[{"data":1,"prerenderedAt":975},["ShallowReactive",2],{"subject-shou-er":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},3740,"shou-er","兽耳","兽耳画高清赏析","精选中国历代兽耳题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F009124fb115e1c4f115369de6c1e77b0.jpg",0,104,[14,35,52,68,84,96,108,123,133,146,157,173,184,190,196,207,218,227,241,257,270,283,295,303,313,326,334,342,351,357,366,375,385,393,399,407,414,422,429,436,445,456,464,472,483,492,501,510,520,528,536,543,552,563,571,578,588,597,605,616,625,632,643,651,659,669,678,686,694,703,710,717,725,733,742,749,758,765,773,780,787,795,802,809,817,824,833,839,847,854,860,870,882,891,900,908,915,922,930,939,946,954,962,968],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":29,"material":30,"size":30,"collection":31,"collections":32,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":34},242890,"shou-er-xian-huan-hu-yi-ming-242890","兽耳衔环壶","汉","佚名","藏地不详","敞口束颈，鼓腹圈足，整体造型圆润饱满，尽显古拙大气。两侧兽耳衔环，简约刻画便自带威严厚重之感。器身舍去繁复纹饰，仅以数道弦纹点缀，将青铜材质本身的朴拙质感烘托尽致。\n\n经年的铜绿深浅晕染，覆裹周身，沉淀着漫长岁月的痕迹，将汉代崇尚雄浑质朴的造物审美全然展现。静立间带着沉凝的历史张力，把上古器物的肃穆与厚重娓娓道来，是古拙美学的绝佳注脚。",[23,24,25,7,26,27,28],"汉代","青铜器","铜制","衔环","雕刻","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f1ee5276216fb3f569205b5120edf3f.jpg","","青铜器精选",[31],36,"795548",{"id":36,"slug":37,"title":38,"dynasty":39,"author":19,"museum":20,"description":40,"tags":41,"thumbUrl":47,"material":30,"size":30,"collection":48,"collections":49,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":51},246631,"ti-hong-yun-long-bian-fu-wen-shou-er-bian-yuan-ping-yi-ming-246631","剔红云龙蝙蝠纹兽耳扁圆瓶","清","扁圆器形饱满敦实，兽耳衔沿添几分雄浑古意。通身剔红满工雕饰，惊涛翻涌铺陈底色，矫龙破浪穿行，龙身遒劲灵动，爪牙张合间带着磅礴气势。蝠纹隐现浪涛之间，暗合福瑞潜祥之意。雕工深峻细腻，髹漆层叠出丰富层次，浪纹肌理分明，龙鳞纤毫毕现，将漆雕的厚重质感与纹饰的威仪灵动相融，尽显华贵大气的匠造水准，把瑞龙镇海、福伴水长的吉庆意象刻画得淋漓尽致。",[42,43,27,44,45,7,46,28],"漆器","剔红","龙","蝙蝠","云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bdd0d27fb11e4142b433225ff3a7756.jpg","瓷器精选",[48],19,"BDBDBD",{"id":53,"slug":54,"title":55,"dynasty":39,"author":19,"museum":20,"description":56,"tags":57,"thumbUrl":63,"material":64,"size":65,"collection":48,"collections":66,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":34},229501,"yong-zheng-yao-tian-qing-shou-er-zun-yi-ming-229501","雍正窑 天青兽耳尊","雍正一朝虽然只有13年，但他的制瓷业成就却达到了清代官窑的历史高峰，其品种之多，制作工艺之精良，都是其他朝代无法比拟的。",[58,59,60,7,61,62,28],"陶瓷","清代","天青釉","瓷器","釉色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb71a85289d2102e0c73b277c93ea1dd7.jpg","未知","Xcm*Xcm",[48],17,{"id":69,"slug":70,"title":71,"dynasty":39,"author":19,"museum":20,"description":72,"tags":73,"thumbUrl":81,"material":64,"size":65,"collection":30,"collections":82,"showCount":83,"zanCount":11,"manualWeight":11,"mainColor":34},262200,"qian-long-kuan-bai-di-fan-hong-cai-shi-ju-kai-guang-fen-cai-he-hua-tu-zun-yi-ming-262200","乾隆款白地矾红彩诗句开光粉彩荷花图尊","尊，今作樽，是商周时代中国的一种大中型盛酒器。青铜器，尊的形制圈足，圆腹或方腹，长颈，敞口，口径较大。尊盛行于商代至西周时期，春秋后期已经少见。较著名的有四羊方尊。商周至战国时期，还有另外一类形制特殊的盛酒器—彝。彝通常呈鸟兽状，有羊、虎、象、豕、牛、马、鸟、雁、凤等形象。《周礼·春官·司尊彝》：“春祠夏禴，裸用鸡彝鸟彝......追享朝享，裸用虎彝蜼彝。”彝纹饰华丽，在背部或头部有尊盖。",[58,74,75,76,77,78,7,79,80],"尊","矾红彩","粉彩","荷花","荷叶","彩绘","开光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd06f18cfcc2704ea19653df5e1d94bff.jpg",[],15,{"id":85,"slug":86,"title":87,"dynasty":18,"author":19,"museum":20,"description":88,"tags":89,"thumbUrl":92,"material":64,"size":65,"collection":30,"collections":93,"showCount":94,"zanCount":95,"manualWeight":11,"mainColor":34},224004,"qin-tong-shou-er-bian-hu-yi-ming-224004","秦铜兽耳扁壶","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。",[24,25,90,7,28,91],"兽","铸造","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d69e8130c8c6aa7ac10d81afec030f5.jpg",[],10,1,{"id":97,"slug":98,"title":99,"dynasty":39,"author":19,"museum":20,"description":100,"tags":101,"thumbUrl":105,"material":64,"size":65,"collection":30,"collections":106,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":51},246680,"ti-hong-yun-fu-an-ba-xian-wen-shou-er-huo-huan-ping-yi-ming-246680","剔红云蝠暗八仙纹兽耳活环瓶","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[39,42,43,27,7,102,46,45,103,104],"活环","暗八仙纹","瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aa5cb048547859dc8a9cc8f7d7ce54f.jpg",[],9,{"id":109,"slug":110,"title":111,"dynasty":39,"author":19,"museum":20,"description":112,"tags":113,"thumbUrl":120,"material":64,"size":65,"collection":30,"collections":121,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":51},248995,"hua-fa-lang-kai-guang-mu-dan-tu-huo-huan-lu-yi-ming-248995","画珐琅开光牡丹图活环炉","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。",[114,115,25,116,80,117,118,102,119,7,28],"画珐琅","珐琅器","设色","牡丹","花卉","三足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53e3a291e70da526e530b4e339eba11b.jpg",[],7,{"id":124,"slug":125,"title":126,"dynasty":39,"author":19,"museum":20,"description":56,"tags":127,"thumbUrl":130,"material":64,"size":65,"collection":30,"collections":131,"showCount":132,"zanCount":11,"manualWeight":11,"mainColor":51},229464,"yong-zheng-fang-jun-you-shou-er-xian-wen-ping-yi-ming-229464","雍正 仿钧釉兽耳弦纹瓶",[59,58,128,7,129,28],"仿钧釉","弦纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbea139164df8e37877479b4a75fd321b.jpg",[],5,{"id":134,"slug":135,"title":136,"dynasty":39,"author":19,"museum":20,"description":137,"tags":138,"thumbUrl":143,"material":64,"size":65,"collection":30,"collections":144,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":34},249429,"lao-tian-li-kuan-qia-si-fa-lang-jiao-ye-hua-niao-tu-shou-er-huo-huan-ping-yi-ming-249429","老天利款掐丝珐琅蕉叶花鸟图兽耳活环瓶","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 。因其在明朝景泰年间盛行，制作技艺比较成熟，使用的珐琅釉多以蓝色为主，故而得名“景泰蓝”。",[59,139,140,25,7,102,141,142,117,28],"掐丝珐琅","琺瑯器","蕉叶","花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf59b70069456f46c71625c97b07dc07.jpg",[],4,{"id":147,"slug":148,"title":149,"dynasty":39,"author":19,"museum":20,"description":150,"tags":151,"thumbUrl":154,"material":64,"size":65,"collection":30,"collections":155,"showCount":156,"zanCount":11,"manualWeight":11,"mainColor":51},258576,"fen-cai-kai-guang-ying-xi-tu-shou-er-ci-bi-yan-hu-yi-ming-258576","粉彩开光婴戏图兽耳瓷鼻烟壶","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。",[58,76,80,116,152,153,7,28],"人物","婴戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14b0617e4f42ecc44bd7699a76e10995.jpg",[],3,{"id":158,"slug":159,"title":160,"dynasty":161,"author":19,"museum":20,"description":162,"tags":163,"thumbUrl":10,"material":64,"size":65,"collection":30,"collections":172,"showCount":156,"zanCount":11,"manualWeight":11,"mainColor":34},221635,"yu-hu-yi-ming-221635","玉壶","宋","中国宋代是一个手工业和工商业空前发展兴盛的时代，国富民强，文化发达。此时期的玉器正处在一个承前启后的转折阶段。两宋玉器承袭两宋画风，通常画面构图复杂，多层次，形神兼备，有浓厚绘画趣味，完成了由唐玉偏重工艺性、雕塑性向宋玉偏重绘画性、艺术性的转变。此时的皇家用玉品种丰富多样，佩饰类有玉束带、玉佩，用具有玉辂，玉磬，礼器有玉圭、玉册等等。内廷专设有玉作，玉料由西域诸国进贡。民间用玉也较前朝为盛，大量出现各种玉佩饰，玉用器。皇家、官僚及民间均风行收藏古玉，古董行开始出现伪造或仿造古玉之风气。因此，宋玉又被分为古玉、时作玉、伪古玉和仿古玉。 　两宋及其同期或稍后的辽金玉文化去除了隋唐五代繁杂的外来文化因素，又继承和发展了隋唐玉文化的市庶化、艺术化特色，特别是融会了两宋绘画的特点和技巧。宋代肖生玉在崇尚写实主义的院画影响下追求形体及运动的准确表现，以显示其内心世界。花鸟玉佩多做隐起、镂空的对称处理，富有生活气息。双勾的经文诗词等铭刻玉器盛极一时。辽金玉器也是由汉族玉工碾成，但其题材却富有边疆民族特色和游牧生活气息，以契丹、女真两族生活为主题的春水佩和玉秋山为其杰出代表，均有着形神兼备的艺术造诣。宋、辽、金都出现了前所未见的有情节、有背景的景观式构图，以镂空起突等法碾琢的悬塑性或立体的肖生玉器。它是这一时代玉器的新兴形式，有着鲜明的时代特点，还出现了受道教影响的神仙题材和“龟游”一类祥瑞玉器。总之，此时期玉器的特点是：玉如凝脂、构图繁复、情节曲折、砣碾遒劲、空灵剔透、形神兼备，是我国玉文化的第二个高峰期。",[164,165,27,7,166,167,168,169,170,171],"宋代","玉石","绳纹","饮酒器","器物","简洁雅致","纹饰","玉器工艺",[],{"id":174,"slug":175,"title":176,"dynasty":39,"author":19,"museum":20,"description":177,"tags":178,"thumbUrl":181,"material":64,"size":65,"collection":30,"collections":182,"showCount":183,"zanCount":11,"manualWeight":11,"mainColor":51},274346,"shou-er-ba-gua-tong-hu-di-lou-yi-ming-274346","兽耳八卦铜壶滴漏","此器造型敦厚沉稳，器身自上而下缓缓收束，古雅端庄。通体以错金错银工艺饰就八卦、云气与江海涛纹，兽耳衔环点缀器腹，浑朴威严。腹身密布铭文，既是计时规制的载录，更添古朴文韵。\n\n深褐铜色凝厚苍古，金银饰纹在包浆映衬下熠熠闪光，明暗交错间尽显匠心巧思。内置铜尺刻度精准，是古人以水观时的智慧结晶，将天文历法、工艺美学与计时功用融为一体，尽显传统工艺的精湛造诣，藏着古人对时序流转的敬畏之心，是实用与美学兼具的匠心之作。",[24,25,27,7,179,28,180],"八卦","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa4934f6ccff8be49962b9af6c9bc694.jpg",[],2,{"id":185,"slug":186,"title":136,"dynasty":39,"author":19,"museum":20,"description":137,"tags":187,"thumbUrl":188,"material":64,"size":65,"collection":30,"collections":189,"showCount":183,"zanCount":11,"manualWeight":11,"mainColor":34},249434,"lao-tian-li-kuan-qia-si-fa-lang-jiao-ye-hua-niao-tu-shou-er-huo-huan-ping-yi-ming-249434",[59,139,115,7,102,141,142,28,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1279fed1ec37df1b8608cffa1d171450.jpg",[],{"id":191,"slug":192,"title":38,"dynasty":39,"author":19,"museum":20,"description":100,"tags":193,"thumbUrl":194,"material":64,"size":65,"collection":30,"collections":195,"showCount":183,"zanCount":11,"manualWeight":11,"mainColor":51},246630,"ti-hong-yun-long-bian-fu-wen-shou-er-bian-yuan-ping-yi-ming-246630",[59,42,27,44,45,7,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0f96f4230853939f9842b2dd0d62597.jpg",[],{"id":197,"slug":198,"title":199,"dynasty":200,"author":19,"museum":20,"description":201,"tags":202,"thumbUrl":205,"material":64,"size":65,"collection":30,"collections":206,"showCount":183,"zanCount":11,"manualWeight":11,"mainColor":51},226789,"xi-xuan-wo-wen-xi-er-lei-yi-ming-226789","西旋涡纹牺耳罍","周","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。",[203,24,27,204,7,28],"周代","旋涡纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6912fb23864ac100dc95dcca679f241.jpg",[],{"id":208,"slug":209,"title":210,"dynasty":211,"author":19,"museum":20,"description":212,"tags":213,"thumbUrl":216,"material":64,"size":65,"collection":30,"collections":217,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":34},270262,"xuan-de-kuan-tong-liu-jin-shou-er-lu-yi-ming-270262","宣德款铜鎏金兽耳炉","明","鎏金兽首作耳，鬃毛发丝纹理分明，色泽明丽华贵，威严中带着古雅拙趣。炉身线条饱满圆融，素净无饰，沉敛的铜色晕开经年形成的温润包浆，泛着幽柔的光泽，尽显朴拙端庄。\n无繁缛雕饰，仅凭舒展流畅的器形传递出沉静肃穆的气度，暗合中式审美里的极简意趣。静静伫立便自有时光浸淫出的厚重古韵，是兼具陈设与焚香之用的文房雅器，藏着内敛雅致的造物风骨。",[24,25,214,7,27,215,28],"鎏金","香炉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddfddc86472cd35b9afb4abd26a92ec0.jpg",[],{"id":219,"slug":220,"title":221,"dynasty":39,"author":19,"museum":20,"description":222,"tags":223,"thumbUrl":225,"material":64,"size":65,"collection":30,"collections":226,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":34},261859,"lan-you-wei-jiao-fang-ping-yi-ming-261859","蓝釉委角方瓶","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。",[58,28,104,224,214,7],"蓝釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d9020ca75ef9200efb0a2972eb51792.jpg",[],{"id":228,"slug":229,"title":230,"dynasty":211,"author":19,"museum":20,"description":231,"tags":232,"thumbUrl":238,"material":64,"size":65,"collection":48,"collections":239,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":240},257500,"shi-wan-yao-lv-you-tu-hua-shou-er-an-huan-ping-yi-ming-257500","石湾窑绿釉凸花兽耳暗环瓶","石湾窑在今广东佛山市石湾镇，明清著名民窑之一。以陶塑和建筑陶瓷著称。始于宋代（亦有一说始于唐），极盛于明清两代。\n石湾窑以善仿钧窑而着称。仿钧釉色以蓝色、玫瑰紫、翠毛釉等为佳，但仿中有创。钧窑的窑变釉是一层釉色，而石湾窑变釉却有底釉与面釉之分。寂圆叟在其《陶雅》中盛赞石湾窑变釉色："广窑谓之泥均，其蓝色甚似灰色┅┅于灰釉中旋涡周遭，故露异彩，较之雨过天晴尤极浓艳，目为云斑霞片不足以方厥体态。┅┅又有时于灰釉中露出深蓝色之星点，亦足玩也。"\n石湾窑不仅善仿钧，而且善仿宋代各大名窑，宋代官、哥、汝、钧诸名窑产品，从材质运用、技法处理、艺术造型等各方面都仿得惟妙惟肖，而且有创造性的发展，梅建鹰评价曰："石湾集宋代各大名窑之大成，仿钧而青出于蓝，独创石湾自已的艺术风格。"",[58,233,234,235,7,236,28,90,237],"石湾窑","绿釉","凸花","暗环","明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0be0b6ed712947defb29e099d9c6f33a.jpg",[48],"37474F",{"id":242,"slug":243,"title":244,"dynasty":39,"author":19,"museum":20,"description":245,"tags":246,"thumbUrl":254,"material":64,"size":65,"collection":30,"collections":255,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":256},257263,"qing-hua-shou-er-wei-jiao-fang-ping-yi-ming-257263","青花兽耳委角方瓶","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。",[58,247,248,249,7,250,170,251,62,252,253],"青花","釉下彩","清代风格","缠枝花卉","方器","装饰纹样","器型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefc17d2da15e8c21c5cbcc360b74e7f7.jpg",[],"F48FB1",{"id":258,"slug":259,"title":260,"dynasty":39,"author":19,"museum":20,"description":261,"tags":262,"thumbUrl":268,"material":64,"size":65,"collection":30,"collections":269,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":34},251695,"bi-yu-chi-er-xian-huo-huan-dai-zuo-bian-fang-gai-hu-yi-ming-251695","碧玉螭耳衔活环带座扁方盖壶","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。",[165,27,59,263,102,264,265,266,267,7,26,170],"螭龙","带座","扁方","盖壶","玉器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79161d1afdf632b03fe849d238b81851.jpg",[],{"id":271,"slug":272,"title":273,"dynasty":274,"author":19,"museum":20,"description":275,"tags":276,"thumbUrl":281,"material":64,"size":65,"collection":30,"collections":282,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":51},250242,"qia-si-fa-lang-chan-zhi-lian-wen-xiang-er-lu-yi-ming-250242","掐丝珐琅缠枝莲纹象耳炉","元","元代掐丝珐琅器的图案装饰多以盛开的缠枝莲为主题纹饰,其特点是缠枝莲花朵舒展饱满,枝叶肥厚,并衬以小花苞。图案布局疏朗,掐丝线条奔放有力。珐琅质地细腻洁净,釉面光亮,有水晶般的透明感,尤其是葡萄紫、草绿、绛黄等几种颜色更为耀眼夺目,似用进口珐琅釉料烧造。此炉是元代掐丝珐琅器的代表作。",[277,115,139,278,214,279,280,7,118,168],"元代","铜胎","缠枝莲纹","象耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd32bd8cfe430811a2165122fbd42489.jpg",[],{"id":284,"slug":285,"title":286,"dynasty":39,"author":19,"museum":20,"description":100,"tags":287,"thumbUrl":293,"material":64,"size":65,"collection":30,"collections":294,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":34},245731,"yin-zan-hua-bian-fang-ping-yi-ming-245731","银錾花扁方瓶",[59,288,289,214,290,291,7,292,27],"银器","錾花","囍字","莲花纹","金属工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dca5dc797cb022097aba070eee24974.jpg",[],{"id":296,"slug":297,"title":298,"dynasty":18,"author":19,"museum":20,"description":88,"tags":299,"thumbUrl":301,"material":64,"size":65,"collection":30,"collections":302,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":240},244759,"shou-er-xian-huan-zeng-yi-ming-244759","兽耳衔环甑",[24,25,7,26,300,23,27],"饪食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F875dc259f23c05a2daad210662172542.jpg",[],{"id":304,"slug":305,"title":306,"dynasty":200,"author":19,"museum":20,"description":201,"tags":307,"thumbUrl":311,"material":64,"size":65,"collection":30,"collections":312,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":240},244602,"shou-er-fang-hu-yi-ming-244602","兽耳方壶",[24,308,309,25,310,7,170],"礼器","酒器","壶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d2f86ac2fdbf53418e6e9a96a4431d8.jpg",[],{"id":314,"slug":315,"title":316,"dynasty":317,"author":19,"museum":20,"description":201,"tags":318,"thumbUrl":324,"material":64,"size":65,"collection":30,"collections":325,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":34},244355,"wu-gui-yi-ming-244355","戊簋","商",[24,25,308,319,320,321,7,170,322,323],"商代","浮雕","乳钉纹","古物","盛食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87a71c250341cf0a5a51d03dcaafa3d2.jpg",[],{"id":327,"slug":328,"title":329,"dynasty":18,"author":19,"museum":20,"description":88,"tags":330,"thumbUrl":332,"material":64,"size":65,"collection":30,"collections":333,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":34},242957,"shou-er-xian-huan-lian-yi-ming-242957","兽耳衔环奁",[24,25,7,26,331,27],"日用品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F344e6400b63a463e3eef3fadee1b7b4d.jpg",[],{"id":335,"slug":336,"title":337,"dynasty":39,"author":19,"museum":20,"description":150,"tags":338,"thumbUrl":340,"material":64,"size":65,"collection":30,"collections":341,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},281500,"yang-ci-dou-hong-xiang-tong-shou-er-huo-huan-ping-shi-zhu-tai-yi-ming-281500","洋瓷豆红镶铜兽耳活环瓶式烛台",[58,140,25,339,7,102,28],"烛台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84b6a0556cd44d8ed829222e02423f02.jpg",[],{"id":343,"slug":344,"title":345,"dynasty":39,"author":19,"museum":20,"description":346,"tags":347,"thumbUrl":349,"material":64,"size":65,"collection":30,"collections":350,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},275191,"qian-long-kuan-bai-you-xiu-huang-qi-tu-jin-wen-xing-yi-ming-275191","乾隆款白釉髹黄漆凸锦纹铏","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。",[58,42,300,348,7,119,168],"凸锦纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad5a87c968a03b30f6a319673b423ec8.jpg",[],{"id":352,"slug":353,"title":345,"dynasty":39,"author":19,"museum":20,"description":346,"tags":354,"thumbUrl":355,"material":64,"size":65,"collection":30,"collections":356,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},275190,"qian-long-kuan-bai-you-xiu-huang-qi-tu-jin-wen-xing-yi-ming-275190",[42,58,308,300,348,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6805573dccac8127c819acba889cc75a.jpg",[],{"id":358,"slug":359,"title":360,"dynasty":39,"author":19,"museum":20,"description":222,"tags":361,"thumbUrl":364,"material":64,"size":65,"collection":30,"collections":365,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},275109,"ge-you-shou-er-ci-lu-yi-ming-275109","哥釉兽耳瓷炉",[58,7,362,363,28],"瓷炉","哥釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4399223953b2980c3cecad86e7aa50b9.jpg",[],{"id":367,"slug":368,"title":369,"dynasty":39,"author":19,"museum":20,"description":370,"tags":371,"thumbUrl":373,"material":64,"size":65,"collection":30,"collections":374,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},274828,"guang-xu-kuan-tong-du-jin-xing-yi-ming-274828","光绪款铜镀金鉶","它仿古青铜制式，鎏金覆身，宝光暗蕴。兽首衔耳雄劲灵动，棱角间带着沉凝威仪。口沿回纹往复回环，规矩中藏着圆满寓意。器身满铺鳞形纹饰，层层叠叠如春水漾波，细密排布尽显韵律之美。三兽足稳稳承托器身，露铜足底与鎏金形成冷暖反差，古拙厚重感油然而生。\n\n它兼收上古青铜的礼制肃穆与清宫造办处的华贵精工，华贵却不失古雅气韵，是仿古铜作里的精巧佳器。",[25,372,300,27,7,119,24,308],"镀金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddc73ea8acd1a56a0f29a2416db6cd9e.jpg",[],{"id":376,"slug":377,"title":378,"dynasty":39,"author":19,"museum":20,"description":379,"tags":380,"thumbUrl":383,"material":64,"size":65,"collection":30,"collections":384,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},274790,"qian-long-kuan-jin-wen-tong-xing-yi-ming-274790","乾隆款锦纹铜铏","整体圆浑饱满，盖顶三钮作峰峦之形，暗合古礼器的典雅意趣。盖身锦地、回纹层叠排布，鎏金弦线勾出规整界边，古铜色泽凝润沉稳。两侧兽首耳狞厉威严，为器物添增庄重气势。\n\n腹身纹饰次第铺展，回纹带下六角锦纹细密如织，工致精巧。三兽足敦实稳重，足面浅雕回纹呼应整体装饰脉络。整器循古礼器形制复刻，纹饰繁而不乱，既承袭商周青铜的礼制意蕴，又融入清代造办处的精工细节，是仿古铜作中的佳制，尽显复古工巧的融合之美。",[24,25,300,308,27,381,7,382],"锦纹","三足器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb67e6c15d3a04a0a33b20a98cd07e7a6.jpg",[],{"id":386,"slug":387,"title":388,"dynasty":39,"author":19,"museum":20,"description":72,"tags":389,"thumbUrl":391,"material":64,"size":65,"collection":30,"collections":392,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},274763,"tong-xi-er-zun-yi-ming-274763","铜牺耳尊",[24,25,28,7,74,308,390],"盛酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4aef017f7f4e2440b28508179737029c.jpg",[],{"id":394,"slug":395,"title":388,"dynasty":39,"author":19,"museum":20,"description":72,"tags":396,"thumbUrl":397,"material":64,"size":65,"collection":30,"collections":398,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},274762,"tong-xi-er-zun-yi-ming-274762",[25,24,167,28,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82b4d2d688b328bd7bbb5a3506b39173.jpg",[],{"id":400,"slug":401,"title":402,"dynasty":211,"author":19,"museum":20,"description":403,"tags":404,"thumbUrl":405,"material":64,"size":65,"collection":30,"collections":406,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},270456,"xuan-de-kuan-tong-shou-er-dai-gai-lu-yi-ming-270456","宣德款铜兽耳带盖炉","此炉圆浑饱满，唇口微撇，垂腹丰腴内敛，圈足沉稳，勾勒出端庄雍容的轮廓。两侧兽耳造型狞厉威严，卷鬃纹路灵动利落，将瑞兽的雄健凝练于方寸，古意盎然。原配镂雕炉盖缠枝纹细密辗转，枝叶虬劲舒展，虚实错落间既无碍烟气悠然散逸，又添雅致意趣。炉身包浆厚重温润，古铜色泽深沉内敛，带着岁月浸淫出的醇厚质感，尽显造炉工艺的典雅大气，静穆间自有沉浑古朴之韵，是文房清供的上乘佳器。",[24,25,27,7,215,28,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbf8018f9fc5bf07913d613405f55dba.jpg",[],{"id":408,"slug":409,"title":410,"dynasty":39,"author":19,"museum":20,"description":112,"tags":411,"thumbUrl":412,"material":64,"size":65,"collection":30,"collections":413,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},270451,"xuan-de-kuan-tong-shou-huan-er-lu-yi-ming-270451","宣德款铜兽环耳炉",[24,25,7,102,215,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94c690127de8903ef7375abd8b759ecd.jpg",[],{"id":415,"slug":416,"title":417,"dynasty":39,"author":19,"museum":20,"description":112,"tags":418,"thumbUrl":420,"material":64,"size":65,"collection":30,"collections":421,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},270448,"xuan-de-kuan-tong-shou-er-quan-zu-lu-yi-ming-270448","宣德款铜兽耳圈足炉",[24,25,7,419,90],"炉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb05dff599ed35da276723b1458de08e0.jpg",[],{"id":423,"slug":424,"title":417,"dynasty":211,"author":19,"museum":20,"description":425,"tags":426,"thumbUrl":427,"material":64,"size":65,"collection":30,"collections":428,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},270393,"xuan-de-kuan-tong-shou-er-quan-zu-lu-yi-ming-270393","此炉敛口鼓腹下承圈足，身形丰腴圆融，线条舒缓雅致，如君子温敦端方。两侧兽耳錾刻卷云肌理，兽首威严内敛，刚劲的饰纹与柔润炉身形成刚柔互济之美。通体金栗色皮色，包浆莹润醇厚，斑驳铜锈晕染出岁月痕迹，古意盎然。它铸工精良，简约中暗藏匠心静气，静立间便晕开沉雅韵味，仿佛能窥见旧时青烟袅袅里，文人围坐清赏的闲雅意趣。",[24,25,27,7,419,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F417a11a0c4abb88d88d3d105dc51bb36.jpg",[],{"id":430,"slug":431,"title":432,"dynasty":39,"author":19,"museum":20,"description":112,"tags":433,"thumbUrl":434,"material":64,"size":65,"collection":30,"collections":435,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":240},270344,"xuan-de-wu-nian-wu-bang-zuo-kuan-tong-shou-er-lu-yi-ming-270344","宣德五年吴邦佐款铜兽耳炉",[24,25,27,7,215,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F564a8d07ff9a74f45afb2d7a0d1eb9d7.jpg",[],{"id":437,"slug":438,"title":439,"dynasty":211,"author":19,"museum":20,"description":440,"tags":441,"thumbUrl":443,"material":64,"size":65,"collection":30,"collections":444,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},270310,"wan-nian-yong-bao-kuan-tong-shou-mian-wen-shou-er-lu-yi-ming-270310","万年永宝款铜兽面纹兽耳炉","此炉造型端庄饱满，敞口鼓腹配威严兽耳，轮廓雄浑大气。器物以错金错银工艺装饰，腹部兽面卷草纹婉转灵动，鎏金饰件古韵熠熠，颈部与足部走兽纹饰排布规整雅致。铜质厚重莹润，包浆醇厚内敛，岁月赋予其沉静古雅的质感。错金工艺精细入微，金彩历经时光依旧鲜亮，将上古青铜纹饰的古拙意趣，与造炉的精工美学融为一体，尽显匠心造诣，是一件兼具收藏价值与艺术审美水准的铜作佳器。",[24,25,7,442,419,27,300],"兽面纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4647f3b92af5fdb5524ee7cebf56744.jpg",[],{"id":446,"slug":447,"title":448,"dynasty":211,"author":19,"museum":20,"description":449,"tags":450,"thumbUrl":454,"material":64,"size":65,"collection":30,"collections":455,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},270308,"tong-qian-yin-si-chan-wen-shou-tun-er-quan-zu-lu-yi-ming-270308","铜嵌银丝蝉纹兽吞耳圈足炉","兽吞双耳威严狞厉，勾连出遒劲线条，撑起敦实饱满的器型，圈足沉稳托举整体，尽显端庄古拙。\n嵌银丝蝉纹细腻排布，清冷银丝在苍绿铜锈晕染中灵动醒目，蝉自带高洁意涵，衬以回纹点缀细节，文气盎然。厚重包浆凝住岁月痕迹，斑驳锈色里藏着铸铜匠心，将礼器肃穆与文房清雅致趣相融，静置案头，便晕开旧时文人焚香伴读的幽远意境，古雅沉浑的气韵扑面而来。",[24,25,451,452,7,453,300],"嵌银丝","蝉纹","圈足炉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6824d8e04a0db59bc1b5692cbad0092c.jpg",[],{"id":457,"slug":458,"title":417,"dynasty":211,"author":19,"museum":20,"description":459,"tags":460,"thumbUrl":462,"material":64,"size":65,"collection":30,"collections":463,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":240},270261,"xuan-de-kuan-tong-shou-er-quan-zu-lu-yi-ming-270261","敞口鼓腹，下承圈足，器型饱满端庄，线条柔润舒展。两侧浮雕兽首耳，兽面威严有神，鬃毛发丝分毫毕现，刚劲棱角与炉身的圆融柔婉相映成趣，尽显匠心巧思。\n\n炉身铜色深沉，包浆厚重莹润，鎏金残痕星罗其上，晕染出岁月浸淫的斑驳质感。整器沉稳大气，古意盎然，凝缩着旧时焚香雅事的悠然意趣，尽显冶铸工艺的精湛水准。",[24,25,27,7,215,461],"金属器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66751814f96a07a56ade4f0b7700a69c.jpg",[],{"id":465,"slug":466,"title":467,"dynasty":211,"author":19,"museum":20,"description":468,"tags":469,"thumbUrl":470,"material":64,"size":65,"collection":30,"collections":471,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},270260,"xuan-de-kuan-tong-shou-er-dun-shi-lu-yi-ming-270260","宣德款铜兽耳墩式炉","此炉敦实圆融，古铜红褐间晕染苍绿铜锈，是岁月浸淫的痕迹。兽耳古朴憨沉，隐露威严意趣。颈部浅刻纹饰婉转回环，线条柔中带刚，底足回纹规整有序，暗合古制章法。\n\n器型端庄内敛，胎质厚重匀净，尽显沉稳静穆的气度。恍惚间似能窥见昔日青烟袅袅、一室幽芬的雅境，兼具礼佛清供的端方与案头赏玩的雅致，古匠的沉心巧思凝于铜胎之中，朴雅风骨历久弥新。",[24,25,7,27,180,419,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4a3058b77f2a4b635bc09d7e918c1e4.jpg",[],{"id":473,"slug":474,"title":475,"dynasty":211,"author":19,"museum":20,"description":476,"tags":477,"thumbUrl":481,"material":64,"size":65,"collection":30,"collections":482,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},270253,"xuan-de-kuan-tong-shou-er-san-zu-lu-yi-ming-270253","宣德款铜兽耳三足炉","洒金星斑错落古铜炉身，如碎光凝在沉凝铜胎，晕开旧时光的拙朴暖意。双兽耳伏于炉腹，线条古雅遒劲，暗蕴狞厉威仪，衬出器物端方肃穆。三柱足挺拔沉稳，稳稳承起敦实炉体，暗合礼器的厚重气场。后配木盖柔化铜器冷硬，玉兽钮莹润洁白，似衔云而立，冷金、暖木、润玉相映成趣，中和了古铜的刚硬，勾勒出文房清供的幽远意趣，暗合古人焚香静思、寄情雅物的闲淡襟怀，是藏着东方雅致的绝妙清玩。",[24,25,7,478,165,27,479,308,480],"三足炉","木质","洒金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bdd837480ba37f93d6dedb9de6483b6.jpg",[],{"id":484,"slug":485,"title":486,"dynasty":39,"author":19,"museum":20,"description":487,"tags":488,"thumbUrl":490,"material":64,"size":65,"collection":30,"collections":491,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},269256,"zhu-diao-xiang-yin-li-dan-er-yi-shi-bei-yi-ming-269256","竹雕镶银里单耳匜式杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[489,288,167,27,7,28,180],"竹雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57d66a133d31cbde304b65962bf92781.jpg",[],{"id":493,"slug":494,"title":495,"dynasty":39,"author":19,"museum":20,"description":100,"tags":496,"thumbUrl":499,"material":64,"size":65,"collection":30,"collections":500,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":240},263536,"su-san-cai-shou-er-xiao-fang-ping-yi-ming-263536","素三彩兽耳小方瓶",[58,497,7,498],"素三彩","方瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67aa07607e18af95268eb241595a8266.jpg",[],{"id":502,"slug":503,"title":504,"dynasty":39,"author":19,"museum":20,"description":505,"tags":506,"thumbUrl":508,"material":64,"size":65,"collection":48,"collections":509,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":240},262296,"de-hua-yao-bai-you-shou-er-yi-tong-ping-yi-ming-262296","德化窑白釉兽耳一统瓶","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。",[58,104,7,507],"白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b3338f2199ede27590dacb646e4b61e.jpg",[48],{"id":511,"slug":512,"title":513,"dynasty":39,"author":19,"museum":20,"description":487,"tags":514,"thumbUrl":518,"material":64,"size":65,"collection":30,"collections":519,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},262236,"cheng-hua-kuan-dou-cai-yun-long-wen-shuang-shou-er-hua-kou-bei-yi-ming-262236","成化款斗彩云龙纹双兽耳花口杯",[61,167,515,516,7,517],"斗彩","龙纹","花口杯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5eddd512e5722d907e2ee26590dccf4f.jpg",[],{"id":521,"slug":522,"title":523,"dynasty":39,"author":19,"museum":20,"description":505,"tags":524,"thumbUrl":526,"material":64,"size":65,"collection":48,"collections":527,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},262016,"de-hua-yao-bai-you-shuang-er-lu-yi-ming-262016","德化窑白釉双耳炉",[58,507,525,7,28,300],"双耳炉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bd673ee61879eb43264643977739976.jpg",[48],{"id":529,"slug":530,"title":531,"dynasty":39,"author":19,"museum":20,"description":245,"tags":532,"thumbUrl":534,"material":64,"size":65,"collection":30,"collections":535,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":240},260927,"qing-hua-shou-mian-wen-shou-er-ping-yi-ming-260927","青花兽面纹兽耳瓶",[58,247,7,442,533,168],"太极纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd62ee9967887c9795f5161ec96dd3e9f.jpg",[],{"id":537,"slug":538,"title":504,"dynasty":211,"author":19,"museum":20,"description":505,"tags":539,"thumbUrl":541,"material":64,"size":65,"collection":48,"collections":542,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},260619,"de-hua-yao-bai-you-shou-er-yi-tong-ping-yi-ming-260619",[58,507,7,540],"瓷瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b1c3aa25fe6e6d83bebec4b704cba0d.jpg",[48],{"id":544,"slug":545,"title":546,"dynasty":211,"author":19,"museum":20,"description":547,"tags":548,"thumbUrl":550,"material":64,"size":65,"collection":30,"collections":551,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},260564,"hui-qing-you-shou-er-lu-yi-ming-260564","回青釉兽耳炉","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。”",[58,7,419,549,308],"青釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a55b345bb55ef09eb5d061431b08ce0.jpg",[],{"id":553,"slug":554,"title":555,"dynasty":211,"author":19,"museum":20,"description":245,"tags":556,"thumbUrl":561,"material":64,"size":65,"collection":30,"collections":562,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},260511,"ge-you-qing-hua-zhe-cai-zhe-zhi-hua-hui-wen-shou-er-ping-yi-ming-260511","哥釉青花赭彩折枝花卉纹兽耳瓶",[58,104,247,557,558,7,559,560],"赭彩","折枝花卉","开片纹","菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F625483d363aa810962460a578a57e4e6.jpg",[],{"id":564,"slug":565,"title":566,"dynasty":211,"author":19,"museum":20,"description":346,"tags":567,"thumbUrl":569,"material":64,"size":65,"collection":30,"collections":570,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},260181,"bai-you-ke-shui-bo-wen-shou-er-san-zu-lu-yi-ming-260181","白釉刻水波纹兽耳三足炉",[58,28,507,568,7,478],"刻纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3671be26a70d78b638a92d2b05f36a1.jpg",[],{"id":572,"slug":573,"title":574,"dynasty":211,"author":19,"museum":20,"description":505,"tags":575,"thumbUrl":576,"material":64,"size":65,"collection":48,"collections":577,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},259945,"de-hua-yao-rong-gu-zhai-zhi-kuan-bai-you-shou-er-lu-yi-ming-259945","德化窑熔古斋制款白釉兽耳炉",[58,507,7,419,90,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f937f3b5e95b433e612df6cae3c93f4.jpg",[48],{"id":579,"slug":580,"title":581,"dynasty":39,"author":19,"museum":20,"description":582,"tags":583,"thumbUrl":586,"material":64,"size":65,"collection":30,"collections":587,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},259278,"qian-long-kuan-huang-you-xi-er-guan-yi-ming-259278","乾隆款黄釉牺耳罐","黄釉是汉族传统的陶瓷装饰艺术。最早出现于唐代，当时安徽淮南寿州窑、河南密县窑等都烧黄釉。但正色黄釉，还是宋代汝窑的高温黄釉——茶叶末釉。明代的黄釉有新的发展，洪武时的老僧衣即茶叶末的衍化；始于宣德的浇黄，更是明代杰出的黄釉；嘉靖以后，又有鱼子黄、鸡油黄等。入清后有康熙的淡黄，以及其后的菜尾、鼻烟、金酱等。",[58,584,585,7],"黄釉","罐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff46f9ce1843bcf778301ac2554e3b9e.jpg",[],{"id":589,"slug":590,"title":591,"dynasty":39,"author":19,"museum":20,"description":222,"tags":592,"thumbUrl":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\"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， 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