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的含义。这幅画画在生纸上，是艺术的杰作，人物形象显著，有老莲的传承。三只羊的排列也很引人注目，黑羊只露出眼睛和两个长角，进一步显示了作者的创造性和天才。",[23,25,28,48,49,27,30,7,31],"水墨","工笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafaf294ec271b5da04f59a3aa051ce5f.jpg","145x75",[35],207,1,{"id":56,"slug":57,"title":44,"dynasty":18,"author":58,"museum":59,"description":60,"tags":61,"thumbUrl":70,"material":71,"size":72,"collection":73,"collections":74,"showCount":75,"zanCount":76,"manualWeight":11,"mainColor":40},218854,"san-yang-kai-tai-tu-lang-shi-ning-218854","郎世宁","台北故宫博物院","其画风中融合特殊中西笔触，尤其是运用写实画派光影透视技巧，郎氏画作特别讨喜尤受皇帝欣赏。\n三羊开泰用于岁首祝福时，人们也常用“三羊”来代替“三阳”，把“三阳开泰”写成“三羊开泰”，乃取其谐音而已。根据泰卦的释义，“三阳开泰”的引申意思，则有好运即将降临之意。\n拿“三羊”来代替“三阳”，除了“羊”与“阳”两字谐音而外，也还有寓有更隐蔽的深层的文化含义。",[23,62,25,49,28,63,64,7,31,65,66,67,68,69,27],"清代","中西合璧","写实","梅","竹","石","草地","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4b031b067e2d9172399a90dab58307e.jpg","绢本,设色","横60厘米 纵98厘米","花鸟画精选",[73],135,4,{"id":78,"slug":79,"title":80,"dynasty":81,"author":82,"museum":83,"description":84,"tags":85,"thumbUrl":88,"material":89,"size":89,"collection":90,"collections":91,"showCount":92,"zanCount":54,"manualWeight":11,"mainColor":93},221642,"yu-yang-yi-ming-221642","玉羊","宋","佚名","藏地不详","青黄玉质莹润如凝脂，浅带岁月沁痕。卧羊蜷身休憩，羊角螺旋盘卷，线条柔婉流畅，将瑞羊温顺慵懒之态尽数铺展。刀工简净凝练，以饱满弧面勾勒躯体肌理，舍去繁缛细节，以写意之形传写实之神，尽显宋代玉雕含蓄雅致的审美意趣。静穆柔和的神态将瑞羊驯静悠然的天性完美定格，寥寥刀工藏着宋人雅致的造物哲思，是中古玉雕写实传神的精妙之作。",[86,87,31,7],"玉石","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2e7bde69c1a8a15f18bead0e7af09c1.jpg","","玉器精选",[90],99,"37474F",{"id":95,"slug":96,"title":97,"dynasty":81,"author":98,"museum":20,"description":99,"tags":100,"thumbUrl":104,"material":105,"size":106,"collection":107,"collections":108,"showCount":109,"zanCount":54,"manualWeight":11,"mainColor":110},221455,"si-yang-tu-chen-ju-zhong-221455","四羊图","陈居中","这是南宋画家陈居中创作的一幅极为生动的动物画。在很小的尺幅上，画家选取了一个日常的景象，在村郊野外的小土坡上，牧羊人正在小憩，两只白色的小山羊打闹嬉戏，一只似是占到了便宜，惹得另一只发火地低头撞来，另一只毛色略重的老羊似欲走来制止，又一只则立于土坡之上，沉静地俯视着下面所发生的一切。四只羊的组合仿佛是一个家庭，母亲正在看管着孩子，父亲则高高在上，保持着一家之主的威严，画家将动物之间的情爱描写得十分真实，又富有人世的生活意趣。在置景上力求简单明快，土坡只以墨笔勾出轮廓，略加擦染，几株小草与荆棘也安排得很疏阔，画面左上角画一株老干，侧生一棵新枝。画家亦注重细节的刻画，如立于树干上的两只小山雀，俯首观看，形态生动。全图无论是写物、写景，皆突出了一个“动”字，生活气息极为浓厚。\n图中山羊的形态描绘准确，体现了画家深厚的写生功底，如小山羊跳跃、抵撞的姿态，老山羊前蹄收缩、双耳上竖的细部动作，甚至翻转的双角，均表现得一丝不苟，体现了宋代院体绘画精工细致、刻划入微的风格特征。全图毫无板滞之气，画家抓住表现对象的主要特征，舍弃琐碎的细节，运用不多的笔墨和写意的手法追求言简意赅的艺术效果。\n此画在构图上受时代流风的影响，采用南宋院体山水的边角式布局法。画面以斜对角式区分，左下部分为全部景物，右上部分则全部留白，将所要表现的物体加以集中，使狭小的尺幅产生一定的空间感，虚实对比更加鲜明，以此增强画面的吸引力。\n在中国古代文字中，“羊”字与“祥”、“阳”相通，“吉祥”在古文中就写作“吉羊”；又《易经》中谓每年正月卦象为三阳在下，三阴在上，故古人称每年正月为三阳开泰之时，此成语也就成了常用的吉祥语。这幅画表现的四羊即寓意三阳在下，一阳在上，反映了祈盼吉祥如意的美好愿望。\n陈居中最擅长人马画，但对动物写生一类题材也很热衷，并刻画得细致生动，这幅带有吉祥寓意的《四羊图》页即代表了他在这一方面的艺术水平。",[23,25,24,49,28,7,31,101,102,103],"枯树","孤石","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F231d6d11c8c4a722dd36f131bc7896c2.jpg","绢本，设色","纵22.5厘米，横24厘米","宋画精选",[107,73,37],90,"795548",{"id":112,"slug":113,"title":114,"dynasty":115,"author":116,"museum":83,"description":117,"tags":118,"thumbUrl":124,"material":71,"size":125,"collection":35,"collections":126,"showCount":127,"zanCount":39,"manualWeight":11,"mainColor":110},219580,"nong-qian-tu-han-huang-219580","农迁图","唐","韩滉","此图是少有的描绘唐代农民生活的写实画作。左侧男子一手持竹杖，一手拿干粮而食，头戴斗笠，腰挂麻鞋，小腿上还系有绑带，可见行路之辛苦。其后一妇人手抱婴儿，骑驴而行，脸上似有疲倦之色。",[25,26,119,49,28,30,120,121,122,7,123],"长卷","牛","驴","狗","农耕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99f0ca4e6c67a7e352a230c6af67845a.jpg","25.1x91.1厘米",[35],87,{"id":129,"slug":130,"title":131,"dynasty":132,"author":82,"museum":59,"description":133,"tags":134,"thumbUrl":136,"material":71,"size":137,"collection":73,"collections":138,"showCount":139,"zanCount":11,"manualWeight":11,"mainColor":110},216210,"san-yang-kai-tai-tu-yi-ming-216210","三阳开泰图","元","三阳开泰图 中有三只羊的图像。这三只羊代表着三阳的出现，是象征和平、繁荣的象征。根据传统，三只羊通常被描绘成站立在一起、头朝上的形态，表示他们正在向天空中的女娲献上膜拜。\n\n这三只羊可能会有不同的造型，但通常都是描绘成充满活力、生机勃勃的样子。他们的毛发通常是乌黑色或棕色，身体健硕，眼神炯炯有神。在三阳开泰图 中，这三只羊是象征着繁荣的重要元素，也是艺术家用来传达历史意义和文化价值的重要工具。",[25,24,135,49,28,7,65,66,67,31],"元代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102a2a7077a6eff7a42cc886854ac759.jpg","163.5x100cm",[73],77,{"id":141,"slug":142,"title":143,"dynasty":144,"author":145,"museum":59,"description":146,"tags":147,"thumbUrl":152,"material":71,"size":153,"collection":73,"collections":154,"showCount":155,"zanCount":11,"manualWeight":11,"mainColor":110},216217,"san-yang-tu-zhu-zhan-ji-216217","三羊图","明","朱瞻基","三羊图是明朝朱瞻基所作的一幅画。这幅画描绘了三只羊在草地上吃草，背景是一片美丽的山景。三羊图被认为是朱瞻基最优秀的作品之一，其细腻的笔巧和生动的写实手法得到了广泛的赞誉。这幅画象征着平静和安宁，也被认为是对中国传统和谐社会的赞颂。",[24,25,26,27,28,49,30,7,148,149,150,31,151],"树","岩石","山坡","明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66c63505c5c8038bbaf86c97b7a1cf2b.jpg","105.3x58.3cm",[73],72,{"id":157,"slug":158,"title":159,"dynasty":132,"author":82,"museum":59,"description":160,"tags":161,"thumbUrl":165,"material":33,"size":89,"collection":73,"collections":166,"showCount":167,"zanCount":54,"manualWeight":11,"mainColor":40},216209,"san-yang-kai-tai-tu-zhou-yi-ming-216209","三羊开泰图轴","三羊喻三阳开泰，吉祥之意。采用一孩三羊构图方式，小孩骑在最大只的绵羊上，手拿枝条，头戴皮幅，低头看着最小的那只羊。",[25,27,30,7,28,162,103,163,164],"吉祥","书法","三羊开泰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2e5313ba3f7ad1912675271f03e5126.jpg",[73],69,{"id":169,"slug":170,"title":164,"dynasty":144,"author":145,"museum":59,"description":171,"tags":172,"thumbUrl":173,"material":33,"size":174,"collection":73,"collections":175,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":40},222420,"san-yang-kai-tai-zhu-zhan-ji-222420","画幅正中绘着三只羊。以羊寓阳，以太同泰，寓意“三羊开泰”。依据八卦，正月为泰卦，一阳生于下，冬去春来，阴消阳长，万物复苏，所以，它是祥瑞的象征。三只羊集于一起一白二黑，衬以古木竹石。:羊开泰取意吉祥。三羊的形象皆从写生中来，前者一只小羊，正在低首食草，弯弓着背，短尾微粗，除两腿和头顶处呈白色，其余儿乎全为黑驹黝绒密的黑毛，后面一只小羊，正在低首缓步前行，双目下视，似作觅食之状，四条腿的下肢和头顶部分呈白色，其余为黑黝黝的绒毛。两乳羊柔顺之态，宛然如生。一只大羊略作俯瞰侧面，两角竖立向外伸展，呈倒“八字”，角尖如尖刀似的，身躯圆滚，毛长腿粗，头部、双耳、背部等处为黑色，及长长的黑色的颈毛，双日炯炯有神，传达出了生动的姿态和准确的头、颈、身躯关系。",[23,25,26,27,28,49,7,148,66,102,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F373b5a7d9c34426c6e0ebc149bc2c324.jpg","纵211.6厘米,横142.5厘米",[73,37],64,{"id":178,"slug":179,"title":180,"dynasty":144,"author":181,"museum":83,"description":182,"tags":183,"thumbUrl":187,"material":188,"size":189,"collection":89,"collections":190,"showCount":191,"zanCount":54,"manualWeight":11,"mainColor":40},287361,"liu-min-tu-juan-gao-qing-zhou-chen-287361","流民图卷(高清)","周臣","周臣（1460–1535），字舜卿，号东村，中国明代著名画家。吴（今江苏苏州）人。擅画。他生活在成化至嘉靖年间。生年不详，卒于明世宗嘉靖十四年（即1535年）。擅长画人物和山水，画法严整工细。",[23,25,119,24,48,28,30,184,7,122,185,163,186],"流民","猴","民生疾苦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89baea17418e8268052ddf9c5e1952b0.jpg","未知","Xcm*Xcm",[],63,{"id":193,"slug":194,"title":195,"dynasty":81,"author":196,"museum":59,"description":197,"tags":198,"thumbUrl":199,"material":200,"size":201,"collection":107,"collections":202,"showCount":203,"zanCount":54,"manualWeight":11,"mainColor":110},221354,"kai-tai-tu-zhou-su-han-chen-221354","开泰图轴","苏汉臣","画中的孩童欢乐地骑在一只大羊背上，身边围绕着各色大小造型不一、矫健欢腾的小羊，神气十足。据了解，北宋时期的日常生活中，羊并非骑乘的动物，但画中白羊被配上如神骏宝象般的鞍辔，散发着非同一般的宫廷贵气。群羊在草地中或饮，或食，或奔走，或徜徉，悠然自得的环绕在童子身边。画面背后还以长松梅花做背景，点有一双喜鹊，意取“喜上眉梢”。童子神采飞扬，群羊热闹欢腾，整幅画面充满了一派富丽祥和之气。那白胖小子丰润柔软的模样跃然于纸上，栩栩如生，令人心生爱怜。",[23,24,25,26,27,28,49,30,31,7,148,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b0dcb740080929d847e81c2fd0a8fd4.jpg","绢本设色","纵106厘米，横52厘米",[107,35,37],59,{"id":205,"slug":206,"title":207,"dynasty":18,"author":208,"museum":83,"description":209,"tags":210,"thumbUrl":217,"material":89,"size":89,"collection":89,"collections":218,"showCount":219,"zanCount":11,"manualWeight":11,"mainColor":110},234249,"bai-shou-tu-hua-yan-234249","百兽图","华嵒","华喦[yán]，清朝人。他生于康熙，卒于乾隆，经历“康乾盛世”，却一生贫苦。\n他年轻时因被乡绅羞辱，拒绝他为宗族祠堂作画。他一气之下，连夜在祠堂墙壁上画下高山云鹤、水国浮牛、悬崖青松、倚马题诗四幅画作，然后愤然离乡出走。\n他中年辗转于江南各地，与“扬州八怪”交往密切，成为扬州画派的代表人物，传世佳作皆被世人奉若珍宝。\n他晚年书、画、诗俱全，被称为“三绝”，人物、花鸟走兽、山水自然无不精通，终成一代名家。乃至后来者如吴昌硕、齐白石、徐悲鸿等大师也学习他绘画技法。\n在这里要特别提到的是，他笔下的画作，和别的艺术大师有些不同。\n嵒，通“岩”。华喦，人如其名。他的艺术成就如同山峰一般耸立在清代画坛，令无数后来者敬仰。自古以来善画走兽者甚多，但很少有人能画出百兽图。因此珍藏于北京故宫博物院的一幅《百兽图》便显得格外珍贵，它的作者便是华喦。\n此作为长卷画作，画面自右向左依次出现狗、牛、羊、马、鹿、狼、虎、猴、熊等动物，而一头老虎位居画面正中却面露囧态。画面中的动物们被华喦描绘的生动传神，栩栩如生，各具亮点。每一处局部独立展示便是一幅小品佳作，而纵览全画便犹如置身深山老林之中，处处散发着自然的生命力。\n画面最右侧，首先映入眼帘的是人类生活中常见的狗、牛、羊、马。\n接下来画面中来到河畔旁的草地上，一众动物在枫叶美景中悠闲地嬉戏打闹，但河对岸一只麋鹿正此刻正和一只灰狼对峙，凭添了几分紧张的气息。\n镜头继续向左转移，一只老虎在山坡的另一侧独自矗立。虽说老虎是百兽之王，可它此刻的面部表情却十分窘迫，甚至引得巨石上的猴子驻足观看。想来应该是它在头疼这森林的管理问题吧。\n随着我们的视角不断向左深入，画面中山石林立，藤叶纷飞，显得更加原始。而这里的主角变成了一群热闹的猴子，和两只争食的黑熊。\n整幅画作的最左侧，两只大黑熊在互相夺食，而另一只小黑熊却呆在山洞里悠闲地睡着懒觉，顿时令观者啼笑皆非。\n值得一提的是，华喦这幅《百兽图》除开陆地上生活的一群动物外，空中无鸟，水中无鱼。本应威武凶狠的老虎虽出画面正中心，却毫无威仪感，甚至显得有些窘迫。不知作者当时为何会如此创作。",[23,25,119,28,49,211,212,31,185,120,148,67,213,214,215,7,216],"皴法","山水","花草","飞鸟","犬","鹿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd8e66486eac6115b5e7d13a3b541fdc.jpg",[],54,{"id":221,"slug":222,"title":223,"dynasty":81,"author":224,"museum":225,"description":226,"tags":227,"thumbUrl":231,"material":232,"size":233,"collection":107,"collections":234,"showCount":219,"zanCount":11,"manualWeight":11,"mainColor":110},221501,"chun-jiao-mu-yang-tu-li-di-221501","春郊牧羊图","李迪","美国大都会艺术博物馆","《春郊牧羊图》为扇面小品，大不盈尺，绘春郊野外，羊群于坡岸吃草放牧的情景，羊群刻画生动，奔走俯首等姿态栩栩如生，有母子舔犊情深、有结伴奔跑嬉戏、有独自悠闲觅食。荒草并不丰茂，但却充满生机，平稳均衡的画面布局又隐藏着山坡横向的动感和柳树上扬下垂的起伏变化，而正在攀爬柳树的牧童，更是给看似安静的画面增添了活眼",[23,25,24,228,49,28,229,7,31,30,68,150,230],"扇面","柳","郊野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a238f37fd4e936610467a8de5665e84.jpg","绢本","24.1×24.8cm",[107,73,235],"水墨画精选",{"id":237,"slug":238,"title":239,"dynasty":144,"author":82,"museum":240,"description":241,"tags":242,"thumbUrl":245,"material":71,"size":246,"collection":35,"collections":247,"showCount":248,"zanCount":11,"manualWeight":11,"mainColor":110},218372,"ying-xi-tu-yi-ming-218372","婴戏图","大英博物馆","画的是一个骑着白色羊毛羊的孩子，戴着羊毛帽，穿着厚厚的长袍，肩上扛着一根细细的梅花杆，在隆冬时节，在一群不同颜色的羊毛中间放着一个鸟笼。",[23,25,28,49,30,243,7,122,148,244,31],"婴戏","梅枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86eb0eaf577239595e5412db7830f04d.jpg","65.4x42.54",[35],49,{"id":250,"slug":251,"title":17,"dynasty":81,"author":224,"museum":20,"description":252,"tags":253,"thumbUrl":255,"material":200,"size":256,"collection":107,"collections":257,"showCount":258,"zanCount":259,"manualWeight":11,"mainColor":110},221560,"su-wu-mu-yang-tu-li-di-221560","李迪（生卒年不详），南宋画家，河阳（今河南孟州南）人。供职于孝宗、光宗、宁宗三朝画院。擅写生，花鸟、竹石、走兽皆精，亦作山水小景。大幅气象豪迈，小品精细入微，晚年犹能作纤入毫笔的刻画。存世作品有《雪树寒禽图》《枫鹰雉鸡图》《风雨归牧图》等。",[23,24,25,26,228,28,254,30,7,31,148,67],"白描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceaa42b0901bb55ad17260f047b24a30.jpg","24.4x21.5厘米",[107,35,37],46,3,{"id":261,"slug":262,"title":263,"dynasty":81,"author":264,"museum":59,"description":265,"tags":266,"thumbUrl":275,"material":276,"size":277,"collection":89,"collections":278,"showCount":279,"zanCount":54,"manualWeight":11,"mainColor":110},221241,"song-ke-xiu-kai-tai-tu-zhou-song-ren-221241","宋缂绣开泰图轴","宋人","南宋踏踏歌行图轴为宋人缂丝作品仲裁取的一部分，能独立成篇。\n构缂、平缂交替使用。\n远处云气流动，近处山石野草情趣盎然。\n人物造型准确生动，手持击板，嘴中吟唱，轻踏脚步，逍遥自在。",[23,267,27,28,49,30,268,7,269,212,270,271,272,273,274],"缂绣","马","梅花","祥云","河流","树木","花卉","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc401a0692f0ab7135bf602629e7f6c91.jpg","织绣","349x95.8",[],45,{"id":281,"slug":282,"title":283,"dynasty":18,"author":82,"museum":83,"description":284,"tags":285,"thumbUrl":290,"material":188,"size":189,"collection":89,"collections":291,"showCount":292,"zanCount":39,"manualWeight":11,"mainColor":293},263648,"ke-si-jia-xiu-jiu-yang-xiao-han-tu-zhou-yi-ming-263648","缂丝加绣九阳消寒图轴","缂（kè，同：刻）丝（英文：K’o-ssu 、Kesi 或 Chinese silk tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[24,27,26,286,28,49,30,268,7,269,287,272,288,289],"缂丝加绣","桃花","流水","消寒主题","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1718cd0df1c90bc2f8347c3494656762.jpg",[],40,"2A56C6",{"id":295,"slug":296,"title":297,"dynasty":81,"author":224,"museum":83,"description":298,"tags":299,"thumbUrl":303,"material":89,"size":89,"collection":89,"collections":304,"showCount":292,"zanCount":54,"manualWeight":11,"mainColor":110},227958,"mu-yang-tu-juan-li-di-227958","牧羊图卷","此作用工写兼融之笔，铺展秋日郊原之景。沙渚浅坡晕染淡赭，细草缀以青绿，衬出疏阔静穆的荒寒氛围。林间枯木虬劲苍古，残叶间点缀秋红，暗合塞晚秋光。\n\n群羊姿态各异，或卧地慵憩，或垂首啮草，或两两相逐，毛发蓬松温润，刻画细腻灵动，尽显羊只闲适之态。整卷设色雅致柔和，既有院体画的精工写实，又暗含文人画的淡逸意趣，将牧羊日常化为悠远诗意，把塞北秋原的宁和生机，尽数融于长卷之中，意韵清寂悠长。",[23,25,24,26,119,49,28,211,7,31,148,300,68,301,214,163,103,274,302],"老树","溪流","坡岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2dfddaef68b627b4fae245934cf60aa.jpg",[],{"id":306,"slug":307,"title":308,"dynasty":132,"author":82,"museum":309,"description":310,"tags":311,"thumbUrl":316,"material":71,"size":317,"collection":37,"collections":318,"showCount":292,"zanCount":11,"manualWeight":11,"mainColor":110},219180,"lin-yuan-shuang-yang-tu-yi-ming-219180","林原双羊图","四川博物馆","此幅为纨扇，工笔。画面溪水静流，草木丛生，古树歪斜，一双羊正埋头觅食。纨色古雅。左上角钤朱文篆刻收藏印“刘氏春禧所藏”，右下角有朱文篆印“忠”字。无款，为元人所绘，稀有难觅。",[23,24,25,26,28,49,7,31,148,312,313,314,315],"林","原","草","山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fece76ddc27e36003fe0c487787bb73e0.jpg","纵26厘米，横27厘米",[37],{"id":320,"slug":321,"title":322,"dynasty":81,"author":323,"museum":324,"description":325,"tags":326,"thumbUrl":331,"material":332,"size":333,"collection":107,"collections":334,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":110},220089,"jia-pai-tu-quan-juan-fen-juan-12-gong-kai-220089","笳拍图全卷-分卷12","龚开","美国弗利尔美术馆","宋末元初画家，字圣予（一作圣与），号翠岩，晚号龟城叟、岩叟，人称龚高士。淮阴龟山（今属江苏省淮安市洪泽区老子山镇）人 。景定年间曾任两淮制置司监当官。他是一位诗文书画都擅长的文人画家，山水画师法米芾、米友仁，人物、鞍马则学曹霸，亦能画梅、菊等花卉。喜欢用水墨画鬼魅及钟馗，“怪怪奇奇，自成一家”，开明清写意画之先河。从现存作品看，其特点是用笔粗重、墨色淋漓，造形比较夸张，画上多题诗及跋语。抒情寓意，寄托遗老的怀抱。",[25,24,26,119,254,30,327,268,7,328,329,330],"帐篷","器物","衣帽","兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c86fb758c911901199210f2e7cb4fe9.jpg","纸本,水墨","全卷30.6X770厘米",[107],39,{"id":337,"slug":338,"title":339,"dynasty":81,"author":340,"museum":225,"description":341,"tags":342,"thumbUrl":343,"material":332,"size":89,"collection":73,"collections":344,"showCount":345,"zanCount":54,"manualWeight":11,"mainColor":110},218999,"niu-yang-tu-yi-yuan-ji-218999","牛羊图","易元吉","笔墨简淡却意趣横生，画面左侧羊群散落，或低头啮草，或结伴游走，姿态憨拙灵动；右侧牛车沿坡而上，双牛奋力蹬蹄，车轱辘纹理清晰，赶车人衣袂轻扬，动态毕现。整幅画作以细腻线条勾勒物象，淡墨晕染衬出郊野氛围，动物神情与人物动态皆刻画入微，尽显宋代写生画的写实功底与生活意趣，于简约中见生动，于质朴中藏精巧。",[25,119,254,48,211,120,7,31,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1bb0575845dae604de9d8abc5bc93d4.jpg",[73],38,{"id":347,"slug":348,"title":349,"dynasty":18,"author":82,"museum":83,"description":350,"tags":351,"thumbUrl":360,"material":188,"size":189,"collection":89,"collections":361,"showCount":362,"zanCount":54,"manualWeight":11,"mainColor":110},267608,"cai-se-duan-xiu-he-lu-san-yang-mei-que-wen-ming-xing-pian-jia-yi-ming-267608","彩色缎绣鹤鹿三羊梅雀纹名姓片夹","绣法是以绣线横排，故名。如，特点是整齐、均匀，圆润；在绣叶瓣时，在中间分开，运用斜针成倒人字形；也有绣成中间针迹相交叠的形式；也可绣成中间作一钉线的绣法。排绣针法富有变化，刺绣出的花瓣、叶瓣得体逼真，用途较广。",[352,353,49,28,354,216,7,355,356,65,357,31,358,359],"刺绣","布料","鹤","雀","松","花鸟","日用具","饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2b9155225671ffe2fe720d6ecd8bd8d.jpg",[],36,{"id":364,"slug":365,"title":44,"dynasty":18,"author":19,"museum":45,"description":366,"tags":367,"thumbUrl":369,"material":370,"size":371,"collection":89,"collections":372,"showCount":362,"zanCount":11,"manualWeight":11,"mainColor":40},223223,"san-yang-kai-tai-tu-ren-yi-223223","这是清代著名画家任伯年的代表作品，所画人物形象用笔颇有新意，直接以色彩做画，略加勾线，表现出良好的西洋画素描功夫，对三羊的描绘亦表现出这一点，用浓淡结合的墨色勾勒三只姿态各异的羊，紧紧抓住羊的动态，形成繁简虚实的统一。同时，其画法又保持了中国画造型夸张与线条表现的基本艺术特征，以及书法一气贯通的意韵，可谓中国画艺术在近代融和中西、探求新路的成功之作",[23,25,28,48,29,31,7,314,368,103],"夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04307a52460e0e28b559ac3ccee2c932.jpg","纸本设色","145cmx75cm",[],{"id":374,"slug":375,"title":376,"dynasty":81,"author":82,"museum":59,"description":377,"tags":378,"thumbUrl":380,"material":71,"size":381,"collection":107,"collections":382,"showCount":362,"zanCount":11,"manualWeight":11,"mainColor":40},218853,"lv-rong-mu-di-tu-yi-ming-218853","绿茸牧羝图","画中有一群肥羊在草地上玩耍，两棵柳树枝叶茂盛，在风中摇曳，一个牧羊少年站在树枝上用赶羊棍逗弄小鸟，让人觉得是一个快乐的年。这幅画画得很密，但羊群太厚了，以至于它们显示变现。",[23,25,28,49,232,7,68,148,379,31],"牧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F329bebc3a227441ca972027caf511e53.jpg","22.6x23.8",[107,37],{"id":384,"slug":385,"title":386,"dynasty":18,"author":387,"museum":59,"description":388,"tags":389,"thumbUrl":390,"material":391,"size":392,"collection":393,"collections":394,"showCount":395,"zanCount":11,"manualWeight":11,"mainColor":40},224122,"qing-gao-zong-yu-bi-kai-tai-shuo-bing-fang-ming-xuan-zong-kai-tai-tu-zhou-qian-long-224122","清高宗御笔开泰说并仿明宣宗开泰图轴","乾隆","该幅据其自题，谓壬辰（1772）新春，自制开泰说一篇，又仿明宣宗作开泰图。三羊造型，实仿朗世宁开泰图。花石则系邹一桂奉诏补景之作。\n“三阳开泰”词意源出于《易经》：“正月为泰卦，三阳生于下”，取其冬去春来，阴消阳长，表示佳运即将开始，是新年吉祥的贺词。“三阳”取其谐音写生绵羊三只，母羊与小羊表情动人；配景的花石，用笔自由写意，乃出自于乾隆朝翰林词臣画家邹一桂（1686－1772）之手。邹一桂生于江苏无锡，雍正五年（1727）进士，官至礼部侍郎。",[23,25,27,28,49,31,7,102,213,103,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f4c9e77f35eea21414f4325ecb0cef4.jpg","纸本","127.7×63厘米","山水画精选",[393,235],32,{"id":397,"slug":398,"title":399,"dynasty":18,"author":82,"museum":59,"description":400,"tags":401,"thumbUrl":408,"material":89,"size":89,"collection":37,"collections":409,"showCount":410,"zanCount":11,"manualWeight":11,"mainColor":110},238933,"qing-ren-qun-xian-zhu-shou-tie-luo-yi-ming-238933","清人群仙祝寿贴落","云端仙袂翩跹，分群御风而来，祥龙隐于霭雾，漫溢祥瑞清贵之气。下方山道水畔，凡世之人或骑行牵犊，或执乐赶路，各携贺礼奔赴寿典，满是人间欢悦之态。\n\n此作以缂丝技艺织就，设色古雅柔和，线条细腻灵动。仙凡同贺的祝寿盛景虚实相映，将福寿绵长的美好祈愿，藏在每一处衣褶与云纹里，让悠远的祥瑞意趣缓缓流淌而出。",[25,49,28,30,402,212,403,268,7,148,404,274,405,406,407],"龙","骆驼","云","草木","波浪","祝寿场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ce35673770dccb61bbc8a5bd24e3c42.jpg",[37],30,{"id":412,"slug":413,"title":414,"dynasty":115,"author":415,"museum":83,"description":416,"tags":417,"thumbUrl":421,"material":188,"size":189,"collection":89,"collections":422,"showCount":423,"zanCount":11,"manualWeight":11,"mainColor":110},289940,"zhi-gong-tu-yan-li-ben-289940","职贡图","阎立本","该画描绘的是唐太宗时，婆利国和罗刹国千里迢迢前来朝贡的情景。画中共有二十七人，其中白衣虬髯骑白马的人是罗刹国使者，身后有仆从打着伞执着扇，抬着礼物。左边穿长袍手里托着珊瑚打着伞盖的人是婆利国使者，他的随从也带着各式各样的礼物。整幅画设色淡雅，人物造型奇特，线条流畅自然。",[23,24,25,119,28,30,418,419,420,268,7],"历史画","异域人物","朝贡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc9f4a038e4ced215e45070eb656c031.jpg",[],26,{"id":425,"slug":426,"title":427,"dynasty":18,"author":428,"museum":83,"description":429,"tags":430,"thumbUrl":431,"material":89,"size":89,"collection":35,"collections":432,"showCount":423,"zanCount":54,"manualWeight":11,"mainColor":40},239136,"san-yang-ying-xi-tu-zhou-xu-cong-long-239136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因此称之为《流民图》亦可。",[23,25,26,119,254,28,30,185,122,7,440,441,442,443,444,163],"拐杖","篮子","鼓","乐器","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd181c6127f25e533180376f904c665f0.jpg","纵28厘米，横384厘米",[],"F48FB1",{"id":450,"slug":451,"title":452,"dynasty":18,"author":387,"museum":59,"description":453,"tags":454,"thumbUrl":455,"material":456,"size":457,"collection":73,"collections":458,"showCount":459,"zanCount":11,"manualWeight":11,"mainColor":40},224117,"kai-tai-shuo-bing-san-yang-kai-tai-tu-juan-qian-long-224117","开泰说并三阳开泰图卷","是清代乾隆弘历的亲笔图，该幅是摹仿收藏于台北故宫博物院明宣宗（1399－1435）与郎世宁（1688－1766）同名之作。该幅据其自题，谓壬辰（1772）新春，自制开泰说一篇，又仿明宣宗作开泰图。三羊造型，实仿朗世宁开泰图。花石则系邹一桂奉诏补景之作",[23,24,25,26,119,48,444,103,163,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0619277c0f73ea795b19279dee6e8c7f.jpg","白纸本","27.7×63厘米",[73,235],25,{"id":461,"slug":462,"title":131,"dynasty":81,"author":340,"museum":324,"description":463,"tags":464,"thumbUrl":465,"material":71,"size":466,"collection":73,"collections":467,"showCount":459,"zanCount":11,"manualWeight":11,"mainColor":93},219120,"san-yang-kai-tai-tu-yi-yuan-ji-219120","虬干盘曲如铁，疏枝缀雪梅点点，似有暗香浮动于古雅底色间。三畜情态各殊——卧者昂首似听风语，软毛覆身藏着慵懒暖意；立者凝眸若待春声，犄角弯转如流云舒展；侧转者鬃毛微拂，与同伴犄角轻触，灵趣暗生。\n\n笔墨古拙温润，晕染间见肌理：羊的绒毛柔中带韧，树的皴纹苍劲含情。“三阳”谐音藏吉意，冬寒未褪时，生机已在虬枝与羊影里悄然酝酿。整幅画如一首无声的早春诗，雅致中藏着对时序流转的温柔期许，尽显宋画的含蓄与意韵。",[25,24,27,49,28,31,7,148,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F839d31457b96c63f4eca241315b5292d.jpg","纵148.5cm,横74cm",[73],{"id":469,"slug":470,"title":471,"dynasty":472,"author":82,"museum":83,"description":473,"tags":474,"thumbUrl":485,"material":188,"size":189,"collection":89,"collections":486,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":110},224089,"shi-er-sheng-xiao-jing-yi-ming-224089","十二生肖镜","隋","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。",[475,476,477,87,478,120,479,480,402,481,268,7,185,482,122,483,484],"隋代","铜制","青铜器","鼠","虎","兔","蛇","鸡","猪","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f4279e31dfdc5b014a6c52949e36c2b.jpg",[],23,{"id":489,"slug":490,"title":143,"dynasty":81,"author":82,"museum":20,"description":491,"tags":492,"thumbUrl":494,"material":200,"size":495,"collection":89,"collections":496,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":110},223332,"san-yang-tu-yi-ming-223332","彩绘柳树伞下的气球在坡草间游荡觅食。 蓬松的，富有一定的。 用笔擦干树干，笔变粗。",[23,25,24,26,493,49,28,31,7,148,67,314],"宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b7a68d3cb18be30324ec6098db75923.jpg","21.2x20厘米",[],{"id":498,"slug":499,"title":500,"dynasty":132,"author":82,"museum":83,"description":501,"tags":502,"thumbUrl":504,"material":188,"size":189,"collection":89,"collections":505,"showCount":506,"zanCount":11,"manualWeight":11,"mainColor":110},290743,"dong-jing-xi-ying-tu-zhou-yi-ming-290743","冬景戏婴图轴","四名孩童相聚玩耍，一人骑羊，三人扮胡人相貌，撑盖、捧佛、携梅前後随护。园中古松苍翠，梅花盛开，正是岁朝时节，配以三只白羊，寓有“三羊开泰”之意。",[25,27,28,30,243,356,65,268,7,503,49],"冬景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e2a8766bd454b6ee66fa9ecac50dc41.jpg",[],22,{"id":508,"slug":509,"title":510,"dynasty":81,"author":82,"museum":511,"description":512,"tags":513,"thumbUrl":516,"material":71,"size":517,"collection":73,"collections":518,"showCount":519,"zanCount":11,"manualWeight":11,"mainColor":40},218991,"han-yan-san-yang-tu-yi-ming-218991","寒岩三羊图","私人收藏","岩岫皴染如铁，苔点零星似星落于褐赭石色的肌理间，透出山野的苍劲冷寂。三羊错落其间：一羊俯首啮草，绒毛晕染得蓬松如团雪；一羊侧耳伫立，黑花斑纹在素白间点染出灵动；还有一羊昂首望岫，姿态憨拙却藏着对山风的敏感。宋人的笔致总在写实里藏着诗意——寒岩的嶙峋与生灵的温煦相映，没有喧嚣，只有草叶被啮动的轻响、山风掠过岩缝的微吟，静静淌出山野间的清寂与安然。笔墨细腻处见真意，连羊蹄踏过石径的细碎感，都似能透过纸背触到，将自然的生机与静谧揉成一幅耐人寻味的画卷。",[23,25,26,24,514,49,28,31,7,149,515],"册","寒景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F436b6eb6d7d9e88456730a606e3e6f2c.jpg","24.8x21.8cm",[73],21,{"id":521,"slug":522,"title":523,"dynasty":144,"author":524,"museum":83,"description":525,"tags":526,"thumbUrl":528,"material":28,"size":89,"collection":35,"collections":529,"showCount":530,"zanCount":11,"manualWeight":11,"mainColor":110},237892,"wang-zhao-she-se-ying-yang-tu-zhou-wang-zhao-237892","汪肇设色婴羊图轴","汪肇","汪肇［明］（15世纪末至16世纪初），字德初，号海云，安徽休宁人，工山水、人物、花鸟。多用粗笔水墨，风格近吴伟、张路。传世作品有故宫博物院的《起蛟图》轴、《芦雁图》轴及《柳禽白鹇图》轴等。",[25,26,27,28,527,7,148,229,65,30,31],"婴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2fcf07bc0d8591e32b1885f907d45e8.jpg",[35],20,{"id":532,"slug":533,"title":534,"dynasty":81,"author":82,"museum":83,"description":535,"tags":536,"thumbUrl":538,"material":200,"size":539,"collection":89,"collections":540,"showCount":530,"zanCount":11,"manualWeight":11,"mainColor":110},223376,"chu-ping-mu-yang-tu-yi-ming-223376","初平牧羊图","此图不知原载何册，也没有作者姓氏。但画法甚为高超，人物尤精。在描绘人物动态和神情方面，画家具有高超的技艺。",[23,25,26,228,28,49,30,7,148,274,537,493],"水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8d3b9f87123433d8f4bab4bb4d8cd5e.jpg","23.5*24.6厘米",[],{"id":542,"slug":543,"title":544,"dynasty":18,"author":82,"museum":20,"description":545,"tags":546,"thumbUrl":551,"material":552,"size":553,"collection":89,"collections":554,"showCount":530,"zanCount":54,"manualWeight":11,"mainColor":40},223366,"guang-xu-nian-jian-bai-duan-di-guang-xiu-san-yang-kai-tai-gua-ping-xin-yi-ming-223366","光绪年间白缎地广绣三阳开泰挂屏心","此挂屏心是在白色缎地上施五彩绣。画面中一轮红日高挂，草木葱郁，山石玲珑，3只羊嬉戏于湖边草地上，9只瑞鸟飞鸣栖息于花间树梢，展现出一派春光明媚、万物滋生的美好景象。作品采用了洒插针、辫子股针、扭针、刻鳞针、打籽针和风车针等针法，针工细密，有较强的立体感。三只羊形态各异，刻画逼真，羊身上用辫子股针绣成一圈圈凸起的圈线，颇具毛绒感。画面施以浅驼、驼、古铜、沉香、灰、驼黄、黄、绿、蓝、石青和大红等色，色彩艳而不俗，富于装饰性，充分体现了广绣独特的风格。\n此挂屏心的主题以“羊”与“阳”的谐音寓意“三阳开泰”，作为新年伊始的祝福。此为广绣的杰作。",[23,62,547,352,28,7,31,214,148,404,548,549,68,213,550],"广绣","太阳","石头","挂屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7ff1a6d481f46a46864196ab03a7f3b.jpg","屏心","高67厘米，宽52厘米",[],{"id":556,"slug":557,"title":558,"dynasty":132,"author":82,"museum":59,"description":559,"tags":560,"thumbUrl":562,"material":71,"size":563,"collection":35,"collections":564,"showCount":565,"zanCount":11,"manualWeight":11,"mainColor":110},290744,"xi-ying-tu-zhou-yi-ming-290744","戏婴图轴","儿童生性活泼好奇﹐在他们的眼裏﹐每样事物都新奇有趣﹐都想要探索、尝试。而游戏﹑玩具﹐不仅能启发心智，也能锻练强健的体魄﹐是他们用以探索世界的工具。儿童在嬉戏中﹐生动活泼的姿态，专注喜悦的表情，稚拙可爱的模样，不只让人心生怜爱，更能感受到童稚世界的无忧无虑，是画家喜好的题材，这种以孩童嬉戏为主题的画作，称为《婴戏图》。\n南宋以後﹐文人画发达﹐不再重视精描细绘的写实工夫，画家在描绘孩童时﹐不是将孩童画得老气横秋﹐便是画得身小而貌壮，少年老成，无法掌握儿童纯稚的神韵﹐故以婴戏画知名的画家锐减。而婴戏图中孩童纯真可爱的形象，特别能表现节庆欢乐的气氛，有祈福求安的意义，此幅婴戏图，画冬日一孩童骑一羊﹐在羊群中嬉戏，设色穠丽﹐描写工细﹐画面生动，富有生活情趣。",[25,28,49,30,561,7,31,356,65],"戏婴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa72e70c165dd262e8aede4cfe1ac85d.jpg","90.4x56.1",[35],19,{"id":567,"slug":568,"title":569,"dynasty":144,"author":82,"museum":570,"description":571,"tags":572,"thumbUrl":575,"material":71,"size":576,"collection":35,"collections":577,"showCount":565,"zanCount":54,"manualWeight":11,"mainColor":110},219619,"ming-ren-qiu-lin-mu-yang-tu-yi-ming-219619","明人秋林牧羊图","耶鲁大学艺术博物馆","丹红叶色覆满古木虬枝，晕染出深秋萧疏又温煦的氛围。林下坡岸，一人踞坐拨弦，一人垂首静听，意态闲散悠然，尽显林下雅趣。坡麓双羊缓行啮草，野逸闲寂的田园意致油然而生。\n\n画作笔墨简淡秀润，设色清雅沉稳，人物意态生动传神，林木皴染细致写实，将秋日郊野的幽寂清旷与文人士子的山居闲情相融，勾勒出超脱尘俗的林下雅兴图景，尽显写意尚趣的审美意韵。",[25,28,49,30,7,573,300,274,213,272,574,31],"秋林","秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaedaedf3332b4fb0340859744f2680b.jpg","纵100.5横51.5厘米",[35],{"id":579,"slug":580,"title":581,"dynasty":81,"author":582,"museum":83,"description":583,"tags":584,"thumbUrl":585,"material":188,"size":586,"collection":107,"collections":587,"showCount":588,"zanCount":11,"manualWeight":11,"mainColor":110},290295,"xi-yang-tu-zhou-guo-si-290295","戏羊图轴","郭思","元丰五年（一o八二）进士。善杂画，尤工画马。",[25,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Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[742,743,744,745,30,7,746,747,748,749,750,751,752,753,754,755,756,757,758],"油画","后印象派","厚涂","临摹","木桶","茅草屋顶","围栏","乡村场景","土地","劳作场景","色彩浓郁","笔触粗旷","户外场景","茅草屋","乡村劳作","色彩鲜明","笔触奔放","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71dd3a106d36dd0604250557c66fc685.jpg","油画精选",[760],{"id":763,"slug":764,"title":765,"dynasty":132,"author":82,"museum":83,"description":766,"tags":767,"thumbUrl":769,"material":188,"size":189,"collection":89,"collections":770,"showCount":771,"zanCount":11,"manualWeight":11,"mainColor":110},290801,"san-yang-kai-tai-tu-zhou-yi-ming-290801","三阳开泰图轴","录入：故宫书画录（卷八），第四册，71页；故宫书画图录，第五册，267-26页",[25,27,28,30,7,65,768,368,102,728,31],"垂柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feba50b25eaa1043d133f4aeae80c3602.jpg",[],7,{"id":773,"slug":774,"title":775,"dynasty":18,"author":82,"museum":83,"description":776,"tags":777,"thumbUrl":783,"material":188,"size":189,"collection":89,"collections":784,"showCount":771,"zanCount":11,"manualWeight":11,"mainColor":40},266424,"xue-hui-se-ke-si-san-lan-xiu-qiu-mei-wen-shang-yang-xia-hui-shu-pi-chen-yi-yi-ming-266424","雪灰色缂丝三蓝绣球梅纹上羊下灰鼠皮衬衣","清王朝时段推行剃发易服，顺治九年（1652），钦定《服色肩舆条例》颁行，从此废除了明朝的冠冕、礼服以及汉族的一切服饰，但满族服饰同时吸收了明朝服饰的纹理图案。明代男子一律蓄发挽髻，着宽松衣，穿长统袜、浅面鞋；清时则剃发留辫，辫垂脑后，穿瘦削的马蹄袖箭衣、紧袜、深统靴。但官民服饰一律泾渭分明。 清朝是以满族统治者为主的政权机构，满族八旗服饰随朝代的变更冲进关内。旗人的风俗习惯影响着广大的中原地区。从公服开始逐渐推向常服。",[329,778,353,779,65,7,478,780,781,782],"缂丝","绣球","皮毛","蓝色纹样","衬衣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a13189e207e950fff449b7294a51071.jpg",[],{"id":786,"slug":787,"title":788,"dynasty":789,"author":82,"museum":83,"description":790,"tags":791,"thumbUrl":793,"material":188,"size":189,"collection":89,"collections":794,"showCount":771,"zanCount":54,"manualWeight":11,"mainColor":110},242967,"yang-qi-shou-yi-ming-242967","羊旗首","汉","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。",[792,477,476,87,31,7],"汉代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bfc411e6652b4f3c287930ca56005c7.jpg",[],{"id":796,"slug":797,"title":798,"dynasty":738,"author":799,"museum":83,"description":800,"tags":801,"thumbUrl":806,"material":188,"size":189,"collection":89,"collections":807,"showCount":771,"zanCount":11,"manualWeight":11,"mainColor":40},232361,"he-er-bai-yin-20-he-er-bai-yin-232361","荷尔拜因20","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。",[24,802,803,64,31,7,804,805,391],"素描","淡彩","动物","写生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5d666903e2b7290a950aad45d2e9943.jpg",[],{"id":809,"slug":810,"title":811,"dynasty":144,"author":82,"museum":225,"description":812,"tags":813,"thumbUrl":814,"material":200,"size":233,"collection":89,"collections":815,"showCount":771,"zanCount":11,"manualWeight":11,"mainColor":110},223574,"mu-yang-tu-yi-ming-223574","牧羊图","绘春郊野外，羊群于坡岸吃草放牧的情景，羊群刻画生动，奔走俯首等姿态栩栩如生，有母子舔犊情深、有结伴奔跑嬉戏、有独自悠闲觅食。荒草并不丰茂，但却充满生机，平稳均衡的画面布局又隐藏着山坡横向的动感和柳树上扬下垂的起伏变化，而正在攀爬柳树的牧童，更是给看似安静的画面增添了活眼。",[23,25,228,28,30,7,148,150,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d76828bbf7925e25c75ff00155b1967.jpg",[],{"id":817,"slug":818,"title":819,"dynasty":81,"author":323,"museum":324,"description":325,"tags":820,"thumbUrl":821,"material":332,"size":333,"collection":89,"collections":822,"showCount":823,"zanCount":11,"manualWeight":11,"mainColor":110},220087,"jia-pai-tu-quan-juan-fen-juan-11-gong-kai-220087","笳拍图全卷-分卷11",[24,25,26,119,254,30,268,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10fb61874a4f25715b4751fae5ead4ca.jpg",[],6,{"id":825,"slug":826,"title":827,"dynasty":18,"author":82,"museum":83,"description":828,"tags":829,"thumbUrl":833,"material":188,"size":189,"collection":89,"collections":834,"showCount":835,"zanCount":11,"manualWeight":11,"mainColor":448},267154,"huang-se-duan-kou-man-na-ju-hua-shuang-xi-xiao-yang-wen-yao-yuan-he-bao-yi-ming-267154","黄色缎口满纳菊花双喜小羊纹腰圆荷包","荷包是中国汉族传统服饰中，人们所随身佩带的一种装零星物品的小包，后发展为爱情信物，荷包的图案有繁有简，花卉、鸟、兽、草虫、山水、人物以及吉祥语、诗词文字都有，装饰意味很浓。\n在民间荷包中，占相当比重的是香包，香包里装有香草之类的药品，包面上绣制着“五毒”，即蝎子、蛇、蜈蚣、壁虎和蟾蜍，它原是五月端午的节令物品，为了防止各种毒虫猖獗，侵害人体，人们相互馈赠，挂在衣襟或帐勾上，以避除“五毒”。就形状来看，有虎形的、鸡形的、如意形的、寿桃形的、蝙蝠形的，以取意于福、禄、寿、喜、吉祥、如意等。富有深厚民族心理基础的绣荷包，在民间文化中，显示着旺盛的生命力。",[359,358,353,830,352,831,7,832],"荷包","菊花","双喜纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd51d2511579f8070cedf1ed9c4502d64.jpg",[],5,{"id":837,"slug":838,"title":839,"dynasty":840,"author":82,"museum":83,"description":841,"tags":842,"thumbUrl":846,"material":188,"size":189,"collection":89,"collections":847,"showCount":835,"zanCount":11,"manualWeight":11,"mainColor":93},245333,"san-yang-zun-yi-ming-245333","三羊尊","商","青铜器（Bronze Ware）在古时被称为“金”或“吉金”，是红铜与其他化学元素锡、铅等的合金，刚刚铸造完成的青铜器是金色，但因为出土的青铜因为时间流失产生锈蚀后变为青绿色，被称为青铜。\n青铜器的使用开始于新石器时代晚期的土耳其和伊拉克地区，及叙利亚古代TellRamad遗址出土的铜珠等。中国青铜器开始于马家窑至秦汉时期，以商周时期的器物最为精美。在中国仰韶文化早期和马家窑文化时期就已经出现。\n中国最初出现的是小型工具或饰物。夏代始有青铜容器和兵器。商中期，青铜器品种已很丰富，并出现了铭文和精细的花纹。商晚期至西周早期，是青铜器发展的鼎盛时期，器型多种多样，浑厚凝重，铭文逐渐加长，花纹繁缛富丽。随后，青铜器胎体开始变薄，纹饰逐渐简化。春秋晚期至战国，由于铁器的推广使用，铜制工具越来越少。秦汉时期，随着陶器和漆器进入日常生活，铜制容器品种减少，装饰简单，多为素面，胎体也更为轻薄。\n中国青铜器制作精美，在世界青铜器中享有极高的声誉和艺术价值，代表着中国5000多年青铜发展的高超技术与文化。\n我国商、周时代的青铜器具，不单是盛物用的容器，同时也是宗庙中的礼器。青铜器的数量可以表示出身份地位的高低，青铜器形制的大小也可以显示出权力的等级。青铜器中，最重要的器类就是鼎。远古的青铜器可以分为食器、酒器、水器、乐器四大类。食器中包括鼎、鬲等等。其中鼎是最重要的礼器。\n西周中晚期我国形成了列鼎制度，据《春秋公羊传》记载，天子用9鼎，诸侯用7鼎、卿大夫用5鼎、士用3鼎或1鼎。同时。与鼎一同出现的还有簋，通常为九鼎八簋，七鼎六簋，五鼎四簋，三鼎二簋。在西周中晚期的墓葬制度中，鼎为单数而簋为双数。青铜鼎随着时代的发展，形制也在发生变化。商代早期多为圆腹尖足，也有方鼎。到了中期出现了扁足鼎等等。商代晚期尖足鼎逐渐减少，圆腹柱足鼎开始居多，鬲鼎逐渐多了起来。《尔雅》记载“鼎之款足者，谓之鬲”。鬲鼎也称为分裆鼎，是鬲和鼎的混合体，鼎从商代开始铸有各式样的神秘纹饰，多为兽面纹，如饕餮纹、蝉纹、象纹等等，纹饰变化巧妙。容器内部铸有族徽或祖先的名字。\n青铜是铜和锡铅的合金。在中国古代早期的工艺美术中青铜工艺成为奴隶社会工艺美术的典型代表是我们的祖先对人类物质文明的巨大贡献。商周时期是中国历史上的青铜时代，它以品类丰富、造型优美、纹饰华丽、制作精巧、风格独特而著称。此时是冶炼铸造技术可以说有了突发猛进的发展，在应用上具有广泛的适用性。成为中国艺术史的一个组成部分。本文以商周时期的青铜器主要代表作品作品：《后母戊大方鼎》、《盂鼎》为例，从青铜器作为“礼器”的艺术精神与青铜器的造型、装饰艺术特点来谈谈商周青铜器艺术。\n中国古代青铜器，就使用规模、铸造工艺、造型艺术及品种而言。中国古代青铜器在世界艺术史上占有独特地位。商周时期是中国历史上的青铜时代，青铜流行于新石器时代晚期至秦汉时代。以商周器物最为精美，品种已很丰富器型多种多样，并出现了铭文和精细的花纹浑厚凝重。商周青铜器艺术装饰承接新石器时代艺术中若干精髓，经过长期绵延不断的变化，形成独特的体系，在成为中国艺术史的一个组成部分。商周时期，青铜的冶炼业作为生产力的标志而达到高峰。是中国古代青铜器发展的鼎盛时期。",[477,476,843,87,31,7,844,484,845],"礼器","商代","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd121c9c06facf1b07704be58a2b0553.jpg",[],{"id":849,"slug":850,"title":851,"dynasty":472,"author":82,"museum":83,"description":852,"tags":853,"thumbUrl":856,"material":188,"size":189,"collection":89,"collections":857,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":110},253253,"shi-wo-yang-yi-ming-253253","石卧羊","这尊卧羊静卧沉眠，神态憨实温顺，尽显敦朴厚重之感。匠师以细密阴线刻出层层毛发，将羊毛蓬松质感写实呈现，精准勾勒出公羊昂扬神态与健硕体态。底座满饰网格纹路，与羊身毛发呼应，让整体更显协调规整。\n\n石材周身斑驳包浆晕开岁月痕迹，粗粝石面带着时光打磨的沉静古韵。整体雕工简约却传神，寥寥刀笔便将卧羊的静穆姿态刻画入微，尽显古拙内敛的审美意趣，尽显匠人的写实功力。",[475,854,87,31,7,855],"石质","卧姿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b13034e3efd2424edc30def00c9f7f8.jpg",[],{"id":859,"slug":860,"title":861,"dynasty":18,"author":862,"museum":20,"description":863,"tags":864,"thumbUrl":866,"material":105,"size":867,"collection":89,"collections":868,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":110},223152,"yao-xie-shi-yi-tu-ce-di-liu-kai-ping-gang-luan-mu-qun-yang-zhai-ren-xiong-223152","姚燮诗意图册-第六开：平冈乱木群羊宅","任熊","此套共十册，每册十二开，每开除录有姚燮诗句外，还分别钤“熊”朱文印或“渭长”白文印。册页最后另有四开，分别有任熊、熊松之、吴云、沈钰、曹峋、李鸿裔等人题跋。据任熊自跋，作品完成于咸丰元年（1851年），时年29岁。\n这套共计一百二十张的册页是任熊在友人姚燮家里居住时为主人所画。姚燮，字梅伯，号复庄，浙江镇海人。道光年间举人，以诗见称于世。此册以姚燮的诗句命题，题材丰富多样，人物鬼神、花鸟鱼虫、仙山楼阁、亭榭风月皆聚于尺幅之间。全册别具匠心，常有神来之笔；设色则于鲜丽中见古雅之气，堪称任氏巅峰时期的铭心佳构。",[23,25,28,48,514,211,212,272,7,31,274,865],"草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbf3ffe6ac63fdee50b861c02a885762.jpg","纵27.3厘米，横32.5厘米",[],{"id":870,"slug":871,"title":872,"dynasty":132,"author":82,"museum":83,"description":684,"tags":873,"thumbUrl":874,"material":188,"size":189,"collection":89,"collections":875,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":110},290724,"bai-xiang-yan-qing-zhou-yi-ming-290724","百祥衍庆轴",[25,27,28,30,31,7,356,65,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03885a9eb3206485e99d898373e76b3c.jpg",[],{"id":877,"slug":878,"title":879,"dynasty":18,"author":82,"museum":83,"description":828,"tags":880,"thumbUrl":881,"material":188,"size":189,"collection":89,"collections":882,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":40},267168,"shi-qing-se-duan-kou-man-na-ju-hua-yang-wen-yao-yuan-he-bao-yi-ming-267168","石青色缎口满纳菊花羊纹腰圆荷包",[830,359,358,353,352,831,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f4ad9f9676fb9b87c9aff7b02cfc1e3.jpg",[],{"id":884,"slug":885,"title":886,"dynasty":789,"author":82,"museum":83,"description":887,"tags":888,"thumbUrl":889,"material":188,"size":189,"collection":89,"collections":890,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":110},252201,"yu-yang-shi-shui-cheng-yi-ming-252201","玉羊式水丞","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。",[789,86,87,7,31,484,358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F726e3db4f66a89401174c610ebf6f9f9.jpg",[],{"id":892,"slug":893,"title":894,"dynasty":18,"author":82,"museum":83,"description":887,"tags":895,"thumbUrl":896,"material":188,"size":189,"collection":89,"collections":897,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":110},251678,"qing-yu-san-yang-kai-tai-yi-ming-251678","青玉三羊开泰",[62,86,87,31,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4500e8249ce028e95c1b5bf4b4636f5.jpg",[],{"id":899,"slug":900,"title":901,"dynasty":789,"author":82,"museum":83,"description":887,"tags":902,"thumbUrl":903,"material":188,"size":189,"collection":89,"collections":904,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":448},250346,"yu-wo-yang-xing-yan-di-yi-ming-250346","玉卧羊形砚滴",[86,87,31,7,484],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9797dfbc65c72475ab8961bd848cb23.jpg",[],{"id":906,"slug":907,"title":908,"dynasty":909,"author":82,"museum":83,"description":910,"tags":911,"thumbUrl":913,"material":188,"size":189,"collection":89,"collections":914,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":93},250303,"bai-yu-yun-wen-san-yang-shou-zu-shui-cheng-yi-ming-250303","白玉云纹三羊首足水丞","周","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。",[86,87,912,7,358,909],"云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2772882459f5664920888e5dc974c1bd.jpg",[],{"id":916,"slug":917,"title":918,"dynasty":789,"author":82,"museum":83,"description":790,"tags":919,"thumbUrl":922,"material":188,"size":189,"collection":89,"collections":923,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":93},244681,"liu-jin-shuang-yang-lou-kong-shi-jian-yi-ming-244681","鎏金双羊镂空饰件",[789,920,921,87,7,31,359,476,477],"鎏金","镂空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5587d5d81f8f24ff8facc913e86f94f9.jpg",[],{"id":925,"slug":926,"title":927,"dynasty":789,"author":82,"museum":83,"description":790,"tags":928,"thumbUrl":929,"material":188,"size":189,"collection":89,"collections":930,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":448},242946,"yang-bing-dao-yi-ming-242946","羊柄刀",[792,477,330,7,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F979888dc8bd88a4030fbf40cc69c19bf.jpg",[],{"id":932,"slug":933,"title":934,"dynasty":789,"author":82,"museum":83,"description":790,"tags":935,"thumbUrl":936,"material":188,"size":189,"collection":89,"collections":937,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":40},226974,"yang-xing-tong-zhen-2-yi-ming-226974","羊形铜镇-2",[789,477,476,87,7,31,328],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b0d9010edab37e934696785cb1f7de5.jpg",[],{"id":939,"slug":940,"title":941,"dynasty":738,"author":82,"museum":83,"description":942,"tags":943,"thumbUrl":950,"material":188,"size":189,"collection":89,"collections":951,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":110},288622,"jean-franc-ois-millet-sheepshearing-beneath-a-tree-yi-ming-288622","Jean-François 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Tree","这幅素描以沉实细腻的排线，铺陈出乡野午后的劳作日常。佝偻着腰的农妇专注持剪，与戴帽农父合力固定住温顺的羊只，羊只探出头颅，蓬松皮毛与人物粗粝衣褶形成柔硬反差。角落中另一位农人俯身忙碌，背景木栅栏与浓荫层叠交错，晕开慵懒光影，将劳作疲惫揉进乡野静谧里。\n\n笔触质朴无饰，未作刻意修饰，把平凡田间劳作刻画出沉静诗意，将乡人的日常定格为带着烟火气的永恒瞬间，尽显写实风格的温柔力量，让观者触摸到乡野生活的温热肌理。",[802,944,945,946,272,947,7,948,949,64],"风俗画","乡村","户外","栅栏","劳动者","剪羊毛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37606fe14ec06192c05be74bd7084db8.jpg",[],{"id":953,"slug":954,"title":955,"dynasty":18,"author":82,"museum":83,"description":956,"tags":957,"thumbUrl":962,"material":188,"size":189,"collection":89,"collections":963,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":110},272961,"zi-tan-mu-bian-hua-bo-li-shan-shui-tu-gua-ping-yi-ming-272961","紫檀木边画玻璃山水图挂屏","这幅玻璃绘就的山水，以柔润晕染铺展天光水色，远景江波澹澹衔接着朦胧天际，近崖蜿蜒层叠，古木荫蔽间西洋风格的楼阁错落排布，石阶顺着山形迤逦而下。\n\n三两行人漫步山径，溪涧悬瀑轻坠，木桥凌波，滩涂间群羊悠然信步，将山居闲趣与烟火日常揉入画中。东方山水的悠远意境，糅合西洋写实的光影技法，晕开古雅柔和的色调，边框錾饰卷纹衬得画面雅致沉静，藏着中西艺术交融的别致风情。",[958,550,959,28,212,960,961,288,272,30,7],"玻璃画","木质","楼阁","小桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ec48855c485ab00cf7e78e3adbc127e.jpg",[],{"id":965,"slug":966,"title":967,"dynasty":18,"author":82,"museum":83,"description":828,"tags":968,"thumbUrl":969,"material":188,"size":189,"collection":89,"collections":970,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":40},267163,"huang-se-duan-kou-man-na-ju-hua-yang-wen-yao-yuan-he-bao-yi-ming-267163","黄色缎口满纳菊花羊纹腰圆荷包",[359,353,830,831,7,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c4813277b610de69da50bb25617f8d9.jpg",[],{"id":972,"slug":973,"title":974,"dynasty":18,"author":82,"museum":83,"description":828,"tags":975,"thumbUrl":976,"material":188,"size":189,"collection":89,"collections":977,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":110},267149,"shi-qing-se-duan-kou-man-na-ju-hua-shuang-xi-xiao-yang-wen-yao-yuan-he-bao-yi-ming-267149","石青色缎口满纳菊花双喜小羊纹腰圆荷包",[359,358,353,352,831,7,832,830],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb687a2a917701dae29762f9488dddfd.jpg",[],{"id":979,"slug":980,"title":827,"dynasty":18,"author":82,"museum":83,"description":828,"tags":981,"thumbUrl":983,"material":188,"size":189,"collection":89,"collections":984,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":40},267148,"huang-se-duan-kou-man-na-ju-hua-shuang-xi-xiao-yang-wen-yao-yuan-he-bao-yi-ming-267148",[359,358,353,352,831,7,982],"双喜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd705d0d62c528d5bba7b34d578456bc5.jpg",[],{"id":986,"slug":987,"title":988,"dynasty":18,"author":82,"museum":83,"description":989,"tags":990,"thumbUrl":993,"material":188,"size":189,"collection":89,"collections":994,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":110},261229,"shen-de-tang-kuan-fen-cai-san-yang-kai-tai-tu-ping-yi-ming-261229","慎德堂款粉彩三阳开泰图瓶","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。",[621,991,484,28,7,31,65,992,404,728],"粉彩","日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39f186dd96ff4811af81b8a680b445fe.jpg",[],{"id":996,"slug":997,"title":998,"dynasty":999,"author":82,"museum":83,"description":1000,"tags":1001,"thumbUrl":1003,"material":188,"size":189,"collection":89,"collections":1004,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":110},260413,"qing-you-yang-yi-ming-260413","青釉羊","晋","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。”",[621,484,31,7,1002],"青釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7b42657b389b0defd19738f3fa22724.jpg",[],{"id":1006,"slug":1007,"title":1008,"dynasty":789,"author":82,"museum":83,"description":790,"tags":1009,"thumbUrl":1011,"material":188,"size":189,"collection":89,"collections":1012,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":110},244195,"hu-shi-yang-wen-pai-shi-yi-ming-244195","虎食羊纹牌饰",[476,87,479,7,31,359,477,1010],"汉代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82275309fda37d39ea7bb29f27cf58e7.jpg",[],{"id":1014,"slug":1015,"title":1016,"dynasty":738,"author":799,"museum":83,"description":800,"tags":1017,"thumbUrl":1028,"material":188,"size":189,"collection":89,"collections":1029,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":1030},232415,"he-er-bai-yin-74-he-er-bai-yin-232415","荷尔拜因74",[1018,802,1019,64,1020,30,804,7,1021,1022,1023,1024,1025,1026,1027],"宗教","版画","明暗对比","建筑","柱子","拱门","十字架","圣光环","兽皮","地面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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。",[789,621,31,7,87,1089],"俑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16f0ea600c4f2f02b566dca9d63f2064.jpg",[],{"id":1093,"slug":1094,"title":1086,"dynasty":1095,"author":82,"museum":83,"description":1096,"tags":1097,"thumbUrl":1100,"material":188,"size":189,"collection":89,"collections":1101,"showCount":54,"zanCount":11,"manualWeight":11,"mainColor":93},254569,"tao-yang-yi-ming-254569","南北朝","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。",[1095,621,1098,31,7,1099],"陶塑","古朴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7daa12a840900e398a1e324e623685d4.jpg",[],{"id":1103,"slug":1104,"title":1105,"dynasty":789,"author":82,"museum":83,"description":887,"tags":1106,"thumbUrl":1109,"material":188,"size":189,"collection":89,"collections":1110,"showCount":54,"zanCount":11,"manualWeight":11,"mainColor":110},252215,"qing-yu-wo-yang-yi-ming-252215","青玉卧羊",[789,86,31,7,1107,1108,484],"圆雕","阴刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff68e768e286a973cda3df392d2b52063.jpg",[],{"id":1112,"slug":1113,"title":1114,"dynasty":18,"author":82,"museum":83,"description":887,"tags":1115,"thumbUrl":1116,"material":188,"size":189,"collection":89,"collections":1117,"showCount":54,"zanCount":11,"manualWeight":11,"mainColor":40},251673,"qing-yu-san-yang-kai-tai-yi-ming-251673","青玉三阳开泰",[62,86,87,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f9495bbe48692ed1491bf6f3880b06c.jpg",[],{"id":1119,"slug":1120,"title":1121,"dynasty":18,"author":82,"museum":83,"description":887,"tags":1122,"thumbUrl":1125,"material":188,"size":189,"collection":89,"collections":1126,"showCount":54,"zanCount":11,"manualWeight":11,"mainColor":110},251458,"qing-yu-shi-er-chen-yang-yi-ming-251458","青玉十二辰-羊",[62,86,87,31,7,1123,1124],"十二生肖","青玉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66ccf3f651f3bc62d2ca32fa8f0072ee.jpg",[],{"id":1128,"slug":1129,"title":1114,"dynasty":18,"author":82,"museum":83,"description":887,"tags":1130,"thumbUrl":1132,"material":188,"size":189,"collection":89,"collections":1133,"showCount":54,"zanCount":11,"manualWeight":11,"mainColor":1030},251449,"qing-yu-san-yang-kai-tai-yi-ming-251449",[62,86,87,31,7,1131],"玉器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34ff20cc4e90f99bc3e4137a09083c01.jpg",[],{"id":1135,"slug":1136,"title":1137,"dynasty":789,"author":82,"museum":83,"description":1138,"tags":1139,"thumbUrl":1140,"material":188,"size":189,"collection":89,"collections":1141,"showCount":54,"zanCount":11,"manualWeight":11,"mainColor":110},244682,"hu-shi-yang-wen-pei-shi-yi-ming-244682","虎食羊纹佩饰","礼仪性的玉器 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汉三个阶段。汉镜纹饰的主要种类有草叶纹镜、蟠龙纹镜、百乳镜、连弧纹镜、规矩镜、多乳禽兽纹镜和变形四叶镜等。",[789,477,476,87,31,402,479,480,478,185,481,268,7,482,122,483,845,1148],"圆形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F040b8a02fe5129932613f3e87f91c6ec.jpg",[],{"id":1152,"slug":1153,"title":1154,"dynasty":18,"author":82,"museum":83,"description":1155,"tags":1156,"thumbUrl":1159,"material":188,"size":189,"collection":89,"collections":1160,"showCount":54,"zanCount":11,"manualWeight":11,"mainColor":93},241731,"cui-san-yang-pei-yi-ming-241731","翠三羊佩","古人的很多生活器具都是由玉雕成的，能常戴在身上的惟有玉佩。繁钦诗中“美玉”是指玉做的佩，或写作“佩”。古人对玉佩的热爱不是因为玉的贵重，而是源于玉的品格，所以古语有“君子无故，玉不去身”。",[62,86,87,7,1157,1158,359],"三羊","翠色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77d05d4874fea009bb2465a191dd71ff.jpg",[],{"id":1162,"slug":1163,"title":1164,"dynasty":738,"author":799,"museum":83,"description":800,"tags":1165,"thumbUrl":1171,"material":188,"size":189,"collection":89,"collections":1172,"showCount":54,"zanCount":11,"manualWeight":11,"mainColor":40},232523,"he-er-bai-yin-182-he-er-bai-yin-232523","荷尔拜因182",[802,254,64,1166,1018,30,7,1024,1167,1022,1023,1168,1169,1170,353,1027],"线条","古典建筑","光环","衣纹","毛皮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f2b5f499a869d00a6046ae139cc5a28.jpg",[],{"id":1174,"slug":1175,"title":1176,"dynasty":144,"author":82,"museum":83,"description":1177,"tags":1178,"thumbUrl":1181,"material":188,"size":189,"collection":89,"collections":1182,"showCount":54,"zanCount":11,"manualWeight":11,"mainColor":110},228566,"jing-tai-kuan-qia-si-fa-lang-san-yang-zun-yi-ming-228566","景泰款 掐丝珐瑯三羊尊","尊，今作樽，是商周时代中国的一种大中型盛酒器。青铜器，尊的形制圈足，圆腹或方腹，长颈，敞口，口径较大。尊盛行于商代至西周时期，春秋后期已经少见。较著名的有四羊方尊。商周至战国时期，还有另外一类形制特殊的盛酒器—彝。彝通常呈鸟兽状，有羊、虎、象、豕、牛、马、鸟、雁、凤等形象。《周礼·春官·司尊彝》：“春祠夏禴，裸用鸡彝鸟彝......追享朝享，裸用虎彝蜼彝。”彝纹饰华丽，在背部或头部有尊盖。",[144,1179,1180,7,484],"掐丝珐瑯","琺瑯器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19ec42a0eee7bba3fc41a4654a2b60c9.jpg",[],{"id":1184,"slug":1185,"title":1186,"dynasty":789,"author":82,"museum":83,"description":790,"tags":1187,"thumbUrl":1188,"material":188,"size":189,"collection":89,"collections":1189,"showCount":54,"zanCount":11,"manualWeight":11,"mainColor":40},226973,"yang-xing-tong-zhen-1-yi-ming-226973","羊形铜镇-1",[792,476,87,477,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd643085f7642850f18f71b3074e81e48.jpg",[],{"id":1191,"slug":1192,"title":1193,"dynasty":789,"author":82,"museum":83,"description":790,"tags":1194,"thumbUrl":1195,"material":188,"size":189,"collection":89,"collections":1196,"showCount":54,"zanCount":11,"manualWeight":11,"mainColor":40},226972,"yang-xing-tong-zhen-yi-ming-226972","羊形铜镇",[792,477,476,87,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6d7f01fbe72d6c541c49e7bae2fbb24.jpg",[],{"id":1198,"slug":1199,"title":1200,"dynasty":81,"author":82,"museum":83,"description":1096,"tags":1201,"thumbUrl":1205,"material":188,"size":189,"collection":89,"collections":1206,"showCount":54,"zanCount":11,"manualWeight":11,"mainColor":110},223908,"yin-hua-chang-chun-ji-yang-hua-shi-pan-yi-ming-223908","印花长春吉羊花式盘",[81,621,1202,484,7,273,1203,1204],"印花","白釉","装饰纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61f9279a3deb756459df28faccc11f69.jpg",[],{"id":1208,"slug":1209,"title":1210,"dynasty":81,"author":82,"museum":83,"description":1211,"tags":1212,"thumbUrl":1213,"material":188,"size":189,"collection":89,"collections":1214,"showCount":54,"zanCount":11,"manualWeight":11,"mainColor":110},223886,"bai-yu-xiao-yang-yi-ming-223886","白玉小羊","宋辽金时期，实用装饰玉占重要地位，礼性大减，玩味大增，更加接近现实生活。文人的审美意识逐渐渗入玉器的造型之中，总体风格不如唐代浑厚有力，多小件精致器物，出现了玉童子、玉笔架、玉镇纸等新品种。雕刻技法出现深层立体镂雕。值得一提的是，辽、金时契丹、女真等少数民族政权狩猎风盛，喜用海东青捕天鹅和猎取熊、鹿等，这一题材的春水、秋山玉洋溢着浓厚的生活气息和游牧文化风格，也颇受汉族士大夫阶层的喜爱。\n宋辽金玉器在继承隋唐文化市庶化、艺术化的基础上，形成了鲜明的朴素淡雅艺术风格。浓郁的乡土韵味，彰显的民族特性，通过构图精致、空灵剔透、神形兼备的“宋作工”体现得淋漓尽致。宋辽金玉器是我国玉文化的一朵奇葩，它的艺术成就可谓“光前绝后”。",[81,86,87,1107,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ece536bc64218d83d4f9d408a2e0148.jpg",[],{"id":1216,"slug":1217,"title":1218,"dynasty":18,"author":82,"museum":83,"description":1219,"tags":1220,"thumbUrl":1223,"material":188,"size":189,"collection":89,"collections":1224,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},281440,"yang-ci-lan-di-miao-jin-kai-guang-ren-wu-tu-dai-bing-bei-yi-ming-281440","洋瓷蓝地描金开光人物图带柄杯","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。",[621,1180,358,1221,30,7,1222,28],"饮酒器","描金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffaf494ddc518ee82d9b69b2fc52cf7b.jpg",[],{"id":1226,"slug":1227,"title":1228,"dynasty":909,"author":82,"museum":83,"description":1229,"tags":1230,"thumbUrl":1232,"material":188,"size":189,"collection":89,"collections":1233,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},280905,"yang-zi-tong-yin-yi-ming-280905","“羊子”铜印","铜印章是由金属铜铸造而成，具有硬度大，不变形，保存时间长的特点。当代，由中国铜领域第一人的朱炳仁大师开创了熔铜铸印，每枚形态各异，造型独特，极具艺术性。\n铜印的印面，也可见到极少数的棱形和圆形铜印，印纽的形状变化较多，有瓦纽，兔纽，兽纽，柄纽，片纽等等。古代铜印从印文内容上又可分为官印，人名印，闲章，吉祥语，图案印，斋室印，收藏印，在古代遗留下的书画作品或其他文史资料中，人们可以常常可以看到这类印文。\n从拍卖市场来看，铜印中的官印最受市场追捧，像“统军千户之印”，印背一侧刻“统军千户之印”，另一侧刻“中书礼部造，太平二年月日”，系元末农民起义军徐寿辉所铸。另外一枚魏晋时期的奉车都尉鎏金青铜玺印，估价5万至8万元，成交价则达到了19.04万元。奉车都尉是一种官名，自汉武帝设立之后，到宋代废弃，这枚铜印无疑是当时历史的一段记载。\n相比官印，肖形印也是铜印中的主要品种。在2007年中国嘉德秋拍中，一枚估价仅为2000至4000元的战国肖形青铜印，成交价达到了4万余元。这枚铜印的印面为龙形图案，虎钮，造型生动活泼，栩栩如生，不可多得。肖形印，亦称画印、图印、封蜡印及生肖印，是印学研究中不可缺少的重要组成部分，它有别于文字印，但内容十分广泛。\n值得注意的是，随着铜印身价的与日俱增，赝品也越来越多地出现在市场上。由于铜本身的价格不如金银，因此造假成本比较低，加上拍卖价格比较高，因此巨大的利益驱使了造假者纷纷出手。收藏市场上的铜印赝品，绝大多数是翻砂浇铸的粗劣之作。印钮两侧的标记文字也是浇铸成形的，文字不清或似是而非。为了使赝品更加逼真，造假者往往会人为制作黑色包浆，常用办法是涂上油腊烤烧数遍之后即成，但往往可以通过手剥看到下面的黄铜。",[103,477,476,1231,7],"篆刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bf2e0420775d278a362c8a5ebc98a3b.jpg",[],{"id":1235,"slug":1236,"title":1237,"dynasty":789,"author":82,"museum":83,"description":1229,"tags":1238,"thumbUrl":1240,"material":188,"size":189,"collection":89,"collections":1241,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":110},280750,"wang-yang-wen-gui-niu-tong-yin-yi-ming-280750","“王”羊纹龟钮铜印",[103,476,1231,1239,7,31],"龟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27968c5e06e7412d64ab40c7a77328cb.jpg",[],{"id":1243,"slug":1244,"title":1245,"dynasty":144,"author":82,"museum":83,"description":1246,"tags":1247,"thumbUrl":1248,"material":188,"size":189,"collection":89,"collections":1249,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":110},280659,"bai-yu-yang-niu-jiang-xia-wang-zhang-yi-ming-280659","白玉羊钮“江夏王章”","印章，用作印于文件上表示鉴定或签署的文具，一般印章都会先沾上颜料再印上，不沾颜料、印上平面后会呈现凹凸的称为钢印，有些是印于蜡或火漆上、信封上的蜡印。制作材质有 玉石、金属、木头、石头等。印章是中国传统文化的代表之一\n明代（1368～1644年）皇帝、王府之宝用玉箸篆玉印。这种篆书“笔画两头肥瘦均匀，末不出锋”，乃“篆书正宗也”（清?陈沣《摹印述》）。御宝舍两宋九叠文而直溯唐以上之玉箸篆，意味着九叠文禁锢公印的冰山已经松动。\n此外，明代内阁印用玉箸文银印，直钮，方一寸七分，厚六分；将军印用柳叶文，平羌、平蛮、征西、镇朔等将军印用螭鼎文，皆银印虎钮，方三寸三分，厚九分；其余百官印都用九叠文，铜印直钮，这类印比重最大。如故宫博物院藏明洪武二十二年（1389年）造“朵颜卫都指挥使司之印”。\n明代直钮已由两宋长方形板状钮变为上小下大的椭圆柱状，加高到8厘米左右，形成后世俗称的“印把子”。明代官印背款皆凿年款及编号。\n应该指出，两宋之时，九叠文中所谓的“九”是—个概数，极言其多，不一定确有九叠，也可能只有五叠、七叠，叠即一字中横画的层数。但明代九叠文中绝大多数确有九层横画。\n清代百官印等级区分同样十分严格，印章普遍有所增大。其字体有蒙古文楷书、满文、汉篆等。最常见的是汉满文对照同时出现在印面上，这也是清公印的一大特点。其中汉篆中，九叠文不太兴盛，出现了玉箸篆、悬针篆、柳叶篆、芝英篆等等。",[103,86,7,31,1231,1131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11e7f3dfe2cb324e09292e2a4a8b1d2e.jpg",[],{"id":1251,"slug":1252,"title":1253,"dynasty":144,"author":82,"museum":83,"description":1254,"tags":1255,"thumbUrl":1256,"material":188,"size":189,"collection":89,"collections":1257,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},278126,"lin-chun-lu-xian-tang-qiu-shuang-yin-yi-ming-278126","林春露仙堂秋霜”印","战国时期，主张合纵的名相苏秦佩戴过六国相印。近几年来，出土的文物又把印章的历史向前推进了数百年。也就是说，印章在周朝时就有了。\n传世的古代玺印，多数出于古城废墟、河流和古墓中。有的是战争中战败者流亡时所遗弃，也有在战争中殉职者遗弃在战场上的，而当时的惯例，凡在战场上虏获的印章必须上交，而官吏迁职、死后也须脱解印绶上交。其它有不少如官职连姓名的，以及吉语印、肖形印等一般是殉葬之物，而不是实品。其它在战国时代的陶器和标准量器上，以及有些诸侯国的金币上，都用印章盖上名称和记录上制造工匠的名姓或图记性质的符号，也被流传下来。\n古玺是先秦印章的通称。我们现在所能看到的一般最早的印章大多是战国古玺。印文笔画细如毫发，都出于铸造。白文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。官玺的印文内容有“司马”、“司徒”等名称外，还有各种不规则的形状，内容还刻有吉语和生动的物图案。朱文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。",[103,1231,7,621],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea99c64e6b8b4143be54fa180e73a7f2.jpg",[],{"id":1259,"slug":1260,"title":1261,"dynasty":144,"author":82,"museum":83,"description":1254,"tags":1262,"thumbUrl":1263,"material":188,"size":189,"collection":89,"collections":1264,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},278065,"yang-niu-da-jing-da-fa-yin-yi-ming-278065","羊纽“大经大法”印",[103,1231,7,86,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45474350b18a5e058b37483c8b8c087a.jpg",[],{"id":1266,"slug":1267,"title":1268,"dynasty":144,"author":82,"museum":83,"description":1254,"tags":1269,"thumbUrl":1270,"material":188,"size":189,"collection":89,"collections":1271,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},277996,"san-yang-niu-dao-yun-qian-kun-tai-yang-hui-tian-di-chun-jiu-xia-xiao-han-shang-guang-li-xian-zhen-ren-yin-yi-ming-277996","三养纽“道运乾坤泰阳回天地春九霞霄汉上光里现真人”印",[103,1231,86,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F788675c3dbe4789da74686f2ead89996.jpg",[],{"id":1273,"slug":1274,"title":1275,"dynasty":18,"author":82,"museum":83,"description":1254,"tags":1276,"thumbUrl":1277,"material":188,"size":189,"collection":89,"collections":1278,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},277408,"yang-niu-hai-zi-shu-nian-shou-shi-zhang-yin-yi-ming-277408","羊纽“亥字书年寿世长”印",[103,1231,86,87,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7cc517f399b008cd92e0a3b9f0aa999.jpg",[],{"id":1280,"slug":1281,"title":1282,"dynasty":18,"author":82,"museum":83,"description":1283,"tags":1284,"thumbUrl":1287,"material":188,"size":189,"collection":89,"collections":1288,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":110},274436,"tong-du-jin-mu-yang-feng-jing-yang-tuo-zhong-yi-ming-274436","铜镀金牧羊风景羊驮钟","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。",[484,1285,476,87,7,30,214,272,1286],"金器","钟表","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F960477ed93e4a717b298cca86c853d18.jpg",[],{"id":1290,"slug":1291,"title":1292,"dynasty":18,"author":82,"museum":83,"description":1293,"tags":1294,"thumbUrl":1297,"material":188,"size":189,"collection":89,"collections":1298,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":93},274429,"tong-du-jin-yang-tuo-ma-nao-le-xiang-biao-yi-ming-274429","铜镀金羊驮玛瑙乐箱表","中国清宫内所存以机械为动力、用珍贵材料做外壳、构造复杂的艺术性计时器。中国本是世界上发明计时器最早的国家。但自1601年意大利 传教士 利玛窦向中国明万历皇帝呈献第一件自鸣钟起，陆续有西洋钟表进献宫廷。清康熙帝把西洋钟表作为一种新科学加以重视，将西洋钟表（也称自鸣钟）贮于端凝殿南端，并将此处命名为自鸣钟处，还在宫内成立了做钟处。到乾隆时，钟表已成为帝后们生活中不可缺少之物，不但在各宫殿内陈设，就连外出乘坐的车、轿、船、马鞍上也都置有钟表。因而每年都要使用大批新奇钟表。这些钟表有清宫做钟处、广州、苏州制造的，也有英国、法国、德国、瑞士、日本等国制造的。",[1285,476,1295,7,31,1286,1296,87,484,273],"玛瑙","乐箱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cd2887fc49b61cce4fb6f59ac9a2fa5.jpg",[],{"id":1300,"slug":1301,"title":1302,"dynasty":18,"author":82,"museum":83,"description":1283,"tags":1303,"thumbUrl":1308,"material":188,"size":189,"collection":89,"collections":1309,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},274405,"tong-du-jin-qian-fa-lang-hu-lu-ding-yu-qiao-geng-du-zhong-yi-ming-274405","铜镀金嵌珐琅葫芦顶渔樵耕读钟",[1180,476,1286,1304,1305,7,30,273,1306,1307],"渔樵耕读","葫芦","嵌珐琅","金饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c41a04f2b7a2abb33ca094deff90505.jpg",[],{"id":1311,"slug":1312,"title":1313,"dynasty":18,"author":82,"museum":83,"description":1283,"tags":1314,"thumbUrl":1316,"material":188,"size":189,"collection":89,"collections":1317,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":110},274404,"tong-du-jin-fa-lang-hu-lu-ding-yu-qiao-geng-du-zhong-yi-ming-274404","铜镀金珐琅葫芦顶渔樵耕读钟",[476,1315,622,1286,1305,7,1304,960,87,484],"镀金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1d46328e3f83ab5c11f03e2255d9a64.jpg",[],{"id":1319,"slug":1320,"title":1321,"dynasty":18,"author":82,"museum":83,"description":1322,"tags":1323,"thumbUrl":1327,"material":188,"size":189,"collection":89,"collections":1328,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},272004,"duan-shi-san-yang-xu-chu-tu-yan-yi-ming-272004","端石三羊旭初图砚","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。",[1324,1325,7,163,708,1326,87],"砚","端石","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa08235b050b31270ca2f629b3940b50c.jpg",[],{"id":1330,"slug":1331,"title":1332,"dynasty":18,"author":82,"museum":83,"description":1333,"tags":1334,"thumbUrl":1337,"material":188,"size":189,"collection":89,"collections":1338,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":93},271014,"cheng-fen-wen-ju-tong-yang-shi-shui-cheng-yi-ming-271014","成份文具-铜羊式水丞","水丞又称水中丞，一般多称就是水盂。是一种古老的中国传统工艺品。它是置于书案上的贮水器，用于贮砚水，多属扁圆形，有嘴的叫“水注”，无嘴的叫“水丞”。制作古朴雅致，为文房一重要器具。水丞有玉制的，如清代青玉雕葫芦水丞，两水盂相连构成葫芦形状，周边随形雕刻枝叶缠绕，显得清朗自然。玉水丞中以明代玉工陆子冈所制作品最为著名。也有铜制的、陶瓷制的，如官哥窑肚圆式、钵盂小口式等。",[477,476,87,7,402,1335,1326,484,1336,31],"珊瑚","文具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bcab390741d76655ba12746b15de671.jpg",[],{"id":1340,"slug":1341,"title":1342,"dynasty":18,"author":82,"museum":83,"description":1343,"tags":1344,"thumbUrl":1345,"material":188,"size":189,"collection":625,"collections":1346,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":110},270946,"fang-jian-yao-ci-yang-niu-fang-zhang-liao-yi-ming-270946","仿建窑瓷羊钮方章料","建窑，是宋代福建烧造黑釉茶盏的著名窑场。窑址有芦花坪、牛皮仑、大路后山、营长乾等处，遗物分布面积约12万平方米。建窑创烧于晚唐五代， 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。",[621,103,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2673556c224ce4674c23f51bdd8bde85.jpg",[625],{"id":1348,"slug":1349,"title":967,"dynasty":18,"author":82,"museum":83,"description":828,"tags":1350,"thumbUrl":1352,"material":188,"size":189,"collection":89,"collections":1353,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},267173,"huang-se-duan-kou-man-na-ju-hua-yang-wen-yao-yuan-he-bao-yi-ming-267173",[359,353,830,1351,7,352],"菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89118ef31bd9f60f63c1b57f98648780.jpg",[],{"id":1355,"slug":1356,"title":967,"dynasty":18,"author":82,"museum":83,"description":828,"tags":1357,"thumbUrl":1358,"material":188,"size":189,"collection":89,"collections":1359,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},267172,"huang-se-duan-kou-man-na-ju-hua-yang-wen-yao-yuan-he-bao-yi-ming-267172",[359,358,353,831,7,830,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba00740a6a9c2b15810ca4145e0c96c6.jpg",[],{"id":1361,"slug":1362,"title":967,"dynasty":18,"author":82,"museum":83,"description":828,"tags":1363,"thumbUrl":1364,"material":188,"size":189,"collection":89,"collections":1365,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},267171,"huang-se-duan-kou-man-na-ju-hua-yang-wen-yao-yuan-he-bao-yi-ming-267171",[359,358,353,830,831,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F465e1909d184985e6e87f6616c1c4f95.jpg",[],{"id":1367,"slug":1368,"title":967,"dynasty":18,"author":82,"museum":83,"description":828,"tags":1369,"thumbUrl":1370,"material":188,"size":189,"collection":89,"collections":1371,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},267170,"huang-se-duan-kou-man-na-ju-hua-yang-wen-yao-yuan-he-bao-yi-ming-267170",[359,358,831,7,353,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22157403795626368159bf4c6a6ce6c6.jpg",[],{"id":1373,"slug":1374,"title":879,"dynasty":18,"author":82,"museum":83,"description":828,"tags":1375,"thumbUrl":1376,"material":188,"size":189,"collection":89,"collections":1377,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},267169,"shi-qing-se-duan-kou-man-na-ju-hua-yang-wen-yao-yuan-he-bao-yi-ming-267169",[359,353,352,831,7,830],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4750a14282b3d929062def7127f08443.jpg",[],{"id":1379,"slug":1380,"title":967,"dynasty":18,"author":82,"museum":83,"description":828,"tags":1381,"thumbUrl":1382,"material":188,"size":189,"collection":89,"collections":1383,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},267166,"huang-se-duan-kou-man-na-ju-hua-yang-wen-yao-yuan-he-bao-yi-ming-267166",[359,830,353,831,7,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1a9b91fa4713798e78ffe9940554eea.jpg",[],{"id":1385,"slug":1386,"title":967,"dynasty":18,"author":82,"museum":83,"description":828,"tags":1387,"thumbUrl":1388,"material":188,"size":189,"collection":89,"collections":1389,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},267165,"huang-se-duan-kou-man-na-ju-hua-yang-wen-yao-yuan-he-bao-yi-ming-267165",[359,830,353,831,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dd32335fc6127870b177b8927286595.jpg",[],{"id":1391,"slug":1392,"title":967,"dynasty":18,"author":82,"museum":83,"description":828,"tags":1393,"thumbUrl":1394,"material":188,"size":189,"collection":89,"collections":1395,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},267164,"huang-se-duan-kou-man-na-ju-hua-yang-wen-yao-yuan-he-bao-yi-ming-267164",[359,358,353,831,7,830],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8549af4a4b9a9e4e8da07174a7e3ffb2.jpg",[],{"id":1397,"slug":1398,"title":967,"dynasty":18,"author":82,"museum":83,"description":828,"tags":1399,"thumbUrl":1400,"material":188,"size":189,"collection":89,"collections":1401,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},267162,"huang-se-duan-kou-man-na-ju-hua-yang-wen-yao-yuan-he-bao-yi-ming-267162",[359,353,830,831,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed274cc0b596a742b0730c0460fb6d54.jpg",[],{"id":1403,"slug":1404,"title":967,"dynasty":18,"author":82,"museum":83,"description":828,"tags":1405,"thumbUrl":1408,"material":188,"size":189,"collection":89,"collections":1409,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},267161,"huang-se-duan-kou-man-na-ju-hua-yang-wen-yao-yuan-he-bao-yi-ming-267161",[359,358,830,831,7,353,1406,1407],"缎面","满纳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ed12087243b730e51b488dad8e24b21.jpg",[],{"id":1411,"slug":1412,"title":827,"dynasty":18,"author":82,"museum":83,"description":828,"tags":1413,"thumbUrl":1414,"material":188,"size":189,"collection":89,"collections":1415,"showCount":11,"zanCount":11,"manualWeight":11,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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。",[621,1439,30,7,272,274,1440,484],"青花","嬉戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca7d376a50085664bb8acfbf2edd9bef.jpg",[],{"id":1444,"slug":1445,"title":1446,"dynasty":18,"author":82,"museum":83,"description":1447,"tags":1448,"thumbUrl":1452,"material":188,"size":189,"collection":89,"collections":1453,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},260537,"fen-cai-shi-er-chen-yuan-he-yi-ming-260537","粉彩十二辰圆盒","清代文物。旧时用于存放食物或饰品之用,根据材质价值不同。清宫旧藏",[991,621,484,1123,1449,1450,912,1451,478,120,479,480,402,481,268,7,185,482,122,483,358],"太极","八卦","蝙蝠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55d4f5efbcf4b804c18c0b9202545a3e.jpg",[],{"id":1455,"slug":1456,"title":998,"dynasty":999,"author":82,"museum":83,"description":1000,"tags":1457,"thumbUrl":1458,"material":188,"size":189,"collection":89,"collections":1459,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":110},259587,"qing-you-yang-yi-ming-259587",[621,31,7,1002,484],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8bae289a1f1e1ad6e4e6ef05b28f500.jpg",[],{"id":1461,"slug":1462,"title":1463,"dynasty":18,"author":82,"museum":83,"description":1464,"tags":1465,"thumbUrl":1467,"material":188,"size":189,"collection":89,"collections":1468,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":93},258330,"yong-zheng-kuan-qing-hua-chan-zhi-hua-wen-san-yang-zun-yi-ming-258330","雍正款青花缠枝花纹三羊尊","雍正一朝虽然只有13年，但他的制瓷业成就却达到了清代官窑的历史高峰，其品种之多，制作工艺之精良，都是其他朝代无法比拟的。",[621,1439,1466,7,484],"缠枝花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F761aaa3fd469003107a6219bea14ea74.jpg",[],{"id":1470,"slug":1471,"title":1472,"dynasty":144,"author":82,"museum":83,"description":1437,"tags":1473,"thumbUrl":1475,"material":188,"size":189,"collection":89,"collections":1476,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":110},257286,"qing-hua-san-yang-wen-wan-yi-ming-257286","青花三羊纹碗",[151,1439,1474,621,31,7,148,274,1080],"釉下彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0434e238268f310898ce653797590304.jpg",[],{"id":1478,"slug":1479,"title":1480,"dynasty":81,"author":82,"museum":83,"description":1481,"tags":1482,"thumbUrl":1485,"material":188,"size":189,"collection":625,"collections":1486,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},257055,"ci-zhou-yao-ke-qian-long-yu-ti-shi-shi-yang-wen-zhen-yi-ming-257055","磁州窑刻乾隆御题诗狮羊纹枕","磁州窑是中国传统制瓷工艺的珍品，中国古代北方最大的民窑体系，也是著名的民间瓷窑，有“南有景德，北有彭城”之说。磁州窑创烧于北宋中期，并达到鼎盛，南宋、元明清仍有延续。窑址在今河北省邯郸市峰峰矿区的彭城镇和磁县的观台镇一带，磁县宋代叫磁州，故名。\n磁州窑的匠师们吸收了传统的水墨画和书法艺术的技法，创造了具有水墨画风的白底黑绘装饰艺术，开启了中国瓷器彩绘装饰的先河。\n磁州窑品种诸多，以白地黑花（铁锈花）、刻划花、窑变黑釉最为著名。它的装饰技法突破了当时流行的五大名（官）窑（汝、官、钧、哥、定）的单色釉局限，运用了数十种丰富多彩的装饰技法。1998年3月，元代的磁州窑黑釉剔花玉壶春瓶从英国追回。",[81,621,1483,87,1484,7,31,163,484],"磁州窑","狮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F611abdd4d0f0139413c33cfccb5cffa9.jpg",[625],{"id":1488,"slug":1489,"title":1490,"dynasty":18,"author":82,"museum":83,"description":1096,"tags":1491,"thumbUrl":1503,"material":188,"size":189,"collection":89,"collections":1504,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":93},256900,"fang-ge-you-su-tie-san-yang-ping-yi-ming-256900","仿哥釉塑贴三羊瓶",[18,621,1492,1493,1494,7,1157,1495,1496,1497,1498,1499,1500,1501,328,1502],"仿哥釉","塑贴技法","开片","清代风格","陶瓷器","釉色","裂纹釉","贴塑","裂纹","釉面","兽塑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8cff8833decce9467832dc61c9616f4.jpg",[],{"id":1506,"slug":1507,"title":1086,"dynasty":115,"author":82,"museum":83,"description":1508,"tags":1509,"thumbUrl":1510,"material":188,"size":189,"collection":89,"collections":1511,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":93},254248,"tao-yang-yi-ming-254248","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。",[115,621,1098,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd3b2cbb140391d8932b104152355b41.jpg",[],{"id":1513,"slug":1514,"title":1086,"dynasty":115,"author":82,"museum":83,"description":1508,"tags":1515,"thumbUrl":1516,"material":188,"size":189,"collection":89,"collections":1517,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":110},254043,"tao-yang-yi-ming-254043",[115,1098,31,7,621,1089],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c6a814edb5dc12ba99a255f274e91a6.jpg",[],{"id":1519,"slug":1520,"title":1521,"dynasty":115,"author":82,"museum":83,"description":1508,"tags":1522,"thumbUrl":1523,"material":188,"size":189,"collection":89,"collections":1524,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":93},254042,"tao-wo-yang-yi-ming-254042","陶卧羊",[115,621,1098,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52098169cd4b364b826298c3bdab0920.jpg",[],{"id":1526,"slug":1527,"title":1528,"dynasty":115,"author":82,"museum":83,"description":1529,"tags":1530,"thumbUrl":1532,"material":188,"size":189,"collection":89,"collections":1533,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":110},253968,"tao-huang-you-yang-yi-ming-253968","陶黄釉羊","黄釉是汉族传统的陶瓷装饰艺术。最早出现于唐代，当时安徽淮南寿州窑、河南密县窑等都烧黄釉。但正色黄釉，还是宋代汝窑的高温黄釉——茶叶末釉。明代的黄釉有新的发展，洪武时的老僧衣即茶叶末的衍化；始于宣德的浇黄，更是明代杰出的黄釉；嘉靖以后，又有鱼子黄、鸡油黄等。入清后有康熙的淡黄，以及其后的菜尾、鼻烟、金酱等。",[115,621,1098,1531,31,7],"黄釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45cb07a6a53ad9ca0c12922254e8234f.jpg",[],{"id":1535,"slug":1536,"title":1086,"dynasty":115,"author":82,"museum":83,"description":1508,"tags":1537,"thumbUrl":1539,"material":188,"size":189,"collection":89,"collections":1540,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":93},253541,"tao-yang-yi-ming-253541",[621,1098,31,7,1538],"唐代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F954a693e7156d32d81b8f07d53f8379e.jpg",[],{"id":1542,"slug":1543,"title":1544,"dynasty":81,"author":82,"museum":83,"description":1545,"tags":1546,"thumbUrl":1548,"material":188,"size":189,"collection":89,"collections":1549,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":93},253523,"bai-you-ci-he-hua-yang-yi-ming-253523","白釉瓷褐花羊","将不含金属氧化物呈色元素的釉料施于胎骨洁白的器物上，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。",[81,621,1203,1547,7,31,484],"褐彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F133e4993e845a1fb65d667dcad032d4e.jpg",[],{"id":1551,"slug":1552,"title":1553,"dynasty":115,"author":82,"museum":83,"description":1508,"tags":1554,"thumbUrl":1557,"material":188,"size":189,"collection":89,"collections":1558,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":93},253488,"tao-hua-cai-yang-yi-ming-253488","陶画彩羊",[115,1555,1556,31,7],"陶制","彩绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fdeaa885925288f273e0ed7606855d4.jpg",[],{"id":1560,"slug":1561,"title":1553,"dynasty":115,"author":82,"museum":83,"description":1508,"tags":1562,"thumbUrl":1564,"material":188,"size":189,"collection":89,"collections":1565,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":93},253483,"tao-hua-cai-yang-yi-ming-253483",[115,1098,1563,621,7,1089],"画彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2536c7227ab562f92d2479ee23f7b740.jpg",[],{"id":1567,"slug":1568,"title":1086,"dynasty":115,"author":82,"museum":83,"description":1508,"tags":1569,"thumbUrl":1570,"material":188,"size":189,"collection":89,"collections":1571,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":93},253100,"tao-yang-yi-ming-253100",[1538,621,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c6bcdc632eb3773be898a06efdd788d.jpg",[],{"id":1573,"slug":1574,"title":1528,"dynasty":115,"author":82,"museum":83,"description":1529,"tags":1575,"thumbUrl":1576,"material":188,"size":189,"collection":89,"collections":1577,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},253044,"tao-huang-you-yang-yi-ming-253044",[1538,621,1531,7,1098,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0c5b15b9cc4dd87ee273532b5773e09.jpg",[],{"id":1579,"slug":1580,"title":1581,"dynasty":18,"author":82,"museum":83,"description":887,"tags":1582,"thumbUrl":1583,"material":188,"size":189,"collection":89,"collections":1584,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":448},252475,"qing-yu-yang-shou-dai-gou-yi-ming-252475","青玉羊首带钩",[86,87,62,31,7,484],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34a2ecae368a32fd16544a6658890a83.jpg",[],{"id":1586,"slug":1587,"title":1588,"dynasty":18,"author":82,"museum":83,"description":887,"tags":1589,"thumbUrl":1590,"material":188,"size":189,"collection":89,"collections":1591,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":110},252219,"huang-yu-san-yang-zun-yi-ming-252219","黄玉三羊尊",[86,87,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4181ba6e24dc26ee25ddced43b39847f.jpg",[],{"id":1593,"slug":1594,"title":1595,"dynasty":18,"author":82,"museum":83,"description":887,"tags":1596,"thumbUrl":1599,"material":188,"size":189,"collection":89,"collections":1600,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":110},251696,"bi-yu-pan-chi-wen-san-yang-er-xian-huo-huan-ping-yi-ming-251696","碧玉蟠螭纹三羊耳衔活环瓶",[86,87,1597,7,1598,484,402],"蟠螭","活环","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0d5c24dbf58df78756aa01dfb79756e.jpg",[],{"id":1602,"slug":1603,"title":1604,"dynasty":18,"author":82,"museum":83,"description":1605,"tags":1606,"thumbUrl":1607,"material":188,"size":189,"collection":89,"collections":1608,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},251596,"qing-yu-shan-po-san-yang-tu-yuan-xi-yi-ming-251596","青玉山坡三羊图圆洗","此件玉洗玉色莹白如凝脂，质地匀净温润，器型端庄素朴。外壁以减地浅浮雕技法刻画郊野小景，苍松虬枝斜逸，坡石错落，三只灵羊姿态各异，或垂首啮草，或偎依嬉游，意态悠然闲适。\n\n刀工含蓄柔和，线条舒展流畅，将郊野清寂生机藏于莹玉之中，暗合“三阳开泰”的吉祥意涵。整器融玉雕工艺与文人画意，雅致沉静，既是案头实用的文房佳器，又可赏玩其吉祥意趣，尽显清代玉雕含蓄隽永的审美意韵。",[18,86,87,150,7,484],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07c241d997c93d145b017e353f0a9ca7.jpg",[],{"id":1610,"slug":1611,"title":1612,"dynasty":18,"author":82,"museum":83,"description":887,"tags":1613,"thumbUrl":1615,"material":188,"size":189,"collection":89,"collections":1616,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},251395,"qing-yu-san-shi-san-yang-wen-fei-long-er-huo-huan-gai-lu-yi-ming-251395","青玉三事-三羊纹飞龙耳活环盖炉",[62,86,87,7,402,31,1598,484,1614,843],"仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F296dad3098a23929dc3b00458b30e3c8.jpg",[],{"id":1618,"slug":1619,"title":1620,"dynasty":144,"author":82,"museum":83,"description":887,"tags":1621,"thumbUrl":1622,"material":188,"size":189,"collection":89,"collections":1623,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":110},250699,"qing-yu-wo-shuang-yang-yi-ming-250699","青玉卧双羊",[151,86,87,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34132745a9ce3bd8a5c2352268ee2bd7.jpg",[],{"id":1625,"slug":1626,"title":1627,"dynasty":18,"author":82,"museum":83,"description":887,"tags":1628,"thumbUrl":16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2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[25,26,1679,1680,1681,28,120,268,7,31,30,212],"古画","敦煌","壁画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3e0c25bb731d254761555df4d963f2b.jpg",[],1777535702293]