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material":33,"size":34,"collection":35,"collections":186,"showCount":164,"zanCount":11,"manualWeight":11,"mainColor":54},267480,"xing-huang-se-duan-xiu-cai-yun-fu-an-ba-xian-jin-long-wen-tie-lei-yi-yi-ming-267480","杏黄色缎绣彩云蝠暗八仙金龙纹铁勒衣","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。 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老舍《四世同堂》四九：“他看不起绸缎的衣服，与文雅的态度，可又有点自惭形秽。”",[25,46,76,223,107,7,63],"云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784a52a0dfd1d15d21db1349db84135e.jpg",[],{"id":227,"slug":228,"title":229,"dynasty":18,"author":19,"museum":20,"description":230,"tags":231,"thumbUrl":236,"material":33,"size":34,"collection":35,"collections":237,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":54},264066,"zao-hong-se-an-ba-xian-tuan-fu-gui-wan-nian-fu-shou-wen-zhi-jin-duan-kan-jian-liao-yi-ming-264066","枣红色暗八仙团富贵万年福寿纹织金缎坎肩料","枣红底色沉稳华贵，以织金与钉银线铺陈纹饰，上下对称的版型工整端庄。主体团纹环绕富贵万年图，暗八仙与祥龙瑞兽错落其间，灵芝、水仙点缀，将纳福祈祥的意趣藏入经纬。\n织金的暖光与银线的冷辉相映，针脚细密平整，尽显晚清织绣工艺的精妙考究，把世俗愿景与精湛匠艺相融，尽显雅致华贵的旧时审美风尚。",[25,46,232,7,233,234,235],"织金缎","福寿纹","龙纹","吉祥图案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee195f30523ab48b973c30e3b22e501a.jpg",[],{"id":239,"slug":240,"title":241,"dynasty":18,"author":19,"museum":20,"description":242,"tags":243,"thumbUrl":246,"material":33,"size":34,"collection":35,"collections":247,"showCount":248,"zanCount":11,"manualWeight":11,"mainColor":54},268756,"xue-hui-se-an-ba-xian-tuan-shou-wen-duan-huai-dang-yi-ming-268756","雪灰色暗八仙团寿纹缎怀挡","整体色调柔雅沉静，宝蓝纹样晕染于雪灰缎底之上，愈发醒目清隽。中心团寿饱满周正，寄寓福寿绵长的诚挚祈愿。周遭暗八仙法器灵动舒展，葫芦、宝剑、玉板等错落排布，暗合道家吉祥意涵，将出世清趣融入日常器物。回纹锦边圈定章法，让整体构图规整庄重。\n\n缎面织造细密紧实，光泽柔和莹润，尽显旧时织造工艺的精巧匠心。把祈福祈寿的美好愿景织入经纬之间，将礼制意趣藏于日用细节，是东方雅致生活的缩影，尽显传统织物里的温婉禅意与祥瑞底蕴。",[205,25,244,7,245],"缎","团寿纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf2c90c617a18a7261254b796b6d0cfb.jpg",[],3,{"id":250,"slug":251,"title":252,"dynasty":18,"author":19,"museum":20,"description":74,"tags":253,"thumbUrl":256,"material":33,"size":34,"collection":35,"collections":257,"showCount":248,"zanCount":11,"manualWeight":11,"mainColor":39},267466,"hong-se-duan-xiu-shi-tuan-xi-xiang-feng-hua-hui-pu-tao-jin-an-ba-xian-wen-nan-pei-yi-ming-267466","红色缎绣十团喜相逢花卉葡萄金暗八仙纹男帔",[46,25,76,27,254,7,255],"葡萄","喜相逢","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb617f4caa60cb9d77a36df3f6ab03ffc.jpg",[],{"id":259,"slug":260,"title":261,"dynasty":18,"author":19,"museum":20,"description":74,"tags":262,"thumbUrl":266,"material":33,"size":34,"collection":35,"collections":267,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":54},272930,"hong-se-duan-xiu-wu-fu-peng-shou-an-ba-xian-wen-yi-pei-yi-ming-272930","红色缎绣五蝠捧寿暗八仙纹椅帔",[263,25,76,264,7,265],"椅帔","五蝠捧寿","红色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe328ef3213b132ff2cd5faf82fb33c2a.jpg",[],{"id":269,"slug":270,"title":271,"dynasty":18,"author":19,"museum":20,"description":272,"tags":273,"thumbUrl":277,"material":33,"size":34,"collection":35,"collections":278,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":125},269291,"wen-zhu-yun-wen-di-qian-fa-lang-yu-shi-an-ba-xian-wen-he-qian-yu-gu-wen-he-yi-ming-269291","文竹云纹地嵌珐琅玉石暗八仙纹盒-嵌渔鼓纹盒","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。",[65,274,275,117,120,7,276,106],"竹质","珐琅器","渔鼓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff16505de1ec80e511eb45ca8d372786c.jpg",[],{"id":280,"slug":281,"title":282,"dynasty":18,"author":19,"museum":20,"description":283,"tags":284,"thumbUrl":287,"material":33,"size":34,"collection":35,"collections":288,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":54},267192,"huang-se-duan-kou-man-na-an-ba-xian-tuan-shou-wen-yao-yuan-he-bao-yi-ming-267192","黄色缎口满纳暗八仙团寿纹腰圆荷包","荷包是中国汉族传统服饰中，人们所随身佩带的一种装零星物品的小包，后发展为爱情信物，荷包的图案有繁有简，花卉、鸟、兽、草虫、山水、人物以及吉祥语、诗词文字都有，装饰意味很浓。\n在民间荷包中，占相当比重的是香包，香包里装有香草之类的药品，包面上绣制着“五毒”，即蝎子、蛇、蜈蚣、壁虎和蟾蜍，它原是五月端午的节令物品，为了防止各种毒虫猖獗，侵害人体，人们相互馈赠，挂在衣襟或帐勾上，以避除“五毒”。就形状来看，有虎形的、鸡形的、如意形的、寿桃形的、蝙蝠形的，以取意于福、禄、寿、喜、吉祥、如意等。富有深厚民族心理基础的绣荷包，在民间文化中，显示着旺盛的生命力。",[285,286,25,7,245,76],"饰品","荷包","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d6721209c77844a75025ff2fcd3fd1d.jpg",[],{"id":290,"slug":291,"title":292,"dynasty":18,"author":19,"museum":20,"description":293,"tags":294,"thumbUrl":299,"material":33,"size":34,"collection":300,"collections":301,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},261011,"de-hua-yao-bai-you-hua-hua-an-ba-xian-tu-xi-yi-ming-261011","德化窑白釉划花暗八仙图洗","德化窑位于今福建德化，故名。作为著名的瓷窑，是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n德化瓷器是中华陶瓷烧造中的艺术珍品，始于宋代，明代后得到巨大发展。以白瓷塑佛像闻名。其制作细腻，雕刻精美，造型生动，体现了古代劳动人民的卓越才能和艺术创造力。\n在今福建德化，故名。是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n碗坪仑烧瓷较屈斗宫古窑址早，烧青白瓷，有的接近白釉，刻花蓖划纹装饰较多，盒子遗留甚丰，盖面所印阳纹装饰达一百余种，题材之丰富在南方地区首屈一指，南宋时有专门制作盒子的作坊，盒盖上阳文印花装饰题材丰富，有动物、花卉等近百种图案。划花间篦划纹亦较多，饰在碗、盘、瓶等器物上。\n屈斗宫元代办烧青白瓷，从南宋至元代。明代盛烧白瓷观音、达摩等塑像，胎釉浑然一体，如同白玉，被赞为"象牙白"、"奶白"或 "天鹅绒白。清代除烧白瓷外，盛烧青花与彩绘瓷器。元代以来，德化窑瓷器输出海外，菲律宾、马来西亚出土有元代德化窑青白瓷，泰国及东非坦桑尼亚等国家也出土有清代德化窑青花瓷器。\n这种瓷器的制作工艺程序如下：他们从地下挖取一种泥土，将它垒成一个大堆，任凭风吹、雨打、日晒，从不翻动，历时三、四十年。泥土经过这种处理，质地变得更加纯化精炼，适合制造上述各种器皿，然后抹上认为颜色合宜的釉，再将瓷器放入窑内或炉里烧制而成。因此，人们挖泥堆土，目的是替自已的儿孙贮备制造瓷器的材料而已，大量的瓷器是在城中出售， 一个威尼斯银币能买到八个瓷杯“。马可波罗的介绍，引起了西方人的强烈兴趣。",[99,295,296,7,297,298,65],"德化窑","白釉","洗","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe03e68ce30fbdf57cd7da3815ab70fa.jpg","瓷器精选",[300],{"id":303,"slug":304,"title":305,"dynasty":18,"author":19,"museum":20,"description":59,"tags":306,"thumbUrl":308,"material":33,"size":34,"collection":35,"collections":309,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":54},247605,"ti-hong-an-ba-xian-wen-shi-shi-he-yi-ming-247605","剔红暗八仙纹柿式盒",[66,307,120,7,23,65,98],"雕漆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F905ed3057dabd5982a4741e573a38968.jpg",[],{"id":311,"slug":312,"title":313,"dynasty":18,"author":19,"museum":20,"description":314,"tags":315,"thumbUrl":10,"material":33,"size":34,"collection":35,"collections":317,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":54},246516,"qian-long-kuan-ti-hong-kai-guang-hua-hui-an-ba-xian-wen-yuan-pan-yi-ming-246516","乾隆款剔红开光花卉暗八仙纹圆盘","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。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [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。",[98,66,120,316,27,7,23,65],"开光",[],{"id":319,"slug":320,"title":282,"dynasty":18,"author":19,"museum":20,"description":283,"tags":321,"thumbUrl":324,"material":33,"size":34,"collection":35,"collections":325,"showCount":69,"zanCount":11,"manualWeight":11,"mainColor":54},267194,"huang-se-duan-kou-man-na-an-ba-xian-tuan-shou-wen-yao-yuan-he-bao-yi-ming-267194",[285,25,76,7,245,286,322,323],"流苏","珠子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69aeb88f0ad8dbc79d8e68c3517db280.jpg",[],{"id":327,"slug":328,"title":329,"dynasty":18,"author":19,"museum":20,"description":330,"tags":331,"thumbUrl":333,"material":33,"size":34,"collection":35,"collections":334,"showCount":69,"zanCount":11,"manualWeight":11,"mainColor":54},258239,"qing-hua-an-ba-xian-wen-wan-yi-ming-258239","青花暗八仙纹碗","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。",[332,99,7,65],"青花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c51818cfbcb67e8d177257f606f3ff2.jpg",[],{"id":336,"slug":337,"title":338,"dynasty":18,"author":19,"museum":20,"description":339,"tags":340,"thumbUrl":349,"material":33,"size":34,"collection":35,"collections":350,"showCount":69,"zanCount":11,"manualWeight":11,"mainColor":39},248030,"ti-hong-jin-di-hua-guo-an-ba-xian-wen-fang-xia-yi-ming-248030","剔红锦地花果暗八仙纹方匣","此匣朱漆莹润厚重，满工精雕。盖面以回字开光界分空间，花果柔婉、暗八仙灵动暗藏其间，瑞意悠长。通体以规整锦纹为地，如织似绣，衬得主体纹饰层次分明、古拙雅致。四壁锦地匀净齐整，铜质小钮点饰其间，更添沉静古意。方足挺括端庄，将整器稳稳承托，兼顾收纳实用与陈设美感。刀工圆熟流畅，雕饰饱满细密，把吉祥意趣融于日常器用，尽显含蓄雅致的传统工艺之美。",[98,66,341,120,342,343,344,345,346,347,348,7],"剔红","锦地纹","花果纹","暗八仙纹","方形器物","红漆","锦地","花果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdf7ce9c5058ffcb1c80fb51bda859f3.jpg",[],{"id":352,"slug":353,"title":354,"dynasty":18,"author":19,"museum":20,"description":355,"tags":356,"thumbUrl":360,"material":33,"size":34,"collection":35,"collections":361,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},268377,"huang-se-duan-ding-ling-xiu-sheng-shou-wu-jiang-wen-huo-ji-xue-ye-yi-ming-268377","黄色缎钉绫绣圣寿无疆纹活计-靴掖","这幅绣作以明黄缎为底，中心团寿饱满醒目，朱红线迹沉稳厚重。四角“圣寿无疆”四字，以钉绫填色勾勒，笔意朴拙端方。衬以暗八仙纹样与缠枝花卉，锤、笛、花篮诸物错落排布，柔枝舒展，与刚劲文字相映成趣。\n\n绣工精细入微，钉绫边缘齐整光洁，绒色过渡柔和明丽，将祝寿祈祥之意融于方寸绣面，尽显华贵雅致，把绵长的颂寿心意藏在细密针脚之中。",[76,357,358,7,25,359,235],"靴掖","寿字纹","织绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba4fedca65ca46e1528dafc353662eb3.jpg",[],{"id":363,"slug":364,"title":282,"dynasty":18,"author":19,"museum":20,"description":283,"tags":365,"thumbUrl":368,"material":33,"size":34,"collection":35,"collections":369,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},267193,"huang-se-duan-kou-man-na-an-ba-xian-tuan-shou-wen-yao-yuan-he-bao-yi-ming-267193",[285,25,76,7,245,366,322,367],"腰圆荷包","珠饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46ebe1fc4821c58490a5efbc4e680608.jpg",[],{"id":371,"slug":372,"title":373,"dynasty":18,"author":19,"museum":20,"description":374,"tags":375,"thumbUrl":380,"material":33,"size":34,"collection":35,"collections":381,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},263496,"qian-long-kuan-dou-cai-chi-er-da-ping-yi-ming-263496","乾隆款斗彩螭耳大瓶","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[99,204,376,377,7,378,379],"螭耳","缠枝花卉","瓶","彩绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3d81563ee1a1575f1338d228782d295.jpg",[],1777535714890]