[{"data":1,"prerenderedAt":535},["ShallowReactive",2],{"subject-mu-dan-wen":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},8718,"mu-dan-wen","牡丹纹","牡丹纹画高清赏析","精选中国历代牡丹纹题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F820d41acf520d5203d432f2bd05bb5ee.jpg",0,51,[14,34,51,68,82,97,107,123,135,148,159,168,182,192,203,218,227,236,246,257,266,275,282,292,302,313,320,329,336,345,354,361,372,381,391,404,414,425,434,441,452,459,466,472,479,486,492,501,512,520,528],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":26,"material":27,"size":28,"collection":29,"collections":30,"showCount":31,"zanCount":32,"manualWeight":11,"mainColor":33},263555,"jiang-se-man-cao-tuan-mu-dan-wen-an-hua-duan-yi-ming-263555","绛色蔓草团牡丹纹暗花缎","清","佚名","藏地不详","柔润绛色为底，暗花隐现其间，自带朦胧雅致意蕴。饱满团纹以牡丹为心，缠枝蔓草蜿蜒环绕，将牡丹雍容姿态包裹其中，圆转对称的构图尽显规整富丽。底纹铺满细碎缠枝纹样，与团花呼应相融，层次分明协调。暗花工艺让纹样似有若无，低调晕染出沉静古韵，将华贵气度藏于内敛织纹之中，尽显旧时丝织工艺的精巧匠心，把雅致富贵悄然融于沉静色调，晕开温婉悠长的古典质感。",[23,24,25,7],"布料","暗花缎","蔓草纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3daf7bdea20c0e7a50fa687a6c6df4b.jpg","未知","Xcm*Xcm","",[],17,1,"F48FB1",{"id":35,"slug":36,"title":37,"dynasty":38,"author":19,"museum":20,"description":39,"tags":40,"thumbUrl":48,"material":27,"size":28,"collection":29,"collections":49,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":33},257250,"qing-hua-qi-lin-yi-long-wen-pan-yi-ming-257250","青花麒麟翼龙纹盘","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。",[41,42,43,44,45,46,7,47],"明代","陶瓷","青花","瑞兽","龙纹","麒麟纹","瓷器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00da0b84b4aa4d537b9ca3a8fd30d049.jpg",[],7,{"id":52,"slug":53,"title":54,"dynasty":55,"author":19,"museum":20,"description":56,"tags":57,"thumbUrl":64,"material":27,"size":28,"collection":65,"collections":66,"showCount":50,"zanCount":32,"manualWeight":11,"mainColor":67},256319,"ding-yao-bai-you-ke-hua-mu-dan-wen-pan-yi-ming-256319","定窑白釉刻花牡丹纹盘","宋","定窑是中国传统制瓷工艺中的珍品，宋代六大窑系之一，它是继唐代的邢窑白瓷之后兴起的一大瓷窑体系。主要产地在今河北省保定市曲阳县（原属今定州市）的涧磁村、野北村及东燕川村、西燕川村一带，因该地区唐宋时期属定州管辖，故名定窑。\n定窑原为民窑，北宋中后期开始烧造宫廷用瓷。创烧于唐，极盛于北宋及金，终于元，以产白瓷著称，兼烧黑釉、酱釉和绿釉瓷，文献分别称其为黑定、紫定和绿定。\n定窑从邢窑而来，由于历史的变迁，定窑随着地域变化，新瓷土料的运用和制瓷工艺的进步。卞向和认为：定窑最大的贡献就是在中国陶瓷发展的历史上闪烁过光芒，在中国陶瓷史和世界的陶瓷发展史上留下辉煌的一页。\n定窑，是中国北方白瓷的中心，始于唐，为邢窑的后继者，在五代时期就已经发达。以往文献多记载窑址在河北正定，1938年在河北省曲阳县涧瓷村发现古窑址。近年又多次发掘调查，发现了最下层堆积着晚唐的破片；中层的是五代时就已大量生产；最上层为印花、画花的薄瓷片，是属于北宋中期以后，在政和、宣和年间。这些薄瓷片，胎质坚致，釉泽莹润，花纹优美，确是很精进的品种；且有些是官窑性质的，如”尚食局、禁苑、奉华、官”等胎上刻字破片的发现，便可证明。另在西燕山遗址发现粗瓷片的堆集，以及各地普遍发现的定窑瓷器及破片，又能证明定窑在北宋早期以后，也曾大量烧造民间使用的瓷器。定窑以烧造白瓷为主，也烧颜色釉，如红定、紫定和黑定等。根据《君友会-新民窑》记载，定窑，从北宋起，地位增高，各地仿制者颇多。在定窑本身概念中，就孳乳出各种名称，单就白定一种，就有土定、粉定之分。土定，有瓦胎和陶胎两种。瓦胎为淡赤色的土质，陶胎为白土而略黄，质皆松，体较厚；袖色白色中闪黄或闪赤，容易剥落，或有大开片，是原始的及民用的定器。粉定，是进步的及官用的定器，有陶胎和瓷胎，胎质致密而体薄，釉色纯白如牛乳者，或带淡赤色，釉中往往有刷纹，釉面凝聚，如有泪痕。",[58,59,60,7,42,47,61,62,63],"宋代","白釉","刻花","花卉纹","传统工艺","宋代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaec4c29e88520c948f82ffe9be55353.jpg","瓷器精选",[65],"BDBDBD",{"id":69,"slug":70,"title":71,"dynasty":18,"author":19,"museum":20,"description":72,"tags":73,"thumbUrl":78,"material":27,"size":28,"collection":29,"collections":79,"showCount":80,"zanCount":11,"manualWeight":11,"mainColor":81},264128,"yue-bai-se-fu-gui-wan-nian-wen-er-se-duan-yi-ming-264128","月白色富贵万年纹二色缎","月白地素净沉静，紫调纹样浓妍鲜亮，冷暖交织晕出雅致氛围感。牡丹柔枝缠抱团寿，隐入万字轮廓间，织就富贵不绝、福寿悠长的美好祈愿。经纬走线细密平整，提花层次饱满清晰，将吉祥意趣藏在丝丝缕缕之中，尽显织绣工艺的精巧匠心，把俗世里的圆满期许融于一方绸缎之上，是承载中式吉庆美学的经典织物。",[23,74,75,7,76,77],"缎面","二色缎","寿字纹","富贵万年纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2de0204999e47769f315d06f9e9fa993.jpg",[],3,"2A56C6",{"id":83,"slug":84,"title":85,"dynasty":18,"author":19,"museum":20,"description":86,"tags":87,"thumbUrl":93,"material":27,"size":28,"collection":29,"collections":94,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":96},264550,"mi-se-duan-di-zhi-jin-san-lan-mu-dan-wen-tao-yi-ming-264550","米色缎地织金三蓝牡丹纹绦","经线提花锦的组织结构和纹样都十分复杂，舞人动物纹锦的纹样横贯全幅，充分反映了当时已有了先进的提花织造技术。精美的刺绣品共有17种纹样，构图大，讲究对称、平衡，色彩配合恰当，给人以端庄典雅、富丽堂皇的美感。纹样内容充满神话色彩，鲜明地反映了楚文化的浪漫主义特色。墓中出土的衣袍为直据，是当时贵族中最流行的一种服式。这批先秦织物的出土，为深入研究我国古代纺织史提供了珍贵的实物资料。",[23,88,89,7,90,91,92],"织物","织金","绦带","饰品","三蓝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa804a90354534c5480e3c33545e066b7.jpg",[],2,"795548",{"id":98,"slug":99,"title":100,"dynasty":55,"author":19,"museum":20,"description":56,"tags":101,"thumbUrl":104,"material":27,"size":28,"collection":65,"collections":105,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":106},256315,"ding-yao-bai-you-ke-hua-mu-dan-wen-zhe-yan-pan-yi-ming-256315","定窑白釉刻花牡丹纹折沿盘",[55,102,59,60,7,103,42],"定窑","折沿盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ab832fbb2a5982abba8bab9cc8c99ee.jpg",[65],"37474F",{"id":108,"slug":109,"title":110,"dynasty":18,"author":19,"museum":20,"description":111,"tags":112,"thumbUrl":121,"material":27,"size":28,"collection":29,"collections":122,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":106},250158,"qia-si-fa-lang-kui-feng-mu-dan-wen-feng-er-ba-leng-ping-yi-ming-250158","掐丝珐琅夔凤牡丹纹凤耳八棱瓶","景泰蓝（Cloisonne），中国的著名特种金属工艺品类之一，到明代景泰年间这种工艺技术制作达到了最巅峰，制作出的工艺品最为精美而著名，故后人称这种金属器为“景泰蓝”。景泰蓝正名“铜胎掐丝珐琅”，俗名“珐蓝”，又称“嵌珐琅”，是一种在铜质的胎型上，用柔软的扁铜丝，掐成各种花纹焊上，然后把珐琅质的色釉填充在花纹内烧制而成的器物 。因其在明朝景泰年间盛行，制作技艺比较成熟，使用的珐琅釉多以蓝色为主，故而得名“景泰蓝”。",[18,113,114,115,116,117,118,119,7,120],"掐丝珐琅","珐琅器","器","夔凤","牡丹","凤耳","八棱瓶","夔凤纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bb427cbecef462ceb8d95137b0e89dd.jpg",[],{"id":124,"slug":125,"title":126,"dynasty":18,"author":19,"museum":20,"description":127,"tags":128,"thumbUrl":133,"material":27,"size":28,"collection":29,"collections":134,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":67},248486,"qian-long-kuan-hong-qi-miao-jin-dan-feng-mu-dan-wen-yin-li-pie-kou-wan-yi-ming-248486","乾隆款红漆描金丹凤牡丹纹银里撇口碗","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。",[129,130,131,7,115,132],"漆器","描金","丹凤","银器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa23b10c96b16677b7e513efab638e8b7.jpg",[],{"id":136,"slug":137,"title":138,"dynasty":18,"author":19,"museum":20,"description":139,"tags":140,"thumbUrl":145,"material":27,"size":28,"collection":29,"collections":146,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":147},272767,"zi-tan-mu-diao-mu-dan-wen-xiang-ji-yi-ming-272767","紫檀木雕牡丹纹香几","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。",[141,142,7,143,144,115],"木质","雕刻","香几","木雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaac6a0946254936f43ad4d9a1240429.jpg",[],"FFFFFF",{"id":149,"slug":150,"title":151,"dynasty":18,"author":19,"museum":20,"description":152,"tags":153,"thumbUrl":157,"material":27,"size":28,"collection":29,"collections":158,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":67},266392,"lan-se-mu-dan-wen-an-hua-chou-xiao-jia-ao-yi-ming-266392","蓝色牡丹纹暗花绸小夹袄","宝蓝色绸面沉静雅致，牡丹暗花纹样隐于面料肌理，低调内敛却藏着精巧心思。右衽偏襟搭配素净一字盘扣，走线工整细腻，贴合身形的剪裁带着旧时闺阁日常的温婉意趣。浅淡滚边柔和勾勒衣身轮廓，褪去繁复装饰，将质朴含蓄的美学融于日常形制里，是烟火寻常里的精致底色，静静诉说着旧时女眷藏在平淡日常里的雅致审美。",[154,23,7,155,156],"衣帽","暗花绸","夹袄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07b76b9211825dd2c5c39e3ddb44a150.jpg",[],{"id":160,"slug":161,"title":162,"dynasty":18,"author":19,"museum":20,"description":86,"tags":163,"thumbUrl":166,"material":27,"size":28,"collection":29,"collections":167,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":96},265307,"da-hong-se-sha-di-mu-dan-ju-wen-tao-yi-ming-265307","大红色纱地牡丹菊纹绦",[23,90,7,164,165],"菊纹","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff456146fb26a86cd499d47c202901c62.jpg",[],{"id":169,"slug":170,"title":171,"dynasty":18,"author":19,"museum":20,"description":172,"tags":173,"thumbUrl":180,"material":27,"size":28,"collection":29,"collections":181,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":96},264250,"yue-bai-se-di-feng-chui-mu-dan-wen-xian-jin-dian-liao-yi-ming-264250","月白色地凤吹牡丹纹线锦垫料","整幅垫料以分段排布铺陈纹样，色彩搭配雅致和谐。顶部几何回纹规整内敛，暗合中正沉稳之态。团花饱满繁复，缠枝纹柔婉舒展，将春意融于经纬之间。主体凤吹牡丹纹样最为精妙，彩凤身姿灵动，卷绕盛放牡丹，尽显华贵吉庆的美好寓意。\n\n通经断纬织就的面料经纬交织精密细腻，纹样层次分明，色彩晕染过渡柔和，既留存传统礼制纹饰的端庄气度，又兼具装饰美感，织就传统吉祥意趣与匠心工艺的融合之美。",[23,174,175,176,177,7,178,179],"织锦","线锦","凤吹牡丹纹","凤纹","设色","垫料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09b9b3ebb5fc3cb9a2f19bc8a57f6ad5.jpg",[],{"id":183,"slug":184,"title":185,"dynasty":18,"author":19,"museum":20,"description":186,"tags":187,"thumbUrl":189,"material":27,"size":28,"collection":29,"collections":190,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":191},264249,"huang-se-di-feng-chui-mu-dan-wen-xian-jin-dian-liao-yi-ming-264249","黄色地凤吹牡丹纹线锦垫料","整体色调暖艳明丽，娇黄为底，朱红瑞凤穿梭于牡丹缠枝间循环铺陈。凤羽纤毫毕现，花容雍容温婉，缠枝卷叶灵动舒展，华贵雅致尽数融于寸缕之间。\n中段以浅蓝、素色素绫分隔画面，柔化视觉节奏，又以团花锦面衔接，宝相花团圆满规整，与通幅缠枝的柔婉相映成趣。收尾万字回纹连绵不绝，暗合福寿绵长的吉庆深意。\n整作提花走线匀整细腻，用色主次分明，将富丽宫廷审美与祥瑞意蕴交织，尽显清代织锦工艺的精巧工致。",[174,23,177,7,188,178,179],"几何纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03852273b36c208103ec03a0161daa6d.jpg",[],"FF9800",{"id":193,"slug":194,"title":195,"dynasty":18,"author":19,"museum":20,"description":196,"tags":197,"thumbUrl":201,"material":27,"size":28,"collection":65,"collections":202,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":106},261091,"de-hua-yao-bai-you-an-ke-mu-dan-wen-pan-yi-ming-261091","德化窑白釉暗刻牡丹纹盘","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。",[42,59,198,7,199,200],"暗刻","日用器","盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff82ef3d9f79c27e1dc138326b2b0afbd.jpg",[65],{"id":204,"slug":205,"title":206,"dynasty":18,"author":19,"museum":20,"description":207,"tags":208,"thumbUrl":216,"material":27,"size":28,"collection":29,"collections":217,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":96},258530,"qian-long-fen-cai-kai-guang-mu-dan-wen-shuang-er-bian-hu-yi-ming-258530","乾隆粉彩开光牡丹纹双耳扁壶","此扁壶抱月为形，螭龙双耳蜿蜒灵动，蓝彩晕染出威严雅致之态。胭脂紫地满饰缠枝花卉，描金勾廓，华贵端庄。开光内一侧墨彩题诗，笔力清隽秀挺，诗文意境悠然；另一侧牡丹盛放，粉彩晕染出花瓣柔润肌理，设色妍丽饱满，尽显雍容富贵，与诗文意境相得益彰。\n\n整器融制瓷、书画、诗韵于一体，繁而不乱，工致精妙，尽显御窑巅峰匠艺，将盛世宫廷雅致审美与精湛工艺相融，是彩瓷佳作。",[209,42,210,211,7,212,213,178,214,215],"清代","粉彩","开光","双耳","扁壶","书法","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F897f053a6042c0ea9b8688d83bc043f5.jpg",[],{"id":219,"slug":220,"title":221,"dynasty":18,"author":19,"museum":20,"description":222,"tags":223,"thumbUrl":225,"material":27,"size":28,"collection":29,"collections":226,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":67},247288,"ti-hong-mu-dan-wen-yuan-he-yi-ming-247288","剔红牡丹纹圆盒","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",[209,129,224,142,7],"剔红","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F251f56b91a1d78b9e95fc6ad420a4298.jpg",[],{"id":228,"slug":229,"title":230,"dynasty":38,"author":19,"museum":20,"description":231,"tags":232,"thumbUrl":234,"material":27,"size":28,"collection":29,"collections":235,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":106},246151,"ti-hong-mu-dan-wen-jiao-ta-yi-ming-246151","剔红牡丹纹脚踏","此件以剔红工艺制成，朱漆厚重莹润。器面满雕缠枝牡丹，花叶交叠舒展，饱满柔妍，边缘以回纹界分，层次朗然。牙板取壸门造型，随形錾刻俯仰有致的牡丹纹样，与腿足雕花呼应相融，托泥亦缠枝遍覆。刀工圆熟细腻，磨工匀净，将牡丹丰腴娇娆之态尽数显现，纹饰繁而不紊，整体形制端庄雅致。将实用功能与工艺美学相合，尽显雍容气度，是髹漆造物里的精妙之作。",[41,129,224,142,7,233],"器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc8bf732976526863a05758f5338e696.jpg",[],{"id":237,"slug":238,"title":239,"dynasty":18,"author":19,"museum":20,"description":240,"tags":241,"thumbUrl":244,"material":27,"size":28,"collection":29,"collections":245,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":81},268886,"pin-yue-se-di-mu-dan-wen-zhi-jin-chou-yi-ming-268886","品月色地牡丹纹织金绸","澄澈如秋水的底料，似将晚空揉入丝缕之间，织金牡丹团花错落排布。金线柔润的光泽晕开牡丹的丰腴花姿，枝蔓舒展穿插，疏密相宜，既保有牡丹自带的雍容华贵，又衬出底色清寂雅致的氛围。织作平整细腻，金纹与蓝地晕合自然，华贵而不艳俗，雅致而不清冷，将传统审美里的贵气与静美融于一方织物之中，尽显旧时织绣工艺的精妙匠心。",[23,89,7,242,243],"丝绸","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ea982d5fc295d869d227f554f186b39.jpg",[],{"id":247,"slug":248,"title":249,"dynasty":18,"author":19,"museum":20,"description":250,"tags":251,"thumbUrl":255,"material":27,"size":28,"collection":29,"collections":256,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":96},267835,"xue-qing-se-shi-liu-mu-dan-wen-hua-chou-yi-ming-267835","雪青色石榴牡丹纹花绸","柔雅底色如揉碎的暮春烟霞，暗纹提花隐于莹润丝色之间。饱满石榴垂坠、牡丹雍容舒展，缠枝萦回，将多子富贵的吉庆意趣藏于经纬交织里。\n\n绸缎肌理细腻莹润，提花浅淡耐看，以含蓄暗纹诉说中式古典的雅致克制。它曾裁作衣缘或帕料，将旧时闺阁的温婉意绪织入丝缕，把东方独有的内敛浪漫融于日常，静述慢时光里的温柔期许。",[23,252,253,7,254],"绸","石榴纹","雪青色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa80146f15155ce92473599ccc3d37114.jpg",[],{"id":258,"slug":259,"title":260,"dynasty":18,"author":19,"museum":20,"description":261,"tags":262,"thumbUrl":264,"material":27,"size":28,"collection":29,"collections":265,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":96},267522,"xuan-qing-se-di-san-duo-mu-dan-wen-zhi-jin-jin-yi-ming-267522","玄青色地三多牡丹纹织金锦","《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》。",[174,23,89,7,263],"三多纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd39e32473cbef0d4dc8afd2c6a94b29a.jpg",[],{"id":267,"slug":268,"title":269,"dynasty":18,"author":19,"museum":20,"description":270,"tags":271,"thumbUrl":273,"material":27,"size":28,"collection":29,"collections":274,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":96},266582,"gu-tong-se-mu-dan-wen-an-hua-chou-zhen-zhu-pi-dou-peng-yi-ming-266582","古铜色牡丹纹暗花绸珍珠皮斗蓬","古铜色调沉敛雅致，暗纹牡丹隐于绸面，将盛放春意悄然藏纳。对襟素纽利落简约，垂坠衣形勾勒出端庄舒展的轮廓，自带沉静雍容的气度。内里珍珠皮软和温煦，兼顾雅致观感与冬日暖意。形制简素却暗藏巧思，将华贵揉入质朴细节里，暗合内敛矜重的旧时风尚，静穆中流淌着传统服饰的温婉质感，尽显老派工艺的匠心独运，是东方服饰美学含蓄之美的绝佳体现。",[154,272,23,7],"斗篷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8097292eb5e6f871a92f89726b3569bb.jpg",[],{"id":276,"slug":277,"title":278,"dynasty":18,"author":19,"museum":20,"description":86,"tags":279,"thumbUrl":280,"material":27,"size":28,"collection":29,"collections":281,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":96},264609,"yuan-qing-se-duan-di-zhi-jin-san-lan-mu-dan-wen-tao-yi-ming-264609","元青色缎地织金三蓝牡丹纹绦",[23,91,89,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f43e5a7a01c589e58374ab4fba87625.jpg",[],{"id":283,"slug":284,"title":285,"dynasty":18,"author":19,"museum":20,"description":286,"tags":287,"thumbUrl":290,"material":27,"size":28,"collection":29,"collections":291,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":96},263903,"e-huang-se-mu-dan-wen-zhi-jin-duan-yi-ming-263903","鹅黄色牡丹纹织金缎","鹅黄底色温婉雅致，织金牡丹缠枝铺陈其上，金线随缎面褶皱起伏，光线下漾出华贵柔光。牡丹饱满舒展，枝叶蜿蜒连绵，暗合圆满吉祥的美好寓意。缎面肌理柔糯垂坠，织金工艺细腻精湛，金线与黄缎经纬交织，将富丽端庄与温婉隽秀相融，把精巧匠心藏入每一寸经纬之间，静诉旧时织物美学的极致韵味，尽显传统织绣工艺的华贵质感与雅致意趣。",[23,288,7,289],"织金缎","黄色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F331bc7dd84b937cc799d70310c27e2cb.jpg",[],{"id":293,"slug":294,"title":295,"dynasty":18,"author":19,"museum":20,"description":296,"tags":297,"thumbUrl":300,"material":27,"size":28,"collection":29,"collections":301,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":96},263726,"tu-huang-se-tian-zhu-mu-dan-wen-jiang-chou-yi-ming-263726","土黄色天竹牡丹纹江绸","暖润底色之上，暗花如浅梦隐现。天竹清隽、牡丹娇妍，枝蔓舒展缠绕，花叶柔婉灵动，提花工艺将纹样晕织于绸身，似有若无间尽显温婉雅致。构图匀净疏朗，边角铺陈纹样，留白妥帖，衬出织物莹润柔滑的质感。暗花工艺让纹样与底色浑融一体，静穆间藏着雅致生机，将吉祥意趣融于日常织物里，晕开旧时东方审美里含蓄内敛的温婉意韵，尽显传统织造的细腻匠心。",[23,298,7,299],"绸缎","天竹纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F260a8fec14394eead6c0e71420a08f7d.jpg",[],{"id":303,"slug":304,"title":305,"dynasty":38,"author":19,"museum":20,"description":306,"tags":307,"thumbUrl":311,"material":27,"size":28,"collection":65,"collections":312,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":96},260680,"long-quan-yao-qing-you-ke-hua-mu-dan-wen-pan-yi-ming-260680","龙泉窑青釉刻花牡丹纹盘","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。",[42,308,309,60,7,200,310],"龙泉窑","青釉","开片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21cbb4d8361faccfe9bbce5207e435ac.jpg",[65],{"id":314,"slug":315,"title":316,"dynasty":38,"author":19,"museum":20,"description":306,"tags":317,"thumbUrl":318,"material":27,"size":28,"collection":65,"collections":319,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},260670,"long-quan-yao-qing-you-ke-mu-dan-wen-zhe-yan-pan-yi-ming-260670","龙泉窑青釉刻牡丹纹折沿盘",[42,308,309,60,7,103,47],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a982efd82f9d7fd6502d5c6e7486480.jpg",[65],{"id":321,"slug":322,"title":323,"dynasty":38,"author":19,"museum":20,"description":306,"tags":324,"thumbUrl":327,"material":27,"size":28,"collection":65,"collections":328,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},260239,"long-quan-yao-qing-you-yin-hua-mu-dan-wen-ju-ban-pan-yi-ming-260239","龙泉窑青釉印花牡丹纹菊瓣盘",[42,308,309,325,7,326],"印花","菊瓣盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58170ec33013ec83c403be63c172d415.jpg",[65],{"id":330,"slug":331,"title":332,"dynasty":38,"author":19,"museum":20,"description":306,"tags":333,"thumbUrl":334,"material":27,"size":28,"collection":65,"collections":335,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},260092,"long-quan-yao-qing-you-ke-mu-dan-wen-pan-yi-ming-260092","龙泉窑青釉刻牡丹纹盘",[42,309,60,7,200,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a1b74dc26f243f078984b38a1d8de81.jpg",[65],{"id":337,"slug":338,"title":339,"dynasty":18,"author":19,"museum":20,"description":340,"tags":341,"thumbUrl":343,"material":27,"size":28,"collection":29,"collections":344,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":106},258906,"bai-di-su-san-cai-ke-hua-mu-dan-wen-da-pan-yi-ming-258906","白地素三彩刻花牡丹纹大盘","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。",[209,42,115,342,60,7],"素三彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76e75e3f3425f91015542b8cb2cfedc2.jpg",[],{"id":346,"slug":347,"title":348,"dynasty":18,"author":19,"museum":20,"description":349,"tags":350,"thumbUrl":352,"material":27,"size":28,"collection":29,"collections":353,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":96},256584,"yong-zheng-kuan-fen-cai-mu-dan-wen-ju-ban-pan-yi-ming-256584","雍正款粉彩牡丹纹菊瓣盘","雍正一朝虽然只有13年，但他的制瓷业成就却达到了清代官窑的历史高峰，其品种之多，制作工艺之精良，都是其他朝代无法比拟的。",[18,210,7,351,42],"菊瓣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69af4f974ac786d8758b0ae3cdd6a1da.jpg",[],{"id":355,"slug":356,"title":348,"dynasty":18,"author":19,"museum":20,"description":349,"tags":357,"thumbUrl":359,"material":27,"size":28,"collection":29,"collections":360,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":96},256583,"yong-zheng-kuan-fen-cai-mu-dan-wen-ju-ban-pan-yi-ming-256583",[209,42,210,7,358,178,115],"菊瓣形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88f87160ebef74de4ec46e4ba93a446b.jpg",[],{"id":362,"slug":363,"title":364,"dynasty":365,"author":19,"museum":20,"description":366,"tags":367,"thumbUrl":370,"material":27,"size":28,"collection":29,"collections":371,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},256330,"you-li-hong-di-bai-hua-an-ke-mu-dan-wen-yu-hu-chun-ping-yi-ming-256330","釉里红地白花暗刻牡丹纹玉壶春瓶","元","宋代是传统制瓷工艺发展史上一个非常繁荣昌盛的时期。现时已发现的古代陶瓷遗址分布于全国170个县。其中有宋代窑址的就有130个县，占总数的75%。\n陶瓷史家通常将宋代陶瓷窑大致概括为6个瓷窑系，它们分别是：北方地区的定窑系、耀州窑系、钧窑系和磁州窑系；南方地区的龙泉青瓷系和景德镇的青白瓷系。这些窑系一方面具有因受其所在地区使用原材料的影响而具有的特殊性，另一方面又有受帝国时代的政治理念、文化习俗、工艺水平制约而具有的共同性。\n从造型的角度分析，宋瓷的器形较之前代更为丰富多彩，几乎包括了人民日常生活用器的大部分：碗、盘、壶、罐、盒、炉、枕、砚与水注等，其中最为多见的是玉壶春瓶。总的说来，民间用瓷的造型大部分是大方朴实、经济耐用；而宫廷用瓷则端庄典雅、雍容华贵。最能反映皇家气派的是哥、官、钧、汝与定窑口烧制的贡瓷，最能体现百姓喜乐的是磁州、耀州窑口烧制的民间瓷品。\n从纹饰上讲，宋瓷的纹饰题材表现手法都极为丰富独特。一般情况下，龙、凤、鹿、鹤、游鱼、花鸟、婴戏、山水景色等常作为主体纹饰而突现在各类器形的显著部位，而回纹、卷枝卷叶纹、云头纹、钱纹、莲瓣纹等多用作边饰间饰，用以辅助主题纹饰。工匠们用刻、划、剔、画和雕塑等不同技法，在器物上把纹样的神情意态与胎体的方圆长短巧妙结合起来，形成审美与实用的统一整体，令人爱不释手。如婴戏纹，或于碗心、或于瓶腹，将肌肤稚嫩，情态活泼的童子置于花丛之中，或一或二，或三五成群，攀树折花，追逐嬉戏，真切动人，生活气息甚为浓厚。",[368,42,369,198,7,115],"元代","釉里红地白花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc081f86f7ee7e71d89b4c646a2e8aea1.jpg",[],{"id":373,"slug":374,"title":375,"dynasty":18,"author":19,"museum":20,"description":376,"tags":377,"thumbUrl":379,"material":27,"size":28,"collection":29,"collections":380,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":106},252321,"mi-la-mu-dan-wen-ye-shi-xi-yi-ming-252321","蜜蜡牡丹纹叶式洗","此件取凝润红褐蜜蜡为材，包浆醇厚柔润。随形就势以叶片为洗膛，器身浮雕牡丹，花瓣层叠饱满，柔媚鲜活。花叶舒展蜷曲，贴合料形走势，将蜜蜡天然肌理与精湛刀工相融。\n\n刀意婉转细腻，花瓣褶皱脉络写实清晰，枝蔓隐于叶底，虚实相映。既保留蜜蜡温润质感，又以浮雕技法赋予器物雅致生趣，兼具文房清玩的实用性与陈设观赏性，静穆间晕开盛放花事的鲜活意趣，尽显隽秀雅致的文房审美意韵。",[378,142,7,115],"蜜蜡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fd4c7f3a6c29790cedeeaa94541c9c1.jpg",[],{"id":382,"slug":383,"title":384,"dynasty":18,"author":19,"museum":20,"description":385,"tags":386,"thumbUrl":389,"material":27,"size":28,"collection":29,"collections":390,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":96},252079,"bi-yu-lou-diao-mu-dan-wen-he-yi-ming-252079","碧玉镂雕牡丹纹盒","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。",[209,387,388,7,142,115],"碧玉","镂雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb75d746750a4d090c5f0b1e337595495.jpg",[],{"id":392,"slug":393,"title":394,"dynasty":18,"author":19,"museum":20,"description":127,"tags":395,"thumbUrl":402,"material":27,"size":28,"collection":29,"collections":403,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},250201,"qian-long-kuan-hua-fa-lang-hua-hui-wu-fu-wen-wan-yi-ming-250201","乾隆款画珐琅花卉五蝠纹碗",[18,396,397,178,398,114,42,243,399,400,117,61,401,45,7],"乾隆","画珐琅","工笔","蝙蝠","龙","蝙蝠纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0472974ea696c2886611e6f950773708.jpg",[],{"id":405,"slug":406,"title":407,"dynasty":18,"author":19,"museum":20,"description":111,"tags":408,"thumbUrl":412,"material":27,"size":28,"collection":29,"collections":413,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":106},249428,"qia-si-fa-lang-gou-lian-mu-dan-fu-xi-wen-pie-kou-ping-yi-ming-249428","掐丝珐琅勾莲牡丹袱系纹撇口瓶",[209,113,114,409,410,7,411,178],"瓶","勾莲纹","袱系纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fe47ec80f0f1c0a3a1698d3c1e1c28f.jpg",[],{"id":415,"slug":416,"title":417,"dynasty":18,"author":19,"museum":20,"description":127,"tags":418,"thumbUrl":423,"material":27,"size":28,"collection":29,"collections":424,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":96},248546,"jin-qi-tuan-shou-chan-zhi-lian-wen-pie-kou-wan-yi-ming-248546","金漆团寿缠枝莲纹撇口碗",[209,129,419,130,178,420,421,7,422,115],"金漆","团寿纹","缠枝莲纹","吉祥纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd35a08238a1d6541b9a69c68e3feb767.jpg",[],{"id":426,"slug":427,"title":126,"dynasty":18,"author":19,"museum":20,"description":127,"tags":428,"thumbUrl":432,"material":27,"size":28,"collection":29,"collections":433,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":96},248493,"qian-long-kuan-hong-qi-miao-jin-dan-feng-mu-dan-wen-yin-li-pie-kou-wan-yi-ming-248493",[209,129,429,131,7,430,431,178],"红漆描金","银里","撇口碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0d50668761b16ec4127f8cc2e8829df.jpg",[],{"id":435,"slug":436,"title":126,"dynasty":18,"author":19,"museum":20,"description":127,"tags":437,"thumbUrl":439,"material":27,"size":28,"collection":29,"collections":440,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},248482,"qian-long-kuan-hong-qi-miao-jin-dan-feng-mu-dan-wen-yin-li-pie-kou-wan-yi-ming-248482",[129,130,178,438,131,7,132,115],"花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2224b83979466b6e29c4395f5807c424.jpg",[],{"id":442,"slug":443,"title":444,"dynasty":18,"author":19,"museum":20,"description":222,"tags":445,"thumbUrl":450,"material":27,"size":28,"collection":29,"collections":451,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":96},247531,"ti-cai-shuang-feng-mu-dan-wen-mei-hua-shi-cuan-he-yi-ming-247531","剔彩双凤牡丹纹梅花式攒盒",[18,129,446,142,447,7,448,449],"剔彩","双凤","梅花式","攒盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91e721fcc92fac704b4c9e370ae12d8b.jpg",[],{"id":453,"slug":454,"title":444,"dynasty":18,"author":19,"museum":20,"description":222,"tags":455,"thumbUrl":457,"material":27,"size":28,"collection":29,"collections":458,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":96},247530,"ti-cai-shuang-feng-mu-dan-wen-mei-hua-shi-cuan-he-yi-ming-247530",[129,446,142,456,117,448,115,18,447,7],"凤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01c327d5a83ff3701fc884f60a7bd9ea.jpg",[],{"id":460,"slug":461,"title":462,"dynasty":18,"author":19,"museum":20,"description":222,"tags":463,"thumbUrl":464,"material":27,"size":28,"collection":29,"collections":465,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":96},247376,"ti-hong-mu-dan-wen-bian-yuan-he-yi-ming-247376","剔红牡丹纹扁圆盒",[18,129,224,142,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66b907fbd23716ecb648b73e05ea2d63.jpg",[],{"id":467,"slug":468,"title":462,"dynasty":18,"author":19,"museum":20,"description":222,"tags":469,"thumbUrl":470,"material":27,"size":28,"collection":29,"collections":471,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},247375,"ti-hong-mu-dan-wen-bian-yuan-he-yi-ming-247375",[209,129,224,142,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3234bcf65f6636c1ce6081a865c0ebdc.jpg",[],{"id":473,"slug":474,"title":475,"dynasty":18,"author":19,"museum":20,"description":222,"tags":476,"thumbUrl":477,"material":27,"size":28,"collection":29,"collections":478,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":96},247290,"ti-hong-shuang-mian-mu-dan-wen-yuan-he-yi-ming-247290","剔红双面牡丹纹圆盒",[209,129,224,142,7,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbebe6b48e8c9b8e955b20e4a23c4ad76.jpg",[],{"id":480,"slug":481,"title":482,"dynasty":18,"author":19,"museum":20,"description":222,"tags":483,"thumbUrl":484,"material":27,"size":28,"collection":29,"collections":485,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},246997,"qian-long-kuan-ti-hong-mu-dan-wen-yuan-he-yi-ming-246997","乾隆款剔红牡丹纹圆盒",[209,129,224,142,7,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc8d6981c9e36b9fc8179b533107ee84.jpg",[],{"id":487,"slug":488,"title":482,"dynasty":18,"author":19,"museum":20,"description":222,"tags":489,"thumbUrl":490,"material":27,"size":28,"collection":29,"collections":491,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},246995,"qian-long-kuan-ti-hong-mu-dan-wen-yuan-he-yi-ming-246995",[209,129,224,142,7,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34d97f31006762aa74772532f67eb220.jpg",[],{"id":493,"slug":494,"title":495,"dynasty":18,"author":19,"museum":20,"description":496,"tags":497,"thumbUrl":499,"material":27,"size":28,"collection":29,"collections":500,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},246628,"ti-hong-mu-dan-wen-bian-yuan-ping-yi-ming-246628","剔红牡丹纹扁圆瓶","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。",[209,129,224,142,7,498],"扁圆瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc87acda399e1b78a2efacf602da94bd3.jpg",[],{"id":502,"slug":503,"title":504,"dynasty":18,"author":19,"museum":20,"description":127,"tags":505,"thumbUrl":510,"material":27,"size":28,"collection":29,"collections":511,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},246589,"qian-long-kuan-ti-hong-lv-di-chan-zhi-lian-wen-tong-li-gao-zu-wan-yi-ming-246589","乾隆款剔红绿地缠枝莲纹铜里高足碗",[18,129,224,142,421,7,506,507,508,509],"铜制","高足碗","绿地纹饰","饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F068c397209a5fad984e6404898776b41.jpg",[],{"id":513,"slug":514,"title":515,"dynasty":38,"author":19,"museum":20,"description":516,"tags":517,"thumbUrl":518,"material":27,"size":28,"collection":29,"collections":519,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},246219,"xuan-de-kuan-ti-hong-mu-dan-wen-yuan-he-yi-ming-246219","宣德款剔红牡丹纹圆盒","雕漆,是漆工艺中的一个品种,是中国漆器特有的装饰技法,是在油光漆兑入入漆颜料,数十层乃至上百层地髹涂在用漆封闭处理过的胎骨上,每天只能髹涂二至三道,髹涂下道漆不可等上道漆干透,否则漆层容易缺脱,这样逐层累积到需要的厚度,用刀剔刻出浮雕花纹,表现层次与质地的美感.",[41,129,224,142,7,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c128b560117a42f0fa7b49eb5d4bf21.jpg",[],{"id":521,"slug":522,"title":523,"dynasty":38,"author":19,"museum":20,"description":516,"tags":524,"thumbUrl":526,"material":27,"size":28,"collection":29,"collections":527,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":106},246080,"yong-le-kuan-ti-hong-mu-dan-wen-yuan-he-yi-ming-246080","永乐款剔红牡丹纹圆盒",[38,129,224,7,525,142,115],"圆盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2646d1cf1eaefb205f6c5d0ae8bc748f.jpg",[],{"id":529,"slug":530,"title":531,"dynasty":18,"author":19,"museum":20,"description":496,"tags":532,"thumbUrl":10,"material":27,"size":28,"collection":29,"collections":534,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},245732,"yin-feng-xi-mu-dan-wen-bi-ping-yi-ming-245732","银凤戏牡丹纹壁瓶",[18,132,142,177,7,533],"壁瓶",[],1777535709252]