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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。",[23,24,7,25,26,27],"陶瓷","青花","双耳三足","瓷器","礼器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0412c0d0051ab57f14c3bd5ff13cc33c.jpg","未知","Xcm*Xcm","",[],3,"795548",{"id":36,"slug":37,"title":38,"dynasty":18,"author":19,"museum":20,"description":39,"tags":40,"thumbUrl":46,"material":29,"size":30,"collection":31,"collections":47,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":48},251293,"bai-yu-bao-he-tai-he-kui-feng-wen-pei-yi-ming-251293","白玉“保和太和”夔凤纹佩","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。",[41,42,43,44,7,45],"清代","玉石","饰品","雕刻","篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e7e0c729267a690334a9c53457cd709.jpg",[],"37474F",{"id":50,"slug":51,"title":52,"dynasty":18,"author":19,"museum":20,"description":53,"tags":54,"thumbUrl":58,"material":29,"size":30,"collection":31,"collections":59,"showCount":60,"zanCount":11,"manualWeight":11,"mainColor":48},269682,"pao-zhi-kui-feng-wen-gai-hu-yi-ming-269682","匏制夔凤纹盖壶","器身包浆温润，呈内敛的栗色质感。以范模压花技法勾勒的夔凤纹蜿蜒盘绕，线条舒展灵动，缠转间带着古雅气韵，将上古神兽的威严柔化在葫芦的天然肌理中。\n口沿包镶深色口边，与暖调匏体相映成趣，更显利落精致。盖顶层层起台，浅刻细纹呼应器身纹饰，整套器物饱满圆融，将天然葫匏的朴野之美与人工巧技相融，尽显文房清供的雅致意趣，是传统匏器工艺的精妙之作。",[55,44,7,56,57],"器","匏器","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a6e8e018fdcaba44b6b859ecec017cb.jpg",[],2,{"id":62,"slug":63,"title":64,"dynasty":18,"author":19,"museum":20,"description":65,"tags":66,"thumbUrl":74,"material":29,"size":30,"collection":31,"collections":75,"showCount":60,"zanCount":11,"manualWeight":11,"mainColor":48},250158,"qia-si-fa-lang-kui-feng-mu-dan-wen-feng-er-ba-leng-ping-yi-ming-250158","掐丝珐琅夔凤牡丹纹凤耳八棱瓶","景泰蓝（Cloisonne），中国的著名特种金属工艺品类之一，到明代景泰年间这种工艺技术制作达到了最巅峰，制作出的工艺品最为精美而著名，故后人称这种金属器为“景泰蓝”。景泰蓝正名“铜胎掐丝珐琅”，俗名“珐蓝”，又称“嵌珐琅”，是一种在铜质的胎型上，用柔软的扁铜丝，掐成各种花纹焊上，然后把珐琅质的色釉填充在花纹内烧制而成的器物 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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。",[23,188,189,7,190,191,57],"粉彩","高足盘","花鸟","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6933bfbf471c180fa9925ddde9b4b996.jpg",[],{"id":195,"slug":196,"title":197,"dynasty":18,"author":19,"museum":20,"description":139,"tags":198,"thumbUrl":202,"material":29,"size":30,"collection":31,"collections":203,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},259254,"qian-long-kuan-huang-di-fen-cai-kui-feng-wen-kai-guang-shi-ju-shuang-er-bi-ping-yi-ming-259254","乾隆款黄地粉彩夔凤纹开光诗句双耳壁瓶",[23,188,199,7,200,201],"双耳壁瓶","花卉纹","黄地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03cd3e5d863a91f5ad7c12aa6f2470e8.jpg",[],{"id":205,"slug":206,"title":207,"dynasty":18,"author":19,"museum":20,"description":208,"tags":209,"thumbUrl":212,"material":29,"size":30,"collection":31,"collections":213,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":48},258948,"shen-de-tang-kuan-fen-cai-chan-zhi-lian-kui-feng-wen-hua-pen-yi-ming-258948","慎德堂款粉彩缠枝莲夔凤纹花盆","此器花口折沿，器型舒展雅致。蓝彩夔凤身姿灵动，穿梭于柔婉鲜活的缠枝莲间，粉紫花卉与回环连绵的卷草交织错落，构图繁而不紊，将祥瑞意蕴融于满工纹饰之中。\n施彩匀净清透，胎质莹润洁白，釉色与彩料晕染自然，尽显粉彩瓷的柔润明丽。整体工致细腻，尽显华贵雅致的瓷韵，将吉祥瑞意与制瓷巧思相融，是兼具装饰性与收藏价值的瓷中佳器。",[23,188,81,210,7,211],"缠枝莲","花盆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83bdb327e1fcaf2ce9eb2ddd4ce47388.jpg",[],{"id":215,"slug":216,"title":217,"dynasty":18,"author":19,"museum":20,"description":218,"tags":219,"thumbUrl":223,"material":29,"size":30,"collection":31,"collections":224,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},258606,"qian-long-kuan-tian-lan-you-an-kui-feng-wen-shuang-huo-huan-er-zun-yi-ming-258606","乾隆款天蓝釉暗夔凤纹双活环耳尊","天蓝釉是瓷器釉色名。一种高温色釉。由“天青”演变而来，清康熙时创烧。釉色浅而发蓝，似天蓝色，故名。含钴量在2%以下，釉中铜、铁、钛等金属元素均起呈色剂作用；呈色稳定、莹洁菁雅，可与豇豆红媲美，是古代工匠精湛的工艺技巧和不朽的艺术造型的完美体现。天蓝釉器物种类，康熙时均属小件文房用具，至雍正、乾隆才见瓶罐等器型。",[41,23,220,221,7,222,55],"天蓝釉","暗纹","双活环耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb995af6b1d90046bed3fb22278c7953.jpg",[],{"id":226,"slug":227,"title":228,"dynasty":18,"author":19,"museum":20,"description":21,"tags":229,"thumbUrl":232,"material":29,"size":30,"collection":31,"collections":233,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":162},258489,"huang-di-qing-hua-kui-feng-wen-dan-shi-ping-yi-ming-258489","黄地青花夔凤纹胆式瓶",[23,41,230,7,55,24,231,84],"黄地青花","黄釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F685aa1b8eef26618573c82bff7ee05ab.jpg",[],{"id":235,"slug":236,"title":237,"dynasty":18,"author":19,"museum":20,"description":238,"tags":239,"thumbUrl":241,"material":29,"size":30,"collection":31,"collections":242,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":162},258387,"fan-hong-cai-kui-feng-wen-die-yi-ming-258387","矾红彩夔凤纹碟","此碟造型隽秀，敞口弧腹浅圈足，胎骨轻薄匀净，白釉莹润似凝脂。外壁以矾红绘就夔凤纹样，线条婉转舒展，凤姿灵动古雅，带着商周青铜纹饰的古朴意韵，红彩鲜亮饱满，艳而不俗。圈足以青花勾勒回纹，青料发色沉稳雅致，与暖调矾红、素净白釉相映成趣，冷暖调和，尽显端庄秀雅之气韵。整体工致细腻，将古拙纹饰与精巧制瓷工艺相融，尽显雅致内敛的审美意趣，是彩瓷装饰中的精巧之作。",[18,23,240,7,55,81],"矾红彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79ff032293553b74a23207d9b455063d.jpg",[],{"id":244,"slug":245,"title":246,"dynasty":18,"author":19,"museum":20,"description":247,"tags":248,"thumbUrl":252,"material":29,"size":30,"collection":31,"collections":253,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":48},258148,"yong-zheng-kuan-fen-qing-you-yin-hua-kui-feng-wen-wei-jiao-ba-fang-ping-yi-ming-258148","雍正款粉青釉印花夔凤纹委角八方瓶","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。",[18,23,249,250,7,55,251],"粉青釉","印花","委角八方","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa091c65267e08ca334e30b648a5cabb7.jpg",[],{"id":255,"slug":256,"title":257,"dynasty":18,"author":19,"museum":20,"description":21,"tags":258,"thumbUrl":259,"material":29,"size":30,"collection":31,"collections":260,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":48},257909,"qing-hua-li-wai-kui-feng-wen-xi-yi-ming-257909","青花里外夔凤纹洗",[41,23,24,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6aaf5afe64d308a516cb492da1a0b09.jpg",[],{"id":262,"slug":263,"title":264,"dynasty":18,"author":19,"museum":20,"description":265,"tags":266,"thumbUrl":271,"material":29,"size":30,"collection":31,"collections":272,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":162},256657,"qing-you-lou-kong-fen-cai-miao-jin-kui-feng-wen-tao-ping-yi-ming-256657","青釉镂空粉彩描金夔凤纹套瓶","中国瓷器著名传统颜色釉。亦称“青瓷釉”。古代南方青釉，是瓷器最早的颜色釉。\n所谓“青釉”，颜色并不是纯粹的青，有：月白、天青、粉青、梅子青、豆青、豆绿、翠青等，但多少总能泛出一点青绿色。同时，古人往往将青、绿、蓝三种颜色，一统称为“青色”，例如许之衡《饮流斋说瓷》称：“古瓷尚青，凡绿也、蓝也，皆以青括之。”刘子芬《竹园陶说》中也说：“青色一种，常与蓝色相混。雨过天晴，钧窑、元窑之青，皆近蓝色。”“惟千峰翠色、梅子青、豆青、乃为纯青耳。天色本蓝，有时为青。”\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。”",[23,55,267,268,188,269,44,81,7,270],"青釉","镂空","描金","神兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5c549eaaad97271150da70d7b2d8af6.jpg",[],{"id":274,"slug":275,"title":276,"dynasty":18,"author":19,"museum":20,"description":247,"tags":277,"thumbUrl":279,"material":29,"size":30,"collection":31,"collections":280,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":162},256624,"yong-zheng-kuan-fen-qing-you-ke-hua-kui-feng-wen-ping-yi-ming-256624","雍正款粉青釉刻花夔凤纹瓶",[18,23,278,249,7,141],"刻花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6356a7dd71a62597de507b2945f1191f.jpg",[],{"id":282,"slug":283,"title":284,"dynasty":18,"author":19,"museum":20,"description":39,"tags":285,"thumbUrl":290,"material":29,"size":30,"collection":31,"collections":291,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":162},251097,"bai-yu-tou-diao-yan-nian-kui-feng-yun-wen-bi-yi-ming-251097","白玉透雕“延年”夔凤云纹璧",[41,286,287,7,288,289,44],"白玉","透雕","云纹","玉器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b5249ac765b6d80438640e02760072e.jpg",[],{"id":293,"slug":294,"title":295,"dynasty":18,"author":19,"museum":20,"description":296,"tags":297,"thumbUrl":299,"material":29,"size":30,"collection":31,"collections":300,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":48},251073,"qian-long-kuan-qing-yu-lou-diao-kui-feng-wen-zhang-yi-zi-sun-pai-yi-ming-251073","乾隆款青玉镂雕夔凤纹长宜子孙牌","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。 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。",[41,42,298,7,43,55],"镂雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74e5efcff3b4f11feb8c99aa17525f1e.jpg",[],{"id":302,"slug":303,"title":304,"dynasty":18,"author":19,"museum":20,"description":296,"tags":305,"thumbUrl":307,"material":29,"size":30,"collection":31,"collections":308,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":162},250988,"qing-yu-kui-feng-can-wen-bi-yi-ming-250988","青玉夔凤蚕纹璧",[42,44,7,306,41,27],"蚕纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0afd28735cd2b33fef135f31c5ea5711.jpg",[],{"id":310,"slug":311,"title":312,"dynasty":313,"author":19,"museum":20,"description":296,"tags":314,"thumbUrl":318,"material":29,"size":30,"collection":31,"collections":319,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":48},250854,"qing-yu-kui-feng-ru-ding-wen-zhong-yi-ming-250854","青玉夔凤乳丁纹钟","明",[315,42,44,7,316,317,27],"明代","乳丁纹","乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbac1f2e855a7938cabc1252c8658d169.jpg",[],{"id":321,"slug":322,"title":323,"dynasty":313,"author":19,"museum":20,"description":296,"tags":324,"thumbUrl":329,"material":29,"size":30,"collection":31,"collections":330,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":48},250794,"qing-yu-kui-feng-wen-chi-er-ping-yi-ming-250794","青玉夔凤纹螭耳瓶",[42,44,55,325,326,327,315,7,328],"龙","兽","凤","螭纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43dea05f722f471e87fca5c81f3ee9c2.jpg",[],{"id":332,"slug":333,"title":334,"dynasty":18,"author":19,"museum":20,"description":335,"tags":336,"thumbUrl":339,"material":29,"size":30,"collection":31,"collections":340,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},249537,"hua-fa-lang-chuan-hua-kui-feng-wen-bo-shi-gang-yi-ming-249537","画珐琅穿花夔凤纹钵式缸","此器体态饱满圆融，敞口敛底，线条温润舒展，自带沉静雅致的气韵。\n以松石蓝为地，满铺缠枝莲纹，穿花夔凤游走其间，凤身翎羽纹路细腻生动，与缠枝花卉婉转萦绕，呼应成趣。珐琅釉色鲜亮妍丽，宝蓝、朱红、柔粉点缀其上，填釉饱满匀净，走线利落流畅，将工艺精妙尽致展现。\n整器纹饰繁而不乱，华丽雅致，既有制器的规整考究，又借缠枝瑞兽承载吉祥富贵的美好寓意，是传统珐琅工艺的精巧之作。",[68,337,7,338,55],"画珐琅","穿花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd14ab058057b7d54d6f7dc9a595a848e.jpg",[],{"id":342,"slug":343,"title":344,"dynasty":18,"author":19,"museum":20,"description":65,"tags":345,"thumbUrl":349,"material":29,"size":30,"collection":31,"collections":350,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":48},249150,"qia-si-fa-lang-gou-lian-wen-kui-feng-si-huan-ping-yi-ming-249150","掐丝珐琅勾莲纹夔凤四环瓶",[67,346,347,177,7,348,141,55],"琺瑯器","铜制","四环","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc81cb3ebda7d0602431be754a3430b2.jpg",[],{"id":352,"slug":353,"title":354,"dynasty":18,"author":19,"museum":20,"description":355,"tags":356,"thumbUrl":362,"material":29,"size":30,"collection":31,"collections":363,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":162},247284,"ti-hong-kui-feng-jiao-ye-chan-wen-yuan-he-yi-ming-247284","剔红夔凤蕉叶蝉纹圆盒","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",[41,357,358,44,7,359,360,361],"漆器","剔红","蕉叶纹","蝉纹","圆盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2d8b883b8b76970ad6bab38af5bd1a5.jpg",[],{"id":365,"slug":366,"title":367,"dynasty":18,"author":19,"museum":20,"description":355,"tags":368,"thumbUrl":371,"material":29,"size":30,"collection":31,"collections":372,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":162},247282,"ti-hong-kui-feng-chan-wen-yuan-he-yi-ming-247282","剔红夔凤蝉纹圆盒",[41,357,358,44,7,360,369,370],"器物","浮雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F739f81269268d34b4aadb3a39bde3365.jpg",[],{"id":374,"slug":375,"title":376,"dynasty":18,"author":19,"museum":20,"description":139,"tags":377,"thumbUrl":380,"material":29,"size":30,"collection":31,"collections":381,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":162},246934,"ti-hong-kui-feng-wen-fang-kou-ping-yi-ming-246934","剔红夔凤纹方口瓶",[41,357,358,44,7,55,378,379],"金器","方口","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82bd110a2ed15faf0825ff4ca37d742b.jpg",[],{"id":383,"slug":384,"title":385,"dynasty":18,"author":19,"museum":20,"description":355,"tags":386,"thumbUrl":387,"material":29,"size":30,"collection":31,"collections":388,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":162},246931,"ti-hong-kui-feng-wen-dai-zuo-yuan-he-yi-ming-246931","剔红夔凤纹带座圆盒",[41,357,358,44,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62dae3d2b2228d2c5e4113e98789bf9d.jpg",[],{"id":390,"slug":391,"title":392,"dynasty":18,"author":19,"museum":20,"description":3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