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李迪，生卒年不详。",[49,82,23,50,97,26,27,25,7,158,159,31],"飞鸟","树木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9c8c8a18311cb4fc28befe1cd47b8a.jpg","38.3x193.2cm",[],106,{"id":165,"slug":166,"title":167,"dynasty":18,"author":168,"museum":46,"description":169,"tags":170,"thumbUrl":172,"material":173,"size":174,"collection":34,"collections":175,"showCount":176,"zanCount":89,"manualWeight":11,"mainColor":39},239215,"qian-yan-hong-tao-tu-zhou-qian-yu-ling-239215","千岩红桃图轴","钱与龄","清代女画家钱与龄（1763—1827年），字九英。其曾祖母陈书（字南楼）是太学生陈尧勋的长女，她的作品被乾隆帝赏识，很多作品有乾隆帝题诗。乾隆帝评她的作品是：“结构总无巾帼气”。钱与龄从小受曾祖母的影响，耳濡目染，笔墨技法上继承家风，蔚为大观。",[23,68,27,26,25,7,83,171],"桃叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75505da78daeef02e6ba57b4bf4ac929.jpg","未知","Xcm*Xcm",[],88,{"id":178,"slug":179,"title":180,"dynasty":181,"author":182,"museum":20,"description":183,"tags":184,"thumbUrl":187,"material":33,"size":188,"collection":35,"collections":189,"showCount":190,"zanCount":116,"manualWeight":11,"mainColor":39},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。",[49,23,82,26,27,25,185,83,7,186,70],"松鼠","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ee543dd71f018935820f6ac096a19bf.jpg","纵26.3公分，横44.3公分",[35],86,{"id":192,"slug":193,"title":194,"dynasty":18,"author":195,"museum":46,"description":196,"tags":197,"thumbUrl":207,"material":173,"size":174,"collection":34,"collections":208,"showCount":209,"zanCount":116,"manualWeight":11,"mainColor":39},290314,"sui-chao-li-jing-zhou-chen-shu-290314","岁朝丽景轴","陈书","通过描绘各种带有良好意愿谐音的物品，来表达对新年的祈盼和祝福。运用谐音、象征的表现手法，在明清许多吉庆画中屡见不鲜，体现着含蓄、高雅的情调，带有较强的文化气息。",[23,68,26,27,25,198,199,200,201,7,202,203,204,70,205,206],"梅","山茶","水仙","红果","柿子","盆栽","陶瓷","岁朝","吉祥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4db4869e407e5adfdd4127d79baf616d.jpg",[],50,{"id":211,"slug":212,"title":213,"dynasty":214,"author":215,"museum":46,"description":216,"tags":217,"thumbUrl":230,"material":173,"size":174,"collection":231,"collections":232,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":39},226035,"still-life-with-a-melon-1872-mo-nai-226035","Still 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用陶瓷、竹木、等制成的筒形插笔器具。笔筒是搁放毛笔的专用器物，据文献记载，它的材质有镏金、翡翠、紫檀和乌木，现在我们能够见到的传世器物，大多是用瓷或者是竹木制作的。具有收藏价值。",[341,342,343,344,345,346,7,347],"器","雕刻","笔筒","文房用具","蝠桃纹","蝙蝠","匏制","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9885bc6c01aa79a5cf6950d264eb1c6.jpg",[],"37474F",{"id":352,"slug":353,"title":354,"dynasty":18,"author":252,"museum":46,"description":355,"tags":356,"thumbUrl":362,"material":173,"size":174,"collection":34,"collections":363,"showCount":116,"zanCount":11,"manualWeight":11,"mainColor":59},246484,"ti-hong-ren-wu-gu-shi-tu-hai-tang-shi-he-yi-ming-246484","剔红人物故事图海棠式盒","清代文物。旧时用于存放食物或饰品之用,根据材质价值不同。清宫旧藏",[24,357,358,359,342,327,360,361,132,7],"漆器","剔红","雕漆","故事场景","海棠形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4133c6ccd4edf1ce12d096b8a25d5cc.jpg",[],{"id":365,"slug":366,"title":367,"dynasty":18,"author":252,"museum":46,"description":368,"tags":369,"thumbUrl":372,"material":173,"size":174,"collection":34,"collections":373,"showCount":116,"zanCount":11,"manualWeight":11,"mainColor":39},241735,"cui-diao-tao-zi-wen-jie-zhi-yi-ming-241735","翠雕桃子纹戒指","是一种戴套在手指上做纪念或装饰用的小环，用金属、玉石等制成。\n戒指在中国古代多称为“指环”，而“戒指”之名的出现，则是元代的事情。",[370,342,7,371],"玉石","饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F734be1c1a0b9d8528806fc9a5accac09.jpg",[],{"id":375,"slug":376,"title":377,"dynasty":18,"author":252,"museum":46,"description":378,"tags":379,"thumbUrl":383,"material":173,"size":174,"collection":34,"collections":384,"showCount":116,"zanCount":11,"manualWeight":11,"mainColor":39},229665,"san-duo-ru-yi-yi-ming-229665","三多如意","如意为木胎，其上采用八成金质累丝工艺。如意头的正面为累丝古钱纹，中心嵌绿松石“乙酉”二字，背面为镂空的古钱纹并露出木胎。柄的正面亦为累丝古钱纹，镶嵌绿松石“万年如意”四字，背面为累丝六角锦纹。如意的侧边以卷草纹为饰。",[24,380,342,381,7,99,382,341],"金器","佛手","流苏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a8db740582819aa0a5e28b316e4a447.jpg",[],{"id":386,"slug":387,"title":388,"dynasty":18,"author":389,"museum":390,"description":391,"tags":392,"thumbUrl":394,"material":34,"size":34,"collection":34,"collections":395,"showCount":116,"zanCount":11,"manualWeight":11,"mainColor":396},202493,"hua-guo-ye-xu-gu-202493","花果页","虚谷","上海博物馆","画面中，绣球花团簇如雪球，碎笔点染的花瓣层叠蓬松，墨叶以浓淡笔触交织，尽显舒展之态；三只桃子线条简洁圆润，淡彩晕染出饱满质感，憨态可掬。古朴器皿承托花叶，造型沉稳，线条洗练。左侧题款笔力清劲，与画面相映成趣，文人雅韵扑面而来。整作笔墨灵动，设色淡雅，于简约中见精巧，冷逸中含生机，是花果题材文人画的精妙之作。",[23,50,295,125,27,25,341,26,393,7,49],"绣球花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89f00c357c0e24c7134cfe6286b0343a.jpg",[],"b4a798",{"id":398,"slug":399,"title":400,"dynasty":18,"author":252,"museum":46,"description":401,"tags":402,"thumbUrl":406,"material":173,"size":174,"collection":34,"collections":407,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":350},270144,"yan-zhi-hong-se-fa-lang-yuan-pan-ran-xiang-ya-tao-shi-guo-pan-yi-ming-270144","胭脂红色珐琅圆盘染象牙桃实果盘","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。",[403,404,7,405,342],"珐琅器","象牙","果盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b25bb9e1b83d328634c3003795e053e.jpg",[],{"id":409,"slug":410,"title":411,"dynasty":18,"author":252,"museum":46,"description":412,"tags":413,"thumbUrl":417,"material":173,"size":174,"collection":34,"collections":418,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":350},267945,"yuan-qing-se-duan-di-san-duo-mu-dan-ju-wen-tao-yi-ming-267945","元青色缎地三多牡丹菊纹绦","经线提花锦的组织结构和纹样都十分复杂，舞人动物纹锦的纹样横贯全幅，充分反映了当时已有了先进的提花织造技术。精美的刺绣品共有17种纹样，构图大，讲究对称、平衡，色彩配合恰当，给人以端庄典雅、富丽堂皇的美感。纹样内容充满神话色彩，鲜明地反映了楚文化的浪漫主义特色。墓中出土的衣袍为直据，是当时贵族中最流行的一种服式。这批先秦织物的出土，为深入研究我国古代纺织史提供了珍贵的实物资料。",[414,415,371,416,133,284,7,381],"绦带","布料","织绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb63f5f8d83d37e648d31b75aab701173.jpg",[],{"id":420,"slug":421,"title":422,"dynasty":18,"author":252,"museum":46,"description":412,"tags":423,"thumbUrl":425,"material":173,"size":174,"collection":34,"collections":426,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},267902,"hu-se-duan-di-dan-cai-san-duo-lian-mu-dan-wen-tao-yi-ming-267902","湖色缎地淡彩三多莲牡丹纹绦",[415,414,416,424,133,134,99,7,132,31],"淡彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30f91269fba0e3d2bbdb5002b630bd75.jpg",[],{"id":428,"slug":429,"title":430,"dynasty":18,"author":252,"museum":46,"description":431,"tags":432,"thumbUrl":437,"material":173,"size":174,"collection":34,"collections":438,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},263709,"xue-qing-se-zheng-zhi-fu-tao-wen-jiang-chou-yi-ming-263709","雪青色整枝蝠桃纹江绸","柔媚雪青色调晕开温婉古韵，整枝蝠桃纹样隐于纱织肌理之中。蝙蝠身形灵动翩跹，蟠桃饱满莹润，暗藏福寿吉庆的美好祈愿。提花工艺将纹样与绸料浑然相融，不张扬喧闹，只在光影流动间，如远山映水般朦胧浮现，尽显东方美学含蓄留白的诗意。\n面料顺滑软糯，带着旧时织造的细腻匠心，把祥瑞寓意藏入日常织物，将实用与雅趣悄然糅合，晕开百年前的温婉雅致，尽显中式器物的内敛风华。",[433,415,434,345,346,7,435,436],"雪青色","江绸","耕织图","暗花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48d562406342e007ca873c1825ac90da.jpg",[],{"id":440,"slug":441,"title":442,"dynasty":18,"author":252,"museum":46,"description":443,"tags":444,"thumbUrl":449,"material":173,"size":174,"collection":34,"collections":450,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":350},260890,"li-qing-hua-wai-fen-cai-hua-hui-wen-wan-yi-ming-260890","里青花外粉彩花卉纹碗","青花瓷（blue 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