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边寿民甥。工书、画，花卉小品，清远绝俗。画用钩勒再以枯笔渍染，阴阳向背，极为明豁。写芦雁酷似其舅，又善画宜兴茶器。卒年八十七。《艺林月刊、墨林今话、墨香居画识、梧门诗话、宋元明清书画家年表附录》。",[24,48,28,75,7,143],"竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5c02b9ac6b226b056d529a5e4f8b6e1.jpg",[35],33,{"id":148,"slug":149,"title":150,"dynasty":44,"author":45,"museum":20,"description":151,"tags":152,"thumbUrl":154,"material":155,"size":156,"collection":34,"collections":157,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":39},233469,"ren-wu-hua-hui-ce-xu-wei-233469","人物花卉册","该册十八页，其中画十五页，分别作写意山水人物、写生花卉，内容有婴戏、对弈、牡丹、兰花、稻穗螃蟹等等。笔墨简括豪放，随意自然。选其二页，可窥真趣。",[68,24,70,28,48,27,7,153,75],"稻穗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d7da0a86ef5dffe025cc71e769143d1.jpg","纸本水墨","纵26.9厘米 横38.3厘米",[],{"id":159,"slug":160,"title":161,"dynasty":44,"author":162,"museum":114,"description":163,"tags":164,"thumbUrl":168,"material":169,"size":34,"collection":35,"collections":170,"showCount":171,"zanCount":59,"manualWeight":11,"mainColor":172},203415,"hua-hui-ce-wang-wei-lie-203415","花卉册","王维烈","此册两开，左幅蟹卧翠叶，紫穗垂悬，草虫点缀其间，工笔勾勒精准，设色温润雅致；右幅芙蓉绽放，花叶扶疏，浓淡相衬，姿态娇妍生动。画面布局精巧，线条婉转流畅，设色明丽却不俗，尽显明代花鸟册页的精致意趣，于细微处见自然生机，笔墨间藏清幽韵致。",[71,25,26,28,7,165,100,166,167,23],"芙蓉","工细","清雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faca6a9107f4af8b26a6991a2c2dbd95e.jpg","设",[35],30,"ab8e72",{"id":174,"slug":175,"title":176,"dynasty":18,"author":177,"museum":65,"description":178,"tags":179,"thumbUrl":181,"material":78,"size":79,"collection":34,"collections":182,"showCount":183,"zanCount":11,"manualWeight":11,"mainColor":39},290535,"lu-xie-yun-shou-ping-290535","芦蟹","恽寿平","恽南田（1633年—1690年），即恽寿平，原名格，字寿平，后以字行，改字正叔，号南田，别号云溪外史，晚居城东，号东园草衣，后迁居白云渡，号白云外史，明末清初著名书画家，常州画派的开山祖师，后来成为清六家之一。",[24,28,48,25,7,180,75,26],"芦草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6713dbec3223e093d3cfa431c11abbef.jpg",[],28,{"id":185,"slug":186,"title":85,"dynasty":86,"author":87,"museum":65,"description":187,"tags":188,"thumbUrl":190,"material":78,"size":79,"collection":34,"collections":191,"showCount":192,"zanCount":11,"manualWeight":11,"mainColor":39},288368,"shui-mo-xie-sheng-tu-mu-xi-288368","二图卷绘果蔬、花木禽鸟、鱼蟹果蔬有石榴、桃、梨、枇杷、萝卜、茄子；禽鸟有燕子、喜鹊、鹊鸽、赤麻鸭；水族有鱼、虾、蟹等全卷川水墨勾染，不施颜色，在南宋画坛极其罕见，为写意花鸟开创了新路。",[23,68,24,49,48,90,26,93,50,7,189,129,91,76],"飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4421a4fc00d03c3c87c5ed2ebd989b87.jpg",[],27,{"id":194,"slug":195,"title":196,"dynasty":18,"author":197,"museum":65,"description":198,"tags":199,"thumbUrl":201,"material":78,"size":79,"collection":34,"collections":202,"showCount":203,"zanCount":59,"manualWeight":11,"mainColor":135},239025,"hua-xie-zhou-lang-bao-chen-239025","画蟹轴","郎葆辰","郎葆辰(1763—1839)，初名福延，又名遂峯，字文台，号苏门，晚号桃花山人。浙江安吉人。1817年（嘉庆二十二年），授翰林院编修，掌印给事中，升贵州粮储道。",[24,70,69,48,27,7,200,76,75],"枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dc269c151aed2324928eccad2f99e61.jpg",[],17,{"id":205,"slug":206,"title":207,"dynasty":86,"author":126,"museum":65,"description":208,"tags":209,"thumbUrl":211,"material":78,"size":79,"collection":34,"collections":212,"showCount":213,"zanCount":11,"manualWeight":11,"mainColor":39},290777,"huai-shu-wo-lu-yi-ming-290777","槐树卧鹿","此作以绣线为笔，晕染出盛夏池畔清趣。青蟹踞于波心，甲胄纹路丝丝毕现，螯足张合间野趣盎然。菡萏或绽或含，柔瓣舒展如凝露，水草与红蓼随波轻曳，将幽潭一隅的生机缓缓铺陈。\n\n绣法灵动多变，以针代墨追摹物象肌理，蟹甲的糙粝、莲瓣的润柔被细细勾勒，设色古雅清淡，带着宋人独有的沉静雅致，将自然小景的鲜活诗意定格于丝帛之上，尽显宋代丝绣工艺的绝妙造诣，藏着旧时匠人对天地生机的细腻体察。",[28,26,129,7,71,210],"布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F706c70e022114843efaebc16fa835b55.jpg",[],15,{"id":215,"slug":216,"title":161,"dynasty":18,"author":217,"museum":65,"description":218,"tags":219,"thumbUrl":220,"material":78,"size":79,"collection":34,"collections":221,"showCount":222,"zanCount":11,"manualWeight":11,"mainColor":39},239094,"hua-hui-ce-ma-yuan-yu-239094","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。",[24,25,48,28,26,30,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11574ea984d1eb6477ac8e118d6fe93f.jpg",[],14,{"id":224,"slug":225,"title":226,"dynasty":227,"author":228,"museum":114,"description":229,"tags":230,"thumbUrl":10,"material":34,"size":34,"collection":56,"collections":231,"showCount":232,"zanCount":11,"manualWeight":11,"mainColor":233},202899,"xie-zao-tu-zhou-qi-bai-shi-202899","蟹藻图轴","近代","齐白石","画面中数只螃蟹姿态各异，或爬或踞，墨色浓淡相宜——甲壳以重墨块面写出，螯足用劲挺线条勾勒，尽显蟹之灵动鲜活。上方水草以疏朗笔触点缀，与下方蟹群形成虚实呼应，传递出自然生趣。齐白石以写意之法，将寻常水族描绘得形神兼备，笔墨间满是质朴天真的意趣。",[24,48,27,7,51,23],[56],7,"c7bfb5",{"id":235,"slug":236,"title":237,"dynasty":227,"author":228,"museum":114,"description":238,"tags":239,"thumbUrl":242,"material":34,"size":34,"collection":34,"collections":243,"showCount":244,"zanCount":11,"manualWeight":11,"mainColor":245},202747,"xie-yu-tu-zhou-qi-bai-shi-202747","蟹鱼图轴","这幅画以水墨写意之法绘就鱼、虾、蟹等水族生灵，笔墨简练却形神毕肖。鱼的墨色浓淡相衬，体态丰腴灵动，似在水中悠然游弋；虾的须脚纤细如丝，通透轻盈，尽显活泼之态；蟹的螯足劲健，墨块厚重，勾勒出甲壳的坚硬质感。画面无背景却通过生灵间的呼应，营造出盎然生机，仿佛能闻水波轻漾之声。齐白石以深厚生活观察为基，将日常水族化为艺术精品，简括中见精妙，平淡里藏真趣，尽显写意画独特魅力。",[24,48,50,93,7,27,240,241,23],"笔墨简练","形神兼备","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98af68777f51809032df303828cf9ac5.jpg",[],6,"cdc6b8",{"id":247,"slug":248,"title":249,"dynasty":18,"author":126,"museum":65,"description":250,"tags":251,"thumbUrl":258,"material":78,"size":79,"collection":34,"collections":259,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":261},242064,"yin-du-jin-qian-bao-shi-yu-xie-wen-zan-yi-ming-242064","银镀金嵌宝石玉蟹纹簪","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。",[18,252,253,254,255,256,257,7],"饰品","银器","金器","玉石","宝石","镶嵌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8acc86ba7fa3290e5a537028ee1f0b13.jpg",[],5,"37474F",{"id":263,"slug":264,"title":265,"dynasty":44,"author":266,"museum":65,"description":267,"tags":268,"thumbUrl":271,"material":54,"size":34,"collection":34,"collections":272,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":39},237270,"zhi-hua-ce-chen-dao-237270","指画册","陈道","陈道（1707-1760），字绍洙，号凝斋。江西新城钟贤（今江西省黎川县中田乡）人。清代文学家、理学家。生于康熙四十六年。从小品行端重，刚入塾学，白天听老师讲课，晚上则随父听诵《小学近思录》，庄诵不倦，并以此作为学与行准则。稍长，协助父亲治理产业及施行善事。一有闲暇，便手不释卷，孜孜以求。国子监肄业时，为主监事孙嘉淦所器重。后从师广昌黄永年，钻研宋儒理学，兼攻水利农田、军政边防等书籍。他尊崇周敦颐、程颢、程颐，研习陆九渊，王守仁，尤服罗点「主静不妄语」、「不为物所役」的主张。乾隆九年（1744）中举。乾隆十三年（1748）中进士，候选知县，以父母年高、无同胞兄弟为由拒官。后皇上令诏经学，他被推举，亦推辞不去。安心在家侍奉双亲，埋头读书。父经商，家境富裕，他辅佐父亲在乡兴办慈善事业。设立义田二千亩扶助贫苦，以使「读书有赡，鳏寡孤独废疾有养，婚丧有助」。捐白银二千两，为「盱江书院」讲学费。二十四年协助知县创建「黎川书院」，捐助学费，并在此掌教多年。还建桥修亭，施棺舍药，遇灾荒年景，奉父命购运粮食，按户计口平粜以救饥，并劝说或强制某些囤粮闭粜的富户粮商参与赈济。陈道一生，为人严毅清苦，「自少至老未一日怠惰」。治学以力行为主。经常与雷宏、夏之瀚、祝淦、涂登、涂瑞等交往切磋，甚得一些贤士、大夫所赏识。卒于乾隆二十五年，年五十四岁。文章多为讲学书稿，文风醇古淡泊，真意盎然。诗歌常流露对社会的不满，反映他不与时俗合流的对抗情绪。尝欲注《春秋五传》和编《江西文统》，未成而终。陈道去世后，其子陈守诚和同邑学生、同乡学者鲁九皋将其文稿收集整理成《凝斋遗集》（文6卷，诗2卷），刊印后被四库馆以《凝道斋集》收入《四库全书总目》，《清史列传》行于世。",[68,24,70,28,48,269,7,270,75],"指画","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4d23a3e0731f89b7ae46f160d3c0f3b.jpg",[],{"id":274,"slug":275,"title":139,"dynasty":44,"author":113,"museum":114,"description":276,"tags":277,"thumbUrl":280,"material":34,"size":34,"collection":34,"collections":281,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":282},203183,"za-hua-ce-chen-chun-203183","画面两段景致各有生趣：上段水墨写花草，笔触简括灵动，墨色浓淡相宜，花叶姿态舒展自然，似携清雅之风；下段绘蟹与虾，蟹的甲壳以重墨块面晕染，虾须纤细飘逸如丝，寥寥数笔便形神毕肖，满含鲜活意趣。整幅以水墨为媒介，写意手法挥洒自如，于简淡笔墨中藏生机，尽显文人画的雅致意趣。",[24,70,28,48,26,7,93,278,279],"花草","写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f2f2478a11f9fe50e2b267934fff9b7.jpg",[],"d9d2cd",{"id":284,"slug":285,"title":286,"dynasty":227,"author":228,"museum":114,"description":287,"tags":288,"thumbUrl":289,"material":34,"size":34,"collection":35,"collections":290,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":291},203038,"lu-xie-tu-zhou-qi-bai-shi-203038","芦蟹图轴","水墨写意间，苇丛以枯笔焦墨纵横挥洒，笔触飞白如缕，尽显萧疏野逸之姿；蟹群或聚或散，甲壳以浓淡墨色晕染，螯足线条劲挺利落，似欲爬动，形神毕肖。简括笔法中藏着对生活的入微体察，寥寥数笔便让寻常小景焕发生机，观之如闻水畔风动苇响，蟹行沙沙，尽显齐白石写意画的灵动与趣味。",[24,48,26,69,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28ba838f07249668ed7db490bf1c24d0.jpg",[35],"beb8b2",{"id":293,"slug":294,"title":295,"dynasty":18,"author":126,"museum":65,"description":296,"tags":297,"thumbUrl":302,"material":78,"size":79,"collection":34,"collections":303,"showCount":304,"zanCount":11,"manualWeight":11,"mainColor":261},268514,"dian-cui-hua-hui-niao-die-wen-tou-hua-yi-ming-268514","点翠花卉鸟蝶纹头花","中国妇女最偏爱的头花当属绒花，尤其是在女儿出嫁时，头上必须戴红色绒花，图火红吉利。在中国妇女中，只要条件允许，不仅婚礼喜庆日时要戴绒花，而且一年四季都愿意头戴绒花，求谐音吉祥。尤其到应时节序戴应季绒花：立春日戴春幡，清明日戴柳枝，端阳日戴艾草，中秋日戴桂花，重阳日戴茱萸，立冬日戴葫芦阳生……。清宫后妃们的头花，还有大批的绒花、绢花、绫花流存于世，这些花色彩协调，晕色层次丰富，堪称“乱真”之花。清代遗留下来的绒、绢、绫、绸等质地的头花有白、粉、桃红三晕色的牡丹花，浅黄、中黄、深黄三色的菊花，白、藕、雪青三色的月季花及粉、白相间的梅花等等，历时百年不久，仍鲜艳悦人。",[252,298,299,100,7,300,301],"点翠","石榴","发簪","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0b6df72c9999edcf1659402132720f4.jpg",[],3,{"id":306,"slug":307,"title":308,"dynasty":18,"author":126,"museum":65,"description":309,"tags":310,"thumbUrl":317,"material":78,"size":79,"collection":34,"collections":318,"showCount":304,"zanCount":11,"manualWeight":11,"mainColor":39},258708,"fen-cai-diao-su-xie-guo-pan-yi-ming-258708","粉彩雕塑蟹果盘","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。",[311,312,313,314,25,7,315,316,31],"清代","粉彩","雕塑","陶瓷","果实","盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ee7f1111c38c24e090f80c6e1d57749.jpg",[],{"id":320,"slug":321,"title":322,"dynasty":18,"author":126,"museum":65,"description":309,"tags":323,"thumbUrl":326,"material":78,"size":79,"collection":34,"collections":327,"showCount":304,"zanCount":11,"manualWeight":11,"mainColor":39},258707,"bai-di-fen-cai-diao-su-xie-guo-pan-yi-ming-258707","白地粉彩雕塑蟹果盘",[18,314,312,313,324,25,7,325,316],"白地","果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71e05553c0808b717a7baa22cc9b769f.jpg",[],{"id":329,"slug":330,"title":331,"dynasty":18,"author":126,"museum":65,"description":250,"tags":332,"thumbUrl":333,"material":78,"size":79,"collection":34,"collections":334,"showCount":304,"zanCount":59,"manualWeight":11,"mainColor":135},224044,"diao-he-xie-da-bian-qing-yu-shui-cheng-yi-ming-224044","雕荷蟹大扁青玉水丞",[311,255,301,129,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19737e591eae1fbfe09a718de32a597c.jpg",[],{"id":336,"slug":337,"title":338,"dynasty":18,"author":126,"museum":65,"description":339,"tags":340,"thumbUrl":346,"material":78,"size":79,"collection":34,"collections":347,"showCount":108,"zanCount":11,"manualWeight":11,"mainColor":135},258535,"dong-qing-you-fen-cai-luo-xie-wen-ji-lan-miao-jin-ping-shi-xiang-cha-yi-ming-258535","冬青釉粉彩螺蟹纹祭蓝描金瓶式香插","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。”",[311,314,341,312,342,343,7,344,345,31],"祭蓝描金","冬青釉","螺","瓶","香插","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c20b14f4be37a12b3dc7ffc17538d1e.jpg",[],{"id":349,"slug":350,"title":351,"dynasty":44,"author":126,"museum":65,"description":352,"tags":353,"thumbUrl":355,"material":78,"size":79,"collection":34,"collections":356,"showCount":108,"zanCount":11,"manualWeight":11,"mainColor":39},251090,"bai-yu-pang-xie-yi-ming-251090","白玉螃蟹","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。",[354,255,301,31,7],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F320d18cdb930eea62ff2a028d6b5bb5e.jpg",[],{"id":358,"slug":359,"title":360,"dynasty":44,"author":126,"museum":65,"description":250,"tags":361,"thumbUrl":366,"material":78,"size":79,"collection":34,"collections":367,"showCount":108,"zanCount":11,"manualWeight":11,"mainColor":261},250806,"qing-yu-lou-diao-chan-zhi-lian-xie-feng-wen-shuang-chi-shui-cheng-yi-ming-250806","青玉镂雕缠枝莲蟹凤纹双池水丞",[354,255,362,363,7,364,31,365],"镂雕","缠枝莲","凤","文房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50a915d1d58af04e65f314c6b775aaa6.jpg",[],{"id":369,"slug":370,"title":371,"dynasty":372,"author":126,"museum":65,"description":373,"tags":374,"thumbUrl":381,"material":78,"size":79,"collection":34,"collections":382,"showCount":59,"zanCount":11,"manualWeight":11,"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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。",[314,7,451,406,452],"水丞","白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bff5b1d963c17cd62cf91b9a74cfaf9.jpg","瓷器精选",[454],{"id":457,"slug":458,"title":459,"dynasty":18,"author":126,"museum":65,"description":460,"tags":461,"thumbUrl":466,"material":78,"size":79,"collection":34,"collections":467,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":135},251927,"lan-ma-nao-fu-diao-wa-xie-xiang-er-ping-yi-ming-251927","蓝玛瑙浮雕蛙蟹象耳瓶","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[462,463,464,7,465,31],"蓝玛瑙","浮雕","蛙","象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a46d6b0cbb71ef08d5641f2fe209f51.jpg",[],{"id":469,"slug":470,"title":471,"dynasty":18,"author":126,"museum":65,"description":250,"tags":472,"thumbUrl":474,"material":78,"size":79,"collection":34,"collections":475,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":135},251643,"qing-yu-xie-shi-mo-chuang-yi-ming-251643","青玉蟹式墨床",[255,301,7,365,473],"青绿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19ca3d3c8c1abf7966199e0bb9b2a076.jpg",[],{"id":477,"slug":478,"title":479,"dynasty":18,"author":126,"museum":65,"description":309,"tags":480,"thumbUrl":483,"material":78,"size":79,"collection":34,"collections":484,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},248864,"liang-fu-xing-kuan-ti-hong-ju-xie-wen-hai-tang-shi-pan-yi-ming-248864","梁福兴款剔红菊蟹纹海棠式盘",[311,481,482,301,30,7,31],"漆器","剔红","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F183eb02d7fc0d32f58d13f36c2b2467d.jpg",[],1777535712199]