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and white 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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。",[23,116,184,27,185,117,186,187,188,154,7],"碧玉","深浮雕","楼阁","云瀑","亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb59c17728101d8729578c1c8e6f067af.jpg",[],{"id":192,"slug":193,"title":194,"dynasty":18,"author":19,"museum":20,"description":195,"tags":196,"thumbUrl":199,"material":31,"size":32,"collection":33,"collections":200,"showCount":177,"zanCount":11,"manualWeight":11,"mainColor":83},229839,"bai-yu-zi-mu-mao-zhi-zhen-yi-ming-229839","白玉子母猫纸镇","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。",[197,27,198,7,70],"白玉","猫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe34c5cff52bb258e343052d5a4ec1df8.jpg",[],{"id":202,"slug":203,"title":204,"dynasty":18,"author":19,"museum":20,"description":172,"tags":205,"thumbUrl":208,"material":31,"size":32,"collection":33,"collections":209,"showCount":177,"zanCount":11,"manualWeight":11,"mainColor":37},229111,"yong-zheng-shuang-feng-wen-song-hua-shi-yan-yi-ming-229111","雍正双凤纹松花石砚",[23,206,24,207,27,7],"松花石","凤纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b024df5e3fe0061c01baca7c6d7c8e5.jpg",[],{"id":211,"slug":212,"title":213,"dynasty":18,"author":19,"museum":20,"description":21,"tags":214,"thumbUrl":215,"material":31,"size":32,"collection":33,"collections":216,"showCount":217,"zanCount":11,"manualWeight":11,"mainColor":83},229192,"qian-long-yu-yong-si-ku-quan-shu-shi-mo-yi-ming-229192","乾隆 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，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。”",[45,152,243,244,7,245],"天青釉","开片","素面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb467e34fa7fe455aebc3a65d301679ca.jpg","瓷器精选",[247],{"id":250,"slug":251,"title":252,"dynasty":60,"author":19,"museum":20,"description":253,"tags":254,"thumbUrl":256,"material":31,"size":32,"collection":33,"collections":257,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":83},251956,"shui-jing-ling-zhi-shi-yan-shui-hu-yi-ming-251956","水晶灵芝式砚水壶","这件器物以清透烟色水晶为材，莹润澄澈间带着天然柔淡色泽。以圆雕技法将瑞兽与文房水器相融，瑞兽伏卧，躯体掏膛为贮水盂，一侧出灵芝花口小池，可贮水亦可掭笔。卷云纹缠于兽身，与旁侧灵芝浑然一体，线条婉转流畅，将瑞兽刻画得灵动憨拙。\n匠师巧借水晶天然质感，澄澈质地衬得纹饰愈发雅致，将文房雅用与瑞祥寓意相合，实用与赏玩兼具，尽显治晶工法的精妙，晕开古朴雅致的文房意韵。",[116,27,255,70,7],"灵芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31b0f2b90e20eb67fb51a4ecb7a90d61.jpg",[],{"id":259,"slug":260,"title":261,"dynasty":18,"author":19,"museum":20,"description":21,"tags":262,"thumbUrl":266,"material":31,"size":32,"collection":33,"collections":267,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":83},229926,"jin-qi-long-wen-zhu-mo-yi-ming-229926","金漆龙纹朱墨",[25,26,263,264,23,7,265],"金漆","朱色","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9cd0023e3a05bb94f73764e882ba237.jpg",[],{"id":269,"slug":270,"title":271,"dynasty":18,"author":19,"museum":20,"description":172,"tags":272,"thumbUrl":277,"material":31,"size":32,"collection":33,"collections":278,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":83},229531,"song-hua-shi-zi-shi-chang-fang-yan-yi-ming-229531","松花石紫石长方砚",[7,24,27,273,274,275,206,276],"长方","孤石","兰","紫石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb94586f7eb5ebc52ba93f2b08c298d10.jpg",[],{"id":280,"slug":281,"title":282,"dynasty":18,"author":19,"museum":20,"description":21,"tags":283,"thumbUrl":287,"material":31,"size":32,"collection":33,"collections":288,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":83},229504,"feng-pei-yu-mo-yi-ming-229504","鳯珮御墨",[23,25,7,27,284,285,286],"浮雕","凤","云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc6f59f7a8edd46b2e17a58d555ed793.jpg",[],{"id":290,"slug":291,"title":292,"dynasty":42,"author":19,"museum":20,"description":293,"tags":294,"thumbUrl":295,"material":31,"size":32,"collection":33,"collections":296,"showCount":297,"zanCount":11,"manualWeight":11,"mainColor":83},272583,"ping-di-chang-fang-tao-yan-yi-ming-272583","平底长方陶砚","瓜尔佳氏，满洲正蓝旗人，清朝大臣，官至署两江总督、仓场侍郎。",[24,152,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1955bdb1ce650e60d02e0fd39e084755.jpg",[],2,{"id":299,"slug":300,"title":301,"dynasty":18,"author":19,"museum":20,"description":172,"tags":302,"thumbUrl":306,"material":31,"size":32,"collection":33,"collections":307,"showCount":297,"zanCount":11,"manualWeight":11,"mainColor":37},272292,"she-shi-shou-xing-chang-fang-yan-yi-ming-272292","歙石寿星长方砚",[24,303,304,305,7,27],"歙石","长方砚","寿星","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33d46d7364597f9914613cd4aaadabe4.jpg",[],{"id":309,"slug":310,"title":311,"dynasty":18,"author":19,"museum":20,"description":172,"tags":312,"thumbUrl":315,"material":31,"size":32,"collection":33,"collections":316,"showCount":297,"zanCount":11,"manualWeight":11,"mainColor":83},271896,"duan-shi-yan-yu-yue-long-men-yan-yi-ming-271896","端石砚-鱼跃龙门砚",[24,313,314,27,141,7,70],"端石","鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71b6f464d8eb764d174e90cc833d3797.jpg",[],{"id":318,"slug":319,"title":320,"dynasty":18,"author":19,"museum":20,"description":172,"tags":321,"thumbUrl":324,"material":31,"size":32,"collection":33,"collections":325,"showCount":297,"zanCount":11,"manualWeight":11,"mainColor":83},271362,"huang-yi-ba-duan-shi-hai-gui-shi-yan-yi-ming-271362","黄易跋端石海龟式砚",[24,27,322,323,313,7],"海龟","海浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab87a6bc1466c94662437ee99cef0c55.jpg",[],{"id":327,"slug":328,"title":329,"dynasty":231,"author":19,"museum":20,"description":21,"tags":330,"thumbUrl":334,"material":31,"size":32,"collection":33,"collections":335,"showCount":297,"zanCount":11,"manualWeight":11,"mainColor":55},271260,"ren-shan-shi-lao-hu-kai-wen-zhi-zhen-lei-ge-tu-mo-yi-ming-271260","仁山氏老胡开文制枕雷阁图墨",[25,117,186,331,332,333,28,7],"树木","房屋","雪景","https:\u002F\u00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十幅，一图一文，以书配画，交相辉映。\n胡正言辑印《十竹斋书画谱》，广交名人时贤，亦自作书画付梓。全谱序、画、诗作者或书法题写者，多达一百五十余人。谱中所辑作品大多是由当时名家如吴彬、倪瑛、魏之克、米万钟、吴士冠、文震亨、高阳、高友等创作的，也有二十多幅画稿是临摹自赵孟頫、唐寅、沈周、文征明、陆治、陈道复等著名书画家的；胡正言自己也曾为谱画稿、题诗，画有“白莲”、“墨梅”、“芝草”三图，诗有“题梅花”、“题兰竹”两首。画谱中所题诗句，笔调清新，咏物抒情，不同程度地反映了诗人们喜爱画谱的心情。题诗大部分都是书写者自己所作，也有借用前人诗句题咏的，如胡正言用唐释无可的咏兰诗题《兰竹图》，西湖仙郎何伟然用徐渭咏榴诗题《石榴图》，竹冠道人应麟用刘禹锡题开元寺枸杞诗书《枸杞诗图》等等。全谱书法篆、隶、行、楷诸体皆备，最多的还是晚明文人流行的行草。这些书迹，大都兼有晋、唐、宋书家的风韵，亦可为后人临池所借鉴。\n醒天居士的《题十竹斋画册小引》把胡正言的爱好、特长及画谱刊印的初衷和艺术水平都进行了叙述：\n“王宰十日一山，五日一石，岂肖形之难哉？山有情，石有态，磅礴得之为难耳。近代画手，千临百摹，如里媪捧心，不揜儿寝，而目食者争售之，大轴小图，祗为壁疥。新安胡曰从氏，清姿博学，既精六书，尤擅众巧。所制隃糜硾茧与所镌法语名言，皆出新裁，赏鉴家多宝爱之。乃竹斋多暇，复创画册。所选皆花果竹石，有关于幽人韵士之癖好者。而写形既妙，设色尤工，至于翠瓣丹柎，葩分蕊折，花之情，竹之姿，与禽虫飞懦之态，奇石云烟之气，展册淋漓，宛然在目。盖淡淡浓浓，篇篇神采；疏疏密密，幅幅乱真，诚画苑之白眉，绘林之赤帜也。然王宰之画妙出毫锥，胡君之画妙出梨枣，是磅礴之心，较王宰更难；而成功之捷，较王宰更简更易，岂不尤奇哉！余故喜而叙之，愿与好事者同赏，仍俟具眼者定价焉。时癸酉年中秋前二日，醒天居士书于十竹斋。”\n《十竹斋书画谱》“绘刻精而奇，谱则巧而该”，在画谱刊行后不久就引起广泛的注意，开始有人仿刻了，以至胡氏声明道“原板珍藏，素遐真赏，近有效颦，恐混鱼目，善价沽者，勿虚藻鉴。”历代重印、翻刻者达二十余种。清代李渔等人辑印的《芥子园画传》也是在它的启发下产生的。",[693,68,694,70,24,74,25,7],"木刻","册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0adb9a0569f22e39f46e775572262b7.jpg",[],{"id":698,"slug":699,"title":700,"dynasty":18,"author":701,"museum":20,"description":702,"tags":703,"thumbUrl":707,"material":31,"size":32,"collection":33,"collections":708,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":83},229718,"cao-su-gong-yu-zhi-geng-zhi-tu-shi-yi-yun-mo-cao-su-gong-229718","曹素功 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一个威尼斯银币能买到八个瓷杯“。马可波罗的介绍，引起了西方人的强烈兴趣。",[152,70,1725,7],"白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa85292c4b226b492ae4150b336df0ba7.jpg",[247],{"id":1729,"slug":1730,"title":1731,"dynasty":18,"author":19,"museum":20,"description":182,"tags":1732,"thumbUrl":1734,"material":31,"size":32,"collection":33,"collections":1735,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":55},261888,"dao-guang-kuan-fang-diao-zhu-shan-shui-ren-wu-tu-bi-tong-yi-ming-261888","道光款仿雕竹山水人物图笔筒",[27,117,49,517,154,7,70,1733],"仿竹雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F731737f8647f2c8a5a5d8c2c8b6497b4.jpg",[],{"id":1737,"slug":1738,"title":1739,"dynasty":18,"author":19,"museum":20,"description":1740,"tags":1741,"thumbUrl":1743,"material":31,"size":32,"collection":33,"collections":1744,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},261723,"fen-cai-chang-fang-hua-pen-yi-ming-261723","粉彩长方花盆","以粉彩绘就庭院相逢之景，文生持扇而立，衣袂轻垂间尽显俊雅从容，仕女垂首静立，锦衣罗裙自带温婉柔态，二人顾盼生情，似诉幽思私语。衣饰施彩柔润鲜亮，粉红外袍晕染自然雅致，石青与鹅黄撞色和谐悦目，衣褶线条细劲流畅，将人物仪态勾勒灵动鲜活。莹润白釉为底，衬得粉彩愈发秀雅明丽，把古典眷侣的闲庭相逢的缱绻意趣凝于瓷间，尽显温婉柔润的瓷绘风韵，藏着旧时的脉脉温情与雅致审美。",[152,1716,68,49,1742,70,7],"美人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a1a3d16318381d7189b9f06598ec8aa.jpg",[],{"id":1746,"slug":1747,"title":1748,"dynasty":18,"author":19,"museum":20,"description":150,"tags":1749,"thumbUrl":1750,"material":31,"size":32,"collection":33,"collections":1751,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":83},260930,"cheng-hua-kuan-qing-hua-ren-wu-tu-pie-kou-bi-tong-yi-ming-260930","成化款青花人物图撇口笔筒",[152,153,49,154,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccfa75e2d546739b12f0ebaeddf23d6b.jpg",[],{"id":1753,"slug":1754,"title":1755,"dynasty":18,"author":19,"museum":20,"description":1756,"tags":1757,"thumbUrl":1759,"material":31,"size":32,"collection":33,"collections":1760,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":83},260546,"bai-you-an-hua-hua-hui-wen-xi-yi-ming-260546","白釉暗划花卉纹洗","将不含金属氧化物呈色元素的釉料施于胎骨洁白的器物上，入窑高温烧制而成的透明釉， 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