐肤色与衣饰亮色，衬着绢本古旧底色晕开悠远古意。洗象日常暗含禅意，将贡象沐尘的别致场景，与白象洗尘的清净寓意相融，于细微劳作里晕开平和悠远的异域意趣。",[24,28,27,48,174,188,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5986ec3cc33c9976e4cd63642ae43cde.jpg",[58],{"id":1790,"slug":1791,"title":1792,"dynasty":18,"author":105,"museum":20,"description":1793,"tags":1794,"thumbUrl":1797,"material":409,"size":410,"collection":34,"collections":1798,"showCount":1799,"zanCount":11,"manualWeight":11,"mainColor":38},258636,"qian-long-kuan-lv-di-fen-cai-kai-guang-miao-jin-shi-nv-tu-hua-kou-ping-yi-ming-258636","乾隆款绿地粉彩开光描金仕女图花口瓶","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[752,1795,429,1728,28,48,792,1796,7,188],"粉彩","绿地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa244a319bf61c4d964499b492b80d0fb.jpg",[],24,{"id":1801,"slug":1802,"title":1803,"dynasty":18,"author":105,"museum":20,"description":1793,"tags":1804,"thumbUrl":1806,"material":409,"size":410,"collection":34,"collections":1807,"showCount":1799,"zanCount":11,"manualWeight":11,"mainColor":62},256880,"fen-cai-tao-hua-wen-zhi-jing-ping-yi-ming-256880","粉彩桃花纹直颈瓶",[752,7,1795,28,26,94,406,796,1805,1507],"直颈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0097d204b92d0e6672a8a26e5287203.jpg",[],{"id":1809,"slug":1810,"title":1597,"dynasty":18,"author":105,"museum":20,"description":1811,"tags":1812,"thumbUrl":1816,"material":34,"size":34,"collection":150,"collections":1817,"showCount":1799,"zanCount":11,"manualWeight":11,"mainColor":154},245475,"jin-qian-song-shi-fo-kan-yi-ming-245475","桃形龛门金边衬着朱绫，鎏金基座嵌饰彩石松石，配色明艳华贵，带着精工巧思。内置泥质擦擦释迦牟尼佛，造像朴拙厚重，衣纹简练柔和，结禅定印安坐莲台，沉静肃穆，藏着雪域造像的浑朴梵韵。龛内壁留存汉藏双语题记，印刻下旧时岁月脉络。它糅合了华美装具与质朴造像，是汉藏佛教文化交融的具象缩影，静穆间晕开跨越百年的清寂梵音。",[7,142,1813,145,144,257,28,143,1601,1814,1815],"金工","佛造像","装饰纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f63498a13ab13a33dd0d237eb5ac961.jpg",[150],{"id":1819,"slug":1820,"title":1821,"dynasty":18,"author":105,"museum":20,"description":1822,"tags":1823,"thumbUrl":1830,"material":409,"size":410,"collection":34,"collections":1831,"showCount":1799,"zanCount":11,"manualWeight":11,"mainColor":62},241961,"kong-que-shi-qian-zhu-bao-peng-lai-xian-jing-pen-jing-yi-ming-241961","孔雀石嵌珠宝蓬莱仙境盆景","以孔雀石叠作仙山基座，皴染出海上洞天的嵯峨灵秀。金为枝干，缀满红蓝宝石、粉碧玺作仙苑珍果，朱红珊瑚立成丹林玉树，攒珍珠为琼花缀枝，玛瑙雕琢成芝草瑶葩。鎏金仙人造像衣袂飘然，灵鹤瑞禽驻足其间，把缥缈的仙家胜境凝缩在方寸之中。诸般珍宝巧嵌互衬，将极致工巧与道家寻仙的浪漫遐想融为一体，尽显清宫御作的奢华雅致，是陈设珍玩里的精工佳构。",[7,462,144,186,465,1824,342,110,48,1825,1826,1827,111,1828,1829],"仙境","灵芝","盆景","瑞兽","嵌饰工艺","盆景艺术","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc8ff59c8d887945606129714c16be4d.jpg",[],{"id":1833,"slug":1834,"title":1835,"dynasty":18,"author":1836,"museum":20,"description":1837,"tags":1838,"thumbUrl":1840,"material":409,"size":410,"collection":34,"collections":1841,"showCount":1799,"zanCount":11,"manualWeight":11,"mainColor":38},240495,"wu-chang-shuo-zhuan-shu-lin-shi-gu-wen-zhou-wu-chang-shuo-240495","吴昌硕篆书临石鼓文轴","吴昌硕","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[7,214,1839,109,216],"临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55c7f30ab645fdc8680805621df326eb.jpg",[],{"id":1843,"slug":1844,"title":1845,"dynasty":18,"author":105,"museum":20,"description":1504,"tags":1846,"thumbUrl":1849,"material":409,"size":410,"collection":34,"collections":1850,"showCount":1799,"zanCount":11,"manualWeight":11,"mainColor":62},229455,"yin-du-jin-dian-cui-qian-bao-fu-shou-zan-yi-ming-229455","银镀金点翠嵌宝福寿簪",[7,233,1612,1506,1847,92,1848,303,466,234],"簪","福寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3218fc32517be15466e501939e1ab6b4.jpg",[],{"id":1852,"slug":1853,"title":1854,"dynasty":18,"author":1003,"museum":20,"description":1855,"tags":1856,"thumbUrl":1858,"material":850,"size":34,"collection":219,"collections":1859,"showCount":1799,"zanCount":11,"manualWeight":11,"mainColor":38},224261,"xing-cao-zhong-tang-zhu-da-224261","行草中堂","雲雾山头顶。雲边阚小房。夏凉窗近竹。冬暖阁朝阳。茧纸衣裳软。山田饭粥香。此生随分过。无可得思量。",[23,216,684,809,25,7,32,1857],"中堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F396395465f833e40ffe3753c9ec0d7d7.jpg",[219],{"id":1861,"slug":1862,"title":1863,"dynasty":18,"author":1108,"museum":68,"description":1109,"tags":1864,"thumbUrl":1867,"material":1114,"size":1115,"collection":34,"collections":1868,"showCount":1799,"zanCount":11,"manualWeight":11,"mainColor":38},223092,"hua-dong-fang-chi-guo-tian-wang-xiang-zhou-yao-wen-han-223092","画东方持国天王像轴",[23,7,142,27,28,109,249,110,111,112,764,32,1865,1866],"宗教人物","小鬼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc165691c4bc3ab130621b6e655775497.jpg",[],{"id":1870,"slug":1871,"title":1872,"dynasty":18,"author":789,"museum":44,"description":1873,"tags":1874,"thumbUrl":1877,"material":129,"size":1878,"collection":34,"collections":1879,"showCount":1799,"zanCount":11,"manualWeight":11,"mainColor":62},222863,"shi-gong-ci-tu-ce-02-leng-mei-222863","十宫词图册02","此套图册共10开，描绘历代贤德后妃或贵族女子的故事，和《养正图》册具有同样鲜明的教育意义。对题有梁诗正书写的弘历承继帝位前于雍正十三年（1735年）所作的诗句，与图画互为辉映。\n由于图册以历代宫廷生活为题，故每幅画面均有对宫廷建筑的描绘，但因为作者只是宫廷画工，并不具备对前代建筑的了解与认知，同时历史人物画“成教化，助人伦”的政治功用也淡化了这些作为人物故事背景的历代宫廷建筑，使其更多地带有装饰性与程式化色彩，并没有呈现出不同时代的建筑风貌。值得注意的是，册中建筑的描绘均采用“海西画法”，冷枚作品中体现的这种画风特性，是在中国传统界画的基础上运用透视法增强画面的空间深度感并以明暗关系区分阴阳向背，说明曾为康熙皇帝所赏识的“海西法”在雍正、乾隆朝的宫廷建筑绘画中已被日渐欣赏和接受。",[23,7,24,25,27,28,741,90,216,684,48,1875,433,740,111,110,94,1876,892,342],"仕女","台阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5944fe731c667f949444ac12150a4fc0.jpg","纵33.1厘米，横29.3厘米",[],{"id":1881,"slug":1882,"title":1883,"dynasty":18,"author":105,"museum":20,"description":1884,"tags":1885,"thumbUrl":1890,"material":409,"size":410,"collection":34,"collections":1891,"showCount":1892,"zanCount":11,"manualWeight":11,"mainColor":154},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","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”。",[7,1886,1768,1887,1507,1888,188,92,1889,1201],"掐丝珐琅","绶带纹","葫芦式","绶带","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea740a8d030d9a7764cefa87517d9ccf.jpg",[],23,{"id":1894,"slug":1895,"title":1896,"dynasty":18,"author":105,"museum":20,"description":1897,"tags":1898,"thumbUrl":1900,"material":34,"size":34,"collection":150,"collections":1901,"showCount":1892,"zanCount":11,"manualWeight":11,"mainColor":38},245661,"qian-long-kuan-jin-fu-zuo-yi-ming-245661","乾隆款金佛座","这尊金像宝光内蕴，佛陀结跏趺坐于莲台，双手结说法印，面容沉静慈悲，鎏金厚重匀净，躯体线条柔和饱满。身后背光錾刻缠枝宝相花，似佛辉漫溢，层层环绕烘托出神圣气韵。\n\n莲座层叠饱满，嵌饰彩宝点缀其间，两侧垂挂卷草雕花供耳，婉转灵动，将藏地造像的富丽与中原工艺的精细相融。整体庄严肃穆，既带着宗教造像的神性威仪，又尽显宫廷工艺的极致考究，把虔诚信仰之美与精湛匠造之美合二为一，是金铜造像中的精妙之作。",[7,143,142,258,1899,145,448,705],"錾刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F809c6a46152ed86d335619e20c4588f6.jpg",[150],{"id":1903,"slug":1904,"title":1905,"dynasty":18,"author":105,"museum":20,"description":1906,"tags":1907,"thumbUrl":1908,"material":34,"size":34,"collection":204,"collections":1909,"showCount":1892,"zanCount":11,"manualWeight":11,"mainColor":154},243046,"tian-ji-zun-yi-ming-243046","天鸡尊","此器以天鸡为形，背负敞口器腹，下接三轮，将瑞禽意象与车舆形制精妙结合。周身错金纹饰繁丽细腻，翎羽纹理舒展灵动，既摹写禽鸟羽翼柔婉肌理，又衬出青铜古器的沉浑厚重。鸡冠回纹规整，双目圆睁有神，锐喙昂挺，尽显灵禽傲立的威仪。轮辐纹饰精巧，与器身羽纹呼应协调，既可观瞻赏鉴，亦含礼奉之用，将上古灵禽的祥瑞意涵，凝铸在铜胎错金的古雅质感中，古韵盎然，匠心尽显。",[7,202,201,144,174,1179],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784f543d5808dc4e37e93853ebcf12d4.jpg",[204],{"id":1911,"slug":1912,"title":1913,"dynasty":18,"author":105,"museum":20,"description":1504,"tags":1914,"thumbUrl":1916,"material":409,"size":410,"collection":34,"collections":1917,"showCount":1892,"zanCount":11,"manualWeight":11,"mainColor":62},242057,"yin-du-jin-qian-zhu-bao-ru-yi-wen-zan-yi-ming-242057","银镀金嵌珠宝如意纹簪",[7,1506,462,1915,234,145,1578,465,228,143],"如意纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fe02b7de9b95304cceae854e3d91f6b.jpg",[],{"id":1919,"slug":1920,"title":1921,"dynasty":18,"author":1836,"museum":20,"description":1837,"tags":1922,"thumbUrl":1923,"material":409,"size":410,"collection":34,"collections":1924,"showCount":1892,"zanCount":11,"manualWeight":11,"mainColor":38},240454,"wu-chang-shuo-zhuan-shu-qi-yan-lian-wu-chang-shuo-240454","吴昌硕篆书七言联",[7,214,215,216,32,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f7ecc54373f1706a45e8af74d58d61f.jpg",[],{"id":1926,"slug":1927,"title":1928,"dynasty":18,"author":426,"museum":20,"description":1636,"tags":1929,"thumbUrl":1931,"material":409,"size":410,"collection":34,"collections":1932,"showCount":1892,"zanCount":165,"manualWeight":11,"mainColor":154},236042,"lian-zuo-da-shi-xiang-zhou-ding-guan-peng-236042","莲座大士像轴",[24,25,109,142,28,48,27,1638,1930,7],"莲座","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cfcbf7d2e74981a162178e20029e32d.jpg",[],{"id":1934,"slug":1935,"title":1936,"dynasty":18,"author":105,"museum":20,"description":1937,"tags":1938,"thumbUrl":1939,"material":409,"size":410,"collection":34,"collections":1940,"showCount":1892,"zanCount":11,"manualWeight":11,"mainColor":62},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。",[143,189,188,7,448,144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d08ae12096677ca5a71f1d0125657c5.jpg",[],{"id":1942,"slug":1943,"title":1944,"dynasty":18,"author":1188,"museum":20,"description":1945,"tags":1946,"thumbUrl":1948,"material":850,"size":34,"collection":219,"collections":1949,"showCount":1892,"zanCount":11,"manualWeight":11,"mainColor":38},223269,"shou-gao-hong-yi-fa-shi-223269","手稿","李叔同（1880年10月23日－1942年10月13日），又名李息霜、李岸、李良，谱名文涛，幼名成蹊，学名广侯，字息霜，别号漱筒。\n李叔同是著名音乐家、美术教育家、书法家、戏剧活动家，是中国话剧的开拓者之一。他从日本留学归国后，担任过教师、编辑之职，后剃度为僧，法名演音，号弘一，晚号晚晴老人，后被人尊称为弘一法师。\n1913年受聘为浙江两级师范学校（后改为浙江省立第一师范学校）音乐、图画教师。1915年起兼任南京高等师范学校音乐、图画教师，并谱曲南京大学历史上第一首校歌。1942年10月13日，弘一法师圆寂于泉州不二祠温陵养老院晚晴室。\n李叔同的诗词在近代中国文学史上同样占有一席之地。他年轻时，即以才华横溢引起文坛瞩目。客居上海时，他将以往所作诗词手录为《诗钟汇编初集》，在“城南文社”社友中传阅，后又结集《李庐诗钟》。出家前夕，他将清光绪二十六至三十三年（1900—1907年）间的20多首诗词自成书卷。其中就有《留别祖国并呈同学诸子》、《哀国民之心死》等不少值得称道的佳作，表现了作者对国家命运和民生疾苦的深切关注。出家前的五六年间，他还有30余首歌词问世。这些作品，通过艺术的手法表达了人们在相同境遇中大都会发生的思想情绪，曾经风靡一时，有的成为经久不衰的传世之作。\n弘一法师对联语也有浓厚兴趣，并有极高的鉴赏和创作水平。尤其是出家后，大师为各地寺院和缁素撰写的诸多嵌字联语，更表现出他的奇思妙想和深厚的艺术功底。他在宣传佛法导引终生佛化过程中，将联语这一形式作为劝人为善的巧妙手段。他书写的那些内容深刻、极富哲理的名联，现也成为警示后人的一笔宝贵的文化艺术财富。",[23,7,216,684,1944,683,1947],"纸质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46b8bbd2a6b1133663e16d60ab14e235.jpg",[219],{"id":1951,"slug":1952,"title":1953,"dynasty":18,"author":1954,"museum":20,"description":1955,"tags":1956,"thumbUrl":1958,"material":34,"size":1959,"collection":219,"collections":1960,"showCount":1961,"zanCount":11,"manualWeight":11,"mainColor":38},240143,"zhuan-shu-liu-tiao-ping-cheng-quan-240143","篆书六条屏","程荃","程荃[清]字蘅衫。安徽怀宁明经。邓石如 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，字曾三，号鲁亭，江苏常熟人，余珣之子，清代著名画家。曾受业于蒋廷锡。乾隆（1736—1795）时与唐岱、周鲲同祗候内廷，善花鸟、虫鱼、翎毛，间亦参用西法，赋色妍丽，尤善画蝶，工兰竹水仙，所作叠邀高宗睿题，藏于石渠宝笈。",[7,24,25,404,28,26,73,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b47f62afde0ec5f4a961e189b752013.jpg",[],21,{"id":2004,"slug":2005,"title":2006,"dynasty":18,"author":105,"museum":20,"description":2007,"tags":2008,"thumbUrl":2010,"material":34,"size":34,"collection":34,"collections":2011,"showCount":2002,"zanCount":11,"manualWeight":11,"mainColor":38},235833,"huang-shen-lu-ya-tu-zhou-yi-ming-235833","黄慎芦鸭图轴","画面虚实相生，左上题字留白呼应下方景致。芦草花卉以纵逸老辣的水墨写意而成，浓淡墨色铺陈出层次，淡色晕染水畔清韵，寥寥几笔便带出水泽野趣。\n\n两只水鸭是画面焦点，墨色干湿变化精妙。黑鸭以浓墨挥写羽翼，淡墨晕开胸腹，橙黄点染脚掌，憨态可掬；灰鸭以淡墨皴擦绒毛，灵动鲜活，二者顾盼亲昵，好似在秋水间嬉戏。整作率意洒脱，大写意间不失细节，以酣畅笔墨勾勒出江乡闲情，朴拙苍劲的格调里，尽显野逸悠然的生机。",[24,109,683,28,26,1048,2009,962,7],"鸭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ffbfa185e047f78cf43b2849126d3fd.jpg",[],{"id":2013,"slug":2014,"title":2015,"dynasty":18,"author":105,"museum":20,"description":2016,"tags":2017,"thumbUrl":2019,"material":409,"size":410,"collection":34,"collections":2020,"showCount":2002,"zanCount":11,"manualWeight":11,"mainColor":38},234394,"qian-long-di-fei-yu-jia-qing-di-you-nian-xiang-zhou-yi-ming-234394","乾隆帝妃与嘉庆帝幼年像轴","此作以双层楼阁铺展深苑日常，上层朱红木构镂空雅致，紫纱轻垂掩映竹影，晕开静谧清幽。下层轩窗半启，妃嫔衣袂织绣华美，垂眸凝睇身侧幼童，眉目柔婉，漫溢出化不开的慈意。\n\n远景湖山轻晕如黛，近旁奇石立，芍药娉婷、修竹疏朗，将中式庭院的清雅意趣尽数铺陈。全画笔法工致细腻，建筑雕纹分毫毕现，人物发丝衣褶皆见匠心，色彩柔丽和谐，把深宫之中的脉脉天伦温情，定格成一帧静好隽永的时光剪影，尽显写实精妙的绘事功力。",[24,25,109,27,28,48,433,328,329,93,2018,892,741,7],"窗棂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2bb53374383c49f92b0da5cb26dc45c.jpg",[],{"id":2022,"slug":2023,"title":2024,"dynasty":18,"author":2025,"museum":2026,"description":2027,"tags":2028,"thumbUrl":2029,"material":895,"size":2030,"collection":58,"collections":2031,"showCount":2002,"zanCount":11,"manualWeight":11,"mainColor":719},224239,"lu-shan-guan-lian-shang-guan-zhou-224239","庐山观莲","上官周","中央美术学院美术馆","此图是故事画，描绘东晋僧人慧远于庐山结社，与当时文人交往。左上题云：庐山远公开池种白莲，以十八人为社，社中陶渊明、谢灵运，一因无酒不至，一好游而长来。可见图中人物主要应是谢灵运、慧远。四人神态各异，而无不细致生动，十分传神",[23,24,25,28,48,29,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ce0ec4aab08c39ddc115eb46ffc536d.jpg","纵374厘米横25厘米",[58],{"id":2033,"slug":2034,"title":2035,"dynasty":18,"author":1067,"museum":44,"description":2036,"tags":2037,"thumbUrl":2043,"material":129,"size":2044,"collection":34,"collections":2045,"showCount":2002,"zanCount":11,"manualWeight":11,"mainColor":38},222826,"tu-er-hu-te-bai-ying-tu-zhou-ai-qi-meng-222826","土尔扈特白鹰图轴","绘红木金顶屏风架上白鹰一只，圆眼有神，身形矫健，张开的翅膀欲似高飞。艾启蒙，字醒庵，生于波西米亚，天主教耶稣会传教士，师从郎世宁，工人物、走兽、翎毛，与郎世宁、王致诚、安德义合称四洋画家。 ​",[23,24,25,109,7,27,28,2038,2039,2040,2041,2042],"白鹰","鹰架","石狮","织物","装饰构件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3513681b60d7018e14ce71f45ccd4031.jpg","64x40cm",[],{"id":2047,"slug":2048,"title":2049,"dynasty":18,"author":105,"museum":20,"description":2050,"tags":2051,"thumbUrl":2052,"material":409,"size":410,"collection":34,"collections":2053,"showCount":2054,"zanCount":11,"manualWeight":11,"mainColor":154},254934,"tong-mi-le-fo-zuo-xiang-yi-ming-254934","铜弥勒佛坐像","中国雕塑是指具有中国特色且原产于中国的雕塑艺术品。中国雕塑（Chinese 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。",[7,201,144,1600,142,48,1092],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eb00133f49717ff7e742d897795fa5d.jpg",[],20,{"id":2056,"slug":2057,"title":2058,"dynasty":18,"author":105,"museum":20,"description":2059,"tags":2060,"thumbUrl":2063,"material":409,"size":410,"collection":34,"collections":2064,"showCount":2054,"zanCount":165,"manualWeight":11,"mainColor":238},241829,"shui-jing-shou-chuan-yi-ming-241829","水晶手串","此串手串以清透水晶为主体，颗颗匀净莹润，似将凉月凝作圆珠，流转着朦胧清辉。浓艳鲜活的碧玺配珠如初凝胭脂，与水晶的素净莹白相映，撞出动人生机。佛头同料相承，配色和谐归一，下端垂坠的翡翠玉环似一汪凝住的春水，搭配累丝烧蓝紫坠，精巧华贵，为整串添了几分富丽雅致。材质冷暖交融，将清灵素雅与明艳华贵揉为一体，藏着旧时温婉雅致的东方意趣，静静晕开沉静柔美的古韵风华。",[7,234,2061,186,144,447,2062],"水晶","珠串","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fb273f699e61e411c2d64209ea5923c.jpg",[],{"id":2066,"slug":2067,"title":2068,"dynasty":18,"author":105,"museum":20,"description":2069,"tags":2070,"thumbUrl":2072,"material":34,"size":34,"collection":34,"collections":2073,"showCount":2054,"zanCount":11,"manualWeight":11,"mainColor":38},235299,"xu-gu-lan-hua-zhou-yi-ming-235299","虚谷兰花轴","此作用枯淡墨色挥写岩壁，皴擦老辣苍劲，留白愈显空灵疏朗。垂落兰叶以中锋行笔，如素练飘曳，笔力柔韧挺拔，墨色干湿浓淡交叠，将兰叶舒展之姿尽显无余。淡红轻晕兰花，简笔点染便得娇柔妍态，于素雅底色上晕开一抹温柔生机。\n全画以少胜多，将兰花空谷幽芳的高洁风骨藏于笔墨之中，以画寄情，尽显文人写意的清雅禅意，把兰草清逸脱俗之态勾勒得淋漓尽致。",[7,24,25,109,683,28,962,2071,113,26,96],"兰花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77ac63d45e7e281058ce026acac47742.jpg",[],{"id":2075,"slug":2076,"title":2077,"dynasty":18,"author":2078,"museum":20,"description":2079,"tags":2080,"thumbUrl":2084,"material":409,"size":410,"collection":34,"collections":2085,"showCount":2054,"zanCount":11,"manualWeight":11,"mainColor":38},235277,"ren-wu-gu-shi-ce-fan-xue-yi-235277","人物故事册","范雪仪","女，本姓淑，嫁范氏为妻，江苏苏州人，生卒年不详。",[24,28,27,90,48,343,942,110,740,2081,779,2082,7,255,2083,257],"房舍","人物故事","细致描绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5e04d9b86aa624995c2610e7741712a.jpg",[],{"id":2087,"slug":2088,"title":2089,"dynasty":18,"author":105,"museum":20,"description":1682,"tags":2090,"thumbUrl":2097,"material":409,"size":410,"collection":34,"collections":2098,"showCount":2054,"zanCount":11,"manualWeight":11,"mainColor":62},229787,"yu-hai-tang-shi-shui-xian-pen-jing-yi-ming-229787","玉海棠式水仙盆景",[7,186,1578,143,144,553,2091,2092,1826,2093,2094,448,2095,2096,523],"海棠形","蜻蜓","工艺摆件","珐琅工艺","玉质","珐琅饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52c932b6a8ad60fdb74d5157e29621b6.jpg",[],{"id":2100,"slug":2101,"title":2102,"dynasty":18,"author":105,"museum":44,"description":2103,"tags":2104,"thumbUrl":2108,"material":2109,"size":2110,"collection":34,"collections":2111,"showCount":2054,"zanCount":153,"manualWeight":11,"mainColor":38},223366,"guang-xu-nian-jian-bai-duan-di-guang-xiu-san-yang-kai-tai-gua-ping-xin-yi-ming-223366","光绪年间白缎地广绣三阳开泰挂屏心","此挂屏心是在白色缎地上施五彩绣。画面中一轮红日高挂，草木葱郁，山石玲珑，3只羊嬉戏于湖边草地上，9只瑞鸟飞鸣栖息于花间树梢，展现出一派春光明媚、万物滋生的美好景象。作品采用了洒插针、辫子股针、扭针、刻鳞针、打籽针和风车针等针法，针工细密，有较强的立体感。三只羊形态各异，刻画逼真，羊身上用辫子股针绣成一圈圈凸起的圈线，颇具毛绒感。画面施以浅驼、驼、古铜、沉香、灰、驼黄、黄、绿、蓝、石青和大红等色，色彩艳而不俗，富于装饰性，充分体现了广绣独特的风格。\n此挂屏心的主题以“羊”与“阳”的谐音寓意“三阳开泰”，作为新年伊始的祝福。此为广绣的杰作。",[23,7,2105,1655,28,326,174,112,289,861,2106,407,330,941,2107],"广绣","太阳","挂屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7ff1a6d481f46a46864196ab03a7f3b.jpg","屏心","高67厘米，宽52厘米",[],{"id":2113,"slug":2114,"title":2115,"dynasty":18,"author":105,"museum":20,"description":1884,"tags":2116,"thumbUrl":2118,"material":409,"size":410,"collection":34,"collections":2119,"showCount":2120,"zanCount":11,"manualWeight":11,"mainColor":154},249958,"qian-long-kuan-qia-si-fa-lang-shuang-feng-wen-jing-yi-ming-249958","乾隆款掐丝珐琅双凤纹镜",[7,1886,1578,201,2117,93,32],"凤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e432cbef8fc9b55ec1ff54ee6e7aad3.jpg",[],19,{"id":2122,"slug":2123,"title":2124,"dynasty":18,"author":105,"museum":20,"description":1526,"tags":2125,"thumbUrl":2129,"material":409,"size":410,"collection":34,"collections":2130,"showCount":2120,"zanCount":11,"manualWeight":11,"mainColor":62},248756,"hei-qi-qian-luo-dian-yun-long-wen-chang-fang-cuan-he-yi-ming-248756","黑漆嵌螺钿云龙纹长方攒盒",[1726,2126,2127,187,861,7,2128],"嵌螺钿","黑漆","长方","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f2bc7ffc179cee3cb98288af19f3938.jpg",[],{"id":2132,"slug":2133,"title":2134,"dynasty":18,"author":105,"museum":20,"description":1793,"tags":2135,"thumbUrl":2137,"material":409,"size":410,"collection":34,"collections":2138,"showCount":2120,"zanCount":11,"manualWeight":11,"mainColor":38},246707,"ti-hong-kai-guang-an-ba-xian-wen-dai-zuo-hu-lu-shi-shou-dai-ping-yi-ming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好的比喻：“事迹新奇，笔意酣恣，描写既细入毫芒，点染又曲中筋节。正如柳麻子说《武松打店》，初到店内无人，蓦地一吼，店中空缸空甏皆瓮瓮有声；闲中着色，精神百倍。如此笔墨，方许作评话小说；如此评话小说，方算得天地间另一种笔墨。”如果有人写一部《中国俗小说史》，不可不能提到俞樾。",[23,216,684,2303,32,850,7],"信札","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefc4e7907f81b8c51ce121fce1b550ae.jpg","30x135",[2236],{"id":2308,"slug":2309,"title":2310,"dynasty":18,"author":426,"museum":68,"description":2311,"tags":2312,"thumbUrl":2317,"material":28,"size":2318,"collection":34,"collections":2319,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":38},223323,"wu-xing-er-shi-ba-xiu-shen-xing-tu-ding-guan-peng-223323","五星二十八宿神形图","此《五星二十八宿神形图》卷据传为唐代梁令瓒绘。此图原分为上下两卷，描绘五星（岁星、荧惑、镇星、太白、辰星），以 及二十八星宿对应的人物神怪图像。每星宿一图，或人或兽，或人身兽首，每图前有篆书说明。今仅存上卷的五星和 “角” 至 “危” 十二宿。此内含三种卷本。\n“五星二十八宿” 中的 “五星” ， 亦可称五纬， 即中国古代天文学中的金、 木、 水、 火、 土五大行星。 其中， 金星古称明星， 又名太白金星；木星， 古称岁星； 水星， 古称辰星； 火星， 因其时明时暗， 行踪不定， 古称荧惑星； 土星， 古称镇星、 填星、 信星等。 “二十八宿” ， 源于道教文化。二十八宿， 其中东方青龙七宿是角、 亢、 氐、 房、心、 尾、 箕； 北方玄武七宿是斗、 牛、 女、 虚、 危、室、 壁； 西方白虎七宿是奎、 娄、 胃、 昴、 毕、 觜、参； 南方朱雀七宿是井、 鬼、 柳、 星、 张、 翼、 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[2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[7,752,1795,28,27,2397,93,26],"雉鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cc8b379b47a6cbb0affdb5e7da049bc.jpg",[],{"id":2401,"slug":2402,"title":2403,"dynasty":18,"author":105,"museum":20,"description":2404,"tags":2405,"thumbUrl":2407,"material":409,"size":410,"collection":34,"collections":2408,"showCount":2390,"zanCount":11,"manualWeight":11,"mainColor":38},245505,"jin-da-ji-hu-lu-gua-ping-yi-ming-245505","金大吉葫芦挂屏","取葫芦形制，谐音福禄自带祥瑞意趣。通体累丝为地，细密如织，衬得整体愈发精致华贵。上下两圆开光内，点翠填就“大吉”二字，沉稳醒目。周身以珐琅与珠宝点缀佛家八宝纹样，宝相端庄，配色明丽柔和，金底交映彩饰，更显富丽堂皇。整体构图饱满圆满，线条婉转流畅，将吉庆寓意与精湛细作相融，处处流露着古雅富贵的美好祈愿，尽显花丝工艺的精巧华美。",[7,143,1578,234,144,28,1201,1557,2406],"吉祥纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde52a4fc3a47100d93db556d8683b176.jpg",[],{"id":2410,"slug":2411,"title":2412,"dynasty":18,"author":664,"museum":44,"description":2413,"tags":2414,"thumbUrl":2415,"material":129,"size":2416,"collection":34,"collections":2417,"showCount":2390,"zanCount":11,"manualWeight":11,"mainColor":62},236136,"li-chao-xian-hou-gu-shi-tu-jiao-bing-zhen-236136","历朝贤后故事图","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。",[24,7,27,28,741,48,1875,433,110,892,1876],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe03543ef725c91fd88a376a93ca159bd.jpg","纵30.8厘米，横37.4厘米",[],{"id":2419,"slug":2420,"title":2421,"dynasty":18,"author":1188,"museum":20,"description":1189,"tags":2422,"thumbUrl":2424,"material":409,"size":410,"collection":34,"collections":2425,"showCount":2390,"zanCount":11,"manualWeight":11,"mainColor":38},230263,"si-ping-hong-yi-fa-shi-230263","四屏",[23,7,216,873,1957,850,2423],"墨书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F162bbf418323ec59aee6ce0ccfdae51b.jpg",[],{"id":2427,"slug":2428,"title":2429,"dynasty":18,"author":105,"museum":20,"description":2430,"tags":2431,"thumbUrl":2433,"material":409,"size":410,"collection":34,"collections":2434,"showCount":2390,"zanCount":165,"manualWeight":11,"mainColor":38},229966,"yin-du-jin-dian-cui-qian-zhu-bao-xiang-feng-bu-yao-yi-ming-229966","银镀金点翠嵌珠宝翔凤步摇","整器取翔凤振翅欲飞之姿，以银镀金为骨，点翠晕染凤羽，幽蓝明润如晴空霁色。米珠缉出鳞羽脉络，颗颗莹白勾勒灵动层次，与点翠深浅相映，清雅华贵。\n\n凤首以朱宝点睛，衔挂翠玉青金，添了娇俏活气，尾羽如云舒卷，延展间尽显飘逸。融点翠、缉珠、嵌宝工艺于一身，将瑞禽御风之姿凝于发间，藏着旧时闺阁的雅致风华，方寸之间尽显细作首饰的匠心巧思，华贵温婉尽在这一抹鬓边风情。",[7,233,462,1506,2432,234,465,2117],"翔凤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F858539250dcd11009f11d1d4b73ef793.jpg",[],{"id":2436,"slug":2437,"title":2438,"dynasty":18,"author":2439,"museum":20,"description":2440,"tags":2441,"thumbUrl":2442,"material":34,"size":34,"collection":34,"collections":2443,"showCount":2390,"zanCount":11,"manualWeight":11,"mainColor":238},226627,"shu-fa-shan-mian-pu-ru-226627","书法扇面","溥儒","溥儒 满族，北京人。字心畲，号西山居士、西山逸士、旧王孙等。出身清皇族，姓爱新觉罗，是是道光皇帝第六子亲王的次孙，末代皇帝溥仪的堂兄弟。溥儒自幼饱学，稍长专心研究文学艺术，1911年入贵胄政治学堂，毕业后再入青岛德国威廉帝国研究院，又留学柏林大学，学习天文和生物，获得博士学位，他也精通经史和书画，回国后笃嗜诗文、书画，皆有成就。先住清河二旗村，后隐居西山戒台寺10年，从此专事绘画，以卖书画自食其力。解放前夕出海舟山，后居台湾，于1963年病故。\n溥儒善山水、人物、花鸟、走兽，曾以画名与蜀人张大千并称“南张北溥”；又与吴湖帆并称“南吴北溥”。山水以“北宗”为基，笔法以“南宗”为法。注重线条钩摹，较少烘染。书法习柳公权、裴休出，略近成亲王而风骨过之。",[23,7,216,404,684,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87caf1417859bc4b8e6fabe2b405790c.jpg",[],{"id":2445,"slug":2446,"title":2447,"dynasty":18,"author":1188,"museum":20,"description":1945,"tags":2448,"thumbUrl":2451,"material":850,"size":2452,"collection":219,"collections":2453,"showCount":2390,"zanCount":11,"manualWeight":11,"mainColor":38},223265,"xin-jian-hong-yi-fa-shi-223265","信笺",[23,7,684,2449,683,2450,1557,32],"毛笔书法","手札","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79bd65ef2310e07f4469e23d873b355d.jpg","35x124",[219],{"id":2455,"slug":2456,"title":2457,"dynasty":18,"author":285,"museum":20,"description":2458,"tags":2459,"thumbUrl":2461,"material":34,"size":34,"collection":34,"collections":2462,"showCount":2390,"zanCount":11,"manualWeight":11,"mainColor":38},223088,"shui-hu-ren-wu-ren-xun-223088","水浒人物","任薰(1835-1893)，字 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，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[24,25,7,109,683,962,685,1979,328,327,342],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffac38c6f80e4e9a7a350830e3894455.jpg",[],{"id":2723,"slug":2724,"title":2725,"dynasty":18,"author":2717,"museum":20,"description":2718,"tags":2726,"thumbUrl":2730,"material":409,"size":410,"collection":34,"collections":2731,"showCount":2647,"zanCount":11,"manualWeight":11,"mainColor":38},235750,"shi-di-ba-ren-he-zuo-jiu-qiu-tu-zhou-wang-hui-235750","师弟八人合作九秋图轴",[24,25,109,28,27,26,2727,1049,1989,2728,490,74,32,683,7,92,2729],"秋花","月季","合作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e1454da1fc321a9cf26daccf2083cf8.jpg",[],{"id":2733,"slug":2734,"title":2735,"dynasty":18,"author":105,"museum":20,"description":2736,"tags":2737,"thumbUrl":2742,"material":409,"size":410,"collection":34,"collections":2743,"showCount":2647,"zanCount":11,"manualWeight":11,"mainColor":38},234379,"fu-lin-chao-fu-xiang-zhou-yi-ming-234379","福临朝服像轴","此作以细腻写实之笔，定格帝王威仪。帝王安坐鎏金宝座，面容沉敛端方，眉眼自带九五之尊的肃穆气场。明黄朝服遍饰五爪金龙，宝蓝织金镶边勾勒华贵轮廓，朱红暖帽顶戴东珠，纹样精细规整，尽显礼制森严与皇家尊荣。画师晕染入微，还原帝皇神采气韵，衣袍褶皱层次分明，金线绣纹在素绢上熠熠有光，台毯繁纹疏密得当，构图庄重严整，将皇权的庄重尊贵凝于绢素，是兼具纪实性与艺术性的肖像佳构。",[24,109,7,27,28,48,49,50,51,52,2738,2739,2740,2741],"织物纹样","金色装饰","肖像画","工笔重彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff11740411748d6f819c4f679c5dd2844.jpg",[],{"id":2745,"slug":2746,"title":2747,"dynasty":18,"author":2748,"museum":20,"description":2749,"tags":2750,"thumbUrl":2753,"material":693,"size":34,"collection":34,"collections":2754,"showCount":2647,"zanCount":11,"manualWeight":11,"mainColor":62},234184,"lin-yong-tu-xiang-di-er-juan-yin-zhen-234184","临雍图像第二卷","胤禛","清世宗爱新觉罗·胤禛（1678年12月13日 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、“朝乾夕惕”。\n雍正帝的一系列社会改革对于康乾盛世的连续具有关键性作用。雍正十三年（1735年）农历八月二十三日驾崩，终年58岁。庙号世宗，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，葬清西陵之泰陵，传位于第四子弘历。",[23,24,25,358,28,27,48,433,110,740,2751,2586,2752,7],"古代建筑","仪式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76703745414aaf3c5171983bea62096c.jpg",[],{"id":2756,"slug":2757,"title":2758,"dynasty":18,"author":1078,"museum":20,"description":1079,"tags":2759,"thumbUrl":2760,"material":409,"size":410,"collection":34,"collections":2761,"showCount":2647,"zanCount":11,"manualWeight":11,"mainColor":62},230239,"qi-shu-sheng-zhong-jiao-shi-ji-ye-jin-nong-230239","漆书盛仲交事迹页",[23,216,25,1081,873,90,7,1557],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc594439da4b050225b4bde7e8d8f82cf.jpg",[],{"id":2763,"slug":2764,"title":2765,"dynasty":18,"author":105,"museum":20,"description":2766,"tags":2767,"thumbUrl":2770,"material":409,"size":410,"collection":34,"collections":2771,"showCount":2647,"zanCount":11,"manualWeight":11,"mainColor":38},229114,"fen-cai-yu-zhi-shi-hua-hui-wen-bi-yan-hu-yi-ming-229114","粉彩御制诗花卉纹鼻烟壶","鼻烟壶指的是盛鼻烟的容器，小可手握，便于携带。明末清初，鼻烟传入中国，鼻烟盒渐渐东方化，产生了鼻烟壶。\n人们嗜用鼻烟的习惯几近绝迹，但鼻烟壶却作为一种精美艺术品流传下来，而且长盛不衰，被誉为“集中各国多种工艺之大成的袖珍艺术品”。\n中国鼻烟壶，作为精美的工艺品，采用瓷、铜、象牙、玉石、玛瑙、琥珀等材质，运用青花、五彩、雕瓷、套料、巧作、内画等技法，汲取了域内外多种工艺的优点，被雅好者视为珍贵文玩，在海内外皆享有盛誉。\n在世界上，中国素有「烟壶之乡」的称誉，其中鼻烟壶以其精巧卓绝的制作技术，被称为「集多种工艺之大成于一身的袖珍艺术品」。鼻烟壶为盛装鼻烟之容器，鼻烟系一种烟草制品，原为西洋之物，明末清初自欧洲传入中国后，加工转化后成为粉末状药材，吸闻之后不但具有明目避疫的功效，吸闻鼻烟在各阶层更是蔚为风尚，且迅速地融入了中国的艺术风格，发展出匠心独运的各式鼻烟壶，在清代美学工艺上大放异彩，成为清代艺术的重要标志之一。",[7,1795,28,752,92,2768,2769],"鼻烟壶","御制诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5068c504991fdd9a019a391b252c9fb1.jpg",[],{"id":2773,"slug":2774,"title":2775,"dynasty":18,"author":1108,"museum":20,"description":2776,"tags":2777,"thumbUrl":2778,"material":56,"size":34,"collection":34,"collections":2779,"showCount":2647,"zanCount":11,"manualWeight":11,"mainColor":2780},217255,"li-dai-di-wang-zhen-xiang-4-yao-wen-han-217255","历代帝王真像-4","姚文瀚的《历代帝王真像图》是一部巨著，包含了从秦始皇到清朝乾隆帝的220位帝王的真像。这幅画卷以宫廷内务府的资料为基础，经过姚文瀚的精心研究和描绘，每一位帝王的真像都非常逼真，与当时的实际相差无几。\n\n姚文瀚在制作《历代帝王真像图》时，花了超过20年的时间，并且聘请了许多著名的艺术家协助他的工作。最终，他完成了这部传世的巨著，使得我们能够通过这幅画卷了解到中国历史上许多伟大的帝王的长相。",[24,25,27,28,48,313,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F824221ac60e2f50c7a535740cd5f15c1.jpg",[],"FF9800",{"id":2782,"slug":2783,"title":2784,"dynasty":18,"author":105,"museum":20,"description":2785,"tags":2786,"thumbUrl":2787,"material":77,"size":34,"collection":34,"collections":2788,"showCount":2647,"zanCount":153,"manualWeight":11,"mainColor":38},215869,"qing-dai-gong-ting-ren-wu-hua-ce-3-yi-ming-215869","清代宫廷人物画册-3","画面中女子发髻挽得雅致，簪花缀翠，眉目温婉似含轻愁。身着的袄裙层次错落：宝蓝缎面绣着隐现的花纹，粉袖织锦细腻如雾，翠绿流苏下摆随衣褶轻晃，腕间白帕垂落，每一处细节都藏着旧时光的精致。\n\n线条勾勒柔中带劲，色彩经岁月晕染仍见明丽，人物姿态娴静端庄，似能窥见清代宫廷女性的温婉气韵。纸页上的斑驳痕迹，像时光留下的浅印，让这幅画多了几分沉静的故事感——仿佛能透过画面，触到那个时代的细腻与优雅，听见裙裾拂过地面的轻响。\n\n整幅画以细腻笔触定格了一段逝去的风华，将宫廷女性的娴雅气质与服饰之美，凝在时光的褶皱里。",[7,27,28,48,792,313,1284,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F334d637c67b5c7dbfd3b97a6414f9adc.jpg",[],{"id":2790,"slug":2791,"title":2792,"dynasty":18,"author":105,"museum":20,"description":2793,"tags":2794,"thumbUrl":2795,"material":77,"size":34,"collection":34,"collections":2796,"showCount":2647,"zanCount":153,"manualWeight":11,"mainColor":38},215867,"qing-dai-gong-ting-ren-wu-hua-ce-9-yi-ming-215867","清代宫廷人物画册-9","浅紫长袍镶墨色宽边，粉绦束腰轻垂，帽檐晕开粉紫柔光。人物眉目温婉，唇角微扬似含浅笑意，身姿从容舒展，袖口墨边与鞋履呼应，尽显雅致。素纸晕染岁月斑驳，褐黄渍迹如时光轻吻的印记，衬得人物衣袂仿佛仍带当年宫廷的温润气息。一笔一画间，将清代宫廷人物的温婉仪态与服饰细节凝于方寸，旧痕未掩其韵，反而添了几分时光沉淀的厚重，让观者仿若触到那段远去的宫廷日常。",[7,1284,48,27,28,313,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd3e556b4e39e5cc79a86b2d5dc45819.jpg",[],{"id":2798,"slug":2799,"title":2800,"dynasty":18,"author":105,"museum":20,"description":750,"tags":2801,"thumbUrl":2803,"material":409,"size":410,"collection":755,"collections":2804,"showCount":2805,"zanCount":11,"manualWeight":11,"mainColor":154},253565,"de-hua-yao-da-mo-xiang-yi-ming-253565","德化窑达摩像",[7,2802,752,142,48,753,144],"德化窑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fb2742da0417cbb2b051794fd5f5277.jpg",[755],13,{"id":2807,"slug":2808,"title":2809,"dynasty":18,"author":105,"museum":20,"description":2766,"tags":2810,"thumbUrl":2812,"material":409,"size":410,"collection":34,"collections":2813,"showCount":2805,"zanCount":11,"manualWeight":11,"mainColor":719},249182,"qian-long-kuan-hua-fa-lang-shi-nv-ying-xi-tu-bi-yan-hu-yi-ming-249182","乾隆款画珐琅仕女婴戏图鼻烟壶",[7,1577,28,48,1875,2811,1578],"婴孩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e3a686cdfbaf80cb10b66ed46aa1ef1.jpg",[],{"id":2815,"slug":2816,"title":1503,"dynasty":18,"author":105,"museum":20,"description":1504,"tags":2817,"thumbUrl":2818,"material":409,"size":410,"collection":34,"collections":2819,"showCount":2805,"zanCount":153,"manualWeight":11,"mainColor":154},241989,"yin-du-jin-dian-cui-qian-zhu-bao-hua-hui-wen-zan-yi-ming-241989",[7,1506,233,462,1507,234,465],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F563bba93195cfb1bc682e4f4b36ca5a3.jpg",[],{"id":2821,"slug":2822,"title":2673,"dynasty":18,"aut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字若仪，号雨生、琴隐道人，晚号粥翁，武进（今江苏常州）人。清代武官、诗人、画家。以祖、父荫袭云骑尉，授扬州三江营守备。擢浙江抚标中军参将、乐清协副将。与林则徐友契，与法式善、费丹旭等文人墨客多有交游。晚寓居南京，筑琴隐园。精骑射，娴韬略，精音律，且通天文、地理及百家之学。书负盛名，为嘉道后大家。工诗文，书画宗董其昌，闲淡超逸，画梅极有神韵。其妻董婉贞也为当时著名画家。太平攻破金陵时，投池以殉，谥忠愍。著有《琴隐园诗集》、《琴隐园词集》、《书荃析览》、杂剧《逍遥巾》等。",[7,216,215,684,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9db5f11392bde62c7c395247f41ec9f.jpg",[219],{"id":2865,"slug":2866,"title":2867,"dynasty":18,"author":105,"museum":20,"description":2868,"tags":2869,"thumbUrl":2871,"material":409,"size":410,"collection":34,"collections":2872,"showCount":2805,"zanCount":11,"manualWeight":11,"mainColor":62},234462,"fu-hai-guan-shi-yin-pu-sa-tang-ka-yi-ming-234462","佛海观世音菩萨唐卡","唐卡（Thang-ga）也叫唐嘎，唐喀，系藏文音译，指用彩缎装裱后悬挂供奉的宗教卷轴画。唐卡是藏族文化中一种独具特色的绘画艺术形式，题材内容涉及藏族的历史、政治、文化和社会生活等诸多领域，传世唐卡大都是藏传佛教和本教作品。\n唐卡是藏族文化中一种独具特色的绘画艺术形式。具有鲜明的民族特点、浓郁的宗教色彩和独特的艺术风格，用明亮的色彩描绘出神圣的佛的世界；颜料传统上是全部采用金、银、珍珠、玛瑙、珊瑚、松石、孔雀石、朱砂等珍贵的矿物宝石和藏红花、大黄、蓝靛等植物为颜料以示其神圣。这些天然原料保证了所绘制的唐卡色泽鲜艳，璀璨夺目，虽经几百年的岁月，仍是色泽艳丽明亮。因此被誉为中国民族绘画艺术的珍品，被称为藏族的”百科全书”也是中华民族民间艺术中弥足珍贵的非物质文化遗产。\n传统唐卡的绘制要求严苛、程序极为复杂，必须按照经书中的仪轨及上师的要求进行，包括绘前仪式、制作画布、构图起稿、着色染色、勾线定型、铺金描银、开眼、缝裱开光等一整套工艺程序。制作一幅唐卡用时较长，短则半年完成，长则需要十余年。",[7,2870,142,28,27,48,92,249],"唐卡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ec56e1e433f7030b9f6b094f52d6cf9.jpg",[],{"id":2874,"slug":2875,"title":2876,"dynasty":18,"author":2877,"museum":20,"description":2878,"tags":2879,"thumbUrl":2882,"material":34,"size":34,"collection":131,"collections":2883,"showCount":2805,"zanCount":11,"manualWeight":11,"mainColor":38},234334,"shan-shui-ce-jin-ting-biao-234334","山水册","金廷标","金廷标，清代，字士揆，乌程(今浙江湖州)人，一作桐乡人，为当地望族。画家金鸿(字耕山)子，生卒年不详。继承父艺，工画人物、山水、写真、花卉，界画亦精致。尤擅白描，设色淡逸明洁，用线刚劲，转折处锋芒毕露，无不劲健。衣纹提按长描连绵不断，眉目传神。乾隆二十五年(1760)弘历南巡，其进呈白描罗汉》册称旨，得入内廷供奉。所画不以工致取胜，而以机趣为尚。入值数载，卒于京寓。其卒后，所作皆得高宗题咏，并命装裱收藏，此举可见这位内廷供奉画家受乾隆之器重程度。\n金廷标（ -1767）字士撰。乌程（今浙江吴兴）人，其父金鸿亦为小有名声的画家，廷标能绍父艺，擅画白描人物，亦善写真（肖像），兼能花卉、山水、乾隆二十二年（1757），乾隆帝第二次南巡时，金廷标进献《白描罗汉图》，得乾隆“称旨”，遂得以入宫供职，成为当时的一名宫廷画家。\n金廷标所作画，极得乾隆欣赏，御题诗句甚多，赞美之意溢于言表，如题其《放鹤图》云：“是谓善写照，传神在阿堵。”题其《江村图》云：”七情写毕皆得神，顾陆以后今几人。”又在他《临唐寅琵琶行图》后如此题道：“内府藏弆唐寅画琵琶行于江边扁舟直写一女抱琵琶，廷标此图不画琵琶女，而画居易等属耳之情，便觉高出其上。此与宋人画‘踏花归去马蹄香’以数蝶随骑意同。向未题句，兹偶见之，因拈其妙，然画院中能作如此解者实少也。”对金廷标能高出当时的宫廷画家，给予肯定。\n金廷标死后，乾隆在翻阅他的画作时又一再叹息，有诗这样写道：“去年命写寻常事，今日谁知珍惜加。”“足称世画无双画，可惜斯人作古人。”对金廷标的去世，表示无限的惋惜。一个自命“古稀天子”的帝王，能对一名宫廷画师如此的眷顾，极为难能，于此亦可见金廷标画艺的超群。\n清代未见有“书院”之称，（文献记载仅见“书院处”一词），更不像宋代书画院中设有具体的“待诏”、“艺学”等明确的官职。清代宫廷中供职的画家，一般情况均需有人举荐，有的还需要经过考核。文献记述金廷标只是自己进献作品以自荐，即得乾隆帝的“称旨”，可见他的画艺不凡。从本文介绍的这件作品来看，他也可以称得是当时画院中具有代表性的人物画家。\n传世作品有《拜石图》，图录于《故宫书画集》；《碧桃图》《孟母移居图》《枫林晚坐图》《萱花寿石图》册页图录于《中国历代名画集》；《高贤遇隐图》轴图录于《中国绘画史图录》下册；《春元瑞兆图》轴藏日本大阪市立美术馆；乾隆二十六年(1761)作《观音大士像》轴现藏沈阳故宫博物院；《婕妤挡熊图》轴、《瞎子说唱图》轴、《罗汉图》轴、《莲塘纳凉图》轴等藏故宫博物院。",[7,24,25,90,683,28,342,2880,48,343,2881],"孤舟","河流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93d5cfaaa35db34dd3fc8041a6cf3523.jpg",[131,133],{"id":2885,"slug":2886,"title":2887,"dynasty":18,"author":2888,"museum":44,"description":2889,"tags":2890,"thumbUrl":2894,"material":2618,"size":2895,"collection":34,"collections":2896,"showCount":2805,"zanCount":153,"manualWeight":11,"mainColor":38},233874,"xi-bei-shi-yi-tu-ce-cha-shi-biao-233874","西陂诗意图册","查士标","查士标（1615—1698年），字二瞻，号梅壑、懒老，安徽休宁人。擅山水，宗法元人倪瓒、吴镇。用笔疏简超逸，意境荒寒清旷。他与渐江、孙逸、汪之瑞并称“新安四大家”（又名“海阳四家”）。著有《种书堂遗稿》。",[24,683,1713,1036,7,110,2880,690,1750,2891,1048,476,2892,2893],"小船","水面景物","淡墨技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e43c4efc42a9b7fb86aea3f999be41c.jpg","纵32.8cm，横52.8cm",[],{"id":2898,"slug":2899,"title":2900,"dynasty":18,"author":2523,"museum":20,"description":2524,"tags":2901,"thumbUrl":2902,"material":409,"size":410,"collection":34,"collections":2903,"showCount":2805,"zanCount":11,"manualWeight":11,"mainColor":62},230201,"shu-fa-zhong-tang-he-shao-ji-230201","书法中堂",[23,7,216,109,684,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6e21ba33617a6406960aaa5eadbd0f0.jpg",[],{"id":2905,"slug":2906,"title":2907,"dynasty":18,"author":105,"museum":20,"description":1937,"tags":2908,"thumbUrl":2910,"material":409,"size":410,"collection":34,"collections":2911,"showCount":2805,"zanCount":11,"manualWeight":11,"mainColor":62},229105,"fen-cai-huang-di-mei-que-wen-wan-yi-ming-229105","粉彩黄地梅鹊纹碗",[7,1795,752,28,27,26,327,2909,188],"鹊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a43da2647b3bd13e97a9ad5f3bed845.jpg",[],{"id":2913,"slug":2914,"title":2915,"dynasty":18,"author":1012,"museum":20,"description":2916,"tags":2917,"thumbUrl":2922,"material":409,"size":410,"collection":34,"collections":2923,"showCount":2805,"zanCount":11,"manualWeight":11,"mainColor":154},226776,"ge-bei-song-shi-gu-wen-ben-ruan-yuan-226776","阁北宋石鼓文本","清代的阮元曾藏三名碑于阮氏祠堂，其中三碑刻为秦代《泰山碑》、东汉《华山碑》、三国吴《天发神谶碑》。此三碑被阮元列入“金石十件”之中。又有人称为“阮氏三宝”。据资料记载，阮元还曾摹刻过先秦时期的《石鼓文》，书法界称此为籀文的代表。\n篆书（甲骨文和象形文字）也是汉字的肇始。至今发现的先秦刻石文字遗存，最早的要属《石鼓文》，在书法史上属于大篆，也称“籀文”。该刻石于唐初被发现。原石作鼓形，共十石，分别刻有四言诗一首，径约三尺余。内容记述秦国君田猎之事，故又称“猎碣”。曾被弃于陈仓云野，故又称“陈仓十碣”。原石在天兴(今陕西宝鸡)三畤原，历经辗转，今石藏北京故宫博物院。后以拓本行世。阮元曾就《石鼓文》拓本摹刻，置于扬州。",[23,25,216,2918,2919,214,7,2920,2921],"拓本","碑帖","拓印技法","篆书笔法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c691a01af40ca52290d9ff2049f6876.jpg",[],{"id":2925,"slug":2926,"title":2927,"dynasty":18,"author":735,"museum":736,"description":737,"tags":2928,"thumbUrl":2931,"material":581,"size":743,"collection":34,"collections":2932,"showCount":2805,"zanCount":11,"manualWeight":11,"mainColor":38},222887,"hong-lou-meng-12-sun-wen-222887","红楼梦12",[23,7,27,28,741,48,433,740,110,2929,1212,1124,2930],"宅院","建筑装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa93316b2f943f9790c60e28115b7951e.jpg",[],{"id":2934,"slug":2935,"title":2936,"dynasty":18,"author":105,"museum":20,"description":2937,"tags":2938,"thumbUrl":2940,"material":77,"size":34,"collection":34,"collections":2941,"showCount":2805,"zanCount":153,"manualWeight":11,"mainColor":38},215871,"qing-dai-gong-ting-ren-wu-hua-ce-2-yi-ming-215871","清代宫廷人物画册-2","画面中人物端坐于椅，衣袍纹饰繁复而精巧，蓝绿叠映间缀以朱红，祥云与禽鸟纹样似欲流转，一针一线皆显宫廷工艺之精湛。她神态娴静，眉眼间藏着温婉气度，举手投足间尽是世家贵女的端庄。坐具软垫的粉与椅身的红相映成趣，足底绣鞋亦见精巧心思。整幅画作以细腻工笔勾勒轮廓，色彩浓淡相宜，将清代宫廷女性的雍容仪态与服饰之美凝于纸上。每一处细节都流淌着古典雅致的韵味，仿佛能窥见那个时代深宫内苑的静谧时光，让观者在笔墨间感受岁月沉淀的东方美学。",[7,2469,27,28,48,313,2939,682],"坐具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93d59e71695aaa1efff2c9ab1e35ab8b.jpg",[],{"id":2943,"slug":2944,"title":2945,"dynasty":18,"author":105,"museum":20,"description":1793,"tags":2946,"thumbUrl":2949,"material":409,"size":410,"collection":34,"collections":2950,"showCount":2951,"zanCount":11,"manualWeight":11,"mainColor":154},258773,"jia-qing-kuan-ji-lan-miao-jin-chan-zhi-lian-die-wen-ping-yi-ming-258773","嘉庆款祭蓝描金缠枝莲蝶纹瓶",[7,752,2947,429,1177,2948,188],"祭蓝釉","蝶纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb67a467b9c37976ef88cdce2cd44cc76.jpg",[],12,{"id":2953,"slug":2954,"title":2955,"dynasty":18,"author":105,"museum":20,"description":2956,"tags":2957,"thumbUrl":2966,"m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，浙江嘉兴人。清官员，官至刑部左侍郎。",[24,25,90,28,27,188,3034,7,216],"木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F321ca84cb16d8fa7051b6c272bab913e.jpg",[133],{"id":3038,"slug":3039,"title":3040,"dynasty":18,"author":1357,"museum":20,"description":1358,"tags":3041,"thumbUrl":3042,"material":409,"size":410,"collection":34,"collections":3043,"showCount":2951,"zanCount":11,"manualWeight":11,"mainColor":38},238797,"hua-hui-xiao-ce-dong-gao-238797","花卉小册",[24,25,90,28,27,26,231,1202,290,95,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9984731b85ee0896951fbbd0b5358cde.jpg",[],{"id":3045,"slug":3046,"title":3047,"dynasty":18,"author":105,"museum":20,"description":3048,"tags":3049,"thumbUrl":3053,"material":34,"size":34,"collection":58,"collections":3054,"showCount":2951,"zanCount":11,"manualWeight":11,"mainColor":38},238638,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238638","平定苗疆战图册","全景式铺展西南崇山战事，左侧隘楼雄峙，苗民凭险据守，河谷中短兵相接，刀戈交错间硝烟翻涌，清军列阵衔枚疾突，将平乱鏖战的肃杀张力尽数铺陈。\n刀工笔触细致入微，山石褶皱、将士甲胄纹理皆清晰可辨，既还原了山地地貌的奇崛险峻，也将攻防拉锯的实景如实复刻。右上角御题诗文与战事图景相映，融纪实叙事与帝王题咏于一体，以铜版镂刻定格边疆平乱的宏大场面，兼具纪实史料价值与清代版画工艺之美。",[7,1036,27,685,90,342,48,343,433,111,110,3050,1111,3051,3052],"军队","城墙","战场","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82a5ad1038662987587c2d95a68d04a4.jpg",[58],{"id":3056,"slug":3057,"title":3058,"dynasty":18,"author":3059,"museum":20,"description":3060,"tags":3061,"thumbUrl":3062,"material":409,"size":410,"collection":34,"collections":3063,"showCount":2951,"zanCount":11,"manualWeight":11,"mainColor":62},235367,"hua-wu-ping-zhai-he-jia-huan-tu-zhou-ren-yu-235367","画吴平斋合家欢图轴","任预","任预（1853年—1901年），一名豫，字立凡，浙江萧山人，晚清著名海派画家，为早期海派大师任熊之子，山水、人物、花鸟，无所不精。在“四任”（任熊、任薰、任颐、任预）中，最为年轻。\n任熊逝世时，任预仅四岁，笔墨初无师承，尽变任氏宗派。得赵之谦指授，亦善治印。",[7,24,28,27,48,274,1243,2965,110,407,892],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff216d27bc62b04c304bb7261d2bcd4a2.jpg",[],{"id":3065,"slug":3066,"title":3067,"dynasty":18,"author":1188,"museum":20,"description":1189,"tags":3068,"thumbUrl":3070,"material":409,"size":410,"collection":34,"collections":3071,"showCount":2951,"zanCount":11,"manualWeight":11,"mainColor":38},230260,"zhuan-shu-si-ping-hong-yi-fa-shi-230260","篆书四屏",[23,7,214,216,3069],"四条屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a485d4ce72f6a012fddc84f8d7dcf32.jpg",[],{"id":3073,"slug":3074,"title":3075,"dynasty":18,"author":105,"museum":20,"description":3076,"tags":3077,"thumbUrl":3078,"material":409,"size":410,"collection":34,"collections":3079,"showCount":2951,"zanCount":153,"manualWeight":11,"mainColor":38},229964,"yin-du-jin-qian-zhu-hua-die-er-wa-chai-yi-ming-229964","银镀金嵌珠花蝶耳挖钗","此钗取花蝶为韵，粉碧玺花瓣柔婉层叠，主珠莹润似晨露，碎珠如星子错落点缀。点翠鲜绿叶片舒展，衬得花团愈发生机灵动。银镀金底托将珠石托举，清透宝玉与鎏金光泽相映，华贵又不失清雅。\n\n它将装饰与实用相融，钗身兼具耳挖之用，是闺阁妆饰里藏着的巧思。整体清丽柔婉，尽显细作首饰的精巧工致，把闺中女子的雅致意趣凝于方寸之间，藏着旧时妆匣里的温柔心事。",[7,1506,229,231,232,234,188,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f692ed659154c939cd4f4c89764e314.jpg",[],{"id":3081,"slug":3082,"title":3083,"dynasty":18,"author":105,"museum":20,"description":3084,"tags":3085,"thumbUrl":3086,"material":409,"size":410,"collection":34,"collections":3087,"showCount":2951,"zanCount":11,"manualWeight":11,"mainColor":38},229932,"jin-xiang-dong-zhu-huang-di-ji-fu-guan-ding-yi-ming-229932","金镶东珠皇帝吉服冠顶","此冠顶以东珠为主体，珠体饱满莹润，珠光内敛晕华，尽显天成贵气。底托以累丝金工打造，卷草缠枝纹路细密灵动，尽显花丝工艺的精妙绝伦。座身镶嵌绿松石，碧色澄澈与赤金相衬，冷暖色调交融，更衬东珠素洁雅致。整体规制严谨华贵，将天材与匠心完美结合，尽显帝王仪仗的庄重威仪，是清代宫廷细作工艺的典范之作，凝萃着彼时顶尖的手工造诣，处处彰显着皇家独有的尊崇气度。",[7,143,234,313,188,145,186,521],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24c077716c13cdb672de1588bae0842c.jpg",[],{"id":3089,"slug":3090,"title":3091,"dynasty":18,"author":105,"museum":20,"description":3092,"tags":3093,"thumbUrl":3095,"material":409,"size":410,"collection":34,"collections":3096,"showCount":2951,"zanCount":153,"manualWeight":11,"mainColor":38},229252,"yin-du-jin-dian-cui-qian-zhu-bao-he-ye-er-zhui-yi-ming-229252","银镀金点翠嵌珠宝荷叶耳坠","耳坠指耳饰的一种，指带有下垂饰物的耳饰（耳环）。有时耳坠等同于耳环，又称耳坠子，是耳朵饰品的代称。耳坠又指耳垂，是属于耳朵结构的一部分，位于耳朵的下半部，比较肥厚的那部分。在最传统的命理学说法中，耳坠的厚与薄代表一个人的命运。\n古时候，人们讲究“耳大如轮，眼大有神”，注重以貌取人，认为耳垂小了是没有福气的象征。但是人一出世，天生的小耳垂，又有啥办法弥补呢？传说，只有戴上耳坠。才能把耳轮拉长。因此，妇女都喜欢戴一副耳坠。 问起这一风俗的来历，传说，还是三国时期貂蝉传下来的呢。 貂蝉原是东汉末汉献帝时司徒王允的一名歌伎，她长得相貌出众、能歌善舞，色伎俱佳，很受王允的宠爱，以亲女看待。当时，董卓专权，挟天子以令诸侯，大臣们对他恨之入骨，但是敢怒而不敢言。王允为此事也闷闷不乐，终日不思茶饭。 貂蝉虽是女流，可王允的心事，她却宗宗看在眼里，件件记在心中。她很会察言观色，为主人分忧解愁。在一个月光皎洁的夜晚，貂蝉在花园里设下香案，为主人祝祷。她虔诚地燃起三柱香火，仰天一拜说道：“明月呀明月，你虽昭昭洁白如洗，可知我家老爷心中烦恼？苍天呀苍天！我貂蝉虽乃女流之辈，老爷婢女，若能为老爷分担忧愁，我愿万死不辞。”恰在此时，王允因忧国心烦，夜不能寐，来到后花园赏月散心。他听见有人祝祷，连忙躲在一座假山后面，静听起来。他听完貂婶的祝愿，心情无比激动和感激，忙上前来，搀扶起这一歌女。 王允问貂婢：“你向苍天明月祈告，为我分忧解愁，可知我忧在何处？愁为何事呀！” 貂蝉说：“当然知道。” 王允又问：“既然知道，又有什么妙法替我杀了董卓？” 貂婢说：“只要老爷相信得过我，奴婢愿效犬马之劳，即使赴汤蹈火，也心甘情愿。” 王允听了，顿时为这女子的仗义和气魄所感动，当即认貂蝉为女儿。后来王允与貂蝉合议：先将貂蝉献于董卓，后再暗许吕布，以离间两人之交，让这董吕两人勾心斗角，互相杀害。 貂蝉耳垂小，怕自己美中不足，使董、吕二人看不上，使密谋落空。她想办法弥补，想了很久，终于想出了良法，就在家中拿了些碎银子，叫银匠给自己作了一对银耳坠，挂在耳垂上。这样过了不久，耳垂果然变大了，为她的美容又增添了不少姿色。 董卓一见貂蝉大喜！吕布一见貂蝉着迷，使董卓和吕布因争夺这一美女而激烈相斗。又因吕布貂蝉私通，恐事发觉，心神不安。王允设计使吕布为内应，结果董卓被杀了。 从此，戴耳坠也就传到了民间。",[7,233,462,1506,30,465,3094,228,143,234,705],"耳坠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06ea37094d4d049e7f0b7f15a142378f.jpg",[],{"id":3098,"slug":3099,"title":3100,"dynasty":18,"author":105,"museum":20,"description":1793,"tags":3101,"thumbUrl":3103,"material":409,"size":410,"collection":34,"collections":3104,"showCount":2951,"zanCount":11,"manualWeight":11,"mainColor":154},229140,"fen-cai-ying-xi-tu-ping-yi-ming-229140","粉彩婴戏图瓶",[7,752,1795,28,48,3102,188],"婴戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35d1e15ff308541aee0294a62974c696.jpg",[],{"id":3106,"slug":3107,"title":3108,"dynasty":18,"author":3109,"museum":20,"description":3110,"tags":3111,"thumbUrl":3112,"material":409,"size":410,"collection":34,"collections":3113,"showCount":2951,"zanCount":11,"manualWeight":11,"mainColor":62},228924,"qi-yan-jue-ju-gao-xiang-228924","七言绝句","高翔","高翔（1688--1753），字凤岗，号西唐，又号犀堂、西堂、樨堂等，别号山林外臣，擅画山水花卉，间作佛像人物。篆刻与汪士慎、丁敬齐名。又与高凤翰、潘西凤、沈凤并称四凤。高翔少年时期崇尚石涛，后与石涛结识为友，常相往来，情谊深长，受益颇深，是石涛的挚友和忠实追随者。\n高翔晚年时由于右手残废，常以左手作画。与石涛、金农、汪士慎为友。清朝的李斗在《扬州画舫录》中有过这样的记载：“石涛死，西唐每岁春扫其墓，至死弗辍”。意思是说，石涛死后，高翔每年春天都去扫墓，直到死都没有断过。从这里也可以看出他们之间的友谊很深。\n高翔除擅长画山水花卉外，也精于写真和刻印。他的山水画取法弘仁和石涛，所画的园林小景，大多是从写生中来。金农、汪士慎诗集上的小像，就是高翔的手笔，线描简练，神态逼真。著有《西唐诗钞》，“扬州八怪”之一 。",[23,216,873,683,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F840829472f15aa851faf55eed47b0888.jpg",[],{"id":3115,"slug":3116,"title":3117,"dynasty":18,"author":735,"museum":736,"description":737,"tags":3118,"thumbUrl":3119,"material":581,"size":743,"collection":34,"collections":3120,"showCount":2951,"zanCount":11,"manualWeight":11,"mainColor":38},222969,"hong-lou-meng-94-sun-wen-222969","红楼梦94",[23,24,27,28,7,48,1715,669,111,110,433,740,892,1214,941],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e2cb4edc6fdd04ef5d3c4b9df4d44de.jpg",[],{"id":3122,"slug":3123,"title":3124,"dynasty":18,"author":426,"museum":68,"description":3125,"tags":3126,"thumbUrl":3129,"material":77,"size":3130,"collection":34,"collections":3131,"showCount":2951,"zanCount":11,"manualWeight":11,"mainColor":38},218457,"shi-liu-luo-han-xiang-di-shi-san-ba-na-ta-ga-zun-zhe-ding-guan-peng-218457","十六罗汉像-第十三巴纳塔嘎尊者","眉眼弯作新月，嘴角噙着三分俏皮七分慈悲，圆融面庞上的纹路似时光揉过的经卷，每一道都藏着禅意的褶皱。蓝褐袈裟经纬细腻，松风涧水般的质感漫过布帛，衬裙团花簇簇，如古锦中绽出的清梦。他双手轻捧卷轴，指节温润，仿佛正与千年佛法私语，卷轴边缘的褶皱里，梵音似要悄然溢出。脚下素布鞋沾着人间烟火，让云端智慧多了尘世温度。画面庄重中见灵动，华丽里藏平实，将罗汉的通达与亲和，凝作一纸可触的温暖。",[24,25,27,28,48,142,32,3127,3128,7,1394,1395],"衣物","鞋子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F714ae035f18a63c4f5ed5dc9dd610ae2.jpg","127.5x57.5",[],{"id":3133,"slug":3134,"title":3135,"dynasty":18,"author":1108,"museum":20,"description":2776,"tags":3136,"thumbUrl":3139,"material":56,"size":34,"collection":34,"collections":3140,"showCount":2951,"zanCount":11,"manualWeight":11,"mainColor":2780},217256,"li-dai-di-wang-zhen-xiang-3-yao-wen-han-217256","历代帝王真像-3",[24,28,27,48,3137,798,3138,7],"帝王","肖像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2a8e94d6534e386e4636b2f1b54d27e.jpg",[],{"id":3142,"slug":3143,"title":3144,"dynasty":18,"author":271,"museum":1121,"description":3145,"tags":3146,"thumbUrl":3148,"material":34,"size":34,"collection":78,"collections":3149,"showCount":2951,"zanCount":11,"manualWeight":11,"mainColor":3150},201769,"mei-zhu-zhi-ji-tu-zhou-shen-quan-201769","梅竹稚鸡图轴","画面展现寒冬景致，苍劲梅枝虬曲伸展，疏竹点缀岩间，流泉自石上潺潺而下。两只稚鸡立于崖顶，一昂首观物，一俯身啄食，羽毛勾勒细腻，神态鲜活灵动。作者以工笔手法绘就，线条精准流畅，设色淡雅却层次丰富，梅竹的挺秀、山石的浑厚、禽鸟的生动皆跃然纸上。整幅作品动静相谐，于清冷冬景中透出盎然生机，尽显清代花鸟画作的精致意趣与自然之美。",[27,26,327,328,3147,28,111,1369,7,23],"稚鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febed5b7b28330ee4bb7551c948e53036.jpg",[78],"9e8a71",{"id":3152,"slug":3153,"title":3154,"dynasty":18,"author":105,"museum":20,"description":3155,"tags":3156,"thumbUrl":3159,"material":409,"size":410,"collection":755,"collections":3160,"showCount":3161,"zanCount":11,"manualWeight":11,"mainColor":62},258984,"yi-xing-yao-zi-sha-song-shu-peng-cha-tu-shi-wen-hu-yi-ming-258984","宜兴窑紫砂松树烹茶图诗文壶","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。",[752,3157,7,144,216,344,3158,188],"紫砂","烹茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d2cb55296edbfaa0b3e4c383f3bafb8.jpg",[755],11,{"id":3163,"slug":3164,"title":3165,"dynasty":18,"author":105,"museum":20,"description":3166,"tags":3167,"thumbUrl":3168,"material":409,"size":410,"collection":34,"collections":3169,"showCount":3161,"zanCount":11,"manualWeight":11,"mainColor":38},258854,"tong-zhi-kuan-huang-di-fen-cai-lan-hua-wen-bei-yi-ming-258854","同治款黄地粉彩兰花纹杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[7,752,1795,28,579,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc763476d0c248cf44d728f04e9241710.jpg",[],{"id":3171,"slug":3172,"title":3173,"dynasty":18,"author":105,"museum":20,"description":2766,"tags":3174,"thumbUrl":3175,"material":409,"size":410,"collection":34,"collections":3176,"showCount":3161,"zanCount":11,"manualWeight":11,"mainColor":154},258573,"qian-long-kuan-fen-cai-kai-guang-mei-hua-wen-bi-yan-hu-yi-ming-258573","乾隆款粉彩开光梅花纹鼻烟壶",[7,752,1795,1728,28,327,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F408b63a0f0561155d972a77eea8d24a6.jpg",[],{"id":3178,"slug":3179,"title":3180,"dynas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"天鹅绒白。清代除烧白瓷外，盛烧青花与彩绘瓷器。元代以来，德化窑瓷器输出海外，菲律宾、马来西亚出土有元代德化窑青白瓷，泰国及东非坦桑尼亚等国家也出土有清代德化窑青花瓷器。\n这种瓷器的制作工艺程序如下：他们从地下挖取一种泥土，将它垒成一个大堆，任凭风吹、雨打、日晒，从不翻动，历时三、四十年。泥土经过这种处理，质地变得更加纯化精炼，适合制造上述各种器皿，然后抹上认为颜色合宜的釉，再将瓷器放入窑内或炉里烧制而成。因此，人们挖泥堆土，目的是替自已的儿孙贮备制造瓷器的材料而已，大量的瓷器是在城中出售， 一个威尼斯银币能买到八个瓷杯“。马可波罗的介绍，引起了西方人的强烈兴趣。",[7,752,3190,142,48,144],"白瓷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3567936fcd96861f08669c782ea09aa6.jpg",[755],{"id":3194,"slug":3195,"title":3196,"dynasty":18,"author":105,"museum":20,"description":3197,"tags":3198,"thumbUrl":3202,"material":409,"size":410,"collection":34,"collections":3203,"showCount":3161,"zanCount":11,"manualWeight":11,"mainColor":62},252824,"cai-su-xi-chun-zuo-hua-xiang-yi-ming-252824","彩塑惜春作画像","三女围桌，尽显闺中艺文雅趣。居中者敛眉凝思，指尖将落未落，素纸铺陈、笔砚列置，将挥毫瞬间的沉静定格。左侧侍女执扇侍立，探手微侧，鲜活灵动带着侍奉的温婉妥帖，右侧仕女安坐凝睇，眉目娴静温婉。\n\n彩塑敷色调和清润，衣褶纹理写实自然，人物神态各有韵致，以朴拙生动的造像手法，定格深闺雅集的悠然瞬间，细腻还原旧时闺中研墨挥毫的雅致场景，将东方闺阁的娴静风雅藏入每一处细节里。",[3199,28,7,48,792,3200,1349,3201,1348,794,313],"彩塑","笔","纸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F948ed08e87480a3982412c9e1406f162.jpg",[],{"id":3205,"slug":3206,"title":3207,"dynasty":18,"author":105,"museum":20,"description":3208,"tags":3209,"thumbUrl":3212,"material":409,"size":410,"collection":34,"collections":3213,"showCount":3161,"zanCount":11,"manualWeight":11,"mainColor":154},252819,"mu-diao-jin-qi-yao-shi-fu-zuo-xiang-yi-ming-252819","木雕金漆药师佛坐像","木雕是雕塑的一种，在我们国家常常被称为“民间工艺”。木雕可以分为立体圆雕、根雕、浮雕三大类。木雕是从木工中分离出来的一个工种，在我们国家的工种分类中为“精细木工”。\n以雕刻材料分类的民间美术品种。一般选用质地细密坚韧，不易变形的树种如楠木、紫檀、樟木、柏木、银杏、沉香、红木、龙眼等。\n木雕是以各种木材及树根为材料进行雕刻，是以传统雕刻工艺中的重要门类。木雕的历史非常悠久，在浙江余姚河姆渡文化遗址就有木雕鱼出土，这是我国木雕史上最早的实物。河南信阳战国大墓出土的木雕镇木兽，湖北云梦汉墓出土的彩雕木佣均为我国早期木雕作品。由于保存的困难，现今很难看到超过千年的木雕作品。\n两宋时期木雕作品较为多见，这时的木雕已采用组织细密的木材为载体进行制作，这就有利于木雕作品的传世。我国的一些庙宇里还保存有宋代的木雕作品。\n元明时由于海外贸易的急速发展，木材种类有所增加，许多由海外进口的硬质木材，是木雕工艺得到长足发展。\n明清期间是木雕艺术的一个辉煌时期，涌现出大量有史可考的名家、艺人及其作品，是古代木雕艺术的一个高峰。\n清末至民国年间由于政府的腐败，国力的衰退，外强的侵略，民不潦生，木雕艺术从此衰落，艺人名家也只能沦为匠人糊口度日。新中国成立后在党和国家的关怀下，民间工艺得到了保护及挖掘，木雕也重新涣发出生命，涌现出一批国家级大师。他们的作品，工艺精湛，秉承传统，立意深远，讴歌时代，体现了大师们立足传统，锐意创新，直抒重获新生的胸怀和报效国家，知遇之恩的深情。\n国家改革开放，经济腾飞，国富民强，党和国家对民间工艺的大力扶持，唤起了民众对传统工艺美术的热爱与追求。逢此盛世，民间工艺美术有了新的飞跃，木雕艺术也不例外。面对实际情况，在全国工艺品展出中，优秀作品的作者年龄偏大，年轻作者寥寥无几。",[7,3210,3211,142,48,144],"木雕","金漆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6437b494e69ed3146713485054145860.jpg",[],{"id":3215,"slug":3216,"title":3217,"dynasty":18,"author":105,"museum":20,"description":1884,"tags":3218,"thumbUrl":3219,"material":409,"size":410,"collection":34,"collections":3220,"showCount":3161,"zanCount":11,"manualWeight":11,"mainColor":154},249376,"qia-si-fa-lang-feng-huang-mu-dan-tu-ping-yi-ming-249376","掐丝珐琅凤凰牡丹图瓶",[7,1886,1578,28,26,2181,93,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F907174cf789b94db136a78afe22fed77.jpg",[],{"id":3222,"slug":3223,"title":3224,"dynasty":18,"author":105,"museum":20,"description":1526,"tags":3225,"thumbUrl":3229,"material":409,"size":410,"collection":34,"collections":3230,"showCount":3161,"zanCount":153,"manualWeight":11,"mainColor":62},248393,"hei-qi-qian-luo-dian-shuang-xi-zi-chan-zhi-lian-ba-bao-wen-cuan-he-yi-ming-248393","黑漆嵌螺钿双喜字缠枝莲八宝纹攒盒",[7,1726,2126,144,3226,1177,3227,3228],"双喜字","八宝纹","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f446e139576fc41bb31d57dcfc45212.jpg",[],{"id":3232,"slug":3233,"title":3234,"dynasty":18,"author":105,"museum":20,"description":3235,"tags":3236,"thumbUrl":3238,"material":34,"size":34,"collection":755,"collections":3239,"showCount":3161,"zanCount":11,"manualWeight":11,"mainColor":38},246642,"ti-cai-chan-zhi-lian-wen-kai-guang-shan-shui-ren-wu-tu-hai-tang-shi-ping-yi-ming-246642","剔彩缠枝莲纹开光山水人物图海棠式瓶","此器海棠式瓶身柔婉饱满，以剔彩技法精作而成。器身满雕缠枝莲纹，繁丽细密，朱漆为骨，间缀异色相衬，雕镂层次分明，尽显工致。\n\n四面开光内錾刻山水人物图景，山峦层叠、林木蓊郁，高士幽隐于林泉之间，意境清远淡和。颈部回纹与蕉叶纹排布规整，古意盎然，口沿足部包镶铜边，既提亮华贵质感，又护持器身防止磕碰磨损。整体雕工圆熟爽利，漆色沉厚莹润，将吉祥纹饰的富丽与文人山水的雅趣相融，尽显精巧造诣与雅致审美意韵。",[7,1726,3237,144,1728,342,48,1177],"剔彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F063394f98e0e126d22da924a781c27eb.jpg",[755],{"id":3241,"slug":3242,"title":3243,"dynasty":18,"author":105,"museum":20,"description":3244,"tags":3245,"thumbUrl":3246,"material":409,"size":410,"collection":34,"collections":3247,"showCount":3161,"zanCount":11,"manualWeight":11,"mainColor":62},245958,"jin-long-yi-ming-245958","金龙","此件作品身形矫健灵动，龙首昂扬，口衔宝珠，鬃须翻卷张扬。躯体鳞纹细密规整，火焰纹饰缠绕周身，线条凌厉舒展，将神龙威严肃穆的气度尽数彰显。四爪遒劲有力，踏于云座之上，仿佛即将乘云腾空而去。\n\n整体鎏金莹润华贵，色泽厚重匀净，细节处錾刻精细入微，匠者将瑞龙飞天的磅礴气势凝于方寸之间，融灵动神韵与华贵气度为一体，尽显清代金属细作的极致匠心。",[7,143,144,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb8130e674f929420cc5267a621b840f.jpg",[],{"id":3249,"slug":3250,"title":3251,"dynasty":18,"author":105,"museum":20,"description":3252,"tags":3253,"thumbUrl":3254,"material":409,"size":410,"collection":34,"collections":3255,"showCount":3161,"zanCount":11,"manualWeight":11,"mainColor":154},242075,"yin-du-jin-dian-cui-tiao-yi-ming-242075","银镀金点翠条","以银镀金为底骨，羽蓝点翠铺陈花叶，明润光泽如晨露凝于春梢。金棱勾出花脉纹理，让柔婉花型更见灵动舒展。主花心嵌着艳泽柔润的彩宝，旁侧两朵小花以莹白珍珠作蕊，鎏金叶片衬于翠色之间，冷暖交织，华贵里晕开清雅。整体弯弧形制贴合发髻轮廓，将点翠工艺的华美与珠玉的莹润融于一处，藏着旧时妆造里的细腻巧思，尽展东方闺阁妆饰的雅致匠心。",[7,233,1506,145,1578,234,92,466,303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc482cc2d06422b0e45a3e7566731f92.jpg",[],{"id":3257,"slug":3258,"title":3259,"dynasty":18,"author":105,"museum":20,"description":1504,"tags":3260,"thumbUr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梁同书家学渊源。他自幼接触书法，12岁时即能书写擘窠大字。初学颜真卿、柳公权，中年以后又取法米芾，70岁以后融汇贯通，纯任自然。他习书60余年，久负盛名，所书碑刻极多。\n梁同书工于楷、行书，到晚年犹能写蝇头小楷，其书大字结体紧严，小楷秀逸，尤为精到。与刘墉、翁方纲、王文治并称“清四大家”。年九十余，尚为人书碑文墓志，终日无倦容，并无苍老之气。传世书迹甚富，小楷书作尤多。著有《频罗庵遗集》《频罗庵论书》等。",[7,216,684,109,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F530a90b60fcb9904bef6492bb19c72e1.jpg",[],{"id":4450,"slug":4451,"title":4452,"dynasty":18,"author":1775,"museum":20,"description":4453,"tags":4454,"thumbUrl":4455,"material":409,"size":410,"collection":34,"collections":4456,"showCount":4197,"zanCount":11,"manualWeight":11,"mainColor":38},240699,"wu-lv-shi-shan-mian-zheng-ban-qiao-240699","五律诗扇面","郑板桥（1693年－1766年），原名郑燮，字克柔，号理庵，又号板桥，人称板桥先生，江苏兴化人，祖籍苏州。清代书画家、文学家。\n康熙秀才，雍正十年举人，乾隆元年（1736年）进士。官山东范县、潍县县令，政绩显著，后客居扬州，以卖画为生，为“扬州八怪”重要代表人物。\n郑板桥一生只画兰、竹、石，自称“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”。其诗书画，世称“三绝”，是清代比较有代表性的文人画家。代表作品有《修竹新篁图》《清光留照图》《兰竹芳馨图》《甘谷菊泉图》《丛兰荆棘图》等，著有《郑板桥集》。",[7,404,216,684,683,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d48e2c8b39e6a66e3ff0d263c728726.jpg",[],{"id":4458,"slug":4459,"title":210,"dynasty":18,"author":1836,"museum":20,"description":1837,"tags":4460,"thumbUrl":4461,"material":409,"size":410,"collection":34,"collections":4462,"showCount":4197,"zanCount":11,"manualWeight":11,"mainColor":62},240575,"zhuan-shu-ba-yan-lian-wu-chang-shuo-240575",[7,214,215,216,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F783fc7cf64ec2820035c6b8d989df963.jpg",[],{"id":4464,"slug":4465,"title":4466,"dynasty":18,"author":4467,"museum":20,"description":4468,"tags":4469,"thumbUrl":4472,"material":409,"size":410,"collection":34,"collections":4473,"showCount":4197,"zanCount":11,"manualWeight":11,"mainColor":38},235654,"xi-yi-tu-zhou-gao-qi-pei-235654","蜥蜴图轴","高其佩","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。\n康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。",[24,25,109,4470,683,28,4471,113,331,7],"指画","蜥蜴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F085c06c4b3005f9957fed7c11a6221a0.jpg",[],{"id":4475,"slug":4476,"title":4477,"dynasty":18,"author":4478,"museum":20,"description":4479,"tags":4480,"thumbUrl":4483,"material":34,"size":34,"collection":34,"collections":4484,"showCount":4197,"zanCount":153,"manualWeight":11,"mainColor":62},235319,"duan-ji-jiao-zi-tu-zhou-kang-tao-235319","断机教子图轴","康涛","工笔设色绘就贤母训子场景，左侧织机悬着未竟素帛，孟母持剪而立，神色沉凝肃穆，将断杼明志的训诫藏于举手投足间。幼孟轲垂首立在身侧，孺慕间带着愧悔之色。\n衣纹以铁线描勾勒，温婉秀雅，蓝饰头鬓晕染细腻，赭褐衣装衬出沉静古雅的色调。右上角题字笔意端秀，呼应画中劝学成才的典故。\n画作未刻意渲染情绪，却将言传身教的意蕴藏在人物姿态中，绢本底色晕开东方家教的沉厚底色，把千年贤母训子的佳话定格为可感的画面，工致笔触尽显雅致风骨。",[24,25,109,28,27,48,4481,4482,7],"织布机","古代服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7b81833b420652ba2ce9221df03ea46.jpg",[],{"id":4486,"slug":4487,"title":4488,"dynasty":18,"author":105,"museum":20,"description":2868,"tags":4489,"thumbUrl":4490,"material":409,"size":410,"collection":34,"collections":4491,"showCount":4197,"zanCount":11,"manualWeight":11,"mainColor":62},234457,"shi-hou-guan-shi-yin-pu-sa-tang-ka-yi-ming-234457","狮吼观世音菩萨唐卡",[142,28,27,48,174,862,92,249,860,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8732fc5f369b475320dc417bada94c97.jpg",[],{"id":4493,"slug":4494,"title":4495,"dynasty":18,"author":105,"museum":20,"description":4496,"tags":4497,"thumbUrl":4500,"material":409,"size":410,"collection":34,"collections":4501,"showCount":4197,"zanCount":11,"manualWeight":11,"mainColor":154},234409,"xiao-he-rui-huang-hou-ban-shen-xiang-chi-ping-yi-ming-234409","孝和睿皇后半身像持屏","这幅肖像以中西合璧的技法绘就，以西洋写实晕染勾勒出皇后柔润的肌肤与沉静端凝的神态，弯眉含秀，唇色妍丽，耳坠轻摇间尽显后宫主位的温婉威仪。\n\n吉服纹饰绘制精工细密，明黄龙张爪展翼，辅以祥云江崖，色彩华贵饱满，将后服的典制华贵尽数铺陈，青蓝背景衬出人物端雅雍容，既得西洋肖像的写实逼真，又不失东方宫廷肖像的庄重规整，尽显清宫肖像融贯中西的独特意韵。",[96,7,27,28,48,4498,313,187,4499,3138,257],"皇后","屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F713ccc991e35ec949a18cac7f6e3e86b.jpg",[],{"id":4503,"slug":4504,"title":4505,"dynasty":18,"author":105,"museum":20,"description":4506,"tags":4507,"thumbUrl":4508,"material":409,"size":410,"collection":34,"collections":4509,"showCount":4197,"zanCount":11,"manualWeight":11,"mainColor":38},234396,"min-ning-chao-fu-xiang-zhou-yi-ming-234396","旻宁朝服像轴","此作工笔设色，尽显帝王威仪。画中君主神色沉静端肃，端坐于描金龙椅之上，身姿挺拔沉稳。明黄朝服满绣龙纹，正龙盘踞、行龙环绕，十二章纹点缀其间，织绣精细入微，色泽富丽厚重，尽显礼制尊崇。头戴东珠顶饰夏朝冠，朝珠垂坠严合规制。\n\n画师线条工稳细腻，设色醇厚雅致，写实入微地还原了帝王朝服仪制，精准勾勒出帝王的肃穆仪态，尽显清代宫廷肖像画精妙写实的造诣，是清代肖像画中颇具代表性的佳作。",[24,25,109,27,28,48,187,313,860,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e5e1567975a96b2b14f2c2e722e7576.jpg",[],{"id":4511,"slug":4512,"title":4513,"dynasty":18,"author":4514,"museum":20,"description":4515,"tags":4516,"thumbUrl":4518,"material":409,"size":410,"collection":34,"collections":4519,"showCount":4197,"zanCount":11,"manualWeight":11,"mainColor":38},230878,"zhong-jin-shi-song-mei-tu-shan-mian-sun-ji-rui-230878","钟进士送妹图扇面","孙基瑞","此作以浅淡设色铺陈场景，钟馗虬髯横剑，威严沉稳，妹妹安坐驴背，温婉静和，仆役肩挑酒食随行。淡墨晕染出郊野平坡枯木，清寂氛围感十足。线条简练挺劲，将人物神态刻画入微，刚柔反差鲜明，钟馗的凛然与小妹的柔媚相互映衬，细节生动鲜活。设色淡雅秀润，笔墨兼具写意与工致，将民间送妹传说，绘就出灵动古雅的意趣，是极具韵味的仕人小品，尽显传统人物画的雅致情致。",[404,24,25,28,1036,48,345,7,4517],"人物画","https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，字仲冶，一字柳门，其故乡四川遂宁城西有船山，因以为号。因善画猿，亦自号“蜀山老猿”。清四川潼川州遂宁县黑柏沟（今属遂宁市蓬溪县）人。",[216,109,684,32,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb3153d8d09ad078c188cf77d571400b.jpg",[],{"id":8202,"slug":8203,"title":4958,"dynasty":18,"author":8204,"museum":20,"description":8205,"tags":8206,"thumbUrl":8207,"material":409,"size":410,"collection":34,"collections":8208,"showCount":194,"zanCount":11,"manualWeight":11,"mainColor":38},240452,"zhuan-shu-lu-wen-zhou-wang-tai-yue-240452","王太岳","王太岳（1722年-1785年）字基平，号芥子，直隶定兴人。生于清圣祖康熙六十一年，乾隆七年（1742年）进士，改翰林院庶吉士，擅文名，卒于高宗乾隆五十年（1785年），年六十四岁。",[7,214,109,216,32,850],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bc5a9f3b2702bd3f162fc8e4c496c21.jpg",[],{"id":8210,"slug":8211,"title":8212,"dynasty":18,"author":8188,"museum":20,"description":8189,"tags":8213,"thumbUrl":8215,"material":409,"size":410,"collection":34,"collections":8216,"showCount":194,"zanCount":11,"manualWeight":11,"mainColor":38},240395,"shou-zha-heng-fu-lin-ze-xu-240395","手札横幅",[216,684,850,7,8214,2450,2575],"横幅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb907ea73b88f28cb5cc339cc01fe2d76.jpg",[],{"id":8218,"slug":8219,"title":5702,"dynasty":18,"author":8220,"museum":20,"description":8221,"tags":8222,"thumbUrl":8223,"material":409,"size":410,"collection":34,"collections":8224,"showCount":194,"zanCount":11,"manualWeight":11,"mainColor":62},240189,"shi-zhou-xue-suo-yun-240189","薛所蕴","薛所蕴（1600－1667），字子展，号行屋，河南孟州人。崇祯元年进士，贰臣。累官至国子监司业。福王时，以曾附李自成，定入从贼案。复降清，授原官，累官礼部左侍郎。为高尔俨所劾，乞休归。工诗文，有《椁庵集》、《澹友轩集》等。",[7,216,109,684,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7709de36d460651c2509562d43ab068c.jpg",[],{"id":8226,"slug":8227,"title":8228,"dynasty":18,"author":1012,"museum":20,"description":8229,"tags":8230,"thumbUrl":8232,"material":409,"size":410,"collection":34,"collections":8233,"showCount":194,"zanCount":11,"manualWeight":11,"mainColor":38},240168,"heng-ruan-yuan-240168","横","字伯元，号芸台、雷塘庵主、揅经老人、怡性老人 ，江苏扬州仪征人。清朝中期官员、经学家、训诂学家、金石学家 。\n阮元为乾隆五十四年（1789年）进士，先后在礼部、兵部、户部、工部供职，并出任山东、浙江学政，浙江、江西、河南巡抚及漕运总督、湖广总督、两广总督、云贵总督等职。身历乾隆、嘉庆、道光三朝，所至之处，以提倡学术、振兴文教为自任，勤于军政，治绩斐然。晚年官拜体仁阁大学士，致仕后加官至太傅。道光二十九年（1849年），阮元去世，年八十六。获赐谥号“文达”。\n阮元提倡朴学，曾罗致学者编书刊印，主编《经籍籑诂》，校刻《十三经注疏》，汇刻《皇清经解》等，于数学、天算、舆地、编纂、金石、校勘等方面亦多有建树 ，史称其“身历乾、嘉文物鼎盛之时，主持风会数十年，海内学者奉为山斗焉” ，是乾嘉学派晚期代表人物，也被认为是扬州学派的柱石。生平著述丰撰有《揅经室集》《十三经注疏校勘记》等三十余种著述传世。",[7,216,873,8231,32,25],"横卷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8debf37a825bd771de15794bb3448522.jpg",[],{"id":8235,"slug":8236,"title":5702,"dynasty":18,"author":8237,"museum":20,"description":8238,"tags":8239,"thumbUrl":8240,"material":409,"size":410,"collection":34,"collections":8241,"showCount":194,"zanCount":11,"manualWeight":11,"mainColor":38},240015,"shi-zhou-ba-wei-zu-240015","巴慰祖","巴慰祖，清（一七四四―一七九三）字予藉，一字子安，号晋堂，一作隽堂，又号莲舫，徽州歙（今黄山市歙县）人。清代篆刻家，他有《四香堂摹印》《百寿图印谱》留传，能得汉印精髓。过去因他作品极少而被列为皖派，但在战后发现的原印看来，与程邃的风格是不同的。",[7,873,109,32,216,2699],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F348ed6926d4ad50f30f80333cc05e344.jpg",[],{"id":8243,"slug":8244,"title":8245,"dynasty":18,"author":8246,"museum":20,"description":8247,"tags":8248,"thumbUrl":8249,"material":409,"size":410,"collection":34,"collections":8250,"showCount":194,"zanCount":11,"manualWeight":11,"mainColor":38},239779,"guan-huai-shu-yong-yan-qing-shu-zhai-shi-zhou-guan-huai-239779","关槐书颙琰清淑斋诗轴","关槐","字晋卿，一字晋轩，号雪岩，一号署笙，又号柱生，晚号青城山人，仁和（今杭州）人。乾隆四十五年（1780）传胪，官礼部侍郎。词章翰墨，脱颖不群。画山水入宋、元之室，品诣在奚冈、屠倬之间。虽得董诰指授，其画境之苍润恬静，实有过之。供奉内廷，宠眷特懋。有《群仙胪祝轴》、《溪山秋爽轴》等。",[7,216,1037,109,850,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b307f49b761d181dbb690175e89ea45.jpg",[],{"id":8252,"slug":8253,"title":8254,"dynasty":18,"author":8255,"museum":20,"description":8256,"tags":8257,"thumbUrl":8258,"material":409,"size":410,"collection":34,"collections":8259,"showCount":194,"zanCount":11,"manualWeight":11,"mainColor":719},239756,"shu-hong-li-shu-yu-shu-shun-ji-chuan-ce-zhu-gui-239756","书弘历书虞书舜集传册","朱珪","朱珪（1731年～1807年），字石君，号南崖，晚号盘陀老人。与其兄朱筠，时称“二朱”。祖籍萧山蜀山街道越寨村，后迁黄阁河村。随父朱文炳由萧山侨居顺天大兴县（今北京市），遂入籍顺天府。\n乾隆十二年（1747年），17岁殿试为进士，选庶吉士，散馆授编修，侍读学士。乾隆二十四年（1759年），主河南乡试，会试同考官。秋，授福建粮道。乾隆二十八年（1763年），擢按察使，兼署布政使。乾隆三十二年（1767年），补湖北按察使。乾隆三十四年（1769年），任山西布政使。乾隆三十六年（1771年），权巡抚事。乾隆三十九年（1774年），为按察使，授侍讲学士。\n乾隆四十一年（1776年），命在上书房行走，教嘉庆帝读书。乾隆四十五年（1780年），督福建学政。乾隆四十九年（1784年），内阁学士。乾隆五十一年（1786年），礼部侍郎。乾隆五十九年（1794年）以后，历任两广总督，吏、兵、户部尚书，协办大学士，太子太保，太子太傅等职务。嘉庆四年由安徽巡抚上调北京。\n嘉庆十一年（1806年）十二月五日卒，终年77岁。帝谥“文正”。",[7,1037,2423,90,216,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6d1298c7cabb514e6f4b92ac5d20c33.jpg",[],{"id":8261,"slug":8262,"title":8263,"dynasty":18,"author":8264,"museum":20,"description":8265,"tags":8266,"thumbUrl":8267,"material":409,"size":410,"collection":34,"collections":8268,"showCount":194,"zanCount":11,"manualWeight":11,"mainColor":62},239747,"yong-qi-shu-lao-ren-xing-fu-zhou-ai-xin-jue-luo-yong-qi-239747","永琪书老人星赋轴","爱新觉罗永琪","爱新觉罗·永琪（1741年3月23日－1766年4月16日），清朝宗室，字筠亭，号藤琴居士，直隶省顺天府大兴县（今北京市）人，乾隆皇帝弘历第五子，生母愉贵妃珂里叶特氏。乾隆三十年（1765年）十一月，封和硕荣亲王。永琪少习骑射，娴国语，上钟爱之。乾隆三十一年（1766年）三月午刻，薨，谥曰纯。",[7,1037,109,860,216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7df883ab68e4b68930a6846a0931bd4.jpg",[],{"id":8270,"slug":8271,"title":8272,"dynasty":18,"author":105,"museum":20,"description":8273,"tags":8274,"thumbUrl":8275,"material":409,"size":410,"collection":34,"collections":8276,"showCount":194,"zanCount":11,"manualWeight":11,"mainColor":62},238876,"qing-ren-shan-ba-la-wang-pu-sa-xiang-zhou-yi-ming-238876","清人善巴拉王菩萨像轴","主尊身披朱红织金宝衣，安坐雕花宝座之上，面容慈悲温煦，右手持法器，左握吐宝鼠，尽显财神的富足威严。\n\n画面以石青石绿晕染出悠远灵秀的雪域林峦，青白云气舒卷浮空，胁侍尊神乘云环绕左右，白象缓步、瑞花盛放，铺陈出祥瑞清宁的圣域图景。\n\n画师以传统藏地矿物颜料施色，色泽历久明艳饱和，严守藏传佛教造像仪轨之余，以细腻笔触刻画出衣袂纹理与神态细节，饱满构图层次分明，将护法尊神的庄肃和神域的灵逸完美相融，是藏传佛教绘画中兼具宗教法度与审美意趣的佳作。",[7,24,25,109,142,28,27,48,187,93,249,92,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5172ef98e731527d519bf4e5c566db31.jpg",[],{"id":8278,"slug":8279,"title":3047,"dynasty":18,"author":105,"museum":20,"description":8280,"tags":8281,"thumbUrl":8283,"material":34,"size":34,"collection":34,"collections":8284,"showCount":194,"zanCount":11,"manualWeight":11,"mainColor":38},238661,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238661","本作属铜版纪实战图，以全景铺陈战事凯旋的盛大图景。右上御题诗文彰显军功赫赫，左侧关隘要塞人马攒动，尽显战后班师的忙碌荣归；右侧阵列齐整的官兵踏山而来，鞍马齐整、士气昂扬。\n\n以硬朗精准的线条勾勒出层叠山峦与关隘城防，细腻刀工复刻出山石肌理与行军阵列，中西技法相融，既如实还原了平疆战事的恢弘实况，也暗藏宣扬王朝武功的意涵。画面将凯旋的肃穆昂扬与战地山川的苍劲厚重交织，写实之中带着庄重的纪念性，是清代纪实战阵图的上乘之作。",[96,24,25,27,683,741,90,685,7,48,343,342,433,1715,2881,111,110,8282],"古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21518810a7ad247a1e956fc7a658f2a5.jpg",[],{"id":8286,"slug":8287,"title":8288,"dynasty":18,"author":105,"museum":20,"description":8289,"tags":8290,"thumbUrl":8291,"material":34,"size":34,"collection":34,"collections":8292,"showCount":194,"zanCount":11,"manualWeight":11,"mainColor":38},238548,"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-yi-ming-238548","陈书画历代帝王道统图钱陈群书赞合册","此作为书画合璧，右幅设色场景界画工稳，古松虬曲苍劲，楼阁层叠雅致。人马仪仗井然有序，人物神态恭谨端肃，细腻还原汉高帝祀圣的庄重场面，古雅色调烘托出肃穆的礼制氛围。左幅行书笔致舒展俊朗，墨韵流畅雅致，文辞追述高祖祀孔典故，图文相得益彰。整体工致清雅，将史事铺陈与翰墨意韵相融，既有纪实叙事的厚重感，又兼具文雅悠远的书卷气，尽显尊儒重道的内核与古典雅致的审美意趣。",[7,25,90,684,28,27,48,433,110,343,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe167245fff3a5d53827667e8b6588bb3.jpg",[],{"id":8294,"slug":8295,"title":8296,"dynasty":18,"author":8297,"museum":20,"description":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士，号归愚。江苏長洲人，清代前期诗人，乾隆時官至內閣學士兼禮部侍郎。",[7,109,684,216,32,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb95cc6050287dc59af681dafacc5108.jpg",[],{"id":10725,"slug":10726,"title":5702,"dynasty":18,"author":10727,"museum":20,"description":10728,"tags":10729,"thumbUrl":10730,"material":409,"size":410,"collection":34,"collections":10731,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":38},240434,"shi-zhou-ceng-xi-240434","曾熙","曾熙(1861-1930)，衡永郴桂道衡州府（今衡阳市）人。字季子，又字嗣元，更字子缉，号俟园，晚年自号农髯。中国杰出的书法家、画家、教育家，海派书画领军人物。\n清光绪二十九年(1903年)进士，官兵部主事、提学使、弼德院顾问，先后主讲衡阳石鼓书院、汉寿龙池书院，任湖南教育会长。工诗文，擅书画。\n书法自称南宗，与李瑞清的北宗颉颃，世有“北李南曾”之说。\n1915年始于上海鬻字。其书得力于《夏承碑》《华山碑》《张黑女》等，以汉隶圆笔为本，下穷魏晋，沟通南帖北碑，融合方圆，遂成就宽博纵逸的风貌。曾熙故居为衡阳爱国主义教育示范基地。",[7,109,684,216,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0eb3118492d5b086d881f014f256c864.jpg",[],{"id":10733,"slug":10734,"title":2522,"dynasty":18,"author":10735,"museum":20,"description":10736,"tags":10737,"thumbUrl":10738,"material":409,"size":410,"collection":34,"collections":10739,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":38},240315,"lu-yu-zhou-bao-ting-bo-240315","鲍廷博","鲍廷博(1728—1814)，字以文，号渌饮，祖籍安徽歙县长塘，随父鲍思诩居杭州。后定居桐乡县青镇（今乌镇）杨树湾。著有《花韵轩小稿》《咏物诗》等。",[7,216,109,1037,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e3fa28f0428547eccdf0df4b875e21.jpg",[],{"id":10741,"slug":10742,"title":10743,"dynasty":18,"author":10744,"museum":20,"description":10745,"tags":10746,"thumbUrl":10747,"material":409,"size":410,"collection":34,"collections":10748,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":238},240070,"he-si-nong-shi-ye-yang-gao-lan-240070","贺四农诗页","杨皋兰","此作为诗书合璧的尺牍佳构，右侧行书率意苍秀，点画牵丝映带，气韵连贯畅达。结体欹正相生，将贺赠的真挚情谊寄寓于笔墨间，古意盎然。左侧小楷清劲端雅，笔画匀净工稳，排布齐整却暗蕴灵动姿态。\n\n通篇墨色浓淡合宜，朱印错落点缀，更添雅致意趣。笔墨兼具随性抒怀的洒脱与严谨端方的功底，尽显旧时文人酬唱的风雅襟怀，文情与笔韵交融，尽显传统尺牍书法的隽永韵味。",[7,25,216,684,32,90,850,683],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F139b304f39df19bc41115b3c7672ec2e.jpg",[],{"id":10750,"slug":10751,"title":10752,"dynasty":18,"author":10753,"museum":20,"description":10754,"tags":10755,"thumbUrl":10757,"material":409,"size":410,"collection":34,"collections":10758,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":38},239961,"zhi-wei-lao-gui-li-shi-ye-wang-zhe-sheng-239961","致魏老归里诗页","王喆生","字醇叔，一字素岩，江苏昆山人。生卒年均不详，约康圣祖康熙三十六年前后在世，年八十一岁。初师朱用纯，后游长洲彭定求之门。读书敦行。康熙二十一年（公元一六八二年）进士。改翰林院庶吉士，授编修。",[7,216,684,32,850,10756],"诗页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c6d31993e429e8a5348b33636da26e3.jpg",[],{"id":10760,"slug":10761,"title":10762,"dynasty":18,"author":10763,"museum":20,"description":10764,"tags":10765,"thumbUrl":10766,"material":34,"size":34,"collection":34,"collections":10767,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":38},239958,"zhi-wei-lao-rong-xuan-shi-ye-xu-jiong-239958","致魏老荣旋诗页","徐炯","此作为行书诗札，整体疏朗清雅，笔墨温润秀劲。右侧诗作行笔匀净流畅，牵丝映带自然灵动，结体端稳妍秀，既有帖学的隽雅意趣，又暗含沉静气度。左侧信札小字朴茂沉稳，笔意连贯，将赠友的诚挚心绪藏于点撇捺画之中。浅米色素纸衬以清润墨色，古雅沉静，尽显文人书卷意韵，把对友人荣归的庆贺之意融于笔墨行间，是兼具书法审美价值与人文温度的小品佳作。",[7,216,684,32,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac247f6b48fd804f374722b74f739c70.jpg",[],{"id":10769,"slug":10770,"title":10771,"dynasty":18,"author":10772,"museum":20,"description":10773,"tags":10774,"thumbUrl":10775,"material":34,"size":34,"collection":34,"collections":10776,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":62},239716,"shu-hong-li-dan-han-xing-juan-xie-yong-239716","书弘历弹汗行卷","谢墉","此作用笔精整匀停，点画温润秀雅，尽显馆阁体庄重雍容的庙堂气象。结体舒展匀称，通篇行气贯通丝毫不滞，恪守森严法度，起收笔皆循程式，一笔一划工稳端方，无丝毫懈怠草率，尽显书写者深厚沉实的书学功底，是清代台阁书法的典型风貌写照。\n\n笔墨的恭谨肃穆，恰好契合文本尊崇郑重的基调，将馆阁书法“乌、方、光”的特点尽数展现，兼具文献价值与书法审美价值，是清代台阁书法中上乘的作品。",[7,1037,358,216,32,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e99a8553a4aaf5e45389eb2330be458.jpg",[],{"id":10778,"slug":10779,"title":10780,"dynasty":18,"author":105,"museum":20,"description":10781,"tags":10782,"thumbUrl":10783,"material":34,"size":34,"collection":34,"collections":10784,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":38},238593,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238593","平定两金川得胜图册","这幅以铜版技法绘就，全景铺展河谷山峦，崖壁间碉楼鳞次栉比，还原出战事依托石碉顽抗的战地特征。清军或整队集结，或搜剿残敌，山道河谷间人马错落排布，紧张肃杀的战后氛围扑面而来。右上角题诗呼应战事余韵，冷峻写实的笔触复刻出攻坚实况，将平叛征伐的铁血征程定格纸面，兼具纪实性与艺术性，让观者得以触碰这段征伐过往的厚重质感。",[7,27,1036,685,90,342,48,343,942,111,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec4249f43fd5d78008b4044a8091e1af.jpg",[],{"id":10786,"slug":10787,"title":10788,"dynasty":18,"author":10789,"museum":20,"description":10790,"tags":10791,"thumbUrl":10792,"material":34,"size":34,"collection":34,"collections":10793,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":38},237566,"wang-fu-hua-fen-yong-xiao-shi-shi-ce-wang-fu-237566","王凫画分咏小石诗册","王凫","此作为行书册页，笔墨随性朴拙，尽显文人尺牍雅致意趣。用笔圆融灵动，牵丝映带间流转自如，字势欹正相生，排布错落如檐下疏风，毫无板滞之感。通篇枯湿浓淡互见，墨色层次丰富，将日常寄兴的诗文化作笔下悠悠意态，信笔挥洒间藏着松弛自在的林下之风。行文如晤，笔墨晕染出作者遣兴抒怀的悠然心境，把寻常酬唱的日常，晕染成带着温度的纸上闲情。",[7,684,216,90,683,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedc66103bcbde67f32dcc8c1ec228db4.jpg",[],{"id":10795,"sl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为了纪念平叛的胜利，乾隆让宫廷中的西洋画家郎世宁创作了大型历史纪实组画《平定西域战图册》。并决定将它送往欧洲制作成铜版画。",[7,1036,27,48,433,8770,1111,4683,4684,740,4682,10834,2752,7021],"军事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80e24f599f8ce09872a4bdf4989a7e9c.jpg","87.3×50cm",[],{"id":10839,"slug":10840,"title":3047,"dynasty":18,"author":105,"museum":44,"description":5769,"tags":10841,"thumbUrl":10846,"material":850,"size":5774,"collection":34,"collections":10847,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":38},233088,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233088",[24,28,27,685,48,342,5771,5111,3052,111,110,690,7,7020,798,1111,4681,7040,4671,4670,942,10842,8362,10843,10844,687,10845],"兵卒","冲锋","厮杀","村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21d6a64826b195a545f09cca147c93b8.jpg",[],{"id":10849,"slug":10850,"title":3047,"dynasty":18,"author":105,"museum":44,"description":5769,"tags":10851,"thumbUrl":10853,"material":850,"size":5774,"collection":34,"collections":10854,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":38},233086,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233086",[24,25,90,27,28,7,48,342,110,942,3052,5111,8360,111,10852],"道路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7eecf36fac419dacfaa477d80ca0351d.jpg",[],{"id":10856,"slug":10857,"title":10858,"dynasty":18,"author":105,"museum":68,"description":10859,"tags":10860,"thumbUrl":10863,"material":850,"size":10864,"collection":34,"collections":10865,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":62},231533,"suan-ni-tu-yi-ming-231533","狻猊图","现存古代绘画中，反映真狮形象的绘画主要集中于明清时期的宫廷绘画中，但水平有高下之分。从清代宫廷画家刘九德、张为邦及部分佚名画家所绘狮子图来看，虽然已十分接近真狮，但水平不高，较为呆板，精致程度远不及周全《狮子图》。这些较为写实的狮子绘画有些作于康熙年间，有些则是雍、乾时期的仿本。康熙十七年（1678）八月，葡萄牙人曾将一只狮子运抵北京献给康熙皇帝，可惜的是此狮到京后只存活了不到三个月，为时甚短，此后直到20世纪初，再未有真狮入华。由于接触时间甚短，未能细致观察，又迭经转摹，导致清宫写实性狮子绘画水平普遍不高，细节上有所缺失。",[24,25,27,28,174,289,175,7,581,255,10861,10862,8351,779,4354,111],"线条勾勒","设色典雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb7499dad40501202d7f76dc3a35bc65.jpg","211.9x178.6厘米",[],{"id":10867,"slug":10868,"title":10858,"dynasty":18,"author":10869,"museum":68,"description":10859,"tags":10870,"thumbUrl":10871,"material":581,"size":10872,"collection":34,"collections":10873,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":62},231532,"suan-ni-tu-zhang-wei-bang-231532","张为邦",[24,25,7,28,27,174,1979,110,111,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2651477555d183251f2cf9c5bd2a4b0e.jpg","175.1x238.2厘米",[],{"id":10875,"slug":10876,"title":10877,"dynasty":18,"author":105,"museum":20,"description":10878,"tags":10879,"thumbUrl":10880,"material":34,"size":34,"collection":34,"collections":10881,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":38},230321,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-bo-guo-duo-yi-ming-230321","历代帝王贵妃大臣朝服像(博果铎)","此作写实工笔尽显匠心，画中人物面庞方正，虬髯垂胸，神色沉凝威严，自带世家勋贵的端肃威仪。石青朝服上团龙纹绣制精妙，金线勾勒的龙身矫健灵动，云纹晕染细腻萦绕四周，朝珠匀润光洁，与衣上刺绣交相辉映，寸缕之间皆见工艺精湛。人物安坐于锦缎扶手椅中，身下宝相花纹地毯繁复规整，色彩厚重沉稳，烘托出庄重仪礼氛围。整幅画作笔法细腻入微，设色典雅华贵，精准定格了旗人勋贵的雍容气度，是兼具纪实性与艺术性的上乘肖像之作。",[23,7,27,28,48,3138,313,187,53,6786,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F200cbdd6adf4e792b40f7ff2550d0101.jpg",[],{"id":10883,"slug":10884,"title":10885,"dynasty":18,"author":105,"museum":20,"description":1682,"tags":10886,"thumbUrl":10887,"material":409,"size":410,"collection":34,"collections":10888,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":719},230033,"qing-yu-guan-yi-ming-230033","青玉罐",[7,186,144,765,5393,1180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44897051732954c4fd27842d52f35e57.jpg",[],{"id":10890,"slug":10891,"title":10892,"dynasty":18,"author":105,"museum":20,"description":1526,"tags":10893,"thumbUrl":10897,"material":409,"size":410,"collection":34,"collections":10898,"showCount":165,"zanCount":153,"manualWeight":11,"mainColor":38},229980,"diao-zao-he-xian-ren-shou-chuan-fu-qian-jin-yin-si-yuan-mu-he-yi-ming-229980","雕枣核仙人手串 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定格。虽无色彩渲染，却于素净线条间藏着生活的温热与生动，仿佛能窥见旧时街头那抹专注的匠意，以及市井里流动的人间烟火味。",[23,1036,90,48,1302,7,11703],"街头买卖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ba5d3f31987fdc2016d320954a05060.jpg",[],{"id":11707,"slug":11708,"title":11709,"dynasty":18,"author":105,"museum":20,"description":11710,"tags":11711,"thumbUrl":11714,"material":56,"size":34,"collection":34,"collections":11715,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":38},215189,"yi-shi-ji-yao-tan-1-yi-ming-215189","医士及药摊-1","淡彩晕染出朦胧的市井晨昏，药摊的木格与医士的身影在轻烟般的笔触里舒展。素净的色调滤去喧嚣，只留草木清芬与人间安稳。线条简淡却藏着生活肌理，每一处模糊轮廓都是岁月印记。似被时光蒙上薄纱，旧时药香与日常温情在朦胧中缓缓流淌，触手可及的烟火气里，藏着岁月沉淀的温柔。笔触轻软如旧笺，将市井一隅的恬淡，凝成时光里不散的暖意。",[23,24,28,48,11712,11713,7],"医士","药摊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F520ce4297e36e2db53c6b44c365c18e0.jpg",[],{"id":11717,"slug":11718,"title":11719,"dynasty":18,"author":105,"museum":20,"description":11720,"tags":11721,"thumbUrl":11725,"material":56,"size":34,"collection":34,"collections":11726,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":38},215170,"yi-shi-ji-yao-tan-19-yi-ming-215170","医士及药摊-19","布幔轻垂的药摊前，医士袍角微动，指尖指向案上膏剂，似在细说虎骨熊油的妙用；孩童拢袖仰头，眼神里满是对药摊风物的好奇。瓷碗错落排开，草药与器具静静陈列，靛蓝布幔上的朱红纹样晕开古朴暖意。淡彩笔墨勾勒出清时市井行医的瞬间，每一处细节都藏着旧时光的烟火气——不是遥远传说，而是触手可及的生活肌理，笔墨间流淌的，是往昔街头巷尾里，传统医药与人间烟火交织的温煦日常。",[23,28,27,48,188,11713,7,11712,11722,11723,5111,11724],"买药人","药罐","药草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc655d47842a65fad84675cc95fe933d5.jpg",[],{"id":11728,"slug":11729,"title":11730,"dynasty":18,"author":105,"museum":20,"description":11731,"tags":11732,"thumbUrl":11735,"material":56,"size":34,"collection":34,"collections":11736,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":38},215166,"yi-shi-ji-yao-tan-25-yi-ming-215166","医士及药摊-25","室内案前，医患对坐。医者指尖轻搭腕间，凝神探脉，似在捕捉气血的细微律动；患者微倾上身，神情恭谨，将身心托付于指尖的诊断。案上红盖瓷瓶静立，旁置小盏，待汤药调和的余韵隐于其间。背景蓝地缀白点纹如涟漪轻漾，衬得一室静谧；侧墙墨书流转，藏着旧时文人的风雅余味。衣袂纹缕清晰，器物形制古朴，淡彩线条质朴却传神，将传统医事的日常瞬间定格成温润的时光切片。无繁复铺陈，却于细微处见真章：医患间的信任，医事里的专注，器物纹饰间的烟火气，皆在笔墨中缓缓流淌，尽显旧时生活的温情与笃定。",[23,7,28,27,90,48,11733,11542,11543,11734],"室内","文字条幅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80cf1ee991fc85bbbcbeaf3b97a6fc0f.jpg",[],{"id":11738,"slug":11739,"title":11740,"dynasty":18,"author":105,"museum":20,"description":11741,"tags":11742,"thumbUrl":11745,"material":56,"size":34,"collection":34,"collections":11746,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":38},215163,"yi-shi-ji-yao-tan-29-yi-ming-215163","医士及药摊-29","青绿柜台前，顾客与铺中人的互动藏着市井暖意。朱红药格层层叠叠，盛着百草的细碎光阴。窗棂投下的软影里，桌案小碟静立，衣袂褶皱间是鲜活的日常。递药的手势轻缓，似把老铺的温厚递到掌心；旁观的身影谦和，映着市井交易的质朴。整幅画如一段被定格的烟火片段，将药铺的气息、人与人的温情揉进淡彩里。那些药柜的格子、桌上的陈设，皆如时光切片般留存了彼时的生活肌理，让百年前的药香与寻常烟火，仍能透过画面触手可及。",[23,24,7,28,741,90,48,11743,11542,11543,11744,2370],"药柜","商铺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68dde0b5021a713b4cbdb1db8c0889a1.jpg",[],{"id":11748,"slug":11749,"title":11750,"dynasty":18,"author":105,"museum":68,"description":11751,"tags":11752,"thumbUrl":11754,"material":56,"size":34,"collection":34,"collections":11755,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":62},215153,"xuan-tong-yu-lan-hai-guai-tu-ji-10-yi-ming-215153","宣统御览海怪图记-10","宣统御览海怪图记 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material":409,"size":410,"collection":34,"collections":36932,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},246617,"ti-hong-yun-fu-wen-kai-guang-ba-bao-xian-ren-tu-si-fang-wei-jiao-ping-yi-ming-246617","剔红云蝠纹开光八宝仙人图四方委角瓶",[7,1726,1727,144,861,5435,5837,1580,7757,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F124b38bfd9d687ca6c6f7986b36661bc.jpg",[],{"id":36934,"slug":36935,"title":36906,"dynasty":18,"author":105,"museum":20,"description":36936,"tags":36937,"thumbUrl":36938,"material":409,"size":410,"collection":34,"collections":36939,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":154},246616,"ti-hong-chan-zhi-lian-wen-kai-guang-bo-gu-wen-gui-yi-ming-246616","柜体以剔红缠枝莲遍饰边框，缠枝回环连绵，衬出开光内的博古清供。上下开光中，或是鲜果错落瓷盘，或是瓶花搭配文房雅件，更嵌饰彩漆提亮细节，让清供图景鲜活雅致。\n\n黄铜錾花合页与面叶，以沉敛金属光泽中和朱红漆色的妍丽。整体雕工饱满精细，缠枝莲婉柔流畅，博古图样静雅端方，将雅致审美揉于柜体。它既为收纳之用，亦是陈设佳器，将文人情趣与漆艺匠心融于一体，尽显古典雅致的隽永韵味。",[7,1726,7625,1727,144,1177,4248,92,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1e7f8ebcdbea30e772481d2a70ed4d6.jpg",[],{"id":36941,"slug":36942,"title":36906,"dynasty":18,"author":105,"museum":20,"description":36943,"tags":36944,"thumbUrl":36945,"material":409,"size":410,"collection":34,"collections":36946,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},246615,"ti-hong-chan-zhi-lian-wen-kai-guang-bo-gu-wen-gui-yi-ming-246615","此器以剔红为底，满布匀净锦纹，如铺陈细密织席。柜门开光内博古清供错落排布，铜炉、玉瓶、珍玩、花枝一应俱全，朱红与褐调嵌饰层次分明，古器物态雅致沉稳，瓶中花枝娇妍鲜活，勾勒出清逸文雅的案头意趣。下沿牙板雕缠枝莲纹，卷转灵动柔婉，与柜身静穆纹饰形成动静韵律。\n\n整器型制端方规整，漆色莹润亮泽，雕工细腻入微，将髹漆工艺与文人尚古雅趣相融，既是收纳实用之具，亦是陈设赏玩的漆艺佳制，尽显清时漆作的精湛工巧与雅致格调。",[7,1726,7625,1727,144,1177,1728,4248,705,3034],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F848d2444d357969245b3159704ec5a77.jpg",[],{"id":36948,"slug":36949,"title":36906,"dynasty":18,"author":105,"museum":20,"description":36950,"tags":36951,"thumbUrl":36953,"material":409,"size":410,"collection":34,"collections":36954,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},246614,"ti-hong-chan-zhi-lian-wen-kai-guang-bo-gu-wen-gui-yi-ming-246614","柜身剔红摹仿竹编肌理，四扇柜门开光内以百宝嵌陈设博古清供，瓶花、瑞器错落排布，珊瑚、碧玉等珍材点缀其间，雅致雍容。铜质錾花合页与拉手，衬得朱漆柜体愈发沉稳大气，下屉浮雕缠枝莲纹，线条婉转灵秀。\n\n它将雕漆与百宝嵌技法相融，华贵不失清雅，把文人士大夫钟爱的雅玩意趣凝于柜体之上，尽显清代手作的匠心与盛世雅致审美。",[7,1727,144,1728,1177,4248,1726,36952,188],"柜子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3438d29348f4b1816954551bdcd95c86.jpg",[],{"id":36956,"slug":36957,"title":36958,"dynasty":18,"author":105,"museum":20,"description":2956,"tags":36959,"thumbUrl":36960,"material":409,"size":410,"collection":34,"collections":36961,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},246613,"qian-long-kuan-ti-hong-shan-shui-ren-wu-tu-yuan-bi-tong-yi-ming-246613","乾隆款剔红山水人物图圆笔筒",[7,1726,1727,144,342,48,1163,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d5613c27db33e5265bddacd4d681bf1.jpg",[],{"id":36963,"slug":36964,"title":36965,"dynasty":18,"author":105,"museum":20,"description":2956,"tags":36966,"thumbUrl":36967,"material":409,"size":410,"collection":34,"collections":36968,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},246612,"lv-di-ti-hong-shi-ba-luo-han-bi-tong-yi-ming-246612","绿地剔红十八罗汉笔筒",[7,1726,144,1727,1796,726,1254,48,344,111,13328],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28d18fb10b4b33ba2b15064c527776ae.jpg",[],{"id":36970,"slug":36971,"title":36972,"dynasty":18,"author":105,"museum":20,"description":36973,"tags":36974,"thumbUrl":36976,"material":409,"size":410,"collection":34,"collections":36977,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},246610,"ti-hei-bian-ti-hong-xin-hai-shui-long-wen-gui-yi-ming-246610","剔黑边剔红心海水龙纹柜","这件立柜以色构境，乌漆为骨，朱雕为魂。柜门上下分设，上方小柜内祥龙盘踞方隅，身姿遒劲婉转，气宇轩昂；下方柜门里神龙遨游沧溟，浪涛翻涌间尽显威仪。\n\n边框剔黑錾刻缠枝纹样，细密繁丽，将朱红龙纹衬得愈发醒目浓烈，上下顾盼间章法井然。柜体侧边镂雕纹饰与柜面呼应，通体纹饰饱满却不显拥塞，刀工爽利圆润，起线流畅劲挺。\n\n红黑撞色对比强烈，既带着华贵大气，又将髹雕精湛技艺尽显无余，配色鲜明、雕工精绝，是漆作家具中的上乘之作。",[7,1726,144,9938,1727,187,18703,36975],"家具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4baae6a06ecea545b9fc4aa294c4cca.jpg",[],{"id":36979,"slug":36980,"title":15014,"dynasty":18,"author":105,"museum":20,"description":36981,"tags":36982,"thumbUrl":36983,"material":409,"size":410,"collection":34,"collections":36984,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},246608,"qian-long-kuan-ti-hong-yun-long-wen-kui-ban-shi-zhan-tuo-yi-ming-246608","此件盏托分杯盏与座托，剔红为骨，绿彩衬地。杯身游龙破云而出，龙首矫健张扬，祥云翻卷灵动，线条利落饱满。葵瓣形托心恰好嵌合杯盏，托沿云纹舒展环绕，器身纹饰层叠分明，刀工藏劲，磨痕温润，将雕漆的立体层次尽显无遗。整体造型端雅稳重，纹饰疏密相宜，龙纹尽显华贵威仪，云纹烘托出祥瑞缥缈的气韵，尽显清代雕漆工艺的成熟考究，是兼具装饰性与实用性的精妙之作。",[7,1726,1727,144,3426,6332,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc27ddabab54c12b716fa98940afea0e0.jpg",[],{"id":36986,"slug":36987,"title":36988,"dynasty":18,"author":105,"museum":20,"description":36989,"tags":36990,"thumbUrl":36991,"material":409,"size":410,"collection":34,"collections":36992,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},246607,"qian-long-kuan-ti-hong-yun-long-wen-li-zi-kui-ban-shi-zhan-tuo-yi-ming-246607","乾隆款剔红云龙纹礼字葵瓣式盏托","此件以剔红工艺精雕而成，朱漆沉莹温润。葵瓣盏托配深腹小碗，造型柔婉舒展。器身游龙矫健身姿穿梭于层叠卷云之间，龙鬃张扬，利爪遒劲，祥云萦回环绕，满布器身却丝毫不显冗杂。口沿、足沿以回纹勾边，规整古雅，清晰划分出纹饰层次。刀工圆熟利落，雕痕隐于漆色之下，地子打磨匀净光润，纹饰立体感十足。\n龙纹尽显皇权威仪，祥云烘托出吉庆雍容的氛围，将漆雕工艺的雅致与宫廷礼制的庄重融为一体，是清代雕漆工艺炉火纯青的绝佳体现。",[7,1726,1727,50,2964,6332,3630,144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F323687cf23710517be19b913af146703.jpg",[],{"id":36994,"slug":36995,"title":15014,"dynasty":18,"author":105,"museum":20,"description":36996,"tags":36997,"thumbUrl":36998,"material":409,"size":410,"collection":34,"collections":36999,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},246605,"qian-long-kuan-ti-hong-yun-long-wen-kui-ban-shi-zhan-tuo-yi-ming-246605","此件盏托造型雅致端庄，葵瓣轮廓柔婉舒展。口沿与托边以回纹圈饰，工整周正，勾勒出层次章法。器身通雕云龙纹样，游龙身姿矫健遒劲，穿绕在层叠卷云之间，刀工爽利圆润，朱漆色泽沉凝古雅。祥云流转灵动，将龙的威严与云的柔润相映成趣，把尊崇气度与祥瑞寓意融于髹漆刀痕之中。整体髹漆厚重，打磨精细，纹饰立体感饱满张扬，尽显清代雕漆工艺的考究工法，静穆间流露华贵沉稳的气场，是传统漆作工艺的上乘佳品。",[7,1726,1727,144,50,2964,6332,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3397949302e61145aac2d1fd5f78d9dc.jpg",[],{"id":37001,"slug":37002,"title":15014,"dynasty":18,"author":105,"museum":20,"description":37003,"tags":37004,"thumbUrl":37005,"material":409,"size":410,"collection":34,"collections":37006,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},246604,"qian-long-kuan-ti-hong-yun-long-wen-kui-ban-shi-zhan-tuo-yi-ming-246604","此作剔朱厚重，雕工圆熟利落。葵盏形制秀雅灵动，盏身游龙昂首穿云，龙爪遒劲、身姿矫健，祥云迤逦环绕，衬得龙威尽显。边框回纹周正肃穆，与灵动的龙云纹饰形成刚柔对比。器身纹饰层次饱满分明，朱红漆色沉敛古雅，将皇权威仪的龙纹与吉庆云气相融，既有华美装饰性，又暗合礼制庄重意蕴，尽显不凡工艺造诣，雍容华贵之中见精巧工致。",[7,1726,1727,144,3426,187,6332],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d47e92a05ebdf2e7bf11bbd5acf8c01.jpg",[],{"id":37008,"slug":37009,"title":15014,"dynasty":18,"author":105,"museum":20,"description":37010,"tags":37011,"thumbUrl":37012,"material":409,"size":410,"collection":34,"collections":37013,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},246601,"qian-long-kuan-ti-hong-yun-long-wen-kui-ban-shi-zhan-tuo-yi-ming-246601","以墨绿为地，朱红浮雕为饰，分层设色对比鲜明。盏身游龙穿云而出，龙姿矫健遒劲，鳞爪分毫毕现，祥云翻卷饱满灵动，衬底锦纹细密齐整，雕刻层次清晰分明。葵瓣式托沿舒展雅致，托面与足墙通体饰云纹，上下气韵贯通，整体构图饱满协调。\n\n雕工圆熟利落，线条刚柔相济，朱色鲜亮沉凝，墨绿沉静古朴，尽显华贵端庄的气韵，将祥瑞寓意与精湛髹雕工艺相融，尽显清代雕漆工艺的不凡造诣。",[7,1727,144,3426,6332,1726,187,2964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F876be2277413e028d2c331efa00f8f94.jpg",[],{"id":37015,"slug":37016,"title":15014,"dynasty":18,"author":105,"museum":20,"description":37017,"tags":37018,"thumbUrl":37019,"material":409,"size":410,"collection":34,"collections":37020,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},246599,"qian-long-kuan-ti-hong-yun-long-wen-kui-ban-shi-zhan-tuo-yi-ming-246599","这件雕漆佳作采用双色剔刻工艺，以墨绿为地衬出朱红纹饰，葵瓣盏托形制温婉舒展。朱红龙纹蜿蜒穿梭于祥云之间，龙鳞分毫毕现，身姿矫健遒劲，云纹舒卷灵动，与龙纹相衬尽显磅礴气势。\n\n刀工爽利细腻，纹饰层次分明饱满，方寸间将皇家器物的华贵威仪，与匠作的精巧工艺融为一体。朱红莹润、绿意沉雅，色彩撞合沉稳雅致，尽显清代雕漆工艺的巅峰水准，藏着内敛厚重的宫廷美学意蕴。",[7,1726,1727,144,50,2964,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bc027af6369e4ac76bd19ae68889598.jpg",[],{"id":37022,"slug":37023,"title":37024,"dynasty":18,"author":105,"museum":20,"description":1937,"tags":37025,"thumbUrl":37026,"material":409,"size":410,"collection":34,"collections":37027,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},246597,"qian-long-kuan-ti-hong-lv-di-chan-zhi-lian-wen-tong-li-gao-zu-wan-yi-ming-246597","乾隆款剔红绿地缠枝莲纹铜里高足碗",[7,1726,1727,1796,1177,9076,201,144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43192dae6ea7cffa1a95151b4a995f30.jpg",[],{"id":37029,"slug":37030,"title":37024,"dynasty":18,"author":105,"museum":20,"description":1937,"tags":37031,"thumbUrl":37032,"material":409,"size":410,"collection":34,"collections":37033,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},246596,"qian-long-kuan-ti-hong-lv-di-chan-zhi-lian-wen-tong-li-gao-zu-wan-yi-ming-246596",[7,1727,1796,144,1726,201,1177,9076,189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F973895b0d5820124eecc3c48ce2c252d.jpg",[],{"id":37035,"slug":37036,"title":37024,"dynasty":18,"author":105,"museum":20,"description":1937,"tags":37037,"thumbUrl":37038,"material":409,"size":410,"collection":34,"collections":37039,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},246595,"qian-long-kuan-ti-hong-lv-di-chan-zhi-lian-wen-tong-li-gao-zu-wan-yi-ming-246595",[7,1726,1727,1796,3762,144,201,189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda135e41100a97f866f9471133ee3c96.jpg",[],{"id":37041,"slug":37042,"title":37024,"dynasty":18,"author":105,"museum":20,"description":1937,"tags":37043,"thumbUrl":37044,"material":409,"size":410,"collection":34,"collections":37045,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},246592,"qian-long-kuan-ti-hong-lv-di-chan-zhi-lian-wen-tong-li-gao-zu-wan-yi-ming-246592",[7,1726,1727,7625,144,3762,1177,1796,201,33139,9076,189,1302,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe19a2cd1bbf736f72e3bb32e4429eaa3.jpg",[],{"id":37047,"slug":37048,"title":37024,"dynasty":18,"author":105,"museum":20,"description":1937,"tags":37049,"thumbUrl":37050,"material":409,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巧相融，严丝合缝的镶嵌、饱满细腻的錾刻，处处流露庄重典雅的宗教器物美学，亦是清代多族工艺融会的绝佳缩影。",[7,142,188,143,145,1601,5972,448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7da7a661672ab195dfd4cc306ddf71d9.jpg",[],{"id":40148,"slug":40149,"title":40150,"dynasty":18,"author":105,"museum":20,"description":40151,"tags":40152,"thumbUrl":40153,"material":409,"size":410,"collection":34,"collections":40154,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":154},245361,"jin-fa-lun-yi-ming-245361","金法轮","通体鎏金宝光莹润，轮心绿松石攒簇如月，翠色晕染开金面的雍容，为器物添了几分清灵。周身錾刻的缠枝瑞兽细密灵动，纹路辗转间尽显匠人巧思，每一处凸起都凝着柔润光泽，是岁月与匠心共铸的华彩。下承莲座规整端凝，仰莲舒展层叠，稳稳托举法轮，将藏地信仰的肃穆融于金工之中。器物糅合神性庄严与工艺精巧，静立时便有安然沉静的力量扑面而来，尽显藏传法器的极致匠心与精神内核。",[7,143,144,145,142,521],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F862dad87993aca9cc597c0c1f8093fd0.jpg",[],{"id":40156,"slug":40157,"title":40158,"dynasty":18,"author":105,"museum":20,"description":40159,"tags":40160,"thumbUrl":40161,"material":409,"size":410,"collection":34,"collections":40162,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":154},245360,"xiang-jin-chuan-zhu-ga-ba-la-gu-yi-ming-245360","镶金串珠嘎巴拉鼓","此鼓以天灵骨为材，素朴骨面凝存岁月包浆，边缘髹绿漆勾勒轮廓，沉静古雅。鼓身鎏金套筒錾饰细密纹饰，嵌以绿松石与饰珠，金泽华贵与石色清润相映，尽显匠心极致。黄绦系带垂挂朱红绒球与彩穗，于庄严器物之上点缀灵动生机。\n\n作为藏传密宗法器，它融合骨质的朴拙、金饰的华贵与宝石的明润，既是信仰的承载之物，亦是清代藏地手工技艺的绝佳缩影，静静诉说着雪域密法的肃穆传承。",[7,142,143,234,144,461,5782,247,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20f866126f20b51b2b89eff52f22b335.jpg",[],{"id":40164,"slug":40165,"title":40166,"dynasty":18,"author":105,"museum":20,"description":8491,"tags":40167,"thumbUrl":40171,"material":409,"size":410,"collection":34,"collections":40172,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},245358,"jin-qian-gu-di-yun-chi-wen-qiao-niu-jiao-bing-xiao-dao-yi-ming-245358","金嵌骨地云螭纹鞘牛角柄小刀",[7,1111,188,40168,144,40169,39847,40170],"金嵌","云螭纹","骨地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2dca102cc1041bf6572ec34483cf70f.jpg",[],{"id":40174,"slug":40175,"title":40176,"dynasty":18,"author":105,"museum":20,"description":40177,"tags":40178,"thumbUrl":40179,"material":409,"size":410,"collection":34,"collections":40180,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},245356,"jin-tai-hua-fa-lang-zhi-hu-yi-ming-245356","金胎画珐琅执壶","此执壶鎏金錾花缠络松石绿地，錾刻纹饰细密繁丽，衬得金彩愈发雍容华贵。四处开光以珐琅填色，主开光绘西洋眷属稚童亲昵相依，人物衣褶柔润鲜活，眉眼灵动有神，尽显温情意趣；辅开光折枝花卉娇柔雅致，晕染自然柔和。盖顶珊瑚珠莹润鲜亮，链条衔接器盖，兼顾实用与精巧雅趣。\n\n器物将錾金的厚重华贵与珐琅彩的柔润明丽相融，中西审美碰撞共生，既带着东方宫廷的矜贵雅致，又吸纳西洋写实技法的精妙，是清代中西合璧工艺的绝佳缩影，尽显盛世宫廷造物的匠心巧思与审美意趣。",[7,1578,143,1577,28,48,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07be925f1769804564fa1b1fa5d3bcfd.jpg",[],{"id":40182,"slug":40183,"title":40184,"dynasty":18,"author":105,"museum":20,"description":40185,"tags":40186,"thumbUrl":40188,"material":409,"size":410,"collection":34,"collections":40189,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},245349,"jin-qian-zhu-qi-zhen-cang-bao-yi-ming-245349","金嵌珠七珍-藏宝","这件器物层叠错落，韵致雍容。顶端金像结跏趺坐，神情肃穆沉静，周身嵌缀圆珠，鎏金的厚重光华与珠饰的莹润微光交织，尽显庄严华贵。\n\n漆质台座配镶饰，雅致沉稳。下层垂挂红蓝珠宝流苏，轻晃时流光婉转，为器物增添灵动生机。白玉饰件莹润清透，浮雕纹饰古雅柔和，与鎏金、珠宝、漆色相互映衬，将诸般材质之美融为一体。\n\n整体工艺繁而不乱，将宗教造像的庄严气度与宫廷装饰的华贵精巧相融，尽显匠作的精湛造诣，是兼具宗教意涵与审美价值的精工珍玩。",[7,143,145,465,142,40187,188],"珍宝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa71001a57133f377a494c20a4d1bf676.jpg",[],{"id":40191,"slug":40192,"title":40193,"dynasty":18,"author":105,"museum":20,"description":40194,"tags":40195,"thumbUrl":40196,"material":409,"size":410,"collection":34,"collections":40197,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},245348,"jin-qian-zhu-qi-zhen-jiang-jun-yi-ming-245348","金嵌珠七珍-将军","鎏金法身踞坐，周身嵌饰珍珠，似撷来月华点缀神躯，战甲肌理錾刻入微，虬劲线条尽显悍勇神威。台座层次有致，釉彩边框勾勒清雅轮廓，垂挂的珠串错落摇曳，红蓝宝色交相辉映，如流霞垂落。下方白玉饰件素洁温润，柔化了金辉的堂皇炽烈。明暗相衬、材质交融，将宗教礼器的庄肃与皇家工艺的华贵揉合一处，尽显匠造的极致用心，是信仰具象化为绝美工艺的典范之作。",[7,143,145,465,142,705,144,4837],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cf24cfcb3735e176a0641b515e41ac8.jpg",[],{"id":40199,"slug":40200,"title":40201,"dynasty":18,"author":105,"museum":20,"description":40202,"tags":40203,"thumbUrl":40204,"material":409,"size":410,"collection":34,"collections":40205,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},245347,"jin-qian-zhu-qi-zhen-mo-ni-bao-yi-ming-245347","金嵌珠七珍-摩尼宝","此件圣物华美璀璨，顶部以黄金累丝塑就火焰宝相轮廓，镶嵌的宝珠光华流转，尽显神圣华贵。下层底座以髹漆木胎搭配玉石、彩珠流苏，垂悬摇曳间添了灵动雅致。中层白玉圆雕瑞兽，玉质莹润凝脂，翠色饰边相映成趣，温润与明丽交织。\n\n整器融金工、玉作、髹漆诸艺于一体，将宗教圣物的庄严感与皇家工艺的精巧完美结合，宝气内敛又夺目，尽显信仰载体的华贵尊崇，是清代细作工艺的绝佳缩影。",[7,142,143,145,465,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0d7ad4d67c920468c0f4ec153f5a6c2.jpg",[],{"id":40207,"slug":40208,"title":40209,"dynasty":18,"author":105,"museum":20,"description":40210,"tags":40211,"thumbUrl":40212,"material":409,"size":410,"collection":34,"collections":40213,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":154},245346,"jin-lian-san-fu-yi-ming-245346","金连三佛","主体居中为多面多臂的忿怒金刚，黢黑法身配烈焰头光，各臂分执法器，怒目威赫，尽显慑魔降邪的庄严气势。两侧胁侍跨踞瑞兽之上，身姿虬劲灵动，忿怒相神武张扬，肌肉线条张力十足。\n\n一体式鎏金台座缠枝莲纹缭绕盘结，底座錾刻细密法相纹样，鎏金厚重匀净，宝光内敛沉凝。整体布局对称规整，主次分明，将藏传护法造像的狞厉威严与精细工巧融于一身，尽显藏传造像的狞厉美学与精湛金工造诣。",[7,142,144,143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X ”一行。卷末沟刻高宗行书题跋一段。各卷尾题:“乾隆三十四年岁在乙丑春二月奉敕校正宋淳化阁帖初拓摹勒上石”篆书四行。此帖考订详僖，校对精审，对原帖编次上的错误逐一厘订后，重新改编次第按时代先后为序。对草书不识之字。博参诸家释文依字旁列注，对其中互异之字附记考证于卷后。\n此帖由御书处刻工佳手钩刻摹刊至精。就其规模和质量来说均在明代诸家刻本之上。\n乾隆三十七年（1772年）帖石镌成后高宗皇帝犹恐失散即将毕士安赐本（淳化阁帖》与重刻原石一起贮于圆明园淳化轩内，至今二者都无下落、可能毁于1860年英法联军侵占北京圆明园之际，实为千古憾事。幸故宫藏有该帖拓本才得以观其原貌。此拓本为淸刻初拓，京折装，计十册，每册纵30.6厘米横35厘米，每册铃：“乾隆御览之宝”朱文椭圆印、”避暑山庄”朱文方印，装潢颇为考究，且拓工精良。虽已保存二百余年但字口锋神俱在，纸墨宛如新拓，堪称珍品。\n乾隆《钦定重刻淳化阁帖》石版，原贮于长春园淳化轩。英法联军火烧圆明园后,该摹帖版已湮没百余年。所幸的是,1993年夏季，圆明园管理处在清挖长春园水系时，从该遗址西侧河道掘得摹帖版7页（4整3残），今均陈列于园史展览馆。\n淳化法帖，原是北宋淳化三年（992年），奉宋太宗赵光义旨意，摹刻于秘阁之中的丛帖，世称《淳化阁帖》。它是我国历史上的第一部大型丛帖，被誉为诸帖之祖。《阁帖》共摹刻唐代以前99人书法名迹，包括夏禹、孔子、晋武帝、唐太宗、虞世南、 欧阳询、褚遂良、柳公权等，尤以王義之、王献之量迹最丰，独占全帖10册之半。\n清代乾隆帝弘历喜好书法，曾先后命在北海阅古楼和万寿山星妙轩，分别摹刻《三希堂法帖》及其续帖。但因二帖仅收魏晋以来墨迹，弘历颇嫌不足。后喜得《淳化阁帖》之“初拓赐本”，弘历如获至宝。命内廷翰林精审更定，选工钩摹上石，并在长春园含经堂之后新建两层轩阁，以帖名之曰“淳化轩”。帖版是在故宫懋勤殿直庐镌刻的,历时三年零两个月，至乾隆三十七年（1772年）四月，共摹竣144页贴版，遂镶嵌于堂后轩前之24间回廊壁间。原《阁帖》北宋初拓本，收藏于淳化轩内，I860年（咸丰十年）同毁于英法联军劫火。\n今出土的摹帖版,面幅为90厘米*33厘米，石厚11厘米。7页帖版的序号是三册一号、六号、 七号（残），四册八号（残），五册一号、十四号和九册三号（残）。其中除五册十四号为“释文订异”，九册三号为隋释智果书“王右军”帖、“蔡邕”帖之外， 余均为王義之墨迹，包括其“适得”、“比奉”、“七儿”、“省足”、“云谯”、“知足”、“期已”、“信云”、“不审”、“伏想”等近20幅名帖。出土帖版中，有2页残版的字迹略有侵蚀，余尚清晰。\n乾隆三十四年的《钦定重刻淳化阁帖》是一部很重要的本子,其所据的底本为明末清初孙承泽原藏的所谓毕士安本。以乾隆刻本和司空公本的第四、七、八卷相校,其底本肯定不是初拓本，因此，所谓毕士安本是不可能的。但这个底本应该是一个北宋拓本，和司空公本的年份相似，然而它是十卷本。问题是这个祖本已经消失，然而它在当时确实存在过，过去有的学者认为这个底本是虚构的，不存在的。可能是由于它不可能是所谓淳化四年的毕士安赐本的关系。\n这个所谓的毕士安赐本，在康熙时已入内府，康熙曾亲跋此本: “……此本乃赐翰林学士毕士安者……汉晋以来，翰墨风规，宛然犹在者，尚赖此帖之存也，朕幾政余闲，启帙披卷,如晤往昔，心意融洽,洵可宝而藏之也。\n到了乾隆三十四年，以此本作为底本重刻的《淳化阁帖》，乾隆在卷首题词中说:“内府旧藏淳化阁帖极多,而此毕士安所得赐本，拓最精好, 爰特敕选工钩摹上石，冀复旧观。\n这个本子到了嘉庆年间,成亲王永瑆题在现藏美国弗利尔美术馆的绍兴国子监本第十册末有:“余昔在上书房得见内府所藏宋太宗赐毕士安本, 此本楮墨正与相似，嘉庆庚午四月七日商丘陈伯恭先生携此本与贾似道重摹初拓本相见……”这说明，这个乾隆刻本的底本在1810年前不久仍然存在,其消失的原因很简单,乾隆在其重刻本的第十卷末有:“重摹淳化阁帖成,因并弃毕士安原本于淳化轩。这就是说，这个底本和重刻帖石一并存放在圆明园的淳化轩。I860年英法联军焚毁圆明园，所谓毕士安底本也必遭毁灭。\n乾隆重刻本，除了改变原刻整体程序外，也有对个别字体修正原刻的失误，如第八卷《此郡帖》的“非常”之“非”字,原刻失刻一笔，乾隆重摹即据《大观帖》补刻完整。此外，有的字体也有摹失,但其不可忽视之处在于它是从整套北宋拓本翻刻，在我们对比各《阁帖》本时有着比较重要的参考价值。\n弘历继位九年（1744 ）命臣将内府所藏书画著录《石渠宝笈》。乾隆十五年（1750）又敕命编刻《三希堂石渠宝笈法帖》三十二卷。谕曰：\n书为游艺之一，前代名迹流传，令人兴怀珍慕。是以好古者恒钩撫镌刻.以垂诸奕祀。宋《淳化阁帖》，其最著矣。厥后《大观》《淳熙》皆有续刻。其他名家摹本，至不可数。我朝秘府，初不以广购博收为尚，而法书真迹，积久颇富。朕曾命儒臣详慎审定，编为《石渠宝笈》一书。因思文人学士得佳迹数种，即钩摹入石，矜为珍玩。今取群玉之秘，寿之贞琨。足为墨宝大观，以公天下。\n《三希堂法帖》刻后十九年即乾隆三十四年（1769）,弘历又重新刻了一部《淳化阁帖》。这部帖是据赐毕士安本墓刻的，故书家与书帖和《阁帖》相同。然而不同的是：（一）除帝王帖置首卷外，其他帖完全按时代先后排列：第一，历代帝王；第二，上古至晋人；第三，第四、第五，晋王羲之；第六，晋人及王献之；第七，晋王献之；第八，晋至梁人；第九，陈至唐人；第十，唐及无名氏。（二）随文添刻楷书釋文。（三）卷末附释文考异和御制题跋。\n当时为什么要这样做呢？弘历在帖首自有说法：\n朕几余不自暇逸，典学之优，时及临池。曩曾辑内府所藏前人墨迹，刻为《三希堂》《墨妙轩》二帖，广示艺林。复念古帖流传可补墨迹所未备者，惟宋《淳化阁帖》，镌集尤为美富，远出《大观》《太清楼》诸本之上。但惜初拓与赐者绝勘，或云版寻残损，当时已为难得。后来翻刻愈繁，真意寝失。有志追摹者，末由津逮。内府旧藏《淳化阁帖》极多，而此毕士安所得赐本拓最精好。爰特敕选工钩摹上石，冀复旧观。\n第王著昧于辨别，其所排类标题，舛陋滋甚，不当听其沿讹，以误后学。因命于敏中等详加考正，以次呈阅，候朕参定，分识各卷。并命搜采诸家释文，依字旁注。其互异者折衷附记于后，以资省览。是于考文稽古之中，兼寓举坠订讹之益，用嘉惠海内操觎之士焉。\n特谕。\n乾隆三十四年（1769）二月六日，御笔。",[7,2918,216,684,809,32,3855],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99633d2bacc918e5166f68a932d6a8ad.jpg",[],{"id":40585,"slug":40586,"title":40579,"dynasty":18,"author":105,"museum":20,"description":40580,"tags":40587,"thumbUrl":40588,"material":409,"size":410,"collection":34,"collections":40589,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},242496,"zhong-ke-chun-hua-ge-tie-yi-ming-242496",[7,2918,684,32,216,1839],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7526af93ee3d47d1b76a7bc14c844c2e.jpg",[],{"id":40591,"slug":40592,"title":40579,"dynasty":18,"author":105,"museum":20,"description":40580,"tags":40593,"thumbUrl":40594,"material":409,"size":410,"collection":34,"collections":40595,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":154},242480,"zhong-ke-chun-hua-ge-tie-yi-ming-242480",[7,216,2918,1839,684,809,214,32,3629],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89475835867eddf0e65cb21834d644f3.jpg",[],{"id":40597,"slug":40598,"title":40579,"dynasty":18,"author":105,"museum":20,"description":40580,"tags":40599,"thumbUrl":40600,"material":409,"size":410,"collection":34,"collections":40601,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":154},242463,"zhong-ke-chun-hua-ge-tie-yi-ming-242463",[7,2918,3855,216,684,809,32,1839],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd47e52416ba562067f8957cd44b33ac7.jpg",[],{"id":40603,"slug":40604,"title":40579,"dynasty":18,"author":105,"museum":20,"description":40580,"tags":40605,"thumbUrl":40606,"material":409,"size":410,"collection":34,"collections":40607,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},242461,"zhong-ke-chun-hua-ge-tie-yi-ming-242461",[7,216,2918,684,32,1839],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd26d2c072acd2c410056309743521212.jpg",[],{"id":40609,"slug":40610,"title":40579,"dynasty":18,"author":105,"museum":20,"description":40580,"tags":40611,"thumbUrl":40614,"material":409,"size":410,"collection":34,"collections":40615,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":154},242430,"zhong-ke-chun-hua-ge-tie-yi-ming-242430",[216,214,2918,32,40612,3855,40613,7],"刻帖","黑底白字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda7b6c30ddb957c53802bd00acbf08e5.jpg",[],{"id":40617,"slug":40618,"title":40579,"dynasty":18,"author":105,"museum":20,"description":40580,"tags":40619,"thumbUrl":40620,"material":409,"size":410,"collection":34,"collections":40621,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},242418,"zhong-ke-chun-hua-ge-tie-yi-ming-242418",[7,3629,216,3855,2232,214,1037,5670],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1bc40d56c5a51c462bad62ba179570a.jpg",[],{"id":40623,"slug":40624,"title":40579,"dynasty":18,"author":105,"museum":20,"description":40580,"tags":40625,"thumbUrl":40626,"material":409,"size":410,"collection":34,"collections":40627,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":154},242409,"zhong-ke-chun-hua-ge-tie-yi-ming-242409",[7,216,2918,684,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7381d550902eb68d7a9892e8b2efa784.jpg",[],{"id":40629,"slug":40630,"title":40579,"dynasty":18,"author":105,"museum":20,"description":40580,"tags":40631,"thumbUrl":40632,"material":409,"size":410,"collection":34,"collections":40633,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":154},242376,"zhong-ke-chun-hua-ge-tie-yi-ming-242376",[7,1839,2918,684,809,32,216,3855,90,5670],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b6b8bfebca2aedd444bafdad29e43e4.jpg",[],{"id":40635,"slug":40636,"title":40579,"dynasty":18,"author":105,"museum":20,"description":40580,"tags":40637,"thumbUrl":40638,"material":409,"size":410,"collection":34,"collections":40639,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":154},242374,"zhong-ke-chun-hua-ge-tie-yi-ming-242374",[7,216,2918,3855,684,809,214,32,1839,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bd5740731d82420386a68864706b6c7.jpg",[],{"id":40641,"slug":40642,"title":40579,"dynasty":18,"author":105,"museum":20,"description":40580,"tags":40643,"thumbUrl":40644,"material":409,"size":410,"collection":34,"co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），初名李以文、李寿成，汉族，生于广西梧州市藤县大黎里新旺村 ，太平天国后期著名将领，近代中国军事家、政治家。\n李秀成出身贫苦，幼时种地耕山，帮工就食，曾随舅父读书。道光二十九年（1849年）加入拜上帝会。辛开元年（1851年）参加太平军后，随太平军转战至天京，历任右四军帅、后殿右二十指挥、二十二检点等职。天京事变后，晋升为地官正丞相、合天侯。翼王石达开出走后，封副掌率、合天义，与又正掌率陈玉成等同主军政。 [14] 因战功卓著而被天王洪秀全赐名“秀成”。\n在太平天国统治的中后期，李秀成与陈玉成、李世贤等力撑危局，取得了一破江北江南大营、二破江北大营、三河大捷、二破江南大营等军事上的胜利，建立了苏福省、天浙省。同时抗击英法侵略者，击毙常胜军指挥者华尔、法国海军提督卜罗德，中兴太平天国。因其功勋卓著，于庚申十年（1860年）被天王洪秀全封为忠王，称“万古忠义”。\n甲子十四年（1864年），湘军攻陷天京，李秀成扶幼天王出逃，不久被俘。在狱中写下数万字的自述后，于天京从容就义，年仅四十二岁。",[216,684,32,7,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1021afa955678c16b02996e4e80e067b.jpg",[],{"id":41429,"slug":41430,"title":41431,"dynasty":18,"author":105,"museum":20,"description":41432,"tags":41433,"thumbUrl":41434,"material":409,"size":410,"collection":34,"collections":41435,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},241493,"qi-yan-shi-wan-shan-yi-ming-241493","七言诗纨扇","此作为行书纨扇，笔法温婉秀润，结体舒展灵动，通篇行气连贯自然，契合纨扇的柔婉形制。书写自作七言长诗，字字顾盼有情，墨色匀净雅致，随着纸面岁月经年泛黄，更衬出沉厚的书卷意趣。没有馆阁体的刻板拘囿，尽显文人随性自在的笔墨意态，将日常襟怀寄寓点画之间，平和疏朗的气息漫溢扇面，是一件兼具书法法度与清雅文心的小品佳构。",[24,25,404,684,216,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F254341c3e8c5b4b6ae57ae96a987fb99.jpg",[],{"id":41437,"slug":41438,"title":41439,"dynasty":18,"author":41440,"museum":20,"description":41441,"tags":41442,"thumbUrl":41443,"material":409,"size":410,"collection":34,"collections":41444,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":719},241488,"shou-zha-ce-cheng-si-ze-241488","手札册","程思泽","程恩泽（1785年－1837年），字云芬，号春海，安徽歙县人，清朝政治人物、学者、诗人，进士出身。",[7,25,216,90,684],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22dd322b8b01a6e78f6dd4846c102f41.jpg",[],{"id":41446,"slug":41447,"title":2522,"dynasty":18,"author":41448,"museum":20,"description":41449,"tags":41450,"thumbUrl":41451,"material":409,"size":410,"collection":34,"collections":41452,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},241386,"lu-yu-zhou-zhang-ying-241386","张英","张英（1638年~1708年），字敦复，又字梦敦，号学圃，又号圃翁，安徽桐城人。清朝大臣，名相张廷玉之父。张秉彝第五子。\n康熙六年（1667年）进士，选庶吉士。翰林院编修，充日讲起居注官，累迁侍读学士。康熙十六年（1677年）设南书房，奉命入值，并得赐房第于西安门内。深得康熙器重。每逢康熙出行，张英必从。一时制诰多出其手。后历任翰林院学士，兼礼部侍郎、兵部待郎，调礼部兼管詹事府，充经筵讲官。康熙二十八年（1689年），任工部尚书、兼翰林院掌院学士，此后历任礼部尚书，国史馆总裁官。康熙三十八年（1699年），拜文华殿大学士，兼礼部尚书。张英性情温和，不图虚名。任讲筵官时，民生利病，四方水旱，知无不言。康熙帝曾称赞道：“张英始终敬慎，有古大臣风。”",[7,216,109,684,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f540564f46056f6d278aa38f1c981dd.jpg",[],{"id":41454,"slug":41455,"title":41456,"dynasty":18,"author":105,"museum":20,"description":41457,"tags":41458,"thumbUrl":41459,"material":409,"size":410,"collection":34,"collections":41460,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},241385,"wan-dai-shang-qi-lv-zhou-yi-ming-241385","万代尚七律轴","此作用笔纵逸洒脱，以行书立骨间杂草意，线条粗细枯湿变幻自然，提按转合尽显畅达意气。章法上字间牵丝映带，行气连贯如行云流水，上下顾盼呼应，通篇气机完足。墨色层次丰富，浓墨醒神，淡墨含韵，枯笔添就苍茫古拙之致。\n\n诗句书写一气呵成，将文人雅逸心境融于笔墨，笔势随诗意跌宕，既有肆意挥洒的疏狂，又不失法度谨严，尽显清代行书尚意重韵的典型特质，是一件颇具文人气息的书法佳构，尽显传统书法抒情达意的美学魅力。",[216,684,109,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fab334c906d57c114131966182e6706.jpg",[],{"id":41462,"slug":41463,"title":41464,"dynasty":18,"author":105,"museum":20,"description":41465,"tags":41466,"thumbUrl":41467,"material":409,"size":410,"collection":34,"collections":41468,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},241291,"chun-tang-qi-lv-yi-ming-241291","春塘七律","此行书册页笔势灵动圆融，行笔提按顿挫富于节奏，牵丝映带间尽显流畅自然。左幅结字略开张，筋骨内含，右字形体稍敛，朴拙雅致。墨色浓淡枯湿相映，浓处厚重饱满，枯处见笔力苍劲，章法疏朗错落，字间行距宽绰舒缓，气息静谧雅致。\n\n页内书就七言律句，笔墨与诗文相合，尽显温婉秀雅又不失劲挺的文人风神，将文士酬唱的雅致心境藏于笔墨细节之中，是颇具意趣的清代行书小品佳作。",[7,684,216,25,90,32,683],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65a55eb51fdaea274badbe1b65f6e2fc.jpg",[],{"id":41470,"slug":41471,"title":41472,"dynasty":18,"author":41473,"museum":20,"description":41474,"tags":41475,"thumbUrl":41476,"material":409,"size":410,"collection":34,"collections":41477,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},241272,"lun-shi-heng-chen-fu-en-241272","论诗横","陈孚恩","陈孚恩（1802—1866），字少默，号子鹤，别号紫藿。江西新城县钟贤（今黎川县中田乡）人。陈希曾次子，刘大观婿。嘉庆七年十月初八日生，同治五年正月二十二日卒。道光五年拔贡，朝考一等，由七品小官，仕至刑部、吏部、兵部尚书、军机大臣，清代著名书法家。",[25,216,684,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb28be6f7d2d1f4c7dbc7645e582d086.jpg",[],{"id":41479,"slug":41480,"title":41481,"dynasty":18,"author":41482,"museum":20,"description":41483,"tags":41484,"thumbUrl":41485,"material":409,"size":410,"collection":34,"collections":41486,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},241265,"gao-wei-fu-qi-jue-zhou-gao-wei-fu-241265","高为阜七绝轴","高为阜","高为阜,字守村,铅山人。雍正丙午举人,历官姚安知府。",[7,24,25,109,809,216,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2249663be06a51335db64939e3914cd9.jpg",[],{"id":41488,"slug":41489,"title":41490,"dynasty":18,"author":41491,"museum":20,"description":41492,"tags":41493,"thumbUrl":41494,"material":409,"size":410,"collection":34,"collections":41495,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},241130,"qi-yan-shi-zhou-cao-rong-241130","七言诗轴","曹溶","曹溶（1613—1685年），字秋岳，一字洁躬，亦作鉴躬，号倦圃、鉏菜翁，浙江秀水（今嘉兴）人。\n明崇祯十年进士，官御史。尝劾辅臣谢升，又熊开元参周延儒遭廷杖，曹溶疏白其冤。清顺治元年清兵入北京后，仕清任顺天学政，为清王朝献策，疏陈定官制，定屯田、盐法、钱法规制，禁兵丁将马践食田禾等，皆被采纳实施。又就有关科举、荐举隐逸、访旌殉节者等问题向朝廷建议。三年二月充会试监考官，三月迁升为太仆寺少卿。不久，被发现在学政任上所举贡生中有明代受世袭职和中武举者，降两级调用。接着又因选拔贡生超额被革职回籍。十一年官复原职，迁左通政。次年三月擢左副都御史，旋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自然的文人意韵，将彼时文士的交游风雅，凝于这几行笔墨之间。",[7,216,684,90,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf5b8c93c453f8a85233cd6bfdbe4404.jpg",[],{"id":41723,"slug":41724,"title":41725,"dynasty":18,"author":41726,"museum":20,"description":41727,"tags":41728,"thumbUrl":41729,"material":409,"size":410,"collection":34,"collections":41730,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":719},239754,"shu-hong-li-han-de-zhai-shi-ce-shen-chu-239754","书弘历含德斋诗册","沈初","沈初（1735年－1799年），字景初，号云椒，浙江平湖（今属嘉兴市）人。",[216,1037,90,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b43dc7fa667b0746c694df1d1745127.jpg",[],{"id":41732,"slug":41733,"title":41734,"dynasty":18,"author":41735,"museum":20,"description":41736,"tags":41737,"thumbUrl":41738,"material":409,"size":410,"collection":34,"collections":41739,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},239748,"yong-cheng-shu-fu-zhou-yong-cheng-239748","永珹书赋轴","永珹","爱新觉罗·永珹（1739年2月21日—1777年3月10日），清朝宗室，满洲正黄旗人，乾隆帝第四子，母为淑嘉皇贵妃金佳氏。\n乾隆四年已未正月十四日卯时生，母淑嘉皇贵妃金佳氏，时为嘉嫔。\n乾隆十六年（1751年）指婚钮祜禄氏总督阿里衮之女，但该女子未出嫁即卒。后指婚伊尔根觉罗氏和硕额驸富僧额之女，乾隆十九年（1754年）正式成婚。福晋之父富僧额因备办妆奁等项，奏请借俸禄、养廉银。奉旨：不必借领，着交内务府大臣照三阿哥福晋之父之例官办。永珹福晋的妆奁照永璋福晋之例办造，共用过崇文门税务处银八千三十余两。\n乾隆二十八年（1763年）十一月，奉旨出继和硕履懿亲王允裪后，降袭履郡王。\n乾隆三十六年（1771年）十一月崇庆皇太后八旬大寿，乾隆帝率皇子、皇孙、皇曾孙、额驸等在慈宁宫彩衣进舞，皇四子永珹、皇六子永瑢、皇八子永璇、皇十一子永瑆、皇十二子永璂、皇十五子永琰、皇十七子永璘进舞。\n乾隆四十二年（1777年）丁酉二月二日辰时薨逝，终年三十九岁，以亲王礼葬，谥号为端。嘉庆四年（1799年）三月，追赠亲王。",[25,1037,109,32,7,216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1da7ab469159bf2bc04a1303c70c289f.jpg",[],{"id":41741,"slug":41742,"title":3047,"dynasty":18,"author":105,"museum":20,"description":41743,"tags":41744,"thumbUrl":41745,"material":34,"size":34,"collection":34,"collections":41746,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},238655,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238655","这幅以全景式构图铺展战场，层叠山峦拉开纵深，将行军队列、攻坚厮杀分置谷壑之间，排布错落有序。线条刚劲利落，嶙峋山石、苍劲林木，与军士甲胄兵器细节一一勾勒铺陈，写实还原战事的肃杀紧张。\n\n山谷间旌旗猎猎、马蹄扬尘，将领挥斥调度与士卒奋勇突进的神态动作细腻生动，既有纪实画作的精准刻画，又带着宫廷纪实版画的庄重凝练。右上角题诗纪事，图文呼应，以笔锋复刻平疆战事的宏大场面，兼具历史记录价值与古典军事画作的表现力，仿佛将那阵马蹄厮杀声复刻于眼前。",[24,25,96,7,27,685,90,342,48,343,433,110,111,8282,3050,3052,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8738829ae125a47fc082bf03cb221222.jpg",[],{"id":41748,"slug":41749,"title":3047,"dynasty":18,"author":105,"museum":20,"description":41750,"tags":41751,"thumbUrl":41753,"material":34,"size":34,"collection":34,"collections":41754,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},238645,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238645","这幅纪实铜版画以全景式构图铺展平叛鏖战全貌。远山烽烟翻涌，村寨壁垒森然，清军步骑协同突进，与敌短兵相接。画面疏密得宜，线条劲挺工细，将人马错杂的厮杀场景精细摹刻，士卒或死战不退，或仆地挣扎，神态动作各有其态，硝烟裹挟着肃杀之气扑面而来。\n它以冷峻纪实的刀笔留存战地实景，将冷兵器时代平叛战事的惨烈壮阔凝于尺幅，既是对一役战事的鲜活复刻，也尽显清代战争版画兼具史料价值与艺术表现力的独特质感。",[7,27,1311,685,90,48,343,687,110,11406,433,3052,1111,346,41752],"土坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F058bdfc4b39bc9702a2ce3018e703267.jpg",[],{"id":41756,"slug":41757,"title":3047,"dynasty":18,"author":105,"museum":20,"description":41758,"tags":41759,"thumbUrl":41760,"material":409,"size":410,"collection":34,"collections":41761,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},238641,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238641","远景层叠峰峦铺展出辽远开阔的战地格局，近景聚焦激烈的攻城攻坚场面。清军或涉水架梯、或纵马弯弓仰攻，守军凭城据守反击，人马排布错落有致，将短兵相接的紧张凶险尽数铺陈。\n\n创作者以铜版蚀刻技法入画，线条锐利精细，山石林木的皴刻兼具写实质感与传统山水章法，光影明暗层次分明，既还原了战地细节的纪实性，又以细腻刻画渲染出冷兵器战场的肃杀之气，将战事的激烈瞬间定格于纸面，兼具历史记录价值与艺术表现力。",[7,24,25,90,27,741,685,1036,683,32,48,343,342,1111,433,669,3324],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F246dbd65781bab34de8097fdbd0e8f22.jpg",[],{"id":41763,"slug":41764,"title":41765,"dynasty":18,"author":105,"museum":20,"description":41766,"tags":41767,"thumbUrl":41771,"material":409,"size":410,"collection":34,"collections":41772,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},238581,"qing-ren-lie-quan-tu-ce-yi-ming-238581","清人猎犬图册","此作工写兼融，右侧设色绘坡岸松荫，灵缇身姿矫健，正疾奔追逐小兽，毛发晕染细腻鲜活，将猎犬的骁悍灵动尽皆展现。衬景浅草萋萋，陂陀层叠，远岫轻描淡写，晕染出清旷悠远的郊野氛围。左侧行书题笔挺秀疏朗，笔墨雅致，与画作呼应成趣，书画合璧尽显沉静雅意。整幅以写实工致的技法刻画灵缇，又佐以文人意趣的衬景与题字，将畜兽的生动神态和古典雅致的审美意韵相融，尽显清代小品画兼具写实功力与文人气韵的特色。",[96,24,25,90,7,28,27,684,174,41768,41769,110,111,330,41770],"猎犬","狐狸","水流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9c15a6a20d931ae2ee6e7d685bb95f9.jpg",[],{"id":41774,"slug":41775,"title":41765,"dynasty":18,"author":105,"museum":20,"description":41776,"tags":41777,"thumbUrl":41779,"material":409,"size":410,"collection":34,"collections":41780,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},238580,"qing-ren-lie-quan-tu-ce-yi-ming-238580","此作定格郊野猎捕的一瞬：黑犬纵身腾跃，身姿矫健灵动，正疾扑奔逃的野猪，渡水追逐间张力拉满，将兽类的野性迸发尽显无遗。布景清雅写意，水岸枯木、浅滩遥山晕染出幽远空寂的郊野氛围，与动势十足的主体形成动静对比。左页小楷工整端秀，诗文咏赞猎犬英姿，诗画合璧，尽显雅致意趣。整幅工笔细腻写实，精准刻画出兽类的形态神情，以淡远布景烘托山野意韵，将狩猎的野趣与传统文人审美相融，尽显精妙笔力与审美意涵。",[24,25,90,28,27,174,41768,41778,111,110,7],"野猪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2e0775cf0585838fc8de1751b53a5bc.jpg",[],{"id":41782,"slug":41783,"title":41784,"dynasty":18,"author":41785,"museum":20,"description":41786,"tags":41787,"t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[1] ，以弘旿孙绵勋袭贝子。子孙递降，以镇国公世袭。\n观其传世作品，似受董邦达影响为多。此卷笔墨秀润，细皴密擦，林麓滃郁华滋，功力不浅。卷末落“臣”字款，又自称“恭绘”，可见是进御之作。《石渠宝笈》著录弘旿画计有三十多件，内府收藏的估计还有不少。可见弘旿作画之勤，亦可见乾隆对这位同宗兄弟笔墨的赞许。但从流传的弘旿作品看，此卷却是其中极为精彩的一幅，且保存完好，值得珍视。",[24,25,90,27,28,26,1049,2604,7,41788,41789,41790,92],"工笔花鸟","设色花鸟","洋菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffac69ace841a6d886296ada8bac31bdc.jpg",[],{"id":41794,"slug":41795,"title":41784,"dynasty":18,"author":41785,"museum":20,"description":41786,"tags":41796,"thumbUrl":41797,"material":34,"size":34,"collection":34,"collections":41798,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},238172,"hong-wu-yang-ju-tu-ce-hong-wu-238172",[7,24,25,90,27,28,26,1049],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7663462d8338773084204f07187a312.jpg",[],{"id":41800,"slug":41801,"title":16325,"dynasty":18,"author":105,"museum":20,"description":41802,"tags":41803,"thumbUrl":41804,"material":409,"size":410,"collection":34,"collections":41805,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},236263,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236263","此作为金笺地山水成扇，金箔底衬得墨色愈发清润古雅，山峦层叠逶迤，以淡墨晕染出丘壑起伏，林木攒簇苍劲，点染间见山林幽寂之态，平远构图铺展出清旷辽远的景致，暗合避暑闲游的悠然意境。\n另一面诗文书笔端整秀雅，与山水意韵相得益彰。竹骨莹润匀净，形制精巧，整体融绘事与翰墨于一器，沉静中透着清隽逸趣，尽显清代小品书画的雅致格调。",[404,24,25,342,28,685,216,684,433,110,111,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d1ba3f22a1c0e1b692652004843767b.jpg",[],{"id":41807,"slug":41808,"title":16325,"dynasty":18,"author":105,"museum":20,"description":41809,"tags":41810,"thumbUrl":41811,"material":409,"size":410,"collection":34,"collections":41812,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},236245,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236245","此作以泥金笺为地，墨色皴染层叠山峦，林麓间屋舍隐现，暗合山居夏凉的清寂幽致。山峦以披麻皴写就，线条松秀苍润，浓淡墨色交错晕染，既勾勒出雄浑山骨，又衬出泥金底的华贵雅致，将林泉幽居的闲静藏于咫尺扇间。素净扇骨与画面相得益彰，笔墨平和悠远，尽显林泉避暑的雅逸意趣，是融华贵材质与文人山水意韵于一体的佳制。",[7,24,404,342,28,685,216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7788deada02b9c12276b51876e8c79f.jpg",[],{"id":41814,"slug":41815,"title":16325,"dynasty":18,"author":105,"museum":20,"description":41816,"tags":41817,"thumbUrl":41818,"material":409,"size":410,"collection":34,"collections":41819,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},236244,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236244","此扇以泥金笺为地，自带华贵雅致底色。画面绘林苑一隅，重檐楼宇静处方庭，佳木环绕、远山逶迤。笔墨秀润细腻，敷色淡逸沉稳，将苑囿的清寂消暑意韵尽显，石隐木葱，处处透着山居夏凉的疏闲意境。\n\n书画合璧，笔墨兼具写实精巧与写意澹远，将苑林清幽揉入尺幅扇间，尽显传统扇面的隽永意趣，是兼具观赏与把玩价值的佳制。",[7,24,404,28,741,342,433,110,740,216,684],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5325818f7d0138bd8effac6eb2a16315.jpg",[],{"id":41821,"slug":41822,"title":16325,"dynasty":18,"author":105,"museum":20,"description":41823,"tags":41824,"thumbUrl":41825,"material":409,"size":410,"collection":34,"collections":41826,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},236235,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236235","此作为金笺成扇，水墨设色绘就山居胜景。远山以淡墨晕染层叠，隐没天际，近麓林木苍蔚繁茂，亭台藏于林樾之间，通幅笔墨秀润清逸，将林泉幽致铺陈扇面之上，似可揽得山风凉意，尽显山居静穆旷远的意境。\n\n画面层次分明，近景苍郁、远景虚和，咫尺之间纳得丘壑万千。搭配题诗文气雅致，将林泉高致藏于轻纨之上，案头展观便可神游林麓，是文人雅赏的精妙佳制。",[24,404,28,342,687,110,433,685,7,216,684],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b2b8a06b63d674be7c2c66fa228a636.jpg",[],{"id":41828,"slug":41829,"title":10831,"dynasty":18,"author":105,"museum":20,"description":10832,"tags":41830,"thumbUrl":41833,"material":34,"size":10836,"collection":34,"collections":41834,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},233104,"ping-ding-xi-yu-zhan-tu-ye-yi-ming-233104",[7,41831,325,10861,342,48,5111,8753,3050,11415,110,687,4681,3052,1165,41832,8761,4668,688,5087],"版画","战旗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faac4969d6a1cd8835650a29c261ca9be.jpg",[],{"id":41836,"slug":41837,"title":41838,"dynasty":18,"author":105,"museum":20,"description":41839,"tags":41840,"thumbUrl":41842,"material":409,"size":410,"collection":34,"collections":41843,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},230724,"huang-di-suo-er-xian-wen-guan-yi-ming-230724","黄地索耳弦文罐","此罐黄釉匀净莹润，如蜜似金，暖调釉色沉静雅致，尽显温润质感。圆融饱满的器身线条舒缓柔和，数道弦纹环绕腹身，以极简线条勾勒层次，平添内敛韵律。两侧索形双耳扭结如绳，朴拙灵动，为规整器型晕开几分山野朴趣。\n配套镂空金属盖錾刻缠枝纹样，细密精巧，冷硬金属与温润瓷釉碰撞出别致反差。器物将日常实用之质与审美意趣相融，素雅又藏巧思，尽显含蓄内敛的东方美学风骨。",[752,28,5829,41841,13161,7,705],"索耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b75d01e6e4912571f3f436abf7a4e8c.jpg",[],{"id":41845,"slug":41846,"title":41847,"dynasty":18,"author":105,"museum":20,"description":4296,"tags":41848,"thumbUrl":41849,"material":409,"size":410,"collection":34,"collections":41850,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},230722,"bai-yu-tuan-shou-niu-yi-ming-230722","白玉团寿钮",[7,186,144,4279,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d2dc84f82b8116b3ee85ab7f39f26b3.jpg",[],{"id":41852,"slug":41853,"title":41854,"dynasty":18,"author":105,"museum":20,"description":41855,"tags":41856,"thumbUrl":41858,"material":409,"size":410,"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留存生动视觉注脚。",[23,7,90,28,27,48,313,257],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c2645a3dc5cf6491a673c46a2820b8b.jpg",[],{"id":44753,"slug":44754,"title":44755,"dynasty":18,"author":105,"museum":20,"description":44756,"tags":44757,"thumbUrl":44758,"material":56,"size":34,"collection":34,"collections":44759,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},216014,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-4-ce-27-yi-ming-216014","职贡图巨幅彩绘册页第4册-27","画面分左右两帧，各绘一人。左者黑衣蓝裙，腰束红带，手持弯刀，衣袂褶皱细腻，神态沉静内敛；右者蓝衣蓝帽，背负弓箭，手持长杆，身形挺拔，器物纹理清晰可辨。人物刻画写实生动，服饰细节各具特色，色彩古朴雅致，尽显清代职贡图记录边疆民族风貌的特质。笔墨间传递出不同族群的生活气息与文化印记，既是富有表现力的艺术创作，亦是研究清代民族交流的珍贵视觉佐证。",[23,24,25,90,28,27,48,313,1111,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a5376beebaf9506106d6f522403ab32.jpg",[],{"id":44761,"slug":44762,"title":44763,"dynasty":18,"author":105,"museum":20,"description":44764,"tags":44765,"thumbUrl":44766,"material":56,"size":34,"collection":34,"collections":44767,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},216009,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-4-ce-33-yi-ming-216009","职贡图巨幅彩绘册页第4册-33","画面分左右绘两人物，衣饰纹样鲜活：蓝地布衫缀彩条下摆，腰际覆毛绒饰，绑腿着屐，尽显质朴野趣。左者头戴蓝纹帽，手持白巾似作礼；右者裹蓝巾，神情憨实。笔触细腻，色彩明丽，将边地族群的服饰特色与鲜活情态凝于绢素，既见绘者对异域风俗的细致观察，亦藏古人“职贡”图式中对多元族群风貌的记录与呈现，为研究清代边地文化提供生动视觉佐证。",[23,7,28,27,90,48,313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadad0d8f25f21a2d3f82b0ffd3d671be.jpg",[],{"id":44769,"slug":44770,"title":44771,"dynasty":18,"author":105,"museum":20,"description":44772,"tags":44773,"thumbUrl":44774,"material":56,"size":11530,"collection":34,"collections":44775,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},215910,"qing-ren-xiao-xiang-tu-ce-5-yi-ming-215910","清人肖像图册-5","端坐的人物头戴朱红顶帽，宝蓝长袍覆身，衣料质感厚重却不失飘逸，黑裤坠地更显身形端稳。案上棋盘静静铺展，似待对弈之人；旁侧茶具温润，小摆件玲珑，隐透文人日常雅趣。背景以淡墨晕染山石轮廓，疏花点缀其间，清雅氛围悄然包裹人物。笔触细腻处，面部神情刻画入微，眉宇间藏着从容；衣纹线条流畅，尽显笔墨功底。整幅画作于简约构图中见精巧，人物气度与环境雅韵相融，生动传递出清代肖像画的传神与雅致之美。",[24,25,28,27,48,188,313,1049,113,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09674573595ccfb3888dc3a20ef94d89.jpg",[],{"id":44777,"slug":44778,"title":44779,"dynasty":18,"author":105,"museum":20,"description":44780,"tags":44781,"thumbUrl":44785,"material":77,"size":34,"collection":34,"collections":44786,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},215874,"qing-dai-xing-fa-ji-lu-tu-ce-12-yi-ming-215874","清代刑罚记录图册-12","画面以素净底色铺展清代市井一隅。中间人物脚锁镣铐，肩挑扁担，一头垂布囊、一头悬竹篮，凝重神色里裹着生计的沉。左侧者衣饰齐整，手势似含指令，姿态带几分规制下的威严；右侧妇人蓝衫红裙，怀婴攥布，目光落向受刑人，神情揉着不忍与日常的无奈。衣纹简练却显质感，色彩淡雅更衬人情。画中既有律法的冷硬，也有市井的烟火，更藏着普通人在命运夹缝里的挣扎与温柔。它如同一帧被定格的时光切片，让观者触到那个时代刑罚与生活交织的真实温度。",[7,28,27,48,1275,90,44782,44783,798,44784],"脚镣","担子","日常器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedf3e67be1f0feb7466eef7faecb5a55.jpg",[],{"id":44788,"slug":44789,"title":44790,"dynasty":18,"author":105,"museum":20,"description":44791,"tags":44792,"thumbUrl":44794,"material":77,"size":34,"collection":34,"collections":44795,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},215873,"qing-dai-xing-fa-ji-lu-tu-ce-10-yi-ming-215873","清代刑罚记录图册-10","画面定格清代刑罚瞬间，人物动态张力十足。左侧执牌者神态肃然，似监刑之役；中间二人俯身控住受刑者手足，姿态紧绷；右侧壮汉高举长杖，杖身斜贯画面，蓄势待发的力度呼之欲出。人物衣饰色彩朴拙，蓝灰为主调，衬得受刑者红衣格外刺目。线条简练却精准勾勒各角色神情动作，从监刑者的沉稳到施刑者的刚劲，再到受刑者的屈伏，层次分明。整幅图以写实笔触记录场景，无多余修饰却将清代司法惩戒的肃穆严苛尽显，是研究当时律法民俗的直观图像资料。",[7,28,27,48,1275,11598,1393,44793],"动态场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa487ed19589f274740807238a9a21d1f.jpg",[],{"id":44797,"slug":44798,"title":44799,"dynasty":18,"author":105,"museum":20,"description":44800,"tags":44801,"thumbUrl":44803,"material":77,"size":7068,"collection":34,"collections":44804,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},215837,"miao-zu-yao-zu-sheng-huo-tu-ce-11-yi-ming-215837","苗族瑶族生活图册-11","画面漫着山野的烟火气，衣角苗绣在光影里泛细碎光泽，竹篮作物沾着晨露润意。檐下笑语似要漫出画外，孩童追蝶跑过青石板，阿婆捻线的指节缠着岁月温软。笔触带着质朴温度，把苗瑶日常织进绢素：春种躬身的剪影，秋收对歌的热闹，溪边捣衣脆响，火塘烤茶暖香。无刻意雕琢，只铺陈最本真的生活模样——像翻开晒过阳光的旧册，每处细节藏着民族骨血里的鲜活，将晨昏烟火与温情，凝在方寸绢素间，让山野间的鲜活与温软，随笔墨漫进观者心底。",[23,7,90,28,48,44802,188],"民俗生活","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24e7419153ff88bd6670fd7b47fa1340.jpg",[],{"id":44806,"slug":44807,"title":44808,"dynasty":18,"author":105,"museum":20,"description":44809,"tags":44810,"thumbUrl":44811,"material":77,"size":7068,"collection":34,"collections":44812,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},215814,"miao-zu-yao-zu-sheng-huo-tu-ce-33-yi-ming-215814","苗族瑶族生活图册-33","画面铺展着山野间的鲜活日常。衣衫沾着泥土气息，腰间蓝带与裙摆纹饰藏着族群印记；持网的手稳握竹柄，背篓的肩压着生活重量，孩童探头的模样添了几分天真。这不是刻意雕琢的仪式，是劳作间隙的自然流露——脚步踏过田埂，笑语散在风里，每一处衣褶都裹着烟火气。笔墨虽简，却把族群的坚韧与鲜活凝在纸间，让百年前的山野生活有了可触的温度。那些被时光沉淀的日常碎片，在素纸上慢慢苏醒，成了连接过去与现在的温柔纽带。",[23,24,28,48,188,27,90,11627,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d4a9f9701e6123243785d9f34628293.jpg",[],{"id":44814,"slug":44815,"title":44816,"dynasty":18,"author":105,"museum":20,"description":44817,"tags":44818,"thumbUrl":44819,"material":77,"size":7068,"collection":34,"collections":44820,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},215812,"miao-zu-yao-zu-sheng-huo-t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