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inColor":31},245895,"xuan-tong-wu-nian-kuan-yin-ru-yi-xing-zu-huo-guo-yi-ming-245895","宣统五年款银如意形足火锅","它素净雅致，盖面层层起棱，宝珠钮圆润精巧，沿下活环灵动俏皮，为器物添了几分灵动。炉腹丰腴饱满，经年累月的包浆晕染出岁月沉淀的温润质感，自带沉静厚重的烟火气质。如意形足的支架线条舒展柔和，承托稳妥之余更添雅致韵致，内置小巧炉膛兼顾实用。\n它融质朴大气与细节巧思于一体，是往昔精致食俗的缩影，静静诉说着围炉暖食的闲雅意趣，将日常烟火与器物美学温柔相融。",[187,205,302,7,23,303],"日用品","如意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4629abc43f0fe905cbf1f7724c454a18.jpg",[],{"id":307,"slug":308,"title":309,"dynasty":7,"author":18,"museum":19,"description":310,"tags":311,"thumbUrl":315,"material":165,"size":166,"collection":27,"collections":316,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":31},245806,"xuan-tong-qi-nian-kuan-yin-du-jin-pan-yi-ming-245806","宣统七年款银镀金盘","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。",[7,293,312,274,313,314],"金属器","盘","镀金工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc04395854241136e920d1716d3651208.jpg",[],{"id":318,"slug":319,"title":320,"dynasty":7,"author":18,"museum":19,"description":321,"tags":322,"thumbUrl":324,"material":165,"size":166,"collection":27,"collections":325,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":326},245790,"xuan-tong-shi-yi-nian-yong-he-gong-kuan-yin-pen-yi-ming-245790","宣统十一年永和宫款银盆","此银盆器型周正舒展，宽沿敞口沉稳大气，通体素洁无饰，尽显清雅克制之美。银身晕染着深浅错落的岁月包浆，暗哑柔光里凝住旧时光阴的摩挲痕迹，内敛又带着厚重的历史质感。胎质匀实细腻，弧腹线条柔和流畅，将银料的矜贵融于日常器物的质朴之中，静静承载着往昔深宫内的日常烟火意趣，尽显沉静雅致的民国器物格调。",[187,25,7,274,312,323,23],"手工制作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10d858d5e05ff6c5079dd7eb02b6d4e8.jpg",[],"F48FB1",{"id":328,"slug":329,"title":330,"dynasty":7,"author":18,"museum":19,"description":331,"tags":332,"thumbUrl":336,"material":165,"size":166,"collection":27,"collections":337,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":31},245754,"xuan-tong-liu-nian-kuan-yin-dai-liu-guo-yi-ming-245754","宣统六年款银带流锅","银质锅身晕染着深浅不一的旧色包浆，如藏着被烟火晕开的时光痕迹。盖顶环钮简约素净，提握趁手，滤孔流口暗藏巧思，倾注时可隔去残渣，适配日常烹煮使用。长柄贴合握持的弧度，将实用融于朴拙形制之间。器物周身无华饰，以圆润线条勾勒出质朴轮廓，带着民国日常炊具的温热烟火气，旧编号的刻字如一段无声注脚，静静诉说着往昔灶台边的三餐日常，是尽显民生巧思的朴素实用之作。",[187,274,205,333,334,7,335],"带盖","流口","银制","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7090cf29b1914b504c748e0d2e2918c.jpg",[],1777535717391]