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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。",[91,94,95,7,96],"陶瓷","青花","花卉纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cf13ed271aa99d8134a62faf2a25603.jpg",[],10,{"id":101,"slug":102,"title":103,"dynasty":104,"author":19,"museum":20,"description":105,"tags":106,"thumbUrl":111,"material":82,"size":83,"collection":29,"collections":112,"showCount":113,"zanCount":114,"manualWeight":11,"mainColor":63},267663,"hong-se-di-tuan-hua-wen-tian-hua-jin-yi-ming-267663","红色地团花纹天华锦","清","《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》。",[107,108,109,7,96,110],"织锦","布料","团花纹","设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea05aef7ab4510b5c57a5e3d94d91627.jpg",[],6,1,{"id":116,"slug":117,"title":118,"dynasty":119,"author":19,"museum":20,"description":120,"tags":121,"thumbUrl":128,"material":82,"size":83,"collection":29,"collections":129,"showCount":130,"zanCount":11,"manualWeight":11,"mainColor":131},226686,"jiu-min-yi-ming-226686","酒皿","元","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。",[94,122,123,124,125,7,126,127],"饮酒器","黑釉","刻划纹","卷草纹","器皿","元代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aa54ede0aa83fa1fd37726d449e179a.jpg",[],5,"FFFFFF",{"id":133,"slug":134,"title":135,"dynasty":104,"author":19,"museum":20,"description":136,"tags":137,"thumbUrl":143,"material":82,"size":83,"collection":29,"collections":144,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":86},267450,"na-sha-shen-lan-di-fang-qi-bo-gu-wen-nv-pei-yi-ming-267450","纳纱深蓝地方棋博古纹女帔","以沉静深蓝为底，纳纱工艺织就工整棋局地纹，好似铺开一方雅致棋盘。其间错落点缀博古清供与稚拙人物，金石鼎彝、瓶花雅玩与悠然赏玩的仕女相映成趣，将文人清赏意趣织入衣袂。\n\n明丽配色辅以金线勾边，提亮层次又添华贵气韵，纹样排布疏密得当，繁而不杂，古意盎然。将中式闲情雅致裁入女帔，凭精工织造将日常服饰化作携带着文人雅韵的立体画卷，尽显清代织绣工艺的精巧灵秀，藏着古典审美的极致意趣。",[138,108,139,140,141,7,142],"衣帽","纳纱","博古纹","人物","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d7b5547648e5afb873b2530d03ba577.jpg",[],4,{"id":147,"slug":148,"title":149,"dynasty":18,"author":19,"museum":20,"description":150,"tags":151,"thumbUrl":155,"material":82,"size":83,"collection":29,"collections":156,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":86},243637,"zhang-yi-zi-sun-jing-yi-ming-243637","长宜子孙镜","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。",[23,152,24,7,42,153,154],"铜镜","铭文","工艺品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6613934333d38bff35af1ecba2bea8fc.jpg",[],{"id":158,"slug":159,"title":160,"dynasty":18,"author":19,"museum":20,"description":150,"tags":161,"thumbUrl":166,"material":82,"size":83,"collection":29,"collections":167,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":168},243366,"bo-ju-wen-jing-yi-ming-243366","博局纹镜",[162,24,25,163,164,7,165],"汉代","器","博局纹","神兽纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F514910adaf65a254e82156f74e393947.jpg",[],"F48FB1",{"id":170,"slug":171,"title":172,"dynasty":104,"author":19,"museum":20,"description":173,"tags":174,"thumbUrl":178,"material":82,"size":83,"collection":29,"collections":179,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":33},229163,"tong-tai-hua-fa-lang-xiao-ping-yi-ming-229163","铜胎画珐瑯小瓶","珐琅又称“佛郎”、“法蓝”，是由中国隋唐时古西域地名拂菻音译而来。珐琅器是以珐琅为材料装饰而制成的器物，其基本成分为石英、长石、硼砂和氟化物，与陶瓷釉、琉璃、玻璃同属硅酸盐类物质。依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。\n珐琅就是将经过粉碎研磨的珐琅釉料，涂施于经过金属加工工艺制作后的金属制品的表面，经干燥、烧成等制作步骤后，所得到的复合性工艺品。珐琅工艺的制作分类很多，一般根据制作方法和胎地种类将其分类。 [2] 珐琅依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。其中掐丝珐琅器就是俗称的“景泰蓝”，15世纪中期明代景泰年间的制品尤为著称，故有景泰蓝之称。\n清代，西洋珐琅从广州传入中国，广州生产的珐琅俗称“广珐琅”，是朝廷的贡品，其中最著名的是画珐琅 ，錾胎珐琅的制作中心也在广州，透明珐琅器也以广州出产的最为著名。",[175,110,163,176,24,7,177],"铜胎画珐琅","珐琅器","装饰纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95bfe5dd35656ef0e3446415e2afd84c.jpg",[],{"id":181,"slug":182,"title":183,"dynasty":184,"author":19,"museum":185,"description":186,"tags":187,"thumbUrl":190,"material":82,"size":83,"collection":29,"collections":191,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":33},226468,"ku-yong-dao-bei-pi-yi-ming-226468","窟甬道北披","唐","敦煌","莫高窟，俗称千佛洞，坐落在河西走廊西端的敦煌。它始建于前秦宣昭帝苻坚时期，后历经北朝、隋朝、唐朝、五代十国、西夏、元朝等历代的兴建，形成巨大的规模，有洞窟735个，壁画4.5万平方米、泥质彩塑2415尊，是世界上现存规模最大、内容最丰富的佛教艺术地。\n1961年，莫高窟被中华人民共和国国务院公布为第一批全国重点文物保护单位之一。1987年，莫高窟被列为世界文化遗产。\n莫高窟与河南洛阳龙门石窟、山西大同云冈石窟并称中国三大石窟，后加麦积山石窟称四大石窟。 2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[188,189,110,141,7,96],"壁画","宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6553753b0d5b4403bda592fa666caf6b.jpg",[],{"id":193,"slug":194,"title":195,"dynasty":18,"author":19,"museum":20,"description":196,"tags":197,"thumbUrl":203,"material":82,"size":83,"collection":29,"collections":204,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":86},255232,"tao-dong-jing-mie-huo-ren-shou-wen-jing-lan-yi-ming-255232","陶“东井灭火”人兽纹井栏","汉代陶器的工艺水平很高,造型优美,质地精良。品种、装饰则因地区不同而不同。陕西关中地区常见的日用陶器有豆、 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。",[162,198,25,199,200,201,7,202],"陶","人纹","兽纹","鱼纹","井栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83c24c33ebecdaebe66fc95986bd7cf7.jpg",[],2,{"id":207,"slug":208,"title":209,"dynasty":55,"author":19,"museum":20,"description":69,"tags":210,"thumbUrl":212,"material":82,"size":83,"collection":29,"collections":213,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":33},250442,"qing-yu-cong-yi-ming-250442","青玉琮",[76,73,25,7,211],"周代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde694c7312583099fef39eb6d38fb817.jpg",[],{"id":215,"slug":216,"title":217,"dynasty":18,"author":19,"museum":20,"description":218,"tags":219,"thumbUrl":221,"material":82,"size":83,"collection":29,"collections":222,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":63},245002,"ji-he-wen-deng-yi-ming-245002","几何纹灯","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。",[162,24,23,7,25,220],"日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79ea8cc3be603baa9ded750ed551a0fc.jpg",[],{"id":224,"slug":225,"title":226,"dynasty":18,"author":19,"museum":20,"description":218,"tags":227,"thumbUrl":230,"material":82,"size":83,"collection":29,"collections":231,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":86},243545,"lou-kong-ji-he-wen-pai-shi-yi-ming-243545","镂空几何纹牌饰",[18,23,24,25,228,7,229],"镂空","饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1184fca4b7b89ca8d40d9f2b61f24d36.jpg",[],{"id":233,"slug":234,"title":235,"dynasty":91,"author":19,"museum":20,"description":92,"tags":236,"thumbUrl":237,"material":82,"size":83,"collection":29,"collections":238,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":63},223925,"qing-hua-ji-he-hua-hui-wen-lian-zi-wan-3-yi-ming-223925","青花几何花卉纹莲子碗-3",[94,95,7,96,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F084916fc1132114e73961863798cb71f.jpg",[],{"id":240,"slug":241,"title":242,"dynasty":104,"author":19,"museum":20,"description":243,"tags":244,"thumbUrl":250,"material":82,"size":83,"collection":29,"collections":251,"showCount":114,"zanCount":11,"manualWeight":11,"mainColor":33},264862,"hua-jing-di-zhi-jin-mei-hua-rui-cao-han-wen-tao-yi-ming-264862","花景地织金梅花瑞草汉纹绦","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。",[108,245,246,247,248,7,110,249],"绦带","织金","梅花","瑞草","织绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35a60531d5b7c302b588a5307c2db8a4.jpg",[],{"id":253,"slug":254,"title":255,"dynasty":104,"author":19,"museum":20,"description":105,"tags":256,"thumbUrl":258,"material":82,"size":83,"collection":29,"collections":259,"showCount":114,"zanCount":11,"manualWeight":11,"mainColor":33},263992,"mei-gui-zi-se-di-xiao-yuan-qiu-mei-wen-hui-hui-zhi-jin-jin-yi-ming-263992","玫瑰紫色地小圆球梅纹回回织金锦",[108,107,257,246,7],"梅纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc13df23b1aea640e8ae34598dca15cf6.jpg",[],{"id":261,"slug":262,"title":263,"dynasty":104,"author":19,"museum":20,"description":264,"tags":265,"thumbUrl":269,"material":82,"size":83,"collection":29,"collections":270,"showCount":114,"zanCount":11,"manualWeight":11,"mainColor":33},263912,"hong-se-di-fu-gui-ru-yi-wen-zhi-jin-tian-hua-mian-yi-ming-263912","红色地富贵如意纹织金天华绵","如意为木胎，其上采用八成金质累丝工艺。如意头的正面为累丝古钱纹，中心嵌绿松石“乙酉”二字，背面为镂空的古钱纹并露出木胎。柄的正面亦为累丝古钱纹，镶嵌绿松石“万年如意”四字，背面为累丝六角锦纹。如意的侧边以卷草纹为饰。",[107,108,266,267,96,7,268],"富贵如意纹","织金工艺","吉祥纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5af640244e81b3f2430cf82254f2def0.jpg",[],{"id":272,"slug":273,"title":274,"dynasty":104,"author":19,"museum":20,"description":105,"tags":275,"thumbUrl":277,"material":82,"size":83,"collection":29,"collections":278,"showCount":114,"zanCount":11,"manualWeight":11,"mainColor":33},263619,"lan-se-di-da-tian-hua-jin-yi-ming-263619","蓝色地大天华锦",[107,108,276,109,7],"丝织品","http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