[{"data":1,"prerenderedAt":280},["ShallowReactive",2],{"subject-hua-die":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},8828,"hua-die","花蝶","花蝶画高清赏析","精选中国历代花蝶题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febfe8232e4b06fb2e0d850ecfd82f397.jpg",0,23,[14,38,49,61,73,85,101,114,125,140,152,164,174,186,195,207,218,226,234,240,249,262,272],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":30,"material":31,"size":32,"collection":33,"collections":34,"showCount":35,"zanCount":36,"manualWeight":11,"mainColor":37},268787,"yue-bai-se-chou-xiu-hua-die-wen-cai-lian-ao-ku-yi-ming-268787","月白色绸绣花蝶纹采莲袄裤","清","佚名","藏地不详","绸缎，泛指丝织物。古时多是有钱人家作为衣物，其颜色光滑亮丽，五彩缤纷。《儿女英雄传》第二回：“大凡到工的官儿们送礼，谁不是缂绣、呢羽、绸缎、皮张，还有玉玩、金器、朝珠、洋表的？” 老舍《四世同堂》四九：“他看不起绸缎的衣服，与文雅的态度，可又有点自惭形秽。”",[23,24,25,7,26,27,28,29],"衣帽","布料","刺绣","兰草","绸面","采莲","袄裤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fa382f61e77c770e73fd57ee66e8ab6.jpg","未知","Xcm*Xcm","",[],8,1,"F48FB1",{"id":39,"slug":40,"title":41,"dynasty":18,"author":19,"museum":20,"description":42,"tags":43,"thumbUrl":46,"material":31,"size":32,"collection":33,"collections":47,"showCount":35,"zanCount":11,"manualWeight":11,"mainColor":48},264462,"lv-se-shi-di-sha-xiu-hua-die-wen-chang-yi-liao-yi-ming-264462","绿色实地纱绣花蝶纹氅衣料","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 着线条横、直、斜的不同排列作丰富的变化，但花纹间的空眼必须对齐。\n以素纱为绣底，绣时须按格或数眼绣制。绣法垂直进行，以大套小的几何图案，绣满全幅，用色一般以每一几何形为单位。刺绣步骤：以波浪纹为例。从纹样边缘第一眼起针，跨过六个眼，在第七个眼下针，以后每针均往下移一个眼，绣到第十针后，每针均向上移一个眼，直至与第一眼相并列时，再往下移，如此循环往复，即成波浪形。第二皮波浪纹绣法相同，落针的针迹要在第一皮原针眼中，以后类推，直至绣满。",[24,44,25,7,45],"衣料","花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3cec3067c05311763e993cd2f55a136.jpg",[],"37474F",{"id":50,"slug":51,"title":52,"dynasty":18,"author":19,"museum":20,"description":21,"tags":53,"thumbUrl":57,"material":31,"size":32,"collection":33,"collections":58,"showCount":59,"zanCount":36,"manualWeight":11,"mainColor":60},268822,"mi-huang-se-an-hua-chou-xiu-zhe-zhi-hua-die-jin-pi-qiu-hua-wen-gui-men-pei-yi-ming-268822","米黄色暗花绸绣折枝花蝶金皮球花纹闺门帔",[23,24,25,7,54,55,56],"折枝花","皮球花纹","闺门帔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46982c4b58501b6d48c5329660bbee83.jpg",[],7,"BDBDBD",{"id":62,"slug":63,"title":64,"dynasty":18,"author":19,"museum":20,"description":65,"tags":66,"thumbUrl":71,"material":31,"size":32,"collection":33,"collections":72,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":48},262117,"fen-cai-mu-dan-hua-die-tu-ping-yi-ming-262117","粉彩牡丹花蝶图瓶","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。",[67,68,69,7,45,70],"陶瓷","粉彩","牡丹","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1d2bb33da1633b1020e4e63cf0f90b1.jpg",[],{"id":74,"slug":75,"title":76,"dynasty":18,"author":19,"museum":20,"description":77,"tags":78,"thumbUrl":82,"material":31,"size":32,"collection":33,"collections":83,"showCount":84,"zanCount":11,"manualWeight":11,"mainColor":48},261952,"fan-hong-cai-jia-jin-mu-dan-hua-die-wen-bi-tong-yi-ming-261952","矾红彩加金牡丹花蝶纹笔筒","笔筒： 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。",[67,70,79,80,81,69,7,45],"笔筒","矾红彩","加金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75e1253f1431ff25f055b09b5745a9ce.jpg",[],6,{"id":86,"slug":87,"title":88,"dynasty":18,"author":19,"museum":20,"description":89,"tags":90,"thumbUrl":98,"material":31,"size":32,"collection":33,"collections":99,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":48},268622,"dian-cui-liao-shi-zhu-hu-lu-hua-die-wen-tou-hua-yi-ming-268622","点翠料石珠葫芦花蝶纹头花","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。",[91,92,93,94,95,96,7,97],"饰品","点翠","玉石","料石","珠","葫芦","银器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca35c7a0ab7d4426f4f641bad4076cdd.jpg",[],4,{"id":102,"slug":103,"title":104,"dynasty":18,"author":19,"museum":20,"description":105,"tags":106,"thumbUrl":110,"material":31,"size":32,"collection":33,"collections":111,"showCount":112,"zanCount":11,"manualWeight":11,"mainColor":113},267472,"yin-hong-se-duan-xiu-zhe-zhi-hua-die-jin-shi-tuan-wan-fu-wen-nan-pei-yi-ming-267472","银红色缎绣折枝花蝶金十团万福纹男帔","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。",[23,24,25,7,107,108,109,45],"团纹","万福纹","男帔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F142bbe08da395d3b62c660c1fc857beb.jpg",[],3,"795548",{"id":115,"slug":116,"title":117,"dynasty":18,"author":19,"museum":20,"description":118,"tags":119,"thumbUrl":123,"material":31,"size":32,"collection":33,"collections":124,"showCount":112,"zanCount":11,"manualWeight":11,"mainColor":113},249418,"qia-si-fa-lang-jin-di-hua-die-wen-pie-kou-ping-yi-ming-249418","掐丝珐琅锦地花蝶纹撇口瓶","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”。",[120,121,18,7,122,70],"掐丝珐琅","珐琅器","锦地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01b978e5a80cd28ad337d2ec742325fe.jpg",[],{"id":126,"slug":127,"title":128,"dynasty":18,"author":19,"museum":20,"description":77,"tags":129,"thumbUrl":137,"material":31,"size":32,"collection":33,"collections":138,"showCount":139,"zanCount":11,"manualWeight":11,"mainColor":113},269368,"zi-tan-qian-bo-li-yu-shi-gou-qi-hua-die-tu-bi-tong-yi-ming-269368","紫檀嵌玻璃玉石枸杞花蝶图笔筒",[130,79,131,132,93,133,134,7,135,136],"木质","雕刻","镶嵌","玻璃","枸杞","山石","文房器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14a5078f7cbc59556cfbe7292b6e2ba3.jpg",[],2,{"id":141,"slug":142,"title":143,"dynasty":18,"author":19,"museum":20,"description":144,"tags":145,"thumbUrl":150,"material":31,"size":32,"collection":33,"collections":151,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":60},268851,"chuan-bo-li-zhu-long-hua-die-wen-dai-fen-hong-rong-qiu-da-guo-qiao-yi-ming-268851","串玻璃珠龙花蝶纹带粉红绒球大过桥","此件头饰以弧形为骨，湖蓝点翠铺陈底色，晕染出龙与花蝶的灵动轮廓，羽色匀净柔润，古韵悠然。金属花丝盘绕出卷草肌理，与莹润玻璃珠错落镶嵌，冷调珠光与翠色相映，华光熠熠。额前垂坠的珠链随步履轻摇，漾出柔婉韵律。\n\n两侧橘红绒球鲜亮饱满，为冷艳的珠光翠色添入鲜活暖意，契合舞台视觉张力。它融点翠、累丝、镶珠工艺于一身，既带着手作的精致考究，又尽显戏曲妆造的绮丽风华，将匠人的极致巧思与传统戏曲美学相融，是晚清戏曲头饰工艺的精巧缩影。",[91,146,147,7,148,149],"头饰","龙","玻璃珠","绒球","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff30acd6483ce248dd9359ed4535b798c.jpg",[],{"id":153,"slug":154,"title":155,"dynasty":18,"author":19,"museum":20,"description":156,"tags":157,"thumbUrl":162,"material":31,"size":32,"collection":33,"collections":163,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":113},261917,"qing-hua-hua-die-wen-wo-zu-xiao-wan-yi-ming-261917","青花花蝶纹卧足小碗","青花瓷（blue 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。",[67,158,7,159,160,161,135],"青花","小碗","日用具","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feec3069554dcbf37a538fd089cac9e6a.jpg",[],{"id":165,"slug":166,"title":167,"dynasty":18,"author":19,"museum":20,"description":168,"tags":169,"thumbUrl":172,"material":31,"size":32,"collection":33,"collections":173,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":48},261695,"dong-qing-you-fen-cai-zhe-zhi-hua-die-wen-zun-yi-ming-261695","冬青釉粉彩折枝花蝶纹尊","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。”",[67,68,54,7,170,171],"尊","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F310a70906ae6758c8fd6d1f224e505c8.jpg",[],{"id":175,"slug":176,"title":177,"dynasty":178,"author":19,"museum":20,"description":179,"tags":180,"thumbUrl":184,"material":31,"size":32,"collection":33,"collections":185,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":48},261258,"wan-li-kuan-wu-cai-bo-gu-hua-die-tu-pan-yi-ming-261258","万历款五彩博古花蝶图盘","明","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。",[67,181,182,7,183,160,171],"五彩","博古","盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16b83e9ad87b65af948816bf01b499a0.jpg",[],{"id":187,"slug":188,"title":189,"dynasty":18,"author":19,"museum":20,"description":190,"tags":191,"thumbUrl":193,"material":31,"size":32,"collection":33,"collections":194,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":48},249791,"qia-si-fa-lang-hua-die-bo-gu-tu-yuan-he-yi-ming-249791","掐丝珐琅花蝶博古图圆盒","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",[120,121,7,192,70,160],"博古图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8b178ca0246f5d9c5eba519dc2b95fd.jpg",[],{"id":196,"slug":197,"title":198,"dynasty":18,"author":19,"museum":20,"description":199,"tags":200,"thumbUrl":10,"material":31,"size":32,"collection":33,"collections":206,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":113},248734,"hei-qi-qian-luo-dian-yu-shi-hua-die-wen-ba-kong-yuan-zuo-yi-ming-248734","黑漆嵌螺钿玉石花蝶纹八孔圆座","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。",[201,202,203,204,205,7,70],"清代","漆器","嵌螺钿","玉石镶嵌","黑漆",[],{"id":208,"slug":209,"title":210,"dynasty":18,"author":19,"museum":20,"description":211,"tags":212,"thumbUrl":216,"material":31,"size":32,"collection":33,"collections":217,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":113},264277,"jiang-se-er-se-jin-hua-die-wen-zhi-jin-sha-pao-liao-yi-ming-264277","绛色二色金花蝶纹织金纱袍料","沉敛朱红为底，衬得泥金织纹愈发明媚鲜亮。纹样撷取四时花卉与蛱蝶团簇散布，疏密错落间晕开舒展韵律。缠枝花卉婉转娇柔，蝶翼轻振似有风掠过纱面，隐约透出纱料通透肌理。织金工艺匀净细腻，金粉凝于纱线之上，随光线流转漾出柔润光泽，尽显织造的精巧工致。整体既不失端庄华贵，又带着鲜活生机，将吉庆意蕴藏于花叶翩跹之间，是织绣工艺里兼具审美意趣与实用价值的精妙之作。",[24,213,214,45,7,171,215,23],"袍料","织金","设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaabd79eb049125100e4c0c36a200781.jpg",[],{"id":219,"slug":220,"title":221,"dynasty":18,"author":19,"museum":20,"description":179,"tags":222,"thumbUrl":224,"material":31,"size":32,"collection":33,"collections":225,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":113},262194,"cheng-hua-kuan-wu-cai-guo-zhi-hua-die-tu-pan-yi-ming-262194","成化款五彩过枝花蝶图盘",[67,181,7,45,183,223],"工笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c7d50b4847924147641dec8bf3d63a5.jpg",[],{"id":227,"slug":228,"title":229,"dynasty":18,"author":19,"museum":20,"description":230,"tags":231,"thumbUrl":232,"material":31,"size":32,"collection":33,"collections":233,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":113},262048,"fen-cai-hua-die-wen-zhan-tuo-yi-ming-262048","粉彩花蝶纹盏托","胎质莹白细腻，釉面如凝脂般温润匀净。粉彩绘饰蛱蝶轻花，蝶翼晕开柔润胭脂色，纤细翅脉勾勒出灵动姿态，似将振翅翩跹。小花点缀其间，红绿浅淡雅致，与素净底色相融无间。\n\n构图疏朗空灵，无繁缛堆砌，只以数笔淡彩，便将清隽意趣藏于瓷间。线条婉转柔和，设色清淡秀雅，把寻常茶器晕染出闲适恬淡的中式诗意，将饮茶时的幽闲意趣凝于这一方瓷托之上，尽显清和美雅。",[67,160,68,7,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa86729c1415c11815ae792771afaa3f2.jpg",[],{"id":235,"slug":236,"title":155,"dynasty":18,"author":19,"museum":20,"description":156,"tags":237,"thumbUrl":238,"material":31,"size":32,"collection":33,"collections":239,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":60},261916,"qing-hua-hua-die-wen-wo-zu-xiao-wan-yi-ming-261916",[67,158,7,45,160,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5a3b97f1693dd84251f9e12e5aa2be6.jpg",[],{"id":241,"slug":242,"title":243,"dynasty":178,"author":19,"museum":20,"description":156,"tags":244,"thumbUrl":247,"material":31,"size":32,"collection":33,"collections":248,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":48},257254,"jia-jing-kuan-qing-hua-shuang-long-hua-die-wen-chu-ji-zun-yi-ming-257254","嘉靖款青花双龙花蝶纹出戟尊",[245,67,158,147,7,246,223,70],"明代","出戟尊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0eac1acfe256b41064760b8f84e8146e.jpg",[],{"id":250,"slug":251,"title":252,"dynasty":18,"author":19,"museum":20,"description":253,"tags":254,"thumbUrl":260,"material":31,"size":32,"collection":33,"collections":261,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":48},250166,"qian-long-kuan-hua-fa-lang-hua-die-kai-guang-xi-yang-ren-wu-tu-gai-guan-yi-ming-250166","乾隆款画珐琅花蝶开光西洋人物图盖罐","此罐以松石绿为地，遍饰缠枝花蝶，繁而不乱，雅致灵动。多处开光打破满密构图，虚实相生。主开光绘西洋男女水岸晤面，远山楼宇明媚澄澈，晕染细腻柔和，尽显洛可可柔婉风情；小开光点缀中式山水小景，东西审美在此妙然交融。鎏金宝珠盖钮熠熠生辉，铜胎匀净温润，珐琅釉色鲜亮饱满，将清宫珐琅工艺的精湛与异域意趣完美结合，尽显华贵雅逸的宫廷气韵。",[255,256,67,215,223,257,258,7,259,45,70],"画珐琅","琺瑯器","开光","西洋人物","人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e2a3f625a5eb26e4d0d28ac5014aac9.jpg",[],{"id":263,"slug":264,"title":265,"dynasty":18,"author":19,"museum":20,"description":118,"tags":266,"thumbUrl":270,"material":31,"size":32,"collection":33,"collections":271,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":48},250162,"qia-si-fa-lang-jin-di-hua-die-wen-shuang-er-si-zu-fang-gai-lu-yi-ming-250162","掐丝珐琅锦地花蝶纹双耳四足方盖炉",[120,256,267,215,122,7,69,268,269,70],"铜制","双耳","四足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbf0c15d22ddb11b58fdd208f79fd29f.jpg",[],{"id":273,"slug":274,"title":275,"dynasty":18,"author":19,"museum":20,"description":190,"tags":276,"thumbUrl":278,"material":31,"size":32,"collection":33,"collections":279,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":48},246149,"miao-you-hua-die-wen-chang-fang-wei-jiao-he-yi-ming-246149","描油花蝶纹长方委角盒",[202,277,215,7,69,70,45],"描油","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9232b0b466bd1eef8d0e11b1986a62b4.jpg",[],1777535718801]