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，江苏扬州仪征人。清朝中期官员、经学家、训诂学家、金石学家 。\n阮元为乾隆五十四年（1789年）进士，先后在礼部、兵部、户部、工部供职，并出任山东、浙江学政，浙江、江西、河南巡抚及漕运总督、湖广总督、两广总督、云贵总督等职。身历乾隆、嘉庆、道光三朝，所至之处，以提倡学术、振兴文教为自任，勤于军政，治绩斐然。晚年官拜体仁阁大学士，致仕后加官至太傅。道光二十九年（1849年），阮元去世，年八十六。获赐谥号“文达”。\n阮元提倡朴学，曾罗致学者编书刊印，主编《经籍籑诂》，校刻《十三经注疏》，汇刻《皇清经解》等，于数学、天算、舆地、编纂、金石、校勘等方面亦多有建树 ，史称其“身历乾、嘉文物鼎盛之时，主持风会数十年，海内学者奉为山斗焉” ，是乾嘉学派晚期代表人物，也被认为是扬州学派的柱石。生平著述丰撰有《揅经室集》《十三经注疏校勘记》等三十余种著述传世。",[25,27,189,117,436,36,138,139,95,7,437,191],"滩","钟窗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77f57af5cb4f62c4eedadb4bc61a8116.jpg",[],{"id":441,"slug":442,"title":345,"dynasty":169,"author":443,"museum":20,"description":444,"tags":445,"thumbUrl":448,"material":125,"size":72,"collection":43,"collections":449,"showCount":428,"zanCount":11,"manualWeight":11,"mainColor":47},240707,"shi-juan-zhou-shao-xing-240707","周绍行","此作用狂草挥就，笔墨跌宕恣肆，线条枯湿浓淡变幻万千，提按顿挫间尽展随性意气。字形大小错落、欹正相生，字势连绵缠绕如惊蛇走虺，满纸氤氲着淋漓云烟。\n\n行气舒张贯通毫无滞碍，将胸中豪情尽数倾泻笔端，纵逸挥洒处带着不羁文人气韵。枯笔苍茫与浓墨厚重相映，时而奔放驰骋时而萦回转合，字字连绵却不失章法，视觉张力强烈，将草书抒情写意的特质发挥到极致，尽显书写时的酣畅快意，是极具个性的抒情书法佳构。",[23,25,26,27,237,137,144,7,37,145,446,447,89,148,33,174,95,138,36,97,99,31,150,142,141],"夜","梧桐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e5d7c59fb8156f7154249e96fd8df63.jpg",[43],{"id":451,"slug":452,"title":453,"dynasty":169,"author":454,"museum":20,"description":455,"tags":456,"thumbUrl":467,"material":195,"size":196,"collection":72,"collections":468,"showCount":46,"zanCount":11,"manualWeight":11,"mainColor":47},241206,"li-zhang-ji-jue-ju-zhou-wu-kai-sheng-241206","李长吉绝句轴","吴闿生","吴镇（1280年—1354年），字仲圭，号梅花道人，浙江嘉兴人。元代画家、书法家、诗人。\n吴镇擅画山水、梅花、竹石，与黄公望、倪瓒、王蒙合称“元四家”。\n由于吴镇以董巨起家，其画中山、石、树、水、房屋、小桥都显得格外宁静、平和，但吴镇有时也着意打破这种气氛，使宁静中增几分动荡，那就是近景大树和山石的表现，特别是三两棵树的表现尤其明显。如果说吴画山、石、水、小桥、屋舍、群树的表现乃至整体气息是以董巨面目出现的话，那么其局部的大树则主要是以马夏的面目出现的。结构布局上立于近景，形象表现上夸张变形，树种的选择上以松柏寓人格。这种形象的树出现在平和、宁静的境界里显得格外突出。它们或直立挺拔、俯势向上；或倚斜偃蹇、欲倒还立；或技条倒挂、曲折盘桓。而且吴镇对大树的形象也是情有独钟的，几乎每幅山水画均有此类形象。这一个个形象频繁出现于其笔下，有何深刻含义？如果联系一下元代的民族岐视政策，联系一下同样比邻而居，盛氏求画者门限为穿，自家之门阒然的事实，或许透露出个中消息。在大树的塑造上，如果把吴镇放在“元四家”其他三家中做一比较，吴镇的独特个性尤能充分展现。黄公望、王蒙为了表现高士的居住环境，用平和、冷静的笔触画群山诸峰，力量均匀，气势平缓，树木郁郁葱葱，均为山的点缀，很少突出某一大树。倪瓒、吴镇在景物取舍上有极强的一致性，均喜画几棵树。倪瓒的树是纤细、弱小的，树干上长出几条树枝，枝上顶着几片叶子，立在空旷的荒野里显得孤独而又凄凉。而且倪瓒的树往往是叫不出名字的，并无具体所指；吴镇在树的种类上往往是有选择的，他最喜欢选取被赋予隐逸人格象征的古松来充实画面。在近景中吴镇很少画杂树而是喜爱强调几棵大树，个个粗壮而枝叶茂密，富有顽强的生命力。",[25,189,27,137,36,89,33,7,457,139,410,141,138,37,193,142,175,458,294,459,144,95,31,350,460,90,461,462,463,464,465,466],"鸟","杜","桥","孤云","苔","黄","绿","钩","笔","砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94389ea4a9f9f206dbf7cb997ca6384e.jpg",[],{"id":470,"slug":471,"title":333,"dynasty":169,"author":472,"museum":20,"description":473,"tags":474,"thumbUrl":479,"material":195,"size":196,"collection":72,"collections":480,"showCount":46,"zanCount":11,"manualWeight":11,"mainColor":47},240888,"shi-zhou-tang-ying-240888","唐英","唐英（1682-1756年），清代陶瓷艺术家，能文善画，兼书法篆刻且又精通制瓷。沈阳人，隶属汉军正白旗，雍正六年（1728年）奉命任景德镇御窑厂协理官，乾隆元年（1736年）起先后管理淮安关及九江关并兼理窑务，直至二十一年（其中十五、十六两年一度中止）。",[24,25,189,27,137,7,138,225,475,476,148,33,149,477,478],"竹林","雲","青山","鐘磬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bd423859685711d326acb32c007d9b8.jpg",[],{"id":482,"slug":483,"title":484,"dynasty":80,"author":485,"museum":20,"description":486,"tags":487,"thumbUrl":488,"material":195,"size":196,"collection":72,"collections":489,"showCount":46,"zanCount":11,"manualWeight":11,"mainColor":267},240856,"da-yun-shan-ge-zhou-wang-fu-zhi-240856","大云山歌轴","王夫之","王夫之（1619年10月7日－1692年2月18日），字而农，号姜斋，人称“船山先生，湖广衡阳县（今湖南省衡阳市）人。明遗民。明末清初思想家，与顾炎武、黄宗羲、唐甄并称“明末清初四大启蒙思想家”，学者王朝聘的儿子。\n崇祯五年（1632年），考中秀才，组织“行社”、“匡社”。崇祯十五年，考中乡试。顺治初年，投靠永历帝朱由榔，参加反清斗争。康熙十七年（1678年）三月，拒绝为吴三桂撰写劝进表。\n康熙三十一年，病逝于湘西草堂，安葬衡阳县金兰乡高节里大罗山（现衡阳县曲兰镇船山村老屋组大罗山脉的虎形山上）。著有《周易外传》《黄书》《尚书引义》《永历实录》《春秋世论》《噩梦》《读通鉴论》《宋论》等书。",[57,24,189,27,25,117,276,97,213,7,148],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef3f9202b5da64bf1a988fd6cd43d56d.jpg",[],{"id":491,"slug":492,"title":345,"dynasty":169,"author":493,"museum":54,"description":494,"tags":495,"thumbUrl":500,"material":501,"size":502,"collection":43,"collections":503,"showCount":46,"zanCount":11,"manualWeight":11,"mainColor":47},240703,"shi-juan-cha-ji-zuo-240703","查继佐","释文：\n一片山花落笔床，石桥寺里最清凉。寄书河上神明宰，玉帛朝回望帝乡。为政心闲物自闲，一州横制浙江湾。百花仙酝能留客，野屐同登竹外山。不将富贵碍高情，树里南湖一片明。杭越风光诗酒主，琵琶起舞换新声。愿得相从一问师，论交却忆十年时。轻舟共泛花边水，南国争传五字诗。西湖清宴不知回，雨过南山积翠来。近得麻湖书信否，五云多处是三台。英雄见事若通神，不薄今人爱古人。蚤晚得为同舍旅，道光谁不仰清尘。燕蹴飞花落舞筵，蓝田日暖玉生烟。河边淑气迎芳草，琴瑟同谐愿百年。心在重霄鬓未华，不知春思落谁家。城中车马应无数，阁道回看上苑花。生平诗誉复谁过，银箭金壶漏水多。内史笔锋光案牍，江南江北望烟波。苏小门前柳万条，酒醒时得广离骚。无劳海上寻仙客，王母新开一树桃。朝野俱欢庆寿晖，山光物态弄春辉。雄如宝剑冲牛斗，再为苍生入翠微。才子襟期本上清，黄云捧日瑞升平。东风小饮人皆醉，试向文园问长卿。右集唐十二绝为石翁张老师寿。治门生钓史查继佐书并政。\n款署：“右集唐十二绝为石翁张老师寿。治门生钓史查继佐书并政。”钤“查继佐印”白文印、“伊璜氏”朱文印，引首印为“紫微房”朱文印。\n此书是查继佐自集唐诗十二首为老师祝寿而作，当中每一首七言绝句都是从四首唐诗中分别选取一句，组合成为一首。整件作品共涉及36位唐代诗人的48首诗， 如岑参、王昌龄、白居易、高适、杜甫、李商隐、刘禹锡、温庭筠、杜牧等人的诗作。个别字句与原诗略有出入。其书学颜真卿，用笔劲健、爽利，分间布白极其匀称。查家在清初遭受了文字狱之灾，当时保存查氏墨迹可能会引起杀身之祸，所以查继佐的传世作品较少，此件则更为珍贵。",[23,25,26,27,117,137,496,497,98,99,120,33,7,37,90,457,95,459,361,350,401,498,34,352,499,276,150,142,89,141],"江南","芳草","古道","孤舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36541a0829df7cb68ef275f1e2b9ee33.jpg","绫本，行书","纵450厘米，横33.3厘米",[43],{"id":505,"slug":506,"title":345,"dynasty":80,"author":507,"museum":20,"description":508,"tags":509,"thumbUrl":510,"material":195,"size":196,"collection":72,"collections":511,"showCount":46,"zanCount":11,"manualWeight":11,"mainColor":267},240629,"shi-juan-wu-wei-yi-240629","吴惟一","此作以草书挥就，整卷行气贯通，字势顾盼牵丝萦绕，尽得草书抒情之妙。笔墨枯湿浓淡交叠变幻，提按顿挫间带着肆意放达的意气，线条飞动缠绕却不失章法，字字相衔、行行呼应，如行云流水般舒卷自如。\n\n既有狂草的颠逸遗韵，又自出机杼，将诗中的心绪藏入挥毫的起落之中。通篇带着疏朗萧散的古意，把文人的疏放襟怀尽数铺展在卷上，笔墨节奏随着心绪起伏，观之如随作者共赴诗中情境，尽览挥毫时的酣畅快意，尽显明代草书抒情写意的独特风神。",[23,25,26,27,117,144,7,95,120,138,36,499,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5dc16988a655910f7fdeeb3c330cd9c.jpg",[],{"id":513,"slug":514,"title":515,"dynasty":18,"author":53,"museum":20,"description":516,"tags":517,"thumbUrl":524,"material":195,"size":196,"collection":525,"collections":526,"showCount":75,"zanCount":11,"manualWeight":11,"mainColor":527},257034,"ding-yao-bai-you-yin-hua-wu-niu-chuan-yue-tu-pan-yi-ming-257034","定窑白釉印花吴牛喘月图盘","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。",[18,518,519,520,521,522,523,7],"定窑","白釉","印花","陶瓷","器","牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf9a52c2c046a268905746f480f6bfa8.jpg","瓷器精选",[525],"37474F",{"id":529,"slug":530,"title":531,"dynasty":169,"author":53,"museum":20,"description":532,"tags":533,"thumbUrl":538,"material":195,"size":196,"collection":72,"collections":539,"showCount":75,"zanCount":11,"manualWeight":11,"mainColor":47},246441,"qian-long-kuan-ti-hong-hai-shui-yu-yue-wen-pan-yi-ming-246441","乾隆款剔红海水浴月纹盘","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。",[169,534,535,536,537,7,522],"漆器","雕刻","剔红","海水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff99285f27d602f302cb4fddd653cbf82.jpg",[],{"id":541,"slug":542,"title":531,"dynasty":169,"author":53,"museum":20,"description":532,"tags":543,"thumbUrl":545,"material":195,"size":196,"collection":72,"collections":546,"showCount":75,"zanCount":11,"manualWeight":11,"mainColor":47},246439,"qian-long-kuan-ti-hong-hai-shui-yu-yue-wen-pan-yi-ming-246439",[544,534,536,535,537,7,522],"清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd36de5057f224c18196fe3af6ad77aa8.jpg",[],{"id":548,"slug":549,"title":550,"dynasty":80,"author":551,"museum":20,"description":552,"tags":553,"thumbUrl":560,"material":195,"size":196,"collection":72,"collections":561,"showCount":75,"zanCount":11,"manualWeight":11,"mainColor":47},240983,"wu-lv-shi-zhou-zhu-yan-xi-240983","五律诗轴","朱延禧","朱延禧（？～？） 明末大臣。字允修。今东昌府区人。万历二十三年（1595）进士，即授为翰林院检讨，后升任礼部右侍郎。",[25,27,189,137,554,37,555,356,556,175,557,558,97,138,559,7,145],"紫阁","日华","汀","落日","池","泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb17dd10a0b07fa576f6dfa81dd6656fb.jpg",[],{"id":563,"slug":564,"title":565,"dynasty":80,"author":566,"museum":20,"description":567,"tags":568,"thumbUrl":570,"material":195,"size":196,"collection":72,"collections":571,"showCount":75,"zanCount":11,"manualWeight":11,"mainColor":47},240123,"shi-ye-liu-su-240123","诗页","刘塐","此幅行书诗页笔意取法晋唐，萧散简远，尽显文人随性之姿。字形欹正相生，牵丝映带间流转自如，笔墨枯湿浓淡错落，隽秀清雅。\n诗书合璧，以自作春日寄怀之诗入书，将探春闲情融于笔墨寸尺间，下笔松灵圆活，不见刻意雕琢。通篇气息淡远疏朗，尽显尚韵尚意的书法特质，寥寥数行便将文人春日感怀的逸趣尽数铺陈，是小品书法里诗书相融的佳制。",[24,25,27,137,211,175,99,37,33,7,352,569,36,138],"孤灯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa29a8f44ea41c0aa32ae63c9c10aad4c.jpg",[],{"id":573,"slug":574,"title":575,"dynasty":169,"author":576,"museum":54,"description":577,"tags":578,"thumbUrl":582,"material":72,"size":72,"collection":72,"collections":583,"showCount":75,"zanCount":11,"manualWeight":11,"mainColor":47},234511,"shu-qi-lv-er-shou-ce-ye-li-guang-di-234511","书七律二首册页","李光地","李光地(1642-1718)，字晋卿，号厚庵，别号榕村，福建安溪人。康熙九年(1670)进士，历任翰林院编修、翰林学士、兵部右侍郎、直隶巡抚，协助平定三藩之乱、统一台湾，康熙四十四年(1705年)，拜文渊阁大学士兼吏部尚书。著有《四书解》、《性理精义》、《朱子全书》等书。\n康熙帝：“李光地谨慎清勤，始终一节，学问渊博。朕知之最真，知朕亦无过光地者。”",[25,27,137,208,89,579,213,580,258,34,37,99,7,140,559,139,581,174],"藤","涧","谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c8452eb7ec141e137b956ad933afcc9.jpg",[],{"id":585,"slug":586,"title":587,"dynasty":169,"author":53,"museum":20,"description":588,"tags":589,"thumbUrl":594,"material":195,"size":196,"collection":72,"collections":595,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":267},280667,"liang-an-hua-kai-yue-yi-lun-diao-mei-hua-niu-bai-shou-shan-shi-zhang-yi-ming-280667","“两岸花开月一轮”雕梅花钮白寿山石章","战国时期，主张合纵的名相苏秦佩戴过六国相印。近几年来，出土的文物又把印章的历史向前推进了数百年。也就是说，印章在周朝时就有了。\n传世的古代玺印，多数出于古城废墟、河流和古墓中。有的是战争中战败者流亡时所遗弃，也有在战争中殉职者遗弃在战场上的，而当时的惯例，凡在战场上虏获的印章必须上交，而官吏迁职、死后也须脱解印绶上交。其它有不少如官职连姓名的，以及吉语印、肖形印等一般是殉葬之物，而不是实品。其它在战国时代的陶器和标准量器上，以及有些诸侯国的金币上，都用印章盖上名称和记录上制造工匠的名姓或图记性质的符号，也被流传下来。\n古玺是先秦印章的通称。我们现在所能看到的一般最早的印章大多是战国古玺。印文笔画细如毫发，都出于铸造。白文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。官玺的印文内容有“司马”、“司徒”等名称外，还有各种不规则的形状，内容还刻有吉语和生动的物图案。朱文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。\n古印章和书画一样，崇尚名人效应，讲究技艺水准。一般来说，篆刻作者以及印章属主的名气大小、地位高低和作品的价值成正比。但古印章和字画、陶瓷等热门品种又有所不同。由于藏家、行家相对较少，认知能力跟不上，以至于鉴定难度加大，认可上更挑剔、更严格。因此，对于名人作品的收藏或投资，一定要慎之又慎。即不仅要真，还要真得“好”、“精”、“开门”。要注意鉴别旧仿以及改刻、添款之作。\n古印章大多都有钮饰工艺，而钮工的精粗与否将直接影响到古印章的价值。钮饰雕琢奇巧、精致传神，薄意浮雕水平高超的，附加值亦随之提升。\n古印章的石材产地多，仅寿山、青田、昌化三地就有数百种之多，其质地高下、优劣参差不齐。一般来说，衡量石质有三点：一是直观颜色漂亮明艳、亮丽抢眼；二是质感好，即符合“细、腻、温、润、结、凝”之“六德”；三是产量稀少、外貌特殊，如上品母黄、芙蓉、封门、鸡血等名品。",[137,590,591,592,535,593,33,7],"篆刻","篆书","寿山石","梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c920e9704377b79222f586caf671222.jpg",[],{"id":597,"slug":598,"title":599,"dynasty":169,"author":53,"museum":20,"description":600,"tags":601,"thumbUrl":605,"material":195,"size":196,"collection":72,"collections":606,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":527},272376,"liu-yuan-yu-xiang-mo-song-feng-shui-yue-mo-yi-ming-272376","刘源御香墨-松风水月墨","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[602,603,535,25,148,7,36,604],"墨","楼阁","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed6dfe32f8339a2167d1dab2b7f65f92.jpg",[],{"id":608,"slug":609,"title":610,"dynasty":169,"author":53,"museum":20,"description":611,"tags":612,"thumbUrl":614,"material":195,"size":196,"collection":72,"collections":615,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},272032,"cheng-ni-fang-song-yu-tu-chao-yuan-yan-yi-ming-272032","澄泥仿宋玉兔朝元砚","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。",[466,613,535,591,7,522],"兔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d92ae56d539694bbc5dcbe5a5cf582c.jpg",[],{"id":617,"slug":618,"title":619,"dynasty":169,"author":53,"museum":20,"description":620,"tags":621,"thumbUrl":625,"material":195,"size":196,"collection":72,"collections":626,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":267},270789,"cheng-ni-hai-tian-chu-yue-yan-yi-ming-270789","澄泥海天初月砚","砚台历经秦汉、魏晋，至唐代起，各地相继发现适合制砚的石料，开始以石为主的砚台制作。其中采用甘肃岷县的洮河石、广东端州的端石、安徽歙州的歙石制作的砚台，被分别称作洮砚、端砚、歙砚。史书将洮、端、歙称作三大名砚。清末，又将河南洛阳的澄泥砚与洮、端、歙，并列为中国四大名砚。也有人主张，以天然砚石雕制的鲁砚中的红丝石砚代替澄泥砚，合称四大名砚。\n谈起砚的种类有许多种，从砚的材质可分为：玉砚、银砚、铜砚、铁砚、陶砚、瓷砚、石砚、漆砚等，其中石砚是最为普遍，也最实用的一种砚。砚台起源于新石器时代。最早的砚是半坡村遗址出土的研磨颜料的研磨器，在1980年，大陆考古学家曾在陕西省临潼县姜寨一处原始社会的遗址中，发现了一套原始人用以陶器彩绘的工具，其中有一方石砚，砚有盖，砚面微凹，凹处并有一根石质磨杵，砚旁留存数块黑色颜料。很显然，这是先民们借助磨杵研磨颜料的早期砚的形制。由于这处遗址归属于母系氏族时期的仰韶文化，故这方砚台的实际寿龄已超过了五千年了。\n清代端石砚要求因材施艺，因石构图，在题材、立意、构图、造型、利用何种雕法都要精心推敲，刻划得当。保持了端砚的古雅、朴实，古色古香、形态自然的特点。如北京故宫收藏的「端石双龙砚」、「猫蝶砚」是端砚中的佳品。",[466,622,623,25,7,624],"澄泥","木质","文房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ce270e706230e3fbc68f22983d3f466.jpg",[],{"id":628,"slug":629,"title":630,"dynasty":169,"author":53,"museum":20,"description":631,"tags":632,"thumbUrl":637,"material":195,"size":196,"collection":72,"collections":638,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":527},258788,"jia-qing-kuan-qing-hua-kai-guang-shi-wen-cha-hu-yi-ming-258788","嘉庆款青花开光诗文茶壶","青花瓷（blue 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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。",[521,633,634,400,635,636,89,139,7,58,522],"青花","开光","缠枝纹","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92a2e91259812ca1c5daf408dcffcb3a.jpg",[],{"id":640,"slug":641,"title":642,"dynasty":80,"author":643,"museum":20,"description":644,"tags":645,"thumbUrl":646,"material":195,"size":196,"collection":72,"collections":647,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},241445,"san-jia-shi-han-juan-li-su-241445","三家诗翰卷","李素","李素，广东梅县人，明朝景泰七年(1456）丙子科举人，天顺四年（1460）会试乙榜。初任宾州训导，历任上犹、贵溪、当涂教谕。致仕归，讲学于东社，筑室于松冈（今梅江区白宫龙冈村），学者远近宗之。",[25,27,26,117,137,138,139,149,277,91,292,36,148,89,33,457,7,64,95,34,354,498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe54332156d2c827078d741d4f365e895.jpg",[],{"id":649,"slug":650,"title":333,"dynasty":169,"author":651,"museum":20,"description":652,"tags":653,"thumbUrl":654,"material":195,"size":196,"collection":72,"collections":655,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":267},240655,"shi-zhou-fang-gong-qian-240655","方拱乾","方拱乾，初名策若，字肃之，号坦庵，又号甦庵、云麓老人、江东髯史等。安徽桐城人。明万历二十四年四月初三日（1596年1月29日）生，卒于1667年。明崇祯元年（1628年）进士，官至少詹。清顺治十四年（1657年），因受江南科场案株连于1659年被流放宁古塔，其五子方章钺因与主考官方犹“联宗”而中举，皇帝令刑部将方章钺“速拿来京，严行详审”，子亦谪宁古塔。顺治十八年即1661年赦归故里，1667年客死扬州，时年72岁。拱乾好写诗，在绝域仍“无一日辍吟咏”，留下不少描写异地史诗，如《鬼妾叹》是描写黑龙江活人殉葬的陋俗。方拱乾著《绝域纪略》（又名《宁古塔》）一书，很有史料价值。方氏是桐城望族。其父方大美曾任御史、太仆寺少卿等职，生有五子，拱乾最小。拱乾少年聪颖，成童时能记六经，7岁“能属诗文”。20岁时，诗文已为世人称许，与同乡姚孙森等5人为友，人称“六骏”。万历四十六年（1618年）中举人。崇祯元年（1628年）中进士，授官庶常。崇祯十三年授编修，累迁中允、左渝德，晋少詹事，充东宫（太子）讲官。崇祯十七年三月十八日，闯王李自成率大顺农民军陷北京，明朝灭亡，拱乾被大顺军俘虏，初受酷刑，以行贿得免。清军入山海关，李自成弃北京退山西，拱乾乘乱南归。",[27,25,137,117,99,97,37,138,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5917108110ee88476633700a0d21cedb.jpg",[],1777535710978]