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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。",[127,44,128,129,24,7],"陶瓷","龙","青花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67935ad38d15cd93d6ffc06517c51935.jpg",[],{"id":133,"slug":134,"title":135,"dynasty":18,"author":19,"museum":20,"description":136,"tags":137,"thumbUrl":142,"material":29,"size":30,"collection":31,"collections":143,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},251875,"ma-nao-tao-zhi-bi-jia-yi-ming-251875","玛瑙桃枝笔架","此件以黄调玛瑙为材，色泽澄澈温润，莹光内敛。依料随形施艺，将天然石色肌理化作虬曲桃枝，俏色巧思尽显。刀工婉转细腻，顺着玛瑙脉络勾勒出舒展叶片与饱满桃实，枝桠盘错间带着春日鲜活意趣，仿佛把半枝春桃裁置于案头。\n\n器物兼具石材厚重与灵秀雅致，将文房雅具的清隽藏于刀工之中，静卧木座之上，晕开案头幽闲雅致，是玉雕俏色工艺与文房审美相融的精巧之作，尽显文玩清韵。",[18,138,24,139,7,44,140,141],"玛瑙","桃枝","文房","设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17aaafc853dd1da3978d47eab24106fb.jpg",[],{"id":145,"slug":146,"title":147,"dynasty":124,"author":19,"museum":20,"description":148,"tags":149,"thumbUrl":152,"material":29,"size":30,"collection":31,"collections":153,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},250952,"qing-yu-tian-ran-xing-shan-shi-bi-jia-yi-ming-250952","青玉天然形山石笔架","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。",[150,24,151,7,44],"玉石","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F444d1b9351eb8c4167faa7238a97de2c.jpg",[],{"id":155,"slug":156,"title":157,"dynasty":18,"author":19,"museum":20,"description":158,"tags":159,"thumbUrl":163,"material":29,"size":30,"collection":31,"collections":164,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},249435,"qia-si-fa-lang-chan-zhi-hua-hui-wen-bi-jia-yi-ming-249435","掐丝珐琅缠枝花卉纹笔架","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”。",[18,160,161,7,162],"掐丝珐琅","缠枝花卉","珐琅器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28e122bd16ad84b8b6ed2bb38d1027a7.jpg",[],{"id":166,"slug":167,"title":168,"dynasty":18,"author":19,"museum":20,"description":158,"tags":169,"thumbUrl":172,"material":29,"size":30,"collection":31,"collections":173,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},249433,"qian-long-kuan-qia-si-fa-lang-gou-lian-wen-bi-jia-yi-ming-249433","乾隆款掐丝珐琅勾莲纹笔架",[170,160,171,7,162,27],"清代","勾莲纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd6dc4b77be20d7917702eb667ae52d8.jpg",[],{"id":175,"slug":176,"title":168,"dynasty":18,"author":19,"museum":20,"description":158,"tags":177,"thumbUrl":180,"material":29,"size":30,"collection":31,"collections":181,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},249432,"qian-long-kuan-qia-si-fa-lang-gou-lian-wen-bi-jia-yi-ming-249432",[170,160,171,7,27,178,179],"琺瑯器","铜胎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25ba51f4b3ba8c5c4b196a1ed45ab33a.jpg",[],{"id":183,"slug":184,"title":185,"dynasty":18,"author":19,"museum":20,"description":186,"tags":187,"thumbUrl":10,"material":29,"size":30,"collection":31,"collections":189,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":81},246472,"ti-hong-shan-shui-tu-si-feng-bi-jia-yi-ming-246472","剔红山水图四峰笔架","此件以剔红工艺雕琢而成，四峰层峦错落，仿若截取了一隅富春山色。匠人以刀代笔，在朱漆层间刻绘苍松虬枝舒展，山坳里草堂隐现，林泉意趣扑面而来。浮雕层次分明，刀法圆润细腻，将山水悠远的空灵意境凝缩于方寸案头。作为文房清供，既可为毛笔安歇之处，亦能凭添案头雅韵，把文人心中的林泉隐逸之思融于手作之中，尽显工艺精巧匠心，将中式山水美学藏于日常文玩之间。",[170,188,24,25,69,7],"漆器",[],1777535724591]