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汉三个阶段。汉镜纹饰的主要种类有草叶纹镜、蟠龙纹镜、百乳镜、连弧纹镜、规矩镜、多乳禽兽纹镜和变形四叶镜等。",[46,47,50,49,52,7,132,129],"木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1b4a4bd4279221698730fe5346f56d4.jpg",[],24,"BDBDBD",{"id":138,"slug":139,"title":140,"dynasty":18,"author":19,"museum":20,"description":141,"tags":142,"thumbUrl":145,"material":109,"size":110,"collection":31,"collections":146,"showCount":147,"zanCount":11,"manualWeight":11,"mainColor":62},224001,"bai-yu-lian-tang-lu-si-ding-mu-gai-xi-zhong-xian-wen-ding-fu-jian-yi-ming-224001","白玉莲塘露丝顶、木盖，西中弦纹鼎附件","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。",[143,132,25,7,144],"白玉","鼎附件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4792d24bd834e49b9320637692429468.jpg",[],20,{"id":149,"slug":150,"title":151,"dynasty":152,"author":19,"museum":20,"description":153,"tags":154,"thumbUrl":163,"material":109,"size":110,"collection":31,"collections":164,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":136},270174,"hong-se-ke-si-chan-zhi-lian-bian-fu-tu-mian-zhu-diao-hua-bing-tuan-shan-yi-ming-270174","红色缂丝缠枝莲蝙蝠图面竹雕花柄团扇","清","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”。",[155,156,157,158,159,132,160,161,7,162],"扇面","团扇","缂丝","竹雕","布料","花鸟","蝙蝠","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1fc81587979134187b3e806d8e7af24.jpg",[],15,{"id":167,"slug":168,"title":169,"dynasty":95,"author":170,"museum":20,"description":171,"tags":172,"thumbUrl":182,"material":183,"size":31,"collection":184,"collections":185,"showCount":186,"zanCount":11,"manualWeight":11,"mainColor":136},240510,"gu-wen-cai-lian-shi-juan-gu-wen-240510","顾问采莲诗卷","顾问","顾问 蕲州人（今属湖北蕲春蕲州）人。明代著名思想家、哲学家和教育家。嘉靖十六年丁酉，举于乡。十七年戊戌（1538）进士正德六年（1511）十一月初八日生，万历十九年（1591）正月十四日卒，享年八十一岁。\n嘉靖十七年（1538）进士，弟弟 兄弟二人均为进士；均为官清正廉洁，世称“天下清绝，顾问顾阙”；均为当时著名的理学家，并称“二顾”",[44,173,174,175,121,176,52,7,177,178,179,180,181],"行书","书法","长卷","印章","水","舟","夕阳","明月","花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb80a27c5c975ea3de6f654cd791c25ad.jpg","纸本","书法精选",[184],10,{"id":188,"slug":189,"title":190,"dynasty":152,"author":19,"museum":20,"description":191,"tags":192,"thumbUrl":202,"material":109,"size":110,"collection":31,"collections":203,"showCount":35,"zanCount":11,"manualWeight":11,"mainColor":62},268389,"hong-se-duan-bian-xiu-chan-gong-zhe-gui-wen-huo-ji-jing-zi-yi-ming-268389","红色缎辫绣蟾宫折桂纹活计-镜子","朱红缎地热烈鲜亮，辫绣工艺饱满圆韧。桂枝虬曲舒展，缀满柔粉碎花，灵雀栖于枝间，搭配娇妍花草与宝瓶纹样，暗合吉庆祈愿之意。盘线挺括齐整，勾勒出纹样明朗的轮廓，石青、翠绿、柔粉撞色于朱红之上，鲜亮却不失雅致和谐。边缘以锁绣搭配珠饰滚边，精巧华贵。柄尾垂坠的彩穗随微动轻摇，将闺中巧思融于针脚，把祈福深意藏进绣纹，是旧时女红匠心的鲜活缩影，将东方雅致温婉的意趣凝于这方寸之间。",[193,162,194,195,159,196,197,198,199,200,7,201],"镜子","饰品","器","辫绣","刺绣","蟾宫折桂","梅","菊","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53ab83d26762538cacf8078b0021ac26.jpg",[],{"id":205,"slug":206,"title":207,"dynasty":95,"author":19,"museum":20,"description":208,"tags":209,"thumbUrl":212,"material":109,"size":110,"collection":213,"collections":214,"showCount":35,"zanCount":11,"manualWeight":11,"mainColor":62},256520,"long-quan-yao-qing-you-tu-hua-chan-zhi-lian-wen-zun-yi-ming-256520","龙泉窑青釉凸花缠枝莲纹尊","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。",[100,98,210,211,105,7,195],"青釉","凸花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7fcc65f2bec50571ce7259d93187f09.jpg","瓷器精选",[213],{"id":216,"slug":217,"title":218,"dynasty":152,"author":19,"museum":20,"description":219,"tags":220,"thumbUrl":223,"material":109,"size":110,"collection":31,"collections":224,"showCount":225,"zanCount":11,"manualWeight":11,"mainColor":62},267377,"huang-se-jiang-chou-xiu-gou-lian-kai-guang-he-shou-wen-ying-shou-yi-ming-267377","黄色江绸绣勾莲开光鹤寿纹迎手","绸缎，泛指丝织物。古时多是有钱人家作为衣物，其颜色光滑亮丽，五彩缤纷。《儿女英雄传》第二回：“大凡到工的官儿们送礼，谁不是缂绣、呢羽、绸缎、皮张，还有玉玩、金器、朝珠、洋表的？” 老舍《四世同堂》四九：“他看不起绸缎的衣服，与文雅的态度，可又有点自惭形秽。”",[159,197,162,26,7,221,222],"寿纹","织物装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F513a76f499dc55ddf1bc5c5c67011c2c.jpg",[],5,{"id":227,"slug":228,"title":229,"dynasty":230,"author":19,"museum":20,"description":231,"tags":232,"thumbUrl":235,"material":109,"size":110,"collection":31,"collections":236,"showCount":225,"zanCount":11,"manualWeight":11,"mainColor":62},254335,"tong-liu-jin-pu-sa-li-xiang-yi-ming-254335","铜鎏金菩萨立像","隋","此像身形修长挺拔，宝冠束发，面容沉静温婉，垂目含怜尽显慈悲心怀。右手抬手施无畏印予人慰藉，左手轻握衣袂，通肩袈裟层叠垂坠如缓浪，勾勒出雅致身形。历经岁月鎏金斑驳脱落，反倒晕染出厚重的时光质感。尖叶形背光舒展贴合身形，莲台底座搭配卷草支脚，线条柔和舒展，浑然一体。整尊造像带着特有的简约凝练，气韵祥和静谧，将菩萨端雅慈悲的气度尽显无遗，残存的鎏金光晕依稀可见当年的华贵精美，静静诉说着古时佛教造像的质朴庄严。",[230,24,233,25,234,76,7],"鎏金","宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f7dd0ac99bae7fe24334b2e5bee661e.jpg",[],{"id":238,"slug":239,"title":240,"dynasty":152,"author":19,"museum":20,"description":241,"tags":242,"thumbUrl":246,"material":109,"size":110,"collection":31,"collections":247,"showCount":225,"zanCount":11,"manualWeight":11,"mainColor":36},229072,"qia-si-fa-lang-fan-lian-deng-zhan-yi-ming-229072","掐丝珐瑯番莲灯盏","珐琅又称“佛郎”、“法蓝”，是由中国隋唐时古西域地名拂菻音译而来。珐琅器是以珐琅为材料装饰而制成的器物，其基本成分为石英、长石、硼砂和氟化物，与陶瓷釉、琉璃、玻璃同属硅酸盐类物质。依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。\n珐琅就是将经过粉碎研磨的珐琅釉料，涂施于经过金属加工工艺制作后的金属制品的表面，经干燥、烧成等制作步骤后，所得到的复合性工艺品。珐琅工艺的制作分类很多，一般根据制作方法和胎地种类将其分类。 [2] 珐琅依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。其中掐丝珐琅器就是俗称的“景泰蓝”，15世纪中期明代景泰年间的制品尤为著称，故有景泰蓝之称。\n清代，西洋珐琅从广州传入中国，广州生产的珐琅俗称“广珐琅”，是朝廷的贡品，其中最著名的是画珐琅 ，錾胎珐琅的制作中心也在广州，透明珐琅器也以广州出产的最为著名。",[243,244,245,49,7,195],"清代","掐丝珐瑯","琺瑯器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e5f029009b73f9e8d8cd239a791775b.jpg",[],{"id":249,"slug":250,"title":251,"dynasty":152,"author":19,"museum":20,"description":252,"tags":253,"thumbUrl":256,"material":109,"size":110,"collection":31,"collections":257,"showCount":258,"zanCount":11,"manualWeight":11,"mainColor":36},265519,"yuan-qing-se-duan-di-he-hua-mu-dan-lian-ju-wen-tao-yi-ming-265519","元青色缎地荷花牡丹莲菊纹绦","经线提花锦的组织结构和纹样都十分复杂，舞人动物纹锦的纹样横贯全幅，充分反映了当时已有了先进的提花织造技术。精美的刺绣品共有17种纹样，构图大，讲究对称、平衡，色彩配合恰当，给人以端庄典雅、富丽堂皇的美感。纹样内容充满神话色彩，鲜明地反映了楚文化的浪漫主义特色。墓中出土的衣袍为直据，是当时贵族中最流行的一种服式。这批先秦织物的出土，为深入研究我国古代纺织史提供了珍贵的实物资料。",[159,194,52,254,200,7,255],"牡丹","织绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5da8a73586a788069dbb0d93d08f4aa.jpg",[],4,{"id":260,"slug":261,"title":262,"dynasty":152,"author":19,"museum":20,"description":263,"tags":264,"thumbUrl":266,"material":109,"size":110,"collection":31,"collections":267,"showCount":258,"zanCount":11,"manualWeight":11,"mainColor":268},258850,"ti-he-dian-kuan-huang-di-fen-cai-lu-lian-wen-pen-yi-ming-258850","体和殿款黄地粉彩鹭莲纹盆","明丽娇黄为底，釉色匀净莹润，整器透着华贵雍容的宫廷气韵。外壁与内底遍绘牡丹花枝，粉紫、胭红色的花头饱满丰腴，翠色枝叶婉转舒展，粉彩晕染细腻柔和，将牡丹盛放的娇妍之态尽致描摹，鲜活灵动。\n\n口沿以回纹圈饰，规整的几何纹中和了花卉柔媚，添了古雅端庄之意。整体工致精细，设色鲜亮柔润，将富贵堂皇的审美融于日用瓷中，静穆中透着盎然生机，是彩瓷中颇具代表性的华美之作。",[98,265,49,55,7,254,195],"粉彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2fb561989c9df1311555a38335f0cfd.jpg",[],"0D904F",{"id":270,"slug":271,"title":272,"dynasty":152,"author":19,"museum":20,"description":273,"tags":274,"thumbUrl":278,"material":109,"size":110,"collection":31,"collections":279,"showCount":258,"zanCount":11,"manualWeight":11,"mainColor":36},258826,"ji-lan-di-miao-jin-chan-zhi-lian-wen-chi-er-ping-yi-ming-258826","祭蓝地描金缠枝莲纹螭耳瓶","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。",[98,275,276,105,277,195,49,27,7],"描金","祭蓝地","螭耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c5b0e048092f1c5db02e3d8a4d9d5ff.jpg",[],{"id":281,"slug":282,"title":283,"dynasty":41,"author":19,"museum":20,"description":284,"tags":285,"thumbUrl":289,"material":109,"size":110,"collection":31,"collections":290,"showCount":258,"zanCount":11,"manualWeight":11,"mainColor":268},256957,"san-cai-ke-hua-lu-lian-wen-pan-yi-ming-256957","三彩刻花鹭莲纹盘","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。",[98,286,287,49,288,7,195],"三彩","刻花","鹭鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F676f57ac08214d5b01da7fbb7f70dae9.jpg",[],{"id":292,"slug":293,"title":294,"dynasty":152,"author":19,"museum":20,"description":295,"tags":296,"thumbUrl":300,"material":109,"size":110,"collection":31,"collections":301,"showCount":258,"zanCount":11,"manualWeight":11,"mainColor":62},256943,"wu-cai-jia-jin-lu-lian-wen-zun-yi-ming-256943","五彩加金鹭莲纹尊","尊，今作樽，是商周时代中国的一种大中型盛酒器。青铜器，尊的形制圈足，圆腹或方腹，长颈，敞口，口径较大。尊盛行于商代至西周时期，春秋后期已经少见。较著名的有四羊方尊。商周至战国时期，还有另外一类形制特殊的盛酒器—彝。彝通常呈鸟兽状，有羊、虎、象、豕、牛、马、鸟、雁、凤等形象。《周礼·春官·司尊彝》：“春祠夏禴，裸用鸡彝鸟彝......追享朝享，裸用虎彝蜼彝。”彝纹饰华丽，在背部或头部有尊盖。",[152,297,298,49,98,195,55,7,52,53,299,160],"五彩","加金","水鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fb4c617c59d081962e7b5fe824a1e06.jpg",[],{"id":303,"slug":304,"title":305,"dynasty":95,"author":19,"museum":20,"description":96,"tags":306,"thumbUrl":308,"material":109,"size":110,"collection":31,"collections":309,"showCount":258,"zanCount":11,"manualWeight":11,"mainColor":62},228657,"qing-hua-cang-wen-chuan-lian-shuang-long-wen-seng-mao-hu-yi-ming-228657","青花藏文穿莲双龙纹僧帽壶",[98,99,27,7,307,234,195],"藏文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe440db269d2544d60f9bee2eb2cd3859.jpg",[],{"id":311,"slug":312,"title":313,"dynasty":95,"author":19,"museum":20,"description":273,"tags":314,"thumbUrl":316,"material":109,"size":110,"collection":31,"collections":317,"showCount":318,"zanCount":11,"manualWeight":11,"mainColor":136},257472,"cheng-hua-kuan-wu-cai-yuan-yang-xi-lian-wen-wan-yi-ming-257472","成化款五彩鸳鸯戏莲纹碗",[100,297,49,98,195,315,7,160],"鸳鸯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b77bcf14b41678a0f5992023dbb6660.jpg",[],3,{"id":320,"slug":321,"title":322,"dynasty":152,"author":19,"museum":20,"description":323,"tags":324,"thumbUrl":327,"material":109,"size":110,"collection":31,"collections":328,"showCount":318,"zanCount":11,"manualWeight":11,"mainColor":36},249161,"qia-si-fa-lang-yu-lian-yuan-yang-tu-zun-yi-ming-249161","掐丝珐琅鱼莲鸳鸯图尊","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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元","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。",[404,407,25,27,7,195],"玉石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09c978fee1b8a4b1f8d1ea4292018c39.jpg",[],{"id":411,"slug":412,"title":413,"dynasty":152,"author":19,"museum":20,"description":414,"tags":415,"thumbUrl":419,"material":109,"size":110,"collection":31,"collections":420,"showCount":90,"zanCount":421,"manualWeight":11,"mainColor":136},223992,"yin-du-jin-bao-tou-lian-zhen-yi-ming-223992","银镀金抱头莲针","古时男子和女子的一种发饰，簪是由笄发展而来的，用来绾定发髻或冠的长针。汉武帝过李夫人，就取玉簪搔头，自此后宫人搔头皆用玉簪。《后汉书·舆服志》有：“黄金龙首衔白珠，鱼须擿，长一尺，为簪珥。”的记载。簪是中国古代发型中最基础的固定和装饰工具。",[243,194,416,417,195,7,418],"银器","金器","金属工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf55d4eb26048f4116c9280ba512d473.jpg",[],1,{"id":423,"slug":424,"title":425,"dynasty":152,"author":19,"museum":20,"description":252,"tags":426,"thumbUrl":430,"material":109,"size":110,"collection":31,"collections":431,"showCount":421,"zanCount":11,"manualWeight":11,"mainColor":432},267977,"xue-hui-se-duan-di-dan-cai-ju-hua-lian-mu-dan-wen-tao-yi-ming-267977","雪灰色缎地淡彩菊花莲牡丹纹绦",[159,427,194,428,254,7,429],"绦带","菊花","淡彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5799dcf1c2c27edbc3bcd39b1ab005f.jpg",[],"F48FB1",{"id":434,"slug":435,"title":436,"dynasty":152,"author":19,"museum":20,"description":252,"tags":437,"thumbUrl":438,"material":109,"size":110,"collection":31,"collections":439,"showCount":421,"zanCount":11,"manualWeight":11,"mainColor":440},265405,"xue-hui-se-duan-di-dan-cai-ju-lian-mu-dan-wen-tao-yi-ming-265405","雪灰色缎地淡彩菊莲牡丹纹绦",[194,159,49,200,7,254,201,427],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29005f9d14806af3867af0f550740df1.jpg",[],"2A56C6",{"id":442,"slug":443,"title":444,"dynasty":152,"author":19,"museum":20,"description":252,"tags":445,"thumbUrl":446,"material":109,"size":110,"collection":31,"collections":447,"showCount":421,"zanCount":11,"manualWeight":11,"mainColor":62},265393,"hu-se-duan-di-ju-lian-mu-dan-wen-tao-yi-ming-265393","湖色缎地菊莲牡丹纹绦",[197,159,200,7,254,194,427],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca0a9aebfe45cc9481c37ab39fcd8b96.jpg",[],{"id":449,"slug":450,"title":451,"dynasty":152,"author":19,"museum":20,"description":252,"tags":452,"thumbUrl":453,"material":109,"size":110,"collection":31,"collections":454,"showCount":421,"zanCount":11,"manualWeight":11,"mainColor":36},265380,"yue-bai-se-duan-di-ju-lian-mu-dan-wen-tao-yi-ming-265380","月白色缎地菊莲牡丹纹绦",[159,194,197,427,200,7,254,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80ea8112fc595a01492ecb96c17aa349.jpg",[],{"id":456,"slug":457,"title":458,"dynasty":152,"author":19,"museum":20,"description":459,"tags":460,"thumbUrl":466,"material":109,"size":110,"collection":31,"collections":467,"showCount":421,"zanCount":11,"manualWeight":11,"mainColor":468},263900,"huang-se-di-yin-chuan-zhi-mu-dan-lian-tao-shi-liu-hua-guo-wen-zhi-jin-duan-yi-ming-263900","黄色地银串枝牡丹莲桃石榴花果纹织金缎","明黄底色自带端严华贵，银线织就的花果枝蔓婉转舒展，牡丹盛放喻富贵，莲朵清雅显静和，蟠桃垂枝祈延寿，石榴绽露寓多子，吉意暗藏其间。\n织纹虚实相衬，暗花晕出柔和层次，银线随光影轻泛柔光，将精湛工巧藏于寸寸锦缎。纹样排布疏密得宜，既有宫廷器物的富丽规整，又揉进东方吉祥文化的温润意趣，尽显旧时织造美学的极致底蕴。",[159,461,255,462,254,7,463,464,465],"织金缎","黄色地","桃","石榴","花果纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffac5f247ae15c87c3d7ae69fd6199c3b.jpg",[],"FDD835",{"id":470,"slug":471,"title":472,"dynasty":95,"author":19,"museum":20,"description":96,"tags":473,"thumbUrl":475,"material":109,"size":110,"collection":31,"collections":476,"showCount":421,"zanCount":11,"manualWeight":11,"mainColor":36},259723,"qing-hua-lian-hua-wen-ling-hua-shi-pen-yi-ming-259723","青花莲花纹菱花式盆",[98,99,474,200,7,162,195],"盆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc1a9bbf55849d15a33e7fc3c45d51fe.jpg",[],{"id":478,"slug":479,"title":480,"dynasty":152,"author":19,"museum":20,"description":481,"tags":482,"thumbUrl":484,"material":109,"size":110,"collection":31,"collections":485,"showCount":421,"zanCount":11,"manualWeight":11,"mainColor":36},258203,"yong-zheng-kuan-qing-hua-chan-zhi-lian-wen-shuang-er-bian-hu-yi-ming-258203","雍正款青花缠枝莲纹双耳扁壶","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。",[243,98,99,483,7,195],"缠枝纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41dc7cd43de3dfdbef0ba927e3ff24ed.jpg",[],{"id":487,"slug":488,"title":489,"dynasty":95,"author":19,"museum":20,"description":490,"tags":491,"thumbUrl":494,"material":109,"size":110,"collection":213,"collections":495,"showCount":421,"zanCount":11,"manualWeight":11,"mainColor":36},257057,"peng-cheng-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