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书法上，其笔法较为严谨，笔画均匀遒劲，波磔生动而有特色，转折多呈方形；结体以长方为主，近篆书形态，但篆书结构遗留甚少，不是篆隶结合的书体，而是少见的汉代长形隶书；章法上，全篇布局疏朗透灵，但节奏感不明显，行间字距匀称和笔画粗细适中，其间扁方的少量字形处理较为得当，无生硬、不和谐之感。",[47,48,49,50,51,52,53,7],"高清","汉代","隶书","拓本","书法","碑刻","石刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51f1a2a98e0fd7a5ab550399b7fe424.jpg","纸本,水墨","288x105.6",[],39,"795548",{"id":61,"slug":62,"title":63,"dynasty":64,"author":43,"museum":65,"description":66,"tags":67,"thumbUrl":73,"material":74,"size":75,"collection":33,"collections":76,"showCount":77,"zanCount":36,"manualWeight":11,"mainColor":37},226530,"yuan-xian-jun-mu-zhi-ming-yi-ming-226530","元顯儁墓誌銘","南北朝","藏地不详","《元显俊墓志》此志石灰石质，通高35厘米，长75厘米，宽56.5厘米。上面为志盖，用阴线刻满四边形、五边形、六边形的龟甲纹样，龟甲中央阴刻正书“魏故处士元君墓志”八个字。下面镌刻着正书志文，计十九行，行二十一字，共三百五十七字",[47,50,51,68,52,69,70,71,7,72],"楷书","雕刻","龟形","南北朝风格","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F417e6dae5e8c8ca2108ba2bef47cfcd7.jpg","未知","Xcm*Xcm",[],31,{"id":79,"slug":80,"title":81,"dynasty":82,"author":83,"museum":84,"description":85,"tags":86,"thumbUrl":91,"material":32,"size":92,"collection":33,"collections":93,"showCount":94,"zanCount":11,"manualWeight":11,"mainColor":37},222704,"shu-fa-li-zhou-jin-nong-222704","书法立轴","清","金农","上海朵云轩","金农（1687年—1763年），字寿门、司农、吉金，号冬心先生、稽留山民、曲江外史、昔耶居士等，因其人生历经康熙、雍正、乾隆三朝，所以自封“三朝老民”的闲号，钱塘（今浙江杭州）人，布衣终身。清代书画家，扬州八怪之首。\n他好游历，卒无所遇而归。晚寓扬州，卖书画自给。嗜奇好学，工于诗文书法，诗文古奥奇特，并精于鉴别。书法创扁笔书体，兼有楷、隶体势，时称“漆书”。五十三岁后才工画。其画造型奇古，善用淡墨干笔作花卉小品，尤工画梅。\n代表作有《东萼吐华图》《空捍如洒图》《腊梅初绽图》《玉蝶清标图》《铁轩疏花图》《菩萨妙相图》《琼姿俟赏图》等。著有《冬心诗集》《冬心随笔》《冬心杂著》等\n\n书法成就:\n金农是扬州八怪的核心人物。他在诗、书、画、印以及琴曲、鉴赏、收藏方面都称得上是大家。金农从小研习书文，文学造诣很高。浓厚的学养使他居于“扬州八怪”之首。\n但是金农天性散淡，他的书法作品较扬州八怪中的其他人来说，传世作品数量是非常少的。他生活在康、雍、乾三朝，因此他给自己封了个“三朝老民”的闲号。金农初不以工书为念，然书法造诣却在“扬州八怪”中成为最有成就的一位，特别是他的行书和隶书均有着高妙而独到的审美价值。\n他的隶书早年是“墨守汉人绳墨”的，风格规整，笔划沉厚朴实，其笔划未送到而收锋，结构严密，多内敛之势，而少外拓之姿，具有朴素简洁风格，金农的书法艺术以古朴浑厚见长。他首创的“漆书”，是一种特殊的用笔用墨方法。“金农墨”浓厚似漆，写出的字凸出于纸面。所用的毛笔，象扁平的刷子，蘸上浓墨，行笔只折不转，象刷子刷漆一样。这种方法写出的字看起来粗俗简单，无章法可言，其实是大处着眼，有磅礴的气韵。\n最能反映金农书法艺术境界的是他的行草。他将楷书的笔法、隶书的笔势、篆书的笔意融进行草，自成一体，别具一格。其点画似隶似楷，亦行亦草，长横和竖钩都呈隶书笔形，而撇捺的笔姿又常常近于魏碑，分外苍劲、灵秀。尤其是那些信手而写的诗稿信札，古拙淡雅，有一种真率天成的韵味和意境，令人爱不释手。 金农的行书从其早期开始就不入常格，而以碑法与自家的“漆书”法写成的行草书，用笔率真，随心所欲，点画浪藉而又笔墨醇厚，粗头烂服之间，透出苍逸稚拙之趣，令人叹服；其“写经雕版”式的楷书，似乎与民间书法一脉相通，没有轻重的线条变化和圆润的转折用笔，也没有提顿中的波挑，以均匀的线条和方硬的转折，书写出类似单线体美术字的书体，却又具有器形文字般的古茂，其书法的启迪意义非常深远。传世书迹有《度量如海帖》，今流入日本。《盛仲交赞》，绢本漆书。\n\n绘画成就:\n年五十始从事于画，涉笔即古，脱尽画家之习，良由所见古迹多也。初写竹师石室老人，号稽留山民，继画梅师白玉蟾，号昔邪居士。画佛号心出家盦粥饭僧。又画马自谓得曹、韩法，赵王孙不足道也。其山水花果布置幽奇，点染闲冷，非复尘世间所睹，盖皆意为之。问之则曰贝多龙窠之类也。他画梅，自称“江路野梅”、要求“天大寒时香千里”，画马题道：“今予画马，苍苍凉凉，有顾影酸嘶自怜之态，其悲跋涉之劳乎？世无伯乐，即遇其人，亦去暮矣？吾不欲求知于风尘漠野之间也。”足见其怀才不遇的心情。他在一册页上画一士大夫高卧四面通风的水池亭中，题曰：“风来四面卧当中”。逍遥自在，不及世事，亦以“清高”自居。金农申言要把自己“平生高岸之气”，一一见之画中。“以抒不平鸣”。在一幅《墨竹图》中，他竟然直书：“磨墨五升，画此狂竹，不钓阳鲚，而钓诸侯也。” 喜画瘦竹，说“画竹宜瘦，瘦多寿，自然饱风霜耳”。每画毕，必有题记，如“虚心高节，挺立不屈，久而不改其操，竹之美德也。”《雨后修篁图》题诗曰：“雨后修篁分外青，萧萧如在过溪亭。世间都是无情物，只有秋声最好听。”\n所画人物造型奇古夸张，笔法古拙简练，形象鲜明突出；山水构图别致，随意挥写点染，简朴疏秀 ；其梅、竹用笔奇拙 ，凝练厚重 。书法从《天发神谶碑》、《禅国山碑》、《谷郎碑》变化而出，运笔扁方，竖轻横重，别具奇趣，风格独特，自谓漆书。金农的书画在当时享誉很高 ，为扬州八怪之一 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），汉族，字幼玄， 一作幼平或幼元，又字螭若、螭平，号石斋，世人尊称石斋先生。为明末学者、书画家、文学家、民族英雄。 福建漳州府漳浦县（今福建省东山县铜陵镇）人， 祖籍福建莆田，其曾祖从莆田迁徙至漳州。\n天启二年（1622年）进士，改庶吉士，深得考官袁可立赏识。历官翰林院修撰、詹事府少詹事。南明隆武（1645年-1646年）时，任吏部尚书兼兵部尚书、武英殿大学士（首辅）。因抗清失败被俘。隆武二年（1646年）壮烈殉国，享年62岁 。隆武帝赐谥“忠烈”，追赠文明伯。清乾隆四十一年（1776年）追谥“忠端”。与刘宗周并称“二周”。\n黄道周通天文、理数诸书。工书善画，诗文、隶草皆自成一家，先后讲学于浙江大涤、漳浦明诚堂、漳州紫阳、龙溪邺业等书院，培养了大批有学问有气节的人。",[47,51,126,68,214,152,32,165,7,349,345,350,351,352,353],"儒家","墨书","册页","工整","经典","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00ea3f5205a326ac20e377674fcb541e.jpg",[114],{"id":357,"slug":358,"title":359,"dynasty":82,"author":360,"museum":65,"description":361,"tags":362,"thumbUrl":369,"material":74,"size":75,"collection":33,"collections":370,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":37},235343,"fang-gu-shu-hua-ce-wang-jian-235343","仿古书画册","王鉴","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。\n万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。",[202,165,214,152,140,363,169,364,365,366,51,7,367,368],"山水","山石","房屋","皴法","小径","枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42f6dadcd38fa9e4180ffab56f73e84d.jpg",[],9,{"id":373,"slug":374,"title":375,"dynasty":82,"author":330,"museum":198,"description":376,"tags":377,"thumbUrl":380,"material":381,"size":382,"collection":33,"collections":383,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":37},233775,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233775","原济陶渊明诗意册","本图册是作者根据东晋著名诗人陶渊明诗句而创作。陶渊明是中国田园诗的创始者，他的诗不仅反映出田园生活的美好与自然，更流露出他徘徊于出仕与归隐之间的矛盾。绘画者显然非常赞赏这种避身独处、与世无争、乐天安命的人生哲学，通过描绘回归自然、淡于荣禄、不与统治者合作的隐士陶渊明来表现自己美好的理想。\n这里择两开赏析。\n第二开《悠然见南山》：陶渊明的许多诗篇中都有关于菊花的诗句：“采菊东篱下，悠然见南山”、“秋菊有佳色，裛露掇其英”均写出了他远离世俗的心境和陶醉于自然的乐趣。他常以菊自喻，借菊花凌秋傲霜的品质表达自己清高的节操和情怀。石涛仰慕陶渊明的高尚情操，故此图借陶渊明爱菊寄寓了画家自己的思想感情。画中篱笆院中菊花盛开，一高士手持菊花观赏，悠然之态可见。此图结构精巧，人物用笔细密。远山以墨笔烘染，山腰云雾密布，不见山脚，以此表现烟云飘渺的动态和气势。这种中锋、细勾、渍染相结合的画法使画面有动有静，虚实结合，意趣无穷。\n第六开《遥遥望白云 怀古一何深》：描绘一位着布衣宽袍的老者临溪而立。老者远望青山，脚下溪水流淌。面对满目凄凉、空无一人的山水，主人公似思绪万千，发思古之幽情。画家借此图深刻而恰当地表达了自己零丁孤苦、怀才不遇之情。构图采用一水两岸的自然分疆法。画面上只见弥漫的云山、层山断处的房舍和半露的松林而不见山脚，山顶则似露非露地隐现。树木用水墨渍出，以衬托山腰白云的动感。",[202,165,201,351,152,124,378,166,364,169,379,7],"写意","悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe59fcd12bb8e349f58148bff1682a02f.jpg","纸本，设色","纵27厘米，横21.3厘米",[],{"id":385,"slug":386,"title":387,"dynasty":161,"author":43,"museum":65,"description":388,"tags":389,"thumbUrl":394,"material":74,"size":75,"collection":33,"collections":395,"showCount":371,"zanCount":36,"manualWeight":11,"mainColor":59},230837,"cai-hui-san-jie-jiu-di-zhi-tu-yi-ming-230837","彩绘三界九地之图","以层叠佛塔为骨，将抽象的佛教宇宙观具象铺展。朱墨敷色标注界域，图文互证解读诸天与地界奥义。上部天界楼宇错落，标注诸天境域，演绎空寂梵天；中层佛塔层层递进，楼宇渐次铺陈，诠释世间修行的阶位；下部以虬龙缠绕阎浮提，水波晕染出幽冥地宫，勾勒出地下冥府的幽渺。\n\n古拙线条晕开岁月痕迹，质朴设色带着民间绘卷的厚重质感，将虚无的宗教寰宇，转化为可观可感的视觉长卷，藏着千年前对天地、修行与幽冥的终极遐想。",[47,25,390,140,391,392,393,7,88],"界画","彩绘","楼阁","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae48eafbef300dc3e20709d2afdb6183.jpg",[],{"id":397,"slug":398,"title":399,"dynasty":64,"author":43,"museum":65,"description":400,"tags":401,"thumbUrl":402,"material":33,"size":33,"collection":33,"collections":403,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":59},227063,"bei-zhou-zhang-sun-jun-qi-luo-shi-mu-zhi-ming-yi-ming-227063","北周长孙君妻罗氏墓志铭","长孙稚在寿春任扬州刺史时，长孙绍远时年十三。他记忆力惊人，有人拿《礼记月令》测试他，他只看一遍，马上背诵如流，被人所叹服。解褐司徒府参军事，除给事中直。后随父征讨河东、蜀、薛有功，封东阿县伯。\n\n魏孝武帝西奔长安投靠宇文泰，长孙绍远与父亲兄弟跟随，大统元年，孝武帝即位后，转冠军将军，朱衣直阁，尝食典御，安城县侯，邑九百户。后拜司徒右长史，加车骑，太常卿。大统二年拜中书令，俄而袭父爵上党王，后例降为冯翊郡公。历任过四曹尚书，仪同三司，置佐开府散骑常侍、侍中，加骠骑，大行台，录尚书。\n\n北周建立后，设立六官，长孙绍远任大司乐，随即改任礼部中大夫，复封上党郡公。寻拜京兆尹，历少保、小司空，出为河州刺史。政存简恕，百姓悦服。入为小宗伯。保定五年（565年）夏在泾州赵平乡去世，年六十[1]。周武帝下诏追赠柱国大将军，郏、中、熊、邵、义五州诸军事，郏州刺史，谥曰献。长孙绍远精通礼乐，才华横溢，号称乐祖，死后配飨庙庭（入太庙共享祭祀）。有子长孙览。",[50,68,51,53,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F744ef32adb08d58e827bec67dde8566d.jpg",[],{"id":405,"slug":406,"title":407,"dynasty":82,"author":408,"museum":65,"description":409,"tags":410,"thumbUrl":416,"material":417,"size":33,"collection":33,"collections":418,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":419},215653,"bei-jing-dian-pu-zhao-huang-hua-ce-16-zhou-pei-chun-215653","北京店舖招幌画册-16","周培春","六枚招幌悬垂如市井的音符，串起老北京的商业记忆。或摹实物轮廓（小店幌的勺状造型憨态可掬），或书行当字样（沟茶馆幌上“沟茶”二字直白醒目），或缀彩纹图案（挂镜铺幌的彩色方格似映出光影），更有编织肌理的篮状幌、素雅的葫芦幌，每款都带着行当的独特印记。红色流苏轻曳，似在风中抖落往昔街头的烟火：茶客闻声寻茶，镜匠凭幌揽客，市井生计随幌影流转。图文相契的排布，将商业告白化作民俗长卷的切片，线条细腻，色彩古朴，藏着旧时光里的温情与鲜活，是触摸老北京生活肌理的生动载体。",[140,249,214,411,412,7,413,87,414,415],"招幌","店铺","日用具","民间","商业","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25ea45d835e54edc2b339b557b8dbd0a.jpg","纸本,设色",[],"FFFFFF",{"id":421,"slug":422,"title":423,"dynasty":82,"author":43,"museum":65,"description":424,"tags":425,"thumbUrl":431,"material":74,"size":75,"collection":33,"collections":432,"showCount":433,"zanCount":11,"manualWeight":11,"mainColor":59},246706,"ti-hong-hu-lu-wen-qian-yu-da-ji-hu-lu-shi-ping-yi-ming-246706","剔红葫芦纹嵌玉大吉葫芦式瓶","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。",[87,426,427,428,69,429,7,430],"漆器","剔红","嵌玉","葫芦纹","瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc2fd64b8d75d4662c34ac81bf8ab825.jpg",[],8,{"id":435,"slug":436,"title":437,"dynasty":82,"author":43,"museum":65,"description":438,"tags":439,"thumbUrl":443,"material":74,"size":75,"collection":33,"collections":444,"showCount":433,"zanCount":11,"manualWeight":11,"mainColor":37},245495,"jin-ru-yi-yi-ming-245495","金如意","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。",[87,137,69,440,441,72,7,442],"祥云纹","金属工艺","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7afb187cce8fdf69c311c35cd686b6c9.jpg",[],{"id":446,"slug":447,"title":448,"dynasty":161,"author":43,"museum":65,"description":449,"tags":450,"thumbUrl":453,"material":74,"size":75,"collection":33,"collections":454,"showCount":433,"zanCount":11,"manualWeight":11,"mainColor":37},230692,"tian-wen-quan-tu-yi-ming-230692","天文全图","朱栏界格工整匀净，墨字刊刻隽秀端稳，朱笔圈点批注醒目提点，版式疏朗雅致，尽显传统刻本的雅致意蕴。内文详究星度测算、天文分野，文字缜密详实，将古人观天察地的求索智思凝于纸面。笔意沉稳舒展，刊刻精良，墨色莹润，朱红与玄墨相映，既有天文考据的厚重学术性，又饱含古籍特有的审美意趣，静静铺展着古人探索星河天地的智识脉络，带着旧时光的沉静质感，尽显传统天文古籍的考究底蕴。",[451,68,51,7,452,214],"典籍","线装","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc9419c299a5ebf3fc8a4cf531677714.jpg",[],{"id":456,"slug":457,"title":458,"dynasty":82,"author":43,"museum":65,"description":459,"tags":460,"thumbUrl":462,"material":226,"size":33,"collection":33,"collections":463,"showCount":433,"zanCount":11,"manualWeight":11,"mainColor":59},216713,"hong-lou-meng-fu-tu-ce-11-yi-ming-216713","红楼梦赋图册-11","墨笔楷书竖排铺展，辞句间似凝着红楼的点滴情长。四周缠枝藤蔓环绕成框，翠叶纷披，红蕊黄瓣点缀其间，柔婉的线条缠缠绕绕，晕开古典雅致的气息。文字的沉静与花叶的鲜活相映成趣，仿佛把纸上的红楼风月，织进这一方锦绣画境里。笔锋的端雅、花叶的灵动，交织出文与画的交融之美，让观者在这帧间，悄然触碰到那份属于红楼的细腻与隽永。",[47,87,202,165,214,68,51,140,223,224,7,461],"装饰边框","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbc6434253602edac34a8b5bd2265f33.jpg",[],{"id":465,"slug":466,"title":467,"dynasty":82,"author":43,"museum":65,"description":468,"tags":469,"thumbUrl":472,"material":226,"size":33,"collection":33,"collections":473,"showCount":433,"zanCount":11,"manualWeight":11,"mainColor":59},216681,"hong-lou-meng-fu-tu-ce-42-yi-ming-216681","红楼梦赋图册-42","墨色文字竖排铺展，如缕如丝牵起红楼旧梦；缠枝绿叶与朱红花朵自纸页边缘悄然蔓延，似要将书中风月气息晕染开来。淡雅底色衬得笔墨温润，花叶鲜活灵动。图文交织处，字里藏着儿女颦笑悲欢，花叶裹着婉转愁思，文学的幽微与绘画的雅致融于一方尺幅，尽展古典雅韵之美，让人一眼便坠入那诗意缱绻的红楼世界。",[47,202,165,214,140,249,51,68,224,282,470,471,7],"花鸟","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b85e279566beb9a383f6e191658fa3d.jpg",[],{"id":475,"slug":476,"title":477,"dynasty":82,"author":408,"museum":65,"description":478,"tags":479,"thumbUrl":483,"material":417,"size":33,"collection":33,"collections":484,"showCount":433,"zanCount":11,"manualWeight":11,"mainColor":419},215652,"bei-jing-dian-pu-zhao-huang-hua-ce-15-zhou-pei-chun-215652","北京店舖招幌画册-15","四幅老北京招幌静静铺陈，像从时光里裁下的市井切片。警愚铺的黑牌垂红穗，双钱幌子沉实；粉房白灯坠红角，素净里带活气；皮袄铺绿顶衬黑底，藏着暖冬的期许；眼药铺串饰摇红穗，精巧中见烟火。画师以细腻笔触摹画招幌的形态肌理，红穗的飘动感、铜饰的厚重感、织物的质感都跃然纸上。这些招幌不仅是商业标识，更是旧京生活的注脚，每一处细节都牵起老北京的街声市语，让久远的市井气息扑面而来。仿佛能听见幌绳轻晃的细碎声响，看见行人驻足打量的身影，旧时光里的商业烟火与生活温度，都被定格在这一纸之上。",[140,214,249,480,411,7,51,481,482],"民俗","器物","悬挂物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4b649ea9dcd3eb513e7b3f405803694.jpg",[],{"id":486,"slug":487,"title":488,"dynasty":161,"author":489,"museum":65,"description":490,"tags":491,"thumbUrl":498,"material":74,"size":75,"collection":33,"collections":499,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":59},232349,"he-er-bai-yin-8-he-er-bai-yin-232349","荷尔拜因8","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。",[492,493,494,166,495,496,497,7],"写实","素描","淡彩","男性","帽子","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ddbd775ddae339ae4eacfb138824ead.jpg",[],7,{"id":502,"slug":503,"title":504,"dynasty":505,"author":43,"museum":65,"description":506,"tags":507,"thumbUrl":512,"material":74,"size":75,"collection":33,"collections":513,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":37},227096,"san-le-jing-yi-ming-227096","三乐镜","唐","中国铜镜的制作和使用具有悠久的历史，根据考古发掘，年代最早的铜镜为4000多年前的齐家文化。从齐家文化至西周末春秋早期制作的铜镜，多以纹饰简单、形体小、种类少。此一时期为中国铜镜制作早期阶段。\n春秋中晚期开始，我国铜镜制作和使用就发展起来了，特别是战国时期，铜镜的种类复杂，题材广泛，制作工艺精细，包括此时期铜镜的合金成分，其锡含量是最适合铜镜的使用，这些充分反应了铜镜在此时期制作技术已达到成熟阶段。汉代开始铜镜得到了进一步的发展，这时期的铜镜出现了新的类型，铭纹也正逐渐成为铜镜的纹饰组成部分，反映了汉代铸镜业的发达及铜镜商品化的发展。\n隋唐时期是中国铜镜高度发展时期，此时的铜镜突破了以往圆形与方形的传统形式，出现了菱花形、葵花形铜镜。特别是盛唐时期铜镜工艺精湛，著名的瑞兽葡萄镜更是闻名于世，这一时期铜镜发展达到了顶峰。\n从唐末，五代起中国的铜镜艺术日趋衰落，宋、金、元时期的铜镜，从造型、纹饰和合金成分上都有不同于传统铜镜的特点。明，清时期虽然铜镜还在人们日常生活当中使用，但到清代中后期随着玻璃的使用，铜镜逐渐退出了历史舞台。当今虽然不再有人使用铜镜整装容，但古代铜镜给予我们的除了收藏价值，还有对古代形制、纹饰、铭文、艺术、制作工艺、成分等等的研究价值。中历收藏品鉴定中心，为我国合法第三方专业鉴定平台，证书得到了专业人士及社会各界的高度认可，藏品鉴定可咨询。",[508,246,69,509,166,7,72,510,511],"唐代","浮雕","流苏","金属器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0a53a04701d7fb08f2fdb9fdedd6455.jpg",[],{"id":515,"slug":516,"title":517,"dynasty":42,"author":43,"museum":65,"description":518,"tags":519,"thumbUrl":521,"material":74,"size":75,"collection":33,"collections":522,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":37},227014,"han-wu-feng-er-nian-ke-shi-zhou-yi-ming-227014","汉五凤二年刻石轴","汉代青铜器产生于青铜时代的晚期，在我国青铜史上占有特殊的地位，体现出独特的设计思想和特征，具有卓越的科学功能，并对当今设计有很大的启示作用。\n汉代青铜器很多都是素纹，大部分还是铸造的，也有的花纹、铭文是用錾子雕刻的。比如汉代的鎏金杯子、奁、盒、碗等用具上的花纹，多是雕刻的。\n汉代以后至唐代的铜器，铸造的花纹很多，其中有打料的铜、金、银器，并且也有了大、小焊的技术。\n西汉初期（高祖至景帝），此时的青铜器，基本为素面。其鼎主要承自秦式，但一般三足更矮。敦盒形。\n壶有大小二型并存，大型壶腹下部略呈收缩之状，腹比秦壶要鼓；小型壶的腹部较瘦长，经常铸出变形螭纹。钫此时更流行，有的做得很讲究，通腹有镶嵌绿松石的三角云纹。\n鍪和蒜头壶继续流行。日用器皿中，高灯多见，豆式熏炉盛行，带钩显琵琶形、棒形、琴形讲究的多做成鎏金、错金银、镶玉或绿松石。\n西汉中期至东汉早期（西汉武帝至东汉章帝）是西汉青铜器最发达的时期，也是汉代青铜器新风格最终形成的时期。这时期最多见的青铜用器是鼎、壶、钫、尊、熨斗、带钩、铜镜。\n灯：古代照明器具。青铜灯出现于战国时期，而盛行于汉代。最著名的当属长信宫灯了，灯的样子很多，较普通的是有圆盘，盘内有钎，盘下有柱，柱下有圈足；也有盘下作雁足状的，盘用来盛油或插烛。\n另有一种灯自铭为“行灯”，它圆盘边有把，盘下有三短足。青铜灯最富感染力的当属那些铸成人形、禽形、兽形、树形的艺术造型灯。\n博山炉：古代焚香的器具。一般炉体作圆形，用来放香料，体下有高足，有的足还铸成人形或鸟兽形；炉盖均高而尖，雕镂成山峦形上有人物、走兽，象征海上仙山“博山”，故名“博山炉”。盛行于汉代。\n樽：古代盛酒的器皿，器作圆形，直壁，有盖，腹较深，下有三兽足，旁有铺首衔环耳。\n洗：盥洗用器皿。形状象盆，圆形、宽口沿，平或圆底，腹外多有铺首衔环耳，内底常用双鱼作装饰，并多铸吉语。盛行于汉晋。\n耳杯：古代饮酒器。多漆制，称“羽觞”。铜质者，器作椭圆形，腹壁有二环耳。\n熨斗：古式熨烫衣服的工具。形状为圆腹宽口沿，有长柄，盛行于汉魏。\n东汉中晚期（和帝至献帝）青铜器又有了新的变化。此时使用较多的铜器日用品有：钟、扁壶、盆、釜、鐎斗、灯、博山炉、炉、熨斗、尊、耳杯、虎子、车马器、带钩、铜镜、玺印等。\n此时青铜器的特点是比以前轻薄、错金银技术在青铜器装饰中几乎消失，鎏金仍多，鎏金器上出现了细线阴刻云纹。",[48,51,49,50,88,520,7],"刻石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cdacca5f1d288a16f1bdfb9646df2ec.jpg",[],{"id":524,"slug":525,"title":526,"dynasty":82,"author":408,"museum":65,"description":527,"tags":528,"thumbUrl":534,"material":417,"size":33,"collection":33,"collections":535,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":419},215664,"bei-jing-dian-pu-zhao-huang-hua-ce-3-zhou-pei-chun-215664","北京店舖招幌画册-3","画面铺展老北京市井烟火气，各式招幌错落成趣。酒幌垂菱形布幔，龙纹旗帜飘展添几分热闹；香烛幌子悬红葫芦与彩穗，木架上的器物似候主顾；竖牌题字藏着店铺故事，流苏摇曳漾起活气。笔触细腻勾描招幌形制，色彩晕染间见旧时商肆鲜活，仿佛能闻巷陌吆喝余韵，触到百年前北京店铺的热闹与烟火，将那段市井时光凝于纸上。",[82,214,249,140,411,529,530,141,510,481,7,531,532,533],"旗帜","龙","招牌","木架","云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef39a327f09a826e2637fe9767de7cfc.jpg",[],{"id":537,"slug":538,"title":539,"dynasty":18,"author":43,"museum":65,"description":540,"tags":541,"thumbUrl":544,"material":33,"size":33,"collection":33,"collections":545,"showCount":546,"zanCount":11,"manualWeight":11,"mainColor":37},227557,"da-song-xin-yi-san-zang-sheng-jiao-xu-yi-ming-227557","大宋新译三藏圣教序","《大唐三藏圣教序》，简称《圣教序》，由唐太宗撰写。最早由唐初四大书法家之一的褚遂良所书，称为《雁塔圣教序》，后由沙门怀仁从王羲之书法中集字，刻制成碑文，称《唐集右军圣教序并记》，或《怀仁集王羲之书圣教序》，因碑首横刻有七尊佛像，又名《七佛圣教序》。集王圣教序碑刻立于唐咸亨三年（六七二），碑通高三五零、宽一零八、厚二十八厘米。碑文三十行，行八十三至八十八字不等。",[23,50,51,68,25,52,7,542,53,543],"古籍","墨拓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F891bafcbb9729e753831f17514aa7625.jpg",[],6,{"id":548,"slug":549,"title":550,"dynasty":82,"author":551,"museum":552,"description":553,"tags":554,"thumbUrl":557,"material":558,"size":33,"collection":33,"collections":559,"showCount":546,"zanCount":11,"manualWeight":11,"mainColor":37},222852,"hui-da-yun-lun-qing-yu-jing-jie-tan-yi-gui-tu-shuo-ce-ai-xin-jue-luo-yong-rong-222852","绘大云轮请雨经结坛仪轨图说册","爱新觉罗永瑢","台北故宫博物院","爱新觉罗·永瑢（1744年1月28日—1790年6月13日），号九思主人，又号西园主人。少时居圆明园碧桐书院，亦称碧桐书院阿哥。清朝宗室，乾隆帝第六子，皇三子永璋同母弟，母为纯惠皇贵妃苏氏。\n乾隆二十四年十二月，出继慎靖郡王允禧，封贝勒，管理内务府、充《四库全书》玉牒馆总裁、监管钦天监事务。三十七年（1772）年，晋质郡王。五十四年（1789），晋封质亲王。\n乾隆五十五年（1790年），去世，时年四十八岁，谥号为庄。工诗擅画，主要作品有《岁朝图》《枫溪垂钓图轴》。",[47,202,165,214,390,140,25,27,481,555,556,7],"坛","帐篷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2de81535171831e933150f9e891e369.jpg","冊",[],{"id":561,"slug":562,"title":563,"dynasty":82,"author":564,"museum":552,"description":565,"tags":566,"thumbUrl":568,"material":417,"size":569,"collection":33,"collections":570,"showCount":546,"zanCount":11,"manualWeight":11,"mainColor":37},219654,"hai-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，字渔仙，号桃溪居士，后号墨井道人，江苏常熟人。曾笃信天主教，并往澳门逗留。工诗、善画山水，师事王时敏 (1592-1680)与王鉴 (1598-1677) ，连同王翚 (1632-1717)、王原祁 (1642-1715)和恽寿平 (1633-1690) 合称「四王吴恽」或称「清初六家」，为清代正统派绘画代表。\n\n该画为吴历应友人侯大年（约1641-约1710）之命所作，并以友人之号「凤阿」命名，绘于康熙十六年（1677）之后，为吴氏中晚年之作。画面山峦起伏，高树竹丛、屋舍数间，屋前小桥流水，一人策杖过桥。整幅作品尺幅虽不大，却构图繁密，墨色苍润，流露对笔墨的追求与讲究，是吴历的精品。事实上，吴历与侯大年交谊深厚，曾应命绘制多幅《凤阿山房图》，以表达侯氏「述祖德，守先业」并归隐的志向，然而凤阿山房终未建成。据记载，侯大年在吴历绘制完立轴后，另请他绘制小册并请诸友题咏，正是此册。全册共分上、下两册，引首朱彝尊　(1629-1709) 书「凤阿山房」，后有吴历、朱彝尊、姜宸英、梁佩兰、宋骏业、王撰、陆遵、梅庚、钱大昕等六十六家诗题，其中陆遵、梅庚补图并题诗。吴历此作无疑是全册点睛之笔，见证了他与侯大年的交谊。",[47,202,165,51,214,124,363,1214,1215,1216,152,1217,140,7,90],"明月","老树","孤舟","风雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a55565acfa6d636154553884665f4c8.jpg","水墨,设色,纸本,册页","18×34.5厘米",[],{"id":1223,"slug":1224,"title":1225,"dynasty":505,"author":1226,"museum":1227,"description":1228,"tags":1229,"thumbUrl":1230,"material":50,"size":1231,"collection":33,"collections":1232,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":892},220197,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-17-liu-gong-quan-220197","神策军碑-皇帝巡幸左神策军纪圣德碑17","柳公权","北京国家图书馆","《神策军碑》全称《皇帝巡幸左神策军纪圣德碑》，唐武宗会昌三年（公元843年）立于皇宫禁地，碑石大小不明，崔铉撰文，柳公权书。碑文记录了回纥汗国灭亡及安辑没斯来降等事，具有重要的历史价值。此碑由翰林学士承旨崔铉撰文，集贤院学士判院事柳公权书写，更增添了此碑的艺术价值。柳公权书写的碑文，其书法结构严整，充分体现了“柳体”楷书骨骼开张、平稳匀称的特点，加之此碑刻工精良，拓本与真迹无异，故后世奉为柳书代表作。",[508,68,50,51,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e038919b3595073682fe24f9e6140fc.jpg","58X46",[],{"id":1234,"slug":1235,"title":1236,"dynasty":505,"author":1226,"museum":1227,"description":1228,"tags":1237,"thumbUrl":1239,"material":50,"size":1231,"collection":33,"collections":1240,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},220184,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-28-liu-gong-quan-220184","神策军碑-皇帝巡幸左神策军纪圣德碑28",[508,51,50,68,52,312,7,53,543,1238],"碑帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9dbab2b28016435c459322ef49089cb.jpg",[],{"id":1242,"slug":1243,"title":1244,"dynasty":82,"author":43,"museum":65,"description":1245,"tags":1246,"thumbUrl":1247,"material":226,"size":33,"collection":33,"collections":1248,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},216191,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-1-ce-12-yi-ming-216191","职贡图巨幅彩绘册页第1册-12","画面展现两位异域人物风貌。左侧蓝袍交领，衣袂轻扬间露出粉色彩边裙，裙摆层叠如锦，色彩明艳生动；右侧一袭朱红长袍配同色帽，衣袍垂坠尽显庄重，腰间蓝带点缀，更添细节之妙。画作以细腻线条勾勒轮廓，设色饱满和谐，人物神态自然传神，仿佛将清代边疆民族的鲜活样貌铺展眼前。旁附文字暗合职贡图纪实之旨，使作品兼具艺术表现力与历史纪实性，成为窥见清代民族文化交流的珍贵窗口，尽显古人对边疆风物的细致观察与生动描摹。",[47,202,140,249,214,166,578,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d8171a443b9f171708490722edd648f.jpg",[],{"id":1250,"slug":1251,"title":1252,"dynasty":82,"author":43,"museum":65,"description":1253,"tags":1254,"thumbUrl":1257,"material":74,"size":75,"collection":33,"collections":1258,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":892},273862,"lv-se-di-ji-yun-ji-qian-xiang-zi-yuan-la-yi-ming-273862","绿色“廸吉云集千祥”字圆蜡","动物、植物所产生的，或石油、煤、油页岩中所含的油质，常温下多为固体，具有可塑性，能燃烧，易熔化，不溶于水，如蜂蜡、白蜡、石蜡等。用作防水剂，也可做蜡烛。\n过年之际，华灯齐放，皇宫还会点燃造型纹饰考究的花烛，有的是云纹的，有的是大吉葫芦的，有的饰有文字，如“五谷丰登迎祥”“宜入天下太平”，连这样的消耗品也契合年味。",[413,1255,69,7,1256],"蜡烛","吉祥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec6095c40d0dc1968f651f4157fdcb93.jpg",[],{"id":1260,"slug":1261,"title":1262,"dynasty":82,"author":43,"museum":65,"description":1253,"tags":1263,"thumbUrl":1267,"material":74,"size":75,"collection":33,"collections":1268,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},273845,"hong-se-wan-shou-wu-jiang-zi-fang-la-yi-ming-273845","红色“万寿无疆”字方蜡",[1264,413,69,1265,7,1266],"红色","梅","蜡器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63f4b5639d639e52ccd15e98aee15093.jpg",[],{"id":1270,"slug":1271,"title":1272,"dynasty":82,"author":43,"museum":65,"description":929,"tags":1273,"thumbUrl":1276,"material":74,"size":75,"collection":33,"collections":1277,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},272611,"yi-shui-yu-xiang-zheng-hei-mo-yi-ming-272611","易水余香正黑墨",[931,1274,1275,7],"文房用具","描金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2a88f588856fb83adc5f42c2f051e3e.jpg",[],{"id":1279,"slug":1280,"title":1281,"dynasty":82,"author":43,"museum":65,"description":1282,"tags":1283,"thumbUrl":1286,"material":74,"size":75,"collection":33,"collections":1287,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":116},258640,"tian-lan-you-an-hua-wen-ju-ban-zun-yi-ming-258640","天蓝釉暗花纹菊瓣尊","天蓝釉是瓷器釉色名。一种高温色釉。由“天青”演变而来，清康熙时创烧。釉色浅而发蓝，似天蓝色，故名。含钴量在2%以下，釉中铜、铁、钛等金属元素均起呈色剂作用；呈色稳定、莹洁菁雅，可与豇豆红媲美，是古代工匠精湛的工艺技巧和不朽的艺术造型的完美体现。天蓝釉器物种类，康熙时均属小件文房用具，至雍正、乾隆才见瓶罐等器型。",[824,1284,140,51,90,442,7,1285,391],"珐琅彩","花卉纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb0bc009ad8356cc922a603a23838dfe.jpg",[],{"id":1289,"slug":1290,"title":1291,"dynasty":82,"author":43,"museum":65,"description":1292,"tags":1293,"thumbUrl":1294,"material":74,"size":75,"collection":33,"collections":1295,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":116},258344,"qing-hua-dan-miao-hua-die-wen-xiao-wan-yi-ming-258344","青花淡描花蝶纹小碗","青花瓷（blue 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灶、井等。大都作为明器供随葬之用。盒、盘、案、杯等，逐渐成组出现，为适应人们厚葬之需也成为祭器。猪、羊、狗、鸡等家畜家禽及圈舍、住宅等明器模型也大量流行。装饰则有弦纹、刻划的三角纹、连环纹、栉齿纹和动物纹，还有绳纹、拍印纹、模印、浮雕、涂色和彩绘等。南方的长沙地区，制陶工艺自成体系，陶盒使用普遍，陶壶无盖，鼎的三足成矮胖的兽蹄形，其他实用器皿还有壶、罐、碗、钫、、盆、釜、甑、长方炉、博山炉等。特点是坚硬厚重。殉葬明器有灶、仓、井、屋、猪圈模型等。广东地区秦汉时属南海郡，常用陶器有瓮、双耳罐、提、四联罐和五联罐、瓿、小瓿、壶、匏壶、温壶、钫、 盒、敦、 小盒、三足盒、三足罐、三足瓿、四联盒、 碗、盆、 甑、釜、鼎、豆、三足格盒等。生活用具中灰白色的印纹硬陶占多数， 有的还戳上印记，多为容器，炊器只有釜、 鼎、甑 3种。造型特别的三足器、温壶、匏壶有着明显的地方特点。印纹硬陶很讲究装饰，单是几何图案就达70多种，此外还有弦纹、 陶纹、 镂孔、篦纹及文字记号等。明器上多施彩绘。四川云南等也有自己的制陶业，不少作品和中原地区相似，如圆底釜、侈口束颈、鼓腹的壶等。关中地区流行的茧形壶虽不生产，确有发现。舞蹈俑、说书俑、抚琴俑、听琴俑、侍立俑和各类家禽形象，生动优美，自然写实。",[48,824,69,166,167,7,49,442],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5abc34c951bf3495e14cb3de9dd5bcf.jpg",[],{"id":1305,"slug":1306,"title":1307,"dynasty":82,"author":43,"museum":65,"description":1308,"tags":1309,"thumbUrl":1315,"material":74,"size":75,"collection":33,"collections":1316,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":59},252675,"hu-po-tuo-yuan-xing-zhai-jie-pai-yi-ming-252675","琥珀椭圆形斋戒牌","斋戒牌，中国古代行斋戒礼时所置示警牌。明洪武五年（1372）令诸衙门各制作木斋戒牌，刻文于上，文为“国有常定，神有鉴焉”。\n凡行祭祀则设置。清沿明制，凡大祀、中祀皇帝致祭，事前应斋戒，由太常寺进斋戒牌。斋戒牌为木质，饰以黄纸，以清汉文书写斋戒日期。圜丘、祈谷、常雩，皇帝宿内廷斋宫，于乾清门设斋戒牌二日，置于黄案。坛所斋宫设斋戒牌一日。皇后亲蚕，亦进斋戒牌，由太常寺进递到乾清门交给内监，置于交泰殿。各衙门官员斋戒，大祀斋于公署，于大堂正中设案置斋戒红牌；中祀斋于私署。行祀之日各佩斋戒牌，不理刑名，不宴会，不作乐，不入内寝，不问疾吊丧，而有疾有服者不与戒",[87,1310,69,1311,1312,1313,1314,139,25,7],"琥珀","斋戒","飞鸟","荷","椭圆形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f8691fd7c4990b1e1647e06d53a955.jpg",[],{"id":1318,"slug":1319,"title":1320,"dynasty":82,"author":43,"museum":65,"description":424,"tags":1321,"thumbUrl":1322,"material":74,"size":75,"collection":33,"collections":1323,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":59},251639,"qing-yu-bi-tong-yi-ming-251639","青玉笔筒",[634,69,166,169,364,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f278407410b5e6ab94c15690562022.jpg",[],{"id":1325,"slug":1326,"title":1327,"dynasty":82,"author":43,"museum":65,"description":424,"tags":1328,"thumbUrl":1329,"material":74,"size":75,"collection":33,"collections":1330,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":59},251383,"jia-qing-kuan-qing-yu-wan-shou-zha-dou-yi-ming-251383","嘉庆款青玉“万寿”渣斗",[87,634,69,7,442],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec960609368eadc17bed0118777c78d2.jpg",[],{"id":1332,"slug":1333,"title":1334,"dynasty":1335,"author":43,"museum":65,"description":424,"tags":1336,"thumbUrl":1338,"material":74,"size":75,"collection":33,"collections":1339,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":116},250533,"huang-yu-gui-yi-ming-250533","黄玉圭","周",[634,1025,69,321,1337,7],"古代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3147f51384acaa08f5982c678deccbe8.jpg",[],{"id":1341,"slug":1342,"title":1343,"dynasty":82,"author":43,"museum":65,"description":424,"tags":1344,"thumbUrl":1345,"material":74,"size":75,"collection":33,"collections":1346,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},250307,"qian-long-kuan-qing-yu-wan-yi-ming-250307","乾隆款青玉碗",[634,69,87,442,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cea49981ba36b8085f35c677f16fa7a.jpg",[],{"id":1348,"slug":1349,"title":1350,"dynasty":82,"author":43,"museum":65,"description":853,"tags":1351,"thumbUrl":1355,"material":74,"size":75,"collection":33,"collections":1356,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":59},250131,"qia-si-fa-lang-wan-shou-wu-jiang-wan-yi-ming-250131","掐丝珐琅万寿无疆碗",[87,855,1352,442,140,1353,7,321,1354],"琺瑯器","金属胎","碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F864e55e0c4ae893bc0e0fadd4937a522.jpg",[],{"id":1358,"slug":1359,"title":1350,"dynasty":82,"author":43,"museum":65,"description":853,"tags":1360,"thumbUrl":1361,"material":74,"size":75,"collection":33,"collections":1362,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},250114,"qia-si-fa-lang-wan-shou-wu-jiang-wan-yi-ming-250114",[87,855,138,442,7,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcbe86fef0f2a5c4bb1bb070c8dc2d31.jpg",[],{"id":1364,"slug":1365,"title":1350,"dynasty":82,"author":43,"museum":65,"description":853,"tags":1366,"thumbUrl":1368,"material":74,"size":75,"collection":33,"collections":1369,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":59},250092,"qia-si-fa-lang-wan-shou-wu-jiang-wan-yi-ming-250092",[87,855,138,246,140,7,321,1367,442],"缠枝花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb1f0b591ee17c4318470f5c5a306c1.jpg",[],{"id":1371,"slug":1372,"title":1373,"dynasty":82,"author":43,"museum":65,"description":853,"tags":1374,"thumbUrl":1380,"material":74,"size":75,"collection":33,"collections":1381,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":116},249769,"qia-si-fa-lang-ba-bao-yun-fu-kai-guang-shi-ju-da-ji-hu-lu-shi-bi-ping-yi-ming-249769","掐丝珐琅八宝云蝠开光诗句大吉葫芦式壁瓶",[855,246,442,1375,1376,1377,1378,7,1379],"八宝","云蝠","开光","诗句","葫芦式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1a2f05d839b7aa13794c63a49b97600.jpg",[],{"id":1383,"slug":1384,"title":1385,"dynasty":82,"author":43,"museum":65,"description":1386,"tags":1387,"thumbUrl":1389,"material":74,"size":75,"collection":33,"collections":1390,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":59},249548,"qian-long-kuan-hua-fa-lang-chan-zhi-hua-hui-wen-wan-shou-wu-jiang-pan-yi-ming-249548","乾隆款画珐琅缠枝花卉纹万寿无疆盘","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。",[1388,138,140,1367,442,7],"画珐琅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80b2cdc5fbd00adf1566fc517dd6ecc8.jpg",[],{"id":1392,"slug":1393,"title":1394,"dynasty":82,"author":43,"museum":65,"description":1395,"tags":1396,"thumbUrl":1398,"material":74,"size":75,"collection":33,"collections":1399,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":59},248911,"qian-long-kuan-ti-hong-yu-zhi-shi-wan-yi-ming-248911","乾隆款剔红御制诗碗","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。",[82,426,427,1397,69,51,68,442,7,533,90,413],"雕漆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0382d013e3acbb6cc3c44609dd213566.jpg",[],{"id":1401,"slug":1402,"title":1394,"dynasty":82,"author":43,"museum":65,"description":1395,"tags":1403,"thumbUrl":1404,"material":74,"size":75,"collection":33,"collections":1405,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},248887,"qian-long-kuan-ti-hong-yu-zhi-shi-wan-yi-ming-248887",[426,427,69,51,68,82,442,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadd98fb7d1cf497308e5dc235c57449f.jpg",[],{"id":1407,"slug":1408,"title":1409,"dynasty":82,"author":43,"museum":65,"description":424,"tags":1410,"thumbUrl":1412,"material":74,"size":75,"collection":33,"collections":1413,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":892},247818,"ti-hong-jin-wen-qian-yu-shi-ju-he-yi-ming-247818","剔红锦纹嵌玉诗句盒",[87,426,427,69,428,1411,223,7,481,140],"锦纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50710c9d11bdce235bfbaa03b42a0c20.jpg",[],{"id":1415,"slug":1416,"title":1417,"dynasty":82,"author":43,"museum":65,"description":863,"tags":1418,"thumbUrl":1421,"material":74,"size":75,"collection":33,"collections":1422,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":59},247617,"ti-hong-jin-di-shou-zi-shi-er-fang-he-yi-ming-247617","剔红锦地寿字十二方盒",[87,426,427,69,1419,1420,7,248,321,442],"锦地纹","寿字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11f1b6dfd5fdbc5606e3728d59385f2b.jpg",[],{"id":1424,"slug":1425,"title":1426,"dynasty":82,"author":43,"museum":65,"description":1427,"tags":1428,"thumbUrl":1430,"material":74,"size":75,"collection":33,"collections":1431,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":419},246895,"ti-hong-fang-zun-shi-san-jie-hua-cha-yi-ming-246895","剔红方尊式三节花插","整体作方尊三节形制，挺拔端雅。以剔红为主体工艺，朱红漆地间饰绿锦地，阳文篆体寿字排布齐整，字隙间浅刻纹样点缀，古拙华贵。口沿包镶金箔，提亮器物气质，更添富丽格调。下配镂雕卷草纹红木底座，虚实相生，衬得器身愈发雅致端庄。\n\n将传统青铜尊的古雅形制与精湛髹漆工艺相融，把祝寿吉意藏于纹饰之中，尽显清代雕漆工艺的细腻工巧，是兼具陈设与实用价值的文房雅器，饱含复古隽雅的审美意趣。",[87,426,427,69,7,442,1429],"方尊式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4268fe7aec736befeeb7748f5462e8eb.jpg",[],{"id":1433,"slug":1434,"title":1435,"dynasty":82,"author":43,"museum":65,"description":1436,"tags":1437,"thumbUrl":1438,"material":74,"size":75,"collection":33,"collections":1439,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},246877,"ti-hong-qian-long-yu-zhi-shi-bi-tong-yi-ming-246877","剔红乾隆御制诗笔筒","笔筒： 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”一行。卷末沟刻高宗行书题跋一段。各卷尾题:“乾隆三十四年岁在乙丑春二月奉敕校正宋淳化阁帖初拓摹勒上石”篆书四行。此帖考订详僖，校对精审，对原帖编次上的错误逐一厘订后，重新改编次第按时代先后为序。对草书不识之字。博参诸家释文依字旁列注，对其中互异之字附记考证于卷后。\n此帖由御书处刻工佳手钩刻摹刊至精。就其规模和质量来说均在明代诸家刻本之上。\n乾隆三十七年（1772年）帖石镌成后高宗皇帝犹恐失散即将毕士安赐本（淳化阁帖》与重刻原石一起贮于圆明园淳化轩内，至今二者都无下落、可能毁于1860年英法联军侵占北京圆明园之际，实为千古憾事。幸故宫藏有该帖拓本才得以观其原貌。此拓本为淸刻初拓，京折装，计十册，每册纵30.6厘米横35厘米，每册铃：“乾隆御览之宝”朱文椭圆印、”避暑山庄”朱文方印，装潢颇为考究，且拓工精良。虽已保存二百余年但字口锋神俱在，纸墨宛如新拓，堪称珍品。\n乾隆《钦定重刻淳化阁帖》石版，原贮于长春园淳化轩。英法联军火烧圆明园后,该摹帖版已湮没百余年。所幸的是,1993年夏季，圆明园管理处在清挖长春园水系时，从该遗址西侧河道掘得摹帖版7页（4整3残），今均陈列于园史展览馆。\n淳化法帖，原是北宋淳化三年（992年），奉宋太宗赵光义旨意，摹刻于秘阁之中的丛帖，世称《淳化阁帖》。它是我国历史上的第一部大型丛帖，被誉为诸帖之祖。《阁帖》共摹刻唐代以前99人书法名迹，包括夏禹、孔子、晋武帝、唐太宗、虞世南、 欧阳询、褚遂良、柳公权等，尤以王義之、王献之量迹最丰，独占全帖10册之半。\n清代乾隆帝弘历喜好书法，曾先后命在北海阅古楼和万寿山星妙轩，分别摹刻《三希堂法帖》及其续帖。但因二帖仅收魏晋以来墨迹，弘历颇嫌不足。后喜得《淳化阁帖》之“初拓赐本”，弘历如获至宝。命内廷翰林精审更定，选工钩摹上石，并在长春园含经堂之后新建两层轩阁，以帖名之曰“淳化轩”。帖版是在故宫懋勤殿直庐镌刻的,历时三年零两个月，至乾隆三十七年（1772年）四月，共摹竣144页贴版，遂镶嵌于堂后轩前之24间回廊壁间。原《阁帖》北宋初拓本，收藏于淳化轩内，I860年（咸丰十年）同毁于英法联军劫火。\n今出土的摹帖版,面幅为90厘米*33厘米，石厚11厘米。7页帖版的序号是三册一号、六号、 七号（残），四册八号（残），五册一号、十四号和九册三号（残）。其中除五册十四号为“释文订异”，九册三号为隋释智果书“王右军”帖、“蔡邕”帖之外， 余均为王義之墨迹，包括其“适得”、“比奉”、“七儿”、“省足”、“云谯”、“知足”、“期已”、“信云”、“不审”、“伏想”等近20幅名帖。出土帖版中，有2页残版的字迹略有侵蚀，余尚清晰。\n乾隆三十四年的《钦定重刻淳化阁帖》是一部很重要的本子,其所据的底本为明末清初孙承泽原藏的所谓毕士安本。以乾隆刻本和司空公本的第四、七、八卷相校,其底本肯定不是初拓本，因此，所谓毕士安本是不可能的。但这个底本应该是一个北宋拓本，和司空公本的年份相似，然而它是十卷本。问题是这个祖本已经消失，然而它在当时确实存在过，过去有的学者认为这个底本是虚构的，不存在的。可能是由于它不可能是所谓淳化四年的毕士安赐本的关系。\n这个所谓的毕士安赐本，在康熙时已入内府，康熙曾亲跋此本: “……此本乃赐翰林学士毕士安者……汉晋以来，翰墨风规，宛然犹在者，尚赖此帖之存也，朕幾政余闲，启帙披卷,如晤往昔，心意融洽,洵可宝而藏之也。\n到了乾隆三十四年，以此本作为底本重刻的《淳化阁帖》，乾隆在卷首题词中说:“内府旧藏淳化阁帖极多,而此毕士安所得赐本，拓最精好, 爰特敕选工钩摹上石，冀复旧观。\n这个本子到了嘉庆年间,成亲王永瑆题在现藏美国弗利尔美术馆的绍兴国子监本第十册末有:“余昔在上书房得见内府所藏宋太宗赐毕士安本, 此本楮墨正与相似，嘉庆庚午四月七日商丘陈伯恭先生携此本与贾似道重摹初拓本相见……”这说明，这个乾隆刻本的底本在1810年前不久仍然存在,其消失的原因很简单,乾隆在其重刻本的第十卷末有:“重摹淳化阁帖成,因并弃毕士安原本于淳化轩。这就是说，这个底本和重刻帖石一并存放在圆明园的淳化轩。I860年英法联军焚毁圆明园，所谓毕士安底本也必遭毁灭。\n乾隆重刻本，除了改变原刻整体程序外，也有对个别字体修正原刻的失误，如第八卷《此郡帖》的“非常”之“非”字,原刻失刻一笔，乾隆重摹即据《大观帖》补刻完整。此外，有的字体也有摹失,但其不可忽视之处在于它是从整套北宋拓本翻刻，在我们对比各《阁帖》本时有着比较重要的参考价值。\n弘历继位九年（1744 ）命臣将内府所藏书画著录《石渠宝笈》。乾隆十五年（1750）又敕命编刻《三希堂石渠宝笈法帖》三十二卷。谕曰：\n书为游艺之一，前代名迹流传，令人兴怀珍慕。是以好古者恒钩撫镌刻.以垂诸奕祀。宋《淳化阁帖》，其最著矣。厥后《大观》《淳熙》皆有续刻。其他名家摹本，至不可数。我朝秘府，初不以广购博收为尚，而法书真迹，积久颇富。朕曾命儒臣详慎审定，编为《石渠宝笈》一书。因思文人学士得佳迹数种，即钩摹入石，矜为珍玩。今取群玉之秘，寿之贞琨。足为墨宝大观，以公天下。\n《三希堂法帖》刻后十九年即乾隆三十四年（1769）,弘历又重新刻了一部《淳化阁帖》。这部帖是据赐毕士安本墓刻的，故书家与书帖和《阁帖》相同。然而不同的是：（一）除帝王帖置首卷外，其他帖完全按时代先后排列：第一，历代帝王；第二，上古至晋人；第三，第四、第五，晋王羲之；第六，晋人及王献之；第七，晋王献之；第八，晋至梁人；第九，陈至唐人；第十，唐及无名氏。（二）随文添刻楷书釋文。（三）卷末附释文考异和御制题跋。\n当时为什么要这样做呢？弘历在帖首自有说法：\n朕几余不自暇逸，典学之优，时及临池。曩曾辑内府所藏前人墨迹，刻为《三希堂》《墨妙轩》二帖，广示艺林。复念古帖流传可补墨迹所未备者，惟宋《淳化阁帖》，镌集尤为美富，远出《大观》《太清楼》诸本之上。但惜初拓与赐者绝勘，或云版寻残损，当时已为难得。后来翻刻愈繁，真意寝失。有志追摹者，末由津逮。内府旧藏《淳化阁帖》极多，而此毕士安所得赐本拓最精好。爰特敕选工钩摹上石，冀复旧观。\n第王著昧于辨别，其所排类标题，舛陋滋甚，不当听其沿讹，以误后学。因命于敏中等详加考正，以次呈阅，候朕参定，分识各卷。并命搜采诸家释文，依字旁注。其互异者折衷附记于后，以资省览。是于考文稽古之中，兼寓举坠订讹之益，用嘉惠海内操觎之士焉。\n特谕。\n乾隆三十四年（1769）二月六日，御笔。",[321,1569,50,51,932,1570,214,90,1571,1572,1573,7,1101,1238],"字帖","临摹","重刻","帖本","刻帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2219e56217c5484ede575cfa0a4d8478.jpg",[],{"id":1577,"slug":1578,"title":1579,"dynasty":161,"author":897,"museum":65,"description":898,"tags":1580,"thumbUrl":1581,"material":74,"size":75,"collection":33,"collections":1582,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},231176,"su-miao-430-xi-fang-231176","素描430",[493,900,166,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3661b52b79c0fa1e010886ef78675f6.jpg",[],{"id":1584,"slug":1585,"title":1586,"dynasty":161,"author":43,"museum":65,"description":1055,"tags":1587,"thumbUrl":1590,"material":74,"size":75,"collection":33,"collections":1591,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":59},230773,"xiang-bai-yu-leng-xing-zi-tan-mu-he-yi-ming-230773","镶白玉棱形紫檀木盒",[442,633,634,1588,69,7,1589,932],"镶嵌","棱形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5656102c13eacb6b41b46d439a9dccbf.jpg",[],{"id":1593,"slug":1594,"title":1595,"dynasty":82,"author":43,"museum":65,"description":1395,"tags":1596,"thumbUrl":1598,"material":74,"size":75,"collection":33,"collections":1599,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},230086,"hua-shi-wan-yi-ming-230086","花式碗",[87,634,69,1597,7,72,509,481],"阴刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbf8bf3af35079525d468da35958383d.jpg",[],{"id":1601,"slug":1602,"title":1603,"dynasty":82,"author":1604,"museum":65,"description":1605,"tags":1606,"thumbUrl":1610,"material":74,"size":75,"collection":33,"collections":1611,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},229748,"cao-su-gong-yu-zhi-geng-zhi-tu-shi-bo-yang-mo-cao-su-gong-229748","曹素功 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