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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。",[78,79,24,7,80,55,81,82,83,84,85,86,87],"青花","陶瓷","器","孤舟","小桥","流水","亭","树木","人物","山峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ed00e7621d03287f1ae29c4fb16db2f.jpg",[],12,"795548",{"id":93,"slug":94,"title":63,"dynasty":18,"author":19,"museum":20,"description":95,"tags":96,"thumbUrl":98,"material":30,"size":31,"collection":32,"collections":99,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":35},273630,"zi-tan-mu-bian-zuo-dian-cui-song-zhu-tu-cha-ping-yi-ming-273630","屏芯以点翠技法摹绘修竹，青筠挺拔修长，竹叶层叠错落，将潇湘竹影凝于屏间。翠色清润雅致，自带疏朗清逸的文人意趣，仿佛能窥见竹间清风穿掠。\n\n紫檀边框底座通体透雕缠枝瑞兽，刀工圆熟细腻，纹饰繁复精巧，硬木的沉穆厚重，与点翠的灵秀莹润相映成趣。整器古韵悠然，将工艺匠心与文人审美融于一体，尽显雅致沉静的东方美学意蕴。",[7,24,56,67,66,97,80],"琺瑯器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62a1175a780bf170a7b580b22d4e568b.jpg",[],10,{"id":102,"slug":103,"title":104,"dynasty":18,"author":19,"museum":20,"description":105,"tags":106,"thumbUrl":113,"material":30,"size":31,"collection":32,"collections":114,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":35},272737,"mu-zuo-qian-ran-gu-qun-xian-zhu-shou-tu-cha-ping-yi-ming-272737","木座嵌染骨群仙祝寿图插屏","此插屏以染骨拼接出群仙祝寿盛景，层叠山峦间亭台错落，祥云缭绕处仙袂翩跹。乘槎泛水、登山赴宴的仙人各有意趣，将瑶池贺寿的祥瑞氛围铺陈开来。硬木座架精雕缠枝瑞纹，利落刀工衬出雅致髹漆质感，将仙逸幻境与规整工艺糅合一体，把祈福纳祥的美好寓意藏在方寸图景中，是陈设美学与工艺巧思相融的精巧之作。",[7,24,56,107,108,86,55,109,110,111,112],"嵌染骨","设色","楼阁","群仙","祝寿","神话","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b2c0ec33bbbd069f44cdefc23d5444d.jpg",[],{"id":116,"slug":117,"title":118,"dynasty":18,"author":19,"museum":20,"description":119,"tags":120,"thumbUrl":128,"material":30,"size":31,"collection":32,"collections":129,"showCount":130,"zanCount":11,"manualWeight":11,"mainColor":35},274062,"mu-bian-ying-mu-qian-luo-dian-xiu-hua-wen-cha-ping-yi-ming-274062","木边硬木嵌螺钿绣花纹插屏","这件插屏是工艺交融的雅致佳作，硬木边框以螺钿轻缀，莹白提亮古雅木色。屏心刺绣兼具工笔柔韵，石畔兰芷舒展，双鹤或立或顾，姿态悠然自适，鱼虾穿波、蜻蜓掠花，将林下幽微生机藏于方寸。四周环饰博古清供，瓷瓶簪花、文房陈案，把文人案头雅趣融于屏间。座身硬木镂雕吉庆纹样，将刺绣的柔婉、螺钿的清莹与木雕的朴雅合为一体，把林下幽情与厅堂雅致收拢于一屏，尽显旧时家居陈设的风雅意趣，静诉着清代审美里的内敛温柔。",[7,24,121,122,43,123,124,125,126,127],"嵌螺钿","刺绣","鱼","花卉","博古","工笔","器具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9602de6c98d445b5cfeb471524a7b5cb.jpg",[],9,{"id":132,"slug":133,"title":17,"dynasty":18,"author":19,"museum":20,"description":134,"tags":135,"thumbUrl":138,"material":30,"size":31,"collection":32,"collections":139,"showCount":130,"zanCount":11,"manualWeight":11,"mainColor":91},272851,"zi-tan-mu-bian-zuo-qian-fa-lang-tao-he-tu-cha-ping-yi-ming-272851","黑地映出莹润饰纹，仙气满溢。浮空仙阁静立云涛之上，丹鹤振翅穿云，灵动翩跹。下方仙山生奇木灵草，仙人袂带飘飘，乘云往来，仿若携着袅袅清辉。\n\n整器构图主次分明，流云缠绕串联画面，将缥缈仙境铺陈眼前。镶嵌工艺精巧入微，莹白饰件在乌木底色映衬下愈显雅致，将道家超凡意境具象呈现，尽显古人对长生仙境的向往，是工艺美学与仙道雅趣融合的精妙之作，藏着清代造物的极致巧思。",[7,24,23,84,43,136,109,137,68],"云","仙人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9e1044d0c1507e92e0e46d1cba283bf.jpg",[],{"id":141,"slug":142,"title":143,"dynasty":18,"author":19,"museum":20,"description":144,"tags":145,"thumbUrl":148,"material":30,"size":31,"collection":32,"collections":149,"showCount":150,"zanCount":11,"manualWeight":11,"mainColor":151},273629,"zi-tan-mu-bian-zuo-bi-yu-yun-long-wen-cha-ping-yi-ming-273629","紫檀木边座碧玉云龙纹插屏","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。",[7,24,54,56,146,147,80],"龙","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b45a9ee0bf984e81412d84823d56943.jpg",[],8,"37474F",{"id":153,"slug":154,"title":155,"dynasty":156,"author":19,"museum":20,"description":157,"tags":158,"thumbUrl":163,"material":30,"size":31,"collection":32,"collections":164,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":35},273088,"sha-tai-liu-li-you-tou-diao-zhuang-yuan-ji-di-tu-cha-ping-yi-ming-273088","沙胎琉璃釉透雕状元及第图插屏","明","宋代是传统制瓷工艺发展史上一个非常繁荣昌盛的时期。现时已发现的古代陶瓷遗址分布于全国170个县。其中有宋代窑址的就有130个县，占总数的75%。\n陶瓷史家通常将宋代陶瓷窑大致概括为6个瓷窑系，它们分别是：北方地区的定窑系、耀州窑系、钧窑系和磁州窑系；南方地区的龙泉青瓷系和景德镇的青白瓷系。这些窑系一方面具有因受其所在地区使用原材料的影响而具有的特殊性，另一方面又有受帝国时代的政治理念、文化习俗、工艺水平制约而具有的共同性。\n从造型的角度分析，宋瓷的器形较之前代更为丰富多彩，几乎包括了人民日常生活用器的大部分：碗、盘、壶、罐、盒、炉、枕、砚与水注等，其中最为多见的是玉壶春瓶。总的说来，民间用瓷的造型大部分是大方朴实、经济耐用；而宫廷用瓷则端庄典雅、雍容华贵。最能反映皇家气派的是哥、官、钧、汝与定窑口烧制的贡瓷，最能体现百姓喜乐的是磁州、耀州窑口烧制的民间瓷品。\n从纹饰上讲，宋瓷的纹饰题材表现手法都极为丰富独特。一般情况下，龙、凤、鹿、鹤、游鱼、花鸟、婴戏、山水景色等常作为主体纹饰而突现在各类器形的显著部位，而回纹、卷枝卷叶纹、云头纹、钱纹、莲瓣纹等多用作边饰间饰，用以辅助主题纹饰。工匠们用刻、划、剔、画和雕塑等不同技法，在器物上把纹样的神情意态与胎体的方圆长短巧妙结合起来，形成审美与实用的统一整体，令人爱不释手。如婴戏纹，或于碗心、或于瓶腹，将肌肤稚嫩，情态活泼的童子置于花丛之中，或一或二，或三五成群，攀树折花，追逐嬉戏，真切动人，生活气息甚为浓厚。",[7,79,159,56,160,161,162,80],"透雕","琉璃釉","沙胎","状元及第","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54d395f823f72bcf3798e84d839eca85.jpg",[],7,{"id":167,"slug":168,"title":169,"dynasty":18,"author":19,"museum":20,"description":170,"tags":171,"thumbUrl":176,"material":30,"size":31,"collection":32,"collections":177,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":35},272859,"nan-mu-bian-zuo-guang-xiu-qun-xian-zhu-shou-tu-cha-ping-yi-ming-272859","楠木边座广绣群仙祝寿图插屏","此作绣面之上，群仙履岩渡水，赴蟠桃寿宴。烟波浩渺间奇峰叠翠，古松虬劲苍然，仙禽掠空而过，一派灵秀缥缈的仙家景致。\n\n广绣工艺精妙雅致，用色清逸柔和，套色晕染自然匀净，针脚细密灵动，将仙人的出尘飘逸、山海的深邃灵秀尽数铺陈。楠木座框雕刻缠枝与博古纹样，线条婉转流畅，和绣面仙逸意境相得益彰。整体融刺绣工艺与木雕技艺于一体，尽显晚清岭南手工艺的极致考究，将群仙祝寿的祥瑞主题诠释得典雅隽永，是兼具陈设雅趣与收藏价值的工艺佳作。",[7,24,122,172,55,86,110,111,173,83,174,175,108],"广绣","松树","奇石","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dd0ca26ed75cacc3b7ea8b6f5cc7acf.jpg",[],{"id":179,"slug":180,"title":181,"dynasty":18,"author":19,"museum":20,"description":182,"tags":183,"thumbUrl":186,"material":30,"size":31,"collection":32,"collections":187,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":91},272838,"zi-tan-mu-bian-zuo-qian-yu-shi-hua-hui-tu-shuang-mian-cha-ping-yi-ming-272838","紫檀木边座嵌玉石花卉图双面插屏","此插屏以紫檀为座，刀工凝练，回纹卷草古雅端稳，承托屏心更显温润厚重。\n\n屏心以百宝嵌技法施作，取各色玉石随形就势雕琢牡丹。白玉凝脂如素雪牡丹，朱砂石丹艳似盛放名花，橙玉鲜亮活泼，翠色玉石摹写枝叶，脉络舒展自然，将牡丹雍容娇妍之态尽藏石间。素色地子衬出玉石天然肌理，花叶错落生姿，把春日花事定格成永恒景致。双面构图各有意趣，将玉石质感与花木灵韵相融，尽显清代百宝嵌工艺之精妙，把富贵花的雅致意趣凝于方寸间，尽显雅致隽秀的古典格调。",[7,24,54,184,124,185,68,80],"镶嵌","牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe306bf8f2e48239c7893985b9da57555.jpg",[],{"id":189,"slug":190,"title":191,"dynasty":18,"author":19,"museum":20,"description":192,"tags":193,"thumbUrl":197,"material":30,"size":31,"collection":32,"collections":198,"showCount":199,"zanCount":11,"manualWeight":11,"mainColor":35},272835,"zi-tan-dian-cui-qian-ya-yu-jia-le-cha-ping-yi-ming-272835","紫檀点翠嵌牙渔家乐插屏","此件以紫檀为骨，边框缠枝纹精雕细镂，古意盎然。屏心以墨底铺陈，借点翠晕染山林村居，深浅翠色仿若烟岚覆坡，柔润雅致。象牙巧作人物舟楫，细细勾勒出江南水乡烟火日常：江面扁舟错落，渔翁撒网收获、停舟闲话；堤岸浣洗劳作，田垄俯身耕耘，处处皆是鲜活生机。百宝相嵌之下，莹润翠色与温润牙色在沉深墨底上相映成趣，将水乡渔家乐的太平盛景凝于屏间，尽显嵌作工艺的精妙灵秀，把江南日常的恬暖意趣永恒定格。",[7,80,24,194,66,56,195,86,196,83,109,55,108],"象牙","渔乐","渔船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83b50f90b76d242ecf4f2fa0eabd1767.jpg",[],6,{"id":201,"slug":202,"title":203,"dynasty":204,"author":19,"museum":20,"description":205,"tags":206,"thumbUrl":208,"material":30,"size":31,"collection":32,"collections":209,"showCount":210,"zanCount":11,"manualWeight":11,"mainColor":91},274082,"zi-tan-mu-bian-qian-yu-ren-wu-tu-cha-ping-yi-ming-274082","紫檀木边嵌玉人物图插屏","不详","此作以沉深色地托举幽然小景，挺秀翠竹舒展清姿，叶片脉络细腻宛然，自带凌霜风骨。折枝粉花柔妍绽放，轻晕的瓣色晕开融融春意。玉石镶嵌的湖石与坡岸莹润温雅，与漆地冷暖相映，将文人偏爱的庭院闲趣凝于方寸。下方紫檀边框回纹周正古雅，与屏上清疏画意虚实相衬，把髹漆、镶嵌与绘饰巧相融，将庭中悠然诗意纳为案头清供，尽显中式雅致闲情，是工艺与画意合璧的精妙之作。",[7,24,54,184,67,124,174,44,207],"器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7738f10e228d161e3832f047f1c2380e.jpg",[],5,{"id":212,"slug":213,"title":214,"dynasty":18,"author":19,"museum":20,"description":215,"tags":216,"thumbUrl":219,"material":30,"size":31,"collection":32,"collections":220,"showCount":210,"zanCount":221,"manualWeight":11,"mainColor":35},262199,"wu-cai-hua-hui-wen-cha-ping-yi-ming-262199","五彩花卉纹插屏","画面下半绿彩水浪层叠翻卷，金红鲤鱼破浪腾跃，身姿鲜活饱满，暗含跃龙门的吉庆寓意。上侧丹红花枝斜逸而出，浓艳花朵缀满虬枝，嫩绿新叶点染其间，残月悬于素白瓷面，晕开清浅幽柔的夜色，右侧竹石峭立，晕染出文人雅致意趣。\n\n整作以五彩施色，红彩鲜亮明丽，绿彩层次丰盈，素白瓷底托衬得画面雅致清透。构图疏密有致，将灵动生机的水族景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