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战国大墓出土的木雕镇木兽，湖北云梦汉墓出土的彩雕木佣均为我国早期木雕作品。由于保存的困难，现今很难看到超过千年的木雕作品。\n两宋时期木雕作品较为多见，这时的木雕已采用组织细密的木材为载体进行制作，这就有利于木雕作品的传世。我国的一些庙宇里还保存有宋代的木雕作品。\n元明时由于海外贸易的急速发展，木材种类有所增加，许多由海外进口的硬质木材，是木雕工艺得到长足发展。\n明清期间是木雕艺术的一个辉煌时期，涌现出大量有史可考的名家、艺人及其作品，是古代木雕艺术的一个高峰。\n清末至民国年间由于政府的腐败，国力的衰退，外强的侵略，民不潦生，木雕艺术从此衰落，艺人名家也只能沦为匠人糊口度日。新中国成立后在党和国家的关怀下，民间工艺得到了保护及挖掘，木雕也重新涣发出生命，涌现出一批国家级大师。他们的作品，工艺精湛，秉承传统，立意深远，讴歌时代，体现了大师们立足传统，锐意创新，直抒重获新生的胸怀和报效国家，知遇之恩的深情。\n国家改革开放，经济腾飞，国富民强，党和国家对民间工艺的大力扶持，唤起了民众对传统工艺美术的热爱与追求。逢此盛世，民间工艺美术有了新的飞跃，木雕艺术也不例外。面对实际情况，在全国工艺品展出中，优秀作品的作者年龄偏大，年轻作者寥寥无几。",[190,45,7,191,192],"木雕","木器","盒具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66f84dfce406bacc973d48668818ffcd.jpg",[],{"id":196,"slug":197,"title":198,"dynasty":18,"author":19,"museum":20,"description":199,"tags":200,"thumbUrl":202,"material":30,"size":31,"collection":32,"collections":203,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},268869,"ou-he-se-duan-ping-jin-xiu-die-wen-da-wei-jin-yi-ming-268869","藕荷色缎平金绣蝶纹大尾巾","藕荷缎地为底，以平金绣蝶为核心纹样，蝶翼晕染粉彩，钉珠点缀其间，金银线盘出蝶身轮廓，华丽雅致又不失灵动。肩顶边缘饰以细碎亮片与绣纹呼应，下方垂挂桃红薄纱飘幅，配金色绳绦收尾，柔媚轻盈。\n\n绣工细腻写实，配色柔婉协调，将闺阁精致审美融于日常头饰，尽显旧时女红工艺的精巧雅致，藏着旧时女子温婉秀美的意趣。",[58,59,201,7,60,42],"平金绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fa8a4572880fd3892977ff33e738f76.jpg",[],{"id":205,"slug":206,"title":207,"dynasty":18,"author":19,"museum":20,"description":138,"tags":208,"thumbUrl":210,"material":30,"size":31,"collection":32,"collections":211,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},268868,"qing-se-duan-xiu-duo-hua-chuan-bo-li-zhu-die-wen-he-ye-jin-yi-ming-268868","青色缎绣朵花串玻璃珠蝶纹荷叶巾",[58,42,59,60,7,61,209],"串珠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F473e9d54bc8157506cc8267bd8aebe6d.jpg",[],{"id":213,"slug":214,"title":215,"dynasty":18,"author":19,"museum":20,"description":216,"tags":217,"thumbUrl":221,"material":30,"size":31,"collection":32,"collections":222,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},268833,"chuan-bo-li-zhu-long-die-wen-dai-lan-bai-rong-qiu-er-long-gu-yi-ming-268833","串玻璃珠龙蝶纹带蓝白绒球二龙箍","此盔帽以累丝为骨，点翠铺底，珍珠串起双龙与彩蝶轮廓，宝石与玻璃珠错落镶嵌，晕开细碎华光。二十枚蓝白绒球错落排布，素白绒面晕开幽蓝晕色，于端庄华贵里添了几分灵动跳脱。\n\n金属冷冽与绒球柔暖相映，点翠清透与珠玉莹润交织，匠人的巧思藏在每一处蜿蜒纹路里，带着旧时光的精致绮丽，尽显晚清花丝细作的精巧水准，将戏曲武生的英武气度，融在这方寸华饰之间。",[42,86,218,7,219,220],"龙","绒球","玻璃珠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f29f6463d91fe8a047fe0a740e6ab9c.jpg",[],{"id":224,"slug":225,"title":226,"dynasty":18,"author":19,"museum":20,"description":227,"tags":228,"thumbUrl":229,"material":30,"size":31,"collection":32,"collections":230,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},268228,"shi-qing-se-duan-pan-tao-shuang-die-wen-zao-xie-yi-ming-268228","石青色缎盘绦双蝶纹皂鞋","皂鞋民国初年盛行于平、津、鲁各地，鞋帮为两片，平底或布制，脸极浅，口作尖形，鞋帮窄浅，常制用青色制造，所以故名为皂鞋",[58,59,7,60,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25cb99a5fa7d8efb81f29465178fadf0.jpg",[],{"id":232,"slug":233,"title":234,"dynasty":18,"author":19,"museum":20,"description":235,"tags":236,"thumbUrl":239,"material":30,"size":31,"collection":32,"collections":240,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},268222,"huang-se-duan-da-zi-xiu-die-wen-zao-xue-yi-ming-268222","黄色缎打籽绣蝶纹皂靴","这款高筒皂靴造型挺拔威仪，明黄缎面鲜亮沉稳，与藏青靴头、靴边撞色搭配，冷暖映衬醒目雅致。靴头以打籽绣饰蝶纹，针脚圆实饱满，将绒线的厚重质感化身为蝶翼的轻盈柔婉，于规整制式中晕开几分娇俏生机，尽显细微处的精工巧思。厚实木胎包布鞋底耐磨防滑，兼顾实用与美观，将礼制要求与日常需求相融，静静沉淀着旧时光的烟火温度，藏着旧时服饰美学里的匠心独运。",[58,59,237,7,238],"打籽绣","皂靴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2fad2f0a0d85a4d8be2e0abe3d0a8f6.jpg",[],{"id":242,"slug":243,"title":244,"dynasty":18,"author":19,"museum":20,"description":245,"tags":246,"thumbUrl":249,"material":30,"size":31,"collection":32,"collections":250,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":66},267839,"lv-se-bai-die-wen-hua-chou-yi-ming-267839","绿色百蝶纹花绸","这抹深翠如盛夏幽潭，暗纹蝶影错落隐于绸面，似将百蝶振翅的灵动凝入沉静底色。经纬交织间，蝶形纹样婉转排布，仿佛群蝶正于碧色林薮中翩跹穿梭，不见喧嚣，只余雅致清宁。织物肌理质朴温润，带着旧时光沉淀下的细腻质感，将东方独有的含蓄浪漫织入寸寸绸面，静穆底色里藏着鲜活生机，尽显旧时织造工艺的精巧心思。",[59,7,247,248],"绿色","绸料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3e8c5df72de9f2d246df089e3ae4f03.jpg",[],{"id":252,"slug":253,"title":254,"dynasty":18,"author":19,"museum":20,"description":255,"tags":256,"thumbUrl":260,"material":30,"size":31,"collection":32,"collections":261,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},267531,"qian-lv-se-di-cao-die-wen-zhi-jin-jin-yi-ming-267531","浅绿色地草蝶纹织金锦","《说文》：“锦，襄邑织文。从帛，金声。”即用彩色经纬丝织出各种图案花纹的纺织品，泛指具有多种彩色花纹的丝织物。锦的生产工艺要求高，织造难度大，所以它是古代最贵重的织物。“锦，金也，作之用功重，其价如金。”古人把锦看成和黄金等价。这种织物有经起花和纬起花两种，也叫经锦和纬锦。经锦是用两组或两组以上的经线同一组纬线交织。经线多的二色或三色，一色一根作为一副，如果需要更多的颜色，也可以使用牵色条的方法。纬线有明纬和夹纬；用夹纬把每副中的表经和底经分隔开，用织物正面的经浮点显花。\n用染好颜色的彩色经纬线，经提花、织造工艺织出图案的织物。中国丝织提花技术起源久远。早在殷商时代中国已有丝织物。周代丝织物中出现织锦，花纹五色灿烂，技艺臻于成熟。汉代设有织室、锦署，专门织造织锦，供宫廷享用。自汉武帝后，中国织锦通过丝绸之路传入波斯（今伊朗）、大秦（古罗马帝国）等国。三国时四川蜀锦成为主流。唐代贞观年间窦师伦的对雉、斗羊、翔凤等蜀锦图案，称为绫阳公样。在织造工艺上由经锦改进为纬锦，并出现彩色经纬线由浅入深或由深入浅的退晕手法。北宋宫廷在汴京等地建立规模庞大的织造工场，生产各种绫锦。元代是中国历史上大量生产织金锦（一种加金的丝织物）的时代，宫廷设立织染局、织染提举司，机构庞大，集中了大批优秀工匠。\n明清两代织锦生产集中在江苏南京、苏州，除了官府的织锦局外，民间作坊也蓬勃兴起，形成江南织锦生产的繁荣时期。织锦大多采用传统提花工艺和木制花楼织机，有些织锦因品种不同而有所区别。如宋锦、土家族织锦采用通经断纬工艺，即分段调换彩色纬线，使色彩更加丰富。杭锦采用铁制提花机。织锦种类有南京云锦、四川蜀锦、苏州宋锦、杭州织锦以及少数民族的黎锦、壮锦、傣锦、瑶锦、侗锦、苗锦、土家锦、爱得利斯锦等。1960年以来，中国织锦在继承、发扬传统织锦的基础上，恢复了云锦的妆花锦和蜀锦的浣花锦、锦上添花锦、八答晕锦，并生产了窗帘、沙发套、枕套、被面、台毯、靠垫、床罩、提包、民族服装用料等新品种。\n锦已有3000年以上的历史，战国、西汉以前流行以二色或三色经轮流显花的经锦，包括局部饰以挂经的挂锦、具有立体效果的凸花锦和绒锦。1959年在新疆民丰尼雅遗址发现的东汉“万年如意锦”使用绛、白、绛紫、淡蓝、渥绿五色，通幅分成十二个色条，就是汉代典型的经锦。\n纬锦是用两组或两组以上的纬线同一组经线交织。经线有交织经和夹经；用织物正面的纬浮点显花。1969年在新疆阿斯塔那发现的唐代锦袜，在大红色地上起各种禽鸟花朵和行云的图案，就属于这一种锦。\n经锦和纬锦具有不同的织造效果。经锦的纬密比较低，只用一把梭子，生产效率比较高。纬锦织造比较费时，但可以使用两把以上的梭子，容易变换色彩，色彩丰富。这两种锦在中国出现的时间都比较早。但是六朝以前织造的，以经起花为主；隋唐以后织造的，似乎以纬起花为主。\n在苏联的巴泽雷克发现一批中国战国时期的丝绸，就有用红绿二色纬线织造的纬斜纹起花的纬锦。产生于宋代前后的宋锦以地经、地纬交织成经斜组织，按结经与纹纬交织成纬斜组织。\n金元之际流行加金的丝织物——织金锦，又称“纳石失”。明清时盛行以挖花缎的彩纬多达30—40种，锦面的经、纬方向都有逐花异色的效果，是中国织锦最高水平的代表。\n锦在历史上曾用多棕多蹑机和束棕花楼机织造，现代生产采用纹版提花机。\n国家非常重视非物质文化遗产的保护，南京云锦木机妆花手工织造技艺作为中国古老的织锦技艺最高水平的代表，于2006年列入首批国家级非物质文化遗产名录。2006年5月20日，土家族织锦技艺经国务院批准列入第一批国家级非物质文化遗产名录。2007年6月8日，湖南凤凰水云织锦坊获得国家文化部颁布的首届文化遗产日奖。2009年8月《地理标志产品云锦》国家标准在南京通过国家级专家评审，同年9月成功入选联合国《人类非物质文化遗产代表作名录》。",[257,59,258,7,259],"织锦","草纹","织金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff81d8bce07a76c1fe5ade34cf1af69b7.jpg",[],{"id":263,"slug":264,"title":265,"dynasty":18,"author":19,"museum":20,"description":266,"tags":267,"thumbUrl":269,"material":30,"size":31,"collection":32,"collections":270,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},267512,"chuan-bo-li-zhu-long-die-wen-dai-lv-bai-rong-qiu-er-long-gu-yi-ming-267512","串玻璃珠龙蝶纹带绿白绒球二龙箍","以金属为骨，编缀玻璃珠勾勒出龙蝶纹样，珍珠密密铺陈出细腻肌理，残存的点翠仍能窥见昔日碧色莹润。湖蓝晕染的白绒球错落点缀，柔润的绒感中和了金属珠饰的冷硬，刚柔相衬。\n作为戏曲武生的束发头箍，它是戏台之上的点睛之笔，绒球会随武生的腾挪动作轻颤，为英武扮相添上灵动生机。方寸之间凝聚着民间匠人的巧思，将装饰之美与戏曲威仪完美相融，静静诉说着旧戏台之上的声色风华。",[42,86,268,7,220,219],"龙纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbdecd83fb0d5b8621f34f3217b5a469.jpg",[],{"id":272,"slug":273,"title":274,"dynasty":18,"author":19,"museum":20,"description":275,"tags":276,"thumbUrl":279,"material":30,"size":31,"collection":32,"collections":280,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},267502,"bai-se-duan-chuan-bo-li-zhu-long-die-wen-dai-zi-lan-bai-rong-qiu-fu-zi-kui-yi-ming-267502","白色缎串玻璃珠龙蝶纹带紫蓝白绒球夫子盔","整体华贵富丽，以素缎为底，串联玻璃珠勾勒出灵动龙蝶纹样，重工走线精巧细腻。枚枚绒球撞色鲜明，浓艳鲜亮将盔身衬得雅致莹润。鎏金饰件錾刻细腻，嵌饰珠宝流光熠熠，将戏曲扮相的威严大气与装饰美学融为一体，尽显传统匠造的极致巧思与晚清戏曲头面的独特审美意趣，是清代戏装头面里极具代表性的精工之作。",[42,58,59,268,7,219,209,277,278],"金属雕刻","盔帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F573946a3224af89d2da84c1fe9d77ad5.jpg",[],{"id":282,"slug":283,"title":284,"dynasty":18,"author":19,"museum":20,"description":285,"tags":286,"thumbUrl":289,"material":30,"size":31,"collection":32,"collections":290,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},267501,"lan-se-duan-chuan-bo-li-zhu-long-die-hua-wen-dai-zi-bai-rong-qiu-fu-zi-kui-yi-ming-267501","蓝色缎串玻璃珠龙蝶花纹带紫白绒球夫子盔","宝蓝缎为底，衬得满身装饰鲜亮夺目。串起的玻璃珠错落铺陈，勾勒龙蝶灵趣纹样，细密纹路尽显造物者的精巧心力。晕染红白的绒球团团簇于冠顶，柔绒蓬松，与硬朗的錾花铜饰刚柔相映。两侧镂空铜饰蜿蜒如龙，垂绒点缀收尾，动静之间皆具神采。凝缩旧时光里的戏台风华，将戏曲行头的华丽张扬尽数体现，是传统戏曲妆造工艺的绝佳缩影。",[287,58,42,268,7,219,170,220,288],"夫子盔","戏曲头饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc2f8a0616ac4a7dd6fb14415463ac19.jpg",[],{"id":292,"slug":293,"title":294,"dynasty":18,"author":19,"museum":20,"description":295,"tags":296,"thumbUrl":299,"material":30,"size":31,"collection":32,"collections":300,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":301},264082,"hui-se-mu-dan-die-wen-zhi-jin-duan-yi-ming-264082","灰色牡丹蝶纹织金缎","柔蓝为底，金纹浮凸，缠枝牡丹雍容舒展，蛱蝶翩跹穿梭于枝蔓之间，构图繁而不紊。织金工艺将金线与色丝交叠，光线流转间，金纹漾出温润光泽，与雅静底色相映，尽显华贵雅致。\n\n它暗合传统吉祥意蕴，牡丹喻富贵，蛱蝶寄绵长美意，梭织之间沉淀旧时织造匠心，尽显清代织绣工艺的精巧绮丽，将富丽雅致融于方寸织物之中。",[59,259,297,7,46,298],"牡丹","织金缎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94af605d649fecb1c3355dcdb0605472.jpg",[],"2A56C6",{"id":303,"slug":304,"title":305,"dynasty":18,"author":19,"museum":20,"description":255,"tags":306,"thumbUrl":309,"material":30,"size":31,"collection":32,"collections":310,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":66},264057,"cai-se-da-yang-hua-wen-jin-bao-di-jin-yi-ming-264057","彩色大洋花纹金宝地锦",[257,59,307,61,7,46,308],"设色","装饰纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F845ac087ad982e09e175b01edddab106.jpg",[],{"id":312,"slug":313,"title":314,"dynasty":18,"author":19,"museum":20,"description":315,"tags":316,"thumbUrl":319,"material":30,"size":31,"collection":32,"collections":320,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":66},263811,"hong-se-die-bao-zhang-qian-wen-hua-chou-yi-ming-263811","红色蝶报长钱纹花绸","明艳热烈的正红色调，自带吉庆融融的氛围感。暗纹提花织就蝶纹与长钱纹，蝶谐音“迭”，暗喻迭报佳音，长钱纹寄寓招财纳福，二者错落排布，让织物于平整光泽间藏着灵动细节，纹样若隐若现，雅致又不失华贵。经纬之间将中式祥瑞巧思尽数收纳，把古人对顺遂富足的祈愿，织入丝丝缕缕的面料之中，尽显传统丝织工艺的精妙功力，藏着旧时含蓄浪漫的美学意趣。",[59,317,7,318],"丝绸","钱纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e4891b42beaee312185022457ec49f8.jpg",[],{"id":322,"slug":323,"title":324,"dynasty":18,"author":19,"museum":20,"description":325,"tags":326,"thumbUrl":329,"material":30,"size":31,"collection":32,"collections":330,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},263771,"ou-he-se-bai-die-wen-chun-chou-yi-ming-263771","藕荷色百蝶纹春绸","柔润藕紫晕满绸身，细密暗纹百蝶隐于纱线交织的肌理之间，轻转绸面便见蛱蝶似振翅欲飞，将灵动生机藏于沉静暮色般的底色中。\n手工织造的春绸挺括又带着软糯触感，纱线捻度匀净规整，历经岁月色泽依旧匀净饱满，不见褪败斑驳。暗纹蝶影藏而不露，暗合中式含蓄意趣，将东方审美的克制雅致织入寸寸丝缕，触摸间可感往昔手工织物独有的温润呼吸，是旧时织造工艺与雅致审美相融的缩影。",[59,7,327,328],"藕荷色","绸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdcd0b7c524b52c4267036cee5a03aee.jpg",[],{"id":332,"slug":333,"title":334,"dynasty":18,"author":19,"museum":20,"description":335,"tags":336,"thumbUrl":338,"material":30,"size":31,"collection":32,"collections":339,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},263759,"mei-gui-hong-se-mei-die-qiu-wen-xian-chou-yi-ming-263759","玫瑰红色梅蝶球纹线绸","这款面料以柔婉的玫瑰红铺陈底色，宛若将春日霞色裁入丝缕。梅枝萦回、蝶翼翩跹，团团簇成暗纹花球，将报春梅韵与恋花蝶影相融，暗藏岁长春和、团圆美满的祈愿。\n\n织纹细腻莹润，柔光顺着纱线晕开，暗纹隐现间把文人雅致揉进日常织物中，触之滑糯亲肤。方寸面料间，藏着传统织造的精巧心思，把东方审美里的温柔意趣织入寸缕，静述旧时的雅致日常。",[59,317,171,7,337],"玫瑰红","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F126eb31c238b453284b61e3a68c98185.jpg",[],{"id":341,"slug":342,"title":343,"dynasty":18,"author":19,"museum":20,"description":344,"tags":345,"thumbUrl":348,"material":30,"size":31,"collection":32,"collections":349,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":66},263707,"fen-se-bai-die-wen-jiang-chou-yi-ming-263707","粉色百蝶纹江绸","柔粉底色温婉雅致，暗织的百蝶纹样错落排布，蝶翼舒展灵动，似穿花蹁跹于纱色之间。暗提花工艺将蝶影藏于江绸肌理，柔光晕染下花纹若隐若现，似有蝶影轻颤，尽显含蓄朦胧的东方意趣。莹润细腻的面料带着织造时留存的匠心，把灵秀雅致融于寸缕经纬之间，静赏时能窥见旧时造物的精巧心思，将古典雅致的氛围感藏于织物之中，尽显含蓄隽永的东方美学韵味。",[59,7,346,347],"粉色","江绸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82433ad1adbf5e4dc810d8aa317a4dc3.jpg",[],{"id":351,"slug":352,"title":353,"dynasty":354,"author":19,"museum":20,"description":355,"tags":356,"thumbUrl":361,"material":30,"size":31,"collection":362,"collections":363,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},261462,"ding-yao-qing-you-hei-ban-die-wen-he-yi-ming-261462","定窑青釉黑斑蝶纹盒","唐","定窑是中国传统制瓷工艺中的珍品，宋代六大窑系之一，它是继唐代的邢窑白瓷之后兴起的一大瓷窑体系。主要产地在今河北省保定市曲阳县（原属今定州市）的涧磁村、野北村及东燕川村、西燕川村一带，因该地区唐宋时期属定州管辖，故名定窑。\n定窑原为民窑，北宋中后期开始烧造宫廷用瓷。创烧于唐，极盛于北宋及金，终于元，以产白瓷著称，兼烧黑釉、酱釉和绿釉瓷，文献分别称其为黑定、紫定和绿定。\n定窑从邢窑而来，由于历史的变迁，定窑随着地域变化，新瓷土料的运用和制瓷工艺的进步。卞向和认为：定窑最大的贡献就是在中国陶瓷发展的历史上闪烁过光芒，在中国陶瓷史和世界的陶瓷发展史上留下辉煌的一页。\n定窑，是中国北方白瓷的中心，始于唐，为邢窑的后继者，在五代时期就已经发达。以往文献多记载窑址在河北正定，1938年在河北省曲阳县涧瓷村发现古窑址。近年又多次发掘调查，发现了最下层堆积着晚唐的破片；中层的是五代时就已大量生产；最上层为印花、画花的薄瓷片，是属于北宋中期以后，在政和、宣和年间。这些薄瓷片，胎质坚致，釉泽莹润，花纹优美，确是很精进的品种；且有些是官窑性质的，如”尚食局、禁苑、奉华、官”等胎上刻字破片的发现，便可证明。另在西燕山遗址发现粗瓷片的堆集，以及各地普遍发现的定窑瓷器及破片，又能证明定窑在北宋早期以后，也曾大量烧造民间使用的瓷器。定窑以烧造白瓷为主，也烧颜色釉，如红定、紫定和黑定等。根据《君友会-新民窑》记载，定窑，从北宋起，地位增高，各地仿制者颇多。在定窑本身概念中，就孳乳出各种名称，单就白定一种，就有土定、粉定之分。土定，有瓦胎和陶胎两种。瓦胎为淡赤色的土质，陶胎为白土而略黄，质皆松，体较厚；袖色白色中闪黄或闪赤，容易剥落，或有大开片，是原始的及民用的定器。粉定，是进步的及官用的定器，有陶胎和瓷胎，胎质致密而体薄，釉色纯白如牛乳者，或带淡赤色，釉中往往有刷纹，釉面凝聚，如有泪痕。",[24,357,358,7,359,360],"日用具","盒","青釉","黑斑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01d142bef20bede80a68b6afc0497b78.jpg","瓷器精选",[362],{"id":365,"slug":366,"title":367,"dynasty":18,"author":19,"museum":20,"description":368,"tags":369,"thumbUrl":371,"material":30,"size":31,"collection":32,"collections":372,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":66},260878,"jia-qing-kuan-fen-cai-gua-die-wen-wan-yi-ming-260878","嘉庆款粉彩瓜蝶纹碗","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。",[24,116,45,7,370,357],"碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11e86d00c999883c71eb4957d90a4cd8.jpg",[],{"id":374,"slug":375,"title":376,"dynasty":18,"author":19,"museum":20,"description":377,"tags":378,"thumbUrl":382,"material":30,"size":31,"collection":32,"collections":383,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":66},258000,"kang-xi-kuan-bai-you-an-hua-die-wen-pan-yi-ming-258000","康熙款白釉暗花蝶纹盘","将不含金属氧化物呈色元素的釉料施于胎骨洁白的器物上，入窑高温烧制而成的透明釉， 釉色因白润瓷胎的映衬而显出白色，现在习惯上将这种透明釉也称为白釉。\n瓷器釉料中的含铁量降低到0.75%以下，施于洁白的瓷胎上，入窑经高温烧制，就会出现白釉。严格地说，白釉是一种无色透明釉，而不是白色的釉 。白釉是瓷器传统釉色之一,真正的白釉应该是乳白色的乳浊釉,这种釉是近代才发明的。我国古代仅有元代枢府釉是失透的,其他白釉并不是白色的釉,\n白釉烧制工艺比青釉复杂，出现的时间也较青釉晚，一般瓷土和釉料，都或多或少含有一些氧化铁，器物烧出后必然呈现出深浅不同的青色来。如果釉料中的铁元素含量小于0.75%，烧出来的就会是白釉。\n白釉最早出现在汉代，比青釉瓷器晚了400多年，白釉瓷器开始是青白色的，因为瓷器中铁的含量高于1%就是青色的，少于1%就是白瓷了，所以中国白瓷经历青瓷、青白瓷、卵白釉、甜白釉、象牙白、白釉的发展过程。中国历史上白瓷产地有德化白瓷、定窑白瓷以及刑窑白瓷等。",[23,24,379,380,7,381],"白釉","暗花","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd84b48d02ac40f0941c0f31ea0aa6d0b.jpg",[],{"id":385,"slug":386,"title":387,"dynasty":388,"author":19,"museum":20,"description":389,"tags":390,"thumbUrl":392,"material":30,"size":31,"collection":32,"collections":393,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":66},251981,"bai-yu-fu-diao-gua-die-wen-dai-kou-yi-ming-251981","白玉浮雕瓜蝶纹带扣","明","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。\n以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n玉器经历7000多年的发展，从简单的装饰品发展到古代宗教祭拜、礼仪用品，再到象征高尚道德品质的装饰品，最后上升为丰富的艺术鉴赏作品，深入反映了不同历史时期的社会发展演变过程。",[391,97,45,7,42],"玉石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42a3f861c34626d7d61d877a86062bd2.jpg",[],{"id":395,"slug":396,"title":397,"dynasty":18,"author":19,"museum":20,"description":398,"tags":399,"thumbUrl":403,"material":30,"size":31,"collection":32,"collections":404,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},248976,"yong-zheng-kuan-hua-fa-lang-hua-die-wen-dai-tuo-fang-hua-cha-yi-ming-248976","雍正款画珐琅花蝶纹带托方花插","雍正一朝虽然只有13年，但他的制瓷业成就却达到了清代官窑的历史高峰，其品种之多，制作工艺之精良，都是其他朝代无法比拟的。",[400,401,307,108,28,402,7],"琺瑯器","画珐琅","花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faeab938b0948d53659dbf6ca58b0badc.jpg",[],1777535713063]