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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。",[104,105,47,7],"宋代","漆器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52e2d3ed75525d3538518a6476e4a468.jpg",[],7,"F48FB1",{"id":111,"slug":112,"title":113,"dynasty":101,"author":19,"museum":20,"description":114,"tags":115,"thumbUrl":122,"material":50,"size":51,"collection":31,"collections":123,"showCount":124,"zanCount":11,"manualWeight":11,"mainColor":84},291010,"song-xiu-bai-ying-zhou-yi-ming-291010","宋绣白鹰轴","藏蓝底色如沉夜长空，将苍鹰衬得愈发醒目。绣线分毫毕现还原鹰身肌理，绒羽蓬松柔婉、正羽苍劲爽利，明暗晕染仿若笔绘。利爪紧扣木枝，目光斜睨远方，颈羽微张自带桀骜气度，脚间绦绳柔缓垂落，刚柔相济，消解了猛禽的戾气，更衬出鹰的凛然傲骨。\n\n以针代笔，将写实工致与写意神韵相融，把苍鹰暂居却不失英武的瞬间定格绢上，尽显丝绣工艺的极致匠心，将猛禽的孤傲风骨凝于方寸之间。",[116,117,118,119,120,121,7],"立轴","刺绣","鹰","禽鸟","花鸟","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb3247327adb0dc78157b7678a51e132.jpg",[],5,{"id":126,"slug":127,"title":128,"dynasty":18,"author":19,"museum":20,"description":129,"tags":130,"thumbUrl":137,"material":50,"size":51,"collection":31,"collections":138,"showCount":139,"zanCount":11,"manualWeight":11,"mainColor":84},245987,"hei-qi-miao-jin-jin-wen-qian-zhu-hu-lu-shi-ti-he-yi-ming-245987","黑漆描金锦纹嵌竹葫芦式提盒","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",[23,105,48,131,132,133,134,135,7,136],"嵌竹","葫芦式","提盒","锦纹","黑漆","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac3a8e106dc3fa3a168e7c486589fca2.jpg",[],4,{"id":141,"slug":142,"title":143,"dynasty":18,"author":19,"museum":20,"description":144,"tags":145,"thumbUrl":152,"material":50,"size":51,"collection":31,"collections":153,"showCount":154,"zanCount":11,"manualWeight":11,"mainColor":54},245647,"jin-chang-fang-pen-mu-shi-tao-lu-pen-jing-yi-ming-245647","金长方盆木石桃鹿盆景","此盆景金盆錾刻蝠纹拱寿，流光溢彩华贵端庄。木枝桃树遒劲苍古，翠叶舒展间，玛瑙与碧玉寿桃垂缀枝头，饱满莹润，鲜活如生。配景以玉石雕就灵鹿，憨态可掬静立一隅，衬以玛瑙花与翠色仙草，错落生趣。\n它集雕琢、錾镶工艺于一身，将长寿、福禄的吉庆寓意藏于细节，把匠心巧思融于雅致陈设中，尽显工艺卓绝精巧，是东方吉祥意涵与造物美学融为一体的绝佳摆件。",[7,47,61,146,147,148,149,150,151],"木质","石","桃","鹿","枝叶","盆景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaa865d3e9a3f4ce455932e57c344cd7.jpg",[],3,{"id":156,"slug":157,"title":158,"dynasty":18,"author":19,"museum":20,"description":159,"tags":160,"thumbUrl":162,"material":50,"size":51,"collection":31,"collections":163,"showCount":154,"zanCount":11,"manualWeight":11,"mainColor":164},241923,"yin-du-jin-zhu-hua-yi-ming-241923","银镀金珠花","以银镀金为底骨，攒串莹白米珠勾勒出柔婉花枝，如将春夜凝霜缀满枝桠。两颗翠绿饰石点缀其间，恰似初绽花苞，澄澈温润晕出一抹生机。\n\n整体造型灵动舒展，仿似春风里斜逸的花影，将人工巧思融于天然意趣。米珠排布细密齐整，不见焊缀痕迹，尽显细作工艺的精妙。将闺阁雅致悄然藏在发间，静述旧时妆仪的温婉风华，轻摇间便流淌出东方仕女妆饰的含蓄柔美。",[23,73,161,62,92,24,7],"珠花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d9c465bf967b228bf87e3f255157a50.jpg",[],"FFFFFF",{"id":166,"slug":167,"title":168,"dynasty":18,"author":19,"museum":20,"description":169,"tags":170,"thumbUrl":173,"material":50,"size":51,"collection":31,"collections":174,"showCount":175,"zanCount":11,"manualWeight":11,"mainColor":84},245372,"jin-fo-ta-yi-ming-245372","金佛塔","此塔宝顶嵌饰珠玉日月，光华内敛而威仪具足。覆钵塔身开龛奉佛，周身錾刻细密纹饰，将雪域佛塔的神圣意蕴融于寸厘之间。通体鎏金璨然生辉，塔刹层叠有序，束腰基座围栏细节考究，线条婉转华美。\n\n它凝萃手工技艺的极致水准，把藏地佛塔的清净庄严尽数铺展，是信仰与匠心交织淬炼的上乘之作，静静伫立间，尽显佛家静穆高华的气韵。",[18,171,61,47,172,23,7],"宗教","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60ae3715cdc41265638f00297328d7b3.jpg",[],2,{"id":177,"slug":178,"title":179,"dynasty":18,"author":19,"museum":20,"description":180,"tags":181,"thumbUrl":185,"material":50,"size":51,"collection":31,"collections":186,"showCount":175,"zanCount":11,"manualWeight":11,"mainColor":36},242020,"yin-du-jin-qian-bao-shi-dian-hua-yi-ming-242020","银镀金嵌宝石钿花","用金、银、玉、贝等做成的花朵状装饰品。",[23,24,78,61,62,182,183,184,7],"珍珠","珊瑚","宝石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21d4a55d63bbde248a10f63aa3c7a8ac.jpg",[],{"id":188,"slug":189,"title":190,"dynasty":18,"author":19,"museum":20,"description":191,"tags":192,"thumbUrl":194,"material":50,"size":51,"collection":31,"collections":195,"showCount":175,"zanCount":11,"manualWeight":11,"mainColor":36},229413,"xiang-zhu-shi-hua-hui-dai-tou-yao-dai-yi-ming-229413","镶珠石花卉带头腰带","这款腰带以双色缎带为底，华贵雅致。主饰以金累丝为托，围镶珍珠，中心错落镶嵌深邃饱满的蓝宝石，辅以明艳的红宝石点缀，构图规整庄重，宝石光泽莹润，尽显富丽堂皇。两枚主饰下悬金质花卉挂饰，花叶以彩宝点缀，鲜活生动，为沉稳的配饰增添灵动意趣。末端带扣满饰珍珠，以红宝石、珠玉点缀边际，与主饰呼应和谐。整体花丝镶嵌工艺细腻入微，珠宝排布疏密得当，尽显清代珠宝配饰的精湛工艺与奢华审美，是兼具装饰性与工艺价值的配饰佳作。",[23,24,62,26,193,61,7],"花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8fa9ecdf9d129bf384b17689c14802c.jpg",[],{"id":197,"slug":198,"title":199,"dynasty":18,"author":19,"museum":20,"description":200,"tags":201,"thumbUrl":204,"material":50,"size":51,"collection":31,"colle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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。",[25,47,268,23,136,7],"嵌玉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea000c289a623b6841730dfc5318a63c.jpg",[],{"id":272,"slug":273,"title":274,"dynasty":18,"author":19,"museum":20,"description":129,"tags":275,"thumbUrl":281,"material":50,"size":51,"collection":31,"collections":282,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},247528,"ti-hong-shan-shui-ren-wu-tu-kai-guang-hua-hui-wen-mei-hua-shi-he-yi-ming-247528","剔红山水人物图开光花卉纹梅花式盒",[18,105,276,47,277,278,279,193,280,226,7],"剔红","开光","山水","人物","梅花式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe59b7eb05ea843a58a5fcad948e02722.jpg",[],{"id":284,"slug":285,"title":286,"dynasty":18,"author":19,"museum":20,"description":287,"tags":288,"thumbUrl":293,"material":50,"size":51,"collection":31,"collections":294,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},246711,"ti-hong-hu-lu-wen-da-ji-hu-lu-shi-ping-yi-ming-246711","剔红葫芦纹大吉葫芦式瓶","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。",[18,105,276,47,289,290,291,292,226,7],"葫芦纹","文字","大吉","葫芦式造型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed2be0ad8f1dac3d3ca5adc3d3f8a68a.jpg",[],{"id":296,"slug":297,"title":298,"dynasty":18,"author":19,"museum":20,"description":299,"tags":300,"thumbUrl":302,"material":50,"size":51,"collection":31,"collections":303,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":84},245654,"jin-ye-biao-wen-yi-ming-245654","金叶表文","此器以黄金为材，筒身满饰缠枝纹，錾刻走线匀净流畅，枝叶蜿蜒往复如流金织就的锦绣，尽显华贵雍容。盖顶作宝塔状，层层收束，为整器添了几分庄重威仪。\n\n筒中金叶承载表文，以黄金为纸，将虔诚心绪凝铸其中。明丽金泽历经岁月仍温润如初，缠枝肌理层次分明，将金细作工艺的精妙展露无余。整器将贵金属的奢华与肃穆礼制意蕴相融，静诉旧时虔敬礼制的独特风华，尽显工艺的极致考究。",[61,47,301,23,7],"书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e808d67e07bd71e34f6a5a5d134092e.jpg",[],{"id":305,"slug":306,"title":307,"dynasty":18,"author":19,"museum":20,"description":308,"tags":309,"thumbUrl":311,"material":50,"size":51,"collection":31,"collections":312,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},245590,"jin-lei-si-wan-nian-ru-yi-yi-ming-245590","金累丝万年如意","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。",[310,61,136,23,7,47],"金累丝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e7ee146534744e3206894bccea91034.jpg",[],{"id":314,"slug":315,"title":316,"dynasty":18,"author":19,"museum":20,"description":317,"tags":318,"thumbUrl":322,"material":50,"size":51,"collection":31,"collections":323,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":84},241698,"huang-bi-xi-chao-zhu-yi-ming-241698","黄碧玺朝珠","此朝珠以黄碧玺为主体，珠体澄澈匀净，明黄底色自带仪典的庄重华贵。粉碧玺佛头、结珠与坠角柔润鲜活，以暖粉调和明黄的肃穆，两相映衬更见灵动。\n\n中央背云以累丝金托镶就，朱色碧玺为芯，环饰蓝宝石与绿松石，方寸间尽显花丝工艺的精妙瑰丽。三串记捻缀以色泽各异的宝石坠脚，红绿蓝三色错落点缀，于严整制式里暗藏精巧细节。\n天然晶石的通透肌理与宫廷细作完美相融，尽显旧时礼制之下的奢华审美意趣。",[23,24,25,184,319,62,320,321,7],"串珠","坠饰","金属件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05a2295fd0a4d6b6ef3002852cb6497f.jpg",[],{"id":325,"slug":326,"title":327,"dynasty":18,"author":19,"museum":20,"description":129,"tags":328,"thumbUrl":331,"material":50,"size":51,"collection":31,"collections":332,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":84},229673,"qian-long-kuan-ren-wu-diao-qi-he-yi-ming-229673","乾隆款 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[2] 珐琅依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。其中掐丝珐琅器就是俗称的“景泰蓝”，15世纪中期明代景泰年间的制品尤为著称，故有景泰蓝之称。\n清代，西洋珐琅从广州传入中国，广州生产的珐琅俗称“广珐琅”，是朝廷的贡品，其中最著名的是画珐琅 ，錾胎珐琅的制作中心也在广州，透明珐琅器也以广州出产的最为著名。",[18,351,352,353,354,255,7],"铜制","珐琅器","烛台","装饰纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1836d1217b2f455f4044d589b7ca583.jpg",[],1777535716030]