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图卷－十六神仙","明","周颠","周颠（？－？），明朝初年颠僧，建昌（今江西永修）人。本名不详，因为行事疯癫，人称周颠。\n朱元璋讨陈友谅时，周颠一直来求见，朱元璋很反感，于是把他处以烹杀，但是烧不死他，于是朱元璋将他寄养于蒋山寺。《明史·方伎传》以《周颠仙传》为根据收录他的传记。朱元璋亲著《周颠仙传》，纪周颠仙事迹。内有太祖御制《祭天眼尊者文》一首，《群仙诗》及《赤脚僧诗》各一首。\n民间相传，朱元璋病时，梦见一个佛坐在龙椅上念经，随即降下一个彗星，火焚宫殿。于是从庐山找来周颠发问，是不是亡国之兆。周颠说：“佛在龙座上，宫殿又有火，象征国号‘大明’，是国家昌盛之意。”朱元璋说：“彗星是不是周公辅政？”周颠却笑着说：“不是周公，就是召公。这个佛不是被召公赶走，就是要帮助召公。”周颠就走了。朱元璋一直不理解，到自己死前才突然理解了，把年轻时穿过的一套袈裟与一柄匕首包好，拿给建文帝，说：“我本来出身就是和尚，有困难的时候，你也知道该怎么办。”",[23,25,27,26,101,183,31,7,58,35,39],"水墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d9f1aff475a20d5d17b1bd203533867.jpg",[],45,{"id":188,"slug":189,"title":190,"dynasty":18,"author":19,"museum":191,"description":192,"tags":193,"thumbUrl":195,"material":28,"size":196,"collection":63,"collections":197,"showCount":199,"zanCount":67,"manualWeight":11,"mainColor":91},221317,"jiu-ge-shu-hua-juan-zhang-dun-li-221317","九歌书画卷","美国波士顿博物馆","《九歌》是《楚辭》篇名。原為傳說中的一種遠古歌曲的名稱，戰國楚人屈原據民間祭神樂歌改作或加工而成。共十一篇：《東皇太一》、《雲中君》、《湘君》、《湘夫人》、《大司命》、《少司命》、《東君》、《河伯》、《山鬼》、《國殤》、《禮魂》。《國殤》一篇，是悼念和頌讚為楚國而戰死將士;多數篇章，則皆描寫神靈間的眷戀，表現出深切的思念或所求未遂的傷感。王逸說是屈原放逐江南時所作。但現代研究者多認為作於放逐之前，僅供祭祀之用。",[23,25,24,26,27,28,29,31,32,144,194,35,39,170,7],"树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F799e28b7c8a53f49ea8a67fbad151b43.jpg","23.5 × 716 cm",[63,43,198],"水墨画精选",43,{"id":201,"slug":202,"title":203,"dynasty":96,"author":140,"museum":141,"description":142,"tags":204,"thumbUrl":206,"material":41,"size":146,"collection":88,"collections":207,"showCount":208,"zanCount":11,"manualWeight":11,"mainColor":47},218337,"shen-xian-gu-shi-tu-ce-1-leng-mei-218337","神仙故事图册-1",[23,25,28,29,31,205,82,33,7,169],"流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9a61ad2a7e96dd17ea8b4e38b2355c5.jpg",[],37,{"id":210,"slug":211,"title":123,"dynasty":18,"author":72,"museum":73,"description":212,"tags":213,"thumbUrl":216,"material":217,"size":218,"collection":88,"collections":219,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":91},223481,"mo-gu-kai-zhi-luo-shen-fu-tu-yi-ming-223481","描绘了作者对洛水之神宓妃的爱慕以及神人殊隔、不能交接的惆怅。作品将不同情节置于同一画卷，洛神和曹植在一个完整的画面的不同场景中反复出现，以山石、林木及河水等背景，将画面分隔成不同情节，使画面既分隔又相联接。图中山石、林木，反映了早期山水画的表现技法和面貌。",[24,25,26,27,103,101,28,29,31,102,32,128,83,214,7,34,33,215,205,39,35],"船","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba227c4592b380f204fd43c2f9873fd7.jpg","绢本设色","644x26.1厘米",[],36,{"id":222,"slug":223,"title":224,"dynasty":96,"author":72,"museum":53,"description":225,"tags":226,"thumbUrl":232,"material":41,"size":233,"collection":43,"collections":234,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":47},219595,"wan-nian-bu-lao-ce-yao-chi-chun-yan-yi-ming-219595","万年不老册-瑶池春宴","此作分上下二幅，上方以墨绿为底，泥金小楷端正隽秀，古雅沉静。下幅工笔设色，绘就瑶池春宴盛景。烟波之上，仙宾乘槎踏浪而来；苍松翠峦间，群仙或围坐清谈，或悠然伫立，麋鹿仙鹤闲游林泉，自在怡然。笔触精细工致，敷色妍丽明净，晕染出山石松涛的温润质感，将神话仙境的缥缈出尘，融于人间雅集的恬和悠然之中，把瑶池宴饮铺作世外清景，尽显工笔仙佛题材的雅致意趣，氤氲着清宁出尘的仙家气韵。",[24,25,26,169,28,29,31,7,227,228,194,144,82,229,230,231],"鹤","鹿","亭","瑞兽","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faba36c2019ede989fac397469dd36396.jpg","39x57.5厘米",[43],{"id":236,"slug":237,"title":238,"dynasty":18,"author":239,"museum":98,"description":240,"tags":241,"thumbUrl":243,"material":105,"size":106,"collection":88,"collections":244,"showCount":245,"zanCount":11,"manualWeight":11,"mainColor":91},288059,"chao-yuan-tu-juan-wu-zong-yuan-288059","朝元图卷","武宗元","武宗元(约980～1050)，初名宗道，字总之。河南白波（今河南洛阳吉利区）人。北宋画家。宋真宗景德年间，建玉清昭应宫，征全国画师，分二部，宗元为左部之长。他家世业儒，以荫得太庙斋郎，官至虞部员外郎。擅画道释人物，曾为开封、洛阳各寺观作大量壁画。",[23,24,25,26,27,101,31,242,7],"道教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fa5f8f29a39746c8231c14fa0622632.jpg",[],34,{"id":247,"slug":248,"title":249,"dynasty":18,"author":250,"museum":73,"description":251,"tags":252,"thumbUrl":254,"material":255,"size":256,"collection":88,"collections":257,"showCount":258,"zanCount":11,"manualWeight":11,"mainColor":91},232627,"xi-yue-jiang-ling-tu-juan-quan-juan-li-gong-lin-232627","西岳降灵图卷全卷","李公麟","《西岳降灵图》图卷描绘了各种形形色色人物，包括贵族及其眷属随从，甚至市井中的商人、乞丐、渔父、玩把戏的等等。在不同的程度上表现了各种人的特点。道教画放手描写市井人物，因为道教相信神仙会隐迹在普通人群中间，可以具有普通人的外表。因而这样的道教画又具有了风俗画的特点。李公麟的绘画风格，是重实践而又追求清新的。\n《西岳降灵图》画卷被认为是北宋著名画家李公麟的传世名作之一。从画卷后的跋语及其所钤盖的印章来看，该画卷在明初曾为黔宁王沐英家族收藏，明成化至正德时，又流落到大太监钱宁手中，清代则为鉴藏家梁清标所有。该画卷最后的私人收藏者是近现代佛学大师、书画家、鉴藏家叶恭绰先生。特别值得一提的是，叶恭绰先生曾经的重要藏品还有《鸭头丸贴》、《毛公鼎》等等。虽然《西岳降灵图》并未见诸著录，但经许多收藏大家之手审定、珍藏，也可说是流传有序了。",[23,25,24,27,101,31,155,144,7,253,39],"仪仗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38fa89bfeaab83091e6e70ab92b978e3.jpg","纸本","纵26.5厘米，横513.7厘米",[],33,{"id":260,"slug":261,"title":262,"dynasty":18,"author":263,"museum":98,"description":264,"tags":265,"thumbUrl":268,"material":105,"size":106,"collection":88,"collections":269,"showCount":270,"zanCount":46,"manualWeight":11,"mainColor":47},290897,"bai-miao-dao-jun-xiang-liang-kai-290897","白描道君像","梁楷","《白描道君像图》共分为三部分，中段画主神于莲花之上，左右两段各画人间及地狱的活动；右段是道观的日常起居和法事：祈祷、习经、绘塑神像等；左段则绘世俗生活，多为积善行德的场面。左下角为地狱形象，有风刀之苦及鬼官治事，且有火中盛开金莲的场面，疑与咏习《黄庭经》的禁忌科戒有关。该图是梁楷画笔中流传下来的唯一孤本，画中人物形象端庄，周密繁复，笔势劲细，骨体苍劲，确是李公麟画派以后的面貌，与南宋其他人物画叛然殊途。图中的山林泉石，既不是北宋李成、范宽的画派，也不是董源江南画派的体系，工整的形式，出于北宋。",[23,27,25,26,101,242,7,31,128,35,37,266,267],"写经","黄庭经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c1d7f06e06834834cdb17f9b89afb4a.jpg",[],31,{"id":272,"slug":273,"title":274,"dynasty":18,"author":72,"museum":98,"description":275,"tags":276,"thumbUrl":277,"material":88,"size":88,"collection":88,"collections":278,"showCount":279,"zanCount":11,"manualWeight":11,"mainColor":91},227371,"luo-shen-fu-tu-di-yi-juan-yi-ming-227371","洛神赋图第一卷","曹植的作品中，除了“七步诗”，最有名的就是《洛神赋》了，后来，著名的画家顾恺之依据《洛神赋》，画了流传千古的名画《洛神赋图》，其中最感人的一段描绘是曹植与洛神相逢，但是洛神却无奈离去的情景。\n\n全卷分为三个部分，曲折细致而又层次分明地描绘着曹植与洛神真挚纯洁的爱情故事。人物安排疏密得宜，在不同的时空中自然地交替、重叠、交换，而在山川景物描绘上，无不展现一种空间美。\n\n此图卷无论从内容、艺术结构、人物造形、环境描绘和笔墨表现的形式来看，都不愧为中国古典绘画中的瑰宝之一。",[23,25,27,28,29,101,35,39,31,126,7,127,32,33,205,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda06f1d6798502716c251cdbc934d11d.jpg",[],29,{"id":281,"slug":282,"title":283,"dynasty":179,"author":284,"museum":98,"description":285,"tags":286,"thumbUrl":287,"material":105,"size":106,"collection":88,"collections":288,"showCount":289,"zanCount":11,"manualWeight":11,"mainColor":47},228284,"shan-shui-wu-jian-hua-hui-ce-13-kai-chen-hong-shou-228284","山水物件花卉册13开","陈洪绶","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[25,26,169,101,183,31,7,58],"https:\u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。亦工鸟兽、花卉。\n早年画学戴进，临摹能肖其神，画法工细。至南京后，又宗法吴伟，变为粗笔写意。他善画人物，多绘神仙、士子、渔夫，形象质朴，神态清朗，具高昂向上的气质。景致简略，笔墨遒劲，风格豪放，然少秀逸和蕴藉之致；为浙派健将，亦开后来学者粗率之风。他具有典型风貌的水墨写意作品较多，人物多用顿折的重墨线条勾勒，山石以粗犷的笔触作大斧劈皴，运笔迅捷，水墨淋漓，具有豪放动荡的气势。亦能画写意花鸟。",[23,25,26,169,183,28,31,83,7,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6025a28885115b652deb28c15e6d8196.jpg",[],{"id":315,"slug":316,"title":317,"dynasty":96,"author":140,"museum":141,"description":142,"tags":318,"thumbUrl":320,"material":41,"size":146,"collection":88,"collections":321,"showCount":302,"zanCount":11,"manualWeight":11,"mainColor":47},218334,"shen-xian-gu-shi-tu-ce-5-leng-mei-218334","神仙故事图册-5",[23,25,28,29,31,7,319,144,169,38],"波浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F781bd26342a026f38abb9ad0392e3bd2.jpg",[],{"id":323,"slug":324,"title":325,"dynasty":179,"author":326,"museum":98,"description":327,"tags":328,"thumbUrl":330,"material":88,"size":88,"collection":43,"collections":331,"showCount":332,"zanCount":46,"manualWeight":11,"mainColor":91},236411,"er-xian-zhou-peng-shun-xiang-236411","二仙轴","彭舜乡","画面以淡赭铺底，枯木虬枝缀着寒蕊，晕开清寂幽远的林下氛围。\n\n长仙峨冠长髯，宽袍曳地，持拂尘垂眸含笑，神色悠然和煦，似在静听童子言语。赤足短褐的童子仰首抬望，憨态里满是敬慕，灵动身形衬出稚拙意趣。\n\n画作以顿挫写意的墨线勾勒衣纹，笔力苍劲洒脱，将布料垂坠褶皱尽显，人物神态刻画入微。仙风道骨与童真稚趣相映成趣，以简驭繁的水墨写意间，氤氲出飘然出尘的世外仙气，把高人隐士的闲适清雅铺陈开来，尽显传统人物画的写意神韵。",[25,26,57,183,28,31,7,329,33,82,101],"古代服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb06d168bc0594d94200701bd45eefb2.jpg",[43,198],24,{"id":334,"slug":335,"title":336,"dynasty":179,"author":308,"museum":309,"description":310,"tags":337,"thumbUrl":338,"material":88,"size":88,"collection":88,"collections":339,"showCount":340,"zanCount":46,"manualWeight":11,"mainColor":47},222517,"shen-xian-tu-ce-6-zhang-lu-222517","神仙图册6",[23,24,25,26,169,183,101,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccd335e2d1ed4bc96ae99305478e6322.jpg",[],21,{"id":342,"slug":343,"title":344,"dynasty":18,"author":250,"museum":98,"description":345,"tags":346,"thumbUrl":348,"material":105,"size":106,"collection":88,"collections":349,"showCount":350,"zanCount":11,"manualWeight":11,"mainColor":91},287741,"bai-miao-qun-xian-bai-tai-tu-juan-li-gong-lin-287741","白描群仙百态图卷","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。",[23,25,26,27,101,183,31,58,7,347,77,35],"罗汉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e6880c9231b29fda4461bdd4ce43318.jpg",[],20,{"id":352,"slug":353,"title":354,"dynasty":179,"author":355,"museum":98,"description":356,"tags":357,"thumbUrl":360,"material":105,"size":106,"collection":88,"collections":361,"showCount":362,"zanCount":11,"manualWeight":11,"mainColor":91},287390,"si-xian-xi-he-tu-zhou-liu-jun-287390","四仙戏鹤图轴","刘俊","刘俊（明），字廷伟，擅山水，入能品，人物亦佳。刘俊是明代的宫廷画家，授“锦衣都指挥”职。",[23,25,57,24,28,31,227,7,358,359],"梅","戏乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77738dc25626e384db1ea3ba89e6ba20.jpg",[],12,{"id":364,"slug":365,"title":366,"dynasty":179,"author":308,"museum":309,"description":310,"tags":367,"thumbUrl":369,"material":88,"size":88,"collection":88,"collections":370,"showCount":362,"zanCount":46,"manualWeight":11,"mainColor":47},222506,"shen-xian-tu-ce-12-zhang-lu-222506","神仙图册12",[23,25,26,169,183,31,7,368],"孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fead3d0475cfde468914dce5f134d3524.jpg",[],{"id":372,"slug":373,"title":374,"dynasty":18,"author":72,"museum":98,"description":375,"tags":376,"thumbUrl":380,"material":105,"size":106,"collection":88,"collections":381,"showCount":382,"zanCount":11,"manualWeight":11,"mainColor":91},290624,"guo-lao-xian-zong-zhou-yi-ming-290624","果老仙踪轴","此画传为宋人所绘，但从画风和细节装饰等因素来看，应是明人笔墨，可能为明代中晚期的宫廷作品。\n蟠桃垂实累累，白鹤憩游于竹林，紫芝傍生于石隙，树下张果老，拄杖坐于石上。张果老为八仙之一，相传年寿数百岁。除了白鹤、紫芝、张果老等母题都与长寿有关外，「蟠桃」又名「寿桃」，而「竹」与「祝」谐音，两者合一，更有「祝寿」之意。此画细节装饰繁复，树干的画法追摹吕纪，而几上的云龙纹香炉及下方的红地枪金漆盒之器型与装饰也属明风，故此作很可能是明中晚期的宫廷相关作品。",[25,57,29,28,31,7,126,377,378,379,231],"仙鹤","桃花","竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dd4e91be819c47130f97654a23133fb.jpg",[],9,{"id":384,"slug":385,"title":386,"dynasty":179,"author":387,"museum":98,"description":388,"tags":389,"thumbUrl":392,"material":105,"size":106,"collection":88,"collections":393,"showCount":382,"zanCount":11,"manualWeight":11,"mainColor":91},288042,"qun-xian-du-hai-tu-ye-ding-yun-peng-288042","群仙渡海图页","丁云鹏","天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 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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。",[23,25,24,101,183,31,32,7,390,77,83,33,205,131,39,391],"渡海","册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa756fff9ee608aeb8f33911396a94482.jpg",[],{"id":395,"slug":396,"title":397,"dynasty":179,"author":72,"museum":98,"description":398,"tags":399,"thumbUrl":406,"material":105,"size":106,"collection":88,"collections":407,"showCount":408,"zanCount":11,"manualWeight":11,"mainColor":47},290806,"ming-gu-xiu-ba-xian-qing-shou-gua-ping-yi-ming-290806","明顾绣八仙庆寿挂屏","此作为绣绘结合的佳作，画面里仙姑踏云徐行，身姿温婉娴静。手中莲茎亭亭，莲蓬娇润、花苞含露，细节生动传神。衣袂纹饰以彩绣细致铺陈，晕色柔和自然，配色清雅和谐，将仙裙翩跹之态尽显。背景云纹以淡墨晕染辅以绣线勾勒，层层舒展，空灵悠然，烘托出缥缈出尘的仙家意境。整体构图疏朗清逸，以画入绣的技法尽显精妙气韵，将仙姑温婉仙气与云天悠然氛围融为一体，尽显匠造巧思。",[400,401,26,28,31,402,403,404,7,405],"刺绣","挂屏","荷花","祥云","八仙","庆寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c3d819818e59fa2d7bdf32341d0aeae.jpg",[],7,{"id":410,"slug":411,"title":412,"dynasty":96,"author":72,"museum":98,"description":413,"tags":414,"thumbUrl":418,"material":105,"size":106,"collection":88,"collections":419,"showCount":408,"zanCount":11,"manualWeight":11,"mainColor":91},252792,"ni-ren-zhang-su-cai-hui-lu-xing-xiang-yi-ming-252792","泥人张塑彩绘禄星像","此作塑工精湛，禄星面容方正威严，虬髯垂胸自带威仪。宝冠嵌饰精巧，朱红袍身遍绘墨色游龙，纹饰灵动流畅，宝带束腰更衬身姿端方挺拔。\n施彩古雅厚重，红褐底色沉稳大气，衣褶晕染写实自然，垂坠感十足，将天官显贵雍容气度凝练于泥塑之上。既不失民俗造像的朴拙生动，又尽显匠人精妙功底，把福禄吉庆的美好意涵融于每一处细节，尽显传统彩塑的匠心神采，是民俗手工艺的上乘之作。",[415,416,28,31,7,102,417],"泥塑","彩绘","民间工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F148d0b38109424c46925328f6f0ebe3e.jpg",[],{"id":421,"slug":422,"title":423,"dynasty":179,"author":72,"museum":98,"description":424,"tags":425,"thumbUrl":431,"material":105,"size":106,"collection":88,"collections":432,"showCount":408,"zanCount":11,"manualWeight":11,"mainColor":47},238568,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238568","明人升平翊赞图并书赞册","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。",[25,28,29,169,31,426,427,428,403,429,82,33,7,430,319,34,131],"海水","岛屿","松树","石塔","武将","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2c2a6658496b3ebba9232867d0c7961.jpg",[],{"id":434,"slug":435,"title":436,"dynasty":113,"author":72,"museum":98,"description":437,"tags":438,"thumbUrl":442,"material":105,"size":106,"collection":88,"collections":443,"showCount":408,"zanCount":11,"manualWeight":11,"mainColor":91},223852,"qun-xian-gao-hui-jing-yi-ming-223852","群仙高会镜","唐代是中国古代铜镜制造的鼎盛时期，唐镜不仅继承了汉魏的文化传统，而且吸收了边疆民族的艺术成就，同时对外来（主要是波斯、印度）文化中的优秀部分也兼收并蓄，融汇一体，构图更加精细，使铜镜艺术达到了一个新的高峰。铸镜业是唐代最精细的工艺，每逢八月五日（唐玄宗生日）人们都将铜镜作为礼品送人，祝福长寿，这一天被定名为“千秋金鉴节”（金鉴指铜镜）。",[439,440,441,31,7],"铜制","雕刻","青铜器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3e8e98640b806a3180e1afe724e7881.jpg",[],{"id":445,"slug":446,"title":447,"dynasty":96,"author":72,"museum":98,"description":448,"tags":449,"thumbUrl":451,"material":105,"size":106,"collection":88,"collections":452,"showCount":453,"zanCount":11,"manualWeight":11,"mainColor":91},268765,"ke-si-qun-xian-qing-shou-tu-zhou-yi-ming-268765","缂丝群仙庆寿图轴","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”。",[56,57,26,28,7,31,128,428,82,403,450,405],"花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faeb67df09269691b928edd4d680a3067.jpg",[],5,{"id":455,"slug":456,"title":457,"dynasty":96,"author":72,"museum":98,"description":458,"tags":459,"thumbUrl":464,"material":105,"size":106,"collection":88,"collections":465,"showCount":466,"zanCount":11,"manualWeight":11,"mainColor":91},248653,"hei-qi-miao-jin-ba-xian-tu-yin-li-wan-yi-ming-248653","黑漆描金八仙图银里碗","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。",[460,461,462,31,7,231,463],"清代","漆器","黑漆描金","银里","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb91542f06bc7e819b275d46b5fe50abb.jpg",[],4,{"id":468,"slug":469,"title":447,"dynasty":96,"author":72,"museum":98,"description":448,"tags":470,"thumbUrl":474,"material":105,"size":106,"collection":88,"collections":475,"showCount":476,"zanCount":11,"manualWeight":11,"mainColor":303},268766,"ke-si-qun-xian-qing-shou-tu-zhou-yi-ming-268766",[56,57,28,29,7,31,471,128,82,428,228,472,403,473],"祝寿","牛","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23c32c9318197335bc6a922d0a8d0da0.jpg",[],3,{"id":478,"slug":479,"title":480,"dynasty":179,"author":72,"museum":98,"description":481,"tags":482,"thumbUrl":485,"material":105,"size":106,"collection":88,"collections":486,"showCount":46,"zanCount":11,"manualWeight":11,"mainColor":487},277971,"yi-shou-niu-xian-tian-yi-qi-zi-wei-zhen-xian-hun-yuan-jiao-zhu-mi-chuan-xuan-ao-yin-yi-ming-277971","异兽纽“先天一气”“紫微真仙”“混元教主”“秘传玄奥”印","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。",[39,483,484,440,76,242,7],"篆刻","玉石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20f932dd4a4a3ce16ad85def5bfb7c0c.jpg",[],"FFFFFF",{"id":489,"slug":490,"title":491,"dynasty":96,"author":72,"museum":98,"description":492,"tags":493,"thumbUrl":495,"material":105,"size":106,"collection":88,"collections":496,"showCount":46,"zanCount":11,"manualWeight":11,"mainColor":91},256122,"shou-shan-shi-wen-chang-zuo-xiang-yi-ming-256122","寿山石文昌坐像","中国雕塑是指具有中国特色且原产于中国的雕塑艺术品。中国雕塑（Chinese sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[460,494,440,31,7],"寿山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70e65ba80ee8f1aeea3c4fb98a24500a.jpg",[],1777535712293]