[{"data":1,"prerenderedAt":392},["ShallowReactive",2],{"subject-shou-zu":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},5563,"shou-zu","兽足","兽足画高清赏析","精选中国历代兽足题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdbf3d13b62b0a31eebb372b5a48009f.jpg",0,34,[14,37,50,63,74,87,104,116,127,135,142,155,168,184,195,209,218,228,237,245,255,266,277,285,294,304,312,321,330,341,351,363,374,383],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":30,"material":31,"size":32,"collection":33,"collections":34,"showCount":35,"zanCount":11,"manualWeight":11,"mainColor":36},243342,"long-shou-jiao-dou-yi-ming-243342","龙首鐎斗","汉","佚名","藏地不详","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。",[23,24,25,26,27,28,29,7],"汉代风格","青铜器","铜制","雕刻","龙","饪食器","三足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d6379fc67feb2c7b05495481ab15f7e.jpg","未知","Xcm*Xcm","",[],9,"795548",{"id":38,"slug":39,"title":40,"dynasty":18,"author":19,"museum":20,"description":41,"tags":42,"thumbUrl":47,"material":31,"size":32,"collection":33,"collections":48,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":36},255795,"tao-xian-wen-cang-yi-ming-255795","陶弦纹仓","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。",[43,44,45,7,46,26],"陶瓷","汉代","弦纹","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3047cdbd10bad1f94e35ae822c0b922.jpg",[],4,{"id":51,"slug":52,"title":53,"dynasty":54,"author":19,"museum":20,"description":55,"tags":56,"thumbUrl":61,"material":31,"size":32,"collection":33,"collections":62,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":36},226816,"zheng-yi-bo-yi-yi-ming-226816","郑义伯匜","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。",[24,25,57,58,59,60,7],"礼器","水器","容器","龙纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9c6817d6e45a7fb1537c740987d7180.jpg",[],{"id":64,"slug":65,"title":66,"dynasty":54,"author":19,"museum":20,"description":55,"tags":67,"thumbUrl":10,"material":31,"size":32,"collection":33,"collections":72,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":36},226855,"ding-xing-yun-lei-wen-he-yi-ming-226855","丁形云雷纹盉",[24,68,69,26,70,71,7,29],"器","铸造","云雷纹","周代",[],3,{"id":75,"slug":76,"title":77,"dynasty":78,"author":19,"museum":20,"description":79,"tags":80,"thumbUrl":84,"material":31,"size":32,"collection":33,"collections":85,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":36},270542,"xi-xiang-lu-yi-ming-270542","锡香炉","清","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。",[81,82,26,60,7,83],"锡器","香炉","狮钮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcac48eba9c29675b9d7c60341e6b9c05.jpg",[],2,{"id":88,"slug":89,"title":90,"dynasty":18,"author":19,"museum":20,"description":91,"tags":92,"thumbUrl":101,"material":31,"size":32,"collection":33,"collections":102,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":36},254296,"tao-huang-you-cang-yi-ming-254296","陶黄釉仓","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。",[43,93,94,95,29,7,96,97,44,98,99,100],"黄釉","釉陶","陶制","筒形","仓","器物","储物器","装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f34014a7b93f2c94f4dcc7a8f808b47.jpg",[],1,{"id":105,"slug":106,"title":107,"dynasty":78,"author":19,"museum":20,"description":108,"tags":109,"thumbUrl":113,"material":31,"size":32,"collection":33,"collections":114,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":115},243221,"cuo-jin-hu-yi-ming-243221","错金壶","此壶造型古雅灵动，提梁以镂空缠枝塑造，蜿蜒回转间尽显精巧。凤首为流，昂首探姿，羽纹细节毕现，气韵生动。四兽足沉稳承托浑圆器身，盖上置人物造像，添几分世外幽意。\n\n器身错金错银饰卷草纹，金辉银芒交映古铜底色，明暗相生，将祥瑞纹饰与实用器形相融。冷硬铜胎因金银细作变得华丽雍容，既有古礼器的庄重质感，又兼具文房清供的雅致意趣，尽显古代金属细作工艺的匠心巧思。",[78,110,25,26,68,111,7,29,112],"错金","凤凰","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cb2fc39fe643e1814571216f9a3bddf.jpg",[],"37474F",{"id":117,"slug":118,"title":119,"dynasty":120,"author":19,"museum":20,"description":121,"tags":122,"thumbUrl":125,"material":31,"size":32,"collection":33,"collections":126,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},261819,"qing-you-ren-mian-liu-zu-xi-yi-ming-261819","青釉人面六足洗","晋","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。”",[43,68,123,124,7,28],"青釉","人面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bc60ce9b61ff0759aa44b8ec5645ad1.jpg",[],{"id":128,"slug":129,"title":130,"dynasty":120,"author":19,"museum":20,"description":121,"tags":131,"thumbUrl":133,"material":31,"size":32,"collection":33,"collections":134,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},260250,"qing-you-yin-wang-ge-wen-san-shou-zu-xi-yi-ming-260250","青釉印网格纹三兽足洗",[43,123,132,7,68,28],"网格纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab886448458a33ab5f837890342e0810.jpg",[],{"id":136,"slug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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。",[202,272,214,273,204,68,274,7],"嵌玉","玉石","象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55021068b53c6be65005bedb08a2a30b.jpg",[],{"id":278,"slug":279,"title":280,"dynasty":78,"author":19,"museum":20,"description":199,"tags":281,"thumbUrl":283,"material":31,"size":32,"collection":33,"collections":284,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},249354,"qia-si-fa-lang-bao-xiang-hua-wen-si-zu-fang-xun-lu-yi-ming-249354","掐丝珐琅宝相花纹四足方熏炉",[202,189,68,261,282,7,25],"宝相花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18963c1e40ca5564a3ca3a92b56ec584.jpg",[],{"id":286,"slug":287,"title":288,"dynasty":78,"author":19,"museum":20,"description":199,"tags":289,"thumbUrl":292,"material":31,"size":32,"collection":33,"collections":293,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":194},249352,"qia-si-fa-lang-bao-xiang-hua-wen-wei-jiao-si-zu-fang-xun-lu-yi-ming-249352","掐丝珐琅宝相花纹委角四足方熏炉",[78,202,214,25,282,290,291,7,261,26],"委角","四足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea61973985583f7afc6b361bcae56fec.jpg",[],{"id":295,"slug":296,"title":297,"dynasty":159,"author":19,"museum":20,"description":298,"tags":299,"thumbUrl":302,"material":31,"size":32,"collection":33,"collections":303,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},249257,"jing-tai-kuan-qia-si-fa-lang-er-long-xi-zhu-wen-pan-yi-ming-249257","景泰款掐丝珐琅二龙戏珠纹盘","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。",[162,189,202,263,60,300,7,27,301,112],"二龙戏珠","掐丝工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe07f3546d7a7579ecb3aab5f1d38caf2.jpg",[],{"id":305,"slug":306,"title":307,"dynasty":78,"author":19,"museum":20,"description":199,"tags":308,"thumbUrl":310,"material":31,"size":32,"collection":33,"collections":311,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":115},249241,"qia-si-fa-lang-chan-zhi-lian-wen-tuo-yuan-shou-zu-er-lu-yi-ming-249241","掐丝珐琅缠枝莲纹椭圆兽足耳炉",[201,202,242,7,309,189,25,68],"兽耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f19adfb7a6ef1541f17a06859810876.jpg",[],{"id":313,"slug":314,"title":315,"dynasty":78,"author":19,"museum":20,"description":199,"tags":316,"thumbUrl":319,"material":31,"size":32,"collection":33,"collections":320,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},249129,"qia-si-fa-lang-gou-lian-shuang-feng-wen-shuang-er-san-zu-gai-lu-yi-ming-249129","掐丝珐琅勾莲双凤纹双耳三足盖炉",[202,189,68,317,318,29,165,7],"勾莲","凤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5e40a701664400987f380e4c2d70ff3.jpg",[],{"id":322,"slug":323,"title":324,"dynasty":159,"author":19,"museum":20,"description":325,"tags":326,"thumbUrl":328,"material":31,"size":32,"collection":33,"collections":329,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},249055,"qia-si-fa-lang-gou-lian-wen-chi-er-shou-zu-xi-yi-ming-249055","掐丝珐琅勾莲纹螭耳兽足洗","此器胎质厚重沉稳，鎏金螭龙双耳探首衔沿，身形蜿蜒矫健，线条灵动张扬，尽显瑞兽雄姿。\n\n以天蓝珐琅为地，外壁与内底掐丝勾勒缠枝莲纹，红白釉色的莲花错落盛放，填釉匀净饱满，釉色莹润鲜亮，缠枝卷叶婉转柔媚，繁而不紊，清丽雅致。下承鎏金兽足底座，瑞兽伏地承托，敦实厚重，鎏金凝润沉穆，光泽华贵内敛。\n\n刚劲金工与柔润釉色相映，装饰意趣与古朴庄重兼具，尽显古雅雍容的宫廷气度。",[162,202,214,68,46,204,327,234,27,7],"螭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc216ce718a9b6c5409daaf2db9a2cec3.jpg",[],{"id":331,"slug":332,"title":333,"dynasty":159,"author":19,"museum":20,"description":334,"tags":335,"thumbUrl":339,"material":31,"size":32,"collection":33,"collections":340,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":115},249033,"qia-si-fa-lang-chan-zhi-lian-wen-gu-shi-lu-yi-ming-249033","掐丝珐琅缠枝莲纹鼓式炉","鼓形器身雅致端庄，鎏金象首衔环为耳，下承三兽足，线条圆润又带着华贵威仪。松石蓝釉铺作地色，缠枝莲蜿蜒缠绕，各色釉料填饰饱满鲜亮，黄红白诸色宝相花错落其间，妍丽生动。掐丝走线流畅利落，金线勾出纹饰筋骨，将缠枝俯仰之姿勾勒精妙。釉色莹润明净，与鎏金的亮泽相映成趣，既有佛禅清寂意蕴，又尽显宫廷手作的雍容精细，将传统珐琅工艺的精巧雅致诠释尽致，古雅沉静中尽显旧时造物之美。",[162,202,223,336,242,337,7,338,189,68],"鎏金","兽首耳","鼓式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F933a5340d71464e4c97adb16ac37363c.jpg",[],{"id":342,"slug":343,"title":344,"dynasty":78,"author":19,"museum":20,"description":270,"tags":345,"thumbUrl":349,"material":31,"size":32,"collection":33,"collections":350,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":194},248720,"ti-hong-jin-wen-yu-ding-lu-yi-ming-248720","剔红锦纹玉顶炉",[78,346,347,26,273,203,348,7,165,68],"漆器","剔红","锦纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b2a4aae1c73081a2783af2a9b84a208.jpg",[],{"id":352,"slug":353,"title":354,"dynasty":78,"author":19,"museum":20,"description":355,"tags":356,"thumbUrl":361,"material":31,"size":32,"collection":33,"collections":362,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},245876,"yin-huo-wan-yi-ming-245876","银火碗","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。",[357,28,201,26,7,165,358,359,360,98],"银器","带盖","底座","金属工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f88c6d479c6d89e711a722fb879d6dc.jpg",[],{"id":364,"slug":365,"title":366,"dynasty":367,"author":19,"museum":20,"description":368,"tags":369,"thumbUrl":372,"material":31,"size":32,"collection":33,"collections":373,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":115},245126,"xiang-tong-yi-ming-245126","香筒","宋","器身高挑秀挺，筒身以界栏分割纹饰，上下錾刻游龙穿云，龙姿矫健灵动，云气迤逦缠绕，尽显腾跃之态。筒壁两侧设衔环兽耳，古拙沉稳，带着岁月浸润的厚重质感。下承四兽足，兽首昂然、卷足灵动，托举筒身更显挺拔俊逸。座架镂空雕花，线条婉转柔媚，座面边角回纹铺陈，添古朴雅韵。\n\n整体包浆厚重莹润，铜色凝着沉穆幽光，将精工雅致与庄重大气融为一体，静立间尽显古雅肃穆的东方意韵，藏着旧时造物的审美意趣。",[24,25,26,112,7,359,370,371],"宋代风格","筒形器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40d5e19b584df4cadec9f6790db1adee.jpg",[],{"id":375,"slug":376,"title":377,"dynasty":78,"author":19,"museum":20,"description":378,"tags":379,"thumbUrl":381,"material":31,"size":32,"collection":33,"collections":382,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},243178,"shou-mian-wen-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