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。亦工鸟兽、花卉。\n早年画学戴进，临摹能肖其神，画法工细。至南京后，又宗法吴伟，变为粗笔写意。他善画人物，多绘神仙、士子、渔夫，形象质朴，神态清朗，具高昂向上的气质。景致简略，笔墨遒劲，风格豪放，然少秀逸和蕴藉之致；为浙派健将，亦开后来学者粗率之风。他具有典型风貌的水墨写意作品较多，人物多用顿折的重墨线条勾勒，山石以粗犷的笔触作大斧劈皴，运笔迅捷，水墨淋漓，具有豪放动荡的气势。亦能画写意花鸟。",[23,24,25,90,91,27,92,93,7],"册","白描","人物","龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa805c57f3b0210527082f5f804d7c219.jpg",[],20,1,{"id":99,"slug":100,"title":101,"dynasty":85,"author":102,"museum":43,"description":103,"tags":104,"thumbUrl":110,"material":56,"size":57,"collection":58,"collections":111,"showCount":112,"zanCount":11,"manualWeight":11,"mainColor":80},228904,"zhong-li-quan-du-hai-tu-zhao-qi-228904","钟离权渡海图","赵淇","此图绘八仙之一的汉钟离渡海故事。钟离权复姓钟离，汉代大将军，后得道成仙。故称“汉钟离”。此作人物的设色用笔与海水水纹的描绘俱与藏于中国美术馆的明代刘俊绘刘海渡海图相近。但克利夫兰美术馆馆方定其是赵淇所画，或有所据。",[23,24,25,26,73,72,92,105,106,107,108,7,109],"宗教","服饰","葫芦","云纹","赤足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dead76f2e44619e34dd4602aa949ed4.jpg",[],9,{"id":114,"slug":115,"title":116,"dynasty":18,"author":42,"museum":43,"description":117,"tags":118,"thumbUrl":124,"material":56,"size":57,"collection":58,"collections":125,"showCount":126,"zanCount":11,"manualWeight":11,"mainColor":80},264282,"jiang-se-ke-si-you-shui-tuan-he-lu-hua-hui-wen-pao-liao-yi-ming-264282","绛色缂丝有水团鹤鹿花卉纹袍料","缂（kè，同：刻）丝（英文：K’o-ssu 、Kesi 或 Chinese silk tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[119,120,48,121,122,123,7],"缂丝","衣帽","鹤","鹿","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fa73adec5efafbfd944f0758729b931.jpg",[],6,{"id":128,"slug":129,"title":130,"dynasty":131,"author":42,"museum":43,"description":132,"tags":133,"thumbUrl":142,"material":56,"size":57,"collection":58,"collections":143,"showCount":144,"zanCount":11,"manualWeight":11,"mainColor":80},230542,"shi-ting-shi-dai-ri-yue-shan-shui-tu-ping-feng-ri-ping-yi-ming-230542","室町时代 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态，奇石云烟之气，展册淋漓，宛然在目。盖淡淡浓浓，篇篇神采；疏疏密密，幅幅乱真，诚画苑之白眉，绘林之赤帜也。然王宰之画妙出毫锥，胡君之画妙出梨枣，是磅礴之心，较王宰更难；而成功之捷，较王宰更简更易，岂不尤奇哉！余故喜而叙之，愿与好事者同赏，仍俟具眼者定价焉。时癸酉年中秋前二日，醒天居士书于十竹斋。”\n《十竹斋书画谱》“绘刻精而奇，谱则巧而该”，在画谱刊行后不久就引起广泛的注意，开始有人仿刻了，以至胡氏声明道“原板珍藏，素遐真赏，近有效颦，恐混鱼目，善价沽者，勿虚藻鉴。”历代重印、翻刻者达二十余种。清代李渔等人辑印的《芥子园画传》也是在它的启发下产生的。",[24,25,90,197,73,27,198,199,7],"木刻","兽","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5217130de18befad77650e80b0bccf6b.jpg",[],{"id":203,"slug":204,"title":205,"dynasty":18,"author":42,"museum":43,"description":206,"tags":207,"thumbUrl":212,"material":56,"size":57,"collection":58,"collections":213,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},273810,"wu-cai-yun-long-wen-yuan-la-yi-ming-273810","五彩云龙纹圆蜡","动物、植物所产生的，或石油、煤、油页岩中所含的油质，常温下多为固体，具有可塑性，能燃烧，易熔化，不溶于水，如蜂蜡、白蜡、石蜡等。用作防水剂，也可做蜡烛。\n过年之际，华灯齐放，皇宫还会点燃造型纹饰考究的花烛，有的是云纹的，有的是大吉葫芦的，有的饰有文字，如“五谷丰登迎祥”“宜入天下太平”，连这样的消耗品也契合年味。",[208,93,108,7,209,73,210,211],"器","雕刻","彩绘","木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd615706a5c4bfb121d6449c2b6b0d221.jpg",[],{"id":215,"slug":216,"title":217,"dynasty":18,"author":42,"museum":43,"description":218,"tags":219,"thumbUrl":225,"material":56,"size":57,"collection":58,"collections":226,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":80},271910,"duan-shi-tai-ping-you-xiang-ping-chi-chang-fang-yan-yi-ming-271910","端石太平有象瓶池长方砚","砚台历经秦汉、魏晋，至唐代起，各地相继发现适合制砚的石料，开始以石为主的砚台制作。其中采用甘肃岷县的洮河石、广东端州的端石、安徽歙州的歙石制作的砚台，被分别称作洮砚、端砚、歙砚。史书将洮、端、歙称作三大名砚。清末，又将河南洛阳的澄泥砚与洮、端、歙，并列为中国四大名砚。也有人主张，以天然砚石雕制的鲁砚中的红丝石砚代替澄泥砚，合称四大名砚。\n谈起砚的种类有许多种，从砚的材质可分为：玉砚、银砚、铜砚、铁砚、陶砚、瓷砚、石砚、漆砚等，其中石砚是最为普遍，也最实用的一种砚。砚台起源于新石器时代。最早的砚是半坡村遗址出土的研磨颜料的研磨器，在1980年，大陆考古学家曾在陕西省临潼县姜寨一处原始社会的遗址中，发现了一套原始人用以陶器彩绘的工具，其中有一方石砚，砚有盖，砚面微凹，凹处并有一根石质磨杵，砚旁留存数块黑色颜料。很显然，这是先民们借助磨杵研磨颜料的早期砚的形制。由于这处遗址归属于母系氏族时期的仰韶文化，故这方砚台的实际寿龄已超过了五千年了。\n清代端石砚要求因材施艺，因石构图，在题材、立意、构图、造型、利用何种雕法都要精心推敲，刻划得当。保持了端砚的古雅、朴实，古色古香、形态自然的特点。如北京故宫收藏的「端石双龙砚」、「猫蝶砚」是端砚中的佳品。",[220,221,209,211,222,223,224,7],"砚","端石","文房用具","楼阁","明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b90b3ba1fcfec4848b26453483d7d1d.jpg",[],{"id":228,"slug":229,"title":230,"dynasty":18,"author":42,"museum":43,"description":231,"tags":232,"thumbUrl":234,"material":56,"size":57,"collection":58,"collections":235,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":80},268196,"ming-huang-se-chou-xiu-cai-yun-jin-long-wen-long-pao-chai-pian-yi-ming-268196","明黄色绸绣彩云金龙纹龙袍拆片","绸缎，泛指丝织物。古时多是有钱人家作为衣物，其颜色光滑亮丽，五彩缤纷。《儿女英雄传》第二回：“大凡到工的官儿们送礼，谁不是缂绣、呢羽、绸缎、皮张，还有玉玩、金器、朝珠、洋表的？” 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。”",[120,48,152,93,233,7],"彩云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22397efdb16212a8fd787856065f1269.jpg",[],{"id":237,"slug":238,"title":239,"dynasty":18,"author":42,"museum":43,"description":240,"tags":241,"thumbUrl":247,"material":56,"size":57,"collection":58,"collections":248,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":80},268192,"lan-se-shui-wen-an-hua-duan-xiang-diao-pi-bian-pi-pa-jin-jia-kan-jian-yi-ming-268192","蓝色水纹暗花缎镶貂皮边琵琶襟夹坎肩","这件坎肩以蓝色水纹暗缎为底，沉静雅致的暗花若隐若现，晕染出柔润的水意。琵琶襟形制温婉复古，周身镶饰貂皮滚边，于雅致中添华贵暖意，兼顾美观与冬日御寒之用。\n\n黑缎镶边之上，蓝绿缠枝绣线细腻盘绕，针脚匀整精巧，撞色搭配和谐亮眼，勾勒出层次分明的装饰边界，灵动纹样为素净衣身晕开鲜活生机。整体剪裁贴合身形，将实用性与装饰性完美融合，尽显清代服饰制作的精巧匠心，是传统服饰审美意趣的绝佳体现。",[120,242,243,48,244,245,246,7],"坎肩","琵琶襟","貂皮","暗花缎","镶边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3def9abe546c7bc121933d93b02aa56.jpg",[],{"id":250,"slug":251,"title":252,"dynasty":18,"author":42,"museum":43,"description":117,"tags":253,"thumbUrl":255,"material":56,"size":57,"collection":58,"collections":256,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},266617,"ming-huang-se-ke-si-cai-yun-shui-lan-long-wen-nv-long-pao-chai-pian-yi-ming-266617","明黄色缂丝彩云水蓝龙纹女龙袍拆片",[120,48,119,93,233,7,254],"龙袍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cbe1e3d00bbf92c475016942499ffdf.jpg",[],{"id":258,"slug":259,"title":260,"dynasty":18,"author":42,"museum":43,"description":261,"tags":262,"thumbUrl":265,"material":56,"size":57,"collection":58,"collections":266,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},265807,"xing-huang-se-ke-si-cai-yun-fu-lan-long-wen-nan-mian-mang-pao-yi-ming-265807","杏黄色缂丝彩云蝠蓝龙纹男棉蟒袍","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。",[120,48,119,263,93,264,233,7],"蟒袍","蝙蝠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d337df0bb0c954a9805c5dadc2fe566.jpg",[],{"id":268,"slug":269,"title":270,"dynasty":18,"author":42,"museum":43,"description":261,"tags":271,"thumbUrl":273,"material":56,"size":57,"collection":58,"collections":274,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},265756,"ming-huang-se-ke-si-cai-yun-fu-shou-lan-long-wen-nan-mian-long-pao-yi-ming-265756","明黄色缂丝彩云蝠寿蓝龙纹男棉龙袍",[120,254,119,48,93,108,264,272,7],"寿纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05d93256ce677ff2cc073b2830433527.jpg",[],{"id":276,"slug":277,"title":278,"dynasty":18,"author":42,"museum":43,"description":279,"tags":280,"thumbUrl":285,"material":56,"size":57,"collection":58,"collections":286,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":80},264841,"li-shui-duan-di-zhi-jin-zhu-mei-wen-tao-yi-ming-264841","立水缎地织金竹梅纹绦","经线提花锦的组织结构和纹样都十分复杂，舞人动物纹锦的纹样横贯全幅，充分反映了当时已有了先进的提花织造技术。精美的刺绣品共有17种纹样，构图大，讲究对称、平衡，色彩配合恰当，给人以端庄典雅、富丽堂皇的美感。纹样内容充满神话色彩，鲜明地反映了楚文化的浪漫主义特色。墓中出土的衣袍为直据，是当时贵族中最流行的一种服式。这批先秦织物的出土，为深入研究我国古代纺织史提供了珍贵的实物资料。",[48,281,282,283,284,7],"饰品","竹","梅","织金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd495fc2fd4719b3b7cc8f5d7adc981a.jpg",[],{"id":288,"slug":289,"title":290,"dynasty":18,"author":42,"museum":43,"description":291,"tags":292,"thumbUrl":297,"material":56,"size":57,"collection":58,"collections":298,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":80},263968,"zi-se-di-tao-xing-gou-lian-shui-wen-hui-hui-zhi-jin-jin-yi-ming-263968","紫色地桃形勾莲水纹回回织金锦","《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》。",[48,293,294,295,7,296],"织金锦","桃纹","勾莲纹","紫色底","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fda1af7a017118ed957ea654fcdf82d.jpg",[],{"id":300,"slug":301,"title":302,"dynasty":18,"author":42,"museum":43,"description":303,"tags":304,"thumbUrl":307,"material":56,"size":57,"collection":58,"collections":308,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":80},262291,"cheng-hua-kuan-dou-cai-yun-he-wen-xiao-bei-yi-ming-262291","成化款斗彩云鹤纹小杯","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。",[184,305,306,121,138,7],"饮酒器","斗彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bd184611597d03231e4d1358e9f9776.jpg",[],{"id":310,"slug":311,"title":312,"dynasty":18,"author":42,"museum":43,"description":313,"tags":314,"thumbUrl":317,"material":56,"size":57,"collection":58,"collections":318,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":80},251437,"qing-yu-shui-wen-zuo-yu-yi-ming-251437","青玉水纹座鱼","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。",[315,209,316,7,208],"玉石","鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f5ed63c05f3d752d058984d620df458.jpg",[],{"id":320,"slug":321,"title":322,"dynasty":18,"author":42,"museum":43,"description":323,"tags":324,"thumbUrl":328,"material":56,"size":57,"collection":58,"collections":329,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},247548,"ti-hong-shan-shui-ren-wu-tu-shui-wen-bian-mei-hua-shi-he-yi-ming-247548","剔红山水人物图水纹边梅花式盒","清代文物。旧时用于存放食物或饰品之用,根据材质价值不同。清宫旧藏",[325,209,326,136,92,7,327,208],"漆器","剔红","梅花式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1ce350e8eb7fe2d4d2e4590b753fca0.jpg",[],{"id":331,"slug":332,"title":322,"dynasty":18,"author":42,"museum":43,"description":323,"tags":333,"thumbUrl":334,"material":56,"size":57,"collection":58,"collections":335,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},247547,"ti-hong-shan-shui-ren-wu-tu-shui-wen-bian-mei-hua-shi-he-yi-ming-247547",[18,325,326,209,327,136,92,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F370db90da6769cbd2c7461834202234b.jpg",[],{"id":337,"slug":338,"title":193,"dynasty":85,"author":194,"museum":43,"description":195,"tags":339,"thumbUrl":341,"material":58,"size":58,"collection":58,"collections":342,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},233502,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233502",[340,24,25,90,197,73,93,7],"名画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6c6bbc224f11b3d95e9f63bb998902e.jpg",[],1777535716967]