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to Andrés de Melgar--Grotesque at Right with Winged Female; and Lion Mask","这幅手稿以刚柔碰撞的奇趣美学铺展画面。左侧异兽狞猛诡谲，狮首卷躯、龙形蜷身，涡旋肌理缠绕着神话生物的凌厉骨相，线条利落锋利，把幻想造物与古典卷草饰纹肆意糅合。右侧则以舒展羽翼的裸女为核心，柔美的躯体缠绕华丽茛苕纹样，柔化了异兽的暴戾气质。\n\n创作者以细腻排线勾勒轮廓，随性的手绘线条里藏着装饰设计的巧思，怪诞奇想与古典雅致彼此制衡，让狞厉的异兽与柔婉人像在卷草间共生，勾勒出中古奇幻美学的浪漫剪影，尽显复古怪谲的灵动诗意。",[271,545,546,7,547,548,549,550,551],"线稿","狮","带翼女性","怪诞形象","装饰画","兽类","神话形象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe85579304a607bb95b13c75572308a88.jpg",[],{"id":555,"slug":556,"title":332,"dynasty":181,"author":19,"museum":61,"description":333,"tags":557,"thumbUrl":560,"material":70,"size":71,"collection":35,"collections":561,"showCount":75,"zanCount":11,"manualWeight":11,"mainColor":39},255832,"zhu-que-wen-wa-dang-yi-ming-255832",[558,559,188,488,336,111,7,448],"汉代","瓦当","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f372da81bf8abdb43d9d224f6093a91.jpg",[],{"id":563,"slug":564,"title":565,"dynasty":81,"author":19,"museum":61,"description":313,"tags":566,"thumbUrl":567,"material":70,"size":71,"collection":35,"collections":568,"showCount":75,"zanCount":11,"manualWeight":11,"mainColor":39},252009,"qing-yu-tou-diao-shen-shou-wen-lu-ding-yi-ming-252009","青玉透雕神兽纹炉顶",[315,410,188,142,7,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51006b8cb5aa662948f75269f09029e1.jpg",[],{"id":570,"slug":571,"title":180,"dynasty":181,"author":19,"museum":61,"description":572,"tags":573,"thumbUrl":575,"material":70,"size":71,"collection":35,"collections":576,"showCount":75,"zanCount":11,"manualWeight":11,"mainColor":39},245130,"si-shen-wen-jing-yi-ming-245130","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 汉三个阶段。汉镜纹饰的主要种类有草叶纹镜、蟠龙纹镜、百乳镜、连弧纹镜、规矩镜、多乳禽兽纹镜和变形四叶镜等。",[558,184,185,188,189,193,7,574,208],"兽纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0346a92a4e4599735ebc01d814d19550.jpg",[],{"id":578,"slug":579,"title":180,"dynasty":181,"author":19,"museum":61,"description":572,"tags":580,"thumbUrl":582,"material":70,"size":71,"collection":35,"collections":583,"showCount":75,"zanCount":11,"manualWeight":11,"mainColor":39},243959,"si-shen-wen-jing-yi-ming-243959",[184,185,188,186,7,291,398,581,336],"玄武","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8374594d3d61e64289c7a6e6566ad6d.jpg",[],{"id":585,"slug":586,"title":587,"dynasty":181,"author":19,"museum":61,"description":572,"tags":588,"thumbUrl":589,"material":70,"size":71,"collection":35,"collections":590,"showCount":75,"zanCount":11,"manualWeight":11,"mainColor":39},243241,"san-duan-qu-duan-shi-shen-shou-jing-yi-ming-243241","三段区段式神兽镜",[558,185,188,7,29,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F489d48989bccf8af30311833ea2e1e1d.jpg",[],{"id":592,"slug":593,"title":594,"dynasty":181,"author":19,"museum":61,"description":595,"tags":596,"thumbUrl":598,"material":70,"size":71,"collection":35,"collections":599,"showCount":75,"zanCount":11,"manualWeight":11,"mainColor":39},242953,"lou-kong-si-shen-lu-yi-ming-242953","镂空四神炉","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。",[558,184,185,597,188,7,291,398,208],"镂空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2ed5f38bcba719b80c55e0004e0753f.jpg",[],{"id":601,"slug":602,"title":603,"dynasty":81,"author":19,"museum":61,"description":313,"tags":604,"thumbUrl":616,"material":70,"size":71,"collection":35,"collections":617,"showCount":75,"zanCount":11,"manualWeight":11,"mainColor":39},228157,"yu-ma-yi-ming-228157","玉马",[315,188,605,142,606,409,607,608,609,610,611,7,612,408,613,614,615],"马","元代","玉质","卧姿","动物题材","元代风格","玉雕工艺","畜兽","立体雕刻","写实","古朴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa8b30f4118cf8864253c06a5eb9ab94.jpg",[],{"id":619,"slug":620,"title":621,"dynasty":81,"author":19,"museum":61,"description":622,"tags":623,"thumbUrl":625,"material":70,"size":71,"collection":35,"collections":626,"showCount":75,"zanCount":11,"manualWeight":11,"mainColor":39},228138,"bai-yu-dai-kou-yi-ming-228138","白玉带扣","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。",[606,315,188,410,624,142,291,7,317],"白玉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27b8b16a8c1df2f7908689f248347c54.jpg",[],{"id":628,"slug":629,"title":630,"dynasty":181,"author":19,"museum":61,"description":631,"tags":632,"thumbUrl":634,"material":70,"size":71,"collection":35,"collections":635,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":76},280069,"tong-shou-niu-shen-shou-tu-an-yin-yi-ming-280069","铜兽钮神兽图案印","战国时期，主张合纵的名相苏秦佩戴过六国相印。近几年来，出土的文物又把印章的历史向前推进了数百年。也就是说，印章在周朝时就有了。\n传世的古代玺印，多数出于古城废墟、河流和古墓中。有的是战争中战败者流亡时所遗弃，也有在战争中殉职者遗弃在战场上的，而当时的惯例，凡在战场上虏获的印章必须上交，而官吏迁职、死后也须脱解印绶上交。其它有不少如官职连姓名的，以及吉语印、肖形印等一般是殉葬之物，而不是实品。其它在战国时代的陶器和标准量器上，以及有些诸侯国的金币上，都用印章盖上名称和记录上制造工匠的名姓或图记性质的符号，也被流传下来。\n古玺是先秦印章的通称。我们现在所能看到的一般最早的印章大多是战国古玺。印文笔画细如毫发，都出于铸造。白文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。官玺的印文内容有“司马”、“司徒”等名称外，还有各种不规则的形状，内容还刻有吉语和生动的物图案。朱文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。",[158,184,185,633,142,7],"篆刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F087e0f27d15d7165e33916a07e0058a1.jpg",[],{"id":637,"slug":638,"title":639,"dynasty":60,"author":19,"museum":61,"description":640,"tags":641,"thumbUrl":644,"material":70,"size":71,"collection":35,"collections":645,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":132},275065,"tong-qi-zhen-jiang-jun-bao-yi-ming-275065","铜七珍-将军宝","鎏金莹润厚重，整器以仰覆莲座为底，手柄錾刻缠枝宝相花，延展至如意莲瓣造型的龛框，祥云纹环围出嵌龛。龛内将军骑狮而立，甲胄严整，握持威怒法器，瑞狮鬃毛飞扬、獠牙毕露，凛凛威严尽显护法神威。\n\n整器纹饰繁而不紊，刚劲肃穆的护法造像与柔曼婉转的卷草祥云形成鲜明反差，将藏传佛教的庄严感与工艺美学融于一体，静穆中带着慑邪的刚猛之力，是藏传供器中兼具宗教意蕴与匠心的精巧之作，尽显清代造像供器的上乘水准。",[185,508,188,26,47,208,642,7,643],"七珍","宗教人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F043b9c572fb5daf6ec4fe061b97398bc.jpg",[],{"id":647,"slug":648,"title":649,"dynasty":60,"author":19,"museum":61,"description":650,"tags":651,"thumbUrl":652,"material":70,"size":71,"collection":35,"collections":653,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},273905,"bai-se-jiang-chou-xiu-yun-wen-fei-hu-qi-yi-ming-273905","白色江绸绣云纹飞虎旗","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。”",[396,397,359,398,7,141,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a706f6db1c8e19b96fabcb4b1e36fa4.jpg",[],{"id":655,"slug":656,"title":649,"dynasty":60,"author":19,"museum":61,"description":650,"tags":657,"thumbUrl":658,"material":70,"size":71,"collection":35,"collections":659,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},273904,"bai-se-jiang-chou-xiu-yun-wen-fei-hu-qi-yi-ming-273904",[359,396,397,7,398,141,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d323806671b5d7bfd497cfc417a8fe6.jpg",[],{"id":661,"slug":662,"title":663,"dynasty":18,"author":19,"museum":61,"description":664,"tags":665,"thumbUrl":668,"material":70,"size":71,"collection":35,"collections":669,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":670},271187,"fang-yu-lu-zao-qing-lin-sui-mo-yi-ming-271187","方于鲁造青麟髓墨","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[666,667,188,7],"墨","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49f5482408e1b5da57152836313e1dfe.jpg",[],"F48FB1",{"id":672,"slug":673,"title":674,"dynasty":60,"author":19,"museum":61,"description":675,"tags":676,"thumbUrl":679,"material":70,"size":71,"collection":35,"collections":680,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":76},269929,"zhu-gen-diao-chi-wen-san-zu-lu-yi-ming-269929","竹根雕螭纹三足炉","清代的玉炉很多，但用芙蓉石制作的炉却极少，这是因为做炉需要较大块的料，而芙蓉石一般裂纹很多不宜使用。中国芙蓉石的产量小，颜色与质地亦欠佳。",[188,677,208,446,678,7],"竹质","三足炉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbbc8fb92aee3b827126aa58afeec31f.jpg",[],{"id":682,"slug":683,"title":684,"dynasty":60,"author":19,"museum":61,"description":685,"tags":686,"thumbUrl":692,"material":70,"size":71,"collection":35,"collections":693,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},258047,"kang-xi-kuan-huang-di-zi-lv-long-hua-hui-wen-pan-yi-ming-258047","康熙款黄地紫绿龙花卉纹盘","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。",[687,688,303,689,690,691,27,498,7,448],"陶瓷","釉上彩","黄地","龙纹","花卉纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F904e004cb1238d1f26f4adcc4c40e65c.jpg",[],{"id":695,"slug":696,"title":697,"dynasty":60,"author":19,"museum":61,"description":698,"tags":699,"thumbUrl":704,"material":70,"size":71,"collection":35,"collections":705,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":76},256657,"qing-you-lou-kong-fen-cai-miao-jin-kui-feng-wen-tao-ping-yi-ming-256657","青釉镂空粉彩描金夔凤纹套瓶","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。”",[687,208,700,597,701,702,188,28,703,7],"青釉","粉彩","描金","夔凤纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5c549eaaad97271150da70d7b2d8af6.jpg",[],{"id":707,"slug":708,"title":709,"dynasty":102,"author":19,"museum":61,"description":710,"tags":711,"thumbUrl":713,"material":70,"size":71,"collection":35,"collections":714,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},256144,"tong-liu-jin-suan-ni-yi-ming-256144","铜鎏金狻猊","此瑞兽蹲坐昂首，张口似作怒吼，鬃毛以卷涡阴线层层錾刻，如焰浪翻涌，将悍勇英气尽数铺展。双翼收拢贴于脊背，翎羽纹理舒展流畅，尾尾盘转灵动矫捷，线条劲挺间糅合柔婉意趣。\n\n鎏金虽经岁月磨洗，仍在光影里泛着沉郁华贵的光泽，铜胎斑驳锈色更衬古韵悠长。写实朴拙与神异浪漫相融，将盛唐瑞兽的想象凝于寸尺之间，既带着护法神兽的狞厉威严，亦是大唐冶铸匠心的缩影，藏着盛唐气象的雄浑开阔，静静诉说千年前的工巧风华。",[185,712,188,142,7],"鎏金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd12f245e7173e1c3e3dbe3e6e223dbbc.jpg",[],{"id":716,"slug":717,"title":718,"dynasty":18,"author":19,"museum":61,"description":719,"tags":720,"thumbUrl":723,"material":70,"size":71,"collection":35,"collections":724,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":132},255995,"tong-liu-jin-xuan-wu-xiang-yi-ming-255995","铜鎏金玄武像","这件造像将龟蛇合体的瑞兽诠释得灵动有神，龟首昂然抬举，双目圆睁自带威严气度，灵蛇蜿蜒盘绕于龟背，蛇首回望与龟遥遥呼应，二者气韵相连，浑然一体。\n\n鎏金覆身虽经岁月剥蚀略有斑驳，却晕染出古拙厚重的沧桑质感。细节处尽显匠心，龟甲纹路清晰规整，四肢肌肉线条硬朗写实，蛇身鳞片刻画细腻凝练。整体形制小巧却气势雄浑，沉稳间带着玄奥肃穆的氛围感，尽显明代匠人精湛的錾刻鎏金工艺，是道教造像中颇为精巧的佳品。",[185,712,188,7,721,722,208],"龟","蛇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1639031e5490fc00e89c6bda55f5c18c.jpg",[],{"id":726,"slug":727,"title":728,"dynasty":181,"author":19,"museum":61,"description":729,"tags":730,"thumbUrl":732,"material":70,"size":71,"collection":35,"collections":733,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},253720,"tao-hua-cai-bi-xie-yi-ming-253720","陶画彩辟邪","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、 镂孔、篦纹及文字记号等。明器上多施彩绘。四川云南等也有自己的制陶业，不少作品和中原地区相似，如圆底釜、侈口束颈、鼓腹的壶等。关中地区流行的茧形壶虽不生产，确有发现。舞蹈俑、说书俑、抚琴俑、听琴俑、侍立俑和各类家禽形象，生动优美，自然写实。",[558,687,731,28,142,7],"陶塑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9976e6669033da38fcc28b96025bdc01.jpg",[],{"id":735,"slug":736,"title":737,"dynasty":60,"author":19,"museum":61,"description":738,"tags":739,"thumbUrl":746,"material":70,"size":71,"collection":35,"collections":747,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":76},247950,"ti-hong-xian-ren-cheng-feng-tu-er-ceng-ba-fang-tao-he-yi-ming-247950","剔红仙人乘凤图二层八方套盒","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",[498,740,741,188,742,316,743,744,745,29,7,30],"漆器","剔红","仙人","套盒","八方","二层","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91e55cfa023a760b1f1bd6e03e465953.jpg",[],{"id":749,"slug":750,"title":180,"dynasty":181,"author":19,"museum":61,"description":572,"tags":751,"thumbUrl":753,"material":70,"size":71,"collection":35,"collections":754,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},245242,"si-shen-wen-jing-yi-ming-245242",[186,185,188,7,752],"线刻纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe19aedc22b6cbd378bf3262b8d9efdeb.jpg",[],{"id":756,"slug":757,"title":180,"dynasty":181,"author":19,"museum":61,"description":572,"tags":758,"thumbUrl":760,"material":70,"size":71,"collection":35,"collections":761,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":76},245135,"si-shen-wen-jing-yi-ming-245135",[558,185,184,187,188,7,759,448],"四神","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34c63b593c6c6b51e0c57858d1657a44.jpg",[],{"id":763,"slug":764,"title":180,"dynasty":181,"author":19,"museum":61,"description":572,"tags":765,"thumbUrl":766,"material":70,"size":71,"collection":35,"collections":767,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},245128,"si-shen-wen-jing-yi-ming-245128",[181,185,188,7,291,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eba3c119c61fadb138818648604f012.jpg",[],{"id":769,"slug":770,"title":180,"dynasty":181,"author":19,"museum":61,"description":572,"tags":771,"thumbUrl":772,"material":70,"size":71,"collection":35,"collections":773,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},244469,"si-shen-wen-jing-yi-ming-244469",[184,185,188,186,7,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa043e5e40776d5ee4f62c9dadccdd821.jpg",[],{"id":775,"slug":776,"title":777,"dynasty":181,"author":19,"museum":61,"description":572,"tags":778,"thumbUrl":779,"material":70,"size":71,"collection":35,"collections":780,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},244455,"shen-shou-wen-jing-yi-ming-244455","神兽纹镜",[185,188,7,142,184,558,448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaa9b082aedbdefe60d4b31c484b22b7.jpg",[],{"id":782,"slug":783,"title":180,"dynasty":181,"author":19,"museum":61,"description":572,"tags":784,"thumbUrl":785,"material":70,"size":71,"collection":35,"collections":786,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},244442,"si-shen-wen-jing-yi-ming-244442",[186,185,184,188,7,448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ffe0516fa5dda32353b2ac22f818f13.jpg",[],{"id":788,"slug":789,"title":790,"dynasty":181,"author":19,"museum":61,"description":572,"tags":791,"thumbUrl":797,"material":70,"size":71,"collection":35,"collections":798,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},244203,"qing-shi-jing-yi-ming-244203","青氏镜",[558,184,185,188,7,291,448,792,793,794,795,186,189,796],"古物","传统工艺","圆形器物","金属器","神兽纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff105667ffd565a5fad42035ba87d595a.jpg",[],{"id":800,"slug":801,"title":802,"dynasty":181,"author":19,"museum":61,"description":572,"tags":803,"thumbUrl":805,"material":70,"size":71,"collection":35,"collections":806,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},244083,"qing-gai-jing-yi-ming-244083","青盖镜",[558,184,185,187,188,7,804],"铭文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bcf93641275130bc4f736d9ef918b55.jpg",[],{"id":808,"slug":809,"title":180,"dynasty":181,"author":19,"museum":61,"description":572,"tags":810,"thumbUrl":811,"material":70,"size":71,"collection":35,"collections":812,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},244080,"si-shen-wen-jing-yi-ming-244080",[558,184,185,188,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3dae6c42067825acf45262aa26e0977.jpg",[],{"id":814,"slug":815,"title":816,"dynasty":181,"author":19,"museum":61,"description":572,"tags":817,"thumbUrl":820,"material":70,"size":71,"collection":35,"collections":821,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},244073,"si-shen-bo-ju-wen-jing-yi-ming-244073","四神博局纹镜",[184,185,188,7,759,818,819,448],"博局纹","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74c25600fd2dc954bafd43bfc5e1ce71.jpg",[],{"id":823,"slug":824,"title":180,"dynasty":181,"author":19,"museum":61,"description":57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