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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。",[23,24,25,7,26],"陶瓷","兽","青花瓷","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F570e3755d634cda2d4e8d066bfa0df55.jpg","未知","Xcm*Xcm","",[],4,"37474F",{"id":35,"slug":36,"title":37,"dynasty":18,"author":19,"museum":20,"description":38,"tags":39,"thumbUrl":49,"material":28,"size":29,"collection":30,"collections":50,"showCount":32,"zanCount":51,"manualWeight":11,"mainColor":52},269377,"zi-tan-qian-yu-ba-bao-hua-hui-wen-che-shi-wen-ju-xia-yi-ming-269377","紫檀嵌玉八宝花卉纹车式文具匣","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。",[40,26,41,42,7,43,44,45,46,47,48],"木质","雕刻","嵌玉","兰","竹","水仙","八宝纹","车式","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87331bcc66a2fbd86349fb303f1f7def.jpg",[],1,"795548",{"id":54,"slug":55,"title":56,"dynasty":18,"author":19,"museum":20,"description":38,"tags":57,"thumbUrl":60,"material":28,"size":29,"collection":30,"collections":61,"showCount":62,"zanCount":51,"manualWeight":11,"mainColor":33},270961,"cheng-fen-wen-ju-qing-yu-shi-liu-yi-ming-270961","成份文具-青玉石榴",[58,41,7,59,26],"玉石","石榴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fef1dd95936890e25d0d1e4dd4062b0.jpg",[],3,{"id":64,"slug":65,"title":66,"dynasty":18,"author":19,"museum":20,"description":38,"tags":67,"thumbUrl":71,"material":28,"size":29,"collection":30,"collections":72,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":74},273641,"zi-tan-mu-bian-zuo-qian-ci-yu-wen-ju-cha-ping-yi-ming-273641","紫檀木边座嵌瓷玉文具插屏",[68,40,41,58,23,26,69,48,70,7],"插屏","笔","兔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bfa3fa39ce23a8979ac26fd01eb881b.jpg",[],2,"BDBDBD",{"id":76,"slug":77,"title":78,"dynasty":18,"author":19,"museum":20,"description":79,"tags":80,"thumbUrl":84,"material":28,"size":29,"collection":30,"collections":85,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":74},270977,"cheng-fen-wen-ju-yu-zhi-qing-shang-ce-ye-yi-ming-270977","成份文具-御制清赏册页","此件以书册为形，棕褐木面凝着温润包浆，嵌骨片题字娟秀雅致，将文房收纳与案头赏玩融于一体。\n\n它以典籍册页为原型，把文人藏书的意趣凝缩在方寸之间，素净木色与浅白骨牌记相映，古雅内敛。触手温凉的木身，仿佛藏着旧时光里的翰墨余韵，尽显清人对于案头雅趣的极致追求，于细微处尽显中式文人审美意趣，小巧器物藏着雅致文心，是清代文房雅物的精巧缩影。",[40,81,7,82,83],"典籍","册","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42ac7e348d94b8c7425a83ce80d12774.jpg",[],{"id":87,"slug":88,"title":89,"dynasty":18,"author":19,"museum":20,"description":90,"tags":91,"thumbUrl":96,"material":28,"size":29,"collection":30,"collections":97,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":33},260996,"dong-qing-you-you-li-hong-ling-zhi-zhu-ye-tu-bi-tong-yi-ming-260996","冬青釉釉里红灵芝竹叶图笔筒","中国瓷器著名传统颜色釉。亦称“青瓷釉”。古代南方青釉，是瓷器最早的颜色釉。\n所谓“青釉”，颜色并不是纯粹的青，有：月白、天青、粉青、梅子青、豆青、豆绿、翠青等，但多少总能泛出一点青绿色。同时，古人往往将青、绿、蓝三种颜色，一统称为“青色”，例如许之衡《饮流斋说瓷》称：“古瓷尚青，凡绿也、蓝也，皆以青括之。”刘子芬《竹园陶说》中也说：“青色一种，常与蓝色相混。雨过天晴，钧窑、元窑之青，皆近蓝色。”“惟千峰翠色、梅子青、豆青、乃为纯青耳。天色本蓝，有时为青。”\n青釉是我国使用最早，延用时间最久，分布最广的一个釉种，它的发明是与我国瓷土矿大都含有一定量的铁矿的现象相一致的。青色也符合我国人民的传统审美情趣。青色与碧玉相若，认为稳重而高雅。浙江、江西、河南等地已出土了不少早至商周时期的原始青釉瓷。六朝至唐宋以越窑为代表的南方青釉瓷；宋到元明的龙泉窑系青瓷；耀州窑、临汝窑、钧窑等宋代北方青瓷；以及明、清以来的景德镇青釉瓷，是青釉发展的几个重要阶段，所谓的宋代“汝、定、官、哥、钧”五大名窑，除定窑外均属青釉瓷。表釉的呈色主要决定于着色氧化物的含铁量与烧成气氛，青釉含铁量一般在1—3%左右，过高会变成黑釉，低了就能烧成白瓷。在还原气氛中烧成。釉色青绿；在氧化气氛中烧成，釉色泛黄。因而陶瓷界所谓的青釉是相对而言的，正如许之衡《饮流斋说瓷》中所说：“古瓷尚青，凡绿也，蓝也，皆以青括之。”",[23,92,93,44,94,95,7,41],"冬青釉","釉里红","灵芝","笔筒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9343d126640ff54a14c5c68fab648d34.jpg",[],{"id":99,"slug":100,"title":101,"dynasty":18,"author":19,"museum":20,"description":102,"tags":103,"thumbUrl":106,"material":28,"size":29,"collection":30,"collections":107,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":52},274151,"hui-tu-yi-qi-yi-ming-274151","绘图仪器","这套仪器铜质构件匀净莹润，包浆凝着岁月柔光，莳绘匣面芦雁穿芦，雅致沉静。套件品类周全，量尺、规具、针笔各司其职，兼顾精准测算与细节勾勒，便携目镜暗藏巧思。\n\n它是西学东渐浪潮里的精巧缩影，将传统文房审美意趣与近代制图技艺相融，把工致造物之心收于方寸匣中，静述往昔制图风貌，是实用与雅趣兼备的匠心之作。",[26,101,104,40,105,7],"铜制","漆器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa570b57170a55848ee0b95e28bb8bea4.jpg",[],{"id":109,"slug":110,"title":111,"dynasty":18,"author":19,"museum":20,"description":112,"tags":113,"thumbUrl":115,"material":28,"size":29,"collection":30,"collections":116,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":74},272641,"cheng-fen-wen-ju-zhen-zhi-yi-ming-272641","成份文具-镇纸","此件以书卷为形，素色胎体质感温润。通体模印回纹为地，浅浮雕系带束合书卷，挽结灵动舒展，垂绦宛转自然，仿若将一册古籍妥帖捆缚，静伫案头自带沉静雅致的书卷气。\n\n工艺简约工细，不施华彩，全凭胎色与浮雕层次凸显质感，将文人藏卷惜书的情愫凝于方寸之间，尽显文玩含蓄隽永的意趣，伴笔墨铺展，晕开一室清雅书香。",[114,7,41,40],"镇纸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37c1c169c8ebcaf70b62b29cb1ec9707.jpg",[],{"id":118,"slug":119,"title":120,"dynasty":18,"author":19,"museum":20,"description":121,"tags":122,"thumbUrl":126,"material":28,"size":29,"collection":30,"collections":127,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":33},271019,"cheng-fen-wen-ju-shi-shan-zi-bi-jia-yi-ming-271019","成份文具-石山子笔架","此石山子取天然之形，摹写峰林丘壑，嶙峋孔洞与苍劲褶皱交错，似将山野林泉缩于方寸。包浆温润凝着岁月质感，古拙肌理藏着自然天工，与红木底座相衬，愈发沉静雅致。\n作为文房清供，置物赏玩两相宜，静可观岩岫之姿，可寄林泉幽思，将文人幽居丘壑的向往凝在这一方小石之上，触手尽是苍古意趣，观之涤荡尘心，尽显旧时文玩的雅致审美。",[123,124,7,41,125,26],"笔架","石山子","石质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc71dfda299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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。",[191,58,192,193,26,7],"清代","浮雕","梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F767790adca17dc062f522b9015110914.jpg",[],{"id":197,"slug":198,"title":199,"dynasty":200,"author":19,"museum":20,"description":201,"tags":202,"thumbUrl":206,"material":28,"size":29,"collection":30,"collections":207,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":33},251281,"zi-qin-bai-yu-shou-mian-wen-yin-chi-yi-ming-251281","紫沁白玉兽面纹印池","明","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。\n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。",[58,41,203,204,26,205,7],"兽面纹","紫沁","明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec0ca9921d6e7c47c526ca38c72ef981.jpg",[],{"id":209,"slug":210,"title":211,"dynasty":18,"author":19,"museum":20,"description":212,"tags":213,"thumbUrl":220,"material":28,"size":29,"collection":30,"collections":221,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":33},249077,"qian-long-kuan-qia-si-fa-lang-hai-shui-yun-long-wen-shui-cheng-yi-ming-249077","乾隆款掐丝珐琅海水云龙纹水丞","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 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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。",[40,105,7,148,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F655ed2bc66fd4e162fa7e49f5bfd82be.jpg",[],{"id":636,"slug":637,"title":638,"dynasty":18,"author":19,"museum":20,"description":639,"tags":640,"thumbUrl":642,"material":28,"size":29,"collection":30,"collections":643,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},271015,"cheng-fen-wen-ju-tong-he-ye-xi-yi-ming-271015","成份文具-铜荷叶洗","此器取池中风荷为形，叶缘翻卷起伏，带着天然舒展的野趣，将莲塘夏意凝铸为铜色永恒。以卷叶为足，一侧保留短茎，把荷塘鲜活意趣收于方寸之间。褪去莲荷柔媚，青铜沉褐的包浆温润内敛，带着岁月摩挲的厚重质感。\n\n它虽为文房清供，却将文人雅趣与造物匠心相融，研墨间隙可观叶形宛转，静赏时似有荷风萦怀，成了案头一抹清逸隽永的景致。",[104,7,147,641,41,26],"荷叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff56fb218f6d5c19b158b69bb23403408.jpg",[],{"id":645,"slug":646,"title":647,"dynasty":18,"author":19,"museum":20,"description":292,"tags":648,"thumbUrl":651,"material":28,"size":29,"collection":30,"collections":652,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},271014,"cheng-fen-wen-ju-tong-yang-shi-shui-cheng-yi-ming-271014","成份文具-铜羊式水丞",[147,104,41,649,216,650,160,26,7,24],"羊","珊瑚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bcab390741d76655ba12746b15de671.jpg",[],{"id":654,"slug":655,"title":656,"dynasty":18,"author":19,"museum":20,"description":292,"tags":657,"thumbUrl":659,"material":28,"size":29,"collection":30,"collections":660,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},271013,"cheng-fen-wen-ju-tong-juan-shu-shi-shui-cheng-yi-ming-271013","成份文具-铜卷书式水丞",[104,41,7,294,658],"卷书式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cf93d152eff4f760c238fa1663b7d86.jpg",[],{"id":662,"slug":663,"title":664,"dynasty":18,"author":19,"museum":20,"description":665,"tags":666,"thumbUrl":668,"material":28,"size":29,"collection":30,"collections":669,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},271012,"cheng-fen-wen-ju-tong-yan-di-yi-ming-271012","成份文具-铜砚滴","此件器物取古铜匜形制为砚滴，浅弧腹搭配素面单柄，通体无多余纹饰，浑朴古雅。深绿包浆厚重莹润，带着经年累月沉淀下来的苍润质感，尽显沉静内敛的古拙意趣。\n\n作为文房研墨添水的用具，它兼顾实用与审美，注清水入腹后，轻倾便可得涓涓细流，恰好适配研墨的分寸需求。褪去繁饰的素净造型，让古铜本身的沉静质感尽显无余，将平淡文事浸染出悠悠古意，是寄寓着追慕古风雅趣的案头精巧造物。",[147,104,667,7],"砚滴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb6d6a8834a0ce757cc42b32e10478ef.jpg",[],{"id":671,"slug":672,"title":673,"dynasty":18,"author":19,"museum":20,"description":674,"tags":675,"thumbUrl":678,"material":28,"size":29,"collection":30,"collections":679,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},271010,"cheng-fen-wen-ju-tong-yi-shou-yi-ming-271010","成份文具-铜异兽","这件文具以卧兽为形，体态敦实憨拙，线条凝练古雅，褪去瑞兽惯常的狞厉之气，蜷伏的姿态静穆安然，恰适配文房清寂氛围。沉哑的铜色历经岁月晕染，凝出醇厚包浆，带着时光摩挲的温润质感。它兼具镇纸置物的实用功能与案头赏玩的雅趣，将文房器物的实用属性与文人藏物以古为美的审美意趣融于一体，是文房小品里内敛沉静的佳作，暗合中式文人内敛沉静的审美品格。",[147,104,7,24,41,676,677],"异兽","文房器具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1d0008b2300046e7b0191f349770921.jpg",[],{"id":681,"slug":682,"title":683,"dynasty":18,"author":19,"museum":20,"description":292,"tags":684,"thumbUrl":688,"material":28,"size":29,"collection":30,"collections":689,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},271009,"cheng-fen-wen-ju-zhu-gen-diao-shui-cheng-yi-ming-271009","成份文具-竹根雕水丞",[685,41,7,686,294,687],"竹质","松树","竹根雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeb647d576727b94e93dbd65eda69d4a.jpg",[],{"id":691,"slug":692,"title":693,"dynasty":18,"author":19,"museum":20,"description":694,"tags":695,"thumbUrl":696,"material":28,"size":29,"collection":30,"collections":697,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},271008,"cheng-fen-wen-ju-ma-nao-he-ye-xi-yi-ming-271008","成份文具-玛瑙荷叶洗","随形取玛瑙之质，摹拟出水荷叶之姿。石表天然绺脉晕作舒展叶脉，深浅褐调仿若晨露初歇后的荷塘底色，将材质肌理与造物意趣相融无间。器沿卷曲起伏，一角巧作蹲伏蛙趣，鲜活灵动，把水洗的实用属性隐于清逸的自然意涵中。搭配透雕缠枝木座，盘绕枝蔓呼应器身荷韵，整体野趣天成，清隽雅致，尽显旧时文人心寄草木、以物为友的雅逸襟怀。",[58,41,641,7,26,441],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39a3fb51bb3046b55409173cf4cf8272.jpg",[],{"id":699,"slug":700,"title":701,"dynasty":18,"author":19,"museum":20,"description":168,"tags":702,"thumbUrl":705,"material":28,"size":29,"collection":30,"collections":706,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},271007,"cheng-fen-wen-ju-hu-po-yin-he-yi-ming-271007","成份文具-琥珀印盒",[703,704,7,41,26],"琥珀","印盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb1db19d008d17ffa1947f1527531794.jpg",[],{"id":708,"slug":709,"title":710,"dynasty":18,"author":19,"museum":20,"description":537,"tags":711,"th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