[{"data":1,"prerenderedAt":633},["ShallowReactive",2],{"subject-shi-wen":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},4048,"shi-wen","诗文","诗文画高清赏析","精选中国历代诗文题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec0cb62a06729b69f3883a31b6ca6820.jpg",0,60,[14,33,51,63,81,93,105,120,131,139,149,164,176,190,202,215,223,232,246,257,267,280,302,309,320,330,342,352,359,371,380,391,400,407,414,421,429,436,447,456,466,476,484,491,497,503,510,517,527,534,541,550,558,564,573,584,593,600,609,622],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":26,"material":27,"size":28,"collection":29,"collections":30,"showCount":31,"zanCount":11,"manualWeight":11,"mainColor":32},288073,"zi-shu-shi-wen-ce-xu-wei-288073","自书诗文册","明","徐渭","藏地不详","徐渭（1521年3月12日－1593年），汉族，绍兴府山阴（今浙江绍兴）人。初字文清，后改字文长，号青藤老人、青藤道士、天池生、天池山人、天池渔隐、金垒、 金回山人、山阴布衣、白鹇山人、鹅鼻山侬、田丹水、田水月（一作水田月 ）。明代中期文学家、书画家、戏曲家、军事家。\n徐渭曾担任胡宗宪幕僚，助其擒徐海、诱汪直。胡宗宪被下狱后，徐渭在忧惧发狂之下自杀九次却不死。后因杀继妻被下狱论死，被囚七年后，得张元忭等好友救免。此后南游金陵，北走上谷，纵观边塞阨塞，常慷慨悲歌。晚年贫病交加，藏书数千卷也被变卖殆尽，他自称“南腔北调人”，于万历二十一年（1593年）去世，年七十三\n徐渭多才多艺，在诗文、戏剧、书画等各方面都独树一帜，与解缙、杨慎并称“明代三才子”。他是中国“泼墨大写意画派”创始人、“青藤画派”之鼻祖，其画能吸取前人精华而脱胎换骨，不求形似求神似，山水、人物、花鸟、竹石无所不工，以花卉最为出色，开创了一代画风，对后世画坛（如八大山人、石涛、扬州八怪等）影响极大；书善行草，写过大量诗文，被誉为“有明一代才人”；能操琴，谙音律；爱戏曲，所著《南词叙录》为中国第一部关于南戏的理论专著。另有杂剧《四声猿》《歌代啸》及文集传世。",[23,24,25,7],"书法","草书","册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2617b4f8174c95ec7d46dd8fed0ba01.jpg","未知","Xcm*Xcm","",[],31,"BDBDBD",{"id":34,"slug":35,"title":36,"dynasty":37,"author":38,"museum":20,"description":39,"tags":40,"thumbUrl":47,"material":27,"size":28,"collection":48,"collections":49,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":32},240819,"xing-shi-wen-si-tiao-ping-ai-xin-jue-luo-yong-xing-240819","行诗文四条屏","清","爱新觉罗永瑆","爱新觉罗·永瑆（1752年3月22日—1823年5月10日），少字镜泉，从号少厂，又号镜泉、即斋，别号诒晋斋主人，清朝宗室亲王，乾隆帝爱新觉罗·弘历的第十一子，嘉庆帝的异母兄，永瑆的生母是淑嘉皇贵妃金佳氏。\n乾隆十七年壬申（1752年）二月初七辰时出生于圆明园五福堂。乾隆五十四年（1789年）十一月封和硕成亲王。嘉庆四年（1799年），在军机处行走。道光三年（1823年）三月三十日午时薨，年七十二，谥曰哲。\n作为清朝著名书法家，与翁方纲、刘墉、铁保并列“乾隆四家”。著有《听雨屋集》《诒晋斋集》《仓龙集》。",[41,42,23,43,44,45,46,7],"清代","行书","书画","立轴","水墨","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34154baf2582364400dda7885830d3ef.jpg","书法精选",[48],15,{"id":52,"slug":53,"title":54,"dynasty":37,"author":55,"museum":20,"description":56,"tags":57,"thumbUrl":60,"material":27,"size":28,"collection":29,"collections":61,"showCount":62,"zanCount":11,"manualWeight":11,"mainColor":32},290215,"tao-yuan-ming-shi-pu-ru-290215","陶渊明诗","溥儒","陶渊明（约365～427），字元亮，晚年更名潜，字渊明。别号五柳先生，私谥靖节，世称靖节先生。浔阳柴桑（今江西省九江市）人，一作宜丰人。东晋末到刘宋初杰出的诗人、辞赋家、散文家。被誉为“隐逸诗人之宗”、“田园诗派之鼻祖”。是江西首位文学巨匠。",[58,59,23,42,46,7],"高清","扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40db627f8810c1ad86ddfb712fa61ffc.jpg",[],11,{"id":64,"slug":65,"title":66,"dynasty":37,"author":67,"museum":20,"description":68,"tags":69,"thumbUrl":78,"material":27,"size":28,"collection":29,"collections":79,"showCount":80,"zanCount":11,"manualWeight":11,"mainColor":32},290431,"jing-wei-shu-ji-shi-shi-wen-juan-dong-gao-290431","泾渭蜀纪实诗文卷","董诰","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），首席军机大臣，上书房总师傅，钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，赠太傅，赐谥号文恭，入祀贤良祠。嘉庆亲写哀诗“只有文章传子侄，绝无货币置田庄”，并亲自拨款建立“董公祠”。",[58,70,71,43,72,73,74,75,76,77,23,42,7],"长卷","国画","设色","青绿","山水","河流","山峦","屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef2f3667c968e7989f9a935ff5bf5351.jpg",[],10,{"id":82,"slug":83,"title":84,"dynasty":85,"author":86,"museum":20,"description":87,"tags":88,"thumbUrl":90,"material":27,"size":28,"collection":29,"collections":91,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":32},288999,"bai-shi-shi-juan-teng-yuan-xing-cheng-288999","白氏诗卷","不详","藤原行成","藤原行成（天禄3年（972年） 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万寿4年12月4日（1028年1月3日））是平安时代中期的朝臣。一条帝时代四纳言之一。右少将藤原义孝的儿子，藤原伊尹之孙。官居正二位・权大纳言。",[58,23,70,42,24,89,43,7],"字帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85dc84d6d4ca382e5d03097722f6b8b9.jpg",[],8,{"id":94,"slug":95,"title":96,"dynasty":37,"author":97,"museum":20,"description":98,"tags":99,"thumbUrl":102,"material":27,"size":28,"collection":29,"collections":103,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":32},290570,"yu-zhi-xue-shi-peng-yuan-rui-290570","御制雪诗","彭元瑞","彭元瑞（1731—1803），字掌仍，一字辑五，号芸楣（一作云楣），江西南昌人，清代大臣、学者，楹联名家。乾隆二十二年进士，改庶吉士，授编修，官至工部尚书、协办大学士。元瑞博学强记，时有令誉。纪昀为《四库全书》总纂官时，彭元瑞是十个副总裁之一。与蒋士铨合称“江右两名士”。",[23,100,46,101,7],"楷书","雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb47f0d9b123cc334c368c67f7f8e056.jpg",[],7,{"id":106,"slug":107,"title":108,"dynasty":109,"author":110,"museum":20,"description":111,"tags":112,"thumbUrl":117,"material":27,"size":28,"collection":29,"collections":118,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":119},283622,"xing-shu-tie-xian-yu-shu-283622","行书帖","元","鲜于枢","鲜于枢（1246年—1302年），字伯机，号困学山民、直寄老人，晚年营室名“困学之斋”，祖籍金代德兴府（今张家口涿鹿县），生于汴梁（今河南开封），汉族，大都（今北京）人，一说渔阳（今津蓟州区）人，元代著名书法家，寓居扬州、杭州。大德六年（1302年）任太常典薄。元世祖至元年间以才选为浙东宣慰司经历，后改浙东省都事。\n鲜于枢晚年任太常典簿。好诗歌与古董，文名显于世，书法成就最著。明朱权《太和正音谱》将其列于“词林英杰”一百五十人之中。《新元史》有传。鲜于枢善诗文，工书画。尤工草书，酒酣吟诗作字，奇态横生，赵孟頫极推重之。有《困学斋杂录》、《困学斋诗集》。",[58,23,42,113,89,70,114,7,74,115,116],"拓本","题跋","亭台","寺院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e84c1a53ca1baf82a25aee1b9826c7a.jpg",[],"37474F",{"id":121,"slug":122,"title":123,"dynasty":18,"author":124,"museum":20,"description":125,"tags":126,"thumbUrl":128,"material":27,"size":28,"collection":29,"collections":129,"showCount":130,"zanCount":11,"manualWeight":11,"mainColor":32},283736,"li-gong-feng-zeng-huai-su-ge-juan-dong-qi-chang-283736","李供奉赠怀素歌卷","董其昌","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖）。颇能诗文，著有《画禅室随笔》《容台文集》等。",[58,70,23,42,46,127,7],"怀素","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21d6b32bc2248ef8956e1a6e963d7fd1.jpg",[],5,{"id":132,"slug":133,"title":134,"dynasty":18,"author":124,"museum":20,"description":125,"tags":135,"thumbUrl":136,"material":27,"size":28,"collection":29,"collections":137,"showCount":130,"zanCount":138,"manualWeight":11,"mainColor":32},283705,"za-shu-juan-dong-qi-chang-283705","杂书卷",[58,23,70,42,24,46,89,114,7,43],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4135193a2c14313b4b29f85c0717d9a.jpg",[],1,{"id":140,"slug":141,"title":142,"dynasty":18,"author":143,"museum":20,"description":144,"tags":145,"thumbUrl":146,"material":27,"size":28,"collection":29,"collections":147,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":32},288016,"shu-dong-ri-man-qi-lv-shi-shan-mian-wen-jia-288016","书冬日漫七律诗扇面","文嘉","文嘉（1501年～1583），字休承，号文水，南直隶 苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[59,23,42,46,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d2f3f991d17d41f3803ad2d1c0b650d.jpg",[],4,{"id":150,"slug":151,"title":152,"dynasty":18,"author":153,"museum":20,"description":154,"tags":155,"thumbUrl":161,"material":162,"size":29,"collection":48,"collections":163,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":32},241530,"qi-lv-bing-ji-ye-xu-bo-241530","七律并记页","徐㶿","明代著名藏书家",[23,42,156,157,46,7,158,159,160],"墨笔","纸质","明代","汉字书写","墨书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f2af1ef18ac9fc898845ba59c7562fe.jpg","纸本",[48],{"id":165,"slug":166,"title":167,"dynasty":37,"author":168,"museum":20,"description":169,"tags":170,"thumbUrl":10,"material":27,"size":28,"collection":29,"collections":175,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":32},229088,"fen-cai-yu-zhi-shi-wen-hai-tang-shi-hong-di-cha-pan-yi-ming-229088","粉彩御制诗文海棠式红地茶盘","佚名","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[37,171,172,72,23,46,173,174,7],"陶瓷","粉彩","海棠式","红地",[],{"id":177,"slug":178,"title":179,"dynasty":37,"author":168,"museum":20,"description":180,"tags":181,"thumbUrl":187,"material":27,"size":28,"collection":29,"collections":188,"showCount":189,"zanCount":11,"manualWeight":11,"mainColor":32},269195,"wen-zhu-qian-yu-ke-qian-long-yu-zhi-san-xing-zan-ru-yi-fu-xing-zan-ru-yi-yi-ming-269195","文竹嵌玉刻乾隆御制《三星赞》如意-《福星赞》如意","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。",[182,183,184,185,186,7],"如意","玉石","竹质","雕刻","嵌饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c2ceee4d1090a2f282aa431188faa57.jpg",[],3,{"id":191,"slug":192,"title":193,"dynasty":37,"author":168,"museum":20,"description":194,"tags":195,"thumbUrl":200,"material":27,"size":28,"collection":29,"collections":201,"showCount":189,"zanCount":11,"manualWeight":11,"mainColor":119},258797,"jia-qing-kuan-lv-di-fen-cai-kai-guang-fan-hong-cai-shi-wen-hai-tang-shi-xi-yi-ming-258797","嘉庆款绿地粉彩开光矾红彩诗文海棠式洗","此器造型取海棠花形，轮廓柔婉灵动，自带清雅隽秀之姿。地釉匀净莹润，以粉彩敷设缠枝花卉，碧色为底托衬粉红外彩，繁花妍丽饱满，描金边饰晕出细腻华贵。开光内矾红书就诗文，笔力端稳规整，文气与瓷韵相融，将文房清趣与彩瓷装饰精妙结合，尽显清中期制瓷工艺的雅致格调，是兼具赏玩与实用的文房佳器。",[171,196,172,197,198,72,173,7,199],"绿地","开光","矾红彩","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe149a01e325c6a501b89f35c67195b83.jpg",[],{"id":203,"slug":204,"title":205,"dynasty":37,"author":168,"museum":20,"description":206,"tags":207,"thumbUrl":211,"material":27,"size":28,"collection":29,"collections":212,"showCount":213,"zanCount":11,"manualWeight":11,"mainColor":214},272685,"yu-zhi-yue-ling-qi-shi-er-hou-shi-se-mo-li-ting-chu-lan-mo-yi-ming-272685","御制月令七十二候诗色墨-荔挺出蓝墨","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[208,23,100,185,209,7,210],"墨","蓝墨","文房器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e97d63e83a6d254449c9145ff4127e4.jpg",[],2,"795548",{"id":216,"slug":217,"title":218,"dynasty":37,"author":168,"museum":20,"description":206,"tags":219,"thumbUrl":221,"material":27,"size":28,"collection":29,"collections":222,"showCount":213,"zanCount":11,"manualWeight":11,"mainColor":119},271234,"hu-xing-ju-zhi-tian-qu-zhan-cai-mo-luo-bin-wang-shi-ju-mo-yi-ming-271234","胡星聚制天衢展彩墨-骆宾王诗句墨",[208,23,100,220,7],"文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6075cb73ea20e05904d8ed6a3963366b.jpg",[],{"id":224,"slug":225,"title":226,"dynasty":37,"author":168,"museum":20,"description":206,"tags":227,"thumbUrl":230,"material":27,"size":28,"collection":29,"collections":231,"showCount":213,"zanCount":11,"manualWeight":11,"mainColor":32},271052,"jiang-nan-zhi-zao-chang-shan-cheng-mian-hua-tu-shi-mo-shang-ji-mo-yi-ming-271052","江南织造常山呈棉花图诗墨-上机墨",[208,23,100,228,229,7],"描金","文房器具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86eb4f7b294e8af4fccfa07389b3307b.jpg",[],{"id":233,"slug":234,"title":235,"dynasty":236,"author":168,"museum":20,"description":237,"tags":238,"thumbUrl":243,"material":27,"size":28,"collection":244,"collections":245,"showCount":213,"zanCount":11,"manualWeight":11,"mainColor":32},262242,"ci-zhou-yao-bai-di-hei-hua-shi-wen-ru-yi-tou-xing-zhen-yi-ming-262242","磁州窑白地黑花诗文如意头形枕","宋","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。",[171,239,240,7,23,241,242],"白地黑花","瓷枕","如意形","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fcbc7463cdda917a02031b51687ffb6.jpg","瓷器精选",[244],{"id":247,"slug":248,"title":249,"dynasty":37,"author":168,"museum":20,"description":250,"tags":251,"thumbUrl":255,"material":27,"size":28,"collection":29,"collections":256,"showCount":213,"zanCount":11,"manualWeight":11,"mainColor":119},262037,"bing-shen-kuan-sa-lan-you-miao-jin-chi-bi-tu-shi-wen-bi-tong-yi-ming-262037","丙申款洒蓝釉描金赤壁图诗文笔筒","宋代是传统制瓷工艺发展史上一个非常繁荣昌盛的时期。现时已发现的古代陶瓷遗址分布于全国170个县。其中有宋代窑址的就有130个县，占总数的75%。\n陶瓷史家通常将宋代陶瓷窑大致概括为6个瓷窑系，它们分别是：北方地区的定窑系、耀州窑系、钧窑系和磁州窑系；南方地区的龙泉青瓷系和景德镇的青白瓷系。这些窑系一方面具有因受其所在地区使用原材料的影响而具有的特殊性，另一方面又有受帝国时代的政治理念、文化习俗、工艺水平制约而具有的共同性。\n从造型的角度分析，宋瓷的器形较之前代更为丰富多彩，几乎包括了人民日常生活用器的大部分：碗、盘、壶、罐、盒、炉、枕、砚与水注等，其中最为多见的是玉壶春瓶。总的说来，民间用瓷的造型大部分是大方朴实、经济耐用；而宫廷用瓷则端庄典雅、雍容华贵。最能反映皇家气派的是哥、官、钧、汝与定窑口烧制的贡瓷，最能体现百姓喜乐的是磁州、耀州窑口烧制的民间瓷品。\n从纹饰上讲，宋瓷的纹饰题材表现手法都极为丰富独特。一般情况下，龙、凤、鹿、鹤、游鱼、花鸟、婴戏、山水景色等常作为主体纹饰而突现在各类器形的显著部位，而回纹、卷枝卷叶纹、云头纹、钱纹、莲瓣纹等多用作边饰间饰，用以辅助主题纹饰。工匠们用刻、划、剔、画和雕塑等不同技法，在器物上把纹样的神情意态与胎体的方圆长短巧妙结合起来，形成审美与实用的统一整体，令人爱不释手。如婴戏纹，或于碗心、或于瓶腹，将肌肤稚嫩，情态活泼的童子置于花丛之中，或一或二，或三五成群，攀树折花，追逐嬉戏，真切动人，生活气息甚为浓厚。",[171,228,74,252,253,7,23,254],"孤舟","赤壁","笔筒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4155d599ef31201bf19c717c4c15b3ec.jpg",[],{"id":258,"slug":259,"title":260,"dynasty":37,"author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江苏扬州一带）。南宋官窑瓷器沿袭北宋风格，规整对称，宫廷气势，高雅大气，一丝不苟。因为胎土含铁量极高，手感沉重，胎土呈深黑褐色，后称”紫口铁足“。釉面沉重幽亮，釉厚如堆脂，温润如玉。釉面多层反复细刮，釉光下沉而不刺眼，纹理布局规则有致，造型庄重大方。另外”肉腐留骨“（露胎处像死人骨头，俗称”骨董“）也是那时所造。我们今天所称官窑泛指历朝官府烧造瓷器，其实，历史上仅指南宋时期烧造的瓷器，后世再无此称呼。\n官窑起自唐，有两种涵义，一是指贡器，一是指官厂。自唐代至元代（公元八世纪~十四世纪），官窑多有贡器，少有官厂，采取的形式是“官监民烧”，烧出的瓷器，“千中选十，百中选一”，进贡给统治阶级。这种瓷器就叫做贡瓷和官窑。那时，唐代在产瓷区设有司务，如唐景隆初（公元707~709年）褚绥为新平(景德镇)司务，奉诏监烧献陵祭器。宋代设监，如太平兴国年间(公元976~983年)，派殿前承旨赵仁济监理越州窑务。到了元代则设局，以提领监陶，后改为本设总管。他们烧出的“景德年制”，“枢府’等款式的瓷器，分别称为“景德窑’，“枢府窑”等。\n官窑之谓，在中国古代陶瓷史上有不同的内涵。就广义而言，是有别民窑而专为官办的瓷窑，其产品为宫廷所垄断。在宋代瓷器中，官窑即是一种专称，指北宋和南宋时在京城汴京（汴梁，今开封）和临安（今杭州）由宫廷设窑烧造的青瓷，故又有“旧官”和“新官”之分，前者为北宋官窑，后者为南宋官窑。\n官窑是在宋大观及政和年间于汴梁所造，青瓷釉色晶莹惕透，有开裂或呈冰片状，粉青紫口铁定是其特色。\n宋室南移在凤凰山下设立官窑，又称修内司官窑或内窑，郊坛下设立的郊坛下官窑，器形较多，有直径大过一尺的大型产品。\n从1128年元世祖忽必烈设置“浮梁磁局”，到二十世纪清朝覆亡，景德镇是元、明、清三代皇家瓷厂所在地，中国的官窑制度在这里延续了632年，江西景德镇也由此拥有烧造时间最长、规模最大、工艺最精巧的官办瓷厂。景德镇地下也因此存有大量因禁绝流入民间而被就地掩埋的古碎瓷，成为中国品类最完整、年代最可靠、信息最丰富的官窑遗址和“地下瓷都”。北宋官窑也称汴京官窑。相传北宋大观、政和年间，在汴京附近设立窑场，专烧宫廷用瓷器，即北宋官窑。南宋顾文荐《负暄杂录》记载："宋宣政间（宣和、政和即公元1111－1125年）京师自置窑烧造，名曰官窑"，南宋叶在其《垣斋笔衡》中对北京官窑亦有记载："政和京师自置窑烧造，名曰官窑"。当时的京师即汴京（今开封），因宋代汴京遗址已沉入地底，到今为止，尚未发掘出北宋官窑遗址，对于北宋官窑遗址缺乏考古发掘地资料和充足的文献资料的支撑，因此，时到今，关于北宋官窑遗址在何处，仍有不同说法，一般有三种说法：一说北宋官窑即为汝窑；二说否认北宋官窑的存在；三说为北宋官窑即为汴京官窑，它与南宋时的修内司官窑先后存在。\n南宋顾文荐《负睻杂录》记载：“宋宣政间（宣和、政和即公元1111~1125年）京师自置窑烧造，名曰‘官窑’”，南宋叶寘在其《垣斋笔衡》中对北京官窑亦有记载：“政和京师自置窑烧造，名曰‘官窑’”。明代《事物绀珠》、《留留青》因袭此说。当时的京师即汴京(今河南开封)，因宋代汴京遗址已沉入地下，到今为止，尚未发掘出北宋官窑遗址。对于北宋官窑遗址缺乏考古发掘地资料和充足的文献资料的支撑，因此，今关于北宋官窑遗址在何处，仍有不同说法，一般有三种说法：一说北宋官窑即为汝窑；二说否认北宋官窑的存在；三说为北宋官窑即为汴京官窑，它与南宋时的修内司官窑先后存在。支持第三种说法的人较多。\n北宋官窑传世品很少，形质与工艺与汝窑有共同处。器多仿古，主要有碗、瓶、洗等。胎体显厚，胎骨深灰、紫色或黑色，釉色有淡青、粉青、月白等，釉质莹润温雅，尤以釉面开大裂纹片著称，不同于南宋官窑和汝窑及龙泉窑瓷器。底有文钉烧痕，有“紫口铁足”的特征。",[273,171,274,275,276,277,7],"宋代","官窑","粉青釉","刻","葵口","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94e5efece0aa977c487f89776564cc88.jpg",[244],{"id":281,"slug":282,"title":283,"dynasty":37,"author":284,"museum":285,"description":286,"tags":287,"thumbUrl":299,"material":29,"size":300,"collection":29,"collections":301,"showCount":213,"zanCount":11,"manualWeight":11,"mainColor":32},223184,"geng-zhi-tu-ce-jiao-bing-zhen-223184","耕织图册","焦秉贞","北京故宫博物院","《御制耕织图》又名《佩文斋耕织图》，不分卷，清圣祖玄烨题诗，焦秉贞绘图，朱圭、梅玉凤镌刻，清康熙三十五年（1696年）内府刊本。耕图、织图各23幅，共计46幅图。每页34.7cm×27.7cm。图框24.4cm×24.4cm。四周单边。册页装。\n《耕织图》以江南农村生产为题材，系统地描绘了粮食生产从浸种到入仓，蚕桑生产从浴蚕到剪帛的具体操作过程，每图配有康熙皇帝御题七言诗一首，以表述其对农夫织女寒苦生活的感念。\n《耕织图》是中国农桑生产最早的成套图像资料，它的绘写渊源可上溯至南宋，绘者为楼璹。楼璹在宋高宗时期任於潜（今浙江省临安市）县令时，深感农夫、蚕妇之辛苦，即作耕、织二图诗来描绘农桑生产的各个环节。《耕织图》成为后人研究宋代农业生产技术最珍贵的形象资料。南宋嘉定三年（1210年），楼璹之孙楼洪、楼深等以石刻之传于后世，南宋理熙元年（1237年）有汪纲木刻复制本。宋以后关于本书的记载已不多见，较著名的有南宋刘松年编绘的《耕织图》，元代程棨的《耕织图》45幅。明代初年编辑的《永乐大典》曾收《耕织图》，已失传。明天顺六年（1462年）有仿刻宋刻之摹本，虽失传，但日本延宝四年（1676年）京都狩野永纳曾据此版翻刻，今均以狩野永纳本《耕织图》作楼璹本《耕织图》之代表。\n清康熙二十八年（1689年）康熙帝南巡时，江南士子进献藏书甚丰，其中有“宋公重加考订，诸梓以传”的《耕织图》。康熙帝即命焦秉贞据原意另绘耕图、织图各23幅，并附有皇帝本人的七言绝句及序文。绘画内容略有变动，耕图增加“初秧”、“祭神”二图，织图删去“下蚕”、“喂蚕”、“一眠”三图，增加“染色”、“成衣”二图，图序亦有变换。宋、清《耕织图》的布景与人物活动大同小异，但焦图画中的风俗易为清代，所绘更为工细纤丽，在技法上还参用了西洋焦点透视法。\n《耕织图》初印于康熙三十五年（1696年），后又出现了很多不同版本，木刻本、绘本、石刻本、墨本、石印本均行于世。如康熙年间的康熙三十八年（1699年）张鹏翮刻本，康熙五十一年（1712年）内府刻本，雍亲王胤禛绢底彩绘本，康熙五十三年（1714年）歙县汪希古恭摹刻48块墨板，宫廷绘白描本等，乾隆年间的康熙、雍正、乾隆三帝题诗刊本，清内府刻《授时通考》本，袖珍彩绘本，乾隆四年（1739年）清内府图为木刻、诗为石刻的经折装本，乾隆三十四年（1769年）北京刻朱墨套印本，杨大章彩绘本，乾隆三十四年（1769年）高宗命画院据元代程棨本临摹之《耕织图》，石刻嵌在皇家清漪园延赏斋左右廊壁的拓本，乾隆三十五年（1770年）徽州守臣摹刻的墨版。此外，还有嘉庆十三年（1808年）《耕织图诗》补刊本，同治十一年（1872年）刊本，光绪五年（1879年）上海点石斋《御制耕织图》石印本，光绪十一年（1885年）上海文瑞楼本，光绪十二年（1886年）上海点石斋石印本。民国时期也有多种版本，较著名的为武进陶兰泉刊本；日本、朝鲜、琉球等国亦有《耕织图》的摹本、翻刻本。\n《耕织图》不但版本众多，版式等也不尽相同，如上文下图本，左图右文本，版框带有龙纹的装饰本，袖珍刻本，木刻填色本，书中序文、诗文前后玺印朱色钤印本，前后玺印为刊版墨印本等。",[71,288,72,289,290,291,292,293,294,295,296,297,7,298],"册页","工笔","焦点透视","农耕","农田","农夫","农具","乡村","柳树","农桑生产","典籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b48bf441a609fcf2ab521ec5f405e84.jpg","34.7cm×27.7cm",[],{"id":303,"slug":304,"title":305,"dynasty":37,"author":168,"museum":20,"description":206,"tags":306,"thumbUrl":307,"material":27,"size":28,"collection":29,"collections":308,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":214},270622,"wang-jin-sheng-wang-chuan-tu-mo-meng-cheng-ao-mo-yi-ming-270622","汪近圣辋川图墨-孟城坳墨",[208,100,23,220,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeb446f602d76384f2cb692ccadf90e6.jpg",[],{"id":310,"slug":311,"title":312,"dynasty":37,"author":168,"museum":20,"description":313,"tags":314,"thumbUrl":318,"material":27,"size":28,"collection":29,"collections":319,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":214},262127,"tui-si-tang-kuan-mo-cai-shi-wen-jiu-bei-yi-ming-262127","退思堂款墨彩诗文酒杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[171,315,316,23,100,7,317],"饮酒器","墨彩","酒杯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed90165567dc78b71f350a9b3fc87e47.jpg",[],{"id":321,"slug":322,"title":323,"dynasty":37,"author":168,"museum":20,"description":324,"tags":325,"thumbUrl":328,"material":27,"size":28,"collection":29,"collections":329,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":214},259304,"jia-qing-kuan-qing-hua-shi-wen-gai-wan-yi-ming-259304","嘉庆款青花诗文盖碗","青花瓷（blue and white 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