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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。",[94,77,95,7,91],"玉石","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96d02d8333f1dc4f56040577968ee517.jpg",[],12,{"id":100,"slug":101,"title":102,"dynasty":49,"author":50,"museum":51,"description":103,"tags":104,"thumbUrl":109,"material":62,"size":63,"collection":64,"collections":110,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":44},266812,"shi-qing-se-duan-bu-huang-duan-lao-hu-wen-zao-xie-yi-ming-266812","石青色缎补黄缎老虎纹皂鞋","皂鞋民国初年盛行于平、津、鲁各地，鞋帮为两片，平底或布制，脸极浅，口作尖形，鞋帮窄浅，常制用青色制造，所以故名为皂鞋",[105,106,60,107,7,108],"鞋","衣帽","虎","刺绣纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdafcf961cdec84afff13a080596494c8.jpg",[],{"id":112,"slug":113,"title":114,"dynasty":72,"author":50,"museum":51,"description":73,"tags":115,"thumbUrl":119,"material":62,"size":63,"collection":64,"collections":120,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":44},244398,"deng-yi-ming-244398","灯",[116,75,76,7,117,118,95],"汉代","实用器","铸造","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e634da58f025d615b037d851e5cbf20.jpg",[],{"id":122,"slug":123,"title":124,"dynasty":18,"author":50,"museum":51,"description":125,"tags":126,"thumbUrl":129,"material":62,"size":63,"collection":64,"collections":130,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":131},227431,"jun-ci-pan-yi-ming-227431","钧瓷盘","瓷器是由瓷石、高岭土、石英石、莫来石等烧制而成，外表施有玻璃质釉或彩绘的物器。瓷器的成形要通过在窑内经过高温（约1280℃～1400℃）烧制，瓷器表面的釉色会因为温度的不同从而发生各种化学变化，是中华文明展示的瑰宝。\n中国是瓷器的故乡，瓷器是古代劳动人民的一个重要的创造。谢肇淛在《五杂俎》记载：“今俗语窑器谓之磁器者，盖磁州窑最多，故相延名之，如银称米提，墨称腴糜之类也。”当时出现的以“磁器”代窑器是由磁州窑产量最多所致。这是迄今发现最早使用瓷器称谓的史料。",[127,128,95,7],"陶瓷","钧瓷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1983be5837c6f7fbaeecf547082583bb.jpg",[],"BDBDBD",{"id":133,"slug":134,"title":135,"dynasty":136,"author":50,"museum":51,"description":137,"tags":138,"thumbUrl":140,"material":62,"size":63,"collection":64,"collections":141,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":131},243659,"zhu-jie-wen-zhang-bing-shao-yi-ming-243659","竹节纹长柄勺","唐","此器形制清隽古雅，素净勺身弧度温婉合宜，似曾盛过案上清茗、樽中佳酿。长柄弯折恰到好处，贴合握持的弧度藏着日常的巧思，尾端摹刻竹节纹路，节痕错落宛然，将幽篁的疏野意趣凝于铜身，把山林雅意揉进烟火日常。\n\n青绿铜锈晕染在器物肌理间，像是沉凝了千余年的烟雨，静静晕开岁月的痕迹。没有繁复纹饰堆砌，只以仿生竹节点题，将清雅审美融于日用之中，藏着古人把风雅落于三餐茶饭的巧思，朴素间尽显雅致匠心。",[136,76,77,139,7],"竹节纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f89b6d0321d513132bf973a15fa488f.jpg",[],3,{"id":144,"slug":145,"title":146,"dynasty":72,"author":50,"museum":51,"description":73,"tags":147,"thumbUrl":150,"material":62,"size":63,"collection":64,"collections":151,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":86},243365,"huo-quan-wen-yun-dou-yi-ming-243365","货泉纹熨斗",[116,95,7,76,148,149,77],"龙","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc7ed5af6ca857b3a4dab21d98606e75.jpg",[],{"id":153,"slug":154,"title":155,"dynasty":49,"author":50,"museum":51,"description":156,"tags":157,"thumbUrl":160,"material":161,"size":64,"collection":64,"collections":162,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":131},215468,"bai-miao-jie-tou-mai-mai-hua-ce-88-yi-ming-215468","白描街头买卖画册-88","素纸之上，线条如流水轻转，勾勒出街头商贩的鲜活身影。斗笠覆肩，衣袂带风，双臂舒展间似在招揽过客，腰间竹篮、脚边木箱与摊布上的物件，晕开市井烟火气。白描的简练未减分毫生动——衣物褶皱藏着生计的匆忙，姿态里透着买卖的热忱，连摊布纹理都似在诉说日常的鲜活。无需浓墨重彩，几笔线条便将街头叫卖的热闹凝成静帧，百年前的市井暖意，在素净笔触里缓缓流淌，让平凡生计的生动瞬间，于纸间永恒。",[23,24,158,159,28,95,106,7],"白描","册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0b3fbfa664d57b5f25bbd9fa342bee3.jpg","纸本",[],{"id":164,"slug":165,"title":166,"dynasty":49,"author":50,"museum":51,"description":167,"tags":168,"thumbUrl":172,"material":62,"size":63,"collection":64,"collections":173,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":44},258233,"qing-hua-lou-kong-mao-hong-yi-ming-258233","青花镂空帽烘","青花瓷（blue 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Ware）在古时被称为“金”或“吉金”，是红铜与其他化学元素锡、铅等的合金，刚刚铸造完成的青铜器是金色，但因为出土的青铜因为时间流失产生锈蚀后变为青绿色，被称为青铜。\n青铜器的使用开始于新石器时代晚期的土耳其和伊拉克地区，及叙利亚古代TellRamad遗址出土的铜珠等。中国青铜器开始于马家窑至秦汉时期，以商周时期的器物最为精美。在中国仰韶文化早期和马家窑文化时期就已经出现。\n中国最初出现的是小型工具或饰物。夏代始有青铜容器和兵器。商中期，青铜器品种已很丰富，并出现了铭文和精细的花纹。商晚期至西周早期，是青铜器发展的鼎盛时期，器型多种多样，浑厚凝重，铭文逐渐加长，花纹繁缛富丽。随后，青铜器胎体开始变薄，纹饰逐渐简化。春秋晚期至战国，由于铁器的推广使用，铜制工具越来越少。秦汉时期，随着陶器和漆器进入日常生活，铜制容器品种减少，装饰简单，多为素面，胎体也更为轻薄。\n中国青铜器制作精美，在世界青铜器中享有极高的声誉和艺术价值，代表着中国5000多年青铜发展的高超技术与文化。\n我国商、周时代的青铜器具，不单是盛物用的容器，同时也是宗庙中的礼器。青铜器的数量可以表示出身份地位的高低，青铜器形制的大小也可以显示出权力的等级。青铜器中，最重要的器类就是鼎。远古的青铜器可以分为食器、酒器、水器、乐器四大类。食器中包括鼎、鬲等等。其中鼎是最重要的礼器。\n西周中晚期我国形成了列鼎制度，据《春秋公羊传》记载，天子用9鼎，诸侯用7鼎、卿大夫用5鼎、士用3鼎或1鼎。同时。与鼎一同出现的还有簋，通常为九鼎八簋，七鼎六簋，五鼎四簋，三鼎二簋。在西周中晚期的墓葬制度中，鼎为单数而簋为双数。青铜鼎随着时代的发展，形制也在发生变化。商代早期多为圆腹尖足，也有方鼎。到了中期出现了扁足鼎等等。商代晚期尖足鼎逐渐减少，圆腹柱足鼎开始居多，鬲鼎逐渐多了起来。《尔雅》记载“鼎之款足者，谓之鬲”。鬲鼎也称为分裆鼎，是鬲和鼎的混合体，鼎从商代开始铸有各式样的神秘纹饰，多为兽面纹，如饕餮纹、蝉纹、象纹等等，纹饰变化巧妙。容器内部铸有族徽或祖先的名字。\n青铜是铜和锡铅的合金。在中国古代早期的工艺美术中青铜工艺成为奴隶社会工艺美术的典型代表是我们的祖先对人类物质文明的巨大贡献。商周时期是中国历史上的青铜时代，它以品类丰富、造型优美、纹饰华丽、制作精巧、风格独特而著称。此时是冶炼铸造技术可以说有了突发猛进的发展，在应用上具有广泛的适用性。成为中国艺术史的一个组成部分。本文以商周时期的青铜器主要代表作品作品：《后母戊大方鼎》、《盂鼎》为例，从青铜器作为“礼器”的艺术精神与青铜器的造型、装饰艺术特点来谈谈商周青铜器艺术。\n中国古代青铜器，就使用规模、铸造工艺、造型艺术及品种而言。中国古代青铜器在世界艺术史上占有独特地位。商周时期是中国历史上的青铜时代，青铜流行于新石器时代晚期至秦汉时代。以商周器物最为精美，品种已很丰富器型多种多样，并出现了铭文和精细的花纹浑厚凝重。商周青铜器艺术装饰承接新石器时代艺术中若干精髓，经过长期绵延不断的变化，形成独特的体系，在成为中国艺术史的一个组成部分。商周时期，青铜的冶炼业作为生产力的标志而达到高峰。是中国古代青铜器发展的鼎盛时期。",[75,76,77,204,7,205],"周代风格","照明用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bec6b96d460a2248e4c2bcef271cf92.jpg",[],{"id":209,"slug":210,"title":211,"dynasty":72,"author":50,"museum":51,"description":73,"tags":212,"thumbUrl":214,"material":62,"size":63,"collection":64,"collections":215,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":44},243012,"liu-jin-tuo-yu-yi-ming-243012","鎏金唾盂",[72,213,76,7,95],"鎏金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85329e8c2893de3ab26a04f88ec55b6a.jpg",[],{"id":217,"slug":218,"title":219,"dynasty":220,"author":50,"museum":51,"description":221,"tags":222,"thumbUrl":225,"material":62,"size":63,"collection":64,"collections":226,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":131},227999,"dai-you-guan-zi-yi-ming-227999","带釉罐子","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。",[220,127,223,224,7],"带釉","开片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0499070a86842cfd0dff189307c12511.jpg",[],{"id":228,"slug":229,"title":230,"dynasty":49,"author":50,"museum":51,"description":231,"tags":232,"thumbUrl":233,"material":161,"size":64,"collection":64,"collections":234,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":131},215402,"bai-miao-jie-tou-mai-mai-hua-ce-155-yi-ming-215402","白描街头买卖画册-155","线条清劲婉转，如行云流水般勾勒出市井人物的专注神态。案前端坐的身影，手底营生的细节虽简却真——器物的轮廓、衣料的褶皱皆藏着生活的温度。素净的白描不着浓色，却以极简之笔捕捉街头买卖的日常瞬间：指尖的动作似凝着时光，案上的物件似带着烟火气，平淡中见鲜活，仿佛能听见器物碰撞的轻响，嗅到市井里的暖。这样的笔触，是对寻常日子的温柔定格，让街头买卖的细碎光景在纸上有了永恒的生气，于无声处诉说着人间烟火的绵长。",[23,158,159,28,95,7,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52a6e9842d89e5e78dee238b3bf510e0.jpg",[],{"id":236,"slug":237,"title":238,"dynasty":49,"author":50,"museum":51,"description":103,"tags":239,"thumbUrl":241,"material":62,"size":63,"collection":64,"collections":242,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":44},266781,"shi-qing-se-duan-pan-tao-ling-zhi-cao-wen-zao-xie-yi-ming-266781","石青色缎盘绦灵芝草纹皂鞋",[106,60,58,240,7],"灵芝纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4937a66915d9521731327d913758865.jpg",[],{"id":244,"slug":245,"title":246,"dynasty":49,"author":50,"museum":51,"description":103,"tags":247,"thumbUrl":249,"material":62,"size":63,"collection":64,"collections":250,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":86},266758,"shi-qing-se-duan-pan-tao-hua-die-wen-zao-xie-yi-ming-266758","石青色缎盘绦花蝶纹皂鞋",[106,60,58,248,105,7],"花蝶纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2cff1453de3b81277ae0d6e8d327a68.jpg",[],{"id":252,"slug":253,"title":254,"dynasty":49,"author":50,"museum":51,"description":255,"tags":256,"thumbUrl":258,"material":62,"size":63,"collection":259,"collections":260,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":86},258981,"yi-xing-yao-zi-sha-cha-hu-yi-ming-258981","宜兴窑紫砂茶壶","宜兴窑，在今江苏宜兴丁蜀镇，故名。烧瓷历史悠久，秦汉时宜兴地区陶窑密布；两晋时在均山烧青瓷，唐初在归径等地大量烧制，至晚唐、五代成为南方民间著名青瓷窑；宋、元时期，丁蜀与西渚一带大规模烧造日用陶和早期紫砂。明清时成为当时的烧陶中心。涧众村发现有唐代青瓷窑址。明代以紫砂器闻名于世，出现不少制紫砂壶名家，如供春；时大彬、李仲芳、陈仲美等，并仿烧宋代钧窑器物，因有"宜钧"之称。\n在今江苏宜兴市南部的丁蜀镇一带，故称为宜兴窑。宜兴窑从汉代始烧红陶、灰陶、和原始青瓷等等，其烧制陶瓷的历史一直延续到今天，有2000多年，故可称是最古老的窑口。宋代已开始烧造紫砂器，明代的紫砂器闻名于世，清代是其高峰。建国后，宜兴除传统的紫砂陶、均陶有很大发展外，还恢复了青瓷生产，新创了花釉陶和精陶等产品，是我国重点陶瓷产区之一。",[127,257,77,95,7,171],"紫砂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dce9da5dbb3edeff1b34db6c62346e6.jpg","瓷器精选",[259],{"id":262,"slug":263,"title":264,"dynasty":136,"author":50,"museum":51,"description":265,"tags":266,"thumbUrl":269,"material":62,"size":63,"collection":64,"collections":270,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":86},256851,"bai-you-lv-cai-hu-yi-ming-256851","白釉绿彩壶","将不含金属氧化物呈色元素的釉料施于胎骨洁白的器物上，入窑高温烧制而成的透明釉， 釉色因白润瓷胎的映衬而显出白色，现在习惯上将这种透明釉也称为白釉。\n瓷器釉料中的含铁量降低到0.75%以下，施于洁白的瓷胎上，入窑经高温烧制，就会出现白釉。严格地说，白釉是一种无色透明釉，而不是白色的釉 。白釉是瓷器传统釉色之一,真正的白釉应该是乳白色的乳浊釉,这种釉是近代才发明的。我国古代仅有元代枢府釉是失透的,其他白釉并不是白色的釉,\n白釉烧制工艺比青釉复杂，出现的时间也较青釉晚，一般瓷土和釉料，都或多或少含有一些氧化铁，器物烧出后必然呈现出深浅不同的青色来。如果釉料中的铁元素含量小于0.75%，烧出来的就会是白釉。\n白釉最早出现在汉代，比青釉瓷器晚了400多年，白釉瓷器开始是青白色的，因为瓷器中铁的含量高于1%就是青色的，少于1%就是白瓷了，所以中国白瓷经历青瓷、青白瓷、卵白釉、甜白釉、象牙白、白釉的发展过程。中国历史上白瓷产地有德化白瓷、定窑白瓷以及刑窑白瓷等。",[136,127,267,268,95,7],"白釉","绿彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb8afcc6fea0ace378408a6c6a9b4d66.jpg",[],{"id":272,"slug":273,"title":274,"dynasty":275,"author":50,"museum":51,"description":125,"tags":276,"thumbUrl":278,"material":62,"size":63,"collection":64,"collections":279,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":44},255114,"ci-ren-tou-shao-yi-ming-255114","瓷人头哨","隋",[277,127,77,28,95,7],"隋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F063138873e82e4919539b57795985a6a.jpg",[],{"id":281,"slug":282,"title":283,"dynasty":49,"author":50,"museum":51,"description":284,"tags":285,"thumbUrl":290,"material":62,"size":63,"collection":64,"collections":291,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":86},250071,"qia-si-fa-lang-tuan-hua-wen-liu-fang-hua-pen-yi-ming-250071","掐丝珐琅团花纹六方花盆","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 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[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。",[171,180,287,317,318,7],"海棠式","花卉纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F502608b1acf829b22629f66204d7dfe7.jpg",[],{"id":322,"slug":323,"title":324,"dynasty":325,"author":50,"museum":51,"description":326,"tags":327,"thumbUrl":329,"material":62,"size":63,"collection":64,"collections":330,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":44},244933,"pan-chi-wen-deng-yi-ming-244933","蟠螭纹灯","晋","灯盘一侧带鋬，握持添油点火随性自如。高灯柱分节收束，衬得器型高挑舒展，于沉稳中带着轻盈姿态。底座錾刻蟠螭纹，虬曲瑞兽回旋缠绕，线条古拙灵动，把上古异兽的生机凝于方寸之间。青褐铜锈覆身，斑驳间晕开厚重包浆，将千余年的岁月痕迹藏在铜色肌理中。\n\n它是实用与审美相融的精巧造物，将寻常照明之具化作青铜工艺的隽永载体，灯火明灭之间，流淌着沉静古雅的隽永意韵。",[328,75,76,77,95,7,148],"晋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99edae847ffd36c85153a9c60d4fa2db.jpg",[],{"id":332,"slug":333,"title":334,"dynasty":136,"author":50,"museum":51,"description":335,"tags":336,"thumbUrl":337,"material":62,"size":63,"collection":64,"collections":338,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":131},244787,"tong-shao-yi-ming-244787","铜勺","它身形修长温婉，勺体弧度柔和贴合使用姿态，长柄匀细舒展，整体素净无饰，尽显浑朴雅致的东方意趣。铜色凝着千年沉淀的深褐包浆，表面晕开深浅不一的斑驳痕迹，是岁月摩挲留下的温柔印记。\n\n没有繁复雕琢，将实用与审美相融，藏着旧时三餐茶饭的烟火暖意，是民间造物智慧的缩影，静立间便把千年前的寻常雅致娓娓道来。",[136,75,76,7,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39942d5d71fd1f5ae92adba2613a65e3.jpg",[],{"id":340,"slug":341,"title":342,"dynasty":136,"author":50,"museum":51,"description":343,"tags":344,"thumbUrl":346,"material":62,"size":63,"collection":64,"collections":347,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":131},244786,"shao-yi-ming-244786","勺","它以极简形制勾勒日常美学，曲颈柔婉衔接椭圆勺体与素面长柄，全无繁饰，尽显拙朴雅致。青绿色铜锈晕着斑驳土沁，凝起千年时光的厚重包浆，仿佛还沾染着旧时案头的烟火余温。弯折弧度贴合持握的自然姿态，将实用与审美悄然相融，曾盛过热羹清粥，陪伴过寻常朝夕。褪去肃穆厚重，带着俗世生活的温热质感，静静承载着千年前的日常图景，让遥不可及的旧时烟火，变得可感可触。",[345,76,7,77,95],"唐代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59dfc8fc94c39d9c978d1878186e0787.jpg",[],{"id":349,"slug":350,"title":114,"dynasty":72,"author":50,"museum":51,"description":73,"tags":351,"thumbUrl":353,"material":62,"size":63,"collection":64,"collections":354,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":44},244404,"deng-yi-ming-244404",[72,75,76,7,352,118],"器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9166e6b5cba69ffd18938b3bf24b8d46.jpg",[],{"id":356,"slug":357,"title":358,"dynasty":136,"author":50,"museum":51,"description":359,"tags":360,"thumbUrl":363,"material":62,"size":63,"collection":64,"collections":364,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":44},243800,"yuan-he-yi-ming-243800","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.",[345,75,76,7,118,361,362],"圆形器物","铜锈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60afc9eadea924905a98cb763b8e9980.jpg",[],{"id":366,"slug":367,"title":368,"dynasty":136,"author":50,"museum":51,"description":369,"tags":370,"thumbUrl":373,"material":62,"size":63,"collection":64,"collections":374,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":131},243796,"yu-wei-bing-shao-yi-ming-243796","鱼尾柄勺","银勺包浆晕着旧时光的沉润质感，勺身素净弯弧贴合掌心，线条利落温婉，适配日常取用的妥帖实用。尾端巧塑为四散舒展的鱼尾，将江波灵动凝于方寸柄端，把食器的朴拙揉进水泽意趣。\n\n素净器身与灵动鱼尾形成绝妙反差，无繁复纹饰堆叠，仅以造型勾勒盛唐生活里的浪漫巧思，将美学藏进三餐四季，把寻常餐具化作意趣盎然的风雅造物，尽显唐人融审美于日常的通透意趣，器物虽简，却藏着跨越千年的雅致余韵。",[345,76,77,7,371,372],"金属器","鱼尾造型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc1733f631d84739835783fda5248865.jpg",[],{"id":376,"slug":377,"title":368,"dynasty":136,"author":50,"museum":51,"description":378,"tags":379,"thumbUrl":381,"material":62,"size":63,"collection":64,"collections":382,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":131},243795,"yu-wei-bing-shao-yi-ming-243795","勺体弧润素净，恰好贴合盛取的日常功用，尾柄别出心裁化作舒展鱼尾，将江海意趣藏进三餐烟火。青绿铜锈裹着鎏金残痕，是时光淌过留下的印记，褪去刻意雕琢的繁复，只把巧思揉进日常分寸里。\n\n它无纹无饰，却在极简里藏着中式审美的松弛，以实用为骨，以雅趣为魂，清冷铜色里载着千年前的寻常朝夕，把雅致日常凝在这一方小勺中，朴素却动人。",[345,76,118,77,7,307,380],"鱼尾柄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c6231c8814183b2d65b97b83f0eebf3.jpg",[],{"id":384,"slug":385,"title":386,"dynasty":136,"author":50,"museum":51,"description":387,"tags":388,"thumbUrl":389,"material":62,"size":63,"collection":64,"collections":390,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":86},243753,"liu-jin-xi-yi-ming-243753","鎏金洗","敛口鼓腹，线条婉转舒展，仅以两道弦纹勾勒轮廓，尽显简约大气。金面历经千年摩挲，原本灼灼的鎏金褪去张扬，只剩内敛沉凝的光泽，底部晕开斑驳铜绿，是时光镌刻的印记。\n\n它藏着盛唐工匠炉火纯青的鎏金技艺，也晕染着千年前日常起居的温润底色。没有华丽纹饰加持，却凭借从容雅致的形制，将东方朴素美学藏于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