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of Clouds on the Water-Lily Pond, 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on the Seine, Winter Effect, 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of Parliament, Stormy Sky, 1903",[26,73,74,416,99,242,417,418,78,82,419,7,420,421,318,422],"光影变幻","建筑","塔楼","云朵","风云变幻","光线捕捉","城市景观","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2488e5e1e821531604ec8f592b9b8ff.jpg",[87],11,{"id":427,"slug":428,"title":429,"dynasty":110,"author":197,"museum":70,"description":430,"tags":431,"thumbUrl":435,"material":85,"size":86,"collection":61,"collections":436,"showCount":437,"zanCount":11,"manualWeight":11,"mainColor":136},257901,"kang-xi-kuan-qing-hua-hou-chi-bi-fu-bi-tong-yi-ming-257901","康熙款青花后赤壁赋笔筒","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。",[432,433,160,161,146,31,185,183,7,181,434],"陶瓷","青花","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F438209f49114a3c652ab9aa79a27c45b.jpg",[],10,{"id":439,"slug":440,"title":441,"dynasty":265,"author":442,"museum":70,"description":443,"tags":444,"thumbUrl":448,"material":85,"size":86,"collection":61,"collections":449,"showCount":437,"zanCount":11,"manualWeight":11,"mainColor":91},228274,"gu-xiu-xiu-song-yuan-ming-ji-ce-6-fu-han-xi-meng-228274","顾绣－绣宋元名迹册.6幅","韩希孟","韩希孟，明代女工艺家，武林（今浙江杭州）人。北宋名相韩琦五世孙，明嘉靖进士顾名世孙媳，顾寿潜妻。居上海。善画花卉，工刺绣，所绘绣宋元画家真迹，最为传神，多用朱绣名款，传世作品较多，为世所珍， 称为“韩媛绣”。",[180,445,29,146,446,447,7,222],"刺绣","马","树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1776922f8ad1efebd11dc493d1b54d3d.jpg",[],{"id":451,"slug":452,"title":453,"dynasty":68,"author":69,"museum":70,"description":71,"tags":454,"thumbUrl":460,"material":85,"size":86,"collection":87,"collections":461,"showCount":437,"zanCount":11,"manualWeight":11,"mainColor":136},225949,"houses-of-parliament-reflection-of-the-thames-1900-01-mo-nai-225949","Houses of Parliament, Reflection of the Thames, 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。1796年2月9日，清高宗传位于爱新觉罗·颙琰，正式退位。但是皇宫内依然用“乾隆”纪年，如乾隆帝临终医案仍为乾隆六十三年十二月。",[110,180,468,222,469,161,160,470,471,115,7],"行书","西湖","日","桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90636a70ad449b4b9292a60752b76474.jpg",[],7,{"id":476,"slug":477,"title":478,"dynasty":110,"author":197,"museum":70,"description":479,"tags":480,"thumbUrl":482,"material":85,"size":86,"collection":61,"collections":483,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":91},234424,"qing-ren-wen-shu-pu-sa-xiang-zhou-yi-ming-234424","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。",[24,25,27,145,29,28,146,206,185,7,204,481],"佛像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf3ef15a3973c54e721c70ff65587426.jpg",[],{"id":485,"slug":486,"title":487,"dynasty":110,"author":488,"museum":70,"description":489,"tags":490,"thumbUrl":491,"material":61,"size":61,"collection":169,"collections":492,"showCount":493,"zanCount":11,"manualWeight":11,"mainColor":91},238952,"shan-shui-ye-zhang-yan-nian-238952","山水页","张延年","张延年，字长龄，江苏常熟人。为建宁太守。善写翎毛、花卉，尤工美人。《虞山画志》",[24,25,361,160,183,185,7,161,270,29,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1b4812961344459836067caf87dec88.jpg",[169],6,{"id":495,"slug":496,"title":497,"dynasty":265,"author":197,"museum":70,"description":498,"tags":499,"thumbUrl":509,"material":85,"size":86,"collection":61,"collections":510,"showCount":511,"zanCount":11,"manualWeight":11,"mainColor":91},228630,"yu-yu-long-hua-cao-wen-dai-shi-10-yi-ming-228630","玉鱼龙花草纹带饰-10","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。",[500,501,502,503,504,505,506,507,508,7],"明代","玉石","玉器","饰品","雕刻","镂空","鱼","龙","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ecde76dd3518f45836aec17a18e05bb.jpg",[],5,{"id":513,"slug":514,"title":515,"dynasty":68,"author":69,"museum":70,"description":71,"tags":516,"thumbUrl":518,"material":85,"size":86,"collection":87,"collections":519,"showCount":520,"zanCount":11,"manualWeight":11,"mainColor":42},226052,"the-bridge-in-amsterdam-1874-mo-nai-226052","The 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[2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[432,677,666,7,183,678],"斗彩","盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02dd3bc1227b8f9b2edd35e043b976ab.jpg",[],1777535710131]