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研究价值。中历收藏品鉴定中心，为我国合法第三方专业鉴定平台，证书得到了专业人士及社会各界的高度认可，藏品鉴定可咨询。",[102,88,69,103,26,104,73,105,7],"唐代","浮雕","文字","流苏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0a53a04701d7fb08f2fdb9fdedd6455.jpg",[],7,"BDBDBD",{"id":111,"slug":112,"title":113,"dynasty":62,"author":63,"museum":20,"description":64,"tags":114,"thumbUrl":126,"material":41,"size":42,"collection":75,"collections":127,"showCount":108,"zanCount":78,"manualWeight":11,"mainColor":109},227032,"suan-tou-hu-yi-ming-227032","蒜头壶",[66,67,88,115,116,117,118,119,39,120,121,122,7,123,124,125],"蒜头口","长颈","鼓腹","圈足","古铜色","古董","传统器物","青铜","古代器物","铜器工艺","器物造型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13fb481fa7270cdf947580ec3e503f45.jpg",[],{"id":129,"slug":130,"title":131,"dynasty":132,"author":63,"museum":20,"description":133,"tags":134,"thumbUrl":10,"material":41,"size":42,"collection":75,"collections":141,"showCount":142,"zanCount":78,"manualWeight":11,"mainColor":109},224027,"yin-qian-shan-hu-song-shi-shou-zhuo-yi-ming-224027","银嵌珊瑚松石手镯","清","传统腕饰，流行于全国各地。其多用金、银、玉等制圆环，束于臂腕间。汉代即有。套在手腕脚腕上的环形装饰品。",[135,136,137,138,139,140,39,7],"清代","银器","饰品","镶嵌","珊瑚","松石",[],5,{"id":144,"slug":145,"title":146,"dynasty":132,"author":63,"museum":20,"description":147,"tags":148,"thumbUrl":153,"material":41,"size":42,"collection":75,"collections":154,"showCount":155,"zanCount":11,"manualWeight":11,"mainColor":79},273326,"xing-huang-se-ke-si-hua-hui-wen-he-bao-shi-huo-lian-yi-ming-273326","杏黄色缂丝花卉纹荷包式火燫","缂（kè，同：刻）丝（英文：K’o-ssu 、Kesi 或 Chinese silk 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”。",[149,150,151,34,7,152,137],"缂丝","花卉","牡丹","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee76bd654cf11a3e06f540a150923156.jpg",[],4,{"id":157,"slug":158,"title":159,"dynasty":160,"author":63,"museum":20,"description":161,"tags":162,"thumbUrl":170,"material":75,"size":75,"collection":92,"collections":171,"showCount":155,"zanCount":11,"manualWeight":11,"mainColor":109},244647,"yuan-kang-er-nian-deng-yi-ming-244647","元康二年灯","晋","浅盘承纳灯油，三兽足稳稳撑起器身，修长曲柄如弯月挑出，拿捏趁手又添灵动意趣。青绿铜锈晕开深浅斑驳，晕染出悠悠岁月的痕迹，盘身隐约錾刻的细纹，静静沉淀着旧时光影。\n\n它摒弃繁复装饰，以极简形制诠释出玄淡从容的审美意趣，将日常照明的实用属性，糅合进雅致隽秀的风骨之中。案头明烛时，暖光映着铜色古意，把清简风雅融于一方器物，尽显中古器物的内敛之美。",[67,163,164,165,166,167,168,39,169,7,69,88],"晋代","灯具","三足","长柄","古朴","锈蚀","实用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa750b488c6f59e6b285e6d448ccf1ea0.jpg",[92],{"id":173,"slug":174,"title":175,"dynasty":62,"author":63,"museum":20,"description":176,"tags":177,"thumbUrl":181,"material":41,"size":42,"collection":75,"collections":182,"showCount":155,"zanCount":11,"manualWeight":11,"mainColor":79},244012,"xing-wen-jing-yi-ming-244012","星纹镜","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 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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”。",[405,406,407,396,72,7],"珐琅器","掐丝珐琅","大象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c66ff1d16f8b57c4005a0e4b54000ee.jpg",[],{"id":411,"slug":412,"title":413,"dynasty":132,"author":63,"museum":20,"description":414,"tags":415,"thumbUrl":420,"material":41,"size":42,"collection":75,"collections":421,"showCount":78,"zanCount":11,"manualWeight":11,"mainColor":109},245913,"yin-du-jin-lian-hua-shi-cha-chuan-yi-ming-245913","银镀金莲花式茶船","取夏荷为骨相，将清雅致趣凝于茶席之上。银胎鎏金，色泽温雅华贵，带着经年沉淀的柔和光泽。五片莲瓣舒展错落，瓣面錾刻出细腻叶脉，纤毫毕现，仿似将池中风荷的鲜活截取于案头。\n\n中心留空恰好承托茶盏，让实用与雅意相融。它褪去莲的清苦，只留绰约姿态，在烹茶饮汤的慢日常里晕开古典诗意，将茶事与闲情合二为一，尽显旧时文人案头的风雅意趣。",[416,417,418,69,419,7,136,189,271],"银镀金","莲花","荷花","茶船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca142cb3f80544816cb83fcdf29747c9.jpg",[],{"id":423,"slug":424,"title":425,"dynasty":132,"author":63,"museum":20,"description":426,"tags":427,"thumbUrl":434,"material":41,"size":42,"collection":75,"collections":435,"showCount":78,"zanCount":11,"manualWeight":11,"mainColor":79},245904,"yin-bing-jiu-bei-yi-ming-245904","银柄酒杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。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。",[135,136,7,428,290,429,430,431,432,433,69],"饮酒器","壶","杯","碟","柄","链","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58441fddc652cbdeb438066278ecd51a.jpg",[],{"id":437,"slug":438,"title":439,"dynasty":440,"author":63,"museum":20,"description":441,"tags":442,"thumbUrl":445,"material":41,"size":42,"collection":75,"collections":446,"showCount":78,"zanCount":11,"manualWeight":11,"mainColor":79},245806,"xuan-tong-qi-nian-kuan-yin-du-jin-pan-yi-ming-245806","宣统七年款银镀金盘","民国","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。",[440,416,7,152,443,444],"盘","镀金工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc04395854241136e920d1716d3651208.jpg",[],{"id":448,"slug":449,"title":450,"dynasty":440,"author":63,"museum":20,"description":451,"tags":452,"thumbUrl":454,"material":41,"size":42,"collection":75,"collections":455,"showCount":78,"zanCount":11,"manualWeight":11,"mainColor":456},245790,"xuan-tong-shi-yi-nian-yong-he-gong-kuan-yin-pen-yi-ming-245790","宣统十一年永和宫款银盆","此银盆器型周正舒展，宽沿敞口沉稳大气，通体素洁无饰，尽显清雅克制之美。银身晕染着深浅错落的岁月包浆，暗哑柔光里凝住旧时光阴的摩挲痕迹，内敛又带着厚重的历史质感。胎质匀实细腻，弧腹线条柔和流畅，将银料的矜贵融于日常器物的质朴之中，静静承载着往昔深宫内的日常烟火意趣，尽显沉静雅致的民国器物格调。",[136,271,440,152,7,453,69],"手工制作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10d858d5e05ff6c5079dd7eb02b6d4e8.jpg",[],"F48FB1",{"id":458,"slug":459,"title":460,"dynasty":461,"author":63,"museum":20,"description":211,"tags":462,"thumbUrl":465,"material":41,"size":42,"collection":75,"collections":466,"showCount":78,"zanCount":11,"manualWeight":11,"mainColor":46},245464,"yin-chui-yun-long-wen-mei-ping-yi-ming-245464","银锤云龙纹梅瓶","元",[461,136,463,464,395,7,39,69],"锤揲","云龙纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55076ac5ac6a83af058d22c347d2b73a.jpg",[],{"id":468,"slug":469,"title":470,"dynasty":461,"author":63,"museum":20,"description":426,"tags":471,"thumbUrl":477,"material":41,"size":42,"collection":75,"collections":478,"showCount":78,"zanCount":11,"manualWeight":11,"mainColor":79},245459,"yin-zan-ke-liu-jin-feng-er-bei-yi-ming-245459","银錾刻鎏金凤耳杯",[472,473,474,475,476,428,7,69],"元代","银质","鎏金","錾刻","凤纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93e5bbb0b9eb2f36f5d65e628c0d0b62.jpg",[],{"id":480,"slug":481,"title":482,"dynasty":132,"author":63,"museum":20,"description":483,"tags":484,"thumbUrl":485,"material":41,"size":42,"collection":75,"collections":486,"showCount":78,"zanCount":11,"manualWeight":11,"mainColor":79},245441,"yin-liu-jin-hu-yi-ming-245441","银鎏金壶","此壶素银为骨，鎏金作饰，冷灰与明黄撞色，华贵沉稳兼具。流口龙首怒目衔沿，肌理遒劲威严；执柄龙身蜿蜒，拿捏趁手之余更添祥瑞之气。\n\n壶肩与盖面錾刻缠枝宝相花，纹路细密婉转，莲苞盖顶圆润饱满，尽显雅致。将瑞兽意象融于日用器型，錾刻鎏金工艺炉火纯青，于细节处尽显匠心，兼具实用价值与祈福纳祥的美好寓意。",[135,269,69,395,271,136,189,7,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49bfe53dc8e8b7b7b8ef78d155ce7a5c.jpg",[],{"id":488,"slug":489,"title":490,"dynasty":99,"author":63,"museum":20,"description":491,"tags":492,"thumbUrl":493,"material":41,"size":42,"collection":75,"collections":494,"showCount":78,"zanCount":11,"manualWeight":11,"mainColor":79},245249,"diao-yi-ming-245249","钓","以寻常银勺为载体，消弭器物与雅意的边界。勺身仿若江畔钓矶，弯柄恰似垂落的钓线，不着一笔绘出钓者，却将独坐江渚、静候鱼来的闲逸禅意尽数铺陈。\n凭借极简的形态，将日常之物晕染出山水诗韵，把垂钓时松弛空寂的氛围凝作永恒。于无声留白间，勾勒出隐者寄情烟波、物我两忘的悠远心境，尽显东方美学的含蓄留白之妙。",[99,136,290,7,39,260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff43f1842c2ca15bc15650b9660aa2c1c.jpg",[],{"id":496,"slug":497,"title":498,"dynasty":499,"author":63,"museum":20,"description":500,"tags":501,"thumbUrl":506,"material":41,"size":42,"collection":75,"collections":507,"showCount":78,"zanCount":11,"manualWeight":11,"mainColor":46},244003,"wei-gu-yi-ming-244003","囗觚","商","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。",[67,88,72,428,69,502,503,504,505,7],"兽面纹","商代风格","青铜纹饰","古器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d4bdb0067cb7d62f1a2349f10d5823e.jpg",[],{"id":509,"slug":510,"title":511,"dynasty":62,"author":63,"museum":20,"description":64,"tags":512,"thumbUrl":520,"material":41,"size":42,"collection":75,"collections":521,"showCount":78,"zanCount":11,"manualWeight":11,"mainColor":79},243843,"xi-yi-ming-243843","洗",[66,67,88,513,514,515,118,516,7,517,179,303,168,518,519,73],"日用器具","铜锈","单柄","线纹","日常用品","带柄","底座","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60f8c4baf2e5cc6b4d289513f8b24721.jpg",[],{"id":523,"slug":524,"title":443,"dynasty":99,"author":63,"museum":20,"description":441,"tags":525,"thumbUrl":526,"material":41,"size":42,"collection":75,"collections":527,"showCount":78,"zanCount":11,"manualWeight":11,"mainColor":109},243829,"pan-yi-ming-243829",[99,67,88,290,165,7,68,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F412368146080e6906fc92a2cc9ec918d.jpg",[],{"id":529,"slug":530,"title":531,"dynasty":99,"author":63,"museum":20,"description":532,"tags":533,"thumbUrl":536,"material":41,"size":42,"collection":75,"collections":537,"showCount":78,"zanCount":11,"manualWeight":11,"mainColor":109},243796,"yu-wei-bing-shao-yi-ming-243796","鱼尾柄勺","银勺包浆晕着旧时光的沉润质感，勺身素净弯弧贴合掌心，线条利落温婉，适配日常取用的妥帖实用。尾端巧塑为四散舒展的鱼尾，将江波灵动凝于方寸柄端，把食器的朴拙揉进水泽意趣。\n\n素净器身与灵动鱼尾形成绝妙反差，无繁复纹饰堆叠，仅以造型勾勒盛唐生活里的浪漫巧思，将美学藏进三餐四季，把寻常餐具化作意趣盎然的风雅造物，尽显唐人融审美于日常的通透意趣，器物虽简，却藏着跨越千年的雅致余韵。",[102,88,69,534,7,535],"日用品","鱼尾造型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc1733f631d84739835783fda5248865.jpg",[],{"id":539,"slug":540,"title":541,"dynasty":18,"author":542,"museum":20,"description":543,"tags":544,"thumbUrl":553,"material":41,"size":42,"collection":75,"collections":554,"showCount":78,"zanCount":11,"manualWeight":11,"mainColor":46},232296,"a-er-ma-23-lao-lun-si-a-er-ma-ta-de-ma-232296","阿尔玛23","劳伦斯·阿尔玛-塔德玛","劳伦斯·阿尔玛-塔德玛（Lawrence 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