[{"data":1,"prerenderedAt":717},["ShallowReactive",2],{"subject-yu-lan":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},455,"yu-lan","玉兰","玉兰画高清赏析","精选中国历代玉兰题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6574b31d509e3cd9ecf4949867744e6.jpg",0,60,[14,40,62,80,97,113,127,136,152,164,177,189,203,212,223,235,247,264,279,287,303,311,323,336,345,357,366,377,387,402,414,429,438,451,460,470,482,492,502,509,518,530,539,548,560,570,578,586,597,608,616,625,635,644,655,667,680,690,700,708],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":32,"material":33,"size":34,"collection":35,"collections":36,"showCount":37,"zanCount":38,"manualWeight":11,"mainColor":39},216771,"yu-tang-fu-gui-tu-xu-xi-216771","玉堂富贵图","五代十国","徐熙","台北故宫博物院","画玉兰、海棠、牡丹、石竹等，花蕊繁复，枝干错综，珍石下一锦鸡，均以双钩填彩方式描绘，工致秀丽。空隙又以石青敷染，画面填满色彩秾艳的景物，极富图案趣味，院藏中另有一幅传宋赵昌的「岁朝图」也是同类风格作品，称之为「铺殿花」，原本作为装饰厅堂的屏风画。画幅左下角有「金陵徐熙」款，疑是伪添的。按徐熙（约活动于西元十世纪初）钟陵（南京）人，为南唐著名的花鸟画家，画史记载他长于以墨写枝叶蕊萼，然后上色称落墨花，独具风格。",[23,24,25,26,27,28,29,30,31,7],"高清","国画","书画","立轴","工笔","设色","花鸟","牡丹","鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11594ba216d09de7efa721c87d10457a.jpg","绢本,设色","112.5x38.3cm","花鸟画精选",[35],3262,47,"795548",{"id":41,"slug":42,"title":43,"dynasty":44,"author":45,"museum":46,"description":47,"tags":48,"thumbUrl":55,"material":56,"size":57,"collection":57,"collections":58,"showCount":59,"zanCount":60,"manualWeight":11,"mainColor":61},214738,"hua-hui-ce-4-yun-shou-ping-214738","花卉册-4","清","恽寿平","私人收藏","恽寿平（1796-1873）是清代著名的画家，他擅长画花鸟，尤其是花卉。他的花卉册是他的代表作之一，包含了他对花卉的描绘和描写。\n\n恽寿平的花卉册以其精细的笔墨和精美的色彩著称，他善于捕捉花卉的细节和美感，并将其再现在画布上。他画的花卉通常都是生动传神，有时也带有一些象征意义。恽寿平还创作了许多花卉图谱，用来介绍各种花卉的特征和用途。\n\n恽寿平的花卉册不仅深受藏家的喜爱，也被认为是清代花卉画的杰出代表作之一。他的作品不仅为后人留下了宝贵的艺术瑰宝，而且也为我们展示了清代花卉画艺术的魅力。",[23,24,25,49,50,27,28,51,7,52,53,54],"册","没骨","桃花","花卉","枝叶","红花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F326abb94d57aaaefc22233506e6e8c26.jpg","纸本,设色","",[],1350,9,"BDBDBD",{"id":63,"slug":64,"title":65,"dynasty":44,"author":66,"museum":67,"description":68,"tags":69,"thumbUrl":74,"material":33,"size":75,"collection":35,"collections":76,"showCount":78,"zanCount":79,"manualWeight":11,"mainColor":61},220435,"yu-lan-mu-dan-tu-li-shan-220435","玉兰牡丹图","李鱓","南京博物院","此幅是李复堂较为工致的一幅写生花卉图，玉兰树极具生发之姿，玉兰花怒放，生机无限。巨石旁白牡丹，柔美富贵，体现了扬州画派与世相偕的入世画风。",[23,24,25,26,28,70,71,72,29,7,30,73],"水墨","行书","印章","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9586eb66cdeb4091ec3d5d734d3a1a44.jpg","138.1×69.8cm",[35,77],"设色画精选",738,6,{"id":81,"slug":82,"title":83,"dynasty":44,"author":84,"museum":85,"description":86,"tags":87,"thumbUrl":93,"material":33,"size":57,"collection":35,"collections":94,"showCount":95,"zanCount":96,"manualWeight":11,"mainColor":39},219036,"mu-dan-yu-lan-tu-jiang-ting-xi-219036","牡丹玉兰图","蒋廷锡","大英博物馆","画面铺展间，花木扶疏尽显生机。玉兰绽如雪团，缀于虬枝，禽鸟栖停顾盼生姿；牡丹热烈盛放，粉白紫三色交织，花瓣层叠如锦，墨绿叶片衬得花容更艳，一抹朱红点缀其间，添了灵动。树下顽石苍古，纹理拙趣，旁生细草闲花，柔媚与苍劲相映。工笔细腻见匠心，线条婉转，设色相宜，既有富贵雍容之态，又不失清雅灵动之韵，仿佛闻花间细语，观禽鸟轻啼，一派生机盎然的春日盛景跃然眼前。",[23,24,25,29,27,28,30,7,31,88,89,90,91,92],"花","枝","叶","山石","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed08238660ecdcb1bd2c392c1379139b.jpg",[35],456,3,{"id":98,"slug":99,"title":7,"dynasty":100,"author":101,"museum":20,"description":102,"tags":103,"thumbUrl":107,"material":108,"size":109,"collection":35,"collections":110,"showCount":111,"zanCount":112,"manualWeight":11,"mainColor":61},222106,"yu-lan-shen-zhou-222106","明","沈周","沈周（1427-1509）明代杰出画家。字启南，号石田，又号白石翁、玉田生、有居竹居主人等。长洲（今江苏苏州）人。性情敦厚、博学多才，长于文学，亦工诗画，善画山水、花卉、鸟兽、虫鱼，皆极神妙。常草草点缀，即得意趣。亦常题诗词于画上，当时人称他为“二绝先生”。画宗黄大疾、吴镇，自成一家笔法。亦工墨笔花鸟，和他的学生文征明并称为“吴派”两大家。又与文征明、唐寅、仇英称“明四家”。他每画一画，落笔点苔，绝不苟且。他能从多方面摹习古人，又加自己的创造，更参以二米的笔趣，善用粗笔，圆润挺劲，厚重凝炼。出入于宋元名家，创作态度极为慎重。",[23,104,24,25,49,70,28,7,105,72,106,71],"名画","老树","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F968bf12a3ae80ff7ce65c5d988345a5e.jpg","纸本","34.8×56.5厘米",[35,77],341,2,{"id":114,"slug":115,"title":116,"dynasty":44,"author":45,"museum":117,"description":118,"tags":119,"thumbUrl":121,"material":122,"size":123,"collection":57,"collections":124,"showCount":125,"zanCount":126,"manualWeight":11,"mainColor":61},290526,"hua-hui-zhou-yun-shou-ping-290526","花卉轴","藏地不详","恽南田（1633年—1690年），即恽寿平，原名格，字寿平，后以字行，改字正叔，号南田，别号云溪外史，晚居城东，号东园草衣，后迁居白云渡，号白云外史，明末清初著名书画家，常州画派的开山祖师，后来成为清六家之一。",[104,24,25,26,28,27,29,30,7,120],"松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F060eeb289a0dda1a06b4c11a188ac1f7.jpg","未知","Xcm*Xcm",[],301,4,{"id":128,"slug":129,"title":17,"dynasty":18,"author":19,"museum":117,"description":130,"tags":131,"thumbUrl":133,"material":122,"size":123,"collection":57,"collections":134,"showCount":135,"zanCount":112,"manualWeight":11,"mainColor":39},288264,"yu-tang-fu-gui-tu-xu-xi-288264","画中上方玉兰初吐芳华，海棠飞艳溢彩，秀石之后，几丛牡丹姹紫嫣红，一只野雉正倘徉其间。该图构图方法颇具特色。从整幅图中来看，所有画面被牡丹、玉兰，海棠，禽鸟和假山石充溢，十分紧密，有明显的装饰性，使观者一望而生富丽之感。",[23,24,104,25,26,29,28,27,30,7,132,52],"飞鸟","https:\u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—1772）于第二次南巡时陪同南下，不但于苏州绘「借山斋」一景，稍早经过家乡常州时，亦为乾隆皇帝绘制当地名胜苏轼「舣舟亭」，颇似御用的随行写生画家。此作描绘苏州虎邱一带的景致，承续「四王」山水风格，并揉合地貌与建筑，呈现出清代宫廷正统派山水画的风貌。乾隆皇帝于虎邱所题诗句「林泉印证真亲切，秀丽从来说虎邱」，显示出他以艺术品「即景印证」的习惯，并不囿于古代名迹，当朝词臣的画作亦可添助游兴。",[23,24,25,104,26,28,27,29,52,30,7,53,72],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F644cd5f86ffa087cae3a9551bfee9b91.jpg","纸本，设色","260x101.4",[35,77],194,{"id":190,"slug":191,"title":192,"dynasty":44,"author":193,"museum":117,"description":194,"tags":195,"thumbUrl":198,"material":199,"size":200,"collection":57,"collections":201,"showCount":202,"zanCount":112,"manualWeight":11,"mainColor":39},223160,"kong-que-yu-lan-mu-dan-tu-shen-quan-223160","孔雀玉兰牡丹图","沈铨","沈铨（1682—1760）， 其画远师宋代黄家画派，近承明代吕纪，工写花卉翎毛，禽兽，设色妍丽，工致精丽、赋色浓艳，极尽构梁之巧。画面注重写实，画风谨严工细，造型准确生动。",[23,104,24,25,196,27,28,29,197,7,30,73],"清代","孔雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe434c61b051ad12a728a695b4c78c622.jpg","绢本设色","145×84cm",[],172,{"id":204,"slug":205,"title":83,"dynasty":44,"author":206,"museum":117,"description":207,"tags":208,"thumbUrl":209,"material":122,"size":123,"collection":57,"collections":210,"showCount":211,"zanCount":11,"manualWeight":11,"mainColor":61},283786,"mu-dan-yu-lan-tu-liu-de-liu-283786","刘德六","画面取春日小景，老干虬劲舒展，满枝玉兰冰姿清雅，与下方秾艳牡丹相映成趣。湖石造型奇崛，勾勒皴擦尽显嶙峋质感，成为花木间的视觉支点。两只禽鸟一动一静，振翅的春鸟掠过花枝，另一只探于花下，为画面添就鲜活生机。\n\n此作用笔兼工带写，玉兰以淡墨写意枝干，白花轻勾淡染，尽显清逸；牡丹设色妍丽却不俗艳，花叶层次饱满鲜活。整体设色明快和谐，将春日芳菲的富贵雅致，与江南暮春的悠然意趣相融，在写实写生中晕染出文人画的娴静意韵，尽揽春日生机雅致。",[24,25,29,26,28,30,7,132,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F839a7a0acc34077c380f4ae54ab45aab.jpg",[],81,{"id":213,"slug":214,"title":215,"dynasty":44,"author":216,"museum":117,"description":217,"tags":218,"thumbUrl":220,"material":122,"size":123,"collection":57,"collections":221,"showCount":222,"zanCount":11,"manualWeight":11,"mainColor":61},263553,"ke-si-yu-zhi-shi-hua-hui-tu-ce-yu-lan-yi-ming-263553","缂丝御制诗花卉图册-玉兰","佚名","缂（kè，同：刻）丝（英文：K’o-ssu 、Kesi 或 Chinese silk 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兰花，只有头； 浅玉晶莹剔透，争奇斗艳。 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老舍《四世同堂》四九：“他看不起绸缎的衣服，与文雅的态度，可又有点自惭形秽。”",[396,424,272,421,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0470fffd6c773c7075ddde9171eab1cb.jpg",[],{"id":617,"slug":618,"title":619,"dynasty":44,"author":216,"museum":117,"description":590,"tags":620,"thumbUrl":623,"material":122,"size":123,"collection":57,"collections":624,"showCount":112,"zanCount":11,"manualWeight":11,"mainColor":61},260253,"qing-hua-yue-ying-yu-lan-tu-guan-yin-ping-yi-ming-260253","青花月影玉兰图观音瓶",[592,593,7,621,622,29],"月影","观音瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0999123b79110f96a9906cb8b1dcb08c.jpg",[],{"id":626,"slug":627,"title":628,"dynasty":44,"author":216,"museum":117,"description":629,"tags":630,"thumbUrl":633,"material":122,"size":123,"collection":57,"collections":634,"showCount":112,"zanCount":11,"manualWeight":11,"mainColor":61},257730,"wu-cai-shi-ju-yu-lan-wen-xiao-zhong-yi-ming-257730","五彩诗句玉兰纹小盅","器型秀巧轻盈，胎釉莹白温润。外壁一侧以五彩绘就玉兰枯槎，虬曲苍劲的枝干上，淡蓝花苞轻绽，嫩叶绿芽点缀其上，晕染柔和雅致，将早春清浅生机凝于瓷上。另一侧以蓝料题书诗句，笔致隽秀工整，文韵与画意相融，衬得整器愈发清丽脱俗。配色清新淡雅，无繁复堆砌之态，将素净瓷釉与淡雅彩绘巧妙结合，带着温婉雅致的制瓷意韵，把玉兰的清灵之美藏于掌心小器，尽显中式文人雅致意趣，是兼具赏用之妙的精巧瓷作。",[44,592,631,28,7,632,172,29],"五彩","诗句","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F888d2471eaaa59d7bbf65d2cbb6f2273.jpg",[],{"id":636,"slug":637,"title":638,"dynasty":44,"author":216,"museum":117,"description":639,"tags":640,"thumbUrl":642,"material":122,"size":123,"collection":57,"collections":643,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":39},270060,"hong-mu-diao-yu-lan-hua-shi-kou-chi-wen-bi-tong-yi-ming-270060","红木雕玉兰花式口螭纹笔筒","木雕是雕塑的一种，在我们国家常常被称为“民间工艺”。木雕可以分为立体圆雕、根雕、浮雕三大类。木雕是从木工中分离出来的一个工种，在我们国家的工种分类中为“精细木工”。\n以雕刻材料分类的民间美术品种。一般选用质地细密坚韧，不易变形的树种如楠木、紫檀、樟木、柏木、银杏、沉香、红木、龙眼等。\n木雕是以各种木材及树根为材料进行雕刻，是以传统雕刻工艺中的重要门类。木雕的历史非常悠久，在浙江余姚河姆渡文化遗址就有木雕鱼出土，这是我国木雕史上最早的实物。河南信阳战国大墓出土的木雕镇木兽，湖北云梦汉墓出土的彩雕木佣均为我国早期木雕作品。由于保存的困难，现今很难看到超过千年的木雕作品。\n两宋时期木雕作品较为多见，这时的木雕已采用组织细密的木材为载体进行制作，这就有利于木雕作品的传世。我国的一些庙宇里还保存有宋代的木雕作品。\n元明时由于海外贸易的急速发展，木材种类有所增加，许多由海外进口的硬质木材，是木雕工艺得到长足发展。\n明清期间是木雕艺术的一个辉煌时期，涌现出大量有史可考的名家、艺人及其作品，是古代木雕艺术的一个高峰。\n清末至民国年间由于政府的腐败，国力的衰退，外强的侵略，民不潦生，木雕艺术从此衰落，艺人名家也只能沦为匠人糊口度日。新中国成立后在党和国家的关怀下，民间工艺得到了保护及挖掘，木雕也重新涣发出生命，涌现出一批国家级大师。他们的作品，工艺精湛，秉承传统，立意深远，讴歌时代，体现了大师们立足传统，锐意创新，直抒重获新生的胸怀和报效国家，知遇之恩的深情。\n国家改革开放，经济腾飞，国富民强，党和国家对民间工艺的大力扶持，唤起了民众对传统工艺美术的热爱与追求。逢此盛世，民间工艺美术有了新的飞跃，木雕艺术也不例外。面对实际情况，在全国工艺品展出中，优秀作品的作者年龄偏大，年轻作者寥寥无几。",[555,457,567,641,7,172],"螭纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb21ccdb89bf95bed70cff1e5fe0e21c.jpg",[],{"id":645,"slug":646,"title":647,"dynasty":44,"author":216,"museum":117,"description":648,"tags":649,"thumbUrl":653,"material":122,"size":123,"collection":57,"collections":654,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":61},267652,"huang-se-di-yu-lan-fu-gui-ru-yi-wen-jin-yi-ming-267652","黄色地玉兰富贵如意纹锦","如意为木胎，其上采用八成金质累丝工艺。如意头的正面为累丝古钱纹，中心嵌绿松石“乙酉”二字，背面为镂空的古钱纹并露出木胎。柄的正面亦为累丝古钱纹，镶嵌绿松石“万年如意”四字，背面为累丝六角锦纹。如意的侧边以卷草纹为饰。",[650,272,7,30,651,652],"织锦","如意纹","传统纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6bacc7a65ddf6c7cd9b30d76e1aec1f.jpg",[],{"id":656,"slug":657,"title":658,"dynasty":44,"author":659,"museum":406,"description":660,"tags":661,"thumbUrl":664,"material":57,"size":57,"collection":57,"collections":665,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":666},202563,"yu-shu-qu-yu-tu-zhou-ren-xia-202563","玉树鸲鹆图轴","任霞","玉兰花绽于苍枝间，花瓣以淡墨勾勒轮廓，敷染出素洁莹润之态，橙红轻点花心，似含暖意；两只鸲鹆以浓墨泼写，墨色浓淡相宜，翎羽蓬松灵动，或昂首远眺，或俯身啄食，神形毕肖。枝干以书法笔意写就，线条老辣苍劲，与花叶的柔媚形成刚柔对比。画面笔墨简括却意趣盎然，文人画的雅致与写生的鲜活交融，尽显花鸟之生机。",[24,29,70,28,242,7,662,72,663],"八哥","行","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F526af66a87474fd8dadfd285b86394fe.jpg",[],"bfafa0",{"id":668,"slug":669,"title":670,"dynasty":100,"author":671,"museum":406,"description":672,"tags":673,"thumbUrl":677,"material":57,"size":57,"collection":57,"collections":678,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":679},201429,"hua-mao-chun-song-tu-zhou-chen-can-201429","花茂春松图轴","陈粲","苍松古干鳞皴密布，松针如簇，笔力细致入微；嶙峋石体淡墨皴染，与松枝的遒劲相映。玉兰与山桃点缀其间，花瓣晕染清雅，色泽温润，春意悄然流淌。整幅设色工致，写实中见雅致，将春日生机与古木的苍劲融于一卷，尽显工笔花鸟的细腻韵致。",[27,28,29,120,674,7,675,476,676],"石","山桃","立","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8034114f19005bd5d2ac233692b9789.jpg",[],"a38653",{"id":681,"slug":682,"title":683,"dynasty":44,"author":216,"museum":117,"description":684,"tags":685,"thumbUrl":688,"material":122,"size":123,"collection":57,"collections":689,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},273921,"hong-se-duan-xiu-yu-tang-fu-gui-wen-yi-pei-yi-ming-273921","红色缎绣玉堂富贵纹椅帔","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。",[421,272,686,29,30,7,341,28,687],"椅帔","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0f9482b1f38de656000a4d03b459576.jpg",[],{"id":691,"slug":692,"title":693,"dynasty":100,"author":216,"museum":117,"description":694,"tags":695,"thumbUrl":698,"material":122,"size":123,"collection":57,"collections":699,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},270042,"xi-jiao-diao-yu-lan-bei-yi-ming-270042","犀角雕玉兰杯","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。",[457,696,7,697],"饮酒器","犀角器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42f244df11284c36afb5132e43a6e613.jpg",[],{"id":701,"slug":702,"title":693,"dynasty":100,"author":216,"museum":117,"description":694,"tags":703,"thumbUrl":705,"material":122,"size":123,"collection":57,"collections":706,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":707},269802,"xi-jiao-diao-yu-lan-bei-yi-ming-269802",[457,696,7,704,172],"犀角","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9b9c8d73ee8039d352e5dc00ac18112.jpg",[],"F48FB1",{"id":709,"slug":710,"title":711,"dynasty":44,"author":216,"museum":117,"description":712,"tags":713,"thumbUrl":715,"material":122,"size":123,"collection":57,"collections":716,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":356},252313,"mi-la-yu-lan-hua-shi-xi-yi-ming-252313","蜜蜡玉兰花式洗","这件器物色泽浓红醇厚，质地温润如凝脂。依料随形雕刻玉兰花与缠枝，枝蔓交错盘绕，将天然纹理与雕刻意趣融为一体。花苞饱满莹润，花瓣舒展灵动，肌理褶皱间尽显柔美雅致。刀工圆熟细腻，写实中带着写意松弛感，既留存花果鲜活生机，又不失文房雅器的沉静内敛，尽显匠人巧思与清隽文玩意趣，是仿生雕刻的精巧之作。",[714,457,7,172],"蜜蜡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d1da27e62b424737c025b4c17c1f267.jpg",[],1777535707733]