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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。”",[115,74,157,71,7,47],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26c01e9dcdb9ad2d76f7e91c94e92cf1.jpg",[],{"id":247,"slug":248,"title":249,"dynasty":18,"author":41,"museum":20,"description":242,"tags":250,"thumbUrl":251,"material":31,"size":32,"collection":33,"collections":252,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":253},264427,"qian-huang-se-chou-xiu-mu-dan-jin-shou-zi-wen-pao-liao-yi-ming-264427","浅黄色绸绣牡丹金寿字纹袍料",[74,115,157,71,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44ccc4202096197497e2d13fa43f684c.jpg",[],"FDD835",{"id":255,"slug":256,"title":257,"dynasty":98,"author":41,"museum":20,"description":99,"tags":258,"thumbUrl":260,"material":31,"size":32,"collection":33,"collections":261,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":78},261404,"jia-jing-kuan-qing-hua-shou-zi-ba-xian-tu-guan-yi-ming-261404","嘉靖款青花“寿”字八仙图罐",[85,102,60,259,7,90],"八仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febdaa84fe369625588689ac01faf9c56.jpg",[],{"id":263,"slug":264,"title":265,"dynasty":18,"author":41,"museum":20,"description":99,"tags":266,"thumbUrl":269,"material":31,"size":32,"collection":33,"collections":270,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":78},260932,"qing-hua-ren-wu-shou-zi-bo-gu-tu-zhi-hu-yi-ming-260932","青花人物寿字博古图执壶",[85,102,267,179,268,7],"执壶","博古图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fa4323cd6fb846bcdc3dffc6a871716.jpg",[],{"id":272,"slug":273,"title":274,"dynasty":18,"author":41,"museum":20,"description":275,"tags":276,"thumbUrl":280,"material":31,"size":32,"collection":33,"collections":281,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":54},260031,"dao-guang-kuan-bai-di-fan-hong-cai-shou-zi-chan-zhi-lian-wen-zha-dou-yi-ming-260031","道光款白地矾红彩“寿”字缠枝莲纹渣斗","白地莹洁似雪，矾红浓妍鲜亮，冷暖映衬愈显明丽醒目。器身上下皆饰缠枝宝相莲，枝蔓卷曲连绵，花卉饱满富丽，间缀吉祥结饰环绕中心寿字，笔致工细端庄，暗合福寿绵长的美好祈愿。口沿描金点缀，更添华贵雅致。整体器型撇颈鼓腹，线条柔婉舒展，将吉祥寓意融于日用瓷之中，尽显雅致的审美意趣与寄情祈福的民俗风情，是兼具实用价值与装饰意趣的彩瓷佳器。",[85,180,277,181,278,7,279,28],"渣斗","缠枝莲纹","白地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa0882ab6412c6a2ba3c28b7bd15fe82.jpg",[],{"id":283,"slug":284,"title":285,"dynasty":18,"author":41,"museum":20,"description":286,"tags":287,"thumbUrl":293,"material":31,"size":32,"collection":294,"collections":295,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":54},257528,"de-hua-yao-bai-you-tu-shou-zi-chu-ji-san-zu-ding-yi-ming-257528","德化窑白釉凸寿字出戟三足鼎","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。",[85,288,289,290,291,7,292],"白釉","礼器","三足","凸雕","出戟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda4f28c5c35df43da80fcc9c86789962.jpg","瓷器精选",[294],{"id":297,"slug":298,"title":299,"dynasty":18,"author":41,"museum":20,"description":300,"tags":301,"thumbUrl":304,"material":31,"size":32,"collection":33,"collections":305,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":78},249301,"qia-si-fa-lang-shou-zi-chang-fang-fang-quan-yi-ming-249301","掐丝珐琅寿字长方仿圈","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”。",[302,201,7,303,90],"掐丝珐琅","长方","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a18df3570939688766ef1502cc19270.jpg",[],{"id":307,"slug":308,"title":309,"dynasty":18,"author":41,"museum":20,"description":310,"tags":311,"thumbUrl":315,"material":31,"size":32,"collection":33,"collections":316,"showCount":108,"zanCount":11,"manualWeight":11,"mainColor":78},274855,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274855","银胎嵌珐琅供养","器物造型庄雅，莲台承托主龛，银胎錾刻层层铺展，卷草缠枝与莲瓣饱满生动，哑光银质晕开岁月沉淀的温润质感。主龛以珐琅填彩，天蓝底色澄澈柔和，翠朱边框勾勒出规整佛境，中央寿纹梵相端严静穆，宝绶缠顶更添祥瑞意韵，明丽珐琅与素朴银胎冷暖相映，层次灵动。\n\n融金属细錾与珐琅施色工艺于一体，藏地礼器的肃穆与清代细作的精巧相融，线条柔婉不失规整，细节处尽显匠心，既是礼佛重器，亦是边疆工艺与中原审美合璧的精巧之作。",[222,201,312,313,314,7],"宗教","供养器","莲花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4565556cf00ef9d1783f175a2e631659.jpg",[],{"id":318,"slug":319,"title":320,"dynasty":18,"author":41,"museum":20,"description":321,"tags":322,"thumbUrl":327,"material":31,"size":32,"collection":33,"collections":328,"showCount":108,"zanCount":11,"manualWeight":11,"mainColor":78},273285,"hong-se-pi-jin-xian-xiu-kui-long-shou-zi-he-bao-shi-huo-lian-yi-ming-273285","红色皮金线绣夔龙寿字荷包式火燫","荷包是中国汉族传统服饰中，人们所随身佩带的一种装零星物品的小包，后发展为爱情信物，荷包的图案有繁有简，花卉、鸟、兽、草虫、山水、人物以及吉祥语、诗词文字都有，装饰意味很浓。\n在民间荷包中，占相当比重的是香包，香包里装有香草之类的药品，包面上绣制着“五毒”，即蝎子、蛇、蜈蚣、壁虎和蟾蜍，它原是五月端午的节令物品，为了防止各种毒虫猖獗，侵害人体，人们相互馈赠，挂在衣襟或帐勾上，以避除“五毒”。就形状来看，有虎形的、鸡形的、如意形的、寿桃形的、蝙蝠形的，以取意于福、禄、寿、喜、吉祥、如意等。富有深厚民族心理基础的绣荷包，在民间文化中，显示着旺盛的生命力。",[323,324,325,7,180,44,157,326],"皮制品","金线绣","夔龙","荷包","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38890385b9244cddfe644d05b825f31d.jpg",[],{"id":330,"slug":331,"title":332,"dynasty":18,"author":41,"museum":20,"description":333,"tags":334,"thumbUrl":339,"material":31,"size":32,"collection":33,"collections":340,"showCount":108,"zanCount":11,"manualWeight":11,"mainColor":78},269702,"pao-zhi-shou-zi-xiang-ya-kou-gai-guo-guo-long-yi-ming-269702","匏制寿字象牙口盖蝈蝈笼","范制匏身浅刻寿字，古雅间寄寓绵长吉意。象牙口盖莹润细腻，嵌配翠绿饰件提亮方寸，开孔兼顾出音通透与装饰精巧，将实用与雅饰相融。外覆菱格暗纹绒套，低调沉稳，既护持笼身，又添几分内敛质感。\n整体小巧雅致，集工艺匠心与闲情雅好于一体，是旧时文人们案头赏玩、伴身解闷的精巧雅物，尽显雅致细腻的清代文玩审美意趣。",[335,336,337,74,225,7,338,180],"蝈蝈笼","匏器","象牙","虫具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96974e59ba68854b3dadd3144d622d28.jpg",[],{"id":342,"slug":343,"title":344,"dynasty":18,"author":41,"museum":20,"description":42,"tags":345,"thumbUrl":346,"material":31,"size":32,"collection":33,"collections":347,"showCount":108,"zanCount":11,"manualWeight":11,"mainColor":78},269222,"wen-zhu-shou-zi-jiu-jiu-ru-yi-yi-ming-269222","文竹寿字九九如意",[90,145,225,223,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea69d9c800fe12d9f1e01ab68ad12ca.jpg",[],{"id":349,"slug":350,"title":351,"dynasty":18,"author":41,"museum":20,"description":242,"tags":352,"thumbUrl":355,"material":31,"size":32,"collection":33,"collections":356,"showCount":108,"zanCount":11,"manualWeight":11,"mainColor":253},267563,"ming-huang-se-chou-xiu-hai-tang-lan-shou-zi-wen-pao-liao-yi-ming-267563","明黄色绸绣海棠兰寿字纹袍料",[74,70,115,353,354,7,28],"海棠","兰花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c3e2efde2f3ab173d79eb44752b8ceb.jpg",[],{"id":358,"slug":359,"title":360,"dynasty":18,"author":41,"museum":20,"description":361,"tags":362,"thumbUrl":364,"material":31,"size":32,"collection":33,"collections":365,"showCount":108,"zanCount":11,"manualWeight":11,"mainColor":36},266251,"pin-yue-se-duan-xiu-shui-mo-mu-dan-jin-shou-zi-wen-dan-chen-yi-yi-ming-266251","品月色缎绣水墨牡丹金寿字纹单衬衣","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。 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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。",[437,448,225,449,450,7,451,44,89],"青玉","镂空","花","吉祥纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dd90c2fa4569b296fd4a46015fdf8d7.jpg",[],{"id":455,"slug":456,"title":457,"dynasty":18,"author":41,"museum":20,"description":446,"tags":458,"thumbUrl":460,"material":31,"size":32,"collection":33,"collections":461,"showCount":108,"zanCount":11,"manualWeight":11,"mainColor":54},250942,"qing-yu-hu-lu-wan-dai-shou-zi-ru-yi-yi-ming-250942","青玉葫芦万代寿字如意",[89,437,448,225,459,7,90],"葫芦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26c16c544ba3398ddaf6995641601a36.jpg",[],{"id":463,"slug":464,"title":465,"dynasty":18,"author":41,"museum":20,"description":300,"tags":466,"thumbUrl":468,"material":31,"size":32,"collection":33,"collections":469,"showCount":108,"zanCount":11,"manualWeight":11,"mainColor":78},249905,"jia-qing-kuan-qia-si-fa-lang-lan-di-shou-zi-wan-yi-ming-249905","嘉庆款掐丝珐琅蓝地寿字碗",[302,144,7,422,180,467,89],"蓝地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a0990592d49d99f85ee6af0839de02a.jpg",[],{"id":471,"slug":472,"title":473,"dynasty":18,"author":41,"museum":20,"description":474,"tags":475,"thumbUrl":476,"material":31,"size":32,"collection":33,"collections":477,"showCount":108,"zanCount":11,"manualWeight":11,"mainColor":78},245710,"jin-lou-kong-fu-shou-bian-fang-yi-ming-245710","金镂空蝠寿扁方","此件以累丝技法镂出空灵底衬，四段开光内嵌翠玉、点饰色料，錾刻“吉祥”“富贵”四字，方正端凝。两段留白处铺陈金蝠穿绕缠枝寿纹，金蝠羽翼灵动舒展，缠枝柔婉盘曲，蝠与福寿谐音，暗合福寿双全的美好祈愿。\n\n整体配色明丽华贵，金工细腻入微，将繁复纹样与吉祥寓意相融，尽显清式首饰富丽雅致的风韵，藏着旧时对圆满安康的真挚期许。",[89,221,449,412,7,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a327ee2252d7f40dfb4448c1c755924.jpg",[],{"id":479,"slug":480,"title":481,"dynasty":482,"author":41,"museum":20,"description":83,"tags":483,"thumbUrl":10,"material":31,"size":32,"collection":33,"collections":487,"showCount":108,"zanCount":11,"manualWeight":11,"mainColor":54},226662,"shou-zi-wan-yi-ming-226662","寿字碗","宋",[484,85,485,167,26,7,486],"宋代","黑釉","日用器",[],{"id":489,"slug":490,"title":491,"dynasty":18,"author":41,"museum":20,"description":492,"tags":493,"thumbUrl":495,"material":31,"size":32,"collection":33,"collections":496,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":78},278198,"mu-shou-zi-chuo-yi-ming-278198","木“寿”字戳","中国的雕刻文字，最古老的有殷的甲骨文，周的钟鼎文，秦的刻石等，凡在金铜玉石等素材上雕刻的文字通称“金石”。玺印即包括在“金石”里。玺印的起源或说商代，或说殷代，至今尚无定论。根据遗物和历史记载，至少在春秋战国时已出现，战国时代已普遍使用。起初只是作为商业上交流货物时的凭证。秦始皇统一中国后，印章范围扩大为证明当权者权益的法物，为当权者掌握，作为统治人民的工具。\n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。\n清代百官印等级区分同样十分严格，印章普遍有所增大。其字体有蒙古文楷书、满文、汉篆等。最常见的是汉满文对照同时出现在印面上，这也是清公印的一大特点。其中汉篆中，九叠文不太兴盛，出现了玉箸篆、悬针篆、柳叶篆、芝英篆等等。",[145,29,494,7],"篆刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28185d21cc3630a241757a43ad5f2d65.jpg",[],{"id":498,"slug":499,"title":500,"dynasty":18,"author":41,"museum":20,"description":501,"tags":502,"thumbUrl":506,"material":31,"size":32,"collection":33,"collections":507,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":78},274728,"yin-du-jin-zan-shou-zi-yuan-lu-yi-ming-274728","银镀金錾寿字圆炉","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。",[222,221,503,7,504,225,180,505],"錾刻","炉","金属器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0718ce102902b8259d5bdf328fd6268.jpg",[],{"id":509,"slug":510,"title":511,"dynasty":18,"author":41,"museum":20,"description":321,"tags":512,"thumbUrl":514,"material":31,"size":32,"collection":33,"collections":515,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":78},273302,"hong-se-duan-xiu-kui-long-shou-zi-he-bao-shi-huo-lian-yi-ming-273302","红色缎绣夔龙寿字荷包式火燫",[90,180,513,74,221,157,103,7],"铁器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd011173bb5f94f70467650910341f45.jpg",[],{"id":517,"slug":518,"title":519,"dynasty":18,"author":41,"museum":20,"description":520,"tags":521,"thumbUrl":524,"material":31,"size":32,"collection":33,"collections":525,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},272504,"wang-jie-an-jian-zhi-jin-zhu-wu-cun-xuan-yan-long-wen-shou-zi-mo-yi-ming-272504","汪节庵监制金筑梧村选烟龙纹寿字墨","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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[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。",[85,86,649,697,7,180],"桃纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15c71b6c8a91db7abbb0d67d7349a624.jpg",[],{"id":701,"slug":702,"title":703,"dynasty":18,"author":41,"museum":20,"description":704,"tags":705,"thumbUrl":709,"material":31,"size":32,"collection":33,"collections":710,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},261789,"you-li-hong-bai-shou-zi-bi-tong-yi-ming-261789","釉里红百寿字笔筒","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。",[85,706,26,707,7,708],"釉里红","篆书","笔筒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc941f1a1182bfd654daecf43ffd3ff4.jpg",[],{"id":712,"slug":713,"title":714,"dynasty":18,"author":41,"museum":20,"description":715,"tags":716,"thumbUrl":718,"material":31,"size":32,"collection":294,"collections":719,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},261179,"hui-han-gong-tang-kuan-yi-xing-yao-zi-sha-tu-ke-shou-zi-pan-yi-ming-261179","惠汉公堂款宜兴窑紫砂凸刻寿字盘","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。",[90,85,717,225,707,7,180],"紫砂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2aa2e8a377d1fd977ea93ef1419d5af.jpg",[294],{"id":721,"slug":722,"title":723,"dynasty":18,"author":41,"museum":20,"description":695,"tags":724,"thumbUrl":728,"material":31,"size":32,"collection":33,"collections":729,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},260886,"fan-hong-di-ba-bai-li-shou-zi-wai-fu-wen-pan-yi-ming-260886","矾红地拔白里寿字外蝠纹盘",[85,725,707,649,7,726,727],"盘","矾红地","拔白技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2efce028f0582976cf23a41c940888c6.jpg",[],{"id":731,"slug":732,"title":733,"dynasty":18,"author":41,"museum":20,"description":99,"tags":734,"thumbUrl":736,"material":31,"size":32,"collection":33,"collections":737,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},260581,"qing-hua-shou-zi-ping-yi-ming-260581","青花寿字瓶",[85,102,735,608,7],"瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F985a21a6da8ccc8eba322fcf514a09db.jpg",[],{"id":739,"slug":740,"title":741,"dynasty":18,"author":41,"museum":20,"description":177,"tags":742,"thumbUrl":744,"material":31,"size":32,"collection":33,"collections":745,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":78},260477,"hua-ya-kuan-wu-cai-ren-wu-shou-zi-tu-da-wan-yi-ming-260477","花押款五彩人物寿字图大碗",[85,191,103,60,7,180,743],"花押款","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F442a7f75798b8faffa7b2b6b1eebf6e3.jpg",[],{"id":747,"slug":748,"title":749,"dynasty":98,"author":41,"museum":20,"description":99,"tags":750,"thumbUrl":753,"material":31,"size":32,"collection":33,"collections":754,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},260091,"jia-jing-kuan-qing-hua-shou-zi-chan-zhi-shuang-feng-wen-wan-yi-ming-260091","嘉靖款青花“寿”字缠枝双凤纹碗",[85,102,751,752,7,180,422],"凤纹","缠枝纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F123f7adf499234317ae3993b1c72e24e.jpg",[],{"id":756,"slug":757,"title":176,"dynasty":18,"author":41,"museum":20,"description":177,"tags":758,"thumbUrl":759,"material":31,"size":32,"collection":33,"collections":760,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":78},259508,"guang-xu-kuan-huang-di-fan-hong-cai-bian-fu-wen-shou-zi-gao-zu-wan-yi-ming-259508",[85,179,412,7,181,183,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7afe0a9dbf5110fe0e57c441169b0a2a.jpg",[],{"id":762,"slug":763,"title":764,"dynasty":18,"author":41,"museum":20,"description":695,"tags":765,"thumb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