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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。”",[7,87,88,123,124,125,126,112],"兽","猪","雕塑","动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F721d39cc64701390a46953dfb7570a8b.jpg",[],{"id":130,"slug":131,"title":132,"dynasty":18,"author":19,"museum":20,"description":133,"tags":134,"thumbUrl":137,"material":45,"size":46,"collection":31,"collections":138,"showCount":116,"zanCount":11,"manualWeight":11,"mainColor":34},244933,"pan-chi-wen-deng-yi-ming-244933","蟠螭纹灯","灯盘一侧带鋬，握持添油点火随性自如。高灯柱分节收束，衬得器型高挑舒展，于沉稳中带着轻盈姿态。底座錾刻蟠螭纹，虬曲瑞兽回旋缠绕，线条古拙灵动，把上古异兽的生机凝于方寸之间。青褐铜锈覆身，斑驳间晕开厚重包浆，将千余年的岁月痕迹藏在铜色肌理中。\n\n它是实用与审美相融的精巧造物，将寻常照明之具化作青铜工艺的隽永载体，灯火明灭之间，流淌着沉静古雅的隽永意韵。",[7,65,75,74,89,135,136],"日用品","龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99edae847ffd36c85153a9c60d4fa2db.jpg",[],{"id":140,"slug":141,"title":142,"dynasty":18,"author":19,"museum":20,"description":143,"tags":144,"thumbUrl":148,"material":45,"size":46,"collection":31,"collections":149,"showCount":116,"zanCount":11,"manualWeight":11,"mainColor":80},244738,"san-feng-lou-kong-xun-lu-yi-ming-244738","三凤镂空熏炉","炉身以镂空三凤为饰，凤首探于炉口，羽翼翻卷舒展，虚实之间将灵禽瑞意融于器型。古铜锈色深浅晕染，绿褐交错，凝着时光浸淫的痕迹。\n\n炉足下承浅盘，既承接焚香余烬，也让整体造型匀称端庄。整器将实用与审美相融，镂空设计令烟气流转弥散，熏香之际，似有灵凤携香气翩跹，尽显雅致生活意趣与浪漫造物巧思，把祈福愿景与焚香雅兴凝铸青铜，古朴中藏着灵动雅致，尽显彼时的审美意韵。",[7,65,75,145,74,146,147],"镂空","凤纹","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78240d5119f6d601a6aee6a691322cbb.jpg",[],{"id":151,"slug":152,"title":153,"dynasty":18,"author":19,"museum":20,"description":154,"tags":155,"thumbUrl":158,"material":45,"size":46,"collection":31,"collections":159,"showCount":116,"zanCount":11,"manualWeight":11,"mainColor":34},243370,"long-wen-shao-yi-ming-243370","龙纹勺","敞口弧腹，单耳小巧伏于器侧，是古雅的日常挹取之器。铜身被深浅错落的绿锈晕染，如同时光泼就的晕彩，带着岁月浸淫的厚重质感。耳上龙纹虽经千年磨蚀，轮廓依旧清晰可辨，将瑞兽身姿凝缩于方寸之间，兼顾握持的趁手与纹饰的祈福意涵。\n\n它跳脱礼器的繁复庄重，带着独有的简约澹泊，把实用与审美融于一体。褪去了当初的鲜亮，凭一身斑驳锈色，静静诉说着千年前案席间的寻常光景，藏着那个时代雅致松弛的日常意趣。",[7,65,75,156,74,135,157],"龙纹","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dbc0c0991f028e26734d0c48b66a60a.jpg",[],{"id":161,"slug":162,"title":163,"dynasty":18,"author":19,"museum":20,"description":164,"tags":165,"thumbUrl":167,"material":45,"size":46,"collection":31,"collections":168,"showCount":116,"zanCount":11,"manualWeight":11,"mainColor":34},227040,"lv-you-wan-yi-ming-227040","绿釉碗","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。",[7,87,166,89],"绿釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95733f95225d1ee5a14972c4e8083e8e.jpg",[],{"id":170,"slug":171,"title":172,"dynasty":18,"author":19,"museum":20,"description":164,"tags":173,"thumbUrl":174,"material":45,"size":46,"collection":31,"collections":175,"showCount":116,"zanCount":11,"manualWeight":11,"mainColor":176},227039,"lv-you-que-wan-yi-ming-227039","绿釉确碗",[7,87,166,89],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca35f2ea7496d1279796f3d204f344fb.jpg",[],"FFFFFF",{"id":178,"slug":179,"title":180,"dynasty":18,"author":19,"museum":20,"description":181,"tags":182,"thumbUrl":184,"material":45,"size":46,"collection":31,"collections":185,"showCount":116,"zanCount":11,"manualWeight":11,"mainColor":80},227038,"bai-ci-wan-yi-ming-227038","白瓷碗","瓷器是由瓷石、高岭土、石英石、莫来石等烧制而成，外表施有玻璃质釉或彩绘的物器。瓷器的成形要通过在窑内经过高温（约1280℃～1400℃）烧制，瓷器表面的釉色会因为温度的不同从而发生各种化学变化，是中华文明展示的瑰宝。\n中国是瓷器的故乡，瓷器是古代劳动人民的一个重要的创造。谢肇淛在《五杂俎》记载：“今俗语窑器谓之磁器者，盖磁州窑最多，故相延名之，如银称米提，墨称腴糜之类也。”当时出现的以“磁器”代窑器是由磁州窑产量最多所致。这是迄今发现最早使用瓷器称谓的史料。",[7,87,183,147,89],"白瓷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c5294d451235c86b1ac8e164b5c7404.jpg",[],{"id":187,"slug":188,"title":189,"dynasty":18,"author":19,"museum":20,"description":190,"tags":191,"thumbUrl":10,"material":45,"size":46,"collection":31,"collections":194,"showCount":116,"zanCount":11,"manualWeight":11,"mainColor":34},224055,"qin-mu-yin-xin-tong-yin-yi-ming-224055","「秦穆印信」铜印","铜印章是由金属铜铸造而成，具有硬度大，不变形，保存时间长的特点。当代，由中国铜领域第一人的朱炳仁大师开创了熔铜铸印，每枚形态各异，造型独特，极具艺术性。\n铜印的印面，也可见到极少数的棱形和圆形铜印，印纽的形状变化较多，有瓦纽，兔纽，兽纽，柄纽，片纽等等。古代铜印从印文内容上又可分为官印，人名印，闲章，吉祥语，图案印，斋室印，收藏印，在古代遗留下的书画作品或其他文史资料中，人们可以常常可以看到这类印文。\n从拍卖市场来看，铜印中的官印最受市场追捧，像“统军千户之印”，印背一侧刻“统军千户之印”，另一侧刻“中书礼部造，太平二年月日”，系元末农民起义军徐寿辉所铸。另外一枚魏晋时期的奉车都尉鎏金青铜玺印，估价5万至8万元，成交价则达到了19.04万元。奉车都尉是一种官名，自汉武帝设立之后，到宋代废弃，这枚铜印无疑是当时历史的一段记载。\n相比官印，肖形印也是铜印中的主要品种。在2007年中国嘉德秋拍中，一枚估价仅为2000至4000元的战国肖形青铜印，成交价达到了4万余元。这枚铜印的印面为龙形图案，虎钮，造型生动活泼，栩栩如生，不可多得。肖形印，亦称画印、图印、封蜡印及生肖印，是印学研究中不可缺少的重要组成部分，它有别于文字印，但内容十分广泛。\n值得注意的是，随着铜印身价的与日俱增，赝品也越来越多地出现在市场上。由于铜本身的价格不如金银，因此造假成本比较低，加上拍卖价格比较高，因此巨大的利益驱使了造假者纷纷出手。收藏市场上的铜印赝品，绝大多数是翻砂浇铸的粗劣之作。印钮两侧的标记文字也是浇铸成形的，文字不清或似是而非。为了使赝品更加逼真，造假者往往会人为制作黑色包浆，常用办法是涂上油腊烤烧数遍之后即成，但往往可以通过手剥看到下面的黄铜。",[75,55,192,193,74,7],"篆刻","兽钮",[],{"id":196,"slug":197,"title":198,"dynasty":18,"author":19,"museum":20,"description":121,"tags":199,"thumbUrl":202,"material":45,"size":46,"collection":31,"collections":203,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},256954,"qing-you-si-xi-guan-yi-ming-256954","青釉四系罐",[87,88,7,200,201,157],"罐","系","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b8af8ff03cc00d2d671b1269185836d.jpg",[],{"id":205,"slug":206,"title":207,"dynasty":18,"author":19,"museum":20,"description":121,"tags":208,"thumbUrl":211,"material":45,"size":46,"collection":31,"collections":212,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":213},256953,"qing-you-ya-tou-hu-yi-ming-256953","青釉鸭头壶",[7,87,88,209,89,210],"仿生造型","烧制","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F739b9cb0dc0647f9f2263eb700f05c93.jpg",[],"37474F",{"id":215,"slug":216,"title":217,"dynasty":18,"author":19,"museum":20,"description":121,"tags":218,"thumbUrl":221,"material":45,"size":46,"collection":31,"collections":222,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":213},256894,"qing-you-yin-wen-shuang-xi-hu-yi-ming-256894","青釉印纹双系壶",[7,87,88,219,111,89,157,220],"印纹","古物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7ccc96c7ddae180d5bb622ac2e7be6a.jpg",[],{"id":224,"slug":225,"title":226,"dynasty":18,"author":19,"museum":20,"description":121,"tags":227,"thumbUrl":229,"material":45,"size":46,"collection":31,"collections":230,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":213},256891,"qing-you-ji-tou-hu-yi-ming-256891","青釉鸡头壶",[87,88,228,7,74,89],"鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb3e5200cfc5de5545c136c4a328cfba.jpg",[],{"id":232,"slug":233,"title":234,"dynasty":18,"author":19,"museum":20,"description":121,"tags":235,"thumbUrl":238,"material":45,"size":46,"collection":31,"collections":239,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},256810,"qing-you-pu-shou-jin-wen-si-xi-guan-yi-ming-256810","青釉铺首锦纹四系罐",[7,87,88,89,236,237,101],"铺首","锦纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cc19f145114223183f1101d46c808c7.jpg",[],{"id":241,"slug":242,"title":243,"dynasty":18,"author":19,"museum":20,"description":244,"tags":245,"thumbUrl":249,"material":45,"size":46,"collection":31,"collections":250,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":213},256003,"tao-nan-li-yong-yi-ming-256003","陶男立俑","春秋战国时期，有一种殉葬用的“俑”，据《礼记·檀弓》，孔子“谓为俑者不仁”。郑玄注：“俑，偶人也，有面目机发，有似于生人。”皇侃疏：“机械发动踊跃，故谓之俑也。”孔颖达正义：“刻木为人，而自发动，与生人无异，但无性灵知识。”又《孟子·梁惠王》：“仲尼曰：始作俑者，其无后乎?为其像人而用之也。”焦循《孟子正义》：《广雅》引(张揖)《埤苍》云：“俑，木人，送葬设关而能跳踊，故名之。”“为其像人者，谓为其像人之转动跳踊也。”可见“俑”就是由简单机械发动能够自己转动跳跃的木人。\n中国古代坟中墓中陪葬用的偶人。是象征殉葬奴隶的模拟品。东周墓中出现渐多，秦汉至隋唐盛行，北宋以后逐渐衰落，但仍沿用到元明时期。俑的质料以木、陶质最常见，也有瓷、石或金属制品。宋代以后纸明器开始流行，陶、木、石质的俑开始渐渐减少。俑的形象，主要有奴仆、舞乐、士兵、仪仗等，并常附有鞍马、牛车、庖厨用具和家畜等模型，还有镇墓胜的神物。俑大多真实地模拟着当时的各种人物，因而可以考见当时社会的生活习俗，也是研究各代舆服制度的重要资料。俑还可以反映出各个时代雕塑艺术的水平。\n秦代的秦始皇陵兵马俑，形体比人略高，陶制，是已知最大的俑；另外还有铜俑等。汉俑种类比以前增多，有兵士、女侍、仆役及乐舞俑。南方以木俑为多，有的彩绘着衣。其他地方多陶、石、木、金属等多种材质的俑，注重传神。两晋南北朝制作多样，南方承中原传统并有了瓷俑；北方出了少数民族形象的陶俑。隋唐俑型大而精美，三彩俑为盛唐时的制作高峰。现在能见到的，是保存在陕西省历史博物馆的唐三彩杰作，有陕西省乾县懿德太子李重润墓出土的、三彩纹胎骑马狩猎俑，和西安市中堡村唐墓出土的唐三彩骆驼戴乐舞俑。这些俑的特点，普遍是形象高大雄健，神态生动富有传神，可谓形神俱佳的作品。并反映了盛唐时期，中华民族富有创造性和豪迈自信的民族性格。五代以后，以俑殉葬的风气开始低落，金元墓葬中出现了陶塑、砖雕表演杂剧的俑，往往成组塑造，还有舞台背景，较为生动，是制作俑的最后一个高潮，以山西出土为多。明清墓葬中俑的出现渐少。在高官王侯墓中出土有木俑和石俑，多以成群人物或辅以仪仗、侍从的庞大场面，用来炫耀死者地位为主，但作为雕塑制品已失去了艺术感染力。秦兵马俑的历史文化价值是独具魅力的。它打开了观察它所产生的那个时代的窗口，大大地改变了人们对那个时代的看法。\n秦兵马俑震撼世人的首推其卓越的艺术成就。几千件魁伟英武的大型陶塑艺术作品，以整体形象排列在将近两万平方米的空间里，其磅礴的气势几乎使所有不同肤色的参观者都从心灵深处产生强烈震颤，体现出艺术家驾驭宏大艺术题材、追求整体气韵和艺术创造的卓越才能。秦俑千人千面、呼之欲出的人物塑造则从形体把握、神韵处理、色彩运用、细部刻画等方面表现出作者的艺术素养和艺术成就。作品写实主义的风格不仅给我们留下了一个高超的古代艺术范本，同时也留下了许多关于那个时代的极富价值的历史记录。严肃划一的军旅题材能够处理得如此生动，产生如此震撼人心的艺术魅力，使人们不得不换一副眼光来审视中国古代艺术发展历程中的特殊规律，重新探索和构架中国古代造型艺术发展的历史。\n秦兵马俑坑文物的出土也较大幅度地改写了人们对秦代的科技水平的认识，以大量的实证材料形象地展现了秦代生产力的发展水平。就科技史而言，秦俑坑发现的许多资料都是令世人震惊的。譬如：1、秦俑坑出土文物所展现的秦代冶金和金属加工技术比我们以往的估计要高出很多，其中青铜涂铬防锈技术的大量应用是最具代表性的一例，它在当时已是一种很成熟的技术，秦俑出土的绝大多数兵器表面都涂有这种保护层。这种绝技似乎从汉代以后就失传了，与之形成鲜明对比的是，两千多年后的1937年，现代镀铬技术才在德国产生，并以专利发明载入了史册。2、秦俑坑出土兵器明确印证了秦简中关于“为器同物者，其小大、短长”是一种标准化概念，秦人在标准化实践方面取得了惊人的成就。这种标准化既是秦人管理艺术发展的代表，也是秦代科技水平的标志。秦人加工的青铜弩机器件精密、形体标准，相同规格的器件完全可以互换。许多特殊的加工工艺，如青铜铍脊上的纹饰生成，纤如毫发的金属小孔钻刻技艺，也都令人叹为观止，一些工艺至今还是不解之谜。由于古代统治者们有重政治、重伦理、崇人事而轻科技的倾向，史书关于科技的记载往往简略残缺，秦代科技资料更是凤毛麟角。正因为如此，秦俑考古的历史文化价值也就更加重要。\n俑坑数千兵马俑所展示的军事内容无疑是军事史研究的最重要的、最形象的资料之一，许多资料使人们对古代军事领域的认识更进一步。譬如，关于当时的兵种构成、组合搭配和结阵形式，兵器、兵器配置形式以及甲具防护装备，军伍组织结构和指挥系统，甚至军伍士卒的来源等，都有珍贵的资料价值。二号坑弩兵的单独结阵，骑兵、轻车兵的编队和配合，是以前有所不知或知之不详的重要资料，以之对照《孙膑兵法》中关于车、步、骑配合原则的论述，给人留下的印象是极其深刻的。古代军事著述中关于兵器配置中长短相杂、相救的原则在秦俑坑兵器配置中也有直观表现，同样有其军事科学上的研究价值。难怪有人将秦俑三坑称为一座内容丰厚的秦代军事博物馆。\n历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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。",[65,136,89,74,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5d4cfcddc95595dd3f7bfb042535f4a.jpg",[],{"id":541,"slug":542,"title":543,"dynasty":18,"author":19,"museum":20,"description":544,"tags":545,"thumbUrl":547,"material":45,"size":46,"collection":31,"collections":548,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":80},243856,"kui-wen-deng-yi-ming-243856","夔纹灯","它以青铜为骨，苍绿铜锈晕染出厚重的岁月包浆，采用子母分体巧思，上层灯盏可旋动转向，适配不同角度取光需求。\n\n器身隐见夔纹残痕，古拙线条勾勒上古神兽意态，褪去狞厉，添了几分雅致。下层盏池可储油余沥，兼具收纳与续燃之用，将实用功能与美学意趣熔铸一体，是古人日常器物里藏着的巧思，把照明这件寻常事，赋予了灵动的设计感，残损中仍能窥见彼时造物的审美与匠心。",[7,65,75,74,546,147],"夔纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43623c33d33a01fdb818982353dcde2a.jpg",[],{"id":550,"slug":551,"title":552,"dynasty":18,"author":19,"museum":20,"description":553,"tags":554,"thumbUrl":555,"material":45,"size":46,"collection":31,"collections":556,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":80},243855,"yuan-kang-deng-yi-ming-243855","元康灯","这方青铜灯造型朴拙内敛，器身作长方椭形，盖身严丝合缝，钮与系耳错落排布，四矮足沉稳承托整体。铜身晕染着褐绿交叠的锈色，是时光浸淫出的斑驳肌理，凝着百年烟火余温。\n\n开合之间，可窥古人夜读伴坐的日常，冷硬铜料被赋予起居暖意，无繁复纹饰，只凭极简轮廓勾勒出清隽风骨，将实用与雅致悄然相融，沉静诉说着旧时长夜的温柔剪影，让器物与岁月的共鸣具象可感。",[7,65,75,71,66,73,74,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c7e33529e17095a5e261d315ccaa184.jpg",[],1777535707456]