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七子过关图》，均辑入《中国历代名画集》。",[42,43,44,45,46,47,48,49,7,50,51],"国画","书画","立轴","工笔","宗教","设色","人物","祥云","宝台","云纹装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d88ab9ac02852e0604343e74e450a77.jpg","",[],15,"37474F",{"id":58,"slug":59,"title":60,"dynasty":38,"author":19,"museum":20,"description":61,"tags":62,"thumbUrl":67,"material":27,"size":28,"collection":53,"collections":68,"showCount":69,"zanCount":11,"manualWeight":11,"mainColor":70},234440,"ji-pu-jin-gang-xiang-zhou-yi-ming-234440","吉菩金刚像轴","这是一幅黑底唐卡，以泥金勾线、朱红敷彩，色调沉凝华丽。主尊忿怒相威严慑人，獠牙怒张、鬃焰飞腾，乘狮踏魔，尽显降伏邪魔的雄浑气魄。卷云缠络满幅，将诸尊排布错落有致，上方静修的上师神态安和，与主尊的忿怒形成动静对冲，暗合藏传佛教怀柔伏恶的意涵。\n线条细劲流畅，衣纹、饰件的金纹如錾刻般繁复精美，将护法神祇的狞厉与华贵融为一体，宗教的肃穆威严与绘画的精工美感交织，尽显藏地唐卡的独特魅力。",[63,42,43,44,46,47,45,48,64,49,65,66,7],"名画","兽","火焰","法器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44a592ca5c4577f9549b0e90cb565a93.jpg",[],4,"795548",{"id":72,"slug":73,"title":74,"dynasty":38,"author":19,"museum":20,"description":75,"tags":76,"thumbUrl":83,"material":27,"size":28,"collection":53,"collections":84,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":33},264260,"ou-he-se-jin-cai-hua-hui-wen-zhuang-hua-duan-pao-liao-yi-ming-264260","藕荷色金彩花卉纹妆花缎袍料","藕荷底色沉敛如暮春紫霞，将妆花织就的花鸟纹样衬得愈发生动。粉蓝枝叶舒展柔婉，柔粉花团与金彩点缀的禽鸟相映成趣，禽鸟姿态娇憨写实，翅羽纹路细腻可见，花叶饱满鲜活，晕染出融融春意。\n\n纹样排布错落规整，既恪守织绣礼制的对称章法，又以疏密变化跳出刻板，尽显织造匠人的巧思。妆花针脚细密匀整，色彩过渡自然柔和，冷暖色调碰撞调和，把雅致娴静与鲜活生机揉为一体，织就精巧细腻的晚清织绣质感，尽显东方审美的含蓄意趣。",[77,78,79,7,80,81,47,82],"布料","袍料","妆花缎","花卉纹","花鸟","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff2d4d0c679b11ea65a1d96a61a6d430.jpg",[],3,{"id":87,"slug":88,"title":89,"dynasty":90,"author":19,"museum":20,"description":91,"tags":92,"thumbUrl":95,"material":27,"size":28,"collection":53,"collections":96,"showCount":85,"zanCount":32,"manualWeight":11,"mainColor":70},228540,"hong-you-jin-cai-shuang-long-gan-zhu-wen-wan-yi-ming-228540","红釉金彩双龙赶珠纹碗","明","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。",[23,93,7,94,24],"红釉","龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa422f265ae16ed7acaf7b8b4194ef891.jpg",[],{"id":98,"slug":99,"title":100,"dynasty":38,"author":19,"museum":20,"description":101,"tags":102,"thumbUrl":106,"material":27,"size":28,"collection":53,"collections":107,"showCount":108,"zanCount":11,"manualWeight":11,"mainColor":56},258800,"jia-qing-kuan-fan-hong-di-jin-cai-chan-zhi-lian-wen-ping-yi-ming-258800","嘉庆款矾红地金彩缠枝莲纹瓶","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。",[23,103,7,104,24,105],"矾红地","缠枝莲纹","清代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37f8f4a4a6ae1c4b69697664dc26eb2a.jpg",[],2,{"id":110,"slug":111,"title":112,"dynasty":38,"author":19,"museum":20,"description":101,"tags":113,"thumbUrl":120,"material":27,"size":28,"collection":53,"collections":121,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":70},258648,"qian-long-kuan-lv-di-jin-cai-tu-hua-wen-shuang-er-pie-kou-ping-yi-ming-258648","乾隆款绿地金彩凸花纹双耳撇口瓶",[114,23,7,115,116,117,118,119,24],"清代","凸花","绿地","双耳","撇口","兽纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0453fd4827244913da7a7d46d241c570.jpg",[],{"id":123,"slug":124,"title":125,"dynasty":38,"author":19,"museum":20,"description":126,"tags":127,"thumbUrl":137,"material":27,"size":28,"collection":53,"collections":138,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":70},234451,"qing-ren-yang-ti-yu-di-zhu-xiang-zhou-yi-ming-234451","清人阳体狱帝主像轴","这是一幅典型的藏地黑唐卡，以浓墨为底，用金彩与红、蓝重彩勾勒敷色。主尊造型狞厉威严，多头多臂，身饰璎珞骷髅，骑乘怒目瑞兽，足下镇伏邪魔，宝焰身光烘托出慑服众恶的怖畏法相，尽显护法神祇降伏诸障的威权。上方三尊胁侍圣僧安坐莲台，神情恬和，与主尊形成刚柔反差。画面云纹翻卷灵动，构图饱满紧凑，线条劲健流畅，将密宗护法造像的狞厉美感与细腻工法融合，把密教护法慑服一切魔障的威仪诠释得淋漓尽致，尽显清代藏地密教绘画的精湛水准。",[128,44,129,46,130,131,132,133,134,48,45,135,7,136],"唐卡","黑唐卡","密宗","阳体狱帝主","护法神","圣僧","瑞兽","重彩","云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0fde8b27a892111804ba77d44aa4612.jpg",[],{"id":140,"slug":141,"title":142,"dynasty":90,"author":19,"museum":20,"description":91,"tags":143,"thumbUrl":145,"material":27,"size":28,"collection":53,"collections":146,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":70},228541,"hong-you-jin-cai-shuang-long-gan-zhu-wen-wan-1-yi-ming-228541","红釉金彩双龙赶珠纹碗-1",[23,24,93,7,94,144],"珠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62862caeb75078c5840e171e8ecc9a42.jpg",[],{"id":148,"slug":149,"title":150,"dynast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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。",[23,153,7,154,155,26,24,156],"青花","明代","莲塘纹","装饰纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3315ab0bd08d87b71acfdf53e2c17e76.jpg",[],{"id":160,"slug":161,"title":162,"dynasty":38,"author":19,"museum":20,"description":163,"tags":164,"thumbUrl":169,"material":27,"size":28,"collection":53,"collections":170,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},272534,"cao-guan-wu-cang-shu-hua-zhou-mo-jin-jia-lan-zi-shang-hu-chang-fang-mo-yi-ming-272534","曹冠五藏书画舟墨-金夹蓝字上弧长方墨","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[165,166,7,167,168],"墨","文房用具","蓝彩","长方墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddb40524b1eb56fe92e44118df16fedb.jpg",[],{"id":172,"slug":173,"title":174,"dynasty":38,"author":19,"museum":20,"description":163,"tags":175,"thumbUrl":178,"material":27,"size":28,"collection":53,"collections":179,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":70},272529,"cao-guan-wu-cang-shu-hua-zhou-mo-jin-jia-lv-zi-chang-fang-mo-yi-ming-272529","曹冠五藏书画舟墨-金夹绿字长方墨",[165,166,176,168,7,177],"书法","绿彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F979eceecbcd4e28ee0faa284991e4a3b.jpg",[],{"id":181,"slug":182,"title":183,"dynasty":38,"author":19,"museum":20,"description":163,"tags":184,"thumbUrl":189,"material":27,"size":28,"collection":53,"collections":190,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":56},271206,"li-wen-shi-xing-lin-yan-mo-yi-ming-271206","丽文氏杏林宴墨",[165,166,185,186,187,188,7],"雕刻","梅花","飞鸟","篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb9664916967216c22dfdf25f0529bef.jpg",[],{"id":192,"slug":193,"title":194,"dynasty":38,"author":19,"museum":20,"description":195,"tags":196,"thumbUrl":201,"material":27,"size":28,"collection":53,"collections":202,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":70},263525,"yan-xi-tong-he-kuan-hong-di-jin-cai-xi-zi-liu-jie-yuan-he-yi-ming-263525","燕喜同和款红地金彩喜字六节圆盒","清代文物。旧时用于存放食物或饰品之用,根据材质价值不同。清宫旧藏",[197,198,7,199,200],"漆器","日用器","喜字","圆盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F027f957d2eedb8a1f794431e14676f4b.jpg",[],{"id":204,"slug":205,"title":194,"dynasty":38,"author":19,"museum":20,"description":195,"tags":206,"thumbUrl":211,"material":27,"size":28,"collection":53,"collections":212,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":70},263524,"yan-xi-tong-he-kuan-hong-di-jin-cai-xi-zi-liu-jie-yuan-he-yi-ming-263524",[197,207,7,208,209,210],"日用具","喜字纹","回纹","节盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F358fa0c1d38c7a998f2e256c06edb948.jpg",[],{"id":214,"slug":215,"title":216,"dynasty":38,"author":19,"museum":20,"description":195,"tags":217,"thumbUrl":220,"material":27,"size":28,"collection":53,"collections":221,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":56},259411,"tong-zhi-kuan-hong-di-jin-cai-shuang-xi-zi-liu-jie-he-yi-ming-259411","同治款红地金彩双“喜”字六节盒",[197,7,218,198,219],"双喜字","盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F597fb3a6fb26fb2f777a3b43518d26e7.jpg",[],{"id":223,"slug":224,"title":225,"dynasty":38,"author":19,"museum":20,"description":226,"tags":227,"thumbUrl":230,"material":27,"size":28,"collection":53,"collections":231,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":56},259409,"tong-zhi-kuan-hong-di-jin-cai-xi-zi-pan-yi-ming-259409","同治款红地金彩“喜”字盘","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [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。",[23,207,7,228,199,229],"红地","盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f40f5db038cf8cec46dec38108792fe.jpg",[],{"id":233,"slug":234,"title":235,"dynasty":38,"author":19,"museum":20,"description":236,"tags":237,"thumbUrl":240,"material":27,"size":28,"collection":53,"collections":241,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},259399,"yan-xi-tong-he-kuan-fan-hong-di-jin-cai-shuang-xi-zi-wan-yi-ming-259399","燕喜同和款矾红地金彩双喜字碗","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。",[23,198,238,7,239,199],"饮酒器","矾红","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6629bdf9309f13e45f54323831c0a4b8.jpg",[],{"id":243,"slug":244,"title":245,"dynasty":38,"author":19,"museum":20,"description":101,"tags":246,"thumbUrl":252,"material":27,"size":28,"collection":53,"collections":253,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":70},258567,"qian-long-kuan-ji-lan-di-miao-jin-kai-guang-fen-cai-hua-hui-shi-ju-tu-bi-ping-yi-ming-258567","乾隆款祭蓝地描金开光粉彩花卉诗句图壁瓶",[23,247,248,249,250,7,26,251,176,47,24],"祭蓝地描金","开光","粉彩","描金","诗句","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F865b89715556dd1662a786d290a680c8.jpg",[],{"id":255,"slug":256,"title":257,"dynasty":38,"author":19,"museum":20,"description":258,"tags":259,"thumbUrl":265,"material":27,"size":28,"collection":53,"collections":266,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":70},258528,"qian-long-kuan-zi-di-fen-cai-kai-guang-bai-lu-tu-zun-yi-ming-258528","乾隆款紫地粉彩开光百鹿图尊","尊，今作樽，是商周时代中国的一种大中型盛酒器。青铜器，尊的形制圈足，圆腹或方腹，长颈，敞口，口径较大。尊盛行于商代至西周时期，春秋后期已经少见。较著名的有四羊方尊。商周至战国时期，还有另外一类形制特殊的盛酒器—彝。彝通常呈鸟兽状，有羊、虎、象、豕、牛、马、鸟、雁、凤等形象。《周礼·春官·司尊彝》：“春祠夏禴，裸用鸡彝鸟彝......追享朝享，裸用虎彝蜼彝。”彝纹饰华丽，在背部或头部有尊盖。",[23,249,248,47,260,261,262,64,24,105,263,7,264],"鹿","山水","树木","紫地","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0917d0b09cc8dd0e3bb0d0d5a263bcc.jpg",[],{"id":268,"slug":269,"title":270,"dynasty":90,"author":19,"museum":20,"description":91,"tags":271,"thumbUrl":275,"material":27,"size":28,"collection":53,"collections":276,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":56},257689,"ji-lan-you-jin-cai-niu-wen-shuang-xi-guan-yi-ming-257689","祭蓝釉金彩牛纹双系罐",[154,23,272,7,273,274,24],"祭蓝釉","牛","双系","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc366643be3fa353e61efb2a67ed77f9a.jpg",[],{"id":278,"slug":279,"title":270,"dynasty":90,"author":19,"museum":20,"description":91,"tags":280,"thumbUrl":285,"material":27,"size":28,"collection":53,"collections":286,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},257688,"ji-lan-you-jin-cai-niu-wen-shuang-xi-guan-yi-ming-257688",[90,23,272,7,281,274,282,24,283,284],"牛纹","罐","釉彩","金彩装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d76b5bbefca05c423ec8fb780058670.jpg",[],{"id":288,"slug":289,"title":270,"dynasty":90,"author":19,"museum":20,"description":91,"tags":290,"thumbUrl":291,"material":27,"size":28,"collection":53,"collections":292,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":56},257596,"ji-lan-you-jin-cai-niu-wen-shuang-xi-guan-yi-ming-257596",[90,23,272,7,273,24,274],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d4daea427438f2a13abab42919bc508.jpg",[],{"id":294,"slug":295,"title":270,"dynasty":90,"author":19,"museum":20,"description":91,"tags":296,"thumbUrl":298,"material":27,"size":28,"collection":53,"collections":299,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":70},257593,"ji-lan-you-jin-cai-niu-wen-shuang-xi-guan-yi-ming-257593",[23,272,7,297,273,64,24],"刻画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff093732ab103f48d028f633d4ee46bf.jpg",[],{"id":301,"slug":302,"title":303,"dynasty":90,"author":19,"museum":20,"description":304,"tags":305,"thumbUrl":308,"material":27,"size":28,"collection":53,"collections":309,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},256489,"huang-you-jin-cai-xi-er-guan-yi-ming-256489","黄釉金彩牺耳罐","黄釉是汉族传统的陶瓷装饰艺术。最早出现于唐代，当时安徽淮南寿州窑、河南密县窑等都烧黄釉。但正色黄釉，还是宋代汝窑的高温黄釉——茶叶末釉。明代的黄釉有新的发展，洪武时的老僧衣即茶叶末的衍化；始于宣德的浇黄，更是明代杰出的黄釉；嘉靖以后，又有鱼子黄、鸡油黄等。入清后有康熙的淡黄，以及其后的菜尾、鼻烟、金酱等。",[23,306,7,307,154,24],"黄釉","兽耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02d291edd6724d11f052c55637363890.jpg",[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