[{"data":1,"prerenderedAt":247},["ShallowReactive",2],{"subject-bao-lan-se":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},11062,"bao-lan-se","宝蓝色","宝蓝色画高清赏析","精选中国历代宝蓝色题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda581d2088ace7bf29c1b400215580ff.jpg",0,20,[14,34,48,63,73,86,97,110,119,128,137,150,159,170,183,193,206,215,227,236],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":27,"material":28,"size":29,"collection":30,"collections":31,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":33},267827,"bao-lan-se-mei-zhu-wen-luo-yi-ming-267827","宝蓝色梅竹纹罗","清","佚名","藏地不详","宝蓝底色沉静浓艳，自带古雅华贵气质，竖向绞罗细纹如凝滞水纹，赋予织物含蓄肌理。提花梅竹隐现其间，梅花攒簇柔婉，竹叶舒展清劲，一柔一刚，暗合岁寒双友的高洁意涵。\n\n纹样排布错落规整，疏朗有致，提花工艺细腻入微，梅竹与罗纹肌理相融，似蒙轻烟薄雾，雅致内敛。将传统文人推崇的君子风骨织入经纬，藏起清冷疏淡的意趣，是丝织工艺与古典审美相映成趣的精巧之作，静静晕开旧时光里的清雅格调。",[23,24,25,7,26],"布料","梅","竹","罗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94082d6bfc685ccde90fdb7b475aaaf1.jpg","未知","Xcm*Xcm","",[],5,"2A56C6",{"id":35,"slug":36,"title":37,"dynasty":18,"author":19,"museum":20,"description":38,"tags":39,"thumbUrl":44,"material":28,"size":29,"collection":30,"collections":45,"showCount":46,"zanCount":11,"manualWeight":11,"mainColor":47},266440,"bao-lan-se-da-yang-hua-wen-tai-xi-duan-shang-zhen-zhu-mao-xia-yin-shu-pi-chen-yi-yi-ming-266440","宝蓝色大洋花纹泰西缎上珍珠毛下银鼠皮衬衣","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。",[40,41,23,42,43,7],"衣帽","衬衣","大洋花纹","皮毛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9269638ba275729bd764a44462841f24.jpg",[],3,"BDBDBD",{"id":49,"slug":50,"title":51,"dynasty":18,"author":19,"museum":20,"description":52,"tags":53,"thumbUrl":60,"material":28,"size":29,"collection":30,"collections":61,"showCount":62,"zanCount":11,"manualWeight":11,"mainColor":33},264269,"bao-lan-se-hai-tang-ju-die-tuan-shou-zi-wen-zhuang-hua-duan-pao-liao-yi-ming-264269","宝蓝色海棠菊蝶团寿字纹妆花缎袍料","宝蓝底色沉静华贵，回纹环绕团寿，暗藏福寿绵长的美好祈愿。折枝海棠与菊蝶错落铺陈，粉白青绿的绣线晕染雅致柔光，妆花工艺让丝线晕出灵动光泽，纹样排布规整却不失生趣。\n织纹间将吉祥寓意与雅致审美相融，针脚细密工致，晕色过渡自然，尽显清代织绣工艺的考究精妙，藏着旧时世家的温婉审美意趣，是实用与装饰性兼备的织绣佳作。",[23,54,55,56,57,58,59,7],"袍料","妆花缎","海棠","菊花","蝴蝶","团寿纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22c7fb606058273fe4157818434dc8fb.jpg",[],2,{"id":64,"slug":65,"title":66,"dynasty":18,"author":19,"museum":20,"description":67,"tags":68,"thumbUrl":71,"material":28,"size":29,"collection":30,"collections":72,"showCount":62,"zanCount":11,"manualWeight":11,"mainColor":47},263774,"bao-lan-pi-qiu-hua-wen-chun-chou-yi-ming-263774","宝蓝皮球花纹春绸","这匹织物宝蓝底色浓郁鲜亮，历经岁月仍留存饱满色泽，局部晕开的浅痕，是时光晕染下的温柔印记。细密紧致的绸面之上，皮球花纹虽已淡褪，仍能窥见当初纹样的精巧雅致，暗合旧时含蓄内敛的审美意趣。边缘垂落的流苏带着手工织造的朴拙温度，卷叠布面的褶皱藏着经年摩挲的日常痕迹，是传统染缬工艺与日常服饰美学融合的缩影，静静诉说旧时匠人的织造心血，尽显旧时民间风物的温婉质感。",[23,40,7,69,70],"皮球花纹","绸料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18d66aaf6b8617ec358b6a151b5b3455.jpg",[],{"id":74,"slug":75,"title":76,"dynasty":18,"author":19,"museum":20,"description":77,"tags":78,"thumbUrl":82,"material":28,"size":29,"collection":30,"collections":83,"showCount":84,"zanCount":11,"manualWeight":11,"mainColor":85},268888,"bao-lan-se-wu-hu-si-hai-tuan-shou-wen-zhuang-hua-duan-yi-ming-268888","宝蓝色五湖四海团寿纹妆花缎","此织作以撞色分割画幅，半幅宝蓝沉静雅致，半幅胭红热烈华贵，渐变晕染过渡自然柔和。以团寿纹为视觉骨架，缠枝纹盘绕环绕，宝相花错落点缀其间，妆花工艺织就的金线勾边饱满光亮，将五湖四海的吉祥寓意暗藏经纬之中。\n整体排布规整匀净，吉庆纹样环环相扣，带着清代织造的华贵气度，又将福寿绵长的美好祈愿融于寸缕，尽显传统织绣工艺的精巧心思。",[7,59,55,23,79,80,81],"织物","服饰面料","五湖四海纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff71b34df8a17ea21299850b369c672a7.jpg",[],1,"37474F",{"id":87,"slug":88,"title":89,"dynasty":18,"author":19,"museum":20,"description":90,"tags":91,"thumbUrl":95,"material":28,"size":29,"collection":30,"collections":96,"showCount":84,"zanCount":11,"manualWeight":11,"mainColor":33},267784,"bao-lan-se-juan-ye-da-hua-wen-hua-duan-yi-ming-267784","宝蓝色卷叶大花纹花缎","深邃浓郁底色如幽深夜空，晕亮缎面，尽显华贵质感。卷叶舒展开合似流云拂过，饱满大花雍容端庄，柔粉配浅黄的小花团点缀其间，明暗光泽在经纬间流转，织就出雅致层次。\n\n匠人的巧思藏在每一缕走线里，沉稳底色托衬鲜亮纹样，庄重里带着灵动娇柔，将东方审美里的温婉华贵融于方寸织物间，尽显传统织绣工艺的精致工巧，是兼具装饰性与实用性的织造佳作。",[23,92,7,93,94],"花缎","卷叶纹","花卉纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22bf46e5375a7712b2e659f670a481bd.jpg",[],{"id":98,"slug":99,"title":100,"dynasty":18,"author":19,"museum":20,"description":101,"tags":102,"thumbUrl":107,"material":28,"size":29,"collection":30,"collections":108,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":109},270081,"guang-xu-kuan-bao-lan-se-bo-li-guang-su-pie-kou-ping-yi-ming-270081","光绪款宝蓝色玻璃光素撇口瓶","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。",[103,104,105,7,106],"玻璃器","撇口瓶","光素","器皿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b88cf721d707a62811d97a61753b371.jpg",[],"795548",{"id":111,"slug":112,"title":113,"dynasty":18,"author":19,"museum":20,"description":38,"tags":114,"thumbUrl":117,"material":28,"size":29,"collection":30,"collections":118,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},268142,"bao-lan-se-ke-jin-tuan-shou-wen-jia-chang-yi-yi-ming-268142","宝蓝色缂金团寿纹夹氅衣",[40,23,115,59,116,7],"缂金","氅衣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfd0fdab5f78b32f3eca59a6fc0b2eea.jpg",[],{"id":120,"slug":121,"title":122,"dynasty":18,"author":19,"museum":20,"description":123,"tags":124,"thumbUrl":126,"material":28,"size":29,"collection":30,"collections":127,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},267815,"bao-lan-se-da-hua-wen-tai-xi-duan-yi-ming-267815","宝蓝色大花纹泰西缎","宝蓝底色沉郁华贵，将粉白泰西花卉托衬得柔丽鲜活。缠枝卷叶蜿蜒舒展，勾勒出流畅浪漫的纹样脉络，带着洛可可式的柔婉意趣，却在靛蓝底色晕染下，糅合东方雅致端庄。明暗过渡自然柔和，饱满花型层次尽显，细密织纹暗藏其间，缎面光泽内敛温润，尽显织造工艺的精妙独到。它承纳西风东渐的审美新风，将泰西纹样融入东方织造，两种美学在此谐和相融，静诉着晚清纺织技艺兼容并蓄的别致新意。",[23,125,94,7],"绸缎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc577156ca2aca316edb634a945018aa.jpg",[],{"id":129,"slug":130,"title":131,"dynasty":18,"author":19,"museum":20,"description":132,"tags":133,"thumbUrl":135,"material":28,"size":29,"collection":30,"collections":136,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},267779,"bao-lan-se-da-yang-hua-wen-tai-xi-duan-yi-ming-267779","宝蓝色大洋花纹泰西缎","宝蓝底色沉敛华贵，浅蓝洋花饱满舒展，如凝霜含露般层叠盛放。缠枝暗纹蜿蜒其间，将主花错落铺陈，繁而不杂尽显章法。缎面晕着柔润内敛的光泽，将泰西浪漫花型与东方配色审美相融，既有西洋织物的鲜活灵动，又暗藏中式传统的对称雅致。\n\n它带着晚清的审美印记，静诉着彼时本土审美与西洋织造美学的碰撞交融，是那个时代纺织美学流变的鲜活缩影。",[23,94,7,134],"缎面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cd92d939421b3d103a02d055b79cdec.jpg",[],{"id":138,"slug":139,"title":140,"dynasty":18,"author":19,"museum":20,"description":141,"tags":142,"thumbUrl":148,"material":28,"size":29,"collection":30,"collections":149,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},266436,"bao-lan-se-er-ze-tuan-long-wen-an-hua-jiang-chou-yang-pi-pao-yi-ming-266436","宝蓝色二则团龙纹暗花江绸羊皮袍","清代皇帝服饰有朝服、吉服、常服、行服等。皇帝的龙袍属于吉服范畴，比朝服、衮服等礼服略次一等，平时较多穿着。穿龙袍时，必须戴吉服冠，束吉服带及挂朝珠。龙袍以明黄色为主也可用金黄杏黄等色。古时称帝王之位，为九五之尊。九、五两数，通常象征着高贵，在皇室建筑、生活器具等方面都有所反映。清朝皇帝的龙袍，据文献记载，也绣有九条龙。从实物来看，前后只有八条龙，与文字记载不符，缺一条龙。有人认为还有一条龙是皇帝本身。其实这条龙客观存在着，只是被绣在衣襟里面，一般不易看到。这样一来，每件龙袍实际即为九龙，而从正面或背面单独看时，所看见的都是五龙，与九五之数正好相吻合。另外，龙袍的下摆，斜向排列着许多弯曲的线条，名谓水脚。水脚之上，还有许多波浪翻滚的水浪，水浪之上，又立有山石宝物，俗称“海水江涯”，它除了表示绵延不断的吉祥含意之外，还有“一统山河”和“万世升平”的寓意。\n皇后常服样式，与满族贵妇服饰基本相似，圆领、大襟，衣领、衣袖及衣襟边缘，都饰有宽花边，只是图案有\n所不同。本图展示的服装纹样为凤穿牡丹。整件服装在鲜艳的蓝色缎地上，绣八只彩凤，彩凤中间，穿插数朵牡丹。牡丹的颜色处理得净穆而素雅，色彩变化惟妙，具有传统的山水画特点。与此相反，凤的颜色比较浓重，红绿对比度极为强烈，具有典型民族风格和时代特色。\n清代官服主要品种为长袍马褂。官帽与前朝截然不同，凡军士、差役以上军政人员都戴似斗笠而小的纬帽，按冬夏季节有暖帽、凉帽之分，还视品级高低安上不同颜色、质料的“顶子”，帽后拖一束孔雀翎。翎称花翎，高级的翎上有“眼”（羽毛上的圆斑），并有单眼、双眼、三眼之别，眼多者为贵，只有亲王或功勋卓著的大臣才被赏戴。皇帝有时还赏穿黄马褂，以示特别恩宠。影响所及，其他颜色的马褂遂在官员士绅中逐渐流行，成为一般的礼服。四、五品以上官员还项挂朝珠，用各种贵重珠宝、香木制成，构成清代官服的又一特点。丝纺绣染及各种手工专业的进步，为清代服饰品种的丰富创造了条件。\n清代男装主要是长袍和马褂，袖端呈马蹄形是历代不曾见过的。长袍造型简练，立领直身，偏大襟，前后衣身有接缝，下摆有两开衩（古时称“缺裤”），四开衩和无开衩几种类型。皇室贵族为便于骑射，着四面开衩长袍，即衣前后中缝和左右两侧均有开衩的式样，平民则着左右两侧开衩或称“一裹圆”的不开衩长袍。在我国文学名著《红楼梦》第九十四回“宴海棠贾母赏花妖”一节中，记述了一段内容“那日宝玉本来穿着”一裹圆的皮袄在家休息，忽听贾母要来，便去换了一件狐腋箭袖，罩了一件玄狐腿外褂。这里说明“一裹圆”，是休闲衣服，不可登大雅之堂，所以贾母的到来，必须换掉便装，改着正式穿戴。满清时期长袍外面的马褂身长不过膝，袖宽且短。衣服上的佩饰比较琐繁，一个金银牌上垂挂着数十件小东西，如耳挖子、镊子、牙签，还有一些古代兵器的小模型，如戟、枪之类，佩挂饰物在清代已经形成风尚。",[40,143,7,144,145,146,147,23],"服饰","团龙纹","暗花","江绸","羊皮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ce1e426556d7e9bcd15ab58383dd859.jpg",[],{"id":151,"slug":152,"title":153,"dynasty":18,"author":19,"museum":20,"description":38,"tags":154,"thumbUrl":157,"material":28,"size":29,"collection":30,"collections":158,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},266379,"bao-lan-se-luo-ping-jin-xiu-tuan-shou-zi-wen-dan-chang-yi-yi-ming-266379","宝蓝色罗平金绣团寿字纹单氅衣",[40,23,155,59,116,7,156],"平金绣","刺绣工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8da9a9ebd6c00cdf72a88530f56be6ea.jpg",[],{"id":160,"slug":161,"title":162,"dynasty":18,"author":19,"museum":20,"description":163,"tags":164,"thumbUrl":168,"material":28,"size":29,"collection":30,"collections":169,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":85},263994,"bao-lan-se-di-ba-bao-tuan-shou-wen-zhi-jin-jin-yi-ming-263994","宝蓝色地八宝团寿纹织金锦","《说文》：“锦，襄邑织文。从帛，金声。”即用彩色经纬丝织出各种图案花纹的纺织品，泛指具有多种彩色花纹的丝织物。锦的生产工艺要求高，织造难度大，所以它是古代最贵重的织物。“锦，金也，作之用功重，其价如金。”古人把锦看成和黄金等价。这种织物有经起花和纬起花两种，也叫经锦和纬锦。经锦是用两组或两组以上的经线同一组纬线交织。经线多的二色或三色，一色一根作为一副，如果需要更多的颜色，也可以使用牵色条的方法。纬线有明纬和夹纬；用夹纬把每副中的表经和底经分隔开，用织物正面的经浮点显花。\n用染好颜色的彩色经纬线，经提花、织造工艺织出图案的织物。中国丝织提花技术起源久远。早在殷商时代中国已有丝织物。周代丝织物中出现织锦，花纹五色灿烂，技艺臻于成熟。汉代设有织室、锦署，专门织造织锦，供宫廷享用。自汉武帝后，中国织锦通过丝绸之路传入波斯（今伊朗）、大秦（古罗马帝国）等国。三国时四川蜀锦成为主流。唐代贞观年间窦师伦的对雉、斗羊、翔凤等蜀锦图案，称为绫阳公样。在织造工艺上由经锦改进为纬锦，并出现彩色经纬线由浅入深或由深入浅的退晕手法。北宋宫廷在汴京等地建立规模庞大的织造工场，生产各种绫锦。元代是中国历史上大量生产织金锦（一种加金的丝织物）的时代，宫廷设立织染局、织染提举司，机构庞大，集中了大批优秀工匠。\n明清两代织锦生产集中在江苏南京、苏州，除了官府的织锦局外，民间作坊也蓬勃兴起，形成江南织锦生产的繁荣时期。织锦大多采用传统提花工艺和木制花楼织机，有些织锦因品种不同而有所区别。如宋锦、土家族织锦采用通经断纬工艺，即分段调换彩色纬线，使色彩更加丰富。杭锦采用铁制提花机。织锦种类有南京云锦、四川蜀锦、苏州宋锦、杭州织锦以及少数民族的黎锦、壮锦、傣锦、瑶锦、侗锦、苗锦、土家锦、爱得利斯锦等。1960年以来，中国织锦在继承、发扬传统织锦的基础上，恢复了云锦的妆花锦和蜀锦的浣花锦、锦上添花锦、八答晕锦，并生产了窗帘、沙发套、枕套、被面、台毯、靠垫、床罩、提包、民族服装用料等新品种。\n锦已有3000年以上的历史，战国、西汉以前流行以二色或三色经轮流显花的经锦，包括局部饰以挂经的挂锦、具有立体效果的凸花锦和绒锦。1959年在新疆民丰尼雅遗址发现的东汉“万年如意锦”使用绛、白、绛紫、淡蓝、渥绿五色，通幅分成十二个色条，就是汉代典型的经锦。\n纬锦是用两组或两组以上的纬线同一组经线交织。经线有交织经和夹经；用织物正面的纬浮点显花。1969年在新疆阿斯塔那发现的唐代锦袜，在大红色地上起各种禽鸟花朵和行云的图案，就属于这一种锦。\n经锦和纬锦具有不同的织造效果。经锦的纬密比较低，只用一把梭子，生产效率比较高。纬锦织造比较费时，但可以使用两把以上的梭子，容易变换色彩，色彩丰富。这两种锦在中国出现的时间都比较早。但是六朝以前织造的，以经起花为主；隋唐以后织造的，似乎以纬起花为主。\n在苏联的巴泽雷克发现一批中国战国时期的丝绸，就有用红绿二色纬线织造的纬斜纹起花的纬锦。产生于宋代前后的宋锦以地经、地纬交织成经斜组织，按结经与纹纬交织成纬斜组织。\n金元之际流行加金的丝织物——织金锦，又称“纳石失”。明清时盛行以挖花缎的彩纬多达30—40种，锦面的经、纬方向都有逐花异色的效果，是中国织锦最高水平的代表。\n锦在历史上曾用多棕多蹑机和束棕花楼机织造，现代生产采用纹版提花机。\n国家非常重视非物质文化遗产的保护，南京云锦木机妆花手工织造技艺作为中国古老的织锦技艺最高水平的代表，于2006年列入首批国家级非物质文化遗产名录。2006年5月20日，土家族织锦技艺经国务院批准列入第一批国家级非物质文化遗产名录。2007年6月8日，湖南凤凰水云织锦坊获得国家文化部颁布的首届文化遗产日奖。2009年8月《地理标志产品云锦》国家标准在南京通过国家级专家评审，同年9月成功入选联合国《人类非物质文化遗产代表作名录》。",[165,23,166,59,167,7],"织锦","八宝纹","织金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4081942fcd8ecb22d8fd3824c238bf25.jpg",[],{"id":171,"slug":172,"title":173,"dynasty":18,"author":19,"museum":20,"description":174,"tags":175,"thumbUrl":181,"material":28,"size":29,"collection":30,"collections":182,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":85},263943,"bao-lan-se-si-ze-ling-xian-zhu-shou-wen-zhi-jin-duan-yi-ming-263943","宝蓝色四则灵仙祝寿纹织金缎","宝蓝底色沉敛华贵，赤金纹样熠熠生辉。团窠之内灵仙祝寿图纹精巧排布，环绕的回纹往复连绵，暗喻福寿无尽、吉庆绵长。织金工艺匀细光亮，金线浮于缎面，如星芒坠于幽邃夜幕，华贵雅致融为一体。整体排布齐整规矩，尽显织造工法的考究精细，将祈福美意藏入经纬之间，是兼具审美价值与吉祥寓意的精妙织绣佳品。",[23,176,7,177,178,179,180],"织金缎","灵仙祝寿纹","寿纹","织绣","吉祥纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dd90dbd344d03ae06c67d7567321b47.jpg",[],{"id":184,"slug":185,"title":186,"dynasty":18,"author":19,"museum":20,"description":187,"tags":188,"thumbUrl":191,"material":28,"size":29,"collection":30,"collections":192,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":109},263939,"bao-lan-se-zhe-zhi-mu-dan-ju-wen-zhuang-hua-duan-yi-ming-263939","宝蓝色折枝牡丹菊纹妆花缎","宝蓝色地沉敛华贵，折枝牡丹与菊花交错铺陈，朱红、水红、粉紫、石青晕染出饱满花型，柔婉枝蔓串联整幅纹样，繁而不乱，雅致灵动。\n\n依托妆花缎精妙工艺，通梭与挖花织法结合，彩纬显色鲜亮匀净，将花卉雍容娇妍的姿态尽数呈现，尽显清代织绣的繁复审美与顶尖造诣。下摆织字配流苏收尾，细节处暗藏匠心，将实用与审美融于一体。",[23,79,55,189,57,190,7],"牡丹","折枝花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F177b8a0e8e5ac01c040cb0f5c5fe5f8d.jpg",[],{"id":194,"slug":195,"title":196,"dynasty":18,"author":19,"museum":20,"description":197,"tags":198,"thumbUrl":204,"material":28,"size":29,"collection":30,"collections":205,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":85},263938,"bao-lan-se-san-qiu-wen-zhuang-hua-duan-yi-ming-263938","宝蓝色三秋纹妆花缎","宝蓝底色如深潭凝色，沉静华贵。折枝秋花错落铺陈，紫菊柔瓣轻展，黄蕊明丽点睛，翠绿枝叶婉转舒展，浅褐湖石衬于花下，将三秋清景织就于缎面。妆花工艺施彩精妙，晕染自然柔和，纹样疏密有致，既带着宫廷织造的规整精致，又晕开秋日花木的娴静隽雅，将清秋意趣融于华贵面料，是织绣工艺里兼具审美意涵与实用价值的精巧佳构。",[199,23,79,55,7,200,201,57,202,203],"立轴","设色","花卉","三秋纹","花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ad43ac112c5bec7ab4b1bf1102a1813.jpg",[],{"id":207,"slug":208,"title":209,"dynasty":18,"author":19,"museum":20,"description":210,"tags":211,"thumbUrl":213,"material":28,"size":29,"collection":30,"collections":214,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":109},263936,"bao-lan-se-hui-wen-zhi-jin-duan-yi-ming-263936","宝蓝色回纹织金缎","整体为挂轴装裱，浅金底色之上织就细密回纹暗花，满幅流转内敛华贵的光泽。宝蓝色缎面作天地头，沉润的宝蓝与暖柔金调相映，让视觉层次愈发和谐舒展，底部垂落的宝蓝流苏，柔化了织物规整的形制，添了几分灵动韵味。\n\n它织造紧实匀整，暗纹不事张扬，却在光影流转间缓缓浮现，将制式的端庄雅致融在寸寸丝缕里，静述着旧时织造技艺的精湛造诣，尽显低调奢华的古韵风华。",[23,176,212,7],"回纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff215e480c7077934cdce67a8244c5366.jpg",[],{"id":216,"slug":217,"title":218,"dynasty":18,"author":19,"museum":20,"description":219,"tags":220,"thumbUrl":225,"material":28,"size":29,"collection":30,"collections":226,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},263838,"bao-lan-se-di-tuan-san-duo-jin-shou-zi-wen-zhuang-hua-chou-yi-ming-263838","宝蓝色地团三多金寿字纹妆花绸","宝蓝底色沉敛华贵，衬得绣纹鲜亮夺目。团窠为形，金寿字居于中心，环以桃、石榴、佛手组成的三多纹样，分别承载着长寿、多子、多福的美好祈愿，构图饱满圆融，是清代吉祥纹饰的经典范式。\n\n妆花工艺施色明快雅致，绒线光泽柔润，针脚细密齐整，将瑞果的娇俏形态与寿字的端严风骨巧妙融合，既有装饰的妍丽美感，又饱含传统中式的祈福意韵，尽显彼时织绣工艺的精巧工致与审美意趣。",[23,221,222,223,224,7],"妆花绸","团纹","寿字纹","三多纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5995dfeb89f7358a2595b003df48851.jpg",[],{"id":228,"slug":229,"title":230,"dynasty":18,"author":19,"museum":20,"description":231,"tags":232,"thumbUrl":234,"material":28,"size":29,"collection":30,"collections":235,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":109},263796,"bao-lan-se-mu-dan-wen-zhou-chou-yi-ming-263796","宝蓝色牡丹纹绉绸","幽邃宝蓝作底，自带沉静华贵的气韵。牡丹以暗纹提花隐于绉绸之上，花型雍容舒展，枝蔓柔婉萦回，随绉面肌理微皱若隐若现，晕开含蓄朦胧的韵致。纹样排布匀净规整，无繁冗堆砌，将牡丹的富贵意趣融于幽蓝底色，内敛克制中尽显雅致东方意韵，藏着旧时造物的精巧审美，把传统吉祥寓意与闺阁柔婉心思糅为一体，在暗纹流转间晕开古典织物的温婉风华。",[23,7,189,233],"绉绸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e2c7727530eefa67340aec4e52d8e56.jpg",[],{"id":237,"slug":238,"title":239,"dynasty":18,"author":19,"museum":20,"description":240,"tags":241,"thumbUrl":10,"material":28,"size":29,"collection":30,"collections":246,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":109},263741,"bao-lan-se-hu-jiao-yan-han-wa-wen-hua-chou-yi-ming-263741","宝蓝色胡椒眼汉瓦纹花绸","沉邃底色晕开静穆雅致，细碎胡椒眼地纹铺就细密肌理，汉瓦团纹隐于丝缕之间。提花工艺尽显精巧，团纹排布匀整对称，将秦汉瓦当的苍古韵味织入织物，形制内敛克制，却藏着中式审美里的含蓄雅致。未以繁复彩饰张扬，仅以一色一展织造匠心，把古意与日常织造相融，尽显旧时造物的沉静美学。",[23,242,7,243,244,245],"丝绸","汉瓦纹","胡椒眼","花绸",[],1777535720810]