[{"data":1,"prerenderedAt":983},["ShallowReactive",2],{"subject-shi-zi":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},626,"shi-zi","狮子","狮子画高清赏析","精选中国历代狮子题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff12442a67a1064ef71446e2404735156.jpg",0,89,[14,45,73,89,105,124,137,147,165,176,187,199,213,226,241,250,262,276,295,303,315,325,347,361,375,385,402,412,422,430,437,446,461,475,484,493,504,517,526,535,548,559,572,584,595,604,612,620,629,639,649,658,667,675,687,703,711,721,730,738,745,752,759,765,773,782,792,803,813,821,829,840,848,857,868,877,883,893,906,915,921,927,935,941,947,953,959,968,976],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":38,"material":39,"size":40,"collection":41,"collections":42,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":44},234412,"qing-ren-lv-cai-shen-xiang-zhou-yi-ming-234412","清人绿财神像轴","清","佚名","藏地不详","画面核心的绿财神身覆翠色，忿怒面容暗含慈悲，踞坐白狮宝座，宝冠披帛华丽庄严，尽显护法尊神的威仪。虚空云海间环布诸位化现圣尊，层次分明；下方雪域山林间，信众牵驼持礼，列队朝奉，烟火供品俱全，融肃穆神性与鲜活世情于一体。\n\n以矿物彩料敷色，青蓝底色衬得诸像明丽厚重，铁线描流畅勾勒衣袂飘逸、瑞兽雄健，精准恪守藏传造像仪轨，又以细腻笔触铺陈出佛国盛景，尽显清代藏式唐卡富丽庄严的独特风韵。",[23,24,25,26,27,28,29,30,31,32,7,33,34,35,36,37],"国画","立轴","青绿","设色","工笔","宗教","人物","兽","大象","马","飞鸟","云","山水","供品","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51485349796cab9064d6a260e9da4fb8.jpg","未知","Xcm*Xcm","",[],114,"BDBDBD",{"id":46,"slug":47,"title":48,"dynasty":49,"author":19,"museum":50,"description":51,"tags":52,"thumbUrl":66,"material":67,"size":68,"collection":41,"collections":69,"showCount":70,"zanCount":71,"manualWeight":11,"mainColor":72},231541,"shan-hai-bai-ling-tu-yi-ming-231541","山海百灵图","明","美国弗瑞尔美术馆","此《山海百灵》图卷（签题：唐胡瓌《蕃兽图》真迹神品上上，卷前题：山海百灵）。画卷描绘诸多怪奇神兽，这些动物形象灵感应该来自《山海经》，卷后有一段跋描述此卷的传递情况。此卷大致绘于明代（待考），现藏于赛克勒美术馆。\n胡瓌(瓌，读作guī。汉字基本字义古同“瑰”。五代·后唐〕，山后契丹乌索固部落人。随李克用(856-908)入中原，定居范阳（治今河北涿县），生卒年不详。擅写北方游牧民族牧马、驰猎等生活，穹庐什器、射猎部属，纤悉形容备尽。所作用笔清劲，构图巧密，人物气质犷悍，形象各异。尤工画马，骨骼体状生动有神。",[53,23,54,26,27,55,35,30,56,32,57,58,59,7,60,61,62,63,64,65],"高清","长卷","皴法","虎","象","鹿","山羊","猴","树木","岩石","溪流","竹子","动物群像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb78ddfae72c871b93075fd0f391901d5.jpg","纸本设色","34.5x744厘米",[],80,1,"795548",{"id":74,"slug":75,"title":76,"dynasty":77,"author":78,"museum":79,"description":80,"tags":81,"thumbUrl":86,"material":41,"size":41,"collection":41,"collections":87,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":44},220539,"hui-shi-dong-jing-xu-bei-hong-220539","会师东京","民国","徐悲鸿","中央美术学院美术馆","群狮踞于高岭之上，鬃毛如戟张扬，或昂首怒号震彻云间，或沉身蓄力目光如炬，幼狮紧随母狮身侧，懵懂中带着悍勇。翻涌云海似乱世烽烟，将沉郁悲愤的底色铺陈满卷。\n\n以狮喻人，把满腔家国意气凝于笔端，干湿浓墨晕染雄狮肌理，苍劲铁线勾勒筋骨，让猛兽野性与民族魂灵相融，将驱除外侮、终得聚首的热望藏在狮群之中，笔墨间皆是山河重光的呐喊与期盼。",[23,82,26,30,7,83,84,85],"水墨","山石","云雾","写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd235db2dab5b220d48376a2051048d02.jpg",[],57,{"id":90,"slug":91,"title":92,"dynasty":49,"author":19,"museum":93,"description":94,"tags":95,"thumbUrl":99,"material":100,"size":101,"collection":102,"collections":103,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":44},216216,"ming-ren-hua-suan-ni-tu-yi-ming-216216","明人画狻猊图","台北故宫博物院","这幅画的主题是狻猊，它是古代中国神话中的一种强大的兽，被认为是一种深深联系着天地万物的神兽。在这幅画中，画家细致地描绘了狻猊的身体特征，并运用了各种色彩来表现狻猊的神秘和强大。这幅画是一个经典的代表作，展现了明朝画家对古代传统文化的热爱和尊重。",[23,96,97,26,27,30,7,98,83],"名画","书画","老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d8a9122c3bb3c95220a73fd82916619.jpg","纸本,设色","211.9x178.6cm","花鸟画精选",[102],54,{"id":106,"slug":107,"title":7,"dynasty":77,"author":78,"museum":79,"description":108,"tags":109,"thumbUrl":120,"material":121,"size":41,"collection":41,"collections":122,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":44},220538,"shi-zi-xu-bei-hong-220538","云气翻涌的山巅之上，雌雄双狮傲立危崖。劲健的线条塑出肌肉棱廓，雄狮鬃毛如裂焰贲张，沉凝的目光刺破晦暝；雌狮昂首嘶吼，将野性生命力喷薄而出。\n\n左下角的闪电撕破铅灰色雨云，把天地晕染出沉郁苍茫的色调，粗粝的明暗铺陈，让崖石的嶙峋与狮身的遒劲交织，仿佛能听见山风卷着雷鸣掠过耳畔。\n\n犷悍笔力勾勒出百兽之王的威仪，将荒野暴雨前的肃杀揉进光影里，把雄狮的沉雄不屈刻进每一处肌理，尽显生命在天地间的刚猛气魄。",[96,110,30,7,111,112,113,114,115,116,117,118,119],"素描","山巅","危崖","闪电","荒野","暴雨前","沉郁","肃杀","刚猛","野性","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c918a4e3eca97b0519fe38c90232a85.jpg","纸本素描",[],48,{"id":125,"slug":126,"title":127,"dynasty":128,"author":19,"museum":129,"description":130,"tags":131,"thumbUrl":134,"material":39,"size":40,"collection":41,"collections":135,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":72},226168,"ku-zhu-shi-zao-jing-yi-ming-226168","窟主室藻井","唐","敦煌","莫高窟，俗称千佛洞，坐落在河西走廊西端的敦煌。它始建于前秦宣昭帝苻坚时期，后历经北朝、隋朝、唐朝、五代十国、西夏、元朝等历代的兴建，形成巨大的规模，有洞窟735个，壁画4.5万平方米、泥质彩塑2415尊，是世界上现存规模最大、内容最丰富的佛教艺术地。\n1961年，莫高窟被中华人民共和国国务院公布为第一批全国重点文物保护单位之一。1987年，莫高窟被列为世界文化遗产。\n莫高窟与河南洛阳龙门石窟、山西大同云冈石窟并称中国三大石窟，后加麦积山石窟称四大石窟。 2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[132,129,28,30,7,26,133],"壁画","藻井","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf0b86238b96498c6a292cd931c6f8b4.jpg",[],43,{"id":138,"slug":139,"title":140,"dynasty":77,"author":78,"museum":79,"description":141,"tags":142,"thumbUrl":144,"material":41,"size":41,"collection":41,"collections":145,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":44},220531,"xin-sheng-ming-huo-yue-qi-lai-xu-bei-hong-220531","新生命活跃起来","画面以淋漓水墨绘就奔腾雄狮，鬃毛肆意飞卷，四肢舒展腾跃，将百兽之王的雄健悍勇尽数铺展。作者以写实造型融入写意笔墨，精准捕捉雄狮迸发的蓬勃力道，野性生命力跃然纸面。\n\n背景山石苍简古拙，虬松横斜造势，以简淡衬雄浑，让醒狮冲破沉郁，似要踏过山巅，暗喻着挣脱桎梏的觉醒之气。整幅画将民族精神寄于狮形，借跃动醒狮传递出冲破混沌、昂扬奋进的时代强音，笔墨刚柔并济，把写意的洒脱与造型的精准相融，让猛兽的野性与新生的朝气交织碰撞，成为那个时代民族心气的生动注脚。",[23,82,85,30,7,143,83,77],"松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e2f73da70e9963040779c5153e13dd7.jpg",[],36,{"id":148,"slug":149,"title":150,"dynasty":151,"author":152,"museum":20,"description":153,"tags":154,"thumbUrl":162,"material":39,"size":40,"collection":41,"collections":163,"showCount":164,"zanCount":11,"manualWeight":11,"mainColor":44},287592,"wei-mo-yan-jiao-tu-wang-zhen-peng-287592","维摩演教图","元","王振鹏","王振鹏（生卒年不详），字朋梅，浙江温州人。元代著名的画家，擅长人物画和宫廷界画，被元仁宗赐号为“孤云处士”，并官至漕运千户。传世作品有：《伯牙鼓琴图》《江山胜览图卷》《阿房宫图》《金明池图》。",[23,96,97,54,155,29,28,156,157,158,159,160,161,7],"白描","佛教","维摩诘","文殊菩萨","罗汉","天女","护法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc40a4d0806de3db1968a0376916c5f4a.jpg",[],35,{"id":166,"slug":167,"title":168,"dynasty":18,"author":19,"museum":20,"description":169,"tags":170,"thumbUrl":172,"material":39,"size":40,"collection":41,"collections":173,"showCount":174,"zanCount":71,"manualWeight":11,"mainColor":175},234427,"qing-ren-wen-shu-pu-sa-xiang-zhou-yi-ming-234427","清人文殊菩萨像轴","文殊菩萨，佛教菩萨名，梵文Maňjuśrī的音译，略称“文殊”，意为“妙德”“妙吉祥”等，新译“曼殊室利”。文殊师利菩萨是中国佛教四大菩萨之一，以论述“般若性空”和“般若方便”的理论著称。\n作为释迦牟尼佛的左胁侍，专司智慧，与司“理”的右胁侍普贤菩萨并称。此外，毗卢遮那如来、文殊菩萨、普贤菩萨被尊称为“华严三圣”。相传文殊菩萨的说法道场在山西五台山。\n文殊菩萨顶结五髻，以代表大日五智，手中持剑，表示以智慧为利剑，驾狮子以表示智慧之威猛。另外，文殊为相应众生的不同因缘，还会有不同形象的“示现”，如一字文殊、五字文殊、六字文殊、八字文殊、一髻文殊、五髻文殊、八髻文殊、儿文殊等。其中以五字五髻文殊最为常见。",[23,24,97,26,171,28,156,158,7],"人物画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8020d1c953ad0b415ed6a68867cc2df.jpg",[],31,"FDD835",{"id":177,"slug":178,"title":179,"dynasty":77,"author":78,"museum":79,"description":180,"tags":181,"thumbUrl":184,"material":41,"size":41,"collection":41,"collections":185,"showCount":186,"zanCount":11,"manualWeight":11,"mainColor":44},220552,"ce-mu-xu-bei-hong-220552","侧目","浓墨横扫铺就雄狮鬃毛，野性肌理顺着笔势翻涌，紧绷的躯体如蓄势待发的弓弦，它侧目紧盯岩下蜿蜒长蛇，目光冷冽，将猛兽的警惕与威严尽数释出。画家以中西合璧之法，淡赭晕染狮身塑造体积感，焦墨点睛攫住神态，写实的狮爪紧扣危岩，力量感喷薄欲出。\n岩下长蛇灵动蜿蜒，恰好反衬出雄狮的沉凝沉稳，枯笔皴擦险石，烘托出肃杀的对峙氛围。整作跳脱传统走兽画的柔媚格调，以雄健笔力寄寓不屈气魄，将写意意境与写实造型相融，定格荒野中的张力瞬间，让猛兽的生命野性跃然纸面，尽显笔底的精神重量。",[23,82,26,30,7,182,183],"蛇","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F902d4a31d795805bfb02f892f1df2b1a.jpg",[],28,{"id":188,"slug":189,"title":190,"dynasty":18,"author":19,"museum":20,"description":191,"tags":192,"thumbUrl":195,"material":39,"size":40,"collection":41,"collections":196,"showCount":197,"zanCount":11,"manualWeight":11,"mainColor":198},256560,"kong-que-lv-you-shi-zi-yi-ming-256560","孔雀绿釉狮子","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。",[18,193,194,30,7],"陶瓷","孔雀绿釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ab1bbe3888c617a81dca443471b2fd4.jpg",[],26,"2A56C6",{"id":200,"slug":201,"title":202,"dynasty":18,"author":19,"museum":20,"description":203,"tags":204,"thumbUrl":210,"material":39,"size":40,"collection":41,"collections":211,"showCount":212,"zanCount":71,"manualWeight":11,"mainColor":72},261680,"jia-jing-kuan-qing-hua-shi-zi-xiu-qiu-tu-wan-yi-ming-261680","嘉靖款青花狮子绣球图碗","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。",[193,205,7,206,207,208,209],"青花","绣球","碗","日用具","饪食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3394769694050d1f4e5be04bfb6cbcfe.jpg",[],17,{"id":214,"slug":215,"title":216,"dynasty":49,"author":19,"museum":20,"description":217,"tags":218,"thumbUrl":223,"material":39,"size":40,"collection":41,"collections":224,"showCount":225,"zanCount":11,"manualWeight":11,"mainColor":72},223954,"qia-si-fa-lang-shi-xi-tu-wan-yi-ming-223954","掐丝珐瑯狮戏图碗","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。",[219,220,221,222,7,30],"明代","掐丝珐琅","珐琅器","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3d5366ce88475585c3deb3b8e48c7d0.jpg",[],16,{"id":227,"slug":228,"title":229,"dynasty":18,"author":19,"museum":20,"description":230,"tags":231,"thumbUrl":238,"material":39,"size":40,"collection":41,"collections":239,"showCount":240,"zanCount":11,"manualWeight":11,"mainColor":44},264075,"lv-se-di-tuan-long-feng-shi-zi-hua-hui-wen-zhi-jin-jin-yi-ming-264075","绿色地团龙凤狮子花卉纹织金锦","《说文》：“锦，襄邑织文。从帛，金声。”即用彩色经纬丝织出各种图案花纹的纺织品，泛指具有多种彩色花纹的丝织物。锦的生产工艺要求高，织造难度大，所以它是古代最贵重的织物。“锦，金也，作之用功重，其价如金。”古人把锦看成和黄金等价。这种织物有经起花和纬起花两种，也叫经锦和纬锦。经锦是用两组或两组以上的经线同一组纬线交织。经线多的二色或三色，一色一根作为一副，如果需要更多的颜色，也可以使用牵色条的方法。纬线有明纬和夹纬；用夹纬把每副中的表经和底经分隔开，用织物正面的经浮点显花。\n用染好颜色的彩色经纬线，经提花、织造工艺织出图案的织物。中国丝织提花技术起源久远。早在殷商时代中国已有丝织物。周代丝织物中出现织锦，花纹五色灿烂，技艺臻于成熟。汉代设有织室、锦署，专门织造织锦，供宫廷享用。自汉武帝后，中国织锦通过丝绸之路传入波斯（今伊朗）、大秦（古罗马帝国）等国。三国时四川蜀锦成为主流。唐代贞观年间窦师伦的对雉、斗羊、翔凤等蜀锦图案，称为绫阳公样。在织造工艺上由经锦改进为纬锦，并出现彩色经纬线由浅入深或由深入浅的退晕手法。北宋宫廷在汴京等地建立规模庞大的织造工场，生产各种绫锦。元代是中国历史上大量生产织金锦（一种加金的丝织物）的时代，宫廷设立织染局、织染提举司，机构庞大，集中了大批优秀工匠。\n明清两代织锦生产集中在江苏南京、苏州，除了官府的织锦局外，民间作坊也蓬勃兴起，形成江南织锦生产的繁荣时期。织锦大多采用传统提花工艺和木制花楼织机，有些织锦因品种不同而有所区别。如宋锦、土家族织锦采用通经断纬工艺，即分段调换彩色纬线，使色彩更加丰富。杭锦采用铁制提花机。织锦种类有南京云锦、四川蜀锦、苏州宋锦、杭州织锦以及少数民族的黎锦、壮锦、傣锦、瑶锦、侗锦、苗锦、土家锦、爱得利斯锦等。1960年以来，中国织锦在继承、发扬传统织锦的基础上，恢复了云锦的妆花锦和蜀锦的浣花锦、锦上添花锦、八答晕锦，并生产了窗帘、沙发套、枕套、被面、台毯、靠垫、床罩、提包、民族服装用料等新品种。\n锦已有3000年以上的历史，战国、西汉以前流行以二色或三色经轮流显花的经锦，包括局部饰以挂经的挂锦、具有立体效果的凸花锦和绒锦。1959年在新疆民丰尼雅遗址发现的东汉“万年如意锦”使用绛、白、绛紫、淡蓝、渥绿五色，通幅分成十二个色条，就是汉代典型的经锦。\n纬锦是用两组或两组以上的纬线同一组经线交织。经线有交织经和夹经；用织物正面的纬浮点显花。1969年在新疆阿斯塔那发现的唐代锦袜，在大红色地上起各种禽鸟花朵和行云的图案，就属于这一种锦。\n经锦和纬锦具有不同的织造效果。经锦的纬密比较低，只用一把梭子，生产效率比较高。纬锦织造比较费时，但可以使用两把以上的梭子，容易变换色彩，色彩丰富。这两种锦在中国出现的时间都比较早。但是六朝以前织造的，以经起花为主；隋唐以后织造的，似乎以纬起花为主。\n在苏联的巴泽雷克发现一批中国战国时期的丝绸，就有用红绿二色纬线织造的纬斜纹起花的纬锦。产生于宋代前后的宋锦以地经、地纬交织成经斜组织，按结经与纹纬交织成纬斜组织。\n金元之际流行加金的丝织物——织金锦，又称“纳石失”。明清时盛行以挖花缎的彩纬多达30—40种，锦面的经、纬方向都有逐花异色的效果，是中国织锦最高水平的代表。\n锦在历史上曾用多棕多蹑机和束棕花楼机织造，现代生产采用纹版提花机。\n国家非常重视非物质文化遗产的保护，南京云锦木机妆花手工织造技艺作为中国古老的织锦技艺最高水平的代表，于2006年列入首批国家级非物质文化遗产名录。2006年5月20日，土家族织锦技艺经国务院批准列入第一批国家级非物质文化遗产名录。2007年6月8日，湖南凤凰水云织锦坊获得国家文化部颁布的首届文化遗产日奖。2009年8月《地理标志产品云锦》国家标准在南京通过国家级专家评审，同年9月成功入选联合国《人类非物质文化遗产代表作名录》。",[232,233,234,235,7,236,25,237],"布料","织金锦","龙","凤","花卉","织金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63853fc0893ba7f959cac64ffc02d5cc.jpg",[],15,{"id":242,"slug":243,"title":244,"dynasty":49,"author":19,"museum":20,"description":203,"tags":245,"thumbUrl":247,"material":39,"size":40,"collection":41,"collections":248,"showCount":249,"zanCount":71,"manualWeight":11,"mainColor":72},257210,"qing-hua-shi-zi-xiu-qiu-wen-san-zu-lu-yi-ming-257210","青花狮子绣球纹三足炉",[193,205,30,7,206,246,222],"三足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a25d14b0eda0ccf3c3abdbcf1dfb5f1.jpg",[],11,{"id":251,"slug":252,"title":253,"dynasty":18,"author":254,"museum":20,"description":255,"tags":256,"thumbUrl":259,"material":39,"size":40,"collection":41,"collections":260,"showCount":261,"zanCount":11,"manualWeight":11,"mainColor":72},290467,"fo-zu-he-shi-cong-tu-juan-zhong-zhao-290467","佛祖和侍从图卷","仲昭","此作用笔细劲如铁线，勾勒精准工致。右侧菩萨安坐伏卧云间的青狮之上，神色静穆恬和，衣纹舒展柔和，淡赭敷色雅致清润，青狮鬃毛皴刻细密，威而不厉。左侧青狮昂首徐行，背驮宝炉香烟袅袅，四位侍从形貌各异，神情恭谨随行，衣褶劲挺流畅，写实生动。\n画面以淡墨晕染云气，铺展出渺渺天界氛围，将梵行的肃穆清和烘托尽致。动静相生，行进的仪仗与静思的菩萨相映成趣，尽显工稳清雅的佛画意韵，静穆禅意融于缥缈云间，颇具古典佛画的庄重灵秀之美。",[53,23,97,54,26,27,29,30,28,156,257,258,7],"佛祖","侍从","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc05b4f0b745663abc00185cccd9145e0.jpg",[],9,{"id":263,"slug":264,"title":265,"dynasty":49,"author":19,"museum":20,"description":266,"tags":267,"thumbUrl":273,"material":39,"size":40,"collection":41,"collections":274,"showCount":275,"zanCount":11,"manualWeight":11,"mainColor":72},252878,"tie-wen-shu-pu-sa-zuo-xiang-yi-ming-252878","铁文殊菩萨坐像","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。",[219,268,269,28,270,271,272,7],"铁器","雕刻","菩萨","坐像","莲花座","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccfc77f988310401d0dd3eb472f5b495.jpg",[],7,{"id":277,"slug":278,"title":279,"dynasty":18,"author":280,"museum":281,"description":282,"tags":283,"thumbUrl":291,"material":292,"size":293,"collection":41,"collections":294,"showCount":275,"zanCount":11,"manualWeight":11,"mainColor":44},223312,"fa-jie-yuan-liu-tu-juan-6-ding-guan-peng-223312","法界源流图卷-6","丁观鹏","吉林省博物院","该作品的艺术价值堪与北宋名画《清明上河图》媲美，被誉为世界“佛文化、绘画”艺术颠峰之作，世界无价之宝。\n丁观鹏摹张胜温法界源流图卷，是中国艺术史上的一件瑰宝，规模宏伟，人物众多，用笔十分精细认真，如此长卷在世界的佛教绘画中是罕见的。面对这一人物众多，内容复杂，描绘精良的宏篇巨制，不能不令人信服地赞叹中国传统绘画刚健的生命力。由此引起世界上学术界和观赏者的深切关注，也就是非常自然的事情了。\n该卷中所描绘的形象非常繁多，既有佛界诸宗派的人物形象，也有各种动植物和各种佛具法器，均描绘精细，不仅比例准确，而且神态生动。这些形象的汇集与成功的描绘，不由地使人对该画的作者产生由衷敬佩。虽然他的生平事迹不见任何记载，他这件辉煌作品就足以使他在美术史乃至佛教史上永远放射着巨大的光芒。\n该作品用笔细致非凡，设色浓丽，端庄典雅，是清代画家丁观鹏精心创作杰作之一。",[53,23,97,54,27,26,28,29,284,143,7,285,286,287,288,159,270,289,290,258],"亭","莲花","飞天","宝盖","祥云","佛","神兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0a35438080080731a3c195243346db2.jpg","纸本，设色","纵33厘米、横1635厘米",[],{"id":296,"slug":297,"title":298,"dynasty":18,"author":19,"museum":20,"description":203,"tags":299,"thumbUrl":300,"material":39,"size":40,"collection":41,"collections":301,"showCount":302,"zanCount":71,"manualWeight":11,"mainColor":72},261636,"zhi-lan-zhai-kuan-qing-hua-shi-zi-chuan-hua-tu-pie-kou-wan-yi-ming-261636","芝兰斋款青花狮子穿花图撇口碗",[193,205,7,236,208,222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1333cacabf3e2f345f88d744d202e25a.jpg",[],6,{"id":304,"slug":305,"title":306,"dynasty":18,"author":307,"museum":20,"description":308,"tags":309,"thumbUrl":313,"material":100,"size":41,"collection":41,"collections":314,"showCount":302,"zanCount":11,"manualWeight":11,"mainColor":44},217196,"fa-jie-yuan-liu-tu-juan-8-li-ming-217196","法界源流图卷-8","黎明","法界源流图卷是清朝时期的一部著名的佛教经典，由清朝时期的著名佛教学者黎明编写。这部经典记录了佛教从其诞生以来，到清朝时期的发展史。\n\n法界源流图卷描述了佛教从其诞生的印度，到传播到中国、日本、朝鲜等国家的过程。它还记录了佛教在不同国家和地区发展的特点，以及佛教对当地文化和宗教的影响。\n\n此外，法界源流图卷还对佛教历史上的著名佛教徒、佛教寺庙和佛教经典进行了介绍，为读者提\n供了全面的佛教史信息。\n\n黎明是清朝时期的著名佛教学者，他编写的法界源流图卷被认为是清朝时期佛教史的权威著作，对于了解佛教历史和文化具有重要的参考价值。",[53,27,26,54,28,29,310,284,286,270,289,311,288,143,285,7,312],"楼阁","天人","界画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80b0c039ef6baa808a49e87b58d400a6.jpg",[],{"id":316,"slug":317,"title":318,"dynasty":49,"author":19,"museum":20,"description":203,"tags":319,"thumbUrl":321,"material":39,"size":40,"collection":41,"collections":322,"showCount":323,"zanCount":71,"manualWeight":11,"mainColor":324},261047,"qing-hua-shi-zi-mu-dan-wen-wan-yi-ming-261047","青花狮子牡丹纹碗",[193,205,207,30,7,320,208,209],"牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe9b141d7b9f8819ae4974168a677457.jpg",[],5,"F48FB1",{"id":326,"slug":327,"title":328,"dynasty":329,"author":330,"museum":20,"description":331,"tags":332,"thumbUrl":345,"material":41,"size":41,"collection":41,"collections":346,"showCount":323,"zanCount":11,"manualWeight":11,"mainColor":44},231827,"xiao-xian-he-ge-tu-juan-1-ku-tian-zheng-heng-231827","消闲和歌图卷-1","不详","堀田正衡","这是一卷诗书画合璧的写意佳作，以淡赭素纸为底，大写意笔墨铺陈雅趣。浓淡干湿的墨色晕染出瑞兽、墨龙、折枝桃果、竹篮清供、幽草灵蛇与寒梅，笔意简劲纵逸，寥寥数笔便得物象神韵。日式和歌书法错落穿插于画幅之中，行笔舒展随性，与画作相映成趣。整体意境侘寂清雅，将文人消闲的幽远禅意融于笔墨之间，空灵疏朗，尽显随性自在的东方雅韵。",[53,23,97,54,82,26,155,333,334,85,335,336,337,7,143,338,339,340,182,234,341,342,29,343,34,344,30],"行书","印章","扇子","篮子","盘子","梅花","草","桃子","水果","猴子","蝴蝶","月亮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0668c72e7438d7eaf0064a20e69d82f.jpg",[],{"id":348,"slug":349,"title":350,"dynasty":18,"author":19,"museum":20,"description":351,"tags":352,"thumbUrl":358,"material":39,"size":40,"collection":41,"collections":359,"showCount":360,"zanCount":11,"manualWeight":11,"mainColor":44},267269,"huang-se-duan-xiu-tai-shi-shao-shi-bai-niao-chao-feng-wen-huo-ji-shan-tao-yi-ming-267269","黄色缎绣太狮少狮百鸟朝凤纹活计-扇套","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。",[353,208,232,354,26,27,355,33,7,356,320,357],"扇套","刺绣","凤凰","花鸟","饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc73401fc6bd5624c3e628d8f249a51dd.jpg",[],4,{"id":362,"slug":363,"title":364,"dynasty":365,"author":19,"museum":20,"description":366,"tags":367,"thumbUrl":372,"material":39,"size":40,"collection":373,"collections":374,"showCount":360,"zanCount":11,"manualWeight":11,"mainColor":72},256184,"yao-zhou-yao-qing-you-shi-zi-deng-pan-yi-ming-256184","耀州窑青釉狮子灯盘","宋","耀州窑是中国传统制瓷工艺中的珍品，宋代六大窑系。位于今陕西省铜川市的黄堡镇，唐宋时属耀州治，在唐代就是中国陶瓷烧制的著名产地，宋代更进一步达到鼎盛，成为我国“宋代六大窑系”中的一个窑系。\n耀州窑是北方青瓷的代表。唐代开始烧制黑釉、白釉、青釉、茶叶末釉和白釉绿彩、褐彩、黑彩以及三彩陶器等。宋、金以青瓷为主。北宋是耀州的鼎盛时期，据记载且为朝廷烧造“贡瓷”。金代延续北宋时期继续发展，元代开始转型，走向末落，经明代、清代，终于民国。\n耀州窑始于唐代，北宋末为鼎盛期，宋代六大窑系，终于民国。其窑址位于陕西省铜川市黄堡镇，旧称同官，宋代时属耀州，故名“耀州窑”，包括陈炉镇、立地镇、上店镇及玉华宫等窑在内。是宋代北方民间青瓷的主要产区之一。\n宋代晚期以青瓷为主，胎薄质坚，釉面光洁匀静，色泽青幽，呈半透明状，十分淡雅。装饰有刻花、印花，结构严谨丰满，线条自由流畅。纹饰多满布器内外，种类繁多，有牡丹、菊花、莲花、鱼、鸭、龙凤等，风格粗放健美，生动自然。器形有碗、盘、瓶、罐、壶、香炉、香熏、盏托、注子温碗、钵等。\n耀州窑在宋时北方的青瓷窑场中最负盛名，堪称翘楚。于神宗元丰（1078-1085）至徽宗崇宁（1102-1106）的三十来年间，曾为朝廷烧制贡瓷。其不凡的制瓷技巧和洒脱活泼的风格对当时各地窑场产生了很大影响，得到广泛推广，由此形成了一个自北而南的范围广阔的耀州窑系。耀州窑系以黄堡镇为中心，襄括了河南宜阳窑、宝丰窑、新安城关窑、广东西村窑、广西永福窑、内乡大窑店窑等多个窑场。各窑制品均与铜川窑相似，仅由于所用原料有差别，胎质与釉色也有些微不同。",[193,368,30,7,369,370,371],"青釉","灯盘","刻划","宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9246321ed8935c7d62e3981d45654798.jpg","瓷器精选",[373],{"id":376,"slug":377,"title":378,"dynasty":329,"author":19,"museum":20,"description":379,"tags":380,"thumbUrl":383,"material":39,"size":40,"collection":41,"collections":384,"showCount":360,"zanCount":11,"manualWeight":11,"mainColor":72},225582,"fu-shi-hui-75-yi-ming-225582","浮世绘75","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[381,382,82,26,30,7],"浮世绘","屏风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2c5a230850590c23967dc3057baec69.jpg",[],{"id":386,"slug":387,"title":388,"dynasty":329,"author":19,"museum":20,"description":389,"tags":390,"thumbUrl":399,"material":39,"size":40,"collection":41,"collections":400,"showCount":401,"zanCount":11,"manualWeight":11,"mainColor":72},288628,"jean-baptiste-marie-pierre-cybele-prevents-turnus-from-setting-fire-yi-ming-288628","Jean-Baptiste Marie Pierre--Cybele Prevents Turnus from Setting Fire","这幅棕褐色调的素描以遒劲灵动的笔触，定格下充满张力的神话冲突瞬间。\n\n左侧持炬的战士裹挟汹汹战意，欲纵火破坏，动作暴烈张扬。云间端坐的女神厉声伸臂喝止，翻卷衣袂将神性威严拉至顶点，她驾乘的狮车冲破云层，圣兽鬃毛倒竖，低吼着拱卫主人。下方裸身灵体惊惶躲闪，更衬出场面紧绷的戏剧感。\n\n画师以明暗晕染勾勒立体感，将神祇的凛然、战士的悍勇与旁观者的惊惧刻画入微，单色笔触间，尽显古典叙事的浪漫气魄。",[391,110,392,393,29,394,7,395,396,397,398],"西洋画","淡彩","神话","裸女","兽类","火炬","冲突场景","神话故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8082bf6e0f7737b12c5ab693f788825.jpg",[],3,{"id":403,"slug":404,"title":405,"dynasty":18,"author":19,"museum":20,"description":406,"tags":407,"thumbUrl":409,"material":39,"size":40,"collection":373,"collections":410,"showCount":401,"zanCount":11,"manualWeight":11,"mainColor":411},280581,"duan-xi-yu-yin-shi-niu-jian-yao-bai-ci-zhang-yi-ming-280581","“端溪渔隐”狮钮建窑白瓷章","建窑，是宋代福建烧造黑釉茶盏的著名窑场。窑址有芦花坪、牛皮仑、大路后山、营长乾等处，遗物分布面积约12万平方米。建窑创烧于晚唐五代， 历宋、元、明、清四代，烧瓷历史长达千年，而且对福建地区和江南广大地区都有很大影响。\n主要产品以盏、碗、盘、碟为主，兼烧盒、罐、壶、灯、炉、钵、梅瓶、冥器等，在宋代盛产黑釉瓷而闻名于世。足底有“供御”、“进盏”字铭的，应是为宋代宫廷烧制的贡品。黑釉盏的特征：胎含铁量高，一向有“铁胎”之称，胎体厚重，呈黑灰色、紫黑色，胎质粗糙坚硬，露胎处色沉而无光。造型多样，有大小敛口、敞口等不同形式，圈足小而浅，修胎草率有力，刀法自然，釉质刚润，釉色乌黑，器物内外施釉，外釉近底足，足底无釉而露胎。釉面有明显的垂流和窑变现象，有“兔毫”、“油滴”和“曜变”及“鹧鸪斑”等有名的品种。\n宋代是建窑的发展时期，以烧黑釉器而著称。兔毫斑、鹧鸪斑、曜变等釉色的名品就出在这里，以茶盏为多\n建窑的黑釉属于结晶釉的范畴，含铁量高达8% 以上。在1300多度的高温熔烧过程中，窑温的变化，使釉面产生奇特的花纹。\n由于宋代斗茶风尚盛行，而主烧适宜为斗茶的黑釉茶盏，亦称建盏，以水吉镇窑制品为最，北宋后期曾为宫廷烧制斗茶使用的黑釉盏，并于器底刻\"进盏\"、\"供御\"字样。建阳窑产品使用含铁高的原料做胎，因而胎色深黑坚硬，有\"铁胎\"之俗称，或名乌泥窑、黑建、乌泥建等。盏内外均施黑釉，外壁釉不到底，露黑色胎。",[334,193,269,30,7,408],"篆刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdce1b1ae112807a12135d5b3395885ce.jpg",[373],"37474F",{"id":413,"slug":414,"title":415,"dynasty":18,"author":19,"museum":20,"description":230,"tags":416,"thumbUrl":420,"material":39,"size":40,"collection":41,"collections":421,"showCount":401,"zanCount":11,"manualWeight":11,"mainColor":324},267659,"hong-se-di-shuang-shi-xi-qiu-wen-jin-yi-ming-267659","红色地双狮戏球纹锦",[417,232,26,7,30,288,418,419],"织锦","戏球","吉祥纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1b679e1b4861b5737a24acb8c227edb.jpg",[],{"id":423,"slug":424,"title":425,"dynasty":18,"author":19,"museum":20,"description":230,"tags":426,"thumbUrl":428,"material":39,"size":40,"collection":41,"collections":429,"showCount":401,"zanCount":11,"manualWeight":11,"mainColor":324},264076,"hong-se-di-tuan-long-feng-shi-zi-hua-hui-wen-jin-yi-ming-264076","红色地团龙凤狮子花卉纹锦",[417,232,234,235,7,236,427,26],"团纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc90cd6cdacd0d9f3d086e3bd2c2e16a8.jpg",[],{"id":431,"slug":432,"title":433,"dynasty":18,"author":19,"museum":20,"description":203,"tags":434,"thumbUrl":435,"material":39,"size":40,"collection":41,"collections":436,"showCount":401,"zanCount":11,"manualWeight":11,"mainColor":72},259963,"jia-jing-kuan-qing-hua-shi-zi-tu-pie-kou-qian-wan-yi-ming-259963","嘉靖款青花狮子图撇口浅碗",[193,208,205,7,236,207],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31ab3e616861aacea93699dfc348fd60.jpg",[],{"id":438,"slug":439,"title":440,"dynasty":365,"author":19,"museum":20,"description":441,"tags":442,"thumbUrl":444,"material":39,"size":40,"collection":41,"collections":445,"showCount":401,"zanCount":11,"manualWeight":11,"mainColor":72},255016,"shi-shi-zi-men-zhen-yi-ming-255016","石狮子门枕","这尊伏兽枕石，将瑞兽威仪与建筑实用相融。石狮眉骨凸耸，阔口呲牙，鬃毛蜷曲贴覆周身，伏卧姿态沉稳厚重，肌理褶皱虽经岁月磨蚀，依旧带着写实的古朴意趣。门枕立面浅刻纹饰斑驳漫漶，残存线条仍能见当年精工，一侧榫孔静诉着它曾镇守门户的过往。\n\n石材质朴温润，带着时光摩挲出的包浆，把雕刻技艺的精巧与营建的实用合二为一，静静沉淀着旧时烟火里的守望意涵，是古人工巧与日常烟火交织的质朴缩影。",[365,269,443,30,7,222],"石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44fa7aaae93a44c9858ac7d51422f3c9.jpg",[],{"id":447,"slug":448,"title":449,"dynasty":329,"author":19,"museum":20,"description":450,"tags":451,"thumbUrl":458,"material":39,"size":40,"collection":41,"collections":459,"showCount":460,"zanCount":11,"manualWeight":11,"mainColor":44},289495,"bernardino-india-design-for-a-wall-decoration-over-an-arched-doorway-yi-ming-289495","Bernardino India--Design for a Wall Decoration over an Arched Doorway","整体采用对称构图，以中央纹章锚定视觉重心，涡卷茛苕纹与兽面雕饰缠绕勾勒框架，华丽繁复尽显巴洛克装饰意趣。左右画框内的女性喻像一威一静，左者持杖端坐气场威仪，右者倚柱安坐气质柔静，中央立像英挺矫健，借古典人形体颂权力与德行。\n画师以利落明暗晕染铺陈体积感，刚柔并济的线条刻画出拟石的厚重肌理，将古典人文的典雅与巴洛克的华丽动感相融，适配拱门上楣的装饰形制，让庄重气场与灵动韵律共生，尽显古典装饰设计的精妙巧思。",[110,452,132,29,7,453,28,454,455,456,457],"装饰画","拱门","古典风格","建筑装饰","纹章","设计稿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1448e1fb7daa0c7d469160298c7b0794.jpg",[],2,{"id":462,"slug":463,"title":464,"dynasty":329,"author":19,"museum":20,"description":465,"tags":466,"thumbUrl":473,"material":39,"size":40,"collection":41,"collections":474,"showCount":460,"zanCount":11,"manualWeight":11,"mainColor":72},289139,"marco-ricci-capriccio-with-roman-ruins-yi-ming-289139","Marco Ricci--Capriccio with Roman Ruins","这幅画以残垣织就怀古梦境，将罗马废墟揉入抒情景致。斑驳拱券残存铭文，诉说岁月侵蚀的沉疴，虬曲斜枝携霜红枝叶晕开萧瑟秋意。石狮子盘踞高座，鬃毛的粗粝纹理凝固旧日威严，下方匠人在残石间忙碌，为荒颓废墟暗涌进鲜活生机。远景城郭轻笼烟霭，另一处颓败殿宇隐在林梢，暖调柔光漫过断壁，将怀古怅惘晕成温柔底色。画作以细腻笔触平衡沧桑与鲜活，把虚构的残景绘成带着呼吸的诗意挽歌，引观者沉陷古典余韵的温柔怅惘之中。",[467,26,468,453,469,7,29,470,61,471,472],"油画","古罗马遗迹","石柱","残垣断壁","风景","古典绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76d8e2b9a0bf24480d362f20cc1de8e4.jpg",[],{"id":476,"slug":477,"title":478,"dynasty":18,"author":19,"museum":20,"description":479,"tags":480,"thumbUrl":482,"material":39,"size":40,"collection":41,"collections":483,"showCount":460,"zanCount":11,"manualWeight":11,"mainColor":44},276498,"wo-shi-niu-xian-feng-jian-shang-xi-yi-ming-276498","卧狮纽“咸丰鉴赏”玺","印章，用作印于文件上表示鉴定或签署的文具，一般印章都会先沾上颜料再印上，不沾颜料、印上平面后会呈现凹凸的称为钢印，有些是印于蜡或火漆上、信封上的蜡印。制作材质有 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。",[334,408,481,269,7,30],"玉石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f5837ffd4e7a6cad01dfa01462ecc17.jpg",[],{"id":485,"slug":486,"title":487,"dynasty":18,"author":19,"museum":20,"description":488,"tags":489,"thumbUrl":491,"material":39,"size":40,"collection":41,"collections":492,"showCount":460,"zanCount":11,"manualWeight":11,"mainColor":44},268775,"hong-se-su-duan-zhui-xiu-shi-zi-wen-fang-bu-nan-guan-yi-yi-ming-268775","红色素缎缀绣狮子纹方补男官衣","清王朝时段推行剃发易服，顺治九年（1652），钦定《服色肩舆条例》颁行，从此废除了明朝的冠冕、礼服以及汉族的一切服饰，但满族服饰同时吸收了明朝服饰的纹理图案。明代男子一律蓄发挽髻，着宽松衣，穿长统袜、浅面鞋；清时则剃发留辫，辫垂脑后，穿瘦削的马蹄袖箭衣、紧袜、深统靴。但官民服饰一律泾渭分明。 清朝是以满族统治者为主的政权机构，满族八旗服饰随朝代的变更冲进关内。旗人的风俗习惯影响着广大的中原地区。从公服开始逐渐推向常服。",[37,232,354,7,490],"官服","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0f85106db7f06a4aec9e7881abe449c.jpg",[],{"id":494,"slug":495,"title":496,"dynasty":18,"author":19,"museum":20,"description":497,"tags":498,"thumbUrl":502,"material":39,"size":40,"collection":41,"collections":503,"showCount":460,"zanCount":11,"manualWeight":11,"mainColor":72},260269,"jia-qing-kuan-fen-cai-lou-diao-jiu-shi-xi-qiu-tu-bi-yan-hu-yi-ming-260269","嘉庆款粉彩镂雕九狮戏球图鼻烟壶","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。",[193,499,500,501,7,30,269,418],"镂雕","粉彩","鼻烟壶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1b4e909d5d075624f9a1769974ba2c5.jpg",[],{"id":505,"slug":506,"title":507,"dynasty":365,"author":19,"museum":20,"description":508,"tags":509,"thumbUrl":515,"material":39,"size":40,"collection":373,"collections":516,"showCount":460,"zanCount":11,"manualWeight":11,"mainColor":44},257045,"ding-yao-bai-you-yin-hua-shi-zi-xiu-qiu-wen-xi-yi-ming-257045","定窑白釉印花狮子绣球纹洗","定窑是中国传统制瓷工艺中的珍品，宋代六大窑系之一，它是继唐代的邢窑白瓷之后兴起的一大瓷窑体系。主要产地在今河北省保定市曲阳县（原属今定州市）的涧磁村、野北村及东燕川村、西燕川村一带，因该地区唐宋时期属定州管辖，故名定窑。\n定窑原为民窑，北宋中后期开始烧造宫廷用瓷。创烧于唐，极盛于北宋及金，终于元，以产白瓷著称，兼烧黑釉、酱釉和绿釉瓷，文献分别称其为黑定、紫定和绿定。\n定窑从邢窑而来，由于历史的变迁，定窑随着地域变化，新瓷土料的运用和制瓷工艺的进步。卞向和认为：定窑最大的贡献就是在中国陶瓷发展的历史上闪烁过光芒，在中国陶瓷史和世界的陶瓷发展史上留下辉煌的一页。\n定窑，是中国北方白瓷的中心，始于唐，为邢窑的后继者，在五代时期就已经发达。以往文献多记载窑址在河北正定，1938年在河北省曲阳县涧瓷村发现古窑址。近年又多次发掘调查，发现了最下层堆积着晚唐的破片；中层的是五代时就已大量生产；最上层为印花、画花的薄瓷片，是属于北宋中期以后，在政和、宣和年间。这些薄瓷片，胎质坚致，釉泽莹润，花纹优美，确是很精进的品种；且有些是官窑性质的，如”尚食局、禁苑、奉华、官”等胎上刻字破片的发现，便可证明。另在西燕山遗址发现粗瓷片的堆集，以及各地普遍发现的定窑瓷器及破片，又能证明定窑在北宋早期以后，也曾大量烧造民间使用的瓷器。定窑以烧造白瓷为主，也烧颜色釉，如红定、紫定和黑定等。根据《君友会-新民窑》记载，定窑，从北宋起，地位增高，各地仿制者颇多。在定窑本身概念中，就孳乳出各种名称，单就白定一种，就有土定、粉定之分。土定，有瓦胎和陶胎两种。瓦胎为淡赤色的土质，陶胎为白土而略黄，质皆松，体较厚；袖色白色中闪黄或闪赤，容易剥落，或有大开片，是原始的及民用的定器。粉定，是进步的及官用的定器，有陶胎和瓷胎，胎质致密而体薄，釉色纯白如牛乳者，或带淡赤色，釉中往往有刷纹，釉面凝聚，如有泪痕。",[365,193,510,511,512,7,513,514],"定窑","白釉","印花","绣球纹","洗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf5367eb0360014e470114669c28a5a6.jpg",[373],{"id":518,"slug":519,"title":520,"dynasty":18,"author":19,"museum":20,"description":521,"tags":522,"thumbUrl":524,"material":39,"size":40,"collection":41,"collections":525,"showCount":460,"zanCount":11,"manualWeight":11,"mainColor":72},229229,"hu-po-shi-zi-xi-qiu-yi-ming-229229","琥珀狮子戏球","这枚瑞兽以酒红琥珀雕就，莹润如凝脂老蜜，色泽浓艳通透，天然肌理晕出深浅渐变的朦胧暖意。工匠以精妙刀工刻绘狮子蜷身戏球之态，卷翘鬃毛线条利落细密，将瑞兽的骄憨与威猛相融。狮爪紧扣纹路规整的绣球，姿态亲昵灵动，消解神兽威严，尽是世俗嬉闹意趣。整体圆融饱满，把驱邪纳福的祈愿藏于掌中玩物，是兼具雅致审美与吉祥寓意的精巧之作。",[523,269,30,7,418],"琥珀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff233f824f47d24442a50de9ae0fefb59.jpg",[],{"id":527,"slug":528,"title":529,"dynasty":18,"author":19,"museum":20,"description":530,"tags":531,"thumbUrl":533,"material":39,"size":40,"collection":41,"collections":534,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":72},290162,"shi-zi-tu-yi-ming-290162","狮子图","此图瑞兽造型奇趣，迥异写实雄狮。它面含憨态，双耳宽如垂扇，蓬卷鬃毛以浓淡墨色晕染堆叠，蓬松厚重如覆绒毡。躯体壮硕敦实，肌肉线条柔缓却暗含劲力，蜷曲上扬的长尾，带着不怒自威的气场，却又因圆钝的神态消解了凶戾，尽显拙朴萌态。\n背景以工笔绘山野幽境，苍松虬劲、流泉卷云，皴石施色雅致沉着，衬出瑞兽的超然气场。整体设色暖润细腻，工写兼具，将古人对瑞狮的浪漫想象与工整技法相融，意趣与匠气兼具。",[23,97,96,27,26,30,7,143,83,532],"流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc01b095a90d149a869114cef66deb4b7.jpg",[],{"id":536,"slug":537,"title":538,"dynasty":329,"author":19,"museum":20,"description":539,"tags":540,"thumbUrl":546,"material":39,"size":40,"collection":41,"collections":547,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":44},289020,"luca-giordano-the-triumph-of-cybele-yi-ming-289020","Luca Giordano--The Triumph of Cybele","以奔放的棕褐线条晕染铺陈，蓬松云气托举浩荡神群，衣袂猎猎舒展，将凯旋巡行的磅礴藏在速写随性之中。拉车异兽肌肉紧绷，带着奔突的张力，神祇们姿态雄健昂扬，仪仗簇拥间错落有致，晕开热烈的行进韵律。潦草却精准的笔触，勾勒出华美奔放的氛围感，仿佛能听见云端号角齐鸣，把神话盛典的恢弘凝在纸面，随性酣畅里尽显浪漫遐想。",[110,541,29,542,7,543,544,545],"神话题材","战车","云端","凯旋场景","神话人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2b182ce455e249789130f56179cc3a7.jpg",[],{"id":549,"slug":550,"title":551,"dynasty":329,"author":19,"museum":20,"description":552,"tags":553,"thumbUrl":557,"material":39,"size":40,"collection":41,"collections":558,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":44},288906,"giovanni-battista-tiepolo-illustration-for-a-book-allegory-of-venice-yi-ming-288906","Giovanni Battista Tiepolo--Illustration for a Book Allegory of Venice","乔凡尼·巴蒂斯塔·提埃坡罗，常被称为詹巴蒂斯塔（Giambattista），巴洛克及洛可可时期意大利著名画家，威尼斯画派最后的代表人物。\n提埃坡罗是著名的壁画家，属于早期的洛可可风格，他继承了巴洛克艺术的传统，开创了天顶画的开阔视野，他的天顶画透明，和边框有机的结合在一起，产生了水彩画的效果，他也是威尼斯共和国最后一位希腊神话画家。\n他的两个儿子继承他的风格，但没有他那么优秀和有创造性。",[110,554,155,392,29,7,28,555,556],"插画","寓言故事","手绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79aa77bcbfbedc6857797a9d5be1de01.jpg",[],{"id":560,"slug":561,"title":562,"dynasty":329,"author":19,"museum":20,"description":563,"tags":564,"thumbUrl":570,"material":39,"size":40,"collection":41,"collections":571,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":44},288702,"workshop-of-ennemond-alexandre-petitot-landscape-yi-ming-288702","Workshop of Ennemond Alexandre Petitot--Landscape","棕褐蚀刻晕开沉郁哀思，线条婉转细腻，定格下肃穆的哀悼场景。垂敛羽翼的天使立于古朴石棺之侧，神情悲悯，垂首相慰跪伏恸哭的男子。石棺浮雕带着岁月厚重质感，背景林木朦胧晕染出幽寂氛围。\n\n整幅作品以简练的蚀刻笔触，将悲恸揉进古典肃穆的构图里，让哀伤在静谧的场景中缓缓流淌，细腻勾勒出人物的情绪张力，尽显古典丧葬题材特有的庄重温柔，带着纪念性绘画独有的沉郁氛围感。",[110,565,171,566,567,61,7,568,569],"线描","天使","陵墓","哀伤","西方绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d0d2475e018612840d6e3257e153842.jpg",[],{"id":573,"slug":574,"title":575,"dynasty":18,"author":19,"museum":20,"description":576,"tags":577,"thumbUrl":582,"material":39,"size":40,"collection":41,"collections":583,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":44},274480,"tong-du-jin-shi-tuo-gui-ju-biao-jing-yi-ming-274480","铜镀金狮驮规矩表镜","表嵌于容镜的铜镀金缠枝花边框正上方，花框上嵌饰的红、绿、蓝、白各色料石更使镜框富丽华贵。\n镜框所嵌二针小表为英国制造。",[578,579,30,7,580,581,269,222],"铜制","金器","钟表","镜子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F604507da8dd073e19cfb15736e2d3e68.jpg",[],{"id":585,"slug":586,"title":587,"dynasty":18,"author":19,"museum":20,"description":588,"tags":589,"thumbUrl":593,"material":39,"size":40,"collection":41,"collections":594,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":411},274474,"tong-du-jin-qian-liao-shi-liu-shi-tuo-ping-hua-yin-yue-biao-yi-ming-274474","铜镀金嵌料石六狮驮瓶花音乐表","中国清宫内所存以机械为动力、用珍贵材料做外壳、构造复杂的艺术性计时器。中国本是世界上发明计时器最早的国家。但自1601年意大利 传教士 利玛窦向中国明万历皇帝呈献第一件自鸣钟起，陆续有西洋钟表进献宫廷。清康熙帝把西洋钟表作为一种新科学加以重视，将西洋钟表（也称自鸣钟）贮于端凝殿南端，并将此处命名为自鸣钟处，还在宫内成立了做钟处。到乾隆时，钟表已成为帝后们生活中不可缺少之物，不但在各宫殿内陈设，就连外出乘坐的车、轿、船、马鞍上也都置有钟表。因而每年都要使用大批新奇钟表。这些钟表有清宫做钟处、广州、苏州制造的，也有英国、法国、德国、瑞士、日本等国制造的。",[578,579,580,7,590,591,592,269],"嵌料石","瓶花","音乐器具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5db5def6f19434707e6843a563ec2930.jpg",[],{"id":596,"slug":597,"title":598,"dynasty":18,"author":19,"museum":20,"description":599,"tags":600,"thumbUrl":602,"material":39,"size":40,"collection":41,"collections":603,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":411},274385,"tong-du-jin-si-shi-tuo-shui-fa-zhong-yi-ming-274385","铜镀金四狮驮水法钟","最早的钟原本是指古代汉族 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。因其在明朝景泰年间盛行，制作技艺比较成熟，使用的珐琅釉多以蓝色为主，故而得名“景泰蓝”。",[220,221,578,222,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F804e341b60c5095a1e48b6a6f7a182a7.jpg",[],{"id":676,"slug":677,"title":678,"dynasty":18,"author":19,"museum":20,"description":679,"tags":680,"thumbUrl":685,"material":39,"size":40,"collection":41,"collections":686,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":44},247503,"ti-hong-hai-shui-shi-zi-tu-fang-he-yi-ming-247503","剔红海水狮子图方盒","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",[644,681,682,269,683,7,684,222],"漆器","剔红","海水","方盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15b179a6531705ac7f64ad4a56302be2.jpg",[],{"id":688,"slug":689,"title":690,"dynasty":329,"author":691,"museum":20,"description":692,"tags":693,"thumbUrl":701,"material":39,"size":40,"collection":41,"collections":702,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":72},232528,"he-er-bai-yin-187-he-er-bai-yin-232528","荷尔拜因187","荷尔拜因","小汉斯·荷尔拜因（约1497年-1543年11月29日以前）是德国画家，最擅长油画和版画，是欧洲北方文艺复兴时代的艺术家。其代表作有：木版画《死神之舞》。\n荷尔拜因在创作一幅肖像画以前，经常用铅笔描绘衣物、装饰品等细节，有时也用钢笔或垩笔，然后在纸上沿轮廓扎上小孔，铺在画布上，用炭粉将其转移到画布上。在晚年也使用复写纸。他的画作对细节描绘非常详细、真实，甚至于仪器上的刻度、信笺上的文字、桌布上的花纹都描绘的一丝不苟，但整体风格仍然非常统一，人文主义风格非常明显，俄罗斯作家陀斯妥耶夫斯基曾经评价他的作品《墓中的基督》：“可以把许多人的信仰夺去。” 他曾经从同为英国王室画家的弗拉芒画家卢卡斯·霍亨布特那里学习画微型画，卢卡斯曾为他画了一幅微型画像，他自己从没有画过自画像。",[694,110,695,29,696,697,7,698,699,700],"写实","铜版画","盔甲","剑","器皿","披风","帽子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d678af7f5608005b6ae80a88c61ef54.jpg",[],{"id":704,"slug":705,"title":706,"dynasty":18,"author":19,"museum":20,"description":707,"tags":708,"thumbUrl":709,"material":39,"size":40,"collection":373,"collections":710,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":72},281025,"shi-yun-yu-er-shan-hui-shi-niu-de-hua-yao-bai-ci-zhang-yi-ming-281025","“石蕴玉而山辉”狮钮德化窑白瓷章","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。",[193,334,30,7,269],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4229815ea820a5f67352f62ccb6825af.jpg",[373],{"id":712,"slug":713,"title":714,"dynasty":18,"author":19,"museum":20,"description":715,"tags":716,"thumbUrl":719,"material":39,"size":40,"collection":41,"collections":720,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":411},280584,"yong-zhuo-cun-wu-dao-zi-mu-shi-niu-tian-huang-shi-zhang-yi-ming-280584","“用拙存吾道”子母狮钮田黄石章","战国时期，主张合纵的名相苏秦佩戴过六国相印。近几年来，出土的文物又把印章的历史向前推进了数百年。也就是说，印章在周朝时就有了。\n传世的古代玺印，多数出于古城废墟、河流和古墓中。有的是战争中战败者流亡时所遗弃，也有在战争中殉职者遗弃在战场上的，而当时的惯例，凡在战场上虏获的印章必须上交，而官吏迁职、死后也须脱解印绶上交。其它有不少如官职连姓名的，以及吉语印、肖形印等一般是殉葬之物，而不是实品。其它在战国时代的陶器和标准量器上，以及有些诸侯国的金币上，都用印章盖上名称和记录上制造工匠的名姓或图记性质的符号，也被流传下来。\n古玺是先秦印章的通称。我们现在所能看到的一般最早的印章大多是战国古玺。印文笔画细如毫发，都出于铸造。白文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。官玺的印文内容有“司马”、“司徒”等名称外，还有各种不规则的形状，内容还刻有吉语和生动的物图案。朱文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。\n古印章和书画一样，崇尚名人效应，讲究技艺水准。一般来说，篆刻作者以及印章属主的名气大小、地位高低和作品的价值成正比。但古印章和字画、陶瓷等热门品种又有所不同。由于藏家、行家相对较少，认知能力跟不上，以至于鉴定难度加大，认可上更挑剔、更严格。因此，对于名人作品的收藏或投资，一定要慎之又慎。即不仅要真，还要真得“好”、“精”、“开门”。要注意鉴别旧仿以及改刻、添款之作。\n古印章大多都有钮饰工艺，而钮工的精粗与否将直接影响到古印章的价值。钮饰雕琢奇巧、精致传神，薄意浮雕水平高超的，附加值亦随之提升。\n古印章的石材产地多，仅寿山、青田、昌化三地就有数百种之多，其质地高下、优劣参差不齐。一般来说，衡量石质有三点：一是直观颜色漂亮明艳、亮丽抢眼；二是质感好，即符合“细、腻、温、润、结、凝”之“六德”；三是产量稀少、外貌特殊，如上品母黄、芙蓉、封门、鸡血等名品。",[334,481,717,408,718,7,269],"田黄石","篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a6f22373c97ec2712e84ce14eecd22d.jpg",[],{"id":722,"slug":723,"title":724,"dynasty":18,"author":19,"museum":20,"description":715,"tags":725,"thumbUrl":728,"material":39,"size":40,"collection":41,"collections":729,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":72},280130,"yin-qie-shi-shou-er-kang-shi-niu-bai-shou-shan-shi-zhang-yi-ming-280130","“饮且食寿而康”狮钮白寿山石章",[334,408,726,481,727,7],"寿山石","兽钮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a9bac515f983d9b5db28416e51ff00b.jpg",[],{"id":731,"slug":732,"title":733,"dynasty":49,"author":19,"museum":20,"description":734,"tags":735,"thumbUrl":736,"material":39,"size":40,"collection":41,"collections":737,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},278081,"shuang-shi-niu-guan-dao-zhi-qi-yin-yi-ming-278081","双狮纽“贯道之器”印","战国时期，主张合纵的名相苏秦佩戴过六国相印。近几年来，出土的文物又把印章的历史向前推进了数百年。也就是说，印章在周朝时就有了。\n传世的古代玺印，多数出于古城废墟、河流和古墓中。有的是战争中战败者流亡时所遗弃，也有在战争中殉职者遗弃在战场上的，而当时的惯例，凡在战场上虏获的印章必须上交，而官吏迁职、死后也须脱解印绶上交。其它有不少如官职连姓名的，以及吉语印、肖形印等一般是殉葬之物，而不是实品。其它在战国时代的陶器和标准量器上，以及有些诸侯国的金币上，都用印章盖上名称和记录上制造工匠的名姓或图记性质的符号，也被流传下来。\n古玺是先秦印章的通称。我们现在所能看到的一般最早的印章大多是战国古玺。印文笔画细如毫发，都出于铸造。白文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。官玺的印文内容有“司马”、“司徒”等名称外，还有各种不规则的形状，内容还刻有吉语和生动的物图案。朱文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。",[334,408,269,30,7,481],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c93313b25c01c30cb15a4f0d24aa4b1.jpg",[],{"id":739,"slug":740,"title":741,"dynasty":18,"author":19,"museum":20,"description":734,"tags":742,"thumbUrl":743,"material":39,"size":40,"collection":41,"collections":744,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},277407,"shi-niu-dong-huang-shan-xi-wu-liang-shou-yin-yi-ming-277407","狮纽“东皇善锡无量寿”印",[334,481,269,408,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F165ae34f7d777c29792325d0271163d1.jpg",[],{"id":746,"slug":747,"title":748,"dynasty":18,"author":19,"museum":20,"description":734,"tags":749,"thumbUrl":750,"material":39,"size":40,"collection":41,"collections":751,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},277128,"shuang-shi-niu-xuan-tong-yu-bi-yin-yi-ming-277128","双狮纽“宣统御笔”印",[334,481,269,30,7,408],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ddab6c90a07e8063027f096f3630f9e.jpg",[],{"id":753,"slug":754,"title":755,"dynasty":18,"author":19,"museum":20,"description":734,"tags":756,"thumbUrl":757,"material":39,"size":40,"collection":41,"collections":758,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},276955,"shi-niu-lv-zhong-yi-ze-chang-fang-yin-yi-ming-276955","狮纽“律中夷则”长方印",[334,481,269,7,408],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe96875259339f2a01f5c72b8340647d8.jpg",[],{"id":760,"slug":761,"title":575,"dynasty":18,"author":19,"museum":20,"description":576,"tags":762,"thumbUrl":763,"material":39,"size":40,"collection":41,"collections":764,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},274479,"tong-du-jin-shi-tuo-gui-ju-biao-jing-yi-ming-274479",[579,578,7,30,221,580,29,269],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f0ab426003e874f15d0415f2de5daa.jpg",[],{"id":766,"slug":767,"title":587,"dynasty":18,"author":19,"museum":20,"description":588,"tags":768,"thumbUrl":771,"material":39,"size":40,"collection":41,"collections":772,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":411},274475,"tong-du-jin-qian-liao-shi-liu-shi-tuo-ping-hua-yin-yue-biao-yi-ming-274475",[578,579,269,590,7,580,769,770,591,395],"音乐器","工艺品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11d2ceb84ee357f177551f15724459a7.jpg",[],{"id":774,"slug":775,"title":776,"dynasty":18,"author":19,"museu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