[{"data":1,"prerenderedAt":427},["ShallowReactive",2],{"subject-ju-ban-shi":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},8739,"ju-ban-shi","菊瓣式","菊瓣式画高清赏析","精选中国历代菊瓣式题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39f0f5f2936c3a390195de9e7ace8cf5.jpg",0,47,[14,38,54,65,79,94,102,114,124,134,145,156,164,172,183,191,201,212,223,229,237,244,252,264,272,279,285,291,297,304,310,317,323,332,338,344,352,359,365,371,377,383,389,395,404,410,420],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":30,"material":31,"size":32,"collection":33,"collections":34,"showCount":35,"zanCount":36,"manualWeight":11,"mainColor":37},248671,"hei-qi-miao-jin-chan-zhi-lian-wen-ju-ban-shi-shou-lu-yi-ming-248671","黑漆描金缠枝莲纹菊瓣式手炉","清","佚名","藏地不详","清代的玉炉很多，但用芙蓉石制作的炉却极少，这是因为做炉需要较大块的料，而芙蓉石一般裂纹很多不宜使用。中国芙蓉石的产量小，颜色与质地亦欠佳。",[23,24,25,7,26,27,28,29],"清代","黑漆描金","缠枝莲纹","漆器","器","缠枝莲","菊瓣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64a3c99099e7e8a5057b3aefde3acd1c.jpg","未知","Xcm*Xcm","",[],9,1,"BDBDBD",{"id":39,"slug":40,"title":41,"dynasty":42,"author":19,"museum":20,"description":43,"tags":44,"thumbUrl":50,"material":31,"size":32,"collection":51,"collections":52,"showCount":53,"zanCount":11,"manualWeight":11,"mainColor":37},260655,"long-quan-yao-qing-you-ke-hua-chan-zhi-lian-wen-ju-ban-shi-zhe-yan-pan-yi-ming-260655","龙泉窑青釉刻花缠枝莲纹菊瓣式折沿盘","明","龙泉窑是中国历史上的一个名窑，宋代六大窑系。汉族传统制瓷工艺的珍品。因其主要产区在浙江省龙泉市而得名。它开创于三国两晋，结束于清代，生产瓷器的历史长达1600多年，是中国制瓷历史上最长的一个瓷窑系，它的产品畅销于亚洲、非洲、欧洲的许多国家和地区，影响十分深远。龙泉窑以烧制青瓷而闻名，在北宋早期以前的产品风格受越窑、瓯窑、婺州窑的影响，特征与三窑的产品相似。胎质较粗，胎体较厚，釉色淡青，釉层稍簿。\n1998年3月，宋代的龙泉窑青釉莲瓣纹瓶从英国追回。\n龙泉窑因在今浙江龙泉县，故名，属我国南方青瓷系统。创造于北宋早期，南宋中晚期进入鼎盛时期，至明代中叶以后渐趋衰落，传世的龙泉青瓷下限至清康熙年间，烧造历史达七、八百年之久。北宋时期的龙泉青瓷，胎骨较厚，胎土淡灰，底足露胎处见赭褐色窑红，胎微出烧，釉的玻化程度好，釉层透明，釉表光泽很强。装饰花纹较简练，常见纹样有鱼纹、蕉叶、金枝、荷花等。装饰风格趋于奔放。处于南宋鼎盛时期的龙泉青瓷，形成了自已独有的艺术风格，显示了独特的魅力。\n南宋龙泉青瓷的造型亦形成自已的风格，稳重大方，浑厚淳朴而又不失秀媚，器型丰富多样，装饰普遍采用刻花和堆塑法，颇具艺术匠心。\n元代龙泉青瓷烧造量大，风格与南宋迥异：器型高大、胎体厚重；胎色为白中带灰或淡黄；釉色为粉青带黄绿，光泽较强，釉层半透明；装饰手法多种多样，有刻、划、印、贴、塑等，以划花为主，花纹粗略，线条奔放，纹饰以云龙、飞凰、双鱼、八仙、八卦、牡丹、荷叶等为多见。此外，还大量出现汉文和八思巴文字款铭。\n明代龙泉青瓷走向衰弱，器物胎体厚重，制作粗糙，胎色为灰黄，釉层厚，透明度高，釉表光泽强，釉色有青灰、茶叶末、灰黄等几种，装饰以釉下刻花为主，亦有模印人物故事的装饰方法。\n宋代龙泉青瓷是青瓷工艺的历史高峰。其青瓷的釉色与质地之美，亦如巧夺天工的人造美玉，全世人为之倾倒。\n那么，在漫长的历史长河中，龙泉窑又经历了怎样的发展轨迹呢?朱伯谦先生在《龙泉窑青瓷》一书中曾将龙泉窑的发展归纳为开创、发展、鼎盛和衰落四个阶段：魏晋和五代十国是开创时期，瓷窑少，生产时断时续，处于就地销售断断续续的生产阶段；北宋至南宋前期是发展期，瓷窑发展快，逐渐形成一个较大的瓷窑体系；南宋后期至元代是鼎盛期，瓷窑迅速发展，青瓷质量大大提高，产品畅销国内外广大市场；明清是衰落期，尤其是明代中期以后龙泉窑处境艰难，瓷窑不断地倒闭减少，至清代晚期结束。如果说这四个阶段勾勒出了龙泉窑发展历史的整个脉络，那么，龙泉窑发展史上的三次辉煌期则是连贯发展脉络的重点和要点。",[45,46,25,7,47,48,49],"陶瓷","刻花","折沿盘","青釉","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb04b3e92e2a1f963c56b502f997ce34.jpg","瓷器精选",[51],5,{"id":55,"slug":56,"title":57,"dynasty":18,"author":19,"museum":20,"description":58,"tags":59,"thumbUrl":62,"material":31,"size":32,"collection":51,"collections":63,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":37},256871,"yao-bian-ju-ban-shi-bian-hu-yi-ming-256871","窑变菊瓣式扁壶","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。",[18,45,60,7,61,27],"窑变","扁壶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06b59741491068be3f8266370f3eb815.jpg",[51],3,{"id":66,"slug":67,"title":68,"dynasty":69,"author":19,"museum":20,"description":70,"tags":71,"thumbUrl":75,"material":31,"size":32,"collection":51,"collections":76,"showCount":77,"zanCount":11,"manualWeight":11,"mainColor":78},256245,"ge-yao-qing-you-ju-ban-shi-pan-yi-ming-256245","哥窑青釉菊瓣式盘","宋","“哥窑”名列宋代五大名窑，在陶瓷史上有举足轻重的地位。哥窑胎多紫黑色、铁黑色、也有黄褐色。釉为失透的乳浊釉，釉面泛一层酥光，釉色以炒米黄、灰青多见，釉面大小纹片结合。\n经染色后大纹片呈深褐色，小纹片为黄褐色，也称‘金丝铁线’“墨纹梅花片”“叶脉纹”‘文武片’等。这是传世哥窑的主要特征之一。器形有各式瓶、炉、尊、洗及碗、盆、碟等。多见仿古造型，底足制作不十分规整，釉面常见缩釉和棕眼。\n而《中国陶瓷史》这样叙述：\n造型有各式瓶、炉、洗、盘、罐等。论胎有厚薄之分，其胎质有瓷胎和砂胎两种，胎色有黑灰、深灰、浅灰、土黄多种色调，釉色也有粉青、月白、油灰、青黄各色。从时间上讲，这里应有早晚之别，从产地说也有恐非一个瓷窑的作品，情况是比较复杂的。\n记载“哥窑”的古文献主要有：元代的《至正直记》，明代的《格古要论》、《遵生八笺》，清代的《博物要览》以及明代的《浙江通志》等。但究竟哥窑窑址何在？性质如何?一直是陶瓷史研究中众说纷纭、悬而未决的问题。\n流传于世的“哥窑”经典器大多源自清宫旧藏，由于这批器物与古文献中的记载的“哥窑”特征不符，而且没有考古资料佐证，因而造成了中国陶瓷史上最大的悬疑。\n为区别于明、清文献中所记载得哥窑（龙泉章生一窑），宫中名为“哥窑”的传世品，后世鉴赏家称其为“传世哥窑”。\n由于原来被认为哥窑的龙泉黑胎开片瓷被认为是“龙泉仿官”和“龙泉官窑”，宋代似乎就不存在哥窑，文献关于哥窑的记述被认为是以讹传讹。然而，仔细研究和分析，就会发觉事情并非如此简单，其关键在于“龙泉官窑”和杭州郊坛下官窑孰先孰后的问题并未真正得到解决。由于“龙泉官窑”的立论建立在“龙泉仿官”的基础上，认为仿官是不可能的，却又与官窑相一致，自然是官窑，并认为杭州郊坛下不能满足朝廷之需，再在龙泉烧造以充不足。这一观点很自然地派生出杭州郊坛下官窑早于龙泉官窑的定论。\n然而，没有足够的考古资料证明这一观点，并由此还引发出种种疑团：郊坛下不能满足朝廷之需，为什么不就地扩充、就近扩充，而要到千里之外的龙泉建窑烧造？宋室南渡带来了北方工匠，他们惯于圆窑用煤烧造，何以能在杭州建立龙窑用柴烧造？文献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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。",[23,140,141,7,142,27],"玉石","雕刻","玉器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bfc980825c414057a4e5d5a7500ea31.jpg",[],{"id":146,"slug":147,"title":148,"dynasty":18,"author":19,"museum":20,"description":138,"tags":149,"thumbUrl":154,"material":31,"size":32,"collection":33,"collections":155,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":78},251845,"hen-dou-si-tan-qing-yu-tuan-ju-wen-ju-ban-shi-bian-he-yi-ming-251845","痕都斯坦青玉团菊纹菊瓣式扁盒",[23,150,151,141,152,7,153,27],"痕都斯坦风格","青玉","团菊纹","扁盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffa5373b9076e7d148c11012341af6d0.jpg",[],{"id":157,"slug":158,"title":159,"dynasty":18,"author":19,"museum":20,"description":138,"tags":160,"thumbUrl":162,"material":31,"size":32,"collection":33,"collections":163,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},251838,"hen-dou-si-tan-qing-yu-shuang-er-ju-ban-shi-xi-yi-ming-251838","痕都斯坦青玉双耳菊瓣式洗",[23,140,141,161,7,150],"双耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F003500466bb8442bf120775f8fa5a8c0.jpg",[],{"id":165,"slug":166,"title":167,"dynasty":18,"author":19,"museum":20,"description":138,"tags":168,"thumbUrl":170,"material":31,"size":32,"collection":33,"collections":171,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},251608,"qing-yu-ju-ban-shi-wan-yi-ming-251608","青玉菊瓣式碗",[140,142,49,169,7],"碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dbb9198c32351fcebf51c2447fb30b0.jpg",[],{"id":173,"slug":174,"title":175,"dynasty":18,"author":19,"museum":20,"description":176,"tags":177,"thumbUrl":181,"material":31,"size":32,"collection":33,"collections":182,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":93},251509,"bi-yu-qian-bai-yu-fu-diao-chan-zhi-lian-wen-ju-ban-shi-tuo-yuan-he-yi-ming-251509","碧玉嵌白玉浮雕缠枝莲纹菊瓣式椭圆盒","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。",[23,140,178,179,180,25,7,27],"碧玉","白玉","浮雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3ce0e1103c4d27ba52ef7c8ac5a3895.jpg",[],{"id":184,"slug":185,"title":186,"dynasty":18,"author":19,"museum":20,"description":138,"tags":187,"thumbUrl":189,"material":31,"size":32,"collection":33,"collections":190,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":93},250374,"hen-dou-si-tan-qing-yu-ju-ban-shi-wan-yi-ming-250374","痕都斯坦青玉菊瓣式碗",[23,140,27,7,188,141,150],"薄胎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0edc863b93307c30c927dcadfbe6ea1.jpg",[],{"id":192,"slug":193,"title":194,"dynasty":18,"author":19,"museum":20,"description":195,"tags":196,"thumbUrl":199,"material":31,"size":32,"collection":33,"collections":200,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":78},248968,"qian-long-kuan-hua-fa-lang-chan-zhi-lian-wen-ju-ban-shi-he-yi-ming-248968","乾隆款画珐琅缠枝莲纹菊瓣式盒","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",[86,197,25,7,198],"珐琅器","设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F951eace017a3eeada3500b9da8a60b25.jpg",[],{"id":202,"slug":203,"title":204,"dynasty":18,"author":19,"museum":20,"description":205,"tags":206,"thumbUrl":210,"material":31,"size":32,"collection":33,"collections":211,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},248778,"ti-hong-chan-zhi-lian-wen-ju-ban-shi-pen-yi-ming-248778","剔红缠枝莲纹菊瓣式盆","此器取菊瓣为形，口底镶饰金边，朱红漆色沉莹鲜亮，与金饰相映愈发雅致。器身以阳线界出方格分层排布，满工精雕缠枝莲纹，枝蔓婉转勾连，莲花饱满舒展，刀工圆熟细腻，纹饰繁而不紊。整器将实用与陈设性相融，剔红工艺尽显华贵工致，缠枝莲暗含清和吉祥之意，尽显东方古雅雍容的韵致，是传统髹漆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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。",[23,220,219,26,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef31854adb69a541ad3fc3fc9d1e3495.jpg",[],{"id":238,"slug":239,"title":240,"dynasty":18,"author":19,"museum":20,"description":233,"tags":241,"thumbUrl":242,"material":31,"size":32,"collection":33,"collections":243,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":78},248556,"tuo-tai-zhu-qi-ju-ban-shi-pan-yi-ming-248556","脱胎朱漆菊瓣式盘",[23,26,217,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6362835c24ff3b655f4b99a72c474bfe.jpg",[],{"id":245,"slug":246,"title":247,"dynasty":18,"author":19,"museum":20,"description":195,"tags":248,"thumbUrl":249,"material":31,"size":32,"collection":33,"collections":250,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":251},248553,"qian-long-kuan-tuo-tai-zhu-qi-ju-ban-shi-he-yi-ming-248553","乾隆款脱胎朱漆菊瓣式盒",[23,26,220,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e176df00ebc0bea0320748b2e0e17ae.jpg",[],"F48FB1",{"id":253,"slug":254,"title":255,"dynasty":18,"author":19,"museum":20,"description":195,"tags":256,"thumbUrl":262,"material":31,"size":32,"collection":33,"collections":263,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":93},248534,"jin-qi-wu-fu-peng-shou-wen-ju-ban-shi-cuan-he-yi-ming-248534","金漆五蝠捧寿纹菊瓣式攒盒",[23,257,26,7,258,259,260,261,27],"金漆","五蝠","捧寿纹","蝠","寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd742cbea1241f435354005f16810d08a.jpg",[],{"id":265,"slug":266,"title":267,"dynasty":18,"author":19,"museum":20,"description":195,"tags":268,"thumbUrl":270,"material":31,"size":32,"collection":33,"collections":271,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},247630,"ti-hong-ju-hua-wen-ju-ban-shi-he-yi-ming-247630","剔红菊花纹菊瓣式盒",[23,26,207,141,269,7],"菊花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7602e3a8b52fd0848c2fac0adb2d321b.jpg",[],{"id":273,"slug":274,"title":267,"dynasty":18,"author":19,"museum":20,"description":195,"tags":275,"thumbUrl":277,"material":31,"size":32,"collection":33,"collections":278,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":78},247629,"ti-hong-ju-hua-wen-ju-ban-shi-he-yi-ming-247629",[26,207,141,269,7,276],"清代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2cee6d4a51de4663b021f28e0a53c25.jpg",[],{"id":280,"slug":281,"title":267,"dynasty":18,"author":19,"museum":20,"description":195,"tags":282,"thumbUrl":283,"material":31,"size":32,"collection":33,"collections":284,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},247628,"ti-hong-ju-hua-wen-ju-ban-shi-he-yi-ming-247628",[23,26,207,141,269,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55599a7854dd24bbea38f96f3d5d4032.jpg",[],{"id":286,"slug":287,"title":267,"dynasty":18,"author":19,"museum":20,"description":195,"tags":288,"thumbUrl":289,"material":31,"size":32,"collection":33,"collections":290,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":78},247625,"ti-hong-ju-hua-wen-ju-ban-shi-he-yi-ming-247625",[23,26,207,141,269,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74c9378ec60961605fa5b558872410c0.jpg",[],{"id":292,"slug":293,"title":267,"dynasty":18,"author":19,"museum":20,"description":195,"tags":294,"thumbUrl":295,"material":31,"size":32,"collection":33,"collections":296,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":78},247623,"ti-hong-ju-hua-wen-ju-ban-shi-he-yi-ming-247623",[18,26,207,141,269,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5525b8be4a16e5ddace01261162fd79.jpg",[],{"id":298,"slug":299,"title":267,"dynasty":18,"author":19,"museum":20,"description":195,"tags":300,"thumbUrl":302,"material":31,"size":32,"collection":33,"collections":303,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},247622,"ti-hong-ju-hua-wen-ju-ban-shi-he-yi-ming-247622",[23,26,207,141,269,7,301],"盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9fd03f292153b0101100f556fe41be7.jpg",[],{"id":305,"slug":306,"title":267,"dynasty":18,"author":19,"museum":20,"description":195,"tags":307,"thumbUrl":308,"material":31,"size":32,"collection":33,"collections":309,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":78},247621,"ti-hong-ju-hua-wen-ju-ban-shi-he-yi-ming-247621",[23,26,207,141,269,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94b1f5bd1a4f6fec8a2ecc0c836b889b.jpg",[],{"id":31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