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tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[179,180,181,182,183,184,7,185,25],"挂屏","木质","缂丝","书法","楷书","祥云","喜庆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa092827efbf8bfda929f7cd815e6df1f.jpg",[],7,{"id":190,"slug":191,"title":192,"dynasty":18,"author":19,"museum":20,"description":164,"tags":193,"thumbUrl":198,"material":33,"size":34,"collection":35,"collections":199,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":201},264372,"xing-huang-se-duan-xiu-fu-shou-qi-tian-wen-pao-liao-yi-ming-264372","杏黄色缎绣福寿齐天纹袍料",[194,25,167,195,89,7,196,197],"衣帽","袍料","黄色","缎面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e953325f292553d71ed94771833caef.jpg",[],6,"FF9800",{"id":203,"slug":204,"title":205,"dynasty":18,"author":19,"museum":20,"description":206,"tags":207,"thumbUrl":213,"material":33,"size":34,"collection":35,"collections":214,"showCount":215,"zanCount":11,"manualWeight":11,"mainColor":81},267493,"xiang-se-duan-xiu-tao-hua-fu-jin-tuan-shou-zi-wen-hua-shen-yi-yi-ming-267493","香色缎绣桃花蝠金团寿字纹花神衣","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。",[194,25,167,208,209,210,211,7,212],"桃花","蝙蝠","团寿纹","花神衣","织绣品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99f9fb62bbd673fb5b23633846090bf3.jpg",[],5,{"id":217,"slug":218,"title":219,"dynasty":18,"author":19,"museum":20,"description":220,"tags":221,"thumbUrl":226,"material":33,"size":34,"collection":35,"collections":227,"showCount":215,"zanCount":11,"manualWeight":11,"mainColor":81},264067,"hu-se-ba-xian-bo-gu-wan-fu-shou-wen-zhi-jin-duan-kan-jian-liao-yi-ming-264067","湖色八仙博古万福寿纹织金缎坎肩料","湖蓝底色澄澈雅致，织金纹样流光华贵，配色清妍脱俗。整体以宝瓶博古造型为骨，框内铺陈八仙、缠枝瑞花与蝠寿纹样，暗喻八仙祝寿、福寿骈臻的美好祈愿。\n织金工艺精妙入微，走线匀净流畅，金线在素色底料上晕出堂皇光泽，龙凤纹饰与吉庆图案错落排布，既有宫廷织绣的规整富丽，又糅合清代世俗祈福的审美意趣。依形制裁料构思巧妙，将吉祥寓意与实用面料融为一体，尽显旧时织绣工艺的匠心巧思，是传统吉庆织料的精巧之作。",[25,74,222,223,77,101,224,89,7,194,225],"缎料","坎肩料","博古纹","织绣工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F446f4675a43c3356f2417985165dbbcb.jpg",[],{"id":229,"slug":230,"title":231,"dynasty":18,"author":19,"museum":20,"description":232,"tags":233,"thumbUrl":247,"material":33,"size":34,"collection":35,"collections":248,"showCount":249,"zanCount":11,"manualWeight":11,"mainColor":39},229927,"jin-dian-cui-qian-zhu-bao-cui-yu-fu-shou-wan-nian-dian-hua-yi-ming-229927","金点翠嵌珠宝翠玉福寿万年钿花","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。 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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。",[125,761,128,486,7],"银器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F754460c75b8bee567517a26a42c5e5cd.jpg",[],{"id":765,"slug":766,"title":767,"dynasty":18,"author":19,"museum":20,"description":56,"tags":768,"thumbUrl":770,"material":33,"size":34,"collection":35,"collections":771,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},245625,"jin-lei-si-wan-nian-ru-yi-yi-ming-245625","金累丝万年如意",[126,769,662,7],"累丝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd48dba0ca8c98a969e67c71b33d7602.jpg",[],{"id":773,"slug":774,"title":767,"dynasty":18,"author":19,"museum":20,"description":56,"tags":775,"thumbUrl":779,"material":33,"size":34,"collection":35,"collections":780,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},245614,"jin-lei-si-wan-nian-ru-yi-yi-ming-245614",[769,126,662,7,239,776,777,778],"清代工艺","陈设器","吉祥寓意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aa78f4daf91e10d8747bcd229538108.jpg",[],{"id":782,"slug":783,"title":767,"dynasty":18,"author":19,"museum":20,"description":56,"tags":784,"thumbUrl":787,"material":33,"size":34,"collection":35,"collections":788,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},245613,"jin-lei-si-wan-nian-ru-yi-yi-ming-245613",[125,785,662,58,239,7,786],"金累丝","装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F312c1063a19d3928a41773885b64e95e.jpg",[],{"id":790,"slug":791,"title":792,"dynasty":18,"author":19,"museum":20,"description":793,"tags":794,"thumbUrl":797,"material":33,"size":34,"collection":35,"collections":798,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},242146,"tong-du-jin-dian-cui-qian-zhu-bao-shuang-xi-wen-dian-hua-yi-ming-242146","铜镀金点翠嵌珠宝双喜纹钿花","用金、银、玉、贝等做成的花朵状装饰品。",[125,465,59,235,795,796,58,450,7],"双喜纹","钿花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13fb6bbce72dc8eb41a12e47adfe6e18.jpg",[],{"id":800,"slug":801,"title":802,"dynasty":18,"author":19,"museum":20,"description":803,"tags":804,"thumbUrl":806,"material":33,"size":34,"collection":35,"collections":807,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":808},241914,"cui-pan-chang-bei-yun-yi-ming-241914","翠盘肠背云","取满色浓绿翠料，以透雕技法摹刻盘肠结。线条婉转回环，环环相扣不见断痕，将绳结的柔媚缱绻以玉质的莹润通透呈现。整器匀净浓绿，水头充盈，色泽鲜亮匀凝，雕琢毫无滞涩，虚实相生间尽显雅致工巧。\n盘肠自带“连绵不断、福寿绵长”的吉意，这件饰物将玉料之润美与吉祥寓意相融，尽显治玉工艺的细腻考究，是兼具审美意趣与美好祈愿的精巧之作。",[125,238,128,7,58,805,368],"翠色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faeb17502e7b9d3f82bf9c213ae9f35e7.jpg",[],"0D904F",{"id":810,"slug":811,"title":812,"dynasty":18,"author":19,"museum":20,"description":813,"tags":814,"thumbUrl":817,"material":33,"size":34,"collection":35,"collections":818,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},229951,"tong-tai-qia-si-fa-lang-gu-xing-ping-wu-gong-yi-ming-229951","铜胎掐丝珐瑯觚形瓶（五供）","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。",[661,127,450,815,125,7,816,777],"礼器","铜胎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1abafa1464b12bbadd562b6a7227d919.jpg",[],{"id":820,"slug":821,"title":822,"dynasty":18,"author":19,"museum":20,"description":333,"tags":823,"thumbUrl":10,"material":33,"size":34,"collection":35,"collections":828,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},229156,"ti-cai-chun-shou-bao-he-yi-ming-229156","剔彩春寿宝盒",[414,824,825,128,7,405,75,826,827],"剔彩","清代风格","彩漆","宝盒",[],1777535706421]