[{"data":1,"prerenderedAt":495},["ShallowReactive",2],{"subject-zhuang-shi":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},2741,"zhuang-shi","装饰","装饰画高清赏析","精选中国历代装饰题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59673569dbe64ef64ff18448860e0db.jpg",0,39,[14,37,55,70,89,106,120,132,145,157,170,182,193,212,226,240,250,258,268,278,287,303,313,326,335,347,357,369,378,392,404,412,421,434,444,455,465,475,484],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":30,"material":31,"size":32,"collection":33,"collections":34,"showCount":35,"zanCount":11,"manualWeight":11,"mainColor":36},226221,"ku-yong-dao-nan-pi-yi-ming-226221","窟甬道南披","唐","佚名","敦煌","莫高窟，俗称千佛洞，坐落在河西走廊西端的敦煌。它始建于前秦宣昭帝苻坚时期，后历经北朝、隋朝、唐朝、五代十国、西夏、元朝等历代的兴建，形成巨大的规模，有洞窟735个，壁画4.5万平方米、泥质彩塑2415尊，是世界上现存规模最大、内容最丰富的佛教艺术地。\n1961年，莫高窟被中华人民共和国国务院公布为第一批全国重点文物保护单位之一。1987年，莫高窟被列为世界文化遗产。\n莫高窟与河南洛阳龙门石窟、山西大同云冈石窟并称中国三大石窟，后加麦积山石窟称四大石窟。 2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[23,24,25,26,27,28,29,7],"壁画","设色","宗教","垂幔","宝相花","花纹","璎珞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f12c198df8e645b413e5f0b8a85545d.jpg","未知","Xcm*Xcm","",[],76,"F48FB1",{"id":38,"slug":39,"title":40,"dynasty":41,"author":19,"museum":42,"description":43,"tags":44,"thumbUrl":50,"material":31,"size":32,"collection":33,"collections":51,"showCount":52,"zanCount":53,"manualWeight":11,"mainColor":54},241773,"bi-xi-dai-zhu-cui-shi-shi-ba-zi-shou-chuan-yi-ming-241773","碧玺带珠翠饰十八子手串","清","藏地不详","此手串是清代闺阁雅致佩饰。十八枚碧玺主珠匀净饱满，粉嫩清透如凝脂落霞，晕开柔甜光泽。青金石隔片浓蓝鲜亮，撞色晕染，衬得碧玺愈发娇柔鲜活。佛头与佛塔取用满绿翡翠，莹润翠色提亮整体，贵气自生。\n\n下悬坠饰以珍珠串联，珊瑚盘长结寓意福寿绵长，朱红热烈俏皮，与顶端镶金嵌宝的樱桃形饰相呼应，金工精巧宝光暗涌。整串配色明丽和谐，珠石皆为上品，工料俱佳，尽显旧时精致温婉的闺阁意趣。",[41,45,46,47,48,49,7],"饰品","碧玺","珠翠","十八子","玉石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff23c603ce460c5e73816b0eef74a0032.jpg",[],8,1,"FFFFFF",{"id":56,"slug":57,"title":58,"dynasty":41,"author":19,"museum":42,"description":59,"tags":60,"thumbUrl":66,"material":31,"size":32,"collection":33,"collections":67,"showCount":68,"zanCount":11,"manualWeight":11,"mainColor":69},250044,"hua-fa-lang-qian-shi-ru-yi-yi-ming-250044","画珐琅嵌石如意","如意为木胎，其上采用八成金质累丝工艺。如意头的正面为累丝古钱纹，中心嵌绿松石“乙酉”二字，背面为镂空的古钱纹并露出木胎。柄的正面亦为累丝古钱纹，镶嵌绿松石“万年如意”四字，背面为累丝六角锦纹。如意的侧边以卷草纹为饰。",[61,62,63,64,24,7,65],"清代","画珐琅","嵌石","珐琅器","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbf538bd4d1270a9e14b760fd85e2a6c.jpg",[],6,"BDBDBD",{"id":71,"slug":72,"title":73,"dynasty":41,"author":19,"museum":42,"description":74,"tags":75,"thumbUrl":87,"material":31,"size":32,"collection":33,"collections":88,"showCount":68,"zanCount":11,"manualWeight":11,"mainColor":69},234405,"yi-zhu-chao-fu-xiang-zhou-yi-ming-234405","奕詝朝服像轴","此作工笔极尽精微，设色沉稳富丽。画中帝王面容清隽肃穆，端坐在雕龙宝座之上，明黄朝服遍饰彩龙与十二章纹，金线勾勒的纹饰精细工整，晕染出衣料的华贵质感。朝珠莹润光泽，冠冕饰件精巧雅致，每一处细节都恪守宫廷肖像的严苛规制，既还原了皇家礼服的恢宏华贵，也将青年帝王沉静内敛的气度尽显无遗，尽显清代御容肖像画的精湛水准，是兼具礼制表征与艺术价值的经典之作。",[76,77,24,78,79,80,81,61,82,83,84,85,86,7],"国画","立轴","工笔","人物","龙","衣帽","宫廷","服饰","坐姿","宝座","地毯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4e9c45c410cc51d610e54be65b1adee.jpg",[],{"id":90,"slug":91,"title":92,"dynasty":41,"author":19,"museum":42,"description":93,"tags":94,"thumbUrl":102,"material":31,"size":32,"collection":33,"collections":103,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":105},245519,"jin-an-jian-qing-jin-shi-tai-ping-you-xiang-yi-ming-245519","金鞍鞯青金石太平有象","以青金石雕作瑞象，石色匀净幽蓝，尽显憨朴威仪。象身披挂累丝金鞍鞯，镶满红蓝宝与松石，勾勒缠枝宝相花纹，细密华丽。金箔披帛錾刻暗纹，华贵雍容。莹润象牙下悬宝石坠角，添灵动意趣。象背立柱挑着累丝金华盖，罩顶嵌松石为饰，垂挂珠串流苏，摇曳间尽显皇家雅韵。\n\n它融玉雕、累丝、镶宝工艺于一体，将太平有象的吉祥寓意凝于一身，尽显清代宫廷重工技艺的卓绝，藏着盛世祈愿的奢华审美。",[61,65,95,96,97,49,98,99,100,101,7],"兽","大象","青金石","金器","镶嵌","錾刻","吉祥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4244b435cb1baba5db30a9372efcbde9.jpg",[],5,"795548",{"id":107,"slug":108,"title":109,"dynasty":41,"author":19,"museum":42,"description":110,"tags":111,"thumbUrl":117,"material":31,"size":32,"collection":33,"collections":118,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":119},241935,"dian-cui-chuan-zhu-hua-yi-ming-241935","点翠穿珠花","幽蓝点翠似揉碎深夜长空，晕染出莹润透亮的叶片，银胎錾刻的脉络清晰灵动，将草木舒展的姿态凝于发簪之上。穿缀的珠花小巧娇憨，米白珠粒配朱色点缀，宛若带露初绽的碎花簇在枝梢，把春日枝桠的鲜活定格。\n\n匠人以细工慢活将自然意趣藏于鬓间，把东方审美里的温柔雅致融于方寸，静立间便晕开旧时光里的清隽闺韵，尽显旧时首饰工艺的精巧灵秀。",[61,112,113,114,45,115,116,7],"点翠","穿珠","花卉","金属工艺","传统技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe455c0a72b76cb534d57869e4af0c7c.jpg",[],"37474F",{"id":121,"slug":122,"title":123,"dynasty":41,"author":19,"museum":42,"description":124,"tags":125,"thumbUrl":129,"material":31,"size":32,"collection":33,"collections":130,"showCount":131,"zanCount":11,"manualWeight":11,"mainColor":119},242086,"yin-du-jin-hua-lan-xing-zan-yi-ming-242086","银镀金花篮形簪","发簪，中国古代汉族人民用来固定和装饰头发的一种首饰。对于现代人来说已经是一个很古老的名词了，但是当在看古装剧时，却总是能被它们点缀出的精致效果所折服。\n将长发松松挽起，插上一枚别致的发簪，再配上典雅的长裙，即便性格再外放的女性，也可以成为让人眼前一亮的古典美人。发簪金属的光泽闪耀在发间，加上小而巧的坠饰，长发的风情便又是一种不一样的感受了。",[41,45,126,127,114,128,115,7],"银镀金","珐琅","簪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F064bbb134ed0ff87173080845f9c45d4.jpg",[],4,{"id":133,"slug":134,"title":135,"dynasty":41,"author":19,"museum":42,"description":136,"tags":137,"thumbUrl":143,"material":31,"size":32,"collection":33,"collections":144,"showCount":131,"zanCount":11,"manualWeight":11,"mainColor":54},241942,"shan-hu-dian-cui-qian-zhu-hua-yi-ming-241942","珊瑚点翠嵌珠花","铜质底托晕着旧金光泽，枝桠错落地攒起珊瑚小花，橘色莹润饱满，点点簇簇如将绽的花球，鲜活明媚。辅以点翠饰叶，虽色泽稍褪，仍可见昔日幽蓝华光，冷暖色调相映成趣，雅致鲜活。整体取折花簪戴的意趣，把春日花束凝于发间，尽显旧时闺阁雅致审美，是花丝细作与珠宝镶嵌的精巧之作，藏着东方仕女鬓边的温柔意态。",[61,45,138,112,139,140,141,142,7],"珊瑚","嵌珠","金属","花鸟","传统工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e7f5cea5e32e5bca5046836d67cab8e.jpg",[],{"id":146,"slug":147,"title":148,"dynasty":41,"author":19,"museum":42,"description":149,"tags":150,"thumbUrl":154,"material":31,"size":32,"collection":33,"collections":155,"showCount":156,"zanCount":11,"manualWeight":11,"mainColor":105},245721,"jin-lei-si-feng-yi-ming-245721","金累丝凤","金累丝工艺锻造出威仪凤凰，花丝盘绕纤毫尽现，周身东珠错落排布，晕开温润珠光。残存的点翠衬出金饰明丽，赤红绒羽与玄色貂毛圈合帽沿，冷暖色调碰撞间，将礼制庄重与匠心巧思相融。整体华贵雍容，尽显旧时门第尊荣，是花丝细作的巅峰手笔，凝萃了极致的宫廷审美意趣。",[61,151,45,98,152,153,81,7],"金累丝","凤纹","珠宝镶嵌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa330344c65f5a907534a9301b6d2bf13.jpg",[],3,{"id":158,"slug":159,"title":160,"dynasty":41,"author":19,"museum":42,"description":161,"tags":162,"thumbUrl":167,"material":31,"size":32,"collection":33,"collections":168,"showCount":169,"zanCount":11,"manualWeight":11,"mainColor":105},256646,"song-shi-lv-you-lou-kong-hua-lan-yi-ming-256646","松石绿釉镂空花篮","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。",[61,163,164,165,65,7,166,28],"陶瓷","松石绿釉","镂空","链条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1daec52439925538e672816c247e3c1.jpg",[],2,{"id":171,"slug":172,"title":173,"dynasty":41,"author":19,"museum":42,"description":174,"tags":175,"thumbUrl":180,"material":31,"size":32,"collection":33,"collections":181,"showCount":169,"zanCount":11,"manualWeight":11,"mainColor":119},241828,"cui-xiang-nang-yi-ming-241828","翠香囊","满色翠绿莹润通透，以透雕技法镌出缠枝纹样，灵动雅致，既为妆饰，又可纳香散芬，将装饰性与实用性精妙结合。配搭朱红珊瑚圆珠，与翠绿主石冷暖相映，鎏金饰件与米珠串联其间，更添华贵质感。下端珊瑚流苏缀以翠色小珠收尾，轻摇间流光婉转，尽展匠人之巧思，将玉石、珠宝工艺相融，藏着旧时雅致的生活意趣，是配饰工艺里的精巧之作。",[61,49,176,45,138,177,178,7,179],"雕刻","流苏","翠","配饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b8140b2755193f8b59c087212ec3bb9.jpg",[],{"id":183,"slug":184,"title":185,"dynasty":41,"author":19,"museum":42,"description":186,"tags":187,"thumbUrl":191,"material":31,"size":32,"collection":33,"collections":192,"showCount":169,"zanCount":11,"manualWeight":11,"mainColor":105},229059,"qian-zhu-shi-nv-pi-mao-yi-ming-229059","嵌珠石女皮帽","清代男子的官帽，有礼帽、便帽之别。礼帽俗称“大帽子”，其制有二式：一为冬天所戴，名为暖帽；一为夏天所戴，名为凉帽。便帽，也称“小帽子”以六瓣合缝，缀檐如筒；俗称瓜皮帽。创自明太祖洪武年间，取其六合一统之意。这种小帽形式很多，有平顶、尖顶、硬胎软胎之别。平顶大多为硬胎，内衬棉花；尖顶大多为软胎，取其便利。等级不同，帽子不同。",[61,99,188,189,81,190,83,45,7],"珠石","皮制","女帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30ad6ea3ad03419887f77355e0e86650.jpg",[],{"id":194,"slug":195,"title":196,"dynasty":197,"author":19,"museum":42,"description":198,"tags":199,"thumbUrl":210,"material":31,"size":32,"collection":33,"collections":211,"showCount":53,"zanCount":11,"manualWeight":11,"mainColor":105},254296,"tao-huang-you-cang-yi-ming-254296","陶黄釉仓","汉","黄釉是汉族传统的陶瓷装饰艺术。最早出现于唐代，当时安徽淮南寿州窑、河南密县窑等都烧黄釉。但正色黄釉，还是宋代汝窑的高温黄釉——茶叶末釉。明代的黄釉有新的发展，洪武时的老僧衣即茶叶末的衍化；始于宣德的浇黄，更是明代杰出的黄釉；嘉靖以后，又有鱼子黄、鸡油黄等。入清后有康熙的淡黄，以及其后的菜尾、鼻烟、金酱等。",[163,200,201,202,203,204,205,206,207,208,209,7],"黄釉","釉陶","陶制","三足","兽足","筒形","仓","汉代","器物","储物器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f34014a7b93f2c94f4dcc7a8f808b47.jpg",[],{"id":213,"slug":214,"title":215,"dynasty":41,"author":19,"museum":42,"description":216,"tags":217,"thumbUrl":224,"material":31,"size":32,"collection":33,"collections":225,"showCount":53,"zanCount":11,"manualWeight":11,"mainColor":105},249913,"qia-si-fa-lang-feng-er-ping-yi-ming-249913","掐丝珐琅凤耳瓶","景泰蓝（Cloisonne），中国的著名特种金属工艺品类之一，到明代景泰年间这种工艺技术制作达到了最巅峰，制作出的工艺品最为精美而著名，故后人称这种金属器为“景泰蓝”。景泰蓝正名“铜胎掐丝珐琅”，俗名“珐蓝”，又称“嵌珐琅”，是一种在铜质的胎型上，用柔软的扁铜丝，掐成各种花纹焊上，然后把珐琅质的色釉填充在花纹内烧制而成的器物 。因其在明朝景泰年间盛行，制作技艺比较成熟，使用的珐琅釉多以蓝色为主，故而得名“景泰蓝”。",[41,218,219,220,95,221,65,24,152,222,223,7],"掐丝珐琅","琺瑯器","铜制","凤","兽形","金属胎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb01df12f25ea05d1da494f7d6923b0a.jpg",[],{"id":227,"slug":228,"title":229,"dynasty":41,"author":19,"museum":42,"description":230,"tags":231,"thumbUrl":238,"material":31,"size":32,"collection":33,"collections":239,"showCount":53,"zanCount":11,"manualWeight":11,"mainColor":69},245737,"yin-du-jin-shao-lan-fu-zi-hu-lu-xing-zhang-gou-yi-ming-245737","银镀金烧蓝福字葫芦形帐钩","以银镀金为骨，烧蓝晕出翠色鲜亮。取葫芦造型暗合福禄吉意，主体錾饰网格肌理，叠缀缠枝花叶，福字纹藏纳其间，把祈愿融于细节。柔润弯钩承接悬帐之用，配链纤细灵动，兼顾装饰性与实用性。整体饱满雅致，将东方祈福心意凝在珐琅与金属的交融中，尽显旧时匠人的精妙巧思，是民俗造物里兼具审美与功能的精巧之作。",[61,232,98,233,64,234,235,45,126,7,236,237],"银器","烧蓝","葫芦形","帐钩","福字","金属雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ce6dbd8c689d07ea141d3af8d5ed4b1.jpg",[],{"id":241,"slug":242,"title":243,"dynasty":41,"author":19,"museum":42,"description":244,"tags":245,"thumbUrl":248,"material":31,"size":32,"collection":33,"collections":249,"showCount":53,"zanCount":11,"manualWeight":11,"mainColor":105},245702,"jin-xiang-shi-xiang-quan-yi-ming-245702","金镶石项圈","整体形制华贵大气，金质镯身錾刻细密纹饰，暖调珊瑚、邃色青金石与淡色饰石错落镶嵌，冷暖交织，明暗相映，将贵金属的矜贵与彩石的明丽浑然相融。\n\n搭配同饰绦带，悬垂珊瑚坠饰，摇曳间添了几分灵动柔婉，中和了项圈的厚重沉凝。细金镶嵌工艺精湛妥帖，尽显旧时配饰的极致考究，将庄重华贵与雅致灵动揉为一体，尽显东方配饰美学的精妙意趣。",[41,98,45,99,127,246,115,247,7,179],"宝石","清代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafbcb6b20f9c84f4c4d8308a717cee89.jpg",[],{"id":251,"slug":252,"title":253,"dynasty":41,"author":19,"museum":42,"description":59,"tags":254,"thumbUrl":256,"material":31,"size":32,"collection":33,"collections":257,"showCount":53,"zanCount":11,"manualWeight":11,"mainColor":69},245649,"jin-lei-si-qian-shi-ru-yi-yi-ming-245649","金累丝嵌石如意",[61,151,99,246,255,98,208,7],"绿松石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9aa0dcf52fedf0940906ad88e1aad62.jpg",[],{"id":259,"slug":260,"title":261,"dynasty":41,"author":19,"museum":42,"description":262,"tags":263,"thumbUrl":266,"material":31,"size":32,"collection":33,"collections":267,"showCount":53,"zanCount":11,"manualWeight":11,"mainColor":119},242126,"mi-la-chao-zhu-yi-ming-242126","蜜蜡朝珠","莹润蜜蜡串起主链，暖棕柔光沉敛雅致，三颗湖水绿翡翠结珠错落点缀，清透翠色撞出亮眼层次。佛头以翡翠雕琢，配套背云内嵌翡翠圆牌，金饰镶边晕开华贵气质。\n\n细浅米珠拧成的记捻垂落，末端悬垂翡翠与宝色坠饰，轻晃时灵动生姿。整串配饰配色和谐，暖润蜜蜡衬得冷翠愈显清透，金饰细节尽显匠心巧思，将礼制规整与雅致审美融于一体，尽显旧时配饰的温婉华贵，是传统工艺的精巧缩影。",[61,45,264,49,265,177,7],"蜜蜡","挂饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f4d3ffb8834173c16494849f36bd6df.jpg",[],{"id":269,"slug":270,"title":271,"dynasty":41,"author":19,"museum":42,"description":272,"tags":273,"thumbUrl":276,"material":31,"size":32,"collection":33,"collections":277,"showCount":53,"zanCount":11,"manualWeight":11,"mainColor":119},242120,"qian-bao-shi-piao-dai-yi-ming-242120","嵌宝石飘带","湖蓝缎面莹润素净，衬得顶端饰件愈显华贵精致。银底錾刻柔婉缠纹，朱红绳络牵引珊瑚、珍珠、料珠错落垂缀。宝瓶造型坠饰凝着祈福心意，细碎珠串随步轻晃，摇落点点柔光。配色明丽和谐，将雅致工巧与吉祥意趣藏入丝绦之间，是旧时配饰工艺里灵动温婉的缩影，静静诉说着往昔精致的妆扮美学。",[61,45,274,246,99,7,275],"布料","坠饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdd47bd00f217d13108e326f0b91eb15.jpg",[],{"id":279,"slug":280,"title":281,"dynasty":41,"author":19,"museum":42,"description":282,"tags":283,"thumbUrl":285,"material":31,"size":32,"collection":33,"collections":286,"showCount":53,"zanCount":53,"manualWeight":11,"mainColor":119},241850,"ga-nan-xiang-nv-chao-zhu-yi-ming-241850","伽南香女朝珠","这串朝珠以伽南香为主体，珠体匀净，自带沉雅木香。朱红珊瑚为分珠与记捻，暖亮色调中和了香木的沉静，相映成趣。佛头、背云以累丝镶宝，金工细腻灵动，翠玉坠角莹润通透，珐琅饰色鲜亮明丽。\n整器将天然材质的温润质感与细作工艺相融，配色冷暖相宜，形制规整考究，尽显旧时礼制配饰的清贵雅致，藏着清代配饰的审美意趣，是工艺与材质俱佳的精巧配饰。",[61,45,284,49,138,64,176,7],"木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F919b90f5d58587b7075c803b1d7a0b87.jpg",[],{"id":288,"slug":289,"title":290,"dynasty":291,"author":292,"museum":42,"description":293,"tags":294,"thumbUrl":301,"material":31,"size":32,"collection":33,"collections":302,"showCount":53,"zanCount":11,"manualWeight":11,"mainColor":69},232472,"he-er-bai-yin-131-he-er-bai-yin-232472","荷尔拜因131","不详","荷尔拜因","小汉斯·荷尔拜因（约1497年-1543年11月29日以前）是德国画家，最擅长油画和版画，是欧洲北方文艺复兴时代的艺术家。其代表作有：木版画《死神之舞》。\n荷尔拜因在创作一幅肖像画以前，经常用铅笔描绘衣物、装饰品等细节，有时也用钢笔或垩笔，然后在纸上沿轮廓扎上小孔，铺在画布上，用炭粉将其转移到画布上。在晚年也使用复写纸。他的画作对细节描绘非常详细、真实，甚至于仪器上的刻度、信笺上的文字、桌布上的花纹都描绘的一丝不苟，但整体风格仍然非常统一，人文主义风格非常明显，俄罗斯作家陀斯妥耶夫斯基曾经评价他的作品《墓中的基督》：“可以把许多人的信仰夺去。” 他曾经从同为英国王室画家的弗拉芒画家卢卡斯·霍亨布特那里学习画微型画，卢卡斯曾为他画了一幅微型画像，他自己从没有画过自画像。",[295,296,79,297,298,95,65,7,299,300],"白描","素描","沙漏","钟表","线描","圆形图案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7335c1e088dc2948bc52d2c53ac3e2f6.jpg",[],{"id":304,"slug":305,"title":306,"dynasty":41,"author":19,"museum":42,"description":307,"tags":308,"thumbUrl":311,"material":31,"size":32,"collection":33,"collections":312,"showCount":53,"zanCount":11,"manualWeight":11,"mainColor":105},229459,"du-jin-bao-gai-yi-ming-229459","镀金宝盖","整体鎏金莹润亮泽，宝盖周身錾刻繁密缠枝纹，层叠环绕，线条灵动舒展，尽显錾刻工艺的极致精妙。托架云纹卷舒柔婉，似携仙气萦绕，烘托出器物的神圣气韵。长杆挺拔匀净，末端花苞钮饱满雅致，与宝盖的华美相得益彰。\n\n它兼具宗教法器的庄严与金作工艺的华贵，将藏地器物的神圣感与细腻金工完美相融。莹润金面承载着精湛匠艺，每一处纹路都凝结着旧时工匠的心血，既不失礼器的肃穆，又尽显金饰的华贵，静静诉说着往昔金作技艺的登峰造极。",[61,309,176,98,65,25,310,7],"镀金","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d091a889b167c33c899a1b7dc93b4b0.jpg",[],{"id":314,"slug":315,"title":316,"dynasty":41,"author":19,"museum":317,"description":318,"tags":319,"thumbUrl":10,"material":324,"size":33,"collection":33,"collections":325,"showCount":53,"zanCount":11,"manualWeight":11,"mainColor":105},215950,"di-jian-tu-shuo-cai-hui-ben-60-yi-ming-215950","帝鉴图说彩绘本-60","法国国家图书馆","庭院深深，屋舍俨然，黛瓦粉墙间透着古朴雅致。中央层叠的彩饰牌楼缀满灯笼与纹饰，似是节庆盛景的核心。周遭人物衣袂翩跹，男女老少或驻足观赏、或缓步交谈，孩童嬉闹其间，烟火气扑面而来。色调温润柔和，线条细腻流畅，将市井里巷的鲜活气息与传统仪俗的庄重雅致融于一纸，尽显生活之趣与文化之韵。画面动静相宜，细节处见匠心，仿佛能听见人声喧阗，窥见古人日常里的热闹与温情，于方寸间铺展一幅生动的民俗画卷。",[76,24,78,79,320,321,322,323,7],"楼阁","房屋","市井","庭院","绢本,设色",[],{"id":327,"slug":328,"title":329,"dynasty":41,"author":19,"museum":42,"description":330,"tags":331,"thumbUrl":333,"material":31,"size":32,"collection":33,"collections":334,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":69},274435,"mu-lou-san-jiao-xing-yin-yue-zhong-yi-ming-274435","木楼三角形音乐钟","最早的钟原本是指古代汉族 传统的打击乐器，形状扁圆而中空，盛于春秋战国直至秦汉，多为青铜制，又叫“编钟”，自佛教传入中国后，逐渐变为一种宗教法器的代称，又叫“梵钟”或“半钟”原本叫“犍稚”又叫“信鼓”是寺院为报时、集众而敲击之用。",[65,284,98,176,332,298,7],"音乐钟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58350ad75991dde79a393d6fe345f959.jpg",[],{"id":336,"slug":337,"title":338,"dynasty":41,"author":19,"museum":42,"description":339,"tags":340,"thumbUrl":345,"material":31,"size":32,"collection":33,"collections":346,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":105},270417,"bai-se-yu-mao-shan-yi-ming-270417","白色羽毛扇","此扇以洁白禽羽铺展成底，如凝就一片初积素雪，柔润舒展自带清隽雅致。中心环饰孔雀彩翎，翠蓝金褐的眼斑灵动如生，将林野间的灵秀凝于羽梢。\n\n朱绒红点错落缀于白羽之上，似揉碎的丹砂星子，正中绒团如一点燃透的朱砂，点亮整器亮色。扇心彩绘妍丽精巧，晕染出吉庆意趣。骨质柄身素净温润，下方垂坠刺绣圆饰与朱红流苏，静时沉稳雅致，动时轻摇生姿。\n\n天然灵秀与人工巧思相融，将实用与赏玩揉为一体，尽显旧时工艺里的雅致意趣。",[341,342,343,344,45,7],"扇面","日用具","羽毛","孔雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3300cd615b19466ec8ba08f902566623.jpg",[],{"id":348,"slug":349,"title":350,"dynasty":41,"author":19,"museum":42,"description":351,"tags":352,"thumbUrl":355,"material":31,"size":32,"collection":33,"collections":356,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":119},258084,"yong-zheng-kuan-fang-guan-you-jiu-shou-er-zun-yi-ming-258084","雍正款仿官釉鸠首耳尊","雍正一朝虽然只有13年，但他的制瓷业成就却达到了清代官窑的历史高峰，其品种之多，制作工艺之精良，都是其他朝代无法比拟的。",[61,163,353,354,65,7],"仿官釉","鸠首耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedfed10c81ec8cd65b05e5627e177822.jpg",[],{"id":358,"slug":359,"title":360,"dynasty":41,"author":19,"museum":42,"description":361,"tags":362,"thumbUrl":367,"material":31,"size":32,"collection":33,"collections":368,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":69},256631,"fen-cai-lou-kong-tuan-shou-gai-he-yi-ming-256631","粉彩镂空团寿盖盒","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",[61,363,165,24,163,65,364,365,7,366],"粉彩","团寿","缠枝","工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb158f27c06bd04ae1043bdc8a84d16b5.jpg",[],{"id":370,"slug":371,"title":372,"dynasty":41,"author":19,"museum":42,"description":373,"tags":374,"thumbUrl":376,"material":31,"size":32,"collection":33,"collections":377,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":105},248963,"hua-fa-lang-tian-qiu-shi-guan-jia-yi-ming-248963","画珐琅天球式冠架","天球形玻璃顶搭配珐琅灯座，将陈设装饰与日常功用巧妙融合。明黄为地，遍绘缠枝花卉，粉朱、翠绿、湖蓝撞色鲜亮明快，繁丽却不显冗杂。开光内饰吉祥纹样，处处透着清宫重彩华贵的审美意趣。金属包边勾勒出鲜明层次，底部搭配沉稳的雕花木座，中和了珐琅的艳丽跳脱，尽显雅致端庄。整器工致细腻，尽显晚清珐琅工艺的不俗匠心，带着宫廷器物独有的矜贵气度，将装饰美学与日常之用融于一体。",[61,62,64,24,114,375,220,78,7],"日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67214f70841ccfd7e712d4a4abdefce2.jpg",[],{"id":379,"slug":380,"title":381,"dynasty":41,"author":19,"museum":42,"description":361,"tags":382,"thumbUrl":390,"material":31,"size":32,"collection":33,"collections":391,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":69},248840,"ti-hong-kai-guang-mu-niu-tu-fang-he-yi-ming-248840","剔红开光牧牛图方盒",[61,383,384,385,176,386,387,388,389,7],"漆器","剔红","开光","浮雕","牛","牧牛","方盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8af40bb5f5b226eabc816d071a836acf.jpg",[],{"id":393,"slug":394,"title":395,"dynasty":41,"author":19,"museum":42,"description":361,"tags":396,"thumbUrl":402,"material":31,"size":32,"collection":33,"collections":403,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":105},246967,"qian-long-kuan-ti-hong-shou-chun-tu-kai-guang-shan-shui-ren-wu-tu-yuan-he-yi-ming-246967","乾隆款剔红寿春图开光山水人物图圆盒",[61,384,176,383,397,398,385,399,80,95,400,310,7,401],"圆盒","寿春图","山水人物","寿字","器型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e483cd4e42f09ce391dfd8baf564434.jpg",[],{"id":405,"slug":406,"title":407,"dynasty":41,"author":19,"museum":42,"description":59,"tags":408,"thumbUrl":410,"material":31,"size":32,"collection":33,"collections":411,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":105},245613,"jin-lei-si-wan-nian-ru-yi-yi-ming-245613","金累丝万年如意",[61,151,65,45,115,409,7],"吉祥纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F312c1063a19d3928a41773885b64e95e.jpg",[],{"id":413,"slug":414,"title":415,"dynasty":41,"author":19,"museum":42,"description":416,"tags":417,"thumbUrl":419,"material":31,"size":32,"collection":33,"collections":420,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":105},245348,"jin-qian-zhu-qi-zhen-jiang-jun-yi-ming-245348","金嵌珠七珍-将军","鎏金法身踞坐，周身嵌饰珍珠，似撷来月华点缀神躯，战甲肌理錾刻入微，虬劲线条尽显悍勇神威。台座层次有致，釉彩边框勾勒清雅轮廓，垂挂的珠串错落摇曳，红蓝宝色交相辉映，如流霞垂落。下方白玉饰件素洁温润，柔化了金辉的堂皇炽烈。明暗相衬、材质交融，将宗教礼器的庄肃与皇家工艺的华贵揉合一处，尽显匠造的极致用心，是信仰具象化为绝美工艺的典范之作。",[61,98,99,418,25,208,176,7],"珠宝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cf24cfcb3735e176a0641b515e41ac8.jpg",[],{"id":422,"slug":423,"title":424,"dynasty":425,"author":19,"museum":42,"description":426,"tags":427,"thumbUrl":432,"material":31,"size":32,"collection":33,"collections":433,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":105},243086,"chi-er-fang-hu-yi-ming-243086","螭耳方壶","明","方颈鼓腹下承方足，器形端正规整。盖顶双兽蹲踞，憨态朴拙。两侧螭龙为耳，蜷曲探首，灵动中带着古雅威仪。腹部浮雕衔环铺首，纹饰凝练苍劲，线条古朴沉稳。周身包浆厚重匀净，铜锈斑驳自然，晕染出岁月浸漫的温润质感。整体摹古青铜礼器形制，将上古礼器的肃穆厚重与制器巧思相融，静立间尽显沉静拙朴的复古意趣，是仿古铜器中的不俗之作。",[428,429,220,176,80,430,431,7],"明代","青铜器","礼器","器形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6b241b0f4b0f0b877fce6a8cf4e125b.jpg",[],{"id":435,"slug":436,"title":437,"dynasty":41,"author":19,"museum":42,"description":438,"tags":439,"thumbUrl":442,"material":31,"size":32,"collection":33,"collections":443,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":69},229878,"bi-yu-yun-long-da-xiang-tong-yi-ming-229878","碧玉云龙大香筒","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[61,49,176,80,440,127,320,208,140,7,441],"云纹","云龙纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f226c8449c9dfc8331f46818fe76e11.jpg",[],{"id":445,"slug":446,"title":447,"dynasty":41,"author":19,"museum":42,"description":448,"tags":449,"thumbUrl":453,"material":31,"size":32,"collection":33,"collections":454,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":69},229622,"bao-jin-xiang-mi-zhu-hui-niu-5-yi-ming-229622","包金镶米珠回钮-5","回钮金包金镶米珠钮，金色，略近球状，一端有环，其表面包饰细鱼子地花叶纹，部份的花瓣浮出钮面，花瓣镶嵌珍珠，一片金碧辉煌中衬出柔和的珠白，让人赏心悦目。",[61,98,45,450,451,452,115,7,366],"包金","镶珠","米珠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F372465bacbbd5c588376ef4b7012cbe0.jpg",[],{"id":456,"slug":457,"title":458,"dynasty":41,"author":19,"museum":42,"description":459,"tags":460,"thumbUrl":463,"material":31,"size":32,"collection":33,"collections":464,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":69},229391,"xiang-ya-ying-luo-yi-yi-ming-229391","象牙缨络衣","清王朝时段推行剃发易服，顺治九年（1652），钦定《服色肩舆条例》颁行，从此废除了明朝的冠冕、礼服以及汉族的一切服饰，但满族服饰同时吸收了明朝服饰的纹理图案。明代男子一律蓄发挽髻，着宽松衣，穿长统袜、浅面鞋；清时则剃发留辫，辫垂脑后，穿瘦削的马蹄袖箭衣、紧袜、深统靴。但官民服饰一律泾渭分明。 清朝是以满族统治者为主的政权机构，满族八旗服饰随朝代的变更冲进关内。旗人的风俗习惯影响着广大的中原地区。从公服开始逐渐推向常服。",[61,461,176,45,274,462,7],"象牙","缨络","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d956e925995f5ee9558b4bb5f04e70b.jpg",[],{"id":466,"slug":467,"title":468,"dynasty":41,"author":19,"museum":42,"description":361,"tags":469,"thumbUrl":473,"material":31,"size":32,"collection":33,"collections":474,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":105},229289,"jin-shu-tai-lei-si-shao-lan-fa-lang-tao-shi-he-yi-ming-229289","金属胎累丝烧蓝珐瑯桃式盒",[61,223,470,233,127,471,65,472,7],"累丝","桃式","珐瑯器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9749c6b3f08dc9c892a5c89c9b53b0e5.jpg",[],{"id":476,"slug":477,"title":478,"dynasty":41,"author":19,"museum":42,"description":479,"tags":480,"thumbUrl":482,"material":31,"size":32,"collection":33,"collections":483,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":69},224017,"du-jin-xiang-zhu-dai-ban-1-yi-ming-224017","镀金镶珠带版-1","如意为铜镀金质，上面嵌有各色料石及珍珠。在云头处嵌小表，尾部嵌指南针。腰部有油画。此表配有钥匙及黄色绦带，带上系花篮式中国结，结下有流苏，并系红珊瑚球两粒。",[61,309,99,481,246,98,45,208,7,451,115],"珍珠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cbfb5d275b5521f9d48b71bb22fd690.jpg",[],{"id":485,"slug":486,"title":487,"dynasty":41,"author":19,"museum":42,"description":488,"tags":489,"thumbUrl":493,"material":324,"size":33,"collection":33,"collections":494,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":69},215172,"yi-shi-ji-yao-tan-22-yi-ming-215172","医士及药摊-22","画面铺展旧时市井的生动剪影：药摊前医士俯身，指尖捻过草药纹路，悬垂的药囊如错落穗子，摊架上纸包、药罐浸着烟火气。往来人影简笔传神，或驻足问方，或侧耳听诊，眉眼藏着市井温热。色彩质朴鲜活，青绿衬暖黄，似老巷晨光漫过药草清香。笔触细碎扎实，药碾弧度、布帘褶皱刻着时光纹路。观者仿佛踏入百年街巷：药杵轻捣声隐约，医士话语温软，风里飘着草药淡香。这是日常的细腻描摹，亦是旧时光里人间烟火的温柔留存。",[490,61,24,78,114,491,141,492,7],"高清","枝叶","图案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf6dd25f4be7406e22a2daf1ec9354de.jpg",[],1777535711934]