[{"data":1,"prerenderedAt":255},["ShallowReactive",2],{"subject-ri-yong-qi-ju":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},8476,"ri-yong-qi-ju","日用器具","日用器具画高清赏析","精选中国历代日用器具题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03758730e35eccb61d1960a8654ea94c.jpg",0,18,[14,34,50,65,87,100,112,121,134,146,158,173,186,198,208,220,239,249],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":27,"material":28,"size":29,"collection":30,"collections":31,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":33},260956,"de-hua-yao-bai-you-hua-hua-deng-yi-ming-260956","德化窑白釉划花灯","清","佚名","藏地不详","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。",[23,24,25,26,7],"陶瓷","白釉","划花","灯具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60152cc73e1cfc04d071449cd6f5d664.jpg","未知","Xcm*Xcm","瓷器精选",[30],2,"795548",{"id":35,"slug":36,"title":37,"dynasty":38,"author":19,"museum":20,"description":39,"tags":40,"thumbUrl":45,"material":28,"size":29,"collection":46,"collections":47,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":49},260461,"fu-zi-kuan-qing-hua-si-hai-sheng-ping-tu-wan-yi-ming-260461","福字款青花四孩升平图碗","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。",[23,41,42,43,7,44],"青花","人物","孩童","吉祥纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F371e04c808cddd4382db0862c64e5c9f.jpg","",[],1,"BDBDBD",{"id":51,"slug":52,"title":53,"dynasty":54,"author":19,"museum":20,"description":55,"tags":56,"thumbUrl":63,"material":28,"size":29,"collection":46,"collections":64,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":33},255071,"tao-lv-you-zao-yi-ming-255071","陶绿釉灶","汉","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。",[57,23,58,59,60,7,61,62],"汉代","绿釉","釉陶","饪食器","陶器","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F742afe12dcf96f90c89b02582cd56b24.jpg",[],{"id":66,"slug":67,"title":68,"dynasty":54,"author":19,"museum":20,"description":69,"tags":70,"thumbUrl":85,"material":28,"size":29,"collection":46,"collections":86,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":33},243843,"xi-yi-ming-243843","洗","汉代青铜器产生于青铜时代的晚期，在我国青铜史上占有特殊的地位，体现出独特的设计思想和特征，具有卓越的科学功能，并对当今设计有很大的启示作用。\n汉代青铜器很多都是素纹，大部分还是铸造的，也有的花纹、铭文是用錾子雕刻的。比如汉代的鎏金杯子、奁、盒、碗等用具上的花纹，多是雕刻的。\n汉代以后至唐代的铜器，铸造的花纹很多，其中有打料的铜、金、银器，并且也有了大、小焊的技术。\n西汉初期（高祖至景帝），此时的青铜器，基本为素面。其鼎主要承自秦式，但一般三足更矮。敦盒形。\n壶有大小二型并存，大型壶腹下部略呈收缩之状，腹比秦壶要鼓；小型壶的腹部较瘦长，经常铸出变形螭纹。钫此时更流行，有的做得很讲究，通腹有镶嵌绿松石的三角云纹。\n鍪和蒜头壶继续流行。日用器皿中，高灯多见，豆式熏炉盛行，带钩显琵琶形、棒形、琴形讲究的多做成鎏金、错金银、镶玉或绿松石。\n西汉中期至东汉早期（西汉武帝至东汉章帝）是西汉青铜器最发达的时期，也是汉代青铜器新风格最终形成的时期。这时期最多见的青铜用器是鼎、壶、钫、尊、熨斗、带钩、铜镜。\n灯：古代照明器具。青铜灯出现于战国时期，而盛行于汉代。最著名的当属长信宫灯了，灯的样子很多，较普通的是有圆盘，盘内有钎，盘下有柱，柱下有圈足；也有盘下作雁足状的，盘用来盛油或插烛。\n另有一种灯自铭为“行灯”，它圆盘边有把，盘下有三短足。青铜灯最富感染力的当属那些铸成人形、禽形、兽形、树形的艺术造型灯。\n博山炉：古代焚香的器具。一般炉体作圆形，用来放香料，体下有高足，有的足还铸成人形或鸟兽形；炉盖均高而尖，雕镂成山峦形上有人物、走兽，象征海上仙山“博山”，故名“博山炉”。盛行于汉代。\n樽：古代盛酒的器皿，器作圆形，直壁，有盖，腹较深，下有三兽足，旁有铺首衔环耳。\n洗：盥洗用器皿。形状象盆，圆形、宽口沿，平或圆底，腹外多有铺首衔环耳，内底常用双鱼作装饰，并多铸吉语。盛行于汉晋。\n耳杯：古代饮酒器。多漆制，称“羽觞”。铜质者，器作椭圆形，腹壁有二环耳。\n熨斗：古式熨烫衣服的工具。形状为圆腹宽口沿，有长柄，盛行于汉魏。\n东汉中晚期（和帝至献帝）青铜器又有了新的变化。此时使用较多的铜器日用品有：钟、扁壶、盆、釜、鐎斗、灯、博山炉、炉、熨斗、尊、耳杯、虎子、车马器、带钩、铜镜、玺印等。\n此时青铜器的特点是比以前轻薄、错金银技术在青铜器装饰中几乎消失，鎏金仍多，鎏金器上出现了细线阴刻云纹。",[57,71,72,7,73,74,75,76,77,78,79,80,81,82,83,84],"青铜器","铜制","铜锈","单柄","圈足","线纹","金属器","日常用品","汉代风格","铜器","锈蚀","带柄","底座","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60f8c4baf2e5cc6b4d289513f8b24721.jpg",[],{"id":88,"slug":89,"title":90,"dynasty":18,"author":19,"museum":20,"description":91,"tags":92,"thumbUrl":98,"material":28,"size":29,"collection":46,"collections":99,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},270335,"qian-long-kuan-bai-se-di-tao-hong-se-bo-li-bo-yi-ming-270335","乾隆款白色地套红色玻璃钵","此器造型饱满圆融，线条柔婉舒展，自带敦厚雅致的古韵。白地莹洁似凝脂，通透温润，套饰的朱红鲜亮饱满，口足以宝蓝点缀，三色搭配明快和谐，撞色间更显清新隽秀。\n腹部红料精雕缠枝卷草，线条婉转灵动如流云舒卷，底足浮雕莲瓣纹规整端庄，纹饰层次分明，将雕刻技法与套色工艺精妙结合，既添装饰意趣，更衬器物清雅气质。整体工艺娴熟精湛，尽显工艺的上乘水准，是集实用与赏玩一体的雅致佳器。",[93,94,62,95,7,96,97],"玻璃器","套色工艺","钵","莲纹","卷草纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa55bf1bf9012c4dc83168c1448c9fa32.jpg",[],{"id":101,"slug":102,"title":103,"dynasty":18,"author":19,"museum":20,"description":104,"tags":105,"thumbUrl":110,"material":28,"size":29,"collection":46,"collections":111,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},269456,"zi-tan-qian-yu-guo-shi-he-yi-ming-269456","紫檀嵌玉果式盒","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。",[106,107,62,108,109,7],"木质","玉石","镶嵌","果式盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73193b436bf58ba2946059a0b2ae1a07.jpg",[],{"id":113,"slug":114,"title":115,"dynasty":18,"author":19,"museum":20,"description":104,"tags":116,"thumbUrl":119,"material":28,"size":29,"collection":46,"collections":120,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},269211,"zong-zhu-qian-yu-si-fang-wei-jiao-he-yi-ming-269211","棕竹嵌玉四方委角盒",[106,107,62,117,7,118],"嵌玉","盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc07829f096fb4c4f7478d7edbeac35b1.jpg",[],{"id":122,"slug":123,"title":124,"dynasty":18,"author":19,"museum":20,"description":125,"tags":126,"thumbUrl":132,"material":28,"size":29,"collection":46,"collections":133,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},267373,"huang-se-jiang-chou-xiu-yun-fu-gou-lian-wen-zuo-ru-yi-ming-267373","黄色江绸绣云蝠勾莲纹坐褥","绸缎，泛指丝织物。古时多是有钱人家作为衣物，其颜色光滑亮丽，五彩缤纷。《儿女英雄传》第二回：“大凡到工的官儿们送礼，谁不是缂绣、呢羽、绸缎、皮张，还有玉玩、金器、朝珠、洋表的？” 老舍《四世同堂》四九：“他看不起绸缎的衣服，与文雅的态度，可又有点自惭形秽。”",[127,128,129,130,131,7],"坐褥","布料","刺绣","云蝠纹","勾莲纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f560afd1caef174884f13e00238bc9b.jpg",[],{"id":135,"slug":136,"title":137,"dynasty":18,"author":19,"museum":20,"description":138,"tags":139,"thumbUrl":144,"material":28,"size":29,"collection":46,"collections":145,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},267068,"huang-se-duan-suo-xiu-wan-fu-hua-lan-wen-yan-he-bao-yi-ming-267068","黄色缎锁绣万福花篮纹烟荷包","荷包是中国汉族传统服饰中，人们所随身佩带的一种装零星物品的小包，后发展为爱情信物，荷包的图案有繁有简，花卉、鸟、兽、草虫、山水、人物以及吉祥语、诗词文字都有，装饰意味很浓。\n在民间荷包中，占相当比重的是香包，香包里装有香草之类的药品，包面上绣制着“五毒”，即蝎子、蛇、蜈蚣、壁虎和蟾蜍，它原是五月端午的节令物品，为了防止各种毒虫猖獗，侵害人体，人们相互馈赠，挂在衣襟或帐勾上，以避除“五毒”。就形状来看，有虎形的、鸡形的、如意形的、寿桃形的、蝙蝠形的，以取意于福、禄、寿、喜、吉祥、如意等。富有深厚民族心理基础的绣荷包，在民间文化中，显示着旺盛的生命力。",[128,140,129,141,7,142,143],"锁绣","饰品","花篮纹","吉祥纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdac125dfb31bb4d808c25135f582020c.jpg",[],{"id":147,"slug":148,"title":149,"dynasty":150,"author":19,"museum":20,"description":151,"tags":152,"thumbUrl":156,"material":28,"size":29,"collection":46,"collections":157,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},260053,"qing-you-si-xi-pie-kou-guan-yi-ming-260053","青釉四系撇口罐","晋","中国瓷器著名传统颜色釉。亦称“青瓷釉”。古代南方青釉，是瓷器最早的颜色釉。\n所谓“青釉”，颜色并不是纯粹的青，有：月白、天青、粉青、梅子青、豆青、豆绿、翠青等，但多少总能泛出一点青绿色。同时，古人往往将青、绿、蓝三种颜色，一统称为“青色”，例如许之衡《饮流斋说瓷》称：“古瓷尚青，凡绿也、蓝也，皆以青括之。”刘子芬《竹园陶说》中也说：“青色一种，常与蓝色相混。雨过天晴，钧窑、元窑之青，皆近蓝色。”“惟千峰翠色、梅子青、豆青、乃为纯青耳。天色本蓝，有时为青。”\n青釉是我国使用最早，延用时间最久，分布最广的一个釉种，它的发明是与我国瓷土矿大都含有一定量的铁矿的现象相一致的。青色也符合我国人民的传统审美情趣。青色与碧玉相若，认为稳重而高雅。浙江、江西、河南等地已出土了不少早至商周时期的原始青釉瓷。六朝至唐宋以越窑为代表的南方青釉瓷；宋到元明的龙泉窑系青瓷；耀州窑、临汝窑、钧窑等宋代北方青瓷；以及明、清以来的景德镇青釉瓷，是青釉发展的几个重要阶段，所谓的宋代“汝、定、官、哥、钧”五大名窑，除定窑外均属青釉瓷。表釉的呈色主要决定于着色氧化物的含铁量与烧成气氛，青釉含铁量一般在1—3%左右，过高会变成黑釉，低了就能烧成白瓷。在还原气氛中烧成。釉色青绿；在氧化气氛中烧成，釉色泛黄。因而陶瓷界所谓的青釉是相对而言的，正如许之衡《饮流斋说瓷》中所说：“古瓷尚青，凡绿也，蓝也，皆以青括之。”",[23,153,154,155,7],"青釉","罐","四系罐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61add20a89406b79286a068c38476111.jpg",[],{"id":159,"slug":160,"title":161,"dynasty":18,"author":19,"museum":20,"description":162,"tags":163,"thumbUrl":170,"material":28,"size":29,"collection":46,"collections":171,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":172},259481,"guang-xu-kuan-wai-bai-di-li-huang-di-fen-cai-miao-jin-jie-dai-wan-zi-wan-shou-wu-jiang-pan-yi-ming-259481","光绪款外白地里黄地粉彩描金结带“卍”字“万寿无疆”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。",[23,164,165,166,167,168,169,7],"粉彩","描金","缠枝花卉","卍字","万寿无疆","盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f39c6f9f4931ec468f24cb9f12f379c.jpg",[],"37474F",{"id":174,"slug":175,"title":176,"dynasty":18,"author":19,"museum":20,"description":177,"tags":178,"thumbUrl":184,"material":28,"size":29,"collection":46,"collections":185,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},248689,"hei-qi-miao-jin-chan-zhi-lian-tuan-jin-wen-cheng-fen-can-ju-jiang-se-wan-yi-ming-248689","黑漆描金缠枝莲团锦纹成份餐具-酱色碗","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。",[179,180,165,181,182,183,7],"清代","漆器","缠枝莲纹","团锦纹","碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22cad42c36af204bcc675a9c3ac6ba05.jpg",[],{"id":187,"slug":188,"title":189,"dynasty":18,"author":19,"museum":20,"description":177,"tags":190,"thumbUrl":196,"material":28,"size":29,"collection":46,"collections":197,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},245885,"yin-shao-lan-wan-yi-ming-245885","银烧蓝碗",[179,191,192,193,7,194,195],"银烧蓝","珐琅器","银器","设色","装饰图案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc1b8cc67a1069abee7bce3070520b41.jpg",[],{"id":199,"slug":200,"title":201,"dynasty":18,"author":19,"museum":20,"description":202,"tags":203,"thumbUrl":206,"material":28,"size":29,"collection":46,"collections":207,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},245877,"dao-guang-kuan-yin-bing-guo-yi-ming-245877","道光款银柄锅","它银质温润，凝着经年沉淀的柔哑包浆，形制敦厚朴拙。圆腹饱满柔和，线条自底向上缓缓收束，搭配直筒长柄，将炊煮的实用需求融于雅致形制之中。盖面素雅无饰，仅以一枚圆环为钮，简约却见巧思。\n\n整体无繁缛纹样，以素净本真诠释造物审美，把寻常烟火里的炊煮器具，赋予沉静克制的美学质感，静静晕开旧时光里的温婉日常，是实用与匠心糅合的器物佳制。",[18,193,60,204,7,205],"银制","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7432f4c8672185597939d2b864a6e41.jpg",[],{"id":209,"slug":210,"title":211,"dynasty":18,"author":19,"museum":20,"description":212,"tags":213,"thumbUrl":218,"material":28,"size":29,"collection":46,"collections":219,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},245827,"mu-bing-xiang-yin-du-jin-ban-shi-yi-ming-245827","木柄镶银镀金板匙","浅弧金勺头经捶打成型，亮泽温润，包浆凝敛着岁月柔光。乌木柄色如沉炭，质地匀净，两端镶金衔接，冷调木色与暖光金饰相映成趣，将华贵融于简约形制中。\n\n它摒弃繁复雕饰，以材质肌理碰撞出雅致格调，既是可供实用的小器，亦承载着旧时的审美意趣，静立间尽显清隽内敛的东方造物美学，把奢华藏于极简轮廓，尽显小品器物中的精致匠心。",[18,106,214,215,193,216,217,7,205],"银镀金","金器","镶饰","镀金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3efdfdc05bca970ad2fb8c7c3c09dad3.jpg",[],{"id":221,"slug":222,"title":223,"dynasty":18,"author":19,"museum":20,"description":224,"tags":225,"thumbUrl":237,"material":28,"size":29,"collection":46,"collections":238,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},245748,"yin-yun-long-wen-nuan-jiu-hu-yi-ming-245748","银云龙纹暖酒壶","此壶丰肩鼓腹，圈足沉稳，活环提梁兼顾握持便利与造型意趣。上部錾刻连绵喜字，铺陈出吉庆融融的氛围，腹部云龙纹饰为点睛之笔，龙身矫健蜿蜒，云纹舒卷灵动，錾刻工艺精细入微，线条劲挺流畅，将神龙威姿刻画得栩栩如生。银身包浆厚重温润，沉淀着岁月摩挲的沉静质感，将大婚吉意与日常暖酒的实用功能巧妙相融，是清代细作银器的精巧缩影，把寻常酒具升华为兼具审美意趣与祥瑞寓意的工艺佳品。",[193,62,226,227,228,179,229,230,231,204,84,7,232,233,234,235,236],"龙","云","饮酒器","日用具","云龙纹","暖酒","清代器物","金属雕刻","龙纹装饰","云纹装饰","饮酒器具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf851ba61a25365fd3a4fe03cb37602f.jpg",[],{"id":240,"slug":241,"title":242,"dynasty":54,"author":19,"museum":20,"description":69,"tags":243,"thumbUrl":247,"material":28,"size":29,"collection":46,"collections":248,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},244583,"shang-lin-gong-xing-deng-yi-ming-244583","上林宫行灯",[71,72,244,7,245,246,62],"灯","照明器具","铭文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1224b066e5fe4b6503e3683ac15f8017.jpg",[],{"id":250,"slug":251,"title":252,"dynasty":54,"author":19,"museum":20,"description":69,"tags":253,"thumbUrl":10,"material":28,"size":29,"collection":46,"collections":254,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},243670,"shao-yi-ming-243670","勺",[54,71,72,62,7],[],1777535722545]