[{"data":1,"prerenderedAt":265},["ShallowReactive",2],{"subject-tong-liu-jin":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},8869,"tong-liu-jin","铜鎏金","铜鎏金画高清赏析","精选中国历代铜鎏金题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F186b9220cd435a0371d0b4aa0e05f6e7.jpg",0,25,[14,37,51,63,73,85,94,105,113,122,133,147,154,161,169,179,190,199,209,218,229,235,244,250,259],{"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},253515,"tong-liu-jin-yang-liu-zhi-guan-yin-pu-sa-li-xiang-yi-ming-253515","铜鎏金杨柳枝观音菩萨立像","隋","佚名","藏地不详","此尊造像身姿修长婉约，宝冠覆顶，面容沉静悲悯，自带渡世的柔和气场。璎珞垂缀周身，衣袂线条舒展柔和，勾勒出菩萨清隽端雅的身形。手持杨柳净瓶，将观音救度众生的经典意象具象呈现。\n\n历经岁月，鎏金虽斑驳脱落，却晕开古拙厚重的质感，背光火焰纹饰依稀可见，悄然烘托出神圣庄严的氛围。整体工艺精简传神，将菩萨慈悲端宁的气韵尽数诠释，古造像含蓄隽永的审美意趣凝缩于此，残损鎏金是时光镌刻的印记，静静诉说着过往的信仰温度。",[23,7,24,25,26,27,28,29],"隋代","铜制","宗教","人物","雕刻","菩萨","立像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ef168849385ee7c31ad006ec465c961.jpg","未知","Xcm*Xcm","",[],6,"795548",{"id":38,"slug":39,"title":40,"dynasty":41,"author":19,"museum":20,"description":42,"tags":43,"thumbUrl":47,"material":31,"size":32,"collection":33,"collections":48,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":50},253712,"tong-liu-jin-guan-yin-zuo-xiang-yi-ming-253712","铜鎏金观音坐像","清","中国雕塑是指具有中国特色且原产于中国的雕塑艺术品。中国雕塑（Chinese sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[24,44,27,7,25,26,45,46],"金器","莲花","童子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fc7720d84a677944ae6b4a0afa1a963.jpg",[],5,"37474F",{"id":52,"slug":53,"title":54,"dynasty":41,"author":19,"museum":20,"description":55,"tags":56,"thumbUrl":60,"material":31,"size":32,"collection":33,"collections":61,"showCount":62,"zanCount":11,"manualWeight":11,"mainColor":50},254959,"tong-liu-jin-jin-gang-sa-duo-xiang-yi-ming-254959","铜鎏金金刚萨埵像","此造像宝冠繁复华丽，嵌饰的宝石凝敛光华，面相圆润慈悲，双目垂敛，沉静肃穆尽显清净法相。双手当胸结印，莲茎自掌心蜿蜒舒展，顶端托举金刚杵，昭示持守清净誓愿的本尊特质。躯体比例合度匀称，衣纹流畅贴体，周身璎珞錾刻精巧细腻，华贵庄严尽显。结跏趺坐于仰覆莲台之上，莲瓣饱满规整，鎏金厚重匀净，宝光内敛沉凝。整尊造像融神性静穆与工艺精妙于一体，观之令人心生敬畏安定，尽显藏传造像的独特魅力。",[57,25,26,24,44,58,7,27,59],"清代","器","镶嵌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b08c0f05baf3ca18c7eb2c4cfa9f6bd.jpg",[],3,{"id":64,"slug":65,"title":66,"dynasty":67,"author":19,"museum":20,"description":68,"tags":69,"thumbUrl":71,"material":31,"size":32,"collection":33,"collections":72,"showCount":62,"zanCount":11,"manualWeight":11,"mainColor":50},253671,"tong-liu-jin-shui-yue-guan-yin-pu-sa-xiang-yi-ming-253671","铜鎏金水月观音菩萨像","五代十国","此尊造像自在斜坐，肩臂舒展随性，尽显悠然松弛的神韵。面庞圆和，眉眼含着浅淡笑意，褪去神性的疏离，满是温婉亲和的慈悲气韵。衣褶流转自然，垂坠褶皱勾勒出躯体柔和线条，写实生动。虽鎏金已然褪去，古朴铜色晕开岁月沉韵，璎珞配饰历经摩挲仍可见精巧规制，暗显典雅端庄。整体气韵静谧松弛，将观音静观世事的清宁心境诠释尽致，带着独有的世俗化温情，凝缩了彼时的审美意趣，藏着乱世之中人们对安宁慈悲的深切向往。",[67,7,25,26,27,24,70],"菩萨造像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0109b8dd764c7603339de29acb524974.jpg",[],{"id":74,"slug":75,"title":76,"dynasty":77,"author":19,"museum":20,"description":42,"tags":78,"thumbUrl":82,"material":31,"size":32,"collection":33,"collections":83,"showCount":84,"zanCount":11,"manualWeight":11,"mainColor":36},254870,"tong-liu-jin-luo-han-zuo-xiang-yi-ming-254870","铜鎏金罗汉坐像","唐",[7,24,27,25,26,79,80,81],"罗汉","荷花","坐像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F189fa3754bde5b3c5dd45762f6e20fc0.jpg",[],2,{"id":86,"slug":87,"title":17,"dynasty":18,"author":19,"museum":20,"description":88,"tags":89,"thumbUrl":91,"material":31,"size":32,"collection":33,"collections":92,"showCount":93,"zanCount":11,"manualWeight":11,"mainColor":50},254317,"tong-liu-jin-yang-liu-zhi-guan-yin-pu-sa-li-xiang-yi-ming-254317","此像身姿挺拔端严，面容沉静慈悲，宝冠覆顶自带出尘威仪。身着褒衣博带式法衣，衣纹舒朗流畅，兼具北朝遗风与隋代造像的简约洗练。右手持杨柳枝，左手托净瓶，是杨柳观音的经典法相标识。莲瓣形背光古拙朴厚，与饱满规整的莲台底座呼应，整体气韵肃穆沉静。历经岁月鎏金多已褪去，沉敛的青铜质地更添古雅厚重，凝萃了隋代佛造像神性庄严与质朴洗练的审美意趣，尽显沉静虔敬的宗教意涵。",[90,7,27,25,29,28,23],"青铜器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d2261d653cb04f4cc34a660bf5f61b6.jpg",[],1,{"id":95,"slug":96,"title":97,"dynasty":98,"author":19,"museum":20,"description":42,"tags":99,"thumbUrl":103,"material":31,"size":32,"collection":33,"collections":104,"showCount":93,"zanCount":11,"manualWeight":11,"mainColor":50},253943,"tong-liu-jin-li-fu-shan-zao-shi-jia-mu-ni-fu-zuo-xiang-yi-ming-253943","铜鎏金李福善造释迦牟尼佛坐像","明",[100,7,25,101,102,81,24,27,44],"明代","佛教","释迦牟尼佛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d5180596df2d54eb81fdd4b3e00c70b.jpg",[],{"id":106,"slug":107,"title":108,"dynasty":18,"author":19,"museum":20,"description":109,"tags":110,"thumbUrl":111,"material":31,"size":32,"collection":33,"collections":112,"showCount":93,"zanCount":11,"manualWeight":11,"mainColor":36},253603,"tong-liu-jin-guan-yin-pu-sa-li-xiang-yi-ming-253603","铜鎏金观音菩萨立像","身姿颀长清隽，仍带着秀骨清像的余韵，仪容温婉静雅，轻覆的法衣随体态流转，衣纹似微风拂过，勾勒出柔和躯体轮廓，尽显飘逸空灵。莲瓣形背光阴刻火焰纹，纤细线条缠绕舒展，烘托出庄重神性。鎏金大多褪去，古铜底色间斑驳铜绿凝住岁月痕迹，高足方座沉稳古朴，托举清灵造像，肃穆宗教感与精湛冶铸工艺相融，静静晕开中古佛教造像的隽永意趣。",[23,7,25,27,26,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F664f82bd4dfb7cb1c6d0ad334f8c9d2a.jpg",[],{"id":114,"slug":115,"title":116,"dynasty":77,"author":19,"museum":20,"description":117,"tags":118,"thumbUrl":120,"material":31,"size":32,"collection":33,"collections":121,"showCount":93,"zanCount":11,"manualWeight":11,"mainColor":50},252881,"tong-liu-jin-pu-sa-li-xiang-yi-ming-252881","铜鎏金菩萨立像","此像身姿柔婉舒展，宝冠高束，面容沉静慈悲，尽显神性温婉。周身璎珞环佩精巧细致，衣袂垂落流转，勾勒出曼妙雅致的身形。鎏金虽历经岁月磨蚀，依旧暗闪华光，衬出华贵庄重的气韵。莲台底座纹饰饱满古朴，与菩萨身姿相映，尽显典雅瑰丽。将超然神性与世俗柔美融为一体，凝萃了独有的时代审美意趣，虽经时光流转，依旧传递出平和静穆的慈悲力量。",[119,7,25,27,29,24,26],"唐代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8332fe3a14cadd1228a7628bf158c631.jpg",[],{"id":123,"slug":124,"title":125,"dynasty":41,"author":19,"museum":20,"description":126,"tags":127,"thumbUrl":131,"material":31,"size":32,"collection":33,"collections":132,"showCount":93,"zanCount":11,"manualWeight":11,"mainColor":36},249895,"qian-long-kuan-qia-si-fa-lang-dai-tong-liu-jin-zuo-bi-jia-yi-ming-249895","乾隆款掐丝珐琅带铜鎏金座笔架","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”。",[57,128,7,129,58,130],"掐丝珐琅","琺瑯器","龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9bc16cccc4e0f141e122cdd7463ce74.jpg",[],{"id":134,"slug":135,"title":136,"dynasty":137,"author":19,"museum":20,"description":138,"tags":139,"thumbUrl":144,"material":31,"size":32,"collection":33,"collections":145,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":146},278697,"guan-zhong-hou-yin-gui-niu-tong-liu-jin-yin-yi-ming-278697","“关中矦印”龟钮铜鎏金印","晋","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。",[140,90,24,141,142,143,7,27],"印章","篆刻","龟","印钮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9693a80b5bbc643753bd32d92da6afa3.jpg",[],"BDBDBD",{"id":148,"slug":149,"title":150,"dynasty":77,"author":19,"museum":20,"description":42,"tags":151,"thumbUrl":152,"material":31,"size":32,"collection":33,"collections":153,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},253957,"tong-liu-jin-pu-sa-zuo-xiang-yi-ming-253957","铜鎏金菩萨坐像",[119,25,28,81,7,90,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65fc21eed8341833435a09ae1ea0d2e2.jpg",[],{"id":155,"slug":156,"title":150,"dynasty":77,"author":19,"museum":20,"description":42,"tags":157,"thumbUrl":159,"material":31,"size":32,"collection":33,"collections":160,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":50},253298,"tong-liu-jin-pu-sa-zuo-xiang-yi-ming-253298",[119,7,28,81,25,27,24,26,158],"莲花座","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26abab48b7eb26a03e0558f09058f679.jpg",[],{"id":162,"slug":163,"title":116,"dynasty":164,"author":19,"museum":20,"description":165,"tags":166,"thumbUrl":167,"material":31,"size":32,"collection":33,"collections":168,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},253296,"tong-liu-jin-pu-sa-li-xiang-yi-ming-253296","南北朝","这尊造像承袭南北朝造像典型范式，高背舟形火焰纹背光之上，涡旋卷草纹理古拙灵动，晕染出庄严佛韵。菩萨身形清瘦，头戴宝冠，双手合十伫立莲台，衣褶线条简约洗练，尽显秀骨清像的时代风神。\n\n鎏金虽斑驳脱落，却沉淀下岁月包浆，古铜底色与残金交映，愈见古雅厚重。方凳式底座朴拙敦实，承托造像稳重大气，整体兼具宗教的沉静肃穆与六朝特有的灵动秀逸，凝缩了当时的审美意趣与造像技艺，是南北朝小型造像的精致之作。",[164,7,25,27,28,29,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd4a10ec10010fe86bbfeba2a7194151.jpg",[],{"id":170,"slug":171,"title":172,"dynasty":41,"author":19,"museum":20,"description":173,"tags":174,"thumbUrl":177,"material":31,"size":32,"collection":33,"collections":178,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":50},249504,"tong-liu-jin-qian-bo-li-ba-bao-yu-yi-ming-249504","铜鎏金嵌玻璃八宝-鱼","宝鱼灵动穿梭于镂空莲瓣圆环中，寓意自在解脱、吉庆有余。通体铜鎏金色泽明润华贵，嵌饰的蓝绿玻璃冷暖交织，更衬富丽。上下莲台舒展层叠，缠枝卷草婉转环绕，线条柔媚又带着规整仪式感，将藏地造像的庄严与宫廷精工的细腻融于一体。匠师以镂雕、錾刻、镶嵌百般工艺，让宗教意涵与美学巧思共生，整体雅致庄重，细节处尽显匠心，是兼具祈福寓意与收藏价值的精工之作。",[57,7,175,25,58,176],"镶嵌玻璃","鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c178aa3b79ea74989acc3a9a4b5c85.jpg",[],{"id":180,"slug":181,"title":182,"dynasty":41,"author":19,"museum":20,"description":183,"tags":184,"thumbUrl":188,"material":31,"size":32,"collection":33,"collections":189,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":50},249499,"tong-liu-jin-qian-bo-li-ba-bao-guan-yi-ming-249499","铜鎏金嵌玻璃八宝-罐","通体鎏金，华贵夺目，宝瓶端坐于镂空背光中央，宝相花瓣环绕周身，亮彩玻璃与金辉交相呼应，凝住雪域佛光的圣洁气韵。\n\n仰莲台承托法物，卷草缠枝支架灵动舒展，柔婉的藏式风韵藏于线条之间，松石色与宝蓝玻璃错落镶嵌，为明丽金晕晕开清润底色。\n\n造型层层递进，从基座仰莲到顶饰背光，庄重中裹挟精巧雅致，每一处錾刻都细腻入微，将吉祥八宝的寓意融于精工之中，尽显庄严华贵的庙堂气象，静静诉说着藏传佛教器物独有的静穆美感，是清代宗教造像工艺的绝佳缩影。",[24,44,7,59,185,25,58,186,187],"玻璃镶嵌","八宝","罐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe55413e7e9631d7263f8c9cad8a4b2ba.jpg",[],{"id":191,"slug":192,"title":193,"dynasty":41,"author":19,"museum":20,"description":194,"tags":195,"thumbUrl":197,"material":31,"size":32,"collection":33,"collections":198,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":50},249498,"tong-liu-jin-qian-bo-li-ba-bao-lun-yi-ming-249498","铜鎏金嵌玻璃八宝-轮","此件法器通体鎏金，宝光莹润华贵。中心法轮饰以蓝料，与火焰背光上嵌饰的宝石相映，纹样规整严整，尽显转轮圣王的庄严寓意。下承双层仰莲台，嵌满玻璃饰件，色调沉静雅致。支架以缠枝卷草为形，灵动舒展，与台座的沉稳方正呼应，整体层次分明，繁简相宜。\n它糅合精细累丝与嵌饰工艺，将藏传佛教的神圣性与清代造办处的极致工巧结合，既饱含宗教的肃穆气韵，又尽显宫廷手作的富丽精巧，是清中期宗教造像工艺的上乘之作。",[57,7,59,185,25,58,186,24,196],"鎏金工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63afb7849d0700dbe8a07725991be173.jpg",[],{"id":200,"slug":201,"title":202,"dynasty":41,"author":19,"museum":20,"description":203,"tags":204,"thumbUrl":207,"material":31,"size":32,"collection":33,"collections":208,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":50},249497,"tong-liu-jin-qian-bo-li-ba-bao-luo-yi-ming-249497","铜鎏金嵌玻璃八宝-螺","整器鎏金灿然华贵，仰莲台承托法螺，螺身錾刻细腻传神，外绕宝相花背光晕染出庄严佛光。支架掐丝舒展灵动，嵌饰玻璃釉色幽蓝清透，与金质底色交相辉映，尽显清式造像的华丽工巧。\n\n法螺暗含妙音远扬、传法醒世的祥瑞意涵，整器将宗教神性与宫廷精工融为一体，线条柔婉格局端庄，把藏传佛教的神圣意趣与清代精湛金属细作工艺完美结合，尽显庄重华美的藏式佛具风韵，是兼具神性与匠心的精巧造像。",[57,7,205,25,59,58,186,206],"嵌玻璃","螺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3f99d1e2dbeb01bf08e598351581e9a.jpg",[],{"id":210,"slug":211,"title":212,"dynasty":41,"author":19,"museum":20,"description":213,"tags":214,"thumbUrl":216,"material":31,"size":32,"collection":33,"collections":217,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":50},249491,"tong-liu-jin-qian-bo-li-wu-gong-shuang-er-san-zu-gai-lu-yi-ming-249491","铜鎏金嵌玻璃五供-双耳三足盖炉","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。",[57,7,205,130,215,58],"兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef478e98784057e1a96fb101c03ae2d1.jpg",[],{"id":219,"slug":220,"title":221,"dynasty":41,"author":19,"museum":20,"description":222,"tags":223,"thumbUrl":227,"material":31,"size":32,"collection":33,"collections":228,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":146},246548,"qian-long-kuan-ti-hong-hua-niao-tu-tong-liu-jin-li-wan-yi-ming-246548","乾隆款剔红花鸟图铜鎏金里碗","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。",[57,224,225,27,7,226,58],"漆器","剔红","花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb1f179c0f412e6f17faa53e393862e8.jpg",[],{"id":230,"slug":231,"title":221,"dynasty":41,"author":19,"museum":20,"description":222,"tags":232,"thumbUrl":233,"material":31,"size":32,"collection":33,"collections":234,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":146},246547,"qian-long-kuan-ti-hong-hua-niao-tu-tong-liu-jin-li-wan-yi-ming-246547",[57,224,225,7,27,226,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd6f3bf94e6477c97358a319b401ae62.jpg",[],{"id":236,"slug":237,"title":221,"dynasty":41,"author":19,"museum":20,"description":222,"tags":238,"thumbUrl":242,"material":31,"size":32,"collection":33,"collections":243,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":146},246546,"qian-long-kuan-ti-hong-hua-niao-tu-tong-liu-jin-li-wan-yi-ming-246546",[41,224,225,7,27,226,239,240,241],"鸟","花","碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d82076bc91fbb34de25a8c1524cebfe.jpg",[],{"id":245,"slug":246,"title":221,"dynasty":41,"author":19,"museum":20,"description":222,"tags":247,"thumbUrl":248,"material":31,"size":32,"collection":33,"collections":249,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":146},246545,"qian-long-kuan-ti-hong-hua-niao-tu-tong-liu-jin-li-wan-yi-ming-246545",[41,224,225,27,7,226,239,240,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21dcb607775c016ca7884f76a7bd1cee.jpg",[],{"id":251,"slug":252,"title":253,"dynasty":41,"author":19,"museum":20,"description":222,"tags":254,"thumbUrl":257,"material":31,"size":32,"collection":33,"collections":258,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},246363,"qian-long-kuan-ti-hong-yu-zhi-shi-tong-liu-jin-li-wan-yi-ming-246363","乾隆款剔红御制诗铜鎏金里碗",[57,224,225,7,27,255,256,58],"书法","楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19b081582a28881051ee0fe49a912cc8.jpg",[],{"id":260,"slug":261,"title":253,"dynasty":41,"author":19,"museum":20,"description":222,"tags":262,"thumbUrl":10,"material":31,"size":32,"collection":33,"collections":264,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},246357,"qian-long-kuan-ti-hong-yu-zhi-shi-tong-liu-jin-li-wan-yi-ming-246357",[224,241,225,7,27,255,263],"饮酒器",[],1777535717665]