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青瓷碟（「丙蔡」铭）","宋","佚名","藏地不详","汝窑瓷器以其“温润似玉而胜于玉”的质感、及“雨过天青云破处”的独特釉色闻名于世，被视为青瓷之冠。因烧制时间短，传世品极少，历代视为稀世珍宝。目前全世界记录在册仅存70余件，其中21件藏于中国台北故宫博物院。器型为1件温碗、4件水仙盆、5件碟、4件洗、4件盘、3件瓶。\n侈圆口、镶铜釦、壁稍深、平底、圈足微外撇。底有三细小支钉痕；内周壁积釉处，有冰裂纹。这件汝窑青瓷碟，底心刻篆书「丙」字；",[18,23,24,25,26,7],"陶瓷","青瓷","开片","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c569baae581801e926bd9f194364e63.jpg","未知","Xcm*Xcm","瓷器精选",[30],90,1,"795548",{"id":36,"slug":37,"title":38,"dynasty":39,"author":19,"museum":20,"description":40,"tags":41,"thumbUrl":50,"material":28,"size":29,"collection":51,"collections":52,"showCount":53,"zanCount":11,"manualWeight":11,"mainColor":34},223952,"qing-hua-ci-chan-zhi-mu-dan-wen-da-wan-yi-ming-223952","青花瓷缠枝牡丹纹大碗","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。",[42,23,43,44,45,46,47,48,49,7],"明代","青花","缠枝纹","牡丹","大碗","缠枝","纹饰","釉下彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ce20de9692e918d6c1fdf45a0e1b413.jpg","",[],21,{"id":55,"slug":56,"title":57,"dynasty":58,"author":19,"museum":20,"description":59,"tags":60,"thumbUrl":65,"material":51,"size":51,"collection":66,"collections":67,"showCount":68,"zanCount":11,"manualWeight":11,"mainColor":34},243011,"chan-wen-shao-yi-ming-243011","蝉纹勺","商","弯长勺柄搭配敦实勺斗，形制古雅厚重。柄身以弦纹衬底，中段浮雕蝉纹，将彼时以蝉寄寓高洁永生的精神信仰熔铸于日常食器，让实用功能与礼制意涵相融共生。\n\n铜身浸漫岁月包浆，青绿锈迹晕开斑驳古韵，凝住了三千年前的青铜温度。它既是挹取酒浆的实用之器，亦是上古青铜工艺与精神内核的缩影，静诉着那个时代的审美意趣与信仰追求。",[61,62,63,64,7],"青铜器","雕刻","蝉纹","商代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd48dd7b9a218b64afbd42fb3934aedd5.jpg","青铜器精选",[66],18,{"id":70,"slug":71,"title":72,"dynasty":73,"author":19,"museum":20,"description":74,"tags":75,"thumbUrl":82,"material":28,"size":29,"collection":51,"collections":83,"showCount":84,"zanCount":33,"manualWeight":11,"mainColor":34},248393,"hei-qi-qian-luo-dian-shuang-xi-zi-chan-zhi-lian-ba-bao-wen-cuan-he-yi-ming-248393","黑漆嵌螺钿双喜字缠枝莲八宝纹攒盒","清","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",[76,77,78,62,79,80,81,7],"清代","漆器","嵌螺钿","双喜字","缠枝莲纹","八宝纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f446e139576fc41bb31d57dcfc45212.jpg",[],11,{"id":86,"slug":87,"title":88,"dynasty":89,"author":19,"museum":20,"description":90,"tags":91,"thumbUrl":95,"material":28,"size":29,"collection":30,"collections":96,"showCount":97,"zanCount":11,"manualWeight":11,"mainColor":98},256192,"yue-yao-qing-you-zhi-hu-yi-ming-256192","越窑青釉执壶","五代十国","越窑是中国古代南方著名的青瓷窑，汉族传统制瓷工艺的珍品之一。窑所在地主要在越州境内，即今浙江省宁绍平原上的绍兴、宁波两地。生产年代自东汉至宋。唐朝是越窑工艺最精湛时期，居全国之冠。越窑之名，最早见于唐代，越窑瓷青瓷与唐代的饮茶风尚关系十分密切，其瓷质造型，釉色之美，深受饮茶者的喜爱。饮茶风尚又影响了越窑青瓷的型制。",[23,92,7,93,89,94],"青釉","饮酒器","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F081e9a62d0ba31ed2f38d34c869d36e9.jpg",[30],9,"BDBDBD",{"id":100,"slug":101,"title":102,"dynasty":73,"author":19,"museum":20,"description":103,"tags":104,"thumbUrl":113,"material":28,"size":29,"collection":51,"collections":114,"showCount":115,"zanCount":11,"manualWeight":11,"mainColor":34},229161,"tong-tai-fa-lang-dai-ji-fang-hua-ping-yi-ming-229161","铜胎珐瑯带戟方花瓶","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。",[105,106,107,108,109,110,111,112,94,7],"铜胎","珐琅器","铜制","设色","山水","楼阁","小桥","流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6789b67c5b48f626b73c2e9020820d3b.jpg",[],8,{"id":117,"slug":118,"title":119,"dynasty":39,"author":19,"museum":20,"description":120,"tags":121,"thumbUrl":126,"material":28,"size":29,"collection":51,"collections":127,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":34},262100,"wu-cai-zhang-tian-shi-zhan-wu-du-tu-pan-yi-ming-262100","五彩张天师斩五毒图盘","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。",[23,122,123,124,125,7],"五彩","张天师","五毒","宗教神话","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa44a3e4afe19fd9c7021830c9a354e3.jpg",[],7,{"id":130,"slug":131,"title":132,"dynasty":133,"author":19,"museum":20,"description":134,"tags":135,"thumbUrl":138,"material":28,"size":29,"collection":51,"collections":139,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":140},244584,"xun-lu-yi-ming-244584","熏炉","汉","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。",[136,61,107,62,137,48,7],"汉代","镂空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde71d3d8d6640f307511ce9e69e99cb7.jpg",[],"37474F",{"id":142,"slug":143,"title":144,"dynasty":18,"author":19,"museum":20,"description":145,"tags":146,"thumbUrl":148,"material":28,"size":29,"collection":30,"collections":149,"showCount":150,"zanCount":33,"manualWeight":11,"mainColor":34},260182,"lin-ru-yao-qing-you-ji-xin-guan-yi-ming-260182","临汝窑青釉鸡心罐","汝窑，宋代五大名窑之一，因窑址位于宋时河南汝州境内而得名，今河南省宝丰县大营镇清凉寺村和汝州市张公巷均发现汝窑烧造。汝瓷位居宋代“汝、官、哥、钧、定”五大名窑之首，在中国陶瓷史上素有“汝窑为魁”之称。汝窑是中华传统制瓷著名瓷种之一，中国北宋、南宋、明朝时期皇家主要代表瓷器。\n汝瓷造型古朴大方，以名贵玛瑙为釉，色泽独特，有“玛瑙为釉古相传”的赞誉。随光变幻，观其釉色，犹如“雨过天晴云破处”，“千峰碧波翠色来”之美妙，土质细润，坯体如侗体其釉厚而声如磬，明亮而不刺目。器表呈蝉翼纹细小开片，有“梨皮、蟹爪、芝麻花”之特点，被世人称为“似玉、非玉、而胜玉”。宋、元、明、清以来，宫廷汝瓷用器，内库所藏，视若珍宝、可与商彝周鼎比贵。\n1952年，周恩来总理指示“发展祖国文化遗产、恢复汝窑生产”。经过上百次实验和研究，1958年烧制出第一批豆绿釉工艺品，1983年8月汝窑天蓝釉经过专家鉴定，均达到明代汝窑水平。从此，汝瓷成了汝州市人的一张名片。\n汝窑天青釉弦纹樽 ，此樽仿汉代铜樽造型，器形规整，仿古逼真，釉色莹润光洁，浓淡对比自然。\n瓷樽始于宋，汝窑、定窑、龙泉窑均有烧造，是陈设用品。所见传世宋代汝窑天青釉弦纹樽只有两件，除故宫博物院收藏的这件以外，英国伦敦大维德基金会亦收藏一件。\n汝窑烧制的汝瓷因为其绝妙的色泽、独特艺术价值，深得帝王欢心，有“宋瓷之冠”的美誉。汝窑又与同期官窑（河南开封）、哥窑（浙江龙泉）、钧窑（河南禹县）、定窑（河北曲阳）合称“宋代五大名窑”，位居五大名窑之首。\n汝窑以传承艺术为己任，采用传统手工制作陶瓷方法，制作一个陶瓷的工序高达十三道，包括淘泥、摞泥、拉坯、印坯、修坯、捺水、画坯、上釉、烧窑、成瓷、成瓷缺陷的修补，做工精细，设计唯美、承艺汝瓷以“釉色层”领先，器型古朴典雅得当，光润有度，由于汝瓷釉层厚，常有开片如鱼鳞、蝉翼状，久用之后茶色会着附于裂纹处，形成不规则的变换交错的花纹，故而手感润滑如脂，似玉非玉之美。\n宋人欧阳修在《归田集》中对汝窑的论述：汝窑瓷真正最美的就是釉，不是天青色，而是粉翠，也就是今所说的翠青色。而汝瓷真正的瓷色是半瓷化作的，玻化不明显，器身不透光亮，因此不排除后人把珍品当作“陶”而丢弃，故存世甚稀。而《清波杂志》里宋人周辉对汝窑的精述，汝瓷以釉取胜，当代青瓷不能同比，真品釉色青中泛滥、纯净、温润，釉面隐现出一种柔和含蓄的光泽，它既不同钧瓷的乳光，也不同哥窑的脂光，而是一种类似古玉般内蕴的光泽。当时汝瓷是唯供御拣退方许出卖，近尤难得。现从文献可知，汝瓷也可民用，绝非“严禁民用”之说。对自藏汝窑瓷及由此对整个汝窑作较全面简述的则是明代学者高濂的《燕闲清赏笺》中提及，“汝窑，余尝见之，实为玛瑙末入釉，汁水莹厚如堆脂，然汁中棕眼隐若蟹爪，其釉色有天青、粉青，还有葱绿和天蓝等。粉青为上，天蓝弥足珍贵。有"雨过天晴云破处"之称誉，釉面可视碧玉，也不为过。所有历代青瓷应以汝窑为冠。”",[23,92,147,25,7],"鸡心罐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e44cdebfab93657f339d57c3e2e5d68.jpg",[30],6,{"id":152,"slug":153,"title":154,"dynasty":155,"author":19,"museum":20,"description":156,"tags":157,"thumbUrl":161,"material":28,"size":29,"collection":51,"collections":162,"showCount":150,"zanCount":11,"manualWeight":11,"mainColor":140},242896,"zhang-jing-hu-yi-ming-242896","长颈壶","唐","此器造型舒展柔婉，敞口敛颈，弧腹饱满如圆月，圈足稳稳承托，线条恰似盛唐仕女袅娜的身形。铜身被时光晕染出深浅不一的青绿锈色，间杂赭色斑痕，仿佛将长安旧巷的烟雨风尘凝于其上。\n\n通体素净无饰，凭藉形制尽显简约大气的审美意趣，将日用器物化作东方雅致的载体，静默定格住千年前的风雅日常，带着旧时光的厚重温度，静静流淌出独属那个时代的从容风骨。",[158,61,107,62,159,160,7,26],"唐代","长颈","锈迹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F898525c5e5e3d61dca97a02d808b0a70.jpg",[],{"id":164,"slug":165,"title":166,"dynasty":58,"author":19,"museum":20,"description":167,"tags":168,"thumbUrl":171,"material":28,"size":29,"collection":51,"collections":172,"showCount":150,"zanCount":11,"manualWeight":11,"mainColor":34},226762,"ru-ding-wen-shao-dou-yi-ming-226762","乳丁纹勺（斗）","青铜器（Bronze 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。",[61,107,62,169,170,94,7],"乳丁纹","商代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceeceafdd52cbfb9802a9e30707cc45f.jpg",[],{"id":174,"slug":175,"title":176,"dynasty":73,"author":19,"museum":20,"description":177,"tags":178,"thumbUrl":183,"material":28,"size":29,"collection":51,"collections":184,"showCount":150,"zanCount":11,"manualWeight":11,"mainColor":34},224095,"cha-ye-mo-you-chi-er-hua-jiao-yi-ming-224095","茶叶末釉螭耳花浇","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。",[73,23,179,180,94,7,181,182],"茶叶末釉","螭耳","兽","釉彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65601c7ad70922919ad40b12614cadaa.jpg",[],{"id":186,"slug":187,"title":188,"dynasty":73,"author":19,"museum":20,"description":189,"tags":190,"thumbUrl":194,"material":28,"size":29,"collection":51,"collections":195,"showCount":196,"zanCount":11,"manualWeight":11,"mainColor":34},270398,"tong-zhi-kuan-tian-lan-se-bo-li-zhi-kou-wan-yi-ming-270398","同治款天蓝色玻璃直口碗","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。",[191,7,192,193],"玻璃器","碗","天蓝色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78e05ea418c7fc2ad4d75a5cb5c29ece.jpg",[],5,{"id":198,"slug":199,"title":200,"dynasty":39,"author":19,"museum":20,"description":40,"tags":201,"thumbUrl":205,"material":28,"size":29,"collection":51,"collections":206,"showCount":196,"zanCount":11,"manualWeight":11,"mainColor":34},261950,"wan-fu-you-tong-kuan-qing-hua-he-wen-wan-yi-ming-261950","万福攸同款青花鹤纹碗",[23,43,192,202,203,204,7],"鹤","荷花","花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c0a1815912554a24e4735b60aa4c5fa.jpg",[],{"id":208,"slug":209,"title":210,"dynasty":73,"author":19,"museum":20,"description":120,"tags":211,"thumbUrl":215,"material":28,"size":29,"collection":51,"collections":216,"showCount":196,"zanCount":11,"manualWeight":11,"mainColor":34},260894,"dao-guang-kuan-bai-di-fan-hong-cai-an-hua-hai-shui-yu-wen-pan-yi-ming-260894","道光款白地矾红彩暗划海水鱼纹盘",[23,212,213,214,7],"矾红彩","鱼","暗划纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F577e86f28368c901840a6f182bec3e67.jpg",[],{"id":218,"slug":219,"title":220,"dynasty":73,"author":19,"museum":20,"description":221,"tags":222,"thumbUrl":227,"material":28,"size":29,"collection":30,"collections":228,"showCount":196,"zanCount":11,"manualWeight":11,"mainColor":98},258974,"yi-xing-yao-zi-sha-yin-juan-zhi-wen-ti-liang-hu-yi-ming-258974","宜兴窑紫砂印卷枝纹提梁壶","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。",[76,223,23,62,224,225,226,7,94],"紫砂","印纹","卷枝纹","提梁壶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9001aa70d3c2c14985870e6c1881d3e.jpg",[30],{"id":230,"slug":231,"title":232,"dynasty":73,"author":19,"museum":20,"description":40,"tags":233,"thumbUrl":235,"material":28,"size":29,"collection":51,"collections":236,"showCount":196,"zanCount":11,"manualWeight":11,"mainColor":98},257929,"qing-hua-shi-er-yue-hua-hui-wen-bei-yi-ming-257929","青花十二月花卉纹杯",[76,23,43,234,7,93],"花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31fdcd6bd74682b21dea7c1b753ed94e.jpg",[],{"id":238,"slug":239,"title":240,"dynasty":39,"author":19,"museum":20,"description":40,"tags":241,"thumbUrl":245,"material":28,"size":29,"collection":51,"collections":246,"showCount":196,"zanCount":11,"manualWeight":11,"mainColor":140},257653,"hong-zhi-kuan-qing-hua-chan-zhi-ling-zhi-tuo-ba-ji-xiang-wen-wan-yi-ming-257653","弘治款青花缠枝灵芝托八吉祥纹碗",[23,242,49,192,7,243,244],"青花瓷","缠枝灵芝纹","八吉祥纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F497d3831badbe5d701479192aefa2363.jpg",[],{"id":248,"slug":249,"title":250,"dynasty":73,"author":19,"museum":20,"description":189,"tags":251,"thumbUrl":256,"material":28,"size":29,"collection":51,"collections":257,"showCount":196,"zanCount":11,"manualWeight":11,"mainColor":34},248967,"qian-long-kuan-hua-fa-lang-dan-feng-wen-gai-wan-yi-ming-248967","乾隆款画珐琅丹凤纹盖碗",[76,252,108,253,254,234,106,7,255,48],"画珐琅","丹凤纹","凤凰","盖碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99b0e7da63bea70d64233e9562b06dd5.jpg",[],{"id":259,"slug":260,"title":261,"dynasty":133,"author":19,"museum":20,"description":134,"tags":262,"thumbUrl":264,"material":28,"size":29,"collection":51,"collections":265,"showCount":196,"zanCount":11,"manualWeight":11,"mainColor":34},242952,"bo-shan-lu-yi-ming-242952","博山炉",[136,61,107,62,263,7],"山峦造型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0eb26ae657ed9913e6be518da911eb75.jpg",[],{"id":267,"slug":268,"title":269,"dynasty":133,"author":19,"museum":20,"description":134,"tags":270,"thumbUrl":273,"material":28,"size":29,"collection":51,"collections":274,"showCount":196,"zanCount":33,"manualWeight":11,"mainColor":34},226939,"sheng-de-deng-yi-ming-226939","圣得镫",[136,61,107,271,272,7],"三足","带柄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4d3fbe4a07637fedda455a266f4fe4c.jpg",[],{"id":276,"slug":277,"title":278,"dynasty":279,"author":19,"museum":20,"description":280,"tags":281,"thumbUrl":283,"material":28,"size":29,"collection":51,"collections":284,"showCount":285,"zanCount":11,"manualWeight":11,"mainColor":140},256983,"qing-you-yin-hua-dai-gai-tuo-hu-yi-ming-256983","青釉印花带盖唾壶","隋","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。”",[23,92,282,7,94],"印花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8335efe740ba54c629e9d2f9f27ef69e.jpg",[],4,{"id":287,"slug":288,"title":289,"dynasty":39,"author":19,"museum":20,"description":177,"tags":290,"thumbUrl":292,"material":28,"size":29,"collection":51,"collections":293,"showCount":285,"zanCount":11,"manualWeight":11,"mainColor":140},256502,"kong-que-lv-you-wan-yi-ming-256502","孔雀绿釉碗",[42,23,291,7],"孔雀绿釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F679173e279628bebaf19ae26ea3eb1ba.jpg",[],{"id":295,"slug":296,"title":297,"dynasty":155,"author":19,"museum":20,"description":298,"tags":299,"thumbUrl":303,"material":28,"size":29,"collection":30,"collections":304,"showCount":285,"zanCount":11,"manualWeight":11,"mainColor":140},256191,"xing-yao-bai-you-pi-nang-shi-hu-yi-ming-256191","邢窑白釉皮囊式壶","邢窑，是一处隋朝－五代时期的窑场，现存遗址位于河北省邢台市辖内丘、临城两县境内的太行山东麓丘陵和平原地带。据考证，邢窑始烧于北朝，衰于五代，终于元代，唐代时为制瓷业七大名窑之一，也是我国北方最早烧制白瓷的窑场。\n邢窑开创的独特制瓷工艺和先进的烧造技术，同样是我国陶瓷史上的重要里程碑。唐人李肇在《国史补》里写道："内丘白瓷瓯、端溪紫石砚，天下无贵贱通用之"。\n邢窑白瓷产品的出现，改变了中国一向以青瓷为主的局面，结束了自魏晋以来青瓷一统天下的局面，到了唐代，形成规模，使得邢窑与越窑平分秋色，形成了南青北白、相互争妍的两大体系，为唐以后白瓷的崛起和彩瓷的发展奠定了基础。唐三彩的出土使邢窑遗址成为中国第三处烧制唐三彩的窑址，具有重大的保护价值和学术、科研价值。\n白瓷的发展起步较迟，而邢窑白瓷到唐朝中期已非常流行。唐墓出土的白瓷碗，胎土白洁，细如澄泥，釉色明净，据此可以证明邢窑白瓷同样是瓷器中之上品。唐代白瓷除邢窑外其他产地之白瓷质地制工也较优良，江西州窑也是当时白瓷的中心。唐三彩一般为黄、绿、白（蓝），其发展是从汉代单色釉（绿）到北朝的黄釉绿色再到唐三彩。三彩釉陶是一种低温铅釉的彩陶器，色彩绚丽，造型生动，在唐代釉瓷中是一个很特别的品种，俗称“唐三彩”。三彩陶器巧妙利用了釉色的变化达到富丽华美的装饰效果。色釉中蓝彩较罕见。唐三彩的烘造地点主要在长安及洛阳两地，唐三彩造型丰富多彩；有生动传神感人的人物偏和动物偏，还有房屋用器的模型。\n邢窑瓷器的釉色有白、青、黑和褐黄等多种。邢窑白瓷按其胎、釉的质地，可以分为粗、细两大类。\n粗白瓷:\n白瓷的胎质又有粗、细之分，粗胎的一类胎色灰白，胎质粗糙；细胎的一类胎体致密，胎色较淡，但仍不够白，往往施一层白色化妆土。\n粗白瓷的釉质较细，有些还有细碎的纹片，釉色为灰白或乳白色，还有黄白色。\n粗白瓷产量大，生产过程中，不管是捏练还是陈腐都不够充分，白中常泛黄，到五代时部分产品的工艺水平有所提高，胎体中少有气孔夹砂现象，烧不熟的现象已基本克服，渐趋细腻。\n细白瓷:\n细白瓷的胎色纯白，个别的白中闪黄釉质很细，釉层中有微细的小棕眼，器物多施满釉，釉色纯白或白中微泛青色。白釉又有粗细之分，以粗者居多，细者占少数。\n细白瓷在加工工艺上，每个步骤都很讲究，烧成后白度很高。邢窑的精细白瓷，选用优质瓷土烧成，胎质坚实细腻，胎色洁白如雪，釉质莹润，有的薄如蛋壳，透明性能很好。一般器物纯白光亮，有些则白中微微泛青。\n邢窑是镁釉，高温下黏度大，釉面易光滑平整，光泽度好，但釉色有乳浊感，不透明，釉色稳定，多呈白色或白中泛青的色调。这就使乳浊釉对胎体有良好的遮盖性，器物施釉到底，质优者足心也施釉。而当时的定窑产品釉料配置不稳定，就釉而言也分粗细两种，都不够光洁，光泽度差。",[158,23,300,94,301,7,302],"白釉","皮囊式","造型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cab2200c48db62d53009fbb08c2f36a.jpg",[30],{"id":306,"slug":307,"title":308,"dynasty":133,"author":19,"museum":20,"description":309,"tags":310,"thumbUrl":313,"material":28,"size":29,"collection":51,"collections":314,"showCount":285,"zanCount":11,"manualWeight":11,"mainColor":34},255795,"tao-xian-wen-cang-yi-ming-255795","陶弦纹仓","汉代陶器的工艺水平很高,造型优美,质地精良。品种、装饰则因地区不同而不同。陕西关中地区常见的日用陶器有豆、 盆、筒杯、勺、盘、缸、甑、 釜、小壶、扁壶、茧形壶、钵、罐、钟、碗等。明器包括礼器鼎和模型明器仓、陶囤以及各种动物形象。纹饰多为变形回纹、三角纹和窝纹。陕西潼关以东地区人们的日常用陶，以灰陶为主，有罐、 壶、碗、勺、筒杯、 瓮、盒、洗、甑、釜、杯、盘、尊等。在汉代流行起来的生活用具模型，如仓、 炉、 灶、井等。大都作为明器供随葬之用。盒、盘、案、杯等，逐渐成组出现，为适应人们厚葬之需也成为祭器。猪、羊、狗、鸡等家畜家禽及圈舍、住宅等明器模型也大量流行。装饰则有弦纹、刻划的三角纹、连环纹、栉齿纹和动物纹，还有绳纹、拍印纹、模印、浮雕、涂色和彩绘等。南方的长沙地区，制陶工艺自成体系，陶盒使用普遍，陶壶无盖，鼎的三足成矮胖的兽蹄形，其他实用器皿还有壶、罐、碗、钫、、盆、釜、甑、长方炉、博山炉等。特点是坚硬厚重。殉葬明器有灶、仓、井、屋、猪圈模型等。广东地区秦汉时属南海郡，常用陶器有瓮、双耳罐、提、四联罐和五联罐、瓿、小瓿、壶、匏壶、温壶、钫、 盒、敦、 小盒、三足盒、三足罐、三足瓿、四联盒、 碗、盆、 甑、釜、鼎、豆、三足格盒等。生活用具中灰白色的印纹硬陶占多数， 有的还戳上印记，多为容器，炊器只有釜、 鼎、甑 3种。造型特别的三足器、温壶、匏壶有着明显的地方特点。印纹硬陶很讲究装饰，单是几何图案就达70多种，此外还有弦纹、 陶纹、 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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 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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。",[42,830,62,840,841,318,7],"云纹","螭纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef0fb16fab39ebf02536e1120af4ce15.jpg",[],{"id":845,"slug":846,"title":847,"dynasty":73,"author":19,"museum":20,"description":838,"tags":848,"thumbUrl":849,"material":28,"size":29,"collection":51,"collections":850,"showCount":665,"zanCount":11,"manualWeight":11,"mainColor":34},251172,"qian-long-kuan-qing-yu-tuo-yuan-pan-shi-cha-ju-yi-ming-251172","乾隆款青玉椭圆盘式茶具",[73,830,62,7,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3cfc8015c8ab9559bb77c4c8d5ae8ca.jpg",[],{"id":852,"slug":853,"title":854,"dynasty":155,"author":19,"museum":20,"description":855,"tags":856,"thumbUrl":858,"material":28,"size":29,"collection":51,"collections":859,"showCount":665,"zanCount":11,"manualWeight":11,"mainColor":140},250553,"bai-yu-tian-ji-san-er-guan-yi-ming-250553","白玉天鸡三耳罐","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。",[158,830,62,857,94,7],"飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe951cc55afef79d46a569b3912ad073c.jpg",[],{"id":861,"slug":862,"title":863,"dynasty":133,"author":19,"museum":20,"description":134,"tags":864,"thumbUrl":866,"material":28,"size":29,"collection":51,"collections":867,"showCount":665,"zanCount":11,"manualWeight":11,"mainColor":98},245002,"ji-he-wen-deng-yi-ming-245002","几何纹灯",[136,107,61,865,62,7],"几何纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79ea8cc3be603baa9ded750ed551a0fc.jpg",[],{"id":869,"slug":870,"title":871,"dynasty":58,"author":19,"museum":20,"description":167,"tags":872,"thumbUrl":873,"material":28,"size":29,"collection":51,"collections":874,"showCount":665,"zanCount":11,"manualWeight":11,"mainColor":34},244517,"ya-qi-shao-yi-ming-244517","亚其勺",[61,107,62,7,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F665488d64880ecbf69334282a302b148.jpg",[],{"id":876,"slug":877,"title":587,"dynasty":155,"author":19,"museum":20,"description":878,"tags":879,"thumbUrl":882,"material":28,"size":29,"collection":51,"collections":883,"showCount":665,"zanCount":11,"manualWeight":11,"mainColor":98},244506,"shao-yi-ming-244506","此勺线条舒展柔婉，狭长勺身贴合实用形态，长柄蜿蜒收尾蜷作含苞待放的花型，将日常器物化作灵动雅物。银面晕染上浅淡铜绿，是岁月沉淀下的温润痕迹。整器不着多余纹饰，以极简曲线勾勒出舒展雅致的气度，将食器的实用属性融于含蓄雅致的审美意趣中，尽显独有的舒展大气，静述千年前的日常风雅。",[155,880,7,62,881,94],"银器","金属器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eca851a24f2efb6d83ccce6df969467.jpg",[],{"id":885,"slug":886,"title":887,"dynasty":133,"author":19,"museum":20,"description":888,"tags":889,"thumbUrl":894,"material":28,"size":29,"collection":51,"collections":895,"showCount":665,"zanCount":11,"manualWeight":11,"mainColor":140},244079,"zhang-wu-xiang-wang-jing-yi-ming-244079","长毋相忘镜","汉镜有圆形﹑方形。纽多作半球形。正面磨光背面铸有几何形图案或神人禽兽等。东汉中期出现浮雕的画像造形精美。\n两汉时期大体上分西汉、新莽、东 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