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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。",[46,47,23,48,49,24,50,25,28,7],"高清","名画","书画","扇面","水墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a01514fa33b348d72283aebee102b35.jpg","",[],29,{"id":56,"slug":57,"title":58,"dynasty":59,"author":19,"museum":43,"description":60,"tags":61,"thumbUrl":66,"material":67,"size":68,"collection":52,"collections":69,"showCount":70,"zanCount":71,"manualWeight":11,"mainColor":37},264384,"jiang-se-chou-xiu-yu-zao-wen-chang-yi-liao-yi-ming-264384","绛色绸绣鱼藻纹氅衣料","清","绸缎，泛指丝织物。古时多是有钱人家作为衣物，其颜色光滑亮丽，五彩缤纷。《儿女英雄传》第二回：“大凡到工的官儿们送礼，谁不是缂绣、呢羽、绸缎、皮张，还有玉玩、金器、朝珠、洋表的？” 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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。",[78,92,25,24,28,7,93],"五彩","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c55ae8545e3b7152609434e3a6892f8.jpg",[],4,{"id":98,"slug":99,"title":100,"dynasty":59,"author":19,"museum":43,"description":101,"tags":102,"thumbUrl":104,"material":67,"size":68,"collection":52,"collections":105,"showCount":96,"zanCount":11,"manualWeight":11,"mainColor":85},257727,"jia-jing-kuan-wu-cai-yu-zao-tu-wan-yi-ming-257727","嘉靖款五彩鱼藻图碗","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。",[59,92,78,24,25,28,7,103],"花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d0898c8dc884afc50367d816169c4b0.jpg",[],{"id":107,"slug":108,"title":109,"dynasty":59,"author":19,"museum":43,"description":110,"tags":111,"thumbUrl":115,"material":67,"size":68,"collection":52,"collections":116,"showCount":117,"zanCount":11,"manualWeight":11,"mainColor":85},261030,"cheng-hua-kuan-qing-hua-yu-zao-wen-wan-yi-ming-261030","成化款青花鱼藻纹碗","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。",[78,112,28,7,113,114],"青花","碗","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe95f1bd18eb83f81dfec15c9fc239b4.jpg",[],3,{"id":119,"slug":120,"title":121,"dynasty":59,"author":19,"museum":43,"description":122,"tags":123,"thumbUrl":128,"material":67,"size":68,"collection":52,"collections":129,"showCount":117,"zanCount":11,"manualWeight":11,"mainColor":85},258174,"xuan-de-kuan-ji-lan-you-bai-hua-yu-zao-wen-pan-yi-ming-258174","宣德款祭蓝釉白花鱼藻纹盘","宋代是传统制瓷工艺发展史上一个非常繁荣昌盛的时期。现时已发现的古代陶瓷遗址分布于全国170个县。其中有宋代窑址的就有130个县，占总数的75%。\n陶瓷史家通常将宋代陶瓷窑大致概括为6个瓷窑系，它们分别是：北方地区的定窑系、耀州窑系、钧窑系和磁州窑系；南方地区的龙泉青瓷系和景德镇的青白瓷系。这些窑系一方面具有因受其所在地区使用原材料的影响而具有的特殊性，另一方面又有受帝国时代的政治理念、文化习俗、工艺水平制约而具有的共同性。\n从造型的角度分析，宋瓷的器形较之前代更为丰富多彩，几乎包括了人民日常生活用器的大部分：碗、盘、壶、罐、盒、炉、枕、砚与水注等，其中最为多见的是玉壶春瓶。总的说来，民间用瓷的造型大部分是大方朴实、经济耐用；而宫廷用瓷则端庄典雅、雍容华贵。最能反映皇家气派的是哥、官、钧、汝与定窑口烧制的贡瓷，最能体现百姓喜乐的是磁州、耀州窑口烧制的民间瓷品。\n从纹饰上讲，宋瓷的纹饰题材表现手法都极为丰富独特。一般情况下，龙、凤、鹿、鹤、游鱼、花鸟、婴戏、山水景色等常作为主体纹饰而突现在各类器形的显著部位，而回纹、卷枝卷叶纹、云头纹、钱纹、莲瓣纹等多用作边饰间饰，用以辅助主题纹饰。工匠们用刻、划、剔、画和雕塑等不同技法，在器物上把纹样的神情意态与胎体的方圆长短巧妙结合起来，形成审美与实用的统一整体，令人爱不释手。如婴戏纹，或于碗心、或于瓶腹，将肌肤稚嫩，情态活泼的童子置于花丛之中，或一或二，或三五成群，攀树折花，追逐嬉戏，真切动人，生活气息甚为浓厚。",[124,78,125,126,28,7,127],"清代","祭蓝釉","白花","鱼藻纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe69dc1fe5b891fb439724e5f415f9347.jpg",[],{"id":131,"slug":132,"title":133,"dynasty":134,"author":19,"museum":43,"description":135,"tags":136,"thumbUrl":140,"material":67,"size":68,"collection":52,"collections":141,"showCount":117,"zanCount":11,"manualWeight":11,"mainColor":85},248713,"jia-jing-kuan-qiang-jin-cai-qi-yu-zao-wen-ci-gu-ye-shi-xi-yi-ming-248713","嘉靖款戗金彩漆鱼藻纹茨菇叶式洗","明","此器取茨菇叶为形，朱红勾边勾勒出柔婉灵动的轮廓，别致清雅。以墨漆为地，红彩绘就游鲤摆尾穿梭水藻之间，鳞鳍鲜活饱满，宛若正拨水前行，周遭缠枝花卉肆意舒展，辅以万字宝相花纹样，将池间生机与吉庆寓意相融。戗金线条利落提亮纹饰层次，彩漆晕染自然柔和，把精湛工法与雅致审美完美结合，静赏时仿佛能窥见池底悠然意韵，尽显古雅精巧的东方意趣。",[137,138,139,28,7,127,93],"明代","漆器","戗金彩漆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4561fc7ecd90480d19b234c8c3ceed98.jpg",[],{"id":143,"slug":144,"title":145,"dynasty":42,"author":19,"museum":43,"description":146,"tags":147,"thumbUrl":150,"material":67,"size":68,"collection":151,"collections":152,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":85},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。",[42,78,148,149,28,7,93],"白釉","刻花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85ca062f92bc5791cb696e1b6a43efab.jpg","瓷器精选",[151],2,{"id":155,"slug":156,"title":157,"dynasty":134,"author":19,"museum":43,"description":158,"tags":159,"thumbUrl":164,"material":67,"size":68,"collection":52,"collections":165,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":166},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。",[160,161,162,163,28,7],"掐丝珐琅","珐琅器","鹭鸶","莲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4d744f610d0d8dc9bbb7b9b714b572a.jpg",[],"37474F",{"id":168,"slug":169,"title":170,"dynasty":59,"author":19,"museum":43,"description":110,"tags":171,"thumbUrl":173,"material":67,"size":68,"collection":52,"collections":174,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":37},259063,"qing-hua-yun-long-yu-zao-tu-zhi-jing-ping-yi-ming-259063","青花云龙鱼藻图直颈瓶",[78,112,172,28,7],"龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98e114214b1b03cc1fac0b9b0fddbba6.jpg",[],{"id":176,"slug":177,"title":89,"dynasty":59,"author":19,"museum":43,"description":90,"tags":178,"thumbUrl":179,"material":67,"size":68,"collection":52,"collections":180,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":37},257761,"wu-cai-yu-zao-tu-pan-yi-ming-257761",[59,78,92,25,24,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F567f19434f06c5d4d8d643c6e303fb8a.jpg",[],{"id":182,"slug":183,"title":184,"dynasty":42,"author":19,"museum":43,"description":146,"tags":185,"thumbUrl":187,"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