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x 42.5cm",[37,62],90,{"id":160,"slug":161,"title":162,"dynasty":18,"author":87,"museum":144,"description":163,"tags":164,"thumbUrl":169,"material":58,"size":170,"collection":60,"collections":171,"showCount":172,"zanCount":11,"manualWeight":11,"mainColor":41},216210,"san-yang-kai-tai-tu-yi-ming-216210","三阳开泰图","三阳开泰图 中有三只羊的图像。这三只羊代表着三阳的出现，是象征和平、繁荣的象征。根据传统，三只羊通常被描绘成站立在一起、头朝上的形态，表示他们正在向天空中的女娲献上膜拜。\n\n这三只羊可能会有不同的造型，但通常都是描绘成充满活力、生机勃勃的样子。他们的毛发通常是乌黑色或棕色，身体健硕，眼神炯炯有神。在三阳开泰图 中，这三只羊是象征着繁荣的重要元素，也是艺术家用来传达历史意义和文化价值的重要工具。",[24,49,7,50,51,165,166,28,167,168],"羊","梅","石","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102a2a7077a6eff7a42cc886854ac759.jpg","163.5x100cm",[60],77,{"id":174,"slug":175,"title":176,"dynasty":18,"author":68,"museum":177,"description":178,"tags":179,"thumbUrl":183,"material":184,"size":185,"collection":136,"collections":186,"showCount":187,"zanCount":40,"manualWeight":11,"mainColor":188},220840,"shou-chun-tang-ji-zhao-meng-fu-220840","寿春堂记","辽宁省博物馆","《寿春堂记》书于元仁宗延祐三年（1316年），是融合二王、李邕而又出以劲肆之作。墨迹为清人陈廷庆所藏，历经王鸣盛、阮元、翁方纲、鉄保等人鉴定。清文宗嘉庆二年（1798年）在杭州抚勒上石，刻者吴厚生。原拓本有陈廷庆、王鸣盛等题跋或观款十二段，付印时除陈廷庆一跋外，余均略去。在题跋中，王鸣盛说；『此册笔法遒健。』铁保说：“是卷胎息大令， 而兼北海之恣纵，一洗平生流媚之习，真人书俱老之境。”石韫玉也说：“笔势若龙若骊，如快马入阵，纵横莫当。”这些都是有参考价值的评论。\n原文:延佑乙卯，嘉平之月，东里翁卜居郑乡里之溪西。平畴在其前，望极不得徼；湖山在其后，若有若无，隐隐可见。二溪双流在其左右，若抱珥然。乃作堂三间以为燕闲之所。梁柱桷榱，小大中度，不藻绘，不雕几，简如也，辉如也，豁如也。浚陂池以亭清沚，缭垣墉以谨限防。松篁桂桧梅橘蒲桃之属，绕屋扶疏。又杂植兰菊众香草，荫可愒，华可玩，实可采。明年三月既望，隆山牟应龙成甫扁曰“寿春”，会亲友以落之。客或指其扁而问焉，曰：“翁垂希年，康强少疾，一身之寿也；孝慈友弟，闺门肃雍，一家之春也，得非以是名乎？”翁笑曰：“吾之意不特为是。昔遭岁祲，身履忧虞，里闬萧条，吾馈三叹而寝十兴，危不自保，尝慨然谓里人曰：‘吾侪何日庶几得见时清岁康乎？’惟是数十年来，兵革不用，年谷屡丰，生齿日蕃，斯民皡皡然，熙熙然，如在寿域，如登春台，吾因得以暇日成吾堂，以供吾老，以长吾子孙而教之，时从父老饮酒于其上，得以遂有生之乐。闵闵焉如农夫之望其穑之成，慈母望其儿之长，朝夕徯之，幸酬愿，始为太平之幸民，喜当若何？且身寿健而家春和，固人情所甚愿然，必与众皆安，而后可。否则虽有此，岂能独乐哉？此吾名堂以自贺之本意也。”有少年疑焉，曰：“吾不知往事，翁之言无乃过与？”予曰：“往事，吾所亲见，盖以实而言，非过也。今夫波平如镜，锦缆徐牵，棹歌闲发，未知其可乐也，必尝值风涛之险，然后知之；平常无事，起居饮食，与众不殊，未知其可乐也，必尝值疢疾之苦，然后知之。向使翁生长太平之世，如邵尧夫未必知之若此其深、言之若此其切也。夫冀时之无事，己得安居而暇食者，善人也；冀时之多艰，己得行险以徼幸者，小人也。今翁之言如是，且先天下而后其私家，非厥心臧者，孰能之？吾以是知翁矣。”翁姓郑氏，里在乌程县东，其乡曰常乐，时夏四月记。翰林学士承旨荣禄大夫知制诰兼修国史赵孟頫书\n译文:文章大意是说1315年,一位老翁在一个前有平原后有群山，依山傍水的地方修建了三间屋子，虽然很简单，但是非常舒适。老翁在房前屋后栽种了松梅兰竹等等花草，又能遮阳，又能赏玩，非常惬意。隔年三月，做了一个匾额叫做寿春。坐落匾额的那天，还请来了亲朋好友。有个客人问:你身体健康，所以叫做寿；家庭和睦，家风肃清，叫做春，这就是名字的由来吧。老翁说不是，他早年生活坎坷颠沛，身不由己，朝夕不保，就常常感叹，什么时候才能过上太平清净的日子啊。近年来，太平盛世的，就象在寿域登春台一样，他才得以享此天伦之乐，所以起这个名字纪念一下。有个少年听了这个对话，很怀疑说：真的象你说的那样吗?是不是夸大其辞啊?我说：那些艰苦的岁月我都知道啊，老翁说的没有夸大。世上的事都是没有经历过苦就不知道甜，没有经历过颠沛流离，就不知道珍惜眼前的平常生活，如果老翁生活在太平盛世，他的体会也不会这么深刻。在安稳天平的时候，吃饱穿暖的，做好人；但遇到了不稳定危险的情况，就怀抱侥幸心理作恶，就变成了坏人。现在，老翁说的正是这个意思，所以他感谢这个好时候。况且，他先想到天下，后想到自己，是个智者好人啊。这个老人姓郑，居住在常乐乡乌程县东。这文章在4月时写成的。由翰林学士承旨荣禄大夫知制诰兼修国史的赵孟頫书写。",[23,129,180,25,7,181,182],"楷书","墨迹","碑记","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26bebb77d477ab2fb16f1300675c4f3b.jpg","拓本","32x1126厘米",[136],73,"37474F",{"id":190,"slug":191,"title":192,"dynasty":18,"author":193,"museum":194,"description":195,"tags":196,"thumbUrl":201,"material":58,"size":59,"collection":60,"collections":202,"showCount":203,"zanCount":116,"manualWeight":11,"mainColor":41},219070,"dan-feng-shuang-niao-tu-zheng-xi-219070","丹枫双鸟图","郑禧","印度安纳波利斯艺术博物馆","一棵彩绘枫树，主干粗壮，细枝上零星的枫叶褪去了红色，两只鸟儿栖息在最高的树枝上，蓬松的羽毛，细长的尾羽，白色的腹部和棕色的亮点，深蓝色的背部，为深秋增添色彩。",[23,24,25,197,50,51,7,108,198,150,199,200],"花鸟画","枫树","飞鸟","枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65f0262c254e21ca62b76dea8b204ed4.jpg",[60],72,{"id":205,"slug":206,"title":207,"dynasty":18,"author":104,"museum":144,"description":208,"tags":209,"thumbUrl":213,"material":58,"size":214,"collection":60,"collections":215,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":41},216949,"han-jiang-lu-yan-zhou-wang-yuan-216949","寒江芦雁轴","此帧绘水滨双雁，一延颈啄啮芦根，一半合其目而休憩。毛羽丰润，神态生动。芦苇三两茎衬托其后，复有残荷几叶，益增萧瑟意境。",[24,108,50,51,52,7,210,211,212,110],"芦苇","大雁","寒江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde012ecdad844b3e749ba9f388e9437d.jpg","149.7x62.7公分、全幅 90公分",[60],70,{"id":218,"slug":219,"title":220,"dynasty":18,"author":68,"museum":221,"description":222,"tags":223,"thumbUrl":225,"material":226,"size":227,"collection":136,"collections":228,"showCount":229,"zanCount":116,"manualWeight":11,"mainColor":99},220851,"zhi-zhai-ji-zhao-meng-fu-220851","止斋记","上海博物馆","《止斋记》是元代书画家赵孟頫的作品，这是他的行书代表作之一，书于1308年（元至大元年），作者时年55岁。\n该书通篇字形俊秀飘逸，而笔笔又谨守法度，体现了他极深的行楷功力，乃至后学无法超越。\n全文:公受事九郡，务求简靖。其风概严而不猛，待人和而不流。有犯，恻怛以处之，毋贷。故名声莫不闻，每语同僚，曰：尔来宦途不再，岁经涉万有余里，游已倦矣！安得幽闲之地，葺一容膝之斋，其中惟竹与菊是植，终日燕坐，诚可乐也！因顾幕从事段从周曰：子为名其斋。诸君合辞曰：公未也。一笑而罢。他日又谓余曰：我得斋名矣，举所得，云：行年六十，官三品，亦是人生合止时，以止扁（匾）斋可乎？子为我记之，余谢曰：公精力未衰，中外属望，方期大用，膏泽天下，岂容止乎？且余不敏，安敢承教？公笑曰：子言侈矣，止此，于我为过，敢有他望，以重其过？其毋愧我。遂不敢复辞，勉为之说。曰：止之，时义大矣哉，尝考诸艮乾坤之交，三索而成艮。一阳居二阴之上，阳动而上进之物，既至于上则止矣。阴者，静也，上止而下静，故为艮。艮者，止也。其象为山，取坤地而隆其上之状，既曰山，又有安重坚实之意，乃所谓止也。然止有两义，有止而止者，行而止者。止而止者，时行则行，时止则止。如蹇之险而止、如蒙之坎而止，止其时也。行而止者，谓行其事也，所止者，理而已。如父止于慈，子止于孝，君止于仁，臣止于敬。此即止其所也，动中有静，静中有动，彖曰：动静不失其时，其道光明。盖当止而止，既不失其时；当行而止，又皆得其所，其道安得不光明辉显哉？由此观之，止之为义，非特专主辞禄去位，闭门却扫，与夫高蹈远引，遯(遁)世无闷之谓也。历观前人，处止之义不同，有功成名遂，全身远害而止者，有知足不辱，恶盈好谦而止者，有委心乘化，乐天知命而止者，如汉之留侯与二疏及晋之陶渊明是已。是止也固异，夫知进而不知退，既得患失，暨不量其才之称否而冒之者万万也。然皆非圣人之止也，圣人之止何如？可以仕则仕，可以止则止，可以久则久，可以速则速。孔子也，噫！为能尽艮之，止之之道者，其唯圣人乎？孟子不曰，自有生民以来未有孔子也。又曰：乃所愿则学孔子也，公如处止之道，愿以孔子为法，庶无慊于孟氏矣。敢此以为止斋记。至大元年冬十月既望，东平段从周记，吴兴赵孟頫书。",[23,25,129,127,124,224,181,7],"印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ae4a5784200dea1f30b91c76c182ba7.jpg","纸本","纵达四十七点五厘米,横三百五十六厘米",[136],63,{"id":231,"slug":232,"title":233,"dynasty":18,"author":234,"museum":88,"description":235,"tags":236,"thumbUrl":239,"material":59,"size":59,"collection":59,"collections":240,"showCount":241,"zanCount":116,"manualWeight":11,"mainColor":41},228244,"xian-shan-lou-ge-tu-chen-ru-yan-228244","仙山楼阁图","陈汝言","此作为典型的元人青绿山水，承续唐宋青绿遗韵。层叠峰峦以石青、石绿晕染勾勒，色泽古雅厚重，虽经岁月稍褪，仍可见旧时明丽。苍松虬劲错落，扎根于岩岫之间，楼阁屋舍隐现幽谷林泉，几处文人逸士或策杖徐行、或凭栏晤谈，衬出山居空寂幽深。\n\n整幅疏密得宜，将仙山秘境的超脱清灵铺展于绢素，既带着青绿山水的富丽端严，又融入元人山水独有的萧散意趣，把世外山居的恬然仙气尽数勾勒，尽显缥缈出尘的隐逸雅意。",[23,49,24,25,7,72,51,147,50,31,108,237,152,73,30,74,76,32,149,238],"仙山","云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5e76427d011700fd2ac0d5e310c74ac.jpg",[],62,{"id":243,"slug":244,"title":245,"dynasty":18,"author":87,"museum":88,"description":246,"tags":247,"thumbUrl":249,"material":95,"size":96,"collection":59,"collections":250,"showCount":251,"zanCount":116,"manualWeight":11,"mainColor":188},223644,"xu-kong-cang-pu-sa-xiang-2-yi-ming-223644","虚空藏菩萨像2","虚空藏（梵语 ākāśagarbha，音译啊迦舍嘎赫婆）菩萨摩诃萨，密号库藏金刚。汉译又作尊上虚空孕菩萨摩诃萨、虚空库菩萨摩诃萨、虚空光菩萨摩诃萨，是中国大乘佛教八大菩萨摩诃萨之一。\n虚空藏菩萨摩诃萨在无量菩萨中专主智慧、功德和财富。因尊上智慧、功德、财富如虚空一样广阔无边，并能满足世间一切如法持戒者的善求善愿，使无量无边众生获得无穷利益，故有此虚空藏圣名。\n虚空藏菩萨具有赐予利乐的力量。“藏”表示无限福德智慧，“虚空”表广大，《大方等大集经》指出：虚空藏如同富翁，相应困苦众生，只要到她面前，即会施予救济。因此，虚空藏菩萨是以济度众生为乐的菩萨。",[23,49,24,25,7,108,92,76,50,51,248],"莲花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93ea3f19b6f9f690523f6b6e2e09ea73.jpg",[],58,{"id":253,"slug":254,"title":255,"dynasty":18,"author":68,"museum":256,"description":257,"tags":258,"thumbUrl":261,"material":262,"size":263,"collection":37,"collections":264,"showCount":265,"zanCount":116,"manualWeight":11,"mainColor":41},232902,"hua-xi-yu-ma-tu-zhao-meng-fu-232902","花溪浴马图","美国大都会艺术博物馆","此画展现了一个充满生活趣味的浴马场景：在碧波清流之上，一大群马匹随着马倌入水、洗浴、出水。骏马温顺而矫健。\n《花溪浴马图》虽不知其创作时间，但从内容与风格上看，此图与北京故宫博物院所藏的《浴马图》应是同一时期作品。\n《花溪浴马图》布局开阔：岸边梧桐垂柳，绿荫成趣；溪水涓涓而流，清澈透明；骏马七匹，马倌八人，有序地安排在长长的画幅之中。在一片清幽、充满村野之趣的自然景象中，人与马悠然平和，各得其乐。画中马的姿态各异，神态生动，有的立于水中，有的饮水吃草，有的昂首嘶鸣。马倌们各自分工不同，或冲洗马身，或牵马上岸，或岸边小憩。赵孟頫以文人意笔勾线，行笔偏工，设色法唐人的青绿和重彩，人与马勾勒精细，设色雅致，并且色不掩笔。此图是一幅形神兼备、妙逸并具、风格高雅的鞍马画精品。\n赵孟頫(1254-1322)是元代文人画家中罕见的全能“选手”，山水、人物、鞍马、花鸟、竹石，无一不能，无一不精。再加上诗词、书法的成就，以及对篆刻的深刻理解，可以说，他基本界定了后世文人画家诗书画印全能的标准。",[23,49,24,25,124,7,51,50,76,125,74,149,259,32,260,153],"草地","树荫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b00a4e6db6c090c8f49c50804767e58.jpg","绢本设色","横28.1厘米，纵155.5厘米",[37],55,{"id":267,"slug":268,"title":269,"dynasty":18,"author":270,"museum":271,"description":272,"tags":273,"thumbUrl":277,"material":278,"size":279,"collection":60,"collections":280,"showCount":265,"zanCount":11,"manualWeight":11,"mainColor":99},221772,"da-dou-tu-ren-ren-fa-221772","大豆图","任仁发","日本京都国立博物馆","任仁发（1254—1327年），字子明，一字子垚，号月山道人，其先祖为邳县（今属江苏省）人，后迁居松江（今属上海）。擅长书法、绘画，书学李北海，画学李公麟。画马尤其出色，曾奉敕画御苑马厩中的名马，得到皇帝的赏识。擅长人物画，所画人物笔墨苍润，生动传神。此外任仁发还是一位很有成就的水利专家，曾先后主持修治浙西吴松江、大都（今北京）通惠河等工程，并有水利工程著作传世。\n传世作品有：至元十七年（1280）作《出圉图》卷，《二马图》卷，《张果见明皇图》卷，藏故宫博物院；《秋水凫鹥图》轴，藏上海博物馆；《饮中八仙图》《贡马图》《横琴高士图》《秋林诗友图》藏台北故宫博物院；《神骏图》《三骏图》《九马图》在美国；《饲马图》在英国；《文会图》《牵马图》等在日本。著有《浙西水利议答录》十卷。《书史会要》、《书画史》、《六研斋随笔》、《黄渡镇志》、《海上墨林》、《练水画徵录》。",[23,24,51,50,52,274,275,276,56,7],"蜻蜓","豆叶","豆花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3356f80cc6353f6b9795618f4536e468.jpg","纸本设色","纵18.7厘米，横19.4厘米",[60,62],{"id":282,"slug":283,"title":284,"dynasty":18,"author":87,"museum":221,"description":285,"tags":286,"thumbUrl":293,"material":58,"size":294,"collection":60,"collections":295,"showCount":296,"zanCount":116,"manualWeight":11,"mainColor":41},219254,"xing-hua-yuan-yang-tu-yi-ming-219254","杏花鸳鸯图","老干虬曲盘折，枝桠间素白杏花轻绽，似碎雪点染枝头，清妍雅致。水畔鸳鸯相倚，羽色温润柔和，与浅滩细草、零星苔石相映，添得几分闲逸生趣。画面色调古雅沉敛，笔墨简淡却意韵悠长，于静谧中藏生机，尽显元代文人画的清逸之致，观之如沐春风，心归恬淡。",[23,7,49,24,25,52,50,51,287,54,288,289,110,290,291,292],"杏花","树","水","杂草","禽鸟","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3807ab913238f9ab10fab7e5d2ba0d67.jpg","纵163横98.2厘米",[60],54,{"id":298,"slug":299,"title":300,"dynasty":18,"author":270,"museum":301,"description":302,"tags":303,"thumbUrl":305,"material":58,"size":59,"collection":60,"collections":306,"showCount":307,"zanCount":11,"manualWeight":11,"mainColor":41},219096,"si-ma-tu-ren-ren-fa-219096","饲马图","维多利亚和阿尔伯特博物馆","画面捕捉饲马的日常瞬间：红衣者俯身照料，另一人持物趋近，两马或立或侧，姿态悠然。线条如铁线般挺劲，勾勒出马的健硕肌理与人物衣褶的流转，细节处见匠心——马鬃的蓬松、鞍具的纹理，皆刻画入微。设色淡雅却点睛：红衣的暖艳与背景的素净相映，衬出场景的质朴鲜活。整体风格写实，却于平凡中藏着对生命的关照，既见游牧文化对马的珍视，也显画家对生活烟火的细腻捕捉。画面静谧却涌动着日常生机，似能闻草料轻响，触岁月温软，是元代生活图景与艺术匠心的凝练呈现，于质朴中见生动，于细微处显深情。",[49,24,25,7,50,51,76,125,304],"器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37d4df022bb041213a807994378e568d.jpg",[60],53,{"id":309,"slug":310,"title":311,"dynasty":18,"author":68,"museum":144,"description":312,"tags":313,"thumbUrl":315,"material":226,"size":316,"collection":136,"collections":317,"showCount":318,"zanCount":116,"manualWeight":11,"mainColor":99},220887,"zhi-xian-yu-shu-chi-du-zhao-meng-fu-220887","致鲜于枢尺牍","该帖基本上是将行书和草书两种写法交替使用\n释文：（前文残缺）陆沉于尘土中。不得致书。悬仰之怀。何可云喻。即日伏惟动静胜常。昨见教化公。言有铜器见赠。留足下处。望附良便。发与湖州舍下为感。都下绝不见古器物。书画却时得见之。多绝品。至有不可名状者。（有晋人谢稚三牛图。妙入神。非牛非麟。古不可言。）近见双幅董元著色大青大绿。真神品也。（韩干明皇试马。张萱日本女骑。皆真迹。）若以人拟之。是一个无拘管放泼底李思训也。上际山。下际幅。皆细描浪纹。中作小江船。何可当也。又两轴屈原渔父。又一轴江乡渔父。皆董元绝品。并双幅。不得不报耳。（鲁公自书太子少师告。朝回马病帖。乞米帖。怀素客舍等帖。伯时天神鬼马。妙。又驴鸣马惊图。）因赵彦伯侍郎南去。辄附片纸。近有新收。不惜报示也。正远惟善护兴息。不宣。四月廿四日。孟頫再拜。（伯几想安胜。便中冀为道意。）",[23,129,127,26,25,7,314,224],"尺牍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4d22ce51678593caef9837e5d02c776.jpg","38.4x60.6厘米",[136],47,{"id":320,"slug":321,"title":322,"dynasty":18,"author":323,"museum":271,"description":324,"tags":325,"thumbUrl":329,"material":330,"size":331,"collection":59,"collections":332,"showCount":333,"zanCount":11,"manualWeight":11,"mainColor":41},221856,"yu-tu-lai-an-221856","鱼图","赖庵","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。",[23,24,25,7,326,50,26,327,328],"白描","鱼","水草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f6c0167aad2f00c768ac238d83f7767.jpg","绢本墨画","19.4×31.0",[],42,{"id":335,"slug":336,"title":337,"dynasty":18,"author":87,"museum":144,"description":338,"tags":339,"thumbUrl":345,"material":155,"size":346,"collection":60,"collections":347,"showCount":348,"zanCount":11,"manualWeight":11,"mainColor":41},219324,"hua-xia-jiang-chu-tu-yi-ming-219324","花下将雏图","画幅下面有一湖石横卧其间，湖石两侧长有几丛幽竹，枝叶伸展，匍伏于湖石上，湖石四周杂草遍地，以象征出整片的草地，对整个画面起到衬托作用。画幅右侧有湖石竖立其旁，湖石上大下小，向左倾斜，呈险势状。湖石造型奇特，玲珑剔透。湖石后有一束翠竹横出，又有几株鲜花盛开的牡丹。枝头上硕大的花朵，由绿叶衬托，更显得艳丽秀美。花枝有的向画面左侧横出，有一枝条伸展至画幅左上部位，这是妙笔，将画幅左上部位空白处填补，起到了充实和平衡整个画面的作用。在湖石和牡丹枝荫下，有鸡一公、一母、七雏，立于湖石和盛开着的牡丹的草地上，左侧公鸡低首觅食，两爪有力抓在地上，头部肉冠及肉办较大，短翼，脚健壮，跗跖及趾皆被鳞板，尾发达，体较大，羽色亦美，尾羽夸张地飘动着如海草一般；母鸡蹲伏在地上，两爪有力抓地，双翅上翘，尾巴舒展开来呈扇形，弯颈低首，双目下视；母鸡背部立一雏，另一雏在翼下，二雏藏尾后，余下三雏则在近处草地啄食，皆毛羽缕缕可见。",[7,24,25,49,108,50,51,52,340,341,342,343,344,32,77,291],"牡丹","公鸡","母鸡","雏鸡","老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F553dd7adab84486b80b38f993362b208.jpg","182x102.8公分",[60],41,{"id":350,"slug":351,"title":352,"dynasty":18,"author":353,"museum":144,"description":354,"tags":355,"thumbUrl":356,"material":35,"size":357,"collection":358,"collections":359,"showCount":361,"zanCount":11,"manualWeight":11,"mainColor":41},221813,"si-ji-ping-an-tu-zhou-li-kan-221813","四季平安图轴","李衎","《四季平安图》此幅水墨绘修竹四竿，三浓一淡，两前两后，布置得宜，风姿卓然。李仲宾此幅全学文湖州，而加浓密之致，体现了其本人的艺术审美。 李衎（1245-1320年），字仲宾，号息斋道人，晚年号醉车先生，元朝蓟丘（今北京市）人。元仁宗皇庆元年（1312年）任吏部尚书，拜集贤殿大学士、荣禄大夫。李衎尤善画枯木竹石，善画墨竹，双钩竹尤佳，和赵孟頫、高克恭并称为元初画竹三大家，著有《竹谱详录》。",[23,49,24,25,108,26,326,50,28,167,55,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f9156289c567b360733a596791d013b.jpg","131.4 x 51.1cm","水墨画精选",[358,360],"竹石精选",40,{"id":363,"slug":364,"title":365,"dynasty":18,"author":87,"museum":366,"description":367,"tags":368,"thumbUrl":371,"material":58,"size":59,"collection":134,"collections":372,"showCount":373,"zanCount":11,"manualWeight":11,"mainColor":99},218474,"shi-jia-mo-ni-dan-sheng-tu-yi-ming-218474","释迦摩尼诞生图","九州国立博物馆","云气如缕，托着衣袂翩跹的神众于天际凝眸；地面上，朱廊环伺，侍从衣纹细腻如波，簇拥着殿内新生的静谧。中央光晕轻笼，似能触到佛陀诞生的圣洁——青绿与赭红交织的图景里，古绢斑驳晕染出岁月的虔诚。右侧仪仗缓步，衣饰繁复与左侧侍从清雅相映，皆向那神圣核心汇聚。线条流转间，佛教庄严与世俗鲜活融于一帧，每一笔都似低语着千年信仰的温度，让悠远的故事在古画的肌理中静静流淌。",[24,25,92,50,51,369,76,152,370,259,7],"界画","祥云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F761dda8b2dede2e9e29009830b74880b.jpg",[134],36,{"id":375,"slug":376,"title":377,"dynasty":18,"author":87,"museum":144,"description":378,"tags":379,"thumbUrl":381,"material":58,"size":382,"collection":60,"collections":383,"showCount":384,"zanCount":11,"manualWeight":11,"mainColor":41},218784,"bai-xiang-yan-qing-zhou-yi-ming-218784","百祥衍庆轴","红衣人物骑羊缓行，衣袂轻扬间透着悠然意趣。群羊或奔或卧，或抵角嬉戏，姿态鲜活如临其境，百只灵畜聚首暗合“百祥”之寓。苍松虬劲，枝桠舒展如盖；梅枝疏影横斜，点点花苞隐现，为画面添了几分清逸古雅。整幅画以灵动笔触绘就一派吉庆祥和的盛景，松梅相映衬出衍庆绵长，尽显传统民俗中对美好生活的殷殷祈愿，笔墨间藏着岁月沉淀的温润与厚重，将质朴的祝福凝于绢素之上，流转千年仍动人心弦。",[24,25,108,51,50,76,168,380,166,7,49],"松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04ccc5d8dab1d863025e1345af25e34f.jpg","102.9x65cm",[60],30,{"id":386,"slug":387,"title":388,"dynasty":18,"author":353,"museum":88,"description":389,"tags":390,"thumbUrl":391,"material":59,"size":59,"collection":59,"collections":392,"showCount":393,"zanCount":11,"manualWeight":11,"mainColor":41},228266,"zhu-que-tu-li-zhou-li-kan-228266","竹雀图立轴","此作用双勾法写竹，笔致工稳匀净，竹挺拔劲秀，叶片俯仰向背层次分明，尽显君子清刚之姿。淡施赭色晕染竹节，衬于古旧绢底，愈见沉雅古拙。\n几只山雀或栖于梢头理羽，或穿林跃动，翎毛晕染细腻灵动，为幽寂竹林添了鲜活生气。动静相映之间，将写实工细与文人意趣相融，既有院体花鸟的精工写实，又饱含萧散淡远的林下之风，把劲竹的清操与野雀的生趣合为一卷，尽显雅致隽永的笔墨意韵。",[23,7,24,25,108,50,26,52,28,109,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac188acdce48fe49bfc54eafa6996beb.jpg",[],29,{"id":395,"slug":396,"title":397,"dynasty":18,"author":87,"museum":20,"description":398,"tags":399,"thumbUrl":404,"material":58,"size":59,"collection":60,"collections":405,"showCount":393,"zanCount":11,"manualWeight":11,"mainColor":41},219279,"lian-lu-tu-yi-ming-219279","莲鹭图","汀渚石上，双鹭静立。白羽以淡墨层层晕染，质感蓬松清透，长颈或曲或伸，姿态悠然；黑喙尖细如锥，长腿挺括似铁线，爪尖紧扣岩石纹路，稳健中见灵动。周遭莲荷残落，枯梗斜欹，莲蓬以焦墨点簇，间杂细草幽花，皆用简笔写就，野趣横生。画面底色沉郁古雅，绢本的岁月痕迹更添韵致，无浓艳设色，却于简淡中藏深致：风过莲塘的轻响似在耳畔，水泽清寂漫溢开来，尽显元人画中“清空”之境——于静谧里见生机，于素朴中显情韵，寥寥数笔便凝住自然幽微之美。",[23,7,49,24,25,400,51,50,52,401,402,403,55],"扇面","鹭","荷花","莲叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b797be1e0744c28f778b94a3e2dfa19.jpg",[60],{"id":407,"slug":408,"title":409,"dynasty":18,"author":410,"museum":121,"description":411,"tags":412,"thumbUrl":414,"material":226,"size":415,"collection":136,"collections":416,"showCount":417,"zanCount":11,"manualWeight":11,"mainColor":99},239691,"tai-bu-hua-zhuan-shu-lou-shi-ming-juan-tai-bu-hua-239691","泰不华篆书陋室铭卷","泰不华","释文：\n山不在高，有仙则名；水不在深，有龙则灵。斯是陋室，唯吾德馨。苔痕上階绿，草色入帘青。谈笑有鸿儒，往来无白丁。可以调素琴，阅金经。无丝竹之乱耳，无案牍之劳形。南阳诸葛庐，西蜀子云亭。孔子云：“何陋之有？”至正六年正月廿八日白野兼善书。\n鉴藏印有“安岐之印”、“朝鲜人”、“佩裳宝藏”、“木头老子”等。前后隔水各有清罗天池题记一则，记录其重金购买此卷之事及对此卷的评价。\n此卷是泰不华书唐代著名诗人刘禹锡所作《陋室铭》全篇。\n从落款可知此卷书于元至正六年（1346年），是年泰不华43岁。其书兼善篆、隶、楷。篆法初师宋徐铉，后取法汉碑额，高古可尚，行笔圆活遒劲，转折方正，结构疏朗工稳，末笔多作尖锋，即“悬针”笔法。此为迄今所见泰不华唯一的篆书真迹。作为一个少数民族文人，能写如此齐整秀逸的汉字古体实属难能可贵。\n此卷曾刻入《海山仙馆帖》。",[7,413,129,124,224],"篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2855344898cc0fa28ffc817f2ce61f3.jpg","纵36.9厘米，横113.5厘米",[136],23,{"id":419,"slug":420,"title":421,"dynasty":18,"author":87,"museum":20,"description":422,"tags":423,"thumbUrl":426,"material":226,"size":427,"collection":59,"collections":428,"showCount":429,"zanCount":11,"manualWeight":11,"mainColor":41},232257,"cong-ju-tu-yi-ming-232257","丛菊图","《宋人画丛菊图》是宋代佚名创作的一幅画。图绘秋菊一丛，红白相间，繁枝茂叶，生机勃发，不见肃杀秋意。花瓣用中锋细笔勾描，再以朱红或白粉晕染；花蕊用细笔点出；茂密的叶片或用赭石、或略入汁绿、或稍加藤黄染出，以示老嫩不同的色彩。花之欲开、盛开、将残，叶之翻卷及明暗向背，刻画得恰到好处。画风工致细腻，构图丰满，但繁而不乱，密而不窒，设色艳而不俗，为南宋写生画佳作",[24,49,25,7,108,51,50,52,424,32,425],"菊花","蝴蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25f51eb89e89e998efcbce918c58e349.jpg","35x36cm",[],22,{"id":431,"slug":432,"title":433,"dynasty":18,"author":434,"museum":88,"description":435,"tags":436,"thumbUrl":439,"material":59,"size":59,"collection":59,"collections":440,"showCount":441,"zanCount":11,"manualWeight":11,"mainColor":41},228165,"qing-quan-qiao-mu-tu-li-zhou-li-shi-xing-228165","清泉乔木图立轴","李士行","此作用笔苍劲老辣，以顶天立地的古松为画面核心，虬曲扭结的躯干皴擦细密，尽显岁月镌刻下的沧桑质感。松间垂挂的绵长松萝，以劲细游丝写出柔婉垂坠之态，和古木的沉雄拙朴相映成趣。下方寒泉漱石，流泉隐于嶙峋怪石间，留白铺就的水面空寂淡远，静穆中暗流动势，烘托出幽僻萧寒的林下清境。\n整幅画作以枯淡笔墨写就荒寒之韵，将文人寄心林泉、远避尘嚣的隐逸意趣藏于清冷景致之中，尽显山水尚意求真的美学风骨。",[23,49,24,25,108,7,26,51,31,344,437,32,74,438,55],"枯树","坡岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17444290187efcec2fec2010c6951726.jpg",[],21,{"id":443,"slug":444,"title":445,"dynasty":18,"author":446,"museum":144,"description":447,"tags":448,"thumbUrl":450,"material":449,"size":316,"collection":59,"collections":451,"showCount":441,"zanCount":11,"manualWeight":11,"mainColor":99},221687,"lun-zhang-xu-huai-su-gao-xian-xian-y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1301年），是元代另一位有影响的大书法家。他的书法主要取法唐人，长于楷、行、草各体。赵孟頫曾说：“尝与伯机（鲜于枢字）同学草书，伯机过余甚远，极力追之而不能及。伯机已矣，世乃称仆能书，所谓无佛处称尊耳。”赵孟頫与鲜于枢交往很深，鲜于枢早逝，赵孟頫对他的草书特加赞颂，不是言不由衷，而是符合事实的。鲜于枢的草书，不像赵孟頫那样谨遵二王，而是更多地继承了唐代张旭、怀素的癫狂气势。他的草书墨迹《论张旭怀素高闲草书帖》，文为：“张长史、怀素、高闲皆各善草书。长史颠逸，时出法度之外；怀素守法，特多古意；高闲用笔……粗十得六七耳。至山谷乃大坏，不可复理。”他在此帖不但盛赞张旭、怀素，而且笔法也酷似怀素《自叙帖》。至于对黄庭坚的贬抑，固然反映了元人尊唐卑宋的心理，但以同是学怀素的两个人相比，鲜于枢自己觉得比黄庭坚学得好，也是他小看黄庭坚的一个原因。",[129,449,7,224,25,124],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32ba66bb5c8c28fea5285ddd0a16f398.jpg",[],{"id":453,"slug":454,"title":455,"dynasty":18,"author":446,"museum":121,"description":456,"tags":457,"thumbUrl":460,"material":461,"size":462,"collection":136,"collections":463,"showCount":464,"zanCount":40,"manualWeight":11,"mainColor":99},239673,"du-gong-bu-xing-ci-zhao-ling-shi-juan-xian-yu-shu-239673","杜工部行次昭陵诗卷","释文： 舊俗疲庸主，群雄問獨夫。譏歸龍鳳質，威定虎狼都。 天屬尊堯典，神功協禹謨。風雲隨絕足，日月繼高衢。 文物多師古，朝廷半老儒。直詞寧戮辱，賢路不崎嶇。 往者災猶降，蒼生喘未蘇。指揮安率土，盪滌撫洪爐。 壯士悲陵邑，幽人拜鼎湖。玉衣晨自舉，鐵馬汗長趨。 松柏瞻虛殿，塵沙立冥途。寂寞開國日，流恨滿山隅。 右工部行次昭陵詩，困學民書。\n末识：“右工部行次昭陵詩，困學民書。”钤“鲜于”、“白几印章”、“箕子之裔”、“虎林隐吏”、“中山后人”印五方。卷末有王祎、宋濂二跋。鉴藏印记有清乾隆、嘉庆、宣统诸玺及梁清标、宋濂、王祎等印多方。\n这是鲜于枢以行书大字录写的杜甫五言《行次昭陵诗》。杜甫是唐朝著名的现实主义诗歌代表人物，他的作品内容大都与当时的朝政有关，此首诗亦充满了对国家兴衰的关注。\n此帖结体疏朗，笔势雄浑，与鲜于枢个人性情正相吻合。如柳贯所评：“公毅然美大夫，面带河朔伟气，每酒酣骜放，挥毫结字，奇态横生，势有不可遏者。”此卷是鲜于枢大字行书的代表作品。\n明顾复《平生壮观》卷四，清《石渠宝笈初编》卷三一，《故宫已佚书画目》著录。",[23,129,127,124,224,181,458,459,7],"汉字","诗词","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c203c0d459c74dc96ff17a149a16b3c.jpg","纸本，行书","纵32厘米，横342厘米",[136],20,{"id":466,"slug":467,"title":468,"dynasty":18,"author":469,"museum":88,"description":470,"tags":471,"thumbUrl":473,"material":59,"size":59,"collection":59,"collections":474,"showCount":475,"zanCount":11,"manualWeight":11,"mainColor":41},228247,"dou-niu-tu-dun-min-228247","斗牛图","敦敏","郊野荒寒，枯木虬劲苍古，枝桠疏朗斜伸，带着冬日萧索静气。前景双牛犄角相抵，四蹄攒劲，肌肉紧绷贲张，将斗牛憨猛相争的张力尽显，朴拙写实，鲜活灵动。\n以静衬动，萧寂的野景衬出斗牛的生猛勃发，右上角题诗呼应画中趣味，笔墨苍简淡远，将山野朴趣与文人画的清冷意韵相融，于简约留白间晕染出悠然生机，尽显笔墨疏淡雅致的侘寂之美。",[23,7,49,24,25,108,50,51,472,168,437,32],"牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc37247abe557be32eff5ae6096d2856e.jpg",[],19,{"id":477,"slug":478,"title":479,"dynasty":18,"author":480,"museum":121,"description":481,"tags":482,"thumbUrl":483,"material":127,"size":484,"collection":136,"collections":485,"showCount":486,"zanCount":11,"manualWeight":11,"mainColor":41},239663,"ti-hua-shi-tie-ye-zhang-yu-239663","题画诗帖页","张雨","释文：\n清才绝似王摩诘，爱向高堂写雪山。华盖洞中如屋里，赤栏桥外是人间。琼楼只许飞仙住，珠树应留织女攀。莫信寒泉伤玉趾，最宜清暑听潺湲。怪底朝寒云气浓，卷帘金翠出芙蓉。似倾三峡龙门雪，为洗明星玉女峰。玄豹藏来深雾雨，绿阴缺处小房栊。拟求许郭仙人宅，知隔琼华第几重。\n右题张彦辅画《雪山楼观》、《云林隐居》二图。雨。\n又书小字:\n四月廿六日晚，雨试笔，天镜、拙庵此时偃卧清凉室中，小龙了在天年袖中矣。\n钤“张雨私印”、“句曲外史张天雨印”。\n卷后有郑元祐题诗，罗天池题名，南郭翁书法。其中南郭翁书法一段与《题画诗帖》没有必然联系。卷前沈曾植隶书引首“诗留画味”。明周天球题诗及画像皆伪。\n文中“张彦辅”为元至正时人，号六一道士，居北京，善画山水。\n卷后郑元祐诗题中有“可怜斯人头已白”句，可知是张雨晚年的作品。《题画诗帖》书法清劲流利，舒放而又雍容，多具变化，又颇有些峻厉狂怪。张雨早年书法受赵孟頫影响，后得《茅山碑》，其书遂变，故此题字画清遒，染有唐人风格。张雨此件有双胞作品，美国大都会藏有另一本，无跋。两者比较，故宫为摹本，大都会为书写本，应是真迹。",[23,7,129,127,26,51,76,224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68cd04fe9c729e96af896681562a76f4.jpg","纵29.3厘米，横148.5厘米",[136],18,{"id":488,"slug":489,"title":490,"dynasty":18,"author":87,"museum":88,"description":491,"tags":492,"thumbUrl":495,"material":95,"size":96,"collection":59,"collections":496,"showCount":486,"zanCount":11,"manualWeight":11,"mainColor":497},228012,"guan-yin-pu-sa-yi-ming-228012","观音菩萨","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[92,76,493,494,248,51,7],"木质","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a0fb7934113c6a56f896d65a6799844.jpg",[],"FFFFFF",{"id":499,"slug":500,"title":501,"dynasty":18,"author":502,"museum":144,"description":503,"tags":504,"thumbUrl":514,"material":515,"size":516,"collection":59,"collections":517,"showCount":518,"zanCount":11,"manualWeight":11,"mainColor":99},221808,"shu-wu-yan-gu-shi-ou-yang-xuan-221808","书五言古诗","欧阳玄","振衣逢野泉。渐见栖寒所。坎坎山下声。幽幽林中语。仙卿何代隐。卿复言亦楚。开冰洗药苗。扫雪候山侣。零叶聚疎篱。幽花积寒诸。冥冥孤鹤性。天外时轻举。欧阳玄书",[25,127,7,26,224,505,506,507,508,509,510,511,512,513],"野泉","霜","山","林","冰","雪","孤馆","寒渚","孤鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cbfdc78de585b386b066c2f39a1794b.jpg","白纸本","纵25.1厘米，横35.3厘米",[],17,{"id":520,"slug":521,"title":522,"dynasty":18,"author":87,"museum":88,"description":523,"tags":524,"thumbUrl":529,"material":95,"size":96,"collection":530,"collections":531,"showCount":532,"zanCount":11,"manualWeight":11,"mainColor":99},256935,"jing-de-zhen-yao-you-li-hong-hua-hua-tu-wen-yu-hu-chun-ping-yi-ming-256935","景德镇窑釉里红划花兔纹玉壶春瓶","景德镇窑是中国传统窑炉之一，景德镇窑系属于宋代六大窑系之一。诞生于今江西省景德镇，故称景德镇窑，实际上由数个窑口组成。\n景德镇有着悠久的制瓷历史，完备的陶瓷产业体系，广泛的国际影响，是一座因瓷而生、因瓷而兴、因瓷而名的城市，也是一座“因开放而生，因开放而兴”的深度开放城市。\n景德镇窑据记载始烧于唐武德(618一626)年间。建国后发现瓷窑遗址多处，以杨梅亭窑、石虎湾窑、黄泥头窑最早，均为五代时期。\n中国传统的陶瓷可分为三大类：龙窑（倾斜式隧道窑）、阶级窑（倾斜式冷底多室窑）以及景德镇窑（平焰窑）。 景德镇窑为我国传统窑炉中独具风格的窑。它的烧成室型呈一头大一头小的长椭圆形，近窑门处宽而高，靠近烟囱则逐渐狭窄矮小，故有"鸭蛋窑"之称，全长约15-20米，容积为300-400立方米，是以松柴为燃料，火焰长而灰分少，因不含硫或者含量极少，适宜烧还原焰，对于白瓷、青花瓷、颜色釉瓷等传统瓷的釉面呈色效果良好，可装烧高火、中火、低火的瓷坯。因窑内腔较高（最高高度不超过6米），便于装烧大件制品，适合多品种生产的条件。因此，景德镇窑（在景德镇也叫柴窑）单位公斤瓷的燃料消耗量小。另外，其结构简单，镇窑建筑速度快，基建费用少，产量大，周转期快，可以快速烧成和快速冷却，适应于景德镇附近制瓷原料的特性和瓷器的传统风格。对南方某些瓷窑来说，在控制烧成气氛和瓷器质量，以及燃料（松柴）消耗等方面，镇窑均较龙窑、阶级窑和倒焰窑等优点。",[7,525,526,527,528,304],"釉里红","划花","陶瓷","兔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2b92df513282e5897132d9eb201936e.jpg","瓷器精选",[530],16,{"id":534,"slug":535,"title":536,"dynasty":18,"author":446,"museum":121,"description":537,"tags":538,"thumbUrl":539,"material":59,"size":59,"collection":136,"collections":540,"showCount":532,"zanCount":11,"manualWeight":11,"mainColor":41},239686,"du-fu-wei-jiang-jun-ge-juan-xian-yu-shu-239686","杜甫魏将军歌卷","释文：将军昔着从事衫，铁马弛突重两衔。被坚执锐略西极，昆仑月窟东巉岩。君门羽林万猛士，恶若哮虎子所监。五年起家列霜戟，一日过海收风帆。平生流辈徒蠢蠢，长安少年气欲尽。魏侯骨耸精神紧，华岳峰尖见秋隼。星躔宝校金盘陀，夜骑天驷超天河。搀枪荧惑不敢动，翠蕤五旓相荡摩。吾为子起歌部擭，酒阑插剑肝胆露。勾陈苍苍风玄武，万岁千秋奉明主，临江节士安足数。",[23,129,449,124,224,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ccb3a98ca28892a94249052f0114102.jpg",[136],{"id":542,"slug":543,"title":544,"dynasty":18,"author":87,"museum":88,"description":545,"tags":546,"thumbUrl":549,"material":59,"size":59,"collection":59,"collections":550,"showCount":532,"zanCount":11,"manualWeight":11,"mainColor":41},233028,"ren-zong-huang-di-hou-xiang-yi-ming-233028","仁宗皇帝后像","全册七开，设色画后妃、太子头像共十三人，每开有题签记名。",[24,25,7,50,51,76,547,548],"衣帽","饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fb391e6701e427c9be24a3b640f5e07.jpg",[],{"id":552,"slug":553,"title":554,"dynasty":18,"author":87,"museum":88,"description":555,"tags":556,"thumbUrl":558,"material":59,"size":59,"collection":59,"collections":559,"showCount":532,"zanCount":11,"manualWeight":11,"mainColor":41},228227,"xu-kong-zang-pu-sa-xiang-li-zhou-yi-ming-228227","虚空蔵菩萨像立轴","此作所绘菩萨面容慈悲恬和，端坐莲云宝台之上，周身璎珞环佩错落华贵，衣纹卷草繁复精美。身后圆光放射清辉，将法相衬得愈发澄澈庄严。设色沉雅古艳，晕染柔和细腻，带着浑穆静雅的气质。下方青绿山水澹然悠远，将神圣法界与俗世林泉相融，传递出安宁清寂的禅意。笔致工谨入微，既恪守宗教造像的肃穆仪轨，又暗合传统绘事的雅致意韵，尽显神性之美与笔墨意趣，是兼备信仰内涵与艺术价值的上乘之作。",[23,24,25,7,108,92,76,50,51,248,27,557],"背光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4519e845bfd0c73213cf3ff0697c5d5.jpg",[],{"id":561,"slug":562,"title":563,"dynasty":18,"author":480,"museum":88,"description":564,"tags":565,"thumbUrl":568,"material":95,"size":96,"collection":59,"collections":569,"showCount":570,"zanCount":11,"manualWeight":11,"mainColor":99},239909,"wu-kuan-hang-zhou-lu-kai-yuan-gong-bei-ming-guang-mo-zi-zhou-jun-jie-he-juan-zhang-yu-239909","无款杭州路开元宫碑铭、广莫子周君碣合卷","张雨（1283--1350），字伯雨，一字天雨，号句曲外史。年二十余弃家为道士，道名嗣真，道号贞居子。他的书法初学赵孟頫。后在赵氏指点下上追李邕，并旁涉怀素、米芾。风格清虚雅逸，有晋、唐遗意。张雨书性极高，他能从赵氏入而又不被师囿，变赵氏的雍容平和为神骏卿遒，有明显的个人风格。",[23,7,124,127,129,224,566,567,181,226],"碑铭","碣文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef0a0ce1827d9ab4f0ab898891d9c053.jpg",[],13,{"id":572,"slug":573,"title":574,"dynasty":18,"author":575,"museum":271,"description":576,"tags":577,"thumbUrl":579,"material":580,"size":581,"collection":59,"collections":582,"showCount":570,"zanCount":11,"manualWeight":11,"mainColor":41},221786,"yuan-zhen-zeng-fa-yin-da-he-shang-wei-bing-zhi-zheng-da-shi-shi-hao-chi-shu-xiao-ye-dao-feng-221786","円珍赠法印大和尚位并智证大师諡号勅书","小野道风","延历寺第十代住持增命和尚圆寂时，由朝廷赐予「静观」之谥号，同时，增命之师、已故之圆珍（814－891）和尚则被升晋为僧人中地位最高的「法印大和尚位」，并赐予「智证大师」之谥号。时为延长五年（西元927年），也就是圆珍和尚圆寂后第三十六年的事。\n本卷即是当时用来宣告醍醐天皇（885－930，897－930在位）御令之诏书。据记载，内文是由藤原博文起稿，小野道风（894－966）誊写。在淡蓝色的纸上，施以淡墨界栏，并以具有量感的浑厚和样化书风及充满气魄的笔势所写成。被视为和样化书法创始者的小野道风，誊写本诏书之时，年　　三十四，正任中务省少内记之职，担当书写诏书或位记的工作（位记指授予官吏位阶时所颁发的文书）。本诏书正面共钤有「天皇御玺」朱文方印十三处，背面有二处。\n圆珍是延历寺第五代住持，也是天台宗寺门派的开山祖师，由于他的努力，才使得园城寺（三井寺）再次兴盛起来。",[23,7,129,578,127,124,224],"写经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F401ef7701286afab6dc5c97da0b82bbb.jpg","彩笺","28.7×156.9;",[],{"id":584,"slug":585,"title":586,"dynasty":18,"author":87,"museum":88,"description":587,"tags":588,"thumbUrl":589,"material":59,"size":59,"collection":59,"collections":590,"showCount":591,"zanCount":11,"manualWeight":11,"mainColor":188},231497,"han-gao-zu-liu-bang-yi-ming-231497","汉高祖刘邦","汉高祖刘邦，字季，号沛公，谥号高皇帝，庙号高祖。沛郡丰邑中阳里（现属江苏省徐州市丰县）人氏，妣吕雉。邦公国号西汉高祖，生于周赧王五十九年即公元前二五六年二月初八日。他在兄弟四人中排行第三。性情豁达大度，知人善任。公元前二一六年，时年三十一岁，为泗水亭长。公元前209年壬辰岁九月，参加由陈胜，吴广带领的起义，后加入楚国的阵营，趁另一位将军项羽，和秦的大军打拉锯战，没有秦国主力和他的军队对阵之余，第一个攻进秦国的首都咸阳，灭了秦朝，被楚霸王项羽封为汉王。并以蜀地为基地，和项羽展开了长达四年的楚汉之争。刘邦在文有张良，武有韩信，后方有萧何的辅助下，终于把项羽的军队包围在垓下设下十面埋伏，项羽突围不果，自杀于乌江边。刘邦消灭了项羽后，统一了中国。公元前206年乙未岁称帝于洛阳，建立汉王朝，自此中华帝国在地理上再次统一，为以后的强大建立了基础.后迁都于长安（今西安市）在位十二年，卒于公元前一九五年丙午岁四月二十五日（甲辰日）。享年六十一岁，葬于葬于陕西省西安咸阳县东，称长陵。妣吕雉，卒于公元前一七九年壬戌岁，葬于长安咸阳县东陵。生八子：长庶齐悼惠王肥，曹氏生。次子恵帝盈，吕雉生。三子和意，戚后生，封赵王，后被吕雉所杀。四子恢，梁王，后自杀。五子文帝恒，先封代王，后为文帝，薄姬生，薄姬卒于公元前一五五年丙戌岁，葬于霸陵。六子友，先为淮阳王，后为赵幽王，后自杀，生二子：遂（赵王）、卬（胶西王）。七子建，燕王，后被吕雉所杀。八子长，淮南王，后被文帝废王。为了和后来刘秀建都洛阳的“汉”区别，历史上称为“西汉”",[24,25,49,7,108,76,51,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f26eab8a5aa6207dddae9b2d01cb95c.jpg",[],12,{"id":593,"slug":594,"title":595,"dynasty":18,"author":87,"museum":144,"description":596,"tags":597,"thumbUrl":600,"material":155,"size":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力。钧，即重量，北宋早期官窑钧瓷分量沉重。中华瓷文化的传统风格就是外表朴实而内秀其中。所谓“华夷光暗滋”的含蓄内敛，道出了宋瓷的本质特点。五代柴窑瓷器发色的鲜美以及色调的神奇变化，是中国瓷艺发展史上的一座里程牌。在柴窑瓷的光辉照耀下，宋，元瓷艺向着风格不同，但技艺精深非凡的道路上发展。掀开了中国瓷艺史上最为辉煌的篇章。原创一直贯穿始终，原创是瓷艺生命的灵魂。一个“隐”一个“显”，道出了几千年中华文化的内在本质。从石器时代东方人便对玉石内蕴的无穷魅力深深吸引，拓展了东方人领悟自然奥秘宽度与厚度。可是直到如今，西方人仍然认为只有闪闪发光的东西才有价值。对自然环境的细微观察，并在瓷器上把它们表现出来，是钧瓷的核心技术所在。这种表现艺术的高度让人惊叹，并一直是贯穿北宋和南宋宫廷制瓷的主流技术。瓷器纹理从北宋的“隐”到南宋的“显”，以至官窑，哥窑纹理的表面形式对元代瓷艺产生了直接影响。\n钧窑瓷器历来被人们称之为“国之瑰宝”，在宋代五大名窑中以“釉具五色，艳丽绝伦”而独树一帜。古人曾用“夕阳紫翠忽成岚”等诗句来形容钧瓷釉色灵活、变化微妙之美。传统钧瓷瑰丽多姿，玫瑰紫、海棠红、茄皮紫、鸡血红、葡萄紫、朱砂红、葱翠青……釉中红里透紫、紫里藏青、青中寓白、白里泛青，可谓纷彩争艳。釉质乳光晶莹，肥厚玉润，类翠似玉赛玛瑙，有巧夺天工之美。\n钧窑烧成温度已经达到1350℃-1380℃之间，延承了传统钧窑胎质细腻，釉色绚丽夺目的特点，又结合了现代审美，器形饱满玲珑。独特研制的玛瑙釉水在烧制后形成更加鲜明的层次感，十多种釉色绚丽多彩，周身还布满珍珠点、兔丝纹、鱼子纹和曲折迂回的蚯蚓走泥纹等生动美妙的流纹给人无限遐想的空间。",[7,527,673,674,675],"钧窑","月白釉","梅瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60477f0b8ca1164b6954281f30f0c7b5.jpg",[530],7,{"id":680,"slug":681,"title":682,"dynasty":18,"author":87,"museum":88,"description":683,"tags":684,"thumbUrl":687,"material":95,"size":96,"collection":530,"collections":688,"showCount":678,"zanCount":11,"manualWeight":11,"mainColor":188},256198,"long-quan-yao-qing-you-ke-hua-zun-yi-ming-256198","龙泉窑青釉刻花尊","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。",[7,527,685,686,340,304],"青釉","刻花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87b238ec82cc0289b65cd78638d49afd.jpg",[530],{"id":690,"slug":691,"title":692,"dynasty":18,"author":87,"museum":88,"description":545,"tags":693,"thumbUrl":696,"material":59,"size":59,"collection":59,"collections":697,"showCount":678,"zanCount":11,"manualWeight":11,"mainColor":99},233035,"hou-fei-xiang-yi-ming-233035","后妃像",[24,25,51,50,76,694,548,7,695],"服饰","肖像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7daf0e62456819fb339dc385c2b15640.jpg",[],{"id":699,"slug":700,"title":701,"dynasty":18,"author":87,"museum":88,"description":523,"tags":702,"thumbUrl":705,"material":95,"size":96,"collection":530,"collections":706,"showCount":707,"zanCount":11,"manualWeight":11,"mainColor":41},256972,"jing-de-zhen-yao-qing-hua-you-li-hong-lou-diao-gai-guan-yi-ming-256972","景德镇窑青花釉里红镂雕盖罐",[7,527,703,525,704,168,292,304],"青花","镂雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d6c8ccf948f0cc15b1d5774aad9e3e9.jpg",[530],6,{"id":709,"slug":710,"title":711,"dynasty":18,"author":87,"museum":88,"description":491,"tags":712,"thumbUrl":716,"material":95,"size":96,"collection":59,"collections":717,"showCount":718,"zanCount":11,"manualWeight":11,"mainColor":188},231461,"wei-xing-hua-ping-yi-ming-231461","微型花瓶",[7,527,713,714,715,304],"黑釉","露胎","微型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbde5588f51048f6ddc923bee1b552a0e.jpg",[],5,{"id":720,"slug":721,"title":722,"dynasty":18,"author":87,"museum":88,"description":723,"tags":724,"thumbUrl":726,"material":95,"size":96,"collection":59,"collections":727,"showCount":718,"zanCount":116,"manualWeight":11,"mainColor":99},228158,"long-tou-yu-shi-yi-ming-228158","龙头玉饰","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。",[7,725,610,494,304,548],"玉石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48336b7054c5a8da01e9d4c45f383aa6.jpg",[],{"id":729,"slug":730,"title":731,"dynasty":18,"author":87,"museum":88,"description":491,"tags":732,"thumbUrl":738,"material":95,"size":96,"collection":59,"collections":739,"showCount":718,"zanCount":11,"manualWeight":11,"mainColor":497},226686,"jiu-min-yi-ming-226686","酒皿",[527,733,713,734,735,736,737,7],"饮酒器","刻划纹","卷草纹","几何纹","器皿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aa54ede0aa83fa1fd37726d449e179a.jpg",[],{"id":741,"slug":742,"title":743,"dynasty":18,"author":87,"museum":144,"description":744,"tags":745,"thumbUrl":746,"material":155,"size":747,"collection":59,"collections":748,"showCount":718,"zanCount":11,"manualWeight":11,"mainColor":99},214801,"zhi-sheng-xian-xian-ban-shen-xiang-7-yi-ming-214801","至圣先贤半身像-7","这本60页的画册展示了从孔子到许衡（1209-1281），从春秋时期（公元前770-476年）到元朝的121位著名学者，最初被放置在清宫的南董殿，那里保存着皇帝、皇后和贤臣的图像。",[23,24,25,639,51,50,76,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8bcf86fb2362dcd9d5fb568ff737c25.jpg","33.3x24.3",[],{"id":750,"slug":751,"title":752,"dynasty":18,"author":87,"museum":144,"description":744,"tags":753,"thumbUrl":754,"material":155,"size":747,"collection":59,"collections":755,"showCount":718,"zanCount":11,"manualWeight":11,"mainColor":99},214749,"zhi-sheng-xian-xian-ban-shen-xiang-58-yi-ming-214749","至圣先贤半身像-58",[23,49,24,25,51,50,76,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb20c914cc13bfb32671a2b42cea8844e.jpg",[],{"id":757,"slug":758,"title":759,"dynasty":18,"author":87,"museum":88,"description":671,"tags":760,"thumbUrl":764,"material":95,"size":96,"collection":530,"collections":765,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":41},256782,"jun-yao-tian-lan-you-zi-hong-ban-mei-ping-yi-ming-256782","钧窑天蓝釉紫红斑梅瓶",[7,527,673,761,762,763,675,304],"窑变","天蓝釉","紫红斑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8022b21dd3d29e46b5aee9f414ff26c7.jpg",[530],{"id":767,"slug":768,"title":769,"dynasty":18,"author":87,"museum":88,"description":770,"tags":771,"thumbUrl":775,"material":95,"size":96,"collection":59,"collections":776,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":188},255756,"ying-qing-you-ci-bei-hu-lu-xian-he-yi-ming-255756","影青釉瓷背葫芦仙鹤","中国瓷器著名传统颜色釉。亦称“青瓷釉”。古代南方青釉，是瓷器最早的颜色釉。\n所谓“青釉”，颜色并不是纯粹的青，有：月白、天青、粉青、梅子青、豆青、豆绿、翠青等，但多少总能泛出一点青绿色。同时，古人往往将青、绿、蓝三种颜色，一统称为“青色”，例如许之衡《饮流斋说瓷》称：“古瓷尚青，凡绿也、蓝也，皆以青括之。”刘子芬《竹园陶说》中也说：“青色一种，常与蓝色相混。雨过天晴，钧窑、元窑之青，皆近蓝色。”“惟千峰翠色、梅子青、豆青、乃为纯青耳。天色本蓝，有时为青。”\n青釉是我国使用最早，延用时间最久，分布最广的一个釉种，它的发明是与我国瓷土矿大都含有一定量的铁矿的现象相一致的。青色也符合我国人民的传统审美情趣。青色与碧玉相若，认为稳重而高雅。浙江、江西、河南等地已出土了不少早至商周时期的原始青釉瓷。六朝至唐宋以越窑为代表的南方青釉瓷；宋到元明的龙泉窑系青瓷；耀州窑、临汝窑、钧窑等宋代北方青瓷；以及明、清以来的景德镇青釉瓷，是青釉发展的几个重要阶段，所谓的宋代“汝、定、官、哥、钧”五大名窑，除定窑外均属青釉瓷。表釉的呈色主要决定于着色氧化物的含铁量与烧成气氛，青釉含铁量一般在1—3%左右，过高会变成黑釉，低了就能烧成白瓷。在还原气氛中烧成。釉色青绿；在氧化气氛中烧成，釉色泛黄。因而陶瓷界所谓的青釉是相对而言的，正如许之衡《饮流斋说瓷》中所说：“古瓷尚青，凡绿也，蓝也，皆以青括之。”",[7,527,772,773,774],"影青釉","仙鹤","葫芦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad138ed42b597139f95b5f213983a4e6.jpg",[],{"id":778,"slug":779,"title":780,"dynasty":18,"author":781,"museum":121,"description":782,"tags":783,"thumbUrl":785,"material":226,"size":786,"collection":136,"collections":787,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":99},239625,"bai-yun-fa-shi-tie-ye-yu-ji-239625","白云法师帖页","虞集","释文：\n集顿首奉记。白云法师和上乡契，去年过访，足仞至情。别后极深怀系。大墓甚感用情，亲戚同不知首尾，不知归附心来，又六十余年，先参政之所经理遣意，老者今秋遣女后方可出。秋深要来，能来为妙。竹深旧相识，如来说可奉承。兹因俞伯康山长还吴，略得布此。秋冬间能来住一两月，同出亦好也。大墓事已开嘱丹阳以先世委用之意，必蒙相体。此行亦修路，侯一书讬伯康言之凡可。幸熟议勿停恩勿误事，则区区不肖之望也。植舟及小儿偶出，不及致问。溪山在斋，教两小儿如常也。伯婉受助后，月日未到未上，已尽达雅意矣。道人处传语诸亲知都为寄声为妙。眼昏写字不多整齐，勿罪。比相见好不及。虞集上记。\n鉴藏印有项元汴诸印，“董奕少氏”、“李肇亨”、“桃花源里人家”及安岐、完颜景贤、何子彰、赵叔彦、张爰、谭敬诸印28方，半印2方。\n文中自称“眼昏写字不多整齐”。虞氏晚年有目疾，并经常在信札中谈到，故此帖为其晚年之作。书法行笔环萦，字若连绵，法度险峭，劲健古雅。如王世贞所言：“用笔若草草，而中自遒劲。”\n《墨缘汇观·法书卷》、《三虞堂书画目》著录。",[129,127,181,7,224,784,226],"册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b35c3537d0bf8e28b8f4824d09fc1cb.jpg","纵30.7厘米，横51.8厘米",[136],{"id":789,"slug":790,"title":791,"dynasty":18,"author":87,"museum":88,"description":792,"tags":793,"thumbUrl":795,"material":95,"size":96,"collection":59,"collections":796,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":41},231879,"pan-long-ke-feng-guan-zi-yi-ming-231879","盘龙刻凤罐子","元釉里红是元代中国传统瓷器烧造中最具有代表性的一个品种。元釉里红是陶瓷装饰历史上重要发明之一。元代八方龙纹釉里红拔白梅瓶它为釉下铜红彩绘、拔白、打板、接胎而成，烧成难度大，氛围特殊性强，应该说元釉里红瓷器是陶瓷史上的一次伟大创新。流传的元代釉里红瓷器也很少，可见它的历史性、艺术性、珍贵性，堪称华夏文明的瑰宝。",[7,527,494,610,794,304],"凤","https:\u002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sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[7,993,494,92,994,610,995],"石质","佛像","石刻文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63cd0ef306b0ac525df37c3c5ff857ad.jpg",[],{"id":999,"slug":1000,"title":1001,"dynasty":18,"author":87,"museum":88,"description":723,"tags":1002,"thumbUrl":1004,"material":95,"size":96,"collection":59,"collections":1005,"showCount":116,"zanCount":11,"manualWeight":11,"mainColor":41},252482,"qing-yu-chi-wen-bi-yi-ming-252482","青玉螭纹璧",[7,725,1003,494,304],"螭纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7405597d154fa8eadcf53b95520e5767.jpg",[],{"id":1007,"slug":1008,"title":1009,"dynasty":18,"author":87,"museum":88,"description":1010,"tags":1011,"thumbUrl":1018,"material":95,"size":96,"collection":59,"collections":1019,"showCount":116,"zanCount":11,"manualWeight":11,"mainColor":99},250242,"qia-si-fa-lang-chan-zhi-lian-wen-xiang-er-lu-yi-ming-250242","掐丝珐琅缠枝莲纹象耳炉","元代掐丝珐琅器的图案装饰多以盛开的缠枝莲为主题纹饰,其特点是缠枝莲花朵舒展饱满,枝叶肥厚,并衬以小花苞。图案布局疏朗,掐丝线条奔放有力。珐琅质地细腻洁净,釉面光亮,有水晶般的透明感,尤其是葡萄紫、草绿、绛黄等几种颜色更为耀眼夺目,似用进口珐琅釉料烧造。此炉是元代掐丝珐琅器的代表作。",[7,1012,1013,1014,1015,1016,926,1017,292,815],"珐琅器","掐丝珐琅","铜胎","鎏金","缠枝莲纹","兽耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd32bd8cfe430811a2165122fbd42489.jpg",[],{"id":1021,"slug":1022,"title":1023,"dynasty":18,"author":87,"museum":88,"description":1024,"tags":1025,"thumbUrl":1029,"material":95,"size":96,"collection":59,"collections":1030,"showCount":116,"zanCount":11,"manualWeight":11,"mainColor":41},246084,"xuan-de-kuan-ti-hong-cha-hua-shou-dai-tu-yuan-pan-yi-ming-246084","宣德款剔红茶花绶带图圆盘","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [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。",[7,869,1026,494,1027,1028],"剔红","茶花","绶带","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20a8b61366c25276fcf8b4e6334d6538.jpg",[],{"id":1032,"slug":1033,"title":1034,"dynasty":18,"author":87,"museum":88,"description":1035,"tags":1036,"thumbUrl":1040,"material":95,"size":96,"collection":59,"collections":1041,"showCount":116,"zanCount":11,"manualWeight":11,"mainColor":41},245459,"yin-zan-ke-liu-jin-feng-er-bei-yi-ming-245459","银錾刻鎏金凤耳杯","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。",[7,1037,1015,961,1038,733,1039,494],"银质","凤纹","金属器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93e5bbb0b9eb2f36f5d65e628c0d0b62.jpg",[],{"id":1043,"slug":1044,"title":1045,"dynasty":18,"author":87,"museum":88,"description":801,"tags":1046,"thumbUrl":1053,"material":95,"size":96,"collection":59,"collections":1054,"showCount":116,"zanCount":11,"manualWeight":11,"mainColor":99},231913,"yin-hua-ci-ping-yi-ming-231913","印花瓷瓶",[7,527,1047,51,1048,292,951,1049,976,1050,735,1051,815,1052],"印花","缠枝纹","纹饰","白地彩饰","花叶纹","古物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0b7cda25a4c6b088e6a38a7100afae7.jpg",[],{"id":1056,"slug":1057,"title":1058,"dynasty":18,"author":87,"museum":88,"description":792,"tags":1059,"thumbUrl":1061,"material":95,"size":96,"collection":59,"collections":1062,"showCount":116,"zanCount":11,"manualWeight":11,"mainColor":99},231898,"san-jiao-jia-xiang-lu-yi-ming-231898","三脚架香炉",[7,527,685,812,1060,304],"香炉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4ffec192abea86c5da9a8e317d9ae68.jpg",[],{"id":1064,"slug":1065,"title":1066,"dynasty":18,"author":87,"museum":88,"description":792,"tags":1067,"thumbUrl":1070,"material":95,"size":96,"collection":59,"collections":1071,"showCount":116,"zanCount":11,"manualWeight":11,"mainColor":41},231882,"shuang-er-mi-ni-cha-ye-guan-yi-ming-231882","双耳迷你茶叶罐",[7,527,304,1068,1069,494],"日用品","茶具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff40d4bc8f6ac5264fe537b95a5af83f5.jpg",[],{"id":1073,"slug":1074,"title":1075,"dynasty":18,"author":87,"museum":88,"description":792,"tags":1076,"thumbUrl":1078,"material":95,"size":96,"collection":59,"collections":1079,"showCount":116,"zanCount":11,"manualWeight":11,"mainColor":99},231875,"lv-song-shi-xiang-lu-yi-ming-231875","绿松石香炉",[7,527,1077,304],"青绿釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a99d4569385f6dd5951c18d5c4f6671.jpg",[],{"id":1081,"slug":1082,"title":1083,"dynasty":18,"author":87,"museum":88,"description":792,"tags":1084,"thumbUrl":1086,"material":95,"size":96,"collection":59,"collections":1087,"showCount":116,"zanCount":11,"manualWeight":11,"mainColor":99},231874,"xiao-kou-tan-yi-ming-231874","小口坛",[527,1085,825,304,7,803],"瓷器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F769e25671b7150e1fef8c2844125318b.jpg",[],{"id":1089,"slug":1090,"title":1091,"dynasty":18,"author":87,"museum":88,"description":1035,"tags":1092,"thumbUrl":1095,"material":95,"size":96,"collection":59,"collections":1096,"showCount":116,"zanCount":11,"manualWeight":11,"mainColor":99},231522,"dai-bei-tuo-de-cha-bei-yi-ming-231522","带杯托的茶杯",[527,7,909,1093,1094,843],"茶杯","杯托","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F591501b5c3ae9ca587cfdb61128d2871.jpg",[],{"id":1098,"slug":1099,"title":1100,"dynasty":18,"author":87,"museum":88,"description":792,"tags":1101,"thumbUrl":1102,"material":95,"size":96,"collection":59,"collections":1103,"showCount":116,"zanCount":11,"manualWeight":11,"mainColor":99},231520,"yuan-kou-guan-zi-yi-ming-231520","圆口罐子",[7,527,494,909],"https:\u002F\u002Foss.chuangqi.sto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釉色因白润瓷胎的映衬而显出白色，现在习惯上将这种透明釉也称为白釉。\n瓷器釉料中的含铁量降低到0.75%以下，施于洁白的瓷胎上，入窑经高温烧制，就会出现白釉。严格地说，白釉是一种无色透明釉，而不是白色的釉 。白釉是瓷器传统釉色之一,真正的白釉应该是乳白色的乳浊釉,这种釉是近代才发明的。我国古代仅有元代枢府釉是失透的,其他白釉并不是白色的釉,\n白釉烧制工艺比青釉复杂，出现的时间也较青釉晚，一般瓷土和釉料，都或多或少含有一些氧化铁，器物烧出后必然呈现出深浅不同的青色来。如果釉料中的铁元素含量小于0.75%，烧出来的就会是白釉。\n白釉最早出现在汉代，比青釉瓷器晚了400多年，白釉瓷器开始是青白色的，因为瓷器中铁的含量高于1%就是青色的，少于1%就是白瓷了，所以中国白瓷经历青瓷、青白瓷、卵白釉、甜白釉、象牙白、白釉的发展过程。中国历史上白瓷产地有德化白瓷、定窑白瓷以及刑窑白瓷等。",[7,527,1270,1047,1016,304],"卵白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd4be3f259cda3e477da21ba2d2feaf9.jpg",[],{"id":1274,"slug":1275,"title":1276,"dynasty":18,"author":87,"museum":88,"description":1268,"tags":1277,"thumbUrl":1280,"material":95,"size":96,"collection":59,"collections":1281,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},257089,"qing-bai-you-tu-xian-wen-san-zu-lu-yi-ming-257089","青白釉凸弦纹三足炉",[7,527,813,1278,1279],"凸弦纹","三足器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a74b7568d2f5f113507e363866795c5.jpg",[],{"id":1283,"slug":1284,"title":1285,"dynasty":18,"author":87,"museum":88,"description":1268,"tags":1286,"thumbUrl":1288,"material":95,"size":96,"collection":59,"collections":1289,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":99},257088,"shu-fu-ming-luan-bai-you-yin-hua-chan-zhi-lian-wen-pan-yi-ming-257088","枢府铭卵白釉印花缠枝莲纹盘",[7,527,1270,1047,1016,1287],"铭纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff1807af00b888244f42ce4aea28517.jpg",[],{"id":1291,"slug":1292,"title":1293,"dynasty":18,"author":87,"museum":88,"description":1268,"tags":1294,"thumbUrl":1296,"material":95,"size":96,"collection":59,"collections":1297,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":99},257087,"luan-bai-you-yin-hua-pan-yi-ming-257087","卵白釉印花盘",[7,527,1270,1047,1295],"盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F860b075357f1b486fc5702968ec33caa.jpg",[],{"id":1299,"slug":1300,"title":1301,"dynasty":18,"author":87,"museum":88,"description":671,"tags":1302,"thumbUrl":1305,"material":95,"size":96,"collection":530,"collections":1306,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":188},257077,"jun-yao-tian-lan-you-hong-ban-wan-yi-ming-257077","钧窑天蓝釉红斑碗",[527,304,1303,762,1304,761,7],"钧窑风格","红斑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94a0303f63e8ade1502987b365544ad0.jpg",[530],{"id":1308,"slug":1309,"title":1310,"dynasty":18,"author":87,"museum":88,"description":671,"tags":1311,"thumbUrl":1312,"material":95,"size":96,"collection":530,"collections":1313,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},257075,"jun-yao-mei-gui-zi-you-wan-yi-ming-257075","钧窑玫瑰紫釉碗",[7,527,761,925,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ffa5e6270dc64e8155515183349c095.jpg",[530],{"id":1315,"slug":1316,"title":1317,"dynasty":18,"author":87,"museum":88,"description":1024,"tags":1318,"thumbUrl":1320,"material":95,"size":96,"collection":59,"collections":1321,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},257052,"jiao-tai-pan-yi-ming-257052","绞胎盘",[7,527,1319,304],"绞胎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F758b8d372650748d898d7830d14da39b.jpg",[],{"id":1323,"slug":1324,"title":1325,"dynasty":18,"author":87,"museum":88,"description":1326,"tags":1327,"thumbUrl":1331,"material":95,"size":96,"collection":530,"collections":1332,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":99},257042,"ding-yao-bai-you-chu-ji-shui-cheng-yi-ming-257042","定窑白釉出戟水丞","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。",[7,527,843,1328,1329,1330,815],"出戟","文房用具","单色釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b73f5b3022f624ff11c7cff51c69aec.jpg",[530],{"id":1334,"slug":1335,"title":1336,"dynasty":18,"author":87,"museum":88,"description":523,"tags":1337,"thumbUrl":1339,"material":95,"size":96,"collection":530,"collections":1340,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":99},256915,"jing-de-zhen-yao-luan-bai-you-yin-hua-tai-xi-ming-yun-long-wen-pan-yi-ming-256915","景德镇窑卵白釉印花“太禧”铭云龙纹盘",[7,527,1270,1047,1338,610],"云龙纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69808e954a1d3c8a9c01b26cda89755e.jpg",[530],{"id":1342,"slug":1343,"title":1344,"dynasty":18,"author":87,"museum":88,"description":683,"tags":1345,"thumbUrl":1346,"material":95,"size":96,"collection":530,"collections":1347,"showCount":11,"zanCount":11,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