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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。",[116,117,118,119,120,121,122,123,124,7],"明代","青花","釉下彩","陶瓷","仙鹤","芝桃","符箓纹","缠枝纹","花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c568a397f4af1bad8a18485cf07cfdd.jpg",[],10,{"id":129,"slug":130,"title":131,"dynasty":132,"author":19,"museum":58,"description":133,"tags":134,"thumbUrl":142,"material":89,"size":90,"collection":143,"collections":144,"showCount":145,"zanCount":74,"manualWeight":11,"mainColor":75},256319,"ding-yao-bai-you-ke-hua-mu-dan-wen-pan-yi-ming-256319","定窑白釉刻花牡丹纹盘","宋","定窑是中国传统制瓷工艺中的珍品，宋代六大窑系之一，它是继唐代的邢窑白瓷之后兴起的一大瓷窑体系。主要产地在今河北省保定市曲阳县（原属今定州市）的涧磁村、野北村及东燕川村、西燕川村一带，因该地区唐宋时期属定州管辖，故名定窑。\n定窑原为民窑，北宋中后期开始烧造宫廷用瓷。创烧于唐，极盛于北宋及金，终于元，以产白瓷著称，兼烧黑釉、酱釉和绿釉瓷，文献分别称其为黑定、紫定和绿定。\n定窑从邢窑而来，由于历史的变迁，定窑随着地域变化，新瓷土料的运用和制瓷工艺的进步。卞向和认为：定窑最大的贡献就是在中国陶瓷发展的历史上闪烁过光芒，在中国陶瓷史和世界的陶瓷发展史上留下辉煌的一页。\n定窑，是中国北方白瓷的中心，始于唐，为邢窑的后继者，在五代时期就已经发达。以往文献多记载窑址在河北正定，1938年在河北省曲阳县涧瓷村发现古窑址。近年又多次发掘调查，发现了最下层堆积着晚唐的破片；中层的是五代时就已大量生产；最上层为印花、画花的薄瓷片，是属于北宋中期以后，在政和、宣和年间。这些薄瓷片，胎质坚致，釉泽莹润，花纹优美，确是很精进的品种；且有些是官窑性质的，如”尚食局、禁苑、奉华、官”等胎上刻字破片的发现，便可证明。另在西燕山遗址发现粗瓷片的堆集，以及各地普遍发现的定窑瓷器及破片，又能证明定窑在北宋早期以后，也曾大量烧造民间使用的瓷器。定窑以烧造白瓷为主，也烧颜色釉，如红定、紫定和黑定等。根据《君友会-新民窑》记载，定窑，从北宋起，地位增高，各地仿制者颇多。在定窑本身概念中，就孳乳出各种名称，单就白定一种，就有土定、粉定之分。土定，有瓦胎和陶胎两种。瓦胎为淡赤色的土质，陶胎为白土而略黄，质皆松，体较厚；袖色白色中闪黄或闪赤，容易剥落，或有大开片，是原始的及民用的定器。粉定，是进步的及官用的定器，有陶胎和瓷胎，胎质致密而体薄，釉色纯白如牛乳者，或带淡赤色，釉中往往有刷纹，釉面凝聚，如有泪痕。",[135,136,137,138,119,139,140,7,141],"宋代","白釉","刻花","牡丹纹","瓷器","花卉纹","宋代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaec4c29e88520c948f82ffe9be55353.jpg","瓷器精选",[143],7,{"id":147,"slug":148,"title":149,"dynasty":18,"author":19,"museum":58,"description":150,"tags":151,"thumbUrl":158,"material":89,"size":90,"collection":48,"collections":159,"showCount":160,"zanCount":11,"manualWeight":11,"mainColor":75},234458,"hu-pi-qun-guan-shi-yin-pu-sa-tang-ka-yi-ming-234458","虎皮裙观世音菩萨唐卡","唐卡（Thang-ga）也叫唐嘎，唐喀，系藏文音译，指用彩缎装裱后悬挂供奉的宗教卷轴画。唐卡是藏族文化中一种独具特色的绘画艺术形式，题材内容涉及藏族的历史、政治、文化和社会生活等诸多领域，传世唐卡大都是藏传佛教和本教作品。\n唐卡是藏族文化中一种独具特色的绘画艺术形式。具有鲜明的民族特点、浓郁的宗教色彩和独特的艺术风格，用明亮的色彩描绘出神圣的佛的世界；颜料传统上是全部采用金、银、珍珠、玛瑙、珊瑚、松石、孔雀石、朱砂等珍贵的矿物宝石和藏红花、大黄、蓝靛等植物为颜料以示其神圣。这些天然原料保证了所绘制的唐卡色泽鲜艳，璀璨夺目，虽经几百年的岁月，仍是色泽艳丽明亮。因此被誉为中国民族绘画艺术的珍品，被称为藏族的”百科全书”也是中华民族民间艺术中弥足珍贵的非物质文化遗产。\n传统唐卡的绘制要求严苛、程序极为复杂，必须按照经书中的仪轨及上师的要求进行，包括绘前仪式、制作画布、构图起稿、着色染色、勾线定型、铺金描银、开眼、缝裱开光等一整套工艺程序。制作一幅唐卡用时较长，短则半年完成，长则需要十余年。",[152,153,154,155,156,26,157,7],"唐卡","宗教画","佛教","藏传佛教","观世音菩萨","人物画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff835c5cc12241a92005c4a99754a1d36.jpg",[],6,{"id":162,"slug":163,"title":164,"dynasty":18,"author":19,"museum":58,"description":165,"tags":166,"thumbUrl":176,"material":89,"size":90,"collection":48,"collections":177,"showCount":178,"zanCount":11,"manualWeight":11,"mainColor":75},254829,"tong-liu-jin-wu-liang-shou-fu-zuo-xiang-yi-ming-254829","铜鎏金无量寿佛坐像","中国雕塑是指具有中国特色且原产于中国的雕塑艺术品。中国雕塑（Chinese 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。",[18,167,168,169,25,170,85,171,30,172,173,87,7,174,175],"铜制","鎏金","雕刻","人物造像","绿松石","坐像","无量寿佛","造像艺术","清代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffde2b57df97c5cac2e048294d8acf701.jpg",[],5,{"id":180,"slug":181,"title":182,"dynasty":18,"author":19,"museum":58,"description":97,"tags":183,"thumbUrl":188,"material":89,"size":90,"collection":48,"collections":189,"showCount":178,"zanCount":52,"manualWeight":11,"mainColor":108},242054,"yin-du-jin-qian-bao-shi-fu-shou-wen-zan-yi-ming-242054","银镀金嵌宝石蝠寿纹簪",[24,99,101,184,185,186,61,104,65,7,187],"珐琅","蝠纹","寿纹","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5424d89733cdf5a46d1d3825fce34a22.jpg",[],{"id":191,"slug":192,"title":193,"dynasty":18,"author":19,"museum":58,"description":114,"tags":194,"thumbUrl":199,"material":89,"size":90,"collection":48,"collections":200,"showCount":178,"zanCount":11,"manualWeight":11,"mainColor":53},229425,"qing-hua-bo-gu-tu-gai-guan-yi-ming-229425","青花博古图盖罐",[119,117,195,196,24,118,187,197,198,7],"博古","器","盖罐","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F697c0875ed00f79a009dbcdd0e5f2ec6.jpg",[],{"id":202,"slug":203,"title":204,"dynasty":205,"author":19,"museum":58,"description":206,"tags":207,"thumbUrl":215,"material":89,"size":90,"collection":48,"collections":216,"showCount":217,"zanCount":11,"manualWeight":11,"mainColor":53},244074,"yun-lei-wen-jing-yi-ming-244074","云雷纹镜","周","青铜器（Bronze 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。",[208,167,169,209,210,187,211,212,7,213,214],"青铜器","云雷纹","周代","青铜镜","古物","雷纹","云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde74e318f6fb804f4959485c0257b5f2.jpg",[],4,{"id":219,"slug":220,"title":221,"dynasty":18,"author":19,"museum":58,"description":222,"tags":223,"thumbUrl":228,"material":89,"size":90,"collection":48,"collections":229,"showCount":217,"zanCount":11,"manualWeight":11,"mainColor":230},241942,"shan-hu-dian-cui-qian-zhu-hua-yi-ming-241942","珊瑚点翠嵌珠花","铜质底托晕着旧金光泽，枝桠错落地攒起珊瑚小花，橘色莹润饱满，点点簇簇如将绽的花球，鲜活明媚。辅以点翠饰叶，虽色泽稍褪，仍可见昔日幽蓝华光，冷暖色调相映成趣，雅致鲜活。整体取折花簪戴的意趣，把春日花束凝于发间，尽显旧时闺阁雅致审美，是花丝细作与珠宝镶嵌的精巧之作，藏着东方仕女鬓边的温柔意态。",[24,61,224,100,225,226,124,7,227],"珊瑚","嵌珠","金属","装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e7f5cea5e32e5bca5046836d67cab8e.jpg",[],"FFFFFF",{"id":232,"slug":233,"title":234,"dynasty":132,"author":19,"museum":58,"description":235,"tags":236,"thumbUrl":240,"material":89,"size":90,"collection":48,"collections":241,"showCount":217,"zanCount":11,"manualWeight":11,"mainColor":53},226674,"shi-zi-yi-ming-226674","狮子","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。",[119,169,29,141,237,238,7,239],"雕塑","兽类造型","陶塑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff99f929266994e3b4da57f40249418f9.jpg",[],{"id":243,"slug":244,"title":245,"dynasty":18,"author":19,"museum":58,"description":246,"tags":247,"thumbUrl":254,"material":89,"size":90,"collection":48,"collections":255,"showCount":256,"zanCount":11,"manualWeight":11,"mainColor":75},268757,"ming-huang-se-duan-xiu-ba-xian-qing-shou-wen-huai-dang-yi-ming-268757","明黄色缎绣八仙庆寿纹怀挡","绣法是以绣线横排，故名。如，特点是整齐、均匀，圆润；在绣叶瓣时，在中间分开，运用斜针成倒人字形；也有绣成中间针迹相交叠的形式；也可绣成中间作一钉线的绣法。排绣针法富有变化，刺绣出的花瓣、叶瓣得体逼真，用途较广。",[248,249,250,186,251,252,253,26,7],"刺绣","布料","八仙","神话人物","庆寿","日用织物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F046ca61074873970a7a9a60d493adff3.jpg",[],3,{"id":258,"slug":259,"title":260,"dynasty":113,"author":19,"museum":58,"description":261,"tags":262,"thumbUrl":278,"material":89,"size":90,"collection":48,"collections":279,"showCount":256,"zanCount":74,"manualWeight":11,"mainColor":53},250902,"qing-yu-long-er-mei-hua-wen-bei-yi-ming-250902","青玉龙耳梅花纹杯","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。",[263,169,264,265,266,116,267,187,268,269,270,271,7,272,273,274,275,276,277],"玉石","龙","梅","饮酒器","青料","杯形","龙耳","梅花纹","玉器","明代器物","浮雕","装饰纹","植物纹","瑞兽纹","实用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb138cb255448765766da257cb423ade9.jpg",[],{"id":281,"slug":282,"title":283,"dynasty":18,"author":19,"museum":58,"description":284,"tags":285,"thumbUrl":291,"material":89,"size":90,"collection":48,"collections":292,"showCount":256,"zanCount":11,"manualWeight":11,"mainColor":53},248383,"hei-qi-qian-luo-dian-yun-long-wen-yuan-pan-yi-ming-248383","黑漆嵌螺钿云龙纹圆盘","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [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。",[24,286,287,264,288,289,290,7,274],"漆器","嵌螺钿","云","圆盘","黑漆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba9c4b6af45a933d53a8cf8272670787.jpg",[],{"id":294,"slug":295,"title":296,"dynasty":297,"author":19,"museum":58,"description":298,"tags":299,"thumbUrl":304,"material":89,"size":90,"collection":48,"collections":305,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":108},252945,"shi-pu-sa-xiang-tou-yi-ming-252945","石菩萨像头","隋","发髻高绾，虽残损却难掩端然气度。面相丰圆饱满，是时代审美递变的鲜活注脚。眉眼弯长如新月，眼睑低垂似在静思观照，唇角噙着浅浅笑意，将慈悲温婉的神性与含蓄柔美的气韵融为一体。\n\n刀工舒展柔和，线条圆润细腻，把菩萨安然沉静的神态勾勒得淋漓尽致。残躯之上，依旧留存着千年以前的沉静禅意，让观者于无声中共情那份平和肃穆的东方神性之美，触摸到古石雕精湛的工艺温度。",[300,25,169,28,301,302,154,303,7],"隋代","菩萨","石像","石刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0707cd5b14c3e4fbdfef80bdd81e389.jpg",[],{"id":307,"slug":308,"title":309,"dynasty":18,"author":19,"museum":58,"description":310,"tags":311,"thumbUrl":316,"material":89,"size":90,"collection":48,"collections":317,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":53},248284,"ti-hong-ba-xian-tu-tao-shi-he-yi-ming-248284","剔红八仙图桃式盒","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",[18,286,312,169,313,314,214,7,315],"剔红","桃形","八仙人物","吉祥图案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36312481f38adf2e99ff1341e80ebbd4.jpg",[],{"id":319,"slug":320,"title":321,"dynasty":18,"author":19,"museum":58,"description":310,"tags":322,"thumbUrl":332,"material":89,"size":90,"collection":48,"collections":333,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":75},247738,"dui-cai-li-zhi-wen-he-yi-ming-247738","堆彩荔枝纹盒",[24,323,169,324,286,41,198,187,325,326,327,328,329,330,7,331],"堆彩","荔枝纹","立体装饰","果纹","红地","灰绿彩","圆形","盒形","堆塑技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc50b0b26a98c25e1e5d15ee5ffc3d4d1.jpg",[],{"id":335,"slug":336,"title":337,"dynasty":18,"author":19,"museum":58,"description":338,"tags":339,"thumbUrl":343,"material":89,"size":90,"collection":48,"collections":344,"showCount":52,"zanCount":74,"manualWeight":11,"mainColor":108},241952,"xing-yue-pu-ti-dai-cui-shi-chao-zhu-yi-ming-241952","星月菩提带翠饰朝珠","主串星月菩提匀净温润，朱红配珠错落点染提亮色泽。翠质坠角凝着湖色柔光，莹润通透，珊瑚米珠串起的小流苏明艳跳脱，与素净菩提相映成趣。\n素白玉质背云温润雅致，牵着宝蓝绦带垂于正中，晕开沉静古雅的气韵。整体配色冷暖调和，将佛家清韵与宫廷华贵融于一身，既有文玩的清雅质感，又带着礼制下的规整端庄，静静沉淀着旧时的雅致匠心。",[24,61,263,340,62,341,342,7],"菩提","挂饰","珠子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa110b779faf9f4b17ecd3f4ffea43836.jpg",[],{"id":346,"slug":347,"title":348,"dynasty":18,"author":19,"museum":58,"description":349,"tags":350,"thumbUrl":354,"material":89,"size":90,"collection":48,"collections":355,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":108},241747,"shan-hu-dai-zhu-cui-shou-zi-wen-shou-chuan-yi-ming-241747","珊瑚带珠翠寿字纹手串","朱红珊瑚串就主环，莹润鲜亮，与浓绿翡翠相映成趣，撞色明艳动人。翡翠饰件雕琢寿字，寓意吉祥，搭配珍珠错落点缀，温婉灵韵扑面而来。\n整器布局对称规整，坠饰垂曳灵动，将贵重材质与精巧工艺相融，尽显雅致华贵的中式审美，是匠心凝练的绝美饰物。",[24,224,351,64,65,352,169,85,61,353,341,7],"珠翠","寿字纹","珠串","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F239349e524e6400e2120c55740863a43.jpg",[],{"id":357,"slug":358,"title":359,"dynasty":132,"author":19,"museum":58,"description":235,"tags":360,"thumbUrl":365,"material":89,"size":90,"collection":48,"collections":366,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":75},231448,"ding-xing-wan-yi-ming-231448","鼎形碗",[135,119,196,361,139,362,212,7,363,364],"单色釉","釉色","宋瓷","釉器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0960f0d3efc1545063f71bdcd53834e8.jpg",[],{"id":368,"slug":369,"title":370,"dynasty":18,"author":19,"museum":58,"description":371,"tags":372,"thumbUrl":377,"material":89,"size":90,"collection":48,"collections":378,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":53},229080,"tong-fa-lang-lu-yi-ming-229080","铜珐瑯炉","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。",[24,167,373,374,187,375,376,7,87,26,198],"珐琅器","彩釉","三足","双耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc15b34e1d82790e096f4a08956ef867.jpg",[],{"id":380,"slug":381,"title":382,"dynasty":18,"author":19,"museum":58,"description":383,"tags":384,"thumbUrl":389,"material":89,"size":90,"collection":48,"collections":390,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":53},257773,"kang-xi-kuan-dou-cai-tuan-hua-wen-wan-yi-ming-257773","康熙款斗彩团花纹碗","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。",[119,385,386,24,26,196,387,7,388],"斗彩","团花","花卉纹饰","釉下青花釉上彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f1f5818d52c3f74f97437fd57056aa6.jpg",[],{"id":392,"slug":393,"title":394,"dynasty":18,"author":19,"museum":58,"description":261,"tags":395,"thumbUrl":399,"material":89,"size":90,"collection":48,"collections":400,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":53},251431,"qing-yu-ru-yi-yi-ming-251431","青玉如意",[24,263,396,169,273,397,398,198,7],"青玉","吉祥纹饰","如意造型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa60ce46107e5c7535ebcaa6b5a8846b.jpg",[],{"id":402,"slug":403,"title":404,"dynasty":405,"author":19,"museum":58,"description":406,"tags":407,"thumbUrl":414,"material":89,"size":90,"collection":48,"collections":415,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":230},250297,"bai-yu-shao-yi-ming-250297","白玉勺","唐","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。",[263,196,408,169,409,410,411,412,413,7],"日用具","唐代","玉器工艺","白玉材质","实用器具","古代器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21128814326b6c9e14e038ba5bdc373a.jpg",[],{"id":417,"slug":418,"title":419,"dynasty":18,"author":19,"museum":58,"description":420,"tags":421,"thumbUrl":423,"material":89,"size":90,"collection":48,"collections":424,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":75},248663,"hei-qi-qian-luo-dian-shou-zi-kui-long-wen-guan-jia-yi-ming-248663","黑漆嵌螺钿寿字夔龙纹冠架","此冠架韵致古雅，形制考究。鎏金炉身透雕缠枝夔龙，婉转灵动的纹饰虚实相生，烟气可自镂孔悠然漫出，陈设熏香两相宜。漆黑亮泽的灯座之上，朱红寿字醒目点缀，沉敛底色衬得吉纹愈发热烈鲜活。底座螺钿嵌饰晕彩莹润，与鎏金炉身冷暖相映，华贵雅致尽显。\n它融透雕、镶嵌、髹饰诸艺于一体，工法细致入微，尽显精巧工致，暗含福寿绵长的美好祈愿，是兼具实用价值与审美意趣的雅室佳器。",[24,286,287,290,352,422,196,7],"夔龙纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d36b55f393a00e92652d6c8b62e471b.jpg",[],{"id":426,"slug":427,"title":428,"dynasty":18,"author":19,"museum":58,"description":310,"tags":429,"thumbUrl":433,"material":89,"size":90,"collection":48,"collections":434,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":75},248607,"qian-long-kuan-ti-hong-shuang-mian-li-zhi-wen-yuan-he-yi-ming-248607","乾隆款剔红双面荔枝纹圆盒",[24,286,312,430,324,329,431,432,275,7,169],"雕漆","双面纹饰","红漆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60a0119d9314a641eccfc62d57a74ddd.jpg",[],{"id":436,"slug":437,"title":438,"dynasty":18,"author":19,"museum":58,"description":310,"tags":439,"thumbUrl":441,"material":89,"size":90,"collection":48,"collections":442,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":443},247610,"ti-hong-an-ba-xian-wen-he-yi-ming-247610","剔红暗八仙纹盒",[24,286,430,312,169,7,440,432,196],"暗八仙纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c443b8ce1abe6f69950ceb9e1d32dba.jpg",[],"F48FB1",{"id":445,"slug":446,"title":447,"dynasty":18,"author":19,"museum":58,"description":448,"tags":449,"thumbUrl":454,"material":89,"size":90,"collection":48,"collections":455,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":108},245420,"yin-chui-die-hua-niao-tu-cha-bei-yi-ming-245420","银锤碟花鸟图茶杯","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。",[24,103,450,273,124,451,452,7,453],"锤揲","鸟类","花卉","写实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e05a2934e93560ce1ab2ea26ba67f60.jpg",[],{"id":457,"slug":458,"title":459,"dynasty":18,"author":19,"museum":58,"description":460,"tags":461,"thumbUrl":467,"material":89,"size":90,"collection":48,"collections":468,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":75},242168,"ti-he-dian-bian-yi-ming-242168","＂体和殿＂匾","边框髹朱漆，木雕缠枝纹辗转环绕，刀工细腻入微，层次饱满灵动，将方正牌匾衬得庄重又不失生机。\n\n灰地鎏金题字笔力遒劲凝练，满汉双文对称排布，金字在沉灰底色映照下愈显华贵庄重。整器既有宫廷礼制下的规整肃穆，又兼具木作工艺的精妙匠心，纹饰的柔婉与题字的刚劲相映成趣，于细节间尽显宫廷造物的极致考究，沉静内敛又不失皇家气度。",[24,462,169,463,464,465,432,466,7],"木质","书法","楷书","金漆","匾额","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1466625fab400b0c9affd94fe8b6b363.jpg",[],{"id":470,"slug":471,"title":472,"dynasty":18,"author":19,"museum":58,"description":473,"tags":474,"thumbUrl":477,"material":89,"size":90,"collection":48,"collections":478,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":108},242105,"yin-du-jin-ji-qing-wen-liu-su-yi-ming-242105","银镀金吉庆纹流苏","一种下垂的以五彩羽毛或丝线等制成的穗子，常用于舞台服装的裙边下摆等处。唐代妇女流行的头饰步摇，是其中一种。还有冕旒，帝王头上的流苏，以珍珠串成，按等级划分，数量有所不同。\n流苏又称穗子，为一种下垂的，以五彩羽毛或丝绒等扎成、如禾穗状的饰物，常见挂与帐中窗帘四角或玉佩扇子手柄。有道是“道家崇紫色，释门尚姜黄，才子香红佳人绿“，流苏，随风飘摇荡漾，传递着古雅与婉约的韵味。",[24,99,475,476,61,87,65,104,7],"吉庆纹","流苏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cb225e55941ed4ebb88b55732053804.jpg",[],{"id":480,"slug":481,"title":482,"dynasty":18,"author":19,"museum":58,"description":473,"tags":483,"thumbUrl":485,"material":89,"size":90,"collection":48,"collections":486,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":108},242078,"yin-du-jin-shou-zi-wen-liu-su-yi-ming-242078","银镀金寿字纹流苏",[24,99,352,476,65,484,7,61,84,103,187],"宝石镶嵌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0534ddfde2cf281a7b72ae94d09df25c.jpg",[],{"id":488,"slug":489,"title":490,"dynasty":18,"author":19,"museum":58,"description":491,"tags":492,"thumbUrl":496,"material":89,"size":90,"collection":48,"collections":497,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":108},242022,"yin-du-jin-qian-bao-shi-dian-hua-yi-ming-242022","银镀金嵌宝石钿花","用金、银、玉、贝等做成的花朵状装饰品。",[24,493,101,184,61,494,495,7],"银镀金工艺","头饰","金属纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd148edfd689cec9c71fbf8855f557a79.jpg",[],{"id":499,"slug":500,"title":501,"dynasty":18,"author":19,"museum":58,"description":502,"tags":503,"thumbUrl":507,"material":89,"size":90,"collection":48,"collections":508,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":108},241831,"song-shi-chao-zhu-yi-ming-241831","松石朝珠","这串朝珠以莹润绿松石为主珠，匀净苍绿如凝苍山翠色，沉静雅致。四颗浓红玛瑙隔珠错落点缀，冷暖相映，衬得整串层次分明，鲜活亮眼。\n\n佛头下的背云尤为精巧，缠金丝镶就轮廓，内嵌青金石晕开幽蓝，如藏夜空中的星芒，内敛又带着华贵气度。四串记捻以米珠串联，垂坠小巧嵌宝坠角，轻晃间自带灵动雅韵。\n\n整体制式规整肃穆，尽显旧时仪制的端庄华贵，松石的温润中和了礼制的严苛，将清雅意趣与朝堂仪轨相融，静静沉淀着岁月打磨过后的内敛风华。",[24,61,504,263,505,7,104,506],"松石","串珠","金饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89133faa297896d0e3971128a6e553ab.jpg",[],{"id":510,"slug":511,"title":512,"dynasty":18,"author":19,"museum":58,"description":261,"tags":513,"thumbUrl":522,"material":89,"size":90,"collection":48,"collections":523,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":230},241822,"dai-mao-xiang-zhu-qian-yu-shi-hua-hui-wen-bian-fang-yi-ming-241822","玳瑁镶珠嵌玉石花卉纹扁方",[24,514,515,516,140,169,85,61,517,518,519,263,520,7,521,275],"玳瑁","镶珠","嵌玉石","荷花","叶子","珠饰","扁方","装饰艺术","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5144edf8853a97983847b1a997a95dfe.jpg",[],{"id":525,"slug":526,"title":527,"dynasty":18,"author":19,"museum":58,"description":528,"tags":529,"thumbUrl":531,"material":89,"size":90,"collection":48,"collections":532,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":108},241752,"dian-cui-qian-zhu-bei-yun-yi-ming-241752","点翠嵌珠背云","澄澈点翠为底，金累丝勾出圆满轮廓，内嵌数颗饱满东珠，珠光凝润，与翠色交相辉映，晕开清贵雅致。串饰以珊瑚米珠衔接珍珠，错落之间层次尽显，顶端随形粉晶石添了几分柔婉灵秀，下端悬垂深红碧玺坠饰，莹润鲜亮，随步态轻摇顾盼生姿。将点翠、累丝、嵌珠工艺精妙糅合，尽显宫廷首饰的矜贵质感，藏着旧时匠人极致的精工巧思，是清代配饰工艺的精巧缩影。",[24,100,225,61,65,104,530,7],"金属镶嵌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd02c9bbb103ab2d5d69c6718837e4470.jpg",[],{"id":534,"slug":535,"title":536,"dynasty":18,"author":19,"museum":58,"description":537,"tags":538,"thumbUrl":10,"material":89,"size":90,"collection":48,"collections":543,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":75},223983,"chun-bo-er-ti-jin-sha-yi-ming-223983","椿伯尔提锦纱","《说文》：“锦，襄邑织文。从帛，金声。”即用彩色经纬丝织出各种图案花纹的纺织品，泛指具有多种彩色花纹的丝织物。锦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汉三个阶段。汉镜纹饰的主要种类有草叶纹镜、蟠龙纹镜、百乳镜、连弧纹镜、规矩镜、多乳禽兽纹镜和变形四叶镜等。",[834,208,167,169,835,187,329,788,7],"汉代","螭纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5fba58bbb2cefc5260c76487f7aee69.jpg",[],{"id":839,"slug":840,"title":830,"dynasty":205,"author":19,"museum":58,"description":206,"tags":841,"thumbUrl":843,"material":89,"size":90,"collection":48,"collections":844,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},244549,"chi-wen-jing-yi-ming-244549",[208,167,169,835,210,187,842,7,196],"圆形器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf7427ec69fd3b6ed55fe3d95bec3530.jpg",[],{"id":846,"slug":847,"title":848,"dynasty":831,"author":19,"museum":58,"description":832,"tags":849,"thumbUrl":851,"material":89,"size":90,"collection":48,"collections":852,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},244468,"you-shan-jing-yi-ming-244468","有善镜",[834,208,167,169,187,7,850,198],"汉代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e0b52a76581660a5bcbd2839a8db38f.jpg",[],{"id":854,"slug":855,"title":856,"dynasty":205,"author":19,"museum":58,"description":206,"tags":857,"thumbUrl":861,"material":89,"size":90,"collection":48,"collections":862,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},244245,"hu-yi-ming-244245","壶",[208,167,169,648,858,210,187,212,859,860,7,413],"乐器","青铜纹饰","钟形器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd76930efb18938d018943c1d8ba0e41.jpg",[],{"id":864,"slug":865,"title":866,"dynasty":831,"author":19,"museum":58,"description":832,"tags":867,"thumbUrl":870,"material":89,"size":90,"collection":48,"collections":871,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},244203,"qing-shi-jing-yi-ming-244203","青氏镜",[834,208,167,169,868,264,187,212,7,842,788,850,273,869],"神兽","神兽纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff105667ffd565a5fad42035ba87d595a.jpg",[],{"id":873,"slug":874,"title":875,"dynasty":831,"author":19,"museum":58,"description":832,"tags":876,"thumbUrl":877,"material":89,"size":90,"collection":48,"collections":878,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":443},243884,"qing-gai-jing-yi-ming-243884","青盖镜",[831,208,167,169,29,187,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d79fa981208f7e794af0dede72dd01c.jpg",[],{"id":880,"slug":881,"title":882,"dynasty":831,"author":19,"museum":58,"description":883,"tags":884,"thumbUrl":887,"material":89,"size":90,"collection":48,"collections":888,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},243854,"deng-yi-ming-243854","灯","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。",[208,167,834,198,885,788,886,7,196],"灯具","铸造工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d93dccf4458ebe070a8deafac6460ed.jpg",[],{"id":890,"slug":891,"title":490,"dynasty":18,"author":19,"museum":58,"description":491,"tags":892,"thumbUrl":894,"material":89,"size":90,"collection":48,"collections":895,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},242017,"yin-du-jin-qian-bao-shi-dian-hua-yi-ming-242017",[24,493,798,893,104,61,103,84,7],"珐琅工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc36912a55838b67ec3ddf63179da8ab2.jpg",[],{"id":897,"slug":898,"title":899,"dynasty":18,"author":19,"museum":58,"description":900,"tags":901,"thumbUrl":905,"material":89,"size":90,"collection":48,"collections":906,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},241855,"dai-mao-xiang-jin-qian-zhu-bao-zhuo-yi-ming-241855","玳瑁镶金嵌珠宝镯","传统腕饰，流行于全国各地。其多用金、银、玉等制圆环，束于臂腕间。汉代即有。套在手腕脚腕上的环形装饰品。",[24,514,902,903,61,798,506,904,7],"镶金","嵌珠宝","珠宝装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21565c1bbaf63182fb2b2378cf9d1af3.jpg",[],{"id":908,"slug":909,"title":899,"dynasty":18,"author":19,"museum":58,"description":900,"tags":910,"thumbUrl":913,"material":89,"size":90,"collection":48,"collections":914,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},241853,"dai-mao-xiang-jin-qian-zhu-bao-zhuo-yi-ming-241853",[24,514,911,86,85,1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问起这一风俗的来历，传说，还是三国时期貂蝉传下来的呢。 貂蝉原是东汉末汉献帝时司徒王允的一名歌伎，她长得相貌出众、能歌善舞，色伎俱佳，很受王允的宠爱，以亲女看待。当时，董卓专权，挟天子以令诸侯，大臣们对他恨之入骨，但是敢怒而不敢言。王允为此事也闷闷不乐，终日不思茶饭。 貂蝉虽是女流，可王允的心事，她却宗宗看在眼里，件件记在心中。她很会察言观色，为主人分忧解愁。在一个月光皎洁的夜晚，貂蝉在花园里设下香案，为主人祝祷。她虔诚地燃起三柱香火，仰天一拜说道：“明月呀明月，你虽昭昭洁白如洗，可知我家老爷心中烦恼？苍天呀苍天！我貂蝉虽乃女流之辈，老爷婢女，若能为老爷分担忧愁，我愿万死不辞。”恰在此时，王允因忧国心烦，夜不能寐，来到后花园赏月散心。他听见有人祝祷，连忙躲在一座假山后面，静听起来。他听完貂婶的祝愿，心情无比激动和感激，忙上前来，搀扶起这一歌女。 王允问貂婢：“你向苍天明月祈告，为我分忧解愁，可知我忧在何处？愁为何事呀！” 貂蝉说：“当然知道。” 王允又问：“既然知道，又有什么妙法替我杀了董卓？” 貂婢说：“只要老爷相信得过我，奴婢愿效犬马之劳，即使赴汤蹈火，也心甘情愿。” 王允听了，顿时为这女子的仗义和气魄所感动，当即认貂蝉为女儿。后来王允与貂蝉合议：先将貂蝉献于董卓，后再暗许吕布，以离间两人之交，让这董吕两人勾心斗角，互相杀害。 貂蝉耳垂小，怕自己美中不足，使董、吕二人看不上，使密谋落空。她想办法弥补，想了很久，终于想出了良法，就在家中拿了些碎银子，叫银匠给自己作了一对银耳坠，挂在耳垂上。这样过了不久，耳垂果然变大了，为她的美容又增添了不少姿色。 董卓一见貂蝉大喜！吕布一见貂蝉着迷，使董卓和吕布因争夺这一美女而激烈相斗。又因吕布貂蝉私通，恐事发觉，心神不安。王允设计使吕布为内应，结果董卓被杀了。 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