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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。",[152,153,154,7,155],"明代","陶瓷","青花","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bf87d4eb33e6660751b48f7f249bb87.jpg","未知","Xcm*Xcm","瓷器精选",[159],63,{"id":163,"slug":164,"title":165,"dynasty":48,"author":166,"museum":20,"description":167,"tags":168,"thumbUrl":175,"material":157,"size":158,"collection":58,"collections":176,"showCount":177,"zanCount":86,"manualWeight":11,"mainColor":87},287414,"lin-li-gong-lin-wu-bai-luo-han-tu-juan-wu-bin-287414","临李公麟五百罗汉图卷","吴彬","吴彬（1550—1643），字文中，又字文仲，明代绘画大师，别字质先，别称文中父、文中子，自号壶谷山樵、遵道生、织履生、一枝栖、枝隐生、枝隐居士、朱湖太生洞天居士、枝隐庵主、枝庵发僧、枝隐头陀、枝隐庵头陀和“金粟如来”等，兴化府（今福建省莆田市）黄石人。流寓金陵（今江苏省南京市）。万历年间，明神宗朱翊钧召见吴彬，试殿中第一，授中书舍人，历工部主事。供职于宫廷画院。工山水，布置绝不摹古，佛像人物，形状奇怪，迥别前人，自立门户。中国国画大师，明代宫廷大画家，晚明人物“变形主义画风”和“复兴北宋经典山水画风”的主要倡导者和领导者之一，享有“画仙”之誉。1988年11月，其名作《文杏双禽图》被收入《中国历代绘画》，列为中国上下五千年的28幅绘画杰作之一。2009年，北京保利秋拍吴彬名作《十八应真图卷》最终以1.6912亿元高价成交，创下当时中国画拍卖价格新的世界纪录。",[23,24,25,53,26,28,169,170,171,70,7,172,75,173,174],"人物画","宗教画","罗汉","猕猴","古树","临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F649847a4103d91e1042f3e8d8a5d52a4.jpg",[],52,{"id":179,"slug":180,"title":181,"dynasty":18,"author":182,"museum":20,"description":183,"tags":184,"thumbUrl":188,"material":58,"size":58,"collection":58,"collections":189,"showCount":190,"zanCount":86,"manualWeight":11,"mainColor":191},224578,"qing-ke-si-qun-xian-zhu-shou-zhou-qing-ren-224578","清缂丝群仙祝寿轴","清人","云端玄女乘鹤御风而来，松荫之下众仙执笙捧盏，衣袂翩跹顾盼生姿，满含恭谨喜色，似正静待贺寿吉时。下方仙姝俯身采撷芝草灵卉，奇石虬松环伺左右，流云漫卷天际，将海天仙乡的缥缈灵秀铺展尽致。\n\n此作用通经断纬之技晕染衣纹褶皱的柔婉层次，石色苍古明润，松针纤毫毕现，将群仙赴寿的欢愉雅景织就，既见仙班贺寿的祥瑞吉庆，又尽显工致秀雅的匠艺风华，恍将清虚仙境凝于尺幅之中。",[24,25,53,96,185,28,114,186,71,187,70,7,32,75,29,76],"缂丝","山水","祥云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87520e9eaeef0cd56b73baacd54137b6.jpg",[],37,"F48FB1",{"id":193,"slug":194,"title":195,"dynasty":18,"author":109,"museum":20,"description":196,"tags":197,"thumbUrl":204,"material":157,"size":158,"collection":58,"collections":205,"showCount":206,"zanCount":11,"manualWeight":11,"mainColor":43},268454,"dian-cui-feng-huang-wen-tou-hua-yi-ming-268454","点翠凤凰纹头花","中国妇女最偏爱的头花当属绒花，尤其是在女儿出嫁时，头上必须戴红色绒花，图火红吉利。在中国妇女中，只要条件允许，不仅婚礼喜庆日时要戴绒花，而且一年四季都愿意头戴绒花，求谐音吉祥。尤其到应时节序戴应季绒花：立春日戴春幡，清明日戴柳枝，端阳日戴艾草，中秋日戴桂花，重阳日戴茱萸，立冬日戴葫芦阳生……。清宫后妃们的头花，还有大批的绒花、绢花、绫花流存于世，这些花色彩协调，晕色层次丰富，堪称“乱真”之花。清代遗留下来的绒、绢、绫、绸等质地的头花有白、粉、桃红三晕色的牡丹花，浅黄、中黄、深黄三色的菊花，白、藕、雪青三色的月季花及粉、白相间的梅花等等，历时百年不久，仍鲜艳悦人。",[198,199,7,200,201,202,203],"饰品","点翠","珍珠","银器","金器","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe37141a4bdae06424b4a93c87aa2b517.jpg",[],35,{"id":208,"slug":209,"title":210,"dynasty":48,"author":109,"museum":20,"description":211,"tags":212,"thumbUrl":218,"material":157,"size":158,"collection":58,"collections":219,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":43},256169,"mu-diao-cai-hui-lou-kong-feng-huang-mu-dan-hua-hui-jian-zhu-qian-jian-yi-ming-256169","木雕彩绘镂空凤凰牡丹花卉建筑嵌件","木雕是雕塑的一种，在我们国家常常被称为“民间工艺”。木雕可以分为立体圆雕、根雕、浮雕三大类。木雕是从木工中分离出来的一个工种，在我们国家的工种分类中为“精细木工”。\n以雕刻材料分类的民间美术品种。一般选用质地细密坚韧，不易变形的树种如楠木、紫檀、樟木、柏木、银杏、沉香、红木、龙眼等。\n木雕是以各种木材及树根为材料进行雕刻，是以传统雕刻工艺中的重要门类。木雕的历史非常悠久，在浙江余姚河姆渡文化遗址就有木雕鱼出土，这是我国木雕史上最早的实物。河南信阳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。",[152,213,214,215,216,203,7,54,55,217],"木质","木雕","彩绘","镂空","建筑嵌件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5effde7e95a6a03425a0e292ed5eee91.jpg",[],29,{"id":222,"slug":223,"title":224,"dynasty":18,"author":109,"museum":20,"description":225,"tags":226,"thumbUrl":230,"material":157,"size":158,"collection":58,"collections":231,"showCount":232,"zanCount":11,"manualWeight":11,"mainColor":233},260948,"sa-lan-you-miao-jin-feng-huang-mu-dan-wen-ping-yi-ming-260948","洒蓝釉描金凤凰牡丹纹瓶","宋代是传统制瓷工艺发展史上一个非常繁荣昌盛的时期。现时已发现的古代陶瓷遗址分布于全国170个县。其中有宋代窑址的就有130个县，占总数的75%。\n陶瓷史家通常将宋代陶瓷窑大致概括为6个瓷窑系，它们分别是：北方地区的定窑系、耀州窑系、钧窑系和磁州窑系；南方地区的龙泉青瓷系和景德镇的青白瓷系。这些窑系一方面具有因受其所在地区使用原材料的影响而具有的特殊性，另一方面又有受帝国时代的政治理念、文化习俗、工艺水平制约而具有的共同性。\n从造型的角度分析，宋瓷的器形较之前代更为丰富多彩，几乎包括了人民日常生活用器的大部分：碗、盘、壶、罐、盒、炉、枕、砚与水注等，其中最为多见的是玉壶春瓶。总的说来，民间用瓷的造型大部分是大方朴实、经济耐用；而宫廷用瓷则端庄典雅、雍容华贵。最能反映皇家气派的是哥、官、钧、汝与定窑口烧制的贡瓷，最能体现百姓喜乐的是磁州、耀州窑口烧制的民间瓷品。\n从纹饰上讲，宋瓷的纹饰题材表现手法都极为丰富独特。一般情况下，龙、凤、鹿、鹤、游鱼、花鸟、婴戏、山水景色等常作为主体纹饰而突现在各类器形的显著部位，而回纹、卷枝卷叶纹、云头纹、钱纹、莲瓣纹等多用作边饰间饰，用以辅助主题纹饰。工匠们用刻、划、剔、画和雕塑等不同技法，在器物上把纹样的神情意态与胎体的方圆长短巧妙结合起来，形成审美与实用的统一整体，令人爱不释手。如婴戏纹，或于碗心、或于瓶腹，将肌肤稚嫩，情态活泼的童子置于花丛之中，或一或二，或三五成群，攀树折花，追逐嬉戏，真切动人，生活气息甚为浓厚。",[153,227,228,229,7,54,35],"瓶","洒蓝釉","描金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa17bdecd8419504082199b7970f0d420.jpg",[],22,"37474F",{"id":235,"slug":236,"title":237,"dynasty":18,"author":109,"museum":20,"description":238,"tags":239,"thumbUrl":246,"material":157,"size":158,"collection":58,"collections":247,"showCount":248,"zanCount":11,"manualWeight":11,"mainColor":87},234403,"xiao-quan-cheng-huang-hou-chao-fu-xiang-zhou-yi-ming-234403","孝全成皇后朝服像轴","工笔重彩刻画入微，皇后安坐龙椅，面容娟秀温婉，神情静穆端凝，尽显中宫威仪。朝服以明黄为底，五彩祥龙穿梭于云纹之间，海水江崖层次井然，金线勾勒纹饰，华贵雍容。三盘朝珠错落垂挂，珠宝莹润雅致，与领肩繁复绣纹交相辉映，将清代宫廷服饰典制与极致绣艺尽数展现。画面设色浓丽沉稳，构图规整对称，既严守御容画的制式规范，又以细腻笔触赋予人物娴静气度，尽显宫廷皇后的华贵仪范。",[240,27,28,96,114,241,7,242,198,55,187,243,244,245],"清代","龙","衣帽","朝服纹饰","五彩","刺绣纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2afd8276f1d953304a3cd0eeac1c5663.jpg",[],19,{"id":250,"slug":251,"title":252,"dynasty":18,"author":109,"museum":20,"description":253,"tags":254,"thumbUrl":255,"material":157,"size":158,"collection":58,"collections":256,"showCount":248,"zanCount":11,"manualWeight":11,"mainColor":87},234391,"xiao-yi-chun-huang-hou-chao-fu-xiang-zhou-yi-ming-234391","孝仪纯皇后朝服像轴","此作工笔精丽写实，画中女子端凝静穆，面容秀雅平和，尽显后宫之主的温婉气度。朝服形制严整，明黄地衬藏青绣面，矫健金龙盘绕周身，辅以江崖海水纹，既显皇权威仪，亦寄寓江山永固。点翠头饰华光内敛，朝珠层叠莹润，衣料的肌理光泽都被精细摹写，设色浓艳富丽又不失章法，精准还原服饰的华贵质感，将宫廷肖像画的纪实性与礼制性完美融合，肃穆华贵间尽显清代帝后画像的典范格调。",[25,24,96,27,28,114,241,7,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61b110d09d9371ee138ffa42480f6b35.jpg",[],{"id":258,"slug":259,"title":260,"dynasty":124,"author":109,"museum":20,"description":261,"tags":262,"thumbUrl":266,"material":157,"size":158,"collection":58,"collections":267,"showCount":268,"zanCount":86,"manualWeight":11,"mainColor":43},290683,"xiu-lun-xu-tu-zhou-yi-ming-290683","绣伦叙图轴","此幅构图与绣工皆为上品，图案用纱绣「二丝串」法绣成。所谓「二丝串」是每隔两根经纬垂直戳纳一针绣花线（针脚与纬线垂直）的绣法。利用深浅色线戳纱晕染，花纹突出，层次分明，有强烈织纹感和装饰效果。惜鹤颈与尾绣线腐蚀破损，后人用绢修补并用墨笔添绘，略损画面。纱绣多为小品，早期大幅之精品极为少见。",[96,35,263,7,33,29,54,55,71,264,28,265],"绣品","明月","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb395058cc5736a0109bbe872f769c894.jpg",[],18,{"id":270,"slug":271,"title":272,"dynasty":18,"author":109,"museum":20,"description":273,"tags":274,"thumbUrl":276,"material":157,"size":158,"collection":58,"collections":277,"showCount":278,"zanCount":11,"manualWeight":11,"mainColor":43},263557,"lv-se-feng-huang-mu-dan-wen-zhi-jin-duan-yi-ming-263557","绿色凤凰牡丹纹织金缎","豆绿底色晕染出雅致基调，织金纱线勾勒凤凰牡丹纹。灵雀隐于缠枝间，翎羽纹理纤毫毕现，翩然姿态暗藏灵动生机。牡丹丰腴饱满，花瓣层叠舒展，枝蔓婉转缠绕，满幅铺陈却繁而不乱。\n\n织金工艺让金线在绿意中晕开柔润光泽，华贵与清雅相融，将吉祥富贵的寓意藏于经纬之间，尽显清代织绣技艺的精巧匠心，是传统织物里兼具审美与工艺价值的精巧之作。",[265,7,54,275],"织金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7de977d0908d6981570284bb0f717064.jpg",[],17,{"id":280,"slug":281,"title":195,"dynasty":18,"author":109,"museum":20,"description":196,"tags":282,"thumbUrl":283,"material":157,"size":158,"collection":58,"collections":284,"showCount":285,"zanCount":86,"manualWeight":11,"mainColor":43},268455,"dian-cui-feng-huang-wen-tou-hua-yi-ming-268455",[198,201,199,7,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78e99f9ccc0553bdf5378b6d1577bac4.jpg",[],16,{"id":287,"slug":288,"title":289,"dynasty":18,"author":109,"museum":20,"description":290,"tags":291,"thumbUrl":294,"material":157,"size":158,"collection":58,"collections":295,"showCount":296,"zanCount":11,"manualWeight":11,"mainColor":297},264038,"yue-bai-se-di-feng-huang-hua-hui-wen-jin-yi-ming-264038","月白色地凤凰花卉纹锦","《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》。",[265,292,7,55,35,28,293],"织锦","传统纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a7ee3656f0a2ce19cd580c0869ae14f.jpg",[],14,"2A56C6",{"id":299,"slug":300,"title":301,"dynasty":18,"author":109,"museum":20,"description":302,"tags":303,"thumbUrl":310,"material":157,"size":158,"collection":58,"collections":311,"showCount":296,"zanCount":61,"manualWeight":11,"mainColor":43},241848,"yin-du-jin-dian-cui-qian-zhu-shi-feng-yi-ming-241848","银镀金点翠嵌珠石凤","幽蓝点翠晕开深浅光泽，似凤羽轻振，将清冷雅致揉进鎏金华贵。累丝金龙盘旋莲下，掐丝走线精细柔婉，鎏金暖光带着融融贵气。\n\n中央紫晶莲花凝着天然冰透的紫晕，肌理摹仿盛放芙蕖，清莹通透中和了金饰的雍容。莹润珍珠串成柔婉轮廓，粒粒饱满光泽柔润，圈住这一方华美景象。\n\n祥瑞花龙、灵凤意象被精巧糅合，将点翠、细金、宝石镶嵌工艺绝妙融合，静穆间尽显旧时匠人的极致巧思，晕染出东方古典首饰的华贵雅致。",[240,304,199,305,306,7,198,307,308,309,201,202],"银镀金","嵌珍珠","嵌宝石","金属工艺","镶嵌工艺","点翠技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F456f000a5ecfec213dbe0510b9b2eed7.jpg",[],{"id":313,"slug":314,"title":315,"dynasty":18,"author":109,"museum":20,"description":290,"tags":316,"thumbUrl":321,"material":157,"size":158,"collection":58,"collections":322,"showCount":323,"zanCount":11,"manualWeight":11,"mainColor":87},267656,"chen-xiang-se-di-feng-lin-fu-gui-wen-jin-yi-ming-267656","沉香色地凤麟富贵纹锦",[292,265,7,317,318,319,55,28,320],"麒麟","云纹","卷草纹","吉祥纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dfb7cd8c07d1b06589ecdb20f1d7f3e.jpg",[],13,{"id":325,"slug":326,"title":327,"dynasty":18,"author":109,"museum":20,"description":328,"tags":329,"thumbUrl":331,"material":157,"size":158,"collection":58,"collections":332,"showCount":323,"zanCount":86,"manualWeight":11,"mainColor":191},264368,"jiang-se-duan-xiu-qian-cai-feng-chuan-mu-dan-wen-pao-liao-yi-ming-264368","绛色缎绣浅彩凤穿牡丹纹袍料","绣法是以绣线横排，故名。如，特点是整齐、均匀，圆润；在绣叶瓣时，在中间分开，运用斜针成倒人字形；也有绣成中间针迹相交叠的形式；也可绣成中间作一钉线的绣法。排绣针法富有变化，刺绣出的花瓣、叶瓣得体逼真，用途较广。",[265,242,330,7,54,35,28,27],"刺绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F466fdc53402f29c4378f1f13fa7b140f.jpg",[],{"id":334,"slug":335,"title":336,"dynasty":18,"author":109,"museum":20,"description":337,"tags":338,"thumbUrl":341,"material":157,"size":158,"collection":58,"collections":342,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":87},271308,"cheng-hou-cun-zhi-feng-huang-yi-mo-yi-ming-271308","程后村制凤凰仪墨","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[339,7,229,340],"墨","文房器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3d8a954601606109114c10a4f2f7dbb.jpg",[],11,{"id":345,"slug":346,"title":347,"dynasty":18,"author":109,"museum":20,"description":348,"tags":349,"thumbUrl":352,"material":157,"size":158,"collection":58,"collections":353,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":233},249376,"qia-si-fa-lang-feng-huang-mu-dan-tu-ping-yi-ming-249376","掐丝珐琅凤凰牡丹图瓶","景泰蓝（Cloisonne），中国的著名特种金属工艺品类之一，到明代景泰年间这种工艺技术制作达到了最巅峰，制作出的工艺品最为精美而著名，故后人称这种金属器为“景泰蓝”。景泰蓝正名“铜胎掐丝珐琅”，俗名“珐蓝”，又称“嵌珐琅”，是一种在铜质的胎型上，用柔软的扁铜丝，掐成各种花纹焊上，然后把珐琅质的色釉填充在花纹内烧制而成的器物 。因其在明朝景泰年间盛行，制作技艺比较成熟，使用的珐琅釉多以蓝色为主，故而得名“景泰蓝”。",[240,350,351,28,35,7,54,155],"掐丝珐琅","珐琅器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F907174cf789b94db136a78afe22fed77.jpg",[],{"id":355,"slug":356,"title":357,"dynasty":48,"author":109,"museum":20,"description":358,"tags":359,"thumbUrl":361,"material":157,"size":158,"collection":58,"collections":362,"showCount":363,"zanCount":11,"manualWeight":11,"mainColor":43},263662,"hong-se-feng-huang-si-he-ru-yi-yun-wen-zhi-jin-duan-yi-ming-263662","红色凤凰四合如意云纹织金缎","朱红地色热烈明丽，赤金缕线穿梭经纬之上，凤凰振翅翔游在四合如意云纹之间。瑞鸟身姿灵动，翎羽纹路细密写实，祥云柔婉舒展缠连往复，整幅纹样满铺匀净，将吉庆雍容的意蕴织入寸缕。\n\n赤金沉稳华贵，与朱红相映愈显鲜亮，织造工艺精妙考究，明暗光影间尽显顶尖丝织水准，把宫廷礼制中的祥瑞意象凝于匹缎之上，让吉瑞富贵的气韵随经纬流淌，尽显传统丝织美学的雍容风华。",[265,360,275,7,318],"绸缎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa23a7bcf3f8c073acdbb2e8e3858c901.jpg",[],10,{"id":365,"slug":366,"title":367,"dynasty":18,"author":109,"museum":20,"description":368,"tags":369,"thumbUrl":371,"material":157,"size":158,"collection":58,"collections":372,"showCount":373,"zanCount":11,"manualWeight":11,"mainColor":233},264471,"ou-he-se-sha-xiu-feng-huang-hua-hui-wen-chang-yi-liao-yi-ming-264471","藕荷色纱绣凤凰花卉纹氅衣料","是传统刺绣形式之一。它是在方格纱的底料上严格按格数眼进行刺绣的。不仅图案美丽，而且随 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清朝是以满族统治者为主的政权机构，满族八旗服饰随朝代的变更冲进关内。旗人的风俗习惯影响着广大的中原地区。从公服开始逐渐推向常服。",[242,185,7,54,265,515],"皮毛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20fa39d151e9898066b2226ebdd55d47.jpg",[],{"id":519,"slug":520,"title":521,"dynasty":18,"author":109,"museum":20,"description":522,"tags":523,"thumbUrl":527,"material":157,"size":158,"collection":58,"collections":528,"showCount":480,"zanCount":11,"manualWeight":11,"mainColor":87},263846,"tao-hong-se-yun-fu-feng-xi-mu-dan-wen-an-hua-duan-yi-ming-263846","桃红色云蝠凤戏牡丹纹暗花缎","此缎桃红色泽柔亮明丽，暗花工艺让纹样敛于莹润缎面，若隐若现雅致内敛。云蝠翩跹环绕，凤鸟穿行牡丹花丛间，蝠谐音取“福”意，凤戏牡丹则是富贵美满的经典吉纹，二者相融，将纳福迎祥、华贵昌隆的美好祈愿织入经纬。织纹排布匀整舒展，丝线交织紧密顺滑，尽显精湛匠心，把传统吉祥文化与织造美学精妙糅合，尽显东方织物含蓄雅致的独特韵味。",[265,524,525,7,54,526],"暗花","蝙蝠","桃红色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14bb96fa51eda4ebc505630a47db19e1.jpg",[],{"id":530,"slug":531,"title":532,"dynasty":18,"author":109,"museum":20,"description":533,"tags":534,"thumbUrl":535,"material":157,"size":158,"collection":58,"collections":536,"showCount":480,"zanCount":11,"manualWeight":11,"mainColor":43},260576,"wu-cai-mu-dan-feng-huang-wen-pan-yi-ming-260576","五彩牡丹凤凰纹盘","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[153,155,487,244,54,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3973e690c642954954e5b7d32ec9c49.jpg",[],{"id":538,"slug":539,"title":540,"dynasty":18,"author":109,"museum":20,"description":541,"tags":542,"thumbUrl":550,"material":157,"size":158,"collection":58,"collections":551,"showCount":480,"zanCount":11,"manualWeight":11,"mainColor":233},242053,"tong-du-jin-feng-yi-ming-242053","铜镀金凤","此件首饰以鎏金为骨，点翠饰羽，明丽湖蓝与灿然金辉相映成趣。累丝花丝勾勒出凤身纤巧肌理与缠枝宝相花，脉络灵动写实。周身镶嵌圆润东珠、浓艳红宝石与清透碧玺，珠光宝气萦绕其间，华贵尽显。点翠色泽匀净澄澈，将瑞凤威仪烘托得淋漓尽致，下坠的喜字饰与珍珠流苏，融庄重富丽与吉庆温婉于一身，是花丝点翠工艺的上乘之作，把匠心巧思与吉祥寓意凝于方寸之间，尽显旧时首饰工艺的巅峰水准。",[240,543,202,203,544,545,546,198,7,200,547,548,549],"铜制","镶嵌","珐琅","累丝工艺","宝石","珊瑚","琉璃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3987470253d758fa1b18737076ef72f8.jpg",[],{"id":553,"slug":554,"title":555,"dynasty":48,"author":109,"museum":20,"description":556,"tags":557,"thumbUrl":560,"material":157,"size":158,"collection":58,"collections":561,"showCount":480,"zanCount":11,"manualWeight":11,"mainColor":43},228664,"jiao-huang-lv-cai-feng-huang-fang-xi-yi-ming-228664","娇黄绿彩凤凰方洗","正方形，侈口，深壁，平底矮圈足。器內口沿錐拱轉枝靈芝一週，上下加飾單線。底心錐拱壽字，飾以鳳凰一對，靈芝一枝，加方圈。外壁錐拱鳳凰二對，飾以纏枝番蓮。底邊為蕉葉紋，足飾雲紋。底青花書：「大明嘉靖年製」。",[153,152,558,203,7,55,559],"黄绿彩","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2290f302a5e774ce29b6026529e8a6c0.jpg",[],{"id":563,"slug":564,"title":565,"dynasty":48,"author":109,"museum":20,"description":566,"tags":567,"thumbUrl":571,"material":157,"size":158,"collection":58,"collections":572,"showCount":573,"zanCount":11,"manualWeight":11,"mainColor":43},260308,"wan-li-kuan-qing-hua-zhu-feng-wen-wan-yi-ming-260308","万历款青花竹凤纹碗","青花瓷（blue 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