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，名英，字实父，一作实甫，号十洲，又号十洲仙史，太仓（今江苏太仓）人，移家吴县(今江苏苏州)。约生于明弘治十一年左右（1498年）（注：也有人认为是1509年），卒于明世宗嘉靖三十年（1552年）。存世画迹有《赤壁图》、《玉洞仙源图》、《桃村草堂图》、《剑阁图》、《松溪论画图》等。 \u2028 明代表性的画家之一。与沈周，文征明和唐寅被后世并称为“明四家”，亦称“天门四杰”。早年为漆工，兼为人彩绘栋宇，后拜周臣门下学画。仇以善画为文征明、唐寅所器重。又在著名鉴藏家项元汴、周六观家中见识了大量古代名作。擅人物画，尤工仕女，特擅临摹。吸收南宋马和之及元人技法，笔力刚健，粉图黄纸，落笔乱真。至于发翠豪金，综丹缕素，精丽绝逸，无愧古人。善用粗细不同的笔法表现不同的对象，或圆转流畅，或顿挫劲利，既长设色，又善白描。人物造型准确，概括力强，形象秀美，线条流畅，对后来的尤求、禹之鼎以及清宫仕女画都有很大影响。山水多学赵伯驹、刘松年，常见的是细润而风骨劲俏的青绿之作。有时作界画楼阁，尤为细密。常作上林图，人物、鸟兽、山林、台观、旗辇、军容，皆忆写古贤名笔。张丑在《清河书画舫》中评说：仇英画“山石师王维，林木师李成，人物师吴元瑜，设色师赵伯驹，资诸家之长而浑合之，种种臻妙”。董其昌题其《仙弈图》谓：“仇实父是赵伯驹后身，即文、沈亦未尽其法”。",[23,52,53,54,113,26,27,130,32,29,30,31,7],"美人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4e82c8009fef999707062820078b6da.jpg","长卷，纸本水墨白描","纵27厘米，横677.8厘米",[],65,{"id":137,"slug":138,"title":139,"dynasty":18,"author":140,"museum":141,"description":142,"tags":143,"thumbUrl":146,"material":147,"size":61,"collection":37,"collections":148,"showCount":135,"zanCount":40,"manualWeight":11,"mainColor":65},219427,"zhu-cha-xi-yan-tu-zhou-qian-hui-an-219427","煮茶洗砚图轴","钱慧安","上海博物馆","此画作于同治十年辛未（1870）。画一文士安坐水榭，石案上摆放着陶壶瓷杯、古鼎铜尊，与琴书相伴。两个小童一人正在煮茶，另一人则在溪边洗刷砚台，水面清透，可见金鱼数条。画上篆书画题“煮茶洗砚”，钤“吉生”朱文钱形印。",[52,53,26,24,27,95,97,77,115,144,145,7,30],"松树","仙鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67c2c4a3ab8226ebbe0005936e35de5b.jpg","纸本,设色",[37],{"id":150,"slug":151,"title":152,"dynasty":125,"author":153,"museum":141,"description":154,"tags":155,"thumbUrl":159,"material":160,"size":161,"collection":37,"collections":162,"showCount":163,"zanCount":11,"manualWeight":11,"mainColor":65},219405,"tie-di-tu-wu-wei-219405","铁笛图","吴伟","《铁笛图》表现的是一位文人雅士饮酒作歌的场景。画面的背景为古松森森、四寂无人的僻静之处；画的当中为一文士，焚香而坐，手端酒杯，其态陶然欲醉；侧边有一侍女，双手棒着一支尺许铁笛。此画技法精湛，松树以浓墨描画而成，令人一睹之下有雄健劲硕之感；画中人物线条流畅，神态毕肖，奇逸潇洒，分外动人。",[52,53,113,27,144,156,29,30,31,7,157,158,57],"石","扇子","乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e37d0c161bcf80421932b82d79808e2.jpg","纸本,水墨","纵32.1厘米，横155.4厘米",[37],56,{"id":165,"slug":166,"title":167,"dynasty":18,"author":168,"museum":48,"description":169,"tags":170,"thumbUrl":172,"material":61,"size":61,"collection":37,"collections":173,"showCount":174,"zanCount":11,"manualWeight":11,"mainColor":65},237689,"diao-ying-shi-nv-tu-zhou-xu-lan-237689","调鹦仕女图轴","徐兰","徐兰 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将太平年月里松弛鲜活的烟火日常藏在每处细节里，恬淡治愈，尽显俗世安乐。",[52,53,114,24,26,27,99,29,7,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3def9883fb33303890ae95371969100e.jpg",[],{"id":374,"slug":375,"title":376,"dynasty":18,"author":90,"museum":48,"description":377,"tags":378,"thumbUrl":381,"material":196,"size":197,"collection":61,"collections":382,"showCount":383,"zanCount":11,"manualWeight":11,"mainColor":65},290187,"min-jian-sheng-huo-tu-ce-yi-ming-290187","民间生活图册","此作以淡绢为底，工笔设色晕染出鲜活的市井日常。安坐矮凳的蓝衣老者俯身侧目，指尖轻抬，似正与蹲在摊前的白衣小贩议价。小贩正专注理弄案上文砚，地上错落陈放着数方造型朴拙的厚重大砚。\n\n衣纹走线细腻温婉，二人神态灵动传神，老者的从容、小贩的沉静皆跃然绢上。全画无繁杂布景，以极简构图烘托出松弛的烟火气，将文房小市的平和交易凝于尺幅间，静中藏着市井生活的细碎暖意，尽显世俗日常的温润意趣，是一幅颇有生活情味的风俗小品。",[23,52,53,114,24,26,27,379,7,380],"文房用具","市井生活","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19653748edc16172ce5b3b37a88f18ab.jpg",[],11,{"id":385,"slug":386,"title":387,"dynasty":18,"author":90,"museum":48,"description":388,"tags":389,"thumbUrl":392,"material":196,"size":197,"collection":61,"collections":393,"showCount":383,"zanCount":11,"manualWeight":11,"mainColor":41},252824,"cai-su-xi-chun-zuo-hua-xiang-yi-ming-252824","彩塑惜春作画像","三女围桌，尽显闺中艺文雅趣。居中者敛眉凝思，指尖将落未落，素纸铺陈、笔砚列置，将挥毫瞬间的沉静定格。左侧侍女执扇侍立，探手微侧，鲜活灵动带着侍奉的温婉妥帖，右侧仕女安坐凝睇，眉目娴静温婉。\n\n彩塑敷色调和清润，衣褶纹理写实自然，人物神态各有韵致，以朴拙生动的造像手法，定格深闺雅集的悠然瞬间，细腻还原旧时闺中研墨挥毫的雅致场景，将东方闺阁的娴静风雅藏入每一处细节里。",[390,24,190,27,130,29,30,31,7,391,32],"彩塑","桌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F948ed08e87480a3982412c9e1406f162.jpg",[],{"id":395,"slug":396,"title":397,"dynasty":398,"author":399,"museum":20,"description":400,"tags":401,"thumbUrl":403,"material":118,"size":404,"collection":405,"collections":406,"showCount":383,"zanCount":11,"manualWeight":11,"mainColor":65},239583,"yu-he-zi-shu-shi-juan-yu-he-239583","俞和自书诗卷","元","俞和","《自书诗》卷为俞和自作、自书七言诗8首，描写他拜僧访友、游历山水的情景。 此书中的第一首诗《次陆秀才春日幽坐韵》，俞氏曾不止一次地书写，其所书《杂诗帖》卷中的第一首也是此诗，盖其得意之作，故常为人书之。俞和之书法结体稳妥，功力深厚，学赵孟頫晚年书。陈敬宗在题跋中赞云：“俞紫芝书笔意清婉，姿态风润，盖兼得赵松雪之神魄，至不能辨其真赝，可爱也。” 此诗卷曾经明项元汴、清陈子受等收藏，清乾隆年间入内府。清卞永誉《式古堂书画汇考》、安岐《墨缘汇观》著录。",[23,51,52,53,54,59,58,57,402,79,31,30,29,7],"字帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c08d9bd33cc189cb73b6b68d58ab20.jpg","纵28.8cm，横216.7cm","书法精选",[405],{"id":408,"slug":409,"title":410,"dynasty":18,"author":90,"museum":48,"description":411,"tags":412,"thumbUrl":415,"material":196,"size":197,"collection":61,"collections":416,"showCount":417,"zanCount":11,"manualWeight":11,"mainColor":65},271300,"huang-shi-ming-zhi-qing-hua-ci-pi-yong-yan-yi-ming-271300","黄士明制青花瓷辟雍砚","青花瓷（blue and white 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"天鹅绒白。清代除烧白瓷外，盛烧青花与彩绘瓷器。元代以来，德化窑瓷器输出海外，菲律宾、马来西亚出土有元代德化窑青白瓷，泰国及东非坦桑尼亚等国家也出土有清代德化窑青花瓷器。\n这种瓷器的制作工艺程序如下：他们从地下挖取一种泥土，将它垒成一个大堆，任凭风吹、雨打、日晒，从不翻动，历时三、四十年。泥土经过这种处理，质地变得更加纯化精炼，适合制造上述各种器皿，然后抹上认为颜色合宜的釉，再将瓷器放入窑内或炉里烧制而成。因此，人们挖泥堆土，目的是替自已的儿孙贮备制造瓷器的材料而已，大量的瓷器是在城中出售， 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。",[213,7,437,192,379],"白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a1a60215bd6cd5a5ddc8b29782156f1.jpg","瓷器精选",[439],9,{"id":443,"slug":444,"title":445,"dynasty":125,"author":283,"museum":141,"description":446,"tags":447,"thumbUrl":448,"material":61,"size":61,"collection":37,"collections":449,"showCount":441,"zanCount":40,"manualWeight":11,"mainColor":450},201682,"xi-yuan-tu-juan-chen-hong-shou-201682","西园图卷","这幅画作铺展西园雅集盛景，构图疏密相宜，人物造型古雅奇崛。线条刚柔并济，勾勒出诸贤挥毫题诗、抚琴赏画、品茗对谈的风雅神态，衣袂流转间尽显文人逸趣。设色淡雅温润，山石花木与人物活动相映成趣，营造出清旷悠然的氛围。陈洪绶以独特笔墨，将才情与闲逸融入画面，细节处见匠心，尽显传统文人画的韵致与深度。",[52,54,27,26,59,57,30,31,29,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F207bd5d65d801af7bc7f17b3b58e23e2.jpg",[37],"d6bd94",{"id":452,"slug":453,"title":454,"dynasty":18,"author":90,"museum":48,"description":455,"tags":456,"thumbUrl":459,"material":196,"size":197,"collection":61,"collections":460,"showCount":461,"zanCount":11,"manualWeight":11,"mainColor":351},271901,"duan-shi-yan-bai-he-ru-yi-yan-yi-ming-271901","端石砚-百合如意砚","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。",[7,457,191,192,80,458],"端石砚","百合如意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0d0db750adbba3a5efc111f040bd715.jpg",[],8,{"id":463,"slug":464,"title":465,"dynasty":18,"author":466,"museum":48,"description":467,"tags":468,"thumbUrl":469,"material":196,"size":197,"collection":61,"collections":470,"showCount":461,"zanCount":11,"manualWeight":11,"mainColor":65},239343,"ci-shu-yan-tu-juan-yu-zhi-ding-239343","赐书砚图卷","禹之鼎","禹之鼎（1647年—1716年），中国清代画家。字尚吉，一字尚基，一作尚稽，号慎斋。后寄籍江都。擅山水、人物、花鸟、走兽，尤精肖像。初师蓝瑛，后取法宋元诸家，转益各师，精于临摹，功底扎实。肖像画名重一时，有白描、设色两种面貌，皆能曲尽其妙。形象逼真，生动传神。有《骑牛南还图》《放鹇图》《王原祁艺菊图》等传世。",[23,52,53,54,24,26,58,59,7,79,80,81,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06466295cda541530e4420d01e3a3796.jpg",[],{"id":472,"slug":473,"title":474,"dynasty":18,"author":475,"museum":48,"description":476,"tags":477,"thumbUrl":478,"material":196,"size":197,"collection":61,"collections":479,"showCount":461,"zanCount":11,"manualWeight":11,"mainColor":65},235544,"xi-xiang-tu-ce-ye-bu-235544","西廂图册","叶逋","《西厢记》故事，最早起源于唐代元稹的传奇小说《莺莺传》，叙述书生张珙与同时寓居在普救寺的已故相国之女崔莺莺相爱，在婢女红娘的帮助下，两人在西厢约会，莺莺终于以身相许。后来张珙赴京应试，得了高官，却抛弃了莺莺，酿成爱情悲剧。亦相传为元稹假借张生的自传体小说或故事。这个故事到宋金时代流传更广，一些文人、民间艺人纷纷改编成说唱和戏剧，王实甫编写的多本杂剧《西厢记》就是在这样丰富的艺术积累上进行加工创作而成的。",[52,53,114,24,26,27,59,57,29,30,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5dc2e370d6908deec52c91be4f952cd.jpg",[],{"id":481,"slug":482,"title":483,"dynasty":89,"author":90,"museum":48,"description":484,"tags":485,"thumbUrl":488,"material":196,"size":197,"collection":61,"collections":489,"showCount":490,"zanCount":11,"manualWeight":11,"mainColor":41},272565,"su-shi-ming-duan-shi-jie-sheng-wen-yan-yi-ming-272565","苏轼铭端石结绳纹砚","此砚取端石琢制，质地温润细糯，发墨益毫。周身以结绳纹为饰，线条古拙柔和，带着宋人特有的简澹雅致。盒面刊刻铭文，笔意舒展秀逸，文辞清隽，将文人对文房雅物的爱惜与寄怀融于方寸。原配紫檀木盒与底座，包浆沉穆醇厚，凝积着岁月的摩挲痕迹。实用之外，更将工艺、文思与藏家意趣揉合为一，静静晕开旧时文房的幽雅意韵，器物虽静，却藏着宋人笔砚相伴的清欢日常。",[7,486,379,487,80,192],"端石","书法铭文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a1b75cd9973681d43b0f2428c182df3.jpg",[],7,{"id":492,"slug":493,"title":494,"dynasty":18,"author":90,"museum":48,"description":495,"tags":496,"thumbUrl":497,"material":196,"size":197,"collection":61,"collections":498,"showCount":490,"zanCount":11,"manualWeight":11,"mainColor":41},271360,"jin-nong-ming-duan-shi-mei-hua-yan-yi-ming-271360","金农铭端石梅花砚","砚台历经秦汉、魏晋，至唐代起，各地相继发现适合制砚的石料，开始以石为主的砚台制作。其中采用甘肃岷县的洮河石、广东端州的端石、安徽歙州的歙石制作的砚台，被分别称作洮砚、端砚、歙砚。史书将洮、端、歙称作三大名砚。清末，又将河南洛阳的澄泥砚与洮、端、歙，并列为中国四大名砚。也有人主张，以天然砚石雕制的鲁砚中的红丝石砚代替澄泥砚，合称四大名砚。\n谈起砚的种类有许多种，从砚的材质可分为：玉砚、银砚、铜砚、铁砚、陶砚、瓷砚、石砚、漆砚等，其中石砚是最为普遍，也最实用的一种砚。砚台起源于新石器时代。最早的砚是半坡村遗址出土的研磨颜料的研磨器，在1980年，大陆考古学家曾在陕西省临潼县姜寨一处原始社会的遗址中，发现了一套原始人用以陶器彩绘的工具，其中有一方石砚，砚有盖，砚面微凹，凹处并有一根石质磨杵，砚旁留存数块黑色颜料。很显然，这是先民们借助磨杵研磨颜料的早期砚的形制。由于这处遗址归属于母系氏族时期的仰韶文化，故这方砚台的实际寿龄已超过了五千年了。\n清代端石砚要求因材施艺，因石构图，在题材、立意、构图、造型、利用何种雕法都要精心推敲，刻划得当。保持了端砚的古雅、朴实，古色古香、形态自然的特点。如北京故宫收藏的「端石双龙砚」、「猫蝶砚」是端砚中的佳品。",[7,225,192,58,486,379],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4b609d24e89106e64a6a3b75287122e.jpg",[],{"id":500,"slug":501,"title":502,"dynasty":18,"author":90,"museum":48,"description":495,"tags":503,"thumbUrl":505,"material":196,"size":197,"collection":61,"collections":506,"showCount":507,"zanCount":11,"manualWeight":11,"mainColor":41},271981,"duan-shi-he-tu-luo-shu-chang-fang-yan-yi-ming-271981","端石河图洛书长方砚",[7,486,379,504,192,80],"河图洛书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc61acc1fb29997495ce809a8723e4b3.jpg",[],6,{"id":509,"slug":510,"title":511,"dynasty":18,"author":90,"museum":48,"description":495,"tags":512,"thumbUrl":513,"material":196,"size":197,"collection":61,"collections":514,"showCount":507,"zanCount":11,"manualWeight":11,"mainColor":65},229530,"song-hua-shi-shan-shui-ren-wu-yan-yi-ming-229530","松花石山水人物砚",[7,115,192,94,27,316,156,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1168d3b1400ba0a1f6e361f7038cd90.jpg",[],{"id":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入窑高温烧制而成的透明釉， 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。",[213,7,1009,437,379],"镂空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa18c2a6570af1027d818a206516a85eb.jpg",[],{"id":1013,"slug":1014,"title":1015,"dynasty":18,"author":1016,"museum":48,"description":1017,"tags":1018,"thumbUrl":1039,"material":196,"size":197,"collection":61,"collections":1040,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":65},241206,"li-zhang-ji-jue-ju-zhou-wu-kai-sheng-241206","李长吉绝句轴","吴闿生","吴镇（1280年—1354年），字仲圭，号梅花道人，浙江嘉兴人。元代画家、书法家、诗人。\n吴镇擅画山水、梅花、竹石，与黄公望、倪瓒、王蒙合称“元四家”。\n由于吴镇以董巨起家，其画中山、石、树、水、房屋、小桥都显得格外宁静、平和，但吴镇有时也着意打破这种气氛，使宁静中增几分动荡，那就是近景大树和山石的表现，特别是三两棵树的表现尤其明显。如果说吴画山、石、水、小桥、屋舍、群树的表现乃至整体气息是以董巨面目出现的话，那么其局部的大树则主要是以马夏的面目出现的。结构布局上立于近景，形象表现上夸张变形，树种的选择上以松柏寓人格。这种形象的树出现在平和、宁静的境界里显得格外突出。它们或直立挺拔、俯势向上；或倚斜偃蹇、欲倒还立；或技条倒挂、曲折盘桓。而且吴镇对大树的形象也是情有独钟的，几乎每幅山水画均有此类形象。这一个个形象频繁出现于其笔下，有何深刻含义？如果联系一下元代的民族岐视政策，联系一下同样比邻而居，盛氏求画者门限为穿，自家之门阒然的事实，或许透露出个中消息。在大树的塑造上，如果把吴镇放在“元四家”其他三家中做一比较，吴镇的独特个性尤能充分展现。黄公望、王蒙为了表现高士的居住环境，用平和、冷静的笔触画群山诸峰，力量均匀，气势平缓，树木郁郁葱葱，均为山的点缀，很少突出某一大树。倪瓒、吴镇在景物取舍上有极强的一致性，均喜画几棵树。倪瓒的树是纤细、弱小的，树干上长出几条树枝，枝上顶着几片叶子，立在空旷的荒野里显得孤独而又凄凉。而且倪瓒的树往往是叫不出名字的，并无具体所指；吴镇在树的种类上往往是有选择的，他最喜欢选取被赋予隐逸人格象征的古松来充实画面。在近景中吴镇很少画杂树而是喜爱强调几棵大树，个个粗壮而枝叶茂密，富有顽强的生命力。",[58,75,59,57,1019,268,1020,1021,797,156,1022,317,1023,1024,1025,315,1026,1027,1028,1029,1030,1031,1032,1033,1034,316,1035,1036,1037,1038,29,7],"水","花","月","露","山","风","木","柳","杜","雁","桥","江","舟","雪","夕阳","孤云","苔","黄","绿","钩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94389ea4a9f9f206dbf7cb997ca6384e.jpg",[],{"id":1042,"slug":1043,"title":1044,"dynasty":18,"author":1045,"museum":48,"description":1046,"tags":1047,"thumbUrl":1048,"material":196,"size":197,"collection":61,"collections":1049,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":41},239744,"shu-hong-li-yan-shi-ce-wang-jie-239744","书弘历砚诗册","王杰","王杰（1725年－1805年2月9日 ），字伟人，号惺国，陕西韩城人。清朝状元、名臣，有清一代陕西第一名臣。初在南书房当值，后经多次升迁，官至内阁学士。乾隆三十九年（1774）任刑部侍郎后又转调吏部，擢升右都御史，乾隆五十一年（1786）出任军机大臣，上书房总师傅，第二年又出任东阁大学士，总理礼部。嘉庆帝即位，仍为首辅。\n王杰在朝四十余年，忠清劲直，老成端谨，不结党营私，不趋炎附势。嘉庆十年（1805年），王杰去世，享年八十一岁，追赠为太子太师，谥号文端，祀于北京贤良祠。",[58,114,807,57,24,7,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd445e4bbaaf0502eaf070880549a5ac.jpg",[],{"id":1051,"slug":1052,"title":1053,"dynasty":18,"author":90,"museum":48,"description":495,"tags":1054,"thumbUrl":1063,"material":196,"size":197,"collection":61,"collections":1064,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":65},229533,"song-hua-shi-ju-hua-yan-yi-ming-229533","松花石菊花砚",[190,192,317,7,537,806,115,191,734,1055,563,379,1056,1057,1058,1059,1060,1061,1062],"雕刻技法","清代器物","菊花纹样","石质","雕花","花饰","石砚","文房器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60e4dfe08ebd3971576141808cf13d0f.jpg",[],{"id":1066,"slug":1067,"title":1068,"dynasty":18,"author":90,"museum":48,"description":495,"tags":1069,"thumbUrl":1073,"material":196,"size":197,"collection":61,"collections":1074,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":65},229532,"song-hua-shi-he-tang-yan-yi-ming-229532","松花石荷塘砚",[190,563,192,7,1070,1071,1072,115],"荷花","荷叶","荷塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62f273aa7bd61d7f1ba4450e52b22737.jpg",[],{"id":1076,"slug":1077,"title":1078,"dynasty":125,"author":90,"museum":48,"description":1079,"tags":1080,"thumbUrl":1082,"material":196,"size":197,"collection":61,"collections":1083,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":41},228623,"duan-shi-hai-tian-yu-ri-yan-yi-ming-228623","端石海天浴日砚","端砚是中国四大名砚之一，与甘肃洮砚、安徽歙砚、山西澄泥砚齐名。出产于唐代初期端州（今广东肇庆市东郊的端溪），故名端砚，距今已有一千三百多年的历史。\n中国传统文化中的文房四宝，砚为其一。在中国所产的四大名砚中，尤以广东省端砚最为称著。端砚以石质坚实、润滑、细腻、娇嫩而驰名于世，用端砚研墨不滞，发墨快，研出之墨汁细滑，书写流畅不损毫，字迹颜色经久不变，端砚若佳，无论是酷暑还是严冬，用手按其砚心，砚心湛蓝墨绿，水气久久不干，故古人有“呵气研墨”之说。 端砚石出产在广东省肇庆市东部的烂柯山和肇庆市七星岩北面（西起小湘峡，东至鼎湖山）的北岭山一带，尤以老坑、麻子坑和坑仔岩三地之砚石为最佳。\n端砚的历史悠久，石质优良，雕刻精美。端砚、歙砚和洮砚，素来有“三大石质名砚”之美誉。制造端砚，一般要经过采石。选料、雕刻、配盒四道工序。",[7,486,192,982,1081,379],"日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70a84b213f7e05855c634739e63c3112.jpg",[],{"id":1085,"slug":1086,"title":1087,"dynasty":1088,"author":90,"museum":48,"description":1089,"tags":1090,"thumbUrl":1093,"material":196,"size":197,"collection":61,"collections":1094,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":41},225418,"fu-shi-hui-176-yi-ming-225418","浮世绘176","不详","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[1091,1092,24,27,29,30,31,7],"浮世绘","木刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa14269f6531054f2272a495cdc03e98.jpg",[],{"id":1096,"slug":1097,"title":1098,"dynasty":18,"author":90,"museum":48,"description":1099,"tags":1100,"thumbUrl":1101,"material":102,"size":1102,"collection":61,"collections":1103,"showCount":64,"zanCount":40,"manualWeight":11,"mainColor":65},215909,"qing-ren-xiao-xiang-tu-ce-7-yi-ming-215909","清人肖像图册-7","墨色长袍覆身，朱红顶戴轻点，人物端坐嶙峋石案旁，竹影婆娑环伺，书卷气与自然意趣悄然相融。石案上书页半摊，文房清供错落，尽透文雅；人物神态沉静，眉眼间藏着内敛从容，是清代士人典型风貌。笔触细腻处，衣料纹理隐现，竹枝挺拔含劲；设色淡雅间，石案朴拙、人物沉静，暖调底色晕开时光藏起的文人日常。不刻意张扬，却于细节处见真章，将那个时代士人的精神气质，悄悄凝在绢素之上。",[52,53,24,26,27,268,156,29,30,31,7,115,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F199512abed0b9efecb3823fdbf47714f.jpg","44x40",[],{"id":1105,"slug":1106,"title":1107,"dynasty":18,"author":90,"museum":48,"description":495,"tags":1108,"thumbUrl":1110,"material":196,"size":197,"collection":61,"collections":1111,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":41},272720,"yu-ming-cheng-ni-hu-fu-yan-yi-ming-272720","御铭澄泥虎符砚",[7,379,1109,546,425,58],"虎符造型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5e22c63bb2a305021d6ec5a2125bb52.jpg",[],{"id":1113,"slug":1114,"title":1115,"dynasty":89,"author":90,"museum":48,"description":1116,"tags":1117,"thumbUrl":1118,"material":196,"size":197,"collection":61,"collections":1119,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":41},272606,"she-shi-yan-yi-ming-272606","歙石砚","这方砚台作风字形，器型素净无饰，线条圆融温婉，尽显克制内敛的雅致格调。周身裹着厚重熟旧的包浆，深浅不一的痕迹是时光摩挲的印记，晕开旧时光里伏案挥毫的余温。\n\n石质细腻莹润，是适于发墨的良材，摒弃浮华雕饰，将实用与审美相融，暗合尚简的文心雅趣。沉静的深褐底色里，藏着笔墨浸润的沉静气质，仿佛仍能闻见墨香萦绕，触摸到旧时文人的清雅意韵。",[7,1062,1058],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc285a0a4ef2a0256ec0dc684d4faf5dc.jpg",[],{"id":1121,"slug":1122,"title":1123,"dynasty":18,"author":90,"museum":48,"description":495,"tags":1124,"thumbUrl":1126,"material":196,"size":197,"collection":61,"collections":1127,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":41},272601,"duan-shi-diao-yun-long-sui-xing-yan-yi-ming-272601","端石雕云龙随形砚",[7,486,192,28,191,1125],"云龙纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc08a8fd61989e18aaad4a0f901b1671c.jpg",[],{"id":1129,"slug":1130,"title":1131,"dynasty":18,"author":90,"museum":48,"description":495,"tags":1132,"thumbUrl":1134,"material":196,"size":197,"collection":61,"collections":1135,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":41},272596,"lv-duan-shi-chang-fang-yan-yi-ming-272596","绿端石长方砚",[7,1133,379,192],"绿端石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F349520e622cf020f8cfb34fe41de9440.jpg",[],{"id":1137,"slug":1138,"title":1139,"dynasty":70,"author":90,"museum":48,"description":1140,"tags":1141,"thumbUrl":1142,"material":196,"size":197,"collection":61,"collections":1143,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":65},272593,"song-hua-jiang-shi-chang-fang-yan-yi-ming-272593","松花江石长方砚","此砚石色清润凝腻，石面晕染开浅淡的水纹肌理，如松花江上漾开的柔波，将天然意趣凝于一方砚台之上。整体造型方正匀净，线条利落克制，全无多余雕饰，尽显素雅朴拙之态。\n\n它以极简形制承托石材本真之美，暗合旧时文人简淡冲和的审美意趣，作为文房雅器，将实用功能与天然意韵相融，静静留存着旧日翰墨相伴的沉静余温，尽显文房器物内敛沉静的风骨。",[7,690,191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5433def3d768be2a147c6b5813033aa6.jpg",[],{"id":1145,"slug":1146,"title":1147,"dynasty":18,"author":90,"museum":48,"description":495,"tags":1148,"thumbUrl":1150,"material":196,"size":197,"collection":61,"collections":1151,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":41},272592,"she-shi-diao-gua-tuo-yuan-yan-yi-ming-272592","歙石雕瓜椭圆砚",[7,783,784,1149,379],"椭圆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31f0f69bbe3bb55e84b790a3be538f7e.jpg",[],{"id":1153,"slug":1154,"title":1155,"dynasty":18,"auth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雅趣。\n\n原配紫檀砚匣錾刻缠枝花卉与锦地纹饰，刀工精绝细腻，与古砚相映成趣，尽显内敛雅致的审美意趣，藏着旧时文人案头的闲情雅韵，是实用与赏玩完美融合的文房逸品。",[7,1874,426,115,192,379],"虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1becf2e5bc4950a119b67e6665f7630c.jpg",[],{"id":1878,"slug":1879,"title":1880,"dynasty":18,"author":90,"museum":48,"description":495,"tags":1881,"thumbUrl":1882,"material":196,"size":197,"collection":61,"collections":1883,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":65},270928,"yu-ming-song-hua-jiang-shi-shuang-qian-fang-sheng-shi-yan-yi-ming-270928","御铭松花江石双钱方胜式砚",[7,690,192,379],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4264c9dc3dd175688f7fda3eacd48a3e.jpg",[],{"id":1885,"slug":1886,"title":1887,"dynasty":89,"author":90,"museum":48,"description":1888,"tags":1889,"thumbUrl":1891,"material":196,"size":197,"collection":61,"collections":1892,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":65},270909,"cheng-ni-dong-po-e-xi-tu-yan-yi-ming-270909","澄泥东坡鹅戏图砚","此砚取卧鹅为形，顺势挖出砚膛，线条温婉圆润，将东坡爱鹅的雅趣融于文房造物。砚盖精雕翎羽，根根细密写实，把鹅绒柔润质感立体铺陈，分毫毕现。\n\n澄泥质地坚润温凉，包浆古厚莹润，发墨匀净，赏用两相宜。砚侧阴刻题款晕开缕缕文人气韵，将宋时雅致审美凝缩方寸间，藏着千年前文房案上的闲情雅致，尽显旧时文人清玩的隽永意趣。",[7,191,192,1890,716],"鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb6eae1fb2152762b61ce765948120a8.jpg",[],{"id":1894,"slug":1895,"title":1896,"dynasty":18,"author":90,"museum":48,"description":495,"tags":1897,"thumbUrl":1898,"material":196,"size":197,"collection":61,"collections":1899,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":41},270896,"she-shi-lou-kong-tong-he-nuan-yan-yi-ming-270896","歙石镂空铜盒暖砚",[115,7,425,192,583,1009,191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d1a88326db252838ea46182f5d03c90.jpg",[],{"id":1901,"slug":1902,"title":1903,"dynasty":18,"author":90,"museum":48,"description":1904,"tags":1905,"thumbUrl":1908,"material":196,"size":197,"collection":61,"collections":1909,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":41},270873,"yu-ming-cheng-ni-yan-fang-song-yu-tu-chao-yuan-yan-yi-ming-270873","御铭澄泥砚-仿宋玉兔朝元砚","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。",[7,765,1906,1907,58,807,192,379],"兔","明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcef56155fb729de8b6104489e4a4e344.jpg",[],{"id":1911,"slug":1912,"title":1913,"dynasty":18,"author":90,"museum":48,"description":1914,"tags":1915,"thumbUrl":1919,"material":196,"size":197,"collection":61,"collections":1920,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":41},270858,"duan-shi-yue-hua-yan-zhuan-yi-ming-270858","端石月华砚砖","此作以莳绘与螺钿工艺妆点，左侧金地之上，海浪翻涌托举仙山奇花，金漆晕开朦胧仙气，华贵中自带出尘意境。右侧黑漆为底，螺钿裁作折枝秋菊与漫散花叶，莹润珠光在素黑之上晕开清辉，将秋日闲趣藏于方寸之间。一暖一金浑穆雍容，一黑一亮疏朗雅致，两种技法相得益彰，把文房器物的雅致格调拉到极致，尽显清代漆作的顶尖水准，将仙逸与清隽二种意境融于盒身，是文房清玩里的上乘佳品。",[1916,7,1535,1917,1918,734],"漆器","枫叶","水波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ea4b57578af9faf20f8bc9c3a62c787.jpg",[],{"id":1922,"slug":1923,"title":1924,"dynasty":18,"author":90,"museum":48,"description":1904,"tags":1925,"thumbUrl":1926,"material":196,"size":197,"collection":61,"collections":1927,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":65},270854,"yu-ming-duan-shi-yan-fang-song-yu-tu-chao-yuan-yan-yi-ming-270854","御铭端石砚-仿宋玉兔朝元砚",[7,486,379,1906,192,80,546],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f06003f5152dd2537f37d5b31fe7f66.jpg",[],{"id":1929,"slug":1930,"title":1931,"dynasty":18,"author":90,"museum":48,"description":495,"tags":1932,"thumbUrl":1933,"material":196,"size":197,"collection":61,"collections":1934,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":41},270827,"yu-ming-duan-shi-fang-song-ping-chi-chang-fang-yan-yi-ming-270827","御铭端石仿宋瓶池长方砚",[7,379,80,690,192,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F874dd2363bb32116cb4a76f9e614b3ea.jpg",[],{"id":1936,"slug":1937,"title":1938,"dynasty":18,"author":90,"museum":48,"description":495,"tags":1939,"thumbUrl":1941,"material":196,"size":197,"collection":61,"collections":1942,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":41},251898,"jia-qing-kuan-fei-cui-tao-xing-yan-yi-ming-251898","嘉庆款翡翠桃形砚",[690,7,192,1940,115],"桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd68a7f2f7907a0a0e031df307b06dba.jpg",[],{"id":1944,"slug":1945,"title":1044,"dynasty":18,"author":1045,"museum":48,"description":1046,"tags":1946,"thumbUrl":1947,"material":196,"size":197,"collection":61,"collections":1948,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":41},239749,"shu-hong-li-yan-shi-ce-wang-jie-239749",[58,53,114,807,24,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10d3b37643d166cbb3061f1dfdb2055e.jpg",[],{"id":1950,"slug":1951,"title":1952,"dynasty":18,"author":90,"museum":48,"description":1953,"tags":1954,"thumbUrl":1957,"material":196,"size":197,"collection":61,"collections":1958,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":65},237252,"ming-chen-gu-shi-deng-xu-ti-song-ce-yi-ming-237252","名臣故事邓旭题颂册","此作为诗画合璧之品，右侧绘书馆内景，层叠书阁贮满典籍，案头笔墨俨然。馆内三儒者或凝思展卷，或执烛随侍，衣袂舒展自然，器物刻画入微，静谧肃穆的氛围，生动还原贤臣夜读治事的日常，细节写实雅致。左幅题诗笔意端秀，诗文咏叹主人公勤政笃学的德行，以书映画，以诗衬人。二者相辅相融，以具象图景承载贤臣风操，将贤德品格寄于细腻绘事与清雅题咏之中，兼具叙事意趣与文史价值。",[52,53,114,24,26,27,1955,1956,79,58,59,29,30,31,7,303],"书桌","书架","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff0edcbefe1432ad0ec3bad0c721c13d.jpg",[],{"id":1960,"slug":1961,"title":1962,"dynasty":125,"author":1963,"museum":48,"description":1964,"tags":1965,"thumbUrl":1966,"material":61,"size":61,"collection":61,"collections":1967,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":65},233539,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233539","十竹斋五色笺谱册","胡日从","《十竹斋书画谱》，融诗、书、画、印艺术为一体，是木版水印史上的巨制鸿构，有“画苑之白眉，绘林之赤帜”之誉。凡书画、竹、墨华、石、翎毛、梅、兰、果八谱，每谱两册，全帙共十六册，蝴蝶装。\n一为书画册。花卉竹石、翎毛蔬果二十幅，均有对题。谱前有醒天居士《题十竹斋画册小引》和芒砀山人王三德《胡曰从书画谱引》。\n二为竹谱。卷首有《梨云馆竹谱》，分“写竹要语”，“写竹括”和“写竹法”。前半为一画一题，凡竹图二十幅，分作“廻风”、“喜霁”、“带雨”、“凝露”、“贮云”、“笼烟”、“快雪”、“印月”、“怡老”、“启新”、“飞白”、“聚翠”、“紫蓧”、“朱帔”、“崖影”、“石床”、“飨松”、“访菊”、“友梅”、“佩兰”等。后半则为画竹“起手式”。\n三为墨华册。谱中图呈圆光型，对题有绿色“十竹斋琅干笺”竹纹边框。画、题各有二十幅，画面着色细润，气韵生动。谱前有语水乘槎子《十竹斋墨花题辞》。\n四为石谱。画、题各二十幅，谱前有序两篇，一为王三德《阅石谱题言》，一为米芾后人米万钟《石谱题辞》。谱中二十幅画皆为高阳所作。高阳，字秋甫，善花鸟，为万历间写生名手。高阳画奇石尤精，石谱中作品是临摹上版，王三德观后评价极高，以为“天划神缕之巧，嵌空玲珑之致，半幅冰茧，宛具层岩叠嶂、峰峦洞穴，真可以对杨次公矣。”图有墨石、彩石，但均以套版为之，每画都有对应的题赞。\n五为翎毛谱。画、题各二十幅，有杨文骢于“天启丁卯立秋日”所题《翎毛谱小序》，非常精彩地评介了胡氏所施饾版之法：“胡曰从氏巧心妙手，超越前代，以铁笔作颖生，以梨枣代绢素，而其中皴法、染法、点法，及着色之轻重、浅深、远近、离合无不呈妍曲致，穷巧极工。即当行作手观之，定以为写生妙品，不敢作刻画观。”此翎毛谱二十图，画上无名款，从印鉴来看，应全为凌云翰一人所作。凌云翰，字五云，万历、崇祯时人。《明画录》说他善画山水，其实上凌氏花鸟亦善，尤工画石，为胡正言所推许。\n六为梅谱。由玉山进士董继周作序。此册胡正言以“芳信先传”、“飘飘欲仙”、“冰壶掩映”、“暖谷回阳”、“君子之交”、“铁干支春”、“暗香浮动”、“拾翠为钿”、“黄惹蜂腰”、“额上玄功”、“东邻窥宋”、“盟坚寒素”、“香梦沉酣”、“水妃写照”、“玉骨同妍”、“疏影横斜”、“幽人赠佩”、“调脂梅粉”、“宫锦清班”、“寿阳点妆”等二十画题，分别写早梅、风梅、雪梅、枯梅、竹梅、老梅、月梅、松梅、蜡梅、墨梅、过墙梅、倚石梅、烟梅、临水梅、水仙梅、疏梅、兰花梅、茶花梅、杏花梅和落梅，或水墨，或设色，意境、造型与章法，则穷尽变化之能事。每幅画都有对应的题赞。\n七为兰谱。前有涂日昌“兰谱序”和画兰“起手执笔式”，此谱图解兰花，并附小注，颇为详尽，但无题赞。多为墨印，间有彩版，此谱可为之初学之范本。图二十幅，多是临摹赵孟頫等名家之作。\n八为果谱。画、题各二十幅，有西京韩文镜作序。其中“三元”、“朱橘”等图，雕版设计巧妙，可谓匠心独运。\n《十竹斋书画谱》自万历己未（1619年）第一谱《书画册》起，至崇祯癸酉（1633年）第八谱《果谱》止，梓印时间长达十五年之久。每谱有序言，除《竹谱》附写竹诀，《兰谱》附起手式，其余各谱均四十幅，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。",[1092,24,114,115,7,29,30,191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0adb9a0569f22e39f46e775572262b7.jpg",[],{"id":1969,"slug":1970,"title":1971,"dynasty":18,"author":90,"museum":48,"description":495,"tags":1972,"thumbUrl":1974,"material":196,"size":197,"collection":61,"collections":1975,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":41},229106,"fang-tang-ling-jing-yan-yi-ming-229106","倣唐蔆镜砚",[7,191,115,192,664,1973,190],"临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e4ffb87c890e11526818a6adbe70b24.jpg",[],{"id":1977,"slug":1978,"title":1979,"dynasty":398,"author":90,"museum":48,"description":1980,"tags":1981,"thumbUrl":1982,"material":196,"size":197,"collection":61,"collections":1983,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":575},228097,"duan-shi-huang-gong-wang-chi-an-yan-yi-ming-228097","端石黄公望痴庵砚","端砚是中国四大名砚之一，与甘肃洮砚、安徽歙砚、山西澄泥砚齐名。出产于唐代初期端州（今广东肇庆市东郊的端溪），故名端砚，距今已有一千三百多年的历史。\n中国传统文化中的文房四宝，砚为其一。在中国所产的四大名砚中，尤以广东省端砚最为称著。端砚以石质坚实、润滑、细腻、娇嫩而驰名于世，用端砚研墨不滞，发墨快，研出之墨汁细滑，书写流畅不损毫，字迹颜色经久不变，端砚若佳，无论是酷暑还是严冬，用手按其砚心，砚心湛蓝墨绿，水气久久不干，故古人有“呵气研墨”之说。",[398,486,192,7,191,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba2102a7ee31984e26539d94c9699a5a.jpg",[],{"id":1985,"slug":1986,"title":1987,"dynasty":1088,"author":90,"museum":48,"description":1089,"tags":1988,"thumbUrl":1990,"material":196,"size":197,"collection":61,"collections":1991,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":65},225580,"fu-shi-hui-71-yi-ming-225580","浮世绘71",[1091,24,1092,27,130,29,30,31,7,256,1989],"书籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e586f687094bfaa3457fc2cf23e82d8.jpg",[],{"id":1993,"slug":1994,"title":1995,"dynasty":18,"author":90,"museum":48,"description":1996,"tags":1997,"thumbUrl":1998,"material":118,"size":61,"collection":61,"collections":1999,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":65},215242,"bai-miao-jie-tou-mai-mai-hua-ce-314-yi-ming-215242","白描街头买卖画册-314","素笔轻描的身影静倚竹椅，青布衣衫的褶皱随坐姿婉转铺展，发间簪花隐着几分温婉。面前木桌摊开素纸，指尖似凝墨欲落，旁侧笔砚与卷册静静候着，似待路人停步相询。竹制桌椅的纹理经简练线条晕开，与人物衣袂的柔劲相映成趣。白描的清简里藏着市井的温热——无浓彩重墨，却将街头营生的专注与寻常日子的安然，凝在每道精准勾勒中。如旧巷掠过的一缕风，把市井烟火的淡远真切，刻进素净线条里，让寻常买卖场景，有了细腻动人的生活质感。",[23,52,53,114,113,27,29,30,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc522672d5e7db1542182eb581e8abdab.jpg",[],{"id":2001,"slug":2002,"title":2003,"dynasty":18,"author":90,"museum":48,"description":2004,"tags":2005,"thumbUrl":2006,"material":118,"size":61,"collection":61,"collections":2007,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":65},215241,"bai-miao-jie-tou-mai-mai-hua-ce-316-yi-ming-215241","白描街头买卖画册-316","素净墨线勾勒市井小景，人物端坐桌前，指尖拈物似在凝神细作，案上纸砚罗列，旁侧叠纸隐现营生模样。衣袂线条婉转贴合身形，眉眼间凝着专注，虽无色彩晕染，却以线之疏密曲直传递出人物状态与场景静谧。这帧画作将寻常买卖的细节凝于尺幅，没有繁复铺陈，仅用白描便勾勒出市井生活的鲜活肌理，仿佛能触到当时街头的烟火气，于极简中藏丰盈，细微处见真意，尽显白描手法的凝练传神与市井百态的生动。",[23,113,114,27,29,30,31,7,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb626d6d58580a5e05cb881cd176f8f84.jpg",[],{"id":2009,"slug":2010,"title":2011,"dynasty":18,"author":90,"museum":48,"description":2012,"tags":2013,"thumbUrl":2014,"material":118,"size":61,"collection":61,"collections":2015,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":65},215212,"bai-miao-jie-tou-mai-mai-hua-ce-344-yi-ming-215212","白描街头买卖画册-344","这幅白描画以简练流畅的线条铺陈出一方静谧的生活场景。人物端坐椅上，低头专注于手中活计，发髻轻挽，衣袂线条舒展自然，尽显娴雅之态。面前桌几上，笔管整齐排列，小器错落有致，简笔勾勒却形神毕肖。画面留白疏朗，墨线纯净无华，未施浓墨重彩，却以线的韵律传递出日常的温情与专注。整体气息平和雅致，仿佛能听见时光缓缓流淌的声音，将平凡生活里的静谧之美娓娓道来，令人沉浸于这份悠然的烟火诗意中。",[23,52,53,114,113,27,29,30,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac3ea741375725f0c2fe262bbb547d20.jpg",[],{"id":2017,"slug":2018,"title":2019,"dynasty":18,"author":90,"museum":48,"description":2020,"tags":202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历宋、元、明、清四代，烧瓷历史长达千年，而且对福建地区和江南广大地区都有很大影响。\n主要产品以盏、碗、盘、碟为主，兼烧盒、罐、壶、灯、炉、钵、梅瓶、冥器等，在宋代盛产黑釉瓷而闻名于世。足底有“供御”、“进盏”字铭的，应是为宋代宫廷烧制的贡品。黑釉盏的特征：胎含铁量高，一向有“铁胎”之称，胎体厚重，呈黑灰色、紫黑色，胎质粗糙坚硬，露胎处色沉而无光。造型多样，有大小敛口、敞口等不同形式，圈足小而浅，修胎草率有力，刀法自然，釉质刚润，釉色乌黑，器物内外施釉，外釉近底足，足底无釉而露胎。釉面有明显的垂流和窑变现象，有“兔毫”、“油滴”和“曜变”及“鹧鸪斑”等有名的品种。\n宋代是建窑的发展时期，以烧黑釉器而著称。兔毫斑、鹧鸪斑、曜变等釉色的名品就出在这里，以茶盏为多\n建窑的黑釉属于结晶釉的范畴，含铁量高达8% 以上。在1300多度的高温熔烧过程中，窑温的变化，使釉面产生奇特的花纹。\n由于宋代斗茶风尚盛行，而主烧适宜为斗茶的黑釉茶盏，亦称建盏，以水吉镇窑制品为最，北宋后期曾为宫廷烧制斗茶使用的黑釉盏，并于器底刻\"进盏\"、\"供御\"字样。建阳窑产品使用含铁高的原料做胎，因而胎色深黑坚硬，有\"铁胎\"之俗称，或名乌泥窑、黑建、乌泥建等。盏内外均施黑釉，外壁釉不到底，露黑色胎。",[7,213,1534,192,379],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3207d104448c06db49fb939e2273d7b3.jpg",[439],{"id":2116,"slug":2117,"title":2118,"dynasty":18,"author":90,"museum":48,"description":2119,"tags":2120,"thumbUrl":2121,"material":196,"size":197,"collection":61,"collections":2122,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},272704,"cha-se-you-ci-yan-yi-ming-272704","茶色釉瓷砚","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。",[7,213,379],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe104b351ded51e084282a3c4043ac3c6.jpg",[],{"id":2124,"slug":2125,"title":2126,"dynasty":18,"author":90,"museum":48,"description":495,"tags":2127,"thumbUrl":2128,"material":196,"size":197,"collection":61,"collections":2129,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},272702,"yu-ming-she-shi-yan-fang-song-tian-cheng-feng-zi-xing-yan-yi-ming-272702","御铭歙石砚－仿宋天成风字形砚",[7,807,58,379,546],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0d19b58f540f4ccb179da1b847e4662.jpg",[],{"id":2131,"slug":2132,"title":2133,"dynasty":18,"author":90,"museum":48,"description":495,"tags":2134,"thumbUrl":2135,"material":196,"size":197,"collection":61,"collections":2136,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},272701,"yu-ming-she-shi-yan-fang-song-de-shou-dian-xi-wen-yan-yi-ming-272701","御铭歙石砚-仿宋德寿殿犀纹砚",[7,807,58,379,192,1115,546],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F402e8670cde08a38897effb0b59afada.jpg",[],{"id":2138,"slug":2139,"title":2140,"dynasty":18,"author":90,"museum":48,"description":553,"tags":2141,"thumbUrl":2142,"material":196,"size":197,"collection":61,"collections":2143,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},272698,"yu-ming-she-shi-yan-fang-han-shi-qu-ge-wa-yan-yi-ming-272698","御铭歙石砚－仿汉石渠阁瓦砚",[7,379,583,58,807,192],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38f9000c1b177be28d6794f54e3dc04c.jpg",[],{"id":2145,"slug":2146,"title":2147,"dynasty":18,"author":90,"museum":48,"description":495,"tags":2148,"thumbUrl":2149,"material":196,"size":197,"collection":61,"collections":2150,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},272697,"yu-ming-she-shi-yan-fang-han-hai-tian-chu-yue-yan-yi-ming-272697","御铭歙石砚－仿汉海天初月砚",[7,379,583,807,58,546],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecafc5b55704988d13f97638052a1a43.jpg",[],{"id":2152,"slug":2153,"title":2154,"dynasty":18,"author":90,"museum":48,"description":495,"tags":2155,"thumbUrl":2156,"material":196,"size":197,"collection":61,"collections":2157,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":351},272696,"yu-ming-she-shi-yan-fang-tang-cheng-ni-ba-leng-yan-yi-ming-272696","御铭歙石砚－仿唐澄泥八棱砚",[7,807,58,192,379,700,546],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cf70e7237ed801bd221b309526f35ae.jpg",[],{"id":2159,"slug":2160,"title":2161,"dynasty":18,"author":90,"museum":48,"description":1904,"tags":2162,"thumbUrl":2163,"material":196,"size":197,"collection":61,"collections":2164,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},272695,"yu-ming-she-shi-yan-fang-song-yu-tu-chao-yuan-yan-yi-ming-272695","御铭歙石砚－仿宋玉兔朝元砚",[7,1906,192,58,191,546,700],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b0be3336dfe39c7e1f051c7d0f7432e.jpg",[],{"id":2166,"slug":2167,"title":2168,"dynasty":18,"author":90,"museum":48,"description":2169,"tags":2170,"thumbUrl":2172,"material":196,"size":197,"collection":61,"collections":2173,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":575},272633,"cheng-fen-wen-ju-wen-zhu-duo-sheng-pan-yi-ming-272633","成份文具-文竹多盛盘","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。",[115,379,192,2171,29,30,7,57,116],"竹质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8115e473e3323a7dadd4ed114fb6291.jpg",[],{"id":2175,"slug":2176,"title":1903,"dynasty":18,"author":90,"museum":48,"description":1904,"tags":2177,"thumbUrl":2178,"material":196,"size":197,"collection":61,"collections":2179,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},272623,"yu-ming-cheng-ni-yan-fang-song-yu-tu-chao-yuan-yan-yi-ming-272623",[7,765,1906,58,192,379,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F832d06de81b07e89c18e16d3b7086e37.jpg",[],{"id":2181,"slug":2182,"title":2183,"dynasty":18,"author":90,"museum":48,"description":495,"tags":2184,"thumbUrl":2186,"material":196,"size":197,"collection":61,"collections":2187,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},272622,"yu-ming-cheng-ni-yan-fang-tang-ba-leng-cheng-ni-yan-yi-ming-272622","御铭澄泥砚-仿唐八棱澄泥砚",[7,765,807,58,379,2185],"八棱器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb36261a2e77389829836b8260e22380c.jpg",[],{"id":2189,"slug":2190,"title":2191,"dynasty":18,"author":90,"museum":48,"description":495,"tags":2192,"thumbUrl":2194,"material":196,"size":197,"collection":61,"collections":2195,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},272621,"yu-ming-cheng-ni-fang-song-de-shou-dian-xi-wen-yan-yi-ming-272621","御铭澄泥仿宋德寿殿犀纹砚",[7,765,58,807,2193,934],"篆刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b7e51c551ef536abd2f4ca0be5375ce.jpg",[],{"id":2197,"slug":2198,"title":2199,"dynasty":18,"author":90,"museum":48,"description":495,"tags":2200,"thumbUrl":2201,"material":196,"size":197,"collection":61,"collections":2202,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},272619,"yu-ming-duan-shi-feng-zi-xing-yan-yi-ming-272619","御铭端石风字形砚",[7,486,807,546,58,379,192,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07cb7ae91404dc41c9b86539eb27d7cd.jpg",[],{"id":2204,"slug":2205,"title":2206,"dynasty":18,"author":90,"museum":48,"description":553,"tags":2207,"thumbUrl":2209,"material":196,"size":197,"collection":61,"collections":2210,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},272618,"yu-ming-cheng-ni-yan-fang-han-shi-qu-ge-wa-yan-yi-ming-272618","御铭澄泥砚-仿汉石渠阁瓦砚",[7,765,379,2208],"瓦形砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ffda834300ac223195ce7b20d8c15b8.jpg",[],{"id":2212,"slug":2213,"title":1731,"dynasty":18,"author":90,"museum":48,"description":495,"tags":2214,"thumbUrl":2215,"material":196,"size":197,"collection":61,"collections":2216,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},272605,"duan-shi-chang-fang-yan-yi-ming-272605",[7,486,191,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F855082a3014358241388e275593d603d.jpg",[],{"id":2218,"slug":2219,"title":1240,"dynasty":18,"author":90,"museum":48,"description":495,"tags":2220,"thumbUrl":2221,"material":196,"size":197,"collection":61,"collections":2222,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},272604,"duan-shi-jing-zi-yan-yi-ming-272604",[7,486,191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6faca8a0bad9966c7c8414d99d777ee.jpg",[],{"id":2224,"slug":2225,"title":2226,"dynasty":18,"author":90,"museum":48,"description":495,"tags":2227,"thumbUrl":2228,"material":196,"size":197,"collection":61,"collections":2229,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},272602,"duan-shi-yun-long-wen-bian-chao-shou-yan-yi-ming-272602","端石云龙纹边抄手砚",[7,486,1125,582,192,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F763d88fa6c739f9e964cde72b6b368f7.jpg",[],{"id":2231,"slug":2232,"title":2233,"dynasty":18,"author":90,"museum":48,"description":495,"tags":2234,"thumbUrl":2236,"material":196,"size":197,"collection":61,"collections":2237,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},272600,"duan-shi-ping-shi-chi-chang-fang-yan-yi-ming-272600","端石瓶式池长方砚",[7,486,379,774,2235],"瓶式池","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40c9ae4b01d98ad181cff64cec03c3dd.jpg",[],{"id":2239,"slug":2240,"title":2241,"dynasty":18,"author":90,"museum":48,"description":495,"tags":2242,"thumbUrl":2244,"material":196,"size":197,"collection":61,"collections":2245,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},272599,"duan-shi-diao-yun-peng-sui-xing-yan-yi-min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