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，右臂不仁，用左手作画，笔益苍辣，故号尚左生，归云老人，博学精艺，尤豪于诗，早为王士祯所赏识。性嗜砚，所藏至千余，大半手琢，自为铭词。因刻“丁巳残人”“尚左生”二印，官徽州绩溪县令，有政声，康熙五十九年（1720）客安邱张卯居家，张为作《南村草堂图》，西园为作《杞城别墅图》以报之，乾隆十二年（1747）为其孙攀鳞作《寒香图》卷，有《砚史》、《南阜诗抄》。卒年六十六岁。（按高凤翰生卒年，王伯敏《中国绘画史》作（16338-1719），享年八十二岁；秦岭云《杨州八家丛话》作（1863-1749）六十七岁。其说不一，待考。\n雍正十一年官泰州巡盐分司。去职后流寓扬州。工于山水，花卉，山水师法宋人，近赵令穰、郭熙一路，中年以后，到了江南，与扬州画派画家如金农、郑燮、高翔、李方膺、边寿民等相往还，画风相互影响，多作花卉树石，笔法奔放，纵逸不拘成法。亦能画人物，造型准确，神态潇洒秀逸。晚年则趋于奔放纵逸。乾隆二年丁巳右臂病发，坚持用左臂，自号后尚左先、丁巳残人，艰苦力学，书、画为之一变，生拗苍劲，更富奇趣，为时所称。传世画迹有南京博物院藏《层雪炉香图》轴、中央美术学院藏《秋山读书图》轴等。\n工书法，善篆刻，喜收藏，精鉴赏，曾收藏秦汉印章及明清名家制印至万余方，各制有谱录，又收藏砚石至千百方，并制有铭词，手书后大半自行刻凿，著有《砚史》等行世。\n亦被列为扬州八怪之一。有《南阜山人全集》等著作传于世。",[23,24,25,118,116,27,28,148,94,133,184,32,185,186,7],"山峦","塔","房屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d6d5643030c40635094436e09839791.jpg","水墨设色","31.8x24.8cm","书法精选",[190,40],37,{"id":194,"slug":195,"title":67,"dynasty":68,"author":69,"museum":196,"description":197,"tags":198,"thumbUrl":202,"material":203,"size":204,"collection":61,"collections":205,"showCount":206,"zanCount":11,"manualWeight":11,"mainColor":44},223481,"mo-gu-kai-zhi-luo-shen-fu-tu-yi-ming-223481","北京故宫博物院","描绘了作者对洛水之神宓妃的爱慕以及神人殊隔、不能交接的惆怅。作品将不同情节置于同一画卷，洛神和曹植在一个完整的画面的不同场景中反复出现，以山石、林木及河水等背景，将画面分隔成不同情节，使画面既分隔又相联接。图中山石、林木，反映了早期山水画的表现技法和面貌。",[93,24,25,53,73,74,27,55,29,199,28,30,78,200,95,7,32,201,133,100,96],"龙","船","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba227c4592b380f204fd43c2f9873fd7.jpg","绢本设色","644x26.1厘米",[],36,{"id":208,"slug":209,"title":210,"dynasty":144,"author":211,"museum":20,"description":212,"tags":213,"thumbUrl":224,"material":225,"size":226,"collection":40,"collections":227,"showCount":228,"zanCount":105,"manualWeight":11,"mainColor":44},221691,"qing-shan-bai-yun-zhou-gao-ke-gong-221691","青山白云轴","高克恭","在中国绘画史上，名垂青史的少数民族国画家少之又少，宋末元初的新疆人高克恭即为其一。时人以诗称赞曰：「近代丹青谁自豪，南有赵魏北有高」，他与赵孟南北相对，为一代画坛领袖。时与赵孟、商琦、李衎并称「元四家」。\n高克恭（1248-1310年)，字彦敬，号房山，先祖西域（新疆）人。依元制划民四等，高克恭属色目人，但他的祖父辈即与汉人通婚，占籍山西大同。高克恭自幼学习汉族文化，27岁开始当官，官至刑部尚书。画以山水、墨竹著称，兼及兰惠梅菊。高克恭的绘画，特别是他的山水画，在元代具有一定的影响，初学二米，后学董源、李成笔法，时人赞之「世之图青山白云者，率尚高房山」。明清两代如王原祁、董其昌等，都十分崇拜他。",[23,93,24,25,214,116,94,28,215,216,32,56,133,217,218,219,31,220,221,222,223,7],"立轴","青山","白云","远山","近树","云雾","平坡","溪流","草木","丘壑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff694344bfc27738a0a8d0c9d7b8d746c.jpg","轴绢本浅设色","188.3x110.5厘米",[40,157],31,{"id":230,"slug":231,"title":232,"dynasty":68,"author":233,"museum":234,"description":235,"tags":236,"thumbUrl":239,"material":240,"size":241,"collection":61,"collections":242,"showCount":243,"zanCount":11,"manualWeight":11,"mainColor":44},283636,"hai-tian-xu-ri-tu-juan-zhao-bo-ju-283636","海天旭日图卷","赵伯驹","藏地不详","赵伯驹（生卒不详），宋代画家，字千里，宋宗室。主要活动在12世纪中前期。工山水、花果、翎毛、楼台，青绿山水尤善。他将水墨山水的趣味与技法融入唐代李思训、李昭道父子的大青绿画法中，形成了一种介于院体画和文人画之间的“精工之极，又有士气”的风格。",[23,24,93,53,26,27,28,237,7,238,30],"岛屿","山居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27ff9b82a5d0dcd32cd304f2da2955de.jpg","未知","Xcm*Xcm",[],26,{"id":245,"slug":246,"title":247,"dynasty":68,"author":248,"museum":234,"description":249,"tags":250,"thumbUrl":253,"material":240,"size":241,"collection":61,"collections":254,"showCount":12,"zanCount":11,"manualWeight":11,"mainColor":84},287562,"fa-hai-ling-shan-tu-ce-li-gong-lin-287562","法海灵山图册","李公麟","李公麟（1049～1106），北宋舒州（今属安徽桐城）人，宋代杰出画家。字伯时，号龙眠居士、龙眠山人，享年五十七岁。熙宁三年（公元1070年）进士。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[24,25,118,74,116,251,29,252,7],"宗教","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F615dcc4db7d29779a95fe40b8b73442d.jpg",[],{"id":256,"slug":257,"title":258,"dynasty":68,"author":259,"museum":234,"description":260,"tags":261,"thumbUrl":263,"material":61,"size":61,"collection":61,"collections":264,"showCount":265,"zanCount":11,"manualWeight":11,"mainColor":44},227712,"hu-tian-ju-le-tu-juan-gong-kai-227712","壶天聚乐图卷","龚开","龚开（1222年～约1302），宋末元初画家，字圣予（一作圣与），号翠岩，晚号龟城叟、岩叟，人称龚高士。淮阴龟山（今属江苏省淮安市洪泽区老子山镇）人 。景定年间曾任两淮制置司监当官。他是一位诗文书画都擅长的文人画家，山水画师法米芾、米友仁，人物、鞍马则学曹霸，亦能画梅、菊等花卉。喜欢用水墨画鬼魅及钟馗，“怪怪奇奇，自成一家”，开明清写意画之先河。从现存作品看，其特点是用笔粗重、墨色淋漓，造形比较夸张，画上多题诗及跋语。抒情寓意，寄托遗老的怀抱。",[23,93,24,25,53,116,74,29,28,32,7,252,262],"猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4894a30ae63717fc0a21742c8b4efc20.jpg",[],17,{"id":267,"slug":268,"title":269,"dynasty":110,"author":69,"museum":234,"description":270,"tags":271,"thumbUrl":279,"material":240,"size":241,"collection":61,"collections":280,"showCount":281,"zanCount":11,"manualWeight":11,"mainColor":84},238568,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238568","明人升平翊赞图并书赞册","这幅画作以仙神征伐为主题，构图张弛有度。右侧崖岸列兵肃立，左侧神将踏浪突进，托塔仙神乘云俯瞰，动静交织。工笔细写之下，甲胄纹饰华美繁复，衣袂云气线条流转灵动，海浪层叠晕染铺陈出水势汹涌，设色古雅明丽，红金与石青、水色相映，既烘托出征伐场面的恢宏肃穆，又带着缥缈神幻色彩。细节处松枝苍劲、云霭舒卷皆刻画入微，将仙凡对阵的磅礴张力藏于细腻笔触间，尽显传统宗教叙事绘画的精湛功力。",[24,27,55,118,29,272,237,273,274,275,31,32,95,276,277,7,278],"海水","松树","祥云","石塔","武将","波浪","神话","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2c2a6658496b3ebba9232867d0c7961.jpg",[],7,{"id":283,"slug":284,"title":285,"dynasty":179,"author":69,"museum":234,"description":286,"tags":287,"thumbUrl":293,"material":240,"size":241,"collection":61,"collections":294,"showCount":295,"zanCount":11,"manualWeight":11,"mainColor":84},260919,"qing-hua-zhu-lin-qi-xian-tu-gang-yi-ming-260919","青花竹林七贤图缸","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。",[288,289,29,31,7,290,291,292],"陶瓷","青花","文人雅集","竹林七贤","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc88877b2783fbd951dfaabfa92ecd8c7.jpg",[],6,{"id":297,"slug":298,"title":299,"dynasty":179,"author":300,"museum":196,"description":301,"tags":302,"thumbUrl":312,"material":313,"size":61,"collection":61,"collections":314,"showCount":295,"zanCount":11,"manualWeight":11,"mainColor":44},236828,"fang-gu-shan-shui-ce-zhao-cheng-236828","仿古山水册","赵澄","[明]（一五八一至？）晚年得铜汉章改名澄，字雪江，一字湛之，颍州（今安徽阜阳）布衣。山水泼墨、细谨两擅其长。学宗董源、范宽、李唐诸家。又善临摹，见大内所藏皆缩为小幅，无一笔不肖。又仿古二十幅极精，为琉球国王所得，永为海外珍宝。并工写照，得意之作皆用铜章。以博学能诗称。顺治十一年（一六五四）仿各家山水册时年七十四。《国[清]朝画徵录、读画录、图绘宝鉴续纂、桐阴论画》",[24,303,28,27,94,304,305,32,219,30,57,306,184,307,308,309,310,7,311],"仿古","山","石","植被","峭壁","小径","平台","枝叶","古建","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0183adf33d938618193370ec0d4adcb1.jpg","纸本，设色",[],{"id":316,"slug":317,"title":318,"dynasty":319,"author":69,"museum":234,"description":320,"tags":321,"thumbUrl":332,"material":240,"size":241,"collection":61,"collections":333,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":84},289216,"giuseppe-cades-the-virgin-immaculate-with-the-christ-child-yi-ming-289216","Giuseppe 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Child","不详","淡彩晕染出朦胧柔和的基调，明暗层次晕化出静谧神圣的氛围。画面中心，圣母垂眸含着悲悯，宝冠衬得她神情愈发庄严，怀拥圣婴静立在镰刀之上，寓意着超脱时间洪流。惶惑的亚当立于崖岸，圣母以轻柔姿态安抚，消解着他的不安，右侧天使虔诚托举宝盘，奉呈世间的馈赠与敬慕。云雾间灵动的小天使，让肃穆的画面添了几分轻盈。衣褶线条舒展且富有韵律，勾勒出织物蓬松柔软的质感，将神性救赎的主题静缓铺陈，于素雅色调里，传递出厚重绵长的精神力量。",[322,323,324,325,326,327,328,329,201,330,331,7],"宗教画","人物画","素描","淡彩","圣母","圣婴","天使","宗教人物","翅膀","王冠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F617232c7a9111d042b3d6d9997316db3.jpg",[],{"id":335,"slug":336,"title":337,"dynasty":179,"author":338,"museum":234,"description":339,"tags":340,"thumbUrl":342,"material":61,"size":61,"collection":61,"collections":343,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":84},238311,"shan-shui-ce-dong-bang-da-238311","山水册","董邦达","董邦达（1696－1769），清代官员、书画家。字孚存、争存，号东山、非闻，浙江富阳人。雍正十一年进士，乾隆二年授编修，官终礼部尚书，谥文恪。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虞山派之间。与董源、董其昌并称“三董”。",[24,116,341,94,118,304,32,30,219,31,57,306,7],"山水画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fd359d92ef6d4c0dc7e7de2cfd178eb.jpg",[],{"id":345,"slug":346,"title":347,"dynasty":110,"author":348,"museum":234,"description":349,"tags":350,"thumbUrl":353,"material":61,"size":61,"collection":61,"collections":354,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":84},233600,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233600","十竹斋五色笺谱册","胡日从","《十竹斋书画谱》，融诗、书、画、印艺术为一体，是木版水印史上的巨制鸿构，有“画苑之白眉，绘林之赤帜”之誉。凡书画、竹、墨华、石、翎毛、梅、兰、果八谱，每谱两册，全帙共十六册，蝴蝶装。\n一为书画册。花卉竹石、翎毛蔬果二十幅，均有对题。谱前有醒天居士《题十竹斋画册小引》和芒砀山人王三德《胡曰从书画谱引》。\n二为竹谱。卷首有《梨云馆竹谱》，分“写竹要语”，“写竹括”和“写竹法”。前半为一画一题，凡竹图二十幅，分作“廻风”、“喜霁”、“带雨”、“凝露”、“贮云”、“笼烟”、“快雪”、“印月”、“怡老”、“启新”、“飞白”、“聚翠”、“紫蓧”、“朱帔”、“崖影”、“石床”、“飨松”、“访菊”、“友梅”、“佩兰”等。后半则为画竹“起手式”。\n三为墨华册。谱中图呈圆光型，对题有绿色“十竹斋琅干笺”竹纹边框。画、题各有二十幅，画面着色细润，气韵生动。谱前有语水乘槎子《十竹斋墨花题辞》。\n四为石谱。画、题各二十幅，谱前有序两篇，一为王三德《阅石谱题言》，一为米芾后人米万钟《石谱题辞》。谱中二十幅画皆为高阳所作。高阳，字秋甫，善花鸟，为万历间写生名手。高阳画奇石尤精，石谱中作品是临摹上版，王三德观后评价极高，以为“天划神缕之巧，嵌空玲珑之致，半幅冰茧，宛具层岩叠嶂、峰峦洞穴，真可以对杨次公矣。”图有墨石、彩石，但均以套版为之，每画都有对应的题赞。\n五为翎毛谱。画、题各二十幅，有杨文骢于“天启丁卯立秋日”所题《翎毛谱小序》，非常精彩地评介了胡氏所施饾版之法：“胡曰从氏巧心妙手，超越前代，以铁笔作颖生，以梨枣代绢素，而其中皴法、染法、点法，及着色之轻重、浅深、远近、离合无不呈妍曲致，穷巧极工。即当行作手观之，定以为写生妙品，不敢作刻画观。”此翎毛谱二十图，画上无名款，从印鉴来看，应全为凌云翰一人所作。凌云翰，字五云，万历、崇祯时人。《明画录》说他善画山水，其实上凌氏花鸟亦善，尤工画石，为胡正言所推许。\n六为梅谱。由玉山进士董继周作序。此册胡正言以“芳信先传”、“飘飘欲仙”、“冰壶掩映”、“暖谷回阳”、“君子之交”、“铁干支春”、“暗香浮动”、“拾翠为钿”、“黄惹蜂腰”、“额上玄功”、“东邻窥宋”、“盟坚寒素”、“香梦沉酣”、“水妃写照”、“玉骨同妍”、“疏影横斜”、“幽人赠佩”、“调脂梅粉”、“宫锦清班”、“寿阳点妆”等二十画题，分别写早梅、风梅、雪梅、枯梅、竹梅、老梅、月梅、松梅、蜡梅、墨梅、过墙梅、倚石梅、烟梅、临水梅、水仙梅、疏梅、兰花梅、茶花梅、杏花梅和落梅，或水墨，或设色，意境、造型与章法，则穷尽变化之能事。每幅画都有对应的题赞。\n七为兰谱。前有涂日昌“兰谱序”和画兰“起手执笔式”，此谱图解兰花，并附小注，颇为详尽，但无题赞。多为墨印，间有彩版，此谱可为之初学之范本。图二十幅，多是临摹赵孟頫等名家之作。\n八为果谱。画、题各二十幅，有西京韩文镜作序。其中“三元”、“朱橘”等图，雕版设计巧妙，可谓匠心独运。\n《十竹斋书画谱》自万历己未（1619年）第一谱《书画册》起，至崇祯癸酉（1633年）第八谱《果谱》止，梓印时间长达十五年之久。每谱有序言，除《竹谱》附写竹诀，《兰谱》附起手式，其余各谱均四十幅，一图一文，以书配画，交相辉映。\n胡正言辑印《十竹斋书画谱》，广交名人时贤，亦自作书画付梓。全谱序、画、诗作者或书法题写者，多达一百五十余人。谱中所辑作品大多是由当时名家如吴彬、倪瑛、魏之克、米万钟、吴士冠、文震亨、高阳、高友等创作的，也有二十多幅画稿是临摹自赵孟頫、唐寅、沈周、文征明、陆治、陈道复等著名书画家的；胡正言自己也曾为谱画稿、题诗，画有“白莲”、“墨梅”、“芝草”三图，诗有“题梅花”、“题兰竹”两首。画谱中所题诗句，笔调清新，咏物抒情，不同程度地反映了诗人们喜爱画谱的心情。题诗大部分都是书写者自己所作，也有借用前人诗句题咏的，如胡正言用唐释无可的咏兰诗题《兰竹图》，西湖仙郎何伟然用徐渭咏榴诗题《石榴图》，竹冠道人应麟用刘禹锡题开元寺枸杞诗书《枸杞诗图》等等。全谱书法篆、隶、行、楷诸体皆备，最多的还是晚明文人流行的行草。这些书迹，大都兼有晋、唐、宋书家的风韵，亦可为后人临池所借鉴。\n醒天居士的《题十竹斋画册小引》把胡正言的爱好、特长及画谱刊印的初衷和艺术水平都进行了叙述：\n“王宰十日一山，五日一石，岂肖形之难哉？山有情，石有态，磅礴得之为难耳。近代画手，千临百摹，如里媪捧心，不揜儿寝，而目食者争售之，大轴小图，祗为壁疥。新安胡曰从氏，清姿博学，既精六书，尤擅众巧。所制隃糜硾茧与所镌法语名言，皆出新裁，赏鉴家多宝爱之。乃竹斋多暇，复创画册。所选皆花果竹石，有关于幽人韵士之癖好者。而写形既妙，设色尤工，至于翠瓣丹柎，葩分蕊折，花之情，竹之姿，与禽虫飞懦之态，奇石云烟之气，展册淋漓，宛然在目。盖淡淡浓浓，篇篇神采；疏疏密密，幅幅乱真，诚画苑之白眉，绘林之赤帜也。然王宰之画妙出毫锥，胡君之画妙出梨枣，是磅礴之心，较王宰更难；而成功之捷，较王宰更简更易，岂不尤奇哉！余故喜而叙之，愿与好事者同赏，仍俟具眼者定价焉。时癸酉年中秋前二日，醒天居士书于十竹斋。”\n《十竹斋书画谱》“绘刻精而奇，谱则巧而该”，在画谱刊行后不久就引起广泛的注意，开始有人仿刻了，以至胡氏声明道“原板珍藏，素遐真赏，近有效颦，恐混鱼目，善价沽者，勿虚藻鉴。”历代重印、翻刻者达二十余种。清代李渔等人辑印的《芥子园画传》也是在它的启发下产生的。",[24,25,118,27,351,74,28,31,7,78,352],"木刻","禾苗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74edbd83f11bc15b1d5c09afefc3727d.jpg",[],{"id":356,"slug":357,"title":358,"dynasty":179,"author":359,"museum":112,"description":360,"tags":361,"thumbUrl":367,"material":61,"size":61,"collection":61,"collections":368,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":369},202334,"dou-lao-tian-zun-tu-zhou-ren-xiong-202334","斗姥天尊图轴","任熊","画面中央斗姥天尊端坐莲台，六臂分持法器，身后圆光赫赫，神态庄穆慈悲。周围护法神祇或持械护卫，或捧物随侍，衣袂飘举于云气之间，姿态各异却井然有序。线条工细如丝，衣纹转折灵动；设色淡雅温润，圆光与莲台的金辉更衬出神圣氛围。人物造型精准生动，细节刻画入微——无论是天将的威武、玉女的温婉，还是云气的缥缈，皆显工笔之精湛。整幅作品将宗教题材的肃穆与艺术的灵动完美融合，尽显传统工笔人物画的魅力。",[55,29,251,27,362,7,363,364,365,366,23],"法器","莲台","圆光","护法","神祇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F463ac5a1d864dd744ed8b9bd208b3674.jpg",[],"d2cfc3",{"id":371,"slug":372,"title":373,"dynasty":374,"author":69,"museum":234,"description":375,"tags":376,"thumbUrl":383,"material":240,"size":241,"collection":61,"collections":384,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},243673,"bo-shan-lu-yi-ming-243673","博山炉","汉","汉代青铜器产生于青铜时代的晚期，在我国青铜史上占有特殊的地位，体现出独特的设计思想和特征，具有卓越的科学功能，并对当今设计有很大的启示作用。\n汉代青铜器很多都是素纹，大部分还是铸造的，也有的花纹、铭文是用錾子雕刻的。比如汉代的鎏金杯子、奁、盒、碗等用具上的花纹，多是雕刻的。\n汉代以后至唐代的铜器，铸造的花纹很多，其中有打料的铜、金、银器，并且也有了大、小焊的技术。\n西汉初期（高祖至景帝），此时的青铜器，基本为素面。其鼎主要承自秦式，但一般三足更矮。敦盒形。\n壶有大小二型并存，大型壶腹下部略呈收缩之状，腹比秦壶要鼓；小型壶的腹部较瘦长，经常铸出变形螭纹。钫此时更流行，有的做得很讲究，通腹有镶嵌绿松石的三角云纹。\n鍪和蒜头壶继续流行。日用器皿中，高灯多见，豆式熏炉盛行，带钩显琵琶形、棒形、琴形讲究的多做成鎏金、错金银、镶玉或绿松石。\n西汉中期至东汉早期（西汉武帝至东汉章帝）是西汉青铜器最发达的时期，也是汉代青铜器新风格最终形成的时期。这时期最多见的青铜用器是鼎、壶、钫、尊、熨斗、带钩、铜镜。\n灯：古代照明器具。青铜灯出现于战国时期，而盛行于汉代。最著名的当属长信宫灯了，灯的样子很多，较普通的是有圆盘，盘内有钎，盘下有柱，柱下有圈足；也有盘下作雁足状的，盘用来盛油或插烛。\n另有一种灯自铭为“行灯”，它圆盘边有把，盘下有三短足。青铜灯最富感染力的当属那些铸成人形、禽形、兽形、树形的艺术造型灯。\n博山炉：古代焚香的器具。一般炉体作圆形，用来放香料，体下有高足，有的足还铸成人形或鸟兽形；炉盖均高而尖，雕镂成山峦形上有人物、走兽，象征海上仙山“博山”，故名“博山炉”。盛行于汉代。\n樽：古代盛酒的器皿，器作圆形，直壁，有盖，腹较深，下有三兽足，旁有铺首衔环耳。\n洗：盥洗用器皿。形状象盆，圆形、宽口沿，平或圆底，腹外多有铺首衔环耳，内底常用双鱼作装饰，并多铸吉语。盛行于汉晋。\n耳杯：古代饮酒器。多漆制，称“羽觞”。铜质者，器作椭圆形，腹壁有二环耳。\n熨斗：古式熨烫衣服的工具。形状为圆腹宽口沿，有长柄，盛行于汉魏。\n东汉中晚期（和帝至献帝）青铜器又有了新的变化。此时使用较多的铜器日用品有：钟、扁壶、盆、釜、鐎斗、灯、博山炉、炉、熨斗、尊、耳杯、虎子、车马器、带钩、铜镜、玺印等。\n此时青铜器的特点是比以前轻薄、错金银技术在青铜器装饰中几乎消失，鎏金仍多，鎏金器上出现了细线阴刻云纹。",[377,378,379,380,381,184,7,382],"汉代","青铜器","铜制","雕刻","纹饰","熏香器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe9b74edee34bd7cbdcecf796108f9ee.jpg",[],1777535719198]