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模样鲜活呈现。设色淡雅柔和，衣纹线条细劲流畅，画师以精妙笔力将幼童的天真烂漫刻画得淋漓尽致，藏着平淡日常里的融融稚趣，尽显工致雅致的宋画意韵，把烟火日常里的童真定格成隽永的画面。",[23,50,24,25,26,28,27,30,320,151,321,7],"芭蕉","小桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F880c152bb4ecce6798ef847bc94f14c1.jpg",[],18,{"id":326,"slug":327,"title":328,"dynasty":82,"author":46,"museum":47,"description":329,"tags":330,"thumbUrl":331,"material":93,"size":93,"collection":93,"collections":332,"showCount":333,"zanCount":11,"manualWeight":11,"mainColor":59},234418,"qing-ren-fang-su-han-chen-ying-xi-dan-ye-yi-ming-234418","清人仿苏汉臣婴戏单页","“婴戏”是中国画的一个重要的题材，从唐宋到元明清时期，孩童们的可爱淘气、天真烂漫无不是画家笔端的灵感。“婴戏图”既体现了人们自古至今对孩童的无限关爱与期望，又表达了人们对美好幸福生活的无限憧憬和祝愿。婴戏花、婴戏球、婴戏水、荡船、钓鱼、放爆竹、蹴鞠、放风筝、捉迷藏、对弈、习武、攀枝娃娃、莲生贵子、喜报多子、庭院婴戏、郊外婴戏、傀儡戏、婴孩读书、十六子、百子、五子登科等情境，被一代又一代的画家所描绘。",[24,25,227,298,27,28,30,7,52,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3b209cc1ff1f79f754a1dc846afdeb5.jpg",[],17,{"id":335,"slug":336,"title":337,"dynasty":63,"author":64,"museum":47,"description":338,"tags":339,"thumbUrl":341,"material":109,"size":110,"collection":93,"collections":342,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":59},287814,"xi-ying-tu-chen-hong-shou-287814","戏婴图","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[23,50,24,68,28,30,27,264,7,151,340,90,103],"菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e09e2fdd444b23628175ba00b32df43.jpg",[],16,{"id":345,"slug":346,"title":347,"dynasty":18,"author":46,"museum":47,"description":348,"tags":349,"thumbUrl":352,"material":93,"size":93,"collection":93,"collections":353,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":41},227905,"qiu-ting-ying-xi-tu-ye-yi-ming-227905","秋庭婴戏图页","《秋庭婴戏》是24年7月1日 出版的图书 出版社: 上海书画出版社; 第1版 (24年7月1日) 丛书名: 国宝在线 平装: 4页 开本: 8开 ISBN: 78672664 条形码: 978786726648 尺寸: 29.8 22.4 .6 cm 重量: 281 g 这套丛书按绘画题材、风格技法等要素重新进行分类，将中国画史上的国宝级名作聚于一堂，放大至原寸，为学画者提供了下真迹一等的范本。\n本书对书中收入的每一幅名画进行了详尽的介绍与分析，部分局部放大，叙述这些流传千年的国宝背后的故事，并插入与之相关的其他名画的照片与材料，为广大喜爱中国艺术的读者提供了丰富的欣赏素材和参考资料。\n欣赏和学习中国画，离不开对画史上经典名作的了解。\n中国画的历史源远流长，由于种种原因，古代流传至今的绘画名作非但数量十分稀少，而且散佚于世界各地。\n缘于此，我们编辑了这套《国宝在线》丛书，按绘画题材、风格技法等要素重新进行分类，将中国画史上的国宝级名作聚于一堂，精心印制，并尽量放大至原寸，为学画者提供了下真迹一等的范本。\n此外，我们还对书中收入的每一幅名画进行了详尽的介绍与分析，叙述这些流传千年的国宝背后的故事，并插入与之相关的其他名画的照片与材料，为广大喜爱中国艺术的读者提供了丰富的欣赏素材和参考资料。\n书评 婴戏题材在唐代便已出现，时间当与仕女画相差无几，但数量不多，技法也远未发展成熟。\n据《宣和画谱》记载，唐代著名人物画家张萱善旦画人物……又能写婴儿，此尤为难。\n盖婴儿形貌、态度自是一家，要于大小岁数间，定其面目髫稚。\n世之画者，不失之于身小而貌壮，则失之于似妇人。\n又贵贱气调与骨法，尤须各别。\n事实上，婴孩的画法脱胎于成人，因此，早期一些不成功的婴戏画中往往会具有一小大人的特征，铅华未洗，尚不能表现出儿童稚气天真的特质。\n正如唐代人物画的兴盛与其成教化，助人伦的辅政功能不可分割一样，宋代婴戏题材画之所以流行也同样有其社会背景。\n宋代重文治，虽然对外一直积弱不振，但内部局势却相对较为稳定。\n农业生产不断增长，城市经济日渐繁荣，工商业发达，人口集中。\n市民阶层迅速壮大并逐渐形成一支可以影响画坛趣味的力量。\n绘画从主要服务于宗教及贵族阶层的利益，转而开始考虑普通群众的需求。\n人物画的题材中，道释及帝王肖像一统天下的局面被打破，表现市井平民生活的风俗画开始兴盛，这其中便包括以孩童嬉戏为主要表现内容的婴戏题材画。\n当时的观念认为，儿童可以消灾解难，会带来吉祥幸福。\n例如，北宋熙宁年间京师久旱，皇帝便让京师的儿童祈雨；南宋时期，除夕时在皇宫里，呈王女童驱傩，装六丁、六甲、六神之类一等等。\n因此，宋代社会对儿童事业颇为重视，当时的京城中设有官办的慈心幼局类似于今天的幼儿园或孤儿院，还出现了私人的儿科大夫和儿童药房等。\n显然，这种社会时尚在当时的文艺创作中不能不有所反映，就绘画而言，可以说婴戏画正是在这样的背景下发展起来的。\n著名的瓷器孩儿枕也出现于这一时期。\n一 在宋代，擅作婴戏题材的画家已有相当的人数，如勾龙爽、刘宗道、杜孩儿、苏汉臣、徐世荣等。\n其中以苏汉臣最为著名，流传下来的作品也最多，以 收藏的《秋庭婴戏图》最引人观注。\n他的成就，从后世作婴戏图者多托名于之便可见一斑。\n杜孩儿，顾名思义，因擅画婴儿而得名，《画继》说他在政和间，其笔盛行，而不遭遇，流落辇下。\n画院众工，必转求之，以应宫禁之须。\n《画继》还记载：刘宗道，京师人。\n作《照盆孩儿》，以水指影，影亦相指，形影自分。\n每作一扇，必画数百本，然后出货，即日流布，实恐他人传模之先也。\n由此可见婴戏画在当时流行风靡的程度。\n又据《图绘宝鉴》所云：勾龙爽，蜀人。\n好丹青，喜为古衣冠，多作质野不媚之状。\n尤善婴孩，得其态度。\n国初为翰林待诏。\n徐世荣，画界画，兼工婴儿。\n然而，遗憾的是这些画家的作品均已失传，我们只能通过前人的寥寥数语来想像他们的风貌了。\n宋代的画坛还有一些精通人物、山水、花鸟的全能画家，如李嵩、刘松年等，他们也画过一些婴戏题材作品，而且都极为精妙。\n我们知道，宋人作画重视写生，宋代画家在再现客观世界的能力方面较之前代画家取得了长足的进步。\n因此，尽管总体而言人物画的地位远逊于晋唐，但画家的技能不仅不逊于前辈，通常还有过之而无不及。\n婴戏画便是很能说明问题的例子。\n宋代画家很好地解决了前代在画孩童时常出现的问题，他们已能够驾轻就熟地表现儿童那种特有的体貌和神态了。\n这种技术上的进步与宋代婴戏题材的流行可以说是一种互为因果的关系。\n婴戏题材除了在两宋较为兴盛外，明、清以及民国时期也十分常见，这也和其时代的经济、文化繁荣息息相关。\n然而，像宋代那样有大批一流画家参与婴戏题材创作的情况却不复再现，作品也殊难和宋画相媲美。\n纵观历朝历代的人物画，婴戏题材并不占有十分重要的地位，但却不可或缺。\n由于婴戏画反映的是生活中美好、祥和的一面，为广大群众所喜闻乐见，因此常成为表现节日里吉庆欢愉的吉祥画，而在近代，这一题材则逐渐转化成祈求安康、丰乐的年画而进入寻常百姓家了。\n宋 苏汉臣 秋庭婴戏图 轴 绢本 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 婴戏图 页 绢本 宋 苏汉臣 婴戏图 页 绢本 宋 佚名 冬日婴戏图 轴 绢本 宋 佚名 冬日婴戏图 轴 局部 宋 佚名 冬日婴戏图 轴 局部 宋 李嵩 货郎 图 卷 绢本 宋 李嵩 货郎图 卷 局部 宋 李嵩 货郎图 卷 局部 宋 李嵩 市担婴戏图 宋 李嵩 骷髅幻戏图 页 绢本 宋 李嵩 骷髅幻戏图 页 局部 宋 佚名 狸奴婴戏图 页 绢本 宋 佚名 荷亭婴戏图 页 绢本 宋 佚名 荷亭婴戏图 页 局部 宋 佚名 秋庭婴戏图 页 绢本 宋 佚名 秋庭婴戏图 页 绢本 宋 佚名 秋庭婴戏图 页 局部 宋 佚名 蕉阴击球图 页 绢本 宋 佚名 蕉阴击球图 页 局部 宋 佚名 百子嬉春图 页 绢本 宋 佚名 端阳婴戏图 页 绢本 元 佚名 杂技戏孩图 元 佚名 货郎图 轴 绢本",[23,50,24,25,227,27,28,30,7,350,33,90,351,91],"石头","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bfe0afb989a2894074a38cc534a2c6c.jpg",[],{"id":355,"slug":356,"title":357,"dynasty":211,"author":46,"museum":47,"description":358,"tags":359,"thumbUrl":362,"material":109,"size":110,"collection":93,"collections":363,"showCount":364,"zanCount":11,"manualWeight":11,"mainColor":59},290740,"xia-jing-xi-ying-zhou-yi-ming-290740","夏景戏婴轴","元人夏景戏婴图无名款。绘垂杨文石，环以曲槛。一童擎荷盖，一执榴花，一持五毒宫扇，官服髻发。两童持几，几供钟馗，旁设瓶花、水果、粽子等物。一儿以绳系蟾蜍，一儿后随作戏蟾状。 细审人物之开脸，及庭石之苔点画法，颇近于明代中期之后的风格。台北故宫博物院藏另有《元人秋景戏婴》、《元人画冬景戏婴图》二轴，尺寸、画法与此作相似，或许当初系属同一组“春夏秋冬“之四季挂屏，惜今《春景戏婴图》已佚，故难以复原全豹矣。",[24,68,28,30,27,7,31,107,360,263,124,361,321],"湖石","盆栽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77a1f2e121a757abedcbc787b6b66408.jpg",[],13,{"id":366,"slug":367,"title":368,"dynasty":63,"author":46,"museum":47,"description":369,"tags":370,"thumbUrl":373,"material":109,"size":110,"collection":93,"collections":374,"showCount":364,"zanCount":11,"manualWeight":11,"mainColor":59},289364,"gong-yuan-ying-xi-tu-yi-ming-289364","宫苑婴戏图","此画以宫苑为舞台，将稚子烂漫悉数铺展。画面上下两处各成童趣天地：上层孩童攀爬上拆解的屋架，蹦跳嬉闹，尽显跳脱顽态。一旁亭榭里安坐的长者静看稚童，动静相映，将深苑的闲逸与童真相融。\n\n下层孩童围逗雏鸡，两两结伴蹲坐嬉玩，憨稚之态呼之欲出。亭台盆栽勾勒出宫苑雅致底色，古绢晕染带着岁月沉韵，工细线条将孩童的娇憨灵动、园囿的静雅规制妥帖绘就，消解了宫苑的刻板肃穆，只余下稚子嬉闹的鲜活日常，把无忧无虑的童年意趣定格在古雅色泽中。",[24,50,68,28,30,371,372,7,31,252,107],"界画","宫苑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f339529b27e046af7897ba156a02ed6.jpg",[],{"id":376,"slug":377,"title":378,"dynasty":82,"author":46,"museum":47,"description":379,"tags":380,"thumbUrl":384,"material":109,"size":110,"collection":93,"collections":385,"showCount":386,"zanCount":11,"manualWeight":11,"mainColor":387},229140,"fen-cai-ying-xi-tu-ping-yi-ming-229140","粉彩婴戏图瓶","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。",[381,382,383,28,30,7,138],"清代","陶瓷","粉彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35d1e15ff308541aee0294a62974c696.jpg",[],12,"37474F",{"id":389,"slug":390,"title":391,"dynasty":63,"author":46,"museum":47,"description":392,"tags":393,"thumbUrl":395,"material":109,"size":110,"collection":93,"collections":396,"showCount":397,"zanCount":11,"manualWeight":11,"mainColor":59},223920,"qing-hua-ying-xi-tu-wan-yi-ming-223920","青花婴戏图碗","青花瓷（blue and white porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[382,394,30,7],"青花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f96cb9aa60e9278e4194d09f168c178.jpg",[],11,{"id":399,"slug":400,"title":391,"dynasty":63,"author":46,"museum":47,"description":392,"tags":401,"thumbUrl":405,"material":109,"size":110,"collection":93,"collections":406,"showCount":407,"zanCount":11,"manualWeight":11,"mainColor":59},257632,"qing-hua-ying-xi-tu-wan-yi-ming-257632",[382,394,7,402,321,30,63,28,403,404],"山水","纹饰","圈足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc2858e7696b3bb0007b0b8f1dac871c.jpg",[],10,{"id":409,"slug":410,"title":411,"dynasty":82,"author":83,"museum":84,"description":412,"tags":413,"thumbUrl":10,"material":93,"size":93,"collection":37,"collections":417,"showCount":407,"zanCount":11,"manualWeight":11,"mainColor":418},203212,"ying-xi-tu-ce-hua-nie-203212","婴戏图册","稚童嬉戏的鲜活场景跃然纸上：或围雪塑型，小手翻飞间雪人渐成；或树下捉迷藏，身影攒动藏于枝叶后；或旷野放风筝，线轴轮转伴笑声飞扬。笔墨简洁灵动，人物神态鲜活，衣纹勾勒流畅自然，设色淡雅清新，于方寸册页间铺展童真意趣。画面无繁复布景，却以日常嬉戏细节触动人心，尽显生活之趣与艺术之美。",[24,227,28,87,30,7,52,89,414,415,416,23],"风筝","笔墨","童真",[37],"a4a7a5",{"id":420,"slug":421,"title":422,"dynasty":18,"author":46,"museum":47,"description":423,"tags":424,"thumbUrl":425,"material":109,"size":110,"collection":93,"collections":426,"showCount":427,"zanCount":11,"manualWeight":11,"mainColor":59},290290,"song-ke-si-xin-shao-ying-xi-zhou-yi-ming-290290","宋缂丝新韶婴戏轴","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”。",[24,25,68,249,28,30,7,31,262,286],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee24372208c65c6058865f78d03cad33.jpg",[],9,{"id":429,"slug":430,"title":431,"dynasty":82,"author":46,"museum":47,"description":379,"tags":432,"thumbUrl":435,"material":109,"size":110,"collection":93,"collections":436,"showCount":437,"zanCount":11,"manualWeight":11,"mainColor":59},256916,"qian-long-kuan-fa-lang-cai-ying-xi-tu-he-huan-ping-yi-ming-256916","乾隆款珐琅彩婴戏图合欢瓶",[82,433,28,27,382,434,138,30,7,309],"珐琅彩","珐琅器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10b7eeebb3c2675f2e4171bbbb57ff13.jpg",[],8,{"id":439,"slug":440,"title":441,"dynasty":18,"author":46,"museum":47,"description":442,"tags":443,"thumbUrl":450,"material":109,"size":110,"collection":451,"collections":452,"showCount":437,"zanCount":11,"manualWeight":11,"mainColor":387},256187,"ding-yao-bai-you-hai-er-zhen-yi-ming-256187","定窑白釉孩儿枕","定窑是中国传统制瓷工艺中的珍品，宋代六大窑系之一，它是继唐代的邢窑白瓷之后兴起的一大瓷窑体系。主要产地在今河北省保定市曲阳县（原属今定州市）的涧磁村、野北村及东燕川村、西燕川村一带，因该地区唐宋时期属定州管辖，故名定窑。\n定窑原为民窑，北宋中后期开始烧造宫廷用瓷。创烧于唐，极盛于北宋及金，终于元，以产白瓷著称，兼烧黑釉、酱釉和绿釉瓷，文献分别称其为黑定、紫定和绿定。\n定窑从邢窑而来，由于历史的变迁，定窑随着地域变化，新瓷土料的运用和制瓷工艺的进步。卞向和认为：定窑最大的贡献就是在中国陶瓷发展的历史上闪烁过光芒，在中国陶瓷史和世界的陶瓷发展史上留下辉煌的一页。\n定窑，是中国北方白瓷的中心，始于唐，为邢窑的后继者，在五代时期就已经发达。以往文献多记载窑址在河北正定，1938年在河北省曲阳县涧瓷村发现古窑址。近年又多次发掘调查，发现了最下层堆积着晚唐的破片；中层的是五代时就已大量生产；最上层为印花、画花的薄瓷片，是属于北宋中期以后，在政和、宣和年间。这些薄瓷片，胎质坚致，釉泽莹润，花纹优美，确是很精进的品种；且有些是官窑性质的，如”尚食局、禁苑、奉华、官”等胎上刻字破片的发现，便可证明。另在西燕山遗址发现粗瓷片的堆集，以及各地普遍发现的定窑瓷器及破片，又能证明定窑在北宋早期以后，也曾大量烧造民间使用的瓷器。定窑以烧造白瓷为主，也烧颜色釉，如红定、紫定和黑定等。根据《君友会-新民窑》记载，定窑，从北宋起，地位增高，各地仿制者颇多。在定窑本身概念中，就孳乳出各种名称，单就白定一种，就有土定、粉定之分。土定，有瓦胎和陶胎两种。瓦胎为淡赤色的土质，陶胎为白土而略黄，质皆松，体较厚；袖色白色中闪黄或闪赤，容易剥落，或有大开片，是原始的及民用的定器。粉定，是进步的及官用的定器，有陶胎和瓷胎，胎质致密而体薄，釉色纯白如牛乳者，或带淡赤色，釉中往往有刷纹，釉面凝聚，如有泪痕。",[382,444,30,445,446,447,448,449,7],"白釉","雕刻","宋代","瓷塑","孩儿","白瓷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb4f7582f92db0f7c8cc88aa584267d0.jpg","瓷器精选",[451],{"id":454,"slug":455,"title":45,"dynasty":82,"author":46,"museum":47,"description":456,"tags":457,"thumbUrl":459,"material":87,"size":460,"collection":93,"collections":461,"showCount":437,"zanCount":11,"manualWeight":11,"mainColor":41},223417,"ying-xi-tu-yi-ming-223417","婴戏图即描绘儿童游戏时的画作，又称“戏婴图”，是中国人物画的一种。因为以小孩为主要绘画对象，以表现童真为主要目的，所以画面丰富，形态有趣。",[23,24,25,87,30,7,458],"写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3a1bf3e927f98f47d7ccc65ef6a0cb2.jpg","11×21cm",[],{"id":463,"slug":464,"title":465,"dynasty":211,"author":46,"museum":20,"description":466,"tags":467,"thumbUrl":469,"material":35,"size":470,"collection":37,"collections":471,"showCount":472,"zanCount":11,"manualWeight":11,"mainColor":59},290728,"tong-bao-yi-qi-tu-zhou-yi-ming-290728","同胞一气图轴","元代绘画中，文人画占据画坛主流。因元代未设画院，除少数专业画家直接服务于宫廷外，大都是身居高位的士大夫画家和在野的文人画家。他们的创作比较自由，多表现自身的生活环境、情趣和理想。山水、枯木、竹石、梅兰等题材大量出现，直接反映社会生活的人物画减少。作品强调文学性和笔墨韵味，重视以书法用笔入画和诗、书、画的三结合。",[24,68,28,27,30,31,136,468,7],"桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa3622f98382a39392a72e1eb782b383.jpg","158.9x103.3",[37],7,{"id":474,"slug":475,"title":476,"dynasty":82,"author":46,"museum":47,"description":477,"tags":478,"thumbUrl":482,"material":109,"size":110,"collection":93,"collections":483,"showCount":472,"zanCount":11,"manualWeight":11,"mainColor":59},249179,"qian-long-kuan-hua-fa-lang-shi-nv-ying-xi-tu-bi-yan-hu-yi-ming-249179","乾隆款画珐琅仕女婴戏图鼻烟壶","鼻烟壶指的是盛鼻烟的容器，小可手握，便于携带。明末清初，鼻烟传入中国，鼻烟盒渐渐东方化，产生了鼻烟壶。\n人们嗜用鼻烟的习惯几近绝迹，但鼻烟壶却作为一种精美艺术品流传下来，而且长盛不衰，被誉为“集中各国多种工艺之大成的袖珍艺术品”。\n中国鼻烟壶，作为精美的工艺品，采用瓷、铜、象牙、玉石、玛瑙、琥珀等材质，运用青花、五彩、雕瓷、套料、巧作、内画等技法，汲取了域内外多种工艺的优点，被雅好者视为珍贵文玩，在海内外皆享有盛誉。\n在世界上，中国素有「烟壶之乡」的称誉，其中鼻烟壶以其精巧卓绝的制作技术，被称为「集多种工艺之大成于一身的袖珍艺术品」。鼻烟壶为盛装鼻烟之容器，鼻烟系一种烟草制品，原为西洋之物，明末清初自欧洲传入中国后，加工转化后成为粉末状药材，吸闻之后不但具有明目避疫的功效，吸闻鼻烟在各阶层更是蔚为风尚，且迅速地融入了中国的艺术风格，发展出匠心独运的各式鼻烟壶，在清代美学工艺上大放异彩，成为清代艺术的重要标志之一。",[82,479,434,138,480,7,30,481],"画珐琅","仕女","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83b8f9b09f1a63260691e37dddf7e6b3.jpg",[],{"id":485,"slug":486,"title":487,"dynasty":82,"author":46,"museum":47,"description":488,"tags":489,"thumbUrl":490,"material":109,"size":110,"collection":93,"collections":491,"showCount":492,"zanCount":11,"manualWeight":11,"mainColor":41},270204,"zong-zhu-gu-hui-qin-wang-shu-hua-ying-xi-tu-mian-zhe-shan-yi-ming-270204","棕竹股惠亲王书画婴戏图面折扇","此作以浅设色绘就婴戏小景，左侧古木虬曲苍劲，新叶扶苏，晕染出清润雅致的氛围。数位稚童神态灵动鲜活，簇拥着戴冠执礼的红衣幼童嬉闹游玩，衣饰敷色明快柔妍，将孩童烂漫天真的嬉游之态尽数铺陈。\n\n右侧留白晕染出朦胧庭院一角，虚实相生，更衬画面悠然松弛的意趣。整体笔致秀雅简淡，设色清新柔润，将日常稚趣融于扇面方寸间，尽显清逸雅致的文玩意韵，是颇具情致的婴戏小品佳作。",[26,24,25,28,30,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75988733ac15ff857814a3ee48481e16.jpg",[],6,{"id":494,"slug":495,"title":391,"dynasty":63,"author":46,"museum":47,"description":392,"tags":496,"thumbUrl":497,"material":109,"size":110,"collection":93,"collections":498,"showCount":492,"zanCount":11,"manualWeight":11,"mainColor":41},260636,"qing-hua-ying-xi-tu-wan-yi-ming-260636",[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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。",[530,566,28,382,7,30,567],"五彩","方器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9de90c1c5ded6e003fd32610f47f296.jpg",[],{"id":571,"slug":572,"title":573,"dynasty":82,"author":46,"museum":47,"description":538,"tags":574,"thumbUrl":575,"material":109,"size":110,"collection":93,"collections":576,"showCount":113,"zanCount":11,"manualWeight":11,"mainColor":59},256571,"cheng-hua-kuan-wu-cai-ying-xi-tu-wan-yi-ming-256571","成化款五彩婴戏图碗",[382,566,28,30,51,7,33,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F928ed22c84321aab613ebe163eb73d7d.jpg",[],{"id":578,"slug":579,"title":573,"dynasty":82,"author":46,"museum":47,"description":538,"tags":580,"thumbUrl":581,"material":109,"size":110,"collection":93,"collections":582,"showCount":113,"zanCount":11,"manualWeight":11,"mainColor":59},256535,"cheng-hua-kuan-wu-cai-ying-xi-tu-wan-yi-ming-256535",[382,566,28,7,30,52,263,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bc1a4b42c607e7eb9ab463bd3bc1b4f.jpg",[],{"id":584,"slug":585,"title":586,"dynasty":82,"author":46,"museum":47,"description":587,"tags":588,"thumbUrl":590,"material":109,"size":110,"collection":93,"collections":591,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":387},262213,"cheng-hua-kuan-wu-cai-ren-wu-ying-xi-tu-hua-gu-yi-ming-262213","成化款五彩人物婴戏图花觚","花觚这一瓷器品种产生于清初，主要盛行于顺治、康熙、乾隆时期。随着瓷器从乾隆后期及嘉庆开始衰退，这一品种已渐消失。我们欣赏不同时期得花觚时，可领略到不同时期的艺术风格，造型的变化，在欣赏它的艺术美感的同时，从色彩、胎釉、造型、胎体去辨别不同时期的品种，增强鉴别真伪得能力。",[382,589,566,30,7,105],"花觚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F420bbe978c164ffa85305baa0d186fa8.jpg",[],{"id":593,"slug":594,"title":595,"dynasty":82,"author":46,"museum":47,"description":392,"tags":596,"thumbUrl":600,"material":109,"size":110,"collection":93,"collections":601,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":602},261044,"yi-you-sheng-yu-ya-zhi-kuan-qing-hua-ying-lian-tu-wan-yi-ming-261044","益友升玉雅制款青花婴莲图碗",[394,382,7,597,598,599],"荷花","日用器","碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f69628584ea67ffa3c620de7abe9d72.jpg",[],"F48FB1",{"id":604,"slug":605,"title":606,"dynasty":82,"author":46,"museum":47,"description":392,"tags":607,"thumbUrl":608,"material":109,"size":110,"collection":93,"collections":609,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":59},261033,"ying-de-xuan-bo-gu-zhi-kuan-qing-hua-ying-xi-lian-hua-tu-wan-yi-ming-261033","应德轩博古制款青花婴戏莲花图碗",[382,394,7,597,239,599],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F544cd7faf0506d51c17429d46f11355f.jpg",[],{"id":611,"slug":612,"title":613,"dynasty":82,"author":46,"museum":47,"description":614,"tags":615,"thumbUrl":618,"material":109,"size":110,"collection":93,"collections":619,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":387},260533,"wu-cai-ying-xi-tu-gai-guan-yi-ming-260533","五彩婴戏图盖罐","此罐釉彩明快鲜亮，青花的沉静与五彩的艳妍相映成趣。罐身孩童百态横生，或围桌对弈凝神思索，或欢呼雀跃嬉闹助兴，更有幼童持幡、逐蝶，个个憨态可掬，将稚子天真烂漫的情态尽数铺陈。器盖亦饰俏皮童子，与罐身呼应一体，把童趣贯穿始终。\n器物造型饱满端庄，彩饰层次分明，绘制工细灵动，将孩童嬉游的热闹鲜活尽数展现，把吉祥喜庆的婴戏意趣与制瓷巧思相融，尽显鲜活雅致的旧时童真意趣。",[382,566,7,30,616,617],"盖罐","彩绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31989a27bea4700aca17bc5c85aa645a.jpg",[],{"id":621,"slug":622,"title":623,"dynasty":82,"author":46,"museum":47,"description":477,"tags":624,"thumbUrl":627,"material":109,"size":110,"collection":93,"collections":628,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":59},259732,"wu-cai-ying-xi-tu-bi-yan-hu-yi-ming-259732","五彩婴戏图鼻烟壶",[382,239,625,566,28,30,7,626],"鼻烟壶","青蛙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8df880cc2ad7a6ee903bf1a99727b2e0.jpg",[],{"id":630,"slug":631,"title":632,"dynasty":82,"author":46,"museum":47,"description":379,"tags":633,"thumbUrl":634,"material":109,"size":110,"collection":93,"collections":635,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":41},256866,"fen-cai-ying-xi-tian-qiu-ping-yi-ming-256866","粉彩婴戏天球瓶",[382,383,28,27,7,30,187,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8587fd6f821f513008f973eb1bbb727.jpg",[],{"id":637,"slug":638,"title":639,"dynasty":82,"author":46,"museum":47,"description":477,"tags":640,"thumbUrl":642,"material":109,"size":110,"collection":93,"collections":643,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":59},249206,"qian-long-kuan-hua-fa-lang-xi-yang-shi-nv-ying-xi-tu-bi-yan-hu-yi-ming-249206","乾隆款画珐琅西洋仕女婴戏图鼻烟壶",[381,434,479,28,30,480,7,641,138],"西洋风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facc2f6aab544136f96d60807dd41f75a.jpg",[],{"id":645,"slug":646,"title":476,"dynasty":82,"author":46,"museum":47,"description":477,"tags":647,"thumbUrl":654,"material":109,"size":110,"collection":93,"collections":655,"showCount":40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[2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[382,671,7,30,135,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53a9e1b9d336243702d44b4862056740.jpg",[],{"id":804,"slug":805,"title":806,"dynasty":82,"author":46,"museum":47,"description":538,"tags":807,"thumbUrl":809,"material":109,"size":110,"collection":93,"collections":810,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":387},258307,"huang-di-lv-cai-yuan-lin-ying-xi-tu-wan-yi-ming-258307","黄地绿彩园林婴戏图碗",[381,382,715,28,7,808,51,33,138],"园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa334274d849f636f047b8ad226e119c4.jpg",[],{"id":812,"slug":813,"title":814,"dynasty":82,"author":46,"museum":47,"description":392,"tags":815,"thumbUrl":818,"material":109,"size":110,"collection":93,"collections":819,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},258221,"qing-hua-ying-xi-tu-gai-guan-yi-ming-258221","青花婴戏图盖罐",[382,394,381,7,30,27,816,31,817],"釉下彩","白地蓝彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3aeff4cf0134ef9bb7ba4e4e4b884c4.jpg",[],{"id":821,"slug":822,"title":712,"dynasty":82,"author":46,"museum":47,"description":538,"tags":823,"thumbUrl":824,"material":109,"size":110,"collection":93,"collections":825,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":387},258048,"kang-xi-kuan-huang-di-lv-cai-ying-xi-tu-wan-yi-ming-258048",[382,715,28,30,7,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b7511d55640db4f0b7a12267e62b575.jpg",[],{"id":827,"slug":828,"title":829,"dynasty":82,"author":46,"museum":47,"description":830,"tags":831,"thumbUrl":834,"material":109,"size":110,"collection":93,"collections":835,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":387},257995,"kang-xi-kuan-huang-you-an-ying-xi-tu-wan-yi-ming-257995","康熙款黄釉暗婴戏图碗","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。",[382,832,833,7,381,138],"黄釉","暗刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa43e4865690ce48559d5364a3552ff6d.jpg",[],{"id":837,"slug":838,"title":839,"dynasty":63,"author":46,"museum":47,"description":379,"tags":840,"thumbUrl":841,"material":109,"size":110,"collection":93,"collections":842,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":59},257312,"jia-jing-kuan-huang-di-lv-cai-hua-hui-ying-xi-tu-wan-yi-ming-257312","嘉靖款黄地绿彩花卉婴戏图碗",[530,382,714,715,105,7,30,599],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45488cd77efd3ce6eb23e6ae52d46ccb.jpg",[],{"id":844,"slug":845,"title":846,"dynasty":82,"author":46,"museum":47,"description":538,"tags":847,"thumbUrl":849,"material":109,"size":110,"collection":93,"collections":850,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":59},256755,"you-hong-di-wu-cai-miao-jin-ying-xi-tu-wan-yi-ming-256755","油红地五彩描金婴戏图碗",[381,382,566,848,28,30,7,320],"描金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4798edeb9a45bf6ec0a4904241e27767.jpg",[],{"id":852,"slug":853,"title":854,"dynasty":82,"author":46,"museum":47,"description":379,"tags":855,"thumbUrl":857,"material":109,"size":110,"collection":93,"collections":858,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},256685,"qian-long-kuan-fen-cai-su-tie-ying-xi-ping-yi-ming-256685","乾隆款粉彩塑贴婴戏瓶",[382,383,856,28,30,7,105,138],"塑贴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F746a6a347e4ef81f5700b5a1283e7a91.jpg",[],{"id":860,"slug":861,"title":862,"dynasty":63,"author":46,"museum":47,"description":564,"tags":863,"thumbUrl":865,"material":109,"size":110,"collection":93,"collections":866,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":59},256449,"dou-cai-ying-xi-tu-bei-yi-ming-256449","斗彩婴戏图杯",[530,671,382,7,30,28,27,187,31,864,152],"放风筝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7c8cc042aa11e42697895137470712b.jpg",[],{"id":868,"slug":869,"title":870,"dynasty":82,"author":46,"museum":47,"description":871,"tags":872,"thumbUrl":873,"material":109,"size":110,"collection":93,"collections":874,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":59},252106,"qing-yu-ying-xi-tu-yuan-zhen-zhi-yi-ming-252106","青玉婴戏图圆镇纸","此件以温润青玉雕琢而成，莹润素净的玉质衬得画面愈发鲜活。匠者撷取婴戏击鼓之景，圆鼓敦实古朴，周身缠绕枝蔓，为画面添几分山野意趣。\n\n两名稚童神态憨稚灵动，一伏身探首，逗弄鼓上小兽；一踞坐持棒，作击鼓嬉戏之态。孩童轮廓圆润柔和，衣褶随身形自然流转，将幼童的烂漫天真刻画入微。整器雕琢不见糙痕，尽显写实灵动的风韵，把俗世童趣凝于方寸玉间，是把玩陈设俱佳的精巧之作。",[662,445,30,7,381,138],"https:\u002F\u002Fos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