[{"data":1,"prerenderedAt":407},["ShallowReactive",2],{"subject-song-shu-449":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},449,"song-shu-449","松鼠","松鼠画高清赏析","精选中国历代松鼠题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71c40c0b0eaea496114baef3d955110a.jpg",0,32,[14,42,61,77,91,105,116,132,142,158,171,185,197,209,217,227,236,247,266,279,287,294,301,309,317,324,343,356,373,382,391,399],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":35,"material":36,"size":37,"collection":37,"collections":38,"showCount":39,"zanCount":40,"manualWeight":11,"mainColor":41},214862,"xie-sheng-ce-3-hua-yan-214862","写生册-3","清","华嵒","台北故宫博物院","华嵒是一位清代著名画家和艺术家。他的写生册是一本记录他写生草稿的册子，通常包含他对自然和人物的写生绘画。写生册是画家们练习和提高技巧的重要工具，因为它们能够帮助画家观察、捕捉和描绘细节。华嵒的写生册中可能包含了他对山水、花鸟、人物等的写生画作。",[23,24,25,26,27,28,7,29,30,31,32,33,34],"国画","书画","册","水墨","设色","工笔","鼠","兽","藤蔓","叶子","果实","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F479bc39b276eae548d0b8940a600d55f.jpg","纸本,设色","",[],228,1,"BDBDBD",{"id":43,"slug":44,"title":45,"dynasty":46,"author":47,"museum":20,"description":48,"tags":49,"thumbUrl":56,"material":36,"size":57,"collection":58,"collections":59,"showCount":60,"zanCount":40,"manualWeight":11,"mainColor":41},219110,"tao-zhi-song-shu-tu-qian-xuan-219110","桃枝松鼠图","元","钱选","画中一株桃枝，枝上桃叶披盖，桃果结实鲜嫩。一只松鼠攀附在桃枝上，桃枝似乎随之颤动。松鼠长尾蓬松，高高翘起，四肢紧紧抓住树枝，正小心翼翼向桃子行进。该画不设背景，用没骨法画出松鼠和桃枝，设色清丽，颇有情趣。",[50,23,51,28,27,52,7,53,54,55,34],"高清","名画","花鸟","桃枝","桃子","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ee543dd71f018935820f6ac096a19bf.jpg","纵26.3公分，横44.3公分","花鸟画精选",[58],86,{"id":62,"slug":63,"title":64,"dynasty":65,"author":66,"museum":67,"description":68,"tags":69,"thumbUrl":73,"material":37,"size":37,"collection":37,"collections":74,"showCount":75,"zanCount":40,"manualWeight":11,"mainColor":76},227335,"song-li-tu-song-tian-227335","松栗图","宋","松田","藏地不详","这幅小品以淡墨铺就底色，枯笔皴写松枝，苍拙老辣，自带山野清寂意趣。松鼠以浓墨破淡，晕染出蓬松柔润的绒毛，俯身探看，眼目灵动机警，将小兽憨然灵动的神态全然托出。松针攒簇、松果朴拙，简笔勾勒便生野趣。\n\n大片留白不着一笔，尽得山林空寂之味，将山野间一瞬的灵动定格，以小景见天地，尽显简淡中藏着的盎然生机，把文人画疏淡清雅的审美意韵融在尺幅之间。",[70,23,24,51,26,52,71,7,72,30],"宋画","松","松果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4546d1410a71aa3f9bc40f0b4509ba54.jpg",[],40,"795548",{"id":78,"slug":79,"title":80,"dynasty":18,"author":81,"museum":67,"description":82,"tags":83,"thumbUrl":86,"material":87,"size":88,"collection":37,"collections":89,"showCount":90,"zanCount":11,"manualWeight":11,"mainColor":41},236377,"xu-gu-song-shu-pu-tao-shan-ye-xu-gu-236377","虚谷松鼠葡萄扇页","虚谷","虚谷（1823～1896），清代著名画家，海上四大家之一，有“晚清画苑第一家”之誉。俗姓朱，名怀仁，僧名虚白，字虚谷，别号紫阳山民、倦鹤，室名觉非庵、古柏草堂、三十七峰草堂。籍新安（今安徽歙县），居广陵（今江苏扬州）。初任清军参将与太平军作战，意有感触，后出家为僧。工山水、花卉、动物、禽鸟，尤长于画松鼠及金鱼。亦擅写真，工隶书。作画有苍秀之趣，敷色清新，造型生动，落笔冷消，别具风格。性情孤僻，非相处情深者不能得其片纸。早年学界画，后以擅画花果、禽鱼、山水著名。风格冷峭新奇，绣雅鲜活，无一笔滞相，匠心独运，别具一格。亦能诗，有《虚谷和尚诗录》。传世作品有《梅花金鱼图》《松菊图》《葫芦图》《蕙兰灵芝图》《枇耙图》等。",[23,24,84,27,26,30,7,85,52],"扇面","葡萄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250ff96f9b0cc51a3c44c944ddd83da6.jpg","未知","Xcm*Xcm",[],34,{"id":92,"slug":93,"title":94,"dynasty":95,"author":96,"museum":97,"description":98,"tags":99,"thumbUrl":102,"material":36,"size":37,"collection":37,"collections":103,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":41},216293,"han-xi-meng-xiu-song-yuan-ming-ji-ce-pu-tao-song-shu-tu-han-xi-meng-216293","韩希孟绣宋元名迹册·葡萄松鼠图","明","韩希孟","私人收藏","丝缕穿梭间，葡萄藤蔓蜿蜒，叶片脉络依稀，紫珠垂坠似凝清露。松鼠躬身攀枝，绒尾蓬松若可触，双目凝向串串琼瑶，神态灵动欲跃。针脚细如毫发，色阶过渡自然，将宋元画本的雅致气韵，以立体丝韵重构。顾绣之妙在此尽显：以针代笔，线代墨色，却多了触感的温柔与生命的温度。寻常花鸟小景，化作丝帛间的意趣诗行，藏着绣者的匠心，也凝着对生机的脉脉捕捉，让静止的画面，在丝缕交织里漾起鲜活的涟漪。",[50,100,24,101,28,27,25,85,7,52,30],"明代","刺绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fc2f36966c2ecb8f9a8823f620f27e1.jpg",[],27,{"id":106,"slug":107,"title":108,"dynasty":95,"author":109,"museum":67,"description":110,"tags":111,"thumbUrl":113,"material":87,"size":88,"collection":37,"collections":114,"showCount":115,"zanCount":11,"manualWeight":11,"mainColor":41},236476,"wang-zi-yuan-pu-tao-song-shu-shan-yi-ming-236476","王子元葡萄松鼠扇","佚名","虬曲葡萄老枝顺着扇面弧度舒展，翠叶错落缀于藤蔓之间，紫葡垂坠，色晕柔润鲜活，尽显果蔬饱满娇态。\n\n画面中央的松鼠蜷身枝桠，茸毛纤毫毕现，圆目灵动专注，憨态尽显，似正觊觎垂挂的葡萄，将林间小兽的机敏活泼勾勒传神，野趣横生。\n\n此作用水墨淡彩晕染于笺上，古雅温润，笔墨兼具工致与写意。枝叶藤蔓写意洒脱，松鼠则描摹入微，二者相融成趣，将林泉幽趣凝于盈尺扇面，静中生韵，尽显小品画的灵动雅致。",[23,24,84,52,27,28,85,7,31,112,30],"叶片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f4f53a381313d2cdd585b1132221923.jpg",[],16,{"id":117,"slug":118,"title":119,"dynasty":18,"author":109,"museum":67,"description":120,"tags":121,"thumbUrl":128,"material":87,"size":88,"collection":37,"collections":129,"showCount":130,"zanCount":11,"manualWeight":11,"mainColor":131},267293,"yin-du-jin-dian-cui-xiang-liao-shi-song-shu-pu-tao-shuang-xi-tou-hua-yi-ming-267293","银镀金点翠镶料石松鼠葡萄双喜头花","中国妇女最偏爱的头花当属绒花，尤其是在女儿出嫁时，头上必须戴红色绒花，图火红吉利。在中国妇女中，只要条件允许，不仅婚礼喜庆日时要戴绒花，而且一年四季都愿意头戴绒花，求谐音吉祥。尤其到应时节序戴应季绒花：立春日戴春幡，清明日戴柳枝，端阳日戴艾草，中秋日戴桂花，重阳日戴茱萸，立冬日戴葫芦阳生……。清宫后妃们的头花，还有大批的绒花、绢花、绫花流存于世，这些花色彩协调，晕色层次丰富，堪称“乱真”之花。清代遗留下来的绒、绢、绫、绸等质地的头花有白、粉、桃红三晕色的牡丹花，浅黄、中黄、深黄三色的菊花，白、藕、雪青三色的月季花及粉、白相间的梅花等等，历时百年不久，仍鲜艳悦人。",[122,123,124,125,126,7,85,127],"饰品","头饰","点翠","银镀金","镶料石","双喜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5558ed23b2cc1d1c35d571a113025865.jpg",[],11,"37474F",{"id":133,"slug":134,"title":135,"dynasty":18,"author":109,"museum":67,"description":136,"tags":137,"thumbUrl":140,"material":87,"size":88,"collection":37,"collections":141,"showCount":130,"zanCount":11,"manualWeight":11,"mainColor":131},258268,"yong-zheng-kuan-dou-cai-song-shu-pu-tao-wen-hu-lu-ping-yi-ming-258268","雍正款斗彩松鼠葡萄纹葫芦瓶","雍正一朝虽然只有13年，但他的制瓷业成就却达到了清代官窑的历史高峰，其品种之多，制作工艺之精良，都是其他朝代无法比拟的。",[18,138,139,7,85,31,32],"陶瓷","斗彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F592b00486d3d4d4c9ca5f5ac78156d4a.jpg",[],{"id":143,"slug":144,"title":145,"dynasty":18,"author":109,"museum":67,"description":146,"tags":147,"thumbUrl":155,"material":87,"size":88,"collection":37,"collections":156,"showCount":157,"zanCount":40,"manualWeight":11,"mainColor":76},247563,"ti-hong-jin-wen-qian-yu-shi-song-shu-pu-tao-wen-hai-tang-shi-he-yi-ming-247563","剔红锦纹嵌玉石松鼠葡萄纹海棠式盒","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。",[148,149,150,151,152,7,85,153,154],"清代","漆器","剔红","嵌玉石","雕刻","海棠式","锦纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe464f8eab642b2ca75713ccbf980b83a.jpg",[],9,{"id":159,"slug":160,"title":161,"dynasty":18,"author":162,"museum":67,"description":163,"tags":164,"thumbUrl":168,"material":37,"size":37,"collection":37,"collections":169,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":41},224331,"hua-niao-shi-er-kai-9-li-shan-224331","花鸟十二开9","李鱓","淡墨晕染出松鼠身形，蓬松皮毛的质感呼之欲出，尖吻微张，长尾轻扬，攀附松枝之上，警觉灵动的神态跃然纸面。苍松以焦墨挥写，浓墨点簇松针，老辣笔力勾勒出虬曲枝干，尽显苍古拙朴的风骨。左侧行书题字与画面相得益彰，笔墨枯润相生，尽显写意随性野趣。整幅作品以简驭繁，笔情纵逸，将文人写意的酣畅与林间生机相融，寥寥数笔便定格住松间嬉游的悠然意趣，尽显写意花鸟的动人神韵。",[50,23,24,25,26,165,30,7,166,167,34],"写意","松树","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F523b8f0015029b872e9adff78fa964b0.jpg",[],8,{"id":172,"slug":173,"title":174,"dynasty":18,"author":109,"museum":67,"description":175,"tags":176,"thumbUrl":182,"material":87,"size":88,"collection":37,"collections":183,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":76},229454,"yin-du-jin-song-shu-pu-tao-zan-yi-ming-229454","银镀金松鼠葡萄簪","发簪，中国古代汉族人民用来固定和装饰头发的一种首饰。对于现代人来说已经是一个很古老的名词了，但是当在看古装剧时，却总是能被它们点缀出的精致效果所折服。\n将长发松松挽起，插上一枚别致的发簪，再配上典雅的长裙，即便性格再外放的女性，也可以成为让人眼前一亮的古典美人。发簪金属的光泽闪耀在发间，加上小而巧的坠饰，长发的风情便又是一种不一样的感受了。",[148,125,177,178,7,85,122,179,180,181,52,27],"珐琅器","镶嵌","簪饰","银器","金器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3f36051e8d86499b83996f530bee3de.jpg",[],7,{"id":186,"slug":187,"title":188,"dynasty":18,"author":109,"museum":67,"description":175,"tags":189,"thumbUrl":193,"material":87,"size":88,"collection":37,"collections":194,"showCount":195,"zanCount":40,"manualWeight":11,"mainColor":196},241991,"yin-du-jin-qian-zhu-bao-song-shu-wen-zan-yi-ming-241991","银镀金嵌珠宝松鼠纹簪",[148,125,190,177,122,7,29,191,152,192],"嵌珠宝","植物纹样","镶嵌工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe68e631a0e89ea4953845ad932a06c4b.jpg",[],6,"FFFFFF",{"id":198,"slug":199,"title":200,"dynasty":18,"author":109,"museum":67,"description":201,"tags":202,"thumbUrl":206,"material":87,"size":88,"collection":37,"collections":207,"showCount":208,"zanCount":11,"manualWeight":11,"mainColor":41},260858,"qing-hua-song-shu-pu-tao-wen-wan-yi-ming-260858","青花松鼠葡萄纹碗","青花瓷（blue and white porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[138,203,7,85,204,205],"青花","日用具","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F147089171495f1997d9e6546b4c0034e.jpg",[],5,{"id":210,"slug":211,"title":212,"dynasty":18,"author":109,"museum":67,"description":201,"tags":213,"thumbUrl":215,"material":87,"size":88,"collection":37,"collections":216,"showCount":208,"zanCount":11,"manualWeight":11,"mainColor":76},257938,"kang-xi-kuan-qing-hua-song-shu-pu-tao-wen-da-wan-yi-ming-257938","康熙款青花松鼠葡萄纹大碗",[138,203,7,85,205,214],"碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdda0daa6b2a3ec196522c1a833a0ae84.jpg",[],{"id":218,"slug":219,"title":220,"dynasty":18,"author":109,"museum":67,"description":120,"tags":221,"thumbUrl":224,"material":87,"size":88,"collection":37,"collections":225,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":131},268565,"dian-cui-xiang-liao-zhu-song-shu-pu-tao-wen-tou-hua-yi-ming-268565","点翠镶料珠松鼠葡萄纹头花",[122,222,124,7,85,223,181,178],"头花","料珠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd764fe020804d25ea13ab7d8b98fe13.jpg",[],4,{"id":228,"slug":229,"title":230,"dynasty":18,"author":109,"museum":67,"description":231,"tags":232,"thumbUrl":234,"material":87,"size":88,"collection":37,"collections":235,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":76},257775,"dou-cai-song-shu-pu-tao-wen-da-wan-yi-ming-257775","斗彩松鼠葡萄纹大碗","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。",[18,138,139,27,7,85,31,32,30,233,205],"植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3693230efc6c1bd57113a4d093d94d2d.jpg",[],{"id":237,"slug":238,"title":239,"dynasty":18,"author":109,"museum":67,"description":240,"tags":241,"thumbUrl":245,"material":87,"size":88,"collection":37,"collections":246,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":196},241825,"dai-mao-xiang-zhu-shi-shan-hu-song-shu-pu-tao-wen-bian-fang-yi-ming-241825","玳瑁镶珠石珊瑚松鼠葡萄纹扁方","以玳瑁为底，凝润乌亮如深海凝脂。鎏金松鼠身形灵动，似正穿梭于藤蔓间，珊瑚攒成的葡萄颗颗饱满，翠玉叶片鲜活生动，珍珠点缀晕开柔润珠光。两处饰纹对称呼应，疏密相宜，末端坠饰轻摇生姿。花丝镶嵌的繁复工艺尽展其间，将多子多福的吉愿藏入细节，把闺阁意趣与宫廷匠艺揉为一体，既有林间野趣的灵动鲜活，又不失华贵雅致的气度，藏着旧时妆匣里的温柔期许与精工巧思。",[148,178,242,243,244,7,85,122],"玳瑁","珠石","珊瑚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7290ef8a3b320a8e00f9eca648f8c36.jpg",[],{"id":248,"slug":249,"title":250,"dynasty":18,"author":251,"museum":67,"description":252,"tags":253,"thumbUrl":264,"material":37,"size":37,"collection":37,"collections":265,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":41},239210,"za-hua-juan-tang-ying-239210","杂画卷","唐英","此卷兼工带写，笔意灵秀多变。起首松鼠戏食，墨色晕染出蓬松绒毛，灵动俏皮之态尽显；接绘双马，一匹徐行悠然，一匹滚地嬉憩，骏舒逸致扑面而来。\n\n中段丹冠雄鸡神采英挺，翎羽勾勒细腻又不失写意韵致，母鸡护雏尽显脉脉温情，山雀翻飞轻盈灵动。末段湖山清润，巉石隐现，幽篁茅舍伴扁舟泛波，野雁掠空尽得江南秋寂之味。\n\n题跋小字娟秀雅致，书画合璧，将花鸟走兽的灵动生机与山水的澹泊雅韵浑融无间，尽显扎实写生功底与清隽文人逸趣。",[50,23,24,254,26,27,255,256,257,258,259,260,7,261,262,263,55,34],"长卷","山水","亭","孤舟","飞鸟","鸡","马","牛","树木","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c768bfb539b8068f02787c67fb67aa.jpg",[],{"id":267,"slug":268,"title":269,"dynasty":18,"author":109,"museum":67,"description":270,"tags":271,"thumbUrl":276,"material":87,"size":88,"collection":37,"collections":277,"showCount":278,"zanCount":11,"manualWeight":11,"mainColor":131},269966,"xiang-ya-diao-song-shu-pu-tao-tu-xi-yi-ming-269966","象牙雕松鼠葡萄图洗","取叶片为形，叶缘宛曲自然，浅刻叶脉舒展流转，衬出牙质温润莹白的底色。器身以浮雕铺陈景致，虬曲葡萄藤蜿蜒盘绕，垂挂的硕果饱满莹润，松鼠灵动穿梭枝桠之间，翘尾探头憨态可掬。牵牛与月季次第绽开，柔蔓卷须缠连萦绕，将乡野意趣凝于文房雅器之上。雕琢圆熟细腻，写实中藏着灵动生趣，既以清隽雅致的造型适配文房清供，又借松鼠葡萄暗含多子绵长的吉祥意韵，尽显工艺的精巧灵秀。",[152,272,7,85,273,274,205,275],"象牙","牡丹","荷","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F351a3d3c080edd51f96f618c9fb12057.jpg",[],3,{"id":280,"slug":281,"title":282,"dynasty":18,"author":109,"museum":67,"description":120,"tags":283,"thumbUrl":285,"material":87,"size":88,"collection":37,"collections":286,"showCount":278,"zanCount":11,"manualWeight":11,"mainColor":131},267294,"dian-cui-xiang-liao-shi-song-shu-pu-tao-shuang-xi-wen-tou-hua-yi-ming-267294","点翠镶料石松鼠葡萄双喜纹头花",[122,124,126,7,85,284,222],"双喜纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F189fe0ffced831b08e5cc1b2e5480155.jpg",[],{"id":288,"slug":289,"title":290,"dynasty":18,"author":109,"museum":67,"description":201,"tags":291,"thumbUrl":292,"material":87,"size":88,"collection":37,"collections":293,"showCount":278,"zanCount":11,"manualWeight":11,"mainColor":76},261994,"cheng-hua-kuan-qing-hua-song-shu-pu-tao-wen-wan-yi-ming-261994","成化款青花松鼠葡萄纹碗",[138,203,7,85,214,204],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52b986521bc5feeb9653cecd0ea8b455.jpg",[],{"id":295,"slug":296,"title":145,"dynasty":18,"author":109,"museum":67,"description":146,"tags":297,"thumbUrl":299,"material":87,"size":88,"collection":37,"collections":300,"showCount":278,"zanCount":11,"manualWeight":11,"mainColor":76},247562,"ti-hong-jin-wen-qian-yu-shi-song-shu-pu-tao-wen-hai-tang-shi-he-yi-ming-247562",[148,149,150,151,152,7,85,153,154,298],"玉石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e9c731fc2cc0d9458a153b0b3885926.jpg",[],{"id":302,"slug":303,"title":304,"dynasty":18,"author":109,"museum":67,"description":201,"tags":305,"thumbUrl":306,"material":87,"size":88,"collection":37,"collections":307,"showCount":308,"zanCount":11,"manualWeight":11,"mainColor":131},261072,"qing-hua-song-shu-pu-tao-wen-pan-yi-ming-261072","青花松鼠葡萄纹盘",[138,203,7,85,204],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88741ae354a1f97745572d75471e2e2e.jpg",[],2,{"id":310,"slug":311,"title":312,"dynasty":18,"author":109,"museum":67,"description":201,"tags":313,"thumbUrl":315,"material":87,"size":88,"collection":37,"collections":316,"showCount":308,"zanCount":11,"manualWeight":11,"mainColor":41},260988,"qing-hua-song-shu-pu-tao-wen-hua-cha-yi-ming-260988","青花松鼠葡萄纹花插",[138,203,7,85,314,30],"花插","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7373330d7430563db5f740f3f718619c.jpg",[],{"id":318,"slug":319,"title":320,"dynasty":95,"author":109,"museum":67,"description":146,"tags":321,"thumbUrl":322,"material":87,"size":88,"collection":37,"collections":323,"showCount":308,"zanCount":11,"manualWeight":11,"mainColor":76},228671,"qing-yu-song-shu-pu-tao-yi-ming-228671","青玉松鼠葡萄",[100,298,152,7,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d8cc92b3520b01dad376b8d967086ca.jpg",[],{"id":325,"slug":326,"title":327,"dynasty":18,"author":328,"museum":329,"description":330,"tags":331,"thumbUrl":340,"material":37,"size":37,"collection":37,"collections":341,"showCount":308,"zanCount":11,"manualWeight":11,"mainColor":342},201389,"hua-hui-niao-shou-tu-juan-chen-jia-yan-201389","花卉鸟兽图卷","陈嘉言","上海博物馆","这幅长卷以灵动笔墨铺陈自然意趣，花鸟虫兽与草木山石错落有致。松鼠攀附松枝显活泼，灵兔隐于竹丛露憨态，蜻蜓点水、禽鸟栖枝各得其所；牡丹雍容、荷莲清雅、秋菊傲立、芙蓉娇艳，四季花卉次第绽放。设色淡雅却见鲜活，线条细腻又含逸气，工笔勾勒物象之形，写意晕染生机之韵，笔墨间藏着对自然生灵的细腻观照与脉脉温情。",[23,254,52,30,28,27,71,332,274,273,333,334,335,7,336,337,338,339],"竹","菊","芙蓉","兔","禽鸟","蜻蜓","山石","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4387ef268508fbde19aafd7ea255c8eb.jpg",[],"d9d0c9",{"id":344,"slug":345,"title":346,"dynasty":18,"author":109,"museum":67,"description":347,"tags":348,"thumbUrl":354,"material":87,"size":88,"collection":37,"collections":355,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":131},270321,"qian-long-kuan-tong-hu-lu-shi-shui-cheng-yi-ming-270321","乾隆款铜葫芦式水丞","水丞又称水中丞，一般多称就是水盂。是一种古老的中国传统工艺品。它是置于书案上的贮水器，用于贮砚水，多属扁圆形，有嘴的叫“水注”，无嘴的叫“水丞”。制作古朴雅致，为文房一重要器具。水丞有玉制的，如清代青玉雕葫芦水丞，两水盂相连构成葫芦形状，周边随形雕刻枝叶缠绕，显得清朗自然。玉水丞中以明代玉工陆子冈所制作品最为著名。也有铜制的、陶瓷制的，如官哥窑肚圆式、钵盂小口式等。",[349,350,152,351,85,7,352,353],"青铜器","铜制","葫芦","水丞","文房器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5463181d183bf30d173e19338677f05.jpg",[],{"id":357,"slug":358,"title":359,"dynasty":360,"author":361,"museum":67,"description":362,"tags":363,"thumbUrl":371,"material":87,"size":88,"collection":37,"collections":372,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":131},232392,"he-er-bai-yin-51-he-er-bai-yin-232392","荷尔拜因51","不详","荷尔拜因","小汉斯·荷尔拜因（约1497年-1543年11月29日以前）是德国画家，最擅长油画和版画，是欧洲北方文艺复兴时代的艺术家。其代表作有：木版画《死神之舞》。\n荷尔拜因在创作一幅肖像画以前，经常用铅笔描绘衣物、装饰品等细节，有时也用钢笔或垩笔，然后在纸上沿轮廓扎上小孔，铺在画布上，用炭粉将其转移到画布上。在晚年也使用复写纸。他的画作对细节描绘非常详细、真实，甚至于仪器上的刻度、信笺上的文字、桌布上的花纹都描绘的一丝不苟，但整体风格仍然非常统一，人文主义风格非常明显，俄罗斯作家陀斯妥耶夫斯基曾经评价他的作品《墓中的基督》：“可以把许多人的信仰夺去。” 他曾经从同为英国王室画家的弗拉芒画家卢卡斯·霍亨布特那里学习画微型画，卢卡斯曾为他画了一幅微型画像，他自己从没有画过自画像。",[364,365,27,366,367,368,7,369,370],"油画","写实","人物","肖像","鸟","枝叶","衣物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F275d9114539b89137cbef31d601903d9.jpg",[],{"id":374,"slug":375,"title":376,"dynasty":18,"author":109,"museum":67,"description":377,"tags":378,"thumbUrl":380,"material":87,"size":88,"collection":37,"collections":381,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":76},229915,"fei-cui-song-shu-pu-tao-fu-mu-zuo-yi-ming-229915","翡翠松鼠葡萄 附木座","木底座是属于园艺工艺品一种，就是红木、檀木、花梨木制成的底座，通称为木底座。随着现在人们生活水平的提高和艺术审美的加强，各种工艺品收藏的火爆也让木底座这种搜藏渐渐走入我们的生活中，让我们的生活中每个角落里都有了美丽和艺术的氛围。木底座主要用来摆放工艺品和奇石等。",[298,152,7,85,379,30,27],"木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe955b9f3048c5042cf05c318b35fbeb1.jpg",[],{"id":383,"slug":384,"title":385,"dynasty":18,"author":109,"museum":67,"description":386,"tags":387,"thumbUrl":389,"material":87,"size":88,"collection":37,"collections":390,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":76},251891,"bi-xi-diao-song-shu-pu-tao-pei-yi-ming-251891","碧玺雕松鼠葡萄佩","古人的很多生活器具都是由玉雕成的，能常戴在身上的惟有玉佩。繁钦诗中“美玉”是指玉做的佩，或写作“佩”。古人对玉佩的热爱不是因为玉的贵重，而是源于玉的品格，所以古语有“君子无故，玉不去身”。",[298,388,152,7,85,122],"碧玺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa26dc908eff32399ae70e5888f64e4e.jpg",[],{"id":392,"slug":393,"title":394,"dynasty":18,"author":109,"museum":67,"description":146,"tags":395,"thumbUrl":397,"material":87,"size":88,"collection":37,"collections":398,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":76},251689,"dai-pi-qing-yu-song-shu-pu-tao-yi-ming-251689","带皮青玉松鼠葡萄",[148,298,152,7,85,396],"带皮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb1f8cf1920d39a613ab0dac8914c8ed.jpg",[],{"id":400,"slug":401,"title":402,"dynasty":18,"author":109,"museum":67,"description":403,"tags":404,"thumbUrl":405,"material":87,"size":88,"collection":37,"collections":406,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},229832,"bai-yu-shuang-song-shu-yi-ming-229832","白玉双松鼠","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。",[148,298,152,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4223acffa15ed1ba66287e64ddb66721.jpg",[],1777535714373]