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。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[24,25,26,69,70,71,72,7,73,74,31,75],"人物","美人","嫦娥","明月","神话","书法","仕女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94e2d4be6243b39a212c3aab3031453a.jpg","未知","Xcm*Xcm","人物画精选",[79],539,9,{"id":84,"slug":85,"title":86,"dynasty":87,"author":88,"museum":66,"description":89,"tags":90,"thumbUrl":96,"material":97,"size":98,"collection":99,"collections":100,"showCount":101,"zanCount":58,"manualWeight":11,"mainColor":59},221443,"shuang-xi-tu-zhou-cui-bai-221443","双喜图轴","宋","崔白","作品描绘出深秋时节，寒风萧瑟，枯木衰草，落叶调零，呈现出一派秋风肃杀的冷峭凄凉景象。整幅画面当中两只灰喜鹊之间，灰喜鹊与野兔之间，鸟、兽与自然环境之间，刻画的生动自然，情景交融，充分的表现出它们之间相互呼应的关系。\n画中各物在作者的笔下蠢蠢欲动，大得自然野趣",[23,24,91,92,25,27,26,28,48,7,30,93,94,95],"名画","书画","枯树","草","土坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb964503850a97e641885f534281620c1.jpg","绢","纵193.7厘米、横103.4厘米","宋画精选",[99,35,37],358,{"id":103,"slug":104,"title":105,"dynasty":87,"author":106,"museum":66,"description":107,"tags":108,"thumbUrl":111,"material":33,"size":112,"collection":35,"collections":113,"showCount":114,"zanCount":58,"manualWeight":11,"mainColor":59},215138,"shan-hua-mo-tu-tu-yi-ming-215138","山花墨兔图","佚名","本幅绘野菊粟穗，一只墨兔伸着脖子，昂首嗅探，仿佛可以感觉到鼻息微动，栩栩如生。墨兔以墨色染成，并以浓淡不同的墨笔在深浅处丝出葺葺细毛，形态极为生动。　　本幅无作者款印，旧签称其出自宋人之手，然野菊、粟竿的用笔均与宋人不类，当为晚期画家根据宋代画稿所绘之作。",[23,91,24,92,27,26,109,28,7,110],"水墨","山花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34438c417608bca9dc57b060c9180a9f.jpg","37.5x42cm",[35],221,{"id":116,"slug":117,"title":118,"dynasty":87,"author":88,"museum":119,"description":120,"tags":121,"thumbUrl":122,"material":77,"size":78,"collection":123,"collections":124,"showCount":125,"zanCount":126,"manualWeight":11,"mainColor":59},287576,"shuang-xi-tu-cui-bai-287576","双喜图","藏地不详","两宋时期，中国古代花鸟画空前发展并取得重大成就。北宋前期，宫廷画家黄居采继承了其父黄筌的花鸟画风格，使细腻艳丽的富贵风格成为评判当时宫廷花鸟画优劣的准绳，直到崔白等人的出现，才打破了它一直以来的主导地位。崔白与黄筌一样注重写生、造型准确，但在画面中多了几分生趣，正是这种对禽鸟神态的关注，表明了花鸟画进入到一个新的发展阶段。画家将场景设定在深秋野外，被惊扰的野兔回首注视着一对喳喳直叫的山鹊，透过野兔的眼神，我们看到了它驻足回首时的惊异神情。有些诧异，却没有恐惧，因为它知道山鹊对自己没有威胁。它与山鹊之间的动作呼应、位置关联，一定是平日写生的结果，准确而生动。",[23,91,24,25,27,26,30,7,93,28,48,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64ec422a7f31392c01473ad0cdcb93a1.jpg","",[],210,1,{"id":128,"slug":129,"title":130,"dynasty":131,"author":132,"museum":133,"description":134,"tags":135,"thumbUrl":142,"material":33,"size":143,"collection":79,"collections":144,"showCount":145,"zanCount":146,"manualWeight":11,"mainColor":59},220267,"wu-xing-er-shi-ba-xiu-shen-xing-tu-liang-ling-zan-220267","五星二十八宿神形图","唐","梁令瓒","日本大阪市立美术馆","此图原分为上下两卷，前半卷画五星，后画二十八宿。此图现只存在五星及“角”至“危”十二宿神形，计17图，应当为上卷。星宿一般都与占卜相关联，而此图将天文，传说和世俗理念组为一体，独树一帜，形成了一种独特的艺术形式。每个星、宿各作一图，或老人，或描绘成女像，或是画成怪异的形象。有的人物骑着牛，有的手中拿着器物，面部特征与表情也各有不同。设色以黄色为基调，另有朱、青、绿、黑各色配合。衣褶、人体和兽身都采用晕染法，稍有立体感。",[23,91,24,92,136,137,27,26,138,69,139,140,48,141,7],"长卷","宗教","白描","牛","马","龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e3c8239f23b32915d34a24fb6fe3187.jpg","纵27.5厘米，横489.7厘米",[79],167,7,{"id":148,"slug":149,"title":150,"dynasty":87,"author":151,"museum":152,"description":153,"tags":154,"thumbUrl":156,"material":157,"size":158,"collection":99,"collections":159,"showCount":160,"zanCount":39,"manualWeight":11,"mainColor":59},221464,"tu-tu-sun-long-221464","兔图","孙隆","日本京都国立博物馆","孙隆（生卒年未详），一作孙龙，字纵吉，又字廷振，号都痴，武进（今江苏常州）人。开国忠愍侯孙兴祖之孙，宣德(1426-1435)间入值内廷，曾为“金门侍御”(翰林待诏)。生性颖敏，有仙人风度。工画花鸟，得徐熙、赵昌“没骨图法”，所绘禽鱼草虫不先勾勒定形而直接以色彩点染物象，此一画技可谓另开蹊径，自成一家，丰富了花鸟画传统技法，对后世泼彩写意影响深远。亦擅山水，宗宋代米芾、米友仁父子。从艺活动约在永乐、宣德、正统间，与林良(1416-1480)同时。传世作品有《雪禽梅竹图》轴、《芙蓉游鹅图》轴，现藏故宫博物院；《花鸟草虫图》卷藏吉林省博物馆；《花鸟草虫图册》十二页藏上海博物馆；《牡丹图》册页藏辽宁省博物馆。",[23,24,92,155,26,27,48,7],"宋画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97ec09cc9935e1e2fa5e683514485bfa.jpg","绢本","21.2×27.0",[99,35,37],157,{"id":162,"slug":163,"title":164,"dynasty":87,"author":165,"museum":119,"description":166,"tags":167,"thumbUrl":174,"material":157,"size":175,"collection":99,"collections":176,"showCount":177,"zanCount":39,"manualWeight":11,"mainColor":59},221303,"guo-shu-shuang-qin-tu-juan-yi-yuan-ji-221303","果熟双禽图卷","易元吉","易元吉（生卒年不詳，公元11世紀左右），字慶之，湖南長沙人。北宋時期著名畫家。天資穎異，靈機深敏，尤善畫猿猴，並因此而聞名天下。古代繪畫評論家把獐猿畫看成是易元吉的專工獨詣，認為是“世俗之所不得窺其藩”的絕技。",[23,91,24,92,136,26,27,28,48,7,30,168,169,170,171,172,173],"鸟","花","浆果","草木","山石","草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6631c878d850cd9d6af666f057a73051.jpg","41.8x288厘米",[99,35,37],148,{"id":179,"slug":180,"title":181,"dynasty":182,"author":183,"museum":119,"description":184,"tags":185,"thumbUrl":187,"material":77,"size":78,"collection":123,"collections":188,"showCount":189,"zanCount":126,"manualWeight":11,"mainColor":59},290143,"yao-miao-san-tu-tu-huang-ju-cai-290143","药苗三兔图","五代十国","黄居寀","黄居寀[cǎi]（933年—993年后），字伯鸾，成都（今属四川）人，五代十国名画家黄筌第三子。善画花竹、翎毛，为西蜀翰林待诏。蜀亡入宋，得宋太宗礼遇，黄家画法遂成宋初画院评画的标准。精于勾勒，用笔劲挺工稳，填彩浓厚华丽，其园竹翎毛形象逼真，妙得自然；怪石山水超过乃父，与父同仕后蜀，为翰林待诏，入宋仍任翰林待诏。尝合作殿廷墙壁，宫闱屏幛，不可胜记。",[24,91,136,27,26,28,7,30,186,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做过考证，对此图的看法是“侧重出自契丹族画家之手”，这是有道理的。\n由于辽代绘画受到唐、五代画风的深刻影响，与宋文化有着密切的关系，北宋初期的作品，一般都不署名。\n但从作品本身观察，其技法虽带装饰意味，却很难说是出自一般民间画师之笔。\n整幅画作设色清秀，意境明快，静中有动，生机勃勃。\n从中不难看出，画面的装饰气味比较浓厚，生活气息也相当强烈，从中可窥见花鸟画刚刚摆脱从属地位，开始形成独立画种的特点；同时，也不难了解到辽代的绘画艺术与中原的密切联系，又别具一格，值得珍视。\n这幅作品在构图上很讲究均衡对称，如竹与竹、雀与雀、兔与兔之间的位置距离，都保持一定的平行对称的关系，共至连竹叶的对生，花草的奇偶相对，都是经过作者审慎安排的。\n但它不是搞绝对平均的对称，而是在对称中又有一定的变化，并不使你感到单调死板，而是更富有民间艺术均衡饱满的装饰性风味，体现了当时人民群众对艺术的爱好和审美习惯。\n图中虽无作者款印，但因出土的墓葬为辽代早期，即北宋太宗时期，画作的时代下限可靠，为研究五代、北宋早期、辽代的山水画、花鸟画及中原绘画的发展与影响提供了极为可信的第一手资料。\n1974年5月在辽宁省法库县叶茂台辽代7号墓，出土了《竹雀双兔图》。\n该图现藏于辽宁省博物馆。\n218年8月14日，辽宁省博物馆举办“中国古代绘画展”，《竹雀双兔图》在其中展出。",[23,24,91,92,25,27,26,242,243,7,244,28,48,94,169],"竹","雀","荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01b9287a3d30581cccc1ff161cbfb278.jpg",[],73,{"id":249,"slug":250,"title":251,"dynasty":18,"author":106,"museum":119,"description":252,"tags":253,"thumbUrl":261,"material":77,"size":78,"collection":123,"collections":262,"showCount":263,"zanCount":204,"manualWeight":11,"mainColor":59},267492,"lv-se-duan-xiu-gui-hua-yu-tu-jin-pi-qiu-hua-wen-ba-yue-hua-shen-yi-yi-ming-267492","绿色缎绣桂花玉兔金皮球花纹八月花神衣","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。",[254,255,256,257,258,7,259,260],"衣帽","服饰","花神衣","布料","刺绣","桂花","皮球花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74a97d0349633aa053d67a02c01703f5.jpg",[],62,{"id":265,"slug":266,"title":267,"dynasty":64,"author":268,"museum":20,"description":269,"tags":270,"thumbUrl":273,"material":77,"size":78,"collection":123,"collections":274,"showCount":275,"zanCount":204,"manualWeight":11,"mainColor":59},289995,"chan-gong-yue-tu-tu-tao-cheng-289995","蟾宫月兔图","陶成","陶成（生卒年未详），字孟学，号雪湖仙人，宝应（今江苏宝应）人。成化七年（1471年）举人。生性疏狂，多才艺，诗文古朴。书善四体，善画花鸟人物，山水多用青绿，浓丽蔚拔，喜作勾勒，竹兔与鹤鹿均妙，随意画山水、花鸟、人物，都非常接近南宋人。芙蓉称为神品，为世人所珍藏。",[24,91,25,27,26,271,242,7,72,211,272,172,73,74],"青绿","流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47c9583ba3902ef676ff0c13ef74bb75.jpg",[],59,{"id":277,"slug":278,"title":279,"dynasty":182,"author":280,"museum":119,"description":281,"tags":282,"thumbUrl":287,"material":77,"size":78,"collection":123,"collections":288,"showCount":289,"zanCount":126,"manualWeight":11,"mainColor":40},287396,"shi-nv-yu-tu-tu-ye-zhou-wen-ju-287396","仕女玉兔图页","周文矩","周文矩（约907年－975年），五代十国时南唐的宫廷画家，句容（今江苏句容县）人。南唐李昪异元年间（937—943），已在宫中作画。后主李煜（961—975年）朝任翰林待诏，擅人物仕女，多以宫廷贵族或文士生活为题材，兼画山水、屋木、佛道。绘画风格接近唐代画家周昉而更纤丽，多用颤动的“颤笔”画衣纹，线条挺健又略带抖动和顿挫。宋人称其“用笔深远，于繁富则尤工”。",[23,24,91,283,27,26,284,70,7,285,216,286],"扇面","仕女画","楼阁","界画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74a2c3d32ca970cdb9e4de407e67b73b.jpg",[],55,{"id":291,"slug":292,"title":293,"dynasty":18,"author":294,"museum":119,"description":295,"tags":296,"thumbUrl":300,"material":123,"size":123,"collection":123,"collections":301,"showCount":302,"zanCount":11,"manualWeight":11,"mainColor":40},224545,"yue-zhong-gui-tu-tu-jiang-pu-224545","月中桂兔图","蒋溥","《月中桂兔图》是清乾隆时期蒋溥创作的一幅画。\n本幅自识：“臣蒋溥恭绘。\n”下钤：“臣”、“溥”朱文方印。\n下裱工钤有古物陈列所藏印：“宝蕴楼书画续录”朱文方印。\n按乾隆皇帝御题可知，该作品绘于 二十三年（1758年）中秋。\n上、下诗堂有乾隆皇帝、刘统勋、董邦达、刘纶、介福五家题诗，以及蒋溥自题诗。\n蒋溥自题：“宸襟拈句发清芳，惭愧濡毫数点黄。\n恰遇山庄开寿宴，兔轮初上碧天凉。\n臣蒋溥恭和。\n”下钤：“臣”、“溥”朱文方印。\n乾隆皇帝御题：“秋暖无端迟桂芳，缀枝初折几苞黄。\n玉㕙静守冰轮朗，画出人间满意凉。\n戊寅中秋御题。\n”下钤“乾”朱文方印、“隆”白文方印。\n刘统勋题：“蕊珠颗颗领秋芳，风露连宵色染黄。\n驻景不烦寻玉杵，冰轮影现永清凉。\n臣刘统勋恭和。\n”下钤“歌咏太平”白文长方印。\n董邦达题：“广寒高处落秾芳，颖暎金枝浥露黄。\n正是敷天开寿域，重轮无际一天凉。\n臣董邦达恭和。\n”下钤“邦”白文方印、“达”朱文方印。\n刘纶题：“一株玉宇领巌芳，顾腹祥占抱珥黄。\n天咏题成广寒谱，云璈合与奏新凉。\n臣刘纶恭和。\n”下钤“臣”、“纶”白文方印。\n介福题：“玉兔爰爰守桂芳，金波湛湛着花黄。\n普天恰祝如恒寿，风露先披上苑凉。\n臣介福恭和。\n”下钤“介福”白文方印。\n此图以墨笔绘圆月，月中玉兔以干笔写皮毛，焦墨点睛，形象生动可爱。\n桂树以墨笔绘枝、叶，笔法细腻老道。\n桂花以桔黄色点染，其温暖的色调为冷月寒宫增添了几许暖意。\n全图布局紧凑，色墨运用巧妙，极富情趣。\n画作题诗中“冰轮”、“兔轮”、“广寒”、“重轮”等语，皆为月亮与玉兔的隐喻，以诗歌的形式烘托画面主题，从而巧妙的将诗、书、画三者紧密结合，把月中玉兔、桂树的优美传说演绎的美轮美奂，实为一件精美的风俗画作品。\n此幅上除了蒋溥的画及自题诗外，还有乾隆皇帝的御制诗和刘统勋、董邦达等大臣的应和诗，从中可见乾隆皇帝对汉民族传统习俗的承袭，和他与臣僚之间以诗画共度中秋的雅集场景。",[23,24,92,25,27,109,26,7,297,298,299,94,74],"桂","月亮","树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac6f474eb82248126deb2f54e04d38a2.jpg",[],45,{"id":304,"slug":305,"title":306,"dynasty":64,"author":106,"museum":20,"description":307,"tags":308,"thumbUrl":309,"material":157,"size":310,"collection":123,"collections":311,"showCount":302,"zanCount":126,"manualWeight":11,"mainColor":59},223384,"shuang-tu-tu-ye-yi-ming-223384","双兔图页","《双兔图页》是明代佚名创作的绢本设色画。",[23,24,92,283,27,26,48,7,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd702801541ffb43e86522d41bd3b9e52.jpg","纵114.3厘米 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。明末清初画家，中国画一代宗师。",[24,109,332,7,94,31,333],"册","写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cbc32cb105dc79b84d7242b1e6cb60a.jpg",[],31,{"id":338,"slug":339,"title":340,"dynasty":64,"author":341,"museum":20,"description":342,"tags":343,"thumbUrl":346,"material":54,"size":347,"collection":123,"collections":348,"showCount":349,"zanCount":126,"manualWeight":11,"mainColor":59},234955,"ju-shi-ye-tu-tu-xu-lin-ju-234955","菊石野兔图","徐霖菊","《菊石野兔图》轴，明，徐霖绘，绢本，设色，纵160厘米，横52厘米。徐霖（1462—1538年），字子仁，号九峯道人，又号快园叟、髯仙等，江苏苏州人，徙居金陵。解音律，精篆法，善画。九岁能作大书，操笔成体，正书出入欧、颜，大书初法朱熹，几乱其真，后喜赵孟頫，笔力遒劲，结构端饬，自成一家。篆书始尚雄丽，晚益朴古。著有《丽藻堂文集》、《快园诗文集》等。",[24,92,25,27,26,344,345,7,48],"菊","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe4419186ef37cfbb681f6bb8d51bf21.jpg","纵160厘米，横52厘米",[],30,{"id":351,"slug":352,"title":353,"dynasty":87,"author":316,"museum":119,"description":354,"tags":355,"thumbUrl":358,"material":123,"size":123,"collection":123,"collections":359,"showCount":360,"zanCount":11,"manualWeight":11,"mainColor":59},227751,"yu-tu-tu-ye-gong-ji-227751","玉兔图页","兔子在民间象征着吉祥、智慧和谨慎，“玉兔呈祥”之说一直深入人心。“ 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。唐代宗时登进士第，补秘书省正字，擢累吏部员外郎，进御史中丞。唐宪宗时，由河东节度使被召拜为门下侍郎、同平章事（宰相）。晚年以太子少傅致仕，累封江夏县开国侯。\n元和十五年（820年），李鄘去世，追赠太子太保，谥号“肃”。《唐文拾遗续拾》录有其文一篇",[23,24,27,26,7,30,401,402,403,31],"老树","岩石","花鸟画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda0a93abe923ed1343f9eb30ea9c799f.jpg",[],22,{"id":408,"slug":409,"title":410,"dynasty":64,"author":106,"museum":119,"description":411,"tags":412,"thumbUrl":414,"material":123,"size":123,"collection":123,"collections":415,"showCount":406,"zanCount":126,"manualWeight":11,"mainColor":59},235681,"tao-cheng-chan-gong-yu-tu-tu-zhou-yi-ming-235681","陶成蟾宫玉兔图轴","此作图绘仙乡秘境，一轮素月悬于空濛天际，清辉铺洒四野。玉兔静伏于青竹之侧，茸毛细密柔润，红眸澄澈灵动，憨态可掬，为清冷画面晕开一抹柔温。\n\n青绿山石晕染雅致，水流蜿蜒有声，远山瀑布垂挂如练，浅绛淡青交织出幽谧空寂的氛围感。数竿修竹挺秀清疏，枯木虬枝添了几分古意，与题诗相映成趣，诗画相融，晕染出出尘的仙家意韵。\n\n笔墨兼工带写，设色古雅沉静，将缥缈蟾宫的清寂与鲜活生机揉和一处，尽显古典雅致的仙境意趣。",[24,25,26,27,211,242,7,72,272,172,413,48],"瀑布","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F199c4e3ce8b760deb87b3e87847a32a2.jpg",[],{"id":417,"slug":418,"title":419,"dynasty":18,"author":106,"museum":66,"description":420,"tags":421,"thumbUrl":423,"material":33,"size":123,"collection":123,"collections":424,"showCount":425,"zanCount":11,"manualWeight":11,"mainColor":40},215193,"sheng-ping-le-shi-tu-ce-11-yi-ming-215193","升平乐事图册-11","升平乐事图册是一部描绘升平乐事的图册，它是一部描述清朝时期升平乐事的图册。升平乐事是一种演出形式，通常在清朝皇帝登基或加冕时举行。这部图册记录了当时的升平乐事，包括演出的服装、舞蹈、音乐和道具等细节。",[24,92,332,27,26,69,242,211,422,30,7],"小桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b9185545ed6de6741f178d4aa2444ec.jpg",[],20,{"id":427,"slug":428,"title":429,"dynasty":64,"author":430,"museum":119,"description":431,"tags":432,"thumbUrl":439,"material":77,"size":78,"collection":123,"collections":440,"showCount":441,"zanCount":11,"manualWeight":11,"mainColor":59},283744,"lin-yan-zhen-qing-pei-jiang-jun-shi-juan-dong-qi-chang-283744","临颜真卿裴将军诗卷","董其昌","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖）。颇能诗文，著有《画禅室随笔》《容台文集》等。",[23,74,136,433,434,91,92,140,7,435,436,437,438],"临摹","行书","雪山","天山","征战","将军","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57ccec36f7144f94b8f77de5415ac21c.jpg",[],18,{"id":443,"slug":444,"title":445,"dynasty":131,"author":106,"museum":119,"description":446,"tags":447,"thumbUrl":450,"material":77,"size":78,"collection":123,"collections":451,"showCount":441,"zanCount":11,"manualWeight":11,"mainColor":40},223838,"yue-gong-jing-yi-ming-223838","月宫镜","唐代是中国古代铜镜制造的鼎盛时期，唐镜不仅继承了汉魏的文化传统，而且吸收了边疆民族的艺术成就，同时对外来（主要是波斯、印度）文化中的优秀部分也兼收并蓄，融汇一体，构图更加精细，使铜镜艺术达到了一个新的高峰。铸镜业是唐代最精细的工艺，每逢八月五日（唐玄宗生日）人们都将铜镜作为礼品送人，祝福长寿，这一天被定名为“千秋金鉴节”（金鉴指铜镜）。",[448,381,383,72,7,449,390],"唐代","桂树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70f1600c0f816552865a385e8138c5bb.jpg",[],{"id":453,"slug":454,"title":455,"dynasty":18,"author":106,"museum":119,"description":456,"tags":457,"thumbUrl":465,"material":77,"size":78,"collection":123,"collections":466,"showCount":467,"zanCount":126,"manualWeight":11,"mainColor":40},272942,"hua-li-mu-bian-qian-yu-ya-bo-gu-tu-gua-ping-yi-ming-272942","花梨木边嵌玉牙博古图挂屏","以素帛为底，将玉、牙诸珍料精巧嵌作博古清供。瓶梅横斜生韵，瑞兽憨态宛然，各式清供错落排布，复刻文房闲赏之景。瓷瓶莹润雅致，玉雕灵动细腻，搭配精巧铜座，将案头雅趣凝于屏间。匠者以镶嵌之工，把文人耽爱的清居意趣定格，件件小品细节入微，尽显手作精妙心思，将文玩雅韵与工艺巧思相融，满溢古韵闲情。",[458,459,460,461,462,463,383,7,28,390,464],"挂屏","博古图","木质","玉石","象牙","陶瓷","工艺品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa47b74d35afb69c7607b1f7c045c8498.jpg",[],17,{"id":469,"slug":470,"title":471,"dynasty":64,"author":268,"museum":20,"description":472,"tags":473,"thumbUrl":474,"material":77,"size":78,"collection":123,"collections":475,"showCount":476,"zanCount":11,"manualWeight":11,"mainColor":59},289996,"chan-gong-yu-mian-tu-tao-cheng-289996","蟾宫玉免图","陶成（生卒年未详），字孟学，号雪湖仙人，宝应（今江苏宝应）人。成化七年（1471年）举人。生性疏狂，多才艺，诗文古朴。书善四体，善画花鸟人物，山水多用青绿，浓丽蔚拔，喜作勾勒，竹兔与鹤鹿均妙，随意画山水、花鸟、人物，都非常接近南宋人。芙蓉称为神品，为世人所珍藏。\n陶成的绘画、书法造诣极高，与沈周、文徼明、唐寅、仇英“明四家”并称于世，有人甚至把他列于唐伯虎之上。明代文学家，书画鉴赏家李开先对陶成推崇备至、评价甚高。他的《中麓画晶》分明代画家为五等，陶成就雄冠其首。明韩昂《图绘宝鉴续编》云，陶成”书工篆隶直草，诗人奇古，画山川多用青绿，尤喜作钩勒，竹、兔与鸹、鹿，皆妙。 由其胸中洒然也”。明十才子之一李梦阳在其《观序上人所藏陶成画菊石歌》中，称赞陶成的菊花、岩石画远远超出了当时的菊石专家计汝和、徐霖。诗中说： “陶生画菊石，潦草笔有力…近时名手计汝和，此生笔力方之过。江柬徐霖学画石，效颦差胜王与何。”故而有这样的说法： “得黄金百不如云湖画一幅。”",[24,25,26,27,7,186,345,216,73,28,48],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd4b722fcfb2bc6a3de37c4f98356ed1.jpg",[],16,{"id":478,"slug":479,"title":480,"dynasty":18,"author":106,"museum":119,"description":481,"tags":482,"thumbUrl":487,"material":77,"size":78,"collection":123,"collections":488,"showCount":476,"zanCount":126,"manualWeight":11,"mainColor":59},267141,"qing-se-duan-kou-man-na-gui-hua-hai-tang-tu-wen-tuo-yuan-he-bao-yi-ming-267141","青色缎口满纳桂花海棠兔纹椭圆荷包","荷包是中国汉族传统服饰中，人们所随身佩带的一种装零星物品的小包，后发展为爱情信物，荷包的图案有繁有简，花卉、鸟、兽、草虫、山水、人物以及吉祥语、诗词文字都有，装饰意味很浓。\n在民间荷包中，占相当比重的是香包，香包里装有香草之类的药品，包面上绣制着“五毒”，即蝎子、蛇、蜈蚣、壁虎和蟾蜍，它原是五月端午的节令物品，为了防止各种毒虫猖獗，侵害人体，人们相互馈赠，挂在衣襟或帐勾上，以避除“五毒”。就形状来看，有虎形的、鸡形的、如意形的、寿桃形的、蝙蝠形的，以取意于福、禄、寿、喜、吉祥、如意等。富有深厚民族心理基础的绣荷包，在民间文化中，显示着旺盛的生命力。",[483,484,257,258,7,259,29,461,485,486],"饰品","日用具","流苏","荷包","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff234ba4163637935a86d96228ed2dcba.jpg",[],{"id":490,"slug":491,"title":492,"dynasty":227,"author":106,"museum":119,"description":493,"tags":494,"thumbUrl":498,"material":77,"size":78,"collection":499,"collections":500,"showCount":476,"zanCount":11,"manualWeight":11,"mainColor":40},256935,"jing-de-zhen-yao-you-li-hong-hua-hua-tu-wen-yu-hu-chun-ping-yi-ming-256935","景德镇窑釉里红划花兔纹玉壶春瓶","景德镇窑是中国传统窑炉之一，景德镇窑系属于宋代六大窑系之一。诞生于今江西省景德镇，故称景德镇窑，实际上由数个窑口组成。\n景德镇有着悠久的制瓷历史，完备的陶瓷产业体系，广泛的国际影响，是一座因瓷而生、因瓷而兴、因瓷而名的城市，也是一座“因开放而生，因开放而兴”的深度开放城市。\n景德镇窑据记载始烧于唐武德(618一626)年间。建国后发现瓷窑遗址多处，以杨梅亭窑、石虎湾窑、黄泥头窑最早，均为五代时期。\n中国传统的陶瓷可分为三大类：龙窑（倾斜式隧道窑）、阶级窑（倾斜式冷底多室窑）以及景德镇窑（平焰窑）。 景德镇窑为我国传统窑炉中独具风格的窑。它的烧成室型呈一头大一头小的长椭圆形，近窑门处宽而高，靠近烟囱则逐渐狭窄矮小，故有"鸭蛋窑"之称，全长约15-20米，容积为300-400立方米，是以松柴为燃料，火焰长而灰分少，因不含硫或者含量极少，适宜烧还原焰，对于白瓷、青花瓷、颜色釉瓷等传统瓷的釉面呈色效果良好，可装烧高火、中火、低火的瓷坯。因窑内腔较高（最高高度不超过6米），便于装烧大件制品，适合多品种生产的条件。因此，景德镇窑（在景德镇也叫柴窑）单位公斤瓷的燃料消耗量小。另外，其结构简单，镇窑建筑速度快，基建费用少，产量大，周转期快，可以快速烧成和快速冷却，适应于景德镇附近制瓷原料的特性和瓷器的传统风格。对南方某些瓷窑来说，在控制烧成气氛和瓷器质量，以及燃料（松柴）消耗等方面，镇窑均较龙窑、阶级窑和倒焰窑等优点。",[495,496,497,463,7,390],"元代","釉里红","划花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2b92df513282e5897132d9eb201936e.jpg","瓷器精选",[499],{"id":502,"slug":503,"title":504,"dynasty":505,"author":506,"museum":507,"description":508,"tags":509,"thumbUrl":10,"material":123,"size":123,"collection":79,"collections":512,"showCount":476,"zanCount":11,"manualWeight":11,"mainColor":513},202832,"pang-xu-zhai-bao-tu-tu-zhou-wang-zhen-202832","庞虚斋抱兔图轴","近代","王震","上海博物馆","画面中，长衫人物抱兔而立，神态从容闲适。苍松挺劲，虬枝间新梅绽放，山石朴拙，白兔灵动，景致清雅静谧。笔墨兼工带写，线条简练却精准勾勒形神，设色淡雅温润，融文人意趣与生活情味于一体，人物与松梅兔石相映成趣，尽显悠然恬淡的氛围。",[24,26,69,7,510,198,172,511,23],"松","兼工带写",[79],"b1a490",{"id":515,"slug":516,"title":517,"dynasty":87,"author":106,"museum":119,"description":518,"tags":519,"thumbUrl":520,"material":77,"size":78,"collection":123,"collections":521,"showCount":522,"zanCount":126,"manualWeight":11,"mainColor":59},290716,"shan-hua-mo-tu-zhou-yi-ming-290716","山花墨兔轴","本幅绘野菊粟穗，一只墨兔伸著脖子，昂首嗅探，仿佛可以感觉到鼻息微动，栩栩如生。墨兔以墨色染成，并以浓淡不同的墨笔在深浅处丝出葺葺细毛，形态极为生动。 本幅无作者款印，旧签称其出自宋人之手，然野菊、粟竿的用笔均与宋人不类，当为晚期画家根据宋代画稿所绘之作。",[24,92,25,27,48,7,344,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F043da57a89f7fedb4b409cb584404fa2.jpg",[],15,{"id":524,"slug":525,"title":526,"dynasty":527,"author":528,"museum":119,"description":529,"tags":530,"thumbUrl":535,"material":77,"size":78,"collection":123,"collections":536,"showCount":522,"zanCount":11,"manualWeight":11,"mainColor":40},231786,"ming-qing-ri-ben-gu-hua-fen-ben-niao-shou-xi-hua-juan-he-guo-xiao-zhai-231786","明清日本古画粉本-鸟兽戏画卷","不详","河锅晓斋","河鍋曉齋是日本幕末至明治時期的浮世絵師。評論家認為他是「一個獨立的帶有個人主義的，可能是傳統日本畫的最後大師」。",[23,24,92,136,138,109,27,386,7,531,532,533,168,199,172,94,534,48,69,28],"蛙","狮","猫","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1999d93bfc618f73b31dacf8332bcf76.jpg",[],{"id":538,"slug":539,"title":540,"dynasty":64,"author":541,"museum":119,"description":542,"tags":543,"thumbUrl":550,"material":77,"size":78,"collection":123,"collections":551,"showCount":552,"zanCount":11,"manualWeight":11,"mainColor":40},228301,"hua-niao-jing-pin-ce-chen-hong-shou-228301","花鸟精品册","陈洪绶","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[24,92,332,26,27,28,544,244,545,546,547,30,548,533,7,549],"牡丹","芙蓉","桃花","水仙","荷花","鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ab22e59eca769a09ba77829421839ef.jpg",[],13,{"id":554,"slug":555,"title":556,"dynasty":18,"author":194,"museum":507,"description":557,"tags":558,"thumbUrl":561,"material":123,"size":123,"collection":37,"collections":562,"showCount":552,"zanCount":11,"manualWeight":11,"mainColor":563},203050,"hua-niao-zou-shou-tu-ce-shen-quan-203050","花鸟走兽图册","寒林雪霁，枯木虬枝覆雪，苍劲中透着疏朗；青柏翠叶点缀其间，为素净冬日晕开一抹生机。岩畔溪流潺潺，水纹细腻如织，似携泠泠清音。几只小兽（兔与狸）或卧雪小憩，或探头觅食，兽毛晕染层次分明，姿态憨态可掬又灵动鲜活。画作工笔精谨，线条勾勒精准流畅，设色淡雅温润，雪景留白与墨皴山石、染叶树木相映成趣，将冬日山林的静谧与生命的意趣完美相融，尽显自然之美与笔墨匠心。",[27,26,559,48,7,560,272,172,332,23],"雪景","枯木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdfc54864e26cf2b0420329f42874c07.jpg",[37],"b3a07f",{"id":565,"slug":566,"title":567,"dynasty":18,"author":568,"museum":507,"description":569,"tags":570,"thumbUrl":571,"material":123,"size":123,"collection":35,"collections":572,"showCount":552,"zanCount":11,"manualWeight":11,"mainColor":573},201786,"shi-nv-san-tu-tu-zhou-yu-zhi-ding-201786","仕女三兔图轴","禹之鼎","娴静仕女端坐于葱郁草木间，衣袂纹饰繁复雅致，眉目低垂间流露温婉静穆之态。身旁三兔或蜷卧休憩，或轻跃嬉戏，灵动活泼，与仕女的娴雅形成动静相宜的呼应。画面工笔勾勒精准细腻，设色淡雅温润，草木枝叶晕染层次分明，尽显笔墨的精致韵味。整体氛围宁静雅致，于细微处传递出悠然的生活意趣，仿佛时光在此刻缓缓流淌。",[27,26,69,70,7,25,28,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68fef2160efd3b1b9d091459a5fec51b.jpg",[35],"71654a",{"id":575,"slug":576,"title":480,"dynasty":18,"author":106,"museum":119,"description":481,"tags":577,"thumbUrl":578,"material":77,"size":78,"collection":123,"collections":579,"showCount":580,"zanCount":11,"manualWeight":11,"mainColor":59},267142,"qing-se-duan-kou-man-na-gui-hua-hai-tang-tu-wen-tuo-yuan-he-bao-yi-ming-267142",[483,257,7,259,29,486,258],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F676698fbf9d44d22108316cd1d72ab42.jpg",[],12,{"id":582,"slug":583,"title":584,"dynasty":64,"author":106,"museum":119,"description":585,"tags":586,"thumbUrl":591,"material":77,"size":78,"collection":123,"collections":592,"showCount":580,"zanCount":11,"manualWeight":11,"mainColor":40},260139,"cheng-hua-kuan-qing-hua-jin-di-bai-tu-wen-lian-ban-kou-pan-yi-ming-260139","成化款青花锦地白兔纹莲瓣口盘","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。",[463,587,588,7,589,590],"青花","莲瓣口盘","花卉纹","锦地纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff778b29e67174e1a07252c7047eb80f7.jpg",[],{"id":594,"slug":595,"title":596,"dynasty":227,"author":106,"museum":119,"description":597,"tags":598,"thumbUrl":601,"material":77,"size":78,"collection":499,"collections":602,"showCount":603,"zanCount":11,"manualWeight":11,"mainColor":59},260072,"ci-zhou-yao-hei-cai-ren-wu-shuang-tu-wen-guan-yi-ming-260072","磁州窑黑彩人物双兔纹罐","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。",[463,599,69,7,285,544,600],"黑彩","罐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88d83dc563a8277c2e75e020eca8bb8b.jpg",[499],8,{"id":605,"slug":606,"title":607,"dynasty":64,"author":106,"museum":119,"description":608,"tags":609,"thumbUrl":611,"material":77,"size":78,"collection":123,"collections":612,"showCount":603,"zanCount":126,"manualWeight":11,"mainColor":59},250849,"bai-yu-shi-er-chen-tu-yi-ming-250849","白玉十二辰——兔","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。",[461,383,7,610,483,390],"生肖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc65074b60db0d145e0125dfb8a31f13e.jpg",[],{"id":614,"slug":615,"title":616,"dynasty":87,"author":106,"museum":119,"description":617,"tags":618,"thumbUrl":620,"material":77,"size":78,"collection":123,"collections":621,"showCount":603,"zanCount":11,"manualWeight":11,"mainColor":622},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。",[619,461,31,48,7,383],"宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F458444ec7a6667c5c451ceec905f9132.jpg",[],"F48FB1",{"id":624,"slug":625,"title":626,"dynasty":377,"author":106,"museum":119,"description":627,"tags":628,"thumbUrl":631,"material":77,"size":78,"collection":123,"collections":632,"showCount":633,"zanCount":11,"manualWeight":11,"mainColor":59},256923,"qing-you-tu-niu-lian-ban-wen-quan-yi-ming-256923","青釉兔纽莲瓣纹权","中国瓷器著名传统颜色釉。亦称“青瓷釉”。古代南方青釉，是瓷器最早的颜色釉。\n所谓“青釉”，颜色并不是纯粹的青，有：月白、天青、粉青、梅子青、豆青、豆绿、翠青等，但多少总能泛出一点青绿色。同时，古人往往将青、绿、蓝三种颜色，一统称为“青色”，例如许之衡《饮流斋说瓷》称：“古瓷尚青，凡绿也、蓝也，皆以青括之。”刘子芬《竹园陶说》中也说：“青色一种，常与蓝色相混。雨过天晴，钧窑、元窑之青，皆近蓝色。”“惟千峰翠色、梅子青、豆青、乃为纯青耳。天色本蓝，有时为青。”\n青釉是我国使用最早，延用时间最久，分布最广的一个釉种，它的发明是与我国瓷土矿大都含有一定量的铁矿的现象相一致的。青色也符合我国人民的传统审美情趣。青色与碧玉相若，认为稳重而高雅。浙江、江西、河南等地已出土了不少早至商周时期的原始青釉瓷。六朝至唐宋以越窑为代表的南方青釉瓷；宋到元明的龙泉窑系青瓷；耀州窑、临汝窑、钧窑等宋代北方青瓷；以及明、清以来的景德镇青釉瓷，是青釉发展的几个重要阶段，所谓的宋代“汝、定、官、哥、钧”五大名窑，除定窑外均属青釉瓷。表釉的呈色主要决定于着色氧化物的含铁量与烧成气氛，青釉含铁量一般在1—3%左右，过高会变成黑釉，低了就能烧成白瓷。在还原气氛中烧成。釉色青绿；在氧化气氛中烧成，釉色泛黄。因而陶瓷界所谓的青釉是相对而言的，正如许之衡《饮流斋说瓷》中所说：“古瓷尚青，凡绿也，蓝也，皆以青括之。”",[463,629,383,7,48,630,380,390],"青釉","莲瓣纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ac4e691a82c5f03171354b30fc5d189.jpg",[],6,{"id":635,"slug":636,"title":637,"dynasty":227,"author":106,"museum":119,"description":608,"tags":638,"thumbUrl":639,"material":77,"size":78,"collection":123,"collections":640,"showCount":633,"zanCount":126,"manualWeight":11,"mainColor":59},252663,"bai-yu-tu-xing-pei-yi-ming-252663","白玉兔形佩",[461,483,383,48,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c89427d235dd644dc863d78ccd3ed6f.jpg",[],{"id":642,"slug":643,"title":644,"dynasty":18,"author"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釉色因白润瓷胎的映衬而显出白色，现在习惯上将这种透明釉也称为白釉。\n瓷器釉料中的含铁量降低到0.75%以下，施于洁白的瓷胎上，入窑经高温烧制，就会出现白釉。严格地说，白釉是一种无色透明釉，而不是白色的釉 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