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Jiude）是一位清朝的画家，他的狻猊图是他最著名的作品之一。狻猊图是一幅大型油画，描绘了一只狮子在草原上的场景。这幅画以其精细的细节、生动的色彩和传神的描绘而闻名。刘九德在创作狻猊图时，深受中国传统山水画的启发，并结合自己的独特艺术风格。狻猊图被认为是中国清朝时期最优秀的艺术作品之一，并被广泛收藏。",[23,24,25,26,27,28,7,29,30,31],"国画","书画","立轴","设色","工笔","兽","松树","山石","竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce7c5161fa971df7d7b5ae04c0307600.jpg","绢本,设色","176.8x238.5cm","花鸟画精选",[35],40,"795548",{"id":40,"slug":41,"title":42,"dynasty":43,"author":44,"museum":45,"description":46,"tags":47,"thumbUrl":62,"material":63,"size":64,"collection":65,"collections":66,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":68},231786,"ming-qing-ri-ben-gu-hua-fen-ben-niao-shou-xi-hua-juan-he-guo-xiao-zhai-231786","明清日本古画粉本-鸟兽戏画卷","不详","河锅晓斋","藏地不详","河鍋曉齋是日本幕末至明治時期的浮世絵師。評論家認為他是「一個獨立的帶有個人主義的，可能是傳統日本畫的最後大師」。",[48,23,24,49,50,51,27,52,53,54,7,55,56,57,30,58,59,28,60,61],"高清","长卷","白描","水墨","猴","兔","蛙","猫","鸟","树","草","植物","人物","花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1999d93bfc618f73b31dacf8332bcf76.jpg","未知","Xcm*Xcm","",[],15,"BDBDBD",{"id":70,"slug":71,"title":72,"dynasty":73,"author":74,"museum":45,"description":75,"tags":76,"thumbUrl":80,"material":63,"size":64,"collection":65,"collections":81,"showCount":82,"zanCount":11,"manualWeight":11,"mainColor":38},288997,"shi-shi-tu-tao-yin-288997","十狮图","唐","陶訚","画中五狮神采各异，昂首咆哮者尽显悍勇，扑跃嬉闹者流露灵动，劲挺的鬃毛笔触蓬松，将瑞狮健硕肌理勾勒得栩栩如生。古雅沉郁的棕褐底色烘托墨色狮身，工细晕染与写意笔意相融，尽显雄浑气魄。\n\n瑞狮作为镇护瑞兽，承载着祈福安宅的意涵，整幅画作刚柔并济，线条兼具苍劲与灵动，画师以精妙笔力将盛世意气凝于绢素。题跋文辞相映，让逸闻与画中神采交织，古韵悠悠，是兼具审美价值与民俗意趣的传世佳作。",[23,24,25,26,28,7,77,78,79],"书法","楷书","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7fa098b20a352ed7e42b9280a7eca81.jpg",[],14,{"id":84,"slug":85,"title":86,"dynasty":18,"author":87,"museum":45,"description":88,"tags":89,"thumbUrl":94,"material":63,"size":64,"collection":65,"collections":95,"showCount":96,"zanCount":11,"manualWeight":11,"mainColor":38},229224,"shi-ba-shi-jiu-shi-ji-ma-nao-qiao-diao-lao-seng-guan-shi-bi-yan-hu-yi-ming-229224","十八 十九 世纪 玛瑙巧雕老僧观狮鼻烟壶","佚名","鼻烟壶指的是盛鼻烟的容器，小可手握，便于携带。明末清初，鼻烟传入中国，鼻烟盒渐渐东方化，产生了鼻烟壶。\n人们嗜用鼻烟的习惯几近绝迹，但鼻烟壶却作为一种精美艺术品流传下来，而且长盛不衰，被誉为“集中各国多种工艺之大成的袖珍艺术品”。\n中国鼻烟壶，作为精美的工艺品，采用瓷、铜、象牙、玉石、玛瑙、琥珀等材质，运用青花、五彩、雕瓷、套料、巧作、内画等技法，汲取了域内外多种工艺的优点，被雅好者视为珍贵文玩，在海内外皆享有盛誉。\n在世界上，中国素有「烟壶之乡」的称誉，其中鼻烟壶以其精巧卓绝的制作技术，被称为「集多种工艺之大成于一身的袖珍艺术品」。鼻烟壶为盛装鼻烟之容器，鼻烟系一种烟草制品，原为西洋之物，明末清初自欧洲传入中国后，加工转化后成为粉末状药材，吸闻之后不但具有明目避疫的功效，吸闻鼻烟在各阶层更是蔚为风尚，且迅速地融入了中国的艺术风格，发展出匠心独运的各式鼻烟壶，在清代美学工艺上大放异彩，成为清代艺术的重要标志之一。",[90,91,92,7,93],"玛瑙","巧雕","老僧","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c6fe958754b3d4f21e33ee7cbde7b64.jpg",[],11,{"id":98,"slug":99,"title":100,"dynasty":18,"author":87,"museum":45,"description":101,"tags":102,"thumbUrl":112,"material":63,"size":64,"collection":65,"collections":113,"showCount":114,"zanCount":115,"manualWeight":11,"mainColor":68},267268,"huang-se-duan-xiu-tai-shi-shao-shi-bai-niao-chao-feng-wen-huo-ji-biao-tao-yi-ming-267268","黄色缎绣太狮少狮百鸟朝凤纹活计-表套","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。",[103,104,105,7,28,106,107,108,109,110,111],"布料","饰品","日用具","刺绣","凤","飞鸟","表套","缎绣","活计","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8124e07e7b0d6ee8e05e16bb5e97f99c.jpg",[],8,1,{"id":117,"slug":118,"title":119,"dynasty":120,"author":87,"museum":45,"description":121,"tags":122,"thumbUrl":127,"material":63,"size":64,"collection":65,"collections":128,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":38},257494,"cheng-hua-kuan-dou-cai-shi-chuan-mu-dan-tu-wan-yi-ming-257494","成化款斗彩狮穿牡丹图碗","明","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[120,123,124,93,7,125,28,126,26],"陶瓷","斗彩","牡丹","花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ad1a6082ec5c86cbc93a637033ece0d.jpg",[],5,{"id":131,"slug":132,"title":133,"dynasty":18,"author":87,"museum":45,"description":101,"tags":134,"thumbUrl":137,"material":63,"size":64,"collection":65,"collections":138,"showCount":139,"zanCount":11,"manualWeight":11,"mainColor":68},267270,"huang-se-duan-xiu-tai-shi-shao-shi-bai-niao-chao-feng-wen-huo-ji-xue-ye-yi-ming-267270","黄色缎绣太狮少狮百鸟朝凤纹活计-靴掖",[103,106,135,28,7,107,61,136,27],"衣帽","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1e0df244dbf5eee27b5990d8e94f003.jpg",[],4,{"id":141,"slug":142,"title":143,"dynasty":120,"author":87,"museum":45,"description":144,"tags":145,"thumbUrl":148,"material":63,"size":64,"collection":65,"collections":149,"showCount":139,"zanCount":11,"manualWeight":11,"mainColor":150},256515,"qing-hua-hong-lv-cai-shi-chuan-hua-wen-hu-lu-ping-yi-ming-256515","青花红绿彩狮穿花纹葫芦瓶","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。",[123,146,147,7,28,136,93],"青花","红绿彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40027ef2e9129b58dfda21bd4ccdc227.jpg",[],"37474F",{"id":152,"slug":153,"title":154,"dynasty":155,"author":87,"museum":45,"description":156,"tags":157,"thumbUrl":162,"material":63,"size":64,"collection":65,"collections":163,"showCount":139,"zanCount":11,"manualWeight":11,"mainColor":38},254880,"tong-qi-shi-wen-shu-pu-sa-zuo-xiang-yi-ming-254880","铜骑狮文殊菩萨坐像","宋","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。",[155,158,60,28,7,159,160,161],"宗教","铜制","雕刻","青铜器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7015f8851c1a5e2712b59077fac9f421.jpg",[],{"id":165,"slug":166,"title":167,"dynasty":120,"author":87,"museum":45,"description":168,"tags":169,"thumbUrl":174,"material":63,"size":64,"collection":65,"collections":175,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":38},270271,"xuan-de-kuan-tong-shi-xi-qiu-wen-shi-er-shou-zu-chang-fang-gai-lu-yi-ming-270271","宣德款铜狮戏球纹狮耳兽足长方盖炉","此炉以精铜铸就，鎏金狮耳攀附炉身，昂首嘶吼，身形矫健灵动，为沉浑炉体添上几分锐生气魄。炉身高浮雕狮戏绣球，瑞狮腾跃于流云之中，鬃毛发丝毕现，利爪紧扣绣球，嬉闹姿态既不失兽王威猛，又带着憨顽意趣。\n\n兽足怒目圆睁，鬃毛翻卷，肌理虬劲硬朗，稳稳托举器身。鎏金熠熠，与深褐铜色交相辉映，华贵古雅兼具，将吉庆戏球的意趣与礼器的庄重完美相融，尽显铸铜工艺的高超水准。",[159,161,160,7,28,170,171,172,173,93],"香炉","狮戏球纹","狮耳兽足","礼器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ff7f282832705b211480bb8bbc5c67f.jpg",[],3,{"id":178,"slug":179,"title":180,"dynasty":18,"author":87,"museum":45,"description":181,"tags":182,"thumbUrl":184,"material":63,"size":64,"collection":65,"collections":185,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":68},267272,"huang-se-duan-xiu-tai-shi-shao-shi-bai-niao-chao-feng-wen-huo-ji-shi-wu-he-yi-ming-267272","黄色缎绣太狮少狮百鸟朝凤纹活计-什物盒","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",[106,103,104,183,28,7,107],"什物盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29ed4512c1148dcdb78a3af215d50dcb.jpg",[],{"id":187,"slug":188,"title":189,"dynasty":43,"author":87,"museum":45,"description":190,"tags":191,"thumbUrl":198,"material":63,"size":64,"collection":65,"collections":199,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":68},288791,"pierre-jean-david-d-angers-general-bonchamp-shown-yi-ming-288791","Pierre Jean David d'Angers--General Bonchamp Shown","这页速写是松弛随性的灵感碎片，将写实观察与荒诞奇想揉为一体。左上男子肖像以利落排线勾勒出沉凝肃穆的神态，旁侧网格切割的头像，则是对头部结构的拆解研习。右侧伏卧的雄狮鬃毛苍劲虬结，利爪按地紧盯身前小兽，静中暗藏一触即发的张力。\n\n最跳脱的是下方的怪诞形象，长喙骷髅架着纤细小人，带着即兴戏谑的荒诞感。潦草线条间藏着精准的形体把控，私密随性的页面，既是日常观察的速记，也是脑洞迸发的自留地，粗粝鲜活，尽显创作过程中松弛又敏锐的灵光。",[192,193,60,7,194,28,195,196,197],"素描","速写","鼠","线描","手绘","怪诞形象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2881762b621cf54bc4281f2508fcfbb.jpg",[],2,{"id":202,"slug":203,"title":204,"dynasty":73,"author":87,"museum":45,"description":205,"tags":206,"thumbUrl":209,"material":63,"size":64,"collection":65,"collections":210,"showCount":200,"zanCount":115,"manualWeight":11,"mainColor":38},262257,"san-cai-jia-lan-shi-xing-zhu-tai-yi-ming-262257","三彩加蓝狮形烛台","瑞狮昂首怒目，鬃毛翻卷层次分明，躯体敦实威严，背插管台，将镇宅瑞兽的威仪与日用烛台的功用巧妙相融。\n釉色层次鲜活，米黄铺底，蓝彩晕染醒目跳脱，绿彩点缀四肢，褐彩勾勒肌理，三彩交融晕散，带着独有的斑驳古拙质感，明丽沉厚兼具。匠师将盛唐奔放的审美意趣，凝于方寸瓷身，让狞厉瑞气与灵动釉色共生，尽显大唐制瓷技艺的精妙造诣，虽经岁月摩挲，釉色依旧鲜活饱满，留存着独属于盛唐的瑰丽气韵。",[123,207,28,7,208,93,105],"三彩","烛台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd19020f78246406f073a86e4da3320ff.jpg",[],{"id":212,"slug":213,"title":214,"dynasty":73,"author":87,"museum":45,"description":215,"tags":216,"thumbUrl":217,"material":63,"size":64,"collection":65,"collections":218,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":38},261882,"san-cai-ke-shi-wen-fang-zhen-yi-ming-261882","三彩刻狮纹方枕","釉色以黄绿褐三色交融晕染，斑驳淋漓间晕开古朴斑斓的质感。方枕周身模刻纹饰饱满灵动，立面鸾凤舒展羽翼，穿行缠枝间，刻画线条细腻流畅，将瑞禽姿态勾勒得矫健鲜活，气韵生动。\n\n整体方正敦实，装饰充满奔放饱满的审美意趣，将日常实用器具化为承载盛唐气象的审美载体，尽显三彩装饰精工的魅力，把大唐的富丽鲜活凝于方寸陶土之上。",[123,207,160,7,28,105,93],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74f4d42bc6fa095254b27cbb6c39537d.jpg",[],{"id":220,"slug":221,"title":222,"dynasty":120,"author":87,"museum":45,"description":144,"tags":223,"thumbUrl":232,"material":63,"size":64,"collection":65,"collections":233,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":38},257370,"wan-li-kuan-qing-hua-song-lu-tu-shi-niu-gai-he-yi-ming-257370","万历款青花松鹿图狮纽盖盒",[224,146,123,225,226,7,28,227,228,229,230,231],"明代","松","鹿","盖盒","青花技法","松鹿纹饰","狮纽装饰","明代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37e7b9afa46f12e46e870d38cd88c4d1.jpg",[],{"id":235,"slug":236,"title":237,"dynasty":120,"author":87,"museum":45,"description":144,"tags":238,"thumbUrl":240,"material":63,"size":64,"collection":65,"collections":241,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":150},257208,"qing-hua-shi-wen-jiu-kong-hua-cha-yi-ming-257208","青花狮纹九孔花插",[224,146,123,28,7,239],"九孔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818bb1ccad70a18336b8fcdc6a8b6c68.jpg",[],{"id":243,"slug":244,"title":245,"dynasty":246,"author":87,"museum":45,"description":247,"tags":248,"thumbUrl":250,"material":63,"size":64,"collection":65,"collections":251,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":150},254977,"shi-fu-ben-yuan-zao-shi-yi-ming-254977","石傅本元造狮","民国","此石狮圆睁嵌石双目，威严有神，卷曲鬃毛层叠舒展，张口露齿将瑞兽雄健气魄尽显无遗。躯体敦实厚重，胸前挂饰细节精巧，蹲踞于雕刻莲纹与题铭的基座之上，带着民间石雕独有的质朴匠气。整体造型拙中见巧，既有镇守护佑的传统寓意，又凝练出乡土手工造物的雄浑意趣，尽显旧时光里的厚重质感，是颇具代表性的民间镇宅瑞兽之作。",[246,249,160,7,28],"石质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b8b2017ee51a9e4693cdabf31c90f4a.jpg",[],{"id":253,"slug":254,"title":255,"dynasty":43,"author":87,"museum":45,"description":256,"tags":257,"thumbUrl":260,"material":63,"size":64,"collection":65,"collections":261,"showCount":115,"zanCount":11,"manualWeight":11,"mainColor":68},288822,"pellegrino-tibaldi-six-studies-of-animal-heads-and-of-a-cartouche-yi-ming-288822","Pellegrino 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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。",[522,523,160,7,28,524,525,93],"竹雕","笔筒","留青工艺","竹节式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7262375c0415ee15d701d440a8286f88.jpg",[],{"id":529,"slug":530,"title":531,"dynasty":18,"author":87,"museum":45,"description":532,"tags":533,"thumbUrl":536,"material":63,"size":64,"collection":537,"collections":538,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},260299,"de-hua-yao-bai-you-shi-er-lu-yi-ming-260299","德化窑白釉狮耳炉","德化窑位于今福建德化，故名。作为著名的瓷窑，是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n德化瓷器是中华陶瓷烧造中的艺术珍品，始于宋代，明代后得到巨大发展。以白瓷塑佛像闻名。其制作细腻，雕刻精美，造型生动，体现了古代劳动人民的卓越才能和艺术创造力。\n在今福建德化，故名。是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n碗坪仑烧瓷较屈斗宫古窑址早，烧青白瓷，有的接近白釉，刻花蓖划纹装饰较多，盒子遗留甚丰，盖面所印阳纹装饰达一百余种，题材之丰富在南方地区首屈一指，南宋时有专门制作盒子的作坊，盒盖上阳文印花装饰题材丰富，有动物、花卉等近百种图案。划花间篦划纹亦较多，饰在碗、盘、瓶等器物上。\n屈斗宫元代办烧青白瓷，从南宋至元代。明代盛烧白瓷观音、达摩等塑像，胎釉浑然一体，如同白玉，被赞为"象牙白"、"奶白"或 "天鹅绒白。清代除烧白瓷外，盛烧青花与彩绘瓷器。元代以来，德化窑瓷器输出海外，菲律宾、马来西亚出土有元代德化窑青白瓷，泰国及东非坦桑尼亚等国家也出土有清代德化窑青花瓷器。\n这种瓷器的制作工艺程序如下：他们从地下挖取一种泥土，将它垒成一个大堆，任凭风吹、雨打、日晒，从不翻动，历时三、四十年。泥土经过这种处理，质地变得更加纯化精炼，适合制造上述各种器皿，然后抹上认为颜色合宜的釉，再将瓷器放入窑内或炉里烧制而成。因此，人们挖泥堆土，目的是替自已的儿孙贮备制造瓷器的材料而已，大量的瓷器是在城中出售， 一个威尼斯银币能买到八个瓷杯“。马可波罗的介绍，引起了西方人的强烈兴趣。",[123,534,535,160,7,93],"狮耳炉","白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc48306185220d045cf3312927323fe6b.jpg","瓷器精选",[537],{"id":540,"slug":541,"title":542,"dynasty":543,"author":87,"museum":45,"description":544,"tags":545,"thumbUrl":547,"material":63,"size":64,"collection":65,"collections":548,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},259742,"qing-you-shi-yi-ming-259742","青釉狮","晋","中国瓷器著名传统颜色釉。亦称“青瓷釉”。古代南方青釉，是瓷器最早的颜色釉。\n所谓“青釉”，颜色并不是纯粹的青，有：月白、天青、粉青、梅子青、豆青、豆绿、翠青等，但多少总能泛出一点青绿色。同时，古人往往将青、绿、蓝三种颜色，一统称为“青色”，例如许之衡《饮流斋说瓷》称：“古瓷尚青，凡绿也、蓝也，皆以青括之。”刘子芬《竹园陶说》中也说：“青色一种，常与蓝色相混。雨过天晴，钧窑、元窑之青，皆近蓝色。”“惟千峰翠色、梅子青、豆青、乃为纯青耳。天色本蓝，有时为青。”\n青釉是我国使用最早，延用时间最久，分布最广的一个釉种，它的发明是与我国瓷土矿大都含有一定量的铁矿的现象相一致的。青色也符合我国人民的传统审美情趣。青色与碧玉相若，认为稳重而高雅。浙江、江西、河南等地已出土了不少早至商周时期的原始青釉瓷。六朝至唐宋以越窑为代表的南方青釉瓷；宋到元明的龙泉窑系青瓷；耀州窑、临汝窑、钧窑等宋代北方青瓷；以及明、清以来的景德镇青釉瓷，是青釉发展的几个重要阶段，所谓的宋代“汝、定、官、哥、钧”五大名窑，除定窑外均属青釉瓷。表釉的呈色主要决定于着色氧化物的含铁量与烧成气氛，青釉含铁量一般在1—3%左右，过高会变成黑釉，低了就能烧成白瓷。在还原气氛中烧成。釉色青绿；在氧化气氛中烧成，釉色泛黄。因而陶瓷界所谓的青釉是相对而言的，正如许之衡《饮流斋说瓷》中所说：“古瓷尚青，凡绿也，蓝也，皆以青括之。”",[123,546,28,7,93],"青釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e082a8c9f09febf41da92f5cd30d2a6.jpg",[],{"id":550,"slug":551,"title":552,"dynasty":155,"author":87,"museum":45,"description":553,"tags":554,"thumbUrl":557,"material":63,"size":64,"collection":537,"collections":558,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":68},257055,"ci-zhou-yao-ke-qian-long-yu-ti-shi-shi-yang-wen-zhen-yi-ming-257055","磁州窑刻乾隆御题诗狮羊纹枕","磁州窑是中国传统制瓷工艺的珍品，中国古代北方最大的民窑体系，也是著名的民间瓷窑，有“南有景德，北有彭城”之说。磁州窑创烧于北宋中期，并达到鼎盛，南宋、元明清仍有延续。窑址在今河北省邯郸市峰峰矿区的彭城镇和磁县的观台镇一带，磁县宋代叫磁州，故名。\n磁州窑的匠师们吸收了传统的水墨画和书法艺术的技法，创造了具有水墨画风的白底黑绘装饰艺术，开启了中国瓷器彩绘装饰的先河。\n磁州窑品种诸多，以白地黑花（铁锈花）、刻划花、窑变黑釉最为著名。它的装饰技法突破了当时流行的五大名（官）窑（汝、官、钧、哥、定）的单色釉局限，运用了数十种丰富多彩的装饰技法。1998年3月，元代的磁州窑黑釉剔花玉壶春瓶从英国追回。",[155,123,555,160,7,556,28,77,93],"磁州窑","羊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F611abdd4d0f0139413c33cfccb5cffa9.jpg",[537],{"id":560,"slug":561,"title":562,"dynasty":18,"author":87,"museum":45,"description":563,"tags":564,"thumbUrl":566,"material":63,"size":64,"collection":65,"collections":567,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":150},256064,"su-san-cai-shi-yi-ming-256064","素三彩狮","昂首蹲坐，威风里带着憨态，幼狮偎身蹭弄，尽显融融温情。翠绿为骨，米黄与赭褐点缀其间，素三彩釉色沉静雅致，毫无艳俗之感。卷毛丝丝分明，獠牙毕现，鬃毛翻卷灵动，立柱莲花饰件古意悠然，底座镂空透雕兼顾装饰与实用。塑工老辣，将瑞兽威严又不失灵动的气质拿捏恰到好处，静穆之中藏着勃勃生气，是彩瓷塑里意趣兼备的精妙之作。",[18,565,123,28,7],"素三彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1be108baf7630a7a8d4d73c8fa9a153.jpg",[],{"id":569,"slug":570,"title":571,"dynasty":18,"author":87,"museum":45,"description":572,"tags":573,"thumbUrl":577,"material":63,"size":64,"collection":65,"collections":578,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},255574,"mu-diao-cai-hui-shi-yi-ming-255574","木雕彩绘狮","木雕是雕塑的一种，在我们国家常常被称为“民间工艺”。木雕可以分为立体圆雕、根雕、浮雕三大类。木雕是从木工中分离出来的一个工种，在我们国家的工种分类中为“精细木工”。\n以雕刻材料分类的民间美术品种。一般选用质地细密坚韧，不易变形的树种如楠木、紫檀、樟木、柏木、银杏、沉香、红木、龙眼等。\n木雕是以各种木材及树根为材料进行雕刻，是以传统雕刻工艺中的重要门类。木雕的历史非常悠久，在浙江余姚河姆渡文化遗址就有木雕鱼出土，这是我国木雕史上最早的实物。河南信阳战国大墓出土的木雕镇木兽，湖北云梦汉墓出土的彩雕木佣均为我国早期木雕作品。由于保存的困难，现今很难看到超过千年的木雕作品。\n两宋时期木雕作品较为多见，这时的木雕已采用组织细密的木材为载体进行制作，这就有利于木雕作品的传世。我国的一些庙宇里还保存有宋代的木雕作品。\n元明时由于海外贸易的急速发展，木材种类有所增加，许多由海外进口的硬质木材，是木雕工艺得到长足发展。\n明清期间是木雕艺术的一个辉煌时期，涌现出大量有史可考的名家、艺人及其作品，是古代木雕艺术的一个高峰。\n清末至民国年间由于政府的腐败，国力的衰退，外强的侵略，民不潦生，木雕艺术从此衰落，艺人名家也只能沦为匠人糊口度日。新中国成立后在党和国家的关怀下，民间工艺得到了保护及挖掘，木雕也重新涣发出生命，涌现出一批国家级大师。他们的作品，工艺精湛，秉承传统，立意深远，讴歌时代，体现了大师们立足传统，锐意创新，直抒重获新生的胸怀和报效国家，知遇之恩的深情。\n国家改革开放，经济腾飞，国富民强，党和国家对民间工艺的大力扶持，唤起了民众对传统工艺美术的热爱与追求。逢此盛世，民间工艺美术有了新的飞跃，木雕艺术也不例外。面对实际情况，在全国工艺品展出中，优秀作品的作者年龄偏大，年轻作者寥寥无几。",[333,574,575,28,7,576],"木雕","彩绘","木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9af98361420d4405e0c068b0b68587c.jpg",[],{"id":580,"slug":581,"title":582,"dynasty":120,"author":87,"museum":45,"description":572,"tags":583,"thumbUrl":584,"material":63,"size":64,"collection":65,"collections":585,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},255509,"mu-diao-cai-hui-zuo-shi-yi-ming-255509","木雕彩绘坐狮",[576,160,575,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51251dc2dbe9832bfb5a69515b0158ea.jpg",[],{"id":587,"slug":588,"title":582,"dynasty":120,"author":87,"museum":45,"description":572,"tags":589,"thumbUrl":590,"material":63,"size":64,"collection":65,"collections":591,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":150},255179,"mu-diao-cai-hui-zuo-shi-yi-ming-255179",[120,574,575,160,26,28,7,576],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb690ca91265efe66244c92e69525b68c.jpg",[],{"id":593,"slug":594,"title":595,"dynasty":18,"author":87,"museum":45,"description":572,"tags":596,"thumbUrl":597,"material":63,"size":64,"collection":65,"collections":598,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},254975,"mu-diao-shi-yi-ming-254975","木雕狮",[333,576,160,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd19e860de1004697950a8c8f2884101.jpg",[],{"id":600,"slug":601,"title":562,"dynasty":18,"author":87,"museum":45,"descriptio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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。",[224,284,160,648,28,7],"镂雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8494b8aa0d919aa82167cf24b3dbbc2c.jpg",[],{"id":652,"slug":653,"title":654,"dynasty":120,"author":87,"museum":45,"description":629,"tags":655,"thumbUrl":657,"material":63,"size":64,"collection":65,"collections":658,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":150},250833,"bai-yu-fu-diao-shi-qiu-zuo-ren-yi-ming-250833","白玉浮雕狮球坐人",[120,284,656,60,7,325],"浮雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb98f7d95f42eb710f78be11f556b98f8.jpg",[],{"id":660,"slug":661,"title":662,"dynasty":120,"author":87,"museum":45,"description":663,"tags":664,"thumbUrl":665,"material":63,"size":64,"collection":65,"collections":666,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},250163,"jing-tai-kuan-qia-si-fa-lang-shi-xi-tu-shou-er-xiang-zu-gai-lu-yi-ming-250163","景泰款掐丝珐琅狮戏图兽耳象足盖炉","此炉重工华彩，盖顶镂空宝钮袅袅生韵，盖身以天蓝珐琅为地，缀饰缠枝纹样，搭配透雕鎏金出烟孔，虚实相映。中层鎏金透雕回纹，规整雅致，勾勒出端庄轮廓。炉身掐丝细腻流畅，填色饱满鲜亮，狮戏绣球纹样灵动鲜活，瑞狮辗转腾挪，鬃毛飘逸，纹饰吉庆生动。鎏金兽耳线条遒劲威严，象足敦实沉稳，承托起整器威仪。珐琅釉色鲜亮匀净，与鎏金的华贵厚重相映成趣，将实用焚香与陈设雅赏融于一体，尽显精湛造诣，华贵雅致间流露庄重古韵。",[323,452,159,93,7,28,442,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1893025768214e89546da1434266725e.jpg",[],{"id":668,"slug":669,"title":670,"dynasty":18,"author":87,"museum":45,"description":671,"tags":672,"thumbUrl":678,"material":63,"size":64,"collection":65,"collections":679,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},250051,"qia-si-fa-lang-gou-lian-ba-gua-wen-shuang-er-san-zu-gai-lu-yi-ming-250051","掐丝珐琅勾莲八卦纹双耳三足盖炉","景泰蓝（Cloisonne），中国的著名特种金属工艺品类之一，到明代景泰年间这种工艺技术制作达到了最巅峰，制作出的工艺品最为精美而著名，故后人称这种金属器为“景泰蓝”。景泰蓝正名“铜胎掐丝珐琅”，俗名“珐蓝”，又称“嵌珐琅”，是一种在铜质的胎型上，用柔软的扁铜丝，掐成各种花纹焊上，然后把珐琅质的色釉填充在花纹内烧制而成的器物 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[2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[323,324,26,7,325,728,28],"勾莲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff02620141b10ecc9725fe318723c96d8.jpg",[],{"id":732,"slug":733,"title":734,"dynasty":120,"author":87,"museum":45,"description":735,"tags":736,"thumbUrl":738,"material":63,"size":64,"collection":65,"collections":739,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},249025,"jing-tai-kuan-qia-si-fa-lang-gou-lian-wen-long-er-gai-lu-yi-ming-249025","景泰款掐丝珐琅勾莲纹龙耳盖炉","炉身敞口饱满，鎏金龙耳遒劲威严，线条刚柔并济。盖顶鎏金狮钮雄健昂扬，鬃毛卷曲灵动，神态威猛张扬，尽显瑞兽威仪。盖面透雕缠枝莲纹，精巧繁复，烟气可自镂隙悠然漫出，虚实间意境悠长。\n\n炉身以珐琅天青为底色，掐金丝勾勒缠枝花卉，红白釉色点染其间，宝相花妍丽饱满，缠枝婉转舒展。金线游走间华贵雅致尽显，鎏金莹润厚重，珐琅釉色鲜亮明丽，掐丝工艺细腻流畅，尽显古工艺的精湛造诣，是陈设焚香俱佳的绝美雅器，古意盎然，雍容华贵。",[323,324,93,673,258,7,28,737],"金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5e1581c8f43225dd4d47dee9be6b2ab.jpg",[],{"id":741,"slug":742,"title":743,"dynasty":18,"author":87,"museum":45,"description":181,"tags":744,"thumbUrl":745,"material":63,"size":64,"collection":65,"collections":746,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},248609,"qian-long-kuan-ti-hong-san-shi-tu-chang-fang-he-yi-ming-248609","乾隆款剔红三狮图长方盒",[333,334,160,335,28,7,93],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba539b162d695497c44394f5467f3b41.jpg",[],{"id":748,"slug":749,"title":750,"dynasty":18,"author":87,"museum":45,"description":181,"tags":751,"thumbUrl":754,"material":63,"size":64,"collection":65,"collections":755,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":68},247985,"ti-hong-san-shi-xi-qiu-tu-san-ceng-yuan-tao-he-yi-ming-247985","剔红三狮戏球图三层圆套盒",[334,160,335,7,325,752,753],"三层","圆盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef79c60e5322796a21178227e37de8ca.jpg",[],{"id":757,"slug":758,"title":759,"dynasty":18,"author":87,"museum":45,"description":181,"tags":760,"thumbUrl":762,"material":63,"size":64,"collection":65,"collections":763,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":68},247983,"ti-hong-san-shi-xi-qiu-tu-dai-zuo-san-ceng-tao-he-yi-ming-247983","剔红三狮戏球图带座三层套盒",[334,335,160,761,752,7,28,493],"套盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82743944ecdef27bec0c37bd4f190b62.jpg",[],{"id":765,"slug":766,"title":767,"dynasty":18,"author":87,"museum":45,"description":181,"tags":768,"thumbUrl":771,"material":63,"size":64,"collection":65,"collections":772,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":68},247982,"ti-hong-san-shi-xi-qiu-tu-dai-zuo-san-ceng-yuan-tao-he-yi-ming-247982","剔红三狮戏球图带座三层圆套盒",[334,335,160,7,325,761,752,769,770],"圆","座","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8ea4ebabcf7d8211b1c8258aacbfeb5.jpg",[],{"id":774,"slug":775,"title":776,"dynasty":18,"author":87,"museum":45,"description":181,"tags":777,"thumbUrl":780,"material":63,"size":64,"collection":65,"collections":781,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":68},247922,"ti-hong-san-shi-xi-qiu-tu-kai-guang-hua-hui-wen-mei-hua-shi-san-ceng-tao-he-yi-ming-247922","剔红三狮戏球图开光花卉纹梅花式三层套盒",[18,335,160,7,325,136,778,761,334,28,779,752],"梅花式","开光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62f2cd564cc1f2476418f424c3416220.jpg",[],{"id":783,"slug":784,"title":776,"dynasty":18,"author":87,"museum":45,"description":181,"tags":785,"thumbUrl":788,"material":63,"size":64,"collection":65,"collections":789,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":68},247921,"ti-hong-san-shi-xi-qiu-tu-kai-guang-hua-hui-wen-mei-hua-shi-san-ceng-tao-he-yi-ming-247921",[18,334,160,335,7,493,786,778,787,779],"花卉纹","三层套盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F743dbdafd37f631fcdf98caccd689c16.jpg",[],{"id":791,"slug":792,"title":793,"dynasty":18,"author":87,"museum":45,"description":181,"tags":794,"thumbUrl":796,"material":63,"size":64,"collection":65,"collections":797,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":68},247675,"ti-hong-san-shi-xi-qiu-tu-chan-zhi-lian-wen-chang-fang-he-yi-ming-247675","剔红三狮戏球图缠枝莲纹长方盒",[333,335,160,334,7,325,795,93],"缠枝莲纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25958d4fe91b114ac4d3ae501df0b3cc.jpg",[],{"id":799,"slug":800,"title":793,"dynasty":18,"author":87,"museum":45,"description":181,"tags":801,"thumbUrl":804,"material":63,"size":64,"collection":65,"collections":805,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":68},247674,"ti-hong-san-shi-xi-qiu-tu-c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