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滚的水浪，水浪之上，又立有山石宝物，俗称“海水江涯”，它除了表示绵延不断的吉祥含意之外，还有“一统山河”和“万世升平”的寓意。\n皇后常服样式，与满族贵妇服饰基本相似，圆领、大襟，衣领、衣袖及衣襟边缘，都饰有宽花边，只是图案有\n所不同。本图展示的服装纹样为凤穿牡丹。整件服装在鲜艳的蓝色缎地上，绣八只彩凤，彩凤中间，穿插数朵牡丹。牡丹的颜色处理得净穆而素雅，色彩变化惟妙，具有传统的山水画特点。与此相反，凤的颜色比较浓重，红绿对比度极为强烈，具有典型民族风格和时代特色。\n清代官服主要品种为长袍马褂。官帽与前朝截然不同，凡军士、差役以上军政人员都戴似斗笠而小的纬帽，按冬夏季节有暖帽、凉帽之分，还视品级高低安上不同颜色、质料的“顶子”，帽后拖一束孔雀翎。翎称花翎，高级的翎上有“眼”（羽毛上的圆斑），并有单眼、双眼、三眼之别，眼多者为贵，只有亲王或功勋卓著的大臣才被赏戴。皇帝有时还赏穿黄马褂，以示特别恩宠。影响所及，其他颜色的马褂遂在官员士绅中逐渐流行，成为一般的礼服。四、五品以上官员还项挂朝珠，用各种贵重珠宝、香木制成，构成清代官服的又一特点。丝纺绣染及各种手工专业的进步，为清代服饰品种的丰富创造了条件。\n清代男装主要是长袍和马褂，袖端呈马蹄形是历代不曾见过的。长袍造型简练，立领直身，偏大襟，前后衣身有接缝，下摆有两开衩（古时称“缺裤”），四开衩和无开衩几种类型。皇室贵族为便于骑射，着四面开衩长袍，即衣前后中缝和左右两侧均有开衩的式样，平民则着左右两侧开衩或称“一裹圆”的不开衩长袍。在我国文学名著《红楼梦》第九十四回“宴海棠贾母赏花妖”一节中，记述了一段内容“那日宝玉本来穿着”一裹圆的皮袄在家休息，忽听贾母要来，便去换了一件狐腋箭袖，罩了一件玄狐腿外褂。这里说明“一裹圆”，是休闲衣服，不可登大雅之堂，所以贾母的到来，必须换掉便装，改着正式穿戴。满清时期长袍外面的马褂身长不过膝，袖宽且短。衣服上的佩饰比较琐繁，一个金银牌上垂挂着数十件小东西，如耳挖子、镊子、牙签，还有一些古代兵器的小模型，如戟、枪之类，佩挂饰物在清代已经形成风尚。",[99,42,41,7,100,101,102,103],"衣帽","寿字纹","海水纹","袷袍","缎面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa67aecc0a8aab5db2d79bf44644eb1de.jpg",[],12,"FF9800",{"id":109,"slug":110,"title":111,"dynasty":38,"author":19,"museum":20,"description":112,"tags":113,"thumbUrl":123,"material":50,"size":51,"collection":29,"collections":124,"showCount":125,"zanCount":126,"manualWeight":11,"mainColor":33},242047,"yin-du-jin-qian-bao-shi-chuan-jia-zhu-feng-wen-zan-yi-ming-242047","银镀金嵌宝石串假珠凤纹簪","发簪，中国古代汉族人民用来固定和装饰头发的一种首饰。对于现代人来说已经是一个很古老的名词了，但是当在看古装剧时，却总是能被它们点缀出的精致效果所折服。\n将长发松松挽起，插上一枚别致的发簪，再配上典雅的长裙，即便性格再外放的女性，也可以成为让人眼前一亮的古典美人。发簪金属的光泽闪耀在发间，加上小而巧的坠饰，长发的风情便又是一种不一样的感受了。",[114,115,116,117,118,119,7,44,120,121,47,122],"清代风格","银镀金工艺","镶嵌工艺","串珠工艺","珐琅工艺","雕刻工艺","宝石","假珠","工笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad7bc442516e00959fa20ebfe75b998f.jpg",[],10,2,{"id":128,"slug":129,"title":130,"dynasty":38,"author":19,"museum":20,"description":131,"tags":132,"thumbUrl":136,"material":50,"size":51,"collection":29,"collections":137,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":81},267429,"bai-se-duan-pan-jin-xiu-cai-yun-feng-wen-gong-yi-yi-ming-267429","白色缎盘金绣彩云凤纹宫衣","清王朝时段推行剃发易服，顺治九年（1652），钦定《服色肩舆条例》颁行，从此废除了明朝的冠冕、礼服以及汉族的一切服饰，但满族服饰同时吸收了明朝服饰的纹理图案。明代男子一律蓄发挽髻，着宽松衣，穿长统袜、浅面鞋；清时则剃发留辫，辫垂脑后，穿瘦削的马蹄袖箭衣、紧袜、深统靴。但官民服饰一律泾渭分明。 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。",[99,42,133,134,7,41,135],"盘金绣","彩云","宫衣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a3c271e563c8d1fd4820b21e5039517.jpg",[],7,{"id":140,"slug":141,"title":142,"dynasty":38,"author":19,"museum":20,"description":143,"tags":144,"thumbUrl":149,"material":50,"size":51,"collection":29,"collections":150,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":81},251814,"bai-yu-tou-diao-feng-wen-pei-yi-ming-251814","白玉透雕凤纹佩","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。",[145,146,147,148,7,44,25],"清代","玉石","白玉","透雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b1f158d808cec716f997dd95c05b527.jpg",[],{"id":152,"slug":153,"title":154,"dynasty":155,"author":19,"museum":20,"description":143,"tags":156,"thumbUrl":160,"material":50,"size":51,"collection":29,"collections":161,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":54},251975,"bai-yu-tou-diao-mu-dan-feng-wen-qian-jian-yi-ming-251975","白玉透雕牡丹凤纹嵌件","宋",[157,146,147,148,25,158,7,159],"宋代","牡丹","嵌件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84eec4e336b39f37b36175bdff9583e9.jpg",[],6,{"id":164,"slug":165,"title":166,"dynasty":18,"author":19,"museum":20,"description":167,"tags":168,"thumbUrl":172,"material":50,"size":51,"collection":29,"collections":173,"showCount":174,"zanCount":11,"manualWeight":11,"mainColor":175},272957,"huang-hua-li-wu-ping-feng-shi-feng-wen-jing-tai-yi-ming-272957","黄花梨五屏风式凤纹镜台","中国铜镜的制作和使用具有悠久的历史，根据考古发掘，年代最早的铜镜为4000多年前的齐家文化。从齐家文化至西周末春秋早期制作的铜镜，多以纹饰简单、形体小、种类少。此一时期为中国铜镜制作早期阶段。\n春秋中晚期开始，我国铜镜制作和使用就发展起来了，特别是战国时期，铜镜的种类复杂，题材广泛，制作工艺精细，包括此时期铜镜的合金成分，其锡含量是最适合铜镜的使用，这些充分反应了铜镜在此时期制作技术已达到成熟阶段。汉代开始铜镜得到了进一步的发展，这时期的铜镜出现了新的类型，铭纹也正逐渐成为铜镜的纹饰组成部分，反映了汉代铸镜业的发达及铜镜商品化的发展。\n隋唐时期是中国铜镜高度发展时期，此时的铜镜突破了以往圆形与方形的传统形式，出现了菱花形、葵花形铜镜。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。",[48,169,25,170,7,171],"木质","镂空","镜台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb74782d73307a54bb75d4ab532650184.jpg",[],5,"F48FB1",{"id":177,"slug":178,"title":179,"dynasty":38,"author":19,"museum":20,"description":180,"tags":181,"thumbUrl":185,"material":50,"size":51,"collection":29,"collections":186,"showCount":174,"zanCount":11,"manualWeight":11,"mainColor":33},269027,"tong-du-jin-dian-cui-chuan-mi-zhu-jiu-feng-wen-dian-kou-yi-ming-269027","铜镀金点翠串米珠九凤纹钿口","幽蓝点翠配鎏金光泽，明暗交织晕开华贵气韵。九凤以米珠攒簇成型，肌理宛然，凤首缀饰珠石，抬首灵动有神。凤喙衔下垂坠饰件，随步轻摇间漾出柔婉风姿。\n\n整体排布疏密相宜，鎏金底托錾刻细碎花饰衬起点翠的莹润，花丝攒珠工艺细腻入微，将旧时首饰的精巧雅致尽数铺展，藏着旧日深闺的温婉绮丽，尽显东方古典饰件的匠心与韵致。",[44,61,182,183,7,184],"铜镀金","米珠","钿口","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6b8be0eef74a92bea09c0aa5f655628.jpg",[],{"id":188,"slug":189,"title":190,"dynasty":38,"author":19,"museum":20,"description":191,"tags":192,"thumbUrl":194,"material":50,"size":51,"collection":29,"collections":195,"showCount":174,"zanCount":196,"manualWeight":11,"mainColor":81},268901,"tong-du-jin-dian-cui-chuan-zhu-shi-jiu-feng-dian-zi-yi-ming-268901","铜镀金点翠穿珠石九凤钿子","以点翠蓝羽镂雕出冠身，如将晴光裁入其间，澄澈华贵。朱红缉线盘绕成吉祥花结，珍珠与宝石错落嵌缀，似晨露凝于绣纹，灵动生姿。隐于翠色间的纹饰暗合吉礼之意，垂落的珠串随步轻摇，光影流动间漾出晚清闺阁的温婉华贵。\n\n点翠、缉线、穿珠工艺相融，将极致匠心凝于寸尺冠间，配色浓妍和谐，晕染着旧朝精致雍容的余韵，是清代配饰工艺的精巧缩影。",[44,99,63,182,61,193,7],"珠石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3a67123f6775b16aa83e6c26d989525.jpg",[],1,{"id":198,"slug":199,"title":200,"dynasty":38,"author":19,"museum":20,"description":131,"tags":201,"thumbUrl":204,"material":50,"size":51,"collection":29,"collections":205,"showCount":174,"zanCount":11,"manualWeight":11,"mainColor":81},267404,"hu-lv-se-duan-pan-jin-xiu-feng-zhe-zhi-yu-lan-wen-gong-yi-yi-ming-267404","湖绿色缎盘金绣凤折枝玉兰纹宫衣",[135,99,42,103,133,41,7,202,203,46],"折枝玉兰纹","神话人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F410cffc064cef19f94b1e5a0d7aa7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and white porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[265,266,7,267,268],"陶瓷","青花","罐","缠枝花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ad803e298701301d6d8e330935da096.jpg",[],{"id":272,"slug":273,"title":274,"dynasty":275,"author":19,"museum":20,"description":276,"tags":277,"thumbUrl":282,"material":50,"size":51,"collection":29,"collections":283,"showCount":240,"zanCount":11,"manualWeight":11,"mainColor":81},248935,"cai-hui-qi-yun-feng-wen-zun-yi-ming-248935","彩绘漆云凤纹樽","汉","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。",[278,279,237,280,234,7,48,89,281],"漆器","彩绘","汉代","瑞兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F579c930d4ecfc64ad220df00b2c4b22a.jpg",[],{"id":285,"slug":286,"title":287,"dynasty":155,"author":19,"museum":20,"description":288,"tags":289,"thumbUrl":10,"material":50,"size":51,"collection":29,"collections":291,"showCount":240,"zanCount":196,"manualWeight":11,"mainColor":54},223787,"qing-bai-ci-yin-hua-shuang-feng-wen-wan-yi-ming-223787","青白瓷印花双凤纹碗","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。",[155,265,290,7,48],"印花",[],{"id":293,"slug":294,"title":295,"dynasty":18,"author":19,"museum":20,"description":263,"tags":296,"thumbUrl":298,"material":50,"size":51,"collection":29,"collections":299,"showCount":300,"zanCount":11,"manualWeight":11,"mainColor":81},260606,"qing-hua-shuang-feng-wen-zhan-tuo-yi-ming-260606","青花双凤纹盏托",[265,266,7,297,45],"盏托","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb534296912c14a40d29805a95f458b9c.jpg",[],3,{"id":302,"slug":303,"title":304,"dynasty":38,"author":19,"museum":20,"description":305,"tags":306,"thumbUrl":309,"material":50,"size":51,"collection":29,"collections":310,"showCount":300,"zanCount":11,"manualWeight":11,"mainColor":54},257786,"kang-xi-kuan-dou-cai-long-feng-wen-pan-yi-ming-257786","康熙款斗彩龙凤纹盘","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。",[38,265,307,308,7,237,48],"斗彩","龙纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fced02fc5427179c80ffed2ff30d479f8.jpg",[],{"id":312,"slug":313,"title":314,"dynasty":275,"author":19,"museum":20,"description":276,"tags":315,"thumbUrl":316,"material":50,"size":51,"collection":29,"collections":317,"showCount":300,"zanCount":11,"manualWeight":11,"mainColor":33},248938,"cai-hui-qi-yun-feng-wen-da-yuan-pan-yi-ming-248938","彩绘漆云凤纹大圆盘",[280,278,279,234,7,48],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3894793aa91d639c77529b387d1f217.jpg",[],{"id":319,"slug":320,"title":321,"dynasty":38,"author":19,"museum":20,"description":322,"tags":323,"thumbUrl":327,"material":50,"size":51,"collection":29,"collections":328,"showCount":300,"zanCount":11,"manualWeight":11,"mainColor":54},246093,"tian-qi-qiang-jin-feng-wen-lian-ban-shi-peng-he-yi-ming-246093","填漆戗金凤纹莲瓣式捧盒","清代文物。旧时用于存放食物或饰品之用,根据材质价值不同。清宫旧藏",[145,324,325,278,7,326,25,237,48],"填漆","戗金","莲瓣式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b85e915047b522e375d945948192ec9.jpg",[],{"id":330,"slug":331,"title":332,"dynasty":38,"author":19,"museum":20,"description":333,"tags":334,"thumbUrl":338,"material":50,"size":51,"collection":29,"collections":339,"showCount":300,"zanCount":11,"manualWeight":11,"mainColor":54},245721,"jin-lei-si-feng-yi-ming-245721","金累丝凤","金累丝工艺锻造出威仪凤凰，花丝盘绕纤毫尽现，周身东珠错落排布，晕开温润珠光。残存的点翠衬出金饰明丽，赤红绒羽与玄色貂毛圈合帽沿，冷暖色调碰撞间，将礼制庄重与匠心巧思相融。整体华贵雍容，尽显旧时门第尊荣，是花丝细作的巅峰手笔，凝萃了极致的宫廷审美意趣。",[145,335,44,64,7,336,99,337],"金累丝","珠宝镶嵌","装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa330344c65f5a907534a9301b6d2bf13.jpg",[],{"id":341,"slug":342,"title":343,"dynasty":38,"author":19,"museum":20,"description":112,"tags":344,"thumbUrl":345,"material":50,"size":51,"collection":29,"collections":346,"showCount":300,"zanCount":11,"manualWeight":11,"mainColor":81},245709,"jin-xiang-zhu-bao-feng-tou-zan-yi-ming-245709","金镶珠宝凤头簪",[145,64,65,44,62,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe89c002e03f8f7cabec7ccae52e0c31b.jpg",[],{"id":348,"slug":349,"title":350,"dynasty":38,"author":19,"museum":20,"description":167,"tags":351,"thumbUrl":352,"material":50,"size":51,"collection":29,"collections":353,"showCount":300,"zanCount":11,"manualWeight":11,"mainColor":81},229680,"feng-wen-tong-jing-yi-ming-229680","凤纹铜镜",[145,24,48,25,169,42,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e893c851857a1a542bf881b8436100b.jpg",[],{"id":355,"slug":356,"title":357,"dynasty":38,"author":19,"museum":20,"description":358,"tags":359,"thumbUrl":364,"material":50,"size":51,"collection":29,"collections":365,"showCount":126,"zanCount":11,"manualWeight":11,"mainColor":81},281467,"ri-ben-yin-si-feng-wen-diao-hua-gao-zu-wan-yi-ming-281467","日本银四凤纹雕花高足碗","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。",[360,25,7,361,362,363],"银器","雕花","高足碗","饪食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7117cc48f6e637d3de92f4bbf0e8547d.jpg",[],{"id":367,"slug":368,"title":369,"dynasty":38,"author":19,"museum":20,"description":370,"tags":371,"thumbUrl":376,"material":50,"size":51,"collection":29,"collections":377,"showCount":126,"zanCount":11,"manualWeight":11,"mainColor":54},273744,"zi-hong-se-long-feng-wen-xi-zi-yuan-la-yi-ming-273744","紫红色龙凤纹喜字圆蜡","动物、植物所产生的，或石油、煤、油页岩中所含的油质，常温下多为固体，具有可塑性，能燃烧，易熔化，不溶于水，如蜂蜡、白蜡、石蜡等。用作防水剂，也可做蜡烛。\n过年之际，华灯齐放，皇宫还会点燃造型纹饰考究的花烛，有的是云纹的，有的是大吉葫芦的，有的饰有文字，如“五谷丰登迎祥”“宜入天下太平”，连这样的消耗品也契合年味。",[372,373,7,374,25,45,375,48],"蜡","龙","喜字","紫红色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F010b80d53cdaf98772d6fbe069d4f194.jpg",[],{"id":379,"slug":380,"title":381,"dynasty":38,"author":19,"museum":20,"description":382,"tags":383,"thumbUrl":386,"material":50,"size":51,"collection":29,"collections":387,"showCount":126,"zanCount":11,"manualWeight":11,"mainColor":81},271001,"fen-cai-ci-tuan-feng-wen-yin-ni-he-yi-ming-271001","粉彩瓷团凤纹印泥盒","瓷器是由瓷石、高岭土、石英石、莫来石等烧制而成，外表施有玻璃质釉或彩绘的物器。瓷器的成形要通过在窑内经过高温（约1280℃～1400℃）烧制，瓷器表面的釉色会因为温度的不同从而发生各种化学变化，是中华文明展示的瑰宝。\n中国是瓷器的故乡，瓷器是古代劳动人民的一个重要的创造。谢肇淛在《五杂俎》记载：“今俗语窑器谓之磁器者，盖磁州窑最多，故相延名之，如银称米提，墨称腴糜之类也。”当时出现的以“磁器”代窑器是由磁州窑产量最多所致。这是迄今发现最早使用瓷器称谓的史料。",[265,278,384,45,385,7,25],"印泥盒","粉彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumb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。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”。",[440,441,7,442,373,48],"掐丝珐琅","琺瑯器","螭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6108e8da7a214443547c94256d911b9d.jpg",[],{"id":446,"slug":447,"title":448,"dynasty":38,"author":19,"museum":20,"description":305,"tags":449,"thumbUrl":452,"material":50,"size":51,"collection":29,"collections":453,"showCount":126,"zanCount":11,"manualWeight":11,"mainColor":33},246091,"qian-long-kuan-qiang-jin-cai-qi-wan-fu-feng-wen-chang-fang-wei-jiao-pan-yi-ming-246091","乾隆款戗金彩漆万福凤纹长方委角盘",[278,325,450,237,7,451,48],"彩漆","万福纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a3af7992016d2df365c3e111f51dd96.jpg",[],{"id":455,"slug":456,"title":457,"dynasty":275,"author":19,"museum":20,"description":458,"tags":459,"thumbUrl":464,"material":50,"size":51,"collection":29,"collections":465,"showCount":126,"zanCount":11,"manualWeight":11,"mainColor":54},245224,"feng-wen-jing-yi-ming-245224","凤纹镜","汉镜有圆形﹑方形。纽多作半球形。正面磨光背面铸有几何形图案或神人禽兽等。东汉中期出现浮雕的画像造形精美。\n两汉时期大体上分西汉、新莽、东 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。",[275,23,24,25,460,7,461,462,431,463],"浮雕","兽纹","圆形","汉代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2da87cf157bc71cf2811bf99a385c8bd.jpg",[],{"id":467,"slug":468,"title":469,"dynasty":86,"author":19,"museum":20,"description":470,"tags":471,"thumbUrl":474,"material":50,"size":51,"collection":29,"collections":475,"showCount":126,"zanCount":11,"manualWeight":11,"mainColor":33},244887,"feng-wen-ma-shi-yi-ming-244887","凤纹马饰","青铜器（Bronze Ware）在古时被称为“金”或“吉金”，是红铜与其他化学元素锡、铅等的合金，刚刚铸造完成的青铜器是金色，但因为出土的青铜因为时间流失产生锈蚀后变为青绿色，被称为青铜。\n青铜器的使用开始于新石器时代晚期的土耳其和伊拉克地区，及叙利亚古代TellRamad遗址出土的铜珠等。中国青铜器开始于马家窑至秦汉时期，以商周时期的器物最为精美。在中国仰韶文化早期和马家窑文化时期就已经出现。\n中国最初出现的是小型工具或饰物。夏代始有青铜容器和兵器。商中期，青铜器品种已很丰富，并出现了铭文和精细的花纹。商晚期至西周早期，是青铜器发展的鼎盛时期，器型多种多样，浑厚凝重，铭文逐渐加长，花纹繁缛富丽。随后，青铜器胎体开始变薄，纹饰逐渐简化。春秋晚期至战国，由于铁器的推广使用，铜制工具越来越少。秦汉时期，随着陶器和漆器进入日常生活，铜制容器品种减少，装饰简单，多为素面，胎体也更为轻薄。\n中国青铜器制作精美，在世界青铜器中享有极高的声誉和艺术价值，代表着中国5000多年青铜发展的高超技术与文化。\n我国商、周时代的青铜器具，不单是盛物用的容器，同时也是宗庙中的礼器。青铜器的数量可以表示出身份地位的高低，青铜器形制的大小也可以显示出权力的等级。青铜器中，最重要的器类就是鼎。远古的青铜器可以分为食器、酒器、水器、乐器四大类。食器中包括鼎、鬲等等。其中鼎是最重要的礼器。\n西周中晚期我国形成了列鼎制度，据《春秋公羊传》记载，天子用9鼎，诸侯用7鼎、卿大夫用5鼎、士用3鼎或1鼎。同时。与鼎一同出现的还有簋，通常为九鼎八簋，七鼎六簋，五鼎四簋，三鼎二簋。在西周中晚期的墓葬制度中，鼎为单数而簋为双数。青铜鼎随着时代的发展，形制也在发生变化。商代早期多为圆腹尖足，也有方鼎。到了中期出现了扁足鼎等等。商代晚期尖足鼎逐渐减少，圆腹柱足鼎开始居多，鬲鼎逐渐多了起来。《尔雅》记载“鼎之款足者，谓之鬲”。鬲鼎也称为分裆鼎，是鬲和鼎的混合体，鼎从商代开始铸有各式样的神秘纹饰，多为兽面纹，如饕餮纹、蝉纹、象纹等等，纹饰变化巧妙。容器内部铸有族徽或祖先的名字。\n青铜是铜和锡铅的合金。在中国古代早期的工艺美术中青铜工艺成为奴隶社会工艺美术的典型代表是我们的祖先对人类物质文明的巨大贡献。商周时期是中国历史上的青铜时代，它以品类丰富、造型优美、纹饰华丽、制作精巧、风格独特而著称。此时是冶炼铸造技术可以说有了突发猛进的发展，在应用上具有广泛的适用性。成为中国艺术史的一个组成部分。本文以商周时期的青铜器主要代表作品作品：《后母戊大方鼎》、《盂鼎》为例，从青铜器作为“礼器”的艺术精神与青铜器的造型、装饰艺术特点来谈谈商周青铜器艺术。\n中国古代青铜器，就使用规模、铸造工艺、造型艺术及品种而言。中国古代青铜器在世界艺术史上占有独特地位。商周时期是中国历史上的青铜时代，青铜流行于新石器时代晚期至秦汉时代。以商周器物最为精美，品种已很丰富器型多种多样，并出现了铭文和精细的花纹浑厚凝重。商周青铜器艺术装饰承接新石器时代艺术中若干精髓，经过长期绵延不断的变化，形成独特的体系，在成为中国艺术史的一个组成部分。商周时期，青铜的冶炼业作为生产力的标志而达到高峰。是中国古代青铜器发展的鼎盛时期。",[23,24,25,7,472,44,473],"周代","动物纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a7c749b8471be53be72813f00e73aa.jpg",[],{"id":477,"slug":478,"title":17,"dynasty":18,"author":19,"museum":20,"description":479,"tags":480,"thumbUrl":481,"material":50,"size":51,"collection":29,"collections":482,"showCount":126,"zanCount":11,"manualWeight":11,"mainColor":33},243052,"feng-wen-fang-zun-yi-ming-243052","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。",[23,24,25,7,26,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07b5e15b38d7da503a8661906e99863e.jpg",[],{"id":484,"slug":485,"title":486,"dynasty":38,"author":19,"museum":20,"description":487,"tags":488,"thumbUrl":490,"material":50,"size":51,"collection":29,"collections":491,"showCount":196,"zanCount":11,"manualWeight":11,"mainColor":54},275676,"huang-zhang-rong-tuan-feng-wen-an-chan-yi-ming-275676","黄漳绒团凤纹鞍韂","明黄底色雍容华贵，蓝绒团凤纹样对称排布。凤鸟蜷身回环，翎羽舒展灵动，纤细流畅的线条将瑞鸟的威仪与柔美糅合无间。边缘缠枝小花细密萦绕，勾勒出柔婉轮廓，让整体构图匀整和谐。\n\n漳绒织造的绒面短密平整，蓝黄撞色鲜明沉稳，尽显清代丝织工艺的精妙造诣。它将仪仗配饰的端庄规整，与吉祥纹样的祥瑞气韵相融，把实用装饰性与传统审美完美结合，是颇具匠心的传统工艺佳作。",[42,489,7],"鞍具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b487e767c95e02d206d9941a35b78e3.jpg",[],{"id":493,"slug":494,"title":495,"dynasty":18,"author":19,"museum":20,"description":496,"tags":497,"thumbUrl":501,"material":50,"size":51,"collection":29,"collections":502,"showCount":196,"zanCount":11,"manualWeight":11,"mainColor":54},272460,"wan-li-kuan-hei-qi-miao-jin-long-feng-wen-guan-bi-yi-ming-272460","万历款黑漆描金龙凤纹管笔","此笔以髹黑为地，描金饰龙凤穿游于缠枝花间。龙姿矫健昂扬，凤态温婉柔媚，花叶舒展灵动，金漆明丽与黑漆沉邃相映，华贵雅致尽显。笔身接口与顶尾皆以包金镶饰，细节处见匠心精工。\n\n笔头为兼毫，锋颖饱满圆劲，刚柔相济，兼具实用之能与陈设之美。整器融汇髹漆、描金技艺，尽显古时匠人的极致工巧，暗合重文尚雅的审美意趣，是文房雅器里的上乘之作。",[498,278,499,308,7,500],"笔","描金","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab9ac6de43f35e67f5d56c852d1770ec.jpg",[],{"id":504,"slug":505,"title":506,"dynasty":38,"author":19,"museum":20,"description":507,"tags":508,"thumbUrl":514,"material":50,"size":51,"collection":29,"collections":515,"showCount":196,"zanCount":11,"manualWeight":11,"mainColor":54},264250,"yue-bai-se-di-feng-chui-mu-dan-wen-xian-jin-dian-liao-yi-ming-264250","月白色地凤吹牡丹纹线锦垫料","整幅垫料以分段排布铺陈纹样，色彩搭配雅致和谐。顶部几何回纹规整内敛，暗合中正沉稳之态。团花饱满繁复，缠枝纹柔婉舒展，将春意融于经纬之间。主体凤吹牡丹纹样最为精妙，彩凤身姿灵动，卷绕盛放牡丹，尽显华贵吉庆的美好寓意。\n\n通经断纬织就的面料经纬交织精密细腻，纹样层次分明，色彩晕染过渡柔和，既留存传统礼制纹饰的端庄气度，又兼具装饰美感，织就传统吉祥意趣与匠心工艺的融合之美。",[42,509,510,511,7,512,237,513],"织锦","线锦","凤吹牡丹纹","牡丹纹","垫料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09b9b3ebb5fc3cb9a2f19bc8a57f6ad5.jpg",[],{"id":517,"slug":518,"title":519,"dynasty":38,"author":19,"museum":20,"description":520,"tags":521,"thumbUrl":523,"material":50,"size":51,"collection":29,"collections":524,"showCount":196,"zanCount":11,"manualWeight":11,"mainColor":107},264249,"huang-se-di-feng-chui-mu-dan-wen-xian-jin-dian-liao-yi-ming-264249","黄色地凤吹牡丹纹线锦垫料","整体色调暖艳明丽，娇黄为底，朱红瑞凤穿梭于牡丹缠枝间循环铺陈。凤羽纤毫毕现，花容雍容温婉，缠枝卷叶灵动舒展，华贵雅致尽数融于寸缕之间。\n中段以浅蓝、素色素绫分隔画面，柔化视觉节奏，又以团花锦面衔接，宝相花团圆满规整，与通幅缠枝的柔婉相映成趣。收尾万字回纹连绵不绝，暗合福寿绵长的吉庆深意。\n整作提花走线匀整细腻，用色主次分明，将富丽宫廷审美与祥瑞意蕴交织，尽显清代织锦工艺的精巧工致。",[509,42,7,512,522,237,513],"几何纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03852273b36c208103ec03a0161daa6d.jpg",[],{"id":526,"slug":527,"title":528,"dynasty":38,"author":19,"museum":20,"description":529,"tags":530,"thumbUrl":533,"material":50,"size":51,"collection":29,"collections":534,"showCount":196,"zanCount":11,"manualWeight":11,"mainColor":81},259816,"yong-zheng-kuan-wu-cai-an-tuan-feng-wen-wan-yi-ming-259816","雍正款五彩暗团凤纹碗","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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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》。",[42,915,7,916],"织金锦","红色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa764122411188908c9d06cf93d12937e.jpg",[],{"id":920,"slug":921,"title":922,"dynasty":38,"author":19,"museum":20,"description":913,"tags":923,"thumbUrl":925,"material":50,"size":51,"collection":29,"collections":926,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},264027,"gu-tong-se-di-liu-jiao-feng-wen-jin-yi-ming-264027","古铜色地六角凤纹锦",[509,42,7,924],"六角纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceaf4ea89249cccf907548536382520d.jpg",[],{"id":928,"slug":929,"title":930,"dynasty":38,"author":19,"museum":20,"description":931,"tags":932,"thumbUrl":935,"material":50,"size":51,"collection":29,"collections":936,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},263956,"huang-se-yun-feng-wen-zhuang-hua-duan-yi-ming-263956","黄色云凤纹妆花缎","暖调底色明丽舒展，妆花工艺织就祥纹满幅。凤凰敛翅藏于流云之间，卷云缠枝舒展环绕，似携瑞气穿梭游走，灵动雅致。朱红、石青、草绿与鎏金彩线错落交织，配色繁而不杂，将吉庆意蕴织入经纬。提花层次分明，缎面光泽柔润华贵，经纬之间尽显织绣的富丽精巧，把东方传统的祥瑞意趣融于尺幅之间，古韵悠然。",[933,42,233,234,7,934],"黄色","丝织品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21b4b8d56946966c7edaa6c573b6b547.jpg",[],{"id":938,"slug":939,"title":940,"dynasty":18,"author":19,"museum":20,"description":263,"tags":941,"thumbUrl":943,"material":50,"size":51,"collection":29,"collections":944,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},261704,"long-qing-kuan-qing-hua-feng-wen-pan-yi-ming-261704","隆庆款青花凤纹盘",[265,266,7,942,45],"盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcac92f5c96d5c37ae31ad51d9d85bc6f.jpg",[],{"id":946,"slug":947,"title":948,"dynasty":38,"author":19,"museum":20,"description":604,"tags":949,"thumbUrl":951,"material":50,"size":51,"collection":29,"collections":952,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},261120,"dou-cai-li-wai-zhu-feng-wen-xiao-bei-yi-ming-261120","斗彩里外竹凤纹小杯",[265,307,7,950,610,45],"竹纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff761b10a32e5f134ff3a91be49a7f58d.jpg",[],{"id":954,"slug":955,"title":956,"dynasty":38,"author":19,"museum":20,"description":263,"tags":957,"thumbUrl":958,"material":50,"size":51,"collection":29,"collections":959,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},260786,"cheng-hua-kuan-qing-hua-si-feng-wen-wan-yi-ming-260786","成化款青花四凤纹碗",[265,266,531,7,158,45],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d8ca05eb8ebe0b9b7ea47c9d14f3fcf.jpg",[],{"id":961,"slug":962,"title":963,"dynasty":18,"author":19,"museum":20,"description":263,"tags":964,"thumbUrl":966,"material":50,"size":51,"collection":29,"collections":967,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},260371,"wan-li-kuan-qing-hua-chan-zhi-lian-shuang-feng-wen-wan-yi-ming-260371","万历款青花缠枝莲双凤纹碗",[265,266,7,965,45,531],"缠枝莲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F362994ded8918c2d03546bf91e8a9319.jpg",[],{"id":969,"slug":970,"title":971,"dynasty":38,"author":19,"museum":20,"description":263,"tags":972,"thumbUrl":974,"material":50,"size":51,"collection":29,"collections":975,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":81},260298,"cheng-hua-kuan-qing-hua-shuang-feng-wen-xiao-wan-yi-ming-260298","成化款青花双凤纹小碗",[265,266,7,973,45],"小碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab124ebbe97f14c4e7f6f08417c25a7b.jpg",[],{"id":977,"slug":978,"title":979,"dynasty":18,"author":19,"museum":20,"description":263,"tags":980,"thumbUrl":982,"material":50,"size":51,"collection":29,"collections":983,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":81},260091,"jia-jing-kuan-qing-hua-shou-zi-chan-zhi-shuang-feng-wen-wan-yi-ming-260091","嘉靖款青花“寿”字缠枝双凤纹碗",[265,266,7,421,981,45,531],"寿字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F123f7adf499234317ae3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