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。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”。",[59,60,61,7,62,63,64,65],"清代","掐丝珐琅","珐琅器","暗八仙纹","蟠龙纹","长颈瓶","铜制","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d18057d7477232406a556aa4909b879.jpg",[],"795548",{"id":70,"slug":71,"title":72,"dynasty":18,"author":19,"museum":20,"description":73,"tags":74,"thumbUrl":78,"material":31,"size":32,"collection":33,"collections":79,"showCount":80,"zanCount":81,"manualWeight":11,"mainColor":68},264415,"jiang-se-duan-xiu-er-se-jin-zhu-zi-shou-zi-wen-chang-yi-liao-yi-ming-264415","绛色缎绣二色金竹子寿字纹氅衣料","绣法是以绣线横排，故名。如，特点是整齐、均匀，圆润；在绣叶瓣时，在中间分开，运用斜针成倒人字形；也有绣成中间针迹相交叠的形式；也可绣成中间作一钉线的绣法。排绣针法富有变化，刺绣出的花瓣、叶瓣得体逼真，用途较广。",[23,43,44,75,7,76,77],"竹","金绣","氅衣料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F371ea7957e8c40e57a70f0d2f45f1797.jpg",[],10,1,{"id":83,"slug":84,"title":85,"dynasty":18,"author":19,"museum":20,"description":86,"tags":87,"thumbUrl":90,"material":31,"size":32,"collection":33,"collections":91,"showCount":80,"zanCount":11,"manualWeight":11,"mainColor":68},263970,"qing-se-ba-xian-chang-shou-zi-wen-zhuang-hua-duan-yi-ming-263970","青色八仙长寿字纹妆花缎","整体以墨色为底，衬得绣纹鲜亮醒目，满幅排布规整有序。变体寿字交错往复，暗合八仙意象，将八仙祝寿的吉庆意趣织入其中，福寿双全的祈愿暗藏经纬。间杂的花卉绣纹配色妍丽饱满，绒线晕染出鲜活层次，细密匀整的针脚尽显匠造巧思，把雅致华贵的气度凝于方寸之上。传统祈福意蕴与精湛工法相融，纹样循章法却不显呆板，沉静底色与明丽绣色相互映衬，尽显古典织绣的雅致韵味。",[27,23,24,7,88,89],"八仙纹","吉祥纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89f2f5a4756c9d8019ea4c536ebe9475.jpg",[],{"id":93,"slug":94,"title":95,"dynasty":18,"author":19,"museum":20,"description":96,"tags":97,"thumbUrl":101,"material":31,"size":32,"collection":33,"collections":102,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":68},267662,"lv-se-di-deng-long-shou-zi-wen-jin-yi-ming-267662","绿色地灯笼寿字纹锦","《说文》：“锦，襄邑织文。从帛，金声。”即用彩色经纬丝织出各种图案花纹的纺织品，泛指具有多种彩色花纹的丝织物。锦的生产工艺要求高，织造难度大，所以它是古代最贵重的织物。“锦，金也，作之用功重，其价如金。”古人把锦看成和黄金等价。这种织物有经起花和纬起花两种，也叫经锦和纬锦。经锦是用两组或两组以上的经线同一组纬线交织。经线多的二色或三色，一色一根作为一副，如果需要更多的颜色，也可以使用牵色条的方法。纬线有明纬和夹纬；用夹纬把每副中的表经和底经分隔开，用织物正面的经浮点显花。\n用染好颜色的彩色经纬线，经提花、织造工艺织出图案的织物。中国丝织提花技术起源久远。早在殷商时代中国已有丝织物。周代丝织物中出现织锦，花纹五色灿烂，技艺臻于成熟。汉代设有织室、锦署，专门织造织锦，供宫廷享用。自汉武帝后，中国织锦通过丝绸之路传入波斯（今伊朗）、大秦（古罗马帝国）等国。三国时四川蜀锦成为主流。唐代贞观年间窦师伦的对雉、斗羊、翔凤等蜀锦图案，称为绫阳公样。在织造工艺上由经锦改进为纬锦，并出现彩色经纬线由浅入深或由深入浅的退晕手法。北宋宫廷在汴京等地建立规模庞大的织造工场，生产各种绫锦。元代是中国历史上大量生产织金锦（一种加金的丝织物）的时代，宫廷设立织染局、织染提举司，机构庞大，集中了大批优秀工匠。\n明清两代织锦生产集中在江苏南京、苏州，除了官府的织锦局外，民间作坊也蓬勃兴起，形成江南织锦生产的繁荣时期。织锦大多采用传统提花工艺和木制花楼织机，有些织锦因品种不同而有所区别。如宋锦、土家族织锦采用通经断纬工艺，即分段调换彩色纬线，使色彩更加丰富。杭锦采用铁制提花机。织锦种类有南京云锦、四川蜀锦、苏州宋锦、杭州织锦以及少数民族的黎锦、壮锦、傣锦、瑶锦、侗锦、苗锦、土家锦、爱得利斯锦等。1960年以来，中国织锦在继承、发扬传统织锦的基础上，恢复了云锦的妆花锦和蜀锦的浣花锦、锦上添花锦、八答晕锦，并生产了窗帘、沙发套、枕套、被面、台毯、靠垫、床罩、提包、民族服装用料等新品种。\n锦已有3000年以上的历史，战国、西汉以前流行以二色或三色经轮流显花的经锦，包括局部饰以挂经的挂锦、具有立体效果的凸花锦和绒锦。1959年在新疆民丰尼雅遗址发现的东汉“万年如意锦”使用绛、白、绛紫、淡蓝、渥绿五色，通幅分成十二个色条，就是汉代典型的经锦。\n纬锦是用两组或两组以上的纬线同一组经线交织。经线有交织经和夹经；用织物正面的纬浮点显花。1969年在新疆阿斯塔那发现的唐代锦袜，在大红色地上起各种禽鸟花朵和行云的图案，就属于这一种锦。\n经锦和纬锦具有不同的织造效果。经锦的纬密比较低，只用一把梭子，生产效率比较高。纬锦织造比较费时，但可以使用两把以上的梭子，容易变换色彩，色彩丰富。这两种锦在中国出现的时间都比较早。但是六朝以前织造的，以经起花为主；隋唐以后织造的，似乎以纬起花为主。\n在苏联的巴泽雷克发现一批中国战国时期的丝绸，就有用红绿二色纬线织造的纬斜纹起花的纬锦。产生于宋代前后的宋锦以地经、地纬交织成经斜组织，按结经与纹纬交织成纬斜组织。\n金元之际流行加金的丝织物——织金锦，又称“纳石失”。明清时盛行以挖花缎的彩纬多达30—40种，锦面的经、纬方向都有逐花异色的效果，是中国织锦最高水平的代表。\n锦在历史上曾用多棕多蹑机和束棕花楼机织造，现代生产采用纹版提花机。\n国家非常重视非物质文化遗产的保护，南京云锦木机妆花手工织造技艺作为中国古老的织锦技艺最高水平的代表，于2006年列入首批国家级非物质文化遗产名录。2006年5月20日，土家族织锦技艺经国务院批准列入第一批国家级非物质文化遗产名录。2007年6月8日，湖南凤凰水云织锦坊获得国家文化部颁布的首届文化遗产日奖。2009年8月《地理标志产品云锦》国家标准在南京通过国家级专家评审，同年9月成功入选联合国《人类非物质文化遗产代表作名录》。",[98,23,99,7,100],"织锦","灯笼纹","吉祥纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91525ee90ecc8a8615c22020955f878a.jpg",[],9,{"id":105,"slug":106,"title":107,"dynasty":18,"author":19,"museum":20,"description":108,"tags":109,"thumbUrl":115,"material":31,"size":32,"collection":33,"collections":116,"showCount":117,"zanCount":11,"manualWeight":11,"mainColor":36},264133,"zao-hong-se-fu-shou-san-duo-wen-er-se-duan-yi-ming-264133","枣红色福寿三多纹二色缎","枣红底色晕着柔润缎光，宝蓝纹样鲜亮醒目，撞色浓烈又和谐。福寿三多纹错落铺陈，寿桃、石榴、佛手携着多福、多寿、多子的祈愿，与团寿纹交错排布，规整间藏着灵动生机。\n\n二色缎工艺让花地界限清晰，绒面光泽沉静柔糯，经纬之间织就旧时对世俗圆满的向往，将质朴的烟火祈盼，熔铸为一方绮丽鲜活的吉庆织物，尽显传统织造的精巧匠心。",[23,48,110,111,7,112,113,114],"福寿三多纹","花卉纹","设色","枣红色","蓝色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7897a79577aa48b12afa5963fa8fdaa.jpg",[],8,{"id":119,"slug":120,"title":121,"dynasty":18,"author":19,"museum":20,"description":73,"tags":122,"thumbUrl":125,"material":31,"size":32,"collection":33,"collections":126,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":128},264420,"lv-se-duan-xiu-hai-tang-jin-shou-zi-wen-pao-liao-yi-ming-264420","绿色缎绣海棠金寿字纹袍料",[43,23,44,123,7,124,48],"海棠纹","绿色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b010d92a84c492706c1841065efa8c2.jpg",[],7,"0D904F",{"id":130,"slug":131,"title":132,"dynasty":18,"author":19,"museum":20,"description":41,"tags":133,"thumbUrl":136,"material":31,"size":32,"collection":33,"collections":137,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":68},266422,"jiang-se-shou-zi-wen-an-hua-chou-yin-shu-pi-nv-ji-fu-pao-yi-ming-266422","酱色寿字纹暗花绸银鼠皮女吉服袍",[43,23,134,7,111,135,44],"银鼠皮","吉服袍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff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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。",[18,744,745,746,747,7,581,405],"祭蓝釉描金","凸雕","粉彩","缠枝莲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa4ee2455b4ef9268e549e7cc6084fb5.jpg",[],{"id":751,"slug":752,"title":753,"dynasty":18,"author":19,"museum":20,"description":754,"tags":755,"thumbUrl":757,"material":31,"size":32,"collection":33,"collections":758,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":169},258376,"dou-cai-chan-zhi-lian-shou-zi-wen-pan-yi-ming-258376","斗彩缠枝莲寿字纹盘","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。",[208,756,713,7,59],"斗彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faceb53270eaa31dd5b0aeed3a071f062.jpg",[],{"id":760,"slug":761,"title":762,"dynasty":18,"author":19,"museum":20,"description":57,"tags":763,"thumbUrl":765,"material":31,"size":32,"collection":33,"collections":766,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":68},249479,"qia-si-fa-lang-shou-zi-an-ba-xian-wen-xiang-cha-yi-ming-249479","掐丝珐琅寿字暗八仙纹香插",[59,60,61,65,7,62,764],"香插","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a73b591e50db3669724ac5f7c2daa39.jpg",[],{"id":768,"slug":769,"title":770,"dynasty":18,"author":19,"museum":20,"description":771,"tags":772,"thumbUrl":774,"material":31,"size":32,"collection":33,"collections":775,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":169},248930,"ti-xi-shou-zi-yun-wen-ci-tai-zun-yi-ming-248930","剔犀寿字云纹瓷胎尊","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。",[59,208,497,773,147,7,211,405],"剔犀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d044a17a788ebcaa988ee149a227d21.jpg",[],{"id":777,"slug":778,"title":779,"dynasty":18,"author":19,"museum":20,"description":780,"tags":781,"thumbUrl":785,"material":31,"size":32,"collection":33,"collections":786,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":153},248663,"hei-qi-qian-luo-dian-shou-zi-kui-long-wen-guan-jia-yi-ming-248663","黑漆嵌螺钿寿字夔龙纹冠架","此冠架韵致古雅，形制考究。鎏金炉身透雕缠枝夔龙，婉转灵动的纹饰虚实相生，烟气可自镂孔悠然漫出，陈设熏香两相宜。漆黑亮泽的灯座之上，朱红寿字醒目点缀，沉敛底色衬得吉纹愈发热烈鲜活。底座螺钿嵌饰晕彩莹润，与鎏金炉身冷暖相映，华贵雅致尽显。\n它融透雕、镶嵌、髹饰诸艺于一体，工法细致入微，尽显精巧工致，暗含福寿绵长的美好祈愿，是兼具实用价值与审美意趣的雅室佳器。",[59,497,782,783,7,784,405,546],"嵌螺钿","黑漆","夔龙纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d36b55f393a00e92652d6c8b62e471b.jpg",[],{"id":788,"slug":789,"title":513,"dynasty":18,"author":19,"museum":20,"description":218,"tags":790,"thumbUrl":792,"material":31,"size":32,"collection":33,"collections":793,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":169},242078,"yin-du-jin-shou-zi-wen-liu-su-yi-ming-242078",[59,221,7,223,358,791,546,160,232,287,409],"宝石镶嵌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0534ddfde2cf281a7b72ae94d09df25c.jpg",[],{"id":795,"slug":796,"title":505,"dynasty":18,"author":19,"museum":20,"description":314,"tags":797,"thumbUrl":800,"material":31,"size":32,"collection":33,"collections":801,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":68},242072,"yin-du-jin-hu-lu-wen-mao-hua-yi-ming-242072",[59,221,61,160,287,232,164,7,798,799,290],"珍珠镶嵌","点蓝工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4e7e6c5aa5ce0242e6d8c7d7bfdb7f2.jpg",[],{"id":803,"slug":804,"title":505,"dynasty":18,"author":19,"museum":20,"description":314,"tags":805,"thumbUrl":807,"material":31,"size":32,"collection":33,"collections":808,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":68},242067,"yin-du-jin-hu-lu-wen-mao-hua-yi-ming-242067",[59,221,806,162,164,7,358,160,232,287,147],"琺瑯器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ddd97c074e502584ce55f510c471baf.jpg",[],{"id":810,"slug":811,"title":812,"dynasty":18,"author":19,"museum":20,"description":579,"tags":813,"thumbUrl":817,"material":31,"size":32,"collection":33,"collections":818,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":68},224014,"shou-zi-jin-di-wen-zhi-jin-ru-yi-shi-han-tao-yi-ming-224014","寿字锦地纹织锦如意式函套",[59,98,7,814,815,816],"锦地纹","如意式","函套","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37e345effa30d85364d0814284d58879.jpg",[],{"id":820,"slug":821,"title":822,"dynasty":18,"author":19,"museum":20,"description":823,"tags":824,"thumbUrl":826,"material":31,"size":32,"collection":33,"collections":827,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":68},270550,"xi-wan-fu-wan-shou-zi-huo-guo-yi-ming-270550","锡“万福万寿”字火锅","这件锡器素净温润，银白底色衬得鎏金饰纹愈发华贵醒目。盖面寿字错落点缀，暗喻福寿绵长的美好祈愿。器身环设活铜提钮，兼顾造型精巧与提携之便。下部镂空出万寿与团寿纹样，虚实相生，既助炭火通风燃煮，又以细密纹饰铺陈祥瑞氛围。\n\n整体形制饱满圆润，线条柔和舒展，素地与鎏金明暗相映，将日常炊煮之用与传统吉庆美学相融，清雅中带着富贵意韵，尽显旧时造物雅俗共赏的巧思，是将饮食器具与美好祈愿合二为一的匠心之作。",[825,563,177,147,7],"锡器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15814bcf8ad7d123a83b1dfac1c8da58.jpg",[],{"id":829,"slug":830,"title":831,"dynasty":18,"author":19,"museum":20,"descriptio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