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。\n\n该图以三国魏文学家曹植的《洛神赋》为依据，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。\n\n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。",[23,24,25,26,27,28,29,30,7,31,32,33,34,35,36,37,38,39,40],"高清","国画","书画","长卷","工笔","设色","人物","美人","山水","树木","云","飞鸟","亭","印章","书法","行书","篆书","名画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3be74a2f3958ac41ec1cd6403d832e66.jpg","绢本","横572.8cm，纵27.1 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字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[24,40,78,27,174,28,31,113,176,7,32,29,337],"塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4945df6fe95424b961db92304beafb91.jpg",[44],27,{"id":342,"slug":343,"title":344,"dynasty":147,"author":345,"museum":346,"description":347,"tags":348,"thumbUrl":349,"material":350,"size":87,"collection":44,"collections":351,"showCount":352,"zanCount":11,"manualWeight":11,"mainColor":49},220094,"jin-biao-tu-wang-zhen-peng-220094","锦标图","王振鹏","私人收藏","该画作描绘了北宋宫廷金明池的龙舟竞渡活动，一方面显示夺标争锦之意，另一方面又有君民同乐的太平盛世意涵。",[23,40,24,25,26,135,28,29,113,83,176,7,59,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a6c7809bff9a5428579d2095a8cda8f.jpg","绢本,水墨",[44],23,{"id":354,"slug":355,"title":132,"dynasty":73,"author":110,"museum":96,"description":356,"tags":357,"thumbUrl":359,"material":87,"size":87,"collection":87,"collections":360,"showCount":361,"zanCount":11,"manualWeight":11,"mainColor":49},230146,"shi-gong-ci-tu-ce-leng-mei-230146","《避暑山庄图》是清代画家 创作的一幅绢本设色画，该画现收藏于北京故宫博物馆 。\n此画景物右至武烈河及东部山区，左至西岭山区为止，并从山庄东部崖殿“万壑松风”殿座开始，一层层向北展开，包罗四围秀岭，十里湖湘的整个湖区、平原区主要建筑和自然风貌，体现了冷枚高度的概括能力和精湛的艺术技巧，历史与艺术价值很高 。\n画中青山环抱，绿树成荫，后山一股清泉，流入山庄，湖水荡漾，荷花盛开，岸柳垂荫，亭台、水榭、宫室、高楼，因地制宜，聚散错落 。\n图中湖泊东侧低岩上耸立的那座仿造宝塔，似乎是从镇江金山寺移植过来的。\n苑中树木郁郁葱葱，清幽宁静，左右两侧绵延起伏的群山，于巍峨壮观中又透出几分灵秀。\n丘壑相连，迤逦苍茫，呈现出一派江山无限的景象 。\n画幅右下角自题：“小臣冷枚恭画”楷书款，下钤“臣冷枚”朱白文印和“夙夜匪懈”白文方印。\n另有乾隆、嘉庆、宣统藏印五方 。\n避暑山庄，又称“承德离宫”、“热河行官”，在今河北承德市区东北。\n它始建于清康熙四十二年（17年），乾隆时又进行了大规模的扩建，是清朝皇帝夏、秋季避暑的行宫 。\n《避暑山庄图》绘于康熙五十二年（公元171年），这时避暑山庄刚建成“万壑松风、芝径云堤、无暑清凉、镜水云岭、曲水荷香、四面云山、暖流渲波”等三十六景，冷枚以鸟瞰的形式俯视整座园林，把三十六景中的三十景都囊括其中 。\n此图采用鸟瞰式构图，描绘了实景的山水画。\n图中表现的是清代一处皇家园林——避暑山庄。\n画面的前部是工整细巧的宫殿，稍后是一组具有江南园林格调的建筑物，从画面上还可以看到一座仿照镇江金山寺而建的木结构高塔，画面的后部是高耸起伏的山峦，整座山庄由逶迤曲折的石墙围绕，最右方是承德的一处奇特景观——棒锤峰。\n冷枚具有传统工笔界画的基础，描绘建筑物时又适当参用了欧洲的透视画法，从而加强画面的纵深感 。\n此画描绘了十里澄湖、后苑建筑及周围山岭。\n由于冷枚既擅长运用传统的界画技法，又了解西方绘画的透视法，因而将避暑山庄中的建筑物表现得错落有致，造型准确、细腻 。\n此画以全景式的表现手法，充分展现了避暑山庄的整体风貌，根据画面的描绘再结合文献记载考察，大致可以断定此图画的是乾隆时扩建山庄之前的面貌，这对于人们了解避暑山庄的原始格局具有重要价值 。\n217年6月至1月中旬，《避暑山庄图》在香港文化博物馆举办的“八代帝居——故宫养心殿文物展”中展出 。\n冷枚（约1669—1742），字吉臣，号金门画史，山东胶州人。\n是清代画家，曾在宫廷中担任过画职，是当时大画家焦秉贞的弟子。\n他的绘画题材有人物也有山水楼台，人物主要以仕女为主，所画人物工丽妍雅，笔墨洁净，色彩韶秀，画面精美。\n其画法兼工带写，生动有致，他的主要作品有《养正图册》、《十宫词图册》、《罗汉图册》、《避暑山庄图》、《连生贵子图》等 。",[24,25,358,27,28,135,38,36,37,29,113,30,59,7,136,200],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F535a93f1cb226249d9c611dcdae64e41.jpg",[],22,{"id":363,"slug":364,"title":365,"dynasty":73,"author":366,"museum":96,"description":367,"tags":368,"thumbUrl":369,"material":87,"size":87,"collection":44,"collections":370,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":49},238783,"hua-shan-shui-bing-shu-shi-xiao-ce-dong-gao-238783","画山水并书诗小册","董诰","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝 将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[24,25,358,28,135,31,113,83,176,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd94eaa83bc9e80ed77f6908fc42b916.jpg",[44,46],20,{"id":373,"slug":374,"title":375,"dynasty":54,"author":376,"museum":75,"description":377,"tags":378,"thumbUrl":389,"material":159,"size":390,"collection":161,"collections":391,"showCount":392,"zanCount":11,"manualWeight":11,"mainColor":165},221561,"cheng-nan-chang-he-shi-juan-quan-juan-di-yi-duan-zhu-xi-221561","城南唱和诗卷全卷第一段","朱熹","《城南唱和诗卷》，对章草笔意的运用达到了随心所欲、挥洒自如的境界。杨维桢把晋唐楷法和汉隶、章草、今草笔法融合在一起，故独有奇拙、古朴的趣味。所谓“矫杰横发”（李东阳）“狂怪不经”（徐有贞）“大将班师，三军奏凯。破斧缺斨，例载而归”（吴宽）就是指杨维桢书风中豪迈雄强、形态怪异、用笔粗放的特点。而这种激越奔放的气势，刀斫斧劈的雄强，正是筑基于章草笔法的渗入。\n此诗卷是朱熹为和张栻城南诗20首所作。张栻，字敬夫，号轩，张浚之子、宋代著名学者。居谭州（今长沙）。构城南书院，城南有风景20处、故题诗20首。朱孝宗乾道三年（公元1167年）八月，朱熹与张南轩游城市诸胜景，和南轩二十咏。时年朱熹38岁，此诗卷书写年代则较晚。此卷书法笔墨精妙，萧散简远，笔意从容，灵活自然，为朱熹传世佳作。明陆简《朱熹城甫唱和诗帖跋》云：“紫阳夫子平生讲道之功日不暇给，而于辞翰游戏之事亦往柱精诣绝人。评书家谓其书郁有道义之气、固耳。”",[23,38,37,26,379,36,156,136,33,249,245,35,188,380,154,381,382,383,384,385,386,7,153,253,387,250,244,388],"墨迹","林","兰","桂","江","秋","冬","芙蓉","海","梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcb576060bbf9033850da273c683961f.jpg","纵31.5厘米横275.5厘米",[161],18,{"id":394,"slug":395,"title":396,"dynasty":397,"author":398,"museum":96,"description":399,"tags":400,"thumbUrl":402,"material":87,"size":87,"collection":87,"collections":403,"showCount":404,"zanCount":11,"manualWeight":11,"mainColor":49},230485,"chang-hen-ge-tu-juan-shi-qi-shi-ji-xia-juan-shou-ye-shan-xue-230485","长恨歌图卷十七世纪（下卷）","不详","狩野山雪","此作用青绿浅绛敷色，复刻出盛唐帝妃苑囿盛景。亭台层叠错落，斗拱飞檐尽现古建规制，朱红、石青与黛瓦相映，尽显皇家苑囿的恢宏华贵。\n\n山峦云雾环伺宫宇，侍从仪仗整肃排布，帝妃衣袂翩然，或凭栏观览，或游赏宴饮，细碎笔触将《长恨歌》里骊宫盛景具象化，处处可见诗中缱绻日常与雍容气象。全卷笔墨工细雅致，布景疏密得宜，将盛世风华融于长卷，古韵悠然，尽显摹写中国古画的精妙造诣。",[23,26,27,28,135,29,113,31,83,176,35,32,7,401,300,34],"宫殿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a21bc527443be8d54d48f5ae87ae103.jpg",[],15,{"id":406,"slug":407,"title":408,"dynasty":73,"author":409,"museum":96,"description":410,"tags":411,"thumbUrl":416,"material":417,"size":418,"collection":161,"collections":419,"showCount":404,"zanCount":11,"manualWeight":11,"mainColor":276},224438,"yong-luo-hua-qi-lv-shi-wu-zhang-he-shao-ji-224438","咏落花七律十五章","何绍基","同治四年（乙丑，1865年）春书于苏州。\n何绍基的行草书融篆、隶于一炉，骏发雄强，独具面貌。\n他的篆书，中锋用笔，并能掺入隶笔，而带行草笔势，自成一格。",[23,37,38,26,412,413,383,414,254,245,253,156,33,136,35,7,187,415],"落花","春","酒","桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a99b11b1e1294d79f91b13adc0f6273.jpg","行草","横30厘米，纵181厘米",[161],{"id":421,"slug":422,"title":423,"dynasty":235,"author":424,"museum":96,"description":425,"tags":426,"thumbUrl":429,"material":214,"size":215,"collection":87,"collections":430,"showCount":431,"zanCount":11,"manualWeight":11,"mainColor":165},290930,"zhang-fu-he-hua-shui-cheng-tu-san-ce-qian-gu-290930","张复合画水程图（三）册","钱毂","钱毂，吴（今苏州）人。字叔宝，号磬室。明代画家。少孤贫，失学，成年开始读书。从文征明学诗文、书画，学习刻苦，传说曾抄古籍几万卷. 画名重于时，为吴门画派中高手。善绘山水、兰竹，意趣古淡，疏朗清新，风格近其师。工书法，笔力见功夫，挥洒自如，有屋漏之痕、折钗之势。传世作品有《虎丘前山图》轴、《求志图》，均藏北京故宫博物院；《苍山茅舍图》轴，藏上海博物馆。",[24,358,79,28,31,176,7,427,32,428,113,36],"民居","远山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35d26269f7d5d1d5b773a5ebb8b10543.jpg",[],12,{"id":433,"slug":434,"title":435,"dynasty":73,"author":55,"museum":96,"description":436,"tags":437,"thumbUrl":438,"material":87,"size":87,"collection":87,"collections":439,"showCount":431,"zanCount":11,"manualWeight":11,"mainColor":49},235669,"yuan-yao-shan-shui-ping-wan-song-die-cui-yi-ming-235669","袁耀山水屏-万松叠翠","此作以平远之法铺展意境，烟波浩渺的水中央渔舟错落，漾出鲜活的烟火意趣。近岸孤亭翼然矗立，凭栏可尽览春水汤汤。层叠山峦渐次抬升，古松苍劲蟠虬遍布崖间，粉花点缀在青绿间晕开春日暖意，山坳间云烟漫溢，柔化了山石嶙峋棱角。\n\n笔墨清润雅致，皴染兼具，既勾勒出山峦肌理脉络，又以淡色晕染出江南山水的氤氲温润。静穆丘壑与渔家日常相映相融，将春日江南的安闲悠然藏入尺幅，融写景之真与写意之柔，尽显清润平和的山水意韵。",[24,25,28,27,80,31,153,113,7,60,32,300,35,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F647fdf8eda29f8f9c0689b73a349e40c.jpg",[],{"id":441,"slug":442,"title":443,"dynasty":73,"author":444,"museum":96,"description":445,"tags":446,"thumbUrl":451,"material":87,"size":87,"collection":87,"collections":452,"showCount":431,"zanCount":11,"manualWeight":11,"mainColor":49},224359,"yi-ju-tu-juan-yu-zhi-ding-224359","移居图卷","禹之鼎","《移居图》是清代画家 创作的一幅绢本设色画。\n此画现藏于 。\n本幅自题：“甲申初冬广陵禹之鼎写。\n”钤“禹之鼎”白文印，“慎斋”朱文印，右下角钤“逢佳”朱文印。\n甲申为清康熙四十三年（174年），禹之鼎时年58岁。\n禹氏5岁以后寓居京城，此时正是他画史上的盛年，其技法博采众家之长，融会贯通，予以己用。\n此幅像主待考。\n图中送行人临岸伫立，面目温和，含笑颔首；出行人当船而立，面容消瘦坚毅，神情惆怅。\n人物面部刻画精准细腻，用墨骨法勾勒出五官，使面部有凹凸感，再以赭色晕染，使之气血精神跃然纸上。\n僮仆们的面部均采用较传统的勾勒晕染的画法，立体感不强，水润有余，表现出朴实无华和稚嫩活泼的神情。\n人物衣纹线条的画法也因人而定，其中，船首仆人的衣纹完全为北宋马和之的“蚂蝗描”技法，流露出马氏“衣带松散，柔婉隽逸”的画风。\n树的画法宗北宋郭熙的“蟹爪”枝。\n牛马的画法有唐韵，牛之骨骼清晰，马圆臀，斑花用淡墨晕染，颇具光泽，活灵活现。\n冷瑟静谧的氛围烘托了离别送行的亲切和感伤。\n行船、马车上的美酒、书籍、酒葫芦、弓剑等被画家巧妙地安排在移居送行的场景里，赋予了画面鲜活的生活气息，同时表现出文人儒士们高逸洒脱的气质 。\n禹之鼎（1647—1716年），字尚吉，号慎斋，江都(今江苏扬州)人。\n清康熙二十年(1681年)官鸿胪寺序班，以画供奉入畅春园。\n善画人物、山水，尤精写真。\n初师蓝瑛，兼学宋元诸家。\n肖像画面貌多样，对白描法、墨骨法、江南法都有研究，所绘人物形神兼备，独具一格，一时名公小像多出其手，其肖像画在清代中期有“当代第一”之誉 。",[23,24,26,28,312,29,31,7,447,211,448,449,113,176,450],"牛","老树","枯藤","古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34ab4323da58d84b6f2b3bce05df9028.jpg",[],{"id":454,"slug":455,"title":456,"dynasty":235,"author":457,"museum":96,"description":458,"tags":459,"thumbUrl":464,"material":159,"size":87,"collection":161,"collections":465,"showCount":466,"zanCount":11,"manualWeight":11,"mainColor":165},240510,"gu-wen-cai-lian-shi-juan-gu-wen-240510","顾问采莲诗卷","顾问","顾问 蕲州人（今属湖北蕲春蕲州）人。明代著名思想家、哲学家和教育家。嘉靖十六年丁酉，举于乡。十七年戊戌（1538）进士正德六年（1511）十一月初八日生，万历十九年（1591）正月十四日卒，享年八十一岁。\n嘉靖十七年（1538）进士，弟弟 兄弟二人均为进士；均为官清正廉洁，世称“天下清绝，顾问顾阙”；均为当时著名的理学家，并称“二顾”",[23,38,37,26,79,36,115,460,136,7,461,462,463],"莲","夕阳","明月","花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb80a27c5c975ea3de6f654cd791c25ad.jpg",[161],10,{"id":468,"slug":469,"title":470,"dynasty":73,"author":471,"museum":96,"description":472,"tags":473,"thumbUrl":481,"material":214,"size":215,"collection":87,"collections":482,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":165},241390,"xing-kai-shi-er-shou-zhou-chen-yuan-long-241390","行楷诗二首轴","陈元龙","陈元龙（1652—1736）字广陵，号乾斋，浙江海宁人，清朝大臣。康熙二十四年一甲二名进士，授编修，直南书房。五十七年，擢工部尚书。六十年，调礼部。乙丑科会试开始施行殿试十本进呈之制。此前，进士无十本进呈之例，这一科会试总裁官是刑部尚书张士甄，开始以前十本恭呈皇帝钦定。康熙帝拔陆肯堂进士第一人，进士第二人就是陈元龙。",[25,37,474,36,475,476,477,32,7,251,156,384,478,136,33,479,480],"行楷","海门","津门","园林","菊花","城","丹丘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1bcce9a43123efbbaf561503896286f.jpg",[],{"id":484,"slug":485,"title":486,"dynasty":235,"author":55,"museum":96,"description":487,"tags":488,"thumbUrl":491,"material":214,"size":215,"collection":87,"collections":492,"showCount":493,"zanCount":11,"manualWeight":11,"mainColor":165},239491,"ji-zhu-luo-han-du-hai-tu-juan-yi-ming-239491","寂住罗汉渡海图卷","以清隽白描铺展长卷，起首古松下众贤聚晤，神态悠然。继而浩渺烟波之中，诸仙或乘异兽、或踏云涛渡海，人物形神各异，或安坐凝神，或驭物踏浪，线条挺秀灵动，将仙逸风骨尽显。苍崖虬松点缀云海之间，云水皴法婉转流动，晕染出沧溟浩渺之态，把渡海的超凡奇谲铺陈开来。整体笔墨空灵雅致，将宗教的庄严与文人意趣相融，笔韵悠长，把群贤渡海的逍遥悠远意境刻画得淋漓尽致。",[23,24,312,26,226,29,489,136,33,200,60,490,7],"罗汉","动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe08e19ff1f56ccc278fabc7830a42577.jpg",[],8,{"id":495,"slug":496,"title":497,"dynasty":54,"author":55,"museum":75,"description":498,"tags":499,"thumbUrl":502,"material":42,"size":503,"collection":87,"collections":504,"showCount":493,"zanCount":11,"manualWeight":11,"mainColor":49},234007,"liu-tang-fan-yue-ye-yi-ming-234007","柳塘泛月页","图为岸边垂柳，荷叶浮于水面，月牙儿高，小船缓缓行，主人坐几条前，对面坐侍者，小伙子在 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笔墨柔滑，轮廓细腻，色彩淡雅，但柳枝荷叶的分布缺乏密度变化，不尽如人意。",[24,500,28,27,29,30,137,501,462,7,136],"扇面","荷塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cecd49483a77fc4fd6f91a0589d93a3.jpg","23.2x25cm",[],{"id":506,"slug":507,"title":508,"dynasty":54,"author":55,"museum":75,"description":509,"tags":510,"thumbUrl":514,"material":85,"size":515,"collection":87,"collections":516,"showCount":493,"zanCount":11,"manualWeight":11,"mainColor":49},233011,"zhang-qiao-wo-bo-tu-ye-yi-ming-233011","长桥卧波图页","图中高架平湖的木桥刻画精微，与波澜不兴的水纹相映成趣。画面大片的空白使得作品兼具坚实与空灵之美，虚实相生的艺术效果给观者以“无画处皆成妙境”的想象空间。",[24,28,135,511,31,512,113,7,32,82,428,513],"册页","长桥","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff190bf4877f961e8ce23154aa6cf5beb.jpg","纵23.9厘米，横26.3厘米",[],{"id":518,"slug":519,"title":520,"dynasty":73,"author":521,"museum":222,"description":522,"tags":523,"thumbUrl":524,"material":159,"size":525,"collection":87,"collections":526,"showCount":493,"zanCount":11,"manualWeight":11,"mainColor":49},231528,"fan-zhao-gui-yun-tu-dong-bang-da-231528","返照归云图","董邦达","董邦达(1699-1769)清代官员、书画家。字孚闻、非闻，号东山，浙江富阳人。雍正十一年进士，乾隆二年授编修，官礼部尚书，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、虔山派之间。与董源、董其昌并列。",[24,173,80,28,156,136,33,461,200,327,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f125d5afb06632e727c6826a0b7fadd.jpg","251.1cmX158.6cm",[],{"id":528,"slug":529,"title":530,"dynasty":54,"author":55,"museum":96,"description":531,"tags":532,"thumbUrl":534,"material":87,"size":87,"collection":87,"collections":535,"showCount":493,"zanCount":11,"manualWeight":11,"mainColor":165},227890,"fan-zhou-liu-tang-tu-yi-ming-227890","泛舟柳塘图","此作用淡墨轻岚织就江南暮色小景，边角取景尽显留白意趣。右下角垂柳清润柔婉，枝叶婆娑，将视线牵向烟水间。汀洲水藻以细笔轻点数染，鲜活铺展出泽国清寂。扁舟横波，舟中二人情态悠然，寥寥数笔便勾勒出萧散野趣，似将水乡闲逸尽数揉入清波。\n全画色调苍雅古淡，借绢底晕染出薄暮烟霭，远山仅以一抹淡墨虚绘天际，不着笔皴，晕开江天寥廓的空茫意境。全作以简驭繁，无过多刻画，将江南日暮的静谧安闲，与文人幽隐林下之思相融，尽显宋人坐赏泉壑的清雅意趣。",[40,24,25,500,28,27,187,7,513,32,31,533,29],"孤舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa7e5d872f2a4b41216ba1cf8d91129f.jpg",[],{"id":537,"slug":538,"title":539,"dynasty":235,"author":540,"museum":96,"description":541,"tags":542,"thumbUrl":552,"material":214,"size":215,"collection":87,"collections":553,"showCount":554,"zanCount":11,"manualWeight":11,"mainColor":49},228347,"huang-zhou-zhu-lou-ji-shen-zao-228347","黄州竹楼记","沈藻","沈藻，字凝清，一字仲藻，华亭（今松江属上海市）人，明代书法家沈度之子。",[37,38,36,543,156,245,544,33,244,545,414,546,7,200,246,547,548,479,549,550,551],"竹楼","波","琴","茶","雁","屋","滩濑","素月","清风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f132ee553de624622d081448aee353c.jpg",[],7,{"id":556,"slug":557,"title":558,"dynasty":73,"author":559,"museum":96,"description":560,"tags":561,"thumbUrl":565,"material":214,"size":215,"collection":87,"collections":566,"showCount":567,"zanCount":11,"manualWeight":11,"mainColor":165},240845,"shi-zhou-li-fang-ying-240845","诗轴","李方膺","李方膺（1695年—1755年），字虬仲，号晴江，别号秋池，抑园，白衣山人等，江南通州（今江苏南通）人。寓居金陵借园，自号借园主人。中国清代诗画家、官员，能诗，擅画松竹兰菊，尤长写梅。用笔倔强放纵，不拘成法，苍劲有致，为“扬州八怪”之一。为官刚正不阿，廉洁爱民。出身官宦之家，曾任乐安县令、兰山县令、潜山县令、代理滁州知州等职，为官时有惠政，人德之，后因遭诬告被罢官，去官后寓南京借园，自号借园主人，常往来扬州卖画。与李鱓、金农、郑燮等往来，工诗文书画，擅梅、兰、竹、菊、松、鱼等，注重师法传统和师法造化，能自成一格，其画笔法苍劲老厚，剪裁简洁，不拘形似，活泼生动。被列为扬州八怪之一。有《风竹图》《游鱼图》《墨梅图》等传世。著《梅花楼诗钞》。善画松、竹、兰、菊、梅、杂花及虫 鱼，也能人物、山水，尤精画梅。作品纵横豪放、墨气淋漓，粗头乱服 ，不拘绳墨，意在青藤、白阳、竹憨之间。画梅以瘦硬见称，老干新枝 ，欹侧蟠曲。用间印有“梅花手段”，著名的题画梅诗有“不逢摧折不离奇”之句。还喜欢画狂风中的松竹。工书。能诗，后人辑有《梅花楼诗草》，仅二十六首，多数散见于画上。",[25,78,38,37,36,254,7,562,563,564,225,211],"湖","田","渠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5141a41c616b5c4177e13d57a8186737.jpg",[],6,{"id":569,"slug":570,"title":571,"dynasty":54,"author":55,"museum":96,"description":572,"tags":573,"thumbUrl":575,"material":87,"size":87,"collection":87,"collections":576,"showCount":567,"zanCount":11,"manualWeight":11,"mainColor":165},227845,"tian-mo-gui-fan-tu-yi-ming-227845","天末归帆图","淡墨轻晕远汀，留白铺陈出浩渺水色，归帆杳杳隐在烟霭之间，寥寥数笔便写尽水天空寂的清寥诗意。\n\n右侧行书笔致苍雅隽秀，将羁人盼归的怅惘藏在笔墨间，与画境浑然相融。后幅题跋评点精当，诗书画印合为一体，尽显宋人的雅致襟怀。咫尺团扇之中，以极简的水墨语言晕染出江南泽国的空濛澹远，把山水写意与文人情思揉作一处，悠悠古韵扑面而来。",[23,24,25,79,28,31,574,33,136,7,38,36,428],"帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f10e214dabe06bffc5da9e27b7f30bb.jpg",[],{"id":578,"slug":579,"title":580,"dynasty":235,"author":55,"museum":96,"description":581,"tags":582,"thumbUrl":584,"material":87,"size":87,"collection":161,"collections":585,"showCount":68,"zanCount":11,"manualWeight":11,"mainColor":165},240000,"dan-gu-gui-qu-lai-ci-ye-yi-ming-240000","澹古归去来辞页","此作用笔灵动温润，牵丝映带自然妥帖，字势顾盼相生，尽显典型的明代行书风貌。起收笔遒劲不失秀雅，点画粗细变化富有韵律，将陶潜辞中散淡隐逸的林下之风融于笔墨。\n\n通篇布局匀整和谐，行气连贯从容，不见刻意狂放，将归园田居的释然快意藏于笔墨节奏之中。笔墨间闲适安和，文辞意趣与书法技法相融，尽显传统文人书法的清雅书卷气，是颇具意致的行书佳制。",[583,37,38,159,79,153,154,7,34],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd60a3634479f719cca678a6bca8ff6d7.jpg",[161],{"id":587,"slug":588,"title":589,"dynasty":73,"author":55,"museum":75,"description":590,"tags":591,"thumbUrl":596,"material":28,"size":87,"collection":87,"collections":597,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":165},217304,"gu-xiu-wu-shi-san-can-tu-ce-13-yi-ming-217304","顾绣·五十三参图册-13","画面分左右两帧，左帧坡岸之上，二人衣袂翩然，似有应答；远山淡染，林木疏朗，水色空濛。右帧渔舟泊岸，老者凭舷凝思，孩童蹲踞捡拾，渔网轻曳于波，芦苇随风摇曳，白鹤掠空而过，野趣盎然。绣工以细劲针脚勾勒人物动态，设色雅致温润，山水景物清丽疏淡，于方寸间见生动叙事，尽显顾绣融画理于针丝的精妙，传递出悠远恬淡的意趣。",[592,358,28,29,31,269,7,34,593,594,32,595],"顾绣","芦苇","石头","网","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d7165c932334e8661a45cb81b4aa48f.jpg",[],{"id":599,"slug":600,"title":601,"dynasty":73,"author":602,"museum":96,"description":603,"tags":604,"thumbUrl":608,"material":214,"size":215,"collection":87,"collections":609,"showCount":90,"zanCount":11,"manualWeight":11,"mainColor":276},240879,"xia-chu-nan-qing-lang-tan-qi-gu-zhou-ruan-yuan-240879","下椘南清浪滩七古轴","阮元","字伯元，号芸台、雷塘庵主、揅经老人、怡性老人 ，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。",[37,38,78,79,605,136,156,188,7,245,606,607],"滩","钟窗","沙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77f57af5cb4f62c4eedadb4bc61a8116.jpg",[],{"id":611,"slug":612,"title":613,"dynasty":73,"author":614,"museum":96,"description":615,"tags":616,"thumbUrl":620,"material":159,"size":87,"collection":161,"collections":621,"showCount":90,"zanCount":11,"manualWeight":11,"mainColor":165},240707,"shi-juan-zhou-shao-xing-240707","诗卷","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。",[23,37,26,38,617,36,383,245,253,384,618,619,244,153,463,414,7,156,136,33,254,249,388,381,154],"草书","夜","梧桐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e5d7c59fb8156f7154249e96fd8df63.jpg",[161],{"id":623,"slug":624,"title":625,"dynasty":73,"author":626,"museum":96,"description":627,"tags":628,"thumbUrl":630,"material":214,"size":215,"collection":87,"collections":631,"showCount":90,"zanCount":11,"manualWeight":11,"mainColor":49},240692,"xing-kai-shi-zhou-zhou-liang-gong-240692","行楷诗轴","周亮工","周亮工（1612年—1672年），字元亮，又有陶庵、减斋、缄斋、适园、栎园等别号，学者称栎园先生、栎下先生。河南祥符（今河南开封祥符区）人，明末清初官员、文学家、篆刻家、收藏家。\n周亮工于明崇祯十三年（1640年）进士及第，曾任山东潍县知县，迁浙江道监察御史。入清后，任两淮盐法道、淮扬兵备道、福建布政使、都察院左副都御史、户部右侍郎等。后屡次被弹劾判死刑，又遇赦免。康熙元年（1662年），起复为青州海道、江安储粮道。康熙十一年（1672年），逝世于江宁，享年六十一岁。\n周亮工博学多才，诗文、金石、书画皆有很深造诣。古文宗法唐宋八大家，推崇严羽诗论。著有《赖古堂集》《读画录》等。",[37,38,629,78,36,533,461,462,31,34,121,7,384,136],"楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5dbfe329da6114111aaa25770c487ef.jpg",[],{"id":633,"slug":634,"title":635,"dynasty":235,"author":55,"museum":96,"description":636,"tags":637,"thumbUrl":638,"material":214,"size":215,"collection":87,"collections":639,"showCount":90,"zanCount":11,"manualWeight":11,"mainColor":165},235208,"ju-jie-shan-shui-shan-ye-yi-ming-235208","居节山水扇页","此作为泥金扇面，取平远山水之景。近岸古木扶疏、浓荫如盖，林下茅庐半隐，水面渔舟轻泛，漾开柔波，尽是江南水乡闲逸野趣。远景峰峦层叠，皴笔苍劲朴拙，将山石硬朗质感尽显，与水岸柔婉相映成趣。墨色于金笺之上浓淡相宜，勾勒皴擦间浸透着吴门画派疏朗清逸的遗风。画中不见繁复渲染，以极简的笔墨铺陈出幽居江湖的隐逸之思，淡远空灵，将林泉高致藏在一水一山之中，古雅沉静的文人意韵满溢纸面。",[500,24,25,40,79,80,31,200,188,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc20eddad4c6110ed7fa19e6c988a954b.jpg",[],{"id":641,"slug":642,"title":643,"dynasty":73,"author":55,"museum":96,"description":644,"tags":645,"thumbUrl":648,"material":214,"size":215,"collection":87,"collections":649,"showCount":164,"zanCount":11,"manualWeight":11,"mainColor":165},258953,"qing-hua-yu-jia-le-tu-fang-hua-pen-yi-ming-258953","青花渔家乐图方花盆","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。",[646,647,28,31,29,269,83,176,32,7],"青花","陶瓷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F267a4b329040818a3c4eb0f273f1f9a0.jpg",[],{"id":651,"slug":652,"title":653,"dynasty":73,"author":654,"museum":96,"description":655,"tags":656,"thumbUrl":667,"material":214,"size":215,"collection":87,"collections":668,"showCount":164,"zanCount":11,"manualWeight":11,"mainColor":165},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。",[37,78,38,36,136,244,463,245,155,188,657,154,156,253,658,381,187,659,547,121,383,7,249,461,660,200,661,662,663,664,665,666],"露","木","杜","孤云","苔","黄","绿","钩","笔","砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94389ea4a9f9f206dbf7cb997ca6384e.jpg",[],{"id":670,"slug":671,"title":613,"dynasty":73,"author":672,"museum":75,"description":673,"tags":674,"thumbUrl":677,"material":678,"size":679,"collection":161,"collections":680,"showCount":164,"zanCount":11,"manualWeight":11,"mainColor":165},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。",[23,37,26,38,79,36,675,676,252,254,562,463,245,253,200,155,7,121,176,461,462,450,35,34,533,31,388,381,244,154],"江南","芳草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36541a0829df7cb68ef275f1e2b9ee33.jpg","绫本，行书","纵450厘米，横33.3厘米",[161],{"id":682,"slug":683,"title":613,"dynasty":235,"author":684,"museum":96,"description":685,"tags":686,"thumbUrl":687,"material":214,"size":215,"collection":87,"collections":688,"showCount":164,"zanCount":11,"manualWeight":11,"mainColor":49},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。",[23,37,26,38,79,383,245,7,562,156,136,533,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5dc16988a655910f7fdeeb3c330cd9c.jpg",[],{"id":690,"slug":691,"title":692,"dynasty":235,"author":55,"museum":96,"description":693,"tags":694,"thumbUrl":697,"material":214,"size":215,"collection":87,"collections":698,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":165},278060,"feng-zhou-tu-yin-yi-ming-278060","“凤舟图”印","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。",[36,695,696,7],"篆刻","凤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f4d8f22acf5abe78665dc92ace88861.jpg",[],{"id":700,"slug":701,"title":702,"dynasty":235,"author":55,"museum":96,"description":703,"tags":704,"thumbUrl":708,"material":214,"size":215,"collection":87,"collections":709,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},270050,"you-kan-kuan-xi-jiao-diao-shan-shui-ren-wu-bei-yi-ming-270050","尤侃款犀角雕山水人物杯","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。",[212,705,706,31,29,32,7,707],"雕刻","饮酒器","犀角","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfb0acdc8167823bbc506fe4cfcb3986.jpg",[],{"id":711,"slug":712,"title":713,"dynasty":73,"author":55,"museum":96,"description":714,"tags":715,"thumbUrl":720,"material":214,"size":215,"collection":87,"collections":721,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":276},269885,"zhang-yan-chang-kuan-zi-tan-diao-song-lin-lun-shi-tu-bi-tong-yi-ming-269885","张燕昌款紫檀雕“松林论诗”图笔筒","笔筒： 用陶瓷、竹木、等制成的筒形插笔器具。笔筒是搁放毛笔的专用器物，据文献记载，它的材质有镏金、翡翠、紫檀和乌木，现在我们能够见到的传世器物，大多是用瓷或者是竹木制作的。具有收藏价值。",[716,705,717,718,31,7,29,719],"木质","笔筒","松树","论诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F921f40c5fe507ce2f866a308f9345d6c.jpg",[],{"id":723,"slug":724,"title":725,"dynasty":235,"author":55,"museum":96,"description":703,"tags":726,"thumbUrl":727,"material":214,"size":215,"collection":87,"collections":728,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":276},269806,"xi-jiao-diao-song-zhou-ren-wu-tu-bei-yi-ming-269806","犀角雕松舟人物图杯",[212,706,705,153,7,29,707],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa834cf9b58b06193b602d2c43b81bf4.jpg",[],{"id":730,"slug":731,"title":732,"dynasty":73,"author":55,"museum":96,"description":733,"tags":734,"thumbUrl":738,"material":214,"size":215,"collection":87,"collections":739,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":165},269240,"zhu-gen-diao-xian-cha-yi-ming-269240","竹根雕仙槎","随形施艺，依竹根天然曲度雕琢成槎舟。舟间仙侣云集，或执卷品读，或拱手论道，老者垂髯含渊渟之风，少年振袖带流云之态，盘虬古木错杂其间，枝桠纠缠尽显山野意趣。\n\n刀工收放自如，粗粝处留存竹根原生肌理，雅致处细刻人物神情衣褶，将群仙雅集的清逸氛围凝于方寸。匠者以竹为纸，以刀代笔，把世外烟霞揉入质朴竹材，让仙槎载着缥缈道气，化作可触可感的悠然图景，尽显传统圆雕工艺的精妙意趣。",[705,735,736,212,737,7,32],"竹根雕","仙人","神话","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cb5da6663b882e2e2f195140160579a.jpg",[],{"id":741,"slug":742,"title":743,"dynasty":73,"author":55,"museum":96,"description":744,"tags":745,"thumbUrl":751,"material":214,"size":215,"collection":87,"collections":752,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":165},247090,"qian-long-kuan-ti-hong-fang-zhou-tu-si-fang-wei-jiao-he-yi-ming-247090","乾隆款剔红放舟图四方委角盒","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",[746,747,748,705,31,7,29,749,750],"清代","漆器","剔红","方盒","委角","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36864b2203fa1026c71e4296c05a6b8a.jpg",[],{"id":754,"slug":755,"title":756,"dynasty":235,"author":757,"museum":96,"description":758,"tags":759,"thumbUrl":761,"material":214,"size":215,"collection":87,"collections":762,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":165},241607,"qi-lv-er-shou-juan-zhu-ri-fan-241607","七律二首卷","朱日藩","[明]字子价，江苏宝应人。嘉靖二十三年（一五四四）进士，为乌程令，终九江知府。",[38,37,26,79,36,388,383,7,34,760,254,463],"春风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5a68c630101071b11fd919a0c5e07f7.jpg",[],{"id":764,"slug":765,"title":766,"dynasty":235,"author":767,"museum":96,"description":768,"tags":769,"thumbUrl":771,"material":214,"size":215,"collection":87,"collections":772,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":165},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。",[37,38,26,79,36,156,188,387,59,246,545,136,153,244,463,155,245,770,7,35,448,450],"日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe54332156d2c827078d741d4f365e895.jpg",[],1777535708214]