[{"data":1,"prerenderedAt":305},["ShallowReactive",2],{"subject-shou-pi":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},3366,"shou-pi","兽皮","兽皮画高清赏析","精选中国历代兽皮题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbcc5012d0f893c24fe192b64e6c7a39.jpg",0,25,[14,40,69,85,113,125,138,148,158,167,176,186,195,205,212,219,226,235,245,253,261,269,278,288,297],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":34,"size":35,"collection":36,"collections":37,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},219599,"fu-xi-zuo-xiang-tu-ma-lin-219599","伏羲坐像图","宋","马麟","台北故宫博物院","本幅画其坐像，散发披肩，身披鹿皮，一派远古风范。远古时期，我们的先民为了御寒，以石器或骨器加工兽皮，再以骨针等工具进行缝制。此画幅足下右图1为八卦。此八卦图形表明他创制八卦的功绩。他双目凝神，似在沉思什么似的。\n画幅上方宋理宗楷书叙赞。叙曰：“朕获承祖宗右文之绪，祗通燕谋，日奉慈极，万几馀闲，博求载籍，推迹道统之传，自伏羲迄於孟子，凡达而在上，其道行，穷而在下，其教明，采其大指，各为之赞，虽未能探颐精微，姑以寓尊其所闻之意云尔。”标题：“宓牺”。赞日：“继天立极，为百王先，法度肇建，道德纯全，八卦成文，三坟不传，无言而化，至治自然”\n此画刻画高度精练，神情表现细致人微，画法新颖别致，生动自然。人物的眉毛、胡子，粗黑浓密，只是挥洒数笔便勾画出来。衣服更为简练，鹿皮下露出一双赤脚，亦一无疏漏地表现出来，真是神奇而妥贴。设色亦甚为高雅、纯朴，头部和赤脚着浅色，衣服以淡墨渲染，加深了受光面的立体感。简朴精练的笔墨，把这位始祖的形象刻画入微，给人留下了深刻的印象。",[23,24,25,26,27,28,29,30,31,7,32,33],"高清","国画","书画","立轴","设色","工笔","人物","山水","龟","书法","八卦","绢本,设色","纵249.8厘米，横112.0厘米","人物画精选",[36],39,"795548",{"id":41,"slug":42,"title":43,"dynasty":44,"author":45,"museum":46,"description":47,"tags":48,"thumbUrl":62,"material":63,"size":64,"collection":65,"collections":66,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":68},232415,"he-er-bai-yin-74-he-er-bai-yin-232415","荷尔拜因74","不详","荷尔拜因","藏地不详","小汉斯·荷尔拜因（约1497年-1543年11月29日以前）是德国画家，最擅长油画和版画，是欧洲北方文艺复兴时代的艺术家。其代表作有：木版画《死神之舞》。\n荷尔拜因在创作一幅肖像画以前，经常用铅笔描绘衣物、装饰品等细节，有时也用钢笔或垩笔，然后在纸上沿轮廓扎上小孔，铺在画布上，用炭粉将其转移到画布上。在晚年也使用复写纸。他的画作对细节描绘非常详细、真实，甚至于仪器上的刻度、信笺上的文字、桌布上的花纹都描绘的一丝不苟，但整体风格仍然非常统一，人文主义风格非常明显，俄罗斯作家陀斯妥耶夫斯基曾经评价他的作品《墓中的基督》：“可以把许多人的信仰夺去。” 他曾经从同为英国王室画家的弗拉芒画家卢卡斯·霍亨布特那里学习画微型画，卢卡斯曾为他画了一幅微型画像，他自己从没有画过自画像。",[49,50,51,52,53,29,54,55,56,57,58,59,60,7,61],"宗教","素描","版画","写实","明暗对比","动物","羊","建筑","柱子","拱门","十字架","圣光环","地面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefef2c26dc8fc790a72578a72de1ad79.jpg","未知","Xcm*Xcm","",[],2,"FFFFFF",{"id":70,"slug":71,"title":72,"dynasty":73,"author":74,"museum":46,"description":75,"tags":76,"thumbUrl":81,"material":63,"size":64,"collection":65,"collections":82,"showCount":83,"zanCount":11,"manualWeight":11,"mainColor":84},266586,"yue-bai-se-fang-ge-wen-an-hua-chou-jin-si-hou-pi-tao-ku-yi-ming-266586","月白色方格纹暗花绸金丝猴皮套裤","清","佚名","月白暗花绸温润雅致，方格暗纹隐于底布，与金丝猴皮毛相映成趣。原生皮毛色泽自然过渡，深棕鬃毛蓬松遒劲，乳白毛皮柔润细腻，将山野灵物的生机缝入裁片之中。素白挂带轻盈灵动，宝蓝系带垂落如练，既有实用的束系功能，也为整体增添明快色彩层次。它将织物织造与皮毛鞣制的工艺相融，兼顾骑乘保暖的实用需求与东方审美的含蓄雅致，把日常衣物雕琢成兼具野性意趣与匠人巧思的工艺佳品。",[77,78,79,80,7],"套裤","衣帽","猴","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b30948812fbe0396a03d91bf7aa3b4f.jpg",[],1,"BDBDBD",{"id":86,"slug":87,"title":88,"dynasty":44,"author":89,"museum":46,"description":90,"tags":91,"thumbUrl":111,"material":63,"size":64,"collection":65,"collections":112,"showCount":83,"zanCount":11,"manualWeight":11,"mainColor":84},232336,"a-er-ma-63-lao-lun-si-a-er-ma-ta-de-ma-232336","阿尔玛63","劳伦斯·阿尔玛-塔德玛","劳伦斯·阿尔玛-塔德玛（Lawrence Alma-Tadema, 1836年1月8日—1912年6月25日）是英国维多利亚时代的知名画家，他的作品以豪华描绘古代世界（中世纪前）而闻名。\n生于荷兰的德龙赖普（Dronrijp），他的父亲彼得·塔德玛（Pieter Tadema）是一名公证人，在他4岁时便去世了。阿尔玛是他教父的名字，他的生母是他父亲的第二名妻子，家庭人口相当众多。家里原准备让他继承父业，但他表现出了对艺术的强烈偏好，因此将他送至安特卫普，在1852年进入了那里的艺术学院，并在亨德利克·利思（Hendrik Leys）的画室学习。",[92,52,27,93,29,94,95,96,97,56,98,99,100,101,102,103,104,105,7,106,107,108,109,110],"油画","新古典主义","男性","女性","乐器","里拉琴","古典柱式","台阶","大理石","海景","大海","花环","织物","长袍","花卉","红色花卉","卷轴","石凳","白墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45153139f73deb51ec20f97ef97eb0ba.jpg",[],{"id":114,"slug":115,"title":116,"dynasty":73,"author":74,"museum":46,"description":117,"tags":118,"thumbUrl":123,"material":63,"size":64,"collection":65,"collections":124,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},268129,"ming-huang-se-ke-si-cai-yun-jin-long-wen-xiang-pi-bian-nan-jia-chao-pao-yi-ming-268129","明黄色缂丝彩云金龙纹镶皮边男夹朝袍","清代皇帝服饰有朝服、吉服、常服、行服等。皇帝的龙袍属于吉服范畴，比朝服、衮服等礼服略次一等，平时较多穿着。穿龙袍时，必须戴吉服冠，束吉服带及挂朝珠。龙袍以明黄色为主也可用金黄杏黄等色。古时称帝王之位，为九五之尊。九、五两数，通常象征着高贵，在皇室建筑、生活器具等方面都有所反映。清朝皇帝的龙袍，据文献记载，也绣有九条龙。从实物来看，前后只有八条龙，与文字记载不符，缺一条龙。有人认为还有一条龙是皇帝本身。其实这条龙客观存在着，只是被绣在衣襟里面，一般不易看到。这样一来，每件龙袍实际即为九龙，而从正面或背面单独看时，所看见的都是五龙，与九五之数正好相吻合。另外，龙袍的下摆，斜向排列着许多弯曲的线条，名谓水脚。水脚之上，还有许多波浪翻滚的水浪，水浪之上，又立有山石宝物，俗称“海水江涯”，它除了表示绵延不断的吉祥含意之外，还有“一统山河”和“万世升平”的寓意。\n皇后常服样式，与满族贵妇服饰基本相似，圆领、大襟，衣领、衣袖及衣襟边缘，都饰有宽花边，只是图案有\n所不同。本图展示的服装纹样为凤穿牡丹。整件服装在鲜艳的蓝色缎地上，绣八只彩凤，彩凤中间，穿插数朵牡丹。牡丹的颜色处理得净穆而素雅，色彩变化惟妙，具有传统的山水画特点。与此相反，凤的颜色比较浓重，红绿对比度极为强烈，具有典型民族风格和时代特色。\n清代官服主要品种为长袍马褂。官帽与前朝截然不同，凡军士、差役以上军政人员都戴似斗笠而小的纬帽，按冬夏季节有暖帽、凉帽之分，还视品级高低安上不同颜色、质料的“顶子”，帽后拖一束孔雀翎。翎称花翎，高级的翎上有“眼”（羽毛上的圆斑），并有单眼、双眼、三眼之别，眼多者为贵，只有亲王或功勋卓著的大臣才被赏戴。皇帝有时还赏穿黄马褂，以示特别恩宠。影响所及，其他颜色的马褂遂在官员士绅中逐渐流行，成为一般的礼服。四、五品以上官员还项挂朝珠，用各种贵重珠宝、香木制成，构成清代官服的又一特点。丝纺绣染及各种手工专业的进步，为清代服饰品种的丰富创造了条件。\n清代男装主要是长袍和马褂，袖端呈马蹄形是历代不曾见过的。长袍造型简练，立领直身，偏大襟，前后衣身有接缝，下摆有两开衩（古时称“缺裤”），四开衩和无开衩几种类型。皇室贵族为便于骑射，着四面开衩长袍，即衣前后中缝和左右两侧均有开衩的式样，平民则着左右两侧开衩或称“一裹圆”的不开衩长袍。在我国文学名著《红楼梦》第九十四回“宴海棠贾母赏花妖”一节中，记述了一段内容“那日宝玉本来穿着”一裹圆的皮袄在家休息，忽听贾母要来，便去换了一件狐腋箭袖，罩了一件玄狐腿外褂。这里说明“一裹圆”，是休闲衣服，不可登大雅之堂，所以贾母的到来，必须换掉便装，改着正式穿戴。满清时期长袍外面的马褂身长不过膝，袖宽且短。衣服上的佩饰比较琐繁，一个金银牌上垂挂着数十件小东西，如耳挖子、镊子、牙签，还有一些古代兵器的小模型，如戟、枪之类，佩挂饰物在清代已经形成风尚。",[78,119,120,121,80,7,122],"缂丝","金龙纹","彩云纹","朝袍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F748a32ee585d7f3385dda5e23144ae67.jpg",[],{"id":126,"slug":127,"title":128,"dynasty":73,"author":74,"museum":46,"description":117,"tags":129,"thumbUrl":136,"material":63,"size":64,"collection":65,"collections":137,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":84},266598,"ming-huang-se-ke-si-wan-zi-cai-yun-fu-shou-jin-long-wen-shang-yang-pi-xia-yin-shu-pi-nan-long-pao-yi-ming-266598","明黄色缂丝万字彩云蝠寿金龙纹上羊皮下银鼠皮男龙袍",[78,80,119,130,131,132,133,134,135,7],"龙","云纹","蝠纹","寿纹","万字纹","海水纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a4ed3a440ec007b8e25c00bf60e0db7.jpg",[],{"id":139,"slug":140,"title":141,"dynasty":73,"author":74,"museum":46,"description":142,"tags":143,"thumbUrl":146,"material":63,"size":64,"collection":65,"collections":147,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},266589,"diao-pi-xing-shang-yi-ming-266589","貂皮行裳","清代皇帝服饰有朝服、吉服、常服、行服等。皇帝朝服及所戴的冠，分冬夏二式。冬夏朝服区别主要在衣服的边缘，春夏用缎，秋冬用珍贵皮毛为缘饰之。其基本款式是披领和上衣下裳相连的袍裙相配而成。上衣衣袖由袖身、熨褶素接袖、马蹄袖三部分组成；下裳与上衣相接处有襞积，其右侧有正方形的衽，腰间有腰帏。而披须（又名披肩、扇肩）、马蹄袖（又名箭袖）是清代朝服的显著特色。朝服的颜色以黄色为主。冬朝服祭祀、圈丘、祈谷用蓝色，朝日用红色，夏朝服常雩（求雨），祭祀时用蓝色，夕月时用月白色，即浅色蓝。 朝服的纹样主要为龙纹及十二章纹样。一般在正前、背后及两臂绣正龙各一条；腰帷绣行龙五条襞积（折裥处）前后各绣团龙九条；裳绣正龙两条、行龙四条；披肩绣行龙两条；袖端绣正龙各一条。十二章纹样为日、月、星辰、山、龙、华虫、黼、黻八章在衣上；其余四种藻、火、宗彝、米粉在裳上，并配用五色云纹。 御用朝袍是皇帝在登基、大婚、万寿盛节、元旦、冬至、祭天、祭地等重大典礼和祭祀活动时所穿的礼服。",[78,144,145,7,80],"服饰","貂皮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a4176cc261a4b047590d0d5f72e463e.jpg",[],{"id":149,"slug":150,"title":151,"dynasty":73,"author":74,"museum":46,"description":152,"tags":153,"thumbUrl":156,"material":63,"size":64,"collection":65,"collections":157,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":84},266510,"ming-huang-se-tuan-long-wen-an-hua-jiang-chou-shui-ta-pi-ma-gua-yi-ming-266510","明黄色团龙纹暗花江绸水獭皮马褂","马褂是一种穿于袍服外的短衣，衣长至脐，袖仅遮肘，满语叫“鄂多赫”，因着之便于骑马而得名，亦称 “短褂” 或 “马墩子”，流行于清代及民国时期\n清代初期，马褂为一般士兵穿着，至康熙时期富贵之家也有穿者。雍正后，马褂已甚为流行 。并发展成单、夹、纱、皮、棉等服装，成为男式便衣，士庶都可穿着。之后更逐渐演变为一种礼仪性的服装，不论身份，都以马褂套在长袍之外，显得文雅大方 。民国年间曾被列为礼服之一。新中国成立后，马褂逐步被摈弃，后经改良又以“唐装”的名称重新回到人们的视野中 。",[78,80,130,7,154,155],"暗花","明黄色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3979017f9314ed6a7f3b67fe5fa49a9e.jpg",[],{"id":159,"slug":160,"title":161,"dynasty":73,"author":74,"museum":46,"description":162,"tags":163,"thumbUrl":165,"material":63,"size":64,"collection":65,"collections":166,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":84},266486,"ming-huang-se-su-jiang-chou-li-lang-dao-pi-ma-gua-yi-ming-266486","明黄色素江绸里狼刀皮马褂","刀为单面长刃的短兵器。同时泛指可用于切、削、割、剁、刺的工具，与匕首合称亦为膳食器。刀的最初形态，与钺非常接近。其形状为短柄，翘首，刀脊无饰，刃部较长。到春秋战国时期，刀的形状发生巨大变化，两汉时，刀逐渐发展为步兵的主战兵器之一如环首刀，同时出现了许多不同形式的长柄刀。铜刀存世数量不多，体形均轻薄，最厚处仅0.35厘米，其形制粗分有短柄翘首刀、长柲卷首刀、平刃刀、曲刃刀等数类。\n在原始社会，古人类就用石头、蚌壳、兽骨打制成各种形状的刀。他们选用的石头多半是石英石、砂岩，也有燧石和水晶石。用这些石料打制成的石刀质坚棱利，是很好的砍劈工具。其次是用蚌壳和兽骨磨制的蚌刀、骨刀，这类刀轻便锋利，适于砍削器物。同样古人不仅用刀作为劳动工具，还随身携带作为防身自卫的武器。\n以雄浑、豪迈、挥如猛虎的风格而驰名的兵器，在十八般武器中排名第一。清朝诗人郑世元这样描写道：“秋水飞双腕，冰花散满身。柔看绕肢体，纤不动埃尘。闪闪摇银海，团团滚玉轮。声驰惊白帝，光乱失青春。杀气腾幽朔，寒芒泣鬼神。舞余回紫袖，萧飒满苍旻。”",[78,164,80,7,155],"马褂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc73479f6d2cc01a4711023e7eb3a1e91.jpg",[],{"id":168,"slug":169,"title":170,"dynasty":73,"author":74,"museum":46,"description":171,"tags":172,"thumbUrl":174,"material":63,"size":64,"collection":65,"collections":175,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":84},266427,"yue-bai-se-ke-si-bai-die-wen-hui-shu-pi-chen-yi-yi-ming-266427","月白色缂丝百蝶纹灰鼠皮衬衣","清王朝时段推行剃发易服，顺治九年（1652），钦定《服色肩舆条例》颁行，从此废除了明朝的冠冕、礼服以及汉族的一切服饰，但满族服饰同时吸收了明朝服饰的纹理图案。明代男子一律蓄发挽髻，着宽松衣，穿长统袜、浅面鞋；清时则剃发留辫，辫垂脑后，穿瘦削的马蹄袖箭衣、紧袜、深统靴。但官民服饰一律泾渭分明。 清朝是以满族统治者为主的政权机构，满族八旗服饰随朝代的变更冲进关内。旗人的风俗习惯影响着广大的中原地区。从公服开始逐渐推向常服。",[78,119,173,80,7],"蝴蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73f5507ee2baf3be1d5367cb3f96a56e.jpg",[],{"id":177,"slug":178,"title":179,"dynasty":73,"author":74,"museum":46,"description":117,"tags":180,"thumbUrl":184,"material":63,"size":64,"collection":65,"collections":185,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":84},266419,"ming-huang-se-tuan-long-wen-an-hua-chou-shang-yang-pi-xia-hui-shu-pi-pao-yi-ming-266419","明黄色团龙纹暗花绸上羊皮下灰鼠皮袍",[78,181,130,182,155,80,55,183,7],"团龙纹","绸料","鼠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6450ae153ed147966d5092815ad0b3a.jpg",[],{"id":187,"slug":188,"title":189,"dynasty":73,"author":74,"museum":46,"description":117,"tags":190,"thumbUrl":193,"material":63,"size":64,"collection":65,"collections":194,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},266415,"qing-se-xiao-hua-wen-an-hua-duan-huo-hu-tui-pi-nv-bian-pao-yi-ming-266415","青色小花纹暗花缎火狐腿皮女便袍",[78,80,191,7,192],"暗花缎","女袍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d5588b977887510100f32221ef5f9a5.jpg",[],{"id":196,"slug":197,"title":198,"dynasty":73,"author":74,"museum":46,"description":199,"tags":200,"thumbUrl":203,"material":63,"size":64,"collection":65,"collections":204,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},266113,"ming-huang-se-tuan-long-wen-an-hua-jiang-chou-xuan-hu-pi-duan-zhao-yi-ming-266113","明黄色团龙纹暗花江绸玄狐皮端罩","端罩（duān zhào ），满语叫“达呼”，是清代一种极珍贵的皮制礼服；清代服饰名。在清代服饰制度中，是一种皇帝、诸王、高级官员等人在冬季时替代衮服·\n补褂套穿在朝服，吉服袍等袍服外的一种圆领、对襟、平袖、长及膝、左右垂带的翻毛外褂。\n端罩按《大清会典》的制度，有黑狐、紫貂、青狐、貂皮、猞猁狲、红豹皮、黄狐皮等几种；按质地、皮色的好坏及其里、带的颜色等内容，又分为八个等级，以此来区别其身份、地位的高低尊卑。皮端罩，是清代皇帝及文三品、武二品以上官员所用的一种翻毛外褂，一般在冬季穿着朝服、吉服等服饰时，代替衮服、补服罩于朝袍、吉服袍等。皇帝的端罩有黑狐皮和紫貂皮两种皮质。在冬季应穿端罩的时间里皇帝从十一月朔至上元穿用黑狐皮端罩，其余时间穿用紫貂皮端罩",[78,7,80,201,202],"龙纹","皮草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a042b441521adcd09a8dc6756d57423.jpg",[],{"id":206,"slug":207,"title":208,"dynasty":73,"author":74,"museum":46,"description":199,"tags":209,"thumbUrl":210,"material":63,"size":64,"collection":65,"collections":211,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":84},266068,"ming-huang-se-jiang-shan-wan-dai-wen-an-hua-jiang-chou-diao-pi-duan-zhao-yi-ming-266068","明黄色江山万代纹暗花江绸貂皮端罩",[78,7,80,144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77a37305f5d520145524760fbdcbb5b6.jpg",[],{"id":213,"slug":214,"title":215,"dynasty":73,"author":74,"museum":46,"description":199,"tags":216,"thumbUrl":217,"material":63,"size":64,"collection":65,"collections":218,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},266011,"ming-huang-se-su-chou-hei-diao-pi-duan-zhao-yi-ming-266011","明黄色素绸黑貂皮端罩",[78,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4607a64a99058cf9b1aea9e113468df.jpg",[],{"id":220,"slug":221,"title":222,"dynasty":73,"author":74,"museum":46,"description":152,"tags":223,"thumbUrl":224,"material":63,"size":64,"collection":65,"collections":225,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":84},266007,"ming-huang-se-tuan-long-wen-an-hua-jiang-chou-she-li-pi-ma-gua-yi-ming-266007","明黄色团龙纹暗花江绸猞猁皮马褂",[78,80,7,201,164,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd76a59d39eba55bdddfa71df0ed1c81f.jpg",[],{"id":227,"slug":228,"title":229,"dynasty":73,"author":74,"museum":46,"description":199,"tags":230,"thumbUrl":232,"material":63,"size":64,"collection":65,"collections":233,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":234},266004,"xing-huang-se-an-hua-duan-hai-long-pi-duan-zhao-yi-ming-266004","杏黄色暗花缎海龙皮端罩",[78,80,7,231],"杏黄色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffed32f48f79a552be4c74aa1bd9f5ebd.jpg",[],"F48FB1",{"id":236,"slug":237,"title":238,"dynasty":73,"author":74,"museum":46,"description":239,"tags":240,"thumbUrl":243,"material":63,"size":64,"collection":65,"collections":244,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":84},266001,"hui-zi-shi-mi-lu-pi-jia-yi-ming-266001","回子式麋鹿皮甲","以整幅麋鹿皮裁制而成，原生肌理带着原野的厚重质感，米白底色素净温润，尽显质朴本真。领口镶饰晕染出写意纹样，暗色调与斜襟浅蓝饰条相映，柔化了甲胄的肃杀之气，添入雅致意趣。利落排布的盘扣既加固衣身，又让形制更显规整，将防护实用性与日常穿着的妥帖感相融。它揉合游牧民族的生存智慧与审美意趣，把自然馈赠的材质用最贴合生活的方式打磨，带着浓郁的北方地域生活气息，是实用工艺与质朴美学合一的绝佳载体。",[78,241,242,7],"皮甲","麋鹿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F474d470b4080980a2965b2e5e9ec5050.jpg",[],{"id":246,"slug":247,"title":238,"dynasty":73,"author":74,"museum":46,"description":248,"tags":249,"thumbUrl":251,"material":63,"size":64,"collection":65,"collections":252,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":84},266000,"hui-zi-shi-mi-lu-pi-jia-yi-ming-266000","以天然麋鹿鞣革裁制，米白胚色带着皮革的原生肌理，质朴厚重，裹挟着塞外旷野的粗粝质感。立领偏襟沿用回疆制式，黑缎镶边勾勒利落轮廓，撞色翠绿袢扣成为视觉焦点，冷硬皮革间晕开鲜活亮色，平衡了皮料的沉实厚重。\n\n宽袍大袖的版型适配骑乘劳作，自在舒展又不失服饰的端庄气度。无过多繁饰，将游牧生存的实用需求与审美意趣相融，粗朴的皮面带着岁月摩挲留下的痕迹，凝缩着旧时游牧生活的温度与记忆。",[78,241,7,250],"铠甲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F266ad4668ff96c3973349f738f7729c5.jpg",[],{"id":254,"slug":255,"title":256,"dynasty":73,"author":74,"museum":46,"description":142,"tags":257,"thumbUrl":259,"material":63,"size":64,"collection":65,"collections":260,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":84},265996,"yue-bai-se-su-chou-li-sao-xue-diao-pi-mian-xing-shang-yi-ming-265996","月白色素绸里扫雪貂皮面行裳",[78,7,80,144,258],"日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafb5a05726a7efbe0afe637a3ae7eaf1.jpg",[],{"id":262,"slug":263,"title":264,"dynasty":73,"author":74,"museum":46,"description":152,"tags":265,"thumbUrl":266,"material":63,"size":64,"collection":65,"collections":267,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":268},265974,"ming-huang-se-tuan-long-wen-an-hua-jiang-chou-hei-diao-pi-ma-gua-yi-ming-265974","明黄色团龙纹暗花江绸黑貂皮马褂",[78,164,80,7,201,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1b96666185726567f5d1ba72ae583c0.jpg",[],"FDD835",{"id":270,"slug":271,"title":272,"dynasty":73,"author":74,"museum":46,"description":273,"tags":274,"thumbUrl":276,"material":63,"size":64,"collection":65,"collections":277,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":84},265965,"hui-se-an-hua-chou-tian-ma-pi-xiao-pi-ao-yi-ming-265965","灰色暗花绸天马皮小皮袄","整体为右衽旗装样式，灰绸底色晕着暗纹，内敛沉静，纹理若隐若现，衬出雅致氛围。领口异色包边成为素净底色的点睛之笔，柔化了硬朗轮廓。内里附天马皮，兼顾美观与冬日保暖，侧边开衩搭配一字素扣，既适配日常起居的实用性，又藏着中式服饰的精巧心思。\n\n并无过多繁复装饰，以面料质感传递质朴美感，是旧时日常便服的缩影，将平实烟火气融于服饰细节间，尽显传统服饰含蓄克制的美学意境，达成实用与审美的巧妙平衡。",[78,80,275,154,7],"皮袄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccd4a1ca80b36d15731b01731d305910.jpg",[],{"id":279,"slug":280,"title":281,"dynasty":73,"author":74,"museum":46,"description":282,"tags":283,"thumbUrl":286,"material":63,"size":64,"collection":65,"collections":287,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":84},265952,"yue-bai-se-san-duo-wen-an-hua-chou-she-li-pi-gua-yi-ming-265952","月白色三多纹暗花绸猞猁皮褂","浅月素色绸面隐着三多暗纹，雅致中藏纳祥瑞祈愿。利落的对襟铜扣顺排而下，衬得版型舒展端方。周身镶覆蓬松猞猁皮毛，暖绒柔白晕开浅蓝清韵，在凛冽冬日裹住暖意，亦将清雅风骨悄然晕染。暗花若有似无，于简约间藏着精巧工思，实用御寒与东方雅致审美相融，把日常冬衣化作含蓄温婉的美学载体，尽显旧时服饰内敛又华贵的质感。",[78,80,7,284,285],"暗花绸","三多纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2e3c06699f6de89467f357383d93fc4.jpg",[],{"id":289,"slug":290,"title":291,"dynasty":73,"author":74,"museum":46,"description":292,"tags":293,"thumbUrl":295,"material":63,"size":64,"collection":65,"collections":296,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},265949,"hei-se-lang-pi-mian-huang-qian-li-pi-chang-gua-yi-ming-265949","黑色狼皮面黄肷里皮长褂","狼皮面色泽沉郁匀净，皮毛紧实厚重，带着朔漠荒野的粗粝质感，内里黄肷软绒蓬松，将关外凛冬的凛冽隔绝在外。对襟形制舒展利落，肩部线条沉稳大气，下摆开叉暗合日常行动的实用巧思，在保暖之余不失灵动。领口处的异色皮料成为暗调里的点睛之笔，朴拙又带着鲜活生气。它褪去繁复修饰，以皮毛本真肌理为韵，将御寒刚需融于衣着形制，藏着旧时关外民族的生存智慧，把荒野的苍劲与冬日的暖意揉为一体，静静诉说着旧时光里的生活美学。",[78,294,7,202],"狼皮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba225b907ecf186540a5cd922189bdc5.jpg",[],{"id":298,"slug":299,"title":300,"dynasty":73,"author":74,"museum":46,"description":301,"tags":302,"thumbUrl":303,"material":63,"size":64,"collection":65,"collections":304,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":234},265948,"diao-qian-mian-huang-qian-li-pi-chang-gua-yi-ming-265948","貂肷面黄肷里皮长褂","棕褐貂肷为面，绒毛致密顺滑，带着自然柔和的哑光质感，厚重又不失温润。领缘露出内里黄肷的浅绒，明暗交织，撞色雅致和谐。通身对襟无过多装饰，仅在衣襟侧边暗藏细蓝暗线，于简约中暗藏巧思。宽袖短摆的版型舒展大气，既保证了冬日保暖性，又兼顾日常穿着便利，尽显旧时皮装务实雅致的审美意趣。整件长褂将珍罕毛皮的天然质感融入极简剪裁，不做繁复雕饰，便将冬日服饰的实用与美学平衡到极致，是兼具工艺价值与日常温度的旧时衣装精品。",[78,202,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03a52f55406a92a771ba3859bd05104d.jpg",[],1777535717457]