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（1682—1760），字衡之，号南苹，其画远师黄筌画派，近承明代吕纪，工写花卉翎毛、走兽，以精密妍丽见长，也擅长画仕女。设色妍丽，工致精丽、赋色浓艳，极尽构梁之巧。画人物得不传之秘。注重写实，画风谨严工细，造型准确生动。尝写《花蕊夫人宫词》为图，笔意殊极巧妙。\n雍正九年（1731）沈铨应日本天皇之聘，偕弟子郑培、高钧等东渡日本，历时3年，形成“南苹派”写生画，深受日人推崇，被称为“舶来画家第一”，从习画者颇多，日本江户时代长崎画派即在其影响下形成，尤以圆山应举最为著名。归得金帛散给友朋，橐仍萧然。\n沈铨归国后声誉大震，传至京城，朝廷便下旨命沈铨作画上贡，乾隆7年作《花蕊夫人宫词意》受到好评，除此，沈铨还陆续为宫廷作吉祥寓意之画，由此沈铨及弟子童衡在中国画史上被称为宫廷画家，沈铨晚年寄居于苏州，孜孜不倦地致力于书画艺术之研究，在乾隆27年81岁的沈铨还能作《花鸟图》。1762年沈铨逝世后，从子沈天骧进新市南频府，守孝三年，继承画业，唯一入室弟子童衡离开沈宅到新市明因寺为僧，闲余作画终身。沈铨把一生献给了绘画事业，在继承院体派传统的基础上，独创了强大的南苹画派，在当时的江南独树一帜，有诗予以很高的评价“江南高手谁第一，吴兴沈生世无匹”。",[24,25,70,27,31,52,7,149,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2343f6636f8ad99ed8390e4becb1304a.jpg","纸本，设色",[],17,{"id":205,"slug":206,"title":207,"dynasty":126,"author":171,"museum":101,"description":208,"tags":209,"thumbUrl":213,"material":135,"size":136,"collection":59,"collections":214,"showCount":215,"zanCount":165,"manualWeight":11,"mainColor":139},288932,"zhong-si-mian-gua-tu-yi-ming-288932","螽斯绵瓜图","此作工笔细腻，晕染精妙。苍润的瓜叶层叠错落，饱满瓜实纹路清晰，仿佛能触到肌理。两只螽斯栩栩如生，一只静伏叶间，一只栖于藤蔓之上，薄翅通透，足肢纤毫毕现，灵动自然。柔婉的卷须蜿蜒舒展，与旁侧劲挺的兰草虚实相衬，丰富了画面层次。\n\n整体设色清雅柔和，将秋日瓜圃的静谧生机尽数铺展。画师以入微观察捕捉田园闲趣，把寻常小景晕染成富有诗意的隽永画面，尽显雅致平和的宋韵审美意趣。",[24,148,70,25,27,210,211,7,56,212,88],"瓜","螽斯","草叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F959daed786e25386284a55e9d6edc10e.jpg",[],16,{"id":217,"slug":218,"title":219,"dynasty":82,"author":220,"museum":101,"description":221,"tags":222,"thumbUrl":224,"material":59,"size":59,"collection":59,"collections":225,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":40},235650,"dao-sui-tang-lang-zhou-gao-qi-pei-235650","稻穗螳螂轴","高其佩","《稻穗螳螂图》是清代画家 创作的纸本水墨指画，现藏于 。\n此图是描绘仲秋稻谷成熟时期的一角情景。\n画绘左侧下端有一棵截取的稻秆，向画面右上方伸展，稻叶疏密有致，相互交错，在秋风吹拂下摆动，而沉甸的稻穗将稻朴压弯，呈低沉状态。\n唯独有一只螳螂于稻叶之上，举目侧望，昂首挺胸，似欲作捕捉状，悠然自得，为整个画面增添了生气。\n此画布局方面，所画的景物都集中在画面中下端，上端却空旷一片，仅在左上角有款题。\n此画构图十分简洁，浓淡干湿墨色随意点染，飞动不露笔痕的粗细线条，将一螳螂的神形，表现得十分出色。\n故此幅画为他小品指画中的代表作之一。\n高其佩（166或1672—174年），字韦之，号且园，辽宁铁岭人，隶汉军镶黄旗，官至刑部侍郎。\n他擅长指画，即用手掌、手指和指甲勾划线条，并佐以毛笔。\n所绘人物、山水、花卉栩栩如生，丰富了中国画的表现技法，在清代画坛以指画独树一帜。\n清雍正年间曾宫中作画。",[24,87,28,25,27,223,7,118],"稻穗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F372b120f258fb1d4c1366bb580f66867.jpg",[],13,{"id":228,"slug":229,"title":230,"dynasty":183,"author":231,"museum":145,"description":232,"tags":233,"thumbUrl":10,"material":59,"size":59,"collection":36,"collections":235,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":236},203111,"qiu-pu-tu-zhou-cheng-zhang-203111","秋圃图轴","程璋","秋日圃中，草木扶疏，白花点缀墨叶间，浓淡相宜的笔触勾勒出枝叶的丰茂。蜻蜓振翅欲飞，螳螂敛足凝睇，甲虫驻足枝杆，诸虫刻画入微，灵动毕现。笔墨融贯中西，线条简练却精准传神，藤蔓的缠绕、绳索的质感皆生动可触；设色淡雅，水墨晕染与淡彩交织，既有传统花鸟的意韵，又含写实的细腻。画面虽为秋景，却无萧瑟之气，反溢盎然生机，似能听闻虫鸣草语，观之如置身其间，满溢自然野趣。",[24,27,28,25,26,70,7,51,234,31,23],"芙蓉",[36],"cfc7c1",{"id":238,"slug":239,"title":240,"dynasty":170,"author":241,"museum":101,"description":242,"tags":243,"thumbUrl":245,"material":59,"size":59,"collection":59,"collections":246,"showCount":247,"zanCount":11,"manualWeight":11,"mainColor":139},234678,"dou-jia-tang-lang-ce-ye-zhong-qin-li-234678","豆荚螳螂册页","钟钦礼","钟礼，字钦礼，号南越山人，尤擅画云山、草虫。此图采用没骨画法，描绘一只螳螂立在豆荚枝上，饱含生趣。",[24,87,116,25,27,244,7,118],"豆荚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bf9c79368b74a231edc491d8e98dc18.jpg",[],11,{"id":249,"slug":250,"title":251,"dynasty":82,"author":252,"museum":101,"description":253,"tags":254,"thumbUrl":256,"material":135,"size":136,"collection":59,"collections":257,"showCount":258,"zanCount":11,"manualWeight":11,"mainColor":40},239091,"hua-hui-ce-ma-yuan-yu-239091","花卉册","马元驭","马元驭（1669—1722）清代画家。字扶羲，号栖霞，又号天虞山人，江苏常熟人。\n画传家法，而气韵超逸突过乃父。赋性落拓，纵酒逞笔，乃益豪放。写生得恽寿平亲传，又与蒋廷锡讨论六法，故没骨画益工，神韵飞动，不拘陈迹。元驭自以为得沈周、陆治遗意，其超纵处诚有陆氏风规，而老健远逊石田，盖能品也。兴至之作，逸笔尤佳，多用水墨。书亦隽雅。卒年五十四。",[24,87,116,25,70,27,255,29,7,118],"草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9457b8e43099b500bd10beb99e0bbaa1.jpg",[],9,{"id":260,"slug":261,"title":262,"dynasty":183,"author":19,"museum":145,"description":263,"tags":264,"thumbUrl":267,"material":59,"size":59,"collection":36,"collections":268,"showCount":269,"zanCount":11,"manualWeight":11,"mainColor":270},203046,"pu-tao-tang-lang-tu-zhou-qi-bai-shi-203046","葡萄螳螂图轴","画面中墨叶泼洒淋漓，浓淡相间见层次；粉紫葡萄以点簇手法绘就，颗颗饱满鲜活，似欲滴露。一只红螳螂攀于枝间，纤毫毕现，翅脉分明，与写意蔬果形成鲜明对比。白石老人以工写结合之法，将平凡蔬果与生灵化为妙趣横生的图景，墨色的豪放与设色的细腻相映成趣，动静相生间尽显对自然生灵的热爱与捕捉细节的功力，于质朴中见巧思，平凡景物里藏生活真味。",[24,27,265,266,131,7,23],"水墨设色","工写结合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefe2cb43f909318811b0ad972ced80eb.jpg",[36],8,"c9beaf",{"id":272,"slug":273,"title":274,"dynasty":82,"author":275,"museum":101,"description":276,"tags":277,"thumbUrl":278,"material":59,"size":59,"collection":59,"collections":279,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":40},238285,"hua-qia-xuan-yuan-tu-ce-huang-yue-238285","化洽翾蜎图册","黄钺","黄钺（1750年9月5日-—1841年8月16日），字左田，又名左君，号壹斋、左庶子，安徽芜湖人，清朝大臣，历仕乾隆、嘉庆、道光三朝。是著名的教育家、画家、艺术评论家。\n黄钺师法韩愈、苏轼、黄庭坚三人。 [5] 著有《壹斋集》40卷，其中《奏御集》2卷，杂篇6卷，《萧、汤二老遗诗合编》1卷，《画品》1卷。工诗文、书画，所绘山水，有萧云从余韵，“久邀睿赏，与富阳首相。国称董（浩）黄（钺）二家”，宫内名画，多为其鉴定真伪。诗词有苏东坡风韵，年九十一岁失明，自号“盲左”仍吟诗作画，故乡风情，吟咏殆尽，所作《于湖竹枝词》66首，亦诗亦史，富有深厚乡情。宋子才有“太白脱靴”，“山谷返棹”两图，石刻在太平府尊经阁内。《志》谓“子才七世孙，元太平路经历景阳刻”。嘉庆十七年（1812），黄钺在作此图时也注为元景阳刻。后觉有误，自责捉笔：“承讹袭谬，未暇深考。顷友人拓赠二纸，始知其谬，愧赧无已，爰记以诗，以志吾荒陋焉”。虚怀若谷，难能可贵。\n道光五年（1825），黄钺76岁，请求归休。宣宗“温旨慰留”。次年，又申前请，获准荣归。道光二十一年六月三十日申时（即1841年8月16日15时至17时）在芜湖家中逝世，享年九十二岁。宣宗悼惜，追封为太子太保衔，入祀贤良祠，按尚书条例抚恤，谥号“勤敏”。命史馆立传，赐祭葬，树石碑，葬于当涂南褐山下。同年，奉旨入芜湖乡贤祠。 [3]\n清代乾隆、嘉庆、道光年间，当涂出了一位赫赫有名的内阁尚书、军机大臣。黄钺，字左田，号左君，又号壹斋、左盲，生于乾隆十五年（1750年），卒于道光二十一年（1841年）。因其一生敏而好学，著述甚多，又“执掌皖南北书院十载”，对当地文化、教育做出了重要贡献。\n乾隆三十八年（1773年）十月，年仅23岁的黄钺在太平府学政使院参加岁试。安徽提督学政朱筠阅其卷，以为“奇才异能”，称道不止。朱筠在离开当涂回京都时，特地将这位年轻人带入京城应试，虽未中试，但得以在《四库全书》馆做誉录工作，因之学识大进。乾隆五十三年（1788年），黄钺考中举人，五十五年中进士，授户部主事。当时权臣和坤主管户部，因二人意见相左，借故请假回家，协助安徽巡抚李世杰在芜湖赭山谪翠轩创建中江书院，招员授业。嘉庆四年（1799年），仁宗亲政，黄钺奉命进京加封为“懋勤殿行走”。嘉庆九年（1804年），提升为“赞善，入直南书房”。嘉庆十年，出任山西学政，又特旨任湖北、山东、顺天等地的乡试主考官，后又兼任山西、山东学政，准予密折奏事。嘉庆十五年（1810年），迁侍讲学士，十八年擢升内阁学士，十九年升任户部侍郎，不久，又调任礼部侍郎。嘉庆二十四年（1819年），升任礼部尚书，并“赐紫禁城骑马肩舆入直，加封太子少保衔”。次年，升会试主考官。道光元年（1821年），宣宗亲政，封其为军机大臣，不久，又调任户部尚书，参与大典事宜，从事“京察议叙”。道光三年，宣宗“赐宴玉澜堂”，并给功臣绘像，黄钺是当时朝廷15名老臣之一。道光五年，黄钺已75岁，请求归休，宣宗又“温旨慰留”。次年，又申前请，始获准归乡。黄钺在朝廷历时27年。\n黄钺一生为封建统治阶级“矢勤矢慎”，但他笔耕不辍，在学术上也很有造诣。著有《壹斋集》四十卷、《壹斋诗集》三十六卷、《韩诗增注正讹》十一卷、《萧汤二老遗诗合编》二卷、《奏御集》二卷，另有《画友录》、《泛浆录》、《游黄山记》、《两朝恩赉记》、《二十四画品》等著作。他善画山水花鸟，尤长画梅，初学王 ，晚学王原祁，与“四王”末流董邦达并称山水画家。他的画，笔墨苍厚，他的字，既有书卷气，也有台阁气。他的诗，别具一格，很有气势。曾作的《花卉图》、《端阳佳景图》、《高冈长松图》等，无论青绿山水和水墨山水都很有特色。\n黄钺在绘画艺术上经过多年的实践和探索，将自己积累的经验进行理论概括，撰成画学专著《二十四画品》一书。《二十四画品》是仿照唐司空图撰写的中国古代文集约名著《二十四诗品》的体例而写成的。书中运用四言韵语，把各种绘画艺术风格概括为：一气韵，二神妙，三高古，四苍润，五沉雄，六冲和，七淡远，八补拙，九超脱，十奇辟，十一纵横，十二淋漓，十三荒寒，十四清旷，十五性灵，十六圆浑，十七幽邃，十八明净，十九健拔，二十简洁，二十一精谨，二十二隽爽，二十三空灵，二十四韶秀。整部著作文词典雅，清丽可诵，表现了栩栩如生的艺术形象。\n黄钺对谢朓、李白、黄庭坚十分崇拜，曾多次游览青山和采石矶。他颂扬谢朓“谢公爱青山，结宇恣啸咏”；在《咏李翰林》诗中讴歌李白：“仙骨埋青山，草木发灵异。”到采石矶“高怀吊古”，“掩英雄之泪，吟供奉之诗”。在他作的《采石矶赋》一文中，除了历数在这里发生的许多惊天动地的事件和英雄人物外，还特地为李白而感叹，说：“白也不群，宗之潇洒，着宫锦而扬帆，共兰舟而持 。旁若无人，歌清四野，当此之时，何其壮也！”黄钺又诗云：“平轩遥瞰一湖开，闻说涪翁守郡来。当日到官才九日，未应便起读书台。”该诗也附注曰：“赭山有滴翠轩，相传为涪翁读书处。李之仪跋山谷二词：‘鲁直请无为、当涂，而得当涂，犹蹭蹬一年方到官，既到九日而罢，又数日乃去。’“\n道光十一年（1831年），长江发生水患，回到家乡的黄钺 积极倡兴赈济，带头捐献俸银千两。道光十三年，濒临江淮的州县又遭水灾，黄钺又“捐百金助赈”，以救乡民。次年，当涂、芜湖一带饥荒，米珠薪桂，人民生计困难，黄钺又与王泽、许耕余等发动有田富户及绅士14家，按田交谷600担，兴办“丰备义仓”12座，当义仓上梁即将落成时，黄钺以诗记其事道：“成城缘众志，图匮在年丰。”并在“丰备义仓”的旁边建立私塾，招收蒙童，普及地方教育事业。\n道光十六年，88岁已不能认字，但仍吟诗咏物，所作《于湖竹枝词》66首，亦诗亦史，深入浅出，富有深厚的爱乡之情。",[24,70,25,210,32,56,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd881d276d020ab56053239fcff1ccb6c.jpg",[],7,{"id":282,"slug":283,"title":284,"dynasty":183,"author":19,"museum":145,"description":285,"tags":286,"thumbUrl":287,"material":59,"size":59,"collection":36,"collections":288,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":289},203328,"bei-ye-cao-chong-tu-zhou-qi-bai-shi-203328","贝叶草虫图轴","几片赭红叶片与淡墨枝茎错落交织，叶脉勾勒细劲，晕染出自然肌理。上方蝉翼轻薄透明，翅脉如丝清晰；下方螳螂翠色鲜活，肢足灵动欲跃。工笔草虫与写意花叶相映，笔墨兼具文人雅致与自然生机，白石老人以细致观察提炼平凡小景，于质朴中藏诗意，盎然情趣溢于纸间。",[24,70,71,27,73,7,25,28,118,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71f8ec4dd3c619daadf2e4c3dd6d4a4e.jpg",[36],"d4cabd",{"id":291,"slug":292,"title":293,"dynasty":82,"author":83,"museum":145,"description":294,"tags":295,"thumbUrl":299,"material":59,"size":59,"collection":59,"collections":300,"showCount":301,"zanCount":11,"manualWeight":11,"mainColor":302},202568,"mu-jin-tu-zhou-ju-lian-202568","木槿图轴","花枝蜿蜒舒展，粉瓣层叠如染，翠叶含露欲滴，尽显木槿柔媚之态。蜂虫振翅欲飞，螳螂昂首凝睇，笔触精微处翅脉纹理毕现。撞水撞粉技法晕染花叶，色泽鲜活灵动，仿佛能闻花香、听虫鸣。整幅画作清新雅致，生机盎然，将自然小景的意趣捕捉得淋漓尽致。",[70,27,25,296,297,7,298,23],"撞水撞粉","蜜蜂","木槿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb071a69df5a46691e6a9df818902f171.jpg",[],5,"bb9558",{"id":304,"slug":305,"title":306,"dynasty":307,"author":171,"museum":101,"description":308,"tags":309,"thumbUrl":312,"material":59,"size":59,"collection":59,"collections":313,"showCount":96,"zanCount":11,"manualWeight":11,"mainColor":40},225499,"fu-shi-hui-257-yi-ming-225499","浮世绘257","不详","这是一幅雅致的虫草蔬果绘，跨页铺展乡野闲趣。左页豆枝垂坠，薄叶晕着浅褐秋意，小蚱蜢静伏长豆之上，怯怯窥望周遭；右页倭瓜饱满沉实，暖黄似浸过蜜色，螳螂昂首立身瓜顶，舒展长臂透着灵动生姿，柔蔓牵缠的粉白花萼蜷卧旁侧。\n\n线条清隽疏朗，设色温柔内敛，浅米纸底衬着草木青苍、瓜实暖调，晕开松弛的秋日闲情。配侧的俳句题字诗画合璧，将乡野一隅的细碎生机揉入笔端，带着侘寂悠然的和风意趣，把市井日常里的山野清欢，绘作隽永的风物闲章。",[310,116,25,70,244,32,311,7,53,56],"浮世绘","南瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F215a6c5cb809a2aa1be1e56f0eb2b7d1.jpg",[],{"id":315,"slug":316,"title":317,"dynasty":82,"author":171,"museum":101,"description":318,"tags":319,"thumbUrl":324,"material":135,"size":136,"collection":59,"collections":325,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},272657,"yu-zhi-yue-ling-qi-shi-er-hou-shi-se-mo-tang-lang-sheng-zhu-mo-yi-ming-272657","御制月令七十二候诗色墨-螳螂生朱墨","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[320,321,322,323,7,88],"墨","朱墨","文房用具","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fbe3a7fd6da2dfce7786c5b5fad36fa.jpg",[],{"id":327,"slug":328,"title":329,"dynasty":82,"author":171,"museum":101,"description":330,"tags":331,"thumbUrl":338,"material":135,"size":136,"collection":59,"collections":339,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":139},251209,"bai-yu-dai-pi-qiao-zuo-lv-tang-lang-fu-tao-yi-ming-251209","白玉带皮巧作绿螳螂蝠桃","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。",[332,333,323,334,7,335,336,337],"清代","玉石","巧作","蝙蝠","桃","带皮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0482e2998b2463d18c94a262398aac07.jpg",[],{"id":341,"slug":342,"title":343,"dynasty":82,"author":171,"museum":101,"description":344,"tags":345,"thumbUrl":346,"material":135,"size":136,"collection":59,"collections":347,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},251161,"jing-huo-bi-yu-tang-lang-yi-ming-251161","经火碧玉螳螂","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。",[332,333,323,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F173853035e2c7ef3dea50324e7b174c8.jpg",[],1777535717289]