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澹雅”。此册中的花鸟更是形神兼备，清新淡雅，具有新的风貌。",[24,25,26,84,28,83,29,30,7,65,66,97,41],"花苞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F141cf9f332104177044cc00b6174e0b6.jpg",[],151,4,{"id":103,"slug":104,"title":105,"dynasty":56,"author":57,"museum":106,"description":107,"tags":108,"thumbUrl":111,"material":69,"size":69,"collection":69,"collections":112,"showCount":113,"zanCount":114,"manualWeight":11,"mainColor":73},220607,"qian-niu-hua-qing-ting-tu-zhou-qi-bai-shi-220607","牵牛花蜻蜓图轴","湖南省博物馆","此作以浓墨挥写牵牛藤蔓叶片，干湿浓淡错落，尽显叶片俯仰向背的参差生机。艳红牵牛花以明快色彩点染晕开，将朝颜盛放的娇妍鲜活定格。\n\n只以寥寥数笔勾勒蜻蜓，身形轻薄灵动，似振翅欲停于藤蔓间，为画面添就乡野清晨的鲜活野趣。右上角题字朴拙老辣，与画作笔墨相映成趣。\n\n整幅简而不空，繁而不乱，将日常乡野意趣凝于尺幅，以写意之笔把寻常风物化作清雅动人的画中诗意。",[23,25,26,109,110,28,30,7,39,41],"立轴","水墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39ccdfe4e554c859984e3ce344cbe197.jpg",[],124,1,{"id":116,"slug":117,"title":118,"dynasty":78,"author":119,"museum":80,"description":120,"tags":121,"thumbUrl":122,"material":86,"size":87,"collection":69,"collections":123,"showCount":124,"zanCount":11,"manualWeight":11,"mainColor":73},239457,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239457","邹一桂花鸟草虫图册","邹一桂","邹一桂（1688-1772），清代画家。字元褒，号小山、二知、让卿、乡森子，江苏无锡人。雍正五年(1727)进士，官至礼部侍郎。擅工笔花卉。尝作《百花》卷，各系一诗。传世作品有《白梅山茶图》、《太古云岚图》、《水仙红梅图》等。",[25,84,29,28,30,7,65,66,41],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F890b258d7b2179aca0ace409e4e02f1c.jpg",[],43,{"id":126,"slug":127,"title":128,"dynasty":129,"author":19,"museum":80,"description":130,"tags":131,"thumbUrl":137,"material":69,"size":69,"collection":69,"collections":138,"showCount":139,"zanCount":114,"manualWeight":11,"mainColor":140},225300,"fu-shi-hui-22-yi-ming-225300","浮世绘22","不详","画面左右分置景致，左侧浅粉底色晕开柔缓春意，牵牛藤蔓虬曲舒展，蓝紫花苞次第绽放，蛱蝶振翼落于枝梢，灵动柔婉。右侧靛蓝为底，暖艳樱花层层缀满枝桠，双雀依偎栖息，羽色晕染细腻丰润，鲜活憨态尽显。\n中间题字墨色沉浑朴拙，书画相映成趣。配色明丽和谐，写实笔触糅合装饰意趣，将春日草木禽虫的闲逸意趣尽数定格，尽显和风雅致的风物之美，把自然里的幽微鲜活凝于纸面。",[132,133,28,30,7,38,134,135,136,41],"浮世绘","木刻","樱花","飞鸟","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5c01d703510bfa358818231a8cad0b5.jpg",[],19,"795548",{"id":142,"slug":143,"title":144,"dynasty":78,"author":145,"museum":146,"description":147,"tags":148,"thumbUrl":150,"material":151,"size":69,"collection":69,"collections":152,"showCount":153,"zanCount":114,"manualWeight":11,"mainColor":73},232946,"hua-hui-tu-ce-fan-ting-zhen-232946","花卉图册","范廷镇","北京故宫博物院","范廷镇（清），字鹿畴，一作祉安，或止安，号芷庵，一号冻亭，又号乐亭，武进（今江苏常州）人。能作花卉草虫，并书法，俱效恽寿平。\n范廷镇是恽寿平的亲传弟子，最能得恽南田没骨写生花卉之神髓，他的个别作品甚至可以达到乱真的地步，也是恽寿平的主要代笔人。包括他的书法与恽寿平都十分相近，接近于形神兼备，但格调稍欠，诗文才情更是与恽寿平相差甚远。",[25,29,28,30,84,149,65,66,7],"花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9b7096fc476d30387be59b262e27467.jpg","绢本设色",[],16,{"id":155,"slug":156,"title":157,"dynasty":78,"author":158,"museum":80,"description":159,"tags":160,"thumbUrl":164,"material":69,"size":69,"collection":69,"collections":165,"showCount":166,"zanCount":90,"manualWeight":11,"mainColor":73},224317,"hua-niao-ce-shi-kai-7-li-shan-224317","花鸟册十开7","李鱓","此帧绘牵牛绕竹，藤蔓蜷曲舒展，翠叶柔嫩鲜活，蓝紫花瓣晕染出通透光泽，将朝颜初绽的柔媚尽致展现。笔意兼具工致与写意，花叶灵动鲜活，如见晨露未晞的篱边实景。左侧书法笔力苍劲，诗书与绘事相映，文人雅趣尽显。以写生捕捉朝花之真，以笔墨挥洒写意之韵，将草木柔媚与文人意趣相融，雅致脱俗，尽显花间清逸之美。",[23,25,84,28,161,30,65,7,162,163,136,41],"写意","叶片","枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365822b4c1cbcce04446c2d41651ab33.jpg",[],10,{"id":168,"slug":169,"title":170,"dynasty":129,"author":19,"museum":80,"description":171,"tags":172,"thumbUrl":176,"material":86,"size":87,"collection":69,"collections":177,"showCount":178,"zanCount":11,"manualWeight":11,"mainColor":73},225498,"fu-shi-hui-256-yi-ming-225498","浮世绘256","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[132,133,28,173,7,174,66,175,38],"芋头","植物","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd979ac8fce311af94de351390c114cca.jpg",[],8,{"id":180,"slug":181,"title":182,"dynasty":183,"author":184,"museum":185,"description":186,"tags":187,"thumbUrl":10,"material":69,"size":69,"collection":47,"collections":192,"showCount":178,"zanCount":11,"manualWeight":11,"mainColor":193},203319,"san-qiu-tu-zhou-fan-hao-lin-203319","三秋图轴","近代","樊浩霖","上海博物馆","画面聚焦秋景，嶙峋山石间，红菊灼灼绽放，蓝牵牛清雅点缀，粉白小花与阔叶植物错落有致。潺潺流水自岩隙蜿蜒而出，添几分灵动生机。笔墨层次丰富，山石以淡墨皴擦见苍劲厚重，花卉设色妍丽却不失雅致，写意笔触与工细线条交织，将秋日草木的丰茂与清旷之韵娓娓道来，尽显自然意趣与文人雅致。",[25,109,28,29,161,188,189,7,190,191,30,23],"皴法","菊","山石","流水",[47],"c8c1b2",{"id":195,"slug":196,"title":197,"dynasty":129,"author":19,"museum":80,"descri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牵牛花图","以满幅构图铺陈牵牛花野趣，藤蔓肆意缠绕交错，将攀附篱架的夏花盛景凝于绢上。虽经岁月晕染，底色蒙尘黯淡，花叶敷色仍存雅致余韵。叶片与花苞错落排布，带着蓬勃的山野生机，古旧色调晕开沉静侘寂的氛围，将盛放时鲜活肆意的姿态藏在朦胧斑驳里，仿若能窥见旧时院中风过藤摇的夏日元气，把转瞬即逝的花事定格成永恒，在残旧质感里晕开独属于旧时光的风雅意趣。",[23,24,25,26,28,29,30,149,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff242ada4ac76821dcf54b15945a7661a.jpg",[],7,{"id":204,"slug":205,"title":206,"dynasty":78,"author":207,"museum":185,"description":208,"tags":209,"thumbUrl":211,"material":69,"size":69,"collection":69,"collections":212,"showCount":213,"zanCount":11,"manualWeight":11,"mainColor":214},202446,"si-ji-hua-hui-juan-ma-quan-202446","四季花卉卷","马荃","画卷铺展四季花卉，次第鲜活，生机满溢。工笔细勾花叶脉络，线条柔婉流畅；设色雅致明丽，红妍如丹、白洁似雪，晕染细腻自然。牵牛花藤蔓缠绕，百合清雅吐芳，芙蓉娇态毕现，月季绰约多姿，各花形态逼真，栩栩如生。每簇花卉旁题跋相伴，诗画交融，印章点缀，尽显文人雅趣。整卷布局疏朗有致，诗书画印合一，是清代工笔花鸟的精品，凝聚着对自然生机的咏叹与文人审美意趣。",[29,28,30,27,7,210,37,33,32,41,23],"百合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ba6b19b1b3b5a90691397f4096afcf2.jpg",[],5,"000000",{"id":216,"slug":217,"title":144,"dynasty":78,"author":218,"museum":80,"description":219,"tags":220,"thumbUrl":222,"material":86,"size":87,"collection":69,"collections":223,"showCount":101,"zanCount":114,"manualWeight":11,"mainColor":73},238490,"hua-hui-tu-ce-jiang-pu-238490","蒋溥","蒋溥（1708—1761年），大学士蒋廷锡长子，字质甫，号恒轩，江苏常熟人，清朝大臣，画家，善画花卉，深得家传。雍正八年二甲第一名进士，官至东阁大学士兼户部尚书。性情宽厚而警敏，任职后，精心奉职，勤于政事，是乾隆时期的重臣，亦是蒋派花鸟画艺术的重要代表。\n乾隆二十六年（1761）四月，病逝于任上。乾隆皇帝亲临祭奠，加赠太子太保，谥曰文恪，入祀贤良祠。",[25,26,84,29,28,30,149,221,7],"竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F492c4e28c2f5ed16196ab57b10e80ec1.jpg",[],{"id":225,"slug":226,"title":227,"dynasty":78,"author":228,"museum":80,"description":229,"tags":230,"thumbUrl":232,"material":86,"size":87,"collection":69,"collections":233,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":73},237713,"qiu-sui-hua-niao-ce-qiu-sui-237713","裘穟花鸟册","裘穟","清，钱塘(今杭州)人。焕子，艺术家，代表作《图绘宝鉴续纂》等。",[25,26,84,28,231,30,221,7,136,41],"白描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadb7b417f97f267b64d3a11add3f9799.jpg",[],{"id":235,"slug":236,"title":237,"dynasty":238,"author":19,"museum":80,"description":239,"tags":240,"thumbUrl":245,"material":86,"size":87,"collection":69,"collections":246,"showCount":114,"zanCount":11,"manualWeight":11,"mainColor":247},250782,"qing-yu-lou-diao-qian-niu-hua-chang-fang-dai-ban-yi-ming-250782","青玉镂雕牵牛花长方带板","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。 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。",[241,242,7,243,244],"玉石","镂雕","饰品","明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc20952133fda81521f83044a6023a481.jpg",[],"37474F",{"id":249,"slug":250,"title":251,"dynasty":78,"author":19,"museum":80,"description":252,"tags":253,"thumbUrl":258,"material":86,"size":87,"collection":69,"collections":259,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":260},271096,"ge-shi-yu-zhi-hua-hui-shi-guan-zi-hao-bi-zhu-guan-qian-niu-hua-shi-bi-yi-ming-271096","各式御制花卉诗管紫毫笔-竹管牵牛花诗笔","浅黄竹管温润素净，阴刻题字隽秀疏朗，将笔墨文气凝于尺管之间。紫毫锋颖锐利，褐紫毫色沉静内敛，弹力匀适，兼具书写小楷与勾勒细绘之能。\n\n配套笔斗浅镂牵牛花枝，柔蔓缠卷、花苞轻垂，将咏花诗句与镂花工艺相融。将寻常文房用具，点化为可赏可藏的随身雅玩，藏着旧时文人将风雅浸透日常的审美意趣，把花木清致与笔墨闲情合为一体，尽显清雅文心。",[254,255,256,7,257],"笔","竹管","紫毫","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8a2f3a6f98940eb78a24443632da54f.jpg",[],"F48FB1",{"id":262,"slug":263,"title":251,"dynasty":78,"author":19,"museum":80,"description":264,"tags":265,"thumbUrl":269,"material":86,"size":87,"collection":69,"collections":270,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":73},271077,"ge-shi-yu-zhi-hua-hui-shi-guan-zi-hao-bi-zhu-guan-qian-niu-hua-shi-bi-yi-ming-271077","竹质笔管温润素朴，浅刻诗文隽秀清雅，暗合牵牛意趣，将文人情思藏于尺管之间。紫毫笔锋颖修长劲挺，可见制工艺的精湛考究。配套笔套浅镌缠枝花卉，线条婉转细腻，与笔身诗文相映成趣，尽显雅致格调。\n整器融文心与匠意于一体，既是应手的挥毫利器，亦是文房案头的清赏雅物，藏着古人伏案临池里的审美情致。",[254,266,256,267,268,7],"竹制","雕刻","题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1168a69cf744b38fe4bfb43028c9e0e3.jpg",[],{"id":272,"slug":273,"title":274,"dynasty":78,"author":19,"museum":80,"description":275,"tags":276,"thumbUrl":280,"material":86,"size":87,"collection":69,"collections":281,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":140},263551,"lan-se-di-qian-niu-hua-wen-jin-bao-di-jin-yi-ming-263551","蓝色地牵牛花纹金宝地锦","《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》。",[277,278,279,7,149,28,30],"织锦","布料","金宝地锦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa489ef4f14b3c0beb78c627dc1709ff6.jpg",[],{"id":283,"slug":284,"title":285,"dynasty":78,"author":19,"museum":80,"description":286,"tags":287,"thumbUrl":293,"material":86,"size":87,"collection":69,"collections":294,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":247},258240,"qing-hua-qian-niu-hua-wen-wan-yi-ming-258240","青花牵牛花纹碗","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。",[288,289,290,291,7,292],"清代","青花","陶瓷","碗","缠枝纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9453d598861cf184b1abcfc91a9250e.jpg",[],{"id":296,"slug":297,"title":298,"dynasty":78,"author":19,"museum":80,"description":286,"tags":299,"thumbUrl":301,"material":86,"size":87,"collection":69,"collections":302,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":140},257912,"kang-xi-kuan-qing-hua-chan-zhi-qian-niu-hua-wen-wan-yi-ming-257912","康熙款青花缠枝牵牛花纹碗",[288,290,289,292,7,291,300],"釉下彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F671ffee052601649d6d4e5115daf266a.jpg",[],{"id":304,"slug":305,"title":298,"dynasty":78,"author":19,"museum":80,"description":286,"tags":306,"thumbUrl":309,"material":86,"size":87,"collection":69,"collections":310,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":140},257911,"kang-xi-kuan-qing-hua-chan-zhi-qian-niu-hua-wen-wan-yi-ming-257911",[290,289,292,7,149,288,307,308],"瓷器","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1abc13a60f85c22b20c07f78c7643382.jpg",[],{"id":312,"slug":313,"title":314,"dynasty":238,"author":19,"museum":80,"description":315,"tags":316,"thumbUrl":318,"material":86,"size":87,"collection":69,"collections":319,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":73},251296,"qing-bai-yu-lou-diao-qian-niu-hua-san-lian-dai-shi-yi-ming-251296","青白玉镂雕牵牛花三连带饰","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。",[244,241,317,242,7,243],"青白玉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86e916a7fb2f42a5c55a08347036eef7.jpg",[],1777535718390]