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，福建侯官縣人，清代中期政治家、文學家、思想家，民族英雄。\n林則徐是嘉慶十六年（1811年）進士，歷官翰林編修、江蘇按察使、東河總督、江蘇巡撫、湖廣總督等職。道光十九年（1839年），以欽差大臣赴廣東禁煙時，派人明察暗訪，強迫外國鴉片商人交出鴉片，並將沒收鴉片於虎門銷燬。該事件被認為是第一次鴉片戰爭的導火線。戰爭爆發不久，林則徐被構陷革職，發往新疆戍邊。道光二十五年（1845年）重獲起用，歷任陝甘總督、陝西巡撫、雲貴總督等職，加太子太保。道光三十年（1850年），林則徐在奉命鎮壓拜上帝會起事途中，病逝於潮州普寧。獲贈太子太傅，諡號“文忠”。有《林文忠公政書》等作品傳世。\n林則徐一生遍歷地方，治績卓著。雖在兩廣抗擊西方入侵，但對於西方的文化、科技和貿易則持開放態度，主張學其優而用之。他至少略通英、葡兩種外語，且着力翻譯西方報刊和書籍。他主持編譯的《四洲志》及魏源編撰的《海國圖志》，對晚清的洋務運動乃至日本的明治維新都具有啓發作用。",[7,23,17,324,99,326,344,24,97,96],"屏条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9455903956a89eeb7a0d8aeb82bc5f83.jpg",[28],32,{"id":349,"slug":350,"title":351,"dynasty":7,"author":36,"museum":37,"description":352,"tags":353,"thumbUrl":355,"material":356,"size":48,"collection":357,"collections":358,"showCount":359,"zanCount":11,"manualWeight":11,"mainColor":31},215190,"yi-shi-ji-yao-tan-2-yi-ming-215190","医士及药摊-2","画面鲜活铺展市井一隅，蓝袍长者与袒胸卖药人相对而立，前者似在探问药效，后者神情笃定，手引向摊前“大力丸”招幌。摊侧悬蓝布，地上石块与英文注脚相映，暗合“吃此可碎石”的江湖噱头，将民间卖药的鲜活与异域文字的意外融合勾勒出来。线条简括却神态毕肖，衣袂褶皱、人物表情皆透着朴拙生动，色彩明快不艳俗。既写实清代街头医药行当的烟火气，又藏着中西文化初遇的微妙趣味，凝住那个时代巷尾的热闹与市井智慧，让人窥见民间生活的鲜活底色。",[22,7,139,138,102,174,98,354],"药摊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F117d915afaf21ab04f70d9fe92d1cd87.jpg","绢本,设色","人物画精选",[357],30,{"id":361,"slug":362,"title":363,"dynasty":7,"author":36,"museum":37,"description":364,"tags":365,"thumbUrl":374,"material":48,"size":48,"collection":48,"collections":375,"showCount":376,"zanCount":87,"manualWeight":11,"mainColor":31},230332,"yan-qin-yi-qing-12-zhen-qing-nei-fu-she-se-ku-juan-ben-yi-ming-230332","燕寝怡情12帧清内府设色库绢本","此作取景雅致园林，流水萦回、林木扶苏，朱红栏槛衬着浅粉繁花，晕染出静谧柔美的底色。案边佳人才子偎依一处，女子纤纤素手调弄笔墨，二人神情亲昵缱绻，将闺中日常的温存缓缓铺展。\n\n衣褶纹饰晕染细腻雅致，设色秀润柔和，无浓艳堆砌，仅以清浅色调晕染出世家眷侣的闲情雅致。画师以精细工笔勾勒情态，将眷侣间无言的温情融在园林幽境里，把烟火日常晕染成诗意缱绻的中式浪漫，尽显古典闺阁温情之美。",[7,96,139,138,366,102,367,368,369,370,371,372,373],"绢本","美人","衣帽","树","栏杆","花","庭院","桌子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feec9393ecbd0a1b95daea5afdfb8cdcc.jpg",[],29,{"id":378,"slug":379,"title":380,"dynasty":7,"author":36,"museum":37,"description":381,"tags":382,"thumbUrl":385,"material":176,"size":177,"collection":48,"collections":386,"showCount":387,"zanCount":11,"manualWeight":11,"mainColor":388},256560,"kong-que-lv-you-shi-zi-yi-ming-256560","孔雀绿釉狮子","宋代是传统制瓷工艺发展史上一个非常繁荣昌盛的时期。现时已发现的古代陶瓷遗址分布于全国170个县。其中有宋代窑址的就有130个县，占总数的75%。\n陶瓷史家通常将宋代陶瓷窑大致概括为6个瓷窑系，它们分别是：北方地区的定窑系、耀州窑系、钧窑系和磁州窑系；南方地区的龙泉青瓷系和景德镇的青白瓷系。这些窑系一方面具有因受其所在地区使用原材料的影响而具有的特殊性，另一方面又有受帝国时代的政治理念、文化习俗、工艺水平制约而具有的共同性。\n从造型的角度分析，宋瓷的器形较之前代更为丰富多彩，几乎包括了人民日常生活用器的大部分：碗、盘、壶、罐、盒、炉、枕、砚与水注等，其中最为多见的是玉壶春瓶。总的说来，民间用瓷的造型大部分是大方朴实、经济耐用；而宫廷用瓷则端庄典雅、雍容华贵。最能反映皇家气派的是哥、官、钧、汝与定窑口烧制的贡瓷，最能体现百姓喜乐的是磁州、耀州窑口烧制的民间瓷品。\n从纹饰上讲，宋瓷的纹饰题材表现手法都极为丰富独特。一般情况下，龙、凤、鹿、鹤、游鱼、花鸟、婴戏、山水景色等常作为主体纹饰而突现在各类器形的显著部位，而回纹、卷枝卷叶纹、云头纹、钱纹、莲瓣纹等多用作边饰间饰，用以辅助主题纹饰。工匠们用刻、划、剔、画和雕塑等不同技法，在器物上把纹样的神情意态与胎体的方圆长短巧妙结合起来，形成审美与实用的统一整体，令人爱不释手。如婴戏纹，或于碗心、或于瓶腹，将肌肤稚嫩，情态活泼的童子置于花丛之中，或一或二，或三五成群，攀树折花，追逐嬉戏，真切动人，生活气息甚为浓厚。",[7,170,383,65,384],"孔雀绿釉","狮子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ab1bbe3888c617a81dca443471b2fd4.jpg",[],26,"2A56C6",{"id":390,"slug":391,"title":392,"dynasty":7,"author":36,"museum":37,"description":393,"tags":394,"thumbUrl":398,"material":176,"size":177,"collection":48,"collections":399,"showCount":400,"zanCount":11,"manualWeight":11,"mainColor":72},229471,"yong-zheng-fa-lang-cai-shan-cha-mei-hua-wan-yi-ming-229471","雍正 珐瑯彩山茶梅花碗","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。",[7,395,170,139,396,397,142,174],"珐琅彩","山茶","梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb78d3073373ecb0e2fccbd6f45bb5b2.jpg",[],21,{"id":402,"slug":403,"title":404,"dynasty":7,"author":36,"museum":37,"description":405,"tags":406,"thumbUrl":417,"material":176,"size":177,"collection":48,"collections":418,"showCount":419,"zanCount":11,"manualWeight":11,"mainColor":31},230341,"zi-hang-zhou-xing-gong-you-xi-hu-dao-li-tu-shuo-yi-ming-230341","自杭州行宫游西湖道里图说","以淡赭晕开烟水，用青绿点染丘峦，将舆图的实用意趣融在山水画卷之中。黄线牵起驿路，串起沿线错落的村舍亭台，标注清晰明了，既是游湖道里的详实指引，亦是江南烟景的诗意描摹。\n它跳出枯燥的测绘范式，以文人山水的笔致铺陈湖山乡野，层叠的浅山、漾开的水色晕染出江南灵秀温婉的气韵，让行路的日常图景，化作一卷可赏可游的丹青小品，雅俗共赏，尽显江南风物的清润雅致。",[96,139,138,118,407,116,408,409,410,411,412,413,414,415,416,7],"长卷","楼阁","小桥","流水","古道","亭","树木","房屋","道路","湖泊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae723b32fd6bb667dfdb29e532f9c00b.jpg",[],20,{"id":421,"slug":422,"title":423,"dynasty":7,"author":424,"museum":37,"description":425,"tags":426,"thumbUrl":428,"material":176,"size":177,"collection":48,"collections":429,"showCount":430,"zanCount":11,"manualWeight":11,"mainColor":31},240848,"yi-bing-shou-wu-yan-lian-yi-bing-shou-240848","伊秉绶五言联","伊秉绶","伊秉绶（1754-1815），字组似，号墨卿，晚号默庵，清代书法家，福建汀州府宁化县人，故人又称“伊汀州”。乾隆四十四年举人，乾隆五十四年进士，师戴联奎，历任刑部主事，后擢员外郎。\n嘉庆四年任惠州知府，因与其直属长官、两广总督吉庆发生争执，被谪戍军台，昭雪后又升为扬州知府，1802年（嘉庆七年），伊秉绶54岁时，因父病死，去官奉棺回乡，扬州数万市民洒泪送别。62岁病逝后，扬州人为仰慕其遗德，在当地“三贤祠”（祀欧阳修、苏轼、王士祯三人之祠）中并祀伊秉绶，改称“四贤祠”。在任期间，以“廉吏善政”著称。\n伊秉绶喜绘画、治印，亦有诗集传世。工书，尤精篆隶，精秀古媚。其书超绝古格，使清季书法，放一异彩。隶书尤放纵飘逸，自成高古博大气象，与邓石如并称大家。",[7,23,160,427],"隶书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b86dc31ec88585937498c6737eb8c39.jpg",[],19,{"id":432,"slug":433,"title":434,"dynasty":7,"author":435,"museum":436,"description":437,"tags":438,"thumbUrl":443,"material":366,"size":444,"collection":48,"collections":445,"showCount":430,"zanCount":11,"manualWeight":11,"mainColor":72},222965,"hong-lou-meng-90-sun-wen-222965","红楼梦90","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",[22,7,96,138,139,439,440,102,408,116,441,372,370,121,413,442],"界画","青绿","松树","长廊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2625fcd8834888bd949f168e4dcd3ba.jpg","纵43.3厘米、横76.5厘米",[],{"id":447,"slug":448,"title":449,"dynasty":7,"author":36,"museum":37,"description":450,"tags":451,"thumbUrl":455,"material":176,"size":177,"collection":48,"collections":456,"showCount":457,"zanCount":11,"manualWeight":11,"mainColor":31},256628,"yong-zheng-kuan-fen-cai-he-lian-wen-yu-hu-chun-ping-yi-ming-256628","雍正款粉彩荷莲纹玉壶春瓶","雍正一朝虽然只有13年，但他的制瓷业成就却达到了清代官窑的历史高峰，其品种之多，制作工艺之精良，都是其他朝代无法比拟的。",[7,170,452,139,453,454],"粉彩","荷莲","玉壶春瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3c61b48fca0e103bac0e186873af703.jpg",[],18,{"id":459,"slug":460,"title":461,"dynasty":7,"author":36,"museum":37,"description":462,"tags":463,"thumbUrl":465,"material":176,"size":177,"collection":48,"collections":466,"showCount":457,"zanCount":87,"manualWeight":11,"mainColor":72},249555,"qian-long-kuan-hua-fa-lang-bao-xiang-hua-wen-pan-yi-ming-249555","乾隆款画珐琅宝相花纹盘","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[7,296,202,464,139],"宝相花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad1885a22d9317862381d21a78f1a44e.jpg",[],{"id":468,"slug":469,"title":470,"dynasty":7,"author":36,"museum":37,"description":471,"tags":472,"thumbUrl":475,"material":176,"size":177,"collection":48,"collections":476,"showCount":477,"zanCount":11,"manualWeight":11,"mainColor":72},256553,"dou-cai-hong-long-feng-gai-guan-yi-ming-256553","斗彩红龙凤盖罐","此罐器型圆润饱满，盖身契合浑然一体，形制雅致端庄。\n\n矾红描金龙纹身姿矫健遒劲，爪牙张扬凌厉，鳞片勾勒细密分明，火焰纹饰缠绕周身，衬得神龙似将破壁而出，尽显威严气势，龙凤纹样刚柔相济，让画面张力十足。\n\n器身边饰以斗彩技法妆点，翠绿釉彩搭配青花轮廓，盖面点缀浅蓝星芒纹，色调明快和谐，既烘托主纹华贵，又添清丽雅致。釉下青花的沉静与釉上矾红的浓妍相融，工艺精湛考究，尽显彩瓷华贵大气的质感。",[7,170,473,139,64,474,174],"斗彩","凤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50e1452703c560a8dbc11117240a5dde.jpg",[],17,{"id":479,"slug":480,"title":481,"dynasty":7,"author":36,"museum":37,"description":482,"tags":483,"thumbUrl":487,"material":176,"size":177,"collection":178,"collections":488,"showCount":477,"zanCount":11,"manualWeight":11,"mainColor":88},255804,"de-hua-yao-bai-you-mi-le-fo-li-xiang-yi-ming-255804","德化窑白釉弥勒佛立像","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， 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恪守宫廷肖像的制式法度，定格下盛世帝王的仪范风骨，是清代肖像画工致典雅的典范。",[96,97,117,139,102,64,368,138,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d104575a2e03427d0d767f27dedb9b7.jpg",[],{"id":664,"slug":665,"title":666,"dynasty":7,"author":667,"museum":37,"description":668,"tags":669,"thumbUrl":671,"material":176,"size":177,"collection":48,"collections":672,"showCount":638,"zanCount":87,"manualWeight":11,"mainColor":31},230923,"shan-shui-tu-shan-mian-shang-rui-230923","山水图扇面","上睿","上睿（1634―？）清代康熙年间僧人。字静睿、浔微，一作浔浚、浔睿，号目存、蒲室子、童心和尚、童心道人、童心行者、卧云人。江苏吴县（今江苏苏州）人。博学多才，工诗文\n康熙十一年（1672）作《仿周臣山水人物图》轴，现藏辽宁省博物馆；三十二年（1693）作《桐阴书屋图》、三十八年作《绣谷送春图》藏故宫博物院；三十二年作《携琴访友图》卷藏旅顺博物馆；雍正二年（1724）作《溪山密雪图》藏日本大阪市立美术馆；《为友梅作行乐图册》藏苏州市博物馆。著有《习余吟》。1904年北京故宫博物院出版《清释目存仿宋元山水册》影印本。",[96,286,99,139,116,413,412,102,670,7],"明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5310bef9780ef758a53339e81bc9fb1c.jpg",[],{"id":674,"slug":675,"title":676,"dynasty":7,"author":36,"museum":37,"description":450,"tags":677,"thumbUrl":682,"material":176,"size":177,"collection":48,"collections":683,"showCount":684,"zanCount":11,"manualWeight":11,"mainColor":88},258268,"yong-zheng-kuan-dou-cai-song-shu-pu-tao-wen-hu-lu-ping-yi-ming-258268","雍正款斗彩松鼠葡萄纹葫芦瓶",[7,170,473,678,679,680,681],"松鼠","葡萄","藤蔓","叶子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F592b00486d3d4d4c9ca5f5ac78156d4a.jpg",[],11,{"id":686,"slug":687,"title":688,"dynasty":7,"author":36,"museum":37,"description":689,"tags":690,"thumbUrl":695,"material":176,"size":177,"collection":48,"collections":696,"showCount":684,"zanCount":11,"manualWeight":11,"mainColor":88},251629,"dai-pi-qing-yu-an-ba-xian-tu-ru-yi-yi-ming-251629","带皮青玉暗八仙图如意","如意为木胎，其上采用八成金质累丝工艺。如意头的正面为累丝古钱纹，中心嵌绿松石“乙酉”二字，背面为镂空的古钱纹并露出木胎。柄的正面亦为累丝古钱纹，镶嵌绿松石“万年如意”四字，背面为累丝六角锦纹。如意的侧边以卷草纹为饰。",[7,80,691,692,61,693,694,174],"青玉","带皮","暗八仙","道教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe107c8f86fb909fcebd4ab86ae5d61d1.jpg",[],{"id":698,"slug":699,"title":700,"dynasty":7,"author":36,"museum":37,"description":701,"tags":702,"thumbUrl":706,"material":176,"size":177,"collection":48,"collections":707,"showCount":684,"zanCount":11,"manualWeight":11,"mainColor":72},246488,"dui-cai-shi-zi-wen-he-yi-ming-246488","堆彩柿子纹盒","清代文物。旧时用于存放食物或饰品之用,根据材质价值不同。清宫旧藏",[7,703,704,705,171,139],"堆彩","柿子纹","盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2139191920b56e14836782558016840.jpg",[],{"id":709,"slug":710,"title":711,"dynasty":7,"author":36,"museum":37,"description":214,"tags":712,"thumbUrl":716,"material":176,"size":177,"collection":48,"collections":717,"showCount":684,"zanCount":11,"manualWeight":11,"mainColor":72},242094,"yin-du-jin-hu-lu-wen-zan-yi-ming-242094","银镀金葫芦纹簪",[7,216,205,83,713,714,81,715,40],"葫芦纹","龙纹","宝石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd620380fd25321581610f09626b9ab80.jpg",[],{"id":719,"slug":720,"title":721,"dynasty":7,"author":36,"museum":37,"description":214,"tags":722,"thumbUrl":726,"material":176,"size":177,"collection":48,"collections":727,"showCount":684,"zanCount":11,"manualWeight":11,"mainColor":88},242027,"yin-du-jin-dian-cui-qian-bao-shi-fu-shou-wen-zan-yi-ming-242027","银镀金点翠嵌宝石蝠寿纹簪",[7,216,217,723,724,725,715,40],"嵌宝石","蝙蝠","寿纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2062527a90a9e2cf9f4d389164302ca.jpg",[],{"id":729,"slug":730,"title":731,"dynasty":7,"author":36,"museum":37,"description":393,"tags":732,"thumbUrl":736,"material":176,"size":177,"collection":48,"collections":737,"showCount":684,"zanCount":11,"manualWeight":11,"mainColor":72},229212,"qian-long-kuan-tong-tai-hua-fa-lang-fang-dou-cai-hua-die-wen-yuan-gai-guan-yi-ming-229212","乾隆款 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，字渔仙，号桃溪居士，后号墨井道人，江苏常熟人。曾笃信天主教，并往澳门逗留。工诗、善画山水，师事王时敏 (1592-1680)与王鉴 (1598-1677) ，连同王翚 (1632-1717)、王原祁 (1642-1715)和恽寿平 (1633-1690) 合称「四王吴恽」或称「清初六家」，为清代正统派绘画代表。\n\n该画为吴历应友人侯大年（约1641-约1710）之命所作，并以友人之号「凤阿」命名，绘于康熙十六年（1677）之后，为吴氏中晚年之作。画面山峦起伏，高树竹丛、屋舍数间，屋前小桥流水，一人策杖过桥。整幅作品尺幅虽不大，却构图繁密，墨色苍润，流露对笔墨的追求与讲究，是吴历的精品。事实上，吴历与侯大年交谊深厚，曾应命绘制多幅《凤阿山房图》，以表达侯氏「述祖德，守先业」并归隐的志向，然而凤阿山房终未建成。据记载，侯大年在吴历绘制完立轴后，另请他绘制小册并请诸友题咏，正是此册。全册共分上、下两册，引首朱彝尊　(1629-1709) 书「凤阿山房」，后有吴历、朱彝尊、姜宸英、梁佩兰、宋骏业、王撰、陆遵、梅庚、钱大昕等六十六家诗题，其中陆遵、梅庚补图并题诗。吴历此作无疑是全册点睛之笔，见证了他与侯大年的交谊。",[22,96,97,883,116,99,139,98,413,121,414,884,118,7],"名画","云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5814fa3e46d38ecce71bf3ffe0d290d3.jpg","水墨,设色,纸本,册页","18×34.5厘米",[],{"id":890,"slug":891,"title":892,"dynasty":7,"author":556,"museum":37,"description":557,"tags":893,"thumbUrl":894,"material":326,"size":48,"collection":48,"collections":895,"showCount":833,"zanCount":11,"manualWeight":11,"mainColor":88},217079,"bai-miao-luo-han-39-leng-mei-217079","白描罗汉-39",[7,100,310,102,98,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F855772f41e2c4d1e5f1df27da225f96a.jpg",[],{"id":897,"slug":898,"title":899,"dynasty":7,"author":36,"museum":37,"description":199,"tags":900,"thumbUrl":906,"material":176,"size":177,"collection":48,"collections":907,"showCount":908,"zanCount":11,"manualWeight":11,"mainColor":88},258575,"qian-long-kuan-fen-cai-chan-zhi-lian-wen-bi-yan-hu-yi-ming-258575","乾隆款粉彩缠枝莲纹鼻烟壶",[7,452,901,902,170,139,903,904,905],"缠枝莲纹","鼻烟壶","缠枝纹","莲纹","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50e2ca411c304710d1fb13357982683f.jpg",[],8,{"id":910,"slug":911,"title":912,"dynasty":7,"author":36,"museum":37,"description":450,"tags":913,"thumbUrl":915,"material":176,"size":177,"collection":48,"collections":916,"showCount":908,"zanCount":11,"manualWeight":11,"mainColor":31},258272,"yong-zheng-kuan-dou-cai-yu-zhao-shi-shui-cheng-yi-ming-258272","雍正款斗彩鱼罩式水丞",[7,170,473,139,851,174,914],"文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5469bf32228728b018a9975def60fe4.jpg",[],{"id":918,"slug":919,"title":920,"dynasty":7,"author":36,"museum":37,"description":921,"tags":922,"thumbUrl":924,"material":176,"size":177,"collection":48,"collections":925,"showCount":908,"zanCount":11,"manualWeight":11,"mainColor":88},258066,"qing-hua-wu-cai-zhu-lin-qi-xian-tu-zun-yi-ming-258066","青花五彩竹林七贤图尊","青花瓷（blue 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这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[7,171,1283,1284,1285,1241,1286,174,940,80,61],"描油","嵌玉","锦纹","八方","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8736e99ca07b01d129051452fc10fa03.jpg",[],{"id":1290,"slug":1291,"title":1292,"dynasty":7,"author":36,"museum":37,"description":214,"tags":1293,"thumbUrl":1294,"material":176,"size":177,"collection":48,"collections":1295,"showCount":1234,"zanCount":11,"manualWeight":11,"mainColor":53},242013,"yin-du-jin-qian-zhu-bao-zan-yi-ming-242013","银镀金嵌珠宝簪",[7,79,60,239,83,40,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8668aa2d036e108eed064c3dcd93fb4f.jpg",[],{"id":1297,"slug":1298,"title":1299,"dynasty":7,"author":1300,"museum":37,"description":1301,"tags":1302,"thumbUrl":1305,"material":176,"size":177,"collection":48,"collections":1306,"showCount":1234,"zanCount":11,"manualWeight":11,"mainColor":209},241498,"shi-xu-ce-zheng-ban-qiao-241498","诗叙册","郑板桥","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》。",[7,17,1303,23,24,1304,326],"册页","墨笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3195e24019e907a81bb1f8dc2ee84f24.jpg",[],{"id":1308,"slug":1309,"title":1310,"dynasty":7,"author":1311,"museum":37,"description":1312,"tags":1313,"thumbUrl":1315,"material":326,"size":48,"collection":28,"collections":1316,"showCount":1234,"zanCount":11,"manualWeight":11,"mainColor":31},241069,"yang-ri-bu-shou-xu-ji-zha-juan-xu-fang-241069","杨日补寿序及札卷","徐枋","徐阶（1503年－1583年），字子升，号少湖，一号存斋，直隶松江府华亭县（今上海市松江区）人[1][2]，是明代政治家、文学家及思想家，官至内阁首辅、吏部尚书、建极殿大学士。\n徐阶自幼善于读书，少年时期结识阳明学江右学派门人聂豹。他十八岁时乡试中举，弱冠之年于殿试中为探花，受到杨廷和极高的赞赏。嘉靖早年张璁执掌朝廷时，徐阶直言反对张璁的提议，被贬出京城。当时嘉靖帝因此刻石说“徐阶小人，永不录用”，而徐阶在地方督学十数年后，在夏言的帮助下回到京城。徐阶回京后先主事国子监数年，在内结识杨继盛等谏臣，随后辗转六部之间。他先后主事礼部、吏部、翰林院等重要机构，在翰林院结识了后来的重臣张居正、高拱等学生。\n徐阶随后依靠其出众的青词入直无逸殿，冷静处理了危在旦夕的庚戌之变，期间以礼部尚书之职负责北京城防，拖延敌军，成功保护京城不被攻入。他又改革了吏部、礼部、太医院所存在的旧弊，提高了他们的办事效率。于嘉靖三十一年入阁后徐阶因严嵩独断朝政，隐忍多年，最终取代严嵩的首辅之位，尽反严嵩之政[3]，试图以“三语”政纲改良内阁的运作现状。嘉靖末，徐阶成功劝阻皇帝南幸承天府，叫停当地大兴土木；帝弥留之际，徐阶又劝其停服丹药，并将左右方士和相勾结的太监一体斩决。嘉靖驾崩后徐阶拟写了《嘉靖遗诏》和《隆庆登极诏》，在两张诏书下达后，朝野大臣都举手相贺，将此举和杨廷和所拟《嘉靖登极诏》被统称为正始正终第一政。但是，明人支大纶却批评徐阶说他只是依靠玄奇的青词入直，在任期间献媚讨好他人，没有做出任何政绩，只有到了隆庆时期才有所改善。\n嘉靖死后，由于早年辅佐穆宗有功，隆庆年间徐阶依旧担任首辅，他多次调和穆宗和外廷的矛盾，在两年中多次上疏阻止宦官（中官）获得更多的权力，于隆庆二年成功引退致仕。徐阶共入内阁十七年，元辅七年，从政长达四十余年，时人誉为“元臣”、“名相”。他不但足智多谋，本身度量、器识都是上品，受到冯梦龙等人的推崇；现代学者对其则多有争议，也有一些人对他持有肯定态度，如谭平先生认为徐阶对比与其学生张居正，更加沉稳也更少贪恋权位。\n徐阶在任内培养了张居正等后来居上的政治家，在任期间试图改变内阁在朝廷中的位置，对后期内阁制度做出很大影响；同时又试用新晋官员用他的方法教导宦官，试图依靠义理让他们不成为刘瑾等人的后继者，也可以借此改变宦官在朝廷的面貌和作用。另一方面，抗倭寇名将张经被冤杀，以及胡宗宪瘐死狱中，也都是徐阶所一手造就，甚至高拱与张居正日后不和，亦与除阶不无关系。。在徐阶致仕后，由于家中子弟作恶多端，徐阶被牵扯其中，多次与牢狱只有毫厘之差，甚至不得不致书好友求救，高拱等人同时又以旧案诘难徐阶。直到万历十一年，徐阶于华亭家中逝世，赠太师、谥文贞",[7,23,97,407,17,1314,24],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2edcd8c185ef437e2fb3c3df1b6bfd6.jpg",[28],{"id":1318,"slug":1319,"title":1320,"dynasty":7,"author":424,"museum":37,"description":425,"tags":1321,"thumbUrl":1322,"material":176,"size":177,"collection":48,"collections":1323,"showCount":1234,"zanCount":11,"manualWeight":11,"mainColor":31},241065,"yu-lu-zhou-yi-bing-shou-241065","语录轴",[7,23,427,117,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb243fd29a9fdaef00364a66aeeb9fb95.jpg",[],{"id":1325,"slug":1326,"title":1327,"dynasty":7,"author":283,"museum":37,"description":1167,"tags":1328,"thumbUrl":1329,"material":176,"size":177,"collection":48,"collections":1330,"showCount":1234,"zanCount":11,"manualWeight":11,"mainColor":209},240609,"shi-zhou-lin-ze-xu-240609","诗轴",[7,117,17,24,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52d94c60dc320bc4d6c9b6d11300c03f.jpg",[],{"id":1332,"slug":1333,"title":1327,"dynasty":7,"author":1334,"museum":37,"description":1335,"tags":1336,"thumbUrl":1343,"material":1344,"size":1345,"collection":28,"collections":1346,"showCount":1234,"zanCount":11,"manualWeight":11,"mainColor":31},240325,"shi-zhou-wang-you-dun-240325","汪由敦","释文：\n霭霭龙旂色，琅琅木铎音。数行宽大诏，四海发生心。晹谷宾初日，清台告协风。愿如风有信，长与日俱中。草木渐知春，萌芽处处新。从今八千岁，合抱是灵椿。瑞日明天仗，仙云拥寿山。猗兰春昼永，金母在人间。苏轼春帖子词。臣汪由敦敬临。",[7,23,17,117,24,1337,1338,1339,1340,1150,1341,1342],"夕阳","晚云","秋水","江","沙鸥","渡口","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b5c4eb178bc28afd071cefe6aed3481.jpg","纸本，楷书","纵115.5cm，横59.7cm",[28],{"id":1348,"slug":1349,"title":1350,"dynasty":7,"author":36,"museum":37,"description":1351,"tags":1352,"thumbUrl":1356,"material":48,"size":48,"collect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sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 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曾廷澐之子。",[7,96,97,17,100,1897,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bb323c021d758be0a8e4ff2c28d097b.jpg",[28],{"id":2191,"slug":2192,"title":2193,"dynasty":7,"author":36,"museum":37,"description":2194,"tags":2195,"thumbUrl":2197,"material":48,"size":48,"collection":28,"collections":2198,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":31},239854,"xing-shi-ti-cang-lang-ting-shi-zhi-gong-fu-ye-yi-ming-239854","□兴诗题沧浪亭诗致功甫页","这是两开信札行书，笔意舒展灵动，点画圆融温润，提转间自然流露帖学的秀雅意趣。左侧尺牍字形稍作内敛，章法匀整平和，墨色带着细微浓淡变化，尽映书写时松弛悠然的心境。右侧信札布局更见错落之美，字距疏密相映，行笔间漫溢萧散随性的文人意态。\n\n尺素寸笺间记录着友人间酬唱往还的日常，笔墨藏着文人群雅聚题咏的雅致气息，以书寄情，把平淡日常晕染成文心诗意，是清代民间文人书法的典型写照，兼具实用功用与审美价值。",[23,17,24,98,7,2196],"诗题","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05ebcbe332fbdb2f33d4296d79d60ba4.jpg",[28],{"id":2200,"slug":2201,"title":2202,"dynasty":7,"author":2203,"museum":37,"description":2204,"tags":2205,"thumbUrl":2206,"material":48,"size":48,"collection":28,"collections":2207,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":31},239844,"shi-feng-gong-fu-ye-dong-guo-hua-239844","诗奉功甫页","董国华","董国华（1773－1850）清代官员、诗人。江苏吴县（今苏州）人，字荣若，号琴南。据钱庆曾《竹汀居士年谱续编》，董氏曾在乾隆五十八年（1793）紫阳书院受业于钱大昕门下。嘉庆十三年（1808）进士，自号清闲居士，又号绿溪渔隐，道光间官至广东雷琼道。致仕归，历主云间书院，紫阳书院讲习，工诗文，词尤婉约。有《云寿堂文集》、《诗集》、《词钞》、《绿溪笔谈》、《海南笔记》等。",[7,23,17,24,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff458a0a9afdc9f4d7a6f7ace353e6f0c.jpg",[28],{"id":2209,"slug":2210,"title":2211,"dynasty":7,"author":2212,"museum":113,"description":2213,"tags":2214,"thumbUrl":2215,"material":326,"size":2216,"collection":48,"collections":2217,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":31},239607,"shi-san-zha-ce-zhu-da-239607","十三札册","朱耷","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。",[7,23,17,1314,98,24,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bba4ebc8ab3857d44e49e7cc02ed958.jpg","纵24.6cm，横15.1cm",[],{"id":2219,"slug":2220,"title":2221,"dynasty":7,"author":2222,"museum":37,"description":2223,"tags":2224,"thumbUrl":2225,"material":48,"size":48,"collection":48,"collections":2226,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":31},237565,"wang-fu-hua-fen-yong-xiao-shi-shi-ce-wang-fu-237565","王凫画分咏小石诗册","王凫","此页行书笔致秀逸灵动，结体舒展自然，枯润笔墨搭配得宜，尽显书写时的悠然心境。诗文清雅隽秀，寄寓着林下幽赏的闲情雅致，笔墨间流转着文人的澹泊意趣。落款小字利落明快，朱红方印朴拙古雅，与淡墨书迹相得益彰。整体章法疏朗和谐，以书载诗，融诗意与笔情于一体，尽显雅致审美，寥寥数行便将文人幽赏山水、寄情笔墨的雅趣尽显无遗。",[7,98,17,24,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b70d63e4f3862473c8285b914cc723d.jpg",[],{"id":2228,"slug":2229,"title":2230,"dynasty":7,"author":36,"museum":37,"description":2231,"tags":2232,"thumbUrl":2233,"material":48,"size":48,"collection":48,"collections":2234,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":31},235053,"wan-jing-shu-yan-shuo-ce-ye-yi-ming-235053","万经书砚说册页","此作用笔取法汉隶，字形端方厚重，蚕头燕尾颇具法度，波磔舒展间尽显古朴醇厚的金石意趣。笔画排布匀整凝练，粗细变化从容自然，将古隶的端庄雅正与灵动隽秀相融。\n\n通篇章法疏朗匀净，字距行距错落和谐，气息静穆从容。文辞为品砚之语，笔墨与雅趣相得益彰，将文人赏鉴砚台的意涵融于笔端，尽显创作者对汉隶风神的深刻体悟，以及沉静内敛的文人审美追求。",[7,23,159,24,1303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94e2b500de3f7c26cf8b291f27d7125d.jpg",[],{"id":2236,"slug":2237,"title":2238,"dynasty":7,"author":2239,"museum":113,"description":2240,"tags":2241,"thumbUrl":2243,"material":1807,"size":2244,"collection":48,"collections":2245,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":31},233928,"dai-lu-fang-bei-tu-ce-huang-yi-233928","岱麓访碑图册","黄易","图名里的“岱”即指位于山东省中部的泰山。《岱麓访碑图》册共24开，以左文右图的形式描绘黄易在清嘉庆二年（1797年）由济宁到泰山访碑的种种情形。据作者本人题跋可知，其中一部分册页记录泰山的碑刻情况，如“岱顶”、“开元磨崖碑”、“石经谷”、“王母池”等，另一部分则是记录作者在往返途中所见的碑刻情况，如“大明湖”、“孟子庙”、“孔林”、“孔子庙”、“大汶口”等。除此之外，作者还在题跋中介绍了碑刻的具体状况，为后人研究提供了资料。\n黄易一生致力于金石碑版的研究，曾经四处寻访存世的残碣断碑，并较为系统地加以整理与著录，对我国传统金石学的发展起到了积极的作用。与众不同的是，他亲自用画笔将每次寻访古碑的过程都完整地记录下来，绘制成许多作品，被当时的艺术家们广为称颂。《岱麓访碑图》册便是其中的一套作品。\n纵观整套册页，作者采用了水墨与浅绛两种中国画表现技法，但呈现出的艺术风格却是统一的。具体而言，他注重线条的断续与转折，多用粗笔短线描写碑刻所在地周围的景色，使得画面景致简明，意境幽僻清寂，有平淡天真的艺术趣味。",[96,97,99,100,118,116,121,413,414,2242,23,24,7,98],"碑刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F114e8845980da2fa1c36289c017f21d8.jpg","纵17.4厘米，横50.8厘米",[],{"id":2247,"slug":2248,"title":2249,"dynasty":7,"author":36,"museum":37,"description":2250,"tags":2251,"thumbUrl":2255,"material":176,"size":177,"collection":48,"collections":2256,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":31},229404,"tong-du-jin-lei-si-qian-zhen-zhu-hua-shi-mao-hua-yi-ming-229404","铜镀金累丝嵌珍珠花式帽花","清代男子的官帽，有礼帽、便帽之别。礼帽俗称“大帽子”，其制有二式：一为冬天所戴，名为暖帽；一为夏天所戴，名为凉帽。便帽，也称“小帽子”以六瓣合缝，缀檐如筒；俗称瓜皮帽。创自明太祖洪武年间，取其六合一统之意。这种小帽形式很多，有平顶、尖顶、硬胎软胎之别。平顶大多为硬胎，内衬棉花；尖顶大多为软胎，取其便利。等级不同，帽子不同。",[7,2252,2253,188,40,2254],"累丝","嵌珍珠","花式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd375da41430f96b45525e21c24cfcb20.jpg",[],{"id":2258,"slug":2259,"title":2260,"dynasty":7,"author":36,"museum":37,"description":2261,"tags":2262,"thumbUrl":2264,"material":176,"size":177,"collection":48,"collections":2265,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":72},229341,"bai-di-fen-cai-feng-huang-long-shou-ci-dai-gou-2-yi-ming-229341","白地粉彩凤凰龙首瓷带钩-2","瓷器是由瓷石、高岭土、石英石、莫来石等烧制而成，外表施有玻璃质釉或彩绘的物器。瓷器的成形要通过在窑内经过高温（约1280℃～1400℃）烧制，瓷器表面的釉色会因为温度的不同从而发生各种化学变化，是中华文明展示的瑰宝。\n中国是瓷器的故乡，瓷器是古代劳动人民的一个重要的创造。谢肇淛在《五杂俎》记载：“今俗语窑器谓之磁器者，盖磁州窑最多，故相延名之，如银称米提，墨称腴糜之类也。”当时出现的以“磁器”代窑器是由磁州窑产量最多所致。这是迄今发现最早使用瓷器称谓的史料。",[170,452,1859,139,64,2263,174,7],"凤凰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa880bd96c604b004647075e61e8c9b81.jpg",[],{"id":2267,"slug":2268,"title":2269,"dynasty":7,"author":36,"museum":37,"description":393,"tags":2270,"thumbUrl":2272,"material":176,"size":177,"collection":48,"collections":2273,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":72},229232,"yin-tai-hua-fa-lang-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。白釉是瓷器传统釉色之一,真正的白釉应该是乳白色的乳浊釉,这种釉是近代才发明的。我国古代仅有元代枢府釉是失透的,其他白釉并不是白色的釉,\n白釉烧制工艺比青釉复杂，出现的时间也较青釉晚，一般瓷土和釉料，都或多或少含有一些氧化铁，器物烧出后必然呈现出深浅不同的青色来。如果釉料中的铁元素含量小于0.75%，烧出来的就会是白釉。\n白釉最早出现在汉代，比青釉瓷器晚了400多年，白釉瓷器开始是青白色的，因为瓷器中铁的含量高于1%就是青色的，少于1%就是白瓷了，所以中国白瓷经历青瓷、青白瓷、卵白釉、甜白釉、象牙白、白釉的发展过程。中国历史上白瓷产地有德化白瓷、定窑白瓷以及刑窑白瓷等。",[7,170,485,2524,310,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c4708a34756e63e8a019b02cca60c0d.jpg",[],{"id":3737,"slug":3738,"title":3739,"dynasty":7,"author":36,"museum":37,"description":921,"tags":3740,"thumbUrl":3741,"material":176,"size":177,"collection":48,"collections":3742,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":31},257924,"kang-xi-kuan-qing-hua-shi-er-yue-hua-hui-wen-bei-jin-yi-ming-257924","康熙款青花十二月花卉纹杯-金",[170,1240,144,261,7,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32d596db8829f3b05fbe69a0e72abd59.jpg",[],{"id":3744,"slug":3745,"title":3746,"dynasty":7,"author":36,"museum":37,"description":3747,"tags":3748,"thumbUrl":3749,"material":176,"size":177,"collection":48,"collections":3750,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":72},257884,"wan-li-kuan-wu-cai-yun-long-wen-xiao-gai-guan-yi-ming-257884","万历款五彩云龙纹小盖罐","器型小巧圆浑，桃形盖顶朱红莹润，俏立罐上，尽显灵动娇憨。\n以青花为骨，五彩敷色鲜亮饱满，红龙矫健腾跃于罐体之上，龙爪遒劲、龙目威视，身姿蜿蜒舒展，衬以祥云卷绕、缠枝花卉点缀其间。青花幽蓝沉静与诸彩明艳热烈相映成趣，浓淡层次分明，繁而不乱。\n整器釉色妍丽画工精细，方寸间铺陈出祥瑞生动的气韵，尽显古雅华贵的瓷韵风华。",[7,170,1608,139,64,513,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e4d5f67a03eb5ad9d5cd358206e4e1b.jpg",[],{"id":3752,"slug":3753,"title":3754,"dynasty":7,"author":36,"museum":37,"description":3755,"tags":3756,"thumbUrl":3758,"material":176,"size":177,"collection":48,"collections":3759,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":31},257810,"kang-xi-kuan-dou-cai-lv-zhu-jie-wen-guan-yi-ming-257810","康熙款斗彩绿竹节纹罐","此罐取竹节为形，线条圆融挺拔，自带清隽雅逸之气。以斗彩饰竹枝，青花勾描轮廓，鲜丽绿彩晕染枝叶，深浅层叠间，竹叶俯仰舒展，如含清风翠色，尽显君子高节的文人气韵。青花点珠与弦纹划分装饰带，让布局疏朗层次分明，釉面莹白匀净，胎质细腻温润。静立之间，瓷色衬竹影，将幽篁之雅融于方寸器身，尽显制瓷工艺与文人意趣的精妙融合。",[7,473,170,120,3757],"竹节纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F481da59dd2470384898d0471e4a24d9f.jpg",[],{"id":3761,"slug":3762,"title":3763,"dynasty":7,"author":36,"museum":37,"description":462,"tags":3764,"thumbUrl":3765,"material":176,"size":177,"collection":48,"collections":3766,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":31},257761,"wu-cai-yu-zao-tu-pan-yi-ming-257761","五彩鱼藻图盘",[7,170,1608,139,138,1623,1624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F567f19434f06c5d4d8d643c6e303fb8a.jpg",[],{"id":3768,"slug":3769,"title":3770,"dynasty":7,"author":36,"museum":37,"description":450,"tags":3771,"thumbUrl":3772,"material":176,"size":177,"collection":48,"collections":3773,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":72},256870,"yong-zheng-kuan-fen-cai-tuan-hua-wen-wan-yi-ming-256870","雍正款粉彩团花纹碗",[7,170,452,1117,139,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a706e99d0c9d2cbef43b8042e7ed1f6.jpg",[],{"id":3775,"slug":3776,"title":3777,"dynasty":7,"author":36,"museum":37,"description":847,"tags":3778,"thumbUrl":3779,"material":176,"size":177,"collection":48,"collections":3780,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":88},256660,"fen-cai-jia-fa-lang-cai-kai-guang-shan-shui-wen-zhuan-jing-ping-yi-ming-256660","粉彩加珐琅彩开光山水纹转颈瓶",[7,170,395,452,1459,139,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F162a858af5614c98c26f7e4eb069e0e4.jpg",[],{"id":3782,"slug":3783,"title":3784,"dynasty":7,"author":36,"museum":37,"description":847,"tags":3785,"thumbUrl":3786,"material":176,"size":177,"collection":48,"collections":3787,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":31},256634,"fen-cai-hua-hui-tu-san-ying-xi-ping-yi-ming-256634","粉彩花卉凸三婴戏瓶",[7,452,3500,139,144,939,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F239c6566b703630909a19a76059c4fc1.jpg",[],{"id":3789,"slug":3790,"title":3791,"dynasty":7,"author":36,"museum":37,"description":3792,"tags":3793,"thumbUrl":3794,"material":176,"size":177,"collection":48,"collections":3795,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":72},256589,"dou-cai-tuan-hua-ju-die-wen-gai-guan-yi-ming-256589","斗彩团花菊蝶纹盖罐","器形圆润饱满，盖身浑然一体，形制沉稳雅致。以斗彩工艺妆点，青花勾勒轮廓，沉稳隽秀，填绘五彩晕染鲜活，青蓝与艳色交织碰撞，层次分明。\n\n团花菊蝶为饰，蝶翼纹理细腻灵动，仿若振翅欲飞，秋菊娇妍饱满，缠枝纹蜿蜒环绕，将佳景团团簇拥。纹饰繁而不乱，上下呼应排布匀净，红蓝绿彩相互映衬，既有青花的沉静古韵，又兼五彩的明丽鲜活，把清秋菊蝶的雅致意趣凝于瓷上，尽显制瓷工艺的精妙独到。",[7,473,170,174,2600,1353,652,903,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f40d427b3c35ee76f170a1ef650771b.jpg",[],{"id":3797,"slug":3798,"title":3799,"dynasty":7,"author":36,"museum":37,"description":1281,"tags":3800,"thumbUrl":3801,"material":176,"size":177,"collection":48,"collections":3802,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":72},256567,"wu-cai-mei-zhu-wen-yu-hu-chun-ping-yi-ming-256567","五彩梅竹纹玉壶春瓶",[7,170,1608,139,261,120,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9231b2201b9212c8b5c980354c3f0e39.jpg",[],{"id":3804,"slug":3805,"title":3806,"dyna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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。",[7,23,4557,17,1314,24,324],"拓本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a98c463c229d7b1ee7341a0a97c3aaa.jpg",[],{"id":4561,"slug":4562,"title":4563,"dynasty":7,"author":36,"museum":37,"description":4564,"tags":4565,"thumbUrl":4569,"material":176,"size":177,"collection":48,"collections":4570,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":88},242128,"cui-qiu-ye-xing-er-zhui-yi-ming-242128","翠秋叶形耳坠","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。 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生卒年不详，活动于康熙年间。江苏上元人，字韦华。清代包世臣《艺舟双楫》评京萼行书为逸品下。清代梁巘《论书帖》云：“程韦华得执笔法，学山谷空灵瘦硬",[7,407,17,23,99,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7129c81db1859ac1d09c7da2c8292348.jpg",[],{"id":4724,"slug":4725,"title":4726,"dynasty":7,"author":4727,"museum":37,"description":4728,"tags":4729,"thumbUrl":4730,"material":176,"size":177,"collection":48,"collections":4731,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":31},241229,"wu-lv-shi-zhou-li-shan-shu-241229","五律诗轴","李善树","此作用笔纵逸灵动，行书间杂草意，起笔藏露相济，行笔提按顿挫富于变化，线条粗细枯润相映成趣。枯笔苍劲见筋骨，湿墨浑厚蕴丰腴，墨色层次分明，尽显笔法意趣。\n\n章法疏朗错落，字间牵丝映带自然，行气贯通流畅。笔墨疾缓呼应诗文情志，将书韵与诗意相融，放逸中不失沉稳洒脱。每一字随势生发，通篇浑然一体，尽显文人书法抒情达意的雅致，将笔法之美、章法之妙与文学意趣相合，尽显古典书法抒情与艺术之美。",[7,117,17,24,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F350a03ac60c6e25c04f5a206802e1774.jpg",[],{"id":4733,"slug":4734,"title":4735,"dynasty":7,"author":4736,"museum":37,"description":4737,"tags":4738,"thumbUrl":4739,"material":176,"size":177,"collection":48,"collections":4740,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":72},241164,"cha-sheng-lu-yu-zhou-cha-sheng-241164","查昇录语轴","查昇","查升（1650年—1707年），字仲韦，号声山，浙江海宁袁花人。清代书法家。\n清康熙二十七年（1688）进士，选翰林院庶吉士，授编修。时康熙帝选儒臣侍值以备顾问，他经荐入直南书房多年，累迁至少詹事。著有《澹远堂集》。时人称查升书法、查慎行诗、朱自恒画为“海宁三绝”。",[7,23,117,17,99,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b4307c86ae52228e167a9a5df8391f1.jpg",[],{"id":4742,"slug":4743,"title":4744,"dynasty":7,"author":4745,"museum":37,"description":4746,"tags":4747,"thumbUrl":4748,"material":176,"size":177,"collection":48,"collections":4749,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":31},240803,"bao-feng-xia-ku-si-shui-xian-sheng-you-xu-ye-li-liu-ye-240803","包封夏哭司水先生有序页","李刘掖","此作为行书小品，行笔灵动圆劲，藏露锋态自然切换，线条粗细随情意缓急变化，字势欹正相生，顾盼有情。\n\n右页大字开张疏朗，笔墨酣畅率意；左页题字端稳内敛，与大字形成虚实错落的章法韵律。整体墨色浓淡过渡自然，萧散雅致的文人意趣跃然纸上，将悼怀逝者的沉郁心绪融于笔墨之间，以书法寄寓深情，尽显清代文人书法抒情与审美兼具的独特风貌。",[7,97,98,17,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4726b5e493e225841db2dff0a42b913e.jpg",[],{"id":4751,"slug":4752,"title":4753,"dynasty":7,"author":283,"museum":37,"description":1167,"tags":4754,"thumbUrl":4756,"material":176,"size":177,"collection":48,"collections":4757,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":31},240720,"shi-zha-ce-lin-ze-xu-240720","诗札册",[23,17,98,4755,7,99],"诗札","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a0fe36b76909aebfdad10ea705f474b.jpg",[],{"id":4759,"slug":4760,"title":1327,"dynasty":7,"author":4761,"museum":37,"description":4762,"tags":4763,"thumbUrl":4764,"material":326,"size":48,"collection":28,"collections":4765,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":72},240620,"shi-zhou-lu-ken-tang-240620","陆肯堂","陆肯堂（1650～1696）字邃深，（一作邃升）一字澹成，生于清世祖 康熙二十四年，（累官至 朝廷大著作，多出其手。圣祖尝赞其学问人品，屡加恩赐。肯堂颖悟嗜学，工诗古文辞，滂沛闳阔，如 着有三礼辨真、怀鸥舫诗存、陆氏人物考《清史列传》等，并行于世。\n陆肯堂是清代第十八位状元，字邃升，一字澹成，江苏 其先人世居浙江 陆延楫在乡里声名昭著，品行学识受人称道。他仁慈谨厚，好行善赈济贫困，乡人颂其为有德之人。又嗜书笃学，学识博洽，对天文地理靡不精通。陆肯堂的父亲陆兖，个性豪放，为人敏捷有智略，曾被 陆肯堂是家中独子，倍受爱抚，自幼受到良好教育，颖悟的天赋得到了开发，加之苦读嗜学，每日诵读典籍数千言，培养形成了耳目所接，一过不复忘的超人记忆能力。这一切为他顺利通过 在弱冠之年，陆肯堂补为博士弟子员，即有了秀才的身份。康熙十六年（1677）被授以 康熙二十年（1681）参加 三年后被授以颍上县学学官，未及到任，又参加了康熙二十四年（1685）乙丑科会试。是科会试，始创榜前皇帝令先以前10本试卷进呈候钦走，进呈卷由试官贴黄笺，上书拟议的第一到第十的名次。康熙皇帝 榜眼浙江海宁人状元及第，朝廷授官陆肯堂 此后，陆肯堂留京为官。康熙二十六年（1687）即充任丁卯科乡试江西正考官。他秉公办事，以才选人，所得尽知名人士，时人皆赞其公正严明。故返京城后，由于尽心尽职，康熙三十年（1691）起连续升迁，先是擢为 居京为官期间，陆肯堂在馆阁整理典籍，所撰著文字，颇受同僚推服。他撰著文章，专心尽力，倚马而就，滂沛闳阔，凌厉顿挫，文如泉涌，不可遏止。张伯行 以张伯行处理康熙五十年（1711）辛卯科江南乡试案看，他决非曲笔虚美之徒。丁卯江南乡试，正主考左必蕃，副主考赵晋，榜发解元刘捷，苏郡中试，者13人，外多中扬州盐商子弟，舆论喧哗，试子多认为是科考官受贿通关节。诸考生集于 又争作联语以讥嘲，左丘明两目无珠，赵子龙一身是胆。影射主考官和副考官。有人甚至以纸糊盖 地方官噶礼亦有受贿通关节之嫌。但他竟将考生首领下尔戬等拘押，欲以诬控谋反而治罪。朝廷命尚书逢江 苏巡抚 张伯行弹劾噶礼欺君抗旨，年 皇帝诏令解除二人职务，仍由张鹏翮审案。张鹏翮竟上奏说张伯行所弹劾之事全是子虚乌有，应革职治罪，皇帝 康熙帝认为张伯行天下清官第一，此案是非颠倒有疑，诏令 张伯行回江苏巡抚任上，噶礼革职，作弊之人分别治罪。张伯行正直高洁的品行表明，他对陆肯堂的颂言是可信的。\n陆肯堂不仅才学为人称颂，而且德行令人钦佩。孝顺父母，爱抚兄弟，赈济穷困，是封建社会的道德要求，也是中华民族的传统美德，至今为人称道。陆肯堂的品行堪称封建道德的典范。史载他天性孝友，笃于仁义。父早身亡，能尽心赡养祖父，抚养异母弟，爱护之情诚恳。对幼孤辅之成人，而对待姊妹尤为循礼关照，凡出嫁必准备一份丰厚的嫁妆。如婿贫穷，不能娶者，则扫馆迎之。宗室乡邻之人，生活匮乏，则时与馈遗赒贷。对他的仁慈爱人行为，他自以为理所当然。时人认为他的德望才学均不愧于状元之称。康熙皇帝褒嘉云：陆肯堂学问甚优，人品亦好。当陆肯堂因疾欲乞归乡里时，康熙皇帝关心地遣 倍受皇恩礼遇，陆肯堂遂又留京供职。康熙三十五年（1696）卒于宫。",[7,23,117,17,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ef855ddf6b8e05b343525e4beb3b9c5.jpg",[28],{"id":4767,"slug":4768,"title":4769,"dynasty":7,"author":4770,"museum":37,"description":4771,"tags":4772,"thumbUrl":4774,"material":176,"size":177,"collection":48,"collections":4775,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":31},240292,"xing-kai-shi-juan-zheng-liang-240292","行楷诗卷","郑梁","郑梁，出身于慈溪望族郑氏家族，字禹梅，号寒村，黄宗羲门生，康熙二十七年进士，是清初浙东史学派学者之一。",[22,7,4773,23,407,17,159,24,97],"行楷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb877e67c3bc261ab2bcefd76f103ef5.jpg",[],{"id":4777,"slug":4778,"title":4726,"dynasty":7,"author":4779,"museum":37,"description":4780,"tags":4781,"thumbUrl":4782,"material":176,"size":177,"collection":48,"collections":4783,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":72},240191,"wu-lv-shi-zhou-xu-yuan-wen-240191","徐元文","徐元文（1634年－1691年），字公肃，号立斋，江苏昆山人。探花徐乾学、徐秉义之弟，兄弟三人皆官贵文名，号称“昆山三徐”、斋号“集义居”。\n清顺治十六年（1659年）进士第一，顺治帝称徐元文为“佳状元”，赐冠带、蟒服、乘御马等，授翰林院修撰。康熙十八年，出任修《明史》总裁，荐万斯同入史局。升国子监祭酒，充经筵讲官。康熙称赞他：“徐元文为祭酒，规条严肃，满洲子弟不率教者，辄加挞责，人人敬畏。后人不能及也。”后任左都御史，官至文华殿大学士兼翰林院掌院学士。\n康熙二十九年（1690年），《尼布楚条约》签订后的隔年，清廷为建立界碑，用汉、满、蒙、拉丁、俄五种文字将条约刻于碑上。刻碑汉文由徐元文根据《实录本》润饰写定，前有徐元文所写序言。《清朝通志》《清朝经世文篇》《中俄约章会要》所载即为徐元文汉文本，一共有六条。徐元文与其兄长徐乾学、徐秉义都是进士出身，很有名望，号称“昆山三徐”。顾炎武曾勖勉徐元文：“有体国经野之心，而后可以登山临水；有济世安民之略，而后可以考古论今。”\n康熙二十九年（1690年）江南江西总督傅拉塔弹劾徐乾学及其弟徐元文不法之事共十五款，被解职。闰七月二七日“惊悸呕血而死”，享年五十八岁。著有《含经堂集》《得树园诗集》。",[7,23,17,117,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff917595406d75a7cdfa8a472d8f45131.jpg",[],{"id":4785,"slug":4786,"title":1327,"dynasty":7,"author":4787,"museum":37,"description":4788,"tags":4789,"thumbUrl":4790,"material":176,"size":177,"collection":48,"collections":4791,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":31},240188,"shi-zhou-wang-xi-240188","王熙","王熙（1628~1703年），字子雍，顺天府宛平县（今北京丰台区）人。清初大臣，礼部尚书王崇简之子。\n顺治四年，中进士，选庶吉士，累擢弘文院学士。康熙帝即位，历任弘文馆学士、左都御史、工部尚书，转兵部尚书、武英殿大学士。《清太祖实录》修成，加太子太傅，进少傅。\n康熙四十二年，卒于家，钦命皇长子直郡王允禔、大学士马齐临丧，行拜奠礼，举哀酹酒，恩礼有加，谥号文靖，入祀贤良祠。",[7,97,96,117,17,24,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F028f38eead4844c6e259f4ad161d5d22.jpg",[],{"id":4793,"slug":4794,"title":4795,"dynasty":7,"author":4796,"museum":37,"description":4797,"tags":4798,"thumbUrl":4800,"material":176,"size":177,"collection":48,"collections":4801,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":31},240096,"shi-gao-ye-huang-jue-zi-240096","诗稿页","黄爵滋","黄爵滋（1793年－1853年），字德成，号树斋，江西宜黄人。清朝政治人物，进士出身。",[7,23,17,326,1303,4799],"诗稿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05cbab23e7e732107b3d438a3b85746e.jpg",[],{"id":4803,"slug":4804,"title":4795,"dynasty":7,"author":4805,"museum":37,"description":4806,"tags":4807,"thumbUrl":4808,"material":176,"size":177,"collection":48,"collections":4809,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":53},240077,"shi-gao-ye-yang-gao-lan-240077","杨皋兰","此作为行书诗稿，行笔舒展灵动，笔墨秀逸清雅，兼具帖学流美意韵与文人书写的随性自然。字迹排布错落有致，字间顾盼生情，墨色浓淡过渡自然，尽显书写时松弛的创作状态。\n\n笺纸配有浅淡暗纹，雅致温润，与信中酬唱赠别的诗文相映成趣，尽显文人以翰墨寄怀的风雅日常。笔墨间藏着旧友唱和的脉脉温情，是诗书意趣与尺牍美学融合的小品佳作，将文人间的交游雅韵藏于字里行间。",[7,97,98,17,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b830e453a4d0988cbf5274caa985d98.jpg",[],{"id":4811,"slug":4812,"title":4813,"dynasty":7,"author":4814,"museum":37,"description":4815,"tags":4816,"thumbUrl":4817,"material":176,"size":177,"collection":48,"collections":4818,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":31},240074,"wu-yan-shi-gao-ye-lu-yong-240074","五言诗稿页","卢湧","此作行书笔意松灵秀逸，牵丝映带间随性自然，毫无刻意雕琢之感。墨色枯润相生，带着手札特有的松弛温度，字势排布错落随性，不作刻意规整，将赋诗时的思绪起伏藏在笔锋起落之中。\n\n朱砂小印轻落文末，为素朴的笺纸晕开一抹沉静雅致，私语般的诗稿褪去制式书写的板正，尽显文人笔下的清隽襟怀。通篇是日常翰墨的鲜活缩影，平淡质朴里浸透着书写者的才情意趣，是小品尺牍里的清雅之作。",[7,23,17,24,326,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95c875aa60ee0e81f89a8c680bdb4371.jpg",[],{"id":4820,"slug":4821,"title":4822,"dynasty":7,"author":4823,"museum":37,"description":4824,"tags":4825,"thumbUrl":4826,"material":176,"size":177,"collection":48,"collections":4827,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":31},239973,"zhi-huan-weng-rong-xuan-shi-ye-yu-tai-lai-239973","致环翁荣旋诗页","余泰来","余泰来，生卒年不详，字子闳，绍兴府山阴人。康熙壬戌科进士，授庶吉士。改御史，赈济灾民，安顿流亡。升奉天府丞。",[23,17,24,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42585e11ca09b4a2f3ec43a5b629cba3.jpg",[],{"id":4829,"slug":4830,"title":4831,"dynasty":7,"author":4832,"museum":37,"description":4833,"tags":4834,"thumbUrl":4835,"material":176,"size":177,"collection":48,"collections":4836,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":31},239753,"shu-yu-zhi-chun-tie-zi-ci-heng-zhou-tian-song-nian-239753","书御制春帖子词横轴","田嵩年","田嵩年（1788—？），字季高，号梦琴，清朝盂县北关人。田兴梅之子。嘉庆二十五年（1820）庚辰科进士。历任庶常、翰林院编修。",[23,159,407,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97241cc7affbd2c7e39f289d05159174.jpg",[],{"id":4838,"slug":4839,"title":4840,"dynasty":7,"author":36,"museum":37,"description":4841,"tags":4842,"thumbUrl":4843,"material":176,"size":177,"collection":48,"collect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。胡从中曾任《康熙淮安府志》的副总编篡，参与《望社》等文人社团的诗社聚会。因此，推测胡从中于明天启元年（1621）前后出生，于清康熙四十年（1701）前后去世，一生历经天启、崇祯、顺治、康熙四朝。",[7,96,97,23,17,24,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eecd899c5563ba382a6bf9f1e5f9914.jpg",[],{"id":12991,"slug":12992,"title":12993,"dynasty":7,"author":12994,"museum":37,"description":12995,"tags":12996,"thumbUrl":12998,"material":176,"size":177,"collection":48,"collections":12999,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":31},241180,"qing-ren-ji-jin-ce-lu-lin-he-jing-shi-san-shou-ye-zhang-wen-tao-241180","清人集锦册-录林和靖诗三首页","张问陶","张问陶（1764年—1814年） 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