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。\n画中描写了六位衣着艳丽的贵族妇女及其侍女于春夏之交赏花游园。\n画作不设背景，以工笔重彩绘仕女五人，女侍一人，另有小狗、白鹤及辛夷花点缀其间。\n全图六个人物的主次、远近安排巧妙，景物衬托少而精。\n两只小狗、一只白鹤、一株辛黄花使原本显得孤立的人物产生了左右呼应、前后联系的关系。\n半罩半露的透明织衫，使人物形象显得丰腴而华贵。\n而用笔和线条却细劲有神，流动多姿。\n浓丽的设色，头发的钩染、面部的晕色、衣着的装饰，都极尽工巧之能事，较好地表现了贵族妇女的细腻柔嫩的肌肤和丝织物的纹饰。\n《簪花仕女图》是 贵族人物画风格的代表。\n同时也体现出贵族仕女养尊处优、无所事事、游戏于花蝶鹤犬之间的生活情态。\n画面左端开始婷婷而立的髻插芍药花的贵族仕女，浅紫色的纱衫上，有以四个斜角田宇为一组的菱纹。\n白地帔子绘有彩色云鹤，从肩后身向前胸下垂。\n她右手举着刚捕捉的蝴蝶，左手提起帔子，使它成为垂直。\n她上身往前微倾，以迎接向她跑来的小狗。\n画面左起第二位妇女身材娇小，神情庄重，身着朱红披风，外套紫色纱罩，从远处巧移莲步而来。\n发髻上插海棠花，脖子饰金质云纹项圈。\n白裙上的紫色团花，从纱衫的下面透出，显得十分艳丽。\n破子从后肩向两臂平分下垂，双手抓紧薄纱，掩着帔子，同时也紧束了宽大的衣服。\n画面左起第三位贵族女人髻插荷花，身披白花格子纱衫，胸前束朱色斜格长裙曳于地而，紫色帔子上有粉和青花枝纹样。\n她右手略向上举，反掌拈红花一枝，左手髻上取下金钗朝着右边移去，目光注视新折下来的花枝，凝神遐思，准备将它插上发髻最显眼的地方。\n在她的面前有一只举足欲行的丹顶鹤，似乎引不起她一点兴趣。\n画面左起第四位侧立着的侍女执长柄团扇，团扇上绘着盛开的牡丹，红花绿叶相衬托，格外亮丽。\n她的妆扮，有异于卷中的其他贵族仕女。\n她也有一头浓密的黑发，梳成两个十字相合的发髻，中间用红缎带把那个髻子束在一起。\n她穿的朱色菱角纹的斜领处露出一部分，白色圈花的纱带，绕过纱衫一圈之后，在腹前打了个结子。\n白色的软底鞋尖，从彩色的衬裙下露出，它的形制不同于其他几位贵族妇女所穿的重台履。\n她的表情安祥却又若有所思，在当时嬉戏场合形成鲜明的对比。\n画面左起第五位仕女，发髻上插的红瓣花枝，纱衫上有深白色的菱形纹样。\n胸下的夹撷长裙曳于地而，紫绿色的团花平均分布在鲜明的朱红的地子之上，显得典雅、富丽；经纱衫掩盖过的部分，颜色相应减退。\n紫色的帔子上，彩绘着云风纹样，往后垂了下去，她轻举右手，用纤细的食指和拇指提起贴在脖肩上的纱衫领子，似有不胜初夏闷热气候的样子。\n她左手从纱衫的侧面伸出，手指向背而嬉戏的小狗打招呼，希望小狗也来给她逗趣。\n画面左侧起最后一位是一个贵族妇女，体态丰硕，发髻高大，上插牡丹花一枝，髻前饰玉步摇，那珍珠在不停地摇晃。\n她头上的髻发和短鬓，茸茸地分披在丰满的额前和耳边，显得青春焕发。\n她圆润的而庞，浮起了淡薄的红晕；瓜子形的黛画短眉，浓淡适宜地斜峙在粉额之前，眉间金色花子的点饰如豆般大小，朱唇小到恰好与整个而庞隐隐相称，她侧身作向右倾斜的姿势，外披紫色纱罩衫，衫上的龟背纹尚隐约可辨。\n朱色的长裙上，画有斜格纹样。\n紫绿色花纹的洁白丝绸衬裙，长过纱衫，拖曳到地而上。\n右手摆向前侧，靠着纱衫；左手执纬子前伸，纬穗的摆动，逗引着小狗作戏，而小狗深通人意，它朝纬穗不停地张嘴摆尾，作出扑跳的姿态。\n在贵族仕女们嬉游处的尽头，树立着一而玲珑石。\n石后有盛开的辛夷花，紫色的花朵，陪衬着少许的绿叶。\n石头下的地上有一丛绿油油的杂草，一起点缀着视野广阔的空间。\n卷无作者款印，亦无历代题跋及观款。\n以后，当代统治阶级为了粉饰太平，提倡所谓“文治”，也正好吻合了当时人民历经战乱、渴望安宁社会的生活的心情，宴游的风气从此大开，奢侈之风成为天宝以后统治者崇尚的对象，到了贞元年间，这种风气就更为突出。\n杜牧当时这样描述：至于贞元末，风流悠绮靡。\n周昉的《簪花仕女图》正是这个时期的典型代表，画家如实的描绘了在奢靡风气支配下的唐代宫廷仕女嬉游生活的典型环境。\n最早著录此卷的是清安岐《 》，认为是唐周昉所绘，其后《石渠宝笈·续编》及《 》皆沿用该观点，俱著录为《周昉仕女图》，然近代研究亦有持异议者。\n1972年，对此图进行重新装裱时，有人发现此图系后拼接而成，较明显者为左数第二个比例较小的仕女为后嵌入，而白鹤与画左小狗亦为剪裁而来，有研究者据此认为其原为屏风画。\n作品创作的时代问题也存在争议。\n学术界主要有三种观点：唐代说、五代南唐说和宋代说。\n唐代说：唐玄宗先天二年（公元71年）八月，太平公主谋反被诛杀，其在积善坊的府邸被没收。\n寿王李瑁与杨玉环大婚前，唐玄宗将太平公主的这处宅园赐给李瑁，成为寿王府。\n上巳节后的一天，长宁公主、咸宜公主等四位贵夫人前来寿王府，杨玉环领她们到花园赏花。\n这时，年轻的宫廷画家周昉奉诏为杨玉环画像，他来到寿王府。\n李瑁将周昉引至花园中，周昉见这五位贵妇人正游玩簪花，就静静地在旁边观察。\n几日后，周昉根据当日的场景，画出了《簪花仕女图》。\n作品从当时社会的现实生活出发，将现实生活中的贵族妇女，画得雍容华贵，画出一种闲适无聊的生活本质，表现出娇、奢、雅、逸的气息和女性柔软、温腻、动人的姿态，赋予作品鲜明的时代感。\n作品渲染的快乐而又略带懒散的情绪和气氛，正是恰当地层示了属于那个时代整个贵族有闲阶级的时代气氛；在表面华丽雍容的物质繁华背后，隐藏着人物内心深深的凄寂和幽怨。\n《簪花仕女图》中作者对人物神态抓得较好，注重挖掘仕女精神上的苦闷和空虚，反映了贵族奢侈生活后面的精神困境。\n其中，有别于其他五位的那个执扇侍女，表情相当安详，默默中若有所思的神情，与其他五位仕女的神态构成了鲜明的对比，这在反映现实的同时，在一定程度上也预示出唐代后期审美意趣由宏丽转向婉约的变化。\n另外，体态动势也是表达人物内心精神的重要因素，如果把动态处理得宜，也可以加强人物精神性格的表现。\n就画中人物的姿态而高，各不相同。\n左起第一位仕女因为有摇头摆尾、深通人意的小狗在其右侧，作为逗引小狗作戏的她，侧身玉立，上身向右倾斜，右手无意识地摆向前侧，左手执拂子向前伸向小狗，接养右侧的是一位婷婷玉立披白色纱衣的仕女，她漫不经心地举养右手，用纤细的食指和拇指提起贴在脖子上的纱衫领子，似有不胜闷热气候的沉重之感。\n她左手从纱衫的侧而伸出，似乎在向背着她作戏的小狗打着招呼。\n接着就是右后方侧立着执长柄团扇的侍女，她闲静自然。\n侍女的右前方也相当于她的左侧之处，是一位持花的仕女，她右手略向上举，反掌拈红花一枝，左手从发髻上取下金钗朝右边移去，似乎要把它插在最引人注意的地方，从远处姗姗而来的是一位身材小巧的仕女，她双手紧操着薄纱，掩着帔子，紧束着宽大的衣服，作向前迈步的姿势。\n最后一位仕女右手举着一只蝴蝶，左手提着帔子，要迎接从后而向她跑过来的小狗，她上身往前微倾，头往右微侧，在丰韵之中又平添了窈窕婀娜之态。\n由此可见，作者在人物姿态的处理上，为避免相同，又不失统一，颇费心思。\n画家在全幅构图中以相等的间隔安排了几位贵族妇女，一段一段地看去，仿佛每个妇女形象从眼前一幕一幕地移动，这种构图的规律，看完了整个场景，仿佛同画面人物一起游完了庭园。\n人物之间似有联系，又似独自悠闲。\n所以《簪花仕女图》的画而完整性并不是依靠空间、时间上的一致性诉诸观者的，它是依靠人与人之间的呼应和所营造的整个闲适和谐的气氛，这样一个独特的形式传达给观者的。\n在画而中，横列的散点视线之内，多半用静穆的姿态分战了适当的位置；又把她们之中的两位妇女安置在距离较远的后方，因之增大了广阔的视野，也就扩展了空间，不至于把观者的视线囿于狭小的画而之中。\n庭园里不藉更多什物作为衬托，但它的趣味并不因此而显得单调和贫乏，反而觉得愈益接近事物的真相。\n这种构图上的独特风格，具有强烈的时代气息。\n除了画面的并序排列外，《簪花仕女图》在人物比例的处理上也出现了一种有趣的现象，观者可以发现画面左起第二个妇女的比例是按照近大远小的原则安排的。\n从她的服饰和仪态来看，她是画家为了扩展观者的视野、开拓空间，而刻意安排在较远的地方，并不是因为身份的关系“近大远小”与按身份安排人物比例两种构图方法同时出现在一张画面上的。\n《簪花仕女图》画面上独到之处是精致细腻的画笔，作者以线造型，成功地描绘了妇女身上轻柔透亮的薄纱披肩，以及薄纱下隐约可见的手臂，并自始至终毫无变化地使用定型的线描，对仕女面部和手的描制，下笔稳重准确，力求匀称，衣裙图案花纹的用笔，信笔而成，转折处若断若续，似规整但又非常流动，使通常流于对称刻版的图案，重新赋予了灵巧而生动的活力。\n至于仕女的髻发和鬓丝，精细过于毫毛，根根可数，笔笔有飞动之感。\n对人物画的手部刻画，甚是到位。\n《簪花仕女图》中的贵族仕女袒胸露臂，双手毫无遮蔽，描绘起来，实非易事。\n作者用简洁遒劲的线条，准确地表现了各种不同的手势，骨法用笔的线条对作品产生了决定性的意义。\n《簪花仕女图》的线条达到了“骨法用笔”的高度统一，使之成为独立的存在，支配着整幅画的灵魂。\n《簪花仕女图》在赋彩的技巧上，恰当地运用了复杂的色调，重复中不觉得单调。\n紫色纱衫的一再出现，即是一个突出的例子。\n紫色与花青一并涂施，历有“青间紫，不如死”之说，而此图作者对其运用，似乎不受限制和约束。\n在紫色桩上有两处用花青勾画纹样，反而觉得十分典雅，正是作者在克服色彩运用矛盾的独到之处。\n从色彩的搭配到赋彩的层次，画家用纯净透明的白色穿插在各种色彩之中，使黑、白和许多明丽的色彩相互衬托又相互制约，形成了沉着和明快相结合的矛盾统一。\n赋彩上的层次清晰，分开丝绸间的叠压关系，使之有空气流动之感。\n纱衫笼罩下的肌肤和衣裙就如一层薄雾所掩盖，因而原来的肌肤和衣裙随之改变了颜色，但它却不因此而使人离开肌肤和衣裙原有色调的联想力。\n如此，各种颜色所涂成纱衫的质感，更深刻地映入观者的脑海里。\n《簪花仕女图》是全世界范围内唯一认定的唐代仕女画传世孤本。\n除了唯一性之外，其作品的艺术价值也很高，是典型的唐代仕女画标本型作品，是能代表唐代 风格的绘画作品。\n《簪花仕女图》这种仕女画风格在当时画坛上颇为流行，极大地影响了唐末乃至以后各朝代的仕女画坛和佛教艺术 。\n该作展现了极为浓郁的时代特色和民族气息，是中国传统绘画史上非常重要的一部作品。\n1984年月，中国邮电部特别发行《簪花仕女图》特种邮票和小型张。\n此卷曾经南宋内府收藏，南宋末归 所有，元、明间流传无考，清初为梁清标、安岐收藏，后入清内府。\n1924年，末代皇帝溥仪出宫，但在此前，他用了一年时间整理了1余件举世罕见的书画作品。\n在溥仪逊位前，溥仪便以“恩赐”名义，将内府所藏珍贵字画赏赐给其弟 、溥佳，让他们利用每日下学出宫机会，用黄绫包袱将书画带出，《簪花仕女图》就在其中。\n盗运出宫的书画起初存放在醇王府内。\n1925年，在 人协助下，这批书画被运抵天津，随溥仪先后在日租界内的张园、静园收藏。\n194年，溥仪到长春做了 皇帝，这批书画被运至当时的长春伪皇宫小白楼内。\n“小白楼”是一幢二层日式钢筋水泥楼，是日本人为溥仪修的保存善本图书及古玩字画的库房，内存藏品总数约1件，对外名曰“图书馆”。\n1945年8月，日本宣布战败投降前，日本关东军准备将伪满洲国迁到通化。\n8月17日，溥仪乘飞机企图逃往日本时，被 俘获，其携带的一部分书画和珠宝由苏联红军查扣，并转交 ，几经辗转后，《簪花仕女图》藏于辽宁省博物馆。\n217年7月，辽宁省博物馆举办《艺术·生活——辽宁省博物馆研发文创作品展》，展出镇馆之宝《簪花仕女图》。\n219年1月7日至22年1月5日，该作品在辽宁省博物馆将举办大型文物特色展览“又见大唐”中展出。\n22年9月28日，厦门海丝艺术品中心推出“复现——荣宝斋木版水印中秋特展非遗交互体验展”，展出木版水印作品《簪花仕女图》。\n周昉，生卒年不详，唐代画家，字仲朗，一字景玄，京兆（今陕西省西安市）人。\n出身于仕宦之家，曾官越州长史、宣州长史别驾。\n好属文，穷丹青之妙，擅画肖像、尤工仕女，初学张萱而加以写生变化，多写贵族妇女，所作悠游闲适，容貌丰腴，衣着华丽，用笔劲简，色彩柔艳，为当时宫廷、士大夫所重，称绝一时。",[23,24,25,26,27,28,29,30,31,7,32],"高清","国画","工笔","设色","美人","鹤","狗","花","衣帽","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94df61ee873fdda8506e777d2dd87070.jpg","绢本","纵46厘米，横180厘米","人物画精选",[36,38],"设色画精选",15398,116,0,"795548",{"id":44,"slug":45,"title":46,"dynasty":47,"author":48,"museum":49,"description":50,"tags":51,"thumbUrl":62,"material":63,"size":64,"collection":36,"collections":65,"showCount":66,"zanCount":67,"manualWeight":41,"mainColor":42},218243,"shui-yue-guan-yin-tu-yi-ming-218243","水月观音图","不详","佚名","美国大都会艺术博物馆","观音自在趺坐，披帛流云曳水，红裳金纹若焰，白纱轻透如雾。圆光笼身似月华轻泻，眉目低垂间慈悲满溢。净瓶插柳清寂，下方童子仰首献诚，水波微动处莲草点缀。线条婉转细腻，衣袂流转间庄严与温婉交织。水月之境的空灵与观音悲悯相融，静穆中藏生机，尽显古典造像的神韵雅致。",[23,24,52,53,54,25,26,55,56,57,58,59,60,7,61,32],"书画","立轴","宗教","人物","童子","水","石头","植物","明月","瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ff68d9e4a23b4ea007f24b249a1fb16.jpg","绢本,设色","102.9x51.8",[36],5238,25,{"id":69,"slug":70,"title":71,"dynasty":72,"author":48,"museum":73,"description":74,"tags":75,"thumbUrl":82,"material":83,"size":83,"collection":84,"collections":85,"showCount":86,"zanCount":87,"manualWeight":41,"mainColor":88},221638,"yu-pai-yi-ming-221638","玉牌","宋","藏地不详","此玉佩以透雕技法精琢而成，龙凤身形缠合盘绕，线条如行云流水般婉转舒卷。细密的卷云纹爬满兽身，将上古神兽的威严敛于柔婉玉色中。玉质莹润，局部带自然沁色，添就古朴厚重的岁月质感。整体取法战国汉玉佩饰的经典形制，带着独有的复古意趣，既复刻了古玉的雄浑神韵，又融入雅致精巧的审美意趣，让灵动瑞兽在莹白玉料间鲜活舒展，尽显中古玉雕的隽永雅致，为仿古玉雕中的上品。",[76,77,78,79,80,7,81],"玉石","雕刻","透雕","龙纹","宋代风格","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3df4060189a5212547ebe30db2fb09f7.jpg","","玉器精选",[84],632,5,"37474F",{"id":90,"slug":91,"title":92,"dynasty":93,"author":94,"museum":95,"description":96,"tags":97,"thumbUrl":101,"material":102,"size":103,"collection":36,"collections":104,"showCount":105,"zanCount":106,"manualWeight":41,"mainColor":107},219374,"guan-shi-yin-pu-sa-chou-ying-219374","观世音菩萨","明","仇英","台北故宫博物院","“观音大师踩一朵青色莲花，捧一柳，一盏水杯，从云端而来。他头上的皇冠离开了梨花佛的位置，但他没有画佛像，说明此作 这幅画卷的色彩明快、纯洁、淡雅，除了用细致的线条勾勒出轮廓外，脸部、手部和衣服也被晕染，表现出立体的效果。虽然有秋影（ 约1494-1552年）画中不过，这支卷轴笔和秋影的笔触与描绘的精细度，还是有相当大的差距，应该是后人冒用秋影之名的作品。",[98,24,52,53,54,55,25,26,99,100,7],"名画","云","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7abb1842c0f8a808d878fbae1f0f0b1.jpg","纸本,设色","纵104.2横52.5厘米",[36,38],393,4,"BDBDBD",{"id":109,"slug":110,"title":111,"dynasty":112,"author":48,"museum":73,"description":113,"tags":114,"thumbUrl":118,"material":119,"size":120,"collection":83,"collections":121,"showCount":122,"zanCount":123,"manualWeight":41,"mainColor":42},224006,"hong-shan-wen-hua-wan-qi-yue-ju-jin-5500-5000-nian-niao-xing-yu-pei-yi-ming-224006","红山文化晚期 约距今5500-5000年 鸟形玉珮","新石器时代","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。",[112,115,76,77,116,117,7],"红山文化","鸟形","玉器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf442ee5aa23a8ff978727e29f3d7714.jpg","未知","Xcm*Xcm",[],386,2,{"id":125,"slug":126,"title":127,"dynasty":128,"author":129,"museum":130,"description":131,"tags":132,"thumbUrl":137,"material":63,"size":138,"collection":36,"collections":139,"showCount":140,"zanCount":141,"manualWeight":41,"mainColor":42},220398,"shi-nv-zan-hua-tu-jin-ting-biao-220398","仕女簪花图","清","金廷标","北京故宫博物院","图中精致的家具、富丽的陈设所构筑出的典雅高贵的环境，表明此图表现的是宫廷女子日常生活的景象。梳妆打扮是贵族妇女每日生活中的重要内容之一，对此，她们不敢有丝毫的怠慢。图绘晨起的女子对镜理妆的情景。她为了取得良好的照镜角度，不禁起身而立，双目注视着桌上的铜镜，同时，左手缓缓地往云鬓上插玉簪。情节生动，人物举止自然，显示出作者细致入微的观察力和准确传神的艺术表现力。\n图中女子杏脸桃腮，皓齿朱唇，身段婀娜多姿，富于曲线变化，体虚力弱中显现出娇柔典雅的娟秀气，体现出清代仕女画清新俊秀的时代特征。人物衣纹用笔顿挫转折，线条遒劲刚健，与以界画方式表现的家具及室内装饰物所采用的守规守矩、见棱见角的线条相互呼应，笔墨格调于统一中显现出所绘物象不同的质感。此幅构图颇具机巧，近景为全身像的簮花女子，中景系若隐若现的理书侍女，远景是含烟带雾的翠竹一隅。繁复的画面，既未掩簪花的创作主题，又通过近、中、远三景的自然展现加强了画幅的立体、纵深效果，从而在有限的画面上扩展出无限的空间。",[23,25,26,55,27,133,31,7,134,135,136],"器","花卉","栏杆","室内陈设","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F836624fe83b39d31a2d2db2d60908583.jpg","纵223厘米，横130.5厘米",[36,38],360,7,{"id":143,"slug":144,"title":145,"dynasty":93,"author":146,"museum":130,"description":147,"tags":148,"thumbUrl":149,"material":150,"size":151,"collection":36,"collections":152,"showCount":153,"zanCount":154,"manualWeight":41,"mainColor":42},222351,"wang-shu-gong-ji-tu-zheng-ben-tang-yin-222351","王蜀宫妓图正本","唐寅","此图原名《孟蜀宫妓图》，俗称《四美图》，由明末汪砢玉《珊瑚網·画录》最早定名，沿用至今。近经专文考证，当改为《王蜀宫妓图》，描绘的是五代前蜀后主王衍的后宫故事。画面四个歌舞宫女正在整妆待君王召唤侍奉。她们头戴金莲花冠，身着云霞彩饰的道衣，面施胭脂，体貌丰润中不失娟秀，情态端庄而又娇媚。蜀后主王衍曾自制“甘州曲”歌，形容著道衣的宫妓妩媚之态：“画罗裙，能结束，称腰身。柳眉桃脸不胜春，薄媚足精神。可惜许，沦落在风尘。”唐寅创作此画，则旨主揭示前蜀后主王衍荒淫腐败的生活，寓有鲜明的讽喻之意。\n此图为唐寅人物画中工笔重彩一路画风的代表作品，显示出他在造型、用笔、设色等方面的高超技艺。仕女体态匀称优美，削肩狭背，柳眉樱髻，额、鼻、颔施以“三白”，既吸收了张萱、周昉创造的“唐妆”仕女造型特色，又体现出明代追求清秀娟美的审美风尚。四人交错而立，平稳有序，并通过微倾的头部、略弯的立姿和攀连的手臂，形成动态的多样变化和相互的紧密联系，加强了形象的丰富性和生动感。笔墨技巧近法杜堇，远宗唐人，衣纹作琴弦描，细劲流畅，富有弹性和质感，冠服纹饰描画尤见精工，细致入微。设色鲜明，既有浓淡、冷暖色彩的强烈对比，又有相近色泽的巧妙过渡和搭配，使整体色调丰富而又和谐，浓艳中兼具清雅。作品画风带有雅俗共赏的艺术特色。",[23,24,52,53,26,25,55,27,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf6a69f4c7f9bc4763217d4951ac15c8.jpg","绢本，设色","纵124.7厘米，横63.6厘米",[36,38],332,6,{"id":156,"slug":157,"title":158,"dynasty":93,"author":159,"museum":130,"description":160,"tags":161,"thumbUrl":164,"material":63,"size":165,"collection":36,"collections":166,"showCount":167,"zanCount":123,"manualWeight":41,"mainColor":42},219628,"shi-nv-tu-chen-hong-shou-219628","仕女图","陈洪绶","陈洪绶（1599~1652），明末清初著名书画家、诗人。字章侯，幼名莲子，一名胥岸，号老莲，晚号老迟、悔迟，又号悔僧、云门僧。\n他的作品荒诞而深情，鲁迅先生对之极为推崇，认为“老莲的画，一代绝作”。\n陈洪绶是明代著名的人物画家，他在人物画中对女性形象有着独特的关注视点，在造型方面追 求高古奇骇的古拙之美，在色墨运用上崇尚淡彩的雅丽之美。\n他笔下的女性人物形象既具备了明清 时期女性纤弱清秀的时代气质，又通过“诗画相生”的艺术表达体现出中国文人画家的精神特质， 对后世女性人物形象塑造，乃至人物画的发展都产生了深刻影响。",[23,24,25,26,55,27,162,163,31,32,7],"孤石","梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ebe8c0fcec8f056598c9426139fbf89.jpg","纵173.5横95.3厘米",[36,38],249,{"id":169,"slug":170,"title":171,"dynasty":128,"author":48,"museum":73,"description":172,"tags":173,"thumbUrl":182,"material":83,"size":83,"collection":84,"collections":183,"showCount":184,"zanCount":106,"manualWeight":41,"mainColor":185},241840,"yin-du-jin-qian-zhu-cui-hua-die-wen-zan-yi-ming-241840","银镀金嵌珠翠花蝶纹簪","以银镀金为骨，点翠铺就花叶底色，幽蓝如晴空霁色。莹润翡翠缀作果实，暖调珊瑚塑就蝶身，米珠、粉石簇成娇花，诸色珠宝交相辉映，将花蔓蝶戏的灵动景致凝于簪间。花丝细巧，点翠匀净，每一处细节都尽显工艺的精妙雅致，把东方闺阁的柔婉意趣，藏进这一支发簪之中，轻簪鬓畔便是满堂绮丽，尽显旧时首饰的华贵诗意。",[174,175,176,177,178,30,179,180,181,7],"清代","银器","金器","嵌珠","嵌翠","蝶","镶嵌","点翠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2af5a145aa152c9677ccc24ff61c6e25.jpg",[84],197,"FFFFFF",{"id":187,"slug":188,"title":158,"dynasty":128,"author":48,"museum":189,"description":190,"tags":191,"thumbUrl":192,"material":63,"size":193,"collection":36,"collections":194,"showCount":195,"zanCount":11,"manualWeight":41,"mainColor":42},218422,"shi-nv-tu-yi-ming-218422","费城艺术博物馆","画面中仕女身姿窈窕，衣袂轻垂如流云。左侧二人发髻簪饰精致，神态温婉相依，似低语絮谈；右侧小鬟恭立，身形纤弱，尽显娴静恭谨之态。线条细腻婉转，勾勒衣纹柔缓褶皱；设色古朴淡雅，棕褐基调晕染时光沉淀的温润质感。背景素净无华，更衬人物清雅气韵。虽佚名之作，细节处见匠心：发间金饰隐现微光，腰间丝带垂坠有致，衣料纹理细腻传神。笔墨间传递传统仕女画的含蓄之美，尽显闺阁女子温婉情致与古典韵致，如一缕旧时光里的清风，拂过观者心田。",[24,52,26,25,55,27,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd5a96fcffa4d742d6230cf50a67fe0a.jpg","115x60.4",[36],192,{"id":197,"slug":198,"title":199,"dynasty":72,"author":200,"museum":95,"description":201,"tags":202,"thumbUrl":206,"material":34,"size":207,"collection":208,"collections":209,"showCount":210,"zanCount":106,"manualWeight":41,"mainColor":42},221380,"huo-lang-tu-su-han-chen-221380","货郎图","苏汉臣","画面上描绘一位走乡串村的老货郎，推着小货车，走到一棵老梅树下的空旷场院上，货郎的到来，给孩子们带来了极大的快乐：货郎车上挂满了木叉、们‘耙，帽子、围巾、布兜、小风车、拨浪鼓、花篮、糖葫芦、花灯笼，各种佩饰等，品种繁多，琳琅满日。连货郎肩上、腰间、背后都有货物。由于货郎的到来，引来了四面八方的孩子，欣喜若狂地在货车周围戏耍。靠近货郎的一个背着小弟弟的男娃子，好像刚刚跑到这里，眼巴巴地瞧着货郎车上的东西，似有想买又没有买到的样子，所以老货郎的目光投向了这个背着弟弟而迟到的男娃子，停止了车，一手撒把指着小花鼓招引孩子：在车轮旁两个小孩，由于买到了喜爱的玩物，离开货车转身就跑，其中大的孩子手持糖葫芦满面笑容，兴高彩烈的样子。另一个小的孩子满心欢跳，一不小心，仰面跌了一个大跟斗，但是双眼还在找他喜爱的玩具。车头前又有两个站着的孩子，头上、身上戴着佩饰的那个孩子，一手指着货郎车的东西，似在告诉另一个孩子什么玩具好。头戴帽子穿着长袍的孩子，举起双手摇摆着，似有不让货郎车走开的意思。",[23,24,98,25,26,55,203,163,59,7,204,205,134],"儿童","日用品","衣冠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdca69375cfc2c3f744733e8fa2fb6541.jpg","纵159.2厘米，横97厘米","宋画精选",[208,36,38],161,{"id":212,"slug":213,"title":214,"dynasty":128,"author":48,"museum":73,"description":215,"tags":216,"thumbUrl":229,"material":83,"size":83,"collection":84,"collections":230,"showCount":231,"zanCount":106,"manualWeight":41,"mainColor":107},241776,"bi-xi-dai-zhu-cui-shi-shi-ba-zi-shou-chuan-yi-ming-241776","碧玺带珠翠饰十八子手串","这串手串以粉红碧玺为主体，胭粉莹润匀净，如朝露浸润的桃花瓣，自带温婉柔光。飘绿翡翠为佛头与隔珠，翠色鲜亮鲜活，与柔粉碧玺相映，撞出雅致灵动的色调层次。\n\n下缀的挂饰以烧蓝为框，托着颗硕大莹白的东珠，冷珐琅蓝与暖珠光相融，清贵动人。垂落的翡翠小饰如新抽叶芽，伴着细米珠串起的流苏，轻晃间尽显灵动娇俏。\n\n整器将多种珍材巧搭相融，藏着旧时闺阁的雅致意趣，把珠宝贵重揉进东方柔婉审美，尽显精巧细腻的工艺韵味。",[217,218,219,76,220,221,222,7,223,224,77,180,225,226,227,228],"清式","碧玺","珠翠","珍珠","翡翠","珐琅","手串","十八子","珠子","坠饰","翠饰","珠饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F550ce27fe6f3fd56dac0e2d85ce2d74a.jpg",[84],150,{"id":233,"slug":234,"title":235,"dynasty":93,"author":48,"museum":236,"description":237,"tags":238,"thumbUrl":241,"material":102,"size":83,"collection":36,"collections":242,"showCount":243,"zanCount":41,"manualWeight":41,"mainColor":42},219702,"liu-zhi-guan-yin-xiang-yi-ming-219702","柳枝观音像","美国弗利尔美术馆","此作观音跏趺安坐，长发垂落飘拂，神态温婉静谧，自带慈悲柔和的气韵。一手拈柳枝，一手托净瓶，正是渡厄救难的经典意象。衣袂线条舒展柔婉，青蓝主调雅致沉静，朱红饰带点缀其间，提亮画面的同时更衬出清净出尘之感。\n\n敷色晕染细腻动人，肌肤柔润通透，宝冠华饰刻画入微，发丝纤毫毕现，尽显工笔细谨之态。淡墨晕开的朦胧背景，让观音恍若隐于烟岚之中，将沉静悲悯的神性融于笔墨方寸，整体清隽典雅，把观音的温婉慈蔼诠释得淋漓尽致，尽显古典佛造像的审美意趣。",[24,25,26,54,55,239,7,53,240],"柳枝","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89d5db2c784faec6cc21f518b4575362.jpg",[36],146,{"id":245,"slug":246,"title":247,"dynasty":93,"author":48,"museum":248,"description":249,"tags":250,"thumbUrl":254,"material":251,"size":255,"collection":83,"collections":256,"showCount":257,"zanCount":258,"manualWeight":41,"mainColor":88},222147,"san-da-shi-tu-wen-shu-yi-ming-222147","三大士图-文殊","法海寺","文殊菩萨图位于水月观音图之西。文殊全称文殊师利，又作曼殊室利，意为妙德、吉祥，又译作妙吉祥，是众菩萨之首，通常作释迦佛的左胁侍，专司“智慧”，表“大智”。此菩萨顶髻，以五字五髻文殊为本体最为常见，五髻表示内证五智，以表大日之五智五佛，手持剑，以表智慧之利剑，能斩断一切无明烦恼，有时手持如意，似表吉祥如意，坐骑青狮，以表智慧之威猛。佛经对文殊的顶髻、宝冠、肤色、手持法器、坐骑等，都有种种模式要求。法海寺壁画对佛像的塑造，既继承佛典的模式要求，又有新的突破，突出了写实手法，使文殊菩萨的形象与水月观音形象大体相似。\n文殊菩萨的左下侧，绘坐骑青狮与驯狮人。驯狮人身披甲胄，威武森严，拱手而立，佩带鱼形宝刀，刀鞘沥粉贴金，鳞甲闪闪，凹凸画面，豪化富丽，格外醒目。文殊的右下侧绘有一信士，一说是古印度的月盖长者，他常入维摩方长，听不二法门。长者身着黄袍，右手持杖，左手遮荫，嘴略张开，似笑非笑。满面苍须，随风飘动，虔诚地仰望着天空，好像在祈请西方三尊拯救国内恶疫。颜面肌肤，眼角鱼尾，手指关节，其神态风韵，每一个细部，都精确地表现出老人的生理和心理特征，充分体现了壁画现实性的特征。",[23,251,54,25,26,55,81,252,253,31,7],"壁画","山水","云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3c5d9d23ca7de5aae9bb98569f7acd7.jpg","450x450厘米",[],145,3,{"id":260,"slug":261,"title":262,"dynasty":128,"author":48,"museum":73,"description":263,"tags":264,"thumbUrl":271,"material":83,"size":83,"collection":84,"collections":272,"showCount":273,"zan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珊瑚、碧玺与珍珠，攒成小花瑞果纹样。冷调石色暖质金托相映，艳而不俗，贵而不奢。\n\n细微处嵌合严丝合缝，尽显精工巧思，将文气的有机材质与华贵的珠宝金工相融，雅致与富丽平衡恰好，藏着旧时闺阁的精致意趣，把东方配饰的含蓄韵味与奢华工艺揉为一体。",[174,180,368,369,370,371,372,280,220,222,7,134,373],"镶金","嵌珠宝","玳瑁","金","珠宝","清代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2817a83bca34d553ca2bc3b5d6f98068.jpg",[84],{"id":377,"slug":378,"title":379,"dynasty":128,"author":48,"museum":73,"description":380,"tags":381,"thumbUrl":384,"material":83,"size":83,"collection":84,"collections":385,"showCount":386,"zanCount":11,"manualWeight":41,"mainColor":107},241713,"dong-zhu-chao-zhu-yi-ming-241713","东珠朝珠","这串朝珠以莹白东珠为主体，颗颗匀润似凝雪凝脂，自带清润冷冽的贵气。苍润的绿松石隔珠与佛头错落其间，冷调石色中和了东珠的素净，层次愈发生动。丹红珊瑚串作纪念与饰结，浓烈色调点亮整体，与素白东珠形成鲜明色彩对仗，华贵感跃然而出。背云取大块素面绿松石，光洁雅致，坠饰轻摇间尽显礼制配饰的端方雅致。整器严循规制选料排布，将珍稀物料与礼制审美相融，尽显旧时朝仪的庄重与工艺的精妙。",[174,7,220,309,382,77,383,76,267],"绿松石","串制","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d77545a534df67b9928843925b0c93e.jpg",[84],102,{"id":388,"slug":389,"title":390,"dynasty":128,"author":48,"museum":73,"description":391,"tags":392,"thumbUrl":393,"material":83,"size":83,"collection":84,"collections":394,"showCount":395,"zanCount":41,"manualWeight":41,"mainColor":88},241715,"cui-bian-zan-yi-ming-241715","翠扁簪","这枚玉簪通体凝萃浓艳翠绿，水头莹润通透，似将春日潭水揉作实体。簪身浮雕饱满灵动的吉祥纹样，刀工婉转细腻，线条柔润流畅，把玉石的清润质地衬得愈发鲜活。整体形制修长秀雅，既有簪钗绾发的实用之能，亦不失文玩赏鉴的审美价值，将东方玉作的温婉华贵与匠人巧思融为一体，静静晕开旧时闺阁的雅致风情。",[174,76,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84be07fc0a4c6a27bc071b135461ffdd.jpg",[84],99,{"id":397,"slug":398,"title":399,"dynasty":128,"author":48,"museum":73,"description":400,"tags":401,"thumbUrl":403,"material":83,"size":83,"collection":84,"collections":404,"showCount":405,"zanCount":41,"manualWeight":41,"mainColor":406},241721,"cui-ban-zhi-yi-ming-241721","翠扳指","这枚扳指通体凝萃浓绿，色似春池叠翠，水头充盈莹润，光华内敛却自带华贵气场。形制周正厚重，通体打磨圆润细腻，外壁无一处雕饰，将翡翠本身的灵韵全然托出，尽显大气端方的旧时审美意趣。\n\n它以材质本真之美取胜，翠色匀净饱满，不见杂色绺裂，入手温凉莹润，是良玉与精工的绝佳契合，将东方玉石文化的含蓄雅致，静静凝于这方寸之间，承载着旧时的风雅意涵。",[76,7,77,174,402,133],"青绿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d9c37924954ff99f4e510b963d1aa64.jpg",[84],93,"0D904F",{"id":408,"slug":409,"title":410,"dynasty":93,"author":146,"museum":130,"description":147,"tags":411,"thumbUrl":412,"material":130,"size":151,"collection":36,"collections":413,"showCount":414,"zanCount":41,"manualWeight":41,"mainColor":107},222350,"wang-shu-gong-ji-tu-tang-yin-222350","王蜀宫妓图",[23,24,52,53,25,26,55,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2185c945ec24f42176232f09a48815d.jpg",[36,38],92,{"id":416,"slug":417,"title":418,"dynasty":128,"author":48,"museum":73,"description":419,"tags":420,"thumbUrl":421,"material":83,"size":83,"collection":84,"collections":422,"showCount":423,"zanCount":258,"manualWeight":41,"mainColor":107},241744,"cui-shi-ba-zi-shou-chuan-yi-ming-241744","翠十八子手串","这串手串以浓绿翠珠为主体，莹润饱满的圆珠色泽匀净鲜亮，尽显翠玉清灵质地。搭配粉碧玺隔珠，冷艳绿意与柔糯粉调相映，撞色雅致和谐。\n\n背云以累丝点翠工艺打造，镶嵌珍珠碧玺，精巧富丽，仿若盛放的花间星芒。下悬粉碧玺坠饰，随形雕琢莹润粉嫩，腕间轻摇时，佩饰轻晃流光，将玉石天生之美与清宫匠心工艺相融，静静诉说旧时贵族闺阁的温婉意趣，尽显雅致华贵的旧日风华。",[7,76,77,133,225,226,26,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F324beefe59528592cd90256cdc4966ec.jpg",[84],90,{"id":425,"slug":426,"title":427,"dynasty":93,"author":48,"museum":73,"description":428,"tags":429,"thumbUrl":430,"material":119,"size":120,"collection":83,"collections":431,"showCount":432,"zanCount":41,"manualWeight":41,"mainColor":42},228405,"da-pu-xian-pu-sa-zuo-xiang-yi-ming-228405","大普贤菩萨坐像","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。",[24,54,55,25,26,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F879769e52d7eb2be5f8935ae85a068a2.jpg",[],86,{"id":434,"slug":435,"title":436,"dynasty":128,"author":48,"museum":73,"description":437,"tags":438,"thumbUrl":440,"material":83,"size":83,"collection":84,"collections":441,"showCount":442,"zanCount":11,"manualWeight":41,"mainColor":88},241948,"yin-du-jin-xiang-zhu-cui-ye-xing-fa-qia-yi-ming-241948","银镀金镶珠翠叶形发卡","取新叶为形，雕镂出脉络分明的翠色叶片，仿佛将暮春枝桠凝于方寸。浓鲜的翡翠绿意莹润鲜活，底托悄然隐衬，让翠色愈发清透灵动。错落点缀的珍珠带着温润珠光，柔化了玉石的冷冽，将清翠与莹白相融，刚柔并济。\n\n整体舒展雅致，恰似撷来一段沾着晨露的细枝，把春日的鲜活意趣藏于鬓边，将闺阁的温婉情致凝为随身珍饰，尽显细腻温婉的旧时匠心。",[128,7,175,176,76,220,439,180],"叶形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77eda39ca6fb6eab46db5d778fdf5a5d.jpg",[84],76,{"id":444,"slug":445,"title":446,"dynasty":47,"author":447,"museum":73,"description":448,"tags":449,"thumbUrl":454,"material":119,"size":120,"collection":455,"collections":456,"showCount":457,"zanCount":41,"manualWeight":41,"mainColor":88},225648,"rembrandt-harmensz-van-rijn-058-lun-bo-lang-225648","Rembrandt Harmensz.van Rijn - 058","伦勃朗","伦勃朗·哈尔曼松·凡·莱因（Rembrandt Harmenszoon van Rijn，1606年7月15日～1669年10月4日）是欧洲17世纪最伟大的画家之一，也是荷兰历史上最伟大的画家。\n伦勃朗早年从师P.拉斯特曼，1625年在家乡开设画室。画作体裁广泛，擅长肖像画、风景画、风俗画、宗教画、历史画等领域。",[450,451,452,26,55,453,7,321,240],"油画","写实","光影","贵族","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57d7edd81c90430ac3035cb2312d096f.jpg","油画精选",[455],69,{"id":459,"slug":460,"title":461,"dynasty":128,"author":48,"museum":73,"description":462,"tags":463,"thumbUrl":469,"material":83,"size":83,"collection":84,"collections":470,"showCount":471,"zanCount":41,"manualWeight":41,"mainColor":88},241817,"tong-du-jin-xiang-bao-shi-dai-tou-yi-ming-241817","铜镀金镶宝石带头","整体圆融端庄，铜镀金底托衬出沉稳大气的基调。中心随形红宝石色泽浓艳莹润，自带凝脂厚重质感，稳稳占据视觉核心，彰显华贵气场。环绕的水滴弧面翡翠清透鲜亮，如春水凝萃出的碧色莲瓣，排布规整舒展。红绿宝光之间，浅蓝烧蓝搭配累丝金纹，明丽釉色交织细密卷草金丝，勾连起层次韵律，尽显细作的精巧匠心。\n\n整器工法繁复却层次分明，金玉珠宝相映生辉，将旧时贵族重材重工的奢华审美诠释尽致，尽显东方配饰的华贵雅致。",[128,464,176,465,466,467,468,7,180],"铜制","铜镀金","宝石镶嵌","珐琅工艺","掐丝珐琅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f3d68f7f1f020229bb8740581f9aa54.jpg",[84],64,{"id":473,"slug":474,"title":475,"dynasty":476,"author":48,"museum":73,"description":477,"tags":478,"thumbUrl":480,"material":119,"size":120,"collection":83,"collections":481,"showCount":482,"zanCount":106,"manualWeight":41,"mainColor":42},223703,"long-wen-huan-yi-ming-223703","龙纹环","汉","汉代是龙纹造型的真正定型期，在形式上达到了一个空前的高度，这一历史背景也充分反映在汉代玉器龙纹上。我们看到，汉代玉龙一改战国时期那种自由奔放、生机勃勃、姿态万千的特点，而逐渐趋于表现龙的凶猛威武之态、翻云覆雨之势、气韵生动之神采。\n此期龙纹大多与螭虎纹、凤纹组合或单独出现，作为玉璧、玉珩、玉璜、玉环、玉觿、韘形佩等器物的装饰纹样，并出现了四灵题材中的龙。单独成器的玉龙数量较少，上图龙体蜷曲呈“S”形，长尾上卷，器表遍布勾连纹以示龙鳞，身边饰以镂雕云纹。",[479,76,77,322,81,7],"汉代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3798b35c91396fe861649c0c803042b6.jpg",[],63,{"id":484,"slug":485,"title":486,"dynasty":128,"author":48,"museum":73,"description":487,"tags":488,"thumbUrl":494,"material":83,"size":83,"collection":84,"collections":495,"showCount":496,"zanCount":11,"manualWeight":41,"mainColor":107},241769,"huang-bi-xi-dai-zhu-cui-shi-shi-ba-zi-shou-chuan-yi-ming-241769","黄碧玺带珠翠饰十八子手串","这串手串以黄碧玺为主体，澄澈珠身隐含金丝内纹，如将碎熔的日光凝于腕间。珊瑚米珠作隔，暖橙撞亮暖金，层次顿生。莹润清翠的翡翠为佛头与背云，揉入一抹柔润冷色，调和明媚基调。下垂饰串以珍珠错落串联，随形粉碧玺坠角娇妍粉嫩，随轻摇漾开柔润光泽。\n整体工巧雅致，将各色宝石的天然肌理相融，明暗交织间尽显旧时闺阁细腻审美，腕间轻垂，既是清贵的装饰，亦是东方雅致意趣的缩影。",[174,7,489,490,221,220,491,224,492,493,226],"串饰","黄碧玺","粉晶","传统工艺","珠翠饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fced5fc751cb020d79465b28e6cb99d29.jpg",[84],60,{"id":498,"slug":499,"title":500,"dynasty":128,"author":48,"museum":73,"description":501,"tags":502,"thumbUrl":505,"material":119,"size":120,"collection":83,"collections":506,"showCount":507,"zanCount":11,"manualWeight":41,"mainColor":88},241835,"yin-du-jin-dian-cui-qian-zhu-shuang-long-wen-zhang-zan-yi-ming-241835","银镀金点翠嵌珠双龙纹长簪","发簪，中国古代汉族人民用来固定和装饰头发的一种首饰。对于现代人来说已经是一个很古老的名词了，但是当在看古装剧时，却总是能被它们点缀出的精致效果所折服。\n将长发松松挽起，插上一枚别致的发簪，再配上典雅的长裙，即便性格再外放的女性，也可以成为让人眼前一亮的古典美人。发簪金属的光泽闪耀在发间，加上小而巧的坠饰，长发的风情便又是一种不一样的感受了。",[128,503,181,177,504,7],"银镀金","双龙纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3ed961d105762b471e36c16d2b50c76.jpg",[],59,{"id":509,"slug":510,"title":511,"dynasty":128,"author":48,"museum":73,"description":512,"tags":513,"thumbUrl":516,"material":83,"size":83,"collection":84,"collections":517,"showCount":507,"zanCount":41,"manualWeight":41,"mainColor":406},241729,"cui-lou-shuang-xi-bei-yun-yi-ming-241729","翠镂双喜背云","满色正阳翠绿，莹润鲜亮水头饱满。以透雕技法打造，主体为双喜吉纹，缠枝卷叶环绕勾勒轮廓，线条婉转利落，镂空处虚实相映，将喜庆之意融于翠玉之中。雕工规整细致，既保留翠料的温润质感，又让纹样精巧灵动，将中式吉祥寓意凝于方寸之间，尽显雅致华贵的古韵风华。",[174,76,77,514,515,7],"镂刻","双喜纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce557eee8a207d573d143cff2368be97.jpg",[84],{"id":519,"slug":520,"title":521,"dynasty":128,"author":48,"museum":330,"description":522,"tags":523,"thumbUrl":527,"material":63,"size":528,"collection":36,"collections":529,"showCount":530,"zanCount":41,"manualWeight":41,"mainColor":42},218525,"li-xiang-jun-xiao-xiang-yi-ming-218525","李香君小像","画有李香君的小像，面板左上方有侯方域《李姬传》的小楷长诗。",[24,524,25,26,55,27,525,526,7],"扇面","书法","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa138eb64d00fad7bfd083254678fc512.jpg","22.8x25.5",[36],58,{"id":532,"slug":533,"title":534,"dynasty":47,"author":447,"museum":73,"description":448,"tags":535,"thumbUrl":538,"material":119,"size":120,"collection":455,"collections":539,"showCount":540,"zanCount":41,"manualWeight":41,"mainColor":42},225671,"rembrandt-harmensz-van-rijn-081-lun-bo-lang-225671","Rembrandt Harmensz.van Rijn - 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风韵晕染尽致。\n\n画幅题诗暗合前蜀宫闱旧事，在仕女的绮艳描摹之中，暗寓对耽于宴乐的讽喻，将精工的视觉美感与文人的寄兴藏于一体，于柔丽雅致间藏着沉敛的讽世之思，是仕女画中兼擅审美意趣与文心寄寓的经典之作。",[23,98,24,52,53,26,55,27,31,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2530c75a1f39e5bab12ffc2dd7b41be1.jpg",[],{"id":628,"slug":629,"title":630,"dynasty":128,"author":593,"museum":330,"description":594,"tags":631,"thumbUrl":632,"material":63,"size":598,"collection":83,"collections":633,"showCount":619,"zanCount":41,"manualWeight":41,"mainColor":107},218353,"shi-nv-tu-ce-2-li-ting-xun-218353","仕女图册-2",[24,52,26,25,55,27,31,7,525,100,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29b94ddb9dca2a24390e96ab7141eea0.jpg",[],{"id":635,"slug":636,"title":637,"dynasty":72,"author":48,"museum":73,"description":428,"tags":638,"thumbUrl":639,"material":119,"size":120,"collection":83,"collections":640,"showCount":641,"zanCount":11,"manualWeight":41,"mainColor":42},287583,"song-gao-zong-hou-zuo-xiang-yi-ming-287583","宋高宗后坐像",[24,26,55,25,31,7,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29a247cbff4a0db4ecc41e44d39e1330.jpg",[],42,{"id":643,"slug":644,"title":645,"dynasty":545,"author":48,"museum":73,"description":646,"tags":647,"thumbUrl":648,"material":119,"size":120,"collection":83,"collections":649,"showCount":641,"zanCount":41,"manualWeight":41,"mainColor":107},224008,"hua-jian-xing-long-ding-xi-zhong-huan-wen-ding-fu-jian-yi-ming-224008","花间行龙顶，西重环纹鼎附件","青铜器（Bronze Ware）在古时被称为“金”或“吉金”，是红铜与其他化学元素锡、铅等的合金，刚刚铸造完成的青铜器是金色，但因为出土的青铜因为时间流失产生锈蚀后变为青绿色，被称为青铜。\n青铜器的使用开始于新石器时代晚期的土耳其和伊拉克地区，及叙利亚古代TellRamad遗址出土的铜珠等。中国青铜器开始于马家窑至秦汉时期，以商周时期的器物最为精美。在中国仰韶文化早期和马家窑文化时期就已经出现。\n中国最初出现的是小型工具或饰物。夏代始有青铜容器和兵器。商中期，青铜器品种已很丰富，并出现了铭文和精细的花纹。商晚期至西周早期，是青铜器发展的鼎盛时期，器型多种多样，浑厚凝重，铭文逐渐加长，花纹繁缛富丽。随后，青铜器胎体开始变薄，纹饰逐渐简化。春秋晚期至战国，由于铁器的推广使用，铜制工具越来越少。秦汉时期，随着陶器和漆器进入日常生活，铜制容器品种减少，装饰简单，多为素面，胎体也更为轻薄。\n中国青铜器制作精美，在世界青铜器中享有极高的声誉和艺术价值，代表着中国5000多年青铜发展的高超技术与文化。\n我国商、周时代的青铜器具，不单是盛物用的容器，同时也是宗庙中的礼器。青铜器的数量可以表示出身份地位的高低，青铜器形制的大小也可以显示出权力的等级。青铜器中，最重要的器类就是鼎。远古的青铜器可以分为食器、酒器、水器、乐器四大类。食器中包括鼎、鬲等等。其中鼎是最重要的礼器。\n西周中晚期我国形成了列鼎制度，据《春秋公羊传》记载，天子用9鼎，诸侯用7鼎、卿大夫用5鼎、士用3鼎或1鼎。同时。与鼎一同出现的还有簋，通常为九鼎八簋，七鼎六簋，五鼎四簋，三鼎二簋。在西周中晚期的墓葬制度中，鼎为单数而簋为双数。青铜鼎随着时代的发展，形制也在发生变化。商代早期多为圆腹尖足，也有方鼎。到了中期出现了扁足鼎等等。商代晚期尖足鼎逐渐减少，圆腹柱足鼎开始居多，鬲鼎逐渐多了起来。《尔雅》记载“鼎之款足者，谓之鬲”。鬲鼎也称为分裆鼎，是鬲和鼎的混合体，鼎从商代开始铸有各式样的神秘纹饰，多为兽面纹，如饕餮纹、蝉纹、象纹等等，纹饰变化巧妙。容器内部铸有族徽或祖先的名字。\n青铜是铜和锡铅的合金。在中国古代早期的工艺美术中青铜工艺成为奴隶社会工艺美术的典型代表是我们的祖先对人类物质文明的巨大贡献。商周时期是中国历史上的青铜时代，它以品类丰富、造型优美、纹饰华丽、制作精巧、风格独特而著称。此时是冶炼铸造技术可以说有了突发猛进的发展，在应用上具有广泛的适用性。成为中国艺术史的一个组成部分。本文以商周时期的青铜器主要代表作品作品：《后母戊大方鼎》、《盂鼎》为例，从青铜器作为“礼器”的艺术精神与青铜器的造型、装饰艺术特点来谈谈商周青铜器艺术。\n中国古代青铜器，就使用规模、铸造工艺、造型艺术及品种而言。中国古代青铜器在世界艺术史上占有独特地位。商周时期是中国历史上的青铜时代，青铜流行于新石器时代晚期至秦汉时代。以商周器物最为精美，品种已很丰富器型多种多样，并出现了铭文和精细的花纹浑厚凝重。商周青铜器艺术装饰承接新石器时代艺术中若干精髓，经过长期绵延不断的变化，形成独特的体系，在成为中国艺术史的一个组成部分。商周时期，青铜的冶炼业作为生产力的标志而达到高峰。是中国古代青铜器发展的鼎盛时期。",[76,77,322,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfc387d8bd3ea53f2d3b1c9245701ced.jpg",[],{"id":651,"slug":652,"title":653,"dynasty":72,"author":48,"museum":95,"description":654,"tags":655,"thumbUrl":656,"material":657,"size":658,"collection":83,"collections":659,"showCount":660,"zanCount":41,"manualWeight":41,"mainColor":42},223436,"song-shen-zong-hou-zuo-xiang-yi-ming-223436","宋神宗后坐像","本幅原属清宫南薰殿旧藏，画无款印，但画中人物相貌传神，洵非想像之作，而且用笔精准、赋色细腻，具备第一流的水准，应出自当时名家之笔。宋仁宗先后曾立两位皇后，其一为郭皇后，另一为慈圣光献曹皇后。由于郭后被废，故此像应系后者。画像中，非惟曹后身着的袆衣、钗冠华丽无伦，连身侧两名侍女，同样衣饰妍丽，满头簪花，与院藏仅绘皇后独自端坐的图像相比，显得格外高贵而出众。",[23,24,52,26,25,55,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe3010254a80d6bfae8c42dd104ecd83.jpg","白纸本","174.7x 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[1] 。团扇起源于中国。扇子最早出现在商代，用五光十色的野鸡毛制成，称之为“障扇”。\n当时，扇子不是用来扇风取凉，而是作为帝王外出巡视时遮阳挡风避沙之用。西汉以后，扇子开始用来取凉。三国时诸葛亮轻摇鹅毛扇，妙计横生，运筹帷幄。羽扇出风缓软，不入腠理。东汉时，大都改羽扇为丝、绢、绫罗之类织品，以便点缀绣画。一轮明月形的扇子称之为“纨扇”或“团扇”，也叫“合欢扇”。当时扇子有长圆、葵花、梅花、六角、匾圆之形；亦有木、竹、骨等材之柄；还有扇坠、流苏、玉器之饰。\n宋以前称扇子，都指团扇。王昌龄《长信愁》诗：“奉帚平明秋殿开，且将团扇共徘徊”。《杖扇新录》载：近世通用素绢，两面绷之，或泥金、瓷青、湖色，有月圆、腰圆、六角诸式，皆倩名人书画，柄用梅烙、湘妃、棕竹，亦有洋漆、象牙之类。名为“团扇”。圆形或近似圆形扇面，扇柄不长。现在的团扇扇柄较长，越来越符合大众审美。",[23,98,24,52,524,26,55,25,27,133,31,7,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3a0f76cfffbd1d013df65fbdf7e9d6f.jpg",[],{"id":722,"slug":723,"title":724,"dynasty":47,"author":447,"museum":73,"description":448,"tags":725,"thumbUrl":736,"material":119,"size":120,"collection":455,"collections":737,"showCount":711,"zanCount":41,"manualWeight":41,"mainColor":88},225685,"rembrandt-harmensz-van-rijn-095-lun-bo-lang-225685","Rembrandt Harmensz.van Rijn - 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　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 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。台北故宫博物院收藏了一套《元代帝后像册》，帝像8帧：计为太祖成吉思汗、太宗窝阔台、世祖忽必烈、元成宗、元武宗、元仁宗、元文帝、元宁宗；后像15幅：计为元世祖后像一、顺宗后像三、武宗后像三、仁宗后像一、英宗后像二、明宗后像一、宁宗后像一以及后纳罕像一、佚名后像四。\n元代帝后肖像的显著特点是作胸像，而其他朝代的帝后像都是完整的全身像，这可能是蒙古族和汉族不同的审美好尚所致。画像的脸部烘染细腻，用微妙的色彩擦染塑造立体感。有研究者认为这样细腻的烘染手法可能与西南地区，特别是来白尼泊尔的画师阿尼哥（Anige）有关。据载阿尼哥曾为世祖、世祖皇后画过像，虽然无法确定是否就是此幅，二者风格上的渊源是毋庸置疑的。\n《唻洎頭條元世祖后像》中，皇后彻伯尔的帽子十分引人注目，几乎占了画面的一半空间，这种帽子叫作“罟罟冠”。“罟罟冠”原名叫“古库勒”，其名称的由来少见于记载，元代丘处机认为“罟罟冠”顶有一撮禽类的羽毛故而拟其声，女真人又称野兽为“故勒故”，推测元蒙时代“罟罟冠”的称谓，与其“取禽兽羽毛”的材质和女真人的发音都有一定的关系。至于“罟罟冠”的构造，分为两部分，即上部是一个顶稍宽的长简形，用桦木、柳枝或铁丝盘出形状来，胎骨外阿糊绒锦岁绢等，链顶装饰小珠，锦鸡等玲禽羽毛，顶郭折下部分的前中央，往上嵌有耀眼的太小珠翠，由两条带于把冠同定在头顶，旁边一缀上珠饰；下部是一抹横勒在额上的抹额，抹额在中间的传统可以追溯到北朝，时称“幕罗”，晦则发展为“帷幕”，称为“滟婆勘于”。尚婆勒干和上冠台之，便为所谓的罟罟冠。\n除开画像中对“罟罟冠”的描绘外，皇后的“一字眉”也非常有特色，这种眉形不仅细长而平齐，在元代流行的时间很长是蒙古族女特有的一种妆饰。通常的做法是先将天生的眉毛剃掉，然后画上细长的“一字眉”。\n蒙古女贵族的服装样式，则明显受到汉族女装的影响，宽的袖千绣满镂盒花边的领口，体现入主中原之后的“汉化”进程。《元世祖皇后像》中，皇后的衣服颜色是大红。元代以红为贵，衣服颜色亦象征着不同的社会等级最尊贵阶层穿红色和紫色的表服，中间阶层穿青色和绿色的农服，寻常百姓则只许穿檀褐色等暗色服装。",[23,24,52,25,26,55,990,31,7,991,706,321],"女性","古代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F444ec05610a71f67070ac1abd81d2630.jpg",[36,38],{"id":995,"slug":996,"title":997,"dynasty":128,"author":48,"museum":73,"description":998,"tags":999,"thumbUrl":1002,"material":119,"size":120,"collection":83,"collections":1003,"showCount":1004,"zanCount":41,"manualWeight":41,"mainColor":42},241866,"xiang-zhu-bao-shi-qing-rong-feng-guan-yi-ming-241866","镶珠宝石青绒凤冠","以青绒为底，铺陈奢丽华章。累丝为骨层叠打造凤鸟，昂首振翅似欲凌风而上，周身遍嵌东珠，莹润珠光与金属冷辉相映成趣。帽身满缀珠串宝石，橙黄羽丝环绕帽檐，柔暖光泽中和珠宝冷硬质感。垂下的珠穗随步轻摇，流光错落间尽显皇家仪范。\n整体形制精巧繁复，花丝工艺细腻入微，将珠宝华贵与工艺匠心融为一体，尽显旧时首饰工艺巅峰水准，暗合礼制下的极致审美，将尊荣雅致凝于一顶之间，静静诉说着昔日宫廷的华贵雍容。",[174,180,77,7,133,31,32,1000,76,1001],"珠","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc180b93a1a11787e2e577db429f1995.jpg",[],26,{"id":1006,"slug":1007,"title":1008,"dynasty":128,"author":48,"museum":73,"description":768,"tags":1009,"thumbUrl":1010,"material":119,"size":120,"collection":83,"collections":1011,"showCount":67,"zanCount":41,"manualWeight":41,"mainColor":88},268564,"dian-cui-xiang-liao-zhu-qi-feng-wen-tou-hua-yi-ming-268564","点翠镶料珠七凤纹头花",[7,181,828,180,683,176,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14bf8a8262e29e375ab85a3e287adfce.jpg",[],{"id":1013,"slug":1014,"title":1015,"dynasty":128,"author":48,"museum":73,"description":768,"tags":1016,"thumbUrl":1019,"material":119,"size":120,"collection":83,"collections":1020,"showCount":67,"zanCount":41,"manualWeight":41,"mainColor":88},268524,"dian-cui-hu-lu-wan-dai-wen-tou-hua-yi-ming-268524","点翠葫芦万代纹头花",[7,181,1017,1018,683],"葫芦","吉祥纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc4fa7493c729060057ef325a5851445.jpg",[],{"id":1022,"slug":1023,"title":1024,"dynasty":128,"author":48,"museum":73,"description":768,"tags":1025,"thumbUrl":1026,"material":119,"size":120,"collection":83,"collections":1027,"showCount":67,"zanCount":11,"manualWeight":41,"mainColor":88},268438,"dian-cui-he-hua-wen-tou-hua-yi-ming-268438","点翠荷花纹头花",[7,181,568,864,683],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1c640ea4dfc34b00b469aaee08dedbf.jpg",[],{"id":1029,"slug":1030,"title":1031,"dynasty":128,"author":48,"museum":73,"description":786,"tags":1032,"thumbUrl":1037,"material":119,"size":120,"collection":83,"collections":1038,"showCount":67,"zanCount":11,"manualWeight":41,"mainColor":107},265608,"xue-hui-se-duan-di-zhi-mei-mu-dan-tao-hua-lan-hua-wen-tao-yi-ming-265608","雪灰色缎地枝梅牡丹桃花兰花纹绦",[32,7,1033,163,1034,788,1035,134,1036],"织绣","兰","桃花","绦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F682cb286d2e9772da5b52b0d7e216ce9.jpg",[],{"id":1040,"slug":1041,"title":1042,"dynasty":128,"author":48,"museum":130,"description":1043,"tags":1044,"thumbUrl":1045,"material":150,"size":1046,"collection":36,"collections":1047,"showCount":67,"zanCount":41,"manualWeight":41,"mainColor":107},236164,"xiao-cheng-ren-huang-hou-xiang-zhou-yi-ming-236164","孝诚仁皇后像轴","粘黄绢，上书满汉墨 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横116.8厘米",[36,38],{"id":1049,"slug":1050,"title":1051,"dynasty":128,"author":48,"museum":73,"description":501,"tags":1052,"thumbUrl":1055,"material":119,"size":120,"collection":83,"collections":1056,"showCount":67,"zanCount":11,"manualWeight":41,"mainColor":107},229143,"jin-lei-si-qian-zhu-bao-hu-die-zan-yi-ming-229143","金累丝嵌珠宝蝴蝶簪",[174,176,7,1053,369,1054,864,372],"金累丝","琺瑯器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7435cbf363ddc2913de6eef0070c34d6.jpg",[],{"id":1058,"slug":1059,"title":1060,"dynasty":112,"author":48,"museum":73,"description":113,"tags":1061,"thumbUrl":1062,"material":119,"size":120,"collection":83,"collections":1063,"showCount":1064,"zanCount":41,"manualWeight":41,"mainColor":107},252479,"yu-huan-yi-ming-252479","玉环",[112,76,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ae27161857cf8c85df1839824af5e20.jpg",[],24,{"id":1066,"slug":1067,"title":1068,"dynasty":128,"author":48,"museum":73,"description":501,"tags":1069,"thumbUrl":1071,"material":119,"size":120,"collection":83,"collections":1072,"showCount":1064,"zanCount":41,"manualWeight":41,"mainColor":42},229455,"yin-du-jin-dian-cui-qian-bao-fu-shou-zan-yi-ming-229455","银镀金点翠嵌宝福寿簪",[174,181,964,503,1070,134,686,280,220,7],"簪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3218fc32517be15466e501939e1ab6b4.jpg",[],{"id":1074,"slug":1075,"title":1076,"dynasty":128,"author":48,"museum":73,"description":768,"tags":1077,"thumbUrl":1079,"material":119,"size":120,"collection":83,"collections":1080,"showCount":1081,"zanCount":123,"manualWeight":41,"mainColor":88},263549,"dian-cui-hua-die-wen-tou-hua-yi-ming-263549","点翠花蝶纹头花",[7,181,1078,683,788,864],"花蝶纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb097d8a6fa19ae837284796996faef0.jpg",[],23,{"id":1083,"slug":1084,"title":1085,"dynasty":128,"author":48,"museum":73,"description":501,"tags":1086,"thumbUrl":1089,"material":119,"size":120,"collection":83,"collections":1090,"showCount":1081,"zanCount":41,"manualWeight":41,"mainColor":42},242057,"yin-du-jin-qian-zhu-bao-ru-yi-wen-zan-yi-ming-242057","银镀金嵌珠宝如意纹簪",[174,503,369,1087,7,180,1088,372,175,176],"如意纹","珐琅器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fe02b7de9b95304cceae854e3d91f6b.jpg",[],{"id":1092,"slug":1093,"title":1094,"dynasty":72,"author":48,"museum":73,"description":1095,"tags":1096,"thumbUrl":1098,"material":119,"size":120,"collection":83,"collections":1099,"showCount":1081,"zanCount":11,"manualWeight":41,"mainColor":107},221632,"fu-zhuang-gou-kou-yi-ming-221632","服装钩扣","中国宋代是一个手工业和工商业空前发展兴盛的时代，国富民强，文化发达。此时期的玉器正处在一个承前启后的转折阶段。两宋玉器承袭两宋画风，通常画面构图复杂，多层次，形神兼备，有浓厚绘画趣味，完成了由唐玉偏重工艺性、雕塑性向宋玉偏重绘画性、艺术性的转变。此时的皇家用玉品种丰富多样，佩饰类有玉束带、玉佩，用具有玉辂，玉磬，礼器有玉圭、玉册等等。内廷专设有玉作，玉料由西域诸国进贡。民间用玉也较前朝为盛，大量出现各种玉佩饰，玉用器。皇家、官僚及民间均风行收藏古玉，古董行开始出现伪造或仿造古玉之风气。因此，宋玉又被分为古玉、时作玉、伪古玉和仿古玉。 　两宋及其同期或稍后的辽金玉文化去除了隋唐五代繁杂的外来文化因素，又继承和发展了隋唐玉文化的市庶化、艺术化特色，特别是融会了两宋绘画的特点和技巧。宋代肖生玉在崇尚写实主义的院画影响下追求形体及运动的准确表现，以显示其内心世界。花鸟玉佩多做隐起、镂空的对称处理，富有生活气息。双勾的经文诗词等铭刻玉器盛极一时。辽金玉器也是由汉族玉工碾成，但其题材却富有边疆民族特色和游牧生活气息，以契丹、女真两族生活为主题的春水佩和玉秋山为其杰出代表，均有着形神兼备的艺术造诣。宋、辽、金都出现了前所未见的有情节、有背景的景观式构图，以镂空起突等法碾琢的悬塑性或立体的肖生玉器。它是这一时代玉器的新兴形式，有着鲜明的时代特点，还出现了受道教影响的神仙题材和“龟游”一类祥瑞玉器。总之，此时期玉器的特点是：玉如凝脂、构图繁复、情节曲折、砣碾遒劲、空灵剔透、形神兼备，是我国玉文化的第二个高峰期。",[343,76,77,7,1097,26],"兽纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ef424e721156b83eadca0cb594e360c.jpg",[],{"id":1101,"slug":1102,"title":1103,"dynasty":128,"author":1104,"museum":73,"description":1105,"tags":1106,"thumbUrl":1110,"material":119,"size":120,"collection":83,"collections":1111,"showCount":1112,"zanCount":41,"manualWeight":41,"mainColor":107},288241,"bei-jing-dian-pu-zhao-huang-hua-ce-zhou-pei-chun-288241","北京店舖招幌画册","周培春","周培春，清末北京民俗画家，以绘制民俗图见长。曾居广州，替外国油画家经营油画作品销售。国内鲜为人知、其作品国内基本上没有收藏而在国外影响很大。他的画作对世界各国和后世的人们了解清代北京的社会生活和风俗习惯，作出了巨大的贡献。",[596,26,24,1107,1108,7,1109],"店铺招幌","民俗","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67e80b1587a8c4e68a34e73246620891.jpg",[],22,{"id":1114,"slug":1115,"title":1116,"dynasty":128,"author":1117,"museum":73,"description":1118,"tags":1119,"thumbUrl":1121,"material":119,"size":120,"collection":83,"collections":1122,"showCount":1112,"zanCount":11,"manualWeight":41,"mainColor":107},239356,"fu-mu-tu-juan-ding-guan-peng-239356","佛母图卷","丁观鹏","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。\n丁观鹏擅长画道释人物，也善画山水。曾与弟弟观鹤同供奉于南熏殿。他的画作清宫收藏很多。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有：《摹宋人雪渔图》和《仿韩 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题：“孝惠仁宪端懿慈 淑恭安纯德顺天翼圣章 皇后，左。”\n孝惠章皇后御容一 轴，朝服冠，恭 悬， 西大柜尊藏。",[24,52,53,25,26,55,322,31,7,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6ce46a05b54cf676df042f28ea20ab9.jpg","纵254.7厘米， 横116.5厘米",[36,38],{"id":1217,"slug":1218,"title":1219,"dynasty":128,"author":48,"museum":73,"description":1220,"tags":1221,"thumbUrl":1226,"material":119,"size":120,"collection":83,"collections":1227,"showCount":1206,"zanCount":41,"manualWeight":41,"mainColor":107},234403,"xiao-quan-cheng-huang-hou-chao-fu-xiang-zhou-yi-ming-234403","孝全成皇后朝服像轴","工笔重彩刻画入微，皇后安坐龙椅，面容娟秀温婉，神情静穆端凝，尽显中宫威仪。朝服以明黄为底，五彩祥龙穿梭于云纹之间，海水江崖层次井然，金线勾勒纹饰，华贵雍容。三盘朝珠错落垂挂，珠宝莹润雅致，与领肩繁复绣纹交相辉映，将清代宫廷服饰典制与极致绣艺尽数展现。画面设色浓丽沉稳，构图规整对称，既严守御容画的制式规范，又以细腻笔触赋予人物娴静气度，尽显宫廷皇后的华贵仪范。",[174,25,26,53,55,322,770,31,7,134,1222,1223,1224,1225],"祥云","朝服纹饰","五彩","刺绣纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2afd8276f1d953304a3cd0eeac1c5663.jpg",[],{"id":1229,"slug":1230,"title":1231,"dynasty":128,"author":48,"museum":73,"description":501,"tags":1232,"thumbUrl":1236,"material":119,"size":120,"collection":83,"collections":1237,"showCount":1238,"zanCount":11,"manualWeight":41,"mainColor":107},229920,"dao-guang-tong-du-jin-lei-si-qian-zhen-zhu-ru-yi-zan-yi-ming-229920","道光 铜镀金累丝嵌珍珠如意簪",[174,1233,1234,465,7,1070,1235],"累丝","嵌珍珠","如意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F578620095150ec8dc496335a9a63902b.jpg",[],18,{"id":1240,"slug":1241,"title":1242,"dynasty":128,"author":48,"museum":73,"description":1243,"tags":1244,"thumbUrl":1248,"material":119,"size":120,"collection":83,"collections":1249,"showCount":1238,"zanCount":11,"manualWeight":41,"mainColor":42},229144,"jin-xiang-dong-zhu-mao-jing-shi-pin-fei-chao-guan-ding-yi-ming-229144","金镶东珠猫睛石嫔妃朝冠顶","以累花丝为骨，镂刻出双凤穿花的灵动模样，金凤羽翼舒展纤毫毕现，仿佛振翅欲飞。顶巅猫睛石凝着柔光，自带幽邃华贵的质感。颗颗东珠错落点缀在凤身枝桠之间，莹润珠光与赤金流光相互辉映。底座錾刻缠枝细纹，将宫廷精工雅致藏于方寸。三种材质相得益彰，尽显清代花丝细作的极致精妙，把皇室配饰的庄重贵气与匠心巧思融于这一方冠顶之上。",[174,176,180,1245,1246,7,372,355,1247,77],"东珠","猫睛石","冠饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa45c91c40b055e5bc31c3d6b1712e354.jpg",[],{"id":1251,"slug":1252,"title":1253,"dynasty":476,"author":48,"museum":73,"description":1254,"tags":1255,"thumbUrl":1259,"material":119,"size":120,"collection":83,"collections":1260,"showCount":1238,"zanCount":123,"manualWeight":41,"mainColor":42},226919,"bai-yu-niao-wen-pei-yi-ming-226919","白玉鸟纹珮","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。\n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玉器经历7000多年的发展，从简单的装饰品发展到古代宗教祭拜、礼仪用品，再到象征高尚道德品质的装饰品，最后上升为丰富的艺术鉴赏作品，深入反映了不同历史时期的社会发展演变过程。",[479,117,77,1256,1257,7,549,1258],"白玉","鸟纹","古玉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcee07fc822eb66a27a497b247877d127.jpg",[],{"id":1262,"slug":1263,"title":1264,"dynasty":545,"author":48,"museum":73,"description":113,"tags":1265,"thumbUrl":1266,"material":119,"size":120,"collection":83,"collections":1267,"showCount":1238,"zanCount":41,"manualWeight":41,"mainColor":42},226853,"jiu-yu-long-wen-huan-yi-ming-226853","旧玉龙纹环",[117,76,7,79,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75295bec61c422f190fef178f0cec944.jpg",[],{"id":1269,"slug":1270,"title":1271,"dynasty":476,"author":48,"museum":73,"description":1272,"tags":1273,"thumbUrl":1275,"material":119,"size":120,"collection":83,"collections":1276,"showCount":1238,"zanCount":41,"manualWeight":41,"mainColor":107},223964,"ming-guang-jing-zhi-fu-jian-yi-ming-223964","明光镜之附件","汉镜有圆形﹑方形。纽多作半球形。正面磨光背面铸有几何形图案或神人禽兽等。东汉中期出现浮雕的画像造形精美。\n两汉时期大体上分西汉、新莽、东 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金累丝点翠嵌珠宝双龙戏珠簪",[1053,181,369,322,1000,7,176,294],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddaaf4b0f352bdcc7ac5a4fb6b01c198.jpg",[],{"id":1804,"slug":1805,"title":1806,"dynasty":128,"author":48,"museum":73,"description":1807,"tags":1808,"thumbUrl":1811,"material":119,"size":120,"collection":83,"collections":1812,"showCount":1691,"zanCount":11,"manualWeight":41,"mainColor":107},229252,"yin-du-jin-dian-cui-qian-zhu-bao-he-ye-er-zhui-yi-ming-229252","银镀金点翠嵌珠宝荷叶耳坠","耳坠指耳饰的一种，指带有下垂饰物的耳饰（耳环）。有时耳坠等同于耳环，又称耳坠子，是耳朵饰品的代称。耳坠又指耳垂，是属于耳朵结构的一部分，位于耳朵的下半部，比较肥厚的那部分。在最传统的命理学说法中，耳坠的厚与薄代表一个人的命运。\n古时候，人们讲究“耳大如轮，眼大有神”，注重以貌取人，认为耳垂小了是没有福气的象征。但是人一出世，天生的小耳垂，又有啥办法弥补呢？传说，只有戴上耳坠。才能把耳轮拉长。因此，妇女都喜欢戴一副耳坠。 问起这一风俗的来历，传说，还是三国时期貂蝉传下来的呢。 貂蝉原是东汉末汉献帝时司徒王允的一名歌伎，她长得相貌出众、能歌善舞，色伎俱佳，很受王允的宠爱，以亲女看待。当时，董卓专权，挟天子以令诸侯，大臣们对他恨之入骨，但是敢怒而不敢言。王允为此事也闷闷不乐，终日不思茶饭。 貂蝉虽是女流，可王允的心事，她却宗宗看在眼里，件件记在心中。她很会察言观色，为主人分忧解愁。在一个月光皎洁的夜晚，貂蝉在花园里设下香案，为主人祝祷。她虔诚地燃起三柱香火，仰天一拜说道：“明月呀明月，你虽昭昭洁白如洗，可知我家老爷心中烦恼？苍天呀苍天！我貂蝉虽乃女流之辈，老爷婢女，若能为老爷分担忧愁，我愿万死不辞。”恰在此时，王允因忧国心烦，夜不能寐，来到后花园赏月散心。他听见有人祝祷，连忙躲在一座假山后面，静听起来。他听完貂婶的祝愿，心情无比激动和感激，忙上前来，搀扶起这一歌女。 王允问貂婢：“你向苍天明月祈告，为我分忧解愁，可知我忧在何处？愁为何事呀！” 貂蝉说：“当然知道。” 王允又问：“既然知道，又有什么妙法替我杀了董卓？” 貂婢说：“只要老爷相信得过我，奴婢愿效犬马之劳，即使赴汤蹈火，也心甘情愿。” 王允听了，顿时为这女子的仗义和气魄所感动，当即认貂蝉为女儿。后来王允与貂蝉合议：先将貂蝉献于董卓，后再暗许吕布，以离间两人之交，让这董吕两人勾心斗角，互相杀害。 貂蝉耳垂小，怕自己美中不足，使董、吕二人看不上，使密谋落空。她想办法弥补，想了很久，终于想出了良法，就在家中拿了些碎银子，叫银匠给自己作了一对银耳坠，挂在耳垂上。这样过了不久，耳垂果然变大了，为她的美容又增添了不少姿色。 董卓一见貂蝉大喜！吕布一见貂蝉着迷，使董卓和吕布因争夺这一美女而激烈相斗。又因吕布貂蝉私通，恐事发觉，心神不安。王允设计使吕布为内应，结果董卓被杀了。 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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。",[476,914,1589,77,2686,1203,7],"骆驼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F137370d9d03a1cf8d222eda876894b7c.jpg",[],{"id":2690,"slug":2691,"title":2692,"dynasty":128,"author":48,"museum":73,"description":501,"tags":2693,"thumbUrl":2695,"material":119,"size":120,"collection":83,"collections":2696,"showCount":2466,"zanCount":123,"manualWeight":41,"mainColor":88},242158,"yin-du-jin-dian-cui-hua-lan-xing-zan-yi-ming-242158","银镀金点翠花篮形簪",[174,7,503,181,180,280,2694,355],"花篮造型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a628c0602f8b8199259da4e20802b4f.jpg",[],{"id":2698,"slug":2699,"title":2700,"dynasty":128,"author":48,"museum":73,"description":501,"tags":2701,"thumbUrl":2706,"material":119,"size":120,"collection":83,"collections":2707,"showCount":2466,"zanCount":41,"manualWeight":41,"mainColor":88},242112,"yin-du-jin-ji-mi-zhu-ru-yi-wen-zan-yi-ming-242112","银镀金缉米珠如意纹簪",[373,2127,2702,1087,2703,2704,2705,467,7,1070],"缉米珠技法","中国结纹","米珠装饰","红宝石镶嵌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcde2e664d69e6e08bbab83dea29dc2ed.jpg",[],{"id":2709,"slug":2710,"title":2711,"dynasty":128,"author":48,"museum":73,"description":681,"tags":2712,"thumbUrl":2715,"material":119,"size":120,"collection":83,"collections":2716,"showCount":2466,"zanCount":41,"manualWeight":41,"mainColor":88},242095,"yin-du-jin-ru-yi-wen-liu-su-yi-ming-242095","银镀金如意纹流苏",[174,175,176,7,1087,1365,220,280,2713,356,2714],"镀金工艺","传统装饰风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce483809f38be5f3a71f2c6b23fa382b.jpg",[],{"id":2718,"slug":2719,"title":2720,"dynasty":128,"author":48,"museum":73,"description":501,"tags":2721,"thumbUrl":2722,"material":119,"size":120,"collection":83,"collections":2723,"showCount":2466,"zanCount":11,"manualWeight":41,"mainColor":88},242038,"yin-du-jin-qian-bao-shi-hua-pen-xing-zan-yi-ming-242038","银镀金嵌宝石花盆形簪",[7,2019,503,354,181,134,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb5c81b0ae5e2b2c2590e163e678751c.jpg",[],{"id":2725,"slug":2726,"title":2727,"dynasty":128,"author":48,"museum":73,"description":2728,"tags":2729,"thumbUrl":2735,"material":119,"size":120,"collection":83,"collections":2736,"showCount":2466,"zanCount":11,"manualWeight":41,"mainColor":42},242001,"yin-du-jin-xiang-zhu-bao-wu-feng-wen-dian-wei-yi-ming-242001","银镀金镶珠宝五凤纹钿尾","澄澈幽蓝的点翠铺陈出扇形轮廓，晕开雅致温润的柔光。五凤以累银丝为骨，身覆点翠羽翼，口衔珠宝错落排布，肌理宛然灵动，似振翼欲飞。舒展的宝相花与缠枝纹以花丝勾勒筋骨，点翠晕染底色，莹润珍珠、浓艳红宝石与凝腻翡翠交相辉映，将花丝点翠的精巧华贵尽数展现。整体构图饱满对称，流金缀宝间尽显雍容气度，把吉祥寓意与极致工法融为一体，静静诉说着旧时妆奁之上的华贵风华。",[7,503,181,2730,770,2731,2732,220,266,221,2733,2734],"花丝工艺","宝相花","缠枝纹","雍容华贵","吉祥寓意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46059bf52b2bff83469f45aa097deaf9.jpg",[],{"id":2738,"slug":2739,"title":1564,"dynasty":128,"author":48,"museum":73,"description":2740,"tags":2741,"thumbUrl":2742,"material":119,"size":120,"collection":83,"collections":2743,"showCount":2466,"zanCount":41,"manualWeight":41,"mainColor":88},241847,"yin-du-jin-dian-cui-qian-zhu-shi-feng-yi-ming-241847","点翠蓝羽如晴空落色，澄澈鲜亮，与鎏金累丝勾勒的骨架相映成趣。浓艳的主石似赤霞嵌于金笼，双翼垂缀的细珠如碎星排布，颗颗东珠点缀周身，于流光中交织华贵雅致。\n整体造型舒展灵动，花丝婉转勾勒出翎羽柔婉层次，凤身暗含振翅欲飞之势。传统花丝镶嵌与点翠工艺相融，尽显极致匠心，将祥瑞之意凝于方寸，华贵里暗藏雅致静美，尽显东方雍容灵秀之姿。",[174,7,503,181,1174,873,220,280,355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62e713f34a01dde8248162d2fd17625a.jpg",[],{"id":2745,"slug":2746,"title":214,"dynasty":128,"author":48,"museum":73,"description":2747,"tags":2748,"thumbUrl":2750,"material":119,"size":120,"collection":83,"collections":2751,"showCount":2466,"zanCount":11,"manualWeight":41,"mainColor":185},241773,"bi-xi-dai-zhu-cui-shi-shi-ba-zi-shou-chuan-yi-ming-241773","此手串是清代闺阁雅致佩饰。十八枚碧玺主珠匀净饱满，粉嫩清透如凝脂落霞，晕开柔甜光泽。青金石隔片浓蓝鲜亮，撞色晕染，衬得碧玺愈发娇柔鲜活。佛头与佛塔取用满绿翡翠，莹润翠色提亮整体，贵气自生。\n\n下悬坠饰以珍珠串联，珊瑚盘长结寓意福寿绵长，朱红热烈俏皮，与顶端镶金嵌宝的樱桃形饰相呼应，金工精巧宝光暗涌。整串配色明丽和谐，珠石皆为上品，工料俱佳，尽显旧时精致温婉的闺阁意趣。",[128,7,218,219,224,76,2749],"装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff23c603ce460c5e73816b0eef74a0032.jpg",[],{"id":2753,"slug":2754,"title":2755,"dynasty":128,"author":48,"museum":73,"description":2756,"tags":2757,"thumbUrl":2758,"material":119,"size":120,"collection":83,"collections":2759,"showCount":2466,"zanCount":41,"manualWeight":41,"mainColor":107},229924,"jin-qian-lv-song-shi-pei-yi-ming-229924","金嵌绿松石珮","此珮以赤金为骨，满嵌绿松石，仿宝相花与莲瓣造型铺陈。松石苍润澄澈，与暖金色泽相映，尽显华贵雅致。串饰以圆润珍珠衔接，间配朱红珊瑚圆珠，冷暖色调相映成趣。底端流苏柔垂，暗添灵动风姿。整器将贵金属、珠玉宝石精妙糅合，把錾嵌工艺发挥尽致，带着端庄矜贵的气韵，藏着旧时匠心巧思，是兼具装饰性与工艺价值的绝美饰物。",[174,176,382,220,1365,180,7,280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb77553e239e87b7382b2813f230af372.jpg",[],{"id":2761,"slug":2762,"title":2763,"dynasty":128,"author":48,"museum":73,"description":2764,"tags":2765,"thumbUrl":2766,"material":119,"size":120,"collection":83,"collections":2767,"showCount":2466,"zanCount":41,"manualWeight":41,"mainColor":107},229320,"dian-cui-qian-bao-shi-ji-mi-zhu-lou-kong-zhi-jia-tao-yi-ming-229320","点翠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玉石、金属、木头、石头等。印章是中国传统文化的代表之一\n明代（1368～1644年）皇帝、王府之宝用玉箸篆玉印。这种篆书“笔画两头肥瘦均匀，末不出锋”，乃“篆书正宗也”（清?陈沣《摹印述》）。御宝舍两宋九叠文而直溯唐以上之玉箸篆，意味着九叠文禁锢公印的冰山已经松动。\n此外，明代内阁印用玉箸文银印，直钮，方一寸七分，厚六分；将军印用柳叶文，平羌、平蛮、征西、镇朔等将军印用螭鼎文，皆银印虎钮，方三寸三分，厚九分；其余百官印都用九叠文，铜印直钮，这类印比重最大。如故宫博物院藏明洪武二十二年（1389年）造“朵颜卫都指挥使司之印”。\n明代直钮已由两宋长方形板状钮变为上小下大的椭圆柱状，加高到8厘米左右，形成后世俗称的“印把子”。明代官印背款皆凿年款及编号。\n应该指出，两宋之时，九叠文中所谓的“九”是—个概数，极言其多，不一定确有九叠，也可能只有五叠、七叠，叠即一字中横画的层数。但明代九叠文中绝大多数确有九层横画。\n清代百官印等级区分同样十分严格，印章普遍有所增大。其字体有蒙古文楷书、满文、汉篆等。最常见的是汉满文对照同时出现在印面上，这也是清公印的一大特点。其中汉篆中，九叠文不太兴盛，出现了玉箸篆、悬针篆、柳叶篆、芝英篆等等。",[76,14226,77,7,525],"纸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22635f07554f08eb9caac44efe263160.jpg",[],{"id":14230,"slug":14231,"title":14232,"dynasty":47,"author":48,"museum":73,"description":113,"tags":14233,"thumbUrl":14235,"material":119,"size":120,"collection":83,"collections":14236,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":107},230756,"cui-yu-can-jian-yi-ming-230756","翠玉残件",[76,77,2198,133,7,14234],"残件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c6d29c818a104668f64581ed3be85e5.jpg",[],{"id":14238,"slug":14239,"title":14240,"dynasty":47,"author":48,"museum":73,"description":113,"tags":14241,"thumbUrl":14242,"material":119,"size":120,"collection":83,"collections":14243,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":107},230749,"bi-yu-zhuo-yi-ming-230749","碧玉镯",[76,77,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71b92e25821c2c44d02f73eaa38cbbe7.jpg",[],{"id":14245,"slug":14246,"title":14247,"dynasty":128,"author":48,"museum":73,"description":14248,"tags":14249,"thumbUrl":14250,"material":83,"size":83,"collection":83,"collections":14251,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":88},230322,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-ming-chen-yi-ming-230322","历代帝王贵妃大臣朝服像(名臣)","此作为工笔肖像精品，刻画极尽写实细腻。画中男子神态端凝持重，面容晕染自然，须发根丝分明，将世家重臣沉稳内敛的威仪尽显。\n\n石蓝色常服匀净沉穆，衣纹流转贴合身形，面料垂坠质感呼之欲出。朝珠颗颗圆润，配珠错落点缀，细节考究，衬出身份尊崇。座椅铺陈虎皮，脚踏雕花规整庄重，配色沉雅肃穆，烘托出人物不凡地位。整体构图中正均衡，以细腻笔触纪实还原人物风貌，气韵庄重内敛，尽显清代肖像画写实传神的创作功底。",[23,25,26,55,31,7,2615],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35a17095a8b22650d506c62f0ab8d8fe.jpg",[],{"id":14253,"slug":14254,"title":14255,"dynasty":128,"author":48,"museum":73,"description":14256,"tags":14257,"thumbUrl":14258,"material":119,"size":120,"collection":83,"collections":14259,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":107},230094,"jin-gang-zi-nian-zhu-yi-ming-230094","金刚子念珠","深褐金刚子串起长链，肌理苍古，带着被长久摩挲而出的温润包浆，凝着持诵岁月的沉静佛韵。四颗珊瑚隔珠如朱砂落墨，朱赤明丽撞破沉郁底色，让整串念珠色调鲜活又不失庄重。下端坠饰细节雅致，绿松石星点提亮，黄绸书签垂落，素绳挽结摇曳生姿，带着手工匠意的温度。它制式规整，细节处处见用心，将宗教清寂与传统审美相融，既是礼佛持物，亦是藏着旧时光意趣的随身雅器，尽显内敛隽永的古典韵味。",[174,54,7,585,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21583b8f7f42023f56610694cfa184cd.jpg",[],{"id":14261,"slug":14262,"title":14263,"dynasty":128,"author":48,"museum":73,"description":14264,"tags":14265,"thumbUrl":14266,"material":119,"size":120,"collection":83,"collections":14267,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":107},230057,"qi-nian-zhu-yi-ming-230057","漆念珠","此念珠以漆珠串就，颗颗周正饱满，表层凝着经年摩挲而出的温润包浆，晕染出沉敛古朴的质感。以五枚浓丽鲜亮的珊瑚珠为隔饰，暗哑底色撞出明艳亮点，平衡了整体色调。\n\n配饰集珊瑚、翠玉、螺钿等材质于一体，佛头、背云与挂坠精巧雅致，将多材质的特质相融，尽显搭配巧思。器物既保有宗教持诵器物的沉静庄严，又暗合旧时配饰审美中对材质混搭、细节精工的追求，静静承载着往昔持诵时光里的悠悠岁月痕迹，尽显内敛雅致的旧韵。",[128,1934,7,4513,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa1c935f694e7d12ca1acd45ab2fc14e.jpg",[],{"id":14269,"slug":14270,"title":14271,"dynasty":128,"author":48,"museum":73,"description":501,"tags":14272,"thumbUrl":14273,"material":119,"size":120,"collection":83,"collections":14274,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":42},229989,"diao-gu-tao-zhu-ling-zhi-zan-yi-ming-229989","雕骨桃竹灵芝簪",[174,77,9492,1769,1915,5537,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b7391f126e8cc2cdbe4914f42504810.jpg",[],{"id":14276,"slug":14277,"title":14278,"dynasty":128,"author":48,"museum":73,"description":501,"tags":14279,"thumbUrl":14280,"material":119,"size":120,"collection":83,"collections":14281,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":107},229985,"diao-shan-hu-hua-hui-zan-yi-ming-229985","雕珊瑚花卉簪",[174,77,309,134,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54379c346c087720698121211771cf6d.jpg",[],{"id":14283,"slug":14284,"title":14285,"dynasty":128,"author":48,"museum":73,"description":681,"tags":14286,"thumbUrl":14287,"material":119,"size":120,"collection":83,"collections":14288,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":42},229960,"yin-du-jin-qian-bao-shi-ru-yi-yi-ming-229960","银镀金嵌宝石如意",[175,176,180,280,133,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71ba2efc611b0890820e7bf436cc6f07.jpg",[],{"id":14290,"slug":14291,"title":5479,"dynasty":128,"author":48,"museum":73,"description":1807,"tags":14292,"thumbUrl":14293,"material":119,"size":120,"collection":83,"collections":14294,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":107},229930,"jin-lei-si-qian-dong-zhu-long-shou-er-zhui-fu-mu-xia-yi-mi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