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(1577-1654) 與德川幕府建立的關係，成為後繼者狩野孝信取得德川家支持參與名古屋城本丸御殿製作的基礎。",[49,24,186,72,26,27,187,188,189,190,7,191,96,192,133,193],"屏风","松","牡丹","芙蓉","鹤","孔雀","山水","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F066d6aadc5c3af2e9023ff46f3b095ba.jpg",[],87,{"id":198,"slug":199,"title":200,"dynasty":18,"author":201,"museum":202,"description":203,"tags":204,"thumbUrl":207,"material":208,"size":209,"collection":137,"collections":210,"showCount":211,"zanCount":58,"manualWeight":11,"mainColor":39},221592,"feng-ying-zhi-ji-tu-zhou-li-di-221592","枫鹰雉鸡图轴","李迪","北京故宫博物院","此图又称《鹰雉图》或《鹰窥雉图》，是传世宋画中罕见的巨幅，由南宋宫廷画家李迪创作。据左上方署款“慶元丙辰歲李迪畫”，知作于宋宁宗庆元二年（1196年）。\n画面作对角线构图，主体禽鸟雄鹰置于左上角枯枝巅，俯首下视，紧盯着右下角的锦雉。锦鸡张口鸣叫，正向草丛中窜逃。斜线的呼应关系和锦鸡奔向画外的动态，营造出强烈的紧张气氛，扣人心弦。画家着意刻画苍鹰的眼、喙、爪三个关键部位，目光圆瞪，钢喙如钩，爪尖扣进树皮，既突出了鹰的凶猛矫健秉性，又强调出捕捉猎物时的力之凝聚和意念之专注，可谓真实传神。雉的形象也逼真如生，仓惶奔逃的姿态，惊惧的目光，乍开的羽毛，尤其是蹬出后腿又收缩脚爪的动作，准确地刻画出急于逃命又难脱厄运的情状，可见作者体察生物及其捕捉瞬间之动态的敏锐洞察力和写生传神的高超表现力。\n作品的笔墨敷彩技巧也十分成熟。禽鸟工整精细，设色轻淡，承北宋崔白以来的院体花鸟传统画更增动感和生意。树干粗勾细染，斑纹点点，呈苍劲之质。枫叶、兰草、丛竹则细笔双勾，淡墨渲染，形体富有弹性，又疏密有致，画法遵循“宣和体”的写生法则。山石运斧劈皴，兼作笔实墨重的擦染，近李唐又存北宋之法。此图堪称宋代院体花鸟画的巨构杰作。",[49,24,25,29,26,27,72,97,7,205,173,206],"雉鸡","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4268072dfb8e29fae047930d5a892391.jpg","绢本，设色","纵189厘米，横209.5厘米",[137,35,116],83,{"id":213,"slug":214,"title":215,"dynasty":18,"author":216,"museum":202,"description":217,"tags":218,"thumbUrl":229,"material":208,"size":230,"collection":34,"collections":231,"showCount":232,"zanCount":58,"manualWeight":11,"mainColor":39},223478,"sou-shan-tu-juan-yi-ming-223478","搜山图卷","佚名","《搜山图》卷表现的是民间传说二郎神搜山降魔的故事，所以也称为《二郎神搜山图》。二郎神的故事在民间广泛流传，在许多文艺作品中也有反映。元代有《二郎神醉射锁魔镜》的杂剧，描写二郎神与九首牛魔王、哪吒及金睛百眼鬼比试高低，最后拿住二洞妖魔的故事。据记载，最早有北宋画家高益画的《鬼神搜山图》，受到皇帝的重视。以后明、清两代，不断有传本出现。\n此卷《搜山图》是南宋末或元初人的手迹。人物用工笔重彩，衣纹用铁线描，刚劲有力，形象刻画生动传神，非凡手可及。山林树木皴法豪纵，近乎南宋刘松年的风格。与同一题材的各种不同本子比较，此卷是个残本，其中缺少主神即二郎神部分，但是其绘画技巧却高出其它各本。图中描绘神兵神将们耀武扬威地搜索山林中各种魔怪。魔怪们均是各种野兽变的，有虎、熊、豕、猴、狐狸、山羊、獐、兔、蜥蜴、蛇及树精木魅等。这些妖怪，或是原形，或化为女子，他们都在神将们追逐下，仓惶逃命，或藏匿山洞，或拒绝受擒。而那些神将们则手持刀枪剑戟、纵鹰放犬，前堵后截，使妖怪无处逃身。本来，二郎神是作为正面人物来歌颂的，然而看了此卷之后，却得到了一个相反的印象。那些神兵神将，一个个凶神恶煞，使人们憎恶，而那些妖怪们却面目和善，那种惊怖逃生的内心刻画，令人同情。不知作者是有意还是无意，使观者自然地就会联想到，当时社会那些官兵对老百姓的欺压情形。",[49,24,23,25,219,26,27,220,192,97,221,222,7,223,224,225,226,96,227,228],"长卷","人物","虎","豹","蛇","兔","树木","山石","神仙","鬼怪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d5ad08cdb1d23179ccbc0394feeea8b.jpg","纵53.3厘米，横533厘米",[],80,{"id":234,"slug":235,"title":236,"dynasty":64,"author":237,"museum":238,"description":239,"tags":240,"thumbUrl":242,"material":33,"size":243,"collection":35,"collections":244,"showCount":245,"zanCount":38,"manualWeight":11,"mainColor":39},219035,"yan-shang-ying-tu-zhang-yu-sen-219035","岩上鹰图","张雨森","大英博物馆","苍岩之巅，雄鹰敛翅伫立。羽翮黑白相间，斑纹细密如织，蓬松处似含风露，利爪紧扣石隙，筋骨隐现沉凝力道。山石以枯笔皴擦，纹理嶙峋若斧劈，与鹰羽的细腻勾勒相映成趣。旁侧虬枝横斜，红叶点缀其间，添几分秋意清寂。背景绢色沉郁，更衬出鹰的孤高与山石的冷峻。画面于写实中融写意之韵，雄鹰沉静姿态下藏蓄势待发的张力，笔墨间尽展自然生机与生命的苍劲力量，观之令人感佩造物之奇与绘者匠心。",[49,23,24,25,29,26,27,7,133,225,241],"花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7adea9a4d59fe57c41686f184054adc1.jpg","纵163.5横88.1厘米",[35],78,{"id":247,"slug":248,"title":249,"dynasty":155,"author":250,"museum":202,"description":251,"tags":252,"thumbUrl":256,"material":257,"size":258,"collection":35,"collections":259,"showCount":261,"zanCount":11,"manualWeight":11,"mainColor":39},222400,"can-he-ying-lu-tu-lv-ji-222400","残荷鹰鹭图","吕纪","画面描绘了秋日荷塘中惊心动魄的一幕，苍鹰俯冲搏击白鹭，白鹭冲进苇丛深处，希图逃脱。众鸟或纷纷躲避，或受惊鸣叫。劲风吹动芦苇残荷，更添肃杀之气。作者把握住禽鸟的自然特征，赋予了戏剧化的情节表现，使画面具有扣人心弦的感染力。画家用写意的笔法画出枯败的荷叶，效果逼真，体现出高超的水墨控制能力。",[49,24,25,29,72,26,27,50,253,7,254,255],"荷","鹭","芦苇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc10ae54932f80827cb6ce0d4337c4bf1.jpg","绢本，水墨","纵190厘米，横105.2厘米",[35,260],"水墨画精选",76,{"id":263,"slug":264,"title":154,"dynasty":18,"author":265,"museum":130,"description":266,"tags":267,"thumbUrl":268,"material":33,"size":269,"collection":35,"collections":270,"showCount":271,"zanCount":58,"manualWeight":11,"mainColor":272},218928,"ying-tu-wang-shen-218928","王诜","秃鹰和狗争夺野鸡的画作",[49,24,23,29,26,27,72,7,30,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3da43e23b75b5b5522d773dee5a0b8c2.jpg","136.7x69.7",[35],74,"37474F",{"id":274,"slug":275,"title":276,"dynasty":155,"author":250,"museum":202,"description":277,"tags":278,"thumbUrl":280,"material":281,"size":282,"collection":35,"collections":283,"showCount":284,"zanCount":58,"manualWeight":11,"mainColor":59},219286,"ying-que-tu-lv-ji-219286","鹰鹊图","图绘一只苍鹰独立岩顶，两只飞舞的蜜蜂吸引了它的目光，一旁的喜鹊趁机振翅欲逃。作者用笔粗阔，富有简率纵逸的笔墨意趣。吕纪的花鸟画不仅追求形似，更善于表现禽鸟之间的关系，捕捉住禽鸟瞬间的神态和动势，营造出千钧一发的紧迫感和爆发力，突破了传统花鸟画唯美的装饰意味，从而获得了新的艺术生命力。",[49,24,25,29,27,50,26,72,7,279,226,31,96],"鹊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62b4c020881f2a1e771cfb4cf7f1d62f.jpg","纸本,设色","纵120.7厘米，横61.5厘米",[35,116],72,{"id":286,"slug":287,"title":288,"dynasty":155,"author":216,"museum":289,"description":290,"tags":291,"thumbUrl":293,"material":33,"size":34,"collection":35,"collections":294,"showCount":295,"zanCount":58,"manualWeight":11,"mainColor":39},218987,"ying-jue-ye-tu-tu-yi-ming-218987","鹰攫野兔图","美国弗利尔美术馆","苍鹰振翅俯冲，利爪紧扣野兔，生死博弈的瞬间被凝于绢素。鹰羽纹理毕现，毳毛蓬松若触；野兔蜷身挣扎，双目圆睁含惧。旁侧山石以浓墨皴擦，肌理厚重；枝上红白花簇点缀，柔艳与苍劲相映。笔墨兼具工致与写意，动静相生间，既藏自然野趣，亦显传统花鸟对生命瞬间的精准捕捉——凌厉中见细腻，苍莽里含生机，尽展古画摹写物象、传递意韵的精妙。",[24,27,26,29,7,292,133,188],"野兔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F419616a943fe6b976a5a62a0f0010da8.jpg",[35],62,{"id":297,"slug":298,"title":299,"dynasty":155,"author":250,"museum":300,"description":301,"tags":302,"thumbUrl":305,"material":306,"size":307,"collection":35,"collections":308,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":39},222391,"si-xi-tu-li-zhou-lv-ji-222391","四喜图立轴","天津博物馆","吕纪（1429～1505），字廷振，号乐愚，鄞（今浙江宁波）人。明代画家。\n其花鸟初师边景昭，又学林良，并广泛师法唐宋诸家，所作有工笔重彩和水墨写意两种画法，前者描绘精工，色彩富丽，法度谨严；后者粗笔挥洒，随意点染，简练奔放，富有气势和动感。其山水宗法马远、夏圭，以大斧劈皴画山石，苍劲有力。人物亦法南宋院体，衣纹线条简练顿挫。初学边景昭工笔法，亦受林良水墨法影响，后临仿唐宋诸家名迹，遂自成一体，独步当代。其花鸟画风呈两种面貌，一作工笔重彩，精工富丽，多绘凤鹤、孔雀、鸳鸯之类，辅以树木坡石、滩渚流泉背景，既具法度，又富生气。另一类为水墨写意画，粗笔挥洒，简练奔放，接近林良的风格。他亦兼善人物、山水，宗法南宋马远、夏圭画法。他的花鸟画风在当时宫廷内外影响甚大，继承者不乏其人。\n明弘治年间，入值仁智殿，官至锦卫指挥使，是明代与边景昭、林良齐名的院体花鸟画代表画家。其绘画风格可分为两大类，一类是以水墨为主略淡彩，用笔较为豪纵，另一类则是设色浓丽，用和工致，具有富丽的宫廷装饰趣味。吕纪由水墨淡色画转为工笔重设色画，更直接的原因是为了适应不同皇帝的不同口味，具体说来就是弘治皇帝朱祐樘的欣赏口味不同于他的父辈成化皇帝朱见深，从而造成了吕纪多画凤凰、雉鸡、仙鹤、孔雀、鸳鸯之类，杂以花木草石，具有生气。工笔着色与水墨写意能，并善于将两体结合。吕纪初学唐宋各家和同时代的边景昭，后形成自己的风格。他的花鸟设色鲜艳，生气奕奕，被称为明代花鸟画第一家。据说吕纪在画作上常用寓意手法对皇帝劝谏，皇帝知其用心，曾说：“工执艺事以，谏吕纪有之。”其代表作品有《新春双雉图》《桂花山禽图》《残荷鹰鹭图》《秋鹭芙蓉图》《五德大吉图》 《狮头鹅图》等。\n吕纪，1477年生，鄞州（今浙江宁波）人。字廷振，号乐愚，弘治间（1488-1505）供事仁智殿，弘治间征入宫廷，为宫廷作画，供奉仁智殿，官锦衣卫指挥。擅画临古花鸟，初学边景昭，后研习唐宋诸家名作，继承两宋“院体”，以工笔重彩，又在水墨写意方面受林良影响。\n远宗南宋院体格，廷续了黄筌工整细致的画风及钩勒笔法，并予以发扬，多以凤凰、仙鹤、孔雀、鸳鸯之类鸣禽为题材，杂以浓郁花树，画面绚丽。亦作粗笔水墨写意者，笔势劲健奔放，与林良相近，与边景昭同为明代院体花鸟画中的临古派代表。传世作品有《桂菊山禽图》《榴花双莺图》《雪景翎毛图》《浴凫图》等。除画花鸟外，偶尔也画人物山水。他主要是以工整精丽的院体传统作画，造型准确，设色鲜艳。但也能画活泼生动兼工带写的花鸟画。他的画生动，笔墨清新，是当时与边景昭、林良齐名的花鸟名家。他作画时，常以寓意手法规谏皇帝，故明孝宗曾说：“工执艺事从谏，吕纪有之”。他是与边景昭、林良齐名的院体花鸟画代表作家。《狮头鹅图》，绢本，设色。纵191厘米，横104厘米。工笔画狮头鹅，侧身曲颈回顾古梅，鹅身洁白如玉，眼睛刻划有神，形象生动。古梅干枝苍劲，生机勃勃。树下衬以太湖石、月季花，石后有双勾竹隐露，色彩艳丽，衬托出狮头鹅之白身红冠。是明代院体花鸟画的杰作。款署“吕纪”。现藏辽宁省博物馆。\n《榴花双莺图》写石榴一枝，蘩花盛开，一对黄鹂栖于枝头，一上一下，鸣啼相应，神态活泼。工笔重彩，钩勒填色，绚丽多彩为明代中期院体画的典型风格。\n相比画家，吕纪的另一个身份更令人吃惊——历经明代成化、弘治、正德三代，官至锦衣卫指挥使(秘密警察头目)。吕纪的花鸟绘画，水墨淋漓，气势宏大，甚至是日本屏风画的来源之一。《柳荫双鸭图》和《幽涧双鹭图》曾在日本出版的《听松清鉴》中著录，郑振铎在上世纪四十年代遍访流传在海外的中国名画，并在其所编的《域外所藏中国名画》中收录。吕纪的两幅作品不仅是明代全景花鸟画的杰作，也是中国绘画影响日本绘画的证据代表作。",[49,24,27,26,72,29,7,303,187,304,226,96],"喜鹊","瀑布","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35b651d770ecc93ed64e2befaf762c39.jpg","纸本","93x51",[35,116],50,{"id":311,"slug":312,"title":313,"dynasty":106,"author":314,"museum":315,"description":316,"tags":317,"thumbUrl":320,"material":33,"size":34,"collection":35,"collections":321,"showCount":322,"zanCount":58,"manualWeight":11,"mainColor":39},219067,"ying-sun-tu-ren-ren-fa-219067","鹰隼图","任仁发","印第安纳波利斯艺术博物馆","画面描绘了一只白腹黑背、体态丰满、羽毛整齐的大壮鹰，用一对锋利的爪子按住一只麻雀，张开翅膀，圆睁双眼，张开嘴，却无计可施。",[23,24,26,27,29,7,318,70,319,241,226,72],"隼","杂草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81e640e66b80da72ad388df45295a7d4.jpg",[35],46,{"id":324,"slug":325,"title":326,"dynasty":18,"author":327,"museum":66,"description":328,"tags":329,"thumbUrl":332,"material":85,"size":86,"collection":34,"collections":333,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":39},290274,"han-que-shuang-ying-tu-ma-lin-290274","寒鹊双鹰图","马麟","马麟，麟一作驎，钱塘（今浙江杭州）人。南宋画家。马世荣之孙，马远之子。\n生卒年不详。其父马远是宋光宗、宋宁宗两朝（1190～1224）画院待诏，马麟画承家学，擅画人物、山水、花鸟，用笔圆劲，轩昂洒落，画风秀润处过于乃父。宁宗嘉泰间（1201～1204）授画院祗候，颇得宁宗赵扩、恭圣皇后杨氏及杨妹子称赏，每于父子画上题句。在《层叠冰绡图》中题诗云：“浑如冷蝶宿花房，拥抱檀心忆旧香。开到寒梢尤可爱，此般必是汉宫妆。”",[24,330,26,27,7,279,96,70,226,331,29],"花鸟画","雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd91a9ddfc54f74ad80aef86a825a385e.jpg",[],42,{"id":336,"slug":337,"title":338,"dynasty":155,"author":339,"museum":66,"description":340,"tags":341,"thumbUrl":344,"material":34,"size":34,"collection":35,"collections":345,"showCount":346,"zanCount":11,"manualWeight":11,"mainColor":39},237663,"san-si-tu-zhou-yu-qi-feng-237663","三思图轴","俞奇逢","俞奇逢，[明]，福建沙县人。沙县俞氏自存胜得其舅氏边文进之传，遂世业花鸟。",[24,25,29,27,26,72,7,342,96,343,133],"白鹭","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facc809c2646c002bed50c182f923e9d9.jpg",[35,116],40,{"id":348,"slug":349,"title":167,"dynasty":155,"author":250,"museum":238,"description":350,"tags":351,"thumbUrl":352,"material":33,"size":34,"collection":35,"collections":353,"showCount":346,"zanCount":11,"manualWeight":11,"mainColor":39},219746,"song-ying-tu-lv-ji-219746","吕纪（1439年-1505年），字廷振，号乐愚，鄞（今浙江宁波）人。明代院体花鸟画家。",[49,24,25,26,27,72,187,7,71],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8ac887d96b6abbbb34b17fc5d912f97.jpg",[35],{"id":355,"slug":356,"title":357,"dynasty":155,"author":216,"museum":358,"description":359,"tags":360,"thumbUrl":363,"material":33,"size":364,"collection":35,"collections":365,"showCount":366,"zanCount":11,"manualWeight":11,"mainColor":272},219270,"ying-xiong-tu-yi-ming-219270","鹰熊图","耶鲁大学艺术博物馆","苍鹰踞石而立，羽翼丰劲，墨色浓淡间晕染出猛禽的威仪；下方熊罴隐于岩隙，憨态中藏沉雄之气。飞瀑垂涧，古松虬枝盘错，山石皴染朴拙，草木点缀出野趣盎然的自然之境。鹰熊谐音“英雄”，寄寓着对刚毅品格的颂赞。笔墨兼具工细与写意，线条劲健而气韵生动，既捕捉了鸟兽的形神特质，又以山水为衬，营造出雄浑苍劲的氛围，尽显明代花鸟走兽画中自然意趣与人文寄托的交融之妙。",[49,24,25,27,26,7,361,52,226,304,362,97,96],"熊","流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a0c2d82ce05428ae5bc504a7efbc7e1.jpg","254 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107.4cm",[35],38,{"id":368,"slug":369,"title":370,"dynasty":18,"author":371,"museum":289,"description":372,"tags":373,"thumbUrl":376,"material":33,"size":377,"collection":35,"collections":378,"showCount":379,"zanCount":11,"manualWeight":11,"mainColor":39},220257,"ying-zhu-ye-qin-tu-chao-shuo-zhi-220257","鹰逐野禽图","晁说之","晁说之（1059-1129），字以道，一字伯以，济州钜野（今山东巨野）人（《宋史·晁补之传》）。因慕司马光为人，自号景迂生。神宗元丰五年（1082）进士。哲宗元祐初，官兖州司法参军，绍圣时为宿州教授，元符中知磁州武安县。徽宗崇宁二年（1103），知定州无极县。后入党籍。大观、政和间监明州造船场，起通判鄜州。宣和时知成州，未几致仕。钦宗即位，以著作郎召，除秘书少监、中书舍人，复以议论不合，落职。高宗立，召为侍读，后提举杭州洞霄宫。建炎三年卒，年七十一。有《嵩山文集》（又名《景迂生集》）二十卷。事见《嵩山文集》附录其孙子健所作文集后记、《晁氏世谱节录》，及集中有关诗文。晁说之诗，以四部丛刊续编影印旧钞本《嵩山文集》（集中“祯”字皆缺，注“今上御名”，当沿宋本之旧）为底本。校以影印文渊阁《四库全书》本（简称四库本）等。新辑集外诗，附於卷末。",[49,24,25,29,26,50,27,72,96,7,374,375,31],"野禽","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a9b3c49df88c28a1d7b446c5a24edbc.jpg","168.2厘米×86.6厘米",[35],37,{"id":381,"slug":382,"title":383,"dynasty":106,"author":216,"museum":202,"description":384,"tags":385,"thumbUrl":387,"material":33,"size":34,"collection":35,"collections":388,"showCount":389,"zanCount":11,"manualWeight":11,"mainColor":39},219258,"ying-fu-tu-yi-ming-219258","鹰凫图","画面定格鹰扑击野鸭的瞬间：鹰爪紧扣猎物，翎羽贲张如蓄势之弓，野性力量破纸而出；野鸭双翼垂落却仍微挣，脖颈屈折间藏着不甘，生死博弈的张力在方寸间拉满。背景芦苇疏淡、岩石朴拙，以极简之笔衬出主体冲突，暗合元代对生命张力的隐寓。笔墨细腻处见翎羽纹理纤毫毕现，粗犷处显山石气韵苍劲，动静相生间，将自然法则的残酷与壮美凝于绢素，尽显元代花鸟画写实与写意交融的妙境——于无声处听惊雷，于绢素间观天地。",[24,23,72,26,27,7,386,226,319,96],"凫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0cc36a821ca8467128e4f60dec1bde6.jpg",[35],36,{"id":391,"slug":392,"title":393,"dynasty":155,"author":216,"museum":289,"description":394,"tags":395,"thumbUrl":398,"material":33,"size":399,"collection":35,"collections":400,"showCount":389,"zanCount":58,"manualWeight":11,"mainColor":39},218924,"han-he-shuang-ying-tu-yi-ming-218924","寒壑双鹰图","这幅画表现了一棵高高矗立在峡谷之上的枯树，两只老鹰站在树枝上相互对视。老树用粗大的笔触勾勒出来，盘旋而有力，而老鹰则用细小的笔触描摹出来，几乎随时可以移动。在树的下面，峡谷的激流冲刷出层层水浪，波浪滚滚而来。这幅画显示了艺术家对不同题材的驾驭能力，以及他向许多人学习的能力。虽然这幅画以宋代为基础，但明显具有明代大型花鸟画的大气、奔放、夸张的特点，极具感染力。此画原为五代时期南唐画家郭乾祐所作，但因其无年代感，现归于明代画家。",[24,25,50,27,26,172,7,70,396,397,133,304,362,31,83,30],"枯藤","山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F812e742cba18d3fccd2b284248f14dd1.jpg","200.2x156.1cm",[35],{"id":402,"slug":403,"title":404,"dynasty":155,"author":156,"museum":66,"description":405,"tags":406,"thumbUrl":412,"material":34,"size":34,"collection":34,"collections":413,"showCount":414,"zanCount":11,"manualWeight":11,"mainColor":39},228486,"shuang-ying-tu-lin-liang-228486","双鹰图","《双鹰图》是清代画家朱耷创作的纸本水墨画，现藏于 。\n款识：八大山人写。\n钤印：八大山人（白）、何园（朱）、孝慈洪养百福（朱）、士元（朱）。\n藏印：程桢义联珠珍藏印（朱）签条：清高僧朱耷双鹰图真迹 。\n钤印：秋君（朱）、李秋印（白）。\n《双鹰图》画面以简洁的构图，别开生面，意境幽邃，寥寥数笔将冬季时节的气息表现得淋漓尽致。\n画中岩石一侧横斜出枯枝苍干，坡石边附有丛竹，双鹰一踞岩石上俯视，一栖树干上转头回望，呈呼应之势。\n二石二鹰一树描绘都是对大自然的精心观察后，通过变形取貌得其盎然生意，整个画面笔调圆润凝重，皆以圆弧线组成，富有流动感，浓淡干湿墨色相破相融，双鹰的画法虽可看到林良的影子，而意趣已有很大的不同。\n画面的构图不留地面和天空，仅有的右侧空白被作者自题识和款署给填补。\n此图无论是双鹰、山石、枯树都笔墨简括，意态尽出，显出了 以简取胜，以少胜多的独特写意艺术才能。\n219年9月2日，该作品在故宫博物院和 共同主办的《回望传承——八大山人纪念馆建馆6周年故宫典藏特展》中展出。\n朱耷（1626－176）。\n谱名统，有雪个、个山、人屋、道朗、八大山人等别号。\n南昌人。\n明末清初越的大画家。\n他是明太祖朱元璋第十六子朱权的九世孙。\n八岁能作诗，十一岁能画青绿山水，少时能悬腕写米家小楷。\n弱冠为诸生。\n明亡以后，他抱着对清王朝不满的态度，在奉新县耕香庵落发为僧，时年二十三岁。\n后隐居进贤县介冈及永丰县睦冈等地。\n顺治末年，当他三十六岁时潜回南昌，创建青云圃道院，花了六、七年时间，才使这坐道院初具规模，并在这里过着“一衲无余”与“吾侣徙耕田凿井”的劳动生活。\n因为常有清朝权贵来此骚扰，他常浪迹他方。\n康熙十七年他五十三岁时，临川县令胡亦堂闻其名，便延请他随其僧长饶宇朴等到临川官舍作客年余。\n这使他十分苦恼郁愤，遂佯为疯癫，撕裂僧服，独自走回南昌。\n一年多后，他又回到青云谱，并在这里度过“花甲华诞”。\n当他六十二岁时，不再做住持，便把道院交给他的道徒涂若愚主持。\n后又隐避在南昌附近的北兰寺、开元观等处。\n该画取法明代大画家 ，枯枝危石之上两苍鹰相互顾盼，俯仰之间，英武之姿一览无余。\n以“双鹰”题材为例，列在八大名下目前存世画作有三幅：美国大都会博物馆藏《双鹰图》（系 旧藏）;上海博物馆藏《双鹰图》;江西 藏《双鹰图》。\n三幅画作之中，“大都会本”依画面题记确定为八大山人172年所作;“上博本”为1699年所作;“南昌本”无年款。",[49,24,25,29,407,50,51,72,408,7,409,410,31,411,133],"明代","院体","猛禽","竹子","藤蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb96e154c48c16ef3deed3628318f6135.jpg",[],32,{"id":416,"slug":417,"title":418,"dynasty":106,"author":419,"museum":202,"description":420,"tags":421,"thumbUrl":425,"material":208,"size":426,"collection":35,"collections":427,"showCount":428,"zanCount":11,"manualWeight":11,"mainColor":39},221822,"ying-gui-tu-zhang-shun-zi-221822","鹰桧图","张舜咨","此图是由雪界翁、张师夔两位画家合作绘制而成。图绘山石间一株古桧，枝干挺劲，枯枝与新叶相映成趣。老干横斜，一只苍鹰昂首挺立其上，双目炯然，脚爪锋利，紧抓树枝，给人以坚如磐石、临危不惧之感。图中苍鹰以工笔重彩法写出，刻画细腻，笔笔精到，具有宋代院体花鸟画遗风。古桧山石完全用写意风格的画法，出自张舜咨手笔，画风略显粗犷，然颇具气势。苍鹰与山石、古桧虽出自不同人的手笔，但配合默契，毫无突兀、不协调之感，极具特色。",[49,24,23,25,29,27,26,7,422,423,159,83,424],"桧树","古树","丛草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f781d4069309ad9530fe25a1c35bbcd.jpg","纵147.3厘米，横96.8厘米",[35,116],28,{"id":430,"slug":431,"title":432,"dynasty":18,"author":433,"museum":66,"description":434,"tags":435,"thumbUrl":436,"material":85,"size":86,"collection":34,"collections":437,"showCount":438,"zanCount":11,"manualWeight":11,"mainColor":39},288490,"ying-gu-tu-ye-li-you-288490","鹰鹘图页","李猷","李猷，宋來洎代画家，河内頭筿（今河南沁阳）人，作品有《画继》。",[49,24,23,25,72,26,7,159,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5305ba610e775032a3da38afd47743e.jpg",[],22,{"id":440,"slug":441,"title":154,"dynasty":155,"author":216,"museum":66,"description":442,"tags":443,"thumbUrl":445,"material":34,"size":34,"collection":34,"collections":446,"showCount":447,"zanCount":11,"manualWeight":11,"mainColor":39},228823,"ying-tu-yi-ming-228823","这幅工笔设色花鸟，以双鹰为画面核心。两只猛禽或侧目远眺，或昂首凝望，身姿苍劲傲然。翎毛发丝尽染，笔触细腻入微，将猛禽的威严沉凝尽显无遗。\n\n古梅虬曲遒劲，寒花点点缀于枝桠，清寂雅致；嶙峋怪石边，艳红山茶绽于丛间，柔红破寒，晕开一抹生机。右下角飞泉直下，水流宛转灵动，打破画面沉静，动静相融自成韵律。\n\n棕褐底色晕染出幽谧山林氛围，工写结合间，既刻画出猛禽的雄健肃穆，又以花木泉石勾勒出清冷高古的意境，将山林幽寂与猛禽孤傲融为一体，尽显精妙写实功力，内敛悠长的意趣藏于笔墨之间。",[49,24,26,27,72,7,444,226,304,225,29],"梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6425a6d54ecf9644f158bf0096b6915d.jpg",[],17,{"id":449,"slug":450,"title":451,"dynasty":64,"author":452,"museum":66,"description":453,"tags":454,"thumbUrl":456,"material":85,"size":86,"collection":34,"collections":457,"showCount":458,"zanCount":11,"manualWeight":11,"mainColor":59},288231,"ying-shu-tu-zhou-huang-shen-288231","鹰树图轴","黄慎","黄慎（1687年6月14日—1772年），福建宁化人，初名盛，字恭寿，恭懋，躬懋、菊壮，号瘿瓢子，别号东海布衣。家贫，遂学画，擅长人物、山水、花鸟。他的人物画题材十分广泛和丰富，它不仅画神仙佛道和历史名人，也擅长从民间生活中取材，塑造了纤夫 、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。",[49,24,23,25,29,50,27,72,7,173,455,69],"书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe64cb9aa88aeb2a63fd59b654ad6a0d0.jpg",[],16,{"id":460,"slug":461,"title":462,"dynasty":155,"author":463,"museum":66,"description":464,"tags":465,"thumbUrl":467,"material":34,"size":34,"collection":34,"collections":468,"showCount":469,"zanCount":11,"manualWeight":11,"mainColor":39},235695,"qiu-shu-shuang-ying-tu-zhou-yang-da-lin-235695","秋树双鹰图轴","杨大临","画面中虬曲苍劲的枯梅老干盘绕，枝头缀着细碎寒花，双鹰静卧崖木之上，翎毛刻画精微细腻，神态冷峻孤傲，尽显猛禽沉凝雄姿。下方崖壁间幽竹舒展、细草依附，飞瀑隐于山石间，一只小雀振翅穿掠，于静谧中添灵动生机。\n\n整体以水墨为骨，淡色轻染晕出萧索秋意，树石皴擦老辣苍劲，禽鸟写实兼具写意，将雄鹰的孤傲威猛与荒寒秋景相融，烘托出沉穆清旷的幽远意境，尽显花鸟画工写结合的别致意趣。",[24,25,29,50,27,26,7,173,466,226,96,72,97],"竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89756251ff5da4b2dd8e9ec09061b2f2.jpg",[],13,{"id":471,"slug":472,"title":473,"dynasty":64,"author":474,"museum":475,"description":476,"tags":477,"thumbUrl":478,"material":34,"size":34,"collection":35,"collections":479,"showCount":480,"zanCount":11,"manualWeight":11,"mainColor":481},202051,"song-ying-tu-zhou-lu-zhang-tai-202051","松鹰图轴","鲁长泰","上海博物馆","老松虬枝盘曲，皴笔勾勒出苍劲肌理，松针以浓墨点簇，疏密有致，尽显古木峥嵘之态。雄鹰独立枝头，羽翅层次细腻，眼神锐利如炬，姿态英挺矫健，兼用工笔细描与写意传神，气韵生动。背景留白开阔，虚实相生，更衬出松鹰的孤傲雄浑。整幅笔墨凝练，将松之坚韧与鹰之豪迈相融，传递刚健向上的精神气质。",[24,50,72,187,7,26,172,29,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdabe760fed5d02f497a26bc3c559c913.jpg",[35],11,"ad9d88",{"id":483,"slug":484,"title":129,"dynasty":18,"author":216,"museum":130,"description":485,"tags":486,"thumbUrl":488,"material":489,"size":490,"collection":34,"collections":491,"showCount":492,"zanCount":11,"manualWeight":11,"mainColor":39},231082,"hua-ying-tu-yi-ming-231082","此作以苍鹰为魂，猛禽踞于古松蟠枝之上，身姿挺拔傲岸，目光锐利如炬，铁爪紧扣虬结老干，将猛禽的悍戾威严尽显无遗。翎毛晕染精细，蓬松质感逼真入微，分毫毕现猛禽风神。\n\n淡墨晕染出空寂背景，衬出古松的苍劲荒疏，整幅画面工致写实，兼具文人意趣，将猛禽英武与古木苍浑相融，尽显精妙造诣，题跋环衬，书画相映，更添古雅厚重的沉静气韵。",[24,25,26,27,7,70,31,96,487,23],"古画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e583ed5386de66a99ee8f7592775a71.jpg","绢本,水墨","131.8x65.3",[],9,{"id":494,"slug":495,"title":496,"dynasty":64,"author":497,"museum":130,"description":498,"tags":499,"thumbUrl":500,"material":28,"size":501,"collection":34,"collections":502,"showCount":492,"zanCount":11,"manualWeight":11,"mainColor":59},224599,"bai-hai-qing-he-qing-tai-224599","白海青","贺清泰","乾隆四十八年(西元1783)。达拉罕亲王。汪扎尔多尔济进白海青一架。架上白鹰，铁喙钩爪，羽毛洁白，神情威猛，深得写生之妙，此幅当是与郎士宁同时同地写生而成。两位画家从不同角度观察白鹰，并以逼真手法写生下来。\n中西结合的宫廷绘画 清代没有画院的设置，只在内务府造办处中有画画处和如意馆，负责组织画家为宫廷服务。画家地位低下，或称“南匠”，因画家多系南方人之故，或称“画画人”。画家来源或为原在宫中服务的画家子弟，或大臣推荐，或画家毛遂自荐，均经考核再录用。其中也有大臣如王原祁、蒋廷锡等，虽也创作绘画为宫廷所用，则不在此中。 顺治初见于记载的宫廷画家只有黄应谌一人。康熙时有唐岱、焦秉贞、冷枚等。唐岱山水得王原祁指授，画风亦相近。焦秉贞善山水人物，用透视法，受西方的影响，冷枚为焦秉贞的学生，以人物仕女见长。其后至乾隆时期，画家有丁观鹏、姚文瀚、金廷标、余省、张宗苍、徐扬、陈枚等。他们的作品艺术成就远不及宋代和明代。最具有清代宫廷绘画特色并创造出了艺术成就的是宫廷中的一批来自西方的传教士画家，他们中有意大利人郎世宁、安德义、潘廷章，法国人贺清泰、王致诚，波希米亚人艾启蒙等。他们根据官廷的需要与爱好，用中国的作画工具，综中、西不同的观察和表现方法，如人物用西法，背景则为中法，或背景用中国画家来画；面部塑造采用正面光，减轻明暗对比度，以适合中国传统欣赏习惯等等，因而创造出一种新的风格。",[49,24,25,29,26,27,72,7,188,186,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81de27f18ee00b00b65c920a57e2c0fb.jpg","110x60cm",[],{"id":504,"slug":505,"title":506,"dynasty":507,"author":508,"museum":475,"description":509,"tags":510,"thumbUrl":512,"material":34,"size":34,"collection":35,"collections":513,"showCount":514,"zanCount":11,"manualWeight":11,"mainColor":515},202909,"song-yue-ye-ying-tu-zhou-gao-qi-feng-202909","松月夜鹰图轴","近代","高奇峰","苍劲的松枝横斜画面，猫头鹰踞于枝上，羽色以淡墨晕染辅以浓淡笔触，层次细腻，双目圆睁如炬，神形毕肖。背景淡月朦胧，松针疏朗有致，墨色虚实相生，营造出寒林月夜的清幽氛围。笔墨融贯中西，既有传统写意的洒脱，又含写实的精细，将鹰的警觉与松的坚韧交织，静中藏动。寒夜孤鹰独立，月色如水，意境静谧而深邃，尽显自然生灵之趣与画家独特的艺术匠心。",[24,29,72,50,27,187,7,511,51,49],"明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95843113e44ad11cf5c8dbf810575f3b.jpg",[35],8,"c1b39a",{"id":517,"slug":518,"title":519,"dynasty":64,"author":520,"museum":475,"description":521,"tags":522,"thumbUrl":525,"material":34,"size":34,"collection":35,"collections":526,"showCount":527,"zanCount":11,"manualWeight":11,"mainColor":528},202027,"ying-zhi-tu-zhou-ren-xun-202027","鹰雉图轴","任薰","苍松老干虬枝，松针如戟，一只雄鹰敛翅踞于枝端，目光如炬，气势沉雄；地面雉鸡羽色明丽，红冠白羽与灰褐翎毛相映，昂首翘尾，似与高枝雄鹰形成微妙对峙。笔墨上，鹰的羽翼以浓墨粗线勾勒，兼施晕染，尽显猛禽刚劲；雉鸡翎羽工细描摹与写意点染结合，层次细腻；松干皴擦出苍古质感，松针细劲利落。整幅工写相济，设色雅致，于生动写实中流露笔墨意趣，禽鸟情态毕肖，草木风骨尽显，藏海派花鸟灵动与苍劲之韵。",[24,72,523,187,7,205,27,29,524,30,49],"工写结合","笔墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2a8ba76335df4330595aedf8ab9cb21.jpg",[35],7,"b6996d",{"id":530,"slug":531,"title":532,"dynasty":533,"author":216,"museum":66,"description":534,"tags":535,"thumbUrl":541,"material":85,"size":86,"collection":34,"collections":542,"showCount":543,"zanCount":58,"manualWeight":11,"mainColor":544},243746,"ying-hu-wen-pai-shi-yi-ming-243746","鹰虎纹牌饰","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。",[536,537,538,539,540,7,221,97],"汉代","青铜器","铜制","雕刻","饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc21cbb050dd5c3727062b6a1f03f93c6.jpg",[],6,"F48FB1",{"id":546,"slug":547,"title":548,"dynasty":18,"author":216,"museum":66,"description":549,"tags":550,"thumbUrl":554,"material":85,"size":86,"collection":34,"collections":555,"showCount":556,"zanCount":11,"manualWeight":11,"mainColor":272},291010,"song-xiu-bai-ying-zhou-yi-ming-291010","宋绣白鹰轴","藏蓝底色如沉夜长空，将苍鹰衬得愈发醒目。绣线分毫毕现还原鹰身肌理，绒羽蓬松柔婉、正羽苍劲爽利，明暗晕染仿若笔绘。利爪紧扣木枝，目光斜睨远方，颈羽微张自带桀骜气度，脚间绦绳柔缓垂落，刚柔相济，消解了猛禽的戾气，更衬出鹰的凛然傲骨。\n\n以针代笔，将写实工致与写意神韵相融，把苍鹰暂居却不失英武的瞬间定格绢上，尽显丝绣工艺的极致匠心，将猛禽的孤傲风骨凝于方寸之间。",[29,551,7,30,72,552,553],"刺绣","布料","工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb3247327adb0dc78157b7678a51e132.jpg",[],5,{"id":558,"slug":559,"title":560,"dynasty":561,"author":216,"museum":66,"description":562,"tags":563,"thumbUrl":571,"material":85,"size":86,"collection":34,"collections":572,"showCount":573,"zanCount":11,"manualWeight":11,"mainColor":272},250584,"yu-ying-jue-ren-shou-pei-yi-ming-250584","玉鹰攫人首佩","商","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。",[564,539,540,7,565,97,566,567,568,569,570],"玉石","人首","商代","兽首","人物元素","透雕技法","古玉风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4eb0d685f70b993e23fbcd620ad63deb.jpg",[],3,{"id":575,"slug":576,"title":577,"dynasty":182,"author":216,"museum":66,"description":578,"tags":579,"thumbUrl":581,"material":85,"size":86,"collection":34,"collections":582,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":59},281574,"mo-ying-tu-zhou-yi-ming-281574","墨鹰图轴","此作用淡墨写意绘就，苍鹰独立虬劲松枝之上，身姿傲然挺拔。鹰眼如炬，锋喙紧抿，将猛禽的悍勇之态尽藏眼底。羽色以细劲墨线勾出纹理，翅间兼以枯墨点染，层次分明，将苍鹰的凌厉英武刻画入微。\n\n古松老干苍拙，松针以淡墨晕染，虚实掩映，留白铺陈开阔，以虚托实，令主体愈发醒目悠远。整幅笔墨简淡却意韵醇厚，寥寥数笔便将猛禽的不怒自威与古松的苍浑相融，尽显水墨写意的精妙意趣，尽显文人水墨的雅致风骨。",[24,29,50,330,7,580,225,69],"飞禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe223356ae9a0ed38e06c320d1cbcac18.jpg",[],{"id":584,"slug":585,"title":586,"dynasty":155,"author":216,"museum":475,"description":587,"tags":588,"thumbUrl":589,"material":34,"size":34,"collection":34,"collections":590,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":591},201621,"song-ying-mei-que-tu-zhou-yi-ming-201621","松鹰梅鹊图轴","画面中猛禽伫立孤石之巅，羽翼纹理细腻工致，墨色晕染层次分明，尽显翎羽的蓬松质感与劲健气势；利爪紧扣石面，姿态挺拔，目光如炬，透出傲然威仪。山石以粗犷皴法勾勒，墨色浓淡交错，线条苍劲老辣，凸显崖壁的嶙峋坚硬；旁侧松枝疏逸，松针挺劲，与山石的厚重形成呼应。整作工写结合，于细腻处见精工，粗犷处显雄浑，将猛禽的孤傲与自然的古拙相融，传递出沉静而磅礴的生命力。",[24,29,72,26,172,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc76a1a3cb90775dc060e895aec3e6d17.jpg",[],"77674e",{"id":593,"slug":594,"title":595,"dynasty":596,"author":216,"museum":66,"description":597,"tags":598,"thumbUrl":601,"material":85,"size":86,"collection":34,"collections":602,"showCount":58,"zanCount":11,"manualWeight":11,"mainColor":39},278588,"guang-wu-jiang-jun-zhang-ying-niu-tong-yin-yi-ming-278588","“广武将军章”鹰钮铜印","南北朝","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。",[69,599,538,537,539,7,600],"篆刻","官印","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f3e518683d4310dc7ba4d870844d3f3.jpg",[],{"id":604,"slug":605,"title":606,"dynasty":64,"author":216,"museum":66,"description":607,"tags":608,"thumbUrl":614,"material":85,"size":86,"collection":34,"collections":615,"showCount":58,"zanCount":11,"manualWeight":11,"mainColor":39},274452,"tong-du-jin-si-xiang-tuo-pao-ren-ri-li-biao-yi-ming-274452","铜镀金四象驮跑人日历表","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。",[538,609,539,610,611,612,220,7,613],"金器","钟表","日历","大象","工艺摆件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0faa55d49c45afe244d37096ed018a50.jpg",[],{"id":617,"slug":618,"title":619,"dynasty":64,"author":216,"museum":66,"description":620,"tags":621,"thumbUrl":625,"material":85,"size":86,"collection":34,"collections":626,"showCount":58,"zanCount":11,"manualWeight":11,"mainColor":39},270061,"xi-jiao-diao-ying-xiong-he-jin-bei-yi-ming-270061","犀角雕鹰熊合卺杯","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。",[622,539,623,7,361,624],"犀角","饮酒器","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb453621d5db6fab3918c50804eb915e.jpg",[],{"id":628,"slug":629,"title":630,"dynasty":64,"author":216,"museum":66,"description":631,"tags":632,"thumbUrl":635,"material":85,"size":86,"collection":34,"collections":636,"showCount":58,"zanCount":11,"manualWeight":11,"mainColor":59},269839,"zhu-gen-diao-xiao-ying-yi-ming-269839","竹根雕小鹰","这件竹雕以鹰为形，敛翼静立，目光如炬，将猛禽蓄势待发的沉静威严尽显无遗。匠人顺着竹根天然肌理，细密雕琢片片翎羽，层叠错落间，把苍鹰刚劲的质感描摹得栩栩如生，每一处纹理都带着利落的力道。\n\n底座随形化作枯木顽石，与小鹰浑然天成，既巧借竹根原生形态，更衬出雄鹰孤高傲岸的气度。虽形制小巧，却藏着雄浑意趣，把猛禽蛰伏时的张力凝聚在方寸之间，尽显清代民间竹刻工艺以小见大的绝妙功力。",[633,539,634,7,96],"根雕","竹质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8c31174138278b1d5038950488a3299.jpg",[],{"id":638,"slug":639,"title":640,"dynasty":64,"author":216,"museum":66,"description":641,"tags":642,"thumbUrl":646,"material":85,"size":86,"collection":34,"collections":647,"showCount":58,"zanCount":11,"manualWeight":11,"mainColor":272},261666,"qing-hua-song-ying-tu-zha-dou-yi-ming-261666","青花松鹰图渣斗","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。",[643,624,644,645,52,7],"陶瓷","日用具","青花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3977509f6f7ffb5617742275998a4ebf.jpg",[],{"id":649,"slug":650,"title":651,"dynasty":182,"author":652,"museum":66,"description":653,"tags":654,"thumbUrl":661,"material":85,"size":86,"collection":34,"collections":662,"showCount":58,"zanCount":11,"manualWeight":11,"mainColor":272},232437,"he-er-bai-yin-96-he-er-bai-yin-232437","荷尔拜因96","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。",[655,656,27,220,7,657,658,540,659,660],"油画","写实","衣帽","皮草","肖像","细节刻画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8e61b60ceb0ab61fcbff35c509b51d3.jpg",[],{"id":664,"slug":665,"title":666,"dynasty":155,"author":156,"museum":475,"description":667,"tags":668,"thumbUrl":670,"material":34,"size":34,"collection":35,"collections":671,"showCount":58,"zanCount":11,"manualWeight":11,"mainColor":672},201460,"shuang-ying-tu-zhou-lin-liang-201460","双鹰图轴","画面中双鹰踞于虬枝之上，一者昂首凌霄，目光如炬，羽翼舒张间尽显猛禽雄健霸气；一者俯身敛翅，利爪紧扣枝干，似欲俯冲猎食，神态警觉。枯树枝干以劲挺墨线勾勒，皴擦间见苍劲老辣，篆籀般笔法赋予枝干金石质感。鹰羽用浓淡干湿水墨晕染，兼以短线皴擦表现绒羽蓬松与飞羽坚硬，形神兼备。整幅墨气淋漓，气势雄浑，突破传统工笔细腻，以写意之笔抒豪迈胸襟，尽显明代花鸟“写”的意趣与力量感。",[50,29,51,72,7,396,173,669,49],"兼工带写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc42da0f424ead853f107f23d6826dc76.jpg",[35],"684f2f",{"id":674,"slug":675,"title":676,"dynasty":64,"author":216,"museum":66,"description":677,"tags":678,"thumbUrl":679,"material":85,"size":86,"collection":34,"collections":680,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":59},276468,"ying-niu-cheng-shen-jing-lv-zhang-yi-ming-276468","鹰纽“澄神静虑”章","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。\n古印章和书画一样，崇尚名人效应，讲究技艺水准。一般来说，篆刻作者以及印章属主的名气大小、地位高低和作品的价值成正比。但古印章和字画、陶瓷等热门品种又有所不同。由于藏家、行家相对较少，认知能力跟不上，以至于鉴定难度加大，认可上更挑剔、更严格。因此，对于名人作品的收藏或投资，一定要慎之又慎。即不仅要真，还要真得“好”、“精”、“开门”。要注意鉴别旧仿以及改刻、添款之作。\n古印章大多都有钮饰工艺，而钮工的精粗与否将直接影响到古印章的价值。钮饰雕琢奇巧、精致传神，薄意浮雕水平高超的，附加值亦随之提升。\n古印章的石材产地多，仅寿山、青田、昌化三地就有数百种之多，其质地高下、优劣参差不齐。一般来说，衡量石质有三点：一是直观颜色漂亮明艳、亮丽抢眼；二是质感好，即符合“细、腻、温、润、结、凝”之“六德”；三是产量稀少、外貌特殊，如上品母黄、芙蓉、封门、鸡血等名品。",[69,564,539,7,599],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6146aedfd41904c30a0f0cc4ceafe1fb.jpg",[],{"id":682,"slug":683,"title":684,"dynasty":64,"author":216,"museum":66,"description":607,"tags":685,"thumbUrl":689,"material":85,"size":86,"collection":34,"collections":690,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},274125,"tong-du-jin-fa-lang-hu-shi-biao-yi-ming-274125","铜镀金珐琅壶式表",[538,686,609,610,7,72,687,688],"珐琅器","彩绘","工艺品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a58abda7a31f29d0534d0aad7aa5f8f.jpg",[],{"id":692,"slug":693,"title":694,"dynasty":64,"author":216,"museum":66,"description":695,"tags":696,"thumbUrl":700,"material":85,"size":86,"collection":34,"collections":701,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},272664,"yu-zhi-yue-ling-qi-shi-er-hou-shi-se-mo-ying-shi-zhi-huang-mo-yi-ming-272664","御制月令七十二候诗色墨-鹰始挚黄墨","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[697,698,539,455,699,7],"墨","文房用具","楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70a2bf23ea87fb6c9e20d2cb5efcf576.jpg",[],{"id":703,"slug":704,"title":705,"dynasty":64,"author":216,"museum":66,"description":706,"tags":707,"thumbUrl":712,"material":85,"size":86,"collection":34,"collections":713,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},272304,"duan-shi-diao-ying-sui-xing-yan-yi-ming-272304","端石雕鹰随形砚","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。",[708,709,539,7,710,711],"砚","端石","随形","文房器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe53f36ba8711241e8810cd9a49329d64.jpg",[],{"id":715,"slug":716,"title":717,"dynasty":155,"author":216,"museum":66,"description":562,"tags":718,"thumbUrl":719,"material":85,"size":86,"collection":34,"collections":720,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":59},252007,"qing-yu-ying-niu-lu-ding-yi-ming-252007","青玉鹰钮炉顶",[564,539,7,155,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd791d0b07416a280b6a0566a45ad52c5.jpg",[],{"id":722,"slug":723,"title":724,"dynasty":64,"author":216,"museum":66,"description":725,"tags":726,"thumbUrl":728,"material":85,"size":86,"collection":34,"collections":729,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":59},251771,"bai-yu-san-ying-zu-xi-yi-ming-251771","白玉三鹰足洗","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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