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2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[46,47,48,29,49,50,30,51,52,53,54,55,7],"唐代","壁画","宗教","人物","飞天","华盖","佛教造像","彩绘","建筑元素","卷草纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3a5ea8e92db7c1aacd4220fc12109bd.jpg",[],16,"795548",{"id":61,"slug":62,"title":63,"dynasty":64,"author":19,"museum":20,"description":65,"tags":66,"thumbUrl":72,"material":32,"size":33,"collection":73,"collections":74,"showCount":75,"zanCount":11,"manualWeight":11,"mainColor":76},256195,"ding-yao-bai-you-ke-lian-hua-wen-zhe-yao-wan-yi-ming-256195","定窑白釉刻莲花纹折腰碗","宋","定窑是中国传统制瓷工艺中的珍品，宋代六大窑系之一，它是继唐代的邢窑白瓷之后兴起的一大瓷窑体系。主要产地在今河北省保定市曲阳县（原属今定州市）的涧磁村、野北村及东燕川村、西燕川村一带，因该地区唐宋时期属定州管辖，故名定窑。\n定窑原为民窑，北宋中后期开始烧造宫廷用瓷。创烧于唐，极盛于北宋及金，终于元，以产白瓷著称，兼烧黑釉、酱釉和绿釉瓷，文献分别称其为黑定、紫定和绿定。\n定窑从邢窑而来，由于历史的变迁，定窑随着地域变化，新瓷土料的运用和制瓷工艺的进步。卞向和认为：定窑最大的贡献就是在中国陶瓷发展的历史上闪烁过光芒，在中国陶瓷史和世界的陶瓷发展史上留下辉煌的一页。\n定窑，是中国北方白瓷的中心，始于唐，为邢窑的后继者，在五代时期就已经发达。以往文献多记载窑址在河北正定，1938年在河北省曲阳县涧瓷村发现古窑址。近年又多次发掘调查，发现了最下层堆积着晚唐的破片；中层的是五代时就已大量生产；最上层为印花、画花的薄瓷片，是属于北宋中期以后，在政和、宣和年间。这些薄瓷片，胎质坚致，釉泽莹润，花纹优美，确是很精进的品种；且有些是官窑性质的，如”尚食局、禁苑、奉华、官”等胎上刻字破片的发现，便可证明。另在西燕山遗址发现粗瓷片的堆集，以及各地普遍发现的定窑瓷器及破片，又能证明定窑在北宋早期以后，也曾大量烧造民间使用的瓷器。定窑以烧造白瓷为主，也烧颜色釉，如红定、紫定和黑定等。根据《君友会-新民窑》记载，定窑，从北宋起，地位增高，各地仿制者颇多。在定窑本身概念中，就孳乳出各种名称，单就白定一种，就有土定、粉定之分。土定，有瓦胎和陶胎两种。瓦胎为淡赤色的土质，陶胎为白土而略黄，质皆松，体较厚；袖色白色中闪黄或闪赤，容易剥落，或有大开片，是原始的及民用的定器。粉定，是进步的及官用的定器，有陶胎和瓷胎，胎质致密而体薄，釉色纯白如牛乳者，或带淡赤色，釉中往往有刷纹，釉面凝聚，如有泪痕。",[67,68,69,70,7,71],"宋代","陶瓷","白釉","刻花","折腰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa987234ffaca70214455dfd6cf81110e.jpg","瓷器精选",[73],9,"37474F",{"id":78,"slug":79,"title":80,"dynasty":81,"author":19,"museum":20,"description":82,"tags":83,"thumbUrl":87,"material":32,"size":33,"collection":34,"collections":88,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":37},257641,"qing-hua-chan-zhi-lian-hua-wen-hu-lu-ping-yi-ming-257641","青花缠枝莲花纹葫芦瓶","明","青花瓷（blue and white 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。",[84,68,85,86,7],"明代","青花","缠枝纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3957e0d3cc77aba95522230781244799.jpg",[],5,{"id":91,"slug":92,"title":93,"dynasty":64,"author":19,"museum":20,"description":65,"tags":94,"thumbUrl":99,"material":32,"size":33,"collection":73,"collections":100,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":76},256316,"ding-yao-bai-you-yin-hua-chan-zhi-mu-dan-lian-hua-wen-pan-yi-ming-256316","定窑白釉印花缠枝牡丹莲花纹盘",[67,95,69,96,97,7,68,98],"定窑","印花","缠枝牡丹","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dfd7f72a8497b0741dcba6879d844d9.jpg",[73],{"id":102,"slug":103,"title":104,"dynasty":18,"author":19,"museum":20,"description":105,"tags":106,"thumbUrl":113,"material":32,"size":33,"collection":34,"collections":114,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":76},242052,"yin-du-jin-qian-zhu-lian-hua-wen-jie-zi-yi-ming-242052","银镀金嵌珠莲花纹结子","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。",[23,107,108,7,109,110,111,112],"银镀金","嵌珠","饰品","金器","银器","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48b3cabd82fe355fb87fc7c2334c77d2.jpg",[],{"id":116,"slug":117,"title":118,"dynasty":18,"author":19,"museum":20,"description":119,"tags":120,"thumbUrl":125,"material":32,"size":33,"collection":34,"collections":126,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":37},247813,"ti-hong-jin-wen-qian-yu-lian-hua-wen-he-yi-ming-247813","剔红锦纹嵌玉莲花纹盒","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。 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。",[23,121,122,123,112,124,7],"漆器","剔红","嵌玉","锦纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F064900573e532ee2f386d050755b60e2.jpg",[],3,{"id":129,"slug":130,"title":131,"dynasty":132,"author":19,"museum":20,"description":133,"tags":134,"thumbUrl":137,"material":32,"size":33,"collection":73,"collections":138,"showCount":139,"zanCount":11,"manualWeight":11,"mainColor":37},256697,"yue-yao-qing-you-ke-lian-hua-wen-gai-he-yi-ming-256697","越窑青釉刻莲花纹盖盒","五代十国","越窑是中国古代南方著名的青瓷窑，汉族传统制瓷工艺的珍品之一。窑所在地主要在越州境内，即今浙江省宁绍平原上的绍兴、宁波两地。生产年代自东汉至宋。唐朝是越窑工艺最精湛时期，居全国之冠。越窑之名，最早见于唐代，越窑瓷青瓷与唐代的饮茶风尚关系十分密切，其瓷质造型，釉色之美，深受饮茶者的喜爱。饮茶风尚又影响了越窑青瓷的型制。",[132,68,135,136,70,7,98],"越窑","青釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63618304ad932dd27826226d8b9b23ff.jpg",[73],2,{"id":141,"slug":142,"title":143,"dynasty":81,"author":19,"museum":20,"description":144,"tags":145,"thumbUrl":151,"material":32,"size":33,"collection":34,"collections":152,"showCount":139,"zanCount":11,"manualWeight":11,"mainColor":76},256470,"dou-cai-hai-ma-wen-tian-zi-guan-yi-ming-256470","斗彩海马纹天字罐","此罐造型圆润饱满，器型规整雅致。以斗彩工艺饰绘，釉色妍丽鲜亮，诸色搭配谐和亮眼。主体海马身形矫健昂扬，红彩晕染出骐骥勃发之势，鬃毛如焰翻卷，伴以青料勾勒的祥云缭绕周身，更衬瑞兽灵动威严。通身纹饰层次分明，上部如意云纹婉转柔丽，下部海涛蕉叶苍劲舒展，海浪翻涌托举瑞兽，烘托出腾云踏浪的磅礴意境，将祥瑞寓意藏于灵动绘饰之中，尽显典雅精工的彩瓷气韵。",[84,68,146,98,147,148,149,7,150,29,30],"斗彩","海马","云纹","海浪纹","兽纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F973747cc1282eb183d895590fab99d57.jpg",[],{"id":154,"slug":155,"title":156,"dynasty":18,"author":19,"museum":20,"description":157,"tags":158,"thumbUrl":162,"material":32,"size":33,"collection":34,"collections":163,"showCount":139,"zanCount":11,"manualWeight":11,"mainColor":76},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。",[159,107,112,109,7,160,161,30],"清式","金属工艺","帽顶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d8cd00f195e399da5ac37dea3fa9241.jpg",[],{"id":165,"slug":166,"title":167,"dynasty":64,"author":19,"museum":20,"description":168,"tags":169,"thumbUrl":173,"material":32,"size":33,"collection":34,"collections":174,"showCount":139,"zanCount":11,"manualWeight":11,"mainColor":37},227472,"lian-hua-zhan-yi-ming-227472","莲花盏","瓷器是由瓷石、高岭土、石英石、莫来石等烧制而成，外表施有玻璃质釉或彩绘的物器。瓷器的成形要通过在窑内经过高温（约1280℃～1400℃）烧制，瓷器表面的釉色会因为温度的不同从而发生各种化学变化，是中华文明展示的瑰宝。\n中国是瓷器的故乡，瓷器是古代劳动人民的一个重要的创造。谢肇淛在《五杂俎》记载：“今俗语窑器谓之磁器者，盖磁州窑最多，故相延名之，如银称米提，墨称腴糜之类也。”当时出现的以“磁器”代窑器是由磁州窑产量最多所致。这是迄今发现最早使用瓷器称谓的史料。",[67,68,170,171,172,7,98],"青瓷","开片","花瓣造型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd47a30bae203879b62796142ed137e12.jpg",[],{"id":176,"slug":177,"title":178,"dynasty":18,"author":19,"museum":20,"description":179,"tags":180,"thumbUrl":188,"material":32,"size":33,"collection":34,"collections":189,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":76},275030,"lan-se-duan-xiu-jin-zi-da-yuan-man-yue-yuan-ming-dao-mu-tian-zun-mu-ding-fan-yi-ming-275030","蓝色缎绣金字大圆满月圆明道母天尊木顶幡","绣法是以绣线横排，故名。如，特点是整齐、均匀，圆润；在绣叶瓣时，在中间分开，运用斜针成倒人字形；也有绣成中间针迹相交叠的形式；也可绣成中间作一钉线的绣法。排绣针法富有变化，刺绣出的花瓣、叶瓣得体逼真，用途较广。",[181,182,183,184,185,186,7,187],"道幡","道教","道教天尊","刺绣","金字","缎面","木雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2fef905c03a98fb754ba9fb5a476165.jpg",[],1,{"id":192,"slug":193,"title":194,"dynasty":64,"author":19,"museum":20,"description":195,"tags":196,"thumbUrl":200,"material":32,"size":33,"collection":34,"collections":201,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":59},259716,"qing-bai-you-hua-hua-lian-hua-wen-zhu-wan-yi-ming-259716","青白釉划花莲花纹注碗","将不含金属氧化物呈色元素的釉料施于胎骨洁白的器物上，入窑高温烧制而成的透明釉， 釉色因白润瓷胎的映衬而显出白色，现在习惯上将这种透明釉也称为白釉。\n瓷器釉料中的含铁量降低到0.75%以下，施于洁白的瓷胎上，入窑经高温烧制，就会出现白釉。严格地说，白釉是一种无色透明釉，而不是白色的釉 。白釉是瓷器传统釉色之一,真正的白釉应该是乳白色的乳浊釉,这种釉是近代才发明的。我国古代仅有元代枢府釉是失透的,其他白釉并不是白色的釉,\n白釉烧制工艺比青釉复杂，出现的时间也较青釉晚，一般瓷土和釉料，都或多或少含有一些氧化铁，器物烧出后必然呈现出深浅不同的青色来。如果釉料中的铁元素含量小于0.75%，烧出来的就会是白釉。\n白釉最早出现在汉代，比青釉瓷器晚了400多年，白釉瓷器开始是青白色的，因为瓷器中铁的含量高于1%就是青色的，少于1%就是白瓷了，所以中国白瓷经历青瓷、青白瓷、卵白釉、甜白釉、象牙白、白釉的发展过程。中国历史上白瓷产地有德化白瓷、定窑白瓷以及刑窑白瓷等。",[68,98,197,7,198,199],"划花","青白釉","饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc90e4a041b0f498b01997763935f5e90.jpg",[],{"id":203,"slug":204,"title":205,"dynasty":18,"author":19,"museum":20,"description":206,"tags":207,"thumbUrl":209,"material":32,"size":33,"collection":34,"collections":210,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":76},257778,"kang-xi-kuan-dou-cai-shuang-chi-lian-hua-wen-xiao-die-yi-ming-257778","康熙款斗彩双螭莲花纹小碟","敞口浅腹，圈足修胎匀整，胎质莹润细腻。以斗彩工艺妆点，釉下青花勾绘轮廓筋骨，釉上敷色鲜活明丽。外壁双螭蜿蜒穿梭于缠枝莲间，矾红绘就的莲实饱满沉艳，绿彩枝叶舒展柔婉，青花云纹萦回流转，线条圆润舒展。\n\n构图疏密相宜，螭龙身姿矫健灵动，缠枝莲温婉柔丽，二者相映成趣，色彩搭配谐和雅致，将妍丽与秀润融于一体，尽显古雅秀逸的气韵，是清代彩瓷中颇具意趣的精巧之作，尽显彼时制瓷技艺的纯熟精妙。",[23,68,146,208,7],"螭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee290c4943ad1091ae488a3a59ec8eb3.jpg",[],{"id":212,"slug":213,"title":214,"dynasty":81,"author":19,"museum":20,"description":215,"tags":216,"thumbUrl":219,"material":32,"size":33,"collection":73,"collections":220,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":37},256975,"yi-xing-yao-su-tie-lian-hua-wen-mei-ping-yi-ming-256975","宜兴窑塑贴莲花纹梅瓶","宜兴窑，在今江苏宜兴丁蜀镇，故名。烧瓷历史悠久，秦汉时宜兴地区陶窑密布；两晋时在均山烧青瓷，唐初在归径等地大量烧制，至晚唐、五代成为南方民间著名青瓷窑；宋、元时期，丁蜀与西渚一带大规模烧造日用陶和早期紫砂。明清时成为当时的烧陶中心。涧众村发现有唐代青瓷窑址。明代以紫砂器闻名于世，出现不少制紫砂壶名家，如供春；时大彬、李仲芳、陈仲美等，并仿烧宋代钧窑器物，因有"宜钧"之称。\n在今江苏宜兴市南部的丁蜀镇一带，故称为宜兴窑。宜兴窑从汉代始烧红陶、灰陶、和原始青瓷等等，其烧制陶瓷的历史一直延续到今天，有2000多年，故可称是最古老的窑口。宋代已开始烧造紫砂器，明代的紫砂器闻名于世，清代是其高峰。建国后，宜兴除传统的紫砂陶、均陶有很大发展外，还恢复了青瓷生产，新创了花釉陶和精陶等产品，是我国重点陶瓷产区之一。",[68,84,217,69,171,7,218],"塑贴技法","梅瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd23d4065e11819124ffa9b1f31e9c31b.jpg",[73],{"id":222,"slug":223,"title":224,"dynasty":18,"author":19,"museum":20,"description":225,"tags":226,"thumbUrl":231,"material":32,"size":33,"collection":34,"collections":232,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":59},245731,"yin-zan-hua-bian-fang-ping-yi-ming-245731","银錾花扁方瓶","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。",[23,111,227,228,229,7,230,160,112],"錾花","鎏金","囍字","兽耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dca5dc797cb022097aba070eee24974.jpg",[],{"id":234,"slug":235,"title":236,"dynasty":132,"author":19,"museum":20,"description":237,"tags":238,"thumbUrl":10,"material":32,"size":33,"collection":34,"collections":241,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":37},227276,"cu-tao-rong-qi-yi-ming-227276","粗陶容器","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。",[132,68,239,112,7,240],"粗陶","日用器",[],{"id":243,"slug":244,"title":245,"dynasty":18,"author":19,"museum":20,"description":179,"tags":246,"thumbUrl":250,"material":32,"size":33,"collection":34,"collections":251,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":76},275029,"lan-se-duan-xiu-jin-zi-shang-tai-xu-jing-kai-de-xing-jun-mu-ding-fan-yi-ming-275029","蓝色缎绣金字上台虚精开德星君木顶幡",[182,48,247,184,186,248,7,249,187],"幡","金字装饰","上台虚精开德星君","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fced12482a4a93c3cf628807906f4bc41.jpg",[],{"id":253,"slug":254,"title":255,"dynasty":18,"author":19,"museum":20,"description":256,"tags":257,"thumbUrl":261,"material":32,"size":33,"collection":34,"collections":262,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":59},274932,"tong-du-jin-ba-bao-san-yi-ming-274932","铜镀金八宝-伞","此件器物鎏金莹亮饱满，宝伞静伫层叠莲台之上，轮廓端方威仪。莲瓣舒展灵动，承托起神圣宝伞，下衔祥云束腰柄身，云纹卷绕缱绻，似携佛界祥瑞缓缓流转。底座葫芦造型沉稳敦实，缠枝纹饰錾刻细腻，环台雕饰繁复精妙，将藏传礼器的神圣意蕴与精湛造办工艺相融。整体线条辗转流畅，细节处一丝不苟，鎏金历经岁月依旧光泽不减，尽显华贵庄严。器物将宗教礼器的肃穆神性与宫廷美学精巧完美糅合，静静诠释着吉祥八宝的清净寓意，是清代金铜造作工艺的精巧代表之作。",[110,258,112,48,259,260,7],"铜制","礼器","佛教八宝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82fd791af4e67990afb399572e3e7e1e.jpg",[],{"id":264,"slug":265,"title":266,"dynasty":18,"author":19,"museum":20,"description":267,"tags":268,"thumbUrl":273,"material":32,"size":33,"collection":34,"collections":274,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},268229,"fen-se-duan-ji-xian-xiu-lian-hua-wen-zao-xie-yi-ming-268229","粉色缎缉线绣莲花纹皂鞋","皂鞋民国初年盛行于平、津、鲁各地，鞋帮为两片，平底或布制，脸极浅，口作尖形，鞋帮窄浅，常制用青色制造，所以故名为皂鞋",[269,270,271,272,7],"鞋","衣帽","布料","缉线绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F967ed0127344d53077e5baa2d4cb9c12.jpg",[],{"id":276,"slug":277,"title":278,"dynasty":18,"author":19,"museum":20,"description":267,"tags":279,"thumbUrl":281,"material":32,"size":33,"collection":34,"collections":282,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},266765,"huang-se-duan-ji-xian-xiu-lian-hua-wen-zao-xie-yi-ming-266765","黄色缎缉线绣莲花纹皂鞋",[270,280,272,184,7,271,186],"鞋履","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0117d557445dbe0dace3159645e8dcc3.jpg",[],{"id":284,"slug":285,"title":286,"dynasty":18,"author":19,"museum":20,"description":267,"tags":287,"thumbUrl":290,"material":32,"size":33,"collection":34,"collections":291,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":76},266744,"shi-qing-se-duan-ji-xian-xiu-shuang-he-lian-hua-wen-zao-xie-yi-ming-266744","石青色缎缉线绣双鹤莲花纹皂鞋",[280,270,272,7,288,271,289],"鹤纹","手工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5b87fca43cebbbcf6bb8cf6b66c3958.jpg",[],{"id":293,"slug":294,"title":295,"dynasty":18,"author":19,"museum":20,"description":296,"tags":297,"thumbUrl":299,"material":32,"size":33,"collection":34,"collections":300,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},266712,"huang-se-duan-ding-rong-lian-hua-wen-tou-jian-di-xie-yi-ming-266712","黄色缎钉绒莲花纹头尖底鞋","鞋型秀雅纤巧，底色沉郁，以明黄绒线钉出莲花宝相纹样，卷草萦回烘托莲台，线条婉转灵动，将禅意柔婉融于华贵气场之中。绒线钉缀饱满挺括，针脚细密齐整，配色明暗对冲却和谐相融，深浅层次分明。\n\n厚麻鞋底朴拙扎实，和鞋面精工绣作形成反差，粗粝与细腻相映，尽显匠思。整体处处流露旧时造物的审美意趣，将日常穿戴化为流动的雅致风物。",[270,269,271,7,298],"日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67c641f0fe63d9cb1886b5fa58a77126.jpg",[],{"id":302,"slug":303,"title":304,"dynasty":64,"author":19,"museum":20,"description":305,"tags":306,"thumbUrl":309,"material":32,"size":33,"collection":73,"collections":310,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":59},261891,"yao-zhou-yao-qing-you-yin-lian-hua-wen-wan-yi-ming-261891","耀州窑青釉印莲花纹碗","耀州窑是中国传统制瓷工艺中的珍品，宋代六大窑系。位于今陕西省铜川市的黄堡镇，唐宋时属耀州治，在唐代就是中国陶瓷烧制的著名产地，宋代更进一步达到鼎盛，成为我国“宋代六大窑系”中的一个窑系。\n耀州窑是北方青瓷的代表。唐代开始烧制黑釉、白釉、青釉、茶叶末釉和白釉绿彩、褐彩、黑彩以及三彩陶器等。宋、金以青瓷为主。北宋是耀州的鼎盛时期，据记载且为朝廷烧造“贡瓷”。金代延续北宋时期继续发展，元代开始转型，走向末落，经明代、清代，终于民国。\n耀州窑始于唐代，北宋末为鼎盛期，宋代六大窑系，终于民国。其窑址位于陕西省铜川市黄堡镇，旧称同官，宋代时属耀州，故名“耀州窑”，包括陈炉镇、立地镇、上店镇及玉华宫等窑在内。是宋代北方民间青瓷的主要产区之一。\n宋代晚期以青瓷为主，胎薄质坚，釉面光洁匀静，色泽青幽，呈半透明状，十分淡雅。装饰有刻花、印花，结构严谨丰满，线条自由流畅。纹饰多满布器内外，种类繁多，有牡丹、菊花、莲花、鱼、鸭、龙凤等，风格粗放健美，生动自然。器形有碗、盘、瓶、罐、壶、香炉、香熏、盏托、注子温碗、钵等。\n耀州窑在宋时北方的青瓷窑场中最负盛名，堪称翘楚。于神宗元丰（1078-1085）至徽宗崇宁（1102-1106）的三十来年间，曾为朝廷烧制贡瓷。其不凡的制瓷技巧和洒脱活泼的风格对当时各地窑场产生了很大影响，得到广泛推广，由此形成了一个自北而南的范围广阔的耀州窑系。耀州窑系以黄堡镇为中心，襄括了河南宜阳窑、宝丰窑、新安城关窑、广东西村窑、广西永福窑、内乡大窑店窑等多个窑场。各窑制品均与铜川窑相似，仅由于所用原料有差别，胎质与釉色也有些微不同。",[68,136,7,307,308,298],"碗","饪食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11b8b0e883542912b7325c048ee30139.jpg",[73],{"id":312,"slug":313,"title":314,"dynasty":315,"author":19,"museum":20,"description":316,"tags":317,"thumbUrl":319,"material":32,"size":33,"collection":34,"collections":320,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":59},260730,"qing-you-ke-hua-lian-hua-wen-pan-yi-ming-260730","青釉刻花莲花纹盘","南北朝","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。”",[68,70,7,136,240,318],"盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F461ea5c9a9e894f42a3fa0f3ef2be2ca.jpg",[],{"id":322,"slug":323,"title":324,"dynasty":81,"author":19,"museum":20,"description":325,"tags":326,"thumbUrl":329,"material":32,"size":33,"collection":73,"collections":330,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},260333,"long-quan-yao-qing-you-ke-hua-lian-hua-wen-kui-kou-pan-yi-ming-260333","龙泉窑青釉刻花莲花纹葵口盘","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。",[68,136,70,7,327,328],"葵口盘","瓷器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a0050c5af724209fb3d6ce49b1df369.jpg",[73],{"id":332,"slug":333,"title":334,"dynasty":18,"author":19,"museum":20,"description":335,"tags":336,"thumbUrl":340,"material":32,"size":33,"collection":34,"collections":341,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":76},258460,"yong-zheng-kuan-dong-qing-you-gao-zu-wan-yi-ming-258460","雍正款冬青釉高足碗","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。",[68,337,338,112,339,7,23],"冬青釉","高足器","牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca4370da0e48a67d1383acac986fd3dc.jpg",[],{"id":343,"slug":344,"title":345,"dynasty":18,"author":19,"museum":20,"description":335,"tags":346,"thumbUrl":349,"material":32,"size":33,"collection":34,"collections":350,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":59},258284,"yong-zheng-kuan-dou-cai-ba-bao-wen-gao-zu-wan-yi-ming-258284","雍正款斗彩八宝纹高足碗",[68,146,23,347,7,55,348],"八宝纹","高足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7d97535a39825feaede7c4a2f4f47cb.jpg",[],{"id":352,"slug":353,"title":354,"dynasty":18,"author":19,"museum":20,"description":82,"tags":355,"thumbUrl":358,"material":32,"size":33,"collection":34,"collections":359,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},257945,"qing-hua-lian-hua-wen-da-pan-yi-ming-257945","青花莲花纹大盘",[18,68,85,7,356,98,357],"工笔","莲花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae4fc79283116958b0a8657ea8aa7058.jpg",[],{"id":361,"slug":362,"title":363,"dynasty":81,"author":19,"museum":20,"description":82,"tags":364,"thumbUrl":367,"material":32,"size":33,"collection":34,"collections":368,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":59},257128,"xuan-de-kuan-qing-hua-shuang-feng-lian-hua-wen-gao-zu-wan-yi-ming-257128","宣德款青花双凤莲花纹高足碗",[81,68,85,365,357,98,199,30,366,7],"凤","双凤纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F005ec9bb4618db44e600afe540410741.jpg",[],{"id":370,"slug":371,"title":372,"dynasty":132,"author":19,"museum":20,"description":133,"tags":373,"thumbUrl":375,"material":32,"size":33,"collection":73,"collections":376,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":76},256896,"yue-yao-qing-you-ke-lian-hua-wen-he-yi-ming-256896","越窑青釉刻莲花纹盒",[374,68,136,70,7,240],"五代十国风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39405d1a29e2229639e2b904f9d4cc8d.jpg",[73],{"id":378,"slug":379,"title":380,"dynasty":81,"author":19,"museum":20,"description":381,"tags":382,"thumbUrl":385,"material":32,"size":33,"collection":34,"collections":386,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":59},256472,"dou-cai-kai-guang-zhe-zhi-lian-hua-wen-guan-yi-ming-256472","斗彩开光折枝莲花纹罐","此罐造型丰腴饱满，盖身契合浑然一体。盖面以矾红绘就卷草纹，颈胫处以青花勾勒轮廓，填色绘饰仰覆莲瓣，线条婉转舒展，柔润雅致。\n\n腹部设倭角开光，内绘折枝莲花，以青花为骨，红绿彩料填饰，缠枝萦回环绕，莲瓣妍丽鲜活。开光间隙衬以缠枝小花，繁而不紊。釉下青花幽蓝沉静，釉上彩料鲜妍明媚，斗彩施色精准妥帖，红蓝、红绿相映成趣，釉色莹润亮洁，胎质细白坚致，尽显古雅端庄的隽秀风韵，是彩瓷工艺成熟之时的精巧佳作。",[84,68,146,383,384,7,29],"开光","折枝莲花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a6101b8c7692b08eb335ff07d0c0e6c.jpg",[],{"id":388,"slug":389,"title":390,"dynasty":81,"author":19,"museum":20,"description":119,"tags":391,"thumbUrl":401,"material":32,"size":33,"collection":34,"collections":402,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},252369,"qing-yu-lian-hua-wen-ying-er-bei-yi-ming-252369","青玉莲花纹婴耳杯",[84,392,112,7,393,199,394,30,395,396,397,398,399,400],"玉石","婴耳","青玉","婴孩形象","器物","立体雕刻","莲花造型","酒器","玉器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c1087667c64b69299685429afb43f5f.jpg",[],{"id":404,"slug":405,"title":406,"dynasty":81,"author":19,"museum":20,"description":119,"tags":407,"thumbUrl":410,"material":32,"size":33,"collection":34,"collections":411,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":59},252020,"qing-yu-tou-diao-long-chuan-lian-hua-wen-lu-ding-yi-ming-252020","青玉透雕龙穿莲花纹炉顶",[392,408,409,7,98],"透雕","龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda81e42b78d4af36a96b79a3b9e143aa.jpg",[],{"id":413,"slug":414,"title":415,"dynasty":18,"author":19,"museum":20,"description":119,"tags":416,"thumbUrl":418,"material":32,"size":33,"collection":34,"collections":419,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},251703,"bi-yu-lian-hua-wen-gua-leng-shi-guan-yi-ming-251703","碧玉莲花纹瓜棱式罐",[392,112,7,417,98,357],"瓜棱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2805b9499cd3d8a18c01d5624cc7a81d.jpg",[],{"id":421,"slug":422,"title":423,"dynasty":18,"author":19,"museum":20,"description":424,"tags":425,"thumbUrl":430,"material":32,"size":33,"collection":34,"collections":431,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},250100,"qia-si-fa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