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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。",[53,54,55,56,7],"明代","陶瓷","青花","宝相花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15e6bfdb94ea84f82d28bc6cf65f3c9c.jpg","未知","Xcm*Xcm","",[],2,"795548",{"id":65,"slug":66,"title":67,"dynasty":68,"author":50,"museum":20,"description":69,"tags":70,"thumbUrl":76,"material":58,"size":59,"collection":60,"collections":77,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":63},270476,"xuan-tong-kuan-cha-se-bo-li-pie-kou-bei-yi-ming-270476","宣统款茶色玻璃撇口杯","清","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。",[71,72,73,74,7,75],"器","玻璃器","饮酒器","日用具","茶色玻璃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd6c278f92a43fc86641f504166e3505.jpg",[],{"id":79,"slug":80,"title":81,"dynasty":68,"author":50,"museum":20,"description":82,"tags":83,"thumbUrl":85,"material":58,"size":59,"collection":60,"collections":86,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":45},261715,"yong-zheng-kuan-qing-hua-chan-zhi-hua-wen-bei-yi-ming-261715","雍正款青花缠枝花纹杯","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。",[54,55,84,7,74],"缠枝花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d614abc22166121a894e4466bda58bb.jpg",[],{"id":88,"slug":89,"title":90,"dynasty":68,"author":50,"museum":20,"description":91,"tags":92,"thumbUrl":97,"material":58,"size":59,"collection":98,"collections":99,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":63},261700,"de-hua-yao-bai-you-long-hu-wen-bei-yi-ming-261700","德化窑白釉龙虎纹杯","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。",[54,73,93,94,95,96,7],"雕刻","白釉","龙","虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F434bb624284f922f19bd82816aaaab12.jpg","瓷器精选",[98],{"id":101,"slug":102,"title":103,"dynasty":18,"author":50,"museum":20,"description":51,"tags":104,"thumbUrl":106,"material":58,"size":59,"collection":60,"collections":107,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":63},257172,"cheng-hua-kuan-qing-hua-fan-wen-bei-yi-ming-257172","成化款青花梵文杯",[53,54,55,105,73,7],"梵文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7e703a9b84c095b3f1e16c94a4e752a.jpg",[],{"id":109,"slug":110,"title":49,"dynasty":18,"author":50,"museum":20,"description":51,"tags":111,"thumbUrl":113,"material":58,"size":59,"collection":60,"collections":114,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":63},256208,"cheng-hua-kuan-qing-hua-bao-xiang-hua-wen-bei-yi-ming-256208",[53,54,55,112,7],"宝相花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a46dfa2f86415d171d254e4d94982f1.jpg",[],{"id":116,"slug":117,"title":118,"dynasty":18,"author":50,"museum":20,"description":119,"tags":120,"thumbUrl":127,"material":58,"size":59,"collection":60,"collections":128,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":45},251244,"bai-yu-qian-bao-hua-er-bei-yi-ming-251244","白玉嵌宝花耳杯","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。\n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玉器经历7000多年的发展，从简单的装饰品发展到古代宗教祭拜、礼仪用品，再到象征高尚道德品质的装饰品，最后上升为丰富的艺术鉴赏作品，深入反映了不同历史时期的社会发展演变过程。",[18,121,93,122,123,7,124,125,126],"玉石","嵌宝","花耳","玉器","嵌饰","宝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa82c550d9adc88b615203b0c2bfe98df.jpg",[],{"id":130,"slug":131,"title":132,"dynasty":68,"author":50,"museum":20,"description":82,"tags":133,"thumbUrl":140,"material":58,"size":59,"collection":60,"collections":141,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":63},250040,"yong-zheng-kuan-hua-fa-lang-dai-tuo-gai-bei-yi-ming-250040","雍正款画珐琅带托盖杯",[134,135,136,137,71,7,138,139],"清代","珐琅器","画珐琅","设色","托","装饰纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6169494b1420fab3c5b9f252ccef3c2.jpg",[],{"id":143,"slug":144,"title":145,"dynasty":68,"author":50,"museum":20,"description":69,"tags":146,"thumbUrl":154,"material":58,"size":59,"collection":60,"collections":155,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":63},245904,"yin-bing-jiu-bei-yi-ming-245904","银柄酒杯",[134,147,148,73,149,150,7,151,152,153,93],"银器","金属器","日用器","壶","碟","柄","链","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58441fddc652cbdeb438066278ecd51a.jpg",[],{"id":157,"slug":158,"title":159,"dynasty":160,"author":50,"museum":20,"description":161,"tags":162,"thumbUrl":166,"material":58,"size":59,"collection":60,"collections":167,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":45},221636,"yu-bei-yi-ming-221636","玉杯","宋","中国宋代是一个手工业和工商业空前发展兴盛的时代，国富民强，文化发达。此时期的玉器正处在一个承前启后的转折阶段。两宋玉器承袭两宋画风，通常画面构图复杂，多层次，形神兼备，有浓厚绘画趣味，完成了由唐玉偏重工艺性、雕塑性向宋玉偏重绘画性、艺术性的转变。此时的皇家用玉品种丰富多样，佩饰类有玉束带、玉佩，用具有玉辂，玉磬，礼器有玉圭、玉册等等。内廷专设有玉作，玉料由西域诸国进贡。民间用玉也较前朝为盛，大量出现各种玉佩饰，玉用器。皇家、官僚及民间均风行收藏古玉，古董行开始出现伪造或仿造古玉之风气。因此，宋玉又被分为古玉、时作玉、伪古玉和仿古玉。 　两宋及其同期或稍后的辽金玉文化去除了隋唐五代繁杂的外来文化因素，又继承和发展了隋唐玉文化的市庶化、艺术化特色，特别是融会了两宋绘画的特点和技巧。宋代肖生玉在崇尚写实主义的院画影响下追求形体及运动的准确表现，以显示其内心世界。花鸟玉佩多做隐起、镂空的对称处理，富有生活气息。双勾的经文诗词等铭刻玉器盛极一时。辽金玉器也是由汉族玉工碾成，但其题材却富有边疆民族特色和游牧生活气息，以契丹、女真两族生活为主题的春水佩和玉秋山为其杰出代表，均有着形神兼备的艺术造诣。宋、辽、金都出现了前所未见的有情节、有背景的景观式构图，以镂空起突等法碾琢的悬塑性或立体的肖生玉器。它是这一时代玉器的新兴形式，有着鲜明的时代特点，还出现了受道教影响的神仙题材和“龟游”一类祥瑞玉器。总之，此时期玉器的特点是：玉如凝脂、构图繁复、情节曲折、砣碾遒劲、空灵剔透、形神兼备，是我国玉文化的第二个高峰期。",[163,121,164,165,7,73],"宋代","圆雕","双耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F307cdbe717380e62c6fd2046f064b5ce.jpg",[],{"id":169,"slug":170,"title":171,"dynasty":68,"author":50,"museum":20,"description":69,"tags":172,"thumbUrl":175,"material":58,"size":59,"collection":60,"collections":176,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":45},269934,"zi-tan-diao-mei-hua-wen-shuang-er-bei-yi-ming-269934","紫檀雕梅花纹双耳杯",[173,93,73,174,7,71],"木质","梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef8ea4723cf7acfcb93800ee82033c8d.jpg",[],{"id":178,"slug":179,"title":180,"dynasty":18,"author":50,"museum":20,"description":69,"tags":181,"thumbUrl":184,"material":58,"size":59,"collection":60,"collections":185,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":45},269800,"xi-jiao-diao-fu-gui-wan-dai-tu-bei-yi-ming-269800","犀角雕富贵万代图杯",[93,182,73,7,183],"犀角器","富贵纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09678d9708ae1d84eaf24486488184ec.jpg",[],{"id":187,"slug":188,"title":189,"dynasty":68,"author":50,"museum":20,"description":69,"tags":190,"thumbUrl":193,"material":58,"size":59,"collection":60,"collections":194,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":195},269623,"xi-jiao-diao-pan-chi-wen-yi-shi-bei-yi-ming-269623","犀角雕蟠螭纹匜式杯",[71,73,93,191,192,7],"蟠螭","犀角","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d8aca1b70148289f89a757c567eed29.jpg",[],"FFFFFF",{"id":197,"slug":198,"title":199,"dynasty":68,"author":50,"museum":20,"description":69,"tags":200,"thumbUrl":203,"material":58,"size":59,"collection":60,"collections":204,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":45},269261,"zhu-diao-xiang-yin-li-shuang-er-chang-fang-bei-yi-ming-269261","竹雕镶银里双耳长方杯",[201,93,73,74,147,202,7],"竹雕","象耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95603c6465a9335968ffee9d57a0417f.jpg",[],{"id":206,"slug":207,"title":208,"dynasty":68,"author":50,"museum":20,"description":69,"tags":209,"thumbUrl":210,"material":58,"size":59,"collection":60,"collections":211,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":63},269254,"zhu-diao-xiang-yin-li-dan-er-bei-yi-ming-269254","竹雕镶银里单耳杯",[201,147,73,93,149,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2568ac6b9269eb912a0bbbb16d8bff3b.jpg",[],{"id":213,"slug":214,"title":215,"dynasty":18,"author":50,"museum":20,"description":69,"tags":216,"thumbUrl":219,"material":58,"size":59,"collection":60,"collections":220,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":63},269090,"xi-jiao-diao-he-ye-shuang-chi-wen-bei-yi-ming-269090","犀角雕荷叶双螭纹杯",[93,73,7,217,218,182],"荷","螭龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19cd576c2a2c2227c3bec48f8978e19e.jpg",[],{"id":222,"slug":223,"title":224,"dynasty":225,"author":50,"museum":20,"description":226,"tags":227,"thumbUrl":231,"material":58,"size":59,"collection":60,"collections":232,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":233},262068,"qing-you-ke-hua-xian-wen-bei-yi-ming-262068","青釉刻花弦纹杯","隋","中国瓷器著名传统颜色釉。亦称“青瓷釉”。古代南方青釉，是瓷器最早的颜色釉。\n所谓“青釉”，颜色并不是纯粹的青，有：月白、天青、粉青、梅子青、豆青、豆绿、翠青等，但多少总能泛出一点青绿色。同时，古人往往将青、绿、蓝三种颜色，一统称为“青色”，例如许之衡《饮流斋说瓷》称：“古瓷尚青，凡绿也、蓝也，皆以青括之。”刘子芬《竹园陶说》中也说：“青色一种，常与蓝色相混。雨过天晴，钧窑、元窑之青，皆近蓝色。”“惟千峰翠色、梅子青、豆青、乃为纯青耳。天色本蓝，有时为青。”\n青釉是我国使用最早，延用时间最久，分布最广的一个釉种，它的发明是与我国瓷土矿大都含有一定量的铁矿的现象相一致的。青色也符合我国人民的传统审美情趣。青色与碧玉相若，认为稳重而高雅。浙江、江西、河南等地已出土了不少早至商周时期的原始青釉瓷。六朝至唐宋以越窑为代表的南方青釉瓷；宋到元明的龙泉窑系青瓷；耀州窑、临汝窑、钧窑等宋代北方青瓷；以及明、清以来的景德镇青釉瓷，是青釉发展的几个重要阶段，所谓的宋代“汝、定、官、哥、钧”五大名窑，除定窑外均属青釉瓷。表釉的呈色主要决定于着色氧化物的含铁量与烧成气氛，青釉含铁量一般在1—3%左右，过高会变成黑釉，低了就能烧成白瓷。在还原气氛中烧成。釉色青绿；在氧化气氛中烧成，釉色泛黄。因而陶瓷界所谓的青釉是相对而言的，正如许之衡《饮流斋说瓷》中所说：“古瓷尚青，凡绿也，蓝也，皆以青括之。”",[54,228,229,230,7,73,74],"青釉","刻花","弦纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc054b9cd41e70121bc42b6b76fd858e5.jpg",[],"37474F",{"id":235,"slug":236,"title":237,"dynasty":68,"author":50,"museum":20,"description":91,"tags":238,"thumbUrl":240,"material":58,"size":59,"collection":98,"collections":241,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":233},261395,"de-hua-yao-bai-you-long-hu-jia-cai-bei-yi-ming-261395","德化窑白釉龙虎加彩杯",[54,73,7,95,96,239,94,93],"加彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F529ca3f3d2a2f6bc8410912c2791509b.jpg",[98],{"id":243,"slug":244,"title":245,"dynasty":68,"author":50,"museum":20,"description":51,"tags":246,"thumbUrl":250,"material":58,"size":59,"collection":60,"collections":251,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":63},261301,"zhen-yu-tang-zhi-kuan-qing-hua-you-li-hong-san-xiong-ji-tu-bei-yi-ming-261301","珍玉堂制款青花釉里红三雄鸡图杯",[54,73,7,247,248,2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[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。",[134,135,136,137,291,71,74,7,300],"盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b8cca501d8330d9da99f6b3df3a5e76.jpg",[],{"id":304,"slug":305,"title":306,"dynasty":68,"author":50,"museum":20,"description":307,"tags":308,"thumbUrl":313,"material":58,"size":59,"collection":60,"collections":314,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":233},246789,"ti-hong-chan-zhi-lian-ba-bao-wen-bei-die-yi-ming-246789","剔红缠枝莲八宝纹杯碟","此器以剔红工艺精作，地纹摹仿编织篾席肌理，细密齐整，宛若锦缎。杯碟周身遍雕缠枝莲托八宝，缠枝婉转萦回，莲瓣饱满舒展，八宝纹饰错落隐现于花叶间，层次丰沛分明。杯内镶锡，兼顾审美与实用。\n\n朱红漆色历经时光晕染，凝出温润包浆，沉敛雅致。雕刻刀法圆熟爽利，构图繁而不紊，将吉祥意涵融于器形，尽显髹漆工艺的精巧匠意，静穆中透出华贵雅致，藏着传统手工艺的极致匠心。",[309,310,93,311,312,7,151,74],"漆器","剔红","缠枝莲","八宝纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F290eab2f4fef71aceb7883eb63d260bd.jpg",[],{"id":316,"slug":317,"title":306,"dynasty":68,"author":50,"museum":20,"description":318,"tags":319,"thumbUrl":321,"material":58,"size":59,"collection":60,"collections":322,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":63},246783,"ti-hong-chan-zhi-lian-ba-bao-wen-bei-die-yi-ming-246783","髹朱红漆为地，以细密锦纹衬底，杯腹浮雕缠枝莲托八宝纹样，花叶饱满舒展，线条柔婉灵动，杯口包镶素银，冷冽金属与暖润朱漆相映成趣，中和漆色浓艳。\n\n碟身纹饰与杯身呼应，盘心随形留出置杯位，外壁剔刻纹饰铺陈饱满却无拥塞之感，剔刻刀法圆润精熟，漆色沉穆匀净。整器将吉祥寓意融于细腻刀工，妍秀工致，尽显雕漆工艺的含蓄雅致，是茶席之上兼具审美与实用的佳器。",[68,309,310,320,93,311,312,7,151,74,73],"雕漆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb9e3dc7e5778ce51c8807404c5425ec.jpg",[],{"id":324,"slug":325,"title":306,"dynasty":68,"author":50,"museum":20,"description":326,"tags":327,"thumbUrl":328,"material":58,"size":59,"collection":60,"collections":329,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":63},246782,"ti-hong-chan-zhi-lian-ba-bao-wen-bei-die-yi-ming-246782","这套器物髹红漆为骨，地子摹竹编肌理，匀整细密，宛若篾编天成。杯身浮雕缠枝莲托八宝，卷叶柔婉，瑞物精巧，杯内包银，兼顾雅致与耐用。盘身纹饰与杯身呼应，浮雕铺陈饱满，刀工圆润细腻，走线流畅舒展。沉穆的朱红漆色自带古雅意蕴，将日常用器化作精工雅物，把雕漆工艺的华美与生活意趣相融，尽显传统漆作的匠心雅致。",[134,309,310,93,311,312,7,151,149,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d4d7128cff5eb3b78a8d700d414ebe2.jpg",[],1777535716117]