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钧窑 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用陶瓷、竹木、等制成的筒形插笔器具。笔筒是搁放毛笔的专用器物，据文献记载，它的材质有镏金、翡翠、紫檀和乌木，现在我们能够见到的传世器物，大多是用瓷或者是竹木制作的。具有收藏价值。",[45,46,47,48,7,49,50,51,52,53],"漆器","嵌螺钿","象牙","花卉","黑漆","花鸟纹","器物","镶嵌工艺","清代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f96eca1da40d23bceb99f8c8ce87a64.jpg","",[],41,"37474F",{"id":60,"slug":61,"title":62,"dynasty":42,"author":19,"museum":20,"description":63,"tags":64,"thumbUrl":70,"material":32,"size":33,"collection":55,"collections":71,"showCount":72,"zanCount":11,"manualWeight":11,"mainColor":73},250240,"hua-fa-lang-mu-dan-hua-hai-tang-shi-hua-lan-yi-ming-250240","画珐琅牡丹花海棠式花篮","此器取海棠花口造型，柔婉别致，黄铜提梁线条圆融流畅，包边勾勒出利落精致的轮廓。器内施匀净湖蓝珐琅，素雅沉静，衬得外壁明黄地色愈发鲜亮华贵。\n缠枝牡丹错落盛放，粉、紫、湖蓝各色花瓣晕染自然，层次饱满，枝叶舒展灵动，釉色莹润饱满，色阶过渡柔和细腻。重工彩饰繁而不俗，将宫廷雍容雅致的审美融于日常器用，尽显工艺精巧工细，花叶缠绵间晕开富丽温婉的气韵。",[65,66,67,68,69,7],"清代","画珐琅","琺瑯器","设色","牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6030dca69ed412a4c1f0f82a54f570be.jpg",[],18,"BDBDBD",{"id":75,"slug":76,"title":77,"dynasty":42,"author":19,"museum":20,"description":78,"tags":79,"thumbUrl":85,"material":32,"size":33,"collection":55,"collections":86,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":37},269587,"xiang-ya-diao-yun-he-wen-hai-tang-shi-deng-long-yi-ming-269587","象牙雕云鹤纹海棠式灯笼","此器取海棠造型，仰莲为口，线条柔婉舒展。器身以象牙为地，以百宝镶嵌出云鹤景致：云纹袅娜舒展，仙鹤或振翅翔空，或静立顾盼，灵动雅致，暗合延年吉祥意涵。\n\n口沿与胫部以蓝彩勾绘纹饰，晕染出明快层次，调和牙地素净质感。下承珐琅须弥底座，黄釉铺底点缀缠枝繁花，垂挂细密流苏，更添华贵雍容，配搭镂雕紫檀座，古雅沉稳，衬得整器清隽脱俗。\n\n集牙雕、百宝嵌与珐琅工艺于一身，温润牙色撞色百宝光泽，工法精妙，将陈设实用性与艺术观赏性相融，尽显清代工艺的雅致格调。",[80,47,81,82,83,7,84,24],"雕刻","灯笼","云纹","鹤","工艺品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc248ebe184b8e5d6c71ce5237f0b1505.jpg",[],14,{"id":89,"slug":90,"title":91,"dynasty":42,"author":19,"museum":20,"description":92,"tags":93,"thumbUrl":96,"material":32,"size":33,"collection":55,"collections":97,"showCount":87,"zanCount":98,"manualWeight":11,"mainColor":58},245988,"hei-qi-miao-jin-hua-niao-tu-hai-tang-shi-shou-lu-yi-ming-245988","黑漆描金花鸟图海棠式手炉","清代的玉炉很多，但用芙蓉石制作的炉却极少，这是因为做炉需要较大块的料，而芙蓉石一般裂纹很多不宜使用。中国芙蓉石的产量小，颜色与质地亦欠佳。",[65,45,94,95,7,24],"描金","花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd29d9256a200acc18f9ec5830426397.jpg",[],1,{"id":100,"slug":101,"title":102,"dynasty":42,"author":19,"museum":20,"description":103,"tags":104,"thumbUrl":108,"material":32,"size":33,"collection":55,"collections":109,"showCount":110,"zanCount":11,"manualWeight":11,"mainColor":73},248542,"zi-qi-miao-jin-yin-san-duo-wen-hai-tang-shi-yu-ti-cuan-he-yi-ming-248542","紫漆描金银三多纹海棠式玉屉攒盒","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。 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。",[45,94,105,68,106,7,107,24],"描银","三多纹","玉石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc7f37e64c5299ed21a4a46fbb0f5ea1.jpg",[],11,{"id":112,"slug":113,"title":114,"dynasty":42,"author":19,"museum":20,"description":115,"tags":116,"thumbUrl":120,"material":32,"size":33,"collection":55,"collections":121,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":58},246140,"qian-long-kuan-qiang-jin-cai-qi-an-ba-xian-wen-hai-tang-shi-he-yi-ming-246140","乾隆款戗金彩漆暗八仙纹海棠式盒","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",[65,45,117,118,7,119,24],"戗金彩漆","暗八仙纹","盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe43e28cf2bfb122e16920e6b0f56daba.jpg",[],10,{"id":124,"slug":125,"title":126,"dynasty":42,"author":19,"museum":20,"description":103,"tags":127,"thumbUrl":133,"material":32,"size":33,"collection":55,"collections":134,"showCount":135,"zanCount":98,"manualWeight":11,"mainColor":37},247563,"ti-hong-jin-wen-qian-yu-shi-song-shu-pu-tao-wen-hai-tang-shi-he-yi-ming-247563","剔红锦纹嵌玉石松鼠葡萄纹海棠式盒",[65,45,128,129,80,130,131,7,132],"剔红","嵌玉石","松鼠","葡萄","锦纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe464f8eab642b2ca75713ccbf980b83a.jpg",[],9,{"id":137,"slug":138,"title":139,"dynasty":42,"author":19,"museum":20,"description":140,"tags":141,"thumbUrl":145,"material":32,"size":33,"collection":55,"collections":146,"showCount":147,"zanCount":11,"manualWeight":11,"mainColor":37},251918,"fei-cui-fang-gu-tong-wen-hai-tang-shi-hua-gu-yi-ming-251918","翡翠仿古铜纹海棠式花觚","花觚这一瓷器品种产生于清初，主要盛行于顺治、康熙、乾隆时期。随着瓷器从乾隆后期及嘉庆开始衰退，这一品种已渐消失。我们欣赏不同时期得花觚时，可领略到不同时期的艺术风格，造型的变化，在欣赏它的艺术美感的同时，从色彩、胎釉、造型、胎体去辨别不同时期的品种，增强鉴别真伪得能力。",[65,107,80,142,143,7,144],"仿古风格","仿古铜纹","礼器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa097dffb509c3c7b1b7b599712740178.jpg",[],7,{"id":149,"slug":150,"title":151,"dynasty":42,"author":19,"museum":20,"description":152,"tags":153,"thumbUrl":160,"material":32,"size":33,"collection":55,"collections":161,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":73},258918,"kang-xi-kuan-qing-hua-ba-xian-tu-hai-tang-shi-hua-pen-yi-ming-258918","康熙款青花八仙图海棠式花盆","青花瓷（blue 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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。",[23,154,155,156,157,158,159,7],"青花","花盆","人物","八仙","仙鹤","麒麟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93663059657f4fa1029130ae3169093b.jpg",[],5,{"id":164,"slug":165,"title":166,"dynasty":42,"author":19,"museum":20,"description":167,"tags":168,"thumbUrl":171,"material":32,"size":33,"collection":34,"collections":172,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":37},258614,"qian-long-kuan-yao-bian-you-hai-tang-shi-hua-gu-yi-ming-258614","乾隆款窑变釉海棠式花觚","烧造瓷器，凡在开窑后发现不是预期的形状或釉色，以至于传世瓷器有时发生特异的情况者，都可说是“窑变”。《稗史汇编》说：“瓷有同是一质，遂成异质，同是一色，遂成异色者，水土所合，非人力之巧所能加，是之谓窑变。”总而言之，窑变大致可分为变形、变色、变质等数种。\n窑变釉，顾名思义，是器物在烧成过程中出现了意想不到的釉色效果。由于窑中含有多种呈色元素，经氧化或还原作用，瓷器在出窑后可能呈现出意外的釉色效果。因由窑变釉出现出于偶然，形态特别，人们又不知其原理，只知于窑内焙烧过程变化而得，故称之为“窑变釉”，俗语有“窑变无双”，就是指窑变釉的变化莫测，独一无二。",[23,169,7,65,170],"窑变釉","花觚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc1b432548da92c63dd2baba49658fa5.jpg",[34],{"id":174,"slug":175,"title":176,"dynasty":42,"author":19,"museum":20,"description":115,"tags":177,"thumbUrl":182,"material":32,"size":33,"collection":55,"collections":183,"showCount":162,"zanCount":98,"manualWeight":11,"mainColor":58},248375,"hei-qi-qian-luo-dian-yun-fu-shan-shui-tu-hai-tang-shi-er-ceng-tao-he-yi-ming-248375","黑漆嵌螺钿云蝠山水图海棠式二层套盒",[65,45,46,49,178,179,180,181,7],"云","蝠","山水","套盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50fa10a87d37c5d891377ae393c4a0bb.jpg",[],{"id":185,"slug":186,"title":187,"dynasty":42,"author":19,"museum":20,"description":188,"tags":189,"thumbUrl":191,"material":32,"size":33,"collection":55,"collections":192,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":37},229135,"lu-jun-you-hai-tang-shi-ci-ping-yi-ming-229135","炉钧釉海棠式瓷瓶","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。",[65,23,190,7,24],"炉钧釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3481403bbb101c9f614bb6028cf95c8d.jpg",[],{"id":194,"slug":195,"title":196,"dynasty":197,"author":19,"museum":20,"description":198,"tags":199,"thumbUrl":207,"material":32,"size":33,"collection":55,"collections":208,"showCount":209,"zanCount":11,"manualWeight":11,"mainColor":37},270270,"xuan-de-kuan-tong-long-feng-hai-shou-wen-hai-tang-shi-xun-lu-yi-ming-270270","宣德款铜龙凤海兽纹海棠式熏炉","明","海棠式器身雅致隽秀，鎏金兽耳平添威严气势。炉盖透雕缠枝云海，游龙穿徊其间，身姿矫健灵动，烟云缭绕间尽显飘逸意境。炉身高浮雕龙凤海兽于惊涛中翻腾，线条苍劲利落，纹饰层次分明，将神兽雄健与浪涛汹涌刻画得淋漓尽致，尽显炉火纯青的铸造与雕刻工艺。整体沉稳古朴，古韵盎然，将龙凤呈祥的祥瑞寓意与精湛匠艺相融，尽显雄浑气度与雅致意蕴，是一件兼具审美与收藏价值的上乘铜制佳器。",[200,201,202,7,80,203,204,205,206],"青铜器","铜制","熏炉","龙","凤","海兽","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64968f27c70ae0472a42176b27e3f11b.jpg",[],4,{"id":211,"slug":212,"title":213,"dynasty":42,"author":19,"museum":20,"description":214,"tags":215,"thumbUrl":220,"material":32,"size":33,"collection":34,"collections":221,"showCount":209,"zanCount":11,"manualWeight":11,"mainColor":58},258999,"yi-xing-yao-zi-sha-hai-tang-shi-gao-zu-pan-yi-ming-258999","宜兴窑紫砂海棠式高足盘","宜兴窑，在今江苏宜兴丁蜀镇，故名。烧瓷历史悠久，秦汉时宜兴地区陶窑密布；两晋时在均山烧青瓷，唐初在归径等地大量烧制，至晚唐、五代成为南方民间著名青瓷窑；宋、元时期，丁蜀与西渚一带大规模烧造日用陶和早期紫砂。明清时成为当时的烧陶中心。涧众村发现有唐代青瓷窑址。明代以紫砂器闻名于世，出现不少制紫砂壶名家，如供春；时大彬、李仲芳、陈仲美等，并仿烧宋代钧窑器物，因有"宜钧"之称。\n在今江苏宜兴市南部的丁蜀镇一带，故称为宜兴窑。宜兴窑从汉代始烧红陶、灰陶、和原始青瓷等等，其烧制陶瓷的历史一直延续到今天，有2000多年，故可称是最古老的窑口。宋代已开始烧造紫砂器，明代的紫砂器闻名于世，清代是其高峰。建国后，宜兴除传统的紫砂陶、均陶有很大发展外，还恢复了青瓷生产，新创了花釉陶和精陶等产品，是我国重点陶瓷产区之一。",[65,216,23,7,217,218,24,219],"紫砂","高足","盘","紫砂工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F124398ce3cbf243d6d5a38ff2d55a8bb.jpg",[34],{"id":223,"slug":224,"title":225,"dynasty":42,"author":19,"museum":20,"description":92,"tags":226,"thumbUrl":234,"material":32,"size":33,"collection":55,"collections":235,"showCount":209,"zanCount":11,"manualWeight":11,"mainColor":37},249231,"hua-fa-lang-kai-guang-niao-shou-tu-hai-tang-shi-shou-lu-yi-ming-249231","画珐琅开光鸟兽图海棠式手炉",[42,66,227,68,228,229,230,231,180,48,232,233,7],"开光","工笔","鸟兽","鹿","树","手炉","珐琅器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2cfb8fcbf492f6abf3e0aa0757746bd.jpg",[],{"id":237,"slug":238,"title":239,"dynasty":42,"author":19,"museum":20,"description":115,"tags":240,"thumbUrl":243,"material":32,"size":33,"collection":55,"collections":244,"showCount":209,"zanCount":11,"manualWeight":11,"mainColor":37},247564,"ti-cai-fu-shou-xian-he-wen-hai-tang-shi-h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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。",[42,23,251,68,252,253,7,254,255],"粉彩","书法","印章","红地","诗文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec0cb62a06729b69f3883a31b6ca6820.jpg",[],{"id":259,"slug":260,"title":261,"dynasty":18,"author":19,"museum":20,"description":103,"tags":262,"thumbUrl":267,"material":32,"size":33,"collection":55,"collections":268,"showCount":209,"zanCount":11,"manualWeight":11,"mainColor":37},227795,"shuang-chi-wen-hai-tang-shi-yu-huan-yi-ming-227795","双螭纹海棠式玉环",[263,107,264,80,265,266,7],"宋代","玉器","螭纹","双螭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6441698cf35e2b16b5c1dcc0f0d98f1.jpg",[],{"id":270,"slug":271,"title":272,"dynasty":197,"author":19,"museum":20,"description":273,"tags":274,"thumbUrl":278,"material":32,"size":33,"collection":55,"collections":279,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":37},270266,"xuan-de-kuan-tong-pan-chi-wen-si-zu-hai-tang-shi-gai-lu-yi-ming-270266","宣德款铜蟠螭纹四足海棠式盖炉","此炉取海棠形制，轮廓柔婉舒展，四足敦实沉稳，刚柔相济。双龙探身为耳，昂首拱卫，筋骨灵动，尽显螭龙威仪。莲苞为钮，盖面透雕缠枝卷草，烟气可自镂隙悠然漫出，虚实相映成趣。炉身浅刻蟠螭纹，线条古拙苍劲，纹饰排布疏密得当，尽显制器工法的炉火纯青。周身包浆浑厚温润，铜色内敛沉雅，将庙堂礼制的端重与文房清赏的意趣融为一体，焚香时烟霞穿镂花轻散，闲赏时可摩挲古铜的岁月肌理，是一件集实用与雅赏于一身的上乘铜器。",[200,201,80,203,275,276,7,277],"香炉","蟠螭纹","四足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F208dda40aefc2f4372c4e9ba44ef68cf.jpg",[],3,{"id":282,"slug":283,"title":284,"dynasty":42,"author":19,"museum":20,"description":249,"tags":285,"thumbUrl":288,"material":32,"size":33,"collection":55,"collections":289,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":37},269549,"xiang-ya-diao-hai-tang-shi-pan-yi-ming-269549","象牙雕海棠式盘",[47,80,286,24,48,287,7],"日用具","蝴蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69f18a069637025495d11113777187ff.jpg",[],{"id":291,"slug":292,"title":213,"dynasty":42,"author":19,"museum":20,"description":214,"tags":293,"thumbUrl":295,"material":32,"size":33,"collection":34,"collections":296,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":73},259000,"yi-xing-yao-zi-sha-hai-tang-shi-gao-zu-pan-yi-ming-259000",[65,23,216,7,294,24],"高足盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefb2b69a87326612e1e0060006fbb6d0.jpg",[34],{"id":298,"slug":299,"title":300,"dynasty":42,"author":19,"museum":20,"description":301,"tags":302,"thumbUrl":305,"material":32,"size":33,"collection":55,"collections":306,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":58},258797,"jia-qing-kuan-lv-di-fen-cai-kai-guang-fan-hong-cai-shi-wen-hai-tang-shi-xi-yi-ming-258797","嘉庆款绿地粉彩开光矾红彩诗文海棠式洗","此器造型取海棠花形，轮廓柔婉灵动，自带清雅隽秀之姿。地釉匀净莹润，以粉彩敷设缠枝花卉，碧色为底托衬粉红外彩，繁花妍丽饱满，描金边饰晕出细腻华贵。开光内矾红书就诗文，笔力端稳规整，文气与瓷韵相融，将文房清趣与彩瓷装饰精妙结合，尽显清中期制瓷工艺的雅致格调，是兼具赏玩与实用的文房佳器。",[23,303,251,227,304,68,7,255,24],"绿地","矾红彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe149a01e325c6a501b89f35c67195b83.jpg",[],{"id":308,"slug":309,"title":310,"dynasty":18,"author":19,"museum":20,"description":21,"tags":311,"thumbUrl":314,"material":32,"size":33,"collection":34,"collections":315,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":316},256987,"jun-yao-mei-gui-zi-you-hai-tang-shi-hua-pen-yi-ming-256987","钧窑玫瑰紫釉海棠式花盆",[18,312,169,23,24,313,7,155],"钧窑","玫瑰紫釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2797045d27c959cc18781dc27d348bf5.jpg",[34],"F48FB1",{"id":318,"slug":319,"title":320,"dynasty":18,"author":19,"museum":20,"description":21,"tags":321,"thumbUrl":323,"material":32,"size":33,"collection":34,"collections":324,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":37},256715,"jun-yao-mei-gui-zi-you-hai-tang-shi-si-zu-hua-pen-tuo-yi-ming-256715","钧窑玫瑰紫釉海棠式四足花盆托",[18,23,169,313,7,277,322],"器型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd281c8f6c93ea491544cbb4b0aa70b5c.jpg",[34],{"id":326,"slug":327,"title":328,"dynasty":42,"author":19,"museum":20,"description":92,"tags":329,"thumbUrl":330,"material":32,"size":33,"collection":55,"collections":331,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":73},249570,"hua-fa-lang-hua-hui-kai-guang-niao-shou-tu-hai-tang-shi-shou-lu-yi-ming-249570","画珐琅花卉开光鸟兽图海棠式手炉",[42,66,233,201,7,68,228,227,48,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45a4e74e6d1121c632d883c99148adf8.jpg",[],{"id":333,"slug":334,"title":102,"dynasty":42,"author":19,"museum":20,"description":103,"tags":335,"thumbUrl":340,"material":32,"size":33,"collection":55,"collections":341,"sho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