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出他复杂的内心。一方面，他在宴会上与宾客觥筹交错，不拘小节，如亲自击鼓为王屋山伴奏，敞胸露怀听女乐合奏，送别时任客人与家伎厮混，充分反映了他狂放不羁、纵情声色的处世态度和生活追求；另一方面又心不在焉、满怀忧郁，如擂鼓时双目凝视、面不露笑，听清吹时漫不经心，与对面侍女闲谈，这些情绪都揭示了他晚年失意、以酒色自汙的心态。画家塑造的韩熙载，不仅形象逼肖，具肖像画性质，而且对其内心挖掘深刻，性格立体化，可以说真实再现了这位历史人物的原貌。\n作品的艺术水平也相当高超。造型准确精微，线条工细流畅，色彩绚丽清雅。不同物象的笔墨运用又富有变化，尤其敷色更见丰富、和谐，仕女的素妆艳服与男宾的青黑色衣衫形成鲜明对照。几案坐榻等深黑色家具沉厚古雅，仕女裙衫、帘幕、帐幔、枕席上的图案又绚烂多采。不同色彩对比参差，交相辉映，使整体色调艳而不俗，绚中出素，呈现出高雅、素馨的格调。",[25,24,50,26,51,27,28,29,30,32,7,31,52,53],"书画","临摹","印章","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f01749acfaf6449c0e92a8477239224.jpg","绢本，设色","纵28.7厘米，横335.5厘米。","",[],2675,16,"795548",{"id":63,"slug":64,"title":65,"dynasty":45,"author":46,"museum":66,"description":48,"tags":67,"thumbUrl":75,"material":57,"size":57,"collection":57,"collections":76,"showCount":77,"zanCount":78,"manualWeight":11,"mainColor":61},226698,"han-xi-zai-ye-yan-tu-song-mo-ben-song-gong-ting-hua-jia-226698","韩熙载夜宴图(宋摹本)","藏地不详",[23,51,27,28,26,68,52,29,30,69,32,7,70,71,72,31,73,74],"书法","文人","床榻","屏风","桌案","墨","纸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8df2423c850e2ffa06c685670994844.jpg",[],1302,14,{"id":80,"slug":81,"title":82,"dynasty":83,"author":84,"museum":20,"description":85,"tags":86,"thumbUrl":89,"material":34,"size":90,"collection":36,"collections":91,"showCount":92,"zanCount":93,"manualWeight":11,"mainColor":61},223394,"tang-ren-gong-le-tu-zhou-yi-ming-223394","唐人宫乐图轴","唐","佚名","图描写後宫嫔妃十人，围坐於一张巨型的方桌四周，有的品茗，也有的在行酒令。中央四人，则负责吹乐助兴。所持用的乐器，自右而左，分别为筚篥、琵琶、古筝与笙。旁立的二名侍女中，还有一人轻敲牙板，为她们打著节拍。从每个人脸上陶醉的表情来推想，席间的乐声理应十分优美，因为连蜷在桌底下的小狗，都未被惊扰到！\n这件作品并没有画家的款印，原本的签题标为「元人宫乐图」。仔细观察画中人物的发式，有的发髻梳向一侧，是为「坠马髻」，有的把发髻向两边梳开，在耳朵旁束成球形的「垂髻」，有的则头戴「花冠」，凡此，都符合唐代女性的装束。另外，绷竹席的长方案、腰子状的月牙几子、饮酒用的羽觞，还有琵琶横持，并以手持拨子的方式来弹奏等，亦在在与晚唐的时尚相侔。所以，现在画名已改定成「唐人宫乐图」画题《韩干呈马图》",[23,25,24,50,87,27,28,29,30,32,7,88],"立轴","猫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb907e859af37c3582daa5bb82bd4794.jpg","48.7x69.5",[36],342,6,{"id":95,"slug":96,"title":97,"dynasty":98,"author":84,"museum":66,"description":99,"tags":100,"thumbUrl":106,"material":57,"size":57,"collection":107,"collections":108,"showCount":109,"zanCount":110,"manualWeight":11,"mainColor":61},241695,"qian-long-kuan-fei-cui-long-wen-bei-pan-yi-ming-241695","乾隆款翡翠龙纹杯盘","清","翠色深浅晕染，黄褐俏色点缀其间，莹润质地尽显良玉本真。杯身浅镌游龙，隐于翠色间灵动威严，双螭耳蜷曲灵动，承托出古雅器型。杯下莲座饱满圆润，与盘心凸台恰好契合，花口盘沿婉转柔媚，底承矮足稳重大方。整器工艺精湛，纹饰布局疏朗有度，将玉石温润与皇家威仪相融，既有规整精工，亦见玉料天然意趣，静穆雅致中暗含华贵气韵，是玉作与审美完美相融的佳器。",[101,102,103,28,104,105,53,7],"清代","玉石","雕刻","龙","龙纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4170c06cfec24a43e268f384a93c23e1.jpg","玉器精选",[107],239,3,{"id":112,"slug":113,"title":114,"dynasty":115,"author":116,"museum":117,"description":118,"tags":119,"thumbUrl":123,"material":57,"size":57,"collection":57,"collections":124,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":40},220591,"jiu-hu-he-ju-hua-qi-bai-shi-220591","酒壶和菊花","民国","齐白石","Hong Kong Museum of 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[1] ，入雁塔题名碑，万历二年（一五七四） [2] 进士。画人物、山水名世。万历间隐居新郭。尝论画有五美云：“苍、逸、奇、远、韵。”五恶云：“嫩、板、刻、生、痴。”人谓其深得画理。寿至八十外。泰昌元年（一六二o）尝作关山风雨图。《明画录》、《无声诗史》、《吴县志》、《故宫周刊》。主要作品《松阴搔背》、《松竹高士》、《坐听松风》、《蕉阴独酌》、《西园雅集》、《寒林钟馗》、《罗汉卷》、《仙山楼阁》、《三驼图》。",[23,24,50,26,334,182,29,7,31,335,32],"白描","桌椅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6a2be7f38107d2f8b2db69666be51e8.jpg",[],41,{"id":340,"slug":341,"title":342,"dynasty":343,"author":344,"museum":345,"description":346,"tags":347,"thumbUrl":357,"material":358,"size":359,"collection":36,"collections":360,"showCount":361,"zanCount":157,"manualWeight":11,"mainColor":61},221712,"fu-zui-tu-juan-qian-xuan-221712","扶醉图卷","元","钱选","美国大都会艺术博物馆","描绘的是东晋著名隐士陶渊明喝酒的故事。画中共三人：酒后面露醉态的陶渊明，醉眼朦胧，坦胸露肚，一手倚扶于竹榻之上，一手作摆手送客状。右侧的客人对着陶渊明双手作揖，面容恭谨，作告辞状；白衣老仆欲引客人离去。一边的地面上陶制的酒罐、酒盆和瓷器的酒杯洒落一地，杯盘狼藉。",[23,24,50,26,28,27,348,29,7,31,349,350,231,351,352,353,354,355,356],"文人画","桌子","饮酒场景","古代服饰","酒具","人物互动","室内场景","线条细腻","设色典雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7ccffb9f1d8c8a7d08362296a28da33.jpg","水墨设色","纵28厘米，横49.5厘米",[36,155],40,{"id":363,"slug":364,"title":365,"dynasty":45,"author":84,"museum":66,"description":366,"tags":367,"thumbUrl":373,"material":57,"size":57,"collection":324,"collections":374,"showCount":375,"zanCount":157,"manualWeight":11,"mainColor":301},243022,"liu-jin-zun-yi-ming-243022","鎏金尊","整体作羊车之形，羊角蜷曲虬劲，羊首双目圆睁，颔下微启，神态静穆威严。羊身满饰错金勾连云纹，细密纹饰在青铜底色之上熠熠生辉，勾勒出古雅华贵的气韵。\n\n器物将礼器形制与车舆结构相融，四轮运转灵动，既承载了青铜礼器的庄重质感，又兼具陈设实用的巧思。造作追摹上古青铜意趣，细节处尽显工巧，错金工艺精熟，让纹饰疏密有致，古韵盎然，尽显造器时的精湛技艺与审美意趣，是仿古青铜造像中的精巧之作。",[368,369,321,103,370,371,372,212,7,144],"宋代","鎏金","牛","兽","轮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefbd18de257463a16e7bb3697be21074.jpg",[324],33,{"id":377,"slug":378,"title":379,"dynasty":45,"author":84,"museum":66,"description":380,"tags":381,"thumbUrl":387,"material":57,"size":57,"collection":324,"collections":388,"showCount":389,"zanCount":11,"manualWeight":11,"mainColor":61},243042,"xiao-zun-yi-ming-243042","鸮尊","整器作鸮鸟伫立之姿，昂首威然，圆目炯炯有神，喙部巧为器盖，与身形浑然相融。周身夔龙回纹缠绕交错，古拙纹饰遍布器身，错金饰点在青褐铜色晕开华贵暖意，愈显雅致厚重。翅羽化作兽面纹盾形饰，狞厉古韵暗合三代礼器气度。双爪劲挺撑地，腿足纹饰婉转流畅，稳稳托举起整器。追摹上古青铜形制，藏复古巧思，将古礼的肃穆厚重与造物雅致匠心相融，沉静肃穆间，尽展金石古意。",[368,144,382,103,383,384,385,386,212,7],"错金银","鸮形","饕餮纹","云雷纹","回纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c179b262068fadfa686ce5782c1c8e5.jpg",[324],31,{"id":391,"slug":392,"title":393,"dynasty":130,"author":394,"museum":66,"description":395,"tags":396,"thumbUrl":398,"material":34,"size":57,"collection":57,"collections":399,"showCount":400,"zanCount":11,"manualWeight":11,"mainColor":61},216283,"er-shi-si-xiao-tu-8-chou-ying-216283","二十四孝图-8","仇英","二十四孝图是明朝时期著名的书画作品，由仇英创作。它描绘了中国传统文化中的二十四种孝道场景。二十四孝图的内容涵盖了人生各个阶段的孝道行为，从小学阶段的“孝悌忠信”到晚年的“慈孝双全”。这幅作品在明朝时期广受欢迎，并被视为一部重要的文化遗产。",[24,25,50,27,28,29,397,31,53,7],"界画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F671633696b7bd530b11888df938236ef.jpg",[],28,{"id":402,"slug":403,"title":404,"dynasty":98,"author":84,"museum":66,"description":405,"tags":406,"thumbUrl":409,"material":171,"size":172,"collection":57,"collections":410,"showCount":411,"zanCount":11,"manualWeight":11,"mainColor":61},224024,"jin-wan-yi-ming-224024","金碗","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。",[407,7,53,101,408,103],"金器","金属工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d08ae12096677ca5a71f1d0125657c5.jpg",[],23,{"id":413,"slug":414,"title":415,"dynasty":318,"author":84,"museum":66,"description":416,"tags":417,"thumbUrl":418,"material":57,"size":57,"collection":324,"collections":419,"showCount":420,"zanCount":11,"manualWeight":11,"mainColor":301},242845,"zi-wei-gu-yi-ming-242845","子囗觚","敞口微撇如盛放莲瓣，腰腹修挺纤秀，圈足敦实沉稳，线条舒展流转，带着上古器物独有的狞厉庄重。中段兽面纹饰古朴刚劲，线条凝练威严，带着图腾特有的神性力量。铜绿锈迹深浅晕染，如岁月在器身镌刻的斑驳印记，晕开三千年的时光余韵。它曾承装清酒，伴祭礼乐肃穆，如今褪去烟火气，冷硬青铜里沉睡着古早的信仰与匠心，静静诉说着先民的工艺造诣，将古文明厚重的余味凝于器身之间。",[144,7,212,321,103,371,104,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6464c93a2bb0fa2bfa3fba1c68c8802.jpg",[324],22,{"id":422,"slug":423,"title":424,"dynasty":318,"author":84,"museum":66,"description":425,"tags":426,"thumbUrl":427,"material":171,"size":172,"collection":57,"collections":428,"showCount":420,"zanCount":11,"manualWeight":11,"mainColor":61},226750,"ran-jue-yi-ming-226750","冉爵","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。",[144,7,212,321,103,322],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28e628c992cd9d8c6350476556b302d4.jpg",[],{"id":430,"slug":431,"title":432,"dynasty":98,"author":223,"museum":224,"description":225,"tags":433,"thumbUrl":435,"material":231,"size":232,"collection":57,"collections":436,"showCount":420,"zanCount":11,"manualWeight":11,"mainColor":40},222897,"hong-lou-meng-22-sun-wen-222897","红楼梦22",[23,24,27,28,29,30,227,228,7,31,434],"马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef217ec87d521d082d3099f352f8cf8e.jpg",[],{"id":438,"slug":439,"title":440,"dynasty":98,"author":441,"museum":47,"description":442,"tags":443,"thumbUrl":448,"material":55,"size":449,"collection":57,"collections":450,"showCount":420,"zanCount":11,"manualWeight":11,"mainColor":61},222869,"shi-gong-ci-tu-ce-08-leng-mei-222869","十宫词图册08","冷枚","此套图册共10开，描绘历代贤德后妃或贵族女子的故事，和《养正图》册具有同样鲜明的教育意义。对题有梁诗正书写的弘历承继帝位前于雍正十三年（1735年）所作的诗句，与图画互为辉映。\n由于图册以历代宫廷生活为题，故每幅画面均有对宫廷建筑的描绘，但因为作者只是宫廷画工，并不具备对前代建筑的了解与认知，同时历史人物画“成教化，助人伦”的政治功用也淡化了这些作为人物故事背景的历代宫廷建筑，使其更多地带有装饰性与程式化色彩，并没有呈现出不同时代的建筑风貌。值得注意的是，册中建筑的描绘均采用“海西画法”，冷枚作品中体现的这种画风特性，是在中国传统界画的基础上运用透视法增强画面的空间深度感并以明暗关系区分阴阳向背，说明曾为康熙皇帝所赏识的“海西法”在雍正、乾隆朝的宫廷建筑绘画中已被日渐欣赏和接受。",[23,24,50,444,28,27,397,168,68,29,445,446,447,7,31,52],"册","楼阁","庭院","树木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7348f8fa73a5adb30a79c2bd01d24a6d.jpg","纵33.1厘米，横29.3厘米",[],{"id":452,"slug":453,"title":454,"dynasty":45,"author":84,"museum":66,"description":455,"tags":456,"thumbUrl":458,"material":57,"size":57,"collection":324,"collections":459,"showCount":460,"zanCount":11,"manualWeight":11,"mainColor":61},243027,"xi-zun-yi-ming-243027","牺尊","此器取瑞兽为形，昂首微颔，憨态中带着桀骜神意。周身以回纹卷云为饰，涡旋盘绕顺着躯体走势铺陈，将上古青铜的狞厉意趣复刻得古朴厚重。绿锈朱斑覆裹周身，是岁月晕染出的斑驳肌理，沉郁古雅。整体浑朴大气，既保留礼器的庄严感，又借灵动兽形消解肃穆，让古拙青铜焕发出温润生气，尽显追摹古风又自出机杼的造器巧思。",[45,144,321,103,371,212,7,457,296],"卷云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8363e25403f3a262c879dd1c1ccbe83b.jpg",[324],21,{"id":462,"slug":463,"title":464,"dynasty":45,"author":84,"museum":66,"description":465,"tags":466,"thumbUrl":469,"material":57,"size":57,"collection":324,"collections":470,"showCount":471,"zanCount":218,"manualWeight":11,"mainColor":61},243036,"ji-zun-yi-ming-243036","鸡尊","这尊雄鸡挺拔伫立，昂首侧目，筋骨轮廓硬朗古朴，将瑞禽的昂扬神采凝于青铜之中。周身以错金饰出兽面与卷云纹样，古铜的沉郁底色衬着金纹熠熠流光，把礼器的庄重与生灵的灵秀相融。循着复古意趣，复刻上古青铜礼器的威严形制，又赋予雄鸡鲜活生气，静穆之中透着灵动生机，让厚重青铜褪去冷硬，尽显仿古铜作的精妙匠心。",[368,144,321,103,382,467,468,7,296],"鸡","禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff45b747c1f916d355af773d6f59296f9.jpg",[324],19,{"id":473,"slug":474,"title":475,"dynasty":318,"author":84,"museum":66,"description":476,"tags":477,"thumbUrl":479,"material":57,"size":57,"collection":324,"collections":480,"showCount":471,"zanCount":11,"manualWeight":11,"mainColor":301},242978,"wei-gu-yi-ming-242978","囗觚","此器挺拔修颀，喇叭形敞口舒展灵动，束腰劲挺利落，圈足沉稳厚重，形制规整雅致。分层装饰的兽面纹饰古朴狞厉，线条刚劲肃穆，带着上古神祇的威严。青绿铜锈晕开斑驳岁月，将三千年前的冶铸匠心凝于周身。作为礼宴重器，它静默伫立间沉淀着古礼制的庄重，将古拙雄浑的青铜美学娓娓铺陈，每一寸肌理都镌刻着先民的审美哲思，静静诉说着那个青铜时代的厚重与威严。",[144,7,478,103,212,53],"青铜制","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11ddf1d796b0c4deb76e79a21e007a27.jpg",[324],{"id":482,"slug":483,"title":330,"dynasty":98,"author":84,"museum":66,"description":484,"tags":485,"thumbUrl":488,"material":171,"size":172,"collection":57,"collections":489,"showCount":471,"zanCount":11,"manualWeight":11,"mainColor":40},239442,"yin-zhong-ba-xian-tu-juan-yi-ming-239442","长卷分段铺展酒中狂客的醉乡风流，将诗中八仙疏狂意气一一具象。画中人物情态鲜活各异，袒胸醉卧者憨态尽显，挥毫作书者纵逸潇洒，凭观长卷者沉醉忘形，侍童添酒、仆役备马点缀其间，衬出主角放浪不羁的林下襟怀，酒瓮、鞍马等细节勾勒出盛唐宴饮出行的雅境。\n\n画作线条细劲秀逸，设色清雅浅淡，工丽间带着写意松弛。诗画合璧，将酒酣耳热、傲岸自在的盛唐豪情铺展于卷上，尽抒诗酒趁年华的林下雅韵。",[23,24,50,26,27,28,29,7,434,486,487,335,52,31],"马车","笔墨纸砚","https:\u002F\u002Foss.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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。",[279,588,29,7,241,69,589],"青花","李白","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f7cb156dea334d5ba0480be899a077f.jpg",[],13,{"id":594,"slug":595,"title":596,"dynasty":98,"author":84,"museum":66,"description":597,"tags":598,"thumbUrl":604,"material":171,"size":172,"collection":57,"collections":605,"showCount":592,"zanCount":11,"manualWeight":11,"mainColor":301},260771,"tan-zhai-kuan-fen-cai-shi-nv-tu-bei-yi-ming-260771","坦斋款粉彩仕女图杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[279,7,599,600,601,602,28,603,27],"粉彩","仕女","飞鸟","祥云","荷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc45964cb0c9b66328af192c11b53b9c3.jpg",[],{"id":607,"slug":608,"title":609,"dynasty":318,"author":84,"museum":66,"description":425,"tags":610,"thumbUrl":612,"material":171,"size":172,"collection":57,"collections":613,"showCount":592,"zanCount":11,"manualWeight":11,"mainColor":61},226740,"shou-mian-wen-gu-yi-ming-226740","兽面纹觚",[322,144,321,103,611,7,212],"兽面纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff31f3240d9e4ffe6594d28dc23d48594.jpg",[],{"id":615,"slug":616,"title":617,"dynasty":276,"author":84,"museum":66,"description":618,"tags":619,"thumbUrl":623,"material":171,"size":172,"collection":57,"collections":624,"showCount":625,"zanCount":11,"manualWeight":11,"mainColor":301},227010,"cuo-jin-yun-wen-zun-yi-ming-227010","错金云纹樽","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。",[620,144,621,622,53,7],"汉代","错金","云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8328a6e57dd0e9d40c45e9f8d1497f0c.jpg",[],12,{"id":627,"slug":628,"title":629,"dynasty":318,"author":84,"museum":66,"description":425,"tags":630,"thumbUrl":632,"material":171,"size":172,"collection":57,"collections":633,"showCount":625,"zanCount":11,"manualWeight":11,"mainColor":301},226758,"ya-chou-fang-gu-yi-ming-226758","亚丑方觚",[144,212,321,103,7,631],"商代纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1ff8cf523e3689a948f4b2aa515810f.jpg",[],{"id":635,"slug":636,"title":454,"dynasty":45,"author":84,"museum":66,"description":637,"tags":638,"thumbUrl":639,"material":57,"size":57,"collection":324,"collections":640,"showCount":641,"zanCount":11,"manualWeight":11,"mainColor":301},243029,"xi-zun-yi-ming-243029","此器以水牛为形，敦实圆浑的躯体憨态可掬，昂首垂耳，圆目灵动有神，口鼻微张似正悠然哞鸣。周身阴刻卷云纹简约雅致，既勾勒肌理轮廓，又添古朴气韵。背脊设盖，兼顾礼器实用与陈设美感。厚重莹润的古铜包浆间，青绿锈色晕染出岁月痕迹，既承袭上古牺尊的庄重遗风，又糅合宋式器物的温婉雅致，静立间尽显沉静拙朴的古雅意趣，将宋人仿古而不泥古的审美巧思藏于形制之中。",[144,321,103,371,370,7,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe51b45439e2d6bf8b2376ac267d9bc7e.jpg",[324],11,{"id":643,"slug":644,"title":454,"dynasty":45,"author":84,"museum":66,"description":645,"tags":646,"thumbUrl":647,"material":57,"size":57,"collection":324,"collections":648,"showCount":641,"zanCount":11,"manualWeight":11,"mainColor":61},243028,"xi-zun-yi-ming-243028","它昂首伫立，身形敦厚朴拙，双目圆睁有神，嘴角微张似正低嘶。颔下错金纹饰勾出柔婉轮廓，为沉郁古铜色晕开一抹华贵亮色。躯体之上卷云纹饰隐现于深浅铜锈间，虚实相生，晕染出古朴雅致的气韵。背部器盖巧作鞍鞯之形，将礼器的规整与瑞兽的灵动相融无间。铜锈层叠间带着岁月摩挲的温度，把古拙与精巧揉为一体，静穆中藏着灵动，沉稳里透着隽秀，尽显摹古复刻的匠心意趣。",[144,321,371,570,7,103,368,296],"ht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尹直卣",[144,321,212,7,103,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eff5d577c7227d7d0d1baf6c8e2d6fe.jpg",[],{"id":2652,"slug":2653,"title":2654,"dynasty":514,"author":84,"museum":66,"description":425,"tags":2655,"thumbUrl":2656,"material":171,"size":172,"collection":57,"collections":2657,"showCount":110,"zanCount":11,"manualWeight":11,"mainColor":61},226779,"xi-zhi-yi-ming-226779","西□□觯",[144,7,321,53,517],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe16f28bbc575c28086e3157b61625354.jpg",[],{"id":2659,"slug":2660,"title":2661,"dynasty":762,"author":84,"museum":66,"description":2662,"tags":2663,"thumbUrl":2666,"material":171,"size":172,"collection":57,"collections":2667,"showCount":110,"zanCount":11,"manualWeight":11,"mainColor":40},225405,"fu-shi-hui-162-yi-ming-225405","浮世绘162","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。",[2664,2665,28,29,30,7,31],"浮世绘","木刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a6e8d83979a72f56d0ddfcde1c47060.jpg",[],{"id":2669,"slug":2670,"title":2671,"dynasty":45,"author":84,"museum":66,"description":2672,"tags":2673,"thumbUrl":2674,"material":171,"size":172,"collection":57,"collections":2675,"showCount":110,"zanCount":11,"manualWeight":11,"mainColor":40},223769,"qing-ci-mei-hua-shi-zhan-yi-ming-223769","青瓷梅花式盏","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。",[45,279,1817,1227,1290,53,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F092de961c58df6b581bc768b4ef9643f.jpg",[],{"id":2677,"slug":2678,"title":2679,"dynasty":130,"author":84,"museum":66,"description":2680,"tags":2681,"thumbUrl":2690,"material":57,"size":57,"collection":57,"collections":2691,"showCount":110,"zanCount":11,"manualWeight":11,"mainColor":40},223641,"shi-ying-sheng-hui-tu-quan-juan-yi-ming-223641","蓍英盛会图全卷","此卷以朱丝栏界格小楷书就，用笔秀挺雅致，结体端稳匀净，尽得晋唐小楷遗韵，通篇气息连贯从容，无一笔苟且。\n\n文字详实记述洛中耆英雅集诸位贤达生平、雅集始末，将记事述人与书法精妙融合。既是记录宋代文人群贤雅聚的珍贵文献，亦是极具观赏性的书法佳作。笔墨间尽显沉静内敛的文人意趣，点画精微法度谨严，工整秀雅中藏有灵动意致，书写者深厚功底尽显其间，古雅隽永的书卷风神浸透全卷。",[23,24,50,26,28,27,29,227,445,731,732,121,68,168,2682,52,2683,73,74,2684,212,31,7,213,2685,2686,1654,1290,2687,241,122,833,2688,1032,2689,370,434,371],"楷书","笔","砚","典籍","木质","兰","牡丹","鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ff2ab5fb781f6a9b46ac0a60e31de28.jpg",[],{"id":2693,"slug":2694,"title":2695,"dynasty":45,"author":84,"museum":66,"description":2696,"tags":2697,"thumbUrl":2701,"material":171,"size":172,"collection":57,"collections":2702,"showCount":110,"zanCount":11,"manualWeight":11,"mainColor":61},221635,"yu-hu-yi-ming-221635","玉壶","中国宋代是一个手工业和工商业空前发展兴盛的时代，国富民强，文化发达。此时期的玉器正处在一个承前启后的转折阶段。两宋玉器承袭两宋画风，通常画面构图复杂，多层次，形神兼备，有浓厚绘画趣味，完成了由唐玉偏重工艺性、雕塑性向宋玉偏重绘画性、艺术性的转变。此时的皇家用玉品种丰富多样，佩饰类有玉束带、玉佩，用具有玉辂，玉磬，礼器有玉圭、玉册等等。内廷专设有玉作，玉料由西域诸国进贡。民间用玉也较前朝为盛，大量出现各种玉佩饰，玉用器。皇家、官僚及民间均风行收藏古玉，古董行开始出现伪造或仿造古玉之风气。因此，宋玉又被分为古玉、时作玉、伪古玉和仿古玉。 　两宋及其同期或稍后的辽金玉文化去除了隋唐五代繁杂的外来文化因素，又继承和发展了隋唐玉文化的市庶化、艺术化特色，特别是融会了两宋绘画的特点和技巧。宋代肖生玉在崇尚写实主义的院画影响下追求形体及运动的准确表现，以显示其内心世界。花鸟玉佩多做隐起、镂空的对称处理，富有生活气息。双勾的经文诗词等铭刻玉器盛极一时。辽金玉器也是由汉族玉工碾成，但其题材却富有边疆民族特色和游牧生活气息，以契丹、女真两族生活为主题的春水佩和玉秋山为其杰出代表，均有着形神兼备的艺术造诣。宋、辽、金都出现了前所未见的有情节、有背景的景观式构图，以镂空起突等法碾琢的悬塑性或立体的肖生玉器。它是这一时代玉器的新兴形式，有着鲜明的时代特点，还出现了受道教影响的神仙题材和“龟游”一类祥瑞玉器。总之，此时期玉器的特点是：玉如凝脂、构图繁复、情节曲折、砣碾遒劲、空灵剔透、形神兼备，是我国玉文化的第二个高峰期。",[368,102,103,2698,1775,7,1446,2699,296,2700],"兽耳","简洁雅致","玉器工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F009124fb115e1c4f115369de6c1e77b0.jpg",[],{"id":2704,"slug":2705,"title":2706,"dynasty":762,"author":84,"museum":66,"description":2707,"tags":2708,"thumbUrl":2713,"material":171,"size":172,"collection":57,"collections":2714,"showCount":157,"zanCount":11,"manualWeight":11,"mainColor":40},289535,"aubert-henri-joseph-parent-wine-cooler-or-vase-on-a-classical-pedestal-yi-ming-289535","Aubert Henri Joseph Parent--Wine Cooler or Vase on a Classical 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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、 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