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porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[144,145,146,7,147],"陶瓷","青花","碗","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2391cdbf18ce1739d9070de5e933bee1.jpg",[],{"id":151,"slug":152,"title":153,"dynasty":18,"author":19,"museum":20,"description":154,"tags":155,"thumbUrl":159,"material":30,"size":31,"collection":32,"collections":160,"showCount":136,"zanCount":35,"manualWeight":11,"mainColor":36},261525,"yong-zheng-kuan-dou-cai-tuan-hua-wen-wan-yi-ming-261525","雍正款斗彩团花纹碗","雍正一朝虽然只有13年，但他的制瓷业成就却达到了清代官窑的历史高峰，其品种之多，制作工艺之精良，都是其他朝代无法比拟的。",[144,147,156,7,157,158,45],"斗彩","花卉","菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F649b27b08cecb1b3f071bc002b4e6c92.jpg",[],{"id":162,"slug":163,"title":164,"dynasty":18,"author":19,"museum":20,"description":165,"tags":166,"thumbUrl":173,"material":30,"size":31,"collection":32,"collections":174,"showCount":175,"zanCount":11,"manualWeight":11,"mainColor":36},268776,"hong-se-duan-ping-jin-xiu-shi-tuan-mu-dan-die-hu-lu-wen-nan-pei-yi-ming-268776","红色缎平金绣十团牡丹蝶葫芦纹男帔","朱红缎地沉稳华贵，以平金绣搭配彩绣精工晕染。十团纹样错落排布，主纹牡丹丰妍饱满，彩蝶翩跹萦绕花间，间缀葫芦暗寓福禄吉兆。领部饰缠枝绣纹，呼应整体雅致格调。绣线鲜亮柔丽，针脚细腻齐整，将祥瑞寓意与匠心绣作相融，尽显清代戏衣富丽考究的审美意趣，是传统戏曲服饰中颇具代表性的精工之作。",[24,23,167,168,25,169,170,171,7,172],"缎面","平金绣","牡丹","蝴蝶","葫芦","男帔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cd463f50530fa14b12db7cb92d38de9.jpg",[],4,{"id":177,"slug":178,"title":179,"dynasty":18,"author":19,"museum":20,"description":180,"tags":181,"thumbUrl":183,"material":30,"size":31,"collection":32,"collections":184,"showCount":175,"zanCount":11,"manualWeight":11,"mainColor":52},248573,"hei-qi-chen-se-luo-dian-tuan-hua-wen-chang-fang-xiang-yi-ming-248573","黑漆衬色螺钿团花纹长方箱","髹漆黑为地，沉穆如夜，将螺钿的清辉尽数托举而出。盖面团花匀整排布，彩钿裁作花叶翎羽，拼接出饱满雅致的窠纹，暗含规整秩序之美。箱体周身散落折枝小花与碎钿，如星子坠于幽夜，疏密随性打破沉闷，添上灵动生机。衬色螺钿工艺尽显巧思，彩贝随光线晕出虹彩微光，在漆色之上织就明丽雅致的花间图景，将雅致意趣藏入箱匣，是匠心与审美相融的工艺佳作。",[48,182,7,45,47,157],"衬色螺钿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c9bf58dc4f6f4b76ce16854c0bb2a9c.jpg",[],{"id":186,"slug":187,"title":188,"dynasty":18,"author":19,"museum":20,"description":189,"tags":190,"thumbUrl":193,"material":30,"size":31,"collection":32,"collections":194,"showCount":195,"zanCount":11,"manualWeight":11,"mainColor":52},267427,"lv-se-duan-xiu-ba-tuan-yun-fu-hua-hui-hai-shui-wen-gong-yi-yi-ming-267427","绿色缎绣八团云蝠花卉海水纹宫衣","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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[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。",[59,144,156,45,7,383,384],"祥云","盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F652cece90512b893efb1ab40c525f4c5.jpg",[],"F48FB1",{"id":389,"slug":390,"title":391,"dynasty":18,"author":19,"museum":20,"description":154,"tags":392,"thumbUrl":394,"material":30,"size":31,"collection":32,"collections":395,"showCount":35,"zanCount":11,"manualWeight":11,"mainColor":52},256870,"yong-zheng-kuan-fen-cai-tuan-hua-wen-wan-yi-ming-256870","雍正款粉彩团花纹碗",[18,144,393,7,45,47],"粉彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a706e99d0c9d2cbef43b8042e7ed1f6.jpg",[],{"id":397,"slug":398,"title":399,"dynasty":141,"author":19,"museum":20,"description":142,"tags":400,"thumbUrl":405,"material":30,"size":31,"collection":32,"collections":406,"showCount":35,"zanCount":11,"manualWeight":11,"mainColor":52},256772,"cheng-hua-kuan-qing-hua-tuan-hua-wen-wan-yi-ming-256772","成化款青花团花纹碗",[144,145,7,283,401,263,402,403,404],"瓷器","团花","青花技法","团花图案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9089385e524ff1bc16f7a07ef91e4d19.jpg",[],{"id":408,"slug":409,"title":410,"dynasty":18,"author":19,"museum":20,"description":83,"tags":411,"thumbUrl":413,"material":30,"size":31,"collection":32,"collections":414,"showCount":35,"zanCount":35,"manualWeight":11,"mainColor":66},250213,"qia-si-fa-lang-tuan-hua-wen-ling-hua-shi-huo-guo-yi-ming-250213","掐丝珐琅团花纹菱花式火锅",[85,61,98,327,7,412],"菱花式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F978fdba32cd83a9fa658451aff7d1d3d.jpg",[],{"id":416,"slug":417,"title":418,"dynasty":18,"author":19,"museum":20,"description":273,"tags":419,"thumbUrl":421,"material":30,"size":31,"collection":32,"collections":422,"showCount":35,"zanCount":11,"manualWeight":11,"mainColor":36},248545,"jin-qi-tuan-hua-wen-gai-wan-yi-ming-248545","金漆团花纹盖碗",[59,48,420,7,158,47],"金漆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F565182347d7a8b7ccc40fa4e67c7f552.jpg",[],{"id":424,"slug":425,"title":426,"dynasty":18,"author":19,"museum":20,"description":427,"tags":428,"thumbUrl":431,"material":30,"size":31,"collection":32,"collections":432,"showCount":35,"zanCount":11,"manualWeight":11,"mainColor":52},248502,"zi-qi-miao-jin-tuan-hua-wen-chang-fang-xia-yi-ming-248502","紫漆描金团花纹长方匣","以紫漆为地，描金饰纹，明丽华贵。团花错落排布于盖身，疏密有致，或是松竹交映的岁寒雅景，或是瑞果簇拥、灵兽嬉游的吉庆纹样。描金线条婉转流畅，金彩在深漆映衬下愈显熠熠生辉，古韵盎然。\n\n方匣形制规整稳重，四足雕饰卷草柔纹，添几分雅致柔婉，将精工髹漆与传统吉祥意趣相融，尽显细腻考究的工艺水准，静穆底色晕开富丽雅致的意韵，是漆艺与装饰美学精妙结合的佳作。",[48,44,7,429,47,430,59],"竹","紫漆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6cdbe1ca59bab4312855116841e46dd.jpg",[],{"id":434,"slug":435,"title":436,"dynasty":18,"author":19,"museum":20,"description":437,"tags":438,"thumbUrl":441,"material":30,"size":31,"collection":32,"collections":442,"showCount":35,"zanCount":11,"manualWeight":11,"mainColor":36},247693,"ti-hong-tuan-hua-wen-qian-yu-hai-yan-he-qing-wen-chang-fang-he-yi-ming-247693","剔红团花纹嵌玉海晏河清纹长方盒","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。 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