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传统的打击乐器，形状扁圆而中空，盛于春秋战国直至秦汉，多为青铜制，又叫“编钟”，自佛教传入中国后，逐渐变为一种宗教法器的代称，又叫“梵钟”或“半钟”原本叫“犍稚”又叫“信鼓”是寺院为报时、集众而敲击之用。",[82,83,84,85,86,7],"铜制","珐琅器","钟表","镀金","金属工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa126ed31013f430d9965a2c4da579d55.jpg",[],{"id":90,"slug":91,"title":92,"dynasty":18,"author":19,"museum":20,"description":93,"tags":94,"thumbUrl":103,"material":29,"size":30,"collection":31,"collections":104,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},274296,"tong-du-jin-xiang-ma-nao-le-xiang-ping-shi-zhuan-hua-zhong-yi-ming-274296","铜镀金镶玛瑙乐箱瓶式转花钟","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[82,95,96,84,97,98,43,99,100,101,102,7],"金器","玛瑙","乐箱","瓶式","飞鸟","花卉","金属器","饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3c76a78354edaf38b25dda79e615002.jpg",[],{"id":106,"slug":107,"title":108,"dynasty":18,"author":19,"museum":20,"description":109,"tags":110,"thumbUrl":117,"material":29,"size":30,"collection":31,"collections":118,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},258941,"zi-jin-you-guan-er-xian-wen-zun-yi-ming-258941","紫金釉贯耳弦纹尊","由于金釉特殊的颜色和地位，金釉器物的数量很少，雍正时期有杯、盘。乾隆朝的金釉器物以金釉法轮、金釉加彩佛像宗教用具为多。此杯精巧玲珑，胎薄质细，蓝釉深沉素雅，金彩雍容华贵，给人以富丽堂皇之感。器历经数百年，金彩鲜艳如初，十分难得。\n金彩装饰瓷器始于唐代，元代景德镇窑瓷器上运用描金手法，而通体施金釉的瓷器，直至清代康熙晚期出现。金釉制作工艺从严格意义上讲应为“彩”，是在金块研磨、过筛后，加蒜汁搅拌后涂抹在瓷器上（慈禧以后，西洋料进来的更加频繁，用乳胶取代了蒜汁），低温烧烤后，再用玛瑙研磨，使金釉表面光亮。由于烧成温度低，金釉的色彩极易脱落，保存颇为不易。金釉是唯有皇帝才能享用的帝王之色。釉彩成色十足，釉色如黄金般耀眼夺目，原件为大清康熙年制。",[23,44,111,112,113,114,7,115,116],"紫金釉","贯耳","弦纹","单色釉","釉饰","器形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F896b164a299e8857f48577631164f731.jpg",[],{"id":120,"slug":121,"title":122,"dynasty":123,"author":19,"museum":20,"description":124,"tags":125,"thumbUrl":129,"material":29,"size":30,"collection":130,"collections":131,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},257557,"long-quan-yao-qing-you-hua-gu-yi-ming-257557","龙泉窑青釉花觚","明","龙泉窑是中国历史上的一个名窑，宋代六大窑系。汉族传统制瓷工艺的珍品。因其主要产区在浙江省龙泉市而得名。它开创于三国两晋，结束于清代，生产瓷器的历史长达1600多年，是中国制瓷历史上最长的一个瓷窑系，它的产品畅销于亚洲、非洲、欧洲的许多国家和地区，影响十分深远。龙泉窑以烧制青瓷而闻名，在北宋早期以前的产品风格受越窑、瓯窑、婺州窑的影响，特征与三窑的产品相似。胎质较粗，胎体较厚，釉色淡青，釉层稍簿。\n1998年3月，宋代的龙泉窑青釉莲瓣纹瓶从英国追回。\n龙泉窑因在今浙江龙泉县，故名，属我国南方青瓷系统。创造于北宋早期，南宋中晚期进入鼎盛时期，至明代中叶以后渐趋衰落，传世的龙泉青瓷下限至清康熙年间，烧造历史达七、八百年之久。北宋时期的龙泉青瓷，胎骨较厚，胎土淡灰，底足露胎处见赭褐色窑红，胎微出烧，釉的玻化程度好，釉层透明，釉表光泽很强。装饰花纹较简练，常见纹样有鱼纹、蕉叶、金枝、荷花等。装饰风格趋于奔放。处于南宋鼎盛时期的龙泉青瓷，形成了自已独有的艺术风格，显示了独特的魅力。\n南宋龙泉青瓷的造型亦形成自已的风格，稳重大方，浑厚淳朴而又不失秀媚，器型丰富多样，装饰普遍采用刻花和堆塑法，颇具艺术匠心。\n元代龙泉青瓷烧造量大，风格与南宋迥异：器型高大、胎体厚重；胎色为白中带灰或淡黄；釉色为粉青带黄绿，光泽较强，釉层半透明；装饰手法多种多样，有刻、划、印、贴、塑等，以划花为主，花纹粗略，线条奔放，纹饰以云龙、飞凰、双鱼、八仙、八卦、牡丹、荷叶等为多见。此外，还大量出现汉文和八思巴文字款铭。\n明代龙泉青瓷走向衰弱，器物胎体厚重，制作粗糙，胎色为灰黄，釉层厚，透明度高，釉表光泽强，釉色有青灰、茶叶末、灰黄等几种，装饰以釉下刻花为主，亦有模印人物故事的装饰方法。\n宋代龙泉青瓷是青瓷工艺的历史高峰。其青瓷的釉色与质地之美，亦如巧夺天工的人造美玉，全世人为之倾倒。\n那么，在漫长的历史长河中，龙泉窑又经历了怎样的发展轨迹呢?朱伯谦先生在《龙泉窑青瓷》一书中曾将龙泉窑的发展归纳为开创、发展、鼎盛和衰落四个阶段：魏晋和五代十国是开创时期，瓷窑少，生产时断时续，处于就地销售断断续续的生产阶段；北宋至南宋前期是发展期，瓷窑发展快，逐渐形成一个较大的瓷窑体系；南宋后期至元代是鼎盛期，瓷窑迅速发展，青瓷质量大大提高，产品畅销国内外广大市场；明清是衰落期，尤其是明代中期以后龙泉窑处境艰难，瓷窑不断地倒闭减少，至清代晚期结束。如果说这四个阶段勾勒出了龙泉窑发展历史的整个脉络，那么，龙泉窑发展史上的三次辉煌期则是连贯发展脉络的重点和要点。",[23,126,127,43,27,128,7],"青瓷","青釉","明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f1ed2d0f63c41b258a9169f62a075fa.jpg","瓷器精选",[130],{"id":133,"slug":134,"title":135,"dynasty":18,"author":19,"museum":20,"description":136,"tags":137,"thumbUrl":139,"material":29,"size":30,"collection":31,"collections":140,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},251931,"ma-nao-hua-cha-yi-ming-251931","玛瑙花插","此作巧用玛瑙天然色分，以浓艳赤砂色雕就虬曲桃枝，圆硕桃实垂缀枝间，鲜活饱满。奶白玉体随形琢成双花插，仿若古拙老干，苍雅朴质。\n\n红白两色相映，将材质天工与匠意精妙结合，枝蔓缠绕错落，生机暗藏。器型兼顾陈设雅趣与插花实用，把春日桃林的鲜活截取凝固，置放文房，暗香与雅色相衬，尽显清隽雅致的中式意韵，是俏色玉雕的精巧之作。",[44,138,43,100,27,7],"玉石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d4f3db29f15551f4b4b0434e109f7bf.jpg",[],{"id":142,"slug":143,"title":144,"dynasty":123,"author":19,"museum":20,"description":145,"tags":146,"thumbUrl":149,"material":29,"size":30,"collection":31,"collections":150,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},251581,"qing-yu-shuang-er-yi-shi-lu-yi-ming-251581","青玉双耳彝式炉","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。",[128,138,43,147,148,26,7],"仿古","双耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9435ca9dbaf30a59d3c80d7ab0c0ee71.jpg",[],{"id":152,"slug":153,"title":154,"dynasty":18,"author":19,"museum":20,"description":145,"tags":155,"thumbUrl":159,"material":29,"size":30,"collection":31,"collections":160,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},250549,"qing-yu-chao-guan-er-lu-yi-ming-250549","青玉朝冠耳炉",[138,43,18,27,156,26,7,157,158],"兽","浮雕","玉质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c40b99ca83143c1466001df27a20665.jpg",[],{"id":162,"slug":163,"title":164,"dynasty":18,"author":19,"museum":20,"description":145,"tags":165,"thumbUrl":166,"material":29,"size":30,"collection":31,"collections":167,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":168},250542,"bi-yu-liu-chu-ji-hua-gu-yi-ming-250542","碧玉六出戟花觚",[138,43,27,26,44,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9615e3df187ecd2179ca996b46fe9dce.jpg",[],"BDBDBD",{"id":170,"slug":171,"title":172,"dynasty":18,"author":19,"museum":20,"description":173,"tags":174,"thumbUrl":179,"material":29,"size":30,"collection":31,"collections":180,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},245614,"jin-lei-si-wan-nian-ru-yi-yi-ming-245614","金累丝万年如意","如意为木胎，其上采用八成金质累丝工艺。如意头的正面为累丝古钱纹，中心嵌绿松石“乙酉”二字，背面为镂空的古钱纹并露出木胎。柄的正面亦为累丝古钱纹，镶嵌绿松石“万年如意”四字，背面为累丝六角锦纹。如意的侧边以卷草纹为饰。",[175,95,27,176,86,177,7,178],"累丝","吉祥纹样","清代工艺","吉祥寓意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aa78f4daf91e10d8747bcd229538108.jpg",[],{"id":182,"slug":183,"title":184,"dynasty":18,"author":19,"museum":20,"description":185,"tags":186,"thumbUrl":195,"material":29,"size":30,"collection":31,"collections":196,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},243278,"bo-shan-lu-yi-ming-243278","博山炉","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。",[44,187,82,43,188,7,189,190,191,192,101,193,194],"青铜器","纹饰","熏香器","立体造型","镂空工艺","古典风格","装饰纹样","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faab5e6060be9751aec02551a8ceb289c.jpg",[],{"id":198,"slug":199,"title":200,"dynasty":66,"author":19,"museum":20,"description":67,"tags":201,"thumbUrl":204,"material":29,"size":30,"collection":31,"collections":205,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":168},231868,"san-zu-hua-pen-yi-ming-231868","三足花盆",[23,202,203,27,7],"元代","三足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff274cc7f2b324f8b79833ca7491c1286.jpg",[],{"id":207,"slug":208,"title":209,"dynasty":18,"author":19,"museum":20,"description":210,"tags":211,"thumbUrl":214,"material":29,"size":30,"collection":31,"collections":215,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},229951,"tong-tai-qia-si-fa-lang-gu-xing-ping-wu-gong-yi-ming-229951","铜胎掐丝珐瑯觚形瓶（五供）","珐琅又称“佛郎”、“法蓝”，是由中国隋唐时古西域地名拂菻音译而来。珐琅器是以珐琅为材料装饰而制成的器物，其基本成分为石英、长石、硼砂和氟化物，与陶瓷釉、琉璃、玻璃同属硅酸盐类物质。依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。\n珐琅就是将经过粉碎研磨的珐琅釉料，涂施于经过金属加工工艺制作后的金属制品的表面，经干燥、烧成等制作步骤后，所得到的复合性工艺品。珐琅工艺的制作分类很多，一般根据制作方法和胎地种类将其分类。 [2] 珐琅依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。其中掐丝珐琅器就是俗称的“景泰蓝”，15世纪中期明代景泰年间的制品尤为著称，故有景泰蓝之称。\n清代，西洋珐琅从广州传入中国，广州生产的珐琅俗称“广珐琅”，是朝廷的贡品，其中最著名的是画珐琅 ，錾胎珐琅的制作中心也在广州，透明珐琅器也以广州出产的最为著名。",[212,83,82,26,44,176,213,7],"掐丝珐琅","铜胎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1abafa1464b12bbadd562b6a7227d919.jpg",[],{"id":217,"slug":218,"title":219,"dynasty":18,"author":19,"museum":20,"description":39,"tags":220,"thumbUrl":10,"material":29,"size":30,"collection":31,"collections":222,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},229534,"ru-you-hua-gu-yi-ming-229534","汝釉花觚",[23,221,7,44,27],"汝釉",[],1777535723423]