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－1435年1月31日），号长春真人 ，明成祖朱棣之孙，明仁宗朱高炽长子，明朝第五位皇帝（1425年5月29日-1435年1月31日在位）、书画家，年号“宣德”。\n明宣宗朱瞻基生于北平燕王府 。幼年聪颖，深得祖父朱棣喜爱。永乐九年（1411年），册立为皇太孙，多次跟随明成祖朱棣征讨蒙古。 洪熙元年（1425年）即位。宣德元年（1426年），平定汉王朱高煦叛乱。在政治上，重视整顿吏治和财政，提升内阁地位，任用“三杨”、蹇义、夏原吉等；教导宦官读书参政。经济上，实行休养生息，缓和社会矛盾的措施。对外关系上，进行第七次郑和下西洋；停止用兵交趾；于宣德三年（1428年）出塞，并修建永宁、隆庆诸城。明宣宗的一系列措施使得社会经济空前的发展，与其父明仁宗统治时期合称“仁宣之治”。同时明宣宗在书画方面极有造诣，翰墨图书，极为精致。“点墨写生，遂与宣和（宋徽宗）争胜”， 书法能于圆熟之外见遒劲。工于绘事，山水、人物、走兽、花鸟、草虫均佳，曾钤“广运之宝“、”武英殿宝”及“雍熙世人”等印章。\n宣德十年（1435年），明宣宗去世，终年三十六岁 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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。",[257,258,259,7,30,71,260,261,262],"衣帽","布料","刺绣","花卉","戏曲服饰","缎绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa22741188f0b46ebcade55da22c0cdec.jpg",[],{"id":266,"slug":267,"title":268,"dynasty":197,"author":67,"museum":113,"description":269,"tags":270,"thumbUrl":274,"material":120,"size":121,"collection":36,"collections":275,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":78},262079,"qing-hua-zhu-que-tu-wan-yi-ming-262079","青花竹鹊图碗","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。",[202,271,71,7,272,273],"青花","碗","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb38bdcf364f1390b06cccdc89635c9c.jpg",[],{"id":277,"slug":278,"title":279,"dynasty":197,"author":67,"museum":113,"description":280,"tags":281,"thumbUrl":285,"material":120,"size":121,"collection":36,"collections":286,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":92},261953,"kang-xi-kuan-dou-cai-mei-que-wen-pan-yi-ming-261953","康熙款斗彩梅鹊纹盘","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。",[202,282,30,7,260,28,283,284],"斗彩","日用器","盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe87c5e059b10cb73373b3f0f8f60d49.jpg",[],{"id":288,"slug":289,"title":290,"dynasty":46,"author":67,"museum":113,"description":291,"tags":292,"thumbUrl":298,"material":120,"size":121,"collection":36,"collections":299,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":78},252045,"qing-yu-shuang-que-tao-shi-wen-qian-jian-yi-ming-252045","青玉双鹊桃实纹嵌件","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。",[293,294,295,29,7,296,297],"明代","玉石","雕刻","桃","饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a0da5f8070ebc5019c4c60a83f2c2d2.jpg",[],{"id":301,"slug":302,"title":303,"dynasty":197,"author":67,"museum":113,"description":304,"tags":305,"thumbUrl":312,"material":120,"size":121,"collection":36,"collections":313,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":62},247956,"ti-cai-mei-hua-shuang-que-wen-mei-hua-shi-er-ceng-tao-he-yi-ming-247956","剔彩梅花双鹊纹梅花式二层套盒","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",[197,306,307,295,308,7,29,309,310,311],"漆器","剔彩","梅花","套盒","二层","梅花式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90c6c3ec7ef40fa3ace3f4f206855f69.jpg",[],{"id":315,"slug":316,"title":317,"dynasty":197,"author":318,"museum":213,"description":319,"tags":320,"thumbUrl":323,"material":36,"size":36,"collection":36,"collections":324,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":325},201538,"song-que-shuang-tu-tu-zhou-chen-jia-yan-201538","松鹊双兔图轴","陈嘉言","古松虬枝盘曲，松针密簇如针，间杂疏梅与点点红果，添几分清妍。三只喜鹊或停或动，羽色黑白相衬，尾羽舒展如墨线，似欲振翅。树下双兔相偎，绒毛细腻温润，眼神柔和，尽显闲适之态。笔墨兼工带写，松干以枯笔皴擦出苍劲肌理，花鸟走兽则勾勒精细，设色淡雅却鲜活。构图疏密得当，动静交织，既有自然生趣，又蕴吉祥之意，是传统花鸟兽画中兼具意趣与笔墨功力的佳作。",[24,26,29,321,27,52,28,102,7,322],"兽","兔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3f697c42d6a532388ee39e58c15242d.jpg",[],"afa692",{"id":327,"slug":328,"title":329,"dynasty":197,"author":67,"museum":113,"description":330,"tags":331,"thumbUrl":334,"material":120,"size":121,"collection":36,"collections":335,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":92},272244,"duan-shi-diao-mei-que-sui-xing-yan-yi-ming-272244","端石雕梅鹊随形砚","砚台历经秦汉、魏晋，至唐代起，各地相继发现适合制砚的石料，开始以石为主的砚台制作。其中采用甘肃岷县的洮河石、广东端州的端石、安徽歙州的歙石制作的砚台，被分别称作洮砚、端砚、歙砚。史书将洮、端、歙称作三大名砚。清末，又将河南洛阳的澄泥砚与洮、端、歙，并列为中国四大名砚。也有人主张，以天然砚石雕制的鲁砚中的红丝石砚代替澄泥砚，合称四大名砚。\n谈起砚的种类有许多种，从砚的材质可分为：玉砚、银砚、铜砚、铁砚、陶砚、瓷砚、石砚、漆砚等，其中石砚是最为普遍，也最实用的一种砚。砚台起源于新石器时代。最早的砚是半坡村遗址出土的研磨颜料的研磨器，在1980年，大陆考古学家曾在陕西省临潼县姜寨一处原始社会的遗址中，发现了一套原始人用以陶器彩绘的工具，其中有一方石砚，砚有盖，砚面微凹，凹处并有一根石质磨杵，砚旁留存数块黑色颜料。很显然，这是先民们借助磨杵研磨颜料的早期砚的形制。由于这处遗址归属于母系氏族时期的仰韶文化，故这方砚台的实际寿龄已超过了五千年了。\n清代端石砚要求因材施艺，因石构图，在题材、立意、构图、造型、利用何种雕法都要精心推敲，刻划得当。保持了端砚的古雅、朴实，古色古香、形态自然的特点。如北京故宫收藏的「端石双龙砚」、「猫蝶砚」是端砚中的佳品。",[332,333,295,30,7],"砚","端石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98a0c172d2995e7454ff269066e7e458.jpg",[],{"id":337,"slug":338,"title":339,"dynasty":46,"author":67,"museum":113,"description":340,"tags":341,"thumbUrl":345,"material":120,"size":121,"collection":36,"collections":346,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},260660,"jiang-you-bai-hua-mei-que-ba-gua-wen-san-zu-lu-yi-ming-260660","酱釉白花梅鹊八卦纹三足炉","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。",[202,203,30,7,342,343,344],"八卦纹","三足炉","酱釉白花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa96d4eae3debbe1198d26e7263793301.jpg",[],{"id":348,"slug":349,"title":350,"dynasty":197,"author":67,"museum":113,"description":269,"tags":351,"thumbUrl":353,"material":120,"size":121,"collection":36,"collections":354,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":78},256874,"qian-long-kuan-qing-hua-yue-ying-mei-que-tu-ping-yi-ming-256874","乾隆款青花月影梅鹊图瓶",[202,271,29,30,7,352,145,31],"月影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffa673a527e4c50c5ade3425b2b97ea0.jpg",[],{"id":356,"slug":357,"title":358,"dynasty":46,"author":67,"museum":113,"description":269,"tags":359,"thumbUrl":360,"material":120,"size":121,"collection":36,"collections":361,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},256338,"qing-hua-que-mei-wen-gao-zu-wan-yi-ming-256338","青花鹊梅纹高足碗",[46,202,271,7,30,203],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb324687971c595b803f7ff8be50528b1.jpg",[],{"id":363,"slug":364,"title":358,"dynasty":46,"author":67,"museum":113,"description":269,"tags":365,"thumbUrl":366,"material":120,"size":121,"collection":36,"collections":36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