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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。",[81,82,23,7,83,48,84,85],"夏代","古玉","兽面纹","器","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f699c6829f280c2ab97dc7558c7998.jpg","未知","Xcm*Xcm",[],408,"795548",{"id":93,"slug":94,"title":95,"dynasty":96,"author":19,"museum":20,"description":97,"tags":98,"thumbUrl":101,"material":30,"size":30,"collection":50,"collections":102,"showCount":103,"zanCount":104,"manualWeight":11,"mainColor":35},242602,"bao-xiang-hua-wen-jing-yi-ming-242602","宝相花纹镜","唐","此镜取八出菱花形制，柔婉线条破开圆镜的规整刻板，自带舒展灵韵。镜背瑞兽缠枝宝相花层叠铺陈，宝相花揉合莲、牡丹之姿，端庄富丽，瑞兽灵动穿梭于花蔓间，将盛唐华贵生机尽数藏于方寸。\n沉郁苍古的铜色凝着厚重包浆，晕开岁月浸润的温润，圆润镜钮配黄绦垂穗，更添雅致生气。构图饱满却层次分明，将大唐包容万千的盛世气象与绮丽浪漫的审美意趣，悄然凝铸于此间。",[99,43,7,100],"唐代","宝相花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfa27ab331a834eda856f4d0dd67d596.jpg",[50],394,2,{"id":106,"slug":107,"title":108,"dynasty":109,"author":19,"museum":20,"description":79,"tags":110,"thumbUrl":114,"material":87,"size":88,"collection":30,"collections":115,"showCount":116,"zanCount":104,"manualWeight":11,"mainColor":91},224006,"hong-shan-wen-hua-wan-qi-yue-ju-jin-5500-5000-nian-niao-xing-yu-pei-yi-ming-224006","红山文化晚期 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。特别是盛唐时期铜镜工艺精湛，著名的瑞兽葡萄镜更是闻名于世，这一时期铜镜发展达到了顶峰。\n从唐末，五代起中国的铜镜艺术日趋衰落，宋、金、元时期的铜镜，从造型、纹饰和合金成分上都有不同于传统铜镜的特点。明，清时期虽然铜镜还在人们日常生活当中使用，但到清代中后期随着玻璃的使用，铜镜逐渐退出了历史舞台。当今虽然不再有人使用铜镜整装容，但古代铜镜给予我们的除了收藏价值，还有对古代形制、纹饰、铭文、艺术、制作工艺、成分等等的研究价值。中历收藏品鉴定中心，为我国合法第三方专业鉴定平台，证书得到了专业人士及社会各界的高度认可，藏品鉴定可咨询。",[448,43,7,449,44,85,450,451],"秦代","兽纹","古朴","圆形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c3b14dae713ca99959ea852a3e85183.jpg",[],81,{"id":456,"slug":457,"title":458,"dynasty":445,"author":19,"museum":20,"description":459,"tags":460,"thumbUrl":463,"material":87,"size":88,"collection":30,"collections":464,"showCount":465,"zanCount":73,"manualWeight":11,"mainColor":35},253665,"tao-gong-shou-nv-li-yong-yi-ming-253665","陶拱手女立俑","春秋战国时期，有一种殉葬用的“俑”，据《礼记·檀弓》，孔子“谓为俑者不仁”。郑玄注：“俑，偶人也，有面目机发，有似于生人。”皇侃疏：“机械发动踊跃，故谓之俑也。”孔颖达正义：“刻木为人，而自发动，与生人无异，但无性灵知识。”又《孟子·梁惠王》：“仲尼曰：始作俑者，其无后乎?为其像人而用之也。”焦循《孟子正义》：《广雅》引(张揖)《埤苍》云：“俑，木人，送葬设关而能跳踊，故名之。”“为其像人者，谓为其像人之转动跳踊也。”可见“俑”就是由简单机械发动能够自己转动跳跃的木人。\n中国古代坟中墓中陪葬用的偶人。是象征殉葬奴隶的模拟品。东周墓中出现渐多，秦汉至隋唐盛行，北宋以后逐渐衰落，但仍沿用到元明时期。俑的质料以木、陶质最常见，也有瓷、石或金属制品。宋代以后纸明器开始流行，陶、木、石质的俑开始渐渐减少。俑的形象，主要有奴仆、舞乐、士兵、仪仗等，并常附有鞍马、牛车、庖厨用具和家畜等模型，还有镇墓胜的神物。俑大多真实地模拟着当时的各种人物，因而可以考见当时社会的生活习俗，也是研究各代舆服制度的重要资料。俑还可以反映出各个时代雕塑艺术的水平。\n秦代的秦始皇陵兵马俑，形体比人略高，陶制，是已知最大的俑；另外还有铜俑等。汉俑种类比以前增多，有兵士、女侍、仆役及乐舞俑。南方以木俑为多，有的彩绘着衣。其他地方多陶、石、木、金属等多种材质的俑，注重传神。两晋南北朝制作多样，南方承中原传统并有了瓷俑；北方出了少数民族形象的陶俑。隋唐俑型大而精美，三彩俑为盛唐时的制作高峰。现在能见到的，是保存在陕西省历史博物馆的唐三彩杰作，有陕西省乾县懿德太子李重润墓出土的、三彩纹胎骑马狩猎俑，和西安市中堡村唐墓出土的唐三彩骆驼戴乐舞俑。这些俑的特点，普遍是形象高大雄健，神态生动富有传神，可谓形神俱佳的作品。并反映了盛唐时期，中华民族富有创造性和豪迈自信的民族性格。五代以后，以俑殉葬的风气开始低落，金元墓葬中出现了陶塑、砖雕表演杂剧的俑，往往成组塑造，还有舞台背景，较为生动，是制作俑的最后一个高潮，以山西出土为多。明清墓葬中俑的出现渐少。在高官王侯墓中出土有木俑和石俑，多以成群人物或辅以仪仗、侍从的庞大场面，用来炫耀死者地位为主，但作为雕塑制品已失去了艺术感染力。秦兵马俑的历史文化价值是独具魅力的。它打开了观察它所产生的那个时代的窗口，大大地改变了人们对那个时代的看法。\n秦兵马俑震撼世人的首推其卓越的艺术成就。几千件魁伟英武的大型陶塑艺术作品，以整体形象排列在将近两万平方米的空间里，其磅礴的气势几乎使所有不同肤色的参观者都从心灵深处产生强烈震颤，体现出艺术家驾驭宏大艺术题材、追求整体气韵和艺术创造的卓越才能。秦俑千人千面、呼之欲出的人物塑造则从形体把握、神韵处理、色彩运用、细部刻画等方面表现出作者的艺术素养和艺术成就。作品写实主义的风格不仅给我们留下了一个高超的古代艺术范本，同时也留下了许多关于那个时代的极富价值的历史记录。严肃划一的军旅题材能够处理得如此生动，产生如此震撼人心的艺术魅力，使人们不得不换一副眼光来审视中国古代艺术发展历程中的特殊规律，重新探索和构架中国古代造型艺术发展的历史。\n秦兵马俑坑文物的出土也较大幅度地改写了人们对秦代的科技水平的认识，以大量的实证材料形象地展现了秦代生产力的发展水平。就科技史而言，秦俑坑发现的许多资料都是令世人震惊的。譬如：1、秦俑坑出土文物所展现的秦代冶金和金属加工技术比我们以往的估计要高出很多，其中青铜涂铬防锈技术的大量应用是最具代表性的一例，它在当时已是一种很成熟的技术，秦俑出土的绝大多数兵器表面都涂有这种保护层。这种绝技似乎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。",[445,461,462,7,63],"俑","陶瓷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89945cb03edd86164fcc02476e205ccb.jpg",[],80,{"id":467,"slug":468,"title":469,"dynasty":18,"author":19,"museum":20,"description":470,"tags":471,"thumbUrl":475,"material":30,"size":30,"collection":31,"collections":476,"showCount":477,"zanCount":73,"manualWeight":11,"mainColor":148},221647,"yu-niao-yi-ming-221647","玉鸟","这件瑞鸟玉雕以三角随形施艺，透雕结合线刻，匠心尽显。凤鸟身姿劲挺，昂首展翼，长尾舒张如垂瀑，周遭以卷草透空作衬，虚实相生。\n\n躯干以工整阴线琢出几何羽鳞，翅羽分层刻画，纹理错落有序，将瑞鸟华美金贵的仪态凝于方寸。玉质浸透着岁月晕染的暖黄包浆，古韵盎然。整体工法细腻雅致，写实与装饰意趣相融，尽显宋时玉雕的审美意韵，把祥瑞灵禽的雍容灵动雕琢得淋漓尽致，是宋代民间玉雕精巧工法的绝佳缩影。",[144,7,472,473,474],"象牙","鸟","花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c89995532159690cd4cff737039313e.jpg",[31],79,{"id":479,"slug":480,"title":481,"dynasty":482,"author":19,"museum":20,"description":483,"tags":484,"thumbUrl":487,"material":30,"size":30,"collection":70,"collections":488,"showCount":489,"zanCount":73,"manualWeight":11,"mainColor":35},244509,"liu-jin-hou-yi-ming-244509","鎏金猴","汉","此件小作将灵猴蜷身团坐的模样定格，前爪敛在胸前，圆首低垂，神态温顺憨稚。虽鎏金大多剥落，斑驳间露出胎体底色，残存的金箔却依旧晕着柔光，依稀可见当年的华贵精致。\n\n没有繁缛的纹饰雕琢，仅以凝练的造型将猿猴灵动娇憨的气质勾勒尽致，尽显工艺的写意传神。古人以极简的手法，捕捉住灵猴静憩的松弛意趣，残金旧痕里，藏着千年前的造物巧思，把对灵瑞之兽的喜爱凝缩于方寸之间。",[482,485,486,28,64,44,7],"鎏金","猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdf40c6e7d13aca7c8e6aa0ec5e54ce3.jpg",[70],78,{"id":491,"slug":492,"title":493,"dynasty":96,"author":19,"museum":494,"description":495,"tags":496,"thumbUrl":498,"material":87,"size":88,"collection":30,"collections":499,"showCount":489,"zanCount":11,"manualWeight":11,"mainColor":91},226169,"ku-zhu-shi-xi-bi-yi-ming-226169","窟主室西壁","敦煌","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。",[497,62,123,63,7],"壁画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F221f3dcbbfbd09c8fec964f467975396.jpg",[],{"id":501,"slug":502,"title":503,"dynasty":58,"author":19,"museum":20,"description":504,"tags":505,"thumbUrl":508,"material":30,"size":30,"collection":31,"collections":509,"showCount":510,"zanCount":11,"manualWeight":11,"mainColor":148},241700,"qian-long-kuan-cui-long-wen-shuang-er-pan-yi-ming-241700","乾隆款翠龙纹双耳盘","翠色层次交融，黄绿晕染自带温润清透质感。双龙为耳，身姿矫健灵动，贴合杯身既添威严，又兼顾握持平衡。杯身暗饰纹样，含蓄雅致，下承双层莲瓣底座，线条饱满圆润，尽显出尘意趣。花口浅盘配矮足，盘面纹路暗藏精妙，与杯身呼应协调。整体造型端庄规整，雕工细腻入微，将翡翠的天然灵韵与制玉工艺的严谨精巧相融，尽显清隽典雅的宫廷气度。",[61,23,7,506,25,507,350,84],"浮雕","双耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F628ec2c84e48d5c43db11c3a61245876.jpg",[31],76,{"id":512,"slug":513,"title":514,"dynasty":109,"author":19,"museum":20,"description":515,"tags":516,"thumbUrl":520,"material":87,"size":88,"collection":30,"collections":521,"showCount":522,"zanCount":73,"manualWeight":11,"mainColor":35},226715,"shan-dong-long-shan-wen-hua-wan-qi-ying-wen-gui-yi-ming-226715","山东龙山文化晚期鹰纹圭","一面牙黄泛灰色玉，另一面上半部牙黄泛灰，下半部赭红色，刃部近黑色。窄长梯形，平直正刃。刃在线颇多使用崩伤痕。柄端也有伤缺、一圆孔，孔壁光滑。圭之中段的两面，均浅浮雕神秘的花纹。上下段又加琢了乾隆的御制诗和玺文。清宫中加配木座。用美玉琢制的斧铲，主要是象征统治者的身份地位的礼器，在礼制中称为「圭」。在典礼中，要将它的刃部朝上捧握。这是一件距今约4300至3800年间海岱地区的玉圭，住在那儿的先民就是文献中的「东夷」。所以在这件玉圭的中段，都雕琢了东夷人信奉的神祖像。不过浮雕的花纹非常轻浅。",[109,23,7,517,518,48,85,519],"线刻","鹰纹","鸟纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3a867ac04e6b3adab61b9c4a54fd03e.jpg",[],73,{"id":524,"slug":525,"title":526,"dynasty":58,"author":19,"museum":20,"description":527,"tags":528,"thumbUrl":530,"material":87,"size":88,"collection":416,"collections":531,"showCount":532,"zanCount":11,"manualWeight":11,"mainColor":148},253566,"de-hua-yao-bai-you-guan-yin-pu-sa-li-xiang-yi-ming-253566","德化窑白釉观音菩萨立像","德化窑位于今福建德化，故名。作为著名的瓷窑，是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n德化瓷器是中华陶瓷烧造中的艺术珍品，始于宋代，明代后得到巨大发展。以白瓷塑佛像闻名。其制作细腻，雕刻精美，造型生动，体现了古代劳动人民的卓越才能和艺术创造力。\n在今福建德化，故名。是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n碗坪仑烧瓷较屈斗宫古窑址早，烧青白瓷，有的接近白釉，刻花蓖划纹装饰较多，盒子遗留甚丰，盖面所印阳纹装饰达一百余种，题材之丰富在南方地区首屈一指，南宋时有专门制作盒子的作坊，盒盖上阳文印花装饰题材丰富，有动物、花卉等近百种图案。划花间篦划纹亦较多，饰在碗、盘、瓶等器物上。\n屈斗宫元代办烧青白瓷，从南宋至元代。明代盛烧白瓷观音、达摩等塑像，胎釉浑然一体，如同白玉，被赞为\"象牙白\"、\"奶白\"或 \"天鹅绒白。清代除烧白瓷外，盛烧青花与彩绘瓷器。元代以来，德化窑瓷器输出海外，菲律宾、马来西亚出土有元代德化窑青白瓷，泰国及东非坦桑尼亚等国家也出土有清代德化窑青花瓷器。\n这种瓷器的制作工艺程序如下：他们从地下挖取一种泥土，将它垒成一个大堆，任凭风吹、雨打、日晒，从不翻动，历时三、四十年。泥土经过这种处理，质地变得更加纯化精炼，适合制造上述各种器皿，然后抹上认为颜色合宜的釉，再将瓷器放入窑内或炉里烧制而成。因此，人们挖泥堆土，目的是替自已的儿孙贮备制造瓷器的材料而已，大量的瓷器是在城中出售， 一个威尼斯银币能买到八个瓷杯“。马可波罗的介绍，引起了西方人的强烈兴趣。",[61,462,529,62,63,7],"白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffefff6acbb327d1debb44cffe6346272.jpg",[416],71,{"id":534,"slug":535,"title":536,"dynasty":58,"author":19,"museum":20,"description":537,"tags":538,"thumbUrl":540,"material":30,"size":30,"collection":31,"collections":541,"showCount":532,"zanCount":73,"manualWeight":11,"mainColor":91},241701,"cui-xiao-yi-ming-241701","翠箫","此器莹润似春水初凝，仿竹修形，线条清隽舒展，自带出尘之态。深浅翠色晕染通透玉身，如同将江南烟霭凝于骨中，素净无饰，尽展天然雅致。匀整开孔暗含音律章法，仿佛仍留存着丝竹萦耳的旧时余韵。静置于此，温润泽光里晕开岁月痕迹，似能窥见昔年执管奏乐的光景，将东方雅骨融于一管翠玉，缄默诉说着旧时风月清欢。",[61,23,187,7,113,539],"翠玉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1d5d38e4274032046e5ab062807eb0d.jpg",[31],{"id":543,"slug":544,"title":545,"dynasty":163,"author":19,"museum":20,"description":546,"tags":547,"thumbUrl":548,"material":30,"size":30,"collection":50,"collections":549,"showCount":550,"zanCount":11,"manualWeight":11,"mainColor":35},242611,"da-gui-fu-gui-ding-yi-ming-242611","大龟父癸鼎","立耳微耸，三足沉稳敦实，器腹饱满圆融，整体造型古朴厚重，尽显上古礼器的端严威仪。口沿下环饰兽面与圆涡纹样，线条狞厉诡谲，带着独有的神秘肃穆，暗合着祭祀重器的神性内核。\n\n铜身斑驳交错的青绿与红褐锈迹，是三千年岁月蚀刻的印记，凝萃着上古匠人的炉火匠心，静穆无声间，将青铜时代的狞厉之美与庄重礼治精神娓娓道来。",[43,166,48,7,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2f8fa6bf7a4556c0ed732c10da5db65.jpg",[50],68,{"id":552,"slug":553,"title":554,"dynasty":58,"author":19,"museum":20,"description":555,"tags":556,"thumbUrl":557,"material":30,"size":30,"collection":31,"collections":558,"showCount":559,"zanCount":11,"manualWeight":11,"mainColor":91},251574,"qing-yu-zhao-fu-ding-yi-ming-251574","青玉召夫鼎","取上古青铜方鼎形制，青玉质地匀净温润，色泽清和内敛。器身雕琢饕餮兽面纹，线条沉凝庄重，辅以出戟勾连轮廓，复刻商周礼器的肃穆古意。兽面构图规整威严，带着上古祭祀重器的庄重气韵。四足阴刻纹饰纤细流畅，与器身纹样呼应协调。整器将青铜礼器的厚重威仪，和玉料自带的清润柔和完美相融，形制周正雅致，既存古礼器的庄严格局，又尽显玉作的温婉质感，是仿古玉作中的精巧佳器。",[23,7,48,166,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb777aab9f46bd269f82382e5b30d3a8.jpg",[31],64,{"id":561,"slug":562,"title":563,"dynasty":18,"author":19,"museum":20,"description":564,"tags":565,"thumbUrl":567,"material":30,"size":30,"collection":50,"collections":568,"showCount":559,"zanCount":11,"manualWeight":11,"mainColor":35},243043,"pan-she-wen-zun-yi-ming-243043","蟠蛇纹尊","双蛇共身盘绕承托尊体，兽首双目圆睁，吻部昂然前探，威严中带着灵动生气。蛇身满布细密鳞纹，与尊身纹饰上下呼应。器腹两侧衔环铺首，浅浮雕的回环兽面纹古朴庄重，复刻出商周青铜的浑朴大气。\n\n青绿铜锈晕染出厚重岁月感，整体形制精巧，将上古青铜的狞厉之美，揉入雅致审美，古拙与精工相融，尽显对三代礼制美学的追慕与再创造，是仿古铜器中的妙品。",[43,44,7,566,47,48,18],"蟠蛇纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faff111390577f1a1bff92addd9674c02.jpg",[50],{"id":570,"slug":571,"title":572,"dynasty":482,"author":19,"museum":20,"description":573,"tags":574,"thumbUrl":576,"material":87,"size":88,"collection":30,"collections":577,"showCount":578,"zanCount":214,"manualWeight":11,"mainColor":91},223703,"long-wen-huan-yi-ming-223703","龙纹环","汉代是龙纹造型的真正定型期，在形式上达到了一个空前的高度，这一历史背景也充分反映在汉代玉器龙纹上。我们看到，汉代玉龙一改战国时期那种自由奔放、生机勃勃、姿态万千的特点，而逐渐趋于表现龙的凶猛威武之态、翻云覆雨之势、气韵生动之神采。\n此期龙纹大多与螭虎纹、凤纹组合或单独出现，作为玉璧、玉珩、玉璜、玉环、玉觿、韘形佩等器物的装饰纹样，并出现了四灵题材中的龙。单独成器的玉龙数量较少，上图龙体蜷曲呈“S”形，长尾上卷，器表遍布勾连纹以示龙鳞，身边饰以镂雕云纹。",[575,23,7,47,28,27],"汉代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3798b35c91396fe861649c0c803042b6.jpg",[],63,{"id":580,"slug":581,"title":582,"dynasty":109,"author":19,"museum":20,"description":583,"tags":584,"thumbUrl":587,"material":87,"size":88,"collection":30,"collections":588,"showCount":589,"zanCount":11,"manualWeight":11,"mainColor":148},226725,"xin-shi-qi-shi-dai-wan-qi-yi-ming-226725","新石器时代晚期","中国的新石器时代是原始社会氏族公社制由全盛到衰落的一个历史阶段。它以农耕和畜牧的出现为划时代的标志，表明已由依赖自然的采集渔猎经济跃进到改造自然的生产经济。磨制石器、制陶和纺织的出现，也是这一时代的基本特征。因而，新石器时代在中国历史上是古代经济、文化向前发展的新起点。中国新石器文化至少要在距今10000年前，实际开始年代还当更早；一般延续到前2000年左右",[109,7,585,586,23],"书法","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32d695e831ffaf136601e2f1ba1ecdf1.jpg",[],62,{"id":591,"slug":592,"title":593,"dynasty":163,"author":19,"museum":20,"description":594,"tags":595,"thumbUrl":599,"material":87,"size":88,"collection":30,"collections":600,"showCount":589,"zanCount":11,"manualWeight":11,"mainColor":148},223863,"mu-lei-wen-gui-yi-ming-223863","目雷纹簋","中作目形，目外形线引长作成∽形，四周填以雷纹。以目和雷纹组成，故名。通行于商和西周初期。",[43,239,48,166,596,7,597,507,598],"青铜铸造","目雷纹","圈足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50724652e57d1322ee2c78f2020703d4.jpg",[],{"id":602,"slug":603,"title":604,"dynasty":96,"author":19,"museum":20,"description":605,"tags":606,"thumbUrl":607,"material":30,"size":30,"collection":70,"collections":608,"showCount":609,"zanCount":11,"manualWeight":11,"mainColor":35},253549,"tao-hua-cai-wu-shi-yong-yi-ming-253549","陶画彩武士俑","蹙眉瞠目，虬髯贲张，尽显慑人武威，俨然沙场悍将的威严气魄。身着明光铠，红彩勾描甲胄纹饰，胸、腹处宝相花细腻古雅，为冷硬的甲身晕开柔媚古韵。\n\n双拳紧攥抬于胸前，似正按剑待令，挺拔站姿沉稳刚健，将盛唐甲士的赳赳雄姿定格。彩釉虽经年岁晕褪斑驳，却仍可窥见初时的明艳精工，把陶塑的厚重质感与彩绘的雅致华美融为一体，尽显当时的高超造诣，凝住了千年前的尚武风华与审美意趣。",[96,462,461,123,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ade8c2b2c0b076ba1210f89f9832a7e.jpg",[70],61,{"id":611,"slug":612,"title":613,"dynasty":423,"author":19,"museum":20,"description":614,"tags":615,"thumbUrl":623,"material":30,"size":30,"collection":70,"collections":624,"showCount":609,"zanCount":73,"manu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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。",[43,44,48,166,7,28,163,713],"古代器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d488bc59abff2807dc7d206e50744f7.jpg",[],53,{"id":718,"slug":719,"title":720,"dynasty":18,"author":19,"museum":20,"description":721,"tags":722,"thumbUrl":726,"material":30,"size":30,"collection":31,"collections":727,"showCount":716,"zanCount":73,"manualWeight":11,"mainColor":35},221649,"yu-yuan-yang-yi-ming-221649","玉鸳鸯","此玉件质地温润凝脂，局部晕染浅褐沁色，自带岁月沉淀的沉静古韵。造型写实凝练，将鸳鸯憨态柔婉的体态拿捏得当，头部圆钝生动，喙部线条利落，仅以极简浅刻勾勒出目色与羽纹，寥寥刀工便衬出水禽的温驯灵秀，尽显宋作写实雅致的审美意趣。褪去繁复装饰，以通透简约的气韵，将文玩清赏的雅致融于方寸之间，尽显宋人尚简求真的玉作风骨。",[23,7,723,724,725,18],"写实","禽鸟","动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8baa004310fe4736f2632e5111a2bcc.jpg",[31],{"id":729,"slug":730,"title":731,"dynasty":18,"author":19,"museum":20,"description":732,"tags":733,"thumbUrl":734,"material":30,"size":30,"collection":31,"collections":735,"showCount":716,"zanCount":11,"manualWeight":11,"mainColor":35},221646,"yu-shi-fo-jiao-seng-lv-yi-ming-221646","玉饰（佛教僧侣）","青白玉质，局部俏色取洒金皮为僧侣披帛。圆雕僧侣丰面圆颅，神态憨稚平和，抬掌曲膝自在随性，身旁瑞兽蜷蹲依偎，灵动温顺。整器刀法圆融洗练，线条柔畅凝练，褪去宗教肃穆感，将佛门清宁与世俗意趣相融，温润玉质晕出莹润柔光，把宋人的文玩雅趣凝于方寸，消解禅门距离，尽显日常化的安然禅意，是宋代世俗化玉雕审美精巧体现。",[144,23,7,62,63,28,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdefc7923c68d894d2d55c6a8d8d9b2d.jpg",[31],{"id":737,"slug":738,"title":739,"dynasty":58,"author":19,"museum":20,"description":740,"tags":741,"thumbUrl":743,"material":30,"size":30,"collection":31,"collections":744,"showCount":745,"zanCount":11,"manualWeight":11,"mainColor":35},241716,"hong-bao-shi-fo-shou-yi-ming-241716","红宝石佛手","它凝萃浓艳似血的赤红光华，莹润包浆晕开经年的温润质感。随形雕就的佛手虬曲舒展，指节肌理圆转自然，将鲜活佛手的清润形态定格为永恒。每一处褶皱都打磨得柔滑细腻，光影流转间，宝石的通透感与雕工的朴拙意趣相融，既保留原石天然意态，又借佛手谐音暗藏福寿吉祥的美好祈愿。这份旧时光里的造物，以石为纸、以刀为笔，将文人雅趣与世俗吉庆凝于方寸，静立间便晕开沉静华贵的古韵。",[58,23,7,742],"佛手","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeae828ed9656f67975ac17eb748d973.jpg",[31],52,{"id":747,"slug":748,"title":749,"dynasty":359,"author":19,"museum":20,"description":360,"tags":750,"thumbUrl":751,"material":87,"size":88,"collection":30,"collections":752,"showCount":745,"zanCount":11,"manualWeight":11,"mainColor":148},223705,"liu-chao-liu-shi-jing-1-yi-ming-223705","六朝 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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。",[482,44,7,923,924,925,84],"连弧纹","桃花","鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ae6c95bfa6406dc5ee19e54c4bbc580.jpg",[],{"id":929,"slug":930,"title":931,"dynasty":359,"author":19,"museum":20,"description":932,"tags":933,"thumbUrl":935,"material":87,"size":88,"collection":30,"collections":936,"showCount":887,"zanCount":11,"manualWeight":11,"mainColor":91},223706,"yun-long-wen-jing-yi-ming-223706","云龙纹镜","八出葵花形，内切圆形，圆钮。一龙盘曲，龙头面向镜钮作戏珠状，双角后翘，张口吐舌， 背鳍、腹甲、鳞片、刻画细密，前肢伸张，后肢曲伸，四肢露出三尖爪，身体矫健，神志轩昂。龙身四周环绕如意云头纹，线条飘逸。边缘八瓣内， 有长尾鸟、短尾鸟、 蜂蝶、蜻蜓分别飞向折枝花，花均为两叶两苞，设计精巧细致。",[359,44,7,47,934],"云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4165f6bf70a49531d448e9403c93ce68.jpg",[],{"id":938,"slug":939,"title":940,"dynasty":163,"author":19,"museum":20,"description":941,"tags":942,"thumbUrl":943,"material":30,"size":30,"collection":50,"collections":944,"showCount":945,"zanCount":11,"manualWeight":11,"mainColor":35},242812,"shou-mian-wen-gui-yi-ming-242812","兽面纹簋","双龙耳蜷曲灵动，中和了器身的沉穆厚重。兽面纹狞厉威严，双目突出极具张力，回纹勾连环绕，层层铺陈出上古的肃穆祭祀氛围。斑驳铜锈是岁月浸淫出的肌理，将崇神尚礼的庄重凝于一身。\n\n线条刚劲利落，器形端庄沉稳，狞厉的纹饰暗藏古人对天地神祇的敬畏，古朴质感里藏着跨越千年的文明回响，是青铜礼器中狞厉之美的典型缩影。",[43,48,28,7,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbee7e17535f86a46393733d49c4bd499.jpg",[50],45,{"id":947,"slug":948,"title":949,"dynasty":58,"author":19,"museum":20,"description":950,"tags":951,"thumbUrl":952,"material":30,"size":30,"collection":31,"collections":953,"showCount":945,"zanCount":11,"manualWeight":11,"mainColor":35},241756,"qian-zhu-yu-dai-kou-yi-ming-241756","嵌珠玉带扣","金累丝为边框，遍嵌圆润东珠，莹润珠光与赤金光泽相映成辉。中心嵌三色玉带板，褐糖玉色与青白玉自然晕染过渡，浅刻卷草纹隐于玉面，古雅含蓄。玉带板中心再镶一颗硕大东珠，以翠色勾边提亮视觉重心，华贵中带着清雅古韵。\n\n它融合花丝、嵌宝与古玉改制工艺，将金玉珠宝的富丽，与古玉的沉静气韵相融，尽显匠作的精湛工巧，把贵重物料与传统工艺揉合为一，雅致华贵兼具，尽显旧时高端审美里的奢华意趣。",[61,23,64,202,65,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a1daae9134ce5558dae1c5fcef9d4cd.jpg",[31],{"id":955,"slug":956,"title":957,"dynasty":445,"author":19,"museum":20,"description":459,"tags":958,"thumbUrl":959,"material":87,"size":88,"collection":30,"collections":960,"showCount":961,"zanCount":11,"manualWeight":11,"mainColor":91},254061,"tao-nv-li-yong-yi-ming-254061","陶女立俑",[448,461,462,7,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97f548e31c60d82f411c70895a71bb10.jpg",[],44,{"id":963,"slug":964,"title":965,"dynasty":58,"author":19,"museum":20,"description":966,"tags":967,"thumbUrl":972,"material":30,"size":30,"collection":31,"collections":973,"showCount":961,"zanCount":11,"manualWeight":11,"mainColor":35},251563,"qian-long-yu-ti-qing-yu-jiao-ye-chan-zhi-lian-wen-seng-mao-shi-dai-gai-hu-yi-ming-251563","乾隆御题青玉蕉叶缠枝莲纹僧帽式带盖壶","青玉质地莹润温糯，青泽内敛沉静。壶身取僧帽为形，曲流上扬、执耳古雅，器盖穹起圆钮如珠，线条舒展柔婉，兼具古朴端庄与秀雅灵韵。\n\n腹部满饰缠枝莲纹，花叶翻卷灵动，细密婉转的线条游走玉面，繁而不乱，清丽雅致。颈间浅琢蕉叶纹，层叠舒展，古意盎然。整器雕工细腻入微，碾磨光滑莹亮，尽显玉料温润质感与制玉工艺的精湛，将佛家静穆之美与玉雕精巧工艺相融，沉静雅致，尽显治玉的匠心功底。",[61,23,113,7,968,969,787,970,85,971,84,124],"蕉叶纹","缠枝莲纹","僧帽式","青玉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9619cc097d1c2e7da483259fc4559725.jpg",[31],{"id":975,"slug":976,"title":829,"dynasty":482,"author":19,"museum":20,"description":977,"tags":978,"thumbUrl":980,"material":87,"size":88,"collection":30,"collections":981,"showCount":961,"zanCount":104,"manualWeight":11,"mainColor":91},226911,"bo-shan-lu-yi-ming-226911","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。",[575,43,44,7,913,84,979],"山形纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc09dd3d1f4cd7fd27e6bce37e3282e80.jpg",[],{"id":983,"slug":984,"title":985,"dynasty":986,"author":19,"museum":20,"description":987,"tags":988,"thumbUrl":990,"material":87,"size":88,"collection":416,"collections":991,"showCount":992,"zanCount":73,"manualWeight":11,"mainColor":35},254256,"de-hua-yao-bai-you-guan-yin-pu-sa-zuo-xiang-yi-ming-254256","德化窑白釉观音菩萨坐像","明","德化窑位于今福建德化，故名。作为著名的瓷窑，是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n德化瓷器是中华陶瓷烧造中的艺术珍品，始于宋代，明代后得到巨大发展。以白瓷塑佛像闻名。其制作细腻，雕刻精美，造型生动，体现了古代劳动人民的卓越才能和艺术创造力。\n在今福建德化，故名。是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n碗坪仑烧瓷较屈斗宫古窑址早，烧青白瓷，有的接近白釉，刻花蓖划纹装饰较多，盒子遗留甚丰，盖面所印阳纹装饰达一百余种，题材之丰富在南方地区首屈一指，南宋时有专门制作盒子的作坊，盒盖上阳文印花装饰题材丰富，有动物、花卉等近百种图案。划花间篦划纹亦较多，饰在碗、盘、瓶等器物上。\n屈斗宫元代办烧青白瓷，从南宋至元代。明代盛烧白瓷观音、达摩等塑像，胎釉浑然一体，如同白玉，被赞为"象牙白"、"奶白"或 "天鹅绒白。清代除烧白瓷外，盛烧青花与彩绘瓷器。元代以来，德化窑瓷器输出海外，菲律宾、马来西亚出土有元代德化窑青白瓷，泰国及东非坦桑尼亚等国家也出土有清代德化窑青花瓷器。\n这种瓷器的制作工艺程序如下：他们从地下挖取一种泥土，将它垒成一个大堆，任凭风吹、雨打、日晒，从不翻动，历时三、四十年。泥土经过这种处理，质地变得更加纯化精炼，适合制造上述各种器皿，然后抹上认为颜色合宜的釉，再将瓷器放入窑内或炉里烧制而成。因此，人们挖泥堆土，目的是替自已的儿孙贮备制造瓷器的材料而已，大量的瓷器是在城中出售， 一个威尼斯银币能买到八个瓷杯“。马可波罗的介绍，引起了西方人的强烈兴趣。",[989,462,62,63,7,529],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff312c083ebb290befe0117ffdd19a75c.jpg",[416],43,{"id":994,"slug":995,"title":996,"dynasty":359,"author":19,"museum":20,"description":997,"tags":998,"thumbUrl":999,"material":87,"size":88,"collection":30,"collections":1000,"showCount":992,"zanCount":11,"manualWeight":11,"mainColor":35},253292,"tong-mi-le-fo-zuo-xiang-yi-ming-253292","铜弥勒佛坐像","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。",[359,44,43,62,63,7,259],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bbdab89a628ce29e8227f6c5937f7b9.jpg",[],{"id":1002,"slug":1003,"title":1004,"dynasty":482,"author":19,"museum":20,"description":921,"tags":1005,"thumbUrl":1011,"material":87,"size":88,"collection":30,"collections":1012,"showCount":992,"zanCount":11,"manualWeight":11,"mainColor":91},223962,"si-ru-si-hui-wen-jing-2-yi-ming-223962","四乳四虺纹镜-2",[43,44,1006,271,7,1007,1008,188,1009,1010],"铜镜","四乳纹","四虺纹","虺纹","汉代纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0746bf344e11ca28318f5bfa45a0bacf.jpg",[],{"id":1014,"slug":1015,"title":1016,"dynasty":482,"author":19,"museum":20,"description":1017,"tags":1018,"thumbUrl":1022,"material":30,"size":30,"collection":50,"collections":1023,"showCount":1024,"zanCount":11,"manualWeight":11,"mainColor":91},243243,"shi-er-chen-wen-jing-yi-ming-243243","十二辰纹镜","博局纹规整分割镜背，四方八区错落排布，乳钉如星斗列布其间，暗合古人天地星宿的浪漫遐想。环绕的十二辰纹饰，带着古拙的线条，复刻着上古对时序天道的敬畏与描摹。\n\n铜身被岁月晕开斑驳绿锈，却仍留存沉润的金属冷光，镜钮悬系的黄绳，似牵系起古今的时光脉络。细密劲挺的线条将古人的宇宙观凝铸在圆镜之中，兼具日用的温度与天文哲思的厚重，静静铺展千年前的精神图景。",[43,44,7,1019,1020,1021],"十二辰纹","几何纹","纹饰繁复","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cfef649728d250cf36689f41065fbc1.jpg",[50],42,{"id":1026,"slug":1027,"title":1028,"dynasty":163,"author":19,"museum":20,"description":1029,"tags":1030,"thumbUrl":1031,"material":30,"size":30,"collection":50,"collections":1032,"showCount":1024,"zanCount":11,"manualWeight":11,"mainColor":91},242837,"wei-jue-yi-ming-242837","囗爵","它敞口前伸为流，收束成尖尾，口沿立柱亭亭卓立，高挑三足稳稳托起器身，刚劲挺拔又不失平衡之美。器身遍饰兽面纹，线条古拙虬结，带着上古祭祀礼器独有的狞厉威严。青绿铜锈层层覆裹，晕开岁月浸蚀的斑驳肌理，将商代青铜工艺的厚重质感尽显无余。作为礼宴重器，它凝缩着神权时代的肃穆礼制，藏着古人对天地先祖的敬畏，静静沉淀着三千年的时光余韵。",[43,44,124,48,7,239,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fc748c55cc3865b25ee23e764fa2721.jpg",[50],{"id":1034,"slug":1035,"title":1036,"dynasty":163,"author":19,"museum":20,"description":1037,"tags":1038,"thumbUrl":1039,"material":30,"size":30,"collection":50,"collections":1040,"showCount":1024,"zanCount":11,"manualWeight":11,"mainColor":91},242608,"wei-fu-yi-ding-yi-ming-242608","囗父乙鼎","立耳微张踞于口沿，束颈鼓腹下承三足，线条刚劲沉稳，尽显庄重古拙。腹身满饰兽面纹，纹样对称规整，浮雕线条狞厉威严，饕餮双目圆睁、犄角翻卷，将上古祭祀礼器的狞美感拉至极致，流转着神秘肃穆的巫祝氛围。\n\n青黑铜身晕开幽绿锈色，是岁月沉淀的斑驳印记，每一寸肌理都凝缩着先民的造物匠心，将祭祀重器的威仪与狞厉美学融为一体，静静诉说着那个时代的信仰与工艺巅峰。",[43,44,48,7,28,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ed71767b93979aa9d113a5c57407723.jpg",[50],{"id":1042,"slug":1043,"title":1044,"dynasty":58,"author":19,"museum":20,"description":1045,"tags":1046,"thumbUrl":1049,"material":30,"size":30,"collection":31,"collections":1050,"showCount":1024,"zanCount":11,"manualWeight":11,"mainColor":354},241725,"cui-dai-ye-hu-lu-bei-yun-yi-ming-241725","翠带叶葫芦背云","这件翠色匀净浓艳，莹润通透如春水凝萃。以透雕技法随形而就，叶片脉络婉转清晰，藤蔓勾连葫芦，线条柔婉舒展，将料质水头尽皆彰显。造型暗含福禄绵延的吉祥意趣，匠人依循翠料本形施艺，既保留玉料天然灵韵，又以精妙刀工勾勒出盎然生机，雅致隽秀，随身佩挂清润雅致，尽显旧时治玉工艺的精巧匠心与含蓄雅致的东方意趣。",[61,23,7,1047,1048],"葫芦","叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4b93214a30e7c4dc7abd9f0bb52dae1.jpg",[31],{"id":1052,"slug":1053,"title":1054,"dynasty":40,"author":19,"museum":20,"description":711,"tags":1055,"thumbUrl":1056,"material":87,"size":88,"collection":30,"collections":1057,"showCount":1024,"zanCount":11,"manualWeight":11,"mainColor":148},224008,"hua-jian-xing-long-ding-xi-zhong-huan-wen-ding-fu-jian-yi-ming-224008","花间行龙顶，西重环纹鼎附件",[23,7,47,414,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfc387d8bd3ea53f2d3b1c9245701ced.jpg",[],{"id":1059,"slug":1060,"title":1061,"dynasty":986,"author":19,"museum":20,"description":1062,"tags":1063,"thumbUrl":1066,"material":30,"size":30,"collection":50,"collections":1067,"showCount":1068,"zanCount":11,"manualWeight":11,"mainColor":35},243051,"feng-wen-fang-zun-yi-ming-243051","凤纹方尊","方口外撇，颈、腹、足层层出戟，形制规整端庄，线条刚柔相济。器身以凤纹为主体，身姿舒展灵动，翎羽细密精致，搭配兽面纹辅衬，庄重间透着婉转生机。青铜绿锈凝着岁月痕迹，古意盎然。\n它承袭上古青铜礼器的肃穆大气，暗合复古审美意趣，将古礼器的厚重质感与造器的精细工艺相融，静立间尽显古朴庄重的器物之美，沉潜着传统工艺的传承脉络。",[43,44,7,1064,48,1065],"凤纹","明代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4d3e8664a4fa5213d397d91d595abbe.jpg",[50],41,{"id":1070,"slug":1071,"title":1072,"dynasty":163,"author":19,"museum":20,"description":1073,"tags":1074,"thumbUrl":1075,"material":30,"size":30,"collection":50,"collections":1076,"showCount":1068,"zanCount":11,"manualWeight":11,"mainColor":35},242679,"ya-fu-yi-ding-yi-ming-242679","亚父乙鼎","立耳微张，三足沉稳敦实，器型周正古雅，自带上古祭祀礼器的厚重威仪。腹部铺陈兽面纹饰，卷云纹勾勒出兽面轮廓，凸鼓圆目凌厉有神，线条狞厉又不失精巧，将神异威严凝铸于青铜肌理。\n\n器身乌亮包浆凝着悠悠岁月，边角斑驳锈迹是时光烙下的印记，静静诉说着庙堂祭典的庄重肃穆。它将先祖对天地神祇的敬畏熔铸其中，尽显青铜礼器独有的狞厉之美，把千年前的信仰与礼制定格在这一方铜鼎之上，带着跨越时空的厚重底蕴。",[43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寿辉所铸。另外一枚魏晋时期的奉车都尉鎏金青铜玺印，估价5万至8万元，成交价则达到了19.04万元。奉车都尉是一种官名，自汉武帝设立之后，到宋代废弃，这枚铜印无疑是当时历史的一段记载。\n相比官印，肖形印也是铜印中的主要品种。在2007年中国嘉德秋拍中，一枚估价仅为2000至4000元的战国肖形青铜印，成交价达到了4万余元。这枚铜印的印面为龙形图案，虎钮，造型生动活泼，栩栩如生，不可多得。肖形印，亦称画印、图印、封蜡印及生肖印，是印学研究中不可缺少的重要组成部分，它有别于文字印，但内容十分广泛。\n值得注意的是，随着铜印身价的与日俱增，赝品也越来越多地出现在市场上。由于铜本身的价格不如金银，因此造假成本比较低，加上拍卖价格比较高，因此巨大的利益驱使了造假者纷纷出手。收藏市场上的铜印赝品，绝大多数是翻砂浇铸的粗劣之作。印钮两侧的标记文字也是浇铸成形的，文字不清或似是而非。为了使赝品更加逼真，造假者往往会人为制作黑色包浆，常用办法是涂上油腊烤烧数遍之后即成，但往往可以通过手剥看到下面的黄铜。",[426,43,44,7,437,575,1838],"篆刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5245d648c76686f8381092778b31c12.jpg",[],{"id":1842,"slug":1843,"title":1844,"dynasty":18,"author":19,"museum":20,"description":1845,"tags":1846,"thumbUrl":1847,"material":87,"size":88,"collection":30,"collections":1848,"showCount":1776,"zanCount":73,"manualWeight":11,"mainColor":148},221632,"fu-zhuang-gou-kou-yi-ming-221632","服装钩扣","中国宋代是一个手工业和工商业空前发展兴盛的时代，国富民强，文化发达。此时期的玉器正处在一个承前启后的转折阶段。两宋玉器承袭两宋画风，通常画面构图复杂，多层次，形神兼备，有浓厚绘画趣味，完成了由唐玉偏重工艺性、雕塑性向宋玉偏重绘画性、艺术性的转变。此时的皇家用玉品种丰富多样，佩饰类有玉束带、玉佩，用具有玉辂，玉磬，礼器有玉圭、玉册等等。内廷专设有玉作，玉料由西域诸国进贡。民间用玉也较前朝为盛，大量出现各种玉佩饰，玉用器。皇家、官僚及民间均风行收藏古玉，古董行开始出现伪造或仿造古玉之风气。因此，宋玉又被分为古玉、时作玉、伪古玉和仿古玉。 　两宋及其同期或稍后的辽金玉文化去除了隋唐五代繁杂的外来文化因素，又继承和发展了隋唐玉文化的市庶化、艺术化特色，特别是融会了两宋绘画的特点和技巧。宋代肖生玉在崇尚写实主义的院画影响下追求形体及运动的准确表现，以显示其内心世界。花鸟玉佩多做隐起、镂空的对称处理，富有生活气息。双勾的经文诗词等铭刻玉器盛极一时。辽金玉器也是由汉族玉工碾成，但其题材却富有边疆民族特色和游牧生活气息，以契丹、女真两族生活为主题的春水佩和玉秋山为其杰出代表，均有着形神兼备的艺术造诣。宋、辽、金都出现了前所未见的有情节、有背景的景观式构图，以镂空起突等法碾琢的悬塑性或立体的肖生玉器。它是这一时代玉器的新兴形式，有着鲜明的时代特点，还出现了受道教影响的神仙题材和“龟游”一类祥瑞玉器。总之，此时期玉器的特点是：玉如凝脂、构图繁复、情节曲折、砣碾遒劲、空灵剔透、形神兼备，是我国玉文化的第二个高峰期。",[144,23,7,27,449,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ef424e721156b83eadca0cb594e360c.jpg",[],{"id":1850,"slug":1851,"title":1852,"dynasty":359,"author":19,"museum":20,"description":1853,"tags":1854,"thumbUrl":1856,"material":87,"size":88,"collection":30,"collections":1857,"showCount":1858,"zanCount":11,"manualWeight":11,"mainColor":35},252957,"shi-fu-li-xiang-yi-ming-252957","石佛立像","此造像沉静端方，面容饱满柔和，眉目低垂间自有慈悲安然的气度。衣褶层叠垂坠，线条舒展流畅，将织物的柔润质感凝于冷硬白石之上，兼具写实意趣与空灵禅意。\n\n身后背光虽有残损，仍能窥见当初的庄严规制，莲台与方座质朴厚重，稳稳托住佛身，衬得造像愈发清逸出尘。整尊造像褪去匠气，以极简刀工刻画出佛性圆融的沉静之美，让观者于静默间，便能触摸到跨越岁月的平和禅韵，感受到石刻中藏着的温柔佛心。",[1381,62,63,1855,7,1275,67],"圆雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93caaa335d37bcbd6fa56efd0760e55f.jpg",[],22,{"id":1860,"slug":1861,"title":1862,"dynasty":163,"author":19,"museum":20,"description":1863,"tags":1864,"thumbUrl":1865,"material":30,"size":30,"collection":50,"collections":1866,"showCount":1858,"zanCount":11,"manualWeight":11,"mainColor":35},242845,"zi-wei-gu-yi-ming-242845","子囗觚","敞口微撇如盛放莲瓣，腰腹修挺纤秀，圈足敦实沉稳，线条舒展流转，带着上古器物独有的狞厉庄重。中段兽面纹饰古朴刚劲，线条凝练威严，带着图腾特有的神性力量。铜绿锈迹深浅晕染，如岁月在器身镌刻的斑驳印记，晕开三千年的时光余韵。它曾承装清酒，伴祭礼乐肃穆，如今褪去烟火气，冷硬青铜里沉睡着古早的信仰与匠心，静静诉说着先民的工艺造诣，将古文明厚重的余味凝于器身之间。",[43,124,48,44,7,28,47,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6464c93a2bb0fa2bfa3fba1c68c8802.jpg",[50],{"id":1868,"slug":1869,"title":1870,"dynasty":96,"author":19,"museum":20,"description":1871,"tags":1872,"thumbUrl":1875,"material":87,"size":88,"collection":30,"collections":1876,"showCount":1858,"zanCount":11,"manualWeight":11,"mainColor":91},227107,"hai-shou-pu-tao-wen-jing-10-yi-ming-227107","海兽葡萄纹镜-10","这类铜镜在宋代的《博古图录》上称“海马葡萄镜”。但在清代的《西清古鉴》上则称之为“海兽葡萄镜”。另外还有的称为禽兽葡萄镜、天马葡萄镜、瑞兽葡萄镜等名。但“海马”、“海兽”名称的使用还是较为普遍。“海马”、“海兽”的称呼，最初的命名者未加解释，究为何种动物，也没有一致的说法。早年德国有位学者认为“海马”是古代伊朗与祭祀有关的一种植物Haoma，后转化变为“海马”。还有人认为“海马”是海外的马。",[99,44,7,1873,1874,85,84],"海兽","葡萄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc080979a45c159d9592049ed6fe2cf2a.jpg",[],{"id":1878,"slug":1879,"title":1880,"dynasty":163,"author":19,"museum":20,"description":711,"tags":1881,"thumbUrl":1882,"material":87,"size":88,"collection":30,"collections":1883,"showCount":1858,"zanCount":11,"manualWeight":11,"mainColor":91},226750,"ran-jue-yi-ming-226750","冉爵",[43,124,48,44,7,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28e628c992cd9d8c6350476556b302d4.jpg",[],{"id":1885,"slug":1886,"title":1887,"dynasty":163,"author":19,"museum":20,"description":711,"tags":1888,"thumbUrl":1893,"material":87,"size":88,"collection":30,"collections":1894,"showCount":1858,"zanCount":11,"manualWeight":11,"mainColor":35},226732,"yuan-wo-si-ban-hua-wen-ding-yi-ming-226732","圆涡四瓣花纹鼎",[43,44,7,1889,1890,166,239,1891,1892,85],"圆涡纹","四瓣花纹","三足","立耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3fca6d5ff2eda6ba58a3a96fcc11710.jpg",[],{"id":1896,"slug":1897,"title":1898,"dynasty":482,"author":19,"museum":20,"description":921,"tags":1899,"thumbUrl":1900,"material":87,"size":88,"collection":30,"collections":1901,"showCount":1858,"zanCount":11,"manualWeight":11,"mainColor":148},223963,"si-ru-si-hui-wen-jing-3-yi-ming-223963","四乳四虺纹镜-3",[575,43,44,7,189,437,85,1007,1008],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F287200aa4eca41110c212609a17d53c3.jpg",[],{"id":1903,"slug":1904,"title":1528,"dynasty":96,"author":19,"museum":20,"description":1905,"tags":1906,"thumbUrl":1907,"material":30,"size":30,"collection":70,"collections":1908,"showCount":1909,"zanCount":11,"manualWeight":11,"mainColor":91},253599,"tong-liu-jin-pu-sa-li-xiang-yi-ming-253599","身形颀秀挺拔，菩萨头戴宝冠，面容清隽柔和，衣袂垂坠舒展，尽显典雅灵动。鎏金历经岁月斑驳，青绿铜锈晕染其间，晕开时光沉淀的古拙厚重。背光造型精巧，顶端饰有化佛，衬得主体愈发庄严圣洁，方寸间尽显法度与美感。方形台座简洁沉稳，稳稳承托造像风骨，线条流畅和谐，将圆润饱满与飘逸秀雅融为一体，尽显佛造像的神性之美与工艺匠心，静静诉说着千年前的信仰意趣与审美风尚。",[99,44,485,7,62,63,67,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3cb7cb5807c7d44044a2dbd3bdfd514.jpg",[70],21,{"id":1911,"slug":1912,"title":1913,"dynasty":109,"author":19,"museum":20,"description":1914,"tags":1915,"thumbUrl":1917,"material":87,"size":88,"collection":30,"collections":1918,"showCount":1909,"zanCount":11,"manualWeight":11,"mainColor":91},252745,"yu-ke-tu-chang-fang-xing-ban-yi-ming-252745","玉刻图长方形板","玉面受沁晕染褐黄，质地温厚古拙。器面浅刻中心太阳纹，旋状圆心外辐射尖长阳线，带着原始炽热的力量感，两侧对称箭形纹饰似是对日神的献祭礼赞，暗藏上古先民对日月运行的敬畏崇拜。边缘密布的穿孔，是用于穿系缀合的实用巧思，让精神信仰与造物功能相融。整器线条稚拙粗朴，带着直击人心的原始美学特质，刻录着史前文明最质朴的精神印记。",[109,23,7,517,1916,84],"太阳纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6563f64518120d9fefb041cdc85b5bc4.jpg",[],{"id":1920,"slug":1921,"title":1922,"dynasty":109,"author":19,"museum":20,"description":79,"tags":1923,"thumbUrl":1924,"material":87,"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用陶瓷、竹木、等制成的筒形插笔器具。笔筒是搁放毛笔的专用器物，据文献记载，它的材质有镏金、翡翠、紫檀和乌木，现在我们能够见到的传世器物，大多是用瓷或者是竹木制作的。具有收藏价值。",[84,1976,7,796,1977],"竹雕","笔筒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dab2d5cb3b8576c74c55d3fae58ddf0.jpg",[],20,{"id":1982,"slug":1983,"title":996,"dynasty":58,"author":19,"museum":20,"description":997,"tags":1984,"thumbUrl":1985,"material":87,"size":88,"collection":30,"collections":1986,"showCount":1980,"zanCount":11,"manualWeight":11,"mainColor":35},254934,"tong-mi-le-fo-zuo-xiang-yi-ming-254934",[61,44,7,1606,62,63,1634],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eb00133f49717ff7e742d897795fa5d.jpg",[],{"id":1988,"slug":1989,"title":1990,"dynasty":40,"author":19,"museum":20,"description":1991,"tags":1992,"thumbUrl":1993,"material":30,"size":30,"collection":50,"collections":1994,"showCount":1980,"zanCount":11,"manualWeight":11,"mainColor":91},242939,"shou-mian-wen-ling-yi-ming-242939","兽面纹铃","桥形钮敦实厚重，适配悬系敲击，器身两侧出戟，让方正轮廓多了挺拔骨感。器表兽面纹狞厉威严，圆目凸出，回云纹勾连辗转，衬出上古图腾的神秘肃穆。青碧铜胎覆着斑驳绿锈，岁月剥蚀出深浅肌理，晕开厚重古意。\n\n它既是礼宴的奏鸣之器，又以兽面纹饰寄寓着先民对天地神灵的敬畏，熔铸礼制信仰与匠造工巧于一身，凝缩着上古礼乐文明的沉浑底色。",[40,43,44,7,83,187,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2adb971599eff569a151c7db06835f23.jpg",[50],{"id":1996,"slug":1997,"title":1998,"dynasty":58,"author":19,"museum":20,"description":1999,"tags":2000,"thumbUrl":2003,"material":87,"size":88,"collection":30,"collections":2004,"showCount":1980,"zanCount":104,"manualWeight":11,"mainColor":286},241829,"shui-jing-shou-chuan-yi-ming-241829","水晶手串","此串手串以清透水晶为主体，颗颗匀净莹润，似将凉月凝作圆珠，流转着朦胧清辉。浓艳鲜活的碧玺配珠如初凝胭脂，与水晶的素净莹白相映，撞出动人生机。佛头同料相承，配色和谐归一，下端垂坠的翡翠玉环似一汪凝住的春水，搭配累丝烧蓝紫坠，精巧华贵，为整串添了几分富丽雅致。材质冷暖交融，将清灵素雅与明艳华贵揉为一体，藏着旧时温婉雅致的东方意趣，静静晕开沉静柔美的古韵风华。",[61,27,2001,23,7,204,2002],"水晶","珠串","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fb273f699e61e411c2d64209ea5923c.jpg",[],{"id":2006,"slug":2007,"title":2008,"dynasty":58,"author":19,"museum":20,"description":79,"tags":2009,"thumbUrl":2017,"material":87,"size":88,"collection":30,"collections":2018,"showCount":1980,"zanCount":11,"manualWeight":11,"mainColor":91},229787,"yu-hai-tang-shi-shui-xian-pen-jing-yi-ming-229787","玉海棠式水仙盆景",[61,23,2010,64,7,2011,2012,366,1222,2013,2014,622,2015,2016,306],"珐琅器","水仙","海棠形","工艺摆件","珐琅工艺","玉质","珐琅饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52c932b6a8ad60fdb74d5157e29621b6.jpg",[],{"id":2020,"slug":2021,"title":2022,"dynasty":18,"author":19,"museum":20,"description":79,"tags":2023,"thumbUrl":2024,"material":87,"size":88,"collection":30,"collections":2025,"showCount":1980,"zanCount":11,"manualWeight":11,"mainColor":91},227282,"liao-zhi-jin-yu-long-wen-pan-yi-ming-227282","辽至金 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例匀停，线条洗练流畅，将佛教造像的神性与含蓄温婉的世俗美感相融，简约之中饱含沉静安宁的禅意，尽显隽秀雅致的造像风貌。",[62,44,7,63,485,43],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e4777d188d4dbc5a5efd9a4c3c750c6.jpg",[70],{"id":3196,"slug":3197,"title":3198,"dynasty":359,"author":19,"museum":20,"description":3199,"tags":3200,"thumbUrl":3201,"material":87,"size":88,"collection":30,"collections":3202,"showCount":3161,"zanCount":11,"manualWeight":11,"mainColor":35},252908,"shi-pu-sa-li-xiang-yi-ming-252908","石菩萨立像","此像修长挺秀，莲瓣状背光清简古雅，晕染出菩萨端和沉静的容色。菩萨身姿温婉舒展，右手施无畏印昭示慈悲愿力，垂左手轻握披帛，衣褶垂坠自然流畅，周身纹饰细密精巧，藏着六朝造像“秀骨清像”的遗风。\n\n素朴石质褪去华彩，将温润禅意凝于一身，虽经岁月磨蚀，依然能窥见彼时造像工艺的精湛，尽显清逸典雅的审美意趣，静静伫立间，便自带出尘平和的静谧禅韵。",[359,62,7,1275,63,68,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8389c2d1e0f0f8dbfd585af1eb51ae9a.jpg",[],{"id":3204,"slug":3205,"title":3206,"dynasty":109,"author":19,"museum":20,"description":3207,"tags":3208,"thumbUrl":3209,"material":87,"size":88,"collection":30,"collections":3210,"showCount":3161,"zanCount":11,"manualWeight":11,"mainColor":35},252749,"ma-nao-huang-yi-ming-252749","玛瑙璜","莹白玛瑙凝作一弯浅弧，质地清润通透，似揽住了半阙史前月色。造型素净无饰，仅于两端穿凿小孔，朴拙中带着恰到好处的克制。没有繁复雕纹，全凭天然肌理勾勒出柔和舒展的线条，将装饰与实用悄然相融。它是粗粝蒙昧岁月里打磨出的温柔器物，藏着先民对温润材质的天然偏爱，把原始的审美意趣凝于方寸之间，静静流淌着数千年前沉静纯粹的审美微光。",[109,23,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03a2742bbba83a149f8245e5a21a7e5d.jpg",[],{"id":3212,"slug":3213,"title":3214,"dynasty":109,"author":19,"museum":20,"description":79,"tags":3215,"thumbUrl":3216,"material":87,"size":88,"collection":30,"collections":3217,"showCount":3161,"zanCount":11,"manualWeight":11,"mainColor":35},252746,"yu-shao-yi-ming-252746","玉勺",[23,7,84,2836,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96d02d8333f1dc4f56040577968ee517.jpg",[],{"id":3219,"slug":3220,"title":3221,"dynasty":109,"author":19,"museum":20,"description":79,"tags":3222,"thumbUrl":3224,"material":87,"size":88,"collection":30,"collections":3225,"showCount":3161,"zanCount":11,"manualWeight":11,"mainColor":91},252744,"yu-san-jiao-xing-pian-shi-yi-ming-252744","玉三角形片饰",[109,23,7,27,3223,85],"三角形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F509a0bc28845e3cca18228cc09bf430f.jpg",[],{"id":3227,"slug":3228,"title":3229,"dynasty":96,"author":19,"museum":20,"description":79,"tags":3230,"thumbUrl":3231,"material":87,"size":88,"collection":30,"collections":3232,"showCount":3161,"zanCount":11,"manualWeight":11,"mainColor":91},252418,"yu-hua-niao-wen-shu-yi-ming-252418","玉花鸟纹梳",[23,7,474,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febf74b6c99d3039f832260ab91c7abf8.jpg",[],{"id":3234,"slug":3235,"title":3236,"dynasty":986,"author":19,"museum":20,"description":3237,"tags":3238,"thumbUrl":3241,"material":30,"size":30,"collection":50,"collections":3242,"showCount":3161,"zanCount":11,"manualWeight":11,"mainColor":35},243135,"shou-mian-wen-yan-yi-ming-243135","兽面纹甗","此器古意盎然，深褐铜身布着翠色锈斑，尽是岁月浸洗的厚重质感。腹身以回纹勾边，内饰缠枝卷草，柔婉纹饰中和了青铜的冷硬。三足塑作兽首，双目嵌金，威严肃穆，将上古狞厉之美凝于足下。\n\n后配红木镂雕缠枝炉盖，顶置白玉瑞兽，莹润玉色与沉郁铜色相映，将文气雅致揉入青铜古拙。古器新饰尽显巧思，让商周礼器的庄重晕染出明清赏玩的雅趣，古韵新生，自成格调。",[43,44,166,48,83,3239,1891,7,3240,1065],"兽形足","玉石镶嵌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F955c92b0bae9bc2c08269b40095234a2.jpg",[50],{"id":3244,"slug":3245,"title":3246,"dynasty":58,"author":19,"museum":20,"description":3247,"tags":3248,"thumbUrl":3249,"material":30,"size":30,"collection":50,"collections":3250,"showCount":3161,"zanCount":11,"manualWeight":11,"mainColor":35},243056,"hui-wen-zun-yi-ming-243056","回纹尊","器形端庄浑厚，敞口外撇，束颈丰肩，鼓腹下收，圈足安稳敦实。周身回纹回旋往复，排布齐整对称，带着规整肃穆的古韵，出戟装饰棱角毕现，为圆润器身添了几分刚劲风骨。\n斑驳铜锈晕开岁月痕迹，回纹循环无尽，暗合绵长圆满之寓意。整体古拙大气，将青铜礼器的庄重与传统纹饰的意蕴相融，静立间尽显沉浑朴雅的旧时风华。",[43,44,7,1353,48],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8154a440e764a22dda6b96dbf7cea86.jpg",[50],{"id":3252,"slug":3253,"title":372,"dynasty":58,"author":19,"museum":20,"description":3254,"tags":3255,"thumbUrl":3256,"material":87,"size":88,"collection":30,"collections":3257,"showCount":3161,"zanCount":73,"manualWeight":11,"mainColor":148},241743,"cui-shi-ba-zi-shou-chuan-yi-ming-241743","翠色圆珠浓润鲜亮，天然石纹晕开雅致生机，颗颗饱满匀净。两颗胭红碧玺隔珠晕彩莹透，与清润翠色撞出鲜活意趣，朱红绳结点缀其间，愈发衬得翠色沉雅，红珠柔媚。\n\n尾部佛头甄选同色碧玺，下坠金饰串起的珍珠小坠，秀巧华贵。这串手串凝旧时审美意趣于一身，既是闺中清玩，亦是腕间风雅，摩挲之间，尽显温婉雅致的东方韵致。",[23,27,207,61,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b165cfe5ba0b4f2237aec3180f49c22.jpg",[],{"id":3259,"slug":3260,"title":3261,"dynasty":18,"author":187,"museum":20,"description":3262,"tags":3263,"thumbUrl":3264,"material":87,"size":88,"collection":30,"collections":3265,"showCount":3161,"zanCount":11,"manualWeight":11,"mainColor":148},227331,"qi-xian-qin-yue-qi-227331","七弦琴","古琴，又称瑶琴、玉琴、七弦琴，是中国传统拨弦乐器，有三千年以上历史，属于八音中的丝。古琴音域宽广，音色深沉，余音悠远",[187,84,821,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cde2ba97c8b79eea5bc62687a161a22.jpg",[],{"id":3267,"slug":3268,"title":3269,"dynasty":40,"author":19,"museum":20,"description":711,"tags":3270,"thumbUrl":3271,"material":87,"size":88,"collection":30,"collections":3272,"showCount":3161,"zanCount":11,"manualWeight":11,"main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。\n唐三彩在唐代的兴起有它的历史原因。首先陶瓷业的飞速发展，以及雕塑、建筑艺术水平的不断提高，促使它们之间不断结合、不断发展，因此从人物到动物以及生活用具都能在唐三彩的器物上表现出来。\n唐代贞观之治以后，国力强盛、百业俱兴，同时也导致了一些高官生活的腐化，于是厚葬之风日盛。唐三彩当时也是作为一种冥器，曾经被列入官府的明文规定，一品、二品、三品、四品，就是说可以允许他随葬多少件，但是实际上作为这些达官显贵们，并不满足于明文的规定，反而他们往往比官府规定要增加很多的倍数，去做这种厚葬。官风如此，民风当然也如此，于是从上到下就形成了这么一种厚葬之风，这也就是唐三彩当时能够迅速在中原地区发展和兴起的一个主要原因之一。\n唐代是我国封建社会的鼎盛时期，所以说唐三彩从另外一个侧面也反映了这种唐王朝的政治、文化、生活，它跟唐代诗歌、绘画、建筑其他文化一样，共同形成了唐王朝文化的旋律，但是它又不同于其他的文化艺术，从现代的陶瓷史上认为，唐三彩在唐代陶瓷史上是一个划时代的里程碑，因为在唐以前，只有单色釉，最多就是两色釉的并用，在我国的汉代，已经有了两色，即黄色和绿色两种釉彩在同一器物上的使用。到了唐代以后，这种多彩的釉色在陶瓷器物上同时得到了运用。从陶瓷史上有人考证，这和唐代当时的审美观点起了很大的变化有关。在唐以前人们崇尚的是素色主义，到唐代以后，它包容了各种文化，包括许多外来文化，这个时候从绘画、陶瓷、金银器的制作，形成了一个灿烂文化的特点。\n唐三彩的生产已有1300多年的历史。它吸取了中国国画、雕塑等工艺美术的特点。唐三彩制作工艺复杂，以经过精细加工的高岭土作为坯体，用含铜、铁、钴、锰、金等矿物作为釉料的着色剂，并在釉中加入适量的炼铅熔渣和铅灰作为助剂。先将素坯入窑焙烧，陶坯烧成后，再上釉彩，再次入窑烧至800℃左右而成。由于铅釉的流动性强，在烧制的过程中釉面向四周扩散流淌，各色釉互相浸润交融，形成自然而又斑驳绚丽的色彩，是一种具有中国独特风格的传统工艺品。\n唐三彩不仅贵在釉色浓艳瑰丽，而且骆驼、马和人物等的造型生动传神，富有生活气息，当时的国际场上，唐三彩就已负有盛名，成为中外经济文化交流的重要物品之一。1928年，陇海铁路修筑到洛阳邙山时，出土了大量唐三彩，古董商们将其运至北京，受到了国内外古器物研究者的重视和古玩商竞相收藏。之后，洛阳地区不断有唐三彩出土，数量之多、质量之美，令人惊叹。",[96,462,7,28,461],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc287a2086bfa3bd1d8ae1a4bffec1bc5.jpg",[],{"id":12549,"slug":12550,"title":891,"dynasty":482,"author":19,"museum":20,"description":892,"tags":12551,"thumbUrl":12553,"material":87,"size":88,"collection":30,"collections":12554,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":91},255848,"zhu-que-wen-wa-dang-yi-ming-255848",[482,2066,896,7,1139,895,12552],"瓦当纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6682cf989f0bb82100736430eaa99bf2.jpg",[],{"id":12556,"slug":12557,"title":12558,"dynasty":18,"author":19,"museum":20,"description":880,"tags":12559,"thumbUrl":12560,"material":87,"size":88,"collection":30,"collections":12561,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":35},255614,"mu-diao-cai-hui-pu-sa-li-xiang-yi-ming-255614","木雕彩绘菩萨立像",[144,821,7,685,123,62,63,796],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faadf8fab955abd08a1b6a292c9ee81bf.jpg",[],{"id":12563,"slug":12564,"title":12558,"dynasty":18,"author":19,"museum":20,"description":880,"tags":12565,"thumbUrl":12566,"material":87,"size":88,"collection":30,"collections":12567,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":35},255612,"mu-diao-cai-hui-pu-sa-li-xiang-yi-ming-255612",[144,821,7,685,62,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27f19d37fd140b8feea1aa2596143c82.jpg",[],{"id":12569,"slug":12570,"title":12571,"dynasty":482,"author":19,"museum":20,"description":9347,"tags":12572,"thumbUrl":12573,"material":87,"size":88,"collection":30,"collections":12574,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":35},255290,"tao-shou-mian-wen-dou-gai-yi-ming-255290","陶兽面纹豆盖",[482,462,83,7,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F916e704e7b8b81d1ab05609acc9b7e20.jpg",[],{"id":12576,"slug":12577,"title":12578,"dynasty":482,"author":19,"museum":20,"description":9347,"tags":12579,"thumbUrl":12580,"material":87,"size":88,"collection":30,"collections":12581,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":91},255233,"tao-long-hu-wen-jing-lan-yi-ming-255233","陶龙虎纹井栏",[575,462,7,47,1339,28,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F038e870decb8f9337e85a25821e57112.jpg",[],{"id":12583,"slug":12584,"title":12585,"dynasty":96,"author":19,"museum":20,"description":4746,"tags":12586,"thumbUrl":12587,"material":87,"size":88,"collection":30,"collections":12588,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":35},255183,"tao-huang-you-la-ma-yong-yi-ming-255183","陶黄釉拉马俑",[462,684,461,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b3aa9d3068493adb9496b7cb296d0ca.jpg",[],{"id":12590,"slug":12591,"title":12592,"dynasty":153,"author":19,"museum":20,"description":4140,"tags":12593,"thumbUrl":12595,"material":87,"size":88,"collection":416,"collections":12596,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":35},255115,"shi-wan-yao-hong-you-chi-xie-luo-han-li-xiang-yi-ming-255115","石湾窑红釉持鞋罗汉立像",[153,7510,462,12594,62,63,1176,67,7],"红釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cf10f89e1cc9973c987bc57b7eed27c.jpg",[416],{"id":12598,"slug":12599,"title":12600,"dynasty":359,"author":19,"museum":20,"description":12601,"tags":12602,"thumbUrl":12603,"material":87,"size":88,"collection":30,"collections":12604,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":35},255032,"shi-gong-yang-ren-xiang-tou-yi-ming-255032","石供养人像头","双丫发髻古朴灵动，柔和撑起上部轮廓。面庞线条舒展温润，眉眼弯阖似带着静谧笑意，鼻唇饱满圆融，晕开平和安然的神态。砂石质地带着时光摩挲的痕迹，褪去繁饰，仅以素朴肌理留存下千年前的气韵。沉静的面容仿佛仍带着供养人虔诚的祈愿，将清隽温婉的气质静静定格，让观者触摸到那个时代的审美脉搏，感知信仰浸润下的柔和温度。",[359,3129,7,63,5131,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f665ab89ea1e5b56550def6aa12d50b.jpg",[],{"id":12606,"slug":12607,"title":12608,"dynasty":18,"author":19,"museum":20,"description":12609,"tags":12610,"thumbUrl":12611,"material":87,"size":88,"collection":30,"collections":12612,"showCount":128,"zanCount":11,"manualWeight"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碗、盘、瓶、罐、壶、香炉、香熏、盏托、注子温碗、钵等。\n耀州窑在宋时北方的青瓷窑场中最负盛名，堪称翘楚。于神宗元丰（1078-1085）至徽宗崇宁（1102-1106）的三十来年间，曾为朝廷烧制贡瓷。其不凡的制瓷技巧和洒脱活泼的风格对当时各地窑场产生了很大影响，得到广泛推广，由此形成了一个自北而南的范围广阔的耀州窑系。耀州窑系以黄堡镇为中心，襄括了河南宜阳窑、宝丰窑、新安城关窑、广东西村窑、广西永福窑、内乡大窑店窑等多个窑场。各窑制品均与铜川窑相似，仅由于所用原料有差别，胎质与釉色也有些微不同。",[18,462,4142,5130,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f4435d3c5e95a7dfe3623be769cbe3c.jpg",[416],{"id":18322,"slug":18323,"title":18324,"dynasty":96,"author":19,"museum":20,"description":18325,"tags":18326,"thumbUrl":18328,"material":87,"size":88,"collection":416,"collections":18329,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":35},256762,"xing-yao-bai-you-dian-cai-zi-mu-shi-su-xiang-yi-ming-256762","邢窑白釉点彩子母狮塑像","邢窑，是一处隋朝－五代时期的窑场，现存遗址位于河北省邢台市辖内丘、临城两县境内的太行山东麓丘陵和平原地带。据考证，邢窑始烧于北朝，衰于五代，终于元代，唐代时为制瓷业七大名窑之一，也是我国北方最早烧制白瓷的窑场。\n邢窑开创的独特制瓷工艺和先进的烧造技术，同样是我国陶瓷史上的重要里程碑。唐人李肇在《国史补》里写道："内丘白瓷瓯、端溪紫石砚，天下无贵贱通用之"。\n邢窑白瓷产品的出现，改变了中国一向以青瓷为主的局面，结束了自魏晋以来青瓷一统天下的局面，到了唐代，形成规模，使得邢窑与越窑平分秋色，形成了南青北白、相互争妍的两大体系，为唐以后白瓷的崛起和彩瓷的发展奠定了基础。唐三彩的出土使邢窑遗址成为中国第三处烧制唐三彩的窑址，具有重大的保护价值和学术、科研价值。\n白瓷的发展起步较迟，而邢窑白瓷到唐朝中期已非常流行。唐墓出土的白瓷碗，胎土白洁，细如澄泥，釉色明净，据此可以证明邢窑白瓷同样是瓷器中之上品。唐代白瓷除邢窑外其他产地之白瓷质地制工也较优良，江西州窑也是当时白瓷的中心。唐三彩一般为黄、绿、白（蓝），其发展是从汉代单色釉（绿）到北朝的黄釉绿色再到唐三彩。三彩釉陶是一种低温铅釉的彩陶器，色彩绚丽，造型生动，在唐代釉瓷中是一个很特别的品种，俗称“唐三彩”。三彩陶器巧妙利用了釉色的变化达到富丽华美的装饰效果。色釉中蓝彩较罕见。唐三彩的烘造地点主要在长安及洛阳两地，唐三彩造型丰富多彩；有生动传神感人的人物偏和动物偏，还有房屋用器的模型。\n邢窑瓷器的釉色有白、青、黑和褐黄等多种。邢窑白瓷按其胎、釉的质地，可以分为粗、细两大类。\n粗白瓷:\n白瓷的胎质又有粗、细之分，粗胎的一类胎色灰白，胎质粗糙；细胎的一类胎体致密，胎色较淡，但仍不够白，往往施一层白色化妆土。\n粗白瓷的釉质较细，有些还有细碎的纹片，釉色为灰白或乳白色，还有黄白色。\n粗白瓷产量大，生产过程中，不管是捏练还是陈腐都不够充分，白中常泛黄，到五代时部分产品的工艺水平有所提高，胎体中少有气孔夹砂现象，烧不熟的现象已基本克服，渐趋细腻。\n细白瓷:\n细白瓷的胎色纯白，个别的白中闪黄釉质很细，釉层中有微细的小棕眼，器物多施满釉，釉色纯白或白中微泛青色。白釉又有粗细之分，以粗者居多，细者占少数。\n细白瓷在加工工艺上，每个步骤都很讲究，烧成后白度很高。邢窑的精细白瓷，选用优质瓷土烧成，胎质坚实细腻，胎色洁白如雪，釉质莹润，有的薄如蛋壳，透明性能很好。一般器物纯白光亮，有些则白中微微泛青。\n邢窑是镁釉，高温下黏度大，釉面易光滑平整，光泽度好，但釉色有乳浊感，不透明，釉色稳定，多呈白色或白中泛青的色调。这就使乳浊釉对胎体有良好的遮盖性，器物施釉到底，质优者足心也施釉。而当时的定窑产品釉料配置不稳定，就釉而言也分粗细两种，都不够光洁，光泽度差。",[96,462,529,18327,28,5130,7],"点彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdff5a6964d6be2c361ca2fdb1e3847b0.jpg",[416],{"id":18331,"slug":18332,"title":18333,"dynasty":986,"author":19,"museum":20,"description":4140,"tags":18334,"thumbUrl":18336,"material":87,"size":88,"collection":416,"collections":18337,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":35},256527,"shi-wan-yao-fang-gu-tong-pu-shou-er-fang-hu-yi-ming-256527","石湾窑仿古铜铺首耳方壶",[989,462,9326,7,84,18335],"铺首","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c3ca107dd77d2eff866bef90b10eed5.jpg",[416],{"id":18339,"slug":18340,"title":6401,"dynasty":96,"author":19,"museum":20,"description":18341,"tags":18342,"thumbUrl":18343,"material":87,"size":88,"collection":30,"collections":18344,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":91},256162,"tong-liu-jin-yang-liu-zhi-guan-yin-pu-sa-li-xiang-yi-ming-256162","镂雕缠枝纹背光舒展灵动，鎏金虽已斑驳，却晕开古旧佛光的暖意。菩萨身形秀婉纤细，宝冠高束，面容沉静悲悯，垂目俯瞰，似在体恤世间悲苦。右手轻执杨柳枝，左手提握净瓶，衣袂垂坠如流云，尽显舒展柔美的造像风骨。\n\n莲台承托身姿，下方方座朴拙厚重，与菩萨秀雅身形刚柔相和。岁月在铜胎鎏金上晕开深浅锈色，褪去初时鲜亮，沉淀出悠悠古韵，将典雅慈悲凝于方寸之间，静静流转着跨越千百年的信仰温度。",[96,44,485,62,63,7,67,8969],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11d4ec52390ee28066dfb3aaef0f96b8.jpg",[],{"id":18346,"slug":18347,"title":18348,"dynasty":986,"author":19,"museum":20,"description":997,"tags":18349,"thumbUrl":18350,"material":87,"size":88,"collection":30,"collections":18351,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":91},256156,"tong-liu-jin-shi-jia-mu-ni-zuo-xiang-yi-ming-256156","铜鎏金释迦牟尼坐像",[989,62,44,485,7,63,1634],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1362c20339bcd1d8b7840dab0946f6f.jpg",[],{"id":18353,"slug":18354,"title":18355,"dynasty":681,"author":19,"museum":20,"description":18356,"tags":18357,"thumbUrl":18358,"material":87,"size":88,"collection":30,"collections":18359,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":91},256140,"chang-cong-zao-tong-liu-jin-guan-shi-yin-xiang-yi-ming-256140","常聪造铜鎏金观世音像","身姿修长挺拔，兼具南北朝秀骨清像的遗韵，又展露初唐端雅雏形。观音面容温婉，弯眉垂目，自带沉静悲悯。右手施无畏印，予世人安稳慰藉，左手持净瓶，暗喻遍洒甘露渡化众生。层叠衣纹如垂落清波，斑驳鎏金虽褪去大半，仍能窥见旧时华光。璎珞环身、宝冠覆顶，细节处尽显铸工精妙，将神性庄严与匠者巧思相融。静立莲台之上，裹挟着千年沉静的慈悲气韵，是隋代佛造像风格递变的鲜活注脚，定格了瘦劲向圆融过渡的独特美学。",[1817,62,44,485,7,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde1672c0b7658632727cf964d2cd1820.jpg",[],{"id":18361,"slug":18362,"title":6455,"dynasty":986,"author":19,"museum":20,"description":880,"tags":18363,"thumbUrl":18364,"material":87,"size":88,"collection":30,"collections":18365,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":35},256134,"mu-diao-fu-zuo-xiang-yi-ming-256134",[989,821,7,62,63,259],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff75dec0d413ee01e08b488e8d4e6fc85.jpg",[],{"id":18367,"slug":18368,"title":18369,"dynasty":58,"author":19,"museum":20,"description":18370,"tags":18371,"thumbUrl":18372,"material":87,"size":88,"collection":30,"collections":18373,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":35},256126,"zhu-diao-he-he-er-xian-xiang-yi-ming-256126","竹雕和合二仙像","这件竹雕以嬉戏孩童演绎仙班意象，兄长佝身垂首，将幼童稳稳托在肩头，幼童咧嘴憨笑，四肢舒展随性，全然沉浸在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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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辞的庄重与玉作工艺的精妙相融，尽显清宫匠造的顶级水准，承载着盛世皇家的审美意趣与风雅文心。",[23,3751,7,47,4404,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf0d9fe927d24d358e018102d86105be.jpg",[],{"id":54578,"slug":54579,"title":54580,"dynasty":58,"author":19,"museum":20,"description":54581,"tags":54582,"thumbUrl":54583,"material":87,"size":88,"collection":30,"collections":54584,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},275876,"bi-yu-zhao-yuan-yan-qing-ce-yi-ming-275876","碧玉肇元衍庆册","此器取温润碧玉为材，板面浅浮雕描金双龙纹，龙躯辗转矫健，鳞爪分明威严，流云萦于周身，将皇家威仪凝于玉作之中。描金晕开华贵光泽，与苍润玉色相衬，愈发雅致端庄。\n\n册页以黄绫镶边，朱字题款点缀侧边，形制规整肃穆。玉雕、髹金与装帧工艺精妙相融，尽显雍容端肃的皇家气韵，是清代玉作精工的典型缩影，静敛间流露礼制尊崇与匠心巧思。",[23,3751,47,7,1263,4404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1834b903efeface1a749242965c0211e.jpg",[],{"id":54586,"slug":54587,"title":54588,"dynasty":58,"author":19,"museum":20,"description":54589,"tags":54590,"thumbUrl":54591,"material":87,"size":88,"collection":30,"collections":54592,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},275874,"qing-yu-lian-zao-ming-xun-ce-yi-ming-275874","青玉联藻铭勋册","此件以万字团寿织锦为匣，明黄底色搭配蓝棕纹样，古朴华贵，衬得内里器物愈发不凡。青玉质地莹润匀净，錾刻的铭文隽秀规整，将功勋过往凝刻于良玉之中。将无上殊荣藏于温润玉色，既是嘉奖功勋的礼制重器，亦是清代玉雕工艺的具象体现。玉面生光，墨痕留韵，静诉往昔荣光，融工艺水准与礼制文化于一身，尽显庄重雅致的古韵风华。",[23,3751,113,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c99a98b8a6df2da1c6fa13d592c3cb7.jpg",[],{"id":54594,"slug":54595,"title":54596,"dynasty":58,"author":19,"museum":20,"description":54597,"tags":54598,"thumbUrl":54599,"material":87,"size":88,"collection":30,"collections":54600,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":148},275873,"bi-yu-yu-bi-wu-fu-song-ce-yi-ming-275873","碧玉御笔五福颂册","此匣取硬木成器，通身满饰精雕纹案。立面双龙穿云破浪，龙姿矫健灵动，云海翻涌层叠，浪涛卷舒磅礴，刀工圆劲细腻，将皇家威仪融于寸木之间。顶盖嵌饰鎏金构件，暗金光泽与沉雅木色相映，更添华贵厚重。底座纹饰与器身呼应，整体布局严整协调。\n它收纳御笔珍册，亦是清代木雕匠心之作，将宫廷审美意趣与卓绝工艺相融，尽显庄重典雅的雍容气度。",[23,3751,7,47,585,821,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e3e38ac8254ae68857eca796837deb2.jpg",[],{"id":54602,"slug":54603,"title":54604,"dynasty":58,"author":19,"museum":20,"description":54605,"tags":54606,"thumbUrl":54607,"material":87,"size":88,"collection":30,"collections":54608,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},275872,"bi-yu-yu-zhi-qing-wen-fan-yi-quan-cang-jing-xu-ce-yi-ming-275872","碧玉御制清文繙译全藏经序册","深碧玉底沉静古雅，描金填彩的行龙盘踞其间。龙身矫健盘绕，鬃须张扬飞舞，利爪遒劲锋利，圆目怒睁自带慑人威仪。周身祥云袅袅缠萦，下方浪涛拍击山石，动静相映勾勒出磅礴天地气象。\n\n描金走线细腻流畅，将龙鳞层叠排布刻画入微，云纹水浪舒展灵动，刚劲狂龙与柔婉卷云形成韵律反差。玉质的温润内敛，搭配金彩的华贵明丽，将器物的威严庄重与精工巧思融为一体，尽显泱泱气度。",[23,3751,47,7,1263,62,4404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8c363c99c3949b808e062a8858dc356.jpg",[],{"id":54610,"slug":54611,"title":54612,"dynasty":58,"author":19,"museum":20,"description":54613,"tags":54614,"thumbUrl":54616,"material":87,"size":88,"collection":30,"collections":54617,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},275870,"bi-yu-qian-long-yu-bi-yue-pu-yu-ce-yi-ming-275870","碧玉乾隆御笔乐谱谕册","以温润碧玉裁为册页，配红木雕花座架，古雅端方。册面描金饰行龙穿云纹，鳞爪灵动威严，描金题字笔力沉稳隽秀。侧边金漆篇目排布齐整，条理分明。整器将玉石的莹润质感与髹金工艺相融，沉静玉色衬得金纹愈发华贵亮眼，既承载宫廷礼乐规制底蕴，又尽显清代宫廷精工之美，是工艺与礼制文化结合的精巧之作，尽显盛世宫廷的雅致气度。",[23,3751,4404,47,585,54615,7],"乐谱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe98937e65400101317fb811603d9157.jpg",[],{"id":54619,"slug":54620,"title":54621,"dynasty":58,"author":19,"museum":20,"description":54622,"tags":54623,"thumbUrl":54624,"material":87,"size":88,"collection":30,"collections":54625,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},275869,"cui-yu-yu-zhi-guo-xue-xin-jian-pi-yong-yuan-shui-gong-cheng-bei-ji-ce-yi-ming-275869","翠玉御制国学新建辟雍园水工成碑记册","此器端方沉稳，木座承托更显端庄雅致。匣身满饰细密锦地，开光内浮雕盘长衔双喜，回纹卷草勾勒边框，线条圆柔婉转，纳吉祥圆满之意于刀工之中。盖面饰件点缀其间，晕开几分华贵雅致。整体髹色沉敛温润，雕工精丽细腻，将祈福之心融于手作细节，尽显清代木雕工艺的雅致匠心，是兼具实用与赏玩价值的精巧储物佳器。",[23,3751,821,7,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9fa3814d4f54904a22cdf3ce5aec345.jpg",[],{"id":54627,"slug":54628,"title":54629,"dynasty":58,"author":19,"museum":20,"description":2045,"tags":54630,"thumbUrl":54631,"material":87,"size":88,"collection":30,"collections":54632,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},275868,"bai-yu-yu-lin-tang-wen-huang-tie-ce-yi-ming-275868","白玉御临唐文皇帖册",[3751,585,652,821,7,47,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a4b78f760ea130dd71c0968ad93e7aa.jpg",[],{"id":54634,"slug":54635,"title":54636,"dynasty":58,"author":19,"museum":20,"description":54637,"tags":54638,"thumbUrl":54639,"material":87,"size":88,"collection":30,"collections":54640,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},275867,"cui-yu-yu-zhi-zuo-fu-zuo-wei-lun-ce-yi-ming-275867","翠玉御制作福作威论册","此红木文匣用料匀实厚重，木纹内敛沉润，经年摩挲生出莹亮包浆，自带岁月沉淀下来的温润古韵。嵌玉带题额，配骨签标签，制式规整雅致，尽显旧时宫廷器物的矜重格调。\n\n内里册页取翠玉为材，御论隽刻其上，玉质清透莹润，刀工细腻匀净，将文辞深意融于玉质灵秀之中，把工艺匠心与文韵风骨相融，既是精巧雅致的文房珍玩，亦是承载旧时礼制与文思的典藏之物。",[3751,23,821,585,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e7d2b19f8d2ffe30677392014008854.jpg",[],{"id":54642,"slug":54643,"title":54644,"dynasty":58,"author":19,"museum":20,"description":54645,"tags":54646,"thu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ght":11,"mainColor":35},275830,"bi-yu-yu-bi-kai-guo-fang-lve-xu-ce-yi-ming-275830","碧玉御笔开国方略序册","此作取整料碧玉斫制，石色苍润匀净，自带沉静古雅质感。册身以描金勾勒行龙穿云，金彩凝亮醒目，龙爪雄劲、龙身蜿蜒，祥云簇拥间尽显磅礴威严，将皇家气度融于寸尺玉料之上。侧面题字笔锋挺括，金墨映衬愈显端方雅致。红木座架纹饰细腻古拙，稳稳承托玉册，与玉色沉郁形成鲜明却和谐的视觉层次，将玉石之润、描金之丽、木雕之朴精妙结合，尽显宫廷造办的精湛匠心，尽显庄重华贵的宫廷气韵。",[23,3751,47,585,650,7,4404,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb268114df4d6522577d588bb8fd5ea01.jpg",[],{"id":54789,"slug":54790,"title":54791,"dynasty":58,"author":19,"museum":20,"description":54792,"tags":54793,"thumbUrl":54794,"material":87,"size":88,"collection":30,"collections":54795,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},275829,"bi-yu-yu-zhi-jing-yan-lun-ce-yi-ming-275829","碧玉御制经筵论册","此器以硬木为骨，周身满布回纹锦地，细密如织，妥帖衬出开光内浮雕缠枝宝相花，花叶婉转饱满，雍容雅致。顶面嵌玉题字，朱框配玉文，古雅端方，与周身繁丽纹饰相映，勾勒出庄重内敛的华贵气质。原配束腰底座，牙脚轻向外撇，线条柔婉挺拔，将器物托衬得愈发沉稳端凝。\n\n整器工艺考究，纹饰层次分明，于规整中见精细，沉稳里藏雅致，尽显旧时造物的上乘工法与审美意趣，是文房储陈兼具赏玩的佳器。",[821,7,23,3751,4404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb6a06f8558bc2e515eab2c40209851c.jpg",[],{"id":54797,"slug":54798,"title":54799,"dynasty":58,"author":19,"museum":20,"description":54800,"tags":54801,"thumbUrl":54802,"material":87,"size":88,"collection":30,"collections":54803,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":148},275824,"bi-yu-bu-yong-zhan-sheng-kuo-er-ka-zhi-tu-xu-ce-yi-ming-275824","碧玉补咏战胜廓尔喀之图序册","此件外盒以戗金描漆工艺精工而成，通体以卷云为地，双龙矫健身姿穿梭云海间，利爪遒劲，龙髯舒展，灵动威严兼具。下缘江崖海水纹饰沉稳厚重，呼应龙纹磅礴气势。盖面嵌红木题牌，与漆地形成材质对比，层次分明。戗金线条细劲流畅，描金光泽凝润古朴，将宫廷礼制的庄重与漆作匠人的巧思融于一体，尽显清代宫廷工艺的华贵典雅，将皇家威仪藏于方寸漆盒，是清代漆作匠心的绝佳体现。",[3751,23,411,821,7,47,1263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60f2cfc2e71c6725cbd90a9f8b0a6ada.jpg",[],{"id":54805,"slug":54806,"title":54807,"dynasty":58,"author":19,"museum":20,"description":54808,"tags":54809,"thumbUrl":54810,"material":87,"size":88,"collection":30,"collections":54811,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},275823,"qing-yu-dong-gao-shu-yu-zhi-san-lao-wu-geng-shuo-ce-yi-ming-275823","青玉董诰书御制三老五更说册","此件以黑漆为底，描金绘就水乡秋居图景，芦丛水禽悠然、茅舍归人恬适，江南野趣跃于盒身，笔触细腻雅致。盒内青玉册页碾刻精工，字纹隽秀挺括，玉质莹润温糯，与外盒漆绘相映成趣。御制文辞凝于良玉，髹金漆饰衬其雅韵，将文辞深意与工艺巧思相融，尽显制器的细腻匠心，藏纳着传统文人的隐逸意趣，又不失端整气度，是文房清玩中的上乘佳制。",[411,23,3751,585,7,1751,7892,63,832,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3310cf501b0a8a8ce5e085abe5d49198.jpg",[],{"id":54813,"slug":54814,"title":54815,"dynasty":58,"author":19,"museum":20,"description":54816,"tags":54817,"thumbUrl":54818,"material":87,"size":88,"collection":30,"collections":54819,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},275822,"qing-yu-yu-bi-ning-shou-gong-ming-ce-yi-ming-275822","青玉御笔宁寿宫铭册","此盒以黑漆为底，描金为饰，盖面开光题字，通身游龙腾跃于流云骇浪之中。描金线脚细密灵动，龙躯矫健遒劲，云纹舒卷连绵，海涛翻涌磅礴，繁丽纹饰排布严整不乱，金辉与乌漆相映，华贵雍容尽显。器形规整沉稳，将皇家威严气度与漆作工艺的极致工巧相融，尽显宫廷造物的精巧匠心，是清代漆艺的上乘之作。",[411,47,7,1263,23,3751,585,4404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6303b3a1442d34bda9e622bc6ca677cc.jpg",[],{"id":54821,"slug":54822,"title":54823,"dynasty":58,"author":19,"museum":20,"description":54824,"tags":54825,"thumbUrl":54826,"material":87,"size":88,"collection":30,"collections":54827,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},275821,"qing-yu-yu-zhi-jie-de-tang-ji-ce-yi-ming-275821","青玉御制戒得堂记册","这套装帧沉静古雅的册匣，裹饰碎花函套，素绳缚系，尽显内敛意蕴。其内册页取匀净温润的青玉为材，御制铭文以精妙刀工镌刻而就，笔画劲挺隽秀，字口深峻清晰，将御笔文思与治玉匠心相融无间。\n\n文字寄寓着戒慎修身的哲思，清透莹润的玉质，与工整书意相得益彰，是宫廷玉作与御制文玩结合的上乘之作，内敛华贵间彰显着旧时宫中文玩的雅致格调，沉淀着传统器物审美意趣与精神内核。",[23,3751,585,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2677a4a5e61a1686c1ed1e26fffc1151.jpg",[],{"id":54829,"slug":54830,"title":54831,"dynasty":58,"author":19,"museum":20,"description":54832,"tags":54833,"thumbUrl":54834,"material":87,"size":88,"collection":30,"collections":54835,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":1253},275818,"qing-yu-yu-zhi-long-quan-si-zhan-li-er-shi-yun-ce-yi-ming-275818","青玉御制龙泉寺瞻礼二十韵册","此作取青玉为材，摹古籍册页形制，木包皮封面满琢云龙纹饰，祥云迤逦环绕，龙姿矫健遒劲，錾刻线条锋芒内敛却劲力十足，将皇家威仪暗藏其间。封面题签填金虽有斑驳，仍见华贵底色。\n\n玉册仿古籍装裱成册，玉质莹润凝脂，与古朴装帧相得益彰，融宫廷重工雕琢与文籍雅韵于一身。它将治玉匠心与典籍形制妙然合一，既是精巧陈设，亦是清代玉雕工艺的具象缩影，尽显彼时手作技艺的巅峰水准，静诉礼制审美与工艺匠心的交融。",[23,3751,7,47,4404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05eacd39027d872426a1f8c3632cfe02.jpg",[],{"id":54837,"slug":54838,"title":54839,"dynasty":58,"author":19,"museum":20,"description":54840,"tags":54841,"thumbUrl":54842,"material":87,"size":88,"collection":30,"collections":54843,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},275814,"qing-yu-yu-zhi-xiao-chun-shuo-ce-yi-ming-275814","青玉御制小春说册","以温润青玉为纸，以刀代笔，将文辞凝于莹泽玉面。刀工匀净细腻，复刻笔墨端凝风骨，把小春岁时的清雅致怀藏于方寸册页之间。\n\n配套红木盛箱铜饰雅致，榫合严密，暗合着对这套雅玩的珍视。整体将玉之温润、文之隽秀、木之沉敛相融，尽显华贵精巧，静静诉说着岁序里的悠然意韵。",[23,3751,4404,821,7,585],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c910b1aadc3164044c82764d06eba6b.jpg",[],{"id":54845,"slug":54846,"title":54847,"dynasty":58,"author":19,"museum":20,"description":54848,"tags":54849,"thumbUrl":54850,"material":87,"size":88,"collection":30,"collections":54851,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor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匠心。\n\n整器铸工精妙，线条流畅舒展，既饱含宗教器物的肃穆静雅，又尽显精湛造办工法。灼灼金芒里，将宝伞护持安乐、摒除障厄的美好祈愿，凝于这方寸造物之中，是清代金属细作的绝佳典范。",[62,64,44,7,3325,9101,56688],"伞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd937e16acf818accbdc825d68dfa8d25.jpg",[],{"id":56692,"slug":56693,"title":56694,"dynasty":58,"author":19,"museum":20,"description":56695,"tags":56696,"thumbUrl":56697,"material":87,"size":88,"collection":30,"collections":56698,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},275037,"tong-du-jin-fang-xing-fa-shao-yi-ming-275037","铜镀金方形法勺","整体鎏金莹亮华贵，勺身方正如仪，中央嵌奉坐佛，面容慈悲安和。周遭透雕缠枝莲纹，卷转灵动柔美，将佛禅的庄严与纹饰的雅致相融无间。长杆錾饰细密纹路，节段过渡自然流畅，尾端收作莲苞形制，细节处处打磨入微。\n作为礼佛法器，它以金质的雍容烘托出神圣意蕴，褪去了宗教器物的凛冽感，将匠心藏于每一处雕镂之中，是清代金属细作工艺的精巧缩影，静静承载着旧时礼佛仪轨里的庄重与雅致。",[64,44,7,62,3325,258,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e38eb53fb51d25c4e6f16517499f1c0.jpg",[],{"id":56700,"slug":56701,"title":56702,"dynasty":58,"author":19,"museum":20,"description":56703,"tags":56704,"thumbUrl":56705,"material":87,"size":88,"collection":30,"collections":56706,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":148},275036,"tong-du-jin-yuan-xing-fa-shao-yi-ming-275036","铜镀金圆形法勺","整体鎏金匀净莹亮，光泽凝敛华贵。勺首素朴圆润，贴合仪轨取用的实用形制。杖身分段饰有精雕纹样，兽首与莲瓣饰件错落衔接，线条利落凝练，纹饰细密入微，将藏地仪轨器物的庄严感融于细节之中。\n\n它既承载着宗教仪轨的肃穆功用，又尽显清代金作的高超工艺，是一件兼顾仪式实用性与装饰美学的法器佳作。",[64,44,7,62,3325,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bab59465f8f3a4bf6b927d294c53511.jpg",[],{"id":56708,"slug":56709,"title":56710,"dynasty":58,"author":19,"museum":20,"description":8117,"tags":56711,"thumbUrl":56712,"material":87,"size":88,"collection":30,"collections":56713,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},275002,"tong-fang-zun-yi-ming-275002","铜方尊",[43,44,48,124,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d1502a796d21bb158b5c29cf00e7528.jpg",[],{"id":56715,"slug":56716,"title":56717,"dynasty":58,"author":19,"museum":20,"description":56718,"tags":56719,"thumbUrl":56720,"material":87,"size":88,"collection":30,"collections":56721,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},274999,"tong-du-jin-yuan-ta-yi-ming-274999","铜镀金圆塔","此塔循藏式佛塔经典形制，造型收放合宜，层次分明。莲苞宝顶饱满鲜活，承托于覆盘之上，旋纹相轮层叠规整，线条利落雅致，将挺拔感尽数铺展。敦实的覆钵塔身朴拙厚重，与基座衔接处饰以佛龛纹样，基座环饰浮雕细节，精巧入微。\n\n鎏金历经岁月晕染，局部斑驳露铜，晕开沉朴古雅的质感。整体将精巧工法与静穆庄严融为一体，凝萃藏传佛教的审美意趣，静立间自带清净肃穆的宗教气韵，作为匠心凝练的礼佛重器，静静沉淀着过往的信仰温度。",[62,44,25779,7,84,306],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94102fd47e638df7a66755ed9178d6ba.jpg",[],{"id":56723,"slug":56724,"title":56725,"dynasty":58,"author":19,"museum":20,"description":56726,"tags":56727,"thumbUrl":56728,"material":87,"size":88,"collection":30,"collections":56729,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":148},274997,"tong-yuan-ta-yi-ming-274997","铜圆塔","它以沉凝的铜色晕开岁月包浆，是藏式佛塔的经典形制。基座饱满敦实，浅刻莲瓣环绕，稳稳承载起塔身威仪。相轮层层收拢，排布齐整利落，将宗教建筑的肃穆感藏于线条起伏间，尽显对称秩序之美。顶部塔刹最为精巧，宝冠、法轮与摩羯角次第铺展，垂挂的小铃虽静立无声，却仿若能唤起旧时殿宇间的梵音清越。\n\n整器工艺细致入微，每一处錾刻都凝着虔诚匠心，将藏地造像的庄严意趣融于一体，静静铺陈着过往的信仰图景，肃穆雅致兼具，尽显古朴厚重的宗教美学意蕴。",[44,7,25779,62,43],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53dc564b1497e428649359070a7f55d0.jpg",[],{"id":56731,"slug":56732,"title":56733,"dynasty":58,"author":19,"museum":20,"description":56734,"tags":56735,"thumbUrl":56736,"material":87,"size":88,"collection":30,"collections":56737,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":148},274996,"qian-long-kuan-tong-du-jin-qian-song-shi-ta-yi-ming-274996","乾隆款铜镀金嵌松石塔","此塔通体鎏金，金辉璀璨华贵。周身錾刻缠枝卷草纹饰，间嵌松石，翠色与金泽交相辉映，宝气盎然。塔身佛龛内置坐佛，法相端严沉静，慈悲尽显。\n\n塔刹高耸，日月宝珠顶戴其上，下悬璎珞流苏，两侧龙形耳饰遒劲灵动，兼具威仪与精巧。台座层叠而起，饰以莲瓣纹样，松石点缀其间，沉稳厚重的底座承托起塔身的华丽精巧，刚柔并济。\n\n整器集铸造、錾刻、镶嵌工艺于一体，工法极致精妙，尽显不凡匠心，是藏传佛塔工艺之上佳代表，肃穆华贵间承载着清净庄严的宗教意涵。",[64,44,7,62,25779,8329,258,8994],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F093c5c0362705cdcab3a8f36635fa08c.jpg",[],{"id":56739,"slug":56740,"title":56741,"dynasty":58,"author":19,"museum":20,"description":56742,"tags":56743,"thumbUrl":56744,"material":87,"size":88,"collection":30,"collections":56745,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},274995,"tong-ling-yi-ming-274995","铜铃","此铃以五股金刚杵为柄首，嵌饰红珊瑚、绿松石与青金石，宝色点缀于古铜之上，沉静内敛。杵下忿怒佛首威严传神，周遭卷草纹饰层叠环绕，衔接精妙自然。钟身分层錾刻缠枝花卉与法轮纹样，排布规整，线条细腻流畅，尽显雕工精湛。通体包浆厚重莹润，古意盎然，凝敛着虔敬的信仰之力，将藏地金工艺与宗教意涵相融，肃穆沉静的气韵暗合禅修之境，是匠心淬炼的传世佳器。",[44,187,62,7,3325,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a34adcb54e03de07e0c52dc9970dce9.jpg",[],{"id":56747,"slug":56748,"title":56749,"dynasty":58,"author":19,"museum":20,"description":56750,"tags":56751,"thumbUrl":56752,"material":87,"size":88,"collection":30,"collections":56753,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},274994,"tong-fa-ling-yi-ming-274994","铜法铃","此器以五股金刚杵为柄，嵌饰珊瑚、松石，宝色在古铜底色里暗生光华。杵身佛首眉目沉静慈悲，兼具肃穆法相。铃身錾刻莲瓣与宝相花纹饰，层叠排布，线条柔婉又不失规整，古旧包浆凝敛厚重，晕染出经年岁月的沉静质感。它既是密宗修法的庄严法器，亦是藏地金工的精巧之作，将宗教的神圣意涵与手工技艺的匠心相融，每一处錾刻都暗含仪轨深意，静静沉淀着信仰的温度，尽显藏传器物独有的美学风骨。",[44,84,62,187,7,65,3325],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd60e2b1bec0cb2319579458b91e7539a.jpg",[],{"id":56755,"slug":56756,"title":56757,"dynasty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ug":57032,"title":56661,"dynasty":58,"author":19,"museum":20,"description":57033,"tags":57034,"thumbUrl":57035,"material":87,"size":88,"collection":30,"collections":57036,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},274934,"tong-du-jin-ba-bao-hua-yi-ming-274934","整体鎏金明丽华贵，造型层次分明韵味悠长。顶部镂空莲花苞盖缠枝舒展，灵动精巧，下接仰莲台座，花苞似将绽未绽，自带清雅圣洁之气。云纹束腰翻卷流转，如仙气萦身，衔接起上下景致。中部宝瓶饱满端庄，周身錾刻细密缠枝纹饰，两侧宝绶轻盈垂落，尽显端庄雅致。底座莲瓣层叠环绕，饱满圆润，周身纹饰细腻入微。\n\n这件供器将莲花圣洁意涵与吉祥意象相融，鎏金工艺精湛细腻，把藏传佛教的清净庄严与宫廷造办的华贵工巧合二为一，尽显雅致肃穆的佛门气韵。",[64,44,7,62,2317,586,9101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1eb8ca59c598f808c0481abf36625af.jpg",[],{"id":57038,"slug":57039,"title":56677,"dynasty":58,"author":19,"museum":20,"description":57040,"tags":57041,"thumbUrl":57042,"material":87,"size":88,"collection":30,"collections":57043,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},274933,"tong-du-jin-ba-bao-gai-yi-ming-274933","此件以精炼金料打造，集累丝、錾刻之工。下承覆莲底座，葫芦宝瓶身錾刻缠枝纹理，搭配灵动花耳，祥云柱蜿蜒承托仰莲台。顶端宝盖周垂璎珞流苏，灵动雅致。\n\n整体层次分明，自上而下层层抬升，既有葫芦宝瓶、祥云、宝莲的祥瑞寓意，又以莹润金质凸显华贵质感。细节处纹路饱满生动，尽显匠心工巧，将藏传佛供的神圣意蕴与清代金作的雍容审美融为一体，是一件精巧雅致的礼佛佳器。",[64,44,7,62,9101,586],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa606fc6b843deded2b43dd6eee1a1efe.jpg",[],{"id":57045,"slug":57046,"title":56685,"dynasty":58,"author":19,"museum":20,"description":57047,"tags":57048,"thumbUrl":57049,"material":87,"size":88,"collection":30,"collections":57050,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},274932,"tong-du-jin-ba-bao-san-yi-ming-274932","此件器物鎏金莹亮饱满，宝伞静伫层叠莲台之上，轮廓端方威仪。莲瓣舒展灵动，承托起神圣宝伞，下衔祥云束腰柄身，云纹卷绕缱绻，似携佛界祥瑞缓缓流转。底座葫芦造型沉稳敦实，缠枝纹饰錾刻细腻，环台雕饰繁复精妙，将藏传礼器的神圣意蕴与精湛造办工艺相融。整体线条辗转流畅，细节处一丝不苟，鎏金历经岁月依旧光泽不减，尽显华贵庄严。器物将宗教礼器的肃穆神性与宫廷美学精巧完美糅合，静静诠释着吉祥八宝的清净寓意，是清代金铜造作工艺的精巧代表之作。",[64,44,7,62,48,57012,8519],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82fd791af4e67990afb399572e3e7e1e.jpg",[],{"id":57052,"slug":57053,"title":57054,"dynasty":58,"author":19,"museum":20,"description":57055,"tags":57056,"thumbUrl":57058,"material":87,"size":88,"collection":30,"collections":57059,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},274931,"tong-du-jin-ba-bao-luo-yi-ming-274931","铜镀金八宝-螺","整体鎏金莹润华贵，形制精巧严整。顶部法螺饱满立体，缠枝宝相纹饰环绕周身，尽显清净庄严的法相。法螺下承仰莲台，束腰处祥云卷舒灵动，将上下器身自然衔接，祥云錾刻层次分明，流转着柔婉韵致。下接葫芦形立柱，周身錾刻细密纹饰，两侧宝珰舒展灵动，与整体纹饰呼应协调。足底铺展莲瓣与缠枝纹，纹饰繁而不紊。整器铸造与錾刻工艺精湛，将藏传佛教的神圣感融于寸厘之间，尽显华贵肃穆的宗教美学。",[64,44,7,62,3325,57057],"法螺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bb23b863af83771c99877867e93edf4.jpg",[],{"id":57061,"slug":57062,"title":56669,"dynasty":58,"author":19,"museum":20,"description":57063,"tags":57064,"thumbUrl":57066,"material":87,"size":88,"collection":30,"collections":57067,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},274930,"tong-du-jin-ba-bao-lun-yi-ming-274930","通体鎏金，宝气粲然。顶部法轮錾刻精妙，辐条舒展规整，尽显佛法辗转不息、摧破无明的寓意。法轮下承开合莲台，卷草祥云错落衔接，柔婉灵动的纹饰勾勒出祥瑞之气。下接葫芦形基座，配饰缠枝莲瓣与护法瑞饰，沉稳端庄。整器工艺卓绝，将宫廷金工的精细与藏传佛教的神圣意涵相融，每一处细节皆见匠心，宝光熠熠间尽显佛门清净庄严的肃穆气象。",[64,44,7,62,49100,57065],"佛教器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c8902597147aa5864fc0725767022aa.jpg",[],{"id":57069,"slug":57070,"title":57071,"dynasty":58,"author":19,"museum":20,"description":57072,"tags":57073,"thumbUrl":57074,"material":87,"size":88,"collection":30,"collections":57075,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},274929,"tong-ba-bao-chang-yi-ming-274929","铜八宝-肠","此件造像以盘长结为顶饰，回环盘绕的线条勾勒出圆满无尽的禅意。下方莲台饱满莹润，稳稳承托主体。中部透雕缠枝卷草间点缀兽首，柔婉枝蔓与威严兽面相映，将肃穆与灵动感相融。通体鎏金匀净厚重，历经时光仍光泽温婉莹润。整体雕刻极尽精工，将吉祥意涵与雕刻技艺相合，既不失宗教器物的庄重静雅，又尽显金属造作的细腻工巧，是兼具精神寓意与审美价值的精工之作。",[44,7,62,8893,25836,3325],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d858c8c49be233fd9364684decbcf37.jpg",[],{"id":57077,"slug":57078,"title":56469,"dynasty":58,"author":19,"museum":20,"description":57079,"tags":57080,"thumbUrl":57081,"material":87,"size":88,"collection":30,"collections":57082,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},274928,"tong-ba-bao-yu-yi-ming-274928","这件供器鎏金莹润，包浆凝厚，尽显华贵质感。顶端双鱼昂首摆尾，鳍须灵动舒展，仿佛正破水而出，将吉庆生机藏于造型之中。\n\n上下莲瓣台座呼应，承托起瑞兽般的轮廓。主体透雕缠枝卷草，线条婉转回环，镂空工艺让整体轻盈通透，柔化了金属的冷硬，与双鱼的鲜活相映成趣。\n\n工艺精巧细腻，把祈福寓意融于每一处纹路，肃穆中带着灵动雅致，尽显手造匠心，是兼具精神意涵与审美价值的精工之作。",[44,7,925,62,8893,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e75b4896f3c0444c56c3f7f2488d45.jpg",[],{"id":57084,"slug":57085,"title":57086,"dynasty":58,"author":19,"museum":20,"description":57087,"tags":57088,"thumbUrl":57089,"material":87,"size":88,"collection":30,"collections":57090,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},274927,"tong-ba-bao-guan-yi-ming-274927","铜八宝-罐","此件供器宝罐饱满庄重，以覆莲座承托，下接透雕缠枝卷草支架，涡旋纹婉转灵动，仿若枝蔓舒展，柔化了礼器的肃穆。周身鎏金历经时光晕染，褪去初时亮泽，晕开沉静古意。整体形制将藏传造像的庄严法度与装饰美学相融，细节处刀工利落，线条舒展流畅，把供器的宗教性与工艺巧思合二为一，静静沉淀着旧时佛堂的清净梵韵，尽显精巧匠心。",[44,7,62,84,9101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ab54e49f82ac9040f875b21c5003323.jpg",[],{"id":57092,"slug":57093,"title":56477,"dynasty":58,"author":19,"museum":20,"description":57094,"tags":57095,"thumbUrl":57096,"material":87,"size":88,"collection":30,"colle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骨，珐琅点缀神魂。顶部珐琅釉面莹洁透亮，中心饰慧眼金莲，朱红莲瓣舒展灵动，慧眼明澈沉静，晕染出宗教的肃穆净洁，外围银质雕花拱罩，卷草纹缠连柔婉，烘托出庄严佛韵。\n\n莲台承托珐琅宝饰，莲瓣饱满写实，过渡自然。束腰底座錾刻瑞兽缠枝，层次错落分明，底部浮雕覆莲与宝相花，古朴厚重，尽显錾刻工艺的细腻精妙。\n\n银的哑光冷冽与珐琅的鲜亮明丽相映成趣，将藏地佛教清净意涵与手工匠艺融为一体，静穆中蕴含着神圣的供养之美，是宗教造像与金属珐琅工艺结合的精巧之作。",[1234,861,62,1606,7,2317,24115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb88333d6c561773d142b8de1dffc5102.jpg",[],{"id":57406,"slug":57407,"title":25825,"dynasty":58,"author":19,"museum":20,"description":57408,"tags":57409,"thumbUrl":57410,"material":87,"size":88,"collection":30,"collections":57411,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},274860,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274860","莲台底座卷云缠枝，古雅沉稳，托举宝瓶形开光。浅蓝珐琅地晕染如薄雾烟霞，山石层叠苍劲，草木扶苏灵动，将幽深山林缩于方寸，釉色清润透亮似凝住山光。银胎錾刻的莲瓣卷纹肌理细腻古朴，与珐琅的明润相映成趣。清冷金属质感糅合釉色柔润，肃穆间藏着江南山水的温婉意趣，藏汉工艺在此交融共生，携着礼佛清供的静雅禅意。",[1234,861,62,1751,46,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd88b8251e78238aff15daba879069761.jpg",[],{"id":57413,"slug":57414,"title":25825,"dynasty":58,"author":19,"museum":20,"description":57415,"tags":57416,"thumbUrl":57417,"material":87,"size":88,"collection":30,"collections":57418,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},274859,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274859","此作以银胎塑底座，分莲台、缠枝云纹柱身与卷云底台，层叠镂雕，纹路辗转灵动，尽显錾刻精工。嵌珐琅为龛心，天青地色明净莹润，护法天王身着宝胄，持戟端坐，衣袂翩然舒展，设色浓丽古雅，红彩衬出威仪，金彩勾描宝饰细节，藏地造像的肃穆厚重与珐琅彩的柔润鲜亮相融，将护法天王的威严气度晕染得恰到好处，尽显汉藏工艺合璧的手工匠心之美。",[1234,2010,56523,7,6520,62,24115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb12aabdff59d3a7aa65d7bf2d0d6f586.jpg",[],{"id":57420,"slug":57421,"title":25825,"dynasty":58,"author":19,"museum":20,"description":57422,"tags":57423,"thumbUrl":57424,"material":87,"size":88,"collection":30,"collections":57425,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},274857,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274857","这件供具以银为胎，周身錾刻繁细纹饰，莲台承托主龛，云纹底座敦实古雅。龛内嵌珐琅釉面莹润亮泽，匀净湖蓝底料之上，金红勾勒法物纹样，色彩明丽沉静，尽显七宝供养的庄严禅意。\n\n银胎的冷硬厚重，搭配珐琅的柔润鲜亮，质感碰撞间别具韵致。细节处莲瓣舒展灵动，卷草纹路细腻入微，尽显手工技艺的精湛造诣，整体造型端庄雅致，晕染着清净祥和的佛国意蕴，是藏地供具里的精巧佳构。",[1234,861,62,7,2317,25828],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3372b2fff257fc61c72798597c475206.jpg",[],{"id":57427,"slug":57428,"title":25825,"dynasty":58,"author":19,"museum":20,"description":57429,"tags":57430,"thumbUrl":57431,"material":87,"size":88,"collection":30,"collections":57432,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},274853,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274853","整器以银为胎，莲台云纹底座沉稳雅致，托起仿佛龛形制的嵌珐琅牌位。珐琅面板之上，护法尊神乘马驱车，宝衣纹饰明丽华贵，朱红、鎏金与天青底色相映，色彩鲜亮饱和，尽显珐琅工艺的精细入微。银胎拱顶錾刻繁复纹饰，勾勒出庄重肃穆的宗教氛围。\n\n它融錾银与珐琅工艺于一体，肃穆中带着灵动装饰美感，将信仰的庄严与匠心工艺完美结合，静静承载着旧时礼佛的虔诚之心。",[1234,861,62,63,852,3749,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F275be5fb959191f712687bba3b9f90d9.jpg",[],{"id":57434,"slug":57435,"title":25825,"dynasty":58,"author":19,"museum":20,"description":57436,"tags":57437,"thumbUrl":57438,"material":87,"size":88,"collection":30,"collections":57439,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},274851,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274851","以银为骨，莲台承托宝函，整器藏尽匠心巧思。台座錾刻缠枝卷云与莲瓣纹饰，层层舒展，古朴厚重间带着灵动雅致，将银的清冷质感勾勒得恰到好处。宝函嵌珐琅釉面，天蓝色底衬寿字法幢，朱红镶边缠绕纹饰，冷暖色彩碰撞鲜明庄重，藏地佛教的吉祥意蕴凝在方寸之间。\n\n錾刻工艺与珐琅彩釉相融，银胎素净配珐琅柔润光泽，肃穆沉静中透出华贵精致，凝住了信仰与工艺交融的绝美意境，尽显雅致庄重的供养之仪。",[1234,861,62,2317,7,48],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a6aecd2ec5d177b84872733d6a3cd76.jpg",[],{"id":57441,"slug":57442,"title":25825,"dynasty":58,"author":19,"museum":20,"description":57443,"tags":57444,"thumbUrl":57445,"material":87,"size":88,"collection":30,"collections":57446,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},274850,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274850","整体造型层次分明，自上而下由本尊龛、莲台、缠枝束腰与如意云纹底座衔接而成，古韵典雅。龛门以珐琅为地，填色鲜亮明快，护法尊神驾战车驰骋云海，威严灵动，线条勾勒利落明快，将护法神威跃然其上。银胎錾刻古拙细腻，舒展饱满的莲瓣与婉转柔美的缠枝底座相映，贵金属的厚重质感衬得珐琅明丽色彩愈发鲜活，藏地佛教的庄严神圣与匠作巧思融为一体，尽显虔诚供养之心与清代宗教工艺的精巧水准。",[1234,861,7,62,5312,852,2317,24115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51233399ae0efde5965a34b266d773b8.jpg",[],{"id":57448,"slug":57449,"title":57450,"dynasty":58,"author":19,"museum":20,"description":11967,"tags":57451,"thumbUrl":57453,"material":87,"size":88,"collection":30,"collections":57454,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":148},274844,"mu-jin-qi-jiao-yi-yi-ming-274844","木金漆交椅",[821,3443,7,57452,862,84],"交椅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79e006a71d205f7391992a251b2bb5ce.jpg",[],{"id":57456,"slug":57457,"title":57458,"dynasty":58,"author":19,"museum":20,"description":57459,"tags":57460,"thumbUrl":57461,"material":87,"size":88,"collection":30,"collections":57462,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},274838,"tong-du-jin-qian-song-shi-yun-ding-ba-bao-yu-yi-ming-274838","铜镀金嵌松石云顶八宝-鱼","这件供器以铜镀金为骨，嵌松石为饰，色调清贵交融。双鱼造型饱满灵动，偎依于莲台之上，暗含吉庆有余的美好祈愿。环周饰钉仿若星子缀绕，将双鱼衬得愈发醒目。器身分层雕饰层层递进，莲瓣舒展柔润，鎏金缠枝线条婉转华丽，松石的澄澈冷润中和了金饰的雍容灼目，尽显细作的华贵精巧，在庄严的器物形制里，融着极致的匠人巧思，静穆中透着祥瑞之气，是神性与匠心交织的精美之作。",[62,9101,64,44,65,7,925,2317,1607,27],"https:\u002F\u002Foss.chua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思，口沿下饰细密回纹带，腹部通饰龟甲纹，追摹上古礼制器物的纹样意趣，带着复古雅韵。深沉铜色凝敛经年包浆，晕染出苍古的岁月质感，复刻古器庄重形制的同时，尽显清代造器的规整工致，藏着摹古造器里的怀古匠心。",[43,44,166,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb7262585785f0526d87bb4510de7348.jpg",[],{"id":57531,"slug":57532,"title":57533,"dynasty":58,"author":19,"museum":20,"description":57534,"tags":57535,"thumbUrl":57536,"material":87,"size":88,"collection":30,"collections":57537,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":148},274828,"guang-xu-kuan-tong-du-jin-xing-yi-ming-274828","光绪款铜镀金鉶","它仿古青铜制式，鎏金覆身，宝光暗蕴。兽首衔耳雄劲灵动，棱角间带着沉凝威仪。口沿回纹往复回环，规矩中藏着圆满寓意。器身满铺鳞形纹饰，层层叠叠如春水漾波，细密排布尽显韵律之美。三兽足稳稳承托器身，露铜足底与鎏金形成冷暖反差，古拙厚重感油然而生。\n\n它兼收上古青铜的礼制肃穆与清宫造办处的华贵精工，华贵却不失古雅气韵，是仿古铜作里的精巧佳器。",[44,257,166,7,1194,1891,43,48],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddc73ea8acd1a56a0f29a2416db6cd9e.jpg",[],{"id":57539,"slug":57540,"title":57541,"dynasty":58,"author":19,"museum":20,"description":57542,"tags":57543,"thumbUrl":57544,"material":87,"size":88,"collection":30,"collections":57545,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},274827,"qian-long-kuan-tong-du-jin-xing-yi-ming-274827","乾隆款铜镀金鉶","整体取法上古礼器制式，圆鼓腹饱满端庄，兽首双耳威严灵动，三兽足沉稳敦实，形制规整气度雍容。\n盖顶出戟古雅隽秀，器身纹饰层叠铺陈：回纹勾连环绕，云纹舒卷灵动，蟠虺纹细密精致，冰裂纹规整雅致，錾刻入微，镀金包浆厚重温润，古韵盎然。\n此器是仿古创新的精工之作，既承袭三代青铜的肃穆厚重，又融入清代造作的精巧考究，将复古意趣与宫廷匠心融为一体，尽显庄重典雅的庙堂气息，是铜作仿古器物中的佳构。",[84,44,43,166,7,47],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87b9dc8ecf79f1b774895abb76c607b5.jpg",[],{"id":57547,"slug":57548,"title":57549,"dynasty":58,"author":19,"museum":20,"description":2037,"tags":57550,"thumbUrl":57552,"material":87,"size":88,"collection":30,"collections":57553,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},274826,"tong-du-jin-qian-shi-chu-ji-fang-xing-ping-yi-ming-274826","铜镀金嵌石出戟方形瓶",[84,44,64,7772,7,48,57551],"出戟瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa31e8d130930aaeb70a616f7a7036f80.jpg",[],{"id":57555,"slug":57556,"title":57557,"dynasty":58,"author":19,"museum":20,"description":5580,"tags":57558,"thumbUrl":57559,"material":87,"size":88,"collection":30,"collections":57560,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},274825,"tong-du-jin-qian-song-shi-hua-gu-yi-ming-274825","铜镀金嵌松石花觚",[44,64,8329,7,48,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40e6c2d00126d07588760c774a75f8ac.jpg",[],{"id":57562,"slug":57563,"title":57564,"dynasty":58,"author":19,"museum":20,"description":12112,"tags":57565,"thumbUrl":57567,"material":87,"size":88,"collection":30,"collections":57568,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},274824,"tong-du-jin-zao-hua-shuang-er-san-zu-gai-lu-yi-ming-274824","铜镀金凿花双耳三足盖炉",[44,64,7,36313,24388,57566,84],"双耳三足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc0e9f8ae83c990dedfc9f12d7f8762.jpg",[],{"id":57570,"slug":57571,"title":56645,"dynasty":58,"author":19,"museum":20,"description":57572,"tags":57573,"thumbUrl":57574,"material":87,"size":88,"collection":30,"collections":57575,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},274823,"tong-du-jin-ba-bao-chang-yi-ming-274823","通体鎏金，宝光温润华贵。顶部盘长结缠回往复，无始无终，线条灵动蜷曲，似在悠然舒展，暗合福寿连绵的美好祈愿。下承莲台，瓣叶饱满层叠，如盛夏青莲盛放，清净雅致，柔和衔接法饰与支柱。支柱透雕缠枝宝相花，卷舒自如，花叶交缠间尽显繁复精巧，匠师以錾刻、透雕之法，将纹理镂刻入微，明暗错落间尽显立体层次。整体气韵贯通，既具藏传法器的庄严法度，又饱含清代金作的华贵工致，是宗教礼器与宫廷美学融合的精妙之品。",[62,44,64,7,84,25836],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42cd5db766c8ef281e46d5eaa3569c80.jpg",[],{"id":57577,"slug":57578,"title":57018,"dynasty":58,"author":19,"museum":20,"description":57579,"tags":57580,"thumbUrl":57581,"material":87,"size":88,"collection":30,"collections":57582,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},274822,"tong-du-jin-ba-bao-yu-yi-ming-274822","双鱼交缠灵动鲜活，鳍尾舒展翻卷，伫立在仰莲台座之上，暗含年年有余的吉庆寓意。器身通体鎏金，明黄莹润，支架以缠枝卷草铺陈，镂刻繁复华丽，线条虬劲婉转，光影游走间尽显华贵雍容。底足取俯莲造型，镂空雕琢不失端庄稳重，与上部的灵动形成巧妙呼应。整体细节一丝不苟，将造像的精工富丽尽数展现，既是庄严肃穆的礼佛供器，也藏纳着祈福纳祥的美好意涵，处处彰显着匠心巧思。",[44,64,7,84,925,796,62,9101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dd2722472693b411217be2d1286eb10.jpg",[],{"id":57584,"slug":57585,"title":56653,"dynasty":58,"author":19,"museum":20,"description":57586,"tags":57587,"thumbUrl":57588,"material":87,"size":88,"collection":30,"collections":57589,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},274821,"tong-du-jin-ba-bao-guan-yi-ming-274821","此器鎏金莹亮，华贵雅致。顶部宝罐饱满端庄，双耳垂系饰带，覆塔式顶盖挺拔规整，暗合聚福纳祥的美好寓意。罐下仰莲台瓣层叠舒展，柔婉雅致，承接上下浑然一体。中部支架取缠枝卷草之形，涡旋灵动，线条繁复却流畅利落，錾刻工艺尽显精妙，将柔美与劲挺融为一体。底座镂空莲叶纹，沉稳大气，稳稳承托整体器物。\n\n比例匀称合度，从宝罐的静穆端庄到支架的灵动柔美过渡自然。金泽沉敛温润，尽显细腻造作工法，静立间带着祈福纳吉的平和意蕴，是藏传佛教供器里的精巧之作。",[44,257,62,7,9101,3325,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15995b00099130bfa28ec9993318a99a.jpg",[],{"id":57591,"slug":57592,"title":56661,"dynasty":58,"author":19,"museum":20,"description":57593,"tags":57594,"thumbUrl":57595,"material":87,"size":88,"collection":30,"collections":57596,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},274820,"tong-du-jin-ba-bao-hua-yi-ming-274820","这件鎏金供器宝花舒展饱满，花瓣层叠妍丽，下承仰莲莲台，曲线柔婉挺括，将清净雅致的意韵藏于形制之中。中部支架透雕缠枝卷草，回旋舒展的线条灵动流畅，把华丽工巧与典雅气韵相融无间。通体鎏金厚重匀净，色泽明丽华贵，尽显工致精湛的锻造技艺。\n\n整体造型上下呼应，层层递进，兼具供器的庄严规整与装饰的精巧灵秀，将吉祥寓意凝于细节之中，是清代金属细作的上乘之作。",[44,64,7,62,2317,9101,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3703341596c11dd92853b758eeef455c.jpg",[],{"id":57598,"slug":57599,"title":56677,"dynasty":58,"author":19,"museum":20,"description":57600,"tags":57601,"thumbUrl":57602,"material":87,"size":88,"collection":30,"collections":57603,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},274819,"tong-du-jin-ba-bao-gai-yi-ming-274819","通体鎏金匀净厚重，宝光莹莹历经岁时不减。顶部法盖威严灵动，卷舒纹饰似携梵音流转，下承仰莲座，瓣叶层叠饱满，凝住莲绽刹那的清灵。茎身缠枝卷草婉转舒展，线条如流云曳动，将神性庄严与柔美意态融于一处。底托镂空莲瓣造型空灵精巧，层层造型递次铺展，刚柔相济。\n整器工致精巧，将供器的端雅圣洁与造艺匠心相融，静穆间尽显佛前供具的虔诚意趣，是彼时造作工艺的精妙缩影。",[62,44,64,7,9101,21198,3325,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd15dc71d71aac48d5e2a8bc15c66e03.jpg",[],{"id":57605,"slug":57606,"title":56685,"dynasty":58,"author":19,"museum":20,"description":57607,"tags":57608,"thumbUrl":57609,"material":87,"size":88,"collection":30,"collections":57610,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},274818,"tong-du-jin-ba-bao-san-yi-ming-274818","此器鎏金莹润亮泽，宝伞作为核心饰于顶冠，錾刻精细饱满，灵动舒展的缠枝纹承托宝伞，下覆仰莲座承接主体。器身镂空卷草纹层叠流转，线条柔婉暗含力道，仿若舒展的莲枝，层层铺陈开佛国静雅意蕴。整体造型端庄不失精巧，鎏金厚重匀净，尽显卓绝做工，将藏传佛教八宝的圣洁寓意凝于寸尺之间，静穆中带着华贵雍容，是清代佛前供器的上乘之作，静静诉说着佛前供仪的庄严与精致。",[64,44,7,62,57012,48,56688,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77755ff320c33d8e48f464d94aad234e.jpg",[],{"id":57612,"slug":57613,"title":57054,"dynasty":58,"author":19,"museum":20,"description":57614,"tags":57615,"thumbUrl":57616,"material":87,"size":88,"collection":30,"collections":57617,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},274817,"tong-du-jin-ba-bao-luo-yi-ming-274817","法螺宝顶錾刻细腻灵动，威严中带着精巧神采。下接覆莲底座，舒展的卷草纹茎干柔婉多姿，将庄重与柔美相融。通体鎏金熠熠生辉，纹饰排布层次分明，刚劲线条勾勒宗教器物的肃穆神性，柔婉卷草又添雅致风韵。\n\n整体自上而下一气呵成，沉稳镂空底座承托造型，尽显华贵庄严，将藏地礼器的神圣感与清代金属细作的匠心完美结合，是工艺与宗教美学合璧的精巧之作。",[62,1606,44,64,7,84,57057],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff19426880749fda4b7b66ae9295191d2.jpg",[],{"id":57619,"slug":57620,"title":56669,"dynasty":58,"author":19,"museum":20,"description":57621,"tags":57622,"thumbUrl":57623,"material":87,"size":88,"collection":30,"collections":57624,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},274816,"tong-du-jin-ba-bao-lun-yi-ming-274816","此器鎏金饱满莹润，整作自上而下层次分明。顶部法轮纹饰规整庄重，轮辐匀衬环绕中心宝毂，周饰圆珠，下接灵动舒展的卷草飞天，将法轮稳稳承托于覆莲宝座之上。\n\n束腰茎干以镂刻缠枝卷草为饰，枝蔓虬曲回转，灵动雅致，仿佛汲取莲池生机，将莲座与底足自然衔接。底足作镂空仰莲样式，与上部覆莲呼应和谐。\n\n法轮为八宝之首，寓意佛法辗转不息、恒常绵长。整器做工精湛细腻，尽显清代佛供造像的华贵气韵，静穆间自有清净庄严的佛门意蕴。",[44,64,7,62,49100,9101,3325],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3695cdcc31943bde60ce28dbf62ffb6d.jpg",[],{"id":57626,"slug":57627,"title":25760,"dynasty":58,"author":19,"museum":20,"description":57628,"tags":57629,"thumbUrl":57631,"material":87,"size":88,"collection":30,"collections":57632,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},274815,"tong-du-jin-qi-zhen-jiang-jun-bao-yi-ming-274815","此器主尊将军神武飒然，挥刀持盾，蹲踞威立，将护法降魔的勇武姿态凝练于方寸之间，衣袂战甲肌理分毫毕现，英气勃发。\n\n覆莲台承托主尊，下接缠枝卷草镂雕支架，纹饰舒展灵动，层叠回旋如盛放宝花，底托镂空莲瓣，整器自上而下浑然一体。铜镀金工艺精湛醇熟，金水莹润厚重，周身光泽华贵内敛，细节处分毫必究，既承袭藏地造像的雄浑刚健，又兼具清式造办的精工雅致，尽显宝相庄严与匠作匠心。",[44,64,7,62,1606,63,84,5229,57630],"将军宝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F778fed8ede8fbdc5bcae306eb1cba1a2.jpg",[],{"id":57634,"slug":57635,"title":56628,"dynasty":58,"author":19,"museum":20,"description":57636,"tags":57637,"thumbUrl":57638,"material":87,"size":88,"collection":30,"collections":57639,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},274814,"tong-du-jin-qi-zhen-mo-ni-bao-yi-ming-274814","此件器物鎏金厚重莹润，宝顶以焰光簇拥千叶莲苞，仿佛正迸发澄澈光华。炉身仰莲盛放，稳稳承托顶饰，下接缠枝卷草镂空座身，柔婉卷纹舒展灵动，留白处题字添古朴雅意，刚柔相济。底足作莲瓣开光，沉稳端庄，撑起整器风骨。\n\n整体以莲为核心纹饰，呼应摩尼宝圆满清净的寓意，将法器的庄严神性与金属细作的装饰美学融于一体，尽显华贵精巧的工艺水准，宝光历经岁月依旧内敛醇厚，是宗教造像与宫廷匠心结合的绝佳典范。",[44,64,7,62,1606,3325,5230,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5683bc23401abe172466c1ccadc184ca.jpg",[],{"id":57641,"slug":57642,"title":57643,"dynasty":58,"author":19,"museum":20,"description":57644,"tags":57645,"thumbUrl":57646,"material":87,"size":88,"collection":30,"collections":57647,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},274813,"tong-du-jin-qi-zhen-lun-bao-yi-ming-274813","铜镀金七珍-轮宝","法轮周匝圆珠环列，如星子环拱北辰，辐条舒展规整，带着清净无染的宗教威仪。下方卷草扶摇而上，灵动托举着层叠仰莲，莲瓣饱满圆润，似凝着朝露将绽未绽。\n\n器身缠枝纹虬结回转，线条柔婉又暗含劲力，浅刻铭文为这件古物镌下时光的注脚，静静诉说过往岁月。底足镂空莲台稳稳承托，通体鎏金莹润亮泽，历经年岁依旧熠熠生辉。\n\n整器将宗教的神圣肃穆与金属细作的精巧工致相融，把信仰的庄重与工艺美学精妙糅合，尽显匠心独运，是一件兼具精神价值与审美价值的上乘之作。",[44,64,7,62,48,49100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bedfc7a841a719fd5109629db0aa18d.jpg",[],{"id":57649,"slug":57650,"title":56620,"dynasty":58,"author":19,"museum":20,"description":57651,"tags":57652,"thumbUrl":57653,"material":87,"size":88,"collection":30,"collections":57654,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},274812,"tong-du-jin-qi-zhen-xiang-bao-yi-ming-274812","这件造像鎏金明灿莹润，瑞象昂首垂鼻，背负宝瓶静立莲台之上，仪态温驯庄重，尽显太平祥瑞之意。器身以透雕卷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工。紫地珐琅嵌饰圆牌，描金纹路精致醒目，撞色间衬得鎏金愈发莹润华贵。顶嵌澄澈玻璃，与珐琅彩饰相映，明丽雅致。更巧将腕表暗藏架间，将妆奁之用与计时功能相融，是西风东渐之下，传统妆具糅合西洋技艺的精妙之作，把实用与装饰完美契合，尽显旧时造物的匠心巧思与盛世审美意趣。",[64,44,270,7,27,862,17836,34301,61914],"带表","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb146336ae134ed5933f8da9aa8b1410a.jpg",[],{"id":61918,"slug":61919,"title":61920,"dynasty":58,"author":19,"museum":20,"description":12112,"tags":61921,"thumbUrl":61922,"material":87,"size":88,"collection":30,"collections":61923,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},273424,"zhu-lu-yi-ming-273424","竹炉",[84,862,9179,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eab50f5deba97c48d1699aefa07508f.jpg",[],{"id":61925,"slug":61926,"title":61927,"dynasty":58,"author":19,"museum":20,"description":61928,"tags":61929,"thumbUrl":61930,"material":87,"size":88,"collection":30,"collections":61931,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},273413,"qian-lv-shi-bei-nao-yi-ming-273413","嵌绿石背挠","此件以仿生佛手为挠首，绿釉莹润鲜亮，似凝碧色，指尖弧度温婉，恰好适配拿捏按摩的分寸，自带清雅禅意。纤细竹杆匀净光洁，朱色束带点缀其间，晕开一抹雅致亮色，末端素白顶珠收尾，简约耐看。\n\n它将实用与雅玩融于一体，修长趁手的形制，既是消弭肩背酸乏的日用好物，亦是案头清玩的精巧造物，藏着旧时慢调日常里的松弛意趣，于寻常日用间尽显雅致匠心。",[862,23,7,84,821],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda7db22d7fdcc748390a1571c7815eac.jpg",[],{"id":61933,"slug":61934,"title":61935,"dynasty":58,"author":19,"museum":20,"description":61936,"tags":61937,"thumbUrl":61938,"material":87,"size":88,"collection":30,"collections":61939,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},273408,"zhu-bei-nao-yi-ming-273408","竹背挠","以竹为料，浑朴雅致。一端摹五指舒卷之形，错落分叉，恰好贴合肩背轮廓，可解搔痒之烦；另一端弯折成钩，可悬可挂，兼顾收纳之便。竹色清浅莹润，肌理天然舒展，不见繁复修饰，尽显匠人巧思与日常意趣。它是俗世烟火里的雅致造物，将平实日用揉进东方意韵，藏着旧时生活的细腻妥帖，于简素之中见出民间手作的温润匠心。",[9179,862,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F641b78ebadf765364c58c3e5f8cc46b2.jpg",[],{"id":61941,"slug":61942,"title":61943,"dynasty":58,"author":19,"museum":20,"description":880,"tags":61944,"thumbUrl":61945,"material":87,"size":88,"collection":30,"collections":61946,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":148},273402,"bai-tan-mu-diao-ren-wu-jing-zhi-yi-ming-273402","白檀木雕人物镜支",[821,7,5303,862,84,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8f61c260e165974649605cd2d2e54ec.jpg",[],{"id":61948,"slug":61949,"title":61950,"dynasty":58,"author":19,"museum":20,"description":880,"tags":61951,"thumbUrl":61952,"material":87,"size":88,"collection":30,"collections":61953,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},273401,"hong-mu-diao-long-da-jing-zhi-yi-ming-273401","红木雕龙大镜支",[821,7,47,862,84,1477],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9c2a68c0340d7800341000c10a36cce.jpg",[],{"id":61955,"slug":61956,"title":61957,"dynasty":58,"author":19,"museum":20,"description":446,"tags":61958,"thumbUrl":61959,"material":87,"size":88,"collection":30,"collections":61960,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":148},273396,"zi-tan-bian-qian-ya-gu-hai-tang-shi-mu-bing-ba-jing-yi-ming-273396","紫檀边嵌牙骨海棠式木柄把镜",[84,862,821,472,7,2766,17176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F966ae6a2928ddc2fb42558fe52f24847.jpg",[],{"id":61962,"slug":61963,"title":61964,"dynasty":58,"author":19,"museum":20,"description":446,"tags":61965,"thumbUrl":61966,"material":87,"size":88,"collection":30,"collections":61967,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":148},273393,"zi-tan-ke-jin-hua-yuan-zhe-bing-ba-jing-yi-ming-273393","紫檀刻金花圆折柄把镜",[821,862,7,3097,5303,306],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87df0ca63f465aba9e1e175e8e905717.jpg",[],{"id":61969,"slug":61970,"title":61971,"dynasty":58,"author":19,"museum":20,"description":446,"tags":61972,"thumbUrl":61973,"material":87,"size":88,"collection":30,"collections":61974,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":148},273391,"ying-mu-bian-qian-yin-si-hua-fa-lang-bei-mu-bing-ba-jing-yi-ming-273391","硬木边嵌银丝画珐琅背木柄把镜",[821,861,862,27,7,6536,17176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf4959d95d10acd9067bcfec1fb9dde5.jpg",[],{"id":61976,"slug":61977,"title":61978,"dynasty":58,"author":19,"museum":20,"description":79,"tags":61979,"thumbUrl":61980,"material":87,"size":88,"collection":30,"collections":61981,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},273388,"dai-mao-bian-ke-ya-gu-hua-hui-bei-yu-bing-ba-jing-yi-ming-273388","玳瑁边刻牙骨花卉背玉柄把镜",[84,862,27,23,6178,472,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd05a4f36166de6a17689b614b33c3d2a.jpg",[],{"id":61983,"slug":61984,"title":61985,"dynasty":58,"author":19,"museum":20,"description":61986,"tags":61987,"thumbUrl":61988,"material":87,"size":88,"collection":30,"collections":61989,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},273366,"mu-luo-tuo-yi-ming-273366","木骆驼","这件木雕以骆驼为形，稚拙中藏着巧思。饱满驼峰贴合生灵本貌，四肢做关节分件，暗合可动的玩具属性，复刻出骆驼昂首伫立的憨态。暖棕底色晕染出深浅渐变，模拟皮毛肌理，头部寥寥数笔旧彩，便勾勒出眼与口鼻的鲜活神态。岁月留下的彩漆残痕，晕开时光的温柔痕迹。它既是孩童案头嬉玩的小物，也是民间手作的精巧缩影，将日常童趣与匠人细心揉为一体，静静晕开旧时光里的质朴暖意。",[821,7,4976,28,3782],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66cb0c51b368c0961e3546870ab072c0.jpg",[],{"id":61991,"slug":61992,"title":61993,"dynasty":58,"author":19,"museum":20,"description":61994,"tags":61995,"thumbUrl":62000,"material":87,"size":88,"collection":30,"collections":62001,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},273364,"huang-pao-dai-qu-qu-zhao-wu-chou-ni-ren-yi-ming-273364","黄袍戴蛐蛐罩武丑泥人","这尊泥塑虽历经岁月，釉色有所剥蚀，却依旧鲜活灵动。明黄袍身点染粉红花枝，绿饰对比鲜明，色彩古艳动人。匠人手底功夫老道，将武丑机灵敏捷的戏韵捏塑入微，虬髯横生，眉眼带俏，神色诙谐鲜活。蛐蛐罩头饰暗藏市井雅趣，把玩家闲情与戏曲造型融于一体，满是民间巧思。\n\n朴拙的泥胎里藏着旧时光的暖意，将戏文里鲜活的武丑定格，既是世俗雅好与戏曲文化的精巧融合，也带着晚清民间造物独有的烟火情味。",[9010,1126,7,685,61996,61997,61998,61999],"戏曲人物","武丑","黄袍","蛐蛐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e2cb346a380b625cb655e4a9c92c2e7.jpg",[],{"id":62003,"slug":62004,"title":62005,"dynasty":58,"author":19,"museum":20,"description":62006,"tags":62007,"thumbUrl":62010,"material":87,"size":88,"collection":30,"collections":62011,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},273362,"zhi-shuang-chui-hua-lian-ni-ren-yi-ming-273362","执双锤花脸泥人","这尊泥塑武人，花脸以黑白利落勾纹，狞厉眉眼煞气尽显，头顶朱缨更添赳赳威风。皂色袍身晕着青竹云纹，雅致绣色中和了凶戾，黄绦束腰衬出身姿挺拔，双锤鎏金沉坠，将武将悍勇膂力凝于掌中。\n\n妆彩虽有岁月斑驳，却掩不住往昔精工。手艺人将戏台武生的刚猛气魄，凝在寸尺泥胎之上，把戏曲里的鲜活神采定格成可触的具象，藏着旧时光里手艺人对戏文的细腻体悟，尽显民间泥塑戏文造像的精妙意趣。",[9010,7,61996,62008,62009,63,123],"花脸","双锤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12ddcc75ed73e3c8cb335377a182902f.jpg",[],{"id":62013,"slug":62014,"title":62015,"dynasty":58,"author":19,"museum":20,"description":62016,"tags":62017,"thumbUrl":62018,"material":87,"size":88,"collection":30,"collections":62019,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":148},273353,"tong-du-jin-xiang-tong-yi-ming-273353","铜镀金香筒","整体取亭塔式制，顶盖飞檐翘角，古韵悠然。筒身透雕满饰，苍龙矫健穿梭于缠枝花卉间，龙姿辗转腾挪，须发张扬灵动，缠枝柔婉舒展，刚柔相济。鎏金包浆温润内敛，褪去了初时的亮烈，晕开岁月沉淀的柔泽。\n镂空形制巧思尽显，既成全了视觉上的繁复层次，又让香烟穿镂而出，袅袅弥散，将陈设装饰与焚香雅用合二为一。瑞兽与繁花相生相融，把威严祥瑞融入日常雅事里，尽显传统工艺的极致匠心，藏着旧时厅堂的雅致余韵。",[44,64,7,913,47,35964,84,862],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08a75d3dd38bb9ebb39a43cb97162631.jpg",[],{"id":62021,"slug":62022,"title":62015,"dynasty":58,"author":19,"museum":20,"description":62023,"tags":62024,"thumbUrl":62025,"material":87,"size":88,"collection":30,"collections":62026,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":148},273352,"tong-du-jin-xiang-tong-yi-ming-273352","仿亭阁为形，宝顶飞檐自带古雅气韵。筒身透雕缠枝卷草，金苍龙蜿蜒穿游于繁枝之间，身姿灵动矫健，生气盎然。通体镀金莹亮华贵，嵌饰珠宝于卷草纹路里提亮点缀，分毫之处尽显匠心巧思。\n\n这件香器融极致五金工艺于礼佛香具，尽显华贵雅致的宫廷审美。熏香之际，青烟自镂孔徐徐漫出，朦胧间衬得器物更显古韵悠然，是清代金属细作的上乘佳器。",[84,44,64,7,47,17545],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79092640eaed92ac81b3fa0b3a37f8e7.jpg",[],{"id":62028,"slug":62029,"title":62030,"dynasty":58,"author":19,"museum":20,"description":62031,"tags":62032,"thumbUrl":62033,"material":87,"size":88,"collection":30,"collections":62034,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},273351,"tong-du-jin-song-peng-guo-zhao-yi-ming-273351","铜镀金松篷果罩","此器六角攒尖顶覆翠色仿松枝，鎏金宝顶冠于其上，华贵雅致。支架以镂空虬龙盘构而成，龙身錾刻精细入微，须发鳞爪灵动张扬，苍劲瑞气扑面而来。\n\n围栏与额枋填饰烧蓝珐琅，宝蓝与鎏金相映，明丽沉稳，缠枝纹饰婉转灵动。朱红底座承托器身，冷暖色彩碰撞鲜明，更衬器物华美。通体鎏金厚重灿烂，珐琅釉色匀净莹润，重工细作尽显匠心，是凝练极致工艺水准的陈设佳器。",[44,64,861,7,7892,47,2641,586],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a74f7af8592651b887cf6606dc38195.jpg",[],{"id":62036,"slug":62037,"title":62038,"dynasty":58,"author":19,"museum":20,"description":12112,"tags":62039,"thumbUrl":62040,"material":87,"size":88,"collection":30,"collections":62041,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":148},273350,"tong-tai-qian-shi-shou-shi-xun-lu-yi-ming-273350","铜胎嵌石兽式熏炉",[28,44,64,7,7772,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa454dc395ecdd6d29e1196048b36f0e7.jpg",[],{"id":62043,"slug":62044,"title":62045,"dynasty":58,"author":19,"museum":20,"description":79,"tags":62046,"thumbUrl":62048,"material":87,"size":88,"collection":30,"collections":62049,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":148},273349,"tong-du-jin-qian-yu-bai-ru-lu-yi-ming-273349","铜镀金嵌玉百乳炉",[44,64,23,65,7,48,9112,62047],"百乳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9ecfddcfa11c11770c6b8ab80f7d467.jpg",[],{"id":62051,"slug":62052,"title":62053,"dynasty":58,"author":19,"museum":20,"description":62054,"tags":62055,"thumbUrl":62056,"material":87,"size":88,"collection":30,"collections":62057,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},273348,"tong-du-jin-tu-long-wen-gai-guan-yi-ming-273348","铜镀金凸龙纹盖罐","盖顶瑞兽盘踞，盖面纹饰层叠舒展，口沿嵌饰彩宝，晕染出雅致华贵底色。器身双龙浮雕矫健灵动，穿云腾挪，鬃须张扬如戟，鳞片细密写实，龙威赫赫扑面而来。两侧兽首衔环，沉浑厚重，器底亦镶宝点缀，处处尽显奢华。\n\n整器鎏金匀净莹润，浮雕工艺精湛入微，线条凌厉饱满，将龙纹的威严大气与繁缛装饰相融一体，尽显盛世重工细作的华贵气度，藏着古人对祥瑞威仪的极致追崇。",[84,44,64,7,47,12493],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaa80814bbb243c82929c05ea62b9a59.jpg",[],{"id":62059,"slug":62060,"title":62030,"dynasty":58,"author":19,"museum":20,"description":62061,"tags":62062,"thumbUrl":62063,"material":87,"size":88,"collection":30,"collections":62064,"showCount":11,"zanCount":11,"manual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而不杂，层次分明。器身纹饰与盖面相呼应，构图严整对称，线条圆熟流畅。\n\n朱色莹润沉静，浮雕错落间尽显立体层次，尽显清代雕漆工艺的精湛造诣，诠释着古典审美中繁复雅致的意趣，凝结着匠人的悉心巧思，于温润漆色间晕开古雅沉静的气韵。",[411,1678,7,969,4252,99048,61,586],"长方匣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f49821cfc88b9550b70c005363711e3.jpg",[],{"id":99052,"slug":99053,"title":99054,"dynasty":58,"author":19,"museum":20,"description":99055,"tags":99056,"thumbUrl":99057,"material":87,"size":88,"collection":30,"collections":99058,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":148},248061,"ti-hong-chan-zhi-lian-wen-chang-fang-xia-yi-ming-248061","剔红缠枝莲纹长方匣","此匣修长雅致，通体髹饰朱漆，雕工精湛细腻。盖面预留素地錾刻题识，周身满布缠枝莲纹。卷枝柔婉舒展，莲花饱满妍丽，枝蔓往复勾连，构图繁密却丝毫不显拥塞，层次明晰井然。刀工爽利圆润，漆面红润莹亮，历经岁月摩挲依旧光华内敛。缠枝莲寓意吉祥绵长，整器既可为文房收纳之用，又饱含雅致隽永的审美意趣，尽显不俗工艺造诣，是一件兼具实用价值与美学价值的佳器。",[58,411,1678,7,969,8103,586],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6bd443b245b5153a082fc38412c309a.jpg",[],{"id":99060,"slug":99061,"title":99062,"dynasty":58,"author":19,"museum":20,"description":99063,"tags":99064,"thumbUrl":99065,"material":87,"size":88,"collection":30,"collections":99066,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},248060,"ti-hong-yun-long-chan-zhi-lian-wen-chang-fang-xia-yi-ming-248060","剔红云龙缠枝莲纹长方匣","此匣造型端方沉稳，带座更添古朴雅致。盖面云龙纹饰生动矫健，游龙隐现于缭绕云气之中，威严灵动兼具。匣身缠枝莲纹婉转舒展，花叶饱满妍丽，枝蔓交错却繁而不紊。\n\n雕工精湛细腻，刀锋藏露得宜，朱漆层色泽沉穆莹润，历经岁月晕染出温润包浆。云纹的舒卷与缠枝的柔婉，中和龙纹的刚劲，刚柔相济间尽显工艺上乘水准，将威严气度与雅致意趣融于一器，尽显手作匠心。",[58,411,1678,7,47,934,969,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d33c3147d113bb4af3f47bc32bb99c4.jpg",[],{"id":99068,"slug":99069,"title":99070,"dynasty":58,"author":19,"museum":20,"description":99071,"tags":99072,"thumbUrl":99073,"material":87,"size":88,"collection":30,"collections":99074,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":148},248059,"ti-hong-tuan-hua-wen-dai-ti-chang-fang-xia-yi-ming-248059","剔红团花纹带屉长方匣","此匣髹朱漆剔刻，器面满铺回纹锦地，团花瑞纹错落排布，刀法圆熟细腻，纹饰饱满立体，尽显雕漆工艺的精工雅致。匣门以素木为底，搭配素洁铜质构件，冷硬金属与温润漆色、素朴木面与繁丽雕纹形成鲜明反差，于浓艳中透出清简意蕴。\n\n整体造型规整端庄，漆色沉古莹润，雕工一丝不苟，团花纹饰暗含吉祥寓意，将实用收纳与工艺审美融于一体，静诉旧时造物的雅致意趣，尽显手作匠心与东方古典审美意韵。",[61,411,1678,7,821,5777,21280,26429],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00b13af033ec3182843b03ca36ee7fd7.jpg",[],{"id":99076,"slug":99077,"title":99070,"dynasty":58,"author":19,"museum":20,"description":99078,"tags":99079,"thumbUrl":99080,"material":87,"size":88,"collection":30,"collections":99081,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":148},248058,"ti-hong-tuan-hua-wen-dai-ti-chang-fang-xia-yi-ming-248058","此匣朱漆层叠，满布细巧锦地，团花浮雕错落排布，刀工圆润敦实，花叶舒展灵动，将沉静锦地与妍丽花饰相融，层次分明。素木屉身与朱漆边框相映，玉签铜牌点缀其间，晕开文房雅韵。形制端稳规整，既承袭明式雕漆的浑厚质感，又兼具清工的秀美工致，将收纳之用与陈设之美精妙合一，静静诉说着旧时文房的雅致意趣，尽显髹饰工艺的匠心巧思。",[411,1678,7,5777,821,99048,26429,61,586],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae6bb6639344a03a2a52b1ff4f1f2f6b.jpg",[],{"id":99083,"slug":99084,"title":99085,"dynasty":58,"author":19,"museum":20,"description":79,"tags":99086,"thumbUrl":99087,"material":87,"size":88,"collection":30,"collections":99088,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},248054,"ti-hei-jin-wen-qian-yu-yun-shou-wen-chang-fang-xia-yi-ming-248054","剔黑锦纹嵌玉云兽纹长方匣",[61,411,23,20990,65,7,28,934,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F843db28ae491e750dac3344889302db5.jpg",[],{"id":99090,"slug":99091,"title":99085,"dynasty":58,"author":19,"museum":20,"description":79,"tags":99092,"thumbUrl":99093,"material":87,"size":88,"collection":30,"collections":99094,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},248053,"ti-hei-jin-wen-qian-yu-yun-shou-wen-chang-fang-xia-yi-ming-248053",[61,411,20990,4851,449,1140,4252,7,21280,23,28,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F558a28c85a18d8c5528058fa9a738cdc.jpg",[],{"id":99096,"slug":99097,"title":99098,"dynasty":58,"author":19,"museum":20,"description":99099,"tags":99100,"thumbUrl":99102,"material":87,"size":88,"collection":30,"collections":99103,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":148},248052,"ti-hong-hai-shui-long-wen-chang-fang-dai-ti-ti-xia-yi-ming-248052","剔红海水龙纹长方带屉提匣","器身以剔红技法满工精雕，正面群龙矫健身姿穿梭于翻涌海浪间，龙鳞爪角分毫毕现，威严灵动扑面而来，海浪卷舒间烘托出磅礴气势。回纹勾勒器身边角，规整雅致衬出主体纹饰的张力。顶盖铜质锁扣錾刻精巧，与朱红漆色相映成趣。髹漆厚重匀净，刀工爽利细腻，将皇权威仪与匠造美学融为一体，尽显清代雕漆工艺的超高水准，是兼具收纳实用与陈设赏玩价值的精工之作。",[61,411,1678,7,25,4191,8103,26429,99101,586],"提匣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56c9a651e929b5bf60e7e09af671378e.jpg",[],{"id":99105,"slug":99106,"title":99107,"dynasty":58,"author":19,"museum":20,"description":99108,"tags":99109,"thumbUrl":99110,"material":87,"size":88,"collection":30,"collections":99111,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},248051,"ti-hong-shan-shui-ren-wu-tu-chang-fang-ti-xia-yi-ming-248051","剔红山水人物图长方提匣","此提匣以剔红技法精工细作，满布的锦地纹如织如绣，将开光图景衬得分外雅致。柜门及侧板之上，层叠山峦间亭榭错落，文人雅士或凭栏观览，或促晤清谈，意韵悠然古雅。\n\n顶面镂雕缠枝纹样，提梁座布局精巧，兼顾美观与收纳实用性。朱红漆色古厚沉润，雕刻层次清晰明朗，刀工圆秀细腻，将山水林泉的隐逸之趣融于器物之中。形制规整端庄，纹饰排布疏密得宜，在日常器具里注入文人雅集的意趣，是漆作工艺与古典审美结合的佳致之作。",[61,411,1678,7,1751,63,2754,7231,821,123],"https:\u002F\u002Foss.chuangqi.st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色调相映，更添古朴质感。柜体分区明晰，柜门与抽屉兼顾收纳实用性，将匠心巧思融于日常器用，尽显传统漆艺的雅致底蕴与实用美学。",[411,1678,7,821,35400,925,84,2290],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff205e0dc7f127abe45b372f0aa12d9d9.jpg",[],{"id":99175,"slug":99176,"title":99177,"dynasty":58,"author":19,"museum":20,"description":99178,"tags":99179,"thumbUrl":99180,"material":87,"size":88,"collection":30,"collections":99181,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},248042,"ti-cai-gou-lian-wen-shu-juan-shi-xia-yi-ming-248042","剔彩勾莲纹书卷式匣","整体造型拟成套古籍堆叠而成，恍若案头陈放的旧藏典籍，古意盎然。剔彩工艺精妙考究，器身满布勾莲团花，团花饱满娇妍，缠枝婉转舒展，刀法圆熟细腻，漆色朱褐交融，温雅厚重。地子取仿竹编肌理，与浮雕团花虚实相映，层次分明。侧面仿书函签页细节逼真，将文房雅趣藏于实用收纳之中，把文人藏书的意趣与漆作匠心融为一体，尽显清代漆艺仿生造物的别致巧思，雅致又不失烟火意趣。",[61,411,2819,10069,98035,7,821],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd60fda4338750d84111d2090e037f34a.jpg",[],{"id":99183,"slug":99184,"title":99177,"dynasty":58,"author":19,"museum":20,"description":99185,"tags":99186,"thumbUrl":99188,"material":87,"size":88,"collection":30,"collections":99189,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},248041,"ti-cai-gou-lian-wen-shu-juan-shi-xia-yi-ming-248041","此器取书卷层叠为形，自带文雅意趣。通体以剔彩工艺妆点，锦纹为地，浮凸勾莲团花，花形饱满妍丽，朱漆色泽沉润鲜亮，雕工圆熟细腻，层次分明利落。器身规整端庄，顶盖之上又置两卷仿书匣件，将文房雅韵藏于收纳之用，陈设、储纳两相皆宜。团花缠枝婉转灵动，既具华贵富丽的气质，又不失文人士大夫审美中的书卷清趣，尽显漆作工艺的不俗匠心。",[61,411,2819,7,10069,99187],"书卷式造型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98c40d5ec17b395c8cae6d42ae296c46.jpg",[],{"id":99191,"slug":99192,"title":99107,"dynasty":58,"author":19,"museum":20,"description":99193,"tags":99194,"thumbUrl":99195,"material":87,"size":88,"collection":30,"collections":99196,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":148},248040,"ti-hong-shan-shui-ren-wu-tu-chang-fang-ti-xia-yi-ming-248040","此提匣造型规整雅致，铜质提梁晕开古朴厚重的质感。通体以剔红工艺妆点，满铺细密锦地纹，柜门之上高浮雕山水人物图景，亭台错落隐于林木间，雅士围坐畅叙，层次分明，刀工圆润细腻，将山居雅集的清幽意趣刻画入微。\n\n朱红漆色沉敛温润，历经岁月依旧质感莹润。抽屉柜体开合有致，将实用收纳与文人意趣相融，雕工处处彰显匠者巧思，是雕漆工艺里兼顾审美与日常使用的精巧之作。",[61,411,1678,7,1751,63,2754,821],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F529532f76c2a3a4d14f144ae1f85e960.jpg",[],{"id":99198,"slug":99199,"title":20891,"dynasty":58,"author":19,"museum":20,"description":99200,"tags":99201,"thumbUrl":99202,"material":87,"size":88,"collection":30,"collections":99203,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},248039,"ti-hong-jin-di-hua-guo-an-ba-xian-wen-fang-xia-yi-ming-248039","此匣方正端凝，铜棱包边勾勒出规整利落的轮廓。剔红雕工极尽精细，细密锦纹铺满地子，平整匀净。花果纹饰鲜活饱满，枝蔓舒展间尽显生机，暗八仙纹暗藏其中，悄然寄寓祥瑞吉意。\n\n四围抽屉配兽面铜扣，古雅精致的金属质感与温润朱红的漆色相映成趣，让器物更添厚重质感。整体雕镂深浅合宜，纹饰繁而不乱，将匠心工艺与传统吉庆意涵相融，尽显工致秀美的工艺水准，雅致华贵中透着沉稳内敛的古韵。",[61,411,1678,7,20894,20895,2108,20896],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F812e61021dd0b9318374f294a1e20feb.jpg",[],{"id":99205,"slug":99206,"title":20891,"dynasty":58,"author":19,"museum":20,"description":99207,"tags":99208,"thumbUrl":99209,"material":87,"size":88,"collection":30,"collections":99210,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},248038,"ti-hong-jin-di-hua-guo-an-ba-xian-wen-fang-xia-yi-ming-248038","此匣以朱漆雕就，通体锦纹为地，盒面以回纹勾连出方正界格，花果瑞物与暗八仙纹饰错落其间，浮雕层层递进，纹饰饱满生动，排布规整雅致。立面抽屉以开光锦纹铺陈，黄铜饰件点缀其上，古意盎然。刀法圆润工细，朱漆色泽温厚沉敛，将祈福纳祥的美好寓意藏于刀笔漆色之间，尽显雕漆工艺的精湛工致，是传统造物美学与实用功能相融的精巧之作。",[1678,7,20894,2108,20895,411,20896,61,821],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dbdf778cfc5aa73879fac6fdd3ef1d6.jpg",[],{"id":99212,"slug":99213,"title":20891,"dynasty":58,"author":19,"museum":20,"description":99214,"tags":99215,"thumbUrl":99216,"material":87,"size":88,"collection":30,"collections":99217,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},248037,"ti-hong-jin-di-hua-guo-an-ba-xian-wen-fang-xia-yi-ming-248037","朱漆莹润饱满，雕工圆熟精湛。细密锦地如织，铺陈底纹尽显繁褥雅致。盖面回纹勾绘开光，花果轻绽、暗八仙隐于其间，瑞意相融，静诉吉祥意涵。六屉错落暗藏，开合之间尽显匠思机巧，将收纳之用与陈设雅趣相合。刀锋藏而不露，纹饰饱满立体，尽显清式雕漆的华丽工致，是实用与审美兼备的文房雅物。",[61,411,1678,7,20894,20895,2108,821,20896],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65e5f0003e18fa78a053f517f91b756c.jpg",[],{"id":99219,"slug":99220,"title":20891,"dynasty":58,"author":19,"museum":20,"description":99221,"tags":99222,"thumbUrl":99223,"material":87,"size":88,"collection":30,"collections":99224,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},248036,"ti-hong-jin-di-hua-guo-an-ba-xian-wen-fang-xia-yi-ming-248036","此件以剔红工艺精作，通身朱漆鲜亮沉润。盖面回纹勾连作开光轮廓，中心团寿纹为心，内饰暗八仙缠缀花果，线条婉转柔润，暗合吉祥长寿的美好祈愿。地子满刻细碎锦纹，层次分明，衬得主纹愈发醒目。\n\n四方抽屉齐整排布，屉面锦纹素雅，配鎏金铜饰为锁扣，朱金相映古雅华贵。整体器形方正端稳，刀工圆熟细腻，将祈福意趣与收纳之用融于一体，尽显不俗工艺水准，把中式雅致藏在日常器用里，沉静隽永。",[61,411,1678,7,20894,20895,2108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef1ae8a925db1b2a9d004c9d75dfbcdb.jpg",[],{"id":99226,"slug":99227,"title":20891,"dynasty":58,"author":19,"museum":20,"description":99228,"tags":99229,"thumbUrl":99230,"material":87,"size":88,"collection":30,"collections":99231,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},248035,"ti-hong-jin-di-hua-guo-an-ba-xian-wen-fang-xia-yi-ming-248035","此匣方正端凝，台座承托尽显古朴稳重之态。通体髹红雕漆，地子满布规整锦纹，细腻匀净。盖面回纹盘环相扣，间隙浮雕花果与暗八仙纹样，瑞意暗藏，雅致尽显。箱体四面设屉，雕刻纹理齐整统一，刀工圆润饱满，线条婉转流畅，将装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相融，简约中见精巧，静静晕开古意盎然的沉静之美。",[989,43,44,7,28,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f8b8ef596c713ccf3f7e64cac753c4b.jpg",[],{"id":116575,"slug":116576,"title":116577,"dynasty":986,"author":19,"museum":20,"description":116578,"tags":116579,"thumbUrl":116580,"material":87,"size":88,"collection":30,"collections":116581,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},243095,"shou-bing-hu-yi-ming-243095","兽柄壶","它取瑞兽为形，首作注水之流，圆鼓腹好似敛藏了一室雅趣，三蹄稳稳撑立，器型浑朴古雅。盖身扣合自然，兽首眉眼宛然自带沉静威仪，一侧执柄隐作缠螭之态，线条婉转流畅，将狞厉古意揉进温润手感里。\n\n铜色沉郁古褐，包浆凝厚莹润，带着岁月摩挲过的柔光，既是文房注水滴，亦是案头清玩，把实用与赏鉴融于一体，将上古的狞厉幻化为案头的温婉，静静晕开旧时文人书斋的风雅意趣，尽显古器隽永之美。",[989,44,7,28,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1aa935153bd93d1338057520510a00fc.jpg",[],{"id":116583,"slug":116584,"title":116585,"dynasty":986,"author":19,"museum":20,"description":116586,"tags":116587,"thumbUrl":116588,"material":87,"size":88,"collection":30,"collections":116589,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},243092,"lian-ban-wen-hu-yi-ming-243092","莲瓣纹壶","此器身形制秀雅饱满，以模铸技法勾勒出立体莲瓣，含苞莲朵错落附于壶身，叶脉舒展柔婉，将莲的清雅意趣融于铜器之上。古铜胎体被岁月晕染出红绿交叠的包浆，锈色深浅层次交织，晕开沉静古旧的时光质感。\n\n底部开孔可系挂随身，既是盛储香料或丹药的实用小瓶，亦以莲纹寄寓着出尘高洁的意涵，在方寸间尽显日常器物里的雅致匠心，朴拙又带着禅意清韵。",[989,44,7,6280,84,796],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc85bf7c2ab9a26161c023ccd6d2e933f.jpg",[],{"id":116591,"slug":116592,"title":116461,"dynasty":986,"author":19,"museum":20,"description":116593,"tags":116594,"thumbUrl":116595,"material":87,"size":88,"collection":30,"collections":116596,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},243091,"shou-er-hu-yi-ming-243091","敞口束颈，圆腹丰腴，圈足沉稳端庄。两侧兽耳线条凝练传神，不见繁复雕琢，却自带着古朴威仪，与器身浑然一体。\n\n铜身覆着深浅晕染的绿锈红斑，如同岁月亲手晕开的绮丽纹路，将时光的厚重凝刻于周身。沉静的古铜底色间，斑驳锈迹晕开旧时光的温度，古拙大气中藏着精巧细节，简约内敛却自有庄重古雅的气度，静静诉说着被时光浸润的沉稳韵味。",[989,43,44,7,1194,48],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4882e409102395a1c5b28b8ca78cb11.jpg",[],{"id":116598,"slug":116599,"title":116600,"dynasty":986,"author":19,"museum":20,"description":116601,"tags":116602,"thumbUrl":116603,"material":87,"size":88,"collection":30,"collections":116604,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},243090,"guan-er-hu-yi-ming-243090","贯耳壶","素雅端庄，直颈挺拔利落，对称贯耳古拙质朴，鼓腹丰腴柔和，圈足沉稳内敛，线条流转间刚柔并济。\n\n苍绿铜锈深浅晕染，如时光晕开的翠色凝脂，带着岁月摩挲的温润包浆，是烟火与光阴的馈赠。整器不施繁缛纹饰，以极简形制承袭文人意趣，尽显克制内敛的审美风骨，静穆中晕开沉静安然的古意，静静诉说旧时光里的雅致格调。",[986,44,350,84,48,7,271],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3716df4aaef979d0158a2894c35ce8ab.jpg",[],{"id":116606,"slug":116607,"title":116547,"dynasty":986,"author":19,"museum":20,"description":116608,"tags":116609,"thumbUrl":116610,"material":87,"size":88,"collection":30,"collections":116611,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":148},243089,"xian-wen-hu-yi-ming-243089","造型敦厚朴拙，束颈鼓腹搭配矮圈足，两侧小巧系耳为沉浑器形添了几分灵动。铜身苍古斑驳，绿锈与红褐包浆交织晕染，凝住岁月浸蚀的痕迹。颈间一道弦纹简约利落，不施繁饰，尽显素雅沉静的造物美学。圆融柔和的线条裹着内敛古韵，静静沉淀着质朴匠心，将极简古雅的意趣藏在每一处弧度里，是颇具韵味的古铜佳器。",[989,44,7,9349,507,43,862,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9701eb93a773cd4f43b1964319a9ba1d.jpg",[],{"id":116613,"slug":116614,"title":112671,"dynasty":986,"author":19,"museum":20,"description":116615,"tags":116616,"thumbUrl":116617,"material":87,"size":88,"collection":30,"collections":116618,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},243087,"kui-wen-hu-yi-ming-243087","敞口束颈，垂腹圈足，双耳翘然灵动，似衔着旧朝的余韵。腹部夔纹婉转萦回，古拙线条勾勒出瑞兽剪影，带着上古的神秘意趣。铜色深沉，斑驳锈迹晕开岁月肌理，将时光的厚重凝于一身。\n\n它复刻商周彝器的肃穆雅致，把古礼的端庄揉进器形里，静立间尽显复古浑朴。仿佛携带着千年前的钟鸣回响，将悠远的礼制之美封存，在沉默中讲述着古雅的审美意趣。",[989,43,44,7,1436,84,48],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25fe3120c5515d84145c69d93a07257f.jpg",[],{"id":116620,"slug":116621,"title":116622,"dynasty":986,"author":19,"museum":20,"description":116623,"tags":116624,"thumbUrl":116625,"material":87,"size":88,"collection":30,"collections":116626,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},243086,"chi-er-fang-hu-yi-ming-243086","螭耳方壶","方颈鼓腹下承方足，器形端正规整。盖顶双兽蹲踞，憨态朴拙。两侧螭龙为耳，蜷曲探首，灵动中带着古雅威仪。腹部浮雕衔环铺首，纹饰凝练苍劲，线条古朴沉稳。周身包浆厚重匀净，铜锈斑驳自然，晕染出岁月浸漫的温润质感。整体摹古青铜礼器形制，将上古礼器的肃穆厚重与制器巧思相融，静立间尽显沉静拙朴的复古意趣，是仿古铜器中的不俗之作。",[989,43,44,7,47,48,4462,23263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6b241b0f4b0f0b877fce6a8cf4e125b.jpg",[],{"id":116628,"slug":116629,"title":8388,"dynasty":986,"author":19,"museum":20,"description":116630,"tags":116631,"thumbUrl":116632,"material":87,"size":88,"collection":30,"collections":116633,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},243085,"shou-mian-wen-hu-yi-ming-243085","敞口束颈，垂腹圈足，器形古朴端庄。颈部以浅回纹衬地，浮雕变体兽面纹饰，腹部饰铺首衔环，环绕卷草兽面纹，錾刻线条细腻流畅，将上古青铜礼器的狞厉之气，转化为雅致沉静的仿古意趣。\n\n包浆厚重莹润，铜色深沉内敛，历经岁月磨洗，纹饰依旧清晰规整。尽显复古风尚里的金石雅韵，承载着对三代青铜文化的追慕，静穆间流淌着古拙庄重的庙堂余韵。",[986,44,7,9326,83,84,28,48],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2233a2c03391adc2dab518b661f42743.jpg",[],{"id":116635,"slug":116636,"title":115547,"dynasty":986,"author":19,"museum":20,"description":2037,"tags":116637,"thumbUrl":116638,"material":87,"size":88,"collection":30,"coll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