[{"data":1,"prerenderedAt":283},["ShallowReactive",2],{"subject-ji-he-wen-shi":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},4224,"ji-he-wen-shi","几何纹饰","几何纹饰画高清赏析","精选中国历代几何纹饰题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc1afd457d8d794a41a3ec4b40e357c4.jpg",0,24,[14,36,55,70,85,96,104,117,126,133,143,153,164,173,186,194,203,215,230,239,247,257,266,274],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":29,"material":30,"size":31,"collection":32,"collections":33,"showCount":34,"zanCount":11,"manualWeight":11,"mainColor":35},243237,"shan-zi-wen-jing-yi-ming-243237","山字纹镜","周","佚名","藏地不详","青铜器（Bronze Ware）在古时被称为“金”或“吉金”，是红铜与其他化学元素锡、铅等的合金，刚刚铸造完成的青铜器是金色，但因为出土的青铜因为时间流失产生锈蚀后变为青绿色，被称为青铜。\n青铜器的使用开始于新石器时代晚期的土耳其和伊拉克地区，及叙利亚古代TellRamad遗址出土的铜珠等。中国青铜器开始于马家窑至秦汉时期，以商周时期的器物最为精美。在中国仰韶文化早期和马家窑文化时期就已经出现。\n中国最初出现的是小型工具或饰物。夏代始有青铜容器和兵器。商中期，青铜器品种已很丰富，并出现了铭文和精细的花纹。商晚期至西周早期，是青铜器发展的鼎盛时期，器型多种多样，浑厚凝重，铭文逐渐加长，花纹繁缛富丽。随后，青铜器胎体开始变薄，纹饰逐渐简化。春秋晚期至战国，由于铁器的推广使用，铜制工具越来越少。秦汉时期，随着陶器和漆器进入日常生活，铜制容器品种减少，装饰简单，多为素面，胎体也更为轻薄。\n中国青铜器制作精美，在世界青铜器中享有极高的声誉和艺术价值，代表着中国5000多年青铜发展的高超技术与文化。\n我国商、周时代的青铜器具，不单是盛物用的容器，同时也是宗庙中的礼器。青铜器的数量可以表示出身份地位的高低，青铜器形制的大小也可以显示出权力的等级。青铜器中，最重要的器类就是鼎。远古的青铜器可以分为食器、酒器、水器、乐器四大类。食器中包括鼎、鬲等等。其中鼎是最重要的礼器。\n西周中晚期我国形成了列鼎制度，据《春秋公羊传》记载，天子用9鼎，诸侯用7鼎、卿大夫用5鼎、士用3鼎或1鼎。同时。与鼎一同出现的还有簋，通常为九鼎八簋，七鼎六簋，五鼎四簋，三鼎二簋。在西周中晚期的墓葬制度中，鼎为单数而簋为双数。青铜鼎随着时代的发展，形制也在发生变化。商代早期多为圆腹尖足，也有方鼎。到了中期出现了扁足鼎等等。商代晚期尖足鼎逐渐减少，圆腹柱足鼎开始居多，鬲鼎逐渐多了起来。《尔雅》记载“鼎之款足者，谓之鬲”。鬲鼎也称为分裆鼎，是鬲和鼎的混合体，鼎从商代开始铸有各式样的神秘纹饰，多为兽面纹，如饕餮纹、蝉纹、象纹等等，纹饰变化巧妙。容器内部铸有族徽或祖先的名字。\n青铜是铜和锡铅的合金。在中国古代早期的工艺美术中青铜工艺成为奴隶社会工艺美术的典型代表是我们的祖先对人类物质文明的巨大贡献。商周时期是中国历史上的青铜时代，它以品类丰富、造型优美、纹饰华丽、制作精巧、风格独特而著称。此时是冶炼铸造技术可以说有了突发猛进的发展，在应用上具有广泛的适用性。成为中国艺术史的一个组成部分。本文以商周时期的青铜器主要代表作品作品：《后母戊大方鼎》、《盂鼎》为例，从青铜器作为“礼器”的艺术精神与青铜器的造型、装饰艺术特点来谈谈商周青铜器艺术。\n中国古代青铜器，就使用规模、铸造工艺、造型艺术及品种而言。中国古代青铜器在世界艺术史上占有独特地位。商周时期是中国历史上的青铜时代，青铜流行于新石器时代晚期至秦汉时代。以商周器物最为精美，品种已很丰富器型多种多样，并出现了铭文和精细的花纹浑厚凝重。商周青铜器艺术装饰承接新石器时代艺术中若干精髓，经过长期绵延不断的变化，形成独特的体系，在成为中国艺术史的一个组成部分。商周时期，青铜的冶炼业作为生产力的标志而达到高峰。是中国古代青铜器发展的鼎盛时期。",[23,24,25,26,7,27,28],"青铜器","铜制","雕刻","山字纹","圆形器物","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b067b8e298d30331840b607328bb423.jpg","未知","Xcm*Xcm","",[],5,"795548",{"id":37,"slug":38,"title":39,"dynasty":40,"author":19,"museum":20,"description":41,"tags":42,"thumbUrl":53,"material":30,"size":31,"collection":32,"collections":54,"showCount":34,"zanCount":11,"manualWeight":11,"mainColor":35},223748,"qing-ci-cong-shi-ping-yi-ming-223748","青瓷琮式瓶","宋","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。",[43,44,45,46,47,7,48,49,50,51,52],"陶瓷","青瓷","宋代","青釉","仿古造型","开片","礼器","器形规整","施釉","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4051ba6207c4f1aa92a23bb707e9bd59.jpg",[],{"id":56,"slug":57,"title":58,"dynasty":59,"author":19,"museum":20,"description":60,"tags":61,"thumbUrl":67,"material":30,"size":31,"collection":32,"collections":68,"showCount":69,"zanCount":11,"manualWeight":11,"mainColor":35},244039,"jian-ri-zhi-guang-jing-yi-ming-244039","见日之光镜","汉","汉镜有圆形﹑方形。纽多作半球形。正面磨光背面铸有几何形图案或神人禽兽等。东汉中期出现浮雕的画像造形精美。\n两汉时期大体上分西汉、新莽、东 汉三个阶段。汉镜纹饰的主要种类有草叶纹镜、蟠龙纹镜、百乳镜、连弧纹镜、规矩镜、多乳禽兽纹镜和变形四叶镜等。",[62,24,25,63,64,65,7,66],"汉代","篆书","铭文","器物","圆形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaccaca4f770a9876097f0f463fab790.jpg",[],4,{"id":71,"slug":72,"title":73,"dynasty":74,"author":19,"museum":20,"description":75,"tags":76,"thumbUrl":81,"material":30,"size":31,"collection":32,"collections":82,"showCount":83,"zanCount":11,"manualWeight":11,"mainColor":84},271406,"qing-hua-ci-pi-yong-yan-yi-ming-271406","青花瓷辟雍砚","清","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。",[43,77,78,79,7,80],"砚","青花瓷","文房用具","款识","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c87ef6eb04325614448259dbe06e47a.jpg",[],3,"BDBDBD",{"id":86,"slug":87,"title":88,"dynasty":59,"author":19,"museum":20,"description":60,"tags":89,"thumbUrl":92,"material":30,"size":31,"collection":32,"collections":93,"showCount":94,"zanCount":11,"manualWeight":11,"mainColor":95},244079,"zhang-wu-xiang-wang-jing-yi-ming-244079","长毋相忘镜",[90,23,24,25,91,63,64,7],"汉代风格","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6efe4136b3f4e94ce98a55f72c62df27.jpg",[],2,"37474F",{"id":97,"slug":98,"title":99,"dynasty":59,"author":19,"museum":20,"description":60,"tags":100,"thumbUrl":102,"material":30,"size":31,"collection":32,"collections":103,"showCount":94,"zanCount":11,"manualWeight":11,"mainColor":84},243367,"bo-ju-wen-jing-yi-ming-243367","博局纹镜",[59,23,24,25,7,101],"瑞兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33c97669baadff8fed4e5a6d727d61aa.jpg",[],{"id":105,"slug":106,"title":107,"dynasty":74,"author":19,"museum":20,"description":108,"tags":109,"thumbUrl":114,"material":30,"size":31,"collection":32,"collections":115,"showCount":116,"zanCount":11,"manualWeight":11,"mainColor":35},267534,"zi-se-di-tuan-wan-zi-jin-xie-tiao-wen-hui-hui-jin-yi-ming-267534","紫色地团万字金斜条纹回回锦","《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》。",[110,111,112,113,7],"布料","织锦","回回锦","团万字纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe56c86a4314b065ab398fc4e8b57be9b.jpg",[],1,{"id":118,"slug":119,"title":120,"dynasty":59,"author":19,"museum":20,"description":121,"tags":122,"thumbUrl":124,"material":30,"size":31,"collection":32,"collections":125,"showCount":116,"zanCount":11,"manualWeight":11,"mainColor":35},244976,"ji-he-wen-zhong-yi-ming-244976","几何纹钟","汉代青铜器产生于青铜时代的晚期，在我国青铜史上占有特殊的地位，体现出独特的设计思想和特征，具有卓越的科学功能，并对当今设计有很大的启示作用。\n汉代青铜器很多都是素纹，大部分还是铸造的，也有的花纹、铭文是用錾子雕刻的。比如汉代的鎏金杯子、奁、盒、碗等用具上的花纹，多是雕刻的。\n汉代以后至唐代的铜器，铸造的花纹很多，其中有打料的铜、金、银器，并且也有了大、小焊的技术。\n西汉初期（高祖至景帝），此时的青铜器，基本为素面。其鼎主要承自秦式，但一般三足更矮。敦盒形。\n壶有大小二型并存，大型壶腹下部略呈收缩之状，腹比秦壶要鼓；小型壶的腹部较瘦长，经常铸出变形螭纹。钫此时更流行，有的做得很讲究，通腹有镶嵌绿松石的三角云纹。\n鍪和蒜头壶继续流行。日用器皿中，高灯多见，豆式熏炉盛行，带钩显琵琶形、棒形、琴形讲究的多做成鎏金、错金银、镶玉或绿松石。\n西汉中期至东汉早期（西汉武帝至东汉章帝）是西汉青铜器最发达的时期，也是汉代青铜器新风格最终形成的时期。这时期最多见的青铜用器是鼎、壶、钫、尊、熨斗、带钩、铜镜。\n灯：古代照明器具。青铜灯出现于战国时期，而盛行于汉代。最著名的当属长信宫灯了，灯的样子很多，较普通的是有圆盘，盘内有钎，盘下有柱，柱下有圈足；也有盘下作雁足状的，盘用来盛油或插烛。\n另有一种灯自铭为“行灯”，它圆盘边有把，盘下有三短足。青铜灯最富感染力的当属那些铸成人形、禽形、兽形、树形的艺术造型灯。\n博山炉：古代焚香的器具。一般炉体作圆形，用来放香料，体下有高足，有的足还铸成人形或鸟兽形；炉盖均高而尖，雕镂成山峦形上有人物、走兽，象征海上仙山“博山”，故名“博山炉”。盛行于汉代。\n樽：古代盛酒的器皿，器作圆形，直壁，有盖，腹较深，下有三兽足，旁有铺首衔环耳。\n洗：盥洗用器皿。形状象盆，圆形、宽口沿，平或圆底，腹外多有铺首衔环耳，内底常用双鱼作装饰，并多铸吉语。盛行于汉晋。\n耳杯：古代饮酒器。多漆制，称“羽觞”。铜质者，器作椭圆形，腹壁有二环耳。\n熨斗：古式熨烫衣服的工具。形状为圆腹宽口沿，有长柄，盛行于汉魏。\n东汉中晚期（和帝至献帝）青铜器又有了新的变化。此时使用较多的铜器日用品有：钟、扁壶、盆、釜、鐎斗、灯、博山炉、炉、熨斗、尊、耳杯、虎子、车马器、带钩、铜镜、玺印等。\n此时青铜器的特点是比以前轻薄、错金银技术在青铜器装饰中几乎消失，鎏金仍多，鎏金器上出现了细线阴刻云纹。",[23,24,25,123,62,7],"乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3967b2581aeaedb83e201bf9f11fd9d.jpg",[],{"id":127,"slug":128,"title":129,"dynasty":59,"author":19,"museum":20,"description":121,"tags":130,"thumbUrl":131,"material":30,"size":31,"collection":32,"collections":132,"showCount":116,"zanCount":11,"manualWeight":11,"mainColor":35},243375,"yi-niu-yang-ling-yi-ming-243375","宜牛羊铃",[59,23,2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盆、筒杯、勺、盘、缸、甑、 釜、小壶、扁壶、茧形壶、钵、罐、钟、碗等。明器包括礼器鼎和模型明器仓、陶囤以及各种动物形象。纹饰多为变形回纹、三角纹和窝纹。陕西潼关以东地区人们的日常用陶，以灰陶为主，有罐、 壶、碗、勺、筒杯、 瓮、盒、洗、甑、釜、杯、盘、尊等。在汉代流行起来的生活用具模型，如仓、 炉、 灶、井等。大都作为明器供随葬之用。盒、盘、案、杯等，逐渐成组出现，为适应人们厚葬之需也成为祭器。猪、羊、狗、鸡等家畜家禽及圈舍、住宅等明器模型也大量流行。装饰则有弦纹、刻划的三角纹、连环纹、栉齿纹和动物纹，还有绳纹、拍印纹、模印、浮雕、涂色和彩绘等。南方的长沙地区，制陶工艺自成体系，陶盒使用普遍，陶壶无盖，鼎的三足成矮胖的兽蹄形，其他实用器皿还有壶、罐、碗、钫、、盆、釜、甑、长方炉、博山炉等。特点是坚硬厚重。殉葬明器有灶、仓、井、屋、猪圈模型等。广东地区秦汉时属南海郡，常用陶器有瓮、双耳罐、提、四联罐和五联罐、瓿、小瓿、壶、匏壶、温壶、钫、 盒、敦、 小盒、三足盒、三足罐、三足瓿、四联盒、 碗、盆、 甑、釜、鼎、豆、三足格盒等。生活用具中灰白色的印纹硬陶占多数， 有的还戳上印记，多为容器，炊器只有釜、 鼎、甑 3种。造型特别的三足器、温壶、匏壶有着明显的地方特点。印纹硬陶很讲究装饰，单是几何图案就达70多种，此外还有弦纹、 陶纹、 镂孔、篦纹及文字记号等。明器上多施彩绘。四川云南等也有自己的制陶业，不少作品和中原地区相似，如圆底釜、侈口束颈、鼓腹的壶等。关中地区流行的茧形壶虽不生产，确有发现。舞蹈俑、说书俑、抚琴俑、听琴俑、侍立俑和各类家禽形象，生动优美，自然写实。",[59,209,210,7,211,25,91,212],"陶","方格纹","模印","陶器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7dfbce9fa28de0723cbea4d2442e4bf.jpg",[],{"id":216,"slug":217,"title":218,"dynasty":74,"author":19,"museum":20,"description":219,"tags":220,"thumbUrl":228,"material":30,"size":31,"collection":32,"collections":229,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},245778,"yin-shuang-xi-zi-pen-yi-ming-245778","银双喜字盆","敞口折沿，浅腹弧收，器型沉稳舒展。内壁以回纹铺地，居中錾刻双喜吉字，两侧缠枝瑞花蜿蜒环绕，折沿饰细密弦纹呼应整体。錾刻工艺细腻利落，线条匀净流畅，将婚庆喜意凝于银面之上。器物包浆厚重温润，暗哑金属晕开经年岁月的痕迹，把旧时对圆满喜乐的真挚期许，藏入錾银纹路之间，是兼具实用与装饰性的民俗银作佳器。",[221,222,25,223,91,7,224,225,226,227],"清代","银器","双喜纹","日常用具","金属工艺","传统纹样","装饰图案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00cc00e8cc9a4570daa3d0e469adedc1.jpg",[],{"id":231,"slug":232,"title":233,"dynasty":18,"author":19,"museum":20,"description":21,"tags":234,"thumbUrl":237,"material":30,"size":31,"collection":32,"collections":238,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},244960,"si-shan-wen-jing-yi-ming-244960","四山纹镜",[235,23,25,7,52,66,236],"周代","对称纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d7206bbbd4bf4d3089e6772fb7b4129.jpg",[],{"id":240,"slug":241,"title":242,"dynasty":59,"author":19,"museum":20,"description":60,"tags":243,"thumbUrl":245,"material":30,"size":31,"collection":32,"collections":246,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},244454,"jia-chang-fu-gui-jing-yi-ming-244454","家常富贵镜",[62,23,24,25,63,7,66,64,244],"纹饰繁复","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55733d6f29fabe29493a2b65e38de039.jpg",[],{"id":248,"slug":249,"title":250,"dynasty":74,"author":19,"museum":20,"description":251,"tags":252,"thumbUrl":255,"material":30,"size":31,"collection":32,"collections":256,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},244115,"lu-yi-ming-244115","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。",[221,23,24,25,253,254,7,49],"三足","鸟首形耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2107c6c3bfff7181bec2e6a0778178be.jpg",[],{"id":258,"slug":259,"title":99,"dynasty":59,"author":19,"museum":20,"description":60,"tags":260,"thumbUrl":264,"material":30,"size":31,"collection":32,"collections":265,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},244094,"bo-ju-wen-jing-yi-ming-244094",[62,24,25,261,262,7,263],"博局纹","乳钉纹","镶嵌工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f691d964830a7a0c6e40c9d80c4b735.jpg",[],{"id":267,"slug":268,"title":269,"dynasty":59,"author":19,"museum":20,"description":60,"tags":270,"thumbUrl":272,"material":30,"size":31,"collection":32,"collections":273,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},244060,"zhang-yi-zi-sun-jing-yi-ming-244060","长宜子孙镜",[62,23,24,271,25,64,7,91,66],"铸造","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59601005baf834f792d9d4d551dc7501.jpg",[],{"id":275,"slug":276,"title":277,"dynasty":59,"author":19,"museum":20,"description":60,"tags":278,"thumbUrl":281,"material":30,"size":31,"collection":32,"collections":282,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},243557,"lian-hu-wen-jing-yi-ming-243557","连弧纹镜",[23,24,25,279,7,90,66,280],"连弧纹","纹饰装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74924374ba0bfdd405ded905cec6af76.jpg",[],1777535718355]