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。因其在明朝景泰年间盛行，制作技艺比较成熟，使用的珐琅釉多以蓝色为主，故而得名“景泰蓝”。",[244,245,246,247,248,249,7,205,250,71],"清代","掐丝珐琅","琺瑯器","铜制","兽耳","活环","牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf59b70069456f46c71625c97b07dc07.jpg",[],4,{"id":255,"slug":256,"title":257,"dynasty":18,"author":241,"museum":82,"description":258,"tags":259,"thumbUrl":265,"material":94,"size":95,"collection":32,"collections":266,"showCount":267,"zanCount":11,"manualWeight":11,"mainColor":137},261015,"qing-hua-qi-lin-jiao-ye-tu-da-pan-yi-ming-261015","青花麒麟蕉叶图大盘","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。",[260,261,262,7,263,264],"陶瓷","青花","麒麟","大盘","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60519a06693050fbaad92dfd411de5ee.jpg",[],3,{"id":269,"slug":270,"title":240,"dynasty":18,"author":241,"museum":82,"description":242,"tags":271,"thumbUrl":273,"material":94,"size":95,"collection":32,"collections":274,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":137},249434,"lao-tian-li-kuan-qia-si-fa-lang-jiao-ye-hua-niao-tu-shou-er-huo-huan-ping-yi-ming-249434",[244,245,272,248,249,7,205,71,264],"珐琅器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1279fed1ec37df1b8608cffa1d171450.jpg",[],{"id":276,"slug":277,"title":278,"dynasty":18,"author":241,"museum":82,"description":258,"tags":279,"thumbUrl":282,"material":94,"size":95,"collection":32,"collections":283,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":37},260942,"qing-hua-zhu-shi-jiao-ye-tu-yu-hu-chun-ping-yi-ming-260942","青花竹石蕉叶图玉壶春瓶",[260,261,280,86,281,7],"玉壶春瓶","石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bbbe72a0ebbf823c984cec485d56120.jpg",[],{"id":285,"slug":286,"title":287,"dynasty":18,"author":241,"museum":82,"description":242,"tags":288,"thumbUrl":292,"material":94,"size":95,"collection":32,"collections":293,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":294},249363,"qian-long-kuan-qia-si-fa-lang-gou-lian-jiao-ye-wen-mei-ping-yi-ming-249363","乾隆款掐丝珐琅勾莲蕉叶纹梅瓶",[18,245,71,289,290,272,291,7],"莲","蕉叶纹","勾莲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf1a45c660e1a6abc0fbba666e00d9b9.jpg",[],"37474F",{"id":296,"slug":297,"title":298,"dynasty":18,"author":241,"museum":82,"description":299,"tags":300,"thumbUrl":306,"material":94,"size":95,"collection":32,"collections":307,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":137},272117,"duan-shi-jiao-ye-chang-fang-yan-yi-ming-272117","端石蕉叶长方砚","砚台历经秦汉、魏晋，至唐代起，各地相继发现适合制砚的石料，开始以石为主的砚台制作。其中采用甘肃岷县的洮河石、广东端州的端石、安徽歙州的歙石制作的砚台，被分别称作洮砚、端砚、歙砚。史书将洮、端、歙称作三大名砚。清末，又将河南洛阳的澄泥砚与洮、端、歙，并列为中国四大名砚。也有人主张，以天然砚石雕制的鲁砚中的红丝石砚代替澄泥砚，合称四大名砚。\n谈起砚的种类有许多种，从砚的材质可分为：玉砚、银砚、铜砚、铁砚、陶砚、瓷砚、石砚、漆砚等，其中石砚是最为普遍，也最实用的一种砚。砚台起源于新石器时代。最早的砚是半坡村遗址出土的研磨颜料的研磨器，在1980年，大陆考古学家曾在陕西省临潼县姜寨一处原始社会的遗址中，发现了一套原始人用以陶器彩绘的工具，其中有一方石砚，砚有盖，砚面微凹，凹处并有一根石质磨杵，砚旁留存数块黑色颜料。很显然，这是先民们借助磨杵研磨颜料的早期砚的形制。由于这处遗址归属于母系氏族时期的仰韶文化，故这方砚台的实际寿龄已超过了五千年了。\n清代端石砚要求因材施艺，因石构图，在题材、立意、构图、造型、利用何种雕法都要精心推敲，刻划得当。保持了端砚的古雅、朴实，古色古香、形态自然的特点。如北京故宫收藏的「端石双龙砚」、「猫蝶砚」是端砚中的佳品。",[301,302,303,304,7,305,71],"砚","端石","木质","雕刻","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4da77a855613f978d7193881e88e3834.jpg",[],{"id":309,"slug":310,"title":311,"dynasty":18,"author":241,"museum":82,"description":299,"tags":312,"thumbUrl":314,"material":94,"size":95,"collection":32,"collections":315,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},271675,"she-shi-jiao-ye-yan-yi-ming-271675","歙石蕉叶砚",[301,305,313,7,304],"歙石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95ba4c703a215086e130fd8b192dbd7e.jpg",[],{"id":317,"slug":318,"title":319,"dynasty":18,"author":241,"museum":82,"description":299,"tags":320,"thumbUrl":322,"material":94,"size":95,"collection":32,"collections":323,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":137},271589,"duan-shi-diao-jiao-ye-chang-fang-yan-yi-ming-271589","端石雕蕉叶长方砚",[301,302,304,7,321],"文房器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1f700161590d676013eb24ff63f2c64.jpg",[],{"id":325,"slug":326,"title":327,"dynasty":18,"author":241,"museum":82,"description":299,"tags":328,"thumbUrl":331,"material":94,"size":95,"collection":32,"collections":332,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":137},271585,"duan-shi-diao-jiao-ye-sui-xing-yan-yi-ming-271585","端石雕蕉叶随形砚",[301,302,304,7,329,330],"随形","文房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a06502fc1e791a98c02aec875910f2a.jpg",[],{"id":334,"slug":335,"title":336,"dynasty":18,"author":241,"museum":82,"description":337,"tags":338,"thumbUrl":339,"material":94,"size":95,"collection":32,"collections":340,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":294},271464,"duan-shi-diao-jiao-ye-yan-zhuan-yi-ming-271464","端石雕蕉叶砚砖","浅雕蕉叶错落铺陈于砖身上部，断叶交叠，看似疏野随意，实则暗合章法，将蕉叶被风揉乱的姿态凝于石上，自带萧散清逸之趣。\n石色纯黑莹润，质地细腻紧实，尽显石材之佳。下方砚堂素净开阔，留足研墨余裕，将文房实用与赏玩雅意相融。\n刀笔极简，仅以浅线勾勒叶片翻折弧度，不做过多修饰，烘托出石材本身的温润质感，暗藏清寂禅意，把案头研墨之具，化作可赏可用的雅致清玩，藏着中式美学的含蓄风骨。",[301,302,304,7,305],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd29376a7a6192f7f41ef4b97879d9006.jpg",[],{"id":342,"slug":343,"title":336,"dynasty":18,"author":241,"museum":82,"description":344,"tags":345,"thumbUrl":346,"material":94,"size":95,"collection":32,"collections":347,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":137},271463,"duan-shi-diao-jiao-ye-yan-zhuan-yi-ming-271463","以浅浮雕勾勒蕉叶，线条洗练舒展，将蕉叶婆娑之态藏于朴拙素净的砚砖之上。石质温润匀净，纯黑基底衬出叶脉清隽，不作多余修饰，将文房雅趣凝于方寸。叶片错落有致，暗合中式写意的含蓄美感，褪去繁复，只留内敛沉静的气韵，仿佛能牵起旧时案头的清寂时光，赏用二者相融，尽显文人案头的清雅意趣，耐看且带着沉静的古意。",[301,302,304,7,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd3dd9a70e7da67ca638bd30e002ab90.jpg",[],{"id":349,"slug":350,"title":351,"dynasty":18,"author":241,"museum":82,"description":352,"tags":353,"thumbUrl":357,"material":94,"size":95,"collection":32,"collections":358,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":137},260936,"dou-qing-you-qing-hua-mei-hua-jiao-ye-wen-hua-gu-yi-ming-260936","豆青釉青花梅花蕉叶纹花觚","中国瓷器著名传统颜色釉。亦称“青瓷釉”。古代南方青釉，是瓷器最早的颜色釉。\n所谓“青釉”，颜色并不是纯粹的青，有：月白、天青、粉青、梅子青、豆青、豆绿、翠青等，但多少总能泛出一点青绿色。同时，古人往往将青、绿、蓝三种颜色，一统称为“青色”，例如许之衡《饮流斋说瓷》称：“古瓷尚青，凡绿也、蓝也，皆以青括之。”刘子芬《竹园陶说》中也说：“青色一种，常与蓝色相混。雨过天晴，钧窑、元窑之青，皆近蓝色。”“惟千峰翠色、梅子青、豆青、乃为纯青耳。天色本蓝，有时为青。”\n青釉是我国使用最早，延用时间最久，分布最广的一个釉种，它的发明是与我国瓷土矿大都含有一定量的铁矿的现象相一致的。青色也符合我国人民的传统审美情趣。青色与碧玉相若，认为稳重而高雅。浙江、江西、河南等地已出土了不少早至商周时期的原始青釉瓷。六朝至唐宋以越窑为代表的南方青釉瓷；宋到元明的龙泉窑系青瓷；耀州窑、临汝窑、钧窑等宋代北方青瓷；以及明、清以来的景德镇青釉瓷，是青釉发展的几个重要阶段，所谓的宋代“汝、定、官、哥、钧”五大名窑，除定窑外均属青釉瓷。表釉的呈色主要决定于着色氧化物的含铁量与烧成气氛，青釉含铁量一般在1—3%左右，过高会变成黑釉，低了就能烧成白瓷。在还原气氛中烧成。釉色青绿；在氧化气氛中烧成，釉色泛黄。因而陶瓷界所谓的青釉是相对而言的，正如许之衡《饮流斋说瓷》中所说：“古瓷尚青，凡绿也，蓝也，皆以青括之。”",[260,261,354,355,7,356],"豆青釉","梅花","花觚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34ed7cccd9d57a4b53ba207579fcdb3a.jpg",[],{"id":360,"slug":361,"title":362,"dynasty":18,"author":241,"museum":82,"description":363,"tags":364,"thumbUrl":366,"material":94,"size":95,"collection":32,"collections":367,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":294},251896,"song-xiang-jiao-ye-hua-hui-wen-zhi-kou-ping-yi-ming-251896","松香蕉叶花卉纹直口瓶","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。",[244,260,304,89,7,365,71],"松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88c03b35a897e2eb8962f81bff4c09f4.jpg",[],{"id":369,"slug":370,"title":371,"dynasty":18,"author":241,"museum":82,"description":372,"tags":373,"thumbUrl":375,"material":94,"size":95,"collection":32,"collections":376,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":294},251228,"qing-yu-jiao-ye-shou-mian-wen-zha-dou-yi-ming-251228","青玉蕉叶兽面纹渣斗","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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