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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。",[51,94,52,95,7,96,97],"礼器","篆书","纹饰","新石器时代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83bb06a4b3acc1e0776cad27204783e6.jpg","未知","Xcm*Xcm",[],82,{"id":104,"slug":105,"title":106,"dynasty":18,"author":47,"museum":48,"description":107,"tags":108,"thumbUrl":112,"material":58,"size":58,"collection":59,"collections":113,"showCount":114,"zanCount":11,"manualWeight":11,"mainColor":115},241700,"qian-long-kuan-cui-long-wen-shuang-er-pan-yi-ming-241700","乾隆款翠龙纹双耳盘","翠色层次交融，黄绿晕染自带温润清透质感。双龙为耳，身姿矫健灵动，贴合杯身既添威严，又兼顾握持平衡。杯身暗饰纹样，含蓄雅致，下承双层莲瓣底座，线条饱满圆润，尽显出尘意趣。花口浅盘配矮足，盘面纹路暗藏精妙，与杯身呼应协调。整体造型端庄规整，雕工细腻入微，将翡翠的天然灵韵与制玉工艺的严谨精巧相融，尽显清隽典雅的宫廷气度。",[24,51,52,109,7,110,111,81],"浮雕","双耳","青绿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F628ec2c84e48d5c43db11c3a61245876.jpg",[59],76,"BDBDBD",{"id":117,"slug":118,"title":119,"dynasty":120,"author":47,"museum":48,"description":121,"tags":122,"thumbUrl":132,"material":99,"size":100,"collection":58,"collections":133,"showCount":134,"zanCount":11,"manualWeight":11,"mainColor":41},223935,"qing-hua-chuan-lian-long-wen-tian-qiu-ping-yi-ming-223935","青花穿莲龙纹天球瓶","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。",[123,124,125,80,126,127,96,128,7,129,130,131],"陶瓷","青花","明代","莲","穿花","青花技法","缠枝莲纹","天球瓶器形","明代陶瓷风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ac7fda53cefc8f8360119a59218fabe.jpg",[],50,{"id":136,"slug":137,"title":138,"dynasty":120,"author":47,"museum":48,"description":139,"tags":140,"thumbUrl":146,"material":58,"size":58,"collection":58,"collections":147,"showCount":148,"zanCount":73,"manualWeight":11,"mainColor":41},228380,"xian-zong-chun-huang-di-xiao-zhen-chun-huang-hou-yi-ming-228380","宪宗纯皇帝；孝贞纯皇后","此作工笔重彩，尽显宫廷肖像的庄重礼制。帝王丰腴持重，长髯垂胸，朝服团龙织金华美厚重，沉静神态间自显九五威仪。皇后凤冠累丝点翠，珠绕翠围，饰纹龙凤交错、珠玉琳琅，面容温婉端雅，衣间绣纹细密精巧，尽显后妃尊荣。\n\n画面设色沉穆富丽，线条工整精细，既恪守宫廷御容的制式规范，又将帝后仪容神韵写实还原，在礼制框架中尽显大明皇室的华贵肃穆之风。",[68,141,28,142,26,27,143,7,144,145],"书画","肖像","宫廷人物","服饰","重彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faffdd58ba212c252b9f919542f805753.jpg",[],41,{"id":150,"slug":151,"title":152,"dynasty":18,"author":47,"museum":153,"description":154,"tags":155,"thumbUrl":163,"material":35,"size":58,"collection":37,"collections":164,"showCount":165,"zanCount":73,"manualWeight":11,"mainColor":115},218301,"guan-lao-fu-ren-xiang-yi-ming-218301","关老夫人像","美国弗利尔美术馆","端坐的身影透着沉静雍容，面容温婉却自带庄重气度。华服以蓝为底，金线绣制的祥龙穿梭于云纹与海水之间，龙姿灵动，辅以五彩纹饰，层次叠嶂间尽显华贵威仪。座椅锦纹繁复，脚下地毯图案精巧，几何纹样与吉祥符号交织，每一处细节皆见工艺之精湛。工笔线条细腻流畅，设色典雅厚重，既承清代肖像画写实传统，又以华丽装饰烘托人物尊贵身份，仿佛能透过画面，触摸到那个时代贵族女性的生活风貌与内敛风华。",[23,68,141,156,26,27,28,157,158,7,144,142,145,80,159,160,161,162],"立轴","女性","古装","传统服饰","清代风格","工笔肖像","服饰纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59b6480f243d307433c43aef2eaa0f4a.jpg",[37],31,{"id":167,"slug":168,"title":169,"dynasty":18,"author":47,"museum":48,"description":170,"tags":171,"thumbUrl":174,"material":99,"size":100,"collection":58,"collections":175,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":115},229077,"lou-kong-long-wen-he-yi-ming-229077","镂空龙纹盒","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",[24,172,173,52,7,81],"金器","镂空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92d79a11f172ba3fdf15ef94952f3853.jpg",[],28,{"id":178,"slug":179,"title":180,"dynasty":18,"author":47,"museum":48,"description":181,"tags":182,"thumbUrl":187,"material":99,"size":100,"collection":58,"collections":188,"showCount":189,"zanCount":11,"manualWeight":11,"mainColor":115},234392,"xiao-yi-chun-huang-hou-chao-fu-xiang-zhou-yi-ming-234392","孝仪纯皇后朝服像轴","此作工笔重彩，人物端严沉静，尽显后妃威仪。衣饰绘制精工极致，朝服遍饰五彩龙纹，云纹、海水江崖层层排布，纹样繁缛却层次分明，晕染细腻考究。东珠朝珠垂挂胸前，珠宝光泽莹然逼真。宝座雕饰祥龙，脚踏与地毯纹样华贵雍容，朱红配明黄，尽显宫廷礼制的厚重华贵。画师以写实技法，将面料肌理、珠玉质感一一还原，色彩富丽不失沉稳，既精准呈现了后妃朝服典制，也将皇后端凝肃穆的气度刻画入微，是清代宫廷肖像画的典型佳作。",[68,141,156,26,27,183,28,184,29,7,30,31,143,185,159,186],"工笔重彩","清代服饰","肖像画","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff82d2ef672dca8f0cc4b49c7647b20e7.jpg",[],24,{"id":191,"slug":192,"title":193,"dynasty":194,"author":47,"museum":48,"description":195,"tags":196,"thumbUrl":200,"material":99,"size":100,"collection":58,"collections":201,"showCount":202,"zanCount":73,"manualWeight":11,"mainColor":115},226902,"xi-yuan-25-220-nian-chang-le-bi-yi-ming-226902","西元25-220年「长乐」璧","汉","汉代青铜器产生于青铜时代的晚期，在我国青铜史上占有特殊的地位，体现出独特的设计思想和特征，具有卓越的科学功能，并对当今设计有很大的启示作用。\n汉代青铜器很多都是素纹，大部分还是铸造的，也有的花纹、铭文是用錾子雕刻的。比如汉代的鎏金杯子、奁、盒、碗等用具上的花纹，多是雕刻的。\n汉代以后至唐代的铜器，铸造的花纹很多，其中有打料的铜、金、银器，并且也有了大、小焊的技术。\n西汉初期（高祖至景帝），此时的青铜器，基本为素面。其鼎主要承自秦式，但一般三足更矮。敦盒形。\n壶有大小二型并存，大型壶腹下部略呈收缩之状，腹比秦壶要鼓；小型壶的腹部较瘦长，经常铸出变形螭纹。钫此时更流行，有的做得很讲究，通腹有镶嵌绿松石的三角云纹。\n鍪和蒜头壶继续流行。日用器皿中，高灯多见，豆式熏炉盛行，带钩显琵琶形、棒形、琴形讲究的多做成鎏金、错金银、镶玉或绿松石。\n西汉中期至东汉早期（西汉武帝至东汉章帝）是西汉青铜器最发达的时期，也是汉代青铜器新风格最终形成的时期。这时期最多见的青铜用器是鼎、壶、钫、尊、熨斗、带钩、铜镜。\n灯：古代照明器具。青铜灯出现于战国时期，而盛行于汉代。最著名的当属长信宫灯了，灯的样子很多，较普通的是有圆盘，盘内有钎，盘下有柱，柱下有圈足；也有盘下作雁足状的，盘用来盛油或插烛。\n另有一种灯自铭为“行灯”，它圆盘边有把，盘下有三短足。青铜灯最富感染力的当属那些铸成人形、禽形、兽形、树形的艺术造型灯。\n博山炉：古代焚香的器具。一般炉体作圆形，用来放香料，体下有高足，有的足还铸成人形或鸟兽形；炉盖均高而尖，雕镂成山峦形上有人物、走兽，象征海上仙山“博山”，故名“博山炉”。盛行于汉代。\n樽：古代盛酒的器皿，器作圆形，直壁，有盖，腹较深，下有三兽足，旁有铺首衔环耳。\n洗：盥洗用器皿。形状象盆，圆形、宽口沿，平或圆底，腹外多有铺首衔环耳，内底常用双鱼作装饰，并多铸吉语。盛行于汉晋。\n耳杯：古代饮酒器。多漆制，称“羽觞”。铜质者，器作椭圆形，腹壁有二环耳。\n熨斗：古式熨烫衣服的工具。形状为圆腹宽口沿，有长柄，盛行于汉魏。\n东汉中晚期（和帝至献帝）青铜器又有了新的变化。此时使用较多的铜器日用品有：钟、扁壶、盆、釜、鐎斗、灯、博山炉、炉、熨斗、尊、耳杯、虎子、车马器、带钩、铜镜、玺印等。\n此时青铜器的特点是比以前轻薄、错金银技术在青铜器装饰中几乎消失，鎏金仍多，鎏金器上出现了细线阴刻云纹。",[51,52,53,109,197,7,198,199,94,95],"谷纹","云纹","汉代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9aa9e19907412ce6d392877544d258c2.jpg",[],19,{"id":204,"slug":205,"title":206,"dynasty":207,"author":47,"museum":48,"description":208,"tags":209,"thumbUrl":213,"material":99,"size":100,"collection":58,"collections":214,"showCount":215,"zanCount":11,"manualWeight":11,"mainColor":41},244728,"guang-liu-su-yue-jing-yi-ming-244728","光流素月镜","隋","中国铜镜的制作和使用具有悠久的历史，根据考古发掘，年代最早的铜镜为4000多年前的齐家文化。从齐家文化至西周末春秋早期制作的铜镜，多以纹饰简单、形体小、种类少。此一时期为中国铜镜制作早期阶段。\n春秋中晚期开始，我国铜镜制作和使用就发展起来了，特别是战国时期，铜镜的种类复杂，题材广泛，制作工艺精细，包括此时期铜镜的合金成分，其锡含量是最适合铜镜的使用，这些充分反应了铜镜在此时期制作技术已达到成熟阶段。汉代开始铜镜得到了进一步的发展，这时期的铜镜出现了新的类型，铭纹也正逐渐成为铜镜的纹饰组成部分，反映了汉代铸镜业的发达及铜镜商品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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”。",[81,369,55,321,7,322,320,211,370],"日用具","铁器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dfe1bd46d104a73483032f794900c93.jpg",[],{"id":374,"slug":375,"title":376,"dynasty":18,"author":47,"museum":48,"description":377,"tags":378,"thumbUrl":381,"material":99,"size":100,"collection":58,"collections":382,"showCount":383,"zanCount":11,"manualWeight":11,"mainColor":41},263568,"xing-huang-se-xiao-yun-long-wen-zhi-jin-chou-yi-ming-263568","杏黄色小云龙纹织金绸","柔暖杏黄为底，捻金作纬穿梭织就，细密小云龙纹隐现绸面。龙姿灵动却不张扬，云纹舒卷似柔絮轻漾，与底色相融，尽敛华贵于温婉。\n\n时光晕开织物褶皱，金线在光影里漾出细碎柔光，将礼制威仪揉进柔暖色调。经纬交织的肌理藏着旧日匠人的精工巧思，低调里暗合传统织物的雅致风骨，静诉着织造技艺的精妙底蕴。",[320,7,379,380],"织金绸","杏黄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc29ffb1250e4f83c3eb59c01e5f7841d.jpg",[],7,{"id":385,"slug":386,"title":387,"dynasty":120,"author":47,"museum":48,"description":121,"tags":388,"thumbUrl":393,"material":99,"size":100,"collection":58,"collections":394,"showCount":383,"zanCount":11,"manualWeight":11,"mainColor":395},257250,"qing-hua-qi-lin-yi-long-wen-pan-yi-ming-257250","青花麒麟翼龙纹盘",[125,123,124,389,7,390,391,392],"瑞兽","麒麟纹","牡丹纹","瓷器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00da0b84b4aa4d537b9ca3a8fd30d049.jpg",[],"F48FB1",{"id":397,"slug":398,"title":399,"dynasty":120,"author":47,"museum":48,"description":400,"tags":401,"thumbUrl":404,"material":99,"size":100,"collection":58,"collections":405,"showCount":383,"zanCount":11,"manualWeight":11,"mainColor":115},246246,"ti-cai-shuang-long-wen-yuan-pan-yi-ming-246246","剔彩双龙纹圆盘","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。",[125,402,403,52,7,81],"漆器","剔彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a5a5ca78a69540f39fc9518375a984d.jpg",[],{"id":407,"slug":408,"title":409,"dynasty":120,"author":47,"museum":48,"description":121,"tags":410,"thumbUrl":413,"material":99,"size":100,"collection":58,"collections":414,"showCount":415,"zanCount":73,"manualWeight":11,"mainColor":115},256183,"qing-hua-fan-hong-cai-hai-shui-long-wen-wan-yi-ming-256183","青花矾红彩海水龙纹碗",[120,123,124,411,412,7,81],"矾红彩","海水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad660e02176b8ac0ee92ef1612e3c8d6.jpg",[],6,{"id":417,"slug":418,"title":419,"dynasty":220,"author":47,"museum":48,"description":420,"tags":421,"thumbUrl":423,"material":99,"size":100,"collection":58,"collections":424,"showCount":415,"zanCount":11,"manualWeight":11,"mainColor":41},226839,"long-wen-guan-yi-ming-226839","龙纹管","青铜器（Bronze Ware）在古时被称为“金”或“吉金”，是红铜与其他化学元素锡、铅等的合金，刚刚铸造完成的青铜器是金色，但因为出土的青铜因为时间流失产生锈蚀后变为青绿色，被称为青铜。\n青铜器的使用开始于新石器时代晚期的土耳其和伊拉克地区，及叙利亚古代TellRamad遗址出土的铜珠等。中国青铜器开始于马家窑至秦汉时期，以商周时期的器物最为精美。在中国仰韶文化早期和马家窑文化时期就已经出现。\n中国最初出现的是小型工具或饰物。夏代始有青铜容器和兵器。商中期，青铜器品种已很丰富，并出现了铭文和精细的花纹。商晚期至西周早期，是青铜器发展的鼎盛时期，器型多种多样，浑厚凝重，铭文逐渐加长，花纹繁缛富丽。随后，青铜器胎体开始变薄，纹饰逐渐简化。春秋晚期至战国，由于铁器的推广使用，铜制工具越来越少。秦汉时期，随着陶器和漆器进入日常生活，铜制容器品种减少，装饰简单，多为素面，胎体也更为轻薄。\n中国青铜器制作精美，在世界青铜器中享有极高的声誉和艺术价值，代表着中国5000多年青铜发展的高超技术与文化。\n我国商、周时代的青铜器具，不单是盛物用的容器，同时也是宗庙中的礼器。青铜器的数量可以表示出身份地位的高低，青铜器形制的大小也可以显示出权力的等级。青铜器中，最重要的器类就是鼎。远古的青铜器可以分为食器、酒器、水器、乐器四大类。食器中包括鼎、鬲等等。其中鼎是最重要的礼器。\n西周中晚期我国形成了列鼎制度，据《春秋公羊传》记载，天子用9鼎，诸侯用7鼎、卿大夫用5鼎、士用3鼎或1鼎。同时。与鼎一同出现的还有簋，通常为九鼎八簋，七鼎六簋，五鼎四簋，三鼎二簋。在西周中晚期的墓葬制度中，鼎为单数而簋为双数。青铜鼎随着时代的发展，形制也在发生变化。商代早期多为圆腹尖足，也有方鼎。到了中期出现了扁足鼎等等。商代晚期尖足鼎逐渐减少，圆腹柱足鼎开始居多，鬲鼎逐渐多了起来。《尔雅》记载“鼎之款足者，谓之鬲”。鬲鼎也称为分裆鼎，是鬲和鼎的混合体，鼎从商代开始铸有各式样的神秘纹饰，多为兽面纹，如饕餮纹、蝉纹、象纹等等，纹饰变化巧妙。容器内部铸有族徽或祖先的名字。\n青铜是铜和锡铅的合金。在中国古代早期的工艺美术中青铜工艺成为奴隶社会工艺美术的典型代表是我们的祖先对人类物质文明的巨大贡献。商周时期是中国历史上的青铜时代，它以品类丰富、造型优美、纹饰华丽、制作精巧、风格独特而著称。此时是冶炼铸造技术可以说有了突发猛进的发展，在应用上具有广泛的适用性。成为中国艺术史的一个组成部分。本文以商周时期的青铜器主要代表作品作品：《后母戊大方鼎》、《盂鼎》为例，从青铜器作为“礼器”的艺术精神与青铜器的造型、装饰艺术特点来谈谈商周青铜器艺术。\n中国古代青铜器，就使用规模、铸造工艺、造型艺术及品种而言。中国古代青铜器在世界艺术史上占有独特地位。商周时期是中国历史上的青铜时代，青铜流行于新石器时代晚期至秦汉时代。以商周器物最为精美，品种已很丰富器型多种多样，并出现了铭文和精细的花纹浑厚凝重。商周青铜器艺术装饰承接新石器时代艺术中若干精髓，经过长期绵延不断的变化，形成独特的体系，在成为中国艺术史的一个组成部分。商周时期，青铜的冶炼业作为生产力的标志而达到高峰。是中国古代青铜器发展的鼎盛时期。",[422,51,52,7,222],"周代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fdfb65bc801e4c4f89dfda306a9492e.jpg",[],{"id":426,"slug":427,"title":428,"dynasty":276,"author":47,"museum":48,"description":429,"tags":430,"thumbUrl":434,"material":99,"size":100,"collection":58,"collections":435,"showCount":415,"zanCount":11,"manualWeight":11,"mainColor":115},225505,"fu-shi-hui-263-yi-ming-225505","浮世绘263","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[279,280,27,28,431,7,432,162,433],"纹身","枫叶","文字元素","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe75689e61371b3cd6d8e1e3b907a5c4f.jpg",[],{"id":437,"slug":438,"title":439,"dynasty":120,"author":47,"museum":48,"description":440,"tags":441,"thumbUrl":443,"material":99,"size":100,"collection":58,"collections":444,"showCount":62,"zanCount":11,"manualWeight":11,"mainColor":115},290812,"xuan-zong-zuo-xiang-er-zhou-yi-ming-290812","宣宗坐像（二）轴","宣宗朱瞻基(1398-1435) 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pg",[],{"id":529,"slug":530,"title":531,"dynasty":18,"author":47,"museum":48,"description":532,"tags":533,"thumbUrl":537,"material":99,"size":100,"collection":58,"collections":538,"showCount":517,"zanCount":11,"manualWeight":11,"mainColor":500},265753,"ming-huang-se-ba-tuan-cai-yun-jin-long-wen-zhuang-hua-duan-nv-jia-long-pao-yi-ming-265753","明黄色八团彩云金龙纹妆花缎女夹龙袍","清代皇帝服饰有朝服、吉服、常服、行服等。皇帝的龙袍属于吉服范畴，比朝服、衮服等礼服略次一等，平时较多穿着。穿龙袍时，必须戴吉服冠，束吉服带及挂朝珠。龙袍以明黄色为主也可用金黄杏黄等色。古时称帝王之位，为九五之尊。九、五两数，通常象征着高贵，在皇室建筑、生活器具等方面都有所反映。清朝皇帝的龙袍，据文献记载，也绣有九条龙。从实物来看，前后只有八条龙，与文字记载不符，缺一条龙。有人认为还有一条龙是皇帝本身。其实这条龙客观存在着，只是被绣在衣襟里面，一般不易看到。这样一来，每件龙袍实际即为九龙，而从正面或背面单独看时，所看见的都是五龙，与九五之数正好相吻合。另外，龙袍的下摆，斜向排列着许多弯曲的线条，名谓水脚。水脚之上，还有许多波浪翻滚的水浪，水浪之上，又立有山石宝物，俗称“海水江涯”，它除了表示绵延不断的吉祥含意之外，还有“一统山河”和“万世升平”的寓意。\n皇后常服样式，与满族贵妇服饰基本相似，圆领、大襟，衣领、衣袖及衣襟边缘，都饰有宽花边，只是图案有\n所不同。本图展示的服装纹样为凤穿牡丹。整件服装在鲜艳的蓝色缎地上，绣八只彩凤，彩凤中间，穿插数朵牡丹。牡丹的颜色处理得净穆而素雅，色彩变化惟妙，具有传统的山水画特点。与此相反，凤的颜色比较浓重，红绿对比度极为强烈，具有典型民族风格和时代特色。\n清代官服主要品种为长袍马褂。官帽与前朝截然不同，凡军士、差役以上军政人员都戴似斗笠而小的纬帽，按冬夏季节有暖帽、凉帽之分，还视品级高低安上不同颜色、质料的“顶子”，帽后拖一束孔雀翎。翎称花翎，高级的翎上有“眼”（羽毛上的圆斑），并有单眼、双眼、三眼之别，眼多者为贵，只有亲王或功勋卓著的大臣才被赏戴。皇帝有时还赏穿黄马褂，以示特别恩宠。影响所及，其他颜色的马褂遂在官员士绅中逐渐流行，成为一般的礼服。四、五品以上官员还项挂朝珠，用各种贵重珠宝、香木制成，构成清代官服的又一特点。丝纺绣染及各种手工专业的进步，为清代服饰品种的丰富创造了条件。\n清代男装主要是长袍和马褂，袖端呈马蹄形是历代不曾见过的。长袍造型简练，立领直身，偏大襟，前后衣身有接缝，下摆有两开衩（古时称“缺裤”），四开衩和无开衩几种类型。皇室贵族为便于骑射，着四面开衩长袍，即衣前后中缝和左右两侧均有开衩的式样，平民则着左右两侧开衩或称“一裹圆”的不开衩长袍。在我国文学名著《红楼梦》第九十四回“宴海棠贾母赏花妖”一节中，记述了一段内容“那日宝玉本来穿着”一裹圆的皮袄在家休息，忽听贾母要来，便去换了一件狐腋箭袖，罩了一件玄狐腿外褂。这里说明“一裹圆”，是休闲衣服，不可登大雅之堂，所以贾母的到来，必须换掉便装，改着正式穿戴。满清时期长袍外面的马褂身长不过膝，袖宽且短。衣服上的佩饰比较琐繁，一个金银牌上垂挂着数十件小东西，如耳挖子、镊子、牙签，还有一些古代兵器的小模型，如戟、枪之类，佩挂饰物在清代已经形成风尚。",[186,320,534,7,535,536],"龙袍","彩云纹","妆花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78d439ce20c090e69d2b51918014d48f.jpg",[],{"id":540,"slug":541,"title":542,"dynasty":18,"author":47,"museum":48,"description":543,"tags":544,"thumbUrl":549,"material":99,"size":100,"collection":58,"collections":550,"showCount":517,"zanCount":11,"manualWeight":11,"mainColor":115},264066,"zao-hong-se-an-ba-xian-tuan-fu-gui-wan-nian-fu-shou-wen-zhi-jin-duan-kan-jian-liao-yi-ming-264066","枣红色暗八仙团富贵万年福寿纹织金缎坎肩料","枣红底色沉稳华贵，以织金与钉银线铺陈纹饰，上下对称的版型工整端庄。主体团纹环绕富贵万年图，暗八仙与祥龙瑞兽错落其间，灵芝、水仙点缀，将纳福祈祥的意趣藏入经纬。\n织金的暖光与银线的冷辉相映，针脚细密平整，尽显晚清织绣工艺的精妙考究，把世俗愿景与精湛匠艺相融，尽显雅致华贵的旧时审美风尚。",[320,186,545,546,547,7,548],"织金缎","暗八仙","福寿纹","吉祥图案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee195f30523ab48b973c30e3b22e501a.jpg",[],{"id":552,"slug":553,"title":554,"dynasty":120,"author":47,"museum":48,"description":555,"tags":556,"thumbUrl":564,"material":99,"size":100,"collection":565,"collections":566,"showCount":517,"zanCount":11,"manualWeight":11,"mainColor":63},257617,"long-quan-yao-qing-you-yin-hua-long-wen-shou-dai-er-bian-fu-hu-lu-ping-yi-ming-257617","龙泉窑青釉印花龙纹绶带耳扁腹葫芦瓶","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。",[120,557,558,559,7,80,560,561,562,123,563],"龙泉窑","青釉","印花","绶带耳","扁腹","葫芦瓶","青瓷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51225c8bdfab3ed909665d4c6190d405.jpg","瓷器精选",[565],{"id":568,"slug":569,"title":570,"dynasty":220,"author":47,"museum":48,"description":571,"tags":572,"thumbUrl":577,"material":99,"size":100,"collection":58,"collections":578,"showCount":517,"zanCount":11,"manualWeight":11,"mainColor":41},250561,"bai-yu-long-wen-pei-yi-ming-250561","白玉龙纹佩","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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[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 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"天鹅绒白。清代除烧白瓷外，盛烧青花与彩绘瓷器。元代以来，德化窑瓷器输出海外，菲律宾、马来西亚出土有元代德化窑青白瓷，泰国及东非坦桑尼亚等国家也出土有清代德化窑青花瓷器。\n这种瓷器的制作工艺程序如下：他们从地下挖取一种泥土，将它垒成一个大堆，任凭风吹、雨打、日晒，从不翻动，历时三、四十年。泥土经过这种处理，质地变得更加纯化精炼，适合制造上述各种器皿，然后抹上认为颜色合宜的釉，再将瓷器放入窑内或炉里烧制而成。因此，人们挖泥堆土，目的是替自已的儿孙贮备制造瓷器的材料而已，大量的瓷器是在城中出售， 一个威尼斯银币能买到八个瓷杯“。马可波罗的介绍，引起了西方人的强烈兴趣。",[24,123,1035,1447,1448,1449,1450,7],"凸雕","出戟","三足","寿字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf00f00a2ed57e6ba8c443c1ad41c481.jpg",[565],{"id":1454,"slug":1455,"title":1456,"dynasty":120,"author":47,"museum":48,"description":1345,"tags":1457,"thumbUrl":1460,"material":99,"size":100,"collection":58,"collections":1461,"showCount":73,"zanCount":73,"manualWeight":11,"mainColor":63},257497,"dan-jia-pi-zi-you-an-hua-yun-long-wen-wan-yi-ming-257497","淡茄皮紫釉暗划云龙纹碗",[120,123,1458,1459,7,198],"暗划","茄皮紫釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8c6697714b28762e3d55949df1ea393.jpg",[],{"id":1463,"slug":1464,"title":1465,"dynasty":120,"author":47,"museum":48,"description":400,"tags":1466,"thumbUrl":1468,"material":99,"size":100,"collection":58,"collections":1469,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":41},257414,"wan-li-kuan-wu-cai-li-long-wai-yun-he-wen-pan-yi-ming-257414","万历款五彩里龙外云鹤纹盘",[120,333,123,27,7,1467,198],"云鹤纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc007f96b8ded18ad9ec92e2fd69d0e27.jpg",[],{"id":1471,"slug":1472,"title":1473,"dynasty":120,"author":47,"museum":48,"description":1383,"tags":1474,"thumbUrl":1475,"material":99,"size":100,"collection":58,"collections":1476,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":41},257306,"jia-jing-kuan-huang-you-an-hua-yun-long-wen-pan-yi-ming-257306","嘉靖款黄釉暗划云龙纹盘",[123,1385,1458,7,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F294dc9fe09211771b3bf3a92a7ecb19d.jpg",[],{"id":1478,"slug":1479,"title":1480,"dynasty":120,"author":47,"museum":48,"description":1481,"tags":1482,"thumbUrl":1483,"material":99,"size":100,"collection":58,"collections":1484,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":41},256906,"bai-you-an-hua-long-wen-wan-yi-ming-256906","白釉暗划龙纹碗","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， 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qi-miao-jin-yun-long-wen-dou-sheng-yi-ming-275696","木黑漆描金云龙纹斗笙","以木为骨，髹黑漆作底，描金云龙蜿蜒游走，龙姿矫健威严，祥云缠环绕衬，尽显华贵威仪。质朴笙管古雅温润，与描金漆斗形成视觉反差，既留存古乐器的实用肌理，又以重工妆点彰显器物不凡格调。\n\n整体形制修长典雅，描金工艺细致入微，纹饰排布疏密相宜，将传统髹漆绝技与礼乐器具精妙相融，尽显旧时手作的极致匠心与古典审美意趣，是漆艺与乐器制作结合的上乘佳器。",[796,514,402,473,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8548480303468fdaab058d054e8d2342.jpg",[],{"id":1812,"slug":1813,"title":1814,"dynasty":18,"author":47,"museum":48,"description":1815,"tags":1816,"thumbUrl":1819,"material":99,"size":100,"collection":58,"collections":1820,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},275665,"huang-se-duan-cai-xiu-yun-fu-ping-jin-long-hai-shui-wen-jin-yuan-an-chan-yi-ming-275665","黄色缎彩绣云蝠平金龙海水纹锦缘鞍韂","明黄缎为地，尽显御用华贵底色。平金游龙身姿矫健，盘桓舒展间自带威严气势。彩绣云蝠、折枝花卉错落点缀，祥意暗藏，柔化龙纹的刚猛，添几分雅致鲜活。边角以海水江崖纹收束，暗喻江山永固的祈愿。\n\n外缘配蓝地织锦，杂宝小花排布齐整，与中心主纹繁简相衬，层次愈发分明。整器绣艺精湛，平金走线匀净流畅，施色自然晕染，将皇权威仪与传统吉庆意蕴，融于鞍饰细节之中，尽显清代宫廷织造的极致工法与审美意趣。",[320,321,7,1817,937,1800,1818,1271,1270],"云蝠纹","彩绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02eae38e40a57ca9f161bdbe65b7e40b.jpg",[],{"id":1822,"slug":1823,"title":1824,"dynasty":18,"author":47,"museum":48,"description":1825,"tags":1826,"thumbUrl":1829,"material":99,"size":100,"collection":58,"collections":1830,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},275454,"hong-qi-cai-hua-yun-long-wen-zhong-he-shao-le-xun-yi-ming-275454","红漆彩画云龙纹中和韶乐埙","此器取水滴之形，朱红漆地鲜亮华贵，描金纹饰灵动传神。游龙矫健盘绕，穿曳于舒卷祥云之间，线条纤细流畅，填金饱满匀净，龙身鳞爪分毫毕现，尽显遒劲威仪。祥云环簇其间，柔婉的云纹中和了龙的刚猛，让整器既有宫廷雅器的庄重规整，又带着髹漆工艺的精巧雅致。\n它将髹漆装饰与礼乐之器相融，漆面莹润亮泽，纹饰疏密相宜，静立间晕染出古雅华贵的宫廷气韵，是工艺与礼乐文化交织的精巧之作。",[796,1827,402,1828,7],"埙","彩画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac42100bc6021e31d544b3ec0090b005.jpg",[],{"id":1832,"slug":1833,"title":1834,"dynasty":18,"author":47,"museum":48,"description":1835,"tags":1836,"thumbUrl":1839,"material":99,"size":100,"collection":58,"collections":1840,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":115},275448,"jin-qi-cai-hua-yun-long-wen-bo-fu-gu-yi-ming-275448","金漆彩画云龙纹搏拊鼓","此器髹漆明丽莹润，鼓身饱满圆融。鼓面彩绘云龙，矫龙盘虬腾跃，云气迤逦缠绕，线条舒展灵动，设色古雅沉静，将威肃磅礴的气韵尽藏于方寸之间。鼓沿缀饰乳钉与缠枝花卉，刚柔相济，兽首衔环肌理写实，古拙雄浑，兼具实用与装饰意趣。\n\n层叠基座浮雕莲瓣、回纹，雕工圆润饱满，步步铺陈出庄重典雅的气度。整器繁简相宜，将髹漆、彩画与木雕工艺精妙融合，既有规整大气的制式美感，又不失手工营造的灵动细节，尽显传统工艺的华美厚重。",[796,514,52,1837,1828,7,1838],"金漆","鼓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6d14eba31b8cb3557150fafc8bd940d.jpg",[],{"id":1842,"slug":1843,"title":1834,"dynasty":18,"author":47,"museum":48,"description":1844,"tags":1845,"thumbUrl":1846,"material":99,"size":100,"collection":58,"collections":1847,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":395},275447,"jin-qi-cai-hua-yun-long-wen-bo-fu-gu-yi-ming-275447","鼓身饱满丰润，金漆裹身明丽莹润，尽显华贵气韵。鼓面彩绘云龙，龙躯矫健腾跃，云纹迤逦环绕，设色调和古雅，走线细腻灵动，将瑞兽神威描摹得淋漓尽致。鼓身以朱红铜珠为饰，兽首系钮浮雕凸起，为莹润金漆增添威严厚重之感。\n\n下配须弥雕花底座，层叠繁复，自上而下雕饰莲瓣、卷草纹样，层次分明繁而不杂，将整器的庄重典雅烘托到极致。集髹漆、彩画、雕刻工艺于一身，尽显造器极致匠心，是礼制器物与美学工艺融合的典范。",[796,1838,514,1837,1828,7,52,402],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff877262fc8400b27837a103b7f75241e.jpg",[],{"id":1849,"slug":1850,"title":1851,"dynasty":18,"author":47,"museum":48,"description":1852,"tags":1853,"thumbUrl":1855,"material":99,"size":100,"collection":58,"collections":1856,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":115},275438,"mu-hei-qi-miao-jin-long-feng-yun-wen-dou-sheng-yi-ming-275438","木黑漆描金龙凤云纹斗笙","以黑漆为底，描金晕染龙凤云纹，龙凤矫健身姿于流云间辗转腾挪，线条细腻舒展，尽显灵动华贵。竹制笙管排布规整，皮箍束合兼具牢固性与装饰感，髹漆工艺匀净考究，历经年岁仍葆莹润光泽，描金纹饰带着时光浸蚀的浅淡痕迹，更衬古韵悠然。\n它将传统髹漆描金工艺与古器乐形制相融，既是礼制雅乐中的实用之器，也是承载东方审美的工艺佳构，细节之间藏着手艺人的匠心巧思，静静晕开旧时礼乐文化的雅致风华。",[796,514,402,473,7,734,198,1854],"笙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07593a32427fc1a4fb0689a07cebde44.jpg",[],{"id":1858,"slug":1859,"title":1860,"dynasty":18,"author":47,"museum":48,"description":1861,"tags":1862,"thumbUrl":1866,"material":99,"size":100,"collection":58,"collections":1867,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":115},275426,"zhu-hong-qi-miao-jin-duo-lian-wen-long-xing-di-yi-ming-275426","竹红漆描金朵莲纹龙形笛","此笛以苍龙塑型，昂首为吹口，尾盘作出音之处，将器乐巧化为龙躯，构思奇巧灵妙。\n朱红漆为地，描金朵莲纹环饰笛身，赤金纹饰在红地之上鲜亮夺目，华贵雍容。竹胎髹漆既稳固材质，更凭饰纹点亮气韵，匠人之巧思藏于每一处细节，将实用器乐与陈设雅玩合二为一，尽显清代工艺的雅致考究，古韵悠长。",[796,1863,402,473,7,1864,52,1865],"竹质","朵莲纹","笛子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c202ecedbe856a024b03d487303fe4d.jpg",[],{"id":1869,"slug":1870,"title":1860,"dynasty":18,"author":47,"museum":48,"description":1871,"tags":1872,"thumbUrl":1875,"material":99,"size":100,"collection":58,"collections":1876,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":115},275425,"zhu-hong-qi-miao-jin-duo-lian-wen-long-xing-di-yi-ming-275425","此器以龙为骨形，朱漆为底，描金勾勒朵莲纹饰，金红配色浓艳华贵，纹饰婉转雅致。首作昂然龙首，灵气尽显；尾蜷成龙身收束，将礼乐之器与瑞兽图腾浑然相融，兼具吹奏实用与陈设雅赏之价值。\n\n髹漆匀净莹润，描金线条流畅细腻，尽显清代工艺造物的精妙工巧，将传统漆作技艺与器乐形制完美结合，是传统工艺美学和礼乐文化交融的典型代表。",[796,1873,402,473,7,1874,1074,52],"竹笛","莲纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0821f16f613bdcb8832c6e3fce351830.jpg",[],{"id":1878,"slug":1879,"title":1880,"dynasty":18,"author":47,"museum":48,"description":1881,"t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还会点燃造型纹饰考究的花烛，有的是云纹的，有的是大吉葫芦的，有的饰有文字，如“五谷丰登迎祥”“宜入天下太平”，连这样的消耗品也契合年味。",[81,369,52,7,1306],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fc76158073701aec664af39ef0db19c.jpg",[],{"id":2126,"slug":2127,"title":2128,"dynasty":18,"author":47,"museum":48,"description":2129,"tags":2130,"thumbUrl":2131,"material":99,"size":100,"collection":58,"collections":2132,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":115},273617,"hong-mu-diao-long-wen-jiao-ta-yi-ming-273617","红木雕龙纹脚踏","木雕是雕塑的一种，在我们国家常常被称为“民间工艺”。木雕可以分为立体圆雕、根雕、浮雕三大类。木雕是从木工中分离出来的一个工种，在我们国家的工种分类中为“精细木工”。\n以雕刻材料分类的民间美术品种。一般选用质地细密坚韧，不易变形的树种如楠木、紫檀、樟木、柏木、银杏、沉香、红木、龙眼等。\n木雕是以各种木材及树根为材料进行雕刻，是以传统雕刻工艺中的重要门类。木雕的历史非常悠久，在浙江余姚河姆渡文化遗址就有木雕鱼出土，这是我国木雕史上最早的实物。河南信阳战国大墓出土的木雕镇木兽，湖北云梦汉墓出土的彩雕木佣均为我国早期木雕作品。由于保存的困难，现今很难看到超过千年的木雕作品。\n两宋时期木雕作品较为多见，这时的木雕已采用组织细密的木材为载体进行制作，这就有利于木雕作品的传世。我国的一些庙宇里还保存有宋代的木雕作品。\n元明时由于海外贸易的急速发展，木材种类有所增加，许多由海外进口的硬质木材，是木雕工艺得到长足发展。\n明清期间是木雕艺术的一个辉煌时期，涌现出大量有史可考的名家、艺人及其作品，是古代木雕艺术的一个高峰。\n清末至民国年间由于政府的腐败，国力的衰退，外强的侵略，民不潦生，木雕艺术从此衰落，艺人名家也只能沦为匠人糊口度日。新中国成立后在党和国家的关怀下，民间工艺得到了保护及挖掘，木雕也重新涣发出生命，涌现出一批国家级大师。他们的作品，工艺精湛，秉承传统，立意深远，讴歌时代，体现了大师们立足传统，锐意创新，直抒重获新生的胸怀和报效国家，知遇之恩的深情。\n国家改革开放，经济腾飞，国富民强，党和国家对民间工艺的大力扶持，唤起了民众对传统工艺美术的热爱与追求。逢此盛世，民间工艺美术有了新的飞跃，木雕艺术也不例外。面对实际情况，在全国工艺品展出中，优秀作品的作者年龄偏大，年轻作者寥寥无几。",[514,52,7,320,369,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe47bbbc96b9b72d706ae5e054bedadfb.jpg",[],{"id":2134,"slug":2135,"title":2128,"dynasty":18,"author":47,"museum":48,"description":2129,"tags":2136,"thumbUrl":2138,"material":99,"size":100,"collection":58,"collections":2139,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},273616,"hong-mu-diao-long-wen-jiao-ta-yi-ming-273616",[514,52,7,2137,369,320],"脚踏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1c01b9620a9b5522c129821e7212e6a.jpg",[],{"id":2141,"slug":2142,"title":2143,"dynasty":18,"author":47,"museum":48,"description":2144,"tags":2145,"thumbUrl":2146,"material":99,"size":100,"collection":58,"collections":2147,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":115},273606,"hei-qi-fang-wu-yi-ming-273606","黑漆方杌","此件鼓墩莹黑如漆，古雅端庄。平圆顶盖内敛素净，上部覆莲纹饰层叠舒展，柔婉勾勒出器物轮廓。周身开光透雕螭龙活环，盘虬的螭龙线条刚劲古拙，环绕活络圆环，虚实相生间尽显灵动意趣，回纹辗转缠绕，和龙纹相映成趣，工艺繁复精巧。边角辅以卷草兽面纹，沉穆古朴，与透雕的空灵形成鲜明对比。莹润黑漆历经岁月，凝出温润包浆，将制式的规整肃穆与木雕的灵动匠心相融，静穆中透着华贵雍容，尽显传统工艺美学的精妙造诣。",[81,402,514,52,369,173,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0709de054fafdff13cbdabbf1ca9ebf2.jpg",[],{"id":2149,"slug":2150,"title":2151,"dynasty":18,"author":47,"museum":48,"description":2087,"tags":2152,"thumbUrl":2153,"material":99,"size":100,"collection":58,"collections":2154,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":979},273569,"ti-hong-yun-long-wen-yi-yi-ming-273569","剔红云龙纹椅",[402,52,7,1102,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae21d932209a8024e60c5c9b7cfd4b19.jpg",[],{"id":2156,"slug":2157,"title":2158,"dynasty":18,"author":47,"museum":48,"description":2159,"tags":2160,"thumbUrl":2162,"material":99,"size":100,"collection":58,"collections":2163,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":115},273536,"jin-qi-kang-ji-yi-ming-273536","金漆炕几","此器以黑漆为地，描金饰纹华贵雅致。牙板之上螭龙蜿蜒穿梭于流云间，灵动生趣，台面周缘以回纹锁边，勾勒出规整利落的层次。器型舒展秀挺，牙条与腿足转角柔化处理，壸门式牙板消解了木作的硬朗，外翻云纹足添柔婉之姿。描金工艺细腻匀净，历经时光仍色泽明丽，将髹漆工法与木作形制精妙相融，既有华贵雍容之气，又兼具文房清隽格调，是漆作家具里形饰俱佳的代表。",[402,514,1837,7,2161],"炕几","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd8cf0a5b50a660f884aa8d90b404ccc.jpg",[],{"id":2165,"slug":2166,"title":2167,"dynasty":18,"author":47,"museum":48,"description":2168,"tags":2169,"thumbUrl":2172,"material":99,"size":100,"collection":58,"collections":2173,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":63},273515,"zi-tan-qiu-long-wen-zhang-zhuo-yi-ming-273515","紫檀虬龙纹长桌","此桌料色沉穆温润，包浆莹润内敛。身形修长舒展，牙板透雕虬龙蜿蜒穿梭，线条圆劲婉转，虚实之间尽显螭龙灵动意趣，刀工细腻爽利，纹饰层次分明。\n\n四足挺拔光素，利落起线，足端内翻马蹄，以极简形制平衡雕花繁缛，在工巧与素朴间达成绝妙制衡。整体空灵雅致，将硬木的沉静质感与雕刻工法融为一体，静穆中暗藏灵动古雅的气韵，尽显清式家具的审美意趣，是简素与华美交融的佳构。",[2170,514,52,7,2171],"长桌","木器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb72b695a99dfb46ac7e1b0b29b811660.jpg",[],{"id":2175,"slug":2176,"title":2177,"dynasty":18,"author":47,"museum":48,"description":1050,"tags":2178,"thumbUrl":2182,"material":99,"size":100,"collection":58,"collections":2183,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},273197,"tie-qian-jin-yin-si-yun-long-wen-niu-jiao-bing-qiao-dao-yi-ming-273197","铁嵌金银丝云龙纹牛角柄鞘刀",[585,370,2179,7,2180,2181],"刀具","嵌金银丝","牛角柄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5986130e4c832e1425e9c83b3633c10b.jpg",[],{"id":2185,"slug":2186,"title":2187,"dynasty":18,"author":47,"museum":48,"description":2188,"tags":2189,"thumbUrl":2191,"material":99,"size":100,"collection":58,"collections":2192,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},273144,"shan-yang-xue-yi-ming-273144","山羊血","这套药具木盒素雅内敛，内部分格安置药瓶，铜盖严丝合缝，古韵厚重沉静。盒盖錾刻行龙遨游于山海之间，线条细腻灵动，龙姿威严矫健，将皇家的华贵气度融于方寸之上。它兼具实用贮药功能与陈设审美价值，是制药存药工艺与宫廷美学结合的缩影，静静承载着旧时宫廷医药规制的细节，尽显沉稳雅致的古物质感，藏着旧时光里宫廷医药体系的严谨与雅致。",[514,211,2190,1324,7],"药具","https: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历宋、元、明、清四代，烧瓷历史长达千年，而且对福建地区和江南广大地区都有很大影响。\n主要产品以盏、碗、盘、碟为主，兼烧盒、罐、壶、灯、炉、钵、梅瓶、冥器等，在宋代盛产黑釉瓷而闻名于世。足底有“供御”、“进盏”字铭的，应是为宋代宫廷烧制的贡品。黑釉盏的特征：胎含铁量高，一向有“铁胎”之称，胎体厚重，呈黑灰色、紫黑色，胎质粗糙坚硬，露胎处色沉而无光。造型多样，有大小敛口、敞口等不同形式，圈足小而浅，修胎草率有力，刀法自然，釉质刚润，釉色乌黑，器物内外施釉，外釉近底足，足底无釉而露胎。釉面有明显的垂流和窑变现象，有“兔毫”、“油滴”和“曜变”及“鹧鸪斑”等有名的品种。\n宋代是建窑的发展时期，以烧黑釉器而著称。兔毫斑、鹧鸪斑、曜变等釉色的名品就出在这里，以茶盏为多\n建窑的黑釉属于结晶釉的范畴，含铁量高达8% 以上。在1300多度的高温熔烧过程中，窑温的变化，使釉面产生奇特的花纹。\n由于宋代斗茶风尚盛行，而主烧适宜为斗茶的黑釉茶盏，亦称建盏，以水吉镇窑制品为最，北宋后期曾为宫廷烧制斗茶使用的黑釉盏，并于器底刻\"进盏\"、\"供御\"字样。建阳窑产品使用含铁高的原料做胎，因而胎色深黑坚硬，有\"铁胎\"之俗称，或名乌泥窑、黑建、乌泥建等。盏内外均施黑釉，外壁釉不到底，露黑色胎。",[1128,123,7,52,474],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3207d104448c06db49fb939e2273d7b3.jpg",[565],{"id":2233,"slug":2234,"title":2235,"dynasty":18,"author":47,"museum":48,"description":170,"tags":2236,"thumbUrl":2239,"material":99,"size":100,"collection":58,"collections":2240,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},272637,"cheng-fen-wen-ju-tu-zhang-he-yi-ming-272637","成份文具-图章盒",[2237,2238,402,52,7,198],"文具","图章盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a0cbbaefc121b4b3157fa938e3def56.jpg",[],{"id":2242,"slug":2243,"title":2244,"dynasty":18,"author":47,"museum":48,"description":1126,"tags":2245,"thumbUrl":2248,"material":99,"size":100,"collection":58,"collections":2249,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":63},272585,"duan-shi-long-fu-wen-chang-fang-yan-yi-ming-272585","端石龙蝠纹长方砚",[1128,2246,7,2247,474,514],"端砚","蝠纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18fdc800608b762163fc667e91f0e09e.jpg",[],{"id":2251,"slug":2252,"title":2253,"dynasty":18,"author":47,"museum":48,"description":850,"tags":2254,"thumbUrl":2255,"material":99,"size":100,"collection":58,"collections":2256,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":115},272521,"ye-gong-lv-ge-shi-mo-long-guang-dou-qi-mo-yi-ming-272521","叶公侣各式墨-龙光斗气墨",[472,474,473,7,462],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ee925464898ae417e865622367c03b4.jpg",[],{"id":2258,"slug":2259,"title":2260,"dynasty":18,"author":47,"museum":48,"description":850,"tags":2261,"thumbUrl":2263,"material":99,"size":100,"collection":58,"collections":2264,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":395},272516,"ye-gong-lv-ge-shi-mo-fang-gu-pei-shi-mo-yi-ming-272516","叶公侣各式墨-仿古珮式墨",[472,474,52,7,2262],"佩式造型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ef5a2fc075ffa616b9065e4b1ac4baf.jpg",[],{"id":2266,"slug":2267,"title":2268,"dynasty":120,"author":47,"museum":48,"description":2269,"tags":2270,"thumbUrl":2271,"material":99,"size":100,"collection":58,"collections":2272,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},272469,"wan-li-kuan-hei-qi-miao-jin-shuang-long-wen-guan-bi-yi-ming-272469","万历款黑漆描金双龙纹管笔","此笔以黑漆为底，描金饰纹，华贵雅致。双龙矫健遒劲，于云涛间辗转腾挪，鬃须张扬、爪锋锐利，尽显威严大气。云纹舒卷灵动，衬得龙姿更见雄浑磅礴。笔管尾端题字端正隽秀，与恣肆龙纹相映成趣，平衡画面气韵。\n\n兼毫笔尖齐整紧实，可见制笔工艺精湛独到。髹漆与制笔技艺相融，既为文房实用佳器，亦是匠心独具的装饰珍品，暗合明代尚雅重礼的文玩之风，尽显宫廷造物的考究工致，静静诉说着旧时文房的风雅意趣。",[1119,402,473,7,474],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefa29a6909900f4f8593526b9d8a9750.jpg",[],{"id":2274,"slug":2275,"title":2276,"dynasty":120,"author":47,"museum":48,"description":2277,"tags":2278,"thumbUrl":2280,"material":99,"size":100,"collection":58,"collections":2281,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":115},272464,"wan-li-kuan-cai-qi-shuang-long-wen-guan-bi-yi-ming-272464","万历款彩漆双龙纹管笔","笔身以黑漆为底，金、朱彩漆填绘双龙。龙躯矫健遒劲，鳞爪凌厉鲜活，火珠与云纹环绕其间，烘托出威严灵动之势。彩漆描金线条精细入微，漆色莹润亮泽，尽显漆作工艺的精湛考究。修长笔管搭配沉厚包浆的铜饰，黑漆与金朱相互映衬，华贵雅致兼具。将文房雅器的清隽意趣与宫廷造办的精工质感相融，暗合当时崇文重艺之风，静静承载着旧时工巧匠心，是漆制文房中的上乘之作。",[1119,402,7,2279],"彩漆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc44779963b33c515e93146c29ce518d8.jpg",[],{"id":2283,"slug":2284,"title":2276,"dynasty":120,"author":47,"museum":48,"description":2285,"tags":2286,"thumbUrl":2287,"material":99,"size":100,"collection":58,"collections":2288,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":115},272461,"wan-li-kuan-cai-qi-shuang-long-wen-guan-bi-yi-ming-272461","笔管以黑漆为底，朱红描焰、金彩勾纹，双龙矫然蜿蜒，翔游于祥云之间，龙睛凌厉有神，鳞爪张弛尽显遒劲气势。漆色莹润乌亮，红金亮色于沉黑之上鲜明夺目，纹饰繁密却层次井然，尽显华贵雅致。\n\n锋颖锐利紧实的笔毫，兼具实用之效与赏玩之趣，将髹漆工艺与文房雅器相融，尽显制艺的细腻考究，勾勒出案头清供的雅致意韵。",[1119,402,7,2279,474],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98acc3887da568aad006ac8a70bc4d59.jpg",[],{"id":2290,"slug":2291,"title":2268,"dynasty":120,"author":47,"museum":48,"description":2292,"tags":2293,"thumbUrl":2294,"material":99,"size":100,"collection":58,"collections":2295,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},272453,"wan-li-kuan-hei-qi-miao-jin-shuang-long-wen-guan-bi-yi-ming-272453","以黑漆为素地，描金饰双龙穿云遨游，龙躯矫健灵动，鳞爪锋芒毕现，流云缠缀环绕，金彩明丽鲜亮，与乌地相映，尽显华贵雍容。笔管錾刻题款，笔意端正隽秀，为器物添上文雅注解。紫毫笔锋紧实挺括，锋颖锐利，兼具绝佳形制与实用性能。它是髹漆与制笔工艺相融的佳作，将文房清玩的雅致与宫廷工艺的精细完美结合，静静承载着古时文房案头的风雅意趣，尽显明代手作的极致匠心。",[1119,402,473,7,474],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77a2a811661094d1f37eee1167597e7f.jpg",[],{"id":2297,"slug":2298,"title":2299,"dynasty":120,"author":47,"museum":48,"description":2300,"tags":2301,"thumbUrl":2303,"material":99,"size":100,"collection":58,"collections":2304,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":115},272452,"xuan-de-kuan-cai-qi-yun-long-wen-guan-diao-hao-bi-yi-ming-272452","宣德款彩漆云龙纹管貂毫笔","此笔以黑漆为地，描金敷彩作云龙图景。游龙矫健灵动，穿曳于朱红云霭之间，金彩勾边让纹饰棱角分明，明暗相映下，龙身肌理仿若跃然管上。漆面莹润亮泽，彩漆晕染自然细腻，纹饰排布疏密相宜，将髹漆妙技藏于文房雅物中，把祥龙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