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sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[23,7,24,25,26,27,28,29,30],"国画","设色","人物","宗教","佛教","地藏菩萨","莲花","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0d01f9871874d39add34560f2264bbe.jpg","未知","Xcm*Xcm","",[],196,"795548",{"id":39,"slug":40,"title":41,"dynasty":42,"author":19,"museum":43,"description":44,"tags":45,"thumbUrl":67,"material":24,"size":34,"collection":68,"collections":69,"showCount":70,"zanCount":71,"manualWeight":11,"mainColor":37},219259,"lv-du-mu-tang-ka-yi-ming-219259","绿度母唐卡","清","美国克利夫兰艺术博物馆","绿度母为观世音菩萨的化身。全称圣救度佛母，我国古代称多罗菩萨、多罗观音，度母有许多不同的化现，包括有二十一度母、五百度母等等，皆为观世音菩萨之化身，而绿度母为所有度母之主尊，总摄其余二十尊化身之所有功德，她能救八种苦难，如狮难、象难、蛇难、水难、牢狱难、贼难、非人难，又称为“救八难度母”。同时，还能把称为五毒的人类行为贪、嗔痴、慢、疑中的“疑”转成究竟圆满的智慧，有护持妇妇幼儿的功德。满足一切众生愿求，现世富贵长寿平安吉祥、除诸病苦业魔障碍等，帮助众生解脱生死苦海，命终往生极乐世界。",[46,47,26,24,48,25,49,50,51,52,53,54,55,56,57,58,59,60,7,61,62,63,64,65,66],"高清","清代","工笔","兽","莲花座","法器","宝相花","祥云","重彩","金箔","神佛","华丽纹饰","佛教题材","传统绘画","宗教艺术","佛教造像","坐姿","珠宝配饰","背光","红绿色调","传统工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5ac8bfafa525c5792f7b1976d8fd638.jpg","人物画精选",[68],173,2,{"id":73,"slug":74,"title":75,"dynasty":76,"author":19,"museum":77,"description":78,"tags":79,"thumbUrl":82,"material":24,"size":34,"collection":68,"collections":83,"showCount":84,"zanCount":71,"manualWeight":11,"mainColor":37},217906,"guan-yin-jing-bian-tu-juan-yi-ming-217906","观音经变图卷","唐","法国国家图书馆","画面分栏叙事，线条如铁线银钩，遒劲中藏柔婉；设色古拙温润，晕染间沉淀着岁月的厚重。左侧人物仪态娴雅，衣纹流转似携清风；中间鬼怪造型夸张，狰狞里仍见动态生机；右侧场景描摹细致，骑乘的昂扬与受刑的肃穆形成对照，暗合经文中的因果寓意。图文相生，将抽象经义化作具象图景，既有宗教的神圣感，又融入世俗生活的烟火气。每一处细节皆显匠心，把经卷故事铺展得鲜活可感，尽显唐代经变画的叙事魅力与艺术高度。",[76,80,26,24,25,81,20,7],"长卷","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a302c97f60fce4016a6eb33371fd9c1.jpg",[68],146,{"id":86,"slug":87,"title":88,"dynasty":18,"author":19,"museum":20,"description":89,"tags":90,"thumbUrl":102,"material":32,"size":33,"collection":34,"collections":103,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":37},226514,"bi-hua-p-4518-cai-hui-qian-shou-qian-yan-guan-yin-guan-yin-tu-yi-ming-226514","壁画P.4518彩绘千手千眼观音观音图","壁画，墙壁上的艺术，即人们直接画在墙面上的画。作为建筑物的附属部分，壁画的装饰和美化功能使它成为环境艺术的一个重要方面。壁画为人类历史上最早的绘画形式之一。\n早在汉朝就有在墙壁上作画的记载，多是在石窟、墓室或是寺观的墙壁，到了现在结合了现代工艺和文化气息，墙壁作画越来越多元、个性地发展，更多地被人们在装修时应用。",[91,7,26,24,25,92,93,94,95,96,97,98,99,100,101],"壁画","观音像","千手千眼","光环","装饰纹样","古画","传统技法","宗教人物","人物画","宗教题材","设色画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab075ae459d8db70624d7a88f36c66cc.jpg",[],114,{"id":106,"slug":107,"title":108,"dynasty":76,"author":19,"museum":20,"description":109,"tags":110,"thumbUrl":114,"material":32,"size":33,"collection":34,"collections":115,"showCount":116,"zanCount":71,"manualWeight":11,"mainColor":37},226287,"ku-zhu-shi-zao-jing-yi-ming-226287","窟主室藻井","莫高窟，俗称千佛洞，坐落在河西走廊西端的敦煌。它始建于前秦宣昭帝苻坚时期，后历经北朝、隋朝、唐朝、五代十国、西夏、元朝等历代的兴建，形成巨大的规模，有洞窟735个，壁画4.5万平方米、泥质彩塑2415尊，是世界上现存规模最大、内容最丰富的佛教艺术地。\n1961年，莫高窟被中华人民共和国国务院公布为第一批全国重点文物保护单位之一。1987年，莫高窟被列为世界文化遗产。\n莫高窟与河南洛阳龙门石窟、山西大同云冈石窟并称中国三大石窟，后加麦积山石窟称四大石窟。 2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[91,26,24,29,111,112,113,7],"卷草","装饰图案","花卉纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff963ad1c51eaf236514c19ad97825a22.jpg",[],106,{"id":118,"slug":119,"title":108,"dynasty":76,"author":19,"museum":20,"description":109,"tags":120,"thumbUrl":126,"material":32,"size":33,"collection":34,"collections":127,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":37},226430,"ku-zhu-shi-zao-jing-yi-ming-226430",[121,91,24,26,122,123,7,112,124,125],"唐代","卷草纹","花卉","缠枝纹","对称纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F341011cc2b12d4d9c9d58edb7f57fb73.jpg",[],104,{"id":130,"slug":131,"title":132,"dynasty":76,"author":19,"museum":20,"description":109,"tags":133,"thumbUrl":138,"material":32,"size":33,"collection":34,"collections":139,"showCount":140,"zanCount":11,"manualWeight":11,"mainColor":141},226160,"yu-lin-ku-025-ku-zhu-shi-dong-bi-yi-ming-226160","榆林窟025窟主室东壁",[121,91,7,48,100,134,29,135,136,137,24],"人物造像","华盖","矿物颜料","线条勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff901bcf5ae28da34781422e6ef84b2cb.jpg",[],101,"BDBDBD",{"id":143,"slug":144,"title":145,"dynasty":18,"author":19,"museum":146,"description":147,"tags":148,"thumbUrl":151,"material":32,"size":33,"collection":34,"collections":152,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":37},230794,"cai-hui-zuo-fo-xiang-yi-ming-230794","彩绘坐佛像","藏地不详","主尊结跏趺坐莲台，三重背光环环相衬，外缘焰纹灵动炽热，内层晕染青绿暖棕，柔和过渡明暗，衬得法相端严沉静。佛陀身披朱红袈裟，袒胸结印，面容圆润温婉，眉目垂敛含慈，平和安然的气韵扑面而来。\n\n八角莲台基座纹饰繁丽，朱红、石青、米白撞色鲜明，尽显精致庄严。右下侍仆捧香跪坐，身形恭谨小巧，反衬出佛尊的宏大慈悲。\n\n整幅设色古朴厚重，线条稚拙凝练，带着民间画工的朴拙意趣。虽纸面因年深日久泛黄残破，却依旧传递出静谧祥和的宗教感染力，尽显民间佛教绘画的独特韵味。",[46,7,24,26,25,149,50,150],"坐佛","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1627ef9b0f7bbe1ed3c2a99a88c04916.jpg",[],84,{"id":155,"slug":156,"title":157,"dynasty":18,"author":19,"museum":20,"description":158,"tags":159,"thumbUrl":163,"material":32,"size":33,"collection":34,"collections":164,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":37},226516,"cai-hui-liu-bi-shi-yi-tou-guan-yin-xiang-yi-ming-226516","彩绘六臂十一头观音像","敦煌壁画特指中国敦煌石窟内壁的绘画艺术作品，属于世界文化遗产。\n敦煌壁画总面积5万多平方米，包括敦煌莫高窟、西千佛洞、安西榆林窟等522个石窟历代壁画，规模巨大，技艺精湛，内容丰富，题材广泛。\n敦煌壁画描绘了神的形象、神的活动、神与神的关系、神与人的关系，寄托良愿，安抚心灵。\n敦煌壁画具有与世俗绘画不同的审美特征和艺术风格，源于生活，美赏生活；源于艺术，集成艺术；源于世界，分享世界。",[26,25,24,7,91,160,161,162,48],"多臂","多头","观音","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9706df4d6bc0bbc3def6af9410f119ed.jpg",[],73,{"id":167,"slug":168,"title":169,"dynasty":170,"author":171,"museum":172,"description":173,"tags":174,"thumbUrl":181,"material":34,"size":182,"collection":34,"collections":183,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":141},222075,"kun-yu-wan-guo-quan-tu-li-ma-dou-222075","坤舆万国全图","明","利玛窦","南京博物院","《坤舆万国全图》是意大利耶稣会的传教士利玛窦在中国传教时与李之藻合作刊刻的世界地图，该图于明万历三十年在北京付印后，刻本在国内已经失传。南京博物院所藏《坤舆万国全图》为明万历三十六年（1608）宫廷中的彩色摹绘本，是国内现存最早的、也是唯一的一幅据刻本摹绘的世界地图。\n利玛窦绘制《坤舆万国全图》时，以当时的西方世界地图为蓝本，并改变了当时通行的将欧洲居于地图中央的格局，把子午线向左移动170度从而将亚洲东部居于世界地图的中央，这样，中国就自然而然位于该图的中心。此举开创了中国绘制世界地图的模式。",[46,24,7,175,176,177,178,179,180],"中西合璧","陆地","海洋","经纬线","地理","地图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9ebe279fb74033ccd7435beb56cf881.jpg","高5英尺（1.52米），宽12英尺（3.66米）",[],68,{"id":186,"slug":187,"title":188,"dynasty":18,"author":19,"museum":146,"description":189,"tags":190,"thumbUrl":192,"material":32,"size":33,"collection":34,"collections":193,"showCount":194,"zanCount":11,"manualWeight":11,"mainColor":37},230838,"cai-hui-si-bi-ru-yi-lun-guan-yin-xiang-yi-ming-230838","彩绘四臂如意轮观音像","此作以自在坐姿塑法相，菩萨面容沉静端严，宝冠缀饰华贵，璎珞环身尽显庄严。四臂各司其职，主臂托腮思惟，余臂持印握器，将悲悯自在的神韵相融。设色古雅厚重，石青、朱砂晕染出衣袂层次，头光环叠晕彩，衬出清寂高华。岁月留痕的斑驳残损，更添沧桑质感，圆转线条勾勒出舒展灵动的体态，尽显古雅释画的典雅法度，静穆间裹挟着慈悲意趣，是兼具宗教性与艺术性的珍贵遗存。",[46,23,191,24,26,25,48,29,150,30,7],"书画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ca1f62971c665b5f5fb84f347665e2f.jpg",[],59,{"id":196,"slug":197,"title":198,"dynasty":199,"author":19,"museum":146,"description":200,"tags":201,"thumbUrl":207,"material":34,"size":34,"collection":208,"collections":209,"showCount":210,"zanCount":11,"manualWeight":11,"mainColor":211},253663,"tao-huang-you-hua-cai-wu-shi-yong-yi-ming-253663","陶黄釉画彩武士俑","隋","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从汉代以后就失传了，与之形成鲜明对比的是，两千多年后的1937年，现代镀铬技术才在德国产生，并以专利发明载入了史册。2、秦俑坑出土兵器明确印证了秦简中关于“为器同物者，其小大、短长”是一种标准化概念，秦人在标准化实践方面取得了惊人的成就。这种标准化既是秦人管理艺术发展的代表，也是秦代科技水平的标志。秦人加工的青铜弩机器件精密、形体标准，相同规格的器件完全可以互换。许多特殊的加工工艺，如青铜铍脊上的纹饰生成，纤如毫发的金属小孔钻刻技艺，也都令人叹为观止，一些工艺至今还是不解之谜。由于古代统治者们有重政治、重伦理、崇人事而轻科技的倾向，史书关于科技的记载往往简略残缺，秦代科技资料更是凤毛麟角。正因为如此，秦俑考古的历史文化价值也就更加重要。\n俑坑数千兵马俑所展示的军事内容无疑是军事史研究的最重要的、最形象的资料之一，许多资料使人们对古代军事领域的认识更进一步。譬如，关于当时的兵种构成、组合搭配和结阵形式，兵器、兵器配置形式以及甲具防护装备，军伍组织结构和指挥系统，甚至军伍士卒的来源等，都有珍贵的资料价值。二号坑弩兵的单独结阵，骑兵、轻车兵的编队和配合，是以前有所不知或知之不详的重要资料，以之对照《孙膑兵法》中关于车、步、骑配合原则的论述，给人留下的印象是极其深刻的。古代军事著述中关于兵器配置中长短相杂、相救的原则在秦俑坑兵器配置中也有直观表现，同样有其军事科学上的研究价值。难怪有人将秦俑三坑称为一座内容丰厚的秦代军事博物馆。\n历史本身赋予了秦俑多种历史文化价值。秦俑所折射的历史层面既多又广，在建筑史、服饰史、制度史尤其是王陵制度史等方面，具有独特的认识价值。即使秦俑的身高、体魄、服饰发髻、刻记文字以及秦人在俑坑留下的生产工具和劳作痕迹，都能从不同侧面反映出秦代社会生活的真实影像，反映出一个时代的文化特质，反映出秦兴亡的历史真谛。\n秦俑坑出土文物的精美和丰富，是文物所代表的那个时代物质成就的直接见证。它让人们重新认识和评价那个时代，也提出了许多值得探讨的历史课题，譬如关于帝王权力的重新认识、秦代文化的特质、秦在中国历史发展中的地位等。与之相联系的是，秦始皇的历史评价又一次成为人们关注的话题，秦俑坑出土文物所反映的科技水平和生产能力，在一定程度上反映出秦始皇所起的某种积极作用，同时也从一个侧面证实史书中提到的秦代好大喜功、横征暴敛的统治问题。秦俑考古还在继续，相信对这些问题的研究将会随着考古的进展而不断深入。",[567,203,24,7,205,25,202],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4dc0aba232d2fd2c999039b99762642.jpg",[],10,{"id":574,"slug":575,"title":576,"dynasty":42,"author":19,"museum":146,"description":577,"tags":578,"thumbUrl":581,"material":32,"size":33,"collection":582,"collections":583,"showCount":584,"zanCount":254,"manualWeight":11,"mainColor":37},261180,"yi-xing-yao-zi-sha-cai-hui-hua-niao-wen-bi-ping-yi-ming-261180","宜兴窑紫砂彩绘花鸟纹壁瓶","宜兴窑，在今江苏宜兴丁蜀镇，故名。烧瓷历史悠久，秦汉时宜兴地区陶窑密布；两晋时在均山烧青瓷，唐初在归径等地大量烧制，至晚唐、五代成为南方民间著名青瓷窑；宋、元时期，丁蜀与西渚一带大规模烧造日用陶和早期紫砂。明清时成为当时的烧陶中心。涧众村发现有唐代青瓷窑址。明代以紫砂器闻名于世，出现不少制紫砂壶名家，如供春；时大彬、李仲芳、陈仲美等，并仿烧宋代钧窑器物，因有"宜钧"之称。\n在今江苏宜兴市南部的丁蜀镇一带，故称为宜兴窑。宜兴窑从汉代始烧红陶、灰陶、和原始青瓷等等，其烧制陶瓷的历史一直延续到今天，有2000多年，故可称是最古老的窑口。宋代已开始烧造紫砂器，明代的紫砂器闻名于世，清代是其高峰。建国后，宜兴除传统的紫砂陶、均陶有很大发展外，还恢复了青瓷生产，新创了花釉陶和精陶等产品，是我国重点陶瓷产区之一。",[203,579,7,472,580,287],"紫砂","花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c750afe1c5dda84bb7246bd52485694.jpg","瓷器精选",[582],9,{"id":586,"slug":587,"title":588,"dynasty":170,"author":19,"museum":146,"description":294,"tags":589,"thumbUrl":590,"material":32,"size":33,"collection":34,"collections":591,"showCount":584,"zanCount":11,"manualWeight":11,"mainColor":211},255159,"mu-diao-cai-hui-gui-zi-mu-xiang-yi-ming-255159","木雕彩绘鬼子母像",[296,297,7,205,26,25,286],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43c59cc9a9e6ccbe4962ec6cd6352bfb.jpg",[],{"id":593,"slug":594,"title":595,"dynasty":42,"author":19,"museum":146,"description":21,"tags":596,"thumbUrl":598,"material":32,"size":33,"collection":34,"collections":599,"showCount":584,"zanCount":11,"manualWeight":11,"mainColor":37},252812,"ni-su-cai-bao-tian-wang-zuo-xiang-yi-ming-252812","泥塑财宝天王坐像",[47,379,205,24,7,26,25,49,597],"坐像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F113fd95e2856d59f206e5270acaada05.jpg",[],{"id":601,"slug":602,"title":603,"dynasty":280,"author":19,"museum":146,"description":604,"tags":605,"thumbUrl":609,"material":32,"size":33,"collection":34,"collections":610,"showCount":584,"zanCount":254,"manualWeight":11,"mainColor":141},248931,"cai-hui-qi-yun-long-wen-yuan-pan-yi-ming-248931","彩绘漆云龙纹圆盘","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。",[283,606,7,24,607,608,287],"漆器","龙","云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6e8597fc34312e358ecbd77b8e6a0e5.jpg",[],{"id":612,"slug":613,"title":614,"dynasty":18,"author":19,"museum":146,"description":615,"tags":616,"thumbUrl":618,"material":32,"size":33,"collection":34,"collections":619,"showCount":584,"zanCount":254,"manualWeight":11,"mainColor":37},230837,"cai-hui-san-jie-jiu-di-zhi-tu-yi-ming-230837","彩绘三界九地之图","以层叠佛塔为骨，将抽象的佛教宇宙观具象铺展。朱墨敷色标注界域，图文互证解读诸天与地界奥义。上部天界楼宇错落，标注诸天境域，演绎空寂梵天；中层佛塔层层递进，楼宇渐次铺陈，诠释世间修行的阶位；下部以虬龙缠绕阎浮提，水波晕染出幽冥地宫，勾勒出地下冥府的幽渺。\n\n古拙线条晕开岁月痕迹，质朴设色带着民间绘卷的厚重质感，将虚无的宗教寰宇，转化为可观可感的视觉长卷，藏着千年前对天地、修行与幽冥的终极遐想。",[46,26,349,24,7,262,267,617,221],"文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae48eafbef300dc3e20709d2afdb6183.jpg",[],{"id":621,"slug":622,"title":623,"dynasty":18,"auth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Ware）在古时被称为“金”或“吉金”，是红铜与其他化学元素锡、铅等的合金，刚刚铸造完成的青铜器是金色，但因为出土的青铜因为时间流失产生锈蚀后变为青绿色，被称为青铜。\n青铜器的使用开始于新石器时代晚期的土耳其和伊拉克地区，及叙利亚古代TellRamad遗址出土的铜珠等。中国青铜器开始于马家窑至秦汉时期，以商周时期的器物最为精美。在中国仰韶文化早期和马家窑文化时期就已经出现。\n中国最初出现的是小型工具或饰物。夏代始有青铜容器和兵器。商中期，青铜器品种已很丰富，并出现了铭文和精细的花纹。商晚期至西周早期，是青铜器发展的鼎盛时期，器型多种多样，浑厚凝重，铭文逐渐加长，花纹繁缛富丽。随后，青铜器胎体开始变薄，纹饰逐渐简化。春秋晚期至战国，由于铁器的推广使用，铜制工具越来越少。秦汉时期，随着陶器和漆器进入日常生活，铜制容器品种减少，装饰简单，多为素面，胎体也更为轻薄。\n中国青铜器制作精美，在世界青铜器中享有极高的声誉和艺术价值，代表着中国5000多年青铜发展的高超技术与文化。\n我国商、周时代的青铜器具，不单是盛物用的容器，同时也是宗庙中的礼器。青铜器的数量可以表示出身份地位的高低，青铜器形制的大小也可以显示出权力的等级。青铜器中，最重要的器类就是鼎。远古的青铜器可以分为食器、酒器、水器、乐器四大类。食器中包括鼎、鬲等等。其中鼎是最重要的礼器。\n西周中晚期我国形成了列鼎制度，据《春秋公羊传》记载，天子用9鼎，诸侯用7鼎、卿大夫用5鼎、士用3鼎或1鼎。同时。与鼎一同出现的还有簋，通常为九鼎八簋，七鼎六簋，五鼎四簋，三鼎二簋。在西周中晚期的墓葬制度中，鼎为单数而簋为双数。青铜鼎随着时代的发展，形制也在发生变化。商代早期多为圆腹尖足，也有方鼎。到了中期出现了扁足鼎等等。商代晚期尖足鼎逐渐减少，圆腹柱足鼎开始居多，鬲鼎逐渐多了起来。《尔雅》记载“鼎之款足者，谓之鬲”。鬲鼎也称为分裆鼎，是鬲和鼎的混合体，鼎从商代开始铸有各式样的神秘纹饰，多为兽面纹，如饕餮纹、蝉纹、象纹等等，纹饰变化巧妙。容器内部铸有族徽或祖先的名字。\n青铜是铜和锡铅的合金。在中国古代早期的工艺美术中青铜工艺成为奴隶社会工艺美术的典型代表是我们的祖先对人类物质文明的巨大贡献。商周时期是中国历史上的青铜时代，它以品类丰富、造型优美、纹饰华丽、制作精巧、风格独特而著称。此时是冶炼铸造技术可以说有了突发猛进的发展，在应用上具有广泛的适用性。成为中国艺术史的一个组成部分。本文以商周时期的青铜器主要代表作品作品：《后母戊大方鼎》、《盂鼎》为例，从青铜器作为“礼器”的艺术精神与青铜器的造型、装饰艺术特点来谈谈商周青铜器艺术。\n中国古代青铜器，就使用规模、铸造工艺、造型艺术及品种而言。中国古代青铜器在世界艺术史上占有独特地位。商周时期是中国历史上的青铜时代，青铜流行于新石器时代晚期至秦汉时代。以商周器物最为精美，品种已很丰富器型多种多样，并出现了铭文和精细的花纹浑厚凝重。商周青铜器艺术装饰承接新石器时代艺术中若干精髓，经过长期绵延不断的变化，形成独特的体系，在成为中国艺术史的一个组成部分。商周时期，青铜的冶炼业作为生产力的标志而达到高峰。是中国古代青铜器发展的鼎盛时期。",[606,7,205,49,920],"鹿角","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff19d75cd7d31ee6ddeae2cff875143c2.jpg",[],{"id":924,"slug":925,"title":926,"dynasty":42,"author":19,"museum":146,"description":821,"tags":927,"thumbUrl":937,"material":32,"size":33,"collection":34,"collections":938,"showCount":842,"zanCount":11,"manualWeight":11,"mainColor":211},229209,"ci-tai-yang-cai-san-duo-shi-yi-jiao-ping-yi-ming-229209","磁胎洋彩三多诗意轿瓶",[203,823,24,81,150,928,47,7,929,930,931,932,933,934,935,936],"花卉纹饰","瓷器纹饰","文字装饰","多色釉彩","清代瓷器","釉上彩","纹饰繁复","题诗","款识","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c7ab3ab81670bebc8cf309d01b3137a.jpg",[],{"id":940,"slug":941,"title":942,"dynasty":76,"author":19,"museum":20,"description":109,"tags":943,"thumbUrl":944,"material":32,"size":33,"collection":34,"collections":945,"showCount":842,"zanCount":11,"manualWeight":11,"mainColor":211},226408,"ku-yong-dao-nan-pi-yi-ming-226408","窟甬道南披",[91,121,24,442,112,7,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb545bd264731d19c8aeb3db652c55a85.jpg",[],{"id":947,"slug":948,"title":949,"dynasty":76,"author":19,"museum":20,"description":109,"tags":950,"thumbUrl":952,"material":32,"size":33,"collection":34,"collections":953,"showCount":842,"zanCount":11,"manualWeight":11,"mainColor":211},226284,"ku-zhu-shi-bei-pi-yi-ming-226284","窟主室北披",[121,91,24,26,25,499,7,951],"图案密集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3c6508f5048fb41cf87bb2c023ccf47.jpg",[],{"id":955,"slug":956,"title":957,"dynasty":42,"author":19,"museum":146,"description":958,"tags":959,"thumbUrl":962,"material":32,"size":33,"collection":34,"collections":963,"showCount":964,"zanCount":254,"manualWeight":11,"mainColor":37},273379,"ni-tu-ye-yi-ming-273379","泥兔爷","兔首人身的造型自带灵动意趣，长耳素白挺翘，人面敷粉施彩，眉眼柔和憨态尽显。衣袍晕开朱红，辅以绿彩衬饰细节，古朴底座承托整体，带着手工泥塑的朴拙质感。\n\n它藏着旧时市井手作的温热烟火气，稚拙的形制里裹着中秋拜月的团圆祈愿，把月宫瑞兔的祥瑞意趣揉进指尖方寸，是民俗手工艺里的精巧小品，尽显旧时光里的民俗情味。",[379,7,762,960,961],"民俗工艺品","神话形象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08cc0fcd5567569fa2f3a6236c1de8d2.jpg",[],3,{"id":966,"slug":967,"title":968,"dynasty":42,"author":19,"museum":146,"description":969,"tags":970,"thumbUrl":973,"material":32,"size":33,"collection":34,"collections":974,"showCount":964,"zanCount":254,"manualWeight":11,"mainColor":211},273360,"ni-xiao-tu-ye-yi-ming-273360","泥小兔爷","人面兔身，安坐于花簇莲台之上，威严神态裹着灵动童趣。衣袍朱红衬着宝蓝纹饰，褶皱凝练古朴，怀中玉兔捧宝，平添祥瑞意趣。\n\n花株以石绿为茎，黄白双色花团圈以朱红勾边，鲜亮醒目，底座素白摹绘浪涛，恍若托举仙境。它是民俗祭月的吉庆造物，将兔神人格化，朴拙泥胎晕染旧时光的鲜活暖意，把神性与稚拙手工艺相融，藏着古人对团圆平安的祈愿，是民间审美里的精巧之作，带着旧时市井的烟火温情。",[379,7,762,971,972],"民俗神像","传统器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff42bb3dfd2ba124bf5afc1e90f31e331.jpg",[],{"id":976,"slug":977,"title":978,"dynasty":42,"author":19,"museum":146,"description":979,"tags":980,"thumbUrl":983,"material":32,"size":33,"collection":34,"collections":984,"showCount":964,"zanCount":11,"manualWeight":11,"mainColor":141},259990,"hong-lv-cai-guo-guo-wen-bi-yan-hu-yi-ming-259990","红绿彩蝈蝈纹鼻烟壶","鼻烟壶指的是盛鼻烟的容器，小可手握，便于携带。明末清初，鼻烟传入中国，鼻烟盒渐渐东方化，产生了鼻烟壶。\n人们嗜用鼻烟的习惯几近绝迹，但鼻烟壶却作为一种精美艺术品流传下来，而且长盛不衰，被誉为“集中各国多种工艺之大成的袖珍艺术品”。\n中国鼻烟壶，作为精美的工艺品，采用瓷、铜、象牙、玉石、玛瑙、琥珀等材质，运用青花、五彩、雕瓷、套料、巧作、内画等技法，汲取了域内外多种工艺的优点，被雅好者视为珍贵文玩，在海内外皆享有盛誉。\n在世界上，中国素有「烟壶之乡」的称誉，其中鼻烟壶以其精巧卓绝的制作技术，被称为「集多种工艺之大成于一身的袖珍艺术品」。鼻烟壶为盛装鼻烟之容器，鼻烟系一种烟草制品，原为西洋之物，明末清初自欧洲传入中国后，加工转化后成为粉末状药材，吸闻之后不但具有明目避疫的功效，吸闻鼻烟在各阶层更是蔚为风尚，且迅速地融入了中国的艺术风格，发展出匠心独运的各式鼻烟壶，在清代美学工艺上大放异彩，成为清代艺术的重要标志之一。",[203,981,982,24,7,654],"鼻烟壶","蝈蝈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d5ff6b6cbc70bab7fbde35f86dc717b.jpg",[],{"id":986,"slug":987,"title":988,"dynasty":216,"author":19,"museum":146,"description":294,"tags":989,"thumbUrl":990,"material":32,"size":33,"collec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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。",[203,1180,1181,684,1182,47,7],"青花","开片","蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51d419ce37d1db6a43992b892441ac05.jpg",[],{"id":1186,"slug":1187,"title":1188,"dynasty":170,"author":19,"museum":146,"description":294,"tags":1189,"thumbUrl":1190,"material":32,"size":33,"collection":34,"collections":1191,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":211},255446,"mu-diao-cai-hui-gong-yang-ren-li-xiang-yi-ming-255446","木雕彩绘供养人立像",[296,297,7,205,25,268,286],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5c21b73153324fa67fab2c2a1de37d1.jpg",[],{"id":1193,"slug":1194,"title":1195,"dynasty":216,"author":19,"museum":146,"description":294,"tags":1196,"thumbUrl":1197,"material":32,"size":33,"collection":34,"collections":1198,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":211},255396,"mu-diao-cai-hui-pu-sa-zuo-xiang-yi-ming-255396","木雕彩绘菩萨坐像",[510,286,205,7,26,25,222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c46a488fa5e4794760b22214205d03f.jpg",[],{"id":1200,"slug":1201,"title":1202,"dynasty":170,"author":19,"museum":146,"description":294,"tags":1203,"thumbUrl":1204,"material":32,"size":33,"collection":34,"collections":1205,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":37},255385,"mu-diao-cai-hui-wen-li-zuo-xiang-yi-ming-255385","木雕彩绘文吏坐像",[296,297,7,25,286],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabc545564d2f02fe63b3ef62eb5e89a8.jpg",[],{"id":1207,"slug":1208,"title":1209,"dynasty":170,"author":19,"museum":146,"description":294,"tags":1210,"thumbUrl":1211,"material":32,"size":33,"collection":34,"collections":1212,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":211},255373,"mu-diao-cai-hui-tong-zi-li-xiang-yi-ming-255373","木雕彩绘童子立像",[296,286,205,7,24,25,723],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d6dbee8b0b5afcb59ca68266c3312a4.jpg",[],{"id":1214,"slug":1215,"title":1216,"dynasty":170,"author":19,"museum":146,"description":21,"tags":1217,"thumbUrl":1218,"material":32,"size":33,"collection":34,"collections":1219,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":211},255305,"ni-su-cai-hui-luo-han-zuo-xiang-yi-ming-255305","泥塑彩绘罗汉坐像",[170,379,7,26,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0a068f80c6849676c37296e573517c5.jpg",[],{"id":1221,"slug":1222,"title":1223,"dynasty":170,"author":19,"museum":146,"description":294,"tags":1224,"thumbUrl":1227,"material":32,"size":33,"collection":34,"collections":1228,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":37},255304,"mu-diao-cai-hui-jian-zhu-qian-jian-zuo-yi-ming-255304","木雕彩绘建筑嵌件座",[286,297,7,205,1225,1226],"建筑构件","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F196262fcad7f75cc6f5c51e537065890.jpg",[],{"id":1230,"slug":1231,"title":1232,"dynasty":170,"author":19,"museum":146,"description":294,"tags":1233,"thumbUrl":1235,"material":32,"size":33,"collection":34,"collections":1236,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":37},255301,"mu-diao-cai-hui-lou-kong-zuo-qing-wa-jian-zhu-qian-jian-yi-ming-255301","木雕彩绘镂空座青蛙建筑嵌件",[286,205,298,7,1234,301],"青蛙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca2178a29c224d5531ec3e536ac3a3ea.jpg",[],{"id":1238,"slug":1239,"title":1240,"dynasty":280,"author":19,"museum":146,"description":568,"tags":1241,"thumbUrl":1244,"material":32,"size":33,"collection":34,"collections":1245,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":37},255215,"tao-hua-cai-nv-gui-yong-yi-ming-255215","陶画彩女跪俑",[280,236,7,205,24,202,1242,25,1243],"女俑","跪姿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68e16515bf2275ad9f3c42cc9d6a5d59.jpg",[],{"id":1247,"slug":1248,"title":1195,"dynasty":216,"author":19,"museum":146,"description":294,"tags":1249,"thumbUrl":1250,"material":32,"size":33,"collection":34,"collections":1251,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":211},255163,"mu-diao-cai-hui-pu-sa-zuo-xiang-yi-ming-255163",[510,297,7,26,205,25,222,597],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5814aad77b8aa44e0a0cf008a00349d8.jpg",[],{"id":1253,"slug":1254,"title":1255,"dynasty":280,"author":19,"museum":146,"description":568,"tags":1256,"thumbUrl":1257,"material":32,"size":33,"collection":34,"collections":1258,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":37},254892,"tao-yong-tou-yi-ming-254892","陶俑头",[280,884,7,25,205,202],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63d56f4ee266665bc7f2b5a93026478e.jpg",[],{"id":1260,"slug":1261,"title":1262,"dynasty":199,"author":19,"museum":146,"description":568,"tags":1263,"thumbUrl":1267,"material":32,"size":33,"collection":34,"collections":1268,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":211},254554,"tao-hua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盆、筒杯、勺、盘、缸、甑、 釜、小壶、扁壶、茧形壶、钵、罐、钟、碗等。明器包括礼器鼎和模型明器仓、陶囤以及各种动物形象。纹饰多为变形回纹、三角纹和窝纹。陕西潼关以东地区人们的日常用陶，以灰陶为主，有罐、 壶、碗、勺、筒杯、 瓮、盒、洗、甑、釜、杯、盘、尊等。在汉代流行起来的生活用具模型，如仓、 炉、 灶、井等。大都作为明器供随葬之用。盒、盘、案、杯等，逐渐成组出现，为适应人们厚葬之需也成为祭器。猪、羊、狗、鸡等家畜家禽及圈舍、住宅等明器模型也大量流行。装饰则有弦纹、刻划的三角纹、连环纹、栉齿纹和动物纹，还有绳纹、拍印纹、模印、浮雕、涂色和彩绘等。南方的长沙地区，制陶工艺自成体系，陶盒使用普遍，陶壶无盖，鼎的三足成矮胖的兽蹄形，其他实用器皿还有壶、罐、碗、钫、、盆、釜、甑、长方炉、博山炉等。特点是坚硬厚重。殉葬明器有灶、仓、井、屋、猪圈模型等。广东地区秦汉时属南海郡，常用陶器有瓮、双耳罐、提、四联罐和五联罐、瓿、小瓿、壶、匏壶、温壶、钫、 盒、敦、 小盒、三足盒、三足罐、三足瓿、四联盒、 碗、盆、 甑、釜、鼎、豆、三足格盒等。生活用具中灰白色的印纹硬陶占多数， 有的还戳上印记，多为容器，炊器只有釜、 鼎、甑 3种。造型特别的三足器、温壶、匏壶有着明显的地方特点。印纹硬陶很讲究装饰，单是几何图案就达70多种，此外还有弦纹、 陶纹、 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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。",[203,7,25,654,683],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80c6f8716ec003477e7c606a0308c89e.jpg",[],{"id":2266,"slug":2267,"title":2268,"dynasty":42,"author":19,"museum":146,"description":1435,"tags":2269,"thumbUrl":2271,"material":32,"size":33,"collection":34,"collections":2272,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":141},281583,"hong-se-nv-mian-ju-yi-ming-281583","红色女面具",[1437,286,205,1266,2270,7],"悲伤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F000cd24479b118de49980e2788bcdf66.jpg",[],{"id":2274,"slug":2275,"title":2276,"dynasty":42,"author":19,"museum":146,"description":1131,"tags":2277,"thumbUrl":2281,"material":32,"size":33,"collection":34,"collections":2282,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":141},281433,"yang-ci-cai-hua-jia-jin-ren-wu-tu-liang-jie-pie-kou-da-ping-yi-ming-281433","洋瓷彩花加金人物图两截撇口大瓶",[203,2278,2279,657,1303,7,25,350,2280],"洋瓷","彩瓷","人物图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60e7f39d43de9fa3ccd788655559af0f.jpg",[],{"id":2284,"slug":2285,"title":2286,"dynasty":42,"author":19,"museum":146,"description":821,"tags":2287,"thumbUrl":2290,"material":32,"size":33,"collection":34,"collections":2291,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":141},275140,"jia-qing-kuan-yan-zhi-zi-yun-long-wen-ben-ba-ping-yi-ming-275140","嘉庆款胭脂紫云龙纹奔巴瓶",[203,287,607,2288,2289,26,7],"云龙纹","胭脂紫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11d77a1607854c8523c1acf887887132.jpg",[],{"id":2293,"slug":2294,"title":2295,"dynasty":42,"author":19,"museum":146,"description":1131,"tags":2296,"thumbUrl":2299,"material":32,"size":33,"collection":34,"collections":2300,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":211},275092,"qian-long-kuan-lv-di-fen-cai-ci-qi-zhen-mo-ni-bao-yi-ming-275092","乾隆款绿地粉彩瓷七珍-摩尼宝",[203,471,26,27,2297,1135,2298,7],"摩尼宝","礼器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddc66c2de27415653fccab33539000b8.jpg",[],{"id":2302,"slug":2303,"title":2304,"dynasty":42,"author":19,"museum":146,"description":2305,"tags":2306,"thumbUrl":2310,"material":32,"size":33,"collection":34,"collections":2311,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},275079,"qian-long-kuan-jin-di-fen-cai-gou-lian-ba-bao-wen-wu-gong-lu-yi-ming-275079","乾隆款金地粉彩勾莲八宝纹五供-炉","清代的玉炉很多，但用芙蓉石制作的炉却极少，这是因为做炉需要较大块的料，而芙蓉石一般裂纹很多不宜使用。中国芙蓉石的产量小，颜色与质地亦欠佳。",[203,471,2307,2308,2309,2298,657,7],"勾莲纹","八宝纹","炉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75563a34acb3e5edcc49a4c2e256ec48.jpg",[],{"id":2313,"slug":2314,"title":2315,"dynasty":42,"author":19,"museum":146,"description":2316,"tags":2317,"thumbUrl":2320,"material":32,"size":33,"collection":34,"collections":2321,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},274957,"zhu-huang-qi-si-bian-yi-ming-274957","竹黄漆丝笾","此器物以竹黄为骨，篾丝细密匀整地编就整体，器型圆婉亭亭，似敛羽静立的灵禽，自带温雅气场。\n\n暖棕竹色自带自然肌理的温润，器身、盖沿与底足饰以彩漆花饰，朱红裹着柔婉卷草，石绿勾出轻浅轮廓，色彩晕染柔和不张扬，衬得竹材质朴底色愈显沉静。顶盖圆珠精巧收尾，将收纳实用与陈设意趣相融，尽显传统竹编细作里藏着的东方雅致，是指尖功夫凝住的清和之美。",[287,2318,606,2298,7,2319],"竹制","竹编","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27c50a84c66b33322c6a3cc8cb41dee3.jpg",[],{"id":2323,"slug":2324,"title":2325,"dynasty":42,"author":19,"museum":146,"description":2326,"tags":2327,"thumbUrl":2329,"material":32,"size":33,"collection":34,"collections":2330,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":211},274895,"yin-du-jin-tuo-hua-gong-yang-pu-sa-yi-ming-274895","银镀金托画供养菩萨","菩萨白身赤足舒坐莲台，身姿曼妙灵动，抬手展具，周身朱焰萦回，青珐琅底色晕染出澄澈清净的佛境，配色鲜亮明快，佛韵盎然。银镀金底座分饰层莲与缠枝瑞纹，錾刻走线细腻古拙，鎏金莹润光泽与珐琅彩的明丽相映成趣，将藏地造像的神性静穆与内地金属细作的精工华贵融于一体，气韵庄严又不失灵动雅致，尽显彼时宗教造像的审美意趣，是匠心独具的供佛佳器。",[26,2328,336,222,25,7,205,350,29],"银器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F243d51a1e734e161ea2f5b8411fe9061.jpg",[],{"id":2332,"slug":2333,"title":2334,"dynasty":42,"author":19,"museum":146,"description":2335,"tags":2336,"thumbUrl":2342,"material":32,"size":33,"collection":34,"collections":2343,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},274627,"xi-yang-jun-yue-yao-qin-yi-ming-274627","西洋军乐摇琴","它是流淌着乐声的装饰瑰宝，以洛可可风格铺陈满身华彩，朱红、墨绿底上描金缠枝肆意舒展，热烈又雅致。立面错落排布的音管泛着哑光铜色，凝着旧时光的厚重质感。两侧侍立的人偶衣袂纹饰细腻，执灯握铃仿若乐声的守护者，顶楣浮雕刻画卷草涡旋，张扬精巧。\n作为街头流动的音乐厅，将机械匠心与装饰美学相融，摇动手柄即可奏响明快乐章。藏着十九世纪欧陆的绮靡风情，木与铜的肌理里，沉睡着旧日街巷里鲜活的市井乐声，是工业初兴时，手工装饰与机械音律碰撞的浪漫注脚。",[2337,2338,286,7,2339,2340,2341],"乐器","西洋乐器","人物装饰","管乐器","工艺制品","https:\u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