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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。",[101,102,103,27,104,7,30,105,106,51],"琺瑯器","器","圆盘","雪景","冬季","静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa93b04e5fe37f528bd868e4c1211cd70.jpg",[],7,{"id":111,"slug":112,"title":113,"dynasty":64,"author":114,"museum":115,"description":116,"tags":117,"thumbUrl":10,"material":73,"size":73,"collection":57,"collections":120,"showCount":121,"zanCount":11,"manualWeight":11,"mainColor":122},203107,"lu-yan-tu-ce-bian-shou-min-203107","芦雁图册","边寿民","上海博物馆","两只芦雁亲昵相依，淡墨晕染的羽毛层次分明，朱红喙蹼点睛般鲜活。芦苇以泼墨写意挥就，线条苍劲灵动，随风摇曳的姿态衬出秋江清寂。笔墨简练却形神毕肖，浅淡水面与疏朗芦叶相映，尽显自然野趣与文人雅韵。",[24,29,28,51,7,30,118,119,87,23],"写意","笔墨",[57],4,"c8b088",{"id":124,"slug":125,"title":126,"dynasty":64,"author":98,"museum":66,"description":127,"tags":128,"thumbUrl":136,"material":90,"size":91,"collection":73,"collections":137,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":139},273004,"mu-hei-qi-miao-jin-lu-yan-wen-bi-tong-yi-ming-273004","木黑漆描金芦雁纹笔筒","笔筒： 用陶瓷、竹木、等制成的筒形插笔器具。笔筒是搁放毛笔的专用器物，据文献记载，它的材质有镏金、翡翠、紫檀和乌木，现在我们能够见到的传世器物，大多是用瓷或者是竹木制作的。具有收藏价值。",[129,130,131,132,133,7,134,135],"漆器","木质","日用具","描金","山水","房屋","树木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc296e811d0c0653f2cedf1bd9dbb7a91.jpg",[],3,"37474F",{"id":141,"slug":142,"title":143,"dynasty":64,"author":98,"museum":66,"description":144,"tags":145,"thumbUrl":150,"material":90,"size":91,"collection":73,"collections":151,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":76},261447,"cheng-hua-kuan-qing-hua-lu-yan-tu-wan-yi-ming-261447","成化款青花芦雁图碗","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。",[146,147,7,71,148,149],"陶瓷","青花","芦草","碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6b2f2d065ad32f1de67dc9ea7fd1750.jpg",[],{"id":153,"slug":154,"title":46,"dynasty":64,"author":114,"museum":115,"description":155,"tags":156,"thumbUrl":161,"material":73,"size":73,"collection":73,"collections":162,"showCount":163,"zanCount":11,"manualWeight":11,"mainColor":164},202580,"lu-yan-tu-zhou-bian-shou-min-202580","泼墨挥毫间，芦苇随风摇曳，干笔皴擦出层次叠嶂的野趣。两只大雁姿态各异，一昂首引吭，似与秋风和鸣；一低首理羽，如沉湎于水泽闲情。墨色浓淡相宜，勾勒出雁羽的纹理与质感，红喙红掌轻点，在素净的绢本上晕开鲜活气息。笔意简练却形神兼备，将萧瑟秋意与生灵的灵动融于尺幅，尽显自然之趣与文人笔墨的雅致。",[24,29,51,7,118,119,30,157,158,159,160,23],"大雁","红掌","泼墨","干笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae565b96898f73a4f0a057e975e040b4.jpg",[],2,"987a52",{"id":166,"slug":167,"title":46,"dynasty":47,"author":168,"museum":115,"description":169,"tags":170,"thumbUrl":171,"material":73,"size":73,"collection":73,"collections":172,"showCount":163,"zanCount":11,"manualWeight":11,"mainColor":173},202306,"lu-yan-tu-zhou-lin-liang-202306","林良","芦荻摇曳，雁群或昂首欲鸣，或侧首相顾，憨态与灵动兼具。芦苇以劲健墨线勾勒，浓淡交错尽显秋意萧瑟；雁羽泼墨与细笔相融，质感蓬松层次分明，鲜活神韵跃然纸上。构图疏密有致，虚实相生，水墨淋漓中见工致，放逸笔意藏细腻，尽显自然野趣，传递出明代花鸟的豪放生机。",[29,26,51,7,34,27,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88361badc36e328f8422fe8042a05676.jpg",[],"7b654f",{"id":175,"slug":176,"title":177,"dynasty":64,"author":98,"museum":66,"description":178,"tags":179,"thumbUrl":183,"material":90,"size":91,"collection":184,"collections":185,"showCount":186,"zanCount":11,"manualWeight":11,"mainColor":76},259017,"yi-xing-yao-zi-sha-lu-yan-wen-liu-fang-cha-ye-guan-yi-ming-259017","宜兴窑紫砂芦雁纹六方茶叶罐","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。",[69,146,180,181,7,34,102,182],"紫砂","雕刻","六方","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97224f83c9181c1a9a9433b198b2f1d5.jpg","瓷器精选",[184],1,{"id":188,"slug":189,"title":190,"dynasty":47,"author":98,"museum":66,"description":99,"tags":191,"thumbUrl":196,"material":90,"size":91,"collection":73,"collections":197,"showCount":186,"zanCount":11,"manualWeight":11,"mainColor":76},246066,"ti-hong-lu-yan-tu-fang-xing-wei-jiao-pan-yi-ming-246066","剔红芦雁图方形委角盘",[192,129,193,194,181,7,195],"明代","雕漆","剔红","盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F675c8b980d93b737eba2d17a5593c635.jpg",[],{"id":199,"slug":200,"title":201,"dynasty":64,"author":98,"museum":66,"description":202,"tags":203,"thumbUrl":207,"material":90,"size":91,"collection":73,"collections":208,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":76},269899,"zhu-diao-lu-yan-tu-shan-zi-yi-ming-269899","竹雕芦雁图山子","这件竹作以透雕技法铺展芦塘秋意，芦苇枝茎交错翻卷，叶脉纹路纤细灵动，将郊野的清寂秋韵凝于刀下。三只芦雁各有意态，一雁垂首啄食，似正衔取浅泽间的草叶，身姿憨态可掬；一雁敛羽静立，颈羽层叠细腻，尽显安闲之态；还有一雁振翅将落，羽翼舒张，纹路分毫毕现。整器布局疏密相宜，依托竹材天然肌理施刀，圆转利落，于竹间方寸勾勒出野趣盎然的水泽图景，把文人向往的林泉闲情藏入刀痕，尽显工艺隽秀雅致。",[204,181,7,30,205,206],"竹雕","器物","山子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85f2f47dac8eb5ac6f82676241e633c7.jpg",[],{"id":210,"slug":211,"title":212,"dynasty":64,"author":98,"museum":66,"description":213,"tags":214,"thumbUrl":218,"material":90,"size":91,"collection":73,"collections":219,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":76},251989,"qing-yu-tou-diao-lu-yan-wen-qian-jian-yi-ming-251989","青玉透雕芦雁纹嵌件","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。 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。",[69,215,216,181,7,30,217],"玉石","透雕","嵌件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa67868e83140ac5ccf0439c78d8206a5.jpg",[],{"id":221,"slug":222,"title":223,"dynasty":47,"author":98,"museum":66,"description":213,"tags":224,"thumbUrl":227,"material":90,"size":91,"collection":73,"collections":228,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":42},251240,"qing-yu-lu-yan-wen-zhi-hu-yi-ming-251240","青玉芦雁纹执壶",[215,181,7,225,192,205,226],"执壶","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F128f29a3cb38918312c15fc31a3076c9.jpg",[],1777535725201]