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澹雅”。此册中的花鸟更是形神兼备，清新淡雅，具有新的风貌。",[24,59,60,27,61,34,62,38,63,64,65,66,67,7,68,69,70],"没骨","设色","皴法","石","兰草","印章","苔草","红色花卉","黄色花卉","竹笋","石块","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4377c657f826c18b3596050a5963db15.jpg","",[],124,1,{"id":77,"slug":78,"title":79,"dynasty":80,"author":81,"museum":56,"description":82,"tags":83,"thumbUrl":91,"material":72,"size":72,"collection":72,"collections":92,"showCount":93,"zanCount":75,"manualWeight":11,"mainColor":94},227498,"mo-zhu-juan-2-su-shi-227498","墨竹卷2","宋","苏轼","墨竹，即用墨画的竹子，其起源说法不一，据文献记载，其创始人有唐代吴道子、王维、张立、五代蜀李夫人等。\n\n不过，由考古发掘来看，李贤墓壁画《侍女与竹》中的墨竹，亦有可能是写意墨竹的先驱。自文同、苏轼至元四家，墨竹之风兴起，逐渐发展为独立画科。\n\n墨竹常被用来表达拔俗之情趣、正直之气节、虚心之品质和纯洁之思想，文同便是如此，他不仅有丰厚之学养，还有非凡的绘画创作才能。本文所提到的《文画苏题卷》为手卷形式，据直幅改装而成，与人们常见的文同立轴式墨竹图形制不一。正因这次有意无意的改装，为《文画苏题卷》成为一巨幅长卷，提供了得天独厚的条件，这也成为此图区别于文同其它墨竹图的最明显特征。",[24,84,25,27,85,86,87,88,37,89,7,90],"名画","墨笔","文人画","写意","竹子","竹枝","绢本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaf98af604cad8076b0774dbcc54a8ab.jpg",[],53,"795548",{"id":96,"slug":97,"title":98,"dynasty":99,"author":100,"museum":56,"description":101,"tags":102,"thumbUrl":108,"material":72,"size":72,"collection":72,"collections":109,"showCount":110,"zanCount":11,"manualWeight":11,"mainColor":94},223624,"cao-chong-tu-zhu-ye-juan-ben-yi-ming-223624","草虫图竹叶绢本","元","佚名","画面错落铺陈野趣生机，上方疏枝斜探，中段群芳舒展。明黄蜀葵柔丽妍秀，紫花秾艳、朱英点点，深浅花色交映成趣。粉蝶蹁跹、蜉蝣轻翔，草虫灵动如生，隐于枝叶花间。\n\n落笔工细秀逸，晕染雅致沉静，深褐绢底托衬出花木清妍，将初秋郊野的幽寂鲜活晕染开来。工致中带着写意澹远，把小景生机藏于古雅色调，静中含动，尽显写生花鸟的含蓄雅致，淡冶清和之间，古韵悠然流转，将草木虫豸之微末意趣，铺展成耐人品味的幽闲景致。",[23,24,84,25,90,60,103,104,7,38,105,106,107],"工笔","草虫","蝴蝶","蜻蜓","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ed08f0802a9845b116d1f8c75cdf940.jpg",[],21,{"id":112,"slug":113,"title":114,"dynasty":115,"author":116,"museum":117,"description":118,"tags":119,"thumbUrl":121,"material":72,"size":72,"collection":122,"collections":123,"showCount":124,"zanCount":75,"manualWeight":11,"mainColor":125},203236,"hua-niao-tu-zhou-wang-zhen-203236","花鸟图轴","近代","王震","上海博物馆","画面以灵动笔墨铺展，两羽翠鸟各踞一方，一栖崖石之巅，一立水中圆石，羽色鲜妍与墨石形成对比。山石以墨色皴擦显朴拙质感，淡墨线条勾出水波，清浅悠远。旁侧花叶施以设色，粉艳动人，竹叶劲挺如剑，笔触简练却神形兼备。整体构图错落有致，墨色浓淡相宜，于苍劲中见秀逸，将花鸟生机与自然意趣融于尺幅之间，尽显文人画的雅致韵味。",[31,60,27,37,120,7,61,23],"翠鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a36bfac4a9c8967e584948092bdd94b.jpg","花鸟画精选",[122],7,"bdb09c",{"id":127,"slug":128,"title":129,"dynasty":54,"author":100,"museum":56,"description":130,"tags":131,"thumbUrl":135,"material":136,"size":137,"collection":72,"collections":138,"showCount":139,"zanCount":11,"manualWeight":11,"mainColor":94},257894,"kang-xi-kuan-qing-hua-zhu-ye-wen-zhu-jie-shi-gai-guan-yi-ming-257894","康熙款青花竹叶纹竹节式盖罐","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。",[132,133,34,7,134],"陶瓷","青花","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff601e32d4d6759be20cc18fd900dcf93.jpg","未知","Xcm*Xcm",[],4,{"id":141,"slug":142,"title":143,"dynasty":54,"author":144,"museum":56,"description":145,"tags":146,"thumbUrl":151,"material":72,"size":72,"collection":72,"collections":152,"showCount":139,"zanCount":11,"manualWeight":11,"mainColor":49},239161,"shan-shui-hua-hui-ce-chen-heng-ke-239161","山水花卉册","陈衡恪","此幅以花与诗书合璧，淡墨晕染鸢尾，花瓣柔润含露，浅蓝勾勒叶片，清挺舒展，将花草的幽柔之态藏于简淡笔墨中，清逸雅致。\n\n左侧行书笔墨苍劲舒逸，行气通畅，词句缱绻和花草的疏淡相映。诗画相生间，春日慵懒幽柔的意境缓缓铺陈。笔底自带文人幽怀，以少胜多，尽显中式抒情美学的雅致风骨，淡远空灵的意韵漫溢纸面。",[24,25,147,27,60,148,87,38,7,149,150,64],"册","行书","兰花","文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F535dfe5c4ef8acb1c2bcdad364ff4a92.jpg",[],{"id":154,"slug":155,"title":156,"dynasty":54,"author":100,"museum":56,"description":157,"tags":158,"thumbUrl":161,"material":136,"size":137,"collection":72,"collections":162,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":163},267719,"e-huang-se-zhu-ye-wen-chun-luo-yi-ming-267719","鹅黄色竹叶纹春罗","鹅黄底色柔润温婉，如将春日初阳揉进丝缕之间。暗刻的竹叶纹疏朗排布，错落间尽显清隽意趣，似有风拂过，竹叶便在罗纱的朦胧肌理里轻曳生姿。\n\n以春罗为载体，将文人偏爱的竹之风骨织入经纬，虚实相融，把江南织造的精巧藏于细节。未见浓墨重彩，只凭素色暗花勾勒出林下闲意，将春日竹林的恬然雅致凝在尺幅之上，尽显雅致内敛的东方美学意韵。",[159,34,7,160],"布料","鹅黄色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66ae94b65d682075d1ded7ef959e7f2e.jpg",[],"FDD835",{"id":165,"slug":166,"title":167,"dynasty":54,"author":100,"museum":56,"description":168,"tags":169,"thumbUrl":176,"material":136,"size":137,"collection":72,"collections":177,"showCount":75,"zanCount":11,"manualWeight":11,"mainColor":49},269890,"huang-yang-mu-diao-zhu-jie-shi-bi-ge-yi-ming-269890","黄杨木雕竹节式臂搁","木雕是雕塑的一种，在我们国家常常被称为“民间工艺”。木雕可以分为立体圆雕、根雕、浮雕三大类。木雕是从木工中分离出来的一个工种，在我们国家的工种分类中为“精细木工”。\n以雕刻材料分类的民间美术品种。一般选用质地细密坚韧，不易变形的树种如楠木、紫檀、樟木、柏木、银杏、沉香、红木、龙眼等。\n木雕是以各种木材及树根为材料进行雕刻，是以传统雕刻工艺中的重要门类。木雕的历史非常悠久，在浙江余姚河姆渡文化遗址就有木雕鱼出土，这是我国木雕史上最早的实物。河南信阳战国大墓出土的木雕镇木兽，湖北云梦汉墓出土的彩雕木佣均为我国早期木雕作品。由于保存的困难，现今很难看到超过千年的木雕作品。\n两宋时期木雕作品较为多见，这时的木雕已采用组织细密的木材为载体进行制作，这就有利于木雕作品的传世。我国的一些庙宇里还保存有宋代的木雕作品。\n元明时由于海外贸易的急速发展，木材种类有所增加，许多由海外进口的硬质木材，是木雕工艺得到长足发展。\n明清期间是木雕艺术的一个辉煌时期，涌现出大量有史可考的名家、艺人及其作品，是古代木雕艺术的一个高峰。\n清末至民国年间由于政府的腐败，国力的衰退，外强的侵略，民不潦生，木雕艺术从此衰落，艺人名家也只能沦为匠人糊口度日。新中国成立后在党和国家的关怀下，民间工艺得到了保护及挖掘，木雕也重新涣发出生命，涌现出一批国家级大师。他们的作品，工艺精湛，秉承传统，立意深远，讴歌时代，体现了大师们立足传统，锐意创新，直抒重获新生的胸怀和报效国家，知遇之恩的深情。\n国家改革开放，经济腾飞，国富民强，党和国家对民间工艺的大力扶持，唤起了民众对传统工艺美术的热爱与追求。逢此盛世，民间工艺美术有了新的飞跃，木雕艺术也不例外。面对实际情况，在全国工艺品展出中，优秀作品的作者年龄偏大，年轻作者寥寥无几。",[170,171,172,7,173,174,175,134],"木质","雕刻","竹节","蜥蜴","文房用具","木刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F618327799baa3163d8bb8befb18c3216.jpg",[],{"id":179,"slug":180,"title":181,"dynasty":54,"author":100,"museum":56,"description":182,"tags":183,"thumbUrl":187,"material":136,"size":137,"collection":72,"collections":188,"showCount":75,"zanCount":11,"manualWeight":11,"mainColor":189},257881,"bai-you-tu-hua-ling-zhi-zhu-ye-wen-pan-kou-ping-yi-ming-257881","白釉凸花灵芝竹叶纹盘口瓶","将不含金属氧化物呈色元素的釉料施于胎骨洁白的器物上，入窑高温烧制而成的透明釉， 釉色因白润瓷胎的映衬而显出白色，现在习惯上将这种透明釉也称为白釉。\n瓷器釉料中的含铁量降低到0.75%以下，施于洁白的瓷胎上，入窑经高温烧制，就会出现白釉。严格地说，白釉是一种无色透明釉，而不是白色的釉 。白釉是瓷器传统釉色之一,真正的白釉应该是乳白色的乳浊釉,这种釉是近代才发明的。我国古代仅有元代枢府釉是失透的,其他白釉并不是白色的釉,\n白釉烧制工艺比青釉复杂，出现的时间也较青釉晚，一般瓷土和釉料，都或多或少含有一些氧化铁，器物烧出后必然呈现出深浅不同的青色来。如果釉料中的铁元素含量小于0.75%，烧出来的就会是白釉。\n白釉最早出现在汉代，比青釉瓷器晚了400多年，白釉瓷器开始是青白色的，因为瓷器中铁的含量高于1%就是青色的，少于1%就是白瓷了，所以中国白瓷经历青瓷、青白瓷、卵白釉、甜白釉、象牙白、白釉的发展过程。中国历史上白瓷产地有德化白瓷、定窑白瓷以及刑窑白瓷等。",[132,184,185,186,7,134],"白釉","凸花","灵芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c807b52cbd56380cfe359e6168308d9.jpg",[],"37474F",{"id":191,"slug":192,"title":193,"dynasty":54,"author":100,"museum":56,"description":194,"tags":195,"thumbUrl":198,"material":136,"size":137,"collection":72,"collections":199,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},272121,"duan-shi-diao-zhu-ye-chang-fang-yan-yi-ming-272121","端石雕竹叶长方砚","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。",[196,197,171,7,174],"砚","端石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F717aecfd71638ea1daed32b70dee6ec6.jpg",[],1777535731708]