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27.3",[60,94],51,2,{"id":139,"slug":140,"title":141,"dynasty":67,"author":142,"museum":48,"description":143,"tags":144,"thumbUrl":146,"material":147,"size":37,"collection":60,"collections":148,"showCount":149,"zanCount":11,"manualWeight":11,"mainColor":81},216955,"shi-liu-li-shu-tu-ge-shu-ying-216955","石榴栗鼠图","葛淑英","葛淑英（1565年－1628年）是一位中国明朝时期的画家。葛淑英出生于江苏省无锡市，是明朝最著名的女画家之一。她以其精湛的画技和绚丽多彩的作品而闻名。其中最著名的作品之一是《石榴栗鼠图》。\n\n《石榴栗鼠图》是一幅以石榴和栗鼠为主题的水墨画。在这幅画中，葛淑英用柔和的线条勾勒出了两只栗鼠的轮廓。这三只栗鼠正在咀嚼着一个石榴，举动自然，看起来很可爱。葛淑英用细腻的笔触描绘出了栗鼠的皮毛，使它们看起来栩栩如生。此外，画中还有一棵树，树上有许多绿色的叶子，为整幅画增添了一丝清新的气息。\n\n《石榴栗鼠图》展示了葛淑英对自然的描绘能力，也展示了她对生活细节的捕捉能力。这幅画不仅美观，而且充满了温暖的气息，是一件令人感动的艺术作品。",[72,23,24,52,28,27,7,30,145],"石榴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faba5a7329abdb4f2ba88cf74167c31af.jpg","绢本,水墨",[60],45,{"id":151,"slug":152,"title":153,"dynasty":18,"author":68,"museum":102,"description":154,"tags":155,"thumbUrl":164,"material":165,"size":166,"collection":123,"collections":167,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":41},238874,"qing-ren-shan-ba-la-wang-pu-sa-xiang-zhou-yi-ming-238874","清人善巴拉王菩萨像轴","主尊面容丰腴含笑，端坐雕花宝座之上，身着朱红织金法衣，周身珠宝璎珞环绕，一手托举摩尼珍宝，一手握持吐宝神鼠，尽显富足威严。上方胁侍圣僧与化现佛陀隐于祥云之间，更添圣洁氛围。\n\n画面以青绿晕染山林底色，点缀盛放莲华与满盘鲜果，下方眷属虔诚献礼，构图饱满富丽。设色浓烈厚重，朱砂石青撞色鲜明，尽显鲜明的装饰性与宗教意蕴，将护法财神的福德庄严完美呈现，藏地佛教艺术的精致工巧尽显其中。",[23,24,52,119,118,156,27,28,7,157,158,159,160,161,162,163],"青绿","荷花","鲜果","山林","财神","护法","善巴拉王","藏传佛教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a8fbed837dc233c8927a054df7fd516.jpg","未知","Xcm*Xcm",[123],40,{"id":170,"slug":171,"title":172,"dynasty":173,"author":174,"museum":102,"description":175,"tags":176,"thumbUrl":178,"material":37,"size":37,"collection":37,"collections":179,"showCount":180,"zanCount":11,"manualWeight":11,"mainColor":81},227956,"hua-niao-tu-ye-zhao-bo-ju-227956","花鸟图页","宋","赵伯驹","这幅小品以清雅笔触勾勒乡野闲趣，瓜叶舒展圆润，甜瓜垂坠饱满，藤须轻曳带着夏日的鲜活生机。两只小鼠姿态灵动憨然，一只探鼻轻嗅瓜蒂，一只俯身张望，将鼠类的机灵敏锐与憨态尽显无余。\n整画工致细腻，瓜的棱纹晕染自然，鼠身绒毛纤毫毕现，淡彩晕染古朴柔和，将日常细碎小景绘得意趣盎然。平淡乡野片段被定格为隽永画面，藏着对烟火日常的温柔体察，尽显于寻常间寻觅诗意的雅致审美。",[51,23,72,28,27,73,7,74,177],"布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6c858f941ffcace6d9f65b301b5c99f.jpg",[],36,{"id":182,"slug":183,"title":184,"dynasty":67,"author":68,"museum":102,"description":185,"tags":186,"thumbUrl":188,"material":37,"size":37,"collection":37,"collections":189,"showCount":190,"zanCount":40,"manualWeight":11,"mainColor":81},228811,"li-shu-tu-yi-ming-228811","荔鼠图","此作以工笔出之，褐绢为底，将白鼠偷食荔枝的闲趣小景描摹入微。白鼠通身莹白蓬松，毫发毕现，垂首啮果时神态专注娇憨，灵动鲜活。荔枝丹红饱满，果纹凸起写实如生，浓绿叶片阴阳向背层次分明，虬曲枝桠苍劲舒展，尽显南国佳果鲜活意趣。右上角朱印古雅，为画面晕染出金石气韵。设色明丽和谐，精工中带着松弛生机，既有院体画的细腻写实，又暗合数子多福的世俗吉意，把日常琐细绘得意趣悠长。",[51,72,23,24,28,27,73,30,7,187,32,34],"荔枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54d85ef4870573bfff3e3eb899193a5a.jpg",[],29,{"id":192,"slug":193,"title":194,"dynasty":67,"author":101,"museum":195,"description":196,"tags":197,"thumbUrl":201,"material":202,"size":203,"collection":37,"collections":204,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":41},233830,"san-shu-tu-juan-zhu-zhan-ji-233830","三鼠图卷","北京故宫博物院","该画卷由三件画作组成，分别为：苦瓜鼠图（纸本墨笔）、菖蒲鼠荔图（绢本设色）、食荔图。卷末有明宪宗朱见深御制题跋。此卷现藏于北京故宫博物院，钤明末宋荦、清乾隆、嘉庆、宣统等藏印。\n虽然同为一卷画，但《苦瓜鼠图》与《菖蒲鼠荔图》《食荔图》的风格有很大的不同。《苦瓜鼠图》用笔爽朗，逸笔草草，与朱瞻基《武侯高卧图卷》（北京故宫博物院藏）中的墨竹、丛草以及《松云荷雀图卷》中的荷叶、兰草和寿石的笔法一致。而《菖蒲鼠荔图》和《食荔图》则工整秀逸，笔法精到。画中老鼠偷食苦瓜及红荔饶有趣味，前者将并不为人待见的老鼠的憨态与顽皮神态鲜活地表现出来，正如韩昂在《图绘宝鉴续纂》中评朱瞻基画艺所说：“万几之暇，留神词翰，于图画之作，随意所至，尤极精妙” ；后者所写 “荔枝” 有语带双关之意，“红荔” 与 “红利” 谐音，而 “荔枝” 又有 “一本万利” 之义，故老鼠啃食荔枝，具有吉祥寓意，其画中的内涵，已然超越了画作本身。",[23,24,198,28,27,7,187,199,32,200,34],"长卷","葡萄","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb37524d5d18f707fb2aabe2b8bb52ec5.jpg","纸本墨笔、绢本设色","纵28.2，横 38.5 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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。",[121,277,177,278,279,223,7,280,281,282],"缂丝","绣球","梅","皮毛","蓝色纹样","衬衣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a13189e207e950fff449b7294a51071.jpg",[],7,{"id":287,"slug":288,"title":289,"dynasty":18,"author":290,"museum":291,"description":292,"tags":293,"thumbUrl":294,"material":37,"size":37,"collection":60,"collections":295,"showCount":285,"zanCount":11,"manualWeight":11,"mainColor":296},201913,"song-shu-tu-zhou-xu-gu-201913","松鼠图轴","虚谷","上海博物馆","垂柳叶条疏朗，墨色淋漓间点染淡红，似含春意浮动。松鼠蜷卧枝下，绒毛以干湿墨晕染，蓬松柔软，眼神灵动憨态毕现。虚谷以兼工带写之笔，柳叶线条飘逸洒脱，松鼠细节生动传神，画面清雅灵动，满溢生机意趣。",[23,52,26,27,73,7,28,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed5acda6c14fab98b0d3c955aeb07771.jpg",[60],"d8d3c6",{"id":298,"slug":299,"title":300,"dynasty":18,"author":68,"museum":102,"description":301,"tags":302,"thumbUrl":307,"material":165,"size":166,"collection":37,"collections":308,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":310},251056,"qing-yu-shi-er-chen-fu-xing-pei-zi-yi-ming-251056","青玉十二辰斧形佩-子","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。 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汉三个阶段。汉镜纹饰的主要种类有草叶纹镜、蟠龙纹镜、百乳镜、连弧纹镜、规矩镜、多乳禽兽纹镜和变形四叶镜等。",[463,215,214,216,30,220,218,219,7,224,221,222,223,225,226,227,466,467],"纹饰","圆形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F040b8a02fe5129932613f3e87f91c6ec.jpg",[],{"id":471,"slug":472,"title":289,"dynasty":18,"author":473,"museum":291,"description":474,"tags":475,"thumbUrl":480,"material":37,"size":37,"collection":37,"collections":481,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":482},201768,"song-shu-tu-zhou-ren-yi-201768","任颐","两只松鼠栖于虬枝之上，一俯一仰，神态灵动憨趣。松鼠绒毛以细劲笔触皴擦点染，质感蓬松柔软；枝干用浓墨勾勒，苍劲利落；下方兰草疏朗挺秀，墨线婉转，松针如戟，墨色浓淡相宜。画作以兼工带写之法，将松鼠的工细刻画与草木的写意晕染相衬，笔墨鲜活，意趣横生，尽显自然生机与文人雅趣。",[23,26,73,30,7,28,476,477,478,479],"皴染","兰","松","兼工带","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F901cb1f5dbbee7f53d55bb11fd691aec.jpg",[],"ccc6bf",{"id":484,"slug":485,"title":486,"dynasty":18,"author":68,"museum":102,"description":487,"tags":488,"thumbUrl":491,"material":165,"size":166,"collection":37,"collections":492,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":81},280669,"kai-juan-you-yi-bi-hu-zi-jing-gua-shu-niu-hua-shou-shan-shi-zhang-yi-ming-280669","“开卷有益闭户自精”瓜鼠钮花寿山石章","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。",[34,489,266,216,7,490],"篆刻","篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c03fc8bbf353c6e48349d3c70e48c1e.jpg",[],{"id":494,"slug":495,"title":496,"dynasty":18,"author":68,"museum":102,"description":487,"tags":497,"thumbUrl":499,"material":165,"size":166,"collection":37,"collections":500,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":81},280663,"yan-chi-bi-jia-xiao-jiang-shan-gua-shu-niu-hua-shou-shan-shi-zhang-yi-ming-280663","“砚池笔架小江山”瓜鼠钮花寿山石章",[34,489,498,216,74,7,266],"寿山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8cb6da77ee577dd21eaf76b3a5beec9.jpg",[],{"id":502,"slug":503,"title":504,"dynasty":18,"author":68,"museum":102,"description":505,"tags":506,"thumbUrl":509,"material":165,"size":166,"collection":37,"collections":510,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":81},274754,"tong-song-shu-er-san-zu-gai-lu-yi-ming-274754","铜松鼠耳三足盖炉","清代的玉炉很多，但用芙蓉石制作的炉却极少，这是因为做炉需要较大块的料，而芙蓉石一般裂纹很多不宜使用。中国芙蓉石的产量小，颜色与质地亦欠佳。",[214,215,56,7,216,507,508],"三足炉","盖炉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e99ae2475b4e823018d66bfd05c51c6.jpg",[],{"id":512,"slug":513,"title":514,"dynasty":18,"author":68,"museum":102,"description":515,"tags":516,"thumbUrl":520,"material":165,"size":166,"collection":37,"collections":521,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},273491,"rong-tou-hua-yi-ming-273491","绒头花","中国妇女最偏爱的头花当属绒花，尤其是在女儿出嫁时，头上必须戴红色绒花，图火红吉利。在中国妇女中，只要条件允许，不仅婚礼喜庆日时要戴绒花，而且一年四季都愿意头戴绒花，求谐音吉祥。尤其到应时节序戴应季绒花：立春日戴春幡，清明日戴柳枝，端阳日戴艾草，中秋日戴桂花，重阳日戴茱萸，立冬日戴葫芦阳生……。清宫后妃们的头花，还有大批的绒花、绢花、绫花流存于世，这些花色彩协调，晕色层次丰富，堪称“乱真”之花。清代遗留下来的绒、绢、绫、绸等质地的头花有白、粉、桃红三晕色的牡丹花，浅黄、中黄、深黄三色的菊花，白、藕、雪青三色的月季花及粉、白相间的梅花等等，历时百年不久，仍鲜艳悦人。",[517,267,177,518,519,7],"发簪","金属","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c81a2bf75d3a9d2c6757ba6cd534f39.jpg",[],{"id":523,"slug":524,"title":525,"dynasty":18,"author":68,"museum":102,"description":526,"tags":527,"thumbUrl":531,"material":165,"size":166,"collection":37,"collections":532,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":81},272648,"yu-zhi-yue-ling-qi-shi-er-hou-shi-se-mo-tian-shu-hua-wei-ru-huang-mo-yi-ming-272648","御制月令七十二候诗色墨-田鼠化为鴽黄墨","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”。",[528,216,529,7,530],"墨","树木","文房器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd2ce44c3feec0da92d6f77734f65993.jpg",[],{"id":534,"slug":535,"title":536,"dynasty":18,"author":68,"museum":102,"description":537,"tags":538,"thumbUrl":543,"material":165,"size":166,"collection":37,"collections":544,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":545},271502,"duan-shi-diao-pu-shu-sui-xing-yan-yi-ming-271502","端石雕葡鼠随形砚","砚台历经秦汉、魏晋，至唐代起，各地相继发现适合制砚的石料，开始以石为主的砚台制作。其中采用甘肃岷县的洮河石、广东端州的端石、安徽歙州的歙石制作的砚台，被分别称作洮砚、端砚、歙砚。史书将洮、端、歙称作三大名砚。清末，又将河南洛阳的澄泥砚与洮、端、歙，并列为中国四大名砚。也有人主张，以天然砚石雕制的鲁砚中的红丝石砚代替澄泥砚，合称四大名砚。\n谈起砚的种类有许多种，从砚的材质可分为：玉砚、银砚、铜砚、铁砚、陶砚、瓷砚、石砚、漆砚等，其中石砚是最为普遍，也最实用的一种砚。砚台起源于新石器时代。最早的砚是半坡村遗址出土的研磨颜料的研磨器，在1980年，大陆考古学家曾在陕西省临潼县姜寨一处原始社会的遗址中，发现了一套原始人用以陶器彩绘的工具，其中有一方石砚，砚有盖，砚面微凹，凹处并有一根石质磨杵，砚旁留存数块黑色颜料。很显然，这是先民们借助磨杵研磨颜料的早期砚的形制。由于这处遗址归属于母系氏族时期的仰韶文化，故这方砚台的实际寿龄已超过了五千年了。\n清代端石砚要求因材施艺，因石构图，在题材、立意、构图、造型、利用何种雕法都要精心推敲，刻划得当。保持了端砚的古雅、朴实，古色古香、形态自然的特点。如北京故宫收藏的「端石双龙砚」、「猫蝶砚」是端砚中的佳品。",[539,540,216,7,199,541,542],"砚","端石","文房用具","随形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cd0c52a5801a3331ced053fb05f06b3.jpg",[],"37474F",{"id":547,"slug":548,"title":549,"dynasty":18,"author":68,"museum":102,"description":515,"tags":550,"thumbUrl":556,"material":165,"size":166,"collection":37,"collections":557,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":545},268478,"dian-cui-hua-hui-niao-die-wen-tou-hua-yi-ming-268478","点翠花卉鸟蝶纹头花",[267,551,552,519,553,554,7,555,73],"点翠","头花","鸟","蝶","银器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc25d8d203ab94c6a657b328738f0b9e.jpg",[],{"id":559,"slug":560,"title":561,"dynasty":18,"author":68,"museum":102,"description":562,"tags":563,"thumbUrl":566,"material":165,"size":166,"collection":37,"collections":567,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":81},268131,"qing-se-duan-xiu-si-tuan-cai-yun-jin-long-wen-hui-shu-pi-gun-fu-yi-ming-268131","青色缎绣四团彩云金龙纹灰鼠皮衮服","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。",[121,177,564,220,7,565],"刺绣","团龙纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4ed495f3568039727c5656406b25f9f.jpg",[],{"id":569,"slug":570,"title":571,"dynasty":18,"author":68,"museum":102,"description":572,"tags":573,"thumbUrl":576,"material":165,"size":166,"collection":37,"collections":577,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},266578,"shi-qing-se-jiang-chou-xiu-ba-tuan-cai-yun-jin-long-wen-yin-shu-pi-long-gua-yi-ming-266578","石青色江绸绣八团彩云金龙纹银鼠皮龙褂","绸缎，泛指丝织物。古时多是有钱人家作为衣物，其颜色光滑亮丽，五彩缤纷。《儿女英雄传》第二回：“大凡到工的官儿们送礼，谁不是缂绣、呢羽、绸缎、皮张，还有玉玩、金器、朝珠、洋表的？” 老舍《四世同堂》四九：“他看不起绸缎的衣服，与文雅的态度，可又有点自惭形秽。”",[121,177,564,220,574,575,7],"彩云","海水纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ad11c1235376961fb5974c7ac2d275f.jpg",[],{"id":579,"slug":580,"title":581,"dynasty":18,"author":68,"museum":102,"description":582,"tags":583,"thumbUrl":586,"material":165,"size":166,"collection":37,"collections":587,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":81},266562,"qing-se-bi-wen-an-hua-chou-xiang-hui-shu-pi-bian-dan-chang-gua-yi-ming-266562","青色璧纹暗花绸镶灰鼠皮边单长褂","此件长褂以玄色绸为地，璧纹暗花隐于料面，暗合古人慕玉的清雅意趣，低调间尽显织造匠心。立领对襟形制利落庄重，顺襟盘扣素洁挺括，衬得衣身线条舒展沉稳。边缘镶饰灰鼠皮出锋，柔润皮调中和玄色沉郁，兼顾冬日保暖与仪范美感。\n它将实用功能与中式含蓄美学融为一体，是清代日常便服礼制化的典型缩影，尽显旧时服饰的精工审美与穿着意涵。",[121,177,7,584,585],"璧纹","暗花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84b0807ed243ebc6ee68a700a4ee5f5f.jpg",[],{"id":589,"slug":590,"title":591,"dynasty":18,"author":68,"museum":102,"description":592,"tags":593,"thumbUrl":595,"material":165,"size":166,"collection":37,"collections":596,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":81},266561,"qing-se-su-chou-xiang-hui-shu-pi-bian-dan-chang-gua-yi-ming-266561","青色素绸镶灰鼠皮边单长褂","整体以青色素绸裁制，色调沉敛静谧，宛如将暮色揉入衣料。灰鼠皮毛镶缀在襟边、袖摆与侧缘，柔润茸毛似初雪覆枝，与素绸的挺括质感相映成趣，添上一抹温软贵气。对襟形制线条利落舒展，宽袖平摆贴合日常起居的松弛闲适，全无繁饰堆砌，将中式含蓄克制的审美尽数诠释。没有花哨纹样，只凭面料与镶边的材质碰撞，便将实用功能与雅致格调相融，尽显旧时世家日常穿搭的低调奢华，藏着内敛隽永的审美意趣。",[594,121,177,7],"长褂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6098e86e68d0c0466868127c8234bba8.jpg",[],{"id":598,"slug":599,"title":600,"dynasty":18,"author":68,"museum":102,"description":601,"tags":602,"thumbUrl":605,"material":165,"size":166,"collection":37,"collections":606,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":81},266549,"qing-se-su-chou-yin-shu-pi-gua-yi-ming-266549","青色素绸银鼠皮褂","整体形制舒展大气，圆领对襟简约规整。沉郁的青色素绸为面，无过多纹饰修饰，尽显内敛沉静的中式雅致。米白色饰边沿着领襟、袖口与衣摆勾勒，中和了青色的厚重，添了几分柔和灵秀。\n\n内里以银鼠皮缝制，将美观性与冬日保暖性相融，是传统服饰实用与审美兼备的典范。它以极简的美学表达，诠释旧时日常服饰的低调考究，把东方服饰的含蓄意韵藏在舒展的衣型里，尽显沉静端庄的中式美感。",[121,177,603,604,7],"素色","皮草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1479780cd813edd14332fb87baea4f5e.jpg",[],{"id":608,"slug":609,"title":610,"dynasty":18,"author":68,"museum":102,"description":611,"tags":612,"thumbUrl":616,"material":165,"size":166,"collection":37,"collections":617,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},266419,"ming-huang-se-tuan-long-wen-an-hua-chou-shang-yang-pi-xia-hui-shu-pi-pao-yi-ming-266419","明黄色团龙纹暗花绸上羊皮下灰鼠皮袍","清代皇帝服饰有朝服、吉服、常服、行服等。皇帝的龙袍属于吉服范畴，比朝服、衮服等礼服略次一等，平时较多穿着。穿龙袍时，必须戴吉服冠，束吉服带及挂朝珠。龙袍以明黄色为主也可用金黄杏黄等色。古时称帝王之位，为九五之尊。九、五两数，通常象征着高贵，在皇室建筑、生活器具等方面都有所反映。清朝皇帝的龙袍，据文献记载，也绣有九条龙。从实物来看，前后只有八条龙，与文字记载不符，缺一条龙。有人认为还有一条龙是皇帝本身。其实这条龙客观存在着，只是被绣在衣襟里面，一般不易看到。这样一来，每件龙袍实际即为九龙，而从正面或背面单独看时，所看见的都是五龙，与九五之数正好相吻合。另外，龙袍的下摆，斜向排列着许多弯曲的线条，名谓水脚。水脚之上，还有许多波浪翻滚的水浪，水浪之上，又立有山石宝物，俗称“海水江涯”，它除了表示绵延不断的吉祥含意之外，还有“一统山河”和“万世升平”的寓意。\n皇后常服样式，与满族贵妇服饰基本相似，圆领、大襟，衣领、衣袖及衣襟边缘，都饰有宽花边，只是图案有\n所不同。本图展示的服装纹样为凤穿牡丹。整件服装在鲜艳的蓝色缎地上，绣八只彩凤，彩凤中间，穿插数朵牡丹。牡丹的颜色处理得净穆而素雅，色彩变化惟妙，具有传统的山水画特点。与此相反，凤的颜色比较浓重，红绿对比度极为强烈，具有典型民族风格和时代特色。\n清代官服主要品种为长袍马褂。官帽与前朝截然不同，凡军士、差役以上军政人员都戴似斗笠而小的纬帽，按冬夏季节有暖帽、凉帽之分，还视品级高低安上不同颜色、质料的“顶子”，帽后拖一束孔雀翎。翎称花翎，高级的翎上有“眼”（羽毛上的圆斑），并有单眼、双眼、三眼之别，眼多者为贵，只有亲王或功勋卓著的大臣才被赏戴。皇帝有时还赏穿黄马褂，以示特别恩宠。影响所及，其他颜色的马褂遂在官员士绅中逐渐流行，成为一般的礼服。四、五品以上官员还项挂朝珠，用各种贵重珠宝、香木制成，构成清代官服的又一特点。丝纺绣染及各种手工专业的进步，为清代服饰品种的丰富创造了条件。\n清代男装主要是长袍和马褂，袖端呈马蹄形是历代不曾见过的。长袍造型简练，立领直身，偏大襟，前后衣身有接缝，下摆有两开衩（古时称“缺裤”），四开衩和无开衩几种类型。皇室贵族为便于骑射，着四面开衩长袍，即衣前后中缝和左右两侧均有开衩的式样，平民则着左右两侧开衩或称“一裹圆”的不开衩长袍。在我国文学名著《红楼梦》第九十四回“宴海棠贾母赏花妖”一节中，记述了一段内容“那日宝玉本来穿着”一裹圆的皮袄在家休息，忽听贾母要来，便去换了一件狐腋箭袖，罩了一件玄狐腿外褂。这里说明“一裹圆”，是休闲衣服，不可登大雅之堂，所以贾母的到来，必须换掉便装，改着正式穿戴。满清时期长袍外面的马褂身长不过膝，袖宽且短。衣服上的佩饰比较琐繁，一个金银牌上垂挂着数十件小东西，如耳挖子、镊子、牙签，还有一些古代兵器的小模型，如戟、枪之类，佩挂饰物在清代已经形成风尚。",[121,565,220,613,614,177,223,7,615],"绸料","明黄色","兽皮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6450ae153ed147966d5092815ad0b3a.jpg",[],{"id":619,"slug":620,"title":621,"dynasty":18,"author":68,"museum":102,"description":622,"tags":623,"thumbUrl":627,"material":165,"size":166,"collection":37,"collections":628,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},266185,"shi-qing-se-duan-ping-jin-yin-xiu-si-tuan-yun-long-wen-tian-ma-shu-pi-gun-fu-yi-ming-266185","石青色缎平金银绣四团云龙纹天马鼠皮衮服","石青缎地沉敛肃穆，平金平银绣就的四团云龙纹灵动矫健，金线银线交叠出龙身细密光泽，尽显威严华贵的礼制气度。温润的天马鼠皮毛沿襟摆、袖口镶边，柔白绒毛调和缎色的厚重，兼顾华贵观感与冬日暖意。\n\n整衣将缂绣精工与皮草柔润相融，针线起落间尽显匠人的巧思极致，把礼制规制的庄重和服饰的实用暖意相合，是清代服饰工艺的精巧缩影。",[121,177,564,624,220,7,625,604,626],"平金银绣","云龙纹","衮服","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb356b2e5ee66f9c6c49cfbcc21a02ce6.jpg",[],{"id":630,"slug":631,"title":632,"dynasty":18,"author":68,"museum":102,"description":633,"tags":634,"thumbUrl":637,"material":165,"size":166,"collection":37,"collections":638,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},265978,"shi-qing-se-duan-ping-jin-xiu-si-tuan-gou-lian-jin-long-wen-hui-shu-pi-gun-fu-yi-ming-265978","石青色缎平金绣四团勾莲金龙纹灰鼠皮衮服","石青底色沉穆端庄，平金绣就四团金龙，龙身矫健昂扬，勾莲纹环衬其旁，金线流转间尽显皇家威仪。针脚匀净平齐，将龙的刚劲与缠枝柔婉相融，绣工精妙入微。内里镶衬灰鼠皮，于礼制庄重之中暗合冬日御寒之用，平衡礼制规制与实用暖意。整体形制周正肃穆，金线光泽内敛却难掩华贵气度，把绣艺精工、皮草柔暖与宫廷礼制熔于一炉，尽显清代宫廷服饰兼具礼法意蕴与匠心工美的独特风貌。",[121,177,564,220,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