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anCount":11,"manualWeight":11,"mainColor":35},270103,"qian-long-kuan-fen-se-bo-li-guang-su-yuan-he-yi-ming-270103","乾隆款粉色玻璃光素圆盒","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",[7,79,154,233],"圆盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4bf64111c69053aa4defb350290d313.jpg",[],{"id":237,"slug":238,"title":239,"dynasty":18,"author":19,"museum":20,"description":240,"tags":241,"thumbUrl":244,"material":30,"size":31,"collection":32,"collections":245,"showCount":206,"zanCount":11,"manualWeight":11,"mainColor":51},270090,"zi-se-bo-li-tao-shi-zhui-yi-ming-270090","紫色玻璃桃式坠","此件坠饰以深紫玻璃为材，澄澈莹润如凝炼的暗夜紫霞，仿寿桃造型饱满丰润，带着成熟鲜果的鲜活生机。枝叶蜷曲裹于桃身，刀工细腻灵动，将叶片舒展脉络摹刻入微，写实中带着雅致意韵。\n\n朱红圆珠配米珠串饰点缀其上，冷暖色调相映，更衬紫料的莹润华贵。将佩饰与吉祥意趣相融，暗含福寿绵长的美好祈愿，小巧雅致可赏可玩，尽显旧时审美中内敛精巧的雅致意趣，是料器工艺中的不俗之作。",[242,7,104,243],"饰品","桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F202493ac636437afb114f2b23dd05109.jpg",[],{"id":247,"slug":248,"title":249,"dynasty":250,"author":19,"museum":20,"description":251,"tags":252,"thumbUrl":10,"material":30,"size":31,"collection":32,"collections":254,"showCount":206,"zanCount":11,"manualWeight":11,"mainColor":35},270064,"bai-se-bo-li-gu-wen-qi-yi-ming-270064","白色玻璃谷纹璂","汉","汉代青铜器产生于青铜时代的晚期，在我国青铜史上占有特殊的地位，体现出独特的设计思想和特征，具有卓越的科学功能，并对当今设计有很大的启示作用。\n汉代青铜器很多都是素纹，大部分还是铸造的，也有的花纹、铭文是用錾子雕刻的。比如汉代的鎏金杯子、奁、盒、碗等用具上的花纹，多是雕刻的。\n汉代以后至唐代的铜器，铸造的花纹很多，其中有打料的铜、金、银器，并且也有了大、小焊的技术。\n西汉初期（高祖至景帝），此时的青铜器，基本为素面。其鼎主要承自秦式，但一般三足更矮。敦盒形。\n壶有大小二型并存，大型壶腹下部略呈收缩之状，腹比秦壶要鼓；小型壶的腹部较瘦长，经常铸出变形螭纹。钫此时更流行，有的做得很讲究，通腹有镶嵌绿松石的三角云纹。\n鍪和蒜头壶继续流行。日用器皿中，高灯多见，豆式熏炉盛行，带钩显琵琶形、棒形、琴形讲究的多做成鎏金、错金银、镶玉或绿松石。\n西汉中期至东汉早期（西汉武帝至东汉章帝）是西汉青铜器最发达的时期，也是汉代青铜器新风格最终形成的时期。这时期最多见的青铜用器是鼎、壶、钫、尊、熨斗、带钩、铜镜。\n灯：古代照明器具。青铜灯出现于战国时期，而盛行于汉代。最著名的当属长信宫灯了，灯的样子很多，较普通的是有圆盘，盘内有钎，盘下有柱，柱下有圈足；也有盘下作雁足状的，盘用来盛油或插烛。\n另有一种灯自铭为“行灯”，它圆盘边有把，盘下有三短足。青铜灯最富感染力的当属那些铸成人形、禽形、兽形、树形的艺术造型灯。\n博山炉：古代焚香的器具。一般炉体作圆形，用来放香料，体下有高足，有的足还铸成人形或鸟兽形；炉盖均高而尖，雕镂成山峦形上有人物、走兽，象征海上仙山“博山”，故名“博山炉”。盛行于汉代。\n樽：古代盛酒的器皿，器作圆形，直壁，有盖，腹较深，下有三兽足，旁有铺首衔环耳。\n洗：盥洗用器皿。形状象盆，圆形、宽口沿，平或圆底，腹外多有铺首衔环耳，内底常用双鱼作装饰，并多铸吉语。盛行于汉晋。\n耳杯：古代饮酒器。多漆制，称“羽觞”。铜质者，器作椭圆形，腹壁有二环耳。\n熨斗：古式熨烫衣服的工具。形状为圆腹宽口沿，有长柄，盛行于汉魏。\n东汉中晚期（和帝至献帝）青铜器又有了新的变化。此时使用较多的铜器日用品有：钟、扁壶、盆、釜、鐎斗、灯、博山炉、炉、熨斗、尊、耳杯、虎子、车马器、带钩、铜镜、玺印等。\n此时青铜器的特点是比以前轻薄、错金银技术在青铜器装饰中几乎消失，鎏金仍多，鎏金器上出现了细线阴刻云纹。",[7,242,104,253],"谷纹",[],{"id":256,"slug":257,"title":258,"dynasty":18,"author":19,"museum":20,"description":111,"tags":259,"thumbUrl":264,"material":30,"size":31,"collection":32,"collections":265,"showCount":206,"zanCount":11,"manualWeight":11,"mainColor":35},229225,"shi-ba-shi-jiu-shi-ji-fei-xue-di-tao-lan-bo-li-pan-chi-bi-yan-hu-yi-ming-229225","十八 十九世纪 霏雪地套蓝玻璃蟠螭鼻烟壶",[260,261,262,263,7,113,104],"清代","霏雪地套玻璃","套蓝玻璃","蟠螭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08f9f4a21cdcf761f7cbf2bb3fc71b3a.jpg",[],{"id":267,"slug":268,"title":269,"dynasty":18,"author":19,"museum":20,"description":270,"tags":271,"thumbUrl":274,"material":30,"size":31,"collection":32,"collections":275,"showCount":276,"zanCount":11,"manualWeight":11,"mainColor":35},281523,"bai-yu-bo-li-cai-hua-hua-cha-yi-ming-281523","白玉玻璃彩画花插","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。",[7,272,273,46,79,42],"花插","彩画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb71231345a9a0d9c3102a8c36ec3f1e5.jpg",[],1,{"id":278,"slug":279,"title":280,"dynasty":18,"author":19,"museum":20,"description":281,"tags":282,"thumbUrl":285,"material":30,"size":31,"collection":32,"collections":286,"showCount":276,"zanCount":11,"manualWeight":11,"mainColor":35},281515,"bai-bo-li-tuan-hua-wen-gai-guan-yi-ming-281515","白玻璃团花纹盖罐","此器以通透白玻璃为骨，器形饱满圆融，盖钮弧度温婉，拿捏合宜。刀工利落的团花錾刻于胎身，纹路舒展雅致，嵌饰的淡紫玻璃圆晕染柔韵，与清透白玻相映成趣。颈沿描金勾勒轮廓，冷硬玻璃中和金饰的张扬，让清隽底色晕开几分富丽。\n\n器物融贯中西巧思，既保有中式器物的端庄内敛，又借西洋玻璃工艺凸显剔透华光，将寻常储物之具，雕琢为赏用兼具的精巧佳器，静静伫立间尽显雅致奢丽的质感。",[23,7,79,283,284,25],"盖罐","团花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9d2e04252e3470e55c69bdb700b9794.jpg",[],{"id":288,"slug":289,"title":290,"dynasty":18,"author":19,"museum":20,"description":21,"tags":291,"thumbUrl":294,"material":30,"size":31,"collection":32,"collections":295,"showCount":276,"zanCount":11,"manualWeight":11,"mainColor":51},273327,"miao-jin-hua-da-ping-gong-yan-yi-ming-273327","描金花大瓶贡烟",[79,292,7,25,293],"烟具","贡烟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fde3b72cda8ac046b3f710ecb446b9b.jpg",[],{"id":297,"slug":298,"title":299,"dynasty":18,"author":19,"museum":20,"description":300,"tags":301,"thumbUrl":306,"material":30,"size":31,"collection":32,"collections":307,"showCount":276,"zanCount":11,"manualWeight":11,"mainColor":308},273126,"bing-pian-you-yi-ming-273126","冰片油","瓶身如凝脂琥珀，温润通透。珐琅彩饰鲜亮饱满，朱红勾衬底色，明黄与宝蓝晕染花叶，层叠间尽显鲜活生机。灵禽静立花间，翎羽纹路纤毫毕现，姿态悠然雅致，中式花鸟意趣糅合西洋装饰格调，艳而不俗。素净金属口沿收束器形，沉稳内敛中和彩饰跳脱，将中西工艺精妙相融。整器工艺细致，配色大胆热烈，方寸间尽显巧思，是别具一格的精巧佳作。",[23,7,302,79,303,304,46,305],"珐琅彩","花鸟","飞鸟","彩绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0e6cd3874d59f79aebf2d971e769478.jpg",[],"37474F",{"id":310,"slug":311,"title":312,"dynasty":18,"author":19,"museum":20,"description":313,"tags":314,"thumbUrl":318,"material":30,"size":31,"collection":32,"collections":319,"showCount":276,"zanCount":11,"manualWeight":11,"mainColor":35},270476,"xuan-tong-kuan-cha-se-bo-li-pie-kou-bei-yi-ming-270476","宣统款茶色玻璃撇口杯","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。",[23,7,315,79,316,317],"饮酒器","杯","茶色玻璃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd6c278f92a43fc86641f504166e3505.jpg",[],{"id":321,"slug":322,"title":323,"dynasty":18,"author":19,"museum":20,"description":111,"tags":324,"thumbUrl":328,"material":30,"size":31,"collection":32,"collections":329,"showCount":276,"zanCount":11,"manualWeight":11,"mainColor":51},270413,"qiu-san-kuan-bai-se-bo-li-nei-hua-shan-shui-hua-hui-tu-shuang-lian-bi-yan-hu-yi-ming-270413","秋三款白色玻璃内画山水花卉图双连鼻烟壶",[132,7,113,303,114,304,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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。",[7,79,154,620,629],"盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc476d03fad52f3f706a712321d02271f.jpg",[],{"id":633,"slug":634,"title":635,"dynasty":18,"author":19,"museum":20,"description":199,"tags":636,"thumbUrl":638,"material":30,"size":31,"collection":32,"collections":639,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":308},270479,"qian-long-kuan-bai-se-di-tao-hong-se-bo-li-tao-fu-wen-shui-cheng-yi-ming-270479","乾隆款白色地套红色玻璃桃蝠纹水丞",[7,104,212,637,243,203,103],"蝙蝠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd83cf9d8c3b243e34c18fd200a43434.jpg",[],{"id":641,"slug":642,"title":643,"dynasty":18,"author":19,"museum":20,"description":313,"tags":644,"thumbUrl":646,"material":30,"size":31,"collection":32,"collections":647,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},270478,"tong-zhi-kuan-lan-se-bo-li-guang-su-bei-yi-ming-270478","同治款蓝色玻璃光素杯",[7,315,79,645,23],"光素杯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd50d8984a31e0a594249a427b96c057a.jpg",[],{"id":649,"slug":650,"title":651,"dynasty":18,"author":19,"museum":20,"description":313,"tags":652,"thumbUrl":653,"material":30,"size":31,"collection":32,"collections":654,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},270477,"guang-xu-kuan-lan-se-bo-li-pie-kou-bei-yi-ming-270477","光绪款蓝色玻璃撇口杯",[68,7,23,315,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F130dcc906642209b51919205e1720ca8.jpg",[],{"id":656,"slug":657,"title":658,"dynasty":18,"author":19,"museum":20,"description":89,"tags":659,"thumbUrl":660,"material":30,"size":31,"collection":32,"collections":661,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":308},270475,"tong-zhi-kuan-lan-se-bo-li-guang-su-pie-kou-wan-yi-ming-270475","同治款蓝色玻璃光素撇口碗",[7,79,80,345,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bf16df19d0482b74c5a2e862adf554f.jpg",[],{"id":663,"slug":664,"title":665,"dynasty":18,"author":19,"museum":20,"description":666,"tags":667,"thumbUrl":669,"material":30,"size":31,"collection":32,"collections":670,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},270474,"dao-guang-kuan-qian-lan-se-bo-li-guang-su-zha-dou-yi-ming-270474","道光款浅蓝色玻璃光素渣斗","此器物造型温婉舒展，敞口外撇，束颈敛收，圆腹丰腴，下承矮圈足，线条柔婉流畅，宛如浑然天成的一掬幽蓝。色泽匀净澄澈，似将暮春晴空凝炼熔铸，莹润柔光内敛含蓄。通体光素无饰，以纯粹的色彩与舒展器型传递东方极简雅致的审美意趣，尽显清隽沉静的古韵风华，将制器匠心与工艺质感尽皆展现，自带悠然沉静的古典气韵。",[7,79,81,80,668],"浅蓝色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1bbb3e3bc1b8b87dca280a392dff57b.jpg",[],{"id":672,"slug":673,"title":674,"dynasty":18,"author":19,"museum":20,"description":675,"tags":676,"thumbUrl":677,"material":30,"size":31,"collection":32,"collections":678,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":308},270473,"xian-feng-kuan-qian-lv-se-bo-li-guang-su-zha-dou-yi-ming-270473","咸丰款浅绿色玻璃光素渣斗","此器造型温婉雅致，口沿外撇，颈腹线条过渡圆融柔润，似将一捧春水凝为实体。浅绿玻璃质地匀净莹润，泛着哑光柔光，如雨后新荷上的晨露般清透温糯。通体光素无饰，以纯粹形制凸显材质本身的温润质感，摒弃繁复雕饰，将极简美学贯彻到底，静穆端庄间尽显内敛克制的宫廷雅趣，藏着匠人对材质本真之美的极致探寻。",[7,79,81,80,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffde64792282562949d1f629c82ac56c3.jpg",[],{"id":680,"slug":681,"title":682,"dynasty":18,"author":19,"museum":20,"description":683,"tags":684,"thumbUrl":685,"material":30,"size":31,"collection":32,"collections":686,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},270472,"dao-guang-kuan-lv-se-bo-li-guang-su-zha-dou-yi-ming-270472","道光款绿色玻璃光素渣斗","这件器物以玻璃为材，色泽如深湖凝碧，莹润清透，自带沉静雅致的光泽。造型线条柔婉舒展，撇口束颈，丰肩圆腹，轮廓饱满却不见冗赘，尽显简约克制之美。通体光素无饰，将玻璃材质本身的清隽质感烘托到极致，没有繁复纹样的加持，反而更凸显出器物沉静端庄的古典气韵，尽显清代玻璃工艺含蓄内敛的审美意趣，是素净雅致的中式美学典范之作。",[7,79,81,361,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2756d3cd1e437a2ccc89869535f87f72.jpg",[],{"id":688,"slug":689,"title":690,"dynasty":18,"author":19,"museum":20,"description":691,"tags":692,"thumbUrl":693,"material":30,"size":31,"collection":32,"collections":694,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},270471,"xian-feng-kuan-lv-se-bo-li-guang-su-zha-dou-yi-ming-270471","咸丰款绿色玻璃光素渣斗","这件器物莹润通透，沉静湖绿似将深潭凝于方寸，自带清冽柔光。撇口束颈，丰肩鼓腹下承矮圈足，线条婉转舒展，全无多余装饰，以极简形制勾勒出秀雅轮廓。\n光线下匀净光泽缓缓晕开，尽显玻璃料质的纯粹莹纯。以素净诠释大雅，将材质本真的温润清透之美尽数释放，含蓄内敛间尽显东方器物的隽秀格调，静穆之中藏着不俗匠作功力，是素雅器物美学的绝佳体现。",[7,79,80,361,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06d6295dd89687475074ea1ec8c6f3f5.jpg",[],{"id":696,"slug":697,"title":698,"dynasty":18,"author":19,"museum":20,"description":21,"tags":699,"thumbUrl":7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