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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。",[23,24,25,7,26],"衣帽","布料","平金银绣","氅衣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d1f9b200dd9f53e1e8d38d1db3a80b4.jpg","未知","Xcm*Xcm","",[],7,"795548",{"id":35,"slug":36,"title":37,"dynasty":18,"author":19,"museum":20,"description":38,"tags":39,"thumbUrl":43,"material":28,"size":29,"collection":30,"collections":44,"showCount":45,"zanCount":11,"manualWeight":11,"mainColor":46},268436,"dian-cui-he-hua-wen-tou-hua-yi-ming-268436","点翠荷花纹头花","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。",[40,41,42,7],"饰品","头花","点翠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13b90a2675f2221702eff30866784b5a.jpg",[],3,"37474F",{"id":48,"slug":49,"title":50,"dynasty":18,"author":19,"museum":20,"description":51,"tags":52,"thumbUrl":10,"material":28,"size":29,"collection":30,"collections":59,"showCount":45,"zanCount":11,"manualWeight":11,"mainColor":46},241946,"cui-diao-he-hua-wen-bei-yun-yi-ming-241946","翠雕荷花纹背云","米珠攒簇作隔珠，珍珠莹润似凝露，珊瑚雕件鲜活娇妍，晕开一抹暖橙亮色。主体翠背云碧色澄澈水灵，随形雕就荷茎舒叶，线条婉转柔婉，仿若将仲夏荷塘的清逸凝于方寸，自带出尘雅致。尾缀粉碧玺水滴坠子，柔光轻漾，将冷翠暖朱的色调悄然调和。\n\n整串佩饰主次相宜，将各材质的天然肌理与巧思排布相融，暗合旧时闺阁的娴雅意趣，尽展清隽秀美的东方雅致格调。",[53,54,55,7,40,56,57,58],"清代","玉石","雕刻","珍珠","粉晶","珊瑚",[],{"id":61,"slug":62,"title":63,"dynasty":18,"author":19,"museum":20,"description":64,"tags":65,"thumbUrl":69,"material":28,"size":29,"collection":30,"collections":70,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":72},281462,"yin-cha-ju-he-hua-wen-zhi-hu-yi-ming-281462","银茶具-荷花纹执壶","梨形壶身柔润秀雅，修长弯流与蜷曲执柄线条流转舒展。通体以高浮雕铺陈荷塘盛景，菡萏或绽或含，修长茎叶错落交织，将夏日莲池的清灵逸趣凝于银质肌理。盖顶兽钮精巧别致，执柄暗缀莲苞饰纹，细节呼应主题，浑然相融。经年岁月晕出深浅虹彩包浆，为冷硬银器晕开温润古意，将东方雅致审美熔铸于金属质感中，静诉旧时饮茶雅事的悠然意韵。",[66,67,68,7,55],"银器","日用具","执壶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39556653fb548e7c5e8e9ddbed952083.jpg",[],2,"BDBDBD",{"id":74,"slug":75,"title":76,"dynasty":77,"author":19,"museum":20,"description":78,"tags":79,"thumbUrl":83,"material":28,"size":29,"collection":30,"collections":84,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":33},260099,"qing-you-ke-hua-he-hua-wen-pan-yi-ming-260099","青釉刻花荷花纹盘","南北朝","中国瓷器著名传统颜色釉。亦称“青瓷釉”。古代南方青釉，是瓷器最早的颜色釉。\n所谓“青釉”，颜色并不是纯粹的青，有：月白、天青、粉青、梅子青、豆青、豆绿、翠青等，但多少总能泛出一点青绿色。同时，古人往往将青、绿、蓝三种颜色，一统称为“青色”，例如许之衡《饮流斋说瓷》称：“古瓷尚青，凡绿也、蓝也，皆以青括之。”刘子芬《竹园陶说》中也说：“青色一种，常与蓝色相混。雨过天晴，钧窑、元窑之青，皆近蓝色。”“惟千峰翠色、梅子青、豆青、乃为纯青耳。天色本蓝，有时为青。”\n青釉是我国使用最早，延用时间最久，分布最广的一个釉种，它的发明是与我国瓷土矿大都含有一定量的铁矿的现象相一致的。青色也符合我国人民的传统审美情趣。青色与碧玉相若，认为稳重而高雅。浙江、江西、河南等地已出土了不少早至商周时期的原始青釉瓷。六朝至唐宋以越窑为代表的南方青釉瓷；宋到元明的龙泉窑系青瓷；耀州窑、临汝窑、钧窑等宋代北方青瓷；以及明、清以来的景德镇青釉瓷，是青釉发展的几个重要阶段，所谓的宋代“汝、定、官、哥、钧”五大名窑，除定窑外均属青釉瓷。表釉的呈色主要决定于着色氧化物的含铁量与烧成气氛，青釉含铁量一般在1—3%左右，过高会变成黑釉，低了就能烧成白瓷。在还原气氛中烧成。釉色青绿；在氧化气氛中烧成，釉色泛黄。因而陶瓷界所谓的青釉是相对而言的，正如许之衡《饮流斋说瓷》中所说：“古瓷尚青，凡绿也，蓝也，皆以青括之。”",[80,67,81,7,82],"陶瓷","刻花","青釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe532b0ccc0480b2ec406a4d3b724acec.jpg",[],{"id":86,"slug":87,"title":88,"dynasty":89,"author":19,"museum":20,"description":90,"tags":91,"thumbUrl":94,"material":28,"size":29,"collection":30,"collections":95,"showCount":96,"zanCount":11,"manualWeight":11,"mainColor":33},260631,"qing-hua-he-hua-wen-pan-yi-ming-260631","青花荷花纹盘","明","青花瓷（blue 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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。",[53,109,110,111,55,7,112],"漆器","剔红","嵌玉","锦纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F582bf8ee151c008da45842d122693610.jpg",[],1777535740141]