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粉彩藤萝花鸟花盆","清","佚名","藏地不详","官窑，是南宋宋高宗时期一些窑口专为宫廷烧制的瓷器，供御捡退，在当时俗称"官窑“。官窑，毛公洞第一（今 江苏扬州一带）。南宋官窑瓷器沿袭北宋风格，规整对称，宫廷气势，高雅大气，一丝不苟。因为胎土含铁量极高，手感沉重，胎土呈深黑褐色，后称”紫口铁足“。釉面沉重幽亮，釉厚如堆脂，温润如玉。釉面多层反复细刮，釉光下沉而不刺眼，纹理布局规则有致，造型庄重大方。另外”肉腐留骨“（露胎处像死人骨头，俗称”骨董“）也是那时所造。我们今天所称官窑泛指历朝官府烧造瓷器，其实，历史上仅指南宋时期烧造的瓷器，后世再无此称呼。\n官窑起自唐，有两种涵义，一是指贡器，一是指官厂。自唐代至元代（公元八世纪~十四世纪），官窑多有贡器，少有官厂，采取的形式是“官监民烧”，烧出的瓷器，“千中选十，百中选一”，进贡给统治阶级。这种瓷器就叫做贡瓷和官窑。那时，唐代在产瓷区设有司务，如唐景隆初（公元707~709年）褚绥为新平(景德镇)司务，奉诏监烧献陵祭器。宋代设监，如太平兴国年间(公元976~983年)，派殿前承旨赵仁济监理越州窑务。到了元代则设局，以提领监陶，后改为本设总管。他们烧出的“景德年制”，“枢府’等款式的瓷器，分别称为“景德窑’，“枢府窑”等。\n官窑之谓，在中国古代陶瓷史上有不同的内涵。就广义而言，是有别民窑而专为官办的瓷窑，其产品为宫廷所垄断。在宋代瓷器中，官窑即是一种专称，指北宋和南宋时在京城汴京（汴梁，今开封）和临安（今杭州）由宫廷设窑烧造的青瓷，故又有“旧官”和“新官”之分，前者为北宋官窑，后者为南宋官窑。\n官窑是在宋大观及政和年间于汴梁所造，青瓷釉色晶莹惕透，有开裂或呈冰片状，粉青紫口铁定是其特色。\n宋室南移在凤凰山下设立官窑，又称修内司官窑或内窑，郊坛下设立的郊坛下官窑，器形较多，有直径大过一尺的大型产品。\n从1128年元世祖忽必烈设置“浮梁磁局”，到二十世纪清朝覆亡，景德镇是元、明、清三代皇家瓷厂所在地，中国的官窑制度在这里延续了632年，江西景德镇也由此拥有烧造时间最长、规模最大、工艺最精巧的官办瓷厂。景德镇地下也因此存有大量因禁绝流入民间而被就地掩埋的古碎瓷，成为中国品类最完整、年代最可靠、信息最丰富的官窑遗址和“地下瓷都”。北宋官窑也称汴京官窑。相传北宋大观、政和年间，在汴京附近设立窑场，专烧宫廷用瓷器，即北宋官窑。南宋顾文荐《负暄杂录》记载："宋宣政间（宣和、政和即公元1111－1125年）京师自置窑烧造，名曰官窑"，南宋叶在其《垣斋笔衡》中对北京官窑亦有记载："政和京师自置窑烧造，名曰官窑"。当时的京师即汴京（今开封），因宋代汴京遗址已沉入地底，到今为止，尚未发掘出北宋官窑遗址，对于北宋官窑遗址缺乏考古发掘地资料和充足的文献资料的支撑，因此，时到今，关于北宋官窑遗址在何处，仍有不同说法，一般有三种说法：一说北宋官窑即为汝窑；二说否认北宋官窑的存在；三说为北宋官窑即为汴京官窑，它与南宋时的修内司官窑先后存在。\n南宋顾文荐《负睻杂录》记载：“宋宣政间（宣和、政和即公元1111~1125年）京师自置窑烧造，名曰‘官窑’”，南宋叶寘在其《垣斋笔衡》中对北京官窑亦有记载：“政和京师自置窑烧造，名曰‘官窑’”。明代《事物绀珠》、《留留青》因袭此说。当时的京师即汴京(今河南开封)，因宋代汴京遗址已沉入地下，到今为止，尚未发掘出北宋官窑遗址。对于北宋官窑遗址缺乏考古发掘地资料和充足的文献资料的支撑，因此，今关于北宋官窑遗址在何处，仍有不同说法，一般有三种说法：一说北宋官窑即为汝窑；二说否认北宋官窑的存在；三说为北宋官窑即为汴京官窑，它与南宋时的修内司官窑先后存在。支持第三种说法的人较多。\n北宋官窑传世品很少，形质与工艺与汝窑有共同处。器多仿古，主要有碗、瓶、洗等。胎体显厚，胎骨深灰、紫色或黑色，釉色有淡青、粉青、月白等，釉质莹润温雅，尤以釉面开大裂纹片著称，不同于南宋官窑和汝窑及龙泉窑瓷器。底有文钉烧痕，有“紫口铁足”的特征。",[23,24,7,25,26,27,28],"陶瓷","官窑","设色","花鸟","藤萝","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04a0e6d27520d27d81d1d456aca2daf6.jpg","未知","Xcm*Xcm","瓷器精选",[32],59,"795548",{"id":37,"slug":38,"title":39,"dynasty":18,"author":19,"museum":20,"description":40,"tags":41,"thumbUrl":45,"material":30,"size":31,"collection":46,"collections":47,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":49},259550,"xuan-tong-kuan-fen-cai-hu-die-wen-pie-kou-ping-yi-ming-259550","宣统款粉彩蝴蝶纹撇口瓶","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[23,7,42,43,44],"蝴蝶纹","撇口瓶","蝴蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bae61eca4b1d73afec66e528212c31e.jpg","",[],42,"37474F",{"id":51,"slug":52,"title":53,"dynasty":18,"author":19,"museum":20,"description":54,"tags":55,"thumbUrl":61,"material":30,"size":31,"collection":46,"collections":62,"showCount":63,"zanCount":11,"manualWeight":11,"mainColor":64},273090,"fen-cai-da-ji-hu-lu-gua-ping-yi-ming-273090","粉彩大吉葫芦挂屏","整屏以木为底，嵌瓷作葫芦宝瓶造型。矾红为地，满饰细密锦纹，托出方正古朴的“大吉”二字，直白传递祥瑞祈愿。瓶身环饰粉彩蝙蝠纹，蓝白晕染柔和灵动，暗合洪福绵延之意。松石绿釉绶带轻垂环绕，柔化器型，为整饰添就雅致灵动。瓶盖描金堆塑，华贵醒目，下半葫芦置仿木座上，虚实相生。\n\n它融木雕与镶瓷工艺为一体，将吉语、瑞纹、祥形巧妙糅合，以工致精巧的工艺承载传统祈福意涵，尽显清代装饰工艺中吉祥雅致的审美意趣。",[56,7,23,57,58,59,60],"挂屏","葫芦","蝙蝠","吉祥","木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39658bb74cb328c334956eeb46c30588.jpg",[],25,"BDBDBD",{"id":66,"slug":67,"title":68,"dynasty":18,"author":19,"museum":20,"description":40,"tags":69,"thumbUrl":76,"material":30,"size":31,"collection":46,"collections":77,"showCount":78,"zanCount":11,"manualWeight":11,"mainColor":64},258636,"qian-long-kuan-lv-di-fen-cai-kai-guang-miao-jin-shi-nv-tu-hua-kou-ping-yi-ming-258636","乾隆款绿地粉彩开光描金仕女图花口瓶",[23,7,70,71,25,72,73,74,75,28],"描金","开光","人物","美人","绿地","清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa244a319bf61c4d964499b492b80d0fb.jpg",[],24,{"id":80,"slug":81,"title":82,"dynasty":18,"author":19,"museum":20,"description":40,"tags":83,"thumbUrl":88,"material":30,"size":31,"collection":46,"collections":89,"showCount":78,"zanCount":11,"manualWeight":11,"mainColor":35},256880,"fen-cai-tao-hua-wen-zhi-jing-ping-yi-ming-256880","粉彩桃花纹直颈瓶",[23,75,7,25,26,84,44,85,86,87],"桃花","瓶","直颈","花卉纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0097d204b92d0e6672a8a26e5287203.jpg",[],{"id":91,"slug":92,"title":93,"dynasty":18,"author":19,"museum":20,"description":94,"tags":95,"thumbUrl":99,"material":30,"size":31,"collection":46,"collections":100,"showCount":101,"zanCount":102,"manualWeight":11,"mainColor":35},259393,"tong-zhi-kuan-huang-di-fen-cai-hu-die-wen-xi-zi-wan-yi-ming-259393","同治款黄地粉彩蝴蝶纹“喜”字碗","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。",[23,7,44,96,97,98],"囍字","日用具","饪食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81436a9585291a6f4328d9f4d3f23ae1.jpg",[],23,1,{"id":104,"slug":105,"title":106,"dynasty":18,"author":19,"museum":20,"description":40,"tags":107,"thumbUrl":112,"material":30,"size":31,"collection":46,"collections":113,"showCount":114,"zanCount":11,"manualWeight":11,"mainColor":49},260505,"qian-long-kuan-fen-cai-shi-nv-tu-deng-long-pin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[2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[75,23,7,25,131,132,133,26],"工笔","雉鸡","牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cc8b379b47a6cbb0affdb5e7da049bc.jpg",[],16,{"id":138,"slug":139,"title":140,"dynasty":18,"author":19,"museum":20,"description":141,"tags":142,"thumbUrl":149,"material":30,"size":31,"collection":46,"collections":150,"showCount":151,"zanCount":11,"manualWeight":11,"mainColor":35},262200,"qian-long-kuan-bai-di-fan-hong-cai-shi-ju-kai-guang-fen-cai-he-hua-tu-zun-yi-ming-262200","乾隆款白地矾红彩诗句开光粉彩荷花图尊","尊，今作樽，是商周时代中国的一种大中型盛酒器。青铜器，尊的形制圈足，圆腹或方腹，长颈，敞口，口径较大。尊盛行于商代至西周时期，春秋后期已经少见。较著名的有四羊方尊。商周至战国时期，还有另外一类形制特殊的盛酒器—彝。彝通常呈鸟兽状，有羊、虎、象、豕、牛、马、鸟、雁、凤等形象。《周礼·春官·司尊彝》：“春祠夏禴，裸用鸡彝鸟彝......追享朝享，裸用虎彝蜼彝。”彝纹饰华丽，在背部或头部有尊盖。",[23,143,144,7,145,146,147,148,71],"尊","矾红彩","荷花","荷叶","兽耳","彩绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd06f18cfcc2704ea19653df5e1d94bff.jpg",[],15,{"id":153,"slug":154,"title":155,"dynasty":18,"author":19,"museum":20,"description":119,"tags":156,"thumbUrl":158,"material":30,"size":31,"collection":46,"collections":159,"showCount":151,"zanCount":102,"manualWeight":11,"mainColor":35},258296,"yong-zheng-kuan-fen-cai-pi-qiu-hua-wen-wan-yi-ming-258296","雍正款粉彩皮球花纹碗",[75,23,7,25,157,28],"皮球花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6460f118099121c2134f281ab33e98a4.jpg",[],{"id":161,"slug":162,"title":163,"dynasty":18,"author":19,"museum":20,"description":40,"tags":164,"thumbUrl":167,"material":30,"size":31,"collection":46,"collections":168,"showCount":151,"zanCount":11,"manualWeight":11,"mainColor":64},256672,"qian-long-kuan-fen-cai-jiu-tao-tu-tian-qiu-ping-yi-ming-256672","乾隆款粉彩九桃图天球瓶",[75,23,7,25,165,84,166,28,26],"桃","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5de172f5ae5d7faef6211fc8a760e2ce.jpg",[],{"id":170,"slug":171,"title":172,"dynasty":18,"author":19,"museum":20,"description":21,"tags":173,"thumbUrl":175,"material":30,"size":31,"collection":32,"collections":176,"showCount":177,"zanCount":11,"manualWeight":11,"mainColor":35},229637,"guan-yao-fen-cai-si-ji-hua-hui-chang-fang-hua-pen-yi-ming-229637","官窑 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44,"dynasty":18,"author":19,"museum":20,"description":586,"tags":2545,"thumbUrl":2547,"material":30,"size":31,"collection":46,"collections":2548,"showCount":102,"zanCount":11,"manualWeight":11,"mainColor":64},256836,"fang-mu-wen-you-di-fen-cai-song-he-wen-bi-tong-yi-ming-256836","仿木纹釉地粉彩松鹤纹笔筒",[23,2546,7,1048,244,237],"仿木纹釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27fcdffb8070f7d7d18f99992554b731.jpg",[],{"id":2550,"slug":2551,"title":2552,"dynasty":18,"author":19,"museum":20,"description":40,"tags":2553,"thumbUrl":2554,"material":30,"size":31,"collection":46,"collections":2555,"showCount":102,"zanCount":11,"manualWeight":11,"mainColor":64},256705,"fen-cai-zhe-zhi-hua-hui-wen-deng-long-ping-yi-ming-256705","粉彩折枝花卉纹灯笼瓶",[75,23,7,482,25,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F970bfe9cd970157f86b1bad76d0b8db1.jpg",[],{"id":2557,"slug":2558,"title":2559,"dynasty":18,"author":19,"museum":20,"description":423,"tags":2560,"thumbUrl":2568,"material":30,"size":31,"collection":46,"collections":2569,"showCount":102,"zanCount":11,"manualWeight":11,"mainColor":64},256678,"fen-cai-xiang-sheng-ci-guo-pin-pan-yi-ming-256678","粉彩像生瓷果品盘",[75,7,2561,25,23,1080,2562,2563,2564,2565,2566,2567],"像生瓷","核桃","花生","荔枝","红枣","果品","瓷盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f11d94fad93be689b525c130134f409.jpg",[],{"id":2571,"slug":2572,"title":2573,"dynasty":18,"author":19,"museum":20,"description":40,"tags":2574,"thumbUrl":2575,"material":30,"size":31,"collection":46,"collections":2576,"showCount":102,"zanCount":11,"manualWeight":11,"mainColor":64},256661,"fen-cai-ying-xi-ping-yi-ming-256661","粉彩婴戏瓶",[23,7,25,131,72,263,205,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3952953c6c0fafcd09160be608604c5c.jpg",[],{"id":2578,"slug":2579,"title":2580,"dynasty":18,"author":19,"museum":20,"description":40,"tags":2581,"thumbUrl":2583,"material":30,"size":31,"collection":46,"collections":2584,"showCount":102,"zanCount":11,"manualWeight":11,"mainColor":49},256660,"fen-cai-jia-fa-lang-cai-kai-guang-shan-shui-wen-zhuan-jing-ping-yi-ming-256660","粉彩加珐琅彩开光山水纹转颈瓶",[18,23,2582,7,71,25,707],"珐琅彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F162a858af5614c98c26f7e4eb069e0e4.jpg",[],{"id":2586,"slug":2587,"title":2588,"dynasty":18,"author":19,"museum":20,"description":2589,"tags":2590,"thumbUrl":2593,"material":30,"size":31,"collection":46,"collections":2594,"showCount":102,"zanCount":11,"manualWeight":11,"mainColor":64},256637,"qian-long-kuan-lv-di-fen-cai-chan-zhi-lian-wen-ru-yi-er-ping-yi-ming-256637","乾隆款绿地粉彩缠枝莲纹如意耳瓶","如意为木胎，其上采用八成金质累丝工艺。如意头的正面为累丝古钱纹，中心嵌绿松石“乙酉”二字，背面为镂空的古钱纹并露出木胎。柄的正面亦为累丝古钱纹，镶嵌绿松石“万年如意”四字，背面为累丝六角锦纹。如意的侧边以卷草纹为饰。",[23,7,403,2591,2592,25,28,75],"如意耳","绿地釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5092db7042a7afc6b1d8e79555fa8b93.jpg",[],{"id":2596,"slug":2597,"title":2598,"dynasty":18,"author":19,"museum":20,"description":40,"tags":2599,"thumbUrl":2600,"material":30,"size":31,"collection":46,"collections":2601,"showCount":102,"zanCount":11,"manualWeight":11,"mainColor":64},256634,"fen-cai-hua-hui-tu-san-ying-xi-ping-yi-ming-256634","粉彩花卉凸三婴戏瓶",[18,7,681,25,110,263,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F239c6566b703630909a19a76059c4fc1.jpg",[],{"id":2603,"slug":2604,"title":2605,"dynasty":18,"author":19,"museum":20,"description":2606,"tags":2607,"thumbUrl":2609,"material":30,"size":31,"collection":46,"collections":2610,"showCount":102,"zanCount":11,"manualWeight":11,"mainColor":35},256115,"jin-you-fen-cai-ci-wu-liang-shou-fu-zuo-xiang-yi-ming-256115","金釉粉彩瓷无量寿佛坐像","由于金釉特殊的颜色和地位，金釉器物的数量很少，雍正时期有杯、盘。乾隆朝的金釉器物以金釉法轮、金釉加彩佛像宗教用具为多。此杯精巧玲珑，胎薄质细，蓝釉深沉素雅，金彩雍容华贵，给人以富丽堂皇之感。器历经数百年，金彩鲜艳如初，十分难得。\n金彩装饰瓷器始于唐代，元代景德镇窑瓷器上运用描金手法，而通体施金釉的瓷器，直至清代康熙晚期出现。金釉制作工艺从严格意义上讲应为“彩”，是在金块研磨、过筛后，加蒜汁搅拌后涂抹在瓷器上（慈禧以后，西洋料进来的更加频繁，用乳胶取代了蒜汁），低温烧烤后，再用玛瑙研磨，使金釉表面光亮。由于烧成温度低，金釉的色彩极易脱落，保存颇为不易。金釉是唯有皇帝才能享用的帝王之色。釉彩成色十足，釉色如黄金般耀眼夺目，原件为大清康熙年制。",[18,23,2608,7,1183,72,853],"金釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d1aa42b972ec852d03593b8ae1c1b6b.jpg",[],{"id":2612,"slug":2613,"title":2614,"dynasty":18,"author":19,"museum":20,"description":423,"tags":2615,"thumbUrl":2616,"material":30,"size":31,"collection":46,"collections":2617,"showCount":102,"zanCount":11,"manualWeight":11,"mainColor":35},255969,"fen-cai-ci-lao-ren-xiang-yi-ming-255969","粉彩瓷老人像",[75,23,7,25,72],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57480d8e530b5353779fb902d52a292a.jpg",[],{"id":2619,"slug":2620,"title":2621,"dynasty":547,"author":548,"museum":20,"description":549,"tags":2622,"thumbUrl":2624,"material":30,"size":31,"collection":46,"collections":2625,"showCount":102,"zanCount":11,"manualWeight":11,"mainColor":35},232250,"combing-the-hair-circa-1892-1895-private-collection-pastel-de-jia-232250","Combing the Hair - circa 1892-1895 - Private collection - pastel",[7,72,73,2623],"梳头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad47af7d32f6d3ac74ff4b1678fbf29b.jpg",[],{"id":2627,"slug":2628,"title":2629,"dynasty":547,"author":548,"museum":20,"description":549,"tags":2630,"thumbUrl":2640,"material":30,"size":31,"collection":46,"collections":2641,"showCount":102,"zanCount":11,"manualWeight":11,"mainColor":389},232246,"criminal-physiognomies-1881-private-collection-pastel-de-jia-232246","Criminal Physiognomies - 1881- Private collection - pastel",[7,72,2631,2632,1742,1031,2633,2634,2635,1701,2636,2637,2638,2639],"肖像","侧影","男性人物","侧面描绘","粉画","坐姿人物","暖背景","人物侧像","红色前景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1d1dcf7e772e3cdd1bce78a80eb379d.jpg",[],{"id":2643,"slug":2644,"title":2645,"dynasty":547,"author":548,"museum":20,"description":549,"tags":2646,"thumbUrl":2649,"material":30,"size":31,"collection":46,"collections":2650,"showCount":102,"zanCount":11,"manualWeight":11,"mainColor":64},232242,"dancer-adjusting-her-sandel-circa-1890-private-collection-pastel-de-jia-232242","Dancer Adjusting Her Sandel - circa 1890 - Private collection - 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pastel",[7,1725,2665,2656,1692,72,25],"花束","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba264c5895384b8e7fa55df417e19dd0.jpg",[],{"id":2669,"slug":2670,"title":2671,"dynasty":547,"author":548,"museum":20,"description":549,"tags":2672,"thumbUrl":2674,"material":30,"size":31,"collection":46,"collections":2675,"showCount":102,"zanCount":11,"manualWeight":11,"mainColor":35},232237,"dancer-putting-on-her-slipper-1896-private-collection-pastel-de-jia-232237","Dancer Putting on Her Slipper - 1896 - Private collection - pastel",[7,551,72,552,553,2657,2673,25],"肢体动态","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49c405daf0f155f7f6a28c49105fd5ff.jpg",[],{"id":2677,"slug":2678,"title":2679,"dynasty":547,"author":548,"museum":20,"description":549,"tags":2680,"thumbUrl":2685,"material":30,"size":31,"collection":46,"collections":2686,"showCount":102,"zanCount":11,"manualWeight":11,"mainColor":35},232236,"dancer-resting-circa-1879-1880-private-collection-pastel-de-jia-232236","Dancer Resting - circa 1879-1880 - Private collection - pastel",[1691,7,72,1725,2681,2656,2682,2683,2684],"休息","炉子","水壶","室内","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Face0658c4f67608c6fe8dc6a66a8530e.jpg",[],{"id":2688,"slug":2689,"title":2690,"dynasty":547,"author":548,"museum":20,"description":549,"tags":2691,"thumbUrl":2695,"material":30,"size":31,"collection":46,"collections":2696,"showCount":102,"zanCount":11,"manualWeight":11,"mainColor":64},232231,"dancer-at-the-barre-circa-shelburne-museum-united-states-pastel-de-jia-232231","Dancer at the Barre - circa - Shelburne Museum (United States) - pastel",[7,551,72,552,2692,2656,2647,1739,2693,2694],"舞蹈把杆","光影捕捉","细腻笔触","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b4b5408675308105b9b7df80b2618af.jpg",[],{"id":2698,"slug":2699,"title":2700,"dynasty":547,"author":548,"museum":20,"description":549,"tags":2701,"thumbUrl":2704,"material":30,"size":31,"collection":46,"collections":2705,"showCount":102,"zanCount":11,"manualWeight":11,"mainColor":35},232230,"dancer-at-the-barre-circa-1884-1888-private-collection-pastel-de-jia-232230","Dancer at the Barre - circa 1884-1888 - Private collection - 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治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[75,23,7,25,131,26,254,255,133,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe61091e9197c50a30fa9d25decfb64e.jpg",[],{"id":4401,"slug":4402,"title":4403,"dynasty":18,"author":19,"museum":20,"description":372,"tags":4404,"thumbUrl":4406,"material":30,"size":31,"collection":46,"collections":4407,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},258890,"ou-he-di-fen-cai-hua-niao-wen-yuan-he-yi-ming-258890","藕荷地粉彩花鸟纹圆盒",[23,7,25,131,26,4405,28],"藕荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F712711128ad253caa67bb9c39ec98c39.jpg",[],{"id":4409,"slug":4410,"title":4411,"dynasty":18,"author":19,"museum":20,"description":4412,"tags":4413,"thumbUrl":4414,"material":30,"size":31,"collection":46,"collections":4415,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},258888,"ou-he-di-fen-cai-hua-niao-wen-si-zu-pen-lian-yi-ming-258888","藕荷地粉彩花鸟纹四足盆、奁","藕荷色地釉匀净柔润，晕染出雅致底色，衬得粉彩花鸟愈发生动鲜活。蓝羽灵禽静立桃枝，翎毛纤毫毕现，晕染出自然细腻的肌理层次，悠然情态宛然眼前。粉桃柔苞缀满虬枝，桃果饱满莹润，枝叶舒展有迎风之姿，设色柔丽雅致，工笔精细入微，将春日花鸟的清趣融于瓷面。套奁纹饰一体呼应，四足添增稳重之态，整器将彩瓷之精与花鸟意趣相融，陈设实用兼具，尽显雅致精巧。",[23,7,25,26,375,165,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd23bf210fcce0bb807504b5e1a579a5a.jpg",[],{"id":4417,"slug":4418,"title":4419,"dynasty":18,"author":19,"museum":20,"description":4420,"tags":4421,"thumbUrl":4423,"material":30,"size":31,"collection":46,"collections":4424,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},258881,"yong-qing-chang-chun-kuan-hong-di-fen-cai-hua-hui-wen-yao-yuan-shi-hua-pen-yi-ming-258881","永庆长春款红地粉彩花卉纹腰圆式花盆","此器腰圆为形，下承矮足，器型温婉雅致。外壁以匀净莹润的珊瑚红釉为地，粉彩绘就花枝，叶翠花妍，笔意清丽秀逸，盎然生机扑面而来。内壁施松石绿釉，釉色沉静柔和，与外壁暖调红釉撞色对比，层次鲜明。外壁书款规整端庄，添朴拙古雅之气。整体构图疏朗得当，釉色搭配和谐悦目，粉彩施绘细腻写实，尽显考究制瓷工艺与审美意趣，将彩瓷装饰之美融入日常器用，雅致静穆，是兼具装饰性与实用性的晚清瓷作佳器。",[18,7,832,110,23,28,4422],"腰圆式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F791405ad46ed0b93bb54be493bb10c78.jpg",[],{"id":4426,"slug":4427,"title":4428,"dynasty":18,"author":19,"museum":20,"description":4429,"tags":4430,"thumbUrl":4431,"material":30,"size":31,"collection":46,"collections":4432,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},258880,"hong-di-fen-cai-hua-hui-wen-yao-yuan-shi-hua-pen-yi-ming-258880","红地粉彩花卉纹腰圆式花盆","此器腰圆秀雅，矮足承托，身形沉稳舒展。外壁以珊瑚红釉为底，似赤霞初凝，粉彩摹绘牵牛花枝，紫蓝花冠柔媚盛放，翠叶虬枝错落蔓延，设色浓妍鲜活，艳而不媚。内壁通施松石绿釉，匀净莹润，与外壁的热烈暖意形成冷暖相映。口沿以白料勾勒回纹，规整内敛，将满幅生机圈囿其中，添了几分端庄法度。\n整器工致细腻，配色极具巧思，把庭间花趣凝于瓷上，华贵中带着清婉意韵，尽显彩瓷工艺的隽秀风华。",[18,23,7,832,110,166,131,25,4422],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cd34374e51b81167c9e538a82c4b3e5.jpg",[],{"id":4434,"slug":4435,"title":4436,"dynasty":18,"author":19,"museum":20,"description":4437,"tags":4438,"thumbUrl":4439,"material":30,"size":31,"collection":46,"collections":4440,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},258879,"fen-cai-hua-die-wen-shan-shi-pen-yi-ming-258879","粉彩花蝶纹扇式盆","此器取扇面为形，浅腹敛口，三足托举，秀巧雅致。外壁粉彩绘就春日小景，牡丹柔枝舒展，花蕊饱满娇妍，旁缀带露的桃实小果，鲜活动人。墨蝶振翅欲飞，草虫静栖留白处，写实细腻，将春日生机凝于瓷上。留白处题字配朱印，添就文雅意韵。器内匀施松石绿釉，釉色莹润沉静，与外壁妍丽彩饰相映成趣。整器彩料鲜妍柔和，晕染层次自然，既可观玩又兼具实用，尽显雅致温婉的文房意趣，是彩瓷工艺与文人审美相融的精巧之作。",[23,7,25,131,254,255,1210,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b3b9d4e2a04665288499e1431989513.jpg",[],{"id":4442,"slug":4443,"title":4444,"dynasty":18,"author":19,"museum":20,"description":40,"tags":4445,"thumbUrl":4446,"material":30,"size":31,"collection":46,"collections":4447,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},258873,"yong-qing-chang-chun-kuan-fen-cai-hua-niao-tu-suan-tou-ping-yi-ming-258873","永庆长春款粉彩花鸟图蒜头瓶",[23,7,25,131,26,375,254,166,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc60d7ee3a3a3644b54170c12980c4d49.jpg",[],{"id":4449,"slug":4450,"title":4451,"dynasty":18,"author":19,"museum":20,"description":4452,"tags":4453,"thumbUrl":4454,"material":30,"size":31,"collection":46,"collections":4455,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},258851,"ti-he-dian-kuan-huang-di-fen-cai-hua-hui-wen-hua-pen-yi-ming-258851","体和殿款黄地粉彩花卉纹花盆","此器釉色温润如蜜，米黄地子似凝脂裹玉。苍松虬枝盘曲，墨绿松叶团簇如盖，芭蕉舒卷如翠袂翩跹，粉紫花卉柔婉绽露，枝蔓萦回错落。粉彩晕染细腻柔和，花叶层次分明，明丽色彩于暖黄底色间晕开，艳而不俗。古木的沉穆苍劲，衬得花草愈发娇妍鲜活，将庭院清趣凝缩于器身。静雅底色托举起满院生机，融装饰性与雅致意趣于一体，尽显造办巧思，案头陈放之间，便将幽居闲趣铺展开来。",[18,23,7,25,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaabe7861fa249a1822ff3eba88aeedf.jpg",[],{"id":4457,"slug":4458,"title":4459,"dynasty":18,"author":19,"museum":20,"description":94,"tags":4460,"thumbUrl":4461,"material":30,"size":31,"collection":46,"collections":4462,"showCount"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