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附木匣-1","耳坠指耳饰的一种，指带有下垂饰物的耳饰（耳环）。有时耳坠等同于耳环，又称耳坠子，是耳朵饰品的代称。耳坠又指耳垂，是属于耳朵结构的一部分，位于耳朵的下半部，比较肥厚的那部分。在最传统的命理学说法中，耳坠的厚与薄代表一个人的命运。\n古时候，人们讲究“耳大如轮，眼大有神”，注重以貌取人，认为耳垂小了是没有福气的象征。但是人一出世，天生的小耳垂，又有啥办法弥补呢？传说，只有戴上耳坠。才能把耳轮拉长。因此，妇女都喜欢戴一副耳坠。 问起这一风俗的来历，传说，还是三国时期貂蝉传下来的呢。 貂蝉原是东汉末汉献帝时司徒王允的一名歌伎，她长得相貌出众、能歌善舞，色伎俱佳，很受王允的宠爱，以亲女看待。当时，董卓专权，挟天子以令诸侯，大臣们对他恨之入骨，但是敢怒而不敢言。王允为此事也闷闷不乐，终日不思茶饭。 貂蝉虽是女流，可王允的心事，她却宗宗看在眼里，件件记在心中。她很会察言观色，为主人分忧解愁。在一个月光皎洁的夜晚，貂蝉在花园里设下香案，为主人祝祷。她虔诚地燃起三柱香火，仰天一拜说道：“明月呀明月，你虽昭昭洁白如洗，可知我家老爷心中烦恼？苍天呀苍天！我貂蝉虽乃女流之辈，老爷婢女，若能为老爷分担忧愁，我愿万死不辞。”恰在此时，王允因忧国心烦，夜不能寐，来到后花园赏月散心。他听见有人祝祷，连忙躲在一座假山后面，静听起来。他听完貂婶的祝愿，心情无比激动和感激，忙上前来，搀扶起这一歌女。 王允问貂婢：“你向苍天明月祈告，为我分忧解愁，可知我忧在何处？愁为何事呀！” 貂蝉说：“当然知道。” 王允又问：“既然知道，又有什么妙法替我杀了董卓？” 貂婢说：“只要老爷相信得过我，奴婢愿效犬马之劳，即使赴汤蹈火，也心甘情愿。” 王允听了，顿时为这女子的仗义和气魄所感动，当即认貂蝉为女儿。后来王允与貂蝉合议：先将貂蝉献于董卓，后再暗许吕布，以离间两人之交，让这董吕两人勾心斗角，互相杀害。 貂蝉耳垂小，怕自己美中不足，使董、吕二人看不上，使密谋落空。她想办法弥补，想了很久，终于想出了良法，就在家中拿了些碎银子，叫银匠给自己作了一对银耳坠，挂在耳垂上。这样过了不久，耳垂果然变大了，为她的美容又增添了不少姿色。 董卓一见貂蝉大喜！吕布一见貂蝉着迷，使董卓和吕布因争夺这一美女而激烈相斗。又因吕布貂蝉私通，恐事发觉，心神不安。王允设计使吕布为内应，结果董卓被杀了。 从此，戴耳坠也就传到了民间。",[23,44,24,70,71,72,25,26,7,73],"金累丝","嵌宝","龙","耳坠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0579431cd6c0ce2a8dc3bc30e484ee97.jpg",[],{"id":77,"slug":78,"title":79,"dynasty":18,"author":19,"museum":20,"description":80,"tags":81,"thumbUrl":84,"material":49,"size":50,"collection":32,"collections":85,"showCount":86,"zanCount":36,"manualWeight":11,"mainColor":37},229904,"lv-song-shi-chao-zhu-yi-ming-229904","绿松石朝珠","整串以莹润松石为主体，如凝萃苍山翠色，清透温婉。蜜蜡隔珠错落其间，暖调晕开冷意，平衡配色层次。\n\n珊瑚记捻朱红鲜亮，与松石苍碧相映成趣，垂坠间漾出灵动生气。背云以鎏金勾勒轮廓，嵌饰宝光内蕴的珠石，将礼制规制与精工巧思相融。\n\n依循典制排布，材质遴选极尽考究，配色和谐雅致，将清代配饰的端重与精巧融于一身，静静伫立便晕开旧时仪范的温润风华，是传统配饰美学的凝练缩影。",[23,7,29,24,46,82,83],"珐琅","设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa25dbb380ecd6fe6d6bfeaa2307832ca.jpg",[],7,{"id":88,"slug":89,"title":90,"dynasty":91,"author":19,"museum":20,"description":92,"tags":93,"thumbUrl":94,"material":49,"size":50,"collection":32,"collections":95,"showCount":96,"zanCount":36,"manualWeight":11,"mainColor":37},252383,"lv-song-shi-xiang-lian-yi-ming-252383","绿松石项链","周","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。",[91,7,29,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d8fbd10aa2ae884faf978f2e5201213.jpg",[],6,{"id":98,"slug":99,"title":100,"dynasty":18,"author":19,"museum":20,"description":101,"tags":102,"thumbUrl":114,"material":49,"size":50,"collection":32,"collections":115,"showCount":116,"zanCount":11,"manualWeight":11,"mainColor":37},254829,"tong-liu-jin-wu-liang-shou-fu-zuo-xiang-yi-ming-254829","铜鎏金无量寿佛坐像","中国雕塑是指具有中国特色且原产于中国的雕塑艺术品。中国雕塑（Chinese sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[18,103,104,27,105,106,47,7,107,108,109,110,111,112,113],"铜制","鎏金","宗教","人物造像","莲花座","坐像","无量寿佛","金属工艺","传统工艺","造像艺术","清代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffde2b57df97c5cac2e048294d8acf701.jpg",[],5,{"id":118,"slug":119,"title":120,"dynasty":18,"author":19,"museum":20,"description":121,"tags":122,"thumbUrl":125,"material":49,"size":50,"collection":32,"collections":126,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":128},245704,"jin-xiang-zhu-shi-lei-si-xiang-nang-yi-ming-245704","金镶珠石累丝香囊","此件以累花丝工艺编织出细密金底，如凝住揉碎的日光。珍珠攒簇成花树，金枝蜿蜒承托莹润珠粒，松石沿边勾勒轮廓，冷色调晕开柔亮清光。珊瑚圆珠点缀绦带，素色编绳垂着柔细流苏，于华贵中添了几分温婉素雅。\n\n它将盛放的花意凝于方寸囊身，把珠宝与花丝工艺精妙相融，既是贮香随身的实用配饰，亦是精巧的装饰佳作，尽显古韵雅致的华贵格调，藏着手作的细腻匠心。",[23,44,24,123,47,124,25,7],"累丝","珠石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f1f8d06e28fcc8095efd0679527ac7e.jpg",[],4,"795548",{"id":130,"slug":131,"title":132,"dynasty":18,"author":19,"museum":20,"description":133,"tags":134,"thumbUrl":136,"material":49,"size":50,"collection":32,"collections":137,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":37},251900,"lv-song-shi-ru-yi-yi-ming-251900","绿松石如意","如意为木胎，其上采用八成金质累丝工艺。如意头的正面为累丝古钱纹，中心嵌绿松石“乙酉”二字，背面为镂空的古钱纹并露出木胎。柄的正面亦为累丝古钱纹，镶嵌绿松石“万年如意”四字，背面为累丝六角锦纹。如意的侧边以卷草纹为饰。",[23,29,7,27,46,135],"如意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28b544f1ff197d2527644a3149f9b498.jpg",[],2,{"id":140,"slug":141,"title":142,"dynasty":18,"author":19,"museum":20,"description":143,"tags":144,"thumbUrl":147,"material":49,"size":50,"collection":32,"collections":148,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":149},245388,"jin-ji-nian-ga-ba-la-nian-zhu-yi-ming-245388","金记念嘎巴拉念珠","此串念珠以人骨磨制为主体珠身，每颗骨珠錾刻细密经文，自带藏地密宗的沉静肃穆。珊瑚圆珠作为隔珠，暖润色泽调和骨珠的清冷质感，金饰与松石点缀其间，更添精致华贵。朱红流苏垂坠摇曳，柔化了器物的厚重坚硬，让信仰的庄严里晕开几分灵动。整串念珠融修行的虔诚与手工巧思为一体，古朴质感中凝着绵长祈愿，是藏传佛教法器中兼具精神内核与审美价值的器物。",[23,105,24,44,145,27,26,7,146],"骨质","串饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd11a7e76781f73dc0f6d6be138f20e30.jpg",[],"F48FB1",{"id":151,"slug":152,"title":153,"dynasty":154,"author":19,"museum":20,"description":92,"tags":155,"thumbUrl":159,"material":49,"size":50,"collection":32,"collections":160,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":161},244553,"zi-ge-yi-ming-244553","子戈","商",[156,157,47,7,158],"青铜器","兵器","商代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49b917279db674dca29bd7cc64e0d967.jpg",[],"37474F",{"id":163,"slug":164,"title":165,"dynasty":18,"author":19,"museum":20,"description":166,"tags":167,"thumbUrl":169,"material":49,"size":50,"collection":32,"collections":170,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":37},229443,"zang-ren-yi-qian-zhu-shi-qing-qian-long-wu-shi-ba-nian-shou-yi-ming-229443","藏人衣前珠饰-清乾隆五十八年收","此饰以累金丝为链身基底，浓艳珊瑚珠与沉静青金石交错点缀，撞出雪域独有的明丽热烈。两端扣头花丝缠作柔婉纹样，珐琅晕出翠色，嵌珊瑚作点睛之笔，将精工细作与民族审美揉为一体。\n\n拆分的配件里，珊瑚颗匀润饱满，金链光泽依旧不减，可见往昔工艺之精湛。它糅合雪域的虔诚浪漫与细作匠心，把装饰意趣与信仰寄寓合二为一，静静铺陈出旧时藏地配饰的极致考究，是民族工艺交融的动人缩影。",[23,24,168,26,7,30,46],"珠饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb46d0e161524fe3afd8a2588ef1caa8.jpg",[],{"id":172,"slug":173,"title":174,"dynasty":18,"author":19,"museum":20,"description":175,"tags":176,"thumbUrl":178,"material":49,"size":50,"collection":32,"collections":179,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":128},266901,"shan-hu-niu-kou-yi-ming-266901","珊瑚纽扣","纽扣，在古罗马，最初的纽扣是用来做装饰品的，而系衣服用的是饰针。13世纪，纽扣的作用才与今天相同。那时，人们已懂得在衣服上开扣眼，这种做法大大提高了纽扣的实用价值。16世纪，纽扣得到了普及。随着快时尚的兴起，纽扣从以前的功能型已经变成创意型；开始成为服装装饰等。",[24,26,7,177,27],"纽扣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a1c30be6181482ae00fa28085e26f4c.jpg",[],{"id":181,"slug":182,"title":183,"dynasty":18,"author":19,"museum":20,"description":133,"tags":184,"thumbUrl":187,"material":49,"size":50,"collection":32,"collections":188,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},245649,"jin-lei-si-qian-shi-ru-yi-yi-ming-245649","金累丝嵌石如意",[23,70,47,60,7,44,185,186],"器物","装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9aa0dcf52fedf0940906ad88e1aad62.jpg",[],{"id":190,"slug":191,"title":192,"dynasty":18,"author":19,"museum":20,"description":193,"tags":194,"thumbUrl":198,"material":49,"size":50,"collection":32,"collections":199,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":161},245548,"jin-zan-hua-gao-zu-bai-yu-gai-wan-yi-ming-245548","金錾花高足白玉盖碗","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。",[23,44,195,29,196,47,7,46,197],"玉器","錾花","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaeab280f88c14f265976aaa90ffa958.jpg",[],{"id":201,"slug":202,"title":203,"dynasty":154,"author":19,"museum":20,"description":92,"tags":204,"thumbUrl":207,"material":49,"size":50,"collection":32,"collections":208,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":128},245227,"ma-ling-yi-ming-245227","马铃",[205,156,103,27,47,7,46,206],"商代","乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e92474e80e175487a70ec1f3bc3f2ff.jpg",[],{"id":210,"slug":211,"title":212,"dynasty":18,"author":19,"museum":20,"description":213,"tags":214,"thumbUrl":10,"material":49,"size":50,"collection":32,"collections":216,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},224032,"yin-du-jin-shan-hu-miao-shi-tong-jie-zhi-2-yi-ming-224032","银镀金珊瑚苗石铜戒指-2","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。",[24,215,103,26,7,47,23],"银镀金",[],{"id":218,"slug":219,"title":220,"dynasty":18,"author":19,"museum":20,"description":221,"tags":222,"thumbUrl":227,"material":49,"size":50,"collection":32,"collections":228,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":128},274833,"tong-du-jin-qian-song-shi-yun-ding-ba-bao-luo-yi-ming-274833","铜镀金嵌松石云顶八宝-螺","鎏金铜胎为骨，通体嵌饰松石，浅淡莹润的石色与烁烁金辉相映，雅致又不失华贵。法螺居于金环中央，环身饰钉珠点缀，螺身庄严肃穆又灵动鲜活，仿佛隐隐传来梵音。下承双层仰莲台，莲瓣饱满立体，舒展的火焰纹缠绕莲茎，线条流畅飞扬，勾勒出盎然生机。\n\n整器层次分明，藏地造像的庄严意蕴与宫廷制器的细腻工艺相融，每一处纹饰都尽显匠师巧思，静穆雅致间饱含宗教虔诚，是工艺与审美意趣凝结的上乘之作。",[223,44,103,27,224,225,226,7,185],"佛教法器","嵌松石","莲花","法螺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F334f94e1754c0e28930415afcbd49a20.jpg",[],{"id":230,"slug":231,"title":232,"dynasty":18,"author":19,"museum":20,"description":213,"tags":233,"thumbUrl":236,"material":49,"size":50,"collection":32,"collections":237,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":161},268915,"yin-qian-shan-hu-shi-jie-zhi-yi-ming-268915","银嵌珊瑚石戒指",[24,234,235,26,7],"银器","戒指","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78d8b2e73536ebeca49a59f2ec3dc281.jpg",[],{"id":239,"slug":240,"title":232,"dynasty":18,"author":19,"museum":20,"description":213,"tags":241,"thumbUrl":243,"material":49,"size":50,"collection":32,"collections":244,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":128},267579,"yin-qian-shan-hu-shi-jie-zhi-yi-ming-267579",[24,234,235,26,7,242],"嵌饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f31a4b2ea5ad40df41a52f8d2ef3e61.jpg",[],{"id":246,"slug":247,"title":248,"dynasty":18,"author":19,"museum":20,"description":249,"tags":250,"thumbUrl":252,"material":49,"size":50,"collection":32,"collections":253,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":161},245504,"jin-biao-tao-yi-ming-245504","金表套","此件配饰以花边形勾勒轮廓，边框錾刻纹饰，填烧翠色珐琅，釉色鲜亮柔润，与鎏金底色交相辉映。中心镂空金片取荷塘雅景，莲叶舒卷层叠，游鱼隐现于叶间，灵动雅致，将江南水意凝于方寸。垂配三色流苏，朱红、暖橙、苔绿丝线交缠垂落，随步履轻摇生姿，柔化了金属配饰的冷硬。\n\n整体花丝细密，金水厚重匀净，将极致工艺与中式清雅意趣相融，既是收纳腕表的实用之物，亦是精巧的腰间佩饰，尽显旧时华贵雅致的东方配饰美学。",[23,44,24,46,27,47,7,251,59],"布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3394573d7e5fdd5719a22bd8f2308a0.jpg",[],{"id":255,"slug":256,"title":257,"dynasty":18,"author":19,"museum":20,"description":258,"tags":259,"thumbUrl":262,"material":49,"size":50,"collection":32,"collections":263,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":128},245472,"jin-fu-wo-yi-ming-245472","金佛窝","这是一件随身佛龛，取海棠形轮廓，金胎包镶，柔婉雅致。器身内壁素净，外壁满饰锤錾而出的诸佛造像，中央主佛嵌饰宝石点明核心，四周环列的绿松石莹润苍碧，晕染出沉静清贵的色泽。\n\n方寸器物纳须弥千佛，将信仰凝于掌中，把宫廷细作的华贵与礼佛的虔敬相融。纹饰繁密却层次井然，每一处錾刻都尽显工巧，便携的形制让信众可将佛意伴于日常，是清代宗教器物与金属细作工艺结合的精巧之作。",[23,44,110,260,47,27,7,105,261],"錾刻","佛教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F862271369e3652c4a2c13946b4ae1723.jpg",[],{"id":265,"slug":266,"title":267,"dynasty":18,"author":19,"museum":20,"description":268,"tags":269,"thumbUrl":270,"material":49,"size":50,"collection":32,"collections":271,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":161},245361,"jin-fa-lun-yi-ming-245361","金法轮","通体鎏金宝光莹润，轮心绿松石攒簇如月，翠色晕染开金面的雍容，为器物添了几分清灵。周身錾刻的缠枝瑞兽细密灵动，纹路辗转间尽显匠人巧思，每一处凸起都凝着柔润光泽，是岁月与匠心共铸的华彩。下承莲座规整端凝，仰莲舒展层叠，稳稳托举法轮，将藏地信仰的肃穆融于金工之中。器物糅合神性庄严与工艺精巧，静立时便有安然沉静的力量扑面而来，尽显藏传法器的极致匠心与精神内核。",[23,44,27,47,105,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F862dad87993aca9cc597c0c1f8093fd0.jpg",[],{"id":273,"slug":274,"title":275,"dynasty":18,"author":19,"museum":20,"description":276,"tags":277,"thumbUrl":278,"material":49,"size":50,"collection":32,"collections":279,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":161},241971,"yin-xiang-shi-xiang-quan-yi-ming-241971","银镶石项圈","银身镂空錾刻缠枝纹理，细密灵动如藤蔓攀附环身。浓丽珊瑚似熔凝的火色，青金石晕开深海般的沉邃，宝石与银质冷光碰撞，明暗交织，华贵又不失灵动。\n开合扣饰敦实圆润，呼应整体精工。垂下的皮绳坠饰随步摇曳，珊瑚星子错落点缀，添了鲜活生气。\n将旷野色彩凝于颈间，把游牧浪漫与匠人巧思相融，冷硬金属与明丽宝光缠绕，野性与雅致浑然天成，尽显不俗格调。",[23,234,24,27,47,26,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc536c49de83686b6dc46afd2c8870266.jpg",[],{"id":281,"slug":282,"title":283,"dynasty":18,"author":19,"museum":20,"description":284,"tags":285,"thumbUrl":288,"material":49,"size":50,"collection":32,"collections":289,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},229934,"jin-xiang-song-shi-he-yi-ming-229934","金镶松石盒","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",[23,44,29,286,46,7,287],"镶嵌工艺","花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2016ad96516c7b6322577b1cc06dad1f.jpg",[],1777535717408]