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。明末清初画家，中国画一代宗师。",[24,51,7,117,27,118,119,52],"印章","书法","镜心","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa17bf60f144734e219fe785cbacc5ded.jpg","未知","Xcm*Xcm",[],316,{"id":126,"slug":127,"title":128,"dynasty":129,"author":130,"museum":79,"description":131,"tags":132,"thumbUrl":146,"material":55,"size":147,"collection":56,"collections":148,"showCount":149,"zanCount":150,"manualWeight":11,"mainColor":40},218756,"xie-sheng-hua-niao-tu-mu-xi-218756","写生花鸟图","宋","牧溪","这是一幅水墨画，画的是各种花卉、果蔬、飞禽走兽，并绘有草、坡、竹、石。用墨精到，造型准确。与北京故宫收藏的宋代百花长卷相比，水墨画更显从容，为元代王瑞雪和明代林良的水墨画打开了大门。",[23,24,49,133,51,134,52,27,135,136,137,68,138,7,139,140,141,142,30,143,144,82,145],"长卷","写生","花卉","蔬果","竹","牡丹","鸟","白菜","萝卜","南瓜","葱","芙蓉","水仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F319f1d586ad6d8f701799388a3a2ded1.jpg","44.5x1017.1cm",[56],302,6,{"id":152,"slug":153,"title":154,"dynasty":18,"author":155,"museum":79,"description":156,"tags":157,"thumbUrl":161,"material":162,"size":36,"collection":36,"collections":163,"showCount":164,"zanCount":73,"manualWeight":11,"mainColor":40},214861,"xie-sheng-ce-4-hua-yan-214861","写生册-4","华嵒","华嵒是一位清代著名画家和艺术家。他的写生册是一本记录他写生草稿的册子，通常包含他对自然和人物的写生绘画。写生册是画家们练习和提高技巧的重要工具，因为它们能够帮助画家观察、捕捉和描绘细节。华嵒的写生册中可能包含了他对山水、花鸟、人物等的写生画作。",[67,24,158,26,25,7,159,160,117,27],"清代","海螺","水草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F185c3169af8452ffdbb9bb497462b957.jpg","纸本,设色",[],286,{"id":166,"slug":167,"title":168,"dynasty":18,"author":45,"museum":169,"description":170,"tags":171,"thumbUrl":173,"material":55,"size":174,"collection":56,"collections":175,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":40},218898,"yu-ya-tu-juan-zhu-da-218898","鱼鸭图卷","上海博物馆","朱耷，号八大山人。八大山人被人们所称道不仅是因为他是一个独具个性的画家，还因为坚守民族气节的品质。明末崇祯皇帝自缢时，八大山人已九岁，作为一个宗室后裔遭到国破家亡的命运，其悲痛可以想象的。他佯狂避世，杜绝交往，甘于贫困，沉溺于书画的创作中。他的作品独具一种“笔意纵恣”的画风。这件《鱼鸭图》是他晚年艺术创作成熟阶段的代表作品 。画面上只有几只鸭子、几尾游鱼和几块半露水面的石块，造型十分简练，笔墨浓淡的处理却十分考究，生动地刻画出岩石的坚实感、鸭毛的松蓬以及鱼身上鳞、鳍的变化。八大将鱼眼画成“白眼”，喻含了他对清王朝的不满和蔑视。",[23,24,49,133,51,7,172,53,117],"鸭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35823c256193bde43d49e8eda3ea517d.jpg","纵23.2厘米 横569.5厘米",[56],211,{"id":178,"slug":179,"title":180,"dynasty":18,"author":45,"museum":181,"description":182,"tags":183,"thumbUrl":184,"material":36,"size":36,"collection":36,"collections":185,"showCount":186,"zanCount":11,"manualWeight":11,"mainColor":40},230286,"yu-shi-tu-juan-zhu-da-230286","鱼石图卷","美国克利夫兰艺术博物馆","此作用极简水墨写就，大片留白晕出空寂玄远的意境。怪石以枯淡焦墨挥扫，嶙峋奇崛，笔势纵逸老辣，似藏丘壑风骨。游鱼寥寥数笔便形神具足，悠游于虚空之间，不见水波而满幅皆含水意，将闲逸之趣藏于无中生有的灵趣之中。\n\n题跋与画面相映成趣，书法朴拙疏朗，和水墨笔意浑然相融。整卷以虚代实，以少胜多，脱尽尘俗烟火气，将冷逸禅意藏于笔墨留白之间，寥寥数笔便勾勒出物我两忘的天地，尽显极简至极的东方写意美学。",[23,24,51,133,52,53,7,137,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F780cb8efb806c53984af9356a5a498f8.jpg",[],198,{"id":188,"slug":189,"title":190,"dynasty":191,"author":192,"museum":20,"description":193,"tags":194,"thumbUrl":197,"material":34,"size":198,"collection":199,"collections":200,"showCount":201,"zanCount":202,"manualWeight":11,"mainColor":40},222237,"xie-yu-tu-xu-wei-222237","蟹鱼图","明","徐渭","《蟹鱼图》“走笔如飞，泼墨淋漓”，在用笔上他强调一个“气”字，看似草草，若断若连，实际上笔与笔之间有着气势在贯通，观他的作品，能体会出他是在借物吟咏人生情怀，由此可见，画家徐渭以他的才情，将中国大写意花鸟画推上了艺术的最高峰，此图不愧为大写意艺术的巨匠的杰作。",[23,24,51,133,52,195,7,160,196],"蟹","芦苇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f0c23795adba5be0f62953199fed27d.jpg","28.7cmx98cm","水墨画精选",[199],182,1,{"id":204,"slug":205,"title":206,"dynasty":18,"author":207,"museum":20,"description":208,"tags":209,"thumbUrl":211,"material":36,"size":36,"collection":56,"collections":212,"showCount":213,"zanCount":73,"manualWeight":11,"mainColor":40},236628,"zi-teng-you-yu-zhou-yun-qing-236628","紫藤游鱼轴","恽青","此作以没骨法绘就，上方紫藤柔枝舒展，翠叶敷色清润，紫白花穗垂曳，似有暗香浮动，搭配题诗更添文韵。下方水面澹澹，数尾游鱼摆尾穿行，笔墨简逸却将悠游之态尽显。\n\n静立的花木与灵动的游鱼相映成趣，整作设色雅致柔和，笔意秀润空灵，将花下观鱼的闲逸禅意晕染开来，尽显文人清雅意趣，淡而有味，余韵悠长。",[24,49,50,26,25,27,210,7],"紫藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a686f222042b05ac0a21c956e3be3d9.jpg",[56,90],169,{"id":215,"slug":216,"title":217,"dynasty":18,"author":78,"museum":20,"description":218,"tags":219,"thumbUrl":222,"material":223,"size":224,"collection":36,"collections":225,"showCount":226,"zanCount":202,"manualWeight":11,"mainColor":40},233791,"liao-ting-yu-zao-tu-zhou-yun-shou-ping-233791","蓼汀鱼藻图轴","该幅是恽氏触景生情的写生之作。构图简洁无远、中、近景之分，仅绘青山园池的一隅：蓼花、翠竹与湖石构筑出典雅平和的意境，数尾游鱼惬意的神态又为全幅平添了几分生机和意趣。恽寿平在《瓯香馆集补遗画跋》曾言：“以古人为师犹未能臻妙，必进而师抚造化，庶几极妍尽态而为大雅之宗。” 此图便体现了他这种在传统的绘画之外，更注重师法自然的美学思想。在表现技法上，恽寿平采用的是他出古入新创制的“没骨”画风，即不用笔勾勒物象的轮廓线，而全以色彩点染而成。竹、芦、蓼叶及水藻施以浓淡不同的花青、淡赭、浅红等，每片叶均一笔撇出，缺少轮廓线的束缚，物象更具摇曳多姿的生动性。湖石以淡花青为主调，施用大量的水分晕染，没有干笔勾线，枯笔皴擦，湖石固然失去了石体坚硬的质感，但其玲珑剔透的秀润之美倍增。",[24,26,25,27,53,7,220,160,221],"蓼草","藻类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a9bc3daeb5afc87149b9699423ade1b.jpg","纸本，设色","纵135厘米，横62.6厘米",[],162,{"id":228,"slug":229,"title":230,"dynasty":18,"author":78,"museum":64,"description":231,"tags":232,"thumbUrl":235,"material":36,"size":236,"collection":36,"collections":237,"showCount":238,"zanCount":11,"manualWeight":11,"mainColor":40},233897,"hua-hui-ce-yun-shou-ping-233897","花卉册","恽寿平（1633-1690年），初名格，后以字行，又字正叔，别号南田，一号白云外史、云溪外史、东园客、巢枫客、草衣生、横山樵者。江苏武进人。清代著名画家。与“四王”、吴历并称“清初六大家”。其父恽日初诗文杰出，为“复社”中人。叔父恽向（道生）为著名山水画家，自创一派。恽寿平是清朝初期最享盛名的花鸟画家。其画作多写生，人称“写生正派”；更以徐崇嗣为宗，兼取各家之长，极大的发展了没骨画。所画花卉，很少勾勒，以水墨着色渲染，用笔含蓄，画法工整，明丽简洁，天趣盎然。恽寿平不仅画作出众，风格独具，而且兼工诗书，题句清丽流畅，诗格脱俗超逸，为“昆陵六逸”之冠。恽南田《山水花卉册》八帧，其中包括山水，花鸟及情景兼容的人物，攘括了恽南田所有的画种。画中有退耕堂藏印。退耕堂为徐世昌的室名。\n恽寿平一生坎坷，饱经困苦，他幼年聪颖玲利，遭遇战乱，与兄皆被俘，与父亲失散，后遇灵隐寺方丈相救，才得以与家人团聚，归家后，发奋读书学画。经刻苦钻研，于古文、诗词、书画无不精擅。他崇尚气节，誓不应科举，少时的忧患，留下深深的创痛，一生未尝忘情。却在绘画上取得了很高的成就；恽南田曾致书王（翚）说：“格于山水，终难打破一字关，曰‘窘’，良由为古人规矩法度所束缚耳。”又说：“君独步矣！吾不为第二手也”。于是恽寿平转攻花鸟，以后山水不过偶而为之。可见其艺术抱负。《山水花卉册》中的山水，取黄公望笔法，于荒率中见秀润，尖毫勾皴，浓墨点树、高旷清淡，浸润宋元诸家，吸取王蒙、二米等人之长，渐脱刻极。40岁左右作品最为精采，如43岁的《山水花鸟册》，技法灵活多变，表达各家风貌准确，艺术已臻成熟。他的花鸟画成就最为突出，取法徐崇嗣的没骨法，他的没骨花卉，揉合了黄（筌）、徐（熙）两派技法，既重视写生，力求形似，“每画一花，必折是花插之瓶中，极力描摹，得其生香活色而后已。”又强调“与花传神”。力去华靡，追求“ 澹雅”。此册中的花鸟更是形神兼备，清新淡雅，具有新的风貌。",[24,49,233,26,234,27,135,7,117],"册","没骨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc808c246006bd21e0410433b0454b719.jpg","纵32.5厘米，横25.5厘米",[],154,{"id":240,"slug":241,"title":242,"dynasty":18,"author":78,"museum":64,"description":243,"tags":244,"thumbUrl":246,"material":121,"size":122,"collection":36,"collections":247,"showCount":248,"zanCount":73,"manualWeight":11,"mainColor":249},290523,"yu-zao-tu-zhou-yun-shou-ping-290523","鱼藻图轴","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。",[67,24,49,50,26,25,27,7,160,245,210],"浮萍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F748fd697006adc0f65ec737a5e5f60cf.jpg",[],149,"795548",{"id":251,"slug":252,"title":77,"dynasty":18,"author":78,"museum":64,"description":243,"tags":253,"thumbUrl":255,"material":121,"size":122,"collection":36,"collections":256,"showCount":257,"zanCount":73,"manualWeight":11,"mainColor":40},290536,"yan-xi-yu-le-zhou-yun-shou-ping-290536",[24,67,50,49,25,26,27,82,7,85,118,117,254],"鱼乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20aff2a060a96207e9cbb6a8febec6d9.jpg",[],143,{"id":259,"slug":260,"title":261,"dynasty":18,"author":262,"museum":20,"description":263,"tags":264,"thumbUrl":270,"material":162,"size":271,"collection":90,"collections":272,"showCount":273,"zanCount":73,"manualWeight":11,"mainColor":40},219175,"shuang-mao-kui-yu-tu-cheng-zhang-219175","双猫窥鱼图","程璋","此图绘制的是一幅秋天的美好图景。一弯池水迂回荡漾，岸边苇草萌发，树枝随风而动，显得古朴与优雅。池塘边两只花猫，葡匐在岸上，双眼紧盯着沟渠中的游鱼。仿佛在欣赏他们惬意的身姿，溪水对岸，淡色轻染，烟霭迷濛。全画以水彩设色技法来体现物象，工整细致，将岸石的坚实感，猫鱼的柔滑感，苇草的飘逸感，树枝的风动感，表现的惟妙惟肖。可能是因为画家懂得生物百态，所以画的木头，苇草，浮萍、树干，树枝及红叶，在透视的处理上，以及远近、前后、浓淡、深浅等方面，都能符合自然景物的真实性。并利用干、湿、浓、淡的笔力墨法所产生的差异，整体变得稳重、秀润。",[23,67,24,49,50,26,25,51,265,7,266,267,268,269],"猫","枯树","石头","草","水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ee5c1ca6bba6d53a16282a54c29ac96.jpg","纵148cm 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整幅画是水，不是一笔一划，而是海藻随波逐流，鱼群追逐，红花飘扬。 这是非常生动的。 所有的绘画方法都是渲染的，而不是轮廓。",[24,67,26,25,27,7,319,268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F140f4302cb2d72fab458841216deaf68.jpg",[56],71,"37474F",{"id":516,"slug":517,"title":518,"dynasty":18,"author":519,"museum":79,"description":520,"tags":521,"thumbUrl":524,"material":26,"size":525,"collection":90,"collections":526,"showCount":527,"zanCount":202,"manualWeight":11,"mainColor":40},219295,"xin-nian-da-ji-tu-chen-shu-219295","新年大吉图","陈舒","陈舒，字原舒，生卒年待考。浙江嘉善人，一作江苏华亭（今上海市）人，侨居江宁（今南京市）。顺治六年（1649）进士，善画花鸟草虫，着有《道山遗稿》。辛夷花下立一雄鸡，目光专注凝视鲶鱼。以辛夷搭配鲶鱼、公鸡，取「辛」「鲶」「鸡」的谐音，有「新年大吉」的寓意，为年节应景画作。构图似未经意，但立意新颖，设色亦饶有文人气息。",[24,49,50,26,51,27,522,7,135,523],"鸡","枝蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42a4e4216ee659fdfed338418acbd5e2.jpg","99x40",[90],66,{"id":529,"slug":530,"title":531,"dynasty":18,"author":287,"museum":169,"description":532,"tags":533,"thumbUrl":534,"material":34,"size":535,"collection":36,"collections":536,"showCount":537,"zanCount":202,"manualWeight":11,"mainColor":40},233740,"za-hua-ce-xu-gu-233740","杂画册","虚谷（1823-1896），俗姓朱，名怀仁，僧名虚白，字虚谷，别号紫阳山民、倦鹤，室名觉非庵、古柏草堂、三十七峰草堂，新安（今安徽歙县）人，居广陵（今江苏扬州）。工山水、花卉、动物、禽鸟，作画有苍秀之趣，敷色清新，造型生动，落笔冷消，别具风格。性情孤僻，非相处情深者不能得其片纸。早年学界画，后以擅画花果、禽鱼、山水著名。风格冷峭新奇，绣雅鲜活，无一笔滞相，匠心独运，别具一格。\n《杂画册》题材广泛，有白猫、金鱼、松鼠、竹、荷、菊、枇杷等众多意象，堪称虚谷的代表作。如《蔬笋河豚》竹笋的长锥形与河豚的椭圆形，置于一幅中，得到了和谐的统一，情趣横生。此图的绘画技巧突破了前人的成法，显现其独特的新格局。",[24,26,51,233,117,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6626be7eb24b41fff798946e9ab14f6.jpg","纵34.7厘米，横40.6厘米",[],62,{"id":539,"slug":540,"title":405,"dynasty":18,"author":541,"museum":20,"description":542,"tags":543,"thumbUrl":544,"material":55,"size":545,"collection":56,"collections":546,"showCount":547,"zanCount":11,"manualWeight":11,"mainColor":40},219298,"you-yu-tu-li-fang-ying-219298","李方膺","《游鱼图》是李方膺的代表作。画中春水方生，欢腾的鲤鱼争相穿越于河水间，它们或直冲入水底，或徜徉于水面，或摇头摆尾，或展鳍跳跃，在寒冷的冬天之后尽情享受着春天河水复苏带来的喜悦。画面生动传神而富有情趣。作者用笔洗练，虽无一笔背景，却使人透过温和的春水仿佛看到了江南明媚的春日景象，达到了意到笔不到、景在画外的艺术效果。\n根据画面的风格和题诗，可以推断此图是李方膺罢官（乾隆十三年，1748年）之后的作品。画中作者以游鱼自拟，隐喻他久困樊笼，终得返归自然，表现了作者向往自由生活的思想及其品格情操。明清文人常以“四君子”题材直抒胸臆，表现闲雅高洁的品行。李方膺也善画梅，而在晚年，他选择了游鱼为题材表达自己的思想感受，跳出了文人画的樊篱，立意新颖，扩大了文人画的表现领域和审美情趣，他的创新也正表现出“扬州八怪”对绘画的突出贡献。\n在画面位置经营上，此图也与众不同。5尾姿态不同的游鱼组成一条反“S”形曲线，鱼头、鱼尾相互呼应，既有形式上的美感，又渲染了腾跃而出的气氛。右边题诗一贯到底，字体浑厚雄肆，增强了画面的整体感，从而成为诗、书、画完美统一的佳构。",[23,24,51,50,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff613ec4e2d38e9fcb8dd2ed4789cd59.jpg","纵123.5厘米，横60厘米",[56,199],55,{"id":549,"slug":550,"title":551,"dynasty":18,"author":552,"museum":64,"description":553,"tags":554,"thumbUrl":562,"material":223,"size":563,"collection":36,"collections":564,"showCount":565,"zanCount":202,"manualWeight":11,"mainColor":40},222700,"qiu-feng-mo-zao-tu-juan-shou-juan-qian-yu-ling-222700","秋风墨藻图卷手卷","钱与龄","画中的蓝藻、紫绿红蓼、游鱼蟹、泥鳅蛙、蜻蜓翠鸟、白鹭飞虫，游或游或荷花或偷窥，首当其冲的就是充满活力的秋天。 年代，清代女画家，画家陈舒的曾孙女，写生写生，画如陈舒的笔法。",[23,67,24,49,133,26,25,68,7,139,160,555,196,362,30,556,557,558,559,560,135,269,561,85],"蜻蜓","白鹭","红鱼","水生植物","莲叶","草丛","小鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30ec091c195124569eded74b3cf2a78e.jpg","32.2×339.2cm",[],54,{"id":567,"slug":568,"title":569,"dynasty":191,"author":63,"museum":358,"description":570,"tags":571,"thumbUrl":573,"material":574,"size":575,"collection":56,"collections":576,"showCount":577,"zanCount":11,"manualWeight":11,"mainColor":514},219101,"zao-yu-tu-yi-ming-219101","藻鱼图","墨色晕染间，清浅水泽渐显。一尾大鱼摆尾游弋，鳞片层层叠叠如细网，纹理毕现；鳍翼舒展似带，姿态灵动若欲破纸而出。周遭数尾小鱼穿梭往来，或潜或浮，水藻轻曳于碧波，浮萍点点映于水面，更添生机。笔墨细腻处见鳞羽之微末，粗放处显水态之苍茫。简淡构图中藏自然野趣，虽无落款，却于动静相宜间尽显明代鱼藻画的雅致意趣——以物寄情，于寻常水族中见生命之美，于古雅绢素上留一段清逸时光。",[24,49,572,25,26,7,362],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde6dabc68c34df057f3be3974e848c64.jpg","绢本,水墨","纵188横99.1厘米",[56],50,{"id":579,"slug":580,"title":581,"dynasty":191,"author":582,"museum":64,"description":583,"tags":584,"thumbUrl":587,"material":121,"size":122,"collection":36,"collections":588,"showCount":589,"zanCount":11,"manualWeight":11,"mainColor":40},235803,"luo-hua-you-yu-tu-shan-chen-chun-235803","落花游鱼图扇","陈淳","陈淳（1483年—1544年），字道复，后以字行，更字复甫，号白阳，又号白阳山人，长洲（今江苏苏州）人，明代绘画大师。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 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汉三个阶段。汉镜纹饰的主要种类有草叶纹镜、蟠龙纹镜、百乳镜、连弧纹镜、规矩镜、多乳禽兽纹镜和变形四叶镜等。",[607,610,611,612,82,7,613],"铜制","雕刻","连弧纹","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ae6c95bfa6406dc5ee19e54c4bbc580.jpg",[],{"id":617,"slug":618,"title":531,"dynasty":18,"author":45,"museum":64,"description":115,"tags":619,"thumbUrl":620,"material":121,"size":122,"collection":36,"collections":621,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":40},235507,"za-hua-ce-zhu-da-235507",[24,51,233,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71944dd81ba9eca5eee9681c09324d50.jpg",[],44,{"id":624,"slug":625,"title":626,"dynasty":129,"author":627,"museum":64,"description":628,"tags":629,"thumbUrl":631,"material":121,"size":122,"collection":36,"collections":632,"showCount":633,"zanCount":11,"manualWeight":11,"mainColor":249},290073,"tai-ye-he-feng-tu-feng-da-you-290073","太液荷风图","冯大有","南宋画家，生卒年不详，是南宋吴门（今江苏苏州）人。他自号怡斋，画史记载他善于捕捉莲花风、晴、老、嫩不同的面貌，可说是画莲的能手。",[585,24,67,25,26,630,27,28,29,85,7],"青绿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33b38195099f690faa5e9453aed49e0a.jpg",[],42,{"id":635,"slug":636,"title":637,"dynasty":18,"author":638,"museum":64,"description":639,"tags":640,"thumbUrl":642,"material":121,"size":122,"collection":36,"collections":643,"showCount":633,"zanCount":11,"manualWeight":11,"mainColor":40},238955,"yu-ce-ye-ma-yuan-yu-238955","鱼册页","马元驭","马元驭（1669—1722）清代画家。字扶羲，号栖霞，又号天虞山人，江苏常熟人。\n画传家法，而气韵超逸突过乃父。赋性落拓，纵酒逞笔，乃益豪放。写生得恽寿平亲传，又与蒋廷锡讨论六法，故没骨画益工，神韵飞动，不拘陈迹。元驭自以为得沈周、陆治遗意，其超纵处诚有陆氏风规，而老健远逊石田，盖能品也。兴至之作，逸笔尤佳，多用水墨。书亦隽雅。卒年五十四。",[67,24,49,641,51,26,7,160,27,52],"册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3792bb542308bd6469d94eda6dc0aa5b.jpg",[],{"id":645,"slug":646,"title":647,"dynasty":346,"author":648,"museum":649,"description":650,"tags":651,"thumbUrl":653,"material":654,"size":655,"collection":36,"collections":656,"showCount":633,"zanCount":11,"manualWeight":11,"mainColor":249},221856,"yu-tu-lai-an-221856","鱼图","赖庵","日本京都国立博物馆","赖庵《藻鱼图轴》，在中国古代大量有关鱼的绘画中具有代表性，鱼在水藻间出游从容，身体扭曲自然，画家以此明志。\n元代画家常常赋予鱼以类似人的个性。此图中，鱼几乎占据了画面的全部空间，它似乎刚刚突然掉转身来面对观者，嘴巴大张，目光犀利。作者用细线精心描绘了片片鱼鳞，通过晕染来显示质感和立体感。以淡墨写水草，并通过鱼尾的摆动和水草的摇晃增加了画面的动感。",[23,24,49,652,102,25,51,7,160],"元代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f6c0167aad2f00c768ac238d83f7767.jpg","绢本墨画","19.4×31.0",[],{"id":658,"slug":659,"title":569,"dynasty":129,"author":660,"museum":64,"description":661,"tags":662,"thumbUrl":663,"material":121,"size":122,"collection":36,"collections":664,"showCount":665,"zanCount":11,"manualWeight":11,"mainColor":249},288342,"zao-yu-tu-zhao-ke-xiong-288342","赵克夐","宋代宗室。戏弄笔墨，不为富贵所埋没。画游鱼尽浮沈之态，然惜其不见湖海洪涛巨湍之势，为毫端壮观之助，所得止京洛池塘间之趣耳。",[24,51,7,362,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60497a4747afbf82ead9a46b22663793.jpg",[],37,{"id":667,"slug":668,"title":669,"dynasty":18,"author":541,"museum":64,"description":670,"tags":671,"thumbUrl":673,"material":34,"size":36,"collection":56,"collections":674,"showCount":675,"zanCount":11,"manualWeight":11,"mainColor":40},237639,"shuang-yu-tu-zhou-li-fang-ying-237639","双鱼图轴","李方膺（1695年—1755年），字虬仲，号晴江，别号秋池，抑园 ，白衣山人等，江南通州（今江苏南通）人。寓居金陵借园，自号借园主人。中国清代诗画家、官员，能诗，擅画松竹兰菊，尤长写梅。用笔倔强放纵，不拘成法，苍劲有致，为“扬州八怪”之一 。为官刚正不阿，廉洁爱民。出身官宦之家，曾任乐安县令、兰山县令、潜山县令、代理滁州知州等职，为官时有惠政，人德之，后因遭诬告被罢官，去官后寓南京借园，自号借园主人，常往来扬州卖画。与李鱓、金农、郑燮等往来，工诗文书画，擅梅、兰、竹、菊、松、鱼等，注重师法传统和师法造化，能自成一格，其画笔法苍劲老厚，剪裁简洁，不拘形似，活泼生动。被列为扬州八怪之一。有《风竹图》《游鱼图》《墨梅图》等传世。著《梅花楼诗钞》。善画松、竹、兰、菊、梅、杂花及虫 鱼，也能人物、山水，尤精画梅。作品纵横豪放、墨气淋漓，粗头乱服 ，不拘绳墨，意在青藤、白阳、竹憨之间。画梅以瘦硬见称，老干新枝 ，欹侧蟠曲。用间印有“梅花手段”，著名的题画梅诗有“不逢摧折不离奇”之句。还喜欢画狂风中的松竹。工书。能诗，后人辑有《梅花楼诗草》，仅二十六首，多数散见于画上。",[24,49,50,51,672,117,52,7],"行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b19355579f3c5af08250390d4501ce2.jpg",[56],35,{"id":677,"slug":678,"title":679,"dynasty":191,"author":680,"museum":79,"description":681,"tags":682,"thumbUrl":683,"material":26,"size":684,"collection":90,"collections":685,"showCount":675,"zanCount":11,"manualWeight":11,"mainColor":40},219457,"bu-yu-tu-lu-zhi-219457","捕鱼图","陆治","芦滩飞雪白茫茫，\n顶寒冒冻捕鱼忙。\n操舟撒网坐渔罾，\n辛勤劳作鱼满舱。",[24,102,51,491,492,490,103,196,7,117,489],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11a1b935711c876124aff6736eb6d7d8.jpg","43.3X34.3cm",[90],{"id":687,"slug":688,"title":689,"dynasty":18,"author":690,"museum":64,"description":691,"tags":692,"thumbUrl":693,"material":36,"size":36,"collection":36,"collections":694,"showCount":695,"zanCount":11,"manualWeight":11,"mainColor":40},224348,"hua-yu-wang-cheng-pei-224348","花鱼","汪承霈","整体设色清润淡雅，浅赭素底晕染出郊野荷塘的柔谧底色。青碧荷叶错落舒展，笔触细腻柔和，尽显叶片的舒展肌理。嫩黄荷花亭亭玉立，娇柔的花瓣晕染出清润生机。水草丛生以写意笔触绘就，浅淡墨色晕染出郊野塘岸的野趣。几尾小鱼线条灵动轻盈，悠游穿梭在水间，将池水的空寂与鲜活融为一体。画作在极简构图间藏着悠然禅意，无繁复铺陈，以淡彩晕开清和静谧的夏日氛围，把荷塘一隅的鲜活雅致勾勒尽致，尽显文人画的松弛恬淡与清雅意趣，尽显中式美学的悠然韵味。",[23,24,49,233,25,26,27,68,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70272027dd70c00ffffadaec8b4ec100.jpg",[],34,{"id":697,"slug":698,"title":699,"dynasty":18,"author":287,"museum":64,"description":700,"tags":701,"thumbUrl":703,"material":704,"size":705,"collection":36,"collections":706,"showCount":707,"zanCount":11,"manualWeight":11,"mainColor":40},222825,"yu-xi-xu-gu-222825","鱼嬉","图绘水中金鱼三条，二条红白相间，一条白身红眼，水中游游弋嬉戏；水面上数要葡萄藤，宽大的葡萄叶黄灿灿，自然展开，藤上葡萄累累，令人垂涎。",[23,24,26,52,51,50,27,7,702,378,210,269],"藤蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7191b48084ecb908fe16b5ad2defef92.jpg","纸本 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”成为中国绘画的传统题材。\n“ ”又谐“余”之音，有祝颂丰穰之吉祥寓意。\n本幅无款。\n鉴藏印钤“季彤平生真赏”、“庞莱臣珍藏宋元真迹”。\n裱边钤“虚斋审定名迹”。\n图中绘小鱼5尾，欢快地游戏于荇藻之间。\n鱼身用没骨法墨染而成，其光滑、细腻而富于弹性的质感表现得非常充分，线条圆浑流畅；黑脊与白肚之间过渡自然；口、眼、鳍、尾之刻画逼真而具立体感。\n鱼的游向各异，远近分明，荇藻轻灵而富于动感，构图生动活泼，是宋人画鱼的名作。\n存《名笔集胜》册中。\n《虚斋名画续录》著录。",[23,67,24,49,585,25,51,26,7,349],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a01514fa33b348d72283aebee102b35.jpg",[],29,{"id":755,"slug":756,"title":757,"dynasty":191,"author":758,"museum":20,"description":759,"tags":760,"thumbUrl":774,"material":775,"size":776,"collection":777,"collections":778,"showCount":779,"zanCount":11,"manualWeight":11,"mainColor":40},222354,"zi-shu-ci-juan-tang-yin-222354","自书词卷","唐寅","此为唐寅所作词并自书，分《集贤宾》、《锦衣公子》、《山坡羊》三组曲牌，共24首。 唐寅博学多能，吟诗作曲，能书善画。他的传世绘画较多，书法甚少。其书以行楷见长，学赵孟頫并参以李北海笔意，笔画婉转流畅，风格俊秀潇洒。此书结构严谨，圆转遒丽，丰润优雅，形成了劲骨于内、美形于外、缜密流便的独特风格，词、书并美，堪称珠联璧合，从中可欣赏到往昔“江南第一风流才子”的儒雅韵致及其纯熟的书法功力。",[23,572,118,672,133,51,117,318,761,489,491,493,490,433,85,762,763,434,764,137,765,68,138,82,145,7,766,767,598,476,768,769,770,771,772,773],"夕阳","枯藤","老树","兰","菊","风","雨","日","夜","春","夏","秋","冬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47d4bbb43b2575078730ba53af232464.jpg","纸本，行书","纵23.3厘米，横551.3厘米","书法精选",[777],28,{"id":781,"slug":782,"title":783,"dynasty":129,"author":784,"museum":64,"description":785,"tags":786,"thumbUrl":791,"material":121,"size":122,"collection":36,"collections":792,"showCount":793,"zanCount":11,"manualWeight":11,"mainColor":40},289738,"yu-fu-shi-tuan-shan-zhao-shen-289738","渔父诗团扇","赵昚","宋孝宗赵昚（1127年11月27日－1194年6月28日），初名赵伯琮，后改名赵瑗，赐名赵玮，字元永，籍贯秀州（今浙江嘉兴），宋太祖赵匡胤七世孙、宋高宗赵构养子。宋朝第十一位皇帝、南宋第二位皇帝（1162年7月20日－1189年2月18日在位）。\n绍兴二年（1132年），被高宗选中育于宫中。绍兴三十年（1160年），被立为皇子，受封开府仪同三司、宁国军节度使，封建王。绍兴三十二年（1162年），被立为皇太子。同年高宗让位于赵昚，使宋朝的皇位再次回到宋太祖一系。淳熙十六年（1189年），赵昚禅位于三子赵惇，自称寿皇圣帝。绍熙五年（1194年），赵昚崩逝，在位二十七年，年六十八。累谥号绍统同道冠德昭功哲文神武明圣成孝皇帝，庙号孝宗，葬于永阜陵。《全宋词》录有其词一首。\n后世普遍认为赵昚是南宋最有作为的皇帝。他在位期间，平反岳飞冤案，起用主战派人士，锐意收复中原；内政上，加强集权，积极整顿吏治，裁汰冗官，惩治贪污，重视农业生产，百姓生活安康，史称“乾淳之治”。后世称其为“卓然为南渡诸帝之称首”。",[585,118,672,117,787,7,788,767,492,789,790],"酒家","烟霞","饮酒","闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac54b861f293243ccd4eb3dadcf2fff8.jpg",[],27,{"id":795,"slug":796,"title":371,"dynasty":129,"author":130,"museum":64,"description":797,"tags":798,"thumbUrl":799,"material":121,"size":122,"collection":36,"collections":800,"showCount":793,"zanCount":11,"manualWeight":11,"mainColor":40},288368,"shui-mo-xie-sheng-tu-mu-xi-288368","二图卷绘果蔬、花木禽鸟、鱼蟹果蔬有石榴、桃、梨、枇杷、萝卜、茄子；禽鸟有燕子、喜鹊、鹊鸽、赤麻鸭；水族有鱼、虾、蟹等全卷川水墨勾染，不施颜色，在南宋画坛极其罕见，为写意花鸟开创了新路。",[23,67,24,133,51,134,27,375,7,195,85,68,136,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4421a4fc00d03c3c87c5ed2ebd989b87.jpg",[],{"id":802,"slug":803,"title":804,"dynasty":129,"author":805,"museum":64,"description":806,"tags":807,"thumbUrl":809,"material":36,"size":36,"collection":36,"collections":810,"showCount":793,"zanCount":11,"manualWeight":11,"mainColor":40},227807,"yu-le-tu-zhou-dong-qing-227807","鱼乐图","周东卿","《宋元周东卿鱼乐图》是中国宋末元初时期的画家 创作的一幅中国古画。\n画作是纸本，设色，纵.8厘米,横59.7厘米。\n现收藏于美国 。\n此图以横卷式构图展开画面：依次绘出各种各样、大大小小的鱼类，在长满水草的水中，它们自由自在地漫游着，或有聚有散地沉浮穿梭着。\n画家以精细的笔调描绘出群鱼的轻巧灵动，萍藻的随波摇曳，以及碧水的流动之感和水中游鱼自得其乐的趣味。\n表现手法以没骨为主，以淡色、淡墨或极轻之笔触细加晕染，先画出鱼的形体，再用细线略勾鱼鳞和斑纹。\n萍藻是用更淡的墨勾染，生动地营造出其若隐若现之状。\n还有整个画面所呈现出的流动着的韵律，体现了群鱼恣肆盎然的生机，进而把观者带入轻松自由、疏放闲适的意境。\n是宋元的画鱼名家。\n关于他的生平，史料记载甚少。\n有文天祥赞周东卿画鱼诗云：“观君潇湘图，起我濠上心。\n”可见他还另有作品流传。",[23,67,24,49,133,25,51,26,7,160,117,808],"动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faeae98aad7836a3579ce62bca5af282e.jpg",[],{"id":812,"slug":813,"title":814,"dynasty":18,"author":63,"museum":64,"description":815,"tags":816,"thumbUrl":819,"material":121,"size":122,"collection":56,"collections":820,"showCount":821,"zanCount":11,"manualWeight":11,"mainColor":40},290174,"xuan-tong-yu-lan-hai-guai-tu-ji-yi-ming-290174","宣统御览海怪图记","左幅海兽糅合走兽与游鱼特征，狞厉兽首长有鳍状鬃毛，前爪贲张似正咆哮，下半身舒展鱼尾，怪诞中尽显狞猛威严。右侧海鱼造型诡谲，无眼无颌，躯干鼓胀，晕染柔和的配色反衬出造型的妖异神秘。\n\n整作设色雅致妍丽，晕染细腻写实，将臆想中的深海精怪具象化，既有博物图录的写实笔法，又藏志怪传说的浪漫诡谲，将深海未知的幽幻魅力勾勒尽致，尽显古人对远洋秘境的瑰丽遐想与精妙画工。",[24,233,26,25,817,7,818],"海怪","神话生物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F213f3b83f7555ce2db5993ce2885b822.jpg",[56],26,{"id":823,"slug":824,"title":825,"dynasty":18,"author":63,"museum":64,"description":826,"tags":827,"thumbUrl":834,"material":121,"size":122,"collection":36,"collections":835,"showCount":821,"zanCount":73,"manualWeight":11,"mainColor":249},273080,"mu-bian-qing-xiu-mu-dan-hua-hui-wen-ping-yi-ming-273080","木边清绣牡丹花卉纹屏","左幅紫藤垂曳萦回，柔花轻垂，水畔游鱼拨弄清波，野趣横生。右幅牡丹次第盛放，娇妍动人，蛱蝶振翅环绕花枝，灵动鲜活。\n\n绣工极尽精巧，施针细密匀整，配色柔和雅致，花叶脉络、蝶翼纹理皆细腻逼真，晕染过渡自然柔和，将花木鱼虫的情态尽数勾勒。整作构图疏朗空灵，把庭院小景的悠然意趣定格于丝帛之上，尽显传统闺阁刺绣的雅致造诣，晕开东方古典的温婉诗意。",[828,829,27,138,135,830,7,831,832,833],"绣品","挂屏","蝴蝶","刺绣","木质","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F943c7d6e2577a669bd910da821464e93.jpg",[],{"id":837,"slug":838,"title":839,"dynasty":18,"author":840,"museum":64,"description":841,"tags":842,"thumbUrl":846,"material":36,"size":36,"collection":36,"collections":847,"showCount":821,"zanCount":202,"manualWeight":11,"mainColor":249},224344,"xiao-pin-1-qiao-gu-224344","小品1","樵谷","此作为绢本设色仙山图景，画面分上下两段铺陈。上方松下仙岛，长髯高士安坐，侍童持如意随侍，丹顶鹤啄衔芝草，意态闲和疏朗。下方仙鹿曳车，车载灵卉仙酿，海雾裹挟红鲤翻涌而出，恍若灵气蒸腾。\n\n笔墨细劲清逸，设色古雅沉静，人物刻画悠然恬淡，瑞兽仙禽生动传神。布景疏密相宜，晕染出道家虚缈出尘的仙境氛围，藏纳福寿绵长的吉祥意趣，尽显传统仙道题材的雅致意韵。",[23,24,49,50,26,25,103,843,844,7,317,338,476,845],"马","鹤","车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff7ab3700c076272c9bf608fb083bfbf.jpg",[],{"id":849,"slug":850,"title":569,"dynasty":191,"author":851,"museum":64,"description":732,"tags":852,"thumbUrl":853,"material":121,"size":122,"collection":36,"collections":854,"showCount":855,"zanCount":202,"manualWeight":11,"mainColor":249},289755,"zao-yu-tu-mou-fu-289755","缪辅",[23,67,24,49,27,25,26,7,68,160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfe3184dfc0e37064caa8e09617e24c8.jpg",[],25,{"id":857,"slug":858,"title":242,"dynasty":191,"author":63,"museum":64,"description":859,"tags":860,"thumbUrl":861,"material":121,"size":122,"collection":36,"collections":862,"showCount":863,"zanCount":11,"manualWeight":11,"mainColor":249},288099,"yu-zao-tu-zhou-yi-ming-288099","此作用墨清润淡雅，以水墨晕染写就池中游鱼。四条游鱼各呈姿态，或昂首曳尾而上，或结伴悠游行，鳞鳍细节细腻宛然，将鱼儿的灵动闲适尽数展露。水藻以写意淡墨点染舒展，随风漾动，未着一笔绘水，却借鱼的摆尾、藻的飘摇暗衬水流悠悠，留白处尽显池底空明澄澈，暗含悠然禅意。\n\n整体画风简淡清逸，摒弃繁复修饰，以极简笔墨定格闲塘一隅生机，寄情于池鱼悠游，尽显文人画以物抒怀的清雅意趣，将寻常水景化为隽永悠然的视觉诗篇。",[23,24,49,50,7,362,51,25,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50511d6b9526221870f6fb374f54b2f0.jpg",[],24,{"id":865,"slug":866,"title":867,"dynasty":129,"author":63,"museum":79,"description":868,"tags":869,"thumbUrl":873,"material":364,"size":874,"collection":36,"collections":875,"showCount":876,"zanCount":11,"manualWeight":11,"mainColor":514},290770,"qing-jiang-yu-yin-zhou-yi-ming-290770","清江渔隐轴","该幅画渔舟四叶浮于江。岸边，复有渔夫张罟捕鱼。林麓间，可见楼宇相参，旅人策蹇。中景主峰耸立，饶具压顶的气势。",[24,50,870,488,489,490,491,871,596,872,7],"山水画","渔隐","山峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81c5e292a2daa5b253a162f3fd0e9034.jpg","151.5x111.1",[],23,{"id":878,"slug":879,"title":880,"dynasty":129,"author":881,"museum":64,"description":594,"tags":882,"thumbUrl":886,"material":121,"size":122,"collection":36,"collections":887,"showCount":876,"zanCount":11,"manualWeight":11,"mainColor":249},289587,"xue-jiang-mai-yu-tu-li-dong-289587","雪江卖鱼图","李东",[23,24,585,51,489,883,491,266,884,490,7,885,488],"雪景","渔舍","清冷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F038a369550e9f84fa41dc6cef7d24d39.jpg",[],{"id":889,"slug":890,"title":891,"dynasty":18,"author":262,"museum":64,"description":892,"tags":893,"thumbUrl":896,"material":121,"size":122,"collection":36,"collections":897,"showCount":898,"zanCount":11,"manualWeight":11,"mainColor":40},288391,"shuang-mao-kui-yu-cheng-zhang-288391","双猫窥鱼","此图描绘的是一幅秋天的美丽图景。一弯池水迂回流淌，岸边苇草萌发，树枝随风而动，显得遒劲与洒脱。池塘边两只花猫，葡匐在岸上，双眼紧盯着池塘中的游鱼。仿佛在欣赏它们欢快的舞姿，溪水远处，淡色轻染，烟霭迷濛。全画以水墨设色技法来表现物象，工整细致，将岸石的坚实感，猫鱼的柔滑感，苇草的飘逸感，树枝的风动感，表现的惟妙惟肖。可能是由于画家懂得生物百态，所以画的石头，苇草，浮萍、树干，树枝及红叶，在透视的处理上，以及远近、前后、浓淡、深浅等方面，都能合乎自然景物的真实性。并运用干、湿、浓、淡的笔法墨法所造成的变化，整体显得儒雅、秀润。",[23,24,50,26,265,7,762,763,53,894,895],"衰草","落叶","https:\u0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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。”",[905,833,831,26,7,27,349],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F120e1975f4f22487549abe78f98fc61b.jpg",[],15,{"id":986,"slug":987,"title":277,"dynasty":18,"author":638,"museum":64,"description":988,"tags":989,"thumbUrl":991,"material":36,"size":20,"collection":36,"collections":992,"showCount":984,"zanCount":11,"manualWeight":11,"mainColor":40},236612,"hua-niao-ce-ma-yuan-yu-236612","马元驭（1669—1722）清代画家。字扶羲，号栖霞，又号天虞山人，江苏常熟人。",[24,26,25,233,7,990,160,117],"松枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fa3b2c8161c0f798f528ab64c102d91.jpg",[],{"id":994,"slug":995,"title":996,"dynasty":129,"author":997,"museum":79,"description":998,"tags":999,"thumbUrl":1000,"material":1001,"size":1002,"collection":36,"collections":1003,"showCount":984,"zanCount":11,"manualWeight":11,"mainColor":249},221551,"luo-han-tu-3-liu-song-nian-221551","罗汉图3","刘松年","刘松年 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a-jing-kuan-qing-hua-li-long-feng-wai-yu-zao-wen-wo-zu-wan-yi-ming-261135","嘉靖款青花里龙凤外鱼藻纹卧足碗","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。",[1105,1106,104,1107,7,28,1108,1095],"陶瓷","青花","凤","卧足碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03cfe8417c338952e608e08eb1f7bbe4.jpg",[],{"id":1112,"slug":1113,"title":1114,"dynasty":129,"author":63,"museum":64,"description":1115,"tags":1116,"thumbUrl":1120,"material":121,"size":122,"collection":1121,"collections":1122,"showCount":1078,"zanCount":202,"manualWeight":11,"mainColor":249},256252,"ge-yao-qing-you-shuang-yu-er-lu-yi-ming-256252","哥窑青釉双鱼耳炉","“哥窑”名列宋代五大名窑，在陶瓷史上有举足轻重的地位。哥窑胎多紫黑色、铁黑色、也有黄褐色。釉为失透的乳浊釉，釉面泛一层酥光，釉色以炒米黄、灰青多见，釉面大小纹片结合。\n经染色后大纹片呈深褐色，小纹片为黄褐色，也称‘金丝铁线’“墨纹梅花片”“叶脉纹”‘文武片’等。这是传世哥窑的主要特征之一。器形有各式瓶、炉、尊、洗及碗、盆、碟等。多见仿古造型，底足制作不十分规整，釉面常见缩釉和棕眼。\n而《中国陶瓷史》这样叙述：\n造型有各式瓶、炉、洗、盘、罐等。论胎有厚薄之分，其胎质有瓷胎和砂胎两种，胎色有黑灰、深灰、浅灰、土黄多种色调，釉色也有粉青、月白、油灰、青黄各色。从时间上讲，这里应有早晚之别，从产地说也有恐非一个瓷窑的作品，情况是比较复杂的。\n记载“哥窑”的古文献主要有：元代的《至正直记》，明代的《格古要论》、《遵生八笺》，清代的《博物要览》以及明代的《浙江通志》等。但究竟哥窑窑址何在？性质如何?一直是陶瓷史研究中众说纷纭、悬而未决的问题。\n流传于世的“哥窑”经典器大多源自清宫旧藏，由于这批器物与古文献中的记载的“哥窑”特征不符，而且没有考古资料佐证，因而造成了中国陶瓷史上最大的悬疑。\n为区别于明、清文献中所记载得哥窑（龙泉章生一窑），宫中名为“哥窑”的传世品，后世鉴赏家称其为“传世哥窑”。\n由于原来被认为哥窑的龙泉黑胎开片瓷被认为是“龙泉仿官”和“龙泉官窑”，宋代似乎就不存在哥窑，文献关于哥窑的记述被认为是以讹传讹。然而，仔细研究和分析，就会发觉事情并非如此简单，其关键在于“龙泉官窑”和杭州郊坛下官窑孰先孰后的问题并未真正得到解决。由于“龙泉官窑”的立论建立在“龙泉仿官”的基础上，认为仿官是不可能的，却又与官窑相一致，自然是官窑，并认为杭州郊坛下不能满足朝廷之需，再在龙泉烧造以充不足。这一观点很自然地派生出杭州郊坛下官窑早于龙泉官窑的定论。\n然而，没有足够的考古资料证明这一观点，并由此还引发出种种疑团：郊坛下不能满足朝廷之需，为什么不就地扩充、就近扩充，而要到千里之外的龙泉建窑烧造？宋室南渡带来了北方工匠，他们惯于圆窑用煤烧造，何以能在杭州建立龙窑用柴烧造？文献关于哥窑的论述难道一定都是空穴来风吗？哥不能仿官，但官却可以仿哥，各朝各代的官窑都建立在民窑的基础上，难道就不存在官仿哥的可能吗？宋室南渡，皇帝漂泊13年，这期间南渡窑工在何处生存？如何生存？是吃皇粮还是自谋出路？这些疑问最终都聚焦在龙泉最初的黑胎开片瓷的年代和性质上，也就是说龙泉最初的黑胎开片瓷会不会是皇帝颠沛流离的十余年中北方工匠和龙泉窑工技艺结合的产物？",[129,1105,1117,1118,7,613,1119],"开片","青釉","炉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F146b51165f7b4984f1913eedef69c939.jpg","瓷器精选",[1121],{"id":1124,"slug":1125,"title":1126,"dynasty":18,"author":1127,"museum":20,"description":1128,"tags":1129,"thumbUrl":1131,"material":1132,"size":1133,"collection":777,"collections":1134,"showCount":1078,"zanCount":11,"manualWeight":11,"mainColor":40},241079,"jie-lu-ku-shu-fu-zhou-weng-tong-he-241079","节录枯树赋轴","翁同龢","翁同龢（1830年~1904年），字叔平，号松禅， 别署均斋、瓶笙、瓶庐居士、并眉居士等，别号天放闲人，晚号瓶庵居士，江苏常熟人，中国近代史上著名政治家、书法艺术家。体仁阁大学士翁心存第三子，咸丰六年（1856年）状元，历任户部、工部尚书、军机大臣兼总理各国事务衙门大臣。先后担任清同治、光绪两代帝师。卒后追谥文恭。\n翁同龢（hé）工诗 [16] ，间作画，尤以书法名世，幼学欧、褚，初学董其昌、米芾，中年后由钱沣上追颜真卿，又不受颜字束缚，结体宽博开张，笔画刚劲有力，风格苍浑遒劲，朴茂雍容，著有《翁文恭公日记》《瓶庐诗文稿》等。",[118,50,672,1130,269,7,104,117],"山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e2d62f228dfd929b8f50b5867966123.jpg","纸本行书","137.7×68cm",[777],{"id":1136,"slug":1137,"title":1138,"dynasty":1139,"author":63,"museum":64,"description":1103,"tags":1140,"thumbUrl":1143,"material":121,"size":122,"collection":36,"collections":1144,"showCount":1078,"zanCount":11,"manualWeight":11,"mainColor":1145},230745,"bai-di-qing-hua-si-hai-lai-chao-ping-yi-ming-230745","白地青花四海来朝瓶","不详",[1105,1106,1141,25,1012,7,1142,613],"釉下彩","蝙蝠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9510df29f69bc9ab5327f313f6c2ffa.jpg",[],"F48FB1",{"id":1147,"slug":1148,"title":1149,"dynasty":18,"author":1150,"museum":169,"description":1151,"tags":1152,"thumbUrl":1154,"material":36,"size":36,"collection":56,"collections":1155,"showCount":1078,"zanCount":11,"manualWeight":11,"mainColor":1156},203268,"hua-niao-chong-yu-ce-jin-yue-203268","花鸟虫鱼册","金玥","画面以清雅设色铺展溪畔小景，嶙峋山石旁，水草丰茂，花叶点缀其间，色彩明丽却不失含蓄。流水波纹轻漾，似有游鱼隐现，生机暗藏。笔触细腻灵动，花叶勾勒精致入微，山石以淡墨皴染，兼融写意之趣与工笔之细。整体意境恬淡自然，于方寸册页间尽显江南水乡的清幽雅致，铺展出生动鲜活的自然意趣，引人驻足。",[26,25,488,338,1153,490,7,233,27,23],"花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43f30a9a6a090c6d704b38ae355f3909.jpg",[56],"dbd5c8",{"id":1158,"slug":1159,"title":1160,"dynasty":129,"author":63,"museum":64,"description":1161,"tags":1162,"thumbUrl":1164,"material":121,"size":122,"collection":36,"collections":1165,"showCount":110,"zanCount":11,"manualWeight":11,"mainColor":249},288345,"xue-qiao-mai-yu-tu-yi-ming-288345","雪桥买鱼图","以淡墨晕染铺就天地一色的雪意，崖壁枯木虬枝斜出，残叶凝着薄雪，兀自点缀着萧寒。水岸渔舍错落低矮，板桥凌于寒波之上，渔舟系在岸边，好似刚收网归来，鲜鱼担于桥畔，静候买客。\n\n整幅画作以极简笔触勾勒出冬日水乡的清寂，留白处尽是冷冽空濛的雪色，不见喧嚣，只剩静谧。带着宋人独有的雅致意趣，将寻常乡野雪景绘成清冷孤高的诗意画卷，藏着冬日水乡的烟火闲淡，又晕染出荒寒出尘的山水意境。",[585,24,67,870,51,883,493,597,266,338,1163,491,7,885],"水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d0642e132ec6cd5664c979b5161599d.jpg",[],{"id":1167,"slug":1168,"title":1169,"dynasty":18,"author":63,"museum":1170,"description":1171,"tags":1172,"thumbUrl":1174,"material":1173,"size":1175,"collection":36,"collections":1176,"showCount":110,"zanCount":11,"manualWeight":11,"mainColor":40},251387,"qing-yu-yu-long-shi-hua-cha-yi-ming-251387","青玉鱼龙式花插","中国国家博物馆","青玉，有较多的黑褐色。鱼形，大头，有角，似有翅，蜷身，鱼口朝上立于木座上，口中可插花或插笔，是陈设品，又可实用。明清流行",[1173,611,7,104,613],"玉石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd261d140167c1e2b474d02bb5937a85d.jpg","高18厘米，宽17.7厘米，厚7.6厘米。",[],{"id":1178,"slug":1179,"title":1180,"dynasty":18,"author":1181,"museum":64,"description":1182,"tags":1183,"thumbUrl":1186,"material":121,"size":122,"collection":36,"collections":1187,"showCount":1188,"zanCount":11,"manualWeight":11,"mainColor":40},288304,"yu-yang-shan-ren-shi-ce-zhu-min-288304","渔洋山人诗册","朱岷","[清]字仑仲，一字导江，号客亭，江苏武进人，籍山东历城（清朝书人辑略作天津人，",[118,1184,233,1185,7,104,489],"隶书","诗册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dcc089598aa151073e3e9eda8c142de.jpg",[],9,{"id":1190,"slug":1191,"title":1192,"dynasty":18,"author":63,"museum":64,"description":1193,"tags":1194,"thumbUrl":1197,"material":121,"size":122,"collection":36,"collections":1198,"showCount":1188,"zanCount":11,"manualWeight":11,"mainColor":249},275674,"lan-se-duan-xiu-yun-yu-long-wen-an-chan-yi-ming-275674","蓝色缎绣云鱼龙纹鞍韂","绣法是以绣线横排，故名。如，特点是整齐、均匀，圆润；在绣叶瓣时，在中间分开，运用斜针成倒人字形；也有绣成中间针迹相交叠的形式；也可绣成中间作一钉线的绣法。排绣针法富有变化，刺绣出的花瓣、叶瓣得体逼真，用途较广。",[833,831,7,104,1195,1196],"云纹","鞍韂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce5f99affb3fa693a912e3b9c59674d0.jpg",[],{"id":1200,"slug":1201,"title":1202,"dynasty":18,"author":63,"museum":64,"description":1203,"tags":1204,"thumbUrl":1209,"material":121,"size":122,"collection":36,"collections":1210,"showCount":1188,"zanCount":11,"manualWeight":11,"mainColor":40},274062,"mu-bian-ying-mu-qian-luo-dian-xiu-hua-wen-cha-ping-yi-ming-274062","木边硬木嵌螺钿绣花纹插屏","这件插屏是工艺交融的雅致佳作，硬木边框以螺钿轻缀，莹白提亮古雅木色。屏心刺绣兼具工笔柔韵，石畔兰芷舒展，双鹤或立或顾，姿态悠然自适，鱼虾穿波、蜻蜓掠花，将林下幽微生机藏于方寸。四周环饰博古清供，瓷瓶簪花、文房陈案，把文人案头雅趣融于屏间。座身硬木镂雕吉庆纹样，将刺绣的柔婉、螺钿的清莹与木雕的朴雅合为一体，把林下幽情与厅堂雅致收拢于一屏，尽显旧时家居陈设的风雅意趣，静诉着清代审美里的内敛温柔。",[1205,832,1206,831,844,7,135,1207,25,1208],"插屏","嵌螺钿","博古","器具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9602de6c98d445b5cfeb471524a7b5cb.jpg",[],{"id":1212,"slug":1213,"title":1214,"dynasty":18,"author":1215,"museum":64,"description":1216,"tags":1217,"thumbUrl":1218,"material":36,"size":36,"collection":36,"collections":1219,"showCount":1188,"zanCount":11,"manualWeight":11,"mainColor":40},224330,"hua-niao-shi-er-kai-8-li-shan-224330","花鸟十二开8","李鱓","以留白作冷月，淡墨晕开清寒夜雾，似将月色融在水波之中。三尾游鱼姿态灵动，逆水穿波，浓淡墨色晕出鳞光肌理，简笔勾勒却生机尽显。题诗与画境相映，把秋江月夜的清寂氛围铺陈开来。笔意纵逸随性，极简构图勾勒空濛冷寂的秋夜氛围，淡墨轻岚间尽显写意之妙，将秋江月夜的清宁与游鱼野趣相融，寥寥数笔便将文人画的幽隽禅意藏在水墨之间，尽显闲适自在的画中真意。",[23,24,49,233,51,7,318,160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff80fc7263cffe35761818ab68354a95e.jpg",[],{"id":1221,"slug":1222,"title":1223,"dynasty":18,"author":63,"museum":64,"description":1224,"tags":1225,"thumbUrl":1231,"mater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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。",[1105,1226,1227,1228,7,1142,1229,1095,1230],"矾红彩","暗划纹","海水","盘","白地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefcdfd29ea0de93305acce3e5832ba32.jpg",[],8,{"id":1235,"slug":1236,"title":531,"dynasty":18,"author":1237,"museum":64,"description":1238,"tags":1239,"thumbUrl":1240,"material":121,"size":122,"collection":36,"collections":1241,"showCount":1233,"zanCount":11,"manualWeight":11,"mainColor":40},237991,"za-hua-ce-xue-huai-237991","薛怀","薛怀（1717—1804），清代著名书画家。字小凤，号竹君，晚号竹居老人。桃源（今江苏泗阳县）监生，居山阳（今淮安市淮安区）。 边寿民甥。工书、画，花卉小品，清远绝俗。画用钩勒再以枯笔渍染，阴阳向背，极为明豁。写芦雁酷似其舅，又善画宜兴茶器。卒年八十七。《艺林月刊、墨林今话、墨香居画识、梧门诗话、宋元明清书画家年表附录》。",[24,51,233,7,117,118,672],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe555a7ac14f7c2b94018e6de279bf599.jpg",[],{"id":1243,"slug":1244,"title":928,"dynasty":129,"author":63,"museum":20,"description":1245,"tags":1246,"thumbUrl":1248,"material":932,"size":933,"collection":36,"collections":1249,"showCount":1233,"zanCount":11,"manualWeight":11,"mainColor":40},234028,"chun-xi-shui-zu-tu-ye-yi-ming-234028","此图是现存宋画中游鱼类题材画的一幅佳作。春暖花开，群鱼戏藻。鲢鱼摆尾漫游，鲶鱼回身在后，鳜鱼则迎头向上，隐喻了“连年有贵”的吉祥含义。画家通过鱼儿欢快游动时自由弯转的体态和藻类植物在游鱼冲击下漂浮不定的形状，巧妙地暗示出流水的动势以及春水的清洌透明感。3尾大鱼均施以工笔重彩，用笔沉稳工致，片片鱼鳞描绘得一丝不苟；而衬景的小鱼、小虾和水藻则纯用没骨法渍染，将鱼虾的灵动和水藻的轻盈表现得恰到好处。\n对幅有清乾隆御题七言诗一首：“庄惠曾论知弗知，传为奇语却无奇。试如驳曰我非子，便是答云彼岂斯。春水初生具春意，文鳞群泳爱文漪。漫訾意浅色鲜耳，颇类濠梁博辩时。戊申仲秋御题。”“戊申”为乾隆五十三年（1788年）。",[24,49,67,25,26,641,117,7,160,68,1247],"溪水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02a0629fcd5523d535d10cc5f475a26b.jpg",[],{"id":1251,"slug":1252,"title":1253,"dynasty":18,"author":1254,"museum":169,"description":1255,"tags":1256,"thumbUrl":1258,"material":36,"size":36,"collection":199,"collections":1259,"showCount":1233,"zanCount":11,"manualWeight":11,"mainColor":1260},202029,"lian-gui-tu-zhou-ceng-yan-dong-202029","联贵图轴","曾衍东","这幅画作以水墨写意之法成篇，大鱼墨色浓淡相宜，体态丰腴，笔触豪放洒脱，泼墨与点染交织出鱼鳞的自然质感；下方小鱼灵动小巧，与大鱼相映成趣。构图简洁疏朗，留白处意蕴悠长，笔墨简练却精准捕捉鱼的鲜活姿态，质朴野趣中见真意，尽显画家对生活意趣的细腻感知与写意才情。",[24,51,52,7,50,1257,23],"泼墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14d952c2fcfbe50ec9f47f363d2b4536.jpg",[199],"c3ae95",{"id":1262,"slug":1263,"title":1264,"dynasty":18,"author":1265,"museum":169,"description":1266,"tags":1267,"thumbUrl":1270,"material":36,"size":36,"collection":199,"collections":1271,"showCount":1233,"zanCount":11,"manualWeight":11,"mainColor":1272},201585,"zhi-hua-qiu-tang-tu-zhou-yang-tai-ji-201585","指画秋塘图轴","杨泰基","这幅秋塘图以指为笔，墨色淋漓间铺展秋塘野趣。枯荣交织的荷叶，或浓墨泼洒，或淡墨晕染，尽显自然之态；塘中螃蟹横行，小鱼悠游，蜻蜓翩跹，动静相宜；残荷挺立，细草点缀，秋意萧瑟却暗藏生机。指画的独特肌理赋予景物质朴鲜活的质感，墨色浓淡干湿对比鲜明，营造出清寂雅致又灵动的秋塘意境，尽显文人写意的闲逸意趣。",[955,51,68,7,1268,555,52,1269,23],"螃蟹","秋塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F296a905e568fc74263cc9b540ec2857d.jpg",[199],"b4ac99",{"id":1274,"slug":1275,"title":1276,"dynasty":18,"author":63,"museum":64,"description":1277,"tags":1278,"thumbUrl":1281,"material":121,"size":122,"collection":36,"collections":1282,"showCount":1283,"zanCount":11,"manualWeight":11,"mainColor":249},272985,"hong-mu-bian-hua-bo-li-gua-ping-yi-ming-272985","红木边画玻璃挂屏","这件挂屏以玻璃为底，取博古清供为题。晕染出的鱼缸中游鱼灵动，红鳞漾着水色鲜活，暗合金玉富余的吉兆。上方搭配香具陈设，描金镶饰的细节精致富丽，深灰底色衬得纹饰愈发雅致亮眼。\n\n它融合西洋玻璃晕染技法与中式清供美学，将案头雅趣绘于玻璃之上，描金饰边带着晚清居家审美特有的华贵温婉。整体形制规整雅致，把祈福寓意与装饰意趣结合，是晚清中西合璧装饰工艺的精巧缩影，悬于居室既为装点，也暗寄富足安和的祈愿。",[829,1279,25,26,7,1280],"玻璃画","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0116f0f18541b8d7deafe5b10447d618.jpg",[],7,{"id":1285,"slug":1286,"title":1287,"dynasty":191,"author":63,"museum":64,"description":1103,"tags":1288,"thumbUrl":1289,"material":121,"size":122,"collection":36,"collections":1290,"showCount":1283,"zanCount":11,"manualWeight":11,"mainColor":1145},257388,"qing-hua-yu-lian-wen-ba-leng-hu-lu-ping-yi-ming-257388","青花鱼莲纹八棱葫芦瓶",[1105,1106,26,7,28,613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F086a3570ca57d59c611c3cab523124d8.jpg",[],{"id":1292,"slug":1293,"title":1294,"dynasty":607,"author":63,"museum":64,"description":1295,"tags":1296,"thumbUrl":1299,"material":36,"size":36,"collection":1300,"collections":1301,"showCount":1283,"zanCount":11,"manualWeight":11,"mainColor":514},244186,"shuang-yu-wen-xi-yi-ming-244186","双鱼纹洗","敞口宽沿，弧腹敛收，敦实器身覆着苍绿铜锈，是千年岁月晕染出的斑驳肌理。内壁双鱼纹饰虽被锈蚀漫漶，仍能窥见当年鱼身摆尾灵动，仿佛正穿波曳尾，藏着对吉庆有余的脉脉祈愿。外壁三道弦纹简约利落，衬得器形舒展大气。\n\n它褪去礼器的肃穆，带着日常烟火温度，曾承接净水、映过起居日常，将实用与意趣揉合为一，铜绿里裹着旧朝晚风，静静诉说着千年前的平凡意韵。",[1297,1298,610,611,7,613,1095],"汉代","青铜器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F392fe4ae4d881d0384f6290500cbd42e.jpg","青铜器精选",[1300],{"id":1303,"slug":1304,"title":531,"dynasty":18,"author":155,"museum":64,"description":1305,"tags":1306,"thumbUrl":1309,"material":121,"size":122,"collection":36,"collections":1310,"showCount":1283,"zanCount":11,"manualWeight":11,"mainColor":40},235062,"za-hua-ce-hua-yan-235062","华岩（1682～1756），一作华嵒，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、离垢居士等，老年自喻“飘篷者”，福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。\n自幼酷爱绘画，后因家贫失学，备受世俗冷落，康熙四十二年（1703）华氏家族重建祠堂，曾因替正厅画壁画，乡绅看不起他，群起反对，最后偷自进祠堂，画上“高山云鹤”、“水国浮牛”、“青松悬崖”和“倚马题诗”四幅画，愤而离乡飘泊，流寓于杭州，结交了很多文人学士，眼界大开。36岁时曾北上入都，“得交当路巨公，名闻于上”，但并不得意，据戴熙《习苦斋画絮》载：“华秋岳自奇其画，游京师无问者。一日有售赝画者，其裹华笔也，华见而太息出都。”他的中晚年一直频繁往来于杭州、扬州，以卖画为生。在扬州他结识了金农、高翔、李鱓、郑板桥及盐商巨子马曰琯、马曰璐兄弟，彼此交流切磋，诗画酬答，使其绘画修养得到多方面的拓展，成为扬州画派的代表人物之一。",[24,49,233,26,51,672,117,27,7,1307,1308],"树枝","果实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6f1eca30f712d9a8063b78d86d450d6.jpg",[],{"id":1312,"slug":1313,"title":1314,"dynasty":129,"author":63,"museum":64,"description":1315,"tags":1316,"thumbUrl":1320,"material":121,"size":122,"collection":36,"collections":1321,"showCount":1283,"zanCount":11,"manualWeight":11,"mainColor":249},223723,"hua-hua-yu-fu-xi-yi-ming-223723","划花鱼凫洗","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。",[1317,1105,1318,7,1319,613],"宋代","划花","凫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0b7049543bafc7e0a959fc08ec927df.jpg",[],{"id":1323,"slug":1324,"title":1325,"dynasty":191,"author":1326,"museum":1327,"description":1328,"tags":1329,"thumbUrl":1330,"material":55,"size":36,"collection":36,"collections":1331,"showCount":1283,"zanCount":11,"manualWeight":11,"mainColor":40},218489,"ri-ben-gao-xian-ren-tu-zhuo-zong-deng-yang-218489","日本· 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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。",[1173,7,613,611],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc40146ea6d4cc2eb459a95de3b234e45.jpg",[],{"id":1511,"slug":1512,"title":1513,"dynasty":1505,"author":63,"museum":64,"description":1506,"tags":1514,"thumbUrl":1515,"material":121,"size":122,"collection":36,"collections":1516,"showCount":1469,"zanCount":11,"manualWeight":11,"mainColor":514},252290,"yu-yu-yi-ming-252290","玉鱼",[1173,611,7,613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed9e70445c7774f00b673483b3942db4.jpg",[],{"id":1518,"slug":1519,"title":1520,"dynasty":1521,"author":63,"museum":64,"description":1506,"tags":1522,"thumbUrl":1523,"material":121,"size":122,"collection":36,"collections":1524,"showCount":1469,"zanCount":11,"manualWeight":11,"mainColor":249},250721,"qing-yu-yu-pei-yi-ming-250721","青玉鱼佩","唐",[1521,1173,611,7,1402,613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f93bc2bd35edba997bcd8bd0c1ec1de.jpg",[],{"id":1526,"slug":1527,"title":1528,"dynasty":18,"author":1529,"museum":64,"description":1530,"tags":1531,"thumbUrl":1536,"material":121,"size":122,"collection":36,"collections":1537,"showCount":1469,"zanCount":11,"manualWeight":11,"mainColor":249},240150,"shi-juan-yong-rong-240150","诗卷","永瑢","爱新觉罗·永瑢（1744年1月28日—1790年6月13日），号九思主人，又号西园主人。少时居圆明园碧桐书院，亦称碧桐书院阿哥。清朝宗室，乾隆帝第六子，皇三子永璋同母弟，母为纯惠皇贵妃苏氏。\n乾隆二十四年十二月，出继慎靖郡王允禧，封贝勒，管理内务府、充《四库全书》玉牒馆总裁、监管钦天监事务。三十七年（1772）年，晋质郡王。五十四年（1789），晋封质亲王。\n乾隆五十五年（1790年），去世，时年四十八岁，谥号为庄。工诗擅画，主要作品有《岁朝图》《枫溪垂钓图轴》。",[23,24,49,133,672,118,117,51,26,25,488,1130,269,1532,761,53,433,85,762,763,27,765,434,137,764,68,138,82,144,145,265,7,490,1533,1534,268,1535],"月","镜","花","树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51bef9db8d13140b80a43b3a09f5f780.jpg",[],{"id":1539,"slug":1540,"title":1541,"dynasty":191,"author":1542,"museum":64,"description":1543,"tags":1544,"thumbUrl":1545,"material":34,"size":36,"collection":36,"collections":1546,"showCount":1469,"zanCount":11,"manualWeight":11,"mainColor":40},237271,"zhi-hua-ce-chen-dao-237271","指画册","陈道","陈道（1707-1760），字绍洙，号凝斋。江西新城钟贤（今江西省黎川县中田乡）人。清代文学家、理学家。生于康熙四十六年。从小品行端重，刚入塾学，白天听老师讲课，晚上则随父听诵《小学近思录》，庄诵不倦，并以此作为学与行准则。稍长，协助父亲治理产业及施行善事。一有闲暇，便手不释卷，孜孜以求。国子监肄业时，为主监事孙嘉淦所器重。后从师广昌黄永年，钻研宋儒理学，兼攻水利农田、军政边防等书籍。他尊崇周敦颐、程颢、程颐，研习陆九渊，王守仁，尤服罗点「主静不妄语」、「不为物所役」的主张。乾隆九年（1744）中举。乾隆十三年（1748）中进士，候选知县，以父母年高、无同胞兄弟为由拒官。后皇上令诏经学，他被推举，亦推辞不去。安心在家侍奉双亲，埋头读书。父经商，家境富裕，他辅佐父亲在乡兴办慈善事业。设立义田二千亩扶助贫苦，以使「读书有赡，鳏寡孤独废疾有养，婚丧有助」。捐白银二千两，为「盱江书院」讲学费。二十四年协助知县创建「黎川书院」，捐助学费，并在此掌教多年。还建桥修亭，施棺舍药，遇灾荒年景，奉父命购运粮食，按户计口平粜以救饥，并劝说或强制某些囤粮闭粜的富户粮商参与赈济。陈道一生，为人严毅清苦，「自少至老未一日怠惰」。治学以力行为主。经常与雷宏、夏之瀚、祝淦、涂登、涂瑞等交往切磋，甚得一些贤士、大夫所赏识。卒于乾隆二十五年，年五十四岁。文章多为讲学书稿，文风醇古淡泊，真意盎然。诗歌常流露对社会的不满，反映他不与时俗合流的对抗情绪。尝欲注《春秋五传》和编《江西文统》，未成而终。陈道去世后，其子陈守诚和同邑学生、同乡学者鲁九皋将其文稿收集整理成《凝斋遗集》（文6卷，诗2卷），刊印后被四库馆以《凝道斋集》收入《四库全书总目》，《清史列传》行于世。",[24,49,233,955,51,7,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35c1d24f8f9086b9e116e16fe988155c.jpg",[],{"id":1548,"slug":1549,"title":1550,"dynasty":1139,"author":1551,"museum":64,"description":1552,"tags":1553,"thumbUrl":1559,"material":121,"size":122,"collection":36,"collections":1560,"showCount":1469,"zanCount":11,"manualWeight":11,"mainColor":40},230580,"ming-qing-fang-gu-fen-ben-hua-niao-juan-1-tu-zuo-bing-guang-lin-feng-230580","明清仿古粉本花鸟卷1","土佐并光琳风","此作合装成卷，兼纳诸类绘事。起首工笔禽鸟，雄雉敷色秾丽，翎毛晕染细致，华彩毕现，雌雉朴雅写实，体态宛然，形神兼备。转而为扇面界画小品，屋宇勾描工致，人物市井排布错落，尽揽俗世烟火意趣。没骨花卉晕染柔和，枝头小雀灵动生姿。写意渡头行舟、寒林归鸦则笔墨简淡，晕开萧疏禅意。仕女图线条秀逸温婉，人物神态含蓄端丽，尽显古典闺秀韵致。卷尾花鸟与书法题跋相映成趣，整卷融工笔、写意、界画技法于一炉，兼取院体工致与文人写意意趣，尽显东方古典绘事雅致抒情的笔墨意韵。",[23,24,49,133,26,25,102,1554,117,27,103,491,85,144,138,433,432,490,585,1555,1556,376,943,137,338,493,1023,7,1557,1153,596,139,672,1558],"临摹","孔雀","雉鸡","船","篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7baf0b9e253928a2066f618834c6172f.jpg",[],{"id":1562,"slug":1563,"title":1564,"dynasty":18,"author":45,"museum":64,"description":115,"tags":1565,"thumbUrl":1566,"material":121,"size":122,"collection":36,"collections":1567,"showCount":1469,"zanCount":11,"manualWeight":11,"mainColor":40},230282,"hua-niao-shan-shui-ce-ba-kai-zhu-da-230282","花鸟山水册八开",[24,49,233,51,27,489,53,85,7,68,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73043b7ba44730441ec6f9634ec31f70.jpg",[],{"id":1569,"slug":1570,"title":1571,"dynasty":191,"author":63,"museum":64,"description":1506,"tags":1572,"thumbUrl":1576,"material":121,"size":122,"collection":36,"collections":1577,"showCount":1469,"zanCount":11,"manualWeight":11,"mainColor":40},228630,"yu-yu-long-hua-cao-wen-dai-shi-10-yi-ming-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e":2043,"dynasty":129,"author":63,"museum":64,"description":2044,"tags":2045,"thumbUrl":2049,"material":121,"size":122,"collection":1121,"collections":2050,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":514},259837,"long-quan-yao-qing-you-ke-shuang-yu-wen-zhe-yan-xi-yi-ming-259837","龙泉窑青釉刻双鱼纹折沿洗","龙泉窑是中国历史上的一个名窑，宋代六大窑系。汉族传统制瓷工艺的珍品。因其主要产区在浙江省龙泉市而得名。它开创于三国两晋，结束于清代，生产瓷器的历史长达1600多年，是中国制瓷历史上最长的一个瓷窑系，它的产品畅销于亚洲、非洲、欧洲的许多国家和地区，影响十分深远。龙泉窑以烧制青瓷而闻名，在北宋早期以前的产品风格受越窑、瓯窑、婺州窑的影响，特征与三窑的产品相似。胎质较粗，胎体较厚，釉色淡青，釉层稍簿。\n1998年3月，宋代的龙泉窑青釉莲瓣纹瓶从英国追回。\n龙泉窑因在今浙江龙泉县，故名，属我国南方青瓷系统。创造于北宋早期，南宋中晚期进入鼎盛时期，至明代中叶以后渐趋衰落，传世的龙泉青瓷下限至清康熙年间，烧造历史达七、八百年之久。北宋时期的龙泉青瓷，胎骨较厚，胎土淡灰，底足露胎处见赭褐色窑红，胎微出烧，釉的玻化程度好，釉层透明，釉表光泽很强。装饰花纹较简练，常见纹样有鱼纹、蕉叶、金枝、荷花等。装饰风格趋于奔放。处于南宋鼎盛时期的龙泉青瓷，形成了自已独有的艺术风格，显示了独特的魅力。\n南宋龙泉青瓷的造型亦形成自已的风格，稳重大方，浑厚淳朴而又不失秀媚，器型丰富多样，装饰普遍采用刻花和堆塑法，颇具艺术匠心。\n元代龙泉青瓷烧造量大，风格与南宋迥异：器型高大、胎体厚重；胎色为白中带灰或淡黄；釉色为粉青带黄绿，光泽较强，釉层半透明；装饰手法多种多样，有刻、划、印、贴、塑等，以划花为主，花纹粗略，线条奔放，纹饰以云龙、飞凰、双鱼、八仙、八卦、牡丹、荷叶等为多见。此外，还大量出现汉文和八思巴文字款铭。\n明代龙泉青瓷走向衰弱，器物胎体厚重，制作粗糙，胎色为灰黄，釉层厚，透明度高，釉表光泽强，釉色有青灰、茶叶末、灰黄等几种，装饰以釉下刻花为主，亦有模印人物故事的装饰方法。\n宋代龙泉青瓷是青瓷工艺的历史高峰。其青瓷的釉色与质地之美，亦如巧夺天工的人造美玉，全世人为之倾倒。\n那么，在漫长的历史长河中，龙泉窑又经历了怎样的发展轨迹呢?朱伯谦先生在《龙泉窑青瓷》一书中曾将龙泉窑的发展归纳为开创、发展、鼎盛和衰落四个阶段：魏晋和五代十国是开创时期，瓷窑少，生产时断时续，处于就地销售断断续续的生产阶段；北宋至南宋前期是发展期，瓷窑发展快，逐渐形成一个较大的瓷窑体系；南宋后期至元代是鼎盛期，瓷窑迅速发展，青瓷质量大大提高，产品畅销国内外广大市场；明清是衰落期，尤其是明代中期以后龙泉窑处境艰难，瓷窑不断地倒闭减少，至清代晚期结束。如果说这四个阶段勾勒出了龙泉窑发展历史的整个脉络，那么，龙泉窑发展史上的三次辉煌期则是连贯发展脉络的重点和要点。",[1105,1118,2046,2047,2048,7,613,1095],"刻花","双鱼纹","折沿洗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f3fb77743cb75f0d491053b47eb4a2e.jpg",[1121],{"id":2052,"slug":2053,"title":2054,"dynasty":18,"author":63,"museum":64,"description":2055,"tags":2056,"thumbUrl":2058,"material":121,"size":122,"collection":1121,"collections":2059,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":514},259025,"de-hua-yao-bai-you-yu-long-wen-bei-yi-ming-259025","德化窑白釉鱼龙纹杯","德化窑位于今福建德化，故名。作为著名的瓷窑，是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n德化瓷器是中华陶瓷烧造中的艺术珍品，始于宋代，明代后得到巨大发展。以白瓷塑佛像闻名。其制作细腻，雕刻精美，造型生动，体现了古代劳动人民的卓越才能和艺术创造力。\n在今福建德化，故名。是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n碗坪仑烧瓷较屈斗宫古窑址早，烧青白瓷，有的接近白釉，刻花蓖划纹装饰较多，盒子遗留甚丰，盖面所印阳纹装饰达一百余种，题材之丰富在南方地区首屈一指，南宋时有专门制作盒子的作坊，盒盖上阳文印花装饰题材丰富，有动物、花卉等近百种图案。划花间篦划纹亦较多，饰在碗、盘、瓶等器物上。\n屈斗宫元代办烧青白瓷，从南宋至元代。明代盛烧白瓷观音、达摩等塑像，胎釉浑然一体，如同白玉，被赞为"象牙白"、"奶白"或 "天鹅绒白。清代除烧白瓷外，盛烧青花与彩绘瓷器。元代以来，德化窑瓷器输出海外，菲律宾、马来西亚出土有元代德化窑青白瓷，泰国及东非坦桑尼亚等国家也出土有清代德化窑青花瓷器。\n这种瓷器的制作工艺程序如下：他们从地下挖取一种泥土，将它垒成一个大堆，任凭风吹、雨打、日晒，从不翻动，历时三、四十年。泥土经过这种处理，质地变得更加纯化精炼，适合制造上述各种器皿，然后抹上认为颜色合宜的釉，再将瓷器放入窑内或炉里烧制而成。因此，人们挖泥堆土，目的是替自已的儿孙贮备制造瓷器的材料而已，大量的瓷器是在城中出售， 一个威尼斯银币能买到八个瓷杯“。马可波罗的介绍，引起了西方人的强烈兴趣。",[158,1105,2057,611,7,104,1917],"白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcef8d1a96d0cc1343943a3efed794ade.jpg",[1121],{"id":2061,"slug":2062,"title":2063,"dynasty":18,"author":63,"museum":64,"description":1103,"tags":2064,"thumbUrl":2065,"material":121,"size":122,"collection":36,"collections":2066,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":1145},258244,"qing-hua-shui-zao-hua-wen-xiao-wan-yi-ming-258244","青花水藻花纹小碗",[158,1105,1106,362,7,613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad7a5923c9270d4a44f5266b68059d56.jpg",[],{"id":2068,"slug":2069,"title":2070,"dynasty":129,"author":63,"museum":64,"description":2071,"tags":2072,"thumbUrl":2073,"material":121,"size":122,"collection":1121,"collections":2074,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":249},256785,"ding-yao-bai-you-ke-yu-zao-wen-wan-yi-ming-256785","定窑白釉刻鱼藻纹碗","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。",[129,1105,2057,2046,7,349,613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85ca062f92bc5791cb696e1b6a43efab.jpg",[1121],{"id":2076,"slug":2077,"title":2078,"dynasty":191,"author":63,"museum":64,"description":1103,"tags":2079,"thumbUrl":2080,"material":121,"size":122,"collection":36,"collections":2081,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":249},256399,"cheng-hua-kuan-qing-hua-shui-cao-lian-hua-wen-wan-yi-ming-256399","成化款青花水草莲花纹碗",[191,1106,1105,160,68,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ef395b261066754cac69856159eb833.jpg",[],{"id":2083,"slug":2084,"title":2085,"dynasty":129,"author":63,"museum":64,"description":1385,"tags":2086,"thumbUrl":2088,"material":121,"size":122,"collection":36,"collections":2089,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":514},255992,"lv-you-ci-yu-yi-ming-255992","绿釉瓷鱼",[1317,1105,2087,7],"绿釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0208950db044db310351d50ea8b5e72.jpg",[],{"id":2091,"slug":2092,"title":1677,"dynasty":129,"author":63,"museum":64,"description":1678,"tags":2093,"thumbUrl":2094,"material":121,"size":122,"collection":1121,"collections":2095,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":249},255988,"shi-wan-yao-yu-yi-ming-255988",[129,1105,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fa4f000414182ae63f1018eb6f3715f.jpg",[1121],{"id":2097,"slug":2098,"title":2099,"dynasty":607,"author":63,"museum":64,"description":2100,"tags":2101,"thumbUrl":2103,"material":121,"size":122,"collection":36,"collections":2104,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":1145},253767,"tao-yu-yi-ming-253767","陶鱼","汉代陶器的工艺水平很高,造型优美,质地精良。品种、装饰则因地区不同而不同。陕西关中地区常见的日用陶器有豆、 盆、筒杯、勺、盘、缸、甑、 釜、小壶、扁壶、茧形壶、钵、罐、钟、碗等。明器包括礼器鼎和模型明器仓、陶囤以及各种动物形象。纹饰多为变形回纹、三角纹和窝纹。陕西潼关以东地区人们的日常用陶，以灰陶为主，有罐、 壶、碗、勺、筒杯、 瓮、盒、洗、甑、釜、杯、盘、尊等。在汉代流行起来的生活用具模型，如仓、 炉、 灶、井等。大都作为明器供随葬之用。盒、盘、案、杯等，逐渐成组出现，为适应人们厚葬之需也成为祭器。猪、羊、狗、鸡等家畜家禽及圈舍、住宅等明器模型也大量流行。装饰则有弦纹、刻划的三角纹、连环纹、栉齿纹和动物纹，还有绳纹、拍印纹、模印、浮雕、涂色和彩绘等。南方的长沙地区，制陶工艺自成体系，陶盒使用普遍，陶壶无盖，鼎的三足成矮胖的兽蹄形，其他实用器皿还有壶、罐、碗、钫、、盆、釜、甑、长方炉、博山炉等。特点是坚硬厚重。殉葬明器有灶、仓、井、屋、猪圈模型等。广东地区秦汉时属南海郡，常用陶器有瓮、双耳罐、提、四联罐和五联罐、瓿、小瓿、壶、匏壶、温壶、钫、 盒、敦、 小盒、三足盒、三足罐、三足瓿、四联盒、 碗、盆、 甑、釜、鼎、豆、三足格盒等。生活用具中灰白色的印纹硬陶占多数， 有的还戳上印记，多为容器，炊器只有釜、 鼎、甑 3种。造型特别的三足器、温壶、匏壶有着明显的地方特点。印纹硬陶很讲究装饰，单是几何图案就达70多种，此外还有弦纹、 陶纹、 镂孔、篦纹及文字记号等。明器上多施彩绘。四川云南等也有自己的制陶业，不少作品和中原地区相似，如圆底釜、侈口束颈、鼓腹的壶等。关中地区流行的茧形壶虽不生产，确有发现。舞蹈俑、说书俑、抚琴俑、听琴俑、侍立俑和各类家禽形象，生动优美，自然写实。",[1297,1105,7,611,2102,1687],"陶塑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f4ad4140f55f5f0b0f3be6ec16db393.jpg",[],{"id":2106,"slug":2107,"title":2108,"dynasty":18,"author":63,"museum":64,"description":1506,"tags":2109,"thumbUrl":2111,"material":121,"size":122,"collection":36,"collections":2112,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":514},252064,"qian-long-kuan-bi-yu-fu-yu-gui-wen-shou-er-xian-huo-huan-yuan-ping-yi-ming-252064","乾隆款碧玉凫鱼龟纹兽耳衔活环圆瓶",[1173,611,1319,7,1974,1903,2110,158],"活环","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafde1bd73036e1207541c4916edece58.jpg",[],{"id":2114,"slug":2115,"title":2116,"dynasty":18,"author":63,"museum":64,"description":2006,"tags":2117,"thumbUrl":2118,"material":121,"size":122,"collection":36,"collections":2119,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":514},250488,"fei-cui-yu-shi-he-yi-ming-250488","翡翠鱼式盒",[1173,611,1398,7,613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3039bbe522554e872bbdcedf93888c5.jpg",[],{"id":2121,"slug":2122,"title":2123,"dynasty":191,"author":63,"museum":64,"description":2124,"tags":2125,"thumbUrl":2127,"material":121,"size":122,"collection":36,"collections":2128,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":514},248992,"qia-si-fa-lang-lu-lian-yu-zao-tu-gang-yi-ming-248992","掐丝珐琅鹭莲鱼藻图缸","整体以珐琅釉色铺陈意境，蓝地之上缠枝花卉烂漫盛放，掐丝勾勒出花瓣柔润轮廓，色彩饱满鲜亮。白鹭亭亭卓立，羽翼纹理写实细腻，身姿清雅悠然，与繁茂花景相映，尽显灵动雅致。下部以绿釉摹写水泽，游鱼与水藻走线灵动舒展，野意横生。鎏金口沿带着斑驳岁月痕迹，更衬器物古雅厚重底色。掐丝走线匀净流畅，填釉饱满明丽，冷暖色调相融调和，将工笔花鸟的雅致意趣与珐琅工艺的华贵质感相融，静穆器形间藏着鲜活的自然生机，是工致工艺与东方意趣兼备的精妙之作。",[1834,1397,2126,1836,7,349],"鹭鸶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4d744f610d0d8dc9bbb7b9b714b572a.jpg",[],{"id":2130,"slug":2131,"title":2132,"dynasty":18,"author":63,"museum":64,"description":2133,"tags":2134,"thumbUrl":2139,"material":121,"size":122,"collection":36,"collections":2140,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":514},245377,"jin-zan-hua-ba-bao-yu-yi-ming-245377","金錾花八宝-鱼","此作为佛门八宝中的双鱼造像，以纯金錾刻透雕而成。对鱼相向而视，轮廓饱满温婉，鳞片錾刻细密写实，鳍尾舒展灵动，两鱼交合处饰吉祥结，暗含圆满联结之意。顶部如意宝相纹端庄雅致，缠枝卷草环绕器身，虚实相生的透雕消解了方正形制的板滞，让金饰莹润流光间更添灵动感。\n\n整器金水饱满匀净，錾刻走线利落细腻，既带着清式工艺的妍丽工巧，也承载着吉庆有余、双福并至的美好祈愿，是清代金属细作的精巧佳构。",[158,2135,2136,7,2137,2138,475],"金器","錾花","八宝","金属工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb57856c9a4d45df422f2f60893890a79.jpg",[],{"id":2142,"slug":2143,"title":2144,"dynasty":18,"author":2145,"museum":64,"description":2146,"tags":2147,"thumbUrl":2148,"material":121,"size":122,"collection":36,"collections":2149,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":249},241387,"bu-yu-xing-zhou-song-wan-241387","捕鱼行轴","宋琬","宋琬（1614-1673），清初著名诗人，清八大诗家之一，字玉叔，号荔裳，汉族，山东莱阳人。 [1] 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玉石、金属、木头、石头等。印章是中国传统文化的代表之一\n明代（1368～1644年）皇帝、王府之宝用玉箸篆玉印。这种篆书“笔画两头肥瘦均匀，末不出锋”，乃“篆书正宗也”（清?陈沣《摹印述》）。御宝舍两宋九叠文而直溯唐以上之玉箸篆，意味着九叠文禁锢公印的冰山已经松动。\n此外，明代内阁印用玉箸文银印，直钮，方一寸七分，厚六分；将军印用柳叶文，平羌、平蛮、征西、镇朔等将军印用螭鼎文，皆银印虎钮，方三寸三分，厚九分；其余百官印都用九叠文，铜印直钮，这类印比重最大。如故宫博物院藏明洪武二十二年（1389年）造“朵颜卫都指挥使司之印”。\n明代直钮已由两宋长方形板状钮变为上小下大的椭圆柱状，加高到8厘米左右，形成后世俗称的“印把子”。明代官印背款皆凿年款及编号。\n应该指出，两宋之时，九叠文中所谓的“九”是—个概数，极言其多，不一定确有九叠，也可能只有五叠、七叠，叠即一字中横画的层数。但明代九叠文中绝大多数确有九层横画。\n清代百官印等级区分同样十分严格，印章普遍有所增大。其字体有蒙古文楷书、满文、汉篆等。最常见的是汉满文对照同时出现在印面上，这也是清公印的一大特点。其中汉篆中，九叠文不太兴盛，出现了玉箸篆、悬针篆、柳叶篆、芝英篆等等。",[117,1966,1173,611,7,434],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62b25a270d6d6bf9bd4739b2eb30c714.jpg",[],{"id":2861,"slug":2862,"title":2863,"dynasty":18,"author":63,"museum":64,"description":2283,"tags":2864,"thumbUrl":2865,"material":121,"size":122,"collection":36,"collections":2866,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},276222,"sui-xing-shuang-yu-niu-yu-bi-zhang-yi-ming-276222","随形双鱼纽“御笔”章",[117,1966,1173,611,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ad36c948e3f0084f3d9aac055c5f5bf.jpg",[],{"id":2868,"slug":2869,"title":2870,"dynasty":18,"author":63,"museum":64,"description":2871,"tags":2872,"thumbUrl":2874,"material":121,"size":122,"collection":36,"collections":2875,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":249},275071,"tong-ba-bao-yu-yi-ming-275071","铜八宝-鱼","这件供器以鎏金铜打造，取柄镜形制，华贵雍容。镜心内嵌双鱼宝饰，双鲤舒展灵动，环拥法物，线条饱满细腻，暗藏丰饶有余、清净无染的吉祥禅意。器身满布缠枝卷草纹，柔婉繁复的纹饰层叠环绕，鎏金莹润醇厚，尽显细腻工巧。莲瓣底座沉稳端庄，将装饰之美与宗教意趣相融，是一件兼具陈设价值与祈福内涵的精巧供器。",[610,2135,611,7,2873,2137,613],"佛教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8e5ec1a7fbc359b0b4841edb3c8c9f0.jpg",[],{"id":2877,"slug":2878,"title":2879,"dynasty":18,"author":63,"museum":64,"description":2880,"tags":2881,"thumbUrl":2882,"material":121,"size":122,"collection":36,"collections":2883,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":1145},274936,"tong-du-jin-ba-bao-yu-yi-ming-274936","铜镀金八宝-鱼","这件供器鎏金璨然华贵，造型层层铺陈，尽显匠心。顶部双鱼灵动舒展，鳍尾鲜活如生，被缠枝莲台托举簇拥，暗合吉庆有余的祥瑞意涵。中层云纹座翻卷灵动，似将仙气托举而上，下接宝瓶葫芦，纹饰饱满精细，纳聚祈福安和之意。\n\n整体以錾刻、累丝工艺精作而成，线条华丽流畅，细节处尽显工造极致水准，融合了吉祥意蕴与宫廷审美风骨，华贵之余不失空灵隽秀，是礼佛供器里的精巧佳构，将鎏金铜器的华美与祈福深意融于一体。",[2135,610,611,7,475,1280,2617],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd924e3f13af4f6c435bb6ae0d43d2c8.jpg",[],{"id":2885,"slug":2886,"title":2870,"dynasty":18,"author":63,"museum":64,"description":2887,"tags":2888,"thumbUrl":2889,"material":121,"size":122,"collection":36,"collections":2890,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":514},274928,"tong-ba-bao-yu-yi-ming-274928","这件供器鎏金莹润，包浆凝厚，尽显华贵质感。顶端双鱼昂首摆尾，鳍须灵动舒展，仿佛正破水而出，将吉庆生机藏于造型之中。\n\n上下莲瓣台座呼应，承托起瑞兽般的轮廓。主体透雕缠枝卷草，线条婉转回环，镂空工艺让整体轻盈通透，柔化了金属的冷硬，与双鱼的鲜活相映成趣。\n\n工艺精巧细腻，把祈福寓意融于每一处纹路，肃穆中带着灵动雅致，尽显手造匠心，是兼具精神意涵与审美价值的精工之作。",[610,611,7,475,1957,1402],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e75b4896f3c0444c56c3f7f2488d45.jpg",[],{"id":2892,"slug":2893,"title":2894,"dynasty":18,"author":63,"museum":64,"description":1832,"tags":2895,"thumbUrl":2898,"material":121,"size":122,"collection":36,"collections":2899,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":249},274910,"tao-si-fa-lang-ba-bao-yu-yi-ming-274910","搯丝珐琅八宝-鱼",[1835,2896,7,475,2897],"搯丝珐琅","佛教八宝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1a07a87faf5bd84c3a4ad9d676e2ca0.jpg",[],{"id":2901,"slug":2902,"title":2879,"dynasty":18,"author":63,"museum":64,"description":2903,"tags":2904,"thumbUrl":2906,"material":121,"size":122,"collection":36,"collections":2907,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},274902,"tong-du-jin-ba-bao-yu-yi-ming-274902","此件造像层次错落有致，桃形背光錾刻缠枝纹为底，中心双鱼相互环绕，身形舒展灵动，周身纹路细致华美，尽显自在生机。鎏金包浆厚重柔润，古韵氤氲。下方莲台花瓣饱满立体，卷草立柱与仰莲底座雕琢精巧繁复，细节处尽显匠心。\n\n金鱼寓意解脱自在，这件造像将这份吉祥意涵与金属錾刻鎏金工艺相融，尽显清代藏传造像的精巧工法，诠释出虔诚雅致的宗教美学韵味。",[610,2905,611,475,7,28,1280],"镀金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30fdca947b1ab85b947f371c6636b3f4.jpg",[],{"id":2909,"slug":2910,"title":2911,"dynasty":18,"author":63,"museum":64,"description":2912,"tags":2913,"thumbUrl":2915,"material":121,"size":122,"collection":36,"collections":2916,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":249},274838,"tong-du-jin-qian-song-shi-yun-ding-ba-bao-yu-yi-ming-274838","铜镀金嵌松石云顶八宝-鱼","这件供器以铜镀金为骨，嵌松石为饰，色调清贵交融。双鱼造型饱满灵动，偎依于莲台之上，暗含吉庆有余的美好祈愿。环周饰钉仿若星子缀绕，将双鱼衬得愈发醒目。器身分层雕饰层层递进，莲瓣舒展柔润，鎏金缠枝线条婉转华丽，松石的澄澈冷润中和了金饰的雍容灼目，尽显细作的华贵精巧，在庄严的器物形制里，融着极致的匠人巧思，静穆中透着祥瑞之气，是神性与匠心交织的精美之作。",[475,2137,2135,610,1398,611,7,2617,2914,1402],"松石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a7dbf1f6501162594309ca78639b75f.jpg",[],{"id":2918,"slug":2919,"title":2879,"dynasty":18,"author":63,"museum":64,"description":2920,"tags":2921,"thumbUrl":2922,"material":121,"size":122,"collection":36,"collections":2923,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":249},274822,"tong-du-jin-ba-bao-yu-yi-ming-274822","双鱼交缠灵动鲜活，鳍尾舒展翻卷，伫立在仰莲台座之上，暗含年年有余的吉庆寓意。器身通体鎏金，明黄莹润，支架以缠枝卷草铺陈，镂刻繁复华丽，线条虬劲婉转，光影游走间尽显华贵雍容。底足取俯莲造型，镂空雕琢不失端庄稳重，与上部的灵动形成巧妙呼应。整体细节一丝不苟，将造像的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。\n唐三彩在唐代的兴起有它的历史原因。首先陶瓷业的飞速发展，以及雕塑、建筑艺术水平的不断提高，促使它们之间不断结合、不断发展，因此从人物到动物以及生活用具都能在唐三彩的器物上表现出来。\n唐代贞观之治以后，国力强盛、百业俱兴，同时也导致了一些高官生活的腐化，于是厚葬之风日盛。唐三彩当时也是作为一种冥器，曾经被列入官府的明文规定，一品、二品、三品、四品，就是说可以允许他随葬多少件，但是实际上作为这些达官显贵们，并不满足于明文的规定，反而他们往往比官府规定要增加很多的倍数，去做这种厚葬。官风如此，民风当然也如此，于是从上到下就形成了这么一种厚葬之风，这也就是唐三彩当时能够迅速在中原地区发展和兴起的一个主要原因之一。\n唐代是我国封建社会的鼎盛时期，所以说唐三彩从另外一个侧面也反映了这种唐王朝的政治、文化、生活，它跟唐代诗歌、绘画、建筑其他文化一样，共同形成了唐王朝文化的旋律，但是它又不同于其他的文化艺术，从现代的陶瓷史上认为，唐三彩在唐代陶瓷史上是一个划时代的里程碑，因为在唐以前，只有单色釉，最多就是两色釉的并用，在我国的汉代，已经有了两色，即黄色和绿色两种釉彩在同一器物上的使用。到了唐代以后，这种多彩的釉色在陶瓷器物上同时得到了运用。从陶瓷史上有人考证，这和唐代当时的审美观点起了很大的变化有关。在唐以前人们崇尚的是素色主义，到唐代以后，它包容了各种文化，包括许多外来文化，这个时候从绘画、陶瓷、金银器的制作，形成了一个灿烂文化的特点。\n唐三彩的生产已有1300多年的历史。它吸取了中国国画、雕塑等工艺美术的特点。唐三彩制作工艺复杂，以经过精细加工的高岭土作为坯体，用含铜、铁、钴、锰、金等矿物作为釉料的着色剂，并在釉中加入适量的炼铅熔渣和铅灰作为助剂。先将素坯入窑焙烧，陶坯烧成后，再上釉彩，再次入窑烧至800℃左右而成。由于铅釉的流动性强，在烧制的过程中釉面向四周扩散流淌，各色釉互相浸润交融，形成自然而又斑驳绚丽的色彩，是一种具有中国独特风格的传统工艺品。\n唐三彩不仅贵在釉色浓艳瑰丽，而且骆驼、马和人物等的造型生动传神，富有生活气息，当时的国际场上，唐三彩就已负有盛名，成为中外经济文化交流的重要物品之一。1928年，陇海铁路修筑到洛阳邙山时，出土了大量唐三彩，古董商们将其运至北京，受到了国内外古器物研究者的重视和古玩商竞相收藏。之后，洛阳地区不断有唐三彩出土，数量之多、质量之美，令人惊叹。",[1105,3568,3569,2102,103,7],"唐代","雕塑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1452c8254a25774610f1cdf8c9d21b5.jpg",[],{"id":3573,"slug":3574,"title":3575,"dynasty":191,"author":63,"museum":64,"description":1506,"tags":3576,"thumbUrl":3577,"material":121,"size":122,"collection":36,"collections":3578,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},252640,"qing-yu-dai-shi-yi-ming-252640","青玉带饰",[572,1573,611,2468,7,28,2477,1402],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff25d16fd1798afae052c7608fc06d36.jpg",[],{"id":3580,"slug":3581,"title":2459,"dynasty":346,"author":63,"museum":64,"description":1824,"tags":3582,"thumbUrl":3583,"material":121,"size":122,"collection":36,"collections":3584,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":249},252559,"bai-yu-yu-xing-pei-yi-ming-252559",[652,1173,611,7,1402],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff654716e3ef07ad064a346a011a9d258.jpg",[],{"id":3586,"slug":3587,"title":2497,"dynasty":129,"author":63,"museum":64,"description":1824,"tags":3588,"thumbUrl":3590,"material":121,"size":122,"collection":36,"collections":3591,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":249},252548,"bai-yu-shuang-yu-xing-zhui-yi-ming-252548",[129,1173,611,1402,7,3589],"双鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9953ec31c9648264938dfcb03e871ebe.jpg",[],{"id":3593,"slug":3594,"title":3595,"dynasty":191,"author":63,"museum":64,"description":1824,"tags":3596,"thumbUrl":3598,"material":121,"size":122,"collection":36,"collections":3599,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},252333,"bai-yu-gui-yu-yi-ming-252333","白玉鳜鱼",[572,1173,611,7,3597,613],"鳜鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10dcf52d064fc822d28b7c689e91768f.jpg",[],{"id":3601,"slug":3602,"title":3603,"dynasty":129,"author":63,"museum":64,"description":1824,"tags":3604,"thumbUrl":3606,"material":121,"size":122,"collection":36,"collections":3607,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":249},252141,"bai-yu-yu-xing-dai-gou-yi-ming-252141","白玉鱼形带钩",[1317,1173,611,7,1402,3605],"白玉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f474e13f4be3b3430c7cb0addf816ed.jpg",[],{"id":3609,"slug":3610,"title":3611,"dynasty":18,"author":63,"museum":64,"description":1824,"tags":3612,"thumbUrl":3613,"material":121,"size":122,"collection":36,"collections":3614,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},252046,"bai-yu-shuang-yu-wen-xi-yi-ming-252046","白玉双鱼纹洗",[18,1173,611,7,613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ea13ed7d53de00e1a57ff2b2378d246.jpg",[],{"id":3616,"slug":3617,"title":3618,"dynasty":18,"author":63,"museum":64,"description":3619,"tags":3620,"thumbUrl":3622,"material":121,"size":122,"collection":36,"collections":3623,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},251865,"ma-nao-yu-long-wen-hua-cha-yi-ming-251865","玛瑙鱼龙纹花插","此件以天然玛瑙随形施艺，俏色巧用原石黄褐沁晕，将鱼化龙瑞态雕琢得灵动饱满。匠师依势造型，细密鳞片刻画写实逼真，鳍须翻卷张扬，龙首隐现于水浪肌理间，既留存鱼身柔润弧度，又尽显瑞兽威严威仪。\n器物兼具花插实用与文房赏玩之能，静卧时仿佛攒劲待跃水升空，将水泽灵韵与祥瑞寓意融于刀工纹路，古韵盎然尽显巧思匠心，把材质肌理与神兽意象合二为一，雅致又不失雄浑气韵。",[611,3621,7,104,613],"玛瑙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11b51cd5482ca6b2e1d000ae61768dcb.jpg",[],{"id":3625,"slug":3626,"title":3627,"dynasty":18,"author":63,"museum":64,"description":1506,"tags":3628,"thumbUrl":3630,"material":121,"size":122,"collection":36,"collections":3631,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":249},251762,"bi-yu-shuang-yu-wen-hua-cha-yi-ming-251762","碧玉双鱼纹花插",[1173,611,7,3589,3629],"圆雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bc4c2217ae5513ad67aa2b6cdb8b722.jpg",[],{"id":3633,"slug":3634,"title":3635,"dynasty":18,"author":63,"museum":64,"description":1506,"tags":3636,"thumbUrl":3638,"material":121,"size":122,"collection":36,"collections":3639,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},251594,"qing-yu-shou-mian-shuang-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