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。画面上只有几只鸭子、几尾游鱼和几块半露水面的石块，造型十分简练，笔墨浓淡的处理却十分考究，生动地刻画出岩石的坚实感、鸭毛的松蓬以及鱼身上鳞、鳍的变化。八大将鱼眼画成“白眼”，喻含了他对清王朝的不满和蔑视。",[23,24,48,49,50,51,7,52,53],"书画","长卷","水墨","鱼","孤石","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35823c256193bde43d49e8eda3ea517d.jpg","纸本,水墨","纵23.2厘米 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　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[23,24,27,50,25,28,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F558fc058a71b3262d00499f28f8a76a2.jpg",[],44,{"id":116,"slug":117,"title":118,"dynasty":18,"author":119,"museum":81,"description":120,"tags":121,"thumbUrl":125,"material":101,"size":102,"collection":89,"collections":126,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":59},230974,"zi-wei-shuang-ya-tu-zhu-cheng-230974","紫薇双鸭图","朱偁","朱偁[清]（1826—1900，一作1826—1899）清代画家，早岁名琛，后更今名，字梦庐，号觉未，浙江嘉兴人。",[23,24,27,25,28,122,7,26,50,123,124],"紫薇","水波","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3621326badfd0abb6238460d188f3b31.jpg",[],33,{"id":129,"slug":130,"title":131,"dynasty":18,"author":97,"museum":81,"description":132,"tags":133,"thumbUrl":142,"material":101,"size":102,"collection":89,"collections":143,"showCount":144,"zanCount":92,"manualWeight":11,"mainColor":59},272898,"zi-tan-mu-bian-mi-se-chou-di-xiu-hua-niao-tu-wei-ping-yi-ming-272898","紫檀木边米色绸地绣花鸟图围屏","紫檀木框架沉稳雅致，衬得绣面愈显清丽脱俗。十二扇屏各自成景又浑然相融，绣线晕染出松石苍润古拙，花枝柔婉舒展，或绽露芳华，或含苞轻垂。禽鸟姿态灵动悠然，或伫立观荷，或栖于枝梢梳羽，游凫嬉于清波，野趣横生。\n\n米绸底色温婉柔和，蓝白绣线层次细腻，凭借精巧针法晕染出明暗虚实，将草木花鸟的生机尽数勾勒。针线起落间藏着细腻匠心，把雅致娴静的意趣融于方寸绣面，是绣艺与木器工艺相融的佳制，尽显中式栖居的清雅韵致。",[134,135,136,137,28,25,26,85,138,139,140,141,7],"围屏","木质","布料","刺绣","梅","牡丹","飞鸟","鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce5c6afedc51bc5f657d99375938e2b1.jpg",[],31,{"id":146,"slug":147,"title":148,"dynasty":149,"author":150,"museum":151,"description":152,"tags":153,"thumbUrl":157,"material":55,"size":158,"collection":35,"collections":159,"showCount":160,"zanCount":11,"manualWeight":11,"mainColor":59},228010,"xi-fu-tu-zhou-chen-lin-228010","溪凫图轴","元","陈琳","台北故宫博物院","《溪凫图》为元代画家 创作的纸本设色画，现藏于台北故宫博物院。\n该图描绘的是秋天的景色。\n一只野鸭正立于水岸边上，河里水波阵阵泛起，岸上野草丛生，一株芙蓉树正开得鲜艳。\n该图绿头鸭造型准确，勾勒工谨，以水墨晕染，略加花青、赭石淡彩，花草笔墨纵逸简括。\n此图中一只体硕羽丰的野鸭临水而立，霜晴溪碧，秋意浓郁。\n该画幅左有赵孟頫题记：“陈仲美戏作此图，近世画人皆不及也。\n子昂。\n” 诗塘有元人仇远题跋。\n其中右上的芙蓉、下方的坡石小草和粗笔的水波都是赵孟頫所加，粗笔水波之下还可见到陈琳原画细笔波纹的痕迹。\n画上钤有清人耿昭忠、乾隆帝、宣统帝等收藏印多方。\n《溪凫图》是陈琳求教与赵孟頫时，在赵氏的松雪斋中所作。\n时值元大德五年（11年），该图是在赵氏手把手的指导下，并且由赵氏润色题识共同合作完成的一幅作品。\n整幅画面保留了宋代花鸟相对严谨的造型和章法，区别在于通过相对粗拙的笔墨来作整体的勾染以呈现主体物象。\n野凫的喙以苍厚而毛涩的线勾出外轮廓，再以干笔淡墨循其形理擦染而成，形质俱在。\n鼻孔则又以浓墨细线勾其内外以示其形。\n头部则以浓淡不同的墨色来擦染。\n首先以不同紧松的笔触擦写以表现头部及脖子不同部位组织的软硬质地以及相互关系，然后根据需要敷以花青、染以不同深浅的墨色以体现头部皮肤及羽绒状况。\n浓墨细线，以肯定的笔触圈出眼眶，淡色渲染眼球，晶莹、润泽，浓墨圈点眼瞳，传野凫特有之眼神。\n颈与躯干相连接部分为白色羽毛，仅用两根界线勾出外轮廓，略施极淡的墨。\n野凫的前胸部则以点染笔法两至三遍地完成羽毛，较好地表现了短羽的松软。\n以粗拙的线条勾出左腿部及脚蹼，大腿上的羽毛较长用淡而长的弧线堆砌、错综，以显羽毛的自然情状。\n又以淡墨和赭石细勾分染以增其层次。\n为了表现紧紧包裹着小腿的皮的质感，则又细勾慢染，显脚部皮质的起伏与韧坚。\n背上翅部则是精雕细琢的部分，以勾染绘出根部外侧细毛层叠蓬松。\n翅前端几根大羽则用浓淡不同的线依其物理的方向，以富有弹性的线勾出，与细羽形成对比，尾部上面翅之最前端以极概括的手法涂染、大笔写出。\n整只野凫的描绘以明显的带有书写性的笔法绘出。\n整体结构的精准表现了野凫的一贯常态，极为传神。\n补景行笔从容，线条极具概括力，笔触简洁、富有意趣，轻松地表现了画幅上部的芙蓉以及下部的杂草。\n坡石的线条极为自如，看似随意间形质皆备，诚是“笔简而意繁”叠压在细劲水纹上粗简的复笔，润而凝、松而实。\n这些笔触表现的虽是背景，但横贯画幅，时于整体意笔气氛的营造有着极为重要的作用。\n画面写生式的画一只野鸭，本来构图容易陷于平板，但坡岸一条很粗的斜曲线，使画面起了变化，加以淡墨的不规则的水纹线条，使之有了起伏变化。\n然后在右上角用线描出芙蓉花，以及坡上车前草和两丛野草，使之丰满充实，疏密有致。\n现代文学家、画家 ：这画的确美妙、生动和自然。\n连霜消日晒、光暖波凉的感觉都能让人感到。\n虽是戏作，笔墨却是上乘。\n你看，这土坡的苍厚，鸭羽的柔软，花叶的肥嫩，水纹的光滑，全用不同质感的线条区分开。\n颜色不多却非常丰富；赭黄的调子洋溢着秋天的风韵。\n陈琳的《溪凫图》与其他画家的作品一起成为种标向，在花鸟画发展中做出了两个方面的贡献。\n其一是把绘画中的行利之分逐渐地引导到种新的审美境界中去，展现文人画的进一步发展，与此同时，其自身也成为了一种传统。\n将宋人绘画中的严谨、规整、刻画的造型，逐步向松灵、抒写、淡治转移。\n二是把黄家的设色体制水墨化，其特征是：1、保持黄体的基本构图和严格的造型性，但在表现形式上由紧转松。\n2、将对于形廓的勾勒线描，变纤细为可以粗重并加强其抒写性。\n、变体面的色彩呈现为墨分五彩，变三矾九染的渲染法为皴、擦、书写为主的干湿表现。\n该图曾经耿昭忠及清内府收藏。\n现藏于台北故宫博物院。\n217年1月4日—12月25日，台北故宫博物院举办“国宝的形成”特展，《溪凫图》在其中展出。\n陈琳，生卒年未详。\n元代画家。\n字仲美，钱塘（今浙江杭州）人。\n南宋画院待诏陈珏子。\n琳世其业。\n善画花鸟、山水、人物，得赵孟颊指授，多所资益，故其画不俗，尤善临摹古迹。\n尝作《夏木图》，张雨题诗，有“董源夏木不复见，俗本纷纷何足观；陈郎笔力能扛鼎，写此千章生昼寒”之句。\n传世作品有与赵孟頫合作的《溪凫图》轴。",[23,24,48,50,25,28,7,154,155,52,156,53],"流水","植物","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ab4dc7748b9ac3a1f0f3e1f60d4cb74.jpg","35.7x47.5",[35],30,{"id":162,"slug":163,"title":164,"dynasty":149,"author":165,"museum":81,"description":166,"tags":167,"thumbUrl":172,"material":89,"size":89,"collection":89,"collections":173,"showCount":174,"zanCount":11,"manualWeight":11,"mainColor":59},228014,"shuang-ya-tu-ye-qian-xuan-228014","双鸭图页","钱选","此作用色清隽雅致，以澄澈钴蓝晕染水面，铺就幽宁底色。枯涩崖岸旁，蓼花垂曳轻摇，荇花绽于浅波，野趣盎然。白鸭昂首引吭，绒毛以淡墨层层晕染，柔润蓬松，憨态灵动，将水禽的慵懒自在尽显无遗。\n左侧题字墨色沉郁古雅，书画合璧，晕开文人逸趣。整幅画作工致却无板滞之感，褪去浓艳浮华，以清简笔触定格江南水畔一隅生机，在平淡天真里晕染出静逸诗意，把闲淡野逸的水乡意趣藏于笔底，尽显雅致悠然的文人审美意韵。",[23,69,24,48,168,26,25,7,169,155,170,171],"册","岩石","花卉","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F264f3c409d648d2eabd5847edaa99ecd.jpg",[],21,{"id":176,"slug":177,"title":178,"dynasty":149,"author":97,"museum":81,"description":179,"tags":180,"thumbUrl":182,"material":101,"size":102,"collection":89,"collections":183,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":39},238063,"shuang-ya-xi-shui-dan-ye-yi-ming-238063","双鸭戏水单页","元代绘画中，文人画占据画坛主流。因元代未设画院，除少数专业画家直接服务于宫廷外，大都是身居高位的士大夫画家和在野的文人画家。他们的创作比较自由，多表现自身的生活环境、情趣和理想。山水、枯木、竹石、梅兰等题材大量出现，直接反映社会生活的人物画减少。作品强调文学性和笔墨韵味，重视以书法用笔入画和诗、书、画的三结合。",[24,48,168,26,25,28,7,181],"水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90934f437798f9e47df4e4c133056d21.jpg",[],15,{"id":186,"slug":187,"title":188,"dynasty":18,"author":189,"museum":45,"description":190,"tags":191,"thumbUrl":192,"material":89,"size":89,"collection":35,"collections":193,"showCount":194,"zanCount":11,"manualWeight":11,"mainColor":195},202078,"he-ya-tu-zhou-wang-qian-202078","荷鸭图轴","王潜","墨色晕染间，荷叶舒展如盖，泼墨与留白相映，尽显清逸之姿；茎秆以劲挺线条勾勒，牵缠间见生机。双鸭浮游于浅波，羽色层次细腻，姿态憨然：一鸭昂首远眺，一鸭低首理羽，动静相宜。整幅画作以写意笔法绘就，笔墨简括却形神兼备，荷的清雅与鸭的闲适交融，营造出悠然恬淡的田园意趣，观之令人心宁。",[24,50,28,85,7,84,27,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F429631325f75502f7ac31955d2d4a1aa.jpg",[35],13,"ad9d86",{"id":197,"slug":198,"title":199,"dynasty":79,"author":97,"museum":81,"description":200,"tags":201,"thumbUrl":203,"material":101,"size":102,"collection":89,"collections":204,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":39},287959,"fang-hui-zong-shui-zhong-ya-tu-yi-ming-287959","仿徽宗水中鸭图","淡墨绘双鸭悠游清波，翎羽纹理勾勒精细，水波晕开柔缓涟漪，将水禽自在舒展之态尽显。右侧坡岸汀花水草意态萧疏野逸，带着郊池幽寂之趣。\n\n画作追摹院体写生之致，工细间不失笔墨清简韵致，左侧题字古拙苍劲，书画相映成趣。整体将水禽灵动与汀渚静柔相融，把池沼一隅的安闲澹远定格，尽显古典雅致的写生意趣，晕开平和悠然的宋韵氛围感。",[23,24,49,69,26,50,28,7,31,156,202],"临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90ae8e7f2f631fe0ace89127baa242d3.jpg",[],12,{"id":207,"slug":208,"title":209,"dynasty":64,"author":97,"museum":81,"description":210,"tags":211,"thumbUrl":214,"material":89,"size":89,"collection":89,"collections":215,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":39},227380,"qiu-zhu-wen-qin-tu-yi-ming-227380","秋渚文禽图","深秋时节，荷叶枯萎，数枝折断，叶面已破成网。 几只野灵飘散散落，河岸上的两只野鸭在秋荷塘畔，悠闲地享受着秋日的阳光。",[24,48,212,26,25,28,7,85,181,213,53],"扇面","石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d2ab1fd7d2ce25074ac44af4540be96.jpg",[],11,{"id":218,"slug":219,"title":220,"dynasty":79,"author":97,"museum":81,"description":221,"tags":222,"thumbUrl":224,"material":101,"size":102,"collection":89,"collections":225,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},228808,"lu-ya-tu-zhou-yi-ming-228808","芦鸭图轴","淡赭晕开汀洲暮色，细劲墨线勾勒芦苇，叶梢随晚风欹斜错落，疏密间漫开清寂秋意。\n\n两只芦鸭静栖岩矶，抬首者绒羽蓬松，翎羽层次分明，墨色浓淡过渡柔和，似在聆听水泽秋声；蜷卧者敛息安闲，将野禽的恬然之态晕染入微。画面设色清雅柔和，无繁复铺陈，以极简笔意勾勒出郊野水畔的悠然生机，将荒寒秋意与栖禽的闲澹相融，尽显江南泽国的静谧闲雅，把秋日水泽的幽寂和生灵的野逸平衡得恰到好处，淡远空濛之余，余韵悠长。",[23,69,24,48,27,25,26,28,223,7,52],"芦苇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8344bd58fa2be0ddc84d2f4c79e5c0ff.jpg",[],{"id":227,"slug":228,"title":229,"dynasty":18,"author":230,"museum":81,"description":231,"tags":232,"thumbUrl":237,"material":238,"size":89,"collection":89,"collections":239,"showCount":240,"zanCount":11,"manualWeight":11,"mainColor":39},237352,"hua-niao-ce-wang-gang-237352","花鸟册","王冈","王冈，清代粜臫人頭，字南樤石，号旅云山人，上海人，工花卉、人物，并善写真，后出己意，写生入妙，亦善山水，尝游京师为董邦远客，凡画苑供奉之作，半出其手。\n（一六七七至一七七o）一作（一六九七至一七七o）字南石，号旅云山人，上海人。黄本复弟子。工花卉、人物，并善写真，后出己意，写生入妙。水族草虫，尤觉生动。亦善山水，尝游京师为董邦远客，凡画苑供奉之作，半出其手。其得意处，近似倪瓒。卒年九十四，一作七十四。",[24,25,26,168,233,7,234,235,236,169,28],"鹅","枯柳","冰雪","寒水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa4710e9d68a702e625788a8335f1fc3.jpg","纸本",[],6,{"id":242,"slug":243,"title":244,"dynasty":18,"author":245,"museum":45,"description":246,"tags":247,"thumbUrl":251,"material":89,"size":89,"collection":35,"collections":252,"showCount":253,"zanCount":11,"manualWeight":11,"mainColor":254},201881,"liu-ya-tu-zhou-si-ma-zhong-201881","柳鸭图轴","司马钟","柳枝轻垂，淡墨勾线染叶，柔蔓舒展如含风；水面游鸭羽色墨韵层次分明，喙爪朱红点缀，憨态毕露；枝间蝉儿刻画细致，羽翼纹理清晰。笔墨简逸传神，写意中见工致，意境清和雅致，尽显自然生趣与闲逸之味。",[24,50,25,28,7,248,249,84,250,23],"柳","蝉","晕染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb38a405502a68b5fb55e325e1a19ddc.jpg",[35],5,"d2c0a9",{"id":256,"slug":257,"title":258,"dynasty":259,"author":97,"museum":81,"description":260,"tags":261,"thumbUrl":265,"material":101,"size":102,"collection":89,"collections":266,"showCount":267,"zanCount":11,"manualWeight":11,"mainColor":39},259607,"qing-you-ya-yi-ming-259607","青釉鸭","南北朝","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。”",[262,7,263,264],"陶瓷","器","青釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4909f4ea466a714ef2ac5e1bd8d9a778.jpg",[],4,{"id":269,"slug":270,"title":209,"dynasty":64,"author":97,"museum":81,"description":271,"tags":272,"thumbUrl":274,"material":101,"size":102,"collection":89,"collections":275,"showCount":276,"zanCount":11,"manualWeight":11,"mainColor":59},289764,"qiu-zhu-wen-qin-tu-yi-ming-289764","秋水汀洲之上，两只文禽依偎相伴。一者抬首侧目，警觉窥望周遭动静，一者垂首理羽，安享清寂时光，翎毛纤毫毕现，写实工细尽显笔力。\n\n四周残荷枯苇疏落生长，写意笔触绘就萧疏秋意，墨色浅淡清润，留白烘托出寒波澹澹、秋空寥廓的荒寒清寂之境。工笔与写意相融，在尺幅间铺展出幽淡秋韵，将秋日水畔的静穆诗意娓娓道来，藏着独有的雅致空灵，淡远幽寂之中，尽是秋日闲澹的禅味。",[24,69,168,212,26,25,28,85,7,273,53],"秋渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1300b1fd5d9573bc0edfa5212b154a6d.jpg",[],3,{"id":278,"slug":279,"title":280,"dynasty":18,"author":97,"museum":81,"description":281,"tags":282,"thumbUrl":287,"material":101,"size":102,"collection":89,"collections":288,"showCount":276,"zanCount":11,"manualWeight":11,"mainColor":39},274509,"tong-du-jin-fa-lang-zhuan-ya-he-hua-gang-zhong-yi-ming-274509","铜镀金珐琅转鸭荷花缸钟","最早的钟原本是指古代汉族 传统的打击乐器，形状扁圆而中空，盛于春秋战国直至秦汉，多为青铜制，又叫“编钟”，自佛教传入中国后，逐渐变为一种宗教法器的代称，又叫“梵钟”或“半钟”原本叫“犍稚”又叫“信鼓”是寺院为报时、集众而敲击之用。",[283,284,29,30,7,285,286],"琺瑯器","铜制","日用具","钟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F192504cf0e58008e2ecf403397f4a6ba.jpg",[],{"id":290,"slug":291,"title":292,"dynasty":293,"author":97,"museum":81,"description":294,"tags":295,"thumbUrl":300,"material":101,"size":102,"collection":89,"collections":301,"showCount":276,"zanCount":11,"manualWeight":11,"mainColor":39},254603,"tao-hua-cai-ya-yi-ming-254603","陶画彩鸭","隋","宋代是传统制瓷工艺发展史上一个非常繁荣昌盛的时期。现时已发现的古代陶瓷遗址分布于全国170个县。其中有宋代窑址的就有130个县，占总数的75%。\n陶瓷史家通常将宋代陶瓷窑大致概括为6个瓷窑系，它们分别是：北方地区的定窑系、耀州窑系、钧窑系和磁州窑系；南方地区的龙泉青瓷系和景德镇的青白瓷系。这些窑系一方面具有因受其所在地区使用原材料的影响而具有的特殊性，另一方面又有受帝国时代的政治理念、文化习俗、工艺水平制约而具有的共同性。\n从造型的角度分析，宋瓷的器形较之前代更为丰富多彩，几乎包括了人民日常生活用器的大部分：碗、盘、壶、罐、盒、炉、枕、砚与水注等，其中最为多见的是玉壶春瓶。总的说来，民间用瓷的造型大部分是大方朴实、经济耐用；而宫廷用瓷则端庄典雅、雍容华贵。最能反映皇家气派的是哥、官、钧、汝与定窑口烧制的贡瓷，最能体现百姓喜乐的是磁州、耀州窑口烧制的民间瓷品。\n从纹饰上讲，宋瓷的纹饰题材表现手法都极为丰富独特。一般情况下，龙、凤、鹿、鹤、游鱼、花鸟、婴戏、山水景色等常作为主体纹饰而突现在各类器形的显著部位，而回纹、卷枝卷叶纹、云头纹、钱纹、莲瓣纹等多用作边饰间饰，用以辅助主题纹饰。工匠们用刻、划、剔、画和雕塑等不同技法，在器物上把纹样的神情意态与胎体的方圆长短巧妙结合起来，形成审美与实用的统一整体，令人爱不释手。如婴戏纹，或于碗心、或于瓶腹，将肌肤稚嫩，情态活泼的童子置于花丛之中，或一或二，或三五成群，攀树折花，追逐嬉戏，真切动人，生活气息甚为浓厚。",[296,262,297,25,298,7,299],"隋代","画彩","禽鸟","雕塑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7fc7a7eacd7d1a7786412b11deeedb4.jpg",[],{"id":303,"slug":304,"title":305,"dynasty":306,"author":97,"museum":81,"description":307,"tags":308,"thumbUrl":310,"material":101,"size":102,"collection":89,"collections":311,"showCount":276,"zanCount":11,"manualWeight":11,"mainColor":39},253490,"tao-ya-yi-ming-253490","陶鸭","唐","唐三彩（Tang Tri-Color Glazed Ceramics ），中国古代陶瓷烧制工艺的珍品，全名唐代三彩釉陶器，是盛行于唐代的一种低温釉陶器，釉彩有黄、绿、白、褐、蓝、黑等色彩，而以黄、绿、白三色为主，所以人们习惯称之为“唐三彩”。因唐三彩最早、最多出土于洛阳，亦有“洛阳唐三彩”之称 。\n唐三彩在唐代的兴起有它的历史原因。首先陶瓷业的飞速发展，以及雕塑、建筑艺术水平的不断提高，促使它们之间不断结合、不断发展，因此从人物到动物以及生活用具都能在唐三彩的器物上表现出来。\n唐代贞观之治以后，国力强盛、百业俱兴，同时也导致了一些高官生活的腐化，于是厚葬之风日盛。唐三彩当时也是作为一种冥器，曾经被列入官府的明文规定，一品、二品、三品、四品，就是说可以允许他随葬多少件，但是实际上作为这些达官显贵们，并不满足于明文的规定，反而他们往往比官府规定要增加很多的倍数，去做这种厚葬。官风如此，民风当然也如此，于是从上到下就形成了这么一种厚葬之风，这也就是唐三彩当时能够迅速在中原地区发展和兴起的一个主要原因之一。\n唐代是我国封建社会的鼎盛时期，所以说唐三彩从另外一个侧面也反映了这种唐王朝的政治、文化、生活，它跟唐代诗歌、绘画、建筑其他文化一样，共同形成了唐王朝文化的旋律，但是它又不同于其他的文化艺术，从现代的陶瓷史上认为，唐三彩在唐代陶瓷史上是一个划时代的里程碑，因为在唐以前，只有单色釉，最多就是两色釉的并用，在我国的汉代，已经有了两色，即黄色和绿色两种釉彩在同一器物上的使用。到了唐代以后，这种多彩的釉色在陶瓷器物上同时得到了运用。从陶瓷史上有人考证，这和唐代当时的审美观点起了很大的变化有关。在唐以前人们崇尚的是素色主义，到唐代以后，它包容了各种文化，包括许多外来文化，这个时候从绘画、陶瓷、金银器的制作，形成了一个灿烂文化的特点。\n唐三彩的生产已有1300多年的历史。它吸取了中国国画、雕塑等工艺美术的特点。唐三彩制作工艺复杂，以经过精细加工的高岭土作为坯体，用含铜、铁、钴、锰、金等矿物作为釉料的着色剂，并在釉中加入适量的炼铅熔渣和铅灰作为助剂。先将素坯入窑焙烧，陶坯烧成后，再上釉彩，再次入窑烧至800℃左右而成。由于铅釉的流动性强，在烧制的过程中釉面向四周扩散流淌，各色釉互相浸润交融，形成自然而又斑驳绚丽的色彩，是一种具有中国独特风格的传统工艺品。\n唐三彩不仅贵在釉色浓艳瑰丽，而且骆驼、马和人物等的造型生动传神，富有生活气息，当时的国际场上，唐三彩就已负有盛名，成为中外经济文化交流的重要物品之一。1928年，陇海铁路修筑到洛阳邙山时，出土了大量唐三彩，古董商们将其运至北京，受到了国内外古器物研究者的重视和古玩商竞相收藏。之后，洛阳地区不断有唐三彩出土，数量之多、质量之美，令人惊叹。",[262,309,7],"俑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbce80a5f017b400b244c1e3e85fb54d4.jpg",[],{"id":313,"slug":314,"title":315,"dynasty":18,"author":97,"museum":81,"description":316,"tags":317,"thumbUrl":320,"material":101,"size":102,"collection":89,"collections":321,"showCount":276,"zanCount":11,"manualWeight":11,"mainColor":322},250543,"qing-yu-ya-yi-ming-250543","青玉鸭","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。",[318,319,18,7,263],"玉石","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06262d0f22d699f39b7453d0a2f6c3e9.jpg",[],"37474F",{"id":324,"slug":325,"title":326,"dynasty":79,"author":97,"museum":81,"description":327,"tags":328,"thumbUrl":331,"material":101,"size":102,"collection":89,"collections":332,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":59},270327,"tong-ya-shi-xiang-xun-yi-ming-270327","铜鸭式香熏","此器作凫鸭昂首引吭之态，长颈蜿蜒舒展，喙部微张，似将吐纳袅袅青烟，灵动传神。躯体饱满圆润，以阴刻线条摹绘羽翼肌理，写实细腻。器身作开合式，侧壁开孔以通烟息，将焚香雅巧藏于瑞禽造型之内。单足稳踏莲叶台座，四出底座环饰卷云纹，古雅沉稳。\n\n青铜质地凝润厚重，包浆莹然尽显岁月沉韵。将日常焚香之用以灵禽形骸承载，承续古制又兼具明时审美意趣，是实用与赏玩兼具的工艺佳妙之品。",[329,284,7,330,285,319],"青铜器","香熏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0acbb1a7bccf4342a1d8150a558fd5b7.jpg",[],{"id":334,"slug":335,"title":336,"dynasty":79,"author":97,"museum":81,"description":337,"tags":338,"thumbUrl":341,"material":101,"size":102,"collection":89,"collections":342,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":59},261535,"qing-hua-he-ya-wen-pan-yi-ming-261535","青花荷鸭纹盘","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。",[262,339,29,7,340,285],"青花","盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F546a7810c367da6e29c8dd5a1d47d845.jpg",[],{"id":344,"slug":345,"title":346,"dynasty":18,"author":97,"museum":81,"description":347,"tags":348,"thumbUrl":351,"material":101,"size":102,"collection":89,"collections":352,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":59},256682,"fen-cai-diao-ci-ya-yi-ming-256682","粉彩雕瓷鸭","瓷器是由瓷石、高岭土、石英石、莫来石等烧制而成，外表施有玻璃质釉或彩绘的物器。瓷器的成形要通过在窑内经过高温（约1280℃～1400℃）烧制，瓷器表面的釉色会因为温度的不同从而发生各种化学变化，是中华文明展示的瑰宝。\n中国是瓷器的故乡，瓷器是古代劳动人民的一个重要的创造。谢肇淛在《五杂俎》记载：“今俗语窑器谓之磁器者，盖磁州窑最多，故相延名之，如银称米提，墨称腴糜之类也。”当时出现的以“磁器”代窑器是由磁州窑产量最多所致。这是迄今发现最早使用瓷器称谓的史料。",[18,349,350,262,25,7,263],"粉彩","雕瓷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9de9e42f04f773309bf9e2e8267eb864.jpg",[],{"id":354,"slug":355,"title":305,"dynasty":356,"author":97,"museum":81,"description":357,"tags":358,"thumbUrl":363,"material":101,"size":102,"collection":89,"collections":364,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":39},254030,"tao-ya-yi-ming-254030","汉","汉代陶器的工艺水平很高,造型优美,质地精良。品种、装饰则因地区不同而不同。陕西关中地区常见的日用陶器有豆、 盆、筒杯、勺、盘、缸、甑、 釜、小壶、扁壶、茧形壶、钵、罐、钟、碗等。明器包括礼器鼎和模型明器仓、陶囤以及各种动物形象。纹饰多为变形回纹、三角纹和窝纹。陕西潼关以东地区人们的日常用陶，以灰陶为主，有罐、 壶、碗、勺、筒杯、 瓮、盒、洗、甑、釜、杯、盘、尊等。在汉代流行起来的生活用具模型，如仓、 炉、 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。",[359,360,361,362,7,262],"汉代","陶塑","模制","刻画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdd1f5444c630442f59b20ca9480de4d.jpg",[],{"id":366,"slug":367,"title":368,"dynasty":18,"author":97,"museum":81,"description":369,"tags":370,"thumbUrl":379,"material":101,"size":102,"collection":89,"collections":380,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":322},249240,"qian-long-kuan-qia-si-fa-lang-gou-lian-wen-ya-shi-ping-yi-ming-249240","乾隆款掐丝珐琅勾莲纹鸭式瓶","景泰蓝（Cloisonne），中国的著名特种金属工艺品类之一，到明代景泰年间这种工艺技术制作达到了最巅峰，制作出的工艺品最为精美而著名，故后人称这种金属器为“景泰蓝”。景泰蓝正名“铜胎掐丝珐琅”，俗名“珐蓝”，又称“嵌珐琅”，是一种在铜质的胎型上，用柔软的扁铜丝，掐成各种花纹焊上，然后把珐琅质的色釉填充在花纹内烧制而成的器物 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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 。白釉是瓷器传统釉色之一,真正的白釉应该是乳白色的乳浊釉,这种釉是近代才发明的。我国古代仅有元代枢府釉是失透的,其他白釉并不是白色的釉,\n白釉烧制工艺比青釉复杂，出现的时间也较青釉晚，一般瓷土和釉料，都或多或少含有一些氧化铁，器物烧出后必然呈现出深浅不同的青色来。如果釉料中的铁元素含量小于0.75%，烧出来的就会是白釉。\n白釉最早出现在汉代，比青釉瓷器晚了400多年，白釉瓷器开始是青白色的，因为瓷器中铁的含量高于1%就是青色的，少于1%就是白瓷了，所以中国白瓷经历青瓷、青白瓷、卵白釉、甜白釉、象牙白、白釉的发展过程。中国历史上白瓷产地有德化白瓷、定窑白瓷以及刑窑白瓷等。",[262,406,407,85,7,408],"刻花","青白釉","饪食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1692d78ccc2e85d33e964b2b852653f2.jpg",[],{"id":412,"slug":413,"title":414,"dynasty":64,"author":97,"museum":81,"description":415,"tags":416,"thumbUrl":418,"material":101,"size":102,"collection":419,"collections":420,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":59},259799,"lin-ru-yao-qing-you-yin-hua-ya-lian-wen-pan-yi-ming-259799","临汝窑青釉印花鸭莲纹盘","汝窑，宋代五大名窑之一，因窑址位于宋时河南汝州境内而得名，今河南省宝丰县大营镇清凉寺村和汝州市张公巷均发现汝窑烧造。汝瓷位居宋代“汝、官、哥、钧、定”五大名窑之首，在中国陶瓷史上素有“汝窑为魁”之称。汝窑是中华传统制瓷著名瓷种之一，中国北宋、南宋、明朝时期皇家主要代表瓷器。\n汝瓷造型古朴大方，以名贵玛瑙为釉，色泽独特，有“玛瑙为釉古相传”的赞誉。随光变幻，观其釉色，犹如“雨过天晴云破处”，“千峰碧波翠色来”之美妙，土质细润，坯体如侗体其釉厚而声如磬，明亮而不刺目。器表呈蝉翼纹细小开片，有“梨皮、蟹爪、芝麻花”之特点，被世人称为“似玉、非玉、而胜玉”。宋、元、明、清以来，宫廷汝瓷用器，内库所藏，视若珍宝、可与商彝周鼎比贵。\n1952年，周恩来总理指示“发展祖国文化遗产、恢复汝窑生产”。经过上百次实验和研究，1958年烧制出第一批豆绿釉工艺品，1983年8月汝窑天蓝釉经过专家鉴定，均达到明代汝窑水平。从此，汝瓷成了汝州市人的一张名片。\n汝窑天青釉弦纹樽 ，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。”",[262,264,417,7,29,408],"印花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc72fb76afc8a9ac447726769da503602.jpg","瓷器精选",[419],{"id":422,"slug":423,"title":305,"dynasty":356,"author":97,"museum":81,"description":357,"tags":424,"thumbUrl":426,"material":101,"size":102,"collection":89,"collections":427,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":39},255957,"tao-ya-yi-ming-255957",[359,262,7,360,425],"动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3185bda3ae02e8bc559ac880255f9c4.jpg",[],{"id":429,"slug":430,"title":431,"dynasty":356,"author":97,"museum":81,"description":294,"tags":432,"thumbUrl":435,"material":101,"size":102,"collection":89,"collections":436,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":39},254531,"tao-lv-you-ya-chi-yi-ming-254531","陶绿釉鸭池",[262,433,7,434],"绿釉","池","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16d95fc954b6eb5d55a43ab42b3ea89b.jpg",[],{"id":438,"slug":439,"title":440,"dynasty":356,"author":97,"museum":81,"description":294,"tags":441,"thumbUrl":442,"material":101,"size":102,"collection":89,"collections":443,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":39},253636,"tao-lv-you-ya-yi-ming-253636","陶绿釉鸭",[262,433,360,7,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F500bdfdb8597441c0f15f415b38947b0.jpg",[],{"id":445,"slug":446,"title":440,"dynasty":356,"author":97,"museum":81,"description":294,"tags":447,"thumbUrl":448,"material":101,"size":102,"collection":89,"collections":449,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":322},253540,"tao-lv-you-ya-yi-ming-253540",[359,262,433,360,7,425,319],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1755c3de405fda44d7ad0784d98385f.jpg",[],{"id":451,"slug":452,"title":453,"dynasty":64,"author":97,"museum":81,"description":294,"tags":454,"thumbUrl":456,"material":101,"size":102,"collection":89,"collections":457,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":322},253521,"hei-you-ci-ya-yi-ming-253521","黑釉瓷鸭",[64,262,455,7,263],"黑釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e3bd5704cc36bc0c63604f76e5b502a.jpg",[],{"id":459,"slug":460,"title":461,"dynasty":18,"author":97,"museum":81,"description":281,"tags":462,"thumbUrl":468,"material":101,"size":102,"collection":89,"collections":469,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},274433,"tong-du-jin-shan-zi-zhuan-ya-ren-da-zhong-yi-ming-274433","铜镀金山子转鸭人打钟",[284,463,319,464,465,466,467,7,376,263],"金器","钟表","山石","亭","人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ea4b63fc6af1c311df124e820bedcf4.jpg",[],{"id":471,"slug":472,"title":473,"dynasty":356,"author":97,"museum":81,"description":294,"tags":474,"thumbUrl":476,"material":101,"size":102,"collection":89,"collections":477,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":322},255794,"tao-yin-you-ya-yi-ming-255794","陶银釉鸭",[359,262,475,360,7],"银釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aec1df5c03255634fc51c48e9c81c33.jpg",[],{"id":479,"slug":480,"title":292,"dynasty":356,"author":97,"museum":81,"description":357,"tags":481,"thumbUrl":483,"material":101,"size":102,"collection":89,"collections":484,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":322},255545,"tao-hua-cai-ya-yi-ming-255545",[356,482,319,25,7],"陶制","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6447d137d371d65aae77e5d9c810a8b7.jpg",[],{"id":486,"slug":487,"title":305,"dynasty":306,"author":97,"museum":81,"description":307,"tags":488,"thumbUrl":490,"material":101,"size":102,"collection":89,"collections":491,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},254561,"tao-ya-yi-ming-254561",[489,262,360,425,7],"唐代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06c93699088fcb241ce3e88eb8ac0f87.jpg",[],{"id":493,"slug":494,"title":305,"dynasty":356,"author":97,"museum":81,"description":357,"tags":495,"thumbUrl":496,"material":101,"size":102,"collection":89,"collections":497,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},254479,"tao-ya-yi-ming-254479",[359,360,262,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36dfa22c3c953e7f4cfe98d829264bc2.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