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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。",[23,24,25,26,27,28,7],"明代","陶瓷","青花","山茶花纹","如意耳","扁壶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6316710b5d583ac0f883105303a6803d.jpg","未知","Xcm*Xcm","",[],16,"795548",{"id":37,"slug":38,"title":39,"dynasty":40,"author":19,"museum":20,"description":21,"tags":41,"thumbUrl":55,"material":30,"size":31,"collection":32,"collections":56,"showCount":57,"zanCount":11,"manualWeight":11,"mainColor":35},258256,"qing-hua-you-li-hong-shi-liu-hua-tu-bian-hu-yi-ming-258256","青花釉里红石榴花图扁壶","清",[24,25,42,43,44,45,46,47,48,49,7,50,51,52,53,54],"釉里红","设色","石榴花","花鸟","清代","器","花鸟题材","清代风格","陶瓷工艺","青花技法","釉里红技法","设色陶瓷","石榴纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0f855157aabb7256f9ad841137c7804.jpg",[],15,{"id":59,"slug":60,"title":61,"dynasty":40,"author":19,"museum":20,"description":62,"tags":63,"thumbUrl":69,"material":30,"size":31,"collection":32,"collections":70,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":35},281520,"lan-bo-li-kai-guang-ju-hua-ping-yi-ming-281520","蓝玻璃开光菊花瓶","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。",[47,64,65,66,67,68,7],"玻璃器","菊花","描金","开光","蓝玻璃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b333efc54b7d0f4e9623aae02236938.jpg",[],12,{"id":73,"slug":74,"title":75,"dynasty":40,"author":19,"museum":20,"description":76,"tags":77,"thumbUrl":86,"material":30,"size":31,"collection":32,"collections":87,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":89},265149,"yuan-qing-se-duan-di-dan-cai-shi-liu-tao-he-hua-mei-zhu-wen-tao-yi-ming-265149","元青色缎地淡彩石榴桃荷花梅竹纹绦","经线提花锦的组织结构和纹样都十分复杂，舞人动物纹锦的纹样横贯全幅，充分反映了当时已有了先进的提花织造技术。精美的刺绣品共有17种纹样，构图大，讲究对称、平衡，色彩配合恰当，给人以端庄典雅、富丽堂皇的美感。纹样内容充满神话色彩，鲜明地反映了楚文化的浪漫主义特色。墓中出土的衣袍为直据，是当时贵族中最流行的一种服式。这批先秦织物的出土，为深入研究我国古代纺织史提供了珍贵的实物资料。",[78,79,80,81,82,83,84,85,7],"布料","饰品","刺绣","荷花","梅","竹","石榴","桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2979d3eda292fd455d5b550cdd345bb.jpg",[],11,"37474F",{"id":91,"slug":92,"title":93,"dynasty":40,"author":19,"museum":20,"description":21,"tags":94,"thumbUrl":98,"material":30,"size":31,"collection":32,"collections":99,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":101},271300,"huang-shi-ming-zhi-qing-hua-ci-pi-yong-yan-yi-ming-271300","黄士明制青花瓷辟雍砚",[24,95,96,97,7],"青花瓷","砚","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde5a50778d3fd698a46dfeabb01deb7a.jpg",[],10,"BDBDBD",{"id":103,"slug":104,"title":105,"dynasty":40,"author":19,"museum":20,"description":106,"tags":107,"thumbUrl":116,"material":30,"size":31,"collection":32,"collections":117,"showCount":118,"zanCount":11,"manualWeight":11,"mainColor":89},245395,"qian-long-kuan-yin-zan-ke-liu-jin-chan-zhi-lian-wen-hu-lu-shi-zhi-hu-yi-ming-245395","乾隆款银錾刻鎏金缠枝莲纹葫芦式执壶","此执壶取葫芦造型，暗合福禄吉意。以素银为地，局部鎏金錾饰缠枝莲纹，浅地起浮雕缠枝卷叶作为衬底，饱满金莲错落排布，主纹宝相花饱满雍容，尽显富丽堂皇。弯流与执柄衔接处以鎏金瑞兽点缀，线条灵动婉转，盖顶鎏金钮精巧端庄，银质的清冷与金饰的华贵相映成趣，将清代细作金银工艺的精湛造诣展现得淋漓尽致，雅致华贵又不失庄重气度，是清代宫廷风格金银器的上乘之作。",[46,108,109,110,111,112,113,114,47,115,7],"银器","金器","錾刻","鎏金","缠枝莲纹","葫芦式","执壶","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88861ae0872ee43131dbae1c804e0f84.jpg",[],4,{"id":120,"slug":121,"title":122,"dynasty":40,"author":19,"museum":20,"description":62,"tags":123,"thumbUrl":136,"material":30,"size":31,"collection":32,"collections":137,"showCount":118,"zanCount":11,"manualWeight":11,"mainColor":89},229209,"ci-tai-yang-cai-san-duo-shi-yi-jiao-ping-yi-ming-229209","磁胎洋彩三多诗意轿瓶",[24,124,43,125,126,7,46,127,128,129,130,131,132,133,134,135],"洋彩","书法","印章","彩绘","瓷器纹饰","文字装饰","多色釉彩","清代瓷器","釉上彩","纹饰繁复","题诗","款识","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c7ab3ab81670bebc8cf309d01b3137a.jpg",[],{"id":139,"slug":140,"title":141,"dynasty":40,"author":19,"museum":20,"description":142,"tags":143,"thumbUrl":150,"material":30,"size":31,"collection":32,"collections":151,"showCount":152,"zanCount":11,"manualWeight":11,"mainColor":101},265826,"jia-zi-se-tuan-long-wen-an-hua-zhi-ma-sha-dan-chang-yi-yi-ming-265826","茄紫色团龙纹暗花芝麻纱单氅衣","清王朝时段推行剃发易服，顺治九年（1652），钦定《服色肩舆条例》颁行，从此废除了明朝的冠冕、礼服以及汉族的一切服饰，但满族服饰同时吸收了明朝服饰的纹理图案。明代男子一律蓄发挽髻，着宽松衣，穿长统袜、浅面鞋；清时则剃发留辫，辫垂脑后，穿瘦削的马蹄袖箭衣、紧袜、深统靴。但官民服饰一律泾渭分明。 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。",[144,78,145,146,147,148,149,7],"衣帽","团龙纹","暗花","芝麻纱","氅衣","如意纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F174dc345ec78c33b5495ef2d6b74e7a9.jpg",[],2,{"id":154,"slug":155,"title":156,"dynasty":40,"author":19,"museum":20,"description":157,"tags":158,"thumbUrl":161,"material":30,"size":31,"collection":32,"collections":162,"showCount":152,"zanCount":11,"manualWeight":11,"mainColor":35},264161,"zi-hong-se-jin-di-duo-hua-wen-hui-hui-jin-yi-ming-264161","紫红色锦地朵花纹回回锦","《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》。",[78,159,160,7],"织锦","朵花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2410de5a16f5866c1f315b9d0209b785.jpg",[],{"id":164,"slug":165,"title":166,"dynasty":40,"author":19,"museum":20,"description":167,"tags":168,"thumbUrl":175,"material":30,"size":31,"collection":32,"collections":176,"showCount":152,"zanCount":11,"manualWeight":11,"mainColor":35},245670,"jin-qian-yu-shi-bian-fang-yi-ming-245670","金嵌玉石扁方","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。",[46,109,169,170,79,171,172,7,173,174],"镶嵌","玉石","嵌宝","花丝","圆形饰件","宝石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8fc66dd1b3c1f5faf7ca1a5d0173ea7.jpg",[],{"id":178,"slug":179,"title":180,"dynasty":40,"author":19,"museum":20,"description":181,"tags":182,"thumbUrl":193,"material":30,"size":31,"collection":32,"collections":194,"showCount":152,"zanCount":11,"manualWeight":11,"mainColor":35},234442,"qing-ren-huang-wei-luo-wa-jin-gang-xiang-zhou-yi-ming-234442","清人黄威罗瓦金刚像轴","狮面忿怒相的主尊周身烈焰蒸腾，金甲宝饰遍身，雄踞莲台之上，威棱毕现，尽显护法降魔的慑人气魄。整体构图饱满匀整，诸佛胁侍错落排布，或忿怒或慈悲，与主尊呼应成趣。\n\n设色浓丽厚重，石青铺就云天底色，朱砂晕染烈烈火焰，青绿晕染山川林麓，冷暖交织层次分明。线条勾勒精细流畅，衣袂宝饰的细节分毫毕现，既恪守藏传佛教造像的仪轨法度，又以工笔重彩烘托出神圣庄严的宗教氛围，将护法金刚的狞厉威严与唐卡装饰美学完美融合，尽显精湛的绘画造诣。",[183,184,185,186,43,187,188,189,190,191,7,46,192],"国画","立轴","宗教画","工笔重彩","人物画","火焰纹","莲花座","祥云","山水景物","传统书画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb20ea8c656828582ec4d871f00ab1c60.jpg",[],{"id":196,"slug":197,"title":198,"dynasty":40,"author":19,"museum":20,"description":199,"tags":200,"thumbUrl":205,"material":30,"size":31,"collection":32,"collections":206,"showCount":207,"zanCount":11,"manualWeight":11,"mainColor":35},265930,"yue-bai-se-chou-xiu-fu-rong-hua-wen-nv-dui-jin-jia-xiao-kan-jian-yi-ming-265930","月白色绸绣芙蓉花纹女对襟夹小坎肩","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？” 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