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。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[25,51,52,53,54,55,56,57,7,58,59,60],"立轴","设色","人物","美人","嫦娥","明月","兔","书法","印章","仕女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94e2d4be6243b39a212c3aab3031453a.jpg","人物画精选",[62],539,9,{"id":67,"slug":68,"title":69,"dynasty":46,"author":70,"museum":71,"description":72,"tags":73,"thumbUrl":79,"material":74,"size":80,"collection":37,"collections":81,"showCount":82,"zanCount":83,"manualWeight":11,"mainColor":84},222144,"di-shi-tian-tu-dong-bi-yi-ming-222144","帝释天图东壁","佚名","法海寺","帝释梵天图位于大殿内后墙壁两侧，共两铺，高3.2米,长14米，面积44.8平方米。壁画主要内容是以帝释梵天为首的二十诸天礼佛护法的行进队伍，故全称为帝释梵天礼护法图。绘二十诸天及侍从共36人物，每一人物高1.2米——1.6米。诸路天神鬼众浩浩荡荡，敬佛护法，各显其能。气势森严，排列有序，三五不一，相互呼应。纷至遝来，令人目不暇接。\n佛教壁画中表现帝释梵天的作品，在南朝梁代（400——450年）已见描绘，到唐、五代就广为流行，不少著名的画家都表现过这一题材。在唐两京、成都等地寺院就画过不少释梵天众图像。这些作品的内容不尽相同，技艺亦各异。诸天不仅为护法神，也被视为是方便导化众生的佛的化身。宋元以后，特别是明清，寺院的壁画中帝释梵天图极为流行。同时由于后期佛道掺杂，佛教图像中有了不少道教的神像，如道教中的紫微大帝、东岳大帝、雷神、风神等，也进入佛教图像行列，变为二十四天、三十三天等。法海寺壁画帝释梵天图基本上是按唐代的内容画出来的，二十诸天中没有道教神像，而且构图布局和形象处理与早期有着更多的传承关系。要看唐宋时代佛教一脉相承的“帝释梵天图”的形象，只能在法海寺壁画中看到。\n法海寺壁画完全保留了原来的密宗体系，具有唐代传统的模式，但法海寺壁画中人物形象又有着明显的时代特征。“一图说破天下事，诸般神灵眼内观”。帝释梵天图是我们了解佛教文化的一个窗口。（点击各图进入详解）",[23,74,25,29,75,52,53,76,77,7,78],"壁画","工笔","祥云","神兽","华丽服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8069c6224709f156398f01bf2c3e79a0.jpg","高3.2米,长14米",[],207,3,"795548",{"id":86,"slug":87,"title":88,"dynasty":89,"author":90,"museum":20,"description":91,"tags":92,"thumbUrl":101,"material":35,"size":36,"collection":37,"collections":102,"showCount":103,"zanCount":104,"manualWeight":11,"mainColor":84},226649,"wei-na-si-de-dan-sheng-sang-de-luo-bo-ti-qie-li-226649","维纳斯的诞生","不详","桑德罗·波提切利","画面所表现的是西西里岛的一个美丽的传说：一片漂亮的大贝壳漂浮在碧波荡漾的海面上，上面站着纯洁而美丽的维纳斯，翱翔于天上的风神轻轻地将贝壳吹到岸边，等候在岸边的春之女神正张开红色绣花斗篷，准备为维纳斯换上新装。维纳斯身材修长，容貌秀美，双眼凝视着远方，眼神充满着幻想、迷惘与哀伤。体现了在佛罗伦萨流行一种新柏拉图主义的哲学思潮：美是不可能逐步完善或从非美中产生，美只能是自我完成，它是无可比拟的，美是不生不灭的永恒。",[93,52,7,94,54,95,96,97,98,99,100],"蛋彩画","裸体人物","贝壳","海浪","花朵","树木","翅膀","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faca3edf2229ab9dd3bdba346df792dbd.jpg",[],89,1,{"id":106,"slug":107,"title":108,"dynasty":109,"author":110,"museum":48,"description":111,"tags":112,"thumbUrl":117,"material":118,"size":119,"collection":120,"collections":121,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":41},219388,"ma-gu-cai-zhi-xian-tu-liu-song-nian-219388","麻姑采芝仙图","宋","刘松年","画中一众仙姑，结伴山间采药，正在林间休息。不知何故，仙姑们的发际线严重退后，仅剩一光溜的脸蛋，状貌甚异，身板瘦削，可能是日夜忙碌劳累所致。画中人物用线与山石、松树一般呆硬，人物形象、树、石套路严重，或为明末或清代早期的画作。",[25,52,53,113,114,98,54,115,116,7],"山水","山石","麻姑","采芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faca18f2756764adf26aa0982d7262715.jpg","绢本,设色","116.4x82.1厘米","山水画精选",[120,62],87,{"id":124,"slug":125,"title":126,"dynasty":109,"author":127,"museum":20,"description":128,"tags":129,"thumbUrl":133,"material":35,"size":36,"collection":37,"collections":134,"showCount":135,"zanCount":104,"manualWeight":11,"mainColor":41},289594,"wu-long-tu-chen-rong-289594","五龙图","陈容","陈容，字公储，号所翁，福建长乐人，南宋端平二年（1235年）进士，曾做过福建莆田太守。南宋著名画家。《金溪县志》作临川（今属江西）人，《图绘宝鉴》作福唐（今福建福清）人。生卒年不详。陈容墓在福建长乐。\n诗文豪壮，尤善画龙，变化欲活，世传‘所翁龙’是也。”\n陈容于中国美术史上占有重要一席，“所翁龙”成为后人画龙的典范，倍受国人特别是明清以来画家们的追捧。甚至在日本，几百年来凡有龙图案的画亦绝大部分是仿效陈容。日本著名画家小泉淳作曾由衷地评价道：陈容的龙富有魅力，像真的一样活泼跳动，只有天才才会画出这样的画！\n顺便说一下，陈容不仅擅画龙，还擅长画松、竹、鹤，偶亦画虎，垂老笔力简易精妙，故世有‘所翁龙’、‘所翁鹤’和‘所翁竹’之称。在当时，达官显贵、文人骚客以能得到“所翁龙”而倍感荣幸。以玩弄权术、巧取豪夺而著称的奸臣宰相贾似道，一世搜刮金银珠宝、珍奇古玩无数，然他至死也未能讨到一幅“所翁龙”。",[23,25,26,130,131,32,7,59,132],"书画","水墨","云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad44d787cfa6bf3de62f57ee2d80a9fc.jpg",[],79,{"id":137,"slug":138,"title":139,"dynasty":109,"author":140,"museum":48,"description":141,"tags":142,"thumbUrl":147,"material":118,"size":148,"collection":149,"collections":150,"showCount":151,"zanCount":104,"manualWeight":11,"mainColor":84},231052,"san-guan-chu-xun-tu-ma-lin-231052","三官出巡图","马麟","云气浩荡漫卷寰宇，巡行仪仗铺陈开三界威仪。尊神安坐牛舆，仙官神将扈从环伺，或腾云跨兽，或执旄持戟，旌旗翻卷如龙，神性肃穆融于缥缈云雾之间。\n\n笔墨苍劲古雅，设色沉敛厚重，以铁线描勾勒衣袂甲胄，须发纹路纤毫毕现。云雾晕染层层叠叠，虚实相生，将天界出行的宏阔盛景缓缓铺展。画面疏密有致，云间仙众、浪里神异错落排布，既恪守仪仗森严规制，又尽显仙道空灵意境，将神话中的巡游盛景定格于绢素之上，尽显工笔精致入微的意趣与神性之美。",[23,25,24,75,52,29,53,143,32,144,7,132,145,146],"牛","兽","仪仗","神性","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F318baad11558966bff3e3445d454be2c.jpg","174.2x122.9","宋画精选",[149],78,{"id":153,"slug":154,"title":155,"dynasty":46,"author":156,"museum":20,"description":157,"tags":158,"thumbUrl":159,"material":35,"size":36,"collection":37,"collections":160,"showCount":161,"zanCount":162,"manualWeight":11,"mainColor":41},287415,"wu-xing-er-shi-ba-xiu-shen-xing-tu-juan-chou-ying-287415","五星二十八宿神形图卷","仇英","仇英（约1498年—约1552年）， 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时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[23,24,25,130,26,75,52,53,7,32,144,58,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4967584eda0c680dc86ba4f997b558d.jpg",[],72,4,{"id":164,"slug":165,"title":166,"dynasty":46,"author":70,"museum":20,"description":167,"tags":168,"thumbUrl":171,"material":35,"size":36,"collection":37,"collections":172,"showCount":173,"zanCount":174,"manualWeight":11,"mainColor":84},287341,"fang-chen-rong-shen-long-jiu-xian-tu-yi-ming-287341","仿陈容神龙九现图","整卷以九龙为芯，龙躯腾挪翻涌于青绿云水间，或隐没于云涛，或怒破水浪，鳞爪遒劲灵动，尽显神威雄奇。古绢带着岁月晕染的斑驳，青绿与墨色交融晕开，将神龙谲变幻化的身姿描摹得栩栩如生。\n\n后附题跋行书笔意跌宕，笔墨苍劲老辣，诗文咏叹龙姿神韵，与画作相得益彰，书画合璧，复刻出沉雄气势。装裱古朴雅致，卷间流转着古雅厚重的气韵，尽显传统龙题材绘画的精妙造诣，兼具视觉张力与文人意趣。",[23,26,25,130,32,169,52,58,170,7],"临摹","草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05d908008b19b2e6f55501a6f863f5f4.jpg",[],66,2,{"id":176,"slug":177,"title":178,"dynasty":109,"author":70,"museum":20,"description":179,"tags":180,"thumbUrl":187,"material":35,"size":36,"collection":37,"collections":188,"showCount":189,"zanCount":11,"manualWeight":11,"mainColor":84},288302,"mo-gu-kai-zhi-luo-shen-fu-tu-yi-ming-288302","摹顾恺之洛神赋图","以长卷铺展这段缥缈情缘，起于河畔惊鸿初见，洛神凌波凭风，衣袂翩跹若流云回风。仙姝侍立，神兽随行，云车仪仗迤逦于川泽林莽间。\n画师以高古游丝描勾勒人物，线条匀细灵动，淡彩敷染晕出古朴雅致的气韵，将辞赋里的缱绻爱慕、依依怅别缓缓铺陈。山川林木错落点缀，水波微漾间，把人神相恋的怅惘诗意凝于绢素，让千年的浪漫情思在卷中流转不散。",[23,24,25,26,130,52,75,169,53,54,181,182,183,184,113,185,7,186],"神仙","舟船","楼阁","林木","马匹","洛神赋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c57e460baa6a03b77a4fd2f15d23fbb.jpg",[],65,{"id":191,"slug":192,"title":193,"dynasty":46,"author":194,"museum":195,"description":196,"tags":197,"thumbUrl":201,"material":35,"size":36,"collection":37,"collections":202,"showCount":203,"zanCount":174,"manualWeight":11,"mainColor":84},289995,"chan-gong-yue-tu-tu-tao-cheng-289995","蟾宫月兔图","陶成","北京故宫博物院","陶成（生卒年未详），字孟学，号雪湖仙人，宝应（今江苏宝应）人。成化七年（1471年）举人。生性疏狂，多才艺，诗文古朴。书善四体，善画花鸟人物，山水多用青绿，浓丽蔚拔，喜作勾勒，竹兔与鹤鹿均妙，随意画山水、花鸟、人物，都非常接近南宋人。芙蓉称为神品，为世人所珍藏。",[25,24,51,75,52,198,199,57,56,113,200,114,7,58],"青绿","竹","流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47c9583ba3902ef676ff0c13ef74bb75.jpg",[],59,{"id":205,"slug":206,"title":207,"dynasty":18,"author":208,"museum":20,"description":209,"tags":210,"thumbUrl":216,"material":35,"size":36,"collection":37,"collections":217,"showCount":218,"zanCount":104,"manualWeight":11,"mainColor":84},287742,"ma-gu-xian-tan-ji-yan-zhen-qing-287742","麻姑仙坛记","颜真卿","颜真卿（709年－784年8月23日 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画名重于时，为吴门画派中高手。善绘山水、兰竹，意趣古淡，疏朗清新，风格近其师。工书法，笔力见功夫，挥洒自如，有屋漏之痕、折钗之势。传世作品有《虎丘前山图》轴、《求志图》，均藏北京故宫博物院；《苍山茅舍图》轴，藏上海博物馆。",[25,24,51,131,53,438,439,440,58,59,7],"钟馗","枯树","寒林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f17d7ca35f02bdee116a789ce211580.jpg",[],23,{"id":445,"slug":446,"title":447,"dynasty":276,"author":70,"museum":20,"description":448,"tags":449,"thumbUrl":450,"material":35,"size":36,"collection":37,"collections":451,"showCount":452,"zanCount":11,"manualWeight":11,"mainColor":41},290141,"nv-xian-tu-yi-ming-290141","女仙图","本幅绘道教女仙高髻素衣，趺坐蒲团，手拈笔毫，膝前置贝多叶，似欲书经传道。旁有筠篮系锄上，中贮芝草。一狮一虎伏侍在侧，状甚温驯，盖表现女仙道法高超，足以降服猛兽",[25,130,53,54,303,144,7,52,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba2a710bb0ff2a6b42bb171856d7e4bb.jpg",[],21,{"id":454,"slug":455,"title":456,"dynasty":276,"author":457,"museum":20,"description":458,"tags":459,"thumbUrl":463,"material":35,"size":36,"collection":37,"collections":464,"showCount":452,"zanCount":11,"manualWeight":11,"mainColor":84},287922,"tang-seng-qu-jing-tu-ce-wang-zhen-peng-287922","唐僧取经图册","王振鹏","传为元代画家王振鹏所作，分为上、下册，蝴蝶装，由三十二幅取经图构成，卷末有清代福州文人梁章钜六跋。",[25,24,228,263,52,75,53,460,461,183,29,462,7],"马","猴","唐僧取经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F615564a4ee571d7930ea1b3411ee45b8.jpg",[],{"id":466,"slug":467,"title":468,"dynasty":109,"author":70,"museum":195,"description":469,"tags":470,"thumbUrl":471,"material":472,"size":473,"collection":37,"collections":474,"showCount":452,"zanCount":11,"manualWeight":11,"mainColor":41},223338,"jiu-ge-tu-juan-yi-ming-223338","九歌图卷","画卷根据屈原《楚辞·九歌》中的神话故事绘制而成。“九歌”原为传说中的一种远古歌曲的名称，《九歌》是屈赋中最精、最美、最富魅力的诗篇，它代表了屈原艺术创作的最高成就。",[23,25,24,26,27,75,53,32,303,144,200,114,98,132,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07bb572ae953b740fe54293fea95aea1.jpg","纸本，手卷，墨笔","纵37厘米、横845厘米",[],{"id":476,"slug":477,"title":478,"dynasty":109,"author":324,"museum":20,"description":479,"tags":480,"thumbUrl":482,"material":35,"size":36,"collection":37,"collections":483,"showCount":484,"zanCount":11,"manualWeight":11,"mainColor":41},290987,"fei-xian-tu-zhou-zhao-bo-ju-290987","飞仙图轴","并无年款，古人以宋朝赵伯驹为青绿山水名家，遂定为赵氏所作，然画中松树造型，岩石结构，实已出现十六世纪风格。",[25,24,51,198,52,53,32,113,280,114,7,481],"飞仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94d0328f9b64f76a43c997fcb0bf8e3c.jpg",[],18,{"id":486,"slug":487,"title":488,"dynasty":109,"author":489,"museum":48,"description":490,"tags":491,"thumbUrl":495,"material":35,"size":36,"collection":37,"collections":496,"showCount":484,"zanCount":11,"manualWeight":11,"mainColor":84},287585,"mao-nv-tu-li-gong-lin-287585","毛女图","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。",[25,51,27,53,492,493,113,494,7],"毛女","鹿","瀑布","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517f3897a33c36ffd4fd9d96cbb1ac24.jpg",[],{"id":498,"slug":499,"title":311,"dynasty":18,"author":70,"museum":195,"description":500,"tags":501,"thumbUrl":503,"material":504,"size":317,"collection":37,"collections":505,"showCount":484,"zanCount":11,"manualWeight":11,"mainColor":41},234063,"fu-xi-nv-wa-xiang-ye-yi-ming-234063","此图上彩画人首蛇身男女二人，均着窄衫小袖绛红色胡装，二人腰相连，共着一条白裙。男居左，无须，头戴笼冠，张左手执矩，矩上有墨斗（已被腐蚀）。女居在右，束高髻，张右手执规。男女上身相拥，中间两臂相连，下尾盘曲相交四节成螺旋状。两人头上有圆轮，周画圆圈以象征日；尾下有下弯月牙一，周画圆圈以象征月。画面四周面遍布大小相等的圆圈，部分以线相连象征星辰。\n吐鲁番高昌国至唐西州国时期的墓葬出土了许多伏羲、女娲绢画,画面形式大致相似：人首蛇身，交尾相拥，伏羲持矩，女娲持规。绢画上方有日，下方有月，周围布满丝缕相连的星辰。整幅绢画上宽下窄，与棺形相似，常覆盖于棺上，也有盖于尸上或置于尸旁者，还有张挂或用木钉固定于墓顶的情况。\n故宫博物院所藏的伏羲女娲绢画系1963年4月出土于新疆吐鲁番阿斯塔那古墓，1963年12月由新疆博物馆拨交故宫博物院。据阿斯塔那古墓考古报告中所示，同期出土的此类绢画共有数十件。在墓室中一般都是画面朝下，用木钉钉在墓顶上。一般认为伏羲所执矩象征地，女娲所执规象征天，用以配合画面上的日月星辰，为墓室营造一个小宇宙。",[24,25,130,53,314,52,27,7,502],"星象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad372045cc9529359b55b04dc763a6c3.jpg","绢本，设色",[],{"id":507,"slug":508,"title":509,"dynasty":223,"author":510,"museum":48,"description":511,"tags":512,"thumbUrl":517,"material":52,"size":518,"collection":37,"collections":519,"showCount":484,"zanCount":11,"manualWeight":11,"mainColor":41},223323,"wu-xing-er-shi-ba-xiu-shen-xing-tu-ding-guan-peng-223323","五星二十八宿神形图","丁观鹏","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、 轸。",[23,513,75,52,27,292,59,169,53,460,144,29,7,58,514,515,516],"清代","线条","神形","鞍马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4cf4849e8cdfb46d12f18ed03910394.jpg","26.5x70.9",[],{"id":521,"slug":522,"title":523,"dynasty":109,"author":524,"museum":20,"description":525,"tags":526,"thumbUrl":527,"material":35,"size":36,"collection":37,"collections":528,"showCount":529,"zanCount":11,"manualWeight":11,"mainColor":41},289868,"xian-yuan-xiang-yun-tu-guo-zhong-shu-289868","仙苑祥云图","郭忠恕","郭忠恕(？-977)五代末期至宋代初期的画家，〔北宋〕字恕先，又字国宝，洛阳(今属河南)人 。\n兼精文字学、文学，善写篆、隶书和“八分体”，以楷书最为著名。 尤其“界画”为世人推重。“界画”是随着山水画发展而派生的一科，主要是画与山水画中有关的亭台楼阁、舟船车舆。《圣朝名画评》中评他的界画，为“一时之绝”，列为“神品” 。\n工书，诸体皆能。曾有人得鸟迹篆，忠恕一见辄诵如宿习。清刘熙载《艺概.书概》称：“忠恕以篆古之笔溢为分隶，独成高致。”传有《三体阴符经》、《汗简》、《佩觽》等书。其画风画技在当时和后世有较大影响。",[24,25,130,228,263,198,52,183,113,7,212,58,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde9200c9cabf7ce31d3011683c95b5f6.jpg",[],17,{"id":531,"slug":532,"title":533,"dynasty":46,"author":194,"museum":195,"description":534,"tags":535,"thumbUrl":538,"material":35,"size":36,"collection":37,"collections":539,"showCount":540,"zanCount":11,"manualWeight":11,"mainColor":84},289996,"chan-gong-yu-mian-tu-tao-cheng-289996","蟾宫玉免图","陶成（生卒年未详），字孟学，号雪湖仙人，宝应（今江苏宝应）人。成化七年（1471年）举人。生性疏狂，多才艺，诗文古朴。书善四体，善画花鸟人物，山水多用青绿，浓丽蔚拔，喜作勾勒，竹兔与鹤鹿均妙，随意画山水、花鸟、人物，都非常接近南宋人。芙蓉称为神品，为世人所珍藏。\n陶成的绘画、书法造诣极高，与沈周、文徼明、唐寅、仇英“明四家”并称于世，有人甚至把他列于唐伯虎之上。明代文学家，书画鉴赏家李开先对陶成推崇备至、评价甚高。他的《中麓画晶》分明代画家为五等，陶成就雄冠其首。明韩昂《图绘宝鉴续编》云，陶成”书工篆隶直草，诗人奇古，画山川多用青绿，尤喜作钩勒，竹、兔与鸹、鹿，皆妙。 由其胸中洒然也”。明十才子之一李梦阳在其《观序上人所藏陶成画菊石歌》中，称赞陶成的菊花、岩石画远远超出了当时的菊石专家计汝和、徐霖。诗中说： “陶生画菊石，潦草笔有力…近时名手计汝和，此生笔力方之过。江柬徐霖学画石，效颦差胜王与何。”故而有这样的说法： “得黄金百不如云湖画一幅。”",[25,51,52,75,57,536,537,98,7,365,144],"花卉","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd4b722fcfb2bc6a3de37c4f98356ed1.jpg",[],16,{"id":542,"slug":543,"title":544,"dynasty":18,"author":70,"museum":195,"description":500,"tags":545,"thumbUrl":547,"material":504,"size":317,"collection":37,"collections":548,"showCount":540,"zanCount":11,"manualWeight":11,"mainColor":41},234062,"tang-ren-fu-xi-nv-wa-xiang-dan-ye-yi-ming-234062","唐人伏羲女娲像单页",[25,130,546,52,27,53,314,56,7],"册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F926562084f175f7bc144648f04df841e.jpg",[],{"id":550,"slug":551,"title":552,"dynasty":109,"author":489,"museum":20,"description":490,"tags":553,"thumbUrl":554,"material":35,"size":36,"collection":37,"collections":555,"showCount":556,"zanCount":11,"manualWeight":11,"mainColor":41},289785,"wei-lin-tu-li-gong-lin-289785","为霖图",[23,25,24,51,52,53,32,303,199,7,58,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cc01ffe90059e930920b1b9f4c50149.jpg",[],15,{"id":558,"slug":559,"title":186,"dynasty":276,"author":289,"museum":20,"description":560,"tags":561,"thumbUrl":562,"material":35,"size":36,"collection":37,"collections":563,"showCount":556,"zanCount":11,"manualWeight":11,"mainColor":84},287409,"luo-shen-fu-zhao-meng-fu-287409","《洛神赋》用笔精纯、圆润，结体严谨、遒媚，章法平和、潇洒。赵孟頫师法“二王”，得其笔法，又结合自身的特点，其行书呈现出清俊、典雅之风，《洛神赋》亦是将他的审美理想呈现得淋漓尽致。在《洛神赋》中，“中和”之美充斥全篇，对后世书法艺术事业的发展影响深远。",[23,58,292,213,59,293,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72e30e50d004b8cf4b03d24a4d7493f1.jpg",[],{"id":565,"slug":566,"title":567,"dynasty":46,"author":568,"museum":20,"description":569,"tags":570,"thumbUrl":573,"material":35,"size":36,"collection":37,"collections":574,"showCount":575,"zanCount":104,"manualWeight":11,"mainColor":84},290602,"peng-shan-yu-nian-zhou-zhang-chong-290602","蓬山遇辇轴","张翀","生卒不详，活动于17世纪，明代画家。字子羽，号浑然子、图南，江都（今江苏南京）人",[24,25,51,198,52,75,53,113,571,460,54,328,572,7],"桃花","辇车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd74639a5bcfa89c2ad174b07008010f8.jpg",[],14,{"id":577,"slug":578,"title":579,"dynasty":109,"author":70,"museum":20,"description":580,"tags":581,"thumbUrl":585,"material":35,"size":36,"collection":37,"collections":586,"showCount":575,"zanCount":11,"manualWeight":11,"mainColor":84},287555,"hua-shou-xing-yi-ming-287555","画寿星","苍松虬曲、老梅凝芳，铺就幽谧山野底色。寿星颅顶丰硕，面容褶皱如镌刻半生风霜，长髯垂胸，神情温蔼内敛。宽袖道袍织就团山宝纹，晕染柔和层次尽显古朴华贵，纹路刻画精细入微，衬出人物清矍高古的仙姿。身侧灵鹿温驯伴立，岩畔幽花仙草点缀其间，暗合福寿绵长的祥瑞意涵。\n\n笔墨凝练苍劲，设色沉雅古拙，将道家隐逸福寿之思融于山野幽境，工笔精细不苟又兼具文人清雅意趣，静穆间流淌出绵长吉祥的古韵。",[24,25,130,51,52,53,75,582,493,583,584,7],"寿星","松","梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F023e74b57d36aa32bf8fbe9aecabe683.jpg",[],{"id":588,"slug":589,"title":590,"dynasty":276,"author":70,"museum":20,"description":591,"tags":592,"thumbUrl":594,"material":35,"size":36,"collection":37,"collections":595,"showCount":596,"zanCount":104,"manualWeight":11,"mainColor":84},290798,"liu-hai-chan-xiang-zhou-yi-ming-290798","刘海蟾像轴","刘海蟾是五代宋初的道士，道教全真道将之奉为〝北五祖〞之一。宋元以来，民间流传〝刘海戏金蟾〞故事。今街头店家橱柜犹见置有三脚蟾蜍口衔金钱者，寓意辟财、富贵，皆渊源于此。本幅画刘海蟾像，人物衣纹多以干笔挥就，线条粗放，近似折芦描法。衣带下摆，飘飘欲举，为原本沉寂的画幅，凭添律动之感。题签虽属元代，然其布局与技法，实已开启明季浙派苍劲粗放之先河。",[25,51,131,27,53,214,7,593],"金蟾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31c4f79a6cfd1830937f2a3763614cb8.jpg",[],13,{"id":598,"slug":599,"title":600,"dynasty":46,"author":601,"museum":20,"description":602,"tags":603,"thumbUrl":605,"material":35,"size":36,"collection":37,"collections":606,"showCount":607,"zanCount":11,"manualWeight":11,"mainColor":84},290015,"si-xian-tu-liu-jun-290015","四仙图","刘俊","本幅《四仙图》更偏重以写实的手法来表现，人物衣履线条运用十分纯熟流畅，画法工致，笔法劲健，法度严谨。每个人物皆刻画精细生动，长须飘然，双目炯然有神，特徵明显，形象饱满。人物的外貌及气质、肢体语言各异，个性鲜明，形神兼备，给人以呼之欲出之感，极富展现力。",[25,51,52,75,53,7,280,493,461,240,200,604],"岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3e4074c87456810eb8dbd96bf1b7979.jpg",[],12,{"id":609,"slug":610,"title":611,"dynasty":46,"author":70,"museum":20,"description":612,"tags":613,"thumbUrl":618,"material":35,"size":36,"collection":37,"collections":619,"showCount":607,"zanCount":104,"manualWeight":11,"mainColor":84},269049,"ke-si-yao-chi-ji-qing-tu-zhou-yi-ming-269049","缂丝瑶池吉庆图轴","祥云萦绕苍松翠岭，青鸟穿掠林岫。执莲仙子静立高台，环伺仙娥或捧礼相贺，或拨弦奏乐，衣袂翩跹如随流云舒展。青绿晕染层叠峰峦，金线勾勒衣袍光华，水波萦回、松石错落，将瑶池的清灵仙气揉入吉庆盛景中。\n\n整作走线细密匀整，配色古雅沉稳，以缂丝之工将群仙赴会的悠然盛景定格丝帛。既工笔描摹出仙娥衣饰的纤巧纹理，又晕染出仙境缥缈出尘的氛围感，把仙家盛会的祥和安乐尽显于此，气韵华贵古雅，尽显仙乡的清宁吉庆。",[25,24,51,614,52,53,304,615,113,114,200,98,536,616,76,7,617],"缂丝","瑶池","仙鹤","吉庆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05c7fdd20e3da758f38f4a40dd86956d.jpg",[],{"id":621,"slug":622,"title":623,"dynasty":109,"author":489,"museum":20,"description":490,"tags":624,"thumbUrl":625,"material":35,"size":36,"collection":37,"collections":626,"showCount":627,"zanCount":104,"manualWeight":11,"mainColor":84},287966,"ren-wu-tu-ye-li-gong-lin-287966","人物图页",[25,130,52,53,144,33,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3dd95c1ba31aafac05813fc60320fea.jpg",[],11,{"id":629,"slug":630,"title":631,"dynasty":22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、Kesi 或 Chinese silk 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[1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。",[23,25,24,27,131,53,113,181,681,303,327,98,200,7,59,546],"渡海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa756fff9ee608aeb8f33911396a94482.jpg",[],{"id":685,"slug":686,"title":687,"dynasty":688,"author":70,"museum":20,"description":689,"tags":690,"thumbUrl":694,"material":35,"size":36,"collection":37,"collections":695,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":696},250423,"yu-chi-you-shou-yi-ming-250423","玉蚩尤首","商","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。",[688,691,668,692,7,693],"玉石","兽首","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46f05dd27de0c05b4b9a9538c4641955.jpg",[],"37474F",{"id":698,"slug":699,"title":700,"dynasty":223,"author":70,"museum":20,"description":701,"tags":702,"thumbUrl":707,"material":35,"size":36,"collection":37,"collections":708,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":84},273917,"ming-huang-se-duan-ping-jin-xiu-qi-tian-da-sheng-zi-qi-yi-ming-273917","明黄色缎平金绣齐天大圣字旗","此旗以明黄缎为底，朱红焰纹镶边，色彩浓烈撞色，尽显旌旗张扬威仪。平金绣就的“齐天大圣”四字，针脚匀整厚重，暗哑金线残存旧时华贵光泽，将美猴王桀骜齐天的气魄凝于方寸布面。焰形边角灵动飞扬，仿佛能窥见旧时神会游街之时，旗幡招展、引动烟火喧闹的鲜活场景，承载着民间对齐天大圣的崇拜热望，是民俗刺绣与民间信仰相融的精巧遗存，藏着俗世烟火里的浪漫祈愿。",[703,704,705,100,7,706,58],"字旗","绣品","平金绣","齐天大圣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff210500f14d096b5965494fb1c23f0b.jpg",[],{"id":710,"slug":711,"title":712,"dynasty":276,"author":70,"museum":20,"description":713,"tags":714,"thumbUrl":718,"material":35,"size":36,"collection":37,"collections":719,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":84},269047,"ke-si-dong-fang-shuo-tou-tao-tu-yi-ming-269047","缂丝东方朔偷桃图","此图题材取自东方朔偷桃的典故。画面表现东方朔从仙界偷桃后疾走之状，人物的胡须和飘曳的衣裾，显出疾走的动态。东方朔手持偷摘的蟠桃，回首环顾，面露窃喜，其偷桃得手后的得意之情和担心被仙吏发现的微妙心理被刻画得惟妙惟肖。画面上方祥云缭绕中累累仙桃悬垂枝头，下方配以灵芝、水仙和竹石，以谐音寓意“芝仙祝寿”。画面钤“乾隆御览之宝”、“乾隆鉴赏”、“三希堂精鉴玺”、“宜子孙”和“秘殿珠林”印5方。\n此幅缂丝图以蓝和浅蓝为主调，配有石青、月白、瓦灰等色。运用平缂、木梳戗等缂织技法。以平缂作色块平涂，在纹样边缘或二色相遇处则使用勾缂进行勾勒，或以长短戗进行调色过渡。寿石用深蓝、蓝和浅蓝三晕色戗缂，以突出山石的立体感。尤以合色线技法颇有特色，如东方朔的手指缝用黑、白二色丝；灵芝的茎部用石青和米色丝表现茎干的糙涩感。整幅作品设色简洁，气韵生动",[614,25,53,52,7,715,716,717,367,227],"东方朔","偷桃","仙桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a5e267163df01561040829268550d04.jpg",[],{"id":721,"slug":722,"title":723,"dynasty":223,"author":70,"museum":20,"description":724,"tags":725,"thumbUrl":729,"material":35,"size":36,"collection":37,"collections":730,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":84},260342,"yu-tang-jia-qi-kuan-qing-hua-ba-xian-tu-da-pan-yi-ming-260342","玉堂佳器款青花八仙图大盘","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。",[726,727,728,53,113,227,114,98,7],"陶瓷","青花","八仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F047ead9d7320b4feb05499eaae477e0a.jpg",[],{"id":732,"slug":733,"title":734,"dynasty":109,"author":70,"museum":20,"description":735,"tags":736,"thumbUrl":738,"material":35,"size":36,"collection":37,"collections":739,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":696},255105,"huang-you-ci-pi-shu-ye-shen-nong-shi-xiang-yi-ming-255105","黄釉瓷披树叶神农氏像","黄釉是汉族传统的陶瓷装饰艺术。最早出现于唐代，当时安徽淮南寿州窑、河南密县窑等都烧黄釉。但正色黄釉，还是宋代汝窑的高温黄釉——茶叶末釉。明代的黄釉有新的发展，洪武时的老僧衣即茶叶末的衍化；始于宣德的浇黄，更是明代杰出的黄釉；嘉靖以后，又有鱼子黄、鸡油黄等。入清后有康熙的淡黄，以及其后的菜尾、鼻烟、金酱等。",[109,726,737,668,53,7,29],"黄釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5244cb75513aaf65f222f1b903bfbc26.jpg",[],{"id":741,"slug":742,"title":743,"dynasty":109,"author":70,"museum":20,"description":744,"tags":745,"thumbUrl":747,"material":35,"size":36,"collection":37,"collections":748,"showCount":749,"zanCount":11,"manualWeight":11,"mainColor":750},255764,"bai-you-ci-pi-shu-ye-shen-nong-shi-xiang-yi-ming-255764","白釉瓷披树叶神农氏像","将不含金属氧化物呈色元素的釉料施于胎骨洁白的器物上，入窑高温烧制而成的透明釉， 釉色因白润瓷胎的映衬而显出白色，现在习惯上将这种透明釉也称为白釉。\n瓷器釉料中的含铁量降低到0.75%以下，施于洁白的瓷胎上，入窑经高温烧制，就会出现白釉。严格地说，白釉是一种无色透明釉，而不是白色的釉 。白釉是瓷器传统釉色之一,真正的白釉应该是乳白色的乳浊釉,这种釉是近代才发明的。我国古代仅有元代枢府釉是失透的,其他白釉并不是白色的釉,\n白釉烧制工艺比青釉复杂，出现的时间也较青釉晚，一般瓷土和釉料，都或多或少含有一些氧化铁，器物烧出后必然呈现出深浅不同的青色来。如果釉料中的铁元素含量小于0.75%，烧出来的就会是白釉。\n白釉最早出现在汉代，比青釉瓷器晚了400多年，白釉瓷器开始是青白色的，因为瓷器中铁的含量高于1%就是青色的，少于1%就是白瓷了，所以中国白瓷经历青瓷、青白瓷、卵白釉、甜白釉、象牙白、白釉的发展过程。中国历史上白瓷产地有德化白瓷、定窑白瓷以及刑窑白瓷等。",[726,109,746,53,668,693,7],"白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4064f9cbb6d5942e1e5b1c3dcfe054f0.jpg",[],7,"F48FB1",{"id":752,"slug":753,"title":754,"dynasty":46,"author":70,"museum":20,"description":755,"tags":756,"thumbUrl":767,"material":35,"size":36,"collection":37,"collections":768,"showCount":749,"zanCount":11,"manualWeight":11,"mainColor":750},238571,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238571","明人升平翊赞图并书赞册","这幅以黄帝泜水斩蚩尤为题，画面分野鲜明。右上黄帝行营安稳肃穆，甲兵环伺尽显王者威仪；左下翻涌水泽中蚩尤部众溃逃奔窜，云间仙神乘瑞驰援，杀伐之气扑面而来。\n\n设色浓丽明妍，石青、石黄、朱砂撞色强烈，金线勾勒云气衣纹，晕染仙魔对战的奇幻张力。战甲旌旗的繁复刻画，衬出兵戈乱战的喧嚣，静穆行营与纷乱战场形成鲜明对照，烘托出天命平乱的恢宏史诗感，尽显此画精工富丽的叙事表现力。",[25,228,52,75,53,7,757,758,759,760,761,762,763,764,765,766],"黄帝","蚩尤","泜水斩蚩尤","战争","水泽","行营","仙神","大象","甲兵","旌旗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1388c380bbe88d810023e157ac20ec8d.jpg",[],{"id":770,"slug":771,"title":754,"dynasty":46,"author":70,"museum":20,"description":772,"tags":773,"thumbUrl":780,"material":35,"size":36,"collection":37,"collections":781,"showCount":749,"zanCount":11,"manualWeight":11,"mainColor":41},238568,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238568","这幅画作以仙神征伐为主题，构图张弛有度。右侧崖岸列兵肃立，左侧神将踏浪突进，托塔仙神乘云俯瞰，动静交织。工笔细写之下，甲胄纹饰华美繁复，衣袂云气线条流转灵动，海浪层叠晕染铺陈出水势汹涌，设色古雅明丽，红金与石青、水色相映，既烘托出征伐场面的恢宏肃穆，又带着缥缈神幻色彩。细节处松枝苍劲、云霭舒卷皆刻画入微，将仙凡对阵的磅礴张力藏于细腻笔触间，尽显传统宗教叙事绘画的精湛功力。",[25,52,75,228,53,774,775,280,76,776,114,98,181,777,778,779,7],"海水","岛屿","石塔","武将","波浪","云气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2c2a6658496b3ebba9232867d0c7961.jpg",[],{"id":783,"slug":784,"title":785,"dynasty":223,"author":70,"museum":20,"description":724,"tags":786,"thumbUrl":788,"material":35,"size":36,"collection":37,"collections":789,"showCount":790,"zanCount":11,"manualWeight":11,"mainColor":41},258939,"qing-hua-ba-xian-guo-hai-tu-hu-lu-ping-yi-ming-258939","青花八仙过海图葫芦瓶",[726,727,787,728,53,7],"葫芦瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F491a99320f1d45c2c77bdb71dab14067.jpg",[],6,{"id":792,"slug":793,"title":794,"dynasty":223,"author":795,"museum":20,"description":796,"tags":797,"thumbUrl":799,"material":35,"size":36,"collection":37,"collections":800,"showCount":801,"zanCount":11,"manualWeight":11,"mainColor":84},290323,"hua-sui-chao-zhong-kui-zhou-zhang-zhong-xue-290323","画岁朝锺馗轴","张仲学","该幅画岁除时节，钟馗搦管书桃符。桃木自古即被视同可以制鬼避邪的灵物。",[25,51,131,53,438,280,59,7,798],"岁朝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff55f0b4c06154ad799eaea81947aef19.jpg",[],5,{"id":803,"slug":804,"title":805,"dynasty":109,"author":70,"museum":20,"description":806,"tags":807,"thumbUrl":808,"material":35,"size":36,"collection":37,"collections":809,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":84},290718,"shou-xing-zhou-yi-ming-290718","寿星轴","此图描绘了寿星亦称南极老人星，其信仰起源于古人的星宿崇拜。秦汉之际即曾建造寿星祠，供奉寿星。后世小说、戏曲将之视为神仙之列，又名南极仙翁。头高额隆，大耳短躯是其特征。",[25,51,52,75,53,582,493,584,583,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc23dbd5f9a6904d03f31de5972ee8c2.jpg",[],{"id":811,"slug":812,"title":813,"dynasty":89,"author":70,"museum":20,"description":814,"tags":815,"thumbUrl":822,"material":35,"size":36,"collection":37,"collections":823,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":41},288679,"attributed-to-andre-s-de-melgar-term-holding-turtle-over-dragon-yi-ming-288679","attributed to Andrés de Melgar--Term Holding Turtle over Dragon","这幅钢笔速写是充满奇思的装饰草稿，棕褐线条灵动松快，将怪诞奇想与古典装饰语汇揉为一体。画面里妖异的拟人怪胎、虬曲龙形异兽与卷草饰纹缠绕共生。左侧小恶魔身姿轻捷，仿佛正驭着涡旋纹样向前腾跃，右侧狞面怪胎持杆托举海螺饰件，威严又带着邪异趣味。虬曲龙身舒展成卷涡，与缠枝纹样无缝相融，即兴勾勒的排线与流畅轮廓交织，把妖异张力和柔婉装饰感精妙平衡，潦草笔触带着创作时的鲜活即兴感，让这些幻想造物仿佛拥有了跃动的生命力。",[816,817,7,32,818,144,53,819,820,821],"素描","手稿","龟","奇幻生物","装饰纹样","怪诞形象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcca45cf38668013a5c2ee203e41aaa09.jpg",[],{"id":825,"slug":826,"title":827,"dynasty":223,"author":70,"museum":20,"description":828,"tags":829,"thumbUrl":833,"material":35,"size":36,"collection":37,"collections":834,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":696},272893,"zi-tan-mu-bian-hua-bo-li-ren-wu-tu-gua-ping-yi-ming-272893","紫檀木边画玻璃人物图挂屏","此作用色沉雅，以幽蓝铺底晕染出翻涌云海。下半幅林泉悠然，野鹿信步，仙鹤独立，两位高士驻步遥指天际，满溢世外山居的清逸安然。上半幅仙云缭绕，仙人乘云徐行，琼楼隐现云间，勾勒出缥缈阆苑。\n\n玻璃反绘的工艺让画面色彩匀净鲜亮，云浪层叠分明，仙宫、草木的明艳色彩衬于暗蓝底色，愈发灵动雅致。整幅以上下分野构图，将俗世慕仙之意融入笔间，鹿鹤暗含福寿祥瑞的祈愿，藏着清代求祥纳福的审美意趣，古雅沉静又带着灵动仙气，装饰性与人文意韵兼备。",[25,830,831,52,75,53,113,183,96,227,832,493,280,7,536],"挂屏","玻璃画","鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dff1e0ae0bcb6a9c7960a207d370862.jpg",[],{"id":836,"slug":837,"title":838,"dynasty":223,"author":70,"museum":20,"description":839,"tags":840,"thumbUrl":845,"material":35,"size":36,"collection":37,"collections":846,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":84},269906,"zhu-diao-liu-hai-xi-chan-tu-bi-tong-yi-ming-269906","竹雕刘海戏蟾图笔筒","笔筒： 用陶瓷、竹木、等制成的筒形插笔器具。笔筒是搁放毛笔的专用器物，据文献记载，它的材质有镏金、翡翠、紫檀和乌木，现在我们能够见到的传世器物，大多是用瓷或者是竹木制作的。具有收藏价值。",[841,668,842,53,843,7,693,844],"竹雕","笔筒","蟾蜍","竹制","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0d0fbb57fa4c8d364a6e62c64a9ae16.jpg",[],{"id":848,"slug":849,"title":850,"dynasty":46,"author":70,"museum":20,"description":851,"tags":852,"thumbUrl":857,"material":35,"size":36,"collection":37,"collections":858,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":696},262101,"wu-cai-zhang-tian-shi-zhan-wu-du-wen-xiao-pan-yi-ming-262101","五彩张天师斩五毒纹小盘","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。",[726,853,693,854,7,855,856],"日用具","五彩","张天师","五毒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd69b4a1ab145960bf3b9ee28563d68a4.jpg",[],{"id":860,"slug":861,"title":862,"dynasty":89,"author":863,"museum":20,"description":864,"tags":865,"thumbUrl":868,"material":35,"size":36,"collection":37,"collections":869,"showCount":83,"zanCount":11,"manualWeight":11,"mainColor":41},289447,"zuo-zhu-ben-san-shi-liu-ge-xian-hua-juan-duan-jian-zhu-ji-ming-shen-yue-weng-cang-qiu-289447","佐竹本三十六歌仙画卷断简(住吉明神)","岳翁藏丘","岳和声（生卒年不详），字尔律，一作之律，号石梁，一号梁父，自号餐微子，浙江嘉兴府秀水县（今桐乡市）人。南宋著名军事家、诗人岳飞十八世孙。",[23,25,130,26,170,52,113,866,427,439,327,29,7,867],"亭","住吉明神","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f598121f3dfe7714864feecc3a1190a.jpg",[],{"id":871,"slug":872,"title":873,"dynasty":89,"author":70,"museum":20,"description":874,"tags":875,"thumbUrl":880,"material":35,"size":36,"collection":37,"collections":881,"showCount":83,"zanCount":11,"manualWeight":11,"mainColor":41},288852,"giovanni-battista-tiepolo-time-and-truth-yi-ming-288852","Giovanni 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Adonis","这幅棕色调素描以细腻流畅的线条铺陈神话降生场景，画面中心的宁芙怀抱着初生的婴孩，身旁侍女垂首凝视，氛围静谧温柔。左侧林间萨堤洛斯悄然探窥，小天使与幼童点缀其间，为庄重场景晕开些许灵动意趣。\n\n右侧跪坐的宁芙虔敬地望向婴孩，远景山峦朦胧舒展，苍郁林木环绕周遭，将神话的神圣感融于柔和光影之中。素描以质朴质感复刻出传说里的肃穆温情，让古老神话的氛围感顺着笔意漫溢纸面。",[816,28,1124,7,1125,890,98,1126,1083,876],"西方绘画","阿多尼斯诞生","山野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e83bef9f47f8709932f0c62b3128ae9.jpg",[],{"id":1130,"slug":1131,"title":1132,"dynasty":89,"author":70,"museum":20,"description":1133,"tags":1134,"thumbUrl":1138,"material":35,"size":36,"collection":37,"collections":1139,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":41},289063,"karel-van-mander-i-the-challenge-of-the-pierides-yi-ming-289063","Karel van Mander I--The Challenge of the Pierides","这幅素描以棕调晕染铺陈，构图繁而不乱。石台之上的阿波罗沉静俯瞰，成为画面锚点。左侧缪斯衣袂舒展，神色带着诘问的锋芒；右侧神女或拨弦展卷，伸臂抗辩，将诗艺竞逐的张力拉满。林间天使翔集，古木虬枝掩映出幽谧神域氛围，地面弃置的乐器暗合竞技主题。\n线条兼具柔婉与劲挺，衣褶的垂坠柔感与神祇躯体的硬朗轮廓形成鲜明反差，明暗层次区分开空间远近，把神话里的诗艺对决定格为充满戏剧感的林间盛景，肃穆叙事感与素描松弛质感相融，尽显古典主题的庄重张力。",[816,53,7,890,415,1135,327,54,1136,1137],"树林","裸像","集会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d6867cfb173b35621fa05c5bcdbb3bb.jpg",[],{"id":1141,"slug":1142,"title":1143,"dynasty":89,"author":70,"museum":20,"description":1144,"tags":1145,"thumbUrl":1149,"material":35,"size":36,"collection":37,"collections":1150,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":41},288762,"salvator-rosa-the-fall-of-the-giants-yi-ming-288762","Salvator Rosa--The Fall of the Giants","奔放粗粝的炭笔线条织就出狂暴的陨落瞬间，巨人们肢体扭曲着从云端轰然砸落，云层被冲撞得支离破碎。画面里满是失控的张力，前景的骑手与巨兽裹挟着坠落的躯体，混乱中翻涌着覆灭的悲鸣。\n依靠排线疏密区分明暗，凌厉笔触带着失重的坠落感，将神战终末里巨人族的毁灭定格。粗粝的笔触感放大了悲剧的野性力量，让观者仿佛能听见崩坏的轰鸣与濒死的哀嚎，把宏大壮烈的末日图景凝固在纸面之上。",[816,1114,53,1146,7,1147,1148,901],"巨人","混乱","动态","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98920a1ed056c02914749f17cf64ee61.jpg",[],{"id":1152,"slug":1153,"title":1154,"dynasty":89,"author":70,"museum":20,"description":1155,"tags":1156,"thumbUrl":1160,"material":35,"size":36,"collection":37,"collections":1161,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":41},288755,"salvator-rosa-witches-sabbath-yi-ming-288755","Salvator Rosa--Witches' Sabbath","棕褐笔调铺就诡谲底色，奔放粗粝的线条勾勒出癫狂迷乱的群像。上方翼状邪灵张牙舞爪、盘旋纠缠，将阴森感肆意铺散；下方人影姿态扭曲惶惑，有人佝偻着搅动器物，有人拖拽同伴，癫狂与惶惑交织蔓延。潦草却精准的笔触，把禁忌仪式的迷狂暗黑揉进每一处褶皱，仿佛嘶哑呓语与诡异嘶吼穿透纸面，将观者拽入这场混沌荒诞的邪异场景之中，让神秘主义的惊悚氛围感扑面而来。",[816,27,28,29,7,1157,1158,1159],"巫术","女巫","怪物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd384c3637db3116aed2de20a9147b55f.jpg",[],{"id":1163,"slug":1164,"title":1165,"dynasty":89,"author":70,"museum":20,"description":1166,"tags":1167,"thumbUrl":1170,"material":35,"size":36,"collection":37,"collections":1171,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":41},288683,"attributed-to-andre-s-de-melgar-merman-with-strapwork-above-strapwork-and-snails-yi-ming-288683","attributed to Andrés de Melgar--Merman with Strapwork, Above Strapwork and Snails","画面上方人鱼躯干健硕紧绷，肌肉线条利落刻画出力量感，鱼尾盘绕成柔美的涡卷，将神话的绮想凝于笔端。下半部分带状饰纹极尽巧思，蝾螈状异兽蜷曲于缠枝涡卷之中，蜗牛纹样点缀其间，排线铺陈出明暗层次，勾勒出浮雕般的立体质感。\n\n整幅手稿以灵动线条串联起神话异兽与古典雕饰，怪诞绮丽又带着复古雅致，粗粝的纸面上藏着随性又精妙的巧思，揉合人体的力量韵律与装饰纹样的流动美感，尽显复古装饰美学的天马行空。",[27,1114,816,1168,32,1169,7,820],"人鱼","蜗牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefb3f57251d9dc23ade2a870c855f298.jpg",[],{"id":1173,"slug":1174,"title":1175,"dynasty":89,"author":70,"museum":20,"description":1176,"tags":1177,"thumbUrl":1178,"material":35,"size":36,"collection":37,"collections":1179,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":41},288677,"attributed-to-andre-s-de-melgar-term-with-shell-and-dragons-yi-ming-288677","attributed to Andrés de Melgar--Term with Shell and Dragons","尖笔勾勒出一场诡谲的装饰幻梦，半裸老者化身托姆柱，腰背驮起涡卷贝壳，肌肉线条苍劲朴拙，带着古典肃穆的诡异感。蜿蜒盘虬的龙形异兽攀附柱身，尖喙利齿森然，鬃毛翻卷如焰，躯体糅合爬虫的嶙峋与飞禽的矫捷，狞厉又灵动。\n\n画面角落的异种奇兽或蜷伏低吼，或奔跃探爪，凌厉洗练的线条带着版画般的硬朗质感。垂落的织物幔帐柔化了异兽的凶戾，起伏褶皱中和了尖刻笔触，令怪诞奇想糅合了雅致松弛。\n\n整体构图左右铺展呼应，将古典装饰语汇与超现实异兽之梦交织，铺陈出充满张力的暗黑美学图景，怪诞绮想在纤细刚劲的笔锋下，沉凝出独特的复古奇幻气质。",[27,32,144,53,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3db207e77bc3adc04bfa9eb5c17ab06.jpg",[],{"id":1181,"slug":1182,"title":1183,"dynasty":89,"author":70,"museum":20,"description":1184,"tags":1185,"thumbUrl":1189,"material":35,"size":36,"collection":37,"collections":1190,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":41},288676,"attributed-to-andre-s-de-melgar-warrior-reclining-over-reclining-cupid-in-interior-yi-ming-288676","attributed to Andrés de Melgar--Warrior Reclining, Over Reclining Cupid in Interior","利落的排线勾勒明暗层次，上下双景带着鲜明的意象反差。上半帐幔低垂，老将斜倚榻间，铠甲棱线冷硬苍劲，虬结的肌肉带着饱经战事的沉郁感，榻边雕饰华美的兵器衬出骑士的威仪。\n\n下半空间私密柔和，小爱神慵卧床榻，持弓少年回身相望，躯体线条舒展柔婉，满是神话情爱里的松弛诗意。一刚一柔并置，将勇武与爱欲的古典母题悄然呼应，笔痕粗粝却藏着细腻的动态捕捉，铺陈出复古浪漫的叙事张力。",[816,28,1186,1085,1187,1188,7,27],"武士","室内","兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8bd6c9b0155f9fad8dbc89d02e11ef3.jpg",[],{"id":1192,"slug":1193,"title":1194,"dynasty":223,"author":70,"museum":20,"description":1195,"tags":1196,"thumbUrl":1200,"material":35,"size":36,"collection":37,"collections":1201,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":84},271547,"duan-shi-peng-lai-shan-tu-yan-yi-ming-271547","端石蓬莱山图砚","砚台历经秦汉、魏晋，至唐代起，各地相继发现适合制砚的石料，开始以石为主的砚台制作。其中采用甘肃岷县的洮河石、广东端州的端石、安徽歙州的歙石制作的砚台，被分别称作洮砚、端砚、歙砚。史书将洮、端、歙称作三大名砚。清末，又将河南洛阳的澄泥砚与洮、端、歙，并列为中国四大名砚。也有人主张，以天然砚石雕制的鲁砚中的红丝石砚代替澄泥砚，合称四大名砚。\n谈起砚的种类有许多种，从砚的材质可分为：玉砚、银砚、铜砚、铁砚、陶砚、瓷砚、石砚、漆砚等，其中石砚是最为普遍，也最实用的一种砚。砚台起源于新石器时代。最早的砚是半坡村遗址出土的研磨颜料的研磨器，在1980年，大陆考古学家曾在陕西省临潼县姜寨一处原始社会的遗址中，发现了一套原始人用以陶器彩绘的工具，其中有一方石砚，砚有盖，砚面微凹，凹处并有一根石质磨杵，砚旁留存数块黑色颜料。很显然，这是先民们借助磨杵研磨颜料的早期砚的形制。由于这处遗址归属于母系氏族时期的仰韶文化，故这方砚台的实际寿龄已超过了五千年了。\n清代端石砚要求因材施艺，因石构图，在题材、立意、构图、造型、利用何种雕法都要精心推敲，刻划得当。保持了端砚的古雅、朴实，古色古香、形态自然的特点。如北京故宫收藏的「端石双龙砚」、「猫蝶砚」是端砚中的佳品。",[1197,1198,668,1199,7],"砚","端石","蓬莱山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e7b260711b8dc4c7033b04eeb7e71e6.jpg",[],{"id":1203,"slug":1204,"title":1205,"dynasty":223,"author":70,"museum":20,"description":1206,"tags":1207,"thumbUrl":1208,"material":35,"size":36,"collection":37,"collections":1209,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":696},261272,"yong-zheng-kuan-qing-hua-ba-xian-tu-wan-yi-ming-261272","雍正款青花八仙图碗","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。",[726,727,53,728,7,853],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bf771a5f8823acf2d4945931f602f52.jpg",[],{"id":1211,"slug":1212,"title":1213,"dynasty":223,"author":70,"museum":20,"description":1214,"tags":1215,"thumbUrl":1217,"material":35,"size":36,"collection":37,"collections":1218,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":750},260270,"mo-cai-ba-xian-tu-tao-bei-yi-ming-260270","墨彩八仙图套杯","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。",[726,939,853,1216,53,728,7],"墨彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff637ec8ec6c00efd217669fbba521ddc.jpg",[],{"id":1220,"slug":1221,"title":1222,"dynasty":223,"author":70,"museum":20,"description":724,"tags":1223,"thumbUrl":1224,"material":35,"size":36,"collection":37,"collections":1225,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":696},259667,"qing-hua-ba-xian-zhu-shou-tu-wan-yi-ming-259667","青花八仙祝寿图碗",[726,727,728,671,113,280,427,200,7,693],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60e3970c3669c07e9223879d36e35c9d.jpg",[],{"id":1227,"slug":1228,"title":1229,"dynasty":89,"author":1230,"museum":20,"description":1231,"tags":1232,"thumbUrl":1237,"material":35,"size":36,"collection":37,"collections":1238,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":84},231998,"semiramis-building-a-city-1861-private-collection-de-jia-231998","Semiramis 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Lamott）的画室里学画。\n1917年9月27日，埃德加·德加逝世于巴黎，享年83岁。",[1233,53,460,7,1234,1235,1236,1074],"油画","古城","夕阳","河畔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb12d89d958999f64d4a318f5c38b1f0b.jpg",[],{"id":1240,"slug":1241,"title":1242,"dynasty":1243,"author":70,"museum":20,"description":1244,"tags":1245,"thumbUrl":1248,"material":35,"size":36,"collection":37,"collections":1249,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":84},281318,"tian-di-shen-shi-gui-niu-tong-yin-yi-ming-281318","“天帝神师”龟钮铜印","汉","铜印章是由金属铜铸造而成，具有硬度大，不变形，保存时间长的特点。当代，由中国铜领域第一人的朱炳仁大师开创了熔铜铸印，每枚形态各异，造型独特，极具艺术性。\n铜印的印面，也可见到极少数的棱形和圆形铜印，印纽的形状变化较多，有瓦纽，兔纽，兽纽，柄纽，片纽等等。古代铜印从印文内容上又可分为官印，人名印，闲章，吉祥语，图案印，斋室印，收藏印，在古代遗留下的书画作品或其他文史资料中，人们可以常常可以看到这类印文。\n从拍卖市场来看，铜印中的官印最受市场追捧，像“统军千户之印”，印背一侧刻“统军千户之印”，另一侧刻“中书礼部造，太平二年月日”，系元末农民起义军徐寿辉所铸。另外一枚魏晋时期的奉车都尉鎏金青铜玺印，估价5万至8万元，成交价则达到了19.04万元。奉车都尉是一种官名，自汉武帝设立之后，到宋代废弃，这枚铜印无疑是当时历史的一段记载。\n相比官印，肖形印也是铜印中的主要品种。在2007年中国嘉德秋拍中，一枚估价仅为2000至4000元的战国肖形青铜印，成交价达到了4万余元。这枚铜印的印面为龙形图案，虎钮，造型生动活泼，栩栩如生，不可多得。肖形印，亦称画印、图印、封蜡印及生肖印，是印学研究中不可缺少的重要组成部分，它有别于文字印，但内容十分广泛。\n值得注意的是，随着铜印身价的与日俱增，赝品也越来越多地出现在市场上。由于铜本身的价格不如金银，因此造假成本比较低，加上拍卖价格比较高，因此巨大的利益驱使了造假者纷纷出手。收藏市场上的铜印赝品，绝大多数是翻砂浇铸的粗劣之作。印钮两侧的标记文字也是浇铸成形的，文字不清或似是而非。为了使赝品更加逼真，造假者往往会人为制作黑色包浆，常用办法是涂上油腊烤烧数遍之后即成，但往往可以通过手剥看到下面的黄铜。",[59,1246,1247,991,668,818,29,7],"青铜器","铜制","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbd12299d6c8c2f9f429aaf7514672a7.jpg",[],{"id":1251,"slug":1252,"title":1253,"dynasty":46,"author":70,"museum":20,"description":988,"tags":1254,"thumbUrl":1256,"material":35,"size":36,"collection":37,"collections":1257,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},277918,"yi-shou-niu-xuan-gu-tian-xian-yin-yi-ming-277918","异兽纽“玄谷天仙”印",[59,691,991,668,144,7,1255],"天仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaa2639e640b6996b4681b7ca3776645.jpg",[],{"id":1259,"slug":1260,"title":1261,"dynasty":223,"author":70,"museum":20,"description":1262,"tags":1263,"thumbUrl":1264,"material":35,"size":36,"collection":37,"collections":1265,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},277689,"peng-dao-yao-tai-fu-hai-zhong-zhang-yi-ming-277689","“蓬岛瑶台福海中”章","战国时期，主张合纵的名相苏秦佩戴过六国相印。近几年来，出土的文物又把印章的历史向前推进了数百年。也就是说，印章在周朝时就有了。\n传世的古代玺印，多数出于古城废墟、河流和古墓中。有的是战争中战败者流亡时所遗弃，也有在战争中殉职者遗弃在战场上的，而当时的惯例，凡在战场上虏获的印章必须上交，而官吏迁职、死后也须脱解印绶上交。其它有不少如官职连姓名的，以及吉语印、肖形印等一般是殉葬之物，而不是实品。其它在战国时代的陶器和标准量器上，以及有些诸侯国的金币上，都用印章盖上名称和记录上制造工匠的名姓或图记性质的符号，也被流传下来。\n古玺是先秦印章的通称。我们现在所能看到的一般最早的印章大多是战国古玺。印文笔画细如毫发，都出于铸造。白文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。官玺的印文内容有“司马”、“司徒”等名称外，还有各种不规则的形状，内容还刻有吉语和生动的物图案。朱文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。\n古印章和书画一样，崇尚名人效应，讲究技艺水准。一般来说，篆刻作者以及印章属主的名气大小、地位高低和作品的价值成正比。但古印章和字画、陶瓷等热门品种又有所不同。由于藏家、行家相对较少，认知能力跟不上，以至于鉴定难度加大，认可上更挑剔、更严格。因此，对于名人作品的收藏或投资，一定要慎之又慎。即不仅要真，还要真得“好”、“精”、“开门”。要注意鉴别旧仿以及改刻、添款之作。\n古印章大多都有钮饰工艺，而钮工的精粗与否将直接影响到古印章的价值。钮饰雕琢奇巧、精致传神，薄意浮雕水平高超的，附加值亦随之提升。\n古印章的石材产地多，仅寿山、青田、昌化三地就有数百种之多，其质地高下、优劣参差不齐。一般来说，衡量石质有三点：一是直观颜色漂亮明艳、亮丽抢眼；二是质感好，即符合“细、腻、温、润、结、凝”之“六德”；三是产量稀少、外貌特殊，如上品母黄、芙蓉、封门、鸡血等名品。",[59,991,691,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0750aa51a1a5f3397c62b8cd77b7a481.jpg",[],{"id":1267,"slug":1268,"title":1269,"dynasty":223,"author":70,"museum":20,"description":1270,"tags":1271,"thumbUrl":1273,"material":35,"size":36,"collection":37,"collections":1274,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},273707,"hong-se-ba-xian-ren-wu-tu-fang-la-yi-ming-273707","红色八仙人物图方蜡","动物、植物所产生的，或石油、煤、油页岩中所含的油质，常温下多为固体，具有可塑性，能燃烧，易熔化，不溶于水，如蜂蜡、白蜡、石蜡等。用作防水剂，也可做蜡烛。\n过年之际，华灯齐放，皇宫还会点燃造型纹饰考究的花烛，有的是云纹的，有的是大吉葫芦的，有的饰有文字，如“五谷丰登迎祥”“宜入天下太平”，连这样的消耗品也契合年味。",[853,668,728,53,1272,7],"红蜡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50914a31038bf8178851792e890bf291.jpg",[],{"id":1276,"slug":1277,"title":1278,"dynasty":223,"author":70,"museum":20,"description":1279,"tags":1280,"thumbUrl":1283,"material":35,"size":36,"collection":37,"collections":1284,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},273002,"mu-jin-gu-bang-yi-ming-273002","木金箍棒","两端包铜满錾缠枝瑞纹，刀工细密灵动，将祥瑞意趣凝于铜面。朱红木身髹漆匀净，历经岁月经年，漆面晕开时光浸润的温润包浆，中和了神兵的桀骜戾气，添了陈设赏玩的娴雅气韵。匠人手作将传说中搅翻天地的定海神珍，淬炼成可赏可藏的静美器物，让齐天大圣的锋芒幻化成案间雅物，藏着民间对西游故事的热忱眷恋，把神话传奇揉进了日常的赏玩意趣里。",[667,1188,668,1281,7,1282,693],"金箍棒","孙悟空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e901cb8c86d91dfef8ecb4aad0d3dab.jpg",[],{"id":1286,"slug":1287,"title":1288,"dynasty":223,"author":70,"museum":20,"description":1289,"tags":1290,"thumbUrl":1293,"material":35,"size":36,"collection":37,"collections":1294,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},270008,"feng-yun-sheng-kuan-zhu-gen-diao-xian-cha-yi-ming-270008","封云生款竹根雕仙槎","此作循竹根天然肌理因材施艺，将仙槎幻化为乘游雅境。盘曲槎身如古舟凌波，数位仙人错落布于其上，或低语晤谈，或凭舷远眺，衣袂褶皱流转自然，神态灵动宛然。顶端灵鹿昂首卓立，为清逸意境更添仙灵之气。\n\n刀工藏露得宜，既留存竹根原生的朴拙质感，又以精妙细刻勾勒出人物风神，将乘槎遨游的悠然意趣尽数具象，古雅浑朴间尽显天人合一的造物巧思。",[1291,668,53,493,1292,7,693],"竹根雕","仙槎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fb27e14d7b5e27176b7c8f605fb80cd.jpg",[],{"id":1296,"slug":1297,"title":1298,"dynasty":223,"author":70,"museum":20,"description":1299,"tags":1300,"thumbUrl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