[{"data":1,"prerenderedAt":753},["ShallowReactive",2],{"subject-rui-shou":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},1311,"rui-shou","瑞兽","瑞兽画高清赏析","精选中国历代瑞兽题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdb8a6124c0e0dc040daae1d810706d1.jpg",0,60,[14,42,64,84,105,123,141,155,176,188,205,222,234,246,258,275,285,300,315,325,337,345,358,369,388,398,408,415,425,436,444,454,461,470,482,492,507,517,525,533,543,552,563,575,585,591,602,612,622,631,643,654,667,677,689,698,707,723,733,744],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":34,"material":35,"size":36,"collection":37,"collections":38,"showCount":39,"zanCount":40,"manualWeight":11,"mainColor":41},289941,"song-zi-tian-wang-tu-wu-dao-zi-289941","送子天王图","唐","吴道子","藏地不详","《送子天王图》（又名《天王送子图》、《释迦降生图》）是唐代吴道子根据佛典《瑞应本起经》创作纸本墨笔画，一说宋人摹本。该作现藏于日本大阪市立美术馆。\n全图分为三个部分：第一段描绘一位王者气度的天神端坐中间，两旁是手执笏板的文臣、捧着砚台的仙女，以及仗剑围蛇的武将力士面对一条由二神降伏的巨龙。第二段画的是一个踞坐在石头之上的四臂披发尊神，身后烈焰腾腾。神像形貌诡异，颇具气势，左右两边是手捧瓶炉法器的天女神人。第三段即《释迦牟尼降生图》，内容是印度净饭王的儿子出生的故事。从画面上，可以看到释迦牟尼降生时，他的父亲抱着他到寺庙朝谒见自在天神的情景。\n此图写异域故事，而画中的人、鬼神、兽等却完全加以中国化，当是佛教与中国本土变化至唐日趋融合之势所致。此图意象繁富，以释迦降生为中心，天地诸界情状历历在目，技艺高超，想象奇特，令人神驰目眩。该图着色较淡，近乎白描。",[23,24,25,26,27,28,29,30,31,32,33,7],"高清","名画","国画","长卷","白描","人物画","神话","宗教","天王","鬼怪","龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbca5673da27ce7e942f4cd3b8991436.jpg","未知","Xcm*Xcm","",[],629,8,"BDBDBD",{"id":43,"slug":44,"title":45,"dynasty":46,"author":47,"museum":20,"description":48,"tags":49,"thumbUrl":57,"material":58,"size":37,"collection":59,"collections":60,"showCount":61,"zanCount":62,"manualWeight":11,"mainColor":63},218125,"fu-hua-luo-han-jiu-zhang-lao-xiang-yi-ming-218125","佛画·罗汉九长老像","清","佚名","佚名的佛画 "罗汉九长老像" 是一幅清朝时期的佛教画作，描绘了九位罗汉，这些罗汉是佛教中的超凡脱俗的人物，他们拥有超凡的智慧和慈悲之心，并且被视为佛教中的榜样。\n\n在这幅画中，佚名以精细的笔触描绘了九位罗汉的形象，每一位罗汉都面带慈祥的微笑，身着精致的法衣，体现出他们超凡的品德和修行的成果。画面中还有许多佛教的装饰元素，如佛像、佛经、菩提树等，为整幅画作增添了浓厚的佛教气息。\n\n总的来说，佚名的 "罗汉九长老像" 是一幅非常精美的佛教画作，其中所传达出的超凡慈悲和修行成果，对于追求佛道的人来说是一种极大的启发和鼓励。",[23,30,50,51,52,53,54,55,7,56],"设色","工笔","青绿","人物","树","山石","云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a09e08d048331cf689d6066907fd6fc.jpg","绢本,设色","人物画精选",[59],77,1,"37474F",{"id":65,"slug":66,"title":67,"dynasty":46,"author":68,"museum":69,"description":70,"tags":71,"thumbUrl":79,"material":80,"size":81,"collection":59,"collections":82,"showCount":83,"zanCount":62,"manualWeight":11,"mainColor":41},223310,"fa-jie-yuan-liu-tu-juan-ding-guan-peng-223310","法界源流图卷","丁观鹏","吉林省博物院","该作品的艺术价值堪与北宋名画《清明上河图》媲美，被誉为世界“佛文化、绘画”艺术颠峰之作，世界无价之宝。\n丁观鹏摹张胜温法界源流图卷，是中国艺术史上的一件瑰宝，规模宏伟，人物众多，用笔十分精细认真，如此长卷在世界的佛教绘画中是罕见的。面对这一人物众多，内容复杂，描绘精良的宏篇巨制，不能不令人信服地赞叹中国传统绘画刚健的生命力。由此引起世界上学术界和观赏者的深切关注，也就是非常自然的事情了。\n该卷中所描绘的形象非常繁多，既有佛界诸宗派的人物形象，也有各种动植物和各种佛具法器，均描绘精细，不仅比例准确，而且神态生动。这些形象的汇集与成功的描绘，不由地使人对该画的作者产生由衷敬佩。虽然他的生平事迹不见任何记载，他这件辉煌作品就足以使他在美术史乃至佛教史上永远放射着巨大的光芒。\n该作品用笔细致非凡，设色浓丽，端庄典雅，是清代画家丁观鹏精心创作杰作之一。",[25,26,51,50,72,73,74,75,76,7,77,78,28],"宗教绘画","佛教","佛像","菩萨","佛界人物","佛具法器","祥云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd590947cd8119aa4c54bfeec57db03cf.jpg","纸本，设色","纵33厘米、横1635厘米",[59],73,{"id":85,"slug":86,"title":87,"dynasty":18,"author":47,"museum":88,"description":89,"tags":90,"thumbUrl":101,"material":35,"size":36,"collection":37,"collections":102,"showCount":103,"zanCount":62,"manualWeight":11,"mainColor":104},226348,"ku-zhu-shi-bei-pi-yi-ming-226348","窟主室北披","敦煌","莫高窟，俗称千佛洞，坐落在河西走廊西端的敦煌。它始建于前秦宣昭帝苻坚时期，后历经北朝、隋朝、唐朝、五代十国、西夏、元朝等历代的兴建，形成巨大的规模，有洞窟735个，壁画4.5万平方米、泥质彩塑2415尊，是世界上现存规模最大、内容最丰富的佛教艺术地。\n1961年，莫高窟被中华人民共和国国务院公布为第一批全国重点文物保护单位之一。1987年，莫高窟被列为世界文化遗产。\n莫高窟与河南洛阳龙门石窟、山西大同云冈石窟并称中国三大石窟，后加麦积山石窟称四大石窟。 2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[91,30,50,51,92,53,93,94,95,78,96,97,7,98,99,100],"壁画","唐代","飞天","神兽","飞鸟","建筑","几何纹样","装饰图案","线条细腻","色彩丰富","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dee5749a1bb0bce30056a627f7997a2.jpg",[],46,"795548",{"id":106,"slug":107,"title":108,"dynasty":46,"author":47,"museum":20,"description":109,"tags":110,"thumbUrl":119,"material":35,"size":36,"collection":37,"collections":120,"showCount":121,"zanCount":122,"manualWeight":11,"mainColor":63},267603,"lan-se-duan-jin-xian-xiu-qi-lin-tu-gua-ping-yi-ming-267603","蓝色缎金线绣麒麟图挂屏","靛蓝地子沉静雅致，将瑞麒麟衬得愈发神武夺目。以盘金绣出片片鳞甲，光华流转间尽显麒麟悍勇雄姿，鬃鬣如焰飞扬，目眦欲裂，昂首奔腾于云间。\n\n周遭点缀折枝花萼与祥云朵朵，打籽绣攒出花蕊，细腻精巧，红日悬于天际，流云缠枝将画面晕染出吉庆雍容之气。整幅绣作针脚细密灵动，将瑞兽的威严灵韵尽数勾勒，把古人对太平祥瑞的祈愿藏进每一缕绣线之中，是颇具代表性的祥瑞刺绣佳作。",[111,112,113,114,115,7,116,78,117,118],"织绣","挂屏","布料","金线绣","麒麟","梅花","太阳","水纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F795cc3eada0bcfbee07db8526baeb014.jpg",[],45,3,{"id":124,"slug":125,"title":126,"dynasty":46,"author":47,"museum":127,"description":128,"tags":129,"thumbUrl":137,"material":58,"size":138,"collection":59,"collections":139,"showCount":140,"zanCount":11,"manualWeight":11,"mainColor":41},219595,"wan-nian-bu-lao-ce-yao-chi-chun-yan-yi-ming-219595","万年不老册-瑶池春宴","台北故宫博物院","此作分上下二幅，上方以墨绿为底，泥金小楷端正隽秀，古雅沉静。下幅工笔设色，绘就瑶池春宴盛景。烟波之上，仙宾乘槎踏浪而来；苍松翠峦间，群仙或围坐清谈，或悠然伫立，麋鹿仙鹤闲游林泉，自在怡然。笔触精细工致，敷色妍丽明净，晕染出山石松涛的温润质感，将神话仙境的缥缈出尘，融于人间雅集的恬和悠然之中，把瑶池宴饮铺作世外清景，尽显工笔仙佛题材的雅致意趣，氤氲着清宁出尘的仙家气韵。",[24,25,130,131,50,51,53,132,133,134,54,56,55,135,7,136],"书画","册","神仙","鹤","鹿","亭","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faba36c2019ede989fac397469dd36396.jpg","39x57.5厘米",[59],36,{"id":142,"slug":143,"title":144,"dynasty":46,"author":47,"museum":20,"description":145,"tags":146,"thumbUrl":152,"material":35,"size":36,"collection":37,"collections":153,"showCount":154,"zanCount":62,"manualWeight":11,"mainColor":104},263569,"lan-se-di-fu-shou-san-duo-gui-bei-wen-jin-yi-ming-263569","蓝色地福寿三多龟背纹锦","《说文》：“锦，襄邑织文。从帛，金声。”即用彩色经纬丝织出各种图案花纹的纺织品，泛指具有多种彩色花纹的丝织物。锦的生产工艺要求高，织造难度大，所以它是古代最贵重的织物。“锦，金也，作之用功重，其价如金。”古人把锦看成和黄金等价。这种织物有经起花和纬起花两种，也叫经锦和纬锦。经锦是用两组或两组以上的经线同一组纬线交织。经线多的二色或三色，一色一根作为一副，如果需要更多的颜色，也可以使用牵色条的方法。纬线有明纬和夹纬；用夹纬把每副中的表经和底经分隔开，用织物正面的经浮点显花。\n用染好颜色的彩色经纬线，经提花、织造工艺织出图案的织物。中国丝织提花技术起源久远。早在殷商时代中国已有丝织物。周代丝织物中出现织锦，花纹五色灿烂，技艺臻于成熟。汉代设有织室、锦署，专门织造织锦，供宫廷享用。自汉武帝后，中国织锦通过丝绸之路传入波斯（今伊朗）、大秦（古罗马帝国）等国。三国时四川蜀锦成为主流。唐代贞观年间窦师伦的对雉、斗羊、翔凤等蜀锦图案，称为绫阳公样。在织造工艺上由经锦改进为纬锦，并出现彩色经纬线由浅入深或由深入浅的退晕手法。北宋宫廷在汴京等地建立规模庞大的织造工场，生产各种绫锦。元代是中国历史上大量生产织金锦（一种加金的丝织物）的时代，宫廷设立织染局、织染提举司，机构庞大，集中了大批优秀工匠。\n明清两代织锦生产集中在江苏南京、苏州，除了官府的织锦局外，民间作坊也蓬勃兴起，形成江南织锦生产的繁荣时期。织锦大多采用传统提花工艺和木制花楼织机，有些织锦因品种不同而有所区别。如宋锦、土家族织锦采用通经断纬工艺，即分段调换彩色纬线，使色彩更加丰富。杭锦采用铁制提花机。织锦种类有南京云锦、四川蜀锦、苏州宋锦、杭州织锦以及少数民族的黎锦、壮锦、傣锦、瑶锦、侗锦、苗锦、土家锦、爱得利斯锦等。1960年以来，中国织锦在继承、发扬传统织锦的基础上，恢复了云锦的妆花锦和蜀锦的浣花锦、锦上添花锦、八答晕锦，并生产了窗帘、沙发套、枕套、被面、台毯、靠垫、床罩、提包、民族服装用料等新品种。\n锦已有3000年以上的历史，战国、西汉以前流行以二色或三色经轮流显花的经锦，包括局部饰以挂经的挂锦、具有立体效果的凸花锦和绒锦。1959年在新疆民丰尼雅遗址发现的东汉“万年如意锦”使用绛、白、绛紫、淡蓝、渥绿五色，通幅分成十二个色条，就是汉代典型的经锦。\n纬锦是用两组或两组以上的纬线同一组经线交织。经线有交织经和夹经；用织物正面的纬浮点显花。1969年在新疆阿斯塔那发现的唐代锦袜，在大红色地上起各种禽鸟花朵和行云的图案，就属于这一种锦。\n经锦和纬锦具有不同的织造效果。经锦的纬密比较低，只用一把梭子，生产效率比较高。纬锦织造比较费时，但可以使用两把以上的梭子，容易变换色彩，色彩丰富。这两种锦在中国出现的时间都比较早。但是六朝以前织造的，以经起花为主；隋唐以后织造的，似乎以纬起花为主。\n在苏联的巴泽雷克发现一批中国战国时期的丝绸，就有用红绿二色纬线织造的纬斜纹起花的纬锦。产生于宋代前后的宋锦以地经、地纬交织成经斜组织，按结经与纹纬交织成纬斜组织。\n金元之际流行加金的丝织物——织金锦，又称“纳石失”。明清时盛行以挖花缎的彩纬多达30—40种，锦面的经、纬方向都有逐花异色的效果，是中国织锦最高水平的代表。\n锦在历史上曾用多棕多蹑机和束棕花楼机织造，现代生产采用纹版提花机。\n国家非常重视非物质文化遗产的保护，南京云锦木机妆花手工织造技艺作为中国古老的织锦技艺最高水平的代表，于2006年列入首批国家级非物质文化遗产名录。2006年5月20日，土家族织锦技艺经国务院批准列入第一批国家级非物质文化遗产名录。2007年6月8日，湖南凤凰水云织锦坊获得国家文化部颁布的首届文化遗产日奖。2009年8月《地理标志产品云锦》国家标准在南京通过国家级专家评审，同年9月成功入选联合国《人类非物质文化遗产代表作名录》。",[147,113,148,149,7,150,50,151],"织锦","龟背纹","福寿三多","花卉","传统纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b74c94a8f287781637f7d3af6cef616.jpg",[],25,{"id":156,"slug":157,"title":158,"dynasty":46,"author":47,"museum":20,"description":159,"tags":160,"thumbUrl":173,"material":35,"size":36,"collection":37,"collections":174,"showCount":175,"zanCount":11,"manualWeight":11,"mainColor":104},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。",[161,162,163,164,165,166,167,168,53,169,170,7,55,171,172],"清代","嵌珠宝","雕刻","玉石","珠宝","仙境","山水","树木","灵芝","盆景","嵌饰工艺","盆景艺术","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc8ff59c8d887945606129714c16be4d.jpg",[],24,{"id":177,"slug":178,"title":179,"dynasty":46,"author":47,"museum":20,"description":180,"tags":181,"thumbUrl":185,"material":35,"size":36,"collection":37,"collections":186,"showCount":187,"zanCount":11,"manualWeight":11,"mainColor":41},269042,"huang-se-ke-si-he-lu-jin-long-wen-huai-dang-liao-yi-ming-269042","黄色缂丝鹤鹿金龙纹怀挡料","缂（kè，同：刻）丝（英文：K’o-ssu 、Kesi 或 Chinese silk tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[182,113,50,33,133,134,183,184,7],"缂丝","寿纹","花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ae8568f08c70cf8376d460040bd6d76.jpg",[],17,{"id":189,"slug":190,"title":191,"dynasty":46,"author":47,"museum":20,"description":192,"tags":193,"thumbUrl":201,"material":35,"size":36,"collection":37,"collections":202,"showCount":203,"zanCount":62,"manualWeight":11,"mainColor":204},272931,"hong-se-duan-xiu-ling-xian-zhu-shou-tu-zhuo-wei-yi-ming-272931","红色缎绣灵仙祝寿图桌围","绣法是以绣线横排，故名。如，特点是整齐、均匀，圆润；在绣叶瓣时，在中间分开，运用斜针成倒人字形；也有绣成中间针迹相交叠的形式；也可绣成中间作一钉线的绣法。排绣针法富有变化，刺绣出的花瓣、叶瓣得体逼真，用途较广。",[194,113,195,51,50,53,196,197,133,7,198,116,199,200,184],"桌围","刺绣","仙翁","童子","牡丹","团花","祝寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a7a1e430230e6cd31b1c243b335127e.jpg",[],14,"F48FB1",{"id":206,"slug":207,"title":208,"dynasty":46,"author":47,"museum":20,"description":209,"tags":210,"thumbUrl":219,"material":35,"size":36,"collection":37,"collections":220,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":41},273653,"zi-tan-mu-bian-qi-di-qian-yu-shi-hu-lu-shi-gua-ping-yi-ming-273653","紫檀木边漆地嵌玉石葫芦式挂屏","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[112,211,212,164,163,213,214,150,7,215,216,217,218],"葫芦形","木质","镶嵌","博古","宝瓶","中国结","灯笼","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe780a39b0246fbdabfe87677c261928f.jpg",[],13,{"id":223,"slug":224,"title":225,"dynasty":226,"author":227,"museum":20,"description":228,"tags":229,"thumbUrl":231,"material":35,"size":36,"collection":37,"collections":232,"showCount":233,"zanCount":62,"manualWeight":11,"mainColor":104},287966,"ren-wu-tu-ye-li-gong-lin-287966","人物图页","宋","李公麟","李公麟（1049～1106），北宋舒州（今属安徽桐城）人，宋代杰出画家。字伯时，号龙眠居士、龙眠山人，享年五十七岁。熙宁三年（公元1070年）进士。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[25,130,50,53,230,7,29,51],"兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3dd95c1ba31aafac05813fc60320fea.jpg",[],11,{"id":235,"slug":236,"title":237,"dynasty":46,"author":47,"museum":20,"description":238,"tags":239,"thumbUrl":244,"material":35,"size":36,"collection":37,"collections":245,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":104},234455,"hei-se-guan-shi-yin-pu-sa-tang-ka-yi-ming-234455","黑色观世音菩萨唐卡","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。",[240,241,242,30,50,53,150,7,243,78],"唐卡","藏传佛教","观世音菩萨","火焰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56b1b3895d45de8b0afcda9a9591acda.jpg",[],{"id":247,"slug":248,"title":249,"dynasty":250,"author":47,"museum":20,"description":251,"tags":252,"thumbUrl":255,"material":35,"size":36,"collection":37,"collections":256,"showCount":257,"zanCount":11,"manualWeight":11,"mainColor":104},228804,"luo-han-zhu-shou-tu-yi-ming-228804","罗汉祝寿图","明","画面上下错落铺陈，上方罗汉群像各呈神采，或清癯蔼然，或虬髯肃穆，侍童恭谨随侍，衣纹华彩层叠，晕染细腻，尽显出尘庄严。下方水府神祇率众赴贺，灵怪蛟龙环伺，云涛与浪涛交织翻涌，天际红日悬垂，铺就祥瑞恢宏的祝寿氛围。\n\n整作设色沉厚古雅，矿物颜料晕开浓郁古韵，线条刚柔相济，既绘就罗汉的超然神态，亦勾勒出水族神祇的灵动狞厉，佛道交融的贺寿主题融于尺幅之间，将仙界嘉会的雍容祥瑞尽数铺展，尽显明代宗教人物画的精工意趣。",[23,25,130,253,51,50,30,53,254,7,78,55],"明代","罗汉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08a9dea4989bd43ec9d2423529c0f803.jpg",[],9,{"id":259,"slug":260,"title":261,"dynasty":262,"author":47,"museum":20,"description":263,"tags":264,"thumbUrl":273,"material":35,"size":36,"collection":37,"collections":274,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":104},254978,"feng-wen-wa-dang-yi-ming-254978","凤纹瓦当","汉","瓦当，是指古代中国建筑中覆盖建筑檐头筒瓦前端的遮挡。特指东汉和西汉时期，用以装饰美化和蔽护建筑物檐头的建筑附件。瓦当上刻有文字、图案，也有用四方之神的“朱雀”“玄武”“青龙”“白虎”做图案的， 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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。",[253,291,292,7,293,294,295,296],"陶瓷","青花","龙纹","麒麟纹","牡丹纹","瓷器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00da0b84b4aa4d537b9ca3a8fd30d049.jpg",[],7,{"id":301,"slug":302,"title":303,"dynasty":279,"author":47,"museum":20,"description":209,"tags":304,"thumbUrl":312,"material":35,"size":36,"collection":37,"collections":313,"showCount":314,"zanCount":11,"manualWeight":11,"mainColor":41},250541,"yu-bi-xie-yi-ming-250541","玉辟邪",[164,163,230,305,279,306,94,307,308,309,7,310,311],"辟邪","玉器","圆雕","透雕","线刻","古玉","玉雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F964cc7295640341385e3c05d542bd79f.jpg",[],6,{"id":316,"slug":317,"title":318,"dynasty":46,"author":47,"museum":20,"description":319,"tags":320,"thumbUrl":322,"material":35,"size":36,"collection":37,"collections":323,"showCount":324,"zanCount":11,"manualWeight":11,"mainColor":104},269134,"zhu-gen-diao-qi-lin-fu-shu-yi-ming-269134","竹根雕麒麟负书","整器取竹根随形施艺，麒麟昂首瞋目，鬃毛翻卷灵动，周身鳞片刻划细密写实，蹄足沉稳踏于云纹底座之上。口衔环佩，长尾垂拂，雄健身姿暗含隽秀之态。麒麟背脊间层叠灵芝祥云缭绕舒展，刀工圆转流畅，将竹根天然肌理与雕刻意趣相融无间。\n\n麒麟为瑞兽，驮载祥云灵芝，暗合太平祥瑞、福寿绵延的美好祈愿。作者化竹根天然形态为灵秀瑞兽，朴拙竹质温润的质感与爽利精致刀工相映，清隽雅致中尽显工艺精妙，是兼具陈设赏玩与吉祥寓意的文房佳器。",[321,163,212,115,7],"竹根雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c01cde45a23af53717aba03d32f88b0.jpg",[],5,{"id":326,"slug":327,"title":328,"dynasty":46,"author":329,"museum":20,"description":330,"tags":331,"thumbUrl":334,"material":335,"size":37,"collection":37,"collections":336,"showCount":324,"zanCount":11,"manualWeight":11,"mainColor":41},217205,"fa-jie-yuan-liu-tu-juan-6-li-ming-217205","法界源流图卷-6","黎明","法界源流图卷是清朝时期的一部著名的佛教经典，由清朝时期的著名佛教学者黎明编写。这部经典记录了佛教从其诞生以来，到清朝时期的发展史。\n\n法界源流图卷描述了佛教从其诞生的印度，到传播到中国、日本、朝鲜等国家的过程。它还记录了佛教在不同国家和地区发展的特点，以及佛教对当地文化和宗教的影响。\n\n此外，法界源流图卷还对佛教历史上的著名佛教徒、佛教寺庙和佛教经典进行了介绍，为读者提\n供了全面的佛教史信息。\n\n黎明是清朝时期的著名佛教学者，他编写的法界源流图卷被认为是清朝时期佛教史的权威著作，对于了解佛教历史和文化具有重要的参考价值。",[23,25,130,24,26,30,51,50,53,78,332,333,93,74,75,254,7],"莲花","背光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae872e02105a3a20c24f145a89265116.jpg","纸本,设色",[],{"id":338,"slug":339,"title":340,"dynasty":46,"author":329,"museum":20,"description":330,"tags":341,"thumbUrl":343,"material":335,"size":37,"collection":37,"collections":344,"showCount":324,"zanCount":11,"manualWeight":11,"mainColor":41},217199,"fa-jie-yuan-liu-tu-juan-9-li-ming-217199","法界源流图卷-9",[23,25,130,26,51,50,30,53,254,75,74,168,55,342,78,332,7],"屏风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ea907e05f815246a269adb937538be0.jpg",[],{"id":346,"slug":347,"title":348,"dynasty":250,"author":47,"museum":20,"description":349,"tags":350,"thumbUrl":355,"material":35,"size":36,"collection":37,"collections":356,"showCount":357,"zanCount":11,"manualWeight":11,"mainColor":104},263684,"hong-se-ke-si-yun-long-wen-zhuo-dian-yi-ming-263684","红色缂丝云龙纹桌垫","朱砂地色浓丽沉凝，衬得主体团龙愈发雄健张扬，龙目圆睁、爪牙凌厉，缂丝技法将龙鳞纹理织就分毫毕现，尽显威严皇仪。团龙环缠五色祥云，柔卷云纹中和龙的刚猛，两侧仙鹤振翅穿云，自带清逸仙气。下方江崖海涛层叠翻涌，暗喻江山永固的吉祥意涵。外缘缠枝花卉细密连绵，规整雅致，框定出协调章法。整体配色饱满鲜亮，冷暖交织，缂丝走线匀整精妙，把礼制威仪与祥瑞寓意织入丝缕，尽显手作匠心，是织物工艺中审美与内涵兼备的上乘之作。",[182,113,33,133,351,352,50,353,354,7,95],"云纹","海浪","织物","桌垫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58c86747db0be455cd711e1313d966eb.jpg",[],4,{"id":359,"slug":360,"title":361,"dynasty":262,"author":47,"museum":20,"description":362,"tags":363,"thumbUrl":367,"material":35,"size":36,"collection":37,"collections":368,"showCount":357,"zanCount":11,"manualWeight":11,"mainColor":41},248935,"cai-hui-qi-yun-feng-wen-zun-yi-ming-248935","彩绘漆云凤纹樽","汉代青铜器产生于青铜时代的晚期，在我国青铜史上占有特殊的地位，体现出独特的设计思想和特征，具有卓越的科学功能，并对当今设计有很大的启示作用。\n汉代青铜器很多都是素纹，大部分还是铸造的，也有的花纹、铭文是用錾子雕刻的。比如汉代的鎏金杯子、奁、盒、碗等用具上的花纹，多是雕刻的。\n汉代以后至唐代的铜器，铸造的花纹很多，其中有打料的铜、金、银器，并且也有了大、小焊的技术。\n西汉初期（高祖至景帝），此时的青铜器，基本为素面。其鼎主要承自秦式，但一般三足更矮。敦盒形。\n壶有大小二型并存，大型壶腹下部略呈收缩之状，腹比秦壶要鼓；小型壶的腹部较瘦长，经常铸出变形螭纹。钫此时更流行，有的做得很讲究，通腹有镶嵌绿松石的三角云纹。\n鍪和蒜头壶继续流行。日用器皿中，高灯多见，豆式熏炉盛行，带钩显琵琶形、棒形、琴形讲究的多做成鎏金、错金银、镶玉或绿松石。\n西汉中期至东汉早期（西汉武帝至东汉章帝）是西汉青铜器最发达的时期，也是汉代青铜器新风格最终形成的时期。这时期最多见的青铜用器是鼎、壶、钫、尊、熨斗、带钩、铜镜。\n灯：古代照明器具。青铜灯出现于战国时期，而盛行于汉代。最著名的当属长信宫灯了，灯的样子很多，较普通的是有圆盘，盘内有钎，盘下有柱，柱下有圈足；也有盘下作雁足状的，盘用来盛油或插烛。\n另有一种灯自铭为“行灯”，它圆盘边有把，盘下有三短足。青铜灯最富感染力的当属那些铸成人形、禽形、兽形、树形的艺术造型灯。\n博山炉：古代焚香的器具。一般炉体作圆形，用来放香料，体下有高足，有的足还铸成人形或鸟兽形；炉盖均高而尖，雕镂成山峦形上有人物、走兽，象征海上仙山“博山”，故名“博山炉”。盛行于汉代。\n樽：古代盛酒的器皿，器作圆形，直壁，有盖，腹较深，下有三兽足，旁有铺首衔环耳。\n洗：盥洗用器皿。形状象盆，圆形、宽口沿，平或圆底，腹外多有铺首衔环耳，内底常用双鱼作装饰，并多铸吉语。盛行于汉晋。\n耳杯：古代饮酒器。多漆制，称“羽觞”。铜质者，器作椭圆形，腹壁有二环耳。\n熨斗：古式熨烫衣服的工具。形状为圆腹宽口沿，有长柄，盛行于汉魏。\n东汉中晚期（和帝至献帝）青铜器又有了新的变化。此时使用较多的铜器日用品有：钟、扁壶、盆、釜、鐎斗、灯、博山炉、炉、熨斗、尊、耳杯、虎子、车马器、带钩、铜镜、玺印等。\n此时青铜器的特点是比以前轻薄、错金银技术在青铜器装饰中几乎消失，鎏金仍多，鎏金器上出现了细线阴刻云纹。",[364,365,50,265,351,366,136,230,7],"漆器","彩绘","凤纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F579c930d4ecfc64ad220df00b2c4b22a.jpg",[],{"id":370,"slug":371,"title":372,"dynasty":46,"author":47,"museum":20,"description":373,"tags":374,"thumbUrl":386,"material":35,"size":36,"collection":37,"collect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