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用陶瓷、竹木、等制成的筒形插笔器具。笔筒是搁放毛笔的专用器物，据文献记载，它的材质有镏金、翡翠、紫檀和乌木，现在我们能够见到的传世器物，大多是用瓷或者是竹木制作的。具有收藏价值。",[39,40,41,42,43,7],"竹刻","雕刻","笔筒","书法","荷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6f196b3210c76fde83b67300a0f19d8.jpg",[],6,{"id":48,"slug":49,"title":50,"dynasty":18,"author":19,"museum":20,"description":37,"tags":51,"thumbUrl":56,"material":27,"size":28,"collection":29,"collections":57,"showCount":46,"zanCount":11,"manualWeight":11,"mainColor":58},269836,"liang-zhi-kuan-zhu-diao-chi-bi-tu-bi-tong-yi-ming-269836","两之款竹雕赤壁图笔筒",[52,40,41,7,53,54,55],"竹雕","树木","山水","赤壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fdd90b45213bb5442834043b7848c64.jpg",[],"37474F",{"id":60,"slug":61,"title":62,"dynasty":18,"author":19,"museum":20,"description":63,"tags":64,"thumbUrl":69,"material":27,"size":28,"collection":29,"collections":70,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":32},271064,"ge-shi-yu-zhi-hua-hui-shi-guan-zi-hao-bi-tan-xiang-mu-guan-shan-cha-hua-shi-bi-yi-ming-271064","各式御制花卉诗管紫毫笔-檀香木管山茶花诗笔","此笔取檀香木为管，暖棕肌理光润内敛，阴刻填蓝御制山茶诗句，笔墨相映，文气悠然。紫毫笔头锋颖修长劲挺，是小楷书写的绝佳良器。笔顶与笔斗以素净象牙为饰，和木管冷暖相衬，愈显清隽质感。配套笔鞘浅刻花卉，刀工细腻舒展，花叶鲜活灵动，与笔身题诗呼应成文，将文人雅趣与制笔匠心相融，静雅之中藏着含蓄风雅，尽显清代文房器物的内敛美学意蕴。",[65,66,67,40,68,7],"笔","紫毫笔","檀香木","山茶花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e785acfaf2ed1e87c8a3497530b3f06.jpg",[],5,{"id":73,"slug":74,"title":75,"dynasty":18,"author":19,"museum":20,"description":76,"tags":77,"thumbUrl":85,"material":27,"size":28,"collection":29,"collections":86,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":32},269386,"zi-tan-tou-diao-yun-fu-wen-qian-yu-bi-ping-yi-ming-269386","紫檀透雕云蝠纹嵌玉笔屏","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。",[78,79,80,81,82,83,7,40,84],"笔屏","木质","透雕","嵌玉","云纹","蝙蝠","玉石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b78e1d35ccac07b7f326372c7f3502a.jpg",[],{"id":88,"slug":89,"title":90,"dynasty":91,"author":19,"museum":20,"description":92,"tags":93,"thumbUrl":98,"material":27,"size":28,"collection":99,"collections":100,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":32},256249,"ge-yao-qing-you-xi-yi-ming-256249","哥窑青釉洗","宋","“哥窑”名列宋代五大名窑，在陶瓷史上有举足轻重的地位。哥窑胎多紫黑色、铁黑色、也有黄褐色。釉为失透的乳浊釉，釉面泛一层酥光，釉色以炒米黄、灰青多见，釉面大小纹片结合。\n经染色后大纹片呈深褐色，小纹片为黄褐色，也称‘金丝铁线’“墨纹梅花片”“叶脉纹”‘文武片’等。这是传世哥窑的主要特征之一。器形有各式瓶、炉、尊、洗及碗、盆、碟等。多见仿古造型，底足制作不十分规整，釉面常见缩釉和棕眼。\n而《中国陶瓷史》这样叙述：\n造型有各式瓶、炉、洗、盘、罐等。论胎有厚薄之分，其胎质有瓷胎和砂胎两种，胎色有黑灰、深灰、浅灰、土黄多种色调，釉色也有粉青、月白、油灰、青黄各色。从时间上讲，这里应有早晚之别，从产地说也有恐非一个瓷窑的作品，情况是比较复杂的。\n记载“哥窑”的古文献主要有：元代的《至正直记》，明代的《格古要论》、《遵生八笺》，清代的《博物要览》以及明代的《浙江通志》等。但究竟哥窑窑址何在？性质如何?一直是陶瓷史研究中众说纷纭、悬而未决的问题。\n流传于世的“哥窑”经典器大多源自清宫旧藏，由于这批器物与古文献中的记载的“哥窑”特征不符，而且没有考古资料佐证，因而造成了中国陶瓷史上最大的悬疑。\n为区别于明、清文献中所记载得哥窑（龙泉章生一窑），宫中名为“哥窑”的传世品，后世鉴赏家称其为“传世哥窑”。\n由于原来被认为哥窑的龙泉黑胎开片瓷被认为是“龙泉仿官”和“龙泉官窑”，宋代似乎就不存在哥窑，文献关于哥窑的记述被认为是以讹传讹。然而，仔细研究和分析，就会发觉事情并非如此简单，其关键在于“龙泉官窑”和杭州郊坛下官窑孰先孰后的问题并未真正得到解决。由于“龙泉官窑”的立论建立在“龙泉仿官”的基础上，认为仿官是不可能的，却又与官窑相一致，自然是官窑，并认为杭州郊坛下不能满足朝廷之需，再在龙泉烧造以充不足。这一观点很自然地派生出杭州郊坛下官窑早于龙泉官窑的定论。\n然而，没有足够的考古资料证明这一观点，并由此还引发出种种疑团：郊坛下不能满足朝廷之需，为什么不就地扩充、就近扩充，而要到千里之外的龙泉建窑烧造？宋室南渡带来了北方工匠，他们惯于圆窑用煤烧造，何以能在杭州建立龙窑用柴烧造？文献关于哥窑的论述难道一定都是空穴来风吗？哥不能仿官，但官却可以仿哥，各朝各代的官窑都建立在民窑的基础上，难道就不存在官仿哥的可能吗？宋室南渡，皇帝漂泊13年，这期间南渡窑工在何处生存？如何生存？是吃皇粮还是自谋出路？这些疑问最终都聚焦在龙泉最初的黑胎开片瓷的年代和性质上，也就是说龙泉最初的黑胎开片瓷会不会是皇帝颠沛流离的十余年中北方工匠和龙泉窑工技艺结合的产物？",[94,95,96,97,7],"宋代","陶瓷","青釉","开片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04a2780c89380f91c7ff6ef371de40fe.jpg","瓷器精选",[99],{"id":102,"slug":103,"title":104,"dynasty":18,"author":19,"museum":20,"description":37,"tags":105,"thumbUrl":109,"material":27,"size":28,"collection":29,"collections":110,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":32},269995,"zhu-diao-chi-bi-tu-bi-tong-yi-ming-269995","竹雕赤壁图笔筒",[39,40,106,107,54,55,108,7],"器","人物","宴饮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68cb0adec100d993b5822a1abf05ca95.jpg",[],3,{"id":113,"slug":114,"title":115,"dynasty":18,"author":19,"museum":20,"description":21,"tags":116,"thumbUrl":120,"material":27,"size":28,"collection":29,"collections":121,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":123},272685,"yu-zhi-yue-ling-qi-shi-er-hou-shi-se-mo-li-ting-chu-lan-mo-yi-ming-272685","御制月令七十二候诗色墨-荔挺出蓝墨",[23,42,117,40,118,119,7],"楷书","蓝墨","诗文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e97d63e83a6d254449c9145ff4127e4.jpg",[],2,"795548",{"id":125,"slug":126,"title":127,"dynasty":18,"author":19,"museum":20,"description":37,"tags":128,"thumbUrl":134,"material":27,"size":28,"collection":29,"collections":135,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":123},269368,"zi-tan-qian-bo-li-yu-shi-gou-qi-hua-die-tu-bi-tong-yi-ming-269368","紫檀嵌玻璃玉石枸杞花蝶图笔筒",[79,41,40,129,84,130,131,132,133,7],"镶嵌","玻璃","枸杞","花蝶","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14a5078f7cbc59556cfbe7292b6e2ba3.jpg",[],{"id":137,"slug":138,"title":139,"dynasty":140,"author":19,"museum":20,"description":141,"tags":142,"thumbUrl":145,"material":27,"size":28,"collection":99,"collections":146,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":123},259715,"yi-xing-yao-yue-bai-you-bi-shan-yi-ming-259715","宜兴窑月白釉笔山","明","宜兴窑，在今江苏宜兴丁蜀镇，故名。烧瓷历史悠久，秦汉时宜兴地区陶窑密布；两晋时在均山烧青瓷，唐初在归径等地大量烧制，至晚唐、五代成为南方民间著名青瓷窑；宋、元时期，丁蜀与西渚一带大规模烧造日用陶和早期紫砂。明清时成为当时的烧陶中心。涧众村发现有唐代青瓷窑址。明代以紫砂器闻名于世，出现不少制紫砂壶名家，如供春；时大彬、李仲芳、陈仲美等，并仿烧宋代钧窑器物，因有"宜钧"之称。\n在今江苏宜兴市南部的丁蜀镇一带，故称为宜兴窑。宜兴窑从汉代始烧红陶、灰陶、和原始青瓷等等，其烧制陶瓷的历史一直延续到今天，有2000多年，故可称是最古老的窑口。宋代已开始烧造紫砂器，明代的紫砂器闻名于世，清代是其高峰。建国后，宜兴除传统的紫砂陶、均陶有很大发展外，还恢复了青瓷生产，新创了花釉陶和精陶等产品，是我国重点陶瓷产区之一。",[95,143,7,144],"笔山","山形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45bdd15763f62f9fc742179c569ddde2.jpg",[99],{"id":148,"slug":149,"title":150,"dynasty":18,"author":19,"museum":20,"description":151,"tags":152,"thumbUrl":10,"material":27,"size":28,"collection":29,"collections":169,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":32},229533,"song-hua-shi-ju-hua-yan-yi-ming-229533","松花石菊花砚","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。",[153,40,154,155,156,157,106,158,159,160,161,162,163,164,165,166,167,168,7],"清代","菊","砚","石材","花鸟","文房","花卉","雕刻技法","松花石","文房用具","清代器物","菊花纹样","石质","雕花","花饰","石砚",[],{"id":171,"slug":172,"title":173,"dynasty":91,"author":19,"museum":20,"description":174,"tags":175,"thumbUrl":176,"material":27,"size":28,"collection":29,"collections":177,"showCount":178,"zanCount":11,"manualWeight":11,"mainColor":123},272606,"she-shi-yan-yi-ming-272606","歙石砚","这方砚台作风字形，器型素净无饰，线条圆融温婉，尽显克制内敛的雅致格调。周身裹着厚重熟旧的包浆，深浅不一的痕迹是时光摩挲的印记，晕开旧时光里伏案挥毫的余温。\n\n石质细腻莹润，是适于发墨的良材，摒弃浮华雕饰，将实用与审美相融，暗合尚简的文心雅趣。沉静的深褐底色里，藏着笔墨浸润的沉静气质，仿佛仍能闻见墨香萦绕，触摸到旧时文人的清雅意韵。",[155,7,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc285a0a4ef2a0256ec0dc684d4faf5dc.jpg",[],1,{"id":180,"slug":181,"title":182,"dynasty":140,"author":19,"museum":20,"description":183,"tags":184,"thumbUrl":188,"material":27,"size":28,"collection":29,"collections":189,"showCount":178,"zanCount":11,"manualWeight":11,"mainColor":123},272478,"wan-li-kuan-hei-qi-miao-jin-long-feng-wen-guan-bi-yi-ming-272478","万历款黑漆描金龙凤纹管笔","此笔以乌亮黑漆为地，描金纹饰似星子落于幽夜之上，华贵雅致扑面而来。龙凤穿梭于缠枝花卉间，龙姿矫健遒劲，凤态婉转柔媚，翎羽鳞爪皆刻画细腻入微，缠枝花卉舒展柔婉，刚柔相衬，尽显灵动雅致。描金熠熠生辉，在沉郁漆色的衬托下更显富丽堂皇。工艺上将髹漆与描金技法相融，笔触细腻精准，尽显制器的考究匠心，暗合了当时的审美意趣，将文房雅具的精致奢华推向极致，藏着旧时手作的精妙心思。",[65,185,25,186,187,159,7],"漆器","龙","凤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ab8854a141df439cdcdf0c9745a89c6.jpg",[],{"id":191,"slug":192,"title":193,"dynasty":194,"author":19,"museum":20,"description":195,"tags":196,"thumbUrl":199,"material":27,"size":28,"collection":29,"collections":200,"showCount":178,"zanCount":11,"manualWeight":11,"mainColor":58},271668,"yi-nian-wu-jiang-wa-yan-yi-ming-271668","亿年无疆瓦砚","汉","古代殿瓦又名“瓦砚”。汉魏未央官铜雀台等诸殿瓦，瓦身如半个，面至背厚一寸弱，背平可研墨，唐宋以来，去其身以为砚，俗呼“瓦头砚”。砚，也作“研”。唐贯休《禅月集·砚瓦诗》：“应念研磨苦，无为瓦砾看。”参阅宋苏易简《文房四谱·砚谱》、《百宝总珍集·瓦砚》、明曹昭《格古要论·汉末未央宫瓦砚记》。有地名称砚瓦。有地质名词砚瓦山组。",[155,197,79,40,198,7],"瓦砚","篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bcaae73198a00253b7fa5d563307be5.jpg",[],{"id":202,"slug":203,"title":204,"dynasty":140,"author":19,"museum":20,"description":205,"tags":206,"thumbUrl":210,"material":27,"size":28,"collection":29,"collections":211,"showCount":178,"zanCount":11,"manualWeight":11,"mainColor":123},271535,"duan-shi-si-zu-yan-yi-ming-271535","端石四足砚","此砚形制沉稳规整，长方制式下承矮足，线条素净利落。砚面起浅框，留出台面与内敛淌池，延续朴素实用的制砚意趣。端石质地温润凝腻，周身包浆沉厚乌亮，似染尽旧时案头的墨香岁月，静默诉说着往昔文房的日常雅事。无繁复雕饰，却以简素尽显文人内敛沉静的风雅品格，藏着案头清供的雅致韵味。",[155,207,7,208,209],"端石","四足","石制","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ef1e0a0599fc9e9ce20208c6a203d85.jpg",[],{"id":213,"slug":214,"title":215,"dynasty":91,"author":19,"museum":20,"description":216,"tags":217,"thumbUrl":219,"material":27,"size":28,"collection":29,"collections":220,"showCount":178,"zanCount":11,"manualWeight":11,"mainColor":32},271414,"guan-jiang-yang-zhi-ming-zhuan-yan-yi-ming-271414","官匠杨志铭砖砚","以砖制砚者似乎只用汉砖，这是因为汉砖上多有图案文字，高古淳朴，极具玩赏价值，且砖质细腻，宜于制砚。从唐宋开始的文人墨客，发现用秦砖汉瓦制作的砖砚，非常好用，于是竞相效仿，以至于一砖难求，价格可比金玉，一直到近代吴昌硕大师作画写字多用砖砚研墨，鲁迅先生更是此砚种的使用和爱好者，以至于在北京被周作人夫妇打赶出家门之际，怀抱一砖砚而出，好的砖砚研墨写字作画和石头砚台一样，甚至更加好用，但是古砖稀少，今用之人甚少。",[155,218,7,40],"砖砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5429193dda1191b03246c35f1259a08a.jpg",[],{"id":222,"slug":223,"title":224,"dynasty":18,"author":19,"museum":20,"description":21,"tags":225,"thumbUrl":228,"material":27,"size":28,"collection":29,"collections":229,"showCount":178,"zanCount":11,"manualWeight":11,"mainColor":58},270597,"qian-long-kuan-yu-ti-hua-shi-mo-ti-wu-li-shan-shui-mo-yi-ming-270597","乾隆款御题画诗墨-题吴历山水墨",[23,42,226,227,7],"行书","题诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c8006264c50a0c0067afd0751b76eba.jpg",[],{"id":231,"slug":232,"title":233,"dynasty":18,"author":19,"museum":20,"description":234,"tags":235,"thumbUrl":242,"material":27,"size":28,"collection":29,"collections":243,"showCount":178,"zanCount":11,"manualWeight":11,"mainColor":58},270321,"qian-long-kuan-tong-hu-lu-shi-shui-cheng-yi-ming-270321","乾隆款铜葫芦式水丞","水丞又称水中丞，一般多称就是水盂。是一种古老的中国传统工艺品。它是置于书案上的贮水器，用于贮砚水，多属扁圆形，有嘴的叫“水注”，无嘴的叫“水丞”。制作古朴雅致，为文房一重要器具。水丞有玉制的，如清代青玉雕葫芦水丞，两水盂相连构成葫芦形状，周边随形雕刻枝叶缠绕，显得清朗自然。玉水丞中以明代玉工陆子冈所制作品最为著名。也有铜制的、陶瓷制的，如官哥窑肚圆式、钵盂小口式等。",[236,237,40,238,239,240,241,7],"青铜器","铜制","葫芦","葡萄","松鼠","水丞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5463181d183bf30d173e19338677f05.jpg",[],{"id":245,"slug":246,"title":247,"dynasty":18,"author":19,"museum":20,"description":37,"tags":248,"thumbUrl":251,"material":27,"size":28,"collection":29,"collections":252,"showCount":178,"zanCount":11,"manualWeight":11,"mainColor":32},269990,"zhu-diao-zhu-lin-qi-xian-tu-bi-tong-yi-ming-269990","竹雕竹林七贤图笔筒",[52,40,107,249,41,250,7],"竹林","雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3f82924fdc627fc1eee6116f17a505a.jpg",[],{"id":254,"slug":255,"title":256,"dynasty":18,"author":19,"museum":20,"description":257,"tags":258,"thumbUrl":260,"material":27,"size":28,"collection":29,"collections":261,"showCount":178,"zanCount":11,"manualWeight":11,"mainColor":32},269955,"huang-yang-mu-diao-mei-hua-wen-bi-tong-yi-ming-269955","黄杨木雕梅花纹笔筒","木雕是雕塑的一种，在我们国家常常被称为“民间工艺”。木雕可以分为立体圆雕、根雕、浮雕三大类。木雕是从木工中分离出来的一个工种，在我们国家的工种分类中为“精细木工”。\n以雕刻材料分类的民间美术品种。一般选用质地细密坚韧，不易变形的树种如楠木、紫檀、樟木、柏木、银杏、沉香、红木、龙眼等。\n木雕是以各种木材及树根为材料进行雕刻，是以传统雕刻工艺中的重要门类。木雕的历史非常悠久，在浙江余姚河姆渡文化遗址就有木雕鱼出土，这是我国木雕史上最早的实物。河南信阳战国大墓出土的木雕镇木兽，湖北云梦汉墓出土的彩雕木佣均为我国早期木雕作品。由于保存的困难，现今很难看到超过千年的木雕作品。\n两宋时期木雕作品较为多见，这时的木雕已采用组织细密的木材为载体进行制作，这就有利于木雕作品的传世。我国的一些庙宇里还保存有宋代的木雕作品。\n元明时由于海外贸易的急速发展，木材种类有所增加，许多由海外进口的硬质木材，是木雕工艺得到长足发展。\n明清期间是木雕艺术的一个辉煌时期，涌现出大量有史可考的名家、艺人及其作品，是古代木雕艺术的一个高峰。\n清末至民国年间由于政府的腐败，国力的衰退，外强的侵略，民不潦生，木雕艺术从此衰落，艺人名家也只能沦为匠人糊口度日。新中国成立后在党和国家的关怀下，民间工艺得到了保护及挖掘，木雕也重新涣发出生命，涌现出一批国家级大师。他们的作品，工艺精湛，秉承传统，立意深远，讴歌时代，体现了大师们立足传统，锐意创新，直抒重获新生的胸怀和报效国家，知遇之恩的深情。\n国家改革开放，经济腾飞，国富民强，党和国家对民间工艺的大力扶持，唤起了民众对传统工艺美术的热爱与追求。逢此盛世，民间工艺美术有了新的飞跃，木雕艺术也不例外。面对实际情况，在全国工艺品展出中，优秀作品的作者年龄偏大，年轻作者寥寥无几。",[79,40,41,259,7],"梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5e173d6b3b683b60d897f3f563e594d.jpg",[],{"id":263,"slug":264,"title":265,"dynasty":18,"author":19,"museum":20,"description":266,"tags":267,"thumbUrl":269,"material":27,"size":28,"collection":99,"collections":270,"showCount":178,"zanCount":11,"manualWeight":11,"mainColor":123},261632,"de-hua-yao-bai-you-bi-tong-yi-ming-261632","德化窑白釉笔筒","德化窑位于今福建德化，故名。作为著名的瓷窑，是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n德化瓷器是中华陶瓷烧造中的艺术珍品，始于宋代，明代后得到巨大发展。以白瓷塑佛像闻名。其制作细腻，雕刻精美，造型生动，体现了古代劳动人民的卓越才能和艺术创造力。\n在今福建德化，故名。是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n碗坪仑烧瓷较屈斗宫古窑址早，烧青白瓷，有的接近白釉，刻花蓖划纹装饰较多，盒子遗留甚丰，盖面所印阳纹装饰达一百余种，题材之丰富在南方地区首屈一指，南宋时有专门制作盒子的作坊，盒盖上阳文印花装饰题材丰富，有动物、花卉等近百种图案。划花间篦划纹亦较多，饰在碗、盘、瓶等器物上。\n屈斗宫元代办烧青白瓷，从南宋至元代。明代盛烧白瓷观音、达摩等塑像，胎釉浑然一体，如同白玉，被赞为"象牙白"、"奶白"或 "天鹅绒白。清代除烧白瓷外，盛烧青花与彩绘瓷器。元代以来，德化窑瓷器输出海外，菲律宾、马来西亚出土有元代德化窑青白瓷，泰国及东非坦桑尼亚等国家也出土有清代德化窑青花瓷器。\n这种瓷器的制作工艺程序如下：他们从地下挖取一种泥土，将它垒成一个大堆，任凭风吹、雨打、日晒，从不翻动，历时三、四十年。泥土经过这种处理，质地变得更加纯化精炼，适合制造上述各种器皿，然后抹上认为颜色合宜的釉，再将瓷器放入窑内或炉里烧制而成。因此，人们挖泥堆土，目的是替自已的儿孙贮备制造瓷器的材料而已，大量的瓷器是在城中出售， 一个威尼斯银币能买到八个瓷杯“。马可波罗的介绍，引起了西方人的强烈兴趣。",[95,268,41,7],"白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04db1d3f971fc6dd57765a9fcf8187ed.jpg",[99],{"id":272,"slug":273,"title":274,"dynasty":18,"author":19,"museum":20,"description":275,"tags":276,"thumbUrl":282,"material":27,"size":28,"collection":29,"collections":283,"showCount":178,"zanCount":11,"manualWeight":11,"mainColor":32},229690,"shi-ba-shi-ji-mi-la-song-lu-chang-chun-yan-shan-yi-ming-229690","十八世纪 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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玉器经历7000多年的发展，从简单的装饰品发展到古代宗教祭拜、礼仪用品，再到象征高尚道德品质的装饰品，最后上升为丰富的艺术鉴赏作品，深入反映了不同历史时期的社会发展演变过程。",[153,84,40,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F823d7002f07f6aaf761efb7f7dda96a1.jpg",[],{"id":969,"slug":970,"title":971,"dynasty":18,"author":19,"museum":20,"description":972,"tags":973,"thumbUrl":977,"material":27,"size":28,"collection":29,"collections":978,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":123},249450,"qian-long-kuan-qia-si-fa-lang-gou-lian-wen-mo-chuang-yi-ming-249450","乾隆款掐丝珐琅勾莲纹墨床","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”。",[974,975,976,106,7],"掐丝珐琅","琺瑯器","勾莲纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c87edd2d39fb70d24e1cc5abe0e55c1.jpg",[],{"id":980,"slug":981,"title":982,"dynasty":18,"author":983,"museum":20,"description":324,"tags":984,"thumbUrl":986,"material":27,"size":28,"collection":29,"collections":987,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":32},229737,"cao-su-gong-yu-zhi-geng-zhi-tu-shi-ran-se-mo-cao-su-gong-229737","曹素功 御制耕织图诗染色墨","曹素功",[23,7,107,985],"耕织图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aed2e69df8586ecada7e4eb74007175.jpg",[],{"id":989,"slug":990,"title":991,"dynasty":140,"author":19,"museum":20,"description":992,"tags":993,"thumbUrl":995,"material":27,"size":28,"collection":29,"collections":996,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":123},228567,"yue-bai-you-yuan-yan-fu-qian-yu-yan-he-yi-ming-228567","月白釉圆砚 附嵌玉砚盒","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， 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。",[140,95,994,81,155,7,106],"月白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdfe06d0352fd679e7a6baf0b6144a99.jpg",[],1777535704310]