[{"data":1,"prerenderedAt":410},["ShallowReactive",2],{"subject-qian-bao":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},4378,"qian-bao","嵌宝","嵌宝画高清赏析","精选中国历代嵌宝题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F316e287796a2c0da16e2b1ad21108d6d.jpg",0,35,[14,39,56,68,84,97,114,126,135,147,161,175,189,198,209,219,234,241,253,263,276,283,293,303,311,321,329,339,345,352,361,372,380,392,400],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":32,"material":33,"size":34,"collection":35,"collections":36,"showCount":37,"zanCount":11,"manualWeight":11,"mainColor":38},242011,"yin-du-jin-qian-zhu-bao-dian-hua-yi-ming-242011","银镀金嵌珠宝钿花","清","佚名","藏地不详","用金、银、玉、贝等做成的花朵状装饰品。",[23,24,25,26,27,28,29,30,31,7],"清代","银器","金器","镶嵌","珠宝","钿花工艺","饰品","花卉造型","金属工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65288ae426398e177c25e5daf8e2ca4d.jpg","未知","Xcm*Xcm","",[],27,"2A56C6",{"id":40,"slug":41,"title":42,"dynasty":18,"author":19,"museum":20,"description":43,"tags":44,"thumbUrl":52,"material":33,"size":34,"collection":35,"collections":53,"showCount":54,"zanCount":11,"manualWeight":11,"mainColor":55},229455,"yin-du-jin-dian-cui-qian-bao-fu-shou-zan-yi-ming-229455","银镀金点翠嵌宝福寿簪","发簪，中国古代汉族人民用来固定和装饰头发的一种首饰。对于现代人来说已经是一个很古老的名词了，但是当在看古装剧时，却总是能被它们点缀出的精致效果所折服。\n将长发松松挽起，插上一枚别致的发簪，再配上典雅的长裙，即便性格再外放的女性，也可以成为让人眼前一亮的古典美人。发簪金属的光泽闪耀在发间，加上小而巧的坠饰，长发的风情便又是一种不一样的感受了。",[23,45,7,46,47,48,49,50,51,29],"点翠","银镀金","簪","花卉","福寿","宝石","珍珠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3218fc32517be15466e501939e1ab6b4.jpg",[],24,"795548",{"id":57,"slug":58,"title":59,"dynasty":18,"author":19,"museum":20,"description":43,"tags":60,"thumbUrl":64,"material":33,"size":34,"collection":35,"collections":65,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":67},268933,"yin-du-jin-dian-cui-qian-liao-shan-hu-qing-ting-wen-zan-yi-ming-268933","银镀金点翠嵌料珊瑚蜻蜓纹簪",[61,29,62,24,25,45,7,63],"发簪","蜻蜓","珊瑚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82c96b15701d477f07dc3a4587f5ef6a.jpg",[],10,"BDBDBD",{"id":69,"slug":70,"title":71,"dynasty":18,"author":19,"museum":20,"description":72,"tags":73,"thumbUrl":80,"material":33,"size":34,"collection":35,"collections":81,"showCount":66,"zanCount":82,"manualWeight":11,"mainColor":83},241842,"yin-du-jin-dian-cui-qian-zhu-shi-feng-yi-ming-241842","银镀金点翠嵌珠石凤","点翠凤羽晕开沉静宝蓝，似将晴空裁作衣袂，勾勒彩凤翩然欲飞之姿。粉碧玺雕就盛放牡丹，莹润水色凝着柔婉春意，与凤身桃色碧玺遥遥相映。米珠串作凤尾流苏，轻摇间恍若环佩叮咚，累丝鎏金肌理细腻如鳞，把华贵藏进分毫细节里。\n\n整器揉合点翠、累丝、镶宝工艺，将禽鸟灵动仙气与闺阁妆饰的富丽雅致相融，方寸之间凝着旧时匠人的极致心血，藏着古时妆造里的浪漫匠心。",[23,46,45,74,75,76,77,29,25,24,7,78,79],"嵌珠石","凤","珠石","花","工艺","清代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd116ffde1a9086a054a25aa680948436.jpg",[],1,"37474F",{"id":85,"slug":86,"title":87,"dynasty":18,"author":19,"museum":20,"description":88,"tags":89,"thumbUrl":94,"material":33,"size":34,"collection":35,"collections":95,"showCount":96,"zanCount":82,"manualWeight":11,"mainColor":67},223988,"jin-lei-si-qian-dong-zhu-long-shou-er-zhui-fu-mu-xia-1-yi-ming-223988","金累丝嵌东珠龙首耳坠 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。",[23,25,29,90,7,91,51,63,92,93],"金累丝","龙","绿松石","耳坠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0579431cd6c0ce2a8dc3bc30e484ee97.jpg",[],8,{"id":98,"slug":99,"title":100,"dynasty":18,"author":19,"museum":20,"description":101,"tags":102,"thumbUrl":111,"material":33,"size":34,"collection":35,"collections":112,"showCount":113,"zanCount":11,"manualWeight":11,"mainColor":55},229251,"shi-ba-shi-ji-wan-qi-shi-jiu-shi-ji-chu-qi-xin-jiang-hui-bu-hua-shi-shuang-bing-xiang-xun-yi-ming-229251","十八世纪晚期-十九世纪初期 新疆回部 花式双柄香薰","玉色清润莹白，造型妍秀灵动。盖顶莲苞盛放为钮，盖身摹瓜棱肌理，间以透雕缠枝卷叶，柔蔓凝玉，生机暗涌。两侧兽首衔活环为耳，嵌朱宝点睛，晕开一抹鲜亮，中和玉色素净。\n\n此作糅合回部薄胎玉雕技法与中原审美意趣，器壁匀薄、雕工柔婉，既可用以焚香散韵，亦尽显玉作精工雅致，将西域风情与东方幽致相融，静立间尽显清隽雅逸的格调。",[103,104,105,106,7,107,23,108,109,110],"玉石","雕刻","双柄","花式","香薰","莲花","回部风格","器形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5b7d290adc1bc44c67bc2e1a65aaa58.jpg",[],7,{"id":115,"slug":116,"title":117,"dynasty":18,"author":19,"museum":20,"description":118,"tags":119,"thumbUrl":123,"material":33,"size":34,"collection":35,"collections":124,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":67},268209,"dian-cui-qian-liao-zhu-dian-zi-yi-ming-268209","点翠嵌料珠钿子","以髹黑竹篮为胎，轻盈不失规整。周身点翠饰件晕开幽谧宝蓝，盘长纹环伺，暗喻福寿绵长无绝。正中央团寿纹缠枝环绕，嵌饰珠石，宝光盈盈，将祝寿之意藏于精工。下沿宝相花舒展，金托衬起粉润主石，明丽华贵。两侧蝶翼轻颤、小花娇柔，添闺阁灵动意趣。\n\n整器融点翠的清润、累金的华贵与珠宝的莹润于一体，配色浓淡相宜，纹饰处处寄寓吉庆，尽显旧时闺阁妆造的雅致富丽，是清代细作首饰中的精巧之作。",[29,120,45,7,121,122],"头饰","金饰","寿纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F456996c05aa0fe6d3fa3030000a5dfff.jpg",[],3,{"id":127,"slug":128,"title":129,"dynasty":18,"author":19,"museum":20,"description":130,"tags":131,"thumbUrl":133,"material":33,"size":34,"collection":35,"collections":134,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":67},229452,"qian-qing-jin-shi-jin-yue-yi-ming-229452","嵌青金石金约","此件以赤金为骨，分段拼接出规整圆环，靛蓝青金石嵌入金框，古雅宝色与暖金光泽相映成趣。金质衔接处以累花丝卷草饰件过渡，镶嵌圆润珍珠，柔润珠光调和金石厚重质感。\n\n垂缀三串米珠流苏，以青金石金花饰为承接，莹润珍珠串联成流泻碎光，随佩戴轻摇生姿，将华贵与灵动相融。既带着金石沉凝的端方大气，又凭珍珠流苏衬出柔婉雅致，尽显宫廷配饰的考究格调，是清代细金作与珠宝镶嵌工艺的精巧缩影。",[23,25,29,7,132,51,31],"青金石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6af0d31535c33593e41691af7781797.jpg",[],{"id":136,"slug":137,"title":138,"dynasty":18,"author":19,"museum":20,"description":139,"tags":140,"thumbUrl":144,"material":33,"size":34,"collection":35,"collections":145,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":55},245670,"jin-qian-yu-shi-bian-fang-yi-ming-245670","金嵌玉石扁方","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。",[23,25,26,103,29,7,141,142,143,50],"花丝","花卉纹饰","圆形饰件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8fc66dd1b3c1f5faf7ca1a5d0173ea7.jpg",[],2,{"id":148,"slug":149,"title":150,"dynasty":18,"author":19,"museum":20,"description":43,"tags":151,"thumbUrl":159,"material":33,"size":34,"collection":35,"collections":160,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":55},242124,"yin-du-jin-fu-shou-wen-zan-yi-ming-242124","银镀金福寿纹簪",[152,46,153,154,155,156,29,157,7,158],"清代工艺","琺瑯器","福寿纹","龙纹","宝石镶嵌","金属雕刻","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d2db4df8171c32ec4bb8bc6cbaa2460.jpg",[],{"id":162,"slug":163,"title":164,"dynasty":18,"author":19,"museum":20,"description":165,"tags":166,"thumbUrl":173,"material":33,"size":34,"collection":35,"collections":174,"showCount":82,"zanCount":11,"manualWeight":11,"mainColor":67},274419,"tong-du-jin-qian-hong-lv-shi-tai-ping-you-xiang-jing-yi-ming-274419","铜镀金嵌红绿石太平有象景","这件器物敦然沉稳，鎏金裹身，宝色温雅莹润。大象体态饱满驯顺，鞍鞯以红绿彩石镶嵌出缠花宝相纹样，华丽雅致。象背瑞兽昂首托举方亭，亭顶宝瓶抽枝绽花，累丝配各色宝石，层层递进，繁而不乱。\n\n它融汇錾刻、累丝、镶嵌诸般巧艺，处处可见精工细作。祥瑞意象层层叠加，藏着古人对太平康宁、岁稔年丰的祈愿，尽显清代工艺的奢华工巧，是祈福纳祥器物中的上乘之作。",[167,25,104,168,169,7,170,171,172],"铜制","象","兽","摆件","器","太平有象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6813d3359c745683877f3ce03e56c6dc.jpg",[],{"id":176,"slug":177,"title":178,"dynasty":179,"author":19,"museum":20,"description":180,"tags":181,"thumbUrl":187,"material":33,"size":34,"collection":35,"collections":188,"showCount":82,"zanCount":11,"manualWeight":11,"mainColor":67},251244,"bai-yu-qian-bao-hua-er-bei-yi-ming-251244","白玉嵌宝花耳杯","明","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。",[179,103,104,7,182,183,184,185,186],"花耳","杯","玉器","嵌饰","宝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa82c550d9adc88b615203b0c2bfe98df.jpg",[],{"id":190,"slug":191,"title":192,"dynasty":18,"author":19,"museum":20,"description":193,"tags":194,"thumbUrl":196,"material":33,"size":34,"collection":35,"collections":197,"showCount":82,"zanCount":11,"manualWeight":11,"mainColor":83},245521,"jin-qian-bao-qi-zhen-xiang-bao-yi-ming-245521","金嵌宝七珍-象宝","此器以赤金为底，累丝、点翠与嵌宝工艺相得益彰。主尊趺坐莲台，面容慈悲端肃，衣褶璎珞分毫毕现。莲瓣基座密嵌红蓝宝，宝光流转，晕染佛门祥瑞。支架取缠枝宝相花造型，翠色点染枝叶，与暖金底色相映成趣，灵动雅致。整器将花丝的精细秀巧、点翠的清润雅致与宝石的明丽光华糅合一处，尽显造办处极致工巧，静穆间承载礼佛的清净庄严，尽显清代礼佛供具的雍容华贵。",[23,25,7,195,171,168,186,78],"宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff54129c353cc0371487c5e0a8bea3441.jpg",[],{"id":199,"slug":200,"title":201,"dynasty":18,"author":19,"museum":20,"description":202,"tags":203,"thumbUrl":207,"material":33,"size":34,"collection":35,"collections":208,"showCount":82,"zanCount":11,"manualWeight":11,"mainColor":83},242050,"yin-du-jin-qian-zhu-kui-hua-wen-jie-zi-yi-ming-242050","银镀金嵌珠葵花纹结子","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。",[23,46,204,205,29,206,7],"嵌珠","珐琅器","葵花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7049b75f9e18ed4a426edc4c14770db.jpg",[],{"id":210,"slug":211,"title":212,"dynasty":18,"author":19,"museum":20,"description":213,"tags":214,"thumbUrl":217,"material":33,"size":34,"collection":35,"collections":218,"showCount":82,"zanCount":11,"manualWeight":11,"mainColor":67},229689,"bao-jin-qian-zhu-shi-hua-yi-ming-229689","包金嵌珠石花","整体造型宛若一束盛放的生花，包金工艺细腻匀实，将花枝叶脉的纤柔灵动尽数还原，每一处枝桠都带着鲜活的舒展姿态。底部嵌饰的珠石色泽浓艳莹润，与赤金底色相互映衬，华贵又不失灵动生机。留存至今的黄绶带着斑驳的旧日印记，为这件饰物晕开了古拙厚重的岁月质感。\n\n它以金为骨，以石为睛，将细金工艺的精妙与雅致审美融为一体，既带着金饰与生俱来的华贵大气，又藏着花草柔婉的鲜活意趣，是清代细金工艺造诣的精巧缩影，静静诉说着往昔的精致美学。",[23,215,74,29,25,7,30,31,216,121],"包金","镶嵌工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac54440c595e10d9f12980cbed69083e.jpg",[],{"id":220,"slug":221,"title":222,"dynasty":18,"author":19,"museum":20,"description":223,"tags":224,"thumbUrl":232,"material":33,"size":34,"collection":35,"collections":233,"showCount":82,"zanCount":11,"manualWeight":11,"mainColor":67},229568,"hua-shi-shuang-bing-gai-guan-yi-ming-229568","花式双柄盖罐","此器取温润白玉雕琢，器身作瓜棱花形，线条柔婉饱满。盖钮与双耳皆仿花卉造型，嵌饰朱红宝饰，素净玉色晕开点点艳色，雅致醒目。器身浅刻缠枝纹样，细腻灵动，仿若暗香随形流转。花口圈足呼应通体花韵，将玉雕素洁与花艺雅趣相融。\n\n刀工柔缓精到，将玉石温润质感尽数彰显，带着精巧华贵的气韵，把匠人绝佳工艺藏于柔婉花形之中，尽显雅致考究的清宫造物意趣。",[103,104,26,225,226,105,227,228,79,229,7,230,231],"牡丹","花式盖","花瓣形底","精细纹饰","浮雕","花卉纹","器物造型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8336083b8cfb606f4e7be459a2a62bc6.jpg",[],{"id":235,"slug":236,"title":237,"dynasty":18,"author":19,"museum":20,"description":139,"tags":238,"thumbUrl":10,"material":33,"size":34,"collection":35,"collections":240,"showCount":82,"zanCount":11,"manualWeight":11,"mainColor":67},229103,"qian-jian-jing-shi-qing-yu-shui-sheng-yi-ming-229103","嵌尖晶石青玉水盛",[23,103,104,7,171,239],"文房用具",[],{"id":242,"slug":243,"title":244,"dynasty":18,"author":19,"museum":20,"description":245,"tags":246,"thumbUrl":251,"material":33,"size":34,"collection":35,"collections":252,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":55},275498,"mu-qian-tong-shi-jian-bing-sha-yu-pi-qiao-liao-ren-dao-yi-ming-275498","木嵌铜饰件柄鲨鱼皮鞘撩刃刀","刀为单面长刃的短兵器。同时泛指可用于切、削、割、剁、刺的工具，与匕首合称亦为膳食器。刀的最初形态，与钺非常接近。其形状为短柄，翘首，刀脊无饰，刃部较长。到春秋战国时期，刀的形状发生巨大变化，两汉时，刀逐渐发展为步兵的主战兵器之一如环首刀，同时出现了许多不同形式的长柄刀。铜刀存世数量不多，体形均轻薄，最厚处仅0.35厘米，其形制粗分有短柄翘首刀、长柲卷首刀、平刃刀、曲刃刀等数类。\n在原始社会，古人类就用石头、蚌壳、兽骨打制成各种形状的刀。他们选用的石头多半是石英石、砂岩，也有燧石和水晶石。用这些石料打制成的石刀质坚棱利，是很好的砍劈工具。其次是用蚌壳和兽骨磨制的蚌刀、骨刀，这类刀轻便锋利，适于砍削器物。同样古人不仅用刀作为劳动工具，还随身携带作为防身自卫的武器。\n以雄浑、豪迈、挥如猛虎的风格而驰名的兵器，在十八般武器中排名第一。清朝诗人郑世元这样描写道：“秋水飞双腕，冰花散满身。柔看绕肢体，纤不动埃尘。闪闪摇银海，团团滚玉轮。声驰惊白帝，光乱失青春。杀气腾幽朔，寒芒泣鬼神。舞余回紫袖，萧飒满苍旻。”",[247,25,248,7,249,250],"兵器","刀具","木雕","鲨鱼皮鞘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1704565d40f19e980a84a22f67bd1de.jpg",[],{"id":254,"slug":255,"title":256,"dynasty":18,"author":19,"museum":20,"description":139,"tags":257,"thumbUrl":260,"material":33,"size":34,"collection":35,"collections":261,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":262},275251,"yu-qian-liao-shi-hua-bing-jin-tao-pi-qiao-zhuan-dian-yao-dao-yi-ming-275251","玉嵌料石花柄金桃皮鞘转电腰刀",[247,258,103,25,7,259],"腰刀","桃皮鞘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53c9a02df5d34e105f135aae14f44b67.jpg",[],"FFFFFF",{"id":264,"slug":265,"title":266,"dynasty":18,"author":19,"museum":20,"description":267,"tags":268,"thumbUrl":274,"material":33,"size":34,"collection":35,"collections":275,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":55},275136,"qian-long-kuan-jin-you-wu-cai-ci-fa-lun-yi-ming-275136","乾隆款金釉五彩瓷法轮","由于金釉特殊的颜色和地位，金釉器物的数量很少，雍正时期有杯、盘。乾隆朝的金釉器物以金釉法轮、金釉加彩佛像宗教用具为多。此杯精巧玲珑，胎薄质细，蓝釉深沉素雅，金彩雍容华贵，给人以富丽堂皇之感。器历经数百年，金彩鲜艳如初，十分难得。\n金彩装饰瓷器始于唐代，元代景德镇窑瓷器上运用描金手法，而通体施金釉的瓷器，直至清代康熙晚期出现。金釉制作工艺从严格意义上讲应为“彩”，是在金块研磨、过筛后，加蒜汁搅拌后涂抹在瓷器上（慈禧以后，西洋料进来的更加频繁，用乳胶取代了蒜汁），低温烧烤后，再用玛瑙研磨，使金釉表面光亮。由于烧成温度低，金釉的色彩极易脱落，保存颇为不易。金釉是唯有皇帝才能享用的帝王之色。釉彩成色十足，釉色如黄金般耀眼夺目，原件为大清康熙年制。",[269,195,270,271,272,273,7,104],"陶瓷","法器","礼器","金釉","五彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b592339d1def4cce0fa23fa38770b25.jpg",[],{"id":277,"slug":278,"title":266,"dynasty":18,"author":19,"museum":20,"description":267,"tags":279,"thumbUrl":281,"material":33,"size":34,"collection":35,"collections":282,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":55},275134,"qian-long-kuan-jin-you-wu-cai-ci-fa-lun-yi-ming-275134",[269,25,271,195,280,7],"法轮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4549920d47750a30e682a02c6345b29.jpg",[],{"id":284,"slug":285,"title":286,"dynasty":18,"author":19,"museum":20,"description":287,"tags":288,"thumbUrl":291,"material":33,"size":34,"collection":35,"collections":292,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":83},274942,"tong-qian-liao-shi-la-qian-yi-ming-274942","铜嵌料石蜡扦","双层灯盘错落排布，高挑扦针利落挺拔。灯盘面錾刻缠枝卷草，柔婉舒展，将春意凝于铜上。束腰暗饰兽首，古拙沉静，暗合庄重之气。钟形基座以垂幔宝相花为饰，嵌饰彩料石如星子缀于其上，晕开细碎光泽，添了几分华贵雅致。\n\n铜质厚重温润，包浆沉敛，将錾刻、嵌宝工艺精妙融合，既有礼器的端正规整，亦不失装饰意趣，尽显造物的精巧工致，藏着旧时案头灯影里的雅致意韵。",[289,167,290,104,7,171],"青铜器","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18f472f30ef361157a9765c88652965b.jpg",[],{"id":294,"slug":295,"title":296,"dynasty":18,"author":19,"museum":20,"description":297,"tags":298,"thumbUrl":301,"material":33,"size":34,"collection":35,"collections":302,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":55},274284,"tong-du-jin-qian-liao-shi-ba-jing-biao-yi-ming-274284","铜镀金嵌料石把镜表","表嵌于容镜的铜镀金缠枝花边框正上方，花框上嵌饰的红、绿、蓝、白各色料石更使镜框富丽华贵。\n镜框所嵌二针小表为英国制造。",[171,290,29,25,167,104,7,299,300],"镜子","钟表","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef5560f2c557b77c05442eeea535b24e.jpg",[],{"id":304,"slug":305,"title":306,"dynasty":18,"author":19,"museum":20,"description":307,"tags":308,"thumbUrl":309,"material":33,"size":34,"collection":35,"collections":310,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},274085,"tong-du-jin-qian-song-shi-la-qian-yi-ming-274085","铜镀金嵌松石蜡扦","整体挺拔秀雅，层叠有致。通体鎏金为底，錾刻细密地纹，满嵌松石与彩饰。自上而下，灯针纤挺而立，浅盘承接余烬，柱身莲纹缠枝娇妍，承盘回纹环绕周正，底座取莲瓣云纹铺陈，将藏式宗教纹样与宫廷华贵审美相融。\n\n工艺极尽工巧，金辉映松石清润，彩饰衬鎏金雍容，肃穆礼佛之用与极致匠心合二为一，烛火映耀时，金彩流转、宝光莹莹，尽显盛世器物的华贵静穆。",[167,25,290,171,104,205,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4aba3a1981ecc38b46cae9b93a3f3318.jpg",[],{"id":312,"slug":313,"title":314,"dynasty":18,"author":19,"museum":20,"description":245,"tags":315,"thumbUrl":319,"material":33,"size":34,"collection":35,"collections":320,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},269621,"xi-jiao-diao-yun-long-wen-qian-song-shi-shan-hu-qiao-niu-jiao-bing-xiao-dao-yi-ming-269621","犀角雕云龙纹嵌松石珊瑚鞘牛角柄小刀",[171,247,104,91,316,317,318,7],"云龙纹","犀角","牛角","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2003f83b7df8a51f73589dc4359b2957.jpg",[],{"id":322,"slug":323,"title":324,"dynasty":18,"author":19,"museum":20,"description":139,"tags":325,"thumbUrl":327,"material":33,"size":34,"collection":35,"collections":328,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":83},268747,"xiang-yu-dai-huan-yi-ming-268747","镶玉带环",[25,29,103,104,7,326],"蝙蝠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2842dd4781024787d5ef71f546726108.jpg",[],{"id":330,"slug":331,"title":332,"dynasty":18,"author":19,"museum":20,"description":333,"tags":334,"thumbUrl":337,"material":33,"size":34,"collection":35,"collections":338,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":55},268544,"dian-cui-fu-shuang-xi-wen-tou-hua-yi-ming-268544","点翠蝠双喜纹头花","中国妇女最偏爱的头花当属绒花，尤其是在女儿出嫁时，头上必须戴红色绒花，图火红吉利。在中国妇女中，只要条件允许，不仅婚礼喜庆日时要戴绒花，而且一年四季都愿意头戴绒花，求谐音吉祥。尤其到应时节序戴应季绒花：立春日戴春幡，清明日戴柳枝，端阳日戴艾草，中秋日戴桂花，重阳日戴茱萸，立冬日戴葫芦阳生……。清宫后妃们的头花，还有大批的绒花、绢花、绫花流存于世，这些花色彩协调，晕色层次丰富，堪称“乱真”之花。清代遗留下来的绒、绢、绫、绸等质地的头花有白、粉、桃红三晕色的牡丹花，浅黄、中黄、深黄三色的菊花，白、藕、雪青三色的月季花及粉、白相间的梅花等等，历时百年不久，仍鲜艳悦人。",[29,45,335,25,326,336,7,51],"头花","双喜纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9319c76f4acc78ee273124d11cc44e3c.jpg",[],{"id":340,"slug":341,"title":332,"dynasty":18,"author":19,"museum":20,"description":333,"tags":342,"thumbUrl":343,"material":33,"size":34,"collection":35,"collections":344,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":83},268541,"dian-cui-fu-shuang-xi-wen-tou-hua-yi-ming-268541",[29,45,25,326,336,120,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53a6944e010ca3a5b44554d4983dd6dd.jpg",[],{"id":346,"slug":347,"title":332,"dynasty":18,"author":19,"museum":20,"description":333,"tags":348,"thumbUrl":350,"material":33,"size":34,"collection":35,"collections":351,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":83},268540,"dian-cui-fu-shuang-xi-wen-tou-hua-yi-ming-268540",[29,25,45,120,349,336,7],"蝙蝠纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f61d448de7c08712c92189ec16b343d.jpg",[],{"id":353,"slug":354,"title":355,"dynasty":18,"author":19,"museum":20,"description":356,"tags":357,"thumbUrl":359,"material":33,"size":34,"collection":35,"collections":360,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":55},266897,"tong-du-jin-qian-liao-shi-niu-kou-yi-ming-266897","铜镀金嵌料石纽扣","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。",[29,25,167,358,7,290],"纽扣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F802c50910c00578ba8f6589c8a3d5cb3.jpg",[],{"id":362,"slug":363,"title":364,"dynasty":18,"author":19,"museum":20,"description":365,"tags":366,"thumbUrl":370,"material":33,"size":34,"collection":35,"collections":371,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":83},245522,"jin-qian-bao-qi-zhen-mo-ni-bao-yi-ming-245522","金嵌宝七珍-摩尼宝","这件供器以纯金为骨，以累花丝嵌、点翠镶宝工艺打造。顶饰轮盘饱满华丽，中心与周身满嵌红蓝宝石，宝光莹润鲜亮，环绕的点翠饰件晕出幽蓝雅致，与赤金相衬更显华贵。\n\n器身花枝舒展，翠羽铺就花叶纹理，宝石点缀其间，将贵金属的厚重雍容与点翠的清灵雅致相融，细节处尽显繁复精巧的宫廷造办技艺，尽显庄严华贵的佛供美学，是藏传礼供器物中的精工之作。",[23,195,367,25,7,156,368,153,171,369,31,152],"佛教","珐琅","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ddb4e5a81aeea5152399081b3cef7a1.jpg",[],{"id":373,"slug":374,"title":375,"dynasty":18,"author":19,"museum":20,"description":333,"tags":376,"thumbUrl":378,"material":33,"size":34,"collection":35,"collections":379,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":83},242151,"yin-du-jin-qian-zhu-bao-qing-ting-wen-tou-hua-yi-ming-242151","银镀金嵌珠宝蜻蜓纹头花",[23,29,24,25,27,62,7,377],"镀金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0a4511e68f933025708f39552d96d69.jpg",[],{"id":381,"slug":382,"title":383,"dynasty":18,"author":19,"museum":20,"description":384,"tags":385,"thumbUrl":390,"material":33,"size":34,"collection":35,"collections":391,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":55},241856,"dai-mao-xiang-jin-qian-zhu-bao-zhuo-yi-ming-241856","玳瑁镶金嵌珠宝镯","传统腕饰，流行于全国各地。其多用金、银、玉等制圆环，束于臂腕间。汉代即有。套在手腕脚腕上的环形装饰品。",[23,386,25,27,26,7,387,29,388,389],"玳瑁","镶金","花鸟","装饰纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F598c4aafe3b43546a48b50a649d1cbbe.jpg",[],{"id":393,"slug":394,"title":383,"dynasty":18,"author":19,"museum":20,"description":384,"tags":395,"thumbUrl":398,"material":33,"size":34,"collection":35,"collections":399,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":55},241853,"dai-mao-xiang-jin-qian-zhu-bao-zhuo-yi-ming-241853",[23,386,396,27,26,104,29,7,387,397],"金","传统工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F095f31289733a4d9149a21bfdbbac172.jpg",[],{"id":401,"slug":402,"title":403,"dynasty":18,"author":19,"museum":20,"description":404,"tags":405,"thumbUrl":408,"material":33,"size":34,"collection":35,"collections":409,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":83},229437,"nei-tian-fa-lang-qian-bao-ba-wan-yi-ming-229437","内填珐瑯嵌宝靶碗","珐琅又称“佛郎”、“法蓝”，是由中国隋唐时古西域地名拂菻音译而来。珐琅器是以珐琅为材料装饰而制成的器物，其基本成分为石英、长石、硼砂和氟化物，与陶瓷釉、琉璃、玻璃同属硅酸盐类物质。依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。\n珐琅就是将经过粉碎研磨的珐琅釉料，涂施于经过金属加工工艺制作后的金属制品的表面，经干燥、烧成等制作步骤后，所得到的复合性工艺品。珐琅工艺的制作分类很多，一般根据制作方法和胎地种类将其分类。 [2] 珐琅依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。其中掐丝珐琅器就是俗称的“景泰蓝”，15世纪中期明代景泰年间的制品尤为著称，故有景泰蓝之称。\n清代，西洋珐琅从广州传入中国，广州生产的珐琅俗称“广珐琅”，是朝廷的贡品，其中最著名的是画珐琅 ，錾胎珐琅的制作中心也在广州，透明珐琅器也以广州出产的最为著名。",[23,406,7,407,171],"内填珐琅","珐瑯器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2817d8129ece5f36655d9bbb78100403.jpg",[],1777535713422]