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这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[23,127,128,25,46,129,130,131,132,133,134,7,135,136,137],"玉石","珐琅器","水仙","海棠形","蜻蜓","盆景","工艺摆件","珐琅工艺","玉质","珐琅饰","金饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52c932b6a8ad60fdb74d5157e29621b6.jpg",[],20,{"id":142,"slug":143,"title":144,"dynasty":18,"author":19,"museum":20,"description":145,"tags":146,"thumbUrl":150,"material":93,"size":94,"collection":33,"collections":151,"showCount":152,"zanCount":57,"manualWeight":11,"mainColor":120},229144,"jin-xiang-dong-zhu-mao-jing-shi-pin-fei-chao-guan-ding-yi-ming-229144","金镶东珠猫睛石嫔妃朝冠顶","以累花丝为骨，镂刻出双凤穿花的灵动模样，金凤羽翼舒展纤毫毕现，仿佛振翅欲飞。顶巅猫睛石凝着柔光，自带幽邃华贵的质感。颗颗东珠错落点缀在凤身枝桠之间，莹润珠光与赤金流光相互辉映。底座錾刻缠枝细纹，将宫廷精工雅致藏于方寸。三种材质相得益彰，尽显清代花丝细作的极致精妙，把皇室配饰的庄重贵气与匠心巧思融于这一方冠顶之上。",[23,25,64,147,148,28,88,7,149,46],"东珠","猫睛石","冠饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa45c91c40b055e5bc31c3d6b1712e354.jpg",[],18,{"id":154,"slug":155,"title":156,"dynasty":18,"author":19,"museum":20,"description":157,"tags":158,"thumbUrl":164,"material":93,"size":94,"collection":33,"collections":165,"showCount":166,"zanCount":11,"manualWeight":11,"mainColor":120},241826,"yin-du-jin-qian-zhu-bao-ru-yi-zan-yi-ming-241826","银镀金嵌珠宝如意簪","发簪，中国古代汉族人民用来固定和装饰头发的一种首饰。对于现代人来说已经是一个很古老的名词了，但是当在看古装剧时，却总是能被它们点缀出的精致效果所折服。\n将长发松松挽起，插上一枚别致的发簪，再配上典雅的长裙，即便性格再外放的女性，也可以成为让人眼前一亮的古典美人。发簪金属的光泽闪耀在发间，加上小而巧的坠饰，长发的风情便又是一种不一样的感受了。",[23,159,160,128,28,29,7,161,162,76,163],"银镀金","嵌珠宝","如意","珍珠","清代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3bdcbc1cf61c9d05490f17c072329f6.jpg",[],15,{"id":168,"slug":169,"title":170,"dynasty":18,"author":19,"museum":20,"description":171,"tags":172,"thumbUrl":176,"material":93,"size":94,"collection":33,"collections":177,"showCount":166,"zanCount":57,"manualWeight":11,"mainColor":109},229116,"jin-lei-si-lian-hua-jie-zi-yi-ming-229116","金累丝莲花结子","是一种戴套在手指上做纪念或装饰用的小环，用金属、玉石等制成。\n戒指在中国古代多称为“指环”，而“戒指”之名的出现，则是元代的事情。",[23,173,174,25,64,88,7,175],"金累丝","莲花","传统工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0aabebd6026eceddedf2b23b2a56a6b2.jpg",[],{"id":179,"slug":180,"title":181,"dynasty":18,"author":19,"museum":20,"description":182,"tags":183,"thumbUrl":188,"material":93,"size":94,"collection":33,"collections":189,"showCount":190,"zanCount":191,"manualWeight":11,"mainColor":120},241848,"yin-du-jin-dian-cui-qian-zhu-shi-feng-yi-ming-241848","银镀金点翠嵌珠石凤","幽蓝点翠晕开深浅光泽，似凤羽轻振，将清冷雅致揉进鎏金华贵。累丝金龙盘旋莲下，掐丝走线精细柔婉，鎏金暖光带着融融贵气。\n\n中央紫晶莲花凝着天然冰透的紫晕，肌理摹仿盛放芙蕖，清莹通透中和了金饰的雍容。莹润珍珠串成柔婉轮廓，粒粒饱满光泽柔润，圈住这一方华美景象。\n\n祥瑞花龙、灵凤意象被精巧糅合，将点翠、细金、宝石镶嵌工艺绝妙融合，静穆间尽显旧时匠人的极致巧思，晕染出东方古典首饰的华贵雅致。",[23,159,184,185,26,186,28,7,29,187,24,25],"点翠","嵌珍珠","凤凰","点翠技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F456f000a5ecfec213dbe0510b9b2eed7.jpg",[],14,2,{"id":193,"slug":194,"title":195,"dynasty":42,"author":196,"museum":20,"description":197,"tags":198,"thumbUrl":204,"material":93,"size":94,"collection":33,"collections":205,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":109},232662,"shi-ba-shi-ji-wan-qi-zhi-shi-jiu-shi-ji-zao-qi-xiang-zhu-xi-yang-ju-chang-ren-wu-huai-biao-zhong-biao-232662","十八世纪晚期至十九世纪早期 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利玛窦向中国明万历皇帝呈献第一件自鸣钟起，陆续有西洋钟表进献宫廷。清康熙帝把西洋钟表作为一种新科学加以重视，将西洋钟表（也称自鸣钟）贮于端凝殿南端，并将此处命名为自鸣钟处，还在宫内成立了做钟处。到乾隆时，钟表已成为帝后们生活中不可缺少之物，不但在各宫殿内陈设，就连外出乘坐的车、轿、船、马鞍上也都置有钟表。因而每年都要使用大批新奇钟表。这些钟表有清宫做钟处、广州、苏州制造的，也有英国、法国、德国、瑞士、日本等国制造的。",[199,27,7,200,75,201,202,117,28,203],"镶珠","设色","西洋建筑","剧场场景","西洋风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd05973ae0665f948f055be6a62f11d62.jpg",[],{"id":207,"slug":208,"title":209,"dynasty":18,"author":19,"museum":20,"description":157,"tags":210,"thumbUrl":217,"material":93,"size":94,"collection":33,"collections":218,"showCount":219,"zanCount":57,"manualWeight":11,"mainColor":37},245714,"jin-xiang-zhu-shi-qiu-ye-zhi-zhu-zan-yi-ming-245714","金镶珠石秋叶蜘蛛簪",[23,25,28,211,212,213,7,214,215,199,216],"秋叶","蜘蛛","珠石镶嵌","叶纹","昆虫纹样","镶石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38c9d0bd1fe2f3eb47ddf7d3dd366432.jpg",[],10,{"id":221,"slug":222,"title":223,"dynasty":224,"author":19,"museum":20,"description":225,"tags":226,"thumbUrl":233,"material":93,"size":94,"collection":33,"collections":234,"showCount":219,"zanCount":191,"manualWeight":11,"mainColor":37},242893,"deng-yi-ming-242893","灯","汉","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。",[227,228,229,230,231,232,7,46],"汉代","青铜器","铜制","灯具","三足","环形提梁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3b86e04c8c5e3711674ccf331f554f8.jpg",[],{"id":236,"slug":237,"title":238,"dynasty":18,"author":19,"museum":20,"description":157,"tags":239,"thumbUrl":245,"material":93,"size":94,"collection":33,"collections":246,"showCount":219,"zanCount":11,"manualWeight":11,"mainColor":37},242157,"tong-du-jin-dian-cui-qian-cui-shan-hu-hu-die-wen-zan-yi-ming-242157","铜镀金点翠嵌翠珊瑚蝴蝶纹簪",[23,240,184,241,46,242,243,244,162,28,7],"铜镀金","嵌饰","蝴蝶纹","珊瑚","翠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa736cf0a10de4efc83b83ca2ad1affea.jpg",[],{"id":248,"slug":249,"title":250,"dynasty":18,"author":19,"museum":20,"description":157,"tags":251,"thumbUrl":252,"material":93,"size":94,"collection":33,"collections":253,"showCount":254,"zanCount":57,"manualWeight":11,"mainColor":37},242087,"yin-du-jin-hu-die-wen-zan-yi-ming-242087","银镀金蝴蝶纹簪",[23,159,27,242,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15162ae0bd0839d0674f18549ad5135a.jpg",[],9,{"id":256,"slug":257,"title":258,"dynasty":259,"author":19,"museum":20,"description":260,"tags":261,"thumbUrl":267,"material":93,"size":94,"collection":33,"collections":268,"showCount":254,"zanCount":11,"manualWeight":11,"mainColor":120},224107,"xi-yuan-220-xi-yuan-420-nian-bu-qu-du-yin-tong-yin-yi-ming-224107","西元220-西元420年「部曲督印」铜印","南北朝","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。",[262,229,263,259,7,264,265,266],"印章","篆刻","古代器物","铜器","印信","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e8a006a127faea80013d8ccf78f2175.jpg",[],{"id":270,"slug":271,"title":272,"dynasty":18,"author":19,"museum":20,"description":157,"tags":273,"thumbUrl":276,"material":93,"size":94,"collection":33,"collections":277,"showCount":278,"zanCount":57,"manualWeight":11,"mainColor":120},245708,"jin-xiang-zhu-shi-lei-si-sheng-guan-zan-yi-ming-245708","金镶珠石累丝升官簪",[23,25,274,29,76,162,28,7,275],"累丝工艺","珠宝装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d9aab7e3c28ccdcacb411aa523b1024.jpg",[],8,{"id":280,"slug":281,"title":282,"dynasty":18,"author":19,"museum":20,"description":283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sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 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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”。",[128,401,700,701,702,703,7],"铜胎","象足","缠枝莲纹","香炉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74068fab8e16765c60e474484443337b.jpg",[],{"id":707,"slug":708,"title":709,"dynasty":18,"author":19,"museum":20,"description":710,"tags":711,"thumbUrl":717,"material":93,"size":94,"collection":33,"collections":718,"showCount":191,"zanCount":11,"manualWeight":11,"mainColor":37},245947,"yin-kai-guang-xi-zi-shuang-er-ping-yi-ming-245947","银开光喜字双耳瓶","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。",[23,712,46,713,714,715,27,7,716],"银制","开光","喜字","双耳","器形装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e3888faa8c70d1e1aa493424eaf4e4.jpg",[],{"id":720,"slug":721,"title":722,"dynasty":18,"author":19,"museum":20,"description":723,"tags":724,"thumbUrl":728,"material":93,"size":94,"collection":33,"collections":729,"showCount":191,"zanCount":11,"manualWeight":11,"mainColor":37},245377,"jin-zan-hua-ba-bao-yu-yi-ming-245377","金錾花八宝-鱼","此作为佛门八宝中的双鱼造像，以纯金錾刻透雕而成。对鱼相向而视，轮廓饱满温婉，鳞片錾刻细密写实，鳍尾舒展灵动，两鱼交合处饰吉祥结，暗含圆满联结之意。顶部如意宝相纹端庄雅致，缠枝卷草环绕器身，虚实相生的透雕消解了方正形制的板滞，让金饰莹润流光间更添灵动感。\n\n整器金水饱满匀净，錾刻走线利落细腻，既带着清式工艺的妍丽工巧，也承载着吉庆有余、双福并至的美好祈愿，是清代金属细作的精巧佳构。",[23,25,725,726,727,7,45],"錾花","鱼","八宝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb57856c9a4d45df422f2f60893890a79.jpg",[],{"id":731,"slug":732,"title":733,"dynasty":18,"author":19,"museum":20,"description":734,"tags":735,"thumbUrl":739,"material":93,"size":94,"collection":33,"collections":740,"showCount":191,"zanCount":11,"manualWeight":11,"mainColor":37},242117,"yin-du-jin-mao-ding-yi-ming-242117","银镀金帽顶","清代男子的官帽，有礼帽、便帽之别。礼帽俗称“大帽子”，其制有二式：一为冬天所戴，名为暖帽；一为夏天所戴，名为凉帽。便帽，也称“小帽子”以六瓣合缝，缀檐如筒；俗称瓜皮帽。创自明太祖洪武年间，取其六合一统之意。这种小帽形式很多，有平顶、尖顶、硬胎软胎之别。平顶大多为硬胎，内衬棉花；尖顶大多为软胎，取其便利。等级不同，帽子不同。",[736,159,46,28,737,7,738,286],"清式","莲花纹","帽顶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d8cd00f195e399da5ac37dea3fa9241.jpg",[],{"id":742,"slug":743,"title":744,"dynasty":18,"author":19,"museum":20,"description":441,"tags":745,"thumbUrl":748,"material":93,"size":94,"collection":33,"collections":749,"showCount":191,"zanCount":11,"manualWeight":11,"mainColor":37},242071,"yin-du-jin-shou-zi-wen-liu-su-yi-ming-242071","银镀金寿字纹流苏",[23,24,25,46,7,746,444,162,76,747],"寿字纹","装饰纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F765aa982885172f892d56a8df622a47a.jpg",[],{"id":751,"slug":752,"title":753,"dynasty":18,"author":19,"museum":20,"description":754,"tags":755,"thumbUrl":758,"material":93,"size":94,"collection":33,"collections":759,"showCount":191,"zanCount":11,"manualWeight":11,"mainColor":37},241930,"yin-du-jin-qian-cui-shi-er-wa-yi-ming-241930","银镀金嵌翠石耳挖","银镀金胎体晕开柔润金辉，整体取花株为饰。褐料石凝作花瓣，沉敛雅致，蓝宝石为花芯，幽光点点，莹润翡翠雕成翠叶，恰似将春日新色凝于簪间，碎钻勾连枝蔓，如凝露缀于梢头，灵韵自生。\n\n器物兼顾装饰与实用，将闺阁日常妆扮与生活巧思相融，把细碎的雅致藏进鬓边，尽显旧时女子妆匣里的温柔意趣，是晚清首饰工巧审美的绝佳缩影。",[23,24,25,28,756,757,127,7],"嵌石工艺","翠石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a5eb7a64d0596c2099789c06f7e9fce.jpg",[],{"id":761,"slug":762,"title":763,"dynasty":18,"author":19,"museum":20,"description":764,"tags":765,"thumbUrl":768,"material":93,"size":94,"collection":33,"collections":769,"showCount":191,"zanCount":11,"manualWeight":11,"mainColor":318},241924,"yin-du-jin-zhu-hua-yi-ming-241924","银镀金珠花","整体造型取蜻蜓衔花之趣，鎏金胎体色泽莹润内敛，将蜻蜒振翅的灵动神态复刻得惟妙惟肖。细巧金丝扭弯折枝，串起颗颗圆润仿珠，团簇如春日盛放的花球，蓬松柔润似雪团轻攒于蜻蜒身侧。\n\n整支发簪把虫趣与花艺相融，工巧藏于毫厘之间，将旧时闺阁女子鬓畔的温婉意趣凝于其上，是颇具巧思的雅致饰物。",[23,159,509,28,7,131,766,767],"簪杆","珠花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3f15d5019ad46e9fd20014e87486c79.jpg",[],{"id":771,"slug":772,"title":773,"dynasty":42,"author":19,"museum":20,"description":774,"tags":775,"thumbUrl":777,"material":93,"size":94,"collection":33,"collections":778,"showCount":191,"zanCount":11,"manualWeight":11,"mainColor":120},241890,"jin-xiang-hong-bao-shi-jie-zhi-yi-ming-241890","金镶红宝石戒指","这枚戒指以浓艳饱满的红宝石为主石，随形浅刻纹饰，天然裂纹顺着肌理蜿蜒，凝萃着自然天成的质感，莹润宝光流转间尽显华贵热烈。金托以累丝工艺打造，錾刻出舒展的卷草枝叶，线条灵动柔美，将宝石妥帖承托，金属的冷冽光泽与红宝石的暖调艳红交织碰撞，古韵悠然。整体造型浑厚大气，将珠宝的明艳与传统金工的精巧完美融合，尽显古朴雅致的华贵格调。",[28,25,635,46,776,7],"红宝石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F557550253bbf0b791269e2152cfa565d.jpg",[],{"id":780,"slug":781,"title":181,"dynasty":18,"author":19,"museum":20,"description":782,"tags":783,"thumbUrl":784,"material":93,"size":94,"collection":33,"collections":785,"showCount":191,"zanCount":11,"manualWeight":11,"mainColor":37},241843,"yin-du-jin-dian-cui-qian-zhu-shi-feng-yi-ming-241843","以凤凰为形，点翠晕开幽谧宝蓝，将翎羽的纤柔层次尽数铺展，银镀金为骨，金丝盘绕勾勒出凤身轮廓，细密婉转间尽显花丝累作的精妙。颗颗珍珠似凝露缀于羽间，柔光轻漾呼应金芒。胸腹嵌硕大珠贝，莹白润洁，恰如凝脂。凤首以粉碧玺为冠，柔粉撞冷蓝，艳色跳脱又和谐相融，点亮灵韵。整器将点翠、累丝、镶嵌工艺交融，把瑞凤的灵动与华贵定格，尽显旧时首饰工艺的巅峰水准，在明暗里晕开百年雅致风华。",[23,159,184,303,304,162,76,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06f1d5fe4c49b788c8629b2367ed6c98.jpg",[],{"id":787,"slug":788,"title":789,"dynasty":18,"author":19,"museum":20,"description":790,"tags":791,"thumbU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[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 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问起这一风俗的来历，传说，还是三国时期貂蝉传下来的呢。 貂蝉原是东汉末汉献帝时司徒王允的一名歌伎，她长得相貌出众、能歌善舞，色伎俱佳，很受王允的宠爱，以亲女看待。当时，董卓专权，挟天子以令诸侯，大臣们对他恨之入骨，但是敢怒而不敢言。王允为此事也闷闷不乐，终日不思茶饭。 貂蝉虽是女流，可王允的心事，她却宗宗看在眼里，件件记在心中。她很会察言观色，为主人分忧解愁。在一个月光皎洁的夜晚，貂蝉在花园里设下香案，为主人祝祷。她虔诚地燃起三柱香火，仰天一拜说道：“明月呀明月，你虽昭昭洁白如洗，可知我家老爷心中烦恼？苍天呀苍天！我貂蝉虽乃女流之辈，老爷婢女，若能为老爷分担忧愁，我愿万死不辞。”恰在此时，王允因忧国心烦，夜不能寐，来到后花园赏月散心。他听见有人祝祷，连忙躲在一座假山后面，静听起来。他听完貂婶的祝愿，心情无比激动和感激，忙上前来，搀扶起这一歌女。 王允问貂婢：“你向苍天明月祈告，为我分忧解愁，可知我忧在何处？愁为何事呀！” 貂蝉说：“当然知道。” 王允又问：“既然知道，又有什么妙法替我杀了董卓？” 貂婢说：“只要老爷相信得过我，奴婢愿效犬马之劳，即使赴汤蹈火，也心甘情愿。” 王允听了，顿时为这女子的仗义和气魄所感动，当即认貂蝉为女儿。后来王允与貂蝉合议：先将貂蝉献于董卓，后再暗许吕布，以离间两人之交，让这董吕两人勾心斗角，互相杀害。 貂蝉耳垂小，怕自己美中不足，使董、吕二人看不上，使密谋落空。她想办法弥补，想了很久，终于想出了良法，就在家中拿了些碎银子，叫银匠给自己作了一对银耳坠，挂在耳垂上。这样过了不久，耳垂果然变大了，为她的美容又增添了不少姿色。 董卓一见貂蝉大喜！吕布一见貂蝉着迷，使董卓和吕布因争夺这一美女而激烈相斗。又因吕布貂蝉私通，恐事发觉，心神不安。王允设计使吕布为内应，结果董卓被杀了。 从此，戴耳坠也就传到了民间。",[23,28,24,243,1091,7,635,200],"绳线","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe1c398aef6c96724ad581542ba1034c.jpg",[],{"id":1095,"slug":1096,"title":1097,"dynasty":18,"author":19,"museum":20,"description":1098,"tags":1099,"thumbUrl":1100,"material":93,"size":94,"collection":33,"collections":1101,"showCount":57,"zanCount":11,"manualWeight":11,"mainColor":120},229392,"jin-duo-mu-hu-yi-ming-229392","金多穆壶","此器仿竹节形制分作三段，挺拔修长自带清雅风骨，通体鎏金莹润华贵。口沿作莲瓣式开光，嵌饰彩宝，宝光错落晕染金辉；弯流錾刻卷草纹饰，灵动雅致，添几分柔婉意趣。侧系带挂链垂缀雕花金球，轻摇间似有清响，将实用与装饰浑然相融。\n\n它脱胎于藏地日常器具，褪去原本质朴，尽显宫廷精工造诣。金辉与彩宝交相辉映，是清代汉藏工艺交融的典范之作，将日常器用升华为华贵礼器，凝萃着高原文化与宫廷匠心的碰撞之美。",[25,117,23,7,104,64,116,46],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6129ee53004a6d1a0ee595cfa1f005ad.jpg",[],{"id":1103,"slug":1104,"title":1105,"dynasty":18,"author":19,"museum":20,"description":808,"tags":1106,"thumbUrl":1108,"material":93,"size":94,"collection":33,"collections":1109,"showCount":57,"zanCount":11,"manualWeight":11,"mainColor":37},229145,"tong-tai-qia-si-fa-lang-ding-shi-lu-yi-ming-229145","铜胎掐丝珐瑯鼎式炉",[128,401,700,23,231,715,1107,286,200,7],"盖钮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa835df84feeb8a15f6f4ac6d8602ef35.jpg",[],{"id":1111,"slug":1112,"title":1113,"dynasty":1114,"author":19,"museum":20,"description":1115,"tags":1116,"thumbUrl":1128,"material":93,"size":94,"collection":33,"collections":1129,"showCount":57,"zanCount":11,"manualWeight":11,"mainColor":109},226891,"cuo-yin-nu-ji-yi-ming-226891","错银弩机","周","青铜器（Bronze Ware）在古时被称为“金”或“吉金”，是红铜与其他化学元素锡、铅等的合金，刚刚铸造完成的青铜器是金色，但因为出土的青铜因为时间流失产生锈蚀后变为青绿色，被称为青铜。\n青铜器的使用开始于新石器时代晚期的土耳其和伊拉克地区，及叙利亚古代TellRamad遗址出土的铜珠等。中国青铜器开始于马家窑至秦汉时期，以商周时期的器物最为精美。在中国仰韶文化早期和马家窑文化时期就已经出现。\n中国最初出现的是小型工具或饰物。夏代始有青铜容器和兵器。商中期，青铜器品种已很丰富，并出现了铭文和精细的花纹。商晚期至西周早期，是青铜器发展的鼎盛时期，器型多种多样，浑厚凝重，铭文逐渐加长，花纹繁缛富丽。随后，青铜器胎体开始变薄，纹饰逐渐简化。春秋晚期至战国，由于铁器的推广使用，铜制工具越来越少。秦汉时期，随着陶器和漆器进入日常生活，铜制容器品种减少，装饰简单，多为素面，胎体也更为轻薄。\n中国青铜器制作精美，在世界青铜器中享有极高的声誉和艺术价值，代表着中国5000多年青铜发展的高超技术与文化。\n我国商、周时代的青铜器具，不单是盛物用的容器，同时也是宗庙中的礼器。青铜器的数量可以表示出身份地位的高低，青铜器形制的大小也可以显示出权力的等级。青铜器中，最重要的器类就是鼎。远古的青铜器可以分为食器、酒器、水器、乐器四大类。食器中包括鼎、鬲等等。其中鼎是最重要的礼器。\n西周中晚期我国形成了列鼎制度，据《春秋公羊传》记载，天子用9鼎，诸侯用7鼎、卿大夫用5鼎、士用3鼎或1鼎。同时。与鼎一同出现的还有簋，通常为九鼎八簋，七鼎六簋，五鼎四簋，三鼎二簋。在西周中晚期的墓葬制度中，鼎为单数而簋为双数。青铜鼎随着时代的发展，形制也在发生变化。商代早期多为圆腹尖足，也有方鼎。到了中期出现了扁足鼎等等。商代晚期尖足鼎逐渐减少，圆腹柱足鼎开始居多，鬲鼎逐渐多了起来。《尔雅》记载“鼎之款足者，谓之鬲”。鬲鼎也称为分裆鼎，是鬲和鼎的混合体，鼎从商代开始铸有各式样的神秘纹饰，多为兽面纹，如饕餮纹、蝉纹、象纹等等，纹饰变化巧妙。容器内部铸有族徽或祖先的名字。\n青铜是铜和锡铅的合金。在中国古代早期的工艺美术中青铜工艺成为奴隶社会工艺美术的典型代表是我们的祖先对人类物质文明的巨大贡献。商周时期是中国历史上的青铜时代，它以品类丰富、造型优美、纹饰华丽、制作精巧、风格独特而著称。此时是冶炼铸造技术可以说有了突发猛进的发展，在应用上具有广泛的适用性。成为中国艺术史的一个组成部分。本文以商周时期的青铜器主要代表作品作品：《后母戊大方鼎》、《盂鼎》为例，从青铜器作为“礼器”的艺术精神与青铜器的造型、装饰艺术特点来谈谈商周青铜器艺术。\n中国古代青铜器，就使用规模、铸造工艺、造型艺术及品种而言。中国古代青铜器在世界艺术史上占有独特地位。商周时期是中国历史上的青铜时代，青铜流行于新石器时代晚期至秦汉时代。以商周器物最为精美，品种已很丰富器型多种多样，并出现了铭文和精细的花纹浑厚凝重。商周青铜器艺术装饰承接新石器时代艺术中若干精髓，经过长期绵延不断的变化，形成独特的体系，在成为中国艺术史的一个组成部分。商周时期，青铜的冶炼业作为生产力的标志而达到高峰。是中国古代青铜器发展的鼎盛时期。",[1114,228,1117,1118,690,264,286,1119,1120,1121,1122,7,1123,1124,1125,1126,1127],"错银工艺","兵器","错金银技法","错银技法","青铜器物","古兵器","错银纹饰","周代器物","青铜兵器","金属纹饰","错金银工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faba2a6bc871cd9da557e1f7583007a30.jpg",[],{"id":1131,"slug":1132,"title":1133,"dynasty":1114,"author":19,"museum":20,"description":1115,"tags":1134,"thumbUrl":1140,"material":93,"size":94,"collection":33,"collections":1141,"showCount":57,"zanCount":11,"manualWeight":11,"mainColor":120},226874,"zhan-guo-liu-jin-qian-yi-jin-shu-shou-huan-hu-yi-ming-226874","战国 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审美意趣。",[229,376,46,45,75,602,391,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bd627601e0ce30b39f855aa00a5cbd7.jpg",[],{"id":1342,"slug":1343,"title":387,"dynasty":988,"author":19,"museum":20,"description":374,"tags":1344,"thumbUrl":1345,"material":93,"size":94,"collection":33,"collections":1346,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},253517,"tong-liu-jin-pu-sa-zuo-xiang-yi-ming-253517",[988,45,229,46,376,75,77,391,1330,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc9e473704e403c801359899e586f04e.jpg",[],{"id":1348,"slug":1349,"title":1350,"dynasty":18,"author":19,"museum":20,"description":1351,"tags":1352,"thumbUrl":1359,"material":93,"size":94,"collection":33,"collections":1360,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":109},251783,"hen-dou-si-tan-bai-yu-qian-jin-si-dai-gai-wan-yi-ming-251783","痕都斯坦白玉嵌金丝带盖碗","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。\n以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n玉器经历7000多年的发展，从简单的装饰品发展到古代宗教祭拜、礼仪用品，再到象征高尚道德品质的装饰品，最后上升为丰富的艺术鉴赏作品，深入反映了不同历史时期的社会发展演变过程。",[23,127,1353,1354,105,1355,1356,1357,1358,7],"嵌金丝","白玉","金属镶嵌","玉器","金丝装饰","白玉器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b9e74350068d759bab2381a22685adc.jpg",[],{"id":1362,"slug":1363,"title":1364,"dynasty":18,"author":19,"museum":20,"description":698,"tags":1365,"thumbUrl":1367,"material":93,"size":94,"collection":33,"collections":1368,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":109},250113,"qia-si-fa-lang-wan-shou-wu-jiang-wan-yi-ming-250113","掐丝珐琅万寿无疆碗",[23,401,355,229,117,200,746,1366,613,7],"缠枝花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd387521dbd5097e91f9de0577314b56.jpg",[],{"id":1370,"slug":1371,"title":1372,"dynasty":18,"author":19,"museum":20,"description":1373,"tags":1374,"thumbUrl":1378,"material":93,"size":94,"collection":33,"collections":1379,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},248972,"qian-long-kuan-hua-fa-lang-ren-wu-tu-gai-guan-yi-ming-248972","乾隆款画珐琅人物图盖罐","此件器物融中西美学于一身，华丽雍容。盖顶鎏金球钮圆润夺目，盖面开光绘就西洋少女，柔美的面容带着恬淡笑意，缠枝金莲纹环绕开光，勾勒出华贵边框。罐腹开光以细腻笔触绘西洋郊野闲情，男女憩息于林间，晕染自然写实，尽显西洋绘画的雅致格调。\n\n鎏金錾刻的兽面饰件、缠枝纹与珐琅彩交相辉映，下部胭脂红地铺陈细密锦纹，底足錾刻繁复纹饰，厚重质感衬得器物愈发端庄。整体将精湛匠意与西洋审美相融，尽显盛世工艺的巅峰水准。",[18,355,1375,200,75,117,580,7,1376,1377],"画珐琅","珐琅彩绘","人物场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F305a529106943f82e2d96902abdb77f0.jpg",[],{"id":1381,"slug":1382,"title":1383,"dynasty":18,"author":19,"museum":20,"description":1384,"tags":1385,"thumbUrl":1387,"material":93,"size":94,"collection":33,"collections":1388,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":120},245978,"jin-bian-zhong-yi-ze-yi-ming-245978","金编钟-夷则","整体鎏金煌煌夺目，盖钮为双首共躯矫龙，犄角虬张，利齿森然，霸气毕现。钟身高浮雕双龙穿云踏浪，龙爪遒劲锋锐，鳞片细密灵动，二龙戏珠于云涛之间，缠枝祥云铺陈环绕，纹饰繁丽却层次分明。立面题签规整端庄，下缘鼓钉饱满圆润，尽显造办技艺的精湛匠心。\n\n静穆庄重间，它既是礼乐重器，又将皇权龙纹运用到极致，每一处细节都凝萃顶级金属细作的巅峰水准，自带庙堂雅韵与盛世奢华的礼制威仪。",[25,46,1386,1259,23,7,286,287,433],"龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a90d7a15cbe12eb29b579c76ef3106c.jpg",[],{"id":1390,"slug":1391,"title":1392,"dynasty":18,"author":19,"museum":20,"description":1162,"tags":1393,"thumbUrl":1395,"material":93,"size":94,"collection":33,"collections":1396,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":109},245976,"jin-bian-zhong-huang-zhong-yi-ming-245976","金编钟-黄钟",[23,25,1259,46,433,1386,7,286,1394],"钟形器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5faea534ae3d3f6acee64ada6f93482c.jpg",[],{"id":1398,"slug":1399,"title":1400,"dynasty":18,"author":19,"museum":20,"description":1162,"tags":1401,"thumbUrl":1404,"material":93,"size":94,"collection":33,"collections":1405,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":120},245961,"jin-bian-zhong-lin-zhong-yi-ming-245961","金编钟-林钟",[23,25,1259,46,1386,1402,433,7,286,1403],"云纹","器形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdb236cc77b6f47cd50c156382145a17.jpg",[],{"id":1407,"slug":1408,"title":1409,"dynasty":18,"author":19,"museum":20,"description":1410,"tags":1411,"thumbUrl":1414,"material":93,"size":94,"collection":33,"col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形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[1729,1730,104,116,1731,286,7,46],"元代","银鎏金","六方造型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cb8a8131af3b3955f16611f1e3d0128.jpg",[],{"id":1735,"slug":1736,"title":1737,"dynasty":18,"author":19,"museum":20,"description":114,"tags":1738,"thumbUrl":1742,"material":93,"size":94,"collection":33,"collections":1743,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":120},245433,"yin-qia-si-gai-wan-yi-ming-245433","银掐丝盖碗",[23,24,1739,1740,1741,7],"掐丝","盖碗","器皿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F335eb8066ec6158fd7f0146d9aef4cf7.jpg",[],{"id":1745,"slug":1746,"title":1747,"dynasty":18,"author":19,"museum":20,"description":1748,"tags":1749,"thumbUrl":1757,"material":93,"size":94,"collection":33,"collections":1758,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},245396,"yin-hu-yi-ming-245396","银壶","此壶造型敦实饱满，盖顶锥钮利落小巧，锁链牵系盖身，既防倾覆又添雅致意趣。\n\n周身以透雕与錾刻技法装饰，缠枝卷草婉转萦回，莲瓣纹样规整庄重，繁复纹饰层次分明。古旧银浆晕染出沉厚岁月肌理，暗显手工细作的精巧工法。执柄斜配长勺，适配雪域茶事日常，将审美意趣融于实用器物，尽显藏地金属工艺的审美哲思，于细节间流露民族手工的温度，是雪域匠心的精巧缩影。",[1747,24,7,1750,104,1751,1752,1753,1754,1755,1756],"透雕","缠枝卷草纹","莲瓣纹","实用器具","茶事用具","手工器物","藏地工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8cd587ce12891d0ddd651234cea478b.jpg",[],{"id":1760,"slug":1761,"title":1762,"dynasty":18,"author":19,"museum":20,"description":409,"tags":1763,"thumbUrl":1768,"material":93,"size":94,"collection":33,"collections":1769,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},245394,"yin-liu-jin-qian-fa-lang-yan-he-yi-ming-245394","银鎏金嵌珐琅砚盒",[23,1730,1764,46,623,1765,7,134,1766,1767],"嵌珐琅","文具","器物纹饰","清式风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49eb469463025aa271ea89ea50c2364b.jpg",[],{"id":1771,"slug":1772,"title":1773,"dynasty":18,"author":19,"museum":20,"description":1774,"tags":1775,"thumbUrl":1776,"material":93,"size":94,"collection":33,"collections":1777,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":120},245384,"jin-zan-hua-qian-song-shi-ben-ba-hu-yi-ming-245384","金錾花嵌松石奔巴壶","此器以赤金为骨，錾刻缠枝莲纹遍覆周身，花叶饱满立体，层层铺陈间尽显錾作工艺的精妙入微。湖松石点缀其上，冷润宝色揉合金色暖光，刚柔相映，消弭金器的厚重感，更添灵动雅致。\n\n顶饰金刚杵，凝敛藏传法器的庄严神性；细流小口配合严丝合缝的小盖，细节处尽显匠心考量。整体造型挺拔端庄，纹饰排布疏密相宜，将华贵金工与虔诚的信仰意趣相融，尽显庙堂器物的雍容静穆之态。",[23,25,104,64,45,127,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5a1a6b974aa92d579843073f8cab136.jpg",[],{"id":1779,"slug":1780,"title":1781,"dynasty":18,"author":19,"museum":20,"description":1782,"tags":1783,"thumbUrl":1784,"material":93,"size":94,"collection":33,"collections":1785,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":120},245383,"jin-zan-hua-ba-bao-gai-yi-ming-245383","金錾花八宝-盖","此器通体鎏金，色泽沉敛明润，历久弥新。宝盖形制主体满錾缠枝瑞纹，线条细密灵动，辗转回旋间尽显錾刻工艺的精妙独到，将佛前器物的庄严感融于华贵细节之中。\n\n外框以如意云纹环绕勾勒，柔化方正轮廓，上下云纹交错呼应，暗合吉祥圆满之意。搭配浮雕缠枝牙板与回纹束腰的雕花底座，更衬器物雍容端雅。整体将宗教的肃穆与宫廷金作的精工冶为一炉，静穆间尽显礼佛重器的雍容质感，藏着极致的匠心巧思。",[23,25,725,46,727,581,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5c4c78663e872aa4c3a528cc24c8b55.jpg",[],{"id":1787,"slug":1788,"title":1789,"dynasty":18,"author":19,"museum":20,"description":1790,"tags":1791,"thumbUrl":1793,"material":93,"size":94,"collection":33,"collections":1794,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":120},245382,"jin-qian-bao-shi-ga-ba-la-gu-yi-ming-245382","金嵌宝石嘎巴拉鼓","它形制雅致精巧，鼓身两面气质迥异，一面素白带浅纹装饰，一面匀净青碧，铜环缠系绳线，搭配玛瑙珠与累丝嵌宝饰件，流光间尽显华贵。垂下的多色绦绳流苏柔和雅致，带着手工打磨的温润质感。\n\n随附的漆木圆盒以残旧古帖妆点，晕染出岁月沉淀的古雅氛围，藏着经年使用的痕迹，将宗教法器的庄严与手工巧思相融，静静诉说着旧时光里的信仰意趣与工艺匠心。",[45,25,76,117,46,28,1792,579,7],"法器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb44ab8d50115d0308c589b4cbd3d826.jpg",[],{"id":1796,"slug":1797,"title":1798,"dynasty":18,"author":19,"museum":20,"description":1799,"tags":1800,"thumbUrl":1802,"material":93,"size":94,"collection":33,"collections":1803,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":120},245379,"jin-zan-hua-ba-bao-san-yi-ming-245379","金錾花八宝-伞","此器以纯金铸就，主体宝伞造型端庄雅致，两面錾刻团寿纹样，暗含福寿绵长的美好祈愿。四周透雕缠枝祥云，云纹灵动舒展，将宝伞烘托得愈发华贵祥瑞。\n錾刻刀法细腻流畅，线条饱满圆润，把宝伞的庄静与云纹的柔美相融，尽显清代细金工艺的精湛水准。宝伞寓意遮蔽魔障、护佑安乐，整器金光璀璨，纹饰层次分明，兼具宗教器物的肃穆意蕴与工艺美学的精巧雅致，是清代金属细作的上乘之作。",[23,25,104,725,45,1801,7,46,105],"佛教器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1cc1b1f681d7f66f3e1c040d7b3ba87.jpg",[],{"id":1805,"slug":1806,"title":1807,"dynasty":18,"author":19,"museum":20,"description":1808,"tags":1809,"thumbUrl":1810,"material":93,"size":94,"collection":33,"collections":1811,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},245362,"jin-qian-song-shi-man-da-yi-ming-245362","金嵌松石满达","此器以黄金为骨，攒花錾刻工艺尽显精湛。盖面中心法轮高耸，环镶珊瑚、松石与青金石，撞色明丽和谐。缠枝宝相花萦绕周身，柔婉枝蔓将各色珍宝玉石托举，疏密相宜层次分明。\n\n器身通身錾刻缠枝莲纹，藏文梵字点缀其间，线条婉转灵动，繁而不紊。将雪域密宗的祈福意涵与宫廷金作的极致工巧相融，严丝合缝的镶嵌、饱满细腻的錾刻，处处流露庄重典雅的宗教器物美学，亦是清代多族工艺融会的绝佳缩影。",[23,45,117,25,64,412,690,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7da7a661672ab195dfd4cc306ddf71d9.jpg",[],{"id":1813,"slug":1814,"title":223,"dynasty":224,"author":19,"museum":20,"description":225,"tags":1815,"thumbUrl":1819,"material":93,"size":94,"collection":33,"collections":1820,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":109},244712,"deng-yi-ming-244712",[227,229,228,991,46,231,1816,1817,7,1818],"带柄","托盘","器物造型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F905a8b1c4776ceba01ad2cd02da44e03.jpg",[],{"id":1822,"slug":1823,"title":1824,"dynasty":224,"author":19,"museum":20,"description":1825,"tags":1826,"thumbUrl":1834,"material":93,"size":94,"collection":33,"collections":1835,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":120},244026,"jia-chang-fu-gui-jing-yi-ming-244026","家常富贵镜","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。",[227,228,229,46,433,1827,1828,1829,1830,1831,1832,1833,7],"汉代风格","几何纹样","文字纹样","圆形构图","方形区域","钮饰","传统纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F286af43bfdc8d39c94b305ef52b96d0f.jpg",[],{"id":1837,"slug":1838,"title":1839,"dynasty":18,"author":19,"museum":20,"description":86,"tags":1840,"thumbUrl":1841,"material":93,"size":94,"collection":33,"collections":1842,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},242145,"tong-du-jin-dian-cui-qian-zhu-bao-shuang-xi-wen-dian-hua-yi-ming-242145","铜镀金点翠嵌珠宝双喜纹钿花",[23,229,25,184,160,652,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1aa8b64e8117b2cc7c12c7cc77000841.jpg",[],{"id":1844,"slug":1845,"title":1839,"dynasty":18,"author":19,"museum":20,"description":86,"tags":1846,"thumbUrl":1847,"material":93,"size":94,"collection":33,"collections":1848,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},242140,"tong-du-jin-dian-cui-qian-zhu-bao-shuang-xi-wen-dian-hua-yi-ming-242140",[23,229,137,333,160,7,346,652,747,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e9d346d6d4dc3e05b94d51d79d7e9e8.jpg",[],{"id":1850,"slug":1851,"title":1839,"dynasty":18,"author":19,"museum":20,"description":86,"tags":1852,"thumbUrl":1853,"material":93,"size":94,"collection":33,"collections":1854,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},242139,"tong-du-jin-dian-cui-qian-zhu-bao-shuang-xi-wen-dian-hua-yi-ming-242139",[23,240,184,160,652,28,7,479,346,662],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54c745190264bed0b23557abb621ad59.jpg",[],{"id":1856,"slug":1857,"title":1858,"dynasty":18,"author":19,"museum":20,"description":1859,"tags":1860,"thumbUrl":1861,"material":93,"size":94,"collection":33,"collections":1862,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":109},242062,"tong-du-jin-dian-cui-qian-zhu-bao-hua-tou-yi-ming-242062","铜镀金点翠嵌珠宝花头","取盘长结为形，暗合福寿绵长的吉意。莹亮的点翠蓝晕开澄澈光泽，与铜镀金的金属光泽交相辉映。中心椭圆形翠玉饱满莹润，青绿底色晕着柔润光泽，细密花丝金钉将其簇在正中，似众星捧月，衬得主石愈发温婉雅致。\n\n这是传统花丝点翠工艺的精巧之作，将东方吉祥意趣与极致工巧相融，内敛雅致的配色尽显华贵静穆，每一处细节都藏着手艺人的匠心，静静诉说着旧时雅致的审美意韵。",[23,240,184,160,28,127,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2fa272d5774d8c7eaf202934739f78c.jpg",[],{"id":1864,"slug":1865,"title":17,"dynasty":18,"author":19,"museum":20,"description":86,"tags":1866,"thumbUrl":1867,"material":93,"size":94,"collection":33,"collections":1868,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},242015,"yin-du-jin-qian-bao-shi-dian-hua-yi-ming-242015",[23,159,26,28,7,635],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8489273dd6f72679c0e677d5679da0b.jpg",[],{"id":1870,"slug":1871,"title":1872,"dynasty":18,"author":19,"museum":20,"description":1873,"tags":1874,"thumbUrl":1875,"material":93,"size":94,"collection":33,"collections":1876,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},241964,"tong-du-jin-xiang-bao-shi-dai-tou-yi-ming-241964","铜镀金镶宝石带头","此件以累丝为地，金面肌理细密，尽显金工之精巧。主嵌弧面海蓝宝，清润莹泽，内敛通透，四方配镶碧玺与蓝宝石，彩韵浓淡各异，交相辉映。绿松石婉转勾连，作对称饰纹，柔化金底厚重，凭添灵动雅致。整体器型方中带圆，规整端庄，既沿袭了重工奢华的妆饰风尚，又将宝玉天然清辉与金工精妙相融，在实用与装饰间求得绝妙平衡，尽显旧时匠人的不俗手艺与审美意趣。",[229,25,64,76,28,7,46],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9485ad59dcd3470cdc68266a8fc0f64.jpg",[],{"id":1878,"slug":1879,"title":1880,"dynasty":18,"author":19,"museum":20,"description":441,"tags":1881,"thumbUrl":1882,"material":93,"size":94,"collection":33,"collections":1883,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},241868,"yin-du-jin-dian-cui-chuan-zhu-liu-su-yi-ming-241868","银镀金点翠穿珠流苏",[23,159,184,489,162,243,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50887110e06da78398d7d82775c604b5.jpg",[],{"id":1885,"slug":1886,"title":1887,"dynasty":18,"author":19,"museum":20,"description":1888,"tags":1889,"thumbUrl":1890,"material":93,"size":94,"collection":33,"collections":1891,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},241824,"yin-du-jin-xiang-hong-bao-shi-dai-tou-yi-ming-241824","银镀金镶红宝石带头","银镀金托錾刻细密绳纹，圈住一方随形红宝石。原生原石带着天然绺裂纹理，浓艳玫红如将高原赤霞凝锁，未经刻意打磨的粗粜肌理，与规整柔润的金托撞出别致反差，尽显匠人顺天而为的巧思。\n\n岁月晕开金层柔光，宝石依旧凝着沉敛华贵的色泽，朴拙中藏着雅致旧韵，将民族工艺的厚重质感融于方寸之间，静静晕开旧时的审美意趣。",[18,28,159,776,64,7,127],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F400ca0df2cddfc25e05752ccbb86c386.jpg",[],{"id":1893,"slug":1894,"title":1895,"dynasty":18,"author":19,"museum":20,"description":1896,"tags":1897,"thumbUrl":1899,"material":93,"size":94,"collection":33,"collections":1900,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},241823,"yin-du-jin-xiang-bao-shi-dai-tou-yi-ming-241823","银镀金镶宝石带头","以细金花丝层叠盘绕，织就柔婉轮廓，将主石稳稳承托。艳红主石肌理舒展，凝着深郁玫色光韵，好似揉碎的赤霞封藏于天然脉络之中，莹润质感与冷冽金光泽碰撞交融，华贵糅合着原生拙朴。\n\n整体形制饱满圆融，花丝的细腻线条勾勒出复古雅致格调，静静诠释旧时工艺的极致匠心，内敛又带着磅礴华贵气韵，在光影里晕开沉静的古典风华，将内敛奢华的旧时审美藏于方寸之间。",[23,159,1898,28,7,46],"镶嵌宝石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F371eabf1633ff977a0fd93d978b2b69b.jpg",[],{"id":1902,"slug":1903,"title":1904,"dynasty":18,"author":19,"museum":20,"description":1905,"tags":1906,"thumbUrl":1907,"material":93,"size":94,"collection":33,"collections":1908,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},241814,"tong-du-jin-xiang-hong-lan-bao-shi-gou-huan-yi-ming-241814","铜镀金镶红蓝宝石钩环","铜镀金为底錾刻缠枝卷草，填饰烧蓝晕开幽蓝柔光，衬得主石愈发莹润鲜活。左侧随形红宝石色如赤霞凝露，浓艳深邃，右侧蓝宝石似幽夜寒潭，星色散动，中间小石呼应成趣，衔接自然柔婉。\n\n金水厚重亮泽，錾刻纹路细腻灵动，将金属细工与天然宝光揉合无间，既有宫廷造办的规整精工，又带着游牧配饰的大气华贵，尽显旧时贵族配饰的奢雅格调。",[23,229,25,64,76,27,28,7,46],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42497d57e0e0f06e993f1da150616df8.jpg",[],{"id":1910,"slug":1911,"title":1912,"dynasty":18,"author":19,"museum":20,"description":1913,"tags":1914,"thumbUrl":1916,"material":93,"size":94,"collection":33,"collections":1917,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":109},230100,"yin-kou-yi-ming-230100","银扣","包浆厚重的银面凝着旧时光的哑光，币面龙纹虽经岁月磨蚀，盘旋的身姿依旧带着沉敛威严。苍劲墨笔题就的黄签系于其上，带着市井辗转的烟火余温。\n\n它们曾被反复摩挲，每一道浅痕都藏着过往日常的细碎印记，不再是冰冷饰件，更像是攒着百年余温的时光容器，将旧时工艺的风骨与佩戴者的日常揉为一处，沉默又温润地定格住岁月里的片刻温度。",[23,24,7,105,1488,1915],"金属","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ff0415da9ca80f7748442dc1f795d28.jpg",[],{"id":1919,"slug":1920,"title":1921,"dynasty":18,"author":19,"museum":20,"description":1922,"tags":1923,"thumbUrl":1926,"material":93,"size":94,"collection":33,"collections":1927,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":120},229969,"yin-lou-kong-mei-hua-niu-zi-yi-ming-229969","银镂空梅花钮子","印章，用作印于文件上表示鉴定或签署的文具，一般印章都会先沾上颜料再印上，不沾颜料、印上平面后会呈现凹凸的称为钢印，有些是印于蜡或火漆上、信封上的蜡印。制作材质有 玉石、金属、木头、石头等。印章是中国传统文化的代表之一。",[23,24,1924,1925,28,46,7],"镂空","梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce19db745e793e7a56b89aa5401d3c38.jpg",[],{"id":1929,"slug":1930,"title":1931,"dynasty":18,"author":19,"museum":20,"description":1089,"tags":1932,"thumbUrl":1934,"material":93,"size":94,"collection":33,"collections":1935,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":109},229957,"yin-qian-shan-hu-song-shi-da-er-zhui-yi-ming-229957","银嵌珊瑚松石大耳坠",[23,24,243,412,64,28,7,635,175,1933],"耳饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb339a9f40ab022ca0991ed968fce3bda.jpg",[],{"id":1937,"slug":1938,"title":1939,"dynasty":18,"author":19,"museum":20,"description":1940,"tags":1941,"thumbUrl":1942,"material":93,"size":94,"collection":33,"collections":1943,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":120},229928,"jin-pen-yi-ming-229928","金盆","此器敞口宽沿，器身饱满内敛，通体鎏金莹润，带着岁月沉淀下的温润包浆，光泽含蓄不张扬。它摒弃繁复纹饰，以极简线条勾勒出端庄温婉的器型，素净大气，尽显素雅沉静的质感。\n\n历经长久岁月，局部鎏金褪去，晕染出古朴斑驳的韵味，将实用器的质朴与贵金属的华贵相融，静静诉说着旧时日常里的精致意趣，是兼具审美价值与实用意义的器物典范。",[25,117,613,7,1491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F043e4b7602d214eef4bd935472f66a10.jpg",[],{"id":1945,"slug":1946,"title":1947,"dynasty":18,"author":19,"museum":20,"description":1948,"tags":1949,"thumbUrl":1950,"material":93,"size":94,"collection":33,"collections":1951,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":109},229922,"jin-qian-dong-zhu-shan-hu-ling-yue-yi-ming-229922","金嵌东珠珊瑚领约","此领约以金为底托，分段嵌装色泽匀净赤红的珊瑚，每段珊瑚之间错落镶嵌颗颗饱满莹润的东珠，金托錾刻细密纹饰，尽显造办精工。明黄绦带搭配青白织纹，下端垂饰小巧珊瑚坠饰，配色鲜明雅致，既恪守宫廷礼制的端庄规制，又将珠宝的天然莹润与金工的细腻精巧融为一体，尽显皇家器物的华贵雍容，是兼具礼制内涵与审美价值的宫廷首饰精品。",[25,28,64,147,243,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8ebd8702cf9d189ee594d3125b26869.jpg",[],{"id":1953,"slug":1954,"title":1955,"dynasty":18,"author":19,"museum":20,"description":1922,"tags":1956,"thumbUrl":1957,"material":93,"size":94,"collection":33,"collections":1958,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":109},229688,"bao-jin-qian-zhu-bao-zhui-shi-niu-zi-1-yi-ming-229688","包金嵌珠宝锥式钮子-1",[23,25,28,1082,160,117,7,88],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5f7067142cac410399acedfdb0abd1d.jpg",[],{"id":1960,"slug":1961,"title":1962,"dynasty":18,"author":19,"museum":20,"description":1963,"tags":1964,"thumbUrl":1966,"material":93,"size":94,"collection":33,"collections":1967,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":120},229640,"qian-song-shi-xiang-jin-long-yin-hu-yi-ming-229640","嵌松石镶金龙银壶","此壶以银为胎，黑地衬金，华贵雍容。盖顶金珠圆莹，盖面嵌松石熠熠生辉，为素雅器身点染亮色。壶身饱满端庄，开光内錾刻游龙矫然灵动，周身缠枝纹婉转萦回，刚柔并济。\n\n壶流与执柄皆以金龙塑型，龙首威严肃穆，鎏金厚重明丽，与银地形成强烈视觉反差，气场威严。足底缠枝纹繁密铺陈，层次分明不显冗杂。整体融藏式审美与中原重工技法为一体，将瑞龙意象与金镶宝工艺完美结合，尽显匠心巧思与华贵气派，是清代金属细作工艺中的佼佼之作。",[23,712,1965,1321,623,117,7],"镶金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517001e255c32c75fec264c71a956b0d.jpg",[],{"id":1969,"slug":1970,"title":1971,"dynasty":18,"author":19,"museum":20,"description":1972,"tags":1973,"thumbUrl":1976,"material":93,"size":94,"collection":33,"collections":1977,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":109},229622,"bao-jin-xiang-mi-zhu-hui-niu-5-yi-ming-229622","包金镶米珠回钮-5","回钮金包金镶米珠钮，金色，略近球状，一端有环，其表面包饰细鱼子地花叶纹，部份的花瓣浮出钮面，花瓣镶嵌珍珠，一片金碧辉煌中衬出柔和的珠白，让人赏心悦目。",[23,25,28,1082,199,1974,7,491,1975],"米珠","工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F372465bacbbd5c588376ef4b7012cbe0.jpg",[],{"id":1979,"slug":1980,"title":1981,"dynasty":18,"author":19,"museum":20,"description":1982,"tags":1983,"thumbUrl":1984,"material":93,"size":94,"collection":33,"collections":1985,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":109},224017,"du-jin-xiang-zhu-dai-ban-1-yi-ming-224017","镀金镶珠带版-1","如意为铜镀金质，上面嵌有各色料石及珍珠。在云头处嵌小表，尾部嵌指南针。腰部有油画。此表配有钥匙及黄色绦带，带上系花篮式中国结，结下有流苏，并系红珊瑚球两粒。",[23,314,64,162,76,25,28,105,491,199,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cbfb5d275b5521f9d48b71bb22fd690.jpg",[],1777535701264]