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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。",[85,73,86,87,27,88,89,90,91,92,7,93,94,95,96,97,98,99,100],"玉石","龙","梅","明代","青料","纹饰","杯形","龙耳","玉器","传统工艺","明代器物","浮雕","装饰纹","植物纹","瑞兽纹","实用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb138cb255448765766da257cb423ade9.jpg",[],1,{"id":105,"slug":106,"title":107,"dynasty":18,"author":19,"museum":20,"description":83,"tags":108,"thumbUrl":115,"material":29,"size":30,"collection":31,"collections":116,"showCount":77,"zanCount":11,"manualWeight":11,"mainColor":117},247820,"ti-hong-jin-wen-qian-yu-mei-hua-wen-he-yi-ming-247820","剔红锦纹嵌玉梅花纹盒",[109,110,73,111,112,7,113,114],"清代","漆器","嵌玉","剔红","锦纹","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50098a3e01c9d75756b9f5a8a82f1f62.jpg",[],"BDBDBD",{"id":119,"slug":120,"title":121,"dynasty":18,"author":19,"museum":20,"description":39,"tags":122,"thumbUrl":125,"material":29,"size":30,"collection":31,"collections":126,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":128},268066,"pin-yue-se-duan-di-zhi-mei-hua-hui-wen-tao-yi-ming-268066","品月色缎地枝梅花回纹绦",[41,42,123,7,124],"回纹","织绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b31ce7164bd08ac6f94e8552b8822fe.jpg",[],2,"2A56C6",{"id":130,"slug":131,"title":132,"dynasty":18,"author":19,"museum":20,"description":133,"tags":134,"thumbUrl":138,"material":29,"size":30,"collection":31,"collections":139,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":117},267208,"hong-qing-se-duan-kou-man-na-xiao-mei-hua-wen-yao-yuan-he-bao-yi-ming-267208","红青色缎口满纳小梅花纹腰圆荷包","荷包是中国汉族传统服饰中，人们所随身佩带的一种装零星物品的小包，后发展为爱情信物，荷包的图案有繁有简，花卉、鸟、兽、草虫、山水、人物以及吉祥语、诗词文字都有，装饰意味很浓。\n在民间荷包中，占相当比重的是香包，香包里装有香草之类的药品，包面上绣制着“五毒”，即蝎子、蛇、蜈蚣、壁虎和蟾蜍，它原是五月端午的节令物品，为了防止各种毒虫猖獗，侵害人体，人们相互馈赠，挂在衣襟或帐勾上，以避除“五毒”。就形状来看，有虎形的、鸡形的、如意形的、寿桃形的、蝙蝠形的，以取意于福、禄、寿、喜、吉祥、如意等。富有深厚民族心理基础的绣荷包，在民间文化中，显示着旺盛的生命力。",[135,136,57,41,7,137],"荷包","饰品","满纳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F493d1f4ab780faa5eb386ce9a6075238.jpg",[],{"id":141,"slug":142,"title":143,"dynasty":18,"author":19,"museum":20,"description":144,"tags":145,"thumbUrl":10,"material":29,"size":30,"collection":31,"collections":149,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":117},246674,"ti-hong-chan-zhi-lian-wen-kai-guang-mei-hua-wen-mei-hua-shi-ping-yi-ming-246674","剔红缠枝莲纹开光梅花纹梅花式瓶","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。",[109,110,112,73,146,147,7,148],"缠枝莲纹","开光","瓶",[],{"id":151,"slug":152,"title":132,"dynasty":18,"author":19,"museum":20,"description":133,"tags":153,"thumbUrl":155,"material":29,"size":30,"collection":31,"collections":156,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":117},267207,"hong-qing-se-duan-kou-man-na-xiao-mei-hua-wen-yao-yuan-he-bao-yi-ming-267207",[136,41,135,7,154],"腰圆形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec95621b28c03f5747d715b06bea43ab.jpg",[],{"id":158,"slug":159,"title":160,"dynasty":18,"author":19,"museum":20,"description":161,"tags":162,"thumbUrl":167,"material":29,"size":30,"collection":31,"collections":168,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":49},266423,"jiang-se-ke-jin-mei-hua-wen-hui-shu-pi-chen-yi-yi-ming-266423","酱色缂金梅花纹灰鼠皮衬衣","清王朝时段推行剃发易服，顺治九年（1652），钦定《服色肩舆条例》颁行，从此废除了明朝的冠冕、礼服以及汉族的一切服饰，但满族服饰同时吸收了明朝服饰的纹理图案。明代男子一律蓄发挽髻，着宽松衣，穿长统袜、浅面鞋；清时则剃发留辫，辫垂脑后，穿瘦削的马蹄袖箭衣、紧袜、深统靴。但官民服饰一律泾渭分明。 清朝是以满族统治者为主的政权机构，满族八旗服饰随朝代的变更冲进关内。旗人的风俗习惯影响着广大的中原地区。从公服开始逐渐推向常服。",[163,164,165,7,166,41],"衣帽","衬衣","缂金","灰鼠皮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F770ac6e42b753a9bf1bf8bc10a87b90c.jpg",[],{"id":170,"slug":171,"title":172,"dynasty":18,"author":19,"museum":20,"description":173,"tags":174,"thumbUrl":176,"material":29,"size":30,"collection":31,"collections":177,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":49},264044,"gu-tong-se-di-mei-hua-wen-zhi-jin-jin-yi-ming-264044","古铜色地梅花纹织金锦","《说文》：“锦，襄邑织文。从帛，金声。”即用彩色经纬丝织出各种图案花纹的纺织品，泛指具有多种彩色花纹的丝织物。锦的生产工艺要求高，织造难度大，所以它是古代最贵重的织物。“锦，金也，作之用功重，其价如金。”古人把锦看成和黄金等价。这种织物有经起花和纬起花两种，也叫经锦和纬锦。经锦是用两组或两组以上的经线同一组纬线交织。经线多的二色或三色，一色一根作为一副，如果需要更多的颜色，也可以使用牵色条的方法。纬线有明纬和夹纬；用夹纬把每副中的表经和底经分隔开，用织物正面的经浮点显花。\n用染好颜色的彩色经纬线，经提花、织造工艺织出图案的织物。中国丝织提花技术起源久远。早在殷商时代中国已有丝织物。周代丝织物中出现织锦，花纹五色灿烂，技艺臻于成熟。汉代设有织室、锦署，专门织造织锦，供宫廷享用。自汉武帝后，中国织锦通过丝绸之路传入波斯（今伊朗）、大秦（古罗马帝国）等国。三国时四川蜀锦成为主流。唐代贞观年间窦师伦的对雉、斗羊、翔凤等蜀锦图案，称为绫阳公样。在织造工艺上由经锦改进为纬锦，并出现彩色经纬线由浅入深或由深入浅的退晕手法。北宋宫廷在汴京等地建立规模庞大的织造工场，生产各种绫锦。元代是中国历史上大量生产织金锦（一种加金的丝织物）的时代，宫廷设立织染局、织染提举司，机构庞大，集中了大批优秀工匠。\n明清两代织锦生产集中在江苏南京、苏州，除了官府的织锦局外，民间作坊也蓬勃兴起，形成江南织锦生产的繁荣时期。织锦大多采用传统提花工艺和木制花楼织机，有些织锦因品种不同而有所区别。如宋锦、土家族织锦采用通经断纬工艺，即分段调换彩色纬线，使色彩更加丰富。杭锦采用铁制提花机。织锦种类有南京云锦、四川蜀锦、苏州宋锦、杭州织锦以及少数民族的黎锦、壮锦、傣锦、瑶锦、侗锦、苗锦、土家锦、爱得利斯锦等。1960年以来，中国织锦在继承、发扬传统织锦的基础上，恢复了云锦的妆花锦和蜀锦的浣花锦、锦上添花锦、八答晕锦，并生产了窗帘、沙发套、枕套、被面、台毯、靠垫、床罩、提包、民族服装用料等新品种。\n锦已有3000年以上的历史，战国、西汉以前流行以二色或三色经轮流显花的经锦，包括局部饰以挂经的挂锦、具有立体效果的凸花锦和绒锦。1959年在新疆民丰尼雅遗址发现的东汉“万年如意锦”使用绛、白、绛紫、淡蓝、渥绿五色，通幅分成十二个色条，就是汉代典型的经锦。\n纬锦是用两组或两组以上的纬线同一组经线交织。经线有交织经和夹经；用织物正面的纬浮点显花。1969年在新疆阿斯塔那发现的唐代锦袜，在大红色地上起各种禽鸟花朵和行云的图案，就属于这一种锦。\n经锦和纬锦具有不同的织造效果。经锦的纬密比较低，只用一把梭子，生产效率比较高。纬锦织造比较费时，但可以使用两把以上的梭子，容易变换色彩，色彩丰富。这两种锦在中国出现的时间都比较早。但是六朝以前织造的，以经起花为主；隋唐以后织造的，似乎以纬起花为主。\n在苏联的巴泽雷克发现一批中国战国时期的丝绸，就有用红绿二色纬线织造的纬斜纹起花的纬锦。产生于宋代前后的宋锦以地经、地纬交织成经斜组织，按结经与纹纬交织成纬斜组织。\n金元之际流行加金的丝织物——织金锦，又称“纳石失”。明清时盛行以挖花缎的彩纬多达30—40种，锦面的经、纬方向都有逐花异色的效果，是中国织锦最高水平的代表。\n锦在历史上曾用多棕多蹑机和束棕花楼机织造，现代生产采用纹版提花机。\n国家非常重视非物质文化遗产的保护，南京云锦木机妆花手工织造技艺作为中国古老的织锦技艺最高水平的代表，于2006年列入首批国家级非物质文化遗产名录。2006年5月20日，土家族织锦技艺经国务院批准列入第一批国家级非物质文化遗产名录。2007年6月8日，湖南凤凰水云织锦坊获得国家文化部颁布的首届文化遗产日奖。2009年8月《地理标志产品云锦》国家标准在南京通过国家级专家评审，同年9月成功入选联合国《人类非物质文化遗产代表作名录》。",[41,45,7,175],"织金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F896785f997da31ea64d183af99df4c74.jpg",[],{"id":179,"slug":180,"title":181,"dynasty":18,"author":19,"museum":20,"description":182,"tags":183,"thumbUrl":185,"material":29,"size":30,"collection":31,"collections":186,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":49},246901,"ti-hong-kai-guang-hai-tang-mei-hua-wen-hai-tang-shi-hua-cha-yi-ming-246901","剔红开光海棠梅花纹海棠式花插","此器取海棠轮廓，柔婉雅致。朱红漆层厚重沉润，以开光划分立面，锦地细密匀整，浮雕梅枝虬曲舒展，娇蕊含苞绽露，灵雀穿梭枝桠间，生机暗涌。刀工圆熟利落，走线婉转自然，将冬末春初的花雀意趣凝于方寸文房。内置铜胆质朴内敛，兼顾陈设雅趣与插花实用，把匠人的巧思与文人案头的清隽意韵相融，尽显雕漆工艺的雅致精妙。",[18,110,112,73,147,184,7,114],"海棠纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e529c49f40aad0acf6a80afec2e22fd.jpg",[],{"id":188,"slug":189,"title":121,"dynasty":18,"author":19,"museum":20,"description":39,"tags":190,"thumbUrl":191,"material":29,"size":30,"collection":31,"collections":192,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":128},268065,"pin-yue-se-duan-di-zhi-mei-hua-hui-wen-tao-yi-ming-268065",[136,41,7,123,124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbccb0ec33afa90fcd33d355c0b3ee8f.jpg",[],{"id":194,"slug":195,"title":196,"dynasty":18,"author":19,"museum":20,"description":197,"tags":198,"thumbUrl":203,"material":29,"size":30,"collection":31,"collections":204,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":117},266804,"chen-xiang-se-duan-suo-xiu-mei-hua-wen-zao-xie-yi-ming-266804","沉香色缎锁绣梅花纹皂鞋","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",[163,41,199,7,200,201,202],"锁绣","刺绣","日用品","鞋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa55d5bd25c19d15e89a8dd184de5844d.jpg",[],{"id":206,"slug":207,"title":208,"dynasty":18,"author":19,"museum":20,"description":197,"tags":209,"thumbUrl":211,"material":29,"size":30,"collection":31,"collections":212,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},266783,"qiu-xiang-se-duan-pan-tao-mei-hua-wen-zao-xie-yi-ming-266783","秋香色缎盘绦梅花纹皂鞋",[163,41,57,7,200,210],"鞋履","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbadbfe4e2c5ffb822f722642bb16205c.jpg",[],{"id":214,"slug":215,"title":38,"dynasty":18,"author":19,"museum":20,"description":39,"tags":216,"thumbUrl":217,"material":29,"size":30,"collection":31,"collections":218,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},264859,"jin-di-wan-zi-pan-chang-mei-hua-wen-tao-yi-ming-264859",[41,136,42,43,44,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74a2ef25da569dc966b350bce597304e.jpg",[],{"id":220,"slug":221,"title":222,"dynasty":18,"author":19,"museum":20,"description":223,"tags":224,"thumbUrl":227,"material":29,"size":30,"collection":62,"collections":228,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},261616,"de-hua-yao-bai-you-mei-hua-wen-fang-dou-shi-bei-yi-ming-261616","德化窑白釉梅花纹方斗式杯","德化窑位于今福建德化，故名。作为著名的瓷窑，是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n德化瓷器是中华陶瓷烧造中的艺术珍品，始于宋代，明代后得到巨大发展。以白瓷塑佛像闻名。其制作细腻，雕刻精美，造型生动，体现了古代劳动人民的卓越才能和艺术创造力。\n在今福建德化，故名。是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n碗坪仑烧瓷较屈斗宫古窑址早，烧青白瓷，有的接近白釉，刻花蓖划纹装饰较多，盒子遗留甚丰，盖面所印阳纹装饰达一百余种，题材之丰富在南方地区首屈一指，南宋时有专门制作盒子的作坊，盒盖上阳文印花装饰题材丰富，有动物、花卉等近百种图案。划花间篦划纹亦较多，饰在碗、盘、瓶等器物上。\n屈斗宫元代办烧青白瓷，从南宋至元代。明代盛烧白瓷观音、达摩等塑像，胎釉浑然一体，如同白玉，被赞为"象牙白"、"奶白"或 "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。",[23,27,57,225,7,226],"白釉","方斗式杯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcde1532a52e0d14c4bda85c514676af5.jpg",[62],{"id":230,"slug":231,"title":232,"dynasty":54,"author":19,"museum":20,"description":233,"tags":234,"thumbUrl":237,"material":29,"size":30,"collection":31,"collections":238,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":117},261415,"bai-you-ke-mei-hua-lu-wen-zhen-yi-ming-261415","白釉刻梅花鹿纹枕","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。",[23,114,57,235,236,73,7],"兽","鹿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9106bd703ece24f35a86bb258a889de5.jpg",[],{"id":240,"slug":241,"title":242,"dynasty":18,"author":19,"museum":20,"description":243,"tags":244,"thumbUrl":247,"material":29,"size":30,"collection":31,"collections":248,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":117},261094,"kang-xi-kuan-qing-you-mei-hua-wen-gua-leng-xi-yi-ming-261094","康熙款青釉梅花纹瓜棱洗","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。”",[23,245,246,7],"青釉","瓜棱洗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5c0abccbdab3abd81ff7cc0e8942347.jpg",[],{"id":250,"slug":251,"title":252,"dynasty":18,"author":19,"museum":20,"description":253,"tags":254,"thumbUrl":259,"material":29,"size":30,"collection":31,"collections":260,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},247527,"ti-hong-shan-shui-ren-wu-tu-kai-guang-hua-hui-wen-mei-hua-shi-he-yi-ming-247527","剔红山水人物图开光花卉纹梅花式盒","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",[109,112,73,110,255,256,257,7,258],"山水","人物","花卉","开光纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1ae6ef5b63cbaa23934122164be01e6.jpg",[],{"id":262,"slug":263,"title":143,"dynasty":18,"author":19,"museum":20,"description":144,"tags":264,"thumbUrl":265,"material":29,"size":30,"collection":31,"collections":266,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":117},246675,"ti-hong-chan-zhi-lian-wen-kai-guang-mei-hua-wen-mei-hua-shi-ping-yi-ming-246675",[109,110,112,73,146,147,7,148],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8df848d366854a02391424ad075f224.jpg",[],1777535719580]