[{"data":1,"prerenderedAt":1006},["ShallowReactive",2],{"subject-su-mian":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},4240,"su-mian","素面","素面画高清赏析","精选中国历代素面题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febb5110595fe306da4f2e18a8d258ad7.jpg",0,116,[14,33,47,61,70,83,99,111,120,129,139,147,156,166,175,184,191,198,206,214,222,231,242,252,259,267,274,283,289,300,308,314,322,329,337,344,354,367,376,390,399,406,413,426,435,445,454,461,470,480,488,497,506,513,520,529,536,546,555,563,571,578,584,592,600,606,615,623,631,641,649,656,663,671,679,687,695,703,710,717,724,732,739,745,754,762,769,776,783,789,799,807,814,822,831,837,843,850,859,866,873,884,891,898,908,916,923,931,939,947,956,964,970,978,985,996],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":26,"material":27,"size":28,"collection":29,"collections":30,"showCount":31,"zanCount":11,"manualWeight":11,"mainColor":32},226719,"su-xi-bi-yi-ming-226719","素系璧","新石器时代","佚名","藏地不详","青玉，灰脂色，滿布深淺不一的褐絲紋，半透明。全器為一單面鑽孔所剩下的鑽心所作成，外緣斜壁有多個磨面和磨稜；中孔單面桯鑽，方向與原器之鑽孔方向相反，孔壁亦斜而有旋轉紋，上口大，底口小而留有毛邊。表面光素溫潤。可能係用製作大璧中孔所剩之圓片加工而成。",[23,24,25,7,18],"玉石","器","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbff59e66b31215d293507e01c23b9f35.jpg","未知","Xcm*Xcm","",[],36,"37474F",{"id":34,"slug":35,"title":36,"dynasty":37,"author":19,"museum":20,"description":38,"tags":39,"thumbUrl":10,"material":27,"size":28,"collection":29,"collections":45,"showCount":46,"zanCount":11,"manualWeight":11,"mainColor":32},223814,"tong-su-zhi-yi-ming-223814","铜素觯","周","古代饮酒器。器形象尊而小，圆腹、侈口、圈足，大多数有盖。",[40,41,42,43,7,44],"周代","青铜器","铜制","饮酒器","礼器",[],18,{"id":48,"slug":49,"title":50,"dynasty":51,"author":19,"museum":20,"description":52,"tags":53,"thumbUrl":57,"material":27,"size":28,"collection":29,"collections":58,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":60},227030,"su-zeng-yi-ming-227030","素甑","汉","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。",[41,54,55,7,42,56],"汉代","饪食器","铸造","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ec2e540e7d1212ac1f0a6427337b6d3.jpg",[],5,"F48FB1",{"id":62,"slug":63,"title":64,"dynasty":37,"author":19,"museum":20,"description":65,"tags":66,"thumbUrl":67,"material":27,"size":28,"collection":29,"collections":68,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":69},224061,"xi-su-tong-zhi-yi-ming-224061","西素铜觯","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。",[41,42,43,7,40,44,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef3c1bdce8184d776026b853eefe5126.jpg",[],"795548",{"id":71,"slug":72,"title":73,"dynasty":74,"author":19,"museum":20,"description":75,"tags":76,"thumbUrl":80,"material":27,"size":28,"collection":29,"collections":81,"showCount":82,"zanCount":11,"manualWeight":11,"mainColor":69},270079,"qian-long-kuan-lan-se-bo-li-guang-su-zhi-kou-ping-yi-ming-270079","乾隆款蓝色玻璃光素直口瓶","清","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[77,78,7,79,24],"玻璃器","直口瓶","蓝色玻璃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F016294a6073b6ea0f7b6a2239ee1aa78.jpg",[],4,{"id":84,"slug":85,"title":86,"dynasty":87,"author":19,"museum":20,"description":88,"tags":89,"thumbUrl":95,"material":27,"size":28,"collection":96,"collections":97,"showCount":98,"zanCount":11,"manualWeight":11,"mainColor":69},257003,"ru-yao-tian-qing-you-xi-yi-ming-257003","汝窑天青釉洗","宋","汝窑，宋代五大名窑之一，因窑址位于宋时河南汝州境内而得名，今河南省宝丰县大营镇清凉寺村和汝州市张公巷均发现汝窑烧造。汝瓷位居宋代“汝、官、哥、钧、定”五大名窑之首，在中国陶瓷史上素有“汝窑为魁”之称。汝窑是中华传统制瓷著名瓷种之一，中国北宋、南宋、明朝时期皇家主要代表瓷器。\n汝瓷造型古朴大方，以名贵玛瑙为釉，色泽独特，有“玛瑙为釉古相传”的赞誉。随光变幻，观其釉色，犹如“雨过天晴云破处”，“千峰碧波翠色来”之美妙，土质细润，坯体如侗体其釉厚而声如磬，明亮而不刺目。器表呈蝉翼纹细小开片，有“梨皮、蟹爪、芝麻花”之特点，被世人称为“似玉、非玉、而胜玉”。宋、元、明、清以来，宫廷汝瓷用器，内库所藏，视若珍宝、可与商彝周鼎比贵。\n1952年，周恩来总理指示“发展祖国文化遗产、恢复汝窑生产”。经过上百次实验和研究，1958年烧制出第一批豆绿釉工艺品，1983年8月汝窑天蓝釉经过专家鉴定，均达到明代汝窑水平。从此，汝瓷成了汝州市人的一张名片。\n汝窑天青釉弦纹樽 ，此樽仿汉代铜樽造型，器形规整，仿古逼真，釉色莹润光洁，浓淡对比自然。\n瓷樽始于宋，汝窑、定窑、龙泉窑均有烧造，是陈设用品。所见传世宋代汝窑天青釉弦纹樽只有两件，除故宫博物院收藏的这件以外，英国伦敦大维德基金会亦收藏一件。\n汝窑烧制的汝瓷因为其绝妙的色泽、独特艺术价值，深得帝王欢心，有“宋瓷之冠”的美誉。汝窑又与同期官窑（河南开封）、哥窑（浙江龙泉）、钧窑（河南禹县）、定窑（河北曲阳）合称“宋代五大名窑”，位居五大名窑之首。\n汝窑以传承艺术为己任，采用传统手工制作陶瓷方法，制作一个陶瓷的工序高达十三道，包括淘泥、摞泥、拉坯、印坯、修坯、捺水、画坯、上釉、烧窑、成瓷、成瓷缺陷的修补，做工精细，设计唯美、承艺汝瓷以“釉色层”领先，器型古朴典雅得当，光润有度，由于汝瓷釉层厚，常有开片如鱼鳞、蝉翼状，久用之后茶色会着附于裂纹处，形成不规则的变换交错的花纹，故而手感润滑如脂，似玉非玉之美。\n宋人欧阳修在《归田集》中对汝窑的论述：汝窑瓷真正最美的就是釉，不是天青色，而是粉翠，也就是今所说的翠青色。而汝瓷真正的瓷色是半瓷化作的，玻化不明显，器身不透光亮，因此不排除后人把珍品当作“陶”而丢弃，故存世甚稀。而《清波杂志》里宋人周辉对汝窑的精述，汝瓷以釉取胜，当代青瓷不能同比，真品釉色青中泛滥、纯净、温润，釉面隐现出一种柔和含蓄的光泽，它既不同钧瓷的乳光，也不同哥窑的脂光，而是一种类似古玉般内蕴的光泽。当时汝瓷是唯供御拣退方许出卖，近尤难得。现从文献可知，汝瓷也可民用，绝非“严禁民用”之说。对自藏汝窑瓷及由此对整个汝窑作较全面简述的则是明代学者高濂的《燕闲清赏笺》中提及，“汝窑，余尝见之，实为玛瑙末入釉，汁水莹厚如堆脂，然汁中棕眼隐若蟹爪，其釉色有天青、粉青，还有葱绿和天蓝等。粉青为上，天蓝弥足珍贵。有"雨过天晴云破处"之称誉，釉面可视碧玉，也不为过。所有历代青瓷应以汝窑为冠。”",[90,91,92,93,94,7],"宋代","陶瓷","天青釉","开片","文房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb467e34fa7fe455aebc3a65d301679ca.jpg","瓷器精选",[96],3,{"id":100,"slug":101,"title":102,"dynasty":103,"author":19,"museum":20,"description":104,"tags":105,"thumbUrl":108,"material":27,"size":28,"collection":96,"collections":109,"showCount":98,"zanCount":11,"manualWeight":11,"mainColor":110},256806,"xing-yao-bai-you-guan-yi-ming-256806","邢窑白釉罐","唐","邢窑，是一处隋朝－五代时期的窑场，现存遗址位于河北省邢台市辖内丘、临城两县境内的太行山东麓丘陵和平原地带。据考证，邢窑始烧于北朝，衰于五代，终于元代，唐代时为制瓷业七大名窑之一，也是我国北方最早烧制白瓷的窑场。\n邢窑开创的独特制瓷工艺和先进的烧造技术，同样是我国陶瓷史上的重要里程碑。唐人李肇在《国史补》里写道："内丘白瓷瓯、端溪紫石砚，天下无贵贱通用之"。\n邢窑白瓷产品的出现，改变了中国一向以青瓷为主的局面，结束了自魏晋以来青瓷一统天下的局面，到了唐代，形成规模，使得邢窑与越窑平分秋色，形成了南青北白、相互争妍的两大体系，为唐以后白瓷的崛起和彩瓷的发展奠定了基础。唐三彩的出土使邢窑遗址成为中国第三处烧制唐三彩的窑址，具有重大的保护价值和学术、科研价值。\n白瓷的发展起步较迟，而邢窑白瓷到唐朝中期已非常流行。唐墓出土的白瓷碗，胎土白洁，细如澄泥，釉色明净，据此可以证明邢窑白瓷同样是瓷器中之上品。唐代白瓷除邢窑外其他产地之白瓷质地制工也较优良，江西州窑也是当时白瓷的中心。唐三彩一般为黄、绿、白（蓝），其发展是从汉代单色釉（绿）到北朝的黄釉绿色再到唐三彩。三彩釉陶是一种低温铅釉的彩陶器，色彩绚丽，造型生动，在唐代釉瓷中是一个很特别的品种，俗称“唐三彩”。三彩陶器巧妙利用了釉色的变化达到富丽华美的装饰效果。色釉中蓝彩较罕见。唐三彩的烘造地点主要在长安及洛阳两地，唐三彩造型丰富多彩；有生动传神感人的人物偏和动物偏，还有房屋用器的模型。\n邢窑瓷器的釉色有白、青、黑和褐黄等多种。邢窑白瓷按其胎、釉的质地，可以分为粗、细两大类。\n粗白瓷:\n白瓷的胎质又有粗、细之分，粗胎的一类胎色灰白，胎质粗糙；细胎的一类胎体致密，胎色较淡，但仍不够白，往往施一层白色化妆土。\n粗白瓷的釉质较细，有些还有细碎的纹片，釉色为灰白或乳白色，还有黄白色。\n粗白瓷产量大，生产过程中，不管是捏练还是陈腐都不够充分，白中常泛黄，到五代时部分产品的工艺水平有所提高，胎体中少有气孔夹砂现象，烧不熟的现象已基本克服，渐趋细腻。\n细白瓷:\n细白瓷的胎色纯白，个别的白中闪黄釉质很细，釉层中有微细的小棕眼，器物多施满釉，釉色纯白或白中微泛青色。白釉又有粗细之分，以粗者居多，细者占少数。\n细白瓷在加工工艺上，每个步骤都很讲究，烧成后白度很高。邢窑的精细白瓷，选用优质瓷土烧成，胎质坚实细腻，胎色洁白如雪，釉质莹润，有的薄如蛋壳，透明性能很好。一般器物纯白光亮，有些则白中微微泛青。\n邢窑是镁釉，高温下黏度大，釉面易光滑平整，光泽度好，但釉色有乳浊感，不透明，釉色稳定，多呈白色或白中泛青的色调。这就使乳浊釉对胎体有良好的遮盖性，器物施釉到底，质优者足心也施釉。而当时的定窑产品釉料配置不稳定，就釉而言也分粗细两种，都不够光洁，光泽度差。",[106,91,107,7,24],"唐代","白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4faacf7524551e190d021f08076a7260.jpg",[96],"BDBDBD",{"id":112,"slug":113,"title":114,"dynasty":115,"author":19,"museum":20,"description":65,"tags":116,"thumbUrl":118,"material":27,"size":28,"collection":29,"collections":119,"showCount":98,"zanCount":11,"manualWeight":11,"mainColor":69},244866,"su-zun-yi-ming-244866","素尊","商",[41,44,43,7,117],"商代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8b35a948c7cdef4f5a12f7b4235c8b2.jpg",[],{"id":121,"slug":122,"title":123,"dynasty":103,"author":19,"museum":20,"description":124,"tags":125,"thumbUrl":127,"material":27,"size":28,"collection":29,"collections":128,"showCount":98,"zanCount":11,"manualWeight":11,"mainColor":32},244152,"su-xi-yi-ming-244152","素洗","它取浅腹敞口的简洁形制，不施纹饰，尽显朴拙内敛的气度。青蓝与赭黄交织的斑驳铜锈顺着器身铺展，是时光沉淀出的天然肌理，带着千百年岁月摩挲的温润质感。\n\n没有繁缛装饰，仅以素净造型诠释器物本真之美，将实用器具的从容雅致尽数展现。沉静的器身晕染着光阴的痕迹，每一处锈蚀都是时光镌刻的印记，静静诉说着岁月流转，把日常器具的质朴升华为跨越千年的沉静风华。",[106,41,42,126,7],"日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc99c3855154c421b0a12e78076eb87fa.jpg",[],{"id":130,"slug":131,"title":132,"dynasty":74,"author":19,"museum":20,"description":133,"tags":134,"thumbUrl":137,"material":27,"size":28,"collection":29,"collections":138,"showCount":98,"zanCount":11,"manualWeight":11,"mainColor":110},243114,"su-hu-yi-ming-243114","素壶","此壶造型洗练柔和，束颈从容收窄，鼓腹饱满圆润，下承圈足安稳沉静，线条流转间尽显含蓄雅致的气度。深沉古铜底色之上，晕染开斑驳朱红锈迹，似岁月晕开的朱砂墨迹，为素净器身晕开暖意。\n\n不着分毫纹饰，以纯粹形制诠释大道至简的东方哲思，将日常器物凝练成审美载体，于朴素沉静里，藏着旧时光里温婉内敛的中式雅致，静默沉淀着时光的温度。",[135,42,136,7],"清代","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c210c245de5d72e690ea690bffc134a.jpg",[],{"id":140,"slug":141,"title":142,"dynasty":51,"author":19,"museum":20,"description":52,"tags":143,"thumbUrl":145,"material":27,"size":28,"collection":29,"collections":146,"showCount":98,"zanCount":11,"manualWeight":11,"mainColor":69},227031,"su-mou-yi-ming-227031","素鍪",[54,41,42,7,144,55,136],"双耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c1edceb95b02f9b957294a2aee2e08d.jpg",[],{"id":148,"slug":149,"title":150,"dynasty":51,"author":19,"museum":20,"description":52,"tags":151,"thumbUrl":154,"material":27,"size":28,"collection":29,"collections":155,"showCount":98,"zanCount":11,"manualWeight":11,"mainColor":69},227021,"qu-jing-suan-tou-hu-yi-ming-227021","曲颈蒜头壶",[41,152,42,153,7],"蒜头壶","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf1cc6a75358e175e5f08fd577df3d09.jpg",[],{"id":157,"slug":158,"title":159,"dynasty":74,"author":19,"museum":20,"description":160,"tags":161,"thumbUrl":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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。",[77,153,7,441,442],"琥珀色","盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc476d03fad52f3f706a712321d02271f.jpg",[],{"id":446,"slug":447,"title":448,"dynasty":74,"author":19,"museum":20,"description":179,"tags":449,"thumbUrl":452,"material":27,"size":28,"collection":29,"collections":453,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":69},270408,"tong-zhi-kuan-lv-se-bo-li-guang-su-qian-wan-yi-ming-270408","同治款绿色玻璃光素浅碗",[77,450,7,451,153,55],"碗","绿色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F533751637bcd857d7cef725ab5dac3f2.jpg",[],{"id":455,"slug":456,"title":457,"dynasty":74,"author":19,"museum":20,"description":179,"tags":458,"thumbUrl":459,"material":27,"size":28,"collection":29,"collections":460,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":69},270080,"qian-long-kuan-huang-se-bo-li-guang-su-wan-yi-ming-270080","乾隆款黄色玻璃光素碗",[77,153,7,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F986f9b8eb79219ce598a4da2a357b83b.jpg",[],{"id":462,"slug":463,"title":464,"dynasty":74,"author":19,"museum":20,"description":75,"tags":465,"thumbUrl":468,"material":27,"size":28,"collection":29,"collections":469,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":69},270078,"qian-long-kuan-huang-se-bo-li-guang-su-zhi-kou-ping-yi-ming-270078","乾隆款黄色玻璃光素直口瓶",[77,466,7,467],"瓶","黄色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a2252c20a029ef502a1e3b665b6380c.jpg",[],{"id":471,"slug":472,"title":473,"dynasty":74,"author":19,"museum":20,"description":474,"tags":475,"thumbUrl":478,"material":27,"size":28,"collection":29,"collections":479,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":110},267846,"huang-se-su-pu-lu-yi-ming-267846","黄色素氆氇","沉稳姜黄的底色素净无饰，带着手工织造的原生肌理，经纬交织间尽显质朴温厚。岁月晕染让边缘微微毛躁，带着时光摩挲过的痕迹。没有繁复纹样的雕琢，仅凭面料本身的质感，承载着旧时日常的烟火暖意，将平实的过往藏进织物纹理之中，静诉旧时光里的恬淡质感。",[476,477,7,467],"布料","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0cfa696111a3df81640fff161873ef8.jpg",[],{"id":481,"slug":482,"title":483,"dynasty":74,"author":19,"museum":20,"description":484,"tags":485,"thumbUrl":486,"material":27,"size":28,"collection":29,"collections":487,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":110},267729,"lan-se-su-jiang-chou-yi-ming-267729","蓝色素江绸","这款织物以沉静靛蓝铺陈，匀净饱和的色泽历经年岁依旧鲜亮，足见染造工艺的精湛独到。细密规整的竖向织纹沿着经纬舒展，带着手工织造独有的温润呼吸感，经纬交织紧实匀整，将手作温度凝于方寸织物间。\n\n通体素净无饰，以纯粹的色彩与肌理诠释东方极简意趣，克制内敛却满含雅致韵味，将旧时造物的沉静审美藏于经纬之中，尽显传统织造工艺质朴动人的匠心底色。",[476,249,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a5ca6c83759ed14b4993443d3f82d02.jpg",[],{"id":489,"slug":490,"title":491,"dynasty":74,"author":19,"museum":20,"description":492,"tags":493,"thumbUrl":495,"material":27,"size":28,"collection":29,"collections":496,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":110},266515,"lan-se-su-jiang-chou-tian-ma-pi-xiao-ao-yi-ming-266515","蓝色素江绸天马皮小袄","这件小袄以素色江绸为衣身，澄澈湖蓝自带沉静雅致的气韵，不着繁复纹饰，将面料的细腻柔光尽数展现。领口镶嵌莹白天马皮，暖调毛绒中和了冷调底色，碰撞出温柔又鲜明的视觉层次。\n\n偏襟与衣摆侧边的玄色盘扣如墨星点缀，既固定衣物又勾勒出利落线条，肩部拼接的黑布让整体版型更显挺括舒展。它将冬日御寒的实用性与极简审美相融，以克制配色与精巧细节，诠释出含蓄内敛的中式美学意趣，尽显传统服饰工艺的细腻心思。",[477,476,494,7,249],"皮袄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d6abfb73fadc747f1a9676b4d6428d1.jpg",[],{"id":498,"slug":499,"title":500,"dynasty":303,"author":19,"museum":20,"description":501,"tags":502,"thumbUrl":504,"material":27,"size":28,"collection":29,"collections":505,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":32},257176,"cheng-hua-kuan-bai-you-pan-yi-ming-257176","成化款白釉盘","将不含金属氧化物呈色元素的釉料施于胎骨洁白的器物上，入窑高温烧制而成的透明釉， 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