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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。",[23,24,25,26,27,28,29,30,7],"陶瓷","青花","明代","折枝花果","器","纹饰","釉下彩","折枝纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf90d7e498aa537c48f5149e692561cb.jpg","未知","Xcm*Xcm","",[],18,"BDBDBD",{"id":39,"slug":40,"title":41,"dynasty":42,"author":19,"museum":20,"description":43,"tags":44,"thumbUrl":48,"material":32,"size":33,"collection":34,"collections":49,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":37},260572,"yong-zheng-fen-cai-hua-guo-wen-xiao-wan-yi-ming-260572","雍正粉彩花果纹小碗","清","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。",[23,45,7,46,47,27],"粉彩","日用具","设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f364afa7eba837c2439dfdb5de93a89.jpg",[],2,{"id":52,"slug":53,"title":54,"dynasty":42,"author":19,"museum":20,"description":43,"tags":55,"thumbUrl":59,"material":32,"size":33,"collection":34,"collections":60,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":37},248494,"hong-qi-miao-jin-zhe-zhi-hua-guo-wen-gai-wan-yi-ming-248494","红漆描金折枝花果纹盖碗",[56,57,47,58,7,27],"漆器","描金","折枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d8999d09de70accb3bab2e5ca302153.jpg",[],{"id":62,"slug":63,"title":64,"dynasty":42,"author":19,"museum":20,"description":65,"tags":66,"thumbUrl":73,"material":32,"size":33,"collection":34,"collections":74,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":75},248372,"ti-hong-jin-di-hua-guo-an-ba-xian-wen-fang-xia-yi-ming-248372","剔红锦地花果暗八仙纹方匣","此方匣方正端凝，通身髹朱漆厚重莹润，底纹为细密锦地，刀工匀整齐一，如织锦般肌理细腻。盖面以回纹界出四方开光，内中剔刻花果与暗八仙，纹饰饱满灵动，吉祥意趣藏于刀痕之间。抽门配铜质鎏金锁扣，古拙雅致，兼顾收纳之用与陈设雅韵。整体雕工藏锋内敛，线条圆转流畅，将匠心巧思融于方寸器形，尽显清式雕漆的成熟工艺，把礼制意蕴与日常雅趣凝为一体，静穆中见精巧雅致。",[67,56,68,69,70,7,71,27,72],"清代","剔红","雕刻","锦地纹","暗八仙纹","方匣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99c0fc8c36881f66d50162d194a8ded1.jpg",[],"795548",{"id":77,"slug":78,"title":64,"dynasty":42,"author":19,"museum":20,"description":79,"tags":80,"thumbUrl":82,"material":32,"size":33,"collection":34,"collections":83,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":75},248029,"ti-hong-jin-di-hua-guo-an-ba-xian-wen-fang-xia-yi-ming-248029","此匣以剔红技法成器，通身朱红漆色沉凝温润，经年晕染出醇厚包浆。刀工深峻利落，于龟背锦地之上，以回纹勾出对称规整的装饰框架，中央团寿坐镇，四方铺陈饱满鲜活的花果，暗八仙纹各藏意趣，将福寿吉庆的祈愿隐刻其间。\n铜饰包边勾勒棱角，錾花拉手精巧雅致，既加固器身又添装饰层次。抽屉错落排布，兼顾陈设审美与收纳实用，是漆作工艺与日常意趣的绝佳融合。",[67,56,68,69,70,7,71,81],"方形器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f52807c226346ed1fe209c9ecf2ae2d.jpg",[],{"id":85,"slug":86,"title":87,"dynasty":42,"author":19,"museum":20,"description":88,"tags":89,"thumbUrl":95,"material":32,"size":33,"collection":34,"collections":96,"showCount":97,"zanCount":11,"manualWeight":11,"mainColor":37},263986,"zi-se-di-xie-hua-guo-wen-hui-hui-zhi-jin-yin-jin-yi-ming-263986","紫色地斜花果纹回回织金银锦","《说文》：“锦，襄邑织文。从帛，金声。”即用彩色经纬丝织出各种图案花纹的纺织品，泛指具有多种彩色花纹的丝织物。锦的生产工艺要求高，织造难度大，所以它是古代最贵重的织物。“锦，金也，作之用功重，其价如金。”古人把锦看成和黄金等价。这种织物有经起花和纬起花两种，也叫经锦和纬锦。经锦是用两组或两组以上的经线同一组纬线交织。经线多的二色或三色，一色一根作为一副，如果需要更多的颜色，也可以使用牵色条的方法。纬线有明纬和夹纬；用夹纬把每副中的表经和底经分隔开，用织物正面的经浮点显花。\n用染好颜色的彩色经纬线，经提花、织造工艺织出图案的织物。中国丝织提花技术起源久远。早在殷商时代中国已有丝织物。周代丝织物中出现织锦，花纹五色灿烂，技艺臻于成熟。汉代设有织室、锦署，专门织造织锦，供宫廷享用。自汉武帝后，中国织锦通过丝绸之路传入波斯（今伊朗）、大秦（古罗马帝国）等国。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》。",[90,91,92,7,93,94],"布料","织锦","金银纹","斜纹","回回织","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1bb8060a170a325b9870c608457b060.jpg",[],1,{"id":99,"slug":100,"title":101,"dynasty":42,"author":19,"museum":20,"description":102,"tags":103,"thumbUrl":111,"material":32,"size":33,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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。",[23,131,132,7,46,27],"斗彩","花口盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dc8e9e8f44d4922386269c2d946d451.jpg",[],{"id":136,"slug":137,"title":138,"dynasty":18,"author":19,"museum":20,"description":21,"tags":139,"thumbUrl":143,"material":32,"size":33,"collection":34,"collections":144,"showCount":97,"zanCount":11,"manualWeight":11,"mainColor":75},260183,"qing-hua-hua-guo-wen-mei-ping-yi-ming-260183","青花花果纹梅瓶",[23,24,140,7,141,142],"梅瓶","桃枝","桃实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a1cce09b472523dbc7fa1f9605e69e0.jpg",[],{"id":146,"slug":147,"title":148,"dynasty":42,"author":19,"museum":20,"description":21,"tags":149,"thumbUrl":154,"material":32,"size":33,"collection":34,"collections":155,"showCount":97,"zanCount":11,"manualWeight":11,"mainColor":75},258669,"qian-long-kuan-qing-hua-kai-guang-hua-guo-wen-dai-gai-zhi-hu-yi-ming-258669","乾隆款青花开光花果纹带盖执壶",[23,24,150,7,151,42,152,28,153],"开光","执壶","带盖","器形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2eed97214f6e7dfbefec8dcbed9402aa.jpg",[],{"id":157,"slug":158,"title":159,"dynasty":42,"author":19,"museum":20,"description":160,"tags":161,"thumbUrl":167,"material":32,"size":33,"collection":34,"collections":168,"showCount":97,"zanCount":11,"manualWeight":11,"mainColor":75},249216,"qian-long-kuan-hua-fa-lang-wu-gong-bing-mei-kai-guang-hua-guo-wen-hua-gu-yi-ming-249216","乾隆款画珐琅五供-冰梅开光花果纹花觚","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。",[42,162,163,150,164,7,27,47,165,166],"画珐琅","琺瑯器","冰梅纹","梅","花果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f78f0354c18b46d2ab1ef99c71830f3.jpg",[],{"id":170,"slug":171,"title":64,"dynasty":42,"author":19,"museum":20,"description":172,"tags":173,"thumbUrl":174,"material":32,"size":33,"collection":34,"collections":175,"showCount":97,"zanCount":11,"manualWeight":11,"mainColor":75},248797,"ti-hong-jin-di-hua-guo-an-ba-xian-wen-fang-xia-yi-ming-248797","此件雕漆方匣，锦地细密如织，妥帖衬起花果与暗八仙纹样。盖面以回纹界分区域，每区构图饱满有致，垂坠的花果鲜活灵动，暗八仙纹饰暗藏祥瑞意趣，将人间烟火的鲜活与仙家清韵雅致相融。\n\n五屉配鎏金铜质兽首锁面，朱漆沉实莹润，金边勾勒提亮形制，方正底座牙板古雅沉稳，将收纳实用与陈设之美揉合无间，凝缩着旧时雕漆工艺的极致匠心，静述着往昔造物里的雅致意涵。",[67,56,68,69,70,7,71,72],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf7215d8a24796021c4a867da2cab3f7.jpg",[],{"id":177,"slug":178,"title":64,"dynasty":42,"author":19,"museum":20,"description":179,"tags":180,"thumbUrl":184,"material":32,"size":33,"collection":34,"collections":185,"showCount":97,"zanCount":11,"manualWeight":11,"mainColor":75},248030,"ti-hong-jin-di-hua-guo-an-ba-xian-wen-fang-xia-yi-ming-248030","此匣朱漆莹润厚重，满工精雕。盖面以回字开光界分空间，花果柔婉、暗八仙灵动暗藏其间，瑞意悠长。通体以规整锦纹为地，如织似绣，衬得主体纹饰层次分明、古拙雅致。四壁锦地匀净齐整，铜质小钮点饰其间，更添沉静古意。方足挺括端庄，将整器稳稳承托，兼顾收纳实用与陈设美感。刀工圆熟流畅，雕饰饱满细密，把吉祥意趣融于日常器用，尽显含蓄雅致的传统工艺之美。",[67,56,68,69,70,7,71,81,181,182,166,183],"红漆","锦地","暗八仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdf7ce9c5058ffcb1c80fb51bda859f3.jpg",[],{"id":187,"slug":188,"title":64,"dynasty":42,"author":19,"museum":20,"description":189,"tags":190,"thumbUrl":191,"material":32,"size":33,"collection":34,"collections":192,"showCount":97,"zanCount":11,"manualWeight":11,"mainColor":75},248028,"ti-hong-jin-di-hua-guo-an-ba-xian-wen-fang-xia-yi-ming-248028","此器方正端凝，朱红剔红温润鲜亮，包边铜饰鎏金映彩，晕开华贵气韵。盖面以回纹界出格局，浮雕花果与暗八仙徐徐铺陈，刀工圆熟细腻，将祈福纳祥的吉庆意蕴深镌其中。四壁满布规整锦地，宛若细密织纹，衬得器身愈发雅致沉静。兽面铜扣古朴厚重，与朱漆底色相映成趣，兼顾实用与装饰。回纹底座稳稳承托，让整器兼具收纳之能与陈设之美，将传统祥瑞意趣融于日常器物，尽显雕漆工艺的匠心妙韵。",[67,56,68,69,182,7,71,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a556aedb94a157c51cdbb69431ea477.jpg",[],{"id":194,"slug":195,"title":64,"dynasty":42,"author":19,"museum":20,"description":196,"tags":197,"thumbUrl":199,"material":32,"size":33,"collection":34,"collections":200,"showCount":97,"zanCount":11,"manualWeight":11,"mainColor":75},248026,"ti-hong-jin-di-hua-guo-an-ba-xian-wen-fang-xia-yi-ming-248026","此件以剔红工艺精雕而成，通体朱红沉雅。盖面借回纹勾出对称构图，内藏花果与暗八仙纹样，瑞实垂坠、仙纹灵动，暗寓吉祥福祉。周身以细密锦地铺满，仿若织就工整肌理，四侧设屉，铜饰点缀，质朴古雅。刀工圆熟利落，纹饰层次井然，将雕漆工艺的妍丽雅致悉数展现，兼纳收纳之用与陈设之美，静述传统工艺的雅致底蕴与吉祥意涵。",[67,56,68,69,70,7,71,72,198],"器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6235d04d6320c2dbefd82b8d0353562f.jpg",[],{"id":202,"slug":203,"title":204,"dynasty":18,"author":19,"museum":20,"description":205,"tags":206,"thumbUrl":210,"material":32,"size":33,"collection":34,"collections":211,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},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