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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。",[23,51,52,53,54,7],"砚","青花瓷","文房用具","几何纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c87ef6eb04325614448259dbe06e47a.jpg",[],3,"BDBDBD",{"id":60,"slug":61,"title":62,"dynasty":18,"author":19,"museum":20,"description":63,"tags":64,"thumbUrl":71,"material":39,"size":40,"collection":41,"collections":72,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":74},245795,"guang-xu-er-shi-er-nian-kuan-yin-du-jin-cha-pan-yi-ming-245795","光绪二十二年款银镀金茶盘","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。",[18,65,66,67,68,69,70,7],"银器","金器","器","日用具","雕刻","银镀金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b635963a94cd6987299bf60240c1321.jpg",[],1,"795548",{"id":76,"slug":77,"title":78,"dynasty":18,"author":19,"museum":20,"description":79,"tags":80,"thumbUrl":86,"material":39,"size":40,"collection":41,"collections":87,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},258695,"qian-long-kuan-ji-lan-you-kai-guang-shi-wen-hua-hui-wen-ping-yi-ming-258695","乾隆款祭蓝釉开光诗文花卉纹瓶","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。",[23,67,29,81,82,83,25,84,85,7],"祭蓝釉","开光","描金","花卉","诗文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e8ed3ea6d9ac88f44c8455dc6d048c6.jpg",[],{"id":89,"slug":90,"title":91,"dynasty":18,"author":19,"museum":20,"description":92,"tags":93,"thumbUrl":97,"material":39,"size":40,"collection":41,"collections":98,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":99},258413,"yong-zheng-kuan-ji-lan-you-gao-zu-wan-yi-ming-258413","雍正款祭蓝釉高足碗","雍正一朝虽然只有13年，但他的制瓷业成就却达到了清代官窑的历史高峰，其品种之多，制作工艺之精良，都是其他朝代无法比拟的。",[23,29,81,94,95,7,96],"单色釉","高温颜色釉","高足器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F862a7faf1cfc5227b83e43a551ea3930.jpg",[],"F48FB1",{"id":101,"slug":102,"title":103,"dynasty":18,"author":19,"museum":20,"description":104,"tags":105,"thumbUrl":112,"material":39,"size":40,"collection":41,"collections":113,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":74},257748,"kang-xi-kuan-wu-cai-shi-er-yue-hua-hui-wen-bei-xiao-yi-ming-257748","康熙款五彩十二月花卉纹杯-晓","此杯器型秀巧玲珑，胎质莹白似玉，釉面匀净温润。外壁以青花题咏诗句，笔意隽秀雅致，字体端丽清秀，诗文暗合晓花意境，雅致脱俗。青花发色明快沉静，留白恰到好处，将文人情趣融于素瓷之中，不见彩绘花影，却以诗传意，勾勒出破晓时分清寂幽远的花下意境，静穆间晕染出清雅诗意，尽显雅致格调，是制瓷工艺与文人雅趣精妙结合的佳品。",[23,106,107,27,29,108,109,7,110,111],"五彩","花卉纹","饮酒器","瓷器","纹饰","器皿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9595796115013cc5fd370bd7fe1b7e9d.jpg",[],{"id":115,"slug":116,"title":117,"dynasty":118,"author":19,"museum":20,"description":119,"tags":120,"thumbUrl":123,"material":39,"size":40,"collection":41,"collections":124,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":74},257292,"jia-jing-kuan-huang-you-wan-yi-ming-257292","嘉靖款黄釉碗","明","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。",[121,23,94,122,7],"明代","碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9528b27c4b3aac84e9562177ca50233.jpg",[],{"id":126,"slug":127,"title":128,"dynasty":118,"author":19,"museum":20,"description":119,"tags":129,"thumbUrl":131,"material":39,"size":40,"collection":41,"collections":132,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},257205,"hong-zhi-kuan-huang-you-wan-yi-ming-257205","弘治款黄釉碗",[121,23,94,130,122,7],"黄釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a42af07c2acc5b100b470e5a660f390.jpg",[],{"id":134,"slug":135,"title":136,"dynasty":18,"author":19,"museum":20,"description":137,"tags":138,"thumbUrl":146,"material":39,"size":40,"collection":41,"collections":147,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},252264,"qian-long-kuan-bai-yu-shou-mian-lian-huan-yi-ming-252264","乾隆款白玉兽面连环","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。",[29,139,140,69,141,142,143,7,144,145,67],"玉石","玉雕","兽面","连环","篆书","白玉","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1588c727536e2969c17ef88e186d9a6.jpg",[],{"id":149,"slug":150,"title":151,"dynasty":18,"author":19,"museum":20,"description":63,"tags":152,"thumbUrl":155,"material":39,"size":40,"collection":41,"collections":156,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":58},251954,"qian-long-kuan-hua-ma-nao-hai-tang-shi-pan-yi-ming-251954","乾隆款花玛瑙海棠式盘",[18,139,153,69,154,7,67],"玛瑙","海棠式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0909d3c0a69ccc8a99dcc63ed3ea551d.jpg",[],{"id":158,"slug":159,"title":160,"dynasty":18,"author":19,"museum":20,"description":161,"tags":162,"thumbUrl":167,"material":39,"size":40,"collection":41,"collections":168,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":58},245922,"guang-xu-xin-chou-kuan-yin-pai-yi-ming-245922","光绪辛丑款银牌","此件银饰取葫芦形制，莹白银面泛着温润柔光。顶部作宝相云头，浮雕双龙拱卫方牌，錾刻字迹古拙端方。下部以灵蛇盘绕托举吉语，环周十二地支纹样搭配瑞兽浮雕，灵动鲜活。\n葫芦谐音福禄，灵蛇地支暗合命理祥意，整体纹饰排布疏密有致，錾刻线条饱满流畅。将祈福纳祥的愿景凝于方寸银面，尽显晚清手工细作的雅致匠心。",[65,69,163,164,29,165,166,7],"龙","文字","金属器","浮雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff07e3396316828a3ec298fbf02f18613.jpg",[],{"id":170,"slug":171,"title":172,"dynasty":18,"author":19,"museum":20,"description":173,"tags":174,"thumbUrl":177,"material":39,"size":40,"collection":41,"collections":178,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":74},245891,"tong-zhi-jiu-nian-kuan-yin-huo-guo-yi-ming-245891","同治九年款银火锅","它造型端庄雅致，圆腹丰腴饱满，穹顶盖顶搭配圆珠钮，盖沿浅錾纹饰，低调中暗藏精巧。两侧兽首衔环耳，狞厉中透着威严，兼顾握持便利与装饰意趣。三兽足遒劲沉稳，兽首怒目张颔，爪足稳稳托举器身，尽显重工质感。底盘预留炉膛，可置炭火持续保温，将美学巧思融进食用功能之中。\n\n温润厚重的包浆凝缩着岁月痕迹，将旧时细作银器的精致考究与实用属性融为一体，尽显往日饮食起居的风雅讲究，静静诉说着往昔饮食礼制与工匠的不俗匠心。",[65,175,176,69,29,68,7],"饪食器","银制","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d18e89736fa9d480979adbcdfa5c476.jpg",[],{"id":180,"slug":181,"title":182,"dynasty":18,"author":19,"museum":20,"description":63,"tags":183,"thumbUrl":185,"material":39,"size":40,"collection":41,"collections":186,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":99},245802,"qian-long-kuan-yin-pan-yi-ming-245802","乾隆款银盘",[18,65,68,184,7],"盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e977e69a26440a7df14c5bc77410bab.jpg",[],{"id":188,"slug":189,"title":190,"dynasty":18,"author":19,"museum":20,"description":191,"tags":192,"thumbUrl":193,"material":39,"size":40,"collection":41,"collections":194,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},245781,"guang-xu-kuan-yin-wan-shou-wu-jiang-zi-yuan-pen-yi-ming-245781","光绪款银“万寿无疆”字圆盆","敞口宽沿，器型舒展沉稳，银质莹润自带柔光，经年的包浆晕开时光沉淀的厚重质感。内壁錾刻万寿无疆四字，笔力浑朴苍劲，将绵长祈愿凝于银面。沿壁纹饰暗合主题，低调铺陈，不显张扬。\n\n它褪去浮华艳俗，以素净银质承载福寿吉意，将盥沐实用之器与礼制祈福寓意相融，把日常器用化作寄情抒愿的载体，尽显晚清造物审美里内敛沉静的东方意趣，静静诉说着旧时对福寿绵长的极致期许，是传统银作工艺中简约却意蕴醇厚的典型。",[65,29,69,7,68,67,143],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74f3731d348c5f0ebc5ddfed03884a62.jpg",[],{"id":196,"slug":197,"title":198,"dynasty":18,"author":19,"museum":20,"description":199,"tags":200,"thumbUrl":10,"material":39,"size":40,"collection":41,"collections":204,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":74},245413,"guang-xu-er-shi-er-nian-kuan-yin-liu-jin-dai-gai-duo-mu-hu-yi-ming-245413","光绪二十二年款银鎏金带盖多穆壶","此器仿竹节形制，鎏金银质温润古雅，器身层层分段如竹拔高，嵌饰铜钱回纹暗合吉祥寓意。花口敞沿，兽首雕琢的曲壶嘴灵动传神，系带垂悬双铃，动静之间清声泠然。\n\n鎏金虽经岁月晕染出斑驳旧色，却更衬器物的古朴厚重，将蒙藏礼器的庄重与日常用度的巧思相融，尽显手作的精巧匠心，把宗教仪轨的肃穆与生活雅趣揉合为一，是民族文化交融的器物缩影。",[29,65,66,201,69,108,202,203,7],"银鎏金","日用器","多穆壶",[],1777535725676]