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家。\n画工的创作往往不署自己的名款，有的仅只钤盖个人印章，这是元至明初的习惯。\n吴升《大观录》著录的胡廷晖《月洞仕女图》也未署款，仅押“廷晖印”一方。\n此图与台北故宫所藏《明皇幸蜀图》面貌相似，特别是勾勒下笔较重，悬崖的结构、松树的形态以及云彩的画法等均呈现出胡廷晖的个人风格。\n在色彩上两者都具有相似的绚丽色泽。\n此图保留唐代青绿山水的古法较多，与赵孟頫追求“古意”的画风不同，对于鉴别早期山水画有重要的价值。",[23,24,81,26,29,31,7,33,82],"水墨","写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F718470a984f0d650aff4498a17cee84d.jpg","绢本设色","75.9x25.5","水墨画精选",[86,88],"竹石精选",61,"795548",{"id":92,"slug":93,"title":94,"dynasty":18,"author":95,"museum":48,"description":96,"tags":97,"thumbUrl":102,"material":103,"size":103,"collection":103,"collections":104,"showCount":105,"zanCount":106,"manualWeight":11,"mainColor":41},234587,"he-tang-fei-yan-wan-shan-xin-yue-234587","荷塘飞燕纨扇","辛樾","扇面画的历史源流，据张彦远《历代名画记》记载，三国时，曹操就有请杨修为其画扇的故事。到了唐代画扇之风更为盛行，当时的扇子还是圆形的，故称团扇。宋代宫廷画家更是画扇成风，且留下扇面画也很多，扇子的形制出现了芭蕉形的扇子。集书法、绘画于一扇，则始于明代，这是因为折扇形式的出现。国人历来都有这种习性，一件实用品总要给它艺术化，扇面画就是这样经过明清书画家的匠心经营，从而逐步确定了其作为一种独特的艺术品种而广泛普及、流传下来，继而也逐步形成了扇面画独立的审美体系。及至清代、民国，扇面画都是书画家乐于染翰和文人雅士乐于把玩、收藏的艺术品。",[24,25,98,81,28,27,29,99,100,101,33,7],"扇面","荷","荷花","荷叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6520d05d1c8a90a069b4eea658183e03.jpg","",[],26,1,{"id":108,"slug":109,"title":110,"dynasty":111,"author":112,"museum":113,"description":114,"tags":115,"thumbUrl":125,"material":126,"size":127,"collection":69,"collections":128,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":41},239569,"ti-zhuo-qing-xuan-shi-ye-xu-ben-239569","题濯清轩诗页","明","徐贲","北京故宫博物院","此作录五律一首，见于徐贲《北郭集》卷四。书法秀整端严，清逸可爱，具唐楷古意，与明初台阁体圆秀一路相比，自成一格，体现出徐贲书法的特色。此作曾经清安岐鉴藏。",[53,51,116,81,117,118,119,120,7,121,60,122,123,124],"印章","春江","清江","流芥","渚","沙鸥","钓舟","沧浪","笛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a2beb26a8fa2e205a867c0441a530bd.jpg","楷书","纵17.6厘米，横7厘米",[69],18,{"id":131,"slug":132,"title":133,"dynasty":18,"author":134,"museum":48,"description":135,"tags":136,"thumbUrl":139,"material":140,"size":141,"collection":103,"collections":142,"showCount":143,"zanCount":11,"manualWeight":11,"mainColor":90},269094,"xiang-ya-bian-zhi-qian-xiang-ya-ran-diao-liu-yan-tu-tuan-shan-yi-ming-269094","象牙编织嵌象牙染雕柳燕图团扇","佚名","此件以牙丝织就扇面，细如秋毫，通透似纱，将象牙的温润质感晕开成朦胧底色。染雕嵌饰的柳芽鲜翠柔婉，粉花轻吐芳蕊，双燕振翅掠柳，羽色晕染自然灵动，把暮春烟柳飞燕的闲趣景致凝于盈尺之间。\n\n柄身瓷绘雅致，翠饰与鎏金构件点缀其间，明黄流苏垂坠生姿，把雅致工巧融于一处。它集编织、雕染、镶嵌数艺于一体，疏密布局恰到好处，既有文人意趣的清雅，又尽显制器的华贵考究，将春日生机藏于盈握间，是传统工艺美学的精巧缩影。",[98,137,138,29,31,7,30,28,27],"象牙","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F283fa7df91235b173c48fc89c1f5c075.jpg","未知","Xcm*Xcm",[],10,{"id":145,"slug":146,"title":147,"dynasty":18,"author":134,"museum":48,"description":148,"tags":149,"thumbUrl":153,"material":140,"size":141,"collection":103,"collections":154,"showCount":155,"zanCount":11,"manualWeight":11,"mainColor":90},229125,"fa-lang-cai-ci-liu-yan-tu-wan-yi-ming-229125","珐瑯彩瓷柳燕图碗","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。",[150,28,151,152,31,7,29],"珐瑯彩","陶瓷","珐瑯器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd637c7482322c8f2fee60956bf33bc98.jpg",[],5,{"id":157,"slug":158,"title":159,"dynasty":160,"author":134,"museum":48,"description":161,"tags":162,"thumbUrl":167,"material":140,"size":141,"collection":103,"collections":168,"showCount":169,"zanCount":11,"manualWeight":11,"mainColor":90},223854,"wu-yan-hua-zhi-wen-jing-yi-ming-223854","舞燕花枝纹镜","唐","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）。",[163,164,138,7,165,166],"唐代","铜制","花枝","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F789d567a68255b29a0e437444abce13d.jpg",[],4,{"id":171,"slug":172,"title":173,"dynasty":18,"author":134,"museum":48,"description":174,"tags":175,"thumbUrl":181,"material":140,"size":141,"collection":103,"collections":182,"showCount":72,"zanCount":11,"manualWeight":11,"mainColor":90},267762,"cong-lv-se-mu-dan-zhu-yan-wen-er-se-duan-yi-ming-267762","葱绿色牡丹竹燕纹二色缎","以葱绿缎地衬浅紫提花，配色明雅清新。挺秀竹枝错落延展，间缀牡丹柔艳绽放，春燕穿掠竹梢，隐现文人钟爱的岁寒雅意与富贵吉兆。提花工艺匀整细腻，缎面光泽莹润柔和，纹样虚实相映，将清幽文趣与祥瑞寓意织入锦缎，尽显旧时丝织工艺的精巧雅致，把东方美学的温婉隽秀藏于经纬之间，静诉旧日织造匠心。",[176,177,178,179,7,29,180,28],"布料","缎","牡丹","竹","织绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb23fe4a0ca97a132a7d155353e366480.jpg",[],{"id":184,"slug":185,"title":186,"dynasty":18,"author":187,"museum":48,"description":188,"tags":189,"thumbUrl":196,"material":197,"size":103,"collection":69,"collections":198,"showCount":72,"zanCount":11,"manualWeight":11,"mainColor":41},241522,"qi-lv-shi-zhou-liang-qing-biao-241522","七律诗轴","梁清标","梁清標 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