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着线条横、直、斜的不同排列作丰富的变化，但花纹间的空眼必须对齐。\n以素纱为绣底，绣时须按格或数眼绣制。绣法垂直进行，以大套小的几何图案，绣满全幅，用色一般以每一几何形为单位。刺绣步骤：以波浪纹为例。从纹样边缘第一眼起针，跨过六个眼，在第七个眼下针，以后每针均往下移一个眼，绣到第十针后，每针均向上移一个眼，直至与第一眼相并列时，再往下移，如此循环往复，即成波浪形。第二皮波浪纹绣法相同，落针的针迹要在第一皮原针眼中，以后类推，直至绣满。",[23,24,25,26,7,27],"衣帽","布料","刺绣","花鸟纹","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40711451d9f5e70fd0f23dc30aa1ccd0.jpg","未知","Xcm*Xcm","",[],7,1,"BDBDBD",{"id":37,"slug":38,"title":39,"dynasty":18,"author":19,"museum":20,"description":40,"tags":41,"thumbUrl":45,"material":29,"size":30,"collection":31,"collections":46,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":48},266279,"mi-huang-se-tuan-nian-nian-ji-qing-wen-an-hua-zhi-jing-sha-dan-pao-yi-ming-266279","米黄色团年年吉庆纹暗花直径纱单袍","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。",[23,24,42,7,43,44],"暗花","年年吉庆","单袍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb9854d3f4eb0ff684e0d27f2d2c2a44.jpg",[],4,"37474F",{"id":50,"slug":51,"title":52,"dynasty":18,"author":19,"museum":20,"description":53,"tags":54,"thumbUrl":59,"material":29,"size":30,"collection":31,"collections":60,"showCount":61,"zanCount":11,"manualWeight":11,"mainColor":62},267472,"yin-hong-se-duan-xiu-zhe-zhi-hua-die-jin-shi-tuan-wan-fu-wen-nan-pei-yi-ming-267472","银红色缎绣折枝花蝶金十团万福纹男帔","绣法是以绣线横排，故名。如，特点是整齐、均匀，圆润；在绣叶瓣时，在中间分开，运用斜针成倒人字形；也有绣成中间针迹相交叠的形式；也可绣成中间作一钉线的绣法。排绣针法富有变化，刺绣出的花瓣、叶瓣得体逼真，用途较广。",[23,24,25,55,7,56,57,58],"花蝶","万福纹","男帔","花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F142bbe08da395d3b62c660c1fc857beb.jpg",[],3,"795548",{"id":64,"slug":65,"title":66,"dynasty":18,"author":19,"museum":20,"description":67,"tags":68,"thumbUrl":74,"material":29,"size":30,"collection":31,"collections":75,"showCount":61,"zanCount":11,"manualWeight":11,"mainColor":62},264284,"lan-se-ke-si-tuan-shuang-he-ling-xian-zhu-shou-wen-pao-liao-yi-ming-264284","蓝色缂丝团双鹤灵仙祝寿纹袍料","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”。",[23,24,69,70,71,7,72,73],"缂丝","仙鹤","花卉","海水江崖","祝寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F750b832be5f88e5bdecd833696366297.jpg",[],{"id":77,"slug":78,"title":79,"dynasty":18,"author":19,"museum":20,"description":80,"tags":81,"thumbUrl":87,"material":29,"size":30,"collection":31,"collections":88,"showCount":61,"zanCount":11,"manualWeight":11,"mainColor":89},264076,"hong-se-di-tuan-long-feng-shi-zi-hua-hui-wen-jin-yi-ming-264076","红色地团龙凤狮子花卉纹锦","《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》。",[82,24,83,84,85,71,7,86],"织锦","龙","凤","狮子","设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc90cd6cdacd0d9f3d086e3bd2c2e16a8.jpg",[],"F48FB1",{"id":91,"slug":92,"title":93,"dynasty":18,"author":19,"museum":20,"description":80,"tags":94,"thumbUrl":97,"material":29,"size":30,"collection":31,"collections":98,"showCount":61,"zanCount":11,"manualWeight":11,"mainColor":62},264021,"gu-tong-se-di-tuan-long-ying-wu-wen-zhi-jin-jin-yi-ming-264021","古铜色地团龙鹦鹉纹织金锦",[24,95,83,96,7],"织金锦","鹦鹉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feab12b6d9cf97a6451f99b6bf7356015.jpg",[],{"id":100,"slug":101,"title":102,"dynasty":18,"author":19,"museum":20,"description":103,"tags":104,"thumbUrl":108,"material":29,"size":30,"collection":31,"collections":109,"showCount":61,"zanCount":11,"manualWeight":11,"mainColor":35},263766,"hu-se-tuan-fu-gui-wan-nian-wen-yuan-yang-duan-yi-ming-263766","湖色团富贵万年纹鸳鸯缎","湖蓝底色如揉碎的春波，清透温婉，暗织的团纹随光影浅淡晕开，似藏了一帘旧朝清梦。富贵纹样暗纳吉庆期许，鸳鸯意象缱绻着圆满祝愿，将俗世欢喜织入丝缕肌理。\n\n缎面莹润细腻，经纬之间尽显织造匠心，浅淡岁月痕迹晕染其上，为织物晕开沉敛古雅的旧时光晕。丝丝缕缕里，藏着旧时东方审美的雅致克制，将祈愿与巧思融于方寸织物，静诉百年前的温柔意趣。",[24,105,7,106,107],"缎面","鸳鸯纹","富贵纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe51dae82a614adf4d54e8a14ad336769.jpg",[],{"id":111,"slug":112,"title":113,"dynasty":18,"author":19,"museum":20,"description":114,"tags":115,"thumbUrl":118,"material":29,"size":30,"collection":31,"collections":119,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":121},267767,"bao-lan-se-tuan-fu-gui-wan-nian-han-wa-wen-er-se-duan-yi-ming-267767","宝蓝色团富贵万年汉瓦纹二色缎","沉邃宝蓝为地，湖蓝团纹错落铺陈。团窠以回纹勾边，内纳汉瓦造型的吉语纹样，线条匀净柔婉，配色静穆雅致。将古雅瓦当形制与祈福心意相融，把金石古意织入经纬之间。\n\n缎面光泽莹润，提花工艺精巧细密，团纹排布规整却不失灵动，把雅致审美与世俗祈愿悄然结合，尽显这类织绣兼具审美价值与民俗意趣的精巧特质。",[24,105,7,116,117],"富贵万年纹","汉瓦纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbac4771bd42b83fafbb4e8b2ece5a9ca.jpg",[],2,"2A56C6",{"id":123,"slug":124,"title":125,"dynasty":18,"author":19,"museum":20,"description":67,"tags":126,"thumbUrl":131,"material":29,"size":30,"collection":31,"collections":132,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":62},266156,"shi-qing-se-ke-si-si-tuan-cai-yun-jin-long-wen-hu-pi-gun-fu-yi-ming-266156","石青色缂丝四团彩云金龙纹狐皮衮服",[23,69,127,24,128,129,7,130],"狐皮","金龙","彩云","衮服","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d769d442c26b5186b2598d922382d2d.jpg",[],{"id":134,"slug":135,"title":136,"dynasty":18,"author":19,"museum":20,"description":137,"tags":138,"thumbUrl":139,"material":29,"size":30,"collection":31,"collections":140,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":62},264504,"tuo-se-er-ze-han-wen-duan-yi-ming-264504","驼色二则汉纹缎","驼色缎面沉静温润，暗花团纹循规排布，疏密相宜。团窠之内，二则汉纹回环勾连，托衬起变形吉字，线条婉转却不失规整力道，将福寿祥瑞的寓意藏于暗纹之中。柔光之下，隐花缓缓浮现，织纹细腻顺滑，不见张扬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釉色因白润瓷胎的映衬而显出白色，现在习惯上将这种透明釉也称为白釉。\n瓷器釉料中的含铁量降低到0.75%以下，施于洁白的瓷胎上，入窑经高温烧制，就会出现白釉。严格地说，白釉是一种无色透明釉，而不是白色的釉 。白釉是瓷器传统釉色之一,真正的白釉应该是乳白色的乳浊釉,这种釉是近代才发明的。我国古代仅有元代枢府釉是失透的,其他白釉并不是白色的釉,\n白釉烧制工艺比青釉复杂，出现的时间也较青釉晚，一般瓷土和釉料，都或多或少含有一些氧化铁，器物烧出后必然呈现出深浅不同的青色来。如果釉料中的铁元素含量小于0.75%，烧出来的就会是白釉。\n白釉最早出现在汉代，比青釉瓷器晚了400多年，白釉瓷器开始是青白色的，因为瓷器中铁的含量高于1%就是青色的，少于1%就是白瓷了，所以中国白瓷经历青瓷、青白瓷、卵白釉、甜白釉、象牙白、白釉的发展过程。中国历史上白瓷产地有德化白瓷、定窑白瓷以及刑窑白瓷等。",[18,207,409,410,411,386,7,396],"月白釉","刻花","夔龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22a3ae2ca82e2efba71a20c3ff9e2460.jpg",[],{"id":415,"slug":416,"title":417,"dynasty":18,"author":19,"museum":20,"description":418,"tags":419,"thumbUrl":10,"material":29,"size":30,"collection":31,"collections":422,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":48},248739,"qian-long-kuan-hei-qi-miao-jin-tuan-feng-wen-yuan-he-yi-ming-248739","乾隆款黑漆描金团凤纹圆盒","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",[217,420,421,386,7,396],"漆器","黑漆描金",[],1777535712064]