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anualWeight":11,"mainColor":59},214723,"shan-ju-liu-ke-tu-xia-gui-214723","山居留客图","夏圭","台北故宫博物院","该图像描绘了一块有云的岩石和一座延伸到水面的长桥。在一棵老松树下面，两个老人在森林里的房子里休息和喝酒，一个孩子和一个老妇人在治疗设备，一个仆人在担架上睡觉，一个人拿着一把古筝。这幅画的风格与明代画院的风格接近，怀疑这幅画不是真迹。山石都是用斧头凿出来的，笔法轻柔，通常用侧锋，以获得力道，但细腻和克制的程度有点欠缺，可能是出自明人模仿夏圭的风格。",[24,49,48,68,7,69,70,71,72,73,74,29,75],"立轴","水墨","皴法","山水","老树","楼阁","小桥","流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F687bcb8647a4f89cd2f269b229f4d848.jpg","绢本,水墨","164.7x102.8","山水画精选",[79,81],"人物画精选",396,2,{"id":85,"slug":86,"title":87,"dynasty":18,"author":88,"museum":89,"description":90,"tags":91,"thumbUrl":96,"material":97,"size":98,"collection":79,"collections":99,"showCount":100,"zanCount":101,"manualWeight":11,"mainColor":39},219195,"xiao-xiang-ba-jing-yuan-pu-gui-fan-mu-xi-219195","潇湘八景-远浦归帆","牧溪","京都国立博物馆","淡墨晕染的烟水间，远岫如黛隐现于薄雾，帆影点点似随波轻漾，渐融于空濛天色。近岸老树虬枝舒展，苍劲中藏着几分悠然，与远处归帆遥遥相对。画面以极简之笔勾勒辽阔潇湘，虚实相生间，尽现“远浦归帆”的恬淡意境——归船缓缓，烟水茫茫，仿佛能闻风过水面的轻响，望旅人归心的悠然。禅意浸润在每一处留白里，让观者心随帆影，沉入这静谧辽远的天地间，恍若置身潇湘烟水，忘却尘嚣。",[23,7,24,48,92,69,71,93,72,94,95],"长卷","孤舟","飞鸟","亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F188a3955e9fa72b921b2f108a9fd5c88.jpg","水墨,纸本","",[79,35],359,3,{"id":103,"slug":104,"title":105,"dynasty":18,"author":106,"museum":45,"description":107,"tags":108,"thumbUrl":115,"material":98,"size":98,"collection":55,"collections":116,"showCount":117,"zanCount":118,"manualWeight":11,"mainColor":59},223631,"lian-chi-shui-qin-tu-zhou-dui-zhou-yi-ming-223631","莲池水禽图轴对轴","佚名","此作设色清雅古拙，将夏末荷塘景致凝于绢素。粉荷或粲然盛放，或半含待绽，圆阔荷叶交错叠覆，枯荣相携，细茎缀着淡粉小花，晕开幽柔生机。\n\n两只白鹭一动一静，振翅者俯身掠空，尖喙直指水面，将俯冲的凌厉之势藏于翩然羽翼间；引颈者独立浅泽，昂首似作长鸣，意态娴静悠然。\n\n画笔工致写实，花叶勾勒细腻，禽鸟晕染层次丰盈，古雅的矿物色历经岁时依旧温润。静塘藏动意，野趣暗生，把江南水泽的澹澹诗意晕开在古绢之上，尽显清寂悠然的雅致意趣。",[23,48,24,49,68,25,26,7,109,110,111,112,113,94,114],"荷花","荷叶","莲","水禽","鹭","池塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faab72c6cd475fe4f0cd76844911ed7c4.jpg",[55],334,7,{"id":120,"slug":121,"title":122,"dynasty":18,"author":123,"museum":65,"description":124,"tags":125,"thumbUrl":133,"material":134,"size":98,"collection":81,"collections":135,"showCount":136,"zanCount":137,"manualWeight":11,"mainColor":59},216964,"ying-xi-tu-su-han-chen-216964","婴戏图","苏汉臣","婴戏图即描绘儿童游戏时的画作，又称“戏婴图”，是中国人物画的一种。因为以小孩为主要绘画对象，以表现童真为主要目的，所以画面丰富，形态有趣。中国很早已有绘画婴孩的传统，到了唐宋时期技巧渐趋成熟，宋代更是婴戏图的黄金时期，使之成为中国绘画中极受欢迎的画类。\n\n宋代是婴戏图发展的全盛时期，不但取材多样化，而且描绘技巧高超。有的采用鲜艳颜色以衬托婴孩游玩时的愉快心情，营造热闹快乐的气氛；有的利用简洁的线描，刻划平民的市井风情。市井之民虽生于低下阶层，物质生活不甚丰富，但小孩的天真、贪吃贪玩的性情仍溢于纸上。在婴孩的形体构图方面，孩子面貌及身形比例准确，不再是“身小而貌壮”或“妇人之貌”。而且画家每每绘画小孩穿上轻纱薄衣，使观者能通过薄衣透视小孩丰满圆润的身段。婴孩面部表情亦十分丰富，喜怒哀乐活灵活现。宋代婴戏图的兴盛和成功，奠定了婴戏图的基础，亦创新了不少题材，使后世仿效之作甚多。",[7,26,25,29,126,127,128,129,130,131,132],"婴孩","庭院","建筑","榻","假山","花木","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F683c03575faeba1accf39da01c82a0c5.jpg","纸本,设色",[81],271,4,{"id":139,"slug":140,"title":141,"dynasty":18,"author":106,"museum":142,"description":143,"tags":144,"thumbUrl":149,"material":134,"size":98,"collection":79,"collections":150,"showCount":151,"zanCount":137,"manualWeight":11,"mainColor":39},217118,"xue-jing-shan-shui-tu-yi-ming-217118","雪景山水图","私人收藏","宋朝是中国历史上的一个朝代，时间为960年至1279年。宋朝的艺术创作较为繁荣，其中的山水画尤为著名。关于宋朝的山水画，很多都是佚名的。\n\n佚名的雪景山水图是一幅典型的宋朝山水画作品，其中描绘了雪景的美丽景色。这幅画作品中，佚名使用了极为精细的笔法和巧妙的色彩搭配，成功地表现了雪景的冷冽和自然的美。在这幅画中，佚名运用了层次感、对比和拓扑结构等技巧，使得画面更加立体生动。\n\n整幅画作品中，佚名还融入了许多细节，比如深夜里的月色和落雪的景色，以及山谷中的松柏和溪流。这些细节使得画面更加丰富，也增加了画面的视觉冲击力。\n\n总的来说，佚名的雪景山水图是一幅极具艺术价值的作品，它能够令人感受到宋朝山水画的魅力，也是中国艺术史上的经典之作。",[23,24,49,48,7,69,70,71,145,146,147,148],"雪景","松树","山","水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdec5092287a9b92f01696f225b920248.jpg",[79],228,{"id":153,"slug":154,"title":155,"dynasty":18,"author":88,"museum":142,"description":156,"tags":157,"thumbUrl":160,"material":134,"size":161,"collection":55,"collections":162,"showCount":163,"zanCount":83,"manualWeight":11,"mainColor":59},218942,"he-tu-mu-xi-218942","鹤图","鹤独立苍岩畔，长颈微俯，似敛神听风。羽翅以墨色分层晕染，绒羽轻细如絮，飞羽劲挺带势，墨痕间藏自然生趣。背景淡墨虚笼，松枝疏影横斜，留白处若含烟岚，无一笔繁饰却得空寂之境。禅意融于笔墨，不逐形骸而追神韵，鹤的清逸与天地的虚静相契，尽显南宋文人画的空灵韵致，观之如临幽境，心随鹤远。",[7,24,49,48,68,69,158,159,146],"写意","鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc77380f8e0d7d4b9318d3de05bfb0672.jpg","129x80.5cm",[55],215,{"id":165,"slug":166,"title":167,"dynasty":18,"author":106,"museum":45,"description":168,"tags":169,"thumbUrl":173,"material":98,"size":98,"collection":174,"collections":175,"showCount":176,"zanCount":177,"manualWeight":11,"mainColor":39},221639,"yu-gou-yi-ming-221639","玉狗","此玉犬匍匐昂首，尖耳垂附颅侧，圆目凝神远眺，身形清瘦矫健。匠人以写实刀工摹刻出清晰的脊骨与肋骨纹路，将猎犬的劲健体态凝练而出。玉料自带天然糖色与灰黑斑沁，匠师顺势巧施，将尾尖糖色俏作点睛朱红，与温润的基底相映成趣。\n\n整器褪去繁复矫饰，以极简刻绘尽显雅致写实的意趣，将山野猎犬的机警灵动藏于温润玉质之中，静卧之间仍有蓄势待发的飒爽张力，把审美意韵与造物巧思融于一体。",[170,171,172,52,7],"玉石","雕刻","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F180ab6a01af676021bae9d4ce4612b90.jpg","玉器精选",[174],171,1,{"id":179,"slug":180,"title":181,"dynasty":18,"author":182,"museum":65,"description":183,"tags":184,"thumbUrl":193,"material":194,"size":195,"collection":196,"collections":197,"showCount":198,"zanCount":11,"manualWeight":11,"mainColor":39},221283,"ba-su-shi-huang-zhou-han-shi-shi-huang-ting-jian-221283","跋苏轼黄州寒食诗","黄庭坚","《黄州寒食诗卷跋》是黄庭坚在苏轼《黄州寒食诗帖》后写的一段跋语，此跋历来为人们所珍视，与原帖合称“双璧”。《寒食帖跋》表现了“黄书”的基本艺术特点。《跋文》用笔锋利爽截而富有弹性。其字写得藏锋护尾，纵横奇崛，其长笔画波势比较明显。由于黄庭坚善于把握字的松紧，因此形成了中宫收缩而四周放射的特殊形式感，人们也称其为辐射式书体。在布局上，《跋文》常从欹侧中求平衡，于倾斜中见稳定，因此变化无穷，曲尽其妙。从局部看，一行字忽左忽右，但从整体看，呼应对比，浑成一体。此跋给人以神情饱满，气势贯通的感受，决无荒率之病，达到了艺术的化境，所以他在最后不无得意地说：“他日东坡或见此书，应笑我于无佛处称尊也”。",[23,48,185,186,187,7,188,189,190,191,192,92,49],"书法","行书","纸本","墨书","笔力劲健","结体舒展","顿挫有致","墨色变化","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdee18dc5af9010f82b2dba444201b634.jpg","白纸本","纵34.2公分，横199.5公分","书法精选",[196],169,{"id":200,"slug":201,"title":202,"dynasty":18,"author":203,"museum":65,"description":204,"tags":205,"thumbUrl":208,"material":33,"size":209,"collection":35,"collections":210,"showCount":211,"zanCount":101,"manualWeight":11,"mainColor":39},220359,"yin-xing-cui-niao-tu-ma-shi-chang-220359","银杏翠鸟图","马世昌","此幅为南宋作品，有宫廷画家马世昌的名款，以小字细笔题于画幅右方。斗方格局，画一对叉尾太阳鸟，驻足于银杏树的枝梢，姿态一俯一仰，形成回旋的律动曲线。银杏的果实与枝叶，殆以石绿搭配汁绿填染，益发衬托出翎毛鲜艳华丽的身形。叶片的钩筋与转折，用笔极见细腻生动，反映了宋代画家审慎观物的创作态度。",[23,24,49,7,26,25,50,206,207],"银杏","翠鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F961418adcc8ec6419c08a470e380c2da.jpg","纵27厘米 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弗里尔艺术馆",[7,218,52,219,220,221,222],"陶瓷","日用具","六瓣","描金","釉色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ec5b9dfe66dd4493f1fa5af1c82bfcd.jpg","瓷器精选",[224],125,"37474F",{"id":229,"slug":230,"title":231,"dynasty":18,"author":232,"museum":65,"description":233,"tags":234,"thumbUrl":244,"material":33,"size":245,"collection":35,"collections":246,"showCount":247,"zanCount":11,"manualWeight":11,"mainColor":59},220144,"qiu-pu-rong-bin-tu-cui-bai-220144","秋蒲蓉宾图","崔白","本幅绘荷叶枯黄，芙蓉展艳，一派秋光旖旎，花间鹡鸰腾跃，翡翠静静停留，两鸿雁振翅凌空，意在千里。无画家款印，旧传为崔氏之作。崔白(约西元十一世纪)，安徽凤阳人，字子西。宋仁宗至神宗时为画院画家。精工画花卉翎毛，尤以枯荷凫雁得名，但亦精于道释、人物、鬼神。据说他作画时从不起稿，画长直坚挺的线条，无须使用直尺界画，操笔立就。",[23,7,235,25,236,237,238,239,240,241,109,242,243,110,94],"工笔花鸟","写实","写生","细腻笔触","大雁","芙蓉","蒲草","禽鸟","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0742ff18547c75d91c9eaba1ab1932e4.jpg","本幅 149.1x95.5公分、全幅 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樭朝咸淳（1265—1274）时画院祗候，与马远齐名。\n工画花鸟、人物、山水，师马远，又得夏圭笔法，遂为马夏派。\n善画小品，咫尺千里意趣盎然，尝画《霁雪行旅图》，用小斧劈皴法画崖石，树枝草上俱用粉作雪。\n所作《映月梅花图》，方绢本，设色，梅花如雪，明月悬枝，清光一轮，恍如特照，该画款书臣楼观三字于右角梅枝隙处，上朋理宗赵昀对题：芳意饶呈瑞，寒光助照人。著录于《珊瑚网》。\n传世作品有《江头泊舟图》纨扇，录于《浙江古代画家作品集》《石勒问道图》轴今流入美国。",[23,48,24,349,7,25,70,147,350,351,352,283,353,354,73,355,145],"山水画","雪","江水","房屋","寒林","山石","舟楫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa81f7cf0473656e7949a9c3ffe65af.jpg","纵153.4公分，横91公分",[35,79],84,{"id":361,"slug":362,"title":363,"dynasty":18,"author":106,"museum":45,"description":364,"tags":365,"thumbUrl":368,"material":98,"size":98,"collection":174,"collections":369,"showCount":370,"zanCount":177,"manualWeight":11,"mainColor":39},221647,"yu-niao-yi-ming-221647","玉鸟","这件瑞鸟玉雕以三角随形施艺，透雕结合线刻，匠心尽显。凤鸟身姿劲挺，昂首展翼，长尾舒张如垂瀑，周遭以卷草透空作衬，虚实相生。\n\n躯干以工整阴线琢出几何羽鳞，翅羽分层刻画，纹理错落有序，将瑞鸟华美金贵的仪态凝于方寸。玉质浸透着岁月晕染的暖黄包浆，古韵盎然。整体工法细腻雅致，写实与装饰意趣相融，尽显宋时玉雕的审美意韵，把祥瑞灵禽的雍容灵动雕琢得淋漓尽致，是宋代民间玉雕精巧工法的绝佳缩影。",[7,171,366,367,50],"象牙","鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c89995532159690cd4cff737039313e.jpg",[174],79,{"id":372,"slug":373,"title":374,"dynasty":18,"author":375,"museum":376,"description":377,"tags":378,"thumbUrl":382,"material":33,"size":383,"collection":81,"collections":384,"showCount":385,"zanCount":83,"manualWeight":11,"mainColor":59},218306,"jian-nv-lian-dan-tu-xu-chong-ju-218306","僭女练丹图","徐崇矩","美国弗利尔美术馆","乘玄驹腾跃，袂带飘举间执器引丹。黑马鬃毛劲挺，四蹄踏空似凌虚，与素衣白冠的人物相映，清逸中藏英气。坡岸嶙峋，墨色皴擦见苍劲，几株细竹点染生机。丹烟袅袅升于褐绢之上，暗合仙道清虚之境。\n\n绢色沉褐如浸岁月，工笔勾勒与写意皴染相融：衣纹流畅如行云，马身肌理写实见骨，山石皴法古拙含韵。神情专注处，丹火隐现，方寸间藏天地玄机——既显宋画格物致知的精微，又透仙道氤氲的缥缈，古雅深邃，引人探入画中秘境。",[48,24,7,26,25,29,379,380,381],"马","孤石","炼丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2534c674db225970dc309e9344f4111c.jpg","74.2x45.3",[81],78,{"id":387,"slug":388,"title":389,"dynasty":18,"author":106,"museum":20,"description":390,"tags":391,"thumbUrl":392,"material":393,"size":394,"collection":98,"collections":395,"showCount":385,"zanCount":83,"manualWeight":11,"mainColor":39},214983,"dao-zi-mo-bao-ren-wu-bai-miao-hua-2-yi-ming-214983","道子墨宝人物白描画-2","《道子墨宝》原作是一套古代民间画工制作道教壁画的白描画稿。画稿分三部分，第一部分描绘的是诸神朝谒；第二部分是阴曹地府中审判“罪犯”的景象，既所谓的“地狱变相图”；第三部分为搜山图。画稿伪托唐代画圣吴道子作，但从画稿的内容和画中人物的服饰等细节可以断定它不可能是唐代的作品。这套册页原无题，多达五十开的册页，每幅原作右上部位都有用白粉写的简化字符编号，表示一至五十，显然是民间画师用的稿本。",[23,24,49,298,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eeddadab043e71b851c8ff4a307f137.jpg","纸本,水墨","34.2*38.4",[],{"id":397,"slug":398,"title":399,"dynasty":18,"author":400,"museum":45,"description":401,"tags":402,"thumbUrl":406,"material":98,"size":98,"collection":98,"collections":407,"showCount":408,"zanCount":11,"manualWeight":11,"mainColor":59},227296,"gui-xiu-shi-ping-tu-zhou-sheng-shi-yan-227296","闺秀诗评图轴","盛师颜","古时大家闺秀“大门不出，二门不迈”，待在家里的时间长，因此也有闲暇读诗书。一来可以打发时光，二来可以排解幽思。\n\n在这幅画中，一名女子端坐在案几之上，手持一本诗文书卷，神态娴静，正在专心致志地读书。",[23,7,24,49,68,26,25,403,404,405],"美人","典籍","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0333452de9ecd696360b84a95fb6751a.jpg",[],65,{"id":410,"slug":411,"title":412,"dynasty":18,"author":106,"museum":45,"description":413,"tags":414,"thumbUrl":416,"material":312,"size":313,"collection":98,"collections":417,"showCount":418,"zanCount":11,"manualWeight":11,"mainColor":59},223663,"e-mi-tuo-fo-tu-yi-ming-223663","阿弥陀佛图","阿弥陀佛（梵语Amitābha），又名无量佛、无量光佛、无量寿佛等。大乘经载，阿弥陀佛在过去久远劫时曾立大愿，建立西方净土，广渡无边众生，成就无量庄严功德，为大乘佛教所广为崇敬和弘扬。大乘佛经主要如《无量寿经》、《阿弥陀经》、《观无量寿佛经》，对阿弥陀佛及其西方极乐世界均有详述。大乘佛教流传之地，如中国、日本等大乘教区，阿弥陀佛信仰也尤为繁盛和重要。而汉传佛教的净土宗，则完全以往生阿弥陀佛的西方净土作为专修的法门。",[23,7,24,49,68,415,29,25,26],"宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe74592da1391b22d35470a1a2831b583.jpg",[],63,{"id":420,"slug":421,"title":422,"dynasty":18,"author":106,"museum":45,"description":423,"tags":424,"thumbUrl":427,"material":98,"size":98,"collection":224,"collections":428,"showCount":429,"zanCount":11,"manualWeight":11,"mainColor":227},221208,"xiao-hong-liu-ban-cai-pan-yi-ming-221208","小红六瓣菜盘","作者： 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弗里尔艺术馆",[7,218,52,425,426],"六瓣造型","棕红色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12e81e3a8920ef924b0c9d1753d38e0a.jpg",[224],59,{"id":431,"slug":432,"title":433,"dynasty":18,"author":434,"museum":65,"description":435,"tags":436,"thumbUrl":438,"material":33,"size":439,"collection":81,"collections":440,"showCount":441,"zanCount":177,"manualWeight":11,"mainColor":59},219610,"zui-seng-tu-liu-song-nian-219610","醉僧图","刘松年","画面左侧一遒劲苍松，顶天立地，倔强而粗壮的树身扎根于坡石之中，稳健地镇住整个画面，使古意充盈纸上。画面右上方淡笔擦出的远山和细笔轻快而流畅地勾出的浮云，使画面更增超逸出尘之气。飘然潇洒的长松针密布于画面上方，把观者的视线吸引到树荫之下的三个人物身上。中间坐于石凳之上、解衣盘礴、乘兴挥毫者，想必是“草圣”怀素，此时他所乘之兴应与身后松枝上高挂的酒葫芦有关，似为正酣的酒兴也。怀素头呈微仰之势，似不经意地提笔挥毫，颇有“信手拈来皆文章，下笔不惑皆妙墨”之神采。他微微翘起的右脚，好像正在轻轻摆动，将他那放浪形骸的性格特征更加明显。笔法劲秀的衣纹线条，转折有力而肯定，不但极准确地刻画出人物外形，更形象地表现出怀素外表狂放，内心坚贞、高洁的性情。右边一童子面对怀素持卷肃立，神情专注于其行笔之处。怀素左边，一童子左手持砚、右手握墨，似墨刚研毕，正仔细审视是否正好可用。此《醉僧图》笔法精细秀润，布景极为高古，意境静雅、淡定，人物间呼应关照、贴切妥当，神态呼之欲出、传神入微，把“草圣”以酒助书兴、运笔酣畅的场景描绘得淋漓尽致，是一幅难得的佳作。\n此图最让人动心之处就是淡定、静雅的境界。潘天寿先生在《论画残稿》中曾说道：“艺术之高下，终在境界，境界层上，一步一重天，咫尺之隔，往往辛苦一世，未必梦见。”陈子庄先生也言：“必须于性灵中发挥笔墨，于学问中培养意境。”南宋的苟安一隅，使当时很多文人多少有些失落的悲观的情怀。刘松年的这幅为怀素的写照之作，在我看来倒有几分自况之意。心不能畅怀，借酒以发之，身不能居之境，借画以图之，借醉僧之超然境界，表达自己卧游畅神之思。当然，这只是我面对刘松年这位八百年前的古人之作，做的一番遐想而已。",[23,7,24,49,26,25,29,72,354,437,415],"饮酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22cb54f38c3dcb5f0c2d377e84953eb4.jpg","纵95.8厘米，横47.8厘米",[81],58,{"id":443,"slug":444,"title":445,"dynasty":18,"author":446,"museum":45,"description":447,"tags":448,"thumbUrl":451,"material":98,"size":98,"collection":98,"collections":452,"showCount":453,"zanCount":11,"manualWeight":11,"mainColor":59},227779,"zhu-chong-tu-ye-wu-bing-227779","竹虫图页","吴炳","此图画幽篁疏影，双钩填彩，以色之而飞，又绘天牛、螽蜥，无不刻画入微，瓜赞，相阿弥题签，天室和尚题跋。浓淡来显叶之向背、竿之盘曲。枝叶饱满， 叶果实又仿效徐崇嗣的没骨画法。设姿态多样。另有花卉野瓜、蝴蝶蜻蜓萦绕 色浓丽而又不隐墨骨。",[23,48,24,49,267,26,25,50,449,450,7],"竹","虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01191a7671ec45bee311028ed57ed69c.jpg",[],56,{"id":455,"slug":456,"title":457,"dynasty":18,"author":458,"museum":45,"description":459,"tags":460,"thumbUrl":462,"material":98,"size":98,"collection":98,"collections":463,"showCount":464,"zanCount":11,"manualWeight":11,"mainColor":39},227637,"lang-tu-ma-xing-zu-227637","浪图","马兴祖","宋代 马兴祖 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洁，布局巧妙。全画笔法苍老劲健，下笔疾速果断。画中茅屋随手勾出，显得严谨而活泼。整幅画面层次鲜明，用浓墨写近景，再用淡墨画栏杆，远山则用花青略加渲染，使画面产生了强烈的空间感。\n构图上采用所谓“一角”、“半边”之法，主要景色都集中在画面下部，左侧取其大自然中真实一角，与右旁渺无人烟的画面，只有山影在茫茫的雾气中浮动，构成了意境深远的山水画。所画竹、树疏朗简洁，布局巧妙，作者以粗笔浓墨勾出梧桐树干及叶丛，用中锋画竹竿，以楷书写竹叶，堂宇、栏杆画得破有成规，近处山石棱焦清晰，并有青苔点簇，树林中蕴现的秀石以浅墨勾出，又以淡水墨染之，与装饰性的梧竹，形成色差的对比。画中茅屋，不用界尺，随手勾出，显得严谨而活泼。远远的山形与天色几乎相混，只见有一笔勾之，远山用花青略加渲染，造成的深远景色，只能让观者在意境中识别，这是夏画中的意取胜的展现。在此幅画中，见到了作者较富装饰性的山水画。以自识“夏圭”款二字于左方树干上。\n《梧竹溪堂图》画面简明地分成虚实两块，正是典型的“夏半边”构图。画中树木干枝曲折多弯，亦与马远树法相同。惟其用笔苍润含蓄，不似马远瘦硬刚劲，这大概与夏圭好用秃笔有关。建筑物也是用毛笔信手勾勒出来的，透视、比例都很合理，虽不及马远的界画法工细，却也别有韵味。若再细看，不难看到房柱、栏杆之类建筑构件是以较严谨、沉稳的线条组成，画屋顶茅草的线条则显得疏松、随意，这一细节透露出画家信手勾勒时仍很有分寸。由于画小景物不多，夏圭善用墨色的特点在《梧竹溪堂图》中表现得不是非常充分，然其墨色浓淡相济，足以将画面空间交待得层次分明，使景物密集处也有了几分空灵感。",[23,48,24,49,323,7,69,70,71,127,638,639,640,354,75,641,283,128,502],"梧树","竹子","茅屋","回廊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ebac27779930c3568caeff06fba9120.jpg","绢本墨笔","纵23厘米，横26厘米",[],{"id":647,"slug":648,"title":649,"dynasty":18,"author":650,"museum":45,"description":651,"tags":652,"thumbUrl":654,"material":312,"size":313,"collection":98,"collections":655,"showCount":656,"zanCount":11,"manualWeight":11,"mainColor":39},240693,"tie-ye-cai-jing-240693","帖页","蔡京","蔡京（1047年2月14日－1126年8月11日），字元長，福建路興化仙遊（今福建省莆田市）人。北宋時期書法家、政治家，先後四次任宰相，掌權共達十七年之久。",[7,49,185,186,653,132],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64d143e58aed1ff217ff8376420b17e2.jpg",[],32,{"id":658,"slug":659,"title":660,"dynasty":18,"author":182,"museum":45,"description":661,"tags":662,"thumbUrl":664,"material":98,"size":98,"collection":98,"collections":665,"showCount":656,"zanCount":11,"manualWeight":11,"mainColor":39},227591,"lian-po-lin-xiang-ru-lie-zhuan-huang-ting-jian-227591","廉颇蔺相如列传","黄庭坚书法《廉颇蔺相如传》白纸本，纵32.5厘米，横1822厘米。美国纽约大都会博物馆藏 。\n\n此卷为黄庭坚书《史记．廉颇蔺相如列传》，文中有节略。卷尾无书写纪年和史款，约书于绍圣二年（1095年）。卷内钤有“ 内府书印”、“绍兴”连珠印、 “内省斋”、“秋壑图书”、欧阳玄印”、“项子京家珍藏”、等印鉴，还有项元汴跋。此卷是传世黄书中的名迹，《式古堂书画会考》、安歧的《黑缘会观》等书均有著录。\n\n草书发展到盛唐，狂草成熟，在流动中求得笔法、节奏、线条、结构的丰富变化，成为草书不可移易的定则。黄庭坚是钦服唐人狂草的，对张旭、怀素都有会心之论，自言“得藏真（怀素）自叙于石杨休家，谛观数日，恍然自得，落笔便觉超异”。\n无疑，黄庭坚对草书笔法的深刻认识和掌握，当是“得张长史、僧怀素、高闲墨迹，乃窥笔法之妙”的。他在《跋此君轩诗》中写道：“近时士大夫罕得古法，但弄笔左右缠绕，遂号为草书可，不知蝌蚪、篆、隶同法同意。数百年来，唯张长史、永州狂僧怀素及余三人悟此法可。苏才翁有悟处而不能尽其宗趣，其余碌碌耳。”\n\n以黄庭坚的颖悟与才力，不至领会不到唐人草书的要义，然而他的草书却一改唐人旧法，速度放慢，略加顿挫，在许多地方放弃线条的连续而着意于空间的摆布，结果形成与唐人迥然不同的一种风格，“草书之法，至此又一变矣”（姜夔语）。黄庭坚的草书，线条中奔放的气势当然不能与唐人相比，但空间结构所表现出来的气度和变化的丰富性，却不让于唐人。\n\n黄庭坚不饮酒，其作草全在心悟，以意使笔。然其参禅妙悟，虽多理性使笔，也能大开大合，聚散收放，进入挥洒之境。而其用笔，相形之下更显从容娴雅，虽纵横跌宕，亦能行处皆留，留处皆行。\n有学者评：“黄庭坚引鹤铭入草，雄强逸荡，境界一新”。黄庭坚所作诸草书帖，乃真得其妙理，也正由此，黄庭坚开创出了中国草书的又一新境。",[7,185,663,92,132,49],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a8127995eb55ccdd242d64d3f5390a.jpg",[],{"id":667,"slug":668,"title":669,"dynasty":18,"author":106,"museum":45,"description":670,"tags":671,"thumbUrl":672,"material":312,"size":313,"collection":98,"collections":673,"showCount":656,"zanCount":11,"manualWeight":11,"mainColor":259},227429,"hua-ping-yi-ming-227429","花瓶","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。",[7,218,109,25,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb18bf8b33f4775fd7bbf9f4e60b0e516.jpg",[],{"id":675,"slug":676,"title":677,"dynasty":18,"author":106,"museum":45,"description":678,"tags":679,"thumbUrl":685,"material":98,"size":98,"collection":629,"collections":686,"showCount":687,"zanCount":11,"manualWeight":11,"mainColor":59},243042,"xiao-zun-yi-ming-243042","鸮尊","整器作鸮鸟伫立之姿，昂首威然，圆目炯炯有神，喙部巧为器盖，与身形浑然相融。周身夔龙回纹缠绕交错，古拙纹饰遍布器身，错金饰点在青褐铜色晕开华贵暖意，愈显雅致厚重。翅羽化作兽面纹盾形饰，狞厉古韵暗合三代礼器气度。双爪劲挺撑地，腿足纹饰婉转流畅，稳稳托举起整器。追摹上古青铜形制，藏复古巧思，将古礼的肃穆厚重与造物雅致匠心相融，沉静肃穆间，尽展金石古意。",[7,627,680,171,681,682,683,684,625,626],"错金银","鸮形","饕餮纹","云雷纹","回纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c179b262068fadfa686ce5782c1c8e5.jpg",[629],31,{"id":689,"slug":690,"title":691,"dynasty":18,"author":692,"museum":45,"description":693,"tags":694,"thumbUrl":700,"material":25,"size":701,"collection":35,"collections":702,"showCount":703,"zanCount":11,"manualWeight":11,"mainColor":39},221660,"dan-lin-shi-yi-tu-xiao-zhao-221660","丹林诗意图","萧照","萧照（公元1131-公元1162），濩泽（今山西阳城）人。南宋画家，补入南宋画院为待诏，又补迪功郎，赐金带，作品有《山腰楼观图》、《秋山红树图》、《岳祠汉柏图》、《光武渡河图》、《竹林七贤图》等，杭州显庄观、西太已宫等处有他的壁画。夏文彦《图绘宝鉴》：“画山水人物，异松怪石，苍凉古野，惜用墨太多”，有记载说：“萧照尤喜为奇峰怪石，望之有波涛汹涌，云屯风卷之势”。",[23,48,24,49,7,349,25,70,71,283,695,29,696,697,698,699],"红叶","溪流","岩石","远山","林间","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F748026f20ec78e9dc7af37233ab41e7e.jpg","28x52",[35,79,288],30,{"id":705,"slug":706,"title":707,"dynasty":18,"author":123,"museum":530,"description":708,"tags":709,"thumbUrl":716,"material":717,"size":718,"collection":98,"collections":719,"showCount":720,"zanCount":11,"manualWeight":11,"mainColor":39},234030,"jiao-yin-ji-qiu-tu-ye-su-han-chen-234030","蕉阴击球图页","《蕉阴击球图》绘南宋贵族庭院里的婴戏小景。庭院内奇巧的湖石突兀而立，其后隐现茂盛的芭蕉数丛。石前的少妇正与身旁的女子专注地观看二童子玩槌球游戏。一童手持木拍正欲坐地击球，另一童子则向他急急地喊话。图中四人的目光同时落于童子所欲击打的小小球体上。构思巧妙，情节生动，显示出作者善于观察人物并且捕捉生活细节的能力。此幅在构图上巧妙地将玲珑剔透的湖石正立于画心中部，以其自身的完整性起到了镇住画面的作用，聚拢了交叠张扬的芭蕉叶及分散的人物，避免了画面因景物繁杂而出现轻浮感。此外，湖石拉开了前景人物与背景芭蕉间的距离，增强了画面的纵向层次感。在笔法上，作者注重物象间的对比互衬关系。人物与芭蕉为中锋运笔，线条工整细匀，如行云流水；着色渲染浓淡相宜，清新明洁的色调有助于表达轻松活泼的主题。湖石则以粗笔重墨表现，线条劲练，转折顿挫中见洒脱。湖石所呈现出的坚硬质地成功地衬托出人物纤秀婉约的形象及芭蕉飘逸润泽的自然美。\n在宋代类似于《蕉阴击球图》的作品很多。以写实的笔法描绘民间生活、反映“市井细民”的审美趣味是宋代绘画的一大特色。当时涌现出众多绘风俗画的著名画家，如王居正、张择端、李嵩、苏汉臣等人，他们的作品以富有浓郁的生活气息而在中国绘画史上占有重要的地位。\n原题签作者为苏汉臣。此幅虽在题材、笔法上与苏汉臣的画风较为接近，但在艺术表现的造诣上却远不及苏汉臣，因此，此图当是与苏汉臣同时代的佚名画家之作。",[48,24,49,323,7,26,25,710,29,281,711,31,712,713,714,715],"精细","芭蕉","桌子","地面","击球","工笔人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5800a0bb27581102b47456c505bec926.jpg","绢本，设色","纵25厘米，横24.5厘米",[],28,{"id":722,"slug":723,"title":724,"dynasty":18,"author":106,"museum":45,"description":725,"tags":726,"thumbUrl":730,"material":98,"size":98,"collection":629,"collections":731,"showCount":732,"zanCount":11,"manualWeight":11,"mainColor":59},243197,"cuo-jin-yin-xun-yi-ming-243197","错金银熏","此瑞兽熏炉取甪端形制，昂首嘶吼，眉脊飞扬，鬃毛层叠翻卷，神态威严灵动。兽身通体错金饰满缠枝卷云纹，线条婉转流动，古雅华丽，与沉穆铜色相衬，包浆厚重莹润，尽显岁月质感。\n器身兽首即为炉盖，开合之间可纳燃香，青烟自兽口袅袅而出，兼具陈设雅趣与实用功能。整体融礼器的庄重工整与文房清韵于一身，复刻上古青铜意趣，尽显复古金石审美意涵，是造物工艺与美学构思合璧的精巧之作。",[7,680,627,727,171,728,729],"兽形","云纹","熏炉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9048fd1f453b7438928c561fbd8f647d.jpg",[629],27,{"id":734,"slug":735,"title":736,"dynasty":18,"author":737,"museum":45,"description":738,"tags":739,"thumbUrl":741,"material":98,"size":98,"collection":98,"collections":742,"showCount":732,"zanCount":11,"manualWeight":11,"mainColor":59},227948,"shuang-chan-tu-li-di-227948","双蟾图","李迪","画面以淡墨晕染勾勒出双蟾肌理，将其湿滑黏重的外皮质感表现得细腻传神。两只蟾蜍姿态灵动舒张，似正于草泽间探跃，将即将腾跃的瞬间定格。\n\n整幅画面清寂幽谧，简淡构图托举鲜活生趣，尽显对自然万物的入微体察，把郊野水畔的片刻生息凝为永恒，于细微之处见精妙写生功力，平淡间蕴藏盎然野意，让观者仿若窥见溪塘边的原生意趣。",[23,48,24,49,7,26,25,172,740],"蟾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa97e92ce8f7bb565ac480c460e43ae5a.jpg",[],{"id":744,"slug"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天蓝紫斑圆盘","钧窑，即钧台窑，是在柴窑和鲁山花瓷的风格基础上综合而成的一种独特风格，受道家思想深刻影响，在宋徽宗时期达到高峰，其工艺技术发挥到极致。无论是呈色和各种纹理的表现，做到窑变可控随心所欲的表现技术，无人能仿造。宋代受理学的影响，反应在瓷器上就是规整对称，无论是造型或纹理都遵循这一原则，特别是北宋官造钧瓷，不论文房用具或大型祭器都严格遵守这一原则。规整对称，高雅大气，宫廷气势，一丝不苟。其势沉重古朴，明亮而深沉。建窑，耀州窑，钧窑，作为中国传统瓷文化正宗，历史悠久的风格传承。放大镜观察，蚯蚓走泥纹，用气泡一个个串连一体呈立体的爬行状，青蛙卵纹包裹卵核一摞摞正欲孵化而出。还有牛血纹，血色深红暗沉杀气腾腾，庄重威严等等，难以一一叙述。北宋官窑钧瓷的发色和纹理大小和分布，都难以做到人为控制而恰到好处，是北宋瓷艺的最高工艺水平的体现。这批钧瓷工艺早已失传，而窑址也随冰冻积水而下沉。“纵有家财万贯，不如钧瓷一片”。可见当时钧瓷产生的轰动效应。于是各地群相仿效，窑口林立，但仍然不得要领。今研究文章汗牛充栋，考古窑口不计其数，因都未见过这批北宋官造钧瓷，也只能是管中窥豹了。1955年，禹县（今禹州）陶瓷厂开始研制、探索湮没已久的钧瓷胎釉的基本配方与烧成技术，不仅烧制出玫瑰紫，海棠红、天青、月白等传统色釉，还发展了十多种花釉，并增加了现代日用器皿、艺术陈设瓷等新品种。\n有人认为钧窑的必备特点就是釉面具有“蚯蚓走泥纹”，这不完全正确，只能说是特点之一。很多馆藏钧窑的釉面是不具有走泥纹的。因为在当时的官窑，力求釉色均匀，但由于少数器皿在烧制中的窑温、釉色原料配比、烧制环境等因素的影响造成了釉面在温度中的变化还原不一，才形成了走泥纹。\n北宋钧窑做到窑变可控，蚯蚓走泥纹是其特征之一。用气泡串起一条条呈立体状的蚯蚓奔爬，蛙卵纹，\n鱼卵纹包裹正欲孵化而出的鱼籽，等等。北宋钧瓷最重要的价值就是在于它对釉面随心所欲的表现力。钧，即重量，北宋早期官窑钧瓷分量沉重。中华瓷文化的传统风格就是外表朴实而内秀其中。所谓“华夷光暗滋”的含蓄内敛，道出了宋瓷的本质特点。五代柴窑瓷器发色的鲜美以及色调的神奇变化，是中国瓷艺发展史上的一座里程牌。在柴窑瓷的光辉照耀下，宋，元瓷艺向着风格不同，但技艺精深非凡的道路上发展。掀开了中国瓷艺史上最为辉煌的篇章。原创一直贯穿始终，原创是瓷艺生命的灵魂。一个“隐”一个“显”，道出了几千年中华文化的内在本质。从石器时代东方人便对玉石内蕴的无穷魅力深深吸引，拓展了东方人领悟自然奥秘宽度与厚度。可是直到如今，西方人仍然认为只有闪闪发光的东西才有价值。对自然环境的细微观察，并在瓷器上把它们表现出来，是钧瓷的核心技术所在。这种表现艺术的高度让人惊叹，并一直是贯穿北宋和南宋宫廷制瓷的主流技术。瓷器纹理从北宋的“隐”到南宋的“显”，以至官窑，哥窑纹理的表面形式对元代瓷艺产生了直接影响。\n钧窑瓷器历来被人们称之为“国之瑰宝”，在宋代五大名窑中以“釉具五色，艳丽绝伦”而独树一帜。古人曾用“夕阳紫翠忽成岚”等诗句来形容钧瓷釉色灵活、变化微妙之美。传统钧瓷瑰丽多姿，玫瑰紫、海棠红、茄皮紫、鸡血红、葡萄紫、朱砂红、葱翠青……釉中红里透紫、紫里藏青、青中寓白、白里泛青，可谓纷彩争艳。釉质乳光晶莹，肥厚玉润，类翠似玉赛玛瑙，有巧夺天工之美。\n钧窑烧成温度已经达到1350℃-1380℃之间，延承了传统钧窑胎质细腻，釉色绚丽夺目的特点，又结合了现代审美，器形饱满玲珑。独特研制的玛瑙釉水在烧制后形成更加鲜明的层次感，十多种釉色绚丽多彩，周身还布满珍珠点、兔丝纹、鱼子纹和曲折迂回的蚯蚓走泥纹等生动美妙的流纹给人无限遐想的空间。",[218,776,777,778,779,780,7,781,753],"钧窑","窑变","天蓝釉","紫斑","圆盘","釉彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F620de77ec097b8139556fca104ab940a.jpg",[224],{"id":785,"slug":786,"title":787,"dynasty":18,"author":106,"museum":45,"description":788,"tags":789,"thumbUrl":791,"material":98,"size":98,"collection":98,"collections":792,"showCount":793,"zanCount":177,"manualWeight":11,"mainColor":39},227384,"ke-si-mu-dan-tu-ye-yi-ming-227384","缂丝牡丹图页","宋代尤其南宋是纯欣赏性缂丝诞生的摇篮，宋代缂丝，设色典雅，技术精巧，表现手法写实，是缂丝的黄金时代。纵观宋代帝王诸如仁宗、神宗、徽宗、高宗、光宗、宁宗等，他们都对国画有不同程度的兴趣，出于审美心理和装点宫廷的需要都很重视宫廷画院建设，北宋时还曾一度设立画学，尤其是徽宗赵佶，其工笔画及独创书法“瘦金体”（图1-3-3-1，赵佶《闰中秋月诗帖》，现藏北京故宫博物院）体现了他作为艺术家的杰出才能和修养。上行下效，宋代文人士大夫创作、收藏、品鉴艺术品蔚然成风，不少文人在艺术实践的题材、形式及审美旨趣上都有自己的独特见解和品位。",[23,48,24,49,7,267,608,25,50,790,325,132],"牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17764363065a04d11b9b2bb3a5d41b69.jpg",[],24,{"id":795,"slug":796,"title":797,"dynasty":18,"author":106,"museum":45,"description":798,"tags":799,"thumbUrl":803,"material":98,"size":98,"collection":98,"collections":804,"showCount":805,"zanCount":177,"manualWeight":11,"mainColor":59},227927,"dou-jia-qing-ting-tu-yi-ming-227927","豆荚蜻蜓图","《豆荚蜻蜓图》是宋代佚名画家创作的一幅 设色画，现藏于 。\n此图画面为长圆扇形，绘豆花上栖息一只黄褐色蜻蜒，枝叶微向下垂。\n整幅作品结构自然，疏密得体，色彩丰富，工写结合。\n其中蜻蜒的描绘神妙入微。\n画家不仅再现了蜻蜒的形态，甚至连透明的翅膀及纹络都表现了出来。\n而豆花则以简笔写出，野趣天然。\n此图旧传为徐熙所作。\n图中画的是田野苗圃间菜豆花与蜻蜓之类昆虫常见的景物。\n画面为长圆扇形，画家以独具的慧眼撷之入画，采取了特写镜头，只取其豆花的枝头，豆茎自左下向右上斜出，枝叶微下垂，枝上有浅紫色的豆花、绿色的豆叶和沉甸甸地挂下来的长长豆荚。\n枝梢上歇息着一只大蜻蜓，正在吮吸豆荚嫩叶的鲜汁。\n蜻蜓呈黄褐色，张开双翼，长长的身子下垂，尾部稍有弯曲。\n图中豆荚一枝，果实乍结。\n一只黄褐色的蜻蜓轻轻停落在枝端，将豆荚压得微微颤动。\n画面构图简洁自然，疏密得体。\n画家用中锋细笔勾勒豆荚枝叶的轮廓，用花青、石绿轻染，以白粉点花瓣，线条沉稳，色彩丰富，形象写实逼真。\n图中尤以蜻蜓描绘得出神入化，其翅膀透明的质感以及清晰的纹络都表现得清清楚楚，活灵活现，反映了宋画在写实方面所达到的高度水平。\n图右下方押“徐熙”二字伪款，不见于著录。\n本幅鉴藏印有：“徐熙”朱文杯形，另一印不辨。\n注：中国古代书画鉴定组定为宋人画。\n旧题为徐熙所作，押‘馀熙”印。\n押印是否可靠，现今难以证实。\n但此图的画法与画史对徐熙画风的记载颇相吻合，可能是北宋时徐熙画派的画家所作。\n整幅作品结构自然，疏密得体，色彩丰富，工写结合。\n其中蜻蜓的描绘神妙入微。\n画家不仅再现了蜻蜓的形态，甚至连透明的翅膀及纹络都表现了出来。\n而豆花则以简笔写出，野趣天然。\n整幅作品结构自然，疏密得体，中锋运笔，线条沉稳，色彩丰富，写实逼真，作者善于刻画和铺排是这幅作品在技巧上的特色。\n菜豆的枝干、花叶、荚部是用粗简的线条勾出，然后略施粉彩，尤其对蜻蜓的描绘神妙人微。\n蜻蜓身子晕染工细，头部网网眼和翅翼细细刻画轻轻染色，十分清晰透剔，甚至连透明的翅膀及纹络状的小组织．都细微地表现了出来。\n蜻蜓身上的色斑与浅紫色的豆花，一深一浅，使主题显明突出，这充分反映了宋画在写实方面所达到的高度水平。\n从绘画题材及笔墨技巧上看，具有徐熙画的特征。\n《圣朝名画评》说，徐熙画花卉“多做园圃以求情状，虽蔬菜茎苗，以人图写。\n”但本图无款识，至少可以这样说，虽非出于徐熙之手笔，但可以代表北宋徐熙一派的画风，亦可以说此幅是徐派留下来的凤毛麟角般的珍品。\n此图右下方押“徐熙”二字伪印。\n此图无款，有“徐熙”朱印。\n旧题为徐熙作。\n徐熙“善画花竹林木、蝉蝶草虫之类，多游园圃以求情状，虽蔬菜茎苗亦人图。\n写意出古人之外，自造于妙。\n尤能设色，绝有生意”。\n从这幅作品亦可领略上述特点，所以虽非出于徐熙之手，也可代表北宋徐熙一派的画风。\n此图写豆茎一枝自右下向左上斜出，而梢头着一大蜻蜓。\n这农家随处可见的景物，画家以独具的慧眼撷之入画，可谓别开生面。\n豆花、豆叶，点缀生动，长豆三两根，垂垂可喜。\n茎、叶、豆荚，均以墨勾，疏疏几笔，中设豆绿色，叶中锈斑、虫蚀均为描出，紫白色的豆花和蜻蜓，以没骨法晕染，蜻蜒尤备极工细，神韵奕奕。\n对花写照的写生功力，令人惊叹。\n色调素雅，变化层次微妙，工写兼施，相映成趣。\n构图善从一角生发，全幅荡漾着空灵的诗意，尤觉流走圆美。\n不是面面俱到，或泛泛大略，而是择取一枝一梢作精心的观赏，一枝一叶总动情，这种审美性格为宋人所独具，风气所开，遥领千古。\n此图笔墨间随处散发着一种田园佳趣，尤为感人至深，而熠耀其中的是诗意的空间。\n宋画一如宋诗，其异于唐人之处：一为田园气息，二为哲理之思(以景喻理)。",[23,48,24,49,267,26,25,50,800,801,7,802,502],"豆荚","蜻蜓","昆虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48eea5d1a6887f57421ffd7e0488a89c.jpg",[],23,{"id":807,"slug":808,"title":809,"dynasty":18,"author":106,"museum":45,"description":810,"tags":811,"thumbUrl":813,"material":98,"size":98,"collection":98,"collections":814,"showCount":805,"zanCount":11,"manualWeight":11,"mainColor":59},227370,"yu-lin-ku-003-ku-yong-dao-nan-bi-yi-ming-227370","榆林窟003窟甬道南壁","第三窟建于西夏统治瓜州晚期。窟内纷呈汉、藏民族及显宗、密宗的内容和艺术，是这一时期艺术最成熟、最典型的洞窟，独具特色。窟呈长方形，穹窿顶。窟中央偏后设八角形三级曼荼罗（坛城），上存清塑数身。窟四壁下部清代环砌双层台基，上存清塑十八罗汉像。顶绘曼荼罗，中画五方佛，东壁中央绘佛传，南北侧分绘汉密五十一面千手千眼观音曼荼罗、胎藏界曼荼罗及显宗天请问经变。南壁东起画曼荼罗、观无量寿经变、曼荼罗各一铺。北壁东起画曼荼罗、净土变、曼荼罗各一铺。西壁门上方绘维摩变，门南北侧绘普贤变、文殊变。甬道南北壁绘供养人。",[23,7,812,25,29,185],"壁画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a56b9cc35def35720b3e2c4e302ba38.jpg",[],{"id":816,"slug":817,"title":818,"dynasty":18,"author":106,"museum":530,"description":819,"tags":820,"thumbUrl":824,"material":285,"size":825,"collection":98,"collections":826,"showCount":805,"zanCount":11,"manualWeight":11,"mainColor":59},223332,"san-yang-tu-yi-ming-223332","三羊图","彩绘柳树伞下的气球在坡草间游荡觅食。 蓬松的，富有一定的。 用笔擦干树干，笔变粗。",[23,24,48,49,7,26,25,172,821,28,822,823],"羊","石","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b7a68d3cb18be30324ec6098db75923.jpg","21.2x20厘米",[],{"id":828,"slug":829,"title":830,"dynasty":18,"author":106,"museum":45,"description":831,"tags":832,"thumbUrl":834,"material":312,"size":313,"collection":98,"collections":835,"showCount":805,"zanCount":177,"manualWeight":11,"mainColor":39},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。",[7,170,171,255,833,25],"兽纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ef424e721156b83eadca0cb594e360c.jpg",[],{"id":837,"slug":838,"title":839,"dynasty":18,"author":840,"museum":841,"description":842,"tags":843,"thumbUrl":845,"material":33,"size":98,"collection":81,"collections":846,"showCount":805,"zanCount":83,"manualWeight":11,"mainColor":227},218479,"luo-han-tu-lu-zhong-xin-218479","罗汉图","陆忠信","九州国立博物馆","绢本底色如古檀沉暗，衬得罗汉朱红袈裟上的团纹愈发鲜亮。他倚坐雕花木榻，面容丰腴，双目微阖似含悲悯，耳垂坠环，衣袂垂落间露出素白里衣，线条圆转如流水般柔和。身侧侍者持物恭立，衣饰繁复却不失清雅，眉眼低垂尽是谦卑之态。上方赤色云纹蜿蜒，似携灵韵游走于暗褐天幕，与罗汉的沉静形成动静对照。整幅画以细劲线条勾勒形神，设色古雅醇厚，融罗汉庄严、侍者恭谨与背景灵动于一体，尽显宋代佛画写实功力与空灵意境，细节藏匠心，引人沉潜于跨越时空的肃穆安然。",[24,49,7,415,29,844,26,25],"龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc12ca8e74b8d66309bde0821f2720e5c.jpg",[81],{"id":848,"slug":849,"title":850,"dynasty":18,"author":123,"museum":45,"description":851,"tags":852,"thumbUrl":854,"material":98,"size":98,"collection":98,"collections":855,"showCount":856,"zanCount":177,"manualWeight":11,"mainColor":59},227510,"bai-zi-you-yuan-tu-su-han-chen-227510","百子游园图","这是南宋画家苏汉臣绘的《百子嬉春图》。《百字嬉春图》是一小幅纨扇，但却结构复杂精妙，画家利用台栏池沼等高低上下称景。将一百名儿童布满画面，三五成组，相互呼应，远近关系处理得明确而有节奏，丰满而不拥塞，繁复而不杂乱。",[23,48,24,49,7,26,25,29,281,127,853,283,243],"栏杆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F058871fca58b31f28c71d5eb4f50c34e.jpg",[],22,{"id":858,"slug":859,"title":860,"dynasty":18,"author":861,"museum":65,"description":862,"tags":863,"thumbUrl":865,"material":187,"size":866,"collection":196,"collections":867,"showCount":856,"zanCount":177,"manualWeight":11,"mainColor":39},221229,"shu-zha-zi-zhou-hu-221229","书劄子","周虎","周虎(1161--1229）字叔子。祖籍临淮(治今江苏洪泽县临淮镇），靖康中迁居常熟。能诗文，善写大字，并习武艺。为人倜傥，轻财尚气。南宋庆元二年(1196年），举武科第一。曾出使金国为副使，后任和州守。开禧二年(1206年），金兵会攻和州，时城中守兵不足2000，周激励将士，誓死守城。一月中作战30余次，杀金兵帅石石乞跶并将领十数人。金兵受重创败退，由此与宋议和，江淮一带得以安定。和州百姓曾立生祠祀其母子。卒后谥“忠惠”。后人并立武状元坊，以为纪念。",[23,7,49,185,186,69,188,864],"书札","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ebcc1a5057c18e1402f159c61af862c.jpg","48.7x70.3",[196],{"id":869,"slug":870,"title":871,"dynasty":18,"author":106,"museum":45,"description":872,"tags":873,"thumbUrl":876,"material":98,"size":98,"collection":629,"collections":877,"showCount":878,"zanCount":11,"manualWeight":11,"mainColor":227},244175,"cheng-lou-xing-bi-jia-yi-ming-244175","城楼形笔架","它跳出常规山形笔架的窠臼，将雄关城楼与笔架形制相融。门洞之内，骑马将官徐行而出，两侧侍从或牵马或恭立，人物情态生动自然，城砖纹路、衣袂褶皱都细致写实。层台楼宇耸于峰巅，把关塞行旅的小景凝缩于案头。古铜色泽沉润雅致，将文房清玩与市井意趣相合，既是置物的文房用具，亦是微缩的宋代风物小卷，藏着宋人雅致的生活意趣，尽显旧时工匠的巧思匠心，让案间雅物晕开古朴生动的烟火暖意。",[7,623,171,874,875,354,29,379],"文房","城楼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dee720e3b16fa57c99550c522eb7130.jpg",[629],21,{"id":880,"slug":881,"title":882,"dynasty":18,"author":182,"museum":65,"description":883,"tags":884,"thumbUrl":890,"material":187,"size":891,"collection":98,"collections":892,"showCount":878,"zanCount":11,"manualWeight":11,"mainColor":39},232813,"han-shan-zi-pang-ju-shi-shi-huang-ting-jian-232813","寒山子庞居士诗","《寒山子庞居士诗帖》是唐代隐士寒山劝戒诗与居士庞蕴诗偈，庞蕴（？—1808），唐代著名禅者。字道玄。世称庞居士、庞翁。湖南衡阳人。曾参谒石头希迁，颇有领悟。遗有《庞居士语录》。《寒山子庞居士诗帖》是黄庭坚晚年杰作，落笔奇伟，点画用笔的“沉着痛快”，笔笔似自空中蕩漾而來，充滿飞动之势。结体舒展大度，气宇轩昂，其个性特点十分显著。\n纵观《寒山子庞居士诗》帖，用笔凝练有力、遒劲郁拔，而神闲意株，尤得秦篆中实、汉隶俊俏笔意。行笔曲折顿挫，如同逆水撑舟，力能扛鼎。正如清初诗人冯班《钝吟杂录》所评：“笔从画中起，回笔至左顿腕，实画至右住处，却又跳转，正如阵云之遇风，往而却回也。”结体奇特，几乎每一字都有一些夸张的长画，并尽力送出，形成中宫紧收、四边发散的结字风格。章法富有创造性，经常运用移位的方法打破单字之间的界限，使线条形成新的组合。通篇大气磅礴，笔墨淋漓。清康有力曾评曰：“宋人之书，吾尤爱山谷，虽昂藏郁拔，而神闲意称，入门自媚。若其笔法，瘦劲婉通，则自篆隶。”\n黄庭坚的书法，大抵行书结字修长，中宫紧抱，聚而不散，用笔夸张，如长枪大戟，一波三折，摇电而行，韵味绵长；草书更在形式上突破，挪腾跳跃、奇崛放纵，大有超张迈素之势。山谷书风独特而强烈，故今天被认为是[宋四家]中最自我、最叛逆的一家。但我们不妨再看看他的学书经历。他自己曾说：[余学草书三十余年，初以周越为师，故二十年抖擞俗气不脱。晚得苏才翁、子美书观之，乃得古人毛意。其后又得张长史、僧怀素墨迹，乃窥笔法之妙。]又说[元褡间书，笔意痴钝，用笔多不到，晚入峡见长年荡桨，乃悟笔法。]显而易见，他的叛逆完全是在三个基础上的创变和超越。这三个基础就是：一、有选择、善反思地师古人；二、以敏锐的观察力师造化；三、通过[窥]、[悟]而师吾心。此时他已脱 去“抖擞俗气”，形成了逆势涩行之法，而在结体上的辐射式开张也不再怒张、突兀，可以说是实现了他个人的书法审美主张：绝俗和重韵。\n卷末有元代书家龚璛题跋。龚璛（1266-1331），一作肃，字子敬，号谷阳生，江苏高邮人，后徙居平江（今江苏吴县）。少为徐琬辟幕下，后充和靖、学道两书院山长。以浙江儒学副提举致仕。与戴表元、仇远等人交善。工诗文，擅书法，有晋唐人法度。有《存悔斋集》一卷，补遗一卷。小传详见《苏州府志》。传世书迹有《教授帖》、《静春堂诗序》、《宣城诗并识卷》等。\n释文：我见黄河水，凡经几度清。水流如激箭，人世若浮萍。癡属根本业，爱为煩恼阬。轮迴几許劫，不解了旡明。寒山出此语，举世狂癡半。有事对面說，所以足人怨。心真语亦直，直语无背面。君看渡奈河，谁是喽罗汉。寄语諸仁者，仁以何为怀。归源知自性，自性即知來。任运堂試张通笔为法聳上座书寒山子庞居士诗兩卷。涪翁題。",[23,185,186,7,885,886,192,887,132,188,888,889],"中锋行笔","笔画劲健","章法布局","笔力雄健","笔画舒展","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e5948567560da19a69ec363536ed45a.jpg","29.1x213.8cm",[],{"id":894,"slug":895,"title":896,"dynasty":18,"author":182,"museum":45,"description":897,"tags":898,"thumbUrl":901,"material":98,"size":98,"collection":98,"collections":902,"showCount":878,"zanCount":11,"manualWeight":11,"mainColor":227},232789,"du-fu-shi-san-shou-yu-gu-tai-fa-tie-huang-ting-jian-232789","杜甫诗三首（郁孤台法帖）","黄庭坚草书十分强调节奏韵律，注重笔法腕法，绫条沉着老辣，极富振荡感、立体感；在结字和章法上也有重大突破，形成独特风格——苍老跌宕。本帖中的山谷草书，精选于《宋拓郁孤台法帖》。在山谷传世书迹中，存有大量有阅佛门禅语之作，如《发愿文》、《华严疏》、《头陀赞》、《阴长生诗》、《诸上座帖》等，多为行楷体书写《诸上座帖》虽为大草，但经清梁清标鉴定为摹怀素书。故本帖中《香严袭灯大师智闲颂十九首》的传世，能使后学者在山谷的大草书中体悟浓烈的见性成佛，领略机锋迅捷的佛家三昧，为研究中国书法史上的特殊类型！！禅书，大开方便之门。此外，黄山谷书录杜甫诗的传世作品也十分罕见，台北「故宫博物院」尚有草书墨迹一件《寄贺兰恬》，而《郁孤台法帖》为我们保存了三首黄山谷草书杜甫诗《西郊》、《别李义》、《秦州杂诗》，弥足珍贵，因此也都收入此帖。",[7,185,663,899,900,132],"拓本","字帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6585ab1cf3e1f3d9f4834771cb1893c.jpg",[],{"id":904,"slug":905,"title":906,"dynasty":18,"author":106,"museum":45,"description":774,"tags":907,"thumbUrl":910,"material":312,"size":313,"collection":224,"collections":911,"showCount":878,"zanCount":11,"manualWeight":11,"mainColor":227},227424,"jin-yuan-jun-yao-yue-bai-chu-ji-zun-yi-ming-227424","金-元 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月白出戟尊",[52,218,776,908,909,7],"月白釉","出戟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ed11817130e627c902b618567e13ca2.jpg",[224],{"id":913,"slug":914,"title":915,"dynasty":18,"author":106,"museum":916,"description":917,"tags":918,"thumbUrl":922,"material":285,"size":923,"collection":98,"collections":924,"showCount":878,"zanCount":11,"manualWeight":11,"mainColor":59},223550,"yu-ying-tu-yi-ming-223550","浴婴图","美国弗瑞尔美术馆","图绘婴儿洗澡场景。画面共三个妇人，四个小孩，当中摆一长形浴盆。画面设色淡雅明快，气氛温馨和谐，妇人的神情慈祥、婴儿的天真无邪，无不充满了浓郁的人情和现实意义",[23,24,49,7,26,25,29,919,920,921,132],"婴儿","浴盆","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1adebda59fef40ba30b6d41a58cc6f31.jpg","纵35.8厘米，横35.9厘米",[],{"id":926,"slug":927,"title":928,"dynasty":18,"author":106,"museum":20,"description":390,"tags":929,"thumbUrl":930,"material":393,"size":394,"collection":98,"collections":931,"showCount":878,"zanCount":11,"manualWeight":11,"mainColor":39},214960,"dao-zi-mo-bao-ren-wu-bai-miao-hua-21-yi-ming-214960","道子墨宝人物白描画-21",[23,48,24,49,7,298,29,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39517c7a6d7c393b60287da05e8017aa.jpg",[],{"id":933,"slug":934,"title":935,"dynasty":18,"author":106,"museum":65,"description":936,"tags":937,"thumbUrl":939,"material":33,"size":940,"collection":98,"collections":941,"showCount":942,"zanCount":177,"manualWeight":11,"mainColor":59},231079,"xue-lu-shuang-yan-tu-yi-ming-231079","雪芦双雁图","《国宝在线:全景花鸟》介绍了我国古代绘画瑰宝，是表现我国古代花鸟绘画手法的珍品。\n包括：元朝张舜咨的《雪界翁黄鹰古桧图》，宋朝佚名的《雪芦双雁图》、《桃花鸳鸯图》、《梅竹聚禽图》，宋朝崔白的《双喜图》，宋朝李迪的《枫鹰雉鸡图》等。\n《国宝在线:全景花鸟》由 出版。",[24,48,49,68,26,25,239,938,94,380,7,50],"芦苇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25e4009402f3bfb576c6fa71004de73d.jpg","174.6x99.5",[],20,{"id":944,"slug":945,"title":946,"dynasty":18,"author":947,"museum":45,"description":948,"tags":949,"thumbUrl":950,"material":98,"size":98,"collection":98,"collections":951,"showCount":942,"zanCount":11,"manualWeight":11,"mainColor":39},230863,"tao-sheng-tie-cai-xiang-230863","陶生帖","蔡襄","《病中偶书二首》是宋代诗人蔡襄所作诗词之一。\n宋 蔡襄（112－167），字君谟，原籍仙游枫亭乡东垞村，后迁居莆田蔡垞村，天圣八年（1）进士，先后在宋朝中央政府担任过馆阁校勘、知谏院、直史馆、知制诰、龙图阁直学士、枢密院直学士、翰林学士、三司使、端明殿学士等职，并出任福建路（今福建福州市）转运使，知泉州、福州、开封（今河南开封市）和杭州府事。\n卒赠礼部侍郎，谥号忠。\n主持建造了我国现存年代最早的跨海梁式大石桥——泉州洛阳桥，蔡襄为人忠厚、正真，讲究信义，而且学识渊博，书艺高深，书法史上论及宋代书法，素有“苏、黄、米、蔡”四大书家的说法。\n蔡襄书法以其浑厚端庄，淳淡婉美，自成一体。\n蔡襄传世墨迹有《自书诗帖》、《谢赐御书诗》，以及《陶生帖》《郊燔帖》、《蒙惠帖》墨迹多种，碑刻有《万安桥记》、《昼锦堂记》及鼓山灵源洞楷书 “忘归石、”“国师岩”等珍品。\n已感节候变，物态 。\n那复壮年意，如今多病身。\n净室焚香久，烘炉煮药频。\n神欢百虑解，销尽眼前尘。",[185,186,49,7,900,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13fa495c119733907c887b832e87e117.jpg",[],{"id":953,"slug":954,"title":955,"dynasty":18,"author":106,"museum":45,"description":956,"tags":957,"thumbUrl":959,"material":285,"size":960,"collection":98,"collections":961,"showCount":942,"zanCount":11,"manualWeight":11,"mainColor":59},223376,"chu-ping-mu-yang-tu-yi-ming-223376","初平牧羊图","此图不知原载何册，也没有作者姓氏。但画法甚为高超，人物尤精。在描绘人物动态和神情方面，画家具有高超的技艺。",[23,24,49,267,25,26,29,821,28,354,958,7],"水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8d3b9f87123433d8f4bab4bb4d8cd5e.jpg","23.5*24.6厘米",[],{"id":963,"slug":964,"title":965,"dynasty":18,"author":106,"museum":20,"description":390,"tags":966,"thumbUrl":967,"material":393,"size":394,"collection":98,"collections":968,"showCount":942,"zanCount":11,"manualWeight":11,"mainColor":39},214966,"dao-zi-mo-bao-ren-wu-bai-miao-hua-16-yi-ming-214966","道子墨宝人物白描画-16",[23,48,24,49,7,298,29,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcea17c93073ccc64a097d6b5556785cd.jpg",[],{"id":970,"slug":971,"title":972,"dynasty":18,"author":106,"museum":45,"description":973,"tags":974,"thumbUrl":976,"material":98,"size":98,"collection":629,"collections":977,"showCount":978,"zanCount":177,"manualWeight":11,"mainColor":59},243036,"ji-zun-yi-ming-243036","鸡尊","这尊雄鸡挺拔伫立，昂首侧目，筋骨轮廓硬朗古朴，将瑞禽的昂扬神采凝于青铜之中。周身以错金饰出兽面与卷云纹样，古铜的沉郁底色衬着金纹熠熠流光，把礼器的庄重与生灵的灵秀相融。循着复古意趣，复刻上古青铜礼器的威严形制，又赋予雄鸡鲜活生气，静穆之中透着灵动生机，让厚重青铜褪去冷硬，尽显仿古铜作的精妙匠心。",[7,627,623,171,680,590,975,626,338],"禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff45b747c1f916d355af773d6f59296f9.jpg",[629],19,{"id":980,"slug":981,"title":982,"dynasty":18,"author":106,"museum":45,"description":983,"tags":984,"thumbUrl":986,"material":98,"size":98,"collection":98,"collections":987,"showCount":978,"zanCount":11,"manualWeight":11,"mainColor":59},227898,"shou-lie-tu-yi-ming-227898","狩猎图","元佚名狩猎图卷，绢本，辽宁省博物馆藏。\n设色，画心纵1，横19厘米。\n画峰峦叠起，沟壑纵横，溪流坡地，竹树杂处，野草漫生。\n一队身着民族服装的猎手，纵马控弦，在山谷间围堵追杀猎物。\n前部为连绵远山，坡谷间有三猎手围杀野猪、狍鹿、山兔等，场面紧张激烈，扣人心弦。\n中段作崇山环抱，沟壑交错，一猎手跌落马下，弓箭散落各处，后面三骑，迅来救助；而转过一座陡峭山峰，一带溪水自远而来，两岸长满杂草和杨树。\n画末为险峻石壁，一只雄隼咬住一只大雁颈项，雁在拚命挣扎，余四只鸣叫着四处飞逃。\n在一片较平坦的谷地间，立着一杆认旗，二长者调马备鞍。\n全图气势辽阔苍茫，笔法古朴雄浑，山石以勾勒与晕染并施，而皴法则不拘一格。\n以写实为主，山水多信笔为之，不免粗豪简率。\n而人物和马匹刻画细腻，得唐宋等前人笔法颇多。\n慓悍、浑朴之态表现得体，番马体相勾划准确。\n所绘景物、山水树石具有明显北国特色；马匹短足毛蹄，亦属蒙古马种；人物宽额高颧，为典型蒙族形象；服饰也同元初蒙族服饰相类。\n是元初北方画家典型写实之作，也是一卷难得的艺术珍品。",[23,24,7,25,26,29,379,172,94,985],"狩猎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F256486f4089412a35f1dcfbd1fd99352.jpg",[],{"id":989,"slug":990,"title":991,"dynasty":18,"author":182,"museum":65,"description":992,"tags":993,"thumbUrl":996,"material":98,"size":98,"collection":98,"collections":997,"showCount":978,"zanCount":11,"manualWeight":11,"mainColor":39},227593,"zhi-jing-dao-shi-qi-shi-jun-chi-du-huang-ting-jian-227593","致景道十七使君尺牍","黄庭坚《致景道十七使君尺牍》宋人袁立儒、范成大题跋 台北故宫博物院藏\n\n释文：谿翁續得山谷題前定錄等八詩。小黠大癡螳捕蟬二篇居其中。遺趙景道者小字。送李伯牖者大字。予兼而有之。於好古博雅。不曰徒費光陰矣。寶祐甲寅（1254）中秋日書。\n\n光風轉蕙。汎崇蘭些。此山谷先生小楷氣象。石湖居士題。",[49,185,186,188,132,7,994,995],"墨迹","信札","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F465efcfbc458110c943d303f10caf8c3.jpg",[],{"id":999,"slug":1000,"title":1001,"dynasty":18,"author":106,"museum":45,"description":1002,"tags":1003,"thumbUrl":1004,"material":312,"size":313,"collection":224,"collections":1005,"showCount":978,"zanCount":11,"manualWeight":11,"mainColor":39},223780,"long-quan-yao-qing-ci-cong-shi-ping-yi-ming-223780","龙泉窑青瓷琮式瓶","龙泉窑是中国历史上的一个名窑，宋代六大窑系。汉族传统制瓷工艺的珍品。因其主要产区在浙江省龙泉市而得名。它开创于三国两晋，结束于清代，生产瓷器的历史长达1600多年，是中国制瓷历史上最长的一个瓷窑系，它的产品畅销于亚洲、非洲、欧洲的许多国家和地区，影响十分深远。龙泉窑以烧制青瓷而闻名，在北宋早期以前的产品风格受越窑、瓯窑、婺州窑的影响，特征与三窑的产品相似。胎质较粗，胎体较厚，釉色淡青，釉层稍簿。",[7,218,309,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda233e94cf22bd09c218f29d65ce865d.jpg",[224],{"id":1007,"slug":1008,"title":1009,"dynasty":18,"author":106,"museum":20,"description":390,"tags":1010,"thumbUrl":1011,"material":393,"size":394,"collection":98,"collections":1012,"showCount":978,"zanCount":11,"manualWeight":11,"mainColor":39},214970,"dao-zi-mo-bao-ren-wu-bai-miao-hua-17-yi-ming-214970","道子墨宝人物白描画-17",[23,48,7,24,49,298,29,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F440c5e3a3b61540e22789c281fcc5d2c.jpg",[],{"id":1014,"slug":1015,"title":1016,"dynasty":18,"author":106,"museum":45,"description":1017,"tags":1018,"thumbUrl":1023,"material":312,"size":313,"collection":224,"collections":1024,"showCount":1025,"zanCount":11,"manualWeight":11,"mainColor":39},256185,"ge-yao-qing-hui-you-kui-kou-wan-yi-ming-256185","哥窑青灰釉葵口碗","“哥窑”名列宋代五大名窑，在陶瓷史上有举足轻重的地位。哥窑胎多紫黑色、铁黑色、也有黄褐色。釉为失透的乳浊釉，釉面泛一层酥光，釉色以炒米黄、灰青多见，釉面大小纹片结合。\n经染色后大纹片呈深褐色，小纹片为黄褐色，也称‘金丝铁线’“墨纹梅花片”“叶脉纹”‘文武片’等。这是传世哥窑的主要特征之一。器形有各式瓶、炉、尊、洗及碗、盆、碟等。多见仿古造型，底足制作不十分规整，釉面常见缩釉和棕眼。\n而《中国陶瓷史》这样叙述：\n造型有各式瓶、炉、洗、盘、罐等。论胎有厚薄之分，其胎质有瓷胎和砂胎两种，胎色有黑灰、深灰、浅灰、土黄多种色调，釉色也有粉青、月白、油灰、青黄各色。从时间上讲，这里应有早晚之别，从产地说也有恐非一个瓷窑的作品，情况是比较复杂的。\n记载“哥窑”的古文献主要有：元代的《至正直记》，明代的《格古要论》、《遵生八笺》，清代的《博物要览》以及明代的《浙江通志》等。但究竟哥窑窑址何在？性质如何?一直是陶瓷史研究中众说纷纭、悬而未决的问题。\n流传于世的“哥窑”经典器大多源自清宫旧藏，由于这批器物与古文献中的记载的“哥窑”特征不符，而且没有考古资料佐证，因而造成了中国陶瓷史上最大的悬疑。\n为区别于明、清文献中所记载得哥窑（龙泉章生一窑），宫中名为“哥窑”的传世品，后世鉴赏家称其为“传世哥窑”。\n由于原来被认为哥窑的龙泉黑胎开片瓷被认为是“龙泉仿官”和“龙泉官窑”，宋代似乎就不存在哥窑，文献关于哥窑的记述被认为是以讹传讹。然而，仔细研究和分析，就会发觉事情并非如此简单，其关键在于“龙泉官窑”和杭州郊坛下官窑孰先孰后的问题并未真正得到解决。由于“龙泉官窑”的立论建立在“龙泉仿官”的基础上，认为仿官是不可能的，却又与官窑相一致，自然是官窑，并认为杭州郊坛下不能满足朝廷之需，再在龙泉烧造以充不足。这一观点很自然地派生出杭州郊坛下官窑早于龙泉官窑的定论。\n然而，没有足够的考古资料证明这一观点，并由此还引发出种种疑团：郊坛下不能满足朝廷之需，为什么不就地扩充、就近扩充，而要到千里之外的龙泉建窑烧造？宋室南渡带来了北方工匠，他们惯于圆窑用煤烧造，何以能在杭州建立龙窑用柴烧造？文献关于哥窑的论述难道一定都是空穴来风吗？哥不能仿官，但官却可以仿哥，各朝各代的官窑都建立在民窑的基础上，难道就不存在官仿哥的可能吗？宋室南渡，皇帝漂泊13年，这期间南渡窑工在何处生存？如何生存？是吃皇粮还是自谋出路？这些疑问最终都聚焦在龙泉最初的黑胎开片瓷的年代和性质上，也就是说龙泉最初的黑胎开片瓷会不会是皇帝颠沛流离的十余年中北方工匠和龙泉窑工技艺结合的产物？",[7,218,1019,480,1020,1021,1022],"青灰釉","葵口","碗","器皿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe86655a024f7ed13acb4f164083a6026.jpg",[224],18,{"id":1027,"slug":1028,"title":1029,"dynasty":18,"author":1030,"museum":45,"description":1031,"tags":1032,"thumbUrl":1034,"material":312,"size":313,"collection":98,"collections":1035,"showCount":1036,"zanCount":11,"manualWeight":11,"mainColor":39},227815,"bin-feng-qi-yue-tu-juan-wen-zheng-ming-ba-ma-he-zhi-227815","豳風七月图卷文徵明跋","马和之","作者根据《诗经·国风》之《豳风》诗意而作。全卷共分七段，依次为《七月》、《鸱号》、《东山》、《破斧》、《伐柯》、《九罭》、《狼跋》，每段画前书《豳风》原文。图中人物形象生动，衣纹用兰叶描，笔法流畅潇洒，设色清丽古雅，在诸本毛诗图中，亦属精作。此卷无款印，旧传为马和之画，宋高宗赵构书。但在《伐柯》篇内“構”字因避高宗讳而缺一笔，如“構”，说明该书不是赵构所写，而是画院高手代笔。此图大约在元代初年被分割为两卷，仅《破斧》篇为赵孟頫收藏，明末董其昌误认为是赵孟頫补图。清乾隆年间两卷入内府，合璧装成一卷，并将董其昌、高士奇跋移往后幅。卷首有清高宗弘历御书“苇龠余风”四字，尾纸除董其昌、项元汴等三则题记外，尚有乾隆御题一则，钤明项元汴、清高士奇、梁清标及乾隆、嘉庆、宣统内府藏印多方。",[23,7,24,49,92,1033,185,298],"篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7afaf614079908a09b751e9389226f63.jpg",[],17,{"id":1038,"slug":1039,"title":1040,"dynasty":18,"author":106,"museum":45,"description":1041,"tags":1042,"thumbUrl":1044,"material":98,"size":98,"collection":98,"collections":1045,"showCount":1036,"zanCount":11,"manualWeight":11,"mainColor":39},227565,"chun-hua-ge-tie-1-10-juan-yi-ming-227565","淳化阁帖1－10卷","《淳化阁帖》，又名《淳化秘阁法帖》，简称《阁帖》，共10卷。是中国最早的一部汇集各家书法墨迹的法帖。",[7,899,185,900,186,663,1043],"楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9acf07071fde65eb01773944a9e7bb62.jpg",[],{"id":1047,"slug":1048,"title":1049,"dynasty":18,"author":182,"museum":45,"description":1050,"tags":1051,"thumbUrl":1052,"material":98,"size":98,"collection":196,"collections":1053,"showCount":1054,"zanCount":11,"manualWeight":11,"mainColor":59},239644,"jun-yi-tie-ye-huang-ting-jian-239644","君宜帖页","黄庭坚（1045年6月12日—1105年9月30日），字鲁直，乳名绳权，号清风阁、山谷道人、山谷老人、涪翁、涪皤、摩围老人、黔安居士、八桂老人，世称黄山谷、黄太史、黄文节、豫章先生。宋江南西路洪州府分宁人（今江西省九江市修水县）人。祖籍浙江省金华市。北宋诗人黄庶之子，南宋中奉大夫黄相之父。北宋大孝子，《二十四孝》中“涤亲溺器”故事的主角。北宋著名文学家、书法家、江西诗派开山之祖。\n黄庭坚在诗、词、散文、书、画等方面取得很高成就。黄庭坚与张耒、晁补之、秦观都游学于苏轼门下，合称为“苏门四学士”。黄庭坚的诗，被苏轼称为“山谷体”。黄庭坚的书法独树一格，自成一家，他和北宋书法家苏轼、米芾和蔡襄齐名，世称为“宋四家”。在文学界，黄庭坚生前与苏轼齐名，时称“苏黄”。作品有《山谷词》《豫章黄先生文集》等。\n治平四年（1067年），黄庭坚进士及第，历任叶县县尉、北京国子监教授、泰和县知县、德平镇监、秘书省校书郎、《神宗实录》编修官、集贤校理、国史局编修官、起居舍人、宣州知州、鄂州知州、涪州别驾、宣议郎监鄂州、奉议郎兼宁国军判官、朝奉郎兼舒州知州、吏部员外郎、太平州知州等职。1105年，黄庭坚病逝于宜州南楼，享年61岁。而后，宋高宗追赠黄庭坚为“龙图阁大学士”。1265年，宋度宗追赠黄庭坚谥号：文节。黄庭坚一生为官清正，治学严谨，以文坛宗师、孝廉楷模垂范千古。",[7,185,186,132,49,994,187,323],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c8ed1965e5015ecc210f24a653c622f.jpg",[196],16,{"id":1056,"slug":1057,"title":1058,"dynasty":18,"author":106,"museum":65,"description":1059,"tags":1060,"thumbUrl":1064,"material":98,"size":1065,"collection":35,"collections":1066,"showCount":1054,"zanCount":177,"manualWeight":11,"mainColor":39},231083,"qing-xi-wan-mu-tu-yi-ming-231083","清溪晚牧图","画面铺陈出悠然的乡野暮色，清溪浅流舒缓漫过滩涂。一头水牛浸在水中，半隐于苇草间，抬首斜睨，慵懒消暑；另一头负着戴斗笠的牧童，踏水登上岸坡，牧童持杆闲坐，不见丝毫匆忙。侧畔老树盘根虬曲，坡岸蒹葭随风轻摆，两只水鸟振翅掠过天际，为静谧图景添上灵动生机。\n\n笔墨清润秀雅，以淡墨晕染出水色空濛的氛围感，将晚牧时分的松弛乡趣娓娓道来，把日常放牧的寻常景致，晕染成了意韵悠长的诗意画卷，尽显乡野间的自在野趣。",[48,24,49,7,25,26,69,27,1061,94,75,283,938,354,1062,1063,71,242],"牧童","田园","牧歌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc81e794353e50d88ea22a19584279e31.jpg","75.6x44.3",[35],{"id":1068,"slug":1069,"title":1070,"dynasty":18,"author":1071,"museum":45,"description":1072,"tags":1073,"thumbUrl":1074,"material":98,"size":98,"collection":98,"collections":1075,"showCount":1054,"zanCount":11,"manualWeight":11,"mainColor":39},227506,"ci-bian-cai-yun-shi-su-shi-227506","次辩才韵诗","苏轼","《次辩才韵诗帖》这件作品写于苏轼被放杭州一年之后。这一年，苏轼在西湖上修筑了南北长堤，便是后人称颂至今的“苏堤”。辩才是苏轼的一位僧人诗友，他的这幅作品就是盛赞辩才老师超然物外、仙风道骨，自己与辩才能二老同游，当是人生幸事。大千世界，一切有法，且如是观之。作品落笔沉着、从容，已没有十年前书写《黄州寒食诗帖》时的激宕，墨色浓重却透着清雅之气，丰腴浑厚仍有秀逸之质。",[23,7,185,186,24,49,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde73bd160d54e4ef7de788179945ba55.jpg",[],{"id":1077,"slug":1078,"title":1079,"dynasty":18,"author":106,"museum":65,"description":1080,"tags":1081,"thumbUrl":1084,"material":612,"size":1085,"collection":98,"collections":1086,"showCount":1054,"zanCount":11,"manualWeight":11,"mainColor":59},223439,"song-ke-si-wen-zhi-zhou-yi-ming-223439","宋缂丝文雉轴","整作雅致清隽，以缂丝之技复刻院体花鸟意趣。文雉傲然独立于奇石之上，翎羽以细缂勾勒，素洁莹润，顶间绒羽灵动，目光悠然似望林泉。幽竹斜探出石畔，兰叶舒展柔婉，灵芝倚石而生，晕染出林下清寂绝尘的闲趣。\n\n石身以深浅蓝褐织就层叠肌理，禽鸟草木设色柔雅沉静，将丝织的温婉与工笔的精细相融。静穆之中暗生机趣，尽显宋人雅致含蓄的审美意趣，把林泉幽致的东方意境凝于尺幅绢面之上。",[23,48,24,49,68,25,50,608,1082,639,380,1083,7],"雉鸟","兰草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F712ba41c929197839da6fa18ad2039c4.jpg","71.8厘米",[],{"id":1088,"slug":1089,"title":1090,"dynasty":18,"author":1091,"museum":530,"description":1092,"tags":1093,"thumbUrl":1097,"material":717,"size":1098,"collection":98,"collections":1099,"showCount":1054,"zanCount":11,"manualWeight":11,"mainColor":39},221600,"san-gao-you-shang-tu-ye-liang-kai-221600","三高游赏图页","梁楷","此图原载《宋人名流集藻册》。画上题云：御前图画梁楷笔。这幅画可以代表他的人物画的风格。人物面部表情很细致，而衣履则以寥寥数笔成之，更显得迅捷有力。后来的许多画家都从他这里得到了启发。",[23,7,24,49,1094,1095,298,1096,323,29,71,283,697,185,132],"文人画","水墨画","减笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33bc58b4c1c2fc63890cffa78db35ae7.jpg","纵25.3厘米，横26厘米",[],{"id":1101,"slug":1102,"title":1103,"dynasty":18,"author":1104,"museum":45,"description":1105,"tags":1106,"thumbUrl":1107,"material":187,"size":1108,"collection":98,"collections":1109,"showCount":1054,"zanCount":11,"manualWeight":11,"mainColor":39},221401,"fa-hai-ling-shan-tu-3-li-gong-lin-221401","法海灵山图3","李公麟","尤工人物，能分别状貌，使人望而知其为廊庙、馆阁、山林、草野、闾阎、臧荻、占舆、皂隶。至于动作态度、颦伸俯仰、大小善恶、与夫东西南北之人才分点画、尊卑贵贱、咸有区别，非若世俗画工混为一律。贵贱研丑止以肥红瘦黑分之。大抵公麟以立意为先，布置缘饰为次，其成染精致，俗工或可学焉，至率略简易处，则终不近也",[23,48,24,49,7,298,29,172,132,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F628dab8802c2613ee52979a59c9847da.jpg","23x299cm",[],{"id":1111,"slug":1112,"title":1113,"dynasty":18,"author":106,"museum":45,"description":1114,"tags":1115,"thumbUrl":1116,"material":98,"size":98,"collection":629,"collections":1117,"showCount":1118,"zanCount":11,"manualWeight":11,"mainColor":227},243025,"cuo-jin-yin-xi-zun-yi-ming-243025","错金银牺尊","此作取瑞羊为形，体态丰腴饱满，站姿沉稳温顺，眉目间透着灵秀憨态。器身以错金银工艺装饰，金银丝蜿蜒嵌入铜身，勾绘出柔婉舒展的卷云纹覆裹躯干。颈间纹饰更见匠心，金线银线交错排布，似华贵项圈，在深褐古铜底色的映衬下，金银光泽流转，古朴又雅致。\n\n整体仿古却不泥古，褪去上古礼器的肃穆厚重，添了宋人的文雅灵动。青铜的苍古质感与错金银的细腻华美相融，将瑞兽之灵与工艺之巧合二为一，尽显仿古造物的精妙意韵。",[7,627,680,623,171,172,626,625],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56e15b33d6a150d1226adc0ea2f6a24c.jpg",[629],15,{"id":1120,"slug":1121,"title":1122,"dynasty":18,"author":106,"museum":45,"description":1123,"tags":1124,"thumbUrl":1127,"material":98,"size":98,"collection":98,"collections":1128,"showCount":1118,"zanCount":11,"manualWeight":11,"mainColor":39},227908,"kong-lin-zuo-gou-tu-yi-ming-227908","空林坐狗图","垂柳如烟垂覆林隅，细槎疏枝错落舒展，晕染出萧寂清旷的郊野秋意。劲瘦细犬静坐坡石之侧，颈间红绦轻垂，是古雅底色里一抹鲜亮暖意。它抬首侧目，似在谛听风穿叶隙、野雀轻啼，将空林的幽寂悄然打破，又融于这份静谧之中。\n\n此作晕染温润古雅，淡墨写尽林野荒疏意趣，工笔细绘灵犬神态，以尺幅团扇框住林下闲景，将雅致审美藏于野趣日常，幽韵自生，尽显小品画以小见大的精妙意境。",[23,7,24,49,267,26,25,172,1125,283,380,1126],"狗","草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74d50f44903c7a03e510070aaade1260.jpg",[],{"id":1130,"slug":1131,"title":991,"dynasty":18,"author":182,"museum":45,"description":1132,"tags":1133,"thumbUrl":1136,"material":98,"size":98,"collection":98,"collections":1137,"showCount":1118,"zanCount":11,"manualWeight":11,"mainColor":39},227588,"zhi-jing-dao-shi-qi-shi-jun-chi-du-huang-ting-jian-227588","此帖亦称“与景道使君书”。纸本，纵27.8、横47.4厘米。被《戏鸿堂法书》、《玉烟堂帖》、《海宁陈氏藏真帖》等丛帖收录。\n\n黄庭坚是北宋诗人、书法家，字鲁直，号涪翁，又号山谷道人。江西修水人。黄庭坚书法擅行草书，初师法周越，后上溯颜真卿、怀素，尤其得力于《瘗鹤铭》，用笔以侧险取势，纵横拗崛，自成一家。黄庭坚行书不及其草书艺术水准高，而行书小字似胜大字，当然这是见仁见智的看法。他的大字行书虽长枪大戟，气势很盛，但总觉含蓄不足，不及小字耐人寻味，比如这件尺牍，温文尔雅，收放自如，并不因字小而损气度。\n\n这件尺牍还是一件重要的书论短文：信中写“翰林苏子瞻书法娟秀，虽用墨太丰，而韵有余，于今为天下第一。余书不足学，学者辄笔（懦）无劲气。今乃舍子瞻而学余，未能择术也。”黄书与苏东坡书法比起来，确实是苏字更有韵致，当然这仅是指行书，而苏书用墨太丰，亦是小疵，黄曾戏言苏字“石压蛤蟆”，而苏反唇相讥黄字“死蛇挂树”，双方都提到了对方特点，同时也点到不足，而他们之间的调侃都是善意的，正因为这一点而成了千古佳话。",[49,185,186,1134,187,132,1135,7],"墨笔","尺牍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dad10d747084894378b48a94630475a.jpg",[],{"id":1139,"slug":1140,"title":1141,"dynasty":18,"author":575,"museum":1142,"description":1143,"tags":1144,"thumbUrl":1146,"material":187,"size":1147,"collection":98,"collections":1148,"showCount":1118,"zanCount":11,"manualWeight":11,"mainColor":59},221477,"da-de-ming-tie-dong-fu-si-bian-e-fang-zhang-zhang-ji-zhi-221477","大德名帖东福寺匾额方丈","日本京都东福寺","张即之书法深受唐人影响，后转师米芾，参以晋唐经书汉隶，并能“独传家学”，自成一家体系。张即之擅长楷书和榜书，尤喜作擘窠大字。楷书结构严谨、端庄，行书则用笔枯硬，近于刻露，毫无温润典雅之感。有人称之为宋书殿军",[23,185,1043,132,1145,7],"大字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febba7eb1e4fb50f98cf446551dfbca71.jpg","44.5X91厘米",[],{"id":1150,"slug":1151,"title":1152,"dynasty":18,"author":106,"museum":45,"description":1153,"tags":1154,"thumbUrl":1159,"material":312,"size":313,"collection":98,"collections":1160,"showCount":58,"zanCount":11,"manualWeight":11,"mainColor":227},253269,"mu-diao-cai-hui-guan-yin-pu-sa-xiang-tou-yi-ming-253269","木雕彩绘观音菩萨像头","木雕是雕塑的一种，在我们国家常常被称为“民间工艺”。木雕可以分为立体圆雕、根雕、浮雕三大类。木雕是从木工中分离出来的一个工种，在我们国家的工种分类中为“精细木工”。\n以雕刻材料分类的民间美术品种。一般选用质地细密坚韧，不易变形的树种如楠木、紫檀、樟木、柏木、银杏、沉香、红木、龙眼等。\n木雕是以各种木材及树根为材料进行雕刻，是以传统雕刻工艺中的重要门类。木雕的历史非常悠久，在浙江余姚河姆渡文化遗址就有木雕鱼出土，这是我国木雕史上最早的实物。河南信阳战国大墓出土的木雕镇木兽，湖北云梦汉墓出土的彩雕木佣均为我国早期木雕作品。由于保存的困难，现今很难看到超过千年的木雕作品。\n两宋时期木雕作品较为多见，这时的木雕已采用组织细密的木材为载体进行制作，这就有利于木雕作品的传世。我国的一些庙宇里还保存有宋代的木雕作品。\n元明时由于海外贸易的急速发展，木材种类有所增加，许多由海外进口的硬质木材，是木雕工艺得到长足发展。\n明清期间是木雕艺术的一个辉煌时期，涌现出大量有史可考的名家、艺人及其作品，是古代木雕艺术的一个高峰。\n清末至民国年间由于政府的腐败，国力的衰退，外强的侵略，民不潦生，木雕艺术从此衰落，艺人名家也只能沦为匠人糊口度日。新中国成立后在党和国家的关怀下，民间工艺得到了保护及挖掘，木雕也重新涣发出生命，涌现出一批国家级大师。他们的作品，工艺精湛，秉承传统，立意深远，讴歌时代，体现了大师们立足传统，锐意创新，直抒重获新生的胸怀和报效国家，知遇之恩的深情。\n国家改革开放，经济腾飞，国富民强，党和国家对民间工艺的大力扶持，唤起了民众对传统工艺美术的热爱与追求。逢此盛世，民间工艺美术有了新的飞跃，木雕艺术也不例外。面对实际情况，在全国工艺品展出中，优秀作品的作者年龄偏大，年轻作者寥寥无几。",[7,1155,1156,415,29,1157,171,25,1158],"木雕","彩绘","菩萨","木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0f3301a60563b40037c89178620193a.jpg",[],{"id":1162,"slug":1163,"title":1164,"dynasty":18,"author":182,"museum":45,"description":897,"tags":1165,"thumbUrl":1166,"material":98,"size":98,"collection":98,"collections":1167,"showCount":58,"zanCount":11,"manualWeight":11,"mainColor":227},232792,"seng-run-shi-san-shou-yu-gu-tai-fa-tie-huang-ting-jian-232792","僧润诗三首（郁孤台法帖）",[7,185,899,186,663,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F941299fca1627d1df5c2b2fe12f43990.jpg",[],{"id":1169,"slug":1170,"title":1171,"dynasty":18,"author":106,"museum":45,"description":1172,"tags":1173,"thumbUrl":1174,"material":312,"size":313,"collection":98,"collections":1175,"showCount":58,"zanCount":11,"manualWeight":11,"mainColor":59},224081,"yu-long-wen-pan-yi-ming-224081","玉龙纹盘","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。",[7,171,170,844,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa5347b9ee429e2e0960b7f7cd8783ca.jpg",[],{"id":1177,"slug":1178,"title":1179,"dynasty":18,"author":106,"museum":45,"description":831,"tags":1180,"thumbUrl":1182,"material":312,"size":313,"collection":98,"collections":1183,"showCount":58,"zanCount":11,"manualWeight":11,"mainColor":259},221633,"yu-jian-yi-ming-221633","玉剑",[7,170,1181,171,172,844],"兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70d2d9fcf8a8e9816a80a85ecd61e1e7.jpg",[],{"id":1185,"slug":1186,"title":1187,"dynasty":18,"author":106,"museum":45,"description":1188,"tags":1189,"thumbUrl":1192,"material":312,"size":313,"collection":98,"collections":1193,"showCount":1194,"zanCount":11,"manualWeight":11,"mainColor":227},255843,"tong-liu-jin-qian-shou-qian-yan-guan-yin-xiang-yi-ming-255843","铜鎏金千手千眼观音像","鎏金虽有斑驳褪散，仍难掩宝相庄严。主尊垂眸含笑，神情悲悯柔慈，主掌合十，尽显恭谨肃穆。身后千手层叠舒展，各执法器，排布错落有致，既有慑服寰宇的威严，又不失普济众生的温和。\n\n躯体比例匀停合度，衣褶垂坠自然流畅，周身纹饰细密精巧。鎏金残损处露出沉实铜胎，凝着岁月的厚重痕迹，尽显写实与神性兼具的造像特质，将观音慈悲圆融的神性诠释得淋漓尽致，是造像工艺与佛教美学相融的精妙之作。",[623,622,171,415,29,1190,7,1191],"千手千眼","佛教造像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbce962042c0309409eaa879936159f6.jpg",[],13,{"id":1196,"slug":1197,"title":1198,"dynasty":18,"author":434,"museum":65,"description":1199,"tags":1200,"thumbUrl":1203,"material":1204,"size":1205,"collection":98,"collections":1206,"showCount":1194,"zanCount":11,"manualWeight":11,"mainColor":59},231410,"luo-han-tu-er-liu-song-nian-231410","罗汉图（二）","台北故宫藏画中，有三幅刘松年画罗汉，每幅都款署开禧丁卯（1207）刘松年画，此轴即为其中之一。幅中罗汉浓眉高鼻，貌若印度高僧，身著右袒式袈裟，倚树沈思。身侧随侍的和尚以衣袂承接树上长臂猿所摘之石榴，身前尚有二鹿仰观，画面生动。此罗汉脸上满布皱纹，双眉蹙起，神情专注，栩栩如生。全作用笔变化多端，衣纹流畅罗汉头後的圆光，及三树枝柯掩映，层次分明。全画敷色妍丽，繁缛精美，皆臻绝纱。\n隋唐以来，不少画家画过《罗汉图》，宋代更为盛行。画《罗汉图》不是用以供奉礼拜，而是为了赏玩，是把宗教题材世俗化，可以说，这是中国绘画史上的一大变迁。\n罗汉像多是耳戴金环，丰颐悬额，隆鼻深目，长眉密髯，服装与配饰具有异域色彩。五代之后，中国画家吸取我国传统人物画风格来画罗汉像，使具有宗教色彩的罗汉中国化。唐代禅宗兴起，主张顿悟，见性成佛，认为世间万物本身自有佛性。禅宗认为，自然界的山川河流、草木花鸟、风雨雷电和人世间百般实相都可以参禅，成为顿悟佛性的机缘。刘松年的这幅《罗汉图》(见图)又名《猿猴献果图》，绢本设色，纵117.2厘米，横56厘米，现存台北“故宫博物院”。他创作此幅《罗汉图》正是受禅宗思想的影响，把佛教壁画中守护在菩萨身边的罗汉，变成游山玩水的世俗僧人。图中前面是一棵历尽沧桑的枯树，树干由下而上呈“s”型，枯树叶已脱尽，只剩下遍体的嶙峋与凌乱的树权。后面是一株枝叶茂盛的阔叶大树，两树中间夹着结满果实的小树。画中的罗汉双手相交，趴伏在一横斜树枝上，深情地注视着面前两只温顺的小鹿，表情亲切、温和，流露出世俗的欢乐。罗汉的头部造型准确，虽与全身相比略显大些，但五官刻画细致，具有神韵。树上的两只猿猴居高临下，形态生动、活泼，正在摘熟透的果子。树下一清秀文雅的小和尚双袖合抱去接其中一只猿猴扔下的果子，一只小鹿仰头观望。这种极富生活情趣的描写，不仅表现了人与自然相依相存的亲密关系，也淡化了作品的宗教气氛。\n此画风格属于刘松年工整细润一路，是他晚年成熟的作品。画中人物用铁线描绘而成，线条流畅有力。服饰与面部均刻画得极其精细，用笔沉着稳健，神形兼备。画中罗汉与小和尚的僧袍色彩在多样变化中求得协调和统一，树木与山石注重写实。特别是树石的用笔，勾勒与皴擦，墨色浓淡相间，充分表现出了树干与山石的坚硬质感与体积感。枯树满身结疤和苍老坚硬的枝条与后面一棵枝叶浓密的树形成强烈对照，表现出了大自然所蕴涵的无限生机。浓密的枯枝与树叶衬托出疏朗的人物，形成疏密的对比，使人物形象在画中十分突出。此幅作品称得上是山水画和人物画完美结合的成功之作。\n这幅《罗汉图》虽然取自佛教题材，实际上已有着明显的世俗化的倾向。在意境表现上，画家通过对山石树木等自然景物的精心布置和渲染，营造出一个草木丰茂、秋清气爽、山果飘香的画境。罗汉与小和尚置身其境，神情悠然自得，营造了人与自然、人与动物之间互相依存的祥和气氛。\n另外，这幅《罗汉图》在艺术处理上吸取了佛教壁画在佛像头部画上佛光的方法，其表现手法是十分高超的。罗汉头像的佛光就如聚光灯一般，如雾如纱。朦胧中一组树枝隐约可见，使画面的虚实对比更加强烈。",[24,49,68,7,26,25,415,29,752,502,1201,1202,921,753],"拐杖","扇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33bad5af550efbba55abfcfb88b17f3e.jpg","绢本设色画","纵117公分，横55.8公分",[],{"id":1208,"slug":1209,"title":1210,"dynasty":18,"author":106,"museum":45,"description":1211,"tags":1212,"thumbUrl":1214,"material":312,"size":313,"collection":98,"collections":1215,"showCount":1194,"zanCount":11,"manualWeight":11,"mainColor":59},227558,"tai-shang-lao-jun-chang-qing-jing-jing-yi-ming-227558","太上老君常清静经","《太上老君说常清静经》仅五百九十一字。是道教炼养术重要资料之一。《清静经》正文起首一句就是“大道无形”而定了全经格调。经文不讲有为的修养方法，而是要人从心地下手，以“清静”法门去澄心遣欲，去参悟大道。经中以发挥“清静”两字为主，简明地叙述了道家修心养性的基本原则。",[7,899,185,1213,415,29,1043],"写经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9a55a663fccbdbdb292e29b83f5122c.jpg",[],{"id":1217,"slug":1218,"title":1219,"dynasty":18,"author":106,"museum":142,"description":1220,"tags":1221,"thumbUrl":1223,"material":1224,"size":1225,"collection":98,"collections":1226,"showCount":1227,"zanCount":11,"manualWeight":11,"mainColor":59},232601,"shi-jia-san-zun-xiang-li-zhou-yi-ming-232601","释迦三尊像立轴","画面中心释迦牟尼佛跏趺端坐于仰覆莲座上，头饰螺发，身着袈裟和僧裙，神态庄严慈祥；右手于胸前结说法印，左手结禅定印，为芸芸众生开示宇宙人生的真谛。身后有头光、身光，寓示佛陀智慧无边、法力无边。佛陀上方有两菩萨，下方有两罗汉，从其身色和肩帜来看，上方为普贤和文殊，下方为阿难和迦叶。释迦牟尼的莲座下承高大华美的金刚座。束腰处绘双子戏球，前方有诸珍宝供养，背景顶上饰宝伞华盖，空中飘浮五彩祥云。画面构图精当，布局传统，疏密有度，人物和景物勾勒精细，线条洗练简洁，造型质朴生动，设色古朴，和谐雅致，以暖色调为主，将画面烘托的圣洁与庄重，表现了极高的绘画水平。难能可贵的是品相完好，原装原裱，为不可多得的收藏与供奉佳品。",[23,24,49,7,68,415,26,25,29,610,1222],"祥云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F663a9a713f6fc8d5fa5c6021a681e6d3.jpg","绢本","198×111.5cm",[],12,{"id":1229,"slug":1230,"title":1231,"dynasty":18,"author":1232,"museum":65,"description":1233,"tags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朱熹是理学集大成者，闽学代表人物，被后世尊称为朱子。他的理学思想影响很大，成为元、明、清三朝的官方哲学。\n朱熹著述甚多，有《四书章句集注》《太极图说解》《通书解说》《周易读本》《楚辞集注》，后人辑有《朱子大全》《朱子集语象》等。其中《四书章句集注》成为钦定的教科书和科举考试的标准。",[23,7,185,186,69,132,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0774a9b1fdd2ca37c536b5c21b232501.jpg","纵27.3厘米，横55.1厘米",[196],{"id":1239,"slug":1240,"title":1241,"dynasty":18,"author":106,"museum":45,"description":1242,"tags":1243,"thumbUrl":1248,"material":312,"size":313,"collection":224,"collections":1249,"showCount":1250,"zanCount":11,"manualWeight":11,"mainColor":59},256290,"ru-yao-tian-qing-you-xian-wen-zun-yi-ming-256290","汝窑天青釉弦纹樽","汝窑，宋代五大名窑之一，因窑址位于宋时河南汝州境内而得名，今河南省宝丰县大营镇清凉寺村和汝州市张公巷均发现汝窑烧造。汝瓷位居宋代“汝、官、哥、钧、定”五大名窑之首，在中国陶瓷史上素有“汝窑为魁”之称。汝窑是中华传统制瓷著名瓷种之一，中国北宋、南宋、明朝时期皇家主要代表瓷器。\n汝瓷造型古朴大方，以名贵玛瑙为釉，色泽独特，有“玛瑙为釉古相传”的赞誉。随光变幻，观其釉色，犹如“雨过天晴云破处”，“千峰碧波翠色来”之美妙，土质细润，坯体如侗体其釉厚而声如磬，明亮而不刺目。器表呈蝉翼纹细小开片，有“梨皮、蟹爪、芝麻花”之特点，被世人称为“似玉、非玉、而胜玉”。宋、元、明、清以来，宫廷汝瓷用器，内库所藏，视若珍宝、可与商彝周鼎比贵。\n1952年，周恩来总理指示“发展祖国文化遗产、恢复汝窑生产”。经过上百次实验和研究，1958年烧制出第一批豆绿釉工艺品，1983年8月汝窑天蓝釉经过专家鉴定，均达到明代汝窑水平。从此，汝瓷成了汝州市人的一张名片。\n汝窑天青釉弦纹樽 ，此樽仿汉代铜樽造型，器形规整，仿古逼真，釉色莹润光洁，浓淡对比自然。\n瓷樽始于宋，汝窑、定窑、龙泉窑均有烧造，是陈设用品。所见传世宋代汝窑天青釉弦纹樽只有两件，除故宫博物院收藏的这件以外，英国伦敦大维德基金会亦收藏一件。\n汝窑烧制的汝瓷因为其绝妙的色泽、独特艺术价值，深得帝王欢心，有“宋瓷之冠”的美誉。汝窑又与同期官窑（河南开封）、哥窑（浙江龙泉）、钧窑（河南禹县）、定窑（河北曲阳）合称“宋代五大名窑”，位居五大名窑之首。\n汝窑以传承艺术为己任，采用传统手工制作陶瓷方法，制作一个陶瓷的工序高达十三道，包括淘泥、摞泥、拉坯、印坯、修坯、捺水、画坯、上釉、烧窑、成瓷、成瓷缺陷的修补，做工精细，设计唯美、承艺汝瓷以“釉色层”领先，器型古朴典雅得当，光润有度，由于汝瓷釉层厚，常有开片如鱼鳞、蝉翼状，久用之后茶色会着附于裂纹处，形成不规则的变换交错的花纹，故而手感润滑如脂，似玉非玉之美。\n宋人欧阳修在《归田集》中对汝窑的论述：汝窑瓷真正最美的就是釉，不是天青色，而是粉翠，也就是今所说的翠青色。而汝瓷真正的瓷色是半瓷化作的，玻化不明显，器身不透光亮，因此不排除后人把珍品当作“陶”而丢弃，故存世甚稀。而《清波杂志》里宋人周辉对汝窑的精述，汝瓷以釉取胜，当代青瓷不能同比，真品釉色青中泛滥、纯净、温润，釉面隐现出一种柔和含蓄的光泽，它既不同钧瓷的乳光，也不同哥窑的脂光，而是一种类似古玉般内蕴的光泽。当时汝瓷是唯供御拣退方许出卖，近尤难得。现从文献可知，汝瓷也可民用，绝非“严禁民用”之说。对自藏汝窑瓷及由此对整个汝窑作较全面简述的则是明代学者高濂的《燕闲清赏笺》中提及，“汝窑，余尝见之，实为玛瑙末入釉，汁水莹厚如堆脂，然汁中棕眼隐若蟹爪，其釉色有天青、粉青，还有葱绿和天蓝等。粉青为上，天蓝弥足珍贵。有"雨过天晴云破处"之称誉，釉面可视碧玉，也不为过。所有历代青瓷应以汝窑为冠。”",[7,218,1244,1245,1246,480,1247],"汝窑","天青釉","弦纹","三足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aab0d54fb62564712701ea71c71f128.jpg",[224],11,{"id":1252,"slug":1253,"title":1254,"dynasty":18,"author":106,"museum":45,"description":1255,"tags":1256,"thumbUrl":1257,"material":98,"size":98,"collection":629,"collections":1258,"showCount":1250,"zanCount":11,"manualWeight":11,"mainColor":59},243028,"xi-zun-yi-ming-243028","牺尊","它昂首伫立，身形敦厚朴拙，双目圆睁有神，嘴角微张似正低嘶。颔下错金纹饰勾出柔婉轮廓，为沉郁古铜色晕开一抹华贵亮色。躯体之上卷云纹饰隐现于深浅铜锈间，虚实相生，晕染出古朴雅致的气韵。背部器盖巧作鞍鞯之形，将礼器的规整与瑞兽的灵动相融无间。铜锈层叠间带着岁月摩挲的温度，把古拙与精巧揉为一体，静穆中藏着灵动，沉稳里透着隽秀，尽显摹古复刻的匠心意趣。",[627,623,172,727,626,171,7,338],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4aa580116c69e4dadd9c522070c0a4d8.jpg",[629],{"id":1260,"slug":1261,"title":1262,"dynasty":18,"author":106,"museum":45,"description":1263,"tags":1264,"thumbUrl":1266,"material":312,"size":313,"collection":98,"collections":1267,"showCount":1250,"zanCount":11,"manualWeight":11,"mainColor":227},223807,"mo-yu-bi-shan-yi-ming-223807","墨玉笔山","笔架又称笔格、笔搁，是一种传统的文房用具，用于书写或作画间隙暂时搁置湿笔。笔架形制多样，其中别名“笔山”的山形笔架更是别具一格，以其峰峦起伏的山势促成了实用性与观赏性的和谐统一。\n山形笔架在宋代开始流行于文人墨客的案头，其产生有着特定的时代背景。宋代，随着文人阶层的兴起，文房用具在日常生活器具中的地位也不断提升，成为文人审美雅趣与精神追求的重要载体。问道升仙的梦想、隐逸山林的志向与仁者乐山的胸怀，凝聚成山形笔架所承载的精神内核，文房用具的专门化发展和传统造山艺术的渊源则为山形笔架的产生提供了物质与技术条件。因此，对山形笔架源流进行梳理，能够透物而见人，剖析宋代以降文人群体的精神世界。",[7,170,171,71,874,52,158,236,1265],"简约造型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae86dab3fa4e3e42a79cbb4e1de9910b.jpg",[],{"id":1269,"slug":1270,"title":1271,"dynasty":18,"author":106,"museum":45,"description":1242,"tags":1272,"thumbUrl":1273,"material":312,"size":313,"collection":224,"collections":1274,"showCount":1275,"zanCount":11,"manualWeight":11,"mainColor":59},256293,"ru-yao-tian-qing-you-wan-yi-ming-256293","汝窑天青釉碗",[7,491,1245,480],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc353e0e577c403d49141d5dc1b2e960b.jpg",[224],10,{"id":1277,"slug":1278,"title":1279,"dynasty":18,"author":106,"museum":45,"description":1280,"tags":1281,"thumbUrl":1284,"material":312,"size":313,"collection":98,"collections":1285,"showCount":1275,"zanCount":11,"manualWeight":11,"mainColor":1286},252210,"bai-yu-tou-diao-yun-long-wen-dai-kou-yi-ming-252210","白玉透雕云龙纹带扣","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。",[170,7,1282,844,1283,255],"透雕","云龙纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51a2dc5893bbcb18babb9cffc7f71ffd.jpg",[],"FF9800",{"id":1288,"slug":1289,"title":1290,"dynasty":18,"author":106,"museum":45,"description":1291,"tags":1292,"thumbUrl":1297,"material":312,"size":313,"collection":224,"collections":1298,"showCount":1299,"zanCount":11,"manualWeight":11,"mainColor":39},256802,"ci-zhou-yao-bai-di-hei-hua-ti-shi-zhe-zhi-mu-dan-wen-mei-ping-yi-ming-256802","磁州窑白地黑花题诗折枝牡丹纹梅瓶","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。",[7,1293,1294,218,1295,1296,52],"磁州窑","白地黑花","折枝牡丹","题诗","https:\u002F\u002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赵孟坚也是南宋最出名的书画收藏家，他嗜好收藏书画古物，常用一只船载着书画文物及纸笔墨砚等，东游西适，评赏书画古玩，吟诗作画。当时人称其舟为“赵子固书画船”。史载其“多藏三代以来金石名迹，遇其会意时，虽倾囊易之而不靳也”。 据说他曾得书法珍品五字不损本兰亭，归家时，风作舟覆，其“被湿衣立浅水中，手持褉帖示人曰：‘兰亭在此，余不足惜也。’因题八字于卷首云：‘性命可轻，至宝是保。’”其酷嗜收藏到了几乎疯狂的地步。宋人周密赞曰：“噫，近世求好事博雅如子固者，岂可得哉。”（周密《齐东野语》卷19）。\n另据载赵孟坚入元以后，不乐仕进，隐居州之广陈镇（今海盐县）。“公（赵孟坚）从弟子昂（赵孟頫）自苕来访公，闭门不纳。夫人劝公，始令从后门入。坐定，第问：‘弁山笠泽近来佳否？’子昂曰：‘佳。’公曰：‘弟奈山泽佳何！’子昂退，使人濯坐具。”（《宋人轶事汇编》下册 中华书局出版，丁传靖辑）由是可见其品格甚高。诗文有《彝斋文编》。",[23,7,185,186,132,187,994],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff250bf479213aa0b8c8ba870249d7514.jpg",[],{"id":1370,"slug":1371,"title":1372,"dynasty":18,"author":106,"museum":45,"description":1373,"tags":1374,"thumbUrl":1375,"material":312,"size":313,"collection":98,"collections":1376,"showCount":1348,"zanCount":11,"manualWeight":11,"mainColor":59},231075,"cai-hua-tu-yi-ming-231075","采花图","此作以小品形制绘就郊野雅游之景。水岸坡坨间，老柳垂荫，清润草木错落点缀，留白写尽浩渺水色，晕染出空寂淡远的氛围感。画面中，士人策杖徐行，小童执花引路，侧旁仆役正攀枝采撷，将文人日常游赏的闲逸雅趣藏于细节里。笔墨简淡秀雅，皴擦轻简便勾勒出坡岸肌理，设色古雅柔和，尽显平和天真的审美意趣，咫尺之间将林下悠游的松弛意韵铺陈开来，淡而有味，余韵悠长。",[7,24,267,25,26,29,283,354,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a447cd5bf553072e7e792dafc9ceb20.jpg",[],{"id":1378,"slug":1379,"title":1380,"dynasty":18,"author":1104,"museum":45,"description":1381,"tags":1382,"thumbUrl":1383,"material":312,"size":313,"collection":98,"collections":1384,"showCount":1348,"zanCount":11,"manualWeight":11,"mainColor":227},228896,"bai-miao-fo-xiang-di-liu-zun-zhe-li-gong-lin-228896","白描佛像第六尊者","“十八罗汉”的说法最早出现于北宋，图中器物造型风格接近宋代，每页有“卢椤枷进”款，从墨色辨认为后添款。因此本册非出自唐人之手，应是宋人所为。",[23,48,24,49,7,68,298,415,29,449],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb788f00296ac5d48da8978cb51801823.jpg",[],{"id":1386,"slug":1387,"title":1388,"dynasty":18,"author":106,"museum":45,"description":670,"tags":1389,"thumbUrl":1390,"material":312,"size":313,"collection":98,"collections":1391,"showCount":1348,"zanCount":11,"manualWeight":11,"mainColor":39},226654,"ren-ou-shi-wu-yi-ming-226654","人偶饰物",[7,218,1328,29,25,255],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47367bb36c116f131c223cbaa0f7da0f.jpg",[],{"id":1393,"slug":1394,"title":1395,"dynasty":18,"author":106,"museum":45,"description":1396,"tags":1397,"thumbUrl":1399,"material":312,"size":313,"collection":98,"collections":1400,"showCount":1348,"zanCount":11,"manualWeight":11,"mainColor":1401},223781,"nan-tu-niu-yu-yin-yi-ming-223781","南兔纽玉印","宋代，官印的尺寸多为5～6厘米见方，所用文字以小篆为基础，印文屈曲填满，线条反复折叠，次数无定则，但因古代以“九”表示为数之多所以有“九叠篆”之称。到了金、辽时代，这种叠篆的程序走向极端，并一直延续到明清和近代。元代的官印多承袭前朝形制，特殊之处在易“九叠文”为“八思巴文”。宋代是实用印章向文人篆刻艺术的过渡期。宋代文人渐开好印之风，而且对篆刻艺术发展起了重要推动作用的“集古印谱”也风行开来。到了元代，这种对印章的认识发生了质的飞跃。元初喜好集古印谱的风气有增无减。元代文人书画家所用的印章基本上呈元朱文和汉白文两大格局。印章与书画关系的紧密，使书画家自篆自刻印章的欲望日趋强烈。在汉印审美观的影响下，大约在元代中期后，出现了集写刻于一身，并以汉印风采为追求对象的文人篆刻家。经过漫长的探索，元代文人终于完成了实用印章向文人艺术篆刻的转化，为明清文人流派篆刻艺术的发展奠定了坚实的基础。",[7,170,132,172,1398,171],"兔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F458444ec7a6667c5c451ceec905f9132.jpg",[],"F48FB1",{"id":1403,"slug":1404,"title":1405,"dynasty":18,"author":106,"museum":45,"description":1406,"tags":1407,"thumbUrl":1413,"material":312,"size":313,"collection":98,"collections":1414,"showCount":1348,"zanCount":11,"manualWeight":11,"mainColor":259},221506,"sang-zang-guan-yi-ming-221506","丧葬罐","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。",[7,218,1408,1409,1410,1411,1412],"堆塑","刻划","莲瓣纹","动物造型","丧葬器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf5966a0e0da0ad8700518cf2b5a5e1c.jpg",[],{"id":1416,"slug":1417,"title":1418,"dynasty":18,"author":106,"museum":45,"description":1304,"tags":1419,"thumbUrl":1424,"material":312,"size":313,"collection":224,"collections":1425,"showCount":118,"zanCount":177,"manualWeight":11,"mainColor":39},256319,"ding-yao-bai-you-ke-hua-mu-dan-wen-pan-yi-ming-256319","定窑白釉刻花牡丹纹盘",[7,1307,1317,1420,218,491,1421,1422,1423],"牡丹纹","花卉纹","传统工艺","宋代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaec4c29e88520c948f82ffe9be55353.jpg",[224],{"id":1427,"slug":1428,"title":1429,"dynasty":18,"author":106,"museum":65,"description":1430,"tags":1431,"thumbUrl":1433,"material":1434,"size":1435,"collection":98,"collections":1436,"showCount":118,"zanCount":11,"manualWeight":11,"mainColor":39},231346,"qian-yan-wan-he-tu-yi-ming-231346","千岩万壑图","图绘千岩万壑，层林飞泉，楼阁幻隐，景致幽僻，雄奇险峻，超情入神，骇目洞心。构图繁缛而不迫塞，笔法严整清峭，山石皆以缜密细笔勾皴并以淡墨晕染，突出了山体的阴阳向背和突兀嶙峋。画面的云气弥散在前后重叠的奇峰之间，并以墨色的浓淡分出山间树木枝叶的前后层次，从而使整幅具有丰厚的立体感。",[7,24,49,48,68,69,70,71,697,283,696,1432],"云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34a367f486734e2739a21f3d46375c6e.jpg","纸本水墨","126.3x49.7厘米",[],{"id":1438,"slug":1439,"title":1440,"dynasty":18,"author":106,"museum":45,"description":1441,"tags":1442,"thumbUrl":1445,"material":98,"size":98,"collection":98,"collections":1446,"showCount":118,"zanCount":11,"manualWeight":11,"mainColor":39},227866,"wan-he-guo-suo-tu-yi-ming-22786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。\n此图原载《烟云集绘册》（《石渠宝笈续编》著录）。\n无款，签题黄居寀作。\n居寀为筌子。\n《圣朝名画评》云：黄居寀亦善画花竹毛羽，多与筌共为之，其气骨意思，深有父风。\n孟昶时，画四时花雀图数本，当世称绝。\n评曰：居寀之画鹤，多得筌骨。\n其有佳处，亦不能决其高下。\n至于花竹禽雀，皆不失筌法。\n对开有清乾隆皇帝御题诗一首：“从来螯蛫善横行，稻熟秋风意气生。\n甲介向称无所畏，如何每入膳人烹。\n”钤“古稀天子”、“八徵耄念之宝”、“ ”等玺印多方。\n本幅无款。\n钤鉴藏印“金陵□□□□”。\n曾经清内府收藏，《石渠宝笈续编》著录。\n图中一只硕大的 张牙舞爪踞于残荷之上，肥重的身躯竟将荷梗压断。\n衬以苍老的莲蓬、枯黄的 、稀疏的 ，更增添了萧瑟冷寂的气氛。\n荷叶和莲蓬用粗笔勾描，蟹用细笔写之，笔法粗犷写实，设色鲜艳浓重。\n无名氏。\n旧签题 “黄居寀”作，究其画风，与 相距甚远，故改为无名氏画。",[23,24,49,7,653,267,69,25,109,110,1443,1444,186,132],"莲蓬","螃蟹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba4b3faac025682ff468de9c8c866068.jpg",[],{"id":1448,"slug":1449,"title":1450,"dynasty":18,"author":106,"museum":45,"description":1451,"tags":1452,"thumbUrl":1454,"material":312,"size":313,"collection":98,"collections":1455,"showCount":118,"zanCount":11,"manualWeight":11,"mainColor":1401},227719,"diao-ke-qi-pan-yi-ming-227719","雕刻漆盘","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。",[7,336,171,1453],"工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52e2d3ed75525d3538518a6476e4a468.jpg",[],{"id":1457,"slug":1458,"title":1459,"dynasty":18,"author":106,"museum":45,"description":1460,"tags":1461,"thumbUrl":1463,"material":98,"size":98,"collection":98,"collections":1464,"showCount":118,"zanCount":11,"manualWeight":11,"mainColor":227},227349,"xuan-he-dian-shuang-an-tu-yi-ming-227349","宣和殿双安图","北宋皇宫建筑之一，前后经历始建重建，后称保和殿，用以藏书藏画，北宋皇室三大藏书处所之一。著名的《宣和书谱》、《宣和画谱》都与此殿关系密切。",[23,48,24,49,25,26,50,1462,324,639,7],"鹌鹑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0812227ecaac5bde35609c91e6acc901.jpg",[],{"id":1466,"slug":1467,"title":1468,"dynasty":18,"author":106,"museum":45,"description":1406,"tags":1469,"thumbUrl":1475,"material":312,"size":313,"collection":98,"collections":1476,"showCount":118,"zanCount":11,"manualWeight":11,"mainColor":39},227321,"you-mian-cha-wan-yi-ming-227321","釉面茶碗",[7,218,1470,1471,1472,1473,1474],"茶碗","窑变釉","釉陶","茶器","釉面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbb83562f22be77dac1d07f79fb483e3.jpg",[],{"id":1478,"slug":1479,"title":1480,"dynasty":18,"author":106,"museum":45,"description":1481,"tags":1482,"thumbUrl":1484,"material":312,"size":313,"collection":98,"collections":1485,"showCount":118,"zanCount":11,"manualWeight":11,"mainColor":59},223737,"yu-tong-zi-pei-yi-ming-223737","玉童子珮","宋玉雕童子头顶多梳短发，分向左右两侧及脑后，露出宽大的脑门，也有头顶只留一小撮短发的，形如鸡心，既可留在脑门心，也可留在一侧，发用细密阴刻线条，雕刻有力，粗细得当。可以归纳出头部的几点特征：头型短而宽，以表现年幼，开脸略有凹凸变化，短脖，颈部以粗而略呈一面坡的弧线阴线界出，头部后脑突出。童子五官开脸均以宽阴刻线勾出五官轮廓，以平凸效果突出立体感，人面简洁，表情沉静，眉用细阴线刻成，长短不一，长眉毛细长并与鼻相连，短者呈八字状，或眉如弯月，眼如枣核，眼睛上下各用一刀，鼻子雕法简单，直鼻、楔形鼻或凸鼻头，双耳如玦，耳靠近脸部位于眼梢边上，小口，上下嘴唇间有一阴刻线，口不超过鼻翼，鼻正口小，称“樱桃小口”，鼻侧两条阴线从眼角至口角圆转自如，一气呵成。童子服饰处理上常穿对襟衣、马甲或交领、圆领短衣，窄袖，百分之八十有纹饰，衣有十字纹，线条刻画较密集细软，或出现斜方格纹、米字纹、水字纹作点缀。雕工一刀直切，肘弯处有柔和纤细的阴刻衣褶，挺秀有力，又有阴刻的衣纹粗宽，转折流利，收放自如，刻画精炼严谨。四肢呈筒状，一般裤腿较肥大，褶极简练，刀工或为短粗直线或为长曲线，手似半握拳，腕常戴手镯。童子执荷多为四出式荷叶，荷叶边缘如齿，叶脉细而长少分叉，中间内卷，荷花高过头，荷叶较多，荷枝多用钻孔法镂雕，花芯较大，有的刻有莲蓬，花瓣上刻有阴线脉。",[7,170,171,1483,255],"童子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b89b1f4d0db74143c77f6431237b256.jpg",[],{"id":1487,"slug":1488,"title":1489,"dynasty":18,"author":106,"museum":45,"description":1490,"tags":1491,"thumbUrl":1495,"material":312,"size":313,"collection":98,"collections":1496,"showCount":118,"zanCount":11,"manualWeight":11,"mainColor":59},223723,"hua-hua-yu-fu-xi-yi-ming-223723","划花鱼凫洗","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。",[7,218,1492,1493,1494,52],"划花","鱼","凫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0b7049543bafc7e0a959fc08ec927df.jpg",[],{"id":1498,"slug":1499,"title":1500,"dynasty":18,"author":106,"museum":530,"description":1501,"tags":1502,"thumbUrl":1506,"material":1224,"size":1507,"collection":98,"collections":1508,"showCount":118,"zanCount":11,"manualWeight":11,"mainColor":39},223507,"song-yin-xian-qi-tu-yi-ming-223507","松荫闲憩图","绘一老者倾躺在斜坡上小憩，高戴高帽，满脸皱纹，长须及胸，右臂枕于头下，双腿蜷缩，安详的享受自然之景；四周杂草蓬勃生长，上方松木遮阳，松针细长繁多，藤条自松枝上垂下。",[23,24,49,1503,7,69,25,26,29,1504,1505],"古画","松","闲憩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5060744d24e47c5354270e434f38253.jpg","22x54",[],{"id":1510,"slug":1511,"title":1512,"dynasty":18,"author":106,"museum":45,"description":1513,"tags":1514,"thumbUrl":1517,"material":312,"size":313,"collection":224,"collections":1518,"showCount":1519,"zanCount":11,"manualWeight":11,"mainColor":59},256832,"yao-zhou-yao-qing-you-ke-hua-ying-xi-wen-wan-yi-ming-256832","耀州窑青釉刻花婴戏纹碗","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。",[7,218,1515,1317,151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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。",[7,623,622,171,415,29,1526],"坐像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ad785e3f5f4c999ef8f27777bbd6f59.jpg",[],{"id":1530,"slug":1531,"title":1532,"dynasty":18,"author":106,"museum":45,"description":1533,"tags":1534,"thumbUrl":1536,"material":312,"size":313,"collection":98,"collections":1537,"showCount":1519,"zanCount":11,"manualWeight":11,"mainColor":59},253193,"nv-ren-hua-xiang-zhuan-yi-ming-253193","女人画像砖","她眉眼弯如新月，笑意漫上圆腴面庞，将世俗女子的温婉鲜活定格青砖之上。双手拢捧妆盒，指尖轻贴盒沿，恭谨温顺的侍奉情态呼之欲出。衣袍垂坠褶皱写实朴拙，腰间系带纹饰精巧细腻，处处可见对日常细节的悉心雕琢。\n\n泥土的粗粝肌理裹着人间烟火的暖意，没有繁复镂刻，仅凭沉厚朴拙的刀工，将深宅侍女的鲜活情态凝在方寸之间，让千年前的市井日常跃然眼前，尽显对俗世温情的细腻体察。",[7,1535,171,29,403],"砖雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a6305e1d6ac5c3c7903f8dd47da2c05.jpg",[],{"id":1539,"slug":1540,"title":1541,"dynasty":18,"author":106,"museum":45,"description":1280,"tags":1542,"thumbUrl":1546,"material":312,"size":313,"collection":98,"collections":1547,"showCount":1519,"zanCount":11,"manualWeight":11,"mainColor":59},251975,"bai-yu-tou-diao-mu-dan-feng-wen-qian-jian-yi-ming-251975","白玉透雕牡丹凤纹嵌件",[7,170,1543,1282,171,790,1544,1545],"白玉","凤纹","嵌件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84eec4e336b39f37b36175bdff9583e9.jpg",[],{"id":1549,"slug":1550,"title":1551,"dynasty":18,"author":106,"museum":45,"description":1552,"tags":1553,"thumbUrl":1556,"material":98,"size":98,"collection":98,"collections":1557,"showCount":1519,"zanCount":11,"manualWeight":11,"mainColor":227},227912,"zhu-shi-tu-yi-ming-227912","竹石图","以淡墨晕染出空茫幽寂的天地，将幽竹顽石隐于画幅下半隅，尽显萧散简远的林下意趣。\n浓墨挥写竹竿，劲挺有节，竹叶以介、个笔法点染，错落交叠，似带山中风声，既有婆娑摇曳之姿，又暗合君子坚韧不折的品格。怪石以枯淡墨笔勾勒皴擦，苍朴古拙，与修竹相映，衬出山野荒寒的幽僻之境。\n整幅画面留白通透，以极简笔墨营造出空寂禅意，把文人寄情林泉的澹泊襟怀，融于水墨虚实之间，尽显含蓄雅致的写意风神。",[23,24,49,48,7,68,69,449,822,94,1554,70,1555],"墨竹","竹石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4a6beb5f7a689648a17c4240b5acc88.jpg",[],{"id":1559,"slug":1560,"title":1561,"dynasty":18,"author":106,"museum":45,"description":1562,"tags":1563,"thumbUrl":1568,"material":98,"size":98,"collection":98,"collections":1569,"showCount":1519,"zanCount":11,"manualWeight":11,"mainColor":39},227557,"da-song-xin-yi-san-zang-sheng-jiao-xu-yi-ming-227557","大宋新译三藏圣教序","《大唐三藏圣教序》，简称《圣教序》，由唐太宗撰写。最早由唐初四大书法家之一的褚遂良所书，称为《雁塔圣教序》，后由沙门怀仁从王羲之书法中集字，刻制成碑文，称《唐集右军圣教序并记》，或《怀仁集王羲之书圣教序》，因碑首横刻有七尊佛像，又名《七佛圣教序》。集王圣教序碑刻立于唐咸亨三年（六七二），碑通高三五零、宽一零八、厚二十八厘米。碑文三十行，行八十三至八十八字不等。",[7,899,185,1043,415,1564,520,1565,1566,1567],"碑刻","古籍","石刻","墨拓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F891bafcbb9729e753831f17514aa7625.jpg",[],{"id":1571,"slug":1572,"title":1573,"dynasty":18,"author":106,"museum":45,"description":810,"tags":1574,"thumbUrl":1577,"material":98,"size":98,"collection":98,"collections":1578,"showCount":1519,"zanCount":11,"manualWeight":11,"mainColor":59},227364,"yu-lin-ku-003-ku-zhu-shi-dong-pi-yi-ming-227364","榆林窟003窟主室东披",[23,812,415,7,25,26,298,609,1575,523,1576,29],"飞天","藻井","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeb069be1ae65f6bcb551c3f0c74ded6.jpg",[],{"id":1580,"slug":1581,"title":1582,"dynasty":18,"author":106,"museum":45,"description":1583,"tags":1584,"thumbUrl":1588,"material":312,"size":313,"collection":98,"collections":1589,"showCount":1519,"zanCount":177,"manualWeight":11,"mainColor":59},223803,"huang-yu-zi-mu-lu-yi-ming-223803","黄玉子母鹿","宋辽金时期，实用装饰玉占重要地位，礼性大减，玩味大增，更加接近现实生活。文人的审美意识逐渐渗入玉器的造型之中，总体风格不如唐代浑厚有力，多小件精致器物，出现了玉童子、玉笔架、玉镇纸等新品种。雕刻技法出现深层立体镂雕。值得一提的是，辽、金时契丹、女真等少数民族政权狩猎风盛，喜用海东青捕天鹅和猎取熊、鹿等，这一题材的春水、秋山玉洋溢着浓厚的生活气息和游牧文化风格，也颇受汉族士大夫阶层的喜爱。\n宋辽金玉器在继承隋唐文化市庶化、艺术化的基础上，形成了鲜明的朴素淡雅艺术风格。浓郁的乡土韵味，彰显的民族特性，通过构图精致、空灵剔透、神形兼备的“宋作工”体现得淋漓尽致。宋辽金玉器是我国玉文化的一朵奇葩，它的艺术成就可谓“光前绝后”。",[7,170,171,172,1585,1586,1587],"子母鹿","黄玉","玉雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50723621fb149f5d4b6e4c6762823d15.jpg",[],{"id":1591,"slug":1592,"title":1593,"dynasty":18,"author":106,"museum":45,"description":1304,"tags":1594,"thumbUrl":1596,"material":312,"size":313,"collection":224,"collections":1597,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":227},256316,"ding-yao-bai-you-yin-hua-chan-zhi-mu-dan-lian-hua-wen-pan-yi-ming-256316","定窑白釉印花缠枝牡丹莲花纹盘",[7,1306,1307,1308,1595,1318,218,52],"缠枝牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dfd7f72a8497b0741dcba6879d844d9.jpg",[224],{"id":1599,"slug":1600,"title":1601,"dynasty":18,"author":106,"museum":45,"description":1017,"tags":1602,"thumbUrl":1604,"material":312,"size":313,"collection":224,"collections":1605,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},256249,"ge-yao-qing-you-x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纸本，共14开 台北故宫博物馆，“书易系辞”册，一向被学者公认为是朱熹存世仅见的大字真迹。\n\n《书易系辞》，纸本，全册共十四开，102字，均纵36.5厘米，横61.8厘米，是朱熹存世仅见的大字真迹。全册共十四开，一百零二字，每行仅书写二字，内容为《易经·系辞》的节句。笔力凌厉豪劲，墨色黝黑，时而又出现飞白效果，显得格外精神奕奕。古代许多书法家是不善于写大字的，但这恰恰是朱熹的擅长，所以他的大行书远远胜过小行书。作品有朱熹名款及“定静堂”印记，为林宗毅先生所藏，后捐赠与台北博物馆。",[23,7,185,186,653,132,49,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4118aefb6f5380b7d57297807840ac9.jpg","均纵36.5公分、横61.8公分",[],{"id":1658,"slug":1659,"title":1660,"dynasty":18,"author":106,"museum":45,"description":670,"tags":1661,"thumbUrl":1663,"material":312,"size":313,"collection":98,"collections":1664,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":59},227652,"ban-dian-cha-wan-yi-ming-227652","斑点茶碗",[7,218,1470,1662,222],"斑点纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b71888e7e9592e003a24d90e070dd34.jpg",[],{"id":1666,"slug":1667,"title":1668,"dynasty":18,"author":106,"museum":45,"description":1406,"tags":1669,"thumbUrl":1674,"material":312,"size":313,"collection":98,"collections":1675,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":59},223748,"qing-ci-cong-shi-ping-yi-ming-223748","青瓷琮式瓶",[218,309,7,1515,1670,1671,480,625,1672,1673,52],"仿古造型","几何纹饰","器形规整","施釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4051ba6207c4f1aa92a23bb707e9bd59.jpg",[],{"id":1677,"slug":1678,"title":1679,"dynasty":18,"author":106,"museum":45,"description":831,"tags":1680,"thumbUrl":1681,"material":312,"size":313,"collection":98,"collections":1682,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":259},221652,"pei-shi-yi-ming-221652","配饰",[7,255,170,171,172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff703ae7904a9db4f7457220417f4a439.jpg",[],{"id":1684,"slug":1685,"title":1686,"dynasty":18,"author":1687,"museum":1688,"description":1689,"tags":1690,"thumbUrl":1692,"material":1693,"size":1694,"collection":98,"collections":1695,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":98},220650,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220650","宋刻米芾英光堂帖","米芾,岳珂","香港中文大学文物馆","《英光堂帖》的内容是北宋米芾（1051–1108）的书迹，由抗金名将岳飞的孙子岳珂（1183–1241后）刻于南宋绍定初年（约1229–1233）。米芾是宋代著名书画家，以书法与苏轼（1037–1101）、黄庭坚（1045–1105）、蔡襄（1012–1067）并称「宋四大家」。行草书受二王影响甚深，运笔变化多端，才气奔放，书迹为后世所重视。",[23,185,186,899,900,1691,7],"刻帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73ebcbfd1cf101b95b0af5992e8da709.jpg","墨拓,纸本,册页","34 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为绘画开启了类似寄情寓性的功能。",[23,48,24,49,7,323,69,25,71,72,93,354,94,958,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7395055af78e9b5b1f31d83c41ca5f19.jpg",[],{"id":1851,"slug":1852,"title":1853,"dynasty":18,"author":106,"museum":45,"description":670,"tags":1854,"thumbUrl":1858,"material":312,"size":313,"collection":98,"collections":1859,"showCount":137,"zanCount":11,"manualWeight":11,"mainColor":39},227324,"zhui-xing-cha-wan-yi-ming-227324","锥形茶碗",[218,1855,1856,52,1857,7],"饮茶器","黑釉","锥形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F581f6f0c894d4270e47730c2b8b38def.jpg",[],{"id":1861,"slug":1862,"title":1863,"dynasty":18,"author":106,"museum":45,"description":1864,"tags":1865,"thumbUrl":1868,"material":312,"size":313,"collection":98,"collections":1869,"showCount":137,"zanCount":11,"manualWeight":11,"mainColor":59},227315,"cu-tao-cha-wan-yi-ming-227315","粗陶茶碗","宋代的美学，是以沉静雅素见长。虽有热烈绽放的玫瑰紫、天蓝釉瓷器，但也总是不如唐三彩给人以更为直接的视觉冲击。宋代瓷器釉色绚烂夺目，既有汝窑恬静温润的天青色，又有钧窑热情奔放的玫瑰紫、海棠红；既有定窑自然淳朴的象牙色，又有龙泉窑清新匀净的梅子青、粉青。宋人的审美已经不再是追求简单的透明釉，而是追求精致的乳浊釉和结晶釉。这与宋代的经济发展水平有极大的关系，著名史学家陈寅恪说“华夏民族之文化，历数千载之演进，造极于赵宋之世”。文化的盛极体现在文人的日常生活之中，即点茶、挂画、插花和熏香。以点茶为例，陆游的《临安春雨初霁》，诗中有句云：“矮纸斜行闲作草，晴窗细乳戏分茶”，北宋初年人陶谷在《荈茗录》中已经说到一种叫“茶百戏”的游艺：“茶至唐始盛。近世有下汤运匕，别施妙诀，使汤纹水脉成物象者，禽兽虫鱼花草之属，纤巧如画。但须臾即就散灭。此茶之变也，时人谓之茶百戏。”将饮茶从最初的解毒解渴功能升华成陶冶情操的雅事乐事，唯有宋代达到极致。\n器物的发展依赖于风尚，反过来器物又促进风尚的延续，在相对稳定的政治经济局面和尚古之风影响下，宋代陶瓷业得到了空前的发展。首先是五大名窑汝官哥钧定的异军突起，其次是定窑系、磁州窑系、耀州窑系、钧窑系、龙泉窑系、景德镇窑系、越窑系、建窑系八大窑系的百花齐放。\n除此之外，宋代的陶器发展也呈现出新的局面。宋三彩（为仿唐三彩制作而成。它虽高岭土做胎，但烧成温度低，属于低温铅釉陶，因此也放在陶器之中）、辽三彩是陶器中比较特殊的一类。",[7,218,1866,1830,1470,222,1867],"粗陶","烧制","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21e111e77c39593480558118d978eeb5.jpg",[],{"id":1871,"slug":1872,"title":1873,"dynasty":18,"author":106,"museum":45,"description":1864,"tags":1874,"thumbUrl":1877,"material":312,"size":313,"collection":98,"collections":1878,"showCount":137,"zanCount":11,"manualWeight":11,"mainColor":39},226688,"tao-tu-ren-yi-ming-226688","陶土人",[7,1875,29,1329,1876],"陶塑","陶土","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a37ca39292424251c0802c05cf53b83.jpg",[],{"id":1880,"slug":1881,"title":1470,"dynasty":18,"author":106,"museum":45,"description":670,"tags":1882,"thumbUrl":1884,"material":312,"size":313,"collection":98,"collections":1885,"showCount":137,"zanCount":11,"manualWeight":11,"mainColor":39},226684,"cha-wan-yi-ming-226684",[7,218,1473,1830,222,1883],"圈足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F339c88695cd93be841a08ad05adda13d.jpg",[],{"id":1887,"slug":1888,"title":1889,"dynasty":18,"author":106,"museum":45,"description":1172,"tags":1890,"thumbUrl":1894,"material":312,"size":313,"collection":98,"collections":1895,"showCount":137,"zanCount":11,"manualWeight":11,"mainColor":39},224087,"lou-diao-long-wen-yu-ding-shou-mian-wen-ding-fu-jian-yi-ming-224087","镂雕龙纹玉顶，兽面纹鼎附件",[7,170,1634,1891,1892,1893],"龙纹","兽面纹","鼎附件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c90c84605f42e1fbbb7fbfa66a384af.jpg",[],{"id":1897,"slug":1898,"title":1899,"dynasty":18,"author":106,"museum":45,"description":1900,"tags":1901,"thumbUrl":1903,"material":312,"size":313,"collection":98,"collections":1904,"showCount":137,"zanCount":11,"manualWeight":11,"mainColor":1401},223903,"duo-yi-ming-223903","铎","玉，在我国古代被视为圣洁之物，被赋予“仁、义、智、勇、洁”等高尚品德。古人“君子比德于玉”，对玉的喜爱和痴恋，几乎到了“君子必佩玉”“君子无故，玉不去身”的地步。唯其如此，古时的工匠们精雕细作，将玉制作成很多艺术品，其中玉质镶嵌件作为一种颇具特色的配饰，主要用于装饰作用，被缝缀在鞋帽、衣袍上，或者嵌于各种器物上，成为典雅华丽的传世玉器精品",[7,627,623,171,1902],"乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88daa360a6c6f2f7b0ba4556fc0d663e.jpg",[],{"id":1906,"slug":1907,"title":1686,"dynasty":18,"author":1687,"museum":1688,"description":1689,"tags":1908,"thumbUrl":1909,"material":1693,"size":1694,"collection":98,"collections":1910,"showCount":137,"zanCount":11,"manualWeight":11,"mainColor":98},220652,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220652",[23,7,185,186,899,900],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ba0693ff1c1c6dee53a6e9004fb3626.jpg",[],{"id":1912,"slug":1913,"title":1914,"dynasty":18,"author":106,"museum":45,"description":1242,"tags":1915,"thumbUrl":1916,"material":312,"size":313,"collection":224,"collections":1917,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":59},257004,"ru-yao-tian-qing-you-xi-yi-ming-257004","汝窑天青釉洗",[7,218,1245,480,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bc4b62d6d950488093dd54dee37eb1e.jpg",[224],{"id":1919,"slug":1920,"title":1914,"dynasty":18,"author":106,"museum":45,"description":1242,"tags":1921,"thumbUrl":1923,"material":312,"size":313,"collection":224,"collections":1924,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":59},257003,"ru-yao-tian-qing-you-xi-yi-ming-257003",[7,218,1245,480,874,1922],"素面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb467e34fa7fe455aebc3a65d301679ca.jpg",[224],{"id":1926,"slug":1927,"title":1928,"dynasty":18,"author":106,"museum":45,"description":774,"tags":1929,"thumbUrl":1934,"material":312,"size":313,"collection":224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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。",[7,218,1950,1515,480,1611,1951,52],"官窑风格","菱花式器型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ec2ea0c3c0afe186fb59de1b91db725.jpg",[224],{"id":1955,"slug":1956,"title":1957,"dynasty":18,"author":106,"museum":45,"description":1017,"tags":1958,"thumbUrl":1960,"material":312,"size":313,"collection":224,"collections":1961,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":227},256266,"ge-yao-qing-you-guan-er-ping-yi-ming-256266","哥窑青釉贯耳瓶",[7,218,1515,480,1959,1829],"贯耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d2fe9c6e497b634cfb06850a6f32f08.jpg",[224],{"id":1963,"slug":1964,"title":1965,"dynasty":18,"author":106,"museum":45,"description":1017,"tags":1966,"thumbUrl":1968,"material":312,"size":313,"collection":224,"collections":1969,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":227},256243,"ge-yao-qing-hui-you-kui-ban-kou-pan-yi-ming-256243","哥窑青灰釉葵瓣口盘",[7,1726,1019,480,218,1727,1967],"盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa07d5a3175347744ae405fb38a3dcf1c.jpg",[224],{"id":1971,"slug":1972,"title":1973,"dynasty":18,"author":106,"museum":45,"description":1017,"tags":1974,"thumbUrl":1978,"material":312,"size":313,"collection":224,"collections":1979,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":39},256236,"ge-yao-mi-huang-you-kui-ban-kou-pan-yi-ming-256236","哥窑米黄釉葵瓣口盘",[7,218,1975,1976,1977,1727,1967],"哥窑风格","开片技法","米黄釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72103436110c62e12f3ef320e3275845.jpg",[224],{"id":1981,"slug":1982,"title":1983,"dynasty":18,"author":106,"museum":45,"description":1017,"tags":1984,"thumbUrl":1985,"material":312,"size":313,"collection":224,"collections":1986,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":59},256225,"ge-yao-qing-you-kui-hua-shi-zhe-yan-pan-yi-ming-256225","哥窑青釉葵花式折沿盘",[7,218,1515,480,1931,1967],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5ab12f2a01047d63d03d984902c6890.jpg",[224],{"id":1988,"slug":1989,"title":1990,"dynasty":18,"author":106,"museum":45,"description":1153,"tags":1991,"thumbUrl":1992,"material":312,"size":313,"collection":98,"collections":1993,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":227},255614,"mu-diao-cai-hui-pu-sa-li-xiang-yi-ming-255614","木雕彩绘菩萨立像",[7,1158,171,1156,25,415,29,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faadf8fab955abd08a1b6a292c9ee81bf.jpg",[],{"id":1995,"slug":1996,"title":1990,"dynasty":18,"author":106,"museum":45,"description":1153,"tags":1997,"thumbUrl":1998,"material":312,"size":313,"collection":98,"collections":1999,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":227},255612,"mu-diao-cai-hui-pu-sa-li-xiang-yi-ming-255612",[7,1158,171,1156,415,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27f19d37fd140b8feea1aa2596143c82.jpg",[],{"id":2001,"slug":2002,"title":2003,"dynasty":18,"author":106,"museum":45,"description":2004,"tags":2005,"thumbUrl":2007,"material":312,"size":313,"collection":224,"collections":2008,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":227},254524,"qiong-yao-hui-you-niao-yi-ming-254524","邛窑灰釉鸟","邛窑,中国最古老的民窑之一，是中国彩绘瓷的发源地。其价值堪比三星堆、金沙遗址，被列入国家大遗址重点保护。它始创于东晋，成熟于南朝，盛于唐，是跨越八个多世纪的中国古代陶瓷名窑。\n邛窑分布在我国的四川省境内，以青釉、青釉褐斑、青釉褐绿斑和彩绘瓷为主，始烧于南北朝衰于宋朝，时间踌度约800年的中国古代陶瓷名窑。邛窑是我国著名民间瓷窑之一。器物有各种盘、碗、罐等日用器皿，其中以丰富的小瓷俑最为生动形象，以创造了陶瓷省油灯而闻名全国。\n善于将雕塑艺术的手法运用到瓷器的造型上。纵观邛窑瓷器，雕塑艺术品特别多，例如各类大小动物，胡商俑、武士俑、劳作俑、侍女俑、役仆俑等形象都用雕塑手法作出，就是一些实用生活用具、文房用具、储盛用具等雕塑艺术的作法也处处可见。另一个巨型三彩釉陶砚台，塑成一个伸颈昂首，瞪眼张嘴的大龟，四腿塑成兽蹄形，盖用雕塑手法塑成隆起的龟背，再刻划出背纹和裙边，既实用又具有很高的艺术性。有的执壶，口部以上塑一鼻孔上翻，鼓目张嘴的人头，整齐的牙齿外露，似乎正在歌唱。有的器盖塑成一个天真的儿童，光头，昂首，两眼上视，双臂伸开，两退上翻，脚交织在一起，天真活泼，很像现在的杂技表演。瓷枕也塑造成虎形，下为一个椭圆形底板，上塑的虎，咧嘴露齿，翻鼻鼓睛；作伏卧状，背上的枕面四角圆润，前部较小，后面较大，中间略微低下，虎的前额、眉眼、皮毛和枕面以褐绿彩点画成彩斑装饰。第二，彩绘装饰十分普遍，邛窑陶瓷有单色釉、如青釉、棕黄色釉、褐黑色釉，灰白色釉。由于泥料较粗，普遍含有细沙粒，胎面普遍施化妆土，用当地原料配出浅黄、深黄、棕黄、老绿、翠绿、孔雀蓝、藏蓝、紫黄、黑色等彩在瓷器上作画，大多数是釉下彩。由于邛窑瓷器釉层稀薄，釉下彩或釉上彩不易分辨，但大多数是釉下彩。以大片圆形彩斑、联珠、多层菱形、圆圈构成的图案，有些和刻花、划花、粘贴、捏塑、模印等共同组成装饰面。最突出的是彩画。这些釉下彩绘，由于工匠有深厚的文化根底和书画艺术的功力，以没骨画的技法，率然落笔，粗悍展开，画出的花纹潇洒豪放，韵味无穷。 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