[{"data":1,"prerenderedAt":146},["ShallowReactive",2],{"subject-zhi-1346":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},1346,"zhi-1346","芝","芝画高清赏析","精选中国历代芝题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43a17d59aaac7a348a5bb836c8930f1c.jpg",0,8,[14,39,64,81,99,114,125,136],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":31,"material":32,"size":33,"collection":34,"collections":35,"showCount":36,"zanCount":37,"manualWeight":11,"mainColor":38},219225,"song-zhi-qun-lu-tu-mou-zhong-fu-219225","松芝群鹿图","宋","牟仲甫","台北故宫博物院","图绘松荫下双鹿，旁有翠竹灵芝。二鹿耸起耳朵，目光凝视同方向，似为某事所惊动。画家以极精致的笔法，描画出二鹿的形态，捕捉到自然界中生动微妙的刹那，这就是宋朝画家的长处。牟仲甫，生卒年待考。随州（今湖北省随县）人。画猿獐猴鹿与易元吉相似，画鸡尤有意趣。",[23,24,25,26,27,28,29,30,7],"高清","国画","名画","扇面","设色","工笔","松","鹿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a8e3db937a2cc36b9216018ebe39af9.jpg","绢本,设色","23.9x24.3cm","花鸟画精选",[34],86,1,"BDBDBD",{"id":40,"slug":41,"title":42,"dynasty":43,"author":44,"museum":45,"description":46,"tags":47,"thumbUrl":58,"material":59,"size":60,"collection":61,"collections":62,"showCount":63,"zanCount":11,"manualWeight":11,"mainColor":38},219417,"cai-zhi-tu-zhou-ren-xun-219417","采芝图轴","清","任薰","上海博物馆","此轴纸本设色画一人物幅巾广袖拄杖而行，手提装满灵芝的竹篮，相貌奇古。右下书题“朵峰仁兄大人属即教正 永兴弟任薰舜琴写”，钤“任薰”白文方印。",[24,48,27,28,49,7,50,51,52,53,54,55,56,57],"立轴","人物","树","石","篮子","拐杖","柳叶","草地","苔藓","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F660fdaf34b7e404657c4f40b3ede7755.jpg","纸本,设色","纵137.5厘米，横39.5厘米","人物画精选",[61],37,{"id":65,"slug":66,"title":67,"dynasty":43,"author":68,"museum":69,"description":70,"tags":71,"thumbUrl":76,"material":77,"size":78,"collection":34,"collections":79,"showCount":80,"zanCount":11,"manualWeight":11,"mainColor":38},237454,"fu-shan-lan-zhi-zhou-fu-shan-237454","傅山兰芝轴","傅山","北京故宫博物院","傅山，初名鼎臣，字青竹，改字青主，又有浊翁、观化等别名，汉族， 山西太原人。明清时期道家思想家、书法家、医学家。\n傅山自称为老庄之徒，他自己也在很多场合与作品中反复强调、自陈：“老夫学老庄者也”、“我本徒蒙庄”、“吾师庄先生”、“吾漆园家学”。自觉继承道家学派的思想文化。他对老庄的“道法自然”、“无为而治”、“泰初有无”、“隐而不隐”等命题，都作了认真的研究与阐发，对道家传统思想作了发展 ,常以老庄之徒自居。\n傅山于学无所不通，经史之外，兼通先秦诸子，又长于书画医学。北京大学教授、引碑入草开创者的李志敏评价：“傅山的草书圈眼多，繁而不乱，于郁勃浑脱之中，又有逸岩之态”。 [3] 著有《霜红龛集》等。一些武侠小说里，傅山被描写为武侠高手。他是著名的道家学者，哲学、医学、内丹、儒学、佛学、诗歌、书法、绘画、金石、武术、考据等无所不通。他被认为是明末清初保持民族气节的典范人物。\n傅青主与顾炎武、黄宗羲、王夫之、李颙、颜元一起被梁启超称为“清初六大师”。著有《傅青主女科》《傅青主男科》等传世之作，在当时有“医圣”之名。《清史稿》卷五百一有传。",[24,72,48,73,74,7,75],"书画","水墨","兰","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5c35d01ea4392d55c4239ad5cde0d02.jpg","纸本","",[34],28,{"id":82,"slug":83,"title":84,"dynasty":85,"author":86,"museum":87,"description":88,"tags":89,"thumbUrl":95,"material":78,"size":78,"collection":78,"collections":96,"showCount":97,"zanCount":11,"manualWeight":11,"mainColor":98},228304,"can-zhi-tu-chen-hong-shou-228304","餐芝图","明","陈洪绶","藏地不详","此作用笔高古奇骇，构图疏朗雅致，奇石衬出幽寂林下氛围。主角宽袍峨冠，手托芝草悠然凝思，神情澹然超迈，尽显林下高士的出尘之态。下方侍者蹲身专注燃炉蒸芝，神态恭谨，一动一静之间衬出画面闲雅意趣。衣纹勾勒清劲凝练，设色淡雅沉静，古拙的线韵晕染出静穆脱俗的幽隐意境，将服食灵草、寄情丘山的出世雅趣藏于笔底，尽显高逸绝尘的文人风骨。",[23,24,72,48,28,90,27,49,91,92,7,93,94],"白描","孤石","器物","长袍","帽子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F104d5293337b078854f928fd606d4d56.jpg",[],19,"795548",{"id":100,"slug":101,"title":102,"dynasty":103,"author":104,"museum":87,"description":105,"tags":106,"thumbUrl":109,"material":110,"size":111,"collection":78,"collections":112,"showCount":113,"zanCount":11,"manualWeight":11,"mainColor":98},231641,"shi-ting-shi-dai-shang-shan-cai-zhi-tu-zhou-yi-ming-231641","室町时代 商山采芝图轴","不详","佚名","以淡墨晕染危崖空山，苍松虬曲倒挂，笔墨简淡空灵，晕出幽谷清寂的世外氛围。下方二老衣袂以写意线条勾勒，一人拄杖回首，一人负芝持锄，神情悠然萧散，将避世隐者的林下风流尽显无余。\n\n右上角题诗与画面呼应，诗画相融，笔意清隽，尽显南宗水墨的淡远意趣。整作舍去繁复皴擦，以留白衬出山岚空濛，人物情态简率传神，萧疏笔墨间寄寓着对高蹈出世襟怀的追慕，淡远空灵里晕开古雅隐逸之思。",[24,72,48,73,90,49,107,29,7,108],"山水","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c16becd096381dc5b12bec7f4ad1bb6.jpg","未知","Xcm*Xcm",[],4,{"id":115,"slug":116,"title":117,"dynasty":43,"author":104,"museum":87,"description":118,"tags":119,"thumbUrl":123,"material":110,"size":111,"collection":78,"collections":124,"showCount":37,"zanCount":11,"manualWeight":11,"mainColor":98},248639,"ti-hong-cai-zhi-tu-bi-yan-hu-yi-ming-248639","剔红采芝图鼻烟壶","鼻烟壶指的是盛鼻烟的容器，小可手握，便于携带。明末清初，鼻烟传入中国，鼻烟盒渐渐东方化，产生了鼻烟壶。\n人们嗜用鼻烟的习惯几近绝迹，但鼻烟壶却作为一种精美艺术品流传下来，而且长盛不衰，被誉为“集中各国多种工艺之大成的袖珍艺术品”。\n中国鼻烟壶，作为精美的工艺品，采用瓷、铜、象牙、玉石、玛瑙、琥珀等材质，运用青花、五彩、雕瓷、套料、巧作、内画等技法，汲取了域内外多种工艺的优点，被雅好者视为珍贵文玩，在海内外皆享有盛誉。\n在世界上，中国素有「烟壶之乡」的称誉，其中鼻烟壶以其精巧卓绝的制作技术，被称为「集多种工艺之大成于一身的袖珍艺术品」。鼻烟壶为盛装鼻烟之容器，鼻烟系一种烟草制品，原为西洋之物，明末清初自欧洲传入中国后，加工转化后成为粉末状药材，吸闻之后不但具有明目避疫的功效，吸闻鼻烟在各阶层更是蔚为风尚，且迅速地融入了中国的艺术风格，发展出匠心独运的各式鼻烟壶，在清代美学工艺上大放异彩，成为清代艺术的重要标志之一。",[120,121,49,107,7,122],"漆器","雕刻","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aa2a8f554d108306c918d26f375f942.jpg",[],{"id":126,"slug":127,"title":128,"dynasty":43,"author":104,"museum":87,"description":129,"tags":130,"thumbUrl":134,"material":110,"size":111,"collection":78,"collections":135,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":98},247137,"qian-long-kuan-ti-hong-cai-zhi-tu-shuang-yuan-shi-he-yi-ming-247137","乾隆款剔红采芝图双圆式盒","清代文物。旧时用于存放食物或饰品之用,根据材质价值不同。清宫旧藏",[131,120,132,121,49,7,133],"清代","剔红","盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F195a6ec70c31f041e2f1b86ffd483bf4.jpg",[],{"id":137,"slug":138,"title":139,"dynasty":43,"author":104,"museum":87,"description":140,"tags":141,"thumbUrl":144,"material":110,"size":111,"collection":78,"collections":145,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":98},229476,"yong-zheng-ci-tai-hua-fa-lang-huang-di-zhi-lan-tu-pan-yi-ming-229476","雍正 瓷胎画珐瑯黄地芝兰图盘","瓷器是由瓷石、高岭土、石英石、莫来石等烧制而成，外表施有玻璃质釉或彩绘的物器。瓷器的成形要通过在窑内经过高温（约1280℃～1400℃）烧制，瓷器表面的釉色会因为温度的不同从而发生各种化学变化，是中华文明展示的瑰宝。\n中国是瓷器的故乡，瓷器是古代劳动人民的一个重要的创造。谢肇淛在《五杂俎》记载：“今俗语窑器谓之磁器者，盖磁州窑最多，故相延名之，如银称米提，墨称腴糜之类也。”当时出现的以“磁器”代窑器是由磁州窑产量最多所致。这是迄今发现最早使用瓷器称谓的史料。",[142,143,27,7,74,122],"陶瓷","珐瑯器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f5f2159973682ef9accf42448d75a82.jpg",[],1777535738705]